

All rights reserved; no part of this publication may be reproduced or transmitted by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher.

First published in 2017.

Copyright © 2017 Jaime Savage

First Edition

This is a work of fiction. Names, characters, places and incidents either are the products of the author's imagination or are used fictitiously. Any resemblance to actual persons, living or dead, businesses, companies, events or locales is entirely coincidental.

Cover art pictures paid for and licensed through BigStock.com.

This novel is dedicated to my Papanui High School friends who know my secret and will take it to the grave.

# Contents

Prologue  
Chapter 1  
Chapter 2  
Chapter 3  
Chapter 4  
Chapter 5  
Chapter 6  
Chapter 7  
Chapter 8  
Chapter 9  
Chapter 10  
Chapter 11  
Chapter 12  
Chapter 13  
Chapter 14  
Chapter 15  
Chapter 16  
Chapter 17  
Chapter 18  
Chapter 19  
Chapter 20

Prologue

The great comet was discovered and revealed to the world at a period of relative stability and prosperity during the Twenty First Century. Destined to pass Earth in the Year of the Snake, the comet had the distinction of passing closer to Earth than any other previously had at any point in documented history. Rightfully named the Davis Comet–after the amateur astronomer, and butcher by trade who had discovered her–the peculiar news was broken across the globe and was received more so with fascination and novelty than through fear of demise.

The scientific community was undoubtedly left red-faced by the modest nature of the discovery and such was their jealousy towards the unassuming discoverer that they saw fit to launch a duplicitous campaign against him by pressing the less flattering and soon to be accepted name 'Hale Bopp's Friend' – a banal take on another great comet that had been visible by the naked eye in the closing years of the twentieth century.

The announcement of the comet brought its share of naysayers which wasn't helped by the fact that a well known and public doomsday prediction was now tied in with the comet's arrival to Earth. For the most part though, life went on for the self-proclaimed sane people of the world.

The so-called people in the know–scientists, world leaders, dignitaries–weren't alarmed by the discovery. So while the obtrusive comet might not quite be the end of mankind some people were claiming it to be its sudden, unannounced discovery did serve as a shocking precursor of what was to come. The foreshadowing wasn't duly noted at the time nor could anyone have foreseen it but it would soon become clear that nothing was ever going to be the same again.

The days leading up to the comet's discovery were said to be good times–especially when analysed in retrospect. But then again, nostalgia is a truly mysterious and perplex creature capable of creating previously unseen memorable impressions that are only truly appreciated when it's too late. Memories that are thoroughly cleansed of all discontent into false purity masquerading in the form of hazy, distorted anecdotes.

As the days progressed and the comet grew in size, for completely unrelated reasons the world began to slowly lose its grip on reality. America's floundering economy, crippled by a gaffe ridden Olympics hosted in New York City and an incomprehensibly priced Mars expedition–both of which had been initiated with goals of restoring confidence and inflating national pride–finally collapsed under the overwhelming weight of national debt and bleak economic prospects. Unemployment skyrocketed; the banking sector folded; investor's confidence went out the window and social unrest prevailed.

With America now lying in social and economic ruin the domino effect soon set off a chain reaction across the world. One by one the world economies collapsed in spectacular fashion falling like a house of cards. With no one seemingly knowing how to pick up the pieces civil unrest ensued and it wasn't long before the very essence of our human society was cast aside and questioned above all else.

And so it came to be that the media, swamped by one negative report after the next and the common man downtrodden by misfortune and hardship cried out in desperation for a bonafide hero. In a time of bleakness, the world needed someone to turn to amongst all the chaos, panic and disorder that reigned supreme. Whoever that individual was it didn't seem to matter. Pop stars, politicians, sports legend, just someone...anyone. Someone had to step up and help the world unite. The world needed a hero, and it needed that hero tonight.

# Chapter 1

SCENE: TELEVISION FOOTAGE  
(LATE NIGHT TELEVISION SHOW)

( _The instrumental of 'In the Air Tonight' by Phil Collins plays in the background._ )

We are watching footage from a late night television show. The show is hosted by a slim, immaculately dressed man who appears to be in his mid twenties. The young man gives off a vibe that he can't quite believe his luck hosting a major show at such a young age. The show's set is surreal and futuristic; the lighting appears almost bioluminescent. The crowd cheers and then goes silent as the host begins his opening monologue.

HOST  
'Oh and what about this news folks: it's Day 72 of Mateus McClure's voyage to Mars'.

The host grins sarcastically.

HOST  
'He will of course become the first human to walk on Mars'.

There is no response. After a prolonged pause people start to laugh at the awkward silence.

HOST  
'See nobody cares about this expedition the moment the ol' economy hits the fan do they? You think back a couple of months ago when there was all that excitement and hype... and everyone tuned in; record numbers in fact. Now people are upset, they're angry, they're protesting in the streets, they don't want it anymore...oh wait...I'm just describing my show aren't I'?

The crowd laughs.

SCENE: TELEVISION FOOTAGE  
(NEWS REPORT)

It's almost as though someone has changed the video stream. A snippet of a news bulletin plays showing the President of the United States of America addressing a packed media room. The President is a dull looking man who speaks in a monotone.

PRESIDENT  
'These are the darkest days of my Presidency. I want to assure you I'm doing everything I can to stop the economic bleeding. I know in this moment my words don't mean much but if you believe anything I say then please believe that the American people will push through this with resolve. We will push through this as we have done so all throughout our history in times of adversary'–

The President's speech is suddenly interrupted by a series of screams. We see the Secret Service attempting to restrain a man but he struggles on in his fury. There is panic as reporters start to flee. Secret Service encircles the President and then proceeds to rush him out of the room. The disorder in the room mirrors the precarious state of the nation that the President has the misfortune of presiding over.

SCENE: TELEVISION FOOTAGE  
(BOXING MATCH)

Another channel switch. A forty something boxer named Jesse Johns is taking a pounding from a six foot seven, two hundred and eighty pound man named Hans Botham. It's one hell of a mismatch. In the background a hostile crowd waving South African flags call for blood.

COMMENTATOR 1  
'Johns' down again. The third time now...no he's forcing himself up'.

COMMENTATOR 2  
'The referee has got to call this off! I don't care if this is Johns' last ever fight. This has got to stop; permanent damage is going to be incurred'–

COMMENTATOR 1  
'Well this is what makes me so angry. As a former boxer and a friend to so many of these guys I can say with conviction that the health of the boxers has just gone out the window these days. They talk about viewership, they talk about the spectacle, well let me say this: you won't have a show if these guys are getting their skulls smacked in'.

The crowd jeers as a dazed Johns clenches his fists once more.

SCENE: TELEVISION FOOTAGE  
(NEWS REPORT)

This time there is footage playing from Germany. Far right wing radicals are trashing stores owned by Muslims. The report cuts to an interview with one of their surrogates. Translated subtitles are shown in English as part of the news report.

ANTI ISLAM SURROGATE  
'It may sound counter intuitive but we are not rioting Germany because we hate our country, but rather because we have nothing but great love for her. We are like white blood cells, fighting from within for the benefit of our great land to take our country back from Islam. Muslim birth rates have spread like a virus and we remain the final line of defence. Without us Germany is dead'.

SCENE: TELEVISION FOOTAGE  
(BOXING MATCH)

It's the same boxing fight as before. Hans Botham is toying with Johns.

COMMENTATOR 2  
'And it's not very often you can say this but Botham has taken everything we know about boxing and thrown it on its head. To think someone could unify all four belts just shows the class of the man'.

A fatigued Johns throws a punch but hits nothing but air. The partisan crowd calls for blood. Botham does not disobey; he hits Johns with an uppercut of incredible power. We see the truly horrifying image of Johns slumping to the ground knee first.

COMMENTATOR 1  
'That's got to be it. A right hand uppercut. A magnificent career comes to an end here in Bloemfontein. Perhaps the greatest boxer to never win a heavyweight championship'.

REFEREE  
'one, two, three, four, five, six'-

Jesse Johns forces himself up slowly.

COMMENTATOR 1  
'No hang on a minute he's rising from the dead'.

COMMENTATOR 2  
'As brave as this is, as heroic as this is the referee has to call this! My God I'm about to throw in a towel myself'.

SCENE: TELEVISION FOOTAGE  
(LATE NIGHT TELEVISION SHOW)

It's the same late night show as before. The monologue continues.

HOST  
'Oh and what about this comet everyone? Are we worried about this yet'?

A few people in the audience snigger.

HOST (laughing)  
'Well today is exactly two years from the day that it was discovered by an amateur astronomer in Alice Springs, Australia'.

He pauses for a nonexistent reaction.

HOST  
'Two years ago! Doesn't time fly? Back then it was named the Davis Comet after its founder. We now know and speak of it by its unofficial name–at least here in the States anyway–being ''Hale Bopp's Friend''. I remember when this name became commonplace and thinking, ''great even a comet has more friends than me''.

The crowd laughs.

HOST  
'No, no, no, please don't applaud that. Please don't. No but anyway, It's been a spectacular event, a once in a million year event if the astronomers are to be believed. And of course all throughout summer it's been growing in size and even now in October it's still growing as it passes Earth. As it continues to get closer and closer to us, more and more people are getting worried though'.

There is a sarcastic gasp from the audience.

HOST  
'They're saying it's had all this media attention, and gained all this momentum and now it's breaking up and hurtling and it's going to crash into a million pieces...oh wait that's just Susan De Vrij's music career'.

The crowd laughs.

HOST

'Don't...no...how could I get them mixed up, no seriously'–

SCENE: TELEVISION FOOTAGE  
(MARS EXPEDITION)

The channel has changed again. The pristine, high definition footage of the late night television show is replaced with grainy, live images from a spaceship. Very raw footage plays from a fitted camera showing an African American astronaut staring out of a porthole. In the far off distance we can see Earth. It looks like the size of a tennis ball against the backdrop of space. Seeing the solitary figure so far removed from everything is a poignant sight. He could well be the loneliest man in the world.

SCENE: TELEVISION FOOTAGE  
(BOXING MATCH)

Johns raises himself up again after another beat down. His brave efforts have not won over the crowd. The one sided bout continues.

COMMENTATOR 2  
'And when we look back on Johns' career at the end of the fight, yes he may not have been a heavy weight champion, but heavy weight champion or not he will go down as one of the greatest boxers of the Twenty First Century. I mean you go back and look at this guy when he was in his late twenties and how dominant he was and just the sheer number of fights he fought. You could never say that he selectively chose his opponents, it's more that his greatest rivals didn't want to fight him'–

Out of nowhere at all Johns throws a left hook for the ages. Botham goes down in a heap.

COMMENTATOR 1  
'Botham's down, the champion is down. The fight is over...a shocking result...surely one of the biggest upsets in sporting history...Hans Botham has been knocked out...it's over forever, it's over forever'.

COMMENTATOR 2  
'Wow...wow...wow'.

Botham looks like a lifeless corpse. Medical personal rush to attend to him. Johns in a state of shock and disbelieve falls directly beside Botham. His entourage rush into the ring waving American flags. Johns is inconsolable; his vindication has been granted.

COMMENTATOR 1 (speaking rapidly)  
'Detroit's prodigal son...in his final ever fight. At the ripe old age of forty two years. Vindication has been granted, may Jesse rest in peace now, Jesse Johns, the new heavy weight champion of the world'!

COMMENTATOR 2  
'Wow'.  
_  
(The instrumental for 'In the Air Tonight' by Phil Collins ends.)_

SCENE: DETROIT HOSPITAL WARD

Inside a downtown Detroit hospital ward, we see the television monitor we have just watched all the images from. It's still beaming images from the boxing fight.

COMMENTATOR 1  
'If there was ever a time America needed a moment like this. In amongst all the doom and gloom a hero has risen'.

A young, stocky man with an Ivy League haircut is packing up his things by his hospital bed. His name is listed above his hospital bed: Luke Fitzgerald. The young man is checking out of the hospital. He starts to place the last item into his bag but stops. It's a hand signed photo of Jesse Johns which reads:  
' _Never stop fighting Luke...prove the doctors wrong'_.  
Luke stares at the image as a tear falls down his face.

We focus on the footage still playing from the television in the background. Fireworks are being let off skyscrapers. Drivers sound their car horns in celebration. Tens of thousands of people have overtaken the streets of downtown Detroit. We see that a young couple have scaled a street light pole and sit above the sea of people below. The crowds wave American flags and chant their hero's name.

CROWD  
'Jesse...Jesse...Jesse...Jesse'.

# Chapter 2

SCENE: THE CITY OF EPIPHANY, OREGON

Day is breaking. The sky is a soft pink. Surrounded by verdant woods in the Pacific Northwest is an imposing walled city. It looks like a citadel. We see a lone deer run along the outskirts of the wall. Surrounded by such serenity the locked down city is a bizarre sight.
SCENE: OFFICE

Avalon Smith–Or Ava as she likes to be known–approaches a door. She is a diminutive young woman dressed in khaki. Her brunette hair has been done up in quiff ponytail with side tendrils hanging down over her ears. Looking noticeably apprehensive, she opens the door and walks into the strangest office one could imagine. The office resembles more of a tropical rainforest than a place of work. It's a giant, Amazon themed aviary. We see a blue and gold macaw fly overhead and the sounds of a waterfall can be heard in the background. All around the office is South American fauna. Ava cautiously approaches the desk where a man is masked by an electronic newspaper. We see the headline:

'JESSE JOHNS' HEAVYWEIGHT TITLE SUSPENDED AMONGST DRUG ALLEGATIONS'.

The man folds the malleable electronic newspaper as one would any other and places it down on his desk. Ava finds herself staring at Tony Perkins, one of the richest and most eccentric men on the planet. Despite all of his success he is a rather unfortunate looking man. He is ungainly tall with a gormless face that is dominated by his calculative eyes. They are piercing eyes that give one the impression that he is perpetually reconfiguring where you stand on his intelligence ladder.

TONY  
'Le vieux Continent'.

Ava stares blankly at him.

TONY  
'It means take a seat in French'.

Ava obliges and Tony starts grinning. She has fallen for his trick.

TONY  
'I take it they did not teach you first grade French at school'?

AVA  
'No sir'.

TONY  
'Perfectly understandable. Why learn another language when we cannot even master our own? Why, right now, out there in that despicable world the brains' trust is changing our once beautiful language to suit their duplicitous agendas. You may not be aware but they are now teaching children to use the gender neutral pronoun ''Ze''.

AVA  
'How peculiar'.

TONY  
'I suppose it must be murder playing matchmaker out there and setting your friends up on dates'.

Tony sniggers at his own joke. Ava lets out a forced laugh.

AVA  
'I suppose it must be'.

TONY  
'You'll have to excuse me I digressed a little there. For the record ''le Vieux Continent'' does not mean sit down it means the Old Continent'.

AVA  
'Europe'?

TONY  
'It is a French synonym for Europe'.

AVA  
'I did not know that'.

Ava is clearly out of her comfort zone.

TONY  
'The reason I said this is because I have just been reading in the paper that the French people have now coined a new phrase–Le Centre-Ouest'.

He pauses for her interpretation.

AVA (guessing)  
'The centre of the world'?

TONY  
'Close...it means The Middle West'.

AVA  
'Like the Middle East'?

TONY  
'Correct. You see the people of Europe did not build their house very strong. They made it out of straw and when the wolf came it crumbled very quickly'.

AVA  
'I have never really thought about it like that before'.

TONY  
'America of course is the second little pig and while he built a far superior house he too has been blown down by pollution, violence, corruption and foolish amounts of debt'.

AVA  
'And what about the third pig'?

She had answered her own question.

TONY  
'I created Epiphany because I wasn't happy with the road America was headed down. I created Epiphany because I wanted to save America from itself. As you can see my efforts have outdone even my wildest imagination. Through hard work and innovation we have built this fully sustainable city for the benefit of conserving the human race. Our house is made of bricks and when the big bad wolf comes and tries to blow us away like he did back in June, only very minimal damage is incurred and no lives lost'.

AVA (quietly)  
'Ricardo Stensnan'.

TONY  
'Stensnan's is just one man. However, one man can still take a sledge hammer to the filter system and proceed to play his piper and make America believe that all their problems are our fault. Is it our fault for wanting a better life? Is it our fault for working harder than them, for being smarter than them, for taking risks and being bold? No. Should we have to sit here and watch these grunts scourge Earth'?

AVA  
'Stensnan is running for President though. They say he could become the kingmaker in the election. Those ''grunts'' are flocking to him'.

TONY  
'Ricardo Stensnan's reign has no jurisdiction here. That swine of a man knows it too. He will never set foot here and if he knows what's good for him he will order his supporters to pack up their little dog and pony show and leave our borders'.

Tony stops his rant and sits deep in thought for a few moments. The waterfall is the only sound that can be heard.

TONY  
'I'll tell you Ava what I tell all my people which is that you should not worry about him. There are far more dangerous threats out there'.

He starts smirking.

TONY  
'For example, people out there banning the nursery rhyme ''baa, baa, black sheep''. And let us not forget that there are people out east buying ring tailed lemurs as pets as one would a cat or a dog'.

AVA (grinning)  
'I did hear about these strange phenomena'.

TONY  
'Indeed they are but many things are peculiar in this world. You see these thoughts would never have crossed your young mind but the mid fifties are a very strange time in a man's life. So many ingredients are thrown together for better or for worse. As a man gets deeper into his fifties he really begins to wrestle with his own mortality. It is a weird toxin made up of the chemical imbalance of impending doom mixed with a sense of unique freedom one only feels when they have nothing to lose. The point is I may have saved Americana but I have another goal that I'm unequivocally focused on achieving before I depart this Earth'.

AVA  
'Wildlife'.

TONY  
'Correct. I am expanding my zoo to become the largest in North America because God told me in my prayers that it was my job to save his creatures. My zoo has, to date, ensured thousands of animals continued survival; much in the same way as my lifestyle block have ensured the survival of what is left of America. Thanks to you and your colleagues my dream is being played out before my very eyes'.

AVA  
'Well It's an honour to work for you sir'–

TONY  
'My dream isn't complete yet. My sanctuary is still out of reach for many ill fated creatures which is why I bring you here today. I am aware that you work both in the fields of zoology and as a veterinarian'.

AVA  
'Yes sir'.

TONY  
'A jack of all trades, but are you a master'?

AVA  
'Conservation is my life'.

TONY  
'You agree with me then that it's of vital importance that we rescue every living thing before the God forsaken people outside Epiphany destroy them once and for all'?

AVA  
'Absolutely'.

TONY  
'I think my decision to bring you here today was a wise one Avalon. We are both aware of the gross negligence and lack of contempt for Mother Nature these wicked people hold outside my oasis in their filth ridden cities. And we are both aware that it is our duty to stand up, fight and save the final remnants of this beautiful planet before they are gone for good'.

AVA  
'Absolutely sir'.

TONY  
'Well listen up Ava; I'm going to get straight to the point. There's a civil war about to break in Central Africa. Are you aware of how many gorillas died in the last one'?

AVA  
'I cannot imagine'.

TONY  
'More than there are left now from what I understand. Landmines are the main culprit but there is also a very strong link between the dissension of chaos a civil war creates and the rise of poaching as civility goes out the door. As you can see–this is it. This may be our last chance to prevent the full and complete annihilation of one of mankind's closest relatives. God has presented us with an elusive opportunity to acquire a number of gorillas for my zoo and I need someone to go there as soon as possible, evaluate them and make sure we are getting a good deal'.

AVA  
'This is great news'.

TONY  
'We have been incredibly fortuitous. The gorillas captured are a family unit comprising of a female gorilla who has only recently begun a new group with a lone male. They have one juvenile gorilla. Being a family unit they are fantastic candidates for my zoo. However, dampening this is the fact that the heart of Africa will soon be a dangerous place. We must be swift, we must be decisive. I cannot emphasize enough that this could be our absolute last shot of saving these magnificent creatures'.

She smiles at him.

TONY  
'I believe this would further your career greatly. I believe the experience you would receive from this trip to be unmatched elsewhere'.

AVA  
'This would truly be an experience of a lifetime'.

TONY  
'I must warn you these are very trying times. How do you explain it? It's almost like the 1930s and 1980s have been coupled together in a Shakespearean tragedy of a forced marriage'.

AVA  
'That is a very vivid description'.

TONY  
'Even though we have never been better here in our home, the same cannot be said for the rest of the country or the world for that matter. These are dangerous times Ava'.

AVA  
'I have to do this Mr Parkinson, for the good of Mother Nature'.

Tony sinks back in his chair in thought.

TONY  
'The stakes are high as you understand. I have to ensure that I have selected the right person to uphold my dream. There are many other candidates who have put their names forward. I must ask you Avalon, are you well travelled? Do you know much of the world'?

AVA  
'I've been to Montana and Washington State'.

It's clearly not the answer he wanted to hear. He starts checking her resume flipping through the pages.

TONY  
'Montana and Washington State? I have candidates who have more travel experience than you. Many of these candidates have had the benefit'–

AVA  
'I'm ready for this, believe me I am'!

So covers her mouth in shock that she has interrupted him midsentence. Tony Perkins is clearly not a man who is interrupted very often.

AVA  
'I'm sorry to interrupt you but wildlife conservation is my life Mr Perkins. It's everything to me. I know of the destruction and disregard that is taking place as we speak by those despicable people out there. I know that animals can't speak or stand up for themselves and I'm willing to put my life on the line if that is what it takes to salvage what's left of them'.

Tony lowers his glasses and impassively watches her. All that can be heard in these tedious seconds is the sound of the waterfall in the background.

TONY  
'I think I've found what I'm looking for'.

She beams at him.

TONY  
'The apocalypse is coming it seems and I want you to go right into the eye of it'.
SCENE: BALCONY

A man is stood on a balcony looking at an electronic device. The balcony provides a panoramic view of the Detroit city centre and the city's river below. Hidden behind a blanket of mist we see the ominous comet in the night sky. The balcony door is slid open and a man emerges from inside–It's Luke from the hospital.

LUKE  
'Hey Tim'.

TIM (not taking his eyes off his device).  
'Welcome'.

Tim starts shaking his device in frustration.

TIM   
'Damn trigger filters. My wife must have been playing around with it. I can't access a number of articles as they may ''offend me''.

LUKE  
'Just turn them off'.

TIM  
'Easier said than done'.

He powers the device off.

TIM  
'I was just trying to read up on your boy Jesse Johns'?

LUKE  
'I still can't believe it. It simply can't be true'.

TIM  
'Just goes to show that you can't trust nobody anymore. I mean Jesse Johns, a man of the people, Detroit's favourite son. Now he's just another name on the steroid hall of shame; what a disgrace. I mean my kids looked up to this guy; he was their hero. I guess we only have ourselves to blame; we promote and glorify these athletes so much so that they take the position of role models. We lose our objectiveness when we see these people. These guys aren't heroes, they're overpaid, self interested, media magnates. They don't care about us, or the city they represent'.

LUKE  
'It's only allegations Tim. Nothing's been proven yet'.

TIM  
'I doubt it Luke, I really do. I've seen it too many times in the past. If anything, the media's to blame in all this. They're just rearranging deck chairs on the Titanic trying to lift some individual to the heights of redeemer of the working men and woman. I mean, the media built up that astronaut, Mateus McClure, as a hero to all–the final conqueror, our first man to go to Mars and all that bullshit–and then they hung him out to dry once the economy got tough. And now, after Johns' miracle victory, the media became his closest pal after years of ridiculing him for his inability to win the Heavyweight championship. Now they're returning to chastising him again. God, I've already seen them talking up that egomaniac buffoon, Duncan Strepfield, proclaiming him as our hero now; it's farcical. I hear he's even going to be singing ''Take me out the ballgame''during the World Series. Do they honestly think that endless self promoter is the man we can all turn to in our darkest hour? They've essentially built Frankenstein'.

LUKE  
'Well the media's obsessed with creating a golden calf idol we can all cling to in our darkest moments. Unfortunately they fail to see that our answer does not lie with creating a fabricated, media breed celebrity'.

Tim shakes his head and puts the device away.

TIM  
'You won't find any celebrities where you're going'.

LUKE  
'You've got a top notch assignment for me then'?

TIM  
'We want to send you out with a bang; it goes without saying'.

LUKE  
'I'm excited'.

TIM  
'I need your word that you'll be ok'.

LUKE (grimacing)  
'Tim, we agreed'.

TIM  
'I know, I know, I just wanted to check'.

LUKE  
'You can't take this away from me. We had an agreement'.

TIM (nodding)  
'You're going to Africa'.

LUKE  
'I'm very excited now'.

TIM  
'You got a girlfriend'?

LUKE  
'No'.

TIM  
'Well you do now. Her name's Avalon and she's probably more high society than you're used to; she's from Epiphany'.

LUKE  
'A bubble dweller'?

TIM (grinning)  
'By all accounts she's a right diva'.

LUKE  
'What the hell is a bubble dweller doing leaving her panic room at a time like this? Why would a rat jump back on board our sinking ship'?

TIM  
'She may be joining our sinking ship but it's a very brief visit. She's an upstart veterinarian who wants to move up in her world so she's taken some assignment no one else wanted travelling over there to retrieve some gorillas'–

LUKE  
'Gorillas'?

TIM  
'Yeah, crazy old Tony Perkin's thinks he's Noah. He's building the ark of zoos in his bubble city. He won't rest until he's saved every living thing from extinction'.

LUKE  
'Wasn't saving the richest humans in America enough'?

TIM  
'I should have clarified; every living thing he can make money off'.

LUKE  
'Why doesn't he just ship the apes over? What good is it risking the girl's life going over into the middle of fucking nowhere'?

TIM  
'This is Tony Perkins we're talking about Luke. Why do you think he built his own city that for all extents and purposes is independent from the central government? He hardly trusts a soul that resides outside his bubble'.

LUKE  
'Why does he trust us for protection then'?

LUKE  
'Because we're the best Luke'.

Luke beams at his senior.

TIM  
'She arrives in New York on Thursday week. You'll meet her on Friday at her hotel and fly out early the following morning on route for the Middle East via Europe. From there you'll fly direct to Africa'.

LUKE  
'They really are chucking her in the deep end aren't they? She won't know herself when she sees the disorder in New York'.

TIM  
'There's disorder everywhere. This is not an easy assignment Luke. Central Africa is on a knife's edge at the moment. Apparently it could all fall over any day now. You're going in and then we're taking you out–just like that. If war breaks out it's going to be chaos getting you two out and Uncle Sam has got enough problems at the moment without having to rescue two lovers from a nation they shouldn't have been in the first place. Plus you've got that fucker to contend with'.

Tim points to the ominous looking comet which is covered by dense fog.

LUKE  
'A world in chaos. We'll get through this Tim. Humans are bizarre creatures. Despite this, inadvertently, as we always do, we overcome–sometimes miraculously– whatever obstacles we put before ourselves. This political and economic upheaval is just another hurdle so to speak. We'll rise above this and come out stronger than before; mark my words'.

TIM  
'You're an inspiring man Luke. A few more poor souls in this city would do well to listen to you. Detroit's bleeding right now'.

LUKE  
'It pains me to see my home town like this. It pains me to see that the battle correspondents may have been right all along. They wrote the obituary for this city decades ago. A modern day Babylon they called it; destined for ruins'.

TIM  
'If this year has taught me anything it's that nothing is destined for ruins. My wife sure as hell makes sure of that constantly reminding me about how she wants to go a holiday to see the rebuilt Colossus of Rhodes in Greece. That was before this shit storm played out of course'.

LUKE  
'You'll get there one day'.

They stand there in silence for a few moments before a number of deafening sirens sound abruptly from the Detroit city centre.

TIM  
'They said there might be more riots tonight. If this keeps up they'll be nothing left by next week'.

The sirens trigger a thought in Luke's head.

LUKE  
'You know if that astronaut has taught us anything, it's that here on Earth we watch as all this crime, war and poverty reign supreme, but to him, up there in outer space, on his way to Mars, he sees none of this; that is, he only sees the beauty of Earth. All of these horrible things are lost and the realization of how small and trivial our worries truly are can finally be put into perspective. I mean he may well be the only human to be exonerated from watching this crisis unfold at the moment'.

TIM  
'There is one group of people I can think of that have also been exonerated. You'll be meeting one of them soon enough'.

SCENE: SENSORY DEPRIVATION TANK

Ava lies naked in a floatation tank. Fully afloat in the epsom salted water she seemingly doesn't have a worry in the world. She opens the lid of the tank casting the marble tiled room in a luminous red glow. For the people of the western lifestyle blocks, luxury items such as sensory deprivation tanks were trivial.

Ava wraps a towel around her and approaches a cosmetic machine made out of stainless steel. As the machine blow dries her hair we see her scroll through eye colour options on the touchscreen. She selects green and the machine inserts the lens directly onto the surface of her eyes.

SCENE: APARTMENT IN EPIPHANY

Ava looks out from a balcony in an apartment tower in Epiphany. She can see out across the suburbs and beyond past the city walls to the verdant Pacific Northwest woods that stretch as far as the eye can see. In the evening twilight the sky is a dreamy violet colour. Everything looks so peaceful and far removed from the troubles of the rest of the world. Ava takes a look at her watch before entering the apartment and collecting her suitcase.

AVA  
'Mom, it's time'.

There's no answer.

AVA  
'Mom'!

She drags her suitcase along the ground heading towards one of the bedrooms. She can hear a nursery rhyme parody playing from a speaker in her younger brother's room.

MUSIC  
'There was a mobster who didn't like us  
and Stensnan was his name-o  
S-T-E-N-SON  
S-T-E-N-SON  
S-T-E-N-SON  
and Stensnan was his name-o'

AVA  
'Mom I'm going to be late'.

She finds her mom sat reading to her younger brother from a picture book.

AVA'S MOM (reading from book)  
'Tiny Tommy, the disobedient boy, strolled into the New York sewer'–

AVA  
'Mom we have to go. I should have just taken a taxi from my place; I knew this was a bad idea'.

AVA'S MOM  
'Ok, ok, let's go'.

AVA  
'Don't read him that story by the way; you'll give him nightmares. And for heaven's sake turn that music off'!

Ava switches off the music.

AVA'S MOM  
'He likes it'.

AVA  
'I gave him all my old comic books and you read him that horror story'.

AVA'S BROTHER  
'I like it'.

AVA  
'I bet he likes the Gautenberg too'.

AVA'S MOM  
'Avalon just be quiet would you'.

AVA'S BROTHER  
'Mommy, what's a Gautenberg'?

AVA'S MOM  
'See what you've done'?

AVA  
'It's ok. If he behaves himself I'll bring him back a present. If not, he'll just be getting my used pollution mask'.

AVA'S BROTHER  
'Wow cool a pollution mask'.

AVA'S MOM  
'Are you ready'?

AVA  
'Ready as I'll ever be'.

SCENE: PLANE

Ava is seated in a luxurious first class plane cabin as her aircraft takes off from the runway. The cabin is populated by noticeably well dressed individuals. The man seated beside her is wearing a bowler hat and an Edwardian styled suit. Ava stares out the window into the fading dusk light. As the plane elevates it flies directly over the wall surrounding her hometown. Hundreds of feet below she can see clusters of people lingering on the outside of the wall. Some of these people have come to the wall out of curiosity; rubberneckers in every sense of the word. Other–more aggrieved–people have come for a longer stay. These incited people are camped out in protest.

Ava turns away from the window and picks up her in-flight magazine. We focus on the front cover of the publication. The image depicts a glorious art deco styled promotion poster for New York City. The image is so elegant and idyllic that it leaves one with the impression that New York City may well be utopian. We will soon learn that this is not quite the case.

# Chapter 3

SCENE: MIDTOWN NEW YORK CITY.

Title: New York City,  
The Year of the Snake

(The end of 'Bitter Heart' by Seonna Dancing plays in the background.)

We see the recognisable image of the Empire State Building. It looks just as we would expect it to look except for one difference. Moored to the building's spire is a giant zeppelin balloon. As remarkable as this image is it is overshadowed by the sight of another taller, Gothic themed skyscraper dominating the midtown skyline.

A myriad of advertising balloons hover over the streets of New York. Capitalism has gone wild. No one is immune from the eternal barrage of advertisements and shrewd attempts to break consumer's ever increasingly fickle minds and wallets. One of the balloons displays footage of a female fitness model in a work out video urging people on the street to join in. Another advertisement is promoting 'murder free meat', a type of genetically modified food grown in laboratories that supposedly tastes like meat. A more controversial advertisement being displayed is borderline pornographic. It finishes with the tagline: 'Have babies...have fun...help America's falling fertility rates'.

SCENE: DOWNTOWN NEW YORK

We see Downtown New York with the Freedom Tower and the newly built Apple Tree towers, a series of seven interconnected sky scrapers each taller than the next stretching to the tallest tower which holds the esteem of being the tallest building in North America.

In the streets a line of homeless people are stretched out over the sidewalk in their self defeat. There had been a time once when the homeless had been driven out of Manhattan in an attempt to contrive the city's appearance to tourists and business folks. Those days had long since passed. People hastily make their way past the homeless. A kilt wearing man sprints past the homeless people as though he has just seen a ghost.

SCENE: TIMES SQUARE

The music swells as Ava's taxi drives through Time's Square. She impassively takes in the sight. An oversized image of Mateus McClure, the man vowing to become the first person to walk on Mars screams at her from a cola advertisement atop of the world's most famous intersection. A baby faced late night host smiles at her from another advertisement for a hot selling electric car. The late night host gives the thumbs up before comically being struck by lightning.

People flow hastily in every direction she looks. They all wear surgical masks and their hair is large, thick and eccentric. Their fashion sense is obscene, almost as though they are trying to resurrect the 1980s. The taxi finally makes its way through Time's Square but much to Ava's dismay it veers straight into a protest. The driver anxiously looks for a gap in the crowd but his attempts are in vain.

_('Bitter Hearts' by Seona Dancing ends.)_

DRIVER  
'This might take a while'.

Ava nods and closes her eyes, wishing it would all go away.

DRIVER  
'It might not look like it but this will shut down pretty quickly. The police have plenty of experience with this in recent months'.

AVA  
'What are they even protesting about'?

DRIVER  
'Well let me see. The End of the world... the impeachment of the President... Wall Street's greed... the cost of the Mar's expedition...the Presidential election...the Turk...rapidly rising unemployment rates...the fact that the currency could be redundant any day from now. Take your pick. Your guess is as good as mine'.

Ava sinks back into her seat. She attempts to wind down the window but with no luck.

DRIVER  
'We're not allowed to put the windows down due to the'–

A protestor bangs on the front windscreen thrusting her sign into view.

The sign reads:

'JUSTICE FOR THE GULF OIL SPILL'.

As a zoologist Ava knew all too well the devastating effects the oil spill had caused to wildlife in the Gulf. Even more disturbing were the reports that the sinking of the oil tanker may have been duplicitous.

DRIVER  
'There's your answer. That's a new one though... interesting'.

Ava wipes sweat from her forehead. She starts to feel a little claustrophobic surrounded by the protestors. Up front the driver is now playing around with the radio much to her annoyance.

SHOCK JOCK (from radio)  
'I don't understand Jake. We live in a time when we can foster hair growth on the baldest nude nut on this Earth and you're sat here without a God damn hair on your head'.

JAKE (from radio)  
'It's an age of contrasts. We're about to put a man on Mars but yet we still can reclaim that little bit of the past'–

SHOCK JOCK (from radio)  
'You're being selfish'.

JAKE (from radio).  
'Who knows? These things could end up being like tattoos where years later they link them to skin cancer'–

SHOCK JOCK  
'Don't be ridiculous. You're being selfish to all the men that came before you'–

SHOCK JOCK'S FEMALE ASSISTANT (from radio)  
'I like it. I like it. It's refreshing. It's natural. It makes a change from all these men I see on the street that look like Cocker Spaniel dogs'.

As the driver continues playing with the radio Ava's frustration reaches boiling point.

CONSPIRACY RADIO HOST (ranting from radio)  
'People, I don't know what I have to do to break this to you but Ricardo Stensnan loves America. And this is a wealthy man! This man was sent the invitation to move out West. He got the golden ticket. He had every conceivable reason to go but he said 'fuck you' to the blitzbucks out there! He sees these rats living in their bubbles and he refuses to have any part in it! And now they see what he is doing out here and they kick him out of the debate. They kick him out of the debate because these people own the politicians. I mean I didn't want to say this but these bubble people are literally rats. I'm not even talking metaphorically anymore these people are fucking vermin'!

Ava has had enough. She throws some cash at the driver.

AVA  
'Come to think of it, I'm going to walk'.

Ava flubs her first attempt to fix her pink surgical mask around her mouth.

DRIVER  
'Are you allowed to do that? I thought you bubble dwellers weren't'–

AVA (she snaps back at the first sound of the man's derogatory remark)  
'How far away is it'?

DRIVER  
'Two blocks'.

AVA  
'I think I can manage two blocks outside my bubble'!

She fixes her mask correctly and exits the vehicle entering the strange new world around her. Almost as soon as she enters the street her senses are overwhelmed; Sirens blare, neon lights flash, incited protestors bump her in their protest. It's quite some introduction. The first thing she sees upon passing the protest and regaining her senses is a pickup truck with a band playing in the back. She shakes her head; nothing could prepare her for this. She passes a number of young men and women dressed in suits begging on the sidewalk. It isn't money that these people are after though–it's jobs.

SUITED MAN  
'What ever happened to on job training? We're bright people, we can learn. We've got degrees that we slaved away for years achieving. Our debt is the scars we bear for it. We just want a chance from this fruitless job market. Just give us a chance'.

SUITED WOMAN  
'It's all we ask for. Please take a chance on us'.

Further down the sidewalk she passes an excitable crowd which are congregating around an escalating bonfire. The passionate crowd are being spurred on by a man who stands elevated on a podium holding aloft a flyer. The crowd are throwing the same flyer into the rising fire while uttering obscenities; their anger is very much evident. A riled up man tries to give her one of the flyers, urging her to throw it into the growing fire. She declines the man's advances.

RILED UP MAN  
'This man hates America. The Turk hates Americans. He hates us with a vengeance. Why do you walk away? Do you not love America'?

Ava forces her way past the very forward man.

RILED UP MAN  
'At least sign our petition to get him banned in all fifty one states'.

Ava spots her hotel but she's forced to wade through one final gathering of people who are fixated to a pre-recorded broadcast that is playing from a skyscraper. She catches a glimpse on the monitor of a giant, broad shouldered man, with a horseshoe moustache and a trucker's cap. He is a man she instantly recognises as the media's new adopted darling, Duncan Strepfield. The self narrated broadcast is displaying a montage of Strepfield's various shameless public relation stunts that have caught the nation's attentions in recent weeks. The montage shows Strepfield using his bare hands as a human jaws of life to extricate crash victims from a car accident. We see another video of him pulling a broken down train with merely his hands and a rope. Finally we see a very symbolic stunt where he drags a seven thousand pound, full size replica of the Wall Street Charging Bull statue through the streets of Manhattan.

DUNCAN STREPFIELD (narrating montage)  
'At a time when we are run by weak, spineless leaders the world screams out for strength. What better man to turn to than literally and figuratively the strongest man in the world. At a time when the people of the world are beset with panic what better person to turn to than a man who even in the tensest moments of his most dangerous missions for the Special Operations Forces was immune to pressure. Even when my life hung precariously in the balance, when the odds of me losing my life were greater than me surviving I kept my nerve. I never spent a second wasting my energy worrying. Instead I focused all my energy on all the successes I would achieve and have since achieved. I sure as hell am not going to start worrying now this so-called perilous comet is at our doorstep. I urge everyone to follow my lead and carry forward with your lives. Grit, determination and confidence–that's the reason for my success, that's the reason I stand before you today as an American hero. If the nation can replicate these attributes then we will get through this together'.

Such is the people's admiration for the man that some are even writing down what he is saying.

ONLOOKER 1  
'The toughest man on Earth they say'.

ONLOOKER 2  
'What a great American'.

Ava is only yards away from the hotel entrance now but her attention is diverted by an unmanned hot air balloon flying in the air directly above her.

SECURITY GUARD  
'Excuse me ma'am, this is not a safe space. Please don't stand idle on the sidewalk'.

AVA  
'I'm literally just standing on public property'.

SECURITY GUARD  
'Unless you can answer the question of who owns and flies that mysterious hot air balloon I may have to charge you with loitering'.

Ava has neither the time for the man's odd sense of humour or to contemplate the origin of the hot air balloon.

AVA (sarcastically)  
'Maybe it's the wizard of Oz. Why don't you go ask him for something you already have inside you'.

And with quip she passes through her hotel's revolving entrance and into the lobby.

SCENE: HOTEL ROOM (NIGHT)

Ava is slumped on her bed which has piles of notes strewn across it. Having worked all afternoon, she is restless and frustrated with the progress she is making. In the background a television is broadcasting noticeably high definition images of the first Presidential debate between two men who are the complete antithesis to each other.

One is a youthful, rebellious looking man with a pop star haircut that is borderline mullet while the other is a man of advancing age who appears to be in his early eighties. It's the ultimate contrast; youth vs. experience. The youthful politician talks directly to the camera. He speaks with the measure one would take knowing that an audience in the extent of one hundred million people were watching.

YOUTHFUL POLITICIAN  
'This is your moment America, this is the crossroads of history. You now have the decision to make. What path will this country take going forward? Two new faces. Who will you decide to follow'?

Ava has had enough. She spontaneously makes the decision to venture into the streets of the so-called 'greatest city in the world' to see what all the fuss is about. She turns off the television and puts on her coat. Technically, she shouldn't be leaving the hotel room without security but what Perkins didn't know wouldn't hurt him. Just before leaving she is faced with the bizarre decision of which coloured surgical mask she will wear. She picks out a purple mask and fixes the retched thing to her face. Belittled, she makes tracks for the lobby.

SCENE: STREETS OF MIDTOWN MANHATTEN

Ava walks earnestly along the sidewalk. In the distance she sees the heavily Gothic influenced Emerald Tower which dwarfs the adjacent Empire State Building. The tower's eerie green light is a strong contrast to the supreme darkness of the night. There's a heavy melancholy atmosphere across New York. It's almost as though she is entering a tangible, film noir city.

She walks past the one jovial person on the streets, a very well dressed man donning a morning suit. He is a comedian street performer. The man paces along the sidewalk with a cheesy grin cemented across his face. No one is paying him any attention.

COMEDIAN  
'All these people saying the world could end in just over twenty four hours time, the human race could become extinct they say. Think of that...extinction. It's not something most people would think about every day is it? Well at least those of us who haven't worked in the accounting profession before'.

He laughs at this own joke. People only seem to move faster past him.

COMEDIAN  
'You hear this news? Marriage rates are at all time lows; the lowest in the documented history of mankind. Finally some good news! This means the misery index must have finally gone up'.

Mesmerized by the so called comedian Ava almost walks into a couple of teenage girls.

TEENAGE GIRL 1  
'I think it's him you know. I think he's in Central Park. The man they say cured Motor Neurone Disease. You know the good looking scientist. He's doing a book signing'.

TEENAGE GIRL 2  
'They'll be thousands of people there, we'll be lining up for hours'.

A block from the hotel Ava is unexpectedly forced to give way to an impassioned group of Chinese people who are in the midst of some sort of frenzied festivity associated with the much maligned Year of the Snake. The supposedly ill fated Year of the Snake was denoted by discontent and the sight of the snake symbol was now a universally ominous image. The small but fervent crowd are wielding a stretched, emerald coloured snake float while the remaining participants throw matching coloured firecrackers at the feet of bewildered bystanders.

Ava escapes the madness but her attentions are diverted when she hears a booming megaphone in the distance. Writing it off as another petty protest she carries on her way without so much as a second thought. She really hates this bizarre place. The greatest city in the world–what a joke! Her attempts to avoid the developing spectacle are to be in vain though as only a few blocks from the hotel she walks straight into a row of anxious onlookers waiting in anticipation.

With the sound of music fast approaching it becomes apparent that some sort of impromptu parade is transpiring before her. An army of shamelessly dressed dancers and street performers soon fill the vacant street in no time gallivanting around erotically in choreographed perfection. A sudden booming sound from the sky startles the crowd at first but the surprise turns to amazement as the sight of a magnificent fireworks display being let off far and wide across Manhattan ensures. At the height of all the drama, riding atop a parade float in all his repulsiveness is the man Ava despises more than any other human on earth–Ricardo Stensnan. Dressed in a sharp, dark suit and wearing his trademark, oversized boot camp styled glasses he stands boastfully, accepting the praise of the adoring public who have turned out in mass to see him. His float is decorated with his campaign slogan 'Our next President, Ricardo Stensnan–the spokesman for the little man'.

RICARDO STENSNAN  
'Citizens of New York...people of the Empire State...people that make the greatest city in the world so great. I ask you to break free...to release yourself from the shackles that the two parties have held over you with an impenetrable stranglehold! The dictators are running scared; the time to strike the final blow is now. They are frightened of my polling numbers, they are jealous that the mayor of New York City endorses me and they are coming to the realization that you–the people–have seen their true colours. Their iron hold over every realm of political life has long since elapsed and it is time to take this nation back once and for all. They tremble at the sight of me, the man who will bring their established parties to their knees. They kick me out of their façade debates but I stand before you tonight an undefeated man. I have no reason to be deterred for I have my friends behind me. These dictators pretend like I don't exist, they don't acknowledge me as a threat, but don't be fooled; they are in their final days. They will lose. They will lose. They will lose'!

The riled up crowd join in creating a furious chant. Stensnan's performance is like some peculiar hypnotism entrancing every man and woman in attendance. Every man and woman except Ava that is.

AVA  
'How did he manage to get one of the busiest streets in Manhattan closed off'?

WOMAN WATCHING PARADE.  
'This is Ricardo Stensnan we're talking about. He could close the entire subway system and no one would batter an eyelid; this is his town'.

AVA  
'But he's only doing this because they won't let him into the debate'.

LADY WATCHING PARADE  
'This sure as hell beats any boring old debate doesn't it'?

The woman's response disturbs Ava. She walks away shaking her head. Only a few blocks from the parade the madness fails to subside. A street performer is playing an organ on the sidewalk of all places. The dark, haunting music augments the already harrowing mood. The organ is soon drowned out by an even more disturbing sound. A gang of teenage cyclists riding motorised bicycles speed past Ava. The ruffians shout obscenities as they pass. A group of paparazzi who are lurching solemnly for something to transpire on an intersection corner take it upon themselves to photograph the boys as they pass. We get a real sense that these are dark and peculiar times.

SCENE: PIZZA RESTAURANT

Ava dines at an unpleasantly crowded pizza restaurant. She sits at a window seat overlooking the sizable homeless population that linger in the immediate vicinity of the restaurant. Such was the direness of the economy it had now become standard for beggars to want tangible goods instead of money; it would have made a good newspaper satire cartoon if it was not such a serious issue. Wishing to avoid eye contact with the street people, Ava gazes out across the street where an oversized advertising billboard displays an impeccably flawless woman wearing only her underwear modelling surgical masks of all things.

The manager serves her pizza slices and soda.

AVA  
'Thank you'.

MANAGER  
'You don't look like you're from around here'?

AVA (lying)  
'I'm from the Mid West'.

The manager nods lazily.

MANAGER  
'What brings you to the Big Apple'?

AVA  
'I'm catching a flight to Europe on Saturday morning'.

MANAGER  
'Europe? You're in for a treat. The great Trojan horse they say; mosques on every street corner now. Then you've got a Red Bear well versed on Sun Tzu's quote, ''In the midst of chaos there is opportunity''. The tectonic plates of the world are certainly shifting right before our eyes'.

Ava nods and kills the conversation.

AVA  
'I've met the bogeyman. He isn't as scary as he is naïve'.

Ava takes a drink from her soda can and in the process sees that the image of the conceited Duncan Strepfield is staring back from the can with his seemingly perpetual dead eyed, judging countenance. Not far from her table are two highly dislikeable young women wearing bright clothes that clearly don't match and parading bird's nest style haircuts. They are having a loud conversation in the background about the amount of men they were to sleep with before the world comes to the end. Unable to take it anymore Ava crushes her can and walks off without finishing her meal.

SCENE: STREETS OF MANHATTEN

('Midnight' by Coldplay plays.)

Ava sits chewing gum in the back seat of a taxi with her head pressed against the window. She looks indifferent to the world around her. Everywhere she looks she see people moving purposely along the sidewalks; no one has a moment to spare it seems. The Apple Tree Towers come into view. Every window of the seven interconnected sky scrapers is lit up by LED displays. The LED display showcases colourful and moving imagery; it is like some great epileptic inducing light show.

The taxi drops her off in a late night shopping district. Looking out of touch with everybody else Ava slowly makes her way through the crowds. Her black cashmere coat contrasts against the fashion of the bizarrely dressed bellwethers that surround her. Store after store in the district is capitalizing off the hyped up end of the world prediction by having doomsday sales. An advertising balloon suddenly flies overhead.

ANNOUNCER FROM BALLOON  
'Jackpot has tripled. Buy your winning ticket now and you could soon be starting your new, better life of luxury out west'.

Ava enters a twenty-four-seven bookstore. In the store window the shop is promoting a controversial book entitled 'The Church or the State. Who do you believe'? Inside the store, Ava pulls off a couple of new release screenbooks from the fiction section. Screenbooks are hybrids between movie screenplays and novels and have become the status quo format for fiction literature in recent times. She places the books back and picks up a copy of 'The Great Gatsby' by F. Scott Fitzgerald. Flicking through the book she sees that the great American novel has been rewritten as a screen book for the contemporised audiences. She shakes her head and departs the store.

Another advertising balloon floats above the market place showcasing live coverage of Duncan Strepfield from the Madison Square Garden. The narcissist is performing yet another of his shameless publicity stunts. This time he is fighting men who have volunteered to face him in a real life professional wrestling match. We watch him throw a contender out of the ring before performing his trademark trucker pull horn celebration.

OVER EXCITED COMMENTATOR  
'Ohhh ohhh ohhh Duncan Strepfield is a genius. Look at the strength, look at the dedication to his art, look at the adoration from his supporters who cling to him with every remaining hope they can conjure up'.

The next contender in the stretched line of hopefuls enters the ring. Duncan trash talks the man with an array of insults much to the joy of the capacity crowd.

Continuing on her way through the crowds we see that Ava looks alienated and out of sync with the world around her. She is clearly apprehensive about her safety despite the vast crowds that surround her. Further along the shopping district she sees the strangest sight of them all. An ordinary grocery store has been converted into a rave club for the evening shoppers. A young couple dressed for clubbing exit the store carrying plastic bags of junk food. A supermarket nightclub hybrid; this is the final straw for Ava. There is only so much she can take in.

AVA (screaming)  
'Taxi'!

('Midnight' by Coldplay ends.)

SCENE: HOTEL ROOM

Back in her hotel room Ava triple checks that her door is locked before turning off the light and climbing into bed. Her television is on in the background. We feel her isolation and loneliness in this strange place thousands of miles removed from everything she has ever known. From her bedside window, the comet, Hale Bopp's Friend, is barely visible behind sheets of ghostly fog. From her bedside can also make out the outline of the mysterious hot air balloon she had seen earlier that day.

She had heard all about the mystique that surrounded the hot air balloon and how its genesis was still ambiguous to New Yorkers. Not a soul, it seemed, knew quite how the balloon had come about in the first place or how it still remained a permanent fitting of the Mid Town skyline all these years later. Many theories–which varied in degrees of ridiculousness–had been floated in attempts to answer the question but even now–all these years later–the jury was still out. The more common theories were that it was an advertising stunt gone horribly wrong or that perhaps it was an asylum for a wanted fugitive. Some had even gone so far to suggest that it was an eye in the sky of sorts.

A band is performing live on the television at a late night show. They are 'The Secret of Youth'. They have been taking the world by storm in recent months. Their unique sound contrasts with the majority of other musicians of the time who were flirting with fascism with their music. The members of the band are a bizarre mixture of individuals. The guitarist is an African American with a sculptured afro. The lead singer is a woman of such beauty that one is given the impression that if this singing gig didn't work out that a career as a super model was waiting in the wings. The drummer looks like a heavy metal rocker and the keyboard player has openly admitted to having aspersers. To top it all off the bassist and supporting singer is a seventy eight year old man.

MUSIC

'We were meant to go dancing in the park.  
Making love in the dark.  
We're dancing, we're dancing,  
we're dancing, oh baby, baby please...

Why won't you let our fates collide  
Why won't you let our fates collide  
Why won't you let our fates collide

Oh baby, oh baby, oh baby, baby, baby please!

It was meant to be!  
It was meant to be!  
It was meant to be!  
It was meant to be!

Oh baby maybe it wasn't meant to be'.

# Chapter 4

SCENE: MIDTOWN MANHATTEN SKYLINE

We are looking at the Midtown Manhattan skyline at dawn. The Luftballoon Zeppelin is moored to the spire of the Empire State Building. The sky is overcast and miserable looking. A plane flies across the sky attempting to type out a coloured advertisement for a beer brand against the grim skies. Sky typing has become the final frontier for America's marketing companies in their pursuits to steal the attention of the masses. Below the skywriter another plane flies with a banner attached to its rear. The plane is working for a polling organisation and is showing off its most recent general election poll for New York State:

McCarthy Polls: New York State–General Election  
Stensnan (I): 34%  
Savage (D): 31%  
Ryan: (R) 29%

SCENE: UNDERGROUND SUBWAY

Luke is seated on a subway train reading a magazine. Gracing the cover of the magazine is a scientist with a voluminous, pompadour hairstyle posing with a real life dodo bird. The train pulls into a Manhattan station and Luke disembarks carrying only his backpack. He passes crowds of people as he leaves the platform. We see that he is the only person not wearing a surgical mask. Lining the underground walls are advertisements for an over commercialized movie, 'The Itenkey Incident'. The marketing gurus seem to be making a big deal out the fact that the film is neither a reboot nor a remake. Luke walks past the seemingly endless movie plug as an announcement is played from speakers.

MONOTONE ANNOUNCER  
'Hourly reminder that this is a safe space. No provocative comments are allowed. Please be conscious of other races, genders, ethnicities and sexual preferences at all times. You have the right not to be offended in any way. All breaches will be met with fines'.

Luke shakes his head. Political correctness has gone mad! In the concourse of the station an excited crowd circle an elevated stage. Standing on top of the stage in all his glory is none other than the Olympic champion and fastest man in the world, Ngola Douglas, draped out in full New York Yankees attire for a photo shoot. Ngola had been one of the few highlights of the ill fated New York Olympics which had seen the United States embarrassingly finish in fifth place on the overall medal count. For a few months prior to Mateus McClure's widely anticipated departure from Earth to Mars, Ngola had been face up on the roller deck of media created heroes. It's clear from today that Ngola is back vying for his top spot.

NGOLA  
'I dare any second basement in the world to tag me out. I dare them. I'm too fast, I'm too quick. I will break the record for the most stolen bases in a season. I am the fastest man in the world and I will be the greatest pinch  
runner of them all next season'!

REPORTER 1  
'Ngola...who are you voting for in the election'?

REPORTER 2  
'Who is the Olympic champion voting for? The people want to know'.

Luke walks away from the scene ashamed of the media's politicizing. As he heads for the exit we notice a teenager drinking soda from a branded drinking fountain.

SCENE: MIDTOWN MANHATTEN

Luke exits the subway via an escalator. An advertising balloon flies in the middle of the street depicting a celebrity with hair Medusa would be proud of spewing babble into the monitor.

CELEBRITY  
'I tell all the woman that I meet that if he's not rich, tall, good looking, funny and doesn't have all crap together then he needs to get to the back of queue honey'.

Just outside the subway entrance, two eccentric looking men are playing through a mini golf course that has been created by a street artist using only everyday props found along the sidewalks of New York. One of the golfers, a man with dyed maroon hair, suspenders and uncanny snow white teeth leans on his golf club like a walking stick while his friend, who is dressed like an equestrian rider lines up his shot.

MAN WITH SUSPENDERS  
'Rumour has it on the eighteenth hole the ball goes through into the sewers for the Gautenberg to collect'.

MAN DRESSED IN EQUESTION ATTIRE (laughing)  
'How about the loser has to go collect them when we get there'?

MAN WITH SUSPENDERS  
'I would not want you to suffer that fate when I win my old friend'.

MAN DRESSED IN EQUESTION ATTIRE  
'You economists are a cocky bunch. This certainly sounds like your ''Victory in Vermont'' moment? 'Economical prosperity for our time...remember when our President said that'?

MAN WITH SUSPENDERS  
'I think the last few weeks have proven that sluck of a President was never a proper economist. However, I think the next twenty minutes will prove that I'm one helluva golfer'.

SCENE: HOTEL ROOM

Luke knocks twice on Ava's hotel door and stands back. A few moments later we hear the locks clicking and the door opens.

LUKE  
'Luke Fitzgerald. I'm your bodyguard. It's a pleasure to meet you'.

AVA  
'I thought you were my boyfriend'?

LUKE  
'That was the façade that was recommended given...well given the state of affairs'.

AVA  
'You don't want people to know that I come from a wealthy family'?

LUKE  
'No of course that's not why'.

AVA  
'Let me rephrase that. You don't want people to know that I'm from Epiphany'?

LUKE  
'It's just going to be easier this way'.

Ava appears to be bored out of her mind with their conversation. She feints a yawn.

AVA  
'My name as you probably know is Avalon Smith. But never call me that–ever'!

Luke tries to laugh it off but the girl doesn't seem to be paying him much attention; she's returned inside her room.

AVA  
'My parents named me after a mystical "island of apples" for heaven's sake. I mean what person in their right mind calls a child that'?

LUKE  
'I wasn't briefed on saturations. What do you want me to call you then Miss Smith'?

AVA  
'Never say Miss Smith again either. It makes both of us look stupid. Just call me Ava'.

LUKE  
'Ok Ava it is'.

The only sound now is Ava writing her notes. Luke attempts to make small talk.

LUKE  
'How are you finding the'–

AVA  
'If you say outside world then I'm not talking to you again for the rest of the trip'.

Luke is taken aback by this response. He is not sure if this is her strange sense of humour or if she really has been triggered.

LUKE  
'I wasn't going to'–

AVA  
'Yes you were'.

LUKE  
'No I wasn't'.

AVA  
'Yes you were. You know, you people are all the same out here. You think it's all one big joke don't you'?

LUKE  
'What is one big joke'?

AVA  
'You think that Epiphany and all the other lifestyle towns out west are the funniest thing in the world. Well you think it's funny when you're not trying to blow us up'.

Luke is taken aback by how fast things have escalated.

LUKE  
'Blow you up? First of all, Ricardo Stensnan's people tried to blow you up and in case you didn't know they're maniacs'.

AVA  
'Well you guys all rally behind him don't you'?

LUKE  
'I don't support him. No one I know does. He's a man who excels only in the form of human wickedness'.

AVA  
'He's got hundreds of thousands of supporters. I've seen the images. I've even seen it firsthand last night when people lined the streets to catch a glimpse of him'.

LUKE  
'Sure he's got some people behind him; most nutters do. You have to realize that most of these so called supporters don't know left from right. They only cling to him because of the uncertainty the world finds itself in at the moment'.

AVA  
'What uncertainty? A schizophrenic Chicken Licken comes out and says that the world's going to end because a comet is flying thousands upon thousands of miles from Earth. Suddenly, the world is going to meet its demise. Maybe you people should talk to Mark Twain about exaggeration'.

LUKE  
'You must realize that there's more to it than that? People are really doing it tough out here at the moment; unemployment is at all time highs, the currency'–

AVA  
'My home city, Epiphany, is thriving, our economy has never been better'–

LUKE  
'In Epiphany you call millionaires poor. Having all that money to play around with certainly helps in times like these. Most people out here don't have two dimes to rub together at the moment'

Ava is clearly not impressed.

AVA  
'Well we think it's presumptuous that you tried to bring back the Titanic and the Hindenburg'.

LUKE  
'Hang on a minute. We didn't bring back the Hindenburg–let's get that straight now. You guys brought it back because you're too high and mighty to set foot in New York. You fly around in your air balloons and dine out devouring thousand dollar meals so you can claim you've been to the greatest city in the world without setting a single foot on the ground'.

AVA  
'The greatest city in the world? Is that what you call it? I call it a toxic wasteland. A city that epitomises urban decay. A city that is run by a human puppet controlled by his puppeteer Ricardo Stensnan. A city that begged for the Olympics and proceeded to fuck it up in every way imaginable, including allowing men posing as woman to compete in some of the events'–

LUKE  
'At least we're real. We don't hide away in some fenced off city. We don't live sheltered lives'.

AVA  
'You think you are living'?

She points to the television.

AVA  
'Have you watched this crap? Channel after channel of so called celebrities streaming. It's like a real life Truman Show. Yet you people gobble it all up and then when you've had enough of watching that dribble you go outside and walk around wearing surgical masks attached to your faces. Living...is that living? I mean my God...imagine... we can even take a shit without seeing fucking electronic advertisements for the latest fast food burger underneath our toilet seat'.

LUKE  
'You've got it all wrong'.

Ava simply shrugs her shoulders and returns to her papers with a condescending look upon her face.

LUKE  
'I'm going now. I'll be back in a couple of hours'.

There is no reply as Luke leaves the room. Luke storms off down the hall and pushes the elevator button with such force he thinks he's broken it. The elevator opens.

VALET  
'Which floor sir'?

LUKE  
'Anywhere. Just get me away from here'.

VALET  
'Ground floor it is'.

Luke lets out an over the top sigh which startles the valet.

VALET  
'If you wish to let out some frustrations, there's a protest going on a few blocks from here'.

LUKE  
'What are they protesting about now'?

VALET  
'Well this is the beauty of it sir. You can protest anything, absolutely anything'.

LUKE  
'A no holds bar protest? It really is crazy times we live in'.

Luke tips the valet upon reaching the ground floor.

LUKE  
'The way the economy is turning to shit I don't know if this will be worth much in a few days time, so hopefully you can make some use of it before then'.

The valet laughs but graciously accepts. He would be a fool not to.

SCENE: STREETS OF MANHATTEN

The sound of thunder in the darkened, overcast skies greets Luke outside. Luke has the thought that it is weather befit for the apocalypse everyone is gallivanting on about. Only yards from the hotel Luke has already sighted a crowd surrounding a doomsday prophet.

MAN IN CROWD  
'Why these prophets are more common these days than good manners'.

The crowd laughs at the man's remark. Some people–despite the bleak economic situation– place coins in front of the prophet.

DOOMSDAY PROPHET  
'Your money is worthless...just as your lives will be too very shortly. Judgement day is nearly upon us, I beg you to repent. I beg you to make amends for your sins before it's too late. Hale-Bopp's Friend is edging ever nearer to us and with her comes nothing but death. The days remaining can be counted on fingers alone now my friends, you must find God and you must cling to him and beg him for forgiveness before you are cast into a fate of immeasurable despair'.

Luke walks off but in the process gets a flyer caught to his feet. He rips it off and stares at the charismatic, youthful looking Democratic Party's Presidential nominee. He sticks it on a wall which is littered with posters for all three candidates. Further along the street Luke passes another sizable crowd formed around a newspaper rack. The crowd has the effect of masking a salesman who is attempting to sell newspapers in a fashion that pays homage to the late nineteenth century.

SALESMAN  
'Breaking news...breaking news...the Turk is at it again...read about it now. He's back! The Turk is disrespecting Uncle Sam again...read about it now'.

BYSTANDER 1  
'What's that crackpot saying now'?

BYSTANDER 2  
'Hasn't someone put a bullet in his head yet'?

BYSTANDER 3  
'Give me one of those flyers now so I can burn it'.

In the background Luke see a monitor playing a preview address of The Turk who is donned out in his trademark Sorcerer's attire.

THE TURK  
'America. My old adversary. The reason I get up in the morning. The first thing I think of every day when I see my Gold Medal. The Yin to my Yang. The self proclaimed greatest nation on earth. The land of the ignorant. Oh America I take my hat off to you. You are not the greatest nation in the world, nor shall you ever be again. My basketball team taught you a lesson in humility in the Gold medal match but it appears our sermon has not yet registered in your narrow minds yet'–

Luke walks away from the disgruntled crowd. Further down the street he comes across a street band who are performing 'There is a light that never goes out' by The Smiths. The song has re-emerged onto the charts after being embraced as the unofficial song of hope for the world. The street band plays with passion and a few spirited individuals in the crowd sway to the beat. The rare moment of tranquillity is broken by the all too familiar cry of sirens and the inevitable sight of several police cars passing on route for the protest.

SCENE: OUTSIDE PROTEST

There is a great degree of tension in the air. Only yards from Luke, police are in the process of breaking up a fight between supporters of Dan Kent and Ricardo Stensnan. The Democrats have to win New York in order to win the election. Stensnan, the third party wildcard, is playing the ultimate role of spoiler capitalizing off his unquestioned popularity in New York and utilizing an apocalyptic tone to great effect. To say that New York had become a battleground state was a true understatement. All three candidates seem to have doubled down on winning the State.

Luke cautiously makes his way through the insanity. As he does so he passes one of Stensnan's supporters who offers him a novelty pair of Stensnan's signature boot camp glasses.

STENSNAN SUPPORTER  
'Vote for Stensnan. He is the only one who will take this country back from the wealthy rats living out west. These despicable people are human rats who have fled and left America to sink. They spit at us from their Zeppelin in the skies, they profit off our misery. Their time will come, mark my words'.

Luke politely declines the man's advances. Further down the street a reporter is giving a live broadcast for one of America's largest television networks. Out of nowhere at all the report is hijacked by a maverick media reporter, a tall, powerfully built man wearing a chocolate brown coloured, multi striped wool suit and a open crown cowboy hat.

MAVERICK MEDIA REPORTER  
'I'm sorry to interrupt you but the people need to listen to the truth. The time for lies and manipulation is over. The media is driving the sexes against each other. They're forcing men and woman to become almost indistinguishable. They're killing our families and driving our birth rates down while they laugh at us and suck what little money is left out west. It's all a very subtle form of ethical population control'–

REPORTER  
'You need to leave...now'!

MAVERICK MEDIA REPORTER  
'You need to tell the truth you sorry ass, talking head cheerleader'!

The reporter turns back to the camera and attempts to end his report.

REPORTER  
'As you can see–and as we expected– it's true carnage down here. Anything goes Sarah'.

MAVERICK MEDIA REPORTER  
'This is what they do. It's all contrived. It is cupcake news delivered to you with a teeth whitened smile. Wake up people use what is left of your zombie brains'!

A producer emerges to try and guide the intruder away but it is to no avail. Within seconds a brawl has erupted as bystanders converge around the scene merely encouraging the men on. To say that the news networks were synonymous with entertainment was not such an outlandish statement in recent times.

Now only yards from the protest the only thing Luke can hear is the incessant sound of police sirens. The tension that Luke could sense blocks away is now at breaking point. It is like being at the centre point of anarchy. As he walks past different groups of protestors Luke starts experiencing spotlight effect. He starts to sense people sizing him up, assessing whether he is friend or foe and ready to take action should God forbid he be the latter.

SCENE: THE PROTEST

Thousands of protestors are crammed into a narrow, designated area of Midtown Manhattan. Much of the protestor's hate is–not surprisingly–directed towards the usual culprits, the Government, Corporate America and Wall Street in particular but some people are protesting about wars and events that occurred decades ago. Numerous people have lost all sense of control and are shouting in fits of rage into the vast cauldron of abomination around them. One man holds a sign which states: 'I'm protesting about the number of protests we have these days'. Even more bizarre than the premise of the protest itself is a visual artwork created by a street artist whereby several stacks of money have been tied high above the people below using a series of cables from surrounding skyscrapers. One can only imagine how the artist managed to construct the unsanctioned artwork undetected by authorities especially given the intricacies of its design.

There is an incessant howling of whistles and the sounds of beating drums from the protest. The understaffed police watch on helplessly as anarchy escalates. Many people are beginning to direct the free for all protest into a political rally. A man on a megaphone some distance from Luke is rallying like minded supporters towards him while another man on the other side follows suit. As people jostle for position a number of small skirmishes take place.

Just as things look to be reaching breaking point a contingent of pacifists on the outskirts of the crowd let off a captivating rainbow of helium balloons that soars casually above the pandemonium. This unexpected sight has the effect of temporarily paralysing the participants of the protest, entrapping all in attendance in a peculiar, unexpected lull of euphoria. The whistling, the drumming, the anger ceases as the rising Technicolor cyclone of balloons sways inwards with the breeze and pass overhead the heart of the riot. For a few seconds there is total silence. And just like that the eye of the hurricane had passed. The cries of the participants sound again, this time with even more vigour.

# Chapter 5

SCENE: HOTEL BAR

Not ready to face Ava yet Luke makes a detour to a hotel bar. The trendy bar is dimly lit by rows of aquamarine coloured lights that run across the walls giving the bar a mystical decor. As Luke walks alongside the bar counter towards a spare seat he is swamped with the sound of despair.

MAN AT BAR 1  
'If we pack up tonight and head for my parent's place in Toronto we might just be able to make it through this mess'.

MAN AT BAR 2  
'Jimmy was saying that the business has gone belly up. He told us all ''don't come Monday''.

MAN AT BAR 3  
'I don't know what I can tell the Mrs anymore. I can't keep this masquerade up any longer'.

MAN AT BAR 4  
'I have but thirty dollars to my name Skip...give me your finest; I want to go out with some class'.

Luke takes a seat beside a stern, middle aged blue collar man.

BLUE COLLAR GUY  
'You see this'?

The man points to a television screen.

LUKE  
'Yes, that's the Secret of Youth'.

We see images of an elderly man playing bass guitar alongside an array of eccentric individuals.

MUSIC  
'Oh baby It's Friday Night.  
I've got my black dress on.  
I see you sitting in the corner.  
Oh baby don't you know'.

BLUE COLLAR GUY  
'Are they big'?

LUKE  
'They have taken the world by storm. They have three number one singles from their debut album'.

The man downs the remains of his beer and stands up to leave.

BLUE COLLAR GUY  
'They are almost as bad as the band my daughter was watching on television the other night. They were singing from showers on the stage while performing live. The world may not be ending but music sure as hell is'!

Luke orders a beer from a disgruntled barman and wades through the sombre crowd. He is soon distracted by a distressing conversation playing out between a number of suited businessmen. The men take it in turns to brag and boast about how they were going to capitalize off the impending financial disaster that was to be the bankruptcy of America and the collapse of her dollar. Their lack of sincerity and their sheer arrogance is sickening. One man claims that he will make his fortune off the gold he owns once the currency finally collapses. Another man is set to profit off the inevitable foreclosures that are set to occur in the housing industry when the economic nightmare plays its course. Another, a senior manager for a global investing and securities firm, is set to make his fortune due to his firm hedging on the downturn of the American economy.

BUISNESSMEN (toasting).  
'To the common man'.

Luke skulls his drink and heads back to the bar taking a seat next to a distressed girl who is foraging through a series of documents.

_('Never expire' by Gossling plays in the bar.)_

LUKE  
'You know you could go and throw those documents that are stressing you out into one of the many book burning rallies this country has the privilege of hosting'.

The woman stops her mad scramble and smiles at him. She has a bubbly face and an inviting air about her. We will soon learn that her name is Kristin.

KRISTIN  
'I'm failing life'.

LUKE  
'Well the good news is that there is a resubmit in just over twenty four hours time in purgatory. The bad news is I might be joining you'.

She beams at him.

KRISTIN  
'How old are you'?

LUKE  
'Twenty eight'.

KRISTIN  
'At this point in your life are you exceeding or behind expectations of where you thought your life would be at'?

Luke starts guffawing.

LUKE  
'I love it. There's no filter; let's take small talk and throw it out the window'.

KRISTIN  
'Well if you believe all this hoo-hah about the world ending then we don't have much time for small talk'.

LUKE  
'Do you believe this hoo-hah'?

KRISTIN  
'I don't know what to think anymore. It was only when the comet appeared that everything turned to shit both in my life and on a world scale. It's a bad omen and I'll be glad to see the back of its fiery ass one way or another'.

LUKE  
'You're not wrong there'.

Kristin gathers up her documents and straightens them by tapping them onto the desk.

KRISTIN  
'I guess I'm just lost. I don't know where to go'.

LUKE  
'Why don't you just take all your money and invest it in a liquor brewery'?

KRISTIN  
'Not the worst idea I've heard'.

Luke picks up the drinks menu.

LUKE  
'Observe as follows'.

He calls the barmaid over.

LUKE (lazily reading from the drink list).  
'A doomsday shot?

He starts laughing.

LUKE  
'A doomsday shot! I'm legitimately curious now'.

BARMAID (Smiling)  
'Be careful what you wish for. I must warn you. This shot is hotter than that comet up there. It's guaranteed to fry your brain and if you survive it your next shot is half price'.

LUKE  
'We'll take two'.

BARMAID  
'Don't forget that if you survive until Sunday it is happy hour all next week'.

Behind the barmaid is a poster promoting Mateus Mcclure, who only weeks ago–prior to the economic collapse–had been America's favourite son. Mateus is an African American with a crew cut and a thick beard. He is known for his taciturn, composed demeanour. The poster's headline reads: 'The world's last pioneer, the American to stand on Mars'. Someone has graffitied over the poster the words: 'We want our trillion dollars back'.

At the time of departure the ship's captain Mateus Mcclure was adored by not only the American public but billions worldwide. The Virginia native had come from humble beginnings to head the most expensive space voyage in human history. Just as they had with Jesse Johns in the hours that followed his enduring redemption in his final bout in South Africa, the media tried to propel McClure as their new poster boy duping him 'the world's last adventurer'. Only days before liftoff, a special concert was held at the site of the last Olympiad in New York, the pretentiously named 'Stadium of the World'. A record television audience watched the lift off in Florida and in the days that followed the world was gripped by the regular stream of reports surrounding the much anticipated voyage. However, now, months after liftoff, the reality of the deputation had hit home hard. Not only had the expedition been plagued by well documented blunders but the shocking cost of the voyage which had far exceeded even the most liberal of calculations had hit home hard.

Such was the magnitude of the cost many people felt stifled when the economy collapsed only weeks after departure. Many correlated the cost of the expedition and the economical collapse of the nation. Mateus Mcclure, the golden boy only months before, the final remaining hero in a world ridden with despair was now being hung out to dry. The fragilities of the media were on show for all; the ass kissing had ended and now the media were contempt on turning the man they'd spent so much time and money building up into a pariah. The once hourly updates dried up and the novelty of the inaugural manned trip to Mars ran its course as the realization that bigger, more relevant problems had reared their ugly heads. Average Joe was waking up to the realization that setting foot on Mars was not going to put food on their tables or help pay their growing list of bills.

LUKE  
'My name is Luke by the way'.

He shakes her hand.

KRISTIN  
'Kristin. So what's the answer'?

LUKE  
'42'?

KRISTIN  
'Hitchhikers eh'? Do you think the Heart of Gold could be hiding behind the comet? Maybe it could save me from this mess'?

LUKE  
'Join a cult and find out'.

Kristin grins.

KRISTIN  
'I doubt I would last five minutes in one'.

LUKE  
'You never know until you try'.

KRISTIN  
'My friend joined a cult in Canada once. She received her first warning for sneaking out in below freezing temperatures one night to get a whooper from Burger King. The warning must have fallen on deaf ears as she was given her marching orders a few days later when the leaders found her passed out lying in an empty baptism basin after a big night drinking contraband'.

They both laugh at this. The barmaid reappears with their shots.

LUKE  
'I propose a toast. Here's to Earth, the human race and the back of that dreaded comet'.

KRISTIN  
'I wish to add to that. Here's to Hale Bopp's Friend. I hope she's able to find her lover'.

LUKE  
'Her lover'?

He starts laughing.

KRISTIN  
'You don't know that they're not lovers'.

LUKE  
'It's Hale Bopp's Friend. Not Hale Bopp's fuck boy'.

KRISTIN  
'Friends couple up all the time'.

LUKE  
'No not these two. Hale Bopp's Friend is stuck perpetually in the friend zone'.

KRISTIN  
'You think that's why he's lashing out and terrorizing Earth'?

LUKE (smirking)  
'He? How do you know it's a he'?

Kristin clanks Luke's shot glass.

KRISTIN  
'Shut up and drink'.

LUKE  
'Cheers'.

KRISTIN  
'Cheers'.

They down the shots. Luke ushers for refills.

KRISTIN  
'I've had more potent shots before'.

Luke re-examines the drink list.

LUKE  
'In retrospect perhaps we should have ordered the black mamba shot... or maybe the king cobra..I mean my God have they just tried to fit as many snake related drink names as possible onto one page or something'?

KRISTIN  
'Year of the Snake baby'.

LUKE  
'We should have listened to the Chinese. We never listen to the Chinese'.

KRISTIN  
'We didn't need to listen to them; we just had to look at history'.

LUKE  
'Pearl Harbour'.

KRISTIN  
'9/11 terrorist attacks'.

LUKE  
'The start of the Great Depression'.

KRISTIN  
'World War One.

LUKE  
'Meeting you'.

KRISTIN  
'You think I'm bad luck'?

LUKE  
'You could be'.

KRISTIN  
'You think meeting the opposite sex brings misfortune? What are you one of these Cold War of the sexes type people'?

Luke shudders.

LUKE  
'Please don't lump me in with them'.

KRISTIN  
'Well in that case I can safely say I've been waiting for a guy to come and pick me up and lead me away from here'.

Luke guffaws.

LUKE  
'They'll take you to room 101 for saying that these days'.

KRISTIN  
'Perhaps. Then again, did you see that author last week? He released his controversial novel in two editions; one for men, one for woman. Two books...two middle fingers to the PC police'.

LUKE  
'Fine I might let you away for a warning then'.

They both laugh.

KRISTIN  
'In all seriousness it's only human nature for people to look for someone to turn to in a time like this. A hero is needed but missing'.

LUKE  
'Maybe we're not looking hard enough'.

KRISTIN  
'Those who make them become like them; so do all who trust in them'.

LUKE  
'Is that another Chinese reference'?

KRISTIN  
'No it's not a proverb; it's scripture'.

LUKE  
'I haven't heard that before. It's interesting'.

KRISTIN  
'It's not really. My mother was a God fearing nut. I ran away from home at a young age but she will take some satisfaction that parts of the scripture she used to regurgitate like a parrot are now wedged involuntarily into my long term memory'.

LUKE  
'No kidding'.

The barmaid places refills in front of them. Luke raises his shot in the air.

LUKE  
'Here's to religious fundamentalist mothers'.

KRISTIN  
'I ain't drinking to that'.

LUKE  
'Here's to us surviving the second great depression then'.

KRISTIN  
'Send our regards to Herbert Hoover. He did the best he could'.

Luke is about to clank her glass but feints.

LUKE  
'You've either been watching too many commercials or you're trying to woo me with your knowledge of dead people that lived a long time ago'?

KRISTIN  
'No I'm fascinated with dead people'.

LUKE  
'You're fascinated with dead people'?

KRISTIN  
'Why have you never wondered what it will like to be dead? It truly terrifies the shit out of me'.

LUKE  
'Did your religious fundamentalist mother never teach you the layers of conversation? There's small talk and then'–

KRISTIN  
'You've never wondered'?

LUKE  
'I have recently'.

KRISTIN  
'Do you think it would be like all those thousands of years we weren't here'?

LUKE  
'Maybe there's something more'?

KRISTIN  
'You think'?

LUKE  
'I hope'.

KRISTIN  
'What if there isn't? Will it be like being permanently inoculated'?

LUKE  
'We are all visitors to this time, to this place. We are just passing through. Our purpose is to observe, to learn, to grow, to love...and then we return home'.

KRISTIN  
'That's not Chinese'.

LUKE  
'It's not scripture either'.

KRISTIN  
'What is it'?

LUKE  
'It could be the truth'.

She weights him up for a few seconds.

KRISTIN  
'I can drink to that'.

They knock back the shots.

_('Never expire' by Gossling ends.)_

SCENE: BAR (LATER)

They are on the sparsely populated dance floor. Now that she is inebriated, Kristin is suddenly a lot more flirtatious.

KRISTIN  
'I didn't want the song to end, I don't want to stop dancing'.

Luke leads her away from the dance floor back to the bar counter.

LUKE  
'I think everybody else in this establishment wants us to stop dancing'.

She playfully slaps him.

KRISTIN  
'Who cares about them! The way I see it is that we have two options right now. We can either sit here feeling sorry for ourselves like every other sorry ass in this bar or we can live. Think about it Luke, tomorrow could be the last ever sunrise; don't you want to live like there's no tomorrow? Don't you want to go out in a fury of passion, with no regrets, no worries and nothing but joy? Don't you want to greet the Grim Reaper with a smile cemented across your face'?

Luke nods and takes a sip of his drink. He is intoxicated but hasn't completely lost his wits.

KRISTN  
'You know you're very courteous. I'm guessing you're a businessman? You look like a businessman; so orderly'.

She rests her head on her knuckles and gazes into his eyes invitingly. To say that she is forthcoming is an understatement.

LUKE  
'I'm here on business yes'.

She moves in closer.

KRISTIN  
'Are you staying at the hotel'?

LUKE  
'No'.

KRISTIN (enticed)  
'You have a place of your own then'?

LUKE  
'Potentially'.

KRISTIN  
'What is it that you do exactly'?

LUKE  
'I work in security'.

The answer confuses her. Her voice has suddenly lost its seductiveness.

KRISTIN  
'What like IT security or banking security'?

LUKE (enjoying himself)  
'No...undercover security. I know exactly who you are'.

It's the ultimate sucker punch. She forces out some excuse in her shock and bolts from the hotel and within seconds is lost from view. Luke checks his pocket and is pleased to see his wallet is still there. He throws a tip down for the barmaid and walks off. It's an all too familiar situation for some men in recent times.

LUKE  
'That girl is a date buster'.

BARMAID  
'That would make the third this week. I'll add her to our list'.

# Chapter 6

SCENE: MIDTOWN MANHATTEN

( _The second verse of 'There is a light out that never goes out' cover by the Dum Dum Girls plays_ )

Day turns to night. We see the Luftballoon Zeppelin released from its mooring point atop the Empire State Building. As the nation lies in political and economical disaster teenagers take to the streets to escape the harsh realities of life. With no destination in mind, the young folks congregate on intersection corners alongside the desperate Paparazzi who linger like spiders waiting for something of note to transpire.

A six foot eight, two hundred and fifty pound man wearing a green hachimaki impresses a crowd of on looking teens with his martial arts skills. The man's bangs come down underneath his hachimaki completely covering up his eyes giving him an enigmatic aura. One of his assistants hands out pamphlets to the easily wooed onlookers. The pamphlet is headed 'Learn the most dangerous martial arts moves in the world. Free membership to our fellowship. Take back control of your life'.

We see a teenage girl wearing a neon coloured leotard, spandex leggings and sweatbands skip past the martial arts performer and the Paparazzi. We follow her along the sidewalk lined with street performers of varying degrees of skill levels. It's like the audition rounds of a talent show; in these desperate times people will do anything and everything for money. We see the usual range of buskers; singers, magicians and dancers. In a sign of the times, however, buskers are being more creative and innovative to differentiate themselves from the ever increasing competition. Seemingly anything goes. We see a kissing booth, a real life Ask Zoltar, a robot chess champion and what appears to be a former college professor now lecturing in the street, projecting his notes against a brick wall.

An advertising balloon flies over the luckless performers promoting a television show. A streaming caption reads: 'America has Doctors...the hit new show'.

( _The cover of 'There is a light out that never goes out' by the Dum Dum Girls ends_ )

SCENE: OUTSIDE HOTEL

Luke walks along the dank sidewalk towards Ava's hotel. Eerie looking clouds are covering the comet leaving the city under the imposing darkness of the new moon. As he walks Luke watches a slow moving advertising vehicle pulling a large LED screen pass by. The screen displays a fitness model taking a leaf out of The Scarlet Letter by urging people to send in candid photos or videos of their friends eating fast food which would be broadcasted to millions in an attempt to shame them. On the sidewalk we see emerald coloured steam rising from the sewers. A twenty-something, blonde haired woman dressed in a leather trench coat and a retro tilt hat speaks to Luke as he passes her. She is wielding a pad and a pen, a clear sign that she is a freelance journalist. She is just one of the many people who have been forced to create their own jobs in these bleak economic times. The woman gazes at Luke with her smoky, catlike eyes.

FREELANCE JOURNALIST  
'De man zonder masker'.

LUKE  
'Excuse me'?

FREELANCE JOURNALIST  
'I said ''the man with no mask'', although if I had said that in English you would not have stopped. May I write a story on you'?

The young woman speaks with a Dutch accent. There is something about her that intrigues Luke; it is almost as though an other-worldly quality surrounds her.

LUKE  
'A man not wearing a surgical mask warrants a story these days'?

FREELANCE JOURNALIST  
'You never know; there might be more to the story than that. You could be a man who has nothing to fear, a risk taker, an independent mind'?

LUKE  
'I'm afraid any document on me would make for a boring read. I haven't done anything interesting recently'.

FREELANCE JOURNALIST  
'You never know what's right around the corner'.

LUKE  
'Why don't you write about the mysterious balloon in the sky like everyone else is'?

She smiles at him and places her card in his hand. With that she is lost in the green steam rising from the underground. Luke reads the card. Written above her contact details is a riddle.

LUKE  
'My rough edges have long since been smoothed.  
I only seem to become purer with every year.  
Yearn for me if you wish but beware for I am bittersweet'.

Unable to answer the riddle Luke enters the hotel lobby.

SCENE: HOTEL ROOM

Ava lies stretched across her hotel bed which is littered with notes of paper. The television is on in the background displaying a new report of the opening ceremony of the Doomsday Festival which had commenced earlier that day in Barcelona. The premise of the two day festival was centred on a foreboding end of the world prediction which had picked up momentum and become a sensation once the great comet had been discovered. The concert promoters had hyped their festival as the 'Woodstock of the Twenty First Century'.

We see from the images that the hundreds of thousands of attendees have created a carnival like atmosphere. The opening ceremony resembles a spectacularly choreographed circus performance orchestrated from above the bewildered masses from a series of trapezes. Thousands of doves are released much to the amazement of the crowd.

The news clip also highlights the opening deliberation of the festival. The honor of the opening of the festival was bestowed upon the oldest person in the world, Yuri Ito, a hundred and fourteen year old Japanese woman. Ayumu never lets her warm smile subside during her brief but iconic appearance in front of the ecstatic crowd in her wheelchair.

YURI (in muffled but perfect English)  
'I am old; officially the oldest person in the world. Today I speak before hundreds of thousands of people who are younger than me. You come from every nation state, derive from every ethnicity, celebrate every religion, speak different languages, hold different political views, however, despite all of this you have been brought here, today and tomorrow, by one of the few magnets that bring us all together as a human race–music'.

The record crowd gives a lion's roar in agreement.

YURI  
'Our love for music is never lost...babies, children, teenagers, adults, elderly and super centennials like myself. It is not something we lose interest in. In times of celebration music is here for us. And on days like today, where the world lies in social and economical ruin we are all witnesses that hundreds of thousands of people can converge here alongside the greatest acts of today to prove that even in times of great peril music does not desert us. Music breaths life back into us; that is, with music comes life. And on that note, let the opening of the doomsday concert begin'.

Ava's attention is diverted from the footage by a banging sound coming from her window. Alarmed, but also intrigued at what could be making such a noise on a thirty storey window, Ava pulls back the curtains to reveal what looks to be a hybrid between a drone and a Chinese sky lantern hovering outside. Fascinated with the enigmatic contraption she slides the window open and sees that wedged inside the emerald green lantern are Chinese takeaways.

AVA  
'What on Earth is this'?

A robotic voice replies in Mandarin Chinese.

AVA  
'Hello...Can you speak English? I didn't order any food'.

The robot replies again in Mandarin only this time louder and less courteous'.

AVA  
'I think you have the wrong address. I didn't order anything'.

They don't appear to be getting anywhere.

AVA  
'Do you speak English? Hello...I didn't order'–

Another bang sounds–this time from her door.

AVA (facing the door).  
'Who is it'?

LUKE  
'Your ex boyfriend'.

AVA  
'Give me a minute. I have my hands full at the moment'.

Ava turns back around and is perplexed to see that the drone lantern has gone. She nonchalantly unlocks the door for Luke and trudges back to her bed.

LUKE  
'I want you to come with me'.

AVA  
'Excuse me'?

LUKE  
'I think it's safe to say we got off on the wrong foot before'.

AVA  
'You think so'?

LUKE  
'I would like to make it up to you'.

Ava does not respond.

LUKE  
'I would like to reconcile our differences. I'm asking you to give me a chance to show you a better side of this city. I understand it may not have been painted in the best light so far'.

Ava shrugs and turns her attentions back to the television screen where an ill timed political advertisement for Ricardo Stensnan is currently playing.

RICARDO STENSNAN

'I am at war with the two parties.  
I am at war with the bubble dwellers.

I am a friend of the working man and woman.  
I am the spokesman for the underdog.

I will win the Empire State.  
I will win everywhere'!

The epileptic inducing advertisement is very hypnotizing. For all the man's flaws he clearly is a marketing genius. Luke takes the remote and turns the television off.

LUKE  
'Do not let that man eschew your view of New York'.

AVA  
'It's kind of hard not to when you're constantly living in fear of being blown up by a bomb placed by one of his supporters'.

LUKE  
'The man is mud. Get your coat I want to show you that we're not all like that'.

An intrigued Ava eyes him up.

LUKE  
'I want to show you that there's plenty to fight for in this world. I want to show you that there is no need to hide. That even in our darkest moments, the world is not a lost cause'.

Ava guffaws at the sound of this.

AVA  
'Well aren't you the little optimist finding good in this immoral place'?

LUKE  
'Are you coming with me'?

Luke holds out his hand to her. Ava sizes him again before eventually accepting his hand.

# Chapter 7

SCENE: STREETS OF MIDTOWN MANHATTEN

_  
_(The final chorus of 'Don't fear the reaper' by Blue Oyster Cult plays)

Luke and Ava exit the hotel lobby into the unusual night. Everyone moves hastily in the streets as though the world really is ending. The one exception is a father and son who have set up a telescope on the sidewalk and are currently star gazing. The faux couple flag down a taxi and take off into the night set against the backdrop of some of the most bizarre series of phenomenon to occur in documented history.

Ava looks out the window as the neon lit city blurs by. It isn't long before the taxi passes yet another protest. A communism advocate stands atop a platform shouting vigorously into a megaphone with everything he has. The taxi drives alongside the homeless people lining the sidewalk. One poor soul wields a sign stating: 'I'm begging for money to make a bigger sign so I can beg for food'. The taxi drives past the street people and on into the night. As the taxi speeds away we receive our first full clear image of the ominous comet in the night sky. The sheer size and intensity of its colours is a foreboding image. It looks like the sky is on fire.

SCENE: STATEN ISLAND

Ava and Luke approach the entrance of a chalet styled restaurant. In the background we see the neon lights of the Downtown Manhattan skyline across the Hudson. The skyline which is usually dominated by the row of interconnected Apple Tree Towers is tonight overshadowed by the comet. As the faux couple enter the restaurant they pass a hand painted image of the grim reaper tucking into a meal on the window.

('Don't fear the reaper' by Blue Oyster Cult ends.)

SCENE: RESTAURANT

Being a Friday night and given the sombre state of affairs it is no great surprise to see that the restaurant is packed by working class patrons. As soon as they enter they are greeted by Tom, the gregarious manager of the restaurant.

TOM  
'Luke Fitzgerald...welcome'.

LUKE  
'Tom Whitmore. It's always a pleasure'.

TOM  
'What the hell brings you out here? The world is on its deathbed and you're spending your last moments out here in Staten'.

LUKE  
'You are too modest of your food Tom. Your place is the vocal point of the Island; I've always said that'.

They shake hands.

LUKE  
'It's good to see you again. Let's get you seated and fed. You should know that our special of the day is fish. Oh you've gotta try the fish, you just have to. It's real fish too; not any of this genetically engineered crap. In fact, I'm making an executive decision; the world's about to end; you're having your death row final meal; you're trying the fish'.

Luke suddenly remembers that Ava is at his side.

LUKE  
'I'm horrible with introductions. I want you to meet my girlfriend Ava'.

TOM  
'Girlfriend? You're kidding me? I was going ask if she was your sister or some broad that you had been friend zoned by but your girlfriend! Tell me Ava, what are you doing hanging out with a low life like this? It must be the security right? Women love a man in uniform, but then again Lukey boy doesn't wear a uniform do you? Maybe it's the secrecy? Well if that floats your boat let me tell you something this man is no James Bond, in fact he would struggle to even outrun an environmental car. He took a bullet for Mickey Mouse or whatever his name is–

LUKE  
'Mickey McKay'.

TOM  
'Mickey McKay. Yeah that upstart from The Motor City. Luke took a bullet for him a few years back and ever since then he's been living off it, pigging out here in Staten every other day'–

AVA  
'You took a bullet'?

TOM  
'You didn't know he took a bullet? What did you meet in the parking lot or something? Fuck me'–

LUKE  
'It was just another day at the office really'.

TOM  
'Well it ain't an ordinary night at the office here, let me tell you that. If the world's going to end I'll fill you up to such an extent that when the grim reaper comes to lead you away you'll be too full to move'.

Tom escorts them away to a more secluded part of the restaurant.

TOM  
'Now I'll leave you two to introduce yourselves again'.

He strolls off muttering.

TOM  
'Didn't even know he took a bullet...are you kidding me'?

('Need to feel loved (Adam K & Soha vocal mix' by Reflekt plays in the restaurant.)

Luke picks up his menu.

LUKE  
'I thought we might as well get some practise with this boyfriend, girlfriend thing. As you can see it still needs a bit more work'.

AVA  
'Why didn't you tell me you took a bullet'?

LUKE  
'It's not something you walk around telling people at the drop of a hat. I was just doing my job. It's in our honour system; we have to put our principal's life before our own'.

AVA  
'I hope he's grateful for what you did'?

LUKE  
'Oh he is. Well that's if he's still alive'.

AVA  
'What do you mean'?

LUKE  
'You've never heard of Mickey McKay'?

AVA  
'Clearly not'.

LUKE  
'He was a billionaire. A billionaire at a young age too I might add. He was an entrepreneur, one the great inventors and innovators of the twenty first century'–

AVA  
'Why do you keep speaking in the past tense? What happened to him'?

LUKE  
'He pissed a lot of people off; he wasn't exactly the most conventional person. They went after him on some red tape bullshit. He was a scapegoat really. They hung him out to dry in court, and just when he was about to lose everything he had he disappeared. No one has seen him since that day'.

Ava is intrigued by this.

LUKE  
'There are all kind of rumours about what happened to him. Some seem to think that he either killed himself or was murdered. Others think he extradited himself to another country'.

AVA  
'What do you believe happened to him'?

LUKE  
'Well as bizarre as it sounds, I have it on good authority that he went underground into the sewers'.

Ava who is taking a drink of water spits it out in disgust. Almost immediately she has lost interest in this topic.

AVA (in a condescending tone)  
'So he must be chilling with the alligators and the freaks that live down there'?

LUKE  
'There have been lots of reports of people living down there'.

AVA  
'Out west one of our bedtime stories is called ''Tiny Tommy''. It's a children's story; nothing more nothing less. Please tell me you don't believe this nonsense'?

LUKE  
'There have been numerous reports over the years'.

Ava isn't buying it.

AVA  
'Ok. I suppose you still believe in Big Foot and the Loch Ness Monster as well? And in a couple of months you'll be debating if we really did put a man on Mars no doubt'.

She shakes her head again.

AVA  
'Sewer man or not, taking a bullet for someone else is something to be proud of. Would you take a bullet for me'?

LUKE  
'Of course'.

AVA  
'Right now'?

LUKE  
'Yes'.

AVA  
'Really'?

LUKE  
'You sound surprised'?

AVA  
'I am'.

LUKE  
'I could be representing the Turk and I would still jump in front of him'.

AVA  
'This Turk, he's the basketball coach right? He's the one that slandered America when his team caused that major upset in New York during the Olympic Games final'?

LUKE  
'The one and only'.

At the time of the Olympics there was a real hope among optimists that the games would be the turning point that would reignite America to the prominence of her former glories. As it was, the Olympiad was marred with gaffes and logistical nightmares of immeasurable proportions. For all these mishaps not a soul could have foreseen the amount of backlash that was to occur on one of the final evening of the games. The nation stayed up late on this ill fated night to watch the American basketball dream team–quite possibly one of the most talent laden teams in sporting history–be upset by a no-name, journeyman Turkish basketball team in the gold medal match at the forbidding fortress of American dreams, the Madison Square Garden. The patriotically dressed crowd, the attendance of the President and the 50-1 odds of victory were not enough to prevent one of the greatest upsets in sporting history from occurring. America was left scarred and reeling from the loss. The inscrutable nature of the loss was difficult for most Americans to fathom, so much so that a fall guy was necessitated for the embarrassment that had blemished 'America's games' to new found lows and necessitated it was in the form of Turkey's eccentric basketball coach, Atay Kaplan. Atay Kaplan, with his long, unwashed hair and unkempt beard hardly appeared to be the coaching mastermind he actually was but he was to become something much more than this following a post game interview which would propel him to the title of public enemy number one. In an interview which lasted a mere three minutes he found a way to incite a degree of disdain previously unseen in recent history. Central to his obiter was the parallels he formed between the haughty, boastful, star studded American basketball team's failures and the nation's economic, social and political woes. Since that night the man had done little to repair his image, instead choosing to embrace his role as provocateur by writing and recording weekly addresses in regards to America's ever changing political and social disasters.

AVA  
'Tell me, because it seems so convoluted to all of us out west, why is the hatred toward him so strong? How can it be that you guys idolize mass murderers like Ricardo Stensnan but direct all your hatred toward a meagre basketball coach? It really is bewildering from our perspective'.

LUKE  
'First of all, the vast majority of people loath that lying, scumbag Stensnan as much as you do. He's a filthy carpetbagger. He's an anarchist...have you got that straight? As for the Turk, well he's a fall guy, a man people love to hate. The world's turned to shit and we need someone to blame. Why not blame everything on the one guy who laps up the hatred and thrives off it'.

AVA  
'He encourages it'?

LUKE  
'Of course he does. It's gotten to the point where they expect him to be the number one costume for Halloween this year. Some men just want to be hated'.

Tom reappears at their table.

Tom  
'Do you two know each other's names yet'?

LUKE  
'Why do we hate the Turk so much Tom'?

TOM  
'The Turk? That bastard has an ego larger than the combined height of his basketball team. He knows how to push our buttons; he knows how to irritate us to the brink of rage. He's a master of pissing Americans off'.

AVA  
'But why do we let him? Who cares what he thinks? Small minded people. Why are there small mined people everywhere out here? Small minded people who sit around a pigsty like this waiting for a white night hero to fly in and save them from themselves. It really is quite sad if you think about it'.

Tom is stunned by this outburst. Luke is embarrassed.

TOM  
'A lot of people don't have any other choice right now. They take any bit of hope they can get and cling to it'.

AVA  
'But look at the people you cling to. Scumbag politicians and ego fuelled morons who are taking people for a ride'.

She hands her menu back to Tom.

AVA  
'Just get me the garden salad please'.

LUKE  
'I'll have your special Tom'.

Tom collects the menus and walks off.

AVA  
'He seems like hard work'?

Luke is agitated now.

LUKE  
'No he's not. Tom Whitmore is a good man. Did you know that every night–once he has closed the restaurant–he does up all the surplus food he can conjure up and turns this place into a city mission? I could never speak ill of him. He's done more for fixing poverty than our crooked mayor and the man that claims to be our President ever has'.

Ava shrugs it off.

AVA  
'What's so good about this place anyway? Everything they serve here could've been brought at a takeout within a block from my hotel'?

LUKE  
'The ambience'.

AVA  
'The ambience? What are you kidding me? Look at these people, all this despair, all this doom and gloom. Midnight tomorrow will come and go and life will go on and all these idiots will be left red faced. It really is ridiculous'.

LUKE  
'These people, these people are blue collar workers who have been screwed over by the government and corporate America. They have little money, little prospects at the moment. Some of these people probably don't know if they'll have a job come Monday. They come here, they come here to live. They are the engine that keeps America running. You see how long we last if they cut the engine off. You sure as hell won't be living in your hometown anymore'.

Once again Ava shrugs it off.

('Need to feel loved (Adam K & Soha vocal mix' by Reflekt ends.)

Dinner is served but conversation has run dry. Ava finishes her meal in timely fashion and walks off without even looking at Luke. Luke sits there for some time toying with his food before finally deciding to go after her.

SCENE: OUTSIDE RESTUARANT

Luke leaves the emptying restaurant and makes his way outside into the bitter autumn night. The outdoor seating area lies deserted except for a cleaner. Chairs lie on the ground and rubbish is rampant.

CLEANER  
'A comet killed off the dinosaurs; it's going to do the same to us. Who knows what will evolve next, one thing's for sure though: it won't take much to better us God forsaken creatures'.

Luke nods at the cleaner and heads towards the back of the restaurant where a vista is arranged taking advantage of the striking views of the Downtown Manhattan skyline across the Hudson. The dramatic, world renowned skyline is dominated by the myriad of advertising balloons and the row of Apple Tree Towers. The Apple Tree Towers stand interconnected to each other with each tower taller than the next rising upwards to the tallest building in North America. Above the skyline, Hale Bopp's friend shines on brightly. We see Ava clinging to the railing looking out towards the panoramic sight.

LUKE  
'I told you the view was good. You can see it all from here: The Freedom Tower, the Apple Tree Towers, The Brooklyn Bridge. Look you can even see your blimp out there in the distance'.

AVA  
'I can't see the Titanic though'.

LUKE  
'It's out at sea at the moment. You wouldn't be able to see it anyway. What do you think though? Surely nothing in Epiphany can match this'?

She shrugs and changes topic.

AVA  
'Is it true that there are people that dress up as super heroes and roam the streets of Manhattan'?

LUKE  
'There's hundreds of them...they've been doing it for years now. The New York Police don't like it, but they can't really stop them'.

AVA  
'You're saying that random people dress up as Batman and Superman and go out there into those harsh streets risking their lives trying to prevent crimes'?

LUKE  
'Of course'.

AVA  
'Wow'.

Luke is taken aback by the fact that she is finally impressed by something that was not located within the four walls of Epiphany.

LUKE  
'Can you keep a secret'?

AVA  
'No'.

LUKE  
'I'm a super hero in my spare time'.

She grins.

LUKE  
'It's hard getting a batman outfit to fit my beer gut though. Thankfully the hulk is considered a super hero and his outfit has plenty of room'.

She lets out a sound that he registers to be a laugh.

AVA (smirking)  
'I don't even know you anymore. I thought we were boyfriend and girlfriend. Relationships are supposed to be built on trust you know'?

LUKE  
'Well now that you know that I'm a superhero you should be aware that we have troubles committing. Bruce Wayne is a perennial bachelor. Spiderman could never commit to one woman and the Hulk...well he's the Hulk; he's got enough problems without throwing women into the mix. The point is though; don't be expecting a marriage proposal on this trip to Africa'.

She smiles at him and they lean against the railing taking in the view. The silence of the night is finally broken by the monotonous humming of the Luftballoon Zeppelin which is now making its way at a snail pace across the Hudson. The monstrosity of an airship is audaciously decorated. It is clear that a lavish party is currently being staged inside.

LUKE  
'It's probably come to get you. There would not be many people from Epiphany in the boroughs tonight–that's for sure'.

AVA  
'If it makes you feel any better, I think that oversized condom looks ugly as hell'.

The blaring music and sporadic cries of laughter grow. Luke is about to launch into another tirade about how inconsiderate the sordid rich are celebrating in such precarious times but he ultimately decides against it in the end. He and Ava are finally conjuring up some chemistry after all these hours and he doesn't want to jeopardise it by initiating another senseless debate.

LUKE  
'Looks like we're missing out'.

And then it happened. One second the oversized blimp is hovering over the Hudson, the next it has been replaced with a horrifying fireball. The flaming airship droops downward at a frighteningly slow pace into the gloomy Hudson below. The seconds pass by but the atrocity that has just played out in front of them fails to register in Ava and Luke's disbelieving minds. Luke eventually darts back toward the restaurant in utter shock. Ava joins him but they are quick to realize that they aren't the only ones to have witnessed the massacre. A line of disbelieving faces look out from an upper balcony of the restaurant. Luke turns around to face the Hudson again. The flaming remains of the Zeppelin burn from the waters of Hudson in the distance.

AVA  
'That was a bomb. That was a bomb. They don't use hydrogen anymore it's not the 1930s, they don't just randomly blow up. This is an attack. We're under attack'!

Luke nods solemnly.

LUKE  
'It has begun'.

# Chapter 8

SCENE: MANHATTEN

Ava and Luke's taxi is crawling at half a mile an hour in a traffic jam. They are conscious of a new atmosphere that surrounds New York. People run in panic along the sidewalks. It's as though the sky is falling.

TAXI DRIVER  
'It was Ricardo Stensnan's supporters. I bet everything I have that they are behind it'.

The taxi passes a transpiring scene playing out before them where a despicable man has taken advantage of the anarchy. In amongst the flurry of flashing police lights and barriers a young, diminutive man with glasses is being heralded by the small crowd–which includes a number of NYPD officers. The young man's head is bloodied while one of his glass rims is shaded but despite all this he gives off an affable air despite his unruly state. To his side, a noticeably distressed girl is in the midst of giving a vehement testimony of the situation to an accompanying officer while all the meanwhile another man is being handcuffed against the side of a police car. It doesn't require an extensive exposition to understand what has transpired here. Luke takes another look at the seemingly candid fellow who had taken the unlikely role of hero.

SCENE: TIMES SQUARE

Now out of the taxi, Luke and Ava attempt to make their way through Times Square. This is no ordinary Times Square; chaos has ensued. Police officers are frantically attempting to get people to leave. Ava and Luke pass a musician playing a sombre cover of Barry Maguire's 'Eve of Destruction'. The man's poignant music is drowned out when a series of helicopters fly directly above the Square in formation. The sight of the helicopters has the effect of creating further panic in the square.

An oversized image of Duncan Strepfield gazes down upon everyone atop of the focal point of the square, the New York Times Tower. The image doesn't appear to be advertising anything, it's almost as though it is being displayed in an attempt to bring calm. Luke takes Ava's hand and attempts to guide her through the disarray. They pass an elderly Chinese man who has a green tree snake wrapped around his neck. The symbolism is not lost on them. As if things were not shambolic enough it has started to rain– a torrential downpour.

DOOMSDAY MAN (laughing hysterically while embracing the rain.)  
'We are at the gates of hell, the devil is before us, and our enemies have surrounded us, the end of the world has arrived'.

In amongst all the chaos a small child hands a brightly coloured rose to Ava.

RELIGIOUS KID  
'Just remember that even in our darkest moments God is there for us. Hope can never be fully eradicated when ze is watching over us'.

SCENE: AVA'S HOTEL ROOM

Back safely in her hotel Ava goes about checking her messages while Luke is watching a press conference taking place on the television.

Title: Marvin Yeo  
Mayor of New York.

We see Marvin under siege at the press conference. Marvin is usually a charming man, however, tonight he is a shambolic mess and is clearly out of his depth. His usually perfectly positioned bangs are dishevelled by the prevalent wind.

MARVIN  
'This is clearly a tragedy of the highest order. It is clear that many lives have been cut horribly short tonight, but we must, we must not jump haste. We must understand the situation and stray away from making ill-informed allocations'.

MEDIA 1  
'Mr Mayor this is clearly a terrorist attack. Your own Police Chief commented only minutes ago along those lines'!

MARVIN  
'Look...let's not...it's not...let's not get ahead of ourselves here, there will be an investigation, a thorough investigation, a very thorough investigation might I add'.

MEDIA 2  
'Are there not security measures that should be implemented as of this very moment in time? Many lives are still in danger Mr Mayor'.

MARVIN  
'That...we...'

Marvin is speechless. There is a prolonged silence. He looks like a man with a terrible anxiety problem.

MEDIA 3  
'Are you treating this as a terrorist attack Mr Mayor'?

There is nothing but silence.

MEDIA 4  
'Speak to us Mr Mayor'.

MARVIN  
'Ok'.

More silence.

MEDIA 4  
'Go ahead'.

MARVIN  
'Ok'.

The man's brain appears to have stopped. It makes for painful viewing.

MEDIA 1

'Mr Mayor, New Yorkers are looking to you for leadership'.

MARVIN  
'We are not calling it a terrorist attack per se. We have to be sure of the situation we don't want to stick a label on anything'.

MEDIA 4  
'What about the safety of every visitor in New York Mr Mayor? Most of those people on board tonight were unlikely residents. Do you feel an increase in security could have prevented this catastrophe'?

MARVIN  
'Ok'.

Devoid of his teleprompter and in the midst of a severe panic attack Marvin resembles an absolute lightweight. He really could not have picked a worse moment to have a gaffe of this proportion. Each cringe inducing second of silence is too much to bear.

MEDIA 3  
'Mr Mayor...Mr Mayor'.

MARVIN  
'The level of information...the amount of knowledge we have about tonight is very select at the moment, in the coming days we will'–

He can't finish his sentence. There is more silence.

MEDIA 5  
'Mr Mayor, New Yorker's don't feel safe. What do you say to them'?

MEDIA 6  
'Mr Mayor New Yorker's are uneasy'.

MEDIA 7  
'What do you say to New Yorkers'?

MARVIN  
'That...That'...

He looks as though he wants the ground to swallow him up.

MEDIA 6  
'Mr Mayor speak to us'.

MARVIN  
'They...they...should not be afraid...we are working through this one step at a time...I only...I only...I only just know that we...we are in a terrible situation at the moment. We are in a very terrible situation at the moment. But you mustn't be worried...It's under control...it's much under control'.

MEDIA 4  
'Should they return home Mr Mayor? Should they return home and stay off the roads to prevent the clogging up of the city's infrastructure'?

MARVIN  
'They should...They should'.

MEDIA 2  
'Is Ricardo Stensnan behind this'?

MEDIA 3  
'Are you on Stensnan's payroll'?

The Mayor's press secretary suddenly appears at the microphone to put the man out of his misery.

PRESS SECRETARY  
'That's all we have time for sorry folks'.

LUKE  
'These are the people we are expected to turn to in troubled times for leadership and a morale boost? Our President is not able to make public appearances anymore, New York's mayor is a living, breathing puppet run by Stensnan and the candidates for the election are merely the best of a rotten bunch. No wonder the media's obsessed with finding a celebrity for us to turn to in spite of the madness around us'.

There is silence.

LUKE  
'Ava...did you see that disgraceful'–

Luke sees that Ava is distraught.

LUKE  
'What's happened'?

AVA  
'The flight has been cancelled'.

LUKE  
'Delayed you mean? Look at the bright side; at least we don't have a four thirty wakeup call now'.

AVA  
'No...it's been cancelled'.

LUKE  
'What do you mean'?

AVA  
'The airport's closed'.

LUKE  
'Can't we rebook? Surely there are flights to Europe departing from other airports'–

AVA  
'No. The President has called a nationwide lockdown on all commercial airlines; nothings coming in, nothing's going out for the rest of the weekend'.

Luke is not surprised.

LUKE  
'He's probably trying to make himself look good. He's already at historically low approval ratings. He will see this as his saving grace'.

Ava is frantically typing on her phone in a mad panic.

AVA  
'Time was always going to be of the essence with the civil war brewing over there but this is going to drive the final nail into the coffin'.

LUKE  
'You don't know that'.

AVA  
'Perkins is going to pull the pin now. It will be over before it even started; my one and only chance to further my career is gone'.

LUKE  
'There will be other opportunities surely? It's probably for the best anyway'?

Luke's attempts to comfort her fall on deaf ears.

AVA  
'You don't know how it works out west. This was my once in a lifetime break. It was my one and only chance to prove my worth. It was going to define my career. It was going to set me apart from all my colleagues. It was going to propel my career to new found heights, but it's all gone now'.

She sinks to the corner of the bed and burrows her head into her knees defeated. Luke feels helpless; he had never imagined it possible to see this strong willed woman break down like this.

LUKE  
'There is seemingly nothing anyone can do. The infamy of this attack and the necessitated responses that are being put in place are beyond anyone's control or jurisdiction'.

SCENE: AVA'S HOTEL ROOM - LATER

Ava is typing frantically on her phone.

AVA  
'Well that's it then'.

LUKE  
'What now'?

AVA  
'I'm the fifth. Perkins has called the trip off provided the President doesn't change his mind and revoke the no fly zone'.

LUKE (quietly)  
'He won't'.

AVA  
'It was nice knowing you I guess'.

LUKE  
'Canada! What if we drive'–

AVA  
'There's no time to get the paperwork. Perkins is not going to authorise any adjustments to the schedule'.

LUKE  
'What if we wait it out? There's no way they can ground flights later than Sunday evening at the absolute latest'!

AVA  
'It's off. He's not taking any chances with the civil war brewing in Africa'.

LUKE  
'Bastard'.

Ava lies back on her bed defeated. Luke's heart sinks for a second but as he watches a loop of the attack footage playing from the television he realizes things could be worse. He watches the massive airship sink downward, deep into the Hudson, a blazing fireball of death and destruction.

REPORTER ON NEWS BROADCAST  
'Maybe the world should be cleansed Jen. If people somewhere can conspire and scheme such despicable acts against other human beings then maybe the human race should be ridden of and forgotten'.

Another news report begins playing.

REPORTER  
'You could very well make a case for that tonight Oliver. In related news, the safety of the candidates of the Presidential election suddenly comes back into focus in the wake of tonight's attack. The Presidential candidates were tonight scattered across the boroughs of New York addressing their respective supporters and have understandably increased their security in the hours that have followed. Earlier this evening, independent candidate, Ricardo Stensnan, was addressing supporters at a political rally out in The Bronx'.

The broadcast cuts to coverage of an outdoor rally. An animated crowd of boorish supporters are circled around their idol, Stensnan, set against the backdrop of fast food restaurants and gas stations. The riled up crowd carry signs that read: 'The spokesman for the little man, Ricardo Stensnan'. The clean cut, middle aged man, with his ridiculously oversized boot camp styled glasses speaks with intent in his deep, forceful voice.

RICARDO  
'In recent times we have heard over and over about the bad omens associated with the Year of the Snake. I wish to put an end to this talk once and for all as it is no longer the Year of the Snake. This is the year of the underdog! Ricardo Stensnan aided by the people has risen to bring about the death of two Mad Hatter parties. The revolution is here. The alliance of the little men and woman will triumph and finally, after all these years, these two parties that have held an iron hold over our great nation, that have led us so far off track to such unprecedented lows will finally be relinquished. In their place will step common sense, the interests of the working man and finally after decades, progress! Lincoln broke the mould and so will I. I, Ricardo Stensnan, will go down in history as the man responsible for the demise of the Democratic and Republican parties'!

Luke stares at Stensnan's face dominated by his oversized glasses. In the background, Ava is a desolate figure. Luke concentrates so hard on the vile man's face that he strains his eyes in the process. It is in this moment, out of nowhere at all that Luke has a eureka moment. Dawning upon him is the reality that only two men were powerful enough to get them over to Europe tonight. One of these men was the duplicitous Ricardo Stensnan who unofficially presided over every facet of the Big Apple, but then again there was more to New York than what initially met the eye. Anyone who set foot in New York saw the towering skyscrapers and the countless number of advertising balloons that flew overhead. They saw Times Square, The Statue of Liberty, the enigmatic Whalen hot air balloon and–until tonight–the Luftballoon Zeppelin. However, there was an unseen, rarely acknowledged part of New York which harboured a burgeoning underclass. Underneath the well trodden streets lived a class of people that few lay eyes upon. One of those forgotten people that lived their lives in the darkness and ruins of New York's sewers and abandoned subway stations happened to be powerful enough to oversee any command he so wished and this man who stood in power and respect on a pedestal equal perhaps to only Stensnan was a man Luke had taken a bullet for. He was a man who had pledged his indebtedness to Luke and a man who would get them out of New York tonight.

LUKE  
'Who in New York is powerful enough to get you across the Atlantic tonight with the city in total lockdown'?

AVA (muffled)  
'No one'.

LUKE (making a game show buzzer sound)  
'Wrong (He points to the television). Try again'.

AVA  
'I'm not in the mood for this, and I sure as hell am not in the mood to be discussing that asshole'.

LUKE  
'Ricardo Stensnan is one'.

He pauses.

LUKE

'Mickey McKay is the only other'.

AVA  
'What the hell is your point'?

LUKE  
'Mickey could get you on a plane across the Atlantic'.

AVA  
'So? What the fuck is your point? What am I supposed to do with this useless information'?

LUKE  
'I can find him for you'.

AVA  
'You're barking mad'.

LUKE  
'No I'm not'.

AVA  
'The man is either six feet under or hiding in some warehouse in Sao Paulo. How in God's name are you supposed to find him? I'm dying to know'.

LUKE  
'I know exactly where to find him'.

AVA  
'I don't even want to entertain this conversation anymore. Stop wasting both your time and mine'.

LUKE  
'He owes me one. I will find him tonight and this time tomorrow we will be on another continent'.

AVA  
'What the fuck is wrong with you? Is everyone out here mentally insane or something? The pollution must have messed with your brains. I mean I thought at least you were slightly normal'–

Luke is running on emotion now. He is completely set on the idea.

LUKE  
'I will find him'.

Luke has never been surer about anything in his life. With his deteriorating health he is not only fearless but also eager to take what could be his last opportunity to see his old friend again.

MICKEY  
'Mickey McKay is the man I took a bullet for. He is an immensely powerful man. He can conjure up anything and everything at a snap of his fingers. He runs the underground of New York. If I can get in there and seek him out he will get us out of here. He owes me a favour–he said it straight to my face– and he will go through with it; he's a good man'.

Ava is unimpressed.

AVA  
'This is ridiculous. That man used to run New York. He's yesterday's news; he's nothing. There's a warrant out for his arrest last time I checked. For all you know he's probably lying at the bottom of the Hudson right now'.

LUKE  
'He runs the underground'.

AVA  
'The sewer people do not exist. Luke, you have to know that this; you're not that gullible. It's a nightmare bedtime fable that was created to scare little kids from straying away from their parents'.

LUKE  
'It's true. I will find him'.

AVA  
'This is the ramblings of a madman. Luke you're smarter than this'–

LUKE  
'He was extradited down there by the corporate blood suckers who screwed him over and he's building something under there–he has been for years. At first there were a few stray rumours here and there, a few sightings every so often and over time the legend has grown. The evidence has since become overwhelming and it's gotten to the point now where it has almost become common knowledge. The mayor, Marvin Yeo, pretends like they don't exist down there, he wipes his hands of them. The police do not dare go down there through fear of opening Pandora's Box. The thing is though, they're getting stronger with every day and soon they may rise up and take back this city'.

She looks at him weary eyed.

AVA  
'This can't be true'.

LUKE  
'I'll prove it to you. In an hour's time you'll have two tickets to Europe'.

Luke doesn't know what he's saying or where he is going with this. He is simply running on the adrenaline and emotion that this peculiar night emanated with.

AVA  
'You can't be serious'.

LUKE  
'I'm deadly serious'.

He takes his coat and opens the door.

AVA  
'Luke, think about what you're doing'?

LUKE  
'Trust me'.

AVA  
'Please Luke I'm begging you'.

It is a rare moment of empathy from her.

LUKE  
'You can thank me when we're in Ocean City waiting for our flight to Africa in a couple of days'.

AVA  
'In a couple of days I'll be asking myself why I didn't do more to stop you from ending up in a body bag'.

They are outside Ava's room now in the hallway.

AVA  
'Luke please don't do this'.

They reach the elevator. Ava suddenly changes her tactics.

AVA  
'Well that's it then; I'll have to come along with you'.

LUKE  
'Ok. I'll show you a side of New York few have seen'.

AVA  
'So you–a bodyguard–are going to lead me into one of the most dangerous places in America'.

LUKE  
'I'm leading you to your ticket out of here'.

AVA  
'One phone call from me and you'll be fired. You are supposed to protect me and you're leading me down into a fucking sewer'.

LUKE  
'Ring. I don't care anymore'.

The elevator door opens and they enter the lobby. They pass the reception desk where staff and a number of guests are fixated on a live broadcast of the evening's calamity. Not a single person notices them leave even despite Ava's pleas booming across the lobby.

Outside the hotel, it is an unnaturally, silent New York night. The street is now completely devoid of people. A slight fog has descended since their arrival back at the hotel. The fog has the effect of blurring the skyline and merely contributes to the foreboding mood. Even now, out on the sidewalk, Ava is still begging him to return to her hotel room. Luke's concentration is focused on flagging down an oncoming taxi cab. His fist attempt to flag down the cab is in vain.

LUKE  
'Sluck'.

AVA  
'You're doing it all wrong. You have to be more assertive. Watch me do it'.

LUKE  
'What do you know about hailing down New York cabs'?

AVA  
'You'll soon find out'.

At the end of the street she gets her chance. She confidently strolls onto the street and flaps her arms in full extension like some great bird. The driver clearly taken aback in the frenzy of the night hit his breaks hard and gestures in a hostile fashion towards them. They ignore his gestures and approach the window.

DRIVER  
'What the hell are you playing at? Are you trying to add to the death toll tonight or something? Jesus enough people have been killed in the last few hours without you two maniacs adding to the list'.

AVA  
'We need a ride'.

DRIVER  
'We're only taking emergency's tonight; I don't think we're even supposed to be on the roads'.

LUKE  
'We need a ride to the Unnamed District'

DRIVER  
'The Unnamed District? You must be kidding? No taxi driver in New York goes there. You punks better go home to Mommy now'.

AVA  
'You'll be the first then'.

Ava confidently steps into the cab. Luke stares on in disbelieve.

DRIVER  
'Tell me where you're actually going and if it's on my way I'll drop you off. That's my best and absolute final offer'–

AVA  
'We already told you'.

DRIVER  
'Don't fuck with me kid or I'll kick you out and good luck finding anyone else that stops tonight'.

AVA  
'We're not kidding. We need to get to the Unnamed District'.

DRIVER  
'You're pushing me to the edge kid. Tell me where you're going or get the fuck out now'!

Luke opens up his wallet and takes all the cash from inside.

LUKE  
'Here...I always pay my tips up front'.

The driver looks at the cash for a few moments weighing up his options. Finally he collects the money and shakes his head in disbelief.

DRIVER  
'I thought I was going to have at least one more day on earth; maybe not anymore'.

LUKE  
'You're a good man'.

DRIVER  
'No good man ever walked out of the Unnamed District alive, I promise you that. You two are as good as dead. You do realize that'?

LUKE  
'We'll be fine'.

DRIVER  
'I mean there's a damn Gautenberg under there. You want to stare death in the face'?

LUKE  
'You don't even know what a Gautenberg is'.

DRIVER  
'Oh you'll find out soon enough'.

After this harrowing statement there is silence as the driver processes everything.

DRIVER  
'The Unnamed District? I mean have you not seen the news and the death toll? Fuck...rapture right around the corner, balloons exploding in the sky faster than the economy goes to shit. Comet ready to fuck us all over. People celebrating the end of the world over in Europe; shit's fucked up right now'.

SCENE: WORKING CLASS NEW YORK

As the taxi etches closer and closer to the Unnamed District the surrounding area becomes noticeably seedier and desolate. Onwards they drive past sordid tenements situated in damp, squalid streets decorated by row after row of Ricardo Stensnan campaign posters. Out here, in the heart of working class New York, the epicentre point where the full force of the economic crisis had been felt, this was very much Stensnan's heartland. These were his biggest supporters, the little men and woman Stensnan so often referred to them as, the American underdogs; people who would do anything for their man.

As they wait at an intersection, Luke notices two young children playing unsupervised with Duncan Strepfield, Mateus McClure & Jesse Johns' action figures on the flooded sidewalks the unforgiving rain had produced.

LUKE (mumbling to himself)  
'The innocence of youth'.

# Chapter 9

SCENE: ALLEYWAY

The alleyway lies darkened and deserted. The only sound is the incessant howl of dogs in the surrounding neighbourhood.

DRIVER  
'I don't know what the hell you two are doing here, but I do wish you all the best'.

The driver gestures the money Luke had bribed him with back towards him. Luke refuses but the man won't yield.

DRIVER  
'The world's going to end; I think that's pretty clear after tonight. God knows I need all the good karma I can get so please accept my gratitude'.

Luke takes back the money reluctantly and they both thank him graciously. As soon as they have disembarked the taxi races off. The reality of the isolation of no man's land, New York City is suddenly thrust upon them.

LUKE  
'This is it. An alleyway, probably the last of its kind in New York I should add. All the other alleyways have slowly disappeared over the years to clear space. You see, space, or should I say lack of space–is the biggest premium'–

AVA  
'We're on death's door and you're talking about fucking alleyways. Really'?

LUKE (continuing)  
'They'll never touch this alley though. No construction worker in the world would dare set foot in this alley. Jesus, no cop would even come down here'–

AVA  
'Then what are we doing here'?

LUKE  
'Keep your voice down'.

They move forward slowly, almost as though every step they take is about to set off a booby trap. The walls of the narrow alley are cluttered with warnings in every language imaginable including one they haven't seen before. It is a language they can only assume is the creation of the occupants. Out of nowhere at all, Ava sees a moving shadow on a catwalk above the alleyway. The shadow cuts through the night as quick as lightning.

LUKE  
'Come on Ava...it will be all right, here take my hand'.

She takes it forcefully.

AVA  
'There was, there was a'–

She gives up. They pass a colourful mural of the astronaut, Mateus Mcclure, which is stretched across one of the walls. An ominous speech bubble has been added to the mural stating, 'These guys are so bad I had to go to another planet to get away from them'. Along the walls are other harrowing murals including one depicting gremlins and a caricature of all three Presidential candidates superimposed as a three headed monster. At the end of the alleyway emerald green smoke billows out from the sewers. The rising plume of smoke masks the entranceway to the sewer world. A final warning is listed above the entrance. It reads: 'We are the people your parents warned you about'. Just as they are about to pass through the smoke Ava catches one last sight of the mysterious shadow figure. There atop the alleyway he stands on a catwalk dressed in a dark superhero costume. Ava meets eyes with him and he nods to her before the smoke eliminates him from view.

SCENE: CORRIDOR

They walk hesitantly through a decaying claustrophobic corridor. The only light in the room comes from a strip of green LED light which runs along the side of the building. Eerie background music is played throughout the hall through unsighted speakers. The original song–which has been edited beyond recognition–has been slowed and played backwards giving it a distinctive garble sound. It almost sounds like demonic growls sounding out in an attempted chant. It is the elevator music that would play in hell itself. Ava is terrified beyond comprehension which is confounded by the fact that there appears to be no end in sight.

AVA  
'You've got it wrong. This is a place of the deformed. This is a place of death. We are marching to our death'!

She wants to go back but she is paralysed in terror.

AVA  
'No plane ticket is worth this. Don't you have a fucking gun or something to protect us? You're supposed to be a bodyguard'.

LUKE  
'Not allowed under State laws'.

AVA  
'A lot of good you are then'.

Every part of her instinct is telling her to run but her body is unable to collaborate. The two of them lumber forward in sync to the tune of the demon choir. Further down the corridor the horror show continues when a silhouetted figure emerges. Unlike before in the alleyway, this time Ava is not so sure that the figure is benevolent. Maybe it's because of the green LED light but the silhouetted figure appears almost alien in appearance. Luke is resolute in the face of the mysterious figure. He carries forward fearlessly and Ava who otherwise would have been beset in panic begins to feed off his resolve. They are soon rewarded for their bravery; the figure is lost–at least for the moment– in the darkness.

SCENE: WATER WELL

The corridor finally comes to an end. They find themselves in a small room which ivy has long since overtaken. In the centre of the room is old fashioned water well. A stretched flag of magnificent green and yellow is draped on the wall. Underneath it is writing in the peculiar language they'd seen previously outside in the alleyway. The writing appears to be hierocratic.

AVA  
'It's a dead end'.

LUKE  
'There's only one thing to do now. We have to enter the sewer itself'.

Luke looks into the darkened abyss below.

LUKE  
'I'll go first. This will be over soon. Just you wait we'll find Mickey. Everything will be fine'.

Luke starts lowering himself down into the darkness.

AVA  
'Avalon Smith, born and raised in Epiphany and now about to venture into a fucking sewer'.

SCENE: SEWER

Luke assists Ava down from the wall mounted ladder to the sewer floor. The darkness is overwhelming. The only light in the oval shaped brick sewer comes from the bright green, ankle deep liquid that has flooded the sewer floor.

LUKE  
'We're like the Conquistadors; we've burned all our bridges now. There's only one way to go now'.

AVA  
'You better hope for our sakes that like the Conquistadors, the locals mistake us for Gods because the alternative doesn't bear thinking about'.

They continue forward hesitantly. Surrounded by such uncertainty, logic is lost down here. Luke can only lead Ava forward based on his most raw instincts. The sewer soon opens up becoming an underground labyrinth. It is a sprawling, catacomb from which a hasty exit is impossible.

SCENE: CORRIDOR

They are now in a narrow, mundane corridor. The hall roars with the sounds of electrical currents flowing.

LUKE  
'What is this place? It's like an abandoned power plant.

As they make their way forward hesitantly the sound of rushing electricity soon becomes overbearing. The hallway twists and turns but the eerie sound never subsides. Suddenly a horrifying voice begins calling to them.

VOICE  
'Gautenberg...Gautenberg...Gautenberg'.

LUKE  
'Holy Shit'.

Ava screams in terror. A crashing sound behind them confirms that there is no going back; they have been sealed in. For the briefest of moments even Luke–in all of his optimism–believes the end is nigh. Suddenly a very feint light is cast revealing a large circular room shaped like a well. At the highest point of the room is a glass roof shielding them from a large body of water outside.

LUKE  
'What the fuck? We may well be underneath the Long Island Sound right now'?

Ava doesn't have time to respond. Powerful water starts flowing into the room from various points across the room. In her terror Ava screams out.

AVA  
'We're trapped. Luke...we're trapped'!

The water surges in at a rapid pace flooding the room in no time.

LUKE  
'This is it'.

AVA (in panic)  
'What do we do? What do we do'?

Suddenly a compartment in the centre of the floor flips revealing a dinghy'.

LUKE  
'What the'–

Ava doesn't need another second. With the adrenaline flowing she runs towards the dinghy at such a pace she would have likely have given Ngola Douglas, the world's fastest man, a run for his money. Luke climbs into the dinghy and is immediately confronted by Ava who shakes him in her anger.

AVA  
'Salmonole...Salmonole...you fucking salmonole'.

Luke is clearly not up with the lexicon of the lifestyle blocks out West.

LUKE  
'What the hell are you on about? Stop that'.

AVA  
'You salmonole...you just had to swim against the fucking tide to your own detriment didn't you? I told you this was going to happen. Why did I let you take me down here'?

She stops shoving him and sinks back into the dinghy.

LUKE  
'Calm down'.

AVA  
'Where the hell have you led me'?

LUKE  
'It's probably going to get worse before it gets better so I need you to keep your head'.

The boat rises up as the flooding continues.

AVA  
'This is the end times. We're going to die and nobody even knows that we're down here'.

Luke doesn't hear her; he is deep in thought.

LUKE  
'Either this is some kind of a security measure or it functions much like a canal key'.

AVA  
'These people are not our friends Luke! I tried to warn you'!

The boat continues to rise up along with the water levels until all of a sudden the flooding halts leaving them level with a darkened opening in one of the walls. The opening would have been a good forty feet higher than them only minutes ago prior to the flooding. They sit there in silence for a few moments expecting something to happen.

AVA  
'Now what'?

LUKE  
'I guess we have to row towards the tunnel'.

AVA  
'And with what exactly'?

Luke is about to put his hands into the water when the boat starts moving towards the opening by itself almost as though it's being drawn by a magnet.

Ava's next panic surge has kicked in as they are drawn towards the unknown.

AVA  
'What happens in there? Luke! I can't see anything. Where are we going'? Luke!!!

Ava's sentence has changed into a scream for they are now speeding downward at a rapid pace. In an incredible feat of engineering the boat has seemingly locked into a track and they are now riding the vehicle as one would a roller coaster. Ava's scream echoes across the tunnel as they fall into the darkness. Deeper and deeper they go, bend after bend, stomach churning drop after the next before finally it is all over.

SCENE: UNDERGROUND CAVERN

The track has reached the end of its line giving way to an underground cavern lit by a radiant ocean blue light. Spectacular rock formations surround them. Water crashes from an overhead crevasse falling in strong torrents into the darkened undergrowth below. Luke and Ava disembark the vehicle and tread forward slowly taking in the enchanting natural beauty around them.

AVA (stunned)  
'How deep underground are we'?

LUKE  
'Forget everything you know about life above; I think we're both in for a mighty shock'.

The chamber narrows out and they pass directly underneath an archway that has been built around an opening in the chamber. Etched into the stone atop the arch is the quote: 'The brave never run'. Once they have passed through the arch, they descend toward a dramatic entrance hall via a restored functional escalator. As they descend they see a mighty portrait of the man Luke had taken a bullet for hung proudly in view of all those entering his brave new world. He is youthful looking, with thick eyebrows but his most striking feature is his toothy, boyish grin. His image radiates self-confidence.

AVA  
'My God, I take it all back; you were right all along'.

LUKE  
'What has he created'?

# Chapter 10

SCENE: ENTRANCE HALL

They walk slowly across a deserted entrance hall. A series of stretched flags have been hung vertically just below the ceiling. The entire ceiling is comprises of a mesmerising stain glass ceiling that gives the impression that a permanent sunset is being cast down upon the hall.

As Luke takes in the view, Ava is taken aback when she sees the first sign of life in the sewer world. There in one of the distant corners of the room stands a young couple passionately making out with a great degree of vigour. Ava and Luke stand watching the couple for a few moments but the two lover's eyes never leave each other.

(The start of 'Converging in the Quiet' by The Crystal Stills plays.)

The entrance hall has opened up revealing an elaborate room larger than an indoor football arena. The room stretches as far as the eye can see. The imposing room is a hub of activity with multitudes of people interacting going about their dealings in what appears to be a free flowing market place. The room has a Gothic rib-vaulted ceiling which enhances its incredible vastness. A ghostly blue light is the only source of light in the cavernous room.

The sewer people are almost exclusively youthful. Some carry babies and we see a few toddlers running around but other than this almost everyone else seems to be aged from late teens to early thirties. The fashion of the locals, while not completely Soviet inspired is not particularly cutting edge nor is it exactly trendy either. UV paint serves as a redeeming feature to the modesty of the clothing with many people sporting messages or symbols that glow in the dim setting. It isn't just on the shirts though; UV paint seems as important as anything else down here and is used widespread for more practical purposes for everything from advertising to street signs. If the clothing was mundane then the footwear is extravagant. Almost all wear sneakers and they seem to place incredible emphasize on brightness and style. It is almost as though they are competing against each other in terms of audacity.

There is a real communal feel down here and this is assisted by the good natured chemistry that radiates from this secret society. This was not a cauldron of psychopaths, drug addicts, convicts or anything else the media and authorities had labelled it. This was not a place of no return, a death trap to anyone who was foolish enough to linger even in the vicinity of it as had been portrayed to children in nightmare inducing bedtime stories. This was a model society that had been created by the damned; people who had given up on the terminally ill world above and ventured downward in the belief that they could–and would–do better.

Luke and Ava explore the market, passing rows of stalls distributing everything from meats, produce, spices and literature. They pass the sewer people's take on McDonalds situated alongside a myriad of other eateries in a hawker centre where locals fraternize together in high spirits. It isn't long before they are lost down a fairy lit laneway where the locals talk earnestly to their kindred spirits in open air restaurants and bars devoid of barriers or liquor laws. We see two men smoke from a hookah. One of them nods to Luke as they pass by.

SCENE: SEWER WORLD

Luke and Ava pass through the bustling society like weary eyed tourists, stopping often to gaze in astonishment at some of the architectural feats surrounding them. They pass a well populated skate park conjoined to a basketball court where several games of social basketball are taking place. In the background is an underground park complete with artificial turf and artificial trees. Even though it is close to midnight due to the stain glass ceiling it appears as though it could be lunchtime on a cloudless day.

SCENE: CANAL

We see an underground canal served by the sewer people's take on public transport. One of the boats is just departing. The captain rings a bell and casts off from the docking station. The boat has a sign which reads 'Eastern Suburbs'. The boat rides the placid waters and is soon lost in the darkness of a tunnel. A lone street performer plays at the station. The musician's passion for their music is evident by there being no collection hat.

SCENE: LAGOON

We see a sparkling manmade lagoon surrounded by tropical plants. Some of the locals are swimming while others lie in the white sand that surrounds the lagoon. A couple of young women in bikinis turn over in the sand as though they are sunbathing. Ava shakes her head at the preposterousness of the image.

SCENE: CONCERT

A concert is taking place in a dimly lit beer hall. Luke and Ava struggle to make their way through the dense crowd. The band plays on a stage passionately and in sync. People are dancing giving it everything they have. We see many couples making out in the crowd. A young nerdy looking man slides himself onto the stage and dances alongside the band. Boorish security is nonexistent down here. The band merely encourages the man on.

('Converging in the Quiet' by The Crystal Stills ends.)

SCENE: WATERFALL

Luke and Ava reach the foremost of the spectacular feats situated in the centre of what once would have been a fully operational subway station. Some remnants of the old subway remain but for the most part the youthful denizens have redecorated audaciously. There in what would have been the centre of the station is an aquamarine pond of water. In the water, bioluminescent lights can be sighted. Overhead, pipes of water have been manipulated to create a series of free flowing waterfalls that flow at a rapid rate into the elaborate pool below. Luke and Ava stand dumb founded on the edge of a narrow fence that skirts around the far-reaching pool watching alligators swimming and bathing on the edges of the pond.

LUKE  
'So the rumors were true. It was them all along. All those old wives tales of alligators living under New York City, all those myths, all those reports, they were all true'.

They stand there listening to the sounds of the hundreds of gallons of water crashing down from above. It is an impressive sight.

LUKE  
'How did he do this? It's a work of art'.

MAN BEHIND THEM  
'One of the seven wonders of the underground world'.

They are taken aback by his sudden appearance. The man delivers a lengthy introduction in a foreign language they fail to comprehend a word of before introducing himself in English.

KENSINGTON  
'Kensington Broderick. It's a pleasure to meet you'.

He shakes their hands. Kensington wears a leather jacket and his hair is bleached blond. He stands with incredible posture.

KENSINGTON  
'Our coach, Mickey McKay, extends his warmest welcome to you. He trusts that you are enjoying your time in his humble land'.

LUKE  
'It's unlike anything I could ever have imagined. We have run out of hyperboles'.

Kensington grins.

KENSINGTON  
'If you would care to follow me I will lead you directly to Coach. He cannot wait to reunite with you'.

SCENE: THEATRE

Kensington leads them past the front entrance of a French Renaissance styled theatre. A retro styled flipping board presents times for shows.

KENSINGTON  
'Perhaps not what you think this is. You will find few movie theatres down here. Performing arts on the other hand is a part of our psyche. More than a hundred plays a day by my estimate'.

SCENE: ARENA

They are standing in the upper bowl of an empty indoor sports arena. The arena looks like it would seat twenty thousand people at full capacity. In the centre of the arena an array of sandbag bunkers, wood pellet fences and barrels have been set up. It looks like a war zone.

KENSINGTON  
'A short cut I often like to take. This is where we watch our national sport'.

LUKE  
'Your national sport is guerrilla warfare'?

KENSINGTON  
'You're close. It's indoor paintball'.

LUKE (Incredulously)  
'Indoor Paintball'?

AVA  
'Your national sport is Indoor Paintball'?

KENSINGTON  
'An underrated sport on the surface world. What people fail to understand is that there is a surprising amount of skill and strategy involved and in terms of a spectator sport it is unrivalled in my opinion'.

Luke folds down a seat and takes in the view.

KENSINGTON  
'Mickey hopes one day to negotiate with the New York Knicks to play an NBA game down here against his beloved Detroit Pistons'.

LUKE  
'The Knicks vs. the Pistons live from the sewer. I would like to see that'.

SCENE: VIEWING TUNNEL

Kensington leads them along a narrow, stretched glass viewing tunnel surrounded by water and marine life.

KENSINGTON  
'We've had the privilege of seeing a Humpback Whale out there before'.

AVA  
'Where are we exactly'?

KENSINGTON  
'If my calculations are correct we are technically under the Connecticut state line right now'.

Kensington guffaws at their shocked reaction.

SCENE: UNDERGROUND BUNKER

KENSINGTON  
'This is where Coach resides. You might be surprised to know that this used to be an underground war bunker of sorts. It was built in the heart of the Cold War in case the Soviets pushed the button. Of course it was abandoned when we found it'.

Kensington opens a hatch which resembles a submarine door and throws it open to reveal an unsullied room. It resembles a five star penthouse suite. Mickey approaches them with his trademark grin in full view. He is strikingly dressed in an emerald green tie and dark suit. His bangs are perfectly positioned on his boyish face. In the background we see three scantily clad women.

MICKY  
'I'm honoured...I'm honoured to be in your presence tonight'.

Mickey bows courteously to Luke who is bewildered at the royal introduction.

LUKE  
'It's good to see you again too'.

MICKY  
'It has been many moons my friend. Many seasons have passed us by but my indebtedness to you has not dwindled in the slightest. It's because of your heroics that I'm standing before you tonight presenting you my masterpiece. A work of art that will stand as a living testament–if nothing else will– that in the dying days of humanity all was not lost. This man, Luke Fitzgerald, took a bullet for me. This man breathed life into me. I have risen from the ashes, all because of you'.

Luke is overwhelmed by the introduction.

LUKE  
'I was just doing my job'.

Mickey rises up from his enduring bow and faces Ava.

MICKY  
'I don't believe we have met. My name is Mickey McKay, people call me coach, but please feel free to use any word to address me'.

AVA  
'I'm...I'm Ava'.

Everyone in the room it seems is entranced by the man's presence. We can understand why tens of thousands of people have followed him into the sewers.

MICKY  
'Such a beautiful name. A woman of great judgement I can tell. You have selected your partner wisely Ava. Luke is one of the few remaining beacons of light in this despicable world. I see you have met Kensington, my right hand man. He's been here since day one. He probably thought he was going insane when he ventured down here to the shit and the rats. He probably thought I was a couple of screws loose, but he came, and he stayed, and for that he has the utmost of respect from me'.

LUKE  
'How did you do this Mickey? This has blown my mind. I mean you've created something special down here. People...people should know about this. This should be admired, not shunned'–

AVA  
'How does no one know about this'?

MICKY  
'That my dear, is the beauty of it. We wanted to breed a culture down here. A culture that stated that only those truly dispossessed from society, only those who have truly accepted the fact that this beautiful treasure we call life, this one time occurrence that we are privileged to experience has been moulded into a mundane existence shrouded in irrelevance and normalities. We only wanted people who had made the brave decision to unequivocally cut all ties to the damned world above and for that reason we propagated this place as hell itself. Let me ask you a question? Have you ever heard parents tell their children bedtime stories?

AVA  
'Of course'.

MICKY  
'Let me guess...The tale of Tiny Tommy'?

AVA  
'My mom reads it to my younger brother'.

Mickey lets out a cackle of laughter.

MICKY  
'Tiny Tommy everyone! Tiny Tommy, who strolled into the underworld of New York to never come out again. Tiny Tommy, whose body later washed up in the Hudson. It's a good premise for a horror story–I'll give them that. And the movie, the movie freaked the shit out of me. It gave countless kids' nightmares and clearly it works. What about the reports too? There's always a story breaking about someone who has gone missing down here. It's like a modern day Bermuda Triangle of sorts. Well let me tell you something guys, we fabricated all of these stories and fed the lies. The leaching media were only too happy to report it, assisting us in building the image we purported to create. It's beautiful in itself screwing those horrible, God forsaken people over'.

Mickey takes a deep breath, before launching into a rant.

MICKEY  
'You see the reason we created this was because humans have been moulded into the worst thing in existence–lemmings. We follow the other lemmings in society living meaningless lives, believing everything our government tells us while we drool over the mainstream media and the lies they spin. Our children are turned into drones in our schooling systems that damper creativity and enforce rigidity to lives that were once free. We die chasing the so called American dream shrouded in materiality and selfishness. We never open our minds, we never ask questions and we die believing we have lived rich lives when in reality our ships have only just left the docks. There are many great lands out there Luke, many great people to meet. There are only so many office managers one can fraternise with; only so many office walls one person can see. The sunset at the Antarctic, the Northern lights at the height of winter, the surrealism of being in the heart of the Southern ocean, the sound of the waves crashing in the deserted islands of the Pacific. Things people will never experience, things that are merely mental images confined to calendars and postcards that hang off their monotonous office walls'.

Ava is hung on his every word.

AVA  
'You've been to these places'?

MICKEY  
'I've been to these places and more. I made a lot of money in my younger days but I don't have a cent to my name now and I could not be happier. The thing is: we lament prisoners and praise the institutions we throw them in when in reality our lives aren't too far apart. We're all prisoners to society you see? We're trapped in our mundane lives, in our damned jobs. Our laws and work schedules discipline us and weigh us down. Our careers are chains that restrict us, while our possessions charm us like some great spell attaching us to them, tying us down to such an extent that we can no longer imagine our lives without them. But that's how we live; it's how our parents lived and how those that came before them lived. Modern human society, it's in my opinion the greatest con of all time but yet it is all most will ever know. Money, it's the carrot that is leading us off the cliff into greed and wickedness. Money it's the thing that's propagated to everyone as the be all and end all, the grail we must yearn for, the grail we must dedicate our lives to attaining. I say burn the lot of it; we'd all be better off without it. I don't carry the US dollar, the Euro or anything else that can be traded. The only currency I carry cannot be stolen or lost through fault of my own or by economic downfall, for the currency I carry is life experiences, and I can tell you for that reason I must really be the richest man in the world'.

LUKE  
'But how did you create all of this'?

MICKEY  
'We have done something that no one in human history has ever achieved. We have for the benefit of the human race created the society that this great planet deserves. You see, the people in this kingdom are so great. It's been like this from day one; truly amazing people. It just goes to show you: that we can build all these facilities, set up this burgeoning economy, create a language from scratch, but at the end of the day the greatest asset is the people you surround yourself with'.

Luke mind is working in overdrive.

LUKE  
'But how? How did you construct all of this'?

LUKE  
'On the surface world everyone was against me–the media, the politicians, the judges. One cannot operate surrounded by such negativity. This is proof of what humans can achieve when we come together with a shared and higher purpose'.

LUKE  
'But...but'...

MICKEY  
'Luke let me ask you something. Is it better to die a rich man who knows the four corners of his office he has spent his adult life, or is better to die a poor man who knows the four corners of this earth, overwhelmed in life experiences?

LUKE  
'Clearly the latter'.

MICKEY  
'You are clearly a smart man then. Listen, I don't want to come off as a preacher. All I ask is for you to objectively weight things up. Just promise me you will never get caught too deep in the rat race. The rat race is the most horrible manifestation of humanity in my opinion. To see lemmings following other lemmings on this continuous cycle of despair and hopelessness, it makes me sad. I see these people driven by commercialism and the honest belief that what they are doing is prosperous for both themselves and their families. It makes me sad. It makes me sad to see so many people brainwashed into believing that this could be their only existence, the only thing they'll ever know. It's a truly despairing though to just live for the weekend. The weekend, a time to go out and drown our sorrows, to convince ourselves that we are living, and then spending all day Sunday dreading the week to come. When we are on our death beds, in the final moments of our one time existence, you will find that your net worth is of little importance. We all have the same net worth when we die'.

Trying to take everything in Luke has seemingly lost his articulateness.

LUKE  
'But...but...not a soul above knows about this. You've bamboozled all of them'.

AVA  
'They think you are dead'.

MICKEY  
'Perhaps we should keep it this way. They aren't ready for us yet. They have nothing to offer us and while they ostensibly portray themselves as open minded people they are not ready yet to learn from us'.

LUKE  
'But why don't they know'?

MICKEY (grinning)  
'Think of us like advanced aliens. We have no reason to contact the surface world yet for they would not understand us. Our protest of the conditions of the inhumane world above will be noted one day'.

LUKE  
'But you have a whole generation at your finger tips. The people here are so young. You have so much you could teach them'.

MICKEY (grinning)  
'All in good time Luke. You are right though; the average age of people down here is twenty three years of age. The standard deviation tells us that most people fall within four years of that same average. We're young; it's what defines us. We aren't tarnished or corrupted from years in society. We are at our physical and intellectual peaks. We have the energy to do what those who came before us failed to do; we can change what our predecessors stood by and allowed so freely'.

His grin suddenly fades.

MICKY  
'Unfortunately I fear they may cleanse our young people soon. You surely must be aware of the best and possibly only way to get out of this economic horror show the surface world is experiencing'?

Mickey doesn't give them a chance to answer.

MICKY  
'War! War stimulates the economy, war can eliminate even the most horrific unemployment figures. War gives even the worst President a staggering approval rating, war reignites patriotism, war eliminates the problem of America's population being too young. War, Luke, makes the world turn round. There will be a war; that much is certain. Some underlying dispute will be found and manipulated. Many nations will be involved and with the economy going down the drain everyone will want in on the action. Only this time things will be different Luke, this time the end will come'.

LUKE  
'You really think so Mickey'?

MICKEY  
'I have tried my best but the end is near I fear. This war could be only weeks away. It will be a major war, involving all the big players. It will be a battle royale; the last man standing so to speak. It could rage for a hundred years, it could last but a night, but it will happen and when it does happen that will be it. Life as we know it will be over, the world will lie in ruins and no one will be around to see it anymore. Our shamed existence will be over, but Earth will digress, life will move on without us. Mother Nature doesn't need us you see; we need her. She is our mother, she breast fed us and cared for us, she nurtured us for decades but look what we've become. We grew up and betrayed her and that is our biggest mistake as a human race. The human race is in its final days Luke, spend your last days wisely my friend'.

LUKE  
'I don't know what to say to that Mickey'?

MICKEY  
'You don't have to say anything. It has been done by the way'.

LUKE  
'What has been done'?

MICKEY  
'My understanding was that you need to fly across the Atlantic tonight? I will have my people arrange it for you'.

Luke's jaw drops. Ava lets off a shriek of excitement.

LUKE  
'How did you? How did you know'?

MICKEY  
'I have my ways. You should know that by now Luke. My brothers and sisters take care of me and I take care of them; that's why we thrive down here. If only the whole world followed our mantra then we wouldn't find ourselves on the grim reaper's doorstep'.

LUKE  
'But Mickey... no one's getting out of here. The city's under lockdown'–

MICKEY  
'Not everyone. There is one flight that must take off tonight'.

AVA  
'But who is flying tonight'?

MICKEY  
'You will see in due course. You haven't much time though my friends. You must return to the surface world promptly. Return to your hotels and pack. At one am my people will pick you up and take you out to a private airfield in New Jersey'.

AVA  
'How can we ever thank you'?

MICKEY  
'No thank you is required. This man saved my life. I could give him a billion dollars and I would still be indebted to him. Your boyfriend is a shining light in our fragile world shrouded in darkness. It makes me sad that you two must leave our blessed shores, you are my friends, and friends are always welcome here'.

His sentence is cut short due to Luke embracing him a slightly comical bear hug which Ava promptly joins in. It's a true heart warming moment

MICKEY  
'Now I'll allow you to find your own way out'.

Ava and Luke stare at each other dumbfounded.

AVA  
'We'll never find our way out of this labyrinth'.

Mickey's cheshire smile bursts open again.

MICKEY  
'Humour never was my strongest quality. I will lead you out but not before an honorary induction'.

LUKE  
'An honorary induction'?

MICKEY  
'Hanné Jóg'!

The girls and Kensington gather alongside Luke, Ava and Mickey forming a sports huddle.

MICKEY  
'I apologise for the impromptu nature but time is of the essence. We are gathered here today to present Luke Fitzgerald with our highest and most prestigious honour. It is with my great pleasure to present to you this token of both my and the people of the underground's appreciation for your tremendous services. I hereby present you the crowbar to the city.

The crowbar appears to be made of pure gold.

LUKE  
'I...I...I'm speechless. I'm literally speechless'.

# Chapter 11

SCENE: HOTEL ROOM

Exhausted after a long day they return to Ava's hotel room. Ava rests her head on her bed, while Luke slumps into a chair and switches on the television. An interview is taking place between a late night host with boyish looks and none over than the man of the moment, Duncan Strepfield. Duncan is lapping up the attention he is receiving; his star has never burnt brighter than it has in recent weeks. With his trucker's cap, handlebar moustache and dead eyed stare he does not appear to be the most likely superstar but looks could be deceiving; there may not be a more influential man in America as of tonight. Many political scientists believed that his forthcoming endorsement for the upcoming Presidential election could single handily decide the race.

DUNCAN  
'If this is a terrorist attack–which I suspect it is–which I think we all suspect it is then I support the full and unequivocal eradication of the perpetrators. This is a cold hearted, cowardly act, and I am announcing here tonight that I will personally bear arms and hunt down these soulless bastards myself. These radicals that do these terrible acts, their mantra is centred around equality and fairness. Well let me tell you something Stevie, and again you can get me on the record. If I get my hands on the conspirators of this massacre–and you'd be foolish to rule it out– I will show them a little something about equality'.

His brash comments send the riled up crowd into raptures.

AVA  
'Are they pinning this on Stensnan yet'?

LUKE  
'I doubt it'.

AVA  
'Trust the media to shy away from the truth...they know that coward's behind it but they'll do anything, and I mean absolutely anything to shirk their way out of reporting the truth. I mean it wouldn't surprise me in the slightest if he has a financial interest in the media. Is there anyone in New York he doesn't have strings rung around'?

LUKE  
'If he is behind it they'll catch him, trust me on this'.

AVA  
'They didn't get him for the terrorist attack back in June on the outskirts of Epiphany or any of the other attacks out west'.

LUKE  
'He'll slip up sometime, you'll see'.

AVA  
'He's too smart Luke. He's got too much power; they'll just end up setting up one of his pawns like they always do. I bet he doesn't even plan anything now that he's got everyone out here so brainwashed and intent on destruction. He probably just sits there and ponders the scourged earth mentality he's created'.

LUKE  
'Hey, that's not fair'.

She takes a moment to calm down.

AVA  
'I'm sorry. I know there are many good people out here. I've seen them first-hand with you, but all the emotion of tonight has finally gotten to me. These attacks are being directed at my family and friends after all'.

LUKE  
'The pits of society like Ricardo Stensnan do not prosper for long Ava. I know at times it doesn't seem like it but even in our darkest moments you'll find some light somewhere, if tonight is not an example of that than I don't know what is'.

Luke switches channels to a delayed broadcast of the Doomsday festival that is taking place over in Barcelona. The announcer introduces the latest act, a South African band Luke had not heard of called 'Barry and the Underachievers'.

ANNOUNCER  
'Barry and the Underachievers take the stage now. Well this may be the most hapless performance in the history of music. It is with great sorrow we reiterate the news that was broken in recent hours. The wife of the band's front man, Barry Ernest, has tragically passed away in a car accident. Against numerous attempts from organisers to cancel their slot, Barry has requested to play a one song set. Quite how the man can even stand before us tonight is beyond comprehension. This has to be the hardest thing anyone has ever done. No one can fathom the void that this man is experiencing tonight'.

On centre stage, Barry's fellow band members radiate solidarity. The respect and compassion they have for their comrade is very much evident. As the performance begins, Ava and Luke know immediately that they are bearing witness to no ordinary performance. The band members play with vigorous intent paying their respects in the only way they know how. For three and a half minutes they were not playing for the admiring masses both at the stadium and around the world. For three and a half minutes they were playing for the deceased. The limitations and restrictions of the human body were in this time period seemingly relinquished and the band members performed their song so masterfully, so harmonically and so perfectly in sync that they operated like no mere mortals could. Sweat pulsated, their muscles flexed with every passionate, perfectly timed movement and for three and a half minutes they were in a special place few musicians had been able to attain to before.

For all the passion, hustle and camaraderie the supporting members display they are mere side acts to their now widowed front man. An undefeated Barry stands before his comrades, pressed against the microphone. In those precious minutes the microphone acts as an out worldly portal almost as though Barry is holding his deceased wife's beautiful face in his hands. It was the final goodbye that had been cruelly stolen away from him by a horrible twist of fate. For three and a half minutes he holds her and refuses to let her go. As the song reaches its epic, majestic finish, Barry sings the ballad with absolutely everything he has left inside his fragile body. With every word that passes his lips we feel his emotions for his deceased wife flowing through.

BARRY  
'That's why I love you'  
'That's why I love you'  
'That's why I love you'

He belts this line out over and over, tears streaming down his face, his emotions left dry in the night sky. The song finishes abruptly and reality kicks back in. It is too much to bear. He throws the microphone forcefully onto the ground, pushes over the microphone stand as he sinks to the stage floor inconsolable. His fellow band members rush to comfort him.

Ava looks at Luke who mirrors the stunned crowd in Barcelona. They know there and then that they have just witnessed the single greatest musical performance the world had ever seen. There hardly seems a word which could even reasonably conjure up the emotions that have emanated from that man's other-worldly performance. Luke and Ava sit there speechless, unsure of what to say regarding the performance they had been honoured to bear witness to.

ANNOUNCER (with passion)  
'What an awe inspiring performance. This is what this concert is all about. Music is transcendent. Music can take us to other dimensions, to other levels of human emotion. It is a true universal language but it is so much more too. Accents are lost, rivalries and hatred are halted. It is the great bringer together of people. One note can say more than a million words can, one note can speak levels more than all the philosophers combined. Music is so stunningly simple, but yet so amazingly complex'.

SCENE: HOTEL ROOM - LATER

An electronic alarm clock ticks over to 1 o'clock in the morning. The radio alarm has been set off.

RADIO ANNOUNCER  
'You're listening to Safe Haven Radio. The radio station where you won't be violated with different opinion'.

Ava slams the alarm off. A few seconds later the phone rings. Ava wearingly picks it up and answers.

AVA  
'Hello'.

RECEPTION  
'Avalon Smith'?

AVA  
'Speaking'.

RECEPTION  
'We have quite a gathering down here waiting for you'.

AVA  
'A gathering'?

RECEPTION  
'It's quite an entourage'.

Ava places the phone down.

AVA  
'What has he done? Who has he set us up with'?

SCENE: HOTEL LOBBY

The elevator descends floor by floor. The letter G is lit up and the door opens presenting Ava and Luke with a bizarre scene. An old man is stood performing a comedic opera performance to the awestruck hotel staff. A young women and an equally youthful, black man are stood playing a clapping game which involves the loser getting pinched. Behind them a young man runs around the lobby juggling devil sticks in reckless fashion while all the meanwhile another character is seated before the hotel piano playing with a great degree of finesse. The old man notices them and stops singing.

DENNIS (speaking huskily)  
'Dennis. Dennis Falkner'.

The old man approaches Luke and Ava to shake their hands. He looks like he is well into his seventies.

REX  
'Just call him Denny's; everyone else does. Willie Turner (shakes hands)...but please call me Rex'.

AVA  
'Rex'? Like T-rex'?

REX  
'I guess I do like to think of myself as a Tyrannosaurus Rex of sorts, but as you can see, I'm not the only dinosaur in the group'.

He pats Dennis on the shoulder.

EMILE  
'He's absolutely right. He is like a Tyrannosaurus Rex; especially when he dances'.

Everything about Emile radiates pure beauty. From her perfectly symmetrical face to the strand by strand precision of her dazzling French braid hairstyle. She gives off an aura of warmness, openness and modesty.

EMILE (shaking Ava's hand)  
'Emile Poux. I love your hair'.

Her genuineness and likeability is very much evident. Overwhelmed in her admiration of the woman, Ava has no response. Another member emerges from behind the others wielding a series of devil sticks he had previously been messing around with. Far removed from Emile, his hair and facial hair is unkempt while his dress sense is shabby but, nonetheless, he gives off the vibe of a good natured, down to earth individual.

SAMSON  
'I'm Samson. And this is Kenneth Ward, a man who rides a keyboard like a surfer rides a wave'.

Kenneth has a curly mob of hair and appears to be rather socially awkward.

Ava does a double take and assesses the array of characters before her. She could be staring at the oddest company of people one could ever hope to lay eyes upon. It is in this moment that she realizes that not only had she seen these people before but that hundreds of millions of other people in the world had as well. The eccentric trio standing before her was none other than 'The Secret of Youth', the band that has taken the world by storm over the last six months.

AVA  
'You're...You're that band! The Secret of Youth. The Secret of Youth is in our hotel lobby room Luke'.

Luke nods calmly.

AVA  
'You're number one. You're the biggest band in the world at the moment'!

REX  
'A rather subjective statement but you are partially correct; we do have the number one single in the charts at the moment. This puts us one place ahead of ''Our next President'' by Bound by Reason featuring Ricardo Stensnan which sits at number two. As you can see I'm not sure being number one amounts to much'.

EMILE  
'Who would have thought that politicians would release music as a form of campaigning. Just think of the free advertising he is generating? Only someone as shrewd as Stensnan could have recognised the potential'–

So overawed by what is playing out before her, Ava doesn't appear to hear them.

AVA  
'But what are you doing here? What are you doing in our lobby'?

DENNIS  
'We're here to take you away'.

EMILE  
'We heard that you need to get to the Middle East to catch a flight to Africa. It just so happened that we were crossing the Atlantic tonight and we really don't need a whole private jet for ourselves'.

AVA  
'But...but'-

REX  
'It's not as cosy as it sounds; Emile's luggage just about needs its own private jet'.

EMILE  
'Speak for yourself'.

DENNIS  
'We're flying to Barcelona in an hour's time and it would be a privilege if you would accompany us over there. We can get you a commercial flight from Barcelona to Ocean City on Sunday with plenty of time for you to see the devastation the oil spill has caused over there before you have to fly to Africa'.

EMILE  
'The news of the oil spill makes my blood boil'–

AVA  
'But why are you going to Barcelona? Why are you going there now, tonight, of all nights in amongst all of this'?

It suddenly dawns upon her.

EVERYONE  
'The doomsday concert'.  
'The doomsday concert'.  
'The doomsday concert',

Each time Ava says the sentence everyone in the room repeats it at the same time resulting in a lengthy fit of laughter. It's a surreal moment, the unique bunch of individuals standing there cackling with laughter in the echoing lobby. Even amongst all the devastation and horrors of the needless slaughter the night had provided it felt good to laugh. On a night that had further highlighted the shortcomings and despicability of the human race for Ava and Luke it felt good to be alongside such wondrous and pure humans. Once they stop laughing Rex ushers them outside. As they leave the lobby, Dennis' forceful voice booms out once more. This time it isn't opera which passes from his lips but rather the sound of 'There is a light that never goes out' by The Smiths. Outside the hotel a spectacularly decorated stretch limo awaits them.

LUKE  
'You really know how to travel in style. It looks like a moving kaleidoscope'.

KENNETH  
'Anyway we can express ourselves we can'.

EMILE  
'Let our next adventure begin'.

Chapter 12  
SCENE: INSIDE THE LIMOSUINE

They are seated inside the luxurious limousine.

SAMSON  
'Our jet is waiting for us at an airfield in Brooklyn. It shouldn't take too long but police check points may slow us down a bit'.

LUKE  
'I've lost count of the amount of checkpoints we have passed tonight. I'm surprised you were even allowed to fly. The whole commercial airline industry has been brought to a standstill'.

REX  
'It wasn't easy; I'm not going to lie. It's lucky that we have such a fantastic manager. Apparently the only reason we were allowed to fly tonight was because he made the case that it was more dangerous to cancel our performance at the concert and face upsetting our thousands of passionate fans in Barcelona than to allow us up in the air tonight'.

KENNETH  
'He's got a point though. Our fans are delirious'.

DENNIS  
'All the more pressure to ensure they're happy with our music. It's brilliant really; delirious fans are the greatest check and balance on the quality of our music'.

SCENE: STREETS OF MANHATTEN

('A Real Hero' by College & Electric Youth plays in the background.)

The limo drives through the neon lit streets of New York which are eerily deserted; an unprecedented image if there ever was one. Despite the absence of people the infamous advertising balloons remain hovering above the streets and sidewalks. Even in the witching hour there is no escaping their reach. We see one of the balloons displaying the astronaut, Mateus Mcclure, endorsing a cola company. A message flows from the advertisement:

'A can on Mars. Follow Mateus McClure's unique story on our website'.

SCENE: STADIUM OF THE WORLD

The limo passes the one hundred and forty thousand seat Olympic stadium. The lights are currently on at the stadium. It appears that the coliseum is being used as an emergency centre for the bombing. In front of the stadium a number of cameraman film live footage. Rather disconcertingly, the cameramen are not filming reporters covering the massacre but rather streamers.

Streaming has expanded beyond seemingly all control and has since become the fixture of television programming in recent times. Many considered, it to be the final form of reality television that had swept the world at the turn of the century. It largely involved B grade celebrities filming almost around the clock showcasing their lives for the masses. Given that it required such limited production costs and that the public were still absorbed it was favored by the television networks above more thought provoking content. As the limo passes the stadium the streamers see the bizarrely painted limo and immediately react to its passing in their desperation.

SCENE: PRIVATE AIRFIELD

The private jet awaits them on a rain soaked tarmac in New Jersey. The band's name is branded across the exterior of the plane. The jet is every bit as psychedelic as the limo they had just arrived in. Ava and Luke can barely hide their excitement at the prospects of flying as they race each other to get on board.

SCENE: PRIVATE JET

The private jet departs the runway and takes off into the uncertain night. In the distance the neon cityscape of New York City gleams against the backdrop of the harrowing comet, Hale Bopp's Friend.

Inside the jet the band, Luke and Ava drink champagne and dine from a delicate food platter. A flight attendant pours Emile a glass of wine. Emile takes the bottle and pours the attendant a glass urging her to join them.

The party starts up a round of karaoke. What Luke lacks in singing ability he makes up with sheer effort as he sings a duet alongside Emile. The two have surprising chemistry together. As Luke sings with Emile he catches a glimpse of Ava staring at him. One can't help but have the impression that there is a touch of jealously in her reaction to their duet.

After karaoke, the party sits around playing a board game. The game is played on an interactive board. Luke catapults a marble up into the air from the board. The marble narrowly misses a miniature scale river–filled with real water– and instead falls on top of Dennis' playing piece eliminating him from the game. The ricochet makes Kenneth's piece wobble for a few tedious seconds causing all the players to react with excitement.

('A Real Hero' by College & Electric Youth ends.)

SCENE: PRIVATE JET - LATER

EMILE  
'Miss America; it's all I wanted to be as a little girl'.

SAMSON  
'Strangely...that's what Rex wanted to be too'.

They all laugh.

REX  
'They couldn't handle my sense of style'.

EMILE  
'I lived out my dream'.

LUKE  
'You won it all'?

EMILE  
'Yes and no. When I was announced Ms South Carolina, I thought I had reached the pinnacle moment of my life, the moment I had always desired so greatly. But standing there in all my glory, finding myself in a moment of sheer exultation that only a select few others had been fortunate to be in it suddenly dawned upon me that this was not the moment of great gaiety I had imagined it to be. As the confetti fell from the ceiling and the applause sounded throughout the hall in what was supposed to be the happiest moment of my life I knew there and then that this was not meant to be. In that moment I despised what I had become. I knew in my heart of hearts that I was more than this. I was an artist, a musician at heart, I had thoughts, I had opinions, I wanted to express myself, and this was not my destiny'.

AVA  
'Is that how you met Mickey'?

EMILE  
'It was the first time I met him yes, albeit it was a very brief introduction. He had front row seats because he was friends with the owner of the pageant. Even in that very terse exchange I detected something special about him'.

REX  
'Coach clearly has some intangibles. In order to inspire tens of thousands of people from all walks of life to follow you underneath New York one certainly has to have a great deal of charisma'.

AVA (surprised)  
'Did you just say Coach? You mean, you're–for lack of a better word–sewer people'?

EMILE  
'Yeah sure...sewer people; I like that name; it has got a good ring to it'.

AVA  
'All of you'?

They all nod.

AVA  
'But you're rock stars. You're the biggest band on Earth. How is this not common knowledge'?

REX  
'It's not like we were raised or born in the sewers. We were in every sense once like both of you; soil dwellers, breathing in air above the surface. However, over time, as we came of adolescence we became disillusioned with society, that is the only society we knew, the only society anyone knows. We became conscious of the corruption and flaws of modern society and we simply longed for more'.

EMILE  
'I think I speak for everyone when I say that all we wanted to pursue in life was our music. Music is, was and always will be our lives. On the surface world though music can only be the lives of the fortuitous and a select few who can somehow scrape by on nickels and dimes. The absolute last thing I ever wanted to do was to work a nine till five job. To me a nine till five job I hated was like the worst drug in existence. The monetary hit one receives from working in that job exists to keep you coming back time and time again. To leave the drug–that is the security of money–isn't comprehendible once you're on the drug given the hold it has over you. So ingrained in our society is the pressure to go to school, get a job based on money and money alone and work in this same job until we aren't physically fit to work again. As the great philosopher, Alan Watts once said, to work in a job you hate for motives based on monetary purposes only is to ''be doing things you don't like doing in order to go on living, that is go on doing things you like doing, which is stupid''.

SAMSON  
'I can concur with Emile and the great and late Mr Watts. I had committed myself to the lifelong pursuit of my music; there was to be no going back; I was all in. Unfortunately not a soul seemed to understand my views, not even my friends and family'–

REX  
'That was until he met me. It was a chance meeting that brought us together, but nonetheless it was a meeting that would change all of our lives. There we were, two struggling musicians, living off the streets entirely because of our everlasting love for music. Again, by chance it so happened that we shared similar musical tastes and styles but even with this mutual bond which we tried utilizing with a two man collaboration success was not within reach. The harder we tried the more we seemed to fail. You ever hear of street performers ending up living in luxury out West? It never happens and it was the same for us. We were never going to make it; the music industry is a vile, dog eat dog world. The next big thing is chosen by people that haven't got a musical bone in their body and the whole rise and fall of artists is based solely on crafty marketing ploys and gimmicks engineered to take advantage of the masses. Talentless hacks are adored and worshiped as musical geniuses while thousands of worthy musicians are never given the light of day. It didn't take us long to realize this and so angered and bitter we were with society and our own misfortunes we eventually found ourselves venturing to a place that shared our views, a place underground. A place many believed to be a place of no return'.

SAMSON  
'I had heard a smatterings of rumours, Rex had heard a smattering of rumours, we met others who had heard a smatterings of rumours. When we put it all together we devised that there must be some degree of fact in there somewhere, and however small it was, if it indeed existed then we had to go there and see this place with our own eyes. It was desperation. Even now I don't know how we found the balls to go under there but we were undeniably in a dark place with no one to turn to apart from each other. No one else on the surface world could seemingly understand our disillusionment with society. It wasn't even curiosity that got the best of us; we really were at the point of no return. On one the coldest nights of a particularly brutal New York winter we ventured into the Unnamed District and the rest they say is history'.

LUKE  
'What a remarkable story. That was very brave of you'.

AVA  
'But how did you make it so big when so few people know about what's happening under the city'?

DENNIS  
'You underestimate the pull of Mickey McKay'.

SAMSON  
'Mickey fell in love with our music. He loved that even though we sung about the need for rapid change and the pitfalls of society that our music remained positive and jovial. He felt warm listening to our music and compelled to further his masterpiece that was his underworld.  
Even though we were in some horrible places we never lost hope. We always maintained that we as humans–with seemingly unlimited potential–that we didn't have to submit to a society that wanted us to be a blip. Every human has it in them to do something remarkable; it's something I firmly believe. There is something we can all do better than anybody else on this planet. It may take a lifetime to find it, we may never find it, but I truly believe we have some unique talent that defines who we are'.

DENNIS  
'We wanted to compel people to change openly and freely, we didn't want to incite violence and riots like most other musicians do these days. We wanted to make people proactive and open about change. Mickey fed off this energy and fell in love with our work. He was bold enough to take a gamble on us after the War of the Bands and we've been forever grateful for that'.

LUKE  
'War of the Bands'?

The Secret of Youth look amongst one another with wide smiles etched onto their faces.

SAMSON  
'The War of the Bands is like the underground equivalent of the Olympics'.

DENNIS  
'It's bigger than that'.

SAMSON  
'Ok the Superbowl then'.

DENNIS  
'Bigger than that'.

SAMSON  
'Imagine if you rolled every Superbowl into one'.

LUKE  
'It's that big'?

DENNIS  
'It was probably bigger'.

AVA  
'So you beat out all the competition then'?

SAMSON  
'We didn't beat anyone; there are neither winners nor losers in music. One cannot simply pit musicians against one another and hope to find a winner as they do up here in the surface world. The whole premise behind these frivolous, pop idol shows is contrary to everything art stands for. There's no right or wrong in music, no one performance is greater than another; it's all to do with perception. Art is what each individual makes of it and it was to our fortune that Mickey found something in our performances that compelled him enough to promote us to the outside world'.

DENNIS  
'He took us under his wings and as you have already borne witness to tonight the power the man holds can never be understated. Because of Coach we were propelled into the limelight, fulfilling our childhood dreams on the world stage. It would have been easy to lose our heads in all the hype but it's something we meditate over every day. Modesty–at least in my mind–is the most underappreciated virtue'.

LUKE  
'So Mickey wants you to act as preachers to the world'.

EMILE  
'Correct. Music as you have may have seen tonight from Barry Ernest's emotional performance at the Doomsday Concert can speak levels no great speech could ever hope to. Sure we get to drive around in limos and private jets, but money isn't integral to our survival. We still live underground when we aren't preaching our message. We refuse to accept any advertising contracts or deals and we donate all of our monetary compensation to charity'.

LUKE  
'You give every cent away'?

SAMSON  
'It's mostly based on principal but also due to the fact that we have no need for money down there. The underground environment is unique in that we have no currency or form of bartering. It's a take what you need economy where every resident is in it together'.

Ava is stunned by the sound of this.

AVA  
'Does the system not get abused'?

REX  
'I suppose it does. But no system is perfect and our system–based entirely on trust and teamwork–hangs inherently tediously in the balance. But we're all in it together; either we survive together or we go down together-for now, at least, the system is thriving'.

SCENE: PRIVATE JET (DAWN)

('This will destroy you' by The Mighty Rio Grande plays.)

The jet flies smoothly across the Atlantic. Ava is asleep stretched across three seats. Dawn is breaking outside. We see Luke gently wake her up and usher her toward the other side of the plane.

AVA  
'What's going on'?

Still groggy from being awoken, Ava is reluctant to follow. All the band members are lined across the other side of the plane with their heads pressed against the windows.

AVA  
'What are they looking at? Why are we flying so low'?

LUKE  
'You'll never guess'.

AVA  
'This better be good'.

Ava presses her face against an empty window and gazes out. Below them, revelling in the early morning light is the Titanic. Three of its four funnels emit smoke as it sails at full speed across the calm waters.

REX  
'The unsinkable ship in all her glory'.

Ava is blown away by the image of the mighty ship sailing against the magenta pink backdrop.

EMILE  
'Isn't she beautiful? I'm so glad they rebuilt her; what a testament'.

As the jet flies onwards Ava's eyes remain fixed on the majestic ship.

SCENE: BARCELONA AIRSTRIP

The jet lands smoothly onto the private airstrip in Barcelona. Weary eyed from the experiences of the past twenty four hours, Ava rests her head on the side window. She closes her eyes and listens to the sound of the soothing wind hitting the jet. It is a moment of tranquillity.

(' _This will destroy you' by The Mighty Rio Grande ends.)_

Chapter 13  
SCENE: BARCELONA

The band's limousine makes its way through the streets of Barcelona on route for the Nou Camp. The limousine's free run comes to a halt when it suddenly veers into an all too familiar sight of what appears to be a protest.

DRIVER  
'This may take a while'.

For Ava, it appears to be déjà vu. As they etch closer to the crowd Ava soon realizes that this isn't a mob of enraged protestors that she had been so accustomed to seeing in New York. Rather it is quite the opposite. People in the streets are losing parity not because of rage but because of ecstasy. Whereas seemingly everywhere else in the world people were lamenting the sombre state of affairs, here, in the heart of Catalonia, on this Saturday afternoon, the exact opposite was true. As the limo makes its way slowly through the crowds they see the whole city is draped out in carnival mode. It seems everyone–ticket to the festival or not–wants in on the action.

DRIVER  
'I have been here during the Olympics and following Barcelona Football Club's greatest victories and I can honestly say that I have never experienced anything that compares to this'.

SCENE: OUTSIDE THE NOU CAMP

The iconic stadium appears into view. Just before entering the underpass that leads directly underneath the stadium the limo passes a rather bizarre advertisement–especially from an American standpoint–depicting The Turk endorsing a major animal rights organisation. He looks like the most unlikely ally for such a cause. The vehicle enters the underpass and drives onwards deep into the bowels of the Nou Camp. The limo breaks to a halt before a media circus. Almost as soon as the vehicle stops it is fully surrounded by the swarming media.

LUKE  
'How can you ever get used to this'?

REX  
'Nothing...absolutely nothing prepares you for this. Just you wait'.

The security man gives them the thumbs up and the door is opened. The Secret of Youth pile out and Luke and Ava follow Dennis who is the last member out of the limo. Ava grasps Luke's hand and they attempt to follow Dennis through the frenzy. Once the media get their bearing they converge around the rear of Dennis essentially cutting off Luke and Ava from the band. They catch one last glimpse of Dennis studiously making his way through the madness. It is a peculiar sight, seeing the frantic media circling a fragile, seventy eight year old man. To Dennis' credit he remains the ultimate gentle man–even in the face of such hysteria. Unlike their new, famous friends, Ava and Luke pass through the crowd unannounced almost as though they are draped in some invisibility cloak of unimportance.

Once they are free from the grips of the crowd they wander aimlessly backstage amongst the flurry of stage hands, assistants, speakers and musical instruments until they finally find an opening into the coliseum.

AVA (looking at the crowd coming into view)  
'How the hell am I going to explain this to Perkins and my people back home'?

SCENE: NOU CAMP (AFTERNOON)

(The start of 'Dissolve Me' by Alt J plays.)

We see the vast cauldron that is the Nou Camp at full capacity. It is an atmosphere unrivalled elsewhere. In the centre of all the hysteria is an elevated, open air centre stage where some of the most well-known acts of the world have been playing since Friday afternoon. The youthful crowd–that is said to be in the extent of 150,000 people–are in jovial spirits basking under the Mediterranean sun. The overwhelming density of young, free-loving people who hold the knowledge in their inebriated minds that only hours may remain in their lives has the effect of creating a unique atmosphere that is unlikely to have been replicated elsewhere before–or ever again for that matter. Alcohol and drugs are trivial and appear to flow freely without restrictions of any kind. For many, make out sessions often took preference over the music. Above the centre stage, arches an electronic doomsday timer which ominously counts down the supposed minutes remaining of human existence on earth. Underneath the timer are the words: 'With Music, comes life'. If the world was to truly end at midnight, then there was simply no greater place to receive the last rights. Ava and Luke jostle their way through the fervent participants of this extravaganza soaking up the once in a lifetime atmosphere they were fortunate enough to experience.

('Dissolve Me' by Alt J ends.)

SCENE: NOU CAMP (LATE AFTERNOON)

Luke and Ava decide to take a break from the concert and head outside of the coliseum to get something for dinner. They follow a steady stream of people departing the stadium towards an area lined with grassy embankments. The tempo is less frenzied out here and a more relaxed vibe resonates. Some of their fellow concert attendees are showing off their own musical talents by busking in the surrounding parking lot while others are sun-bathing on the embankments taking full advantage of the late afternoon sunshine.

Ava and Luke head towards a line of food carts situated in the car park. A single file line stretches from a solitary hotdog stand while the other myriad of food stands lie for the most part deserted. Ava tries feebly to catch glimpse from her petite height.

AVA  
'What's the attraction here? It's just a hotdog stand'.

Ava's comments prompt a series of replies from people in the line.

GIRL IN LINE 1  
'Just a hotdog stand'?

GIRL IN LINE 2  
'This is Jonathan we're talking about'.

GUY IN LINE  
'He's a living legend'.

AVA  
'And who might Jonathan be'?

A red haired girl with a wavy fringe and eccentric dress style turns around from in front of them.

RED HAIRED GIRL  
'He's one of the great whistleblowers of the century. Does that ring a bell'?

Ava shakes her head.

AVA  
'I'm not from Europe'.

RED HAIRED GIRL  
'You must have heard of the man who held a high end position in one of Germany's largest manufacturing companies and exposed them for polluting waterways'?

AVA  
'No I haven't. What did they do when he exposed them'?

RED HAIRED GIRL  
'He didn't expose them straight away'.

AVA  
'What do you mean'?

RED HAIRED GIRL  
'Well at first he took his concerns to head management who not surprisingly dismissed them swiftly enough. They enlightened him on the way the world worked. It–they said–was the way this company did things. It was only then, dismayed by the companies lack of morals and arrogance that he went to the press citing public safety. He started distancing himself from the company he had spent the entirety of his adult life serving. In his mind, he was protecting the environment, the people of Ruhr and the future generations from the far reaching devastation of the firm's externalities but in the eyes of the juggernaut manufacturing giant he was now public enemy one'.

AVA  
'That's dreadful'.

LUKE  
'I'm guessing it gets worse'.

RED HAIRED GIRL  
'Unfortunately it does. The media comforted him in the early days of the court case but it wasn't long before the dreaded label of 'whistle blower' was assigned to him. Instead of being treated as a hero and a testament to human decency by the media he was instead shunned as a pariah. The public were more courteous in their treatment of him but as time passed everyone moved on. The corporation lost tens–if not hundreds–of millions of Euros in profits. After an initial decline, the manufacturing firm recovered in the years that followed and resumed churning out multi-million dollar profits. When all was said and done though, Jonathan was the irrefutable loser. Bankrupted by endless court actions against him by the cash powered firm, Jonathan was literally forced onto the streets. Unable to provide, and with the emotional pummelling he'd taken he was left in tatters. He lost his house due to the legal fees and his father passed away unexpectedly in the months that followed. Not to mention he was constantly haunted by a barrage of death threats from pseudonyms far and wide'.

LUKE  
'A living hell'.

RED HAIRED GIRL (excitedly)  
'Down and absolutely out, you could be forgiven for thinking that he would disappear into obscurity, never reeling his head in public again. Not a chance! Inheriting his deceased father's hotdog stand, the man, who had been once on a seven figure salary set straight to work and he's been serving hotdogs ever since. The press caught wind of his telling story and printed a few articles on his story and since then the legend has grown'.

LUKE  
'So his hot dog stand has become a pilgrim of sorts'?

RED HAIRED GIRL  
'He's become an bonafide legend–at least in this part of the world. He is a regular at all the major festivals in Europe'.

AVA  
'What a remarkable story'.

As they edge forward in the line they can start to make out the image of the man who refused to yield to the endless misfortune that has been bestowed upon him. He is a tall, powerfully built man, with short black hair and sun kissed skin. The caravan is draped in the array of death threat letters he has received in the past. The letters flap gently in the late afternoon sea breeze. Directly behind Jonathan hangs a hand drawn caricature cartoon of him triumphing over the despicable corporation he had once dedicated his life to. Ava and Luke are now only one place away from the front of the line. Jonathan is in conversation with the red haired girl they had just been talking to about the wonders of surfing. He speaks philosophically about the powers of the ocean and the enduring respect he holds for the waves, the water and the animals of the deep.

AVA  
'This man is not a hotdog vendor; it must be a masquerade. He's a preacher, a philosopher, A Zen master. It can be the only explanation. People have come from far and wide to hear the wise man speak and dwell and mediate on his words forever and a day'.

The girl in front of them makes way and it is now Luke and Ava's time with the wise one in his modest temple.

JONATHAN  
'Hello my brother and sister. What will it be'?

So taken aback by their sudden audience with the captivating man before them they struggle to force out their orders. To their shame they stand in silence as the man sets about conjuring up their dinner. He hands them their food gracefully and bids them farewell but Luke isn't going to let the moment pass.

LUKE  
'Why is God testing us so'?

Jonathan sizes up Luke for a moment. His stoic expression does not change.

JONATHAN  
'The true character of a man or woman can only be fully gauged in their darkest moments. Anyone may join in a blissful choir of angels but it takes a true person of courage to start a joyous solo in the face of naysayers. My friends, hardships exist to bring out the best of us. Only someone who is in a place of unfathomable darkness can find that half an inch of genius that exists in each and every one of us'.

SCENE: NOU CAMP (DUSK)

(The instrumental solo in 'Time to Run' by Lord Huron plays.)

If the festivals promoters were to be believed then the Earth's final sunset had played its course. As dusk sets in the tangerine sky glistens on defiantly. Outside the stadium, hundreds of people lie on the grassy embankments taking in the beauty. A number of bonfires have been lit and people dance buoyantly around them. Lines of people collect and light candles from the bonfires to take back into the stadium. We see a girl carrying one of the candles as she catches a ride back into the stadium on her boyfriend's shoulders. We follow the couple through the stadium gate entrance and into the crowd where a band is playing passionately in the dusk light. The crowd are swaying their lights perfectly in time under the countdown timer which now displays the figures, four hours and fifty minutes. The sight of the packed stadium and the comet against the backdrop of the dying light is an enchanting image.

(Instrumental solo in 'Time to Run' by Lord Huron ends).

SCENE: NOU CAMP (NIGHT)

There is now an air of tension surrounding the Nou Camp. The infamous doomsday timer has almost run its course. The state of gaiety which had been so prevalent only hours ago in the late afternoon sunshine is now replaced with a mood of increasing anxiousness. Hale Bopp's Friend, the comet whose appearance had created the premise for this concert in the first place, is on this evening, at this hour, at the closest point to Earth that she will ever reach. On stage, The Secret of Youth are finishing off their set.

MUSIC  
'He said: ''won't you attend the Yale prom with me?  
Think of all the famous people we'd see.  
Dancing and frolicking away.  
Our youth will last forever don't you see?  
These are the greatest days of our lives''.

He said ''oh won't you meet me in Commons at half past three?  
We'll see how many shots of vodka we can drink.  
Basking in our glory, blinded by our innocence.  
These are the greatest days of our lives''.

Now I'm old and filled with distain.  
Looking through the attic I find it.  
A note from my past, a note from my lover.  
A memory consigned to my dreams.

It said ''won't you attend the Yale prom with me?  
Think of all the famous people we'd see''.  
Filled with sadness; my youth had passed away.  
Those really were the greatest days of my life'.

The song finishes and The Secret of Youth link arms accepting the crowd's applause. There are now only minutes remaining on the countdown timer. The impending doom has the effect of creating a desperate scramble as thousands of people attempt to make it as close to the stage as possible in time for the infamous final countdown. Luke now finds himself fully focused on protecting Ava who is being throttled around something fierce by the ever increasingly hostile crowd. This sudden, unexpected fractiousness is disturbingly becoming more dangerous with each passing minute as the sands of time run its course. With the timer now showing less than four minutes remaining there is just enough time for one final ballad.

Tens of performers who had taken centre stage throughout the festival's two days–including The Secret of Youth–return to perform the final swansong. Fittingly, the honours of the final song is bestowed upon The Smiths' record, 'There is a light that never goes out', a record that had been given new life and inspired contemporised people the world over during the course of the last two months. The jangling guitar sounds and with the crowd in full voice the final countdown has well and truly begun. Ava and Luke attempt to backtrack to avoid the raucous crowd but it proves to be a helpless task in the face of such hysteria. As the final chorus is sung with immense passion the floodgates are suddenly opened up and the crowd begin to invade the stage. The carnage had undeniably been building for hours and the fact that it had been prolonged until the final twenty seconds was a miracle of sorts, but when it happened, it happened so rapidly and so vigorously that it bordered on savagery. The open air stage is swamped by the obtrusive crowd who overrun it in a matter of only seconds. Security is no match against the tidal wave of incited youths. Luke and Ava hear the screeching of the microphone and then only the pre-recorded backtrack can be heard. In amongst all this activity the final countdown has begun.

CROWD  
'Ten...nine...eight...seven...six'–

Ava grasps Luke tightly.

CROWD  
'five...four...three...two...one'.

There is dead silence as though time itself has stood still. Finally an almighty bang sounds from the sky which startles even the bravest souls in attendance. Screams are sounded from the hundreds of thousands of people, however, this is no Armageddon in the making, nor is it the fragmentation of the cataclysmic comet coming down to Earth bringing death to all as many had proclaimed. Instead, the largest and most spectacular firework display man has ever gazed eyes upon is playing out before their eyes. Luke looks up and sees every part of sky that is visible from the stadium decorated in the sumptuous display. Every colour is on show augmented by meticulous coordination and unprecedented audacity. It is like staring into an out worldly kaleidoscope. People hug and kiss strangers in the moment. Nothing could compare to the release of joy that emulated from the Nou Camp in that one time in history occurrence. Luke looks at Ava and sees that she is looking blankly into his eyes. Their lips meet and they make out amongst all the craziness around them.

SCENE: HOTEL

(The end of 'Silent Tears' by Little Lapin plays.)

The hotel room is lit only by the glow of television which Ava is watching from a sofa.

TELEVISION REPORTER  
'We are live from Los Angeles where a bizarre story is unfolding'.

The door opens and Luke enters.

LUKE  
'It's all sorted. They have allowed us to check out at noon. Can you believe it'?

Ava rises up from the sofa.

LUKE  
'If we leave the bags packed, we can sleep in'–

AVA  
'Shut up'.

Luke is taken aback. Ava holds her hand out, Luke slowly accepts. Ava leads Luke through the darkness toward the bedroom. The news report continues playing from the television. On the monitor, a helicopter is tracking a mass of about a hundred trolley people led by a solitary figure up front. An enthusiastic reporter is running in front of the group giving a live commentary.

NEWSREPORTER 1 (speaking excitably)

'Yes Peter, this has taken everybody by surprise out here. What we do know is that a young man has arrived in one of the most destitute, poorest parts of Los Angeles and has managed to persuade a number of homeless people to follow him in some form of protest movement. We don't know exactly what this man has said to entice these people to follow him or where he is leading them exactly. This is very much a developing story at this stage'.

The television fades to black as it times out and there is total darkness.

('Silent Tears' by Little Lapin ends.)

Chapter 14

SCENE: OCEAN CITY

We are looking at a panoramic view of world's most novel city–Ocean City. Endless promotion by various tourist agencies and media personal would have you believe that the creation of the planned city was the biggest thing in the region since oil had been discovered in 1908. Funded by the tremendous –but in recent times rapidly diminishing–reserves of oil money, Ocean City had been created to not only rival but better Dubai, Doha and the other pearl cities of Arabia. It was a challenge she accepted boldly. Built at a cost in excess of hundreds of billions of US dollars it is a glorious sight. The eloquent, modern city is set against the backdrop of the surrounding sun kissed hills and skirts around a large wave-dominated barrier estuary. For all of its awe though, the city is still not fully able to fully shake off the sterile, contrived nature of its origin.

Hundreds of millions of dollars had been spent lobbying hard with the major airlines to ensure Ocean City was being taken seriously as a long haul stopover destination. The Emir, himself, had come out and proclaimed his city as the 'long haul capital of the world'. The Emir's thinking was simple. If he could better Dubai, if he could steal her thunder and overcome the status quo, his city could attempt to limit the damage of the oil losses by surviving off tourism for years to come. It was an ambitious, costly and for some an unthinkable experiment. For the Emir though, it was a risk he deemed necessary for the good of his kingdom and the generations to follow. In a bizarre twist that shocked the world, The Emir–recognising the terminal death awaiting the other oil dependent Kingdoms in the decades to come–had gone against the highly conservative nature of the region and drastically 'Americanised' his planned city. Promoted by marketing heads as the centre point of the Earth and as an oasis in an otherwise unstable and unpredictable region the jury was still out on the final verdict of its success.

SCENE: STREETS OF OCEAN CITY

Ava and Luke's limousine veers out from the airport and onto a motorway. As they enter the motorway they can't help but notice a massive tourism billboard promoting trips to New Zealand. The advert depicts an oil painting image from the 1800s of the Pink and White terraces which reads: 'Risen from the ashes. Come see the replicated natural wonder'.

As they drive through the city, Ava and Luke notice that some of the houses they have been passing are decorated out in preparation for Halloween. Halloween in the Middle East! It was incredulous. As they enter the central business district we see that the city appears to be a strange concoction made up of a unique blend of influences from America, Dubai and Japan. The latter could be seen best when the limo drives past a controller built into the sidewalk enabling people to play public video games. The images for the games are being beamed up onto a LED lit high-rise building architecturally designed to look like a giant swan.

SCENE: AMERICATOWN

The taxi drives through Americatown. A banal take on the Chinatowns found in hundreds of cities worldwide. Rows of American fast food joints, diners and casinos blur by as they drive along the main street. It's like Las Vegas on steroids. Further down the strip we see the neon theatre sign lights that are the Ocean City's attempt to match Broadway and the West End.

SCENE: PIAZZA

We are looking at a piazza dominated by life size, robotic dinosaurs. A fifty foot Brachiosaurus is eating the leaves from tree tops. A Pterodactyls has been programmed to fly across the piazza to a ledge. The king of the dinosaurs, Tyrannosaurus Rex, lets out its thunderous roar from the centre spot of the square. Luke and Ava navigate their way around the robots while they pull their luggage. Playing across the piazza is a video from a display the size of a movie theatre. The video depicts a young man promoting himself in a dating video montage by listing his net worth and income. The montage ends and another video commences for the next affluent bachelor. We get the impression that this is not the Middle East of yesteryear.

SCENE: BOTANCIAL GARDENS

Luke and Ava eat lunch in a large grass amphitheatre alongside other picnic goers scattered across the mighty venue. Fronting the amphitheatre is an impressive sound stage where a German scientist is giving an excitable research pitch to the masses. Despite wearing a white lab coat the man looks more like a rock star than a scientist. His hair is big, frizzy and waist length and he sports long earrings from both ears. It really is a sign of the times; the science community have embraced celebrity like status in order to channel private funding from donations to put towards their research. Standing beside the scientist on the stage, looking a little out of place, is what appears to be an adolescent boy.

SCIENTIST  
'The fountain of youth. A legend that has been retold for many centuries. The stuff of imagination and dreams. The desperate longing for former beauty; the return to better times! What if I was to say it was possible? What if I was to say that I am only one year away from constructing that highly desired and sought after fountain of youth and building it in a town centre near you'!

The crowd gasps in delight.

SCIENTIST  
'For too long we have given in; pursuing policies of appeasement. Well appeasement didn't work for old Neville Chamberlain and it sure as hell has failed us. If I held a gun to your heads and asked you the age of this man standing beside me what would be your estimation?

He starts pointing out people in the audience.

AUDIENCE MEMBER 1  
'Fifteen'!

The scientist takes out a realistic looking gun and fires. There is a scream from the audience and then delight as they realize that the gun has fired a prize into the crowd.

SCIENTIST  
'We have our first victim'.

AUDIENCE MEMBER 2  
'Twelve'!

The scientist fires again

SCIENTIST  
'I didn't say stop'.

AUDIENCE MEMBER 3  
'Twenty'.

He fires again.

SCIENTIST  
'A mass genocide may take place here today if I do not intervene. The man beside me is aged forty one'.

There is a huge gasp from the audience.

SCIENTIST  
'This man, Paul Wackerman, holds the secret to eternal youth. He has a growth hormone deficiency which I have been able to harness. In exactly one year's time I will allow you to take a sip from the fountain. I will allow you to be forever young'!

The audience cheers emphatically but Luke and Ava are unmoved.

LUKE (sarcastically)  
'What a time to be alive. One can only imagine what the posterity has to look forward to'.

AVA  
'Is there any truth in what he is saying'?

LUKE  
'It's a mixed bag with scientist these days. Some of them are running glorified Ponzi schemes with donations. Some of them I assume are doing good'.

AVA  
'I suppose it comes with the territory. The dangers of allowing scientists to grace celebrity magazine covers alongside actors and socialites'.

SCENE: WATERFRONT

Ava and Luke skateboard along the Ocean City waterfront promenade. Ava is wearing surfer clothes. Her hair glistens under the Arabian sun, falling in beach blonde waves. She is barely recognizable from the woman Luke met a few days ago. The promenade is well populated with people out running. Almost all the runners are barefoot, embracing the latest science fad of the day which the multinational sportswear corporations were doing everything possible to discredit. Lining the walls of the promenade is a row of art deco styled promotion posters for an upcoming World's Fair set to be staged in the city next year. We get a sense the city's stocks are on the rise.

The couple skate parallel to each other without a care in the word until a startling reminder of the times reveals itself further down the waterfront. The remnants of one of the worst oil spills of the Twenty First Century can be seen in all of its horror. Thick layers of the ghastly oil have coated the coastline black. A number of volunteers rake and shovel black globs while others collect oily debris in plastic bags. Ava and Luke jump off their skateboards and without even saying a word head towards the shoreline to help out.

SCENE: WATERFRONT - LATER

Luke holds a bird still with both his hands while Ava goes to work cleaning its oil soaked feathers with a toothbrush. Every so often she bathes the poor thing in a bucket of water to rinse off the vile oil.

AVA  
'We have to be realistic. The prognosis is never good for wildlife after an oil spill but one has to try at least'.

LUKE (struggling to hold the bird down)  
'I think he's got a little fight left in him'.

AVA  
'The worst thing about all this is that the entire eco system is likely to be turned on its head. The devastation this spill has caused is unfathomable'.

A volunteer comes to collect the bird for further treatment and release. Ava helps Luke position the bird in the cage. Once the bird is secure Ava surveys it again looking on into his downhearted eyes. She fights back tears as Luke comforts her.

AVA  
'I wish him well. I really do hope he can make it'.

LUKE  
'You've done a great thing'.

AVA  
'It's just not fair'.

Luke in comforting Ava sees within eyeshot an oil soaked crab lying on the shore.

LUKE  
'I could not agree more'.

Once Ava has regained her composure the couple get back to work. Luke begins the seemingly endless task of raking the disgusting clumps of oil. As he starts to go about his work he is taken aback when suddenly the cleanest man on the beach approaches him. The man is dressed in a pristine Kandora and stands before them holding a folded piece of paper.

KANDORA MAN  
'Are you together'?

LUKE  
'Yes we are'.

KANDORA MAN  
'It appears that you have missed something in your clean up'.

The man passes the folded piece of paper to Luke and moves on towards the other volunteers.

AVA  
'What is it'?

Luke unfolds the note and reads it.

LUKE  
'We've been fined for showing too much skin'.

AVA  
'What'!

She tries to snatch it but misses. Luke grins.

LUKE  
'No I'm kidding. In all seriousness, you're not going to believe this'.

AVA  
'I'll believe anything after the last few days'.

LUKE (reading from note)  
'You have been invited to the Emir's palace tonight at seven o'clock. We request the honour of your presence at the Emir's fundraiser for the Gulf oil spill. A special guest will be in attendance. Please dress formally and conservatively'.

AVA (in shock)  
'We're in the band. We're not the fifth'.

Luke starts laughing.

LUKE  
'What the fuck? You guys have the weirdest sayings'.

AVA  
'It means we're not unlucky'.

LUKE  
'The band? The fifth'?

Luke is struggling to stop laughing.

LUKE  
'I'm sorry I can't help it'.

AVA  
'It's an idiom. You don't know about the genesis of the most famous band in history'?

# Chapter 15

SCENE: OUTSIDE PALACE

Ava and Luke step out of a taxi onto a red carpet. The carpet leads from the spacious driveway through a pristine front façade to the entrance of the Emir's majestic palace. They are dressed in their best. Luke– who is clearly not as accustomed to this as Ava– is playing around with his bowtie leaving us with the impression that it's the first time he has ever worn one. Ava looks stunning in a long sleeved black dress. Her hair has been done up in a braided updo. After the initial shock of being at such a hallowed place, Luke regains his poise and pulls off a debonair look as he leads Ava down the carpet.

SCENE: FUNDRAISER

Performing for the attendees is the famous singer, Susan De Vrij. Susan exhibits a melancholy figure dressed in a long length cardigan and an oversized black sunhat. In recent times, she had been embroiled in a number of controversies, so much so that she had voluntarily departed America for self imposed exile overseas. Luke and Ava pensively watch her performance.

SUSAN DE VRIJ  
'Unto the revelation, Unto the war is won.  
Come to Southern Rhodesia...come and have fun.  
Untoward neighbours.  
The smoke that thunders says some.

Come to Southern Rhodesia.  
Jacaranda bloom under the sun.  
Flame lily, big five and savannah.  
Soapstone birds...find one.

Goodbye Rhodesia.  
Haunted were some.  
United as a nation now?  
Lawlessness...will we ever be one'?

LUKE  
'I assume this is the special guest'?

AVA  
'Who is she'?

LUKE  
'She was really big a couple of years back but she's been erratic ever since. Let's just say her lyrics are open to interpretation'.

Luke guides Ava through the dignitaries, royalties, and prominent people of the day towards the hors d'oeuvres.

LUKE  
'That man we just passed took Aston Villa to European glory. And that man with the beard over there is a dictator. They call him the Persian spider. The American government tolerates him remaining in his web believing he keeps all the pests away'.

AVA  
'What if he bites'?

LUKE  
'Then we better hope he doesn't have poison in his arsenal'.

Ava shrugs.

LUKE  
'Oh...see that little man in the corner over there. He is a billionaire. He created Liberty 1.0.

AVA  
'And what would that be'?

LUKE  
'Only the highest selling sex robot in history of course'.

AVA (Guffawing)  
'A sex'–

She stops immediately. To her great surprise the Emir's son is ushering his father towards them through the crowds.

EMIR  
'As-salamu alaykum'.

He shakes Luke's hand.

LUKE  
'Wa Alaykum As-salam'.

Much to Ava's surprise the Emir shakes her hand too.

AVA  
'Wa Alaykum As-salam'.

EMIR  
'It is always a privilege to have Americans grace my shores. It always feels like old friends catching up'.

LUKE  
'It is a privilege to meet you too. We can't thank you enough for the invitation to your beautiful palace'.

EMIR  
'You're very welcome. Now can we can please put our pleasantries to the side for a minute. I have a question I must ask you. I apologise if it comes off a little forthcoming'.

Luke looks at Ava.

LUKE  
'Certainly'.

EMIR  
'Why is it that Americans say 'mom' and everyone else in the English speaking world says 'mum'?

Everyone starts laughing.

EMIR'S SON  
'I must apologize for my father. He is infatuated with all things Americana. He cannot restrain himself from asking all manner of miscellaneous questions relating to American culture'.

EMIR  
'It has always fascinated me that's all'.

EMIR'S SON  
'You were also fascinated with cheerleading only half an hour ago. One can only hope we are not going to have a repeat of that conversation'.

EMIR  
'I was merely wondering if it's something we could look to incorporate'.

EMIR'S SON (smiling)  
'I'm sure our neighbours would fail to appreciate it. Perhaps in a few years Father'.

Luke nods in agreement.

LUKE  
'Cheerleading has been banned on many levels in the States and I believe factions of people are trying to implement further bans as we speak but to answer your first question I guess I can only put it down to America. It likely doesn't have to make sense; it's just American'.

EMIR  
'Truly fascinating. I'm always learning something new about the land of the free. Only today I learnt that there are laws still in place from the early 1900s preventing people from collecting rainwater. Punishment for breaking the crime can include imprisonment'–

EMIR'S SON (cutting in)  
'You can understand why we are not very popular with our neighbours. My father has taken a very unorthodox approach to saving his kingdom'.

EMIR  
'There is no denying that I have my critics who slam me because they think that I have westernised the city. Granted, we do have alcohol, gambling and Americatown but I'm merely innovating with the changing times. The oil days are over and my stubborn neighbours just can't accept this reality. They say I'm a ''sell out'' and ''out of touch''; it truly is preposterous'.

EMIR'S SON  
'Words will never hurt us but unfortunately we have no control over these wretched oil companies smarting in the white dwarf stages of their lifespan'.

LUKE  
'We are very sorry to hear about the oil leak'.

EMIR  
'It is something I predicted many years ago. It is a mutual assured destruction of sorts. These oil companies are sabotaging their competitors and blighting what is left of their rival's goodwill in a desperate last ditch attempt to flog their own dead horse'.

AVA  
'You believe the sinking was pre-emptive'?

EMIR  
'I bet every inch of my city that it was. These kamikaze attacks may drive the profits up of the oil companies not causing the damage but it is only a short term gain. They may remain in stage one of denial but reality will hit home soon enough'.

One of the Emir's people whispers into his ear and he excuses himself.

EMIR  
'You will have to excuse me. It has obviously been a great pleasure to meet you both. I trust you will enjoy the rest of the evening'.

And with that the Emir is lost in the crowd.

AVA  
'Despite the differences in their views on America that man–for better or for worse–is the splitting image of Tony Perkins'.

SCENE: FUNDRAISER - LATER

The Emir is giving a speech from the podium at the front of the capacity crowd in his prized ballroom.

EMIR  
'Now before I introduce our special guest tonight I have some words I would like to add about him...or her. Now I must stipulate that this guest has urged me to keep this information anonymous. However, I feel in light of some of the press they have received in recent times that it is prudent to highlight not only their generosity but also the unequivocal love for animals that they hold. While this individual may remain an enigma to many people of this world, to me, at the very least, they have always been a very dear friend and someone I have admired greatly. Their modesty, kindness and passion for wildlife are qualities so often overlooked by the media. Their donation tonight of two million dollars (gasp from crowd) will go a long way to assisting the cleanup of the Gulf Oil Spill. So without further ado I would like to introduce the man who made all of this possible tonight, the gold medal winning coach, provocative, and most importantly a good friend of mine, Atay Kaplan, better known as 'The Turk'.

A rapturous standing ovation sounds as one of the most polarising men on the planet walks into the hall. He stands six foot six tall and is dressed in his trademark sorcerer's attire. He looks like a character from a work of fantasy. As he slowly makes his way to the stage he signs autographs for his adoring fans.

AVA  
'We're at a banquet with the Turk; I've seen it all now'.

LUKE  
'I don't know whether to be excited or dismayed'.

The Turk is only yards away from them now. He takes a photograph with a couple beside them and then proceeds to hold out his hand to Luke. Luke in a state of shock slowly accepts.

THE TURK (whispering to Luke)  
'I want you to do me a favour. I want you to get better soon'.

He moves on and shakes Ava's hand. Once he is out of sight, Luke stares at Ava in disbelieve. Ava is not staring back though. She is looking down at her hand where she holds a note and another item.

AVA  
'He passed me this when he shook my hand'.

Luke is bewildered.

LUKE  
'What the hell'?

AVA (reading the note)  
'Thank you for your conservation work. I trust you both enjoy this surprise. You two deserve it. Go to floor twenty eight and open the door. It's all yours'.

She holds up the item he had passed to her; keys to a door.

LUKE (stunned)  
'What is going on'?

AVA  
'Is Mickey behind this'?

LUKE  
'Mickey? No way. He can't be'.

The Turk is now at the podium.

THE TURK  
'Thank you, thank you all. What an amazing night. What amazing people. There's no place I am more respected and no place I would rather be right now...well other than perhaps the steps of the Lincoln Memorial in America'.

The crowd guffaws in laughter.

THE TURK

'No, no, no, all levity aside, as you are well aware I have received a lot of publicity in recent times–for better or for worse. In amongst all the scrutiny I take every possible opportunity I can to draw attention to animal welfare and animal rights. As an 'egotistical, brutish man of the highest order' as I was referred to only five minutes ago by one publication I have no trouble standing up for myself. What cannot stand up for itself, however, are the millions of creatures we share this miracle of a planet with'–

Out of nowhere at all Luke starts a coughing fit. People in the immediate area around him start to stare.

AVA  
'Are you ok? You haven't eaten anything, what are you choking on'?

LUKE  
'I'll be back. I have to go'

AVA (worried)  
'Luke'!

He is lost in the crowd.

THE TURK  
'The Gulf Oil Spill is by all accounts the worst oil spill in this region in documented history'–

Ava stands there for some passing moment in her indecision. She finally decides to go after Luke.

SCENE: OUTSIDE PALACE

.

She finds him sat outside in a deserted courtyard. His coughing fit has ceased.

AVA  
'That's not the first time I've seen you do that. Is everything ok'?

LUKE  
'Everything is fine'.

Ava's not buying it.

AVA  
'When we were in New York, why were you the only one not wearing a surgical mask'?

LUKE  
'You don't need to worry about that'.

AVA  
'It's a legitimate question'–

LUKE  
'Don't worry about it'.

AVA  
'I want to know'.

LUKE  
'I have had the flu in recent weeks'.

AVA  
'You're a bad liar'.

LUKE  
'It's gone to my chest'.

AVA  
'You don't give me much credit do you'?

Luke stares aimlessly at the ground.

AVA  
'I'll ask you again...what is'–

LUKE  
'Just leave it'.

AVA  
'I won't leave it. What is'–

LUKE  
'Leave it'.

AVA  
'I'm not going to just leave it. You said back in New York that there was to be no more secrets between us'.

LUKE  
'I was joking'!

AVA  
'Well I'm dead serious'.

LUKE (agitated)  
'You really want to know'?

AVA  
'Why yes'.

LUKE  
'My lungs are fucked'.

AVA  
'So why were you the only person not wearing'–

LUKE  
'Ava enough'!

She is taken aback.

AVA  
'The pollution is bad I understand that, but maybe you'–

LUKE  
'It's not like that at all'.

AVA  
'Then what is it'?

LUKE (grimacing)  
'I wasn't going to tell you but this is my last job before I give it up'.

AVA  
'Last job'?

LUKE  
'As in once we get back to America that's it I'm done. My health is deteriorating month by month'.

AVA  
'I...I...I don't understand'–

LUKE  
'You don't have to understand'.

AVA  
'But'...

LUKE  
'All I have to do is get you safely from point a to point b. That's what I'm legally contracted to do; that's all I have to do. But this job was different. Don't ask me why but I wanted to convince you that there was some good in this world. I told myself I would, no matter how strenuous such a task would be. After seeing this (he snatches the key from her) even I'm surprised. The Turk has a heart of gold it turns out. I really have seen it all now'.

They sit there in silence for a few moments. There is an unspoken understanding between them; Ava doesn't need to ask any more questions. She snatches the keys back.

AVA  
'You've convinced me about this ''outside world''. You've done your job. There's only one thing left to do now and that's to enjoy ourselves'.

She walks back inside the palace. Luke smiles to himself. He has done what he thought to be impossible. He picks himself up and follows her inside.

SCENE: PALACE HALLS

(The third verse in 'Shot at the Night' by The Killers plays.)

Ava and Luke run through the halls of the palace laughing. Luke is leading the way running like a football punt returner sidestepping his way past all the formal, impassive guests. Ava pushes the elevator button and attempts to catch her breath, fighting back laughter in the process.

SCENE: ELEVATOR

Luke and Ava wait in anticipation while the elevator rises floor by floor. A man dressed in a kandura waits with them. Luke stands tall and emotionless trying as hard as he can to look serious. Ava is not able to replicate him. The sight of Luke trying to look professional just makes her even more hysterical. The door opens and the kandura man departs. Higher and higher they elevate until they reach the highest floor of the palace. The elevator opens revealing a majestically carved wooden door at the end of a short hallway. Luke unlocks the door with Ava's key and pulls it back to reveal the most grandiose room they have both ever seen. A lavish indoor swimming pool dominates the ornate Art Nouveau styled room. On the far side of the room is a glass wall that provides a panoramic shot of the rainbow coloured spotlights being beamed from the centre of Ocean City hundreds of feet below. Surrounded by classical pillars and situated right by the glass wall utilizing the view is a jocose.

Two pairs of swimsuits have been placed in anticipation of their arrival. Luke strips off his suit jacket and in no time has dive-bombed into the water. Ava is a little more leisurely in entering the water. She wades slowly into the pool and treads water heading towards Luke. Once she reaches him he pushes her head under. The two play fight, their voices echoing across the extravagant room.

After their swim they sit in the jocose taking in the glorious view of the city from their position at the highest point of the city. Feeling free and alive Luke screams out through the open window to the city below. He feels invincible. Ava follows suit.

(' _Shot at the Night' by The Killers ends_.)

SCENE: HOTEL

Luke and Ava lie in a hotel bed eating strawberries and ice cream. The television plays in front of them broadcasting Ocean City's take on late night television. A very raw presenter with a squeaky voice is interviewing a young woman. Despite the producers best efforts to mirror American style talk shows there remains a noticeable cultural disparity resulting in the show coming across even more artificial than the ones it is trying to replicate.

HOST  
'They always told me that beauty is subjective but you are scientifically the most beautiful woman in the world'?

YOUNG WOMAN  
'Scientifically'?

The crowd laughs.

HOST  
'I have just done what was previously thought to not be humanly possible. I have made a beauty concert sound lame. I have made a contest for the most beautiful woman in the world sound like a convention forum on applied physics'!

More laughter.

HOST  
'But...just so the people understand three billion people voted across the planet in this competition'?

YOUNG WOMAN  
'Three billion people yes. It's a lot'.

HOST  
'Everybody...there is three billion reasons why aliens won't talk to us'.

The crowd laughs.

HOST  
'I mean they can't even get forty percent of people to vote in political elections in some countries and we can get three billion votes for a beauty contest. Are you kidding me'?

The crowd laughs.

YOUNG WOMAN  
'I know right'.

HOST  
'And you're not...but you are now...well you weren't before...a model'?

YOUNG WOMAN  
'No I was just a supermarket worker from Mackay, Australia before I submitted my picture'.

HOST  
'Extraordinary; picked out from millions of contestants, whisked away and now you get to sit here talking to schmucks like me. I bet you can't believe your luck'?

The crowd laughs and applauds.

YOUNG WOMAN  
'There's no place I'd rather be'.

HOST  
'Do you have any advice for the people'?

YOUNG WOMAN  
'Youth is like a flower. Enjoy and appreciate it before the winter comes'.

The crowd applauds.

HOST  
'I think we may be on different hemispheres because winter has well and truly come for me'.

The crowd laughs.

HOST  
'I want to thank my guest, Hannah Kitten. That's all we have time for tonight. Join me tomorrow night where we have another exciting show. It may not be Jurassic Park– yes sadly their DNA is too old–but it is Elizabethan Park. We have the scientist that brought back a dodo to life which survived for five months'.

LUKE  
'Why didn't you enter the competition'?

AVA  
'I wouldn't be able to remember the carefully memorised lines. Youth is a flower and all that'.

LUKE  
'I would have voted for you'.

Ava puts her bowl of ice cream to the side and slowly sits on top of Luke.

AVA  
'Really?

LUKE  
'Maybe'.

AVA  
'You'd do that for me'?

LUKE  
'I'd have to check out the millions of other entries first of course'.

AVA (grinning)  
'Sluck.

LUKE  
'You've learnt to swear I see'.

AVA  
'Am I saying that right? Sluck'?

LUKE  
'What's Tony Perkins going to say when you get back home'?

AVA  
'Blitzbuck'.

She giggles.

AVA  
'That's fun to say'.

LUKE  
'You're going to have to explain so much to him. The sewer, the private jet, the festival, the Emir's private pool and now why you suddenly have added the word for a lightening quick man to your lexicon'.

AVA  
'You left out how I'm going to have to explain to him why I'm making out with my bodyguard'.

LUKE  
'We're making out'?

She kisses him and slowly removes his shirt. Luke removes her bra and they start making out. In the background a music video from another of The Secret of Youth's number one hits has been playing.

MUSIC

'And you show me to the door.  
I'm surrounded by my own madness  
I'll just love you even more.  
Trying to fight through the darkness  
I'm addicted to you even more.

Could you not have known I was unhappy?  
I'm fixated with you even more.  
Why didn't you love me?  
Haven't we been here before?  
You kick me to the curve because you know it hurts.  
But I'll love you even more'.

SCENE: OCEAN CITY AIRPORT

Ava and Luke sit in the departure gate at the Ocean City airport. Sun streams through the airport terminal window. On the departure board we see two commercial flights about to depart for Waddell City, Antarctica and Pyongyang respectively. Seated across from them is a man wearing a bowler hat who is reading Time Magazine. Gracing the cover of the publication is none other than Duncan Strepfield.

# Chapter 16

SCENE: INTERSTATE HIGHWAY

(The end of 'Dissolve me' by Alt J plays)

A cameraman is riding on the back of a moving vehicle filming a tracking shot of a great spectacle. Tens of thousands of people march in unison along an interstate highway in California. At the very front of the legion is the leader of the movement, Jup. Jup is a twenty something man who wears a distinctive, coloured mirror lens visor which hides his eyes. Behind him people from all walks of life follow their leader. A number of young children walk alongside him at the very front of the movement. A giant banner is raised by people near the front of the movement, which reads: 'The March for Hope'.

What had started as a dozen or so homeless people had morphed itself into one of the most iconic movements of the twenty first century. A couple of helicopters land and then take off dropping off supplies. There is a stretched convoy of buses and vehicles following behind the crowd offering all manners of support. This is no flash in the pan protest; it's a well oiled machine unlike anything the world has ever seen before.

('Dissolve me' by Alt J ends')

SCENE: AIRPORT

Luke and Ava disembark from a plane onto a runway. They take in their surroundings as the reality dawns upon them that they are now standing in the heart of war torn Central Africa. Once inside the airport terminal they soon start to realize that the worldwide celebration of the failed doomsday prediction appears to have been a tad premature. Panic stricken people rush in all directions throughout the terminal while fully clad military personal move with purpose. Everyone it appears cannot get out of here quick enough.

Outside of the terminal the couple are escorted by an assembly of suited entourage past a myriad of military vehicles toward a modest two door van –a far cry from the limos they have been accustomed to in recent times.

SCENE: HIGHWAY

The van is speeding its way through the city. They are the only vehicle driving away from the airport. On the opposite side of the road cars are piled up in a traffic jam attempting to make their way to the airport to leave the country. Inside the van a security man debriefs them in patched English.

SECURITY MAN  
'In and out. In and out; that's our mantra. I cannot stress this enough; in and out, in and out. We have not got a second to lose. Civil war could be but minutes away. The American embassy has fled. The business people, the volunteers, the politicians–they're all gone'.

Ava looks at Luke. Despite his seemingly permanent aura of calmness even Luke is showing tell-tale signs that he thinks that they are out of their depth here. Ava presses her head against the window overwhelmed by the reality of her new found situation. In doing so she catches sight of a wounded dog lying helplessly on the side of the road. Another dog sits to the side of its stricken canine friend in an incredible display of solidarity and loyalty.

AVA  
'That dog is hurt. We have to go back...it's been run over'!

Her plea falls on deaf ears.

AVA  
'What's wrong with you? It's dying'.

There is silence. Before the vehicle speeds away Ava catches one last sight of the wounded dog's four legged friend barking desperately for help.

AVA  
'I don't believe it'.

One of the security men slowly pulls out his walkie talkie and makes some terse comments into it in his native tongue.

SECURITY  
'I have let them know. I'm sure they will see what they can do'.

Ava sinks back into her chair. As the van drives on Ava can only naively hope that something more would come of the request–if in fact it was a legitimate request at all.

SCENE: JUNGLE

The journey from the airport into the countryside is tedious. The infrastructure is clearly subpar at best and the constant chiming of sombre updates in the walkie talkie transmission has the effect of heightening their paranoia. The further they drive the denser the jungle becomes.

One of the suited security men points out an interesting sight scattered amongst the rising terrain. Hidden behind a corrugated iron fence and blurred by hazy strands of mist they catch a glimpse of a small settlement. It is a remote commune of sorts in the midst of a jungle clearing.

SECURITY MAN (laughing)  
'The Smithsonian'.

AVA  
'The what'?

SECURITY MAN  
'That's what they call it–The Smithsonian. Americans. From California originally. Many of them. They have not been seen in many days. They were very frightened of the end of the world'.

Luke scrambles to try and catch any sign of life from the eerie community.

SECURITY MAN  
'It's like magic; one minute they were here and then the very next they have disappeared'.

SCENE: LOG CABIN

They arrive at a log cabin which would not look out of place in the Pacific Northwest. A stout, hard-nosed red headed man is standing there waiting to greet them.

RATHBONE  
'Clyde Rathbone. And you must be Luke and Ava'.

They shake hands.

LUKE  
'And where might that accent of yours be from'?

RATHBONE  
'Well let me see. I was born in Germany, raised in Spain, schooled in South Africa, attended college in Australia and now call any country that will pay me my home'.

AVA  
'A mercenary. You must be right at home'.

Rathbone is impressed with her wit.

RATHBONE  
'Do tell me: what on Earth brings two lively looking professionals to death's doorstep'?

AVA  
'We're here to save the gorillas'.

RATHBONE  
'I'm afraid our definition of the word save are different. Taking wild gorillas out of their natural habitats and sticking them in some unnatural zoo is not saving them in my opinion'.

AVA  
'And leaving them here–in this abominable war zone is what you call protecting them'?

Rathbone is noticeably taken aback by her reply.

RATHBONE  
'You're tenacious, ambitious and a little too complacent for my liking. I suppose you would have to be, taking this assignment and all, but nonetheless try to be a little more respectful around these parts. Out here, you aren't at the top of the food chain any more. The thing we humans have to learn is that we are not quite the superior beings we like to make ourselves out to be. Take away our weapons and machines and we are nothing. Our biggest and strongest athletes are no match for the raw strength of some of the animals that reside here. In the same way our greatest intellects are no match for the cunningness and instincts of some of the other animals that live here'.

Rathbone stops talking and sizes them up for a few moments.

RATHBONE  
'Nevertheless things are what they are, please come inside and have something to eat, showers and rest. We will find gorillas soon enough'.

SCENE: LOG CABIN (NIGHT)

Rathbone and Luke are sat on the front porch eating rice and curried beef. Ava opens the front door and joins them. Her hair is sobbing wet from the shower. Luke gestures to her plate.

RATHBONE  
'We will leave here early tomorrow. It's a long drive ahead. As I'm sure you are well aware due to the landslide we will be forced to hike the final stretch of the journey to the holding area of the gorillas'–

Rathbone stops when he sees their reaction to this news.

RATHBONE  
'You weren't informed'?

AVA  
'They said there would be some light walking'.

Rathbone laughs incredulously.

RATHBONE  
'They really threw you two in the deep end didn't they'?

He pauses for a few moments.

RATHBONE  
'Prepared or not, given the state of affairs we cannot afford any mishaps. It may sound redundant but please do not attempt anything stupid. Always listen to me; this is not the place for stubbornness'.

Rathbone looks instinctively at Ava as he says the last sentence.

RATHBONE  
'Once we get to the gorillas we may only have half a day at most. You do what you have to do. Check them out, sign the paperwork and then we're out of here. If war begins this is the last country that you want to be stuck in. Believe me; one cannot imagine the atrocities that will take place in the jungle over the coming months. It will make what Shier Khan did look like a misdemeanour'.

AVA  
'Once we leave how will we know that the gorillas will be ok'?

RATHBONE  
'They are being held in a very isolated part of the country. The landslide, as much of a pain as it is for us, may for them be their saving grace. It's unlikely it gets cleared up until after the war is over. Yes it might be a drawn out process, but I'm confident moneybags will get his apes when all is said and done'.

Luke looks at Ava. It's far from a perfect plan but it would have to do. What other choice did they have?

SCENE: BEDROOM

Luke lies wide awake in the dark listening to torrential rain fall down on the corrugated roof. The rainfall is briefly interrupted by the creak of the bedroom door opening–It's Ava. She tip toes her way across the floorboards and gets into the single bed with Luke. Not a word is spoken between them. They lie under the sheets, eyes wide open, and looking to the ceiling as the drenching downpour continues to fall. It's in this moment that the realization dawns upon them that they are in the heart of Africa, the oldest inhabited territory on Earth.

LUKE (whispering)  
'We're in the motherland'.

# Chapter 17

SCENE: RAINFOREST (MORNING)

The sun rises over the Central African rainforest. We see a jeep driving along a narrow logging road. Once glorious mahogany trees have been decapitated and now lie belittled lining the roadside. Deforestation is rife. Some of the surrounding land is blackened from the slash and burn mantra that has reigned supreme.

SCENE: LANDSLIDE

The landslide appears into view putting the already decrepit road they have been driving along for many miles out of its misery.

RATHBONE  
'End of the line ladies and gentleman'.

They pile out the van and start to unload their supplies. Once everything has been unloaded, like clockwork the driver pulls a U-turn and is lost in the early morning mist.

LUKE (stunned at the speed of the driver's departure)  
'Does he know something that we don't'?

Rathbone snatches a bag from the ground and tosses it at Luke who catches it.

RATHBONE  
'Perhaps he understands that this is the land of malaria, the land of cannibals, the land of snakes and fires. He's no fool. Humanity evolved by staying alive through any means possible. If you want to stay alive around here you get the fuck out of the way'.

AVA  
'I'm sorry...perhaps I misheard you but did you say that this is a land of cannibals'?

RATHBONE  
'You didn't take history at high school'?

AVA  
'I don't need to take a history class to know that cannibalism has been outlawed for centuries'.

Rathbone guffaws.

RATHBONE  
'I've heard that argument that liberal arts degrees aren't worth the paper they're printed on and ordinarily I would agree with this but the centuries of human existence are littered with famous people filled with innate snobbery towards history. Hitler wouldn't have initiated Operation Barbarossa if he had read up on Napoleon, America would not have entered the Middle East if they'd seen what happened to the Soviets twenty fucking years earlier and God damn teams in the Superbowl would run and not pass when they are within yards of winning the game in the final seconds of the game'.

AVA  
'You're certain civil war will bring this barbarism out'?

RATHBONE  
'I have always been of the mindset that the phrase 'rules of war'' is an oxymoron. I mean do people ever read the instructions when they play Risk? You can be sure as hell that the players in this civil war won't be reading the rules either. This isn't professional sport; there are no zebras to official. You challenge a call out here and your left arm is sliced off. What's worse though is the fact that even the most basic laws of the land get thrown out the window. Murder, rape, poaching and the consumption of human meat will take place here just as it has in every previous civil war in this region. That may be the only certainty I can give you at the moment'.

Ava shudders in dismay.

RATHBONE  
'Don't look so surprised; bad habits die hard in these parts. I mean even Canadians get sick of maple syrup'.

SCENE: RAINFOREST

The party march in single file through the rainforest. We see Luke negotiating his way around gnarled tree roots. He swats his hand at an array of mosquitoes in the process. An ever watchful monkey watches the party walk through as it chews on fruit. Intermitted beams of sunshine pour through openings in the forest casting impressive rays of light which contrast against the dark shadows of the towering trees.

SCENE: STREAM

The muddy, placid stream appears out of nowhere in the dense expanse of the rainforest taking them all by surprise.

RATHBONE  
'This may be a good place to stop for lunch'.

Soaked by the wet foliage and fatigued from the morning's hike, Luke and Ava collapse of the banks of the stream. Rathbone lights a cigarette and paces alongside the banks of the stream. Their rest is to be short-lived for Rathbone soon calls them towards him frantically. Taken aback, Ava and Luke carefully make their way to the bank's edge expecting the worst. To their surprise they find firefly like insects emerging from the water.

RATHBONE  
'Behold the mayfly'.

AVA  
'The mayfly; the one day fly'.

LUKE  
'The what'?

AVA  
'They are truly amazing creatures'.

LUKE  
'To think of all the animals that reside in Africa and you're excited about a fly'.

AVA  
'These are no ordinary flies. They rise up out of the water and live for only half an hour before they die. They aren't born with mouths or stomachs or any bodily functions we longer living beings require to survive. Their sole purpose in their miniscule lifespan is to reproduce; they have half an hour and then that's it; they're gone; their life is over as soon as it started'.

LUKE  
'Half an hour'?

RATHBONE  
'They rise themselves up out of the water and fall back in as soon as they have risen from it. It is a sad thought, but then again we humans aren't too far apart. We might build our mega cities, manufacture our cars and spend our lives stockpiling our possessions while we comb across every inch of the globe interfering. We might act like we live forever, but we aren't invincible; in fact, we really are nothing in the wider scheme of things'.

AVA  
'That's a rather depressing way of looking at it'.

RATHBONE  
'I don't think it's depressing. Not a second is wasted; their life is lived to its fullest. It is a lesson we humans could take a few notes on'.

They sit on the banks watching the mayflies excitable, hypnotising movements.

SCENE: STREAM (LATER)

Just like that the end had come for the ill fated Mayflies. The casualties litter the stream. Rathbone stamps out his cigarette and strolls off bashfully.

RATHBONE  
'The show is over folks. We must move out at once or we too will share the same fate as our late friends here'.

LUKE  
'Good God, the rise and fall of the Mayfly did not even last the length of our lunch break'.

SCENE: AFRICAN FARM

Dusk is setting in. The sky is a resounding red flamed canvas. Rathbone is conversing with a farmer in a local dialect. Their conversation is very direct. Ava and Luke watch on anxiously.

RATHBONE (Turning to Luke and Ava)  
'Our luck continues; Gnagne has been kind enough to let us pass through his land freely and undetected. His kindness will take many hours off our journey'.

Gnagne is a diminutive man who gives off a benevolent vibe with his perpetual smile. He ushers them to follow him. Gnagne leads them toward a terrace which gives widespread views of the surrounding hinterland backed by the ominous sky. Gnagne speaks to Ava and Luke.

RATHBONE (translating)  
'You can almost cut the tension with a knife. War is rearing her ugly head once more in this troublesome land'.

A distant rumble concurs with Gnagne.

AVA  
'Is that what I think it is'?

RATHBONE  
'It could be any number of things. However, it's too far away to give us any immediate concern. If anything it's a reminder that we must be swifter in our proceedings'.

SCENE: DEEPER INTO THE FARMLAND

Gnagne guides them many miles through the dull land toward a meagre, barbed wire fence. Upon reaching the fence, Gnagne lets out a resounding whistle into the night sky. Moments later, a man appears at the excuse of a fence wielding bottles of obscure chemicals. The two locals speak rapidly in their native tongue for a few passing moments.

RATHBONE (Translating)  
'We must wait here for the briefest of moments. Gnagne's neighbour is allowing you to pass through his land but he has many explosives set up at the moment; it's not safe to venture through until he has let off his detonation'.

LUKE & AVA  
'A detonation'?

RATHBONE  
'His land has been swarmed by the pesky quelea bird. There are over two hundred thousand by his estimates. Given that the sun has set they have returned to their nests to mate. Now is the time that he must strike'.

AVA  
'So you're just going to blow them to smithereens? Is that really the answer'?

RATHBONE  
'I don't think you understand. They multiply like rats. They ruin his farmland. If his land lies in ruins, he and his family will starve'.

Ava opens her mouth with the intention of continuing the debate further but soon gives up. She has no place preaching to farmers living in such harsh, inhospitable lands. In the distance we hear the bird's cheerful choir. The upbeat chirping seems to be the only thing that contrasts against all the doom and gloom.

AVA  
'It's just sad. Knowing that in only a few moment's time these bird's lives will be cut short in such emphatically, brutish fashion. They don't know any better; in their minds they are only doing what they do naturally'.

There is no change of heart from the farmers.

GNAGNE'S NEIGHBOUR  
'Three...two...one'.

_('Cantus in memoriam Benjamin Britten by Arvo Part plays.)_

_  
_And then there is death all around them. A series of intense fireballs can be seen. The fireballs are like a domino; one after the other. And as quick as it had started, it was over. The complete and unequivocal eradication of the birds is complete. Over a hundred thousand cleansed with one simple press of a button. There is a deep and resounding silence. It all doesn't seem fair. Rathbone ushers them forward but Ava has broken down. As they press on she sees a lone quelea returning to the scourged Earth.  
_  
('Cantus in memoriam Benjamin Britten by Arvo Part ends.)_

SCENE: FARMHOUSE (NIGHT)

We see the silhouette of a man wearing a bush hat. The figure is standing nonchalantly on the front porch of his farmhouse. Trudging up the man's front drive in the darkness is a weary Luke, Ava and Rathbone.

SHADOW FIGURE  
'Welcome'.

RATHBONE  
'Hello'.

SHADOW FIGURE  
'Mr Rathbone I take it'.

RATHBONE (shaking hands)  
'Pleasure to meet you'.

SHADOW FIGURE  
'My name is Carof and the pleasure is all mine'.

He introduces himself to Ava and Luke. They shake the good natured man's hand.

CAROF (laughing)  
'Welcome to my impromptu hotel. You are the first and I imagine the only guests that will ever request a stay here'.

RATHBONE  
'We're very grateful for accepting our offer'.

CAROF  
'Maybe I shouldn't be so surprised. You have certainly picked an amazing time to visit my country. Just in time for our quadrennial civil war'.

AVA  
'Quadrennial'?

CAROF (chuckling)  
'Every four years...well at least it feels like it. It's almost like the World Cup and the Olympics...every cycle a civil war seems to come around'.

RATHBONE  
'You seem in good spirits though'?

CAROF  
'I suppose one has to be at a time like this if one hopes to keep their sanity'.

RATHBONE  
'You didn't think of leaving'?

CAROF  
'It is very much like the bush fires that occurred so frequently in my youth. One only has two options in the event of a bushfire. You can either stay or flee. It's as simple as that. If you choose the former then you have to be fully committed to the unequivocal defence of your home. You must be organised, well planned and fearless'.

RATHBONE  
'You will fight to the death'?

CAROF  
'If need be. My son is here to help. Here, please enter my home and I'll introduce him to you'.

He leads them through to a living room where a teenage boy wearing a headset is sat working away on a computer. The young man is in the middle of a phone call but gives them a friendly wave.

CAROF  
'He's into all of this telemarketing stuff now. Making a lot of money for himself too it seems. It's a bit beyond me but you see with the technology these days he can call any Westernised country in the world from Africa and the computer program filters his accent changing it to the country he is calling'.

RATHBONE  
'Interesting'.

CAROF  
'You'll be surprised how much more confiding and open-minded people are when they think they are speaking to one of their own kin. That's just the tip of the iceberg though. Things have changed drastically in the last couple of years. Africa is very much taking the role India once occupied prior to stepping into the developed world. If we can just get some stability in the region I'm very optimistic of what the future holds for us'.

Carof directs them towards the dining room.

CAROF  
'I talk about the developed world but I imagine that you must be developing an appetite. Please follow me'.

SCENE: DINING ROOM

Carof's wife has prepared them a feast–Lemon and roasted chicken served with a plate of steamed vegetables. The three guests devour their meals while Carof smokes a cigar at the head of the table.

CAROF  
'You'll never believe me–as it is unthinkable today– but I saw a gorilla when I was five years old. I had gone with my father to visit my uncle up in the mountains at the time. There I was playing in the back yard when blow and behold who should appear from the foliage. For as long as I live I'll never forget the sight of that domed head along with those dark human like eyes. Over forty five years have passed since that day and yet I have not seen a gorilla since–either in the wild or in captivity–nor do I expect to ever again. Truly gentle creatures they are. They get a bad rap because of their brute size and strength but they saw no threat in me, a small child, on that particular day'.

AVA  
'They believe that if probably trained a male gorilla could bench press over four thousand pounds. Plus, their wing spans are far greater than man's greatest basketball players. In saying that, you are correct. Unlike their ape counterparts, the chimpanzees, they are not naturally aggressive creatures. Truly gentle giants in every sense of the word'.

CAROF  
'Such beautiful specimens. I must say though: It has always surprised me that for the most part they have assimilated so well to captivity. Especially when you consider that some animals of lesser intelligence such as the great white shark have not been able to be introduced to captivity even after all of these years of trying'.

AVA  
'They believe it has to do with their habitats. Great whites sharks live almost exclusively in the open waters. They are not used to navigating around coastlines which is largely the reason why they have had no success surviving being contained in mere glass aquariums'.

LUKE  
'Well that just shows you how much of a farce with the Japanese attempting to house a blue whale in an aquarium a few years back. I hope for their sake the three day's admission before the poor thing died was worth the tens of millions of dollars spent on the preposterous project'.

CAROF  
'How dreadful that was'.

Rathbone scoffs.

RATHBONE  
'The Japanese population is dwindling by tens of millions every decade because they aren't having sex anymore apparently yet they have the time to try and contain the largest mammal on this planet'.

CAROF  
'The Japanese population may be dwindling but they are not the only ones. Perhaps that's why I'm so optimistic about Africa's future. I see populations in the Western world falling yet here in Africa and the Middle East the exact opposite is true. I think the world will be a vastly different place in a century's time–for better or for worse'.

SCENE: OUTSIDE FARMHOUSE

Ava and Luke stargaze from sun chairs on a wooden deck at the farmhouse. All around them, the continuous loop that is the night-time orchestra of the jungle sounds out. The ballad is being sung by an unfathomable number of wildlife both big and small. The visibility of the night sky is uninhibited. Despite the beauty of the stars, Hale Bopp's Friend continues to steal the show despite being noticeably smaller than she was a few days ago.

LUKE  
'You know what? I think I'm going to miss that comet after all'.

AVA  
'Where do you think she's going next'?

LUKE  
'Thousands and thousands of light-years into the unknown. Think of the things she will see'.

They lie there for a few moments taking it all in. Ava starts pointing at the sky.

AVA  
'Look there's Hercules, there's Gemini, there's Leo'.

LUKE  
'Where? They all look the same to me'.

AVA  
'There's Duncan Strepfield'.

She tries to make the name sound Nordic to fool him. It almost works.

LUKE  
'That sounds awfully like Duncan...oh shut up'.

Ava bursts out laughing.

LUKE  
'I wouldn't joke about that'.

AVA  
'The man's ego is so high it's no wonder it hasn't scaled into outer space. In fact, it's no wonder Mateus Mcclure hasn't hit him in his spaceship yet'.

LUKE  
'I wish we could see Mateus Mcclure'.

AVA  
'Me too. To think that he is all that distance from Earth, all alone. It is a sobering thought'.

LUKE  
'He does have his can of cola, his signed Duke Football shirt, vintage extra terrestrial game and his My-Mates device'.

AVA  
'Yeah I heard about that'.

LUKE  
'Something new, something old, something borrowed and something shit.

AVA  
'In any particular order'.

LUKE (grinning)  
'No'.

AVA  
'What would you have taken to Mars'?

LUKE  
'I suppose I would have to take my big ass golden crowbar to the city that Mickey gave me'.

AVA (laughing)  
'I still can't believe he gave you that. It must be worth a fortune'.

LUKE (grinning)  
'There's no way I would ever sell it. I can open any drain in New York if I want'.

Ava beams at him.

AVA  
'Look at you. You're going to own that city when you get back'.

The thought that the trip was almost at its end suddenly registers in their minds.

LUKE  
'To think that this is almost all over'.

AVA  
'It fills me with impending sadness. This has been the greatest time of my life'.

LUKE  
'The greatest time of our lives'.

She takes his hand and they gaze out into the incredible vastness above them. Hypnotised by the night sky Luke suddenly becomes philosophical.

LUKE  
'We are so small in the wider scheme of things. It's like Rathbone said: we're here for this very short period of time in human history and then we exit the scene. Sure, a few select individuals are remembered but if you think about it they really are only remembered by name. Lincoln, Genghis Khan, Julius Caesar...they exist more as characters now, characters that are slaves to contemporary audiences. Perhaps we get too caught up on trying to change the world, trying to be famous and claiming our fifteen minutes. Perhaps we should just enjoy our fifteen minutes on Earth instead'.

Ava doesn't respond immediately.

AVA  
'Are you going to tell me the meaning of life'?

LUKE  
'Maybe we're asking the wrong question'.

AVA  
'What do you mean'?

LUKE  
'I have often pondered this. Perhaps we need to ask what the meaning of our own live is instead'.

# Chapter 18

SCENE: RIVER (MORNING)

A motorised raft makes its way along a muddy river. Ava is stood at the front of the raft filming the journey on a camera. Luke and Rathbone are seated in the middle while a porter controls the motor at the stern. The raft powers its way along the filthy river at a brisk pace. On the muddy banks of the river a crocodile lazily watches the raft pass.

SCENE: FARMHOUSE

In the jungle clearing we see a farmhouse come into view. A tall, slim man is leading Ava, Luke and Rathbone toward the idyllic farmhouse which looks out over a cloud covered valley below. Chickens run amok on the dusty driveway. Ava sizes up the property. She gets the impression that there is something liberating about being lost in the isolation. In other circumstances that didn't require such a hasty exit she could even imagine the abode being therapeutic.

MAN  
'As incredulous as it may sound about one hundred yards back the way you came is a mailbox'.

RATHBONE (laughing)  
'We did notice that when we came in'.

MAN  
'I wouldn't be posting any mail if you want it to arrive on time though. They are giving us a six to seven month arrival time based on the current circumstances'.

Everyone laughs at the sound of this.

MAN  
'I do believe that you would struggle to find a more remote place on Earth as of today'.

SCENE: GORILLA CAGE

The small holding facility comes into view. It is a rather disheartening area filled only with hay and–so called–enrichment toys. The family unit of gorillas sit exposed in the middle of the cage. The juvenile gorilla plays with a toy made for a dog while its parents watch on as still as statues. Ava gives Luke a stern glance. It's clear that she did not expect the conditions to be this lamentable.

MAN  
'Quite a mission to get all the fruit in here it is. These guys would eat enough fruit in a month to feed some of the villages out here for a year. It's hard enough getting even the most basic supplies here at the best of times let alone recently so we started getting helicopters to fly in the last couple of weeks. It's not safe enough to land in the rainforest so they have been forced to drop in supplies Normandy style'.

AVA  
'You expect this to continue even when the war begins'?

MAN  
'I do. I imagine that your boss will have to pay a holiday surcharge though'.

Ava nods. They watch on as the juvenile gorilla continues his game.

SCENE: FARMHOUSE

Luke enters a living area where Rathbone and a couple of locals are sat around watching very static footage from an international news channel. A solitary fan and open window are the only resistance against the stifling humidity.

RATHBONE  
'Luke, have you seen this guy Jup? He has created one of the largest movements in this history of America. Entire highways have been closed off, the police have backed down. There's seemingly nothing they can do to stop them'.

The footage shows Jup with his now trademark, visor sun glasses. Standing beside him is his right hand man, a fresh faced spokesman with curly hair. The curly haired man is currently speaking to the media in the broadcast.

LUKE  
'We saw some of the images the other night. It seems to be getting bigger by the hour'.

RATHBONE  
'The most amazing thing is that there's no record of this guy even existing. No one knows anything about him even now that the world's spotlight is fixed on him. They've dug so deep into his closet and found nothing that if they go any deeper they'll end up in Narnia. It's bizarre really. It's almost as though that comet dropped him off as it passed Earth. I mean he doesn't speak to anyone; Curly there is the only one who talks to the media. No one knows where he's leading all those people, as far as we know he could be a freaking alien'.

LUKE  
'You know what? Maybe the chaotic nature of the last few weeks has been just what the world needed after all. It has taken a once in a million year occurrence and a series of unique phenomenon to bring us closer. Don't you think that there is something inspirational there'?

RATHBONE  
'There may be some truth in what you say but it sure as hell hasn't trickled down to Central Africa yet. We might only have hours remaining before this kicks off'.

Luke looks out the window at Ava who is studiously monitoring the gorilla family unit.

LUKE  
'When's the earliest we can leave'?

RATHBONE  
'It's nearly sundown. It would be incredibly unwise to make the journey back at night. We will have to leave at dawn. Any later than that and I'm afraid we will have to bunker down here until the war is over'.

LUKE  
'And the gorillas will be fine'? Ava's just a little apprehensive about leaving them here'.

RATHBONE  
'As agreed, they will be shipped later, once the road is repaired. God knows how long that will take though. I doubt it is a priority at the moment. I imagine there is a shortage of construction workers willing to voluntarily put on fluorescent orange construction vest given the current circumstances'.

LUKE  
'What a debacle'.

The report on the March for Hope has finished and in its place is the image of a man holding a rifle and undertaking shooting practice. The headline reads: 'Central Africa on the eve of destruction'.

RATHBONE  
'It could be worse Luke. It can always be worse'.

SCENE: GORILLA CAGE

('This will destroy you' by The Mighty Rio Grande plays.)

Ava paces alongside the outside of the caged gorilla holding pen. She is hypnotised by the beautiful creatures before her. Standing only yards away is the female gorilla and her infant son. The male gorilla sits at the rear of the holding pen lazily watching on while chewing away on a bamboo shoot. When the gorillas aren't looking Ava stares on into their heavy browed, squashed faces. She notices that their faces seem to glower in the humid air.

Suddenly, almost as though he is asking for permission the infant gorilla gazes at its mother and then proceeds to push its hand through the cage. Mimicking the infant Ava looks at the mother for permission. Ava might have imagined it but in that moment she thinks she witnessed the mother nod. Ava reaches out and takes the infant's hand gently. She runs her fingers along its beautiful hands. Ava beams at the gorillas. A couple of blue-breasted birds fly directly above them. So transfixed by what is happening Ava does not even notice them. The dying African sun suddenly shines through a break in the trees casting lights of immense tranquillity. Ava maintains the grasp of the infant gorilla's hands. As the music swells, tears of happiness stream down Ava's face. The mother gorilla ruffles her child's head. The infant reaches out and very slowly touches Ava's face. Ava cannot stop the tears of joy. Against the blinding light of the African sunset Ava is overcome with euphoria. It is like an out of body experience.

('This will destroy you' by The Mighty Rio Grande ends.)

SCENE: FRONT PORCH

Dusk sets in. Ava hangs sheets and blankets she has washed from the gorilla's cage on a clothesline. All of a sudden in the fading light her attention is drawn towards a figure near the front of the farmhouse. It takes her a few seconds to recognise him in the dying light, but there's no mistaking who it is. It's Luke. He appears to be carrying something as he makes his way briskly along the driveway away from the farm. Ava can see that he appears to be holding an envelope. At first she thinks she imagined it but she soon sees the envelope flicker again into view in the capricious light. She thinks about calling out to him but in that moment something compels her not to. Instead she watches on in curiosity as he slowly disappears from view down the driveway.

# Chapter 19

SCENE: WARZONE (NIGHT)

It is on this night that the civil war commenced. In the early hours of the morning the first rockets are launched under the fog of war. We watch a series of projectile rushing across the rainforest leaving a streak behind in the dense dark mist. One by one the missiles explode bringing fiery destruction. Hale Bopp's Friend–which has now been diminishing in size with every passing evening–watches on from the skies as the ironic self imposed destruction begins.

SCENE: BEDROOM (MORNING)

Luke is awakened by the sounds of a heated argument taking place just outside their room.

LUKE (fearing the worst)  
'We're too late'.

Ava has awoken.

AVA  
'What's going on'?

LUKE  
'War'.

The bedroom door is swung open and in walks a very riled up man. He approaches Ava and begins mouthing off in his native language. Luke gets up from bed and pushes the man away from Ava. The man turns and carries on his rant only this time directing his animosity towards Luke.

LUKE  
'What the hell is he on about'?

Rathbone has now entered the room.

LUKE  
'Tell him to fuck off'.

Rathbone speaks to the man is his native language. His efforts to mediate are futile.

RATHBONE  
'He says the gorillas are gone. That you have let them out'.

LUKE  
'What do you mean the gorillas are gone'?

RATHBONE  
'The cage has been broken into'.

LUKE  
'Crazy talk. You think we flew half away around the fucking world to let them escape'.

RATHBONE  
'He says the contract is signed, that you must pay'.

Luke is fuming.

LUKE  
'This is a con job. They've moved them. Disgraceful'!

MAN (in broken English)  
'We have deal. Gorilla gone but we have deal'.

Rathbone resumes his attempts of playing peacemaker.

RATHBONE  
'He wants a search party'.

It's clear that Rathbone is very apprehensive at this. He immediately writes the idea off.

RATHBONE  
'It's out of the question. The state of affairs has deteriorated last evening. We have to go right now; we may already be too late'.

LUKE  
'But she's signed the contract, she'll lose her job over this'.

RATHBONE (leaving the room)  
'We can sort this out back home. We have to go right now though. Five minutes. Get your things and we're gone'.

LUKE  
'You expect us to fly all the way back to America and tell Perkins that his apes have run away? Madness. We can't leave like this'.

RATHBONE  
'Make that four minutes...until I leave here. Perhaps you can make your own arrangements'.

Rathbone guides the riled up man out of the room.

LUKE (looking at Ava)  
'Can you believe the nerve of these people'?

Ava is not looking at him.

LUKE  
'Ava...Ava we won't let them get away with this rubbish'.

She continues looking away.

AVA  
'It was me'.

LUKE  
'It was...what'?

AVA  
'I let them go'.

LUKE  
'What? I'm sorry I don't understand what's going on here'?

AVA  
'I couldn't do it to them. They are wild animals. Something that beautiful shouldn't be caged'.

Rathbone screams through the door at them.

RATHBONE  
'Make that two minutes'.

LUKE  
'You'll lose your job over this...your career'.

AVA  
'Maybe...I don't care anymore. Don't you see? We build all these walls around ourselves as humans to protect us from harmful people. This may work in the short term until we realize that we are merely keeping others out and dwelling on our own loneliness. The only way we can truly let go is to be completely free and to enjoy our life to its fullest. It's the same for the animals. I can't do it anymore...I just can't'.

LUKE  
'But...but'.

Ava has broken down in tears. Luke hugs her as they embrace.

SCENE: GORILLA CAGE

The party passes the now empty gorilla cage on their departure from the farmhouse. Ava and Luke look into the cage and then into the dense foliage the cage overlooks. There is no sign of the gorillas anywhere. Luke places his arm around Ava's shoulder and they begin the start of their long journey home.

SCENE: HIGHWAY

The jeep is speeding through a squalor town set on the banks of a turgidly flowing river. As the jeep drives along the rocky, arid road that serves as the town's main road, the party do not see a soul on the streets. An apocalyptic town left for ruin it seems. The jeep pulls abruptly into a service station and Rathbone urges them to pile out.

RATHBONE  
'Keep together. Things are worse than I feared'.

Ava requires no exposition; her fears are warranted.

RATHBONE  
'The rebels are advancing. A displacement has taken place here; the entire town has fled'.

LUKE  
'Holy Shit'.

Rathbone holds a stalking gun in a two hand carry. He urges them to follow as he approaches what he assumes to be an unmanned service station door.

RATHBONE  
'Not a soul remains here...not a soul would be'–

He freezes.

RATHBONE  
'Hello...what do we have here'?

Rathbone pulls the glass door open and ushers them inside the store where a truly baffling–and innocuous– scene awaits them. Five of the oldest people they have ever seen in their lives are sat around a table playing card games, drinking liquor and smoking cigars. Music blears from speakers while a delightful aroma of baking fills the store from a back room. One of the card players reveals his hand resulting in a fit of hysterical laughter from all at the table. An elderly woman hobbles into the store carrying a tray of cookies. The woman waves at them and offers them some of her baking. For Ava and Luke the Doomsday Festival may have been a mere dress rehearsal; it's hard to imagine a gathering of people coming together under more looming tragedy than these damned but clearly content souls. Rathbone speaks to the woman tersely in her native language. She replies in a jovial tone.

LUKE  
'What are they doing here? Why haven't they fled'?

Rathbone speaks to the woman again.

AVA  
'Maybe they don't know what's going on? Perhaps they've been left behind'?

RATHBONE  
'Oh they know what's going on'.

LUKE  
'Why are they here? We have to get them out'?

RATHBONE  
'She says they are too old to run. They are staying. What will be will be she says'.

AVA  
'They'll be slaughtered'.

RATHBONE  
'They know'.

The card players have now launched into song. It's as though they have gate crashed the world's most ill timed reunion.

AVA  
'Clearly they don't know what's going on'.

The elderly woman speaks to Rathbone again.

RATHBONE  
'She says that although we are welcome to stay she is well aware of our answer. What remains unanswered is if we will take any of her baking with us'.

Ava starts pleading directly to the woman to leave. The woman's jovial smile is unmoved. She ushers the baking towards them again.

RATHBONE  
'They have allowed us to fill the jeep up'.

LUKE  
'We can't just leave them'?

RATHBONE  
'Look we have to go'.

Ava continues pleading to the woman but it is futile. She gives up and hugs the woman with everything she has. Luke, unsure of what is happening around him, instinctively takes out from his backpack the golden crow bar to the city Mickey McKay had given him. He proceeds to place it in the card table pot.

LUKE (facing Rathbone)  
'Tell them the next hand wins'.

RATHBONE  
'What the fuck? You were carrying that around with you the entire time'?

LUKE  
'I thought we might be able to use it to bribe our way out of a situation should it arise it but I see it may help them more than us now'.

Rathbone is stunned.

RATHBONE  
'It looks like a freaking crowbar bullion. It must be worth a fortune. Where the hell did you get that'?

LUKE  
'Through living'.

Luke walks out of the service station hand in hand with Ava. Rathbone stares on truly flabbergasted. The elderly people have started laughing hysterically again in their shock. They could never imagine something so affluent let alone the prospects of possessing it. We focus on the joy in the elderly people's faces as everything fades to black.

SCENE: PLANE

_(The end of 'Robbers' by The 1975 plays.)_

They are flying over Africa on the start of a long journey home. Luke is staring blankly out of the plane's window while Ava rests her head on his broad shoulder. The monotonous sight of the barren Savannah outside which Luke has been watching suddenly gives way to a once in a lifetime image. A herd of African Elephants are making their way across the rolling grasslands. Shielded in the middle of the herd are a couple of elephant calves clumsily making their way forward driven by the curiosity and eagerness of youth. Luke sits up in his seat in shock and soon points out the remarkable image to Ava. They both press their heads against the panel taking in the moving sight. The plane flies on. The end of their adventure is near.

_(The end of 'Robbers' by The 1975 ends.)_

# Chapter 20

SCENE: EPILOGUE

TITLE: SIX MONTHS LATER.

Ava wakes abruptly on her sofa in her apartment. Her eyes are blinded by the rays of morning light streaming in through the open curtains. She lies there for a few passing moments, taking in the warmness of the morning light. Other than the sofa and the television all that remains in the apartment is a number of sealed moving boxes. The television is still turned on from the night before and the news is playing. We see on the monitor the image of the all conquering boxer, Jesse Johns, who had been up on performance enhancing drugs allocations. He is fronting a press conference, a smile cemented on his face while the grand daddy of all prizes, his heavy weight championship belt, proudly sits on full display for the cameras. The breaking news headline streams across the page stating that he has been cleared of all wrongdoing. Ava smiles at the sight of this news. She looks at a funeral program from Luke's funeral which is lying face up in an opened moving box near her. Somewhere up above Luke would be looking down on her right now with a smile on his face. She can almost hear him saying, 'I told you so'. He had never stopped believing in his home town hero and now his vindication was complete.

SCENE: RECEPTION

Ava signs some paperwork officially ending her rental tenancy at the apartment block. A young, timid receptionist collects the paperwork and files it accordingly. Ava proceeds to place a number of keys on the counter.

AVA  
'I guess that's it then'?

RECEPTIONSIT  
'Hang on a minute'.

The receptionist collects one of the keys and unlocks a multiunit mailbox situated behind her.

RECEPTIONST  
'I think something came in for you this morning'.

The woman places an envelope on the counter.

RECEPTIONIST  
'It has been addressed from Africa'.

We see on the envelope that it has been sent from a one, Luke Fitzgerald.

RECEPTIONST  
'I didn't mean to snoop. It's just that it's not every day we receive a letter from Africa'.

Ava is struggling to keep her emotions in check.

AVA  
'Thank you'.

It sounds like Ava is thanking the woman for saving her life.

SCENE: UNDERGROUND CARPARK

('Fordlandia' by Jóhann Jóhannsson plays.)

Ava is seated in her vehicle in the underground car park of the apartment block reading the posthumous letter. She is inconsolable. The electronic entrance of the car park suddenly opens casting afternoon sunshine into the stark setting. Ava starts her vehicle, places the letter on the passenger seat and attempts to compose herself. She places the car into gear and drives off into the sunlight.

SCENE: STREETS OF EPIPHANY

The sterile, orderliness streets of Epiphany blur by as Ava drives. In the distance, the infamous walls of the city grow larger with every passing mile. Soon the road opens up into a spacious boulevard which runs directly straight leading all the way to the entrance gate of the citadel. As Ava drives along the boulevard she sees a novel sight in Epiphany–a string of billboards attempting to steal her attention. The billboards serve as a final warning against the fast approaching outside world. We see a billboard reinforcing the need to take out life insurance before leaving Epiphany. Another promotes Epiphany made food and the need to stockpile for outside trips. The most lamentable of the billboards merely depicts a portrait of Ricardo Stensnan smirking. Ava consciously picks up speed and the billboards are soon lost from view.

SCENE: ENTRANCE GATE

A stern faced security man stamps some documents and hands them back to Ava through the car window.

SECURITY MAN  
'Open it up'!

We see a front on view of Ava waiting in her vehicle through the monotonous iron gates. After a few moments the gates begin to slide open. The gates slide tediously out of view and the security man waves vigorously for her to leave. Ava obliges and drives off into the verdant landscape. As Ava drives along the open road we get a sense of how immense the size of the landscape surrounding her is. Ava's vehicle and the citadel that is the bubble city are mere specks amongst the Pacific Northwest countryside. We are able to follow the solitary vehicle for a few moments but as the music swells it is soon lost as the landscape grows in size. Soon, even the city itself can no longer be seen. We dwell on the beauty and vastness of the world as everything fades to black.

('Fordlandia' by Jóhann Jóhannsson ends.)
