This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
The Crimson Kiss by Adam Johnson 3336 Spruce lane Grapevine, TX 76051 (214) 460-1526 AdamtheJohnson@hotmail.com FADE IN: EXT. CHICAGO - NIGHT SUPER: CHICAGO, 1942 Only two colors exist in this world - black and white. This once thriving metropolis now crumbles under the weight of time - hit hard by the Depression. No new buildings have been erected in years, and the old ones are only left to rot, their mid-century architecture ready to fall apart. Dark alleys, drastic angles, shadows everywhere. Smoke and rain fill the air always. An enormous moon shines overhead, but not one inch of the city isn't covered in darkness. EXT. STREET - NIGHT Several 1930's and 40's automobiles rumble along on the rain- soaked brick-paved streets of Chicago, though the streets are nearly devoid of pedestrians with the late hour. Lights from the moon and car lamps bounce off all the slick brick- work. A young couple, JOHNNY MURDOCK, 30's, in slick 1940's business-man attire and an old-style brown trenchcoat, and the blonde-headed bombshell on his arm, PHYLLIS DANVERS, 20's, in a sultry dark-colored dress, walk along the wet streets, ignoring the rain bouncing off their heads, and disappear into a dark alley. EXT. DARK ALLEY - CONTINUOUS The shadows overtake the alley, engulfed further into a veil of darkness with each step. They giggle and Phyllis clutches Johnny's arm tighter for warmth. JOHNNY Whew, cold out tonight, isn't it, beautiful? Her teeth chatter as she laughs. JOHNNY Here. Johnny stops and removes his trench. He drapes it over her shoulders. PHYLLIS But Johnny, your suit. 2. JOHNNY Don't worry about the suit, sweetheart. I'll get another one. There's only one of you. PHYLLIS My hero. JOHNNY Flattery will get you nowhere with me. A tin can topples over somewhere near the end of the alley. PHYLLIS What was that? JOHNNY What? PHYLLIS You didn't hear it, Johnny? JOHNNY I think the cold is getting to that pretty head of yours. Another sound amidst the darkness, closer this time. Johnny and Phyllis both stop. JOHNNY I heard that one... He detaches himself. JOHNNY Wait here. Johnny walks further down into the darkness, leaving Phyllis, alone and in silence. JOHNNY Hello? You better come outta there. I don't like bein' kidded. Phyllis watches as Johnny takes careful steps down the alley, until he disappears after crossing a line of darkness. For several moments Phyllis can't move. Can't breathe. Frightened, she forces herself to take a few steps closer. She sees something in the darkness, something we can't. JOHNNY (O.S.) Oh, it's you. What are you- 3. His voice is cut off by his own cries of pain. A crunch. Blood sprays the brick alley wall. His cries stop. Phyllis screams. INT. BANNISTER'S OFFICE - GRAY MORNING - RAIN Smoke fills the deteriorated office. The sound of rain pattering against glass. Papers and file boxes everywhere. On the door outside the words "David Bannister, Private Investigator" are etched in thick, black letters. DAVID BANNISTER, 38, sullenly sits in complete silence as he stares out one of the big, venetian-blind covered windows in his office, watching the dark rain as it runs down the length of the window, lost in a well of sadness somewhere. It's early - which means he's probably hungover. His shoulders slump and his head sags heavily as he takes a drag from his hand-rolled cigarette - the cause of the smoke in the room. His hair is a mess, greasy, tossed about his unshaven face. He wears only a pair of beaten up slacks and a dirty wife- beater. His gun-holster pretzels around his shoulders, empty. He definitely looks like he's had a bad day - and it's only 8:30. Suddenly, the silence is broken as MR. CROSS, with slicked- back hair and a pinstripe suit, continues his verbal laceration of David, already in progress. CROSS What do you want me to do now, Bannister? David spins in his chair and eyes Cross. DAVID I don't care what you do, Cross. David tosses a newspaper onto his desk as he stands - the headline: Child Rapist Killed. DAVID Just stop shouting. David crosses his office and opens the refrigerator next to the sink outside the bathroom - this is as much of an apartment as it is an office. 4. CROSS What's next, huh? DAVID (indifferent) Bury the son of a bitch. CROSS He was meant to rot in jail! He removes a beer and places it against his forehead, standing inside the fridge to cool his aching head. DAVID (quiet) He's rottin' somewhere. He twists open the bottle. CROSS What happened to you? David sits back down at his desk and takes a swig. DAVID I did what I was paid to. Now shut up... or get out. I'd prefer both. With quiet anger, CROSS You son of a bitch. David takes another drink, indifferent. Cross throws the newspaper into David's face. CROSS You're not getting a dime. You come near my family, and I'll plug you myself. Before he can blink David is up, clutching Cross by the shirt collar, with his .38 planted next to Cross' jugular. DAVID It takes a lot to kill a man. He pulls the hammer back with his thumb. DAVID You better be sure you're capable of it. 5. David lets go of the man's suit and throws open the door with the now free hand. INT. RECEPTION OFFICE - CONTINUOUS Still with the gun in the man's throat David rushes Cross out of his office, forcing him to stagger backwards awkwardly as David clutches his collar. CROSS My daughter deserved justice! DAVID He raped a dozen little kids. His death isn't justice. David throws open the outer door. DAVID It's life. He throws Cross on his ass into the hall. He stumbles to his feet, belligerent. CROSS Bastard! He runs off, stumbling on his fat-cat legs. David turns around after a moment to see EVY SOMERVILLE, David's secretary, standing to introduce MARION McPHERSON, a brown-headed bombshell in a dark dress, her face red from recent tears. Her eyes look up towards David slowly. EVY Mr. Bannister, this is Miss Marion McPherson. (beat) Your eight o'clock. David staggers, startled by her unforeseen presence, unable to speak. He suddenly feels very inadequate in his own skin, or rather its appearance thereof. MARION (courteous, but sad) Mr. Bannister. He tries to gather himself quickly, still realizing how he must look. DAVID Uh, hiya. 6. No one else says anything. DAVID Here, have a seat here. He gestures towards a reception chair with his gun. Realizing his move he puts it away in the holster as quiet as he can help. He ushers Marion towards the chair. With her back turned he silently mouths something angrily at Evy. She does the same, raising her arms in defiance as if to say she had no choice. David resumes his normal posture before Marion turns back around. David walks away from Marion as he speaks, towards the coat closet a few feet away. DAVID So, McPherson, is it? David opens the door to the closet and steps inside, the door blocking any view of him from Marion. MARION Yes. DAVID (O.S.) What can I help you with? Husband cheating on you? MARION No, I--... Can't we do this in your office? DAVID (O.S.) No, actually. David steps from behind the door, still pulling on a button- up shirt over his still dirty tank, though the words 'fresh' or 'nice' fit nowhere in its description. With the collar and two buttons still unbuttoned he heads for Marion, rolling up the sleeves as he does so. Doesn't even attempt to tuck it in. He leans against Evy's desk as he speaks to Marion. DAVID Evelyn here needs to hear this too. She holds her breath, wringing the black purse resting in her lap. This isn't easy for her. 7. MARION My boyfriend is dead. David looks quietly surprised. He looks at Evy, who sits down. David instantly has another degree of seriousness in his face. DAVID I, uh... I'm sorry. Evy wrings her purse tighter in her hands. She sniffles with her head lowered towards the floor. A tear falls. David gestures at Evy with his head, as if to get something in his office. DAVID What are the police doing? Evy returns, with a shot glass and a bottle of whiskey. David hands the full glass to Marion. DAVID Here. Down the hatch. She takes it down. She breathes hard, not very smooth. MARION They won't tell me anything. She's wringing her purse again. Evy eyes the move closely, a suspicious gaze in her eyes. DAVID Saps. All of 'em. David stands. After a moment, DAVID Miss McPherson, do you want my advice? She nods. DAVID I think you should go home and lay down that pretty head of yours. Start grieving for your boyfriend. MARION But... 8. DAVID If this is a murder case - and by the look in your face I can tell it is - the boys in blue need to handle it. When they quit sittin' on their hands and find something they'll call you. That's why they won't tell you anything yet. MARION But I have to know! Her fires could peel the paint right now. David looks at Evy - He might just be outmatched. Evy, in response to the look, pulls out a pen and a legal pad. DAVID What's his name? MARION Johnny. Johnny Murdock. She stews for a minute on something. For the first time since she started talking she is hesitant. MARION Do you think... would it be possible, if no one knew-- DAVID Don't worry about it. David glances knowingly at Evy. DAVID I can handle it. She's quiet now, looking at the black handbag in her lap. MARION I just want to see him pay, Mr. Bannister. The man who did this - I want done to him what was done to Johnny. That venom again. After a while, MARION Are you going to help me? 9. DAVID We wouldn't still be talking if I wasn't. EXT. OVERHEAD VIEW OF APARTMENT COMPLEX - NIGHT - RAIN The hotel lies in the center of a seedy part of town. The very paint peels from the exterior. EXT. APARTMENT COMPLEX - NIGHT - RAIN David stands in front of the hotel, looking it over. He glances at a crumpled piece of paper in his hands with an address scribbled on it. He cranes his head into the rain, and looks at the building again. It's the right place. The rain incessantly patters over everything. INT. APARTMENT CORRIDOR - NIGHT A seedy, dilapidated hallway. Wallpaper is peeling. The floorboards are cracked. If there was paint on the walls, it would be the only thing holding them up. An OLD MAN leads David to a door. He's wearing an oxygen mask, dragging a tank on wheels behind him. His breathing is rhythmic. The wheels of the tank squeak with each revolution. He points to the door and walks away. David doesn't even gesture a thank you. INT. MURDOCK'S APARTMENT - NIGHT The apartment is slightly nicer than the corridor outside, tidier. Like shit with sprinkles on it. David enters the room slowly, unsure of danger. He studies all of the overlaying shadows that fill the room. The room is hazy with dust - so much so that the light slivering past the blinds picks it up, densely filling the air. A car passes by outside, silently filling the room with light in an ascending motion. Just a flash of visibility, but it's enough to see Johnny Murdock wasn't well off. David unbuttons his overcoat, tilts his head from side to side. It's completely deserted. 10. INT. MURDOCK'S APARTMENT, BATHROOM - NIGHT The door creaks open incredibly slowly. David stands in its place, like a silhouette, the dust outlining his frame in a sliver of light. He carefully walks into the bathroom, onto the linoleum flooring. It's so quiet, each step of his shoe against the dingy plastic booms like a slow drum. David throws open the plastic shower curtain, hazy with soap scum. It's empty - except for a few little friends. David stops. He takes a seat on the edge of the bathtub. Frustrated, and just plain bored, he runs his hands through his hair - he's done this too many times. He digs in his jacket pocket and pulls out one of his hand- rolled cancer sticks. He lights it and the smoke only makes the apartment space that much more opaque. He sighs and stands up. Just as he does a light whizzes by outside, illuminating David's face in the grungy mirror against the wall. A large crack cuts diagonally through his face. INT. MURDOCK'S APARTMENT, DESK - NIGHT The rain patters against the window as David fingers through a mess of papers on Murdock's very ordinary desk. Something jumps out at David. He stops. A business card. "SAM & MILES FIRST BANK OF CHICAGO. JONATHAN MURDOCK, SALES ASSOCIATE" David stares at it. Shoves it into his coat pocket. INT. MURDOCK'S APARTMENT, CLOSET - NIGHT David brushes one of Johnny's suits out of the way. He sees something on the top shelf. He reaches out and tries to grab it. But it falls to the floor, spilling out a thousand receipts. David, annoyed, turns and shuts the door behind him. Just as he does he sees something on the carpet. INT. MURDOCK'S APARTMENT - MOMENTS LATER David casually pushes the recliner out of the way - it topples to the floor carelessly. 11. David slowly creaks down on those old knees and picks up something embedded into the carpet. It's an earring. Unidentifiably feminine. INT. MURDOCK'S APARTMENT, WINDOW - NIGHT - RAIN Rain patters quietly against the window as David tries to look at the earring closer in the small amount of light streaming in, always changing and shifting because of the rain. As he studies, the dark world outside doesn't stop. DISSOLVE TO: EXT. ALLEY - NIGHT David walks through the dark haze of late-night Chicago, in a back alley behind some rotting building. EXT. CRIME SCENE ALLEY - NIGHT David sees it and stops. A familiar alley. Yellow police tape cordoning off one pathway of the alley. He looks around, and slowly crosses beneath the yellow tape into the alley where Murdock was killed. David squints, it's too dark to see much. He takes a step. Something squishes beneath David's careful shoe. He retracts it slowly. He bends down to get a closer look. He sees it. He lifts his head and looks at the rest of the alley. The alley is blanketed with blood. On the ground. On the walls. Spattered on every dumpster. Bits of flesh and gore protrude from the dried plasma. EXT. ALLEY - CONTINUOUS David crosses back under the police tape. He stops and takes one last long look down the dark, smoke-filled alley. David can only gape at the scene. It's like he's looking down his own path. FADE OUT. 12. INT. BAR - NIGHT David sits at the bar in this seedy, underground establishment. The smoke is even denser here, with the few other patrons here at the late hour chain-smoking alongside David. The kind of smoke that makes your eyes water. David tosses back another swig of beer. He stares at the bar. David runs a hand through his greasy hair. Something on the television hanging in the corner, black and white of course. The news. NEWSCASTER (ON T.V.) --n other news today, the long- awaited Subway Construction Project here in Chicago is now fully underway. Expect the subway to ride, for the very first time in Chicago, some time next year. David just takes a drink, entirely oblivious. He listens to the drunken banter around him. OLD DRUNK I used to play ball with my kid all the time. Then I come downstairs one day, with mah glove, and they're gone. All of 'em. Wife. Kids. Left a note too. Said they wanted me to quit drinkin'. (beat) I hate ultimatums. The Old Drunk takes a long swig of his beer. David listens. 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? I could use a little company. He slips a fifty dollar bill in her shirt pocket. He's done this before. She looks at him, thinking it over. Listens. 13. YOUNG DRUNK Hey, Earl, just one more eh? EARL, the bartender, leans over the bar to talk to the poor, down-on-his-luck fella. EARL I think you've had enough, sonny. YOUNG DRUNK Come on Earl! One for the road, friend? EARL You're gonna kill somebody. YOUNG DRUNK (quietly) And me with 'em... He takes his drink and stumbles out the door. David takes a drink, drowning out the sadness of the room. David looks up. An unfamiliar face looks at his from across the bar, trying not to make his stares obvious. Bannister looks at the man, as their eyes lock dead on one another. Someone passes between them, blocking their view. When it's passed the man is gone. EXT. OVERHEAD VIEW OF THE BAR - NIGHT The seedy bar, surrounded by fog. The door creaks open. EXT. BAR - NIGHT David exits the bar slowly, knees just slightly shaky. He glares at the downpour in front of him, just outside the protective tarp over his head that covers the entrance. A wall of rain, just one step ahead. He walks through the wall. The sound of the rain drowns out everything - washes it away. EXT. STREET - RAIN David hikes his collar higher as he jogs through the torrential downpour. After only a few steps down the dark streets David vanishes beneath the rain. 14. A shadow steps out from behind a curtain of black, and watches David disappear into the darkness. DISSOLVE TO: EXT. OVERHEAD VIEW OF INDUSTRIAL SECTOR - NIGHT - RAIN An industrial section of the city. Factories, large buildings - all decayed. The sky is even deader here, blocked by Industrious fumes and smoke. Right in the middle of it all - an apartment complex. David's. Rain blankets the entire rotting thing. INT. DAVID'S BUILDING, BACK ENTRANCE - NIGHT - RAIN David walks in from the blanketing rain, soaking wet, and into a covered back entrance used for trucks - it's like a kind of garage with the door open. David carelessly shakes the rain loose from his overcoat, and looks up. Marion sits between two trash bins, mingling with the garbage. She sees David and suddenly becomes very alert. David sighs, annoyed. He hurries right past her, inside. INT. DAVID'S BUILDING, CAGE ELEVATOR - NIGHT Stacks of gaudy balconies loom into shadows above. The industrial cage-style elevator slams open. David is desperate to get away, as Marion is right behind him. MARION I had to see you. INT. CORRIDOR - NIGHT Dank corridor on one of the upper floors. The wallpaper is faded and falling down - so are the walls. David can't get away fast enough. MARION I've been waiting all night. INT. DAVID'S APARTMENT DOOR - NIGHT He fumbles for his keys with Marion looming behind him. The key turns. 15. MARION It's cold out. The door opens. David goes inside. MARION I'll freeze to death! He slams the door right in her face as she yells. She waits. After several moments, the knob turns and the door opens incredibly slowly. She walks in, and the door shuts behind her. INT. DAVID'S APARTMENT - NIGHT - RAIN The place is a mess. Dark and dusty, filling the air with a dense haze. Rain patters against the window. Light filters in through shoddy venetian blinds. A table fan spins in the corner, near the window, tossing the shadows around the place even more, spinning, spiraling all the time. David still hasn't said a word to her. He tosses his soaking wet overcoat on a chair and heads for the bathroom without stalling. The light pops on, filling the dark space with a little light, hazy at best. David shuts the door all but a crack. The fan keeps spinning in the living room. Marion hasn't moved. She stands in the den aimlessly, awkwardly. She starts to peer her head around the room, just as David exits the bathroom - now wearing only his gun and the tanktop/slacks combo we saw earlier, with a towel over his shoulder to accessorize. He walks up to her carefully, slowly. He holds out the damp towel in front of him. Slowly, carefully, she takes it, still obviously feeling inadequate. DAVID Dry your hair. I'll call you a cab. David turns and goes into the kitchen, again off-screen. DAVID (O.S.) You can sit down, ya know? 16. She does at his request, but just barely. She sits awkwardly on the very edge of the chair where David threw his coat. Marion looks into the kitchen. She sees David with his head in the icebox, to cool his throbbing head. She gets up, and wanders around. On the table in front of a torn-up sofa are pictures - paintings. Charcoal, stencil, mixed-media with clippings and other materials. Whatever they are, they're all very dark, sinister, disturbing even. Screaming faces, malevolent acts, no real form - real 'lost soul' art. She picks one up as she sits on the filthy couch with the springs poking through, and stares at it, lost in its darkness. It's one of 'the screamers.' MARION What are these? David leans against the door frame of the kitchen. DAVID It keeps the bad stuff out-- He taps his head. DAVID --from in here. MARION What do they mean? He turns and walks away again. DAVID I don't know. They're just what I see. FLASH CUT-- -- Dark. Evil. A man - similar to the one made of charcoal - screams in ecstasy. With a little girl bent beneath his naked body. -- Marion lets the dark portrait float back onto the table. It's hideous. She gets up, walks around again. She sees the pictures of him around the room, in happier times, brighter times. Some include a woman. Beautiful. 17. Hundreds of black and white photos - crime scenes, evidence, that sort of thing. His hat rests on top of a lamp. A spare gun. The spinning fan, tossing light. The pattering rain. MARION Why do you do what you do? DAVID (O.S.) It pays the bills. After a moment of silence David enters the den again, holding a glass of whiskey in one hand and a bag of ice in the other. He stands in the doorway. DAVID It's on its way. He plops down onto his sofa, burnt out. He puts the ice on his forehead and takes a drink from his glass. MARION You're drunk. DAVID Not enough. Beat. Silence. The rain, the fan. She can't face him, turned the opposite way. MARION You think I'm a liar, don't you? David, annoyed, digs in the pocket of his slacks. He tosses a small object at her. It lands on the table next to her. She turns and looks down at it. It's the earring from Murdock's apartment. DAVID You don't wear earrings that cheap. She turns. MARION So you did believe me then? 18. He's getting really frustrated by her questions now. DAVID I believed your two-hundred dollars. MARION Is that the only thing you care about? DAVID What? MARION Money. DAVID Look. You paid me more than if you had been telling the truth. And enough more to make it all right. MARION Tell me then - what am I lying about now? DAVID I don't care. I just want you to get the fuck out. She reels. Tears in her eyes. David sees he's been too harsh. He gets up, stands close to her. DAVID How 'bout a drink? A moment of honest sympathy. She smacks him in the face. Hard. As he's reeling, she stomps out. She's gone, disappearing into the haze, before he can stop her. If he had wanted to. He collapses onto the sofa, in front of the portraits. He rubs his jaw where she slapped him and uses the cold glass against his forehead to soothe the oncoming hangover. He swigs at the drink. He looks at one of the pictures, and leans back on the shoddy sofa. 19. He closes his eyes, out after only moments. The fan keeps spinning. INT. CARGO ELEVATOR - NIGHT Marion, in the elevator, headed down. Sullen, sad. The light outside the elevator whizzes up and down, repeatedly throwing her face into darkness, then lighting it up - over and over again. The lift stops. And she's in darkness. She steps off. INT. HOMICIDE DIVISION - NIGHT - RAIN Beat up old office space in an old building - once grand, now gone to seed. Desks fill this large area, clumped together messily. The area is separated from the hall by dingy glass and wood partitions, obscuring passing bodies into hazy ghosts of men. CLARENCE HUSSELBECK, gritty Homicide Detective - which means unshaven, dirty and generally an asshole. His desk is in a dark corner of the smoky room. He leans back in his chair, nodded off. The wall telephone begins to ring. Clarence's eyes flutter, slowly awakening. He leans forward and rubs his eyes as he groans, trying desperately to focus them. Two other DETECTIVES murmur as they walk past. DETECTIVE (under his breath) Crazy bastard. Go home and get some sleep, would ya? DETECTIVE 2 (under his breath) Come on, pal. He's all washed up. They both laugh, trying to keep it down. The two of them pass past the partition - ghosts. The phone keeps ringing. 20. Suddenly, a stir of commotion. Across the hall the double doors swing open. A PERP is hauled in against his will, struggling along the way, with three officers manhandling him in. PERP I'm innocent, coppers! Innocent! He spits at one of them. Passing behind the partition, Clarence sees two ghosts beating on another. Punching it in the face, in the stomach, until something flows out of his mouth. The cops chuckle with glee, and pride. The ghost with his hands handcuffed behind him can barely stand. The cops have to drag him along. The phone keeps ringing. Clarence looks at it indifferently. He scoots his chair back to stand. EXT. DOWNTOWN STREET - NIGHT The rain has finally stopped. Now only the fog remains. There isn't a sound in the city, only silence. A 1940's police cruiser, big as a boat, rumbles along on the wet pavement, the little red light on the hood whizzing around. Red light flashes across the black city, reflecting off all the wet surfaces. INT. POLICE CRUISER - NIGHT Clarence is behind the wheel. Only silence. Ahead of him, the dark city is painted red - over and over again. EXT. CRIME SCENE - NIGHT A bloody body covered in a white sheet lies in the center of the road. Police photographers flash light on the dark street as they snap pictures with those popping bulbs. Yellow police tape everywhere. Husselbeck walks the line, idly examining the busy scene. 21. Husselbeck takes a drag from a cigarette, unimpressed with the scene. He's seen this too many times. INT. POLICE CRUISER - NIGHT Lights flash by outside, the busy crime scene. Husselbeck yawns uncontrollably as he scribbles notes into a pad. And it's not because he's tired. Husselbeck looks up - watching as they zip up the body bag. INT. DINER - NIGHT A somewhat quaint 1940's Diner. Dark, green flourescents buzz overhead, casting ugly light over everything. Some of the other officers and Detectives mingle with one another in the booths of the Diner. Husselbeck hangs away from them, up at the counter. He stares into his coffee. After a moment, the Diner door dings, drawing Husselbeck from his trance. PHILIP MARSHALL, Husselbeck's partner, not nearly as rough around the edges, eases in and sits next to Clarence at the bar. Husselbeck doesn't even notice. He just stares into his mug. MARSHALL Hiya Clarence. He doesn't move. The waitress shows up. Philip gestures at her with one hand. MARSHALL Coffee. Black. (to Husselbeck) Cold out tonight, eh? HUSSELBECK It's always cold out... MARSHALL What's that? 22. After a moment, still staring his the black of his coffee, HUSSELBECK When did things get like this, Marshall? MARSHALL Like what, Clarence? HUSSELBECK I remember... the sun. Marshall doesn't know what to say. HUSSELBECK But now... it's like some distant memory. Something lost or... just forgotten. MARSHALL Clarence... HUSSELBECK I think it hides... from us. So we don't have to see... see what we've done. What we're doing... After a while, HUSSELBECK It will always be dark here. Husselbeck stands and walks away without another word. He never even looked at his partner. The bell dings as he leaves. INT. CORONER - NIGHT Swoosh - A white sheet is yanked off a corpse on a metal table. A dark, grimly-lit autopsy lab. A series of ugly lime-green drawers line the main wall, compartments for storing bodies. Human popsicles. DAVID This him? JIMMY, an aging coroner in a lab coat, wheels a metal tray stocked with instruments over to the corpse. JIMMY Sure is. 23. The body has been decimated. His ultra-pale skin has been ripped to shreds, deep bite and claw marks, all of them inches deep, cover his upper body. His intestines spill out of a large gash onto the metal table. But his neck is the most ravaged - from the ear to the shoulder is one large wound, hacked off to the bone like he was in some terrible accident. Dried blood covers him head to foot. It's Johnny Murdock. His face is still contorted into a scream. David's face cringes from the smell. He has to take a step back. DAVID Jesus Christ... JIMMY Warned ya. Jimmy gestures at the body with a metal probe he has in his hand, the excessive kind - with sharp points all over it. JIMMY Death was mainly from the neck and... stomach wounds. Blood loss didn't help. DAVID Blood loss? JIMMY Not a drop left. DAVID I can see why. David stops, thinking for a moment. Jimmy readies one of his tamer instruments. JIMMY I'm glad you called. I was about to try and clean the poor bastard up. DAVID When's the funeral? JIMMY Hard to say - kid had no family. David sees something, as Jimmy is busy tidying up his instrument tray. 24. David inches towards the body - the hideous, grotesque thing. His face cringes again from the smell. He reaches into the large wound, carefully, on Murdock's neck. JIMMY Hey, what are ya-- David pulls something out, holding it carefully in his hand. It's a clump of hair - animal - dark and nappy, soaked in gore. JIMMY Well I'll be... Jimmy takes the clump, and sets it on his tray, examining it. DAVID Dogs? JIMMY Not likely. Not in this weather. Jimmy stands straight, pondering the find. DAVID The dame thinks he was murdered by a man - not some animal. Jimmy looks him right in the eyes. JIMMY No man did this, Bannister. The green fluorescent light flickers overhead, buzzing. INT. BANNISTER'S OFFICE - DAY Even at the height of day, the city still seems dark. David sits already at his desk, leaned back, staring out the window. There's a soft knock on the glass of the door and Evy enters without waiting for an answer. She looks and sees David. EVY You here already, Bannister? DAVID You've worked here eight years, angel. When are you gonna start callin' me David? 25. EVY When you give me a reason to. She waits a moment, leans against the door-frame. EVY You here all night again? DAVID I'll sleep when I'm dead. EVY You keep it up it won't be long. Evy sees something. David, still leaning back, is playing with something in his hands. It's an earring - the same one he found in Murdock's place. Just twirling it, back and forth, catching the sun each time. EVY She wants you to kill him. DAVID I know. EVY Are you? David looks away from the window, towards Evy. EXT. WIDE VIEW OF MAGNIFICENT MILE - MIDDAY Beautiful Magnificent Mile. A centerpiece of Chicago. Smoke and haze wrap the massive buildings lining each side of this mile-long stretch of road. The streets and sidewalks are full with pedestrians. EXT. DOWNTOWN STREET - MIDDAY David, in darkness, again. Under overhanging bridges and decayed skyscrapers, leaving only a city of shadow, despite the hour. This is invariably one of the worst parts of the city - and that's saying something. EXT. DOWNTOWN CHICAGO MARKET - MIDDAY Under the bridges and shadows of the city, lies a bustling marketplace for traders of all kinds. David is caught in the middle. A swarm of people around him. Rows and rows of trade tables on either side of him. It's a thrift lover's wet dream. 26. All it is is yelling and pointing, every person trying to yell over the other thousand in earshot. David struggles to navigate through the masses. He goes up to random tables and points at something in his hand, or compares it to something on the table. He does this several times - always with disappointment. He squeezes his way through another mess of folks, in their suits and overcoats, and their big hats and nice dresses. He sees something on the table out of the corner of his eye. Frantically, as if it's going to disappear suddenly, he rushes to it. He compares the cheap earring in his hand to the one on the table - it's a perfect match. The very same earring. David tries to get the OLD WOMAN's attention. OLD WOMAN (to a man in a hat) Two dollars! No, two! Two! Two! DAVID Excuse me? The Old Woman can't even hear him. WOMAN IN GRAY DRESS How much for this? OLD WOMAN (to woman in gray dress) For you? Four dollars. DAVID (over crowd) Excuse me! She doesn't look away from her current sale. OLD WOMAN (to David) What?! DAVID (over crowd) This earring-- The Old Woman holds up three fingers to a woman. She grabs a handful of cash from another. 27. DAVID (over crowd) Who did you sell it to?! She snatches it from the table right in front of him, and hands it to a well-dressed woman. OLD WOMAN Everybody! She cackles. For whatever reason, everyone else seems to join in as well. David looks disappointed again, looking around frantically. The Old Woman starts towards him. She gestures emphatically in a single direction, pointing. OLD WOMAN Auto! DAVID (over crowd) Auto what? What? OLD WOMAN Auto! Auto! She gets right in his face and points in the same direction. DAVID I don't-- OLD WOMAN Auto! David gives up and gets away as fast as he can. DAVID Alright, sheesh. He heads in the direction she was pointing. EXT. THE UNDERGROUND - MIDDAY David comes down from a flight of stairs, leading up forever, and finds himself at the corner of a different part of Chicago. All the housing projects that were begun when the Depression hit stan the same way. Erect, but incomplete. Metal skeletons. Everywhere is rotten. Everything is falling apart. If the Market was bad - this place is worse. 28. The Underground. Something is blocking out the sun. Hazy. Grungy. A hooker on every corner - bad ones. Even David looks surprised by its filthiness. DAVID How far I've come... EXT. THE AUTOMAT - MIDDAY David walks up the small staircase to the quaint, but filthy, little place in the hear of this darkness. INT. THE AUTOMAT - CONTINUOUS Ding-Ding. Two rows of booths line the long walls on either side. At the far end of the semi-restaurant lies a glass wall, sliced into little sections with doors on the front, money operated only. Behind each little door is an item of food - an apple, a slice of cake, whatever. The AUTOMAT EMPLOYEE can be seen behind the glass wall, putting food into the little sections after removing the empty plates. David walks directly up to the wall, trying to get the employee's attention. But it's difficult as he's moving around behind the glass wall. David finally stops and knocks on the glass. The man looks up through one of the tiny doors. AUTOMAT EMPLOYEE (through glass) Yeah? DAVID I need to know who wears these earrings. David opens one of the doors and places the earring inside. From the other side the Employee reaches in and examines it. AUTOMAT EMPLOYEE (through glass) What are you, shittin' me?! Every broad this side o' Tuesday wears these cheap things! 29. He puts it back in the window. David tries to open it to retrieve the earring, but it seems stuck. DAVID What about a guy named John Murdock - You heard o' him? AUTOMAT EMPLOYEE (through glass) The kid? DAVID Sure. AUTOMAT EMPLOYEE (through glass) Yeah, he's in here all the time with his dame - the blonde. The door finally opens with a crack. DAVID Blonde?! David retrieves the earring and puts it in his pocket. DAVID Her name. What's the dame's name? AUTOMAT EMPLOYEE (through glass) Couldn't tell ya. (beat) But they was always in here readin' together. Smart kid. I think she worked at the bookstore. BOOKSTORE EMPLOYEE(V.O.) Murdock? INT. BOOKSTORE - NIGHT Dark and seedy like everywhere else - but creepier somehow, since it's a place for knowledge. David stares from across the table at a young, female BOOKSTORE EMPLOYEE. BOOKSTORE EMPLOYEE Can't say that I know him, friend. David leans in across the table, lowering his voice. He smiles. Is he flirting? 30. DAVID What can you say, angel? She almost blushes. She leans in closer as well. BOOKSTORE EMPLOYEE Well, I'm just not sure, I mean. DAVID He always came in here with a dame. Real cute. BOOKSTORE EMPLOYEE Alot of people come through these doors. Though they oughtn't be as handsome as you. DAVID Why's that? BOOKSTORE EMPLOYEE It's distracting. DAVID Well, it's a shame I'm forced to tear you way from your work, kitten. But the girl - she was real smart. Maybe even worked here. Had a nice lock of blonde hair on her pretty head. BOOKSTORE EMPLOYEE Danvers? DAVID What was that? BOOKSTORE EMPLOYEE Danvers - Phyllis Danvers. She did work here. DAVID Do you know where I can get a hold of her? BOOKSTORE EMPLOYEE Well... no. I mean, she was the best employee, but one day she just... stopped coming in. That was a few weeks ago. No one's talked to her since. (MORE) 31. BOOKSTORE EMPLOYEE (CONT'D) (beat) Though, someone did mention something odd. The night watchmen, he said he saw Phyllis come in late one night, a-after we were closed. He said she took a bunch of dusty old books and ran off. DAVID You're an angel. Do you have a picture I can have? BOOKSTORE EMPLOYEE Hold on. The cute girl turns and ducks around the corner, into another room, for a minute. POV - Through outside window - Someone is watching through the glass outside as David stands, awaiting the girl's return. BACK TO SCENE David turns around, feeling eyes on him. There's no one watching him. The girl returns just in time to give David a small wallet of her. ANGLE ON PHOTO Cute dame, Danvers. DAVID Thanks a million sweetheart. You got an address or telephone number I can reach her at? INT. APARTMENT 706 - NIGHT A door creaks open incredibly slowly. David just behind it - he peers inside carefully. Dusty old building. Lights flicker overhead, that buzzing sound they make. The place is utterly empty. The paint is a lighter color on the walls where pictures were hung and furniture was placed. Now only the cockroaches remain. 32. Dead end. INT. UNION STATION - DAY Incredibly high ceilings. Faded and cracking blocks of concrete make up the walls. Rounded arches. Beautiful, if it wasn't starting to fall apart. The same darkness and fog has found its way into this grand train station. David boards a train. INT. TRAIN CAR- DAY David collapses into a seat in an utterly empty car, exhausted. David takes off his hat and tosses it onto the seat beside him. He sighs noticeably. The train jerks forward slightly and scoots off, firing its horn several times. David rests his hand on his face and looks out the window. The crumbling buildings. The dusty, hazy streets of Chicago. The hand of time gripping tight. David watches, lost in thought, as the dark world races by outside. He plays with a gold band on his left ring finger. INT. BANNISTER'S OFFICE - NIGHT The handle turns on the outer office door and David practically stumbles in. DAVID Phyllis Danvers... doesn't exist! His words slur the slightest bit. Evy stands up from her desk quickly. And moves over to David. A FLABBILY FAT MAN, with bulbous pink cheeks and lips and neck with a great soft egg of a belly that is all his torso, and pendant cones for arms and legs, in a pinstripe suit, stands in the doorway to David's Office. DAVID Who the hell are you? Evy puts her hand comfortingly on David's arm, half-trying to restrain him. A warm touch. EVY Bannister... FAT MAN Back from the bar again, David? 33. DAVID Excuse me? FAT MAN I suppose the boy's apartment didn't yield many revealing clues, did it Mr. Bannister? DAVID What did you just say, pal? He pulls away from Evy and her too-troubled face. FAT MAN Nor did the boy's body at the morgue I assume. Tell me, how's Jimmy doin'? DAVID I asked you who the hell you were. Now you better answer me, before I squash your face. FAT MAN I'm Ira McPherson. David face registers only blankness. FAT MAN Marion's husband. David's jaw practically drops. He looks at Evy - who still has that sad look on her face, like she's sorry. DAVID Well... what can I do for you today? IRA Don't patronize me, Mr. Bannister. I give her her money. I like to know where it goes. David removes his outer coat and tosses it on the chair. He leans against the desk. DAVID And just where, do you think, it IS going? IRA I know she hired you. DAVID I can't say what she did - either way. 34. IRA No need to play games Mr. Bannister. I'm quite aware of her affair with the boy. Now, you're going to tell me why she hired you. DAVID No, sir, I'm not. IRA Why? DAVID Client confidentiality. Even if you don't respect your wife - I respect my clients. Ira's not happy. His large frame hovers over David's tall and lanky one. IRA You'd better watch it, Bannister. DAVID How can I watch it - with you eclipsing my view? Ira turns and takes a few steps in the opposite direction. A chuckle escapes from his mouth, his large body bouncing up and down as he does. IRA I can see you are a man who is not easily intimidated. DAVID I don't know any better. IRA Good. David crosses his arms, curious. IRA I want to know every move my wife makes. DAVID Sounds to me like you already got a snitch. IRA I've just increased my labor pool. 35. David doesn't say anything. IRA That petty allowance she gave you - I'll double it. David is still stone silent. IRA I'll write you a check in the morning. Good day. Ira, opening the door, IRA A word of warning Mr. Bannister. My wife certainly looks innocent - but if you think she had no hand in that boy's death, you're a fool and I'm tellin' you so. He tips his hat to Evy without another word. IRA (to Evy) Madam. Ira leaves. David walks into his office and collapses into his chair. EVY What was that about? DAVID I think we just found out who bumped off Murdock. David leans back in his recliner. DAVID Listen close, angel. I want you to find out all you can about him. Here. David digs into his pocket. He pulls out a business card and hands it to Evy. SAM AND MILES BANK OF CHICAGO. EVY My turn to play Detective? DAVID The works. She thinks for a moment. 36. EVY What are you gonna do? INT. DAVID'S APARTMENT - NIGHT - RAIN The patter of rain on the window. David stands in front of it, watching the rain through a maze of light, careening in through the venetian blinds, spilling trails of light all over him. He's in his wife- beater again. David lifts a hand-rolled cancer-stick to his lips. The smoke dulls the edges of the entire place. A soft knock at the door. David turns to face it, but doesn't move towards it. He hesitates. The knock again. This time, David heads for it. He puts down his glass of Scotch on the table as he heads for the door. David gets to the door and opens it. MARION Hello. David just looks at her. MARION I never did get that drink. DAVID Didn't you? MARION No... I didn't. David walks back inside quickly. He grabs his glass of Scotch off the table and takes it quickly to Marion. He hands it to her outside the door. She takes it hesitantly. MARION It's raining. DAVID So it is. Peel off your coat and sit down. 37. He walks off, letting her close the door herself. He sits down in a chair in the corner, facing away from her. MARION It's about time you said you're glad to see me. David is silent. DAVID I figured you wouldn't leave it like that. MARION Like what? DAVID Like you tattooing my face. She stops. MARION I'm sorry about that. DAVID Don't be. I deserved it. Marion sees all the new drawings laid out on the table. MARION Have you slept? DAVID Why did you come here? She doesn't look at him. MARION The rain it... it makes me sad. The rain patters on the glass. David stands up from the chair. He looks at her, from a few feet away. MARION David, I... She turns. MARION Maybe I oughtn't to have come. 38. DAVID Maybe you oughtn't. MARION Do you want me to go? DAVID If you want to. MARION Right now? DAVID Sure, right now. MARION I'll go. She heads for the door and leaves. David sighs. After a moment, he walks towards the window. He stands against it. The reflection of the rain runs little marathons down his face. He twirls the gold band around his finger absently, as he takes a puff from his cigarette. He takes a long drag of his cigarette. The smoke fills the room and drowns out the light. DISSOLVE TO: EXT. MCPHERSON HOUSE - NIGHT - RAIN David stands as the rain patters off his hat and coat outside a large house. He looks at a wet slip of paper and looks back up at the house once again. David hears shouting. He looks up at one of the windows just as the light in the room pops on. Two silhouettes, a man and a woman, in the throes of an argument. MAN (distant) Where were you?! WOMAN (distant) I told you already, I-- The shadow slaps the woman. She falls to the floor. 39. The shadow of the man keeps shouting unintelligible words, pointing down at her fallen body angrily. David's seen enough. He turns and walks away, down the long paved driveway. The name on the mailbox reads: McPHERSON. INT. BANNISTER'S OFFICE , OUTER OFFICE - MORNING David enters and makes a beeline right for Evy's desk. He leans against it like he owns it. DAVID What'd you get on the boy? EVY It's a little early, Bannister. DAVID (uncaring) I know, sweetheart. What'd you get? EVY I went to the bank where he worked-- EXT. SAM AND MILES BANK OF CHICAGO - DAY Evy walks in. INT. SAM AND MILES BANK OF CHICAGO, RECEPTIONIST'S OFFICE- DAY A gray-haired old bat sits at the desk in the luxurious bank office. EVY (V.O.) -And you won't believe what I found. Evy looks closely at a picture hanging on the wall, one of many. It's a picture of Ira breaking ground with another man, golden shovels and all. A little to the left Johnny Murdock can be seen, as part of the entourage. INT. BANNISTER'S OFFICE, OUTER OFFICE - MORNING DAVID So they worked together. Beautiful. 40. EVY It gets better. The old bat at the desk told me they were breaking ground for the new subway project here in Chicago. Seems Ira gave quite a hefty donation to the little project. DAVID And I'm sure he got even more in return. EVY Bingo. DAVID You're an angel. David stands up and heads for his office door. EVY Better be careful. DAVID She's here? She nods. DAVID Beautiful. INT. OFFICE OF DAVID BANNISTER - MORNING Marion is sitting in the chair in front of his desk, facing away from the door, clutching her purse again in her wringing hands. She wears a black veil over her face, trying to keep it hidden. The door opens and David enters. She doesn't turn to face him. David walks around his desk and sits calmly in his chair, leans back, and removes one of his hand-rolled cigarettes from his drawer. He strikes a match and lights it. Marion still hasn't looked up. DAVID You don't look well Miss McPherson. MARION The rain again... DAVID Uh huh. 41. He takes a puff from his cancer-stick. DAVID And was it the rain who bashed in your face like that? She looks up. MARION What are you talking about? DAVID That's some yarn you've concocted - but it won't fool me! Johnny's been dead for weeks and you just now wear that veil?! MARION I don't-- I don't understand. He stands up angrily from his chair. In an instant he's looming over her in front of his desk. She stands to run but he grabs her by her arms, hard, and presses his lips forcibly against hers, yanking the veil off as he does, revealing her black eye and bruised cheek. DAVID You ARE a liar. MARION What? He paces around the room. DAVID I can keep going with this but I have to know the score. I have to know what's really going on! He looks at her. DAVID Why did you lie to me about your husband? She stops. Thinks about what he knows. MARION He would have only complicated matters. DAVID You didn't want him to know! I go snooping around and he finds out about you and loverboy! 42. MARION We both betrayed our better halves - he with his wife, me with Ira. DAVID Funny that I can't seem to find Miss Danvers anywhere in town all of a sudden. MARION Phyllis wasn't his wife. DAVID He sounds like a stand up guy. MARION I always knew there were other women, but I didn't care. I loved him, loved him more than I could ever love my husband. David stands, angry once again. DAVID Lying to me now isn't going to help either of us! Why weren't you straight with me?! MARION Protection. DAVID From what? She looks at him angrily, with tears running down her black and blue cheeks. That venom again. MARION You have to understand Mr. Bannister, my husband... is a distant man. DAVID It comes out, doesn't it? MARION My husband, he's like a stranger. He's a banker - Johnny's boss. That's how I met him. My husband is always busy. Days go by without us even speaking to each other. He pays the bills and only gives me enough to live on. That big house is always so empty, so I- 43. DAVID So you were just bored, is that it? MARION I had to get away from him! David goes to his desk and pours himself a drink from the liquor bottle in the drawer. He downs it quickly. DAVID You know what I think? I think there was a clause in your marriage certificate. A certain one about adultery. Stop me if I'm wrong. MARION You're not wrong. DAVID You lied to me to protect your inheritance. MARION Please quit treating me like I'm some kind of monster! I'm just like any woman, I have my needs too! Johnny understood... Tears are streaming down her face. DAVID Now, now. No need to get upset. (beat) Ira knew about Johnny. MARION How do you know that? DAVID He told me so himself. She steps back. MARION You used me! DAVID No more than you used me. It dawns on her. She looks up at David with those big, tear- filled eyes. MARION Wait, you don't think that my husband...? 44. DAVID He hit you easily enough. MARION No, no. My husband is harmless. DAVID So are cigarettes. He stuffs his out in the ash tray. DAVID Ira was in to something. Something big. And I think Johnny found out about it. That's why he was bumped off. His relationship with you was the icing on the cake. MARION He's a coward. He wouldn't be capable of that. DAVID Any man can become a monster given the right circumstances. Especially one so beautiful as you. EXT. MCPHERSON HOUSE - NIGHT - FOG A taxi pulls alongside the large house of the McPhersons,which is encompassed in fog, and stops. David and Marion get out of the car. The fog is so thick the cab vanishes in an instant as it drives away. David waits. Marion hesitantly takes the lead and walks closer to the house through the fog. In the dark alley beside the house something stirs. David hears it and grabs Marion's arm, halting her. DAVID (whisper) Where does that lead? He motions with his head for the alley. MARION The back entrance. Another hushed noise sends a shiver up Marion's spine. She looks fearfully at the darkness of the alley. 45. DAVID (whisper) Does your husband know what time you're coming home? MARION I didn't tell him I left. DAVID (whisper) He's waiting for us. David pulls away from her and heads in the direction of the alley. DAVID (whisper) Wait here. Marion grabs his arm and stops him. He looks at her. She shakes her head 'no' with tears in her eyes, utterly afraid but David pulls away. EXT. ALLEY BESIDE MCPHERSON HOUSE - NIGHT - FOG Shadows caress every angle of the alley. Utter darkness. David approaches incredibly slowly. He looks behind him - A very nervous Marion hasn't moved a muscle. David squints his eyes to see into the darkness but it's hopeless. He digs in his coat pocket and exudes his lighter. He flicks it on. The tiny light from the lighter sends only glimmers of illumination into the utter blackness of the alley. He continues to walk closer. A noise grows louder with each step. Breathing. Wet breathing. He extends his hand higher, trying to see where the noise is coming from. As David inches closer the intensity of the tiny light grows, clarifying the darkness ahead of him. David takes one more step. The light from the lighter crawls up a figure in the alley. Feet dangle lifelessly, skimming the wet ground of the alley, as if someone were holding them up. A pool of blood gathers still beneath them. 46. The light moves higher. A bloody, mangled corpse of a large man hangs limply in the air, supported by two large arms, facing David's light. Blood covers every inch of the fat man, flowing freely still down his clothes. The man's blank eyes stare back. Higher. The small light crawls higher, following the massive arms, until it finds the head of an inhuman creature - neither man nor wolf, but somewhere in between - looming over the bloodied man, with its head buried deep into his neck. The dim light catches its unholy eyes - slitted and yellow. It looks up, revealing not a man but a monster, with blood flowing freely from within his mouth. It opens its huge, gaping mouth - revealing enormous, blood- soaked fangs, and howls an unnatural hiss at David. In an instant the corpse falls limply to the ground and the figure is gone - disappearing into the darkness. Behind David, Marion screams. She runs into the alley, clutching the bloody corpse in her arms furiously, as David stands motionless, utterly in shock. She screams, MARION It's my husband! It's my husband! David can only stare. INT. BANNISTER'S OFFICE - NIGHT David sits at his desk, disheveled. With shaking hands he pours himself a drink from the now half-empty bottle of liquor. Beams of light stream in through the venetians, casting thin shadows over everything. Three cops stand in the room with David - Husselbeck, his partner - Marshall, and another, much younger, brasser, copper JACK BUMSTEAD. HUSSELBECK Give it to me again, David. DAVID I've told you everything already, Clarence. Your ears sealed shut or what? 47. Husselbeck shares a knowing look with his right-hand man Philip. Jack lurks in a dark corner. HUSSELBECK You better watch it, David. (calms himself) It's just that we've been here for an hour already and we're no closer to understanding your story. He takes a step forward and sits in the chair in front of David and his desk, leaning across it. HUSSELBECK What kind of gun do you carry? DAVID Whatever's handy. HUSSELBECK Do you ever take it out with you? DAVID Only if I'm gonna use it. (suddenly angry) What is this?! I don't like it! I've told you everything you wanted to know! Now what are you birds still squawking around here for?! Get to the point or get out! HUSSELBECK (calmly) Why did you visit Ira today? DAVID I was tying up a loose end. HUSSELBECK Was he a suspect? DAVID I can't tell you that. MARSHALL Why not? DAVID Because I have a client to protect. HUSSELBECK We know she's your client. Why don't you just tell us? 48. DAVID You don't know what you know. And you're here questioning me to figure it out. MARSHALL Now come on, David. How are we supposed to turn up anything on McPherson's killer if you don't tell us what you got? Bumstead, looming in a dark corner of the room, BUMSTEAD Pack him up and haul him to the station right now, I say. DAVID What's your boyfriend getting at, Clarence? HUSSELBECK We talked to the girl at the desk. She told us McPherson strolled into your office long after Murdock was killed. DAVID Your point being? HUSSELBECK Then you and her find another body in exactly the same shape as Murdock just as you HAPPEN to show up at his house without a shred of proof or probable cause. (beat) Both of the victims, David, just HAPPEN to be involved with that girl. Clarence stands up. Philip and Jack inch closer to David. Husselbeck puts his hand on David's shoulder. HUSSELBECK She's a good looking dame, isn't she, David? DAVID Get your paws off me! David storms to his feet, throwing the hand off his shoulder. He makes space for himself, walking to the other side of the room. 49. MARSHALL It's just a little convenient, that's all, David. You used to be in our shoes, you know how it is. DAVID (callous) Yeah, I know how it is. And now I know where I stand too. Finding that corpse in that alley shook me up and you boys come in here trying to rope me and crying foxy but it's alright now, now that I know you're just 'doing your job.' (beat) Ira dead? HUSSELBECK Yeah, he's dead. DAVID How'd I kill him? I forget. MARSHALL (monotone) His neck was slashed and he bled to death in that alley. David looks unsettled for a moment. DAVID What's his game? Why'd somebody want him dead? HUSSELBECK We were hoping you'd tell us. DAVID How should I know who'd wanna bump off Santa Claus? HUSSELBECK The girl told us you two had an argument - you and the fat man. Just a few days ago. DAVID You really gonna send me to the gas chamber because me and a potential client got into a tussle over a conflict of interest? David goes back to his desk and collapses into his chair. David pours himself another drink from the bottle. He downs it. 50. Husselbeck shares another glance with Philip. HUSSELBECK We're gonna go, David. Get some goddamned sleep. They all leave without saying another word. INT. BANNISTER'S OFFICE, OUTER OFFICE - CONTINUOUS Follow Clarence and Philip out, as Evy goes inside David's office. MARSHALL The alley... HUSSELBECK I know, Phil. I know... INT. BANNISTER'S OFFICE - NIGHT After a moment, Evy enters, looking worried. She rushes quietly to David's desk and sits on it, looking down at him. David tries to pour himself another drink, but his hand shakes terribly and he gives up, slamming the bottle down hard on the desk. Evy, a touch of affection, and worry, in those glimmering eyes, pours a drink for him. He takes it and downs it without saying a word. EVY (fearful) I've never seen you like this, Bannister. DAVID I've never been like this, angel. He looks up at her. He looks terrible - his greasy hair is strewn about, he's as pale as a ghost. EVY This isn't your first time around the block, David. I know you've seen bodies before. (beat) What happened? He looks down, feeling vulnerable in confiding with her. After a long time, in a shaky voice full of fear like we've never heard from him before, 51. DAVID He was like a monster, Evelyn. He butchered that man. (beat) I saw his eyes and... EVY What? What did you see? DAVID Darkness... He can't help but bury his face in his hands. Evy thinks for a moment, worried further. After a long time, EVY Everyone has their own demons, ones they try to bottle up forever. Even you. He looks up at her, tears almost forming in his eyes. EVY We all have to face our demons sometime. That man just... lost control of his. He let them consume him. David lowers his head. He knows it's much worse than that. She looks worried. EVY Will you call me if you need anything? He doesn't move or answer. She gets up from the desk and opens the door to leave. She looks back, a concerned look on her face, one last time before she leaves. After she's gone David grabs his drink and gets up. He walks around the office for a bit before he goes over and stares out the window, onto the dark, beautiful, smoke-filled city. In the alley across the street David sees a shadow moving. Jack Bumstead peeks his head out from behind a wall of darkness, staking out David's place. Slow, he slithers back into darkness, trying not to be noticed. David doesn't say anything. He just lifts the glass to his lips once more. DISSOLVE TO: 52. INT. BANNISTER'S OFFICE - LATER THAT NIGHT The handle on the door suddenly makes that turning sound and it opens. Marion enters, a little disheveled herself, but certainly more together-looking than David. DAVID What are you doing here? I told you to go home. MARION The police are at the house. They put me up in a new apartment. DAVID You should have stayed there. MARION I didn't feel safe there. DAVID Well where you are, I don't feel safe! Get out! He takes a drink but the glass is empty. MARION (calm) There's no turning back from this now, David. DAVID What are you talking about? What the fuck is going on?! Clarence was right - everyone you're involved with turns up dead! (beat) Ira!... He was... I mean, Jesus Christ... He peels away from the window, suddenly sullen. DAVID Please, just leave me be, Marion. After a moment, MARION I don't know why they're dead, David. She starts to break down, the anger has brought on tears. She tries to stifle them back. 53. MARION Ira was my husband. There was a time when he meant everything to me. And Johnny... Johnny, he was... I mean, I... DAVID Yeah, you seem real broke up about it. MARION Stop patronizing me, you son of a bitch! This assertiveness takes David back. MARION You have no idea what those men meant to me! DAVID (pouring another drink) Are you finished? She stops for a moment, tries to collect herself but can't. David downs a drink. MARION How can you do that? How can you sit there and act like nothing's happened? We have to talk about this. DAVID Nothing to talk about. Ira's dead. MARION We both know there was something in that alley. DAVID The only thing I saw was Ira's corpse! And that's the way it's gonna stay! MARION You saw the same thing I did! DAVID I don't know what I saw! And you'll keep your damn mouth shut unless you wanna end up in the looney bin! David pours another drink and downs it quickly. The bottle is near empty. After a long time, 54. MARION I think you've had enough, David. A long silence. DAVID Please, just leave me be. She resigns herself to what he asks. She stands up and leaves, without saying another word. David pours himself one last drink - but the bottle's empty. Like any good alcoholic, he has another, full, bottle in the drawer. He opens it and begins again. FADE OUT EXT. DAVID'S BUILDING - LATER THAT NIGHT - OVERHEAD ESTABLISHING SHOT An overhead view of David's shoddy apartment building. INT. DAVID'S APARTMENT - NIGHT David walks in, worse off than before - tie loosened, coat in his hand, collapses into his favorite chair. He tosses his hat and gun onto the coffee table in front of him with all the pictures. The table fan spins. He gets up on slightly shaky legs and looks out the window to his right, at the night. Beams of light stream in through the blinds. Shadows caress his face, hiding his emotions under a veil of darkness. He looks out through the window, expecting Jack Bumstead to be lurking there too. DAVID Must be past his bedtime. Empty. David plops back into his chair and stares out the window, his back to the door. Strangely, the big window to the right, in which the reflection of his entire apartment is cast, shows the door slowly begin to open - all on its own. 55. A man silently, slowly, enters - but his reflection is never cast in the window. FRANK NAPIER, 30's, tough-looking in a blue-collar kind of way, in a black trenchcoat, with a sly, almost arrogant, swagger to him, slowly closes the door, as David still stares the opposite direction, entirely unaware. The door closes - the lock clicks into place loudly. David jumps and spins around, startled. He sees Frank, standing there, staring. DAVID Sorry buddy. You spooked me. I didn't hear you come in. (stern) Beat it. Come back when there's not three of you. FRANK The mat beneath the door bids me, "Welcome." DAVID You ARE welcome. Now get out. I don't take customers this late. Especially at my home. FRANK Who said I was a customer? DAVID (confused) I don't believe we've met. FRANK I believe we have. DAVID No. No, I would remember a joker like you. FRANK Consider me less as a client and more as a point of interest in your current case. David looks confused. He stares into the man's face. His retinas glow with a red fury, as if lit by a fire. David leaps to his feet and snatches his gun from the holster on the rack. 56. He aims it, waist-level, at Frank. A smile grows across Frank's lips. DAVID It was you in the alley. FRANK My name is Frank Napier. David doesn't move. FRANK (stone-faced) I'm only here to talk, David. DAVID All the same, I'd like to keep my gun drawn anyway, if you don't mind. Frank neither moves or says anything, he just stands there, staring at David, with that intimidating look on his face. DAVID What are you doin' here? What do ya want? David walks around the desk to get a little closer, but still out of arms length of Frank. FRANK The case, David - leave it. DAVID Oh yeah? And why should I listen to a butcher like you? FRANK You will if you don't want to share Murdock's grave. DAVID That boy was a cheatin' dirtbag but he didn't deserve that. FRANK I've done worse. DAVID And Ira? Why'd you kill him? He smiles. FRANK I was hungry. 57. Frank looks down at the gun pointed at his waist. His smile drops quickly. FRANK I'm getting sick of that gun being pointed at me, Bannister. DAVID Then take it. I'm not so easily handled as a hot-headed kid and some fat old-timer. Without a word, Frank moves to snatch the gun away. Without hesitation David shoots him in the stomach three times, in rapid succession. POP, POP, POP. Smoke fills the room, as Frank's cold body lies still on the floor. DAVID As big and bad as you claim to be, you're still no match for a pistol. David turns his back on the lump of flesh resting on his carpet and lights a cigar. The smoke quickly stockpiles in the small room. Suddenly, Frank RISES to his feet, straight as a board, as if on an axis. David looks into the window's reflection as he blows smoke out of his mouth once more. The smoke wraps around an object unseen in the reflection. David spins around and just as he does Frank grabs him by the throat. He lifts David entirely off his feet. Frank then grabs David's wrist and squeezes it mercilessly until David is forced to drop the gun in his hand. David tries to scream, but Frank just squeezes harder and traps it inside David's throat. Frank speaks to him, calm as ever, but with an underlying sinisterness. FRANK Now, we wouldn't want to draw attention to ourselves, would we, David? He lifts David higher. 58. FRANK Then I'd have to kill you too. Frank turns his hips and hurls David by the throat halfway across the room. David lands hard on his coffee table, shattering it into splinters, spilling the pages all over the floor. FRANK Just like Ira. Frank stalks towards David, who is still struggling to get to his feet. By the time David gets to his knees Frank is already there, looming over him powerfully. He grabs David by his throat again and lifts the man up effortlessly. FRANK I didn't come here to kill you, David. David gasps for air. His head is bleeding from the fall. FRANK That doesn't mean I won't! Frank throttles David against the wall, still clutching him by the throat. The wall behind David cracks the slightest bit, as he gasps for air. Frank squeezes his throat even tighter. FRANK You have no idea the trouble you've caused me, Bannister. David kicks at the wall in a frantic struggle. Frank just pushes him against the wall harder, the cracks grow deeper. FRANK Helping the girl. Hiding her. Frank squeezes. Blood pops from a vein in David's neck. FRANK I should kill you for that, boy. Frank inches in slowly to David's ear. He whispers into it as David continues to gasp for breath. FRANK (whisper) But I'm not the one you should fear. 59. David fingers at his desk blindly, frantically, with a free hand, as Frank just stares him in the eyes, completely indifferent to his pain or struggles. Somehow, David's fingers find a pair of metal scissors. David quickly raises them and strikes down with furious desperation - right through Frank's hand that is holding him so painfully against the wall. Frank doesn't even flinch. He just smiles and clamps down on David's neck harder. Muscles are popping. Veins protruding terribly. The pain is horrendous. FRANK Leave the case, Bannister. Or I kill you. David, gasping for air, fingers his desk again, frantically, desperately, searching for something, anything. His hand rolls over a wooden pencil and he latches onto it. He brings it up and drives it home - right through the side of Frank's neck, almost up to the eraser. Instantly Frank relinquishes his vice on David's throat. Frank spins in circles, as if above the floor, clutching his neck and the smoking wound from the pencil, bellowing a deep howl of pain. David collapses to the floor, gasping for air. He catches his breath just in time to see Frank slowly, painfully, remove the wooden pencil from his neck, with long fingers and very pointed nails. He turns around slowly, revealing his new face - his eyes glow red like the embers of a fire from deep within, fangs hang down past his lower lip, his features are contorted and twisted into something not quite human - a deep scowl of pain and anger liable to make even a man such as David quiver. In a voice unlike any normal human being's, deeper somehow, more sinister, FRANK Tell Marion... I look forward to seeing her. Instantly Frank flies at David, unnaturally fast, as if he flew upright on a rocket across the room, and lets David have his right-cross right in the jaw. David crashes into the wall, out cold. 60. EXT. DAVID'S BUILDING - NIGHT - FOG The world of Chicago is as dark and hazy as ever. Buildings blur into obscurity. The night overwhelms all. Frank exits the apartment building, utterly carefree and back to normal. His heavy trenchcoat billows in a strong night wind. He walks across the street, snapping his jacket collar up as he does. A passing car blows by in the wet paved street. The headlights throw the shadows in and out as it passes quickly by. In an instant, as a shadow passes over him, Frank disappears. DISSOLVE TO: INT. HOMICIDE DIVISION - DARK OFFICE - NIGHT Husselbeck, in a glass office, with only streams of light pouring past the venetians to break the darkness, mulls over all sorts of documents and photos. HUSSELBECK (V.O.) We have to put a man on him. MARSHALL (V.O.) Already done. INSERT: A photo of Ira, in the alley, Crime Scene Photography at its most cliche. Except... Ira's head is nearly detached from his body. HUSSELBECK (V.O.) What's the matter? MARSHALL (V.O.) It's just... his throat was ripped out. HUSSELBECK (V.O.) And? INSERT: A pool of blood. MARSHALL (V.O.) (scared) We couldn't find it... HUSSELBECK (V.O.) The thing about this job you have to realize is... human beings are capable of great and terrible things. I've seen David Bannister do both. 61. INSERT: Indiscernible teeth marks. On BONE. MARSHALL (V.O.) He's not a man... Husselbeck stops. And so do the voices. Beat. Light passes through the haze, Clarence snaps. He flips the desk over in a fit of screaming rage. His old friend a killer? The haze begins to settle. EXT. HOMICIDE DIVISION - BALCONY - NIGHT Husselbeck walks up to the edge of the balcony and grasps the railing. The dark city below, bustling with its night activity. How can so many people love the darkness? He just stares at it. It never stops. DISSOLVE TO: INT. DAVID'S APARTMENT - MORNING The morning hasn't halted the dark haze of the city, blocking out all but very little morning sunshine. David, still in the exact position as before, slowly stirs awake. Eventually he gets to his feet and groggily goes over to the mirror and sink in a narrow corner of the bathroom. Blood stains his shirt. David, seemingly out of habit, tries to run the pain out of his face and jaw. He throws water on his face. And spits out blood each time he brings some to his lips. He looks up quickly, directly into the mirror. The water drips off his face. INT. MARION'S NEW APARTMENT - DAY Marion's new apartment. The room is rather small, considering, and not well furnished. A pounding on the door. Marion, not dressed nearly as glamorously as before, glides to the door and opens it. 62. David practically storms in, hungover and battered, without waiting for her to usher him in. MARION David... My God! What are you doing here? DAVID He knew you. Moving to the couch, almost too calmly, MARION What? What are you talking about? DAVID (angry, but not shouting) He knew you by name, Marion! Two men you were in love with are dead and the psychopath nearly just killed me too! MARION He tried to what-? DAVID Just tell me! There's no use running in circles now! Every lie you waste puts us one step closer to the gallows! MARION David, you need to calm down, you're drun-- DAVID Shut your mouth. You've known more about this thing than me from the start! And now it's coming after you next! MARION David-- He smacks her and she falls onto the couch. DAVID Shut up! It's not even human, Marion! I can't stop this thing-- I can't protect you if you don't tell me what the fuck is going on! She holds her face where he hit her. 63. MARION ...I told you I always knew Johnny had a wife. I lied. David starts to calm down. He sits on the couch next to her. MARION When I found out I... I guess I went a little mad. DAVID So you killed him? MARION I wasn't finished. You remember the stories in the papers about all of those prostitute murders? DAVID Sure. Bunch o' hookers got dead. Nobody's loss. Except maybe a few lonely men. MARION I had read about what happened. DAVID So you sent Murdock in there, knowing what would happen if you did. MARION I told him to drop off his wife and I would meet him right after. Oh, David! I don't know why I did it! I was just so angry to think he was with another woman. DAVID This coming from a girl who two- timed her husband and was only worried about her inheritance. MARION No one's perfect, Bannister. DAVID Perfect? Sweetie, you're about as perfect as they come. MARION It was the same as hiring somebody to do it. Except... I didn't have to pay him... His payment was blood... 64. She buries her face in him. MARION David, I'm not proud of any of this. He pushes her away coldly. DAVID Why not? The mob could use a girl like you. MARION It's just... you have to understand. Seeing him with that woman. It was the most painful moment of my life. DAVID And you just decided to pay him back. (beat) And your husband? You send that thing to kill him too? He looks at her. DAVID No, you wouldn't do that, would you? That big house and all that money, it wouldn't go to you if he was dead, would it? Cuz he wrote you out of the will. You wouldn't kill him. MARION That's right, David. DAVID And when Johnny-boy died you could put on your best acting audition and act indifferent to it all, and then maybe you could convince Ira he never meant anything to you and he might write you back into the money. MARION David, please, I can't listen to this anymore. DAVID He killed Ira to get at you, precious. He's coming after you, and until we know why you can't stay here. Or with me. 65. INT. EVY'S APARTMENT - DAY It's getting late already. Evy answers a knock at the door. David and Marion stand, covered in rain. EVY Bannister... DAVID She's got nowhere else to go. Nowhere else to go. Evelyn stands in the doorway, in disbelief. Finally, she moves the slightest bit to let them enter. INT. EVY'S APARTMENT - LATER Everyone's calmed down. David is on the couch. Evy brings him a cup of hot tea. EVY I put her in my room. Gave her some of my clothes. David doesn't say anything, he just stares into the tea. He looks at her. DAVID It's bad, angel. EVY She can stay as long as you need. DAVID I'm gonna need your help with this one. EVY What do you need me to do? DAVID I don't know yet. Beat. EVY She's hiding something. DAVID That's why I need you to watch her. 66. David gets up to leave. EVY You're not going to tell her goodbye? DAVID No point, angel. He opens the door and leaves. Evy stands there, in silent wonderment. EXT. STREET - LATE AFTERNOON The sun is fading, the steady darkness of the city is growing darker. Smoke and rain fill the city just as bad as ever. David walks down the sidewalk, he buttons his coat tight and snaps his collar up around his neck for warmth. As the rain patters onto his coat and hat, drenching him amidst the fog, he looks behind him, almost instinctively. There, several feet behind him, trying to remain inconspicuous among other street-walkers, David sees him - Jack Bumstead, his tail. He hangs his head low, beneath his hat, with his hands in his dark coat pockets, as if he's trying to hide in his own skin. David eyes him and nearly rolls his eyes. He looks forward again quickly, trying not to let on the fact he knows he's being followed. DAVID (to himself) Not now, kid. David stops. In just a moment Jack is unexpectedly a step behind David. David spins around and clocks him right in the jaw. The kid tumbles to the the ground. David turns, flinging his coat as he does, and keeps walking as if nothing happened. INT. HARRY'S WAGON - NIGHT Downtown Diner in the shape of a trolley car. Seedy. David sits in a back booth, window seat, staring into a cup of coffee. Lost in it. The door dings. An out-of-shape beat cop in plain clothes enters. Meet JOE - snitch. He looks around nervously before sliding into the seat in front of David. 67. JOE If anybody sees me with you... DAVID Don't worry-- David slides his hand across the table, palm down. Joe snatches a wad of bills when David removes it. DAVID --No one will see. He gets to the point. DAVID I need to locate someone. JOE I got that 'fore I walked in, Bannister. You pay the bill and I can find Satan himself. DAVID His name is Frank Napier. Joe's confident, even cocky demeanor suddenly drops - just like his face. JOE What? DAVID I said his name-- JOE I know what ya said. You got the wrong guy... He motions to get up but David grabs him by the arm, hard, to stop him. DAVID Hold it, buddy. Now where do ya think you're goin'? JOE I said ya got the wrong guy! 68. DAVID Now listen here, Snitchy. I already gave ya my money but I got more than that - I got your secret. Now if you want me to spill your beans all over the neighborhood that's fine. I'm just out a hundred bucks. But you... well, those crooks'll probably hang you for doublecrossin'. Now, whaddya say you calm down and have a nice chat over a nice cup o' joe, Joe? He sits back down. DAVID Now what's his game? What's he into? Drugs? Mob? Why are you so afraid? JOE Napier's untouchable. (beat) If you value your life... stay away. Joe stands up, this time, without any interference. He throws David's money back at him and leaves. After the bell has sounded, DAVID You obviously don't know me very well. INT. DAVID'S APARTMENT DOOR - LATER THAT NIGHT David stomps up the creaky steps in the smoky stairwell. He sees the WELCOME mat, dingy, dirty, lying in front of his door. He picks it up and tosses it over the railing. INT. DAVID'S APARTMENT - CONTINUOUS The door creaks open. David tosses his soaking wet coat on the hook carelessly. He stops suddenly. He turns around and bolts the door. THE LIVING ROOM He walks in and tosses his keys on the table. But there isn't one anymore. A dull thud. 69. David stops. EXT. ALLEY OUTSIDE DAVID'S BUILDING - NIGHT David walks up to the dumpster with two armfulls of wood that was once his coffee table. He tosses them in. The rain hasn't stopped. It never does. Steam spews from a manhole cover. David's eyes focus. Something move? The fog and steam only grow thicker. The darkness grows. The door closes behind David. INT. DAVID'S APARTMENT - LATER David is quietly running his head under the dingy kitchen sink. He grabs a towel and dries his balding head the slightest bit before reaching into the icebox for a bottle of scotch and a glass. He pours himself a glass. THE LIVING ROOM He collapses onto the couch. A slight whistle. David looks for the culprit. He sees the window open. He puts his glass down on the floor and walks over to it. He shuts it, hard. He looks down. He almost died here. He bends down and wipes his palm across the floor. It's clean. DAVID He didn't bleed... He collapses onto the couch again. David takes a drink. The papers on the floor catch his eye. He picks up a handful of them. 70. Innocently, he rifles through them. He stops suddenly. This one, the one in his hand, the resemblance is uncanny. The red eyes... David sees it. DAVID Jesus Christ... He leans back and downs his glass. He closes his eyes. Quickly, he's out. The fan, it just keeps spinning. INT. HOMICIDE DIVISION - NIGHT Husselbeck at his desk in the foggy, seedy station. This is a recurring theme for him. His head is buried in his hands. He looks down. Photos - corpses, mangled, bloody - McPherson, Murdock. Their heads are hanging only by threads. Husselbeck takes a drink out of his liquor bottle sitting next to him. INT. HOMICIDE DIVISION - HALLWAY - NIGHT Marshall, smoking in the hall. MARSHALL Ya heard anything yet? HUSSELBECK Jack's at the Doc's. Got clubbed. MARSHALL Damn it. HUSSELBECK Kid's fine. He was stupid. Tailin' too close. MARSHALL What now? HUSSELBECK I don't know. Marshall looks at the liquor bottle. 71. MARSHALL Clarence... I know that man was your friend-- HUSSELBECK That man is not my friend. He's a killer. A butcher! Husselbeck storms off. MARSHALL Ya can't kill him! HUSSELBECK The hell I can't! INT. HOMICIDE DIVISION - CELL BLOCK - LATER Cell after ugly cell line the walls. Hands hang out from between the bars, with nothing better to do. Husselbeck heads straight for one of solitary cells. He casually removes a set of keys from his pocket and unlocks one of the cells. The door screeches open, and the young convict inside sits, confused. HUSSELBECK Alright. Come on. Stand up. He doesn't want to. A terrified look in his face. HUSSELBECK I said stand up! Reluctantly, he does. Husselbeck proceeds to beat the living shit out of him. Kicking him when he's down. Bloody. Broken. When he's had his fill Husselbeck turns and shuts the cell door. He locks it and leaves. A little sweatier after the ordeal, but just as carefree. Everyone's quiet, except for the whimpering bo in the back corner. EXT. CHICAGO - NIGHT - RAIN Pouring. A dark-colored coupe sits, parked, outside an apartment building. A familiar one. David's 72. A shadowy figure sits inside. INT. HOMICIDE DIVISION - HALLWAY - LATER Clarence opens the door from outside and walks in on a conversation between Marshall and the snitch - Joe, in a shadowy corner in a dark hallway of the Station. MARSHALL (quiet) Thank you for coming to me with this. Go. He subtly slips Joe some money in his palm, hiding it with a handshake as they both look around. Joe leaves. Clarence uncurls from the corner he was hiding behind. HUSSELBECK What was that about? MARSHALL Oh, ya know. Usual stuff. HUSSELBECK Care to elaborate? MARSHALL One of my snitches just told me David Bannister came to him for information. Clarence sighs noticeably. MARSHALL Watch it. He didn't tell him anything. HUSSELBECK Who'd he wanna know about? MARSHALL A guy named Frank Napier. HUSSELBECK Never heard o' him. MARSHALL Yeah, me neither. He's some kinda mob boss or somethin'. Organized crime. I don't know. (beat) He's hard to get at. 73. After a long pause. HUSSELBECK I don't get it. MARSHALL What? HUSSELBECK He should be halfway to New York by now. But instead he's kicking his feet around, lookin' for someone neither of us has ever heard of. He turns to leave. HUSSELBECK Put Jack back on his tail! INT. RECORDS ROOM - NIGHT My God, the boxes! A small room stacked literally to the ceiling on all sides with cardboard boxes full of files and paperwork. Drawers open. Papers everywhere. Clarence stands at one of the metal filing cabinets looking through old files. FILE CLERK Is there anything else, Detective? HUSSELBECK The Frank Napier file. FILE CLERK You're lookin' at it. Clarence holds it open, upside-down. It's empty. FILE CLERK Somebody must have lifted it. HUSSELBECK When? Looking through her notepad. FILE CLERK My last inventory was... three weeks ago. 74. HUSSELBECK Great... She turns to leave, but Clarence yells out after her. HUSSELBECK The Bannister file. There are documents missing from it too. FILE CLERK Hey, alotta people sift through these things, alright? HUSSELBECK Were they lifted the same day? FILE CLERK I couldn't tell ya. HUSSELBECK One other thing. David Bannister worked Homicide '34 to '37. I need his daily report records. FILE CLERK What for? HUSSELBECK I need to find someone. FILE CLERK (sighing) If we still had 'em they'd be buried somewhere in the basement. INT. FORENSICS - LATER SMITH, the Forensics... caretaker sits buried beneath a pile of boxes at his desk in the equally cluttered basement office. SMITH Detective Husselbeck! What brings you down to the basement? HUSSELBECK I got a few questions about the McPherson case. SMITH He's dead. HUSSELBECK Yeah, I heard. I'm just tying up loose ends. Padding up the report. You know how it is. 75. SMITH What is it you wanna know? HUSSELBECK David Bannister was Homicide a few years ago. SMITH Yeah, I know. Friend of yours, wasn't he? HUSSELBECK I need to dig through his arrest records. Daily reports. That kinda thing. SMITH Well... that could certainly take a while. Those kinds'a things aren't even dated anymore Detective. (beat) Maybe I could help ya. HUSSELBECK Bannister was lookin' for someone. Hired a snitch. SMITH Seems odd. A murderer looking for clues. HUSSELBECK He was looking for a guy by the name of Napier. Frank Napier. Smith's smile drops. SMITH Never heard o' him. HUSSELBECK Figures. He turns to leave. HUSSELBECK Thanks anyway. There's almost a sigh of relief from Smith. HUSSELBECK Say, Smitty, how's that wife o' yours doin' anyhow? 76. SMITH Betty? She's just fine, sir. Fine. Why do'ya ask? HUSSELBECK No reason. Husselbeck tosses a three-ring notebook onto the cluttered table. HUSSELBECK I just think it's odd you been going to records so much these past, oh, three weeks or so. Who told you to steal docs from Bannister's file? Smith looks at the sign-in sheet. It reads. SMITH, over and over again. He swallows hard. SMITH I don't know what you're talking about. Husselbeck explodes. We saw this in the cell block. He leaps over the cluttered table and grabs Smith by the shirt collar, throttling him against one of the cardboard box stacks. HUSSELBECK How's Betty gonna be after you get canned huh?! She might just get mad at first. Then she'll move out. Then you'll accidentally-on-purpose walk in on her while she's fucking another man! SMITH What do you want!? HUSSELBECK The name! Why is the file empty?! SMITH There isn't one! It was pulled years ago! HUSSELBECK There's still a folder genius. 77. SMITH Only to fool the Inventory dame! She doesn't--she doesn't ever open them! HUSSELBECK Why was it pulled!? SMITH I don't know! He punches him hard in the gut. HUSSELBECK You don't? SMITH (coughing) There are--there are some people ya just don't touch!... HUSSELBECK Why?! What's his game? SMITH I don't know. Clarence readies another punch. SMITH I don't! I don't know! I was just told to keep it quiet. HUSSELBECK What's the connection to Bannister? SMITH I don't--I haven't a clue... HUSSELBECK Where? SMITH He doesn't have an address... Clarence throttles him against the stack again. HUSSELBECK Where?! SMITH The Under--The Underground. He owns it. All of it... That's his game. 78. He lets him go. HUSSELBECK Thank you. A box falls on him. EXT. THE UNDERGROUND - NIGHT - RAIN David walks down the sky-less Underground sidewalk as the rain pours down on him. He tightens his trench around his soaking body. EVY (V.O.) What are you gonna do? DAVID (V.O.) I don't know. He has to have a home... doesn't he? Someplace warm... quiet... with plenty of food. David stops. Looks up. A monolithic apartment building towers 100 stories over him. Not unlike his own. Tattered, peeling paint. It's ready to fall apart. The rain belts down in sheets. He looks around. He walks under the art deco marquee between the twisted corduroy columns and into the foyer. David collapses into the trash. He covers himself with old boxes and newspapers for warmth. Waiting. Hiding. INT. EVY'S APARTMENT - MARION'S ROOM - NIGHT This is Evy's room regularly. So no semblance of Marion can be seen. A window opens quickly, trying to be quiet, but the squeaky hinges won't allow it. She stops. Looks around hyper-nervously. Biting her fingernails, waiting for movement outside. None comes. She starts to climb out the window. 79. INT. BOOKSTORE - NIGHT The cute Bookstore Employee, through a pane of glass, is tidying up some of the books on the shelves. A soft knock on the glass. She goes towards it. CLICK - She unlocks it. Opens it. The door slams open. A hand covers her mouth, she tries to scream but it's covered. A shadowy figure in a long black trenchcoat and hat muscles his way in. She tries to struggle but he's too strong. He finally lifts his head and finds the light. Frank. FRANK I'm looking for Marion McPherson. She shakes her head. Tears running down her cheeks. He pushes her, still with only his hand on her mouth, until she jolts up against one of the bookshelves in the very back of the store. FRANK Let me ask again. With one of his razor-sharp fingernails Frank claws down the spine of one of the books. It rips it in half. FRANK She's with someone. A man. David Bannister. She shakes her head again. Trying to scream. But it's too muffled. FRANK Pity. He slides his hand off her mouth as he moves towards the bookshelf. FRANK A wealth of knowledge... all at your fingertips. 80. She backs away, cowering, whimpering, into the darkest corner she can find. He plucks a book out and flips through it as the whimpering continues. With conviction, FRANK Books hold many mysteries. She's ready to faint. FRANK Good day to you. The book hits the floor with a thud. Frank is gone. EXT. DAVID'S BUILDING - NIGHT - RAIN The rain hasn't stopped. Steam rises from sewer grates. A shadow moves. Frank tilts his head, craning it to look up the sheer angle of David's building as it rockets into the rain-filled zenith. He smiles. FRANK Are you foolish enough to bring her here, David? A light moves, tossing a shadow. He vanishes in it. EXT. CHICAGO STREET - DAY Dawn. Sickly, green dawn. Everything is wet still, dripping water from every corner. Rain-soaked streets. It's miserable. INT. UNDERGROUND BAR - EVENING David, in one of the sorry, seedy Underground bars. It's dark, smoky. Fans spin overhead, but all they do is toss around the smoke and stench. A beer in front of him. He hasn't shaved in days - he looks just like all the other bums in this terrible place. He looks at his watch. Seeing the time he downs his beer and stands up. He walks to the back corner of the bar, into a phone booth. He drops in a nickel and dials. 81. After a beat, DAVID (into phone) Yeah, it's me. (beat) No, I'm alright. (beat) She what? You're supposed to be watching her. (beat) Damn it... Next time follow her! (beat) No, I'm sorry. I'll call you when I get back, angel. He hangs up. He sits for a moment in the booth, thinking. INT. UNDERGROUND APARTMENT COMPLEX - EVENING The huge apartment complex he slept under last night. Dark, smoky - just like everywhere else. The foyer is one big, vacant space, stretching up to the very rooftop with emptiness. As far as the eye can see through all the smoke and haze. The walls are covered in an ugly dark green paint. Slivers of light stream in through the windows, casting shadows over every corner and every nook of the place. In the streams of light, the haze is made all the more apparent. It's absolutely dead. Pressed against the far wall is a U-shaped Clerk's desk. There is a wrinkled Clerk sitting behind it, reading the paper - this is SEBASTION. David walks up to the desk, leaning on it with his elbow for a moment. The man says nothing. Doesn't even move. He averts his eyes from David's in an attempt at invisibility. David notices the small bell beside him. He gingerly taps it, sending a ring throughout the building with a smirk on his face. Sebastion looks up quickly, annoyed, as if he's just noticed him. DAVID Hi there. 82. SEBASTION Yes? DAVID You got any rooms? SEBASTION We got lots'a rooms. DAVID How many? SEBASTION All of 'em. No housing shortage around here. Plenty of room for everybody... The front door creaks open quickly. David's gaze is caught suddenly, as Clarence walks into the vast space. DAVID (to Husselbeck) Now there's a face I didn't expect to see in this place. HUSSELBECK You relocating? DAVID For the moment. HUSSELBECK David, I need ya to come with me. DAVID Now hold on a minute. I was just chatting with my new friend, uh...? (looks to Sebastion) SEBASTION Sebastion. DAVID Sebastion. HUSSELBECK Well don't let me stop you. DAVID (back to Sebastion) So, you live here all by yourself, Sebastion? 83. SEBASTION Yessir. Most everybody else got outta this place already. DAVID Why's that? SEBASTION (dead serious) Cuz it's cursed. David looks at Clarence, who can only shrug as he lights a cancer-stick. DAVID Cursed? Why do you say that? Sebastion, after a moment, forces a laugh past his teeth. SEBASTION Look around. I was only kiddin' with ya. This whole neighborhood is goin' down the drain. Anybody can see that. DAVID So why'd you stay? SEBASTION Some of us have to. HUSSELBECK David, where is this going? DAVID I'm just talking with my new friend Sebastion. Can you hold on a minute? (to Sebastion) Must get kinda lonely huh? SEBASTION Not really. I make friends. DAVID Like who? SEBASTION I mean, I make friends. Here, I'll show you. He digs beneath the counter and pulls out an Origami little person. Two. He prances them around on the counter top with a smile on his face like some proud schoolboy. 84. A bead of sweat drips onto the counter. David looks at Clarence. This guy's a nut. Husselbeck moves towards David. HUSSELBECK Come on, David. It's time to-- But Husselbeck is cut off, as David slugs Sebastion from across the table. Reeling, David frantically grabs him by his shirt and drags him over the counter, screaming. HUSSELBECK Jesus Christ, David! What the hell are you doing!? DAVID He knows something! HUSSELBECK He's a fucking lunatic, David! DAVID Look at him! He knows something, Clarence! David mounts the poor wrinkled thing, ready for another blow. Clarence stops. Thinks for a half-beat. HUSSELBECK Then let's do this the right way. Clarence goes around the desk and retrieves the chair Sebastion was sitting on. He brings it out into the foyer. David throws Sebastion into the chair and slugs him again. As Clarence tapes his arms and legs to the chair David takes off his coat and overshirt, so that he's now only wearing his wife-beater and gun holster. It's loaded with his .38. DAVID Where is he? SEBASTION Who the hell are you talking about? David punches him in the kidney. 85. DAVID I'm not going to ask again. SEBASTION I don't know who you're talking about! In the stomach. Husselbeck yanks out the guy's wallet. HUSSELBECK He's... 26. Somebody suckin' the life outta you, pal? In his face, DAVID One more time -- Frank. Napier. A realization washes over him. SEBASTION Never heard o' him. HUSSELBECK Yeah, you and everybody else. (to David) Somebody stole his file at the Station. There's some kind of cover- up. DAVID I can't prove it but I think it was Frank who killed Ira. Murdock too. HUSSELBECK Why? DAVID Why do you think. He lets Sebastion have it one more time. David yanks out his .38. Points it at the floor. DAVID Don't make me start blasting off toes, Sebastion. He cocks it. SEBASTION Alright! Christ. The Penthouse. Top Floor. He... likes to live alone. 86. DAVID Thank you. SEBASTION He'll kill me for this! HUSSELBECK Should'a thought o' that first. Husselbeck kicks the chair. It topples over, still with Sebastion tied to it. He's able to get his feet free and flee, still tied to the chair with his arms. INT. CAGE ELEVATOR - EVENING Clarence and David stand, waiting for the creaky elevator to finally reach the top. The metal groans. INT. TOP FLOOR - EVENING There's only one, shoddy, filthy door up here. DAVID Well? Husselbeck kicks in the door. INT. FRANK'S HOUSE - CONTINUOUS The contrast is astounding. Leaving the grungy, rotten world outside this penthouse is filled with ancient art and a center stairwell. That same fog and poorly-lit, fluorescent color permeate however. It can't be escaped. That old-world mystique. Yet, somehow still dark and sinister. Yielding something hidden. A few too many clocks. Dark paintings. Still the peeling wallpaper - this whole place is ancient. It's huge. The looks on their faces tell the story. The sun passes below the horizon outside. Looking around, HUSSELBECK So what are we looking for? 87. DAVID I don't know. Digging through drawers. HUSSELBECK Up there. Clarence points to the stairwell. David starts upstairs. HUSSELBECK How long do we have? David looks up. Frank is at the top of the stairwell. DAVID Not long... Frank swaggers down the stairs and stands close to the officers. FRANK What's the problem officers? David stares at him, angry under that confident demeanor. Frank stares back. HUSSELBECK Depends. You kill anybody lately? Frank can't help but laugh. FRANK (stifling laughter) I'm sorry, Officer...? HUSSELBECK Detective Husselbeck. FRANK Officer Detective Husselbeck. It's just that I've just returned from abroad yesterday. I was planning on my sleep not being... disturbed. David scowls at him. There's more to that statement. Close, quiet, FRANK (to David) You oughtn't be here. 88. DAVID Yeah, I know I oughtn't. I have a knack for that. HUSSELBECK Just what kinda business are you in anyhow? FRANK I deal in... antiques. HUSSELBECK No kiddin'. DAVID Where were you visiting abroad? FRANK Transylvania. I was visiting to pick up a piece that I am rather fond of. DAVID Yeah? What piece was that? FRANK A coffin. David's eyes widen. DAVID A coffin? FRANK A 17th century English antique coffin to be precise. HUSSELBECK Can we, uh, see this coffin, Mr. Napier? It would give some credence to your story. Frank looks away. Perhaps a tinge of nervousness behind that hard exterior shell. FRANK I'd rather you didn't. It's a very delicate piece. It must kept in strict storage, you see, in the basement of this building. HUSSELBECK All the same, we'd like to see it anyway. 89. His happy demeanor fades. A more serious air suddenly pervades him. FRANK Do you have a warrant? HUSSELBECK Now listen, buddy. There's no need for that. We just wanna have a look around. FRANK Not without a warrant you won't. He crosses his arms, standing defiantly. HUSSELBECK Fine. We'll get one. (to David) Come on. (to Frank) Sorry to cause you all this trouble, Mr. Napier. FRANK Yes, David. We wouldn't to cause any more... trouble... would we? He understands exactly what Frank means. DAVID (slightly fearful) No... I guess not. FRANK So are we all done here? DAVID (snide) Yeah. FRANK Well then, you two better get home before it... gets dark. He stares at David with a knowing look. David quickly looks to the window and sees that it's quickly growing darker and darker. INT. HALLWAY - NIGHT The door slams on David and Frank. 90. HUSSELBECK Well that went well. DAVID He's a killer, Clarence. HUSSELBECK He's definitely hiding something. Clarence turns and walks towards the elevator. DAVID So call the Station! Bring the whole station down here! HUSSELBECK I have no claim to a warrant, David. And if he killed Ira and Murdock I'm not going back in there without a shotgun! DAVID So get one! Clarence storms back. HUSSELBECK You're already a murder suspect, David. Killing a man in cold blood after breaking into his home won't do you any favors. (beat) Go home. You reek of booze. Husselbeck slams the cage elevator door. EXT. FRANK'S BUILDING - LATER THAT NIGHT David stands in the shadows from across the street and watches as the wind and fog bring the eerie skyscraper to life. The entire neighborhood is utterly empty, deserted even. The wind howls like a scream. Thunder rolls in the distance. The heavens open up. A soft rain begins to patter on David's hat. He lowers his head slowly, thinking. Under his hat, David's face disappears into shadow. After a long time, he makes his decision. David slowly steps out from behind a line of shadow behind the building. 91. He stalks slowly, quietly, up to the side of the dark complex, even more frightening at night, as the tree-limbs scratch on the windows. He bends down onto one knee as the rain patters all over him to see inside the basement window. The windows have been painted black. David scratches off a tiny sliver of the paint, enough to see inside. He squints past rain and shadow to look inside the incredibly dark basement through the tiny sliver. David struggles to position his head in the way that would allow him to see the most of the dark underground room. The floor isn't concrete like it should be. It's dirt. David moves his head again, tilting it as best he can, and sees it. The coffin. An ancient looking thing, wooden, cracking, yet ornate. David can't seem to take his eyes off it. POV - FROM ABOVE Someone, from the side of the building, looks down on David, rain caressing him, as he continues to do his best to peer through the window. The POV moves, and hurries down the edge of the roof, utterly silent. BACK TO SCENE Just behind David, still snooping, a shadow moves behind a bit of foliage. Frank quickly emerges, hands in his trench pockets, with that arrogant smile on his face, looking past the rain. FRANK Curiosity kills, David. David jumps to his feet, completely startled. He tries to keep his cool, staring down the Beast. FRANK It's not safe to be out, Bannister... after dark. Frank takes a step closer. FRANK Are you sure you want to take that chance? David, tries to hide his fear under that cool exterior. 92. Frank takes a few more steps, until he is just inches from David. FRANK You've caused your friends enough pain by bringing them here, David. You wouldn't want to cause them any more... would you? David, once again, gets his meaning. FRANK What were their names again? David doesn't answer. FRANK (dead serious) Perhaps I'll just go to the Precinct... and rip each and every one of them into pieces so small you can mail them to their wives. David doesn't want any part of this. He slowly backs away, and leaves. Frank, calling back, FRANK See you... David turns and looks at him. FRANK Soon. David's pace quickens the slightest bit. INT. BANNISTER'S OFFICE - LATER THAT NIGHT - FOG David enters and tosses his trench on the hook beside the door. He walks over to his chair and plops a very weary frame into it. He puts his head in his hands and does his best to rub the fear out of his system, sighing loudly as he does so. David sees the ring on his finger. He takes it off and slams it on the desk. He turns in his chair and looks out the window, into darkness. The handle turns and the door slowly opens. Evy pokes her head in. Then enters completely when she sees David brooding. 93. EVY There you are. What are you doing here? He doesn't say anything. He doesn't even move. EVY Where've you been? Nothing. EVY What's wrong? DAVID Please, just leave me alone sweetheart. EXT. ALLEY - NIGHT - FOG Jack, amidst an incredibly thick wall of fog, stands perfectly still, looking up at the Bannister office. Suddenly, out of the fog behind him, steps Napier, silent as ever, with that smirk on his face. He grabs Jack by the neck and yanks him into the fog. They both disappear instantly. From somewhere beneath the fog, Jack Bumstead screams. Something crunches. The sound of water. A moment later, Frank emerges from the fog once again. He looks up at the office, and a sly smile crosses his lips. Frank walks off, whistling, hands in his pockets, utterly carefree. INT. OFFICE OF DAVID BANNISTER - NIGHT- FOG EVY Why won't you tell me anything? DAVID You know I became a cop... to try and actually do something right. I thought... there was so much good in this world. And I just had to protect it. I just had to stop whatever got in its way. (MORE) 94. DAVID (CONT'D) (beat) I was wrong. (beat) The world isn't divided into black and white. Good and evil. Right and wrong. (beat) When I look out that window... All I see is gray. (beat) Look at it again, Evelyn. Does THAT look like a world worth saving to you? Worth fighting for? EVY David... I don't understand. DAVID How can you? You're not out there, angel. You're not out there living it, every god damned day of your life. You don't see the crime that happens every single night. You don't see the things people do when they think they're alone. The heinous acts committed in darkness. You don't have to watch, as it consumes each and every person you love. As it consumes... even you. EVY What? DAVID The darkness. (beat) If you were you wouldn't be you. You wouldn't be the sweet, angelic thing in front of me. It would have eaten you up... That's what it does. It's inside everything. Everyone... Dwelling, festering, until it's time to be released. (beat) I know that now... Even if for only a moment, we all succumb to it. There's no escape. (beat) If there was... He looks up at her. 95. DAVID We'd all be angels. Evy looks down at the desk and sees his wedding ring. EVY ...Is this about your wife?... DAVID My wife left me long ago. To save herself from it. To save her from me... After a long time, with tears in her eyes, EVY Why won't you let me in, David... DAVID It just isn't right, sweetheart, it just isn't right... This thing, it... I can't stop it. For the first time in my life I feel... small. David hangs his head low. Evy can only stare down at him with loving eyes, filled with sadness. Evy goes to the door. Before she shuts it behind her, she takes one last glance at David, who still hangs his head. She shuts the door, quietly. INT. OFFICE OF DAVID BANNISTER, OUTER OFFICE - CONTINUOUS Evy leans against the door. She stifles back the forming tears. INT. OFFICE OF DAVID BANNISTER - NIGHT David watches at Evy's wavy outline through the milky glass walks away. After a moment, he spins around in his chair. He pulls back the drapes slowly and looks outside through the window, into the alley below. It's empty. DAVID You sleep too much, kid. 96. INT. FRANK'S HOUSE - NIGHT Frank trounces down the stairs. Heading for the cellar door. He opens the basement door and steps inside the dark hole beneath the house. INT. FRANK'S HOUSE, BASEMENT - CONTINUOUS Frank walks down the concrete steps. Frank takes the last step and looks at the coffin in the middle of the floor. Napier carefully opens the casket lid. It creaks open slowly. The coffin is filled with severed heads, a dozen of them, more. Napier carefully reaches inside his bulging trenchcoat and removes the head of Jack Bumstead, still contorted into a scream. He tosses the head in with the others carelessly. It bounces around against the rotting flesh. Frank sighs happily. EXT. OUTSIDE DAVID'S OFFICE BUILDING - DAY - RAIN David walks out of his building and hastily hails down a cab in the rain. It stops and he jumps inside. INT. CAB - CONTINUOUS Rain quietly licks the window of the cab, enveloping it in a white sheet of tranquillity. The cab begins to pull away from the curb. David stares outside, to the rain-drenched streets of a once great city. Outside, a man is shouting at a woman, presumably his wife, in the rain. Cursing at her. Yelling at the top of his lungs, incredibly angry, as she stands sheepishly, crying. The cab pulls away further. A homeless man lies on the sidewalk, draped in soaking-wet newspapers, shivering. A man in a suit passes him by. The homeless man extends his hand, pleading with him for some money. The man in the suit just continues walking, as if he didn't even see him. 97. Further. A group of people are gathered around something on the side of the road. The CABBY speaks to David without turning his head. CABBY Where ya headed, buddy? David only stares out the window. The group of people step aside just enough for David to see what they're looking at. A young woman lies in the street, blood covering her abdomen, clutching her purse by the handle in an outstretched hand. The handle is broken on one side, like someone tried to take it. Everyone around shakes their head at the scene. CABBY Hey, where ya headed, pal? David, still staring outside the window, in a low, melancholy tone, DAVID Far away from here... David just stares out the window, as the dark world outside races by. EXT. CHICAGO STREET - LATER David, outside of the cab, slams the door shut. The cab pulls away. David slams his chilly hands into his trench pockets and starts walking down the cold street. Everyone loves the night - it's bustling with pedestrians. It might as well be morning. David wants to get out of the crowd, be alone, but they've surrounded him. Something pops out of the gray - a blonde head. It catches David's eye. She turns and looks - right at him - before disappearing into the crowd. David, unsure, gives chase. The crowd in his way, he has to muscle his way through. But it's near impossible. A yellow streak turns the corner of a building. 98. After some struggling David gets free. He rounds the same corner. Across the intersection - a church. Dark and brooding. A darkly ornate Gothic anomaly; an old City Cathedral, once grand, long since boarded up. Tall, dark trees line the gravel courtyard, tossing shadows all over the building. Construction projects, bridges, metal skeletons loom all around the old building, surrounding it, closing it in. David almost stops at the sight of it. His pace slows as a shadow moves somewhere inside, tossing darkness from inside the boarded up window. INT. CATHEDRAL - NIGHT The door slowly creaks open as David enters carefully. There are no lights. There is no sound. Only the creaking of old wood and the whistling wind outside. The scratching of the trees against the windows. 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. A sound. Someone moving in the back room. David stalks carefully up to the door. ANGLE: David reaches for the door handle - on it is etched the symbol of a cross. He turns the handle slowly, not noticing the symbol, and enters the room. INT. CATHEDRAL, BACK ROOM - CONTINUOUS The door creaks open loudly, slowly. Tiny slivers of light peer through the cracks in the boards over the windows, casting lines of darkness over every wall. Each wall itself is littered with crosses, all shapes and sizes, nailed to the wall only inches from one another. Tables and chairs are pushed against the doors and windows, leaving most of the space utterly empty. Candles flicker wherever there's a place to set one, or a dozen, down. In a corner is a stack of dusty old books. Phyllis Danvers, an unhinged shell of her former beautiful self, sits blank-faced in the center of the room, legs crossed, on the floor, unmoving, unblinking. 99. Her hair isn't the bright blonde it once was, now only an unclean mess upon her disheveled head, with greasy strands trailing all over her pale, emotionless face. Her clothes are soiled and tattered. David sees her sitting there, her presence startles him. She doesn't move. David can only stare at the back of her head. DAVID I'm sorry, the door was unlocked... David shuts the door behind him. DAVID Phyllis? Without relinquishing her blank stare out the window, PHYLLIS It can't come in that way. David looks behind him and sees a multitude of crosses nailed to the back of the door, more here than anywhere else. A rosary hangs from the handle. David's confident demeanor begins to fade into uncertainty. He slowly inches closer to Phyllis. DAVID I've been looking for you. I need to talk to you. PHYLLIS You want to know about it. DAVID What happened to Johnny that night? She stops for a moment. PHYLLIS Johnny's dead. DAVID Yes, I'm well aware of that Miss Danvers. She says nothing. She still hasn't turned around to face David. David scans the room again. DAVID Are you a... religious woman Miss Danvers? 100. PHYLLIS They keep it out. Keep it from coming out of the darkness again. DAVID Keep what out? PHYLLIS The monster. The word stops him. He looks at her, she still hasn't moved. DAVID Is that what killed Johnny? That thing? PHYLLIS Johnny's dead. DAVID We've been over this. David grows impatient and walks in front of Phyllis. He kneels down to her eye level, but her eyes never move. DAVID Did you see something, Miss Danvers? She shakes her head, but unsteadily, as if unsure about something. DAVID What did you see? In the alley, what did you see, Phyllis? She shakes her head. PHYLLIS He's dead... He's dead... David grabs her by her shoulders and gives her a hard shake, trying to snap her out of it. DAVID What did you see, Phyllis?! Did he have a knife, a gun, is that why you're so scared?! PHYLLIS He's dead... DAVID Come on! What did you see, Phyllis, in the alley?! What was it?! 101. The 'It' catches her. Her head slowly moves in his direction, until her eyes find his for the first time. Blank eyes. Her voice is a croak, a dry rasp, dead-serious. PHYLLIS Darkness... David backs away. He's used the same phrase. PHYLLIS He's dead... David, fed up, opens the door, ready to head out, as her ramblings continue. PHYLLIS It killed him... He's dead, it killed him... David looks back at her. The more she speaks the more his curious gaze twists into one of fear. PHYLLIS It came out of the night... Like a shadow... Like it was part of it all... Part of the darkness... It was at home there... It was at home in the darkness... and we disturbed it... David, dead silent, shaken, turns and walks out the door, closing it behind him. INT. DAVID'S APARTMENT - DAWN The dawn has no yielded little sunlight. Eternal darkness. David has his head in the kitchen sink. Trying to wash the night away. The fan can be heard spinning. He looks at his hand as it shakes uncontrollably. MARION Shakes? David looks up quickly. Marion stands in kitchen entryway, holding her purse in front of her. He puts his head back in the water. 102. DAVID You shouldn't be here. MARION I know. I couldn't stay away. David has a drink in his hand. Marion floats over to the stack of pictures he's drawn. There are a few new ones. She holds one up to look at it. MARION Is this why your wife left you? He stops. How'd she know that? DAVID She's gone because of my darkness. Not everyone else's. MARION Do you love her? A long, tense beat. DAVID I miss her. Silence. Marion just looks at the picture. MARION Are you alright? He looks up at her, annoyed, angry. DAVID What do you want from this, Marion? MARION I don't... I don't understand. DAVID This. This whole thing. What is it you're still waiting for? MARION I can't leave... DAVID Why? She starts to tear up. She can't answer, turning away. 103. The rustling of her clothes as she moves silently across the room towards David. He's collapsed onto the couch. MARION Will he find me? David stops. He's plastered, just barely awake. The fan spins. Shadows dance. He slowly opens his eyes, groggy. DAVID If it were me... I wouldn't stop until I did. Silence. A horribly long beat as she stands in the darkness. Only the fan and her breathing can be heard. The distant noises of an apartment. MARION If I ran, would you go with me...? Marion waits for a long moment in the shadows of David's apartment. The fan spins. No answer. She moves into the light from the bedroom door and peers in. David is on the couch, snoring softly. His drink on his stomach, ready to tip over. INT. DAVID'S APARTMENT - LATER The fan is the only sound. Marion moves to a chair. Silently flipping through old photographs. DISSOLVE TO: EXT. OVERHEAD VIEW OF THE POLICE STATION - LATER - RAIN Rain blankets the antiquated, dilapidated Police Station. Blocking out even more of the light. Does the sun rise here at all? INT. HOMICIDE DIVISION - HUSSELBECK'S DESK - LATER The smoky station is nearly empty. 104. Husselbeck sits at his desk, running his hands through his hair. A mound of paperwork sits on the desk in front of him. Husselbeck picks something up to glare at it. A photograph. Of David. The phone starts ringing. Husselbeck doesn't acknowledge its existence. Persistent, it doesn't stop ringing. For the longest time, Clarence just lets it ring. Eventually, he walks across the room, past the several desks, and picks it up. Rubbing his neck, groggy, HUSSELBECK Homicide. (beat) Yeah. On my way. EXT. ALLEY CRIME SCENE - LATER Darkness pervades the small alleyway. Bustling with activity. A news photographer. Several police officers. All of them around a body in the center, covered in a white sheet. Husselbeck walks the line. Trying to soak things down as quickly as possible. He sucks down coffee. He bends down carefully. Everything goes silent for him in the foggy alley, as smoke pours out from beneath a manhole only a few feet away. He pulls the sheet. It's Phyllis. INT. POLICE CRUISER - LATER Husselbeck opens the driver side door and gets in to join his partner, Marshall. He looks incredibly tired. Marshall hands him something. A manila envelope. Husselbeck takes it and opens it. He pulls out several photographs. ANGLE: The photos, as he flips through. Each one is a photo of David and Phyllis. David chasing Phyllis. David talking to her inside the church. Etc. 105. MARSHALL There's something else. Husselbeck, having his fill, tosses them back into Marshall's lap. He turns the key and starts the cruiser. INT. DAVID'S APARTMENT - EVENING David stirs awake. He takes a drink form the glass still on his stomach. He sits up. He jumps, startled. At the sight of Marion sitting, napping, across from him. His jumping causes her to jump, awake. MARION What is it? DAVID You're still here. MARION I... must've fallen asleep. David storms up. DAVID You shouldn't be here! He grabs her by the arm and yanks her up. Starts her towards the door. MARION What are you doing?! DAVID You're not safe here! She stops him. There are tears in her eyes. She knows what he means. MARION Are you such a coward!? DAVID Baby, I'm no coward. I'm smart. He points to the door, forcibly. She tries to stifle the tears, but after a moment, she drops her head and leaves. 106. She tries to open the door but he cuts her off, slamming it shut loudly. He pushes her away from the door, against the wall, hard. She tries to fight him off. She's afraid of him right now. He plants his lips on hers, just as hard. She struggles and pushes him off. Then she kisses him back. They embrace, kissing passionately. The fan doesn't stop spinning. DISSOLVE TO: EXT. POLICE STATION ROOFTOP - NIGHT A thick fog blankets the city. Husselbeck just watches as the little sheep walk around on the sidewalks and byways. Walking from side to side. He just watches it for the longest time. Eventually, he stuffs out his cigarette against the concrete barricade, and heads o.s. DISSOLVE TO: EXT. CHICAGO STREET - NIGHT - FOG David walks through the masses. He's got a purpose. He tightens his overcoat around his chest, trying to see through the incredible fog. EVY (V.O.) What are you gonna do? INT. EVY'S APARTMENT - EARLIER Evelyn and David sit across a table form one another, drinking coffee. Evy's apartment is somehow so warm and inviting. DAVID I don't know yet, angel. 107. EVY Ya know, before this week I hadn't heard you ever say that. Now it's all I ever hear. DAVID No worries, kitten. But there's something I have to do. EVY Why? There are tears in her eyes. DAVID Because someone has to protect her. EVY Do you love her? David doesn't say anything. He stands up. DAVID Don't go outside. When this is over, I... He doesn't know how to answer. He starts to leave. EVY David, I... (beat) Be careful. She looks up at him, mascara tears running little marathons down her face. He stops. He grabs her gently and tenderly kisses the top of her head. DAVID I will, angel. EXT. CHICAGO STREET - NIGHT David looks around nervously. Until he sees it. The Church. 108. EXT. CATHEDRAL - NIGHT David sneaks up to the door and removes a lockpick from his coat pocket. He starts it on the door. But it creaks open slowly. He carefully goes in. INT. CATHEDRAL - CONTINUOUS Only the distant sounds of an ancient and creaky cathedral. The place is so utterly vacant that David's shoes clank against the hardwood flooring with each step, sending out a new echo each time. INT. CATHEDRAL - BACK ROOM - CONTINUOUS The room where he talked to Phyllis. The same as it was. Only now it's become darker, somehow, more terrifying. David locks the door behind him. He eyes the large stack of dusty old texts propped against a wall in the corner. He starts for them. DISSOLVE TO: INT. CATHEDRAL - BACK ROOM - LATER David examines the stack of books. Five feet high. Up and down he looks, checking out the different names - certain texts' names bulge with importance in a sea of spines and letters. DISSOLVE TO: He passes by one labeled "The Vampire in Europe" by Montague Summers. DISSOLVE TO: He passes by another - an overly-large antiquarian edition of Bram Stoker's "Dracula." DISSOLVE TO: Another by Montague Summers - Vampire: His Kith and Kin. DISSOLVE TO: 109. INT. CATHEDRAL - BACK ROOM - LATER David, carrying a small stack of texts, drops them onto the floor for a better view, where a few others already lie. DISSOLVE TO: INT. CATHEDRAL - BACK ROOM - LATER Several of these large, antiquarian books lie open. David looms over the largest of them, reading silently with his eyes. DAVID (V.O.) (reading) Man stands amazed to see his deformity... INSERT: An image from one of the books - from Max Ernst's "A Week of Kindness." The image is an etching of a man with the wings of a bat peering in through someone's door. DAVID (V.O.) (reading) In any other creature but himself. INSERT: Another image. Henry Fuseli's "The Nightmare" - an image of a dwarf-demon sitting on top of a dead woman. DAVID (V.O.) (reading) And though continually we bear about us... INSERT: Francisco de Goya's "The Consequences" - an etching of a dead man being devoured by large bats. DAVID (V.O.) (reading) A rotten and dead body, we delight... INSERT: An ancient wood-etching of a demon-like figure suckling from the wrist of an unconscious woman. DAVID (V.O.) (reading) to hide it in rich tissue. INSERT: Another simple sketch. It looks remarkably like the image David saw in the alley behind the McPherson house. The familiarity is too much. David slams the book shut, echoing in the empty room. He stands up and walks away for a moment, pacing, looking for that one last final piece of the puzzle. 110. INT. CATHEDRAL - BACK ROOM - LATER David looks up at the large bookshelf in the room. Oddly empty. His eyes find the top of the shelf. Something is sticking out just the slightest bit from the edge, at the very peak of the mighty shelf. David sees this and cocks his head in wonder. After just a moment to think about it, David begins to carefully climb the shelf. Near the top he struggles to reach the object with his free hand. After some trying he barely manages to get enough finger on it to pull it out further. Soon after that he manages to grab hold of it completely and yank it from the peak. The extremely large, old book crashes to the floor. The smack of the leather binding on the cold floor is like a gunshot. INT. CATHEDRAL - BACK ROOM - LATER David slams the thicker than thick, two-foot high, leather- bound compendium on the floor, on top of all the other books. Dust and cobwebs fly from its binding. He brushes excess dust from the cover. But the name has either rubbed off in time, or there isn't one at all. He traces the faintest of lines on the cover. It may or may not read "Van Helmont" but it's impossible to decipher. It makes a strange sound as he opens it quickly to the middle, as though it hasn't been opened in decades. David, once again, reads from the book, in the darkness of the dank room. DAVID (V.O.) (reading) When I looked into the abyss, I saw the sadness in his eyes. INT. EVY'S APARTMENT - NIGHT Evy sits in one of the waiting chairs, bent over, sobbing mercilessly into her hands. 111. DAVID (V.O.) (reading) Like the blood he lived to suckle was slowly draining the rest from his own heart. Like the hands of time were gripping too tight. Like it had shriveled into nothing... from years of dormancy. From years of disregard. Evy lifts her head up. Her mascara is running little marathons down her face. There is an incredible sadness in her eyes. INT. DAVID'S APARTMENT - NIGHT Marion paces the room, in utter darkness. Light from outside streams in through the venetians, throwing all sorts of shadows onto her moving face. Marion wrings her hands together tightly. DAVID (V.O.) (reading) I looked at him and saw a man. I looked... and I knew... The beast that every human being harbors inside of them, the one that lies dormant, in the farthest recesses of our immortal soul, the darkest part of our being - the beast had been loosed. She stops and peers out the window for a moment. The closeness makes the shadows all the more thick against her face. DAVID (V.O.) (reading) And nothing now, will stand in its way. INT. FRANK'S HOUSE, BEDROOM - NIGHT Frank sits in total darkness, as shadows criss-cross his face amidst the fog, in a wooden chair, looking out the window into the night. His fingers are interlaced, against the front of his chin - lost in thought. Or memory. 112. DAVID (V.O.) (reading) They harbor an addiction that is inescapable - a thirst for blood. The blood is the life - and it prolongs theirs, as long as their soul cries for it. But... often their soul cries only... for peace. He does not move. On bloody corpse lies behind him. A tear down the side of his face. INT. CATHEDRAL - BACK ROOM - NIGHT David, on the floor. DAVID (V.O.) (reading) But most of all I knew... that its existence... couldn't possibly be an enjoyable one. Fed up, David concludes reading. He rubs his face in his hands, exhausted. EXT. STREET - NIGHT David, hands in his pockets, walks down the cold, damp streets of Chicago. Light licks the streets, wet from the recent rain, bouncing all sorts of shadows over everything, and everyone. DAVID (V.O.) I have seen the strife / Faces of death, faces of death / Faces of death all around my life. David hangs his head, seemingly lower with each step. The words from the books might as well still be ringing out inside his head. DAVID (V.O.) Like one, on a lonesome road / doth walk in fear and dread, / Because he knows, a frightful fiend / Doth close behind him tread. More. He can't shake them, haunting his memory this way. 113. DAVID (V.O.) Man is not truly one but two... Others will follow, and I hazard the guess that man will be ultimately known for a mere polity of multifarious, incongruous, and independent denizens. INT. DAVID'S APARTMENT - NIGHT The door opens and David slowly steps inside. He keeps his head sagged as he digs in his pockets for any loose change. He suddenly jerks his head up, looking out of frame. DAVID Marion... David looks at the mirror visible when entering the apartment. In it Marion is visible, sitting on the couch, crying upright. MARION (crying) David... Her head jerks up unnaturally and a speck of blood suddenly appears at her neck. David spins his gaze around and looks at the couch itself. Frank Napier sits on it next to her, clutching her arm tightly in his claw-tipped fingers. His other arm is wrapped around her shoulders, with his pinky-claw caressing her tender neck, just at the spot where the blood is now dripping from. David quickly reaches inside his coat. We see he's now carrying his gun. But Frank's voice stops him. FRANK Watch it. We wouldn't want another body piled onto your list, now would we? DAVID How did you get in here? FRANK The door. David looks confused. FRANK Forget the invitation - that stuff is just ridiculous. 114. DAVID What do you want? FRANK I'm cutting you a deal. MARION (whimpering) David... DAVID (to Marion) Shut up. (to Frank) What kind of deal? FRANK A man that knows what he wants. DAVID You think I want any part of this anymore? Of you? David casually throws his coat on the table in his den. He removes one of his hand-rolled cigs and lights it with a flick of a match in one hand. DAVID What are the terms? FRANK You give up Marion, walk away from all this... you live. You continue to come after me and I kill you both. DAVID Simple enough. MARION You're not seriously considering this?! David sits down across from them. DAVID Let's think this through. You and I both know the police won't do any good. Even IF they don't throw me in the asylum their efforts wouldn't be very effective against a thing like you. FRANK Obviously. 115. DAVID But, then again, if you take her and kill her that puts me out of quite a bit of money that she owes me. Frank laughs. DAVID What's funny? FRANK You and I aren't so different after all, David. Suddenly, there is a knock at the door. HUSSELBECK (O.S.) (through door) Open up, David. It's Clarence. Frank looks at David, still clutching Marion. FRANK Get rid of them, David. Or I will kill every person in the room. ANGLE: Frank's fingernail grows and sharpens at the flesh of Marion's neck. David sees this and stands up. INT. DAVID'S APARTMENT, CORRIDOR DOOR David walks up and opens the door halfway, blocking any entrance. DAVID (fake) Hiya. You guys pick swell hours to do your visiting. What is it now? HUSSELBECK We need to talk to you, David. DAVID (crossing his arms) Go ahead. HUSSELBECK We don't have to do this in the hall, do we? DAVID You're going to have to. You're not coming in. 116. MARSHALL Be reasonable, David. Marshall puts his hand on David's shoulder. DAVID (sternly) Get yer paws off me. HUSSELBECK It'd do you well to play along with us a little, David. You got away with this and you got away with that - but it's beginning to be too much for even you to weasel your way out of. DAVID Why? What's going on? HUSSELBECK We found Bumstead's body outside your office. But we didn't find his head. (beat) We also got photographs of you and the Danvers girl. Hours before you killed her. David suddenly can't speak. HUSSELBECK There's talk of you and McPherson's wife, David. Anything to it? David shakes his head, no. HUSSELBECK Talk is she had you handle her husband and her boyfriend so she could put in with you. What about that? DAVID No... HUSSELBECK Now the boy, David... The one that was watchin' you, lost his head outside your building. 117. DAVID First you think I killed the men she was schmoozing around with, now you think I did in the poor kid that was just following me. When I turn up daisies you'll think I killed myself. MARSHALL You haven't heard us say you killed anybody, David. You're the one that keeps saying that. DAVID Haven't you anything better to do that popping your head in here at this ungodly hour of the night? MARSHALL We would if you'd quit lying to us. DAVID You better watch it... HUSSELBECK If you say there's nothing going on between you and the McPherson girl you're a liar and I'm telling you so. DAVID Thanks for the tip. HUSSELBECK Are you going to let us in? DAVID Does it look like it? A noise from inside. Something fell, hard. HUSSELBECK It looks like. DAVID Yes, it does. Husselbeck throws open the door. INT. DAVID'S APARTMENT - CONTINUOUS David's glass of booze has hit the floor. Marion and Frank on the couch, in the same position. 118. HUSSELBECK What are you up to here? DAVID Don't be in a hurry, boys. Everything can be explained. HUSSELBECK (sneering) I bet. DAVID May I present to you both Detectives Husselbeck and Marshall. Chicago's finest. (to Husselbeck and Marshall) Boys, this is Marion McPherson and Frank Napier. FRANK How do you do. DAVID Marion here is an operative in my employ - since yesterday. MARSHALL I don't believe -- DAVID Mr, Napier here called me into his home yesterday evening to hire me to try and locate something Murdock had stolen from him just before he was bumped off. Then you showed up at his apartment and I had to underhand you to keep my client confidentiality in check. Napier just wanted an ancient artifact that was stolen from the bank where he was keeping it - the same bank that Murdock was employed by. Husselbeck's getting angry. HUSSELBECK (to Frank) Well, what have you to say to that? FRANK What is there to say? 119. HUSSELBECK How 'bout the facts? FRANK Everything he just told you is true. HUSSELBECK And what about all the boys at the Station - why is everyone so afraid of you? DAVID Well, now, I don't know about his other exploits but-- FRANK I give donations under the table to several of your fellow police officers, in hopes that they keep an out for interesting... artifacts. Husselbeck's fed up. HUSSELBECK Alright! Get yer hats! David laughs. DAVID Oh cool off, Clarence! Can't you see when you're being kidded?! HUSSELBECK No, but we'll sort it out with everybody at the station. Frank's hand digs deeper into Marion's back. DAVID Oh, wake up, Clarence! You're being kidded! When the bell rang I said to Miss McPherson here and Frank it's those jokers again. They're getting to be nuisances. When you hear them going, one of you make some noise and we'll see how far we can string them until they tumble. Clarence slugs David. He manages not to fall, but looks like he's going to punch back. Immediately after the blow Frank readies to fly. He extends his fingers and all the nails instantly grow and sharpen. 120. HUSSELBECK Cut it out, David. MARION No, David! No... Her words stop him. Frank relaxes. DAVID Well then, they better get outta here! HUSSELBECK The only thing I need on you is one single shred of proof, David. One. He turns. HUSSELBECK Come on, Phil! They both leave, slamming the door. FRANK I'm quite impressed, Bannister. (beat) Do we have a deal? DAVID First, you're going to get away from her. David grabs Marion by the arm and yanks her off the couch. DAVID Then you're going to tell me why I should go along with any of this. I want out, of all this, but that doesn't mean I'm about to align myself with you! FRANK With the girl and the young cop you're now suspected of four murders, Bannister. If I don't kill you you'll still be hunted across the globe for three murders and the beheading of a police officer. But if you walk away now you won't ever see me again, and I can make sure you're cleared of everything you're accused of. 121. DAVID Why this?! Why make me choose?! Why not just kill me now and take the girl!? FRANK I was a man once, David. I'm not without my manners. Not that I don't delight in watching you squirm. David paces the room for a long time, the smoke increasingly filling the room. DAVID I'll need a couple days to think it over. FRANK You have one. And David... There's nowhere you can go, where I won't find you. In an instant Frank is gone. The breeze from the night outside billows the drapes of the open window. DISSOLVE TO: INT. DAVID'S APARTMENT - LATER THAT NIGHT David sits on the very edge of the bed. His face is in his hands. He just sits there, breathing. INT. DAVID'S APARTMENT, BATHROOM - NIGHT Marion, knees pulled tight to her chest, sits in a full bath. Her wet hair is like a thousand little tendrils, criss- crossing her entire face - a new kind of obstruction. She turns her head in the steamy, smoky bathroom - too lost in thought to even be alive. EXT. STREET - NIGHT David and Marion clutch each other's hand as they walk down the dark, smoke-filled streets of Chicago. David, stone-faced, huddles tighter in his coat from the cold. His face is hidden under the shadows from his hat. The two of them say nothing for a long time, not knowing what to say. 122. MARION You were just going along with him... to get him to leave... weren't you, David? DAVID Of course, sweetheart. Of course. The moonlight glistens off the tear streaming down her cheek. EXT. EVY'S APARTMENT BUILDING - NIGHT David stops outside Evy's apartment complex. He grabs Marion by the shoulders and looks dead in her eyes. DAVID Go to Evelyn's and stay there this time. Lock all the doors and windows and don't let anybody in. I want you to pack a bag. When I come back we're leaving. MARION But he said... DAVID I know what he said. But if he finds us we're dead. He plants his lips on hers. DAVID Go right now. He turns and walks away. MARION David, I... But he doesn't stop walking. She turns and goes inside the building. INT. DAVID'S APARTMENT - NIGHT David digs frantically through one of his drawers. He yanks something out and shoves it in his shirt pocket. He throws his overcoat on the floor. He picks up his .38 and shoves it into his holster. David goes into the kitchen and picks up a glass of scotch sitting on the counter. He moves to take a drink but stops. 123. David picks up two sharpened wooden stakes. The very full glass of scotch still sits on the table. INT. DAVID'S OFFICE BUILDING, ENTRANCE CORRIDOR - LATER THAT NIGHT A key turns. Then stops suddenly. The main entrance door of the building creaks open slowly as Clarence barely nudges it open. Something's not right. Clarence carefully walks through the downstairs lobby. It's so utterly quiet his shoes clank on the hardwood floors with each step. STAIRS Clarence, incredibly slowly, trudges up the stairs to the office. With each step the wood underneath groans or creaks. It's as if the building itself is calling out to him. The stairs are dark, littered with creeping shadows. Clarence looks to his right - on the wall, one of the pictures is crooked. He keeps walking. INT. BANNISTER'S OFFICE BUILDING, RECEPTIONIST'S OFFICE - CONTINUOUS The door from the stairs creaks open slowly as well. Clarence casts a shadow over the entire room as he enters, his movements are slow and tense. He flips on the light switch. Nothing. Clarence walks further into the room. His shoes on the carpet are the only sound in the entire place. Beneath one of them glass suddenly crunches. He stops, lifts his foot up. It's so dark, he can't see anything. Lightning quickly pops outside, sending a flash of light into the dark room for a moment. Moment enough for Clarence to see the broken lamp shattered across the carpet. Another flash of lightning and the entire room is exposed. Under his hat Clarence glares at the mess. 124. Office supplies have been thrown carelessly onto the floor. Belongings have been toppled over. Evy's desk is an utter disaster area. Clarence just stands there. His emotions hidden under a veil of shadow. INT. BANNISTER'S OFFICE - NIGHT The door opens without a sound, incredibly slowly. David's office is a mess just like the rest. Moonlight streams in through the open venetians, past the smoke and haze, and past the etching of the name "David Bannister" on the huge window outside. There, on the floor, where the etching of David's name casts a huge shadow onto the carpet, lies the body of Evelyn Somerville. Broken. Bloody. Mutilated. HUSSELBECK (sighing) Jesus Christ, David... Clarence bends down, taking off his hat and tossing it aside. He turns Evy's face the slightest bit to get a closer look. It dawns on him. He turns to run, but something stops him -- Evelyn's clawed hand around his throat. Clarence looks down at the girl. Her eyes are open and yellow. Her tongue trails through a maze of razor-sharp teeth. The transformation has already started. Clarence can't move as Evy stands up effortlessly, never losing her grip on Clarence's throat. She pulls Clarence closer. EVY The office... is closed! She extends her arm and Clarence flies across the office. He crashes down onto David's desk, so hard it crumples beneath him into kindle. Clarence's groggy body struggles to even move amidst the wreckage as Evelyn stalks closer. Evy grabs him by the ankle and drags him free of the debris. Clarence manages to hold onto one of the broken table legs, and takes it away with him. Evy hoists Clarence to his feet, throwing him by his tattered shirt against the wall. Clarence fights back. 125. He swings the heavy oaken table leg, connecting several times against the mushy cranium of the dead girl. After a few hits, Evy swings her mighty arm and slashes Clarence across the chest with her razor-claws. Four lines cut through Clarence's shirt, and flesh. Bloody and in pain, Clarence staggers backwards, stopping when he falls against the window. Evy howls an unnatural hiss at Clarence, past the maze of teeth, and charges. Clarence does all he can and extends the wooden object in front of him. Running blindly, Evy impales herself onto the wooden object. Clarence turns his hips and sends Evy sailing through the window, glass shattering everywhere, and onto the street below. The thing howls until there is a deep thud. And it stops. After a long moment, as the dust settles, Clarence, grabbing his chest, looks down out the window. In the street, Clarence can see the thing that was once Evelyn writhing in agony. Blood pours from the chest wound, buried right into her heart. Flesh begins to melt away at the site of the wound, burning away as if near a flame. Evy howls, not a human howl, at the pain. After a long and gruesome display, all that's left of Evelyn Somerville is a puddle of burned flesh, sticking to the asphalt like butter in a warm pan. Clarence suddenly remembers. He jolts to his feet. INT. FRANK'S HOUSE, BACK BEDROOM - LATER THAT NIGHT The room is large, but dark. Smoky, like everywhere else. Almost entirely void of that antiquarian furniture that seems to litter Frank's house, all but a rather large and intricate rug on which a female figure lies, unconscious. Marion. Sprawled face-down into the extravagance. She's not dressed like her usual conservative self. She suddenly stirs awake and sits up, still sprawled across the floor. She quickly takes in her surroundings. She sees the cocktail dress she's been put in. Low cut. 126. The antique door handle creaks and turns slowly. The big double-door crawls open slowly. Frank enters carefully, not wearing a shirt. Marion is practically frozen. Not terrified, more unsure. MARION Where am I? He doesn't say anything. MARION Where's David? Frank walks closer and bends down very slowly onto his knees in front of her. After a moment, he brushes her tattered, greasy hair out of her eyes. His demeanor has changed. It's a different side of him - careful, sensual almost. After a moment, MARION (scared) Why are you doing this? He stops what he's doing. FRANK We are what we are, Marion. He turns his head and looks to the big, ancient mirror resting in front of the fireplace, stretching up the wall. In it, Marion lies on the floor, all alone. FRANK When you look in the mirror you see your face... aging, scarred, wrinkled, sad -- because that's how you perceive it. He looks back to her. She still searches the mirror for something that's not there. Frank stands slowly and walks closer to it. He leans against the fireplace mantle with his hand. He doesn't turn back to her as he speaks. FRANK That's why you wanted what you didn't understand. Why you wanted what I could never give you. What I wouldn't. 127. He looks to her. She finally looks back. FRANK But I don't have that luxury. When I look in the mirror... I see nothing. Nothing but my scars. He takes a few steps towards her. Her chest heaves with fear. FRANK When you become like me you're able to heal from just about anything. Eventually, even bone will grow back... But not your scars. It's the only part of you that's still human -- the only tissue anyway. (beat) That's why they won't heal - because the human side of you is dead... The human side of you never heals, Marion. It never gets better. (beat) I have many scars from my life -- but only one I bear with sadness. My last scar. Frank moves his neck into the light -- revealing two small scars in close proximity. His bite mark, from ages ago. He walks closer to her. FRANK The last part of me that was human. It will never heal. It will never fade. It will only float in the mirror for all eternity, so that I never forget what I am. What I was. He bend down to her once again. FRANK Do you still want death? MARION ...No... FRANK Then that is what you shall have. He moves in for her neck. The bite is softer than the others, not vicious. Almost tender. 128. Blood begins to flow down her shoulders and back. Until it stains her cocktail dress. Marion's eyes widen. Pain, ecstasy -- who knows. Frank's nails dig into her flesh as he clutches her body tighter. For a long time they sit there, wrapped inside one another. FADE OUT INT. DAVID'S APARTMENT - LATER THAT NIGHT A soft knock at the door. After a moment, it opens. Clarence stands in the doorway, head down, soaked to the bone from the rain, dead silent. Incredibly slowly, Clarence looks up. HUSSELBECK Evelyn's dead. Long beat. HUSSELBECK I believe you... EXT. FRANK'S BUILDING - NIGHT - RAIN Husselbeck's police cruiser is parked across the street from the massive Underground complex. Husselbeck and David get out in unison. David looks at the massive, sprawling thing. It's even more terrifying now, amidst the fog and rain. And dread. Looming high over them both like some huge, Gothic, silhouette. David stops, looks to his friend who is at parked at the trunk. DAVID Are you ready for this? Clarence opens the trunk of his car. He pulls out a police shotgun and slams the trunk lid down. HUSSELBECK Let's do this. 129. The rain patters over them, endlessly. INT. FRANK'S BUILDING - FOYER - CONTINUOUS The inside is even more terrifying than the out. The creaky old place is full of shadows - every angle, every corner casts a multitude of lines across the vast, empty interior. The wind howls. The building creaks. INT. CAGE ELEVATOR - NIGHT Going up. The elevator rumbles along, horribly slow. The metal groans. Both of them are dead silent. Shadows caress both their faces. Up and down. Up and down. INT. FRANK'S BUILDING - TOP FLOOR - NIGHT Standing in front of the door. DAVID (quiet) We're getting Marion and getting out. HUSSELBECK (quiet) I can live with that. David bends down and silently spends a few beats, picking the lock. The door opens. David looks surprised. DAVID (quiet) I guess he's expecting us. David starts to slowly open the door. It creaks loudly in the dead silent building. HUSSELBECK (quiet) Wait. David stops. HUSSELBECK (quiet) Let's come back when he's sleeping. We'll just grab her and get out. 130. DAVID (quiet) If we wait til morning Marion will be dead. Clarence stops David. HUSSELBECK (quiet) Maybe she deserves it. DAVID (quiet) Fine. Stay here. He'll just kill you next. David goes in, as quiet as a cat. INT. FRANK'S HOUSE - CONTINUOUS The clocks TICK. The Penthouse is all the creepier now. With darkness pervading any one of its multitude of shadows can spell quick death. The wind howls. We can hear David breathing. Husselbeck comes in. The door slams shut behind him. It moved on its own. Clarence holds his shotgun tighter. For the longest time there isn't another sound, except the clocking ticking away monotonously. David and Clarence look around, searching for signs of life. But there are none. David motions for the stairwell with a nod of his head as he looks around a corner into the kitchen. It's empty. David looks back out, at the stairwell. Clarence has his back turned, looking at David. Frank stands just behind him. 131. DAVID Clarence! Clarence spins around, cocking the shotgun quickly, and points it right at Frank's gut. As if it were nothing, Frank grabs the gun by the barrel. And with a flick of his wrist sends Clarence, and the gun, over the railing. He crashes to the floor below. Out. David runs to the bottom of the stairwell to check on him. FRANK Honestly, I wondered if you would show. You seemed so indifferent to her troubles. (beat) (sarcastic) And I had such high hopes for you. DAVID Where's Marion? FRANK If only you could see how alike you and I really are. DAVID I am nothing like you. FRANK We are two reflections, David, in the same mirror. (beat) You and I lust for the night, David. We long to live inside it. To be consumed by it. We both bow before an addiction, an addiction we both have tried to escape. But an addiction that follows us, into the very darkness that bids us. I do it because I'm forced to. I do it to survive. You do it... because you enjoy it. (beat) At least I don't try to lie to myself about it. You're a killer, David! That's what you do! But you try to hide your bloodlust by killing crooks! You love the night, David... because there, you don't have to show your face. (beat) Now... who's the bad guy here? 132. DAVID Where is she? Looking around, cocky, FRANK She's around... somewhere. Suddenly stern, FRANK You'll just have to get by me first. David acts. He reaches out and yanks one of the wooden supports from the stair railing. Long, thick, like a baseball bat - it just happens to be extremely sharp on one end. David holds this in front of him, taking several steps up the stairwell, suddenly confident. DAVID I can stop you. Frank lets out an uncontrollable laugh. David looks confused. FRANK Oh, REALLY? Frank, calm as a hindu cow, slowly walks down the steps towards David. David can't move, stricken with fear. That confident demeanor of his has completely evaporated. Frank, like lightning, grabs the jagged stake, still in David's hand. With a squeeze of his hand, the stake crumbles into dust. Frank yanks the rest free from David's hand and tosses it aside. David's eyes widen with a sudden terror just as Frank grabs him by the throat once again and lifts him off his feet. David can't breathe. He claws at Frank's hand but it's positively hopeless. He's choking. Frank only wrenches tighter, the anger and hate in his eyes speaking for him. FRANK What hope do you have against me... little man? 133. David, still struggling to breathe, reaches blindly into his jacket pocket. He pulls out his gun and starts firing just as blindly from waist-level. Blood explodes as the bullets hit Frank in the chest. But his smile doesn't fade a bit. The bullets might as well be flies. Bits of the wall fly across the room as bullets impact and ricochet. David fires again. This bullet somehow catches Frank directly in his eye. Blood explodes as Frank's cocky face suddenly morphs into shock. He spins around and takes flight, howling. Disappearing with a blur into the shadows of the house. David collapses onto the stairs, suddenly being released from his precarious height. He gags and coughs for several moments, trying to gather himself. When he has he runs over to check on Clarence, who's coming to. DAVID Come on. He struggles to get Clarence to his feet. Something blurs past in a shadow above their heads. They both look up. It was too fast to see. Husselbeck gets to his feet, clutching his shotgun. Another shadow moves, blindingly fast. Husselbeck fires. A bit of wall explodes. He cocks the gun. A shadow moves just in front of them. He fires. The banister explodes. A shadow jumps. A black blur. Husselbeck's face is slashed. Claw marks and streaks of blood. David grabs him and runs. Ducking into the kitchen. KITCHEN Husselbeck collapses. 134. David literally drags him into the pantry and shuts the door. PANTRY There is hardly any light at all in this dark pantry. Husselbeck is gasping for breath. HUSSELBECK Ho--How?! David yanks out his .38 and a stake from his pocket. A shadow moves beyond the door. They are dead silent. Not even breathing. Something moves, farther away. DAVID (quiet) We have to get Marion and get out. HUSSELBECK (quiet) She's gotta be upstairs. DAVID (quiet) He's blocking the stairs. Husselbeck thinks for a moment. HUSSELBECK (quiet) Fine. I'll stay down and draw his fire. You run up there, grab her, then we all get the hell out. Breathing. Creaking noises outside. HUSSELBECK (quiet) Are you ready? David clutches the stake as hard as he can. DAVID (quiet) I'll go first. 135. HUSSELBECK (quiet) No... I have to. Clarence extremely slowly reaches up to the door handle. Turning it as quietly as he can. DAVID (quiet) Quiet. Just as the thinnest streak of light pours in from outside the door is thrown open. Before either of them can blink Husselbeck is dragged out and the door slams on David. David reels back in terror, crouched into the corner. KITCHEN Husselbeck is forced against the door, screaming. He's being ripped apart. Not by Frank - something else. PANTRY After a moment of hearing him scream David moves to open the door but something is blocking it. Husselbeck continues to scream, breaking the silence of the quiet manor. KITCHEN Husselbeck, in agony. Blood flies everywhere. Something is ripping at his jugular. PANTRY The screaming stops. A streaking sound like he was pulled across the kitchen floor. David can't move. There is no sound. For the longest time, David doesn't move. He only tries to stifle his terrified breathing. After what seems like ages David finally, slowly, motions for the handle. KITCHEN 136. As the door, incredibly slowly, creaks open. David pokes his head out. A pool of blood lies jut outside the doorway. It streaks across, like he was pulled away. Husselbeck is nowhere to be found. David, on all fours, crawls as quietly as he can out, into the foyer again. FOYER The blood streaks into a wall of shadow, under the stair well. David gets on his feet, trying to be silent. Something moves beneath the stairs. The shadow gives way and the monster finds a tinge of light. A huge, skulking thing, inhuman, hunches over husselbeck's body, eating from his chest. Husselbeck's dead eyes are aimed right as David, as he starts up the stairs. STAIRS Each step creaks. He tries not to but it's hopeless. Something growls. After what seems like a lifetime, David is at the top. After a moment David stands and staggers in the direction Frank entered from earlier. He comes upon a set of big double-doors, too old and sturdy to be native to this house. He flips the lock off and opens them, quietly. INT. FRANK'S HOUSE, BACK BEDROOM - CONTINUOUS Marion lies on that big rug, in the same position as before. Only now she lies in a big pool of her own blood. David runs to her and grabs her in his arms. DAVID Jesus Christ, Marion... He clutches her bloody head in his hands. Her face almost disappears there's so much blood. 137. DAVID Wake up, sweetheart... Wake up. Wake up. He smacks her face lightly a few times to try to stir her awake. But she does not. DAVID Wake up Godammit! He lets the palm of his hand rip across the side of her face. Her eyes open. She's confused but she comes around slowly. DAVID That's my girl. MARION David? DAVID I'm here. MARION What's happened? Where am I? DAVID Everything's fine. We're getting out of here. MARION No! Suddenly, she's full of energy. She springs to her feet, yanking David's gun away as she does so. She puts some distance between her and David. David looks confused. She aims the gun at him with bloody, shivering hands. She tries to steady the weapon with her other hand, but the blood pouring from her neck wound requires the attention of one of them. So she puts it to her neck, trying to stop the bleeding. That doesn't stop her from pointing the gun at David. DAVID Marion, what--? MARION Just... stay there, David. DAVID You're hurt. 138. MARION I'm fine! David glares at the wound beneath her hand. DAVID You're... bit. MARION I won't change. I would have to drink from him. He just wanted to... punish me. DAVID How do you know all that Marion... MARION Stop asking questions! The gun shakes more. Tears stream down her face. David, after a moment, DAVID You're good, kitten. MARION What in the world are you talking about? DAVID That act. The distressed damsel, finally taking a stand. You could be an actress. MARION Shut up, David. David takes several steps closer, not minding the gun pointed at him, it's shaking so badly now. His caring confidence begins to evaporate - anger begins to permeate. DAVID You didn't send Murdock into that alley HOPING he would get plugged. You KNEW it. Because you were there. MARION You have to understand, David. I love him. Frank. I love him more than anything. More than my husband. More than you... And I would have done anything to be with him! 139. DAVID Murdock found out about you two, didn't he? Lemme guess, Johnny- boy's the jealous type, right? Would have gone off his block if he knew you were with another man. So you needed protection, is that it? MARION Something like that. DAVID But after it was all done you didn't want him anymore. You only wanted to be young and beautiful forever, right? And when it was all done, when it had given you what you wanted, you just wanted to go back to Ira, and live in that big house and spend all that money he surely lavished you with! But Napier wouldn't do it, would he?! So you were gonna string him loose. He's on her now, right in front of her, looking her dead in her eyes. DAVID Only... you don't exactly just kick a monster like that to the curb when you're done with him, when it's served it's purpose! Am I right?! The gun is shaking so badly now - it looks like it's about to fall out of her hand. She can't breathe. Tears are streaming down her face. Blood still pours from her wound, despite her hand covering it. MARION David... Please... Stop.... DAVID That's why you needed me. Protection from your protection! You knew that I could probably handle myself pretty well against it. And that if I got too deep in it I wouldn't believe any of the nonsense about him for a second! RIGHT?! MARION (sobbing) David... 140. DAVID Stop it right now! And when Napier learned what you were doing with me he came after your husband! To get at you! Stop your crying! The bodies are piling up, Marion! We're both on the line here! Get straight with me right now! He grabs her by her shoulders. She's practically limp in his arms. DAVID When you were done with me, when I had served my purpose, what then? You bring someone else in and use him too? Kill ME too?! MARION Stop it, Bannister! DAVID Look. None of that matters now. Whether he loved you or you loved him doesn't make any difference! He's out there right now and he's coming for us both! (beat) We have to go. Give me the gun. She pushes him away as best she can. She holds the gun firm out in front of her, aimed at David. DAVID He wants to KILL you, Marion! (beat) Give me the Godamned gun! She drops it. David bends down and picks it up. She's crying and weak. She can barely stand. Her voice is like a whisper now. MARION But... how are you going to stop him? DAVID You forget... I'm good too, sweetheart. And I've picked up a few new tricks. David reaches in and removes a wooden cross from inside his coat. 141. DAVID Thank you Mr. Stoker. INT. FRANK'S HOUSE - TOP OF STAIRS Just as they begin to rush down the steps a deep bellow of agony and anger escapes from somewhere in the distance. An instant later, Frank leaps though the window at the top of the stairs, as though he were in flight, spilling bits of glass everywhere. He breathes deeply in his anger, his massive shoulders rising and falling a great deal with each gasp. His face is bloody from where the bullet hit him in the eye. The eye now squeezed shut but still oozing yellow puss. But it doesn't end there. His entire face is extremely transformed - his fangs are longer than ever. His tongue slithers through the maze of them like a snake. His eyes are dilated and yellow - a big yellow moon in his one remaining operational socket. His brow comes to a point in the center of his head, his cheekbones raised and extending to inhuman lengths. He's monstrous. His shoulders have grown. His fingers are longer than before, the nails just as long. Blood everywhere. He is absolutely more vampiric than ever before. David puts Marion behind him. Stricken by fear David can't move. He gets clocked in the jaw by a backhanded fist from Frank Napier. David rocks against the railing, and tumbles down a few steps. Marion is left, bleeding and whimpering, with Frank as he stares her down with inhuman eyes. Oddly, he caresses her whimpering face. Just before he grabs her by the jaw with those powerful hands. David reappears and comes between the two, breaking his grip. David sticks the wooden cross out in front of him to fend him off. Nothing. Frank only smiles back. David looks at the cross, shakes it as if the batteries are dead, then sticks it out again. Still, nothing. Frank grabs it and breaks it in two. 142. David shrugs and delivers a solid right-cross across Frank's jaw. It does nothing. Frank just stands there. David slowly extradites his gun from inside his coat and shoots Frank once, directly in the heart. Frank staggers back, but limps back up the stairs. David fires the rest of the rounds into his chest. But each round is less devastating than the previous. He just keeps coming. David raises the broken cross when Frank is close enough, and jams it home, right into the meat of his neck. The wound gushes blood. Smoke pours from the wound. He falls backward, bellowing with pain. David and Marion head straight for the door. INT. FRANK'S BUILDING - CAGE ELEVATOR David slams the door shut with the two of them in the elevator. They're like sitting ducks. David grabs the lever and throws it all the way down. The cage rockets downward, way too fast to even be safe. As the thing rockets down somewhere, above, a howl of pain. Then an explosion of wood and debris. INT. FRANK'S BUILDING - FOYER Just before the elevator would have crashed David throws the lever back, stopping it just enough for them to survive. They're thrown to the floor, dazed. Frank lands in the foyer in front of them, on all fours. He must have jumped. David sees this and grabs MArion, yanking her to her feet. He throws open the cage door as fast as he can and heads for the front door. EXT. FRANK'S BUILDING - NIGHT David and Marion rush out of the house and into the street. David is sure to pull Marion along even faster. The front door of Frank's place explodes. 143. Frank stands in the doorway, as the rubble falls around him, silhouetted in the interior light from the house, heaving in oxygen. He leaps forward and chases them on foot. EXT. CITY STREET - NIGHT David and Marion race through an intersection as they pass further into the city limits. Two cars just narrowly miss hitting them and collide with one another. David ducks into a back alley, pulling Marion close behind him. They disappear into the darkness. EXT. ALLEY - NIGHT David and Marion run through the dark alley. Shadows dance everywhere, careening off drastic angles and dark corners of the alley, piercing through the fog of the city. The alley is still soaked from the rain not long ago. Slick walls and brickwork toss reflections of moonlight everywhere - only aiding the incredible shadows to dance longer. David and Marion race through the alley. With each step their feet splash into a new puddle, dousing them every second. Each step echoes with a watery splash that rings out in the quiet alley. David notices this and stops Marion as quickly as possible. He looks around quickly for something, then quietly hushes her into a corner. He holds her close and covers her mouth. Together, they back very slowly into an angle in the alley. As they back up slowly they pass through a line of shadow - and disappear completely. Moments later, as Marion weeps silently under David's grasp, Frank slowly lurches into the alley. The light from outside the alley is behind him as he enters, silhouetting him in blackness - nothing more than a black outline of the thing he's become - animal traits are beginning to appear. Longer fangs, larger jaw, wolf-like feet. His monstrous shadow lurches over the entire alley, 15 feet long, everywhere, as he slowly enters the blackness. His snarling breath is the only sound that can be heard in the silence of the alley. Elsewhere, men and women still patter around on the concrete, running for their lives - but their sounds are so distant by now, it's almost as if they're not even there. 144. He takes careful steps, cocky as ever. His wolf-like feet patter against the wet brickwork of the alley. His foot casts no reflection in the puddle. He stops suddenly. He sniffs the air. Frank carefully follows his nose, until he comes to the point where David and Marion ought to be. Instead all that's there is David's bloody coat. Frank picks it up and rips it in half with a snarl, his hideous face and form still partially hidden under a veil of darkness in the shadowy alley. Frank's nose hisses again as it intakes. Before he can turn around Frank is impaled straight through the heart by a cast- iron rod. David slams it home, with both arms for full leverage. Frank's body heaves upwards from the impact, hanging from it, off the ground, for a moment before David releases it and he tumbles to the ground. David immediately runs through a metal door, leading into one of the buildings, with Marion literally in tow behind him. In the alley, in extreme pain it would seem, Frank slowly crouches onto his knees, huddled over the five-foot rod in his heart. He grabs the end of the rod with those clawed hands carefully. And pulls. EXT. CHICAGO ALLEYWAYS - NIGHT A wolf-like howl of agony echoes throughout the town. EXT. MAGNIFICENT MILE - NIGHT Beautiful Magnificent Mile. A centerpiece of Chicago. Smoke and haze wrap the massive buildings lining each side of this mile-long stretch of road. The streets and sidewalks are full with pedestrians who just heard their last calls only minutes earlier. David and Marion practically leap out of a set of heavy double doors and onto the city sidewalk. Once they're through David is sure to close and lock the heavy doors as quick as he can. Just as soon as he does he grabs Marion and they take off again. 145. An instant later the doors explode. Frank leaps out from behind the debris, on all fours, like the wolf he is. Frank is still transforming. His features have become even more animal-like, more like The Thing we saw first in the alley. Not quite man, not quite wolf. He's become more animalistic, filled with an unrelenting rage. The Thing slashes at the first person it sees, across the stomach. Blood and internal organs fly across the sidewalk. A woman screams. The crowd scatters in panic at the sudden onslaught of blood, running any way other than towards The Thing. David struggles to push the pedestrians out of his way as he drags Marion behind him. But the panicked, confused people obstruct him and David is forced to slow. It's a circus. The Thing runs into traffic, as the people all around him scramble for safety. A cab swerves to avoid hitting it and plows into fleeing pedestrians, hurling one through a shop window. Mass confusion. People screaming. It's madness. Frank just tears through anyone in his way, literally, never taking his horrible blazing yellow eyes off of David and Marion, as they race through the screaming masses as fast as they possibly can. EXT. MICHIGAN AVENUE BRIDGE - NIGHT Fog curls around the supports of the great bridge. David and Marion hustle across the positively deserted bridge. Frank, in the distance, stalks after them slowly, bloody as hell and even angrier than before. Marion can't breathe. She stops and collapses onto her knees. David doesn't let her - he yanks her up and literally drags her away. Frank doesn't falter. He stalks after them down the bridge, slowly, on all fours, one step after the other. EXT. UNION STATION - NIGHT David, frantically running down the sidewalk, screeches to a halt when he sees the massive train station. Beautiful, but crumbling with age. The shadows of the building caress every angle in the dark of night. David yanks Marion through the main entrance. 146. INT. UNION STATION - CONTINUOUS Somehow, it's just as magnificent inside, even if it is falling apart, crumbling at the seams. The huge main room with the vaulted ceilings that reach for the Heavens, the dirty and tired old stone-work. If not for the dust and fog everywhere, not to mention that it's falling apart like everything else here, it might be considered a work of art. The train station is littered with people - late-night trains still run. David and Marion must push through a few people here and there as they race frantically across the Station, but for the most part, they are unabated. Frank enters through the main door moments later, just as they did, on two legs. A police officer notices the blood covering him from head to foot and steps in his way. Until he sees Frank's face. He tries to yell for help but Frank has already raised one of his massive, clawed hands. A single swipe. A policeman's head hits the floor. The body crumples beside it an instant later. A woman screams. Suddenly, the peaceful Station turns into a riot. The mass of people scatter. There's a fucking head rolling around on the floor. The masses head for the exits - left, right, whichever way they can. They panic. David and Marion are suddenly cut off. The mass of people racing around them in circles prevent them from moving anywhere fast. Frank smiles. Another man runs into him, in panic mode. Frank grabs him by the throat, still with that grin, and snaps his neck effortlessly. Another body on the floor. The crowd steers around it. Frank stalks forward. INT. UNION STATION, TRAIN - NIGHT David forces his way through the crowd of panicking people, dragging Marion behind him. 147. A train whistle hisses. Smoke fills the air. TRAINMAN All aboard! The sound of the train's engines coming to life. The wheels begin to spin slowly. David sees the train, ready to take off, and yanks Marion towards it as fast as he can. The train is already leaving, crawling along. David grabs Marion by the hips and forcibly lifts her into the car. He picks up a little speed himself, as does the train, and leaps into the car. It takes off down the track. Frank stalks onto the loading platform. He looks around quickly, searching for the two. His nose sniffs. He looks towards the rumbling train, headed down the el-track. EXT. TRAIN - NIGHT It rumbles along on the elevated track, it rounds a corner. On the back, something moves. INT. TRAIN CAR - NIGHT The 30's style of train. Grungy inside, filthy even. Shadows whir around each car uncontrollably as faint lights whiz by randomly outside, in the dead of night. David and Marion walk by a number of tired heads and sleep people in the car. The men have their hats draped over their faces, the women are snuggled into their pillows. David and Marion keep walking, sweating and panting, until, INT. TRAIN, SLEEPING QUARTERS - CONTINUOUS The sliding door to the empty sleeping quarters slams open, and David and Marion collapse inside. They're both panting and sweating. David holds his wounded chest and refills his shooter. DAVID (panting) It's alright. We're safe. 148. INT. PASSENGER CAR - NIGHT The window explodes. Glass and debris everywhere as Frank- Thing leaps through like the badass that he is. The people instantly scatter, screaming, heading for the other cars. Frank merely stands there, his massive shoulders rising and falling, chest heaving, as he sucks down each enormous breath. INT. SLEEPING QUARTERS - NIGHT A crash in the distance. They both look up. David snaps his gun shut - reloaded. He stands up, gun at the ready. INT. SLEEPING QUARTERS CAR - NIGHT They open the door and exit the quarters into the hall, and look down the long hallway that is the train car. Shadows dance by the windows to their rights. Suddenly, an attack of glass and metal as Frank barrels through the metal door that separates the cars. Their eyes meet. DAVID Go! He pushes Marion down the hall in the other direction and chases after her. Frank slithers down, hunching over, and gallops after them on all fours, like a wolf, once again. INT. PASSENGER CAR - NIGHT David and Marion race through another car. Chairs line both sides, with only a narrow aisle for walking, making it difficult to run. Only one other man in this car, near the front, sitting in his comfy little chair, wondering what the hell is going on. Just as Frank hurls his transformed body through another separator door. Metal and glass erupt. The lights begin to flicker, strobing the car into darkness. The man screams rushes out in front of Frank to get by him. Frank just brushes the man away with a careless wave of his arm. 149. The man is hurled out the window. Frank stands up once again, hissing with each angry breath. The lights pop out for good. In the darkness his massive frame still silhouettes in the car. A street lamp passes by outside, illuminating the hideous Thing for an instant before it whizzes by and throws the car again into shadow. David puts Marion behind him as he slowly backs up. Frank stalks towards them. David opens fire. Each blast illuminates car for a splint instant - just long enough to see blood squirt from Frank's chest as each of the bullets hit him. And just long enough to see him not flinch a muscle. David's gun clicks empty. He continues to back Marion up until she hits the door. He looks behind him. This is the last car. Only blackness outside this window. Frank knows this. He just stands there, heaving in oxygen, his hideous form only a shadow in the dark car, as blood flows from his mouth and behind his teeth onto the floor of the car. His yellow eyes glow in the darkness. He doesn't advance. David slowly lowers his gun. MARION H-How do we stop him...? David looks at the shadowy beast in front of him. Lights whiz by, highlighting the blood dripping from his fangs. DAVID We can't. MARION What? David turns to her. DAVID I can't stop him... but you can. You've always been able to. MARION What are you talking about? David looks Marion, dead-serious, deep into her beautiful eyes. 150. DAVID You're what he wants, Marion. She doesn't move. After a moment, she chuckles the slightest bit. MARION You're not... You--You wouldn't...? DAVID Don't be silly. You're taking the fall. David yanks her by her arm, towards Frank. As the Thing stalks up behind her, only a shadow in the darkness. MARION You... never loved me... ? Frank grabs her with his massive arm. For a moment, his yellow eyes stare back into David's. In an instant Frank is gone. Marion too. Out the window, into the darkness. David collapses into a chair, as the dark world outside races by. EXT. ALLEY - NIGHT - FOG It's days later. David is wearing different clothes - his hat, and a new trench. He walks down the length of the alley, past the fog and smoke rising from the manholes. He removes one of his hands from his pockets, and pulls his hat down a bit, hiding half his face in darkness. Shadows dance everywhere in the incredibly grungy alleyway. One of them moves. In the darkness, it's unclear who it is. A tin can is kicked over. David turns slowly around, not frightened. DAVID Been waiting for you, sweetheart... The shadow moves closer. David doesn't move at all. FADE OUT 151. THE END
Return to SimplyScripts.com