Rimy

FADE IN:

INT. DARK CORRIDOR

A long, almost totally dark corridor with an orb of light at the end. RIMY, (30) disorientated, terrified. A DARK BEING approaches Rimy. Rimy sprints towards the light, Dark Being slashes at his heels. Rimy collapses.

CUT TO BLACK

FADE TO:

INT. HOSPITAL ROOM - DAY

Rimy, hospital gown, awakens as if from a bad dream. Saunters to the bathroom, pees for a while. Staggers back to the bed, observes his surroundings. NURSE (30) enters, astonished at the sight of Rimy sitting.

NURSE

Is this a joke?

Rimy is startled.

RIMY

What? No. I- I just went to the bathroom.

NURSE

(to someone outside)

This isn’t funny Elliott!

Rimy is confused.

NURSE

Who sat you up?

RIMY

... No one.

NURSE

That’s not possible... Can you go put on your clothes.

Rimy ambles across the room. Dresses himself. Nurse is Flabbergasted.

CUT TO:

EXT. BEHIND GAS STATION - NIGHT

Rimy and ELI (20) share a joint.

ELI

Daym. How’s your brother doin’?

RIMY

He’s aight, I guess. Keep on stickin’ his nose in my life.

They stand in silence. A DRUGDEALER approaches them.

RIMY

Aye, let’s go.

Eli sucks the last bit of the joint, follows Rimy.

INT. KITCHEN - NIGHT

Rimy enters, drunk and high. Flops a pile of cash on the kitchen table. Opens a cabinet to reveal a strong box, in which he places the cash. His brother, MARCUS (40s), looms behind him. Rimy looks at him, ashamed. Breaks eye contact.

MARCUS

Don’t bring that into their lives.

Rimy pours himself a drink.

MARCUS

Damn you Rimy. These kids don’t need their uncle. They need their father. Don’t that mean anything to you?

A long pause as Rimy stares at Marcus again.

RIMY

Yeah, it do Marcus.

MARCUS

What it mean to you?

RIMY

It means that I gotta take care of them like you took care of me when we were younger. That’s exactly what I’m doin’.

MARCUS

No it ain’t... Ain’t you worried what god think ‘bout you?

RIMY

(aggravated)

No. Ain’t no god to worry about.

CUT TO:

INT. EXAMINATION TABLE - DAY

Surgical lamps blind the screen.

NURSE

(muffled)

Get him into surgery quick!

Rimy fades out of consciousness.

INT/EXT. RIMY’S CAR - NIGHT

Rimy, drivers seat, smokes a joint. Eli, leaning in from the outside, stuffs his face with a chicken wrap.

RIMY

I don’t give a shit about Jerome. It’s just me out here watchin’ my own back. Just me. Man, fuck that guy.

ELI

He don’t like you no more, RB. That’s for sure. You might wanna think about doin’ somethin’ else.

Rimy hits the blunt. Eli sloppily eats. They bide in silence.

ELI

Damn, Rimy you made this?

Rimy is taken aback by his interest.

RIMY

Yeah, man.

ELI

It’s good as fuck dog.

RIMY

Thank you. I appreciate that.

ELI

You should like, do a restaurant or something. You ain’t doin’ yourself no favors, ‘specially not with Jerome no more.. You need to watch out man.

Rimy stares out the windshield. Relocates attention to Eli.

ELI

Aight, dog, well. I gotta get goin’.

RIMY

Yeah, I’ll catch you.

Eli and Rimy fist-bump. Eli walks off. Rimy starts up his car.

CUT TO:

INT. EXAMINATION TABLE - DAY

Surgical lamps blind the screen. The nurse moves over Rimy.

INT. HOSPITAL ROOM DAY

Rimy, street clothes, regains composure. Nurse paralyzed in amazement.

NURSE

Do you know where you are?

Rimy shakes his head.

NURSE

You’re in Grady Hospital. You were in a car accident.

Rimy doesn’t believe her. Nurse shows Rimy a scar on the back of his neck.

RIMY

Oh my god.

NURSE

Mr. Bricker, you shattered your vertebrate. Your body was identified. Rimy undergoes a revelation upon hearing this.

NURSE

You showed some signs though, and we were able to revive you. But, by all means you shouldn’t be walking... What do you remember?

Rimy thinks:

INT. DARK CORRIDOR

Total darkness. Rimy on the ground. An orb of light Gets up, sprints to the light. He reaches it. The Dark Being can’t get close. Rimy notices this. Terrified, he clutches the light. He has to.

FADE TO WHITE

ELI (V.O.)

So was it like god or something?

FADE TO: INT. KITCHEN - DAY

Rimy cooks as Eli touches everything laying about.

RIMY

I don’t know. I can’t say for sure. But it wasn’t nothing, wasn’t just me.

ELI

So, what’re you gonna do?

Rimy sets two plates of food on the kitchen table.

RIMY

I’m gonna cook.

FADE OUT.

Why We Wright

FADE IN :

INT. CAFE - DAY

Bucky and Elaine sit together. From the way they talk and sit, it is obvious they are close friends.

BUCY

Did you know that Ernest Hemingway once bet everyone at a table ten dollars each that he could craft an entire story in six words?

Elaine shakes her head.

BUCKY

... You know what it was?

ELAINE

What?

BUCKY

“For sale, colon, baby shoes, comma, never worn, period.”

Elaine takes a second before she realizes what the story is.

ELAINE

... I wish I could come up with something impactful like that, that quickly.

BUCKY

Well, he took time to plan out the plot first, and had to think about it for a while, but he did that at the table, so... It’s called flash fiction. It’s generally made more so to hint at a lager story, allowing us, the reader, to incorporate more of our own ideas.

ELAINE

But, that’s a cop out. ‘Cause you’re not actually telling a story.

BUCKY

I don’t think so. Hemingway didn’t. And - no, we still tell the story, we just don’t physically write every bit of it. You put the pieces together, yeah, but I’ve still given you the story.

Elaine gives a face that says “fair enough.”

ELAINE

Too bad we can’t write flash fiction for this stupid project. I don’t even have any ideas.

BUCKY

What do you mean? The world is full of ideas.

ELAINE

Shitty ideas that go no where.

BUCKY

Well you gotta pick one and workshop it for long enough until it becomes something.

ELAINE

What if I work my ass off and I still don’t like it?

BUCKY

You’re not going to. You’re gonna hate it. It is gonna suck real bad, but you have to keep going with it.

ELAINE

Maybe some people just aren’t creative enough.

BUCKY

What? No. You’re plenty creative. You just need to sit down and put in the necessary effort. You have to really want it, you know? My uncle was an author,

As she talks we

CUT TO:

INT. SHITTY APARTMENT - 1970S - EARLY MORNING

It’s a cheap, one room apartment, cluttered with old books, papers, and piles of crap. The stove is just a camping stove on a table. Looks like a work room transformed into an apartment. BUCKY’S UNCLE, (30s) in white briefs, with crazy hair and a mustache, gets out of a pull out futon. BUCKY’S AUNT asleep.

BUCKY (V.O.)

He would get up real early every single day and just write.

Bucky’s Uncle sports a large, thick pair of eyeglasses. He types furiously on a typewriter. Bucky’s Aunt rolls over in bed, moans.

BUCKY (V.O.)

But his type writer was way too loud so he would have to move outside.

Bucky’s Uncle turns to look at her.

CUT TO:

EXT. SHITTY APARTMENT LAWN - 1970S - EARLY MORNING

An open apartment complex. Bucky’s Uncle sits in a hideous, wire frame chair, still looking just as disheveled only adding a funky bathrobe to his outfit that doesn’t cover his thighs. He chain smokes as he speedily types on his typewriter on an equally hideous, wire frame table.

BUCKY (V.O.)

He would just sit down and force himself to write out all the terrible ideas he would never finish so that one might be decent enough to turn into something, and he would write all the terrible ideas he could attach to them until those terrible ideas could be molded into his next novel.

CUT TO:

INT. CAFE - PRESENT DAY

Bucky and Elaine sit across from each other.

BUCKY

You just gotta force yourself to do it sometimes.

ELAINE

More like all the time.

BUCKY

Yeah.

ELAINE

Wow, if you don’t really love this that would suck.

BUCKY

Yeah.

ELAINE

But - but that still doesn’t mean we I have stories to start off with.

BUCKY

What are you talking about? We’ve both written plenty of stories already.

ELAINE

But that’s just it, writing is all we do, but what makes it genuine?

BUCKY

What?

ELAINE

What makes it genuine?

BUCKY

... Experience.

ELAINE

-Experience, knowledge on the subject matter. You have to have some basis for the topic, the people, the things that make up your story, content.

BUCKY

W- yeah. You write what you know, that’s like the first thing they say, write what you know.

ELAINE

And we do, but at some point they all start to sound the same, because we don’t really know all that much honestly. We only know a certain number of people or scenarios to play out. We’re not really all that worldly... are we?

BUCKY

OK, fine, whatever.

ELAINE

Whatever? What do you mean whatever?

BUCKY

I just mean, I just mean, that then you think for a while, be creative, and you set whatever problem you come up with in that one world that you know, so the filler is easy.

ELAINE

But that’s what I’ve said, I don’t have the ideas to begin with.

BUCKY

And I said, you just have to sit down and work at it, just write until something comes to you. That’s what I’ve said. We’re going in circles. Why - why are you changing the subject?

ELAINE

... I’m not!

BUCKY

You are!

ELAINE

Am not!

BUCKY

Yes you are! You could sit down and write a story about this, probably, maybe.

ELAINE

No.

BUCKY

No?

ELAINE

That’s terrible. That’s utterly terrible. I don’t want to be here, who would want to read about this?

BUCKY

I would.

ELAINE

Why?

BUCKY

If you found a way to make it about some realization of some aspect of life.

ELAINE

It’s just two people talking, nothing has happened.

BUCKY

Yeah, but, yeah, take a look at theee... Three Musketeers, for example most of that book’s content is the characters talking to each other. Doesn’t mean nothing happens, no information is passed.

ELAINE

But-

BUCKY

No, no, the only thing keeping you from writing something, anything really, is you.

ELAINE

But we still haven’t really anything to write about.

BUCKY

Well that’s your fault then. That’s your fault. Just do the work. Just do the work.

They glare at each other in silence. Bucky looks over to a couple across the cafe.

BUCKY

Look.

The couple talks, it looks serious. Sad, with a few smiles.

BUCKY

What’s their story?

ELAINE

I don’t know.

BUCKY

Just try it.

ELAINE

Um. Maybe they’re breaking up?

BUCKY

What? No, they already broke up.

ELAINE

Is this my story or is it yours?

BUCKY

It’s theirs, but you’re gonna tell it. Go ahead.

ELAINE

Ok, so they’ve been dating for two years, right? It was amazing at first but now, he kinda feels like he’s sacrificing time with his friends to be with her and her friends and she feels like he’s around too much, and becoming a selfish prick.

BUCKY

Nice, nice.

Elaine looks at Bucky, done. Bucky expects more.

BUCKY

What? You’ve got your back story, how is this scene playing out?

ELAINE

They’re not really doing anything, they’re just sitting there talking.

BUCKY

But what are they saying? How are they saying it?

ELAINE

What’s the point?

BUCKY

So, maybe we can make an impact on anyone, just one person, someday.

Elaine looks back at the couple. Her voice changes as they change who’s talking.

ELAINE

(male voice)

I just need time with my friends. I actually like these people.

(female voice)

But you never spend time with me anymore. You literally went to a movie you’ve already seen rather than hang out with me.

(male voice)

They hadn’t seen it yet! What we’re we gonna do? Sit in your apartment and watch some god awful, purely trash reality TV show you’ve already seen.

(female voice)

That’s not the point! I wa-

(male voice)

I don’t get to hang out with anyone but you anymore, it’s ridiculous!

(female voice)

That’s not true!

(male voice)

It so is! Remember on the maymester, you made me sit in that broken seat next to you at the front of the bus instead of with everyone else. Sorry you get carsick, I can’t do anything about that.

(female voice)

You’re an asshole, you know that?

BUCKY

This is great.

ELAINE

Yeah, well it’s what I know.

BUCKY

That’s great though. Means you can write a good story about that.

ELAINE

Great. Two years of my life so I can write one story I may or may not botch.

BUCKY

No, no. You now have a shit ton of stories to write. Just use your base knowledge, change some stuff up a little, and add new specifics.

Bucky looks to the couple.

BUCKY

(female voice)

I cannot believe you slept with my aunt!

(male voice)

I didn’t know you guys were related.

(female voice)

It was right after the family photo! And how would that make it any better?

(regular voice)

He’s not gonna respond.

The real guy talks.

BUCKY

(female voice)

Well? Aren’t you going to say something?

(male voice)

Why am I always the one who has to apologize? You never own up to anything you’ve ever done.

(female voice)

What?

The woman stands up. Bucky stammers trying to make something up on the fly.

BUCKY

(female voice)

I’m through with you, you’re mentally unstable and a sex addict.

The real people’s faces are no where near this dramatic. They hug and the woman leaves. Bucky looks at Elaine.

BUCKY

Boom. We just both made a story. Well, part of one. Could be the end or the beginning.

ELAINE

What if they were just coworkers talking about a hard project, architects griping about an incompetent school board.

BUCKY

Ha! Or neighbors who have been roped into looking for a lost cat, who’ve experienced hookers and phone sex, ex’s and interests, and ooh, a fancy gala.

They sit in silence. Look around the cafe. Elaine pulls out her notebook and pen, writes. Bucky watches her, void of thought.

FADE OUT

Witch

Witch 

FADE IN

INT. COUNCIL MEETING CHAMBERS - DAY

The BARON (40s, good hearted) and his small council members, AMO (30s, appeals to personal side of things) and ENO (30s, constantly plotting), discuss matters of state.

AMO

My lord we are in dire need of binding. The estate is losing people. You are losing people.

ENO

Fight wars to protect these people, yet they give thanks never lasting.

BARON

No, there are no need for heroes of war, only one who is present to govern them. So, what ails my people?

AMO

My lord?

BARON

Why do they leave? Travel elsewares? There’s no shortage of foods.

Amo and Eno shake their heads.

BARON

Then what?

AMO

(hesitantly) My lord, I’ve heard it asked, “What profit is to become of one who stays compared to that of one who goes?”

ENO

But there are rising rumors of shadows and occultism growing in our surrounding wood. I believe that to be the cause for our depletion. Many fear what is unknown, and much is unknown of witchcraft.

BARON

Rumors? How sound have rumors been when we were told the goblins of Brimania were moving into Esthero? How sound were the rumors of Gareth’s betrayal of the high Duchess?

Eno and Amo exchange a concerned glance.

ENO

My lord, rumors are what the people act on. Gareth was deemed guilty and sentenced before he met the courts.

AMO

And it stayed with him there after.

ENO

Despite reality.

BARON

And the Etherothis who marched into Brimania never returned.

Baron looks out the window.

ENO

My lord, call for action and bring the people something, if only a feeling of security. They will again appreciate all you have done.

Baron stares at subjects below.

AMO

(desperate for attention) It is not as if you have done these people wrong, my lord. You have indeed done them great service many a time over.

ENO

 I myself, would not wish to work under any other, as I would not see so fair or compassionate a being as yourself.

Baron, leans into the table.

BARON

Eno, Amo... I must know before anything is to be done, how real is this threat of witchcraft?

Eno and Amo trade another glance. All jolt attention to:

The Baron’s two KIDS and a FRIEND burst into the room laughing, chasing one another.

Baron catches one of his kids, LANA, pulls her on his lap.

BARON

(light hearted) Lana, what have I told you about playing in here?

LANA

(repeating) Not while you’re having your meetings. Sorry fada.

BARON

 It is alright. Try to avoid it again.

Lana nods her head. Baron looks to his younger child, BRIE.

BARON

Brie. It’s good to see you up again.

Brie shyly smirks at her dad. Baron smiles at their friend, AMIE.

BARON

Hello Amie. Are you all having fun?

Amie curtseys.

AMIE

Yes, my lord.

BARON

Good. (to Lana) Go and play outside. I’ll meet you soon.

Baron kisses Lana on the cheek, sends them away. The children run out the way they came in, laughing.

Baron watches them, doesn’t look at Amo or Eno.

AMO

 Wonderful children my lord. So good to see them playing with the butcher’s girl again. Seems children get over petty squabbles rather quick.

Eno moves to talk. A quick glance from Amo stops him.

BARON

 All to see them happy... What’s become of the butcher’s son? Walth must be what, fifteen now?

Eno shakes his head as he has no idea who Walth is. Ano looks down at this lack of connection.

AMO

 I fear he may be among those who wish to leave. Doubtful though, that it be for any reason which holds relation to you.

Baron is concerned by this news.

ENO

My lord, what of this threat to your people?

BARON

I need to know how real it is before I commit to anything. Confirm these rumors, or don’t, I need cause before any action.

EXT. WOODS - DAY

WALTH, (Teens) angry, ready for war, practices fighting on a tree with a stick.

Walth stops as Baron approaches.

WALTH

My lord...

BARON

You won’t do much good with your feet right next to each other.

Walth, embarrassed and angered, continues to hack the tree.

Baron studies Walth’s movements and actions. Notices a packed bag next to him.

BARON

What do you plan to do once you’ve left?

Walth, startled, recalls the bag, kicks it behind the tree.

WALTH

Forgive me my lord, it’s not to do with you, nor the estate.

BARON

I know. I found my father repugnant at times too, but that didn’t make him a bad man. SO, what’s your plan?

WALTH

Kill the witches...

BARON

(quietly) The witches.

WALTH

... Then, travel North to fight at Gresh Hall.

Baron nods respectively at Walth’s naiveté.

BARON

Kill the witches, be a hero, go off to fight in great wars... All young men’s fevered dreams. You’d have more luck finding work East in Korbat. Dwarves don’t care about outsiders, or titles you’ve won. And I don’t think any title will be won with a stick.

Walth observes his weapon, peeks back to the tree, then to Baron.

WALTH

... Your fevered dreams too?

BARON

Yes, they were my dreams once as well.

WALTH

Only yours came true... my lord. You lived out your honor and glory.

Baron approaches Walth.

BARON

 Not through wars. My honor resides here, in the wellbeing of the estate, and in you, your family.

WALTH

But I want to fight. I’m tired of feeding and cleaning these animals. I’m tired of doing nothing. There is no glory in the pigs!

BARON

There is no dishonor in the pigs.

A pause, Walth weakly returns to the tree.

BARON

If this is indeed your course, trod it true.

Walth lightens up.

BARON

 I would only ask that you find a teacher, and a real weapon.

WALTH

(exasperated) Thank you my lord. I, I, I ah...

BARON

And leave these witches to me.

Walth bows his head. Baron nods back, turns, walks away.

BARON

(to himself) If there are any.

EXT. FARM – LATER

A dead pig, pale blue eyes, blue and white vein-like scars across its body, lies in a pile of hay.

The Baron looks down in disgust. Eno less disgusted.

ENO

They say it has inflicted all the livestock we hold. There is nothing left.

BARON

(repulsed) Take them a mile from the estate. Burn them all, then burry the ash. Make sure not to touch them, we don’t know what it could do. And burn your gloves and clothes.

ENO

At once my lord. I’ll assemble some men.

Eno departs. Baron stares into the pig’s eye.

INT. COUNCIL MEETING CHAMBERS - DAY

GARM (30s, athletic, female, Middle Eastern looking, she’s seen a lot of battles, light leather armor, braid, and shaved on one side of head).

We observe her up and down as:

ENO

My lord the Baron Crody Lupiro of Norstadin Estate, granted by the Duchess of Korbat in greater Esthro, I present you, Garm Sirrolnlinn Adoba of Southern Itan’r, renowned witch hunter.

Amo more uncomfortable than Baron with their resolution. Eno smug.

AMO

I thought we resolved against the use of a witch hunter.

ENO

The Baron and I agreed otherwise.

GARM

 I am not a witch hunter. Not all magi are maleficent. Many spend lifetimes learning the trade for good.

BARON

 So, then you are -

GARM

- A problem solver, my lord. Many call me a monster slayer. It just appears that your problems may be witches.

BARON

(to no one in particular) ... Our, problem solver is here only to observe and determine the origin. Nothing more without proof.

Baron and Garm exchange a mutually understanding glance.

INT. HALLWAY - CONTINUOUS

Walth excitedly listens. Amie pulls his arm off screen.

AMIE

C’mon Walth.

EXT. ESTATE - DAY

Walth spies on the Baron and Garm from afar as Lana, Brie, and Amie play behind him.

The Baron and Garm stand on the edge of the woods. They discuss inaudibly.

Amo approaches them. The Baron nods to Amo, bows his head slightly to Garm, and leaves with Amo.

EXT. WOODS - CONTINUOUS

Walth approaches Garm as she walks, investigating the ground.

WALTH

You’re the witch hunter.

Garm, continues walking.

GARM

No.

WALTH

 But you do hunt them?

GARM

If they boast harm to others.

Walth fruitlessly tries to gain her attention.

WALTH

You’re going to need help.

GARM

Haven’t before, don’t see why I need it now.

Walth stops. Garm continues, searching the ground. A beat before Walth follows her again.

WALTH

 I know these woods. Better than anyone.

Garm looks to Walth. A deep breath as she looks around.

GARM

Can you track?

WALTH

Yeah... kind of.

GARM

Need to be better than ‘kind of’... Can you fight.

Walth puffs out his chest.

WALTH

Yeah. Better than those here.

GARM

What do you want kid?

WALTH

I want to help you.

GARM

Not many care about monster hunters until a monster needs to be hunted. What do you want?

WALTH

I want to get out of here. There’s nothing for me. And I’m willing to do this work, any work. So long as it takes me far off from here.

Garm scrunches her face, picks up two sticks, throws one to Walth who almost drops it.

GARM

Let’s see what you got then.

EXT. ESTATE - DAY

Brie, Lana, and Amie all run and play. Amie, bumps into Eno, gazes up at him.

ENO

You should watch where you’re going little girl. Something could happen to you.

Eno touches her head.

ENO

Now run along. Don’t keep them waiting.

Amie runs after her friends. Eno smiles diabolically.

INT./EXT. STABLES - DAY

Amo and the Baron look down at a dead horse, infected like the pig.

Amo worried, Baron angry, stares into the horse’s eyes.

EXT. WOODS - DAY

Walth put on his ass. He’s an easy opponent for Garm.

Garm’s stick pushed into Walth’s chest. An interested look from Garm says: “It’s over.”

Walth smacks the stick away, rolls, only to be hit on his side as he stands.

He charges her. Garm steps out of the way, tripping him, whacks his back as he falls.

Walth breaths heavily. Garm tosses her stick aside, motions for Walth to follow, walks off. Walth shoots up after her.

INT./EXT. STABLES - DAY

Baron and Walth lock eyes as Walth and Garm advance. Amo horrified at the sight. Baron holds attention on Walth, judges his reactions as:

Walth disgusted and frightened, collects himself. Garm pulls Walth with her to inspect without touching anything.

Baron stares into the horses eyes.

FADE TO BLACK.

CUT TO:

EXT. WOODS - MID MORNING

A MAN runs holding SOMEONE in his arms. Huffs and puffs.

INT. ESTATE BEDROOM - MORNING

Baron forcing happiness enters his daughters’ room. Baron’s face turns horrified. Screams.

Garm and Walth rush in. Lana and Brie, dead, like the pig and horse. Eyes pale blue. Walth stops Baron from touching them.

EXT. WOODS - MID MORNING

Man runs, looks back.

INT. ESTATE BEDROOM - MORNING

Enraged, Baron stands, wiping tears. Floats out of the room. Garm and Walth right behind him, draw their weapons.

INT. HUT - MID MORNING

Man interrupts the HERBALIST. Clears a table, places the person he’s been carrying who we still don’s see on it.

Herbalist frantically tries to continue work and shoo them out.

HERBALIST

There is no leaf that can save her. This like many things is beyond me.

MAN

You must help her!

HERBALIST

It is not my fault you bumpkins are illuded by what is simple herbalry!

MAN

Dando!

HERBALIST

This is a dark magic! I am no mage or sorcerer! Take her elsewhere!

EXT. WOODS - MID MORNING

Weapons drawn, Baron, Walth and Garm chase the man. Baron furious, Walth excited, Garm focused.

Eventually, Man grows tired, falls to his knees, crying. The three surround him.

Walth turns horrified, broken, and lost as it’s revealed to be his father carrying his sister, the BUTCHER and Amie.

Amie, dead, worse than the Baron’s kids, eyes pale blue. Scars appearing on Butcher’s hands and forearms only.

Fuming, Baron rears his sword, swings it through the back of the Butcher’s neck.

CUT TO BLACK

The Sick Kitten

The Sick Kitten

FADE IN:

EXT. ALLEYWAY - EVENING

BARB, a mother cat, along with two YOUNGER cats, her children, rummage through trash. Footsteps as PEOPLE walk send the cats dashing behind cans and lids, into the dark.

The daughter, KIB, sneezes. Her brother, RUMI, hisses quietly at her.

A human stops, looks down the alley. Barb’s fur frizzles, she assumes a pouncing position. Rumi’s ears flatten in anger.

The person walks away. The cats wait then soften. Barb rushes to her children.

BARB

Rumi! Kib!

RUMI

Mom, don’t act like we couldn’t have handled that. We’re not kittens anymore.

BARB

You think you could have? What if you couldn’t? What if that human came and kicked you so hard your stomach bleeds on the inside? Or if they picked you up and take you off. Humans are terrible creatures. You are the last two children I have out of three litters. I won’t lose you.

KIB

Sorry mom.

BARB

Let’s keep moving.

They walk on. Rumi hears a noise, sniveling of some kind. He ducks.

RUMI

Get down.

BARB

Go that way.

RUMI

(snarling)

I know.

They all get down. They sneak around the sound. Barb listens, it sounds pitiful. She peers through a hole in the pile of trash.

A sick KITTEN shivers in the cold. It is alone, and can barely pick up its head.

Barb’s ears perk up. She slinks under the trash heap to the kitten. Rumi and Kib notice, they are not happy. Barb smells the kitten, picks it up and brings it back to her other kids.

RUMI

Are you trying to slow us down? We need to keep our pace.

BARB

This kitten needs help.

RUMI

Then stay with it. Let me and Kib go alone.

BARB

No. We go together.

Barb moves on. Kib follows. Rumi is furious but follows.

EXT. BEHIND CONVENIENCE STORE - NIGHT

The group comes to an opening. Rumi scans the horizon of a few trees, a dirty road, and buildings across the way. His eyes dart around, his ears flat.

KIB

I don’t like this.

The kitten makes a gurgling coughing noise. Barb sets it down and licks it.

RUMI

What are you doing?

BARB

It’s not well.

RUMI

I know that so leave it and let’s go, or we won’t be either.

Two COYOTES appear cackling from the darkens.

KIB

Look out!

Barb and Rumi’s attention shoots to the intruders. The coyotes gnash their teeth and salivate.

Barb leans down to the kitten, slowly gets a grip, still low. Rumi hisses fiercely, his tail puffs up. Kib cowers but hisses also.

They’re in a stand off until one coyote dashes forward.

BARB

RUN!

The coyote lunges at Barb, she evades it, leaps over and takes off. She sprints with the kitten across the way, to the apartments. She does not stop until she is in a small area tucked away and safe. She sets the kitten down, but her children are not there. She is worried, terrified.

Noting the kitten is decently ok, Barb leaves and dashes back to the coyote attack.

Kib is thrown to the ground, wounded. Rumi leaps at the attacking coyote and is locked in fierce combat. The second coyote approaches the barely conscious Kib.

Barb sprints over and pounces on the coyote, digging her claws and teeth into it. Her momentum sends the two tumbling off to the side and down a hill.

At the top of the hill, Rumi finishes the first coyote off and approaches Kib. He licks her, helps her up.

Below, Barb has suffered terrible wounds, but finishes her coyote. She drags herself up. Where she sees Rumi and Kib dash away into the night.

She has no energy to call or go after them. She breaths heavily. She catches her breath and trudges back to where she left the kitten.

She carefully squeezes back into the tucked away corner. She is relieved to see the kitten still there. She curls up with it.

EXT. HIDEOUT - DAY

Still wounded, missing patches of fur, Barb looks around in search for food. A GIRL (20s) approaches with a sandwich.

GIRL

Hey there kitty.

Barb spins around, and hisses immediately. The girl backs away a bit.

GIRL

Ok. It’s ok.

The girl tears off a piece of meat from her sandwich and tosses it near Barb.

The girl waits a moment more, then walks away. Barb watches and waits after she has left. She is cautious of the meat. Smells it, then licks it. Then takes it back to the kitten. The kitten cannot even lift its head, much less eat. Barb looks at it solemnly.

The girl walks away, munching on her sandwich. There is movement in the distance and a weak, “MEOW.”

The girl stops and turns around. Barb pitifully approaches her, still keeping a distance. Barb Meows again, then she moves back towards her hideaway. The girl follows.

Barb meows again to keep the girl aware of her location. She leads her to the entrance of the hideaway. Barb slips in. The little girl crouches down.

Barb returns with the limp kitten. She carefully sets it down in front of the girl, looks expectantly but cautiously. The girl carefully picks up the kitten.

Barb lies down. The girl reaches out to pet her slowly, and Barb lets her.

FADE TO:

EXT. BACK YARD - DAY

The girl pets Barb as they sit in a small, fenced in back yard. Barb is much better, not as skinny, her fur is healed. The kitten plays in the garden.

A rummaging is heard. Barb’s ears perk up. She moves in front of the kitten. She growls, and her fur stands up. The girl shifts forward in her chair.

The rummaging gets louder, then two animals pop into the yard from between a slit in the fence. It’s Kib and Rumi! The girl anxiously awaits. Barb softens immediately, not sure she sees right. Rumi and Kib are also frozen, surprised to see their mom.

The cats embrace and start licking each other. The girl relaxes in her chair. The cats all rejoice in finding each other again.

RUMI

Mother.

The girl brings a dish of extra food. Rumi and Kib cautiously smell then eat from it.

BARB

This one isn’t so bad.

FADE OUT.