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EXT. BUNKER

Jane walks outside dejectedly and leans against the side of
the Trans-Am.

Frank emerges out from underneath it holding a wrench, making
Jane jump.

JANE
Oh! I'm sorry. I didn't know you
were here.

FRANK
You're not in my way.

Frank pauses for a moment, wiping his hands on a rag.

FRANK (CONT'D)
Am I in yours?

Jane shakes her head.

JANE
When I fail as a medic, I like to
take a few minutes to mope.

Frank nods and stands up.

FRANK
Ray's eye?

JANE
There's nothing I can do with it.

FRANK
Should you be able to?

JANE
No, but I'm all he has for this,
and I'm not enough. He'll be better
off once the sight is completely
gone, and I can't do that either.

FRANK
Have you tried another blow to the
head?

It takes a moment to register as a joke, but as it does,
Frank leans down over the engine, giving Jane a smile and a
wink as he adjusts something.

Jane gives a half smile.

JANE
I don't think that's a good idea.

FRANK
No, but I know Ray wouldn't want
you to feel bad.

JANE
He's been pretty clear about that.

FRANK
And I just remembered something
useful.

Franks opens the trunk and rummages around a little, finally
pulling out an eye patch and handing it to Jane.

JANE
Where did you...Oh, the theater.

FRANK
Yeah, I think they did Peter Pan or
something. They had a lot of pirate
stuff.

JANE
And all you took was the eyepatch?

FRANK
The shirts were cool, but the sizes
were way off. They must have been
really fat pirates. Anyway, that
should help Ray out.

Jane hands it back to Frank.

JANE
It was your save, Frank. You should
get the credit.

Frank nods and accepts the patch back, giving Jane an off
kilter smile.

FRANK
It's weird hearing my name again.

JANE
You didn't before?

FRANK
Not from when we hit the road to
when you found us. That life was so
over, maybe we weren't even the
same people.

JANE
Would you rather I call you...

FRANK
Fun Ghoul? Naw, I'm good. It's just
that it feels like things are
changing again, and I'm not sure
where it's going. Maybe I should
ask you.

JANE
I can only tell you where it will
be in two days. Do you want me to?

Frank is intrigued.

FRANK
Sure. What happens two days from
now?

Jane closes her eyes and concentrates, then looks concerned.

JANE
That's weird. I'm riding the Drac
bike. Will it need a test drive?

FRANK
No. It's ready to go now if you
need it.

Jane pauses again, working her way backwards.

JANE
It's Rosalie.

FRANK
Who's Rosalie?

JANE
She's a homing pigeon who comes
here. If I'm going it's about
injured. I need to get ready.

FRANK
It's two days from now.

JANE
If I wait for the message. If I can
figure things out sooner they might
go better.

Jane dashes back into the bunker.



INT. BUNKER

Jane is throwing supplies into her messenger bag.

Gerard comes in.

GERARD
You're leaving?

JANE
They're going to be getting some
injured at the Caves. Part of why
they're sending the note is that
Nat will be gone, but if I leave
now I can intercept her, and then
we'll both be there and ready.

GERARD
It must be exhausting living in
multiple futures.

There is some truth to that, but Jane shrugs it off.

JANE
It comes in handy sometimes

GERARD
Can I come?

Jane turns in surprise, and sees the hopeful look on Gerard's
face.

JANE
Why?

GERARD
Because the last time I said
goodbye to you it was for six
years.

Jane goes to Gerard and wraps her arms around him.

JANE
This will only be a few days, I
promise.

GERARD
Then just because I like being
around you?

Jane considers, but shakes her head.

JANE
It's over rough terrain, and I want
you a little better healed before
we do that. Although...Ray!

Ray appears, now wearing the patch.

JANE (CONT'D)
Ray, I want you to come to the
Caves with me.

GERARD
What?

RAY
Why?

Jane responds to Ray.

JANE
Because I think you're a natural
leader who should get to meet more
people within the group. Also, they
could probably use some weapons
upgrades, and you're the best
person for that.

Ray is interested, but a bit suspicious.

RAY
Are you just trying to distract me
from my eye?

JANE
It would not make the other things
untrue.

Ray smiles.

RAY
I'll get my tools.

As Ray turns to do so, Jane turns back to Gerard and returns
to his arms.

JANE
I will miss you, but this is the
right way to go.

Gerard kisses Jane's forehead and says with mock
seriousness...

GERARD
I don't want to fight him for you,
but I will.

In her worry over the wounded, Jane had not considered how
leaving Gerard would feel. Now there are pangs, but it does
not change what is needed.

JANE
Just get yourself better. I'll be
back before you know it.



EXT. BUNKER

Jane is on the bike, with Ray climbing on behind her.

The rest of the group are seeing them off.

MITCH
So the wounded arrive the day after
tomorrow?

JANE
It gives us some time to get
prepared. Working on them will
probably take the entire day.

JACOB
We won't expect you before the
third day.

Jane nods and turns to Mikey.

JANE
Make sure Gee does his exercises
three times a day, and gets a walk
outside once a day.

GERARD
I can do that on my own.

JANE
But this way you both have
something to do. Frank, you're a
hero.

FRANK
All I did was ask a question.

JANE
You asked the right one at the
right time.

DEANNA
Just get out of here.

Deanna is right. Jane revs up the motor, and they set off.

The increased power compared to her own ride is noticeable,
and cool.

Jane calls back to Ray.

JANE
Mind if I open her up?

RAY
Go for it!

They roar out of sight.



EXT. CAVES

Jane and Ray pull up to a large cavern that narrows into the
entrance of a smaller cave.

They dismount, and Jane removes her helmet.

JANE
Hello? It's Jane.

OTIS (57), a wiry black man, emerges from hiding with a gun
pointed at them. He has a slight limp from an injury.

OTIS
What are you doing riding one of
these things? I thought you were
incoming and was getting ready to
blow your head off!

JANE
Hey Otis. What can I say? It's a
smooth ride and it seats two.

OTIS
Mmm-hmm. And who's the second?

JANE
This is Ray. We made four new
friends at about the same time I
got the bike.

RAY
We brought toothbrushes.

OTIS
Why didn't you say so?

Otis extends his hand to Ray, and they shake.

RAY
Otis? It's nice to meet you.

OTIS
I'm glad to see you both, but what
brings you here?

Jane shakes her head.

JANE
It's bad. I need to talk to
Natalia.

OTIS
She was about to take off for
supplies.

JANE
I know. I need her to stay.

Otis nods, and they go in.



INT. CAVES

The set up is similar to the Bunker, except that the walls
are the natural cave formations, instead of being man-made.
This means things are more irregular, and it tends to be cold
and damp. Compared to the heat outside, though, it feels
good.

Ray and Jane are sitting in a circle with Otis, Natalia, and
LATRON (17), a gangly black teenager.

JANE
They'll be arriving here around 10
the day after tomorrow. Nat, I saw
that you were leaving and I wanted
to stop you. It's pretty bad.

NATALIA
The only problem is we were leaving
to get supplies because we're so
low.

JANE
I brought extra bandages and tools,
but we were already low on drugs.

LATRON
We were going on foot. Let me take
the bike and I can get there and
back before you need them.

NATALIA
It's dangerous-

LATRON
It's safer for me than for you.

JANE
And you don't know what we need.

LATRON
Make me a list.

Jane and Natalia look at each other, and then at Otis.

OTIS
He's a good rider. It should be
fine.

Jane pauses and nods.

JANE
Okay, that will help a lot. Now,
Natalia and I need to talk about
care, but there are two other
problems we need to consider.

OTIS
With the helicopter landing here,
we're going to need to leave.

JANE
And you'll be leaving with injured.

NATALIA
It's risky, for them too, but I
suppose it's the only way.

RAY
Where's the helicopter from?

NATALIA
It's a traffic chopper, and I guess
they'll just say it's part of their
rounds. They kind of are checking
out a traffic accident for real.

LATRON
Except for the accident part.

NATALIA
Yeah. It may be okay, but if they
blow their identity, even if they
get away we've lost a resource.

OTIS
What's the other problem?

JANE
I see Beck and Rogers, and there
are two I don't recognize. One
might be Park. That's a lot of
people to be leaving at once.

NATALIA
You think something happened to
make them run?

JANE
I wonder if we have anyone left.

There is a pause around the circle as that sinks in.

OTIS
Well, we're not going to figure
that one out on our own. Let's
focus on what we know for now.

There are tired nods and shrugs all around.

JANE
Let's get a list together for
Latron.

Natalia grabs a notebook and pen.

NATALIA
Morphine of course, and they'll
definitely have that.

JANE
Always. I'd like Keflex for Beck,
but some antibiotics for sure.

NATALIA
We'll star the ones that are best,
but list alternatives too.

LATRON
I can handle it.

Jane smiles fondly at Latron's exasperation.

JANE
We know. Okay, if you're taking the
bike you should take the jacket. Be
careful with it.

Jane pulls off her jacket. Before handing it to Latron she
pulls the trifold out and sticks it in her back jeans pocket.

LATRON
For real?

JANE
It's just a loan. You're bringing
it back.

LATRON
Awesome.

The jacket gives Latron some additional swagger.

Natalia finishes the list, and hands it to Latron.

NATALIA
Do you have any money?

LATRON
Some.

NATALIA
Enough?

LATRON
I'm cool. I'll catch you later.

Latron is grinning with excitement as he strides out. There
is a very short pause before they hear him revving up.

NATALIA
You're sure he's going to be all
right?

JANE
He gets back a little after they
get here.

NATALIA
Okay. Let's talk medicine, and what
do you know about phantom limb
treatment?



INT. CAVES

Jane and Natalia are sitting at one table working on a
treatment strategy.

Ray is sitting nearby, working on a gun.

JANE
I've never done an amputation
before.

NATALIA
Me neither. Is there any way to
save it?

JANE
Not that I can see. They've got it
tied off well enough so that he
won't bleed to death, but that's
also causing the rest to go dead.

NATALIA
What about the others?

JANE
Well, you should work on the
shrapnel in Park. Your ability will
help you find the pieces better.
The broken leg on Rogers is less
urgent, but we can also do it
quickly, so maybe we should start
there.

NATALIA
Can it be done quickly? How is it?

JANE
It's a really bad break.
Reconstructive surgery would be
ideal, but...

Natalia nods tiredly.

NATALIA
It's the usual. What about the head
wound?

Janes rests her head on her hands.

JANE
No matter what I envision, he dies.
He actually lives longer if we
don't treat him at all, but only by
a few hours and I'm not sure that's
even a blessing with the shape he's
in.

NATALIA
Are we missing something?

JANE
I think he's just too broken. I
wish I could see who it was. Too
much swelling.

NATALIA
We'll know soon enough. You better
get some sleep.

JANE
Yeah. You?

NATALIA
I'm not tired yet. I'll go soon.

Jane gets up to leave, but as she does, Natalia signals to
Jane to lean closer, then nods at Ray and whispers.

NATALIA (CONT'D)
So are you two...

Jane comprehends and grins.

JANE
No. Or, actually,
(to Ray)
Hey Ray, you're not interested in
me are you?

Ray is startled, and looks a little panicked.

RAY
Uh, no, not like that!

JANE
Good. Gee said he'd fight you.

Ray has recovered now, and replies in kind.

RAY
Then that is good, because I could
totally take him.

Jane turns back to Natalia.

JANE
All yours.

Natalia covers her face.

NATALIA
Thanks.

JANE
The ice is broken. You know we
don't have time for slow buildups.

Jane exits, leaving Ray and Natalia staring at each other
awkwardly.

RAY
So, do you have a weapon you'd like
me to examine?

Well that is just too cheesy to be believed.

NATALIA
Really?

RAY
That's as smooth as I'm going to
get. It's all downhill from here.

Natalia smiles and moves over to Ray's table, placing her
sidearm before him.

Ray takes the gun and examines it briefly.

RAY (CONT'D)
Actually, this is really well
maintained.

NATALIA
I was in the army. Motor pool, but
you still need to care for your
weapon. You?

RAY
My father worked on guns. We were
in kind of a rural area, so they
were just a part of life.

NATALIA
Yeah, you never see guns in the
city.

RAY
It probably feels a little
different.

NATALIA
Did you always want to take over
the family business?

RAY
I wanted to be a musician.

NATALIA
I wanted to join the police force
and do gang outreach.

RAY
That's interesting. I'm kind of in
a gang now.

NATALIA
Really? Would you say that this is
the result of poor life choices?

RAY
You'd think so, wouldn't you?

They smile at each other. The ice really was broken.

RAY (CONT'D)
So, how'd a nice girl like you end
up in a place like this?

NATALIA
I thought you were out of lines!

RAY
I just remembered that one.



INT. HOSPITAL, BATTERY CITY

December, 2016.

It is just after Jane has had her vision of the attack on
Natalia.

Jane looks for the man she saw, but he has disappeared. Jane
looks at Natalia, and feels ill.

NATALIA
Simpson, you okay? You look like
you've seen a ghost.

Jane stares at Natalia, making Natalia feel uncomfortable,
but Jane forces herself to respond and to try and act
normally.

JANE
I just got a little light-headed.
I'll be fine.

NATALIA
It's a slow night. You could
probably head out early if you're
sick.

JANE
I think I'm just going to sit down
for a minute and see how I feel.

NATALIA
Your call.

JANE
Reyes, when are you off?

NATALIA
Six. Why?

JANE
Just thinking about the shifts.

Jane walks away dazed.

Natalia goes on with her duties.

It is 6:00. Natalia is getting ready to leave, and Jane
appears beside her, holding two stuffed messenger bags.

NATALIA
What are you still doing here?

JANE
After I finished my shift I decided
to restock all the medic bags.
Here's yours.

NATALIA
I know it was kind of empty but it
looks like you overcompensated.

JANE
You can never be too prepared. Do
you want to go get something to
eat?

Natalia gives Jane a strange look, but shrugs it off.

NATALIA
Thanks, but I'm beat. I just want
to go home and hit the sack.

JANE
You can't do that.

NATALIA
I don't know what's going on with
you tonight, but-

JANE
Please just hear me out. I'll
explain everything once we are out
of the hospital, but you need to
listen to me.

Natalia sighs, but nods.

NATALIA
Fine. Make it quick.

They exit the hospital doors.

Jane eyes a security camera nervously.

JANE
Let's get a little farther away.

NATALIA
You're really freaking me out.

They do keep walking though.

JANE
I'm sorry. The truth is, I'm
freaked out too.

NATALIA
Are we far enough for you to
explain it to me?

JANE
I guess. There's no way for this to
sound normal, so I'm just going to
go for it. Lately, I've been able
to see things before they happen.

Now Natalia gives Jane a very strange look, but it is
followed by one of recognition.

NATALIA
I can find things now. I don't
understand how, but I think about
something and I know where it is.

JANE
Does anyone know?

NATALIA
Liu saw me finding one thing, then
she asked me about something else.

JANE
I guess that explains it. They're
coming for you.

NATALIA
Who?

JANE
Two men. I saw one of them in the
hall today and he looked at you
like...I don't know; it just scared
me. Then I saw them attacking you
in your apartment.

Natalia sinks down on a nearby bench.

Jane sits down next to her.

JANE (CONT'D)
I don't have any helpful advice for
you here, but I couldn't let you
walk into that without any warning.
I'm sorry.

NATALIA
I'm glad you told me. I just don't
know what to do.

JANE
Maybe you can use your power to
find a good solution.

NATALIA
Or a good hiding place.

They laugh nervously.

JANE
If it's Liu who's after you, then
Scarecrow is too. There's no one to
report it to.

NATALIA
What about you? They may not know
about you yet, but if they saw you
leaving the building with me, and I
don't come back...

JANE
I'm sunk too. Maybe I shouldn't
have said anything. You can throw
down, right?

NATALIA
Oh yeah, I can totally throw down.
Are you sure you didn't see me
whipping their tails?

The memory wipes the smile from Jane's face.

JANE
You didn't win.

Natalia stomps her feet and gets off the bench in
frustration.

NATALIA
Why can't they just ask me to
cooperate? Why does everything have
to be by force?

Jane gets up in a panic.

JANE
Calm down!

NATALIA
You don't want me to make a scene?
Maybe that's what we need!

JANE
Maybe, but we're already being
watched.

Natalia sees that there is in fact someone watching them.
This is LUIS. He is a tall, muscular man in his late 40's,
wearing a custodian's uniform.

Luis is trying to be inconspicuous, but his interest is
clear.

NATALIA
Is he one of the men you saw?

JANE
No, but that's not making me feel
any better.

Natalia takes a deep breath.

NATALIA
Okay. It could be a coincidence.
We're going to walk casually away,
and see if he follows.

JANE
And if he does?

NATALIA
Maybe we run, maybe we kill him.
Ready?

Wide-eyed and tight-lipped, Jane nods.

JANE
Let's go.

Jane and Natalia start walking away.

Luis continues to follow, so the women start taking more
evasive action, turning suddenly and following completely
illogical routes.

This seems like a bad strategy when they run into a dead end.
There is no place to run.

NATALIA
I guess we fight. At least it's two
to one.

JANE
So far.

Luis rounds the corner and looks directly at Natalia.

LUIS
I need to talk to you.

NATALIA
Good luck with that!

In a blur, Natalia kicks the back of his knee while grabbing
his arm and twisting it, taking him down.

LUIS
I'm trying to help you!

NATALIA
By stalking me? Jane, get me
something!

Jane spots a brick and grabs it. She almost hands it to
Natalia, but stops, much to Natalia's frustration.

JANE
I think I believe him.

Luis and Natalia both looks at Jane in surprise.

JANE (CONT'D)
I think if we go with him, it will
be okay.

LUIS
Who are you?

JANE
Jane Simpson.

LUIS
No one has heard about you yet.

JANE
But I don't have much longer, do I?

Luis shakes his head.

Natalia warily releases Luis, and lets him up.

NATALIA
What's going on?

LUIS
You're supposed to disappear
tonight. We try and keep track of
that, and save as many as we can.
Looks like I've got a bonus.

JANE
Can you get us both out?

LUIS
If they're not looking for you it
should help, but we'll have to
hurry.

NATALIA
And you trust him?

JANE
It looks like it will be okay.

LUIS
It's a hard life on the outside
too, but it's your own. I can at
least give you that.

Luis extends his hand to Jane, displaying two linked L's on
his wrist.



INT. CAVES

Lights are off. It is nighttime.

Jane is sitting up on her cot, crying quietly.

Natalia is in the next cot. She wakes up and notices Jane.

NATALIA
What's wrong?

JANE
It's Luis. He's the one who dies.

NATALIA
Are you sure?

JANE
I was focusing so much on the face,
but then I woke up thinking about
him, and I checked the wrist, and
it's there.

NATALIA
Luis and Laura.

JANE
It has to be him.

They sit silently for a moment.

NATALIA
I guess it doesn't really change
anything.

JANE
Have we overlooked anything?
Something we could try?

NATALIA
You know we haven't.

JANE
I know.

NATALIA
Knowing it's him doesn't really
change anything. It just feels...

JANE
Worse. I didn't think that it
could, but I was wrong again.

Natalia reaches out for Jane's hand, and together they grieve
in advance.



EXT. CAVES

Morning. There is the sound of a chopper approaching.

Natalia, Jane, Ray, and Otis are waiting outside with a
makeshift stretcher.

TONY hops out.

TONY
We've got injured.

Otis and Ray are already approaching with the stretcher.

They load up Luis, who has severe injuries with bruising and
swelling, especially around the head, and carry him inside.

Natalia helps out BECK (45). He is short, stocky, and bald.
His mangled arm is tied up in a tourniquet. Natalia guides
him inside.

JANE
The guys will come back for Rogers.
Is this Park?

Tony nods, relieved that they are prepared.

TONY
I'm glad you're here.

JANE
We got lucky.

Jane and Tony half-help, half-carry PARK (25). He is a skinny
Korean-American, with thick, dark hair that has gotten a
little shaggy. Park is doubled over with abdominal
lacerations.

TONY
It looks like you have things under
control. We should get out of here
as soon as possible.

JANE
I know. They'll have to evacuate
once we've got everyone stable.

TONY
Will everyone be stable?

JANE
Luis-

Tony and Jane lay Park down on a cot.

The room has been laid out for the work that needs to be
done.

TONY
Do you want us to take him?

JANE
No! We're going to try. We're just
going to fail.

Tony knows that feeling.

TONY
Stay safe.

Tony follows Ray and Otis back out with the stretcher.

Jane and Natalia look at each other.

JANE
I guess we have each other's
patients.

NATALIA
Use the morphine we have left on
Beck. I hope Latron gets here soon.

JANE
He will.

Jane draws a sheet closed around her and Beck as Ray and Otis
carry in ROGERS (47).

Rogers is a tall, reedy man with brown hair and a beard, and
one leg badly injured.

Time passes as Ray and Otis wait in the main room, making
small talk.

OTIS
...and Jacob and I have both lived
in New Orleans at different times,
so it's always good to talk to him.

RAY
Are people always switching around?

OTIS
Who you're with and where you are,
anything to improve the odds of
staying alive.

There is silence for a moment, considering how stacked those
odds really are, but then Ray wonders about something else.

RAY
Why does everyone have white vans?

Otis laughs a little.

OTIS
Janitors and delivery men are the
backbone of our operations in the
city. We've acquired many a
delivery van when someone had to
flee.

RAY
And these, were they fleeing?

OTIS
Probably. It sounds like they were
attacked outside of the city, and
they were all still working inside
the city last I knew. Something
probably happened.

Latron comes in.

LATRON
Hey, Pops.

OTIS
Get that medicine back to them
right away. Are you hungry?

LATRON
No thanks.

Latron disappears into the back, and returns shortly. He
looks disturbed.

OTIS
Are you all right?

LATRON
I don't need to see anything like
that again. I don't know how they
do it.

RAY
I know. We helped carry them in.

Latron shakes his head.

LATRON
It's what they've had to do since.

OTIS
Don't think about it. Did you bring
me anything?

Now Latron smiles, and pulls a small packet from his pocket.

LATRON
Those are apple seeds.

OTIS
All right then. I better go get
them sprouted.

Otis takes the seeds and shuffles away.

RAY
So, is he your grandfather?

LATRON
What you think just because there
are two black people they got to be
related?

RAY
No! It's just that you seem close
and you call him Pops! I thought it
would be nice to have some family.

Latron loses some of the attitude.

LATRON
It would be nice. That's why I call
him Pops.

Latron takes out some polish and begins polishing Jane's
jacket.

RAY
What's the deal with the seeds?

LATRON
He likes to plant things. He wants
to fix the desert, make things nice
again.

RAY
Wow.

LATRON
I know, right? It's impossible. But
he still tries.

In the back, Jane emerges from behind the curtain looking
wiped out, and finds an equally tired Natalia.

NATALIA
How is he?

JANE
That's going to be a tough
recovery.

NATALIA
How are you?

JANE
I never want to do an amputation
again. How's Park?

NATALIA
Everything came out pretty well. I
set Rogers' leg too.

JANE
I guess I've been slacking off.

NATALIA
We're cool. It just leaves...

They both look over at Luis.

JANE
Have you given him anything?

NATALIA
I've been focusing on the others.

JANE
Let's see how he's doing.

Jane and Natalia approach the cot, one on each side.

NATALIA
Luis? Can you hear us? Do you want
something for the pain.

Luis's eyes flicker open.

LUIS
My bonus girls.

JANE
You know us?

Natalia and Jane exchange mortified glances.

NATALIA
I didn't realize he was so alert.
We've got to give him something.

LUIS
I'm fine. Won't be long.

JANE
There has to be some way we can
help you.

LUIS
Just nice to see you.

NATALIA
You don't have to talk.

LUIS
No! Something.

JANE
It's okay.

LUIS
It's the girl. He knows.

NATALIA
Who knows?

LUIS
Her pa...pa...

Luis fades out.

JANE
Luis?

NATALIA
He's gone.



EXT. CAVES

Jane is sitting with her back against the mountain, staring
off into the distance.

Ray comes out.

RAY
I guess this makes a bum eye look
pretty minor.

Jane tries to smile at Ray, but can't.

Ray sits down next to Jane.

RAY (CONT'D)
Frank told me about the moping
thing.

JANE
That's sweet, of both of you.

RAY
I thought so at first, but if you
really need the time alone...

JANE
I do it because I don't want to
bother anyone else, but there is
something kind of nice about being
comforted. I'd forgotten that.

RAY
I can go or I can stay.

JANE
Stay.

Jane leans her head on Ray's shoulder, and Ray puts a
brotherly arm around her.

Inside Natalia is talking to Rogers.

NATALIA
How are you feeling?

ROGERS
Everything hurts.

NATALIA
No getting around that. The only
serious injury is the broken leg,
but you're still pretty banged up.

ROGERS
How are the others?

Natalia hesitates, but answers.

NATALIA
We couldn't save Luis.

ROGERS
I kind of knew. And Beck's arm?

NATALIA
We had to amputate.

ROGERS
It's the tourniquet. I tied it.
It's-

NATALIA
It's what kept him from bleeding to
death.

Rogers sighs, and relaxes a little into the cot.

ROGERS
Sometimes you just don't know what
to do.

NATALIA
Sometimes it's bad no matter what
you do. Beck is still alive and
mobile. Park's going to be fine.
You're going to be fine. Focus on
that.

ROGERS
Thanks.

NATALIA
I'm scared to ask, but what
happened? Is anyone else in
trouble?

ROGERS
No. We were doing a hand-off, and
got surprised so we had to run. We
weren't fast enough.

NATALIA
It's okay. We're going to have to
leave soon, in case the landing
attracted any attention. That's not
going to be a fun trip for you.

ROGERS
It's our own fault. Did I see Jane
here? Luis had information for her.

Natalia calls back towards the entrance.

NATALIA
Jane!

Jane comes in wiping her eyes.

NATALIA (CONT'D)
Rogers has some info for you.

Jane comes and sits down next to Rogers.

JANE
I'm glad to see you lucid.

ROGERS
You had us checking if there was a
new girl at the school.

JANE
Grace. Was she there?

ROGERS
No, she's at Scarecrow.

Jane and Natalia are both shocked.

NATALIA
What's she doing there?

ROGERS
We don't know, but Luis saw her.

NATALIA
Maybe that's what he was trying to
tell us.

Jane has been too stunned to react, but she slowly shakes her
head.

JANE
This is not good.

Early the next morning, Ray and Otis are lowering Luis into a
shallow grave.

Latron begins shoveling dirt over as Luis is laid to rest.

Beck, Rogers, and Park are in the van, looking, but not in
shape for standing.

Natalia and Jane are trying to keep an eye on their patients
and on the burial.

OTIS
Would either of you like to say
something?

NATALIA
He saved our lives, despite my best
efforts.

JANE
Even in his last moments he was
trying to help.

NATALIA
I'm sorry we couldn't help you.

OTIS
Rest in peace, hermano.

Everyone is quiet for a moment, but it cannot last.

NATALIA
We need to go. Are you sure you
don't want to just come with us?

JANE
No, I've got to get back to my
other patient, and we need to
figure out...

The necessary seems so impossible, she cannot even find a way
to describe it.

NATALIA
There is no way that can go well.

JANE
It has to be done.

Natalia nods and they hug.

NATALIA
What about Rosalie? Should we take
her?

Jane stops to think.

JANE
I think the Bunker is going to be
empty for a while. We'll let her
take one more flight and then bring
her along.

NATALIA
You're right. Stay safe.

They hug again, and Natalia goes up to Ray.

NATALIA (CONT'D)
It was nice meeting you.

RAY
Definitely.

Natalia hurriedly climbs into the back of the van.

Otis hands two short-wave radios to Ray.

OTIS
We don't use these because we're
always afraid of being overheard,
but they may come in handy for you.

RAY
Thank you.

They shake hands, then Otis turns to Jane and hugs her.

OTIS
Stay safe girl.

JANE
You too.

Otis climbs into the driver's seat.

That just leaves Latron.

Latron hands Jane her jacket.

JANE (CONT'D)
You polished it?

LATRON
The tank's full too. You should be
good to go.

JANE
You're the best.

Latron starts to shake his head, but Jane wraps him in a big
hug. Latron is both pleased and embarrassed.

LATRON
I gotta go.

JANE
I know. You look after these guys,
okay?

Latron nods and climbs in next to Otis.

Ray and Jane wave as the van pulls away.

RAY
I don't think it's me Gee is going
to have to fight.

Jane smiles and shakes her head.

JANE
It's the bike.

RAY
And the jacket.

JANE
It's a good thing my parents ended
up with a man's jacket. It was
used, and...

It isn't really about the jacket.

RAY
What?

JANE
I just hope that someday there is a
girl his age, and that they get a
chance. It's nice to have the
possibility.

RAY
Yeah.

Ray may not be thinking of Latron anymore.

Jane steps back into the cave and returns with a cage
containing the homing pigeon. She secures the cage to the
back of the bike.

JANE
We'll need the cage for wherever we
head next.

RAY
I don't understand what we're doing
here.

JANE
Rosalie is trained to go to the
Bunker, but it is traditional to
not return to a base for a while
after a big operation.

RAY
Like trying to pull off a rescue
from Scarecrow?

JANE
That makes anything else we've ever
done look pretty small. Anyway,
this is going to be her last chance
to fly for a while. She might as
well enjoy it.

RAY
Are you attaching a message?

JANE
We have to, or they'll worry, but
not the heavy stuff.

RAY
We're on our way?

JANE
Sounds good.

The message is written and attached to Rosalie's leg.

Jane releases Rosalie into the air, and she flies off in the
direction of the bunker.

RAY
And now we follow?

Jane nods and looks at Ray thoughtfully.

JANE
Want to drive?

Ray is hesitant.

RAY
You're not scared that I'll crash
us with my one eye?

JANE
If I start pounding your back, it
means stop; we're going to switch.

RAY
And if I don't stop?

JANE
That's when I choke you.

RAY
It's a plan.

Ray grins and takes his place on the power cruiser.

Jane takes a last look at the caves, and especially at the
new grave.

She speaks very quietly.

JANE
Good-bye.

Jane climbs on behind Ray and they take off.

Y yo me iré. Y se quedarán los pájaros
cantando.
Y se quedará mi huerto con su verde árbol,
y con su pozo blanco.

Todas las tardes el cielo será azul y plácido,
y tocarán, como esta tarde están tocando,
las campanas del campanario.

Se morirán aquellos que me amaron
y el pueblo se hará nuevo cada año;
y lejos del bullicio distinto, sordo, raro
del domingo cerrado,
del coche de las cinco, de las siestas del baño,
en el rincón secreto de mi huerto florido y encalado,
mi espíritu de hoy errará, nostáljico...

Y yo me iré, y seré otro, sin hogar, sin árbol
verde, sin pozo blanco,
sin cielo azul y plácido...
Y se quedarán los pájaros cantando.

El Viaje Definitivo by Juan Ramón Jiménez