EXHIBIT A: ISAAC'S DREAM SCRIPT
FADE IN:
EXT. OFFICE PARK - NIGHT
Bird's eye view of a large, well-manicured lawn shaped like a triangle.
A host of fluorescent lamps surround the park. Their light is cold, hostile, and yet welcoming as if borrowed from a backwoods bug zapper.
The lamps illuminate the park's grass, which is two shades too green. It's almost glowing, like a cartoon depiction of radioactive waste.
WOMAN NARRATOR (V.O.)
If you're one of the chosen few, then there are signs. There are always signs.
Twin towers contribute to the gloomy mood of impending doom. The office skyscrapers anchor two points of the park's triangle.
WOMAN NARRATOR (V.O.) (CONT'D)
It's easy to miss or dismiss these signs. Or chalk them up to simple coincidence. But sometimes opportunity doesn't knock. Sometimes, it winks playfully at you. Sometimes, you find elevator doors open and waiting for you. Or when you turn on your car radio, it's playing the same song as when you turned it off last. Or if the taste of cilantro reminds you of dishwater. But sometimes the signs aren't so silly or innocent as that.
A lost red balloon dances into view, a howling wind pulling its marionette strings. The balloon grows and grows as it approaches the frame, threatening to black out everything.
Before it does, we read what's written across its rubber skin.
SMASH CUT TO:
TITLE SCREEN: Super Jesus 3: Revenge of the Holy Trinity
POP! The balloon explodes.
INT. OFFICE HALLWAY - NIGHT
Total darkness fills the screen. It's the same color of black that monsters take comfort in, the same color of black exists in the space between the floor and your childhood bed.
Suddenly, a sterile, white-blue ceiling light track snaps on. It hangs over a small portion of a long office hallway, but we can't see where it leads, coming or going.
Two FIGURES, one tall and one small, are moving fast and wearing full-coverage ski masks. They do not belong here.
The lights in the hall are controlled by motion sensor. As the pair race forward the next bulb over them leaps to life while the bulbs they leave behind cycle off.
They're under a spotlight.
The tall one looks behind him, eyes wide. They run faster.
INT. LOADING DOCK - CONTINUOUS
The tall figure stops, unbelieving. The pair escapes the claustrophobic hall and emerges into a cavernous shipping and receiving center lit by low-level floods.
They are alone. For now.
TALL FIGURE
We should go home.
The smaller figure turns back, grabs the tall figure's hand, and pulls him onward, rushing past 18-wheelers with names like Iron Mountain, Kimberley-Clark, and Whole Foods on them.
They run faster and faster and in the opposite direction of every red exit sign.
INT. FREIGHT ELEVATOR - MOMENTS LATER
The figures stand shoulder to shoulder. The taller figure gathers his breath while the smaller figure scans a FOB badge over a sensor on the elevator. It shudders awake.
INT. ELEVATOR BAY - MOMENTS LATER
The elevator doors open and the figures exit the cab, blinking. The light is bright.
They slink around some cardboard boxes, a mop bucket, and a nine-foot-tall wooden crucifix. It lies on its side.
TALL FIGURE
I want to go home.
The small figure leans towards the taller and gets on her tip-toes to talk to him.
SMALL FIGURE
Soon, baby.
The voice is soothing and familiar to us. It belongs to the woman narrator.
NARRATOR/SMALL FIGURE
You're doing great. I'm so proud of you. Think how far you've come. It's only a little bit further now. Baby steps.
The elevator bay begins to shake, cutting off her pep talk.
The tremors are violent enough to make the room's foundation groan in response. The mop's turgid water sloshes out onto the floor with a splash.
The lights shut off unexpectedly and we lose sight of the pair.
This is no earthquake. These vibrations are jagged and mechanical in nature, like an engine turning over and very much unlike the smooth, rolling waves mother nature sends out whenever she stomps her feet.
With a hiss, the lights return and the room turns still.
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The tall figure's eyes fill with fear. He's lost whatever was left of his nerve and the narrator knows it.
She takes off her mask to instill him with some confidence and to calm him. She's extraordinary but in all the most ordinary ways. Blonde, boobs, and the cherry-topper of a button nose.
NARRATOR (CONT'D)
Okay, stay here. I have to go, but just get ready. I'll be quick. Smash and grab.
The small figure cracks open the elevator bay's double doors and peers beyond them. More darkness pours into the room.
Satisfied with what she sees, she slips through the gap. The doors close behind her with a sense of finality.
The taller figure looks around, and his eyes fall on the giant cross. It's intimidating, sharp enough to shed a splinter. The authenticity of the cross extends to the splatters of blood in all the right places. It looks wet.
The taller figure stoops down to investigate.
Right as his finger is about to brush the muddy smear, he jumps, scared by a LOUD BLEAT emitted by the elevator.
The elevator's digital display changes from "B" to "CC." The aluminum plaque above the interface also reads "CC."
It's coming.
Uh oh. The taller figure looks around but it's futile. There's nowhere to hide under this bright light.
INT. HALLWAY - MOMENTS LATER
The taller figure skids, losing his balance between rounding a blind corner and the building's renewed shaking.
He's at a fork in the road. He snaps his head back and forth wildly but can't locate the smaller figure or a way out.
His eyes are unable to make out his surroundings, still adjusting to the hall's lack of light.
Another tremor causes him to crash into a wall and fall. He looks up and SCREAMS.
A toddler in a tiara towers over him. She's seven feet tall. Pink dress, pink nails, and painted-pink lips.
The taller figure SCREAMS again and scurries back on his hands and heels like a crab.
This new perspective allows him to take a breath. He had been frightened by a photograph, a blown-up portrait of a kiddie beauty queen.
The figure rubs his eyes before looking around. He is surrounded on all sides by photographs.
The building goes still again, allowing the tall figure to get back on his feet.
He approaches a photograph.
CLOSE UP: An androgynous model fills the frame, clothed in an angular outfit some would consider couture. The gender of the person is further obscured by an animal mask adorned with a sinister set of gnarled antlers.
The taller figure is hypnotized by the photo. His trance is only broken by a sound coming from the direction of the elevator bay.
The taller figure runs as fast as his adrenaline allows, only stumbling briefly as the building's convulsions begin anew.
INT. LARGE ROOM - MOMENTS LATER
The taller figure bursts into an enormous circular room with 30-foot ceilings. In the center of the ceiling is an electric blue light that dazzles him. He has to shield his eyes.
A blue beam shoots down from the ceiling and into the ground. The current is not stable. Sparks of pure energy burst and pop from the crackling column of light.
The connection breaks and the light retracts back into the ceiling where it's kept at bay by a transparent membrane of unknown origin. The building's shaking stops.
NARRATOR (O.S.)
No!
The narrator stands at the opposite end of the room, which is no longer obscured by the giant blue death ray. She's restrained by some force, but we can't see by what.
NARRATOR
Run! Get away! Go home!
The narrator is not alone.
Beside her is SUPER JESUS, the costumed second coming. The Hispanic superhero is suited up in his customary white robe, blue cape and Rainbow sandals, the brand not the weather event.
SUPER JESUS
(to the tall figure)
Come, my boy. Mi casa es su casa.
NARRATOR
Liar!
Super Jesus pays her no mind, gazing calmly and deeply into the tall figure's eyes. His own are magnetic, similar in color to the spinning light above them.
TALL FIGURE
Super Jesus? You're real? Dios mio.
He pronounces "Jesus" in the Spanish "hay-SOOS."
SUPER JESUS
In the flesh, more or less.
Super Jesus beckons the tall figure forward with a wave. In his other hand, he cradles a magnificent BIRMAN CAT. Its face is cream-colored but hate fills its ice-blue eyes.
The tall figure begins to walk towards Super Jesus.
NARRATOR
No!
The tall figure doesn't stop, hypnotized, crossing the room one foot after another.
SUPER JESUS
That's far enough. Hold still.
He looks up to see the blue light spinning directly above him. Its counterclockwise rotation creates a vortex with an eye in the middle that peers back at him.
SUPER JESUS (CONT'D)
You're going home. God speed. Hasta la vista!
A SHRIEKING SOUND rips through the room, but it's not coming from the tall figure or the narrator.
The tall figure turns. His face contorts in horror as a shadow eclipses it.
INT. HALLWAY - NIGHT
The tall figure flees down the hall with the motion-activated lights. They track his escape. He's looking over his shoulder, waiting for the black behind him to break.
There it is. A second motion sensor light blinks on in the distance. Something is coming for him.
All he can do now is run faster.
The tall figure turns his head around to pick up speed and we can now see that his face is bruised and bloodied.
In his arms is the cat. It, too, looks battle-worn with patches of fur missing.
We can see the light in the background getting bigger and glowing brighter. Something's getting closer.
INT. ROOM - MOMENTS LATER
A rectangle of light appears in the black frame. The silhouette of the tall figure fills it. He sneaks inside from the hallway and closes the door behind him, cat in hand.
Outside a SKITTERING, CHITTERING thing approaches.
He watches the slit that forms the gap between the bottom of the door and the floor. It turns white with light as the motion sensor outside activates and then flashes black and white as something moves back and forth in the hall, pacing.
There's an anxious beat as the tall figure remains motionless, his breath caught in his throat.
The MUSIC SCORE drops out. The silence is loud enough.
Filling the void is a RATTLING sound that breathes in and out in an arrhythmic pattern beyond the door.
Then the sound goes quiet and the light beneath the door extinguishes as the sensor turns off. Nothing is there.
The taller figure's breath returns to normal.
But in the darkness behind him, two golden orbs appear over the tall figure's shoulder, suspended in the shadows. The orbs disappear and then reappear, blinking. They're eyes.
HISS! The cat leaps from the figure's arms, fleeing for each of its nine lives.
NARRATOR (V.O.)
And sometimes, when you're one of the chosen few, opportunity doesn't knock at your door. Sometimes, it chooses to break and enter.
Underneath the set of golden orbs is a set of fangs glistening with drool. The tall figure SCREAMS.
FADE TO BLACK.
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EXHIBIT B: A Save the Cat! BEAT SHEET
Blake Snyder's Save The Cat! Beat Sheet
Opening Image - Sets the story's tone, mood, type, and scope—a "before" snapshot to be compared and contrasted with the story's final image.
Theme Stated - A character reveals the theme of the story.
Set-Up - Characters and places introduced to the audience.
Catalyst - An outside person or event impacts the story's main character to set the story in motion
Debate - The main character decides whether to let the catalyst change their life.
Break Into Act II - The main character moves forward, leaving their old world behind by entering the "new" one brought on by the catalyst.
B-story - This is the love story and deepens the thematic elements of the more plot-heavy A-story
Fun and Games - This section fulfills the "promise of the premise." E.G. in a detective story, this is where the detective tracks down clues.
Midpoint - This is the threshold between 1st half and 2nd half of the movie. The stakes are raised, and the urgency is increased. It's a temporary victory for the main character.
Bad Guys Close In - the antagonist bounces back from his temporary defeat and encircles the main character.
All is Lost - Collapse of the main character's goals. The antagonist secures a victory. "Whiff of death."
Dark Night of the Soul - The main character is at their lowest point and is forced to do some soul searching.
Break into Act III - A-story and B-story cross to reveal a solution for the main character.
Finale - This is the climax of the story. The main character and antagonist meet for a final conflict and resolution.
Final Image - A contrasting image from the Opening Image to show how much has changed since the start of the story.
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EXHIBIT C: IRREFUTABLE EVIDENCE OF THE CENTURY CITY CONSPIRACY
image [https://i.imgur.com/ptvcs5w.png]
image [https://i.imgur.com/8Y1ibiz.png]
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EXHIBIT D: A STUNNING EXAMPLE OF A BIRMAN CAT
imageimage [https://i.imgur.com/LVXTnFV.png]
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EXHIBIT E: THE MIDDLE SCHOOL "S"/SUPER JESUS SYMBOL with TREE OF LIFE (COINCIDENCE????)
image [https://i.imgur.com/wNFEIW8.jpeg]