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Within Darkness
by
Adam Johnson
3336 Spruce lane
Grapevine, TX 76051
WGA Registration # (214) 460-1526
1024634 AdamtheJohnson@hotmail.com
FADE IN:
EXT. NEW YORK CITY SKYLINE - NIGHT - RAIN
This once beautiful city has now gone to seed. Dark corners,
drastic angles, monstrous shadows everywhere. Huge,
deteriorating architecture line the tops of every building.
An enormous moon shines bright overhead, but no area is safe
from all the creeping shadows, not one inch isn't covered in
darkness.
EXT. DOWNTOWN STREET - NIGHT
The streets are nearly empty with the late hour.
A dark family-sized sedan speeds down a dark street wet with
fresh rain. The headlights and streetlamps bounce off the
slick concrete.
INT. SEDAN - DOWNTOWN - NIGHT
THE GRIFFIN FAMILY, Mom (34) and Dad (37) sit anxious in the
car as it barrels down the slick streets, along with their
daughter (6), who lies asleep in the back seat.
DAD
No, I'm telling you, we're not lost.
MOM
Really? Because these buildings
sure look familiar.
DAD
I'm taking a shortcut.
MOM
Are we on Seventh?
DAD
Seventh?
MOM
We're supposed to be on Seventh.
DAD
No, we're supposed--
MOM
--Honey--
DAD
--What?!
2.
MOM
Red light.
He looks forward and slams on his brakes, skidding to a
hasty stop on the slick streets. Their daughter stirs behind
them, swaying from the stop.
He accelerates again, but slower than before.
MOM
Let's just ask this guy for
directions. Please.
DAD
Honey, are you--
MOM
--I'm tired--
DAD
--crazy? You can't just stop in this--
MOM
--Why can't I?--
DAD
--part of town. Because you can't.
MOM
Just stop!
He slams on his brakes again, close to where a DIRTY HOBO
sits. The man quickly stands as the car stops.
DAD
(to Mom)
Lock your door.
EXT. ROOFTOP - NIGHT
Shadows everywhere.
Down below, a dark sedan stops next to a glaring-eyed hobo.
One of the shadows moves.
EXT. DOWNTOWN STREET - NIGHT
DAD
Excuse me?
HOBO
Yessir?
3.
MOM
(to Dad)
Ask him where seventh is.
DAD
(to Mom)
What? Sev-
(to Hobo)
Can you tell us which way Seventh is?
HOBO
Surely. You just go all the way
down this street until it ends, k?
The hobo starts to advance innocently as he speaks,
gesturing down the road with his out-stretched hand.
DAD
Oh, just, uh, just... stay right there.
HOBO
Then, you just turn right and-
DAD
-Could you please just stay-
HOBO
-then you gimme the keys and your
wallet.
In an instant a gun reaches through the window and pins
against the father's head.
HOBO
The misses' too.
MOM
Honey...
She looks anxiously over the seat to her daughter, still
sound asleep.
DAD
N-Now listen, just don't-
HOBO
-Hand it over.
He pulls back the hammer of the gun.
HOBO
Now.
4.
DAD
J-J-Just don't do anythin-
INT. SEDAN - NIGHT
He floors it. The car jolts forward. The hobo is caught, his
arm still inside the window. For a moment, he is dragged as
the car speeds forward.
Then the gun goes off.
A brilliant flash of red splashes across the windshield, and
the mother's gaping face. The little girl jumps out of her
sleep.
THE HOBO
loses his grip and smacks the concrete with a wet thud. He
gathers his wits and watches as the sedan continues to speed
down the wet road.
IN THE CAR
the father's head slumps back, a piece of it falls off. The
little girl, already in her mother's arms, squeezes tighter.
Without a driver the car quickly loses control and fishtails
on the slick pavement. It broadsides a streetlamp, denting
the passenger side door and wedging it shut.
EXT. STREET - NIGHT
The hobo gets to his feet as fast as he can. He takes off in
the opposite direction.
By the time he's gone the street is already soaked with the
contents of the gas tank.
The cold, wet night erupts with light and, in moments, the
rear half of the car is quickly engulfed in flames.
INT. BURNING SEDAN - NIGHT
The fire quickly crawls its way towards the mother and her
daughter, as they clutch each other tightly. The mother
struggles to open the door but it's stuck.
The flames lick at their flesh. Suddenly, the loud groaning
of metal drowns out the noise of the flames, as the door
outside is twisted and stretched. With one final sound of
solid steel being mangled beyond capacity the door they
cower against suddenly flies open, ripped off its hinges.
5.
The only thing visible amidst all the smoke is the FLAME-
LACED SILHOUETTE of a large hooded figure. His face is
covered in shadow, impossible to make out.
Two gloved hands reach inside the car.
EXT. DOWNTOWN STREET - NIGHT
The shadowed figure pulls them both from the car and drags
them onto the street, safe from the flames.
The mother collapses onto the pavement. The figure sets the
child down carefully in her arms. They look up at him, as he
stands powerfully over them.
Flames shimmer off the wet edges of his black leather
trenchcoat, one that flows nearly to the ground. And, even
with all the firelight, most of his face is hidden under a
veil of shadow cast from the hood of the coat. They can't
see his eyes, but he's looking at them.
A crowd quickly forms. A woman nearby screams. The remnants
of the Griffin family look out at the crowd for an instant,
as the growing mass of people stand in disbelief at the
destruction. When the Griffins turn back to the CLOAKED
FIGURE, he is gone.
As the crowd continues to gather quickly, the mother and her
daughter can only clutch each other on the wet street. Their
ashen faces watch as their dead father and husband is
engulfed in flames.
EXT. ABANDONED CATHEDRAL - NIGHT
A darkly ornate Gothic anomaly; an old City Cathedral, once
grand, long since boarded up.
Powerful boots crunch on gravel far down below, getting closer.
INT. ABANDONED CATHEDRAL, BACK ROOM (BEDROOM) - NIGHT
The figure in black stands shrouded in darkness. There are
no lights. There is no sound. He peels the coat off his
soaking wet body, leaving only a black tanktop.
He tosses it carelessly on the table.
INT. ABANDONED CATHEDRAL, LIVING AREA - NIGHT
The living area has a torn up couch in the center. The room
doubles as a workshop, which is on the opposite end. The
figure enters from the dark bedroom, into the light-filled
living area. At last he leaves the darkness. His PORT
AUTHORITY POLICE hat still struggles to hide his face in shadow.
6.
The man is 44 years old, years that have taken their toll.
Though his face is lined with wrinkles and what little hair
he has left has long since begun to gray, it's apparent that
his years have brought wisdom, strength, and a figure carved
of stone. His shoulders are broad; his arms, enormous. The
grooves of his muscles go deep, proving his years as a gym-
junkie. Every muscle bulges with strength, not toned to
perfection - a body built on power.
His eyes are sad.
He plops his weary body on the couch. He unbuttons the top
button on his pants and lifts a beer to his lips.
He is DYLAN DANDRIDGE.
EXT. DOWNTOWN STREET, CRIME SCENE - NIGHT
The same dark street buzzes with police cars, ambulances,
officers.
In the distance the charred remains of the sedan are still
wrapped around the pole. The fire truck stays close, ready
to put out anything that flickers.
DETECTIVE JOHN MURDOCK, 30's, tough-looking like a 1940's
cop, walks the line, examining the busy scene.
Mrs. Griffin sits in the back of the open ambulance.
MRS. GRIFFIN
--no, I'm telling you, he tore the
door off. Please, can I just see my
husband?!
John walks right past her sobbing face.
OFFICER TOM McKEE, a uniform, runs up to John.
MCKEE
Detective Murdock!
McKee catches up to Murdock.
MCKEE
Chief Husselbeck is going to call a
news conference in the morning. He
wants you to speak.
He stops, looks over the scene.
MCKEE
What happened here, John?
7.
JOHN
Detective.
John walks up to the charred wreckage. The coroner wheels
off a black body bag, a full body bag.
John squats down in front of the burnt automobile, getting a
closer look.
JOHN
What'd she say she saw?
MCKEE
A man in a cloak saved them.
(beat)
Didn't save the husband though.
JOHN
Can't save 'em all, McKee.
The door of the sedan is the only thing left relatively un-
burnt. It lies several feet from the mangled piece of black
steel that was once the Griffin family car.
The hinges have been ripped off. There are two hand-sized
dents in the top and bottom of the door.
INT. DINER - NIGHT
STEPHEN JOHNSON, early 20's, sits with a group of his
buddies in a booth near the window. He is oblivious to their
conversation.
BILLY, heads the conversation, Stephen's other friend, JIM,
listens intently.
BILLY
(excited whisper)
So, there they were, with no
clothes on!
JIM
What'd you do?
BILLY
What are you talkin'?! I joined in.
Stephen stares absently across the Diner during the entire
story.
STEPHEN
Hey, guys, I think I'll be right back.
8.
BILLY
Where you going?
STEPHEN
I said I'll be back.
A tired-looking woman in her 30's, wearing the same waitress'
outfit as all the other female employees, sits cupping a mug
of coffee between two hands in a back booth. Her name tag
reads - LISA.
Stephen slowly walks over to her as she stares blankly into
her cup.
STEPHEN
Miss?
She looks up at him, out of her daze.
LISA
I'm sorry. I'm on my break.
STEPHEN
Oh, no. I just wanted to... talk.
To you.
Stephen's friends have finally shut up. They just watch him.
LISA
I'm sorry, uh... What's your name?
STEPHEN
Stephen.
LISA
I'm sorry, Stephen. I just want to
drink my coffee.
Stephen quickly sits down in the row across from her.
STEPHEN
It's not a big deal, you know.
LISA
What isn't?
STEPHEN
The age thing. I personally don't
mind it at all.
LISA
I'm not that bad, am I?
9.
STEPHEN
Oh, no... I just meant--
He looks to his friends.
BILLY AND JIM
cringe in their seats at his definition of flirting.
LISA
Just how old do you think I am?
STEPHEN
No, I-- Look, just let me buy you
some-
(sees coffee)
Coffee...
(beat)
How 'bout some food?
LISA
I'm good.
STEPHEN
Look, I just wanted to talk to you
because--
LISA
You don't quit, do you?
STEPHEN
Because I thought you were really
pretty.
LISA
Better.
STEPHEN
But, I guess that's not why I
really came over.
LISA
Why did you then?
STEPHEN
There was something... You seem
so... so sad.
LISA
(serious now)
What?
10.
STEPHEN
I couldn't stop looking at you. I
mean, you weren't really doing much,
you were just staring at that
coffee mug and--
LISA
Not the mug.
He looks down. She taps her gold wedding ring against the
porcelain mug.
STEPHEN
Oh...
LISA
Sorry, kid.
He shifts uncomfortably in his chair.
LISA
Try it on some girl your own age.
The nervous thing might work.
INT. DINER CHANGING ROOM - SHIFT CHANGE (EARLY MORNING)
A poorly lit changing room. A row of ugly lime-green lockers
line the walls. A wooden bench divides the rows.
Lisa opens the locker with her name etched on the front.
She looks inside. On the inside of the door is a small
mirror, she catches her reflection.
She really does look awful, aged beyond her years.
Lisa focuses on the back of her locker, just barely visible
is a picture of a MAN - her HUSBAND.
She just stares at it for a moment, unable to take her eyes
off the picture.
Lisa slams the locker door shut. And leaves.
INT. NEWS CONFERENCE - MORNING
The crest of the NYPD fills the back wall of the small room.
A podium, with the same crest, stands before a crowd of
people and reporters, all buzzing with inquiries.
POLICE CHIEF FRANK HUSSELBECK stands already at the podium,
speaking to the audience.
11.
HUSSELBECK
--No, I can assure you that this
city is still safe enough to walk
the streets at night.
(beat)
It is true, however, that this city
and the word 'crime' have been
synonymous with one another for
many years now. I assure you that
this city is now in a state of
rebuilding. I'm tired of seeing
families afraid, I'm tired of
seeing hundreds of murders a year
going unsolved, I'm tired of this
city being a place where criminals
harbor ill-deterred by authority,
but, most of all, I'm tired of this
city being a place of unhappiness.
(beat)
New York City is about to be in its
second age, one of happiness,
security and, above all, peace. I
assure you of that.
Chief Husselbeck sits down at a long table next to the
podium. Another man, Murdock, stands and steps to the podium.
ANNOUNCER (O.S.)
If we could please begin with the
questions regarding the other
matters of this conference.
With Murdock ready at the podium,
REPORTER 1
Who was involved in the accident
early this morning?
JOHN
The Griffin Family, family of three.
And one unidentified individual.
But, I'm sure you've all already
read the morning papers.
There is a small chuckle amidst the crowd of reporters. The
green reporter, shamed, takes a seat.
ANOTHER REPORTER, REESE (32), stands. John motions for him
to speak.
REESE
The father was killed, correct?
12.
JOHN
Yes, the father was killed. Next
question?
REPORTER 3 stands, not waiting for Reese to even sit down.
But the man is interrupted before he can even begin.
REESE
Excuse me? Excuse me?
(with their attention)
And how were the two women saved?
JOHN
That would be due to the actions of
the unknown individual. Please,
next series.
Reporter 3 picks up where he left off. Reese still doesn't sit.
REPORTER 3
Are you at all concerned with the
rising crime rates?
JOHN
Yes, I am concerned and let me tell
you why. Criminals are going
uncontested in this city. And it's
going to stop. For the past month
we've been--
REESE
Excuse me? Excuse me, I wasn't
finished.
ANNOUNCER (O.S.)
Mr. Reese, Mr. White still has the
floor!
JOHN
No, no, it's alright.
(to Reese)
Ask your question so we may move on,
please.
REESE
Thank you. I was merely curious to
your thoughts about this unknown
individual, the one the witness
claims as being "An angel cloaked
in black."
JOHN
The individual was being a good
samaritan, nothing more.
13.
As he tries to move on,
REESE
What about the other reports, sir?
JOHN
Other reports?
REESE
I checked the police files for the
past month --
JOHN
-- Reese, those are closed police
files. You know you're not supposed--
REESE
There have been twelve reports of
"a creature of the night." "A man
in a trenchcoat." "A man with no
face." And, now, "An angel cloaked
in black." And there have been more
and more and more reports dating as
far back as twenty years!
He holds out his tape recorder as if awaiting an answer. All
the other reporters that were once looking at him now turn
their gaze to John Murdock. Their tape recorders rise.
JOHN
There is no man in black, I assure you.
REESE
(sarcastic)
Assurances?
JOHN
I have to check the files, but I
cannot recall any significant
instance of this "Man in black"
that you speak of.
(beat)
Jesus Christ. There was a huge car
wreck, lots of commotion. There's
no doubt that someone must've heard
it and rushed to their aid. Hell,
it could've been the same damn hobo
that put the bullet in the father's
head!
(beat)
Thank you, but I think that's all
the time I have. If you'll excuse me.
He walks off the stage.
14.
ANNOUNCER (O.S.)
Detective John Murdock.
The room explodes with a flurry of questions. John leaves
through the back.
INT. COMMISSIONER'S OFFICE - DAY
Chief Husselbeck and four other detectives, one of them John,
stand in the lavishly decorated office of POLICE COMMISSIONER
LOU KOWOLSKI.
HUSSELBECK
Goddamn that little fucker! What's
his name?!
JOHN
Reese.
HUSSELBECK
Now the public is gonna be in a
frenzy over all this. I mean, it
was just a mugging, but now...
(beat)
Does he just hate me or something?
Did I throw him in jail for being
such a dickhead? He's always two
feet behind me!
DETECTIVE KEANE, more of a yes-man than a Detective, agrees
with the Chief.
KEANE
Yes, sir, he is.
JOHN
He's also a terrible reporter.
There were actually thirteen cases.
HUSSELBECK
What do you think, John?
JOHN
I think we have a double homicide.
Beyond that, I find it hard to
believe the connection between
these two and the other eleven. One
man couldn't do all that.
OFFICER WILLIS enters.
WILLIS
Heads up. Commissioner's on his way,
fellas.
15.
HUSSELBECK
If the media somehow links these
together the whole news industry is
gonna go apeshit.
JOHN
If he's real, I don't see why they
shouldn't know.
HUSSELBECK
They shouldn't know because we
don't really know. We won't be able
to give them the information they
want and that will cause a near
panic. the streets we depend on so
highly for business will empty.
Before long, we'll have a mob out
hunting HIM.
JOHN
Still no leads, I gather.
HUSSELBECK
All we know is what we've been told.
He wears a Port Authority cap, but
no one matches the MO. He must'a
picked it up at a Gift Shop or
something. Between that and the
huge black trenchcoat we got
nothin'.
(beat)
No one has seen his face. He
disappears before we can even get
close. And he leaves a trail of
bodies wherever he goes.
JOHN
Well, with all due respect Frank,
look at who's been on the hit list.
HUSSELBECK
All scum, I know.
JOHN
He's taking out crooks before they
even get to finish their first job.
HUSSELBECK
Helping victims before they're
victims, I've heard this shit
before.
(MORE)
16.
HUSSELBECK (CONT'D)
(beat)
Some of the men he's killed weren't
hurting anybody. They had families,
kids. They were members of society.
JOHN
But is that the point? He's taken
out thirteen this month. How many
have we?
HUSSELBECK
He kills innocent men, night after
night.
JOHN
How do we know that?
HUSSELBECK
What?
JOHN
That they were innocent.
HUSSELBECK
Why are you backing him up?
The Commissioner walks in, in a nice dress suit, old, yet
still powerful looking, around sixty.
HUSSELBECK
Lou, how are you?
COMMISSIONER KOWOLSKI
Fine, Frank, fine. But I hear we
have some trouble today.
JOHN
Not really, sir. Reese is poking
his nose around again, but nothing
we can't chalk up to coincidence.
COMMISSIONER KOWOLSKI
John. How are you, sonny?
JOHN
I'm doing good. Just be glad when
this vigilante killer's off the
streets.
COMMISSIONER KOWOLSKI
(smiling)
I hear he only kills 'bad guys.'
17.
HUSSELBECK
It would seem so, sir. For the most
part, as we can tell.
COMMISSIONER KOWOLSKI
Why the manhunt then? This city has
seen better days and I appreciate
any help we can get.
He walks over to his chair and sits down. He lights up a
cigarette.
COMMISSIONER KOWOLSKI
The world is designed to save
people that live in the day. It's
the time when we all see clearly.
At night it's different, we're
blind. That's why there are men
like you, John, to help people when
they get caught in darkness.
He takes a puff from his pipe.
COMMISSIONER KOWOLSKI
But us cops have a certain
limitation. We respond to calls,
calls that have been given after
the fact, after the crime. This man,
what do they call him?
JOHN
The Man in Black.
COMMISSIONER KOWOLSKI
This Man in Black helps people
before they need it. Helps them
long before we could. In ways that
we can't. In the dark. In the quiet.
HUSSELBECK
Lou, if you don't mind my saying--!
COMMISSIONER KOWOLSKI
Frank, please, no yelling in my office.
The Commissioner stands up.
COMMISSIONER KOWOLSKI
Just see that this all gets taken
care of. Bring him in, but in one
piece.
(beat)
I'd like to meet this man.
18.
EXT. DINER - EVENING
Lisa finally leaves work. She walks out the retro diner door.
One of her co-workers, GINGER, younger, rushes out after her.
GINGER
Hey, Lisa!
Lisa stops and turns.
GINGER
Wait up, would ya?
LISA
I am waiting.
Together, they walk towards the parking lot.
GINGER
Hey. How was your day?
LISA
(curious)
Alright, I guess.
She looks at Ginger, she knows something.
LISA
Alright. Horrible.
GINGER
Anything interesting happen today?
LISA
No. What are you going on about?
GINGER
He gave me his number to give to you--
LISA
Oh, Jesus Chri--
GINGER
He wants you to call him. He said
he's sorry about what he said and
he wants to buy you dinner to make
up for it. Not at this place he said.
She hands Lisa the small piece of paper with his number on it.
GINGER
So, uh, what'd he say?
19.
LISA
He said I looked old. Old and sad.
GINGER
Ouch! That's gonna be one big dinner.
LISA
Now who said I was going?
GINGER
Why not? He's a cutie pie.
LISA
Why don't you go out with him?
GINGER
No way, honey. I like my men mature.
LISA
Wealthy, you mean.
GINGER
Ok, that's not wrong. But, come on!
He seemed really sweet. He was
probably just nervous because of
your stark, raving good looks.
Maturity is a big turn on for guys.
LISA
(sarcastic)
That's sweet. Really, it is.
(beat)
I'm a married woman, Ginger.
Ginger stops dead in her tracks.
LISA
(calling back)
See you tomorrow.
GINGER
(stunned)
Yeah...
INT. JOHN'S APARTMENT COMPLEX - LATE AFTERNOON
John enters through the stairwell door. He looks tired from
a long day.
He starts the long trek up the stairs.
Past the first flight. MRS. KENT, elderly, comes out of her
room upon the noise, relieved when she sees it's John.
20.
MRS. KENT
Oh, hi there Johnny.
JOHN
Hi, Mrs. K. How's the ulcer?
MRS. KENT
Going in to have it looked at
tomorra. Work okay, today?
JOHN
Just some dramatics. Everything's
fine. See you tomorrow.
MRS. KENT
Alrighty.
He goes up another flight. YVETTE stands in the doorway to
her apartment, wearing only a sensuous piece of lingerie.
YVETTE
Mr. Murdock.
He almost missed her.
JOHN
Yvette, hi...
She holds up a pair of handcuffs.
YVETTE
I got some of my own this time.
Continuing up the stairs.
JOHN
See you later, Yvette.
YVETTE
After John is gone,
YVETTE
Aw, shoot.
JOHN
Continues up to his apartment.
He finally makes it to his door. He opens it, already
starting to take off his tie.
21.
INT. JOHN'S APARTMENT - CONTINUOUS
It's pitch black inside. John turns on the kitchen light.
The wall surrounding the kitchen shields the living room
from any light.
He tosses his tie onto the counter. He starts to roll up his
sleeves.
He goes into
THE LIVING ROOM
He casually flips on the light switch, illuminating his
entire apartment.
The first thing visible is ALICIA, 8 years old, tied to a
wooden chair in the very center of his den. She's been there,
crying, for days.
John is oblivious to her pain. He begins to unbutton his shirt.
JOHN
Work was horrible. Reese is at it
again.
He talks to her as though he were telling his wife about his
day.
He goes over to her, stands over her. He undoes the first
few buttons of her shirt.
JOHN
I need some relief.
He unbuttons her pants.
He straddles her legs, sits on her lap, facing her.
He reaches up and pulls the cord on the light.
The room goes black once again.
All that's left are muffled sobs.
EXT. STREET - NIGHT
Lisa walks home. It's grown dark.
It's cold, she pulls her coat tighter. Steam leaps from her
lips.
A homeless man skulks beside a dumpster in a big, black coat.
A cap covers his cowered face even more by shadows.
22.
He doesn't even move as she slowly walks by him.
She can only stare at him as she walks past. He never looks
up. His face is never seen.
Before her gaze can fix forward again another man, DIRTY,
with rags for clothes, steps in front of her.
Lisa gasps, the breath leaps from her mouth. The stranger in
front of her only smiles.
LISA
Excuse me!
She takes a step to the side, trying to go around, but he
matches her step, staying directly in front of her.
She doesn't see the gun pointed right in her belly.
DIRTY MAN
Do yourself a favor - don't scream.
Now gimme the purse.
LISA
I like this purse!
DIRTY MAN
Lady,
He cocks the gun directly in her face.
DIRTY MAN
I suggest you shut the fuck up and
hand over the damn purse. Now.
The MUGGER grabs at her bag, but she refuses to relinquish
it, struggling to get it back and run off.
Lisa's neck is struck from behind, she falls forward and
slams her head into the alley wall. She rolls over and leans
against the wall to stay awake.
MUGGER
Jesus!
MUGGER 2
You wanna get a decent score for a
change, or do you just wanna keep
starvin' and beggin' for one measly
fuckin' dollar?
MUGGER
I had it under control!
23.
MUGGER 2
Not from where I was. If guys like
you and me are gonna get what we
want we're just gonna have to take it.
MUGGER
You didn't have to pistol-whip her
fuckin' head man, you shouldn'ta --
MUGGER 2
Shut up.
(raising his gun)
It ain't gonna matter in a sec anyway.
MUGGER
Hey man! What the fuck are you
doin'?! We got her purse! Let's
just get the fuck outta here!
MUGGER 2
She saw your face.
MUGGER
Look at her, man! She is un-fuckin'-
conscious! Ok?
MUGGER 2
She still saw you. She'll go to the
cops.
MUGGER
At least grab the purse from her
first. I don't fancy spending the
next week getting waitress out of
the material.
He doesn't say anything.
MUGGER
Come on, man. You probably jangle-
fucked her brain up anyhow. She
won't remember shit. Let's just go!
He simply cocks the pistol, pointed straight at Lisa.
A flash of black. The sound of moving leather.
The resolve fades from his face, replaced instantly by fear.
A MASS OF BLACK lands silently behind them. In an instant,
the second mugger's neck is broken.
Before he can even react a boot collapses the first mugger's
abdomen. He buckles over on his knees instantly.
24.
The mugger looks up on his knees in pain. And fear. A direct
side-front kick slams his head into the brick wall,
plastering blood all over. He falls onto his face, out
before he even hits the ground.
POV -- LISA
Her eyes are blurred. All that she can make out is a dark
figure, standing in front of her, a dark cap on his head,
looking down. She can't see his face.
The sound of his leather coat flaps in the wind. The sound
slowly echoes out as she fades into darkness.
DISSOLVE TO:
TELEVISION SCREEN
The news is on. STEVE, professional, and DIANE, sexy, but
conservative, are the anchors. The broadcast is already in
progress.
STEVE (T.V.)
--Commissioner Kowolski and The
Mayor both have assured this city
that changes are on the way. With
the crime rates and the missing
children rates both at all-time
highs the city is ready for them.
Meanwhile, neither one of them seem
to be slowing any time soon.
DIANE (T.V.)
On a related note, another small
girl has gone missing. Alicia
Howlett, who only just turned eight
last week, was reported missing two
days ago. The police suspect foul
play, but say with crime as high as
it is there is no guarantee they
can commence a complete investigation.
Pull back, out of the T.V. to
INT. COMMISSIONER'S OFFICE - NIGHT
Lou shuts off the screen. MAYOR PERRY, also around sixty,
stands with him.
MAYOR PERRY
Look at them. Trying to drag me
into this mess.
25.
COMMISSIONER KOWOLSKI
It's our mess. A fine one at that.
MAYOR PERRY
I can't remember when things were
this bad. People are afraid to
leave their homes, Lou. It's a war
zone.
(beat)
How did it come to this?
Lou sits in a fancy leather chair.
COMMISSIONER KOWOLSKI
There aren't enough officers out
there. And since the businesses
started to leave, I can't afford to
put any more on the street.
MAYOR PERRY
I can't run my city without cops on
the street.
(beat)
Are we completely without allies on
this one?
COMMISSIONER KOWOLSKI
Who do you mean?
MAYOR PERRY
You know who I mean.
COMMISSIONER KOWOLSKI
Aw, come on, Dan! You know I don't
really believe that bullshit. He's
a fairy tale, a fabrication! Like
the boogeyman, to scare crooks off
the street. How do you think Reese
had those files?
MAYOR PERRY
Are you saying the newspaper is
inventing this?
(beat)
But aren't the reports real?
COMMISSIONER KOWOLSKI
Yes, they're real. But trust me
when I say they are much more vague
than Reese leads everyone to believe.
MAYOR PERRY
Still, that's an awful big
coincidence. Twelve sight--
26.
COMMISSIONER KOWOLSKI
Thirteen.
MAYOR PERRY
Thirteen sightings of this man.
COMMISSIONER KOWOLSKI
We're still not sure if it's only one.
MAYOR PERRY
So, you ARE running an investigation?
COMMISSIONER KOWOLSKI
Same thing we do with the rest of
the murderers in this town.
(beat)
If he's out there, sooner or later
we're gonna catch him. For now,
it's keeping them afraid.
MAYOR PERRY
And if you don't catch him? If you
can't?
COMMISSIONER KOWOLSKI
Then God help the man who goes to
war against this town.
EXT. POLICE STATION ENTRANCE - DAY
John Murdock walks the steps to the entrance.
The Station is at the heart of the dilapidated city, an
ancient building now crumbling from time. Even now, at the
height of day, the city seems dark.
A mob of parents crowd the steps to the entrance. They are
all in an uproar over something.
MOTHER 1
Find my children!
FATHER 1
Fix this city!
All of them yell similar shouts.
JOHN
People! Quiet down!
The noise calms, but does nothing more.
27.
JOHN
We are doing the best we can. I
know you miss your children. I know
you want justice. But with the city
the way it is we are doing all we
can just to keep it livable.
FATHER 2
That's not good enough!
The crowd frenzies again. Other officers have to hold them back.
One WOMAN breaks past the security built around the entrance
and rushes up to John. She flashes a piece of paper in front
of him.
It's a picture.
WOMAN
Please! Find my daughter! I know
she was taken, but no one seems to
care!
The picture is of Alicia, in happier days.
John gets nervous, his demeanor sullens.
WOMAN
(crying)
Please, find my Alicia.
The security catches up to the woman, slowly pulls her back
down.
WOMAN
Please, help me. She misses me.
She still holds the picture out in front of her.
John takes it.
JOHN
I - I'll do--
JOHN'S POCKET
As he slides the picture in,
JOHN
I'll do what I can.
The woman is carted off, still crying hysterically.
John enters the Police Station.
28.
INT. ABANDONED CATHEDRAL, BACK ROOM - NIGHT
Lisa's eyes slowly open. There is a constant, repetitive
clanking sound somewhere in the distance.
She snaps, realizing she doesn't know where she is. She
looks around. She's in a bed, messy, wrinkled.
The bed is in some small, dark room. A heavy black curtain
covers the only window nearby. The clanking sound continues,
metal banging against itself.
She climbs to the foot of the bed. Her head suddenly erupts
from inside. She gasps, holds it, the wound still tender
from earlier.
She carefully stands up. And walks on shaky legs out of the
room.
INT. ABANDONED CATHEDRAL, NAVE - CONTINUOUS
What she sees she didn't expect. The Nave, the central room
of the church. But it's all in terrible condition. The rows
and rows of crumbling, falling pews. The altar at the front.
A tilted statue of the crucifix at the head. Cobwebs
everywhere. It's more of hell than church.
She takes a few steps out, bewildered.
Still the clanking continues. She follows the sound.
She follows it to another door, a basement door.
INT. ABANDONED CATHEDRAL, BASEMENT - CONTINUOUS
Immediately the sound is louder.
She carefully treks down the rotten wood staircase, not
making a sound. The sound in the basement is now completely
clear. Someone is working out.
The sound stops. After a moment, the weights drop hard to
the concrete floor.
Lisa, incredibly hesitant, tries to peer into the basement
below, but her view is blocked by the floor itself of the
room above her. She stops, waits.
There is another commotion she can't see. The struggling of
muscles. She starts down the steps again, slower and more
quietly than before. She aligns her footsteps with the
sounds of exertion to hide them.
29.
As she heads down the stairs the room comes into view. It's
incredibly dark, a basement with no lights except the tiny
slivers peering through the tiny basement windows.
She sees the enormous barbell on the ground, as well as some
other workout equipment. Pommel horse. Gymnast rings.
Punching bag. Elaborate set of weights. And others.
As she continues down she begins to see movement, difficult
to make out in the dark basement. She reaches the bottom of
the steps.
There is a chin-up bar. A man, Dylan, is doing chin-ups.
Never pausing. He makes it look easy.
Lisa doesn't move. Doesn't breathe. Just watches.
He wears a black tanktop tee. And dark pants. Between those
and the shadows of the basement not much of his body can be
seen.
The shadows caress the grooves of his muscles, highlighting
them, accentuating his deep muscle grooves. And a few scars
on his arms and chest that aren't covered by his tanktop.
Shadows hide his face as well.
He suddenly stops, sensing something. He hangs there, turns
his head towards her the slightest bit. And lets go.
He reaches for a nearby towel, his back turned to her.
DYLAN
You should get home.
(beat)
They won't be troubling you again.
LISA
Where am I?
DYLAN
My home.
She takes a few steps closer.
LISA
This... this is where you live?
He feels her getting closer. He puts the towel down and
steps past a shadow into darkness. He might be facing her,
but it's too dark to tell.
LISA
It's a church.
30.
DYLAN
It's safe. Quiet.
She keeps advancing. He takes another step back.
LISA
Why are you hiding from me?
DYLAN
Perhaps you should go.
LISA
Why?
Dylan moves in the darkness. He walks over to a work table,
where his coat has been laid out. He rubs a substance into
his coat so that it no longer reflects light, making it even
blacker than before.
DYLAN
Time does not permit you to stay.
It's late. And I have to go to work.
LISA
Who are you?
He doesn't answer. He doesn't even stop what he's doing.
She sees the dark coat under his hands. She recognizes it.
LISA
Wait. That was you. In the alley.
DYLAN
Yes.
LISA
Thank you.
Dylan says nothing.
LISA
What are you do--
DYLAN
Please.
He stops. Throws his coat on. Now he's practically invisible.
DYLAN
It's time you leave.
She looks stunned, saddened.
31.
LISA
Okay.
She turns for the stairs.
LISA
But thank you... I don't know what--
She turns back to see him.
But he's gone. Not a trace. Not a shadow.
She accepts it. And heads up the stairs.
EXT. CITY STREET - NIGHT
A somewhat ELDERLY WOMAN walks along the sidewalk outside a
series of apartment complexes.
A MUGGER suddenly jumps out after her. He yanks away the
purse at her hip and runs off. She screams for help, but no
one even notices.
EXT. CITY STREET ROOFTOP - NIGHT
Dylan stands, in close to the same position as before,
overlooking the street below. He watches as the mugger runs
down the street. Unmoving. Uncaring.
EXT. CITY STREET - NIGHT
Lisa rounds a corner just as the mugger rushes past her,
digging in his newly acquired purse. She doesn't take notice,
she simply digs in her own purse.
She walks up the few short steps to the door of the
apartment complex. She pulls out the keys from her purse and
enters.
EXT. CITY STREET ROOFTOP - NIGHT
The rooftop is empty.
INT. LISA'S APARTMENT - NIGHT
The lock turns and the door opens. Lisa enters her home.
She tosses the set of keys onto a table near the doorway and
walks away. On the table are several framed pictures. Most
of them are of a man, her husband. In some he is alone.
Others he and Lisa are locked in an embrace. There's even
one from their wedding.
32.
INT. LISA'S BEDROOM - CONTINUOUS - NIGHT
Lisa walks into her master bedroom. A king-size bed fills
almost the entire space. More pictures. Stark, heavy shadows
everywhere.
She flips on the light, breaking the darkness. She slowly
walks in and sits calmly on the edge of her bed.
She begins to cry.
EXT. LISA'S APARTMENT BUILDING
Dylan stands outside her building, his coat unbuttoned, his
hood taken down, looking up at her window.
The light in her room suddenly shuts off.
Dylan begins to walk down the sidewalk.
Just as he does, the Heavens open, rain pours all over him.
He doesn't even bother to pull on his hood. He just keeps
walking, until he reaches the
ELECTRONICS STORE
In the window are nearly a dozen different makes and models,
all with the same thing on. The News.
Dylan stops. And watches the broadcast through the window,
standing there, in the rain.
NEWSCASTER (T.V.)
Now here's what's going on in your
neck of the woods.
The theme song plays.
STEVE (T.V.)
Hello, and welcome to WPIX 11, here
with your latest News update.
Police are still unable to locate
the whereabouts of 8 year-old
Alicia Howlett who went missing 3
days ago. Police suspect that the
girl may be dead. This is just
another incident in the long list
of missing children in the last few
months.
(MORE)
33.
STEVE (T.V.; CONT'D)
Although Police have not yet been
able to deter the escalating
missing children rates they do say
that new programs are going into
effect soon, which should put to
rest the worries of every parent in
New York City.
Dylan doesn't move. He just stands there, as the rain
patters off his balding head.
INT. LISA'S APARTMENT - LATER THAT NIGHT
Lisa lies in bed, a crumpled mass of sheets.
She stirs and sits up. She looks around, realizing she's
still alone.
She climbs out of the bed, in her pajamas.
She goes into the kitchen and quickly comes back with a cup
of coffee.
Lisa walks over to the window near her bed, the shades open
to the dark world outside. She crosses her arms and just
watches.
A siren advances closer and the flashing red and blue lights
of a police cruiser pass along the street, just out of her view.
She turns around, still with her arms crossed, and stares at
something across the room. She taps her wedding ring on the mug.
Lisa turns and walks away from the window. She sets the
coffee mug next to the object she was staring at - the
picture of her husband.
She returns and heads for the door as she pulls on her coat
and fumbles for her keys.
INT. ABANDONED CATHEDRAL - NIGHT
There is a timid knock on the front door that still manages
to echo through the gutted church. The door slowly swings
open and Lisa sticks her head in. She looks around, before
she enters completely.
LISA
Hello?
Her voice echoes throughout the deserted church, despite the
near whisper in her voice.
34.
INT. ABANDONED CATHEDRAL, BACK ROOM - NIGHT
She walks into Dylan's bedroom. He isn't there.
INT. ABANDONED CATHEDRAL, BASEMENT - NIGHT
She walks down the rickety steps to the basement. It's empty
as well.
She is alone.
LISA
Great.
EXT. ALLEY BEHIND APARTMENTS - NIGHT
Dylan, with his gear on, walks slowly down a dark alleyway
behind an apartment complex in a bad part of town.
He pulls down the fire escape ladder and heads up, slowly,
casually, like he's done it a thousand times. He walks in
this deliberate pace, all the way to the roof.
EXT. ROOF - CONTINUOUS - NIGHT
He hops over the ledge onto the roof. The gravel crunches
under his boots.
He walks to the edge and looks over. Again, he walks slowly,
almost bored.
Near the edge of the roof he hears voices, whispers. He
peers over.
IN THE STREET
A stout cop by the name of MUSKOWITZ, and a YOUNG MAN in a
business suit look around in opposite directions, trying to
appear casual.
From here, Dylan is nothing but a silhouette, crouched
against the ledge of the roof some stories above.
The young man in the suit hands the short, fat cop a paper-
sack full of money. Clearly, this isn't the first time
they've done this.
They both walk off without saying a word.
DISSOLVE TO:
35.
EXT. ANOTHER ROOF - NIGHT
Dylan jumps from one roof to the next. There is no gap
between them, only a ten foot drop.
He takes the fall walking, never losing stride after he
lands. His leather coat slaps against the back of his pants.
DISSOLVE TO:
EXT. FIRE ESCAPE - NIGHT
The steps to the fire escape creak down and Dylan steps off,
into the alley below.
DISSOLVE TO:
INT. MURDER SCENE - NIGHT
The door to the dark apartment opens without a sound,
tearing the yellow police tape. Dylan silently steps into
the apartment, his coat sways with him as he walks.
He casts a broad silhouette over the entire room.
He peers down, at the huge blood stain on the carpet. And
the chalk outline of a body.
He walks around it, examining it.
After a few moments he bends down and picks up a few stray
hairs that someone must have missed.
DISSOLVE TO:
EXT. BEHIND BUILDING - NIGHT
A TEENAGE KID is pushed and falls to the wet concrete. He
gets up and runs off as fast as he can. Fear fills his face
as he turns and looks back as he runs.
Dylan watches him run. Then turns and walks the other way.
He digs inside a brown wallet. After he takes out what
little cash there is, he tosses it over his shoulder. An ID
of the kid inside.
He passes by a green dumpster. Without stopping, or looking,
he tosses a handgun in.
INT. ABANDONED CATHEDRAL, BACK ROOM
Lisa sits on the edge of Dylan's bed, trying to waste the
time away.
36.
Something catches her eye - on the table at the other end of
the room. The pictures.
The first picture is of a WOMAN, beautiful, in her 30's.
She sets it down and picks up another picture, this one of a
YOUNG BOY. Maybe five years old. She just stares at it, with
a curious look on her face. She caresses the frame.
DYLAN (O.S.)
What are you doing?
She jumps in fright and drops the picture. The glass shatters.
Lisa turns to see Dylan, his hood down, covered in wet dew
from the cold night, seeing him for the first time.
DYLAN
What are you doing here? I told you
to go home.
Dylan bends down slowly and brushes broken glass off the
picture. He picks it up and puts it back in its spot on the
mantle.
LISA
I did. I went home.
DYLAN
You should have stayed there.
LISA
I'm sorry. I was... afraid.
DYLAN
You broke into my home. Went
through my things.
LISA
I didn't feel safe there!
He takes a breath. Calms down.
DYLAN
And your husband?
The question stops her. She looks at her wedding band.
LISA
He's not home... most of the time.
For a long moment, neither of them says anything.
37.
DYLAN
This place is no haven.
LISA
It'll do.
INT. ABANDONED CATHEDRAL - BASEMENT - NIGHT
Lisa sits at a table on the other end of the large room.
Boots, a bullet-proof vest, and different caps litter the table.
Dylan sits at a table covered in documents. His coat lies on
the table next to him.
Lisa fumbles through his things.
LISA
How do you pay for all this?
DYLAN
I keep what I find.
LISA
Oh, so you're a crook too.
DYLAN
I steal from thieves, so I can help
those they stole from.
For a long time there is silence. Dylan is busy with the
documents on his paper, reading, comparing.
LISA
Who were those people in the pictures?
DYLAN
Just some people... from a long
time ago.
She handles the vest, feels its weight. She puts it down and
looks across the room, at the weight area.
Numerous devices, but as low-tech as can be. Poles in the
wall, ancient weight sets.
She turns her attention away and stares at Dylan's coat,
hanging from one of the poles. It's worn beyond belief,
destroyed by a lifetime of overuse.
LISA
Who are you?
DYLAN
Don't.
38.
LISA
What?
DYLAN
Don't... ask me that.
LISA
I don't even know your name.
DYLAN
Sometimes even a name can be too much.
LISA
I just thought--
DYLAN
Dylan. Dylan Dandridge.
LISA
Lisa.
(beat)
Why do you do this, Dyl--
DYLAN
Please... don't ask me anymore
about my past.
LISA
Yeah, I, I under--I mean, I guess I
understand...
She's silent. Dylan shuffles around more papers.
LISA
What are you doing?
DYLAN
Trying to catch a killer.
INT. JOHN'S APARTMENT - NIGHT
John sits in a chair in the center of his living room.
He's polishing his gun.
He takes out the clip, checks to see if it's loaded. It is.
He slams the clip back home.
He loads the chamber. He aims it at random things around the
room, checking the accuracy of the sight with one eye shut.
He stops. Then he slowly puts the gun in his mouth.
39.
He pulls back the hammer and starts to cry. Sobs muffled by
the barrel of a 9mm automatic wedged between his teeth.
He hesitates. He opens his eyes and sees the body of a 10-
year old boy face-down on his carpet. John suddenly looks
very worried.
John gets up. He rushes frantically around the room. He sets
the gun down on the kitchen counter. And runs into his bedroom.
EXT. WOODED AREA - NIGHT - RAIN
John is in the deepest, darkest part of the forest, miles
away from anything. The red taillights of his car are the
only light in this place. The rain comes down in sheets,
drenching John to the bone.
The trunk is open on John's car. He struggles to pull out a
huge black bag. It's obvious what's inside.
A mass of weight smacks the wet dirt as he is finally able
to extricate it.
A crack of lightning.
INT. ABANDONED CATHEDRAL - DYLAN'S BEDROOM - MORNING
The warm light streams in through the stain-glass window.
Lisa is fast asleep on Dylan's bed, above the sheets.
Suddenly, she jolts awake. For a moment, she wonders where
she is.
INT. ABANDONED CATHEDRAL - BASEMENT
Lisa walks down the wooden steps to the basement.
There is no one there.
INT. ABANDONED CATHEDRAL - NAVE
The building is silent. Lisa walks down the center aisle of
the nave towards the door.
When she gets to the door she opens it, glancing back one
last time at the silent church before shutting the door
behind her.
INT. DINER - DAY
Lisa walks from one table to the next, with a full pitcher
of coffee in her hand, completely absent from the world
around her.
40.
She pours another cup.
She takes the check from the next table.
A GRAY-HAIRED MAN sits at the table beside her,
GRAY-HAIRED MAN
Miss? Miss?
Lisa doesn't even hear him.
GRAY-HAIRED MAN
Miss?!
He shouts. It startles her and she nearly spills some coffee
as she pours it. She looks at him.
LISA
Yes?
GRAY-HAIRED MAN
Decaf?
LISA
Yes sir. Just a minute.
She walks to the next table and sees who's sitting there,
before he sees her. Stephen.
She refills his cup of coffee, keeping her eyes away from his.
He just stares at her, waiting for her to acknowledge him.
Once his cup is full she walks off. He doesn't even move his
head to watch her go.
INT. DINER CHANGING ROOM - DAY
Back in her day clothes Lisa stuffs her work clothes into
her locker. Ginger strolls in behind her and leans her back
against the locker next to Lisa's.
GINGER
Hey there, kiddo.
LISA
Hey.
GINGER
Hey, I'm really sorry about-
LISA
-It's ok-
41.
GINGER
-the other day.
LISA
It's ok.
GINGER
I didn't even think about-
LISA
-Ok...-
GINGER
-your husband.
LISA
I told you, it's ok.
GINGER
I guess I'm just not a one man
kinda gal.
LISA
Don't worry about it. I'll see ya
later.
She closes her locker. And leaves.
EXT. BUSINESS DISTRICT - SKYSCRAPER STEPS - DAY
Commissioner Kowolski, Mayor Perry, and John, along with two
of the Mayor's BUSINESS ADVISORS who hang back but chime in
whenever they feel it necessary, all walk down the steps
exiting an enormous skyscraper in the business heart of New
York.
A hobo with heavy blankets over his back and head pushes a
shopping cart full of meaningless garbage down the sidewalk
ahead of them, keeping within earshot. He keeps his head down.
COMMISSIONER KOWOLSKI
Well, that went well.
MAYOR PERRY
Damn these investors. The city of
New York is a pile of shit and
they're not willing to un-shit it.
BUSINESS ADVISOR 1
Don't you mean YOUR city, sir?
42.
JOHN
If you don't mind my saying, Lou,
the investors are still too scared
of the city. Their own building is
like a damn prison.
MAYOR PERRY
Damn these investors.
COMMISSIONER KOWOLSKI
The last time these businesses were
here they were looted and plundered
every week. Some of them every
day.They were driven out by the
scum in that city.
MAYOR PERRY
And whose fault is that?
COMMISSIONER KOWOLSKI
If you would put more of my men on
the streets--
BUSINESS ADVISOR 2
Uhh, the budget doesn't call for that.
COMMISSIONER KOWOLSKI
There's no budget because there's
no businesses.
BUSINESS ADVISOR 1
There's no businesses because of
all the crime.
MAYOR PERRY
We're fucked.
JOHN
Between all this and the child
murders--
COMMISSIONER KOWOLSKI
--Not to mention the Man in Black--
MAYOR PERRY
We're fucked.
JOHN
(to Lou)
--I thought you didn't believe--
COMMISSIONER KOWOLSKI
We just need to make the city safe
again.
43.
JOHN
Let us put a few more men on the
street. Catch a few big names. Then
people will see.
MAYOR PERRY
So, how are we doing on those lines
then?
JOHN
We found another body in a wooded
area last week in Queens. We're
pretty sure it's related.
MAYOR PERRY
Then that means--?
COMMISSIONER KOWOLSKI
It means he's getting smarter. He's
changing his tactics. We don't know
exactly how long this one was there.
The animals must have gotten to him.
And there's still no telling how
many of the missing children are
because of him.
MAYOR PERRY
This is becoming a serious problem.
And I'm at a total loss. John,
you're my number one man. You have
to catch this son of a bitch. When
you do it'll bring the family
businesses back, the Mom n' Pops.
That'll get the ball rolling for more.
JOHN
I always get my man.
Mayor Perry stops at the bottom of the steps and turns
around, back to the building.
MAYOR PERRY
Damn these investors!
The five of them continue down the sidewalk, as the hobo
with the cart stops. He finally raises his head. It's Dylan.
INT. QUEENS DINER - NIGHT
A quaint, quiet 50's-style diner with a big glass front-
window to boot. Dylan sits at the counter sucking soup, and
a beer, still wearing the heavy rags. The news quietly hums
from a television hanging in the corner. He listens without
turning his head.
44.
The WPIX 11 theme song plays.
ON SCREEN
Steve and Diane sit at attention. Behind them a television
graphic spirals into clarity, with overly-intense, dramatic
music to boot. It reads: MINOR MASSACRE.
STEVE (T.V.)
Welcome back. The latest victim in
a string of disturbing murders,
which has now been dubbed the
"Minor Massacre," has been found.
The victim was 10-year old Elliot
Campbell, who was found sodomized
and strangled this week in an
undisclosed wooded area outside Queens.
DIANE (T.V.)
The latest death resembles other
recent murders of young children
over the last few months, however
this is the first instance where a
body has been hidden in the wooded
area. The police are confident and
have assured justice to the public,
but say they still have no leads.
Elliot left behind two sisters, a
brother, and his mother and father.
STEVE (T.V.)
We now take you, live, to an all-
night prayer vigil being held
outside Elliot's home, led by his
mother, Gloria Campbell, and some
of his closest friends and family.
CAMPBELL HOME
A veritable shrine has been erected outside a suburban home.
Candles, pictures of the boy, and lots of flowers.
Several people are bent down at the altar, praying, putting
out more pictures of the boy.
The image cuts to a man, as an ID ticker scrolls across the
bottom. "JAMES CAMPBELL, THOMAS' UNCLE."
45.
JAMES CAMPBELL
Well, he was a great kid, ya know?
We're just here prayin' in hopes
that he's in a better place right
now, we know he is, and to pray
that they catch whoever did this to
him. Hopefully, we can make a
difference somehow, and they'll
catch him, and bring him to the
justice he deserves.
BACK TO SCENE
In the background, the mother can be heard sobbing.
Dylan looks up from his bowl of soup at the counter, his
head still heavy from the wilting blankets atop his head and
shoulders. He hasn't shaved in days.
He just sits quietly and listens to the world around him,
listening for some useful information.
A WAITRESS walks over to refill a MAN's coffee. When she
bends down,
MAN IN BOOTH
(whisper)
Hey, you wanna come back to my
place? We'll have some fun.
He slips a fifty dollar bill in her shirt pocket. He's done
this before.
She looks at him, thinking it over.
Dylan sits. Listens.
Four college students, JIMMY, LANCE, BRUCE and JOE, all sit
at a table across the Diner.
JOE
(whisper)
So, wait, wait. How old was she?
BRUCE
(whisper)
Dude, it was her high school
graduation. How old do you think
she was? So, we all go to the room
upstairs and she is just gone!
JOE
(whisper)
So, you were second?
46.
BRUCE
(whisper)
No. Jimmy was second.
(looks at Jimmy)
I was third. And Lance was last.
(looks at Lance)
JOE
(whisper)
Well, then, who was first?
LANCE
(whisper)
Dumbass. Her boyfriend.
JOE
(whisper)
Damn guys!
JOE
(whisper)
I know. It was fucking awesome!
BRUCE, LANCE, JIMMY
(in unison)
CHOO! CHOO!
They cackle in obnoxious laughter, trying to contain it in
the quiet sanctum of the diner.
Dylan drops a five on the table and heads out.
EXT. QUEENS DINER - CONTINUOUS
Dylan journeys back out into the cold night, still keeping
his head low.
He passes by two men on a dark corner. They speak softly,
but still audible to Dylan.
DRUGGIE
(whisper)
Hey man, come on, I don't like this.
It's too out in the open. Where's
the house at?
DEALER
(whisper)
Hey, now. Only I know where the
house is. This is good stuff, man.
If you want it cough it up. If you
don't I'll see ya later.
47.
He hands the dealer a ten dollar bill. Dylan stays close,
waiting. After the exchange, the dealer walks off into a
dark, empty alley.
Dylan follows silently behind, keeping his distance.
EXT. ALLEY - CONTINUOUS
Dylan walks past a line of shadow and disappears into the
night. There is the rustling of fabric as he tosses off his
rags and shoddy blankets.
He emerges from the darkness in his trenchcoat. He pulls the
hood over his head, hiding his face under a veil of shadow.
All the while the dealer never hears a sound, never looks back.
Dylan tracks him as the Man in Black, keeping just enough
distance between the two of them not to alert the Dealer in
any way.
The alley is long and full of turns. Steam rises from
beneath the sewer grates. Puddles of water run-off are
everywhere, always in the foot's path.
The drug dealer continues down the dark, wet path, constantly
looking around to check for onlookers, but never seeing any.
Especially Dylan, who is nothing but a shadow.
Dylan continues on, silent.
Dylan's foot smacks a puddle. And the dealer spins around
quickly, looking down the alley behind him.
DEALER's POV -
Nothing moves. All that's there is the long, dark alley full
of shadows.
After he is satisfied he continues on, faster now. He rounds
the corner.
Dylan emerges from a shadow against the wall, completely hidden.
He starts forward again, but suddenly, there are gunshots
heard in the distance.
A few moments later, an alarm.
Dylan stops. He looks down the alley, almost bored.
He doubles back.
48.
EXT. STREET - MOMENTS LATER
A man (JOHN DOE) with long, filthy hair smacks his face
against the concrete. He is unconscious.
Dylan walks down the sidewalk, away from the man, towards a
convenience store in a row of buildings.
EXT. CONVENIENCE STORE - MOMENTS LATER
He looks inside. And silently slips in. He looks around for
more robbers as he enters.
INT. CONVENIENCE STORE - CONTINUOUS
He looks around. There is no one.
But there is a sound, a whimpering. It comes from behind the
counter.
Dylan walks around it, to the other side. The light from the
store lamps illuminate his face.
A young boy, only 8 or so, sits with his back against the
counter. Two adult figures, a man and woman, lie dead, shot,
near him. His parents.
He looks up at Dylan, tears pour from his face.
Dylan's face turns to one of surprise. The image is shocking
to him, yet familiar.
The boy only cries, still looking up at him.
Dylan's face contorts, into one of pity.
EXT. CONVENIENCE STORE - LATER THAT NIGHT
The street now bustles with activity. Full of onlookers.
Police. Ambulance. Fire truck.
Coroner's van.
An old, fatherly type police officer clutches the boy at his
shoulders, as body bags filled with his parents are wheeled
from the store and pushed into the van.
The boy's expression is blank now. Completely blank.
Dylan, in a dark alley across the street, leans against a
brick wall. He isn't even facing the action. He doesn't need
to see what's going on to know.
49.
INT. POLICE STATION - UPSTAIRS - LATER
The boy, still with the blank expression, sits in a wooden
bench. He just stares at the floor.
A familiar face turns the corner and walks down the hall
towards the boy. John.
He kneels in front of the boy.
EXT. POLICE STATION - FIRE ESCAPE - NIGHT
Dylan watches through the window from the fire escape. In
the total darkness outside, he is nothing more than an iron
rail. Unmoving.
Inside, John speaks to the boy. After a few words, he puts
his hand on the boy's shoulder.
The boy begins to cry.
After a moment, he falls into John, burying his face in
John's chest.
John picks the boy up, still crying, and carries him down
the hall, genuinely caring for the boy.
Outside, Dylan turns from the window. He looks truly sad for
the boy.
INT. POLICE STATION - INTERROGATION ROOM 3 - PREP ROOM - LATER
John looks through a two way mirror into an interrogation
room. Inside sits the crook Dylan caught outside the
Convenience Store.
A door opens. Officer McKee comes in.
MCKEE
Frank said you have the OK.
John says nothing. He takes a sip from his coffee.
MCKEE
You know who he says knocked his
block off, right?
JOHN
I'm fairly certain he mentioned
something about a trenchcoat.
MCKEE
If that's true... why isn't he in
the same van as that boy's parents?
50.
JOHN
(re: robber)
Because he's the one who killed
them. He had the money in his coat
pocket.
MCKEE
I thought he was a crook. I thought
he was a serial killer. The Man in
Black, I mean.
JOHN
Until today, I thought he was a myth.
John tosses his coffee. And heads out the door.
McKee watches as John enters the Interrogation Room. He sits
next to the robber and begins talking.
Chief Husselbeck enters.
HUSSELBECK
He in there?
MCKEE
Yes, sir.
HUSSELBECK
Good. Maybe we'll get something out
of him.
MCKEE
Is he the only one who's ever seen him?
Frank nods.
INT. INTERROGATION ROOM 3
JOHN
What's your name?
JOHN DOE
John Doe.
JOHN
Ah, I see you've been here before.
How is it the second time 'round?
It's nicer, right?
John Doe looks away, annoyed.
51.
JOHN
Well, you're not wrong. That's what
your file's gonna read. Seems
someone stole your wallet. So
John, -Hey, we have the same name! -
So John, that's a nice shiner you
got there. I got an even nicer
steak at home you can slap on it
later. If you want it.
John Doe looks puzzled for a moment.
JOHN DOE
What's your game?
JOHN
Nothing. You just look hungry. I
mean, you knocked off a 7-Eleven,
you must be starving, right?
JOHN DOE
Yeah, go fuck yourself.
JOHN
Now I'll give you that steak - it's
very nice, five-pound T-Bone - if
you tell me who gave you that shiner.
JOHN DOE
Like I told Little Boy Blue
(looks at his
reflection in the mirror)
all he had on was a black coat.
JOHN
No hat? Matching sunglasses?
JOHN DOE
I didn't check. I was a little busy
getting this shiner you seem to
enjoy so much.
JOHN
You're a pretty big fellow. You go
to the gym a lot? He must have been
pretty good to take you down.
(beat)
Is he strong?
JOHN DOE
What the fuck is this? I killed two
people today! Why don't you ask
about them?! I don't know anything
about your fucking hero!
52.
John waits for a moment before asking another question.
JOHN
How much money did you take from
the register?
JOHN DOE
I emptied it.
JOHN
Ballpark.
JOHN DOE
A couple hundred. Easy.
JOHN
That's interesting. Because we
found 347 dollars on you.
JOHN DOE
Sounds about right.
JOHN
Don't you think it's weird someone
took your wallet but not the wad of
cash sticking out from your front
pocket?
JOHN DOE
What's the matter? Need to find him
so you can put him on the payroll?
JOHN
What is he?
JOHN DOE
He's a man. He's just a man.
INT. SUBWAY CAR - NIGHT
Dylan sits back, hood drawn down, lost in thought.
He just sits there, in the abominable subway car, as the
dark world races by outside.
INT. LISA'S BEDROOM - MORNING
The phone rings.
Lisa stirs in bed, still asleep. With a groggy voice, she
answers it after what seems like an eternity of incessant
ringing.
53.
LISA
Hello?... Hello? Who is this?
DYLAN (V.O.)
(through phone)
Do something for me.
Her expression shows she knows who it is.
DYLAN (V.O.)
(through phone)
Do what I cannot. Help heal a
someone's pain.
EXT. ALICIA HOWLETT'S HOUSE - DAY
Lisa walks up to a small, homely house in a neighborhood
decidedly more upscale than her own, and tentatively walks
up the porch.
EXT. PORCH - DAY
Lisa rings the bell. A DISTRAUGHT WOMAN, MRS. HOWLETT, answers.
LISA
Mrs. Howlett?
MRS. HOWLETT
Yeah?
LISA
I wanted to talk to you... about
Alicia.
MRS. HOWLETT
They found her?
LISA
Uhh, no.
MRS. HOWLETT
Then please leave me alone.
LISA
Wait. I just... have something to
tell you... that might help.
INT. ALICIA HOWLETT'S HOUSE - DAY
Lisa sits in a chair in the living room.
Mrs. Howlett enters, holding a cup of coffee.
54.
MRS. HOWLETT
One sugar, honey. How do you like it?
LISA
Black.
MRS. HOWLETT
Oh, well... he's a mixed nationality.
Mrs. Howlett hands Lisa the cup of coffee. And sits in the
chair across from her.
MRS. HOWLETT
So, where did you say you know my
daughter from?
LISA
Oh, I don't. I just heard about
her... on the news.
MRS. HOWLETT
My daughter used to play the flute.
She was good too. She had her first
competition last month. Everyone
there was so much older. She didn't
win, of course. She was too nervous.
Her little fingers kept slipping
off her marks.
(beat)
But, when she came to me after it
was over... she had just the
biggest smile on her face. And she
looked at me and she told me "Mommy,
I did good."
(beat)
She was just so happy to even be
there.
(beat)
She went missing a week later.
Lisa can do nothing but stare at this poor mother.
MRS. HOWLETT
You wanna see her room?
INT. ALICIA'S ROOM - DAY
Alicia's room is a sea of bright colors, pictures of horses,
flowers, scattered toys and stuffed animals, and the
occasional Backstreet Boy.
Lisa stops. She sees the shelf full of Alicia's pictures.
55.
LISA
This is her?
Mrs. Howlett nods.
LISA
She's gorgeous.
MRS. HOWLETT
Yes, she is. Everyone says that. I
wonder if they're being serious...
LISA
Where's the father?
MRS. HOWLETT
He passed away... a few years ago.
(beat)
Once they find my Alicia I can
finally have some company again. No
more talk shows. I can get back to
recitals, and plays, and homework.
The things I love the most.
For a long time no one says anything. Lisa can only look at
the pictures spread out on the mantle.
MRS. HOWLETT
Why are you here?
LISA
I don't know.
MRS. HOWLETT
It's one of those things. I just
wanna know what happened. Even if
she's... it's better than not knowing.
LISA
I can't say I begin to understand
what you're going through, but, all
I know is that when--
MRS. HOWLETT
Thank you, but, I don't need you to
tell me you're sorry. And that
everything will be ok. I'm tired of
people telling me that, honey. I
just want my little girl back. I
just wanna look at her shining face
again, and know that neither of us
will ever be alone again.
56.
EXT. ALLEY BEHIND QUEENS DINER - NIGHT - RAIN
Two men, the Dealer from the Diner and another man, the DRUG
SUPPLIER, exchange words in a dark alley behind the old
Diner in queens.
DRUG SUPPLIER
Where's tonight's score?
DEALER
Here ya go, Boss.
The Dealer passes a wad of cash to his boss.
EXT. ROOFTOP - NIGHT - RAIN
The rooftop overlooks the two men.
Far below, the Dealer turns and runs off down the alley. He
disappears into the night.
His boss stands in one of the shadows and counts his money.
On the rooftop, something moves. The sound of leather.
EXT. ALLEY BEHIND QUEENS DINER - NIGHT - RAIN
The supplier stands in the alley, still counting the wad of
cash.
When a shadow moves behind him.
He spins. He's frightened, but sees
Nothing.
He looks behind him quickly, checks the other end of the
alley. When his eyes are turned, another shadow moves where
he was just looking.
It's getting closer.
He spins his head again, searching.
Clearly frightened, he eyes a group of shadows near the
brick wall.
DRUG SUPPLIER
It's you, isn't it?
He waits. Nothing moves.
DRUG SUPPLIER
I know who you are. I've looked you up.
57.
Nothing.
DRUG SUPPLIER
I know all about you!
DYLAN
(hidden)
And I know you...
Dylan suddenly appears from behind a wall of shadow directly
behind the supplier.
DYLAN
Reese.
He's right. The Drug Lord is Reese, decorated member of the
press. Reese practically leaps forward, startled by Dylan's
sudden presence. He backs up and makes distance between them.
REESE
Hey, I gotta pay off my contacts
somehow.
Dylan takes a step closer. He is nothing more than a
silhouette in this light. A huge, menacing shadow.
DYLAN
Where's the house?
REESE
Try to find it-
He pulls out a .35 from inside his pants.
REESE
-you trenchcoat-wearin' son of a bitch.
Dylan rushes Reese. His coat comes alive, enveloping them
both in an instant.
Reese's gun goes off. Their bodies smack together in the
cold rain.
INT. LIBRARY BASEMENT, RESEARCH ROOM - DAY
Fingers glide across a computer keyboard.
On the screen the words, "Superhuman, myths, miracles" are
typed into the search line.
Several pages pop up.
A list of urban myths pop up on the screen, including, but
not limited to:
58.
"Miraculous Rescues, Incredible Survivor Stories, Acts of
God?, More Than Human?"
She clicks on "Incredible Survivor Stories"
Several news headlines flood the screen. The top article
reads, "Man fights tiger, saves one"
She closes that one, the one behind it: "New Zealand cop
takes bullet to head, survives"
Closes another, "Infant survives three-story fall"
She closes the rest and goes back to the list. She clicks on
"Miraculous rescues"
Several pages. The first: "Firefighter in Russia rescues
seventeen"
Closes it. "Unidentified man rescues two children; parents
found dead in home"
Closes. "Three rescued from burning building"
In the picture a man pulls three women out the front door of
an engulfed office building.
Lisa zooms in on the text.
"Unidentified man later confirmed to be Richard Dalby. He
declined comment."
Lisa adds a few words to the search line. After "miracles"
she types, "Richard Dalby".
Several more newspaper headlines pop up.
"Local man rescues three"
"He does it again"
"Hero prevents disaster"
LISA
Jesus Christ...
She closes all the articles and goes back to the original
search results.
Lisa clicks on "More Than Human?"
Many articles appear. "Australian man sets new un-official
world record, shattering it by nearly a minute"
59.
"Boy claims he can heal with his hands"
"Chinese woman says she hasn't slept in twenty years;
Chinese scientists say it's true"
"Woman lifts car off boy"
Lisa clicks on a link that reads: "See Video Report"
A media window pops up. A FEMALE ENGLISH REPORTER talks to
the camera in front of a busy street, with a suiting UK accent.
FEMALE ENGLISH REPORTER
A woman saved the life of a seven-
year-old boy yesterday afternoon
after she found the strength to
free him from under a one-ton car
and then gave him the kiss of life.
Stock footage of the busy street plays.
FEMALE ENGLISH REPORTER (V.O.)
(over footage)
Jean-Luc Archer, from Cheetham Hill,
Manchester, was walking near his
home on this street when he ran out
in front of a BMW 318. The boy went
under the front wheels of the car,
the driver, so traumatized by the
event, was unable to take his foot
off the brake. Lisa Hodgkinson, a
29-year-old sales representative
from Warrington, Cheshire, had left
work to buy a sandwich when she saw
the accident happen. She immediately
raced over to help the badly-
injured schoolboy.
The footage cuts to an interview with LISA HODGKINSON in her
home.
LISA HODGKINSON
The car was on top of Jean-Luc and
I somehow managed to push it off
him. I don’t know how I found the
strength. I think nature just takes
over. He had stopped breathing, so
I gave him mouth-to-mouth.
It cuts back to the reporter, still near the busy street.
60.
FEMALE ENGLISH REPORTER
George Tapert was nearby when the
accident happened and saw the whole
thing.
Cuts to GEORGE TAPERT, sitting behind the wheel of his car,
being interviewed on the street.
GEORGE TAPERT
It was the damnedest thing I've
ever seen. Just the damnedest thing.
The bloody wheels came off the ground.
Cuts to the Reporter.
FEMALE ENGLISH REPORTER
The strangest thing in all of this
is that this is not the first time
Ms. Hodgkinson has given someone
the kiss of life. She received a
Good Citizen Award from Cheshire
police last July, after
resuscitating a lorry driver on the
M62.
The video ends. Lisa goes back to the search line and erases
"Richard Dalby." In its place she types, "Dylan Dandridge."
A page pops up on the screen. The article has already been
highlighted by the search engine.
"DEATH IN SUBWAY DEEMED ACCIDENT."
Lisa clicks on a video link. A video news report pops up in
a media player window.
The VIDEO REPORTER reports from a destroyed subway line. She
advances towards the wreckage as she speaks.
VIDEO REPORTER
Police and Transit Authorities have
completed their lengthy
investigation involving the
collapse of this
(points to wreckage
behind her)
abandoned subway line that killed a
teenage boy three months ago. The
boy, Tyler Thompson, traveled to
this underground subway line when
it suddenly collapsed and killed
him.
(MORE)
61.
VIDEO REPORTER (CONT'D)
Two other teenagers, Dylan
Dandridge and Kelly Williams, were
also injured, but not seriously
hurt. Authorities are still
investigating the rumor of a
possible kidnapping in this case.
But, for now, this line which used
to run twice a day, is shut down
indefinitely.
There is a photo of the devastated subway line. It's an
older line, for cargo trains. The roof has collapsed and a
newer subway car, along with tons of concrete and debris,
have crashed through the broken ceiling.
A familiar figure looms behind Lisa: John. He browses
through the books, when Lisa catches his eye. He moves
closer, trying to act casual.
He stares at her.
Quickly, she feels someone watching her and sees John, still
staring at her.
JOHN
(smiling)
Hi.
LISA
Hi...
Lisa quickly turns her focus back to the computer monitor.
She sees a link at the bottom of the page that reads, "See
Related Story"
She clicks it.
Another article, from the same paper, pops up over the old
one. The headline:
"HERO IDENTIFIED IN RESCUE OF YOUNG GIRL"
Lisa reads over the large-fonted sub-headline:
"Dylan Dandridge has been identified as the man who rescued
an 8-year old girl that was pinned beneath the wheel of an
SUV one month ago."
John inches even closer. He looms over her shoulder and
reads the article she's looking at.
There is another picture here, this one an artist rendering
of the event.
62.
In it, a teenage boy, presumably Dylan, lifts a large SUV
approximately one foot off the ground by the front bumper.
Underneath one of the front tires lies a prone young child.
It's an incredible image.
JOHN
Wow...
She turns to see him, startled.
JOHN
Some hero.
She smiles at him. He's being truly genuine.
She looks back and forth between the article of Lisa
Hodgkinson and the article about Dylan. She can only stare.
INT. CLINIC - NIGHT
The door cracks open hard.
Dylan crashes through the broken door and staggers into the
clinic.
He gets his bearings. He passes a metal exam table in the
center as he works his way to the far end, where the
medicine cabinet is. He bears a heavy limp. Yet he still has
the same stubborn, determined look on his face.
He opens it up, breaking the tiny lock off as he does so,
and removes a roll of gauze.
He leans his heavy body against the table.
He pushes his coat aside. Blood covers his black shirt. He
lifts up the front, more blood pours out of the bullet wound
on the side of Dylan's stomach. He starts to unravel the gauze.
Suddenly, a shadow passes over the light coming from the
door. A FEMALE NURSE stands still in the doorway. This is SARAH.
Dylan quickly looks up at her.
SARAH
What is it this time?
She walks over to Dylan.
DYLAN
Nine millimeter.
63.
SARAH
How did this happen? What happened
to the vest?
DYLAN
I stopped wearing it. Too bulky.
SARAH
But you're so big.
Sarah takes the gauze from his hand. She sets it down on the
table next to him.
SARAH
And he caught you off guard?
DYLAN
Well, he's supposed to be a reporter!
SARAH
After all this time you still take
people at face value.
Dylan says nothing.
SARAH
Alright--
She picks up a pair of tweezer-like tongs and holds them in
front of Dylan's face.
SARAH
I know the adrenaline your body
stores acts as a natural pain
inhibitor, but this is going to
hurt. A lot.
He thinks about it for a moment.
DYLAN
Alright. Do it.
She grabs a syringe and fills it with something from one of
the bottles in the cabinet.
She injects it into his arm.
DYLAN
God, I hate those fuckin' things.
SARAH
Shut up, you big baby.
64.
In a moment, Dylan's eyes begin to wobble. He starts to get
dizzy, starts to fall asleep.
She gently grabs his head and leans him back on the cold table.
DYLAN
How much did you shove into me?
SARAH
Rest. You don't get nearly enough.
She looks down at him with loving eyes.
Everything goes black.
EXT. ALLEY CRIME SCENE - NIGHT
The alley behind the Queens Diner was once dark and empty.
Now it buzzes with excitement as cops filter in and out
beneath yellow police tape.
John bends down and lifts the plastic sheet covering Reese's
body. He looks at it with a Detective's eye for details.
Chief Husselbeck powers his way through the slew of officers,
heading for John, who sees him coming.
HUSSELBECK
How we doin', John?
JOHN
We've got to do a better job
keeping the press outta here.
They're gonna have a fuckin' field
day with this.
HUSSELBECK
I know, I know. I've already put
more guards on security detail.
He sees the body.
HUSSELBECK
That him?
JOHN
None other.
They both bend down to get a closer look.
65.
JOHN
The report Reese left at his office
said that he was investigating the
crack house-
(motions with his head)
-down that way.
HUSSELBECK
He have anything on him?
JOHN
Just a pen and some notes. Looks
like his report checked out.
HUSSELBECK
Let me guess-
Frank looks at Reese's neck - it's swollen and discolored.
HUSSELBECK
-The neck, right?
JOHN
Good guess.
They both stand up.
JOHN
The only strange part is this.
(motions to casing on ground)
We found a spent shell casing here.
We haven't found the weapon yet,
but, then again, this isn't exactly
the nicest neighborhood.
HUSSELBECK
It could have come from anybody.
JOHN
Right.
HUSSELBECK
Are we back to thinking the same
thing, John?
JOHN
I imagine so.
(beat)
I guess we should make it fourteen.
Frank kneels back down, now close to Reese's ear.
66.
HUSSELBECK
(whisper)
You got what you deserved.
INT. ABANDONED CATHEDRAL - NIGHT
Dylan enters the Nave through the huge double doors. His
breathing labors. And he still has that limp.
Suddenly, Lisa runs out from his bedroom. She looks like
she's been up all night.
LISA
You're finally back... I was worr-
She sees his limp. And something beneath his shirt. He tries
to hide it by pulling his coat tighter.
LISA
Are you alright?
She walks hastily over to him.
LISA
What happened to you?
She goes to pull back his coat and check the wound under his
bloody shirt.
But he extends his hand and halts her before she can.
DYLAN
You should go.
LISA
But I just--
DYLAN
Now.
She looks up at him, still holding her away with his hand.
He just stares at her coldly.
LISA
Yeah... alright.
She hesitantly walks out.
INT. POLICE STATION - JOHN'S DESK - NIGHT
The main room of the Detective's wing. Desks fill the area.
67.
John's desk is somewhat neat, much neater than the desks
surrounding him. He sits in it, working on the usual slew of
police reports.
Chief Husselbeck traverses the maze of desks, until he
finally reaches John.
HUSSELBECK
John.
John looks up from his work.
JOHN
Hey, Frank. How's it going?
HUSSELBECK
How the hell do you think it's
goin'? We're gonna have a real mess
soon. I've got the news guys so far
up my ass they might as well brush
my teeth.
(beat)
We have to act. Right now.
JOHN
About?
HUSSELBECK
I've already got my hands full with
the kid fucker. We don't need a
vigilante killer out there popping
off famous repor
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