FADE IN:
TEASER
ON-SCREEN: What if Darwin had it backward? What if evolution
didn’t wait for the fittest — but forced the weak to catch
up?”
SUPER: 2018
INT. SCHOOL HALLWAY – DAY
Books topple. FORBES catches them midair, smooth. BRUCE grins
as he hands back a sketchbook.
BRUCE
You draw weird. Brilliant — but
weird. See you at the party later?
Taylor gives a shy nod.
Genres:
["Drama","Coming-of-age"]
Ratings
Scene
2 -
Party Tensions
EXT. HOUSE – NIGHT
Bass shakes the lawn. Teens spill from the porch. Kegs.
Screams. Laughter.
INT. HOUSE, KITCHEN – NIGHT
Taylor sips beer, eyes flicking to a muted TV — A news crawl
flashes at the bottom:
“Fourth case of unexplained cellular mutation reported in
Bogotá.” “UN confirms new task force for anomalous biology.”
She freezes — but Bruce cuts in, swaggering up.
BRUCE
Beer that bad?
He tops off her cup with whiskey from his flask.
TAYLOR
Better. Still trying too hard,
though.
They laugh. Then — a sharp COUGH.
A sweaty teen leans on the railing, eyes red, hacking
violently.
TAYLOR (CONT'D)
You should go to the ER.
SWEATY TEEN
Nah. Just flu.
INT. STAIRS - NIGHT
Taylor pulls away as Bruce tugs her arm.
TAYLOR
I’m not feeling this, Bruce.
BRUCE
Come on, it’s just upstairs.
She flips him. Hard.
TAYLOR
Another fight I didn’t sign up for.
She storms down the stairs.
Genres:
["Drama","Thriller"]
Ratings
Scene
3 -
Dancing in the Rain
EXT. HOUSE – NIGHT
Thunder cracks. Taylor SLAMS the front door. Kicks off her
shoes. Dances barefoot in the rain — free, alive, defiant.
From the shadows: FORBES. He holds out his jacket, flashing
an FBI logo.
FORBES
Need a dry spot? Saw how you
handled yourself back there.
TAYLOR
I’m good out here, though.
FORBES
I swear, I’m not another Bruce.
TAYLOR
You’ve got that whole FBI thing
going on. Not very “bad boy.”
FORBES
Start training next week.
TAYLOR
No kidding. So do I.
They dance together in the rain. Rain becomes electric. The
DNA under their skin shifts. Mutates. Their bodies hum with
unseen change.
MONTAGE:
Taylor fires at a jungle predator — Forbes drags a wounded
agent through mud — Training mats. Bloodied knuckles. —
Classified dossiers. Surveillance tapes. — Broken mirror.
Taylor stares at her reflection.
END TEASER
ACT ONE
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
4 -
Chasing Shadows
INT. SUV – NIGHT – PRESENT DAY
A bulletproof FBI vest slides into frame. The same logo as
before — but faded, worn.
Taylor and Forbes — older, quieter — strap in. No banter. No
smiles. Only the quiet rhythm of preparation.
They exchange a glance. The past is still there — but buried
under mission scars.
TAYLOR’S PHONE: A photo of an ultrasound.
Taylor zooms in on the photo.
FORBES
Niece or nephew?
TAYLOR
Nephew. My sister’s... was. She
didn’t survive the incident in
Jersey.
FORBES
The mutagen leak?
TAYLOR
Worse. Ex-boyfriend. I joined the
Bureau because I couldn’t save him.
Now I can't stop wondering if I’m
chasing ghosts — or just becoming
one.
Forbes is quiet for a beat. Then he speaks — low, sincere.
FORBES
You’re not a ghost. Ghosts don’t
hesitate. You don’t stop moving.
That’s what makes you dangerous —
and human.
Taylor looks over at him. Not expecting that.
A tense beat.
TAYLOR
Copy that. Old warehouse on
Central.
Forbes swerves the SUV, snapping back into tactical focus.
Suddenly — static. The baby image flickers and vanishes.
Taylor’s reflection stares back: tired. Muted. Almost someone
else.
TAYLOR (CONT'D)
Not now…
Her hand tightens around the phone. Rain hits the SUV window
like static.
Taylor lifts her arm to signal the squad forward. Her sleeve
rides up, revealing a faded scar, jagged and deliberate.
She catches Forbes noticing it.
FORBES
Try not to earn another one.
Taylor doesn’t answer. Just keeps moving.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
5 -
Rainy Deal Gone Wrong
EXT. NEW YORK – ABANDONED WAREHOUSE – NIGHT
Rain drills concrete. Thunder rolls.
Two black SUVs screech to a stop from opposite directions.
Headlights cut the darkness. Six MEN step out — three in
tactical black, three in streetwear — all armed.
Between them, two umbrellas shield an exchange: cash for
blood vials.
JORDAN
The “JRM1” mutagen?
MIKE, 33, nods, his eyes gleaming.
MIKE
Superman meets Deadpool. No
weaknesses.
They shake.
SIRENS BLARE. Ten FBI SUVs encircle the warehouse. Doors fly
open. Forbes and Taylor emerge, guns raised.
Taylor surveys the terrain — and hesitates. A half-second
delay. Enough for Forbes to notice.
FORBES
(confused)
What are you waiting for?
TAYLOR
Margin for error's gone.
She moves forward — tense, deliberate.
Gunfire erupts. The dealer’s scatter. One man grabs the case
and dives into a black SUV. Tires SCREAM.
EXT. CITY STREETS – NIGHT
Rain floods potholes. Forbes and Taylor give chase in their
SUV.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
6 -
Chase Through the Rain
INT. SUV (MOVING) – NIGHT
Forbes drives, jaw tight. Taylor locks and loads.
TAYLOR
I swear it was my turn to drive.
FORBES
Next time, promise.
TAYLOR
You don’t always have to be the
hero, Forbes.
FORBES
Don’t know how to be anything else.
Shots fire from the fleeing SUV. Taylor leans out, returns
fire.
FORBES (CONT'D)
Hang tight.
Taylor fires a shot, rattling the shooter.
TAYLOR
Sometimes I wonder if I’ll ever
have a life outside of this.
FORBES
Nice shot.
EXT. INTERSECTION – NIGHT
Red light. Forbes floors it. The SUV barrels through. Taylor
fires again — hits the shooter.
INT. SUV (MOVING) – NIGHT
Forbes shifts gears, the car surging forward. Taylor braces
herself and checks her weapon. Tires SCREECH as they navigate
sharp turns. A traffic light ahead turns red. Forbes floors
the gas, barreling through the busy intersection.
TAYLOR
I’ve got this.
Taylor shoots, the SUV swerves, and the shooter is rattled
back into the vehicle.
Taylor swerves to avoid a reversing lorry. Roadworks loom
ahead. Taylor makes a sharp right turn into a car park.
EXT. CAR PARK – NIGHT
The SUV races into the car park. Forbes follows, narrowly
avoiding parked cars. The SUV suddenly halts. Forbes slams on
the brakes, crashing into the SUV's rear.
Genres:
["Action","Thriller"]
Ratings
Scene
7 -
Night of Capture
INT. PARKING STRUCTURE – NIGHT
The suspect SUV veers into a car park. Forbes follows. Crash.
Their SUV SLAMS the rear of the target vehicle. Three black
vans SKID in, surrounding them.
FORBES
(whispering)
Stay low.
Taylor checks the team’s spacing, double-checks her own route
markers. Overcompensating.
FORBES (CONT'D)
(under breath)
You trying to get it right this
time, or impress the ghosts?
Taylor pauses, jaw tight, but says nothing.
She moves on.
Masked MEN emerge — rifles ready.
TAYLOR
Hit the button. Call for help.
Doors YANK OPEN.
KRIS, 23, sporting an eye patch and neck tattoos, glares
menacingly. ZAC, 24, an Asian fighter with a steely gaze,
zips up his jacket.
KRIS
Don't.
ZAC
Shut it off. Get out.
FORBES
Easy…..
KRIS
Move. Now!
Kris throws Forbes down. Taylor lunges.
TAYLOR
Don't hurt him.
Zac STRIKES Forbes in the face. Kris SLAMS Taylor onto the
hood.
KRIS
What now, Mr. FBI?
Forbes’ pupils dilate with fury. Taylor tries to wriggle
free, but it's useless.
ZAC
Dump them both.
The agents are dragged into a waiting van. Doors SLAM.
Genres:
["Action","Thriller"]
Ratings
Scene
8 -
Bound in Darkness
INT. VAN – NIGHT
Bound. Bruised.
TAYLOR
Could’ve gone better.
FORBES
Don’t say it.
TAYLOR
I’m gonna say it.
FORBES
Just drop it.
TAYLOR
Should’ve let me drive.
FORBES
Of course, you said it.
The van lurches over potholes.
TAYLOR
Is this it? Final destination?
FORBES
Not yet. Got fish to feed.
TAYLOR
I can't keep doing this.
FORBES
You’re stronger than you think.
TAYLOR
I want ballet classes. Little
shoes. A normal life.
FORBES
Pregnant?
TAYLOR
No, but I’m feeling it. My body’s
changing. I’m done.
The van BRAKES hard.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
9 -
Descent into Darkness
EXT. BRIDGE - NIGHT
Doors open. RAIN. WIND. DARKNESS.
KARL (45), scarred, smokes calmly as Forbes and Taylor are
shoved to the edge.
FORBES
(Whispering)
Follow my lead.
TAYLOR
I trust you.
The captors push them forward into the darkness, their fate
uncertain.
A freight train approaches at full speed. Karl signals to his
accomplices to throw Forbes over the edge.
TAYLOR (CONT'D)
Let us go. You don't have to do
this.
Taylor is thrown to the ground, spitting out muddy water.
KARL
Throw him.
Karl nods. Forbes is thrown over the rail.
TRAIN WHISTLE SCREAMS.
Taylor struggles. Kris levels a gun.
TAYLOR
Please… You don't have to….
A SHOT.
Taylor’s body sails over the edge, into the roaring dark.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
10 -
Survival on the Tracks
EXT. RAILWAY TRACK – NIGHT
The train shrieks through the darkness. In the final second –
FX: A surge of energy bursts from their bodies—crackling,
raw, barely controlled. They're ripped off the tracks into
the air.
They hover mid-air, suspended by an invisible force. The
train barrels past underneath in a blur of light and steel.
Taylor hits the ground hard, gasping. Forbes lands nearby.
Silence. Just their ragged breathing.
FORBES
Did we—?
(beat)
We didn’t die?
TAYLOR
That’s not possible. That’s not—
She stumbles back, eyes wild, chest heaving. Panic overtakes
her.
Her hands tremble. She falls to her knees, sobbing silently,
confused and overwhelmed.
FX: The world around her distorts—rain slows, sound echoes
unnaturally. We stay with her perception.
Forbes doesn’t interrupt. He kneels beside her, not as a
partner or agent, but as someone just as lost.
FORBES
Whatever this is… we just survived
a freight train.
(beat)
Together. So, the report?
TAYLOR
We lost them. Keep it simple.
FORBES
I can do simple.
A freight train slows down. Forbes flashes his FBI badge to
the GUARD, who stops the train.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
11 -
Whispers in the Night
INT. TRAIN – NIGHT – MOVING
Dim flickering light. Forbes sleeps, his head bobbing gently
with the rhythm of the train.
Taylor sits opposite, dead-eyed. She unzips her tactical
vest, peels up her shirt, and winces.
Her abdomen is bruised — a dark storm cloud across her ribs.
She touches it gently. It pulses back. She pulls a small
EMERGENCY TEST STRIP from her pocket and swipes it across the
bruise.
A faint red glow — something new. Something wrong. Her breath
hitches. She glances at Forbes — still asleep. She reaches
for her phone. Her thumb hovers over a saved contact: “Dr.
Lewis – Personal” She doesn’t call.
The train bumps. Forbes stirs. Taylor locks her jaw, lowers
her shirt, and hardens. Taylor crouches next to him,
strapping her boots.
TAYLOR
You’re quiet.
FORBES
Just thinking.
(beat)
When I was eight, my brother and I
used to sneak onto this old train
bridge near our house. We’d lie
flat as the trains passed over —
feel the air whip around us.
Terrified, every time.
TAYLOR
Why’d you do it?
FORBES
Because he wasn’t afraid. And I
hated that.
Taylor softens.
FORBES (CONT'D)
Now I’d give anything to feel that
kind of fear again. You know — the
kind that ends when you go home.
A long silence.
They sit together in stillness, shoulder to shoulder. Not
touching — but connected.
Her phone buzzes. Message from Merrick: “Report status. Do
NOT go rogue.”
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
12 -
The Seventh Tide: A Call to Evolve
INT. FBI BRIEFING ROOM - DAY
Buzzing with urgency. Agents crowd glowing monitors. Red
zones pulse on heat maps. Coffee-stained folders, pinned
victim photos, flickering fluorescents. Static hums.
ON TV: — The creation of life on Earth by a divine force.
DR. COGGINS (O.C)
There have been six events or
tides. Tide one is the Genesis
Creation.
A sudden burst of life forms in the ocean, where complex
creatures evolved rapidly.
DR. COGGINS (O.C) (CONT'D)
Tide two, the Cambrian explosion.
The meteor that led to the extinction of the dinosaurs and
made way for mammals and, eventually, humans.
DR. COGGINS (O.C) (CONT'D)
The third tide, a historical
reset, where life on Earth
experienced a massive shift in
trajectory.
The development of human civilization, agriculture, and
technology, marked by the birth of language, culture, and
organized society.
DR. COGGINS (O.C) (CONT'D)
Tide four, humanity begins to
control its environment.
The era when technology and industry advanced rapidly,
leading to significant environmental changes, urbanization,
and new human capabilities.
DR. COGGINS (O.C) (CONT'D)
Next, the Industrial revolution.
The age of computers, the internet, and genetic engineering.
Genetic mutation and biotechnology become central to modern
civilization.
DR. COGGINS (O.C) (CONT'D)
Tide six, the digital and genetic
revolution.
— A man jogs through the jungle → coughs in smoggy city →
collapses in rain. — FX: Rain penetrates skin. DNA shifts
beneath it. — He stands — glowing. Evolves.
DR. COGGINS (O.C) (CONT'D)
And now, tide seven. Life forms on
Earth evolve rapidly, with the
oldest mutagen known to exist
awakened from perhaps the melted
ice caps.
A girl leaps over a city bus, eyes glowing faintly. – A boy
pulls himself out of ice — veins lit like circuitry. – A dead
jungle panther twitches, then sprouts fungal antennae.
Gasps in the room. Dr. Coggins continues, voice lower now.
DR. COGGINS (CONT'D)
We’ve traced 41 separate mutagen
events in the past six months.
DIRECTOR MERRICK
Can we stop it?
DR. COGGINS
We'd have more chance of stopping a
meteor.
Then the monitor flashes: PRESIDENT RILEY – SECURE LIVE FEED
PRESIDENT RILEY
Can we fight it?
FORBES
No, sir. You fight an enemy.
This... you adapt to — or you die.
Officials bristle at Forbes' tone.
PRESIDENT RILEY
Dr. Coggins — worst case?
FORBES
No more human life on Earth.
PRESIDENT RILEY
Best case?
FORBES
Global reset. Eden or extinction.
President Riley studies the red zones on the globe.
PRESIDENT RILEY
Then we’re out of time. I’m
authorizing a new autonomous unit —
full clearance. Target, trace,
contain. Learn before we burn.
ON SCREEN: A seal appears: PROJECT DEOXY – INITIATED
DIRECTOR MERRICK
You’ll have what you need.
Forbes nods at Taylor.
PRESIDENT RILEY (O.S.)
Find out who gets left behind — and
who evolves.
The screen fades. The seal of the United States glows.
TAYLOR
Then let’s evolve faster.
Taylor slaps a badge onto her chest.
END ACT ONE
ACT TWO
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
13 -
Tensions and Tribulations
EXT. FBI FIELD OFFICE – DAY
TV flickers. A tiger mauls a zookeeper. Rain lashes windows.
Maps, folders, red-zoned monitors everywhere.
Forbes and Taylor sift through data. Dr. Coggins bursts in,
arms loaded.
DR. COGGINS
Latest from Kathmandu. You’re gonna
want to sit.
Taylor flips through tourist clips.
TAYLOR
These aren’t climbers. They’re
influencers.
He exits. Forbes pushes aside folders. On the whiteboard:
"Evolutionary Events – Global." Taylor writes:
CONFIRMED CASES: TAYLOR & FORBES (NEW HULKS ON THE BLOCK)
Forbes erases it.
FORBES
Now what?
TAYLOR
I need a hospital scan. If I can
still have kids...And what if
they’re born like me?
FORBES
Don’t tell anyone. Not yet.
TAYLOR
This isn’t classified. It’s
personal.
She tosses an article onto the desk: “Reza Tribe: Fact or
Fiction?”
Satellite photos of red-canopy rainforest.
FORBES
That clearing... We need to see
this.
TAYLOR
You go. I hate bugs.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
14 -
The Secrets of the Reza Tribe
INT. DR. DONALDSON’S OFFICE – DAY
Weathered books. Jungle artifacts. DR. DONALDSON, 55,
gestures to chairs.
DR. DONALDSON
I searched for the Reza tribe for
years. Took five minutes to feel at
home.
TAYLOR
Anyone… special?
DR. DONALDSON
Not in capes. But empathic.
Psychic. In sync with nature.
FORBES
Why?
DR. DONALDSON
Too much noise. Nine billion brains
screaming.
TAYLOR
You wrote we’re defenseless in
nature.
DR. DONALDSON
Exactly. But one girl, Lucy. They
say she speaks to animals. Never
met her, but her legend... she’s
different.
FORBES
You think she’s still alive?
DR. DONALDSON
If she is, she’s the key.
He hands over a folder. Inside: photos of blue-painted
tribesmen, jungle bonfires... and Lucy.
TAYLOR
She’s like us.
She tucks the photo away.
Genres:
["Action","Sci-Fi","Thriller"]
Ratings
Scene
15 -
Crossroads of Identity
INT. FBI OFFICE – NIGHT
A blank Word doc glows: "Letter of Resignation." Jungle
images flicker onscreen. Lucy. Fire. Eyes watching.
TAYLOR (V.O.)
I joined to protect people. Stop
threats. Not become one.
(MORE)
TAYLOR (V.O.) (CONT'D)
Somewhere along the way... I lost
the difference.
She types. Backspaces. A single tear — quickly wiped.
FORBES (O.S.)
You don’t usually cry at your desk.
She jumps. He leans in the doorway.
TAYLOR
I’m done.
FORBES
With what?
TAYLOR
All of it. The mission. The mask.
The myth.
FORBES
Is this fear… or change?
TAYLOR
Does it matter?
FORBES
Yeah. Fear means rest. Change means
goodbye.
TAYLOR
I haven’t decided. That’s why the
letter’s still a draft.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
16 -
Mission Tension
INT. FBI OPS ROOM – DAY
Buzz of agents. Dossiers everywhere. Cables and computer
lights pulse a hypnotic red.
Taylor slides a thick file to Forbes: ANGEL ISLAND –
CONFIRMED STINGER FLIES
FORBES
Killer flies? Seriously?
TAYLOR
Dead serious.
FORBES
Call Dr. Lewis. Order a truckload
of bug spray.
TAYLOR
Bug spray won’t cut it. Merrick
cleared me — I’m going to Reza.
FORBES
Not without backup.
TAYLOR
I leave in two hours.
Forbes stares. She’s serious.
FORBES
This is my team, not Merrick’s.
TAYLOR
Still mad he got your team killed?
A beat. Forbes looks away.
FORBES
Two years undercover. They were
family.
TAYLOR
You’re better than he’ll ever be.
But I need to do this.
FORBES
I won’t stop you.
TAYLOR
Good. Because I’d go anyway.
She walks out.
SFX: The hiss of the empty canister echoes as Forbes watches
her go.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
17 -
Into the Jungle: A New Beginning
INT. PLANE – DAY
Taylor sprays insect repellent like it's armor. She peers out
the window — below, a thin strip of land cuts through the
vibrant canopy.
EXT. JUNGLE – DAY
"Otherworldly."
Trees tower in surreal purples and reds. Gnarled trunks twist
like ancient sentries. Vivid birds ride thermals, feathers
glinting.
INT. PLANE – CONTINUOUS
The plane banks hard. Turbulence hits. Taylor slams back into
her seat.
EXT. RUNWAY – MOMENTS LATER
The wheels grind onto the dirt strip. Lizards the size of
dogs dart across the clearing. Massive spiders scuttle
beneath the undergrowth. Taylor steps off the plane. She
scans the jungle — alive, humming, watching.
She takes a breath. Steady. Ready.
EXT. JUNGLE RUNWAY – DAY
The heat slams into Taylor as she steps off the plane. Neon
insects swarm the windshield. Five TRIBE MEMBERS and a TRIBAL
ELDER (77) approach, solemn yet warm.
TRIBAL ELDER
(points east)
Few hours' walk.
Taylor sprays repellent. The villagers laugh. One catches a
mosquito and eats it. Taylor gulps water, climbs into the
creaky truck.
Genres:
["Action","Adventure","Thriller"]
Ratings
Scene
18 -
Whispers of the Jungle
EXT. RIVER – DAY
LUCY (20), radiant and wild, sits by a river. Spiders crawl
on her arms. Birds and lizards gather like kin.
The truck rumbles across a fragile bridge of logs and mud.
EXT. JUNGLE – DAY
Taylor steps out into ankle-deep mud. Insects buzz. Villagers
walk unfazed. Taylor sprays again.
Lucy bursts from the jungle, circles Taylor curiously, then
vanishes into the canopy.
TRIBAL ELDER
That was Lucy. She’ll be at camp.
With Ao Ao.
TAYLOR
Ao Ao?
TRIBAL ELDER
Come. Before rain.
Taylor glances up. Lucy is gone. Shadows move — BARTOT
warriors watching, silent.
Genres:
["Action","Adventure","Thriller"]
Ratings
Scene
19 -
The Dance of Destiny
EXT. CAMPFIRE – NIGHT
Dozens gather around the firelight. Lucy, now in ceremonial
attire, dances among tribe members. Drums pound. Taylor tries
on the costume, joins in — graceful, free.
Nearby, a WOMAN brews insect-potions. Lucy dances with LIAM
(21), then drifts away.
Taylor finds the Elder under a canopy. He smokes a green
cigar, scribbling in her journal.
TAYLOR
This place… It’s more than I
imagined.
ELDER
No tourists. No power. Only what Ao
Ao gives.
TAYLOR
Your English is perfect.
ELDER
Visitors taught us. Some stay.
TAYLOR
Who is Ao Ao?
ELDER
God of the mountains. Giver of
life. Life. Death. Same coin.
Happiness? Simpler than you think.
He leans in. Whispers something unheard. Taylor’s eyes widen.
A rustle. The Elder signals. Drums stop. Silence. A baby
cries.
He nods. Drums resume.
TAYLOR
Feels like an adventure movie.
ELDER
Movie?
TAYLOR
Never mind. Tell me about Lucy.
ELDER
Talks to animals. Led by monkeys
last week to a hidden grove.
TAYLOR
You said there were other tribes?
ELDER
Four. Reza — balance. Morbali —
shadow. Trom — hunger. Bartot —
power.
TAYLOR
Where are they?
ELDER
Here. Watching. Especially Bartot.
TAYLOR
Why her?
ELDER
She’s descended from the last
Queen. A bloodline that could unite
— or end — all.
TAYLOR
Anyone else share it?
ELDER
No. She was found, wrapped in
roots. Her family hunted. The
prophecy silenced… but the child
survived.
TAYLOR
Can’t someone else rule?
ELDER
Men choose rulers. Nature chose
Lucy.
TAYLOR
A response to what?
ELDER
To the sickness. To war in your
genes. Nature is speaking — and
Lucy is its voice.
TAYLOR
And Bartot?
ELDER
They want to own that voice. But
the moment they do, the Earth will
scream.
Genres:
["Action","Adventure","Mystery"]
Ratings
Scene
20 -
Cultural Exchange and Secrets
INT. CAMP – LATER
A tribesman offers coffee. Taylor corrects his technique.
They laugh.
ELDER
Try our beans. We’ll try your
America.
He grins. Orders a pot of "American coffee."
Lucy brings Taylor into a hut. She reveals a hand-drawn
skyline — NYC, Essex House.
LUCY
I see this in my dreams.
TAYLOR
Books? You like reading?
LUCY
Knowledge is power. The best kind.
Taylor admires jungle murals.
TAYLOR
You drew all these?
Lucy smiles slyly. She slides Taylor’s journal from her bag,
hides it. A thud.
Taylor calls Forbes. No answer.
Genres:
["Action","Adventure","Mystery"]
Ratings
Scene
21 -
Healing Under the Stars
EXT. CAMPFIRE – LATER
Lucy braids Taylor’s hair, matching hers.
LUCY
You don’t sleep much.
TAYLOR
It shows?
LUCY
Your hair’s tired. In my dream, it
was white. Not old — stormlight.
TAYLOR
Maybe it is.
LUCY
Do you think I’m broken?
TAYLOR
No. Broken means something used to
work. You’re just unfinished,
something new. That scares people.
Lucy ties the braid gently. Taylor rests beside her, lifts
her shirt, revealing a pulsing bruise.
TAYLOR (CONT'D)
It’s getting worse. What if I can’t
have kids?
Lucy lays her hands on Taylor’s side.
LUCY
YOu've got it.
TAYLOR
What?
LUCY
The new change. The connection. The
tide?
TAYLOR
The mutation?
LUCY
I don't know that word.
TAYLOR
I didn’t choose this. But it’s
happening, isn’t it? No matter what
I want, this... it’s taking me
somewhere I can’t even understand.
Whispers something ancient.
FX: Lucy is surrounded by glowing spores and roots of trees
that pulse a hypnotic golden green. Bruising fades. Taylor
exhales.
TAYLOR (CONT'D)
How did you—
LUCY
Everything broken wants to heal.
You just have to let it. I can’t
control it, Taylor. The Earth is
speaking, and it’s not kind."
TAYLOR
I know. But we can’t let it destroy
us.
LUCY
I don't want to destroy anyone. But
if the world is dying, maybe...
maybe we’re the ones meant to save
it.
Taylor breathes — free, finally.
Genres:
["Action","Adventure","Sci-Fi"]
Ratings
Scene
22 -
The Swarm's Wrath
EXT. OCEAN – DAY
Postcard-beautiful. A sea lion splashes near Angel Island’s
shore.
FORBES (O.S.)
It’s OK. Yeah. Miss you too.
EXT. FERRY PORT – DAY
Forbes steps off the ferry, breathes deep, and sprays himself
with insect repellent.
FORBES
Sure. Bye.
A single STINGER FLY drifts toward nearby beehives.
EXT. ANGEL ISLAND – BEEHIVES – DAY
PAULA (33), in an “Angel Island Honey” sweatshirt, hums as
she approaches her hives.
PAULA
All right, babies. Momma’s here for
honey.
She dips a finger in. Tastes. Winces.
PAULA (CONT'D)
That’s not honey.
She’s STUNG on the cheek.
PAULA (CONT'D)
Where are my bees?
She sees them — all dead. Another sting. She yanks her hand
back. A long, black stinger sticks out.
A swarm RISES from the hive.
She sprints to her car.
INT. CAR – MOMENTS LATER
She slams the doors shut. Starts the engine. Drives.
Steam bursts from the hood. The car chokes, stalls.
Stinger flies crawl from the vents.
She screams as they sting her — hands, arms, and face. Her
phone falls to the floor.
A STINGER LANDS ON HER EYE. She freezes. Her eyes glazed
over.
ON HER PHONE: ONE MISSED CALL – MOM
END ACT TWO
ACT THREE
Genres:
["Thriller","Mystery","Adventure"]
Ratings
Scene
23 -
The Cost of Power
EXT. LAKE – DAY
Forbes approaches. A swarm buzzes above the water.
They dive for him. He swats, then jumps in.
UNDERWATER – SILENCE. He sinks... and keeps sinking.
He doesn’t drown. His veins pulse a hypnotic golden green,
then bright red.
He breathes.
And swims with dolphin-like speed.
He surfaces across the lake.
In his hand: three dead stinger flies.
INT. JUNGLE – LATER
Forbes fights with brutal precision. Feral. Unstoppable.
INT. ARMORY – NIGHT
He cleans his weapon. Suddenly—
— A NOSEBLEED. — VISION blurs. — A hand tremor makes him drop
a clip.
He lifts his shirt. BRUISING spreads across his ribs.
FORBES
This isn’t strength. I’m burning
from the inside out.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
24 -
Global Mutation Crisis: Rising Threats
INT. COMMAND CENTER – NIGHT
Massive screens. Red pulses. Mutation maps. Global markers.
MERRICK paces. Taylor and Forbes watch.
DIRECTOR MERRICK
This isn’t isolated anymore.
ON SCREEN:
— Brazil: vines swallow buildings. — Japan: glowing-veined
kids in quarantine. — France: protester combusts. — South
Africa: water turns hostile.
ANIMAL FILES: — Deep-sea hybrids. Birds mimicking human
speech.
MAP: 47 mutation spikes. Color-coded: Yellow – Dormant
Orange – Active Red – Hostile
TAYLOR
Cluster 18. Midwest. Near
civilians.
FORBES
If this hits the food supply—
MERRICK
It already has.
A long beat.
FORBES
You said it was a leak. How much?
DIRECTOR MERRICK
We don’t know.
EXT. FERRY – DAY (MOVING)
A massive QUEEN STINGER FLY lands on the roof. Thousands
swarm behind it. The HUM builds — low, rising, unstoppable.
Genres:
["Sci-Fi","Thriller","Action"]
Ratings
Scene
25 -
Awakening of Power
EXT. JUNGLE – EDGE OF CAMP – NIGHT
Drums echo. Torches flicker. The Reza prepare a sacred
ritual. LUCY stands at the center, trembling.
A symbol is painted on her forehead — it glows gold-green.
SCREAMS.
Gunfire from the trees. The Bartot attack.
TAYLOR pulls Lucy down. FORBES returns fire. Chaos erupts.
LUCY’S POV:
Gunfire fades. Drums distort. Her breath — loud, panicked.
She presses her hand to the earth.
—Roots burst upward, wrapping Bartot's legs. Trees bend
inward. — Animals gather — panthers, birds, watching. —
Spores rise from Lucy’s skin — glowing, drifting.
A soldier fires — bullets arc mid-air, redirected. — Lucy
sees: cities cracked by roots, oceans glowing. She’s at the
center — feared, worshiped, alone.
BACK TO REALITY:
Lucy screams, releasing something buried.
SHOCKWAVE.
All are thrown back. The jungle falls silent.
FORBES (QUIETLY)
What... the hell is she?
ELDER (O.S.)
Not what. What comes next.
Genres:
["Action","Adventure","Fantasy"]
Ratings
Scene
26 -
Chaos at the Camp: Lucy's Uncontrolled Power
EXT. CAMP CENTER – LATER
Lucy dances, luminous. Then — a dancer COLLAPSES. Blood.
Drums STOP.
Another woman falls. Panic spreads.
Two BARTOT WARRIORS — ALEJANDRO (25) and DARIO (19) — emerge,
hatchets glinting.
Lucy freezes. Reza men rush to protect her.
The Bartot CHARGE.
Lucy trembles. Her powers spark — tremors, animals stir. It
builds — uncontrolled.
She screams. Light surges. Power lashes out — some are saved,
some fall.
A trusted Reza ELDER is struck — collapses.
Lucy stumbles. A Bartot grabs her.
LIAM fights ALEJANDRO. Blades clash. DARIO joins — together
they overwhelm Liam.
LIAM
LUCY!
She’s dragged into the jungle. Her power still trembling in
the air.
Genres:
["Action","Adventure","Fantasy"]
Ratings
Scene
27 -
Chaos at the Reza Camp
EXT. CAMPFIRE – NIGHT
CRUDE REED BLARES sound the ALARM. Screams and cries fill the
air.
ELDER
The peace has been broken.
More BARTOT WARRIORS emerge through the smoke. Hatchets
swing. REZA warriors counter with precision and speed.
LIAM, unarmed, moves like lightning — dodging, disarming,
snapping a Bartot’s arm.
Taylor leg-sweeps a Bartot, delivers a knockout kick. She
spots the Elder.
ELDER (CONT'D)
(to Taylor)
Find Lucy. Take her back.
TAYLOR
Back where? What do you mean by
home?
ELDER
She must go. It’s been written.
She’s bonded with the new species —
even the deadly ones.
TAYLOR
That’s classified. How do you know—
ELDER
GO!
He raises two fingers — a silhouette of the EMPIRE STATE
BUILDING.
The noise peaks. A flaming weapon soars overhead. Mutated
deer — thick-skinned, monstrous — stampede the camp.
A Bartot slams Lucy down, then cleaves through nearby Reza.
A PANTHER nudges Lucy, licking her face. She stirs, scrambles
toward the Elder’s hut.
ELDER (CONT'D)
Lucy, now! Run!
Lucy looks back — chaos and fire.
She strokes the panther’s head. It nods, melts into shadow.
TAYLOR
Lucy! We need to move — now!
LUCY
One last thing.
She sprints to her hut. Taylor follows.
Genres:
["Action","Adventure","Fantasy"]
Ratings
Scene
28 -
Echoes of Loss
INT. TAYLOR'S SISTER’S HOUSE – FLASHBACK – NIGHT
Taylor walks into the wreckage. Broken picture frames. A
coffee mug on its side. A stuffed animal on the ground.
She moves through the hallway slowly — methodically — like
clearing a scene, even though the danger is long gone.
INT. BEDROOM – CONTINUOUS
Blood stains the bedsheets. A broken necklace — her sister’s.
Taylor kneels beside the bed. On the wall: a child’s drawing
of a stick-figure family — her sister, a baby, and Taylor
with a cape.
She touches it, trembling.
SMASH CUT TO:
INT. LUCY’S HUT – NIGHT - PRESENT
Lucy grabs a rolled PAINTING — New York skyline. Numbers
beneath windows.
LUCY
These mean something.
Taylor is frozen to the spot.
Genres:
["Drama","Fantasy","Adventure"]
Ratings
Scene
29 -
Burden of the Past
INT. SAFEHOUSE – NIGHT - FLASHBACK
Taylor wraps a bandage around her arm. Forbes watches.
FORBES
You don’t hesitate when it’s kids.
TAYLOR
Because I didn’t make it in time
for the last one.
Beat.
TAYLOR (CONT'D)
My sister. Jersey. He said he loved
her, then broke every window and
bone in that house.
FORBES
You don’t have to carry that alone.
TAYLOR
I don’t know how not to.
SMASH CUT TO:
INT. LUCY’S HUT – NIGHT – PRESENT
LUCY
Taylor, come back.
Taylor blinks, clears her throat — jaw tight. Taylor springs
back into action.
TAYLOR
Great. Run first, explain later.
Lucy stuffs books in her bag. Taylor signals from the door.
Lucy stops, jumps on the bed, and retrieves Taylor’s journal.
Then bolts.
Genres:
["Thriller","Drama","Action"]
Ratings
Scene
30 -
Flames of Conflict
EXT. CAMPFIRE – NIGHT
They reach the Elder’s hut — but he’s not outside.
TAYLOR
Hello?
ELDER (O.S.)
You must hurry.
He steps out — a FIRE ARROW lodged in his back.
A volley of flaming arrows descends.
KAVI, 27, is hit in the gut. He grabs Lucy’s arm.
KAVI
My daughter thinks I’m a drummer,
not a warrior.
They dive as the hut erupts in flame. They run.
Liam fights fiercely nearby. He sees Lucy.
He’s hit hard, drops, then headbutts his attacker.
The Batot ignites the camp.
Lucy’s tent — gone in fire.
They flee into the burning jungle.
Taylor’s FBI badge drops into a fire. She hesitates – then
continues to run, leaving her badge to melt, the flames
reflecting in her eyes. She rubs dirt under her eyes – battle
paint.
Genres:
["Action","Adventure","Drama"]
Ratings
Scene
31 -
Escape in the Moonlit Jungle
EXT. JUNGLE – NIGHT
Taylor and Lucy sprint down a moonlit trail, breath ragged.
TAYLOR
How did you train that panther?
Lucy starts to answer—Taylor stops her, finger to her lips.
Silence.
A rustle. Heavy thumps. Three BALD MEN step out, scarred and
grinning. Black-toothed. Eyebrows shaved. Primitive.
Menacing.
They spread their arms, growling.
The panther (Lucy’s friend) jumps in front of them but is
struck by a spear. A brief distraction -
Lucy bolts. Taylor follows. Behind them, pounding footsteps.
Lucy trips over a root. Crashes.
Taylor reaches her. A DART hits Lucy’s leg.
TAYLOR
No, no—
She rips it out, grabs Lucy, and drags her into the
underbrush.
Genres:
["Action","Adventure","Thriller"]
Ratings
Scene
32 -
Through the Jungle: A Desperate Journey
EXT. JUNGLE – DAY
Lucy groans. Taylor lowers her gently. The footsteps fade.
Taylor checks Lucy’s forehead — burning hot.
LUCY (SLURRED)
The poison... run... Ao...
TAYLOR
Lucy? Come on. Stay with me. What’s
Ao? Mountains?
LUCY
I don’t think I belong here or
there.
She collapses.
Taylor fights panic, then lifts Lucy over her shoulder and
pushes forward.
A wounded PANTHER appears. Taylor freezes—then remembers.
The panther limps EAST. Taylor follows.
EXT. RIVER – DAY
Taylor breaks through the trees. The river where they first
met.
She exhales — relief. The mountains rise beyond. Clouds roll
in. The path is clear.
She keeps moving. With a hug from Taylor, the panther
disappears into the bushes.
Genres:
["Adventure","Fantasy"]
Ratings
Scene
33 -
Escape from the Jungle Runway
EXT. RUNWAY – NIGHT
TAYLOR
Ao Ao. Is that you?
Taylor’s face lights up as the dim runway appears.
INT. PLANE – NIGHT
She hauls Lucy inside, tosses their bags. The PILOT flips on
the lights.
Outside, three BATOT MEN block the runway. One cradles an
assault rifle.
Through the cockpit window, Taylor sees LIAM and REZA
WARRIORS approach. Tension spikes. Eyes lock.
FIGHT ERUPTS.
The Reza move like spirits — graceful, deadly. One warrior
uses the plane to launch into a Batot, dropping him with a
bare-handed strike.
Taylor searches — no sign of Lucy.
TAYLOR
Lucy!
Lucy drops from the wing, landing beside the boarding door.
A BATOT grabs Taylor’s legs — she SCREAMS, bites, and kicks
him off.
She rushes to the cockpit.
TAYLOR (CONT'D)
Get ready for takeoff. I’ll grab
Lucy!
Through the window, she watches Lucy and Liam fighting side
by side, fluid and in sync.
Taylor races out.
Lucy calms a wild animal, shifts the terrain, her powers
spreading.
TAYLOR (CONT'D)
This isn’t just survival anymore...
we’re in something bigger.
The extraction point is compromised.
INT. PLANE – CONTINUOUS
The plane jerks forward. Lucy sprints alongside, then LEAPS
into the door.
Ahead — a CLIFF.
The Pilot commits. Taylor closes her eyes — and the plane
LIFTS.
EXT. SKY – NIGHT
The plane arcs over the jungle.
PILOT (O.S.)
Copy that. Three passengers
returning. Will keep you updated.
Genres:
["Action","Adventure","Thriller"]
Ratings
Scene
34 -
Molting in Flight
INT. PLANE – NIGHT
LUCY
Do you miss your baby?
TAYLOR
What?
LUCY
Your journal. I read some. Sorry.
There was a picture... a name.
Taylor stiffens.
TAYLOR
He wasn’t mine. My sister’s. She
didn’t make it.
A silence.
LUCY
You said you didn’t want to carry
anyone.
Beat.
LUCY (CONT'D)
But you’re carrying me.
TAYLOR
Yeah. I guess I am.
LUCY
Why?
TAYLOR
Because you’re more than what they
see. And maybe I wish someone had
seen that in me... when I was
breaking.
Lucy takes out her braids. Forbes tightens hers.
LUCY
You’re not breaking. You’re
molting. Like cicadas. It’s messy,
but something bigger’s coming.
TAYLOR
So, what are you?
LUCY
What’s left after the fire. Ash and
teeth. And something still trying
to bloom.
She hands Taylor the journal.
LUCY (CONT'D)
Next time, write what hurts.
Genres:
["Drama","Adventure"]
Ratings
Scene
35 -
Ashes of Innocence
EXT. BURNT REZA OUTPOST – NIGHT
Fire crackles. Smoke coils. ALEJANDRO steps through ruins.
Bones crunch underfoot. A scorched CHILD’S DRUM lies in ash.
YOUNG SOLDIER (O.S.)
Survivors cleared.
ALEJANDRO
Were there children?
Alejandro picks up the drum, then hurls it into the fire.
INT. LUCY’S TENT – DAY
Ash. A burned book: *New York: A Visitor’s Guide.*
ALEJANDRO
Bring me Lucy. Alive. No more ash.
He steps into the rain. Water warps in the air — sharper.
END ACT THREE
ACT FOUR
MATCH CUT TO:
Genres:
["Action","Drama","Fantasy","Thriller"]
Ratings
Scene
36 -
Protocol Breach
EXT. NEW YORK STREET – DAY
A fire hydrant BURSTS. Water floods the pavement.
A PLANE flies overhead.
EXT. NYC GOV AIRPORT – NIGHT
The plane lands. Taylor waits near a black government car.
The door opens — Forbes steps out.
TAYLOR
Wasn’t sure you’d show.
FORBES
I’m your superior. Of course I did.
TAYLOR
What’s the saying? Ask forgiveness—
FORBES
Don’t do it. Always ask permission.
They smirk.
The car door opens. Lucy steps out, hesitant.
FORBES (CONT'D)
One of your samples?
TAYLOR
Her name’s Lucy. She had to come.
FORBES
Does anyone know she’s here?
TAYLOR
I went against protocol. But she’s
scared. Just... play nice.
They walk toward Lucy.
In the distance, the PILOT speaks into a secure phone,
watching.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
37 -
A Gentle Introduction
EXT. NYC GOV AIRPORT – NIGHT
TAYLOR
Nope. The last thing Lucy needs is
to be a lab rat in some government
hole in the middle of nowhere.
FORBES
Agreed.
He removes his FBI jacket, offers it gently. Lucy shrinks
away, slipping into the back seat.
TAYLOR
Lucy, this is my friend Adam.
Forbes kneels, hand extended.
FORBES
Hi Lucy. I’m Adam. I’m your friend.
Lucy hesitates, then slowly traces his palm.
LUCY
I’m Lucy.
She glances at Taylor, who smiles.
TAYLOR
Let’s get moving. Hungry? Adam?
FORBES
Famished.
Lucy nods.
Genres:
["Drama","Thriller"]
Ratings
Scene
38 -
Riding the Tide
INT. CAR (MOVING) – NIGHT
Forbes drives. Lucy sleeps in the back. Taylor stares out the
window.
FORBES
You alright?
TAYLOR
Just thinking... What if this
mutation passes on? What if my
kid’s like Lucy?
FORBES
Look, Taylor. We’re not just
adapting to this world; we’re
becoming it. You’re fighting it,
but the truth is, we’re part of
something bigger now. Something
that won’t stop moving.
(MORE)
FORBES (CONT'D)
It’s not about stopping the tide,
it’s about learning to ride it.
TAYLOR
How do you keep going, knowing that
all of this... is bigger than us?
That we’re just... part of it? The
mutation, the change—it's like
we're just going along with it, but
I didn't choose this. I didn’t
choose to become this."
FORBES
You don't get to choose, Taylor.
The tide’s already here. You either
learn to swim or get pulled under.
Because today I swam, under water.
What am I? A weapon? A monster?"
TAYLOR
You’re not a monster. You’re still
you—just... evolving. And maybe
that’s the point. What if my baby
can't ride the tide?
FORBES
Then we baby-proof everything.
TAYLOR
We?
Forbes smirks, eyes on the road.
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
39 -
A Night of Discovery
INT. TAYLOR'S HOUSE – NIGHT
Taylor tucks Lucy onto the pullout couch. Chinese takeout
boxes sit nearby.
INT. LIVING ROOM – LATER
TV static. Taylor asleep.
Lucy tiptoes in, dressed in fresh clothes.
INT. KITCHEN – NIGHT
Lucy finds leftovers, presses buttons on the microwave, talks
to it, sensing for a soul. Nothing. She eats. Chili hits. Her
eyes widen. She scrambles to the sink, gulps water from the
faucet.
INT. LIVING ROOM – NIGHT
She clicks through TV channels — eyes absorbing data.
Taylor stirs awake.
LUCY
Is this what the world is like?
TAYLOR
In some ways, yeah. It’s a lot.
They sit together, quiet. A plane hums overhead.
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
40 -
Tensions and Innocence
INT. AIRPLANE – DAY
ALEJANDRO and DARIO sit in tribal garb. Curious passengers
stare.
PILOT (O.S.)
Approaching JFK.
ALEJANDRO
Did I tell you about the time I
raced an elephant and won?
Dario puts in his earbuds, shuts his eyes.
Alejandro sighs, stares out the window.
EXT. TAYLOR'S HOUSE – KITCHEN – DAY
Forbes eyes empty takeout boxes scattered on the counter. In
the b.g, the TV flicks through channels — snippets of news,
wrestling, cartoons.
Taylor stands at the sink, tense.
Forbes notices a report left on the table next to Lucy’s
colorful NYC painting and her leather-bound journals.
INSERT — REPORT: "Cures for diseases. Basic English. Agility.
Bartot = hostile tribe."
FORBES
You think the Bartot were after
you?
TAYLOR
Lucy.
FORBES
Does the agency know she’s here?
What about your pilot?
TAYLOR
I trust him.
FORBES
That won’t save you if they find
out.
Taylor glares. Forbes holds her stare, calm.
FORBES (CONT'D)
Don’t bite my head off.
TAYLOR
Don’t make this about you.
FORBES
Low blow.
The TV mutes. Lucy enters, wide-eyed, clutching a spoon.
FORBES (CONT'D)
I’ll check in with the field
office.
TAYLOR
We’re taking Lucy sightseeing.
Lucy grabs a bowl, pours cereal, and sits at the counter. She
slurps happily, then freezes under their stares.
LUCY
It tastes so good.
She glances at the wrestlers on TV, brow furrowed.
LUCY (CONT'D)
Why do people on the box fight so
much?
Forbes exhales.
FORBES
It’s pretend.
Lucy studies him skeptically.
LUCY
Are you pretending when you shout?
Forbes glances at Taylor.
FORBES
It’s complicated.
Lucy shrugs, points at the muted news crawl: “Climate talks
stalled amid protests.”
LUCY
Is the Earth dying?
Forbes hesitates. Taylor speaks up.
TAYLOR
Some think so. Some don’t. That’s
why they fight.
Lucy slurps again, unconvinced.
LUCY
You should stop fighting.
Taylor and Forbes just look at each other. Lucy flips off the
counter, swings from a light fixture, and lands perfectly on
the couch, grinning. Forbes and Taylor just stare.
Genres:
["Drama","Adventure","Mystery"]
Ratings
Scene
41 -
Chaos at Newark
EXT. NEWARK AIRPORT, TERMINAL TWO – DAY
ALEJANDRO and DARIO step out. They cough.
DARIO
I forgot how bad the air stinks.
ALEJANDRO
We’re in the monster’s belly now.
Of course, it stinks.
Dario opens his phone, checks the map.
DARIO
Let’s find her and get home.
ON SCREEN – Map: Destination – Essex Building. Turn left in
500 yards.
In the background, a PASSENGER’S eyes flash reptilian.
Screams. A dropped phone. Static.
TV VOICE (O.S.)
Reports are coming in from Munich
and New Delhi...
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
42 -
A Walk in the Park
INT. TAYLOR’S HOUSE – LIVING ROOM – DAY
Taylor is trying to fix a cracked comm device with tape and
wire. Lucy watches her, legs swinging from the counter.
LUCY
Will it get better?
TAYLOR
(grimacing)
Yeah, it’s just fried.
LUCY
No. You said earlier, “That tech is
sick.”
Taylor stops, looks at her.
TAYLOR
(laughs)
Oh. No — “sick” means... like,
cool. Impressive.
LUCY
Sick means... good?
TAYLOR
In this case, yeah.
Lucy processes that. Looks at Taylor seriously.
LUCY
You are very sick.
Taylor stares. Then cracks up, the first real laugh in days.
Lucy smiles, proud of herself.
TAYLOR
God help us if you pick up sarcasm,
too.
LUCY
I already did.
Deadpan. Beat. Taylor looks... concerned.
TAYLOR
Wait — are you joking?
LUCY
...Maybe.
TAYLOR
Want to go for a walk? Maybe the
park?
LUCY
Okay. You sure it’s safe? I heard
Adam—
TAYLOR
You’re safe with me.
Lucy grabs two sweaters. Taylor picks up yoga mats.
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
43 -
Chase in the Park
EXT. PARK – NEW YORK CITY – DAY
Children chase bubbles and laughter.
LUCY stands still, watching. Wonder in her eyes.
One child falls — another helps her up. Lucy’s gaze softens.
A bubble drifts her way. She touches it. Pop. Behind her,
TAYLOR watches — silent, holding a coffee thermos.
TAYLOR
You okay?
LUCY
They don’t know how lucky they are.
TAYLOR
That’s the secret. Most of us never
do.
Nearby, a yoga class flows through poses.
LUCY
We did yoga every morning. In the
village.
She moves — sudden, graceful — into a handstand scorpion.
Perfect balance. The class pauses, stunned.
Across the green, THREE MEN spread out — casual, armed.
BARTOT TRIBAL AGENTS.
Taylor sees them. Eyes narrow.
TAYLOR
(under breath)
Not here...
LUCY lands, just as DARIO grabs her wrist.
She reacts — CRUNCH — palm to nose. Blood sprays. She sweeps
his legs. He crashes. She bolts. Dario grins through blood.
DARIO
Go.
The other agents give chase.
Lucy weaves through strollers, joggers. Taylor runs a
parallel path — fast, precise, tracking her.
TAYLOR
(into phone)
Forbes, pick up. Goddammit.
She darts down a side street — eyes scanning.
TAYLOR (CONT'D)
Come on...
The chase barrels forward — tight, urgent. Seconds stretch.
Civilians everywhere.
TAYLOR'S PHONE (displaying) Calling Forbes.
INT. CAR – DAY
FORBES'S PHONE: Taylor calling. He answers immediately.
TAYLOR (O.S.)
They found her! Forbes! They found
her!
FORBES
Slow down. Who found her?
TAYLOR (O.S.)
The Bartot. They are here in the
city!
FORBES
I'm on my way!
Forbes slams his foot on the accelerator. Tires screech. He
veers onto the main road.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
44 -
Urban Pursuit
EXT. STREETS – NIGHT
Lucy dashes through traffic with superhuman grace. Vaulting
benches. Breathing fast. Dario blocks her path. She skids,
turns — more Bartot men flank her.
DARIO
You think we want this war?
She leaps onto a fire escape, scaling quickly.
DARIO (CONT'D)
We’re surviving it. Every day the
world mutates — and it doesn’t care
if we’re ready.
Dario mirrors her relentlessly.
EXT. ROOFTOPS – NIGHT
Lucy bounds from rooftop to rooftop. Below, city lights blur.
She stops at a wide rooftop gap. Turns back.
LUCY
Who are you?
DARIO
You know who I am.
Lucy runs — LEAPS — lands hard. Turns. Dario steps off the
edge, FALLS — lands perfectly. Concrete cracks beneath him.
More Bartot men are closing in. She races down another fire
escape.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
45 -
Nightfall Showdown
EXT. ALLEY – NIGHT
Taylor catches Lucy. Both panting.
TAYLOR
You okay?
FIGHT SCENE — kinetic, balletic — like Crouching Tiger,
Hidden Dragon. Lucy spins off walls, strikes with precision.
Taylor blocks and counters with brutal efficiency. Taylor is
cornered — the only escape: a rooftop jump.
A BLAST hits — Taylor shields Lucy — knocked back, bleeding.
No regeneration. Not this time.
LUCY
I trust you, Taylor.
Taylor rises — tactical and transcendent. Hovers, punches,
and clears the field. Takes a hit — winces — grabs a walking
stick.
Fights. Wins. Throws the stick beside the fallen man.
TAYLOR
You’ll need that in the next 3 to 6
months.
The Bartot freeze — awed — as Taylor floats.
LUCY
You're like me.
Bartot men retreat, helping their wounded.
SIRENS.
FORBES (APPEARING)
We need to move. Now.
They dash to a tree. Lucy climbs. Taylor and Forbes follow.
EXT. ROOFTOP – NIGHT
The Bartot hesitates. Fade into shadows.
FORBES
We need to find out what they want.
Fast.
LUCY
No. We need to stop them.
They stand over the city, a battlefield below.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
46 -
Second Chances in the Rain
EXT. CENTRAL PARK – NIGHT
Rain lashes the roof. Taylor paces. Forbes sits, gear half-
packed.
TAYLOR
We’re running out of time.
FORBES
She’s still alive.
TAYLOR
You don’t know that.
FORBES
No. But I know what it feels like
to lose a partner.
TAYLOR turns. Pauses.
FORBES (CONT'D)
Her name was Delaney. Steady hands.
No fear. Even when the world
burned.
(beat)
One second. One bad call. Found her
in a crater. Yemen. Her comm still
buzzing. I followed orders. Did
everything right. And she still
died.
TAYLOR
And Lucy?
FORBES
Not my partner. She’s my second
chance.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
47 -
Harmony in Chaos
EXT. CENTRAL PARK – NIGHT
Lucy climbs a tree, silhouetted against the moon. Nearby
JOGGERS swat the air.
JOGGER 1
What the hell is this?
SCREAM — A jogger collapses. Clutching invisible stings.
FORBES
Lucy! Get down!
Lucy leaps gracefully.
A sinister BUZZ builds. SWARM of STINGER FLIES approaches.#
END ACT FOUR
ACT FIVE
TAYLOR
What is going on?
FORBES panics. Lucy steps forward, calm.
LUCY (SOFTLY)
Hold still.
The bio-swarm stills — no longer pulsing like a heart in
seizure, but breathing in rhythm. A low hum fades into quiet.
Streetlights flicker back to life. The sky stops shimmering.
Lucy kneels at the swarm interface. Eyes wide. Alive.
Changed.
Down below: civilians emerge from shelter. The city begins to
exhale.
Taylor watches from a rise. Her weapon hangs at her side,
forgotten. She stares at Lucy. And around her — the living
city, the people, the silence that’s not silence but life
returning.
Her breath catches. She’s not on the outside anymore.
For the first time, Taylor doesn’t feel like she’s holding
the line against the world. She’s in it.
FORBES (O.S.)
You okay?
TAYLOR
(still watching Lucy)
She didn’t just stop it. She
connected to it.
Taylor closes her eyes briefly. Not in pain — in release.
TAYLOR (CONT'D)
And I finally let her.
Sobbing. Eyes wide. Lucy sees everything — trauma, death,
tribal memory.
LUCY
They never forget the pain. It’s
still in the trees…
She extends her hands. The swarm lands — clenched fists.
Lucy’s hand pulses a hypnotic golden green.
A SHOCKWAVE.
Flies drop — crawl — rise, their pupils show a hint of the
golden green glow. Then spiral away over Forbes and Taylor.
FORBES
Taylor! Look out!
They duck — but the swarm passes harmlessly.
FORBES (CONT'D)
Are you OK? Did they sting you?
LUCY
I... I don't think so.
She shows her hand.
LUCY (CONT'D)
They landed. But didn’t sting.
FORBES
Why?
LUCY
I wouldn’t let them. They weren’t
angry. Just unheard. I don’t
control it, I just listen. The
Earth is speaking, and all I can do
is hear it. The rest... it’s out of
my hands.
TAYLOR
She has a way with them. She showed
me.
FORBES
(to Taylor)
Do you think it’s time that…
TAYLOR
(interrupting)
Director Merrick learns about Lucy?
Taylor pulls a resignation letter.
TAYLOR (CONT'D)
I’ll reconsider when I’m pregnant.
She rips it in half.
Genres:
["Action","Sci-Fi","Drama"]
Ratings
Scene
48 -
Reflections of Grief
INT. FORBES’S BATHROOM – NIGHT
Forbes stands in front of a cracked mirror. His shirt is
unbuttoned. His side is bandaged, blood seeping through.
He touches it — winces. But that’s not what gets to him. He
stares at himself. Hard. In the silence, the low thrum of
distant sirens drifts in from outside. Neon pulses on his
face.
He exhales. Long. Then shorter. Then again. He’s holding
something in. His reflection seems older. Smaller. Tired.
He turns on the tap. Lets the water run. Then, he braces both
hands on the sink. Head down. The sound of the water masks a
choked breath. A single tear hits porcelain. Then another.
He wipes his face roughly. Not shame — just fatigue. The kind
that comes from carrying too much for too long. He shuts off
the faucet. Stares at the mirror again.
He activates a burner phone. Presses a number. It goes
straight to voicemail.
FORBES
(VOICEMAIL MESSAGE)
Hey, Jude. It’s been... a while. I
keep dialing you like muscle
memory. Like you’ll answer pissed
and tired. You always hated
messages.
(beat)
I met a girl. She’s not like us. Or
maybe she’s exactly like us, just
without all the fear drilled in.
She’s... impossible. Beautiful.
Wild. And I think if you'd met her,
you would’ve smiled for the first
time in years. Maybe even forgiven
me.
(beat)
I thought saving her might fix
something. Now I’m starting to
think she’s saving me. Anyway.
Happy birthday.
(beat)
I miss you.
He hangs up. Lets the silence settle. Doesn’t cry. That’s not
how he does grief. He pulls on a clean shirt. And walks back
into the shadows.
Genres:
["Drama","Thriller"]
Ratings
Scene
49 -
Echoes of Dread
INT. TAYLOR'S APARTMENT – KITCHEN – NIGHT
Dim. Quiet. The only sound — the gentle hiss of a kettle.
Taylor stands alone. Motionless.
Eyes locked on grainy CCTV footage looping on a screen — her
fight in the park.
WHUMP — the moment she gets struck in the abdomen. She
rewinds. Plays it again. This time, she moves with it, tense,
controlled. Sidesteps the hit. Clean. Quick.
Muscle memory is rewriting itself. A breath. She taps a key:
DELETE. The screen goes black.
A vine shadow from a nearby window creeps across the window.
INT. TAYLOR’S LIVING ROOM – NIGHT
Flickering blue light from an old CRT TV. Muted nature doc:
wolves in snow, running wild. Lucy is curled on the couch,
knees tucked up, sketching by lamplight.
The New York skyline — fractured, overgrown. Nature
reclaiming steel and glass.
Taylor enters from the kitchen, moving like someone trained
to move quietly. She carries two mugs of tea.
TAYLOR
Couldn’t sleep either?
LUCY
Too loud. The Earth’s voice is
hurting here.
Taylor sits beside her.
She notices the drawing — stares.
TAYLOR
Is this... a dream?
LUCY
A warning. From my sleep. Every
time I close my eyes, I see cities
devoured. Roots swallowing streets.
People gone. Only silence... and
green.
BEGIN DREAM SEQUENCE –
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
50 -
Emergence of Hope
EXT. NYC — BATTERED PLAZA — TWILIGHT
The city is quiet now.
Smoke curls from broken windows. Pavement is cracked, vines
already creeping through fissures. The air hums with the
sound of stinger flies, a low electric chorus.
Lucy stands in the center of the plaza — small, still — as
the swarm circles her.
They don’t touch her. They orbit, forming a perfect halo of
black wings and gold light.
Taylor limps forward, pausing at the edge. She presses a hand
to her side — her bruise now glows faint gold-green, a rhythm
that matches the slow rise and fall of Lucy’s chest.
Her fingers curl inward, feeling the pulse of the Earth
inside herself.
For the first time, she smiles — not maternal, but awed.
Alive.
LUCY
They remember too much.
Taylor exhales. Her eyes scan the mural on the ruined wall
behind Lucy — a haunting street-art portrait of Lucy, eyes
radiant, hair wild, vines wrapping around her.
TAYLOR
Then give them something new.
Lucy’s gaze meets hers. The swarm tightens, then slowly
spirals upward, lifting in a graceful helix into the
darkening sky.
A faint wind whispers through the plaza. Between Lucy’s bare
feet, a green sprout cracks through the asphalt.
FORBES
You don’t have to come with us. You
could stay. You’d be worshiped
here.
LUCY
But I wouldn’t grow. And worship
isn’t love.
FORBES
Out there... it’s hard. Cold. We
can’t promise safety.
LUCY
But maybe I can bring something
better with me.
Taylor notices her journal, lying open on a nearby ledge.
Pages flutter. She picks it up.
ON THE PAGE: Lucy’s childlike sketches — a jungle tree and a
skyscraper intertwined, roots and steel beams fusing, humans
walking among flowers and glass. A hybrid future. Taylor
traces a finger down the page. Her eyes lift back to Lucy.
For a beat, the plaza, the mural, the spiral of flies, the
sprout, the glowing bruise — all hold their breath together.
Then, a single stinger lands on Taylor’s shoulder. It doesn’t
sting. It simply rests there, still.
END DREAM SEQUENCE.
Taylor picks up a pencil and draws two stick figures holding
hands amongst the calm of nature – Lucy and Taylor.
TAYLOR
Is that what you want?
Lucy looks up. Her gaze ancient, unwavering.
LUCY
No. I want to stop it. Find others
like me — not just with
powers...with ears. With hearts.
Maybe then, the Earth won’t have to
scream so loud.
Then Lucy rises, walks to the fridge.
Gently peels off a photo: Taylor with baby Janey. Peaceful.
Untouched.
She wipes off some mould and notices more around other
photos.
She hands the photo to Taylor. Taylor takes it. Fragile. Like
glass.
TAYLOR
I look at Janey, and I don’t see
myself. I see who I wanted to be.
Before trauma. Before blood. A
protector. Not just a survivor.
Taylor braids Lucy’s hair – gentle and comforting.
Behind them — CLINK.
Forbes, leaning in shadow, pours whisky. No words. Just the
ritual. He holds the bottle out.
Taylor nods. They drink. A silent pact.
DING-DONG.
The doorbell slices through the stillness.
They down their drinks.
Genres:
["Science Fiction","Action","Drama"]
Ratings
Scene
51 -
Confrontation at the Threshold
INT. FRONT DOOR – NIGHT
Taylor opens the door.
DIRECTOR MERRICK stands like a blade in a tailored coat. His
eyes scan the room before he even steps in.
TAYLOR
Director Merrick. Welcome.
Merrick hands his coat to Forbes without looking.
DIRECTOR MERRICK
This better be good. You dragged me
from a bottle of Bordeaux — and a
rarer date.
TAYLOR
It’s late, I know. But it matters.
DIRECTOR MERRICK
If this is romantic, file it with
HR.
FORBES
Not romance. Apocalypse.
Lucy steps into the hallway. Barefoot. Still. Her presence
shifts the air.
TAYLOR
This is Lucy. Reza tribe.
FORBES
She listens. To animals. Insects.
Maybe more.
Merrick studies her. His jaw tightens — hard to read.
DIRECTOR MERRICK
It was time we met.
TAYLOR
You know her?
DIRECTOR MERRICK
I stay three moves ahead.
From the shadow behind him, Dr. Coggins emerges.
DIRECTOR MERRICK (CONT'D)
She’s a contagion with a
conscience. The most dangerous
kind.
TAYLOR
She’s a child. You want to cut her
open and catalogue what’s left?
DIRECTOR MERRICK
I want to stop the species from
collapsing.
DR. COGGINS
Containment won’t stop it.
Mutation’s global.
FORBES
São Paulo proved it. Ten-year-old
screamed, turned a city block into
molten glass.
TAYLOR
So we cage them all?
DIRECTOR MERRICK
If that’s what it takes.
TAYLOR
That’s not safety. That’s genocide.
DIRECTOR MERRICK
This isn’t politics. It’s triage.
Biology is unraveling. Reality is
evolving. Control is the only
constant.
DR. COGGINS
Control of what, though?
FORBES
This isn’t science anymore. It’s
myth. Spiritual evolution.
Silence. Heavier this time.
TAYLOR
She’s scared of herself. But she’s
more scared of us.
She steps toward Merrick. Close.
TAYLOR (CONT'D)
Treat her like a weapon — she’ll
become one.
MERRICK
And if we do nothing?
TAYLOR
Then we evolve. Or we don’t. But we
don’t kill tomorrow trying to fix
yesterday.
MERRICK
I used to believe in
rehabilitation. Until a boy in
Bangkok melted his teacher through
the wall. Now I believe in
containment. Because I have to.
DR. COGGINS
There’s a fault line in our DNA.
And Lucy...she’s the quake.
Taylor turns. Lucy’s looking at her hands.
LUCY
Quiet. The birds. The vines.
TAYLOR
Not gone. Spent.
Merrick shakes his head. Turns to leave.
Forbes pulls a brown folder from the shelf. Opens it. He
wipes off some brown mould on the corners.
A blurry photo: Calom. Primal. Hair-covered. Eyes glowing.
FORBES
I’ll find him.
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
52 -
Awakening in the Mist
EXT. CENTRAL PARK – EARLY MORNING
A low mist curls above the dew-soaked grass.
LUCY walks barefoot, her borrowed clothes hanging loosely on
her frame. Her fingers trail through tall blades, brushing
leaves like braille.
The city lights flicker, faint and sickly. Smoke curls from
grates. Somewhere in the distance, the low hum of urban
churns: subways, sirens, generators — the dying heartbeat of
the modern world.
Lucy closes her eyes. — The city noise begins to fade, layer
by layer. — Sirens dissolve into whispers. — The subway hum
becomes a low breath. — The mechanical whine vanishes.
The silence grows.
Then — faint at first — a different tone rises.
The sound of plant life. Sap coursing through a vine. Leaves
rustling like whispers. Roots cracking through concrete like
distant thunder.
Lucy’s chest rises and falls, slower now. Her breathing falls
into rhythm with the sound of the wind as it whirls around
her. Her hair stirs as though the air itself exhales. Her
pulse slows to one deep, resounding heartbeat.
Ba-DUM. Everything else falls away. Her eyes open, luminous
green. For the first time, the city breathes with her.
A squirrel pauses inches from her — unafraid. Birds tilt
their heads, watching.
Overhead, a streetlight flickers. From its glow, stinger
flies descend like falling ash — silent, slow.
They settle — weightless — on Lucy’s outstretched hand. She
doesn’t flinch. She breathes them in like part of the
morning.
Behind her, TAYLOR approaches, two coffees in hand. She
watches for a moment — this girl communing with the
invisible.
TAYLOR
You scared me, slipping out before
sunrise.
LUCY
I wanted to see what wakes up...
when we’re not looking.
Taylor steps beside her. Together, they face the distant
skyline — steel and glass bathed in morning gold.
LUCY (CONT'D)
Am I safe now?
TAYLOR
No. But you’re not alone anymore.
A hush. Wind rustles the trees. More stinger flies rise and
hover — circling her gently, reverently.
LUCY
Are they following me?
TAYLOR
Or answering to you.
Lucy slowly turns.
TAYLOR (CONT'D)
Whatever’s coming...It starts with
you.
Lucy’s pupils catch the reflection of the city, fractured and
bright.
Genres:
["Science Fiction","Fantasy","Drama"]
Ratings
Scene
53 -
The Watchers of Evolution
EXT. ROOFTOP – NIGHT
A lone FIGURE peers through binoculars. Still.
UNKNOWN FIGURE (O.S.)
The three tribes want to control
the tide. But they will drown in
it. Evolution isn’t a choice—they
cannot force it, but they will
break against it. Lucy is the voice
of it, and she cannot be stopped.
Not by them, not by anyone.
EXT. FIELD – NIGHT
Open sky. No clouds. Just stars. Lucy and Forbes lie side-by-
side in the grass, heads tilted toward the cosmos.
LUCY
Do you know that one?
She points upward. A slow gesture — like memory surfacing.
FORBES
Orion.
LUCY
In Reza... It’s Ohi’s Ladder. The
stars are the steps our souls take
— to return.
She closes her eyes.
LUCY (CONT'D)
But I don’t think I came down from
there. And I don’t think I belong
here either.
FORBES
Maybe you’re the ladder.
She turns. He’s already watching her. Silence.
LUCY (O.C)
I’m not running from anything. I’m
just...becoming something new. And
maybe, just maybe, this time, I can
help the Earth heal itself.
The stars seem to blink — a quiet pulse in the black.
EXT. TAYLOR’S APARTMENT – NIGHT
ALEJANDRO and DARIO observe from across the street,
motionless. Behind them, ten others — members of the Reza
tribe — stand draped in ceremonial garb.
ALEJANDRO
I held her once. Before the fire.
She smelled like jungle fruit and
ash. I thought I could save her
then.
Their faces are lit only by streetlight, their eyes locked on
Lucy through the apartment window. No words. Just knowing.
END OF ACT FIVE
EPILOGUE
Genres:
["Science Fiction","Fantasy","Drama"]
Ratings
Scene
54 -
Evolving Together in the Jungle
EXT. JUNGLE – DAY
Filtered sunlight slices through mist. Taylor, Forbes, and
Lucy move in tight formation — quiet, methodical. Every
footfall is a risk.
FORBES
(to Lucy, low)
Stay close.
Lucy stumbles. Forbes grabs her, yanking her behind a fallen
log just before a surveillance drone hums overhead.
FORBES (CONT'D)
We follow protocol. No deviations.
TAYLOR
(gritted)
Then don’t slow us down.
LUCY
Try to keep up.
A PIERCING SCREAM shreds the silence.
TAYLOR
We can’t fight it. We’ve tried.
It’s bigger than us.
LUCY
Then we have to help it. Guide it.
Evolve it.
TAYLOR
Together. You and me.
LUCY
We’re both part of this now.
Up ahead: an APE thrashes in a wire snare, blood streaking
its fur. Its panic fills the jungle like sirens.
ON COMMS – CRACKLING STATIC
MERRICK (V.O.)
How’s Lucy holding up?
FORBES
Should’ve sent a field op. Not a
student.
MERRICK (V.O.)
You think I sleep at night? You
think I like this?
(beat)
(MORE)
MERRICK (V.O.) (CONT'D)
I’ve seen what happens when we get
soft. The planet doesn’t care about
our feelings. It just keeps
killing.
The comm line breaks. Dead air.
Suddenly — movement.
From the foliage, a massive hand emerges. Gnarled. Calloused.
CALOM. No words. Just deliberate action. He kneels beside the
ape, unfastens the snare slowly, eyes never leaving the
animal. The ape locks eyes with him, then limps away — free.
Calom stays kneeling. Breathing hard. Trembling. He reaches
into his satchel and pulls out a worn, nearly dissolved
photo: a baby cradled by a younger Elder N’Kyo. On the back —
faint ink: “LUCY. Hope.”
He stares at it. His lips move:
CALOM (QUIETLY, FRACTURED)
They said you would grow... where I
broke.
He scratches at the dirt with a stick — numbers, symbols,
maps... then claws at his own temple, frustrated.
CALOM (CONT’D, MUTTERED) (CONT'D)
First attempt. Failed mold. Voice
cracked. Skin... wrong.
He looks to the trees — listens.
CALOM (CONT'D)
They answered her. Never me.
His eyes glow golden — then flicker red.
CALOM (CONT’D, A GROWL) (CONT'D)
Not a guardian. Not the storm.
Just... the warning.
A reflection in a puddle shows his face — human and animal,
twisted, flickering between identities.
He lunges at the water. Screams. Destroys the image.
A beat. Then:
LUCY (V.O.)
Calom?
He stops. Head tilts.
CALOM
When the Earth falls, humanity
ends.
Between Calom’s bare feet, a green sprout cracks through the
hardened ground.
LUCY (V.O)
But when humanity falls, the Earth
begins to heal.
DIRECTOR MERRICK (V.O.)
Yes, Mr. President. With respect,
sir. You think I don’t feel it? The
fear? That maybe we’re already
obsolete?
(beat)
Control is survival... Maybe
evolution isn’t about power. Maybe
it’s about what you choose when you
can destroy — but don’t.
FADE TO BLACK
NEWS ANCHOR (V.O.)
Doctors in São Paulo are reporting
accelerated cellular regeneration
in children exposed to rainwater
from the northern storm system.
ON POACHER’S PHONE: A shaky TikTok-style video shows Lucy
standing calmly amid the swarm, stinger flies parting like a
red sea. The footage has gone viral.
TAYLOR (V.O.)
We didn’t fight it. We didn’t stop
it. We learned to live with it. And
maybe that’s the only way forward.
Evolution isn’t just about
survival. It’s about learning to
evolve, together.
“#EarthbornGirl” trends.
FINAL FADE TO BLACK