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FADE IN:
EXT. AN ALLEY
A group of guys are having a craps game. Beyond them stands 
the sisters, three girls in schoolgirl uniforms.
SISTER SERENITY
Odds. The ratio of the probability 
of one event to that of an 
alternative event. Thus, coining 
the phrase “What are the odds”. 
What are the odds that two people, 
who haven’t seen each other in say 
five years were to suddenly meet 
in a certain city. Now, take those 
odds and add to it that the reason 
they meet there is because of the 
acts of another person, and that 
person has brought together two 
other people who haven’t seen each 
other in a considerable amount of 
time either. What are the odds on 
that? Big city, big world. You 
never think to run into someone 
you don’t want to run into when 
you go somewhere, because you 
always think what are the odds. 
Five to one, ten to one, I guess 
it all comes down to risk. Not 
taking a chance, but, hell if you 
don’t take a chance you might as 
well lock yourself into your 
house. No one really does that do 
they? Everybody takes chances. 
Everyday we end up at a crossroads 
of some kind or another. You have 
to choose whether you’re gonna go 
left or right on that road. Maybe 
next time you should think about 
the odds. 

A hazy view down a long dark hallway as the song “For 
Sentimental Reasons” plays.


EXT. THE DOCK OF THE BAY-AFTERNOON
RIDLEY and MR. BALTIMORE are at the edge of a pier. Ridley 
is sitting against one of the posts with a black hood over 
his face and his hands tied. Mr. Baltimore takes off the 
hood and cuts off the ropes. Ridley looks up hazily as his 
eyes get acclimated to the light. He blinks for a while 
then focuses on Mr. Baltimore who sits next to him smiling. 
Ridley takes a moment to look about and familiarize himself 
with the surroundings, then looks back on Baltimore who 
stares on him with a fool’s grin.
MR. BALTIMORE
I’m sorry.
RIDLEY
For what?
MR. BALTIMORE
The..hood and the..ropes. I know 
they can be uncomfortable. I am 
sorry.

Ridley looks at him dissatisfied, but Baltimore continues 
to just smile.
MR. BALTIMORE (CONT’D)
If you don’t mind the pun, it 
doesn’t seem like this is the 
first time you’ve been through 
something like this.
RIDLEY
What do you want?

Baltimore’s smile stretches like a child’s as he pops up to 
his feet to face the grim looking man that stood behind 
him.
MR. BALTIMORE
I like him.

Happily the man strolls down the pier to his car that waits 
there. JONATHEN curiously watches Baltimore walk away.
JONATHEN
Time, Ridley. We require your 
time. Everyone has it. Minutes, 
hours, days. Yours is spent on 
doing mostly nothing. Scraping by 
here and there to live with a roof 
over your head mostly. Well, now I 
require your time.  

Ridley now becomes confused, as Jonathan squats down to 
face him.
RIDLEY
I always hated it when you talked 
like a textbook.
JONATHEN
There is a girl, Ridley. A girl 
has come here to your place. A 
very special girl. I want to know 
where she is, but I’m not from 
here, you are.  
RIDLEY
I don’t want to know what this is 
about.
JONATHEN
You should be more concerned with 
the amount of funds you are about 
to acquire.

The defensive look that Ridley had alters to one of 
defensive intrigue.
RIDLEY
What’s her name?
JONATHEN
You don’t need to know that. You 
don’t need to make any contact at 
all. You just need to notify me 
when you’ve found her and tell me 
where she is.
RIDLEY
How am I gonna find her?
Jonathen pulls out a packed large envelope and hands it to 
Ridley.
JONATHEN
There’s a picture inside along 
with some...cash to help you with 
your job.
RIDLEY
And how much is that?
JONATHEN
Just know that it will be a 
significant amount less than what 
you will get to do the job.
RIDLEY
And how much is that?

Jonathen just answers with his grim demeanor and stands 
back up.
JONATHEN
Just do the job Ridley. Do it like 
I told you and you’ll be fine. All 
you need to know is in the 
envelope.

Jonathen walks down the pier to the car. 
RIDLEY
What makes you think that I’d 
accept?
MR. BALTIMORE
Because, Ridley you have nothing 
else to do. 

Ridley watches as the men drive away, then opens the 
envelope. Inside is the money he was told about and a 
picture of a young girl.

INT. MS. DANE’S OFFICE
Heavily shaded by the blinds on her window, MS. DANE 
quietly smokes her cigarette while she looks outside. 
Behind her the door opens and the dark skinned OLIVIA comes 
in. Ms. Dane barely acknowledges her presence.
MS. DANE
It’s early.
OLIVIA
I’m not the one enjoying the view.
MS. DANE
Couldn’t sleep. Strange..I usually 
close my eyes..but now..

For what seems to Olivia as a lifetime Ms. Dane gets lost 
in her thought, but with a bat of her eyelash she regains 
her form.
MS. DANE (CONT’D)
You have something for me?
OLIVIA
(pause)
He’s here.

The next pause is a lifetime as Olivia can feel the slow 
burn from the drag of Ms. Dane’s cigarette. 
MS. DANE
How long?
OLIVIA
Workin on that.
MS. DANE
Why?
OLIVIA
Workin on that too.

Another long pause, and another slow burn.
MS. DANE
Then why are you here?
OLIVIA
I’m not.

Olivia leaves, but Dane stays locked like a statue at the 
window. Taking another moment, taking another drag.

INT. DEVIN’S ROOM
With the rhythm of a finely tuned machine DEVIN goes 
through his sit-up routine. Completely apathetic to 
everything else around him, the man focuses on his workout. 
He doesn’t even notice his brother BRANDON who stands at 
the doorway trying to get his attention. A moment’s notice 
is all he gives his little brother.
DEVIN
What?
BRANDON
I’m headin out.
DEVIN
And?
BRANDON
I might be late.
DEVIN
And why would I care?
BRANDON
Cause, last time you nearly shot 
me.
DEVIN
Well, you should make more noise 
when you come in.
BRANDON
Every time I do you get mad and 
yell shut up. I was trying to be 
considerate.
DEVIN
Yeah, well do what you want. 
There’ll be enough noise for 
everybody tonight.
BRANDON
Fine.

Devin goes back to his workout and Brandon heads for the 
front door. As he opens the door he is greeted by ANGELA 
who affectionately strokes his face and goes to Devin’s 
room as Brandon heads out into the world.

INT. A RATTY APARTMENT
CLIVE wakes up from his slumber with his eyes straining to 
regain some semblance of focus. When the blur that is his 
vision clears he notices that he is not in his bed alone. 
With a slight turn of his head he finds Olivia laying 
quietly next to him with a smug grin on her face. Clive’s 
look is still confused.
CLIVE
What’d I do?
OLIVIA
I didn’t say you did anything.
CLIVE
Then, why are you here?
OLIVIA
To ask you something.
CLIVE
What time is it?
OLIVIA
Do you care?
CLIVE
Sort of?
OLIVIA
Five O’ Clock.
CLIVE
AM or PM?
OLIVIA
The sun’s up, Clive.
CLIVE
Right. What’d you want to ask me?
OLIVIA
You see Baltimore?
CLIVE
Baltimore’s here?
OLIVIA
So, I’ve been told. No one’s 
gotten in touch with you?
CLIVE
I don’t even have a phone.

Olivia stretches over and mounts Clive, which brings about 
an irritated expression. Grinning she pulls out a cell 
phone and places it on his chest.
OLIVIA
You do now.
INT. RIDLEY’S APARTMENT
Ridley sits at his very small table and stares at the small 
stack of money and the picture of the girl, trying to 
figure out what to do. His brain works the problem for what 
becomes many hours as day turns to night and he now sits in 
the dark. After 8 hours of struggle a thought awakens in 
his mind and Ridley picks up some of the money and the 
picture.

EXT. A CLUB NIGHT
Brandon comes out of the ever-filling club saying good-
night to his friends with a wave. Crossing the street he 
walks down the crowded sidewalk heading against the flow of 
traffic. Lost in his own thought he does not notice that a 
young girl walks step for step with him on the sidewalk 
across the street. Stealing a glance at him after every 
lightpole and bus bench her gaze is one of playful 
curiosity. As, Brandon reaches an intersection he finally 
sees the girl that has been following him and his stare 
rivals hers. The two stay locked on each other for what 
seems like an eternity until Brandon finally breaks the ice 
and walks across the way to meet. 
BRANDON
Hi.

Expecting no less than his greeting back Brandon is 
astonished at the sound he hears. He is astonished at the 
fact that the hello resonates in his head and not his ears. 
His eyes shout his disbelief, but before he can say a word 
she shushes the boy with her finger. Still in a state of 
shock he takes her hand in his and looks upon her in 
wonder.
BRANDON (CONT’D)
(Whisper)
I hear you.

Her smile warms his heart and the two carry on a silent 
conversation. Their focus on each other doesn’t waiver for 
a moment as the two are lost. The shy little girl and the 
quiet little boy go hand in hand and walk off into the 
night together.

EXT. A PARK BENCH
Clive sits alone under the light of the lone lamp above his 
head. He is soon joined, however by a prostitute who thinks 
he’s a customer. 
BABAY
Lookin for company?
CLIVE
Not unless you wanna get sick, 
Babay.

BABAY takes a moment to better look at who’s sitting at her 
station and rolls her eyes in exhaustion. 
BABAY
What the fuck are you doing on my 
stoop?
CLIVE
Looking for a lay. What do you 
think I’m doing here? Olivia came 
to see me.

Babay exhales and takes a seat next to Clive.
BABAY
Look, I don’t know what Olivia 
told you, but I didn’t send her 
after you.
CLIVE
You said you saw someone?
BABAY
Yeah, that smilin guy in the 
pictures.
CLIVE
What pictures?
BABAY
The one’s in Dane’s office.
CLIVE
Where did you see him?
BABAY
On beacon. He had some guys pick 
up this other guy.
CLIVE
What guy?
BABAY
A loner that hangs around here 
doing jobs here and there.
CLIVE
His name, stupid Bitch what’s his 
name!
BABY
Fuck you Clive! I ain’t nobody’s -
--
CLIVE
Just give me his name!
BABAY
(Beat)
Ridley. His name is Ridley.
INT. A LONE BARON ROOM
Hobbled in a corner, strung out from lack of a fix is TRIP. 
He can barely be made out except for his eyes that peer out 
of the dark scanning for anything that dares invade his 
space. Remarkably that person can be found in the guise of 
Ridley who walks across the empty room to the shuttering 
Trip.
RIDLEY
Trip.

Trip struggles to keep focus with what little strength he 
has goes to Ridley.
TRIP
R-r-ridley?
RIDLEY
Yeah, Trip.
TRIP
H-h-ey, you got a taste?
RIDLEY
Naw, Trip. Never did.
TRIP
H-how about a cigarette?
RIDLEY
Plenty of those.

Ridley pulls out one for himself and tosses Trip the box. 
He then, lights his cigarette and tosses Trip that too.
TRIP
Thanks man.
RIDLEY
I need your help Trip.
TRIP
Yeah? C-can’t do much nowadays.
RIDLEY
You once told me I ever needed 
anything, or needed to find 
anybody I could come to you. 
Remember that Trip? You said you 
had all the hook-ups. 
TRIP
Big town. Gotta have the h-hookups 
in the b-big town. 
RIDLEY
I need one of those hook ups now 
Trip. I need to find somebody.



Trip takes one long drag as if he can find some kind of 
power to muster in the smoke. With his exhale he exhibits 
some form of control and looks back up to Ridley 
spitefully.
TRIP
Look at me man. You think I’d be 
in this shit hole if I had a hook-
up? You think I’d be clutching to 
this fuckin wall like it’s my life 
if I had HOOK-UPS!

The sudden burst of volume is short lived as Trip returns 
to his altered state succumbing to the strain his outburst 
caused. 
RIDLEY
No, but you can point me in the 
right direction, cause right now I 
got no direction. I’ve got nothing 
and I could be a step away from 
being worse off than you if I 
don’t do my job.
TRIP
What job?
RIDLEY
Trip.
TRIP
Alright, alright. What do you 
need?
RIDLEY
Where do the runaways go? The new 
girls in town. If I’m lookin for a 
young girl just got into town 
where do I look?

Trip’s shutters turns into laughter, as Ridley takes 
another drag composing his patience.
TRIP
You fuckin turn perv on me Ridley? 
RIDLEY
I need to find a specific young 
girl and I don’t have time to fuck 
with you Trip.
TRIP
Yeah, okay. Go to Mahalia on 
Liberty and Flora. She knows where 
to find all that kind of shit.

Ridley accepts the info and tosses Trip a very large wad of 
money. Trip can only look in shock at the toll.
RIDLEY
You’re gonna do one of two things 
with that wad. Find a way to fix 
yourself or end it. Either way I’m 
doin you a favor.

Ridley finishes his smoke and walks out the door leaving a 
pathetic excuse with a big choice.

EXT. THE BEACH
Brandon and LYSSA both walk hand in hand along the beach 
with nothing but the full moon to light their way. 
BRANDON
No I’ve never been there. 
(Lyssa looks)
No I lived here all my life. What 
about you? 
(Lyssa looks)
I don’t know. Never had the money.
 (Lyssa looks)
I guess I would.
EXT. ELAINE SANDOVAL’S HOUSE
A worn out ELAINE SANDOVAL comes home from a long night’s 
work. As, she comes up on the door she does not see 
Jonathen sitting in the shadows until he takes a long puff 
of his cigar. The light from the small fire causes Elaine 
to turn startled as she finds the man in the darkness.
JONATHEN
Never pictured you as the working 
girl Lane.

A cognizant look enfolds over Elaine’s face as she 
recognizes Jonathen.
ELAINE
Jonathen?
JONATHEN
I always wondered happened to you. 
Did you end up messed up or did 
you survive our friend? 
ELAINE
What are you doing here?
JONATHEN
The proper thing to say is would 
you like some coffee, Jonathen?
ELAINE
You don’t drink Coffee.
JONATHEN
It’s still polite to ask.

The look of caution that Elaine had quickly fades away as 
she’s been through conversations like these before, so she 
just whips out her keys and makes her way inside.
ELAINE
Do what you want. You’re gonna 
anyway.

A grin stretches along the corner of his mouth as Jonathen 
follows her in. Inside the kitchen Elaine puts her things 
down and prepares coffee for herself.

JONATHEN
This all yours?
ELAINE
What do you want?
JONATHEN
Nice enough place I guess 
considering your salary.
ELAINE
Why are you here?
JONATHEN
I would have thought with your 
education you could get a better 
job personally.
ELAINE
Stop it.
JONATHEN
Hi Jon. How are you? You know what 
happened to those manners of 
yours?
ELAINE
What the fuck do you want?!

Jonathen’s satisfied with the button’s he’s pushed and 
smiles.
JONATHEN
I wanted to see how the other half 
has come to live. I wanted to see 
the good life. So, how’s the good 
life Lane? The charity case isn’t 
here from what I see.
ELAINE
That was over a long time ago if 
that’s what you’re after?
JOHNATHEN
I’m not after anything?
ELAINE
Then why the fuck are you here?
JONATHEN
To see if it was worth it? To know 
if it was worth it. You had one of 
those special moments in life that 
everybody writes about. You had a 
moment to choose. You chose to go 
with the sob story. 
EALINE
And what were you the normal life?
JONATHEN
Compared to him yeah.
ELAINE
He loved me.

The words actually sting him and the glare of his eyes 
scream that.
JONATHEN
I didn’t?
ELAINE
You just wanted what you couldn’t 
have.
JONATHEN
So, that’s it? It’s just that 
simple. One plus one is two when 
it comes to me. I guess we all got 
fucked. Left instead of right, or 
maybe we all should have gone down 
one long road away from each 
other.
ELAINE
Is that what you came here for?
JONATHEN
What I came here for is being 
worked on as we speak. You’re 
icing on the cake. I have to admit 
I didn’t think you’d be here, but 
surprise. I didn’t know what would 
have been worse, losing to the 
dream or to a lost cause. Shit end 
of the stick either way. 

Jonathen comes very close to her looking for a reaction, 
but what he gets is a lifeless presence that doesn’t care 
what he wants. He places his temple upon hers and softly 
kisses her cheek. 
JONATHEN (CONT’D)
Nice life Laney, you picked it.

And with that he’s gone leaving Lane with fresh cuts on old 
wounds.
EXT. THE CORNER OF LIBERTY AND FLORA
As, Ridley questions the girl on the corner an unseen Clive 
watches from down the block. However, unseen to Clive is 
Sosa who stands in the shadows watching him. 

INT. BRANDON’S HOUSE 
Brandon leads LYSSA through the crowd of dancing kids to 
his room. Just before he closes the door behind them he 
catches the mindful eyes of his brother Devin.
The two get comfortable as they sit on the floor in the 
middle of the room, carrying on a conversation that can 
only be heard between the two of them. Through the night 
they are intertwined by thought, by sight, by love. Their 
relationship has become storybook in nature, as they laugh, 
they dance and then kiss.
BLACK:

Along the long corridor “For Sentimental Reasons” echoes 
through the halls. Coming closer to the light a figure can 
be seen laid out on the floor. As, the vision clouds into 
darkness the disturbing sounds of an assault blast in the 
dusk. 

INT. RIDLEY’S ROOM-MORNING
Ridley wakes up from his nightmare with the sudden shock of 
a man electrocuted. He takes time to calm himself by 
breathing as he looks at his hands to make sure they’re 
okay. Once his senses are intact he slowly turns to find 
Olivia sitting in a chair by the window.
OLIVIA
Morning.

Ridley doesn’t speak his morbid apprehension does his 
talking for him.
OLIVIA
You know looking at you rustle 
around like that makes me think of 
something told to me about scars. 
There’s always a time when you get 
really fucked up. It sticks to you 
as much as you don’t want it to. 
That moves to your kin, see. 
That’s how people pick up their 
parents bad habits. Scars are made 
with things from your past. Kids 
who never drank a drop of liquor 
become alcoholics; the nicest 
people got mean streaks. 
Everybody’s got wear and tear from 
birth. That’s why you’re cryin 
when you come out. Lookin at you I 
see a whole lotta scars.

Ridley’s gaze becomes one of not caring anymore as he gets 
up and goes to the bathroom for some water.
OLIVIA (CONT’D)
You’ve made some interesting 
friends lately. You got picked up. 
You got picked up and taken away, 
then you came into some money and 
now you’re asking questions around 
town about a girl.

Cup in hand Ridley comes out of the bathroom.
OLIVIA (CONT’D)
Who’s the girl?

Ridley arches his eyebrow at the question.
OLIVIA (CONT’D)
Why is she important?
RIDLEY
He just wants me to find her.
OLIVIA
Why?
OLIVIA
(shrug for an 
answer)
What do you do when you find this 
girl?
RIDLEY
Call.
OLIVIA
Baltimore?

Ridley shakes his head.
OLIVIA
(long pause)
Jonathen?

Ridley nods.
OLIVIA
(pause)
Good day Mr. Ridley

Nonchalantly Olivia gets up and walks out leaving a 
questioning Ridley to pick up his phone.

INT. DEVIN’S ROOM
Fully awake with eyes wide-open Devin stares up at the 
ceiling as he lays in his bed with Angela sleeping on top 
of him. With a face full of Skepticism he slowly turns his 
head to look at the adjoining wall that connects his room 
to Brandon’s. 

BRANDON’S ROOM
Inside a wide-awake Lyssa sits against the wall in the bed 
of the man she spent the night with. She stares 
affectionately at Brandon who sleeps peacefully next to 
her. Dressed in only his shirt she carefully gets out of 
the bed and begins to put on her own clothes. As the takes 
off the big shirt her bare back reveals a rather large 
tattoo on her back. Written in Hebrew it looks like a 
medallion and fills most of the center of her back. She 
just gets her shirt over it when Brandon’s sleepy eyes 
finally open. A good morning stare is shared as the two get 
ready for the day.


EXT. A BODEGA
Jonathen is drinking a Malta next to his car, as he talks 
on the phone. Finished with his call he closes the phone.
JOANTHEN
Sosa.
(Sosa comes out)
Let’s find an old friend.

INT. MS. DANE’S OFFICE
Olivia steps into Dane’s office and finds the woman like 
she always does. Smoking a cigarette, but this time she is 
seated at her desk. Olivia pulls out the photo of the girl 
and lays it before Ms. Dane.
OLIVIA
Do you know that girl?

Dane takes a moment to look over the photo.
MS. DANE
No. Who is she?
OLIVIA
Who Baltimore is looking for. He’s 
hired a gutter boy named Ridley to 
find her. 
(shows picture) 
Do you know him?
MS. DANE
(pause)
No.
OLIVIA
Then I guess we still have a 
mystery.
MS. DANE
I want him out.

OLIVIA
That may be messy.

MS. DANE
I WANT HIM OUT!
Olivia walks back out.

EXT. THE STREETS
Clive is walking home when out of the blue Jonathen’s black 
ride pulls along side of him. Startled he is able to do 
nothing as Sosa comes out and throws him in the back seat. 
With everyone secure the cars tears away.

EXT. THE PARK
Jonathen sits on the park bench admiring the scenery when 
Sosa brings Clive and sits him down on the bench. Jonathen 
takes a moment to clean his glasses as Clive sits and 
waits.
JONATHEN
Hi Clive.
CLIVE
Jonathen.
JONATHEN
You know I’m finding that this 
town of yours is very full of 
surprises. Lots of old friends are 
walking about. Like you Clive. I 
thought you’d be dead by now, but 
lookee hear you are. 
CLIVE
World’s full of surprises.
JONATHEN
Yes it is. Yes it is. Guess you’re 
not closer to getting that cleared 
up?
CLIVE
You heard of a cure?
JONATHEN
Nope. Clive old pal I have to say 
that I’m actually happy to see 
you. You are going to 
(taps Clive’s leg)
 do me a favor.
CLIVE
(taps Jonathen’s 
leg)
Oh yeah?
JONATHEN
Don’t touch me Clive.

INT. BRANDON’S HOUSE
Seated in the kitchen enjoying breakfast are Devin, Angela, 
Brandon, and Lyssa. Three of them are enjoying the meal and 
conversation, but Devin’s attention is focused on Lyssa as 
he interrupts their conversation. 
DEVIN
You know my brother amazes me 
sometimes. He has a knack for 
that. Most of the time I think 
he’s just a spaz walking around 
wondering what the fuck to do, but 
sometimes he does things that 
really cause me to open my eyes 
sometimes. Like going out one day 
and coming back with a young, 
beautiful, girl. Who has no name, 
comes from nowhere, and can’t 
speak a word even if she wanted. 
Tell me something Bran how do you 
talk to her? Does she like make 
noises when she wants something? 
Like a little puppy asking for 
food, that would make sense since 
that’s how you brought her.
BRANDON
What the fuck is your problem?
DEVIN
Like, I said stray dogs. They have 
a habit of settling into your 
house, till you have to kick em to 
the curb.

That sets Brandon off, but the little brother is instantly 
met by the strong gaze of the older one, and after a long 
moment where both wills are raging the younger storms out 
of the room. The table is left with Angela looking at Devin 
with a scornful stare. 
In his room Brandon slams the door behind him and takes a 
moment to calm himself. Lyssa gives the suggestion of 
leaving him and a now calm Brandon takes her head in his 
hand and shakes his head no. With a kiss he reassures her.

INT. RIDLEY’S ROOM
Standing at the table Ridley glares at the money and 
concentrates on the clock that ticks away at the table. 
Once again the day turns into night and Ridley takes 
another portion of money and walks out the door.

EXT. THE ALLEY-NIGHT
Two cars arrive at the alley on either end. Two people come 
out, one from each car. Jonathen and Olivia both make their 
way down the alley towards each other till the two are face 
to face. The two share a moment looking at each other with 
the same lazy stare, until Jonathen bends towards her and 
comically kisses her neck. Olivia rolls her eys at the act 
as Jonathen straightens up with a smile on his face.
JONATHEN
Hello, ol eyes.
OLVIVA
You’re a long way from home.
JONATHEN
Felt the need to travel. One 
should always travel. 
OLIVIA
You’re not here on vacation.
JONATHEN
Really, then why am I here?
OLIVIA
That’s what this is about. You’re 
in our territor—
JONATHEN
Your territory?
OLIVIA
My city.
JONATHEN
Didn’t know it was your city.
OLIVIA
Now you do. Why are you here?
JONATHEN
You know better than that.
OLIVIA
You don’t do business here without 
my say so. 
JONATHEN
I haven’t done anything, but if I 
do I’ll be sure to tell you.
OLIVIA
I know you’re not a fool. You got 
to a chance to make things nice 
and easy and you want to bump? 
JONATHEN
It’s a dirty job.
OLIVIA
I know what you’re job is. So I’ll 
do mine. You fuck around, without 
my permission and I’ll drop the 
hammer, right on your head.
JONATHEN
Play nice old eyes, or I won’t 
give you a good-bye kiss.
OLIVIA
I hope you got enough hazard pay. 
You got a day.
JONATHEN
I’ll take your offer into serious 
consideration.
OLIVIA
Do what you want.

Jonathen heads back to the car with the awaiting Sosa and 
watches Olivia drive away.
JONATHEN
Lotta people concerned with what I 
want.

Sosa grins as the two get in and drive away.

EXT. THE BEACH
Lyssa and Brandon are having a good time hanging out and 
listening to music with friends. Unseen by all is Ridley 
standing beyond a row of cars next to a building. 
A long stretch of smoke from his cigarette clouds in front 
of his face as Ridley remembers how he got there.
MAHALIA (VO)
You lookin for little girls?

EXT. THE CORNER OF LIBERTY AND FLORA-LAST NIGHT
Ridley’s conversation with Mahalia last night. Ridley 
flirts to get his way.
MAHALIA
You want somethin fresh to play 
with?
RIDLEY
I need to find a girl that’s new 
in town.
MAHALIA
Can’t handle girls your own speed?
RIDLEY
I’m looking for someone special.
MAHALIA
We’re all special, hon.
RIDLEY
I’m looking for a specific person. 
New in town and not from around 
here. Where do young girls go when 
they’re not from around here?
MAHALIA
What, are you her brother?

Ridley pulls out a severe wad of cash.
RIDLEY
Where do I find the girl?

Mahalia first eyes the money as if it were an insult, but 
like many from the street they can look past the insult. 
She steps up close and looks Ridley dead in the eye as her 
hands close around the cash.
MAHALIA
The party line. She’s young, new, 
and lucky she’s on dream street.

She takes the cash and goes.

EXT. THE BEACH
Ridley’s recollecting eyes come back into focus and close 
in on someone looking right back at him, the eyes of the 
lovely Lyssa who comes to the decision of whether to run to 
the beach or run away. She chooses to run and the chase 
ensues through the streets and back alleys Ridley is quite 
surprised that he has the stamina to keep up. His stamina 
ends, however as he can no longer keep up and she gets 
away. An exhausted Ridley stops for air.

EXT. THE ALLEY
Lyssa sits huddled like a child in terror behind a trash 
can. Her minds regresses to the moments that’s brought her 
here.

EXT. AN OPEN LOT-DAY
A group of men watch as a black car pulls up. From the 
front passenger side out steps Sosa. He opens the back door 
and out steps Jonathen who leads out Lyssa and Baltimore. 
The two groups meet and talk. After moments of agreement, 
Lyssa hugs the man in charge of the other group and flashes 
of ugly moments fills her mind until she has seen 
everything that needs to be seen. With a turn she looks 
back at her father and shakes her head no. The next moment 
we see is when the other group of men are dead on the floor 
as Lyssa’s group drives away.

EXT. THE ALLEY-NIGHT
Lyssa’s tear-filled eyes show the pain of a hard life, as 
she gets up and walks away.

EXT. THE CITY STREETS
LT. MITCHELL comes out of an office building and is 
immediately met by the annoying DET. FRANKLIN HARRIS.
HARRIS
I got a lead.
MITCHELL
What you have is a very bad habit 
of bothering me at all the wrong 
times.
HARRIS
C’mon Mitch no time with you is 
the right time.
MITCHELL
It’s Lt. Mitchell and now is 
really..wait a minute how’d you 
find me?
HARRIS
You have to check in with the 
desk. I asked Sheryl for your last 
check in. Everything cool with the 
doc?
MITCHELL
Shut up! What the hell do you 
want?
HARRIS
I got a lead.
MITCHELL
What lead?
HARRIS
Something’s goin down.
MITCHELL
You know why everybody calls you 
crack ho when your back is turned? 
It’s not just cause you’re ugly, 
it has a lot to do with the fact 
that you’ll weasel your way into 
any crack for a taste. This is not 
a fucking newspaper. You’re a cop. 
When crimes happen if you are 
assigned you solve them. 
HARRIS
But, I might have a lead on 
something going Do—
MITCHELL
What, Freddy what?
HARRIS
You know my dust boy Chave’ right?
MITCHELL
(heavy sigh)
Dust boy. Why don’t you just say 
drug dealer? What about your 
junkie? And speak normally..
HARRIS
He calls me and tells me about one 
of his customers. A real piece of 
shit that’s on his last leg. He 
hasn’t seen him in a while, cause 
he doesn’t have anything for the 
score. Well, it seems the guy 
comes out of his hole and puts 
down enough to buy over a grand 
worth of product. 
MITCHELL
So, he finally had enough for a 
score.
HARRIS
Naw, naw, he doesn’t have blood 
money. He’s got fresh cut 
hundreds, all new dollar bills.
MITCHELL
So he jumped a rich guy!
HARRIS
If he did then the rich guy had a 
grudge and was packin. I tracked 
him down and found him in his hole 
with a double tap (does a shooting 
motion) back of the head. Nice and 
clean. CSU is working the area 
now. 
MITCHELL
Fine. Your junkie off’s somebody 
with teeth and gets off’d himself. 
Yippee, big case for you. Do me a 
favor, you wanna be Sam Spade go 
do it away from me. You make a 
bust fine. Not, I don’t care.

With that Mitchell gets in his car and drives away.
HARRIS
Spade was a PI you dick.

EXT. THE BEACH
Brandon is looking about for Lyssa as his friends are all 
packed and ready to leave. Devin shoots a calling glare at 
him, but Brandon does not turn. A more intense look is shot 
his way and this time Brandon closes his eyes, accepts 
she’s not coming, and goes with the others.

INT. RIDLEY’S APARTMENT
Tired with a shot to the ego Ridley put his things down and 
makes himself at home. He sits down at his table and stares 
at the money, but his solace is interrupted by a knock at 
the door. His eyes expand in shock as Lyssa stands at his 
doorway. Trapped in an awkward moment, Ridley is trapped in 
the gaze of the young girl. His mind looks for an excuse, 
for a way out of the moment, but if she’s there then he has 
nothing to say.
RIDLEY
You want to come in?

As, he steps aside she walks into the apartment. Lyssa 
looks about the apartment as if there’s more to see than 
there is. Ridley still stands about awkwardly.
RIDLEY
I know you’re probably—

He’s cut off by Lyssa’s finding of her picture on the 
table. She picks it up, but her face does not show 
surprise. Instead, she looks back at Ridley as if she was 
expecting to find things like that there. 

RILEY
You know what this is about?
She nods.
RIDLEY (CONT’D)
Then, why’d you come?

She shrugs unknowingly. Ridley is confused by her lack of 
candor.
RIDLEY (CONT’D)
Don’t you speak?

Lyssa puts her hand over her throat and shakes her head no. 
It doesn’t take much for Ridley to put together that she’s 
mute. Everything about what he was doing was confusing 
before, but Ridley is almost at his edge.
RIDLEY (CONT’D)
Look, I don’t want to know what’s 
going on. All I’m supposed to do 
is tell them where you are. You 
weren’t supposed to see me. You 
shouldn’t be here. And, If you’re 
smart you’ll get out of here now 
and run again. Cause, if 
Jonathen’s after you there’s few 
places in the world where you’ll 
be safe and if he gets a hold of 
you, you’ll wish you were there.

A slight grin creaks on the side of her mouth as she nods 
knowingly.
RIDLEY (CONT’D)
Is he pissed at you?

She shrugs unknowingly.
RIDLEY (CONT’D)
But, you do know him? (she nods) 
I’ve been on his bad side before. 
If you’re on his bad side you’re 
better of runnin.

She shakes her head no and then places her hand on her 
chest and shakes her head no again. Ridley tries to read 
what she’s trying to say.
RIDLEY (CONT’D)
He won’t hurt you? (She shakes her 
head no) Because, of Baltimore? 

A single tear streams down her cheek as the words sting 
her. She nods slowly and walks to the window. As, she 
stares out the window Ridley can see something of what 
Jonathen was talking about. Her eyes capture the moon’s 
light like a perfect picture. She is stunning to look at. 
RIDLEY (CONT’D)
I understand. 

The words cause her to snap her head around and fire a 
tear-filled gaze that burns right through Ridley.
RIDLEY (CONT’D)
You’re running. You’re running 
from Baltimore.

She realizes that he’s very familiar about Baltimore and 
walks over to Ridley. Softly she takes his head in her 
hands as he awkwardly backs off.
RIDLEY (CONT’D)
Hey maybe—

Before he can finish the sentence she shushes him and 
concentrates as he stands in bewilderment. Her eyes wander 
until they stare out into an empty gaze. A flash suddenly 
snaps in her head and she tenses appropriately. She dazes 
further and another flurry of violent images blow through. 
She holds tighter and closes her eyes and her mind is 
transported to a beaten and bloodied Ridley with a tattered 
Jonathen standing over him. Looking up he’s spat on by the 
winner of their apparent fight, completely beaten he 
watches him walk off past Elaine. Her eyes open exhausted, 
but only for a moment as she wearily slumps into Ridley’s 
arms.

BLACK:

FADE IN:
INT. MS DANE’S BEDROOM
Standing at her night bedroom she looks out into the night 
sky smoking a cigarette.
MS. DANE
I find myself losing.. days. First 
days of school.. old friends.. 
first kiss. Day by day.. night 
after night.. I lose a little 
more. Only pain remains. I 
remember this little girl who was 
blind to everything as all little 
girls are. She cared for only bad 
things that made everyone around 
her angry and that made her 
content. But, with all her spite 
she actually found a kindred 
spirit in another and the two 
became one. All was well for them 
at least for a little while, until 
she found that the man had some 
nasty habits. Nastier than even 
she could stomach, so she broke 
their bond and ran away. Little 
did she know that she picked up on 
those old habits herself. 

She turns to the man who lies tied to her bed. Silently he 
looks up at her with a gagged mouth and timid eyes as the 
woman puts out her cigarette and mounts him like a predator 
moving in for the kill.
MS. DANE (CONT’D)
If it matters I am sorry, but 
little girls do what little girls 
do. And little boys get what 
foolish hearts deserve.

EXT. ELAINE’S HOUSE
From a distance a silent Jonathen watches as Elaine goes 
into her house after a long night’s work.
INT. JONATHEN’S ROOM
Sitting at a chair Jonathen watches as his escort does a 
dance. In his eyes the actions of the moment go by like 
waves hitting a shore. With each flow comes another moment 
of the seduction as she sits on his lap and works him over 
until his mind wanders where he despises. For a brief 
moment his head is filled with flashes of Ridley and Lane 
together and the scene causes him to snap out of the 
control of the escort. He grasps the back of her head an 
blares through her eyes with his dead coal stare. As he 
examines her over flashes of Elaine and Lyssa pop in his 
head while she sits still like an animal being restrained. 
After a moment he lets her up and she automatically goes to 
the bedroom where she disrobes and he follows closing the 
door behind them.

INT. CLIVE’S ROOM
Oliva sits at the head of the bed next to Clive as the two 
stare out into space.
CLIVE
Things are about to go sour.
OLIVIA
They already are.
CLIVE
Yeah, but now it’s going to hell.
OLIVA
It was bound to sometime.
CLIVE
(long pause)
Wanna go out with a bang?

Olivia slowly turns to look at him.

BLACK:

A long hallway leads to the room where a battered Woman can 
be seen lying and bleeding on the floor, as “For 
Sentimental Reasons” plays.

INT. RIDLEY’S APARTMENT-MORNING
Constant knocking at his door makes the groggy Ridley snap 
awake and stumble about to answer the door. As, he finally 
reaches his destination he stops as he comes to a 
realization and turns back to his couch, but surprisingly 
finds it empty. With an exhale of relief Ridley opens the 
door to see Det. Harris. 
DET. HARRIS
Mr. Ridley?
RIDLEY
(pause)
Yeah.
DET. HARRIS
I’m Det. Harris. (holds up his ID 
and shows it to Ridley) I’m here 
to speak to you about Mark Dryer. 
RIDLEY
(confused)
Who?
DET. HARRIS
He’s was knows about the streets 
as Trip.

A look of realization waves over Ridley’s face.
RIDLEY
What’d he do now?
DET. HARRIS
So, you do know this individual.
RIDLEY
Yeah, I seen him around.
DET. HARRIS
Have you seen him recently?
RIDLEY
Why do you ask?
DET. HARRIS
Please just answer the question 
Mr. Ridley.
RIDLEY
(pause)
What’s the matter with Trip?
DET. HARRIS
Have you seen him recently?
RIDLEY
Is he dead?
DET. HARRIS
Now, why would you jump to that 
conclusion?
RIDLEY
I’m assuming you’ve been doing 
this for awhile, but if you 
haven’t we people about the 
streets with our little nicknames 
have a history of interaction with 
the law. If you’re at my doorstep 
asking about him he’s either done 
something and you need info about 
what he’s done or he’s dead. That 
ID in your wallet said Homicide.

Harris just looks back as if to say touché.
DET. HARRIS
Fine, we found Trip dead in his 
hole of an apartment and we also 
found your prints there. You wanna 
explain here or at the station. 
RIDLEY
I saw Trip a couple of nights ago. 
I needed some help with something.
DET. HARRIS
And what was that? (Nothing from 
Ridley) You can tell me now or at 
the house.
RIDLEY
I was looking for entertainment.
DET. HARRIS
What kind of entertainment?
RIDLEY
The physical kind.
DET. HARRIS
Funny, Trip didn’t look like a 
pimp to me?
RIDLEY
He pointed me in the right 
direction.
DET. HARRIS
Fine, who’d he send you to?
RIDLEY
Mahalia.
DET. HARRIS
And where do I find this Mahalia?
RIDLEY
Liberty and Flora.
DET. HARRIS
I’ll settle for that. But, if I 
find hole I’m right back here.
RIDLEY
I wouldn’t expect any different. 
(Harris turns to leave) How did he 
die?

Harris turns back for a moment.
DET. HARRIS
He was shot. Two slugs in the back 
of the head. Died instantly.

Ridley slips in his little poker game with Det. Harris as a 
flush comes over his face. 
RIDLEY
He was murdered?
DET. HARRIS
We found your prints. We found a 
lot of prints. But yours was the 
freshest. I’ll be in touch Ridley.

Harris leaves a stunned Ridley to his fears. Instantly the 
man gets dressed and is out the door. Watching Ridley bolt 
out of his building and down the street is Harris who is at 
a pay phone.
HARRIS
Yeah, Chave’..Harris. I need to 
find an escort. 

INT. BALTIMORE’S PLACE
Jonathen and his henchmen walk down hallways until they 
reach the door to the beach where they find Baltimore out 
looking at the beach. Jonathen walks out to him alone. 
BALTIMORE
I miss the beach.
JONATHEN
Living inland can do that.

The two begin to walk back to the house.
BALTIMORE
Chicago does have its limits. No 
beautiful sunrise or sunset.
JONATHEN
Depends on what you like for a 
horizon.
BALTIMORE
Where is my little girl?
JONATHEN
In a very big city. But, the 
problem is being worked on as we 
speak.
BALTIMORE
This is taking longer than 
expected.
JONATHEN
Like I said. It is a big city.
BALTIMORE
That’s never been a problem 
before.
JONATHEN
We never had to find her before.
BALTIMORE
Why don’t we tear the place apart? 
Smoke her out.
JONATHEN
More headache than it’s worth. 

As they reach the house a look of examination comes over 
Baltimore’s face.
BALTIMORE
Something is wrong.
JONATHEN
Really, what?
BALTIMORE
You’re not telling me something.
JONATHEN
You pay me to tell you everything.
BALTIMORE
But, you’re keeping something from 
me.
JONATHEN
I don’t get paid for that.

Walking to the bar Baltimore begins to bumble about like a 
little boy.
BALTIMORE
Yes you do.
JONATHEN
Then you don’t want to know.
BALTIMORE
Yes I do.
JONATHEN
No you don’t
BALTIMORE
Oh, yes I do.
Jonathen stops him and gives him a very serious look that 
freezes Baltimore instantly.
JONATHEN
You are a very emotional man. You 
cannot deal with certain things. 
You pay me to take care of those 
things for you, so you don’t ever 
have to know. This is very much 
one of those things, so trust me 
when I tell you that you do not 
want to know.

For a moment it looks as if Baltimore is understanding, but 
that quickly fades and Jonathen sees the childish face 
return even more enthused than before. 
BALTIMORE
Oh, I have to know. It’s killing 
me.
JONATHEN
It’ll hurt more if I tell.
BALTIMORE
I’ll fire you if you don’t.
JONATHEN
No you won’t.
BALTIMORE
Yes I will.
JONATHEN
Will not.
BALTIMORE
Will to.
JONATHEN
Good-bye.

Baltimore’s mood instantly changes from playful to 
aggressive as he grabs Jonathen.
BALTIMORE
I am ordering you to tell me.

JONATHEN
This is a mistake.
BALTIMORE
I’m not asking again.
JONATHEN
(long pause)
She’s here.
BALTIMORE
Lyssa?
JONATHEN
Maya.

Baltimore’s mood changes to being stunned. 
JONATHEN (CONT’D)
Happy?

Now anger rages in Baltimore’s eyes as he’s ready to 
explode.
BALTIMORE
BETTY!!

He kicks open the door that leads to his bedroom where a 
half naked young woman sits stunned at the bed. As, he 
slams the door behind him their screams are heard echoing 
about the house. Not wanting to hear any of the 
festivities, Jonathen turns on the radio and blasts the 
music. 

INT. Ms. DANE’S BEDROOM
Ms. Dane walks in from the bathroom in a towel as Olivia 
comes in to find the man that’s tied to Dane’s bed is dead.
OLIVIA
Are you done?
MS. DANE
Are you?

Ms. Dane begins to get dressed and Olivia flinches at the 
sight of her back.
OLIVIA
I’m trying an easier way to end 
the situation.
MS.DANE
And what way is that?
OLIVIA
Finding the girl before they do.
MS. DANE
What girl?
OLIVIA
The girl that they’re looking for.
MS. DANE
What is she to them?
OLIVIA
I guess we’ll find that out when 
we get her.
MS. DANE
Are you going to give her to them?
OLIVIA
Someone once told me the quickest 
way to get an irritation out of 
your life is to give them what 
they want.
MS. DANE
Quoting Jonathen is tasteless.
OLIVIA
Cause, he’s right or cause he’s 
the only one to make it out of 
this bed alive.

The Sun’s light does not shine from the shadowed corner 
where Ms. Dane stands. It perfectly cascades over her eyes 
causing them to blare brightly with spite at Olivia.
MS. DANE
Your cute puns aren’t getting your 
job done.
OLIVIA
No, but it makes it a hell of a 
lot easier. I’ll clear the trash.

With a flat look she leaves the room.

INT. BRANDON’S ROOM
Through the window Lyssa sneaks in and begins to gather her 
things, when Brandon comes in from his shower. Like a thief 
in the night she freezes in place as his stare is like a 
spotlight being cast on her. A sympathetic smile is all she 
can offer him as he slowly closes the door behind him.

BRANDON
Where are you going? 

Lyssa gives him an apologetic look.
BRANDON (CONT’D)
I waited for you. I didn’t even 
know you were gone. 

Lyssa gives him a longer glance this time.
BRANDON (CONT’D)
Go where?

Lyssa shakes her head and continues to pack her things.
BRANDON (CONT’D)
What are you running from?

Lyssa finishes with the last of her things.
BRANDON (CONT’D)
Don’t you even want me to come 
with you? 

Lyssa stops and looks back on Brandon more intently.
BRANDON (CONT’D)
That’s not fair, Lyssa?

She kisses him longingly, then takes her things and heads 
for the front door. But, before she can reach it she is 
stopped by Devin.

DEVIN
Leaving so soon? We only just met.
BRANDON
Let her go, Devin.
DEVIN
I’m not doing anything, but making 
an offer.
BRANDON
What?
DEVIN
One thing I do know about is being 
on the run. You may think that you 
can get a head start from 
whoever’s chasing you, but you 
don’t have the funds to make a 
long move and you don’t exactly 
know where you’re going to go.
BRANDON
What do you care?
DEVIN
I don’t, but she does seem to keep 
you occupied which keeps you out 
of my hair. So, she can stay here.
BRANDON
What?
DEVIN
No one knows you’re here or even 
think to look for you here. This 
isn’t a spot for runaways. 
BRANDON
You’re doing this to make me 
happy?
DEVIN
I can give a fuck if you’re happy 
or not. (pause) I just know what 
running is like. Stay if you want 
or not. Don’t really care either 
way. Figured I’d make the offer.
INT. BALTIMORE’S PLACE
With drink in hand Jonathen enters the bedroom where he 
finds a half-naked desolate Baltimore and a dead young 
girl. He hands Baltimore the drink and lights a cigar.
BALTIMORE
Why is she here?
JONATHEN
Her city?
BALTIMORE
The odds the odds what are the 
odds?
JONATHEN
You knew she didn’t just vanish. 
You knew she’d survive. Now we’re 
here and I’ve got a job to do.
BALTIMORE
Does she know?
JONATHEN
She knows we’re here for her. She 
doesn’t know why.
DEAD GIRL
If she gets her hands on her she 
will.
BALTIMORE
If she gets her hands on her she 
will.
JONATHEN
She won’t.
DEAD GIRL
How can you be sure?
BALTIMORE
How can you be sure?
JONATHEN
It’s my job to be. Now stay here 
and leave the rest to me. I’ll 
have the trash handled.
Jonathen leaves Baltimore as he found him. Disheveled at 
the end of the bed with a dead girl next to him. 
DEAD GIRL
She’s going to know.
BALTIMORE
She’s not going to know.
DEAD GIRL
Why cause he said so?
BALTIMORE
It’s his job.
DEAD GIRL
I hope you’re right?
BALTIMORE
What do you care? You’re dead.

EXT. BALTIMORE’S HOUSE
Jonathen is heading for the car when he gets a ring on his 
phone.
JONATHEN
Yeah. (long pause) Calm down. I’ll 
see you tonight. (Pause) I said 
I’ll see you tonight!

EXT. ELAINE’S HOUSE
Elaine answers her door and finds herself face to face with 
Det. Harris. Though their silent exchange of looks is short 
the two share a moment of enticement.  
HARRIS
Mrs. Ridley?
ELAINE
Torrence. Ms.
HARRIS
Ecxuse me. Ms. Torrence. (Quickly 
flashes the badge) Det. Harris. 
I’m here about your ex-husband.
ELIANE
(Disappointed)
What’s he done, now?

EXT. THE CITY STREETS
Devin walks down the street with one of his boys. They come 
up to a corner where they find a man leaning against a pole 
and after a short conversation they three walk back down an 
alley and into the back of a building. Taking the stairs up 
to a room they knock on the door and after a moment the 
door opens revealing the owner of the room…Clive.

EXT. AN APARTMENT BUILDING
Jonathen’s car stops in front of a building and he and his 
men step out and go inside. Up the stairs they go into a 
room and make themselves at home. Jonathen checks his watch 
as he waits for someone to show. Back outside Babay comes 
down the street and enters the building. Going up the 
stairs she enters the same room where she finds Jonathen 
sitting at a table with an empty chair on the other side. 
Closing the door behind her she walks over to the bed 
that’s next to the table and sits down.
BABAY
First thing’s first. Are you a 
cop?
JONATHEN
That doesn’t work you know?
BABAY
Are you?
JONATHEN
Nope. I can be the man when needed 
be, but I am not currently the 
man. What I am is the right hand.
BABAY
What the fuck is that supposed to 
mean?

At that moment Jonathan’s men calmly walk into the room and 
close the door behind them. Babay’s apprehension causes her 
to go stiff as Jonathan pulls his chair up to face her. 
With his hands he spreads her legs apart to expose her 
garters and leggings.
JONATHEN
Funny thing about garters. Their 
like bras. If you don’t wear them, 
they’re a pain in the ass to get 
off. 

He pulls out a switchblade and with the edge begins to 
fiddle with one of the straps on the right leg.
BABAY
(trembling)
What do you want?

He cuts through the strap and Babay’s leg shakes. Jonathens 
hand immediatley grabs hold as his coal black eyes look up 
and he shakes his head no. Babay musters all her composure 
just to stay in control, as Jonathen looks back down and 
traces the blade along her skin from where he cut the strap 
to her thong line. 
JONATHEN
The right hand means when my 
employer needs it I can be the 
man. By that I mean I am the one 
who gets the job done. Whether he 
wants to know how or why I do what 
needs to be done and for that I 
get paid handsomely. You look good 
for a trick, how long have you 
been in the business?

Jonathen looks back up and the petrafied Babay struggles to 
answer.
BABAY
Seven years.
JONATHEN
You must be good at what you do. 
You’re able to take care of 
yourself. You don’t show the years 
of your job. We’re going to do 
what’s definitely not new to you. 
I’m going to ask questions and 
you’re going to give me answers.

The blade goes from the thong line to a strap on the left 
leg.
JONATHEN (CONT’D)
If I don’t like what I hear..

He flips the hilt in his hand and stabs the blade down on 
the bed just in front of her private part.
JONATHEN (CONT’D)
Then we do what I’m good at. 
Understand?

Babay reluctantly nods.
JONATHEN
How do you know John Ridley?

EXT. THE PARK
Det. Harris and Elaine are walking eating ice cream as they 
take a seat on a bench.
ELAINE
It’s nothing new. We were young, 
naïve, thought it could work.
DET. HARRIS
And even if it doesn’t we can make 
it work. That’s half the world.
ELAINE
We thought we were the exception. 
But the world works on routine and 
we were part of that routine.
DET. HARRIS
He drink?
ELAINE
(looks sarcastically)
Do I look that pathetic?
DET. HARRIS
(off guard)
I..didn’t mean..
ELAINE
Easy Detective. It’s a common 
question. No booze, nor drugs, no 
beatings. He just gave up.
DET. HARRIS
On what?
ELAINE
Life, us, everything. There would 
be a time when he would look at me 
and crawl out of whatever hellhole 
he was into at the time. Then, he 
just started shutting me out and 
shutting off. 
DET. HARRIS
You left him.
ELAINE
No.
DET. HARRIS
He left you?
ELAINE
I’ll take that as a compliment.
DET. HARRIS
Is that bad?
ELAINE
Just haven’t had one in awhile. 
(long gaze) I know you’re just 
doing a job, but trust me on this. 
You don’t want to get into 
anything John’s into. He’s 
harmless enough, but when he 
crashes he crashes hard. 
DET. HARRIS
Are you saying that someone might 
be getting hurt?
ELAINE
With John everything ends up hurt. 
Hey you’re the cop. It’s your job 
to deal with this if there’s 
anything to deal with. I’m just 
giving you a heads up. If there’s 
nothing then there’s nothing, but 
if there’s something it could end 
up biting you in the ass. If I 
were you I’d just stand clear and 
see what falls.
DET. HARRIS
What if what falls is you?
ELAINE
I’ve learned to stand clear. 
Besides, I’m not part of his life 
anymore. (she walks and stops) 
But, if the storm comes my way I’m 
sure you’ll be there to cushion 
the fall. Det. Harris.
DET. HARRIS
 Freddy. The name’s Freddy.
ELAINE
Better than John.

INT. RIDLEY’S APARTMENT
Ridley stands at his window staring out into the world. As, 
day passes into night Ridley stands like a statue until 
he’s finally flinches at the presence of another.
RIDLEY
I hate when you do that.

Seated at the table behind Ridley is Johnathen.
JONATHEN
Old habits die hard. You should 
know something about that. You’re 
a walking habit.
RIDLEY
I love how after all this time 
you’ve become this expert on 
people.
JONATHEN
Seen enough to know the tendencies 
is all. Like you have the tendency 
of being pitiful, for the sake of 
being pitiful.

The comment stirs Ridley for a moment, so he turns and 
joins Jonathen at the table.
RIDLEY
You think it’s so easy. You look 
down and think that all you have 
to do is flip a switch. You can 
just turn it off and everything’s 
ok. But, things just.. just get 
stuck under your skin. You want 
things to be different, but your 
head won’t let you.
JONATHEN
(rolling his eyes and 
exhaling)
Enough! Jesus Christ, I didn’t 
come here for your whining. 
(lights a cigar and takes a long 
drag) You know what your problem 
is? Me being the expert and all. 
You are fucked up. And what’s 
worse about the whole thing is 
that you choose to be fucked up. 
You can make a life for yourself. 
Hell, you had a life, but you 
threw that away, because you 
choose to be fucked up. Then, you 
whine about putting the blame on 
things that had nothing to do with 
you and remain fucked up.
RIDLEY
Is that what gets to you? The fact 
that she chose the fucked up way 
instead of your way fucked up way 
of being normal.  She chose me, 
because I wasn’t an asshole like 
you.
JONATHEN
She chose you, because she didn’t 
know any better.
RIDLEY
Knew enough to get away from you.
JONATHEN
And lucky enough to get away from 
you. (Get up angry) You’ve got one 
more day. That’s all I can cover 
for you. After that the usual mess 
you leave behind will be big 
enough to wipe your sorry ass out. 
(gets up and leaves) Do yourself a 
favor. Give your head a break. Do 
your job and don’t dream about her 
tonight.
RIDLEY
I don’t have to she chose me 
remember?
JONATHEN
I’m not talking about her momma’s 
boy.

Ridley knows who he meant and the words sting, as he 
leaves.

INT. BRANDON’S ROOM
Lyssa sleeps quietly in Brandon’s bed. As she dreams her 
mind expands pulling in thoughts from everywhere. Her 
consciousness expands beyond the car, to the street, to a 
car where Olivia sits waiting. It goes into Olivia’s head 
where there’s a long alley dark alley. At the in standing 
in the light are two people. Jonathen and Olivia. 
JONATHEN
(Lights his cigar)
Person on the run is never out for 
fun. Sounds stupid, but it’s the 
truth. You got someone you need to 
get, but they don’t want to be 
had, so you have to figure a way 
to take them anyway. Some people 
like to smoke you out, being that 
if you’re a person not looking to 
be found you’ll be the last one to 
leave the house. Others like to 
just bust in and grab you, but if 
you do it that way you get the 
cops and a whole other headache 
that you don’t need. What you want 
to do is get what you need with 
the least amount of commotion. 
First you take control of the 
house.

INSERT- Men making their way into the house.
JONATHEN
You do that by taking everyone you 
don’t need out of the equation. 

INSERT- The men bursting in on Devin and Angela and 
knocking them out.

INSERT- The men waiting for Brandon to come out of the room 
and jumping him.
JONATHEN
Then, you cut off all ways that 
person can get out, of the house. 
You don’t want someone to be 
backed into a corner. You want 
someone who knows there’s no way 
out. You want them to give up. An 
animal that’s backed in a corner 
strikes out. An animal that knows 
he’s caught is tame.

INT. THE BEDROOM
Lyssa’s eyes open suddenly as she wakes with the knowledge 
of what’s going on. She quickly gets up and gets dressed, 
then opens the back window to get out of the house. 
Slipping through a crack in a fence she slips into a back 
alley and runs as fast as she can out to the side rode, but 
once she gets there she finds herself faced with a long 
black car and Olivia leaning against the side waiting for 
her.

INT. A PIER
Ms. Dane stands at the edge of the pier looking out unto 
the ocean taking a long drag from her cigarette. Quietly 
one of her guards come up to her and whispers something in 
her ear. After a moment she nods her head and the man goes 
back. Another moment passes with another long drag from the 
cigarette and Jonathen walks up.
MS. DANE
(very long pause)
I must be a miracle or I must be 
fucked up. One of the two is 
keeping you alive right now.
JONATHEN
No one ever says hello anymore.

She turns her head to the side to look back out of the 
corner of her eye.
JONATHEN (CONT’D)
I don’t believe in miracles. And 
you’ve always been fucked up. The 
fact that I can cut your boys off 
at the knees is what’s keeping me 
alive right now. The question you 
need to ask is what’s keeping you 
alive? The answer is what always 
has. Our…pal doesn’t want 
complications any more than you. 
He only wants what’s his.
MS. DANE
(long drag)
Nothing here belongs to him. Not 
anymore.
JONATHEN
(pause)
In our.. time I’ve never made the 
mistake of lying to you. I told 
him today that he didn’t want to 
know what my obstacle was here, 
and even though he believed me he 
wanted to know anyway. He’s 
regretting that now. You don’t 
have to. You can hear me. You 
don’t want to know why I’m here. 
You want to stay as far away as 
possible. To know it will end you. 
The only question is will it be 
because you can’t handle it or 
because you’ll want to end it. It 
will end you, because you’ll 
remember why you wanted to forget.

The words seem to reach that clouded mind of hers, because 
she slowly turns to face him now. Her dead black eyes have 
only a glimmer of life in them now. Equal to the reaction 
is Jonathen’s, who’s usual cold sarcastic demeanor has 
softened to meet hers.
JONATHEN
Do you remember what I said, in 
that bed, on that night when we 
were just.. simple? I told you 
that right here, right now these 
things we say are fact, written in 
stone and not to be changed. They 
can’t be, they’re the truth. 
(pause) Don’t. (pause) Let it be. 
(pause) I wont.. if you don’t make 
me. (pause) Don’t make me.

The point has gotten across and he slowly approaches her 
and gently takes her head in his right hand. They stand 
there for a moment in a half a hug. 
MS. DANE
We’re all one step away.. anyway.
JONATHEN
That’s the truth.

EXT. A DARK ALLEY
CHAVE walks up to Det. Harris.
HARRIS
What do you have?
CHAVE
Something big in town. Big man 
with big weight makin moves 
without a care. Lookin for 
somethin, got a right hand with a 
nasty grip. He iced Trip. He’s a 
cleaner. He’ll wipe this town red 
before he go. Everybody looks the 
other way when he’s around.
HARRIS
Why are they here? What are they 
looking for?
CHAVE
Girl. New girl in town. Sent a 
nobody to look for her.
HARRIS
Guy named Ridley?
CHAVE
Yeah. Ridley got the big stay away 
written all over him. Nobody wanna 
mess with the juice. Spreadin cash 
all over the place. Like he’s 
breathin the shit.
HARRIS
Do they have the girl yet?
CHAVE
Don’t know. No news yet.
HARRIS
Give me a call if you hear 
something.

He pays Chave and leaves.

INT. DEVIN’S HOUSE
Brandon sits on the couch being consoled by Angela while 
Devin drinks a beer. Their solace is disturbed by a knock 
at the door. Devin puts the beer down and opens the door to 
find Ridley.
DEVIN
Yeah?
RIDLEY
I’m here for the girl.
DEVIN
No girl here.

Devin tries to close the door on him but Ridley stops the 
door and slams it back in his face knocking Devin to the 
ground. Calmly Ridley walks in and closes the door behind 
him facing the stunned two on the couch. 
RIDLEY
Where is she?
BRANDON
They took her.
RIDLEY
Who took her?
BRANDON
Guys, I don’t know. They broke in 
and took her.

Ridley looks around and thinks for a bit, then looks back 
down at the two on the couch, then to the recovering Devin 
on the floor. Instantly he picks Devin up and slams him 
against the wall. Reeling from the impact Devin has no 
defense when Ridley grabs his balls and squeezes for 
control.
RIDLEY
Who’d you sell her to?
DEVIN
(in great pain)
Fuck y—
RIDLEY
(squezzing tighter)
Who did you sell her out to?!
DEVIN
Didn’t---
RIDLEY
Right now you should all be dead. 
They took the house down and left 
it dirty. If no one bothered to 
clean up it means there’s a deal 
going down. Who’d you sell out 
to?!

Devin says nothing and Ridley pulls out a knife and holds 
it close to Devin’s body.
RIDLEY
I’m not gonna kill you. I’m gonna 
take one off. Then the other, till 
you tell me what I want to hear. 
Like a man or like a bitch you’re 
gonna talk to me.
DEVIN
Clive! Guy named Clive!
RIDLEY
Who does he work for?!
BRANDON
Dane. Maya Dane.

Ridley drops Devin and turns back to Brandon, whose stare 
is burning a hole in the head of the pathetic Devin’s. 
BRANDON
I know where she is?

INT. A ROOM AT DANE’S PLACE
Olivia is having a conversation with the now detained Lyssa 
who sits angrily in a chair. The two are alone as the 
guards are outside the room, and Olivia likes the quiet 
sitting face to face with Lyssa, questioning her.
OLIVIA
What’s it like? You can’t say 
shit. How do you scream out for 
help, or call out to a friend? How 
do you tell someone how you feel 
without having to write it down. 
(silence) I love you must come off 
like crap. How do you scream at 
someone if you’re angry? You can’t 
shout on a piece of paper and that 
sign language shit only works with 
someone who can read it. You can’t 
even say fuck you. How do you say 
fuck you?

And with that Lyssa smacks Olivia across the face. The pop 
echoes in the hollow room as Oliva takes her time to 
straighten herself back up again. Calmly she focuses back 
on the girl and then equally unexpectantly she smack Lyssa 
hard enough to knock her off the chair. Only momentairily 
stunned Lyssa looks spitefully back up to Olivia from the 
floor.
OLIVIA
Fuck you too.

Olivia get up from the chair and walks out the door.

INT. DANE’S OFFICE
Dane is back at the window smoking her cigarette as Olivia 
comes in quietly behind her.
OLIVIA
We’ve got the girl.
DANE
(pause)
Who is she?
OLIVIA
Don’t know. She can’t talk.
DANE
What do you mean?
OLIVIA
She’s mute.
Spiking interest Dane slowly turns to Olivia.
DANE
She could be faking.
OLIVIA
I don’t think so. 
DANE
Instincts?
OLIVIA
Something like that.
DANE
What are you going to do with her?
OLIVIA
I’m gone nip this in the bud. I’m 
going to call Jonathen, give him 
his girl, and get him the fuck 
away.

A very long moment goes by as Dane thinks. She takes a very 
long drag and slowly lets the smoke flow from her lips 
leaving her in a cascade of white.
DANE
I want to see her.

INT. THE ROOM
Lyssa sits crouched in a corner of the room when the door 
slowly opens and the ominous Ms. Dane walks through with 
Olivia at her side. Looking down on her like a queen Dane 
kneels down in front of Lyssa and takes a long look at her.
DANE
So, you’re all the trouble?

The two are locked in each other’s eyes when idly Dane 
begins to open her mind to come across a faint realization. 
So to does Lyssa who begins to scan about for something 
more to go with the familiar feeling she is having. Lost in 
each other Lyssa raises her hand and gently touches Dane’s 
face.
JONATHEN (VO)
You don’t want to know why I’m 
here. You want to stay as far away 
as possible.. It will end you, 
because you’ll remember why you 
wanted to forget.

Suddenly Dane breaks the connection and quickly rises back 
to her feet. She takes one last look down at Lyssa who 
looks up with wanting in her eyes and walks out the door. 
Olivia follows her out and down the hall.
DANE
Get rid of her.
OLIVIA
We can end this here. We just have 
to give her back.

Olivia doesn’t see the sudden spin coming just like she 
doesn’t see the slap that comes after. The blow knocks her 
back to the wall and sends a shock through everyone in the 
area.
DANE
I didn’t ask a question. Get rid 
of her.. now.

Right back in stride Dane leaves the stung Olivia to 
licking her wounds.

INT. THE ROOM
Nervously Lyssa looks up as the door opens. A very ominous 
Oliva walks in.

EXT. OUTSIDE DANE’S PLACE
Outside the back door is a lone black car. The door opens 
and two of Olivia’s men come out followed by Oliva and 
Lyssa. Their object was to get in the car, but the look on 
Olivia’s face shows a sudden obstacle to that objective.                                                                
Ridley standing with a gun pointed straight ahead. It’s the 
last thing Olivia sees before the flash of gun powder.

EXT. ELAINE’S HOUSE
Elaine is coming home when she is met by Harris who’s been 
waiting for her.
ELAINE
Glutton for punishment.
HARRIS
Who is Ridley working for?
ELAINE
You never told me what he did?
HARRIS
C’mon Elaine. This guy is nothing 
to you. He’s running errands for 
some new heavyweight and I think 
you know who that is.
ELAINE
Do me a favor, FREDDY and keep me 
out of it.
HARRIS
You already are involved. Don’t 
let this asshole bring you down 
with him.

The first look on Elaine’s face is a subtle change from the 
exhausted one that was there before. It’s one of animosity 
at the comment just thrown her way. The look quickly 
changes to one of discord, but it’s aimed just past Harris. 
The detective turns to find Jonathen standing behind him.
HARRIS
Hi.
JONATHEN
Evening.
HARRIS
Friend of Elaine’s?
JONATHEN
Why else would I be here?
HARRIS
(with a grin)
Could be a criminal.
JONATHEN
Nah. Criminals wait outside your 
house. Friends come over when they 
know your home.
HARRIS
I though it was when you’re 
invited.
JONATHEN
Depends on the friend.
HARRIS
I guess you’re a pretty good one.
JONATHEN
(looks at Elaine)
Close enough.
HARRIS
Interesting knowledge you have on 
criminals.
JONATHEN
Can’t be more than what you know.
HARRIS
And why would you say that?
JONATHEN
Cause, you’re a cop.
HARRIS
What makes you think that I’m a 
cop?
JONATHEN
If not then you’d just be a psycho 
hangin around outside someone’s 
house. You’re not a psycho are 
you? If you are I’d have to call 
the cops.
HARRIS
No. I’m just a friend of Elaine’s.
JONATHEN
Well, this is just a love fest.
HARRIS
So, you just come to hang out?
JONATHEN
Come to say good-bye.
HARRIS
Leaving town?
JONATHEN
Vacation’s over. Time to go back 
to work.
HARRIS
Aha. What is it you do?
JONATHEN
I consult. You?
HARRIS
I investigate.
JONATHEN
Pretty shakey job titles. One 
might say they’re bogus.
HARRIS
Depends on the point of view I 
guess.

A smug smile on his face, Jonathen moves past Harris and 
faces Elaine. His smile neither amuses nor comforts Elaine. 
Instead she stands at alert as Jonathen takes both her arms 
in hand.
JONATHEN
Just full of surprises.
ELAINE
John—
JONATHEN
It was good to see you. We need to 
do this again.

Gently he slides his hands down and takes her in his arms. 
Softly he kiss her forehead and pulls back cascading his 
dark stare over her. The look sends chills down her spine.
JONATHEN
Bye Laine.

Turning and walking away he offers one last smirk to 
Harris.
JONATHEN
See ya Freddy.
FREDDY
Nite John.

INT. JONATHEN’S CAR
Jonathen gets in and sits next to Sosa.
SOSA
That’s a cop.
JONATHEN
We’re ending it.
FADE TO:

INSERT- The rolling wheels of the black car along the road.

INSERT- The black car riding along the road.

INSERT- The car stopping in front of Devin’s

MONTAGE:
THE SPLIT SCREEN SCENE OF JONATHEN KILLING ANGELA AND 
DEVIN.

INSERT- The rolling wheels of the black car.

INSERT- Jonathen looking out the window of the car 
thinking.

THE SPLIT SCREEN SCENE OF JONATHEN KILLING BABAY.

INSERT- THE BALCK CAR ROLLING ALONG THE STREET.

THE SPLIT SCREEN SCENE OF JONATHEN KILLING CLIVE.

INSERT- Jonathen driving alone in the black car.

EXT. MS. DANE’S PLACE
Jonathen walks up the back door where he finds the dead men 
and Olivia. Compassionately he closes her eyes and 
continues on his way in.

END MONTAGE:

INT. MS DANE’S OFFICE.
Dane is at the window smoking and taking in the view, while 
Jonathen quietly enters the room. Looking about his eyes 
catch sight of the CD player. He pushes play and the music 
fills the room. Dane’s concentration is interrupted for 
only a moment as she knows who’s there. She goes back to 
her daze as Jonathen comes from behind. He slides one hand 
across the waist and takes her hand with the other. The two 
begin to sway to the melody in the spotlight of the moon. 
As the song continues to play he spins her round so that 
the two can dance cheek to cheek. They dance along until 
the end of the song when he slowly slides his cheek past 
hers and softly kissses her one last time. Then with a hug 
he carefully wraps his hand around the back of her head and 
snaps her neck. As her head falls back lifeless Jonathen 
caringly holds holds it back up to his. Those dead eyes 
fill now with pain.

FADE TO:
MONTAGE: 

INSERT- The enraged eyes of Brandon.

INT. DEVIN’S ROOM
Brandon stands at the door looking down at his brother’s 
dead body. Although Lyssa tries to console the point is 
moot and he turns back to Ridley who is putting a blanket 
over Angela’s body.  

EXT. ELAINE’S HOUSE
From the outside Ridley watches Elaine’s fix up her place. 
From the inside Elaine suddenly notices Jonathen standing 
at the window watching.

INT. ELAINE’S HOUSE
Lyssa and Brandon stand bye as Jonathen talks to Elaine.
INSERT- Elaine driving the three in her car.

EXT. AN OLD BUILDING NEXT TO THE RAILROAD
As Brandon and Lyssa go inside Elaine takes one last look 
at Ridley before she drives away.

INSERT- Elaine’s tear-filled eyes as she drives back home.

EXT. ELAINE’S HOUSE
Sitting up against his car, Jonathen lights a cigar as he 
watches Elaine’s house from the outside. Putting away his 
lighter he walks to the door.

END MONTAGE:

INT. ELAINE’S HOUSE
As Elaine comes in she is startled when she finds Jonathen 
seated at the table waiting for her. Locked in fear she 
stands perfectly still.
ELAINE
I thought you were leaving.
JONATHEN
I never thought him a fool. 
Foolish..yeah a fool.. no. He’s 
not stupid enough to go to his 
place, and he has no ties so he 
can only come here.
ELAINE
(exhausted)
Just leave Jon.
JONATHEN
I understood you know? (she looks 
curious) Back then. I understood 
it. I hated you for it. I wanted 
to kill him. But, I understood. 
You never believed it, but I knew 
what it meant to love like that. I 
loved you like that. (looks up 
with his dark stare) That time’s 
over Lane. His time’s over. You 
never wanted in this. You never 
wanted this life, so don’t take it 
now. You did the first smart thing 
in your life. You got away. Now 
stay away. Keep your normal life. 
Give me what I want and you’re 
normal forever. 
ELAINE
(long pause)
I didn’t give you what you wanted 
then. You think you’re normal, but 
you’re just as fucked up as he is. 
The only difference is that he 
only hurt himself. He didn’t bring 
anyone down with him. You act like 
a wounded dog coming in here 
telling me that you loved me, but 
you don’t give a damn about 
anything or anyone. You just care 
about getting the job done. Well 
this time you’re job is to destroy 
a little girl. What did she do to 
deserve you? What did she do 
that’s so wrong that you’ll drag 
her back there? What have the two 
of you done to that girl? You 
won’t find her through me. I’m not 
going to give you what you want. 
Because as much as I wished to God 
that it were true, you’d never 
leave me alone. I know you to 
well.

The words spark a flare in Jonathen’s dead eye. Those eyes 
ignite like fire and he explodes from his seat. He slams 
the table over and drives Elaine into the wall. Pulling his 
gun out he slams it on the wall next to her face.
JONATHEN
DON’T THINK that this is some 
little game and you can dismiss me 
like a child with your pretentious 
little face. Looking down at me 
like I’m nothing. A little stupid 
fuck that follows you like a lap 
dog. You don’t give me what I want 
I will take what I want! DON’T 
THINK that I won’t tear this 
fucking place apart! This city! I 
will go through every number you 
have. Find every friend. I will 
find him! I will find her! I’ll 
kill everything and everyone you 
know! I-WILL-RIP-YOU-TO-PIECES! To 
get what the fuck I want! DON’T 
THINK that what you were to me is 
at all a factor in what I am 
capable of, despite what you think 
YOU DON’T KNOW ME ANYMO---
(GUNSHOT)

INSERT- Jonathen’s enraged eyes.

INSERT- Jonathen’s car tearing through the streets.

INSERT- An enraged Jonathen driving the car.

EXT. AN ALLEY
Jonathen roars through the alley stopping just short of a 
building terrifying Chave who runs away in utter terror. 
Taking his time Jonathen comes out and goes after him until 
he corners him at the end of a dead end. Puliing out his 
gun he presses it against Chave’s face.
JONATHEN
Talk to me.
CHAVE
I don’t know what—

Jonathen shoots his leg, but before Chave can fall Jonathen 
props him back up against the wall.
JONATHEN
TALK TO ME!

INT. ELAINE’S HOUSE
Harris looks lifeless at the bloodstain on the wall. 
Mitchell comes in behind him.
MITCHELL
How close are you?
HARRIS
I might have the perp. Put out an 
APB. Gonna help canvass.
MITCHELL
I expect a report.
HARRIS
You’ll get one.
MITCHELL
You might just get that big bust 
after all.
HARRIS
Yeah.

EXT. THE BUILDING AT THE TRACKS
Brandon walks with food in hand back to the building, but 
unbeknownst to him is Jonathen waiting just around a 
corner. As Brandon comes around Jonathen grabs him and 
locks him up in a fighting hold.
JONATHEN
You know where I learned this 
little maneuver. Kinda funny. Saw 
it as a kid watching wrestling. 
Guy named Sgt. Slaughter. Mean son 
of a bitch. Use it to end his 
matches. Funny thing is that it’s 
a real move. And I can use it to 
kill you. So, I’m going to just 
ask once. Who’s in there?

INT. A LONG HALLWAY IN THE BUIDLING
Lyssa comes around a corner and suddenly stop dead in her 
tracks. Like a wounded animal hiding from prey she doesn’t 
so much as take a breath, as she watches someone go by.

INT. AN EMPTY ROOM IN THE BUILDING
Ridley looks out the window clearing his head of the 
night’s events.  
JONATHEN
I think back to that day and 
remember the look on your face. I 
remember you looking at your face 
and knowing it was over. The funny 
thing was that when it was over 
for you it really was over. No one 
remembered you. They look you dead 
in the face and they don’t even 
know who you are. I take your 
place and you fade away. And now 
we’re right back here again. 
Trying to save the girl. Trying to 
save the baby. Except this time 
the girl dies.

Ridley turns and faces Jonathen.
JONATHEN
Both girls die. And the baby comes 
home. You still don’t change 
anything. You still fade away. I 
still clean the mess. No choices 
to make this time. No favors owed. 
Just two men with a lot of blood 
on their hands. And two women dead 
to the world. And the pathetic 
part of the whole thing is that 
you’ll go right back to being what 
you’ve been. A hopeless fool who 
blames himself for crap he 
couldn’t change if he wanted to. I 
guess you like running in circles. 
Cause, you’re real good at it. 

From the moment Jonathen said that the women were dead to 
the point of his last insult a crescendo of rage simmers in 
Ridley. So much so that on Jonathen’s last word Ridley 
lunges forward and the two clash in the middle of the room. 
As their image fades to black the sounds of their struggle 
and the slow death of one can be heard.

INT. THE HALLWAY OUTSIDE THE ROOM
Bloody and battered Ridley stumbles out of the room and 
slams up against the wall.

INSERT- Ridley slamming into Jonathen knocking his gun 
away.

Clutching the wall he struggles to pull himself up.

INSERT- Jonathen slamming Ridley into furniture. 

Ridley takes a few weakened steps.

INSERT- Jonathen whipping out his blade and lunging at 
Ridley. 

Ridley stumbles to the ground and loses his breath on 
impact.

INSERT- Ridley biting Jonathen’s hand and Jonathen 
screaming.

Ridley pulls himself along the floor.

INSERT- Ridley on top of Jonathen bearing down the blade to 
the chest as Jonathen fights back.

Ridley braces himself against the wall again and pulls 
himself up.

INSERT- Ridley driving the knife in and Jonathen gagging.

Ridley walks steadily down the hall.

INSERT- Jonathen dead on the floor.

EXT. THE BUILDING
Ridley stumbles out the building and walks out into the 
open, finding Lyssa on the ground with a dead Brandon in 
her lap. Even though she is mute and he cannot hear her cry 
Ridley can feel all the pain she is going through now. 
Screaming at the top of her lungs only a muted squeal can 
be heard until we close in to the darkness of her mouth and 
there the agonizing wail of the girl can be heard in all 
its torment. At the edge of the darkness is a light that 
focuses into the image the beaten and bloodied Dane as the 
song “For Sentimental Reasons” plays. Zooming back we find 
Ridley standing over her in shock.

EXT. THE TRAINS STATION-DAY
Ridley watches as Lyssa gets on the train. Taking a seat at 
the window she looks out lifelessly as the train pulls away 
leaving Ridley alone on the tracks.

FADE TO BLACK:


1

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