INT. WHITE ROSE PRISON - DAY
Millie and Caryl stand frozen near the guard station. Alondra paces near the cage, wringing her hands. Millie is fully visible now, and this does not seem to distress her; she has the unfocused gaze of someone watching something far away.
CARYL
(panicking)
No one panic.
MILLIE
How long before the guards get here, do you think?
CUT TO:
EXT. WHITE ROSE - DAY - EASTERN SEPAL
The door from the interior bursts open, and four guards pour out of it, heading for the edge.
ELLIOTT (V.O.)
Dawnrowan suspected you immediately and transferred the thought to them.
In orderly pairs, the guards leap from the edge, wings unfurling.
MILLIE (V.O.)
Fantastic. Get me Shock.
INT. WHITE ROSE VAULT - DAY
Shock is pacing back and forth along a row of shelves. His human facade is sweating slightly.
MILLIE (V.O.)
Guardian’s down.
SHOCK
Oh thank God.
MILLIE (V.O.)
Thank who?
SHOCK
Figure of speech.
He immediately makes a beeline for the back of the vault.
MILLIE (V.O.)
Shock, you’re going to have to hurry. I underestimated how alert Dawnrowan would be to my fucking with the guardian spirit.
SHOCK
How much time do I have?
CUT TO:
INT. WHITE ROSE PRISON - DAY - MILLIE POV
Caryl has propped open one of the storm doors, letting a shaft of light in to illuminate the stairs. We move toward them and up as Millie speaks.
MILLIE
Basically I need to go for the Hail Mary exit strategy approximately nowish. The good news is that I’m about to freak the guards out so much they won’t think to pay attention to what you’re doing in there.
SHOCK (V.O.)
But there is bad news.
We move to the top of the stairs and out into the blinding whiteness of
EXT. WHITE ROSE - DAY – MILLIE’S POV
CAMERA ADJUSTS slowly to the brightness.
MILLIE
Of course there is. The bad news is that I can’t just stand there with my hand on the stone indefinitely. Once they agree to let me escape, I have to actually, you know, escape.
Alondra emerges from the prison, blinking and squinting.
SHOCK (V.O.)
And then someone will surely remember I was in the vault, and think to check on me.
MILLIE
Yup. Alondra, Caryl told you where your stone is?
Alondra points east across the clearing.
ALONDRA
In the woods, over that way.
PAN UP to see the descending silhouettes of four guards against the pale green sky, still small, but circling closer.
MILLIE
Go.
ALONDRA
Millie, will you be able to--
MILLIE
Go!
Alondra takes off at a sprint.
MILLIE
And now it’s my turn, I guess.
PAN DOWN, a CLOSE shot as Millie gives her left knee a pat under her neoprene suit.
MILLIE
All right. Time to stress-test my hardware.
PAN TOWARD the western woods. It’s a long way across the clearing.
The camera begins to move forward. Accelerates, shakes as Millie breaks into a run.
BRIEF, SHAKY PAN over Millie’s shoulder and up. The guards have spotted Millie, and all four have changed trajectory toward her.
MILLIE
The fuck? Not one of them goes for Alondra? She’s going to take this personally.
We hear Millie’s BREATH as she sprints unevenly across the snow.
CARYL (V.O.)
I’m coming out of the prison. I have to stop them somehow.
MILLIE
No! You’re visible! You’re supposed to be gone already!
The camera WAVERS as Millie stumbles slightly.
CARYL (V.O.)
I don’t know what else to do. You’re a sitting duck out there in the clearing.
MILLIE
It’s fine. I’m almost there.
She isn’t. There is a shrill WHISTLING sound, and then a flaming arrow THWACKS into the snow about two feet in front of her.
MILLIE
Fuck this! Caryl, save me!
The camera lurches forward even faster.
CARYL (V.O.)
I--I believe I can buy you some time, but it means letting the prison guard go. I need Caveat.
ALONDRA (V.O.)
It’s okay, Caryl. I used that cord to tie him up while you were opening the door.
MILLIE
Well look who turned out to be fucking useful!
CARYL (V.O.)
I am impressed, Serrano. Millie, do not slow down, whatever you see.
MILLIE
(out of breath)
Well that’s . . . not at all . . . ominous.
CARYL (V.O)
Are you all right, love?
Millie stumbles again. When she speaks, her voice is choked.
MILLIE
Fine . . . just . . . definitely . . . not . . . used to . . . running . . . in snow . . .
The world begins to grow dark.
PAN UP to see an apocalyptic-looking purple haze boiling out of nowhere to block the sun.
The guards panic, forgetting Millie for the moment; two of them crash into each other and nearly spiral to their deaths.
CAMERA moves forward again, approaching the woods.
MILLIE
Jesus Christ, Caryl.
CARYL (V.O.)
I learned that from King Winterglass.
The STANDING STONE is now in sight, a rough obelisk with delicate runes etched into it.
Millie makes a beeline toward it. Her hand reaches out.
MILLIE
The moment she touches it we
CUT TO:
EXT. EASTERN STONE
Alondra is bent over with her hands on her thighs, catching her breath.
ALONDRA
Me too. I’m here.
MILLIE (V.O.)
Strike a pose, in case any of the guards fly over that way.
Alondra grins and moves closer to the stone, holding her palm out toward it.
ALONDRA
Like this?
MILLIE (V.O.)
Perfect.
CARYL (V.O.)
The guards are still in a state of confusion for the moment.
MILLIE (V.O.)
Elliott, show me Dawnrowan. What’s she doing? Is she watching? We need to deliver her the ultimatum directly.
INT. QUEEN’S CHAMBER - DAY
Queen Dawnrowan sits in the window seat, watching Claybriar with tragic eyes as he paces back and forth before her.
DAWNROWAN
Do not say that. Why would you say such a thing?
MILLIE (V.O.)
(sotto voce)
Maybe let him finish dumping her first.
CLAYBRIAR
You know what I am. I don’t know why the spirits were so cruel as to make a sidhe love a man who can’t love the way sidhe love.
Dawnrowan rises, moves to him, but stops just short of touching him.
DAWNROWAN
And what way can you love me? Let me inside your mind. I have no skill at talking in this way.
CLAYBRIAR
I told you, I can’t do that!
He tries for anger, but it suddenly twists into despair.
He falls on his knees before her, curling his hands into her skirt, hiding his face. She lays a hand on his head, then slowly kneels so that she is at his level. She gently turns his face so that he must meet her eyes.
DAWNROWAN
Then so be it. Whatever limits you place on love, I must accept. For me, there will only ever be you.
He looks at her, lost. She closes the distance between them, cradling his face in her hands as she--
MILLIE (V.O.)
Show me Shock.
INT. WHITE ROSE VAULT - DAY
Shock is loading vials into the Medial Vessel by the handful.
MILLIE (V.O.)
Shock, did you get your dad’s vial?
SHOCK
Yep, got it first thing. Almost done with the US employees now, and then I’m going to start on Canada.
MILLIE (V.O.)
Nice work.
Shock continues to load vials.
It’s really not that interesting.
ELLIOTT (V.O.)
Millie?
MILLIE (V.O.)
Yeah, yeah, I know. Fine.
INT. QUEEN’S CHAMBER - DAY
All four of Dawnrowan’s arms are wrapped around Claybriar as they share a kiss worthy of epic ballad status.
MILLIE (V.O.)
(sotto voce)
Oh, fuck me.
ELLIOTT (V.O.)
It looks as though you may need to wait in line.
Sure enough, Claybriar’s hands have already expertly located the fastenings to Dawnrowan’s diaphanous garments. They melt away to the floor.
MILLIE (V.O.)
The fuck is up with his timing? I need to be delivering an ultimatum.
ELLIOTT (V.O.)
He doesn’t know that. Last he heard was “distract her.”
Dawnrowan begins to emit some deeply erotic sounds as Claybriar kisses his way down her throat.
MILLIE (V.O.)
Well, she’s not the only one distracted.
Claybriar lifts Dawnrowan into his arms and carries her toward the bed, laying her down on it.
MILLIE (V.O.)
Caryl, why are you so quiet? Where are the guards?
CARYL (V.O.)
(a little breathless)
Pursuing me, for the time being.
Dawnrowan looks up into Claybriar’s eyes, the very picture of adoration.
DAWNROWAN
Speak to me. Out loud. As humans do. Tell me you desire me.
CLAYBRIAR
I want you. I want you so much.
He lowers himself onto her, greedily tasting her skin.
ELLIOTT (V.O.)
Millie?
CLAYBRIAR
You beautiful little slut.
He grabs a handful of Dawnrowan’s hair, forcing her head back. She gasps.
ELLIOTT (V.O.)
Millie, I need to show you--
MILLIE (V.O.)
ELLIOTT (V.O.)
She’s fine. Leading the guards on a merry chase.
MILLIE (V.O.)
Then hush.
ELLIOTT (V.O.)
Millie, I can see where your hand is. And we’re about to have a problem.
MILLIE (V.O.)
Ugh, fine. Show me.
The guard WHISPERDRIFT moves toward the door at the end of the hall with purpose.
ELLIOTT (V.O.)
She’s heading toward the vault.
MILLIE (V.O.)
Shock!
INT. WHITE ROSE VAULT - CONTINUOUS
Shock is still merrily loading vials into the bag.
MILLIE (V.O.)
Shock, you’re about to have company. Take what you’ve managed to steal and go. Meet me at the western standing stone.
Shock stuffs the Medial Vessel into the pocket of his jacket, then suddenly changes back to his mantislike fey form.
MILLIE (V.O.)
Nice. Now get out of there.
SHOCK
No need to tell me twice.
He heads toward the door.
MILLIE (V.O.)
Shock?
SHOCK
Yes?
MILLIE (V.O.)
Do I want to think too hard about where the Medial Vessel is right now?
SHOCK
I would advise against it.
INT. WHITE ROSE HALLWAY - CONTINUOUS
Shock emerges from the vault and nearly collides with Whisperdrift.
WHISPERDRIFT
Your Highness.
SHOCK
Hello.
WHISPERDRIFT
You are still here?
SHOCK
I had . . . I had some trouble. . . .
MILLIE (V.O.)
CARYL (V.O.)
Shock, wipe her. Make her forget she saw you.
WHISPERDRIFT
You had trouble?
SHOCK
I . . .
ELLIOTT (V.O.)
Caryl, you will have to release Caveat; I am a bit occupied.
CARYL (V.O.)
Caveat is currently the only thing keeping the guards from finding me. Shock, do what you must.
ELLIOTT (V.O.)
(direly)
Shock, do not enslave another spirit. Find another way.
WHISPERDRIFT
Your Highness, I am afraid I’m going to need you to come with me. A . . . situation is unfolding.
Shock starts to back away from the guard, who advances on him.
CARYL (V.O.)
Shock, you can’t let them take the Vessel from you, or all of this is for nothing! Cast the spell!
ELLIOTT (V.O.)
No, Your Highness. Not until she releases Caveat.
CARYL (V.O.)
(panicking)
I can’t! Shock, just wipe her! Now!
Shock, also panicking, murmurs a few words in the Unseelie tongue. Whisperdrift stops, looking zombie eyed.
Shock hesitates, then walks past.
There is a long, awful silence in which there is nothing but Shock’s FOOTSTEPS echoing through the stone hallway. Then:
ELLIOTT (V.O.)
Farewell.
I found myself alone in a snowy forest, leaning with one hand braced on the standing stone.
“Elliott?” I said, disoriented by the still emptiness. My voice sounded small as it disappeared into the forest.
I looked around through the trees, tried to make out what was going on in the clearing. The purple haze was gone from the sky; Caryl must have only needed it to get the guards’ attention.
What had Caveat been doing to protect her? What was so important that it had been worth what Caryl had done?
“Elliott?” I said. “If you’re there, please talk to me. This wasn’t my fault. Don’t just leave me.”
Nothing. A wind hissed through the trees and kicked up little flurries of snow.
I was on my own.