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CREDITS BLACK SCREEN There is nothing except darkness. It is simply put, a void. Complete NIGHT. Utter SILENCE. BRIAN (V.O.) As a homicide detective, I was always expecting the unexpected. (beat) But nothing like this could have been. EXT. WINDY ROAD - NIGHT The silence and the darkness is SHATTERED as a truck BARRELS down the side of the road, BREAKING past the GUARDRAIL with ease and CRASHES into a DITCH face first. The truck almost STANDS on its NOSE but at the last second TILTS and FALLS on its HOOD. The incredible sudden noise now CALM again as the truck SETTLES. BRIAN(V.O.) Wait a second. Back up. CUT TO: INT. JIM'S HOUSE - DAY The inside of this home is LAVISH, the man, JIM BENSON, is very wealthy. Beautiful ANTIQUE furniture is everywhere, the walls and the floors are a RICH hardwood color. Original paintings GRACE every corner and wall. BRIAN (V.O.) Jim. Jim sits in front of a TYPEWRITER at a beautiful desk with a view of the country side, the buttons clicking away as his fingers ROLL from side to side. BRIAN (V.O.) Jim Benson is a writer, and if you're wondering what he's doing, well, you're an idiot. He's writing. He is one of the great novelists of his time, rivaling even Stephen King and Tolkien, even in their best of days. The clicking CEASES SUDDENLY. And Jim, ENRAGED, RIPS the sheet from the typewriter and CRUSHES it in his hands as FAST as he can. A single word ESCAPES his mouth, but it can only be recognized as an ECHOING, RUMBLING, SCREAM. JIM FUUUUUU- The images FREEZES. BRIAN(V.O.) Stop. Let me tell you a little bit more about him before you get to know the REAL Jim. CUT TO: INT. MALL - BOOKSTORE - BOOK SIGNING PARTY Jim sits at a table with an ENDLESS SUPPLY of HIS books and pictures of himself in black and white. PICTURES and POSTERS and CARDBOARD CUT OUTS and COFFEE MUGS and T-SHIRTS all have his FACE PLASTERED on them everywhere you turn. Person after person after person line up in front of him as he hastily signs a SCRIBBLE of a signature and hands them back their beloved book. BRIAN(V.O.) He's written books about vampires, demons, devils, angels, and gods, among countless other things and genres. In all, his books have sold millions, he is a household name, and he's been on the bestseller list twenty times over. But- INT. JIM'S HOUSE-DAY Back to the one word scream, already in progress. JIM UUUUUCCKK!!! BRIAN(V.O.) Jim Benson is stuck. The enormous rat-wheel in his brain stopped turning months ago, the dollar bills dangling in front of his face stopped dangling long before that. Yeah, he's stuck, stuck good. Jim picks up the typewriter and HURLS it across the room in anger. It HITS a glass lamp and SHATTERS it into a million tiny pieces. Before the shards can hit the ground - FREEZE BRIAN(V.O.) Wait. Still not there. Farther. CUT TO: INT. TABITHA CITY POLICE DEPARTMENT-DAY The Station itself was once LUSH, a very WEALTHY entrepreneur bought it, but now time has taken hold, and what once was BEAUTIFUL now has gone to SEED. The place now has a very GRITTY feel to it, the PAINT starting to CHIP off the walls, antique everything now looking just more ANCIENT than ANTIQUE. A MAN is PASSED OUT, face first, onto his desk, covered in files and papers. The man is BRIAN NORRIS, an AGING, TOUGH old BUGGER, who's rather close to retirement. ANOTHER MAN walks up to his desk, laughing softly to himself at the sight of his PARTNER asleep on the job again. He's TOM ASMOLE, a much younger cop who was assigned to Brian only a few years ago, but still is learning about his partner every day. TOM Brian. BRIAN(V.O.) That's Tom. My partner. We've been through it all together. TOM (louder) Brian. BRIAN(V.O.) With this job, no one ever gets much sleep. TOM Brian man, the Lieutenant's comin'. BRIAN(V.O.) I was so tired I think my sleep somehow made it into the negatives. TOM BRIAN! BRIAN (disoriented) Wha, huh, I'll get right on it Lieutenant. BRIAN(V.O.) Yup, that's me. Good ol' Brian Norris. Homicide. Brian looks up, just coming out from his sleep state, less than shocked at who he sees standing before him. BRIAN Oh, it's just you. TOM I'm just kiddin' man, the Lieutenant ain't coming. BRIAN Thanks a million Detective Asshole. Why must you disturb me, oh King of all Asses? TOM We got us a case. BRIAN What kind of a case? TOM (enjoying himself) Homicide. BRIAN Of course. TOM Well duh. Homicide cops. Hellooo. BRIAN I just wish there was something more to this damn town. (Beat) You gonna fill me in or what? TOM Well, we had a report of a stalker snooping around this old lady's house. It was a few days ago so I think it's about ripe that we go and check it out. Don't you? BRIAN (looks at his watch) Aww, look at the time. My shift's over. Rats, I better go. TOM But Brian... BRIAN (smiling, walking off) See ya tomorrow. TOM Wait... BRIAN Bye. BRIAN(V.O.) Check and mate. CUT TO: INT. BRIAN'S APARTMENT-DAY He enters, the kitchen being the first area of the apartment from moment of entry. The apartment itself isn't very great. Much worse off than the Station he just left. It's SMALL, CRAMPED, and owned for as cheap as possible. A SIXTEEN YEAR OLD BOY, NICK, sits at the table. BRIAN(V.O.) That's my house. NICK You're home early. BRIAN Just don't tell my boss. BRIAN(V.O.) That's Nick. My son. NICK What happened? BRIAN I got tired and wanted to come home. NICK And the Lieutenant is okay with that? BRIAN The Lieutenant don't know, hence, the don't tell him part. BRIAN(V.O.) If you're wondering why you don't see a wife around, that's the idea. She didn't seem to get that after looking at corpses all day it wasn't exactly appealing to come home to something that was colder than a dead body. If it rained on her you could have made ice. She got the money, the car, the house, but I got my son. NICK You gonna go back? BRIAN I'll go back tonight, but for now I'm just gonna chill. NICK (annoyed) Please don't use that word. BRIAN Why not? Nick rolls his eyes. BRIAN(V.O.) I had turned into the Father that thought he was cool. Nick just sort of IGNORES him, glances back towards the TELEVISION, as all teenagers do. BRIAN Hungry? NICK What you got? BRIAN Food is what I got. You want in or not? NICK Sure. Brian gets up, turns on the burner of the stove, and puts a pan on it. NICK So we gonna talk about it now? BRIAN Talk about what? NICK You know...? My present? BRIAN What...? NICK The dog, Dad. You promised me a dog months ago. BRIAN Why again? NICK Come on, I'm here all alone all day long. I need someone to keep me company here. BRIAN Can't we just get a goldfish or something? NICK Oh come on Dad...please. A news report FLASHES across the screen. BRIAN Wait, wait! Hold it for the news for a sec. NEWS REPORTER -- the local woman, who has yet to be identified, claimed that someone has been stalking her around her home the last few nights. Also saying that last night the person actually tried to gain entry -- Suddenly there is a POUNDING on the door, just next to Brian. Brian opens the door without even asking or looking. BRIAN Ah, Detective Asshole. Tom stands in the doorway, an annoyed look on his face. He comes in without anything further. TOM I told you to stop calling me that. It's Asmole. Tom Asmole. BRIAN I know, I'm just fucking with ya. TOM I suspect you've heard already. BRIAN Yeah, we just saw it on the tele. TOM The TV? Where's your radio? BRIAN(V.O.) If you keep botherin' me about it it'll be up your ass. BRIAN Uhh, it's on my, uh, desk. TOM You left it? BRIAN I was trying to take the day off. TOM You're a detective, you can't just leave your work at the office. BRIAN Wait a second, you're MY partner. I've been doing this since you were just a tickle in your Daddy's pants. And I don't need you telling me how to do my job. I wanted to take the day off, I was taking it. BRIAN(V.O.) I was on a role. TOM Listen here -- They both suddenly remember - - NICK (smile) Hi. BRIAN (motioning for the door) Come on. TOM Alright, are you gonna come back with me? BRIAN Yeah, I'm coming. TOM Good, because it's both our asses if you don't, not just yours, not just mine. You gotta remember, we are partners here. BRIAN Yeah. You know I don't hate you as much as you think. You just have to stop pissing me off. TOM Will do. Tell your kid, we're leavin'. Brian fires his head towards Tom, his face SCOWLING. TOM Alright, your kid. I wasn't telling you what to do. No sir. Brian peeks his head in the door. BRIAN Hey, I gotta go kiddo. We'll talk about it later. NICK I know. Don't get shot. BRIAN Quit sayin' that. It freaks me out. NICK Well, it's good advice. BRIAN Bye. Brian closes the door. TOM Ready, uh, sir? BRIAN Don't kiss my ass just cuz you nearly got bitch slapped. TOM Right. BRIAN Alright then. Let's go. CUT TO: INT. STARBUCKS-DAY The bell CHIMES as Jim STROLLS in through the door. Two of his friends, BOB and STEVE, JUMP to their feet, signaling him over to the table. He acknowledges. Jim sits down. JIM What's up fellas? BRIAN(V.O.) Jim was doing another of his ritualistic, yet rare, public appearances. In this case, it's hanging out with his good friend Bob, and HIS good friend, Steve. BOB Just the big ball of shit that we like to call Life. JIM She left ya again, didn't she? BOB Sure did. BRIAN(V.O.) Bob and Jim are old friends from high school. And once Steve heard that Bob was friends with the infamous Jim he latched on to Bob even harder. Hoping to catch even a short meeting between the renowned writer and himself. Are you getting all this, or do I need to slow down? JIM See this is why I try to stay away from women. BOB Really, cuz we thought it was on account that you're just a loser. BRIAN(V.O.) You see, Jim doesn't get out all that much. That kind of fame has a price. He's cooped up in that house all day long only to get out after a work is completed. JIM So, what's your story Steve? Still gay? STEVE (shocked) I'm not gay! The crowd in the quiet Starbucks all stop talking in the same instant and glance his way. STEVE (embarrassed) What? I'm not. JIM Eh well. My mistake. Quit acting so gay. BOB Yeah, what's up with that? STEVE I don't act gay. JIM Your shoes are pink. STEVE They were on sale. BOB You're not helping yourself here. STEVE I'm not gay. Gay is not what I am. Nay to gay. JIM Nay to gay. I like it. You should market that. STEVE Change the subject. BOB (Sarcastically) Damn you're a secure guy! Calm down man. We were just messing with ya. We know you're not gay. JIM We have our doubts NOW. STEVE (changing the subject) So Jim, what are you up to now? BOB It is an honor to be graced with your rarest of presences grasshoppa. JIM Bite me. BOB You know I think that's Steve's area. STEVE For the love o - - Stop it! BOB You still in the rut? JIM Unfortunately, yeah. STEVE What's the problem? BOB Jimmy here hasn't been able to contemplate a new idea in months. Is your publisher pissed? JIM Nah, she gave me an extension. STEVE Hey, you know what you should do? You should do a sequel to that uh that vampire one, what was it called? I always wondered what happened to that guy. JIM NO! Everyone in the joint JUMPS, STARTLED. BRIAN(V.O.) (sarcasm) Writers. See, Jim Benson has this thing about sequels. He doesn't do them. He seems to think it somehow belittles him. To take existing characters and simply put them in a new situation seemed uncreative to him, and he always refused to do one, no matter how hard they begged, or how many zeros were on his check. BOB Jim doesn't do sequels Steve. STEVE Sorry. JIM No, I am. I'm just so frustrated. I know the ideas are there, they're just kinda floatin' around up there. Lost. I just need to find them. BOB How do you plan on doing that? JIM I have no idea. STEVE You should watch a bunch of old ass scary ass movies. That always gets me. JIM Yeah, but then I would just wanna copy. And I am NOT about to get sued for something that was supposed to help me. BOB Hey, you're rich as hell already, maybe you should just quit while you're ahead. JIM No, I'm not ready yet. BOB Yeah, the huge mansion, the luxury cars, being known everywhere you go, yeah, that's not enough. I wouldn't quit either. JIM You know, if I could do just one more thing that's any good I just might get my career going again. STEVE The window of hope opens at last. BOB Only a crack. JIM What are you guys trying to say? BOB You already know what we're going to say. JIM That I should stop. STEVE Step back - - BOB (continuing his sentence) - - We have a winner. Do you really wanna be the guy who doesn't stop and makes a constant fool of himself just for the extra cash? JIM I think I still have one more run in me. I gotta get back to work fellas. It's been ... a learning experience. BOB We'll swing by later. JIM Yeah, okay. BOB Later gator. STEVE He's lost him mind, hasn't he? BOB Oh yeah. Jim leaves. The RINGING of the BELL above the door TRANSFORMS into - - CUT TO: EXT. ROSA'S HOUSE-NIGHT Tom has his FINGER on the DOORBELL. After a few moments it opens, revealing ROSA HENDERSON, an ELDERLY OLD LADY with a BLAZING head of WHITE hair. BRIAN Rosa Henderson? BRIAN(V.O.) That's Rosa Henderson. She was the one who filed the complaint about the stalkings that happened earlier this week. Although now it looks like more of a trespassing incident. ROSA Yes? BRIAN(V.O.) Rosa's husband died last year and we're wondering if her brain went with him. She looks alright but one of the cogs in her head is turning a little loosely nowadays for sure. BRIAN Do you mind if we ask you a few questions about the complaint you made earlier? ROSA Oh yes. Of course, of course. Come in, come in. BRIAN Thank you. BRIAN(V.O.) We didn't even show our badges and she's already letting us come in. I started to wonder who else she would let in that easily. INT. ROSA'S HOUSE-NIGHT PICTURES and PAINTINGS and SCULPTURES of ANGELS GRACE every wall here. The house is FRESH, COMPULSIVELY CLEAN, of course, that noticeable decorating design of the elderly. BRIAN(V.O.) Rosa's that typical grandmother. She's nice to everyone, almost too nice, like she doesn't even care who you are, just as long as you like her. ROSA Would you nice boys like some coffee? BRIAN(V.O.) With her mind as far gone as it seems I seriously questioned the quality of that coffee. BRIAN Yes, please. TOM Me too. She goes into the kitchen, CLANGING and BANGING of GLASSES can be heard in there with her. BRIAN (calling to her) So, Mrs. Henderson, do you mind running us through what happened the other night? ROSA(O.S.) Just a minute, I'm a little busy doing the last thing you asked of me. She brings in the coffee in what looks to be an ANCIENT CHINA TEA SET and a LUXURIOUS TRAY to hold them all on. ROSA Here you go. Nice and warm. Brian lifts the glass up and takes a sip, his face expressing the HORRIBLE taste of the coffee as he tries to HIDE it behind a SMILE, not wanting Rosa to know. BRIAN(V.O.) I was right to question the coffee. ROSA Coffee's fresh as a daisy. BRIAN(V.O.) What the hell kinda daisies do you have? BRIAN Thank you, it's wonderful. BRIAN(V.O.) That coffee really tasted the way your foot would taste if you left it up someone's ass for a week. Tom is about to take a sip of the coffee, but Brian SHOOTS a look at him, NO. He puts the coffee down IMMEDIATELY. TOM Would you mind running us through what happened? ROSA Oh, right, that. BRIAN Yes, that. ROSA Alright, well. I was sitting here, alone, watching TV. It was late. INT. ROSA'S HOUSE-FLASHBACK-NIGHT ROSA(V.O.) I heard a noise outside, I thought it was a 'coon. EXT. ROSA'S HOUSE-BACK PORCH-FLASHBACK-NIGHT Rosa, with a BROOM, goes to the back porch of her house into her garden. ROSA Get outta here you stupid 'coons! Git! She RAISES the broom with AUTHORITY, ready to SWAT with the amazing Granny power we all have learned to avoid. Something MOVES near a large BRUSH, just behind a THICKLY TREE. The leaves SHUFFLE and SHAKE, giving it away immeaditely. Something too BIG to be a RACCOON. ROSA (frightened) H-H-Hello? A DARK FIGURE, a SHADOW, HIDES further in the brush, QUIET as can be. ROSA Who's there? It DUCKS DOWN, she KNOWS it's not a raccoon now. ROSA I got a a uh ... (looks at the broom in her hands) ... I'll call the cops! The figure DUCKS away behind the house, leaving the brush altogether. Rosa runs also, runs INSIDE the house. LOCKS the DOOR, using the DEADBOLT, and FASTENING the CHAIN. ROSA(V.O.) I didn't know what it was. All I saw was the shadow. INT. ROSA'S HOUSE-NIGHT- RESUMING ROSA I was scared to death. I didn't know what to do. That's when I called you. By the way, why did it take you boys so long to get back to me? A unit came by, but I was hardly questioned at all. BRIAN(V.O.) I'm sorry. Are you The Sun? Cuz last time I checked the planets don't revolve around you. TOM Sorry, this kind of case is what we call "low priority." ROSA "Low priority?" I could have been killed. TOM Yeah, but you weren't. BRIAN It's a big city Mrs. Henderson. There are murderers and rapists out there and your little peeping tom doesn't seem to pose any real threat, yet. TOM If you two don't mind I would like to return to the interrogation. BRIAN Sorry. TOM Now, after you came inside what then? Was there any indication that this person was trying to get inside at all, or threaten you in any way? ROSA No, I didn't see him again. BRIAN Him? Was it a man? ROSA Oh no. I have no idea. It was dark and my eyes, well, I'm old, they're not as good as they used to be. BRIAN(V.O.) Get some fucking glasses. BRIAN Oh it's quite alright. We have plenty to go on. BRIAN(V.O.) We didn't have shit. TOM Thank you for all of your time, Mrs. Henderson. ROSA Oh, no really, thank you. BRIAN And, before I forget, do you mind if we check out that garden? ROSA Oh yes, of course you can. Just don't step on my roses, they're all I have. TOM Will do. BRIAN Thank you. We'll let you know if something comes up. ROSA Okay, goodbye now. BRIAN Bye. EXT. ROSA'S HOUSE-BACK PORCH-NIGHT TOM What are we lookin' for? BRIAN Clues. I'm glad to see college still pays off. Brian spots something on one of the tree limbs. Something thin, the light just catching it. BRIAN (surprised) Hellooo... TOM Ah ha. BRIAN I found it and don't you forget it. TOM Ah ha, said Brian. BRIAN Better. TOM What is it? Brian pulls out a plastic "EVIDENCE" bag from his jacket pocket. BRIAN Once again, I'm glad your education was worth the expense. Seriously, was it clown college? It's hair. What's it look like? TOM Rosa's? Brian takes another look at it, as he SLIPS in into the plastic bag. BRIAN Nah, it's blonde. We'll get it to the lab, see what's goin' on here. Hopefully get an I.D on some perv. TOM Ready then? BRIAN You bet. How 'bout that coffee huh? Shit, I, seriously, I think she must have had to grow those grounds herself, it was awful. CUT TO: INT. TABITHA CITY POLICE DEPARTMENT-SAME Tom and Brian sit at desks adjacent to each other, facing each other. Both of their desks completely filled with different papers and files, the desk itself not even able to poke its way through. They're not talking, looking over evidence from the case, profiles, etc. A BURLY, OLD MAN, yet still full of SPUNK and ENERGY walks over to them. His name is LIEUTENANT KELLY, their BOSS. LIEUTENANT KELLY What do you have for me so far? BRIAN DNA sample. Hair follicles found in the garden where the incident apparently commenced. LIEUTENANT KELLY How long? BRIAN The hair? LIEUTENANT KELLY No you fucking dumbass. How long til we have a suspect? BRIAN Ohh. Well they said that they could find the blood type, the sex, but the actual identity of the person may take a little longer. A week, maybe longer because of the crudeness of the crime scene. LIEUTENANT KELLY Find more, get it done faster. We have a lot more important things to do than catch perverts creeping in an old lady's window. BRIAN Right o. TOM What now? BRIAN Now we investigate Mr. Lay-Z-Boy because he is the only thing, clues included, that we have to sit on for a while. TOM We're just gonna wait? BRIAN You're gettin' smarter every day now kid. (Tom stares at him, aggravated) (Tom, correcting) Sorry. Detective Asmole. TOM Bri, this good cop bad cop bullshit, why do you do it? BRIAN What do you mean? TOM You're an asshole to me, I demand a reason. BRIAN Oh, demands now? TOM Yes damn it, I deserve an explanation. BRIAN Not good cop bad cop Tommy boy. Young cop old cop. You're no rookie sure, but I definitely know more about what I'm doing than you do. TOM I been on the job five years, I think I know what I'm doing pretty good by now. BRIAN Yeah but you only been with me two. And from where I sit, you still got shitloads to learn. TOM I know plenty. (beat) Why are you really so bitter? What happened to your last partner? BRIAN Nope, not today, you're my first. TOM No, I saw it in the files. When you first started. Was it ... Bill? Yeah, Bill. What happened to him? BRIAN What the fuck is this? Who told you you could go digging around in my files? Get back to fuckin work. TOM You're right. My fault. Too deep, too deep. Just quit bein such a bitch all the time alright? BRIAN Noted. (beat) So what else we got? Tom SEARCHES through a MOUND of papers. TOM Well, the only other thing we got to work with is Rosa herself but - - BRIAN I'm sorry too kid. It's this fucking place. This fucking desk. This fucking room. That mother fucking Lieutenant. It wears on you kid, wears you down until, until you're, well, until you're me. TOM Not to mention Sharon. BRIAN (remembering) Oh fuck Sharon too. TOM I believe you WERE actually. Slowly, a LAUGH starts to escape Brian's throat, RISING until he is full on, out loud LAUGHING. Tom starts up as well. BRIAN Come on, kid. Let's go celebrate. TOM Celebrate what? BRIAN I don't know. Me being as ass. My ex-wife fucking her boss. TOM Wait, why would we celebrate that? BRIAN Cuz she's pregnant, and he's married. Laughter. TOM If there's nothin better, to your Ex! BRIAN Lieutenant, you comin? LIEUTENANT KELLY Where we goin? BRIAN Drinkin. LIEUTENANT KELLY (enthusiastic) Alriiiight. BRIAN (softly to Tom) Alcoholic bastard. LIEUTENANT KELLY I didn't become Lieutenant by sittin on my ass here. TOM How did you do it then? LIEUTENANT KELLY I got my boss drunk and asked him for a promotion. TOM Hm, we'll have to keep that in mind. LIEUTENANT KELLY You ask for so much as a raise I'll have Brian shoot ya. BRIAN Let's go already! CUT TO: INT. TAVERN-NIGHT The inside is HAZY, FILLED with SMOKE. All three men have CIGARS in their mouths. TOM Hey come on guys, shouldn't we be doing some, I don't know, police work? BRIAN We are. LIEUTENANT KELLY How's that? BRIAN I'm a policeman and I'm working to get this next beer down. LIEUTENANT KELLY What should we toast to? BRIAN To ... beer! LIEUTENANT KELLY To beer! TOM To beer. LIEUTENANT KELLY Here, here. Big long drinks, all three of them, finishing their round. Kelly calls for another round. TOM So, Detective Norris, what is the craziest, most whacked out shit you ever seen on this job? BRIAN Why do you wanna know that? TOM Preparation for the young cop from the not so young cop. BRIAN I seen it all Tom. Shootings, stabbings, blow- uppings. All of it. I seen a kid stab his own mother. A father stab his own child. And a nephew who just wiped out his whole fucking family tree. Fires, drownings, electrocutions. LIEUTENANT KELLY Beheadings. BRIAN Far too many beheadings. Hangings. Stonings, and not the good kind either. I saw somebody crucify themself. Wannabe Hitler's installing poisonous gas pockets into the showers at the gym. TOM Fuck. BRIAN Shit, what else? Remember Seven, that movie Seven? Had a guy do all those murders. Fucked up sex toys, chopped off a chick's face, when we caught him he was feeding a guy food, waiting until he burst. And then we found another one he'd been workin on tied him to the bed for a month, but got it in time before he could finish the job. (beat) Even saw a guy shoot his own partner once. TOM What? LIEUTENANT KELLY Don't you tell that fucking story, you'll regret it later. BRIAN I'm so drunk, now is the only time I could tell it. LIEUTENANT KELLY Which is exactly why you shouldn't. BRIAN Nah, who gives a shit? TOM What happened? LIEUTENANT KELLY Don't urge him on. TOM What's so bad about it, especially after all that shit he just told us? LIEUTENANT KELLY Don't let him tell it. Don't tell it Brian. BRIAN Fuck, I'm gonna tell it. (beat) Alright, so there are these two cops right, well detectives. They're in undercover at this drug house that they just busted. Huge fuckin place, kinda place you could get lost in right. So he's lookin around, searching for the fucker. When he sees someone behind the corner ahead of him, sneaking around. So he sneaks up on the guy. They both jump the corner at the exact same time, exact. I saw the gun, so I fired. Other guy missed by a mile, lucky for his partner his reflexes were much quicker than the other guy's. TOM You? BRIAN Huh? TOM You said I, as in you. You shot your own partner? LIEUTENANT KELLY ACCIDENTALLY shot him kid. Am accident, that's all it was, a horrible, horrible accident. BRIAN You wanted to know what happened to my other partner so bad, there you go. BRIAN(V.O.) I wanted to punch myself in the face, but I couldn't feel my hands anymore. Tom sits, TROUBLED, looking DESPERATELY for the right words to say. FADE TO: INT. DRUG HOUSE-DARK The inside is HAZY, FOGGY, filled with the gunsmoke of the previous few minutes. Brian, much younger than now, creeps around corners with his gun raised in his hand ready to shoot. Sweat DRIPS like mad from his forehead into his eyes, they turn RED from the pain, but he tries to shut it out. He is obviously very nervous. INT. DRUG HOUSE-DARK-AROUND CORNER BILL, about the same as Brian, creeps around dark corners, jumping out with the gun drawn to nothing on a few occasions. INT. DRUG HOUSE-DARK-BRIAN Brian passes a corner, and spots a SHADOW moving along the floor just around the next corner. He instantly JUMPS back behind his wall, peeking his head out just enough to see the shadow continuing to come closer. INT. DRUG HOUSE-DARK-BILL Bill hears a THUD against a wall nearby and proceeds with even more caution. INT. DRUG HOUSE-DARK-BRIAN Brian JUMPS OUT from behind the wall. INT. DRUG HOUSE-DARK-BILL Bill does this as well, at the exact same time. INT. DRUG HOUSE-DARK-HALLWAY SLOW MO Brian SPINS, his gun drawn. Bill leaps out the exact same way, his gun also ready to fire. ANGLE- The trigger of Brian's gun being pulled in slow motion. Bill starts to pull the trigger, but as he sees his partner in front of him his eyes suddenly WIDEN in SURPRISE. He PULLS the gun up as fast as he can, already having pulled the trigger. At the same moment, Brian's bullet FIRES. The bullet from Bill's gun hits the ceiling just above Brian, having averted it successfully. Bill FLIES back, to the ground, after the bullet RIPS through him. He hits the ground, STILL. As the SMOKE slowly starts to CLEAR Brian's face starts to take on the surprise of what just happened, finally realizing exactly who he shot. CUT TO: INT. BRIAN'S APARTMENT-MORNING-BRIAN'S BEDROOM ERR ERR ERR ERR The BUZZING of that incestuous alarm clock, suddenly BLARING over the calm softness of before. Brian JUMPS to an upright position, instantly he GROANS, feeling the effects of the night before. He SLAMS down hard on the alarm, it STOPS. INT. BRIAN'S APARTMENT-DAY NICK Ahh, look it's boozehound. BRIAN Ehhh, shut up. NICK Better go. Kelly's been callin'. BRIAN What time is it? NICK It's best that you didn't know that. Just go. Now. Before we become a NO income family. BRIAN Cute. CUT TO: INT. TABITHA CITY POLICE DEPARTMENT-DAY Brian walks in the door, obviously still hung over, heading for his desk as best as he can. Lieutenant Kelly and Tom strike up a quick conversation the moment he steps through the door. LIEUTENANT KELLY Alright Tom, here he comes. Don't say anything about last night, he might not even remember sayin anything about it. TOM Right. BRIAN (coming to them) Hello children. TOM How goes the hangover? BRIAN It's hangin alright. How goes the case? TOM It's hangin alright. BRIAN(V.O.) Look at him. That smug innocent look on his face. He's probably pretending he didn't even hear what he heard. I'll give him this one. BRIAN Great. What now? TOM I don't know old cop, what do we do now? BRIAN You got that file on Rosa handy? TOM Yeah, it's right here. BRIAN Fantastic, give it to me. He digs it out of his desk and TOSSES it onto his desk in front of him. Brian starts to finger through it, looking at clippings. TOM Whatchu thinking? BRIAN Well, it's been a couple days and nothing's followed up. Don't perverts and stalkers usually go back? TOM Yeah ... so? BRIAN So, I'm trying to decide if Ms. Henderson is what we call a "legitimate witness." TOM Credibility? That's what your basing this on now, her credibility as a witness? BRIAN Well not so much as a witness, rather more as a human being. TOM What are you getting at? BRIAN Well, let's see, her husband died not too long ago, right? And she's been alone every single night since then. TOM You saying she did this for attention? BRIAN Or senility. Whichever. TOM What about the hair sample? BRIAN Ah, you're learning. But we know that thing could have come from anywhere. The wind could have taken it there. A dog could of pissed on her roses, who knows. TOM So you're saying she's crazy then? BRIAN On the nose. She's nuttier than a peacon pie, case closed. (beat) Hey Lieutenant. LIEUTENANT KELLY Yeah? BRIAN I got sick days left right? LIEUTENANT KELLY Only a million. BRIAN Little drunk still. Goin home. Exit Brian. TOM I swear he's lost his mind. LIEUTENANT KELLY It's quite possible. TOM He doesn't even wanna follow through. Not even posting an officer outside her door, nothin. LIEUTENANT KELLY I'll put one, don't worry. He's been here a long time kid. It might a finally got to him. TOM No kiddin'. CUT TO: EXT. STREETS TOWARDS ROSA'S-NIGHT A single cop car on an empty road that seems to WIND and TURN at every possible time, the road leading to Rosa's house, as we look upon the squad car from above. BRIAN(V.O.) To be honest, I didn't have a clue as to what was really bothering me. The car nearing a house. BRIAN(V.O.) Maybe it was just this job, the shit I've seen, who wouldn't go nuts? The car pulls into the driveway, a cop gets out. BRIAN(V.O.) Maybe it was just this case, a go nowhere, boring, paperwork shit-eater of a case. The officer KNOCKS on the door, NO ANSWER. BRIAN(V.O.) A case this dull would drive anyone over the edge. The cop goes ahead and opens the door. We can't see inside, but his face DROPS, UNPREPARED for what he SEES. VASQUEZ Shit. BRIAN(V.O.) But what did I know? INT. ROSA'S HOUSE-LATER THAT NIGHT Cops are now SWARMING the entire area, the house is blocked off by that yellow police tape. And Rosa's body is outlined with chalk on her beautiful ten thousand dollar rug. BRIAN Now who'd wanna go and kill this nice old lady huh? TOM One fucked up puppy, that's for sure. BRIAN Looks pretty cut and dry though. Look at this, I mean, no blood, there sure as hell aint no sign of a struggle. TOM Well, according to you, she's senile, so how could she struggle, right? BRIAN Hey, I got an idea, fuck off. TOM How DID she die? BRIAN There's a puncture wound on her neck. Needle or somethin. Prints? Someone comes up just as asks. PRINT DUSTER No no no no no no. There's barely any o' hers around here. She must be one of those clean freak grannys. BRIAN Hey, respect the deceased motherfucker. PRINT DUSTER Sorry, go back to bed or something, shit. TOM So we done then? BRIAN Yeah, for now. They're gonna take her to the morgue, autopsy her, figure out what killed her. We'll go down with her a little later. Let's get outta here, I'm startin to get real fuckin tired o that smell. CUT TO: INT. TABITHA CITY POLICE DEPARTMENT-NIGHT Sitting at their desks. TOM Anything new since we left the house? BRIAN Gotta take a shit. TOM Fantastic. That's a case cracker. BRIAN Colon cracker. TOM Still think she's just some nutty old woman? BRIAN Cute. TOM You know, if you had sent an officer down there sooner - BRIAN Oh don't even fucking go there. I had no idea this was gonna happen. How many shit cases do we get now that turn into something like this? TOM Yeah NOW. Since you had us moved down a priority. BRIAN And don't tread in those waters either. TOM Why the fuck not? I was doin fine solving murders every day up there and you brought us down here, to shit land. With the peeping toms, and the paperwork up my asshole. All because you were just a liiiitle bit ragged out. BRIAN I'm more than a little bit ragged out okay? Beat TOM This is your last one isn't it? That celebration the other day, that was because you decided it was over, wasn't it? BRIAN (hesitating) So what if it was? I just can't handle this shit anymore. You're young, they'll give you another partner. Unless you kill him. TOM (hesitating) You remember sayin that? BRIAN Of course I do. It's been downhill ever since then. After this one I'm gone, until then you're just gonna have to handle my asshole-ed-ness. JUDY, the assistant, with dark hair and tiny, walks up. JUDY It's hittin' the fan boys, guess what? TOM Quit teasin us and spill it already. She throws a manilla folder on each of their desks. JUDY We got us some prints. BRIAN On what? JUDY Telephone, seems the killer had an urgent call to make. BRIAN You trace the call? JUDY The receiving number was blocked. Someone's covering their tracks. TOM Splendid. BRIAN Alright, then who's prints are they? JUDY Nope sorry. Nothin there either. Not in the computer system, which means we got us a first timer here boys. Should be an easy one. Brian's beeper goes off. BRIAN Come on kid, the morgue calls. JUDY But wait, there's more. TOM What? JUDY See, these prints match some other prints to some other bodies some other station found at some other state. Get this, all made a complaint of stalking days before their deaths. Woo. TOM We got us a serial killer pardner. BRIAN This just keep gettin better n better. I'm never gonna get outta here. TOM Come on, we better go. BRIAN Thanks Judy. TOM See ya. JUDY Lata. EXT. COFFEE HOUSE-NIGHT Jim is sitting at an outside table of a coffee house, typing away at a laptop computer and sipping coffee. He finishes his drink and closes the laptop. He reaches down and picks up his messenger bag and inserts the computer. He puts the strap over his shoulder and walks away. SLOW MO It slows to see the WOMAN, BRIGHT BLONDE HAIR, just passing him, walking in the other direction, big black hat SHADOWING her face and sunglasses on, catches sight of him and stares as he walks off. BACK She turns around INSTANTLY and walks behind him, several paces behind. Jim keeps walking away, not seeing her. She keeps up, being sure to PLOW THROUGH anyone in her way. Jim hears a cry as she pushes one out of her way. He turns his head towards the window next to him, in it he sees her reflection, staring a hole practically in his back as she continues to walk with a purpose. He glances behind him and catches her eye, she CRACKS a SMILE. He speeds up a little bit, making sure to turn at the next intersection. He crosses the street, almost getting NAILED by a car. He crosses into a back alley, well lit albeit. He looks behind again, still there, just him and her, her face never seen due to the largeness of that hat, her stride never faltering. He comes out of the alley, a FLURRY of cars upon him. He JUMPS in the road, his arms OUTSTRETCHED, right in front of a CAB. The cab THUNDERS to a HALT, the TIRES SCREAMING, stopping just in front of him. He jumps in as FAST as possible. JIM Go! The cab SLOWLY SPEEDS away. Jim looks behind him again, through the back window, she's STANDING there, just STARING. CUT TO: INT. HOSPITAL-AUTOPSY ROOM-NIGHT Rosa's pale body lies on the steel table just in front of them. BRIAN So what we got, Zakowsky, is it? ZAKOWSKY Yes, and I'd thank you not to make jokes. You know my fucking name. TOM So what's wrong with her? ZAKOWSKY Well, she dead. BRIAN Quit playing games Doc, what killed her? ZAKOWSKY You were right about the puncture wound, looks like a syringe. BRIAN Two points. ZAKOWSKY Some kind of fucked up poison did the dirty work. TOM What kind? ZAKOWSKY Ohhh, nothin you've ever heard of. BRIAN Some kinda new concoction? ZAKOWSKY Yeah, real pro stuff too. It's a paralysis drug and in the back of the syringe, the second stage of the dose, had the actual poison. BRIAN Quiet and quick. ZAKOWSKY Exactly. Soon as it starts, there's no way to scream, by the end, bingo bango, goodbye. Zakowsky walks over to a mimi-fridge near his desk. He bends down and opens it, retrieving a sandwich. And comes back over to the table. TOM Any way to trace the poison back to someone? ZAKOWSKY Absolutely not. That's why I called it pro stuff. See, it was a real mixture of a bunch of different shit. But it was a mixture of different chemicals, each one was from a different location. And by location, I mean country. He takes a huge bite out of the sandwich and sets it on Rosa's chest for a moment. BRIAN Any place near here that sells those? All of those? ZAKOWSKY Not a chance. They're minerals, found only in the country, illegal in the states. He could have mail ordered 'em on the black market, he could have flown to ten different countries for this one needle full, who knows. BRIAN Shit, dead end. TOM What about forensics? Any hair, prints? Zakowsky picks up the sandwich again and takes another huge bite, talking as he eats. ZAKOWSKY (Chewing) Okay. Well, there wasn't a struggle, so there wasn't anything under her nails. And, quite obviously, this freakshow is wayyy too smart not to wear gloves, which means, no prints. BRIAN Nothin. ZAKOWSKY We did find a single hair on her. TOM What? ZAKOWSKY Yeah, it was blonde. BRIAN Did you - - ? ZAKOWSKY Don't get your panties in a twist, I already sent it down there with the other one. BRIAN Well? ZAKOWSKY It matched. They still don't know who's it is, but, it matched. The stalker's the killer. BRIAN Jesus Doc, we didn't you say that in the first place? ZAKOWSKY Cuz I like teasin with you. Hey, I'm around stiffs all day, I need some fuckin excitement. BRIAN Yeah, I getcha, fuckin weirdo. Come on kiddo, let's go. TOM Right. CUT TO: INT. JIM'S HOUSE-BATHROOM-NIGHT Jim, alone in the bathtub. The room itself utterly FILLED with STEAM. Jim is just trying to relax after what happened. He picks a handful of water up and SPLASHES it on his face. JIM (mumbling to himself) What the fuck was that earlier? Did I know her? She was practically chasing after me. INT. JIM'S HOUSE-LIVING ROOM-NIGHT Jim comes out, steam escaping the doorway also, in a shirt and pajamas, his hair still wet, and a towel around his shoulders. He puts it in his hand and dries his head while walking. He feels a COLD SHIVER. He looks over, and he sees the PATIO DOOR open just a bit. He pays no attention and robotically SHUTS it, like it's happened a million times before. INT. KITCHEN-SAME He walks into the kitchen and pours himself a glass of wine. He turns on the radio near him and drinks the wine rather quickly. Jim leans back to set the glass on the counter but he only gets a part of the glass on the counter before letting go, sending it CRASHING to the floor. The sound STARTLES him but he reaches for a nearby towel to wipe up the excess wine anyway. Cut to Jim SWEEPING up the glass and POURING it into the trash. He heads back for his room. INT. LIVING ROOM-SAME Immeaditely he notices that the door is OPEN again. This time he takes an extra glance, almost as if ANNOYED. He shuts with more FORCE, ensuring its closing, and LOCKS it. He heads into the bedroom, the door shuts behind him. Something MOVES in a far off DARK CORNER. CUT TO: EXT. JIM'S HOUSE-NIGHT Jim's bedroom light shuts off. DISSOLVE TO: EXT. JIM'S HOUSE-MORNING A SCREAM. INT. JIM'S HOUSE-MASTER BEDROOM-SAME Jim wakes up in his bed, but he's TERRIFIED. There are literally HUNDREDS of POLAROID PHOTOS lying around him in his bed. He TOSSES them off in frustration and even some TERROR. JIM'S POV Looking at one of the pictures he sees that it is actually a picture of HIM in his BED, SLEEPING. BACK He picks up more, from his face they're all the SAME. He LURCHES for the PHONE. CUT TO: EXT. JIM'S HOUSE-DAY A squad car rolling into the scene, now a huge ordeal, police EVERYWHERE, the BLAZING blue and red of the lights FLASHING every direction. INT. JIM'S HOUSE-DAY Brian and Tom STROLL in, passing by OFFICER VASQUEZ. BRIAN You get his statement? VASQUEZ Yeah. BRIAN Good, I'm gonna get another one. Stay close, see if it changes. VASQUEZ Alright. Brian comes up on Jim. BRIAN Jim? JIM Yeah. BRIAN Nice to meet you. Detective Brian Norris, Detective Tom Asmole. JIM I already gave my statement. BRIAN Not to us you didn't. TOM Just, run us through what happened? JIM I went to bed and I woke up with those pictures in my bed. BRIAN Of you sleeping? JIM Were there any other ones? BRIAN Alright, fair enough. TOM See anything unusual? Were there any broken windows, doors broken into? Anything? JIM Well, the patio was open, but, the wind it, it always does that. BRIAN So, I don't get it. You went to bed, and someone took pictures of you while you were asleep? JIM Something you didn't catch? Yes, that's what I've been telling you. BRIAN But I must know, how didn't you hear those pictures being taken. Seems like there was a lot of them. I mean click click, reload film, click click, it's pretty loud. JIM I was tired. BRIAN Alright. That's good. You can go. He does. JIM Wait, there was one more thing. BRIAN What? JIM Someone was ... following me, earlier today? TOM What? Where? JIM Outside Starbucks. I think it might be the same person. BRIAN Thanks. Jim returns to the sanctuary of his bedroom, shutting the door. TOM You think? BRIAN Oh, I definitely do. We got another potential victim here to go with a long list. It's the same stalker, I know it. (to Vasquez) Anything change? VASQUEZ Nah, it was all rock solid. BRIAN Prints on the photos? VASQUEZ Nada, clean as a whistle. BRIAN Alright thanks. Vasquez walks off. BRIAN I don't think he's telling us everything. He's hiding something, I can feel it. TOM Oh shut up. BRIAN Did you see his hair? TOM Why, what was wrong with it? BRIAN It's blonde. TOM Oh, you've got to be kidding me. He just called us here to tell us that he the one bein stalked now. BRIAN Yeah, and that little tidbit about someone following him after we were already through wasn't in the least necessary. He already gave a complete statement but he made sure to let us know he was being followed. TOM Are you saying he's a suspect now? BRIAN He could be covering his tracks. TOM By stalking himself? Who would have taken the pictures? BRIAN Camera's on a timer, he pretends to be asleep for an hour, makes sure to wear gloves. TOM Come on, you're not serious about this. BRIAN (soft) Come with me for a sec. TOM What? Why? BRIAN Just come on. Brian walks away, Tom being sure to follow closely behind. Brian SNEAKS around into INT. BATHROOM The bathroom. TOM What are we doing in here? BRIAN Shhh! You got a bag on you? Tom pulls an evidence bag out from his pocket and hands it to Brian. Meanwhile, Brian is digging in the shower drain. He pulls something out. BRIAN (soft) There we go. Little gross, but I think it'll work aight. TOM (soft) Why are we whispering? BRIAN (soft) Cuz we're messin with a crime scene. If Kelly knew we thought this guy was a suspect he'd kick me out early. I'm sticking this one out, ok? TOM (soft) Alright. He puts the hair sample into the baggie. They leave the restroom. VASQUEZ What are you two lovebirds doin in there? BRIAN Bite me Eddie. And get this to the lab, file it against the other ones. VASQUEZ What is it? BRIAN What does it look like genius? VASQUEZ Why then? BRIAN Don't question the bossman. Brian starts to head for the door, Tom follows. TOM We're not stayin? BRIAN Hell no, I hate that fucker starin at me. Pan over to see Jim STARING straight at Brian. TOM (seeing it) Damn. BRIAN (to Vasquez) Be sure to post a couple officers outside this place. I don't want him dyin too. CUT TO: INT. TABITHA CITY POLICE DEPARTMENT-DAY TOM God, it'll never end. BRIAN Tell me about it. TOM It just seems like we're goin back and forth. (beat) When was the last time you slept. BRIAN (sigh) Days. (beat) I been tryin to get my head around this case. Something's not right about it. TOM I know, it's like we're missin somethin. BRIAN That's my point, exactly. We got one big hole left to fill before this is done. The Lt comes out of his office, wanting to speak directly with them. LIEUTENANT KELLY What have you boys got for me now? BRIAN Not too much more. LIEUTENANT KELLY Now I know this is your last case, so I'm gonna go ahead and give you one last hurrah. I'm transferring all of your other cases to separate Detectives. TOM Thanks. LIEUTENANT KELLY And I got some more good news. We got the reports back from all the other murders out of state. BRIAN Anything new? LIEUTENANT KELLY Well they found hair samples too. And a few prints. Good ones. But, unfortunately, they're gone. BRIAN What? LIEUTENANT KELLY Yeah, they had them on record but they went to retrieve them from the evidence room and they were just gone. Weirdest thing. Brian stops looking at Kelly, thinking. LIEUTENANT KELLY What are you thinking? BRIAN I'm thinking it's an inside job. LIEUTENANT KELLY You could be right. It would explain the disappearance of the samples, but, somehow I think there's more to it than that. BRIAN Does this mean you'll start actually helping us? LIEUTENANT KELLY You're the detectives, I just supervise here. Have fun kids. BRIAN Speak for yourself. TOM See ya boss. Leaves. TOM What am I forgetting? BRIAN The sample. Hey Judy. JUDY Yo! BRIAN You got the results on that sample yet? JUDY Yeah I do. Get this. It was TWO. TOM Two? JUDY Two separate blondes. One of them I can only assume was Jim's but, and here's the kicker, the second one matched alllll the other ones you guys been givin the lab. BRIAN What?! JUDY Yeah, exact. Looks like someone's congregating with a killer. TOM So...What, he took a shower with the killer? BRIAN I don't know. You think the killer could have taken a shower at his place without his hearin it? TOM She took about a million photos without him hearin it. BRIAN Could be. Or maybe he just had some of her hair on him and then took a shower? TOM That's pretty thin. BRIAN Judy? JUDY What now? BRIAN I want you to get Jim Benson in here for questioning on the double. Not an interview, interrogation in regards to him being a suspect. Let him know that. And get me his file. JUDY Will do chief. BRIAN Thanks babe. CUT TO: EXT. JIM'S HOUSE-NIGHT Jim comes out through the front door, pulling on his jacket. He gets out his keys, unlocks his car with the remote, and gets in. The car starts, and he starts to back out from his driveway when suddenly another car SWARMS up behind him, BLOCKING him. He stops rather abruptly. He gets out, not happy. Two men getting out from the other car. JIM Who the hell are you? And what the hell are you doing? SHORT HAIRED GUY Calm down. We're police officers. JIM What? Where are your uniforms? LONG HAIRED GUY We're undercover, we were put here to watch your place. We got a few more roamin the premises, hidden away. JIM What for? LONG HAIRED GUY For starters you're under investigation and we have to keep a close eye on you. SHORT HAIRED GUY Also though, we think there's gonna be a murder. JIM A murder, here? But that would mean... SHORT HAIRED GUY Yeah, that's why we're watchin your place, to protect you. JIM Am I on fucking house arrest now? LONG HAIRED GUY If that's what it comes down to, yeah. You are not to leave until we figure out what's going on. JIM Fine. I'm gonna go and call my attorney, cuz you, you motherfuckers, cannot do this to me. I have important places to be. SHORT HAIRED GUY Not anymore. He storms back inside. CUT TO: INT. TABITHA CITY POLICE DEPARTMENT-NIGHT LIEUTENANT KELLY Where the Hell's Brian?! Brian sitting just behind where Kelly is standing. BRIAN Uhh, right here boss. LIEUTENANT KELLY Oh, didn't see you there. Listen we, uh, have a new development, I need to see you in my office. BRIAN What is it? LIEUTENANT KELLY Just come on. BRIAN Great. TOM Have fun. BRIAN Shut up. INT. KELLY'S OFFICE-SAME LIEUTENANT KELLY Listen, we need to talk about something here. BRIAN What's goin on? LIEUTENANT KELLY Where were you the night Rosa Henderson was murdered? BRIAN What? Where was I? LIEUTENANT KELLY Please just answer. BRIAN I was at home, hungover as hell. What is this? LIEUTENANT KELLY Listen to me, we found your prints. BRIAN My prints? On what? LIEUTENANT KELLY It doesn't matter what. They were there. Listen the only suspect we have is this guy who also just happens to be one of the victims, and is now on house arrest because of your "hunch." I need everything I can get here. BRIAN You saying I'm a suspect? LIEUTENANT KELLY You said it could be an inside job. BRIAN Not me. Christ, it was out of state! LIEUTENANT KELLY Yeah, but they were happening around the time of your divorce. You weren't exactly around alot then. And I know you're anger can get the best of you sometimes. BRIAN Oh come on man! LIEUTENANT KELLY Once those hair samples get matched to an individual, which could still take a couple of weeks more, when they clear, it will probably clear you. BRIAN My last case! My last one. You're gonna do this to me? LIEUTENANT KELLY You're suspended until we know what the shit is going on here. BRIAN Think this over Lieutenant. LIEUTENANT KELLY I'll need your badge and your gun. BRIAN No. LIEUTENANT KELLY Come on, don't make a scene. INT. TABITHA CITY POLICE DEPARTMENT-NIGHT Tom looks on from his desk as Brian erupts, his voice MUFFLED from the glass, LOUD but INAUDIBLE. Brian THROWS his gun and badge on his desk and STORMS out. BRIAN See you later Tom. Be back in a couple weeks. He starts to say something but he is already long gone. The door almost BREAKS from the SLAM. TOM What the hell was that? LIEUTENANT KELLY It had to be done Tom. Finish the case on your own. He might not come back. CUT TO: INT. BRIAN'S APARTMENT-NIGHT SLAMS the door. BRIAN Damn it! NICK What happened now? BRIAN Eh, it's just my boss. NICK Fired you didn't he? BRIAN Yeah he did. NICK How come? BRIAN I'm just a suspect in a teeny tiny murder. NICK You're getting interesting, finally. You think I'll be on TV? I mean, they'll wanna know how I turned out after my father was a serial killer. BRIAN I'm not...I didn't kill anybody. NICK I know, but it's fun to twist your balls. Uhh, not literally. Anyway, what are you gonna do now? BRIAN My job. CUT TO: INT. JIM'S HOUSE-NIGHT Jim THROWS his coat on the back of a chair, and PLOPS down onto the couch to relax for a bit. EXT. JIM'S HOUSE-NIGHT Knock knock on the door. JIM'S POV-LOOKING THROUGH THE PEEPHOLE Brian standing there, on his front porch, looking around aimlessly, pretending to be laid back. BACK A SIGH escapes from behind the door. Jim answers with a sort of disgusted - - JIM What now? BRIAN Hello, to you too. JIM What is it now? I've answered all your questions. BRIAN Do you mind if I come in? JIM Yeah, screw it, I don't care. I can't go anywhere anyways. INT. JIM'S HOUSE-NIGHT BRIAN I called you down to the office earlier today, but there was a little, uh, trouble with my boss and I just thought I would come by here and ask you personally. JIM Alright. Fair enough. Go for it. BRIAN Do you know what's going on yet? JIM Somethin about a series of murders. BRIAN Alright alright. Close. Here's the thing, a couple of months ago there was a series of unsolved murders out of state. But what was weird about them was that they all had the same strange occurrence, they were all stalked just before they were killed. JIM Yeah, I remember that. BRIAN How? JIM Well, I used to live in New York. I remember them happening about the time I lived there. BRIAN (surprised) Oh, well then, good. Well now the murders have seemed to moved here and it looks like you're next on the list. JIM Got that part. Why the house arrest? BRIAN Well, you're also a suspect in these murders. JIM What? Why? BRIAN Well, we found a sample of hair in the bathroom. (beat) Listen, did someone take a shower in your bathroom that first night? JIM Why? BRIAN Did they? JIM Well, I clean my bathroom after every use and I guess, now that you mention it, it did kinda look like someone had taken a shower. Why? BRIAN Well, we found a hair sample in the shower and it matched a couple of other samples we found, all in connection with the murderer. JIM Why does that tie me in? BRIAN Well, it was in a place in your house that you didn't mention before, and, you know, it's just one of those things. Probably nothing. JIM Yeah, I guess. So you came down here for nothing? BRIAN No, no I didn't. (beat) Did you know a woman named Rosa Henderson? JIM No, no I can't say that I did. Why? BRIAN She was the other murder. I was just seeing if there was some kind of connection. I'm grabbin at straws here. JIM I guess so. Case pretty thin then? BRIAN Like paper. JIM So that it? BRIAN Yeah, that's it. JIM K, I'll see you out then. They both start to head for the door. BRIAN Oh by the way, where'd you go just now? JIM What? I've been here. I'm on house arrest you know. BRIAN Well, I just saw your coat on the chair and I was wondering where you went. JIM (hiding a lie) Couldn't go anywhere even if I wanted to. BRIAN (knowing) Alright, that's it then. Sorry to trouble you. JIM No problem really. Bye now. BRIAN Bye. Jim PRACTICALLY PUSHES Brian out and closes the door behind him. EXT. JIM'S HOUSE-SAME Brian goes up to one of the undercover officers. BRIAN So he definitely left then? LONG HAIRED GUY Oh yeah. For a couple of hours. BRIAN He's lying to me. LONG HAIRED GUY I know. BRIAN Where do you think he went? LONG HAIRED GUY Didn't leave with anything, didn't come back with anything. Just needed to get out? BRIAN Maybe. Anyway, thanks man, about not telling Lieutenant. LONG HAIRED GUY I know he's on your case pretty bad, and you're the best guy we got. Don't worry about it. Now get outta here before someone else sees you. BRIAN Right. Thanks again. CUT TO: INT. TOM'S APARTMENT-NIGHT Tom opens the door after hearing a knock, it's Brian. TOM Brian, what the hell are you doing here? BRIAN Just thought I'd come over. TOM You've never come over before. BRIAN Thought it was about time that changed. TOM Alright, cool. Come on in then. BRIAN Ready to do some more celebratin'? CUT TO: INT. TOM'S APARTMENT-DEN-NIGHT Tom comes back from the kitchen with a case of beer and sets it on the table in the den, in front of the TV. BRIAN So how do you like living alone Tom? TOM Eh, it's alright. It gets a bit lonesome every once in a while, but it's not so bad. I stay busy, what, with work 'n all. BRIAN Sounds like someone I know. TOM Ha, please. You have your son to keep you company. BRIAN You know what I mean. TOM Oh, you mean with Sharon being gone? BRIAN If the direct approach to that question is the way you wanna go, alright. TOM Sorry. BRIAN Nah, don't be sorry for me. Be sorry for her. (beat) I just don't get it. How did I ever fail her? I provided, I loved her. I did everything. (beat) To make it worse, she got everything either one of us ever owned. I mean what happened with that? Was I not good enough to get any money either? TOM You got your son. BRIAN Yeah, I did. You're right. She got all the goods and all the money. But I got the one thing, the only thing, no matter how hard he'll probably try, I got the one thing that will always be mine. BEAT, as they sit silent, taking it in. BRIAN So what do you think? TOM About what? BRIAN You think I killed Rosa? TOM Jesus Brian, is that why you really came down here? BRIAN No, I came down here because I was out of beer. But I thought it would be good to ask. TOM Oh. BRIAN So? TOM Damn it, Brain. You know I don't know. BRIAN Come on, you're a Detective, figure it out. TOM You were gone. Giving that asleep and hungover story, the one we've both heard a guilty man say a million times over. BRIAN So you DO think I did it then? TOM You know I don't. But there isn't anything saying you didn't. BRIAN Alright fine. I'm gonna take your beer and get outta here. TOM Wait, no. BRIAN No, I came for beer, I got it. See ya round. Leaves. CUT TO: INT. JIM'S HOUSE-NIGHT JIM Who the Hell does that cop think he is? Spying on me, damn it, does he know who I am? He's getting into the SHOWER, the STEAM FILLING the room. He climbs in, shutting the door behind him, washing his hair, trying to RELAX. There seems to be a strange amount of BRUISING on his FOREARMS, but the steam DISTORTS it so much it's hard to tell what we're seeing at all. BRIAN(V.O.) You know, the scariest things happen when the out of the ordinary occur in the most ordinary of circumstances. After a few moments there seems to be a TALKING from another room. He doesn't hear it for a few seconds, but then it suddenly comes to him, SHUTTING off the water instantly to listen. He's QUIET, then CALLS out. JIM Hello? Who's there? And it gets LOUDER, it sounds like the TV. INT. LIVING ROOM-SAME Robe on, he looks around. JIM Hello? And now he finally sees the TV on. He walks up to it and shuts it off. JIM I didn't leave that on. Pan over to see the patio door OPEN again. He looks a little FRUSTRATED that it still opens, but he goes over to it without hesitation, SHUTS it and LOCKS it. Suddenly there is a CREAKING noise. GROANING as if someone had STEPPED where they weren't supposed to. His eyes suddenly FOCUS, the noise coming from BEHIND him, on the STAIRS. It CREAKS again, SOFTER. He very SLOWLY turns AROUND, looking to the stairway. NOTHING'S THERE. There is another CREAK, in an UPSTAIRS BEDROOM. A SHADOW suddenly PASSES somewhere up in the ROOM, the door open enough to see. Suddenly a GUST of WIND blows in from somewhere, HARD. It causes a door to OPEN, one nearby. He knows which one. Jim SPINS around to see the PATIO DOOR, CREAKING OPEN again. JIM What the fuck? He CLOSES it and LOCKS it, HARD, obviously FRIGHTENED. Another CREAK from UPSTAIRS. He looks back up towards it. Jim then SLOWLY goes over to the FOOT of the STAIRCASE, ready to venture up the first one, when the LIGHT in the upstairs room suddenly SHUTS off. Jim looks around, noticeably SHAKENED. JIM Hello?! SILENCE. The door CREAKS OPEN a few more inches UPSTAIRS. JIM Oh, that's it. He DARTS into the kitchen, GRABBING for the PHONE. He quickly dials three numbers, obviously 911. he puts it up to his ear, only STATIC. JIM Oh fuck no. He SLAMS it DOWN. Another GROAN of the stairs, as if BECKONING him. He decides to, and very slowly goes up the STEPS, taking his time, listening as the steps CREAK and GROAN in exactly the same way as before as he takes each step. He PUSHES OPEN the bedroom door with his HAND. The first thing he notices in the darkness is a small bit of SMOKE coming from a BLOWN OUT CANDLE on the nightstand just in front of him. The candle must have just been blown out moments ago because the smoke is RISING FURIOUSLY. Suddenly, back on the stairs, the CREAKS again, SLOW but PENETRATING to the ear in a RHYTHMIC sort of way. They seemingly COME AT HIM, drawing CLOSER and CLOSER each time to his back. Jim slowly TURNS his HEAD, his EYES turning as far as they could go first and then following with his HEAD. A final one JUST BEHIND HIM, it STOPS and WAITS. He SNAPS his HEAD around QUICKLY, TRYING to CATCH it. ONLY DARKNESS. He looks around, he sees that the CANDLE that was once BLOWN OUT only a second ago is actually still LIT. All of a sudden the sound of a DOOR OPENING DOWNSTAIRS. He RUSHES DOWN there again. He STOPS once downstairs. Pan to see the PATIO DOOR CREAKING OPEN. JIM Son of a bitch! DING. The sound of the TYPEWRITER returning to HOME POSITION not far off. His EYES SHOOT for it. There is a BLANK PAGE, except for TWO WORDS: I'M WATCHING. A SHADOWS RUNS across the PATIO, BRUSHING against the TREE LEAVES, causing them to STIR. Jim RUNS after it, OUTSIDE, trying to SEE what it was. But it's already long GONE. CUT TO: INT. BRIAN'S APARTMENT-DAY Brian takes a final sip of his beer and TOSSES it into the trash can. He LEANS over and grabs another one from the case and opens it. Out of nowhere, there is a KNOCK. Brian, with his beer, opens it. It's Tom. TOM It's happened again. CUT TO: INT. BRIAN'S APARTMENT-LIVING ROOM-SAME Both of them now are sitting down, at the coffee table in front of the TV. BRIAN You want some of, well, your beer? TOM Yeah, sure. Brian retrieves many a beer and brings them to the table. BRIAN So, another murder? It Jim? TOM No, it wasn't a murder at all. BRIAN What? That's weird, it falls out of the order. TOM Yeah, I know. He called it in last night, I couldn't get here until this morning, with you gone I have to do twice as much work. BRIAN Ah. So you're here because you need my help. TOM Yup. Basically, yeah. Just ... completely. BRIAN I see. TOM I got the file you wanted. Here. (tosses it down in front of him) There's nothing there though. The guy's a saint. BRIAN Everybody's done somethin. TOM Not him. No tickets, no arrests, no nothin. BRIAN No tickets? That's a little too easy to swallow. TOM What? BRIAN (mocking Jim) Oh, look at me. I'm Mr. Rich and Completely Perfect. (beat) The guy is richer than Ross Perot. Whatever he's done, it's been covered up. TOM And if not? BRIAN Then it's a good thing I'm leavin. TOM Alright alright alright. What are we missin? BRIAN (kidding) The killer. TOM Stop joking. We have to find this guy. BRIAN No, YOU have to find him. I'm suspended until the case is over, and my job is over once the case is over. I guess that means I'm done. TOM Come on, this is your last one. Are you just gonna lay down and die? BRIAN What can I do, Tom? What can I do now? If I go into the office to access anything even remotely useful they would arrest me. I have no gun, I have no authority over the public anymore. (beat) What about those samples? TOM Eh, it's no good. Judy says they're still not ready. BRIAN How are they not ready? It's been forever. TOM I don't know. I really don't. BRIAN What else is there? TOM You gotta go talk to him. BRIAN What are you talking about? You know I can't. TOM Are you kidding? Your suspension is far from being made public. He doesn't know you're on leave. Talk to him, find out every stinking thing you can about him and what's been going on. BRIAN (sigh) Gimme a couple of days, I'll go back. TOM Why? BRIAN First of all, I'm drunk as hell. As you can see, most of your beer has been drank, drunk, drank already. Is it drank? TOM Yeah. BRIAN Secondly, I need to lay low for a little while. In a few days those samples might clear me and I'll be reinstated. Until then, I don't want to do anything that might make my suspension, uh, permanent. TOM I see. Sounds like a plan. But in a couple of days I'll be back. And then you're going down there to talk to him. BRIAN Why don't YOU, I mean in the meantime. It'll save me a shitload of trouble. TOM Well, he's already been interrogated. If I do it again without probable cause my job is at stake. And since you were quitting and it already was at stake I thought I would ask you to do it. Plus, you're wayyy better at it than me. BRIAN You can only learn by doing. TOM I'll be back in a few days. Be sober. (goes for the door) Later. BRIAN Yeah, bye. He SHUTS the door behind him. Brian leans back again on the couch, DOWNING the beer. CUT TO: INT. TABITHA CITY POLICE DEPARTMENT-NIGHT Tom is busy SHUFFLING through a MILLION papers, LOSING his MIND. TOM Judy! Coming from BEHIND him, SCARING him. JUDY You rang? TOM Tell me, where in the Hell are those DNA reports? JUDY How many times I gotta tell you Tom, they're not ready. TOM You said a week, it's been two. JUDY So they miscounted, chill. You know the crime scenes were a mess, they were polluted. You're just gonna have to wait. She walks away, but Tom looks at her as she does, angry. INT. JIM'S HOUSE-NIGHT A knocking at the door, no, not knocking, POUNDING practically. Jim stumbles out of his room, RUBBING his EYES, obviously having been AWAKENED. JIM Oh, what could it possibly be now Detective?! He THROWS OPEN the DOOR, expecting Brian. But there is NO ONE THERE. He's STUNNED. Jim PEERS his HEAD out the door, checking to see if someone's HIDING. JIM Hello?! SILENCE. He comes back inside, trying to run it through his mind. Pan over, the PATIO DOOR is OPEN yet again. He RUSHES over and SLAMS it SHUT. JIM (calling out to seemingly no one) This is getting real fucking old! He starts to walk back into his bedroom, but something makes him stop. He turns. Pan over to see that BOTH DOORS of the patios double doors are OPEN. JIM What the fuck is going on?! There's no way! He starts to go over to shut it again, but STOPS. JIM Ah, forget it. He starts back to his BEDROOM. The door SLAMS shut. He jumps, incredibly FREAKED. JIM Stop it! SILENCE. He WAITS. BEAT. Waiting even LONGER. Suddenly the television SCREAMS with a new life just BEHIND him. He jumps again, spins as fast as he can, but by the time he can it turns itself down. It's a NEWS BROADCAST. ANCHOR LADY - - And in other news today millionaire and acclaimed writer Jim Benson was found dead in his home tonight... JIM (in disbelief) No, no, it's not real. This isn't happening. It's not! It's not real! It's not real! ANCHOR LADY - - He will be missed by all. It SHUTS OFF, BY ITSELF. JIM What ... What the Hell is going on here? Pan over to see the PATIO DOOR OPEN. JIM That is enough. He walks away, but we stay in the room. He heads for the garage door, in a few seconds he returns with a SLEDGE. In a fit of FURY he takes SWING with the SLEDGE and DESTROYS that accursed DOOR, once and for ALL. When it's done he TOSSES the HAMMER down, EXHAUSTED. JIM That is enough. CUT TO: EXT. JIM'S HOUSE-NIGHT The two police officers posted outside look WORRIED. LONG HAIRED GUY What the fuck's he doin in there? SHORT HAIRED GUY Remodeling? CUT TO: INT. JIM'S HOUSE-NIGHT Jim SLAMS the DOOR to his BEDROOM. CLICK CLICK CLICK He BURSTS OUT through the DOOR. JIM Oh, what now? The CLICKING CONTINUES, louder and LOUDER each time, seemingly ECHOING. He follows the noise over to the TYPEWRITER. He sees it now, the typewriter MOVING on its own, CLICKING away with a FURIOUS pace. Only the TWO WORDS, over and OVER AGAIN. I'M WATCHING Over and over and over, again and again. Continuously typing, NEVER CEASING, RHYTHMIC. With no one there to type a single letter. Jim, in another RAGE, picks up the TYPEWRITER and SLAMS it DOWN onto the FLOOR. It continues to CLICK AWAY. He STOMPS his FOOT down as hard as he can until it STOPS, until it's DEAD. JIM That's enough. Jim returns to the SANCTITY of his bedroom. CUT TO: EXT. JIM'S HOUSE-NIGHT Kelly walks up to the boys watching the house. LIEUTENANT KELLY That's it boys. Go home. LONG HAIRED GUY For what? LIEUTENANT KELLY It's the judge. He ain't lettin us do this anymore. He's still a suspect, of course, but we can't keep him trapped anymore, even in his own house. Head home. CUT TO: EXT. STREET-NIGHT Brian is WALKING ALONE, in the PITCH BLACK of NIGHT, his giant trench coat SWAYING with the WIND, and tightening it on close to his body on this COLD night. He looks at his watch and picks up the pace a little. BRIAN(V.O.) Ah, the night. It really is like a completely different world at this time of night. The air is different, the very smell is changed. Few experience to its fullest. Just to walk in it, to bathe in its darkness, is all I'll ever need. It's a place where almost no one walks, yet everyone wanders. Brian suddenly sees a DARK SHADOW of a WOMAN many feet ahead of him, just STARING back. He looks, SEES her, and his head TILTS in WONDER. BRIAN(V.O.) And the shadows... INSTANTLY she TURNS and is GONE into a DARK ALLEY. Brian gives CHASE, but once he is in the alley, he sees absolutely NOTHING. BRIAN(V.O.) ...well, the shadows like to dance. He is about to turn away he hears something, like a BIRD. He looks down, and finds a DOVE, white as SNOW, laying on the wet concrete floor, SICK. Brian, worried, bends down and SCOOPS it up in his hands. But suddenly the dove finds new LIFE and JUMPS to its FEET in his HANDS. It LOOKS at him for only a moment and SHOUTS out in its bird language, and takes FLIGHT just after. Brian can only watch as it soars away into the darkness, a SPEC of white in INFINITE DARKNESS. DISSOLVE TO: EXT. JIM'S HOUSE-NIGHT Brian is already POUNDING on the door. BRIAN Hello? There is no answer. He walks over to the nearby window, and, with his hands CUFFED around his eyes, he peers in, looking to see if someone's home. BRIAN Jim, it's Detective Norris again. I thought I'd ask you a few more questions. NOTHING. He BANGS his FIST on the DOOR, knocking even HARDER than before. The door CREAKS OPEN. BRIAN Oh, that can't be good. Hello?! (beat) Guess you're not home. Yay. He slowly PUSHES the door open, it CREAKS loudly though, despite his attempt at being SILENT. INT. JIM'S HOUSE-NIGHT Brian takes advantage of the lonesome situation and starts to search the house. He pulls open desk drawers, looking only a moment before he closes them. He comes quickly into the living room, and sees the busted up patio door. BRIAN What the hell happened here? He thinks for a second, it dawns on him that someone could have broken in here. BRIAN Oh shit. Jim?! Jim?! Brian RACES from room to room, quickly searching each one and racing to another, looking for Jim. BRIAN Jim, you here?! He stops, catches his breath. BRIAN Where'd you go you bastard, I thought you were on house arrest. He walks over to Jim's personal desk and opens the main drawer. He shifts around the debris a bit, just casually looking for anything abnormal. And then a picture POPS through, catching his eye. He stops immeaditely and picks up the picture. A BEAUTIFUL YOUNG WOMAN, BLONDE HAIR, GLOWING EYES. She seems slightly familiar. CUT TO: EXT. STREET-NIGHT The image of the SHADOWED WOMAN in the street, DARTING into that alley, JUMPS into his mind. CUT TO: INT. JIM'S HOUSE-NIGHT He's back from his flashback, the picture matches the shadowy frame from earlier that night, EXACTLY. A SILVER NECKLACE is HANGING from her NECK, a small silver DOVE hangs on the end of it. Brian puts it into his pocket. And then somewhere far off - - SMASH Instantly his attention is caught, he RUSHES towards the sound. BRIAN(V.O.) You know, the scariest things happen when the out of the ordinary occur in the most ordinary of circumstances. BRIAN Hello? (beat) Who's there? INT. BASEMENT-NIGHT The door CREAKS open, Brian is in the doorway. BRIAN Who's down there? I'm a cop. But there is only SILENCE and DARKNESS. He reaches for the light switch and FLICKS it on, NOTHING, NO POWER. He FLIPS several more times, trying to JAR it on, still, NOTHING. BRIAN Shit. He reaches behind his back, into his belt, and pulls out a regulation police FLASHLIGHT. He flicks it on, the BEAM of light PIERCING through the darkness, the direct light from the flashlight is the only thing that can be seen here. For some reason, there is almost no ILLUMINATION EFFECT caused by the LIGHT, only the area in FRONT OF THE BEAM is LIT up. He SPINS it around, SEARCHING the DARKNESS. The room itself is very OLD, and not well kept. Cobwebs are everywhere, around everything, even from wall to wall, in the path of Brian. No covers on anything, everything is filled with DUST. He searches more. Suddenly there is a faint sound of WHISPERS all AROUND him, he SPINS around, looking for it with the LIGHT. He finds NOTHING. But suddenly a SHADOW, incredibly small, PASSES in FRONT of his BEAM of light, SHOOTING from behind one box to BEHIND another. BRIAN Hello? It DARTS again. BRIAN Who's there? Out of nowhere, something LEAPS, POUNCING towards Brian. He shouts, something else SNARLS. The flashlight falls. There is a moment of calm as the flashlight SPINS around, SPILLING the light over everything, and finally SETTLES. When it's over Brian holds a CAT in his arms. He sighs out relief and THROWS the cat down, who SCURRIES out a tiny open window on the floor. BRIAN Son of a bitch cat. He picks up the flashlight, fiddles with the BROKEN pieces of the GLASS, and puts it away again. Now DARKNESS engulfs him again. He goes back for the stairwell, sort of FEELING AROUND with his hands. He grabs a hold of the staircase, but suddenly glass CRUNCHES UNDER his FEET. He looks down, and sees a TRAIL of it leading directly UNDER the STAIRCASE. He goes under it and finds a SHATTERED PORCELAIN LAMP, images of DOVES on each shattered piece. BRIAN What broke you? He kneels down on one knee to inspect it further. His knee doesn't contact SOLID concrete though. He TOUCHES it and REELS his knee back up, finding something slightly SOFT and SQUISHY underneath it. He looks at his knee, it's covered in something GRAY, a PARTIALLY DRIED substance. He feels the ground beneath him, the CONCRETE isn't DRY, like it's NEW, he SCOOPS a tiny piece of it into his two fingers. He bends down to get a closer look, but just then, light FILLS the room from above and someone coming down the stairs. Brian JUMPS OUT from beneath the staircase. BRIAN Who goes? It's Bob and Steve. BOB I'm Bob. He's Steve. Who the fuck are you? BRIAN I'm Detective Brian Norris, looking for Jim. STEVE What are you doing down here? BRIAN I heard something? Is he here? STEVE No, he's not, he's gone for a couple days, we're watching his house. BOB You got a warrant to search this place? BRIAN I wasn't searching. I was just looking for Jim and I heard... (beat) When's he coming back? STEVE Tomorrow night. BRIAN Alright, I'll just, uh, comeback then. BOB We'll tell him you came by. BRIAN Please do. See you boys later. BOB Yeah. STEVE Bye. CUT TO: EXT. STREET CORNER-DAY TOM I'm sorry I had to meet you this way. Lieutenant Kelly is starting to get suspicious that we're still being partners on this case. He sent someone to watch my place, covert of course, but I saw him, I know Kelly's ways. (beat) What is it that you wanted? BRIAN I went to his house again. TOM What? BRIAN I shouldn't have, I know. Don't fret he wasn't there. His friends were, but not him. TOM You think they'll tell him? BRIAN Even if they do Jim won't tell Kelly. He knows something and he probably wouldn't want to draw any extra attention to himself. TOM I see. BRIAN I found this though. (hands Tom the picture) I need you to run a check on her. Match the face if you have to, I don't know the name, you'll have to do some digging. TOM She a suspect? BRIAN She's someone, that's for sure. We checked on Jim til the cows came home. She's not a relative, wife, girlfriend. But she's been in contact with him, if we talk to her we may be able to find some kind of leak in his story. TOM Ah, so you think she might be involved then? BRIAN She's involved with him somehow, that's enough. TOM How do we know it's not just some picture that came in a frame or something. BRIAN Look it's all we got alright? Just find out who she is, and we'll go from there. TOM Yeah, I gotcha. Sounds good. I'll swing by tonight then. Tell you what I found. BRIAN Alright. Thanks again. I know you could get into a lot of trouble with Kelly for this. TOM Don't worry. If we solve this case he'll make us famous. BRIAN Yeah I guess. See ya. TOM Bye. CUT TO: INT. JIM'S HOUSE-NIGHT Jim has a pen and a note pad and a wad of paper, the beginnings to a manuscript, in his hands. He walks towards the back of his house and goes outside through what's left of his patio doors. EXT. BACK PORCH-NIGHT He PLOPS the pad and the pen down on the outside table and sits. He sits comfortably and READS for a few moments. The WIND CALMLY BRUSHING against the LEAVES outside, making them SHUFFLE. He picks up the pen and starts to write things down on the pad, SMILING at his QUICKNESS. Another small GUST of wind blows through, the trees BLOWING to one side more than last time. The small mound of paper on the table sways in the wind as well, the PAGES TURNING THEMSELVES in the wind. A nearby WIND CHIME also in affected, doing what its name implies, chiming in the wind. The wind starts to SLOW, the pages stop turning by themselves, as well as the leaves cease rustling, the trees stop swaying. But the chime, the chime KEEPS GOING. He is oblivious to everything around him, but quickly comes out of it as the only sound that can be heard is the sound of the wind chime, CLANGING in the wind. He looks down at his papers, as they stop moving in the wind altogether. And he looks to the leaves as they come to a complete stop. Then he looks up again at the wind chime, still SWINGING and CHIMING, WITHOUT the AID of the WIND. He watches it for several seconds, not knowing what to do next. Then the LIGHT nearby, INSIDE, begins to FLICKER. And then POPS out completely. In the same exact instant the wind chime STOPS, it doesn't slow down and stop, it just stops, INSTANTLY. He looks at it, HESITATING. INT. JIM'S HOUSE-NIGHT He walks back inside, looking up at the light. He pulls open the closet door and removes a fresh light bulb from a package on one of the upper shelves. He comes back to the light, reaching up to try and remove the burned out one. But it's too high, he can't reach it. He walks off. In a moment he returns with a CHAIR, and places it directly under the light. He steps onto it, BALANCING just barely on ONE LEG to try and reach the light. He manages to get the burned out light removes quite easily, and tosses it onto the couch without stepping down. Now he puts the new bulb in his hand and starts to balance again. But the chair will have none of it, it TILTS back suddenly, just managing to stay on its two back legs. Jim falters but managers to stay on it, and completes the task of putting in the new bulb. As he steps down the light FLICKERS, and POPS out. FRUSTRATED, he puts the chair back from whence it came. EXT. BACK PORCH-NIGHT He heads back for his papers outside on the patio, but STOPS dead in his tracks just as he exits the doorway and looks up. For on the tops of the nearby fences, along with any tree limbs suitable, and a single, long, electrical cable running high, there sits a MYRIAD of DOVES. Countless numbers of them, perched, sitting, WAITING. Jim slowly backs away, back into the house. INT. JIM'S HOUSE-NIGHT He reaches behind him, not taking his eyes off the doves, for the door. Then it crunches under his feet and he comes back to his senses, he already destroyed the door. JIM Ummmm... Just as he speaks they all LEAP into the air in EXACT UNISON. Seemingly a million of these white creatures SOARING in the DARKNESS, going back and forth, to and fro, zig-zagging from one end of his yard to the other, all in a blur. Jim can only shield his face, backing up further, afraid they will come for him. But soon their numbers begin to dissipate, they dwindle away as they soar on into the sky, leaving Jim and his home in peace. FADE TO: INT. TABITHA CITY POLICE DEPARTMENT-NIGHT TOM Hey Judy. JUDY Hmmmmmyessss? TOM I need you to find out who this woman is. And then when you're done with that get me her full file. I'm talking everything, ex-boyfriends, her dog's names, everything. JUDY (uneasy) Uhh, yeah, sure I can, I can do that. TOM Everything alright? JUDY Yeah, I just been doin alot these days. I'm a little stressed. But I'll uh get right on it. Exit Judy. LIEUTENANT KELLY Tom! TOM (under his breath) Ohhh shit. (calling out) Yeah boss? LIEUTENANT KELLY Where'd you go this morning? TOM For a walk, uhh what's going on? LIEUTENANT KELLY Don't play games with me. TOM I don't have any idea what you're talking about. LIEUTENANT KELLY If you're in contact with Brian in any way, any way, you tell me right now or I'll fire both your asses. TOM No, really, you lost me on this one. LIEUTENANT KELLY Damn it Tom, you listen here - - TOM Wait, before you say anything. He's on to something, me and him both can feel it, we're getting close. LIEUTENANT KELLY He's a good cop. I know that with enough time he can crack any case. And yeah he's probably very motivated since this is his last case, but he's suspended. TOM We both know he's the best cop here. LIEUTENANT KELLY He's suspended for a reason. He is a suspect in a murder case Tom. TOM But we both know - - LIEUTENANT KELLY What if he is the killer? Huh, did you think about that? He could be leading you down this road to catch you off guard so he can do you next. TOM Oh come on - - LIEUTENANT KELLY Just watch your back. And stay the hell away from him before I fire YOU. TOM Yeah sure. CUT TO: INT. BRIAN'S APARTMENT-NIGHT Door opens. TOM He knows. BRIAN I know. He called me earlier. TOM Why? BRIAN He says he doesn't give a damn anymore as long as the case gets solved. He's tired of jumping through hoops for this, the never-ending, case. TOM I guess it makes sense. BRIAN The Lieutenant's not really a make sense kinda guy. Don't beat yourself up about it, he'll die before you get to know him very much better. TOM Cool. (sits down) Alright, so I got the stuff. BRIAN (sits down) Great. Shoot it. TOM Her name is Jones, Tiffany Jones. She's blonde and beautiful, and her family moved here a few years ago. She lives not too far from here and she is currently unemployed. BRIAN That it? TOM Well, I was kinda hoping for a little gratitude here. BRIAN Only with actually useful information does the gratitude begin. TOM Ah, so YOU'RE Detective Asshole now? BRIAN Fine fine. What else? TOM There is something interesting though. BRIAN Yeah? TOM Her bank account sky rocketed about a month ago. 50 G's. BRIAN Wow. Raise? Bonus? Lottery? TOM Doesn't say. BRIAN Ok ok. How'd she know our man? TOM Doesn't say. BRIAN Where is she now? TOM Doesn't say. BRIAN Typical police research. TOM You wanna go see her? BRIAN House? TOM Uh huh. BRIAN Let's roll. CUT TO: EXT. TIFFANY'S HOME-NIGHT Bang bang bang, a pounding on the door. TOM She not home? BRIAN Looks like. Hey, we got a warrant? TOM In my pocket. BRIAN Get the drill. TOM Wouldn't it be quicker just to kick it? BRIAN Well, I wanna be quiet. She may be hiding and we could catch her. TOM Ah, drill it is. INT. TIFFANY'S HOME-NIGHT The sound of the electric drill as it cuts through the lock. Brian kicks open the door after the lock is disabled. TOM Careful, you'll break a hip. BRIAN Fuck. You. (beat) Seriously, I think I might have though. (groan) TOM It's a good thing you're quitting old man. as they crack jokes at each other they are already searching. Brian goes through a desk, with a computer sitting in front of it. TOM Hello?! Miss Jones?! It's the police, we just wanna ask you some questions! BRIAN Give it a rest, she ain't here. TOM How do you know that? BRIAN Don't you think a young woman living by her lonesome would get a little scared and scream when someone kicks in her door? TOM Good point. BRIAN What have we got here? Brian picks up a few small slips of paper. TOM An old person sickness? BRIAN That was really awful. You're running out of jokes aren't ya? TOM I've known you for too damn long, Bri. BRIAN Plane tickets. Paris no lees. TOM You think that's why she's gone? BRIAN Well no, considering she might need these to get on the plane. TOM Vacation then. BRIAN Don't be so sure. They're one way. TOM She wasn't coming back. BRIAN So we got a girl who's bank account just peaked for no reason and plane tickets to Paris. TOM She move to Paris? BRIAN Considering we're standing in her house, I think that's a no. It's not a coincidence, so quit trying to find one. TOM Good advice. Brian starts to leave. TOM Where you goin? BRIAN I am going home. I need to rest, and seriously, I think I pulled a muscle. TOM Yeah, I guess I'll head home too. CUT TO: INT. 24-HOUR SUPERMARKET-NIGHT Jim comes in through the double doors, parting to the side on their own, looking tired and pale. The clerk at the register waves to him. CLERK Hello there. He waves back, only doing so to be polite. Cut to Jim traveling down the aisles with a shopping cart, the aisles very dark as the lighting is poor. He plucks a pound of salt from one shelf. And then from another a string of garlic. And then matches from another. Along with candles from the same. As he pushes the cart down the aisle. Still searching for anything else, a SHADOW of a WOMAN passes from one aisle to the next, far behind him. As she passed she looked towards him, her giant dark hat turning in the darkness. She is only there for a moment, and then she is gone. It is a giant super-supermarket, and there are many different stores that are accessible in the same space. Jim has found his way into the books. He plucks "GHOSTS, WITCHES, AND DEMONS. MATTERS OF THE OCCULT." And still he searches for more. He also plucks a copy of THE EXORCIST. And several different issues of THE NATIONAL ENQUIRER, among others. The shadow of the woman in the giant hat peeks her head past one of the aisles, again, far behind Jim. He senses her, SPINNING his head, but she DISAPPEARS behind the shelf again just as he does. Jim not sure if he saw anything or not. Cut to Jim at checkout, putting up the garlic and the salt, and the magazines. The FEMALE CLERK looks a bit puzzled and intrigued in the same moment. FEMALE CLERK What's all this for? JIM Weird tastes I guess. FEMALE CLERK (sigh) Why do you people lie so? JIM Excuse me? FEMALE CLERK Garlic is for vampires. Salt is for witches. And candles cost less than electricity. Which one do you have? JIM I'm sorry, I don't understand. FEMALE CLERK Spare me ok? Is it a vamp? People always think salt is the way, garlic works better. But you need a cross and holy water to really get the job done. JIM No no. It's a, it's a ... ghost. I think. FEMALE CLERK Ahhhh. This isn't gonna do much. The books might help, but I think you better do some more research first. JIM How do you know so much about this? FEMALE CLERK Ok, but don't tell any of the other clerks. (leaning in, softly) Wicka groups. JIM Witch? FEMALE CLERK We don't like to be called that. But ok, sure. JIM What do you recommend then? FEMALE CLERK I find that you have to speak with the ghost in question. JIM Believe me, the last thing I wanna do is talk to it. How do I get it out? FEMALE CLERK You're gonna have to talk with it, that's it. It wants something from you. Unless you give it to it, it will never go away. JIM Well, rest assured I will not be talking to it. FEMALE CLERK Have fun then. (finishes ringing up) Just as she hands him the bag filled with his things the dark shadow of the woman in the hat LOOMS over him. Frightened, Jim's eyes widen. A dark hand slowly reaches out, getting closer to his shoulder with each slow second. It grabs him on the shoulder. He spins around - - - - To find an elderly woman in a dark black outfit and a menacingly large hat standing just behind him. ELDERLY WOMAN Is everything alright son? JIM Y-y, yes, everything is, fine. ELDERLY WOMAN Well good. Then if you don't mind. He sees her hand beckon for him to get out of her way. He hastily does so. JIM Oh yes, of course. I'm sorry. He turns and begins to walk away, as the clerk calls out again. FEMALE CLERK Yeah, have fun. He runs out the door as fast as his legs will carry him. DISSOLVE TO: INT. DARK STAIRWELL-NIGHT Big black COMBAT BOOTS instantly are POUNDING up the STAIRS, RUNNING as FAST and as PRECISELY as they can. It's a team of SWAT with SHOTGUNS, lights attached to the ends to pierce the darkness, TRAMPLING up the stairs towards something. They keep RUNNING, Kelly comes up from behind, BARKING orders. LIEUTENANT KELLY Go! Go! Everything is incredibly CONFUSING. We have no idea where we are, who these men are, until -- EXT. TOM'S APARTMENT-NIGHT The lead SWAT kicks in the door. INT. TOM'S APARTMENT-NIGHT SWAT POV Immeaditely upon entering the first thing we lay eyes upon is the KITCHEN. But what's in there is more important. Brian, holding a SYRINGE in his hand, is GRASPING TOM ASMOLE'S LIMP, SHELL OF A BODY IN HIS ARMS. BACK SWAT GUY Freeze right there! Don't you make one move! Brian looks up, as if awakening from some DREAM, SCREAMING for HELP. BRIAN Please, somebody help him! The SYRINGE falls to the FLOOR, the SWAT see it really for the first time. SWAT GUY Get up right now and put your hands behind your head! BRIAN No! No, you don't understand! I didn't - - ! SWAT GUY Get up! Right now! He sets down his partner's shell of a being slowly down to the floor and stands up. Another officer comes up from behind with a set of HANDCUFFS. Brian slowly puts his hands BEHIND his BACK, but just as the officer is about to apply the handcuffs Brian SPINS around, catching him square in the JAW with a RIGHT HOOK. He FLIES back, COLLIDING with a few other SWAT officers and sending THEM to the GROUND as well. As they try to recover Brian has already taken off RUNNING, heading for the WINDOW. He doesn't hesitate and JUMPS right THROUGH it. EXT. FIRE ESCAPE-NIGHT His stomach SLAMS into the METAL RAILS, just saving him from sailing the numerous stories below to the ground. INT. TOM'S APARTMENT-NIGHT The officer gets up, his shotgun ready. More officers follow very close behind. EXT. FIRE ESCAPE-NIGHT Brian is practically JUMPING down the sets of STAIRS on the fire escape. Several SWAT jump through the window as well and start to FIRE on him immeaditely. Bullets WHIZ by Brian's head and SPARK with a loud CLANG as they HIT the METAL railings just INCHES from him. He gets to the last ladder and grabs hold of the side and SLIDES down as fast as he can. He hits the ground and starts RUNNING as even more BULLETS FLY by him. LIEUTENANT KELLY (into his radio) Attention all units: We now have an APB out on Detective Brian Norris. He is wanted for the murders of Rosa Henderson, and now Detective Tom Asmole. If necessary shoot to kill, I repeat, shoot to kill. SWAT GUY Go after him! Now! SWAT members pour out the door. CUT TO: EXT. STREETS-NIGHT Brian is still running as another SWAT runs up behind him. SWAT GUY 2 Stop! I'm gonna shoot! But Brian keeps running. He raises his gun and starts to fire, the bullets BOUNCING off brick walls nearby. Brian DUCKS behind a corner and pulls a GUN. Not the precinct gun, a different one, a new one, and starts to fire on the SWAT. A bullet hits his chest, but his vest protects him. He's stunned but quickly runs forward again. Another bullet is fired by Brian, RIPPING through the SWAT's thigh, sending him to the ground in agony. EXT. BACK ALLEY-NIGHT Brian takes a bad turn into an alley. He knows he's trapped until he sees a flood drain nearby. He dives head first into it, hiding him somewhere in the sewers. BRIAN'S POV Looking through the small opening of the flood drain. Several more SWAT run up into this alley. But they quickly find nothing and run back out. Kelly comes there as well. LIEUTENANT KELLY Find him! BACK Brian closes his eyes, and ducks down further in the drain. FADE TO: EXT. STREETS-NIGHT Brian can only wander now, he has no place to go. He tucks his hood around his head tightly, wraps his coat just as tight, trying not to be seen. BRIAN(V.O.) I was all alone now. I couldn't go home, they'd already be there for sure. The question now was, what to do? EXT. DARK ALLEYWAY-NIGHT He comes across a very DEEP, very DARK alley, littered with homeless people cowering around barrels with fires in them. He takes a seat and covers himself up as best as he can. It starts to RAIN, and he can only find TRASH to cover himself up more. BRIAN(V.O.) I couldn't lay low forever. If I could finish the case it might clear me. But I need my files. And some help. CUT TO: INT. TABITHA CITY POLICE DEPARTMENT-NIGHT JUDY You really think he did it? LIEUTENANT KELLY He was suspended because he was a prime suspect. We find him with the weapon in his hand and Tom's body across his lap. What would you think? JUDY You didn't really answer me. LIEUTENANT KELLY It makes sense. With his history, I mean. He's killed his own partner before. We thought it was an accident, yeah, but now I don't know. JUDY What are you gonna do? LIEUTENANT KELLY Catch him. He'll go back to his place for sure, that's where we'll be. But listen, I want you to inform the other staff. This doesn't leave this station. We have to keep this under wraps, at least until we know for sure. JUDY I thought you said you did. LIEUTENANT KELLY I'm not leaving anything to chance. Do it, now. JUDY Will do. CUT TO: EXT. PAYPHONE-MORNING Brian finishes dialing and puts the receiver to his ear. CUT TO: INT. BRIAN'S APARTMENT-DAY The phone RINGS. A swarm of cops suddenly come to attention, flicking on TRACERS and TRANSMITTERS. They all pick up the phone. The same time as Nick does. NICK Hello? BRIAN(V.O.) Nicky, it's me. NICK Dad?! What's going on? The cops have been haggling me all day. BRIAN(V.O.) Yeah, I know. How's it goin guys, Lieutenant? NICK Yeah, you got us. BRIAN(V.O.) Nicky, all of you, I just want you to know I didn't do what they're saying. EXT. PAYPHONE-MORNING NICK(V.O.) I know Dad. But they still want you to burn. BRIAN I know. I'm gonna find the real killer, then you'll have to believe me. INT. BRIAN'S APARTMENT-DAY LIEUTENANT KELLY Damn it, Brian. Just turn yourself in now and we'll sort this out. You're not even on the job anymore, and you're in enough trouble as it is. BRIAN(V.O.) I can't do that. I have to go. Click. VASQUEZ Damn, it. He cut it too quick. LIEUTENANT KELLY You get it? VASQUEZ It's a payphone. 20 blocks, at least. But I don't have an exact. LIEUTENANT KELLY It's all we have, let's go. EXT. STREET-AFTERNOON Brian is walking across the street, heading for the library. INT. LIBRARY-AFTERNOON He sits now in front of a computer linked to the net, on a news site, looking over his shoulder often. He scrolls through, the pages flying across from left to right. He comes across the OBITUARY of Rosa. BRIAN(V.O.) (reading) "Rosa Henderson, killed in her home last evening after incidents of stalkings." He flips further back. He stops, without thinking. BRIAN(V.O.) (reading) "Tiffany Jones Henderson was finally cleared of all charges today as her alibi was confirmed." (beat) Wait, Henderson? He sees a picture of her, Tiffany, the exact one he stole from Jim's. He searches through more. BRIAN(V.O.) (reading) "Tiffany Henderson was disowned from the family fortune after a relationship wasn't agreed upon by her mother." (beat) Oh shit, that's it. CUT TO: INT. JIM'S HOUSE-NIGHT BRIAN I think I've found your stalker. JIM What? BRIAN Tiffany Jones. (holds up the picture) Recognize her? JIM (taken back) Yeah, I do. BRIAN You should. You had an affair behind her mother's back. (beat) Tell me, why did you lie to me? JIM What? I never lied. I didn't even know she was involved somehow. BRIAN Not her. About Rosa, Rosa Henderson. See, I asked you if you knew her and you said no. Even though she was your neighbor for five years while you were in New York and the mother of your girlfriend. JIM I guess it slipped my mind. BRIAN Five years is a long time. You don't forget something like that. But, no matter. You're not to blame here. JIM Tiffany? BRIAN Yup. See, the murders she committed did actually follow a pattern, but no one caught it because Tiffany changed her name not to be attached to her mother anymore. JIM Go on. BRIAN The murders went like this. It was all people from the apartment. The landlord, neighbors, and acquaintances of Rosa's. I think she was looking for Rosa. After Rosa disowned her from the now empty family fortune she moved here to get away. She was so angry about her disownment and the dislike of you from Rosa she killed to track her down. And when she finally found her, well, we all know what happened then. JIM What about me, why was she stalking me? BRIAN Have you been with her since her disownment of the fortune. JIM No, I thought I left her in New York. I haven't seen her in years. BRIAN Well, maybe she got bored. She could have wanted to finish off all lines that knew Rosa in some way. She could also have been angry that you dumped her when her money was gone. That would probably be the best bet. JIM Where is she? Have you caught her? BRIAN It seems she's gone missing. She's probably on the lamb. She stopped coming after you and took off when she saw how close we were getting. JIM This is all very ... strange. Would you like some coffee? BRIAN Love some. Uh black, I haven't slept in days. I need to wake up. JIM Sure thing. Jim leaves for the kitchen, Brian with a smile casually stifles through some papers on the desk. And notices a small silver necklace laying on the table. He picks it up, looks at it. A DOVE rests on the end of the long chain. Brian turns it over and reads the back inscription. " Tiffy, So you can fly away from it all whenever you want. ~ J.B. " BRIAN J.B.? Jim Benson? An image of the dove laying dead in the alley and then resurrecting itself FLASHES through his mind's eye. Another image FLASHES, just as fast. The image of the picture that he took from Jim's house, the one he just saw on the net. It focuses on her neck, and the pendant on the end of the chain. The DOVE. BRIAN Wait... What the fuck? Suddenly, a face RISES out from the DARKNESS just behind Brian. All we see is the face, everything else is in SHADOWS. It's JIM. He ROLLS his arm back and Brian is STRUCK in the BACK of the HEAD with a SHOVEL. A loud CLANG ECHOES through out the house and he FALLS LIMPLY to the FLOOR. JIM You had to come back, didn't you, you little shit! Now look at you, look at you. Brian, on the floor, struggles to stay CONSCIOUS. JIM You couldn't just stay down. After the suspension, after the murders. No, you had to be the cop who saves the entire fucking day. Just for the record though, you didn't do it very quickly. No, Tom got to me a loooong time ago. You remember where he's at now, don't ya? Probably in some hole by now. Jim GRABS Brian's FEET and starts to DRAG him towards the DOOR. JIM Who do you think called the cops on you at Tom's place anyway huh? The neighbors? It was easy. Plant a few of your prints on the scene. BAM, you're fired. Kill your partner, tell you to come over right away, BAM, you take the fall. With your past, they were so ready to believe the worst. Easy. New emotions that we haven't seen from Jim SPLATTER across his face now. ARROGANCE and HATRED. A COCKY SMILE. Jim struggles to hold onto his feet as he opens the front door. JIM As much evidence they had on me it was all erasable. Just a little middle man intervention was all it took, really. That bitch Judy has been with us from the very start. She's an old friend. How do you think we got through all those earlier murders without a single shred of evidence pinned against us? Everything went through her first, she just had to hold it a while, maybe do some tampering. I bet all that hair of mine and Tiffany's is still sitting in her desk drawer. Jim struggles to DRAG him through the door's opening, but he stops, TIRED, and waits to CATCH his BREATH. Brian still looks very DAZED, his eyes ROLLING BACK. JIM My career had turned to shit. Nothing I could write anymore could have saved me. I was screwed. So I called up my dear sweet Tiffany. At first it was about the money, if we could destroy the only holder of the fortune the money would have all been hers, hers and mine, but that bitch Rosa wasted it all away in weeks, before we could get to her. So I came up with a new plan, with the publicity that Rosa's murders had it struck me like a ton of bricks. I told her to stalk me. The cops, the media, everyone would have bought into it like fish to a bait. I was going to write a book about it all, as if it were non-fiction. With the publicity the sales would have been record setting and I would have been rich again. He's caught his breath by now, and picks up Brian's legs again and drags him across the front porch steps, his HEAD BOUNCING off every step. JIM But she got greedy, started asking for more than we bargained on. Started to talk about "us" again. He drags Brian's body to his truck and lets it fall LIMP as he retrieves two giant boards and places them from the bed of his truck to the ground like a RAMP. JIM She threatened to go to the cops, she would have told them everything. We both would have been sent to jail for the rest of our lives. My career would be over for good, no one would want to read anything from a criminal. So you see, I had to do it, I had to kill her, and then Rosa and Tom, for my career. He pushes him up the ramp way into the truck and slams the bed door. JIM Oh, starting to come to, are we? Well, we can't have that. He rolls back again with the shovel and slams it onto his head, knocking him out. BRIAN'S POV We appear to be in a bag now, Jim pops into frame, zipping the bag closed right in front of our eyes. BACK INT. TRUCK CABIN-NIGHT Jim is now DRIVING, Brian still in the back. JIM There's no more room left in my basement for you. Tiffany's body took up a lot of space and I didn't want to risk anyone finding you. You almost found her, Bob and Steve told me about it, you almost found her, buried beneath that concrete. Another FLASH of memory, the wet concrete in the basement of Jim's house. Jim looks in the rear view mirror and sees Brian, in the bag, struggling to get free. JIM Oh, come on, quit fighting. You'll run out of air. After a few minutes of driving he looks back there again, this time though, the giant flap of the bag FLIPS in the WIND, completely OPEN. JIM Shit! He spins around in his seat to get a personal view of the empty bag, checking it for certain. He turns back to the road, towards the FOG. But there is SOMETHING in the fog, something GROWS, the fog coming TOGETHER like it's ALIVE. The mass forms a SHAPE, a SILHOUETTE of a WOMAN. The features FOCUS. It's TIFFANY. Jim sees the thing in the road and VEERS his truck to the right, sending it off the rail. The truck SAILS over a steep hill, finally CRASHING onto its NOSE. After a few tense moments, the truck settles, the air settles, everything is CALM. BRIAN(V.O.) I think this is about where we came in. We hear RUSTLING. Brian, slowly, walks out of the brush, his arm DANGLING at his side, LIMPING severely. His gaze focuses on the gas tank, now completely RUPTURED, and having already spilled out most of its contents. Jim SCREAMS and STRUGGLES inside, trying to get out of the car that rests on its hood, trapped by the weight of the car on his back. Brian slowly reaches deep into his pocket and pulls out a gold ZIPPO lighter. Jim SCREAMS at the sight of it. Brian flicks it on and TOSSES it next to the truck. In a moment the trail of gas catches the lighter and a flame RUNS back up the length of its trail, back towards the truck. Jim can only SCREAM, struggling to get free, but he CAN'T. A huge EXPLOSION occurs once the gas has trailed back to the tank. Flames shoot several feet into the air. Masked by the flames we can see Tiffany again, as the fires rises and ash is sent into the air her figure FLOATS higher and higher, towards the HEAVENS. Brian turns and walks away. DISSOLVE TO: EXT. FOREST-DAY Police tape now encircles the charred wreckage of the truck as the fire crew still struggle with their fire extinguishers to puts out any last remnants of fire. Jim's figure is now only in ASH. Brian is now being interrogated by Lieutenant Kelly, his arm and leg BANDAGED. LIEUTENANT KELLY He was right. I was ready to believe the worst. BRIAN It doesn't matter anymore. I'm done for good. LIEUTENANT KELLY You sure you don't want to try your hand at a few more cases. I was wrong when I took you off of high priority and I have a few that no one can solve. BRIAN No way. No way at all. I'm just going to go home and be with my son. Brian walks away, Kelly watching him go. FADE OUT THE END
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