Screenplay

End of Times

Black screen.

As credits roll.

Audio: A biting winter wind whistling through leave-less trees grows louder and louder.

Audio: The crunching of heavy boots walking through ice frozen snow.

Scene One

Audio: The crunching stops but the wind continues to howl.

Establishing shot: The black turns to bright white and a mountain top log cabin comes into focus. Some of the windows are broken and a modern wind turbine, missing one blade, is flailing in the wind.

Cut to a heavily clothed figure at the tree line looking up at the cabin. His face and body are completely covered with warm winter gear. Forrester is carrying a very large backpack, a rifle-case and a shot gun slung on his back. He is well armed with a side arm on his leg. He uses a walking stick.

Cut to close up of the dormant wind turbine.

Cut to close up of Forrester. He sighs greatly sending a white plum of steam out from underneath his face covering.

Zooming out, Forrester begins to walk across the snowy clearing between the tree line and the cabin.

Cabin Interior:

A modern living space in shambles with snow drifts in the corners. Pan to the front door which is shoved open and Forrester enters the main room of the cabin. He pushed the door shut behind him and moves toward the fireplace, brushing the snow off some wood that is next to it.

Forrester drops his backpack with a loud thump and lets his rifle case slide to the floor next to it. He snaps his walking stick into parts and tosses it into the fireplace and then lowers his shotgun into his hands and begins an inspection of the house.

Cut to a modern bedroom destroyed by snow and wind. Pan to the entryway and Forrester enters, looks around. He walks over to the bed and pulls back the covers with his shotgun. There is a body in the bed. He shoves the body twice with the shotgun barrel and it does not move. He retreats and then pulls the door shut as much as he can behind him.

Cut to the main living area, a sofa. Two heavy blankets are tossed onto the sofa followed by the shotgun. The sofa is then shoved toward the camera.

Cut to Forrester pushing the sofa toward the fireplace.

Cut to the fireplace.

Audio: Wood is being shuffled around.

Many pieces of wood are loaded into the fireplace and then a small metal candle is placed beneath the wood, tapped twice on the hearth the candle sparks to life and begins to ignite the wood.

Cut to the sofa, Forrester sits down heavily, carefully places his shotgun next to him and pulls one of the blankets on top of him. He is visibly shaking with cold. He retreats into his new blankets and stares into the fire shivering.

Fade to black.

Scene Two

Windswept highlands and low hanging clouds pan to the roof of the cabin where Forrester is working. Smoke is pouring from the chimney as he is securing a fixture to it’s base. On top of the fixture is a metallic box.

He completes securing the device and activates a trip cord which extends to a strong antenna above him.

Forrester tosses a long black cable over the side of the cabin and begins to move away from the chimney but trips on his second step.

Close up of Forrester in the snow, his face covering is dislodged and a young man prematurely aged with an unkempt beard is revealed.

Cut to the object that tripped him up, he begins to uncover it and reveals a solar panel.

Forrester looks up toward the sun, glaring through the low hanging clouds.

Slow pull back as he excitedly begins to expose several solar panels across the roof of the cabin.

Cut to cabin interior, large closet doors are thrust open revealing a sophisticated power/battery system.

Cut to a control panel showing three inputs for Solar, Wind, Generator. Solar begins to slowly blink red at the lowest level.

Audio: A heavy table being shoved across the floor.

Cut to Forrester heaving a dining room table toward a roaring fire. He pulls a metallic box from his sizable backpack and places it carefully on the table and then walks toward the bedroom and pulls a black cable from the room toward the table. He opens the box and pulls out a sophisticated radio. He plugs the antenna cable into the back and then searches his backpack and places a heavy portable crank generator next to the radio and plugs the two together.

Cut to Dr. Forrester finally fully revealed, removing all of his outer clothing. He is a man in his late thirties but who has much gray hair and wrinkled skin. He begins to crank the generator and the radio comes to life. He continues to crank and then sits down heavily at the table.

Cut to the radio scanning through millions of channels with no transmitions.

Forrester turns and pulls a heavy bound notebook from his pack and places it in front of him and opens it up. There is a sheaf of papers that is completely blank, he produces a pen just as

Audio: A shriek is heard

The radio stops on a station with a high graphic spike briefly but then continues scanning as

Audio: The shrieking continues in the wind.

Cut to winter exterior at the tree line, a woman is screaming and struggling through from the tree line toward the cabin. She is disheveled and disoriented but has on winter clothing.

Cut to cabin exterior, zoom in on broken bedroom window, Forrester is setting up a high powered rifle.

Cut to cabin interior as Forrester completes getting into position in the snowy room and slides a round into the chamber.

Cut to scope shot, the woman comes into focus, she is struggling toward the cabin.

Cut to cabin interior of the man aiming the rifle. He shoots a violent round.

Cut to scope shot, snow kicks up behind the woman but she is unfazed and continues to struggle forward.

Cut to cabin interior, Forrester methodically reloads.

Cut to woman in the snow struggling forward. Another shot is heard and as she heaves forward her right shoulder explodes in a bloody pulp and she falls to the ground. She lifts her head, looking toward the cabin, reaching forward with her left arm and another shot is heard as her head explodes.

Quick Cut to wide shot zooming out of the cabin and tree line as it begins to snow as.  . .

Audio: The gun shot reverberates off the mountains and trees.

Cut to cabin interior bedroom as Forrester ejects a round and loads another. He pulls his eye from the scope and appears stoic but blinks quickly.

Fade to black.

Scene Three

Black.

Fade into Forrester writing at the kitchen table. The room is warm, a carton of cigarettes is open and a cigarette smokes in a full ashtray. Empty cans of chicken noodle soup set on the table nearby with a half bottle of alcohol.

Audio Dialogue: When I was young I thought the end would be a flash on the horizon and I could snuggle into my mother’s lap as the firestorm overtook us. I wish now, that it had happened that way, but when it did come, it was only slightly slower.

Fading to black.

Audio background: Heavy boots running.
Commander
We take off in ten minutes, move your asses!

Cut into Men moving across an airfield toward an Osprey.

Audio: Aircraft engines warming up as shouts are heard in the background.

A clearly non-military Forrester amongst the soldiers is hurried toward the Osprey. Military vehicles move in the background toward the fence line.
Commander
Glad you made it Dr. Forrester, sorry about your loss. . .

Forrester nods.

Commander
I’m sorry this briefing has to be so short but we need to move you to our forward operations base. . . It isn’t quite as secure as here but . . .
Forrester eyes widen and he looks toward the fence line.

Cut to the fence line, soldiers in a tower are shouting down at reinforcements arriving.

Cut to a car speeding forward across the expanse between the tree line and fence line.

Cut to the guard tower, a soldier opens up with a mini gun, strafing in front of the car and then quickly moving in to cut the engine in half. The car crumbles to a halt.

Cut to car interior, the driver is still alive and reaching toward a bomb activation device.

Audio: Shoot him! Shoot him! He’s going to. . . .

The car explodes.

Cut to Forrester and the Commander.
Commander (loading Forrester onto the Osprey)
The car bombs are getting more and more frequent. . . Let’s get you where you need to be.
Audio: More shouting in the background as more aircraft engines are heard starting up.
Commander (strapping in Forrester)
They’ll get you to the FOB, you’ve got to get through Doctor.
The Commander turns and looks toward the fence line.

Cut to the guard tower, the three soldiers are screaming and the mini-gun opens up on the tree line just as one, two, three, _fast_ rpgs hit the tower, the first hitting the roof, the second from a different angle hits the base of the tower, the third from another angle hits the bulk of the tower with a massive explosion.

Cut to the Osprey Interior. The Commander, blanched white takes a rifle given to him by another soldier and looks back at the  Osprey interior.
Commander
(To the pilots)Let’s go, get the fuck out of here!
(To Forrester) Good luck Doctor. . .

Forrester (reaching toward the Commander)
I’m sorry.
Cut to two helicopter gunships rising next to a large Osprey as her wings are turning vertical.

Cut to the Commander, knocked down by the Osprey’s turbo blast looking up as it takes off.

Cut to Osprey interior, Forrester looking back down. Stoic.

Cut to all three airships taking off, pulling back to show the whole air base, a guard tower is destroyed and a huge force of militants are moving from the tree line towards the base. The two gunships cut into the approaching forces briefly but then move off as the Osprey gimbals her wings forward and quickly catches up with the helicopters. Staying with the base, missiles and a mortars begins to fly over the approaching forces smashing the base, a missile catches another Osprey taking off and it explodes.

Audio: The three aircraft pilots chat to each other in military-pilot-speak, referencing going through The Gauntlet and calling in a Spectre.

Cut to an extreme far shot of the three aircraft gaining altitude and pulling away from the base, it is clearly about to be overrun.
Audio Dialogue: In the end it wasn’t bombs or wars that exterminated us, it was microscopic bugs, invading our cell walls, bugs that I’m pretty sure I created.

Cut to Forrester looking back as the military base is overrun.

Audio Dialogue: Bugs that had a ninety nine percent chance of killing you once you were exposed to them.

Cut to Forrester writing in the cabin, taking a long drag and then a drink.

Audio Dialogue: Ninety nine percent of those that weren’t killed outright were driven insane, the rest, one percent of one percent all decided that the end was here and decided to fight it out amongst themselves.

Cut to the Base being overrun.

Cut to Osprey interior, Forrester.

Audio background: Pilots chattering and nervous, they are entering The Gauntlet, calling vehemently for a Spectre.

Cut to exterior high angle, the ships are approaching a decimated, smoking city, begin to bank to the right as many AA missiles rise to greet them. One gunship is destroyed immediately, the second gunship turns and fires missiles and guns into the area of AA origin.

Cut to Osprey interior as the aircraft banks heavily left and right. Forrester pulls his belts tightly around himself.

Audio background: Pilots are yelling now, must get to the LZ on the other side of the city. Spectre is inbound, engaging in ten seconds.

Cut to high altitude angle as a as a massive Lockheed AC-130, full of weaponry, banks hard and levels out.

Cut to exterior, helicopter gunship is decimating a ten story building as it pulls back away from the structure.

Audio background: “Target confirmed, kill it, kill it, kill it, kill everything.” in radio channel.

Cut to building exterior as the helicopter gunship turns away a single missile shoots from a window toward the helicopter. Seconds after the missile is fired the whole exterior of the building is engulfed in overpowering firepower and the building shakes and crumbles.

Pulling back from the devastation the last helicopter gunship is hit and goes down.

Cut to Osprey interior, Forrester, looking back seeing the helicopter crashing to the ground, settles into his seat.

Audio background: “Stay with me, stay with me, almost there, stay with me.

Cut to exterior shot, Osprey engines fully forward, streaking through a city toward mountains, the Spectre is seen well above it but on the same vector.

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