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Written by Darren Williams & Matt Arena
18 Reynolds Ave Stamford, CT 06905 203-962-2563 Mattarena88@yahoo.com WGA #I250346
INT. APARTMENT, BATHROOM- NIGHT Inside a dingy, low-rent apartment a girl stands in front of her bathroom mirror brushing her teeth. Blonde hair tied in a pony tail, wearing a large T-shirt with little else; her face is slathered in a green mud mask. She turns on the faucet in the sink and bends down to rinse the mask. She returns to the mirror, with her face mostly cleansed of the product. It can now be seen that she is young and beautiful, not older than 25. As she checks her face in the mirror she hears the creaking of the escape ladder outside. She pauses to listen. Nothing. She quickly dries her face off with the towel and carefully moves into the hallway. She pauses at the living room, where she peeps her head around the corner and analyzes the partially open windows that lead out to the fire escape. Tense moments pass as she waits for more movement. But after staring at an empty fire escape for a good while she relaxes, and smiles at her irrational fear, confidently walking to the window and latching it sealed. She looks out the window one last time. Clearly still a little concerned. CUT TO: INT. APARTMENT, THE KITCHEN She closes the kitchen windows as well, and latches every lock to her apartment door before breathing a light sigh of relief. After turning the lights off she heads for her bedroom; the door on the right, in the hallway between the living room and the kitchen. CUT TO: INT. APARTMENT, BEDROOM - NIGHT Now sound asleep in her bed, the room is dark and quiet.
2. INT. APARTMENT, LIVING ROOM - NIGHT The living room too is dark and quiet, until an odd clicking sound is heard. The knob on the closet adjacent to the front door turns. It slowly opens without a sound. Just as silently a man carefully steps from out of the closet. Wearing a ski mask, he scans the room, giving no attention to the large flatscreen TV, or the sound system. Rather, his attention is transfixed... the door on the right, in the hallway between the living room and the kitchen. He removes his ski mask, and both his eyes; the whites of which glisten in the in the moonlight; and the sweat dripping from his brow, signal his intensity and focus. But the MASSIVE KNIFE and the smile that shines in its reflection betrays... excitement. He starts to make his way over to the bedroom, slowly. CUT TO: INT. APARTMENT, BEDROOM - NIGHT The girl is still sleeping soundly. INT. APARTMENT, LIVING ROOM - NIGHT Just as he steps towards the bedroom door, a flash of moonlight breaks through the darkness. In the kitchen someone is standing RIGHT THERE. He turns having seen the figure in his peripheral, nearly caught in the act. The kitchen is dark, making it hard to see who is there. Reacting to his sudden exposure, he moves for his mask but pauses, realizing he’s the one with the knife. The intruder’s surprise resides. He stands in the hallway facing the figure. He drops his mask, crouches and backs out of the hallway into the living room. Where he makes his stand, signaling an invitation with his blade. He licks his lips, and the blade. INTRUDER Beggars can’t be choosers... The mysterious figure walks toward the intruder. CUT TO:
3. INT. APARTMENT, BEDROOM - NIGHT The girl is in her bed sleeping soundly. A panicked shout BREAKS OUT and a THUD is heard against the wall in the living room. The sound not only wakes her, but rattles her bedroom walls. She BOLTS upright in bed, panicked and breathing heavily from the startling noise. Footsteps can be heard, walking across the living room, then another THUD. This time harder, nearly knocking things off the bookcase that rests against the wall. Anxious and scared, she tosses the covers back and reaches across to the night stand. She grabs her phone and dials 911. Meanwhile, the sounds of chairs and tables and furniture crashing and falling can be heard from her living room. There are scurrying footsteps across the floor, then a loud CRASH as something SHATTERS a glass table. A whimpering, pathetic squeal of pain squeaks out as glass cracks. 911 OPERATOR 911, what’s your emergency? GIRL There’s... there’s someone in my house!! Another crashing thud causes her to yelp and begin to sob Another LOUD THUD against the wall, rattling everything leaning up against it. INTRUDER (offscreen) Who the fuck are you?! SCREAMS, as two pointy metal ends about 4-5 feet apart suddenly BURST through her bedroom the wall above the TV. They’re red and dripping. GIRL I don’t know what’s going on, help! 911 OPERATOR Are you somewhere safe? Do they know where you are?
4. GIRL No, I don’t know, I don’t know!! I just woke up, I don’t know what’s going on?!? Send someone quick! INTRUDER (offscreen) No! Stop stop.. Then the SCREAM continues, this time we hear guttural noises, clogged by what can only be blood seeping out of someone’s mouth. There’s another man saying something, but it’s too low to make out. 911 OPERATOR Is there somewhere you can hide? Somewhere to stay until the police arrive? I’ve got men on the way. GIRL Closet... I... I can go in the closet, I don’t thinkAn INHUMAN SCREAM is then heard, and then it fades. Something heavy and wet then hits the floor. A series of similarly wet flops quickly follow. Then the distinct sound of searing flesh. Quiet. INT. APARTMENT, BEDROOM CLOSET - NIGHT GIRL I... I think it stopped. 911 OPERATOR Are you sure? Stay where you are, no matter what. Then the sound of one set of footsteps and the apartment door closing. GIRL I definitely just heard someone leave.
5. 911 OPERATOR Then there’s someone else still in the house, just stay put until the police arrive. GIRL It’s too quiet, I’m scared, I have to get our of here, NOW! She steps from the closet and SLOWLY enters into the hallway, proceeding toward the living room. As she enters the living room she sees nothing aside from the signs of an immense struggle. She’s heading for the door before hearing a drip on her carpet just behind her. She slowly turns and looks up. CUT TO: EXT. APARTMENT - NIGHT A scream from one of the above apartments can be heard, as a distorted larger than life shadow of the mysterious figure reflects off the street, walking away from the building. ROLL BEGINNING CREDITS. INT. POLICE DEPARTMENT, BREAK ROOM - DAY On a cloudy, grey day, Detective SHANE BELLO (50) peers out the break room window as he waits for a pot of coffee to finish. His Kangol beret tilts down low over his brow. The bags under his eyes do not mask the alert nature of his gaze. Neither does the rugged facial hair detract from his distinguished profile. As he stares out the window, his partner BEN FULTON (32) walks in, coffee mug in hand. His energy and enthusiasm for the day ahead shines, a brilliant sign of his youth and inexperience. BEN FULTON Day 3 Partner! You tired of me yet? No response. BEN FULTON (CONT’D) I love a scenic view like the next man, but what the fuck are you staring at out there?! This city fucking sucks.
6. SHANE BELLO I’m a people watcher. And it’s better than staring at the coffee pot. BEN FULTON That piece of shit isn’t done yet? He walks over and stares at it with contempt. BEN FULTON (CONT’D) Someone tell me why we haven’t gotten a new one... SHANE BELLO Hate to break it to ya Ben, but I doubt a Keurig is high on the department’s budget. If I were you, I’d drink my dirt water and just be happy with the fact that my job is both thankless and depressing. As Shane is speaking, Ben digs around the cabinet, before finally retrieving his old school red Thermos. He grabs the pot and pours, stirring in nearly a gallon of milk and sugar. BEN Ok, I’ll take I be happy to thankless AND FULTON the bait. Why should have a job that’s depressing?
Shane moves across the room and throws two slices of bread in the toaster. SHANE BELLO Because it’s precisely the only reason why you don’t have to worry about someone being stupid enough to take your job for an even lower salary than the one YOU were stupid enough to take. Now smile and sip, rook. Ben smirks and sips his coffee, the moment it meets his tongue he makes a disgusted face. He shakes off the bitterness and lukewarm temperature, tossing the mug into the microwave for a few seconds. Shane shakes his head. BEN FULTON What? I smiled and sipped. And I’m tired of you callin’ me rook. I know it’s hard for a man of your... (MORE)
7. BEN FULTON (CONT'D) CONSIDERABLE experience to understand, but beneath this boyish charm and downright dastardly jawline lies a man who beat the hell out of those streets for the better part of a decade. The microwave beeps and he retrieves his mug. Ben gestures with it emphatically. BEN FULTON (CONT’D) I’ve EARNED this shitty coffee. SHANE BELLO Fair enough. But when I was a rookie I had my boyish charm and dastardly jawline, all with hard work. None of these fancy ass machines and pills. BEN FULTON I’m sure you were a regular Yul Brenner. And instead of using guns you fought crime with your trusty saber and flintlock pistol. Shane takes a bite of his dry toast and washes it down with a gulp of coffee from his impossible to ignore Batman mug. With no discernible reaction to the putrid taste, almost as if the bright shining beacon of The Dark Knight enhances the flavor. SHANE BELLO Point is, you’ll need a miracle from the make believe man in the sky to still be at it with my... “distinguished chronological resume.” And to be looking this good. BEN FULTON Let’s keep the atheist digs to a minimum, you harlot. That big man in the sky takes care of me just fine... even if I’m not sure if he exists or not. Ben raises an eyebrow, looking at the Batman mug. BEN FULTON (CONT'D) You’re the one with weird fixations over make believe people. Shane looks down at the yellow and black emblem.
8. “Not the hero we deserved, but the one we needed...” He points the mug at Ben, warning, on his way out of the break room. SHANE BELLO Do not speak ill of him. Ben follows, shaking his head and laughing. BEN FULTON How did you end up with your wife again? INT. POLICE DEPARTMENT, MAIN FLOOR - DAY They make their way out past the break room, moving along the near endless rows of desks until finally making it over to their work area. Passing by the captain's office near their desks, they notice an unusual amount of people inside. Sharing a quick look of curiosity, they barely get to their seats before someone shouts to them. CAPTAIN SHAW Hey, Batman & the boy wonder, in my office! CAPTAIN SHAW (58) contentedly smirks at his own joke, oblivious to Shane’s glaring look of contempt. The short, pudgy man welcomes Shane into his office with a big shiteating grin. SHANE BELLO (whispering) Here comes the “cases will go unsolved” speech. What? BEN FULTON
INT. POLICE DEPARTMENT, CAPTAIN’S OFFICE - DAY As they enter, Shaw closes the door behind him, still standing in front of the door he begins his sermon. CAPTAIN SHAW Look at you, department’s newest detective. I want to get something outta the way. (MORE)
9. CAPTAIN SHAW (CONT'D) I’m sure you’ve heard that this department is a rough one, and that’s a fair assessment. This city’s has the highest number of violent crimes per capita in the country. Here’s a harsh bit of reality for you; cases WILL go unsolved. Bello will back me up on that. Shane sternly nods at Ben. It would seem sincere by most counts, though the last couple nods seem a tad prolonged. CAPTAIN SHAW (CONT’D) But we do our best, and that I staunchly advocate. You won’t be left hung out to dry here, if you’re smart and have proof, I’ll always back you up. Your captain gave you a glowing record. Not that I’d expect any less from the son of Senator Fulton. Ben is clearly uncomfortable with the reference to his father. BEN FULTON If I can speak honestly sir, I don’t expect anything anyone’s said about me count for a damn thing here. Even my father. I sought this position out exactly because it NEEDS detectives. I’ll make my own name and don’t expect any ill or favorable treatment based on my family connections. Shaw folds his arms, studying Ben. Ben doesn’t flinch. A couple tense moments pass, as Shaw’s face turns into begrudging respect. CAPTAIN SHAW A man of principle. I like it. You’ll get a fair shake here Fulton. Bello’s a good detective, you’ll learn from him. Shane nods, a little wary of the praise from his Captain. Shaw grabs a folder sitting at his desk, and hands it to Shane.
10. CAPTAIN SHAW (CONT’D) Here’s your first assignment. Dispatch got a call late last night from a panicked girl, saying she heard people in her apartment. She bolts out of the room and finds a body in her living room, mutilated. Nasty stuff. Police are already on the scene but I have a feeling this is gonna be in your wheelhouse Shane. Fulton, orientation’s over. Hope you’re ready. Yes sir. BEN FULTON
They take the folder and head out. But not before Shaw gets one more dig in. CAPTAIN SHAW Dynamic duo! I should have maintenance throw a Bat-Signal up on theThey’re out the door before he can get out another stinker. INT. SQUAD CAR - DAY Speeding down the road, sirens flashing but not blaring sound, Shane and Ben make their way down to the crime scene. BEN FULTON Look, I wanna get this outta the way, about my fatherSHANE BELLO Kid, I get it. Just because your daddy’s a senator it doesn’t mean you’re pampered or want to be. It’s the curse of having a parent involved in a career you’re passionate about. A beat. SHANE BELLO (CONT’D) For what it’s worth, he didn’t get my vote. Ben laughs.
11. BEN FULTON Believe it or not, mine neither. You seem to be awfully sympathetic towards my situation, your daddy someone important too? SHANE BELLO Ah, that’s not third day stuff. Wait, you didn’t even vote for your own father? BEN FULTON Like you said, not third day stuff. They pull up to a chaotic scene. Patrol officers tape and block off most of the area, but seem to have a swarm of people trying to get a look at what’s going on. Woah... BEN FULTON (CONT’D)
Ben lets a few siren bleeps out to clear the way. No sooner than do they get one foot out of the car before they’re welcomed by two nervous looking patrol officers. EXT. FIFTH AVENUE APARTMENTS - DAY PATROL OFFICER Did Captain Shaw call you guys down? SHANE BELLO Yeah, so what do we got? The look on the patrol officer’s face says it all. CUT TO: INT. APARTMENT - DAY Now in the light of day, a crime scene is fully underway. The flash of cameras light up against the gruesome image. The body’s arms are outstretched and fastened to the wall by two metal stakes through both palms. Suspending the body in an awkward, semi-crouching position. The abdomen is open, a line of intestines still connecting the pile of insides on the floor in front of him, to the long singular cut on his abdomen which runs from sternum to pelvis.
12. Shane and Ben are disgusted. Shane slowly approaches the body, slipping white gloves on his hands and placing a surgical mask over his face. The smell clearly gets worse as he gets closer. Ben soon joins him, looking around for anything out of the ordinary. “Ordinary” being an entirely subjective term at the moment. He spots a knife in the corner of the room, near the window. He moves towards it, holding it up like a trophy with the sleeve of his shirt. BEN FULTON Now I know I’m just a rook, but I believe this is what you professionals call a murder weapon. Shane turns, noticing the very large knife in his partners hands. SHANE BELLO Well done, you spotted a giant knife in the middle of a room. Rookie of the year! Well, you had the sense to keep your prints off the thing, so that’s something. He hands Shane a ziplock bag and some rubber gloves. Shane turns back to the body in front of him. Crouching low to look at the face, Shane recoils at what he sees, a strong reaction considering that he’s already hovering over rotting intestines. He tilts the head back for Ben to see. Where what once would be described as a face is now a charred, blackened mask. A dried and shriveled lump for a nose and two seared and cauterized flaps of bubbling flesh for eyes. Fringes of hair, skin bubbling and cracking, lips... no lips, just an oozing gape where lips once were. Fulton turns away, coughing and breathing deep, trying desperately to hold back a torrent of vomit. He hangs his head out a nearby window, sucking in fresh air. SHANE BELLO (CONT’D) You alright there, champ?
13. BEN FULTON
Shane continues to examine the face, unsympathetic to his partners continued heaves out of the window. SHANE BELLO Well that’s just odd. Ben staggers away from the window, gathers himself, and wipes his mouth. BEN FULTON What’s just odd? SHANE BELLO The burns. This type of skin damage would require prolonged exposure to fire. That’s enough to pry Ben’s head back into the room. BEN FULTON You find it odd that fire burns? SHANE BELLO No I find it odd that fire burns this quickly. Shane pulls out a pen and pushes the victim’s forehead so as to allow Ben to see. Ben sees and immediately tries not to see anymore and fights off another hurl. Still he continues to look, determined not to lose his composure again. SHANE BELLO (CONT’D) Cracking and oozing of the skin; it would take upwards of 5 minutes of open exposure to intense flame to produce burns like this. BEN FULTON According to reports the killer left promptly and there is no signs that he left anything running. Shane lets the head drop and stands back, studying the scene. BEN FULTON (CONT’D) So we’re talking about some type of device... blowtorch? Shane gives an annoyed look, eyes still not leaving the body.
14. SHANE BELLO Stop guessing, the burns are too even. Shane examines the body some more, puzzled. Just then, one of the cops pops his head in, making an obvious effort not to look at the cadaver. PATROL OFFICER Detectives, we’ve got someone out here that you’re gonna want to talk to. Completely okay with being pulled away from the scene, Ben slips his gloves off and heads out the room in a flash. Shaking his head at his painfully green partner, Shane follows. EXT. APARTMENT BUILDING - DAY The swarm of people still surround the perimeter set up by the patrol officers as Shane and Ben make their way out of the front of the building. They’re led over to one of the squad cars, to a teenaged boy standing behind one the police tape. The black teen is stout but clearly no older than 16, clearly not happy to be there, and the officer next to him doesn’t look too happy either. EVAN This is FUCKED UP! I didn’t do anything man! SHANE BELLO This him? What’s your name sport? He doesn’t respond, the patrol officer elbows the reluctant teenager fairly hard. The kid sucks his teeth. Evan, man! EVAN
PATROL OFFICER I work this beat pretty often, so me and Evan are well acquainted. Aren’t we Evan?
15. Evan looks around pretending not to listen Huh? EVAN
PATROL OFFICER One of the neighbors heard this kid saying he saw the.. Evan interrupts. EVAN I didn’t see shit. A beat as Evan says nothing. Ben grows impatient quickly. BEN FULTON Well, what happened then? Evan notices he’s got three cops staring right at him. As well as half the neighborhood. EVAN Look, I was just walking by when I heard the screaming. At first I thought it was just Anthony and Jess fighting like always. But it was... not that. BEN FULTON You come across a lot of varieties of screaming in your day-to-day life, kid? EVAN I’ve heard enough to know what it sounds like when someone’s being cut. The high pitched scream. I knew it wasn’t good. So I got a little closer. SHANE BELLO Please tell me you saw something. With such an outright request, Evan starts to get really nervous. He knows something, but for some reason doesn’t want to spill the beans. Shane picks up on it immediately. EVAN I just told you..
16. Mistaking Evan’s hesitance for lack of knowledge, Ben grows impatient. BEN FULTON Why are we wasting our time here, we knew that much from the 911 call. Come on, man. SHANE BELLO Take it easy. Evan’s helped us out here. If you remember anything else, feel free to give me a call. He shakes Evan’s hand, deftly sliding his business card in the kid’s hand so prying eyes don’t see. More patrol officers arrive and start to clear the scene. Forensics teams enter the building. Shane gives Evan one last nod and smile before the crowd is dispersed. Annoyed at what he perceived to be a waste of time, Ben turns to the patrol officer annoyed. BEN FULTON Next time, before you drag us all the way out here, make sure the kid actually has something worth our time. PATROL OFFICER He did! I was told he saw it go down, even said he saw the guy leave the building. Punk was probably lying. Ben throws his hands up in defeat and leans against the propped open door of the patrol car. SHANE BELLO He wasn’t lying. Both Ben and the patrol officer look at him, confused. SHANE BELLO (CONT’D) I’m pretty sure he did see something. Notice how skittish he got when people started looking over? BEN FULTON Yeah. Think the guy he spotted was in the crowd?
17. SHANE BELLO Unlikely, but I’d bet there was someone in that crowd he didn’t want seeing him openly chatting with three cops. Ben nods his head, slowly starting to get it. BEN FULTON Typical gang neighborhood. SHANE BELLO That’s why I gave him my info. With any luck, he’s a good kid and wants to do the right thing. Just then Shane’s phone buzzes, he looks down at it, not recognizing the number. EXT. STREET CORNER - DAY Evan stands tucked behind a street corner, hand over his mouth, speaking into the phone. EVAN Hey, it’s uh, Evan. We met like two minutes ago. At the crime scene. Yeah. I couldn’t really talk but I saw more than I told you. I’m not sure how much help it... Sure, I can come in. Is there like a back entrance or something? Aight, see you then. Just as he hangs up, two kids both a few years younger than Evan, the youngest no older than 10, call out from down the street. KEVIN Fuck are you doing? You still comin’? You said you’d play ball with us! EVAN Yeah, yeah, I just had to make a call real quick. Keep your pants on. He shoves the prepaid phone into his pocket and runs down the block to join them.
18. KEVIN Who are you callin?! You know don’t get no bitches! Evan slaps the back of his head. EXT. STREET - DAY Shane smugly hangs up the phone. SHANE BELLO Pro-tip; things are rarely ever what they seem to be. Keep that head of yours on a swivel. CUT TO: INT. BASEMENT - NIGHT A man sits in his underwear, watching TV. A fat, putrid man who prefers to keep his belches and farts within close proximity of one another. He balances a frozen meal on his stomach as he watches a late night talk show on TV. The show host’s monologue and canned laughter of the audience blares in the background. A barely audible rumble is heard upstairs. But over his constant chewing and laughing, it doesn’t register. But after a few moments, another rumble. This time, LOUDER. His eyes slowly drift upward. This is not the smartest of men. Then another rumble. This time he definitely heard something. It sounds like something heavy is being dragged across the floor. BASEMENT MAN Hey! Keep it down up there asshole! He rolls his eyes and goes back to watching TV, not caring about the noises upstairs. But it’s heard again, this time VERY LOUD. So much so that it drowns out the sound of his precious TV. Annoyed, he tosses the remote down and lifts his meal off his stomach. The stairs creak under his weight as he climbs and curses his upstairs tenant.
19. Suddenly the door FLIES OPEN, BANGING against the back wall of the stairwell. A BLINDING LIGHT SHINES into the pitch black basement. Like the dark dwelling mole person that he is, he has to cover his eyes. A man is silhouetted against the doorway. BASEMENT MAN (CONT’D) The hell is going on up there? Didn’t I ask you to keep it down? I’m trying to watchAlmost the second after the words leave his mouth he’s KNOCKED backwards down the stairs and goes rolling HARD into the wall. He groans on the floor, now a crumpled mess of flab and sweat. The door SLAMS SHUT, now returning the basement to darkness. He struggles to rise, his head spinning, bleeding from his temple. The man is now in front of him, as he’s again THROWN against the wall. The darkness of the basement makes it hard to see anything aside from the occasional burst of light offered by the flickering TV. The figure approaches. All we can see are shuffling feet, as he stops. The man is up against the wall, his feet dangling in the air slightly. Then a QUICK SLASHING SOUND, followed by an abrupt guttural grunt. A babbling brook of red erupts from his mouth, tricking down his chin. He can only let out grunts of pain from clenched teeth. CUT TO: INT. POLICE DEPARTMENT - DAY A much more rested looking Shane strides into the police station, this time noticeably holding his own cup of coffee. He makes his way past Ben in the break room, holding up his cup and then pouring it’s hot contents into his Batman mug. He receives an annoyed look from his partner, who stands by the coffee maker with his hands on his hips. Shane makes his way to his desk and starts to settle in when he notices a folder. He flips it open and begins to read through.
20. Just then, Ben walks over. BEN FULTON Hey thanks for asking if I wanted anything, partner. Shane doesn’t respond, he’s got his face buried in the folder. BEN FULTON (CONT’D) That the bloodwork from yesterday? He just nods a yes. BEN FULTON (CONT’D) Anything good? Shane drops the folder from his face, looking confused. SHANE BELLO It’s not his blood. Huh? BEN FULTON
SHANE BELLO On the knife, it wasn’t his blood. BEN FULTON Well then whose was it? SHANE BELLO Second victim maybe? I haven’t the slightest, but it gets worse. We got fingerprints on the weapon handle. BEN FULTON Do you think I’m not picking up on your pattern? Give me half answers just so you get to feel like a knowit-all when I’m wrong. Ben sighs, and speaks in an exaggerated voice of wonder with a heavy helping of sarcasm. BEN FULTON (CONT'D) Oh please tell me Shane, super detective; WHY ARE FINGERPRINTS ON THE HANDLE BAD NEWS? Shane, not in the mood to acknowledge his partner’s sarcasm simply answers.
21. SHANE BELLO They belong to the victim. Chester Dugger. He was arrested for trespassing a few years back. BEN FULTON Trespassing? What was he a Jehovah’s Witness? SHANE BELLO Get this, his sister Lisa is the one that called in the trespassing charge. She lives over on the west end. BEN FULTON Guess we could start by asking her a few questions. Shane nods, still looking over the file. Just then one of the lab technicians walks by. Hey! SHANE BELLO
They both jog over to him, folder in hand. Shane thrusts the folder at the man’s chest. BEN FULTON The results on yesterday’s homicide. The blood on the knife wasn’t the victim’s. LAB TECH Yes, I found that out when I wrote the report... SHANE BELLO Well FIND OUT WHOSE IT IS. Call me when it’s done. He pushes the folder onto the guy’s chest. The lab tech walks away, muttering under his breath about how he doesn’t have time for this. BEN FULTON His fingerprints are on the blade and it has blood from another unknown person. So what do you say we go drop by this guy’s house, see if we can rustle up something?
22. SHANE BELLO That’s why we need that blood match. Shaw isn’t gonna give us a warrant to go and search the victim’s house. Not with just this. Ben looks confused. BEN FULTON Thought Shaw said he’ll always have our back? Can’t be too hard to get a warrant backed by the police captain. SHANE BELLO What Shaw says and what Shaw does are two very different things. BEN FULTON It would be easier to get a warrant with Shaw’s approval, but we don’t need him. SHANE BELLO We’re not going over his head. The man holds grudges, Trust me. Shane grabs his keys and they head out. INT. SCHOOL, HALLWAY - DAY Evan walks through the hallway and finds his way to his locker. He unloads his failed tests and grabs a few books. He clicks the lock closed and walks into the bathroom. INT. SCHOOL, BATHROOM - DAY A normal school bathroom, gross, dirty, with a handful of kids smoking near the window. Evan clearly knows them as they nod at each other when he enters. He’s standing at the urinal when one of them starts talking. SMOKER Yo, Evan, gotta talk to you man. Clearly uncomfortable talking while peeing, he looks annoyed. EVAN Can it wait till my dick’s outta my hand?
23. The kid laughs and nods. Evan zips up and makes his way over to the sink. EVAN (CONT’D) So, what’s up? SMOKER Yo you got some? EVAN I’m out that game smoke, I told Jay too. SMOKER Yeah for two weeks, you may not be in the game Ev, but you still gotta know the rules. EVAN You gonna tell me something or just speak in riddles this whole time? SMOKER Look man, seeing you hanging around with that cop makes ‘em all nervous. EVAN Hanging around with the cops? What the fuck’ are you talking about?! SMOKER Yesterday, you think nobody noticed that? The whole block was out there. EVAN Oh you mean the 45 second conversation I had with the three cops who thought I saw something? The hell else was I supposed to do? SMOKER I’m not here to argue with ya, man, just a messenger. But I seen a lotta niggas get burned by less than 45 seconds with ‘da boyz.’ You should speak to Jay. He flicks the cigarette out of the window and makes his way toward the exit. Pausing to pat Evan on the shoulder before he leaves Evan’s left standing at the sink starring at the mirror.
24. Worried. EXT. HOUSE - DAY Shane and Ben stand on the front porch of a brick townhouse and knock on the door. A few beats of silence. They exchange defeated looks and turn to walk away when the door pops open. A tired looking woman opens the door. LISA DUGGER Hi... can I help you? SHANE BELLO Yes, are you Lisa Dugger? Upon seeing their uniforms and badges, she sighs, suddenly burdened. LISA DUGGER What did Chester do now? Just then Ben’s phone rings, he looks down, face turning somewhat alarmed, and walks a few paces away with the phone at his ear. BEN FULTON Yeah, dispatch? Ok, we’ll come right after this... Jesus. Okay, we’re on our way. He returns to the doorstep and taps Shane, not caring that he’s mid conversation with the victim’s next of kin, who doesn’t seem to be all that upset. BEN FULTON (CONT’D) That was dispatch, we gotta go. SHANE BELLO It can’t wait a second? Ben pulls Shane by the shoulder and whispers in his ear. Shane’s eyes widen at the information. He apologizes to the woman and they leave. INT. BASEMENT - DAY The dark basement we saw just hours ago is now a crime scene. Police tape and officers everywhere.
25. Ben and Shane make their way to the doorway above the basement stairs, already knowing what’s down there. They’re not five steps down before they see it. Even though it’s not the first body they’ve seen like this, they still pause. SHANE BELLO I’ll say one thing about this guy, he’s consistent. Slowly making their way down the stairs, they don gloves and inspect the body. The both pry around for a bit before reconvening before the body. SHANE BELLO (CONT’D) Notice anything different? Ben looks down at the pile of guts in front of him. BEN FULTON Aside from eating habits, no. You? It does look exactly the same, except for it being the fat man we saw earlier who is splayed up on the wall. Just like last time, the upper torso is sliced open, top to bottom, and his insides lay on the floor. Neck again, limp, and when lifted, his face is also severely burned. They stand, looking confused and frustrated, staring up at the body. SHANE BELLO I think we’re going to be seeing a lot more of these... Just then Shane’s phone rings. He looks down, looking at who it is and picks up expectantly. SHANE BELLO (CONT’D) Please tell me you’ve got good news. CUT TO:
26. INT. POLICE DEPARTMENT, LAB - DAY LAB TECH I found whose blood was on that knife. CUT TO: INT. BASEMENT - DAY SHANE BELLO Did you run it through the system? CUT TO: INT. POLICE DEPARTMENT, LAB - DAY LAB TECH No, I just stared at it for a long time. Of course I did. There wasn’t much on there, and it was dried, but I’ve found whose it was. Kate Downs. CUT TO: INT. BASEMENT - DAY SHANE BELLO Not ringing any bells. CUT TO: INT. POLICE DEPARTMENT, LAB - DAY LAB TECH Of course it isn’t. A drug addict, no stranger to our holding cells here. But there’s a missing person’s report filed about a year ago on her. A beat of silence on the other end. LAB TECH (CONT’D) Now I’m not a detective here, but I’m assuming that’s not good. CUT TO:
27. INT. BASEMENT - DAY SHANE BELLO Of course it isn’t. Thanks. He hangs the phone up. Turning to Ben, he delivers the news. SHANE BELLO (CONT’D) Looks like we’re headed over to the victim’s apartment after all. Ben looks surprised. BEN FULTON And why is that? SHANE BELLO Results came back from the blood on the knife. It belongs to a girl who went missing sometime last year. BEN FULTON What about the warrant? SHANE BELLO We’ll have one by the time we’re out of the driveway. Shaw can’t sit on his hands with this. EXT. APARTMENT - DAY Ben and Shane stand outside the apartment, warrant in hand. Shane nods towards Ben to go ahead. Ben hesitates for a moment. SHANE BELLO The nod was for you to go in. BEN FULTON What do you want me to do, knock? It’s not like he’ll answer. Looking annoyed, Shane holsters his weapon and takes a few paces back. He then LURCHES forward with a foot and KICKS the door wide open. It SLAMS against the rear wall. Shane makes a grand sweeping gesture with his hand. And then briefly flexes.
28. SHANE BELLO “Like a regular Yule Brenner?” INT. APARTMENT - DAY The tiny, cluttered apartment is darkened by the drawn shades. Even though it’s still day, the covered windows make it extremely hard to see. Shane moves over to the windows and yanks the blinds upward, sending in shafts of light to illuminate the room. It looked better in the dark. Dirty dishes in the sink, an empty pizza box on the table, magazines on the couch; it’s shockingly normal. They begin to look around the place. Opening drawers, peeking in closets, but not finding much. So they move into the bedroom. INT. APARTMENT, BEDROOM - DAY Adorned with a bed, desk, and a couple dressers, not much pops out. Ben notices a small footlocker in front of the bed and kicks it open. BEN FULTON Uhhh, I think I found something. Shane’s across the room, half in the closet when he peeks his head out. SHANE BELLO Whatcha got? Ben responds by bending down and reaching his hands in. He comes back up with an armful of women’s clothes. They’re spilled out onto the bed. BEN FULTON Either this guy’s got some gender identity issues orSHANE BELLO Those are the clothes of a 20something year old missing girl. BEN FULTON Maybe he’s got a young girlfriend?
29. SHANE BELLO So you’re suggesting that the person that lived in THIS place had a girlfriend... They look around the place, Ben’s question answered by the disgusting condition of the room. They both look at each other. This is something. SHANE BELLO (CONT’D) We better look harder. Shane ducks his head back into the closet, now checking much more rigorously. He shoves clothes to the side, tosses shoes around, and flips open random boxes, finding nothing. Ben is at the desk, looking through random computer accessories, cigarettes, but nothing special. Just then Shane moves over to the bed. He stops for a moment, looking at it. He lifts up the corner and shoves the mattress aside. Since it’s a platform bed, there’s no box spring, just the lining against the rest of the frame. He reaches into his back pocket, pulling out a knife. He runs the blade against the outline of where the mattress usually rests. Peeling back the strip, he steps back quickly after seeing what’s underneath. SHANE BELLO (CONT’D) Give me a hand with this. Ben looks up from the desk, confused as to what Shane’s doing. Together they shove the rest of the mattress off the frame and onto the floor. Shane then cuts away the rest of the right side, creating an even bigger flap. He throws it back and we finally see what’s underneath. It’s a set of bones. BEN FULTON What the hell did I do to deserve this for a first assignment? They snap on rubber gloves and begin to inspect. Shane picks up one bone, turning it over and getting a good look at it.
30. SHANE BELLO This look like a forearm to you? Small, probably female. BEN FULTON So this is probably our missing gal. Question is, what is she doing under the bed? SHANE BELLO Aside from being dead? But Ben’s already on the phone, calling in a forensic unit. SHANE BELLO (CONT’D) So we’ve got a killer who was killed while trying to make a kill. BEN FULTON Say that five times fast. Some type of revenge murder? Friend of mattress girl over here? What do you make of it? SHANE BELL I’m thinking we should probably take a better look at the latest victim. A beat. BEN FULTON How’d you know to look under there anyways? SHANE BELLO Back in my day the stuff I loved the most went under my mattress, now with porn on the internet it stands to reason that dead bodies get upgraded from the back yard to the boxspring. Shane smiles wryly. Ben shakes his head. EXT. STREET - NIGHT Evan walks down the dimly lit street, an odd time for someone to be just now returning from school, but with a bag slung over his shoulder, it’s clear that’s where he’s coming from.
31. He rounds the corner, and passes a small convenience store, and no sooner does he move past the door then two younger boys tumble out. Recognizing them instantly. He steps to the side as they barrel out of the door. They trip over each other as they take off down the street. The store owner pops his head out, looking annoyed and curses down the street in a vain attempt to get back at the miscreants. EVAN What did they do this time? The man says nothing, just holds the door open wide for Evan to see there’s cereal everywhere, complete with blown apart boxes. STORE OWNER Bastards put poppers in boxes of cereal they bought, telling me they found a dead rat inside. For a moment, Evan looks serious, then a laugh escapes from his mouth. EVAN Awww come on, it is kinda funny. STORE OWNER Not when I’ve gotta clean this shit up. Before fully closing the door, the store owner pauses, having thought for a moment. STORE OWNER (CONT’D) Okay maybe it is a little funny. But tell them that next time I’m coming for their asses. Evan stands back, a little weirded out by what he just said. EVAN Eww, why would you want two little boys asses?? That’s some creepy shit. STORE OWNER WHAT?! Get the fuck outta my store. Evan throws his hands up, in a mocking gesture to wash his hands of the whole situation and continues down the street.
32. After a couple paces, we notice a car slowing down next to him. He does too. And he’s not happy about it. It’s Shane, in a patrol car. He slows the car down in pace with Evan following him along the sidewalk and rolls the window down. SHANE BELLO Thought you were supposed to come by today? EVAN Yeah, well, I didn’t. Clearly. SHANE BELLO
Evan’s extremely uncomfortable. Out in the open, sticking out like a sore thumb talking to a cop. He puts his head down and starts to speed up his stride. EVAN This isn’t a good look, man. SHANE BELLO Look, if you know something, I’d like you to tell me. You could really help us out. EVAN I got bigger problems to worry about than some scumbag getting off’ed. SHANE BELLO What if I said you could potentially help catch a serial killer? This gets his attention. He stops in his tracks. EVAN You mean, the guy I saw...? Again? SHANE BELLO You saw him?! I shouldn’t be telling you this, but I am. This is called trust. I give a little, you give a little. Evan looks pretty damn interested now, being privy to super secret information such as this.
33. EVAN Yeah man, tomorrow. We’ll talk. For real. 10 am. SHANE BELLO 10 am? Don’t you have school? Evan shoots him a “motherfucker, please” look. Shane exhales deeply to avoid lecturing him, and silently drives off. Soon Evan comes upon a building, with a sign reading, “CENTER FOR ORPHANED BOYS.” He looks around, making sure nobody saw his little conversation with Shane and slips inside. INT. CENTER FOR ORPHANED BOYS - DAY Not a pristine building, but the place is clearly kept in order. Making his way past the small entryway and up the spiral stairs, he enters one of the bedrooms, which holds 2 small desks and two beds, one of which is a bunk. His bag slides carelessly off to the floor as he falls backward onto the bed. He stares at the picture next to his bunk of a young beautiful woman and a little boy, they’re both smiling, though the boy has furrowed brows. Somberly, Evan closes his eyes. After a few moments of silence, a light thump is heard. He opens his eyes and sees A GIANT FUCKING SPIDER ON HIS CHEST. He FLINGS it across the room and BOUNCES off the bed, obsessively smacking random parts of his body. Two kids watch from the doorway and start hysterically laughing. They are JB (10) and KEVIN (10), the two young kids we saw running out of the corner store. They live to fuck with people. Quickly realizing that he’d been had, he relaxes. EVAN I fucking hate ya’ll. The laugh as they scramble up to their beds. Evan falls back onto his bed.
34. KEVIN Jay was asking about you. EVAN Yeah, I heard. So?... JB
EVAN I said I heard. KEVIN Ooooh, gangsta. Did you actually talk to him? He didn’t look like he was playin’ around Ev. JB He ‘bout that life. This makes Evan sit up. EVAN Wait, what are you talking about? Some guy stopped me in the bathroom the other day and told me Jay didn’t like me talking to those cops yesterday. KEVIN Nah, man, this was today. Like an hour ago. He helped us put those poppers in the cereal box. The start to laugh at the memory. KEVIN (CONT’D) (impersonating the store owner) You fucking pricks, you fucking pricks! They roll on the beds, howling at the poor old man’s misfortune. Just then, an middle aged woman pops her head in the door. ORPHANAGE WORKER Evan honey, there’s a young man at here for you. His name is Jason, do you know him?
35. JB and Kevin stop laughing instantly at the mention of the name and exchange “oh shit” glances. They’re a little nervous. So is Evan. EVAN Tell him I left, Ms. Johnson. Seeing Evan’s fear she knows to do as he says. INT. POLICE DEPARTMENT - DAY Shane stands over Ben’s desk, arm folded, staring at the computer screen. Ben looks up at him, waiting for a reply to a question. SHANE BELLO Is that what I think it is? He points at the screen. On it is a profile of the man in the basement, his fat face instantly recognizable to us, along with a long list of charges, all of them sex offenses. BEN FULTON Yeah. This guy was a real piece of shit. Then there’s all the stuff the boys pulled out of his place. He pats a stack of four or five boxes next to his desk, all labeled ‘EVIDENCE’. One Polaroid of a young boy in his underwear can be seen in a box. Shane goes to look through them, but Ben stops him. BEN FULTON (CONT’D) Trust me, you don’t wanna look through that. SHANE BELLO Son, I’ve been at this for a while. I think I can handle it. He flips the top off the top box, revealing a mass of tightly packed ziplock bags filled with Polaroid photographs. Shane pops one of the bags open, taking out a stack of photographs. He’s pretty obviously disgusted by what he sees. He angrily shoves them back into the bag and tosses it in the box. Turning away, Shane stares out the window, hands on his hips, looking pretty disturbed.
36. BEN FULTON Are you thinking what I’m thinking? SHANE BELLO Yeah. We better go talk to the Captain. EXT. STREET - DAY Evan cruises down the street on his bike, whizzing past pedestrians and weaving through traffic. He occasionally looks over his shoulder as if to check if someone’s following him. He soon approaches the police station, but instead of pulling right up to it, he circles around back, quickly disappearing from sight. INT. POLICE DEPARTMENT, CAPTAIN’S OFFICE - DAY Shane and Ben enter Shaw’s office, the former with an armful of folders and the latter with three boxes gathered up in his arms. They plop down in chairs before the desk. After a few awkward moments of silence, the door opens behind them and Shaw walks in, crossing the room to his desk. CAPTAIN SHAW Boys, what have you got forHe stops upon seeing all that they brought in with them. CAPTAIN SHAW (CONT’D) What’s with all the cardboard? SHANE BELLO Files. On those two gutted victims. He stacks his considerable number of folders on Shaw’s desk. SHANE BELLO (CONT’D) Chester Dugger. Found dead in the girl’s apartment. He was armed with a knife that contained the blood of a missing girl. Same missing girl whose bones we found under his bed. Shane looks over at Ben, giving him a silent cue. Ben nudges his stack of boxes closer to Shaw’s desk.
37. SHANE BELLO (CONT’D) Jim Kemp. Found dead in his own basement. He had a large collection child pornography and has a rap sheet containing multiple sexual offenses. Shaw looks at the boxes, back to them, then back to the boxes. CAPTAIN SHAW Looks like you’ve been doing your homework. SHANE BELLO When two guys turn up dead within 48 hours of each other splayed up on the wall, it tends to peak my interest. A beat. Sir. SHANE BELLO (CONT’D)
CAPTAIN SHAW Well it’s fine work. Impressive work. He points over to Ben. CAPTAIN SHAW (CONT’D) What do you make of this, rookie? BEN FULTON I think it’s pretty obvious what’s going on here. There’s a fucking vigilante running around out there. SHANE BELLO Not the most elegant presentation of facts, but I agree. The bodies, the way they’re presented, it’s almost like he’s showing us his work. They were made an example of. CAPTAIN SHAW Oh, now it’s a he? SHANE BELLO Well PROBABLY a he, statistically speaking.
38. Shaw starts laughing. CAPTAIN SHAW Listen let’s slow down on some of the speculation! His fat gut shakes as he chuckles, he really gets a rise out of himself. SHANE BELLO Why do I get the vibe that you’re not taking this very seriously? CAPTAIN SHAW I am taking this seriously, but what YOU’RE neglecting to take into consideration is the floodlight this will shine on the department. I can’t get on TV tomorrow and tell the city that we’ve got a vigilante serial killer out there. We got 2 stiffs, serial murder is 3 or more. SHANE BELLO Captain, we literally have STACKS of evidence here. What more do you need? CAPTAIN SHAW How about something that actually matters? He drops a file, with a homicide stamp on it. CAPTAIN SHAW (CONT’D) 10 year old boy caught in crossfire on his way home from school. A child! And we have ZERO leads and nobody in the neighborhood is talking. You really expect me to extend my time, and more importantly the ever dwindling resources of this department, not to mention the PR nightmare it will create... ALL FOR THIS, to catch someone whose victims only connection are that they’re shitty human beings? SHANE BELLO That’s exactly what we’re coming to you with. Shaw shoots him a skeptical look.
39. BEN FULTON Pardon my frankness sir, but didn’t you tell me that you’d have our backs if we came to you with evidence? It don’t get much clearer than this. CAPTAIN SHAW I did indeed say that. And if you have something, worthy of my time and attention, I will definitely back you on it. I’ll tell you what, if you find another one like this, with no criminal background, come see me. I’m not about the spark a manhunt on the whimsy of you two. Shane grows indignant. SHANE BELLO Are you REALLY gonna sit here and tell us to drop it? He gutted two men and left them up on the goddamn wall! CAPTAIN SHAW Keep your pants on, I’m not telling you to drop the case. By all means, spend all day looking for this guy. But don’t expect me, or anyone else in this department to do the same. BEN FULTON If you ask me, I’d say someone who sears the faces and empties the insides of another man is a badBefore Shane can finish his sentence there’s a knock at the door. Shaw beckons the knocker inside. SHAW’S ASSISTANT Detective Bello, there’s someone here to see you. Shane looks confused. She props the door open a bit so he can see Evan sitting on a chair near his desk, waiting patiently. SHANE BELLO Captain Shaw, if that will be all...
40. He begins to gather his folders and gets up to leave. Ben does the same. CAPTAIN SHAW Hey, Ben, you stick around. I’d like a word. This gives Shane pause. But only for a moment. He nods and them both and leaves. INT. POLICE DEPARTMENT - DAY Evan sits adjacent to Shane’s desk, twiddling his thumbs and looking around nervously. He relaxes a bit and smiles when Shane approaches, but still takes an occasional look around the room during their conversation. Shane shakes Evan’s hand as he sits down. SHANE BELLO Glad you decided to come, Evan. You’re doing the right thing. EVAN You might want to wait until you see if what I’ve got is helpful or not before you thank me. SHANE BELLO Nonsense. Coming here means a lot more than you think. We really appreciate it. EVAN I figured I could, so I should. Shane grabs a pen and pops one of the folders open to a blank page. SHANE BELLO Alright so you wanna start by just walking me through what happened that night? EVAN Wait? We’re doing it here? Thought you had special rooms for this kinda shit.
41. SHANE BELLO You mean interrogation rooms? We usually keep those for people who are suspected of committing a crime. Is there something you want to tell me? Shane suddenly gets serious. EVAN No, no, no, I was justHis face erupts into a smile as he laughs. SHANE BELLO Relax, buddy, I was just messing with you. Lightening the mood and all that. EVAN (rolling his eyes) Oh. I get it. Cop humor. Good stuff. SHANE BELLO Ok, so go ahead with that night. EVAN Sure. I was taking a lap around the block, and I heard yelling. Which, at 1 am, around there, isn’t really the most uncommon thing. Jon and Mel are always at each other’s throats. So the first few didn’t really set off any bells in my head. Then they turned into screams. That high-pitched, squeal when someone’s being cut. I’d recognize that anywhere. The rest of his story plays out in a flashback, as if we’re watching the events unfold from the first time. CUT TO: EXT. STREET - NIGHT Evan’s walking down the street, hands in pockets, looking around casually. That’s when he hears the scream.
42. The same scream we heard earlier. Sharp, shrill, and immediately catching Evan’s attention. He darts across the street to get a better look at the apartment. He deftly climbs the escape ladder to take a closer look We can’t see much, as the apartment is pitch black. But soon a light shines from the window, low at first, but starts glowing brighter. Soon it illuminates the whole room, Evan staying at the ladder has a limited view But he can see a hand, held tightly against the wall by a metal stake.. It’s quiet. He grows up the nerve to move right to the window, looking directly in. Though it’s dark, the moonlight cascading inside gives him enough of a glimpse. We know exactly what’s in there. Evan recoils, puts his hand over his mouth, completely disgusted by what he sees. He moves to slide down the escape ladder But pauses at the sound of a door opening. Evan drops and jumps into a pile of trash against the side of the building. Between the bags he sees a man stroll out, tall and covered in rags. The rags are dirty and drape all over his body, the hood combines with the darkness and makes it impossible to see his face. Evan tries to keep quiet, but his shallow breath and nerves almost give him away. Just as the man walks past him, Evan relaxes. But the man STOPS, just a few paces away from Evan. He doesn’t turn his head, but his lips can be seen moving through his scraggly beard and dirty face in the light of the street lamp. He could be anyone. Whatever it was that he said can’t be heard. CUT TO: INT. POLICE DEPARTMENT - DAY EVAN And then he just fuckin’ walked away. Was a solid five minutes before I could even move. (MORE)
43. EVAN (CONT'D) I probably would have stayed there all night if it weren’t for the girl screaming and the sirens approaching. Shane’s jotting down notes in his notepad. SHANE BELLO And you’re sure he was referring to you? EVAN Couldn’t see his eyes, but I knew he was talking to me. I have no clue what he said though. SHANE BELLO Alright, well for your own safety I’d like to put an officer watching youEVAN Hell no. Man, I couldn’t even be seen talking to you, much less have a cop trailing me all day. You know the type of heat that’ll bring down on my head? I almost just got jumped. I promised I’d keep you out of the hood. SHANE BELLO What he said could have been a threat. He could have seen your face. I’d like to make sure nothing happens to you. Evan shrugs it off. EVAN He didn’t see me THAT well. I was tucked down deep enough in that trash. Not like he saw my face or anything. I’m not worried. SHANE BELLO But I am. You’re the only person who’s seen the guy, even it was dark and he had a hood on. I don’t want to risk anything. EVAN No dice, man. No way I’m having a cop tail me.
44. SHANE BELLO Well will you at least let me check up on you every so often? EVAN What, you gonna make chit chat with me in full view from your patrol car? You might as well put a hot one in my brain right now. He gestures a pistol to the side of his head. Shane pauses to think for a moment. SHANE BELLO You like boxing? This catches Evan off guard. EVAN Like watching it? I guess. SHANE BELLO No I mean like doing it. For exercise. It’s a good release. EVAN Never tried it, those gyms aren’t really for kids like me. SHANE BELLO How about this, you come by the gym on tenth street every Wednesday night. I’ll show you some stuff, free of charge. That way if you ever do get jumped, you won’t get jumped again. Whaddya say? Evan seems pleased. EVAN You had me at free. They shake hands and Evan gets up to go. He notices a picture of a blonde woman on Bello’s desk. It’s of Shane and his wife. They look quite happy. Evan picks up the picture. EVAN (CONT’D) She looks nice, reminds me of a someone I used to know. Evan has a solemn look.
45. SHANE BELLO Thanks, she’s my wife. I think so too. INT. APARTMENT, BEDROOM - NIGHT Shane stands, shirtless, in a well kept bathroom. One sink littered with feminine products, it’s quite clear this is a woman’s bathroom. He bends down to soak his face in the steaming water. He looks his face over, rubbing the harsh stubble. Then he calls to someone offscreen. SHANE BELLO No shaving cream? A woman’s voice answers. SARAH (offscreen) Not the kind you’d use on your face. Why not? SHANE BELLO
The woman walks into the bathroom. Completely naked and most definitely NOT the woman we saw in the photo at his desk. Brunette, late twenties, Sarah walks over to the sink and wraps her arms around him, rubbing his face. SARAH Because I’m not letting you use my $40 leg cream for that face, even if it does feel like sandpaper. SHANE BELLO You like the stubble anyway. The chime of his cellphone cuts off his sentence. He doesn’t move for the first few rings. SARAH You better get that, it could be her. His face contorts in displeasure as he pulls away from her embrace.
46. SHANE BELLO Why would you even say that? SARAH What? I’m just saying. It could be. He pulls himself away from her, slightly annoyed and moves over towards his jacket. Feeling around in the pocket, he finds his phone. SHANE BELLO What is it Fulton? Shane gives an exasperated sigh. CUT TO: INT. HOUSE - NIGHT Another body splayed on the wall. Ben stands before it, noticeably calm and collected. A stark difference from how disgusted he was before. Shane enters and stands in tow next to him. SHANE BELLO What have we got this time? Ben answers with a nod into the next room. Peering around the corner, Shane gets all the explanation he needs. Row after row of tables are littered about the room, all filled with tightly packed white bags. CUT TO: INT. NEWSROOM - DAY Two reporters sit at a desk, neatly dressed with little stacks of papers in front of them. They fiddle with the mics on their lapels as a man behind the camera begins to count down from 5. Almost simultaneously they toss on their TV smiles as the opening music kicks in. OLLIE HYDE Hello, and welcome to World News Tonight. I’m Ollie Hyde and with me is Artie Landis.
47. ARTIE LANDIS Tonight’s top story won’t come as a surprise to anyone. It’s all that’s been dominating the news lately, and TONIGHT, we’re talking about rumored SERIAL murderer who has been terrifying the city, or as some have simply dubbed him; The Slayer. OLLIE HYDE First up, we have the city’s Police Captain, Robert Shaw. The camera widens to show Shaw, sitting just off the right. He turns toward the two news anchors, with a plastic smile. He’s all done up, medals pinned to his chest; ready for the camera. OLLIE HYDE (CONT’D) Captain, thank you for coming on tonight. CAPTAIN SHAW Thank you for having me. ARTIE LANDIS Next up is author and criminal psychologist, Anne Barker. Anne, let’s start with you. What’s your take on these killings? ANNE BARKER My take, and the only correct one, is that this man is a vigilante. This takes pretty much everyone on the panel by surprise. Even Shaw. ARTIE LANDIS Now that’s a pretty bold statement, what makes you say that? ANNE BARKER The fact that the three men he killed so far have been serious offenders that somehow were still out on the streets. Shaw cuts in, trying poorly to bluff. CAPTAIN SHAW Excuse me, but I have to cut in here. That’s just simply wrong. (MORE)
48. CAPTAIN SHAW (CONT'D) We haven’t released ANY information about any of the victims, except for the fact that we BELIEVE they were all killed by the same man. Anything other than that is simply speculation. Anne tries to cut in again, but Captain Shaw cuts her off. They go back and forth pointlessly for a few minutes. One of the reporters cuts in. OLLIE HYDE Captain Shaw, perhaps we should let Ms. Barker continue for a moment, she made some pretty wild allegations. CAPTAIN SHAW Fine, as long as we treat them as exactly that, allegations. Anne doesn’t acknowledge Shaw’s comment, instead she looks down at a piece of paper and starts reading off names. ANNE BARKER Chester Duggar, Jim Kemp, Jason Preston. A killer, a pedophile, and a drug dealer. How’s the saying go? Once is an accident, twice is a trend, three times is a problem. Or according to Mr. Shaw, once is an allegation, twice is an allegation, and three times is an allegation. The room is dead silent. ARTIE LANDIS I’m quite honestly lost for words here, so I guess we’ll turn it over to you Captain Shaw. Is what she’s saying true? Shaw doesn’t respond for a moment. He’s lost in his thoughts. He’s trying to spin this. Anne just blew up the department’s only secret on live TV. CAPTAIN SHAW I’d respond by saying details of an investigation, and I have my questions as to exactly how Ms. Barker obtained these details, are best left out of the public eye until we deem it necessary. (MORE)
49. CAPTAIN SHAW (CONT'D) I don’t think I have to explain why having every bit of an investigation out there for everyone to see is a good thing. Anne is on him in a second. ANNE BARKER Well yes, you wouldn’t want any of your homicide department’s ineptitudes out there for everyone to see. Again. Shaw tries to act like he doesn’t know what she’s talking about. CAPTAIN SHAW I’m not sure what you’re implying. ANNE BARKER I’m implying that you want to keep people in the dark is because the last major murder investigation was so poorly mishandled by your department that you lost a large majority of the evidence. Is it REALLY that hard to lock down a crime scene? The next few scenes play out as a montage, news footage, talk shows, press conferences, all playing out more of The Slayer’s killings. Immediately after every body we see Ben and Shane come across, is the press picking up on that victim’s heinous crimes. Rapists, thieves, killers. The cat’s out of the bag. CUT TO: INT. POLICE DEPARTMENT - DAY Shane stands in a conference room, with a table set up and littered with photos of The Slayer’s killings. This is The Slayer HQ. He’s hunched over the table, when Ben strolls in, bagel in mouth. Shane looks up, annoyed. SHANE BELLO Nice of you to show up.
50. BEN FULTON (looking confused) What’re you talking about? Shaw had me out on a call, domestic disturbance. At 10 am. Some people... SHANE BELLO Why in the hell does he keep pulling you away for these calls? You’re a detective now, we have patrol officers for shit like that. I need you here. There’s a new case every other day on this. BEN FULTON Beats me, but I’m not the type to question the captain’s orders. And come on, really? SHANE BELLO What do you mean, “really?” BEN FULTON Don’t you think you’re taking this a little too serious? SHANE BELLO You mean my job? No. Tracking down killers is what I do. It’s what WE do. BEN FULTON I’m with you there, but this is one particular killer that I don’t think anyone is super eager to see brought to justice. SHANE BELLO This guy IS an actual killer. He holds up the photos of the mutilated bodies as evidence. SHANE BELLO (CONT’D) The litany of dead bodies not register with you yet? BEN FULTON Oh please, you mean to tell me if there was another killer out there, that wasn’t some type of vigilante, you wouldn’t give that case preference?
51. SHANE BELLO My duty is the case I’m assigned to. Which is this case. And this isn’t a vigilante, he’s a serial killer, plain and simple. BEN FULTON The principle is the same. This guy’s just a really harsh Batman, the way I see it. Shane doesn’t like that, not one bit. SHANE BELLO Except that Batman doesn’t rip criminals’ insides out and leave them on display. In fact he doesn’t kill at all. He leaves things to the law. US!! Shane points hard at the badge hanging on the chain around Ben’s neck Ben throws his hands up in defense. BEN FULTON Sorry, Shane. I just... trying to do the right thing here. I’m being pulled in one direction by Shaw and the other by you. SHANE BELLO You’re a big boy, I think by now you know which direction is the right one. INT. COURTHOUSE, COURTROOM - DAY A judge sits in a packed courtroom, with the defense and prosecution waiting at two tables before him. Everyone just seems to be waiting for something. Just then, a side door opens and a line of jury file in, finding their seats. JUDGE Has the jury reached a decision? A man in his 40’s with thinning hair and glasses approaches the microphone. JURY SPEAKER Yes, we have your honor.
52. JUDGE And how does the jury find the defendant? JURY SPEAKER On the count of securities fraud, not guilty. On the count of bribery, not guilty. On the count of embezzlement, not guilty. The courtroom gasps and erupts in anger. He stands, looking out of place in the orange prison jumpsuit, trying his best to hide is relief and happiness. CUT TO: EXT. COURTHOUSE - DAY Now having changed into a much more fitting suit and tie, the man descends the stairs of the courthouse, as police fend off the invading media. He hops into a car with his lawyer. INT. CAR - DAY Now inside and off the prying eyes of those around him, he sighs heavily and leans back in his seat. The weight of his impending guilt off his chest. BRADLEY FREEMAN Goddamn, man, that was a close one. LAWYER It really wasn’t actually. BRADLEY FREEMAN In my fuckin’ mind it was. How’d you swing that one anyways? LAWYER Do you really want to know these things Mr. Freeman? He shrugs. BRADLEY FREEMAN Sure why not? I think I can handle it. Unless you don’t want to divulge any of your dirty secrets. LAWYER I know a guy.
53. BRADLEY FREEMAN Really? That’s your big secret? You know a guy? LAWYER I know things about a guy. The man who spoke for the jury walks down the stairs, within viewing distance of the car. LAWYER (CONT’D) More specifically, I know things about THAT guy. Bradley smiles and laughs. INT. BRADLEY’S APARTMENT - NIGHT Bradley’s apartment is decked out, ultra modern, filled with high tech nonsense; exactly what you think a rich yuppie’s apartment would look like. All style, none of it his. His phone sits on the table and starts ringing. The toilet flushes and Bradley exits the bathroom, realizing his phone is mid-ring. He curses and rushes over to it, getting there just as the missed called notification appears. BRADLEY FREEMAN Ah, fuck it. Moving over to a cabinet, he grabs a small glass and pours himself a drink. He then moves over to his phone to return the call. Bradley sits down, phone to ear in one hand and glass of scotch in another. CUT TO: INT. LAWYER’S APARTMENT - NIGHT A phone rings on a couch, with Bradley’s name popping up. CUT TO: INT. BRADLEY’S APARTMENT - NIGHT Annoyed at the lack of response, he mutters over the ringing.
54. BRADLEY FREEMAN Really dude, call me and then not even pick up... It rolls over to voicemail. CUT TO: INT. LAWYER’S APARTMENT - NIGHT We can hear Bradley’s voice leaving a message. BRADLEY FREEMAN (voiceover) Hey, so, uh, just saw your missed call, I was in the shitter. Slowly the rest of the apartment comes into view. There’s a couch, cushions are a mess. Then a table, but it’s knocked over and the books on top of it spilled out on the floor. The glass table is shattered, with some blood trickled around. BRADLEY FREEMAN (CONT’D) (voiceover) So go ahead and gimme a call back when you get this, I’ve got a lady coming over soon though so don’t take too long as I’ll be... otherwise occupied. Used that place you told me about, having my own personal victory party! You should swing by, she’s sure to bring a friend. Wait, are you gay? Never got to ask. No judgement, I’m a civil liberties guy. The blood forms a trail, increasing as we move along it. Suddenly we come upon a heap of human entrails, and even though we slowly start to see the rest of the body, we know what happened here. It’s the lawyer, and The Slayer got to him. INT. BRADLEY’S APARTMENT - NIGHT He hangs the phone up and sips from the glass. Then the doorbell rings.
55. BRADLEY FREEMAN Well that was fast. Pulling the door open, he isn’t greeted by the alluring callgirl he’s expecting. It’s a man. A dirty man, in a ragged garments. The hood over his head obscures his identity. But we all know who it is. BRADLEY FREEMAN (CONT’D) Uhhh, can I help you? THE SLAYER Do you really mean that? Excuse me? BRADLEY FREEMAN
THE SLAYER Helping people. That’s not what you’re about. BRADLEY FREEMAN Already with this shit? Look pal, I was found NOT GUILTY. That means I didn’t do anything wrong. No. THE SLAYER
He takes an intimidating step forward. THE SLAYER (CONT’D) It means you think you got away with it. INT. POLICE DEPARTMENT, CONFERENCE ROOM - DAY The conference room acting as The Slayer HQ is filled with cops. Some detectives, some patrol officers, some forensic experts. There’s noticeably more case files and photographs laying about too. The case is growing. But two sets of files seem to be getting more attention than others. They contain all the details from the crime scenes of Bradley Freeman and his lawyer.
56. Standing in front of the room is Shane, hands on his hips, looking more concerned than usual. Ben stands off the right, clearly his right hand man. SHANE BELLO Alright folks, as you may or may not have heard already, we found two more victims of The Slayer last night found dead in their respective homes. I’m sure you all have been following the case, and are probably wondering why you were all called in on two more notches under this guy’s belt. My partner Ben here will answer that question for you. Detective Fulton? Ben emerges from the wings and steps up front. The surge of attention and responsibility gives him new life. BEN FULTON Thanks, Shane. First we’ve got a defense lawyer, a pretty successful one too with a number of high profile clients. One of which is his fellow victim Bradley Freeman. He took a lot of money from a lot of people, but got off, thanks to a certain defense lawyer that was found with his insides on the floor. The problem we have is other than style of death, there’s nothing here to indicate that this is The Slayer. Basically, we can’t find anything on these guys. That’s why y’all are here, we need more eyes and hands on this. ANYTHING you can find on either of these guys would be helpful. Previously the evidence was pretty obvious with the other cases, but not with these guys. Just because we haven’t found it, doesn’t mean it ain’t there. We need to find it. Any questions? A detective off to the side speaks up. DETECTIVE 1 Yeah, how sure are you that there’s something on these guys?
57. BEN FULTON Pretty damn sure. Forensics confirmed that the kills were the same. Can one of you guys elaborate? He gestures to the dispersed lab geeks around the room and one of them chimes in. It’s the same one that gave them the report on the very first case, so he’s familiar with the details. LAB TECH Sure. The two bodies we found last night were in the EXACT same condition as the other bodies, down to the length of the vertical cut on the chest. The method of killing by itself is extremely hard to pull off. We’re still baffled how one man could do this. Just then a patrol officer pops her head in and nods to Shane. He scurries outside for a moment to talk to her. DETECTIVE 1 Are we entertaining the idea that this could be more than one guy? Or even a copycat? BEN FULTON Right now we’re operating under the assumption that it’s one man. The kills last night were the closest together so far, but not close enough were it would be impossible for one man to have done both. As far as a copycat goes, nobody knows about the details. Every single thing about these is the same, down to the exact length of the slash on the torso. That information just isn’t out there for a copycat to emulate. What we’re focusing on now is finding out how these two fit into his M.O. Past offenses, there must be some, and we’ve gotta find them before we can officially treat them as Slayer victims. Shane appears again inside and signals to Ben to come out.
58. BEN FULTON (CONT’D) Alright, looks like that does it. Anybody else with any questions, contact me or Detective Bello. Thanks for your help. He makes his way outside and meets up with Shane. What’s up? BEN FULTON (CONT’D)
SHANE BELLO We got another one. BEN FULTON Jesus, already? These two aren’t even 6 hours old. He’s never hit this quickly before. SHANE BELLO No kidding. Let’s roll, kiddo. INT. HOUSE, LIVING ROOM - DAY A mother and father are sat on a couch, noses runny and eyes filled with tears. Across from them sit Shane and Ben, both looking somber and depressed. They’re caught between being solemn and trying to get some information for the investigation. It’s a delicate balance. And Shane’s noticeably better at it than Ben. SHANE BELLO I know this must be an impossible time for you, but anything you can tell us would be an immense help in catching this guy. FATHER I... I just don’t get it. She was such a... GOOD kid. I’m not just saying that because she is... was... my daughter. She was just, good. MOTHER She was like any other teenage girl. She had her friends, had her schoolwork, there was nothing... NOTHING she did to deserve this! Now Ben decides this is a good time to pipe up. It isn’t.
59. BEN FULTON I don’t mean to offend or accuse here, but I was a teenager myself once, and considered who this is, is there any chanceShane shoots him a sharp look and cuts in, reading the face of the parents, which were quickly turning to anger. SHANE BELLO I’m gonna go ahead and stop my YOUNG partner here before he says something... inexperienced. FATHER Just the implication... BEN FULTON I’m sorry, I didn’t mean to imply. We’re just... we really want to find this guy. SHANE BELLO Could you give us the names of any of her friends or schoolmates? CUT TO: INT. APARTMENT, LIVING ROOM - DAY Still wearing the same clothes, but looking a day or two more haggard, Shane and Ben are sitting with a young girl and her parents. SHANE BELLO So you two went to school together? SCHOOLMATE 1 Yeah. We’ve been in school since elementary together. She... she was my best friend. SHANE BELLO How would you describe her? They’re trying to find out if she was into any trouble without straight up asking it. SCHOOLMATE 1 Smart, really smart actually. Funny... she used to get us in trouble all the time in class, goofing around.
60. She smiles at the memory of her friend. Then the realization that she’s dead comes flooding back to her face. The nice memory is replaced by anger. SCHOOLMATE 1 (CONT’D) She wasn’t bad! She wasn’t a criminal! It doesn’t make any fucking sense! They aren’t really getting anywhere. Especially with the parents there. BEN FULTON Could we, uh, talk to her alone? The father shoots an indignant look and questions. BEN FULTON (CONT’D) Well, it’s just, pardon my frankness here and I apologize in advance, but kids tends to be a bit more... open when their parents aren’t there. I’m sure you all are super fine parents and all, but, ya know. It may help. His eyes dart over to Shane, expecting him to intervene and cover up for his glaring lack of tact. But Shane doesn’t say a word, he just has his eyes fixed on the parents. Posing the question himself with his eyes. They hesitantly oblige, first waiting for the go-ahead from their daughter before slowly rising and leaving. As soon as the door closes, she seems to relax a bit. Maybe this will work after all. BEN FULTON (CONT’D) So is there anything you think is relevant to all this? She pauses for a second to think. SCHOOLMATE 1 Honestly, I don’t. This guy kills bad people right? She wasn’t a bad person. She never killed anybody, broke any laws, none of that. A beat.
61. SCHOOLMATE 1 (CONT’D) Unless being a giant slut is against the law. Ben lets out a light chuckle at the girl’s up front attitude. Realizing she just called her dead best friend a slut, she throws her hands over her face. SCHOOLMATE 1 (CONT’D) Oh my god, did I just call my dead best friend a slut? I’m the worst person in the world. Reaching across a friendly hand on her shoulder, Shane tries to make her feel better. SHANE BELLO We all deal with things differently. Don’t apologize. BEN FULTON Is there anyone else we can talk to? Any shady friends, or boyfriends? SCHOOLMATE 1 I’m sorry, there’s really nothing I can think of. INT. BOXING GYM - NIGHT It’s sweaty. Heavy thuds, fists meeting fabric, as we move through the gym. Towards the back Shane and Evan are going to work. Shane stands behind the bag, holding it as Evan furiously pounds away. The kid’s frenzied blows rattle the bag. Shane even has trouble holding the bag. Evan’s got a lot of anger. Shane peeks around the side of the bag, Evan’s face is steel. SHANE BELLO Woah, woah, slow down kid. You’ll break your hand punching like that. He steps away from the bag and takes up a stance, throwing a slow motion jab. Making sure that Evan can do the same, he goes back around the bag and holds it steady.
62. Evan throws a few punches. SHANE BELLO (CONT’D) Much better. Anger’s good, but don’t let it take over your head. He nods and keeps punching, lighter this time. EVAN So what’s going on with this case? You haven’t asked me about it in weeks. SHANE BELLO There hasn’t been much in weeks to be honest. EVAN So he just went away? SHANE BELLO I don’t think he did. Some do. Especially considering the last fewAbruptly, he stops. Telling a kid the details of an investigation isn’t the smartest move. EVAN What about the last few? SHANE BELLO Nothing. I shouldn’t have said anything. Evan stops punching and drops his hands. EVAN Come on, you can’t just say that and not deliver! SHANE BELLO No, seriously, I shouldn’t have said anything. Telling the details of an investigation to a kid like you isn’t the best idea. EVAN A kid like me? SHANE BELLO A kid like you who actually saw the guy. Don’t want to get you any closer to it.
63. EVAN Aww come on, just TELL me. That’s too much of a tease to not follow up. Who am I gonna tell anyway? Shane doesn’t say anything, just resumes his post behind the bag. EVAN (CONT’D) Alright fine, this is boring anyways, I’ll just go back to my low income neighborhood and get involved in all types of troublesome activities for a youth like me. SHANE BELLO Fine, if you won’t drop it. He takes a quick breath in. SHANE BELLO (CONT’D) The last three kills didn’t fit his M.O. Meaning? EVAN
SHANE BELLO They weren’t criminals. At least nothing we could find in two weeks of searching everything we’ve got. EVAN So maybe he got bored? SHANE BELLO Guys that cut people open and burn their faces don’t just get bored and stop, Evan. EVAN Well then why else would he start killing people who weren’t criminals? SHANE BELLO Maybe because that was never the motive to being with. What? EVAN
64. SHANE BELLO Nevermind, I’m just spinning my old wheels here. The guy hasn’t been around for weeks, maybe I’m just holding onto nothing. EVAN What does your partner think? SHANE BELLO It nearly broke him, poor kid. He bought so hard into that vigilante garbage, felt like shit for not taking it seriously this whole time. I think he’s sleeping at the damn office. INT. NEWSROOM - NIGHT Back at the same set as before, we see Artie and Ollie preparing for another broadcast. The cameras haven’t started rolling yet. ARTIE LANDIS Still no updates on him? OLLIE HYDE Nothing in ten days. Ever since he took out those innocents, there hasn’t been a single word. ARTIE LANDIS Well what the fuck else are we gonna talk about? Nothing’s gonna beat those Slayer broadcasts. Our numbers were huge. Things were better back when people were on this guy’s side. The camera operator starts the countdown and they launch into the show intro. EXT. FUNERAL HOME - DAY A large funeral procession pulls up to the building, the mother and father of the young girl Shane and Ben were talking to before get out first. Up next, a line of pallbearers comes with the coffin.
65. The friend from before makes her way up the front door, pausing and looking at something across the street in disgust. SCHOOLMATE 1 Those fucking vultures really did come? She’s quickly consoled and ushered inside. Then we get to see what she was so disgusted at. Across the street there’s a flock of protestors, all holding up signs of doom and gloom. It’s those religious zealots. NOBODY wants them there. But they are anyway. One of the students walking in has had enough. ANDREW Fuck this, I’m saying something to those assholes. He breaks off from the group walking into the funeral home and STORMS across the street. A couple people try to stop him, but he forges on ahead. As he approaches, their signs and chants become clearer. “GOD HATES YOU ALL” says one sign. “SINS = DEATH” says another. All the while they chant. The children, PEG VELPS (23) the eldest daughter speaks only of the lord, but her body was designed with devilish intent. Her modest wear does little to subdue her curvaceous figure. PETER VELPS (8). Is adorable, and creepy. They chant and picket just as hard as their parents singing enthusiastically with bright smiling faces.. VELPS FAMILY Wipe your tears your kid is dead, tomorrow God comes for YOUR head! ANDREW Hey, assholes! They turn, almost happy to have pissed someone off that much. Chanting louder, they try to drown him out.
66. ANDREW (CONT’D) I’M TALKING TO YOU! The leader of this twisted gang, ED VELPS (65), a fat, white haired bigot, turns to reply. ED VELPS See?! See the anger they display when faced with the truth?! ANDREW TRUTH? You call that bullshit TRUTH?!! Then a tiny, middle aged woman pipes up. She’s SHERRI VELPS (51). A wrinkled, unfuckable old bag. SHERRI VELPS We don’t call it truth, GOD calls it truth! She points upward. SHERRI VELPS (CONT’D) Are you too blind to see his divine works right before your eyes? The rest of the family, cheers in agreement. The brainwashing runs strong. SHERRI VELPS (CONT’D) Your little “friend” there was a SINNER, and paid for it. As you ALL will. ANDREW Oh yeah, and what about you? Standing here with your signs and lame ass chants, you mean to tell me you’ve never sinned? ED VELPS We’re doing GOD’S work. He’s not so blind as to realize the imperfection of humanity. He’s a harsh God, but believe in him and he will deliver you. SHERRI VELPS Well, maybe not you yourself. ANDREW And what’s THAT supposed to mean?
67. SHERRI VELPS Like we didn’t notice your little strut over here, prancing around this damn place, might as well have a sign on your chest. This city is SIN! Hell fire will burn you, like the faggot you are, boy! Andrew can do nothing but laugh at the ridiculousness of it all. ANDREW Oh yeah? Like one of your signs over there? Why are you people here anyways? She wasn’t gay. ED VELPS There’s a litany of sins, boy. This is just another sign from God. He’s cleaning house. This “Slayer” as you call him, is an agent of God. Your friend, she had a reputation. Quite popular with the boys, is what I hear. This sends Andrew over the edge. He RIPS one of the signs out of their hands and SNAPS it in half over his knee. In a moment he’s at Ed Velps’ throat. He’s snarling in the old man’s face, full of pure, simple, rage. ANDREW Why doesn’t your fucking God help you now old man? What do you say I buttfuck you in front of your whole family?! That way when your lord almighty comes you and I can burn together like lovers, you peace of shit!? Just as quickly as he grabbed the old man, he’s pulled off by some of the funeral-goers. They know the beginning of a bad situation when they see one. SCHOOLMATE 1 Andrew, just let it go. That’s what they want, the reaction. Just let it go. He FIGHTS against those restraining him for a moment, tears streaming down his eyes. He gathers his composure. ANDREW FUCK YOU, FUCK YOU PEOPLE!
68. They respond with an eerily absent smile, as if the anger doesn’t even register. If anything, it drives them. INT. POLICE DEPARTMENT, CAPTAIN’S OFFICE - DAY Shaw sits, looking more unpleasant than usual, with Shane and Ben in front of him. He’s halfway through chewing them out. CAPTAIN SHAW This is unacceptable! Not a goddamn thing in weeks on this?!? He didn’t just go away! SHANE BELLO I’m not sure exactly what you want from us hereCAPTAIN SHAW I want you two to do your damn jobs! Find this fuck! SHANE BELLO I’m sorry, this is just a bit odd coming from you. The first few weeks you seemed completely disinterested with the case and now we’re getting chewed out in your office? CAPTAIN SHAW The hell are you getting at, Bello? SHANE BELLO Just looking for a little consistency here, Captain. Seems like now that it’s all over the news again, you’re suddenly interested. Steam is just about coming out of Shaw’s ears. CAPTAIN SHAW If you’re insinuating for ONE second that I took this case lightlyBEN FULTON To be fair, you were pulling me off the case to make domestic disturbance calls. Don’t think it’s too unreasonable for Shane to draw that conclusion.
69. Shaw looks over at Ben, betrayed. He thought he had him in his corner. BEN FULTON (CONT’D) And I was willing to go along with it too. The way I saw it, this guy was just killing criminals, why should it take my attention away from someone who is really hurting people? Turns out I was wrong. We all were. We’re searching every lead we have. Shane has been riding this just as hard as he did on day one. Which is more than I can say for myself. Bringing us in here and having a screaming match, with the door wide open for everyone to hear, isn’t the way to handle it. Then again, in my short few weeks here, I’ve learned that you’re more for show than anything. Now if you’ll excuse me, I’m gonna go try to find this bastard. He doesn’t wait for proper dismissal from Shaw, he just turns and storms out of the office. INT. VELPS HOUSE, KITCHEN - NIGHT The entire Velps family gathers around the kitchen table for dinner. Sherri, Peg, and Peter sit at the table, waiting patiently. Little Peter’s stomach growls loudly, loud enough where everyone at the table can hear it, but he just sits. Doesn’t even make a move at the food in front of him. After a few more awkward moments of waiting around, Ed finally brings his fat ass downstairs and joins his family. They all join hands ceremoniously and bow their heads as Ed begins to pray. ED VELPS Dear Father, please bless us in this time of need. We see your spirit at work on Earth, cleansing this dirty society, we see it, we accept it, and let us continue to assist you in this cleansing effort. Our allegiance lies with you as always. Amen.
70. REST OF FAMILY
They release hands and begin to eat, Ed noticeably gets served first, then Peter, then the women. There’s even a hierarchy to their eating. A few moments of silence as they dig into their food, exchanging inexplicably happy smiles as they eat. These people are too fucking happy. ED VELPS I just want to say, I am so proud of how this family handled that funeral yesterday. Now they’re downright beaming. ED VELPS (CONT’D) We all know who was watching, and no doubt he’s just as proud. When that faggot got all up in our faces, you stayed smart and kept your heads on your shoulders. Now I know, it almost took God’s direct intervention to keep your hands off that sinning throat of his, but you did. Soon they will all see the work we’ve been doing, working in conjunction with God’s spirit, and that very same self-control you displayed yesterday will be vital. He puts his fork and knife down, admiring his family with the proudest smile you’ve ever seen. ED VELPS (CONT’D) My family... Just then the TV can be heard in the background. A news report cuts in the middle of some corny sitcom. ARTIE LANDIS (on TV) Hello all, we’re interrupting this program to bring you breaking news on The Slayer case. 17 year old Andrew Detmer was found in his house early this morning, in the very same gruesome manner as the rest of The Slayer victims. (MORE)
71. ARTIE LANDIS (CONT'D) The Police Department hasn’t come out and confirmed him as an official victim of The Slayer, but our multiple sources on the scene do believe that is the case. More on this as it comes, but after weeks of inactivity it does indeed appear that The Slayer has returned... Next to Artie’s head is a picture of the victim, it’s the same kid from the funeral that got into an altercation with Ed. The voice trails off as the family looks at each other. Their faces are glowing as they exchange looks, knowing. As if there’s some kind of secret only they’re privy to. Sherri shakes her head, nodding in compliance. SHERRI VELPS Ed, honey, it’s a sign... it is theA loud KNOCK at the door cuts her off. They all look to Ed, who waits a moment. Another loud set of knocks. He gets up and on his way to the door, more KNOCKS, this time with a familiar voice on the other end. SHANE BELLO (through the door) Mr. Velps?? Could you open up, this is Shane Bello with the police department. Throwing on a fake smile, Ed pops the door open. He acts like he hasn’t the slightest clue why they’re at his front door. ED VELPS Good evening gentlemen, what brings you to my home this evening? Behind him is Ben, chomping at the bit. He smells blood. He takes an aggressive step forward. BEN FULTON Yeah, you sick bastShane puts a hand to his chest, holding his partner back. He knows that they have to tread lightly here.
72. SHANE BELLO I apologize for my partner’s lack of tact, Mr. Velps. And I apologize for interrupting your family meal. We just have some questions for you regarding Andrew Detmer. ED VELPS You mean that boy they’re talking about on the news? Way I see it, faggot had it coming. God’s justice will not beThis time, Shane isn’t quick enough to stop Ben. He CHARGES FORWARD into the house, SNATCHING Ed by the scruff of his shirt. BEN FULTON YOU FUCKING BASTARD! He SLAMS Ed into the wall, making his family inside shriek. Cocking his fist back, he’s moments away from a striking an unarmed suspect. When Shane pulls him off Ed, shoving his animal of a partner outside and keeping him there with an authoritative, unquestionable pointing finger. His eyes are still wild and he’s breathing like a sedated grizzly bear, but he keeps put. Now Shane’s in damage control, but Ed Velps knows he’s won. ED VELPS Better keep your friend over there in his place! SHANE BELLO Mr. Velps, I can’t even begin to explain his actions. ED VELPS I’m not saying a word until that animal is far away from my family. Shane looks over at Ben, and nods over to the car. He’s sending him to wait like a child in a timeout. Ben isn’t have any of it. BEN FULTON Not a goddamn chance. ED VELPS Now you bring the lord’s name-
73. Relaying the importance of getting this man to answer questions, Shane takes a few steps toward Ben and speaks in a low voice. SHANE BELLO Ben. We need this. We’re close. Slowly coming back to his senses and realizing he needs to suck up his pride for the better of the case, he curses and storms off towards the car. SHANE BELLO (CONT’D) Again, I’m sorry about my partner’s behavior, he’s very... young. And impulsive. That’s no way to treat a citizen and it’s not how we do things. ED VELPS You’re right it’s no way to treat a civilian! You come in here, let that boy throw me around and then expect me to be forthcoming with you? You’ve got another thing coming, detective. SHANE BELLO Please, I just have a few questionsED VELPS And you won’t be getting any answers from me. He ruined that for you. SHANE BELLO Look, it wasn’t my intention for this to be so hostile. A beat. SHANE BELLO (CONT’D) But we do have multiple eye witnesses of an altercation with you and the boy. Plus the remarks you just made. We can take you in for questioning. Ed smirks. SHANE BELLO (CONT’D) The easy way or the hard way, Mr. Velps, it’s up to you.
74. ED VELPS I think I’ll take the hard way. Come back with something more substantial than your partner’s testosterone next time. He pauses before he closes the door. ED VELPS (CONT’D) Nice try, Detective Bello. INT. POLICE DEPARTMENT, CAPTAIN’S OFFICE - MIDDAY Shane’s standing before Shaw’s desk, looking like he was just told some information he didn’t want to hear. SHANE BELLO What do you mean that’s not enough? He had a confrontation with the kid and all but said he’s glad he’s dead! What else do you need? CAPTAIN SHAW Well we have this thing called “burden of proof,” not sure if you’ve heard of it or not, but it means we need more than an argument and an offhand comment before you pull anybody in. SHANE BELLO It’s the only real lead we’ve had on The Slayer killings this whole time, you can’t take this from me! CAPTAIN SHAW I’m not taking it from you, Bello, it was never there. Let it go. SHANE BELLO Let it go?!?! The body count’s rising and you want me to let it go? I know what this is. More shine for The Captain, more media attention, more excuses to get that face of yours in front of the cameras. Shaw SLIDES his chair back, and stands up, fully embodying his authority for the first time.
75. CAPTAIN SHAW Watch yourself. You’re invested in this, I get that. But I’ll only allow so much from you. Get out. Shane doesn’t move. CAPTAIN SHAW (CONT’D) I swear to Christ, I’ll have your gun and badge on my desk. Out. NOW. Bristling under his collar, Shane has no other move but to oblige. As soon as he swings the door open to leave, an eavesdropping Ben BURSTS in. He’s none too happy with The Captain’s decision either. BEN FULTON Are you SHITTING me??? CAPTAIN SHAW Fulton, back off. BEN FULTON We’ve GOT THESE PEOPLE! Motive, intent, hell he all but told us he did it! CAPTAIN SHAW Religious belief isn’t motive. Saying he got what he deserved isn’t intent. And unless he told you he did it, you’ve got NOTHING. BEN FULTON It’s enough to bring him in! CAPTAIN SHAW No, YOU ruined that when you assaulted him. Don’t blame me for failing to keep your temper under control. It flares up again, but only for a second. After all, getting pissed would just prove him right. BEN FULTON What are you hiding... CAPTAIN SHAW So you’re gonna accuse me of prolonging this investigation too? (MORE)
76. CAPTAIN SHAW (CONT'D) Is that what you two do all day instead of catching this guy? From the back of the room Shane speaks up, oddly calm considering the anger he had just moments ago. SHANE BELLO The kid’s got a point, Captain. I’ve brought guys in with a lot less than this. What makes this any different? CAPTAIN SHAW The fact that it’s a nation-wide case, that’s what! SHANE BELLO And there it is. Don’t want to be wrong in front of everyone, so you won’t let us do our job. BEN FULTON Thanks for the handcuffs, sir. Really making our job a lot easier. But then again, you can shift the blame to us when we don’t catch the guy. It’s not like anybody sees what goes on behind the doors of this office anyways. That did it. Shaw’s had enough. CAPTAIN SHAW THAT’S IT! Bello, Fulton, you’re relieved. Get the fuck outta here, I don’t want to see either of your faces for the rest of the day. Ben begins to protest but is cut short by Shaw. CAPTAIN SHAW (CONT’D) Not another word. OUT. INT. POLICE DEPARTMENT - MIDDAY Ben is still livid. He continues his path out of Shaw’s office like a runaway train, huffing like a locomotive engine. This guy’s got some anger issues. Having to jog to catch up to him, Shane tries to calm Ben down.
77. SHANE BELLO It does us no good if you go ahead and get yourself suspended. Find your cool. BEN FULTON Find my cool?!?! He just fucked our investigation! SHANE BELLO That what he does. What we do is work around it. Keep your head. The sanity is slowly starting to return to his eyes. BEN FULTON And how do we go about doing that? He just told us to go home. SHANE BELLO That doesn’t mean we can’t get anything done. We’ll keep an eye on the Velps family. They certainly aren’t trying to hide their involvement, they’ll slip up. And when they do, we need to be there to catch them. But for now, you need to detach yourself from this. You’re way too involved emotionally, outbursts like you’ve had the past two days will get nothing done. BEN FULTON Easier said than done. Seeing what they did to that innocent girl, and that other poor kid. I just can’t make sense of it... SHANE BELLO We don’t need to make sense of it, we just need to catch them. People don’t kill because it makes sense. BEN FULTON I can’t believe I slacked on this earlier, I could have cost the entireSHANE BELLO Don’t do that to yourself. BEN FULTON I was an asshole.
78. SHANE BELLO You were a human. You had a human reaction to an extraordinary circumstance. When you stop having those natural reactions is when you need to worry. Ben nods as he fully regains his composure. SHANE BELLO (CONT’D) Go have a hot meal, kid. It’ll do you good. BEN FULTON The old man has been bugging me for weeks to grab a bite with him. Guess he’s found some time to take a break from being a sleazy career man to try to be a father. Shane pats Ben on the shoulder as he makes his way out of the precinct. BEN FULTON (CONT’D) Hey man, what about you? Want to join? SHANE BELLO I haven’t done anything more than sleep next to my wife for days, I’ve got my own problems to take care of. EXT. HIGH RISE APARTMENT BUILDING - DUSK Through the closed tenth floor window, we can see a messy apartment. It appears there was some type of tussle. Then a muffled scream is heard through the glass. The same kind of scream we’ve been hearing all along. A hooded figure exits through the front door. EXT. STREET CORNER - DUSK Kevin and JB huddle over a canteloupe, having cut a hole in the top and now emptying out the insides. They can barely contain their laughter as they set to their nefarious task. KEVIN Now when I say so, you gotta dip JB. He’s gonna be mad as fuck!
79. JB BOOOOOM!! HAHA! You wanna call Ev on this one? KEVIN Nah, he’s too old for this shit. Or so he says. Now go get me the bag. JB does his best impression of Mr. Burns rolling his little hands together in the most evil of fashions, and runs to get said bag from around the corner. Having scooped out the last of the insides, JB opens the bag an starts stuffing the fireworks inside the empty fruit. Kevin notices one of the fireworks upside down, the fuse facing the bottom of the canteloupe. KEVIN (CONT’D) Shit, man you wet the fucking fuse! We gotta get some more now. My bad... JB
Just then a man rounds the corner and starts walking down the street. He’s dressed in rags, with a hood over his head. KEVIN Goddammit man! It’s all ruined! Kevin tosses the canteloupe against the wall, with JB picking up a piece and throwing it too, in imitation of his big brother. The man passes them and stops, looking down at the little hellraisers. THE SLAYER Such language. It’s unwise to take the Lord’s name in vain, little one. The look over in disbelief. Is this fucking bum really telling them what to say? KEVIN Yo who the fuck is talking to you? You bum ass nigga!! JB Yeah! Bum ass nigga! They laugh at the sheer ridiculousness of the situation.
80. THE SLAYER Father says let no corrupting talk come out of your mouths, but only such as is good for building up, as fits the occasion. For a moment they just stare at each other, before CRACKING UP. KEVIN FUCK IS HE SAYING?!?! JB all too calmly walks up to the killer like the little gangster he is. Looking him dead in the eyes, he gestures with his index finger and thumb in the form of a pistol. He’s trying so very hard not to look like the cute 8 year old boy he is. JB Fuck yo father, BITCH!! THE SLAYER I tell you, on the day of judgement people will give account for every careless word they speak. Even the young Unflinchingly Kevin responds. KEVIN Eat a dick. The verbal abuse continues as the killer’s gaze shifts over to an ominous abandoned building across the street. INT. BOXING GYM - NIGHT The grime and sweat hangs heavy in the air of the boxing ring as two fighters circle each other. Evan swings WIDE, missing his opponent completely. He clearly isn’t faring well in this bout, evidence by the blood streaming down his nose and his swollen left eyebrow. The buzzer rings, indicating the end of the round. Evan and his opponent separate, the former clearly more fatigued than the latter. Sulking over to his corner, Evan crumples into his stool. SHANE BELLO How many times have I told you about working on your control?!? (MORE)
81. SHANE BELLO (CONT'D) You put too much energy into your punches and now you’re dying on the stool and he looks like he’s going for a stroll. I know you have balls and a punch BEFORE you got in this ring. Now’s the time to prove to us that you have brains! Evan intensely nods his head in understanding and gets up off the stool before the buzzer even sounds. SHANE BELLO (CONT’D) Never give them all you have, UNTIL it’s too late for them to do anything about it. Evan’s focused. DING! EVAN’S TRAINER Aren’t you going a little hard on him? It’s just his first spar... SHANE BELLO He needs this lesson, I’m not going to cheat him out of it. Plus, I have faith in this kid. A rare Shane smile, completely absent of cynicism. Evan strafes the perimeter of the ring, calmly, calculated. This time he won’t be throwing the first punch. His opponent shoots a quick jab outward, but Evan BLOCKS and counters with a shot of his own. Noticing an absence in power, the combatant confidently stalks forward but is intercepted by a LIGHTNING FAST JAB. Evan moves out of range before he can react. The strikes sharp jabs persist, turning his once merely annoyed opponent into a blind fury. His strikes get more wild and telegraphed with each passing second. It culminates in a expertly ducks and counter right. The room causing other ring. wind up overhand right hook, which Evan delivers sharp and concussive overhand sound of the shot echoes throughout the fighters to turn their attention to the
An alarmingly bloody mouthpiece hits the canvas by Evan’s feet, sending him collapsing to the floor in a sweaty heap. The corners JUMP into the ring, tending to the fallen fighter.
82. Looking oddly guilty in his victory, Evan walks back to his ring, his sullen demeanor confusing the beaming Shane. CUT TO: INT. SHANE’S CAR - NIGHT EVAN I didn’t mean to hurt him... SHANE BELLO I know, kid. Brains wins fights, and the moment you forget that will be the moment you switch places with that kid you knocked out back there. But your heart is what made you see if he was okay after it was over. It was good work. Evan nods happily, visibly relieved that Shane didn’t chastise him. SHANE BELLO (CONT’D) You sure you don’t want me to take you right out front? We’re a full mile away from your place. EVAN Nah, it’s cool. I gotta stop by the store anyways, Kevin and JB were bugging me about picking up some fireworks. Shane cocks an eyebrow. SHANE BELLO Fireworks? With those two? I’m not even gonna ask. Evan hops out, and notices a bouquet of flowers in the back seat. EVAN Uh oh, somebody’s got some making up to do with the old lady? SHANE BELLO Like you wouldn’t believe, kid.
83. EXT. SHANE’S APARTMENT - DUSK Walking down the hall to his apartment unit, Shane’s cleaned himself up and is now holding a bouquet of flowers. He looks like a husband trying to make good with his wife. As he reaches his door, he fumbles with his keys before noticing it’s open. He swings it open and walks in. INT. SHANE’S APARTMENT - DUSK And what he sees isn’t good. His wife is standing the kitchen, her eyes puffy and cheeks streaked with moisture. She’s been crying. Nobody likes to see their woman cry, especially not Shane. His face turns into concern as he moves over to her. SHANE BELLO Honey, what’s wrong? But as soon as he reaches out to her she backs away, putting her hand out to keep a distance between the two of them. Shane’s confused by her recoil. Then he sees his cellphone on the table. It’s open. And the screen of his recent calls is up. It’s littered with calls to and from Sarah. This isn’t good. He instantly knows what’s up, so he plays the only card he can. SHANE BELLO (CONT’D) Why were you going through my phone? EXT. STREET CORNER - DUSK Enthusiastically shadow boxing as he walks down the block, Evan notices a busted canteloupe shell on the ground and a mess of fireworks. He bends down notices the wet fuses. Rookies... EVAN
84. But his smile fades as he notices something... no, SOMEONE in his peripheral vision. He dips behind the corner, looking scared shitless and pulls out his phone. INT. SHANE’S APARTMENT - DUSK SHANE’S WIFE Who is she?!?! Shane has two moves here, tell the truth or lie. He’s in the middle of deciding which move to take when his wife cuts in again. SHANE’S WIFE (CONT’D) And don’t bullshit me! I KNEW something was up, I didn’t want to believe it. Look, ISHANE BELLO
Before he can finish his sentence his phone rings. Hoping that it isn’t the case of the worst timing ever, he’s relieved to see it’s Evan. Obviously now isn’t the best time to talk. SHANE’S WIFE You know what? I don’t even want to hear it. I’m SO fucking done here. She grabs her keys and SHOVES past him. He follows after her. SHANE BELLO Please, wait, at least let me explain myself. SHANE’S WIFE There’s nothing to explain. Your face says it all. Don’t fucking talk to me! With a loud DOOR SLAM, she’s gone. In a state of disbelief and self-hatred, he shambles over the stool by the kitchen counter like a zombie and plops down. The phone beeps again. This time it’s a text from Evan. It reads: IT’S AN EMERGENCY. CALL ME BACK. I THINK I FOUND HIM.
85. Now this gets his interest. He grabs the phone and upon opening it, sees the slew of missed calls from Evan. Having to choose between trying to save his marriage or potentially catching this killer, the choice for him is immediate. He slides the phone open, calling Evan. He grabs his keys and is back out the door. EXT. SHANE’S APARTMENT - DUSK Shane swings the door open to his car as Evan finally picks up. SHANE BELLO You found him??? CUT TO: EXT. STREET - DUSK Evan’s still in his gym clothes, sweaty and pretty gross, as he tries to stand inconspicuous on the street. EVAN This motherfucker is across the street!! Where the hell are you?! Get back here!! CUT TO: EXT. SHANE’S APARTMENT - DUSK SHANE BELLO I’m minutes away, do not FUCKING MOVE from that exact spot. And STAY QUIET. CUT TO: EXT. STREET - DUSK EVAN Nah man, there’s no way. I can knock this pussy out. CUT TO:
86. INT. CAR - DUSK Shane is now FLYING down the street, portable siren on the roof of his car blaring. SHANE BELLO I don’t care what you think, STAY AWAY. I won’t have you splayed out on the wall. You’ve been a great corner, but this is MY fight. STAY PUT. CUT TO: EXT. STREET - DUSK EVAN Fine. I’ll keep my distance. But hurry up. It’s HIM. We now see the man across the street that Evan was talking about. He’s tall, dressed in raggedy garbs and has a beard. It’s fucking HIM. Evan slinks away behind a building, keeping his distance like Shane told him to. INT. CAR - DUSK Shane parks at an corner out of sight of the abandoned building. Evan, appears from between two buildings. Signaling Shane to come to him, like an excited puppy. Shane swiftly crosses the street. The anticipation has apparently caused some youth to return to his legs. EVAN That’s the building!! We got this shit!! CUT TO: INT. APARTMENT BUILDING, LOBBY - DUSK Ben walks into the lobby of an extremely fancy looking apartment building. His phone goes off and he looks down, but not recognizing the number, he ignores it.
87. EXT. STREET - DUSK Shane curses as Ben’s phone rolls over to voicemail. SHANE BELLO Ben, it’s me, I’m calling from my other phone. I got a tip from Evan on The Slayer, he thinks he saw him. I scoped the area out and saw some movement in an abandoned building. It’s right where Evan saw him just minutes ago, I’m thinking this could be his base of operations. This could be big, Fulton. Call me when you get this. Actually, just get down here. Address is 386 Webber Ave. He hangs up, cursing and puts the phone in his pocket. EVAN It’s all good Shane, you said I’m your corner right, so that means I get to roll with you, right? SHANE BELLO Seconds out, kid. Shane pops off his Kangol cap. Shedding off the old detective, today he’s young again. Placing the hat on Evan’s head, it droops low over his eyes. Evan fidgets with the brim, setting it right. He’s clearly annoyed at missing out on the action, but isn’t about to question Shane’s orders, either. Shane draws his pistol and bounds around the corner, headed for the abandoned building. The street is empty and his path is lit by street lights, almost as if the city is beckoning him towards an uncertain destiny. Shane jogs up the front entrance steps and posts right next to the door. He peeks in. Shane pulls a small flashlight from his jacket, exhales through his mouth so as to calm his nerves, and BURSTS into the darkness.
88. INT. ABANDONED BUILDING - DUSK There’s very little light in the musty building as the dirty windows obscure any sunlight. Not that there’s much sunlight to let in. Shane takes the scene in for a minute, allowing his eyes to adjust to the darkness. Once they do, he starts to get his bearings. The floor is covered with a thick coat of dust. It quickly apparent that someone else has been there as he sees a clear set of footprints.. They soon lead him to a stairwell, leading upwards, all but beckoning him to ascend. He obliges. INT. APARTMENT BUILDING, HALLWAY - NIGHT Ben knocks at his father’s apartment. He waits impatiently between knocks, as if he already has a reason to be annoyed. After a few moments, he pulls out his keys and opens the door himself. BEN FULTON Please don’t be banging mom, please don’t be banging mom... He lets himself in and calls out for his father. Nothing. Now just downright confused, he continues to call out as he makes his way around the apartment. Still nothing. Everything changes when he reaches the bedroom. Ben sees the hanging feet and guts, turns away immediately. The reality of this case hits home harder than he ever imagined. The sheer emotion of the situation soon overtakes him, causing him to double over and vomit in the nearest garbage. His head half in the bin, his body is racked with sobs in between guttural lurches. He still can’t look at the body. But soon the police officer kicks in, and he realizes the importance of this.
89. Feeling around for his phone, he has to stumble into the kitchen to retrieve it. That’s when he sees all the missed calls. From that number he didn’t recognize before, dispatch, even a few from Shaw. What in the hell could have happened? INT. ABANDONED BUILDING, STAIRWELL - NIGHT The stairwell is even darker and with no windows for light, Shane can barely see his hand in front of his face. Deciding that sight is a more precious commodity than giving away his position, he powers on his flashlight. Just faintly, the sound of a man can be heard. But his words are indiscernible. He looks up at the sound towards the third floor. The sound of the voice gets louder and clear as he heads up towards the third floor. Reaching the top, he positions himself right beside the door. He puts his ear up to it, finally able to make out what’s being said inside. THE SLAYER (off-screen) “See, the day of the Lord is coming, a cruel day, with wrath and fierce anger - to make the land desolate... Shane takes a step back, and silently sucking in a brave breath of air, he KICKS through the soggy wooden door. Then he sees it. INT. ABANDONED BUILDING, THIRD FLOOR - NIGHT The final light of the day pours through the dirty windows, giving a pale sheen to the horrors on display. Before him is the disheveled, dirty man, wearing a worn and damaged coat with the hood drawn over his head. He’s knelt before Shane, with his head down and arms outstretched. CUT TO:
90. EXT. ABANDONED BUILDING - NIGHT Evan, clearly not obeying Shane’s order to stay put, creeps down the street and into the dusty building. INT. ABANDONED BUILDING, THIRD FLOOR - NIGHT If not for the carnage on the wall behind him, one could mistake this prostrated man as an average homeless person. Shane gapes in horror at the grisly background the killer has prepared. Kevin and JB are splayed out on the wall, like every other victim. Their little hands painfully stretched out, guts hanging from their bellies. No brutality was spared from their lower halves, but the faces are still preserved in a final death gaze toward their killer. Still prostrated, the killer starts to speak, a low grumble, almost in a hypnotic rhythm. It kinda sounds like Ed Velps. THE SLAYER Stars of heaven and their constellations will not show their light. The rising sun will be darkened and the moon will not give its light. I WILL P... He’s interrupted by Shane’s HEAVY BOOT to his dirt-caked face. The brutal blow causes him to roll over on his back, rendering the feared killer flat out. Vulnerable. Only one thing is certain right now, it’s definitely NOT Ed Velps. Shane says nothing as he stares coldly over his prey. No screams of rage or angst. No curses being hailed upon a man who just brutally murdered two children. Just the cold stare of a man who has simply seen too much. All the innocent victims start coming back to his mind like a flood; the poor girl, the kid from the funeral... It reaches a tipping point. But instead of boiling over, the rage holds. A complete, pure, beautiful rage.
91. Shane drops to mount over the man. No longer wishing to understand, he commences to beat him, mechanically. It’s as if his punches follow some unheard dictation. With every meaty thud, his firsts get more raw and bloody, his face exposing the terrible anger and rage that Shane tried so desperately to suppress. It’s pretty clear he no longer plans to arrest this man. The punishment is now in the steadily soaking hands of Detective Shane Bello. Blood SPLATTERS across his face, waking him up. For the first time he fully beholds the gut-wrenching imagery of this man’s latest victims. Now he screams. Shane falls to the floor, looking lost. He’s exacted his rage in violence, and but what comes next? The only thing that CAN come next. To end it. The final blow. Turning his attention to his sidearm that he had left on the floor behind him, it’s clear to him now what HAS to happen. He staggers over to his weapon, driven by the only lethal outcome his mind sees. He returns to his mount, with wild, vacant eyes. There’s no inquiries of motive through gritted teeth, no postulating with a pressed gun barrel; there’s just this bullet. Calmly placing the pistol deftly between the killer’s eyes, his finger finds the trigger. Suddenly Evan BURSTS through the room, gasping words through shorted breath. EVAN SHANE, CONTROL!! Shane WHIRLS around at this latest intrusion, his wild eyes almost failing to recognize Evan. Evan points to his head, his face streaming tears, and then to his heart. It harkens back to Shane’s lessons in the ring, reaching him the only way he knows how. EVAN (CONT’D) Listen to your corner...
92. The pistol still threatens to spit death into the killer’s brain, but Shane hasn’t yet pulled the trigger. Evan’s words slowly seep into him. Sanity returns to his eyes and allows him to drop the weapon. Evan shambles forward, each step taking him deeper into the harsh reality that’s splayed out on the wall in front of him. Each step, brings him further into a place he’s never been before. EVAN (CONT’D) S... S... Shane? The air escapes his body in short bursts, his anger and fear bucking his chest in hyperventilation. His eyes roll to the back of his head and he falls backwards onto the dirty fall. Evan?! SHANE BELLO
This brings Shane back, he RUSHES over to Evan, making sure he’s still alive. He breathes a sigh of relief when he feels a pulse. But now there’s that OTHER thing he’s got to take care of. His gaze drifts over the bloody man on the floor, now not full of anger, but of disgust. The detective is back. Striding over he unsheathes a set of metal cuffs and SLAPS them on the killer. INT. CAR - NIGHT Ben is SPEEDING down the road, portable siren alive and wailing on the roof. It’s a wonder he can manage to drive through his tear flooded eyes. Beneath the welling tears, his eyes are damn near burning with rage. All goes silent as he finally loses it, SLAMMING his hands against the wheel and emanating a RAGE-FILLED WAIL. INT. AMBULANCE - NIGHT Evan awakes with a START, disoriented at his new and bright surroundings. An IV is attached to his arm and he’s propped up on a stretcher in a parked ambulance.
93. He rubs the grogginess away from his eyes as a medic takes notice. MEDIC Great to see you’re awake! How are you feeling, kid? Instead of answering, he tries to get up, but the medic places a hand on his chest. MEDIC (CONT’D) Woah, there big guy, not so fast. Evan puts up a protest, mumbling through the haze of waking up. EVAN Shane... where’s Shane? MEDIC Shane? Oh, right that detective! Yeah he checked in on you before he took off. Got that big bad killer to deal with now. Pawing at the IV, Evan still tries to get up. By now he’s wide awake, completely aware. MEDIC (CONT’D) Seriously little dude, you blacked out. Can’t just be up and at ‘em right after. Take it easy. Laying back with a sigh, Evan begrudgingly listens. But only long enough for the medic to turn his attention to the front of the ambulance before he BOLTS. RIPPING the IV from his hand painfully, he’s out the rear double doors before the medic even realizes what’s going on. Evan dips and ducks through the clusterfuck of the crime scene, but it being the clusterfuck that it is, nobody seems to take notice. He scans the area until he finds his bike, still tipped over near a building across the street. In one smooth motion he lifts the bike and hops on, his legs pedalling as hard as they can take him.
94. INT. POLICE DEPARTMENT, MONITOR ROOM - NIGHT Shane stands, arms crossed and studying the man in the other room. In front of him is a large mirror, allowing him to see into the interrogation room. There’s a bunch of small monitors place around a table, letting sound in. The door creaks open and Captain Shaw enters, looking sheepish. He struggles to make eye contact with Shane. Guilt is smeared all over his face as he approaches Shane, a rejected man. CAPTAIN SHAW I know what you’re going to say, and before you do, just know that I feel worse than you can possibly imagine. Those two children’s deaths are on myBut Shane stops him with a look. SHANE BELLO Save your guilt. It wasn’t one of the Velps. None of us were any closer than the other. Shaw lets out a sigh of relief, sensing Shane’s mercy in what is the quinessential “I told you so” moment. SHANE BELLO (CONT’D) I said SAVE your guilt, don’t throw it away. Though it is encouraging to know you have the capacity for such an emotion. CAPTAIN SHAW You’re the best man on this force, Bello. Biggest asshole too. They both turn their attention to the killer just through the glass mirror. CAPTAIN SHAW (CONT’D) So what’s the game plan? SHANE BELLO Honestly? Not a clue yet. I’m suspicious of his mental state. I did beat the fuck out of him and it didn’t even seem to register. CAPTAIN SHAW I was able to convince the media that he resisted. (MORE)
95. CAPTAIN SHAW (CONT'D) Nobody’s eager to jump to his defense after this. But we have nothing tangible. No fingerprints, DNA, or eye witnesses. If we send this to trail with only the testimony of a latchkey kid and a shit ton of circumstantial... Shane responds with a pat on Shaw’s shoulder and a smile. I know. SHANE BELLO
Without another word he walks out of the room, leaving Shaw just plain confused. He calls out after him. CAPTAIN SHAW I’m assuming that means you DO have some type of plan? And where’s Fulton? But he just gets a closing door as an answer. EXT. POLICE DEPARTMENT - NIGHT Ben STALKS up the main ramp, SHOVING aside reporters who are circling like vultures on downed prey. He SHOVES the main door open, eyes fixed on the back of the station. DETECTIVE 1 Whattup, rook! You almost missed all the actionBut Ben blows by, not hearing a word. INT. POLICE DEPARTMENT, INTERROGATION ROOM - NIGHT The killer sits at a table in a well lit room, with a table in front of him. Soon the door opens and Shane walks in, taking the seat opposite him. For a moment he doesn’t speak, just studies. SHANE BELLO I don’t think I’ve formally introduced myself, I’m Detective Bello. And you’re a sick fuck.
96. No response. SHANE BELLO (CONT’D) This isn’t my first rodeo, so I know how this CAN work. But you’ve been a major pain in mine and this collective city’s ass so it would be much easier if you just fucking told me why you’ve been murdering people in my city. Still nothing. SHANE BELLO (CONT’D) Alright, maybe some questions? What’s your name? Again, nothing. SHANE BELLO (CONT’D) Do you speak English?!? DO YOU SPEAK??? For the first time, the killer looks up. His dirty face and scraggly beard serve as an odd contrast to his surprisingly beautiful blue eyes. An tense moments passes as Shane looks in the killer’s eyes for the first time. He’s cut off by yelling outside. It sounds like Ben. He goes out to investigate. But as soon as he opens the door Ben CHARGES in, nearly knocking Shane off his feet. In an instant Ben LEAPS across the table and onto the killer, like an agitated spider monkey. The wild rage is back in his eyes, burning harder than ever before as he RAINS blows upon the killers face. Fists, elbows, whatever damage he can do, he’s doing. Two officers RUSH in, yanking Ben to his feet. He’s dragged out of the room kicking and screaming like a savage man. Shane saunters over and hoists the killer back to a seated position, not making any effort to do so gently. He gives him a glare before walking out of the room.
97. INT. POLICE DEPARTMENT - NIGHT Ben is thrashing and fighting against the men holding him back, intent only on exacting revenge. It takes a violent SHAKE by Shane to snap him out of it. Before he can speak he hears his name yelled out in another room. He peeks his head in to see Evan, being gently pushed back towards the rear entrance. SHANE BELLO Officers, it’s fine. It’s fine. He’s with me. Evan looks up and past Shane and notices small TV with a security feed of an interrogation room. In the glass room the killer sits, with his hands cuffed, looking completely oblivious to the chaos that he has caused. Rage FLARES UP inside Evan, remembering what events lead to the killer being found. He grits his teeth. EVAN Kevin... JB.... SHANE BELLO There’s nothing you could have done Evan... LOOK AT ME. There’s NOTHING you could have done. I don’t know why you’re life has been graced with so much pain. I wish I had answers for you. But I don’t and I won’t disrespect you by making some up. This world is cruel and often unexplainable. None of this needed to happen. Those kids... A beat. SHANE BELLO (CONT’D) ... without you I would have done something that I would have regretted for the rest of my life tonight. You were right, I did need my corner. THANK YOU. EVAN You were fighting for my friends. I know you’re no killer. But... if I knew what he had done... I might not have stopped you.
98. Evan looks down, almost embarrassed to admit such a terrible thing. SHANE BELLO You did the right thing, killing him wouldn’t have brought back JB and Kevin, it isn’t justice. It’s selfish. I would have robbed all the other victims of their opportunity to see to see him pay and get closure through a fair trial. I’m gonna go in that room and finish this. The right way. Still wearing the comically large Kangol hat on his head, Evan tosses it to him. Almost reminding him of the man he really is. EVAN I saw his face, you fucked him up good! Didn’t know you had it in ya. SHANE BELLO Who do you think taught you all that stuff? I can handle ANYTHING. Looking back at the interrogation room, it’s clear Shane needs to get back to his unfinished business. EVAN You should go and... handle that little situation you’ve got in there. He gives Evan a smile before disappearing into the other room. EVAN (CONT’D) I do indeed. See ya later, kiddo. INT. POLICE DEPARTMENT, INTERROGATION ROOM - NIGHT The killer still sits, but locks eyes with Shane the moment he enters. His face is even more bloodied and battered than before, the pleasure this gives Shane is no secret. THE SLAYER Thank you. Though I am surprised. I had expected you to let your partner finish what you started earlier.
99. SHANE BELLO So he speaks. THE SLAYER I suppose it would be best if we spoke. I must admit, you hit much harder than he does. SHANE BELLO You tend to bring that out of me. But I must admit, you took a beating better than anyone I’ve met. THE SLAYER I’ve had my fair share. How did it feel? SHANE BELLO How did what feel? THE SLAYER Holding my life in your hands. You were on the brink of taking it. Shane glares, trying to decide what this guy is really trying to ask. SHANE BELLO Justified. Joyous. Closing his eyes, the killer nods, as if he understands. SHANE BELLO (CONT’D) Why, can you relate? You mean to tell me you felt justified and joyous when murdering those two little boys!? KILLER I take no joy in my responsibility, if that’s what you mean to imply. SHANE BELLO Your... responsibility? THE SLAYER Yes. Bestowed upon me by my Father. The gears in Shane’s head start turning.
100. SHANE BELLO Father? You mean... Velps? Are you his son? Is that what this is? Some kind of twisted fucking legacy?!?! THE SLAYER Incorrect. My connection to this Ed is no different than the one I have with you. SHANE BELLO If it isn’t Ed Velps, who is this mysterious big daddy? THE SLAYER He’s not just MY father, he is OUR father. Shane scoffs at the notion. SHANE BELLO The only thing MY father taught me was how to treat a black eye on my mother. I don’t recall any disemboweling lessons while he played catch in the yard. A beat. SHANE BELLO (CONT’D) But I have a feeling you mean the guy upstairs when you say “Our Father.” The killer pipes up, like an excited child at Shane’s comment. He flashes an unsettling bright, sincere smile. THE SLAYER Yes! Exactly! The Father of us all! Wonderful, Shane! SHANE BELLO But yours more than most. Isn’t that right, Hay-Soos? The killer avoids his question entirely, oddly changing the subject. THE SLAYER You alluded to having a violent father. Was he aware of the commandment that a husband must love his wife as his own body? (sighs) (MORE)
101. THE SLAYER (CONT'D) He brought dishonor to his Lord. He was not a kind man. SHANE BELLO No argument here. Compared to YOUR daddy, it’s kind of an unfair comparison. Plus it puts the kibosh on the whole “like Father like son” thing. THE SLAYER Does it? “Fathers, do not provoke your children to anger, but bring them up in the discipline and instruction of the Lord.” Your father broke this very basic commandment. But I assure you, his judgement awaits. As does yours. SHANE BELLO That’s rich, coming from a guy handcuffed to a table bolted into the ground. So J-man, what’s the verdict? I’ve even got on my Sunday best! The killer says nothing, not taking kindly to Shane’s flaunting of something he clearly takes very seriously. SHANE BELLO (CONT’D) No? Do I need to swear on a bible? I can get a guy in here with one, we’ll do the whole thing right fucking now! THE SLAYER If you insist. The two men lock eyes. The once bright and deep blue eyes of the killer pale, the color draining out of them. As if smacked by an invisible hand, Shane is SUDDENLY TOSSED against the glass mirror. Web-like cracks spread out along the glass. The steel handcuffs around the killer’s hands suddenly fall away, crumbling like ashes. Now free, he rises from the chair gracefully as the table FLIPS OVER on it’s own. It’s pushed against the door, barring anyone from entering. A low rumble starts, as the whole room starts SHAKING VIOLENTLY.
102. The Killer rises out of his chair, a different man now. No, not a man... something else. THE SLAYER (CONT’D) How about a public trial? INT. POLICE DEPARTMENT, MONITOR ROOM - NIGHT Ben SPRINTS away from the monitor room, a garrison of officers in tow, and head for the door to the interrogation room. Trying to open it, Ben shrieks as the SEARING HEAT from the handle burns him. INT. POLICE DEPARTMENT - NIGHT The entire building is shaking and cops are all running and yelling to the interrogation room. A crowd forms at the door as they try in vain to get it open. INT. POLICE DEPARTMENT, INTERROGATION ROOM - NIGHT It’s all starting to register on Shane’s face as the killer makes his way toward him. JESUS CHRIST.
JESUS You are privileged Shane. Your judgement will signify my arrival, and as such will not be one soon forgotten. Shall we begin? Shane says nothing. JESUS (CONT’D) You mentioned your father, and what he did to your mother, his wife. The shocking actuality of the situation is still registering with him. JESUS (CONT’D) But what of YOUR wife? And the pain you’ve wrought upon her? Is it any different from the pain your father caused your mother?
103. Shane says nothing. All his past sins, as little as the candy bar he took as a child and as large as the extra-marital affair, all come back to him. JESUS (CONT’D) Unfortunately, this court does not recognize the 5th amendment. YOU. WILL. SPEAK!! His voice thunders throughout the room. NO! SHANE BELLO
JESUS No? Do I speak lies? Was she not betrayed by the one she trusted most? Tears start to fall from Shane’s eyes as his guilt overtakes him. Jesus is looking into his very soul, exposing the worst of his secrets. JESUS (CONT’D) When she pleaded with you, asking you to explain, what did you do? SHANE BELLO I... I... LEFT! JESUS You left her, yes. To catch ME. In your selfish pursuit of personal justice and glory, you left behind the most sacred of bonds. In doing so, you left behind repentance. And ran to your judgement.
INT. POLICE DEPARTMENT, MONITOR ROOM - NIGHT Now watching on the other side of the glass, everyone is powerless to stop the horror that’s occurring in the other room. Ben continues to POUND and SLAM his body against the door. But it doesn’t budge. Evan is forced to watch as Shane’s body is pinned against the wall and his sins are spilled out for all to hear.
104. INT. POLICE DEPARTMENT, INTERROGATION ROOM - NIGHT JESUS WHAT IS YOUR SIN??? Shane’s lip quivers, the last of his resistance falling away. SHANE BELLO Infidelity!! I am an adulterer! I betrayed my wife! I betrayed EVERYTHING! The thunderous, intimidating stature of the Son of God recedes. But what comes forth is a different man, a caring man. Genuine. His smile expresses true happiness, but his eyes betray a deep sorrow. JESUS It truly pleases me that you understand. Know that I take no pleasure in any of this. But as it was with them, all of you have been given opportunity to have words with me. And you have confessed your sins. It’s time Shane. I’m sorry. But the wages sin pays is death. Jesus stands before Shane, in all his glory, the true Son of God, with his arms outstretched. His once grimy and dirty robes fall away. Instead they are replaced with SHINING WHITE GARMENTS, with the purity of a newborn lamb’s wool. Shane’s arm are YANKED outward as well, mirroring Jesus’ pose. Opening his palms, Jesus’ fingers flex, as if to grip onto some invisible force in the air. Magically, two glowing golden stakes appear in front of his hands, they float in the air for a moment and tremble. JESUS (CONT’D) FOR THE SON OF MAN IS GOING TO COME IN HIS FATHER’S GLORY WITH HIS ANGELS!! Materializing with the golden stakes in their hands, TWO BEAUTIFUL ANGELS APPEAR. Dark curls of hair sit upon their head, as they float upon majestic, white, feathered wings sprouting from their back. Heavily muscled and wearing robes, they rear back, sending the stakes HURTLING THROUGH THE AIR and into Shane’s palms.
105. A SCREAM OF AGONY tears from Shane’s mouth, as blood seeps from his hands. Taking in a deep breath, almost as if it was the first one he’s ever taken, Jesus then exhales slowly. Following the steadiness of his breath, a razor thin line appears down Shane’s torso, tearing his shirt open. SHANE BELLO No, NO! NOOO!!! THIS CAN’T BE HAPPENING!!! Jesus THRUSTS his hand outward, SLAMMING Shane’s head backwards against the glass and forcing his mouth shut. The angels bow in front of their Lord and future King, before disappearing, having played their part. JESUS And then he will reward each person according to what he has done. Tears begin streaming down Jesus’ face. The burden of judgement is not something he relishes, in fact, it lays heavily upon him. Just then, Shane’s upper half RIPS OPEN. His inside tumbling out, slipping, sliding onto the floor in a heap of wet entrails. All he can do is gurgle and cough as blood gushes from his mouth. He raises his head. He struggles to get his final words out. Blood streaming from his mouth and losing consciousness fast a barely audible final word of defiance. SHANE BELLO Case closed. A slight rye smirk of acceptance before his eyes roll back. His head drops lifelessly, and almost as if on queue. Jesus drops to his knees, fully weeping. Returning to the prostrating pose Shane first found him in, the room suddenly goes QUIET. Shane’s body slides, no longer supported by divine force. All that holds him up are the two steaks impaling his hands. All we hear are his words. As he speaks we see outside, Ben, Shaw, and Evan have ceased their manic attempts to enter the room and are now just watching. Transfixed. JESUS “See, the day of the Lord is coming. (MORE)
106. JESUS (CONT'D) A cruel day, with wrath and fierce anger, to make the land desolate and destroy the sinner within it. The stars of heaven and their constellations will not show their light. The rising sun will be darkened and the moon will not give it’s light. I will punish the world for it’s evil, the wicked for their sins. Now rising, a blinding glow beings to emit from Jesus. An otherworldly glow, the purest form of power possible. Shane’s face beings to contort, smoking and burning from the heavenly glow in front of him. His features WARP AND BURN AWAY, eyelids, nose, lips, ears, all fall away. A truly disgusting display of what it’s like to look upon the Son of God. Then it stops, just as suddenly as it started. He then looks at the glass, no, THROUGH the glass to the men behind it watching. JESUS (CONT’D) “At that time the sign of the Son of Man will appear in the sky, and all the nations of the Earth will mourn. They will see the Son of Man coming on the clouds of the sky, with power and great glory.” Walking the length of the mirror he makes his way to the door, casting aside the table as if it were a crumpled scrap of paper. INT. POLICE DEPARTMENT - NIGHT Realizing that death is now headed for them, EVERYONE SCATTERS. Falling over each other like teenagers running from cops at a house party, they are no longer police officers, detectives, or captains; they’re just plain scared. Amongst the panic, Ben looks for Evan, but can’t find him through all the rushing bodies. INT. POLICE DEPARTMENT, INTERROGATION ROOM - NIGHT As soon as the door is flung open, there are a group of cops waiting. These are the ones who won’t run. These are the ones who will fight.
107. They move to pump him full of bullets, but before they can squeeze their triggers, they’re THROWN THROUGH THE WALL. JESUS He comes, this time, not as a man of sorrows, but as a victor and conqueror to claim his own. Behind him, in front of Shane’s body, a sword materializes. It’s massive, golden, and beautiful. As if called, it FLIES into Jesus’ hand. Raising the impossibly heavy weapon high, he brings it down HARD cutting into any and all who are close. EXT. POLICE DEPARTMENT - NIGHT Police and journalists FLEE the building, causing a bottleneck of scared and confused humans as all hell is breaking loose inside. BLOWING the front door off it’s hinges, Jesus appears. Now, in FULL GLORY. In the doorway of the police department stands Jesus of Nazereth, son of God, Michael the Archangel, soon to be King of the Heavens. He’s atop a stunning white stallion, holding his great golden sword aloft. Then he turns to his side, looking down at the scared teenage boy staring up at him. Jesus is looking right at Evan. It’s a look of recognition, of warning. Evan stares back, completely bewildered about what is happening around him. Then he hears the voice, that same voice from before, uttering the very same words, just to him. Not yet. JESUS
A flash back to the scene where even sees the disguised Slayer muttering. It’s the same words. JESUS (CONT’D) But soon. Soon, Evan.
108. With an powerful neigh, the horse BOLTS FORWARD, a blazing streak of white. INT. NEWSROOM - NIGHT Artie sits at his desk, trying his best to balance his composure as he reports truly unbelievable events. ARTIE LANDIS Ollie, its hard to say exactly what we’re viewing here, but there appears have been some type of incident at the police station. We’ve got conflicting reports at this time, but a number of sources are suggesting that this may be an act of terrorism. What we CAN say is that this is directly connected to the vigilante killer who was brought in just prior to this. As you may know... hold on, one moment please. Wait... is... is that a HORSE?!?! INT. VELPS HOUSE, KITCHEN - DAY Little Peter Velps playing with some trucks on the kitchen floor. An innocent little boy if there ever was one, he seems content to just sit there in his overalls all day and play with toys. The rest of the family is inside the living room, huddled around the TV, mouths agape. This is their moment. They were right the whole time. ARTIE LANDIS (offscreen) I’m a bit at a loss for words to describe what occurred last night. Details are still scarce, but we’re hearing that it could be, and trust me folks, I know how unbelievable this sounds; but some are saying it was... Just then we hear something out by the back porch. An odd clacking noise. It kinda sounds like horse hooves.
109. PETER VELPS Daddy! There’s a man in a blanket at the back door! His father’s voice comes from the other room. ED VELPS (off screen) Peter, what have I told you aboutHe stops when he walks in the kitchen and sees who is out back. IT’S JESUS. PETER VELPS He has horsies! I want the grey one! The little boy runs out back. The family slowly follows. Behind Jesus are four massive horses. They ride together, though the white one clearly leads the way. The leader of the pack is the white horse, Jesus’ steed. Its perfectly white mane shimmers in the light, reflecting the same holiness that his rider’s white garb emanates. The first of three behind it is a muscular, red mammoth of a Clydesdale. This is WAR. Its fire red complexion enhances the aggressive manner of the horse, as it kicks at the ground and snorts impatiently. An intricate saddle lays on its back, gold inlaid and armored, with a sword sheathed at the side. It immediately makes eye contact with Ed. Next to War is a dark, deep, black horse. Unlike the other horses, it doesn’t move an inch or make a sound. It just stands there, coldly staring with bottomless black eyes. With a simple saddle and a pair of scales hanging from the side, it’s soon obvious; FAMINE. Lastly is the most ghastly of them all, and the one Peter was pointing to earlier. It’s a pale, grey, and thin animal. With a skeletal head and opaque eyes, it looks on the verge of keeling over at any moment. The noise coming from its mouth isn’t a neigh, but more of a squealing whine, a sound that sends shivers down your spine, a death knell. It lowers its head to eat and the patch of grass dies. Young Peter latches onto its head and hugs it, oddly the horse nuzzles Peter back in response. A disturbing sight. PETER VELPS (CONT’D) Daddy he has a horsie for all of a us! I call this one!
110. JESUS My, you ARE a smart one. PETER VELPS His breath stinks! Peter holds his nose and giggles as he pets a harbinger of the apocalypse. Jesus lets the horse’s stirrups hang and walks over to the door, tousling lil’ Peter’s hair. Ed immediately drops to Jesus feet and weeps, but is calmed by a single touch from his Lord. JESUS Weep, not, my beloved servant. He then looks at the entire family. JESUS (CONT’D) There is much work to be done. INT. CENTER FOR ORPHANED BOYS - DAY Evan sleeps soundly, the hazardous events of yesterday making sleep the only respite. Silently a young woman appears in the doorway, she bears a striking resemblance to Evan. The eyes of a stranger upon him, he soon begins to wake up. When he realizes someone is in the doorway, he sits up immediately. Still groggy, he rubs his eyes, just to make sure what he’s seeing is real. He looks at the picture next to his bed. It’s of a woman and a small child. Clearly a mother and son. The woman in the doorway is EXACTLY the same woman in the photo. Not a day older. Evan looks at the woman, then back at the photo, then back at the woman. ....MOM? EVAN
Evan still stares in disbelief at the woman standing in the doorway. Not only has his mom miraculously appeared, but she hasn’t changed a day.
111. She walks over and sits by his bed. He reaches up and touches her, almost as if to check if she’s real. EVAN (CONT’D) What... what are you doing here? It’s been over 10 years... His mother just looks down and smiles. She starts to answer, but the current of shock on Evan’s face quickly turns to anger. He recoils from her touch and JOLTS out of the bed, keeping his distance. EVAN (CONT’D) It’s been 10 YEARS! And you come back now?!?! Where were you when I needed you! EVAN’S MOTHER My sweet boy, there’s so much I have to tell you. Leaving you was the hardest thing I’ve ever had to do in my life. Every night, I could feel your sadness, see your tears. It was almost more than I could bare. I... I didn’t expect the emotions to be so strong. EVAN If it was so hard, then why did you do it? Do you know what it’s been like, growing up by myself? Every problem, I had to face MYSELF. EVAN’S MOTHER That’s exactly why, you had to understand that pain. There was no other way for you to understand what’s it truly like to be one of them. EVAN One of who? A human. EVAN’S MOTHER
Now he’s just confused. Still across the room, his mind can’t process what’s happening right now. All he’s been through the past few days, and now this.
112. EVAN What are you talking about? You’re not... high again, are you? I remember what you were like, talking this nonsense to me. Speaking to invisible men late a night. EVAN’S MOTHER He wasn’t invisible, you saw him. You must remember. If you try to concentrate you should be able to see your past for what it truly was. Look back Evan. Remember it. Even gives his mother a suspicious look, but closes his eyes. A flash of his mother crying as she would, speaking to a dark empty room. There’s nobody else there. The memory distorts, turns hazy and suddenly the room is no longer empty. A tall figure stands in the room. He wears a helmet that covers most of his head but opens at his eyes. Red eyes, eyes that lock, peering into your very core. They begin to glow and the fear causes Evan to awake from the memory. Beads of sweat form on his forehead. Looking up at his mother, he can barely even get the question out. Who?.. EVAN
EVAN’S MOTHER Your Father. Your memories are awakening Evan. You and this Jesus’ fates are intertwined. As his purpose is realized, so to will yours. You must remember your former self, the old one that lays dormant inside you. A beat. Evanthos. EVAN’S MOTHER (CONT’D)
Evan’s eyes widen and the brown pupils begin turn auburn, and then a terrible red. An image flashes in front of him.
113. A gated hole in the ground. A hole too deep to show anything but endless black, but through the blackness the screams of countless voices in agony. A red glow begins, slowly at first, but quickly gaining until it FLASHES RED HOT FLAMES. He snaps back to reality. EVAN What was that? EVAN’S MOTHER Home, your true home. And where we will go, to see your father. Who is he? EVAN
BEN FULTON (offscreen) The devil, kid. Lucifer, the Fallen one, big bad red King of Hell, SATAN. Evan’s mother glares at Ben, his intrusion is clearly not welcome. EVAN’S MOTHER He abhors that name... Ben shrugs apologetically. BEN FULTON Baby daddy? Evan gapes at Ben. You knew? EVAN
BEN FULTON I overheard most of the conversation. And considering how my partner was gutted by Jesus Christ last night, I put 2 and 2 together. Which apparently equals six hundred and sixty six. The world’s officially shit bricks Ev, and I’m not gonna wait to see what comes next. Wherever you guys are going I’m coming. EVAN Even to... hell?
114. Ben pauses. BEN FULTON I can wait outside. A beat. BEN FULTON (CONT’D) Shane cared for you Evan, he wanted things to go well for you and since he cant be here to see that happen, I’m playing substitute mentor. EVAN’S MOTHER This trip will be hard on a human, but you may do as you wish, my only concern is Evan. Are you coming? EVAN I have a choice? EVAN’S MOTHER You father is powerful but he cannot undo free will. We ALL have a choice, what will yours be Evanthos? EVAN What is that name? EVAN’S MOTHER Your former name. Your TRUE name. The one that holds your power. My intent is to help you release it. What will it be, my beloved child? Evan looks at Ben who looks back, unsure. Taking a deep breath he walks forward. EVAN Let’s go to Hell. Evan walks out of the room first, leaving the life that made him human, to begin a life as something else entirely. EXT. CENTER FOR ORPHANED BOYS - DAY The sky darkens, an odd sight being that it’s 10 am. And if you didn’t know any better, you’d swear there was the sound of four horses neighing in the distance... - END -
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