Episode Two-

WELL FUCK IT THEN

Camera shot—waist high to the left of cast. Captain Faust is at the end of the crowd within the courtroom. He keeps raising his arms while asking the crowd to move forward and exit the courtroom. He is beyond the swinging door now making his way himself to the exit. Lieutenant Jody Faust is next to him on his left. Commander Slasveig calls out to him.

COMMANDER SLASVEIG:

Captain Faust, do you remember the young lady standing beside me? If you do then you’ll know that Augustine Freed’s sister Melody saw you at Augustine’s apartment not more than fifteen minutes before Augustine’s estimated time of death!

Any statement?

——The Captain stops. The crowd slows and quiets itself. The Captain turns towards Commander Slasveig direction. There is anger on his face.

CAPTAIN FAUST:

I didn’t kill Augie. I loved her and she was my friend. I regret the young lady’s loss. ‘And if I could avenge or solve her death…then I will.

Slasveig, you are causing this woman unnecessary pain. The mystery of Augustine’s death and its closure are not linked to me.

As I have told you before.

You jag-off!

COMMANDER SLASVEIG:

Solve her murder? You have our confidence captain. The only one who could answer why Augustine Freed is dead.

——The Captain stares at Commander Slasveig. Steadies his balance and sighs.

CAPTAIN FAUST:

This conversation is over.

——The Captain breaks his stare and pushes his way through the crowd.

New Shot from high above crowd following the Captain’s path.

——Fade shot

——Pause

——New shot front view of Shorty’s GT500. From outside of the car Captain Faust is in the front passenger seat while Shorty is in the driver’s seat. The car levitates and ascends out of stationary frame.

(Directions—-tight shot of Captain Faust then pan right to Shorty then widen shot. Then car ascends.)

Two shots to be rotated—shot of Shorty side view from front passenger seat struggling to maneuver his car. More so he is pissed about what just happened in the courtroom. Second shot—frontal of both passengers—Lieutenant Faust and Captain Faust.

CAPTAIN FAUST:

Could you take me into town? I’m still checked in at the Kissinger.

LIEUTENANT FAUST:

Sure.

You’ve got any plans tonight?

CAPTAIN FAUST:

Naw. Just getting some rest before reporting to Command and boarding the Nemesis tomorrow.

What about you?

LIEUTENANT FAUST:

Got to travel to Earth to see Lottie.

CAPTAIN FAUST:

Earth huh?

You’re sure you’re going to be able to report to work tomorrow?

I mean you hate using the Dimension Placer. Time Mach also.

I know that Lottie will keep you up until the next morning.

——Shorty smiles then let out a bit of a giggle.

LIEUTENANT FAUST:

Yeah. You’re probably right.

CAPTAIN FAUST:

Well take off tomorrow. The next few days if you need it. I’ll manage.

LIEUTENANT FAUST:

You sure.

CAPTAIN FAUST:

Sure I’m sure. Enjoy yourself. Rest up and get reacquainted with your wife. You deserve a break.

LIEUTENANT FAUST:

Thanks cuz.

CAPTAIN FAUST:

Just don’t be gone too long. I’m gonna need you.

LIEUTENANT FAUST:

Yeah. No doubt.

CAPTAIN FAUST:

You’re putting a lot of miles on this puppy.

LIEUTENANT FAUST:

Huh, well I paid a lot of money for this fucking Ford and I’m not one of those guys who just buys a fuckin’ Shelby GT500 and then mothballs it.

I wanna enjoy my car.

I’m gonna drive this bitch until it falls apart.

CAPTAIN FAUST:

You hear that Gertrude. He wants his money’s worth outta you.

——Captain Faust lightly taps the car’s dashboard.

GERTRUDE:

Splendid!

LIEUTENANT FAUST:

Giddy up Gertie!

——Lieutenant Jody Faust throttles his car on to the Startard highway. Which is one of many highways that connects places to places within the ornament.

In space expansion, ornaments are essential to human existence. Kindly imagine them to be like space towns. Some have moon bases along with a neighboring space station or two or even ten.

The stations and moon bases emit lights. They are mostly white lights but also in various hues. Hence the comparable notion of the town resembling a Christmas tree ornament.

Space highways do not have gravel roads. They are just mapped out trajectories that all automobile drivers have to follow when out of deep space and in an established ornament.

Sometimes cars bunch up when there is high traffic. There are other times when drivers are traveling for great distances alone.

When they are together, cars climb dip and careen in synchronized motion on these space highways.

Jody exits Startard expressway on to Jefferson boulevard and then Bunker avenue which stretches into and beyond the containment and stability membrane. They touchdown on Exmoor drive switching from flight to drive liken to an airplane arriving at an airstrip. Exmoor drive is land based and is a seemingly open area in space where people or beings could actually get outside their vehicles to sightsee or visit establishments. The space hub/station is made up of both elemental materials as well as man made fabricated materials. The ground of the drive on Exmoor is of a synthesized polymer grout type. Trees and grass align the center median. Businesses to each side of the strip.

Primo Vegas is the entire space port. This is where numerous businesses, dimension transplace apparatuses, hospice services, clergy, entertainment and hotels. All that one could need or want. This includes Red light-porn districts as well as seedy drug dens.

Block after block and then Jody turns left into the driveway of the Kissinger hotel.

LIEUTENANT FAUST:

Alright, all out. the Kissinger hotel.

CAPTAIN FAUST:

Nice ride. You know you don’t have to be a pizza delivery guy if things go sour. You’d make an excellent cab driver.

LIEUTENANT FAUST:

Wow a step above.

CAPTAIN FAUST:

Alright. Later mayn.

The Captain extends a fist bump. Shorty bumps the captain’s fist.

LIEUTENANT FAUST:

Alright get some rest.

CAPTAIN FAUST:

I’m taking this joint.

——Lieutenant Faust waves it off as Captain Faust slams the door of the vehicle shut.

Shot above the GT 500 roof line with Captain Faust walking away and Shorty’s car drives off.

High shot—-The bony captain nimbles his way from the curb of the small circle drive of the hotel. He enters through the first glass door into the atrium then through second glass door of the lobby. Upon entering as usual he glances at the back of a large patterned gray sofa in the center of the lobby. The sofa is one of three in the sitting area that accompanies two setties and a glass coffee table which sits on top of a tightly spun high traffic rug.

He makes his way to the desk where the clerk awaits. ( The camera is the captain. Then the left side of the captain’s face appears on the forefront of the screen to the bottom right. As the captain gets within ten feet of the desk track right behind him. Finish with him on the left.)

CLERK:

May I help you?

CAPTAIN FAUST:

Yes, may I have an early wake up call at 5:15 a.m.?

CLERK:

Yes. What room was that again?

CAPTAIN FAUST:

327.

CLERK:

Yes. I have you down for a 5:15a.m. wake up call.

CAPTAIN FAUST:

Thank you.

CLERK:

Your current account record indicates that your wife has arrived here at 2:30 this evening.

She was issued a key sir.

——Stunned the Captain answers…

CAPTAIN FAUST:

Thank you. I’ll be checking out tomorrow.

CLERK:

Very good sir. Have a good night.

CAPTAIN FAUST:

You do the same.

——The Captain walks away from the desk exiting left to around the side of the walled in clerk’s desk down the long stretch of the hallway.

New shot behind the Captain as he stands in front of his door. He enters the hotel room. It is dim.

The lights arise in smooth increments.

The king sized bed is the first thing that catches the eye. In that bed laying on her stomach with the comforter hanging off of her and partially on to the floor is Helena. The sheets cling and ride into the crack of her naked ass. From this distance she looks fast asleep.

The Captain begins loosening his tie as he guides himself to the left of the bed towards the closet.

CAPTAIN FAUST:

‘You’ asleep? The trip must have exhaust you.

It’s ( he peers at his watch.) 3:07.

HELENA:

Look at my ring. ( She quickly shoved her left hand out from underneath the sheet and it extends past the side of the mattress.)

Isn’t it beautiful?

——The Captain looks at his wife’s beautifully pale white arm. That notably slightly cherry colored rock glitz and shines and glitters then turns pink and then white as it shoots the light from it.

Helena continues waving her hand as if paddling through water to flash her ring.

HELENA FAUST:

Stunning isn’t it?

——Helen’s straight black hair is now relatively visible from the white 6000 cotton threads per sheet.

CAPTAIN FAUST:

It ought to be. 11.6 carats. It’s worth 42 million dollars.

HELENA FAUST:

I’m horny.

——The Captain hangs up his sports coat and then begins unbuttoning his shirt.

CAPTAIN FAUST:

Horny huh? …you’re….

——Before he could get out any more words. He notices the right side of Helena’s face lying on top of her hands palms down. Her ass is in the air supported by bent knees. The cover falls off of her ass.

New shot—-Where king sized head board should be. Looking at the top of Helena’s head with her ass in the air. She has Amer-Asian eyes and features.

HELENA FAUST:

(In a playfully weird voice) Look Chris. It’s your friend “Captain Winky”.

Come here darling. Come kiss me. Kiss me darling.

——The Captain slowly walks over to the bed with his white dress shirt unbuttoned wearing a slight smile. He sits on to the side of the bed near the foot. After staring at his wife with a naughty smile, he slowly bends down towards her ass and kisses it.

HELENA FAUST:

Good.

That was nice.

Now dig in.

——The Captain looks at Helena and cast half a smile. He pauses while looking at her then goes back in slowly and then quickly bites her lightly on her left ass cheek while growling. Startled Helena drops sideways on to the bed’s mattress.

HELENA : ( Screeches…)

Owww!

——Fade scene. Then focus. Jody Faust sits at his family dining table with his twins. His wife comes into view carrying a Dutch oven. Lottie places it on to a pot holder in the center of the table. She grabs a big black plastic serving spoon and then grabs one of her children’s plate. (Shot with her in the background top of the frame only showing just below the bridge of her nose downward. Director display her only as a server/ nurturer.)

JODY FAUST:

Put that down. You’re at the table.

——The female child, Isabel, puts the doll along side of her on the bench as she frowns.

JODY FAUST:

Don’t look at me like that.

——Jody bucks his eyes at her. Then breaks his stare.

JODY FAUST:

Well kids I’m off for a few days what should we do during our respite?

LUCY:

I know I know. Let’s go see Star Child.

ISABEL:

Ooh yeah. ‘And then the water park.

LUCY:

Yeah!

JODY FAUST:

Star Child? What’s Star Child?

ISABEL:

You don’t know about Star Child? Daddy, God!

LUCY:

It’s like the most awesome futuristic space epic of all time dad!

JODY FAUST:

Wow! You don’t say.

——Lottie sits down.

LOTTIE:

We’d be lucky to get tickets. It’s been sold out for weeks now.

LUCY:

Mom’s been trying to get us tickets for weeks now. Didn’t she tell you?

JODY FAUST:

Come to think of it I think she has.

ISABEL:

Josie’s seen it. ‘And so did Candace. They said it was incredibly awesome! No movie has ever been as much fun to watch.

JODY FAUST:

Well let me see what I can do to get us tickets for tomorrow. Maybe a matinee.

ISABEL and LUCY:

Ooh yeah!

LOTTIE:

Those tickets are being gathered and resold at exorbitant prices.

JODY FAUST:

My girls want to see it then no price is too high.

LOTTIE:

Eat your dinner girls.

——Lucy begins poking at her bacon scalloped potatoes with her fork. While Isabel reaches for a slice of bread.

LOTTIE:

Really Jody. We should not instill in the children the wrong message.

JODY FAUST:

Politics. Ideals. Cross roads of right and wrong huh?

This is the world we live in.

LOTTIE:

What are you saying?

JODY FAUST:

I get what you are saying. But sooner or later they’ll have to play the game. Sooner or later they will be forced to follow the current of society. Whatever the current norms are.

LOTTIE:

I disagree. They have a choice. And you have a choice to not allow or accept circumstances that go against your principles.

JODY FAUST:

So when my boss tells me to do something that goes against my principles I shouldn’t do it?

LOTTIE:

That’s right.

JODY FAUST:

I get you. But you realize that that’s insubordination. And I could be fired for that. Correct?

LOTTIE:

So be it. At least you haven’t lost yourself.

JODY FAUST:

Yeah right. I haven’t lost myself.

I got mouths to feed. Yours being one of them. I’m not losing my job over some b. s. ideals. I’m not in charge when it comes to my job. For the most part I follow commands.

LOTTIE:

Let’s not start.

JODY FAUST:

It’s finished. We’re getting those tickets. Capeche?

You understand?

—-Lottie frowns at him.

JODY FAUST:

Isabel looks like you when you do that.

LOTTIE:

We’ll talk later.

——New shot displaying Lieutenant Jody Faust’s family approaching the theater from within the movie theater parking lot. (Get both side view shots and frontal shots both near and far). There is an extremely large crowd converging towards the theater and leaving the movie parking lot. Mother Jody Faust is ahead of her family with the two twin eight year olds wedged in between herself and father Jody Faust. They in a “laid back” sort of stroll, make their way to the many large glass doors to the theater. They enter through the first set of doors. Mom holds the door open for the kids and swings inside ahead of Jody as he grabs the handle. Jody motions her to go ahead as she does this. The Faust children are amazed as they walk through the atrium looking at posters and hologram displays and trailers off to the sides of the roped off area and above them. A dinosaur which resembles a T-Rex appears from no where and bends over to bite the crowd of people several groups ahead of the Fausts. A little boy screams and pulls away from his mom to run underneath the ropes on the left of the entrance way. His dad goes to get him while giggling. The child’s mother asserts that the display is much too scary for children and should be done away with and replace immediately. Several people agree.

Jody and his family stop at the concession stand to order the medium family meal which includes a pepperoni pizza two medium drinks and a medium sized popcorn. Mrs. Faust also orders Twistlers, chocolate covered almonds, and candied orange, apple, banana and grape fruit slices. Jody takes note that a man is staring at him. Jody averts his eyes to avoid alarming this man. Mrs. Faust lets her family know that they are ready to enter the theater. They head towards auditorium C. Jody looks at his phone and hits his alert signal which goes directly to his wife, local police, Gertrude, and Captain Faust simultaneously. The implants within Jody’s teeth receive the sound waves collecting from his GT500 Gertrude.

MYSTERY PERSON # ONE

We’ll take him out in the men’s room or later in the parking lot. Don’t draw attention until then.

MYSTERY PERSON # TWO

The wife and kids as well still?

MYSTERY PERSON # ONE

You have your orders. ‘And anyone else who gets in the way. That includes civilians and police. Anybody.

——Jody’s phone begins ringing. Lucy begins hopping exclaiming her need to go to the restroom.

Mrs. Faust after viewing the alert has terror in her eyes. Jody puts the stack of food items on the far right side of the concession counter and answers his phone. He then nods to his wife to remain calm and accompany Lucy into the ladies restroom.

LIEUTENANT FAUST:

Yeah!

911-CAPITAL RESPONSE:

Capital Response. We have your location. A response team will be there momentarily.

LIEUTENANT FAUST:

I don’t know how many. I’ve heard two. I haven’t zeroed yet.

——Numerous calls are flashing on “Shorty’s” phone. He conferences them all. Then turns to look around then back to his wife and children near the ladies restroom. They are about to enter. Jody quickly closes in to them.

MYSTERY PERSON #TWO:

Something’s up. Subject is squirrelly! Converge and attack! Back us up out there!

—-From Jody’s phone.

CAPTAIN FAUST:

What the fuck’s going on?

—-Jody’s darts towards the ladies restroom entrance.

New shot near concession stand. Camera shot of five armed perpetrators with sub machine guns practically side by side open up and start firing. —-New shot from behind Jody Faust darting for the women rest room. Jody takes five shots in the back but makes it into the lavatory and around the corner and collapses.

(The phone falls from his hand—-make sure that it’s seen sliding on the floor tile.) (The crowd is screaming outside and there is the faint background sound of several sirens.)

His girls start screaming. His wife stands with her arms and legs apart as she looks at him on the ground pouring blood.

CAPTAIN FAUST:

God damn it!

—-Shorty rolls over and gets out his concealed combat handgun and aims at the entrance.

The children are screaming hysterically and their mother screams at them…

LOTTIE:

Shut the fuck up and get under the sink!

——The Mexican, their mother, is fumbling in her purse and pulls out a compact sub mech with regen projectiles. She slaps at the ‘fucking’ stock. It unfolds and then she aims it at the entrance. Then she looks at the stall to her right with its closed door…

and opens up on it. The Regen sprays over 100 projectiles per second into the closed door and frame chewing them up. A woman screams and hit the floor. Blood streams from the stall. It runs fast on the floor then slows. Lottie’s notices Jody crawling backwards on his back towards the sink area still while pointing his gun. Her attention is on the entrance now.

She is shaken but ready to kill again without hesitation. She thinks ‘fuck it then’ and begins firing through the 5 by 5 inch white tiles of the entrance. The ceramic tiles clink and snap burst from the wall in shattered pieces and shards. Two men on the other side of the entrance wall groan and burst into the lavatory shooting . ‘Shorty’ shoots the first one in the jaw while Lottie “ram shots” sideways across both of the assassins. They both howl and begins to fall—-

—-New shot: From within the box truck of the assassins. From behind, three assailants are shooting out of the back of the box truck at police and anyone else of interest. The lift door is up and they sit in the center parking aisle. The attacker in the middle is actually seated in a bolted down seat firing a turret at Capital Response Team’s squad cars that have parked in front of the theatre. There is a roar of squealing tires and Gertrude comes from the right in front of the parked squad cars. She turns left into the center aisle and heads straight towards the back of the truck. It roars and the tires scream death. Gertrude hits the truck with such force that her nose gets wedged underneath the lift gate and the two assassins on the opposite sides of the attacker in middle are thrown from the truck and killed from the kinetic blast and fall.

The seated attacker’s face is broken because of his face hitting the back of the turret upon collision from Gertie. Stuck Gertrude tires become hyper and smoke shoots from the side of her and begins streaming upwards. The truck is moving at thirty miles per hour even though parked. Forty to eighty miles per hour within two seconds. One second later they are at three hundred miles per hour. They hit the curb within a violent hopping crash. The box truck crash/bounces over the curb with Gertie right after it. The force of the car ‘cuts up and rips the grassy lawn. Chunks and rolls of grass shoot up and away from the two vehicles. The torgue of groundedness and yet freakish speed along with brute force is frightening. The car is bolted to groundedness yet moves in lightening fast speed. Gertrude and the box truck go up a hill and they dislodge after the truck goes beyond the apex decline of that hill. Upon the separation, Gertrude throddles again hitting the backend before the truck hits the street with moderate traffic. The box truck bounces to a stubborn halt. Gertrude tires squeal to an abrupt stop and she looks at the truck as it slows. Lasers that are an integral part of the turn signals on both of the side mirrors cut the seated assailant ‘to ribbons. She backs-up, changes back to drive, turns into a fishtail doing a 180 degrees spin. She rushes to the theatre. ‘Goes up to the glass doors with her siren and lights and identity signals issued and bumps through the two sets of glass doors into the atrium to find her master. Two of five attackers are being hauled away from the women’s lavatory by Capital Response Police. The others assailants are dead.