This/Survivors song

Karoliina Hämäläinen

Part n + 1: Calculate ending

EXT. Midnight

The universe has been destroyed. Only nothing and approximately 3.8 billion sphinxes remain, forming a moon-sized wad around two survivors, BERTRAM and CORALINE, nestled in a small pocket in the middle of the lot.

The sphinxes are all purring very loudly, and occasionally rearranging themselves amidst horrible roiling.

One of them drops onto Coraline's head, making her look a bit like Batman.

BERTRAM

Good job.

Coraline glares at him, though from behind an eyeless mask this has no effect whatsoever.

BERTRAM

Really, I'm impressed. I did not expect that when we destroyed the entire universe, this would happen.

Part 0: Initiate introductions

The Escape

EXT. Country road; woods - afternoon

A small finnish woman with honey-blonde hair, CORALINE, is fleeing unseen hunters. She's in the autumn woods, leaves blowing down around her. There's a road, though she cannot quite seem to decide whether to avoid it or stick to it. Behind her is the sound of horses and dogs and shouting men, gaining quickly.

There is another chatter of voices, too, somewhere else, getting louder, but these are unfocused, uninterested, all around.

Everything has failed her. She is desperate, and has little hope, but still she runs, finally making up her mind to stick to the road, sprinting down its dirt pack with everything she has left, breathing hard, in and out, in and out. Every stride jolts through her bones.

She can feel her strength failing, but she tells herself, at each of the road markers, get to the next, get to the next, get to the next.

She doesn't stop.

Even as she unwillingly slows, and the world darkens, she does not stop.

Even as the dogs make the road, even as the horses clatter into hearing, even as the shouts become clearer, she does not stop.

EXT. Soravian town - evening

It is earlier, a few days, still autumn. The town is full of soldiers, hanging around the bars, loitering on the streets, tenting on the outskirts. It is not quite an occupation, but almost.

Coraline hurries through, avoiding them but not. She needs a place to stay, food to eat.

Finally she heads into an inn. It seems to be less crowded than the rest.

INT. Some inn - evening

It's crowded inside, more so than out, and smokey, and noisy.

Coraline heads over to the bar and finds the INNKEEPER.

CORALINE

Hey.

INNKEEPER

Get you something?

CORALINE

Meal and some vodka for the road... and I don't suppose there's any chance of a place to stay?

The innkeeper looks at her, surprised.

INNKEEPER

We're booked, obviously, but... you're travelling alone?

CORALINE

Yeah...

INNKEEPER

Hold on.

(he yells over his shoulder, toward the kitchen)

Gemma!

(he heads back, continuing)

Gemma, got a question...

He shuffles into the back room, leaving Coraline at the bar.

Coraline looks around.

It's mostly soldiers in here, too. Their insignias are one of the noble houses. One of them squeezes past Coraline to talk to another guy at the bar, and she steps aside.

SOLDIER ANDRE

Hey, check this out.

Andre pulls out a small soulstone and sets it on the bar. It's perfectly black.

The other guy, ROB, reaches out to pick it up, but then recoils from the touch.

SOLDIER ROB

Agh, what is that?

SOLDIER ANDRE

Black soulstone. Was talking to the Deathdealer, and he gave it to me. You can use them to detect Carriers even before they turn...

Coraline is holding the soulstone in her hand, staring at it in utter fascination. The voices around her have risen to a roar in her head, drowning everything else out in black, even as the stone forms an impossible brightness in her mind. It; s perfect. Safe. Necessary. Needed.

The voices rise to a scream.

The floor drops away beneath her.

A moment later, everything is normal again. Coraline is still holding the stone. The inn's loudness is nothing more than the chatter of dozens of men all crammed inside one common space. Rob and Andre are staring at her.

Coraline drops the stone and flees in utter terror, pushing into the crowd, darting through the tables, out onto the open street. Nobody really tries to stop her, not really knowing what's going on.

The stone bounces off the floor, once, and then stops, sitting still on the ground, gleaming.

SOLDIER ROB

What, does that mean...

Andre leans down and picks up the soulstone.

SOLDIER ANDRE

She was a Carrier. The Death of Souls.

The two soldiers hurry out after her.

The innkeeper comes over a moment later.

INNKEEPER

Yeah, my wife thinks we can...

(he realises Coraline's not there anymore)

Where'd she go?

EXT. Soravian town - night

Coraline walks quickly, trying not to draw attention, but still hurrying as much as she can down the cluttered streets, looking around for anything to help, any way out.

She spots some horses, and manages to get over to them without anyone really noticing, and soon she's properly off, keeping the horse at a trot, whispering to it to be calm.

EXT. Clearing - morning

A few days have passed. Coraline is slowing now, letting the horse longer to rest, walking more along with it. She lets it graze now, lying down in the grass, staring up into the red-orange trees and bright blue sky above. There has been no sign of pursuit.

Clouds drift across the blue.

The wind shifts. The horse smells something, its nostrils twitching. Faint sounds drift in from the way they came. Clatter. Barking.

Dogs.

Coraline jumps up quickly, looses the horse, and mounts, hurrying it back into a trot.

She hurries now, pushing the horse harder before, forcing herself to slow from time to time, dismounting and walking quickly beside it. They pass through the woods covering good ground, vaguely downhill.

The horse slows, no longer getting up to speed as the day goes on.

The first time it trips, she heals it, placing a hand to the hurt leg and letting it mend, even as the voices rise around her.

The second time, she abandons it, continuing only on foot.

EXT. Country road - afternoon

Coraline is about to fall. She has been running too long. The rhythm in her stride is breaking down, her arms and legs no longer rising as they should. She is like the horse, but worse. She has less to trip over, though the road only barely stays beneath her feet as the trees around bounce crazily in her periphery.

The pursuers are all but drowned out by the voices.

It was a good go. A solid fight. She knows this. She accepts it.

She slows.

A young boy, NOLAN, (he's about 8) steps out into the road ahead. He takes Coraline's arm just as she is about to fall before him, and half pulls, half pushes her off down a side path.

Then he turns back toward the road, just as the pursuers round the bend, and steps toward them. They slow as they approach. The dogs avoid Nolan entirely.

The DEATHDEALER leading the group addresses Nolan.

DEATHDEALER

Hail. We seek a woman, a Carrier of the Death of Souls. Have you seen her?

NOLAN

No.

DEATHDEALER

Nobody has come this way?

NOLAN

You should have sheep. Show me to your sheep.

The Deathdealer reigns his horse away, looking down the road.

SOLDIER

What?

NOLAN

Those are sheep dogs.

SOLDIER

Dammit, kid, this is serious!

They hurry on around Nolan, continuing on.

As the clatter and barking dies down again, Nolan turns back down the path to the temple.

INT. Molstead temple - evening

Coraline opens the door slowly, peering inside, then stumbling in as the heavy door closes behind her.

The temple is still, lit dimly with late sunlight trickling in through some of the high windows, and candles around the shrines to the many gods around the walls. At the far end, facing the door and the other shrines, is a single large STATUE OF AZORRES, looking down on and dominating the space.

Some food offerings are laid out at its base.

CORALINE

(quietly)

Hello?

STATUE OF AZORRES

Welcome, wayfarer, to this house of the gods. You have need of sanctuary, I suspect.

CORALINE

Yes... gods, yes.

STATUE OF AZORRES

You will be safe here. My priests will provide a place to rest.

CORALINE

But the soldiers... they won't give up. They know what I am.

STATUE OF AZORRES

They will not take you from this house.

Two priests, DAVIS and CORMITH, come over and help Coraline toward one of the back doors.

CORMITH

Here, we've got you.

DAVIS

We'll keep you hidden until they leave. It'll be fine. I'm Davis, and this is Cormith.

CORALINE

Lyra. Lyra Zidane.

DAVIS

All right, Lyra. You're among friends now.

Later, some of the soldiers enter the temple. The main room is empty now, aside from Nolan, who is lingering by one of the shrines, looking strangely like it. They pass him by, not even noticing.

The Deathdealer approaches the statue, looking angry.

DEATHDEALER

Where is she, statue?

STATUE OF AZORRES

Who, dear Deathdealer?

DEATHDEALER

You know exactly who I mean. We have covered the village. This is the only place she could be. Where is she hiding?

STATUE OF AZORRES

And what do you intend to do should you find her?

DEATHDEALER

You know that too.

STATUE OF AZORRES

And you should know that no aspect of Azorres would ever aid you toward that end.

DEATHDEALER

We will find her.

STATUE OF AZORRES

No. You will not. You will leave this place and never return, nor speak of this to anyone.

DEATHDEALER

We will dismantle you piece by piece if we must.

The statue's voice changes, becoming larger, stranger.

STATUE OF AZORRES

(quietly)

You would threaten a god in his own temple?

NOLAN

I think you should leave now.

The Deathdealer turns to regard Nolan.

NOLAN

Unless you wish to lose both life and soul in one slow, agonising process.

DEATHDEALER

Really?

NOLAN

Do you intend to try me, little man?

The Deathdealer (who is decidedly not little) and soldiers stare at Nolan.

Nolan stares impassively back, not blinking.

DEATHDEALER

You will be witnessed.

NOLAN

No. I won't.

The Deathdealer nods at the soldiers and they all leave.

Nolan tilts his head slightly.

The Deathdealer draws his sword.

NOLAN

(not moving)

Okay.

STATUE OF AZORRES

Theramon Tgomi, stand down. If you will not listen to me, then listen to your own god, who has given me your name as proof. Stand down, and let this matter go. This Carrier you seek does not concern you.

The Deathdealer stops and relaxes, turning to regard the statue in surprise.

DEATHDEALER

I... understand. I will obey.

STATUE OF AZORRES

Tell your men she is dead, the matter handled before you even came. This is over.

The Deathdealer bows shakily and then very hastily leaves.

After, Nolan strolls over to the statue looking almost curious.

NOLAN

Interesting.

A day in the life

INT. Molstead Inn - morning

The inn is a rustic preindustrial affair, wood and stone, with reasonably straight edges. Coraline is sprawled on her bed in a back room. A bell is mounted on the wall nearby, attached to a contrapture leading back into the main room. A bottle of brandy is on her bedside table. A fluffy tortoiseshell cat, AGATA, is on her face. An ornate golden staff with a large, stylised phoenix (wings outstretched, head an orb hovering off the end) on it is leaning against the wall. Books are piled up on shelves.

The voices are a disorganised chatter, roaring in the background.

Coraline shoves Agata off her head and then sits up, eyeing the cat confusedly.

Agata slides onto another pillow. There are a lot of pillows.

CORALINE

Mwaaagh?

Agata purrs.

CORALINE

Who the hell are you, cat, and what are you doing in my bed?

Perkele.

She gets up and grabs the brandy, drinking some straight out of the bottle, and the voices die down to a murmur. Then she pulls on some proper clothes and heads into the kitchen.

The kitchen is empty, the stove cold.

Coraline grabs a chunk of bread.

CORALINE

Jess? Hello? Anyone here?

Another cat, THIMBLE, is sprawled at the base of the step into the tavern proper looking very angry, and Coraline steps over him without even paying attention. This, unlike the other one, is normal.

The tavern proper is completely empty. The shutters are open, sunlight streaming in.

Coraline hurries over and closes them, grumbling.

Agata pads over and Coraline picks her up and stomps out.

EXT. Molstead - morning

It's a bright summer morning. The sky is mostly clear. Loud birds are everywhere, on the buildings, in the trees, being loud. Some townsfolk are out and about, doing townsfolk things.

Coraline holds up Agata like a sack of potatoes.

CORALINE

(to Agata)

Any of this yours? Hmm?

Agata hangs limply in her hands. This is decidedly un-catlike.

CORALINE

(irritably)

Alternately, do you see Jess anywhere? She should be here by now.

AGATA

No.

Coraline lowers Agata and eyes her suspiciously, but then decides not to press the matter.

EXT. Molstead market square - slightly later morning

The market is a messy combination of open square with stalls and buildings around with shops, with folks pitching and buying and just passing through in a horrible mish-mash. The folks are mostly human, but a few elves and stuff are mixed in.

Coraline is still holding Agata, and now has a small HAMSTERY GUY following her very, very closely repeatedly asking her what day it is. She attempts to ignore him.

HAMSTERY GUY

What day is it?

Coraline now attempts to refrain from punching him in the face with a cat.

The hamstery guy circles around to follow her from the other side, except now he's actually slightly in front of her.

HAMSTERY GUY

What day is it?

A blacksmith, BARNEY, spots Coraline from near the smithy and scoots over, holding a scabbarded sword, just as Coraline is about to shove the cat claws-first into the hamstery guy's face.

BARNEY

(hurrying over)

Lyra! I've got this sword. You know I've got this sword. It's got your name written all over it, and for the absolute steal of a price of five silver it's all yours, all yours!

He holds the sword up in her face.

CORALINE

(pushing the sword away with Agata)

Now, look, I really don't...

She's interrupted by the hamstery guy pushing Barney aside and getting in her face.

HAMSTERY GUY

What day is it?

AGATA

(hissing)

The day you die.

Agata slides out of Coraline's hands and settles around her shoulders, instead.

Barney pulls the hamstery guy aside again in order to reclaim his rightful place in Coraline's face. The hamstery guy attempts to retaliate, and Barney elbows him in the throat.

Foiled, the hamstery guy sidles off to bother someone else.

BARNEY

Five silver. Once in a lifetime deal. Just five, and it's all yours!

Coraline glares at him with the full force of Finnish Death.

Barney smiles at her disarmingly.

CORALINE

If I wanted to buy a sword, I would have commissioned one and you know it.

Barney gives her his best crestfallen look. Coraline continues to glare at him.

Agata watches curiously from her shoulders.

BARNEY

(breaking into a wide smile)

Fine, take it as a gift, then. Made for you, perfectly balanced, utter steal!

Barney bustles around her and fastens the sword to her belt, then hops back and nods.

Coraline continues to glare at where he was for a moment, and then just looks confused.

CORALINE

What?

BARNEY

Aye, yes, that's the look. Utterly dashing, the lady wizard.

Before Coraline can respond, Barney backs away entirely with a weird swagger, not unlike that of a used car salesman, still nodding, and retreats back into a bunch of passersby.

CORALINE

What... just happened?

Her hand falls to the sword, which has somehow been added very neatly to the opposite side of her belt to her bag.

AGATA

You got yourself a sword.

CORALINE

Thank you, Captain Obvious. You're real helpful, aren't you?

AGATA

Meh.

Coraline heads over to some various folk to ask around about Jess, though nothing really comes of it.

After, she heads off down the road.

EXT. Molstead road - late morning

CORALINE

All right, cat, what's your deal, anwyay?

AGATA

Obviously I'm a cat.

CORALINE

One that speaks. And has a sense of sarcasm. Why show up out of the blue? You even planning to stick around? Or are you some kind of alien or something trying to suck out my brain juices?

AGATA

I'm a witch's cat. I needed a witch, and you seemed witchy.

CORALINE

What, did something happen to your old witch?

Agata purrs.

CORALINE

You got a name, then?

Agata purrs some more.

CORALINE

Cat, I got five cats already and I call them all 'cat', so please, something a bit more specific would be nice.

Agata stretches out a leg and sticks a claw up Coraline's nose.

AGATA

Maybe.

CORALINE

(removing the cat paw from her face)

Maybe?

AGATA

I'm Agata.

CORALINE

Agata. Okay. Good. Do I look like a witch to you?

AGATA

(purring)

They all think you're a wizard. It's the same thing, really.

CORALINE

(she sighs)

They also think I'm from Ord.

EXT. Eslinger farm - noonish

Coraline comes up the road to find one of Jess's sisters, TEMMIE, mending the fence. Temmie stops and waves upon seeing Coraline.

The voices are getting louder again now, but Coraline just ignores them.

Agata trots over and rubs against Temmie's legs.

TEMMIE

What brings you these ways?

CORALINE

Hey Temmie. Was Jess coming to work today?

TEMMIE

Oh, aye. She left same as usual, hours back. Why?

(confused)

Did she not... Lyra?

CORALINE

She was here and then she left?

TEMMIE

Er, yes.

CORALINE

Right. So clearly something happened between here and there and there and... I need a new brain.

Coraline turns and leaves without saying anything more, and Agata pounces after her.

TEMMIE

Hey, hey, wait!

INT. Molstead Temple - noonish

Coraline pulls the doors open rather forcefully, causing them to swing open to either side of her while she stands there dramatically.

Agata ambles inside and sits down in front of the main large statue, peering up at it.

Coraline hops inside right as the doors are swinging closed again and nearly gets hit in the foot by one of them, and scoots up behind the cat.

Agata swishes her tail.

CORALINE

Hey statue.

STATUE OF AZORRES

Welcome back, wayfarer. How are you holding up?

CORALINE

Miserably. Like a miser. I'm miser-able.

The statue doesn't reply to this.

CORALINE

I'm looking for Jess. She went missing somewhere between her parents' farm and actually showing up to work. Where would I be looking if I were looking where I ought to be looking?

STATUE OF AZORRES

You have your answer there. Follow the path between farm and town, and perhaps the clues will reveal themselves.

CORALINE

Hmm.

What language is this?

STATUE OF AZORRES

New Torin. It was an interesting surprise when you showed up those years ago and spoke it so fluently.

Not the fruit of so careful study, I take it?

CORALINE

(turning to Agata)

Cat, what language is this?

AGATA

I thought you were going to quit calling me 'cat'.

CORALINE

Dammit cat, I call all my cats 'cat'.

Agata peers up at Coraline imperiously.

Coraline narrows her eyes.

STATUE OF AZORRES

(switching to match)

That was Soravian. But should you not know that, if you speak it?

CORALINE

(still glaring at Agata)

Sassmaster.

Agata closes her eyes contentedly.

CORALINE

And to answer your question, yes, I can usually tell them apart, at least. Had no idea about the Torin, though. You're that old?

STATUE OF AZORRES

This temple was built at the end of the era. But you will find all of Azorres' statues speak Torin. You could say it is our mother tongue.

CORALINE

(disappointedly)

So you can't just all speak whatever?

STATUE OF AZORRES

The god willing, certainly. But aren't you forgetting something right now, the road outside?

CORALINE

Agh, right.

(she scoops up Agata)

Thanks, statue. You're a wonderful replacement for a working brain.

EXT. Molstead outskirts - noonish

Coraline strolls back down the road with all the care of an angry zamboni, swinging a bottle of vodka in her hand, Agata padding ahead, oppressive heat and sunlight bearing down on the both of them. Heat waves rise off the road. Bugs buzz in the trees.

Coraline is now quite drunk, and the voices practically silent, drowned out by the buzz.

She stops at a bend and sights down a footpath heading into the trees through the bottle, using it like a telescope with the lid off, causing some vodka to splash on her face. She blinks, putting the bottle away.

CORALINE

Damn. Alcohol is lovely in this heat.

AGATA

Smooth.

CORALINE

(indicating the trail)

There's some ruins out this way. Maybe... I dunno.

AGATA

Do you have any leads at all?

CORALINE

None whatsoever.

AGATA

Do you have anywhere you need to be?

CORALINE

Nope.

AGATA

Well.

CORALINE

Right.

They head down the path.

EXT. Elven ruins - early afternoon

The ruins are a large quasi-clearing in the woods, the only remainder of an ancient elven city. Mostly the white stone blocks and columns lie scattered throughout the ferns and grass, trees growing through and over them, with only the odd wall or pillar rising against the green, clusters of buildings now almost totally reclaimed by the forest. Only one building stands out as intact - a solitary Edifice, still sealed after all these centuries, and nearly untouched by storm or moss.

There are considerably more ferns here than by the main road.

Coraline comes out on the path, looks around, climbs onto a particularly large white block, and glares out over the ruins.

An alarming amount of spider webs glare back at her from some of the trees on the far end.

CORALINE

(squinting unhelpfully)

...gogs?

Something beige and gloopy gloops past Agata on the ground and she hisses at it.

Coraline hops down and heads over into the webby trees.

INT. Gog tunnels - afternoon

It's webby, and a bit messy. There's no real path at first, but then one seems to grow almost organically out of bits of web.

As Coraline and Agata progress, the webs get thicker.

At one point she sees a gog hanging off a bunch of webbing on a tree. It looks a bit like a large dog-sized spider, and appears to be asleep.

At another, she passes a tree with a large circular hole cut exactingly through the trunk, except the hole is almost as big as the trunk is, and the top of the tree is held up almost entirely by webbing. Through the hole is shoved a door.

She continues on, and the webs thicken. The trees are swathed in webbing, until everything is covered.

Ahead, the webs converge entirely, leaving only a single round tunnel, maybe a metre in diameter. At its entrance are two more gogs, also asleep.

Agata hops up onto Coraline's shoulders.

Coraline walks up and pokes one of them.

The poked gog startles and legs at the other gog, which also startles and legs back. They prod at each other a bit with legs and then slow, and then stop. After a moment they collapse back onto each other, vibrating.

Coraline scoots past them carefully into the hole and walk-crawls very awkwardly through it.

AGATA

(next to Coraline's ear)

I hope you know what you're doing.

CORALINE

I have absolutely no idea what I'm doing, or what's going on. Gog aren't... this isn't what they do.

AGATA

Looks like they did.

CORALINE

They're not a storybook cliché. Mostly they're just an annoyance. Steal some sheep. Web over a door. That sort of thing.

The tunnel abruptly ends, and Coraline spills out into an oddly circular chamber, completely bound in spun white webbing. The ceiling glows with diffused light. A couple of other circular tunnels are scattered about the walls.

It is completely empty, aside from the centre. In the centre is a solitary wooden door, standing upright without a frame or even hinges. It is in perfect shape. It has a knob.

Coraline stares at it blankly for a moment.

CORALINE

I don't even want to know.

She scoots very carefully around the edge of the chamber, keeping her back to the wall, watching the door carefully until she gets to the next tunnel.

AGATA

And yet you're continuing.

Coraline gives the door one last worried look before scooting into the new tunnel and hurrying away.

EXT. Gog clearing - afternoon

This tunnel opens up into a clearing that is much less webbed over, with only odd swaths netting down from branches, and a decent carpet underfoot. Old trees tower overhead. Afternoon sun trickles down in motes of dust. It is surprisingly cool.

Coraline is sobering up a bit as they come out, but the voices are still quiet.

Gogs are all over, mostly in groups of 3-10. The nearest group are gathered around a bunch of doors, all fairly beaten up. One of the gogs pokes a door with a stick, then drops the stick and starts jumping on the door in aggravation. Another pulls a door upright and then, along with two others, headbutts it.

Coraline watches curiously for a moment.

CORALINE

You know you need hinges, right?

The gogs all freeze exactly where they are: the ones with the doors, quite a few others just hanging out in the clearing, a large group doing some sort of choreographed march around the perimeter, and also a smaller group holding up paper signs around a very confused looking JESS.

A few of the gogs in the paper signs group are also holding sticks. One appears to have been in the process of poking Jess with its stick, but is frozen mid-poke.

JESS

(also not moving)

Lyra?

Coraline threads her way through the groups of gogs, trying not to run into too many, but they don't respond even when she does.

CORALINE

You okay? Kind of need you at the inn.

JESS

Um... yeah, mostly, I guess?

Jess pushes aside the stick uncertainly, and then pushes through the sign-gogs. The signs say things like 'door problem' and 'what knob' and 'show force??', and they are all very consistently upside down. She hurries over to Coraline and collapses into the older woman's arms, sobbing.

CORALINE

(patting Jess awkwardly on the shoulder a couple of times)

There, uh, there?

Jess takes a few minutes to calm down, during which Coraline slowly pulls/nudges her toward the edge of the clearing. In the meantime, the gogs around appear to do absolutely nothing.

JESS

They kept poking me. They seemed to really want me to help them with their doors. Except they couldn't explain very well. They just have signs and broken doors everywhere, and then they ran out of paper, and I don't even know. Lyra, what is going on?

CORALINE

They wanted help with the doors, apparently.

Coraline looks around at the motionless gogs. There seem to be fewer now.

CORALINE

We should probably get out of here. If they let us.

JESS

What did you do?

CORALINE

Uh...

AGATA

She mentioned hinges.

A nearby gog collapses.

Jess jumps, and winds up behind Coraline, clinging to her shoulder.

Coraline turns around, pulling Jess with her.

All the gogs that had been behind them are gone.

JESS

What? They're... They're...

CORALINE

Meh.

Coraline marches off into the woods in what she hopes is the general direction of the ruins, or at least town, and Jess follows closely, not letting go of Coraline's sleeve.

EXT. Molstead woods - afternoon

Coraline and Jess get back out into the open woods without too much trouble, but an odd stillness follows them. A disquieting quiet.

Coraline grumbles irritably and draws her sword, and Agata climbs around onto the opposite shoulder for a better perch. The name 'Lyra Zidane' is written down the blade in flowing patterns, with engraved leaves dancing out around it. The whole design comes across in surprisingly good taste.

JESS

What is it?

CORALINE

I don't want to alarm you, but I think we're being followed.

A bush shudders nearby.

CORALINE

Definitely being followed.

JESS

Run?

CORALINE

We don't even know who it is. Maybe it's someone who could tell us which way to run.

JESS

What?

AGATA

She means to say we're lost.

CORALINE

I would never say that. But if I would, well, yeah. We're lost.

(loudly)

Hello we need directions can you help us?

The trees rustle overhead, and leaves drift down.

A scuttling skitters in the underbrush around, over the hillocks, behind the trees.

The first few gogs appear, running toward them, and then gogs are pouring in from every direction, over the ground, covering it. The trees shake, and more gogs come down those, from all sides, all around, converging on Coraline and Jess.

Jess clings to Coraline.

The nearest gog bites at Coraline, and she stabs at it with the sword.

The gog bites at the sword instead, to no effect.

Confused, the gog bites at it again, but this has no more effect than the first time.

The gog hops backwards several metres, and then all the other gogs start converging on it, streaming around the two women, grouping, building a heap, piling up, and up, and up, until they have all just sort of conglomerated into a big, quivering conglomerate.

A gog tumbles off the side and rolls away, only to scamper back to the pile and climb back on.

There is a very long, awkward pause as gog pile and humans face off. Coraline looks a bit creeped out. Jess just looks terrified, clinging to her.

Then Coraline lowers her sword very suddenly. Jess jumps.

CORALINE

Bloody arm was getting tired.

(to the gog pile)

Hi. Gogs. Or whatever you call yourselves. Can you tell us which way to town?

There is a shuddering in the pile, and then one of the gogs in front hops forward slightly and pulls a stack of paper out of somewhere unspeakable.

It makes and holds up a sign. It reads, 'door problem'.

CORALINE

Really? We hadn't noticed.

The gog drops the paper and scribbles on another one, 'cannot into'.

CORALINE

(nodding)

Spiderball cannot into door. I've seen that one. Needs a better ending.

This goes on for a bit, but it eventually unfolds, amidst many drinks, that the door problem, specifically, is that the gogs cannot figure them out. As a result, the gogs have become obsessed with doors, stuck on how to get them open, how to get past them. So they kidnap humans, learn their language and how to write things down on paper to communicate, trying to get the humans to teach them how to door. But it doesn't work. The humans don't know what they mean, and then the gogs run out of paper. So then they need to break into humans' nests again, this time to get more paper. Except they can't, because doors are in the way, and they still can't get past them. They don't have the right appendages to use the knobs. They don't have the mass to just tear them off their hinges. Covering them with webbing does nothing. So they use other means. Throw Keith in through windows when they can. Tear the thatch off roofs and drop in when they can.

But inside are also doors.

CORALINE

So... door problem.

The gog holds up the 'door problem' sign in agreement. Or possibly a new 'door problem' sign. There are a whole lot of signs on the ground now.

The pile also quivers in agreement, or something.

CORALINE

Right. I'm really not sure how to help you with this.

The gog holds up a sign that says 'open door'.

Coraline sighs.

CORALINE

Which one of you is Keith?

A gog pries its way out of the pile and holds up a sign. The sign says only, 'Keith'.

CORALINE

Hi, Keith. What are you after when you get inside a... human nest?

Keith holds up a sign that says 'paper'.

CORALINE

Because you need paper for your signs. Of course you do. Look, we need to get back to town, but we'll send some, erm... specialists out here when we do, okay? They might be able to actually do something about your door problem. Or whatever it is your problem really is.

Coraline strafes around the pile to the side, and the entire pile rotates to face her. She backs away, and the pile stays put, watching with many, many eyes.

CORALINE

Great. Could you by any chance point us in the direction of town? Human nest nests?

A gog pries itself out of the pile and holds up a sign: 'show'.

Coraline gestures for it to lead the way, and they follow it back to the road, and then town. Agata winds up riding on its thorax for a bit, but finally gets off after a surprisingly subtle comment from Coraline.

EXT. Molstead Inn - evening

Coraline and Jess get back to the inn in the late evening, Coraline now carrying a snoring Agata under one arm. It's pleasantly cool, and several patrons are hanging around outside with mugs. They greet the women as the approach, but then go silent as they notice the gog.

CORALINE

It's a gog.

PATRON

Um.

The gog holds up a sign. It says, 'gog'.

CORALINE

See?

The inn's door is propped open, and Coraline tries to shoo the gog in, but then it just stops and pokes at the door. And then the door prop. And then the door some more.

CORALINE

(ushering Jess inside instead)

Yeah, let's just leave it at that.

(to the patrons)

Don't do anything stupid.

INT. Molstead Inn - evening

Inside is fairly busy. Folks are all about, filling the tables, standing around, drinking. DORS, the orcan bouncer, is tending bar. He waves at Coraline and Jess cheerfully as they come in, baring too many teeth.

CORALINE

Right, I think we need food. And then we need to get you home. You good to work tomorrow?

Jess nods.

Coraline pushes a very drunk guy off a barstool and he wanders off, oblivious. Then she plonks Jess down on the stool in his place, and dumps Agata in her lap.

CORALINE

Stay.

Dors pours Jess a drink.

Coraline heads to the kitchen to get some food, and grabs her staff while she's at it.

When she gets back, plates in hand, phoenix staff slung over a shoulder, a small crowd has gathered around one of the tables.

Coraline deposits the plates by Jess and goes to investigate.

The gog is on the table. Several guys are attempting to give it beer.

The gog holds up a sign that says 'inside'.

GUY

Yeah, put the beer inside. You drink it. You getting this?

(to the others)

Am I saying this right?

ANOTHER GUY

Sure, look, it seems to get it.

The gog drinks some beer.

Coraline backs away very quickly, grabs her plate, and leaves the inn entirely.

INT. Keller's place - evening

Coraline shows up to the town wizard's place, still shovelling food in her face, and pounds on the door.

A moment later, KIT, Keller's young apprentice, answers the door, peering up at her curiously.

KIT

Need something?

CORALINE

Possible job for your, erm, party, if you're up for it.

KIT

Yeah?

KELLER, dressed in stereotypical wizard robes, swoops the door open entirely before Coraline can respond.

KELLER

Miss Zidane! So good to see you again. Do come in, come in!

He ushers Kit out of the way, and Coraline inside.

Having lost access to Kit, Coraline comes inside.

Inside is rather messy. There is a stuffed moose hanging from the ceiling. Scrolls and notes are scattered across every surface. An entire wall is covered by something that looks like an elaborate chemistry experiment. Stacks of books line the other walls.

Coraline eyes the books curiously.

KELLER

So what brings you out this way this fine day, hmm?

Coraline takes another bite of her food, still eyeing the books.

KELLER

Ah, yes, I suppose I have amassed quite the collection over the years, haven't I? If there's anything you'd like to borrow, I suppose I could part... for a small fee.

Coraline painfully drags herself away from the idea of books and gets back to what she actually came here for.

CORALINE

I actually...

She stops.

CORALINE

Is that a moose?

KIT

Wondered that myself. Not a sheep, though. Nolan checked.

KELLER

It certainly is.

CORALINE

Why?

Kit shrugs.

KELLER

Oh, you know. You need the right space.

CORALINE

Right. I actually need to borrow your apprentice.

KELLER

(disappointedly)

But I have so much to give!

CORALINE

Unless you want to investigate a bunch of possibly insane gogs?

Keller stares at her for a moment.

KELLER

I've got research. Very important research that I must attend to.

CORALINE

Of course. I wouldn't mean to ask you to do anything beneath your station.

Keller hastily flounces off into another room.

Kit raises an eyebrow.

KIT

Insane gogs?

CORALINE

Well, maybe. There's a bunch of them out past the ruins, at least. Maybe you lot can figure out what the hells their problem really is?

Overtly, they're having problems with doors. And paper. The thing I'm really not clear on is why. They're communicative, though. Sort of. They use a lot of paper signs.

KIT

Sounds like you want Nolan.

CORALINE

Hey, if Nolan can translate gog signs, great. But you'll still need to translate Nolan, and you'll probably want to bring a sword with you just to be safe...

KIT

And I'm sure we can find a use for overloud shrieking.

Coraline nods.

CORALINE

Also, out of curiosity, what would Keller be likely to charge for some of those books?

KIT

More than they're worth. They're just manuals, and half of them are completely wrong.

CORALINE

Damn.

EXT. Molstead - evening

Coraline escorts Jess home later, dropping off the plate at the inn and decidedly not investigating the gog table.

The voices are almost completely drowned out by the clatter of insects now. Almost.

Jess is much calmer now. She glances toward Coraline periodically as they go as though about to say something, but then doesn't.

Coraline either doesn't notice or doesn't care.

Finally they get out of the town proper and onto the environs road through the woods

JESS

I wish I could be like you. Nothing ever stops you, does it?

Coraline gives Jess a confused look.

JESS

I just froze. I had no idea what to do, but then you showed up... thank you. Thank you.

Coraline nods.

CORALINE

You want to do something, you just do something. It won't always help, you won't always know what it will do, but if you know that doing nothing won't get you out, then try something else and figure out what will.

I used to do that too. Freeze. Not know what to do, hope it would blow over and just fix itself. Especially with people. But you get practice. You learn. You realise everything follows the same patterns, you learn how to test it and continue from there.

I still sometimes have no idea, though.

JESS

You talked to the gog.

CORALINE

I talk to a lot of things. But it's often not a bad place to start.

For some reason they continue past the turn off to the Eslinger farm.

JESS

I'd like to stop at the temple first.

CORALINE

Whatever.

INT. Molstead Temple - late evening

One of the priests, DAVIS, is lighting candles at the shrines as Jess and Coraline enter.

Jess goes to a few of the shrines and does shriney things.

Coraline wanders over to bother Davis, standing right behind him.

CORALINE

Bother.

DAVIS

Oh, hello.

CORALINE

You do this every day? Doesn't that use up a lot of candles?

DAVIS

A few. But is it not worth it to honour the gods? Suplicants may come in at any time, and it would be unfortunate if they could not see.

CORALINE

What if they're blind?

DAVIS

Then... they will have other ways.

Davis moves onto the next shrine, and Coraline follows. This one is to Kyrule, the god of death. It features a thick stone disk with a skull wearing an elaborate filigree mask carved in relief.

CORALINE

I do love that mask. If I didn't already have one, I would do ungodly things for that mask. Hells, I might anyway.

DAVIS

I'm... not sure I should be hearing this.

CORALINE

What? It's a great mask. Lovely pattern. Very geometric. And flowy.

DAVIS

That is the mask of the God of Death!

CORALINE

And he's got great taste, that's all I'm saying.

Davis gives her a worried look, so Coraline shuffles over to bother the statue, instead.

STATUE OF AZORRES

Was that really necessary?

CORALINE

Yes.

Here's a question for you. Would it be wrong to turn an entire civilisation of a sentient species of spiders into raging alcoholics?

STATUE OF AZORRES

Yes.

CORALINE

...oops.

STATUE OF AZORRES

You haven't done this.

CORALINE

Well, not yet, but if I don't do something soon I might not be able to stop it.

STATUE OF AZORRES

There is a distinction between causing something and failing to stop it.

CORALINE

There's also a distinction of I bloody live here and have to deal with the consequences, whether it had anything to do with me or not.

Jess comes over to the statue as well, kneeling before it.

STATUE OF AZORRES

Rise, dear child. You will always find solace here.

JESS

Thank you, my Lord. Thank you for watching over me.

Jess puts a cake under the statue.

JESS

You sent her for me, didn't you?

STATUE OF AZORRES

Indeed.

CORALINE

Normally I'd argue, but he actually kind of did.