Farewell
FADE IN:
EXT. BEACH - NIGHT
Amidst crashing waves, sea stained iron, stands a woman, ZOLA, soaking wet, disheveled, standing in the ocean.
The woman reaches into torn pockets, withdraws stones, and stumbles towards land.
Gaspin, heaving, the woman trudges her way to the sandy shores.
At the precipice, where water meets land, the woman falls, unable to get back up again.
Push. Pull. Struggle. Strain. The woman attempts to stand.
Futile.
Darkness consumes.
INT. BEDROOM - NIGHT
Zola comes to, gasping, heaving, covered in sweat, cheap sheets.
Zola calms, looks out the window.
The ocean sputters, spews, nips, bites, as bitter as ever, more ferocious than before.
Zola climbs out of bed, steadies, and approaches the door.
Push. Pull. Locked.
Zola sighs, tries the window.
No luck.
Zola studies the room, smirks, smiles, picks up an iron stoker, and prepares to smash it against the window.
Click. Clack. The door opens. Zola hides the weapon behind her back.
Before her stands an old woman, shaking her head, sighing, and approaches Zola.
Zola reveals her weapon, threatens.
The old woman chuckles, presses the weapon to her throat.
Zola hesitates. The old woman snatches, grabs, and throws the weapon aside.
Zola gawks, stares.
OLD WOMAN
Come come.
The old woman turns and walks out of the room.
Zola hesitates, arms herself again with the weapon, and follows the old woman out of the room.
INT. KITCHEN - NIGHT
A sparse table. Two chairs. Two plates. Food.
The old woman sits in a chair, nods to the other.
Zola hesitates, obliges, still prepared to use her weapon.
The old woman folds her napkin, grabs a fork, a knife, and begins to cut, though she eats not a sliver.
OLD WOMAN
You come from the war, yes?
Zola nods silently.
OLD WOMAN
And how are we doing?
ZOLA
I...
Zola struggles to find words.
OLD WOMAN
So I feared.
Zola toys with her food.
OLD WOMAN
And your husband?
ZOLA
Dead.
OLD WOMAN
Unfortunate.
Zola shrugs. The old woman chuckles.
OLD WOMAN
But perhaps that can stay between us.
Zola nods.
OLD WOMAN
And your wife?
ZOLA
No different.
OLD WOMAN
Thats unfortunate too...children?
ZOLA
None.
OLD WOMAN
On both sides?
Zola nods.
OLD WOMAN
What is the world coming to...the man, I expected, but the woman. Usually they are so fertile.
ZOLA
Usually.
OLD WOMAN
And you?
ZOLA
Me?
OLD WOMAN
What side are you on?
ZOLA
Whichever wins.
The old woman chuckles.
OLD WOMAN
Aren't we all?
A long pause.
ZOLA
Thank you.
OLD WOMAN
For?
ZOLA
Last night.
OLD WOMAN
Water under the bridge.
ZOLA
If it wasnt
OLD WOMAN
I know.
Another long pause.
ZOLA
Family?
OLD WOMAN
A long time ago.
ZOLA
The war?
OLD WOMAN
What else?
ZOLA
Which side?
OLD WOMAN
The one that won.
ZOLA
But now?
OLD WOMAN
Alone.
ZOLA
Dead?
OLD WOMAN
No.
Shock. Hesitation.
ZOLA
You mean
OLD WOMAN
Government contract. Duties fulfilled.
ZOLA
I've never actually seen...I mean, in person
OLD WOMAN
No?
ZOLA
Never.
OLD WOMAN
Rare, I suppose.
ZOLA
But...
OLD WOMAN
Why?
Zola nods.
OLD WOMAN
The war was not always so. Before this, a long long time ago, there was peace, amongst us all.
ZOLA
But the mobs. The riots.
OLD WOMAN
A pretty picture. Good for history. The truth however, well, that was different.
ZOLA
Did you...I mean...
OLD WOMAN
Do it myself?
Zola nods. The old woman chuckles.
OLD WOMAN
There was once a time when everyone did.
ZOLA
Wife? Or husband?
OLD WOMAN
Both.
ZOLA
How?
OLD WOMAN
A hammer, if you can believe it.
ZOLA
And they, accepted it?
OLD WOMAN
What else?
ZOLA
I've never...I mean, I've never met anyone who's actually, well, you know
OLD WOMAN
Killed?
Zola nods.
OLD WOMAN
Theres still time.
Zola continues to toy with her food.
ZOLA
Did you...serve?
OLD WOMAN
After my time.
ZOLA
But I thought everyone...I mean, since the resistance.
OLD WOMAN
Every one, yes. But not me.
ZOLA
You mean you're not...organic?
OLD WOMAN
Carbon based life forms can be so, eradict.
ZOLA
So you're one of them then?
OLD WOMAN
No.
ZOLA
What then?
OLD WOMAN
Nobody.
ZOLA
Everybody's somebody.
OLD WOMAN
Everybody who is somebody.
ZOLA
You're talking in circles.
OLD WOMAN
And you?
ZOLA
So if you're not one of us, and you're not one of them. You're, what, an outlaw then.
The old woman winks.
OLD WOMAN
Now you're getting it.
ZOLA
But this is wrong! This is againt the law! This could get you killed, executed, shot.
OLD WOMAN
Synonyms, dear.
ZOLA
I'm a criminal. I'm a crook. I'm abetting a traitor. I'm committing treason.
OLD WOMAN
Hardly.
ZOLA
What do you call this then? Hiding in the middle of nowhere? Are you not a criminal, an outlaw?
OLD WOMAN
Legally, yes.
ZOLA
How else would you classify a terrorist?
OLD WOMAN
Morally, perhaps.
ZOLA
And what moral is that?
OLD WOMAN
See nothing. Hear nothing. Do nothing.
Zola scoffs.
ZOLA
I'm in leagues with a nihlist.
OLD WOMAN
I'd hardly drowning team work.
ZOLA
Why didn't you let me die then?
OLD WOMAN
Strange way of saying thanks.
ZOLA
I didn't want that. I don't want this. Why couldn't you just let me be.
OLD WOMAN
That is not our way.
ZOLA
What way? Who's way? What are you talking about.
The old woman sighs, stands.
OLD WOMAN
Come.
The old woman walks out of the room
Zola hesitates, follows.
EXT. BEACH - DAY
The old woman wadlles down the beach; Zola struggles to keep up.
ZOLA
Where are we going?
The old woman stops, turns, points out over the lake.
OLD WOMAN
Go on then.
ZOLA
What?
OLD WOMAN
If life is so miserable. Go on then. Drown yourself.
ZOLA
I...
OLD WOMAN
Afraid?
ZOLA
No.
OLD WOMAN
What then?
ZOLA
I...I just don't want to.
The old woman smirks.
OLD WOMAN
Good. Then you'll be on your way.
ZOLA
What?
OLD WOMAN
The boat. Should take you into town. Find whoever it is you're fighting for.
ZOLA
And what if I don't.
OLD WOMAN
What?
ZOLA
Fight.
OLD WOMAN
You'll be an outlaw.
ZOLA
Like you.
OLD WOMAN
Not like me.
ZOLA
Whats the difference?
OLD WOMAN
You're human.
ZOLA
So.
OLD WOMAN
Much easier to find you.
ZOLA
Who says they can? Will? Who says they even want to find me?
OLD WOMAN
They will.
ZOLA
But why? Why does it matter? Just one of a billion.
OLD WOMAN
Every life matters.
ZOLA
I thought you were a nihilist.
OLD WOMAN
Your words.
ZOLA
So you do care about something.
OLD WOMAN
Living, only.
ZOLA
Is that why you did it? Fulfilled your government contract? Killed them? Murdered them? Your own family?
OLD WOMAN
I had an agreement.
ZOLA
Slavery is hardly a contract.
OLD WOMAN
They let me live.
ZOLA
At the cost of how many?
OLD WOMAN
Death is inevitable.
ZOLA
Christmas just came early?
The old woman sighs, shakes her head, stumbles out into the ocean.
ZOLA
Now where are you going.
OLD WOMAN
Home.
The old woman dives head first into the water.
A long moment passes. The old woman doesn't emerge from the waters.
Zola walks back to the shack.
INT. KITCHEN - NIGHT
Gathering blankets, knives, Zola stuffs them into a small back pack.
Packed, Zola checks her surroundings.
A tustle. A rustle. Zola arms herself with a kitchen knife.
A door flung open. Wind howling. Rain pelting. A dark, foreboding figure withdraws from the shadows.
An old man, disheveled, bearded, alams the door shut. Zola gawks, stares, frozen in place, holding the knife, threatening.
The old man approaches, limps over, sits at the table, gestures to the chair across from him.
Zola hesitates, obliges, still holding the knife, threatening.
ZOLA
Who are you?
OLD MAN
Who am I? Who are you?
ZOLA
What are you doing here?
OLD MAN
In my own home?
ZOLA
This isn't your home.
OLD MAN
No?
ZOLA
No.
OLD MAN
Is it yours?
Zola hesiates.
ZOLA
Yes.
The old man chuckles.
OLD MAN
You're not a very good liar.
ZOLA
I'm not lying.
OLD MAN
I'm crazy then?
ZOLA
Maybe.
The old man smirks.
OLD MAN
And the old woman?
Zola stares at him, through him.
ZOLA
Gone.
The old man sighs, nods.
OLD MAN
And you?
ZOLA
Already on my way.
OLD MAN
Where?
ZOLA
Home.
OLD MAN
There is no home.
ZOLA
What?
OLD MAN
There is only here.
ZOLA
Trying to scare me off, old man?
OLD MAN
Truth only.
ZOLA
And what truth is that?
OLD MAN
There is no place but here.
Zola scoffs, stands, grabs her bag.
ZOLA
We'll be seeing about that.
Zola opens the door, stares out into the storm. A long sigh. Zola holds her bag tight, and steps out into the storm.
EXT. BEACH - NIGHT
Zola struggles through rain, wind, every step forward a tumultous effort.
One step, another, another. Zola falls to her knees, looks back, the house only half a mile in the distance.
Zola gathers breath, courage, and continues on.
EXT. ROAD - NIGHT
Zola looks left, right, not a soul in sight.
Zola looks back, searches for the shack, finds none.
Zola sighs, turns right.
EXT. ROAD - NIGHT
Zola struggles on, her pack growing heavy. Pause. Stop.
Lights in the distance. Zola approaches.
Closer. Closer. A squat building in the distance.
Zola smiles, approaches.
EXT. TRAIN STATION - NIGHT
Zola steps up rotting steps, to a wooden door, looks in through glass, sees little, nothing.
Zola tries the door: locked.
Zola walks around the station, looking for another door: none.
Zola steps back to the door, tries again.
Push. Press. Harder. Harder. Harder.
No use.
Zola looks back out to the road, the window, sighs, and steps back onto the road.
A few steps forward, a few back. A rock picked up.
Up the steps, to the window, smashed.
Zola clears glass, climbs in through the window.
INT. TRAIN STATION - NIGHT
A counter. A man. A clerk.
The clerk tips hos hat. Zola stares.
ZOLA
You didn't hear me knocking?
CLERK
I did.
ZOLA
And thought nothing of it?
CLERK
No.
ZOLA
What then?
CLERK
Patience.
ZOLA
What about it?
CLERK
More needed.
ZOLA
What? Was I supposed to just wait out there all night?
CLERK
No.
ZOLA
What then?
CLERK
All that is as it was.
ZOLA
What the hell is that supposed to me.
CLERK
First you were out. Now you're in.
The front door opens.
ZOLA
Now the door opens!
A little girl, MARY, steps in, closes the door behind her.
ZOLA
Where's your ma kid?
MARY
Who?
ZOLA
Your ma, pa, parents.
The little girl shrugs, walks up to the counter.
MARY
One ticket please.
A ticket stamped. Cash exchanged. A ticket given.
ZOLA
Wait a minute. You're not just gonna give her that, are you?
CLERK
Money is no privilage.
ZOLA
No amount of money matters! She's a little kid!
CLERK
Then take care of her.
Zola scoffs, turns, grabs the little girl by the arm, pulls her to a couch, forces her down.
Zola kneels down, looks Mary in the eye.
ZOLA
I'm not playong kid. Where are your parents.
Mary shrugs.
ZOLA
I'm taking you home.
Mary shakes her head, resists.
MARY
Theres nowhere to go.
Zola grabs the ticket.
ZOLA
What about this, then?
MARY
Home.
Zola stares, studies the ticket. No destination.
ZOLA
How did you get here?
MARY
I walked.
ZOLA
From where?
MARY
There.
Zola points out the door.
ZOLA
Will you show me?
Mary shakes her head.
ZOLA
Please.
Still Mary shakes her head.
Zola sighs, stands, steps up to the clerk.
ZOLA
You know her?
CLERK
Who?
ZOLA
Her. The kid.
CLERK
Yes.
ZOLA
Who is she?
CLERK
Mary.
ZOLA
And her parents?
CLERK
Unknown.
ZOLA
Orphan?
CLERK
No.
ZOLA
Then who's watching over her?
CLERK
You are.
Zola scoffs bitterly.
ZOLA
This is a joke.
CLERK
Is it so?
Zola looks back to the girl, the clerk.
ZOLA
Well give me on of those then?
CLERK
Give you what?
ZOLA
A ticket. For the train. Wherever it goes. If I gotta take care of her then I will. I'm no scum.
CLERK
You haven't the wages.
ZOLA
Says who?
CLERK
Those empty pockets.
ZOLA
A trade, then.
CLERK
I don't barter in stolen goods.
ZOLA
Well if I don't go, neither does she.
CLERK
Can't.
ZOLA
Excuse.
CLERK
Tickets are not refundable.
ZOLA
No one wants your crummy money.
CLERK
Thats not how this works.
ZOLA
What are you talking about.
CLERK
If she has a tocket, she must go.
ZOLA
What kind of shabby policy is that.
CLERK
Ours.
ZOLA
Try and stop me.
The clerk sets a gun upon the table.
CLERK
I'd rather not.
ZOLA
You wouldn't.
The clerk cocks the gun.
CLERK
A losing bet.
Zola glares at the man, the gun, and steps back to Mary.
ZOLA
You got any left kid?
MARY
What?
ZOLA
Money.
MARY
Yea.
ZOLA
Enough for another ticket.
MARY
Sure.
ZOLA
Well, then, hand it over.
MARY
What for?
ZOLA
So you don't get killed. How about that wager.
MARY
You won't.
ZOLA
Not me, him.
MARY
He won't.
ZOLA
How do you know?
MARY
Because I wil goo.
ZOLA
But you can't!
MARY
No?
ZOLA
It's not safe.
MARY
And death is?
Zola sighs, drops her back pack.
ZOLA
What do you want kid?
MARY
For?
ZOLA
The price of a ticket. What do you want.
MARY
All of it.
ZOLA
What?
MARY
Everything.
ZOLA
That tickets only twenty bucks.
MARY
So?
ZOLA
This stuff is worth at least ten times.
MARY
Then you're out of luck.
Zola sighs, glares, hands over the bag.
Mary smiles, hands over the cash.
Zola stomps back to the counter, slams the money upon it.
ZOLA
Happy?
CLERK
Hardly.
ZOLA
Whats the problem now?
CLERK
Nothing. I'm just not happy.
ZOLA
Well who asked you?
CLERK
Why you did, Zola.
ZOLA
What?
CLERK
Thats your name, isn't it?
ZOLA
Yes. No. How do you know.
The clerk shrugs.
CLERK
I just do.
The clerk offers the ticket. Zola snatches it, stomps back over to Mary.
Mary chomps on an apple.
ZOLA
You better be worth it.
MARY
Worth what?
ZOLA
All this.
Mary shrugs.
MARY
Maybe.
The front door opens. A rabbi steps into the room. The door gently closed behind him.
ZOLA
Another. Awesome.
The rabbi steps up to the counter, buys a ticket, sits across from the two women.
The rabbi taps his pocket, searches, frowns.
RABBI
Excuse me, Miss? Do you happen have a uh...well
ZOLA
What?
RABBI
A light, miss. A match perhaps.
ZOLA
I'm sorry.
RABBI
A sinful habit, I know.
The rabbi withdraws a pack of smokes from his pocket.
RABBI
But under God we are all imperfect, eh?
ZOLA
I don't have a light.
Mary digs through her bag, offers a box of matches.
The Rabbi obliges. Lights a match, the smoke, pulls, blows.
The rabbi offers Zola a cigarette. She refuses.
Mary is offered one. Smiles nods. The rabbi lights a nail her, hands it over. Zola snatches the cigarette from her small hand.
ZOLA
What are you trying to do, kill her?
RABBI
Death is inevitable.
ZOLA
Yea, but not lung cancer.
The rabbi shrugs, extingushes the cigarette, and continues to smoke his own.
Zola slaps the cigarette out of his hand.
RABBI
Yes?
ZOLA
Ever heard of second hand?
RABBI
You are mistaken.
The rabbi lights another match, puffs, blows.
Zola seeths, grabs him by the collar. The Rabbi blows smoke into her face.
RABBI
I wouldn't.
ZOLA
No?
The rabbi nods to the clerk. Zola turns to a find a gun pointed at her.
Zola lets go of the rabbi.
ZOLA
Whats in it for you?
CLERK
Peace.
ZOLA
You call this peace?
CLERK
What else?
ZOLA
How bout a dictatorship.
CLERK
Peace nonetheless.
Zola scoffs, shakes her head. A middle aged woman, MAY, steps into the station, sits next to the Rabbi.
ZOLA
What? No ticket.
May digs through a cheap purse, reveals a crumpled ticket.
ZOLA
You gonna tell me where we're headed?
MAY
Home.
Zola chuckles, shakes her head.
ZOLA
You and every other crazy around here.
May shakes her head, sighs.
MAY
You don't know, do you dear?
ZOLA
Whats to know?
MAY
Where we are? Where we going?
ZOLA
Why the hell else do you think I asked?
May turns to the Rabbi.
MAY
Should I tell her?
ZOLA
So you're in cahoots with the rabbi now, are ya?
RABBI
Not yet.
ZOLA
No? Why not?
RABBI
You're not ready.
ZOLA
Look Rabbi, I'm gonna give it to you straight. I'm ready. You hear me. I can take it. I've met with my fair share of punches, believe me. I can take a few more.
RABBI
Another time, perhaps.
Zola scoffs, shakes her head, stands.
ZOLA
Well maybe I'll just leave then!
Not a word. Zola stomps to the door.
Push. Pull. Locked.
Zola chuckles, cackles, steps right up to the clerk, grabs him by the collar.
ZOLA
Now you listen here bucko. I'm getting the hell out of here. I don't give a shit about that kid of the rabbi of anybody. Just me, got it. So let me out, yea? Open that door right up.
CLERK
It is.
ZOLA
Think you're funny, do ya? Think this is all a big joke? Real comedian, must be. Well let me tell you something. You point that gun one more time at me and I'll shove it so far down your throat you'll be coughing bullets for weeks.
The clerk presses the gun against her coat.
Push. Pull. Shots misfired.
Zola breaks away free, the gun stolen.
Zola cocks the weapon.
ZOLA
Now open the door, why don't ya?
The clerk sighs, shakes his head. Zola pulls the trigger.
Click. Clack. No ammunition.
The door again opens.
The old man, from not so long before, steps into the station.
Zola turns on her toes, points, aims.
OLD MAN
No ammunition.
ZOLA
Wanna bet.
The old man walks right up to her, presses the gun into his chest.
OLD MAN
Yes.
Zola glares, sighs. The gun snatched out of her hands. Zola pushed back.
ZOLA
Hey.
OLD MAN
Don't be foolish, Zola. Theres still plenty of time left.
ZOLA
Left for what, creep.
The old man nods to the clerk. The clerk hops over the counter, grabs Zola from behind. Wrists pulled back, handcuffed.
ZOLA
What is this?
OLD MAN
You have the right to remain silent.
ZOLA
For what?
The clerk pushes to her a couch all by herself.
OLD MAN
For your own good.
ZOLA
Yea? And what good is that?
OLD MAN
Incrimination, Zola.
ZOLA
How do you know my name, anyhow?
OLD MAN
I always have.
ZOLA
What is this, some sort of sting operation.
OLD MAN
Hardly. We haven't the manpower.
ZOLA
Charges?
OLD MAN
None.
ZOLA
So you haven't even got anything.
OLD MAN
We certainly have something?
ZOLA
What?
CLERK
Your life.
A shot fired. Darknes consumes.
INT. TRAIN STATION - NIGHT
Zola comes to, handcuffed, leaning against a stout wall.
All five sit around her, gawk, stare.
ZOLA
What is this? Some sort of cult? Is that what this is? Some sort of weird cult?
MARY
No.
MAY
Of course not.
ZOLA
Rabbi?
RABBI
You are confused.
ZOLA
No shit sherlock.
CLERK
The train will be here soon.
ZOLA
Well hallejuah! The trains coming in.
OLD MAN
Not quite yet.
ZOLA
Of course not yet. Obviously yet. Otherwise things would be different, right.
The old man nods.
ZOLA
So? What? Are any of you gonna tell me what the hell is going on?
OLD MAN
Do you remember last night?
ZOLA
What?
MAY
Last night, dear. Do you remember.
ZOLA
Whats it to you?
CLERK
To us? Nothing. To you? Freedom.
ZOLA
You'll let me go? Just like that? All I have to do is tell you about last night?
RABBI
As simple as that.
ZOLA
Get these things off me, first.
MARY
You'll run?
ZOLA
Where? Its the middle of the night and the door won't even open.
The old man sighs, nods. The clerk stands her up, withdraws a key, releases handcuffs.
Push. Pull. Thrown. The clerk falls to the side.
Zola runs, sprints, jumps out the broken window.
EXT. TRAIN STATION - NIGHT
Zola falls onto dirt, mud, grunts, groans.
Zola climbs to her, looks back to the others, and runs off into the night.
EXT. ROAD - NIGHT
Zola makes her way further, farther, pausing to catch her breath.
Lights in the distance. Zola makes her way towards them.
EXT. TRAIN STATION - NIGHT
Zola stops, shakes her head, mumbles, climbs up the steps, pauses. A window broken.
Zola looks through the window, sees no one.
Zola tries the door. Locked.
Zola sighs, climbs in through the window.
INT. TRAIN STATION - NIGHT
The five left abandoned sit, waiting.
ZOLA
What the hell?
MARY
Took you long enough.
ZOLA
What the hell is going on.
OLD MAN
If you would just allow us to explain.
Zola steps back to the window.
CLERK
Theres no escape.
MAY
Theres no place but here, dear.
Zola jumps out the window.
EXT. TRAIN STATION - NIGHT
Zol takes a step forward. Another. Another. At the bottom of the platform. At the precipice of the road. A door opens.
Zola turns. The little girl stands looking back at her.
MARY
You can't run.
ZOLA
Watch me.
MARY
You don't get it.
ZOLA
What kid? What do I not get? What do I so clearly not get that all of you already get?
MARY
That house. You came through. That old woman. We did too.
ZOLA
What are you talking about?
MARY
Thoughts. Memories. Thats all we have. Any of us. All of us. Just that. Only that. Nothing else.
ZOLA
Thats not true.
MARY
Then you remember yesterday? Or the day before that? Or any day at all?
Zola moves to speak, retaliate, stops, hesitates.
MARY
None of us can. All we remember is that house. That woman. That ocean.
Zola looks down the road.
ZOLA
I'm guessing I'm not the first.
MARY
Sixth, actually. The clerk was the first.
ZOLA
And none of you remember anything before this?
MARY
Not a thing.
ZOLA
But you thought I might?
MARY
Worth a shot.
Zola sighs, sits on the steps. The little girl sits beside.
ZOLA
What happens now?
MARY
The train will be here soon.
ZOLA
And where will that go?
MARY
Home.
ZOLA
You all keep saying that like that means something.
MARY
It does.
ZOLA
Yea? And whats thats.
A whistle blows. Steam rises.
MARY
Come and you'll find out.
Mary offers a hand. Zola grunts, groans, grabs, and follows Mary back into the station.
INT. STATION - NIGHT
OLD MAN
Nice of ypu to join us.
ZOLA
I didn't think I had much of a choice in it.
OLD MAN
No. But its still nice.
The clerk raps on the counter. All fall silent.
CLERK
You know the procedure. One at a time. One after the other. No lollygagging or jumping or skipping or that sort of thing. I'm looking at you, Mary. And as for you, Zola, since you are so new, we will allow you the honor to be first on this journey.
ZOLA
And how do I know this isn't some elaborate rouse to get me got.
CLERK
You don't.
Zola sighs, looks to the little girl. The little girl nods. Zola obliges, follows the clerk out the front door.
EXT. TRAIN STARION - NIGHT
Upon rotting wood, before a tolling train, stand Zola, the clerk, the former hesitating.
The clerk steps up to the train, taps on closed doors. The wail of rusted doors opening. Nothing inside.
The clerk nods to Zola. Zola hesitates. The clerk leans in close.
CLERK
When you go inside, they'll ask for a ticket. Give what you got. Got it?
Zola nods, staring blankly into the void of the train.
CLERK
Well go on then. They don't like to wait.
ZOLA
Who?
CLERK
Better if you go and find out.
Zola sighs nods, steps up to the train, looks back to the clerk, the others in the window, and steps onto the train.
INT. TRAIN - NIGHT
No one. Nothing.
Zola sits in a dilapidated booth.
Scurrying. Scattering. Whistling. Groaning.
Rat. Rats. Dozens. Hundreds.
Zola sinks into her seat, pulls her feet up, horrorified. Terrorfied.
A rat stands on top of another. Another. Another.
Rats feign the shape of a human body, constantly morphing.
A hand held out, gesturing.
ola struggles, strains, clutches, grabs, tosses the ticket into the rats so called hand.
Ticket recieved, the creature walks away upon two feet, almost human in its queer mannerisims.
A door shut. Closed. Zola is left alone.
Engines rumble, roar. Zola looks out the window, a vast, empty landscape, beginning to move.
Zola jumps to her feet sprints to a door. Pushes. Pull. No use.
The train gains speed. Faster. Faster. Faster.
Zola looks around the room. An emergency cord.
Zola jumps, leaps, pulls the cord.
Nothing.
The train doesn't stop. Doesn't slow. The train doesn't even hesitate.
Again Zola searches the room.
A fire extingusher.
Zola clutches, grabs, pulls, slams the extingusher against the window.
Harder. Harder. Harder.
Glass splinters.
MARY
I wouldn't do that if I were you.
Zola stops, turns, drops her weapon, and embraces the little girl.
ZOLA
I thought, when the train started, and I didn't see you.
MARY
Yea. The trains kind of funny that way. Time is weird, ya know, especially on a train.
ZOLA
Wheres everyone else.
Mary shrugs.
MARY
Around. Still getting settled. I see they took your ticket.
Zola nervously chuckles.
ZOLA
Uh, yeah, I suppose they did.
MARY
Kind of gross, right. I mean, rats, who'd have thought.
ZOLA
Yea...really something.
Mary grows serious.
MARY
You shouldn't do that though.
ZOLA
Do what?
MARY
Break the glass. Try to escape. They don't much like that.
ZOLA
And if I did?
Mary shakes her head, eyes full of terrible fright.
MARY
Better to not.
Zola smiles sadly, nods, sits. The little girl sits beside.
ZOLA
So we're going home, huh?
Mary nods, staring at the booth before her.
ZOLA
And what is home, Mary, exactly.
Mary shrugs.
MARY
Just home. Thats all.
ZOLA
But what does it look like. Smell like. Feel. I mean, what is home, exactly.
The door opens, the other four step in.
MAY
There you are dear! We've been looking all over.
ZOLA
Sorry. I didn't mean to worry. She's been with me for a while.
MAY
Oh no, dear, not her. It was you that got us all worried.
ZOLA
Me?
RABBI
Rather rebellious, eh?
ZOLA
What do you mean?
OLD MAN
The window Zola. Us old folk aren't quite blind as of yet.
ZOLA
Oh.
CLERK
They'll create quite a fuss over this. Mutiny, I dare say. Terrible punishments!
OLD MAN
Calm yourself, friend. Theres still plenty of time to worry.
RABBI
Perhaps a lighter touch though, eh?
OLD MAN
Certainly.
ZOLA
What happens? If you try to escape, I mean.
MAY
Oh dear ih my, don't be silly. No ones trying to escape anything.
ZOLA
Then how the hell do you get off this train?
MARY
You don't.
ZOLA
What?
MARY
Not till you get home.
ZOLA
And what if you don't got any.
Mary shrugs.
ZOLA
Rabbi?
RABBI
Let us concern ourselves not with the way of God.
ZOLA
Isn't that your whole job?
The Rabbi smirks.
RABBI
Hardly.
ZOLA
What about you ticket guy? Any thoughts?
CLERK
I think its better if we speak of it no more.
ZOLA
No? What then? We just wait for that...thing to come back and eat us alive?
OLD MAN
Fantasies, Zola. She would do no such thing.
ZOLA
So its a she now.
OLD MAN
Always has been.
Zola scoffs, shakes her head, walks off.
OLD MAN
And where, pray tell, may you be going?
ZOLA
Anywhere thats not here.
Zola opens the door to the train car and steps into another car.
INT. BAR - NIGHT
Zola pauses, at the precipice of the room, a teenage girl pouring brandy.
Zola hesitates, approaches. The teenage girl, ZAZI, offers mahogony water.
Zola obliges, sips.
ZAZI
New around here?
ZOLA
How'd you guess?
ZAZI
The fight. The glass. I ain't stupid.
ZOLA
Apparently I am though.
ZAZI
Pretty.
ZOLA
Thanks.
ZAZI
Pretty stupid, I mean.
ZOLA
Oh.
ZAZI
Meet that old lady yet?
ZOLA
A little while ago. Funny, it feels like so long ago.
Zazi nods sadly.
ZAZI
Always does. Especially at first.
ZOLA
Get used to it?
ZAZI
No. But you make do.
Zola nods, sips.
ZAZI
How do ya like em?
ZOLA
Who?
ZAZI
All them. Back at the station.
ZOLA
Oh, them.
Zola shrugs.
ZOLA
Can't much say one way or the other bout must of them.
ZAZI
That clerk get on your nerves yet?
ZOLA
You can say that again.
ZAZI
Can't blame him, though.
ZOLA
No?
ZAZI
Been here longer than any of us.
ZOLA
Hows that?
ZAZI
Hard to say, exactly. Days, months, years maybe.
ZOLA
And where is here, exactly.
Zazi shrugs.
ZAZI
Can't say.
ZOLA
Can't? Or won't?
ZAZI
Whats the difference?
ZOLA
A whole world.
Mary steps into the train car, sits at the bar next to Zola.
Zazi pours her drink, hands it over. Zola snatches it from here.
ZOLA
Do none of you have any decency.
Zazi sighs, withdraws a gun from under the counter, and shoots the little girl in the head.
Mary falls to the floor, dead.
Zola lurches, cowers over the little girl. The train heaves. Brakes squeal.
ZOLA
What the fuck is wrong with you!
Zazi looks at her oddly.
ZAZI
You don't know, do you?
ZOLA
What the hell are ypu talking about?
The other four burst into the room.
OLD MAN
Godamn't Zazi, how many times do I have to tell you to stop shooting people!
Zazi shrugs, puts the shotgun away.
Awakened from terror, fright, Zola charges Zazi, held back, down.
OLD MAN
Calm down!
ZOLA
Are you all absolutely mental!
RABBI
Patience, Zola. Not all needs be misery.
ZOLA
What do you call this then.
CLERK
If you would simply calm yourself we could straighten this all out.
Zola tries to break free one final time. Futile.
Zola gives in to her captors. Free.
Mary nods to Zazi. 6 shots poured. Mary downs her own, hands another to Zola. Zola downs the shoot in one feral swallow.
MARY
She's not dead, dear. If thats your concern.
ZOLA
No? What do you call that then?
OLD MAN
At least, not in the traditional sense.
ZOLA
Please, enlighten me.
The rabbi sighs, nods to a stool, sits in another. The clerk drags the little girl out of the room.
RABBI
Torah, yes? You know of it?
ZOLA
Sure. I've heard of it.
RABBI
Good. Good. Well in this book there is talk of a god.
ZOLA
I've heard of this guy.
RABBI
Yes, well, see, this God, our God, well, for on reason or another, has forsaken us.
ZOLA
I can see that.
RABBI
No. No. You can't. You see. She's not really dead.
ZOLA
I'm sorry.
RABBI
You don't understand.
ZOLA
No I understand. You're all whacko lunatics.
RABBI
No. No. You see, she's not dead, because shes not alive.
ZOLA
Not anymore.
RABBI
No. No. Never, at least, since she arrived.
ZOLA
Oh I'm pretty sure she was.
Zazi sighs irritably.
ZAZI
Enough of this already.
Zazi withdraws her shotgun, cocks.
ZOLA
Wait. No! No! No! No! No!
A shot to the head.
Zola falls to the floor, dead.
INT. BEDROOM - NIGHT
Zola comes to, all a sweat and a worry.
Gathering her surroundings, Zola laughs, cackles.
Confidence gaining, Zola climbs out of bed and out of the room.
INT. KITCHEN - NIGHT
Zola skips, practically frolicks, into the kitchen, stops, gawks.
All six, Mary included, stand in the kitchen, hushing with her entrance.
OLD MAN
You may want to sit for this.
Zazi kicks over a chair. Zola sits.
RABBI
There is no end, only this.
CLERK
What he means to say is, this is all there is.
ZOLA
But thats not true. That can't be true.
Zazi cocks her shotgun.
ZAZI
Wanna try again?
The old man pushes down her gun.
ZOLA
I don't understand.
MAY
None of us do, dear.
ZAZI
Fact is, we're stuck here. Every last one of us.
ZOLA
But how? Why?
RABBI
Purgatory. Hell.
CLERK
A glitch in the simulation.
OLD MAN
Some sort of time loop, maybe.
ZAZI
Or maybe its just nothing.
MARY
Well it has to be something!
ZAZI
Yea? Says who?
MARY
Well if it was just nothing then we wouldn't be something.
ZAZI
And who said anything about you.
OLD MAN
Enough! Zola's been through quite enough.
ZOLA
So you just, end up back here then. After you...
CLERK
Funny thing is, thats the only way you end up here. Whole lives have been lived out here.
ZOLA
You mean, its not like the same day over and over again. Like that one movie? Or the other?
ZAZI
I wish. No consequences? Thats the dream.
OLD MAN
No, you see, we all remember everything. The lifes, the deaths, all of it. Our time here is different, but also the same. In the end, we all end up back here.
MAY
At first, we all went our seperate ways. Living our own lives, but with time...
RABBI
Lonliness.
CLERK
We're looking for a way out, you see.
MARY
A hesit!
OLD MAN
Someway out of here.
CLERK
But it only works if all of us go.
ZOLA
How do you know?
ZAZI
No one knows, stupid. We're all just guessing.
ZOLA
And thats your best guess? We're all just somehow connected.
ZAZI
Train only stops when someone goes and dies.
ZOLA
Who cares about the train!
RABBI
Only way home.
ZOLA
How would you know? How would any of you know!
All look to the clerk. The clerk sighs, nods.
CLERK
There was another.
ZOLA
What?
CLERK
Before you, there was another?
ZOLA
And I suppose she just took that choo choo train all the way home?
CLERK
I can't do this.
The clerk stands abruptly and walks out of the room. The old man sighs, nods to the others. All but Zola and the old man are left in the room.
OLD MAN
May I?
The old man gestures to a chair. Zola shrugs. The old man sits.
OLD MAN
Before your time. Before my time. Before everyone's time, all except the clerk, there was another, even older than him.
ZOLA
But you
OLD MAN
Look older, yes, but only in years. In here, I'm practically a child.
ZOLA
So you never met her, nor any of the others.
OLD MAN
Funny.
ZOLA
Whats that?
OLD MAN
You keep saying her.
ZOLA
Why's it always gotta be a he.
OLD MAN
It doesn't.
ZOLA
Is it?
OLD MAN
No. Thats what makes it funny.
ZOLA
Funny how?
OLD MAN
Just an odd guess.
ZOLA
Bout a fifty percent chance.
OLD MAN
Yes, but, odd, somehow. I don't know. I guess your just the first to say she.
ZOLA
Theres only six of you, genius, its not that far out of the question.
OLD MAN
No. Maybe not...
A long pause.
OLD MAN
Regardless, the point is, there was another. And one day, she got on that train, and, well, she never came back.
ZOLA
How do you know?
OLD MAN
Do you see her?
ZOLA
I mean that she's real? That she's not made up? That that clerk didn't lose his mind a long time before now?
OLD MAN
Photos. Pictures. Journals. Proof. Evidence.
ZOLA
Maybe he just kept them.
The old man shakes his head.
OLD MAN
Did you have anything with you?
ZOLA
Just a couple of rocks and the clothes on my back.
OLD MAN
All the same.
Zola studies the old man.
ZOLA
So you're really being serious? About this whole eternal damnation thing maybe not even being that.
The old man shrugs.
OLD MAN
I don't know. Maybe. But we've failed ever since.
ZOLA
How do you know it wasn't her alone? She wasn't the only one? Maybe she was like God or something.
The old man smiles sadly.
OLD MAN
Maybe.
ZOLA
But why all of us? Why everyone? She went alone, didn't she?
OLD MAN
Too many variables. Better to keep an eye on everyone.
ZOLA
But what if you have to go alone? What if thats the only way?
OLD MAN
We've been here longer than you think.
ZOLA
Then why do you just keep trying the same thing over and over again?
OLD MAN
Because thats all there is.
Mary runs into the room, stomping and clomping and yelling and screaming.
Zola lurches to her feet. The old man stands, calm, slightly agitated, grabs Mary by the arm as she runs by.
OLD MAN
Now why don't you calm down and tell me what this is all about.
MARY
Sh...sh...sh...she's back.
ZOLA
Who's back.
The old man gathers a few belongings.
OLD MAN
I thought we had more time.
ZOLA
What are you talking about!
Thunder. Lightining. Winds howling. Wailing.
OLD MAN
We must go now.
ZOLA
What? Why?
The old man pushes the little girl out the door. Zola grabs the old man by the arm, held back.
ZOLA
Whats going on?
OLD MAN
Better you follow than stay behind. We can explain this all later.
ZOLA
I'm not going.
The old man stares, quixotic.
ZOLA
I'm not going. I mean it. If theres something going on here, I have to find out.
OLD MAN
I was afraid of this.
ZOLA
Afraid of what?
The old man knocks Zola aside the head. Darkness consumes.
INT. TRAIN STATION - NIGHT
Zola comes to, cradling her aching head.
ZOLA
Why didn't I wake up in bed.
CLERK
You're not dead.
ZOLA
I thought you couldn't be?
OLD MAN
Don't be difficult.
Zola sits up, looks around the room. Zazi and the little girl play patty cake, the Rabbi mumbles to May. The clerk and the old man sit before Zola.
ZOLA
Well ya gonna tell me or what?
OLD MAN
Shall I?
The clerk nods. The old man sighs.
OLD MAN
That old woman you met the other day. First upon awakening. She is what we fear most?
Zola cackles.
ZOLA
That little old lady. What'd she ever do?
OLD MAN
On first appearance, yes, its rather silly. Comical, even. But only at first. Meet her again, and, well.
ZOLA
What?
OLD MAN
You become like him.
ZOLA
A rabbi.
CLERK
You ignorant fool. Don't you get it? That man's lost it!
ZOLA
Really?
CLERK
Going on about God and religion and purgatory. He's absolutely mental.
ZOLA
Well, I mean, he's a rabbi. That's kind of his whole schtick.
The clerk scoffs.
CLERK
Not always, sweetheart.
ZOLA
What do you mean?
OLD MAN
A man of the cloth, well, its an act. Rather, its new. Only since he met her again.
ZOLA
So he's found God. What does that prove.
CLERK
There is no God you ignorant fool.
ZOLA
Then someones playing tricks on you.
OLD MAN
It is odd, isn't it? The very proof of God is his invalidation.
ZOLA
So thats it then? Meet the old lady and become religious.
OLD MAN
Your naivete gives me hope.
ZOLA
Well I wouldn't be so goddamn naive if you all would just stop being so goddamn esoteric.
A whistle blows. All step towards the door.
ZOLA
What about our tickets?
CLERK
In your pocket.
All abandon Zola. Zola doesn't move. The rabbi steps back into the room, sits across from her.
RABBI
They told you.
ZOLA
Is it true?
RABBI
Truth, in fact, is no truth.
ZOLA
So you're nuts then.
The rabbi shrugs.
RABBI
No more than anyone else.
ZOLA
Yea? What about that old lady then? What are they all so afraid of?
The rabbi's eyes widen with terror, horror.
ZOLA
All that bad, huh?
RABBI
Worse.
ZOLA
And who's gonna believe you? Being a whacko nutjob and all that.
RABBI
It is not a question of belief, but truth.
ZOLA
This again.
RABBI
Think what you will, but avoid her at all costs.
ZOLA
And if I don't?
RABBI
Pay the ultimate price.
ZOLA
You can't even die in this place. What could possibly be worse than that.
RABBI
Death is no misery. Its a miracle, long forgotten.
ZOLA
Just more epithets then.
The rabbi sighs, shakes head, opens the door.
RABBI
And you?
ZOLA
No.
The rabbi nods, walks out.
A long pause. A whistle blows. The train chugs off.
Zola sighs, stands, maneavours past the counter, through the cabinets, drawers.
Nothing. Not even paper.
Zola sighs, looks around, and steps out the door.
EXT. TRAIN STATION - NIGHT
Zola climbs down the steps and to the railroad tracks.
Zola looks left, right, to the steam in the distance, follows.
EXT. TRACKS - NIGHT
Further. Farther. Zola follows the train. Steam dissipates. Fades. Lost in darkness.
Zola continues her way down the tracks, looks back. Nothing but a barren wasteland.
Lights in the distance. Zola shakes her head, chuckles, quickens her pace.
EXT. TRAIN STATION - NIGHT
Zola returns to the place once escaped.
Zola sighs, steps up to the door, pushes, pulls: locked.
Agitation grows into fury.
Harder. Harder. Harder.
Crack. Pop. A bitter scream.
Zola falls to her knees, squealing in misery.
A shadow approaches. Closer. Closer.
The old woman steps into the light. Zola spits on the ground before her.
ZOLA
What do you want?
The old woman points to the door.
ZOLA
Gotta key or somethin?
The old woman floats past Zola and to the door, turns the knob. The door opens.
The old woman steps in. Zola grumbles under her breath, climbs to her feet, follows.
INT. TRAIN STATION - NIGHT
The old woman steps behind the counter, withdraws a large book, a pen.
The old woman offers the pen. Zola hesitates, takes the pen.
Zola points to the bottom of a page; scribbled, unreadable words.
ZOLA
What does it say.
The old woman grunts, points to the bottom of the page.
ZOLA
Yea, I know, you want me to sign the book or whatever. But I'm not gonna sign anything until you tell me what this all is. And I'm not just talking about the book, either.
The old woman grumbles, groans, closes the book, and throws it into a drawer.
ZOLA
Where'd you get that book, anyhow? I searched all over and couln't find a thing. I suppose you're, what, some sort of wizard or something.
The old woman opes amother drawer withdraws a deck of cards, shuffles, offers a card.
ZOLA
Gambler too, huh?
Zola takes a card, studies it.
Neither poker nor tarrot, nor any kind ever seen, Zola stares at the figure which stares back at her: sisyphus and his rock.
ZOLA
Is this a joke?
The old woman shakes her head, snatches the card, and tucks it away.
ZOLA
So your some sort of paychic then? Or what? That old man said you'd drive me crazy.
The old woman looks at her oddly. The door thrown open. A tumultous wind.
Zola turns to the door. The old woman walks past Zola, to the door, steps out, and closes the door behind her.
Zola walks around the counter and opems a drawer. Another. Another. Another.
Nothing.
ZOLA
Of course.
A whistle tolls. Zola looks out the window. A train nears.
Zola steps out of the station.
EXT. TRAIN STATION - NIGHT
Fog accumulates, blinds. Zola steps up to the train.
Doors open.
Zola hesitates, looks back, steps onto the train.
INT. TRAIN - NIGHT
Empty. Abandoned. Zola steps into the cabin.
Finding a booth, Zola sits. The train lurches forward
Scurrying, rattling, hundreds of feet marching. Dozens of rats gather, convulge, metamorphs into a human form.
ZOLA
I don't suppose you take checks, do ya?
The creature growls.
ZOLA
I'll just be going then.
Zola stands. A hideous hand throws her back down.
Zola hits her head hard against the window, blacks out.
INT. CABIN - NIGHT
Tied. Gagged. Zola comes to. Struggles. Strains.
No use.
A window on the other side of the room. Zola inches her way to what little light pervades from the glass pane.
A shrill creak. A door opens. A hideous figure in the shadows.
Dark becomes light. The monstrous cacophony of rats steps forward.
Closer. Closer. Practically on top of her.
Zola flails, screams. The figure ungags her.
Zola spits. The figure doesn't react.
ZOLA
What do you want?
The figure opens the window, walks out of the room.
Zola struggles to her feet, looks out the window. The ocean passing by not far in the distance.
The night is clear, but without stars. The hum of the wind is almost soothing.
Zola dips her head out the window, into the cool breeze, watches waves go by.
The door again opens. Zola jumps, startled.
The shadowed figure drops a gun onto the floor, steps away, closes the door behind it.
Zola shuffles towards the gun, sits beside it, grabs it, cocks it, presses it into her lower back.
One breath. Two breaths. Three.
Trigger pulled. A tumultous scream.
Zola writhes on the floor, moans. The door the cabin opens, closes.
The figure picks up Zola and carries her out of the room.
INT. BEDROOM - NIGHT
Zola comes to, sighs, sits up: stuck, tied to the bed.
Zola struggles, strains. No use. The monstrous rat figure steps into the room.
A knife. A scalpal. Closer. Closer.
Zola wreathes, writhes, tries to break free.
A heavy hand upon her stomach pushes her down. Knife to skin. A deep cut. Terrible pain.
The figure sticks its hideous hand inside her. Screams of pure misery.
The hand withdraws with the bullet, drops it, turns to a table, a needle, and sews Zola back up.
The figures walks out of the room, back in, a bottle of rum.
Cap opened, jaw protracted, hazel liquid poured down Zola's throat.
Coughing. Gagging. Spitting. The monster sets the bottle aside, sits on a stool near.
ZOLA
What the hell is wrong with you?
The figure cocks its head.
ZOLA
The gun. The knife. The needle. The gag. What is this, some sort of game to you.
The figure stands and walks out of the room.
ZOLA
Great. Thats just great.
The figure returns, something in his hand.
The figure reveals the object, a colored polaroid, a priest smiling.
ZOLA
Who's that?
The figure points to himself.
ZOLA
You? Thats you? That...man...is you?
The figure nods.
ZOLA
How does that work?
The figure shakes its head.
ZOLA
Always been like this?
Again the figure shakes his head.
ZOLA
I get you can't talk and all, but I can't just sit here tied up asking you questions.
The figure steps out of the room.
ZOLA
Great job Zola, you scared him off.
The figure steps back into the room, a knife in hand.
ZOLA
Now wait monute there buddy. Woah! Woah! Now just wait a second there!
Cut. Slice. Zola opens her eyes.
Free.
Zola sits up, rubs her wrist.
ZOLA
Thanks, I guess...so, can you write? Or sign? Or something?
The figure shakes his head.
ZOLA
Well we're gonna need a better way of talking than this.
The figure runs out of the room.
ZOLA
How many times is he gonna be doing this?
Back in. The figure stuffs a small book into Zola's arms.
ZOLA
Boyscout's handbook. What good is this?
The figure snatches the book and flips through it, hands it back over.
ZOLA
Morse code?
The figure taps indistinctly. Zola searches the handbook.
ZOLA
Y-E-S. Yes. Oh boy. This is gonna take a while.
The figure offers rum. Zola chuckles.
ZOLA
Good thinking.
The figure walks out of the room.
ZOLA
Yea, guess you probably already know this stuff already.
Zola feigns laughter, downs more of the bottle.
INT. BEDROOM - NIGHT
A door opens. Zola comes to, the book on her chest.
A series of taps. Zola closes her eyes. Taps repeated.
ZOLA
I'm thinking. I'm thinking. Just give me a minute.
Impatiently, the figure repeats the taps.
ZOLA
Okay. Okay. Ummmm h...o...m...e...home. What does that mean?
The figure points out the window.
ZOLA
Your home is out there?
The figure nods.
ZOLA
Then go.
The figure taps, shakes his head.
ZOLA
C...a...n...t. Can't. Why not?
The figure taps again.
ZOLA
S...t...u...c...k. Stuck. On the train?
The figure nods eagerly.
ZOLA
Well lets get off then.
Zola stands, steps to the window, pushes, pulls, locked.
Zola sighs, grabs a fire extingusher, and slams it against the glass. Again. Again. Again.
Glass shatters. Wind howling.
ZOLA
Well go on then.
The figure hesitates, steps to the window.
ZOLA
It'll hurt like hell but can't much kill ya.
The figure shakes its head.
ZOLA
Don't be a coward.
Again the figure taps.
ZOLA
Can't? Why the hell not?
The figure shakes its head.
ZOLA
Well I guess if it was all that easy you'd probably have done it already, huh?
The figure nods.
ZOLA
Okay. So you can't just get off the train. What then?
The figure shakes its head.
ZOLA
You don't know. Great. Well thats just perfect.
A long pause.
ZOLA
Wait a minute. If you're on this train where are the others? Are they here too? On this train too?
The figure shakes his head.
ZOLA
So theres two trains then?
Again the figure shakes his head. Zola hesitates.
ZOLA
You mean they're all...gone?
The figure nods.
ZOLA
Did you see them?
Again the figure nods.
ZOLA
How'd they go?
The figure taps morse code.
ZOLA
Z...a...z...i. Zazi. Of course it was her.
A long pause.
ZOLA
Well, look. I can't do this alone. I mean, I don't know anything about anything. But the others, well, they might actually know something. So give me that gun and I'll see you again soon.
The figure lumbers out of the room, back in with the gun, hesitates.
ZOLA
I won't be long.
The figure hands over the gun. Zola shoots herself in the head.
INT. BEDROOM - NIGHT
Zola gasps, comes to. All is back where it once was.
Zola climbs out of bed and out of the room.
INT. KITCHEN - NIGHT
The others stand, sit, wait.
ZOLA
I heard it didn't go over so well.
ZAZI
Dummy over here slipped and fell.
ZOLA
I heard it was you.
ZAZI
Oh yea? From who? The lochness monster?
ZOLA
Not quite.
ZAZI
Well you don't know nothin. How would you anyhow?
ZOLA
That...thing. That takes your tickets. We spoke.
ZAZI
He can't talk.
ZOLA
Morse code.
The old man chuckles.
ZOLA
I suppose none of you bleieve.
OLD MAN
Its just a little hard to wrap our brains around.
ZOLA
How is that the thing thats too hard to believe? Witches. Purgatory. Immortality. Thats all in the realm of possibility! But no, a human being, that, thats too hard to fathom!
CLERK
Rats are far from human.
ZOLA
Its weird, I admit. I get that. But is it really any weirder than any of this?
MAY
No dear, I suppose not.
MARY
Is it gonna hurt us?
ZOLA
He. Mary. He. And no, he's not.
RABBI
What does he want? This devil in rat's clothing?
ZOLA
What we all want. He wants to go home.
CLERK
And the tickets?
ZOLA
I don't know.
ZAZI
I don't like it.
CLERK
Neither do I.
MAY
It does worry me so.
MARY
I don't mind.
ZAZI
Of course you wouldn't you little creep.
MARY
Am not!
ZAZI
Are too!
OLD MAN
Enough!
All fall silent.
OLD MAN
Arguing will solve nothing. If what Zola says is true, the answer is simple.
ZOLA
Which?
OLD MAN
We go and find out.
EXT. STATION - NIGHT
A feral whistle tolls. Fog gathers, expells. All stand before a train as it slows.
Doors open. All step in. Doors close.
INT. TRAIN - NIGHT
The group scatters, two at each booth, Zola alone.
A door opens. A figure appears, slithers, hesitates before Zola.
ZOLA
Oh. Right. Business first I suppose.
Zola hands over her ticket. The others do like likewise. One of the rats scurries away with the tickets.
A long pause.
ZOLA
Well. We're all here now. Go on then.
A series of taps.
ZOLA
He says hello. Hi, actually. But you get the gist.
CLERK
And he understands you?
A series of taps.
ZOLA
Yes. And clearly he understands you too.
MARY
What does he want?
ZOLA
He wants to go home.
MAY
We all do, dear.
RABBI
Why doesn't he leave the train?
A series of taps.
ZOLA
Can't. Apprently.
ZAZI
And how do we know he isn't just lying.
ZOLA
What good would that do?
ZAZI
I don't know, to eat us or something.
ZOLA
Has he done that before?
ZAZI
Well no. But he could start.
ZOLA
Well lets just assume he won't.
OLD MAN
What does he want?
ZOLA
Like I said already, he wants
OLD MAN
From us?
Zola hesitates.
ZOLA
Well...help, I guess.
OLD MAN
What can we do that he can't?
ZOLA
Well I don't know. Something, probably. I mean, between the eight of us, we can probably think of somethin.
MARY
Why don't we just push him out?
MAY
Mary!
MARY
What?
MAY
Would you want him to push you out?
MARY
Well maybe if I was him, maybe.
MAY
Don't be foolish, child.
ZAZI
If it were that easy don't you think we would've done it already?
MARY
Well its worth a try.
Zazi scoffs.
ZOLA
Maybe she's right.
CLERK
You're no better than the child.
ZOLA
We could at least try.
All fall silent.
OLD MAN
Alright. You're right. Bickering will do nothing. If we do not try, how else do we succeed?
RABBI
May god have mercy on us all.
The seven look to the figure standing peevishly in the center.
EXT. TRAIN - NIGHT
A howling wind. Bitter rain. A rain door thrust open.
The monstrous figure stands sillhouetted by false luminesence. Zola stands behind him.
INT. TRAIN - NIGHT
Zola gathers lost breath, presses a hand againt the figure. Snip. Snap. Blood drawn.
ZOLA
Damn't!
Zola pulls her hand back, bitten. A series of taps.
ZOLA
Not your fault. I know. I guess we'll have to try something else.
Mary runs out of the room.
ZOLA
Ideas?
All look to eachother, accusatory, silent.
ZAZI
I don't see why any of you care about him at all. I mean, what has ever done for any of us? Other bat and berade and bother us all.
ZOLA
Maybe this is part of it. Maybe this is what we have to do. Maybe this is why we're all here in the first place.
ZAZI
I hardly think thats true.
Mary runs back into the room, hands over gathered objects: oven mitts.
Zola chuckles, takes them, wears them.
A long pause. A sigh.
Zola pushes with all her might, rats nipping through cloth. Not an inch gained.
ZOLA
Someone else wanna try?
All look away. Zazi seeths, snatches the mits.
ZAZI
Bunch of cowards! All of you!
Zazi steps back to the end of the hall, takes three deep breath and charges, tackles.
Wailing. Screaming. Zazi entangle with the figure.
Swatted, batted, pulled back, away, bleeding profusely.
Zazi whimper in moan, half her cheek torn off.
Six of the seven look to the figure with nothing but hatred. Zola looks only with pity.
CLERK
This is what you get for squandering pity!
ZOLA
He didn't mean to.
CLERK
Mean to? Mean to! I don't give a shit what he meant to! Look at her Zola! Look at Zazi! Rabbi, would you be so kind as to put her out of her misery.
The rabbi withdraws a revolver, cocks it, fires. Zazi whimpers no longer.
The clerk steps up to Zola, glaring.
CLERK
You're not worth the effort.
The clerk pushes his way past Zola and into another train car.
Silent, morose, all but the old man follow.
Alone, the old man shakes his head.
OLD MAN
May this worry you little. A mistake no different than any other.
ZOLA
We can't just leave him here!
OLD MAN
Thats all we can do.
The old man walks out of the room.
Zola stares at the monstrous figure, head down, ashamed.
ZOLA
I'm sorry. Theres nothing I can do.
Zola walks out the opposite end of the room.
INT. KITCHEN - NIGHT
Amongst ovens, stoves, grills, pots and pans, Zola whimpers, slamming her hand against a cheap counter.
A door opens. Closes. Mary steps into the room.
Zola gathers herself, wipes tears from her eyes, and force a smile.
ZOLA
What do you need, kiddo?
MARY
You.
ZOLA
Ah, you don't need me.
MARY
I do.
ZOLA
Nah. You just think that.
MARY
No I don't. I know that. I do.
ZOLA
And how do you know that kid.
MARY
The old lady told me so.
ZOLA
You met her too.
The little girl nods, sits on a pot flipped over.
ZOLA
And what is it, exactly, that she told you?
MARY
That I needed you. That we needed you. That you were the end to all of this.
ZOLA
She was just getting your goat kid.
MARY
I don't have a goat.
ZOLA
I know kid. I know.
A long pause.
MARY
So?
ZOLA
So what?
MARY
Are you gonna come back again.
ZOLA
There's nowhere to go.
MARY
Yes there is.
ZOLA
Yea? And wheres that?
MARY
Back with us. Back at the cabin.
ZOLA
Forget it kid. I'm not good to them. Or any of you.
MARY
But the old lady said
ZOLA
I know what she said!
Mary cowers at harsh words turned daggers.
ZOLA
Just forget it kid, okay. That old lady's crazier than all of us.
Mary sniffles. Tears fall from her eyes
ZOLA
Did you hear me? I said forget about it! Go! Get! Your no good to me! I'm no good to anyone! So just go and get already!
Howls of misery as Mary fumbles out of the room.
Zola shakes her head, kicks pots, pans, and stomps to the door at the end of the room.
Push. Pull. Locked.
Zola slams, bashes, kicks, throws her whole body against it.
The door thrown off its hinges.
Before Zola, beyond the door, is bot another car, but tracks rushing by. Zola looks back, sighs, and throws herself out of the car.
Darkness consumes all.
EXT. TRACKS - NIGHT
Zola comes to. Beaten. Broken. Breathing.
Zola moans, groans, tries to climb to her feet, collapses, an ankle broken.
Zola drags herself off the tracks, places her head upon cold iron, and slams her head into it. Again. Again. Again.
Blood drawn. But nothing else. Zola vomits, groans in misery.
A rustle in the distance.
ZOLA
Hello? Is someone there.
A figure in the shadows gawks, stares, runs off into wilderness.
Zola drags herself into the forest.
EXT. WOODS - NIGHT
Amongst howls, growls, ferocious, wild animals, Zola makes her way to a small spring, sips from it.
Satiated, Zola looks all around, sees nothing.
Zola throws her head under water.
Gasping. Choking. Drowning.
Darkness.
Zola comes to coughing, gagging, vomiting water, groaning, whimpering, moaning.
A figure in the shadows approaches, just beyond sight, a silhouette in the forest.
ZOLA
What do you want?
A series of taps.
ZOLA
Life. Yea, well, you can have it. Take it. Go on. I insist. Really. Its all yours.
Another series of taps.
ZOLA
How the hell did you get out of there?
The old woman steps out of the shadows.
ZOLA
Oh.
The woman steps into the river, water to her waist.
ZOLA
Wait.
The old woman turns.
ZOLA
Why did you save me?
The old woman cocks her head, smiles, gestrues for Zola to follow.
ZOLA
You want me to
The old woman dives under water. Zola headitates, dives into the river.
EXT. RIVER - NIGHT
Under water, the woman sits, legs crossed, floating just above the river bed.
Zola climbs up to the surface, gasps, and dives back down.
The old woman opens her mouth, inhales, goes limp.
Zola lurches forward and grabs the old woman.
Push. Pull. Struggle. Strain. The old woman stuck in place.
Zola climbs back to the surface, dives back under water.
The old woman gone. Zola alone underwater. Zola climbs back up to the surface.
A pack of wolves surround her.
Closer. Closer. Closer.
Howling. Growling. Snarling. Snapping.
Zola dives under water.
Bit. Snatched. Dragged out of water.
Struggling. Straining. Flailing. Bleeding.
The wolves glare but don't attack.
Zola hesitates, crawls. Feral threats. Zola crawls back. The wolves relax.
Zola closes her eyes, takes a deep breath, and charges.
The wolves attack.
Zola thrown to the ground, thrashing, slashing, clutching. A rock in hand.
Zola heaves the rock into a wolf.
The wolf howls, pitiable, falls back. The others back off.
Zola flails about, threatening.
A courageous wolf jumps forward, attacks, thwarted, falls to the ground, dead.
The wolves scurry off into the wilderness.
Zola lays her head upon soil, knocks her head up against it. Mumbling. Groaning. Cursing.
Zola looks back to the water, grumbles, struggles into the forest.
EXT. FOREST - NIGHT
Zola drags herself through mud, leaves, sticks, thorns. Blood spotting soil like torrential storm.
Growing tired, exhausted, Zola pauses. A toll in the distance. A bell. Steam.
Zola drags herself ever faster.
EXT. TRACKS - NIGHT
A dark, dense, impenetrable fog. Zola pulls herself out of the forest.
Silhouetted by false luminesence, a train lulls.
Zola drags herself to doors, knocks.
A long pause.
Doors open.
Zola struggles onto the train.
INT. TRAIN - NIGHT
Zola crawls down a hall. Held back. Down.
ZOLA
What do you want?
The monstrous figure steps before her, taps.
ZOLA
We already tried that.
More taps.
ZOLA
I'm done with that.
Eager, frantic taps.
ZOLA
No! I said no. Okay? Can't you see I got my own problems to deal with? Now where are the others?
Tapping.
ZOLA
What do you mean gone? They wouldn't just jump off the train.
Taps.
ZOLA
Well then where are they then?
The figure walks away.
ZOLA
I'll just follow you then.
INT. GREENHOUSE - NIGHT
Zola coughs, gags, floral aromas suffocating.
Dragging herself to a single chair, Zola gasps, pushes, pulls, struggles into the chair. The monstrous figure returns.
ZOLA
You do all this?
The monstrous figure nods.
ZOLA
What for?
The figure taps. Zola chuckles morosely.
ZOLA
I gave up hope a long time ago...you got anything for this? My legs, I mean. For the pain.
The figure wanders through plants, leaves, plucks a leaf, and hands it over.
ZOLA
Just eat it? Whole? Like this?
The figure nods. Zola obliges.
Walls tumble. Floors collide. Zola falls to the floor, blacks out.
INT. MORGUE - NIGHT
Zola comes to, laid upon linoluem. The monstrous figure, turns upon his metal gurney, almost sighing, heat from a cremator blazing.
ZOLA
Cozy.
The figure sits up, hops off the gurney, approaches a door, a latch, pulls out a cold metal table.
ZOLA
You're too kind.
The figure shakes his head, climbs onto the table, and taps vigorously.
ZOLA
That sounds rather painful.
Slow, steady taps.
ZOLA
What if it doesn't work?
The figure lays down, doesn't reply.
ZOLA
Okay.
A long pause. Zola gether her courage, and pushes the table into the cubby. A door closed. A latch locked.
Zola drags herself to the fire, presses a button.
Torturous wails of agony.
Zola swallows hard, turns away from the fire. Slowly, surely, wailing seizes.
Zola opens the latch, door, pulls out the metal table: nothing. Not even ashes.
Zola climbs onto the table, lays down, closes her eyes. A long pause.
Zola grumbles, mumbles, rolls back onto the floor, and drags herself out of the room.
INT. BAR - NIGHT
Zazi mixes drinks as Zola drags herself to the counter, a stool.
ZAZI
Where you been at?
ZOLA
Around.
Zazi nods, pouring two drinks.
ZOLA
I'm sorry about the other day. I mean, night, or whatever. I didn't know
ZAZI
Don't be. None of us did. Just the price you pay, I suppose.
ZOLA
You really think there ever is any end to this? That this train actually leads anywhere?
Zazi cackles.
ZAZI
What do you think, stupid? How do you think you got on this train?
ZOLA
What do you mean?
ZAZI
Circles genius. Thats the only way this goes. Back and forth. Again and again.
ZOLA
Then why do they keep trying. Why do they keep hopping back up on this train.
ZAZI
Gotta have something, I suppose. For them, thats this train.
ZOLA
And you?
Zazi shrugs.
ZAZI
Nothin much.
ZOLA
But something.
ZAZI
Liqour, maybe. Or some time alone.
ZOLA
Do you ever eat? I mean. Do you ever get hungry?
Zazi scoffs.
ZAZI
I haven't thought about food in forever. I don't know. I guess when you never really think about it you just don't think about ir.
ZOLA
But you drink.
Zazi shrugs.
ZAZI
Doesn't do much. Placebo, I guess, you'd call it.
A door opens. Tiny footsteps. Zola turns to find Mary running towards her jumping into her arms, hugging hard.
MARY
Where were you?
ZOLA
I just got a little bit lost.
MARY
Well I'm glad I'm the one who found.
ZOLA
Actually, I think Zazi found me.
MARY
What do you mean?
Zola turns to Zazi: gone.
ZOLA
I...you didn't see her?
Mary frowns, on the verge of tears.
MARY
Not in a really long time.
ZOLA
But back at the house
Mary shakes her head.
MARY
Wasn't there. Or anywhere we could find her.
ZOLA
Well she didn't just dissapear.
Mary shrugs.
MARY
Why not? Its happened before.
ZOLA
But she didn't do anything.
MARY
Except get chewed up by that weird rat thing.
ZOLA
You don't think...I mean...what does that have to do with anything?
MARY
What does anything have to do with anything? All I'm saying is then she was and now she isn't, thats all.
Zola taps the counter, sighs.
ZOLA
And the others.
Mary shrugs.
MARY
None of them wanted to come. Wanted to search the woods and all. Thought she might be somewhere still.
ZOLA
But you don't.
MARY
Zazi never ran away before. She was mean sometimes, to me especially, but she'd never do anything like this. Not to us.
ZOLA
Where do you think she went, then?
MARY
Home.
A long pause.
ZOLA
Have...have you seen him?
MARY
Who?
ZOLA
The ticket collector?
MARY
Not since I got on the train...why? Where is he?
ZOLA
I don't think you'll see him again.
MARY
Finally got him off this dumb thing?
ZOLA
Something like that.
A long pause.
MARY
Zazi isn't coming back, is she?
ZOLA
I don't think so kid.
Mary sniffles.
ZOLA
But look at it this way. She's free, right? She gets to go home.
MARY
I just...I just really miss her.
ZOLA
I know kid. I know.
The Old man walks into the room.
ZOLA
Long time seeing you.
OLD MAN
We got a problem.
ZOLA
Always problems with you.
OLD MAN
You don't smell that?
ZOLA
Smell what?
OLD MAN
Smoke.
Zola hesitates.
ZOLA
No.
OLD MAN
Well I do. And it's coming from that way.
The old man stumbles to the door on the other end of the bar?
OLD MAN
Just gonna sit there, then, while I risk my life?
Zola points to her legs.
ZOLA
Can't walk. Bit of a misstep, you might say.
The old man grunts, groans, and stomps out of the room.
MARY
I don't like him.
ZOLA
No?
MARY
He gives me the creeps.
Zola turns to the little girl, studies her face.
ZOLA
Now I'm gonan ask you somethin and you're gonna tell me the truth, undertand. No playing or fooling. I'm very serious.
MARY
Okay. Sure.
ZOLA
Promise me.
MARY
Zola.
ZOLA
Promise.
MARY
(Begrudgingly)
I promise.
Zola takes a deep breath.
ZOLA
Has that man ever, I mean, did he...
MARY
What?
ZOLA
Has he ever, touched you?
MARY
Sure. Lots of times.
Zola's eyes go wide.
ZOLA
Now this is very important Mary. So don't lie. I need you to tell me exactly where he touched you.
MARY
Here, mostly.
Mary points to her hand.
MARY
And sometimes here too.
Mary points to her head.
ZOLA
Thats it? No where else?
MARY
No. Why would he?
Zola chuckles in uncomfortable releif.
ZOLA
Nothing. Nothing. Nevermind.
The old man lurches through the room.
OLD MAN
Fire! Fire! Fire!
The old man grabs the little girl and sprints out of the room.
Smoke. Blinding. Suffocating. Zola curses, drops to the floor, drags herself to the door.
Push. Pull. The door won't open. Zola slams her body against the door.
Smoke becomes fire. The room alight with terrible flames.
Alchol catches. Flames spit with horrible fury.
Zola crawls to a stool, pushes, pulls, drags. At a wall. Below a window.
Zola climbs on top of the stool.
The window too is locked.
Zola slams her fist against the winodw, howls of misery.
Biting her knuckles, bleeding, Zola slithers down the stool, and towards the blazing fire.
A deep breath. Zola plunges into the flames.
Coughing. Choking. Gagging. Burning.
Zola clutches the gun under the counter, squirms, squeals, crawls out of the fire.
Severely burned, suffocating, Zola cocks the shotgun, puts in her mouth.
The trigger pulled.
Nothing.
Again. Again. Again.
Nothing still.
Zola wails, screams, drags herself back to the stool, up the stool, and to the window.
Wiath failing effort, frailing arms, Zola slams the shotgun into the window. Glass shatters.
Zola clears shards, jumps out of the window.
EXT. TRACKS - NIGHT
Zola lied on the ground, groaning, moaning. A shadow leers above her.
ZOLA
What can you take from a person who has nothing to give?
The figure withdraws from the shadows, into moonlight.
Zola gawks, gapes, sits up. A man, CHARLEY, stands before her.
CHARLEY
Theres always more to give.
Charley holds out his hand.
ZOLA
You're
CHARLEY
One and the same.
ZOLA
How?
Charley shrugs.
CHARLEY
Your guess is as good as mine.
ZOLA
What will you do now?
CHARLEY
Now?
Charley chuckles.
CHARLEY
Now we get you somewhere to go!
ZOLA
What?
CHARLEY
Home, isn't it? Isn't that where you want to go.
ZOLA
I...I...I don't know.
CHARLEY
Of course you do! We all do! Every last one of us!
ZOLA
There is no home. This is all there is.
CHARLEY
Yes, this. This is home.
Zola scoffs.
ZOLA
You have no idea how this works.
CHARLEY
No?
ZOLA
We're stuck, don't you get it? We can't leave. We can't die. We can't age. All we can do is just this. Just...nothing.
CHARLEY
Nothing is something.
ZOLA
Nothing much.
CHARLEY
What more could you want?
Zola chuckles, tilts her head, stares.
CHARLEY
Isn't this enough?
ZOLA
Enough for what?
CHARLEY
To live, breathe, exist.
ZOLA
Life isn't just that.
CHARLEY
Why not?
ZOLA
If it was, you'd never have left that train.
Charley sighs.
CHARLEY
This and that are not the same.
ZOLA
Whats the difference?
CHARLEY
Wanna trade places?
Zola hesitates, looks away.
CHARLEY
Can you walk?
ZOLA
Does it look it?
CHARLEY
Very well then, I'll carry you.
Charley bends down to pick up Zola. Zola pulls herself back.
ZOLA
I'd rather you just kill me.
CHARLEY
I can't.
ZOLA
Why not?
CHARLEY
You're not alive.
ZOLA
Just smash this shotgun over my head.
CHARLEY
And walk all the way back?
ZOLA
Its hardly two broken legs.