The False

Prophet

Screenplay by
Joshua Griffiths
A military unit known as The Federation has fought the inhabitants of a country for reasons
unknown. Now several years after the war which was lost by the inhabitants a strict military garrison
is in effect within the capital to ensure no organised insurgencies occur. The resistance, named the
Common Front have been fighting a losing battle and now are finding it increasingly difficult to
recruit new members. Hope is lost and the civilians now have little to live for. One man, Leonard has
refused to live in such a bleak perspective, still containing a spark of charisma in a dark world. This
causes the Common Front to show increasing interest in him, who decide to use him as a proxy in
order to increase the popularity of the resistance group in order to remove The Federation from the
city.

SCENE 1 INT: BUNKER

Scene occurs as a flashback after LEONARD has become resistance leader. Leonard is dressed in
resistance clothing: green boiler suit trousers and top with military rankings stitched onto his right
arm with black boots. Single light on above Leonard who’s sitting on a chair. A gun is resting on the
side of the chair. Room is dimly lit with Leonard slumped in his chair, seeming depressed: given up
hope.

Leonard: Why do we dream? These canvasses portraying our deepest desires. Each ambition
shining like a distant star: so far yet so bright. The subconscious compass that points
towards the fathomed utopia. (Sighs) No one dreams these days. It’s a dying art
form; I mean what’s the point of dreams if you can’t see them into reality? False
hope, its poison; far more dangerous than anything the world can throw at you is
what you can throw at yourself. I see people today I wouldn’t call human. They’re
not living to live. Living instead because they see no option. There were others who
disagreed with them. The choice was there. Some took it. Many would wish they
had. For those of us who remain hope may be dangerous but without it we are
nothing. It defines us as a species. In our darkest hours it’s the hand that offers
escape. This city needs hope now more than ever but to take the first step towards
humanity there must be an entity to follow. I’ve been told that entity is me. If only it
were so simple. (Pauses) I had a dream once. I woke into a simpler world. I walked
the earth amongst nature, with the sun on my side and the wind in my face. I told
people of this dream. I was asked why this dream, why not something else,
something palpable? I answered, ‘because I chose to’. I miss that dream.

Fade to black. Roll beginning credit sequence

SCENE 2 INT: LEONARD’S ANTIQUES

Shop is cluttered with many old curios and object d’arts . Shop is old, wooden flooring, consisting of
a large window at front letting in large amounts of natural light. Shop is empty, with Leonard sitting
with feet on the counter reading a magazine. TRAVIS, a friend of Leonard’s, walks into the shop. The
bell on the door RINGS

Travis: You busy?

Leonard: What does it look like?

Travis: (Closes door and walks into centre of shop) Like it always does. I can’t tell anymore.
Leonard: (Says whilst removing his feet from counter and placing his magazine down) Nah I’m
not busy. Why are you up so early? I’ve never seen your face before 9 o’clock?

Travis: Ah that wasn’t my choice. You can blame Cassandra. Woke me up to get the rations
in after I didn’t get them last night.

Leonard: Well why didn’t you get them last night?

Travis: How should I know why I didn’t get them last night? Maybe it was because I didn’t
want to get them last night. Maybe I like getting four hours sleep then busting my
arse queuing up for this moulded crap they’re shovelling out. Or maybe I just forgot
to get them last night. Cassandra didn’t forget though. First thing I heard when
getting through the door was her screaming through my ear. Don’t need that when I
get back from work.

Leonard: Sounds like me and her have more in common then you have

Travis: And that’s why I keep her away from you. If she ever found somebody who isn’t a
complete waste of space I’d be dead buggered.

Leonard: You could try and stop fucking things up?

Travis: Nah can’t be bothered

Leonard: Well you’re always gonna have to worry about that then

Travis: Could always tie her up

Leonard: I think that’s illegal

Travis: That word doesn’t mean anything these days. As long as it doesn’t interfere with The
Federation I can get away with murder.

Leonard: Don’t test that theory out.

Travis: Well I might have to. I don’t like the fact that she’s out all day on those streets. Every
day it’s more and more likely that something terrible could happen to her.

Leonard: You’re thinking about this too much. She’ll be fine.

Travis: Really?

Leonard: Yeah. Why?

Travis: (Smirks and exhales) Sometimes I wonder whether both of us are looking at the
same picture. It’s the fact that you’re the one, the one person I know who doesn’t
notice what our world has become. I have a question for ya. What do you see on
those streets? Go. Do it now. Get up and look. What do you see?

Leonard: What are you trying to prove?

Travis: Just tell me. What do you see?

Leonard: (Sighs. Looks out then back) The same things I’ve seen for the past three years.

Travis: And that doesn’t bother you?

Leonard: The war bothered me more.

Travis: It hasn’t finished yet. It’s not on any battleground. It’s right outside your window.
You can tell yourself it’s not there Leonard but who does that help? Not the
innocent, only yourself. There are still people being murdered on the streets. You
can see their blood on the pavement. I’ve been woken night after night with
screams from outside. You must have heard them too. When the screaming stops
then the war will be over.

Leonard: (Pauses) I can’t stop the screaming. It’s a part of life now. You just have to learn to
deal with it.

Travis: No you don’t. You have to take the first step.

Leonard: And what’s that?

Travis: Acknowledge it. More than you do now, that’s for sure.

Leonard: That’s not what you’re asking. You just want me to look like I’ve acknowledged it.
You want me to look like the others, stricken with sadness and grief. I don’t want to
be like the others. I just want to be myself, not moping about problems I can’t
change.

Travis: (Laughs) If more people were like you Leonard we could all die with a smile on our
face. Jesus.

Leonard: I understand this world we live in. Hell Travis, I see the same streets you do every
day. My life isn’t perfect but I know that others have been dealt a worse hand and
for them I sympathise and I’ll try to help them yes but there’s only so much I can do.
I’ll tell you what doesn’t help anyone: reminiscing about the past because those
moments in time will never occur again in this day and age. I can’t live my life
tethered to the past. It’ll just make things harder. Right now (finger pointed down
onto table). This is what I’m concerned about. Keeping this shop open. Keep on
living. I want to live.

Travis: You call this living?

Leonard: I call it close enough

Travis: (Pauses to stare) You need to get out more

Leonard: Can’t. Need to be here for the morning rush.

Travis: (Looks around standing still at empty shop) Hate to tell you this Leonard but if it
hasn’t come already don’t get your hopes up. No one buys antiques anymore. I find
 it hard enough to buy a loaf of bread. Besides, antiques are for old farts and when
was the last time you saw one?

Leonard: An old fart?

Travis: An old anything

Leonard: (Thinks) I don’t tend to write this stuff down Travis. Next time I see one, I’ll give you
a call.

Travis: Good and I might just go through your inventory too. Needs updating

Leonard: I don’t think you get the idea of antiques.

Travis: I don’t think you get the idea of good business.

Leonard: You can tell me that after I’ve bought your house.

Travis: I can tell it to you now, that ain’t gonna happen. (Looks at watch) Crap, I need to go
now. See you around Leonard.

Leonard: (Sitting on chair with legs on counter, puts hand up in air to say goodbye whilst
grabbing a nearby magazine)

SCENE 3 EXT: STREET - MORNING

Shot of Leonard finishing magazine. He looks up from the magazine to the shop door. He decides to
get up. Getting to shop door he opens with sound of bell ringing. Screen bleached with bright light
and noise from outside is heard, vans driving through street and sound of civil protection soldiers on
shortwave radio. Buildings are dilapidated, with rubble covering the sidewalks. A fire in an oil barrel
can be seen in the distance with people standing around for warmth. Leonard walks down the street
whilst an announcement is broadcasted on the telecom.

Telecom: This is a reminder to all citizens. Papers must be on your person at all times. Citizens
who fail to hand authentic papers when questioned by a civil protection officer will
be severely reprimanded, with multiple offenders being deported to the hostile
civilian containment facility.

Leonard passes people sitting on the sidewalk, in dirty clothing staring at the ground. One woman he
passes is crying but is trying to conceal it. He passes one man who looks worse than the others. He
stops and drops money into his hat on the floor.

Leonard: Sorry this is all I have.

The man doesn’t reply or look up. Leonard pauses with a disturbed look on his face. He squats down
to look at the person’s face. The person is not moving, with dried blood coming from his ear.
Leonard looks down at the floor for a moment before getting back on his feet and walking on.

Leonard reaches a blockade at the end of the street, where three armed members of civil protection
standing next to an armoured transport approach him.
CP Officer: Where do you think you’re going?

Leonard: Home. What’s going on? This street was open this morning,

CP2: And now it’s not. Whole area’s under restricted access.

Leonard: For how long?

CP Officer: (CP2 punches Leonard in stomach) It doesn’t matter does it? What matters is you’re
not gonna walk down this street. You understand what I’m saying you dumb fuck?

Leonard still clutching his stomach, trying to get his breath back holds a hand up to show he
understands. He turns around and tries to walk off with composure, still with one hand on his
stomach.

CP2: (To CP Captain) Fucking retards.

Leonard walks back down street for a moment. An explosion occurs in an apartment on the other
side of the street. Cries of pain can be heard by women inside the building. The soldiers at the
blockade plus extra soldiers in the area run in. Gunshots are soon heard. Leonard then goes through
blockade whilst soldiers are distracted. He walks hurriedly across the street before making it to the
other side. He carries on walking when he is pulled from the street by two members of the
revolution. He is pulled into an alley and let go in front of their leader.

Leonard: (Struggles free from two men) You get your hands off me!

R Sergeant: Relax. We’re not going to kill you. Take it easy.

Leonard: Take it easy? You fucking take it easy! What the hell’s going on!?

R Sergeant: Sorry about the lack of a formal greeting but you’ll probably understand the need for
discreteness.

Leonard: (Pauses to think) That was you wasn’t it? That’s what you’re talking about. You were
the ones who blew up that apartment.

R Sergeant: Ha! No, not our handy-work. We tend to deal a bit more subtlety. No what you saw
was The Federation doing what they do best: destroying the lives of others. Their
intel is way out of sync. To them, anyone’s a target. Just then they thought they’d
destroyed one of the Common Fronts Surveillance outposts. What they found was a
family of five and what they destroyed was one in the same. Doesn’t matter to them
though. As long as this city is dying their problem becomes easier to deal with. With
the army gone they need someone to kill and if civilians are the only ones left then
that’s good enough for them. (Lights cigarette) You know who we are?

Leonard: Yes. I do.

R Sergeant: Good. Means I don’t have to explain myself so I’ll get straight to the point. I saw you,
with those soldiers a minute ago. You know how rare it is to see that? No one likes
The Federation but few are willing to defy their orders. You on the other hand are
 different. I suppose you have an idea of what they would have done to you if you
were seen?

Leonard: I can imagine

R Sergeant: (Takes a drag of his cigarette) I don’t think you can. If you could you wouldn’t have
done it. This however is irrelevant. You’ve shown something important right then,
something we hope one day the whole of this city can show to them. Defiance.
People need to remember that they don’t have to listen to the orders given to them.
I can see it in your eyes. You are the same as us.

Leonard: I don’t think I am. What you do is murder. I could never do that.

R Sergeant: You just need to be put in the right position. When your back is against the wall and
you see the true face of evil you’ll be surprised at what you can do.

Leonard: (Smiles slightly) When I said I know who you are I wasn’t being exact. I know who
you are and what you’re fighting for. I also know you’re fighting a losing war. There’s
less and less of your activity in the papers these days. What is this? Some kind of
recruitment drive? How many people have you asked today?

R Sergeant: Just you.

Leonard: I don’t see how one soldier could change a war.

R Sergeant: Every army is made of collected individuals.

Leonard: You’re wasting your time. I just want to go home.

R Sergeant: (Laughs) That’s what we all want.

Leonard: I need to get back (turns to walk away).

R Sergeant: How do you know it’s still there? If it is then how do you know it will be there
tomorrow or the day after that?

Leonard: (Turns back smiling) There’s always hope.

R Sergeant: (Slightly stunned. Leonard walks off leaving R1 to talk to himself) No, there’s not.

SCENE 4 INT: LEONARD’S FLAT.

Flat is basic, with few pieces of furniture or decoration. Kitchen is tiled, with only minimum
necessities: sink, fridge and cupboards. Scene opens with Leonard cleaning a plate in sink. He looks
up after hearing children and looks outside the window above the sink. Children are playing football
outside. He smiles to himself then puts the dish onto the sink work-surface to dry. He then enters
the living room, picks up a briefcase then heads out the door.

SCENE 5 EXT: STREET - MIDDAY

Leonard is walking down the same street. The blockade is removed but the civil protection and
armoured transport are still there. Leonard walks past the junction when the civil protection officers
approach him.

CP Officer: You there! Stop!

Leonard knowing what’s to come looks down to the floor and begrudgingly stops

CP Officer: You slimy little shit

Leonard: What do you mean?

CP Officer: I mean, I fucking mean I remember telling you this road was closed, yet when I came
back you weren’t here.

Leonard: I went the other way.

CP Officer: There is no other way to cross this road. Not for miles.

Leonard: I went down Reagent’s Avenue

CP Officer: Like fucking hell you did. That’s over four miles away. No, what I think you did is you,
you fucking opportunist, you waited for my back to be turned then you defied direct
orders from me? Who the hell do you think I am? Some sort of shit that lets fucks
like you walk straight over him. (Turns briskly to CP 2) McNeil.

CP 2 and CP 3 grab Leonard, one of them scanning the barcode tattooed on his hand

CP 2: Leonard Owen. Hawthorne Apartments Room 14. Owns the antique shop on
Centennial Drive.

CP Officer walks up slowly to Leonard before hitting him in the face with a truncheon.

CP Officer: You’ve made a dangerous enemy today Leonard. I’ve killed hundreds like you, all of
them believing they are Gods amongst men. If the bullet in the head didn’t show
them then the years spent burning in hell sure will. Keep your eyes behind you
because I will be there and you’ll experience a pain you knew not existed. It won’t
be a fast death. I will drag you down into the abyss. (Looks to CP 2) Take his
briefcase and burn it.

Leonard on floor, still dazed and bleeding tries to grab his briefcase but is too slow and it’s taken
away from him.

CP Officer: Get out of my fucking sight.

Leonard shakily gets up and lurches away. He stops to lean on a brick wall out of sight to regain his
senses. He touches the side of his head and sees the blood on his fingers. He angrily takes out a
handkerchief and wipes the blood off. He then closes his eyes, breathes in and out deeply then starts
walking again.

SCENE 6 EXT: GROCERY STORE RATION QUEUE - MIDDAY

Leonard walks past the ration queue. Two civil protection officers are standing at the front of the
queue. Leonard walks past the line when someone close to the back of the queue seems to know
him.

Cassandra: Leonard?

Leonard: (Stops and turns around) Who’s asking?

Cassandra: It’s me, Cassandra; Travis’ wife

Leonard: How did you know it was me?

Cassandra: Travis showed me a picture of you and him in the platoon. In fact I carry it around
with me (Pulls out photo of platoon from her purse. Leonard is standing in the back
row smiling)

Leonard: Looked a lot younger back then.

Cassandra: Didn’t we all.

Leonard: How old is that picture?

Cassandra: Four, five years?

Leonard: The ravages of time sure do happen fast.

Cassandra: (Looking at photo) Yeah, you’re right (Looks up at Leonard, seeing fresh blood
coming out of the cut on his head in horror) Jesus, are you alright?

Leonard: (Looking at photo) What? (Remembering whilst looking up, touching the cut on his
head) Oh that’s nothing. Looks worse than it actually is. I’ll be fine.

Cassandra: You sure?

Leonard: Yeah I’m sure. Anyway what you doing here? Travis said he was sorting out the
rations this morning.

Cassandra: Yeah he did but he fucked it up. Oh, sorry.

Leonard: Nah it’s okay. I expected that from him.

Cassandra: (Laughs) Well I always hope for the best but he left the ration book at home.

He’s gone to work so I’m down here to make sure it’s done properly. You’d think
that man would be unemployable.

Leonard: Maybe they hired him out of pity.

Cassandra: (Laughs) Maybe so. Anyway, how are you Leonard?

Leonard: Apart from the cut I’m pretty good. Not really much to report to you I’m afraid. I
wouldn’t exactly call my life exciting.
Cassandra: How did you cut yourself?

Leonard: Fell on the pavement. It’s cold, I didn’t see the ice. Hit my head straight onto the
curb. Hurt like hell when I did it but it’s fine now.

Cassandra: You have to be more careful.

Leonard: (Thinking) Yeah, I should be.

Cassandra: How’s the business?

Leonard: The business? The business is pretty good. Finding it hard to...

Queue Man 1: Hey, buddy. Leave this conversation for later and get out of the bloody line.

Cassandra: (Angrily) What the fucks your problem Mike? If he ain’t buying anything then it
doesn’t matter for shit.

Leonard: Nah, it’s alright. I need to head back anyway.

Cassandra: Really?

Leonard: Yeah I need to start working on my finances. It’s fine.

Cassandra: Well okay but we need to meet again together sometime: me, you and Travis.

Leonard: Yeah that sounds good.

Cassandra: How about dinner at ours?

Leonard: Okay. Would be nice to have a decent meal for a change.

Cassandra: Don’t put your hopes up too high.

Leonard: (Laughs) Okay, I’ll try not to.

Cassandra: I’ll get Travis to tell you the details later.

Leonard: Just hope he remembers to do it.

Cassandra: I’ll staple a note to his hand.

Leonard: That’d work. Anyway I have to go. Nice meeting you Cassandra.

Cassandra: You too Leonard. See you around.

Leonard carries on walking down the street. It’s suddenly colder. Leonard grips his coat round his
body whilst walking off camera left-side.

SCENE 7 INT: LEONARD’S ANTIQUES - NIGHTIME

Scene begins by cutting to a grandfather clock displaying the time, showing it is late. Cuts then to a
bowl on the counter which noodles have been eaten out of. Leonard is sitting behind counter, feet
on table watching a small T.V on the counter. A propaganda advertisement for the Federation is on.
Leonard looks bored by it.

T.V: The Federation is here for the good of society. We’re here to make the difficult decisions
that will boost this country into the future. By abiding by the rules and regulations laid out
by the Federation you too are contributing to towards a more civil civilisation.

Leonard hears a scream form outside. He turns the T.V off and stares outside the window. There is
nothing there. Leonard gets up and timidly walks out of the door.

SCENE 8: ALLEYWAY OUTSIDE LEONARD’S ANTIQUES - NIGHTIME

He turns to his left, seeing and hearing commotion down the street, involving a family of four and
two civil protection officers who arrived in an armoured car. The civil protection officer in one
different to the officer Leonard encountered earlier.

Mother: (In hysterics, being held back by CP Soldier) Just leave him alone!

Father: Jen just leave this to me and I’ll sort it out

Mother: But you haven’t done anything! They know that. (To CP Officer) What the hell is
wrong with you!? Why are you doing this?

Father: Jen for the love of god!

CP Officer withdraws handgun from holster and raises it at the two children standing in the behind
and to the side of the mother.

Father: (Shouts) No!

Father punches CP Officer across the face, falling into him and pushing his arms out. CP Officer loses
grip on handgun. It is tossed down the street. CP officer pushes Father off of him, draws a knife then
grabs the back of the Father’s head, plunging a knife into his throat. The Mother screams. The Father
falls to the floor gagging in blood. The gagging soon stops and the Father stops convulsing on the
floor. The Mother increases her struggle with the CP Soldier who is still able to restrain her. The CP
Officer moves to the armoured car, opens the door, quickly rummages on the passenger side, and
comes out with a gun. The CP soldier pushes the Mother back and she stands there terrified as the
CP Officer raises a gun to her. CP soldier turns his head and notices Leonard.

CP Soldier: Sir! (CP Soldier is shot in the head. Falls to floor instantly)

The CP Officer looks to his left and sees Leonard, panic-breathed holding a gun up to him. Leonard’s
hands are shaking slightly. CP Officer sees this and pauses, trying to stare down Leonard. Only the
wind can be heard. The officer turns sharply but is shot in the chest. The impact of the bullet causes
him to turn and fall on his side. Still alive, Leonard can see the Officer dragging himself away.
Leonard walks up to him on the ground. CP Officer has raised his weapon but is far off target from
hitting Leonard. He shoots anyway. Leonard responds by shooting him in the chest three times more.
He pauses terrified, staring at the corpse. He hears one of the children sobbing quietly. He turns
around to see the Mother dead. He walks towards her body, the gun slipping out of his hand. It
begins to rain. The sound of talking on the armoured car intercom can be heard but is inaudible and
full of static. He turns and looks at both of the children, innocent children who have tears running
down their faces yet remain relatively quiet.

Leonard: (Swallows, closing his eyes, tears run down his face) I’m so sorry.

Leonard stands in same position as sirens can be heard in the distance. He comes to his senses, the
panic surging within him once again and runs back out of the alleyway, leaving the two children
standing there.

SCENE 9 EXT: STREETS - MIDNIGHT

Leonard is running down the pavement with an armoured car in pursuit. The car drives up in front of
him. He turns down the street to his left to avoid them, just turning the corner when civil protection
exit the vehicle and begin firing. Leonard carries on running with Civil Protection running on foot
behind him, taking pot-shots as they run. An emergency broadcast is transmitted over all screens in
the area whilst Leonard runs into an apartment complex.

Broadcast: (Picture of Leonard shown during broadcast. This broadcast appears on large TVs on
the side of buildings as well as TVs in people’s homes) This is an emergency
broadcast. Civil protection lockdown is in process. Citizen number 0412668,
Leonard; Owen in breach of Civil Protection act A-41-3. Citizens should remain in
houses and avoid contact with subject. Any and all abetting by civilians in subjects
escape will be dealt with through swift genocide of all conspirators. That is all.

SCENE 10: EXT. APARTMENT COMPLEX - NIGHTIME

Leonard runs through the bottom floor, passing people in their homes. He runs through the
apartment complex towards a large dilapidated house. Whilst running the he runs past a group of
civilians wearing dark clothing, their faces barely distinguishable. They are standing in a group in the
short distance, all staring at him but doing nothing. Leonard turns back and stares at the front door
approaching him.

SCENE 11: INT. DELAPIDATED HOUSING BUILDING - NIGHTIME

Leonard runs and shoulder barges the door open. He then tries closing the door which is barely on
its hinges and runs into the house which is falling apart. He runs up the stairs. CP burst through the
door, throwing grenades through the door, causing a loud explosion. During this time Leonard runs
into the bathroom and hides behind the wall. The roof of this house has fallen through, with holes in
the ceiling allowing the rain to pour into the corridor and the bathroom. He hears many footsteps
enter the house. Something inaudible is said by the CP officer. After Leonard hears CP move around
downstairs for a while he hears them coming up the stairs slowly. He begins to panic, too scared to
move yet knowing if he says there he’s dead. When CP are halfway up the stairs he bolts out of the
bathroom and starts running away from the stairs towards the far wall. The far wall is falling apart,
with a large opening where the outside alley can be seen.

CP: There he is!

Leonard carries on running as fast as he can towards the wall, with CP firing at him from the landing
next to the stairs. It is dark, safe for the light coming through the holes in the ceiling. Leonard makes
it to the wall and jumps through to the alley. He hits the wall of the opposing house and falls into the
mud. Although hurt, he quickly gets up and runs out of the alleyway and back onto the street. CP
soldiers approach the opening and the Officer looks out.

CP Officer: Fuck! (Kicks part of the wall off)

SCENE 12: EXT. STREETS - MIDNIGHT

Leonard is walking back on the streets which are completely abandoned. He is cold and soaking wet.
He hears gunshots in the far distance. He stares then turns back, increasing his pace. A helicopter
can be heard going overhead. Leonard hurriedly hides in the outdoor foyer of a building. The
helicopter passes. Leonard hangs his head, hands round his legs and starts crying. He looks up to see
a mother, father and child standing at the front door. He looks at them. The father tenses his grip on
the child’s shoulder, all staring at Leonard. Leonard understands, getting up slowly and walking back
out with a sense of hopelessness.

SCENE 13: EXT. STREET OUTSIDE LEONARD’S ANTIQUES - MIDNIGHT

Leonard reaches the street where his shop is. Hiding in an alleyway on the opposite side of the street
a short distance away from the shop he peers out and sees no soldiers. Slightly confused, Leonard
starts walking to the shop. In the centre of the street, he turns and sees that the bodies of the
mother, father and the civil protection soldiers as well as the car are still there. The children are not.
He pauses for a while with a look of acknowledgement before continuing towards the shop. As
Leonard approaches the shop is destroyed. Glass flies out into the street. Leonard shields his face
but is blown to the floor by the explosion. Flumes of smoke bellow out of the shop. Leonard still
shielding his face lowers his arm. His face has been cut on the sides, with fragments of glass
embedded into parts of his face. He now sees what has happened to his livelihood.

Leonard starts making noises of anger, grievance and desperation. Starting quietly he is unable to
control it and starts bellowing a wretched feeling of disgust, punching the floor with his fists. An
unmarked van pulls up close to him and two people get out. Leonard is unaware of them until they
grab him.

Leonard: No. No. No!

He is thrown into the back of the van onto the seats on the side.

SCENE 14: INT. VAN

The van doors are closed. The Revolutionary Sergeant is sitting on the other side, smiling.

R Sergeant: Hello Leonard

Two knocks on the back door can be heard and the van drives off. Leonard looks up looking
confused, angry and exhausted at the Sergeant.

R Sergeant: For someone who didn’t want to get involved you’ve sure managed to stir the pot.
Leonard: (Tired) Let me out of here.

R Sergeant: (Laughs slightly whilst talking) Do you really think that’s a good idea? The whole
sector would be looking for you. I mean you’ve only been able to survive because of
us. We’ve been keeping a close eye on you. Did you wonder where all the civil
protection has gone? They’d of peppered your with lead the moment you stepped
out onto the street. They went to suppress a resistance movement in Park Square.
There wasn’t any military gain out of it. It was all a diversion so we could get to you
before they did. A few miles away my comrades are laying down their lives, for this.
For you.

Leonard: Why? Why any of this? You seem to forget (getting more and more angrily until
inconsolable, hitting the side of the van along with next words) that I didn’t ask for
this (cradles face in hands).

R Sergeant: (Pauses, looking blankly at Leonard’s reaction) You’ll understand, in time. You
proved yourself tonight: Proved that you are what we’re looking for. You said that
you’re not like us. I’d argue differently

Leonard: I’m not like you

R Sergeant: Well how do you explain tonight?

Leonard: I...

Leonard pauses as he is unsure of the reasons behind his previous actions

Leonard (cont): I can’t.

R Sergeant: Well why did you do it?

Leonard: I don’t know

R Sergeant: No you know. You know exactly what you were doing. You saw a family in trouble
and you tried to help them when most people would let them die. ‘Better them than
me’. That was your conscience acting, doing what a good man should do.

Leonard: What, do good men kill these days?

R Sergeant: In these days yes, that’s what a good man has to do.

Leonard: Then why does it feel wrong? Why, when I look at my hands all I see is other
people’s blood?

R Sergeant: I never said it’d be easy for you. Being the good person isn’t supposed to be easy.
That’s why the others in this city don’t try. But just because something isn’t easy
doesn’t mean you shouldn’t fight for it. We’ve all lost something. Don’t believe this
is just happening to you; it’s happening to all of us.

Leonard remains silent

R Sergeant: If you could do it again, would you? Would you interfere, saving the lives of two
children or would you let the family die?

Leonard: (Looks at R Sergeant, then looks back down) Two hours ago I was sat in that shop
watching TV. Now, two hours later I’m in a van being taken away because my life has
been taken away from me. Two hours. That’s all it took for them to take everything
from me.

R Sergeant: But now they’ve taken everything from you what else is there left to take? They
can’t touch you anymore Leonard. There are no bargaining chips. They can’t control
you. You are now more free than you have been at anytime in your life. The dawn of
a new day is coming and it’s going to change everything. When we get there we’ll
patch you up then you can get some rest.

Leonard: Where are we going?

R Sergeant: You’ll find out when we get there.

SCENE 15 EXT: STREET - NIGHT

Van drives off into the distance, sounds of gunshots heard overhead

SCENE 16 EXT: REVOLUTION HQ - NIGHT

We see the van slow down and stop in front of what looks like a depot

SCENE 17 INT: VAN

Van suddenly stops. Leonard looks to the R Sergeant

R Sergeant: We’re here

The van doors open and Leonard steps out looking anxious.

SCENE 18 EXT: ENTRACE TO REVOLUTION HQ - NIGHT

Camera follows his field of vision, showing him shakily get out of the van. He looks around whilst
walking up a gravelly sounding straight road. On the outside the building looks very old, with rusty
metal sheets covering the outside of the building. The plants surrounding the building look like they
are taking hold; grass is untamed abundant around the building except on the gravel entrance. Two
soldiers are on either side of the entrance. The guns they are carrying look like they’re ready to fall
apart. When Leonard reaches the shutter door it electronically opens but slowly, letting light filter
outside on slowly up Leonard’s figure. Leonard finally steps into the building, slowly but surely.

SCENE 19 INT: REVOLUTION HQ

Entrance through a shutter door shows the depot to consist of a room with concrete walls, with
singular light bulbs hanging on the ceiling giving the area a patchy atmosphere of bright and dark. A
few soldiers are in the entrance, either sitting against the wall or leaning against it smoking.

R Sergeant: Well this is it. Welcome to your new home. What do you think?
Leonard is looking around on the spot when R Sergeant asks him. He doesn’t give a response.
Instead he looks at the soldiers in the entrance. They seem battered and bruised. None of them look
back at him, instead looking at the floor.

R Sergeant: I’ll hand you over to Taylor and Miller. They’re the ones running operations round
here. They’ll set you up.

Leonard snaps back into the conversation

Leonard: What?

Taylor and Miller enter the room from a door on the other side of the room. They appear to be
heading the operations. Taylor and Miller’s characters seem to differ substantially. Taylor is the more
persuasive of the two. Miller appears aggressive and withdrawn, as if he’s seen things no man
should see. They both walk in, Taylor walking faster to meet Leonard than Taylor

Taylor: Where is he?

R Sergeant: (R Sergeant flicks his head towards Leonard) This is the guy.

Taylor: Glad you could make it

Taylor shakes Leonard’s hand. Leonard doesn’t reply, looking confused whilst Taylor is shaking his
hand.

Taylor: (Looks down into Leonard’s face. Smiles slightly) Not the best greeting I’ve ever
bared witness too.

Leonard: It’s been a long day.

Taylor: (Steps back. Voice becomes slightly louder) Well that’s understandable. But
remember that a day is only 24 hours long. Things will get easier now. (Turns to
Miller) This is General Miller, my right hand man.

Miller is standing a few yards away with his arms crossed. He seems pissed off at Leonard.

Taylor: He’s also had a rough day.

Miller: (Angrily) You could call it that. I lost twelve of my soldiers tonight dragging your
sweet ass here. (Turns to Taylor) This is fucking pointless. Why is he here?

Taylor: I’ve told you before.

Leonard: Why am I here?

Both Miller and Taylor turn to look at Leonard in surprise.

Taylor: (Coughs to clear his throat. Turns to R Sergeant) Why didn’t you say anything?

R Sergeant: (Looking relaxed. Not caring at Miller or Taylor’s increasing annoyance) I thought
you would want to do the honours.
Miller: I bet you did.

Miller tries to approach R Sergeant confrontationally. Taylor puts his arm in the air barring Miller
back. Miller doesn’t defy, stepping back again, but keeping his eyes on R Sergeant.

Taylor: (To Leonard) In this land, chaos rules supreme. Civil Enforcement used it, stripping
away all national identity: the government, the society, the coal, the oil; you catch
my drift and even still they continue. This city isn’t enough for them. They will
destroy anything that resembles any form of civilisation, wiping out all of us if they
have to. We’re the new found order. Not of today but of tomorrow.

Leonard: And so?

Taylor seems somewhat surprised that his answer did not satisfy Leonard’s question. He starts again
before being interrupted by Miller

Miller: You’re a puppet

Leonard: What?

Miller: Taylor’s views are all high and mighty

Miller slaps his hand on Taylor’s chest, pushing back on him slightly whilst still keeping eye contact
with Leonard. He’s mocking Taylor’s views, believing that the feeling’s he carries in his heart are
complete bollocks. Taylor wrestles his annoyance down as Miller speaks.

Miller: But there’s just one problem: he hasn’t won the support of the public. Have you
Taylor?

Taylor looks at him angrily, feeling Miller has revealed too much. Miller turns back round to Leonard.

Miller: And so he needs someone to front his whole movement. Someone who can still
relate to the people. Someone they will give a shit about. And so, you, a man who in
one day has had his entire life’s work destroyed by the actions of others, the
federation and its subsidiary, the Civil Enforcement militia, will fit the bill nicely.
That’s something that can resonate to the masses and so that’s something we can
use. That about covers it.

Miller turns and walks past Taylor, standing there stunned in aggression. Miller walks out the room,
leaving Taylor to pick up the pieces. We hear an iron door shut with a CLANG before Leonard gives
his answer.

Leonard: I don’t want to be part of this.

Taylor: (Emotionlessly) You don’t have a choice. It’s either this or nothing.

Leonard: So I just have to let myself be used?

Taylor: (Picking up some of his original enthusiasm) Well if you look at it in Miller’s
perspective then yes, or you could see this as an opportunity. A chance to make this
 world a better place. Not many people are in a position to give so much towards
society as you are in this position, right now.

Leonard: But I don’t have a choice.

Taylor: The choice was made when you saved those children. You made that choice. This is
the result. You’ll feel better about it once you get some rest. Private Allen will take
you to your quarters. (Looks towards the door Miller left from) I need to go talk to
General Miller.

Taylor walks out the room leaving Leonard standing there facing PRIVATE ALLEN, who had been
standing behind Taylor and Miller next to the wall during the conversation. He appears bug eyed and
fixated on Leonard. He believes every word Taylor says; fallen for all his profound speeches.

Allen: It’s great to meet you.

Allen points his thumb to the general direction of Leonard’s room

Allen (Cont): It’s just this way

Leonard looks at the floor. When he looks up his face has creases of despair when he walks out to
follow Private Allen.

SCENE 20: INT. LEONARD’S QUARTERS - NIGHT

Leonard is sat on the side of a cheap army bed. He is joined in the room by another soldier, PRIVATE
WEST. The interior of the room is cold and lifeless. Walls are made entirely of concrete. There is no
window; instead a fluorescent light brightens only a small fraction of the room, leaving the rest in
darkness. The light BUZZES monotonously and continuously, drilling harsh reality into Leonard’s
mind. His face cannot be made out in the darkness, only his silhouette can be seen. Private West is
half asleep, facing the opposite wall. Leonard sits slumped and staring into space, deeply thinking
about nothing.

West: You the new guy huh?

Leonard looks up cautiously at West. He doesn’t move, still facing the opposite direction in bed. He
talks like someone whose conscious is barely there. Leonard once again returns to staring into the
floor.

Leonard: Yeah. That’s right.

West: Used to have a single room before you got here. Grears still gets to keep his single
room. What’s up with that?

Leonard: I dunno

West: Probability, I guess

West rolls in bed.

West (cont): Why dyou join?

Leonard: I didn’t

West: Well you must’ve done otherwise you wouldn’t be here.

Leonard: I suppose so

West: Well things are supposed to change for the better soon

Leonard: Who told you that?

West: It’s just been what’s going around. Heard a few guys say it.

Leonard: Yeah, well, there’s always hope.

SCENE 21: INT. LEONARD’S QUARTERS – EARLY MORNING

ALLEN walks into the room opening the metallic door with a SQUEAK. He’s holding items of clothing
underneath his arm. His face shows a sarcastic look of enthusiasm. Leonard is still sitting upright on
the side of the bed. West is still asleep

Allen: Rise and shine happy campers.

West: (Groggily) What the fuck?

Allen’s smile diminishes and is replaced with a sincere look of annoyance

Allen: Get the fuck up West

This annoyance is removed when speaking to Leonard

Allen (Cont): Leonard, Taylor wants you ASAP. Get dressed.

Allen throws the clothing at Leonard.

Allen (Cont): Meet him by the entrance for the briefing.

Leonard examines the clothes on his lap before looking back up

Leonard: Err

Allen leaves and shuts the rusted door before Leonard can reply.