SEVERANCE

"Under the Gun"

Written by

Peter Ingham

1ST DRAFT

01 06, 2011
 SEVERANCE
“Under the Gun”

TEASER

1 INT. PRISON - HALLWAY - NIGHT 1

Footsteps echo down a corridor, a WARDEN, though from no age

we’re familiar with, walks past rows of heavily armored
cells. He stops, two men have been shadowing him, armed to
the teeth, they’re on his side though.

The Warden takes out a small device, flat-panel display,

scans a node next to the door. Data blooms on the screen,
cuts through the dark, no image, MURDER, 5 counts.

Warden looks to the men, nods, presses a button, the door

opens, slow, revealing nebulous black inside.

2 INT. PRISON - CELL 2

Reeve, Mid 30’s, fit, disheveled sits on the edge of bed.

Flashlights skim the room but not him. It finally rests on
his hands, they’re linked calmly and bound in metal cuffs.
With their rifles leveled, the Warden slips a pair of glasses
on Reeve’s face, a shudder of electricity causes the whole
face to become absorbed in matte black. A digital blindfold.
The Warden grabs his arm, leading him away.

3 INT. PRISON - HALLWAY 3

Reeve stumbles lackluster down the hallway flanked by the

guards.

4 INT. PRISON - CHECKOUT STATION 4

The Warden stops by a terminal, keys in info and brings up

the cell number, ready to sign Reeve out-- another Reeve’s
hand beats him to the punch. He turns to see a SUIT, dressed
like he should be at a funeral, face cold, PROFESSIONAL.

SUIT
(letting the hand go)
As my associates stressed, and as
you have well surmised, this Reeve
was never here. Just like my friend
and I were never here. And likewise
Warden, you and your friend’s were
never here.

The Suit takes out a small black slate from his breast
pocket.
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4 CONTINUED: 4

SUIT
Take it, cash it anywhere. It’s the
most you’ve gotten paid for doing
nothing at all. Am I correct?

The Warden turns to the guards, shrugs, takes the slate.

WARDEN
He’s all yours.

The Suit nods to the OTHER SUIT, who grabs Reeve roughly by
the arm, leading him away.

5 EXT. PRISON - ELEVATOR 5

The two suits, with Reeve in tow stand in the elevator as it

begins its ascent.

SUIT
(Grits his teeth)
We-- no-- I, have invested a lot of
time and effort in locating you.
Years pouring over data, trying to
find which hole you crawled into.
Honestly, I half expected to find
you dead in a trash-crater on the
far side of Vallis, perhaps I was
expecting too much.

The Suit punches Reeve in the stomach, keeling him over, the
other suit picks him back up. Reeve’s breathing heavily
through the mask.

The Suit, now having expelled whatever current demon was

eating him up, straightens his hair. The elevator grinds to a
halt. The doors open.

6 EXT. PRISON - GATES 6

We’re outside, this prison however, is located on an asteroid

belt circling a giant planet.
SUIT (V.O.)
Remember my friend, there is
nowhere in the Reaches that we
cannot go.

7 EXT. PRISON - YARD 7

The Suits guide him along the dirt track to their vehicle, a
compact space cruiser, two in the front, room in the back for
small cargo. Unmarked.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 3.
7 CONTINUED: 7

The Suit pushes some keys on a door panel, the lock

disengages and opens.

The Other Suit withdraws a punch syringe and thrusts it into

Reeve’s neck. They promptly shove Reeve in.

The cruiser takes off, bright spark jettisoning into the

firmament.

8 INT. CRUISER - A FEW HOURS LATER 8

Reeve sits on a bench as the Cruiser breaks through the

atmosphere of a heavily industrialized planet, all smoke,
steel, and neon. He starts to come to, digital veil still
intact.

OTHER SUIT
Look alive sunshine.

SUIT
(turning round)
Give him another shot, we just need
him with us, not conscious.

The Other Suit reaches into his pocket, gets the syringe,
goes to jab it into his neck-- BAM! -- Reeve’s cuffed hands
lance out, twisting the syringe into his neck. Reeve’s hands
find the gun in his jacket, takes it out, caps him in the
stomach. Then-- still blindfolded, tags the driver in the
back, sending the cruiser on a sharp descent.

Circuits scream and hiss, a klaxon sounding off as Reeve

scrambles to remove the glasses. Casting them on the floor as
they break through the clouds, he pushes the Suit out of the
way and pulls on the wheel. Hopes for the best.

9 I/E. LADY LUCK - HANGAR - SAME TIME 9

The airship-- Mass Transport Model-- sits in wasteland with

BECK, mid 20’s, grunge/punk look, a Driver.

BECK
(smiles incredulously at
the crashing Cruiser)
Now there’s somethin’ you don’t see
every cycle.

WOREEVE
(jabbing a rifle into
Beck)
Keep. Movin’.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 4.
9 CONTINUED: 9

BECK
Okay-- okay.

He starts walking down the ramp to the yard, behind we see

various people with their guns trained on him. He turns
round.
BECK (CONT’D)
At least tell me we had some good
times-- did I not pay enough
attention-- I know I wasn’t always
the best Jacket, but--

SIL
It’s not you Beck, it’s us.

BECK
Tell me you’re gonna treat her
good, she’s the best in the
Reaches.

SIL
(sighing)
Sure, right until we scrap her
after the jobs done.

Beck marches towards her, they all collective cock their

weapons, he stops.

BECK
(incensed)
She is a treasure. In your next
life Sil, I hope you come back as a
bug that get’s flattened on my
windshield.

SIL
Unless you want to be waiting for
me down there to give pointers, you
better take your ass off MY ship.

Beck looks at the rest of the crew, then Sil, then spits on
the floor, but turns round and walks.

SIL (CONT’D)
(turns round to two men)
Check out that wreck, the rest of
you, LOAD OUT.

10 EXT. WASTELAND - MOMENTS LATER 10

The Cruiser sits nose-first in a dense patch of brush, smoke

billowing from its busted thrusters. The door opens, Reeve
pushing one of the suits out of the opening, he’s a MESS.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 5.
10 CONTINUED: 10

He lands on the ground with a thud, Reeve rifling through his

pockets. He finds a black slate, screen cracked, powers it
up. A logon and initials appear: H.S.B.T. He grits his teeth,
throws it away.

He finds a swipe key, casts the cuffs to the side while he

takes off Reeve’s suit. When he removes his jumpsuit he sees
that he’s sustained damage to his side, doesn’t care. Two
encroaching flashlights in the distance grab his attention.

11 EXT. WASTELAND - CONTINUOUS 11

Two of the crew walk through the undergrowth towards the

ship. Steps cautious-- CRUNCH-- one guy turns as Reeve
APPEARS from nowhere grabbing him and shooting the other crew
member. He snaps his neck and lets him fall.

12 I/E. LADY LUCK - HANGAR - SAME TIME 12

Sil and the crew turn to the flash from the gun. She finishes
tightening his cuffs to a post and cautiously returns to the
ship.

SIL
LET’S MOVE.

CREWMAN
What about those two?

SIL
You wanna check they’re still
alive, be my guest.

Beck looks around frantically.

13 EXT. WASTELAND - SEVERAL FEET AWAY 13

Reeve hides in the brush, looks toward the light of the ship,
sees one man protesting. Moves closer.

14 EXT. LADY LUCK - MOMENTS LATER 14

He approaches the rear of Lady Luck, Beck several feet away,

looking like a kid sent to a naughty step. While the mutinous
crew are busy losing excess baggage, Reeve holds a gun to
Beck’s head.

REEVE
(breathless)
I’m... gonna need that ship.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 6.
14 CONTINUED: 14

BECK
(looks at him, doesn’t
care)
Think you’re too late pal.

Beck gesticulates toward the crew, who now have their guns
trained on Reeve.

SIL
You off two of my crew then have
the stones to come to my ship.

Reeve looks to the several men and women with their guns on
him, levels his pistol at them--

BECK
I’d take it easy pal, these people
have a shoot first ethos goin’ on.

SIL
Shut it Beck. This guy’s dead in
the water.

Reeve’s gun hand’s shaking, lead weight in his hands.

REEVE
I need... that ship.

BECK
(whispering)
Guy, c’mon, this ain’t worth dyin’
for.

SIL
Burn ’em.

BANG-- tags two guys next to her. The crew return fire, Beck
trying his best to not get shot, made difficult by the fact
he’s tied to the post.

Can’t take all of them out though, Sil caps him, he

collapses.

BLACK OUT.
END OF TEASER

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 7.

ACT 1

15 EXT. LADY LUCK - MINUTES LATER 15

Reeve lies on the floor, blood pooling. Beck looks cautiously

towards Sil and her few remaining crew as they toss the
deadweight off the side.

His foot stretches out to try and snag Reeve’s pistol--

Reeve’s hand stops him though-- Beck tries to hide a yelp.
Reeve brings a finger to his bloody lips.

REEVE
How... many?

BECK
(like he’s seen a ghost)
Err... three.

Reeve waits a moment till the crews back is turned-- picks up

the pistol and stumbles up the cargo ramp.

A HAIL of gunshot’s off-screen, Beck watches stuck between

fear and bewilderment, this situation filtered through some
lens of unreality. FLASHES light the hold-- then as quickly
as they came, die down.

Reeve walks out, bloodied soaking up blood like a sponge, Sil

with a gun pointed to her head.

BECK (CONT’D)
Oni...

He leads her down the ramp, stops at Beck. Nods at her, cocks
the gun.

BECK (CONT’D)
NO-- don’t. You’d be wastin’
bullets.

REEVE
(to Sil)
Jog.

Sil runs off into the night. Reeve let’s the gun rest at his
side, near the point of collapse. In the distance we can see
lights of approaching vessels.

16 EXT. CORPORATION CRUSIER - CONTINUOUS 16

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 8.
16 CONTINUED: 16

A digital screen, a wash of green grid-lines on black. It

tracks around Lady Luck-- zooms in on Beck, data comes up:
BECK, QUENTIN with an array of offences: robbery, corporate
derailment etc.

It tracks to Reeve, no info, red frames his image: TARGET.

17 EXT. WASTELAND - LADY LUCK HANGAR 17

Looks towards the lights, walks toward the ship.

BECK
(looks at the lights)
HEY-- Pal, while I’m real grateful
you massacred my treacherous crew,
you think you could get me outta
these bracelets?

Reeve carries on walking.

BECK (CONT’D)
(looking frantically
around)
C’mon! They find me, they’ll lock
me in the deepest, darkest Gulag
this side of the Reaches.

His pleas don’t faze him.

BECK (CONT’D)
If you wanna get outta here I’m
your best shot, I can go places
they can’t-- best Driver out there--
I can get you gone. You hear me?

Reeve stops, turns, sound accreting.

REEVE
You got connections-- to lay low?

BECK
Course-- just get me out!

Reeve tosses a swipe key his way, he catches it and the cuffs
come off. Beck runs up the ramp.

BECK (CONT’D)
C’mon, stay with me.

18 INT. LADY LUCK - HANGAR 18

Beck enters ahead of Reeve, he follows as best he can but

collapses.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 9.
18 CONTINUED: 18

Beck clicks his teeth, slams the hangar lock button, then
drags Reeve and hastily secures him by some cargo. He runs
off.

19 INT. LADY LUCK - BRIDGE 19

Beck jumps into the driver’s seat, flicks numerous switches,

the whole thing lights up like a Christmas tree. One screen
displays a feed showing the encroaching ship.

The thrusters fire up. One vid-screen comes to life--

INCOMING TRANSMISSION.

CRUISER CAPTAIN
MTM Driver, power down your ship
and exit the vehicle. Failure to
comply will permit the use of
excessive force. You have--

Beck flicks off the screen.

BECK
(preps the ship)
Thanks cap, I’ll let my imagination
fill in the finer details of my
imminent and fiery death.

20 EXT. WASTELAND - LADY LUCK 20

The ship taxi’s for a second and then breaks for the skies.
The Corp Cruisers follow.

21 INT. LADY LUCK - BRIDGE 21

Beck guides the ship through the firmament, on the screen we

see several cruisers on his tail. A screen flares, Beck
checks the screen, a wireframe model of the cruisers, EMP’S
CHARGING. He sighs.
22 EXT. CITY SKIES 22

Lady Luck weaves through atmosphere, the Cruisers fire their

EMP’s, they manage to dodge several bolts but JUST as they
break through the stratosphere a bolt glances the ship.

23 INT. LADY LUCK - BRIDGE 23

Lights spark on and off. Beck hits a console.

BECK
C’mon.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 10.
23 CONTINUED: 23

Beck thumbs a console, it calculates how much they have left

and where it’ll get them. A myriad of destinations light up.

BECK (CONT’D)
(sighs)
Lemonade...

He engages the destination lock: CERES.

24 EXT. STRATOSPHERE 24

The ship catapults into the black, leaving the Cruisers in

their wake.

25 INT. LADY LUCK - BRIDGE 25

Beck lets out a breath he’s been holding, wipes his face with
his hands. Flicks on a screen, Reeve still in the hangar.
Gets out the seat and runs.

26 INT. LADY LUCK - HANGAR - MOMENTS LATER 26

REEVE’S POV

Vision blurred, he sees Beck in front, the man grabs him,

BLACK OUT.

27 INT. LADY LUCK - CABIN - FEW HOURS LATER 27

White light, he’s still alive, barely. Tries to move his

shoulder-- OUCH, swings his legs over the bed. Get’s up,
stumbles over to the mirror and sink, bloodied gauze
everywhere.

Vomits. Runs the tap, washes his face, looks in the mirror.
Cuts and scrapes, the shoulder wound bound, other scars and
wounds on his body, he’s been through something.

He hears CLUNKING from somewhere in the ship, goes to

investigate.

28 INT. LADY LUCK - ENGINE ROOM 28

Beck’s fiddling with some high-tech engine components, stares

intently a chip board that’s taken a beating.

BECK
Fried-- special EMP, used to safely
take down ships-- guy in my line of
work always has contingencies
though.

He looks at Reeve.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 11.
28 CONTINUED: 28

BECK (CONT’D)
How’s the shoulder, I’m no fixer
but it’ll hold.

REEVE
Did a good job.

BECK
You pick up a few tricks in the
Reaches.
(holds his hand out)
Beck.

29 INT. OFFICE BUILDING - MEETING ROOM 29

A stranger, slick looking in a suit.

CARTER
(holding his hand out)
Carter.

FLASH--

30 INT. LADY LUCK - ENGINE ROOM 30

REEVE
(clasps his hand)
Reeve.

BECK
Fancy enlightening me on what in
the nether just happened? You were
on that crusier right-- came outta
the sky like a meteor.

REEVE
Some suits-- corporate, took a
liking to me.

BECK
Let me guess, you don’t plan on
tellin’ me?

REEVE
(nursing his shoulder)
Not right now, I’m runnin’ is all,
same as you. That corp off our
tail?

BECK
‘Our’ tail.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 12.
30 CONTINUED: 30

REEVE
You wanted to keep your ship, that
was the deal.

BECK
Guess I should’ve read the fine
print.

REEVE
Where we headin’?

BECK
(tossing the board away)
CERES-- not my first choice but the
only place we could gun it to
safely. We’ll have to keep it stum
there, more than a few people have
the hots for me and the Lady.

REEVE
Hunters?

BECK
And then some, but I guess you’d
know all about that.
(walking away from the
engine)
Fact is, if we wanna be up crusin’
the Reaches again, I’m gonna need a
new Navicular-Driver. This place’s
is the only shot.

REEVE
Safe?

BECK
Blue as we can get it at the moment-
- Black-light territory-- a moon,
corp’s got no hold there-- outlaw
country. If I were you though, I’d
worry more about what’s down there,
than what’s out here.

REEVE
What’d they want you for?

BECK
The usual: smugglin’, corporate
espionage, bounty huntin’, a list
longer than a dead-head’s tongue
implant.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 13.
30 CONTINUED: (2) 30

REEVE
You get around then.

BECK
I make it a priority to never let
the engines cool down.

Reeve goes to leave.

BECK (CONT’D)
Hey-- When I get the Lady fixed...
you’re not gonna kill me or
anythin’?

REEVE
(smiles)
I got no reason to kill you, I need
your services. All you’ve got is my
word. That gonna be enough?

BECK
People’s word’s been a little shaky
recently.

REEVE
I’d picked up on that. If I were
you, I’d be more cautious after
what just happened.

BECK
(angry)
I don’t remember you givin’ me a
choice.

REEVE
You made your choice Beck.

BECK
Yeah, ‘cause I didn’t want some
stranger takin’ the Lady from me
and let’s not forget, I saved your
ass.

REEVE
I’d say we’re on pretty even
ground.

Beck shakes his head, leaving Reeve in the engine room.

31 INT. LADY LUCK - HALLWAY - CONTINUOUS 31

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 14.
31 CONTINUED: 31

Beck’s walking, passes a door with Sil’s name on it-- her old
cabin-- looks at it-- SLAMS a fist into it, BEAT, wipes his
face, composure regained.

32 EXT. WASTELAND - NIGHT 32

The Suit sits in the back of a black cruiser, looking out a

ship and bodies around the scene. A MEDIC sees to the wounds
on his back, two through-and-throughs. He’s on a handheld.

SUIT
Widen the net, find out where in
the Nether he got to.

SPEAKER (O.C.)
There’s half a dozen black-light
territories-- three possible Hub’s--

SUIT
I don’t care, you get anyone we
have connections with-- any side
they’re on, send them the image--
nothing else-- tell them we need
him alive.

SPEAKER (O.C.)
He was with another too, the ship
he took.

SUIT
Name?

SPEAKER (O.C.)
Quentin Beck.

SUIT
Expendable?

SPEAKER (O.C.)
No-- someone want’s him alive.

SUIT
Very well. Do what you have to.

The Suit hangs up, looks over the wreckage, rubs his chin.

33 INT. LADY LUCK - CABIN - FEW HOURS LATER 33

Reeve is on the bed, sleeping-- SHUDDER-- he’s awake,

something’s up with the ship. He get’s up, rushes off.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 15.

34 INT. LADY LUCK - BRIDGE 34

Reeve comes in, grabs something to steady himself at another

shock.

REEVE
What’s going on?

BECK
Think I was a bit too optimistic
about whether the Lady could stand
the jump.

Another shock, Reeve straps himself in.

BECK (CONT’D)
Without the power runnin’ at
optimum she’s under-coolin’ on the
descent--

The Lady’s lights flicker off for a second and then come
back.

BECK (CONT’D)
C’mon baby, just a little longer.

An orchestral array of BEEPS sound off. She’s going down.

Beck slams the wheel a couple of times as they make their
descent-- they breach the atmosphere and she starts to even
out. PHEW.

REEVE
We gonna land okay?

BECK
Yeah, but I think my healin’ hands
won’t be enough.

REEVE
Meaning?

BECK
Look at her-- she’s a big lady,
wish I could take care of her by
myself but the fact is she needs a
crew.

REEVE
That safe?

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 16.
34 CONTINUED: 34

BECK
Honestly, I’d rather ride blind
through an asteroid belt then look
for people on Ceres.

REEVE
We’re not in a position to be
picky.

BECK
Tell me about it.

35 EXT. CERES - DOCK - NIGHT 35

The ship lands in the port through a haze of smog and neon.
Like a floating strobe light in a gloomy disco. Other ships
are lined up, the place is bustling, stalls set up, like a
shanghai market after a downpour.

36 INT. LADY LUCK - BRIDGE 36

BECK
I’m gonna go topside and find that
part. You better stay put.

REEVE
I’m taggin’ along.

BECK
Don’t think that’s such a good idea
pal.

REEVE
I wasn’t askin’.

BECK
(exhales)
Fine-- there’s some getup in the
cabin you were in, not like the
crew’s gonna need it anymore. I’m
gonna grab some stuff. Meet me down
there in five.

Reeve takes off.

37 INT. LADY LUCK - HANGAR 37

Beck’s rummaging round a container through lots of debris as

Reeve walks down the stairs, T-shirt, jacket, jeans etc. He
raises an eyebrow at him.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 17.
37 CONTINUED: 37

He comes up with two black, burka-looking goggle helmets,

tosses one to Reeve.

BECK
I told you people would be onto us.

Reeve tosses it away. Beck waves him off.

BECK (CONT’D)
Well, don’t come cryin’ to me
wantin’ to be rescued.

Beck slips the mask on, he looks like an idiot.

REEVE
I’d rather take my chances.

38 EXT. CERES - DOCK 38

The hangar lock hydraulics disengage, the ramp decends. Reeve

and Beck walk down, the ramp folds back up.

BECK
(unintelligible speak)
(BEAT)
(exposes his mouth)
We’re lookin’ for a Navicular-
Driver, series 5, model 1300 for an
MTM-- the other parts are a little
more complicated so I’ll worry
about them.
(reaches into his pocket
takes out a handheld)
You find it, you gimme a call,
we’ll meet back in an hour.

Beck hands over the handheld.

REEVE
What about a crew?

BECK
(audible sigh)
We really need a mech, but I’m not
holdin’ out. At best, we’ll get one
to come to the Lady, sort her out.
Then we hightail outta here.

Reeve nods, starts to walk away.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 18.
38 CONTINUED: 38

BECK (CONT’D)
Hey-- If you find this part as
quickly as you find trouble we’ll
be set.

Reeve shakes his head, continues walking. Meanwhile--

39 EXT. CERES - DOCK - STALL 39

A handhelds scans over the Lady Luck from a distance, zooms

in on the ship’s insignia: MATCH-- quickly scans over Reeve--
NOTHING-- pans to Beck, filters through body type matches of
the crew, lands on him-- MATCH

40 EXT. CERES - MARKET 40

Reeve walks through the market, sees an empty drinks stall,

walks over to it.

REEVE
Sake.

The SERVER grabs the bottle, places it down, Reeve goes to

pick it up but it’s pulled away.

SERVER
(Japanese)
Kane-- kane. (Money-- money.)

Reeve shakes his head, dives into the pockets of his jacket
and trousers but finds nothing. He exhales, then leaves.

41 EXT. CERES - MARKET - TECH SECTION 41

Beck walks down a lane of tech stalls, like a section of

Marrakesh gilt in steel. He stares at one set up, seemingly
not impressed with their lack of his parts.

GIRL (O.C.)
You won’t find what you’re lookin’
for there.

Beck looks round in his burka, tunnel vision a problem. A

Girl stands there: LINK, mid teens, Japanese, candyfloss
diesel punk.

BECK
You psychic or somethin’?

LINK
Maybe...

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 19.
41 CONTINUED: 41

BECK
(dismissive)
Right... I’m just gonna carry on
doin’ what I’m doin’.

LINK
Tell me what you’re lookin’ for and
I bet I can get it.

BECK
I’m set, kid.

The Girl kicks him in the back of the leg.

BECK (CONT’D)
(grabbing his leg)
What the hell?

LINK
C’mon, try me.

BECK
Fine-- Navicular-Driver, series 5,
model 1300 for an MTM-- Happy?

The Girl whips out a handheld, taps its surface frantically.

LINK
Yatta! (yes!)

She thrusts it in his face, sure enough, a picture of the

chip on the digital screen.

BECK
Seems I underestimate you street
urchins. How much we talkin’?-- I
won’t go a chip over five-thou.

LINK
Don’t you wanna check it out first?

BECK
(scratching the back of
his head)
Suppose I should...

LINK
C’mon!

She grabs his arm and pulls him along. They pace down a
street, the Girl pulls him into an alley.

Peter Ingham 2011©

SEVERANCE - EP1 - "Under the Gun" - 20.

42 EXT. CERES - ALLEY 42

Winding past broken equipment they arrive at a busted door.

The girl taps in some numbers, it opens.

43 INT. ABANDONED WAREHOUSE 43

Shafts of light pierce the roofing, dust covering every

surface... derelict.

BECK
Kid, you sure this is the place?

LINK
Aww Bibiri (scaredy cat)

Beck’s not too enthused, he feels for the gun at his back...

BECK
Kid. Hey--

We see a pistol come in to shot. Someone’s got the drop on

him. Again.

BECK (CONT’D)
C’mon...

BLACK OUT.
END OF ACT ONE

Peter Ingham 2011©