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-------------------------






















                    Within Darkness

                           by

                      Adam Johnson

























                                       3336 Spruce lane
                                       Grapevine, TX 76051
WGA Registration #                     (214) 460-1526
1024634                                AdamtheJohnson@hotmail.com




FADE IN:

EXT. NEW YORK CITY SKYLINE - NIGHT - RAIN

This once beautiful city has now gone to seed. Dark corners,
drastic angles, monstrous shadows everywhere. Huge,
deteriorating architecture line the tops of every building.
An enormous moon shines bright overhead, but no area is safe
from all the creeping shadows, not one inch isn't covered in
darkness.

EXT. DOWNTOWN STREET - NIGHT

The streets are nearly empty with the late hour.

A dark family-sized sedan speeds down a dark street wet with
fresh rain. The headlights and streetlamps bounce off the
slick concrete.

INT. SEDAN - DOWNTOWN - NIGHT

THE GRIFFIN FAMILY, Mom (34) and Dad (37) sit anxious in the
car as it barrels down the slick streets, along with their
daughter (6), who lies asleep in the back seat.

                         DAD
            No, I'm telling you, we're not lost.

                         MOM
            Really? Because these buildings
            sure look familiar.

                         DAD
            I'm taking a shortcut.

                         MOM
            Are we on Seventh?

                         DAD
            Seventh?

                         MOM
            We're supposed to be on Seventh.

                         DAD
            No, we're supposed--

                         MOM
            --Honey--

                         DAD
            --What?!

                                                            2.


                         MOM
            Red light.

He looks forward and slams on his brakes, skidding to a
hasty stop on the slick streets. Their daughter stirs behind
them, swaying from the stop.

He accelerates again, but slower than before.

                         MOM
            Let's just ask this guy for
            directions. Please.

                         DAD
            Honey, are you--

                         MOM
            --I'm tired--

                         DAD
            --crazy? You can't just stop in this--

                         MOM
            --Why can't I?--

                         DAD
            --part of town. Because you can't.

                         MOM
            Just stop!

He slams on his brakes again, close to where a DIRTY HOBO
sits. The man quickly stands as the car stops.

                         DAD
                   (to Mom)
            Lock your door.

EXT. ROOFTOP - NIGHT

Shadows everywhere.

Down below, a dark sedan stops next to a glaring-eyed hobo.

One of the shadows moves.

EXT. DOWNTOWN STREET - NIGHT

                         DAD
            Excuse me?

                         HOBO
            Yessir?

                                                            3.


                         MOM
                   (to Dad)
            Ask him where seventh is.

                         DAD
                   (to Mom)
            What? Sev-
                   (to Hobo)
            Can you tell us which way Seventh is?

                         HOBO
            Surely. You just go all the way
            down this street until it ends, k?

The hobo starts to advance innocently as he speaks,
gesturing down the road with his out-stretched hand.

                         DAD
            Oh, just, uh, just... stay right there.

                         HOBO
            Then, you just turn right and-

                         DAD
            -Could you please just stay-

                         HOBO
            -then you gimme the keys and your
            wallet.

In an instant a gun reaches through the window and pins
against the father's head.

                         HOBO
            The misses' too.

                         MOM
            Honey...

She looks anxiously over the seat to her daughter, still
sound asleep.

                         DAD
            N-Now listen, just don't-

                         HOBO
            -Hand it over.

He pulls back the hammer of the gun.

                         HOBO
            Now.

                                                            4.


                         DAD
            J-J-Just don't do anythin-

INT. SEDAN - NIGHT

He floors it. The car jolts forward. The hobo is caught, his
arm still inside the window. For a moment, he is dragged as
the car speeds forward.

Then the gun goes off.

A brilliant flash of red splashes across the windshield, and
the mother's gaping face. The little girl jumps out of her
sleep.

THE HOBO

loses his grip and smacks the concrete with a wet thud. He
gathers his wits and watches as the sedan continues to speed
down the wet road.

IN THE CAR

the father's head slumps back, a piece of it falls off. The
little girl, already in her mother's arms, squeezes tighter.

Without a driver the car quickly loses control and fishtails
on the slick pavement. It broadsides a streetlamp, denting
the passenger side door and wedging it shut.

EXT. STREET - NIGHT

The hobo gets to his feet as fast as he can. He takes off in
the opposite direction.

By the time he's gone the street is already soaked with the
contents of the gas tank.

The cold, wet night erupts with light and, in moments, the
rear half of the car is quickly engulfed in flames.

INT. BURNING SEDAN - NIGHT

The fire quickly crawls its way towards the mother and her
daughter, as they clutch each other tightly. The mother
struggles to open the door but it's stuck.

The flames lick at their flesh. Suddenly, the loud groaning
of metal drowns out the noise of the flames, as the door
outside is twisted and stretched. With one final sound of
solid steel being mangled beyond capacity the door they
cower against suddenly flies open, ripped off its hinges.

                                                            5.


The only thing visible amidst all the smoke is the FLAME-
LACED SILHOUETTE of a large hooded figure. His face is
covered in shadow, impossible to make out.

Two gloved hands reach inside the car.

EXT. DOWNTOWN STREET - NIGHT

The shadowed figure pulls them both from the car and drags
them onto the street, safe from the flames.

The mother collapses onto the pavement. The figure sets the
child down carefully in her arms. They look up at him, as he
stands powerfully over them.

Flames shimmer off the wet edges of his black leather
trenchcoat, one that flows nearly to the ground. And, even
with all the firelight, most of his face is hidden under a
veil of shadow cast from the hood of the coat. They can't
see his eyes, but he's looking at them.

A crowd quickly forms. A woman nearby screams. The remnants
of the Griffin family look out at the crowd for an instant,
as the growing mass of people stand in disbelief at the
destruction. When the Griffins turn back to the CLOAKED
FIGURE, he is gone.

As the crowd continues to gather quickly, the mother and her
daughter can only clutch each other on the wet street. Their
ashen faces watch as their dead father and husband is
engulfed in flames.

EXT. ABANDONED CATHEDRAL - NIGHT

A darkly ornate Gothic anomaly; an old City Cathedral, once
grand, long since boarded up.

Powerful boots crunch on gravel far down below, getting closer.

INT. ABANDONED CATHEDRAL, BACK ROOM (BEDROOM) - NIGHT

The figure in black stands shrouded in darkness. There are
no lights. There is no sound. He peels the coat off his
soaking wet body, leaving only a black tanktop.

He tosses it carelessly on the table.

INT. ABANDONED CATHEDRAL, LIVING AREA - NIGHT

The living area has a torn up couch in the center. The room
doubles as a workshop, which is on the opposite end. The
figure enters from the dark bedroom, into the light-filled
living area. At last he leaves the darkness. His PORT
AUTHORITY POLICE hat still struggles to hide his face in shadow.

                                                            6.


The man is 44 years old, years that have taken their toll.
Though his face is lined with wrinkles and what little hair
he has left has long since begun to gray, it's apparent that
his years have brought wisdom, strength, and a figure carved
of stone. His shoulders are broad; his arms, enormous. The
grooves of his muscles go deep, proving his years as a gym-
junkie. Every muscle bulges with strength, not toned to
perfection - a body built on power.

His eyes are sad.

He plops his weary body on the couch. He unbuttons the top
button on his pants and lifts a beer to his lips.

He is DYLAN DANDRIDGE.

EXT. DOWNTOWN STREET, CRIME SCENE - NIGHT

The same dark street buzzes with police cars, ambulances,
officers.

In the distance the charred remains of the sedan are still
wrapped around the pole. The fire truck stays close, ready
to put out anything that flickers.

DETECTIVE JOHN MURDOCK, 30's, tough-looking like a 1940's
cop, walks the line, examining the busy scene.

Mrs. Griffin sits in the back of the open ambulance.

                         MRS. GRIFFIN
            --no, I'm telling you, he tore the
            door off. Please, can I just see my
            husband?!

John walks right past her sobbing face.

OFFICER TOM McKEE, a uniform, runs up to John.

                         MCKEE
            Detective Murdock!

McKee catches up to Murdock.

                         MCKEE
            Chief Husselbeck is going to call a
            news conference in the morning. He
            wants you to speak.

He stops, looks over the scene.

                         MCKEE
            What happened here, John?

                                                            7.


                         JOHN
            Detective.

John walks up to the charred wreckage. The coroner wheels
off a black body bag, a full body bag.

John squats down in front of the burnt automobile, getting a
closer look.

                         JOHN
            What'd she say she saw?

                         MCKEE
            A man in a cloak saved them.
                   (beat)
            Didn't save the husband though.

                         JOHN
            Can't save 'em all, McKee.

The door of the sedan is the only thing left relatively un-
burnt. It lies several feet from the mangled piece of black
steel that was once the Griffin family car.

The hinges have been ripped off. There are two hand-sized
dents in the top and bottom of the door.

INT. DINER - NIGHT

STEPHEN JOHNSON, early 20's, sits with a group of his
buddies in a booth near the window. He is oblivious to their
conversation.

BILLY, heads the conversation, Stephen's other friend, JIM,
listens intently.

                         BILLY
                   (excited whisper)
            So, there they were, with no
            clothes on!

                         JIM
            What'd you do?

                         BILLY
            What are you talkin'?! I joined in.

Stephen stares absently across the Diner during the entire
story.

                         STEPHEN
            Hey, guys, I think I'll be right back.

                                                            8.


                         BILLY
            Where you going?

                         STEPHEN
            I said I'll be back.

A tired-looking woman in her 30's, wearing the same waitress'
outfit as all the other female employees, sits cupping a mug
of coffee between two hands in a back booth. Her name tag
reads - LISA.

Stephen slowly walks over to her as she stares blankly into
her cup.

                         STEPHEN
            Miss?

She looks up at him, out of her daze.

                         LISA
            I'm sorry. I'm on my break.

                         STEPHEN
            Oh, no. I just wanted to... talk.
            To you.

Stephen's friends have finally shut up. They just watch him.

                         LISA
            I'm sorry, uh... What's your name?

                         STEPHEN
            Stephen.

                         LISA
            I'm sorry, Stephen. I just want to
            drink my coffee.

Stephen quickly sits down in the row across from her.

                         STEPHEN
            It's not a big deal, you know.

                         LISA
            What isn't?

                         STEPHEN
            The age thing. I personally don't
            mind it at all.

                         LISA
            I'm not that bad, am I?

                                                            9.


                         STEPHEN
            Oh, no... I just meant--

He looks to his friends.

BILLY AND JIM

cringe in their seats at his definition of flirting.

                         LISA
            Just how old do you think I am?

                         STEPHEN
            No, I-- Look, just let me buy you
            some-
                   (sees coffee)
            Coffee...
                   (beat)
            How 'bout some food?

                         LISA
            I'm good.

                         STEPHEN
            Look, I just wanted to talk to you
            because--

                         LISA
            You don't quit, do you?

                         STEPHEN
            Because I thought you were really
            pretty.

                         LISA
            Better.

                         STEPHEN
            But, I guess that's not why I
            really came over.

                         LISA
            Why did you then?

                         STEPHEN
            There was something... You seem
            so... so sad.

                         LISA
                   (serious now)
            What?

                                                           10.


                         STEPHEN
            I couldn't stop looking at you. I
            mean, you weren't really doing much,
            you were just staring at that
            coffee mug and--

                         LISA
            Not the mug.

He looks down. She taps her gold wedding ring against the
porcelain mug.

                         STEPHEN
            Oh...

                         LISA
            Sorry, kid.

He shifts uncomfortably in his chair.

                         LISA
            Try it on some girl your own age.
            The nervous thing might work.

INT. DINER CHANGING ROOM - SHIFT CHANGE (EARLY MORNING)

A poorly lit changing room. A row of ugly lime-green lockers
line the walls. A wooden bench divides the rows.

Lisa opens the locker with her name etched on the front.

She looks inside. On the inside of the door is a small
mirror, she catches her reflection.

She really does look awful, aged beyond her years.

Lisa focuses on the back of her locker, just barely visible
is a picture of a MAN - her HUSBAND.

She just stares at it for a moment, unable to take her eyes
off the picture.

Lisa slams the locker door shut. And leaves.

INT. NEWS CONFERENCE - MORNING

The crest of the NYPD fills the back wall of the small room.

A podium, with the same crest, stands before a crowd of
people and reporters, all buzzing with inquiries.

POLICE CHIEF FRANK HUSSELBECK stands already at the podium,
speaking to the audience.

                                                           11.


                         HUSSELBECK
            --No, I can assure you that this
            city is still safe enough to walk
            the streets at night.
                   (beat)
            It is true, however, that this city
            and the word 'crime' have been
            synonymous with one another for
            many years now. I assure you that
            this city is now in a state of
            rebuilding. I'm tired of seeing
            families afraid, I'm tired of
            seeing hundreds of murders a year
            going unsolved, I'm tired of this
            city being a place where criminals
            harbor ill-deterred by authority,
            but, most of all, I'm tired of this
            city being a place of unhappiness.
                   (beat)
            New York City is about to be in its
            second age, one of happiness,
            security and, above all, peace. I
            assure you of that.

Chief Husselbeck sits down at a long table next to the
podium. Another man, Murdock, stands and steps to the podium.

                         ANNOUNCER (O.S.)
            If we could please begin with the
            questions regarding the other
            matters of this conference.

With Murdock ready at the podium,

                         REPORTER 1
            Who was involved in the accident
            early this morning?

                         JOHN
            The Griffin Family, family of three.
            And one unidentified individual.
            But, I'm sure you've all already
            read the morning papers.

There is a small chuckle amidst the crowd of reporters. The
green reporter, shamed, takes a seat.

ANOTHER REPORTER, REESE (32), stands. John motions for him
to speak.

                         REESE
            The father was killed, correct?

                                                           12.


                         JOHN
            Yes, the father was killed. Next
            question?

REPORTER 3 stands, not waiting for Reese to even sit down.
But the man is interrupted before he can even begin.

                         REESE
            Excuse me? Excuse me?
                   (with their attention)
            And how were the two women saved?

                         JOHN
            That would be due to the actions of
            the unknown individual. Please,
            next series.

Reporter 3 picks up where he left off. Reese still doesn't sit.

                         REPORTER 3
            Are you at all concerned with the
            rising crime rates?

                         JOHN
            Yes, I am concerned and let me tell
            you why. Criminals are going
            uncontested in this city. And it's
            going to stop. For the past month
            we've been--

                         REESE
            Excuse me? Excuse me, I wasn't
            finished.

                         ANNOUNCER (O.S.)
            Mr. Reese, Mr. White still has the
            floor!

                         JOHN
            No, no, it's alright.
                   (to Reese)
            Ask your question so we may move on,
            please.

                         REESE
            Thank you. I was merely curious to
            your thoughts about this unknown
            individual, the one the witness
            claims as being "An angel cloaked
            in black."

                         JOHN
            The individual was being a good
            samaritan, nothing more.

                                                           13.


As he tries to move on,

                         REESE
            What about the other reports, sir?

                         JOHN
            Other reports?

                         REESE
            I checked the police files for the
            past month --

                         JOHN
            -- Reese, those are closed police
            files. You know you're not supposed--

                         REESE
            There have been twelve reports of
            "a creature of the night." "A man
            in a trenchcoat." "A man with no
            face." And, now, "An angel cloaked
            in black." And there have been more
            and more and more reports dating as
            far back as twenty years!

He holds out his tape recorder as if awaiting an answer. All
the other reporters that were once looking at him now turn
their gaze to John Murdock. Their tape recorders rise.

                         JOHN
            There is no man in black, I assure you.

                         REESE
                   (sarcastic)
            Assurances?

                         JOHN
            I have to check the files, but I
            cannot recall any significant
            instance of this "Man in black"
            that you speak of.
                   (beat)
            Jesus Christ. There was a huge car
            wreck, lots of commotion. There's
            no doubt that someone must've heard
            it and rushed to their aid. Hell,
            it could've been the same damn hobo
            that put the bullet in the father's
            head!
                   (beat)
            Thank you, but I think that's all
            the time I have. If you'll excuse me.

He walks off the stage.

                                                           14.


                         ANNOUNCER (O.S.)
            Detective John Murdock.

The room explodes with a flurry of questions. John leaves
through the back.

INT. COMMISSIONER'S OFFICE - DAY

Chief Husselbeck and four other detectives, one of them John,
stand in the lavishly decorated office of POLICE COMMISSIONER
LOU KOWOLSKI.

                         HUSSELBECK
            Goddamn that little fucker! What's
            his name?!

                         JOHN
            Reese.

                         HUSSELBECK
            Now the public is gonna be in a
            frenzy over all this. I mean, it
            was just a mugging, but now...
                   (beat)
            Does he just hate me or something?
            Did I throw him in jail for being
            such a dickhead? He's always two
            feet behind me!

DETECTIVE KEANE, more of a yes-man than a Detective, agrees
with the Chief.

                         KEANE
            Yes, sir, he is.

                         JOHN
            He's also a terrible reporter.
            There were actually thirteen cases.

                         HUSSELBECK
            What do you think, John?

                         JOHN
            I think we have a double homicide.
            Beyond that, I find it hard to
            believe the connection between
            these two and the other eleven. One
            man couldn't do all that.

OFFICER WILLIS enters.

                         WILLIS
            Heads up. Commissioner's on his way,
            fellas.

                                                           15.


                         HUSSELBECK
            If the media somehow links these
            together the whole news industry is
            gonna go apeshit.

                         JOHN
            If he's real, I don't see why they
            shouldn't know.

                         HUSSELBECK
            They shouldn't know because we
            don't really know. We won't be able
            to give them the information they
            want and that will cause a near
            panic. the streets we depend on so
            highly for business will empty.
            Before long, we'll have a mob out
            hunting HIM.

                         JOHN
            Still no leads, I gather.

                         HUSSELBECK
            All we know is what we've been told.
            He wears a Port Authority cap, but
            no one matches the MO. He must'a
            picked it up at a Gift Shop or
            something. Between that and the
            huge black trenchcoat we got
            nothin'.
                   (beat)
            No one has seen his face. He
            disappears before we can even get
            close. And he leaves a trail of
            bodies wherever he goes.

                         JOHN
            Well, with all due respect Frank,
            look at who's been on the hit list.

                         HUSSELBECK
            All scum, I know.

                         JOHN
            He's taking out crooks before they
            even get to finish their first job.

                         HUSSELBECK
            Helping victims before they're
            victims, I've heard this shit
            before.
                         (MORE)

                                                           16.


                         HUSSELBECK (CONT'D)
                   (beat)
            Some of the men he's killed weren't
            hurting anybody. They had families,
            kids. They were members of society.

                         JOHN
            But is that the point? He's taken
            out thirteen this month. How many
            have we?

                         HUSSELBECK
            He kills innocent men, night after
            night.

                         JOHN
            How do we know that?

                         HUSSELBECK
            What?

                         JOHN
            That they were innocent.

                         HUSSELBECK
            Why are you backing him up?

The Commissioner walks in, in a nice dress suit, old, yet
still powerful looking, around sixty.

                         HUSSELBECK
            Lou, how are you?

                         COMMISSIONER KOWOLSKI
            Fine, Frank, fine. But I hear we
            have some trouble today.

                         JOHN
            Not really, sir. Reese is poking
            his nose around again, but nothing
            we can't chalk up to coincidence.

                         COMMISSIONER KOWOLSKI
            John. How are you, sonny?

                         JOHN
            I'm doing good. Just be glad when
            this vigilante killer's off the
            streets.

                         COMMISSIONER KOWOLSKI
                   (smiling)
            I hear he only kills 'bad guys.'

                                                           17.


                         HUSSELBECK
            It would seem so, sir. For the most
            part, as we can tell.

                         COMMISSIONER KOWOLSKI
            Why the manhunt then? This city has
            seen better days and I appreciate
            any help we can get.

He walks over to his chair and sits down. He lights up a
cigarette.

                         COMMISSIONER KOWOLSKI
            The world is designed to save
            people that live in the day. It's
            the time when we all see clearly.
            At night it's different, we're
            blind. That's why there are men
            like you, John, to help people when
            they get caught in darkness.

He takes a puff from his pipe.

                         COMMISSIONER KOWOLSKI
            But us cops have a certain
            limitation. We respond to calls,
            calls that have been given after
            the fact, after the crime. This man,
            what do they call him?

                         JOHN
            The Man in Black.

                         COMMISSIONER KOWOLSKI
            This Man in Black helps people
            before they need it. Helps them
            long before we could. In ways that
            we can't. In the dark. In the quiet.

                         HUSSELBECK
            Lou, if you don't mind my saying--!

                         COMMISSIONER KOWOLSKI
            Frank, please, no yelling in my office.

The Commissioner stands up.

                         COMMISSIONER KOWOLSKI
            Just see that this all gets taken
            care of. Bring him in, but in one
            piece.
                   (beat)
            I'd like to meet this man.

                                                           18.


EXT. DINER - EVENING

Lisa finally leaves work. She walks out the retro diner door.

One of her co-workers, GINGER, younger, rushes out after her.

                         GINGER
            Hey, Lisa!

Lisa stops and turns.

                         GINGER
            Wait up, would ya?

                         LISA
            I am waiting.

Together, they walk towards the parking lot.

                         GINGER
            Hey. How was your day?

                         LISA
                   (curious)
            Alright, I guess.

She looks at Ginger, she knows something.

                         LISA
            Alright. Horrible.

                         GINGER
            Anything interesting happen today?

                         LISA
            No. What are you going on about?

                         GINGER
            He gave me his number to give to you--

                         LISA
            Oh, Jesus Chri--

                         GINGER
            He wants you to call him. He said
            he's sorry about what he said and
            he wants to buy you dinner to make
            up for it. Not at this place he said.

She hands Lisa the small piece of paper with his number on it.

                         GINGER
            So, uh, what'd he say?

                                                           19.


                         LISA
            He said I looked old. Old and sad.

                         GINGER
            Ouch! That's gonna be one big dinner.

                         LISA
            Now who said I was going?

                         GINGER
            Why not? He's a cutie pie.

                         LISA
            Why don't you go out with him?

                         GINGER
            No way, honey. I like my men mature.

                         LISA
            Wealthy, you mean.

                         GINGER
            Ok, that's not wrong. But, come on!
            He seemed really sweet. He was
            probably just nervous because of
            your stark, raving good looks.
            Maturity is a big turn on for guys.

                         LISA
                   (sarcastic)
            That's sweet. Really, it is.
                   (beat)
            I'm a married woman, Ginger.

Ginger stops dead in her tracks.

                         LISA
                   (calling back)
            See you tomorrow.

                         GINGER
                   (stunned)
            Yeah...

INT. JOHN'S APARTMENT COMPLEX - LATE AFTERNOON

John enters through the stairwell door. He looks tired from
a long day.

He starts the long trek up the stairs.

Past the first flight. MRS. KENT, elderly, comes out of her
room upon the noise, relieved when she sees it's John.

                                                           20.


                         MRS. KENT
            Oh, hi there Johnny.

                         JOHN
            Hi, Mrs. K. How's the ulcer?

                         MRS. KENT
            Going in to have it looked at
            tomorra. Work okay, today?

                         JOHN
            Just some dramatics. Everything's
            fine. See you tomorrow.

                         MRS. KENT
            Alrighty.

He goes up another flight. YVETTE stands in the doorway to
her apartment, wearing only a sensuous piece of lingerie.

                         YVETTE
            Mr. Murdock.

He almost missed her.

                         JOHN
            Yvette, hi...

She holds up a pair of handcuffs.

                         YVETTE
            I got some of my own this time.

Continuing up the stairs.

                         JOHN
            See you later, Yvette.

YVETTE

After John is gone,

                         YVETTE
            Aw, shoot.

JOHN

Continues up to his apartment.

He finally makes it to his door. He opens it, already
starting to take off his tie.

                                                           21.


INT. JOHN'S APARTMENT - CONTINUOUS

It's pitch black inside. John turns on the kitchen light.
The wall surrounding the kitchen shields the living room
from any light.

He tosses his tie onto the counter. He starts to roll up his
sleeves.

He goes into

THE LIVING ROOM

He casually flips on the light switch, illuminating his
entire apartment.

The first thing visible is ALICIA, 8 years old, tied to a
wooden chair in the very center of his den. She's been there,
crying, for days.

John is oblivious to her pain. He begins to unbutton his shirt.

                         JOHN
            Work was horrible. Reese is at it
            again.

He talks to her as though he were telling his wife about his
day.

He goes over to her, stands over her. He undoes the first
few buttons of her shirt.

                         JOHN
            I need some relief.

He unbuttons her pants.

He straddles her legs, sits on her lap, facing her.

He reaches up and pulls the cord on the light.

The room goes black once again.

All that's left are muffled sobs.

EXT. STREET - NIGHT

Lisa walks home. It's grown dark.

It's cold, she pulls her coat tighter. Steam leaps from her
lips.

A homeless man skulks beside a dumpster in a big, black coat.
A cap covers his cowered face even more by shadows.

                                                           22.


He doesn't even move as she slowly walks by him.

She can only stare at him as she walks past. He never looks
up. His face is never seen.

Before her gaze can fix forward again another man, DIRTY,
with rags for clothes, steps in front of her.

Lisa gasps, the breath leaps from her mouth. The stranger in
front of her only smiles.

                         LISA
            Excuse me!

She takes a step to the side, trying to go around, but he
matches her step, staying directly in front of her.

She doesn't see the gun pointed right in her belly.

                         DIRTY MAN
            Do yourself a favor - don't scream.
            Now gimme the purse.

                         LISA
            I like this purse!

                         DIRTY MAN
            Lady,

He cocks the gun directly in her face.

                         DIRTY MAN
            I suggest you shut the fuck up and
            hand over the damn purse. Now.

The MUGGER grabs at her bag, but she refuses to relinquish
it, struggling to get it back and run off.

Lisa's neck is struck from behind, she falls forward and
slams her head into the alley wall. She rolls over and leans
against the wall to stay awake.

                         MUGGER
            Jesus!

                         MUGGER 2
            You wanna get a decent score for a
            change, or do you just wanna keep
            starvin' and beggin' for one measly
            fuckin' dollar?


                         MUGGER
            I had it under control!

                                                           23.


                         MUGGER 2
            Not from where I was. If guys like
            you and me are gonna get what we
            want we're just gonna have to take it.

                         MUGGER
            You didn't have to pistol-whip her
            fuckin' head man, you shouldn'ta --

                         MUGGER 2
            Shut up.
                   (raising his gun)
            It ain't gonna matter in a sec anyway.

                         MUGGER
            Hey man! What the fuck are you
            doin'?! We got her purse! Let's
            just get the fuck outta here!

                         MUGGER 2
            She saw your face.

                         MUGGER
            Look at her, man! She is un-fuckin'-
            conscious! Ok?

                         MUGGER 2
            She still saw you. She'll go to the
            cops.

                         MUGGER
            At least grab the purse from her
            first. I don't fancy spending the
            next week getting waitress out of
            the material.

He doesn't say anything.

                         MUGGER
            Come on, man. You probably jangle-
            fucked her brain up anyhow. She
            won't remember shit. Let's just go!

He simply cocks the pistol, pointed straight at Lisa.

A flash of black. The sound of moving leather.

The resolve fades from his face, replaced instantly by fear.

A MASS OF BLACK lands silently behind them. In an instant,
the second mugger's neck is broken.

Before he can even react a boot collapses the first mugger's
abdomen. He buckles over on his knees instantly.

                                                           24.


The mugger looks up on his knees in pain. And fear. A direct
side-front kick slams his head into the brick wall,
plastering blood all over. He falls onto his face, out
before he even hits the ground.

POV -- LISA

Her eyes are blurred. All that she can make out is a dark
figure, standing in front of her, a dark cap on his head,
looking down. She can't see his face.

The sound of his leather coat flaps in the wind. The sound
slowly echoes out as she fades into darkness.

                                            DISSOLVE TO:

TELEVISION SCREEN

The news is on. STEVE, professional, and DIANE, sexy, but
conservative, are the anchors. The broadcast is already in
progress.

                         STEVE (T.V.)
            --Commissioner Kowolski and The
            Mayor both have assured this city
            that changes are on the way. With
            the crime rates and the missing
            children rates both at all-time
            highs the city is ready for them.
            Meanwhile, neither one of them seem
            to be slowing any time soon.

                         DIANE (T.V.)
            On a related note, another small
            girl has gone missing. Alicia
            Howlett, who only just turned eight
            last week, was reported missing two
            days ago. The police suspect foul
            play, but say with crime as high as
            it is there is no guarantee they
            can commence a complete investigation.

Pull back, out of the T.V. to

INT. COMMISSIONER'S OFFICE - NIGHT

Lou shuts off the screen. MAYOR PERRY, also around sixty,
stands with him.

                         MAYOR PERRY
            Look at them. Trying to drag me
            into this mess.

                                                           25.


                         COMMISSIONER KOWOLSKI
            It's our mess. A fine one at that.

                         MAYOR PERRY
            I can't remember when things were
            this bad. People are afraid to
            leave their homes, Lou. It's a war
            zone.
                   (beat)
            How did it come to this?

Lou sits in a fancy leather chair.

                         COMMISSIONER KOWOLSKI
            There aren't enough officers out
            there. And since the businesses
            started to leave, I can't afford to
            put any more on the street.

                         MAYOR PERRY
            I can't run my city without cops on
            the street.
                   (beat)
            Are we completely without allies on
            this one?

                         COMMISSIONER KOWOLSKI
            Who do you mean?

                         MAYOR PERRY
            You know who I mean.

                         COMMISSIONER KOWOLSKI
            Aw, come on, Dan! You know I don't
            really believe that bullshit. He's
            a fairy tale, a fabrication! Like
            the boogeyman, to scare crooks off
            the street. How do you think Reese
            had those files?

                         MAYOR PERRY
            Are you saying the newspaper is
            inventing this?
                   (beat)
            But aren't the reports real?

                         COMMISSIONER KOWOLSKI
            Yes, they're real. But trust me
            when I say they are much more vague
            than Reese leads everyone to believe.

                         MAYOR PERRY
            Still, that's an awful big
            coincidence. Twelve sight--

                                                           26.


                         COMMISSIONER KOWOLSKI
            Thirteen.

                         MAYOR PERRY
            Thirteen sightings of this man.

                         COMMISSIONER KOWOLSKI
            We're still not sure if it's only one.

                         MAYOR PERRY
            So, you ARE running an investigation?

                         COMMISSIONER KOWOLSKI
            Same thing we do with the rest of
            the murderers in this town.
                   (beat)
            If he's out there, sooner or later
            we're gonna catch him. For now,
            it's keeping them afraid.

                         MAYOR PERRY
            And if you don't catch him? If you
            can't?

                         COMMISSIONER KOWOLSKI
            Then God help the man who goes to
            war against this town.

EXT. POLICE STATION ENTRANCE - DAY

John Murdock walks the steps to the entrance.

The Station is at the heart of the dilapidated city, an
ancient building now crumbling from time. Even now, at the
height of day, the city seems dark.

A mob of parents crowd the steps to the entrance. They are
all in an uproar over something.

                         MOTHER 1
            Find my children!

                         FATHER 1
            Fix this city!

All of them yell similar shouts.

                         JOHN
            People! Quiet down!

The noise calms, but does nothing more.

                                                           27.


                         JOHN
            We are doing the best we can. I
            know you miss your children. I know
            you want justice. But with the city
            the way it is we are doing all we
            can just to keep it livable.

                         FATHER 2
            That's not good enough!

The crowd frenzies again. Other officers have to hold them back.

One WOMAN breaks past the security built around the entrance
and rushes up to John. She flashes a piece of paper in front
of him.

It's a picture.

                         WOMAN
            Please! Find my daughter! I know
            she was taken, but no one seems to
            care!

The picture is of Alicia, in happier days.

John gets nervous, his demeanor sullens.

                         WOMAN
                   (crying)
            Please, find my Alicia.

The security catches up to the woman, slowly pulls her back
down.

                         WOMAN
            Please, help me. She misses me.

She still holds the picture out in front of her.

John takes it.

                         JOHN
            I - I'll do--

JOHN'S POCKET

As he slides the picture in,

                         JOHN
            I'll do what I can.

The woman is carted off, still crying hysterically.

John enters the Police Station.

                                                           28.


INT. ABANDONED CATHEDRAL, BACK ROOM - NIGHT

Lisa's eyes slowly open. There is a constant, repetitive
clanking sound somewhere in the distance.

She snaps, realizing she doesn't know where she is. She
looks around. She's in a bed, messy, wrinkled.

The bed is in some small, dark room. A heavy black curtain
covers the only window nearby. The clanking sound continues,
metal banging against itself.

She climbs to the foot of the bed. Her head suddenly erupts
from inside. She gasps, holds it, the wound still tender
from earlier.

She carefully stands up. And walks on shaky legs out of the
room.

INT. ABANDONED CATHEDRAL, NAVE - CONTINUOUS

What she sees she didn't expect. The Nave, the central room
of the church. But it's all in terrible condition. The rows
and rows of crumbling, falling pews. The altar at the front.
A tilted statue of the crucifix at the head. Cobwebs
everywhere. It's more of hell than church.

She takes a few steps out, bewildered.

Still the clanking continues. She follows the sound.

She follows it to another door, a basement door.

INT. ABANDONED CATHEDRAL, BASEMENT - CONTINUOUS

Immediately the sound is louder.

She carefully treks down the rotten wood staircase, not
making a sound. The sound in the basement is now completely
clear. Someone is working out.

The sound stops. After a moment, the weights drop hard to
the concrete floor.

Lisa, incredibly hesitant, tries to peer into the basement
below, but her view is blocked by the floor itself of the
room above her. She stops, waits.

There is another commotion she can't see. The struggling of
muscles. She starts down the steps again, slower and more
quietly than before. She aligns her footsteps with the
sounds of exertion to hide them.

                                                           29.


As she heads down the stairs the room comes into view. It's
incredibly dark, a basement with no lights except the tiny
slivers peering through the tiny basement windows.

She sees the enormous barbell on the ground, as well as some
other workout equipment. Pommel horse. Gymnast rings.
Punching bag. Elaborate set of weights. And others.

As she continues down she begins to see movement, difficult
to make out in the dark basement. She reaches the bottom of
the steps.

There is a chin-up bar. A man, Dylan, is doing chin-ups.
Never pausing. He makes it look easy.

Lisa doesn't move. Doesn't breathe. Just watches.

He wears a black tanktop tee. And dark pants. Between those
and the shadows of the basement not much of his body can be
seen.

The shadows caress the grooves of his muscles, highlighting
them, accentuating his deep muscle grooves. And a few scars
on his arms and chest that aren't covered by his tanktop.
Shadows hide his face as well.

He suddenly stops, sensing something. He hangs there, turns
his head towards her the slightest bit. And lets go.

He reaches for a nearby towel, his back turned to her.

                         DYLAN
            You should get home.
                   (beat)
            They won't be troubling you again.

                         LISA
            Where am I?

                         DYLAN
            My home.

She takes a few steps closer.

                         LISA
            This... this is where you live?

He feels her getting closer. He puts the towel down and
steps past a shadow into darkness. He might be facing her,
but it's too dark to tell.

                         LISA
            It's a church.

                                                           30.


                         DYLAN
            It's safe. Quiet.

She keeps advancing. He takes another step back.

                         LISA
            Why are you hiding from me?

                         DYLAN
            Perhaps you should go.

                         LISA
            Why?

Dylan moves in the darkness. He walks over to a work table,
where his coat has been laid out. He rubs a substance into
his coat so that it no longer reflects light, making it even
blacker than before.

                         DYLAN
            Time does not permit you to stay.
            It's late. And I have to go to work.

                         LISA
            Who are you?

He doesn't answer. He doesn't even stop what he's doing.

She sees the dark coat under his hands. She recognizes it.

                         LISA
            Wait. That was you. In the alley.

                         DYLAN
            Yes.

                         LISA
            Thank you.

Dylan says nothing.

                         LISA
            What are you do--

                         DYLAN
            Please.

He stops. Throws his coat on. Now he's practically invisible.

                         DYLAN
            It's time you leave.

She looks stunned, saddened.

                                                           31.


                         LISA
            Okay.

She turns for the stairs.

                         LISA
            But thank you... I don't know what--

She turns back to see him.

But he's gone. Not a trace. Not a shadow.

She accepts it. And heads up the stairs.

EXT. CITY STREET - NIGHT

A somewhat ELDERLY WOMAN walks along the sidewalk outside a
series of apartment complexes.

A MUGGER suddenly jumps out after her. He yanks away the
purse at her hip and runs off. She screams for help, but no
one even notices.

EXT. CITY STREET ROOFTOP - NIGHT

Dylan stands, in close to the same position as before,
overlooking the street below. He watches as the mugger runs
down the street. Unmoving. Uncaring.

EXT. CITY STREET - NIGHT

Lisa rounds a corner just as the mugger rushes past her,
digging in his newly acquired purse. She doesn't take notice,
she simply digs in her own purse.

She walks up the few short steps to the door of the
apartment complex. She pulls out the keys from her purse and
enters.

EXT. CITY STREET ROOFTOP - NIGHT

The rooftop is empty.

INT. LISA'S APARTMENT - NIGHT

The lock turns and the door opens. Lisa enters her home.

She tosses the set of keys onto a table near the doorway and
walks away. On the table are several framed pictures. Most
of them are of a man, her husband. In some he is alone.
Others he and Lisa are locked in an embrace. There's even
one from their wedding.

                                                           32.


INT. LISA'S BEDROOM - CONTINUOUS - NIGHT

Lisa walks into her master bedroom. A king-size bed fills
almost the entire space. More pictures. Stark, heavy shadows
everywhere.

She flips on the light, breaking the darkness. She slowly
walks in and sits calmly on the edge of her bed.

She begins to cry.

EXT. LISA'S APARTMENT BUILDING

Dylan stands outside her building, his coat unbuttoned, his
hood taken down, looking up at her window.

The light in her room suddenly shuts off.

Dylan begins to walk down the sidewalk.

Just as he does, the Heavens open, rain pours all over him.
He doesn't even bother to pull on his hood. He just keeps
walking, until he reaches the

ELECTRONICS STORE

In the window are nearly a dozen different makes and models,
all with the same thing on. The News.

Dylan stops. And watches the broadcast through the window,
standing there, in the rain.

                         NEWSCASTER (T.V.)
            Now here's what's going on in your
            neck of the woods.

The theme song plays.

                         STEVE (T.V.)
            Hello, and welcome to WPIX 11, here
            with your latest News update.
            Police are still unable to locate
            the whereabouts of 8 year-old
            Alicia Howlett who went missing 3
            days ago. Police suspect that the
            girl may be dead. This is just
            another incident in the long list
            of missing children in the last few
            months.
                         (MORE)

                                                           33.


                         STEVE (T.V.; CONT'D)
            Although Police have not yet been
            able to deter the escalating
            missing children rates they do say
            that new programs are going into
            effect soon, which should put to
            rest the worries of every parent in
            New York City.

Dylan doesn't move. He just stands there, as the rain
patters off his balding head.

INT. LISA'S APARTMENT - LATER THAT NIGHT

Lisa lies in bed, a crumpled mass of sheets.

She stirs and sits up. She looks around, realizing she's
still alone.

She climbs out of the bed, in her pajamas.

She goes into the kitchen and quickly comes back with a cup
of coffee.

Lisa walks over to the window near her bed, the shades open
to the dark world outside. She crosses her arms and just
watches.

A siren advances closer and the flashing red and blue lights
of a police cruiser pass along the street, just out of her view.

She turns around, still with her arms crossed, and stares at
something across the room. She taps her wedding ring on the mug.

Lisa turns and walks away from the window. She sets the
coffee mug next to the object she was staring at - the
picture of her husband.

She returns and heads for the door as she pulls on her coat
and fumbles for her keys.

INT. ABANDONED CATHEDRAL - NIGHT

There is a timid knock on the front door that still manages
to echo through the gutted church. The door slowly swings
open and Lisa sticks her head in. She looks around, before
she enters completely.

                         LISA
            Hello?

Her voice echoes throughout the deserted church, despite the
near whisper in her voice.

                                                           34.


INT. ABANDONED CATHEDRAL, BACK ROOM - NIGHT

She walks into Dylan's bedroom. He isn't there.

INT. ABANDONED CATHEDRAL, BASEMENT - NIGHT

She walks down the rickety steps to the basement. It's empty
as well.

She is alone.

                         LISA
            Great.

EXT. ALLEY BEHIND APARTMENTS - NIGHT

Dylan, with his gear on, walks slowly down a dark alleyway
behind an apartment complex in a bad part of town.

He pulls down the fire escape ladder and heads up, slowly,
casually, like he's done it a thousand times. He walks in
this deliberate pace, all the way to the roof.

EXT. ROOF - CONTINUOUS - NIGHT

He hops over the ledge onto the roof. The gravel crunches
under his boots.

He walks to the edge and looks over. Again, he walks slowly,
almost bored.

Near the edge of the roof he hears voices, whispers. He
peers over.

IN THE STREET

A stout cop by the name of MUSKOWITZ,  and a YOUNG MAN in a
business suit look around in opposite directions, trying to
appear casual.

From here, Dylan is nothing but a silhouette, crouched
against the ledge of the roof some stories above.

The young man in the suit hands the short, fat cop a paper-
sack full of money. Clearly, this isn't the first time
they've done this.

They both walk off without saying a word.

                                            DISSOLVE TO:

                                                           35.


EXT. ANOTHER ROOF - NIGHT

Dylan jumps from one roof to the next. There is no gap
between them, only a ten foot drop.

He takes the fall walking, never losing stride after he
lands. His leather coat slaps against the back of his pants.

                                            DISSOLVE TO:

EXT. FIRE ESCAPE - NIGHT

The steps to the fire escape creak down and Dylan steps off,
into the alley below.

                                            DISSOLVE TO:

INT. MURDER SCENE - NIGHT

The door to the dark apartment opens without a sound,
tearing the yellow police tape. Dylan silently steps into
the apartment, his coat sways with him as he walks.

He casts a broad silhouette over the entire room.

He peers down, at the huge blood stain on the carpet. And
the chalk outline of a body.

He walks around it, examining it.

After a few moments he bends down and picks up a few stray
hairs that someone must have missed.

                                            DISSOLVE TO:

EXT. BEHIND BUILDING - NIGHT

A TEENAGE KID is pushed and falls to the wet concrete. He
gets up and runs off as fast as he can. Fear fills his face
as he turns and looks back as he runs.

Dylan watches him run. Then turns and walks the other way.

He digs inside a brown wallet. After he takes out what
little cash there is, he tosses it over his shoulder. An ID
of the kid inside.

He passes by a green dumpster. Without stopping, or looking,
he tosses a handgun in.

INT. ABANDONED CATHEDRAL, BACK ROOM

Lisa sits on the edge of Dylan's bed, trying to waste the
time away.

                                                           36.


Something catches her eye - on the table at the other end of
the room. The pictures.

The first picture is of a WOMAN, beautiful, in her 30's.

She sets it down and picks up another picture, this one of a
YOUNG BOY. Maybe five years old. She just stares at it, with
a curious look on her face. She caresses the frame.

                         DYLAN (O.S.)
            What are you doing?

She jumps in fright and drops the picture. The glass shatters.

Lisa turns to see Dylan, his hood down, covered in wet dew
from the cold night, seeing him for the first time.

                         DYLAN
            What are you doing here? I told you
            to go home.

Dylan bends down slowly and brushes broken glass off the
picture. He picks it up and puts it back in its spot on the
mantle.

                         LISA
            I did. I went home.

                         DYLAN
            You should have stayed there.

                         LISA
            I'm sorry. I was... afraid.

                         DYLAN
            You broke into my home. Went
            through my things.

                         LISA
            I didn't feel safe there!

He takes a breath. Calms down.

                         DYLAN
            And your husband?

The question stops her. She looks at her wedding band.

                         LISA
            He's not home... most of the time.

For a long moment, neither of them says anything.

                                                           37.


                         DYLAN
            This place is no haven.

                         LISA
            It'll do.

INT. ABANDONED CATHEDRAL - BASEMENT - NIGHT

Lisa sits at a table on the other end of the large room.
Boots, a bullet-proof vest, and different caps litter the table.

Dylan sits at a table covered in documents. His coat lies on
the table next to him.

Lisa fumbles through his things.

                         LISA
            How do you pay for all this?

                         DYLAN
            I keep what I find.

                         LISA
            Oh, so you're a crook too.

                         DYLAN
            I steal from thieves, so I can help
            those they stole from.

For a long time there is silence. Dylan is busy with the
documents on his paper, reading, comparing.

                         LISA
            Who were those people in the pictures?

                         DYLAN
            Just some people... from a long
            time ago.

She handles the vest, feels its weight. She puts it down and
looks across the room, at the weight area.

Numerous devices, but as low-tech as can be. Poles in the
wall, ancient weight sets.

She turns her attention away and stares at Dylan's coat,
hanging from one of the poles. It's worn beyond belief,
destroyed by a lifetime of overuse.

                         LISA
            Who are you?

                         DYLAN
            Don't.

                                                           38.


                         LISA
            What?

                         DYLAN
            Don't... ask me that.

                         LISA
            I don't even know your name.

                         DYLAN
            Sometimes even a name can be too much.

                         LISA
            I just thought--

                         DYLAN
            Dylan. Dylan Dandridge.

                         LISA
            Lisa.
                   (beat)
            Why do you do this, Dyl--

                         DYLAN
            Please... don't ask me anymore
            about my past.

                         LISA
            Yeah, I, I under--I mean, I guess I
            understand...

She's silent. Dylan shuffles around more papers.

                         LISA
            What are you doing?

                         DYLAN
            Trying to catch a killer.

INT. JOHN'S APARTMENT - NIGHT

John sits in a chair in the center of his living room.

He's polishing his gun.

He takes out the clip, checks to see if it's loaded. It is.
He slams the clip back home.

He loads the chamber. He aims it at random things around the
room, checking the accuracy of the sight with one eye shut.

He stops. Then he slowly puts the gun in his mouth.

                                                           39.


He pulls back the hammer and starts to cry. Sobs muffled by
the barrel of a 9mm automatic wedged between his teeth.

He hesitates. He opens his eyes and sees the body of a 10-
year old boy face-down on his carpet. John suddenly looks
very worried.

John gets up. He rushes frantically around the room. He sets
the gun down on the kitchen counter. And runs into his bedroom.

EXT. WOODED AREA - NIGHT - RAIN

John is in the deepest, darkest part of the forest, miles
away from anything. The red taillights of his car are the
only light in this place. The rain comes down in sheets,
drenching John to the bone.

The trunk is open on John's car. He struggles to pull out a
huge black bag. It's obvious what's inside.

A mass of weight smacks the wet dirt as he is finally able
to extricate it.

A crack of lightning.

INT. ABANDONED CATHEDRAL - DYLAN'S BEDROOM - MORNING

The warm light streams in through the stain-glass window.

Lisa is fast asleep on Dylan's bed, above the sheets.

Suddenly, she jolts awake. For a moment, she wonders where
she is.

INT. ABANDONED CATHEDRAL - BASEMENT

Lisa walks down the wooden steps to the basement.

There is no one there.

INT. ABANDONED CATHEDRAL - NAVE

The building is silent. Lisa walks down the center aisle of
the nave towards the door.

When she gets to the door she opens it, glancing back one
last time at the silent church before shutting the door
behind her.

INT. DINER - DAY

Lisa walks from one table to the next, with a full pitcher
of coffee in her hand, completely absent from the world
around her.

                                                           40.


She pours another cup.

She takes the check from the next table.

A GRAY-HAIRED MAN sits at the table beside her,

                         GRAY-HAIRED MAN
            Miss? Miss?

Lisa doesn't even hear him.

                         GRAY-HAIRED MAN
            Miss?!

He shouts. It startles her and she nearly spills some coffee
as she pours it. She looks at him.

                         LISA
            Yes?

                         GRAY-HAIRED MAN
            Decaf?

                         LISA
            Yes sir. Just a minute.

She walks to the next table and sees who's sitting there,
before he sees her. Stephen.

She refills his cup of coffee, keeping her eyes away from his.

He just stares at her, waiting for her to acknowledge him.

Once his cup is full she walks off. He doesn't even move his
head to watch her go.

INT. DINER CHANGING ROOM - DAY

Back in her day clothes Lisa stuffs her work clothes into
her locker. Ginger strolls in behind her and leans her back
against the locker next to Lisa's.

                         GINGER
            Hey there, kiddo.

                         LISA
            Hey.

                         GINGER
            Hey, I'm really sorry about-

                         LISA
            -It's ok-

                                                           41.


                         GINGER
            -the other day.

                         LISA
            It's ok.

                         GINGER
            I didn't even think about-

                         LISA
            -Ok...-

                         GINGER
            -your husband.

                         LISA
            I told you, it's ok.

                         GINGER
            I guess I'm just not a one man
            kinda gal.

                         LISA
            Don't worry about it. I'll see ya
            later.

She closes her locker. And leaves.

EXT. BUSINESS DISTRICT - SKYSCRAPER STEPS - DAY

Commissioner Kowolski, Mayor Perry, and John, along with two
of the Mayor's BUSINESS ADVISORS who hang back but chime in
whenever they feel it necessary, all walk down the steps
exiting an enormous skyscraper in the business heart of New
York.

A hobo with heavy blankets over his back and head pushes a
shopping cart full of meaningless garbage down the sidewalk
ahead of them, keeping within earshot. He keeps his head down.

                         COMMISSIONER KOWOLSKI
            Well, that went well.

                         MAYOR PERRY
            Damn these investors. The city of
            New York is a pile of shit and
            they're not willing to un-shit it.

                         BUSINESS ADVISOR 1
            Don't you mean YOUR city, sir?

                                                           42.


                         JOHN
            If you don't mind my saying, Lou,
            the investors are still too scared
            of the city. Their own building is
            like a damn prison.

                         MAYOR PERRY
            Damn these investors.

                         COMMISSIONER KOWOLSKI
            The last time these businesses were
            here they were looted and plundered
            every week. Some of them every
            day.They were driven out by the
            scum in that city.

                         MAYOR PERRY
            And whose fault is that?

                         COMMISSIONER KOWOLSKI
            If you would put more of my men on
            the streets--

                         BUSINESS ADVISOR 2
            Uhh, the budget doesn't call for that.

                         COMMISSIONER KOWOLSKI
            There's no budget because there's
            no businesses.

                         BUSINESS ADVISOR 1
            There's no businesses because of
            all the crime.

                         MAYOR PERRY
            We're fucked.

                         JOHN
            Between all this and the child
            murders--

                         COMMISSIONER KOWOLSKI
            --Not to mention the Man in Black--

                         MAYOR PERRY
            We're fucked.

                         JOHN
                   (to Lou)
            --I thought you didn't believe--

                         COMMISSIONER KOWOLSKI
            We just need to make the city safe
            again.

                                                           43.


                         JOHN
            Let us put a few more men on the
            street. Catch a few big names. Then
            people will see.

                         MAYOR PERRY
            So, how are we doing on those lines
            then?

                         JOHN
            We found another body in a wooded
            area last week in Queens. We're
            pretty sure it's related.

                         MAYOR PERRY
            Then that means--?

                         COMMISSIONER KOWOLSKI
            It means he's getting smarter. He's
            changing his tactics. We don't know
            exactly how long this one was there.
            The animals must have gotten to him.
            And there's still no telling how
            many of the missing children are
            because of him.

                         MAYOR PERRY
            This is becoming a serious problem.
            And I'm at a total loss. John,
            you're my number one man. You have
            to catch this son of a bitch. When
            you do it'll bring the family
            businesses back, the Mom n' Pops.
            That'll get the ball rolling for more.

                         JOHN
            I always get my man.

Mayor Perry stops at the bottom of the steps and turns
around, back to the building.

                         MAYOR PERRY
            Damn these investors!

The five of them continue down the sidewalk, as the hobo
with the cart stops. He finally raises his head. It's Dylan.

INT. QUEENS DINER - NIGHT

A quaint, quiet 50's-style diner with a big glass front-
window to boot. Dylan sits at the counter sucking soup, and
a beer, still wearing the heavy rags. The news quietly hums
from a television hanging in the corner. He listens without
turning his head.

                                                           44.


The WPIX 11 theme song plays.

ON SCREEN

Steve and Diane sit at attention. Behind them a television
graphic spirals into clarity, with overly-intense, dramatic
music to boot. It reads: MINOR MASSACRE.

                         STEVE (T.V.)
            Welcome back. The latest victim in
            a string of disturbing murders,
            which has now been dubbed the
            "Minor Massacre," has been found.
            The victim was 10-year old Elliot
            Campbell, who was found sodomized
            and strangled this week in an
            undisclosed wooded area outside Queens.

                         DIANE (T.V.)
            The latest death resembles other
            recent murders of young children
            over the last few months, however
            this is the first instance where a
            body has been hidden in the wooded
            area. The police are confident and
            have assured justice to the public,
            but say they still have no leads.
            Elliot left behind two sisters, a
            brother, and his mother and father.

                         STEVE (T.V.)
            We now take you, live, to an all-
            night prayer vigil being held
            outside Elliot's home, led by his
            mother, Gloria Campbell, and some
            of his closest friends and family.

CAMPBELL HOME

A veritable shrine has been erected outside a suburban home.
Candles, pictures of the boy, and lots of flowers.

Several people are bent down at the altar, praying, putting
out more pictures of the boy.

The image cuts to a man, as an ID ticker scrolls across the
bottom. "JAMES CAMPBELL, THOMAS' UNCLE."

                                                           45.


                         JAMES CAMPBELL
            Well, he was a great kid, ya know?
            We're just here prayin' in hopes
            that he's in a better place right
            now, we know he is, and to pray
            that they catch whoever did this to
            him. Hopefully, we can make a
            difference somehow, and they'll
            catch him, and bring him to the
            justice he deserves.

BACK TO SCENE

In the background, the mother can be heard sobbing.

Dylan looks up from his bowl of soup at the counter, his
head still heavy from the wilting blankets atop his head and
shoulders. He hasn't shaved in days.

He just sits quietly and listens to the world around him,
listening for some useful information.

A WAITRESS walks over to refill a MAN's coffee. When she
bends down,

                         MAN IN BOOTH
                   (whisper)
            Hey, you wanna come back to my
            place? We'll have some fun.

He slips a fifty dollar bill in her shirt pocket. He's done
this before.

She looks at him, thinking it over.

Dylan sits. Listens.

Four college students, JIMMY, LANCE, BRUCE and JOE, all sit
at a table across the Diner.

                         JOE
                   (whisper)
            So, wait, wait. How old was she?

                         BRUCE
                   (whisper)
            Dude, it was her high school
            graduation. How old do you think
            she was? So, we all go to the room
            upstairs and she is just gone!

                         JOE
                   (whisper)
            So, you were second?

                                                           46.


                         BRUCE
                   (whisper)
            No. Jimmy was second.
                   (looks at Jimmy)
            I was third. And Lance was last.
                   (looks at Lance)


                         JOE
                   (whisper)
            Well, then, who was first?

                         LANCE
                   (whisper)
            Dumbass. Her boyfriend.

                         JOE
                   (whisper)
            Damn guys!

                         JOE
                   (whisper)
            I know. It was fucking awesome!

                         BRUCE, LANCE, JIMMY
                   (in unison)
            CHOO! CHOO!

They cackle in obnoxious laughter, trying to contain it in
the quiet sanctum of the diner.

Dylan drops a five on the table and heads out.

EXT. QUEENS DINER - CONTINUOUS

Dylan journeys back out into the cold night, still keeping
his head low.

He passes by two men on a dark corner. They speak softly,
but still audible to Dylan.

                         DRUGGIE
                   (whisper)
            Hey man, come on, I don't like this.
            It's too out in the open. Where's
            the house at?

                         DEALER
                   (whisper)
            Hey, now. Only I know where the
            house is. This is good stuff, man.
            If you want it cough it up. If you
            don't I'll see ya later.

                                                           47.


He hands the dealer a ten dollar bill. Dylan stays close,
waiting. After the exchange, the dealer walks off into a
dark, empty alley.

Dylan follows silently behind, keeping his distance.

EXT. ALLEY - CONTINUOUS

Dylan walks past a line of shadow and disappears into the
night. There is the rustling of fabric as he tosses off his
rags and shoddy blankets.

He emerges from the darkness in his trenchcoat. He pulls the
hood over his head, hiding his face under a veil of shadow.

All the while the dealer never hears a sound, never looks back.

Dylan tracks him as the Man in Black, keeping just enough
distance between the two of them not to alert the Dealer in
any way.

The alley is long and full of turns. Steam rises from
beneath the sewer grates. Puddles of water run-off are
everywhere, always in the foot's path.

The drug dealer continues down the dark, wet path, constantly
looking around to check for onlookers, but never seeing any.
Especially Dylan, who is nothing but a shadow.

Dylan continues on, silent.

Dylan's foot smacks a puddle. And the dealer spins around
quickly, looking down the alley behind him.

DEALER's POV -

Nothing moves. All that's there is the long, dark alley full
of shadows.

After he is satisfied he continues on, faster now. He rounds
the corner.

Dylan emerges from a shadow against the wall, completely hidden.

He starts forward again, but suddenly, there are gunshots
heard in the distance.

A few moments later, an alarm.

Dylan stops. He looks down the alley, almost bored.

He doubles back.

                                                           48.


EXT. STREET - MOMENTS LATER

A man (JOHN DOE) with long, filthy hair smacks his face
against the concrete. He is unconscious.

Dylan walks down the sidewalk, away from the man, towards a
convenience store in a row of buildings.

EXT. CONVENIENCE STORE - MOMENTS LATER

He looks inside. And silently slips in. He looks around for
more robbers as he enters.

INT. CONVENIENCE STORE - CONTINUOUS

He looks around. There is no one.

But there is a sound, a whimpering. It comes from behind the
counter.

Dylan walks around it, to the other side. The light from the
store lamps illuminate his face.

A young boy, only 8 or so, sits with his back against the
counter. Two adult figures, a man and woman, lie dead, shot,
near him. His parents.

He looks up at Dylan, tears pour from his face.

Dylan's face turns to one of surprise. The image is shocking
to him, yet familiar.

The boy only cries, still looking up at him.

Dylan's face contorts, into one of pity.

EXT. CONVENIENCE STORE - LATER THAT NIGHT

The street now bustles with activity. Full of onlookers.
Police. Ambulance. Fire truck.

Coroner's van.

An old, fatherly type police officer clutches the boy at his
shoulders, as body bags filled with his parents are wheeled
from the store and pushed into the van.

The boy's expression is blank now. Completely blank.

Dylan, in a dark alley across the street, leans against a
brick wall. He isn't even facing the action. He doesn't need
to see what's going on to know.

                                                           49.


INT. POLICE STATION - UPSTAIRS - LATER

The boy, still with the blank expression, sits in a wooden
bench. He just stares at the floor.

A familiar face turns the corner and walks down the hall
towards the boy. John.

He kneels in front of the boy.

EXT. POLICE STATION - FIRE ESCAPE - NIGHT

Dylan watches through the window from the fire escape. In
the total darkness outside, he is nothing more than an iron
rail. Unmoving.

Inside, John speaks to the boy. After a few words, he puts
his hand on the boy's shoulder.

The boy begins to cry.

After a moment, he falls into John, burying his face in
John's chest.

John picks the boy up, still crying, and carries him down
the hall, genuinely caring for the boy.

Outside, Dylan turns from the window. He looks truly sad for
the boy.

INT. POLICE STATION - INTERROGATION ROOM 3 - PREP ROOM - LATER

John looks through a two way mirror into an interrogation
room. Inside sits the crook Dylan caught outside the
Convenience Store.

A door opens. Officer McKee comes in.

                         MCKEE
            Frank said you have the OK.

John says nothing. He takes a sip from his coffee.

                         MCKEE
            You know who he says knocked his
            block off, right?

                         JOHN
            I'm fairly certain he mentioned
            something about a trenchcoat.

                         MCKEE
            If that's true... why isn't he in
            the same van as that boy's parents?

                                                           50.


                         JOHN
                   (re: robber)
            Because he's the one who killed
            them. He had the money in his coat
            pocket.

                         MCKEE
            I thought he was a crook. I thought
            he was a serial killer. The Man in
            Black, I mean.

                         JOHN
            Until today, I thought he was a myth.

John tosses his coffee. And heads out the door.

McKee watches as John enters the Interrogation Room. He sits
next to the robber and begins talking.

Chief Husselbeck enters.

                         HUSSELBECK
            He in there?

                         MCKEE
            Yes, sir.

                         HUSSELBECK
            Good. Maybe we'll get something out
            of him.

                         MCKEE
            Is he the only one who's ever seen him?

Frank nods.

INT. INTERROGATION ROOM 3

                         JOHN
            What's your name?

                         JOHN DOE
            John Doe.

                         JOHN
            Ah, I see you've been here before.
            How is it the second time 'round?
            It's nicer, right?

John Doe looks away, annoyed.

                                                           51.


                         JOHN
            Well, you're not wrong. That's what
            your file's gonna read. Seems
            someone stole your wallet. So
            John, -Hey, we have the same name! -
            So John, that's a nice shiner you
            got there. I got an even nicer
            steak at home you can slap on it
            later. If you want it.

John Doe looks puzzled for a moment.

                         JOHN DOE
            What's your game?

                         JOHN
            Nothing. You just look hungry. I
            mean, you knocked off a 7-Eleven,
            you must be starving, right?

                         JOHN DOE
            Yeah, go fuck yourself.

                         JOHN
            Now I'll give you that steak - it's
            very nice, five-pound T-Bone - if
            you tell me who gave you that shiner.

                         JOHN DOE
            Like I told Little Boy Blue
                   (looks at his
                   reflection in the mirror)
            all he had on was a black coat.

                         JOHN
            No hat? Matching sunglasses?

                         JOHN DOE
            I didn't check. I was a little busy
            getting this shiner you seem to
            enjoy so much.

                         JOHN
            You're a pretty big fellow. You go
            to the gym a lot? He must have been
            pretty good to take you down.
                   (beat)
            Is he strong?

                         JOHN DOE
            What the fuck is this? I killed two
            people today! Why don't you ask
            about them?! I don't know anything
            about your fucking hero!

                                                           52.


John waits for a moment before asking another question.

                         JOHN
            How much money did you take from
            the register?

                         JOHN DOE
            I emptied it.

                         JOHN
            Ballpark.

                         JOHN DOE
            A couple hundred. Easy.

                         JOHN
            That's interesting. Because we
            found 347 dollars on you.

                         JOHN DOE
            Sounds about right.

                         JOHN
            Don't you think it's weird someone
            took your wallet but not the wad of
            cash sticking out from your front
            pocket?

                         JOHN DOE
            What's the matter? Need to find him
            so you can put him on the payroll?

                         JOHN
            What is he?

                         JOHN DOE
            He's a man. He's just a man.

INT. SUBWAY CAR - NIGHT

Dylan sits back, hood drawn down, lost in thought.

He just sits there, in the abominable subway car, as the
dark world races by outside.

INT. LISA'S BEDROOM - MORNING

The phone rings.

Lisa stirs in bed, still asleep. With a groggy voice, she
answers it after what seems like an eternity of incessant
ringing.

                                                           53.


                         LISA
            Hello?... Hello? Who is this?

                         DYLAN (V.O.)
                   (through phone)
            Do something for me.

Her expression shows she knows who it is.

                         DYLAN (V.O.)
                   (through phone)
            Do what I cannot. Help heal a
            someone's pain.

EXT. ALICIA HOWLETT'S HOUSE - DAY

Lisa walks up to a small, homely house in a neighborhood
decidedly more upscale than her own, and tentatively walks
up the porch.

EXT. PORCH - DAY

Lisa rings the bell. A DISTRAUGHT WOMAN, MRS. HOWLETT, answers.

                         LISA
            Mrs. Howlett?

                         MRS. HOWLETT
            Yeah?

                         LISA
            I wanted to talk to you... about
            Alicia.

                         MRS. HOWLETT
            They found her?

                         LISA
            Uhh, no.

                         MRS. HOWLETT
            Then please leave me alone.

                         LISA
            Wait. I just... have something to
            tell you... that might help.

INT. ALICIA HOWLETT'S HOUSE - DAY

Lisa sits in a chair in the living room.

Mrs. Howlett enters, holding a cup of coffee.

                                                           54.


                         MRS. HOWLETT
            One sugar, honey. How do you like it?

                         LISA
            Black.

                         MRS. HOWLETT
            Oh, well... he's a mixed nationality.

Mrs. Howlett hands Lisa the cup of coffee. And sits in the
chair across from her.

                         MRS. HOWLETT
            So, where did you say you know my
            daughter from?

                         LISA
            Oh, I don't. I just heard about
            her... on the news.

                         MRS. HOWLETT
            My daughter used to play the flute.
            She was good too. She had her first
            competition last month. Everyone
            there was so much older. She didn't
            win, of course. She was too nervous.
            Her little fingers kept slipping
            off her marks.
                   (beat)
            But, when she came to me after it
            was over... she had just the
            biggest smile on her face. And she
            looked at me and she told me "Mommy,
            I did good."
                   (beat)
            She was just so happy to even be
            there.
                   (beat)
            She went missing a week later.

Lisa can do nothing but stare at this poor mother.

                         MRS. HOWLETT
            You wanna see her room?

INT. ALICIA'S ROOM - DAY

Alicia's room is a sea of bright colors, pictures of horses,
flowers, scattered toys and stuffed animals, and the
occasional Backstreet Boy.

Lisa stops. She sees the shelf full of Alicia's pictures.

                                                           55.


                         LISA
            This is her?

Mrs. Howlett nods.

                         LISA
            She's gorgeous.

                         MRS. HOWLETT
            Yes, she is. Everyone says that. I
            wonder if they're being serious...

                         LISA
            Where's the father?

                         MRS. HOWLETT
            He passed away... a few years ago.
                   (beat)
            Once they find my Alicia I can
            finally have some company again. No
            more talk shows. I can get back to
            recitals, and plays, and homework.
            The things I love the most.

For a long time no one says anything. Lisa can only look at
the pictures spread out on the mantle.

                         MRS. HOWLETT
            Why are you here?

                         LISA
            I don't know.

                         MRS. HOWLETT
            It's one of those things. I just
            wanna know what happened. Even if
            she's... it's better than not knowing.

                         LISA
            I can't say I begin to understand
            what you're going through, but, all
            I know is that when--

                         MRS. HOWLETT
            Thank you, but, I don't need you to
            tell me you're sorry. And that
            everything will be ok. I'm tired of
            people telling me that, honey. I
            just want my little girl back. I
            just wanna look at her shining face
            again, and know that neither of us
            will ever be alone again.

                                                           56.


EXT. ALLEY BEHIND QUEENS DINER - NIGHT - RAIN

Two men, the Dealer from the Diner and another man, the DRUG
SUPPLIER, exchange words in a dark alley behind the old
Diner in queens.

                         DRUG SUPPLIER
            Where's tonight's score?

                         DEALER
            Here ya go, Boss.

The Dealer passes a wad of cash to his boss.

EXT. ROOFTOP - NIGHT - RAIN

The rooftop overlooks the two men.

Far below, the Dealer turns and runs off down the alley. He
disappears into the night.

His boss stands in one of the shadows and counts his money.

On the rooftop, something moves. The sound of leather.

EXT. ALLEY BEHIND QUEENS DINER - NIGHT - RAIN

The supplier stands in the alley, still counting the wad of
cash.

When a shadow moves behind him.

He spins. He's frightened, but sees

Nothing.

He looks behind him quickly, checks the other end of the
alley. When his eyes are turned, another shadow moves where
he was just looking.

It's getting closer.

He spins his head again, searching.

Clearly frightened, he eyes a group of shadows near the
brick wall.

                         DRUG SUPPLIER
            It's you, isn't it?

He waits. Nothing moves.

                         DRUG SUPPLIER
            I know who you are. I've looked you up.

                                                           57.


Nothing.

                         DRUG SUPPLIER
            I know all about you!

                         DYLAN
                   (hidden)
            And I know you...

Dylan suddenly appears from behind a wall of shadow directly
behind the supplier.

                         DYLAN
            Reese.

He's right. The Drug Lord is Reese, decorated member of the
press. Reese practically leaps forward, startled by Dylan's
sudden presence. He backs up and makes distance between them.

                         REESE
            Hey, I gotta pay off my contacts
            somehow.

Dylan takes a step closer. He is nothing more than a
silhouette in this light. A huge, menacing shadow.

                         DYLAN
            Where's the house?

                         REESE
            Try to find it-

He pulls out a .35 from inside his pants.

                         REESE
            -you trenchcoat-wearin' son of a bitch.

Dylan rushes Reese. His coat comes alive, enveloping them
both in an instant.

Reese's gun goes off. Their bodies smack together in the
cold rain.

INT. LIBRARY BASEMENT, RESEARCH ROOM - DAY

Fingers glide across a computer keyboard.

On the screen the words, "Superhuman, myths, miracles" are
typed into the search line.

Several pages pop up.

A list of urban myths pop up on the screen, including, but
not limited to:

                                                           58.


"Miraculous Rescues, Incredible Survivor Stories, Acts of
God?, More Than Human?"

She clicks on "Incredible Survivor Stories"

Several news headlines flood the screen. The top article
reads, "Man fights tiger, saves one"

She closes that one, the one behind it: "New Zealand cop
takes bullet to head, survives"

Closes another, "Infant survives three-story fall"

She closes the rest and goes back to the list. She clicks on
"Miraculous rescues"

Several pages. The first: "Firefighter in Russia rescues
seventeen"

Closes it. "Unidentified man rescues two children; parents
found dead in home"

Closes. "Three rescued from burning building"

In the picture a man pulls three women out the front door of
an engulfed office building.

Lisa zooms in on the text.

"Unidentified man later confirmed to be Richard Dalby. He
declined comment."

Lisa adds a few words to the search line. After "miracles"
she types, "Richard Dalby".

Several more newspaper headlines pop up.

"Local man rescues three"

"He does it again"

"Hero prevents disaster"

                         LISA
            Jesus Christ...

She closes all the articles and goes back to the original
search results.

Lisa clicks on "More Than Human?"

Many articles appear. "Australian man sets new un-official
world record, shattering it by nearly a minute"

                                                           59.


"Boy claims he can heal with his hands"

"Chinese woman says she hasn't slept in twenty years;
Chinese scientists say it's true"

"Woman lifts car off boy"

Lisa clicks on a link that reads: "See Video Report"

A media window pops up. A FEMALE ENGLISH REPORTER talks to
the camera in front of a busy street, with a suiting UK accent.

                         FEMALE ENGLISH REPORTER
            A woman saved the life of a seven-
            year-old boy yesterday afternoon
            after she found the strength to
            free him from under a one-ton car
            and then gave him the kiss of life.

Stock footage of the busy street plays.

                         FEMALE ENGLISH REPORTER (V.O.)
                   (over footage)
            Jean-Luc Archer, from Cheetham Hill,
            Manchester, was walking near his
            home on this street when he ran out
            in front of a BMW 318. The boy went
            under the front wheels of the car,
            the driver, so traumatized by the
            event, was unable to take his foot
            off the brake. Lisa Hodgkinson, a
            29-year-old sales representative
            from Warrington, Cheshire, had left
            work to buy a sandwich when she saw
            the accident happen. She immediately
            raced over to help the badly-
            injured schoolboy.

The footage cuts to an interview with LISA HODGKINSON in her
home.

                         LISA HODGKINSON
            The car was on top of Jean-Luc and
            I somehow managed to push it off
            him. I donít know how I found the
            strength. I think nature just takes
            over. He had stopped breathing, so
            I gave him mouth-to-mouth.

It cuts back to the reporter, still near the busy street.

                                                           60.


                         FEMALE ENGLISH REPORTER
            George Tapert was nearby when the
            accident happened and saw the whole
            thing.

Cuts to GEORGE TAPERT, sitting behind the wheel of his car,
being interviewed on the street.

                         GEORGE TAPERT
            It was the damnedest thing I've
            ever seen. Just the damnedest thing.
            The bloody wheels came off the ground.

Cuts to the Reporter.

                         FEMALE ENGLISH REPORTER
            The strangest thing in all of this
            is that this is not the first time
            Ms. Hodgkinson has given someone
            the kiss of life. She received a
            Good Citizen Award from Cheshire
            police last July, after
            resuscitating a lorry driver on the
            M62.

The video ends. Lisa goes back to the search line and erases
"Richard Dalby." In its place she types, "Dylan Dandridge."

A page pops up on the screen. The article has already been
highlighted by the search engine.

"DEATH IN SUBWAY DEEMED ACCIDENT."

Lisa clicks on a video link. A video news report pops up in
a media player window.

The VIDEO REPORTER reports from a destroyed subway line. She
advances towards the wreckage as she speaks.

                         VIDEO REPORTER
            Police and Transit Authorities have
            completed their lengthy
            investigation involving the
            collapse of this
                   (points to wreckage
                   behind her)
            abandoned subway line that killed a
            teenage boy three months ago. The
            boy, Tyler Thompson, traveled to
            this underground subway line when
            it suddenly collapsed and killed
            him.

                         (MORE)

                                                           61.


                         VIDEO REPORTER (CONT'D)
            Two other teenagers, Dylan
            Dandridge and Kelly Williams, were
            also injured, but not seriously
            hurt. Authorities are still
            investigating the rumor of a
            possible kidnapping in this case.
            But, for now, this line which used
            to run twice a day, is shut down
            indefinitely.

There is a photo of the devastated subway line. It's an
older line, for cargo trains. The roof has collapsed and a
newer subway car, along with tons of concrete and debris,
have crashed through the broken ceiling.

A familiar figure looms behind Lisa: John. He browses
through the books, when Lisa catches his eye. He moves
closer, trying to act casual.

He stares at her.

Quickly, she feels someone watching her and sees John, still
staring at her.

                         JOHN
                   (smiling)
            Hi.

                         LISA
            Hi...

Lisa quickly turns her focus back to the computer monitor.
She sees a link at the bottom of the page that reads, "See
Related Story"

She clicks it.

Another article, from the same paper, pops up over the old
one. The headline:

"HERO IDENTIFIED IN RESCUE OF YOUNG GIRL"

Lisa reads over the large-fonted sub-headline:

"Dylan Dandridge has been identified as the man who rescued
an 8-year old girl that was pinned beneath the wheel of an
SUV one month ago."

John inches even closer. He looms over her shoulder and
reads the article she's looking at.

There is another picture here, this one an artist rendering
of the event.

                                                           62.


In it, a teenage boy, presumably Dylan, lifts a large SUV
approximately one foot off the ground by the front bumper.
Underneath one of the front tires lies a prone young child.

It's an incredible image.

                         JOHN
            Wow...

She turns to see him, startled.

                         JOHN
            Some hero.

She smiles at him. He's being truly genuine.

She looks back and forth between the article of Lisa
Hodgkinson and the article about Dylan. She can only stare.

INT. CLINIC - NIGHT

The door cracks open hard.

Dylan crashes through the broken door and staggers into the
clinic.

He gets his bearings. He passes a metal exam table in the
center as he works his way to the far end, where the
medicine cabinet is. He bears a heavy limp. Yet he still has
the same stubborn, determined look on his face.

He opens it up, breaking the tiny lock off as he does so,
and removes a roll of gauze.

He leans his heavy body against the table.

He pushes his coat aside. Blood covers his black shirt. He
lifts up the front, more blood pours out of the bullet wound
on the side of Dylan's stomach. He starts to unravel the gauze.

Suddenly, a shadow passes over the light coming from the
door. A FEMALE NURSE stands still in the doorway. This is SARAH.

Dylan quickly looks up at her.

                         SARAH
            What is it this time?

She walks over to Dylan.

                         DYLAN
            Nine millimeter.

                                                           63.


                         SARAH
            How did this happen? What happened
            to the vest?

                         DYLAN
            I stopped wearing it. Too bulky.

                         SARAH
            But you're so big.

Sarah takes the gauze from his hand. She sets it down on the
table next to him.

                         SARAH
            And he caught you off guard?

                         DYLAN
            Well, he's supposed to be a reporter!

                         SARAH
            After all this time you still take
            people at face value.

Dylan says nothing.

                         SARAH
            Alright--

She picks up a pair of tweezer-like tongs and holds them in
front of Dylan's face.

                         SARAH
            I know the adrenaline your body
            stores acts as a natural pain
            inhibitor, but this is going to
            hurt. A lot.

He thinks about it for a moment.

                         DYLAN
            Alright. Do it.

She grabs a syringe and fills it with something from one of
the bottles in the cabinet.

She injects it into his arm.

                         DYLAN
            God, I hate those fuckin' things.

                         SARAH
            Shut up, you big baby.

                                                           64.


In a moment, Dylan's eyes begin to wobble. He starts to get
dizzy, starts to fall asleep.

She gently grabs his head and leans him back on the cold table.

                         DYLAN
            How much did you shove into me?

                         SARAH
            Rest. You don't get nearly enough.

She looks down at him with loving eyes.

Everything goes black.

EXT. ALLEY CRIME SCENE - NIGHT

The alley behind the Queens Diner was once dark and empty.
Now it buzzes with excitement as cops filter in and out
beneath yellow police tape.

John bends down and lifts the plastic sheet covering Reese's
body. He looks at it with a Detective's eye for details.

Chief Husselbeck powers his way through the slew of officers,
heading for John, who sees him coming.

                         HUSSELBECK
            How we doin', John?

                         JOHN
            We've got to do a better job
            keeping the press outta here.
            They're gonna have a fuckin' field
            day with this.

                         HUSSELBECK
            I know, I know. I've already put
            more guards on security detail.

He sees the body.

                         HUSSELBECK
            That him?

                         JOHN
            None other.

They both bend down to get a closer look.

                                                           65.


                         JOHN
            The report Reese left at his office
            said that he was investigating the
            crack house-
                   (motions with his head)
            -down that way.

                         HUSSELBECK
            He have anything on him?

                         JOHN
            Just a pen and some notes. Looks
            like his report checked out.

                         HUSSELBECK
            Let me guess-

Frank looks at Reese's neck - it's swollen and discolored.

                         HUSSELBECK
            -The neck, right?

                         JOHN
            Good guess.

They both stand up.

                         JOHN
            The only strange part is this.
                   (motions to casing on ground)
            We found a spent shell casing here.
            We haven't found the weapon yet,
            but, then again, this isn't exactly
            the nicest neighborhood.

                         HUSSELBECK
            It could have come from anybody.

                         JOHN
            Right.

                         HUSSELBECK
            Are we back to thinking the same
            thing, John?

                         JOHN
            I imagine so.
                   (beat)
            I guess we should make it fourteen.

Frank kneels back down, now close to Reese's ear.

                                                           66.


                         HUSSELBECK
                   (whisper)
            You got what you deserved.

INT. ABANDONED CATHEDRAL - NIGHT

Dylan enters the Nave through the huge double doors. His
breathing labors. And he still has that limp.

Suddenly, Lisa runs out from his bedroom. She looks like
she's been up all night.

                         LISA
            You're finally back... I was worr-

She sees his limp. And something beneath his shirt. He tries
to hide it by pulling his coat tighter.

                         LISA
            Are you alright?

She walks hastily over to him.

                         LISA
            What happened to you?

She goes to pull back his coat and check the wound under his
bloody shirt.

But he extends his hand and halts her before she can.

                         DYLAN
            You should go.

                         LISA
            But I just--

                         DYLAN
            Now.

She looks up at him, still holding her away with his hand.

He just stares at her coldly.

                         LISA
            Yeah... alright.

She hesitantly walks out.

INT. POLICE STATION - JOHN'S DESK - NIGHT

The main room of the Detective's wing. Desks fill the area.

                                                           67.


John's desk is somewhat neat, much neater than the desks
surrounding him. He sits in it, working on the usual slew of
police reports.

Chief Husselbeck traverses the maze of desks, until he
finally reaches John.

                         HUSSELBECK
            John.

John looks up from his work.

                         JOHN
            Hey, Frank. How's it going?

                         HUSSELBECK
            How the hell do you think it's
            goin'? We're gonna have a real mess
            soon. I've got the news guys so far
            up my ass they might as well brush
            my teeth.
                   (beat)
            We have to act. Right now.

                         JOHN
            About?

                         HUSSELBECK
            I've already got my hands full with
            the kid fucker. We don't need a
            vigilante killer out there popping
            off famous repor

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