Screenplay / Climate Hazard Rescue
EXT.OPEN FIELD
A small old farmhouse with a single window lit overlooks a wide
parcel of land lined on one side by a gravel road and on the
other by an eroding creek bed, petrified by heat.  Out in
the fields a large tractor carves up the baked earth into
rows.  From a distance it would appear to be a scene of
classic Americana, a portrait of The Dustbowl, but up close
the tractor is not a mechanical monster, but an over sized
caterpillar, with a cab strapped like a backpack.  It grazes
on the earth propelled by hundreds of tiny feet.  Resting
casually on the back is a twenty something girl named SUSAN
LEE RACINE.  SUE monitors the path of the tiller while she
listens to a small squishy iPod like device broadcasting
music.  The station breaks a weather report.
REPORTER
Hurricane Vanessa continues to beat
down on the entire east coast.  The
threat level has been elevated to
yellow.  The  Mid-South has been
inundated with brief but violent
rains, flash floods, f-class hail. 
Listeners are advised to check
their elevation level, structure
security, and proximity to flood
channels.
SUE looks across her dehydrated field.  Flies buzzing about,
tufts of dead vegetation choking on thirsty soil.  She sighs
deeply.
REPORTER
The Governor ups the stakes for his
reelection by calling on his
challenger to address the isSUE of
emergency response…
She taps off the radio.  She perks her head up and locks her
attention onto a rumble in the distance.  She turns her head
and watches as holes are pelted into the dust.  She opens
the transparent door to a cab mounted onto the back of the
caterpillar and jumps in just as a band of hail passes over
cracking the windows of the cab. 
The rumble across the land grows louder.  Tree trunks transmit
a vibration up to trembling branches.
EXT. SKY OVER FIELDS
Just under the cloud ceiling, a large lensed camera buzzes into
view, hovering with dragonfly wings emerging from a fuzzy
body stem supporting the ocular device.
It spies the source of the rumbling, a massive wave of water barreling
down a dry creek bed, overspilling onto the surrounding
fields.  It snaps over trees, electric poles, churning
debris as it hurdles through the countryside.
The camera zooms down the banks ahead of wave and tracks
onto an old Dodge truck hanging half off the road, spinning
its tires.  The rusty vehicle dangles on a earthen bridge
made of corrugated steel cylinders packed with clay, baked
by the climate.
EXT.OPEN FIELD
SUE’s ears perk up.¬† She steps out of the cab overlooking a
pitted landscape and listens to the roar.  She straddles the caterpillar
and pulls on its fur, kicking with her legs.
The beast lurches forward.  She leans over onto it, hugging
and gripping its back.  It accelerates undulating its little
feet, leaving a path in the dust.  As it speeds toward a
ditch she pulls up on the fur and the caterpillar leaps into
the air, crashing onto the other side of the bank snapping
off a few little feet flailing in its wake. 
The synthetic creature rolls like a wave, faster and faster across
sun burnt farmland toward the truck.
EXT. SKY OVER FIELDS
The camera spies the DRIVER of the truck as he recognizes
the horror of the approaching torrent.  He tilts his
weathered straw cowboy hat back.
Holding an open beer in his hand, he actually rolls up
He reaches over and hugs his hound dog as the truck is picked
up tumbling end over end in the currents.  The hound dog
cries in pain.
EXT. CREEK BANK
SUE winces and leans in over the body of the caterpillar hugging
it tight.  It moves faster over the land, leaping to make
greater distance, shedding little feet every time the
juggernaut crashes back down to the ground.
SUE halts the living tiller on the bank of the river and
just as the truck passes buy, she pulls the fur and the
caterpillar latches onto the Dodge, and with a tug, lurches
it onto the bank.  The caterpillar collapses in exhaustion. 
SUE jumps down and frees the man and his dog from the truck.
The hovering camera catches up to them and bleeps a beacon. Instantly
the sound of dozens of other unmanned aerial cameras buzzes
into perception.
The hound dog licks its owner’s face.¬† The TRUCK DRIVER retells
the story to the cameras in a hysteric state, as an annoyed
medic tries to bandage his wounds.  SUE returns to the
creature she rode to the rescue, its color is fading.
Live REPORTERS show up to accompany the cameras.  The DRIVER
from the truck identifies SUE as a hero, but she is too busy
comforting the passing caterpillar to notice the attention.  The
reporter pushes a microphone into her face to force her
REPORTER
How does it feel to be a rescuer?
SUE stares out vacantly.  Then leans her head against the
body of the caterpillar.
INT. SUE’S LIVING ROOM
SUE steps in the front door, camera’s flashing at her.¬† She
locks it behind her.  She slides down to the floor and
sobs. 
In the darkness a MAN switches on an end table light.¬† He’s
wearing a stiff suit, with a colorful print collar.  The
furniture is Victorian colonial, littered with porcelain
collectibles.  He throws down a stack of opened letters with
long lists of charges and figures.
REGINALD
Which part of your life are you
most depressed about?  These
medical bills, your futile farm,
your aunt’s health, your expired agribeast,
or the decor of this room?  Is this
where doilies come to die?
SUE
How did you get in here?
REGINALD
The elderly lady let me in.
SUE
She’s been in a coma for half a
year.
REGINALD
We’ll she didn’t say I couldn’t
come in.
SUE
Get out!¬† I’m not gonna do any
interviews!
REGINALD
I’m not from the media.¬† I’m an
attorney, I represent an opportunity. 
I have a way for you to change your
fate.
SUE
I’m listenin.
REGINALD
After today’s heroic performance, I
may have a position for your unique
talents.
SUE
Talents?
REGINALD
I was once involved in litigation
to defend the manufacturer of that
model of agribeast.  The
limitations of the design were a
key feature of the trial. No one
has ever used a piece of farm
equipment to rescue a half lit good
ole boy before, or anyone for that
matter.  How did you do it?
SUE
Do what, now?
REGINALD
Did you train it?  Did you use a
pain collar?
SUE
Those are a sick idea. He was my
friend.
REGINALD
Hmmph.¬† Fine, don’t tell.¬† Keep
your secrets.  If you want the job,
come with me.
He reaches for the switch on the end table.  SUE sizes him
up as he flips off the light.
INT. HAZARD STATION HALLWAY
Pacing down a hallway, SUE struggles to keep up with
REGINALD
SUE
Where exactly are we, I couldn’t
recognize the roads coming in.
REGINALD
This is a trial.  If for some
reason you don’t pass the mustard
then I’d prefer if you couldn’t
find this place.
SUE
This is some kind of court, I
thought you had a gig for me?!
REGINALD
I meant this is a test.  Listen,
I’m banking my rep on you.¬† There
are wolves that would like to pick
you off before you get a chance to
even show what you’ve got.¬† This is
a lynch mob, but if you succeed
then I’m in a position negotiate
something favorable on your behalf.
INT. HAZARD STATION LAB
REGINALD escorts her a dim room with high ceilings.  A big
guy and strong woman with cynical looks exit without making
eye contact as she enters.¬† There’s an amber table and chair
with a black bracelet.¬† The door closes behind her and she’s
left alone except for an observation window with two
silhouettes.  She walks up to the table, and sits down in the
chair.
INTERCOM
Please put on the bracelet.
SUE
Why?
INTERCOM
To proceed with the examination,
please secure the bracelet.
Four other silhouettes join the initial two.  The crowded
window looks on.  She looks down at the simple bracelet.  It has
a small ring of miniled lights, but it appears innocuous. 
She touches it.  Nothing happens.  She picks it up, and
looks at the observation window.  She puts it on and snaps
it together.
For a moment, nothing happens.  She looks puzzled.
Then the lights illuminate and a pleasant high pitched whine fills
the room.  She looks back at window.
SUE
Well?¬† What’s next?
INTERCOM
Thank you.  Wait a moment.
She gets up out of the chair and looks around the room.  She
walks to the door to open it.¬† It’s locked.
SUE
Okay, I’m done.¬† I want out.¬† Now!
She takes off the bracelet and throws it on the table.  Two
silhouettes run from the window.  The door opens and the big
dude who left the room earlier gestures for her to exit.  He
glares at her in frustration, and looks away in resign. 
REGINALD grabs her arm and escorts her to a stairway up.
INT. HAZARD STATION STAIRWELL
REGINALD
Well, that was a surprise.  All
clear.  Now is the hard part.  Sign
this before we go any further.
SUE
What is this?¬† I’m not signing this
without an attorney.
REGINALD
I’m an attorney, sign it or we
can’t proceed to the next step.¬†
It’s just an NDA.
She scribbles her name.  They continue up three flights and
come to a large gate.
INT. HAZARD STATION BAY MIDGATE
There’s a giant door way, but a small man in coveralls
blocks their entrance.
LIL JOE
Rejj, I can’t let you take her in.¬†
It’s not safe.
REGINALD
It’s not your call.
REGINALD moves him out of the way and presses a button that lifts
the large gate, revealing a long catwalk disappearing into
the darkness.
INT. HAZARD STATION BAY INTERIOR
Their steps echo into the void.  Something groans in agitation as
they approach.  The catwalk rattles and shadows stir.  SUE
walks confidently out to the end of the platform and reaches
out into the darkness until she finds rough warm skin, like
an elephant.  She slides her hand across the surface and the
chamber fills with a vibrating purr. 
The big guy, PAUL and the large woman, DONNA, walk out onto the
catwalk and flip on a large circuit breaker. The lights kick
up in short pulses and reveal that SUE is standing in the
center of a huge bay next to a mountain of flesh and
plastic.
Hoses and catwalks all connect to a giant five story spherical
cabin, wrapped in a ring of muscular flesh.  A clear
glistening lip  wraps around the midsection of the cabin
holding the sphere in place like lids over an eyeball.  The
ring of muscle has three open ports on each side of the
cabin.  They are lined with bristly fur, like brush like teeth
of a whale.
The PAUL swaggers over to SUE to challenge her.  He attempts
to use his size to intimidate her.
PAUL
Just because you can pacify it
doesn’t mean you are fit to operate
it.
She turns to REGINALD.
SUE
That’s the job?¬† To ride her?
REGINALD
Her? Um, no the job is to BE ‘her’.
LIL JOE in the coveralls asks SUE to present her arm.  He
slides on a gauntlet like evening glove made of the same
material as the bracelet, he points her to a vent on the
side of the body of the craft. He applies pressure and
little lights illuminate along the branch of her arm’s
nervous system.
She extends her arm, and flexes her fingers.
Out of the side one of the furry ports burst dozens of thin white
tendrils.  They weave into one another morphing into a limb
shaped into the same gesture as her hand.
SUE
What’s that cold smell?
LIL JOE
It’s the sensations of the muscle
fibers translated into signals that
your brain can understand.
REGINALD looks up above them, where the silhouetted figures nod
and step away from an observation window. REGINALD pats SUE
on the shoulder.
REGINALD
Congrats.  Looks like you have the
job.
SUE reaches out to shake his hand with the glove on and the tendrils
mirror her action, tearing through several hose connections,
venting steam and splattering liquid everywhere.
REGINALD
You’re going to need training.
INT. TENT DRESSING AREA
Inside of a larger tent, surrounded by rolling tool organizers,
curled up cables, and rolling racks unknown mechanical parts
in a ready made room of plastic tarps, LIL JOE zips up SUE
in a full body suit made of the same material as the glove. 
REGINALD preens over PAUL, DONNA, and two medics in full uniform,
mounted with gadgets and squishy gizmos.  Clipboard in hand, REGINALD
wanders to oversee SUE’s preparedness.
SUE
Are you sure we’re ready to do
this?
REGINALD
You’d better be.¬†
(sternly)
There are hundreds of bloggers and
mobile-casters out there ready to
praise or slaughter.
SUE
Then perhaps we should have spent
more time training.
REGINALD
Not possible.  The media event was
scheduled weeks ago.  They no
longer believed the delays.  Focus,
just do the routines for the press.
Just remember the training videos.
SUE
It was only a few hours ago.  Can I
have a tall cup of black to throw
back?
LIL JOE
Caffeine makes the BELLE, jittery.
SUE
That’s what you call her?
LIL JOE
(nods)
Since I found out that she’s a her.
REGINALD
Wrap it up, it’s show time.
INT. TENT STAGE
Reginald walks out to a microphone. 
REGINALD
Ladies and gentlemen, the current
and future chief executive of our
state, Governor Stanton.
A politician with movie star good looks walks out onto the stage
as the flash bulbs go off.  A few close up cameras hover
close to the podium.
GOVERNOR STANTON
Thank you.  Today I hope to sooth
the furrowed brows of my fellow
citizens with a bold new initiative
to address the environmental emergencies
that are expected to continue for
the unforeseeable future.  
INT. BELLE CONTROL ROOM DECK
Lil Joe escorts Sue into the control room of the plastic capsule
cabin of the craft.¬† She’s in awe, the interior is pulsing
with fiber optics.¬† There’s a large 3D display rendering the
scene in front of the BELLE.  A miniature virtual governor
can be seen standing at a tiny podium.
There’s only one window to the outside, a lookout on the hatch
door.¬† There’s another window in the front of the room on
hatch, glowing with red light.
SUE
What’s in there?
LIL JOE
A fluid computing medium,
processing, storage, ram.
SUE
I’m a farmer.
LIL JOE
It’s the drivers seat.
She smiles with enthusiasm.
INT. TENT STAGE
GOVERNOR STANTON
I’ve sought the expertise of one of
our state’s favorite sons, a bold
innovator who pioneered our
biodiesel revolution, and has
created jobs and new careers with
his dozens of biotechnology
startups. I’m speaking of my
favorite country music legend,
Billie Nelson…
A long gray haired grinning hippie in organic linens steps onto
the stage as his signature romantic road song plays over the speakers. 
He nods in appreciation to the praise and settles into a
slow pace back and forth across the stage.
BILLIE NELSON
Friends.  I have benefited from our
green revolution greatly.  You
don’t even want to know the sorts
of things this much money can buy. 
I thought I was successful after a
dozen platinum records, when I had
several houses, and several
ex-wives.  The truth is back then,
I never imagined that this kind of
wealth was even possible. 
INT. BELLE CONTROL ROOM DECK
LIL JOE
Push on the pressure sensor to
activate the suit.  Then be very
careful what you think and do. 
Focus your intention on the routines
and we’ll train up on everything
else after we get past this.
He opens a hatch to a fluid filled tank with violet red light. 
She secures a clear hemisphere shaped helment over her
head.  SUE slides in under the surface of the fluid and he
secures the hatch.
INT. TENT STAGE
BILLIE NELSON
The shift to biodiesel financed my
biotech division which financed my
new found youth and the health that
most of us now share.  It financed
our future.  Now that we are
generating our power sustainably
and moved from combustion to
metabolics we know that in a
hundred years these skies will be
clear again, the scrubbers will
have absorbed the carbon dioxide,
the fossil fuels that burned up
until a decade ago will be
neutralized. And even if the
brightness of the sun continues to
increase, our atmosphere will
release that heat and our
environment will once again return
to the stable seasons of my
childhood.
INT. BELLE PILOT TANK
Surrounded by red light, supplied by oxygen from an
umbilical cable, Sue presses the button made into the fabric
of the suit.  Illuminated lights trace her nervous system. 
She jolts backward in ecstasy.
SUE opens her eyes and the front of her half globed shaped mask
is filled with a 3D feed of the holographic visualization
system.  Billie Nelson looks like tiny gnat in her vision.
INT. TENT STAGE
BILLIE NELSON
Until then, we must survive the
adverse conditions, and bear out
the extremes we face over the next
few decades.  Our emergency response
has been entirely too limited.  Its
been underfunded and under-innovated,
tied up in needless paper
shuffling.  Many have lives have
been needlessly lost because this
is community service that has been woefully
under resourced. Today with
Governor Stanton’s help I believe
we have put together the team and
the technology to combat the
climate hazards and rescue those in
the path of Nature’s fury.
A large projection screen behind Billie shows wireframe animations
of the BELLE, walking stiffly on muscle fibers shaped into
stilt like legs. 
Stage smoke blows in from the sides of the platform.
The screen drops.
Revealed first in shadow, then in the motion of animatronic stage
lights.  The BELLE is rolled in on a long flatbed mounted to
the backs of six caterpillars that back the craft into
position next to the stage. PAUL and DONNA are in ultratech
fire fighter uniforms, the other two are in EMT uniforms,
with accessible life saving tools built into their suits. 
They walk out into spotlights in slow motion looking proud
for the attentive crowd.  Flash bulbs go crazy, cameras buzz
in around them.
INT. BELLE CONTROL ROOM DECK
LIL JOE
(into an intercom)
Okay, get into position 1
INT. TENT STAGE
Six windows glow with the red light of the pilot tank,
making the BELLE appear to have a face of like spider eyes. 
The exterior lights of BELLE pulse up to the applause of the
crowd.
INT. BELLE CONTROL ROOM DECK
LIL JOE
Okay now position 2
INT. BELLE PILOT TANK
SUE spreads her arms like she is about to conduct a symphony. 
INT. TENT STAGE
Tendrils sprout from the front ports along the BELLE and weave
into long arms that reach around the four people on stage. 
The arms extend past the sides of the fighters and parallel
over the heads of the gasping audience.
A belt of muscle tissue around each of the fighters wraps itself
around a tendril.  Nonchalantly, facing the audience the
fighters slide away backwards up the arms of the BELLE and
gracefullly step into the control room hatch.
The EMTs step into a hatch on the bottom level and close the door
on the mobile ER.
INT. BELLE CONTROL ROOM DECK
PAUL and DONNA join LIL JOE in the control room.  They take
positions at standing stations.  
LIL JOE
Susan Lee Racine, you’re doin
mighty fine. We’re halfway through
the routines.  We just need to show
off how graceful she is and that
she can stand on her own six feet,
then we can call it a day.  Now move
to position three.
INT. BELLE PILOT TANK
Sue is calm but determined.  She pulls her hands back to her
sides and then down.  The two virtual tendrils recede back
into the furry ports.  She then stretches out her arms again
and folds them around into a circle as if she is hugging a
tree.
INT. TENT STAGE
Tendrils emerge from each of the six vents.  They run out
into the audience inside the tent.  Each tendril runs itself
snaking through the feet of the crowd threading through
welded loops attached to a floor plates. 
The arms of the BELLE raise up. Hundreds of people are suspended
in the air.  Audience members look down to realize their
chairs are fused to the plates the craft is lifting.  One
audience member jumps up and down, the plate is stabilized
as if he were jumping on firm ground.
INT. BELLE PILOT TANK
Sue smiles confidently, holding her arms in position.
INT. BELLE CONTROL ROOM DECK
LIL JOE
(to SUE)
That’s good, good!¬† Now move into
position four.  Almost done!
PAUL
I can’t believe how many months
we’ve been in training.¬† I took
this job because I thought we were
going to be saving people not entertaining
bloggers.
DONNA
You might get your chance if we get
in  a copter and head over to
Shelby county.  Sensor arrays here
on the ship detect a pressure
system with a high percent for
orange to red level of damage.
LIL JOE
(into intercom to SUE)
Focus the muscle fibers into a
pressure point.  Wrap them tight
and push down.  That should give us
enough lift to stand.
The lights in the control room dim, the holographic display zooms
in to Shelby county.  Maps displaying temperature, pressure, conductivity,
elevation, addresses, personal profiles project onto the
walls of the control room.  DONNA, PAUL, and LIL JOE look on
in surprise.
LIL JOE
Sue darlin.. what’s going on?
INT. BELLE PILOT TANK
SUE struggles in the water.  Her body convulses.
INT. TENT STAGE
The tendrils recede out of the loops in the floor plates crashing
the audience onto the ground.  The muscle fibers come
unwound like tangles of cable.
Then the fiberous tendrils of the BELLE rush down and weave into
pillar like stilts.  The BELLE takes a step and lurches. 
One leg catches the weight, but the mass of the body shifts
and knocks into post holding up the tent.
One of the bloggers screams, and they all flee for the exits. 
The roof of the tent comes crashing down.
INT. BELLE PILOT TANK
SUE squirms in delirium wailing her arms in every direction.
INT. BELLE CONTROL ROOM DECK
Lil Joe grabs a hold of a console for dear life.  He pushes
buttons in the desperate hope of correcting the situation. 
Paul and Donna press buttons on their thighs and  lock their
boots into the floor with electric sound. The cabin shifts
and left unsecured, LIL JOE lets loose and flies across the
room.  He stands up runs smack into a panel and presses an
intercom.
LIL JOE
Sue! Hon, what’s goin on down
there?
EXT. LARGE FIELD WITH HUGE TENT
The tent has fallen, tiny people flee from the folds.  The
BELLE struggles underneath the fabric.  Arms flip and flop
like serpents wrestling.  The sphere rolls out of the tarps
of the tent.
INT. BELLE CONTROL ROOM DECK
DONNA and PAUL hang upside down secured to the floor as LIL JOE
tumbles like a shoe in a clothes dryer.
EXT. LARGE FIELD WITH HUGE TENT
The BELLE stumbles and lurches trying to right itself on stumpy
legs.
INT. BELLE CONTROL ROOM DECK
LIL JOE grabs a hold of the intercom again.
LIL JOE
Sue are you conscious?
PAUL
Are you going to have to stun
another pilot?
LIL JOE
This isn’t what happened with the
others.
(into intercom)
Sue, are you there?
INT. BELLE PILOT TANK
Sue’s eyes open suddenly.¬† She stops flailing.¬† She holds
her hands high above her head.
EXT. LARGE FIELD WITH HUGE TENT
The BELLE, sits on its base in the mud.  The tendrils reach
out of the six open ports and stretch upwards, higher and
higher into the sky.
INT. BELLE PILOT TANK
Sue brings the back of her hands together over her head. 
Then pops her wrist so her fingers point down.
EXT. LARGE FIELD WITH HUGE TENT
The tendrils weave together into thin spires, then in sync with
her hands bend and plummet till they anchor onto the earth. 
The body of the BELLE gently ascends out of the mud,
suspended by long curvy legs so thin that they seem to
disappear at some angles.
Bloggers and hover cameras gawk from below, snapping off flashes
for stills.
The body of the craft sinks low to the ground.  The legs lift
and shift to firmer positions.  The base rocks gently back
and forth and then in an instant, the BELLE disappears into
a speck in the air as it leaps from view.
Stunned momentarily, the bloggers smile and run to their computers
to post their pictures.
EXT. SKIES OVER VALLEYS
The BELLE glides through the air, muscle fibers stretched into
tensile legs touch down on hill peaks.  The constant
climbing action of the six legs makes the cabin of the craft
fly through the air as if it is on an invisible conveyor
belt in the sky.  The muscle ring constantly reorients to
level out and stablize the cabin of the BELLE.
INT. BELLE CONTROL ROOM DECK
LIL JOE
Sue?  Sue?
PAUL
Look gramps she’s not going to
answer.¬† She doesn’t seem to speak
alot as it is.  Something I
normally find very attractive in
Donna glares at him and rolls her eyes.
DONNA
All of these screens are
displaying  data on the emergency
in Shelby County.¬† I think she’s
bringing us in.¬† Looks like you’re
gonna get your chance to save some
souls.  If you can save your own.
PAUL
Har har..
LIL JOE
I haven’t had a chance to bring any
of these systems online.¬† I haven’t
connected any of the data feeds or
integrated their APIs to exchange
metadata.
DONNA
Apparently she’s faster than you
Joe.
He beams in wonder. 
LIL JOE
I thought she’d work out.¬†
(grins)
Do you see the elevation she’s
clockin?
Paul turns gray.
DONNA
How are we at four thousand feet?
LIL JOE
I think she knows more of what the
ole girl is capable of then we do.
The control panel hisses.  Donna activates a screen.  The
display renders into a vision of the valley below them.  Lil
Joe wobbles as they descend.  Dark tornadoes stripe the
landscape.
PAUL
We’ve got twisters!!
EXT. VALLEY SHELBY COUNTY
The huge funnels draw in debris through their bases.  Devouring
whole farms, swallowing up houses and livestock.
The BELLE descends out of the cloud layer, and pauses to evaluate
the terrain.  Sensory arrays lamp up along the crown and
base of her spherical cabin.
The tornadoes spread apart, surrounding the whole of
INT. BELLE CONTROL ROOM DECK
DONNA
The situation summary has found
three targets that we can assist or
rescue.
PAUL
I’ve got a four people pinned down
in an antique SUV in a ditch by the
bridge.  Two in the basement of a
farmhouse.  Seven in an aluminum
structure.
LIL JOE
Rednecks and their trailers.
PAUL
Surprisingly, it’s not.
LIL JOE
A Build it yerself toolshed.
PAUL
Yep.
LIL JOE
Don’t these people watch the news?
EXT. VALLEY SHELBY COUNTY FARMHOUSE
A dark twister circles a farmhouse.
A chain rings in the hollow wind. It binds close the
shutters to the basement of the farmhouse.  Inside a father
struggles to keep the doors secure as his little girl
huddles underneath his arm.
The tornado creeps around the house to the propane tank.  A
shovel lifts out of the ground from the rotating winds and smashes
into the tank, setting it ablaze.
EXT. VALLEY SHELBY COUNTY BRIDGE OVERPASS
The BELLE glides down to the bridge where the rusted truck sits
in the ditch.
INT. BELLE PILOT TANK
Sue concentrates on the visuals in front of her.  Then her
attention snaps to the left.
EXT. VALLEY SHELBY COUNTY BRIDGE OVERPASS
The BELLE leap back into the air to the left.
INT. BELLE CONTROL ROOM DECK
LIL JOE is tossed to the right as the cabin lurches.
PAUL
I got this one!
EXT. VALLEY SHELBY COUNTY FARMHOUSE
The BELLE sets down next to the blazing farmhouse.  The dark
twister churns the winds just on the otherside of the
structure.
PAUL steps out onto the body of the BELLE in gear.
INT. BELLE PILOT TANK
SUE arcs her arm around to the front carefully.
EXT. VALLEY SHELBY COUNTY FARMHOUSE
A muscle fiber arcs around from the body of the BELLE to the flaming
building.¬† PAUL’s suit attaches to the fiber and rides it
down to the farm.
He sprints as he hits the ground, the belt instinctively
separates from the muscle fiber.  Running against the wind,
he detaches small balls from a gauntlet on his arm and throws
them into the burning windows of the house.  With a flash
each one dissipates the flames into smoke.  PAUL throws
another at the propane tank and with a flash the fire is
unsparked, propane gas undulates ignited into the wind. 
PAUL comes upon the chained shutters to the basement, now in flames. 
He flashes the fire with another ball and pulls them open. 
He wraps and arm around the father and the daughter.  He pulls
and oxygen masks from his chest unit and places them on the
evacuees.¬† He escorts them to the base of the BELLE’s
medical bay.  The two EMTs help the dad and his daughter
inside.
PAUL’s suit snakes back onto the muscle fiber of BELLE.
INT. BELLE PILOT TANK
SUE lifts her arm. 
EXT. VALLEY SHELBY COUNTY FARMHOUSE
PAUL glides onto the top of the upper body of the BELLE.
And  steps inside.
Debris reignites the propane tank and the rest of the farmhouse. 
The dark twister approaches, swallowing the whole flaming structure
into its core.  The winds roar as the BELLE sinks into
leaping position.
INT. BELLE CONTROL ROOM DECK
PAUL
That was great!
The BELLE lurches, PAUL and LIL JOE both slide across the room. 
DONNA stands unmoved at the station.
DONNA
Paul, you’re going to have to
remember to activate those boots
faster.
PAUL
(groans)
Yes, maam.
DONNA
We gotta get those people out of
that sardine can.¬† It’s half
crushed by a tree and the wind is
rolling it right over the top.
EXT. VALLEY SHELBY COUNTY ALUMINUM SHED
An aluminum shed is bisected by a massive dead tree. The garage
door is crumbled closed.  The wind picks up, scraping the
branches against the metal.  The weight of the trunk shifts
and it rolls further crushing more of the workshed.
INT. ALUMINUM SHED
Inside the building four metal shop workers climb over benches
and machines to get away from the collapsing roof.  Two
others drag another man who’s leg is bleeding.
The roof slides more and a few huddle under tables.
EXT. VALLEY SHELBY COUNTY ALUMINUM SHED
The slender fibers of the BELLE reach down out of the sky
and the cabin swoops down resting its weight upon the
thickening legs.  One of the tendril protrusions from the
BELLE reaches for the trunk and tosses it aside like a toy.
INT. BELLE PILOT TANK
Sue extends her arms grasping her visual of the
INT. ALUMINUM SHED
The men look up as the roof is separated by the tendril like muscle
fibers, revealing the red glowing eye like windows of the
BELLE peering in.
EXT. VALLEY SHELBY COUNTY ALUMINUM SHED
The BELLE lowers so that the medical bay is ground level. 
Donna and Paul help the people from the shed into the
medical bay. The EMTs help each evacuee step up into the
craft.  First they bring on the man with the bleeding leg. 
Then they take another.  One guy is struggling to stand up
to step in.
PAUL
Here let me help you.