The Shadow Theory

Written By: Brent Paine
brentpaine@gmail.com

FADE IN:

INT. HALLWAY OF PROMINENT COLLEGE -- MORNING

The hallways are littered with students rushing to class.

ANGLE ON BRAD'S LOWER BODY

Brad makes his way down the cluttered hallway in a hurried rush as he tries to make it to his class on time.  He passes students who give him a courteous "hello" as they pass.

ZOOM OUT TO FULL BODY VIEW AS BRAD WALKS THE HALLWAY

Brad turns a corner, almost running into a student.  He shows his agility to side-step the student and maintains his hold on his books also.

BRAD
Sorry...

The pretty female student regains her composure and looks back at Brad with a smile.

FEMALE STUDENT
That's ok.

Brad smiles back at the girl before quickly spinning around and continuing on his way.  Seeing the incident another teacher jokes with Brad.

JOHN SASSER
Late again Brad?

 Brad turns to the teacher, walking slowly backwards down the hallway, and returns the jest.

BRAD
Not yet, but you're not helping.

Brad turns back around and continues on to his classroom.

INT. COLLEGE CLASSROOM -- MORNING

The classroom is filled with students.  The blackboard and teacher's desk sits at the front of the room and is the center of attention for the classroom.  The seating is inclined, stepping up to a new level every row.  With about 10 rows, the classroom isn't the largest, but is certainly intimate.

Brad opens the door to the classroom, making his way inside and placing his briefcase and books on his desk.  Slightly out of breath Brad opens his briefcase, looking over the opened briefcase to his class as he quickly prepares.

BRAD
Good morning everybody.  I trust that we all had a good weekend and everyone is back and refreshed for Monday morning.

Brad smiles and looks around his classroom at his students who mildly chuckle at his gesture.

BRAD (CONT'D)
I don't see any dark sunglasses so I assume that everyone is feeling well today.

A student in the back pipes up.

STUDENT #1
Ahhh, but "If nobody is wearing shades in the morning, is there truly nobody hung-over?"

Brad smiles and points up to the back.

BRAD
That's a great illustration.  Like "If a tree falls in the forest...." I like that.  You're a regular Hobbes.

The class laughs in good humor.

BRAD (CONT'D)
Anyhow, moving along, we are fast approaching the mid-terms and, since you're now all experts in Modern Philosophy I thought I would introduce you to a major component of your final mark.

Brad draws a stack of paper from his briefcase, walks to the closest person in the front from and has them pass the papers around the room.

BRAD (CONT'D)
This will account for fifty percent of your final mark, so if you happen to notice the person beside you sleeping then please wake them up.

Brad pauses while he walks back behind his desk before continuing his lecture.

BRAD (CONT'D)
For this specific assignment you will have one of two choices.  Both are equally difficult and I expect to see your own thought placed into this project.

Brad picks up a handout himself and places it in front of him.

BRAD (CONT'D)
Your first option will be to write a critical analysis on the work any of the modern-day philosophers we have discussed during this course.  If there is a philosopher who you would prefer to write your analysis on, but has not been discussed within class, please see me for approval before starting your work.

Brad flips the page of the handout and folds the first page underneath.

BRAD (CONT'D)
Secondly, you can choose any modern-day theory discussed in class and write your own thesis, or you may also explore your own theories as long as they relate to modern philosophy.

Brad points up to the student in the back again.

BRAD (CONT'D)
This may give you an opportunity to explore your sunglasses theory more closely?

The student perks up in the back and answers enthusiastically.

STUDENT #1
Seriously?

BRAD
I really hesitate to say yes simply because I get the feeling that I'm going to see a theory on sunglasses on my desk but, yes, you could do that if you wanted.

Brad once again addresses the entire class.

BRAD (CONT'D)
Please keep in mind the minimum requirements.  If you select a project then make sure that you will have sufficient resources to meet the length requirements listed.  I don't want to see a mile of filler on my desk.

Brad packs the handout away in his briefcase.

BRAD (CONT'D)
I will expect to see your initial proposals on my desk before the 1st of the month.  If you have any questions regarding this assignment please let me know right away.  Any questions?

Brad looks around the room for hands, but nothing.  Brad then turns to the board at the front of the room and starts writing a name on the board as he speaks "Stephen Hawking"

BRAD (CONT'D)
Ok, then I'd like to start a new discussion today.  He is arguably one of the most enigmatic figures in recent memory.  His theories have been used time and time again in modern movies and television, Dr. Stephen Hawking.

Brad turns back around and addresses the class as he rumbles through the papers on his desk.

BRAD (CONT'D)
Born in 1942 in Oxford, England, Hawking would go on to obtain his Ph.D. in Physics from the University College at Oxford, his most important theories after that revolving around black holes.....

Brad's speech is interrupted as the college receptionist runs into the classroom.

RECEPTIONIST
Mr. Winters, your neighbors just phoned.  Nicole just went into labor.  An ambulance has already been by to pick her up.

Brad turns to the class.

BRAD
Well, that should wrap it up for today.

Brad packs his things into his briefcase and closes it hastily.

BRAD (CONT'D)
We'll pick up where we left off tomorrow.

Brad quickly walks out of the room before reaching the hallway.  After reaching the hallway he runs down the hallway and into the parking lot.

EXT. COLLEGE -- MORNING

The sun shines down on the college as a beautiful day emerges.  Brad tears out of the college doors and spills into the parking lot.  He runs past a few parking spots, to an island on the other side, and into some more parking spots.  While cross the parking lot a car pulls around the corner, almost hitting him.  Brad quickly braces himself on the corner of the hood of the car with his arm and slides by the corner of the car as it attempts to stop.  

He pauses for a moment and then continues to his car.  He reaches the third row of the parking lot and hops into his luxury sedan, parked in at the corner of the lot and shaded by a tree on the end of one of the islands.

 He tosses his briefcase to the far seat of the car and quickly hops in, juggling his keys before finally finding his way into the ignition.

Once started he quickly reverses the car from the parking space and speeds off.

Brad pulls out from the college parking lot into the closest lane, before quickly pulling into the left lane and around the slower moving car.

After making a couple more turns he finds himself stuck behind another slower vehicle.  This time, with no other lane to pull into he becomes increasingly impatient.  He pulls out slightly looking around the car.

BRAD
Come on!

He slams his hand against the steering wheel.

BRAD (CONT'D)
Damn it!!

Brad, again, peeks the nose of his car around the driver in front of him.  He sees an approaching left-hand turn lane and immediately takes the opportunity to pass the car.

He pulls out before the start of the left-hand turn lane, cutting into the oncoming lane.  He hits the gas to get passed the car in front.  Approaching the intersection he notices a car turning left on the other side of the intersection, sticking out in the lane way.  The light turns yellow as Brad approaches the intersection.  The car, now beside him, slows down, but Brad presses the gas to the floor and speeds towards the intersection.  Just as he makes his move and begins pulling back into the lane headed straight, the car on the other side of the intersection makes a quick move to turn, and putting himself right in the path of Brad.  Noting his intentions the other driver quickly hits the breaks.  However, at Brad's speed he cannot negotiate around him.  He pulls the car to the right, trying to pass through the intersection unscathed, but connects with the streetlight on the other side of the intersection.

FADE OUT:

FADE IN: AS BRAD REGAINS CONSCIOUSNESS

INT. HOSPITAL ROOM -- AFTERNOON

An EKG beeps in the background as Brad regains consciousness.  The curtain is drawn around his bed.  Nicole sits on a chair in front of the window, holding her newborn son and Colton sits on a chair beside her playing with a toy car.

Nicole sees him beginning to wake up as he stirs in his bed.  She gets out of her chair and approaches the bed just as his eyes open.  She sits on the side of the bed beside him and holds her newborn son, Lucas, closer to him.

NICOLE
Who is that?  Is that your Grandpa?  Say hi to Grandpa, Lucas

Nicole waves Lucas' arm in front of Brad as he wakes up.  Brad straightens up in the bed and feels his head, before reaching out for his grandson.

BRAD
Hi there bud.

Nicole props Lucas against Brad's torso and Brad holds him there with his arm.  Nicole remains by his side, holding him Lucas closely also.

BRAD (CONT'D)
He's a handsome one.  You did good sweetie.

Nicole leans over and kisses her father on the head.

NICOLE
Thanks dad.

Nicole straightens back up just as Colton, the 3 year old toddler, climbed up and onto the bed from the other side.  Grunting, he struggles to make his way up, but finally finds himself on the bed.  He crawls over Brad's body and up his chest.

COLTON
Grandpa!!

Brad turns his attention to Colton.

BRAD
Hey Cole-man!

Colton points to the bandages wrapping around Brad's head.

COLTON
Grandpa's owie?

BRAD
Yeah, Grandpa's owie.

Colton leans forward with his finger extended towards the bandages to touch it, repeating his previous line.

COLTON
Grandpa's owie.

Nicole quickly prevents Colton from touching the bandages by grabbing his arm.

NICOLE
Yes, Grandpa's owie.  Don't touch, please.

Nicole releases his arm and suggests a kiss.

NICOLE (CONT'D)
Give Grandpa a kiss.

Brad puckers up as Colton braces himself on Brad's chest and leans in for a kiss.

BRAD
Aww, thank you.

 Colton responds incorrectly.

COLTON
Thanks mama.

Brad and Nicole chuckle to themselves and Nicole corrects him.

NICOLE
No, it's Grandpa, silly.

Colton smiles along with them before plopping himself down beside Brad, on the opposite side of Lucas.

The curtain opens just slightly as a doctor makes his way in.

DOCTOR
Mr. Winters.  I'm glad to see you awake.

Bard looks at the doctor.

BRAD
Why the bandages?  How serious is it?

DOCTOR
You took a nasty bump.  It looks like your airbag didn't properly deploy and you had hit your head on the steering wheel on impact.

The doctor picks up his chart and starts flipping through it.

DOCTOR (CONT'D)
Your charts look good.  We've been monitoring you for the past 24 hours and you seem to be in good condition.

BRAD
So when will I be able to go home.

DOCTOR
I'd like to keep you here for a little bit longer, but I don't see any reason why you couldn't leave a little later on tonight.  I would recommend that you take a week or so to regain your bearings though.  Apart from that you should be fine.

The doctor closes the chart.

BRAD
Thanks.

The doctor replaces the chart and begins to leave.

DOCTOR
You’re welcome.  Just let me know if you have any other questions.

BRAD
I will.

The doctor leaves the room.

INT. BRAD'S HOUSE -- NIGHT

The door unlocks and opens as Nicole enters first with Lucas in a carrier.  Colton follows closely behind his mother and Brad enters last.

The doorway opens into a front foyer and branches off from there.  There is a living room to the right and the front hallway extends about 20 feet into the kitchen.  Just before the entrance to the kitchen is a door to a bathroom on the right and a door to the basement to the, left.  Immediately to the left of the entrance is a spiral staircase leading upstairs to the bedrooms.

On the upper level there is a long hallway with a bathroom, first, on the left, a bedroom just down from there on the right and, at the end of the hallway, another 2 bedrooms on the left and one on the right.

The house is immaculate, obviously kept clean tediously.  From the entrance they remove their shoes, placing them in a closet to the left of the entrance.

NICOLE
I've got to clean up the living room and kitchen.  I'm sorry, dad.

Nicole jests.

NICOLE (CONT'D)
We left here in a little bit of a hurry and I didn't have a chance to tidy up.

Nicole smiles and Brad smiles back.

BRAD
That's ok Nicole; I think I'm just going to head to bed anyway.  It's been a long couple days for the both of us.

NICOLE
I'm going to put Colton in bed and then I'll probably make something to eat.  Did you want to stay up and have something with me?

BRAD
No, I'm really not hungry.  I think I'll just hit the sack.

NICOLE
Ok. Come on Colton.

Nicole reaches for Colton's arm and guides him towards the stairs.  Brad follows behind them as they walk up the stairs, Colton in front of Nicole.  Nicole starts growling at Colton as he walks up the stairs.  Colton giggles, trying to negotiate the stairs faster.

The reach the top of the stairs and Colton runs quickly to his room (second door on the left) and runs inside.  Nicole saunters towards him, but turns just after passing Brad's room (first door on the right).

NICOLE (CONT'D)
Are you sure there isn't anything that I can get for you?

Brad again shakes his head and stretches his arms over his head.

BRAD
Nope.  Just tired.

Brad finishes stretching and then leans forward, placing his hand on the side of Nicole's head and kissing her on the forehead.

BRAD (CONT'D)
Love you.

Nicole smiles.

NICOLE
Love you too, dad.

Brad enters his room and closes the door.

DOOR CLOSES INTO BLACKNESS

INT. BRAD'S ROOM -- LATER

A toddler's scream rings out.  Brad is quickly awakened and straightens up in his bed.  He leans over to his night table and straightens his clock.  The time reads 3:24.  Brad slides his legs off the side of the bed and rubs his eyes as Colton continues to cry.

Brad's bed is set against the back wall of the room, furthest from the door.  Naked, except for underwear, brad pulls some track pants from the floor beside the bed and puts them on, then makes his way towards the door, while scratching his head.

Brad sticks his head out of the door and down the hallway, quickly, before making his way into the hallway and walking towards the end of the hall.  Reaching Colton's room Brad opens the door slowly.  A creek in the door almost immediately decreases the loud crying of Colton to a slight sob.  Brad looks in the door to see Colton sitting up in his bed, with some trucks surrounding him.

BRAD
What are ya doin'?

Brad slowly walks into the room, trying to be quite.

BRAD (CONT'D)
It's ok.

Brad makes it half way through the room before stepping on a jagged toy with his bare foot.  He shouts loudly in pain.

BRAD (CONT'D)
Yeow!

He quickly bites his lip and looks back to the door as he lifts his leg, grabbing his foot in agony.  He leans against the wall, massaging his injury and commenting under his breath.

BRAD (CONT'D)
Why don't you just make it out of razor blades?  Damn it.

Colton giggles at Brad's misfortune.

BRAD (CONT'D)
You think that's funny?

Brad lets go of his leg and starts walking towards Colton, still in his bed.

COLTON
Yeah

Brad arrives at Colton's bedside and begins removing toys from the bed and talking to Colton regarding the Tonka dump truck and crane.

BRAD
Were you planning on doing some construction in here tonight?

Brad removes the final toy from the bed.

BRAD (CONT'D)
Let's get you set here.

Brad straightens the sheets and then pulls them back.

BRAD (CONT'D)
There we go.

Brad tries to lay Colton down in the bed again.

BRAD (CONT'D)
Ok, time for nite-nite.

Brad lies Colton down and covers him back up.  Colton screams again.

COLTON
No!!

Colton begins sobbing again.

COLTON (CONT'D)
I don't wanna.

Colton kicks the sheets off.

BRAD
What's the matter?

COLTON
I want Mommy.

BRAD
Mommy's sleeping, bud.

Colton repeats the line with more emphasis.

COLTON
I want Mommy!

Brad suggests an alternate.

BRAD
Did you want to sleep with Grandpa?

Colton immediately stops sobbing again and smiles.  With a tear still in his eye he replies.

COLTON
Yeah!

Brad pulls Colton out of bed and puts him down on the floor.  Brad begins to walk away, but Colton freezes.  Brad looks back at Colton.

BRAD
Come on.

Colton looks up at Brad, almost beginning to whine again.  Colton looks down at the ground and then raises his arms to Brad.

COLTON
No, up Grandpa.

Brad turns around and walks back to Colton.  He reaches down to pick him up.

BRAD
Are you a sucky?

Brad hoists Colton into his arms and carefully navigates his way out of the room and into the hallway.

Brad enters the hallway and moves towards his room again.  As he passes by a night light plugged in beside Colton's room their shadow dances across the wall, almost as if it was independent of them.  Colton watches them over Brad's shoulder.

Similarly, as they make their way down the hallway and into the Brad's bedroom the shadow slides down the wall, until they are finally in the dark, then the shadows disappear.

Brad enters his room with Colton in his arms and makes his way towards the bed.  He lays Colton down in the bed and Colton immediately snuggles his arms behind his head, completely relaxed.

BRAD (CONT'D)
Are you comfortable?

COLTON
Yeah!

Brad laughs.

BRAD
I'll bet you are.

Brad snuggles in beside Colton, wrapping his arm around him.  On the wall behind them, the neon lights from Brad's clock cast a slight shadow, which ripples and disappears into the darkness of the rest of the wall as soon as Brad wraps his arm around Colton.

FADE OUT

FADE IN: BIRDS ARE CHIRPING OUTSIDE OF BRAD'S WINDOW

INT. BRAD'S ROOM -- MORNING

The birds chirp outside of Brad's window.  As he rouses he looks over and sees Colton, still sleeping beside him.  There is a knock at the door and then Nicole opens it just a crack.  She comments with slight disappointment.

NICOLE
You're already up.

Nicole walks into the room with a tray of breakfast.

Colton slowly wakes up. 

BRAD
Wow, look at this.

NICOLE
Well I peaked in here earlier when I saw that Colton was missing and saw that you had a little visitor.

BRAD
Yeah, he woke up screaming last night.

Nicole apologizes as she places the food in front of him.

NICOLE
I'm sorry.  I didn't even hear him.  Plus, he's usually fine through the night.

BRAD
Maybe he had a bad dream, but he screamed bloody murder.  I'm surprised you didn't hear him.

NICOLE
I must've been right out of it.  I don't think I turned on the monitor though.  I've got to get another one too, for Lucas' room.

Brad eats away at the breakfast and Colton picks at it also.

NICOLE (CONT'D)
Oh, also, Roger Nichols called from the college and wanted to check in with you.  He said that there have been a couple of proposals submitted already if you wanted to come by and pick them up.

Brad nods his head in acknowledgment and finishes the food in his mouth before speaking.

BRAD
Great!  Can I borrow your car to go into work quickly?

Nicole looks at Brad with disapproval.

NICOLE
Dad?

Brad shrugs his shoulders and laughs.

BRAD
What?  It's not like I'm going to be actually working.  I'm just going to pick up some proposals and then I'll come home right away.

NICOLE
Only if you come straight home.

Nicole begins to leave the room.

NICOLE (CONT'D)
God!  It's like I'M the parent here.

Brad cracks a joke.

BRAD
Thanks Mom.

INT. ROGER NICHOL'S OFFICE -- AFTERNOON

Roger sits at the desk of his desk, typing at his computer.  The small office is cluttered with papers and the shelves along the wall are lined with books.  A coat rack is the only other item in the windowless room, where Roger's jacket hangs.  There is a knock at the door.  Roger leans back and turns towards the door.

ROGER
Yeah?

The door knob turns and the door opens slowly.  Brad peaks his head in the door, followed by his body.

ROGER (CONT'D)
Hey Brad!

Roger twists his chair towards the door as Brad makes his way into the room.

BRAD
Hey Roger.

Brad looks around the room.

BRAD (CONT'D)
Love what you've done with the place.

ROGER
It's a tad cluttered, but I know where everything is.

Brad walks over and shakes Roger's hand.

ROGER (CONT'D)
So how've you been?

BRAD
Feels like my brain was scrambled.

Brad smiles.

ROGER
Well I'm glad you're back to normal then.

Roger smiles back following his comment.

BRAD
You're a funny guy.  You should really think about taking that act on the road.

Brad changes the topic.

BRAD (CONT'D)
Anyway, I just need to pick up those proposals.  My daughter's got me on a tight time schedule, so I've gotta get outta here as quickly as possible.

Roger roots through his desk.

ROGER
Speaking of which, congratulations Grandpa.  That's great.

BRAD
Thanks.

ROGER
No complications I hope.

BRAD
Apart from me?  No.

Roger laughs as he continues to rumble through his desk.

BRAD (CONT'D)
You're right, you are organized.

ROGER
No, I am.  I just swear that I moved them into a drawer.

Roger begins rifling through the papers on his desk.

ROGER (CONT'D)
Ah ha!  There we go.  Must be losing my mind.

There is a knock on the door.

ROGER (CONT'D)
Yeah?

A student walks through the door and notices Brad standing there.

JARROD
Oh, hey Mr. Winters.

BRAD
Hi Jarrod.

Jarrod holds a folder in his hand, containing his proposal, and looks back and forth between the two teachers.

JARROD
Who should I give this to?

Roger just points at Brad.

BRAD
I'll take it.

Jarrod hands the folder over to Brad.

JARROD
Thanks.

BRAD
Thank you, Jarrod.

JARROD
So when are you coming back?

He immediately looks at Roger and smiles.

JARROD (CONT'D)
No offence, you're great an all, but....

Roger smiles back.

ROGER
Hey, none taken, and I'll expect to see you in my class next semester.

JARROD
Deal.

BRAD
I'll probably be back next week.  I'm still a little tired, but I'm not feeling too bad.

JARROD
Cool.

Jarrod begins to slowly back out of the door.

JARROD (CONT'D)
Well I better get goin'.  Thanks Mr. Winters.  I'll see ya in a week.

BRAD
We'll see you soon Jarrod.

Jarrod closes the door and Brad turns back to Roger who hands his the rest of the proposals.

ROGER
Here.  You better get going or you'll get grounded.

Brad smiles.

BRAD
Hey.  She's tough.

Roger smiles back in jest.

ROGER
I don't doubt it.  Go.

Brad takes the proposals and leaves Roger's office.

INT. BRAD'S HOUSE -- CONTINUOUS

Brad enters the house, into the front foyer.  There are two small tables standing in the foyer, both with pictures on them.  The pictures, oddly, have been placed face-down on the tables.  Brad thinks nothing of it and set them back upright.

Brad them walks over to the closet to remove his shoes and jacket, while still holding the stack of proposals in his hand.

BRAD
Nicole!

Brad looks around as he removes his jacket.  The papers slip from his hand and fall to the floor.

BRAD (CONT'D)
Shit.

Brad places his jacket in the closet and then promptly removes his shoes and slides them into the closet before starting to collect the proposals back into one pile.

BRAD (CONT'D)
Hello?

Nicole comes running to the side of the banister at the top of the stairs.  She is in a track suit and has the arms of the sweater rolled up to her elbows.  Additionally, her shirt and pants are somewhat wet.

NICOLE
Hey Dad.  I'm just giving Colton a bath.  I'll be down soon.

BRAD
Alright.

Brad walks into the living room, with the proposals in his hand and sits down on the couch.  He places the proposals on the coffee table and reaches for the converter sitting on the coffee table in the living room.  Again pictures are turned face-down on the table.  Brad grins.

BRAD (CONT'D)
Looks like Colton has been hard at work.

Brad picks up the converter and turns on the television.  Then, looking around the room he notices that all of the other pictures in the room have also been turned face-down.

Brad gets up from the couch and walks around the room, turning all of the pictures back upright.

BRAD (CONT'D)
Jesus, Nicole, did you not see him doing this?

Brad finishes with the pictures and again seats himself at the couch.  He turns to the sports scores and leans forward to pick up the stack of proposals on the table.  He sits the stack of proposals beside him and takes the first from the top of the pile.  He sighs.

BRAD (CONT'D)
Ok.

He looks at the title of the proposal through the window of the duo tang and mutters to himself.

BRAD (CONT'D)
The Shadow Theory.

Brad chuckles slightly and continues to talk under his breath as he opens the proposal.

BRAD (CONT'D)
Sounds like the title of a bad movie.

 Nicole comes jogging down the stairs, followed by a freshly washed Colton, naked except for his diaper.

NICOLE
I was going to make some lunch, did you want anything?

Brad looks up from the proposal.

BRAD
What?

Nicole stops in front of the living room entrance and repeats herself.

NICOLE
Lunch, did you want anything?

BRAD
Sure, thanks.

Nicole turns around and makes her way towards the kitchen.  Brad focuses himself back on his book as Colton enters the living room and walks up to Brad.

COLTON
Hi Grandpa.

Brad talks while maintaining his focus on the report.

BRAD
Hey bud.

Colton walks up and swats the back of the proposal, crinkling the paper and breaking Brad's focus.  He lowers the proposal and looks at Colton with a friendly scour.

BRAD (CONT'D)
May I help you?

Colton laughs and then shouts back at him.

COLTON
No!

Brad raises himself from the couch and Colton replaces him on the couch.  Brad begins to walk away before Colton begins turning up the volume on the television with the converter that was left behind.

Brad turns and quickly makes his way back to the couch, extending his hand and taking the converter away from Colton, before turning the volume on the television back to a respectable level. 

BRAD
No.  Don't touch please.

COLTON
 Why?

BRAD
Because you'll break it.

COLTON
Why?

BRAD
Because you just do.

Colton pauses for a second and cocks his head to Brad with a smile.

COLTON
Why?

Brad smiles back at Colton, grabbing him under the arms and lifting him above his shoulders, into the air.  Colton laughs while Brad holds him in the air.

BRAD
Because.......

Brad lowers Colton into a more comfortable position. Colton continues to giggle and Brad smiles back as they look at each other in the eye.

BRAD (CONT'D)
Go play with your toys.

COLTON
Ok.

Colton looks around and then starts pushing away from Brad.  He grunts, struggling to get loose.

COLTON (CONT'D)
Down Grandpa.

Brad slowly releases his grip on Colton and Colton scales his way down Brad's body to the ground.

Colton makes his way to the far end of the room, finding a Tonka truck neatly tucked away in the corner beside a toy box.

Brad makes his way out of the room and into the kitchen.  Nicole works on lunch from the middle of a U-shaped area of the kitchen, taking up half of the room, dedicated to cooking and food preparation.  To the far side of the kitchen stands the fridge, which stands beside the stove, which connects to a counter that extends to 2 more sections, containing the sink and also a small island used for serving or preparation.

Brad leans on the island and peers under the counters at Nicole who stands over the stove.

BRAD
What ya makin'?

Nicole turns around while stirring a pot on the stove.

NICOLE
Macaroni.

She turns back around.

BRAD
How much longer?

Nicole turns around once more and points at him.

NICOLE
Don't start; you're worse than a kid.

Brad, kidding, hangs his head and pouts, leaving the kitchen.

BRAD
Fine!

After he is out of the kitchen Brad straightens up as he makes his way back to the living room.  As he approaches the living room he notices the curtains, which were previously drawn were now pulled open and the sun shines in.  Rounding the corner he sees the curtains pulled open on the window over the couch, also, and his stack of proposals on the ground, scattered around.

BRAD (CONT'D)
Ahhh.  Damn it.

Brad moves more quickly towards the room now.

BRAD (CONT'D)
Colton!

Brad turns the corner and looks to his left.  Colton stands on a box, placed on the floor, to reach the back pictures on a lower-standing table.  He turns the pictures face-down.  Brad looks around the room.  All pictures easily in reach have already been turned down.  Brad becomes slightly frustrated.  He approaches Colton and smacks him on the hand.

BRAD (CONT'D)
No!  Don't Touch!

Colton looks at him for a moment and then begins to cry.  Brad softens his tone and reaches out to Colton, lifting him up.

BRAD (CONT'D)
Grandpa's sorry.  You're making a mess though.

Nicole comes around the corner.

NICOLE
What happened?

BRAD
Nothing, I just got mad because he keeps flipping over the pictures.

Nicole starts walking around standing the pictures back up.

NICOLE
I'm sorry.  He's been doing that all day.  I don't know what the problem is.

Nicole turns up the pictures that Colton was most recently working at and Colton becomes agitated, pushing away at Brad, trying to get down.

COLTON
No Mommy!  No! Shadows!

Brad puts him down and Colton begins throwing a fit, stomping his feet and screaming at Nicole.

COLTON (CONT'D)
No!  No!  No!  Shadows, Mommy, the shadows.

Nicole turns around.

NICOLE
Now that's enough!

Nicole picks up Colton.  Colton, still screaming at her begins to hit Nicole.

NICOLE (CONT'D)
Ouch!  You hurt Mommy.

Colton continues his fit.

NICOLE (CONT'D)
That's it.  Time for bed.

Nicole begins to walk Colton out of the room.

NICOLE (CONT'D)
Sorry, Dad.

INT. BRAD'S HOUSE - LIVING ROOM -- CONTINUOUS -- DARK

Brad and Nicole sit on the couch in the living room.  Nicole feeds Lucas, watching tv and Brad sits back, with his feet up on the coffee table and reads through one of the proposals.

The light which shined through the living room windows has now turned to darkness.

Brad's concentration is broken with he hears Colton begin screaming.  Both Nicole and Brad look towards the stairs.  Nicole looks down at Lucas, still feeding from her and then looks to Brad.

NICOLE
Would you mind getting him?  He's been down for quite a while without any lunch.  He's probably just hungry.

Brad kicks his feet off the table and puts down the proposal.

BRAD
Not a problem.  I've got him.

NICOLE
Thanks.

Brad saunters towards the stairs, no worries at all.  He drags himself up the stairs using the handrail, walking tiredly up the stairway.

BRAD
Grandpa's comin' bud.

Brad reaches the top of the stairs and walks towards the end of the hallway, approaching the closed door to Colton's room.

BRAD (CONT'D)
It's ok, settle down.

A blood curdling scream is released, much louder than what Colton could have made himself, or any grown human for that matter.  Brad clutches his ears momentarily before quickly jumping the final step towards Colton's room, grabbing and turning the knob, and barreling into the room with his should.

Looking into the room Brad sees Colton pulled vertically up the wall, under the bedroom curtain and out the window.  Colton reaches out to Brad, still screaming and crying.

COLTON
Grandpa!!!!

Brad is stunned at what he is seeing, but quickly runs towards the window.

BRAD
Colton!!!

Colton's hands slip under the curtain just before Brad reaches the window.  Brad tears back the curtain revealing nothing.  As if into thin air, Colton was gone.  Brad feels the window, which is completely closed.  Shadows eerily move along the wall, along the outlines of the dim light, now shining through the window.  Brad yells for Nicole.

BRAD (CONT'D)
Nicole!  Help!

Brad stands in the middle of the room as Nicole runs up the stairway, with Lucas in her arms.  Colton's screams continue, though, now, more muffled.  Nicole enters the darkened room, concerned.

NICOLE
What's wrong?

Brad looks at her with horror.

BRAD
He's gone.

Now confused Nicole looks for clarification.

NICOLE
What?

BRAD
Colton.  He's gone.  I don't know what happened.  There was a squeal, I burst into the room and someone just dragged him out the window.

Nicole begins to break down.  She begins crying with hysteria.  She screams to her son.

NICOLE
Colton!!

Nicole looks around the room and turns on the light, muffling Colton's screams even more.

NICOLE (CONT'D)
Oh my god, I can still hear him.  Colton!

Nicole looks at the ceiling.

NICOLE (CONT'D)
He's on the roof!!

Nicole bolts out of the room, Brad running behind her.  Nicole flings open the front door, speeding through it and leaving the door open.

Following behind her, Brad grabs the cordless phone laying down on one of the tables in the foyer, before darting out the door also.

Nicole stands at the front of the house, looking up at the roof and pacing back and forth, looking at every angle.

NICOLE (CONT'D)
Colton!!!

Brad peels to the right of the house and down a small alley to the backyard, while dialing 911.  He reaches the backyard and, like Nicole paces back and forth trying to find every angle of the roof.

BRAD
Colton!

With Nicole's screams in the background Brad reaches 911.

911 OPERATOR
911 what's your emergency?

Largely out of breath and severely panicked Brad tries to speak.

BRAD
My...My grandson was just, ummmmm.., abducted.

911 OPERATOR
Ok.  When did this happen?

BRAD
Just now.

Brad grabs his head in frustration.

BRAD (CONT'D)
Oh my god..... I almost had him.

The operator attempts to calm Brad.

911 OPERATOR
It's ok. We're going to get someone out there right away.  I need you to tell me the address.

During his conversation Brad continues to pace, watching the roof.

BRAD
Two thiry-nine Willamette.  Hurry!  He's still on the roof.

911 OPERATOR
Can you see him right now?

BRAD
No.  No.  Oh god... just hurry.  Please.

Brad looks down the alley opposite to what he had come down initially, and takes the phone away from his ear momentarily to yell at Nicole.

BRAD (CONT'D)
I don't see him!!

NICOLE
I don't hear him anymore! 

Brad raises the phone back to his ear.

911 OPERATOR
...ir?  Sir?  Hello?

BRAD
I'm here, I'm here!  Please, please just get here.

911 OPERATOR
There's a unit in the area that's been dispatched.  I'll stay with you until it arrives.

BRAD
Thank you, thank you.

Brad takes the phone away from his ear again, yelling at the roof.

BRAD (CONT'D)
Colton!!!!

Still not a sound, Brad looks to his left and sees a faint, red light being to move across the shadows in the alleyway.  It grows stronger until Nicole screams.

NICOLE
A cop's here!

Brad drops the phone and sprints to the front yard.  Two officers run up to the frantic couple, one reaching for his flashlight and the other speaking into the radio attached to his collar.  Nicole grabs the officer by the shoulders and pleads to him.

NICOLE (CONT'D)
Please help.  He's on the roof.

The officer slowly pushes Nicole to the side as he focuses on the roof.

OFFICER #1
Ok, ok.

The officer points his flashlight up to the roof and slowly runs it along the surface of the roof, revealing nothing.  He slowly moves to the right of the property, away from Nicole and Brad. He then motions to Nicole to stay put.

OFFICER #1 (CONT'D)
 Mike, move around back.

OFFICER #2
You got it.  

The other officer draws his flashlight and moves towards the back of the house, focusing it on the roof also.  Brad follows the second officer while Nicole remains on the front lawn, looking up at the roof.

P.O.V. SECOND OFFICER -- NIGHT

The second officer makes his way down the alley to the backyard.  He reaches the back yard and shines his flashlight up on the back of the roof, backing up to get a larger view of the roof.  The first officer appears from the ally at the left of the second.

OFFICER #2
Anything?

OFFICER #1
Nothing.  You?

OFFICER #2
No.

The first officer approaches from the alley and Nicole comes running from the other side.  The second officer points towards the houses behind the first officer.

OFFICER #2 (CONT'D)
Did you want to go check some of the houses down there?  Maybe he hopped the roof.  There's no way that he could have done that over here though.

OFFICER #1
I've got it. 

The first officer turns and runs back down the alley that he came from.  The second officer turns to Brad, and then points to the various windows in the house.

OFFICER #2
Sir, which window was the child abducted from?

Brad points to the window at the middle of the house, just under the peak.  Underneath the window, at the ground level, is a walkout from the kitchen onto a large deck.  The wall is straight and would be difficult to climb.  The four walk over to the deck, stepping up onto the deck and look up at the window.  Over the walkout is a light.

OFFICER #2 (CONT'D)
Can you turn this on?

Brad jumps forward.

BRAD
Oh.  Yeah.

Brad opens the door and reaches into the house, turning on the light.  As soon as the light turns on shadows quickly scatter around the edges of the light and into the darkness again.  The first officer looks up at the window.

OFFICER #2
Who was the one that witnessed this?

BRAD
Me.  I saw him being taken.

OFFICER #2
How long was it before you made it outside?

BRAD
I don't know.  A minute, maybe less.

OFFICER #2
I don't get it.

BRAD
What?

OFFICER #2
The wall is perfectly flat.  Obviously you would have seen someone running down the street with a ladder.  So my question is how the hell did they get him out of the window.  Unless Spiderman abducted your son I don't see any way...

Brad becomes defensive of his position. 

BRAD
I know what I saw.

OFFICER #2
I'm not questioning what you saw.

The officer peers up at the window for a final moment as he pauses.  

OFFICER #2 (CONT'D)
I'm going to call in some more units to help on this. 

The officer begins to walks out to the front.

OFFICER #2 (CONT'D)
I'm going to need you and your wife to come down to the station for a statement.

Brad runs to the side of the officer.

BRAD
No!

Brad grabs the officer by the shoulder and spins him around.

BRAD (CONT'D)
It's my daughter and, if Colton isn't here, then we should be out looking for him.

OFFICER #2
Sorry, sir.  Please understand, the first 48 hours following abductions are the most crucial.  To do our job we need you to give us an accurate description of what happened and what you saw.  If you want to help then please come with us to the station and tell us what you know.

Brad slightly sinks, depressed.

BRAD
Ok. Ok, I just.. I don't know..

OFFICER #2
I know.

PAUSE, THEN CUT TO HAZY, BRIGHT WHITE SCREEN

INT. BRAD'S HOUSE - LIVING ROOM -- DAY

A doorbell rings in the distance.  Brad, sleeping on the couch, slowly rouses, opening his eyes.  A bottle of whiskey sits on the coffee table, along with a glass, a quarter of the way filled.

The doorbell rings again, this time waking Brad more.  He sits up on the couch and stretches before beginning to slowly make his way towards the door.  Groggy, he speaks, but not loud enough that the visitor could even hear him.

BRAD
Coming.... Just a second.. Geez.

Brad reaches the door just as the doorbell rings again.  He swings open the door.  Agitated by the persistence he barks at the visitor.

BRAD (CONT'D)
WHAT!!

A nicely-dressed man stands in the doorway, a briefcase in his hand, looking much like a salesman, except his "cool" aviator glasses, straight out of the 80's.

FLANNIGAN
Mr. Winters?

BRAD
Yeah, that's me.

Flannigan flashes his badge.

FLANNIGAN
Detective Flannigan.

Brad looks at his hand. 

BRAD
Yeah?

Flannigan is a little thrown off by his reaction. 

FLANNIGAN
Ahhh, yeah, sorry to bother you.  I've actually been assigned to your case and I just wanted to drop by and speak with your briefly.

BRAD
I already gave a statement at the station.

FLANNIGAN
I know, and that's fine.  I just wanted to make sure that they covered everything with you.

BRAD
Whatever, come on in.

Brad leaves the door wide open and turns his back to the detective as he makes his way towards the living room.  Flannigan steps slowly into the house and then looks around, before reaching for his shoes.

BRAD (CONT'D)
Don't worry about your shoes.

Flannigan straightens up and follows Brad into the living room.

Brad sits down on the couch and reaches for his unfinished glass of whiskey.  He throws back his head, sliding the whiskey directly down his throat.  Flannigan stands at the front of the couch, over Brad.  The coffee table, and living room in general, is a disgrace by Brad's standards.

FLANNIGAN
Are you sure you're ok to talk to me?

Brad snaps back.

BRAD
What?  Because I'm having a fuckin' drink?

Flannigan kicks an empty whiskey bottle on the floor and responds sarcastically.

FLANNIGAN
No, because it's nine in the morning and you're drinking.  Hell it looks like all you've been doing is drinking.

Brad turns to Flannigan.

BRAD
Do you have a daughter, Flannigan?

FLANNIGAN
Yes, I've got two daughters.

BRAD
Then think about what it would be like to watch their hearts break right in front of your eyes, and you're the one who let it slip through your fingers.

FLANNIGAN
I can imagine how that might feel.

Brad stands up slightly raises his voice.

BRAD
No you can't.  You can't imagine a fraction of that pain.  So don't you worry....

Brad reaches for the glass on the table and pitches it at the wall as he continues to talk.

BRAD (CONT'D)
About how much I drink.  You just find the fuckers that did this to my daughter.  You find the fuckers that took my grandson.

Flannigan immediately turns and heads towards the door.

FLANNIGAN
Sorry to both you Mr. Winters.  Maybe we can talk again when you're feeling more up to it.

Brad's attitude changes immediately with the prospect of the detective leaving without offering any answers to his questions.

Brad runs up behind Flannigan as he makes his way towards the door.  He reaches out and grabs Flannigan by the shoulder and spins him around.

Flannigan's briefcase swings around unexpectedly.  Brad immediately jumps back, almost expecting Flannigan to take a swing at him.

BRAD
I'm sorry.  Please don't go.  I'll help you any way possible.  You gotta understand that this is just so hard.

Flannigan empathizes with Brad.

FLANNIGAN
I know this might be a tough time for you, but the only way we're going to get these guys is if you help us.

BRAD
Ok, please just come and sit.

Brad escorts Flannigan over to the couch.  They both sit down and Flannigan places his briefcase on the coffee table.  He turns to Brad.

FLANNIGAN
What I'm going to show you might be a little bit disturbing.  If you'd rather me not...

Brad interrupts him.

BRAD
No, anything that will help.

FLANNIGAN
Ok.

Flannigan reaches down and opens the clasps on his briefcase, before opening it wide.  Inside is a stack of case folders and a couple manila envelopes.  Flannigan reaches in and begins to pull out one of the envelopes as he talks to Brad.

FLANNIGAN (CONT'D)
You've probably heard about the recent murders downtown over the past week.

Brad nods his head.

BRAD
Yes.

FLANNIGAN
Well we think that they're all connected.  We also think that they have something to do with your case.

BRAD
But?

FLANNIGAN
Well, we've tried to keep it out of the media as much as possible, but that is nearly impossible.  There was one major difference between Colton's disappearance and the others.

BRAD
That being?

Flannigan opens the envelope and begins throwing down pictures on the table.  Pictures of the crime scenes, the gruesome images show detailed smears of blood and human flesh running along the walls.  No splatter marks, just smears as though a human had been ripped open and dragged along the wall.

FLANNIGAN
Blood.  The difference is blood, Mr. Winters.

Brad covers his mouth in horror.  His eyes widen as he scans the images.

BRAD
Oh my god.

FLANNIGAN
Yeah.  We found no blood at your house though.  Not in the bedroom, not on the roof.  I just don't know what to think.

Brad picks up a couple of the images and looks at them more closely, studying them intently.  Flannigan waits and then questions him after a short pause.

FLANNIGAN (CONT'D)
What?

Brad points to an oddity in the picture.  One of the pictures shows a smear running clear up the wall, above what any man could have reached.

BRAD
Look at this.  How the hell could a smear of blood get that far up the wall.  There is no way someone could have held someone up there manually.

Flannigan acknowledges his finding.

FLANNIGAN
I know.  I had noted that also.  The only thought was that they were standing on something.  A dumpster, a car, I don't know.

Flannigan pauses for a moment. 

FLANNIGAN (CONT'D)
I've got to be honest with you; we've made very little progress in this case.  Unfortunately there just isn't any evidence to work with.

BRAD
Not even a clue?  No suspects at all?

Flannigan tries to avoid the point.

FLANNIGAN
No...., well.  No, nothing.

Brad picks up on his hesitation.

BRAD
Wait, wait, wait.

Brad points at Flannigan and stands up from the couch.

FLANNIGAN
What?

Flannigan matches him. 

BRAD
You think I had something to do with this.

FLANNIGAN
Wait.  No.  That's not necessarily true.

Brad steps closer to Flannigan who backs up to maintain the current distance from Brad.

BRAD
I understand.  You think I did it! 

Brad shakes his head in disbelief. 

BRAD (CONT'D)
You see what I'm going through and you think I'm a suspect?

Flannigan composes himself.

FLANNIGAN
Well..., I mean, no I don't.  You have to understand there just isn't any evidence.  You were the last one to see Colton and there just isn't any evidence to show anything different.  I'm sorry I just can't rule you out.

Now enraged, Brad snaps back.

BRAD
I don't believe you.  You come in MY house and accuse ME.

Brad turns and walks back to the table while still fuming.

BRAD (CONT'D)
No, no.

Brad reaches down to the table and snatches the photos that had been placed on the table and proceeds to pitch them towards Flannigan.

BRAD (CONT'D)
HEY!

Brad pauses for a moment before continuing his tirade.

BRAD (CONT'D)
Now get the fuck out of my house!

Flannigan reaches down and starts collecting the photos, before speaking up sternly.

FLANNIGAN
Mr. Winters...

Brad reaches back to the coffee table once more.

BRAD
Oh wait.  Don't forget your briefcase.

Brad picks up his briefcase and pitches the open briefcase through the doorway and out into the foyer.

Flannigan straightens up snaps back, right in Brad's face.

FLANNIGAN
Are you a fuckin' psycho?

Brad comes back without hesitation.

BRAD
I must be to have murdered my own GRANDSON!

Flannigan turns and begins picking up his paperwork and piling it back into his briefcase.

FLANNIGAN
This doesn't look good for you Mr. Winters.

Brad sighs sarcastically.

BRAD
I'm sorry.

He makes his way toward the paper trail created by the flying briefcase.

BRAD (CONT'D)
Here let me help you with those.

Brad begins kicking the papers towards the briefcase.  Flannigan snaps back.

FLANNIGAN
Look, just step back.  Don't make this any worse for yourself.

Brad steps away from the papers as Flannigan finishes collecting the contents of his briefcase.

BRAD
Any worse for myself?  Ha, that's a good one.  Just get out of my house.

Flannigan collects himself and opens the door.

FLANNIGAN
I'll be in touch Mr. Winters.

Brad approaches the door slowly and speaks more calmly now.

BRAD
Don't you come back here.  You're not welcome.

Brad closes the door behind Flannigan and leans against covering his face with his hands.  Brad slowly sobs and slides down the door, to a seated position.

FADE TO BLACK

FADE IN:

INT. O'NEIL'S PUB -- NIGHT

The sounds of the pub are muffled only by the voices of the patrons.  In addition to the odd outburst, the crowd seems just generally noisy.  Underneath their voices plays rock music.  Glasses clang together throughout the pub as the waitresses frantically run around the room collecting empties.

The pub is shaped, from the entrance, like an inverted "L", the bathrooms being at the far side of the bar, around the corner.  It's at this far end of the bar that Brad sits.  Wallowing in his own guilt, he attempts to drain his sorrows, his pain and, memory that day ever happened.

A waitress approaches the table.  The waitress reaches in-front of Brad, clearing the glasses on the table.  

WAITRESS
Hey sweetie.  You want another?

Brad raises his arm and gestures for 2.

WAITRESS (CONT'D)
Ok, comin' up.

The waitress leaves the table and Brad reaches to his left, towards the end of the table, and grabs his pack of smokes.  He opens the pack and finds a single cigarette left.  He draws the lone cigarette from the pack and raises it to his mouth before lighting it.  He sucks hard and long on the cigarette, and withdraws the cigarette from his mouth in one smooth, relaxed motion.

Almost hypnotized by the smoke, everything else around him becomes less noisy as he watches the cigarette burn, billowing smoke towards the ceiling.

Interrupting his love affair with the cigarette the waitress arrives with his drinks.

WAITRESS (CONT'D)
Here ya go.

Brad merely mumbles back to the waitress.

BRAD
Thanks.

The waitress cocks her head slightly, inquisitively.  She then speaks slowly with concern in her voice.

WAITRESS
Are you ok?

She immediately perks up, stepping back from her more personal questioning.

WAITRESS (CONT'D)
I mean... I work in a bar, and alcohol is a depressant and all, but I'm usually a pretty good judge of character.  It comes in handy when it's time to kick someone out.

The waitress laughs.  Brad just grins as he nods his head and takes another drag of his cigarette.  He then responds, simply mumbling his words once again.

BRAD
I'm fine.  Thanks though.

The waitress immediately backs off her question.

WAITRESS
Ok, it's just... I' don't know.  Sorry.

The waitress turns to leave, but Brad grabs her arm.

BRAD
Wait.

The waitress turns her head and then moves back to the table.  Brad continues.

BRAD (CONT'D)
Do you sell smokes her?

WAITRESS
We don't, sorry.  There's a store just down the street though.

BRAD
Thanks.

WAITRESS
Ok.

The waitress turns and heads back into the crowd.  Brad watches her as she walks away, his will defeated, but his testosterone still pumping.

Brad remained focused on the waitress, smoking his cigarette, until she reached the bar, at which point he noticed a man gesturing to him from bar.  Shifting his focus to the man sitting at the bar next to a young woman, he realizes that the man waving to him is actually is colleague, Roger.

Brad picks up his glass and raises it, acknowledging Roger, and then mumbles under his breath.

BRAD
You fuckin' dog.

Brad smiles and lowers his glass, taking another drag of his cigarette.  Roger raises a finger, indicating 1 second, and then kisses the young woman sitting beside him.  Brad, again, speaks under his breath.

BRAD (CONT'D)
Please, don't come over.

Roger motions to the bartender who grabs a couple of beers and places them up on the bar.

BRAD (CONT'D)
Don't come over, don't come over, don't come over.

Roger picks up the beers from the bar and hops down from the barstool before giving the girl a quick peck on the cheek and making his way across the bar towards Brad's table.  Brad is not pleased, but manages to keep him discontent under his breath.

BRAD (CONT'D)
Fuck!

Roger reaches Brad and stands in front of the table.

ROGER
Hey Brad!  Mind if I..?

Roger motions to sit down.

BRAD
No, no.  Go ahead.

Roger quickly sits down.

ROGER
Great, it's good to see ya.

Brad puts on a good fake smile. 

BRAD
Yeah, you too.

Roger jests.

ROGER
Well I brought you a beer, but it looks like you're pretty well set.

Brad smiles again.

BRAD
Yeah, I'm good, thanks.

Roger opens one of the beers and begins sipping from it.

ROGER
So how are you?  Seriously.

BRAD
Seriously?

Brad pauses momentarily and takes a drink from his pint, a drag from his smoke and butts out his cigarette.

BRAD (CONT'D)
Seriously, I'd like to break that bottle over the table and slit my wrists right here.

Brad smiles sarcastically and then returns to a grim, emotionless face.

ROGER
Whoa.  Brad, that's heavy shit.

Brad tries to switch Roger's impression of his current state of mind.

BRAD
Fuck, don't take me THAT seriously.  Jesus.

Brad begins to chuckle.

BRAD (CONT'D)
You should have seen your face. 

Brad mimics Roger's reaction, in a '70 stoner tone, throwing back his head as though he had long hippie hair.

BRAD (CONT'D)
You were like "Whoa, that's heavy shit, dude." Fuck, did you have a flashback or something.

Brad smiles.  Roger sits back in his chair and then quickly lunges forward.  He takes a swing at Brad, looking for a friendly slap in the side of the head.  Brad blocks his attempt and then, subsequently, wrestles against Roger's arm, still looking to pass Brad's guard.  

The two giggle as they fight back and forth before they knock over one of Brad's beers.  The beer spills off the end of the table and Brad jumps to pick it up.

BRAD (CONT'D)
Shit!

Roger and Brad look at each other and smile.  Still giggling, Brad blames Roger.

BRAD (CONT'D)
You knocked over my fucking drink you lush.

Brad snatches the second beer that Roger had brought to the table.

BRAD (CONT'D)
This is mine now.

The waitress comes over with a bucket and mop to clean up the mess and speaks to them in a motherly tone.

WAITRESS
Now, boys, are we done wrestling for tonight?

Brad and Roger smile.

BRAD
I'm done.  I don't know about this guy.  He's the troublemaker.  You keep and eye on him.

ROGER
No, I'm done.

The waitress finishes cleaning up the spilt beer and turns to Brad.

WAITRESS
Do you need another?

BRAD
No, I'm good.  Thanks.

The waitress leaves after a parting word.

WAITRESS
Ok. Behave.

Brad seems more relaxed after his friendly skirmish.  He leans back in the bench seat and runs his hands through his hair, releasing a long sigh before continuing.

BRAD
Ahhhh.  Man.  I think that's the most I've laughed in weeks.

ROGER
Good.  I'm glad I'm good for something.

Roger changes the subject.

ROGER (CONT'D)
So when are you planning your triumphant return to work?

Brad opens the bottle of beer he took off Roger and takes a sip.

BRAD
I don't know.  It's tough you know?

Roger nods his head as he drinks from his beer.

BRAD (CONT'D)
I just don't understand it.  It seems like it gets more complicated every day.

ROGER
I don't even want to think about what this all must be like for you.  I'm really sorry.

BRAD
Thanks.  I wouldn't wish it on anybody.

Brad looks over to the bar, eyeing the woman who walked in with Roger.

BRAD (CONT'D)
So who's the broad?

Roger whips around.

ROGER
Oh.  Yeah.  I totally forgot about her.

He laughs and turns back to Brad.

ROGER (CONT'D)
Her name is Brooke.  She's an aspiring writer.

Brad cuts Roger short.

BRAD
And whose class is she in?

Roger laughs slightly, lowering his head for a moment and then facing Brad again.

ROGER
You know me too well.

Roger readies himself to tell his story.

ROGER (CONT'D)
Well.  I'm covering for Julia Sherman.  You know?  Her mythology class?

Brad nods his head.

ROGER (CONT'D)
Anyway, I walk in there and Brooke's sitting in the front row.  She's got on this tight little mini-skirt and top, I was intrigued.

BRAD
I'm sure you were.

ROGER
Oh, yeah.  I swear had to sit behind the desk the whole lecture.  It was like.. "Hello..."

Roger begins knocking on the table-top.

ROGER (CONT'D)
"Can I see please?"

Roger laughs.  Brad only grins.

ROGER (CONT'D)
I was like a Viagara test subject.

BRAD
You're sick.

Roger throws up his hands and laughs. 

ROGER
What?

Their humorous debate continues.  

BRAD
You're old enough to be her father.

Brad takes another drink of his beer.  

ROGER
But she said she likes older men.

BRAD
Don't you think there's something wrong with that?  Like mentally?

Roger waves his hands.

ROGER
Hey, I'm not a psychiatrist and neither are you.  It might be good for her.  You never know.

Brad just shakes his head.

BRAD
 Yeah, I'm sure you're doing it for HER own good.

ROGER
What can I say?  I'm a saint.

BRAD
If you're a saint I must be the pope himself.

ROGER
Well I'm glad to be sitting here with you your holiness.

Brad takes another drink.  Brooke approaches from the bar and stands beside Roger, leaning up against the bench seat and placing her hand on his shoulder.

ROGER (CONT'D)
Hey.  This is Brad Winters.

Brooke extends her hand.

BROOKE
Hi.  Nice to meet you.

Brad shakes her hand.

BRAD
Likewise.

Roger turns to Brooke.

ROGER
Brad teaches Philosophy over at the college.

BROOKE
I thought you looked familiar.

Brad just nods his head, taking another drink of his beer.  Brooke turns back over her shoulder and talks to Roger.

BROOKE (CONT'D)
We should probably get going or we're going to miss the show.

Roger looks at his watch.

ROGER
You're probably right.

BRAD
Going to the movies?

ROGER
No, they've got Macbeth running down at the Alexandria.

Roger stands from his seat and raises his hand into the air before bellowing Shakespeare.

ROGER (CONT'D)
"To be, or not to be: that is the question..."

Roger returns to his normal pose and smiles at Brooke before stealing a kiss.  Brad pipes up, ruining his moment.

BRAD
That's actually from Hamlet, Bill.

Roger seems thrown aback.

ROGER
What?

Brooke concurs.

BROOKE
He's right.  I didn't want to say anything though.

Roger laughs.

ROGER
Critics.

Roger grabs Brooke's hand.

ROGER (CONT'D)
Let's go.

Brooke looks back and smiles before saying goodbye.

BROOKE
Nice to meet you.

BRAD
And you.

Brad pauses for a moment before hollering to Roger.

BRAD (CONT'D)
Goodnight my crabby pants.

Roger raises his hand and waves without looking back.  Brad just smiles and sits back, finishing his drink.

The waitress approaches.

WAITRESS
Can I get you anything else?

Brad looks at the, no empty, bottle in his hand.

BRAD
No, I think I'm good.

Brad reaches for his wallet.

BRAD (CONT'D)
What's the damage?

The waitress pulls out her note pad and starts flipping the pages.

WAITRESS
Ah ha.  There we go.  Let me see here.

She starts adding up the drinks with her pen.

WAITRESS (CONT'D)
Fourty-two fifty.

Brad opens his wallet and up pulls out a $50 and hands it to her. 

WAITRESS (CONT'D)
Give me a minute and I'll grab your change.

BRAD
Don't worry about it.

WAITRESS
Thank you.

BRAD
You're welcome.

Brad stands up and puts on his jacket to exit the bar.

EXT. O'NEIL'S PUB -- NIGHT

Brad exits the bar and begins making is way down the street.  Just a little ways down is a convenience store.  Brad walks through one intersection and then looks both ways before jogging diagonally across the street to the convenience store driveway.

The convenience store is well-lit and nestled back from the road slightly.  Brad approaches the front doors of the convenience store.  A woman scurries around inside the store and then pushes open the front doors, calling out.

DISTRESSED WOMAN
Michael?

She makes her way into the parking lot further, searching between cars.

DISTRESSED WOMAN (CONT'D)
Michael!?

Brad enters the store and approaches the counter.

BRAD
Can I get a pack of Winston please?

CLERK
Sure.

The clerk goes behind his counter and grabs a pack of cigarettes and passes them to Brad.  Brad reaches into his wallet and pulls out a ten, dropping it on the counter as the clerk rings up his purchase.

The clerk takes the ten and returns Brad's change.

BRAD
Thanks.

CLERK
Thank you.  Have a good night.

BRAD
You too.

Brad turns and makes his way back to the doors to leave.

Brad stops at the edge of the sidewalk outside of the store, which is raised slightly above the drop down into the parking lot.  He begins to open his cigarettes and discards the plastic in a trash can to his right.

The irate woman who was outside previously had now found her mark and was escorting a young boy from the back alley of the store.

IRATE WOMAN
Don't you ever do that to me again.  You got it?

The woman shakes the boy by the arm she has hold of, looking for a response.  The boy squirms.  Brad draws a cigarette from his pack, watching the drama unfold and lights it.

IRATE WOMAN (CONT'D)
You got it!?

MICHAEL
Yes!  Yeah I got it.

The boy rebuts as his mother escorts him through the parking lot.

MICHAEL (CONT'D)
Geez, I was just playing with my new friend.

IRATE WOMAN
Friend?  What friend?  There's nothing back there.

MICHAEL
My new friend.  Colton.

The words barely fall from this child's lips before Brad is shocked.  The cigarette falls from his mouth to the ground before he yells out.

BRAD
Wait! 

Brad immediately sprints across the parking lot towards the people.

BRAD (CONT'D)
What'd you say!?

IRATE WOMAN
Leave us alone.

BRAD
No, what did he say!

Brad grabs the child by his other arm.  The woman screams for help.

IRATE WOMAN
Ah!  Help.

The woman let's go and begins rifling through her purse quickly.  Brad turns Michael around and yells at him.

BRAD
What did you say?  Who's your friend?

The young boy begins to cry.  His mother draws a canister of pepper spray from her purse.

MICHAEL
Colton!  Colton.

The mother squirts the pepper spray into Brad's eyes at close range.

BRAD
Fuck!

Brad immediately backs up, stumbling backwards through the parking lot.  The mother ushers her son into the car.

IRATE WOMAN
Get in, Michael.

The mother then makes her way around the back of the vehicle, pointing and spraying her pepper spray at Brad, once again, but from a distance.

IRATE WOMAN (CONT'D)
You fuckin' psycho.

Brad continues backwards back-peddling as fast as his feet would carry him.  All the time Brad yells in pain as his eyes burn.

BRAD
Shit!

The mother enters her car and reverses out of the parking space, nearly hitting Brad.

BRAD (CONT'D)
God damn!  You fuckin' bitch!

Brad stumbles and falls to the ground just in front of the first line of parking spaces outside of the store.  He falls back and knocks his head on a car bumper.

BRAD (CONT'D)
Ow!  Jesus.

Brad turns around and pulls himself up on the back of the car.

BRAD (CONT'D)
Fuck.

Brad rubs his eyes, only making the pain worse.

P.O.V. BRAD - BLURRED VISION

Partially blind he slowly moves around the cars.  His hands wave in front of him, feeling for objects in his way.

He makes his way back onto the sidewalk in front of the store and slowly moves towards the alley where the mother had dragged her son.

Brad turns the corner and squints as he walks.  His vision, still blurry, is of no help in navigating in the darkness.

Brad slowly moves through the alley, feeling his way long.  Now he called lightly to his grandson.

BRAD
Colton?

Brad pauses, waiting for a response and then calls again, but louder.

BRAD (CONT'D)
Colton!  Where are you?

Brad finds himself at the back of the alley, judging by the concrete wall now blocking his way.

BRAD (CONT'D)
Colton?  Buddy?

Brad feels out a trash bin at the back of the alley and hunches over it, weeping with his head snuggled in his crossed arms.

Brad allows himself to cry only for a moment before he wipes his face with his arm and slides down the bin to a seated position on the cold pavement.

FULL SHOT - TO THE SIDE OF BRAD - FACING THE WALL BEHIND HIM -- NIGHT

Brad rubs his eyes again, clearing the tears and the pepper spray.  On the wall behind him the light from a street lamp at the front of the alley shines down the alley on a diagonal, up the back wall to the top of the store.

His eyes still blurry, Brad doesn't notice the shadows filing along the border between the dark and light behind him.  They quickly dart from one end of the light to the other.

An eerie sound begins, first softly and then escalating.  The same sound he heard the night his grandson was taken from him.  He rubs his eyes, still trying to clear the pepper spray from them and slowly steps away from his position.  Brad speaks out.

BRAD
Hello? 

His feet shuffle closer and closer to the darkness where the evil lurks.

BRAD (CONT'D)
Colton?

His feet reach the border between the light and dark.  As his foot meets the darkness he is immediately overwhelmed by the shadows.  Like a graceful snake the shadow curls its way up the back of his ankle and slowly coils itself around his leg.

Brad continues to back up, unaware of the immediate danger before him.  He speaks, now, in a slighter tone, hinting of fear.

BRAD (CONT'D)
Hellllllooooo?

The shadow finally makes its way around Brad, all the way to his neck, undetected.  Upon coiling around his neck Brad feels the slightly chill.  The hair stands up on the back of his neck and a cold chill shoots down his back.  Brad immediately spins, face to the wall, and tries to brush the unknown life-form from his shoulder.

BRAD (CONT'D)
Oh god.

The shadow is unrelenting, now ready to attack, and let’s out a short, wailing battle cry, breaking the silent hum that had existed just before.  The shadow tightens its grip and attempts to quickly drag Brad towards the wall.  Brad drops to the ground and leverages himself against the wall, straightening his legs to fight the unknown enemy.  Brad yells out.

BRAD (CONT'D)
Help m..!

The shadow wraps itself around Brad's face.  More shadows dart in and try to pull Brad towards the wall.  Brad struggles and only his muffled screams can be heard.  The shadows have him slightly off the ground before a voice is finally heard, the voice of his grandson.

COLTON
Stop!

With a single word the shadows release their victim.  Parallel to the ground and with the force of his legs pushing of the wall, Brad almost leaps from the wall of the alley into the middle.

Without thinking Brad shuffles himself along the pavement to the lit wall on the other side.  He looks to the opening of the alley.

BRAD
Tha..

Brad sees nobody at the entrance to the alley.

BRAD (CONT'D)
..nk you?

Brad slowly turns to the back wall.  The image of a young boy stands with nothing casting the shadow.  Upside down, his feet planted on the border between dark and light and his body in the light.

Brad begins to crawl towards the shadow.

BRAD (CONT'D)
Colton?  Is that you?

The shadow doesn't reply.  Brad rubs his eyes again, clearing the pepper spray from his eyes now.

BRAD (CONT'D)
Oh my god, it is you.

Brad climbs slowly to his feet to examine the shadow closer.

BRAD (CONT'D)
What happened?  I...I don't understand.  Can I touch you?

Brad begins to reach out towards the shadow.

BRAD (CONT'D)
Can I even feel you?

Brad's hand gets closer to the wall.  Before his hand can touch the wall, however, the image dissolves into the darkness and quickly darts away, moving past Brad.

Brad whips around, watching the shadow of Colton speed by him.

BRAD (CONT'D)
Wait!

Brad runs after the shadow, but the shadow is too fast.  Brad makes it to the entrance of the alley but immediately loses sight of the shadow.  Brad looks left and then right, slowly walking out into the parking lot.  Upon looking to the right he sees the image of Colton case on the side of a building.

Brad immediately begins running towards the image again, talking to himself as he runs.

BRAD (CONT'D)
Come on.  Slow down.

The shadow of the boy runs around the corner and darts along the walls of the buildings in the street once again.  Brad follows to the corner that Colton had turned.

Looking up at the walls as he runs, Brad turns the corner and bumps into a couple walking down the sidewalk.

YOUNG MAN
Hey!

YOUNG WOMAN
Jesus!

Brad, short of breath, apologizes.

BRAD
Sorry, sorry.

Brad turns and begins to walk away as the couple turns the corner.

YOUNG WOMAN
Clumsy idiot.

Brad sees Colton's shadow, now pictured high in the light of another street lamp, entering another alley.  Colton runs off down the alley and Brad darts across the street and towards the opening himself.

Brad speeds down the street and approaches the corner, looking to cut the corner short.  Just as he is about to make the turn a woman darts around the corner form the other way and lets out a blood-curdling scream.

Brad, unable to stop simply grabs the woman and tries to brace them both for a fall.  They hit the ground hard and roll before coming to a rest.

Brad sits up and tries to pull the woman off the ground.

BRAD
Are you ok?  I'm so sorry I didn't even see you there.

Pull the woman into the light Brad sees that the woman is covered in blood.  The woman responds, unable to control her emotions.

BLOODIED WOMAN
You've gotta help me.

The woman cries hysterically.

BLOODIED WOMAN (CONT'D)
Oh my god, they killed him.  They fuckin' killed him.  I mean he has to be dead, doesn't he.

The woman pulls at her clothes, trying to tear them off.

BLOODIED WOMAN (CONT'D)
His blood is all over me.

The woman peels what appears to be a piece of flesh from her top.

BLOODIED WOMAN (CONT'D)
Jesus Christ.  His...his...he is all over he.

The woman falls to her knees.  Brad kneels down beside her.

BRAD
Who?  Who killed him?

The woman pauses between her words in her reply.

BLOODIED WOMAN
I don't....know.

Brad tries to pull the woman to her feet.

BRAD
Come on.  Show me.

The woman fights him off.

BLOODIED WOMAN
No!  No!!  I'm not going back down there.

The woman rips her arm away from Brad.

BRAD
Fine.

Brad begins ow walk down the alley.  The woman speaks louder as he gets further away.

BLOODIED WOMAN
You're just killing yourself.

Brad continues to walk, disregarding the warnings.

BLOODIED WOMAN (CONT'D)
You're crazy!  And stupid!

Brad just continues on.  The woman remains standing at the entrance to the alley and then gives in.

BLOODIED WOMAN (CONT'D)
Damn it.  Wait.

The woman sprints to Brad's side.

BLOODIED WOMAN (CONT'D)
I don't know what you think you're gonna do.  You think you're some kinda hero?  You're just gonna get us killed too.

Brad looks at the woman.

BRAD
Then leave.

BLOODIED WOMAN
Hell no!  Maybe they'll get you first.  Give me time to get the hell outta here.

They reach the end of the alley.  The woman points over at a 7 or 8 foot brick wall that parts one half of the alley from the other.

A neon light hangs over a door on the other side "Rare Coins" and casts a shadow to the other side of the wall.

The woman points to the corner between the alley wall and the brick partition, where the incident occurred.

BLOODIED WOMAN (CONT'D)
There.  Right over there.

She grabs onto Brad tightly as the two approach the junction of the two walls.

As Brad moves closer and closer to the wall the evidence is smeared right along the border between the dark and light, just like in Flannigan's pictures.  Brad runs his hands along the bloody wall and looks around for any other evidence of foul play.  Puzzled he whispers under his breath.

BRAD
What the hell happened here?

Brad sees a pile of garbage bags to the left and right of the streak of blood.  Still unwilling to accept the evidence that he had seen with his own eyes, Brad looks for other answers and begins digging through garbage.

BRAD (CONT'D)
There has to be something here.  A body or something.

Brad looks back at the woman.

BRAD (CONT'D)
Check over there.

Brad points towards the other pile of garbage bags.

BLOODIED WOMAN
No.  I don't want to.

Brad becomes more frustrated with the woman. 

BRAD
Just check bags already, Jesus.  We've gotta find something here.

The woman reluctantly makes her way over to the second pile of garbage bags and begins sifting through them.  There is a short pause before Brad questions the woman again.

BRAD (CONT'D)
Anything?

BLOODIED WOMAN
No.  Nothing.

Brad continues rummaging through the garbage bags until, out of the corner of his eye, he spots a single shadow streak along the lighted alley wall.

Startled, he straightens up and begins looking around.  The woman stops her searching also.

BLOODIED WOMAN (CONT'D)
What?

Brad raises his index finger to his mouth, signaling "shhhh", and begins to back out of the pile of garbage bags.

Brad steps back onto the pavement alleyway and begins to hear the same whispering screeches that he had in the other alley.  He waves for the woman to come to him.  She looks at him at first without moving.  Brad then motions with more urgency, prompting her to slowly exit the pile of rubble.

The screeches become more pronounced once again.  With the woman now in earshot Brad speaks softly. 

BRAD
Ok.

Brad grabs the woman by the shirt and tries to back them both out of the alley.

BRAD (CONT'D)
Just back up.

BLOODIED WOMAN
What?  Why?

BRAD
Just back..up.  Slowly.

The shadows begin to move quickly along the walls as Brad looks up and around the surrounding lights of the alley.  The woman now sees the shadows.

BLOODIED WOMAN
What the hell is that?

BRAD
I don't know.

The woman panics and turns to dart out of the alley.

BLOODIED WOMAN
I'm gettin' the fuck outta here!

Brad reaches for her shirt to pull her back, but misses it.

BRAD
Wait!

Just as she turns and runs a shadow, waiting behind them, springs up, wrapping itself around her neck.  The woman lets out a groan as it grips tightly.  Brad runs to her aid, trying to rescue her from the grip of the shadowy beast.  His efforts, however, are for not as another shadow rises up and swats Brad, like a tail swatting a fly, sending him flying backward from the ground into the wall about 10 feet in the air.

Brad falls to the ground in pain.  He slowly makes his way to his knees.  The woman's screams are muffled, as if there was a hand over her mouth.  Her eyes widen as she screams to Brad.  Brad looks up to see three shadows fighting over the woman.

During their fighting the shadow releases the woman from its grasp.  Stunned, she simply looks around, not sure what to do.  Brad quietly calls to her.

BRAD (CONT'D)
Come on!

The woman begins to tip-toe out of the alley, towards Brad's out-stretched hand.

BRAD (CONT'D)
Hurry!

The woman maintains her light steps, but speeds her pace.  She manages to escape the fray and grabs Brad's hand.  Brad leads the way to a nearby street lamp, casting its light down to the sidewalk below.

BRAD (CONT'D)
Get to the light!

The two sprint from the alley towards the light, Brad leading the way.

BRAD (CONT'D)
Run!

Brad reaches the light and turns around.  The woman nearly reaches the spot of light also, but is cut off from behind as one of the shadows speeds up from behind her, coils around her neck once again and quickly pulls itself back like a rip cord, easily breaking the woman's neck.

BRAD (CONT'D)
No! 

Before she is able to collapse to the ground the lifeless body is scooped up by the shadow which wraps itself around her body once again.  Brad falls to the ground as the shadow covers her body completely and then, almost diving into it, enters the gradient between the light and dark cast by the street lamp.

The woman's body explodes on impact with the concrete, the shadow not relenting as it drags her down, leaving a streak of blood smeared on the pavement and spraying it up at Brad, who is knelt down immediately beside her.

Brad touches the blood on the pavement and then simply leans back against the street lamp.  Exhausted he reaches for the cigarettes from his jacket pocket and raises one to his mouth, from his bloody hand.  Blood stains the cigarette where he had touched it, but Brad still lights the cigarette and begins to smoke it.

Once lit Brad draws a cell phone from his other pocket and proceeds to dial.

ZOOM OUT FROM BRAD AS HE DIALS HIS CELL PHONE

INT. POLICE OFFICE -- NIGHT

The police station is not extremely busy as it is quite late.  A casually dressed, freshly woken Flannigan jogs up the stairs to the homicide area and the holding cells.

Flannigan passes a couple of other officers who greet him.  They stop briefly to talk.

OFFICER #3
Hey Chris.

FLANNIGAN
Hey guys.

OFFICER #4
Heard they got your guy.

FLANNIGAN
That's what they tell me.

Flannigan scratches his head.

FLANNIGAN (CONT'D)
They just woke me up from a great dream, so they better.

The officer chuckles and then they turn the conversation back to a more serious note.

OFFICER #3
I heard he really did a number.  Blood all over the place.

FLANNIGAN
Really?

OFFICER #4
Oh yeah.  I saw them dragging him in.  He's all like "I didn't do it!  I swear." Right, the guy looked like he just finished doing the backstroke through a pool of human flesh.

Flannigan squints his face, revolted by the suggestion.

FLANNIGAN
God, you're right fuckin' sick aren't ya?  Man.  Well I love a smokin' gun. 

Flannigan offers his farewell and continues up the stairs.

FLANNIGAN (CONT'D)
I gotta go.  See you two later.

The other two officers say bye and continue on their way.

Flannigan reaches the top of the stairs of the homicide division and walks over to his desk, grabbing some papers from the "in" box on his desk and quickly reviewing them before moving to the questioning area.

In the back room, connected to the questioning area and separated by one-way glass.  Flannigan looks out at Brad, sitting in the chair, peacefully smoking a cigarette, awaiting his fate along with another detective, Leo Garrison, who sits behind the microphone.

FLANNIGAN (CONT'D)
What do ya think, Leo?

Leo looks up at Flannigan.

LEO
Not sure.

Leo strokes his goatee as he thinks.

LEO (CONT'D)
There's been 3 guys go in there to get his story and every time they get the same one.

Leo motions with his hands as he talks.

LEO (CONT'D)
He didn't see nothin', doesn't know nothin'.  That doesn't account for the blood all over him though.

Leo throws some additional paper work at Flannigan.

LEO (CONT'D)
Here.  I had forensics run a comparison.  The blood at the scene matches the blood we found on him.  He had something to do with both these.

Flannigan flips through the pages and pumps his fist before high-fiving Leo.

FLANNIGAN
Yes!

Flannigan flips the paper work back to the front page.

FLANNIGAN (CONT'D)
You know what this means?  His ass is mine.

Flannigan grabs his briefcase and reaches for the door handle to leave.

FLANNIGAN (CONT'D)
I'm goin' in.

Flannigan exits and then immediately opens the door next door and walks in.  He slowly approaches the table where Brad sits.  Brad cocks his head and just grins.

FLANNIGAN (CONT'D)
Hey Brad.

Brad just shakes his head in disbelief.

BRAD
Just great.

Flannigan rests his briefcase on the table before sitting down himself.

FLANNIGAN
Happy to see me I guess?

Brad responds sarcastically.

BRAD
Thrilled.

Flannigan opens his briefcase and pulls out a familiar manila envelope.

FLANNIGAN
I told you I'd be watching you Brad.

Flannigan pulls some more photos from the envelope and tosses them in front of Brad.

FLANNIGAN (CONT'D)
Recognize these?

Brad doesn't even bother looking at them; he simply flings them back in Flannigan's direction.

BRAD
I already told you and I told your..

Brad yells over his shoulder at the one-way glass.

BRAD (CONT'D)
..BUDDIES..

Brad returns to his regular position and continues.

BRAD (CONT'D)
..that I didn't do anything.

Flannigan tries to reason with Brad.

FLANNIGAN
Look, Brad, if you don't want to talk to me that's fine.  Look at your shirt though.  Do you think that a jury is going to think that you had nothing to do with these murders?  God, look at your face.

Brad persists calmly.

BRAD
I didn't do anything.

Flannigan tries to connect with Brad.

FLANNIGAN
Ok. Ok, I want to believe you.  I just.. I need you to help me then.  I need you to tell me what happened.  Exactly what happened.  I don't want you leaving out a single detail.

Brad explains his story, but tries to avoid revealing the most important part, that it was shadows that did this.  He sighs to compose himself and then begins.  Flannigan opens a note book and writes down is statement, as well as recording it on tape.

BRAD
I was over at the bar.  I don't know if I had too much to drink or what but I found myself just walking down the street.

Brad draws another cigarette from his back and lights it and takes a long inhale of smoke before continuing.

BRAD (CONT'D)
Anyway, I was just walking along the sidewalk, on my way home, and...

Flannigan interrupts Brad's explanation.

FLANNIGAN
Wait, wait, wait.  On your way home?

Brad nods his head.

BRAD
Yeah.

FLANNIGAN
If you were walking home then wouldn't it be better to walk AWAY from downtown?

Brad tries to cover.

BRAD
Well, like I said, I was at the bar.  I probably had too much to drink.

Brad raises his cigarette pack, showing them to Flannigan.

BRAD (CONT'D)
And I had to pick up some smokes because I ran out at the bar.

Flannigan snaps back sarcastically again.

FLANNIGAN
Ok, so this is another stop between the bar and the murder scene.

Brad looks for some leeway.

BRAD
Are you kidding?

Flannigan becomes serious once again.

FLANNIGAN
No, Brad, no, I'm not kidding.  I need you to give me every detail...

Flannigan slams his open hand down on his briefcase, like a karate chop.

FLANNIGAN (CONT'D)
..every little, itty, bitty, fucking detail.  I don't care of you shit on the street corner somewhere, you tell me and I'll go out and verify it.

BRAD
Ok, fine.

Brad continues.

BRAD (CONT'D)
So I get my smokes and continue down the street.  That's when I came across this woman.  She just like sprinted out of the alley.  She bumped into me and we both fell down.  She was covered in blood already, looked like her man got it or something.

Brad leans forward, propping his elbow on the table and rubbing his temples.

BRAD (CONT'D)
God, there was just so much blood.  I've never seen anything like it.

FLANNIGAN
Go on.

BRAD
So, I walk back with her into the alley where we found a streak of blood on the wall, like the one you showed me in those pictures at my place.  It's a lot more gruesome in real life though.  No body though.  It was almost like they had thrown it over the wall.

Flannigan continues to document the statement.  Brad reaches for a glass of water to quench his thirst.

BRAD (CONT'D)
I didn't know what to do, so we just started looking through the trash piles in the alley, looking for anything that we could find.

Brad pauses for a moment and Flannigan stops writing, looking up at Brad.

BRAD (CONT'D)
That's when it happened.

FLANNIGAN
What?  What happened.

BRAD
They just came out of nowhere.  They grabbed her a first time, but she managed to get free.  Then we tried to make a run for it, but they caught up with us before we could get far.  Then, just as quickly as they appear, poof, they were gone, right into thin air.

Flannigan looks up at Brad once more.

FLANNIGAN
Just like that?  Just gone?

BRAD
Yeah.

Flannigan becomes more frustrated with Brad's answer.

FLANNIGAN
They don't even bother with you?  They just take her and they're done?  Their hunger is fed?  Fuck!  Who are they?  You didn't even see them?  Her blood was spilled two feet from you and you can't even tell me how she died?

Flannigan leans over the table in an aggressive posture.

FLANNIGAN (CONT'D)
Come on, Brad.  What are you holding back?

Brad springs up to meet Flannigan's aggressive move, coming face to face with him.

BRAD
I already told you, I DON'T KNOW!!!!

Flannigan, still fuming, calmly inquires to another detail.

FLANNIGAN
What about your eyes, Brad?  Looks like pepper spray.  Am I right?  You're lying to me.

Brad rubs his eyes and takes a defensive posture back in his seat.

BRAD
The convenience store; I got sprayed by some woman at the convenience store.

Flannigan becomes unhinged.  He grabs his briefcase by the handle and flings it forcefully at the wall.

FLANNIGAN
Fuck!!

Flannigan immediately resumes his aggressive stance over Brad, this time pointing his finger in Brad's face.

FLANNIGAN (CONT'D)
I told you Brad.  Don't fuck around.  Are you gonna be straight with me or what.

Brad simply nods his head before there is a knock at the door.  Flannigan and Brad turn their attention towards the door.  Leo pops his head in.

FLANNIGAN (CONT'D)
What?

LEO
Can I see you for a second?

Flannigan points at Brad once more, speaking softly, but with much hostility.

FLANNIGAN
Get you fuckin' story straight, got it?

Flannigan eyes Brad before standing up and making his way out of the room.  As the door closes behind him Leo briefs him on the latest while they stand in the hallway.

LEO
Listen, his story checks out, at least part of it.  We managed to find get the tape from the store just around the corner from where this happened.  It shows the whole thing.  Looks like he was screaming at some lady and her kid, but he didn't kill anybody.

FLANNIGAN
Fuck!

LEO
Yeah.

Leo pauses for a moment to break some more news.

LEO (CONT'D)
We just got off the phone with the DA also.  It doesn't look like we're going to be getting much help on this one.  Their not budging unless we get them a body.

FLANNIGAN
Perfect.  That's just perfect.

Flannigan moves back into the room adjacent to the interrogation room, talking as they walk.

FLANNIGAN (CONT'D)
We pull this guy in covered in blood and they want a fuckin' body?  Jesus, there probably ain't anything left of them.

Flannigan inquires as to the progress with this.

FLANNIGAN (CONT'D)
What about the bodies?  Have you found anything yet?

LEO
Nothing.  Like he said, it's like they disappeared.

FLANNIGAN
No.  They didn't disappear.  They're out there.  We've just gotta find them.

Flannigan proposes another plan.

FLANNIGAN (CONT'D)
Listen, I want to buy us some time on this.  You think we can put him in the drunk-tank for the night?

LEO
I don't see why not.  He admits to drinking and even said he thinks he's drunk.  We don't need another drunk wandering the streets.

FLANNIGAN
Ok, let's do it.  I want every available man out on the street looking for these bodies.  I want them before morning.

LEO
You got it.

Flannigan walks back into the room while Leo runs off to rally the troops.  Flannigan enters the room and closes the door behind him.

FLANNIGAN
Well Brad.  I think we're done here.

BRAD
I agree.

FLANNIGAN
I'm gonna have to throw you in the drunk tank over night, but you're free to leave in the morning.

BRAD
Lead the way.

Flannigan opens the door and escorts Brad through.

CUT TO A JAIL CELL SLAMMING IN BRAD'S FACE

INT. JAIL CELL -- NIGHT

The single jail cell sits on the end of a line of holding cells.  Brad is the lone person in the cell.  Despite Flannigan's plan to put him in the drunk-tank Flannigan, instead, opted to throw him in his own cell.

FLANNIGAN
Have a good night, Brad.  Catch ya in the morning.

Flannigan turns and leaves.  The buzzer sounds as he approaches the exit and he opens the door and exits.  

Brad props his head against the bars momentarily.  The screams of the woman play heavily on his mind, playing over and over in his head like a broken record.  He slowly turns in his cell and makes his way to the window at the back of his cell which peers out over the city.

MONTAGE

Brad looks out the window and watches the sun set.  Montage shows others around the city that Brad is lookout out at being ravaged by the shadows.

The sun sets and then rises once again.  Brad is left in the cell past the morning and into the evening.

The cell finally opens ending the montage.

FLANNIGAN (CONT'D)
Sorry, Brad.  Just paperwork you know?

Brad squeezes by Flannigan on his way out.

BRAD
Didn't find what you were looking for, I guess?

Brad turns his back to the detective and makes his way towards the exit.  He reaches out and grabs at the handle on the door, but it doesn't open.  Flannigan yells to the operator.

FLANNIGAN
Open it!

The door buzzes and then Brad attempts it once more, gaining access to the outside once again.

INT. BRAD'S HOUSE -- AFTERNOON

Brad enters his house.  The sun begins to set outside the house and the darkness begins to fall, once again, on the city.

Frenzied, Brad whips the door closed, looking for his daughter.

BRAD
Nicole!

He turns to the right where he sees Nicole asleep on the couch.  A lamp to the side of the couch, above her head, illuminates her body.  A blanket covers her entire body.

BRAD (CONT'D)
Where's Lucy?  Where is she?

Nicole uncovers the baby's head more, which was nestled in beside Nicole's chest.

NICOLE
Lucas, Dad.  Lucas.  It's a boy, not a girl.

 Brad jumps around like he is hyped up on caffeine.

BRAD
Yeah.  God my head just isn't there.

Brad motions to her.

BRAD (CONT'D)
Just get up.  Come on.

Brad darts out of the living room doorway and right up the stairs.  Groggy, Nicole pulls herself and the baby off the couch and walks towards the stairs.  She yells up the stairs at her father.

NICOLE
What's going on?

INT. BRAD'S ROOM -- CONTINUOUS

BRAD
I'll explain on the way. 

Brad rifles through the papers on his nightstand while he talks to himself.

BRAD (CONT'D)
Where is it?

He speeds back over to his desk and rifles through the mess of papers that he already made on the desk his first time around.

BRAD (CONT'D)
Shit.  What'd I do with it?

Brad starts opening the drawers on his dresser, flipping through the papers, but with no success.

NICOLE
On the way where?

BRAD
Just get Lucas ready!

Brad finally looks over at his dresser and sees the bound paper sitting neatly on top.  Brad speaks to himself.

BRAD (CONT'D)
Got it.

Brad rushes over and snatches up the paper, glancing at the title page just long enough to read the title, "The Shadow Theory

Brad folds up the paper in his hand and darts out the door.

INT. BRAD'S CAR -- EVENING

Brad drives the car as Nicole sits in the passenger seat, Lucas in the back of the car.  Nicole seems frustrated as they drive along, and speaks up, demanding an answer.

NICOLE
Dad, would you just tell me where we're going?  You're scaring me.

Brad reaches down beside his seat and grabs the paper.

BRAD
Read this.

Nicole flips through the report.

NICOLE
I don't understand.  What's your point?

Brad stabs his finger down on the page.

BRAD
Don't freak out.  I know this is going to make me sound like an absolute lunatic....but this is what happened to Colton.  I don't know how, or why, or what's going on here, but there's only one person who might have the answers to the questions that I have...Jarrod Stam.

Nicole pauses for a moment.

NICOLE
Dad, I...I...I don't...know what to say.  Why would you even think that this has anything to do with Colton?

BRAD
It was last night.  I didn't tell the cops, but I was in the back alley of this convenience store and I saw Colton, right there in front of me, only it was just his shadow.  He led me right to that woman, almost like he wanted me to save her, but I just couldn't.

NICOLE
You realize what you're saying, right?  Colton is a shadow?

BRAD
I know, I already told you it was totally out there.  I just need answers.

Nicole gives in to help her father find the answers he's looking for.

NICOLE
Fine, I still think you're crazy though.

BRAD
And I don't?

Brad continues driving a little further.

NICOLE
So where are you going?

BRAD
I'm going to the college.  I figured that I'd try a couple of the dorms.

Nicole pauses and looks down in shame.  She speaks slowly to her father. 

NICOLE
Jarrod doesn't live at one of the dorms, Dad.

BRAD
What?  What do you mean?

NICOLE
Jarrod doesn't live on campus.  He lives downtown.

Brad turns to Nicole, slightly puzzled.

BRAD
How the hell do you know that?

Nicole hesitates in responding.

NICOLE
Dad.

Nicole pauses again and then composes herself, looking at her father to explain.

NICOLE (CONT'D)
Dad, I didn't leave Tony.  Tony left me.  I cheated on him.

Brad steps in.

BRAD
With Jarrod.

NICOLE
Yes.

BRAD
And Lucas?

Nicole just nods her head "Yes."

BRAD (CONT'D)
Wow... I don't know what to say Nicole.  I guess we'll see what Jarrod has to say.

INT. HALLWAY OF JARROD'S APARTMENT BUILDING -- EVENING

The hallway is dimly lit, by reasonable standards.  The hallway is lit only by metallic lamp shades, hung by a chain from the ceiling.  One light hangs outside of each door down the hallway.

The hallway itself is in rough shape.  While there is no vandalism, the hallway looks poorly kept.

Nicole stands off to the side of the door.  Brad knocks on the door.  He hears a voice from inside.

JARROD
Just a minute.

A moment passes before they hear a number of locks being worked from the inside of the apartment.  Finally the knob turns and the door cracks open.  The door remains chained as Jarrod sticks his head out to check who is there.

JARROD (CONT'D)
Mr. Winters?

Jarrod closes the door and unlatches the chain.  He then re-opens the door.

JARROD (CONT'D)
What are you doing here?

Brad hold up the paper without saying a word and makes his way through the door.

JARROD (CONT'D)
Ahhhhh, I don't know...

Nicole turns the corner as Jarrod remains standing at the door.  He is surprised to see her.

JARROD (CONT'D)
Nicole?  Umm, come in

Jarrod allows each of them to enter the apartment and closes the door.

Brad and Nicole walk into the living room.

JARROD (CONT'D)
Just have a seat.  I'm just going to grab a drink.  Did you two want anything?

Brad sits down at the couch.

BRAD
No, I'm fine.

Nicole, not seated yet, responds.

NICOLE
Yeah, I'll have something.

JARROD
Ok. I'm not sure what we've got, but...

NICOLE
That's ok I'll see what you have.

JARROD
Ok.

Jarrod escorts Nicole into the kitchen, which is blocked off from the rest of the apartment, sandwiched between the living room and back bedrooms.  Nicole carries Lucas with her.

Once they are in the kitchen Jarrod turns around and confronts Nicole.

JARROD (CONT'D)
Why didn't you call me?

Nicole simply hangs her head during a moment of silence.

JARROD (CONT'D)
Is he? 

NICOLE
Yes, he's yours.

Jarrod seems slightly skeptical, while scared and happy all at once. 

JARROD
Are you sure?

Jarrod looks over his song, touching his face and moving in for a closer look.  Nicole becomes defensive over the question.

NICOLE
I'm not a slut, Jarrod.

Jarrod straightens up to continue the conversation.

JARROD
Easy, I never said that.  I didn't mean to imply that.

Jarrod opens the fridge and they peer in, Nicole looking over his shoulder.

JARROD (CONT'D)
Does your dad know?

Jarrod grabs a beer for himself and moves to let Nicole look.

NICOLE
He does now, yes.  I just told him on the way over.

Nicole grabs a cola before closing the door. 

JARROD
And?

NICOLE
And, I don't think he knows what to think at this point.

JARROD
I just don't know why you wouldn't call.

Nicole becomes defensive once again.

NICOLE
Yeah, "Hey Jarrod.  I'm pregnant and it's yours, call me back".  I am sure that would've gone over great!

Jarrod strikes back at the attack on his character.

JARROD
You might be surprised.  The point is that you didn't even try, that's not fair.

NICOLE
I'm sorry.  You're right, I should have called.

Jarrod grabs his drink and makes his way towards the living room.

JARROD
Let's go.

The two make their way back into the living room.  Against the back, far, wall is a couch and to the left of that is a chair, both facing the television positioned on the wall opposite the kitchen.  Completing the furniture in the room, a long rectangular coffee table sits in the middle of the room, centered in the seating area.

Jarrod leads the way into the room, immediately apologizing to Brad who is seated on the single chair, still with the paper in his hand.

JARROD (CONT'D)
Mr. Winters, I'm very sorry.  I didn't know she was pregnant.

Brad nods his head.

BRAD
I know.  I know.  Just, please sit down.  That's only part of it at this point.

Jarrod and Nicole sit on the couch, Jarrod sits closest to Brad.

Brad unrolls the paper in his hand and drops it on the table.

BRAD (CONT'D)
What's this?

Jarrod leans forward and turns the paper towards him.  He seems nervous in his response.

JARROD
My proposal, sir?

Brad raises his voice slightly.

BRAD
No.  Where did you get the information for this?

Jarrod immediately confesses to Brad.

JARROD
Look I might have handed in something similar before, in another class, but it wasn't complete.  I'm gonna do more work on it.

Brad digs further.

BRAD
Let me explain.  My grandson is gone and everything that you say in this..

Brad grabs the paper off the table and raises it, displaying it to Jarrod and raising his voice once again.

BRAD (CONT'D)
I've seen.  He talked to me, but he wasn't there.  I saw a woman killed for God's sake!

Brad calms down.

BRAD (CONT'D)
Now just tell me where you got this information from.

Jarrod immediately becomes frenzied, getting up from the couch and pacing the floor.

JARROD
Oh fuck!  Oh my god.  I can't believe this is happening.

He points to Nicole momentarily and then continues.

JARROD (CONT'D)
You never told me you had another son.  Oh, God help us.

Brad grabs Jarrod by the shoulders and shakes him trying to calm him down.

BRAD
Calm down!  Stop!

Brad sits Jarrod on the couch and stands over him.

BRAD (CONT'D)
What the hell are you talking about?  Tell me now.

Jarrod just shakes his head negatively, covering his face with his hands.

JARROD
It's just a story.  It can't be real, it's impossible.

BRAD
Jarrod, what are you talking about?

JARROD
This... This family story.  It's been passed down from generation to generation.

Jarrod laughs in his disbelief.

JARROD (CONT'D)
I always figured it was just a story.  You know, to keep you on the straight and narrow, abstain from sex until you're married "Or Else!"  How could it be real?

Jarrod sits down, almost in tears.  Brad places his hand on Jarrod's shoulder and coaxes the story from him.

BRAD
What story Jarrod?  Just take it slow.

Jarrod starts his story.

EXT. A MEDIEVAL VILLAGE -- NIGHT

Shadows speed around the dark village, avoiding only the lanterns hanging outside of the homes. 

V.O. JARROD
I was never told when this supposedly happened, but it begins in a time when the shadows lived among the humans.  Just as you and I rule the day, they ruled the night.  The humans, however, were below them.  Not servants, but not equals.  But that is only the beginning of the story.

EXT. A MEDIEVAL VILLAGE -- DAY

A man smiles as he walks down a dirt path.  A sword sheathed over one shoulder and a sac over the other; he smiles as he passes merchants on his way.

V.O. JARROD (CONT'D)
This story isn't only about the shadows.  It's about a man; a strong hunter, but compassionate, well liked by everybody.  This was my blood.

The man continues down the path.

V.O. JARROD (CONT'D)
On a fateful day, on his way back to his village he heard the scream of a woman.  He immediately drew his sword and sped into the brush.

The man runs through the bushes hacking his sword through the brush as he goes.

V.O. JARROD (CONT'D)
Not far from the path he came upon a clearing.  A woman ran to him, screaming and crying.  Her clothes tattered and her face bruised.  He took the woman into his arms and never let go.

INT. MEDIEVAL HOUSE -- EVENING

The woman pushes hard, in the unforgiving pain of labor as her husband looks on. 

V.O. JARROD
Nine months later the woman, now his wife, gave birth to her bastard child.

The baby finally arrives and the midwife hands the child to the father.

V.O. JARROD (CONT'D)
He treated the boy as his own son.  Did the rest of the village approve?  Did it matter?

Once again the woman is in birth, this time the man carries a young boy in his arms. 

V.O. JARROD (CONT'D)
Just a few shorts years passed and she gave birth once again, this time to a baby of his blood.

EXT. A MEDIEVAL VILLAGE -- AFTERNOON

The man slowly approaches his house and walks up the steps and into the home.  He drops his things at the door only to see his wife weeping with the children in her arms.

V.O. JARROD
Then, the unthinkable happened.  Upon arriving home from his travels he found his wife crying.  Rushing to her, she exposed their backs.  Branded by the shadows, they had been marked for sacrifice to the Shadow Lord.

The man looks at the burn-like brands on his children and can only cry with his wife as he caresses them all in his arms.

INT. MAGE'S HOME -- NIGHT

The man steps into the mage's home.  The wise user of magic sits, smoking his herbal pipe, while some herbs smolder in a clay pot to the side of the room.

V.O. JARROD
There was an old mage living in the town.  The man approached him for help.  He was initially turned away.

The man throws down a considerable pouch of gold on the table and it spills open.

V.O. JARROD (CONT'D)
But with some convincing the old man agreed to help.

The mage stands over a vat, the smoke streaming up and around two large, perfect diamonds.  The man and his wife stand at either end, each holding a child.  The mage raises a curved dagger to the heavens and preaches before cutting the hand of each of the boys.  They both scream in pain as the man and his wife hold them steady.  The mage then positions each of the hands over one of the diamonds.  The blood drips off of their hands and hits the diamond.  The diamond of the eldest turns pitch black, the other gains a bright gleam within it.

V.O. JARROD (CONT'D)
The mage devised a very bright plan.  First, he called on the man to find two perfect diamonds, which he purchased from a local merchant.  Next the mage used a charmed dagger, cutting the hand of each child and spilling their blood onto the diamonds.  The first, doused with the blood of their eldest, turned black as night, the second a pure white glow.

The man, having made necklaces of the diamonds, places them around the necks of his sons.

V.O. JARROD (CONT'D)
The man then set the diamonds into necklaces and placed them around their necks, before escorting his sons to the ceremonial alter.

The man and his wife walk to a dark alter surrounded by shadows, the Shadow Lord stands over his alter as the two approach.

V.O. JARROD (CONT'D)
The man and his wife placed their sons on the alter and stepped down.  The woman cried, expecting the worst, but the man stood strong, holding her in his arms.

The Shadow Lord begins to chant and spreads the shirt of the eldest.

V.O. JARROD (CONT'D)
He watched on as the shadow lord reach down to his eldest son.  He spread his shirt to expose his chest.  Upon doing so the black diamond cracked and spewed light from it before bursting.  When it was done the shadows were no longer.  Cast into their own world, they would no longer be welcome in the world of mortals.  And the purity of the white diamond would protect them for eternity.

INT. JARROD'S LIVING ROOM -- NIGHT

Jarrod's story concludes as Brad and Nicole hang on his every word.

JARROD
The remaining diamond was said to be lost long ago.  However, on a recent expedition there was a remarkably similar diamond recovered.  A large, brilliant diamond set in a necklace.

Brad jumps into the conversation.

BRAD
You're talking about the Estoban Diamond.  That's here though, at the museum, right now.

Jarrod nods his head.

JARROD
And it's our only hope.  If the shadows get him..

Jarrod points at Lucas.

JARROD (CONT'D)
Their sacrifice will be complete and the spell will be broken.

BRAD
But how can we even get to it?

JARROD
I have an idea.  It's a long shot, but it's something.

EXT. MUSEUM -- NIGHT

The group congregates at the side of the museum, finishing the final touches on their plan.  Jarrod ruffles Brad's clothes slightly.

JARROD
Sorry about this.

Brad braces himself.

BRAD
Just do it.

Jarrod bends down and then flails his elbow up towards Brad's head, making contact and sending Brad to his knees.  Brad's tooth cuts through his lip and the remains on all fours for a moment, spitting out a mouth full of blood.  Jarrod reach down and pulls him up.

JARROD
Are you ok?

Brad's lip begins to swell.  He spits out a mouth full of blood once again.

BRAD
Yeah.  Just fuckin' great.  Just hit me again.

Jarrod winds up once more and punches Brad on the other side of his face.  Brad lurches back but stays on his feet this time.  Brad moans in pain.  He rubs his eye, red, but not bloodied.

BRAD (CONT'D)
Come on you pussy!

Jarrod winds up once more and hits Brad in the same spot.  Brad falls to his knees, again, this time and laughs slightly.

BRAD (CONT'D)
That's better.

Brad climbs back to his feet.  To accompany his mouth, his eye is also now bleeding.  Jarrod looks at him.

BRAD (CONT'D)
Ok. I'm ready now.

JARROD
Let's do it.

Brad walks up the steps at the side of the museum, quickening his pace as he makes his way into view through the glass windows of the museum.  Jarrod and Nicole wait back for a moment.

Brad runs up to the front doors of the museum.  He can see the security officer sitting at the front desk and hammers on the glass doors.

BRAD
HELP!!!  HELP ME!!

Brad continues to hammer his fist against the door until he gets the guard’s attention.  Just as the guard gets up from his seat he sees Brad look to his right.

Jarrod runs up and punches Brad yet again.  Brad falls to the ground and Jarrod begins to kick him while he is down.

Brad screams out to the guard in agony and Jarrod continues to thump him.  The guard begins yelling and runs towards the door.

GUARD
HEY!  Stop that!

The guard unbuttons the gun on his holster and runs towards the doors.  Jarrod darts off just as the guard reaches the first set of doors.  Brad rolls around on the ground in pain as the guard slowly makes his way out through the doors, flashing his light through the doorway to make sure that the coast is clear.

Finally he opens the door and leans down to help Brad up.

GUARD (CONT'D)
Are you alright?

The guard extends his hand to Brad and pulls him up.

BRAD
Ow, ow, ow.  Oh, man, am I glad you were there.

The guard finally helps Brad to his feet.

BRAD (CONT'D)
Do you mind if I make a call?

Brad makes pressures before the guard even replies.

BRAD (CONT'D)
I mean you don't want me going back out there do you.

The guard immediately responds.

GUARD
No, no.  God, no.  Come on in and I'll help you out.

The guard turns his back to Brad.  Just as he turns Brad reaches down his belt and pulls out a lead pipe.  The guard sees Brad reaching down his pants and pulling the pipe and immediate turns.

GUARD (CONT'D)
HEY!

The guard sees the action too late as he turns in Brad's mid backswing only to see the pipe coming towards his head.  The pipe connects and the guard drops to the ground, unconscious.

BRAD
Too late.

Brad yells out the door to the others.

BRAD (CONT'D)
Let's go!

Brad kneels down beside the guard and takes his keycard and gun, from the unbuttoned holster.

Jarrod and Nicole run up to the door and sneak by Brad as he rummages through the guard's pockets.  Brad finally finishes and stands up, before pulling the guard inside and closing the door behind him.

INT. MUSEUM FOYER -- NIGHT

Brad drags the unconscious body into the main foyer.  Jarrod and Nicole look around the foyer.  Brad continues to drag the body closer to the other two.

BRAD
Can I get a hand here?

Jarrod and Nicole whip around.

JARROD
Oh, sorry.

Jarrod runs over to help Brad, grabbing one of the guard's legs and helping Brad pull the body further into the foyer.  Nicole runs over to a small, fake garden behind the reception desk and directs them to it.

NICOLE
Here, bring him over here.

The two men slide the body easily along the smooth stone flooring.  They arrive at the garden and both bend down to hoist the body into the garden.  Now sitting on the edge of the garden they try to further disguise the body.

BRAD
Just move him over here.

Brad clears a space in the garden, adjacent to the wall supporting a curved stairwell, leading to the second level of the museum.

They tuck the guard up against the wall and pack him in, covering him with some fake foliage.

JARROD
There, how's that?

Nicole approves.

NICOLE
Looks good.

BRAD
Yeah.

Brad looks around before questioning Jarrod.

BRAD (CONT'D)
So where do we go now?

Jarrod looks around for a sign of some sort.

JARROD
That... I don't know.

BRAD
Perfect!

Jarrod frantically looks around.

JARROD
Ummmm,

Jarrod steps up to the security desk, looking over each of the screens.

JARROD (CONT'D)
Maybe.. No.

Jarrod then jogs over, looking at some signs.

JARROD (CONT'D)
Nothing, I've got nothin'

Nicole throws up her free arm.

NICOLE
Just great!

Nicole's loud response prompts footsteps from the level above.  The footsteps ring out through the empty museum, the soles echoing loudly off of the stone floors.

GUARD #2
Hey, Mitch, you got a girl down there?

A flash light starts to the right of the room and slowly pans towards the left.  Brad and Nicole back up, into the garden, but Jarrod is left out in the open.

NICOLE
Jarro....

Nicole's whisper to Jarrod is muffled as Brad covers her mouth.

BRAD
Shhhhhhh.....

Jarrod sees the light and immediately scurries towards the security desk.  He slides in behind the desk and curls up, trying to hide himself.

The light pans the room and Jarrod remains unnoticed.

GUARD #2
Hey Mitch!  Hellloooo?

The guard makes his way towards the stairwell.  

GUARD #2 (CONT'D)
Get back to work.  Come on.

As he makes his way down the stairs, Brad hears an all too familiar sound.  The shadows were coming.  The noise starts out as a hum, just startling the guard.

GUARD #2 (CONT'D)
Quit fuckin' around, Mitch.

The sound escalates as the guard makes his way further down the stairs.  The flashlight still pans the room.  In scanning the room, the guard sees a shadow in the silhouette of his flashlight.  

GUARD #2 (CONT'D)
Ha, got ya!

He immediately relaxes, dropping the flashlight as he finds his way to the last couple of steps on the stairwell.

GUARD #2 (CONT'D)
Ok, time to get back to work.

The guard turns his back and begins heading back up the stairs.  He speaks under his breath.

GUARD #2 (CONT'D)
Asshole.

He takes a couple more steps before the shadows' squeal reaches its maximum pitch.  The shadows snatch the guard and violently slaughter him.

Brad holds Nicole close as the murder happens just above them.  Nicole squints her eyes, trying to somehow block out the terror.

The shadows finally stop and the noise subsides.  Brad removes his arm from around Nicole's head.

NICOLE
Is it gone?

Brad nods.

BRAD
I think so.

Jarrod stands up from his position, behind the security desk and makes his way over to them.

JARROD
I've got some good news and some bad news.  The good news is I know where the diamond is.  The bad news?

Jarrod points to a poster hung on the front door.  The clear film detailing the exhibit can be read backwards through the glass.  Estoban Diamond - Level 2

JARROD (CONT'D)
It's up there.

Jarrod motions to the stairwell that the guard was just killed on.

Brad and Nicole look up the stairs.

BRAD
Well we came here to do this, so let's go.

The three make their way towards the stairs.  The guard’s flashlight sits on one of the steps.  Jarrod is the first to reach it and picks it up.

Upon turning the flashlight on shadows fill the silhouette once again.  Brad snatches the flashlight and turns it off.

BRAD (CONT'D)
No.

Brad becomes slightly sarcastic with Jarrod.

BRAD (CONT'D)
Did you want to send them a signal flare?

JARROD
Geez, sorry.

Brad takes the lead.

BRAD
Come on.

Nicole tails her father closely and Jarrod walks beside her as they make their way up the stairs.

They reach the top of the stairs and continue down a long hallway.  They walk slowly and cautiously as they can see the shadows moving along the small lights in the display cases.

As they reach the end of the hallway the squeal of the shadows starts once again.  The three stop in the hallway momentarily as Brad raises his palm, halting them, while leaning forward and trying to still hear up ahead himself.

Seemingly clear they proceed ahead, down the hallway, slowly.  Brad walks along the extreme right of the hallway with Jarrod behind him, followed by Nicole at his side, holding her baby tight.

Nearing the end of the hallway it opens up into a fork, circling around and joining again on the other side.  The middle of the circle seems like an abyss, dropping down a couple of floors.

The noise escalates as they move closer to the curved detour.  As the approach the end of the hallway Brad peers down into the hole.  It seems like an endless pit at first, until he sees some light fluttering below.  It isn't long before he realizes that it isn't light fluttering, but shadows moving around below, covering the bottom level of the museum floor.

Brad jerks his head back and sticks close to the wall.  He raises his index finger to his mouth, urging the others to be quiet.

The three cram themselves as far up against the wall as they can and gingerly shuffle themselves towards the hallway on the other side.

Their breath is the only sound as they pass the halfway point of their tense journey.  Continuing to shuffle along the wall the baby sucks intently on a soother.  Just after they pass the halfway mark the soother drops from the baby's mouth and falls to the floor.  Nicole gasps as the soother drops to the floor but quickly stops herself, covering her mouth with her hand.  The three stop in their tracks, as does the noise below.  The shadows move more quickly now below, scanning for any life.

Brad motions to keep moving, so they continue on, now moving faster than before.  About three quarters of the way around the bend the baby lets out a small grunt.  The three stop again until the baby begins to scream.  Surely exposed Brad pushes Nicole ahead of him.

BRAD (CONT'D)
GO!  RUN!

Nicole runs, carrying her baby in her arms.  Brad and Jarrod tail her towards the other end of the hallway, the baby still continuing to cry.

As Nicole approaches the opening to the next hallway a group of shadows spews from below and spill over the side railings of the walkway.  They move quickly along the walls, unseen, as Nicole, Brad and Jarrod run towards the hallway opening.  

As Nicole makes her way into the new hallway she is intercepted by a swarm of shadows.  She covers her baby and screams to her father and lover, just behind her.

NICOLE
HELP!!!

The shadows pull her away quickly, but with her wits still about her she lays Lucas on the floor in front of the approaching men.

BRAD
NO!

JARROD
NICOLE! 

The shadows kill her, just as they had the others, her blood staining the walls of the museum.

With Nicole gone Jarrod immediately darts towards his son.  Reaching down he extends his arms to scoop the child.  With his hands almost touching his child, Jarrod's will is broken as another, more agile, shadow surrounds his son and whisks him away.

Brad yells to Jarrod.

BRAD
Get to the light!

Brad quickly moves towards a panel of lighting, under the display units on the opposite side of Jarrod, safely in the new hallway.  They both sit on the floor, dejected.

JARROD
I've gotta go after him.

Brad just shakes his head.

BRAD
Are you crazy?  You won't make it two steps.

Brad looks over at Jarrod and then up along the wall.  There is a metal panel with a little hump on it.  A light switch of sorts, except covered.

BRAD (CONT'D)
Unless....

Jarrod looks at Brad.

JARROD
Unless what?

Brad points above Jarrod.

BRAD
There.  Above your head, I think it's a light switch.

Brad stands up from the floor and searches through his pockets.

BRAD (CONT'D)
Yes.

Brad pulls out a small ring of keys from his pocket.

BRAD (CONT'D)
Here!

Brad tosses them over to Jarrod, who catches them.  Jarrod then flips through the keys until he finds one that fits the light.

JARROD
Brilliant!

Jarrod sticks the key in and pushes up.  The hallway lights up and their path is now clear.

BRAD
You've got your chance, now let's go.

Brad and Jarrod run down the hallway in a near sprint.

Finally, after rounding a final corner they come to a room filled with artifacts.  In the middle, roped off and heavily shielded, is the Estoban Diamond.  At first they run up to the case, clearing away the rope barrier.  Jarrod places his hand on the glass.

JARROD
There it is.  Wow, it's gorgeous.

Brad's mind is in a different place, looking instead for a way to get the diamond out.

BRAD
Yeah, great.

Brad smashes a display case with some heavy clay pots in them.  An alarm immediately sounds.  Brad scoops a couple of pieces from the arrangement and tosses a clay goblet to Jarrod.

BRAD (CONT'D)
Here.  Let's crack this sucker open.

Brad tosses a goblet of his own at the case from close range.  The goblet glances off of it, but manages to slightly crack the case.

Jarrod then goes to work, smashing at the top of the case with all his might.  Brad, once again, fires an artifact towards the glass case.  This time it shatters and the glass case falls down around the diamond.

Jarrod, in mid swing, holds up.  The diamond shines brilliantly off Jarrod's face.  Jarrod drops the goblet and picks up the stone, hanging it around his neck.

With the necklace around his neck, Jarrod grabs the large diamond in his hand and admires it.

A masculine scream startles the two.  Another victim it would seem.  However, this time the shadows took a life and their light.  The lights immediately flicker as though there was a power surge and then they are in complete darkness.

The emergency lighting flicks on around the room.  With shadows surrounding them Brad and Jarrod look at each other.

BRAD (CONT'D)
I guess it's time to test that theory, Jarrod.  Go get my grandson back.

The shadows attack, grabbing both of the men and throwing them in opposite directions.  Jarrod is sent flying back towards the far wall where he disappears, just like his own son, leaving no trace of blood.

Brad is thrown back towards the nearest wall, just after Jarrod.  Brad, however, does not find his way to the shadow realm.  Instead he only bounces off the wall, taking only a hefty blow to the head.

Brad falls to the ground below, colliding with a display case on his way down and shattering the glass within it.  He rolls off the remains of the case and quickly looks around the room.  From the far end of the room he witnesses a sharp, bright, pulse of light.  The shadows immediately scatter. 

With no sign of Jarrod he calls out.

BRAD (CONT'D)
Jarrod!?

Brad's eyes, still fuzzy from the light, as though he had just looked straight into the sun, adjust to the darkness, filling out the figure of Jarrod pictured in the silhouette of one of the emergency lights.

INT. MUSEUM - SHADOW REALM -- NIGHT

Jarrod stands, looking back at Brad as though he was right in front of him.  The only difference is that the surroundings are completely black.  Only outlines of the displays, walls, etc., are seen.

JARROD
I'm here, Mr. Winters.

INT. MUSEUM - MORTAL REALM -- NIGHT

BRAD
Jarrod?

Brad watches as Jarrod spins around, looking at his surroundings.

JARROD
It's amazing!  It's not some place that I'd want to live, but it's a completely different perception.

Brad looks on as Jarrod basks in his new surroundings.

A cry is heard, just a wimper, but definitely a baby.  Brad and Jarrod both whip around.

INT. MUSEUM - SHADOW REALM -- CONTINUOUS

Jarrod spins to see the baby on the other side of the hallway, in a different display room.

JARROD
I see him!

Jarrod runs towards the baby.  Not accustomed to his new environment Jarrod trips on something in his way.

Jarrod gets up and gathers himself.  He feels his neck, finding no diamond.  The noise of the shadows begins once again.  Brad yells in to Jarrod.

BRAD
I can hear them.  They're coming.

Jarrod searches the floor for the diamond as the shadows come closer.

JARROD
I lost the diamond!

Brad can see the outline of the diamond far out of his reach.

BRAD
There's no time.  Grab Lucas!

Jarrod gets up and runs towards the other room once more.  Lucas sits on the floor of the room.  Jarrod scoops him up and tries to make a run for it.

JARROD
I've got him!  Go for the front doors!!!

Jarrod takes off.

INT. MUSEUM - MORTAL REALM -- CONTINUOUS

Brad turns and begins running down the hallway.  As he passes the emergency lights he glares over, seeing both his shadow and that of Jarrod's with his grandson.  Behind them the shadows gain more ground.  Brad looks back.

BRAD
Hurry!  They're gaining on us.

Jarrod barks back.

JARROD
Just run!!

They reach the opening of the circular walkway that they had scurried around previously only to be greeted by a wall of shadows.  Brad ducks under them as they spew from the center of the walkway and continues running.

BRAD
Jarrod!?

Jarrod's voice speaks clearly right in Brad's right ear.

JARROD
I'm right here.

Brad enters the first hallway and speeds towards the stairs.  Reaching the stairs some shadows climb the stairwell to meet them.

BRAD
Shit!

Brad drops his head and runs towards them, but Jarrod's shadow hops the stairwell and lands in the garden below.

Red flashing lights strobe throughout the hallways of the front foyer.  Brad sees the shadows blocking the front doors.

BRAD (CONT'D)
They're blocking the doors.

Brad darts for the front window instead.

JARROD
I'm going out the front window.

Jarrod runs for the window himself.

The two sprint towards the window simultaneously.

Brad inches ahead of Jarrod's shadow, reaching the window first, ducking his shoulder to brace for the impact, and lunges his body, full force, into the glass.  The glass shatters and Brad falls to the ground outside.  His momentum carries him to the edge of the front steps of the museum and he tumbles down the stairs, glass piercing his body along the way to the bottom.

Brad finally stops and crawls to his knees.

BRAD
Jarrod?

Brad looks over his shoulder, seeing only the shadow of Jarrod, holding his grandson.

JARROD
That's the thing about theories.

Jarrod no more than utters the words before he is wretched back towards the shadows, letting out a final scream.

The red lights strobe the scene as Brad makes his way to his feet, looking up at where Jarrod had just been.  A voice rings out from behind him.

OFFICER #5
Get your hands up!

Brad mumbles to himself.

BRAD
What?

Brad raises his hands and turns around, revealing a large shard of glass protruding from his stomach.  Brad tries to communicate with the officers, standing behind their cruisers parked outside of the museum.

BRAD (CONT'D)
No.  No!  Didn't you just see.. The shadows, the shadows took him.

The officer yells at him.

OFFICER #5
Just calm down.

Brad walks towards the officers.  He lowers one of his hands and feels his stomach, then looks down.

BRAD
Oh, god.

Brad continues towards the officers.

OFFICER #5
Just stay there!

BRAD
I'm hurt.

Brad begins to hear the slight whisper of an EKG in his head followed by a hurried staff of doctors.

NURSE
Damn it.  We're losing him.

In the background a homeless man rises from his seat against one of the pillars of the museum and begins to make his way towards Brad.  At the same time Flannigan steps forward and begins to make his way towards Brad, shouting at the man.

FLANNIGAN
Hey, you!  Get back!

The man approaches Brad.  Brad looks over his shoulder.

HOMELESS MAN
In some trouble are you?

Brad only turns slightly to the man.

BRAD
Who the hell are you?

The man comes closer to stand beside Brad.

HOMELESS MAN
Your savior.

Flannigan reaches the two of them.

FLANNIGAN
Get out of here you crazy old man.

The homeless man whispers in Brad's ear.

HOMELESS MAN
You see how he hasn't touched me yet?  I'm just like you.

Brad is confused by the line.

BRAD
What?

Flannigan tries to shoo the man away.

FLANNIGAN
I told you to get the fuck out of here.  This is a crime scene.

The homeless man looks around.

HOMELESS MAN
Ahhhhhh, I see.

The homeless man looks down at Brad's belt and sees the pistol in his belt.  He reaches down for the belt and draws the weapon.  Brad grabs the man's arm.

BRAD
Hey, what the hell are you doing?

The man shakes off Brad's grip and holds the gun in his hand, looking at it.

HOMELESS MAN
You probably want this then.

Flannigan reaches out to the man.

FLANNIGAN
Yes.

The homeless man motions to give the gun to Flannigan and then cocks it and points it at his head.  Brad lunges forward.

BRAD
No!

Brad's attempt is too late and the man squeezes the trigger, discharging one round, striking Flannigan in the head and dropping him to the ground.

Brad drops to Flannigan's side.

BRAD (CONT'D)
Oh my god!  What did you just do?

The man speaks calmly as laser sights begin to light up the man's chest.

HOMELESS MAN
Just proving a point.  Look at me, lit up like a Christmas tree but nothing.  Nothing!

The man kneels down beside Brad and looks at the glass in his torso.

HOMELESS MAN (CONT'D)
Ouch.  You're no lookin' too good.  That sting a little?  Starting to hear voices in your head?  Oooo, you must be crazy.  No.  I'll tell you why.

The man leans forward and whispers into Brad's ear for a moment.

HOMELESS MAN (CONT'D)
So what do ya say?  Help me out?

Brad stands up slowly.

BRAD
Now I know you're crazy.

The homeless man grabs Brad by the pant leg and pulls him back down.  He pleads with Brad as he looks up at him from his knees.

HOMELESS MAN
What else do you have to live for?  Huh?

The homeless man offers the gun to Brad, the barrel pointing at himself.

HOMELESS MAN (CONT'D)
Here, just take it.

Brad hesitates before grabbing the gun, kneeling down beside the man and jamming the gun into his chest, squeezing off a couple of rounds.  The homeless man pulls Brad to the ground with him.

HOMELESS MAN (CONT'D)
Thank you.

The homeless man uses his remaining energy to take the gun from Brad.

HOMELESS MAN (CONT'D)
Now it's your turn.

The man turns the gun on Brad, holding it under his chin and squeezing the trigger just once.

FADE OUT - PAUSE

FADE IN:

INT. HOSPITAL ROOM -- MORNING

The light shines into Brad's eyes as he slowly opens them.  His eyes adjust to his surroundings and he finds himself lying in a hospital bed, hooked up to a number of machines.  Groggy, he turns his head.  To his right he sees the silhouette of his daughter.  She sits in a chair near the window feeding her new baby.

BRAD
Nicole?

Nicole looks up.

NICOLE
Dad?  Oh my god, dad, you're awake!

She gets up from her seat and moves over to her father, leaning over him and embracing him, still holding her new baby.

Brad hugs his daughter.

NICOLE (CONT'D)
We almost lost you.

Brad just smiles.

BRAD
Yeah, I heard.

Brad looks down at her new baby.

BRAD (CONT'D)
Lucas?

Nicole laughs as she stands up.

NICOLE
No.  The ultrasound was wrong.  This is Lucy.  It's a girl.

Brad smiles and talks back to her softly.

BRAD
It's my granddaughter.

Nicole offers the baby to Brad. 

NICOLE
Did you want to hold her?

BRAD
Oh yeah.

Nicole offers him some water from the table beside his bed.

NICOLE
Did you want some water?

Brad looks over at the table where he also sees some flowers.

NICOLE (CONT'D)
I got thirsty waiting for you.

BRAD
No, I'm fine thanks.  You got me some flowers?

Nicole shakes her head.

NICOLE
It wasn't me.  The nurse said some guy dropped them off this morning,   same with the newspaper.

BRAD
Can you...

Brad motions to Nicole to pass it to him.

NICOLE
Yeah.

Nicole passes Brad the card from the flowers and also a folded newspaper.

NICOLE (CONT'D)
Here.  I'm going to go get a nurse.

BRAD
Ok.

Nicole leaves the room and Brad opens the card, sliding out a picture, backwards first.  On the back of the picture is a message scrawled in cursive "Do not go gently into that good night...." On a line below that "Thanks."

Brad turns over the picture revealing a picture of the homeless man, quite a few years younger, with his family.  Brad then opens the newspaper to the folded section.  The headline over the main article reads, "Husband Awakes From 12 Year Coma."

Brad lays the paper down on his lap and looks at his granddaughter, lying on his chest.  He smiles and kisses her on the forehead.

FADE TO BLACK