FADE IN:
INT. BUS STATION - DAY
The bus station is LARGE and filled with glass and white
tile. Ceiling fans overhead swirl methodically.
ALEX YORK, 24, sits at the end of one of the benches. She
is dressed in a kakhi trenchcoat and appears to be very
contemporary. She's attractive, but doesn't show it much.
The clock catches her eye: 4.29.
ANNOUNCER (FILTER)
Bus now arriving from Athens, en
route to Aldershot. Boards in ten
minutes.
A few people begin entering the bus station.
Alex sighs. She is tired, we can read it on her face.
An old man, SALEM, late '70s, sits beside her. He is
wearing glasses and touts a WHITE cane.
SALEM
This seat taken?
He sounds innocent. Alex smiles.
ALEX
I guess not.
He sniff the air.
SALEM
New jacket? Smells nice.
ALEX
How did you -
Salem taps his nose. Alex smirks again.
ALEX (CONT'D)
It's actually my brother's.
SALEM
Oh yeah? You in town for a visit?
ALEX
Looks like. I'm looking to settle
down for the summer.
2.
SALEM
That's nice.
(beat)
You have a nice voice. Reminds me
of my wife's.
ALEX
Is she traveling with you?
He smiles.
SALEM
Nope, I'm going this one alone.
(beat)
She recently passed away.
ALEX
Oh, I'm so -
SALEM
Don't be. She lived a good life.
No reason to be sorry.
(pause)
I guess that's the reasoning for my
trip.
ALEX
Really?
He pulls out a YELLOW envelope from his wolly coat. His
hands feel around the edges.
SALEM
She wanted this delivered.
ALEX
And you're traveling all the way to
Aldershot just do drop off a letter?
SALEM
Among other places. Even after
she's dead she's still got me
running around.
(beat)
Next stop Atlanta.
ALEX
What about the mail?
3.
SALEM
You'd be surprised. It's hard to
scribe things down when you're
blind. I don't get much help from
the postal service, either. Here
they don't care. They'll take my
money and give me a ticket.
His smile is inviting.
Alex looks up at the clock again: 4.31.
She looks at Salem. He takes off his sunglasses. He stares
in one direction, as a blind man would.
ANNOUNCER (FILTER)
Train 28V departing for Aldershot
in five minutes.
Alex stands.
ALEX
Did you say that the letter is
going to Aldershot?
SALEM
Yes, Clement street.
ALEX
Well, my brother lives on Clement.
Why don't you let me deliver it?
It'll save you thirty bucks for a
ticket.
SALEM
Oh no, I couldn't do that.
ALEX
Really, it's no trouble.
Salem makes his way to his feet, supported by the cain. He
hands her the envelope. Alex grabs hold of the envelope in
one hand and her luggage in the other.
SALEM
You've been a great help.
ALEX
It's no problem. I've been in your
shoes before.
The group of people surrounding them intensifies.
4.
SALEM
Thank you.
ALEX
Nice meeting you.
She walks off into the crowd of people, making her way
towards the front door where a BUS is loading people on.
Salem stands and watches. He stares at Alex as she departs.
He is looking at her.
INT. BUS - SOME TIME LATER
Alex sits in the middle of the bus. She has her head leaned
back against the seat. She cannot sleep.
She looks down at the envelope and touches it with her
fingers.
The window then catches her attention. The bus continues to
drive into the darkening sky.
Thunder can be heard.
CUT TO:
EXT. RILEY'S HOUSE - NIGHT
The sleepy street sports houses with large oak trees on
either end. Very Victorian - All American. Picturesque,
but faded on the edges.
Alex jumps out of a cab with her luggage. It's raining hard.
Covering her head, she RUSHES up the porch of a cozy two-
story house.
INT. FOYER - SAME
A knock comes at the door. Seconds later, RILEY YORK, 21,
comes to answer it. He's tall, college material. Nothing
out of the ordinary.
The door opens and Alex jumps inside out of the rain.
ALEX
Riley, hi.
They hug.
RILEY
Alex! How was the trip?
5.
ALEX
Good.
ALEX (CONT'D)
Your coat got a little wet.
RILEY
No worries. Take it off and stay
awhile, would you.
Alex exhales. She's a little short of breath from the
sprint to the house.
ALEX
Actually, I just need to drop
something off across the street.
RILEY
Drop what off?
ALEX
It's a letter that someone asked me
to deliver.
RILEY
Someone asked you to deliver a
letter?
ALEX
I'll be five minutes, I promise.
RILEY
Okay, but hurry. It's past my
bedtime.
They both smirk at each other.
Alex opens the door again and departs into the rain. Riley
watches her as she RUSHES across the street.
EXT. DARK HOUSE - SAME
Large TREES cover a dimly lit, two story house across the
street. It has a FOR SALE sign on the front yard.
Alex quickly takes refuge under the porch overhang.
She looks down at the letter, checking the address.
Extending her hand, she knocks three times on the door.
SILENCE.
The door opens. There stands CHARLIE, mid '30s, very well
dressed - business like. He smiles.
6.
ALEX
Hi, I'm here to deliver a letter.
He opens the door, a gesture for her to enter.
CHARLIE
Come in
(beat)
please.
Alex smiles and enters.
INT. LIVING ROOM - MOMENTS LATER
The room is completely '50s drab. Washed out colors of
retro furniture and wall paper.
Alex sits on a couch with her coat over her lap. The letter
is in her hand.
Charlie stands in front of her a few feet away.
ALEX
Actually, I never did get the man's
name. He said he had a wife who
recently passed away. She wanted
this sent to you.
She hands him the letter. He begins to open it.
ALEX (CONT'D)
He was blind, very sweet.
He reads the letter, then IMMEDIATELY looks down at Alex for
a moment.
A slight look of concern crawls on her face.
ALEX
Anything wrong?
He folds it and stuffs it back in the envelope.
CHARLIE
No, nothing at all.
Charlie turns around and heads for the kitchen. Alex
watches as he departs.
She glares around the room. No family photos, no nothing.
Just the bare bones.
7.
CHARLIE (OS)
Can I get you anything to drink?
(beat)
Coffee?
ALEX
That'd be great.
The noises that accompany coffee making are heard from the
kitchen.
Alex becomes nervous.
The lightbulb in the lamp FLICKERS next to her. She whirls
her head towards it, peering at it.
SILENCE.
Charlie enters with a tray of coffee and coffee related
items (cream, sugar, etc.).
He sets it down on the coffee table in front of Alex.
She looks at him.
ALEX
So how did you know his wife?
Charlie looks at her and smiles. He's a bit hesitant. We
can see him thinking.
CHARLIE
Old family friend.
Alex smiles.
ALEX
I see.
She takes her coffee mug and brings it towards her mouth.
She stops and puts it back down again.
ALEX
Actually, can I use your bathroom?
CHARLIE
Sure, no problem. It's just past
the kitchen on the left. Near the
back door.
Alex arises, setting down her coat on the couch.
ALEX
Thanks.
8.
She walks off towards the kitchen. Charlie stirs his
coffee, blankly staring off into another world.
INT. KITCHEN - SAME
Alex enters the kitchen, walking off towards a SMALL dark
hallway that branches off on the left end of the room.
A garbage bag sits open against the counter. In it, she
spots the YELLOW envelope.
Alex glares back into the living room. She can see the back
of Charlie's head.
With one quick motion, she leans down and SWOOPS up the
letter.
She walks towards the door on the left nearest the back door.
Opening it, she slithers in.
INT. BATHROOM - SAME
Alex turns on the light.
The bathroom is stingy. Yellows and oranges stain the small
room's color scheme.
She sits down on the covered toilet seat. She begins to
SLOWLY open the letter, keeping an eye on the door, making
sure she's not heard.
A FOOTSTEP is heard in the kitchen.
Alex freezes.
She quickly reaches out and turns on the sink faucet. The
faucet STRAINS, then starts a flow of liquid.
She gets the letter out of the envelope.
The door catches her eye.
Alex stands and turns off the faucet. All she can hear is
her heavy breathing.
She slowly approaches the door with the letter in her hand.
She leans her ear against it to hear.
At the same time she looks down at the letter, which reads:
"CHARLIE, THIS IS THE LAST ONE I'M SENDING YOU TODAY"
She covers her mouth and completely stops breathing. BUT WE
CAN STILL HEAR BREATHING.
9.
CHARLIE (OS)
Your coffee's getting cold.
He is RIGHT ON THE OTHER SIDE OF THE DOOR!
Alex JOLTS, dropping the letter. A corner of it slides
under the door.
She keeps her mouth covered. She takes a step back.
CHARLIE (OS)
Why don't you come out and finish
your coffee?
Alex slowly reaches down for the letter.
Just as her hand reaches it, it is YANKED through the door
from the other side.
Turning around, she spots a WINDOW about head level on the
wall opposite the door.
She approaches it and OPENS it with a little force. The
sound of RAIN fills the room.
On the other side of the door, footsteps can be heard. A
door is opened then closed. HE IS GOING OUTSIDE.
Alex darts for the bathroom door.
INT. BACK DOOR - SAME
She flies out of the bathroom and jumps on the back door,
locking it.
Her breathing is shallow and shaky.
She turns around and runs out of the kitchen, towards the
front door.
EXT. FRONT DOOR - SAME
The door opens into the rain.
Alex runs out onto the porch, nearly slipping.
Jittery and terrified, she continues her sprint off the
property and across the street.
The door to the house remains OPEN.
CUT TO:
10.
INT. RILEY'S HOUSE - SECONDS LATER
Alex rips open the door and enters. She is soaking wet and
breathing up a storm.
Riley trots in from the living room, picking up on her
concern.
RILEY
What's wrong?
She leans against the door, still out of breath. She slides
down to the ground.
RILEY
Alex, for Christ's sake, what
happened?
We can hear hear heartbeat getting louder and louder.
Intensifying.
DISSOLVE TO:
INT. LIVING ROOM - NEXT MORNING
Alex sits on the couch in Riley's living room. It's well
spaced, more up to date, less gaudy. She holds a cloth on
her head.
A detective speaks to her.
Riley speaks to his two roommates, OWEN, 21, and MALCOLM, 23.
They stand against the entrance that connects the living
room and kitchen.
Their tone is quiet, trying not to let anyone else hear them.
The detective and Alex converse on the other end of the room.
MALCOLM
So she wasn't hurt, right?
RILEY
No, she just
(beat)
She's just tired.
OWEN
Well what the fuck happened, some
old man got her to deliver a letter
or some shit?
RILEY
I don't know, I guess we'll talk to
her later.
11.
Alex looks out the window.
It's overcast outside. Police cars are on the street.
Charlie's house is TAPED with yellow Police tape.
DETECTIVE CHAMBERS, 40, sits across from her.
CHAMBERS
Did he know the old man?
ALEX
I never asked, I don't know.
Alex's carries monotone in her voice. She removes the cloth
from her head.
CHAMBERS
You said he knew the dead wife.
ALEX
He said he knew the man's wife.
How can I be sure?
CHAMBERS
What was his name, again?
ALEX
Charlie. It said on the note,
(beat)
"Charlie...
(beat)
This is the last one I'm sending
you today."
She holds back tears.
Someone enters the front door. It's a UNIFORMED police
officer. He steps in the living room, looking at Chambers.
CHAMBERS
Thanks Ms. York. I'll get back to
you.
Chambers stands. His eye contact with the officer provokes
a sentence.
OFFICER
Detective, you'll want to come and
check this out. We found some
things in the basement.
Alex looks out the window at the house again. She keeps an
intent view on the scene.
12.
CHAMBERS (OS)
What is it?
OFFICER (OS)
You'll have to come check it our,
sir, it's kind of hard to explain.
The officer looks down at Alex, who still looks out the
window.
Chambers closes his eyes for a moment, then follows the
officer out of the house.
Riley approaches and sits on the couch next to Alex. She
sniffles and wipes her eyes.
ALEX
This is fucked, you know that?
RILEY
I know.
ALEX
I mean, Jesus Christ, what's next?
(beat)
I came here to settle down, you
know. At least for a little bit.
RILEY
Things'll get better, Alex. I
promise.
ALEX
I can't trust anyone anymore. No
one.
RILEY
You can trust me.
(pause)
and Owen and Malcolm. Most of my
friends are good people.
(beat)
We're not all bad people here in
Aldershot, you know.
She takes her attention away from Riley and back to the
scene over at the house.
EXT. CRIME SCENE - SAME
Chambers exits the house with the officer.
CHAMBERS
What is it?
13.
OFFICER
Looks like human flesh to me, sir.
CHAMBERS
There's two rooms stacked with it.
OFFICER
What should we tell the press?
CHAMBERS
Nothing. Absolutely nothing.
(beat)
Not now.
There are two media reporters there. One is from a
television broadcast. The other, SCOTT OLIVER, mid '20s, is
from a newspaper.
The TV reporter chats with an officer.
Scott approaches Chambers as he walks to his vehicle with
the officer.
SCOTT
Excuse me, sir. Are you a detective
working on the case?
CHAMBERS
Yes, who are you?
SCOTT
My name's Scott Oliver, I'm a
reporter from the Aldershot Observer.
CHAMBERS
I've heard of you.
SCOTT
Thank you sir. Can you tell me
anything about what's gone on here
today? What's this all about?
Scott has a MINI-RECORDER in his hand that he doesn't make
too obvious.
OFFICER (BLUNT)
I'm sorry, we're not releasing any
information to the press -
14.
CHAMBERS
No murder, no theft. That's what
I'll give you for now, Mr. Oliver.
(beat)
As soon as we get some more info
we'll let you know. But for now,
just let us do our job.
Scott nods.
SCOTT
Fair enough.
Chambers and the officer enter the car. It comes alive and
rolls down the road.
He looks up at Riley's house and sees Alex in the window,
looking out at the scene with a blank, emotionless face. He
sees that something is wrong with her.
She makes eye contact with him.
INT. LIVING ROOM - SAME
Alex turns to Riley -
RILEY
Can I get you anything?
He stands and makes his way towards the kitchen.
RILEY (CONT'D)
Coffee? Tea -
ALEX
No!
He stops dead. Riley turns back to her slowly, as do
Malcolm and Owen from the kitchen.
ALEX (CONT'D)
I'm just
(beat)
not thirsty, thanks.
Riley nods his head and continues in towards the kitchen.
INT. BASEMENT - NIGHT
Riley opens the door to the basement. A wooden staircase
leads down. It opens on the left side, exposing the rest of
the room.
15.
He casually trots down the stairs, carrying a luggage bag.
Alex follows him.
She looks around.
It's unfinished, but has a decent looking bed, armoire and
television stand.
Riley puts down the bag.
RILEY
The Presidential suite.
ALEX
Looks great.
RILEY
Hey, don't complain. You want to
see my room?
She forces a smile.
Riley pulls a cord above him. A single lightbulb illuminates
the room.
The far end away from the bed reveals a sink, furnace,
washer and dryer.
The dryer is on.
RILEY
The washer doesn't make much noise.
I'll make sure not to leave it on
while you're sleeping.
(pause)
After tonight.
Alex sits on the bed and takes her shoes off.
ALEX
No problem.
Riley smiles and turns around, walking back up the stairs.
ALEX
Riley...
He looks at her, half way up the stairs. He ducks his head
down to make eye contact.
ALEX (CONT'D)
Thanks.
16.
RILEY
Don't worry about it.
He continues up the stairs.
Alex stands and removes her sweater and pants. We can see
that she has an attractive body under her contemporary
clothes.
She pulls back the covers of her bed and tucks herself in.
There is a window on the wall to her left. She looks up at
it. Moonlight seeps in.
Her eyes begin to droop.
INT. LIVING ROOM - SAME TIME
Riley comes up from a door that leads to the hallway. He
enters the living room and sits down beside Owen on the
couch, facing the television.
Owen and Malcolm (on a chair nearby) drink beer and gaze at
a late night talk show.
OWEN
She okay now?
RILEY
Better.
MALCOLM
What do you expect?
OWEN
I don't know, man, shut your mouth.
Malcolm smirks slyly.
OWEN
Hey, Riley. Malcolm and I wanna
check out this new bar downtown.
You wanna come?
RILEY
Naw. Sam's supposed to be coming
over after work.
OWEN
Really?
RILEY
Yeah, she gets off in ten minutes.
17.
OWEN
Alright, then can I borrow your coat?
RILEY
Where's yours?
OWEN
Malcolm has it.
Malcolm looks sternly at Owen.
MALCOLM
I don't have your fucking coat, man!
Riley, frustrated, stands up and walks towards a closet door
in the hallway.
RILEY
Hold on!
He opens the closet and shuffles around for a moment.
RILEY
It's not here.
Owen stands.
OWEN
Where is it? When was the last
time you had it?
RILEY
Alex took it two weeks ago when she
came here?
MALCOLM
Where'd she put it?
RILEY
I don't know, I didn't see her come
in with it -
(realizing)
Oh no.
Malcolm puts down his beer and stands.
MALCOLM
She left it in that fucking house!
RILEY
Shit, I liked that coat.
OWEN
Let's go and get it then.
18.
He retreats to the WINDOW facing the house across the street.
It's empty, dark and blocked by yellow police tape.
OWEN (CONT'D)
No one's there.
Riley and Malcolm hover behind him, peering out the window
also.
RILEY
Are you kidding?
OWEN
What? No one's there. Look, it's
covered with tape.
RILEY
What if that crazy fucker comes back?
OWEN
As if he's gonna come back and get
his ass caught. Pfft..
MALCOLM
He's got a point.
Riley gives Malcolm a sour look.
EXT. CHARLIE'S HOUSE - NIGHT
The three boys stand outside the house, looking at it from
beyond the yellow tape.
RILEY
You wanna go in there?
OWEN
Why not?
RILEY
Just for a coat? It's not even
cold out.
OWEN
All in the name of style, my man.
Owen and Malcolm hop over the police tape. Riley hesitantly
follows.
They make their way up to the door and quietly/quickly enter.
19.
INT. LIVING ROOM - CONTINUOUS
Riley closes the door behind him.
The boys step into the living room. Everything is dark.
The only light seeps in from the windows. SILENCE. The
floor creaks with every move.
Owen and Malcolm begin their hunt. Riley slowly walks around.
OWEN
Where would she have left it?
MALCOLM
Damned if I know.
Owen begins searching all over, ducking behind crevices,
lifting cushions.
Riley sticks near the door.
Malcolm finds a door against the stairwell and opens it.
It's dark. There's a staircase leading down.
Riley looks at Malcolm.
RILEY
Didn't they say they found something
in the basement?
MALCOLM
They never said what.
Owen approaches and closes the door slowly.
OWEN
Too gruesome to tell.
Malcolm steps back.
OWEN
Keep looking.
Owen enters the kitchen and looks around. He goes out of
sight.
Malcolm scans the rest of the living/dining room.
Riley sighs.
RILEY
Guys, it's not here. The cops
probably took it as fucking evidence.
Let's just go.
20.
MALCOLM
You're right.
Malcolm walks towards the door.
Owen exits the kitchen and sighs, walking towards the other
two.
OWEN
I really liked that coat!
EXT. STREET - SECONDS LATER
They're facing the house, walking normally across the street.
A LIGHT goes on inside.
Riley stops. Owen and Malcolm peer at the house, seeing
Riley's concerned expression.
MALCOLM
What?
RILEY
Someone's in there. Look.
He points.
RILEY (CONT'D)
A light just went on.
Owen continues walking.
OWEN
It's your damn sister you more-off.
INT. FRONT DOOR - SECONDS LATER
The three enter, taking off their shoes.
INT. LIVING ROOM - SAME
Riley spots the TRENCH COAT on the chair in the living room.
His eyes widen with confusion.
RILEY
What?
Someone approaches him from behind, putting their hands over
his eyes. It jolts him.
FEMALE VOICE
Guess who?
21.
He WHIRLS around to see SAM BOWLES, 21, standing in front of
him smiling. She's attractive, sporting slightly retro
clothes (not a lot of money).
SAM
Hey baby.
RILEY
Hi.
SAM
What's wrong?
He turns to Owen and Malcolm who enter the room.
RILEY
Guys, look, the coat. It's here.
Enthusiastic, Owen runs up and snatches it.
OWEN
Yes!
He puts it on and heads back towards the door with Malcolm.
MALCOLM
Check ya later, Riley.
OWEN
See ya.
Sam turns his head back towards hers.
SAM
I got off a little early. I just
kinda came in.
(beat)
You okay?
RILEY
My sister's staying here for a
while. She had a run in last night
with a psycho across the street.
SAM
Psycho? In that house for sale?
Is that why's it's all taped up? I
didn't think anyone lived there.
RILEY
No one does, that's the thing.
SAM
Creepy.
22.
RILEY
Yeah, it's a long story. She's
downstairs sleeping.
She leans in and kisses him innocently.
SAM
Let's not disturb her.
Riley smiles, almost giggling.
RILEY
Okay.
CUT TO:
INT. BAR - NIGHT
Malcolm and Owen enter the bar. It's rather pretentious.
Many artsy people.
It's swank with a lot of style happening.
Owen smiles.
They approach the bar and sit down.
An attractive female bartender approaches them. She smiles
and leans in towards them, over the chatter of the people.
BARTENDER
What can I get you two?
MALCOLM
Vodka cooler, please.
She turns to Owen.
BARTENDER
And you? What can I do for you?
OWEN
Sex on the beach.
He smiles and winks.
Malcolm turns to Owen.
MALCOLM
Some pretty fine ladies here, you
think?
OWEN
For sure.
23.
She slides the two drinks down on the table. Malcolm puts
down a 20 dollar bill.
He takes a sip of his drink.
OWEN
Hold up, I need to go to the
bathroom.
Owen disappears into the crowd of people.
Malcolm spots a FINE female across the bar. He makes his
way over towards her and sparks up a conversation that we
cannot hear.
Owen's drink sits alone on the table.
INT. BAR - MOMENTS LATER
Owen passes Malcolm and the fine female on the way back to
get his drink.
OWEN
You sonofabitch, you started
without me.
MALCOLM
What can I say, I'm irresistible.
They all laugh.
Owen walks up and grabs his drink. He chugs a good third of
it back.
Taking a quick breath, he returns to chugging the rest of
the glass. All the way down.
He turns to see the bartender behind him. She smiles.
BARTENDER
Swallow it, baby.
He exhales as he finishes the drink.
BARTENDER (CONT'D)
Did you like my sex on the beach?
OWEN
Best I've ever had.
BARTENDER
Next time make it last, you finished
pretty quickly.
24.
OWEN
Quick and hard. The only way.
He begins walking over towards Malcolm.
Suddenly he stops. Something's wrong.
Shaking it off, he takes another step. It happens again.
He JOLTS. His eyes widen.
Malcolm sees him and chuckles a bit.
Owen rushes through the crowd, past Malcolm towards the
bathroom again.
MALCOLM
Must have been something he ate
earlier.
He turns back to the fine female on his arm and takes a sip
of his cooler.
INT. BATHROOM STALL - SAME TIME
Owen VIOLENTLY vomits into the toilet. His face is turning
yellow.
Must have been the drink? But what?
He vomits again. Everything comes up. This time it's
mostly blood.
OWEN
Oh shit! Fucking SHIT!
Shaking uncontrollably, he stands up. His bloody hands push
against the stall walls for support.
INT. BAR - SECONDS LATER
Owen exits the bathroom. His face looks like shit and there
is a mixture of blood and vomit around his mouth.
A BIG BLACK BOUNCER pulls him aside under a red EXIT sign at
the back of the bar.
Owen is a mess. He's crying. His eyes keep rolling back.
BOUNCER
Looks like you've had enough for
tonight.
Owen can't get out any words. Blood begins to pour from his
mouth.
25.
BOUNCER
Come on, buddy, let's go.
He opens the back door of the bar and SHOVES Owen out into
the alley way.
EXT. ALLEY - SAME
Owen rolls over on the ground.
He vomits again. Crying uncontrollably, he wipes away the
blood from his face.
His eyes roll back and he passes out. He is unconscious in
the alley way.
A CAR slowly backs up towards him. We can see the GLARE of
the brake lights on his face. The car is obscured by the
darkness, as is the diver.
The trunk POPS open.
MONTAGE - Owen's frail body is lifted into the trunk. The
trunk closes and the car comes alive. It slowly exits the
alley way.
INT. BAR - LATER THAT NIGHT
Malcolm, a little tipsy from the alcohol, sees off his
female friend. She kisses him on the cheek and makes for
the door.
He turns to the bartender.
MALCOLM
Hey, have you seen my buddy?
BARTENDER
You mean "sex on the beach"?
MALCOLM
Yeah, that's him.
BARTENDER
No. He probably split
(beat)
prematurely.
MALCOLM
Goddamn!
26.
Malcolm is frustrated. He walks towards the front door and
exits.
CUT TO:
INT. LIVING ROOM - SAME TIME
Sam and Riley kiss on the couch. The same late night talk
show is just ending.
Sam breaks from the kiss and looks down at her watch.
SAM
Baby I've got to go.
RILEY
Why? What time is it?
SAM
It's almost one in the morning.
(beat)
My grandpa always waits up.
RILEY
Alright. Call me tomorrow?
She kisses him once on the lips.
SAM
I will.
She unmounts him and walks to the door, putting on her shoes.
Within a few moments she is gone.
Riley sits on the couch. The trench coat on the chair next
to him grabs his attention.
He sits up and reaches out for it.
The front door opens. Riley keeps his eyes locked on the
coat.
RILEY
Sam, baby, you forget something?
Malcolm walks into the room and leans against the
hallway/living room entrance way.
He sighs.
RILEY
The bar that bad?
27.
MALCOLM
Fucking Owen.
RILEY
What?
MALCOLM
He took off, again.
RILEY
With who?
MALCOLM
I don't know, but he always does
this.
(beat)
God, I hate always having to look
out for him. He's like a kid.
RILEY
I know what you mean.
Malcolm exits, departing up the staircase.
Riley looks at the trench coat once again. He stares at it
for a moment.
INT. BASEMENT - NIGHT
Alex tosses and turns in her bed. It's dark in the basement.
The basement door CREEKS open.
Alex opens her eyes.
The floorboards creek as the person begins to SLOWLY descend
the stairs.
Alex sits up.
She sees a pair of legs walking down towards her.
ALEX
Who is that?
They continue, slowly. Their torso becomes visible.
Alex's breath gets shallower.
The person's face finally becomes visible. It's Riley. He
looks at Alex.
RILEY
Sorry, I didn't mean to wake you up.
28.
ALEX
It's ok. What time is it?
RILEY
Around eight. Go back to bed.
ALEX
No, I've got to get up now anyways.
RILEY
No big rush.
He walks over to the dryer and removes a load of laundry.
He transfers the clothes into a laundry bin and turns to
carry it away.
INT. KITCHEN - SECONDS LATER
Riley and Alex emerge from the basement. Alex is in a white
robe.
Alex passes Riley and heads to the kitchen where Malcolm
drinks some coffee. The kitchen is green and very inviting.
MALCOLM
Good morning.
ALEX
Good morning to you, too.
MALCOLM
So what are your plans for the day?
ALEX
Things change by the minute with me.
MALCOLM
Me too.
He looks at her and touts his mug.
MALCOLM
You want me to get you a cup of -
(realizing)
Orange juice?
Alex smiles.
ALEX
No thanks, I'm fine.
(pause)
Actually, write me down a grocery
list. I want to do something
productive today.
29.
MALCOLM
You sure? Why don't you stay
inside? Cool off for a little bit.
ALEX
I think if I do that I'll go crazy.
INT. UPSTAIRS HALLWAY - MOMENTS LATER
Malcolm walks up the stairs. He meets Riley, who has just
put his laundry away.
MALCOLM (CONCERNED)
Riley, Owen didn't come in last
night.
RILEY
He didn't?
MALCOLM
No, his room's empty.
SILENCE.
RILEY
Maybe he'll show up later today?
Wouldn't be the first time.
MALCOLM
You're right.
RILEY
Hey...
(beat)
Don't mention any of this to Alex.
I don't want to worry her any more.
MALCOLM
I won't.
Malcolm leaves to his room. Riley goes downstairs.
CUT TO:
INT. GROCERY STORE - DAY
Alex wanders the aisles of the grocery store with a shopping
cart. She is well dressed as we've seen her before.
There are a few people here and there.
Alex picks out a few items and places them in her cart,
slowly moving along.
30.
Scott enters the same aisle. He begins following her;
browsing for the same items as she is.
SCOTT
You've got quite the big family to
feed, don't you?
ALEX
My brother and his roommates. They
made the list.
She smiles - the first time in a while.
SCOTT
I live with my niece. She's not
hard to please.
ALEX
No, women know what they want. Men
are the picky eaters.
SCOTT
You've got that right.
(beat)
Are you new in town? I can pick up
on a new face when I see one.
ALEX
Yes, I got here yesterday.
SCOTT
How do you like it so far?
ALEX
Don't ask.
She begins to push along.
SCOTT
You're on Clement, aren't you? I
saw you, yesterday.
ALEX
Yes.
SCOTT
There was an incident. The police
aren't telling anyone what happened.
(pause)
Do you know what went on?
She turns to him.
31.
ALEX
Who are you?
SCOTT
My name's Scott Oliver. I'm a
reporter for the Observer.
ALEX
I've been told not to talk to any
press about it.
SCOTT
Off the record, as a friend.
(beat)
Can I take you out for lunch? I
know this great bar downtown that
just opened. I'll drive you back to
your house, you can drop off your
stuff.
(beat)
Half an hour, sit, relax.
ALEX
I don't know?
She's hesitant. He's charming.
SCOTT
I'm a good listener.
Alex smiles at him, then glances down at her food.
CUT TO:
INT. BAR - SOME TIME LATER
The bar is less crowded. A few casual customers linger at
the tables nearest the windows.
Alex and Scott sit at the bar. Alex has a bottle of water
while Scott sips on a glass of red wine.
SCOTT
So I take it you're not married.
(beat)
You look too young to be married.
ALEX
Widowed.
(pause)
Yep, two years. He died six months
ago.
32.
SCOTT
I'm so sorry, I -
ALEX
No, don't be sorry.
(beat)
'He lived a good life.'
SCOTT
What was it from?
ALEX
He needed a liver transplant and
needed a donor. After awhile it
was too late.
SCOTT
That's horrible.
He takes a drink of his wine.
ALEX
That's why I quit drinking.
(beat)
Because of him. He protected me.
He had the sweetest smell to him.
I could always tell him by his
smell.
(beat)
Always sweet.
Scott awkwardly puts down his glass. He leans in to signify
a deeper part of the conversation.
SCOTT
So tell me what happened last night
across the street.
(beat)
What did you see?
Alex clears her throat.
ALEX
It goes back a little farther than
you think.
SCOTT
Tell me.
Alex takes in a deep breath.
33.
ALEX
I was at the bus station, on my way
here. I met this old man who
seemed really decent. He was blind.
He was coming to Aldershot to
deliver a letter from his dead wife.
Since I was staying on the same
street I offered to deliver it for
him.
(pause)
When I get to this house this man
answers. He's really awkward and
he offers me coffee. I ended up
getting away for a minute and I
found that letter and it said
"Charlie, this is the last one I'm
sending you today."
SILENCE.
Scott is totally glued.
SCOTT
That's terrifying.
ALEX
I don't drink coffee anymore either.
SCOTT
How did you get away.
ALEX
I ran out the front door.
(beat)
If he had found me, though, he
would have killed me. I know it.
SCOTT
The observer would eat this up.
ALEX
You can't tell anyone.
SCOTT
And I won't. I promise.
Alex glances around the room.
34.
ALEX
The scariest thing was he didn't
look that crazy. I knew something
was wrong when he read the letter
and immediately looked at me.
(beat)
Just his 'look' was...
(pause)
Kind of makes you think, doesn't it?
She continues to look around at the people and their separate
conversations. Everyday people.
CUT TO:
INT. RILEY'S BEDROOM
Riley sits on his bed. His room is nice. Guy like, posters
of this and that on the walls. Well kept and clean.
He has is on the phone.
RILEY
Hi, my name's Riley York, I'm
calling from 709 Clement Street. I
want to report a missing person.
OPERATOR (FILTER)
Can I have their name, please?
RILEY
Owen McCready.
OPERATOR (FILTER)
Has it been over 48 hours since
they were last seen?
RILEY
No, just under a day.
OPERATOR (FILTER)
Okay, here's what we're going to
do: we'll put his name and file in
a queue and alert all of our units.
If he hasn't contacted you within
48 hours we'll put out an APB.
RILEY
Okay, thank you.
He hangs up the phone.
The television is on. It catches his attention with the
titled "LATE BREAKING NEWS".
35.
He turns it up with the remote and listens intently.
ON TV there is a reporter (the same female reporter from
earlier).
REPORTER
Police have reported today about an
incident that occurred last night,
here at this house behind me.
(beat)
Upon inspection, the authorities
made a horrifying discovery when
they found kilos upon kilos of
human skin stacked in the basement.
(beat)
No more details are being given as
of yet, but the police warns
homeowners to keep their doors
locked.
Riley is taken back. He is completely shocked. He glances
to the left in thought.
CUT TO:
EXT. CAR - AFTERNOON
Alex and Scott lean against Scott's car in front of his
house. It's pretty and picturesque. White Victorian home
with picket fence and garden to boot.
ALEX
What type of reporting do you do?
SCOTT
Investigative journalism.
ALEX
Interesting. You must uncover a
lot of horrifying stuff.
SCOTT
You can see why I was attracted to
you - your story.
Alex blushes.
SCOTT (CONT'D)
It's really gruesome sometimes.
The things I hear.
(MORE)
36.
SCOTT (CONT'D)
(beat)
Kids are cut open by razors in
their Halloween candy, stuff like
that.
(pause)
One time I interviewed a man who
had cut part of his face off while
high on LSD.
ALEX
And that happens around here?
SCOTT
Around the state. I do a bit of
traveling.
ALEX
I see.
(beat)
I'd better get back.
SCOTT
You need a lift?
ALEX
No, that's alright. It's just a
few blocks down.
SCOTT
Give me a call if the police allow
you to say anything, okay? I want
to get to the bottom of this.
You've got my number.
ALEX
Sure.
(beat)
I'll talk to you later.
She begins off down the road.
CUT TO:
INT. KITCHEN - EVENING
Malcolm, Riley and Alex sit around the kitchen table, eating
dinner. It's chicken of some sort - nothing difficult to
prepare.
ALEX
Where's Owen?
Riley and Malcolm exchange a glance.
37.
MALCOLM
He met a girl. Last night at this
bar downtown.
ALEX
I had lunch with a reporter in a
bar this afternoon.
RILEY
I saw a news report today about it.
The cops are telling people to stay
in.
ALEX
They're talking about it?
RILEY
Yeah, all the local stations.
ALEX
His name's Scott Oliver. He writes
for the Observer. Do you know him?
RILEY
I don't read the news.
He finishes his meal and takes his plate to the sink.
Malcolm hands him his plate also.
Alex continues to chew on a piece of bread. She eyes Riley.
RILEY
I want you to call mom and tell her
you're okay. She'll end up hearing
about it in Orlando.
ALEX
They hear about everything in
Orlando.
RILEY
Will you do that for me?
ALEX
I'll call her first thing tomorrow.
He runs some water and begins to wash the dishes.
Malcolm walks to a cupboard and pulls out a POWER BAR. He
rips open the seal and takes a bite.
Riley washes.
Alex chews.
38.
Malcolm takes another bite. He stops. SILENCE. He winces
in pain.
Alex looks at him and stands abruptly, knocking over her
chair. Riley turns towards Malcolm who is leaning over in
pain.
ALEX
Malcolm, what's wrong?
He opens his mouth and SPITS out the powerbar.
Embedded in his cheek is a SMALL, pencil sharpening razor.
RILEY
Jesus Christ.
ALEX
We need to get him to a hospital.
He begins to lead the quivering Malcolm out of the room and
towards the front door.
INT. FRONT DOOR - SAME
Riley slips on his shoes.
ALEX
Do you have a car?
He picks up a set of keys from a key holder on the wall.
RILEY
I'll take Owen's car. Stay here
and lock the door.
He opens the door and leads the moaning Malcolm out.
The door closes.
INT. KITCHEN - MOMENTS LATER
Alex cleans the blood and food off of the ground with a cloth.
She arises and tosses the cloth into the sink, running the
water to wash away the blood.
INT. LIVING ROOM - MOMENTS LATER
Alex sits down on the couch, facing the television.
A moment passes. The television sounds fill the room. She
is watching the news. She can see Charlie's house on the
television.
39.
The phone rings.
Alex picks up the portable unit on the floor.
ALEX
Hello?
No answer. The other line doesn't respond.
ALEX
Who is this?
Nothing.
Alex hangs up.
She returns her attention to the television. More reporters
talking.
The phone rings again. Flustered, she picks it up.
ALEX
Hello?
Breathing. Regular breathing. It's slightly loud.
ALEX
Who keeps calling?
(pause)
Who is this?
She hangs up the phone again.
It begins to ring again in her hands as she sets it down.
She lets it ring three times then picks it up again.
ALEX
Yes.
CHAMBERS (FILTER)
Alex, this is Detective Chambers.
ALEX
Did you just call.
CHAMBERS (FILTER)
No, I'm in my car right now.
(beat)
Listen, I have something important
to tell you. The police down in the
marsh have uncovered thirty two
bodies.
40.
ALEX
Thirty two?
A look of horror hits her face.
CHAMBERS (FILTER)
Yes, thirty two. All of them
skinned, all of their internal
organs removed. They were dumped
in a swamp, all together.
(pause)
It's connected with last night, I'm
sure of it.
ALEX
What do you want me to do?
CHAMBERS (FILTER)
Lock your doors.
(beat)
We've released a statement to the
media about what we found in the
house -
ALEX
What did you find in the house?
CHAMBERS (FILTER)
Skin, Alex. It was stacked all in
the basement.
(beat)
We're having DNA tests done to
match up the bodies to the skin.
(beat)
Don't talk to anyone about what I
just told you. I want to keep this
on the low-down for a few days.
ALEX
Okay, but a guy from the Observ -
CLICK!
The other line goes dead. Alex sighs.
The phone rings again. She picks it up.
ALEX (CONT'D)
Chambers, I talked to this guy from
the Observer who -
Alex stops. Her eyes widen ever so slightly.
41.
She stands up and turns around. She can see the HOUSE
across the street.
A LIGHT GOES ON from within.
CHARLIE (FILTER)
Your coffee's getting cold.
Alex drops the phone to the ground, still staring at the
house across the street.
She DARTS to the door and locks it. Her breathing is heavy.
Flicking off the hallway light, Alex slowly makes her way
back towards the view of the house.
The light is now off.
She reaches down and picks up the phone. Resetting it, she
pulls out the slip of paper from her pocket. She dials the
number on the paper.
It rings.
SCOTT (FILTER)
Hello?
ALEX (PANICKED)
Scott, can you get over here please?
Something's wrong, I - I'm getting
these calls and -
SCOTT (FILTER)
I'm on my way over now. Don't move.
CLICK!
Alex puts down the phone. Tears stream from her face. She
is still sitting on the floor, back to the couch.
INT. LIVING ROOM - SOME TIME LATER
Alex paces across the room while Scott sits in a chair. Her
eyes are still wet from crying.
She glances up at the house every now and then.
SCOTT
I don't think he's going to call
back again.
(beat)
What did he sound like?
42.
ALEX
He sounded exactly like Charlie.
Same tone of voice, same everything.
SCOTT
So it was him?
Alex sighs.
ALEX
I don't know. This whole thing is
sick.
SCOTT
I'll stay with you for a while.
ALEX
Could you? At least until Riley
gets back from the hospital?
SCOTT
Hospital?
ALEX
Malcolm's power bar had a razor in
it.
SCOTT
(concerned)
Like razor blades in Halloween candy?
She stares down at him, deep in thought.
CUT TO:
INT. WAITING ROOM - NIGHT
Riley is in a STERILE hospital waiting room. The ambiance
of the emergency room can be heard - beeps and voices from
all over.
A nurse approaches Riley. She's black and dressed in green
mod robes.
He stands, looking concerned.
NURSE
Are you the one who brought in
Malcolm?
RILEY
Yes, is he going to be alright?
43.
NURSE
We've put him in intensive care for
now, we won't be sure until tomorrow.
RILEY
Intensive care? Can't you just
stitch up the wound?
NURSE
It's not that easy. The razor
blade that we took from Malcolm's
cheek muscle was contaminated with
a harmful bacteria. It's a parasite
that breaks down nerve cells.
(pause)
Last time we saw this bacteria was
in a man's foot. It had to be
amputated.
Riley looks confused.
RILEY
I-I don't understand...
NURSE
Go home and we'll call you tomorrow
if anything has changed.
RILEY
Do you think he'll be okay?
She gives him a questioning look. It says "I don't think so".
The nurse walks away.
CUT TO:
INT. LIVING ROOM - SOME TIME LATER
The front door opens.
Alex and Scott look up as Riley enters the room. He senses
something's wrong.
RILEY
What's going on?
ALEX
I'm being harassed on the phone.
It's that guy again.
(pause)
Where's Malcolm.
44.
RILEY
Intensive care. The razor blade
was contaminated. Things don't
look good.
(beat)
This is totally fucked.
(beat)
I've got to get out of here.
ALEX
Where are you going?
RILEY
Sam's waiting for me.
Riley hastily exits the same way he came in.
ALEX
Riley, wait!
The door closes.
SCOTT
Big day today, I guess I'll leave
soon.
Alex sits down on the couch, still looking at the door.
She inhales deeply.
CUT TO:
INT. BAR - NIGHT
It's busy again, just like last night.
Sam sits at the bar, slowly mixing her drink with a stirstick.
Riley approaches her.
SAM
Hey you.
RILEY
Sorry, I'm late.
She takes his hand.
SAM
Baby, you're shaking. What's
wrong, talk to me.
His eyes are watery.
45.
RILEY
Malcolm's in the hospital.
SAM
Why? What happened?
RILEY
He got a razor blade in his cheek.
It's infected and shit.
(beat)
And Alex. This whole thing is
fucked up.
SAM
I'm here for you.
He sniffles and wipes his eyes.
RILEY
I still haven't heard from Owen in
two days.
SAM
Where'd he go?
RILEY
He took off, too.
(beat)
At least he doesn't have to deal
with all the shit that I do right
now.
SAM
He'll be back. You know Owen.
RILEY
Why is this town so fucked up. Why
am I so fucked up?
SAM
Riley, listen to me, you're not
fucked up, ok. Some shit's
happening now that's a lot to digest.
RILEY
I'm choking on it, Sam, I'm choking.
He sits unsettled in his seat.
CUT TO:
INT. BASEMENT - NIGHT
Alex puts on a load of laundry.
46.
She turns around and walks towards her bed. She picks up
her BLACK suitcase and opens it.
In the middle of the clothes is a PICTURE.
Alex removes the picture and lifts it up. We can see that
it is over her and another man - her husband. A wedding
photo.
Sitting down she looks at the picture more. A million
thoughts rush to her head.
She closes her eyes and inhales, remembering her lost lover.
BEHIND HER - on the stairs - a SHADOW descends.
Breaking from the moment, Alex WHIRLS around towards the
stairs.
NOTHING. No one is there.
She lies back down in her bed with the picture on her chest.
CUT TO:
INT. NEWS OFFICE
Alex sits in front of Scott's desk at the newspaper offices.
She appears tired and warn out.
ALEX
I can't be alone today.
SCOTT
Where's your brother?
ALEX
He must have spent the night with
his girlfriend. I'm not sure.
SCOTT
I see.
He sits down.
ALEX
I thought you wanted an interview
from me.
47.
SCOTT
I do, but not right now.
(beat)
It seems like the town's saturated
in the whole thing right now.
ALEX
I don't know how people can leave
their houses?
SCOTT
It doesn't affect them as much.
ALEX
It affects me. And Riley too. I
want to take him and leave for a
while. Just until all of this
settles.
SCOTT
You don't want to stay and solve
the case?
ALEX
I'm not much for solving cases...
(pause)
After my husband died, I just
(beat)
I don't think I can deal with this
right now.
Her eyes are misty.
Scott arises and squats beside her. He brushes the hair off
of her face.
SCOTT
I understand.
(beat)
I'll protect you.
Alex looks in his eyes, trying so desperately hard to trust
him.
He leans in for the kiss. Alex beats him to it. She
aggressively kisses him for a few seconds.
She breaks from it and stands, covering her mouth.
ALEX
I'm sorry...
Scott stands and looks at her.
48.
ALEX (CONT'D)
I've got to go.
(beat)
I've got to go home.
She turns and leaves the room.
SCOTT
Alex, Alex wait!
He stands and watches as the door closes on him - and on a
possible love connection.
CUT TO:
INT. WAITING ROOM - DAY
Sam and Riley sit in the waiting room of the hospital. Sam
holds Riley's hand.
She spots the nurse.
SAM
Here she comes.
Riley arises with red eyes. Sam stands behind him.
NURSE
Riley, I've got some bad news.
SAM (QUIET)
Oh God...
NURSE (CONT'D)
Malcolm's infection spread to his
spinal cord and left him brain dead.
He was pronounced dead early this
morning around six. They're going
to perform a post-mortem examination
later on this evening. We're
currently contacting his parents.
(beat)
I'm truly sorry for your loss. He
must have meant the world to you.
The nurse looks at him comfortingly. She nods to Sam, then
turns around and leaves.
Riley's eyes well up with tears. He doesn't move. He has a
fixated stare.
Sam kisses his neck and hugs him from behind.
She whispers in his ear -
49.
SAM
Baby I'm so sorry.
She hugs him from behind around his waste. He doesn't move
or flinch at all.
SAM
I'm so sorry...
CUT TO:
INT. LIVING ROOM - SOME TIME LATER
The phone is ringing on the coffee table in the living room.
We can hear someone enter.
Alex walks over to the phone and picks it up.
ALEX
Hello?
CHAMBERS (FILTER)
Alex, it's Chambers.
ALEX
Yes?
CHAMBERS (FILTER)
I need to talk to you.
(beat)
We've found another body. This
one's fresh.
(beat)
Stay there, I'll be there in a
minute.
ALEX
I will.
INT. KITCHEN - SOME TIME LATER
Chambers and Alex sit in the kitchen. He smokes a cigarette.
CHAMBERS
We've identified the body.
ALEX
Who is it?
CHAMBERS
Owen McCready.
50.
ALEX
Owen?
CHAMBERS
We got a call from your brother two
days ago about his disappearance.
ALEX
He was missing?
CHAMBERS
That's what your brother said.
Didn't come home from a night at
the bar.
(pause)
We did dental identifications. It
took us a few hours.
ALEX
Why?
CHAMBERS
Approximately 83% of the skin on
his body was removed. All the
major organs in his thoracic cavity
were removed.
ALEX
Why?
CHAMBERS
Black market. Organs are hard to
find.
ALEX
I'm leaving tonight. I'm finding
my brother and we're taking off.
CHAMBERS
I want to stay in contact with you.
I might need your help in pointing
this guy out if we find him.
ALEX
I can't stay here.
CHAMBERS
Then drive over to Harville, but I
need you to be here, Alex. This
case depends on it.
SILENCE.
Alex thinks about it.
51.
ALEX
Two more days and I'm gone.
CHAMBERS
Keep your doors locked. Call me if
anything happens.
Chambers arises and exits the room. Alex is motionless.
We hear the door close.
CUT TO:
INT. HOSPITAL - DAY
Riley and Sam follow a male nurse down a long corridor.
It's very well lit, very sterile.
MALE NURSE
I just need you to identify the
body. I'll show you a picture on
the monitor.
RILEY
Okay.
Sam grabs his hand and squeezes it.
They enter a SILVER door marked "MORGUE"
INT. MORGUE - SAME
The walls are covered with boxes that pull out and store
cadavers.
It's lit single source from a high watt light in the center
of the ceiling.
There is a television monitor near the door. Sam and Riley
stand in front of it.
In the background, the nurse PULLS open a cadaver storage
unit and unzips the black bag to expose the face.
He presses a button on the front of the silver rack.
An image of man, NOT MALCOLM, comes on the screen. Riley
and Sam squint and gawk.
RILEY (QUIET)
That's not Malcolm.
MALE NURSE
Excuse me?
52.
He looks up at them. Sam shakes her head.
RILEY
That's not Malcolm!
The nurse is taken back.
MALE NURSE
This is who we have marked here as
Malco -
RILEY (SCREAMING)
That's not fucking Malcolm!
Riley turns around and RUNS out of the morgue.
INT. HALLWAY - SAME
Riley TAKES off down the hallway.
Sam runs out the door after him, then stops and watches as
he takes off out of sight.
SAM
Riley!
(pause)
Riley wait for me! Riley Please!
Riley keeps running.
Sam sighs.
CUT TO:
EXT. SCOTT'S HOUSE - DAY
Alex approaches the front porch of Scott's house. She
carries a WHITE envelope in her hands.
She opens a SMALL, aluminum mail box beside the door and is
about to stick it in when -
SCOTT opens the door.
Alex smiles.
ALEX
Hi.
SCOTT
What are you doing?
ALEX
Leaving you a letter.
53.
SCOTT
Hasn't delivering letter gotten you
in enough trouble lately?
ALEX
I thought that this one might fix a
few things.
(pause)
Scott, I'm really sorry the way I
acted earlier. I'm really high
strung, I don't know what came over
me.
SCOTT
I understand. A lot of shit is
happening to you and around you.
ALEX
I don't want you to think that
you're getting in the way, because
you're not.
SCOTT
I'm an investigative reporter,
that's my job.
Alex laughs.
ALEX
Do you want to go and get some
coffee or something?
SCOTT
Coffee?
ALEX
Yeah, coffee.
CUT TO:
INT. BAR - AFTERNOON
Alex sips the last of her coffee. She smiles and looks at
Scott who smiles back.
ALEX
I feel better.
SCOTT
You look better. You still owe me
an interview.
54.
ALEX
Thanks.
(beat)
I'm surprised, though. This has
been the second hardest week of my
life.
SCOTT
The police talk to you today at all?
ALEX
Yeah. Chambers came over.
(realizing)
Oh god, Riley.
SCOTT
What?
ALEX
Owen was found.
SCOTT
Found? What do you mean?
(beat)
Dead?
ALEX
Yes, he was skinned like the others.
All his skin was removed.
(beat)
I've got to get home to tell him.
(beat)
Stop by later tonight, after dinner?
SCOTT
I can do that.
Alex arises.
ALEX
Thanks so much.
She then makes her way quickly out of the building. Scott
watches as she departs.
CUT TO:
INT. KITCHEN - AFTERNOON
Alex is heard coming through the house. She runs into the
kitchen and sees Sam at the sink.
ALEX
Where's Riley?
55.
Sam turns to her.
SAM
Alex, right?
ALEX
Yes, that's right.
SAM
I don't know? I came here thinking
he would be here but he's not. I
looked all over.
ALEX
What's wrong, what happened?
SAM
Malcolm's dead.
(beat)
They had a mix up at the morgue.
ALEX
What do you mean, a mix up?
SAM
They can't find his body.
Alex's expression fades.
ALEX
Does he know about Owen?
SAM
What about Owen?
ALEX
Sam, Owen's dead. They found his
body with the skin removed, just
like the other bodies found.
SAM
Jesus, what next?
ALEX
I need to find Riley. I want him
in doors.
SAM
I can help you look.
ALEX
No, listen to me, I want you to go
home and lock your doors, okay?
Anyone in this house isn't safe.
56.
SAM
But I can help you -
ALEX
Sam, please. It's for your own good.
Sam sighs and exits the kitchen. We can hear her leave.
INT. LIVING ROOM - SAME
Alex walks into the living room and picks up the phone. She
dials a few numbers.
ALEX
Chambers?
CHAMBERS (FILTER)
Yes? What's up?
ALEX
Malcolm's dead, Riley's other
roommate.
CHAMBERS (FILTER)
What happened?
ALEX
I don't know? But he's dead and
they can't find the body.
CHAMBERS (FILTER)
Where's your brother?
ALEX
I don't know, that's why I phoned
you. I can't find him. Is there
anything you can do?
CHAMBERS (FILTER)
I can put up an all-points bulletin,
but that's it for now.
A SHADOW BEHIND HER!
ALEX
Okay, thanks.
CHAMBERS (FILTER)
Call me when you find him,
ALEX
I will.
57.
She hangs up the phone and turns around. The shadow is gone.
CUT TO:
EXT. BUS STATION - EVENING
A cab pulls up to the small bus stain. It looks a lot like
the one we saw previously, but a slightly different design.
Alex exits the cab and quickly trots into the station.
ALEX
I'll be one minute...
There are a LOT of people around her, waiting to board their
busses.
INT. TICKET BOOTH - SAME
Alex RUSHES up to the ticket booth. A man sits behind the
counter. They are divided by glass.
ALEX
Hi.
TICKET HOLDER
Hello there.
ALEX
I need two tickets to Atlanta.
TICKET HOLDER
I've got two seats on an seven
thirty buss still open, would you
like those?
ALEX
Yeah, yeah.
TICKET HOLDER
Sixty six, thirty two, please.
She hands him a wad of cash.
He processes the order in a computer, hands her back her
change and then hands her the tickets.
She smiles - she is still in a rush.
ALEX
Thank you.
Alex turns around, then freezes.
58.
The change falls from her hands and PINGS on the ground.
Up ahead, through the CROWD of people she spots SALEM
peering at her.
He's laughing. He removes his glasses and laughs
diabolically.
Alex's eyes widen.
She begins off towards him.
His image becomes obscured through the crowd.
Alex moves through the people, but stops when she reaches
where he was.
She looks around, searching for Salem. There is no sign,
only a crowd of people.
On the ground there is a YELLOW ENVELOPE. Alex spots it.
She leans down and picks it up. Opening it, she reads what
it says on the inside:
"SHE HAS NICE SKIN... SHE'LL DO WELL"
Alex RIPS the paper in four and ANGRILY whips it in the air.
ALEX
FUCK!
EXT. BUS STATION - SECONDS LATER
Alex RUSHES out of the building and jumps back into her cab.
ALEX (VO)
Clement Street again, please.
The cab takes off.
It's getting darker out. The sun hangs around the horizon.
CUT TO:
INT. FRONT DOOR - SAME TIME
Riley closes the front door, having just entered. He SIGHS
and leans against it.
INT. LIVING ROOM - SAME
Sitting on the couch, he closes his baggy eyes. He is
extremely tired.
59.
The radio plays softly in the kitchen.
A SHADOW MOVES from behind Riley. His eyes perk open
slightly.
A voice -
SAM
Riley?
Riley awakens and WHIRLS around to see Sam behind him,
leaning on the kitchen entrance way.
RILEY
Sam, Jesus Christ!
SAM
What?
RILEY
You scared the shit out of me.
SAM
Sorry, I got off work early and
couldn't wait to see you.
RILEY
You have screwed up schedules.
SAM
I told my grandfather you'd come
and have dinner with us.
RILEY
You did?
SAM
Yeah, I thought it would be nice.
(beat)
Something relaxing. I don't want
you all cooped up in here. Not
after...
Riley blinks and looks away.
SAM (CONT'D)
Will you come?
RILEY
I don't know, Sam...
SAM
My grandfather's a great guy. He's
no one to impress.
60.
RILEY
I don't know if I -
SAM
Say you will.
He hesitates, then forcibly cracks a smile.
RILEY
Okay.
She slithers over the couch and sits behind him, legs around
his waste.
She pulls out a BLIND FOLD and wraps it around his head.
RILEY
What is this?
SAM
Just some fun.
He pulls it off and looks at her, not impressed.
RILEY
Things aren't 'fun', Sam.
She looks at him for a moment.
SAM (QUIET)
Cut me some slack, Riley, I'm
really trying.
He sighs.
RILEY
I'm sorry.
SAM
You don't have to wear it. I
thought it'd cheer you up.
RILEY
I'll wear the blind fold.
SAM
Okay.
RILEY
Where are we going?
61.
SAM
Granpa's house. It's a bit of a
walk. You'll be fine. You just
have to trust me.
He smiles as she reapplies the blindfold. They both stand.
Sam slowly leads him towards the front door.
CUT TO:
INT. BAR - DUSK
Scott sits at the bar with a pad of paper in front of him.
It is slightly less crowded than before.
He appears flustered and tired.
The attractive female bartender approaches him.
BARTENDER
Late night?
SCOTT
I've got a story to finish by
tomorrow night.
BARTENDER
Really? What's it about?
SCOTT
I don't know.
BARTENDER
Anything interesting in the world
today?
SCOTT
You haven't been hearing what's
going on?
BARTENDER
Nope?
(pause)
It's nothing to get worried about,
right?
Scott sighs.
SCOTT
Nope.
In frustration he RIPS out a piece of paper and crumples it.
62.
SCOTT
Can I get a double of Bacardi?
BARTENDER
Coming right up.
CUT TO:
INT. HOUSE - SAME TIME
Sam leads the blindfolded Riley into the living room of the
house.
The living room is dressed down and casual, CIRCA 1050s!
She sits him down on the couch. He takes off his blindfold.
His eyes adjust.
Sitting in front of him is SALEM. Salem appears without his
glasses and cane.
SALEM
Hello there boy!
Riley looks around.
RILEY
Hi.
SALEM
You must be Riley! I've heard
quite a bit about you.
RILEY
Likewise.
Sam SMILES. She takes his hand in hers.
Riley recognizes the room. He PULLS his hand away.
SILENCE.
Salem sits and smiles at Riley.
SALEM
I heard your friend just passed
away.
(beat)
I'm very sorry. Must be a horrible
loss.
(beat)
My wife recently passed.
63.
RILEY
That's terrible.
He is monotone.
SALEM
Old age. It happens. We had her
cremated.
RILEY
Really?
SALEM
That's the only way to do it, you
know. None of that burial shit.
You've got to make sure it's all
you in there.
Riley becomes noticeably uncomfortable.
The window behind Salem is covered in a THICK curtain. It's
the window that he can see from his house.
SALEM (CONT'D)
What do you think?
RILEY
About what? Cremation?
(pause)
It's alright, I guess. I'd rather
be buried.
SAM
Baby do you want a drink?
He keeps looking around.
RILEY
No thanks.
Sam stands and makes for the kitchen. It's the same as
CHARLIE'S KITCHEN!
She turns back to him half way there.
SAM
Oh come on, you look dehydrated.
Let me get you something.
RILEY
It's fine, Sam.
SAM
Don't be modest, Riley.
64.
She disappears into the kitchen.
Salem leans forward towards Riley, as if to signify his
words with importance -
SALEM
We're having you for dinner.
Riley swallows subtly.
RILEY
You are?
SALEM
Yes, I thought it was a good idea
for you to come and eat with us.
(beat)
Sam told you, right?
RILEY
Ye - yes.
EXT. CLEMENT STREET - SAME TIME
Alex exits the cab a few houses down from her brother's place.
She TROTS off towards it, looking to see if any lights are on.
One is on in the living room.
INT. LIVING ROOM - MOMENTS LATER
Alex comes through the door and straight into the living room.
The radio still plays softly in the kitchen.
No signs of life.
ALEX
Riley?
INT. HOUSE - SAME TIME
Sam brings in a platter with two filled glasses on it and
sets it down on the coffee table in front of Riley.
She takes her seat and the drink on the end closest to her.
Riley hesitates, then picks up the glass.
She takes a sip of her drink, watching him.
Riley takes a small sip of his, then puts it down. His face
crunches together with displease.
65.
RILEY
Does this taste weird to you at all?
SAM
Taste's fine.
RILEY
It tastes like its powdered, is it
powdered?
SAM
Yeah. What's wrong with that?
SALEM
They just don't make it like they
used to, do they?
INT. RILEY'S BASEMENT - SAME TIME
Alex looks around her bed area and all throughout the
basement.
Stopping, she glances at the stairs. NOTHING. She quickly
runs up the stairs and into the main level.
INT. LIVING ROOM - CONTINUOUS
Alex RUSHES into the living room.
SILENCE.
The clock ticks.
She looks at it.
It's 5.30.
INT. SAM'S LIVING ROOM - SAME TIME
The clock on the fireplace mantle reads 5.30. Riley watches
it from the corner of his eye.
RILEY
I should really go back to my
house, you know.
(beat)
My sister's a wreck.
(beat)
Maybe we can do this another time?
He goes to stand. Sam holds him back.
66.
SAM
What are you kidding? We've been
slaving in the kitchen all afternoon.
SALEM
It's good for the soul, boy.
RILEY
Tonight's the best night.
SAM
You'll be home, Riley. Home where
Malcolm and Owen aren't. Alone.
RILEY
Alex will be waiting for -
SAM
No
(beat)
she won't.
(pause)
If she were sane she'd have left
the second she got here.
Riley SIGHS and turns his head away, closing his eyes in
frustration.
Salem stands, slowly (as old men do), with the help of a cane.
SALEM
Looks like it's time to eat.
He walks over towards the dining NOOK behind the couch.
Sam arises to go to the kitchen.
RILEY (QUIET)
What are we having?
SAM
Don't worry, grampa's a good cook.
You'll love it, I promise.
Riley arises and turns his head.
He sees Salem sitting at the head of the table.
INT. DINING AREA - SAME
Riley walks behind the couch and slowly takes a seat at the
LONG table.
There are candles lit and the fine china is out.
67.
He sits in the middle on the side nearest the wall. He is
facing the COVERED window.
INT. RILEY'S LIVING ROOM - CONTINUOUS
Alex keeps looking around the house for any signs of any
action what so ever.
Something catches her eye in the kitchen.
In the center of the table, she spots a WRAPPED PRESENT BOX.
It's pink and 20'x20'. There is a bow on top of it.
She looks at it for a moment. It is out of place.
Slowly and hesitantly, she approaches it.
INT. SAM'S DINING ROOM - CONTINUOUS
Sam enters with a LARGE SILVER PLATTER, covered by a dome-
shaped lid.
She sets it down in the center of the table and sits down
across from Riley.
He keeps his eyes on the PLATTER.
INT. RILEY'S KITCHEN - CONTINUOUS
Alex approaches the box and begins to unwrap it slowly.
Her hands are shaky.
INT. SAM'S DINING ROOM - CONTINUOUS
Salem lays a napkin over his lap, as does Sam.
Riley looks VERY anxious. He glances at both of them.
RILEY (MONOTONE)
What are we having?
Sam reaches forward and removes the platter lid. We just
BARELY see the meat dish before -
INT. RILEY'S KITCHEN - CONTINUOUS
Alex pulls the box towards her more. She lifts the lid to
the box to reveal a LARGE, RAW LIVER.
INT. SAM'S DINING ROOM - CONTINUOUS
Sam sits down.
68.
SAM
Liver.
Riley looks at the LARGE heap of brown liver on the platter
in front of him.
Salivating, Salem licks his lips.
Riley inhales.
INT. RILEY'S KITCHEN - CONTINUOUS
Alex exhales.
She steps back from the box.
Her hands find the wall. She is shaking even more. Her
face clearly shows her horror.
INT. SAM'S DINING ROOM - CONTINUOUS
Salem forks two slices of the meat to his plate.
He looks at Riley.
SALEM
Come on, boy, eat up!
Salem scoops up a LARGE slab of the dripping organ and SLAPS
it on Riley's plate.
INT. RILEY'S KITCHEN - CONTINUOUS
The box falls and the liver SLAPS to the ground.
Alex jumps back, completely terrified.
INT. SAM'S DINING ROOM - CONTINUOUS
Riley SLOWLY begins to cut at the liver on his plate. He
cringes.
Sam looks at him and smiles.
She looks at Salem somewhat diabolically.
SAM
Tastes good, doesn't it?
SALEM
Yes it does.
She turns to Riley, smiling.
69.
SAM
What do you think, Riley?
RILEY
I've never had liver before.
(beat)
It's a big liver, though.
(to Salem)
Where did you get it? It looks
like a pretty big liver for a cow
to me.
SALEM
Over at the butcher.
(beat)
My son - Sam's dad - works there.
RILEY
I see.
(to Sam)
Sam, you never really talked about
your father.
SAM
For good reason.
SALEM
Oh come on, Sammy, your dad's not a
bad guy.
Sam arises. She walks into the living room. A moment later
she returns and places Riley's ICE TEA in front of him.
SAM
You never finished.
RILEY
For good reason.
SAM
It's not that bad.
Riley takes it and CHUGS the entire thing. It takes him a
good seven seconds.
He exhales and places the empty glass back on the table.
He licks his lips. A bit of liquid cascades down his chin
and drops to the meat.
He looks down at his food and blocks out the other two. He
concentrates.
70.
SALEM
So Sam, how's work at that diner.
SAM
Good. Hours are shit.
SALEM
And shit happens.
SAM
I suppose. The uniform is the most
annoying part.
(beat)
Riley says I look sexy in it though.
SALEM
He should. You eat good, you're a
good looking kid.
SAM
And you a cook good.
Riley turns to Sam, breaking from his concentration.
Something's wrong.
RILEY
Can I use the washroom?
SAM
Sure, it's just in the kitchen,
first door before the back door on
the left.
He stands abruptly and slowly walks into the kitchen.
INT. KITCHEN - SAME
Riley slows down. His drink was spiked with some sleeping
drug.
He takes a few steps forward towards the back door - an
ESCAPE. A few more steps.
He slowly glances at the open kitchen beside him.
HANGING in the middle of the room from a MEAT HOOK is
Malcolm's dead body. It's been ripped open, his entire
thoracic cavity exposed and EMPTY.
Riley reaches out and FALLS over, just a few feet from the
BACK DOOR.
71.
INT. RILEY'S LIVING ROOM - CONTINUOUS
Alex FALLS to the ground, tripping over something. She
turns around and grabs the phone near hear left arm.
Sitting up, she dials a few numbers and waits. Her eyes
stay GLUED on the kitchen. The liver isn't in her view.
SCOTT (FILTER)
Hello?
ALEX
Scott, something's wrong -
something's really, really wrong.
Tears start to well up in her eyes. She's breaking down.
SCOTT (FILTER)
What is it?
ALEX
Someone left something here, in the
house. It was in a wrapped box on
the kitchen table...
SCOTT (FILTER)
What did they leave?
ALEX
I - I don't know, it's flesh or
liver or something.
SCOTT (FILTER)
Is anyone there right now?
Alex stands up. She scans the area with her eyes, being
very still.
ALEX
I don't think so.
SCOTT (FILTER)
Alex, listen to me, I want you to
get out of the house. Drop the
phone, leave everything there and
just leave.
ALEX
I need to find Riley.
SCOTT (FILTER)
We'll find him. Just - I want you
to leave. Come meet me downtown.
72.
ALEX
Scott I'm scared.
SCOTT (FILTER)
Hang up the phone, Alex.
She hangs up the phone and turns around.
INT. FRONT DOOR - SAME
Alex makes for the front door. She opens it and quickly
exits.
CUT TO:
INT. BAR - NIGHT
Scott and Alex sit at a table in the bar.
Alex looks at the watch on her hand. She SIGHS. It reads
7.09. She's still noticeably shaken up.
It's less rowdy than previous nights - then again, it's
still early.
ALEX
Our train leaves in 20 minutes.
SCOTT
You're leaving?
ALEX
Yes, I told you that. I wanted to
go home and grab Riley but he's gone.
SCOTT
Any ideas about where he'd be?
ALEX
His girlfriend was over earlier.
He's probably at her house, I guess.
(beat)
I'd still like it better if he'd
call.
SILENCE. Alex sniffles and wipes away her eyes.
SCOTT
What did they leave?
(beat)
In the box, what was it? What was
there?
Alex hesitates.
73.
ALEX
An organ.
(beat)
I don't know? Liver, maybe.
SCOTT
Did it look fresh?
ALEX
Yes, it looked fresh.
SCOTT
What about Chambers? Aren't you
going to call him?
ALEX
No. If I call him now, he'll have
me put somewhere he thinks is safe
until he gets back from where ever
he is. I don't want to go some
place that he thinks is safe, I
want to go somewhere that I know is
safe.
(pause)
I want to leave, Scott. That's all
I want to do. I just want to leave.
SCOTT
You can stay at my place tonight,
if you want. Beats a hotel and
I'll be there.
(beat)
I'll take you and your brother
where ever you think is safe
tomorrow, okay?
ALEX
Thanks.
CUT TO:
INT. SCOTT'S BEDROOM - NIGHT
Scott throws down his jacket on a nearby chair. Alex stands
casually at the door entrance.
He turns to her and sighs, as if the night is coming to an
end.
SCOTT
Heater's broken. I'll take the
couch.
74.
ALEX
Are you sure?
SCOTT
Yes. You need a good night's sleep.
Besides, it's a comfortable couch.
(pause)
We'll stop at the station and you
can talk with Chambers tomorrow -
tell him everything that's happened.
He'll be back then; he'll know what
to do.
SILENCE. Alex smiles.
ALEX
Scott?
SCOTT
Yes?
ALEX
Thanks.
CUT TO:
EXT. ALDERSHOT - MORNING
The sun rises above the sleepy burg.
INT. SAM'S BASEMENT - SAME TIME
It's dark and drippy. The ceilings are low and flanked with
wooden supports. Beads of light shine in through boarded
windows along the top of the walls.
Amongst the stored items and police tape, Riley hangs from a
meat hook by his hands. His legs drag on the ground at the
shins - he is too weak to stand up -- we can see it on his
face. He looks like shit.
Sam watches him from the far end of the room, standing in
front of the stairwell leading upstairs. She has a bottle of
water in her hands.
Smiling and walking slowly, she approaches him. He barely
lifts his eyes.
She sits in front of him and puts the bottle up to his mouth.
SAM
Here.
75.
She pours back - most of the water runs off down his face.
He chokes on the rest.
SAM
You're spilling.
He glares up at her.
She takes in a deep breath. There is a moment of silence as
Sam DIPS her head back and exhales.
SAM
Remember the first time we made
love? It was two years ago and we
were both virgins - kinda pathetic
if you think about it. Everything
was so
(beat)
fumbled. It was rushed and we were
so aware. It burned for me, the
pain was incredible - but it felt
good at the same time. It was
instinctive.
RILEY
Why are you telling me this?
Her eyes SLIGHTLY water.
SAM
Because it's hard for me. Doing
this to you. It hurts me, but it
feels so good at the same time.
(pause)
It's like being touched.
RILEY
Sam, you don't have to do this to
me. If you let me go, I won't tell,
I -
She reaches forward and puts her index finger over his mouth.
SAM
Shhh.
(beat)
You'll tell them, Riley, I know you
will. It's instinctive.
Sam removes her finger.
76.
RILEY
You don't know instinct.
(beat)
You're here killing your boyfriend.
(beat)
The man who was loved you more than
anything for the past two years of
his life.
(pause)
And for what? Black market money
and bloodlust?
A tear drips from Sam's distant eyes. Riley's eyes also
begin to water.
RILEY (CONT'D)
Was there ever a time - a mere
moment in our relationship that you
loved me more than anything? More
than life? More than this?
Her mouth looks to form the word "yes" - but she stops
herself. She looks down and wipes away her eyes.
She looks up and stares coldly at Riley in the face.
SAM (QUIET)
No.
Riley peers at her, trying to penetrate the wall she has put
up. His expression fades and his head drops down as he
realizes he's failed.
Sam arises and walks away from him - leaving him in the dark
pit by himself.
She ducks behind a wall near the stairwell. A hand quickly
finds her mouth as she completely - yet silently - breaks
down. Her face crunches together and turns red. Her eyes
grow blotchy and glisten with tears.
CUT TO:
INT. PRECINCT - MORNING
Alex sits in Chambers' office. Light shines down on her
face from the window behind his desk.
Chambers walks with Scott over towards the door.
CHAMBERS
I need a few minutes to talk to Ms.
York, if you will.
77.
SCOTT
No problem.
Alex turns around, making eye contact with Scott as he exits
the room.
Chambers turns to her, sighs, and makes his way around his
desk.
CHAMBERS
Things have been going on, Alex,
why haven't you talked to me about
this?
ALEX
I'm sorry, I -
CHAMBERS
And you've been talking to the
press?
(beat)
What's been going on?
ALEX
Phone calls. Detective, my brother's
two roommates are dead, I -
CHAMBERS
What else? Phone calls, anything
else?
ALEX
Someone left a human - a human
liver in my kitchen.
CHAMBERS
And why didn't you contact me?
ALEX
I said I was sorry.
CHAMBERS
We've got another lead, I think you
might -
ALEX
No.
(beat)
I want to find my brother and leave.
CHAMBERS
Well where is he?
78.
ALEX
At his girlfriend's house.
CHAMBERS
Who is his girlfriend.
ALEX
Her name's Sam. I don't know her
last name.
He picks up a BLACK telephone on his desk and presses a
number.
CHAMBERS
Carly, I want you to call up the
Westpark campus for a second year
student, first name Sam.
He hangs up the phone.
CHAMBERS
Done.
(beat)
We may not be the FBI, but I'm sure
we can track down a college student,
Ms. York.
ALEX
Good, so I should be out of here by
the end of the day.
Chambers leans forward.
CHAMBERS
As I was saying, I have another lead.
ALEX
I've had enough of leads for one
week, Detective.
CHAMBERS
You'll want to hear this.
(beat)
A man named Charlie Bowles was
fired two months ago from a
slaughterhouse about two miles from
here.
Alex freezes.
ALEX
What?
79.
CHAMBERS
His parents were the previous
owners of the abandoned house on
Clement St.
ALEX
So that's him - that's his house.
Why can't you track him down.
(beat)
"You might not be the FBI, but -"
CHAMBERS
It's a little harder than that.
(beat)
We have someone in custody in
Atlanta related to the chain.
Right now we're trying to get
answers out of him.
ALEX
Chain? What do you mean 'chain'?
Chambers sits back in his seat. He takes a moment to speak
slowly and clearly.
CHAMBERS
It's an underground black market
chain - organ thieves... skin,
hearts, liver.
(beat)
Biggest I've ever seen. Biggest in
the southern states I think
anybody's ever seen.
ALEX
Jesus.
CHAMBERS
It's cleared up a lot missing
persons cases. Abductions,
kidnappings.
(beat)
Kids. A lot of kids. I found that
really sickening.
(beat)
A lot of them were missing kids.
Alex covers her mouth with her right hand. She stares off
in thought.
Chambers stands and hovers over Alex.
80.
CHAMBERS
We'll find the girl. I'll call you
and give you the address. Find
your brother and leave.
ALEX
Will you call me if you find out
more on Charlie Bowles?
Alex stands.
CHAMBERS
Do you want to know more?
She stares at him. He walks to the door and opens it.
Alex takes a breath then walks out of the office, exchanging
a last concerning look with Chambers.
He closes the door.
He leans against the door.
The phone on his desk rings. Chambers breaks from his
position to answer it.
CHAMBERS
Carly, what do you have for me?
He sits down.
CHAMBERS (CONT'D)
What do you mean? First year only?
(beat)
Samantha Townsend. No, it's second
year.
(pause)
Who's the one who graduated?
What's her name?
(beat)
Bowles? Jesus Christ.
He hangs up the phone.
There is a moment where he stares blankly. He immediately
picks up the phone, dialing numbers quickly.
SILENCE. A look of concern crawls on his face.
CUT TO:
81.
INT. LIVING ROOM - CONTINUOUS
In Riley's living room sits an answering machine. It's on a
SMALL table near the back window. The phone is ringing.
CLICK!
RILEY (FILTER)
You've reached Riley, Owen and
Malcolm - we've got school so the
machine's subbing in. Leave
details and we'll call back.
The machine beeps. Someone is near it. Their face is skewed.
CHAMBERS (FILTER)
Alex, this is Chambers. Listen to
me, I think you're in trouble if
you stay in that house any longer.
I want you to come to the station
as soon as you get this.
(beat)
Get out of that house, Alex.
The machine beeps off.
CHARLIE stands above the answering machine, looking down at
it. He smiles, then turns to the kitchen.
CUT TO:
INT. CAR - SAME TIME
Scott drives. Alex is in the passenger seat.
SCOTT
So you can't tell me anything?
ALEX
Chambers said not to.
SCOTT
I've helped you through this whole
thing. Who was there for you when -
ALEX
I'm leaving today. I'll get Riley
back from Sam's house and we're
taking off.
(beat)
I'll call you as soon as I know I'm
safe.
82.
SCOTT
Where is 'safe', Alex?
ALEX
I don't know? - just not here.
SCOTT
Ok, ok. I'll take you two to the
bus station. I'll drop by later on.
(pause)
And Alex -
ALEX
What is it?
SCOTT
You still owe me that interview.
Alex looks out the window of the car.
CUT TO:
INT. BASEMENT - SAME TIME
Sam has a bottle of HAND CREAM next to her as she
methodically rubs it over Riley's strung-up arms.
He looks at her.
She continues to massage his arms, sensually relaxing his
muscles.
She looks down at him and cracks a slight smirk.
Her hands grasp onto his collar. She slowly unbuttons his
shirt and rubs the cream over his chest.
RILEY (QUIET)
Why are you doing this?
Sam avoids eye contact.
SAM (STERILE)
It firms the skin.
She continues to rub.
CUT TO:
INT. FRONT DOOR - SAME TIME
Alex enters the front door. She slides off her shoes and
her casual sweater, tossing them on the ground.
83.
Her hands cover her eyes. She is on the verge of a
breakdown, but she fights it stops her self. Sniffling, she
continues in towards the kitchen.
INT. KITCHEN - SAME
Alex looks at the ground: the liver is gone. She glances
around the kitchen.
ALEX
Riley?!
No answer.
She walks into the living room.
INT. LIVING ROOM - SAME
Nothing is out of the ordinary.
Alex does not see the BLINKING RED LIGHT on the answering
machine.
ALEX (FRUSTRATED)
Jesus Christ.
A SILHOUETTE OF A MAN passes by in the kitchen behind her.
She does not notice.
Alex turns around towards the basement.
INT. BASEMENT LANDING - SAME
Alex opens the door and stands on the landing, looking down
the stairs.
Hesitating slightly, she begins the descent.
INT. BASEMENT - SAME
Her bed is unmade. She looks at it. A pair of pants lie on
top of her bed.
She walks towards the sink between the washer and dryer.
There is a WARPED mirror above it at eye level.
Alex catches her warped reflection for only a brief second.
She opens the dryer and sees a WAD of wet clothes. She
turns two dials and suddenly the machine is alive. The room
is abound with a LOUD, mechanic noise that echoes off the
walls.
84.
Alex turns back to the sink. Her reflection makes her sick.
She vomits into the sink, then proceeds to wash it away.
SOMEONE IS DESCENDING DOWN THE STAIRS. Their warped
reflection is seen in the mirror.
She looks in the mirror and stops. Someone is there on the
stairs. Alex remains neutral.
ALEX
Riley is that you?
The figure on the stairs ceases to descend. It stands there.
Dark pants, dark shoes.
She turns around, backed up against the sink.
ALEX
Riley. Say something.
Her eyes grow wide.
The figure continues his descent down the stairs, faster
this time, almost desperate to get down.
Alex, in complete fear, skitters over to a corner and stares
wide eyed.
THE MAN IS CHARLIE. He smiles and approaches her.
Her breathing is shallow.
Charlie SHOVES her against the concrete basement wall. Her
eyes are filled with fear and anger.
CHARLIE
Why don't you come back over to my
place for awhile?
ALEX
You go to hell.
Alex shrugs off his arms on hers and violently SHOVES him,
causing him to fall down.
Immediately, she breaks for the stairs.
Charlie is up as soon as he gets down and bounds after Alex.
He is very close behind her.
INT. FOYER - SAME
Alex LEAPS out the basement door and SLAMS it. The front
door is in her sight.
85.
She RUSHES towards it, but slips on her shoes and sweater on
the ground.
She grips the door handle and scramble to get up, but
Charlie is right behind her.
He reaches down and SCOOPS her up. She screams. Her arms
and legs FLAIL in the air like a wild woman.
He covers her mouth with a WHITE RAG, obviously coated with
some sort of gas.
Alex's eyes roll back and she is subdued -- not completely,
but enough.
Charlie opens the door and carefully carries her out.
INT. LIVING ROOM - SAME
The phone begins to ring.
It rings three times. The answering machine picks up.
CHAMBERS (FILTER)
Alex, listen, it's Chambers. I'm
at the station. Sam Bowles is
Charlie Bowles' daughter. I think
your brother is in serious danger.
Get out of the house and come to
the station.
CLICK!
The answering machine stops.
CUT TO:
INT. BAR - DAY
Scott sits at the bar with a beer in his hands. The
attractive female bartender is leaned in towards him.
The bar is quiet; only a few people are in it.
Scott finishes off the last swig of his beer then puts it
down on the counter. The bartender tucks it away.
BARTENDER
I'm cutting you off?
SCOTT
I've only had one, you know.
86.
BARTENDER
Where's your girlfriend?
SCOTT
At home. She's leaving.
BARTENDER
No she's not.
(beat)
Go get her.
Scott holds his questioning glare on the woman for a few
seconds before arising.
She watches him as he leaves.
CUT TO:
INT. BATHROOM - DAY
Alex is lying in a bathtub FILLED with ice. Her eyes
flutter as the drugs start to ware off. Her face is pale.
Her shirt is ripped open at the blood-drenched bottom,
exposing a FRESH stitched incision. One of her kidney's has
been taken.
Charlie and Sam are in the room. They can be heard packaging
the kidney, having a sterile discussion about it.
SAM (OS)
Clot the top, make sure there's
enough room.
CHARLIE (OS)
Hand me that bag, would you?
Alex's eyes open. She shivers.
We see that she is lying on RILEY'S DEAD BODY. She is
stacked on top of him. Her face is near his. Alex is still
heavily drugged and takes a moment to sink into her diluted
reality.
CHARLIE (OS)
Make sure it's labeled properly,
they won't take it if it's not
convincing?
Alex turns around to Riley's face. She rubs her eyes. Her
vision is going.
SAM (OS)
How much for this?
87.
CHARLIE (OS)
One grand, give or take.
She closes her eyes and feels his face and hair. She cannot
process if he is living or dead. Her words are mumbled -
ALEX (WHISPERING)
Riley. Riley it's me.
Sam and Charlie continue their conversation off screen.
SAM (OS)
The bag's still wet, I can't write
on it.
Slowly, Alex reaches up and touches Riley's face.
ALEX (WHISPERING)
Riley. Open your eyes.
(beat)
Open your eyes. I'm here.
(pause)
Riley
(beat)
open your -
Charlie LOOMS over top of Alex and PUSHES her shoulder back
so she is lying back down on the ice bed.
CHARLIE
She's awake.
ALEX (WHISPERING)
What did you do to me?
Sam walks over and looks down at Alex.
SAM
What about her liver? Can't we get
that?
CHARLIE
Not with all the drugs I've given
her. She'll be a vegetable within
ten hours, trust me.
ALEX (WHISPERING)
No..
SAM
She's too small to take skin from.
We wouldn't even get one stripe off
of her.
88.
CHARLIE
We've got the skin. We don't need
anything else.
ALEX (WHISPERING)
No!
Charlie PULLS her from the ice bath. She is shivering, wet
and bleeding.
SAM
You're cold, aren't you?
CHARLIE
Get her dressed. We'll all have
some coffee before we leave.
Sam PULLS off Alex's shirt, revealing her LARGE, stitched
wound.
Alex's bra is bloody and wet.
Sam starts with Alex's pants. They blood has stained her
panties also. Her pants fall to the ground. Alex is
shivering and hugging her body.
ALEX (WHISPERING)
My eyes...
SAM
We'll get you dressed.
CUT TO:
EXT. RILEY'S FRONT PORCH - SAME TIME
The sky is overcast.
Scott steps up to the door and knocks. He waits for a minute.
No answer.
INT. FRONT DOOR - SAME
Scott opens the door and steps inside.
He pauses a moment and waits for a reaction.
NOTHING.
He takes another step inward.
SCOTT
Alex?
89.
He closes the door and steps into the living room. He
passes her shoes and sweater on the ground.
INT. LIVING ROOM - SAME
Everything looks in its place.
His eyes scan the room.
SCOTT
Riley? Alex, you here?
Scott RUMMAGES through the living room. He comes upon the
ANSWERING machine and presses one of the buttons
inquisitively.
CHAMBERS (FILTER)
Alex, this is Chambers. Listen to
me, I think you're in trouble if
you stay in that house any longer.
I want you to come to the station
as soon as you get this.
(beat)
Get out of that house, Alex.
Scott's eyes widen.
He takes a stumbled step back in complete shock.
CUT TO:
INT. SAM'S BEDROOM - DAY
Alex's eyes are closed. Her head sways methodically as if
she is spiritually transcending.
She puts up her arms, gracefully.
Sam slides an ELEGANT, simple white dress on to Alex's bare
body.
Her stomach is bandaged on the side.
They both sit down on Sam's bed. Sam pets the dress on
Alex, whose eyes are still closed.
SAM
The dress looks nice on you.
ALEX (QUIET)
It's not mine.
Alex is obviously not in her right mind. She does not make
eye contact.
90.
Her hands blot around her eyes. Her vision is blurry.
SAM
It still looks good.
ALEX (QUIET)
I can't see anything. Where are we
going? Where are we?
SAM
Nowhere special.
ALEX (QUIET)
Where's Riley? I saw him -
SAM
He's fine.
ALEX (QUIET)
Did you two break up?
SAM
Yes.
Sam puts up her shield again. The conversation is getting
to her.
ALEX (QUIET)
You two were so good together.
SAM
I broke it off with him.
(beat)
It was quick and painless. He felt
no pain.
ALEX (QUIET)
No, he shouldn't. He's a good kid.
SAM
I didn't want to see him hurt. I
couldn't stand to see him hurt. So
I did it quick...
(beat)
so he wouldn't hurt.
ALEX (QUIET)
I hope he's okay.
SAM (QUIET)
Yeah...
CUT TO:
91.
EXT. SKYLINE
The sun looms in the late afternoon sky.
INT. SAM'S DINING ROOM - SOME TIME LATER
Salem, Sam, Charlie and Alex sit around the dinner table.
Alex still appears mellow. Her face is a pale blue.
The three casually sip coffee from mugs. Alex doesn't touch
hers.
Someone is sitting on the couch in the living room - MALE,
dark hair. Only the back of their head can be seen. Alex
notices them.
CHARLIE
So, where are you from?
Alex turns her head towards Charlie but still stares off
into the distance. Her vision has faded. She is now blind.
ALEX
Boston.
CHARLIE
How do you like it in Boston?
ALEX
I don't know?
CHARLIE
How long have you been here in
Aldershot?
ALEX
A little bit.
SILENCE.
CHARLIE
Do you remember when we first met?
ALEX
Who are you?
CHARLIE (CONT'D)
The casual conversation that we had
with each other... innocent,
nothing much really.
ALEX
No.
92.
CHARLIE (CONT'D)
You were just an regular woman. An
everyday person. Nothing out of
the ordinary.
ALEX
I don't remember.
SILENCE.
Charlie puts down his coffee cup. Alex reacts to the sound
of the cup against the saucer.
CHARLIE
What is your name?
ALEX
I ca-can't remember.
CHARLIE
Who are you?
ALEX
I don't know.
A song comes on. It's a retro '50s style brood. Alex
remembers it.
ALEX (QUIET)
This is my song.
The SILHOUETTE on the couch arises and walks into the light,
extending an arm in front of Alex.
IT IS SCOTT.
SCOTT
May I have this dance?
Alex turns her head towards his voice. He reaches down and
grabs her hand gently. She floats out of her chair and into
his arms.
He embraces her tightly. They glide as they dance into the
living room.
SCOTT
I didn't want you to leave?
ALEX (QUIET)
I remember you...
SCOTT
You're really special to me.
93.
ALEX (QUIET)
Is this our interview?
SCOTT (QUIET)
Yes...
ALEX (QUIET)
What's happening to me?
SCOTT
I don't know?
ALEX (QUIET)
Tell me, please.
Her eyes water in his tight embrace.
SCOTT
I don't know what to say to you.
She INHALES through her nose, smelling him. A tear breaks
from her eye.
ALEX (QUIET)
You smell exactly like how my
husband used to smell.
Scott's eyes begin to water.
SCOTT
I know.
ALEX (QUIET)
I miss him.
(beat)
I just want him to be with me now.
I want him to protect me now.
(pause)
I'm scared.
Sam, Salem and Charlie sip their coffee pretentiously from
the dining room, gazing at their graceful, emotional dance.
SCOTT (QUIET)
It's okay...
ALEX (QUIET)
Don't take Riley.
(beat)
He's so young. He's just a baby.
Scott pulls back from her. He looks down at her dress. Her
scar has BLED through, staining crimson on the white dress.
94.
SALEM
It's almost time.
She closes her eyes methodically and feels around her wound,
wincing in pain.
Alex FALLS to the ground, but Scott leads her there. The
movement is almost dance-like.
She is bleeding. Scott leans over her passionately.
SAM
We have to go now. We won't have
enough time.
Alex opens her watery eyes and looks into Scott's, straining
her failing vision.
ALEX (QUIET)
I won't tell anyone, I swear I won't.
SCOTT
I can't trust you.
ALEX (QUIET)
I won't tell.
SCOTT
Yes
(beat)
You will.
Alex takes a deep breath in.
ALEX (QUIET)
I guess it's over.
SCOTT
Yeah.
(beat)
For now.
Scott gets up and walks away. Alex lies on the ground.
They all begin to depart, walking by Alex's body on the
ground.
She breathes heavily and stares upwards. Her heartbeat
slows down.
TIME PASSES
Blue and red police lights start slowly flashing on her face.
95.
The distorted voices of police men arriving on the scene can
be heard. They are soon drown out.
DISSOLVE TO:
INT. HOSPITAL - NIGHT
Alex sits in a hospital bed. It's night and the moon shines
down.
CHAMBERS sits on the bed next to her.
She has that 'distant stare' in her eyes. From blindness or
emotional exhaustion?
CHAMBERS
They left?
ALEX
I can't remember. I couldn't see
their faces.
CHAMBERS
The reporter, what happened to him?
ALEX (QUIET)
Scott...
CHAMBERS
He left his job the day after you
were attacked. That was his last
day. Nobody's heard from him
since - except you.
ALEX
Where is he?
CHAMBERS
That's why I was asking you?
ALEX
Where's Riley?
CHAMBERS
We haven't found him.
ALEX
Is he dead?
He doesn't answer. She upholds her stare. Her eyes get a
little glossy.
ALEX (QUIET)
Silence is golden.
96.
CHAMBERS
You've got a lot to be thankful
for - you escaped with your life.
ALEX
I have nothing. No husband, no
brother, no vision...
(pause)
Where did everybody go?
Chambers stands up. He looks down at her. She closes her
eyes.
CHAMBERS
You've got to rest. You're still
tired from the surgery.
(beat)
They're keeping you here for
another three days. Then you can
go home.
He walks towards the door and is about to exit when -
ALEX (QUIET)
Where's home?
Chambers appears to be sorry for her. He shakes his
slightly, then exits the room.
CUT TO:
INT. BUS STATION - DUSK (DAYS LATER)
Alex sits with her one luggage bag in the bus station. She
has a white cane with her. She looks like hell.
A few people walk through and around the station.
ANNOUNCER (FILTER)
Bus arriving from Atlanta en route
to Athens, arriving in ten minutes.
A young woman hastily sits down and takes a load off beside
Alex. She's young an attractive, much like how Alex used to
look.
She turns to Alex.
YOUNG WOMAN
I'm sorry, is this seat taken?
ALEX
No, I guess not anymore.
97.
Alex's speech is 100% monotone.
YOUNG WOMAN
Okay, thanks. I'm picking up my
husband and it's my first time at a
bus station.
ALEX
Husband... I remember my husband.
He had the sweetest smell.
YOUNG WOMAN
Divorced?
ALEX
He died.
YOUNG WOMAN
Oh, I'm so sorry, I didn -
ALEX
Don't be sorry. He had a good life.
(beat)
Excuse me.
Alex stands and walks in amongst the crowd.
BEHIND HER, we can see SCOTT. Alex stops.
SCOTT (WHISPERING)
Alex...
She turns around and stares at him right in the face. She
takes a step towards him. They are inches apart.
Alex blinks her eyes and suddenly he is gone. She cannot
see him.
She smells the air and closes her eyes, remembering her
husband... remembering herself.
FADE TO BLACK
THE END
