EPISODE 1

EXT. DAY. THE SMALL JETTY OUTSIDE AUGUST AND MARY'S SHACK

A girl, about 14 or 15 years old (AUGUST) is sitting on a

small, roughly hewn wooden jetty beside a muddy canal bank.
The sound of a radio drifts across the canal. AUGUST watches
as REX, a young man, about 18 years of age and SAM, his
father, work together on a raft.

MARY
(exasperated)
AUGUST! Where are you?

AUGUST's mother (MARY), short woman in her 40s is standing at

the end of the jetty.
AUGUST
I'm here.
MARY
(sees her and shakes her
head)
Come here.
MARY (CONTD)
Today please.
(pause)
Did you do this?
(she holds up a split
paddle)
I told you not the leave it in the
water.
AUGUST
REX said he'd craft another

MARY
Why would REX say that?
(a moment of realisation)
Did REX leave it in the water?

MARY (CONTD)
(exasperated)
When's he going to get time to
craft you a new paddle when he's
working on his raft?
MARY (CONTD)
...leaving your paddle in the
water... wouldn't leave his own, I
don't imagine... Stupid Boy.
 2.

AUGUST
(under her breath)
He's not stupid.

MARY
Don't argue with me. Have you done
your chores yet?
AUGUST
(under her breath)
You're the stupid one.
MARY
What did you say?
AUGUST turns around slowly to face her mother. MARY rushes
towards her in panic. MARY grabs AUGUST by the upper arms,
spins her around and marches her into the house.
CUT TO:

INT. DAY. MARY AND AUGUST'S SHACK

MARY pushes AUGUST towards a mottled mirror above a large

chipped basin. She points AUGUST's face towards the mirror.

MARY
AUGUST look at yourself. Your eyes,
Moonface, look at your eyes.

AUGUST looks in the mirror and sees her eyes glowing a

vibrant blue, they crackle.

MARY (CONTD)
Show me your hands, honey.
AUGUST holds out her hands, the palms are crackling with
electricity. AUGUST turns again to face the mirror and her
hair is rising. Her cheeks are also glowing, very faintly,
with the same electric blue.

MARY (CONTD)
(in a low, warning voice)
You've been eating blackberries,
haven't you?
AUGUST
(insistant)
No, No!
MARY
(suspicious)
Are you lying to me?
 3.

AUGUST
I swear it. I haven't been.

MARY
Glowers have hard lives, AUGUST.
Believe me. I've seen it.

MARY relaxes her grip. AUGUST looks at herself in the

mirror, the glow has faded, her hair is flat.

CREDITS ROLL : BRIGHTLANDS

INT. NIGHT. MARY AND AUGUST'S SHACK

It is pitch black and all is quiet. In the distance is the

soft, low buzz of night over water. Then slowly, out of the
darkness, the sound of careful footsteps on wooden boards.

There is an intake of breath and AUGUST flicks her eyes open

and sits up in bed. It is dark, AUGUST's form is only thinly
traced by moonlight.

There is a long silence. Finally, a soft rapping of knuckles

on a wooden door. More silence, then a young man's voice.

REX
AUGUST? You awake?
AUGUST gets out of bed and crosses to the door. In the
darkness she struggles to lift the latch.
REX (CONTD)
It's me, REX.
AUGUST's fingers work quickly and she opens the door. REX is
standing there framed by moonlight.

REX (CONTD)
(dismissively)
Where's MARY? Is she on the river?
AUGUST nods.
REX (CONTD)
SAM wants you to come now.
REX (CONTD)
Bring your drys and your boots.
Nothing you can't carry.
(seriously)
He's says you've got to hurry.
 4.

EXT. NIGHT. CANAL CROSSING BETWEEN MARY'S AND SAMS

AUGUST wipes the tiredness from her eyes, she is sitting at

the back of Sam's raft, wrapped tightly in her dry coat.

It's late summer on the canal and the crickets are all that
remains of the warm summer's day. Even now a chill is already
settling into the air. Around AUGUST and REX, on the banks of
the canal are small, faintly glowing blue lights.
The lights comes from the fruit of the blackberry plants (or
brambles) just found in this area of South East London. These
glowing blackberries are the reason the area has been nick
named 'The Brightlands'.
The night is clear and the water is silver in parts.
AUGUST looks in the direction of the canal downstream, it is
quite dark, the water is eerily still.

EXT. NIGHT. OUTSIDE SAM'S SHACK

SAM is standing on the bank. He is not tall and his frame is
wiry. The lines around his eyes are kind, though with a hint
of weariness. His beard is flecked with silver.

As soon as the raft arrives he leans over and pulls AUGUST

out of the raft as if she were a child. He gestures to her
not to speak.
As REX hides the raft in the tangled roots of a willow they
wait quietly.
When REX is finished with the raft SAM checks his handy work.

REX
(an air of exasperation)
It's hidden.
SAM raises his eyebrows. They all turn together and clamber
up the embankment.

INT. NIGHT. SAM AND REX'S SHACK

AUGUST wanders about the shack while sipping from a chipped
cup. The room is neat as a pin but cluttered with objects,
books everywhere, pages of books ripped out and stuck to the
wall, wires, electrical equipment. On one wall is a faded
picture of Mt Fuji, on another a colour copy of Leonardo's
Annunciation. Everything is a little damp around the edges.
In the middle of the room is a small, contrived, wood burning
stove with a flue that leads down through the floor.
 5.

On it is samovar, a tall copper contraption, obviously a

source of pride as it is scrubbed clean and functional.
REX is turning the dial on a rusted transistor radio.

AUGUST
You found new batteries?

AUGUST (CONTD)
(shyly now)
For the radio?
SAM smiles. The turns the dial a few more times and the radio
comes to life. Sam quickly turns down the volume.
RADIO
Strong chance of an easterly front,
with hard rain and wind,
approaching Grench by three AM this
morning. Be prepared for difficult
weather on the canals south of
Grench and west of Graves in the
early morning.
REX
Do you think they are talking about
the mission boats?
SAM
May be.
REX
(to August)
When's Mary due back?
AUGUST
She didn't say?

REX
What time's she usually back?

AUGUST
I don't know when she's coming
back.
(pause)
What about the mission boats?

SAM
REX has been at Grench, he says
there's talk of boots coming east,
a lot of them. The Marsh Dogs
sometimes use the weather report to
send messages to each other.
 6.

AUGUST
Boots in Grench?
SAM
Coming our way.
AUGUST
Why?
SAM
(to REX)
I don't know.
(to AUGUST)
D'you want more tea?
AUGUST shakes her head, she takes another sip then takes a
seat by the samovar.
SAM takes a light bulb from a shelf and checks the filament
before shaking it lightly. REX whittles sharp points onto
beech branches. He is crafting arrows.
There is a light tap at the door.

SAM moves towards the samovar. He is puts a light bulb he was

holding in his hand in his pocket. He covers the grate and
the light dims noticeably then crosses the room towards the
door.
SAM opens the door. It's MARY, wrapped tightly in black. Her
face is obscured until she removes the wrap. She looks around
the room anxiously.
MARY
AUGUST.
SAM
I thought you'd want her here.
MARY
Your flue must be leaking, I could
see smoke further down the canal.
SAM
Can't be.
MARY
What else could it be?
SAM
(said as a curse)
Mother Earth.
 7.

SAM picks up a bucket of water and empties in on to the fire,

it goes out. The shack is now only lit by moonlight.

MARY
(To AUGUST)
Did you bring your things?

AUGUST
SAM said, just what I could carry.
(she looks from MARY to
SAM)
I've got my drys.

MARY
A water bottle? Hard tack?

AUGUST
What's going on?

MARY
(pause)
Honey, we are going to have to go.

AUGUST
Go where?

MARY
I don't know sweetie, somewhere
else.
AUGUST
They won't find us here, we are too
far up the canal. They never come
this way.

SAM
(to MARY)
Did you see anything?
MARY
It's the mission boats alright.
There's a lot of them, never seen
so many.
(to AUGUST)
We've got to leave.
(to SAM)
AUGUST is a glower. It's too
dangerous for her here.
(almost threateningly)
You aren't going to tell anyone,
are you SAM?
SAM
Who else are we going to tell?
 8.

MARY
Where is my bleeding mack? it's
pitch black here.

A light bulb comes on in the black, faintly lighting the

room.

MARY and AUGUST stare at SAM. he is holding the light bulb in

his hand. The palm of SAM's hand is glowing blue.

SAM
We're coming too.

MARY
(relieved)
Well aren't you the clever one...
Can't say I'm surprised...
You know you weren't fooling
anyone.

EXT. NIGHT. THE TRAPDOOR UNDER SAM AND REX'S SHACK

SAM, MARY, AUGUST and REX leave the shack through a trap door
at the back. REX and AUGUST are waiting while SAM helps MARY
down. The night is slightly colder. SAM helps AUGUST put her
pack on her back.

REX freezes. AUGUST looks around her. REX reaches over and
gently tugs on SAM's sleeve. He stops too. The four of them
stand waiting in the darkness, listening out.

In the distance is the sound of low humming. REX glances in

the direction of the canal leading to Greenwich. Coming up
the canal, like a will'o'the wisp, is a bobbing green light,
low to the water.
REX
It's a skeeter.
SAM
Move!
The four of them, REX out in front, move quickly along the
bank of the canals, and into the woodland. The four of them
escape along a thin path cut through the brambles. AUGUST
gets caught on a vine jutting across the path.

AUGUST
I'm stuck!

AUGUST panics and starts to wriggle off the bramble. SAM and
MARY come to her aide.
 9.

MARY
Hold still.

They manage to free her. REX is waiting at the turn of the

path. He is pointing to mouth of a rotting concrete drain.
AUGUST goes first, it is damp, muddy and lined with rotting
leaves. The others follow after her.
SAM is last in. He rolls a corrugated iron cover as quietly
and gently as possible over the mouth of the hole. It fits
snugly. He then drops a thick bit of cloth. It's pitch black.
SAM
Spread out, the less heat in one
place the better.

The four of them shuffle up the pipe.

CUT TO:

EXT. NIGHT. CANAL CROSSING BETWEEN MARY'S AND SAMS

The green light, eerily levitating just above the water,

moves slowly towards SAM's shack. It is a drone made of cold,
hard metal. The drone (or skeeter) resembles a dragonfly, it
has wings, bulbous eyes and a long body. It's about the size
of a large dog.

The skeeter pauses, it scans the area around the SAM's shack.

CUT TO:

INT. NIGHT. SAM AND REX'S SHACK

The skeeter enters the shack through the trap door and
explores the one roomed shack, sniffing abandoned tea cups,
looking under beds, listening out for movement.
The radio is still quietly crackling in the background.

RADIO
More easterly winds on the southern
canals this evening. Possibly a
rough night.

The skeeter moves out of the shack and follows the scent
towards the concrete pipe.

CUT TO:
 10.

INT. NIGHT. THE CONCRETE PIPE

REX, MARY, SAM and AUGUST are crouched inside the concrete
pipe. They are completely still, listening acutely. AUGUST
covers her mouth to make sure no sound escapes.

The skeeter approaches the pipe, sniffing as it goes.

As the skeeter follows the path it turns a corner and comes
upon a fox protectively defending a den of cubs. The mother
fox aggressively bares it's teeth.
The skeeter turns back and tries to pick up the group's scent
again then, without luck. It makes it's way back to the
shack. It looks around the area surrounding SAM and REX's
shack then sends a burst of quick, bright fire towards the
shack. The shack is soon burning brightly.
The skeeter then crosses the canal and does the same with
MARY and AUGUST's shack. The skeeter stops moving in order to
find a digital signal then sends an electronic message,
recalibrates it's destination and continues further up the
canal.

INT. NIGHT. THE CONCRETE DRAIN

Pitch black.

MARY
(whispering)
We can't stay here SAM, the boots
won't be far behind.
SAM
(whispering)
You sure they're coming this way?

MARY
I'm not sure, there are a lot of
canals leading up from Grench, but
I don't want to risk it.
SAM
You want to go inland?
MARY
They don't know how to cross the
Brightlands except on water.
They're scared of getting lost in
the thicket, they don't know the
ways.
 11.

REX
The skeeters like the water too.
They don't go overground much.

SAM
(thinking)
You might be right. You don't want
to wait till morning?
MARY
What do you think?
SAM
You're asking my opinion?
MARY
You don't need to make a big thing
of it.

SAM
I'm flattered.

MARY
Oh shut it SAM, just tell me what
you think?

SAM
I know we won't be so conspicuous
if we make it to Graves. There are
people there that might be able to
help.

MARY
If you say so. That will take at
least two days on foot.

SAM
Grench is going to be full of boots
from the mission boats, realistic.
It's a gamble either way.

MARY
Okay, let's go to Graves, it'll be
safer for her.

AUGUST
(annoyed)
You don't need to talk like I'm not
here.

MARY
Do you think you can do it?
 12.

AUGUST
Sure, I can do it.

MARY
I don't know when we will get the
chance to sleep next.
AUGUST
(nervously)
I'll be okay.

EXT. DAY. TRAIN TRACKS THROUGH WOODLAND.

ORSIN, a man in his late twenties, stands on the side of a
train line watching for an expected train. He is thin almost
wiry with large eyes, he wears a serious expression.

Standing next to him is a woman (JULIA) also serious looking

but slightly distracted.

They are dressed in semi fatigues, they carry guns and wear
thick combat boots. They are part of a military operation
that support the city state called "The Secure System",
referred to by almost everyone as "Boots" or "The Boots"
ORSIN
He'll be back
JULIA
The train's due any minute. Is he
always like this?

ORSIN
Sometimes.

Out of the woods steps another boot (HECTOR). He is doing up

his fly

HECTOR
Never go into battle with a full
bladder.
JULIA
Did you see anything?
HECTOR
Nothing, a couple of grey squirrels
fucking. Nothing special.

JULIA
What did Stephens say? One attack a
week these days? I heard some of
them were children.
 13.

ORSIN
The Quarter Head says we shouldn't
believe everything we hear.
HECTOR
Especially from the Quarter Head.
ORSIN gives HECTOR a warning look. HECTOR smiles broadly. The
sound of a train travelling at speed, travels up the track.
A steam train approaches. It is heavily defended with metal
sheeting, thin to remain light, but difficult to scale and
covered in a kind of barbed wire.
HECTOR (CONTD)
All that metal for a bit of grain.
ORSIN
(surprised)
Who told you it was grain?

HECTOR
No one had to tell me, If it comes
through Ladywell on a Tuesday it's
probably grain. I've been doing
this a little longer than you,
Orsin.
ORSIN
You should be careful, that's
classified information.
HECTOR
(walking away from ORSIN
to greet the slowing
train)
Maybe I didn't know, maybe you just
told me.

HECTOR (CONTD)
Grain, coal, lithium, what does it
matter. The only thing the city
doesn't need is water.

The steam train slows but doesn't stop. It is heavily guarded

with other boots positioned along the carriages.

ORSIN looks around again before approaching the slowing

train. The train driver looks around nervously.

AHMED (TRAIN DRIVER)

(jumpily)
Where's your ID?
 14.

ORSIN and HECTOR board the train first. ORSIN holds out the
palm of his hand, first holding it up for the driver to see
then pressing it on the scanner.
AHMED (CONTD)
There's rattle on the wires. You
seen anything?
ORSIN
No.
AHMED
Well, hurry up anyways.

EXT. DAY. THE ENGINE ROOM OF THE TRAIN

JULIE boards the train after ORSIN and HECTOR. ORSIN is
helping JUlIE up when HECTOR takes out his gun and points it
at the driver's head, the driver grabs the nuzzle of HECTOR's
gun and tries to force it away but HECTOR releases the
trigger and a bullet lands directly in AHMED's face.
HECTOR tries to turn quickly to deal with ORSIN but though
the TRAIN DRIVER is dead his grip is still on the gun.
ORSIN is deeply shaken and for a moment cannot move but as he
steps backwards he notices JULIE has now got her gun out and
is aiming it at ORSIN.

ORSIN now reacts quickly. He shoots Julie in the knee. She

collapses to her knees.

JULIE
(cries out in pain)

ORSIN is about to shoot HECTOR from behind when he turns

suddenly and looks at ORSIN. ORSIN cracks a gun on HECTOR'S
face. HECTOR collapses. ORSIN aims his foot at his chest and
kicks him off the train.

JULIE is still cradling her knee and crouched on the floor of

the engine room. She looks up and aims her gun at ORSIN
before taking a shot but the train jolts forward and she is
thrown off balance. She misses.
ORSIN kicks JULIE in the chest, she grabs his foot and ORSIN
attempts to shake her off. She doesn't let go. ORSIN grabs
her head a knocks it against the door frame. She is knocked
unconscious. She falls backwards through the open door.
A couple of shots ricochet off the exterior of the engine
room. ORSIN pushes a large lever. The train accelerates
forward, gaining speed.
 15.

ORSIN looks in the rear view mirrors. The 'Pecknam Crows'

(gang members from neighbouring Pecknam) are attempting to
board the train but they are held off by thick gunfire from
other boots situated on the train.
The train quickly picks up speed and crosses a bridge leaving
the Pecknam Crows behind.
As the train takes a corner ORSIN looks back. There is
another another group mingling with the Pecknam Crows. It is
the 'Marsh Dogs', a gang from the Isle of Dogs, east and
north of the river. He sees a strange man with wild hair,
almost like dreads but moving, writhing almost, like snakes.
Another boot's voice comes through over the intercom.

BOOT 1
(Excitable)
AHMED?
ORSIN
(haltingly)
No, It's ORSIN, sorry, AHMED's
dead.

BOOT 2
Where are the others?

BOOT 2 (CONTD)
Answer or I'll shoot you too.

ORSIN
I kicked them off the train.

One of the boots leans over and turns AHMED's body over. He
recoils when he sees the state of AHMED's face.

ORSIN (CONTD)
I'm sorry. I didn't know the others
were going to... I'm sorry.
BOOT 2
Was that HECTOR?
ORSIN
Uhuh, he shot AHMED.
(pauses before
remembering)
It'll be on the Ctiv.
BOOT 2 shakes his head then takes a picture of the body with
a basic, clunky hand held device, BOOT 2 sends the picture
like a text.
 16.

ORSIN (CONTD)
I feel responsible.

BOOT 2
The council will decide that. I
wouldn't give them any ideas.
(pause)
What a mess.

ORSIN sits down on the floor of the engine room, his head in
his hands. He stares at the passing woodland speeding past
him. Suddenly, there is a space in the trees. Through the
gap is a view to the east low lying marshes line the southern
stretch of the Thames. Behind the marshes are the woodlands
stretching towards the north downs; the Brightlands.

INT. DAY. THE MAIN CHURCH OF THE MOTHER EARTH

In the city centre, behind the walls and in one of the
wealthier quarters, families are entering a strange modern
church.
The exterior of the church is mostly made of glass and the
atrium approaching the nave contains a huge tree stretching
upwards. A door from the atrium leads into the nave of a
large church building more in the traditional style but
lighter with more windows and decked in hanging plants.
ILITH CAMPBELL passes the large tree before entering the
nave. He is a penitent, innocent looking man, eager and young
for his years, maybe late teens, early twenties. He walks
with his head down and approaches the church reverently.
His father, embarrassed by ILITH'S enthusiasm, hangs back a
little. EDWARD CAMPBELL is a tall, studious looking man. He
doesn't carry any sign of office though he looks well-off and
fiercely intelligent, in a very academic sort of way.
Next to him is his daughter HERA. She looks thoughtful,
introspective and is acutely conscious of how she is being
perceived. She is 16 years of age.
The CAMPBELL family take their place within the pews. ILITH
drops to his knees in ardent prayer.
At the front, a solemn looking man, THE WARDEN, turns to look
at the CAMPBELL family. He notices ILITH's pose but shows no
sign of recognition. EDWARD who was looking slightly
uncomfortable with ILITH's display of religious fervour now
sits up and smiles graciously at the THE WARDEN who smiles
enigmatically at him briefly before looking away. HERA
notices all.
 17.

EDWARD
You can get up now ILITH, THE
WARDEN has noted your zeal.
ILITH
I think you should be more
respectful EDWARD, we're in church.
EDWARD
You could at least call me Dad... I
still feed you, after all...

HERA
Oh please don't argue you two.
Everyone is already looking at us.
ILITH
You're imagining it.
HERA
(sighs)
Fine, okay, just as long as you
stop arguing.

HERA (CONTD)
The NOVAKS are here.

They all look over to see The NOVAK family taking their place
in the pew a little to the front across the aisle.

The NOVAK family include AMOS NOVAK, the father, a handsome,

suave man in his early 50's ELLIS NOVAK, his beautiful,
amicable wife and two of his three children PATRICIA and
KODALY (pronounced KODAI) They are all finely dressed.
PATRICIA waves girlishly at HERA who smiles broadly and waves
back. AMOS and EDWARD nod politely. Ilith looks on,
expressionless.
ILITH
Can AMOS NOVAK show you the true
nature of things father? Does he
offer you the compassion of the
fertile soil or the scorched sand
of the infertile desert.
EDWARD
This is hard to take on an empty
stomach ILITH. Can't it wait until
after lunch?
HERA
Quiet. Please.
 18.

HERA looks around her. She sees, at the end of their pew a
very odd looking woman, blind, about 50 years of age. The
woman is staring straight ahead, motionless. EDWARD follows
HERA's line of sight and his eyes rest on the strange woman.
EDWARD looks nervous.

HERA and EDWARD all turn to face the front where a woman,
dressed in green and resembling a neatly dressed pagan
priestess, is about to begin.
HIGH PRIESTESS
What is the soil? Is it simply the
ground beneath our feet, or is it
the giver of life, our womb, our
food, our home. What are our roots?
EDWARD glances at his device. ILITH shoots him a look of
disdain.

EXT. DAY. THE SQUARE OUTSIDE THE MAIN CHURCH.

ILITH is speaking to some of the younger church wardens. They
are laughing together at a joke ILITH has made.
It is a beautiful day. EDWARD fiddles with his device. He
looks up impatiently in ILITH's direction.
HERA looks around the square. There are pubs, cafes, shops
and even market stalls lining the square. Wealthy people are
milling around but also in the fray are the artisans, and
beggars, poor traders selling wreaths and dream catchers.
Boots are also are milling inconspicuously around the edges,
partially obstructing direct access to the area outside the
church. HERA is taking in the scene.
AMOS with his family exit the church together. AMOS falls
into conversation with the HIGH PRIESTESS.
EDWARD
(excitedly)
There's AMOS. I need to have a word
with him HERA. Tell your brother I
won't be long.
HERA
What about your club? Won't we be
late for lunch?...

Before HERA can finish EDWARD walks briskly towards the NOVAK
family. HERA watches as EDWARD approaches the family a little
awkwardly, ingratiating himself, perhaps, a little too much.
 19.

AMOS smiles broadly when he sees EDWARD approaching. He pulls

EDWARD off to one side, giving him all his attention.

MARKET TRADER
My dear, would you be interested in
these beautiful stones?
A MARKET TRADER holds up a necklace of fine blue stones. HERA
turns to look at the woman.
MARKET TRADER (CONTD)
Lapis lazuli is very popular now,
this ring here has a particularly
arresting dark blue.They say it
has deep magical properties.
(HERA is not paying
attention)
Or this rose quartz necklace, wear
it here (gestures to HERA's chest)
and it'll cure a broken heart.

HERA
No thank you.

MARKET TRADER
Maybe something for your studies. I
have an amber with a piece of
rosemary embedded within it, from
the last good empire, very
remarkable and excellent for
memory. A beautiful cut too,
look...
But HERA is looking over at the woman's shoulder as she sees
a beggar, a young woman, small and gaunt with her head
covered. The beggar woman is staring in the direction of
EDWARD.

HERA's eyes drift towards her father. He is in close

communication with AMOS. AMOS is listening intently while
EDWARD is describing something in great detail.
HERA turns back to see the beggar woman who get up and walks
purposefully towards AMOS and EDWARD. HERA almost loses sight
of this woman in the crowd.
HERA
(to the MARKET TRADER))
Excuse me.

HERA walks briskly in the direction of her father before

breaking into a run.
 20.

The beggar keeps her head low and deftly navigate the boots.
HERA runs as fast as she can towards her father.
CUT TO:

KODALY, AMOS's son is standing metres from AMOS while his

mother and sister talk to an acquaintance. KODALY looks up to
see HERA running toward them and he follows her gaze to see
the beggar woman nearly upon EDWARD and AMOS.
CUT TO:
AMOS and EDWARD are deep in conversation.

AMOS
I'm not sure I have the power that
you seem to think I have EDWARD.
I'm just a small cog in a very big
machine.

EDWARD
I think you're more like a big cog
in a medium sized machine.
AMOS
(laughing)
Spoken like a scientist.
EDWARD
I need to see the Brightlands for
myself, I think the project depends
on it.
AMOS
I'm not sure what you...
WOMAN'S VOICE
(screams)
The beggar woman, her eyes gleaming the vivid, mythical blue
of the glower, is next to AMOS and raising a knife to strike
into his heart. AMOS and EDWARD look up in horror.

There is the sound of a gun shot. The woman slumps to the

ground, the knife falls from her hand.

A circle clears around the body, many people shocked into

speechlessness, there is some hysterical crying to be heard
in the distance.
 21.

EDWARD drops to his knees and leans over the woman's body. He
lifts her eyelids and watches as the bright, electric blue
dancing there gradually fades to nothing. He feels her pulse,
she is dead. EDWARD sighs heavily.
EDWARD is about to stand but before he can get to his feet
KODALY is beside him. KODALY points his gun at the body and
fires five or six shots directly into the body.

EDWARD
(yelling over the gun
fire)
She's dead. She's dead. Stop. Stop.
She's dead.

EDWARD (CONTD)
KODALY, she's dead.

EDWARD turns to look at AMOS. He is pale, his eyes like

saucers. EDWARD looks again at KODALY who stands over the
body expressionless.
CUT TO:

HERA is poised at the edge of the crowd.

Several boots descend upon the scene. The Patrol Head
approaches AMOS and EDWARD to speak to them while several
other boots start to move people away from the body.
Two more boots are directed to move the body of the girl. It
is swiftly and expertly removed from the square and carried
to some unknown destination.
EDWARD has a quick word with AMOS and then retreats. He walks
towards HERA who is standing waiting for him.
EDWARD (CONTD)
Let's get out of here.... Where's
your brother?

HERA and EDWARD glance over towards the church door. ILITH,
with the other young wardens, is knelt in prayer.

An expression like disgust passes over EDWARD's features.

EDWARD (CONTD)
Let's go.

INT. DAY. A MODERN HOUSE IN THE CENTRE OF THE CITY

THE NOVAKS return home in silence. They are accompanied by
three boots.
 22.

Standing in the foyer of their rather palatial home is a very

good looking young man, medium height (GIN), about 26 years
of age. GIN is holding a coffee cup. He looks slightly
inebriated. ELLIS approaches him quickly.
ELLIS
Gin, I'm so glad you're alright.
Did you hear what happened to your
Dad?
GIN
I did, news travels fast in a
walled city.
KODALY
Some filthy prostitute told you.
ELLIS
(shocked)
KODALY!

GIN
(raising to the bait)
I saw you in the east market last
week. What were you up to Kodaly?
Anything you want to share?
GIN (CONTD)
By the way, I heard what you did
today KODALY.
(forced)
You saved Dad's life.
KODALY
(shrugs)
I'm going out.
ELLIS
You can't KODALY, you have to stay
for lunch. It's not safe. (pause)
Besides we want you here. We should
be together after what happened.
KODALY
(KODALY looks steely)
I can look after myself.

ELLIS
I want you here.

KODALY
I promised someone something. I've
got to go.
 23.

KODALY exits.
ELLIS
PATRICIA, help me organise
something for the boots to eat.

PATRICIA
Do I have to?
ELLIS
Yes you do. Are you okay AMOS, can
I get you something?
AMOS
Don't worry about me ELLIS, get
something for them. (He turns and
smiles graciously at the soldiers
on either side)
PATRICIA and the boots follow ELLIS out. There is a silence
between GIN and AMOS, they make their way into a large
reception room off the great hall. GIN sits down first.

GIN
Not sure what to say to someone
who's nearly been assassinated.

AMOS
Where have you been?

GIN
Nowhere in particular, around.

AMOS
(pause)
Yes, but where?
GIN
(pause)
You really want to know?

AMOS
I do.

GIN
Well, I guess... around the east
market...I was drinking.

AMOS
I can tell. Where exactly in the
east market?
 24.

GIN
Not sure I remember, to be honest.
AMOS
Can you remember if you mentioned
where you, we, would be today?

GIN
I know that you live in state of
intense paranoia at all times..and,
well, who can blame you...but I
don't spend as much time talking
about you as you'd like to think.

AMOS
I've been having a conversation
with the Head Warden...
GIN
...that fat old charmer.
AMOS
GIN, don't be smart
AMOS (CONTD)
He's agreed that you and his
daughter would make a good match.

GIN
Sorry?

AMOS
As a member of this family you will
have to do things that you might
find difficult...
(pause)
You look surprised. We've discussed
your marriage before.
GIN
I didn't think it would come up
today...Does Mum know about this?

AMOS
She does. She likes Francesca.
(pause)
This is for your benefit.
GIN
Somehow it feels like it's all for
your benefit.
 25.

EXT. DUSK. THE BRIGHTLANDS, THE CREST OF HILL LOOKING ACROSS

THE THAMES MARSHES

It's dusk, the sun is setting across the marshes and towards
the river. Lights are coming on in solitary corners of the
marshes and the low lying woods and the blue lights from the
brambles can be seen flickering in parts of the woodland.
AUGUST, REX, MARY and SAM are walking almost on the crest of
the hill but obscured from general view by a line of trees.
They can see right across the estuary to the far bank. It is
beautiful in the fading light.

AUGUST
(pointing to a small
collection of lights at
the marsh edge)
Is that where we're going?

SAM
Afraid not AUGUST, GRAVES is
further to the east, you can't see
it from here.

AUGUST looks tired. She points to a collection of buildings,

an old abandoned industrial plant at the edge of the marshes.

AUGUST
Is that the city?

SAM
(laughs)

AUGUST
Don't laugh, I've never been.

SAM
I'd like to say you aren't missing
much but one day, you should go.
It's an amazing place. (pause) I
saw a dragon there once, larger
than that building.

AUGUST
(looks annoyed)
You know I'm nearly fifteen, don't
you, SAM. I know dragons don't
exist.

SAM
How do you explain that hill over
there, then? The one about the size
of a dragon's nest. Or those black
marks in the heather.
 26.

AUGUST
(as if explaining to SAM)
There was a fire there, obviously.

SAM
And that patch of greenish blue,
just at the edge of the river bend.
That's where the dragon takes his
bath.

AUGUST
You should tell me about real
things. Mum doesn't tell me about
anything.
SAM
What do you want to know?
AUGUST
(Pause)
I want to know why we're different.

SAM
I've spent a lot of time trying to
find out, but....I used to mind
it...nowI think maybe there's a
reason for it and we just don't
know it yet.
(pause)
What does the earth mother say?
"The question always comes before
the answer". Here
SAM takes out the light bulb from his pocket and passes it to
her.
You should practice on this, only
during the day, mind. And don't
break it! It's the only one I have
left. Where's REX?

AUGUST
He's over there, by the oak.
SAM
You've done well, AUGUST, we've
come a long way. I'm almost dead on
my feet...

Over the marshes and woodland comes the distant sound of

bells; a low, long sound of warning. SAM's ears prick up.

SAM and AUGUST look down and around the bend of the river
comes a flotilla of small ships, lit up like little Christmas
trees.
 27.

AUGUST
What is it?

SAM
That's the mission boats. I've
never seen them this far down the
river before.
AUGUST
What are the bells for?
SAM
That's not them, those are warning
bells. They seem to be coming from
the marshes.

SAM jogs over to REX who is surveying a small clearing in a

nearby copse.

AUGUST looks back to see where her mother is. MARY is coming
up behind them, struggling a little on the incline. She looks
weary.
AUGUST looks back at the flotilla on the far away river. From
a distance, the boats appear small and harmless.

INT. DAY. THE INNER CITY - OFFICE OF THE MINISTER OF

DISTRIBUTION (MOD)

ORSIN is sitting in a meeting room of sorts decorated with

antiques, a few from the "Last Good Empire",a collection of
prized books lining the shelves, and a map of the modern UK
with much of the eastern central side now underwater.
ORSIN taps on the arms of his chair with his fingers. He
stops and looks at the wooden arm to see if he has damaged it
before putting his hands in his lap .

The door opens and MINISTER OF DISTRIBUTION (MOD) enters the

room. She is a gloomy woman, obviously stressed and busy. She
feigns a light smile. ORSIN stands to attention.

MOD
It's ORSIN, isn't it? That's an
unusual name.
ORSIN
It means bear.
MOD
(looks suspicious)
In what language?
 28.

ORSIN
Italian, I think.
MOD
(unconvinced)
Yes, well.
(She motions to the chair)
Sit down. We've had the Ctiv back
and yes, as your preliminary
meeting suggested, you look as
surprised as anyone in the attack.
A couple of things have been raised
in the interim. Some things you
mentioned, you said that your
partner, Hector?

ORSIN
Not my partner. He was under my
command. His rank was BOOT 2, I'm a
BOOT 3
MOD
I see.
ORSIN
He was a BOOT 2 for over 7 years.
He had a problem with
insubordination. Maybe I should
have guessed what he was up to but
he's always been...mouthy, I
guess..

MOD
That's fine, thank you.
(sits back to make himself
comfortable)
You mentioned that he knew that
grain was coming into the city.
ORSIN
Yes.

MOD
He knew this because?

ORSIN
He said our shipments followed a
pattern.
MOD
Our shipments don't follow a
pattern.
 29.

ORSIN
They do, not every Tuesday, like he
said, every third Tuesday or
alternative third Thursday of the
month, it's grain, through
Ladywell.

MOD
I see. (pause) You've discussed
this with him previously.
ORSIN
No, but I knew what he meant.
MOD
You also mentioned that you saw a
different gang?

ORSIN
I recognised the Pecknam Crows
because some of them wear black
feathers, but I also saw a couple
of members of the Marsh Dogs.

MOD
How did you know it was the Marsh
Dogs?

ORSIN
I was surprised to see them that
far in land. They usually keep to
the marshes.

MOD
And how did you know it was them?

ORSIN
How they dress, the way they
stand... they are so...arrogant
(said with disdain). And I
recognised Brown Snake.

MOD
You mentioned this? How did you
know it was him?

ORSIN
(breaths deeply)
I grew up in the Brightlands. My
mother was killed by the Marsh Dogs
when I was about eight years old
and I was taken in by the
Greenlings when I was ten.
(MORE)
 30.
ORSIN (CONTD)
I was sent to the city to become a
boot... I mean join the Secure
System. Brown Snake was around when
I was growing up, not so important
as he is now though, obviously.
MOD
You could have been mistaken.
ORSIN
Yes, that's right, I could have
been. But it did look like him.

MOD
(almost embarrassed to
mention it)
His hair?
ORSIN
Yes.
MOD
Did he use any of his...his powers.
ORSIN
No.
MOD
Fine, thank you very much. From
tomorrow you are going to be
reassigned. You can look on it as a
promotion, if you like. Your quick
response to the breach in security
was... well, it was noted. We
thought it best that you were
removed from the lines for the time
being and you will be reassigned to
personal protection.

ORSIN
Body work? Where? In the City?

MOD
I'm not sure, your direct head will
be able to give you the details. I
think that's all.
(stands up and moves
toward the door)
Obviously, we'd appreciate if you
didn't talk about this, possibly,
very sensitive material, to
anyone.

ORSIN gets up to go. Before he leaves he turns to the MOD

 31.

ORSIN
I'd like to thank you for the
opportunity, minister. My efforts,
my thoughts are entirely focused on
defeating the gangs that threaten
the city. The safety of the people
of the city is my main concern, my
main priority.

MOD
(embarrassed for ORSIN)
I'm sure it is. Well done. You can
find your way out, of course.
ORSIN
Yes, Ma'am.
MOD
Can you let Marcus know that I'll
be on a call.

ORSIN
Yes.

MOD
Thank you (pause) ORSIN.

ORSIN
Thank you, Ma'am

ORSIN heads off down the corridor.

EXT. DAY. THE EAST MARKET, A BACK ALLEY NEAR THE RIVER
KODALY approaches a sketchy looking fellow (ELI) who is
hanging around near the back lanes leading to the river. The
walk together to a corner of the back street, out of sight of
any CTIV cameras dotted around the East Market.

KODALY takes a leather bag handed to him and after a cursory

glance inside he hands over the plastic tupperware package
wrapped in a cloth.
KODALY
Where's your friend?
ELI
Don't worry about him.
KODALY
What have you done with him ELI?
 32.

ELI
You don't need to know about that.
He could be real difficult
sometimes, not professional, isn't
it. I'm nothing if not
professional.
(ELI stares into the
middle distance)
You've got to have trust in this
game. I can't work with people I
can't trust.
KODALY
(Suspiciously)
Can you get rid of this by Friday?

ELI
That shouldn't be a problem. I can
always sell more, isn't it.

KODALY
I am changing my operations,
expanding. Soon. You'll get a
chance to sell more. I don't want
you killing off my work force ELI.
(he turns to go)
ELI
Sure, sure.
(Pause)
Sir, if you ever want anything
else doing. I'm not a busy man, and
my rates are very reasonable.

KODALY is walking away but he stops in his tracks. After a

moment's hesitation KODALY turns back to talk to ELI

EXT. DAY. THE WOODS IN THE APPROACH TO SHOOTER'S HILL

SAM and MARY are now out in front with REX and AUGUST at the
back. SAM turns and says quietly.

SAM
We don't want to run into anyone so
if I signal, clear off the path, it
can get busy here.
AUGUST
(to REX)
Have you been this way before?
 33.

REX
Last Summer SAM and I went to
Graves to trade plastic. I was here
earlier this year too.
AUGUST
What for?
REX
Don't know really, wanted to see a
bit more of the river.
(pause)
We knew about you, you know. You
could have said something.

AUGUST
I was too scared to tell you.

REX
Scared of what?

AUGUST
(pause)
That you wouldn't like me any more.

REX
(laughs)
Why wouldn't we like you? That's
stupid. I know some people are
scared of people who glow but
they're just people. They don't
know anything. And there's Brown
Snake too, you know.

AUGUST
King of the Marsh Dogs? What about
him?
REX
He's a glower.
AUGUST
But he's bad. Mum says he kills
people. He's dangerous.

REX
Some people think he's okay.

AUGUST
Does SAM think he's okay?

REX
No, he doesn't. But not everyone
can be like SAM.
 34.

AUGUST
I'm really glad SAM is like SAM.
I'm glad he's a glower too.

REX
Yeah, I suppose. Hey stop.

They stop in their tracks, REX whistles and SAM and MARY halt
too.

SAM and MARY look around. Just off the path is a bush and
behind it is a fallen tree. SAM gestures to the others and
together they quietly move off the path and hide behind the
fallen log.
There is a moment of silence then the sound of boots coming
along the path. Around the corner comes a small patrol of
Boots.

MARY, REX, SAM and AUGUST crouch wordlessly. AUGUST looks at

her hands, she turns over her palms and sees them glow. MARY
reaches over and covers her hands in her own, gripping them
tightly.
Suddenly there is a booming noise, like the sound of an
explosion, the patrol leader holds his hand aloft and the
boots stop.

BOOT 3
What was that?
BOOT 4
It's just coming in.
(pause)

BOOT 4 (CONTD)
I looks like it's come from a
colony of glowers in Oxlees, only
about fifteen people. There might
be more in the woods, maybe
children.

BOOT 3
No lunch then?

BOOT 4
Turn around. We missed them on the
way through, they won't be happy
about that.... You can eat while
you march but keep hold of your
weapons.
 35.

The boots turn around and go back the way they came. They are
removing lunch boxes and water bottles from their packs. The
sound of boots fades as the patrols move further up the path.

SAM
(quietly)
We'd better go round now. We'll
have to cut across Dareth Heath.

SAM (CONTD)
What is it?

REX
I saw a marking a little while
back.

SAM
What kind of marking?

REX
I don't know, it looked like a man
or woman, I couldn't tell. It
looked strange.

SAM
You think it's a gang?

AUGUST
What gang?

MARY
Should we be worried?

REX
They may be on the run from the
boots too.

AUGUST
What gang? What gang are you
talking about?
MARY
I heard about a new tribe on the
move, coming west to escape plague.

MARY (CONTD)
That's all I know. Feel useless
letting you lead me about by the
nose. I miss my raft.
SAM
Made you soft.
 36.

MARY
Huh.
SAM
It's still too dangerous to go
along the canals. I guess Dareth
Heath is the best plan.

MARY
Okay then.

INSIDE. DAY. THE CHURCH OF THE MOTHER EARTH

ILITH is thoroughly scrubbing the font placed at the end of

the name towards the door of the cathedral, . He is dressed
in rough clothes for physical work.
THE WARDEN approaches a middle aged priestess tending to the
plants along the outer aisles and asks a question. The
priestess looks surprised but she quickly points to ILITH who
continues to scrub the font, oblivious that he is being
talked about.
The Warden quietly approaches and stands watching ILITH for a
moment.
THE WARDEN
That's coming along nicely.

ILITH
Thank you, your grace.

THE WARDEN
Come walk with me.

DAY. OUTSIDE. THE CHURCH GARDENS

ILITH walks in step with THE WARDEN. He looks at THE WARDEN

expectantly.

THE WARDEN
I've been told that you're a devout
pupil, ILITH. Would you agree?
ILITH
I hope so your grace.
THE WARDEN
Do you take time everyday to thank
the Good Mother for our blessings?
 37.

ILITH
I hope so, your grace.

THE WARDEN
Well you must know?

ILITH
I do your grace, I do.

THE WARDEN
And what blessings most please you?

ILITH
(thinks about it for a
moment)
The birds your grace.
THE WARDEN
The birds are light on the earth,
are you light on the earth ILITH?

ILITH
No your grace, I wouldn't say so, I
would hope to think that I am more
like the tree, my branches
outstretched and open to celebrate
the glory of our mother and my
roots buried deep in her body.
(pause)

ILITH (CONTD)
However, the scripture does
celebrate the birds for their
lightness of touch, it describes
this lightness as an expression of
gentleness, of humility.

THE WARDEN
Hmm. Are you humble my child?

ILITH
I hope so, your grace.
(frowning)
Perhaps not as much as I wish, your
grace.

THE WARDEN
What are your sins, my son?

ILITH
I'm proud of my house, of my name.
 38.

THE WARDEN
You have a fine house. Your
grandfather was a devout man, the
church misses his guidance. What
else?
ILITH
I am disrespectful to my father,
your grace.

THE WARDEN
Your father is doing important
work, is he not?

ILITH
He works with the glowers, your
grace.
THE WARDEN
Of course, of course.
(he falls into meditative
thought)
You didn't want to follow in his
footsteps?
ILITH
No, your grace...
(pauses)
I worry about my father, your
grace...He is too compelled by the
external world...Obviously, he
loves nature, he sees the beauty in
it but he's not respectful of it's
agency it's power... and he doesn't
understand it as part of himself.
He thinks too much, your grace.
ILITH (CONTD)
He's a good man, your grace. He
means well... I think. He's never
done anything against the church or
said anything against the church.
Maybe he doesn't revere it, love it
like I do.

THE WARDEN
You remind me more of your
grandfather, child. Do you think
you could follow a little of his
chosen path?
 39.

ILITH
Anything that is required of me,
your grace. I am in service to the
Earth Mother.
THE WARDEN
There is a position, a possible
position. We are finding it
difficult to find the right person
to fill it.
ILITH
Anything, your grace.
THE WARDEN
I will think it over. You may
return to your work.

ILITH
Thank you, your grace.

ILITH, grins widely as he watches THE WARDEN retreat. When

THE WARDEN exits the garden and enters the church. ILITH
turns and hurries enthusiastically back to the font to
continue his work.

OUTSIDE. DAY. THE WHITE STAG - A PUB IN THE EAST QUARTER

A group of boots are drinking around a circular table. The
table is in the corner of a pub near a large window looking
out onto the street.

A woman woman, nicely and neatly dressed, slightly outre but

not explicitly so. She knits while she sittings in the
corner. She is MOLLY ADAMS, a sex worker in her late 30's.

ORSIN is sitting by the bar, staring murderously into his

glass. He is very drunk.

An old woman not in her right mind is outside the window. She
starts to knock on the glass frenetically, gesturing to the
soldiers in the corner. They look up and she bangs on the
glass even harder making rude gestures.

One of the boots gets up quickly and heads to the door as if

he is going to pounce on her. The old woman looks frightened
and runs away. The soldiers laugh uproariously.

BOOTS 5
Get away with you, you old witch.

BOOTS, 1, 2, 3, 4
(laugh)
 40.

MOLLY ADAMS
All right, all right, leave her
alone.

BOOTS 5
She doesn't know what's going on.
She doesn't care.

MOLLY ADAMS
Her name's Alice. Everyone round
here knows her. She won't do you
any harm.... Anyway, she's gone
now...Sit down and Maxine will get
you a drink, on the house, right
Maxine?

BOOTS (ALL)
Leave it/ sit down/go on..

ORSIN
That was nice of you.
(pause)

ORSIN (CONTD)
...standing up for that old lady.
(pause)

ORSIN (CONTD)
Are you working?

MOLLY ADAMS
I'm knitting, if you have to know.
Look, I'm making a hat.
She holds up a small knitted hat for a baby.

ORSIN
(slurring his words)
It's a bit small.
MOLLY ADAMS
It's for a baby.
ORSIN
Where's your baby?
MOLLY ADAMS
Not my baby, a friend's.
ORSIN
(there is a pause while
ORSIN struggles to get
out his words)
I asked if you were working.
 41.

MOLLY ADAMS
Don't waste your money. I'm not
cheap and, the state you're in,
you'd pass out after a minute.
BOOTS (ALL)
(laugh)
ORSIN
Not cheap? What are you thirty-
five? Bit old for a prostitute.

MOLLY ADAMS
Thanks. Now any more conversation
and I am going to have to charge
you.
At this moment there is the sound of an explosion, the
windows rattle and MAXINE turns to brace the shelf holding
the bottles to prevent them falling off the wall. He loses
one and curses.

MAXINE
Mother Earth!

The people in the bar rush to the window. The boots get up
and as a group, head out into the street. Another group of
soldiers pass quickly in the direction of the east wall and
the boots in the bar follow them at pace.

CUT TO:

EXT. DAY. THE STREET OUTSIDE THE STAG

ORSIN stumbles out of the pub and looks in the direction of
the explosion but doesn't follow the boots already running
towards it. MOLLY ADAMS is standing beside him, looking into
a great cloud of dust coming from the wall.

Out of the dust a young man, wearing makeup and dressed in

women's clothes and holding a shawl up to protect his face
comes running towards them. The young man sees MOLLY and runs
directly towards her.

SEX WORKER
Molly, thank the mother I found
you...Come quick, it's Amy.

MOLLY follows him at pace. They disappear into the cloud of

dust which is beginning to settle.

ORSIN, drunk and irascible also follows but from a distance.

He watches as MOLLY ducks down an alley and into a hovel.
 42.

He stalks the two women to the hovel MOLLY and the SEX WORKER
have entered.
ORSIN peeks through the window and sees a woman (AMY) wedged
under a cupboard that has fallen on her. He sees MOLLY look
around for some kind of lever, something to help lift the
cupboard before she sees ORSIN at the window.

ORSIN tries to duck out of sight but is too slow.

MOLLY approaches the window and sticks her head out.

MOLLY ADAMS
You can help. Quickly.
ORSIN goes to help and together the three of them lift the
cupboard off AMY.

MOLLY looks over the prostrate body of AMY and sees she is
injured, she presses down gently on her thigh.

AMY
(cries out in agony)

MOLLY ADAMS
Amy, it looks like you've broken
your thigh bone. I'll get you
something to ease the pain then I
am going to set it for you. Okay?

Amy nods through rough tears. She is in agony. MOLLY turns to

ORSIN

MOLLY ADAMS (CONTD)

Do you know the pharmacy on Chicken
Lane?
MOLLY ADAMS (CONTD)
I want you to get me some of this.
MOLLY pulls out a pencil and a piece of paper from her bag
and writes something down on it.
MOLLY ADAMS (CONTD)
You have money, don't you?
ORSIN
(affronted)
You want me to pay for it?

MOLLY ADAMS
You've got something better to
spend it on?
 43.

ORSIN
Maybe. Why should I care about her?
(he points to AMY)

MOLLY ADAMS
You can help her or don't just
don't stand there gawping. Now can
I trust you to get it?

DUSK. INT. PATRICIA'S BEDROOM

PATRICIA is sitting in the alcove overlooking the city. She

is watching the east wall with binoculars. Her mother, ELLIS
enters quietly with some folded clothes and, after resting
them on the bed, stands behind her.
ELLIS
What is it PATRICIA? What can you
see?

PATRICIA
There's been another explosion at
the east gate.

ELLIS
It's happening every month now...

PATRICIA
..What does Dad say about it?

ELLIS
I probably hear more about it on
the radio, and they don't tell us
much.

PATRICIA
He never says anything about it to
any of us....you just used to it
don't you...
ELLIS
(she thinks before
replying)
You finish school in a couple of
weeks. Have you thought about what
you are going to do afterwards.

PATRICIA
No, I haven't really.

ELLIS
You used to want to be a doctor,
when you were little.
 44.

PATRICIA
I don't know that I'd be able to
handle it.

ELLIS
Maybe the church?

PATRICIA
I thought you were going to marry
me off, like GIN.

ELLIS
Oh don't. He's very angry with me
at the moment.

PATRICIA
I wouldn't want to marry Francesca.
She's a bit (pause), you know.
Isn't she?

ELLIS
What's that supposed to mean?

PATRICIA
Oh, you know. I can't imagine
she'd be much fun, that's all. And
GIN loves fun, doesn't he.
ELLIS
Yes Gin loves fun, maybe too much.
But you want to be married?

PATRICIA
I don't know. I want to do
something important, something
exciting.
ELLIS
What I do isn't particularly
exciting, though I think it's
important.

PATRICIA
Oh not like you, I wouldn't do it
like you. (pause) Maybe I'd like to
travel, get outside the city.

ELLIS
You mean like the Greenlings?

PATRICIA
No, not really. Not the church.
 45.

ELLIS
Anyway, I'm not sure that's
possible. Your father doesn't even
want you to go off to school on
your own at the moment. He's
worried about you leaving the
house.
PATRICIA
You see what I mean?
ELLIS
No.
PATRICIA
I'll never be able to do anything
important here. If I stay here I'll
be a prisoner. It's horrible here.

ELLIS
That's a bit dramatic.

PATRICIA
(rolls her eyes)
You know what I mean Mum. (with
feeling) It's no life really.

ELLIS raises her eyebrows. PATRICIA turns back to the window

and raises her binoculars.

CUT TO:
Through the binoculars we can see the form of ORSIN on the
street, quickly cutting through a mass of people moving away
from the scene of the blast. ORSIN is moving towards it, he
looks up at a sign above a shop and steps into the building.
He is holding a piece of paper.

CUT TO:
PATRICIA puts down the binoculars, she gets up and goes to
the mirror where she looks at her reflection in the mirror
before she starts brushing her hair.

CUT TO:

EXT. DAY. THE EAST MARKET

ACROSS the road from the pharmacy, GIN sits staring out of
the window of a pub called THE GREEN MAN. He takes swigs from
a tankard of beer while he watches people travelling to and
fro, some moving frantically, others taking the incident in
their stride.
 46.

A SEX WORKER, drunk and possibly on kip (a drug) comes to sit

by him, GIN happily accepts her company. He gestures to
someone at the bar and pulls up a chair for his new companion
who smiles graciously and happily takes the chair.

EXT. DUSK.THE EAST WALL

Two men are opening a hessian bag. They open the bag and
inside is the body of the assassin who tried to kill AMOS.
She has bullet wounds to the upper body but also scars to her
head and chest. It looks like she has been sewn up again.

BOOT 5
She doesn't smell too bad what do
you think, a couple of days?
BOOT 6
Thereabouts. Where should we put
her?
BOOT 5
(looks up)
There's some space over there.

The camera pans up to see the outer parapets of the wall

practically littered with bodies and body parts.
The two boots attach the woman's body to a meat hook and
raise it up so that anyone looking up from below the city
walls can see her.
BOOT 6
Well love, you're not going to be
lonely up there, that's for sure.

EXT. DAWN. THE BRIGHTLANDS A STREAM BY DARTH HEATH

REX, AUGUST, SAM and MARY are crossing a stream in the
Brightlands. They look tired and weary.

MARY approaches the stream bank to cross and slips over in

the water with a splash. She looks irritable and tired, she
raises herself up and takes a few deep breathes.
REX and SAM look around to see if there is any movement.

MARY
I'm holding you back
SAM
(helping her up)
We're in no hurry MARY.
 47.

MARY
I'm not as young as I was...
REX
Shhh
(pause)
MARY
SAM, what's going to happen when we
get to Graves?

SAM
I don't know. I've got a friend
there, someone who can maybe get us
passage across the river.
MARY
Are you thinking of going north?
SAM
Maybe.
MARY
What about us? What should we do?
SAM
We're not leaving you MARY.
Sometimes you get some funny ideas
in your head.

MARY
You think we should come to?
SAM
I've heard there are parts of Norch
that don't have boots. It's a hard
life but...
MARY
And it's been easy so far?

SAM
I'd agree with you there.
MARY
Damn it. I've dropped my water
bottle.

AUGUST
I'll get it
MARY
(whipsering harshly)
AUGUST!
 48.

SAM, REX and MARY try to trace AUGUST's steps but she has
moved so quickly that they cannot find the path.

CUT TO:

EXT. DAWN. THE BRIGHTLANDS (BY THE STREAM NEAR DARTH HEATH)
AUGUST approaches the canal by the path so quietly that the
two boots dressed in the the protective clothing and gloves
worn by 'the boots' from the mission boats, don't notice her
at first. They are leaning over the stream examining MARY's
water bottle.
AUGUST freezes.

The boots look up when they hear the sound of people in the
thicket and see AUGUST on the opposite bank.
One of the boots takes out a dart gun.

AUGUST turns to run but as she turns on her heel she slips on
the riverbank and lands in the water. She is glowing blue in
fear now, her eyes crackling. AUGUST hears the sound of
something whistling through the air and a dart of some sort
lands near her head. AUGUST tries to get up but she continues
to slip on the muddy bank and into the water. Then AUGUST
hears another whistling sound and she glances behind her just
in time to see that one of the boots has been shot through
their protective clothing by an arrow. The boot topples face
first into the water.
The other boot raise his gun pointing at AUGUST and then
AUGUST looks up and sees REX, his bow primed but with not
enough time to load another arrow. The boot is looking at
REX but leaves the bank and steps into the shallow water, all
the while his pistol is pointed at AUGUST.
BOOT 7
Don't be afraid... I'm not going to
hurt her as long as you don't move.
AUGUST sees REX motionless not sure what to do. AUGUST is
trembling now, she tries to climb the bank but, in her
distress, she slips again into the water.

BOOT 7 (CONTD)
Shhhh, it's fine.
AUGUST is crying with fear now. She looks at REX and then at
BOOT 7 coming closer and closer.

AUGUST is so frightened she can barely open her eyes. Finally

she peeks through her squeezed lids. She freezes, transfixed.
 49.

Across the stream on the opposite bank, a little further down

from BOOT 7 approaching AUGUST are three people of
indeterminate sex, their bodies stained with white powder and
their eyes surrounded with red paint. The strange new people
stand expressionless and motionless on the opposite bank
watching the scene. AUGUST cannot tear her eyes away from
them,.

REX notices them next and finally BOOT 7's eyes are drawn to
the motionless group of people. BOOT 7 slips in the water.
Startled and thrown off guard, BOOT 7's gun goes off. AUGUST
reacts suddenly, she slips on the muddy bank her arm falling
into the water.

Then from AUGUST's hand, now resting on the stream bed comes
a blast of blue light that travels like an atomic bomb blast
across the water of the canal. BOOT 7 stops in his tracks
and topples head first into the water. His body is face down,
motionless. He's dead.

AUGUST looks across the water. Fish, frogs, turtles, a water

rat float to the surface of the water, dead.
There is the sound of rustling in the leaves and an unknown
boot takes off at speed. AUGUST, REX and the ghostly figures
do not move but stare after the escaping boot's retreating
figure.

END OF EPISODE 1.