This/Survivors song

The /heap contains the snippets. This is all draft.

Part n + 1: Calculate ending

The soft vibrating that you feel in your bones, it is nothing more than the humming air, handsaws twanging, cats purring too many to hear. Do you have a problem with silence?

Notes:

1. Coraline is a librarian.
2. Notes may provide context, but not meaning.
3. A 'universe' is an artificial construct.
4. Coraline Henderson is dead.

Possibility .30

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, who are 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 from under the sphinx hat.

BERTRAM

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

Part 0: Present introductions

In the year 2028, by the Cerrisian calendar, the crown of Soravia fell, sending the kingdom into chaos and turmoil. As years pass, the ruling Houses struggle for power and influence, making alliances and sending their armies to march and engage in terrible battles. The devastation only spreads, with no end in sight.

But Soravia is large, and many areas remain almost unaffected.

But Soravia is small, and there is no escape within its shores.

Notes:

1. The story is always told from perspective. Translations are built in, even gestures.
2. This was all planned in retrospect.
3. Relative positions are absolute in their primacy.
4. Every word was chosen.
5. Sisu.

Narrow Escape

EXT. Country road; Soravian wilderness - afternoon

A small Finnish woman with light brown 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, the sound of horses and dogs and shouting men gains imminence. Slung across her back is an ornate golden staff with a large, stylised phoenix built into its end, with wings outstretched.

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 clear, 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.

She heads into an inn.

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. Her eyes have gone completely black. 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, swirling in green.

A moment later, everything is normal again. Coraline is still holding the stone, her knuckles white, a strange aura covering her hands. 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 forces herself to drop 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 exchange glances and 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 as she sqiggles down the cluttered streets, holding her staff low, 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, as she lies 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 than before, forcing herself to slow only from time to time, dismounting and walking quickly beside it. They pass through the woods covering good ground, vaguely downhill.

The horse slows further, tensing, no longer getting up to speed as the day goes on, and into the night, and morning.

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, (8) steps out into the road ahead. He takes Coraline's arm just as she is about to fall before him, and pulls her to a stop, before pushing 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, shying away, stopping. They do not seem to like him at all.

The DEATHDEALER leading the group addresses Nolan.

DEATHDEALER

Where is she?

NOLAN

Who?

DEATHDEALER

The woman.

Nolan stares at the Deathdealer blankly.

DEATHDEALER

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 at 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, who looks nothing like Ganesha, looking down on the space.

Some 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. Are you Ganesha?

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, come with us.

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.

INT. Molstead temple - night

The main room is empty now, aside from Nolan, who is lingering by one of the shrines, looking strangely at home.

The Deathdealer and some of the soldiers enter the temple. They pass Nolan by, not even noticing him.

DEATHDEALER

(approaching the statue purposefully)

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

She is a Carrier of the Death of Souls! She may look like a person now, but she is cursed, and you know what will happen if she goes free and finishes her transformation. That woman will break down into a mindless monster, devouring and destroying all souls in her path, and the curse will only spread.

Surely you must see reason. She must be destroyed, now, before it is too late.

STATUE OF AZORRES

She is under my protection.

DEATHDEALER

(starting toward the back door)

I will find her. I will dismantle you piece by piece if I 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

(stepping out of the shadows)

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

Okay.

The Deathdealer nods at the soldiers and they all leave.

Nolan tilts his head slightly.

The Deathdealer draws his sword.

Nolan doesn't move.

STATUE OF AZORRES

Theramon sa Tgomi, stand down. If you will not listen to me, then listen to Kyrule, 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.

STATUE OF AZORRES

Very.

A day in the life

INT. Molstead Inn - morning

Coraline Dreams.

: In the dream, you are running, fleeing. The sky hangs grey and low. The ground is dull and rocky, simply there. The wind is furtive and blustery, coming in wet bursts, whistling in the trees' leaves. It's going to rain.

: A noise trickles out of the wet, a hint of warmth drifting around you. Trolls. They are hunting you. They have always been hunting you, and you don't remember any point in which they haven't been hunting you, and now they are getting closer. Dull leaves shift underfoot, muffling you footfalls, but it doesn't matter.

: You trip. You fall. You are down, underground. A passage, a tall shaft above, open to the sky, shows little light from so far. The first raindrops fall wet and heavy, but only from time to time, only on one side, thrown by the wind above.

: Down here, though, the walls are already wet. Seeping moisture hints at life within the ground, of strangeness, of alien forces silently at work, always changing. You cannot linger. You have to run. So you do, and the walls run with you. You run, and the walls change, widening the corridor, opening out into a grand cavern. Further on, jagged rock gives way to strange formations, pillars and columns, almost too precise, but right here, in front of you, is a car, some ancient Soviet model, poking its hood from the wall. It grins at you, all bumper and headlights, and says, "Whaddya know about that?"

: "I'm sorry," you tell the car, "But I can't stop. I need to keep moving. The moment I stop, everything goes horribly wrong and the trolls find me, so I need to keep moving, okay?"

: "I won't ask him," the car replies, withdrawing back into the wall.

: That's good enough. But then you realise you're stopped.

: The dream falls away.

The inn is a rustic preindustrial affair, wood and stone, with reasonably straight edges. Coraline is sprawled on her bed in a back room. Her hair is a silvery white-blonde now, and considerably longer. A fluffy tortoiseshell cat is on her face.

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. Her phoenix staff is leaning against the wall. Books are piled up on shelves.

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

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

The cat slides onto another pillow. There are a lot of pillows.

CORALINE

Mwaaagh?

The cat purrs.

CORALINE

Perkele. You're not one of mine. Who the hells are you, cat, and what are you doing in my bed?

The cat doesn't respond.

Coraline 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.

The tavern proper is completely empty, the floor swept, the tables stacked (aside from one missing a leg and nailed to the ceiling as a rather peculiar hazard). The shutters are open, sunlight streaming in.

Coraline hurries over and closes them, grumbling.

The tortoiseshell 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 the cat like a sack of potatoes.

CORALINE

(to the cat)

Any of this yours? Hmm?

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

CORALINE

(irritably)

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

CAT

Who?

Coraline lowers the cat 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 the cat, 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 the cat)

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?

CAT

(hissing)

The day you die.

The cat 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.

The cat watches curiously from Coraline's 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.

CAT

You got yourself a sword.

CORALINE

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

CAT

Meh.

Coraline heads over to some various folk to ask around about Jess, though nothing really comes of it. She buys some lunch while she's at it.

After, she heads off down the road.

EXT. Molstead road - late morning

CORALINE

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

CAT

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?

CAT

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

CORALINE

What, did something happen to your old witch?

The cat purrs.

CORALINE

You got a name, then?

The cat 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.

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

CAT

Maybe.

CORALINE

(removing the cat paw from her face)

Maybe?

CAT

I'm Agata.

CORALINE

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

CAT

(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.

The cat, 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 of Azorres, 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.

STATUE OF AZORRES

It is a difficult burden you carry.

CORALINE

What else am I going to do with it, drop it?

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 nods, but doesn't go.

Agata peers up at her curiously.

CORALINE

(quietly)

I'm getting weaker. It's slight, but I can feel myself slipping more and more. I thought if I didn't use magic, maybe I'd be okay. It'd stop. But it's winning. Slowly it's winning.

STATUE OF AZORRES

Four thousand years and there has been no cure to the Death of Souls. You know it will not simply go away.

CORALINE

But what can I do?

STATUE OF AZORRES

Find Jess. One problem at a time.

AGATA

You're oddly intelligent, for a statue.

STATUE OF AZORRES

I will take that as a compliment, little one.

CORALINE

Cat, after some of the people I've dealt with, I'd say it's oddly intelligent for anything, really.

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.

CORALINE

Sassmaster.

Agata closes her eyes contentedly.

Coraline scoops up Agata.

CORALINE

And seriously, 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 resulting fuzziness.

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.

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?

A beige and gloopy PORRIDGE 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

Mostly they're just an annoyance. Steal some sheep. Web over a door. That sort of thing.

AGATA

Mostly.

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

Damn 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

(shaking her head)

No, this is not polandball.

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.

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 they 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.

Another cat, ARGUMENT OF HAGS, yowls from a shelf in welcome.

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.

DORS

I expect you've had a day. How about some poses?

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.

Dors is striking ridiculous poses at Jess.

Coraline deposits the plates by Jess and goes to investigate the crowd.

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 Keller's place, still shovelling food in her face, and pounds on the door.

A moment later, KIT, Keller's apprentice (he's about 12), answers the door, peering up at her curiously.

KIT

Need something?

CORALINE

Got a job, if you're interested.

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 notices the moose)

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.

Kit pulls one out of a pile and hands it to Coraline.

KIT

Here, this one's a good starting kit. Just take it. He won't even notice.

CORALINE

Er, thanks.

EXT. Molstead - evening

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

Outside, the voices are almost completely drowned out by the clatter of insects. 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.

(quietly)

I still sometimes have no idea, though, and I put it off, don't deal with it. It just gets worse in the meantime.

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

Sure.

INT. Molstead Temple - late evening

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.

Davis looks at Coraline expectantly.

CORALINE

...that was really all I had to say.

Davis gives her an amused look and 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

The mask of the God of Death?

CORALINE

He's got great taste.

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

Oh.

STATUE OF AZORRES

Were you really considering this?

CORALINE

Not particularly, but if I don't do something soon I might not be able to stop it, either.

STATUE OF AZORRES

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

CORALINE

There's also a distinction of I 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.

(she puts a cake with the other offerings)

You sent Lyra for me, didn't you?

STATUE OF AZORRES

I did.

CORALINE

Normally I'd argue, but... yeah.

(to the statue)

Why didn't you just tell me where she was?

STATUE OF AZORRES

I did not know. A god may see their faithful as existing within the world, and know them how they are, but this comes with no precise knowledge of location or status. I knew that she was alive and in need. I heard her prayers and sent you the only direction that made sense.

CORALINE

You see like soap bubbles, each one an image reflected in the colours. It doesn't narrow things down, but it will amaze. Fuzzy little world.

The voices whisper in the background.

Gog handling

INT. Molstead inn - morning

It is morning. The inn is empty, much like the previous morning. The spare gog has cocooned itself on the hazard table sticking out of the ceiling. An argument is happening outside the main door.

Coraline grumps into the tavern proper holding a bottle of whiskey, staff on her back, sword on her belt, looking like a very angry videogame character. Several cats watch her from the bar as she passes: Thimble and Argument of Hags, as well as TRESS, SCOFFLE, and ONPAHANVAANLAMPI. Thimble looks particularly angry today.

Coraline grumps over to the door and tries to open it.

Coraline tries to open the door again.

Behind her, the gog holds a sign off the hanging table. The sign says, 'rote system'.

JESS

(yelling from outside)

Lyra? You in there?

CORALINE

Yeah, what's wrong with the door?

Agata pads over and peers up at the gog.

AGATA

It's called a hangover.

KIT

(also yelling from outside)

Gogs webbed it over! Hold on, I'll get it off.

CORALINE

Kit? What... voi paska.

There's a FWOOMPH outside, and a moment later, JORA, the kids' young elven sword-nanny, opens the door and peers inside, sword out.

Jora nods and sheaths the sword.

Nolan (now 11, though he's hardly grown in the meantime) and ERRY, Kit's little sister (8), are also there.

Jess heads inside and then stops, staring at the gog on the table.

CORALINE

Just... ignore it. I don't know.

The gog holds out a sign that says, 'hangover'. The sign is right-side-up for a change.

CORALINE

Get it some coffee maybe?

Jess gives Coraline a confused look.

Coraline shrugs blankly.

KIT

So. Gogs?

CORALINE

Gogs.

Coraline picks up Agata and hangs the cat around her neck like a very warm, stuffy, purring scarf.

EXT. Elven ruins - morning

Erry runs out into the ruins first and climbs up a particularly upright chunk of wall. Nolan climbs after her not long after.

Kit, Jora, and Coraline all walk in like normal people.

Agata walks in a bit behind them, peering about.

KIT

I think I see where the gogs are.

CORALINE

Yup.

INT. Gog tunnels - morning

The tunnels are empty. There is no sign of any gogs actually in the area.

Coraline and the kids come to the tree with the hole cut through the trunk, and the door shoved in it.

CORALINE

So they did that.

KIT

I don't get it. What possible purpose could that serve?

ERRY

They didn't get that something has to actually hold up the tree. Or maybe they did?

Coraline shrugs.

Jora stalks ahead, listening for something.

NOLAN

We're coming.

They continue on, into the tunnels themselves, and come to the circular chamber with the solitary wooden door enshrined in the centre.

There's a rustle in the other tunnels.

Nolan strides up to the door and peers up at it.

Jora draws her sword.

Coraline gets out her staff.

Nolan puts a hand on the doorknob.

A shiver whispers through the webbing around and overhead. The ceiling thrums.

Nolan turns the knob.

The walls tremble. Gogs poke out of the tunnel openings, peering in.

Nolan opens the door, swinging it open on missing hinges.

The vibrations in the webbing are almost constant, now, jarring, humming. Gogs climb over gogs, peering in, watching. A couple topple down into the room itself.

Behind the door is a space, empty, black, silent. Echoes drift outward, countering the hum around. Behind it is a rhythm, almost like a heartbeat.

Nolan closes the door.

Several more gogs tumble down to the floor.

NOLAN

I see.

The gogs all still around them. The vibrations cease. The humming quiets.

KIT

You do?

ERRY

In the darkness, silence waits. It's listening. It hears us, even now.

Agata pads around the door, peering at the back.

Nolan turns around slightly.

More gogs fall into the room, pushed out of the tunnels by gogs behind them.

Nolan holds up a sign. It says 'Door'.

Several dozen gogs all around them also hold up signs, which also say 'door'.

Nolan holds up another sign that says 'interminable darkness'.

A couple of gogs hold up signs saying 'talk' and 'signs' and 'alive'.

Nolan holds up a sign that says 'sheep'.

KIT

Well, that didn't last long.

There is a shuffling in the tunnels.

Some other gogs hold up signs saying 'open door' and 'darkness'.

AGATA

Oy, human. Open that door again.

Nolan holds up a sign that says 'a master'.

The gogs still and lower their signs.

Nolan turns and opens the door again.

The heartbeat reverberates against the dark. Echoes whisper.

Agata sniffs at the darkness, her ears back.

AGATA

Witch.

What do you see?

CORALINE

(coming a bit closer)

Darkness, and a door with no hinges or frame.

AGATA

Wizard, what about you?

KIT

(also coming over)

Concur with the witch?

AGATA

(shaking her head)

Close your eyes, both of you, and look properly.

CORALINE

Eh?

Regardless, they do.

At first nothing stands out, but then, without eyes, the doorway comes into focus. There is a frame, and beyond it, not darkness at all, but light. Humming. Pulsating.

The voices whisper strangely around, distorted. Something else lingers behind.

KIT

I see a frame.

CORALINE

It's bright. Alive. There's something... familiar...

Kit opens his eyes.

KIT

It hears us. Feels us.

Agata hisses.

ERRY

(shouting)

Close it, close it put it away get it away out out out of my head it's in my head it's... in...

Erry collapses behind them.

Jora hurries over to Erry.

Nolan shoves at the door, but it doesn't close.

Kit starts to walk toward it, but Coraline knocks him down and shoots at the door with her staff. The first blast disappears into the dark, so she shoots the frame, instead, narrowing the blasts, intensifying the heat, making them resonate with the same energies as the frame itself.

The frame begins to unravel, and she finishes it, slicing it to pieces with the bladed wings.

The brightness fades. The voices return to normal.

Coraline opens her eyes.

The open doorway is gone. The strange hum is gone. Only a burnt, bent, gashed door remains on the ground, torn off its imaginary hinges.

Hundreds of gogs stare silently.

Nolan holds up a sign that says 'irrelevant'.

NOLAN

You don't need to open doors. You need paper and a purpose. I will teach you.

Nolan walks over to a seemingly random gog tunnel and stares at the gogs occupying it.

One of them holds up a sign uncertainly: 'forward'.

Coraline glances over to Agata, who simply sits watching.

CORALINE

What was that?

AGATA

A teaching moment.

Kit gets up, looking confused.

KIT

What? Erry?

JORA

She's alive, but unconscious.

Nolan continues to stare at the gogs in the tunnel. Slowly the gogs in it shuffle about, and then start to get out of the way. The gogs in the other tunnels, too, begin to disperse, pouring out into the chamber and scuttling after Nolan.

Nolan heads into the cleared tunnel.

JORA

Get your sister back to town.

Jora hurries after Nolan.

KIT

I suppose we can just let him do his thing.

Kit peers after them longingly.

CORALINE

Oh, just go. See what happens. I'll take care of your sister.

Coraline kneels next to Erry and places a hand on her chest, using her healing senses to give the girl a proper go-over. Overall, she seems to be fine. There's a general sense of exhaustion and a bit of a darkness lingering in her mind, but no real sign of overt damage or anything particularly alien.

Kit runs off almost immediately.

AGATA

Well, he clearly cares.

CORALINE

He's what, twelve? What do you expect?

(she picks up Erry)

Ugh, she's heavy.

AGATA

Or perhaps you're just weak.

CORALINE

I'm definitely weak. But she's also heavy. These are not exclusive things.

Coraline tries again, this time hoisting Erry across her shoulders in a fireman's carry.

INT. Molstead temple - late morning

Coraline pries the temple door open with a mostly free hand and sidles in.

Davis and Cormith are in a corner talking to their intern, KILBETH.

CORALINE

Cormith! You're a real healer, right? Could you give me a hand with this girl?

CORMITH

(hurrying over)

What seems to be the matter?

Coraline passes Erry over to Cormith, and he takes the girl, holding her much more gently than Coraline had been.

CORALINE

Something up in her headbrains. I didn't want to try anything for fear of making it worse.

CORMITH

I... see. I'll see what I can do.

CORALINE

Great. In the meantime I think I'm going to get myself reacquainted with your floor.

Coraline lies down heavily on the floor, sprawling across the stone.

CORALINE

(mumbling)

Hello, floor. You're a nice floor.

Davis looms overhead.

DAVIS

Are, um, are you all right?

Coraline lethargically holds up a thumb, and then tries to actually put it up relative to the rest of her hand, though it only sort of works due to the angle.

Agata climbs onto Coraline's chest and sits down, a paw very firmly on Coraline's boob.

CORALINE

Agh, cat!

AGATA

She's fine.

CORALINE

Well, I was, back when I could actually breathe!

Davis picks up Agata.

Coraline very hastily gets up and then nearly falls over again immediately after, grabbing Davis' arm to stabilise herself.

DAVIS

(concerned)

Are you sure you're all right?

CORALINE

I'm just tired. And blood pressure.

(she takes Agata off him)

I'm fine. Nothing to be worried about. You know the gogs in the woods had a door to horrible black nothing? Because the gogs in the woods had a door that opened up to horrible black nothing. Is that normal?

DAVIS

There are stories of Gateways opening to other realms. Often the entities beyond them are less than friendly.

CORALINE

Sure, except this was a door. Like that one.

(she indicates a completely ordinary door to a back room)

Wooden. With a knob. It had a heartbeat.

I kind of maybe slightly sort of destroyed it.

DAVIS

The heartbeat or the door?

CORALINE

The... door.

Davis nods slowly.

EXT. Granny Höhrmann's place - noonish

Granny Höhrmann's place is a cottage on the other end of town. It is suitably rustic. It has extensive flower gardens. It has grass and a small tree growing on the roof. A goat is tied to a log.

Coraline wanders over and knocks on the front door, Agata slung under an arm.

There's no response.

Coraline heads around back. Agata hangs limply.

GRANNY HÖHRMANN is sitting under a tree with a cat on her lap. They appear to be having a staring contest.

Coraline walks over and stares at both of them for a bit.

CORALINE

(finally)

What are you doing?

GRANNY HÖHRMANN

Arguing with my cat.

AGATA

Are you winning?

Granny Höhrmann looks up in surprise at Agata and squints a bit.

GRANNY HÖHRMANN

Mad Anna's cat, isn't it?

AGATA

Not anymore.

CORALINE

So you know each other?

GRANNY HÖHRMANN

Knew Mad Anna.

CORALINE

What about her cat?

GRANNY HÖHRMANN

Might be it.

CORALINE

She says I'm a witch.

GRANNY HÖHRMANN

Might be.

There's a long silence as Granny Hörmann goes back to staring at her cat.

CORALINE

So... who's winning the argument?

Granny Höhrmann frowns.

AGATA

Apparently the cat.

GRANNY HÖHRMANN

What do you think, Samaritan?

Granny Höhrmann's cat, SAMARITAN, turns to regard Coraline and Agata.

SAMARITAN

(yawning)

What is it, then? What are your knacks?

CORALINE

My what, now?

SAMARITAN

You're a witch, you got knacks. What are you good at?

Coraline glances at Agata.

AGATA

Drinking, mostly.

CORALINE

Hitting things with heavy objects.

AGATA

While drinking.

CORALINE

Yes.

AGATA

Possibly hitting things with objects drinking out of.

CORALINE

I do that sometimes too.

AGATA

I'm not surprised.

CORALINE

Still want me for a witch?

AGATA

Will you stop carrying me like a pile of logs?

CORALINE

Maybe. Depends on your answer.

Granny Höhrmann bursts out laughing.

GRANNY HÖHRMANN

Oh, you two are perfect for each other. And here me and Samaritan just argue all the time, but you... you'll spend a lifetime cracking each other up.

There's an awkward silence.

GRANNY HÖHRMANN

What's the matter? Spit it out.

Coraline puts down Agata.

Samaritan jumps off Granny Höhrmann's lap and the two cats sniff at each other.

CORALINE

Let's pretend I have much of a lifetime left. Is this where my magic is from? Do cats just... normally show up? What exactly are witches?

(quietly)

Will this... help?

GRANNY HÖHRMANN

Witches are. You're born to it, to your knacks. What you do with it is up to you, but it is yours.

As for whether it'll help you or not, I rather think that'll be up to you. Don't screw it up.

CORALINE

So it's a tool.

GRANNY HÖHRMANN

Exactly.

CORALINE

And I've got a cat who is also a tool.

AGATA

Appropriate, for you.

SAMARITAN

A cat and her witch, you're bound together. You'll share all your power and knowledge. You'll be allies whether you want to or not.

Samaritan stares at Agata.

AGATA

I chose her carefully.

Her knacks are... different. She can heal, and I bet we could kill. Anything.

Agata bares her teeth for a moment, and then it turns into a yawn. Samaritan yawns as well.

GRANNY HÖHRMANN

(to Coraline)

And Anna was all about the fire, so you might find you've some skill with that, too, now.

CORALINE

And what about our snark? We get to share that, too?

Agata's voice resonates in Coraline's mind, like the constant voices around, but different.

AGATA

(mind voice)

Always.

CORALINE

(mind voice)

Agata? How... we just talk. And nobody else hears?

AGATA

(mind voice)

Mostly.

Coraline stares at the cats.

CORALINE

Perkele. I get all the worst and best things in my life. Horrid luck. Great luck.

Ghaaah.

GRANNY HÖHRMANN

(nodding)

Sounds like life, that.

Go on and learn.

Granny Hörmann waves dismissively.

INT. Molstead Inn - afternoon

It is later. The spare gog has wandered off. Coraline is doing inn-y things, setting up for the evening, coordinating with Jess. Tress rubs against her legs from time to time, almost tripping her occasionally. Agata watches from a shelf.

CORALINE

(mind voice)

Agata?

AGATA

(mind voice)

Yes?

CORALINE

(mind voice)

Are you okay with this? With me, what I am?

AGATA

(mind voice)

I knew. Soon as I smelled you, I knew. You've got darkness in you, and secrets. But also sisu. What is sisu?

CORALINE

(mind voice)

It means a lot of things. In this case, I guess it might mean survival.

AGATA

(mind voice)

Yes. Your courage, your grit. Determination and focus, even against impossible odds. The hallmarks of a good witch. Sisukas.

CORALINE

(mind voice)

I'm going to die. I may kill a lot of others, and worse, in the process.

AGATA

(mind voice)

And when that happens, I'll find another witch.

Coraline looks up from scooting out a table.

Agata peers down at her imperiously, purring, and closes her eyes.

Part 1: Initiate precursor events

Everybody is running from something. They may not know it, and they may not fear it, but still they run. Some even run from running itself.

And yet the bullet you're running from is almost never the one that hits you.

Notes:

1. Not everything is translated from the original tongues.
2. Everything is translated.
3. Notes may provide meaning, but not context.
4. Insert metaphor as indicated in the instructions.
5. Small events gain traction. In time, they may demolish nations. Catch them as they start, and you may miss the true design.
6. This is not a kids' story.

Bounty hunter

EXT. Tree overlooking the Molstead market - morning

Autumn leaves linger on the trees, blow down the streets, into corners, curling up in little whirlwinds. The market is bustling with autumnal bustle, especially as people prepare for the upcoming Harvest Festival. A stall is occupied entirely by gogs.

It is very autumn now.

Overlooking it all, among others, is a tree. Nolan is in it, watching, unnoticed.

EXT. Molstead Market - morning

On the ground, a BOUNTY HUNTER stands in a corner, watching, waiting. Townsfolk whisper, greeting him, avoiding him.

The town hamstery guy spots him and scuttles over.

HAMSTERY GUY

What time is it?

BOUNTY HUNTER

Quarter to five, I s'pose?

HAMSTERY GUY

(more insistently)

What time is it?

The hunter doesn't respond, and heads over toward the gog stall.

The hamstery guy follows the hunter, staring at him suspiciously.

The hunter continues to ignore the hamstery guy.

The hamstery guy makes an angry noise almost, but not entirely, unlike something that would come out of a hamster, and then, finally, sidles off to pester someone else.

The gog stall is full of gogs. Gogs are piled up on the table. Gogs are behind the table. Gogs are hanging off the top. Over half of them appear to be asleep. Stacks and rolls of paper are shoved in between them, and piled underneath.

A couple of gogs hold up signs, upside-down, as passerby approach, and hold them up toward the hunter as well. They say 'paper' and 'sale' and 'give'.

The hunter stops in front of them.

The gog with the 'paper' sign holds it up at him.

BOUNTY HUNTER

Are you... selling paper?

The gog holds up a sign that says 'sell paper'.

BOUNTY HUNTER

Is that a yes?

Another gog holds up a sign that says 'paper'.

BOUNTY HUNTER

So if I want this paper...

(he taps a pile of paper)

What?

A gog holds up a sign that says 'give'.

BOUNTY HUNTER

You'll give me the paper?

RANDOM PASSERBY

(helpfully)

You give them something, and then they give you paper.

The gogs hold up several more signs, mostly repeats of what they were already holding up.

The bounty hunter places a coin next to them.

A gog slides the coin under another gog.

Another gog entirely passes him a small stack of papers.

INT. Molstead inn - afternoon

The inn is set up for the evening. Some patrons are there, doing inn patron things, drinking and socialising. The table hazard sticking out of the ceiling has three gogs on it today, one of them dangling a sign off that says 'eels'.

Coraline is at a table with a glass of cider and a sketchbook, drawing her cats: Tress loafing on the table in front of her, with Onpahanvaanlampi sitting on Tress. A book of magic and some other bits of paper are shoved off to the side.

The cook, MALLA, comes over.

MALLA

Lady Zidane, there's something dripping in one of the rooms upstairs. If you could take a look?

CORALINE

What?

MALLA

I don't know. I think it's in 2.

CORALINE

(getting up)

Alright, thanks.

INT. Molstead inn upstairs - afternoon

Coraline goes up to investigate, torch and staff weapon in hand, not really expecting to need either. Agata pads after her.

Something drips.

Coraline heads over to the indicated room and peers inside. It's a simple setup: bed, table, chair. On the floor next to the bed is a small puddle.

Another drop drips out of the ceiling and lands in the puddle with a small plop.

Coraline eyeballs the puddle, and then heads up to the attic.

INT. Molstead inn attic - afternoon

The attic is low and warm and full of things. There are a lot of boxes, and everything is covered in dust and bits of insulation. Some logs are shoved into a corner. A pile of shoes is piled up almost to the roof.

Coraline shines her torch about as they come up, hunching over to fit.

Agata trots ahead, poking about.

They head toward the general area over room 2.

Coraline checks behind boxes as they go. Shadows jump away from her torch. Wintersday decorations sparkle sharply. A broken rocking chair throws jagged shadows. Crystalised beads of pitch glitter on the rafters. A well looms up out of the gloom, a bucket on a rope spilled next to it in a large puddle.

Coraline scoots up to the well and stares at it blankly.

Agata hops up on the edge and peers inside, and Coraline half-sits and leans over and peers inside as well, shining down the narrow beam of the torch.

There is no sign of the bottom.

Agata and Coraline exchange looks.

CORALINE

It's a well.

AGATA

Apparently.

CORALINE

In the attic.

AGATA

Yes.

CORALINE

I'm not hallucinating?

Coraline looks down the well again, but it just looks like a well, so then she makes a magelight, forming the spell in her mind. When it twinkles into being in her hand, she leans over the lip of the well again and drops it in, watching as it drifts a few dozen metres, illuminating the bricked walls, before hitting water and disappearing silently.

CORALINE

Huh.

AGATA

What do you see?

CORALINE

A well. And I'm not just being snarky, either. There was no sign of this below, even though it clearly is going... below.

AGATA

There was water.

CORALINE

Well, yes, and a bucket.

Coraline rights the bucket, and then sticks the end of the staff in the puddle and flash evaporates most of it into steam.

When she looks up, she finds a large TENTACLE MONSTER staring her down from across the well. It looks like a collapsed pile of tentacles covered in eyes.

Coraline shines her torch back down at the well just to be sure that's the same as it was. It is.

Coraline shines her torch back on the tentacle monster on the other side, which is also still there.

The tentacle monster blinks a long row of eyes, in sequence.

CORALINE

(mind voice)

Agata, verify I'm not hallucinating.

AGATA

(mind voice)

That's probably really there.

CORALINE

(mind voice)

Okay. Good. I guess.

(to the tentacle monster)

Hi. I don't suppose you speak whatever this is?

The tentacle monster blinks another long row of eyes, also in sequence.

CORALINE

I don't suppose you speak? Perkele.

TENTACLE MONSTER

(in a voice not quite there, but also all around)

We speak.

CORALINE

(nodding)

Oh, good. I was worried we'd have to try signs.

TENTACLE MONSTER

(raising some tentacles)

We are fluent in multiple sign forms if that is what you require.

AGATA

She meant literal signs that you hold up. We have gogs that use those. Why are we speaking deslau?

TENTACLE MONSTER

It is the language.

AGATA

Maybe in Deslan. You're in Soravia, dumbarse. They speak Soravian here.

TENTACLE MONSTER

You appear to understand, and reciprocate.

CORALINE

We're special. Is this your well? Were you trying for somewhere else, maybe?

TENTACLE MONSTER

We were trying for sanctuary. Is this sanctuary?

CORALINE

Sure. I don't know.

Come on, then.

Coraline turns toward the door, hunching over again in order to avoid banging her head on the rafters, and gestures for the tentacle monster to follow.

INT. Molstead inn - late afternoon

The inn is getting a little busier now. Two kids, OLAF and EVERRUSCIAS, are playing swordfighting between the tables. Everruscias jumps on an unoccupied table, and slashes at Olaf.

Dors is watching from the bar, looking amused.

The gogs on the table hazard hold up signs saying 'hide force' and 'lower'.

Coraline comes down the stairs, followed by a cat and a now much more upright tentacle monster.

CORALINE

(yelling)

Oy! Get off the tables!

EVERRUSCIAS

(dodging a return attack)

But Dors said it was fine!

CORALINE

It is fine, right up until you break one! Then he breaks you.

Everruscias and Olaf look uncertainly at Dors.

Dors grins.

Everruscias hastily jumps off the table.

Coraline heads over to Dors, the tentacle monster still following. The kids stare at it in wonderment. Conversation amongst the patrons winds down as they stop and stare at it as well.

CORALINE

So this...

(she glances at the tentacle monster uncertainly)

Whatever this is wants sanctuary.

Dors rubs his chin ponderously.

TENTACLE MONSTER

The Old Ones awaken. There is no escape in the held lands.

Everruscias comes over toward the tentacle monster.

The tentacle monster blinks a long series of eyes at her down what might be its back.

DORS

Interesting language. Not one I know.

CORALINE

It's deslau, apparently. Isn't that from the other side of the planet?

DORS

Not bad, if it at least got the planet right.

CORALINE

Yeah, no kidding. Except that doesn't really help us much, since why would anyone around these parts know deslau?

AGATA

You mean besides us?

CORALINE

Bah.

(to the tentacle monster, in deslau)

Okay, so who are you, what are you, what exactly constitutes 'sanctuary', and are these 'Old Ones' likely to pose us any threat here?

TENTACLE MONSTER

We are lhjuathgn, all in one. Here there is escape, for these lands are not held.

CORALINE

So... that's a no?

TENTACLE MONSTER

Your time spans are infinitesimal.

Malla pops out of the kitchen and then stares at the tentacle monster in utter horror.

MALLA

(sinking to her knees)

What... gods, what...

CORALINE

(indicating the tentacle monster)

Found the thing causing the drip. I think.

Everruscias reaches out to poke the tentacle monster, and it reaches out a tentacle toward her. Finger and tentacle meet in the middle.

EVERRUSCIAS

Eeeee.

DORS

An alien, probably from the outer planes. Not too unusual.

AGATA

Says an alien.

CORALINE

Pfft, we're all aliens.

(to the tentacle monster, in deslau)

Okay, so we can get you set up with a room, or stuff. Just... if you ever need to come up through a well again, please don't leave a puddle on the floor, okay? It's hard on the wood.

EVERRUSCIAS

Where did you learn to talk like that?

CORALINE

I'm a witch. It's a witch thing.

EVERRUSCIAS

No it isn't.

CORALINE

Are you a witch?

EVERRUSCIAS

...no.

CORALINE

Then how would you know it's not a witch thing?

TENTACLE MONSTER

A room would be acceptable.

CORALINE

Great. Okay.

ERIK MAYER, a son of one of the town's larger families, pops in.

ERIK MAYER

Hey, Lyra. We need the council.

CORALINE

Eh? But I've got a tentacle monster!

Erik stares at the tentacle monster for a moment in confusion before recovering himself.

ERIK MAYER

It... it's important. There's been an incident.

CORALINE

Ghah, fine.

(to the tentacle monster, in deslau)

This guy will get you set up.

(to Dors)

Get the lhjuathughah... tentacle... thing a room. I don't think it poses any threat or anything, unless it wants to. But we can sort that out later. Figure out some way for it to pay, I don't even care what.

(she picks up Agata and shoves the cat at Dors)

Use this cat to translate.

Dors takes Agata and Agata stares at him.

DORS

Will you translate?

AGATA

If I must.

Coraline hurries out after Erik.

Dors holds Agata out toward the tentacle monster.

INT. Mayer house - evening

The town council gathers in the Mayer sitting room. EDINE MAYER is hosting; others present include EVERTON JAMES, DAVIS, NARAN, MOIRA, GWYNNE ENORI, MERLIJN, Granny Höhrmann, and Coraline, who shows up last and covered in bits of insulation and cat hair.

The coffee table is set up for tea, with tea, coffee, and a proliferation of cakes laid out. Some of the teacups are weirdly small. Several half-completed craft projects are stowed against the wall.

Davis is eating a cake.

Granny Höhrmann is sitting in a rocking chair in the corner with a cup of tea and Samaritan on her lap.

Coraline plonks down and starts mixing the Cerrisian equivalent of Irish coffee, pulling an entire bottle of whiskey out of her pocket.

MERLIJN

Okay, finally, we're all here, mostly.

EDINE MAYER

So what's the big emergency all of a sudden, and now of all times? Half the folks couldn't even make it what with the festival.

Why are we being all hush-hush?

CORALINE

It's not the tentacle monster, I can tell you that much.

EDINE MAYER

What tentacle monster?

CORALINE

The one that crawled up out of a well in the inn's attic.

GWYNNE ENORI

What?

MERLIJN

There's been a murder.

EDINE MAYER

Now? Who? Who would do that?

MERLIJN

Yink. The... guy who keeps following people around asking them what time it is. Feldman found him in his shed. Throat was slit, and this was... there.

Merlijn holds up a black soulstone.

Coraline stares at it.

So does most everyone else in the room.

The voices rise and twirl about.

MOIRA

What does it mean?

CORALINE

(forcing herself to look away)

Yink wasn't a Carrier.

Some of the folks look confused. Davis and Granny Höhrmann look at Coraline possibly a bit too intently.

CORALINE

That's a black soul gem. You get that when you try to capture the soul of a Carrier of the Death of Souls so it doesn't spread. Except Yink wasn't a Carrier. Whatever happened to him, that was something else.

GWYNNE ENORI

Right, been like that for years, Yink has.

EVERTON JAMES

What, you're saying whoever did this just left that there?

CORALINE

I dunno... maybe? He might have wanted to cover his tracks, or make it out like Yink was a Carrier even though... he wasn't...

(she shrugs blankly, trying not to look too freaked out)

I know Deathdealers often use these to track down Carriers in the first place, so if it was some sort of hunter, that would at least explain why he had it.

MOIRA

And there is a hunter in town. Rough-looking sort. Was watching the market all morning.

EVERTON JAMES

So what, he messed up?

NARAN

Do we care?

What? Might as well put it out there. Yink was nuts. Useless. Couldn't even help himself. We don't even know if he's happier dead.

DAVIS

(quietly)

That isn't our decision.

GWYNNE ENORI

But we don't have any carriers, do we? Why is this guy here? What if he's right, even if not about Yink?

CORALINE

No, we'd know...

Except suddenly Coraline isn't so sure. Something feels off, the voices different. She shakes her head, trying to clear it.

MERLIJN

I find that unlikely.

(he sighs)

Not knowing the first thing about any of us, who do we expect this guy is gonna go after next?

GWYNNE ENORI

(horrified)

Oh gods! Nolan!

Gwynne runs out of the room.

EVERTON JAMES

So what, now he's gonna kill a kid? Where's the sense in that?

MERLIJN

What, you think it makes sense killing someone and leaving him in a guy's shed?

MOIRA

Wasn't Feldman's the one that got hit with that cow?

NARAN

Clearly it made sense to him.

EDINE MAYER

Of course it doesn't bloody make sense! What about the children? First Nolan, then who?

Coraline sighs and has at the the whiskey, and proceeds to pay no attention whatsoever to the ensuing yell-fest.

Half an hour later, it's still going on, though Merlijn at least has since gone off to go do something useful. Coraline is completely drunk, just sort of sitting in a fuzzy stupor.

Edine yells stuff.

Davis yells stuff.

Naran says something in a completely normal tone of voice which is quickly drowned out by Everton yelling stuff.

The voices are silent.

Moira looks irked.

Coraline pours her some whiskey.

A bit later, Moira looks a bit less irked.

At some point Samaritan winds up on Coraline's lap, and Coraline strokes the cat's fur.

Granny Höhrmann rocks idly, knitting.

GRANNY HÖHRMANN

(quietly)

Idiots, all of you.

Edine yells some more.

Everton yells at her.

Davis and Edine yell right back.

CORALINE

(to Samaritan)

I should do something, shouldn't I?

Samaritan purrs.

There is more yelling.

Coraline sets the cat aside, gets up, sets her whiskey on fire, and drops it on the coffee table.

The yelling takes a moment to stop, during which the coffee table gets well and truly on fire.

CORALINE

Oops.

Granny Höhrmann stands walks over to the coffee table with the deadly certainty of an iceberg, and holds a hand over it.

The fire goes out.

GRANNY HÖHRMANN

(glaring at the room)

There has been a murder. Doesn't matter who it was, doesn't matter now why. We assign a judiciary and we handle it.

Everyone just sort of stares at her. Some look decidedly embarassed.

GRANNY HÖHRMANN

Lyra, will you be our judiciary?

CORALINE

Whuh?

GRANNY HÖHRMANN

Get to the bottom of this. You know more about these matters than anyone here, so make your assessment and decide for us all.

(glancing about the room)

Lest there be more. Lest he find his Carrier whether there is one or not.

Nobody argues.

CORALINE

Right, okay.

(indicating Granny Höhrmann)

But if I wind up feeding this guy to a tentacle monster, blame her. And someone tell Merlijn we'll need the militia... something.

I need to go sober up after all of you.

Coraline rubs her head as she leaves.

Naran leans back, chuckling to himself.

INT. Molstead inn - night

The place is busy, with quite a few folks in from out of town and the outlying farms. The gog hazard ceiling table has an entire pile of gogs on it, plus two sort of hanging off it. Coraline is tending bar. Dors is making rounds ensuring nobody gets too rowdy, and striking poses at some of the patrons.

Coraline passes off another set of drinks to one of the waitresses.

PATRON

Could we get a refill over here?

CORALINE

Coming, coming.

Coraline fills a pitcher and passes it over, and adds a tick to the sheet under the bar.

Another guy, THOMAS, is at the bar when she looks up.

THOMAS

Hey Captain.

CORALINE

Yeah? What... don't call me that.

What do you need?

THOMAS

You're a captain.

The Commander sent me. We got the guy.

CORALINE

Oh! And I'm mostly coherent. What are the odds?

(she looks around at the rather busy inn)

I.. ghah.

(yelling)

Dors! Bar!

Coraline grabs Agata under an arm and shuffles out, grabbing her staff with her other hand.

Dors vaults over the bar to replace her, doing a flip, rather freaking out a patron underneath him.

INT. Militia house - night

The militia house is full of militia, who are all basically just random folks in bits of armour with swords and shovels and the odd bow and crossbow.

Merlijn greets Coraline as she and Thomas enter.

Thomas sort of salutes Merlijn.

THOMAS

Commander.

Merlijn nods at Thomas.

MERLIJN

(to Coraline)

He's in back. Davis says you're the judiciary?

CORALINE

Yeah, I don't know.

They head over toward the cells in the back. In one cell is a chair, and tied to it, the rather muscular, rough-looking bounty hunter. In the next cell is a small pile of weapons and armour.

Coraline gives him a dubious look.

CORALINE

I'm almost afraid to ask, but how, exactly, did you manage to capture this guy?

MERLIJN

Nolan dropped a rock on his head.

CORALINE

...of course he did.

BOUNTY HUNTER

Are you in charge?

CORALINE

Apparently. Who are you, why are you here, and why did you murder Yink von Jummerlund?

MILITIA GUY NORMAN

Er, Yink's name wasn't...

CORALINE

Shut up.

Coraline glares at the bounty hunter.

BOUNTY HUNTER

The name is Dalric. Dalic of Forst.

There's an empty pause while he looks at Coraline expectantly.

BOUNTY HUNTER

You might have heard of me.

CORALINE

Nope.

A few of the militia helpfully point out that they have.

BOUNTY HUNTER

I brought down the Tethremaine liche. I singlehandedly saved the Kingdom of Bourlenon. And now you're holding me here like some sort of petty criminal?

CORALINE

You murdered a guy. I think that means you are a petty criminal.

BOUNTY HUNTER

Hardly.

CORALINE

So you didn't murder the guy?

BOUNTY HUNTER

I am here for your protection! The threat he might have posed... you do not want to see that unleashed upon your village.

CORALINE

So... you did?

Coraline and the bounty hunter stare at each other for a bit.

Some of the militia shuffle about around them.

Agata belches, and Coraline drops the cat on the floor.

BOUNTY HUNTER

Do you really think you can hold me here?

CORALINE

Not really. But you're here now, surrounded by at least some sort-of-competent armed men, and you were brought down by an eleven-year-old with a rock, so for the moment, at least, could I ask you to please take this seriously?

Merlijn coughs.

Coraline sighs and leans on her staff.

CORALINE

Did you kill the annoying hamster man who follows people around asking them what time it is?

BOUNTY HUNTER

I did.

CORALINE

Why?

AGATA

Weren't you going to kill him at one point?

CORALINE

(rather unconvincingly)

No.

BOUNTY HUNTER

He was a Carrier of the Death of Souls.

CORALINE

No, he wasn't, and you know he wasn't.

BOUNTY HUNTER

The black soul was rather proof of that. Now if you'll please, I really should be going now.

The bounty hunter slips his bonds and starts to get up.

Coraline points her staff directly at him.

CORALINE

Sit down.

BOUNTY HUNTER

And what are you going to do with that?

CORALINE

I'll shoot you.

The bounty hunter gives her a curious look and sits back down.

CORALINE

Yink was not a Carrier. That gem did not come from him.

You really thought he was?

BOUNTY HUNTER

He showed all the signs. Voices, hunger, darkness. It was the early stages, but the transformation was imminent.

MERLIJN

Imminent? Yink's been like that for years.

MILITIA GUY DUSCHESK

After that thing up in the mountains. But he wouldn't talk about it. And then he wouldn't talk about anything.

MILITIA GUY GNARLY

Did we ever find out what happened? The witch... er, the other one looked into it, but...

CORALINE

(still looking at the bounty hunter)

Did you find a glowing soul gem in his things, by any chance?

MILITIA GUY GNARLY

In... oh, yeah, there were a whole bunch. I'll get it.

Gnarly scoots off toward the other cell.

Coraline watches the bounty hunter carefully while she waits, holding her staff steadily on him.

Agata washes her face with her paw.

BOUNTY HUNTER

You're the local witch?

CORALINE

One of them.

Merlijn, you did lock the cell, right?

MERLIJN

(looking a bit hurt)

Yes?

Merlijn checks the cell door regardless. It is indeed locked.

Gnarly comes back and holds out a small sack.

CORALINE

Open it.

Gnarly does so, and then dumps the contents on a nearby table. It's a pile of soulstones, several of which are glowing in prismatic pastel shades.

Coraline glances toward the table.

The bounty hunter jumps up.

Coraline shoots him, clipping one of the bars, hitting him in the leg.

The hunter falls over in front of the bars, suddenly at eye-level to Agata.

Agata doesn't move, peering at him curiously mid-paw-wipe.

MERLIJN

Lyra!

CORALINE

(to the bounty hunter)

How many people have you killed? How many times have you even been right?

BOUNTY HUNTER

(getting up)

Are you crazy, lady? What the fuck are you talking about?!

MERLIJN

Lyra, I really don't think you should be...

CORALINE

(going up to the bars, and setting the staff head against them)

Shut up. Those glowing soulgems, those are people killed, their souls trapped. Normal ones, not Carriers. In this world they would call that necromancy, and it is not used for anything good.

BOUNTY HUNTER

That's ridiculous! Those aren't... that's what soulstones are like!

AGATA

(mind voice)

He's a surprisingly bad liar. I'm surprised. Are you surprised?

CORALINE

Do you take me for a fool? I will give you one last opportunity to explain yourself, and I suggest you stop trying to lie to me.

BOUNTY HUNTER

(pleadingly, to the rest of the militia)

Is this how you handle justice?

CORALINE

Leave them out of it. These men may be simple farmers and tradesmen, but they do what they can and fight to defend themselves, and are not your pawns to manipulate.

I am your judiciary. Answer my questions.

The militia remain silent. Some of the ones with crossbows raise them at the bounty hunter again.

BOUNTY HUNTER

And what guarantee of fairness am I supposed to get when one stupid bitch holds all the power?

AGATA

None whatsoever. Sucks, doesn't it?

CORALINE

Did you fill those soul gems?

There's a long pause.

BOUNTY HUNTER

Yes.

CORALINE

How?

BOUNTY HUNTER

Enchanted dagger. Stick them with it, it puts the spell on them for you.

CORALINE

Who were they?

BOUNTY HUNTER

Does it matter?

CORALINE

You tell me.

The bounty hunter doesn't respond.

CORALINE

(mind voice)

What do you think?

AGATA

(mind voice)

He's dangerous. Dangerous to you, and to others. Protect yourself.

CORALINE

We have rather fuzzy rules on murder around here, seeing as it's not something that comes up very often, so you should know that right now, my decision is kind of teetering on one thing: how likely you are to do this again. And right now, I'm not liking your odds.

BOUNTY HUNTER

Then you should kill me now.

CORALINE

Oh?

BOUNTY HUNTER

I don't think you have it in you. All this talk, but you're not going to take a life, now are you? You have someone else actually do it, because...

CORALINE

No.

BOUNTY HUNTER

(he grins, shaking his head)

Because you're just like all these other simpletons, all high and mighty with your morals, but utterly weak. Exile me and be done with it.

CORALINE

You have killed our hamster man, and others too. You admit to it, and provide no defense for your actions.

As I am your judge in this life, Kyrule will be in the next. May he weigh your soul fairly in the eyes of all gods.

BOUNTY HUNTER

(dismissively)

Please.

Coraline shoots him, this time in the chest, and he falls backwards, banging his head on the chair, collapsing in a heap.

Some of the militia act a bit surprised.

AGATA

You shouldn't doubt a witch. They tend to take these things seriously.

MERLIJN

Damn. That's not how I would have handled it.

Coraline plonks the bottom of her staff down on the ground.

CORALINE

How would you have?

MERLIJN

I... I don't know. I wouldn't have just... but a lot of other soldiers I knew would have done the same. The things you see...

CORALINE

I've seen a lot of things.

Look, I need a drink. Anyone else wants one, first round's on the house.

The militia perk up at this.

MERLIJN

Listen up, men. First thing's first...

Coraline sidles out while he directs them to deal with the mess.

EXT. Tree overlooking Molstead - night

Nolan is up a different tree now. He watches as Coraline and her cat head back down the road, then looks down at an unexpected noise beneath the tree.

Jora is standing below, looking up at him.

JORA

Nolan.

Nolan stares at her.

JORA

Please come down. I know you have your reasons for being up there, but your parents are worried about you. Come down, eat dinner with them, sleep in your bed for a night, and come back in the morning.

Nolan considers this for a moment.

NOLAN

Okay.

Nolan drops out of the tree, landing right next to Jora, his nose about two inches away from her elbow.

Jora heads off and leads him back home.

Preparations unfounded

EXT. Soravian foothills - afternoon

Days pass. In the woods, the prevailing colour is brown, with hints of fire. Long shadows dance through falling leaves. Bare twiggage crowns the sky. Brown grass rustles in the breeze.

A bear-moose nibbles on some twigs and grass, poking around, foraging. It's brown.

The bear-moose looks up at a noise, and gets an arrow through an eye.

The bear-moose stands there for a bit, and then falls over.

Several soldiers in dark armour run over to it and haul it off.

EXT. Temporary camp; Soravian foothills - afternoon

More soldiers are all about, waiting around, horses set to graze, equipment dropped to the ground. The bear-moose is stowed with the other supplies. The men speak in hushed voices; others stand silent.

Amidst this, two priests, DORANIS and EDRIC, are speaking in perfectly normal tones.

DORANIS

This is a bad idea. Have I mentioned this?

EDRIC

Yes. You've said.

DORANIS

Well, it's a bad idea.

Edric sighs.

DORANIS

I just want this to be absolutely clear that it's a bad idea for when it all kills us. Because it's probably going to kill us.

EDRIC

Have faith.

DORANIS

Oh, I do. I also think this is a terrible idea and we're going to die. That's all.

NURUNN, the Deathdealer leading the operation, comes up behind them.

NURUNN

Enough. You're helping nothing with this.

DORANIS

Okay. But if this kills us and we all wind up dead, don't say I didn't say so.

Nurunn gives Doranis a flat look.

Doranis raises an eyebrow.

There is a horn call in the distance.

NURUNN

(announcing to the camp at large)

We're up.

The soldiers around erupt into activity, picking up their gear, mounting their horses. A SCOUT rides in a bit later, heading straight to Nurunn and the two priests.

SCOUT

We've got the Carrier pinned, sir. Party standing by.

NURUNN

Good. Take us there.

The scout takes point as guide, leading the main group out, with Nurunn and the two priests right behind him.

EXT. Soravian foothills - afternoon

The CARRIER is a balding man with a scruffy beard and matted salt and pepper hair, pinned against the base of a tree behind him by a spiked net hooked into the wood. He struggles vaguely, but makes no particular moves to escape. He is filthy, and smells of filth. His eyes are pure black.

Several soldiers hold crossbows on him, and several others stand ready nearby. They part as Nurunn and the priests approach, the soldiers following dismounting behind them.

The horses shy away, fretting uneasily.

The Carrier hisses and strains against the netting.

EDRIC

Keepers help us.

DORANIS

Well, he's really far gone.

NURUNN

Hopefully not too far.

Doranis nods and casts a soulbinding on the Carrier, forming intricate weavings with his fingers to shape the spell.

Nurunn leans on the Carrier, pushing him back against the tree, an arm across the guy's dirty chest. His face is inches away from the Carrier's, and he studies it closely.

The Carrier doesn't seem to see him, and gibbers a bit.

NURUNN

Edric.

Edric passes Nurunn an amulet, which Nurunn presses to the Carrier's neck.

The Carrier stops struggling, falling back against the tree, and Nurunn fastens the amulet in place.

For a moment, the Carrier just sits there. His eyes clear slightly, bits of white showing around the edges.

Nurunn takes a step back.

DORANIS

That feels like something. Is it working?

Nurunn taps the side of the Carrier's head.

NURUNN

Anyone in there?

CARRIER

(startling)

What? Where am I?

NURUNN

You're safe. Can you tell me your name?

CARRIER

Kessel. Kessel of Trom.

(he pushes a bit against the net)

Why am I... I'm so hungry.

NURUNN

(getting up)

It's progress.

Edric hurries over, notebook in hand.

Almost as one, the horses bolt, several of those still ridden throwing their riders.

Nurunn looks around.

The woods are silent. A soldier coughs, quietly.

CARRIER

(mumbling)

So hungry...

Something clinks and explodes out of the Carrier, black and shadowy, full of hunger and voices. Nurunn is sent flying, and bounces off a tree, collapsing in a heap. Doranis throws up a ward, which flickers but holds as the darkness subsides. Edric falls to his knees, clutching his head, as do several of the soldiers. Others just stand there, arms going limp at their sides, staring slack-jawed as their eyes change, darkening.

A moment later it's gone. So is the Carrier.

Nurunn gets up quickly, drawing his sword, taking quick stock of the situation, and cuts down the turned men, efficiently moving from each to each. He stops in front of Doranis and snaps his fingers in the priest's face.

Doranis turns to regard Nurunn, looking shocked.

DORANIS

You know, I... was joking. I was joking.

NURUNN

I'm sorry.

Nurunn goes to Edric and kills him with a quick thrust into the back.

NURUNN

(calling out)

Guardians, reassemble! Those of you who remain, your mission is now more important than ever. We must refind this Kessel of Trom, and quickly.

And should you find any of your companions turned, do what you must.

EXT. Molstead market square - morning

People are setting up for the festival throughout the town and around, readying food, decorating, putting up stalls, and building up the foundation for an enormous bonfire in the centre of what would normally be the market square. Some gogs are getting in the way, holding signs. Children are running through it all, sometimes getting in the way, sometimes helping, sometimes tripping over gogs.

Coraline is seated on a stack of kegs, like an empress on her throne. It's even shaped a bit like a throne.

Agata is sitting on Coraline's lap.

Onpahanvaanlampi is sitting on Agata.

Coraline pets them both awkwardly, feeling oddly tense, not really paying attention to where one cat ends and the other begins.

Barney comes over and bows before Coraline and her keg throne.

BARNEY

My lady.

Coraline peers down at him imperiously, as do four cats.

Behind him, Keller strolls over toward the bonfire pile and throws a large fireball at it, setting it aflame.

KELLER

And there was fire!

People around stop what they're doing and applaud. Coraline gives it a couple of polite claps as well, then picks up the cats and jumps down off her keg throne.

BARNEY

Joining us now?

CORALINE

I think I'm gonna to head to bed, actually.

BARNEY

What? But it's not even noon.

CORALINE

Do you really think anyone's getting any sleep tonight?

BARNEY

Er, well, no.

CORALINE

Exactly. And I never actually went bed last night, so... yeah.

EXT. Elven ruins - afternoon

Kit, Jora, Erry, and Nolan march into the ruins, much like the previous time, but now with purpose, and geared up for an expedition. Kit has a whole bag of gear. Erry has a sack of food. Jora is heavily armed. Nolan is holding a stick, a thin branch whittled down to its core, straight and even.

Erry jumps up and climbs onto a rubble.

Kit ignores her, strolling on, taking the lead, and Erry runs after to catch up.

Nolan examines some stones as they pass, making sure they're not sheep.

They stop in front of the Edifice, tall and white and gleaming, carved and adorned with flowing motifs, though the basic architecture is fairly simple. It seems to sparkle in the shadows.

They look at it, look some more, look around, look at it some more, and then look at each other.

ERRY

Can you open it?

JORA

They say nobody's been able to open the Edifice since the Exodus.

KIT

We'll be the first. And we have it. A mystery to unlock the mystery within. It will all be mine.

NOLAN

We have a stick.

(he holds up the stick for emphasis)

It needs runes.

Nolan pokes the door with the stick.

Nothing happens.

KIT

(motioning for Nolan to hand over the stick)

Here.

Nolan passes him the stick.

Kit holds it aloft like a wand and points it about in various arcane-looking motions, generally directed at the door.

Nothing continues to happen.

Kit pokes the door with the stick.

Nothing continues to continue to happen.

Erry makes a face.

NOLAN

Runes.

KIT

On the stick?

NOLAN

Yes?

JORA

What did it say in the book?

KIT

Didn't. It's secrets. Things in books aren't secrets, or they wouldn't be secrets anymore.

NOLAN

Runes.

KIT

All right, all right, which ones?

NOLAN

(counting off on his fingers)

Fish. Tree. Hunger. Chaos. Hazard.

KIT

Seriously?

Nolan turns slightly and stares at Kit intently.

Kit quickly looks away and scribbles the runes down the length of the stick.

Kit then, hesitantly, tries poking the Edifice door again with the stick.

The magic sealing the entryway bursts into brilliant sparkles, which quickly fade. With a click, the door unlatches and opens slightly.

NOLAN

Boom.

Erry tip-toes forward and pulls the door open the rest of the way, revealing a dusty mass of darkness.

JORA

(grabbing Erry by the hood of her jacket)

Hold up. Let your brother put a light on you first.

Kit casts magelights on everyone, starting with Erry and Jora, at which point Jora lets go, Erry charges inside, and Jora draws her sword and marches in after.

Kit and Nolan exchange completely meaningless looks and head in as well.

INT. Edifice - afternoon

The entry chamber is grand but simple, with a high ceiling and dual staircases leading up to higher rooms. Doors lead to other rooms off to the sides. Elaborate light fixtures, emitting no light, hang from chains on the ceiling, aside from one smashed on the floor. An empty desk faces them. Dead plants and paintings line the walls, along with some disintegrating sofas and low tables. Stickers with ancient text and pictures are stuck to a few of them. A large pile of bones is heaped up against one of them, and dust coats every surface in little dunes, marred only by the girls' tracks.

Jora is standing at the base of the stairs, looking up, though she glances back as Kit and Nolan enter.

The door quietly booms shut behind them.

KIT

Erry?

Erry slides down a banister and lands in a dust-covered heap in from of him.

KIT

(disappointedly)

Oh.

JORA

Keep an eye on her. We don't know what we'll find, or if the place might try to fall down on us now that we're inside.

KIT

What'd you let her run in for?

NOLAN

Where are the sheep?

JORA

Why would there be sheep?

NOLAN

Kit said there might be sheep.

KIT

There might have been a lot of things. That was sort of the point.

Nolan frowns, looking about, and then fixates on the pile of bones.

NOLAN

(slowly)

Maybe... there are sheep in there.

EXT. Woods outside Molstead - darkness

Darkness. Everything is darkness. Shapes looming, careening, drifting in and about, but still, only darkness. The Carrier runs through it all, oblivious. It is only darkness, only everything, black and close, enveloping, consuming.

Sometimes there are lights, and the Carrier goes to them and puts them out, inviting them into the darkness, bringing them home.

Sometimes the shapes fade away. Movement stops, and he is alone, entirely alone in the quiet, the black, the whispers tickling the edges of the void. Then the shapes return, and the lights beckon, beckon, begging him onward.

Shapes.

Darkness.

Hunger.

Everything is hunger. The darkness is hunger, empty, necessary, comforting.

Something is out there now, and he fixates on it, feeling it calling to him with its silent delirious voice, so cold, so empty, so sweet and comforting, so hungry. It is so dark, so far, but so close, and his hunger pales in comparison. His darkness is too bright. He needs to find it, to join with it, before the darkness goes entirely...

White.

The Carrier runs on, onward through the woods, hungering, unseeing.

INT. Molstead Inn - evening

Coraline Dreams.

: It is cold. You aren't anywhere in particular, just snowy fields, rural, vague. The snow is trampled, frosted. The cat is seated by your boots, and you're not moving either, but you need to be somewhere. You need to run, but the train isn't coming, and the wind is bitter, and it's getting dark already. You need to be out of here. The trolls are coming.

: You spin around, but there is nothing there, only the wind, the voices whispering, drifting on the surface of the snow. It is cold, bitterly so, even trying to get in through your hat. You wrap your hood tighter around it.

: "Is this Finland?" the cat asks.

: "Huh?" you say.

: "Seems cold," the cat notes. "And dark."

: "I don't recall Captain Obvious being here," you say, peering around. What are you even doing here? You can't remember. The station is run-down, abandoned, the tracks covered in snow.

: "Troll," the cat says.

: It falls on you like a pile of bricks.

Coraline is lying in bed, covered in cats, staring at the ceiling, the voices rising around her. Outside is a general racket of music and singing, punctuated by cheering and explosions.

A horrible noise squelches through the walls. Coraline starts to react, accidentally jostles a cat, and decides to just lie there instead.

CORALINE

Nrrrgh, cats.

AGATA

Yes, hello.

The horrible noise squelches some more, getting louder, rattling the ceiling.

CORALINE

What the hell is that?

Agata rumbles.

Tress sticks up a paw.

Argument of Hags slides off the windowsill.

None of them answer the question.

CORALINE

You all are useless, you know.

Coraline tries to slide out from under the cats and falls out of bed.

AGATA

At least we're not drunk.

CORALINE

Perkele, cat, that was your fault.

Coraline gets up and finds herself face to eyeballs with a tentacle monster.

CORALINE

Hi. Did you know knocking is a thing? Also not coming in through walls?

That was you, right? There isn't something else in the walls. Right?

The tentacle monster blinks a long row of eyes at her in sequence.

TENTACLE MONSTER

We wish to partake of the polluted essences of fruit and flesh.

CORALINE

What.

TENTACLE MONSTER

There is an ongoing soiree.

Coraline gives the tentacle monster a blank look, and then starts pulling on some proper clothes right in front of it.

CORALINE

If you want to go to the festival, just... go? We've already got gogs, so I dunno how much weirder you could possibly be...

(she picks up a bottle of vodka and opens the door, indicating it with the vodka)

This is a door. In the future, please open it and go through it, as opposed to the wall. The gogs couldn't figure that out either, but it's really quite simple.

Ask Scoffle if you need help. Or any of the other cats.

TENTACLE MONSTER

This follows.

Coraline heads out, and the tentacle monster follows scuttlingly.

EXT. Molstead - evening

It is very noisy. The festivities have clearly been going on for awhile already. There is rubbish scattered about, and people who look like rubbish. Many are already quite drunk. Many are singing, and waving torches and fireworks. Some do not take well to the tentacle monster, avoiding it, staring, something screaming in surprise and disgust. Others do not even seem to notice. One guy gives it a bottle of shalott and claps it on what would have been a shoulder, were it a humanoid.

Gogs run through with signs, some of them right-side-up. Kids run through as well, some also with signs, some following the gogs.

Coraline scoots over toward the slightly dismantled keg throne and starts contributing to the chaos.

The bonfire, for some reason, is bright green, shooting sparks up into the sky, where they swirl and die amidst the fireworks.

Structure internals

INT. Edifice - evening

Kit, Nolan, Erry, and Jora explore the building thoroughly over the course of the afternoon. Erry opens everything. Jora clears each room they come to. After finding the one sheep bone in the pile (a rib), Nolan joins in, opening a few doors, fiddling at their locks, for some reason set into the walls as opposed to the doors themselves.

Much of it is offices, filing rooms, closets. Lots of desks, lots of papers, and stranger consoles too. The chairs are all broken, and not like anything they've seen. Kit sits down on the floor with some of the filing, casting spells to translate the ancient Torini script, and after the first few papers crumble in his hands, spells to preserve the paper as well, and reads with fascination what turn out to be little more than requisitions and reports, but which unlike anything he's ever dealt with.

Dead potted plants are everywhere. Nonfunctional light fixtures protrude from walls and hang from ceilings.

Erry and Nolan are in the entry chamber, facing a pair of large doors behind the staircases up. Something that looks suspiciously like a warning sign is plastered to one of them.

Erry is eating some cheese and moose on bread.

Nolan frowns at the doors.

KIT

(coming over)

According to the forms, they were trying to evacuate through here. But I haven't seen any signs of how. You?

NOLAN

In the basement.

ERRY

It's locked.

Jora comes over as well.

Nolan sticks a long wire into a hole and pushes a button by the door, and it pops open.

Erry pulls the door the rest of the way open and leans inside, illuminating a wide set of stairs down.

KIT

Well?

ERRY

I see... stairs.

Kit pulls her back by the hood and starts down in front of her.

ERRY

Oy.

The others follow after, Jora taking the lead again, sword out.

INT. Edifice basement - evening

The basement is completely unlike the upstairs. It's one large room, sectioned off by a half-wall dividing it in two, a slit in the middle acting as a doorway to the other side. Several black screens are affixed to the half-wall, peering down on them like dead eyes. The floor and walls are bare stone, unadorned. Luggage and boxes and bags are heaped in piles, abandoned. Striped tape affixed to the floor partitions out boundaries and walkways.

There is a stale smell of not quite decomposition.

Their magelights cast jumping shadows between the piles. Kit and Jora just stop, staring.

Erry takes a few steps between the piles and pokes one uncertainly. It crumbles a bit, settling.

Nolan heads over to the slit.

Besides them, nothing moves.

JORA

In the Exodus, the elves left their homes too. Not all the cities had fair warning.

KIT

So they just left their stuff? For two thousand years? It was just... abandoned here?

JORA

A silent, sealed memorial.

Erry picks up a small stuffed moose and holds it uncertainly. Bits of fake fur fall off.

ERRY

This was someone's toy. Someone like me...?

She holds it up to eye level and stares at it.

Nolan stops in the doorway slit, and after a bit, the others pick their way over to him. Erry is still holding the moose.

The other side of the half-wall has more luggage, piled up and shoved out of the way into corners even more unceremoniously. Other bits, too, smaller bits, seem to have been simply dropped on the floor and trampled.

Rising up out of all of it is a Gateway, a huge ring set into a base in the floor, propped up with clamps and stilts. Cables stream out of it, connecting to stacks of crates nearby, and a large crystal on top of the crates is connected to it as well with more cables.

Nolan goes over to the crystal and taps it a couple of times. Nothing happens.

NOLAN

(to Kit)

Can you turn it on?

KIT

Er, I don't know. Maybe?

Kit goes to investigate.

Nolan nods and goes to stand in front of the Gateway, looking up at it blankly, turning the sheep rib over in his fingers.

Erry pokes about the luggage in a sort of fearful fascination, gathering up small things and secreting them away with her food.

Jora strolls about, checking for hazards. She glances toward the Gateway uncertainly from time to time as she does.

INT. Edifice basement - night

A couple of hours later, Kit gets the Gateway working, using the patterns built into it, redirecting the ancient flows so they resume. The magic is different now, not what it expects, but it's still magic, following similar rules. At last the crystal glows, and then the Gateway itself rumbles to life, components twisting against each other, other crystals in its frame lighting up. It settles into its new position, emitting a vague hum.

KIT

(stepping back)

Okay, I think that it's it.

Erry runs over, Jora following more sedately.

ERRY

Where'll it go?

NOLAN

We could travel to sheep.

JORA

It's late. We should be getting back.

KIT

No! We must go on!

(leaning over the crystal again)

It has to be able to connect to another Gate, but I'm seeing connections to several possibilities. Two of them even seem to be on Cerris, so...

NOLAN

Good. Do that.

JORA

Are you certain...?

NOLAN

Yes.

Nolan takes Jora's arm and steers her back toward the stairs.

As they leave, none of the doors present any difficulty whatsoever in opening, allowing them out without trouble.

Even the main door to the building simply opens at a touch.

NOLAN

For emergencies.

Part 2: Implement split

It began with a promise. It began long before that. Each twist is prefaced by a choice. Each turn presents something new. You choose how to proceed, and sometimes you choose wrong. Sometimes the turn chooses for you. Sometimes the turn chooses wrong.

On a scale of one to invade Russia in the winter, how bad is your idea?

Notes:

1. This is a children's story.
2. Contradictions belie meaning.
3. Some people will always need help. That does not mean they are not worth helping.
4. The worlds are circular. You may repeat yourself.
5. Things will become clearer as you go.

Aftermath

EXT. Molstead Market square - night

At some point everything went wrong.

There is no more singing, no more celebration. People are fled or holed up in buildings, or in some cases, dead in the streets. Gogs are clinging to the undersides of eaves like odd little bumps. The bonfire is small, now, but now other things are on fire - stalls, piles of kegs, some buildings.

Coraline wakes up on the ground, a bit sooty, with a headache and drying blood in her hair. She sits up dizzily, touches her head, and frowns at the blood that winds up on her hand. The voices are all around, but distorted. Echoing.

Agata is sitting next to her.

A large group of townsfolk, as well as some soldiers in dark armour, are all standing around her, staring at her. Among them is also another man, far dirtier than the rest.

CORALINE

What... happened?

AGATA

I might worry about our audience first, if I were you.

CORALINE

(getting up)

What... they're...

AGATA

Carriers.

CORALINE

(worriedly)

All of them?

AGATA

I'd suggest you do something before someone sees, but it's a bit late for that.

CORALINE

But what... what are they doing? What are they waiting for?

The Carriers all just stare at Coraline, their eyes dark and hungry. She recognises quite a few of them.

AGATA

You, apparently.

Coraline approaches a nearer Carrier uncertainly. It's Jess, who falls to her knees before Coraline, looking up at her glassily.

Around, heads turn to follow, though the Carriers make no other moves.

JESS

(in a flat whisper)

The black... it burns...

CORALINE

(almost sobbing in confusion)

What...?

JESS

So bright...

Something is drawing Coraline to Jess. A hunger is burning insider her. She wants the girl, wants to join her, to take her, to devour...

Coraline grasps Jess's head in her hands, gently, welcomingly, firmly, not even sure what she's doing.

There is darkness, now. All around, amidst the voices, covering the world. Part of her wants this, needs it.

CORALINE

No... no!

Coraline can feel the pain in Jess, the loss, the fear, the hunger. What she cannot feel is Jess. She tries to push it all away, tries to find Jess amidst the black, the hunger, the voices clamouring louder and louder around her, but there's just nothing. It's like nothing, like pushing on solid nothing, except the nothing is pushing right back.

Coraline panics and twists it about, turning the darkness in on itself.

Jess collapses in front of her, dead.

The darkness subsides, and the voices quiet more or less back to normal.

The Carriers around Coraline start moving toward her all at once, some shuffling vaguely, others breaking into a run. One trips and falls on his face. A couple jump at her, grasping, pulling at her mind, and she knocks the first one aside, spinning away from another in armour.

The dirtiest Carrier reaches for her, wrapping her in his filthy embrace, and Coraline elbows him in the stomach. This has no useful effect whatsoever. Some dirt flakes off.

AGATA

(mind voice)

Do what you did before. Take his life and turn it out.

CORALINE

(mind voice)

I don't even know how!

AGATA

(mind voice)

There is life and there is death. They are the same things. Turn them in on themselves.

Something tears inside of Coraline. The voices shift, dulling, as the darkness rises once more, and she does it, she turns the life out, and the Carrier lets go, falling on top of her. And the others, too, are all on her, grasping, reaching, pulling, rending at her mind, at her...

A horrible noise squelches out of the ground, shaking some of the nearby buildings. It squelches further, and tentacles erupt from the ground, long and dark, ripping the Carriers away from Coraline.

The tentacle monster emerges a moment later amidst further squelching like a submarine out of an ice sheet. Dirt showers down around it. Some of the dirt falls right through it. Carriers are thrown aside. The tentacle monster grabs a couple with its tentacles and shoves them into its maw, eyes rippling out around it, devouring them whole.

Coraline scrambles away, grabbing Agata, and dodges another Carrier.

The tentacle monster grabs up a few more, devouring them as well, oozing along, low to the ground, tentacles reaching out far to grab others in the process, and trampling them as it goes. It makes a wide circle around Coraline, grabbing, devouring, smashing, leaving behind a trail of bodies and a bloody smear, until none are left standing.

It rises up like a monolith, drawing its tentacles back into itself, and moves toward Coraline.

Coraline stares at the tentacle monster uncertainly, holding Agata close.

Agata puts her ears back.

TENTACLE MONSTER

Go. Your sanctuary is not here.

CORALINE

I... you... thank you.

TENTACLE MONSTER

Go.

The tentacle monster reaches out with a tentacle and pushes Coraline away, surprisingly gently, turning her about.

Coraline runs for it.

EXT. Molstead inn - night

Coraline goes around back, trying to figure the best way in, Agata following at her heels. She starts dismantling one of the windows.

CORALINE

(quietly)

So they know. They know what I am?

AGATA

Not as such, but once things calm, word'll get around. You were out for awhile. People saw that crowd, knew something was the centre of it all. Some probably saw you walk out of it.

It's time you got on with it. Hiding, not working so well.

CORALINE

(removing the pane)

And what hit me?

AGATA

Probably someone aiming for something else.

Coraline sets the pane of glass down carefully, eyeing the cat.

AGATA

Probably.

CORALINE

Perkele.

Coraline tries to hoist herself up through the window, fails, tries again, and topples headfirst into the inn.

INT. Molstead inn - night

It is disturbingly quiet, and dark. A small trickle of light trickles back from the main room.

Coraline heads into the store room and packs up some supplies, a couple of kegs and the equivalent of a large liquor cabinet, and enough food and questionable potion bottles to crush a small child, stuffing it all into her really rather small pocket bag. Somehow it all fits, and the bag gets no bigger.

In the corner is a small shrine of pretty things. Keepsakes, memories, books, reminders of home, reminders of who Coraline is and how she had gotten here: an ornate filigree mask wired to a pair of sunglasses; a dried flower woven out of grass; a bright cuddly sea-anemone; a wooden statuette of Ganesh, and with it a smaller one of a wombat in a vest. Argument of Hags is perched nearby.

Coraline tucks the things into her bag, and grabs Argument of Hags. The cat doesn't exactly resist, but clings for dear life, digging in with claws.

CORALINE

(muttering)

I know, I know, you don't like being carried, but it's that or leave you here and you've grown on me entirely too much.

Dors enters, crossbow levelled in front of him, but he lowers it upon seeing Coraline.

DORS

You going?

CORALINE

Yeah.

DORS

You take care of yourself out there. This world, it'll eat you.

CORALINE

You too, man.

Dors grins at her and turns back toward the main room.

Coraline hurries over toward her bedroom, wads up her bedding and clothes and some other supplies, and feeds those into the bag as well. Then she gets out another bag that looks much the same size and fits that into the inside of the other bag, concealing the seemingly bottomless pit within.

Thimble is glaring down at her from a shelf.

CORALINE

(to Thimble)

I'm leaving. Come with me, you delightful meme.

Thimble continues to glare at her with his perpetually angry face.

Coraline gives him an irate look and reaches up and carries him off, and then heads back toward the window, which she proceeds to fall out of.

EXT. Molstead inn - night

Agata gives Coraline and the spare cat a long blank look, then turns away, padding off in a direction.

Coraline follows after.

EXT. Molstead - night

Nolan and Jora get back into town amidst alarming silence, and even more alarming noise. Isolated yells puncture it yellingly from time to time. Most of the noise is fire, and things on fire.

Dead people are in the streets, some townsfolk, some soldiers. Festival stuff is smashed and scattered about, along with random bits of clothing and other discarded items.

Through it all are a few folks still standing, wandering aimlessly. They are Carriers.

Jora holds her sword at the ready, giving them a wide berth.

Nolan walks up to a Carrier just sort of standing there and pushes him over.

The Carrier doesn't respond, lying where he fell.

JORA

Nolan?

Nolan hands Jora a dagger, which she tosses slightly and then stuffs in her belt.

NOLAN

Use that on them first, then kill them.

We should flee. It would be logical. Mathematical. But then we would not know what it was we fled.

JORA

Does it matter?

NOLAN

It may.

They continue on toward the centre of town.

A few of the Carriers start to follow Nolan and Jora as they pass.

EXT. Molstead market square - night

The market square is full of bodies. The bonfire is low. There is a suspicious hole in the ground, and an even more suspicious and splattery large wet streak across the ground through the middle of it all.

A small group of soldiers in dark armour are clustered about, watching the area, weapons at the ready. Nurunn and Doranis are among them, investigating.

Doranis is investigating by staring at the ground in confused horror.

Nurunn is squatting by the hole. He picks up some gloop out of it and frowns.

Nolan marches into the square and goes right to the soldiers. Jora follows slightly more cautiously, watching them carefully, but staying close to Nolan.

The soldiers point weapons at Nolan and Jora.

Nurunn gets up and comes over.

NOLAN

We were followed.

Several Carriers amble into the square after them.

A couple of other Carriers run into the square after them.

NURUNN

I see.

Jora sighs and turns around slightly, crouching down, and then jumps at the runners, slashing them with the dagger, and cutting them down with her sword, spinning around them. Several of the soldiers run in and assist.

When the last one falls, Jora turns toward the ambling Carriers.

One of the nearer ones, a WOMAN, stops uncertainly before her.

WOMAN

Please. Can you help us?

JORA

(holding out the dagger guardingly)

What are you? What happened here?

WOMAN

I don't know... please, help. It's so wrong, so wrong...

NURUNN

(striding over)

They are Carriers of the Death of Souls. There is no helping them.

Nurunn unceremoniously cuts the woman down, and moves on to the other amblers and rather efficiently does the same with them.

Jora lowers her weapons uncertainly.

Nolan wanders over toward another Carrier coming into the square from a different direction, stops in front of him, and does a little dance.

The Carrier stops and stares at Nolan confusedly.

Nolan does another little dance, this time centred on the other foot.

Nurunn throws a sword through the Carrier's face.

Nolan stops dancing, turns around, and nonchalantly walks back toward Nurunn.

NOLAN

Did you learn anything?

NURUNN

Yes.

Nolan stops and stares up at Nurunn expectantly.

NURUNN

(bemusedly)

Fragments of the Black seem to temporarily inhibit the symptoms of the Death of Souls through contact.

NOLAN

And then?

NURUNN

Then it exploded.

Nolan continues to stare at Nurunn expectantly.

Nurunn stares right back.

NOLAN

What is 'the Black'?

NURUNN

An ancient relic of unknown power, safely guarded.

NOLAN

Interesting.

We're done here.

Nolan turns and heads back the way they came.

Nurunn frowns after Nolan, but makes no attempts to stop him.

NURUNN

Is that normal?

JORA

He doesn't have a normal setting. If he did, we wouldn't even... ah, feck!

(she runs after Nolan to catch up)

Nolan! Is this what you wanted the Gateway for?

Nolan doesn't answer as they continue on out of town.

NOLAN

You're not going into shock.

JORA

(slowing)

What?

NOLAN

You already are in shock.

Jora stares at him incredulously, and then leaps aside to take out another couple of Carriers.

NOLAN

Theoretically yes. We'll see if the math holds.

Exits

EXT. Woods outside Molstead - early morning

Small groups of the soldiers in dark armour are in the woods, holding a perimeter of sorts, and hunting down escaping Carriers.

Coraline nearly runs into a pair of them while trying to find a better way to carry Thimble, stumbling out into their torchlight in surprise. Agata is on her head, and not entirely awake at this point.

Thimble murrs unhappily.

The soldiers point swords at her all very suddenly.

Coraline stops very suddenly, holding up a very angry-looking cat.

The soldiers stare at Coraline in surprise, then lower their weapons. A bit.

SOLDIER DUDLEY

Watch it.

SOLDIER ECHRLATL

You got all your cats, or are you gonna need to go back for another load?

CORALINE

Yes.

Echrlatl laughs.

Dudley gives Coraline a dubious look.

Coraline starts to sidle around them.

SOLDIER ECHRLATL

(grabbing Coraline's arm)

Wait.

Echrlatl pulls Coraline close, staring at her carefully, watching her eyes, nearly squashing Thimble between them.

Agata falls off Coraline's head.

Thimble hisses.

CORALINE

(struggling, in particular to not squash Thimble)

Let go of me!

The voices rise to a roar around her, clamouring in her head, and she feels the brightness of the Death of Souls, its strange dark pull overwhelming her.

Coraline struggles even harder, trying to get away, to protect her cat, even as she needs to get closer, needs to be the darkness...

Thimble lets out a low yowl.

Echrlatl abruptly lets go, and Coraline jumps away.

SOLDIER ECHRLATL

Sorry, miss. Had to be sure.

CORALINE

(backing away)

Sure of what?!

SOLDIER ECHRLATL

There's Carriers of the Death of Souls in the area. Had to be sure you weren't one of them.

Coraline stares at them, confused, and then just turns and runs, holding Thimble close. Agata runs after.

AGATA

(mind voice)

That was close.

CORALINE

(mind voice)

I don't get it. Why didn't he see it? I could feel it. So strong...

AGATA

(mind voice)

Doesn't matter. He didn't.

You're getting better at resisting.

EXT. Edifice - early morning

Nolan tries the door, only to find it sealed as before.

Jora goes to give the immediate area a lookout while he figures it out.

Nolan grabs another, much less appropriate, stick off the ground and very unhappily scrapes the same shapes into it as Kit had done earlier. He pokes the door.

Nothing happens.

Nolan frowns at the stick, bugs his eyes out at the runes, and then adjusts one slightly. He pokes the door again.

This time the magic sealing the doorway bursts into oddly lighting-appropriate (or lack thereof) sparkles as the door unlatches.

NOLAN

Jora.

Jora appears as if out of nowhere, and they head back inside, door sealing again behind them.

INT. Edifice basement - early morning

The basement shows no sign of Kit or Erry when Nolan and Jora get back down. The Gateway is humming vaguely, its lights subdued.

JORA

If they went through, they could be anywhere.

NOLAN

Good.

Nolan goes to the control crystal, stares at it for a long moment, and then pokes it very deliberately.

The crystals in the Gateway light up, and the hum thrums. A rippling film appears across the opening, like the surface of a bubble.

JORA

If they didn't...

NOLAN

They did.

Nolan walks into the gateway and disappears as he crosses the threshold.

Jora eyes it uncertainly, and then ducks her head and follows.

INT. Blocky structure - gateway floor

The entryway is a room of sorts, large, square, dark, and with no discernible doors, windows, or even light fixtures, nestled in a horrible pressing silence. The only features in it are another Gateway and a strange circle of glyphs on the floor. This Gateway is standing much more elegantly than the other, supporting itself, without cables, but has no control crystal.

A magelight is affixed to the ceiling.

Kit is sitting against a wall. Erry is asleep on his shoulder.

The Gateway flickers to life, and Nolan and Jora come through.

Kit jumps up, knocking Erry awake.

Erry sits up, rubbing her eyes.

Jora nods at Kit, looking relieved.

ERRY

Hi.

NOLAN

Dinner?

KIT

Oh, that's what we forgot. So silly of us, after having packed everything else for this little venture.

Look, I hate to be the one to say this, but I think we're trapped. Vitoi's end. Can't turn on the Gateway from here, and can't seem to find any way out of this... room, either.

NOLAN

Really?

Erry offers Nolan a tin of cookies. Nolan takes it and starts eating them very methodically.

Kit gives Nolan an annoyed look, which slides right off like ducks.

JORA

Do we know where we are?

Kit shakes his head.

Erry looks at Nolan.

Nolan stares vaguely at a wall and pulls a leg of mutton out of his pocket.

Nolan pokes the wall. A small trickle of water is trickling down it.

Kit scuffs at the glyphs on the floor with his foot.

ERRY

Why are we here? Why aren't we home?

KIT

(glumly)

I wanted an adventure. I didn't think we'd... er...

NOLAN

Your home is gone. Your parents are dead. This is better.

KIT

Eh?

Erry stares at Nolan incredulously.

NOLAN

There was an outbreak of the Death of Souls. The Quints were killed on the spot. Mrs. Enori was turned as a Carrier and likely eaten.

There's a horrible awkward silence.

JORA

It's true. Molstead was a mess. It's good we weren't there when it happened.

KIT

You saw them?

NOLAN

No.

KIT

Then how can you possibly know...

NOLAN

Probability, previous trajectories, and sheep. Mr. Enori only survived because he would have wound up in the inn, escorting some of the small people. The less erratic ones.

Erry and Kit stare at him.

JORA

I'm so sorry.

Jora hugs Erry, and Erry just looks really, really confused.

Kit shakes his head, looking rather freaked out.

NOLAN

It doesn't matter.

KIT

(yelling in frustration)

Ghaaagh!

(taking a deep breath and continuing more normally)

We need to find a way out of here.

Nolan nods. Once.

JORA

We can't go back.

NOLAN

No.

JORA

So how do we continue?

Nolan goes and stands in the circle of glyphs.

Nothing happens.

Kit pushes him out and stands in the circle instead.

Nothing continues to happen.

Erry goes and stands in it with him.

All at once, the wall in front of them rumbles outward, swinging on a side, revealing a corridor of featureless darkness, as wide as the room they're in.

ERRY

(quietly)

You think it. You think 'open open open'. It opened.

JORA

Very good.

KIT

(peering out into the darkness)

I don't get it. This isn't Torini, but it's definitely elven...

The Soravian elves were all Torini. Even across the mainland it was mostly Torini.

Nolan marches off into the newly-discovered corridor. More circles of glyphs mark apparent doors on more expanses of wall.

KIT

Oy!

His voice echos strangely.

Kit runs after Nolan and applies a magelight to his head, and then more to everyone else's as well.

Nolan doesn't slow down, and just keeps right on going. The others follow after, passing by several circles of glyphs. The corridor turns, and Nolan simply turns with it, continuing.

ERRY

(whispering)

It's like it's dead. We're inside the body, but it's dead.

They turn another corner and hit a possibly dead end.

Nolan stops and stands in one of the circles of glyphs, and Kit runs into his shoulder.

A large wide door of wall swings open in front of them. The room revealed is full of blocks, and a particularly large block that might be a table. Nolan stares at it for a bit.

KIT

Whoever these people were, you think they liked blocks?

ERRY

(peering in as well)

No.

Kit gives her an irritated look, and goes and opens the door wall on the other side of the corridor. This room also contains blocks.

Kit steps back and the wall door closes.

They tiredly open a few more sections. Most reveal rooms with blocks, of varying sizes. One is empty. Another contains a construct of swirling shards of stone, which flies out and tries to smash Erry.

Erry shrieks at it, trying to look as scary as possible.

This has no effect.

Kit throws a fireball at it, destabilising it.

Jora smacks it with the flat of her blade, knocking some of the pieces apart. She smacks it again a few times, and it clatters to the ground in pieces.

KIT

(picking up one of the shards)

What is this?

NOLAN

Hostile.

KIT

You think?

Erry rubs her eyes.

Kit and Nolan open a few more. One of them is a small square room with a much larger than usual cicle of glyphs going around the entire room, or as much larger as a circle can inside a square.

They all pile in and start thinking random things.

ERRY

Sausage?

Kit closes his eyes and concentrates, thinking of what purposes such a room could serve, and such a place, and what would be needed. And what they need. They need a lot of things. He doesn't know what they need.

Silently the entire room begins to descend.

INT. Blocky structure - lodgement floor

Several long seconds later, the room stops, and the wall door opens, revealing yet another blocky corridor.

Erry yawns hugely and opens the wall across from them. The room inside contains yet more blocks, dozens laid out evenly, but these are long and low, almost the size and shape of beds.

Erry trods over to one and collapses on it, sinking into it a little. This meets with her approval, so she snuggles into it a bit, pulls herself on entirely, and prompty falls asleep.

Jora and the others come in as well, looking about at the really quite featureless blocks.

Jora presses on one with her hand.

JORA

Soft. These are beds?

Nolan flops across one crosswise, his legs hanging off the side.

NOLAN

(with his face in the bed, a bit muffled)

Yes.

KIT

(with considerably satisfaction)

Yessssss.

Waypoints

EXT. River Lenn - afternoon

It's a bright and sunny, if somewhat chilly, day. The river winds through the trees like an aimless jogger, low and muddy. A small boat floats with the current. Agata is perched on the bow, and Coraline is asleep in the bottom of the boat, Thimble hunched tensely beside her.

For a long bit, nothing really happens. The boat drifts downriver under the bright blue sky, under bare branches, under late autumn fire. Agata watches carefully, eyeing hazards, putting an ear back at the odd oddity. Thimble cries unhappily.

Coraline wakes up blearily and hugs him.

Thimble burrows into her coat.

CORALINE

I'm sorry, I didn't mean...

Coraline sits up a bit, rocking the boat entirely too much at first, and then tries again, keeping herself more balanced, wincing at her sore muscles. She drinks some whiskey and looks out over the water, and the sunlight bores into her brain like an augur, drilling out of the sky, bouncing off the river. Even the light rocks at the shore are almost blinding.

She covers her eyes and immediately feels 62% better.

CORALINE

Agata, did we... was there something...?

Coraline gestures vaguely.

AGATA

Everything is perfect. Utterly, absolutely, perfect.

CORALINE

Great.

Coraline slides back down into the bottom of the boat, curling around Thimble protectively, and Dreams.

: The snow is falling wetly around you, draping a soggy blanket across the landscape, drooping off of fencelines, hanging over edges of trees and roofs alike. The town looks deserted. The tracks are as snowy as anything.

: You wipe some snow off your head and it melts in trickles around your fingers, dripping down your neck and back, slipping beneath your coat.

: There are trolls around, but they will be dulled by the cold. They don't like the wet especially. Babies' eyes. Running late. You don't need to hurry. You can afford to stop.

: You can afford to stop.

: You step onto the station porch and peer about, noting the wetness, the leaves blown into the corners, wet and frozen. The ticketing machines are rusted with disuse. The door is shut, locked.

: You try it anyway. It opens with difficulty, hinges resisting, screaking, grating all the way until it sticks, and a cloud of stale air drifts out. It doesn't want to. It doesn't want you here.

: "Down here," Agata's voice says, inside, drifting out of corners. "You'll want to see this."

: The door is only partially open, only a little. You push through regardless, squeezing past handle and frame, into the darkness full of shapes: boxes stacked in the gloom, leering frames of cabinets, drawers hanging open, spiderwebs gaping, empty. You are neither spider nor fly. It is all already over.

: The darkness hangs like a sieve.

: "Down here," Agata repeats, driftingly, distant. You follow the voice, twisting through the maze, turning the corners between stacks, deeper and deeper. It is a labyrinth, silent as the grave, stuffy. The door stops you suddenly, looming up around a corner all at once, set into a wall, ordinary, plain. Standard industry handle. Standard frame painted the same as the walls. Walls, barren, unnotable. No windows. You touch it and the surface vibrates. The paint stirs, bubbles, shifts. It is rough, but not, trembling.

: The handle turns easily.

: Beyond is only darkness, deep, looming, empty. Voices in the shadows. Singing in the depths. Echoes. It goes on and on, but there is only nothing within its depths. It goes down, but the light stops at the threshold. Darkness, darkness, darkness.

: "You'll want to see this," Agata repeats, the same words, the same voice, suddenly loud, right in front of you, all around.

: The doorway, hanging open, beckons, inviting. The darkness beyond hints at shapes, ordered columns, singing against the black, and beyond it, more.

: You almost try to step forward, but then you can't. You can't move, instead finding yourself frozen in uncertainty and fear, paralysing, pulling you down as the dream dissolves around you, pulling, pulling, pulling, reaching, grasping.

Coraline is underwater. Something is holding her, pulling her down. Hands reach for her, grasping at her arms and legs. Undead faces leer, grinning at her out of the murk. They're not all there.

It's cold. It's suffocating. She's drowning, and yet she isn't struggling.

Milky eyes peer at her curiously out of a sagging, bloated head.

Coraline pulls away and breaks the surface, coughing. The air hits like ice. Bright sunlight streams down.

Decomposing hands pull her back down into cocooning silence. The voices trickle mutely.

AGATA

(mind voice)

You could just let yourself die. It would be easier.

CORALINE

(mind voice; vaguely)

I don't want to...

AGATA

(mind voice)

Then fight!

Coraline twists away, thrashing at the hands, struggling back for the surface, for the bottom, anything. She steps on a head and it smashes like a melon. She grabs at some rocks and pulls her way up them, scrabbling for holds, scraping her fingers, and then she's on the surface again. She kicks at the dead people, but they hold on, so she kicks some more, knocking off fingers and limbs, and pulls herself out of the water, onto a rock, coughing and shivering.

Bloated faces and bare skulls stare up at her from out of the water.

The boat is sideways, caught on some rocks nearby, with Agata and Thimble on them. Agata is dry. Thimble isn't, and is quickly grooming himself to dry off.

Coraline finally manages to catch her breath a bit and stares toward Agata uncertainly.

AGATA

Hello. Having fun?

CORALINE

Why are there dead people in the river?

AGATA

They're called drowners. They drown people. And then you get more drowners.

Coraline shivers violently, and bursts into flame. She flails a bit in a panic, almost falls back into the river, and then the flames go out all at once, leaving her mostly dry.

One of the drowners reaches a hand up out of the water toward her.

Coraline kicks it away.

Others reach for her too, grasping at the rocks, trying to climb up after her. One hand pokes a detached foot out of the water and waves it a bit. Faces stare, some little more than rounded bone.

Coraline kicks at these, too, stomping on some of the ones that get too high. She opens her bag, still secured to her belt, and pulls out the inner bag a bit, trying to find her staff.

Another drowner pulls its way up onto the rocks in front of her, and its hips and the remains of organs fall back into the river with a horrible sloughing. Coraline kicks the rest of it away.

CORALINE

(yelling in frustration)

What do you all want? Are you just trying to drown me? Is that it?

Thimble jumps away, running over the rocks to the shore.

The drowners in the water all sort of stop and stare at her. A few partially out let go and slide back in, also staring at her.

CORALINE

Hi. Do you... understand me?

The drowners continue to stare at her. A couple of them nod.

CORALINE

You don't actually know what you want, do you?

Some of the drowners shake their heads. Others just stare.

AGATA

(mind voice)

They don't normally try to follow people out of the water, either. But you're diffferent. You even speak like Dead. They probably like you.

CORALINE

(mind voice)

Like me?!

AGATA

(mind voice)

You're their mother.

CORALINE

(mind voice)

What? No I'm not.

(aloud, to the drowners)

I'm not your mother.

Voi paska! I forgot my cat!

The drowners stare at her expectantly.

CORALINE

(panicking)

Or... did I? Did I accidentally pack her with my bedding? I didn't kill her, did I? Can cats breathe? Is there air? Agata?

AGATA

I don't know. Breathe.

CORALINE

What?

AGATA

You need to breathe too. You should do that.

CORALINE

I can't breathe, I need to get my cat!

AGATA

Really?

Coraline stops and stares at Agata.

A drowner climbs up onto the rocks by Coraline's feet and hugs her legs. A couple of others start climbing up as well again.

Coraline stares at the drowners.

CORALINE

I... I'm calm. I'm sorry. I'm calm, and I'm breathing, and the cat can wait and I'm calm and there are drowners hugging my legs.

Coraline stares at the drowners a bit.

The drowners snuggle her legs and crawl up around her.

Coraline addresses the drowners, and this time notices as her voice changes, becoming looser, huskier.

CORALINE

You all... should really go back into the water.

The drowners peer up at her with dead, rotting, and missing eyes. The ones out of the water slip back in, letting go of her, dropping off the rocks.

Coraline kneels down on the wet rocks, peering at the drowners.

CORALINE

Go back to sleep. Okay? Just go back to sleep. I can't help you.

The drowners continue to stare up her out of the water, then slowly, first only a couple, then more and more of them all at once, sink down into the water. Mostly they just disappear into the murk, but a few fall apart entirely, drifting away with the current in pieces.

AGATA

Good. Now how about getting your boat out and making some sort of camp?

CORALINE

Camp?

AGATA

You need to sleep. Properly. Also eat. This part of the river is going to take navigating.

INT. Blocky structure - lodgement floor

Kit and Erry are sitting on chairs (blocks) at a table (a block), amidst many other tables (blocks) in an entire room full of tables (blocks). Nolan is sitting on the table. Jora is standing nearby. They are all holding blocks that have turned out to be rations. Only Nolan has started eating any.

Erry has a block on her head.

JORA

I've secured the floor. All empty, nothing hostile here, at least.

NOLAN

And the other floors?

JORA

Not yet. We'll need to find out how many there are, clear them too. See if there's a way out, see if anything else goes anywhere. If we are truly stuck here, know what it is we are stuck with.

Nolan nods.

JORA

This one appears to be all lodgement. Probably military of some sort, very basic, but efficient accommodations and support for up to a few thousand. A lot of it doesn't work, but we do have food and water.

NOLAN

And air. For now.

KIT

Do we have any idea what it was all for?

ERRY

Blocks.

KIT

Ugggh.

(tapping his ration block uncertainly)

Are we absolutely certain this is food?

NOLAN

Yes.

Erry slips off her block and heads for the door.

EXT. River Lenn shore - evening

Coraline is making a camp of sorts half in the trees, half on the rocks. A primitive tent is set up in the trees and full of bedding. A small, mostly smokeless fire is on the rocks by the tent opening, with a pot with soup on. Coraline is lying half-out of the tent, poking the fire with a stick, and sometimes the pot. Her bag is lying open next to the tent.

The boat is pulled up nearby.

A drowner crawls out of the river, gets up awkwardly, and stumbles over toward the camp, before tripping on a rock and falling on its face.

Coraline glares at it.

The drowner just lies there.

Later, Coraline is eating the soup, giving some of the chunks to Agata. The drowner is still lying where it fell.

Thimble pads over out of the trees and plops down next to Coraline, and she gives him some chunks too.

CORALINE

(to Thimble)

Sorry about earlier.

Argument of Hags noses her way out of Coraline's bag and sits nearby, not really paying any attention to Coraline or the tent.

A moment later, Onpahanvaanlampi also emerges, and comes over and sits on Thimble.

CORALINE

So... it is liveable.

AGATA

It's a magic bag, so it's magic. Sometimes entire families live out of them. Though some bags'll just kill anything that enters.

You got lucky.

CORALINE

Oh.

Another drowner crawls out of the water and stares vaguely at Coraline from the shoreline.

CORALINE

Are they just going to keep doing that all night?

AGATA

Probably.

CORALINE

(collapsing into the tent)

Perkele.

Wake me if they seem hostile again.

EXT. River Lenn shore - morning

Coraline wakes up to find two drowners staring at her disturbingly closely, Agata lying on her, Onpahanvaanlampi sitting on Agata, hissing and growling at the drowners, and another, entirely white, cat she's never even seen before curled up right next to her face.

Coraline nudges the white cat with her nose, and it gets up and walks awkwardly away on three legs. The other leg is just missing.

Onpahanvaanlampi stops growling and stares at Coraline, looking affronted.

CORALINE

Don't look at me. You have me pinned down. You'll have to deal with them yourself.

The drowners drip a bit, staring. A piece of flesh falls off one of them.

AGATA

They're not hostile.

CORALINE

(irritably)

Thank you, Agata.

(to the drowners, in the strange Dead voice)

You know, you'd probably be in better shape if you stayed out the water. Just a thought.

One of them cocks its head at her curiously.

CORALINE

(Dead voice)

Also you smell.

Argument of Hags yowls a bit outside.

CORALINE

Agh, what?

Coraline pries herself out of the bedding and tent, dislodging Onpahanvaanlampi off Agata, and pushes past the two drowners. A bottle of shalott has mysteriously appeared in her hand.

Argument of Hags is staring down an entire crowd of drowners, assembled before the tent, loitering on the shore, standing in the river, all hanging around watching the tent very, very closely. They turn to stare at Coraline instead as she emerges.

Coraline stares at them.

They stare at Coraline.

Coraline turns back toward the tent.

The two drowners that had been hanging over her stare at her.

Coraline turns back to the assembled crowd of drowners.

CORALINE

(Dead voice)

No! I'm not interested! Go away!

AGATA

(mind voice)

Not interested in what?

CORALINE

(mind voice)

I don't know! I don't care!

The drowners stare at Coraline disappointedly. A few of the ones in the river sag back into the water.

CORALINE

(Dead voice)

What?

The drowners stare at her a bit, not really doing much. One of the nearer ones kneels before her, and then others, too, rippling outward, until all of the drowners are kneeling before Coraline subserviently, aside from the ones with no knees. And the ones that fall over, instead.

AGATA

(mind voice)

Sure you're not interested? You could have an army.

CORALINE

(mind voice)

What the buckets would I do with an army? Especially of these. They can't even kneel properly.

AGATA

(mind voice)

Spoken like a true witch.

CORALINE

(Dead voice)

Go away! I don't want an army! I'm sorry, but I just don't!

The drowners look up at Coraline in confusion. A few get up, also in confusion.

Coraline pulls a random nearer drowner to its feet and turns it back toward the river. It oozes a bit in her hands.

CORALINE

(Dead voice)

Just go back into the water and pretend I was never here, okay? Just go back and be drowners. In the water. And drown people. Like normal. Ignore me.

Some of the drowners start shuffling dejectedly back toward the water. Others just stare at Coraline.

CORALINE

(Dead voice)

It... would please me greatly if you all went back into the water and acted like normal?

This has an effect. The rest of the drowners get up. Several of them bow, and they all head back for the water, some of them rather rushing for it. Quite a few of them run into each other. A few of them trip and fall and just crawl into the river like thirsting men at an oasis.

A moment later, the shore is clear.

AGATA

You could have handled that better.

CORALINE

Thanks for the feedback. Do you have anything useful to suggest, or is that it?

AGATA

Well, Kyrule certainly wouldn't approve.

CORALINE

He can go suck on a cactus.

(she takes a swig of shalott)

Or maybe have some non-conversations with a pile of rotting lost puppies himself, if he really wants to.

AGATA

Tell him that sometime.

CORALINE

I might.

INT. Blocky structure - adjournment floor

Over the course of a few days, the kids clear the floors, five of them altogether. The layouts are the same. The blockiness is all the same. Mostly rooms are empty, or full of blocks. They stop and rest at intervals, and slowly start to eat the ration blocks as they run out of their own food.

One room is full of zombies, in blocks. The zombies activate as the door is opened, sliding out of their blocks. Jora dismantles some with her sword, and Kit deactivates the rest with magic. They stuff them back into their blocks.

Another room will not open. There is a small puddle at its base.

NOLAN

This is significant.

Kit gives him an enquiring look.

Erry scuffs at the puddle with her boot.

KIT

You don't suppose there is a way out? What if this is all just a giant dead end?

JORA

What would be the point of having a giant dead end?

NOLAN

Ask Vitoi.

They move on. They find a room full of disks, and no indication what to do with them. They are strangely round, and even more strangely shiny, stacked in cases on shelves. Erry picks up a few curiously, holding them up to her light, admiring the colours. Kit casts spells on a few to try to find labels, but brings up nothing.

Nolan selects a few carefully, pocketing them.

They move on.

ERRY

Why don't we have magic ponies. Why aren't magic ponies a thing? I wanna ride a magic pony. It could be shaped like a giant sofa and gallop by flying around.

KIT

That's just stupid.

ERRY

No, you're stupid.

They move on, clear the rest, and as the days pass, settle in.

INT. Blocky structure - lodgement floor

Kit is lying on a bed, staring at the ceiling, gnawing on a ration block. The others are elsewhere. There is no taste to the block, no smell to the air. No sound through the walls. He can hear his own gnawing most of all. He can hear his own breathing, and his heartbeat, and his stomach as it works to deal with the ration block.

He takes a deep breath and screams.

In another room, Erry screams in response, the sound muffled and bouncing as echoes.

Jora runs in a moment later, holding a sword, dressed in workout clothes, pale from a workout.

JORA

Kit? What's wrong?

She goes past, not waiting for a response, looking around for a threat.

KIT

It's too quiet. It's the silence. The silence.

JORA

Stay with your sister. She'll distract you.

KIT

That's even worse.

JORA

(putting away the sword)

Get up.

Kit groans.

Jora comes over and picks Kit up, setting him on his feet.

When she turns to leave the room, he follows.

INT. Blocky structure - control floor

Nolan and Jora are in a room. A block is up against a wall. Another block is in the middle, low and blank.

Nolan is at the wall block, pushing his hands against the air over it. Screens flicker in and out of being above it.

JORA

Are you getting anything?

NOLAN

This place is entirely devoid of sheep.

(he turns to Jora)

I don't think it will crush us, but we'll need to come up slowly.

JORA

A way out?

NOLAN

Possibly. Pack rations. Waterproof your bags. I don't know where we are.

JORA

How bad is it?

NOLAN

I don't know.