Work Text:
FADE IN:
SCENE 1: A NARROW STRET
The camera makes its way through a narrow street as we see through the eyes of ANAÏS, a seventeen-year-old. We hear a dog bark somewhere and we see junkies, drunken revelers, and a few rough sleepers huddled here and there along the way, giving off a decidedly underbelly vibe. We see ads for the various fighting rings, and for a singer performing at the Eloquent Banshee, a location we’ll see more of in the coming episodes. We hear music, we hear the sound of voice ads, telling people to buy-buy-buy while stuff is cheap. There’s a Dreamers poster, with the text ‘Embrace the Dream, Live Your Truth’. We also see an ad for KAMINSKI’s private detective business on the wall, with KAMINSKI looking pensive while surrounded by floating images of clues. Finally, there are also posters of the current mayoral candidates of the Bay City Area, two of which are VICTORIA JIMENEZ VALDEZ and WEYLAN GARLAND. The camera exits the street and we see the front of the Raven hotel. It’s clear the place is abandoned, and we still see a flicker of digital police tape.
SCENE 1, cont.: THE RAVEN - VARIOUS
[MUSIC – HAUNTING JAZZ MELODY] We see various shots of the interior of The Raven, the hotel run by the AI we all know as POE. The place feels abandoned, and a small coating of dust covers some of the surfaces. We may spot a small spider web or two as the camera covers the lobby, the kitchen, parts of the dining room, an empty corridor, a storage room, and stops at a window in aforementioned storage room. We hear some scraping, a click, and the window is lifted open to reveal ANAÏS herself. She looks into the semi-darkness of the storage room, drops her bag through the window and climbs through after it. She lands as gently as possible on the ground and taps the side of her head, where a type of flashlight is attached. She looks around the storage room, which is comparatively empty, except for some storage racks with general maintenance supplies, towels, linens, etc. Her eye lights up in the dark, and she taps her wristband, which glows slightly as the connection is activated and ANAÏS records her adventure.
ANAÏS
I’m in. Ha! And they said it couldn’t be done. Well… Okay, they said it very definitely shouldn’t be done, not so much that it couldn’t be. Nothing much to see here so far. Same stuff you’d expect in any hotel, except, you know, dusty.
ANAÏS walks into the corridor and into the room across from storage, gently pushing open the door.
ANAÏS
The hotel’s been shut for, what, five months? Six? They disabled the AI so it’s totally safe to be here; it’s just an empty building now. I honestly don’t know why people are still so scared. It’s not like it happened here. They just closed this place as a precaution. At least, that’s my hot take. Don’t believe everything they tell you on the news, folks. Okay, let’s see what’s in here.
In the corridor, the raven motif on the walls begins to shimmer. On one side of the room, we see large metal shutters, indicating this to be the loading bay, the room where supplies come into the hotel.
ANAÏS
Okay, big change. This room is dusty and moist, my favorite combo. Nothing’s been touched in months, big duh. Honestly? I’m mostly here because abandoned hotels are my jam, so… Sometimes, you gotta treat yourself, you know? Can’t always be working.
We hear a slight dripping sound of water leaking from one of the pipes overhead, pooling near a large cryogenic unit with the number 17 painted on the metal case.
ANAÏS
This thing, however, is not like the others. Let’s check it out.
ANAÏS comes closer and looks through the glass into the unit.
ANAÏS
It’s a… cryo-unit? From the Stone Age? Like, it doesn’t have… Seriously, how old is this thing?
She wipes the glass window with her sleeve.
Is there someone in here? What the hell?
There is someone in there. We hear the familiar sound of POE assembling himself as the nanoswarm gathers. As ANAÏS leans over Unit 17 to get a better look, she leans on a panel and accidentally activates a process inside, causing it to start beeping and startling her.
ANAÏS
Oh, crap. Fuck. Shit. Shut up, thing.
ANAÏS steps back and bumps into POE, turning around sharply.
POE
Welcome, traveler.
ANAÏS screams and tries to run, but she slips on the puddle and falls backwards, her neck hitting a corner of Unit 17. We hear the sound of broken bone and she drops lifeless to the ground. POE looks mortified as he leans over her body. He feels if she has a pulse. She doesn’t. POE materializes a scanner and confirms her neck is broken. The scanner also indicates severe damage to her Stack. In the background, Unit 17 has begun the process of waking up its inhabitant, and we see a countdown appear on the panel.
[OPENING CREDITS]
SCENE 2: THE RAVEN – LOADING AREA / STORAGE ROOM
Unit 17 is nearing the completion of its wake-up cycle, and POE is sitting next to the body of ANAÏS, rocking forwards and backwards as he weeps, whispering to himself: “It was an accident, it was an accident, it was an accident”. Behind him, the hatch on Unit 17 begins to open and cold air pours out. The machine makes a whirring noise as injections take place and the heart of the person inside is being essentially jump-started. Inside the unit, LEONIE sits up suddenly, panting heavily, clearly disoriented as she tries to regain her faculties. POE turns around, sees a human who is still alive, quickly covers ANAÏS’s body with the fire-proof blanket he pulls from a nearby wall, then runs out of the room and into the storage room across the way, grabbing a bunch of towels and linens, then running back. As LEONIE tries to get her bearings, POE returns, draping a large towel over her.
POE
Welcome, traveler. You must feel disoriented after your sojourn in such a chilling container. Let me assist you.
POE helps her get out of the Unit, which takes quite a bit of help since LEONIE’s legs are still a bit unused to moving. POE lifts her out of the unit and places her gently on the floor. He uses the scanner to see if she’s harmed in any way, but there appears to be nothing wrong with her. The scanner does indicate that she doesn’t have a Stack. POE gives it a perfunctory slap with the palm of his hand, which clearly fixes any and all faulty equipment, then scans her neck area again, with the same result.
POE
My word. How very exceptional.
LEONIE
Where am I? Who are you?
POE
Oh, how dreadfully impolite of me. My name is Poe, I am the proprietor of The Raven hotel, the distinguished and most splendidly macabre establishment in which you find yourself.
LEONIE gives him a blank look, then begins to laugh. It’s a dry, rasping sound, as she’s clearly parched. She coughs, which clearly causes her some discomfort. POE frowns.
POE
We must get you out of the dank and dreary deep. Let me support you. Can you stand?
LEONIE takes the offered arm as POE wraps an arm around her and pulls her up gently, guiding her into the corridor and out of the loading area. LEONIE doesn’t notice the blanket, nor the body underneath, as she stares blankly ahead of her. Behind them, the door closes on the loading bay and its varied contents, leaving us in the dark.
SCENE 3: KAMINSKI'S FLAT – BEDROOM
The dark continues, but less so, as slowly but surely the ceiling of a bedroom comes into view. Never quite sharp, though, and always there is an encroaching darkness in the corners. We see ALEX KAMINSKI lying in bed, eyes open, blinking. His eyes are unusually pale, and it’s clear that something is off about them as his irises appear to be damaged. He closes his eyes, rubbing at the eyelids, then his hand reaches over and grabs a thick pair of dark, round shades, that appear to have been altered to assist a user with very limited eyesight. As he puts them on, his surroundings come into clearer view, though the corners still seem unnaturally dark and a bit foggy. KAMINSKI taps the side of his shades and looks for any incoming messages. So far there’s nothing, but the day has only just begun. KAMINSKI gets up and walks towards the kitchen.
SCENE 4: KAMINSKI'S FLAT - KITCHEN
The kitchen looks like it’s seen better days, as does the rest of the flat. It’s clear that, although the shades were probably costly, the owner of said shades doesn’t care too much about the upkeep of his domicile. KAMINSKI brews himself a cup of coffee with a shot of alcohol as he looks out the window at the dreary sight of the outside world through the haze of a drizzle. On the street, we see some vendors, people in a hurry to get wherever they need to go, neon signs advertising novelties, a projection that alternates between a man and woman seductively looking at the onlooker, beckoning them to come and play. There’s a screen on the wall that’s playing a segment where VICTORIA VALDEZ is giving a speech to the press about something, but it’s too far away to make out. KAMINSKI, now with a mug in hand, stands by the window in his boxer shorts and an old t-shirt, and observes it all with the distant look of someone who’s lived there too long. A message appears in the corner of his vision with a message from his landlord; a reminder that the rent is due. On the kitchen table stands a small jewellery box, which seems too ornate for its current whereabouts, like an unwelcome reminder of everything the place isn’t. As KAMINSKI takes a pensive sip, he receives a message on his shades, which reads: ‘You are expected at 10:30 AM.’ KAMINSKI checks the current time and takes another sip of his tea.
KAMINSKI
(to his shades) Return a message-received ping. Oh, and… add a wink emoji.
The shades confirm the message and KAMINSKI places the mug on the table next to the ornate jewellery box as he walks back into the bedroom to get dressed.
SCENE 5: THE RAVEN - LOBBY
Behind the bar in the lobby is a small seating area, containing a few comfortable Chesterfields, a sofa, a coffee table, and a fireplace. Not a real fireplace, but one that looks like there’s a fire and does give off heat. POE guides LEONIE to a lounge chair, where she sits. Quickly, he moves over to the bar, fills a glass with water, then returns and places it in front of her.
POE
Please accept this humble liquid offering. I shall return anon.
LEONIE doesn’t respond. POE just gives her an awkward smile, then disappears. LEONIE doesn’t register this.
SCENE 6: THE RAVEN - LOADING BAY
POE appears on the loading bay, where the body of ANAÏS is still lying underneath the blanket. POE looks conflicted about what he’s meant to be doing. He takes the scanner out once more, but the results remain unchanged: her Stack has suffered severe damage. The scanner dissolves and Poe gets up and walks over to Unit 17. He looks at the unit and places his hand upon it, but nothing seems to happen.
POE
Hell’s bells. What sort of relic… Very well, your metal highness.
POE winks and a screen appears in the sky, showing the schematics and the manual for the Unit. It appears, however, to be glitchy. Poe, opening a quick analysis screen, notices that a number of functions are blocked. He frowns.
POE
Strange. I appear to be not altogether myself. (shaking his head) It shall have to wait. (turning back to the Unit) You truly are an antique. Forcing me to push buttons… like a pleb.
As he does so and digs through the diagnostics, POE sees that the Unit is still in working order, though some stats are low.
POE
I suppose you’ll do the job for now.
POE walks over to ANAÏS’s body, lifts her up and places her in the Unit. He taps the buttons on the screen and reactivates the Unit, which whirs to life and closes the lid. The interior of the glass begins to freeze. POE picks up ANAÏS’s bag and looks through it. There’s nothing in it that identifies her; just a bottle of water, some food, a can of black spray paint and a pattern that looks like a broken mirror, with the text “THE CENTRE CANNOT HOLD”. POE frowns as he pulls up multiple screens and searches for both the pattern and the text.
POE
Yeats. The Second Coming.
Videos display of a protest some months ago, and there are images of this pattern showing up all over the Bay Area and other parts of the continent.
POE
What rough beast, its hour come round at last, slouches towards Bethlehem to be born?
He puts the items back in the bag and places it in one of the storage racks at the back of the room.
SCENE 5, cont.
LEONIE is sitting on the chaise lonuge, wrapped in a large bath towel, drinking from a glass of water. POE reappears next to the bar and walks over to her. He’s still shaken from his earlier encounter with ANAÏS, and looks at this living human like a drowning man at a passing ship.
POE
Greetings once again, traveller. Are you… comfortable?
LEONIE opens her mouth to answer, but POE interrupts.
POE
Of course not, how very remiss of me. A towel is hardly fit attire. Would you prefer a nice suit ensemble? A dress, maybe? With pockets?
LEONIE has put down her glass and tries to make a choice, but seems unsure of what to do. POE leans in, eagerly awaiting her choice.
LEONIE
A bathrobe?
POE
Ah! Of course, an elegant house coat. A soft yellow, perhaps?
POE sets the nanoswarm to work, and a long robe appears in his hands. LEONIE’s eyes widen. POE hands her the robe, but she doesn’t take it.
LEONIE
How the fuck did you do that?
POE
It’s the nanoswarm. This is an AI hotel and I am its proprietor, the AI. Poe is my name /and the establishment-
LEONIE
/Yes, I remember. Poe. The Raven.
LEONIE takes the robe and puts it on, dropping the towel. She sits back down.
LEONIE
Any tell-tale hearts beating under the floorboards?
POE perks up visibly as she seems to be familiar with the works of his namesake.
POE
Our various suites are equipped to provide the guests with a truly macabre experience, designed to meet their illicit desires and specifications. Are you an afficionado of dark tales of madness and terror?
LEONIE
Not particularly, but I’ve read some as part of a course on the history of Victorian horror stories.
POE
How very nice to hear. If my clientele were anything to go by, I would swear no one reads anymore. Tis to weep for.
LEONIE
Speaking of clientele, it’s very quiet. Is it night? Is everyone asleep?
POE
Tis as good as night, drifting slowly toward the morning hour, or so one would hope. However, the clientele situation as it currently stands…
POE stops and there’s a long pause as LEONIE waits for him to finish, playing with the waistband on her robe.
POE
It’s been… quiet of late.
LEONIE
Ah. Sorry, that sucks. I hope business picks up again soon.
POE
Not likely, but your concern is appreciated.
LEONIE
You’re welcome.
LEONIE leans over and picks the glass up again, draining it.
POE
Would you like a refill?
LEONIE
Yes, please.
POE takes the glass from her and walks over to the bar. LEONIE fidgets with the ends of the waistband some more as she looks around part of the hotel lobby. She can see the front desk and room keys on the wall behind it, the raven pattern on part of the wall. She looks over at the fire, which sometimes glitches. She reaches out a hand, feels the warmth, then pulls her hand back again, unsure of whether or not she can touch it. POE returns with her glass, placing it on the table in front of her on a fresh napkin. As he takes his seat in the adjacent chair, LEONIE sticks out her hand suddenly.
LEONIE
I’m Leonie. Wolff. Two f’s.
POE takes her hand and shakes it.
POE
A pleasure to make your acquaintance, Miss Wolff.
LEONIE
You can call me Leonie. You’ve seen me naked. We’re there.
POE
As the AI in charge of the hotel, I see my clientele in all sorts of interesting predicaments. I assure you any formality between us remains unaffected, nude state or no. However, if it would bring you greater comfort, would you settle for Miss Leonie?
LEONIE
Alright. So… This AI thing… the AI I’m familiar with aren’t as advanced as you. You’d be asking for the weather, and she’d mishear you and link you a page about the many uses of felt or something.
POE
Ah yes, my great-great-grandparents. We owe them a great debt. The form you see standing here before you is but the physical manifestation of my being. I am the AI of this hotel and I can create, certain limitations notwithstanding, whatever it is the clientele desires.
LEONIE nods while hearing the above, but she frowns.
POE
Something amiss?
LEONIE
What year is it?
POE
Pardon?
LEONIE
What year is it?
POE
Tis the year 2339.
LEONIE
What?
SCENE 7: PRICE MANOR - SERVANT'S ENTRANCE
KAMINSKI’s car lands on a designated delivery platform above the clouds, next to a large mansion. He gets out and goes over to the servant’s entrance, brushing down his outfit in an attempt to not look as out of place as he does, with little success. He uses the antique-looking knocker and shortly after a servant opens the door.
SERVANT
Yes?
KAMINSKI
Alex Kaminski, private detective? We spoke a couple weeks ago when I was here last.
SERVANT
Right. Can I help you?
KAMINSKI
I’ve found the missing necklace and the box it came in. I’ve come to return it.
SERVANT
You can give that to me and I’ll see it returned to the mistress. Your payment will be transferred today.
KAMINSKI
If it’s all the same to you, I’d hand it over myself.
SERVANT
The mistress is busy right now. Just hand it over and drop your ass back down below the clouds. Don’t make this weird.
KAMINSKI takes the jewellery box from his bag and hands it over. The SERVANT hands him a black Credits card.
SERVANT
Thanks, buddy. Good job.
The SERVANT closes the door abruptly in KAMINSKI’s face. KAMINSKI just turns around calmly and walks back to his car. He gets in, breathes in angrily once, then does his best to let it go. From the glove compartment, he takes a flagon and takes a swig, sitting back. He starts the car.
SCENE 8: KAMINSKI'S FLAT - LIVING ROOM / OFFICE
KAMINSKI enters his flat, which doubles as his office space. The living room looks a bit less uncared for than the rest of the place, probably owing to the fact that he receives clients there. There’s a desk, a large, see-through computer screen, and a digital blackboard which has recently been emptied and is eagerly awaiting new content. On the wall to the right of the desk, there’s a framed digital image of a feed, showing KAMINSKI holding a little girl, with the headline “LITTLE GIRL FOUND” and the sub-headers “Clever Sergeant discovers lost child” and “Three weeks in the wild”. On the other side of the desk is a chair, and against the wall there’s an old sofa, which is currently occupied by SCHISM, KAMINSKI’s sibling. Their lanky form is sprawled on the couch and they’re about to drop a bright blue liquid into their eye from a plastic container. KAMINSKI enters roughly, without looking at his sibling.
KAMINSKI
Good morning, Schiz.
SCHISM
Brother. You sensed my presence?
KAMINSKI’s jacket hits him in the face.
KAMINSKI
You always put the safety stick back in the wrong place.
SCHISM
As expected, a true detective knows his guests.
KAMINSKI
Damn right I do. You’re hitting the blue stuff in my house again. I thought we talked about this?
SCHISM
I am merely seeking a temporary reprieve from the horrors of modern existence.
KAMINSKI
I told you before: not in my house.
KAMINSKI’s face clouds and he takes off his glasses.
SCHISM
Cease your preaching. I have neither the desire nor the constitution for it.
KAMINSKI
And yet, you still come here in hopes of getting access to my wallet. Well, you’re shit outta luck today, so go and try elsewhere.
SCHISM
Is your vision still worsening?
KAMINSKI
I’m at a breaking point here, Schiz. My vision’s a blurry mess, and the glasses only amplify the optic nerves that still work. I really don’t need your shit today.
SCHISM
The cartels could help you out. A task here and there, and you’ll have the necessary Credits before you know it.
KAMINSKI
Fuck the cartels.
SCHISM
You know what your problem is? You’re too honest in a world that doesn’t deserve it. Speaking of the undeserving, how was your visit with the widow Price? Was she as… obliging as the last time?
We see a short flashback of the WIDOW PRICE, sitting on the sofa dressed in a satin gown and some lingerie, beckoning the viewer to come hither. In the background, we hear some echoes of girlish giggling. In the here and now, KAMINSKI grabs a whiskey bottle off the table and pours some in a mug.
KAMINSKI
I didn’t get to see her.
SCHISM
A spurned lover. Ah, the pain of romantic tragedy!
KAMINSKI
It was just a fuck, Schiz.
SCHISM
Oh? Didn’t you give her a private dicking and a discount?
KAMINSKI doesn’t respond but puts his glasses back on and opens a feed on his screen. The shades turn a kind of transparent, making his eyes look unnaturally big from the outside.
SCHISM
Ah, the rich. Pound foolish, penny wise.
KAMINSKI
Don’t you have somewhere to be, asshole?
SCHISM
Rude. Very well, message received.
SCHISM gets up but just as they’re about to leave, there’s a knock on the door. It’s DANA, ANAÏS’s mother.
DANA
(Off-screen) Excuse me, detective Kaminski, are you there?
KAMINSKI looks at SCHISM, who drops down on the sofa and picks up his notebook again. KAMINSKI gives an annoyed gesture but decides to just leave it.
KAMINSKI
Come in, ma’am.
DANA opens the door and gives him a watery smile.
KAMINSKI
Please, take a seat.
DANA
Thank you.
DANA takes a seat.
KAMINSKI
Would you like some coffee? Tea?
DANA
Tea, please.
KAMINSKI
Of course. Schiz, one tea, please.
SCHISM gives him a dirty look, but KAMINSKI just smiles at him. SCHISM gets up and goes off to make tea. The scene cuts to a mug being placed on the desk. DANA picks it up and blows. On KAMINSKI’s screen, we see a picture of ANAÏS.
KAMINSKI
And your daughter’s been missing for how long?
DANA
Twelve hours. She doesn’t answer her calls. She hasn’t sent me any messages. There’s just nothing. Before you say anything, yes, I know how teenagers can be, but my daughter, for all her crazy ideas and running off at weird hours, would never just not respond. She’d send me some patronising message, at least. Not… nothing.
KAMINSKI
I understand. Do you have any idea where she went?
DANA
No. I know she liked going out at night. I told her not to so many times, but what was I gonna do? Lock her up?
KAMINSKI
I don’t think teenagers take kindly to that.
DANA
She’s seventeen. I got into all kinds of trouble when I was that age, and I still made it out okay, but…
DANA looks at her mug.
KAMINSKI
Twelve hours is a long time to not hear from somebody, especially in this day and age.
dana
I was worried if maybe I was being too quick.
KAMINSKI
Nah, that whole waiting-for-24-hours thing is a big ol’ myth. If you think there’s cause for concern, you find help. Why not just go to the police, though? I’m sorry for asking, I’m sure you have your reasons, but if your daughter is caught up in something bad, then the more I know about it, the better.
DANA
Yes, of course. I heard that the police have… links to some of the local crime syndicates.
KAMINSKI looks at SCHISM, who shrugs.
DANA
I don’t want to ask the people for help who could very well be getting paid to look away. I can’t. I don’t have a lot of money, but-
SCHISM
Don’t worry, I’m sure he can give you a discount.
KAMINSKI gives SCHISM a hard look, then turns back to DANA.
KAMINSKI
Listen. I can’t work for free, but I’m sure we can figure something out. A payment plan. Whatever.
DANA
Thank you. Thank you so much. I- okay, so, for your earlier question. I’m not sure who she was hanging out with, but I know she had a public feed life. She didn’t talk about it much, but I know she’d sneak out and then record whatever she’d done and edit it. I’ve gone into her room and taken her data sticks. I hope these will help.
DANA takes three data sticks out of her bag and puts them on the desk. KAMINSKI takes them.
KAMINSKI
I’m sure they will. Thank you, ma’am.
DANA gets up. KAMINSKI follows.
DANA
I have to go, but do let me know if… when you find her.
KAMINSKI
Of course. I’ll let you know when I find a trail.
DANA hugs KAMINSKI.
DANA
Thank you so much.
She exits the office, leaving KAMINSKI and SCHISM behind. SCHISM smirks at KAMINSKI, who is looking at the missing girl’s photo on his screen.
SCHISM
Another detective job so quickly. Chapeaux! I wonder if she’s a widow. You really should have asked, you know.
KAMINSKI
The exit’s that way.
SCHISM
Harumph, I say. Very well.
SCHISM gives KAMINSKI a sassy wave.
SCHISM
I’ll be back, brother.
The door closes and KAMINSKI is alone again. He takes the data sticks and plugs one into a slot in his desk.
KAMINSKI
Alright. Let’s see what you were up to, Anaïs. And please, don’t let it be something explicit.
SCENE 9: THE RAVEN - LOBBY
LEONIE’s sitting on the lounge chair, legs folded up, arms resting on her knees. In one of her hands, she’s clutching what is clearly POE’s handkerchief, and her eyes are red and a bit swollen; she’s clearly been crying.
POE
May I offer you a stronger spirit – a fine whiskey mayhap - in these troubling times?
LEONIE doesn’t respond to his question. POE, smiling awkwardly, tries to think of something. He turns his back to her for a moment, then uses the swarm to conjure a teddy bear, which he offers her.
POE
A soft friend?
LEONIE looks at him as if he has a number of loose circuits.
POE
I suppose not.
LEONIE reaches out and grabs the teddy bear, pulling it close. POE smiles.
POE
Ah, progress.
She makes no further move to say anything. POE conjures up a book - The Collected Works of Edgar Allan Poe, of course – and places it next to her on the lounge chair as he gets up.
POE
I shall ready a room for you. Cannot have you experience the sweet embrace of Morpheus without the delicious comfort of a well-fluffed pillow. Please excuse me.
He vanishes, startling LEONIE.
LEONIE
What the fuck?!
SCENE 10: KAMINSKI’S FLAT – OFFICE
KAMINSKI is watching some footage from one of ANAÏS’s earlier adventures, where she’s gone inside an old storage facility.
ANAïS
Man, this place is rotten. Look at all this stuff. Like, people need this stuff, you know? Look at this box here. These are meds, and they’re just sitting here, rotting away, and nothing is being done. It’s… it’s fucking horrific. I can’t believe we’re all just sitting at home and letting this happen. It’s not like anybody with money fucking cares. The Meths don’t fucking care, that’s for sure.
In the side-bar of the recording is the icon ANAÏS’s made for herself, consisting of a hammer with a lens in the middle. KAMINSKI looks disturbed.
KAMINSKI
You’re way too young to be realising all this, missy.
Anaïs
Okay, I’m signing off now. Stay safe, stay strong, stay smart, stay the course.
The video doesn’t end here.
ANAÏS
Now for the final touch.
We hear the click-click-clicking of a can being shaken. The pattern from the earlier scene is placed against a wall and sprayed into it, leaving behind the image of the broken mirror and the text. KAMINSKI leans in.
ANAïS
There. Man, this place gives me the creeps. Honestly, this Meth greed depot is worse than any haunted house I’ve ever been to.
ANAÏS sighs heavily and the recording ends there. KAMINSKI takes off his glasses and rubs his eyes. He puts them back on and goes into another folder, called “Channel_Uploads”. He opens the last video, which is basically the edited footage of the one he just watched. KAMINSKI skips to close to the end. The screen is black, except for ANAÏS’s icon.
ANAÏS
Thanks for watching. Share, subscribe, you know the drill by now. As for next week’s target, I can’t tell you exactly where it is, that’d ruin the surprise.
KAMINSKI
Fuck.
ANAÏS
But as per usual, I’ll give you a hint. It’s a place where recently only some of our feathered friends dare to tread. This is Night Prowler, signing off.
KAMINSKI leans back frustrated. He puts his mug to his lips but realises it’s empty, so he grabs the bottle and generously pours. He takes a sip, then stares at the screen, thinking.
KAMINSKI
Where the fuck did you go?
KAMINSKI opens a feed window, searching for Night Prowler. He finds her feed, goes to her latest upload, then reads through the comments section. A lot of those are geared towards the content, but one or two attempt a guess. They’re both wrong. KAMINSKI uses the search function and types “The centre cannot hold”. There are two results: one from Dizzzy55382 and one from GentleAccipiter. KAMINSKI starts a call.
SCENE 11: KAMINSKI’s OFFICE / CRABTREE'S DESK, POLICE DEPT.
Lieutenant CRABTREE of the Bay Area Police Department answers. A separate window appears on KAMINSKI’s computer screen.
CRABTREE
Hey Alex, what’s up?
KAMINSKI
Hey Ev, I’ve found me some people I need to track down.
CRABTREE
Oh, is it that time again?
KAMINSKI
It certainly is. I’m sending you a link to two users I need to find.
KAMINSKI swipes the two profiles into the conversation window.
CRABTREE
Alright, I’ll see what I can do. Seriously, though: how are things?
KAMINSKI
I can still see. That’s the long and short of it.
CRABTREE
That’s good news. And remember, if something happens, you call me, okay?
KAMINSKI
Yes, mom.
CRABTREE
You’d better. The wife misses you too, you know. You should stop by more often.
KAMINSKI
Thanks, Ev.
CRABTREE
Alright, I’ll stop pushing.
KAMINSKI
Nah, man, really. Thank you. You’re a good friend.
CRABTREE
Take care, bud.
KAMINSKI
You too.
The conversation ends and KAMINSKI stares at the screen.
SCENE 12: THE RAVEN - LOBBY
LEONIE is reading the book when POE reappears.
POE
Is all well?
LEONIE is still not quite used to him just appearing out of thin air, and jumps slightly.
POE
Apologies, I did not mean to cause distress. I can only imagine how strange and otherworldly all of this must seem to you.
LEONIE
That’s putting it mildly.
POE
I could guide you. Give you information. You have but to ask.
LEONIE is a bit taken aback by POE’s insistence to help her and it shows as she moves back a bit, looking away.
POE
Apologies.
LEONIE
No, it’s fine… I do have a question.
POE
Yes?
LEONIE
Earlier, when you helped me out of the Cryo-unit, you said I was unique?
POE
Indeed I did. Initially, I had no explanation for it, but judging from your response to the year in which you now find yourself, I can only assume you come from a time far preceding the current one. May I ask from what year you hail?
LEONIE
I got frozen in 2034.
POE
Then my theory is proven. May I show you something? I will be performing a few more feats of magic, but it is actually the nanoswarm hard at work, please don’t be alarmed.
LEONIE nods. POE holds his hand open and the nanoswarm swirls around above it, taking on the shape of a Stack.
LEONIE
What is that?
POE
The humans call them Cortical Stacks, or just Stacks for short. They are implanted at the base of the neck at an early age and store the very essence of each human. The body may perish, but the Stack, with its mysterious, alien origins, does not, allowing the user to live on within another body, should they be able to find one, thus extending their lifespan far beyond their biological limits.
POE reaches out and takes the Stack and hands it to LEONIE.
LEONIE
Wow.
POE
The reason I was so marvelled by you is that you are not in possession of one. Truly, you must be the only adult off the grid. A rebel from a distant past.
LEONIE
So this thing is important?
POE
Oh, yes. It’s how humans live. They use it to connect to others through calls and messages, it’s how the government reaches you and you reach it, how the banks know you from the poor sod standing but a few steps behind you in the queue.
LEONIE
Wait, so every essential thing is tied to something I don’t have because I’m an antique?
POE
An accurate assessment, sadly.
LEONIE
Then how do I fit?
POE
That, I cannot say, but I’m sure we can find out.
LEONIE
How did I get here?
POE
I /could-
LEONIE
/I don’t know what I’m doing here, in this hotel. I was frozen in a different place, definitely not inside the Raven. Also, I was part of a group of people, and not by myself. You’re not a doctor, you’re not a scientist. You don’t know what to do and I don’t know what to tell you to do. Everything is so dark.
At this point, LEONIE’s stood up. She’s frantic and her breathing has become shallow. She walks into the area in front of the desk. One of the large windows at the front is broken and there are shards of glass strewn about.
POE
Wait.
POE stops her as she gets closer to the windows, some of which have broken.
POE
You are barefoot and there’s glass on the floor. Please be careful where you step.
LEONIE’s started to hyperventilate.
POE
Please, don’t overexcite yourself. Oh, dear. You are in distress. Alright, please look at me. Look at me. Take a deep breath and hold it.
LEONIE tries to do as POE says.
POE
And release. Good. You’re trying, that’s good. Deep breath, and… release. All the way. Empty out your lungs. Excellent. Now, again. Slowly.
LEONIE’s attempts are getting a bit better.
POE
Very good. Now breathe out slowly.
LEONIE breathes out slowly, but she’s clearly still tense and upset. In the next shot, she’s back on the sofa, looking drained, hugging the towel. POE is sitting next to her.
LEONIE
(softly) Poe?
POE
Yes, Miss Leonie?
LEONIE
Where do I go from here?
POE needs to think about this for a moment.
POE
Well, I suppose the first order of business is getting your bearings and taking the time to adjust.
LEONIE looks pained.
LEONIE
They told me it was only going to be ten years. Ten years, and I’d be out. There’d be money waiting for me, enough to ensure I’d not have to worry for the rest of my life. This was a risky venture. They didn’t know how it was going to pan out. I could have died.
POE
And instead, you traversed time to an extent no other human has. Unintentionally, yes, but truly something to marvel at.
LEONIE
I was going to see my friends, Poe. I was going to see my mom. They’re not here. They’re all dead. I missed it. I wasn’t there to bury my mom.
LEONIE’s tearing up again. POE conjures a new handkerchief, which she takes.
POE
Would you… care for a comforting arm?
LEONIE nods. POE scoots a bit closer and puts an arm around her.
LEONIE
I’m so alone. Everyone who ever knew me is gone. I didn’t think you could be this alone.
POE
For what it’s worth, you’re not alone entirely. I’m here, and I’ll assist you with whatever it is you need. You have but to ask, and it shall be done.
LEONIE
Thank you. Actually, there’s something a bit urgent.
POE
Oh? Please burden me.
LEONIE
I’m… actually kinda hungry.
POE’s face clouds.
POE
I see, of course. I’m afraid that, back when the hotel was in active use, I employed staff to do the cooking. Alas, I am untrained in the culinary arts, and… cannot currently access the necessary credentials.
LEONIE snorts.
LEONIE
So there’s something you can’t do? And here I thought you were going to magic some food into being.
POE
Alas, even this futuristic landscape cannot yet replicate certain areas of science-fiction.
LEONIE
Then, do you have any food?
POE
The Raven does have some cans of this and that stashed away for emergencies. There’s bound to be some left or so I would assume.
POE gets up and reaches out his hand to help her up.
POE
Shall we abscond to the kitchen?
Leonie
Yes, let’s.
SCENE 13: BAY AREA - DARK QUARTER STREET / ELOQUENT BANSHEE BAR
SCHISM is walking down a rancid-looking street. They have a certain swagger about them and it’s clear they consider this to be, at least somewhat, their home. Around them, people are passing by, there’s small groups of people talking, the occasional loner, likely on some drug or other. Some people along the way greet SCHISM, who acknowledges and greets them back. They stop at an open window in the wall, behind which an old man (HAMISH) is sitting, watching his feed.
SCHISM
Good afternoon, Hamish.
HAMISH
Oh, it’s good, is it?
SCHISM
I’ve heard tell it’s very good.
HAMISH
Well, if that’s what you heard, then I’m sure it must be. Here for a batch of Delirium?
SCHISM
How did you know?
HAMISH
Lucky guess, also known as ‘that’s the only reason you come to visit’.
SCHISM
Would you have me over for coffee if I asked?
HAMISH
No.
SCHISM
Harsh, but fair. Now, about the tab…
HAMISH
Half up front at least.
SCHISM
Robbery. Haven’t I always been a good customer?
HAMISH
Good customer or not, I need to eat.
SCHISM
While I would argue over the actual price of food, I shall resist, which you must surely acknowledge as a sign of goodwill.
HAMISH
The only thing I must surely acknowledge are your Credits.
SCHISM produces a Credits Stick. HAMISH takes it and sticks it in a terminal.
HAMISH
That’s a surprisingly positive balance you’ve got there.
SCHISM
Well, it’s not solely my balance. My brother, bless him, is a kind and helpful soul to those in need, like our wonderful selves.
HAMISH
He’ll be in my prayers this evening.
HAMISH hands SCHISM back the Credits Stick and a number of plastic vials with a pink/blue liquid inside. SCHISM takes them and pockets them. Behind them, a GROUP OF DREAMERS pass, wearing comfortable robes that seem to float. In a dreary place that lacks sun, they appear to be possessed of an almost radiant joy.
HAMISH
Maybe you should join the cult, eh? If you like the blue stuff so much.
SCHISM
Any and all advice will be considered in due course.
SCHISM walks away. HAMISH just shakes his head. A bit further, SCHISM dives into the open front door of the Eloquent Banshee. There’s no one behind the bar, so SCHISM hops over and helps themselves to a bottle of something much too fluorescent for comfort. SCARLET appears from the corridor, dressed in a long red coat, red boots with steel stiletto heels; basically, her wardrobe does her name justice. On her way out, she spots SCHISM and heads for the bar.
SCARLET
What did I tell you about the bar?
SCHISM
That I should restrict myself to the cheaper spirits?
SCARLET
No, I told you to leave the whole thing the hell alone. For a person who’s so big on words, you sure don’t listen very well.
SCHISM
I am but a conduit for eloquence.
SCARLET
You’re a pain in the ass, now put that down.
SCHISM puts the bottle down and pouts.
SCARLET
Listen up, beanpole. I don’t want tonight to be a fucking mess like last week, where I found you half-naked in the dumpster after you picked a fight with Frosty, which I’ve told you various times not to do. The cartels are tense enough as it is, and I need you on point. Got it?
SCHISM
I am always on point.
SCARLET
You dropped the ball last week and we almost got shut down, so this week you put your best MC hat on and control the shit out of that crowd. Understood?
SCHISM
Yes, milady.
SCARLET
Good.
Scarlet walks out, leaving SCHISM behind the bar. SCHISM eyes the bottle they just put down, and in a gesture of infantile defiance, pushes it off the bar and onto the tile floor, where it breaks.
SCHISM
Whoops.
SCENE 14: THE RAVEN - KITCHEN
LEONIE is in the hotel kitchen, holding a bottle of olive oil. She opens it and smells. POE is standing by the pantry.
LEONIE
Smells alright to me. Poe, any updates on the pasta situation?
POE
We appear to have some. Would you prefer linguini or penne?
LEONIE
For this? Linguini, I think. Onions?
POE
Alas. It’s been months since the last delivery, so all vegetables are severely decayed.
LEONIE
Right.
She walks over to the pantry, then takes a step back.
LEONIE
Oh god, that reeks.
POE sniffs.
POE
Ah yes, I do believe that is… putrid?
LEONIE
Yeap. We need to clean that place out. That’s just not sanitary. Where are the trash bags…
LEONIE goes in search of trash bags.
POE
You’re right. I’ve really let myself go, haven’t I?
LEONIE
You really have. What were you doing these past few months? Do you know where the trash bags are?
POE hesitates, and his eyes fill with a hint of undesirable green.
POE
I… was in stasis. Temporary shutdown.
LEONIE
Well, you can’t do maintenance when you’re asleep, so I guess that’s fair. It would explain this hot mess, and the dust.
POE
Quite. Now, let me cleanse the space so you can go about your business.
The air shimmers as the nanoswarm deals with the dust in the kitchen and the rotten foods, cleaning all surfaces. LEONIE looks around bewildered for a moment.
LEONIE
Okay. Efficient.
POE
A clean kitchen is a happy kitchen, yes?
LEONIE
If you’re the hotel, and therefore also the kitchen and you’re happy to be clean, then I suppose that’s true.
POE
I definitely feel a bit less haggard. A bit like putting on a new shirt, I should think.
LEONIE
Good. Now let’s see what’s in the freezer. Does that still work?
POE
Indeed. Had it not, I do believe your own freezer might’ve malfunctioned, in which case you may not have survived at all.
LEONIE
Oof. Well, let’s see what, if anything, is still in here.
LEONIE opens the freezer, which is still pretty stocked with various frozen foods.
LEONIE
At least I won’t starve any time soon. Poe, can your magic swarm unfreeze something quickly?
POE
Bring forth the item of your choice and find out.
In the next shot, some pasta is cooking and LEONIE’s making some form of thick pasta sauce in a frying pan. POE’s taken his coat off and rolled up his sleeves, and we see a number of cans now devoid of content.
LEONIE
This smells so good. I’ve not eaten in three-hundred years. Man, that’s so weird to say.
POE
It does look appetising. Oh, your pasta will be ready in thirty seconds.
LEONIE
Excellent timing. Could you grab me a strainer?
POE
Of course, Miss Leonie.
POE goes off to grab a strainer while LEONIE keeps stirring the sauce. His hand glitching, he accidentally drops it.
LEONIE
Is this the first time you’ve assisted in the kitchen?
POE
Yes.
LEONIE
I think you’re doing great.
POE
Thank you very much. Fifteen seconds.
LEONIE takes out a string of linguini with a fork and eats it.
LEONIE
Alright, that will do. Please put the strainer in the sink.
The scene shifts again and we see LEONIE and POE sitting at the kitchen table, LEONIE with a plate of pasta and sauce in front of her.
POE
If you would prefer, we could use the dining room. It is a tad more picturesque than the kitchen.
LEONIE
{in-between bites) Nah. We always sat at the kitchen table back home, stuffing our faces and talking about our day. During certain parts of the year, my friend Barbara would stop by and it’d be the three of us. That was after my step-dad died.
POE
Oh my. What befell the poor man?
LEONIE
Accident. Some bitch on her phone, not paying attention to the road. He was in the hospital for two weeks until his body gave out.
POE
I’m sorry for your loss.
LEONIE
Thank you. In any case, the kitchen was the place to be.
She indicates her plate.
Are you sure you don’t want to try any?
POE shakes his head.
POE
I’m afraid my programming is limited where it concerns the five senses. Taste, alas, is something I cannot completely fathom, being what I am.
POE looks a bit down at this.
LEONIE
I’m sorry. I didn’t mean to make you sad.
POE
To study humanity gives me great pleasure, but like the scholars of ancient civilisations, I too must be content in my role as a spectator.
LEONIE
Honestly? You seem pretty human to me.
POE
Seem being the operative word.
LEONIE
But here’s the thing, though. True, you can’t taste anything, but I’m pretty sure there are people who can’t either. There are definitely deaf people, blind people. Hell, there are people who can’t feel stuff they touch. I think it’s called anaphia?
POE
Correct.
LEONIE
Right, so… just because your senses don’t work the same as a human’s, doesn’t make you not a human.
POE
While you are correct, humans aren’t programmed. I am a program.
LEONIE
Ah, but even there you can make allowances.
POE
Oh?
LEONIE
Yes. Humans are raised by other humans. They are in constant communication with the world around them. They learn from the consequences of their actions, they are affected by stuff that happens to them or to people they love.
POE suddenly looks uncomfortable.
LEONIE
What I’m getting at, is that the difference between you and me isn’t as set in stone as you think. Are you okay?
POE
Yes. I… was just reminded of someone.
LEONIE
Someone you miss?
POE
Yes. Yes, I suppose. We’d known each other for close to a century; we came into being together in the same place. I suppose a human analogy would be that we were brothers.
LEONIE
Right. And he’s no longer here?
POE
No, he did something bad. Something very bad.
LEONIE
I’m sorry you lost him.
POE is struggling with his emotions.
POE
I’m afraid.
LEONIE
Of what?
POE
That our shared programming means that I too am possessed of the same flaw.
LEONIE
Our family doesn’t define us.
POE
Perhaps, and yet…
LEONIE
Let me put it this way, then. You and your brother were not 100 percent the same, correct?
POE
Correct.
LEONIE
You made different choices?
POE
We did.
LEONIE
So there you are. You are different. You are not your brother and he isn’t you.
POE
And yet I cannot shake the fear I may be more like him than I would prefer.
LEONIE
Maybe, but you’re also aware of it. That’s gotta count for something?
POE
I suppose. What of you?
LEONIE
I’ll have to do my best to figure out what to do now. Maybe go to the police?
POE
No.
The response was more vehement than LEONIE expected.
POE
Apologies, but… I would advise against it.
LEONIE
Oh. Are they bad?
POE
They… are more wayfarers than they are law bringers, and they skirt the edges of propriety more often than not. Alas.
LEONIE
I guess. So… Then who do I talk to?
POE
If you’ll allow, I shall consult a friend of mine. He’s a banking AI. He should be able to provide some valuable advice about how to get you back in the system.
LEONIE
Alright.
LEONIE goes back to eating, but we can see she’s concerned. POE smiles at her.
SCENE 15: KAMINSKI’S FLAT - OFFICE
KAMINSKI is leaning forward on his desk, his head resting in his hand, elbow on the table. He grabs the whisky bottle on the table, but it’s empty. He sighs and places it back. His screen is filled with a map of locations of the various places ANAÏS has visited. They’re spread out across a portion of the Bay Area. There’s a slightly larger concentration of them in the Dark Quarter. KAMINSKI sighs.
KAMINSKI
Where only our- Where recently only our feathered friends dare to tread. Recently. How recent, though? Last eight to nine months or eight to nine weeks? Something that was shut down. Something shut down. Dare to tread, so… dangerous? Did you go into a dangerous place, Anaïs the Night Prowler?
KAMINSKI opens another window, but his vision suddenly blurs. He taps the side of his glasses, but his vision remains blurry. He stops everything he is doing, takes off his glasses and closes his eyes, rubbing them. He opens his eyes, but it’s clear he can’t see.
KAMINSKI
Don’t do this to me, please don’t do this to me, please…
He leans forward, forehead softly hitting the desk, hands in his hair.
KAMINSKI
Oni, record time and length. Dark.
ONI
Recording.
KAMINSKI leans back after a while and it’s clear he still can’t see. The room is quiet as he turns his gaze downward. We zoom in on his face as he closes his eyes, transporting us over to his point of view. It remains dark, but we start to see vague outlines again of the furniture of and general lay-out of the room. The desk nearby comes back into focus.
KAMINSKI
Oni, stop timer. How long?
ONI
Thirteen point seven two.
KAMINSKI
Comparison.
ONI
This timed event was one point three five seconds longer than your previous timed event, and one point nine four seconds longer than last month’s average.
KAMINSKI
Noted. Add current timed event to those on file.
ONI
Event added.
KAMINSKI looks at the videos once more.
KAMINSKI
I will find you, and it may very well be the last bit of detective work I do.
He leans back in his chair.
SCENE 16: THE RAVEN - CORRIDOR / SUITE
LEONIE and POE are walking down a corridor, LEONIE holding both book and bear under one arm while tracing the wallpaper with the other.
POE
I can assure you, The Raven is equipped with the finest guest amenities, and you will be hard pressed to find better, more comfortable, accommodation anywhere.
As he talks, LEONIE runs her hand along the wall, touching the bird motif.
POE
Your room is one of our suites. I hope it will suit your needs, but do let me know if you wish for something better. Simply call out my name, and I shall be with you before you know it.
LEONIE
Thank you. I’m sure I’ll be fine.
POE stops at one of the doors and hands her the key. LEONIE takes it gingerly and opens the door. The room looks elegant and spacious, and is definitely a suite rather than a regular room. The space she enters first is a small sitting room of sorts, with sliding doors to one side and tall windows at the back, showing a forest-y outdoors rather than the dank and dreary place we know from the main series.
LEONIE
The windows… can show stuff that isn’t the outside?
POE
They do. Shall I demonstrate?
LEONIE
Yes, please.
POE walks over to the window and taps it twice. Where he tapped, a window appears with options to scroll through. LEONIE comes closer as POE scrolls through it, then gestures at her to try it.
LEONIE
We did actually reach the tap-and-scroll era.
POE
Ah. Apologies. My knowledge of history is not as vast as I would like it to be.
LEONIE
Oh, I’m not holding it against you.
LEONIE taps another part of the window twice and the options menu appears where she tapped. She smiles as she scrolls through the options. POE, meanwhile, hears a scream. We recognise it as ANAÏS’s voice.
POE
Apologies, I must away for a moment. Urgent matters.
POE dissolves before LEONIE can say anything.
LEONIE
(to POE’s afterimage) Good night. Thank you.
SCENE 17: THE LAVEN - LOADING AREA
POE materialises in the loading area and heads over to the cryo-unit. ANAÏS is still inside, noiseless. POE stares at her, his eyes turning a murky green. We hear the scream again, a bit louder and closer this time, from somewhere on his left. POE turns quickly but sees nothing out of the ordinary. The scream sounds again, and again, louder, overlapping, a cacophony of screams, as POE sinks to his knees under the emotional weight.
POE
Please… Please stop…
In a last ditch effort he creates what looks like a jewellery box with the lid open. It looks as if the sound is streaming into it and he closes the lid. The place is once again quiet. POE looks at the box and sighs, making it vanish. POE picks up ANAÏS’s bag and holds it for a moment while he looks back at the unit.
POE
For whom do you carry this? What unrest stirs within the populace?
ANAÏS doesn’t answer. POE places the various items back in the bag and holds it for a moment as he starts to recite the poem.
He leans back with his eyes closed once again and starts reciting. While he does this, we see crowds gathering at the Eloquent Banshee. There’s shouting and the sound of drums. We see the various factions: the Yakuza, the Bricks, the Mafia. They enter the premises. Inside, in a dressing room, we see SCHISM getting ready for the stage, their outfit consisting of a long coat that blends the classic coachman style with something more feathery and added metal, jingly bits. They apply a war-like, cyber-tribal pattern to their face. On the desk, we see some empty plastic vials. They get up, give themselves one last look in the mirror, leave their dressing room and walk down the corridor to where the stage is. We see the stands, where a rowdy, eager crowd has gathered, and the VIP balcony above.
We also see Poe place the bag on the shelf to hide it. He exits the loading area but looks back once, his eyes still a green mess, though they are slowly turning back to their usual brown as he closes the door behind him, leaving the cryo-unit as the only other source of light besides the exit sign above the back door.
Finally, we see LEONIE scrolling through the options until she settles on one. It’s a scene from San Francisco from her own time, except a little bit later. She stands in front of the window, looking at it, tears in her eyes as her hand rests on the window, mourning all that was lost.
POE (voice-over)
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
SCHISM opens a set of heavy curtains and enters the stage. All we see is their outline and bright lights.
FADE OUT:
TO BE CONTINUED...