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GODS OF THE WICKED
PILOT
Lowell Edward Owens III
Copyright © 2018 by Lowell E.
Owens III All rights reserved.
This script or any portion
thereof Copyright 2018 All
Rights Reserved and may not be
reproduced or used in any
manner whatsoever without the
express written permission of
the Author.
TEASER
FADE IN:
EXT. FOREST - SUNSET
Slowly drifting along a thick forest where The dead silence
lingers throughout the dense fog. In the distance, a dark
and dingy two-story cabin is revealed in the center of a
field of ashes and dead trees.
leaves and twigs, crunching and crumbling from multiple
unknown steady footsteps break the silence. With every
second that passes the footsteps grows louder, edging closer
and closer towards the cabin.
Moments later, Heavily armed swat team members with the
F.B.I logo on the back of their vest emerges on the scene.
The leading man MALCOLM BAYLOR,mid-30’s, sporting a F.B.I
vest that overshadows his all-black business attire. He
raises his hand in the air and clearly points towards the
side of him. The swat team shields themselves behind the
trees fully focused on the cabin.
The ashes that overwhelm the dirt on the ground nabs
Malcolm’s attention.
RANDY HILLMAN, the early 50’s, Lightly treads through the
swat members to reach Malcolm who is sifting through the
ashes on the ground with his bare hands.
RANDY
(To Malcolm)
Our window is closing.
Malcolm glances at the fading sun that is descending beyond
the mountains.
MALCOLM
(Talking into radio)
Bravo Team, report.
VOICE FROM RADIO
No movement. Ready when you are.
CUT TO:
2.
EXT. CABIN/WOODS - CONTINUOUS
Malcolm and Randy scurry on the sides of the cabin door.
They lean against the wall with their standard issued pistol
fully gripped between their hands.
A swat member with a battering ram steps up and stands
before the front door like a lumberjack getting ready to
chop a tree down.
Randy peaks through the window, but his vision is obscured
by the dirt and dust that covers the glass.
Malcolm makes eye contact with the swat member and nods his
head at him. The swat member aggressively swings the ram
towards the door. BAM! The weak door flies off the hinges
and crashes on the floor.
The Swat team dashes into the cabin with their guns held
high...
END OF TEASER
CUT TO BLACK:
Title over black: GODS OF THE WICKED
ACT ONE
FADE IN:
INT. MAXIMUM SECURITY PRISON, INTERROGATION ROOM - DAY
Super: Three days later
Inside a secluded interrogation room occupied by nothing but
a concrete wall and a low-quality florescent light that is
tightly bolted to the roof.
We focus on Malcolm crouching in a corner of the room. He
hangs his head down, concealing his emotions from being
seen. A folder with a stack of papers within its covers is
positioned in front of Malcolm’s feet.
On the other side of the room, Randy holds a cigarette
between his lips while digging into his front pockets. He
takes out a cheap disposable lighter and attempts to light
the cigarette. Click! Click!
Randy raises the lighter towards the light. He squints his
eyes at the butt of it and discovers it’s empty.
(CONTINUED)
CONTINUED: 3.
RANDY
Shit.
The doors open. Two correctional officers escort Howard,
late 50’s, into the room, dressed In a bright orange
jumpsuit and heavy shackles that is tightly gripping him
from his waist to his ankles.
They drag and push the reluctant Howard towards the center
of the room. One of the correctional officers removes the
shackles from Howard’s ankles and reattach it to a steel bar
that is bolted to the floor.
The correctional offices walks out of the interrogation
room. Seconds later Howard takes a good look at the
disappointment on Randy and Malcolm’s face and gives off an
"I told you so" look with smugness all over it.
HOWARD
Well, look at those beautiful
faces. You know, you boys really
need to stop coming around here.
Big daddy is beginning to get a
little hard on from all the
attention.
Howard chuckles.
RANDY
(To Howard)
Classic. A psychotic murderer
turned comedian. I’m sure the
transition has its perks.
HOWARD
(To Randy)
I’m sure it does. only Time will
tell, old man.
Malcolm stares Howard down with a fire in his eye. Howard
returns the favor, but with a peachy smile on his face.
HOWARD(CONT’D)
(to Malcolm)
You seem upset with me. Was I a bad
boy Agent Baylor? As you can see
I’m already in timeout. May I
suggest a good old spanking. I
guarantee that shit right there
will set me straight this time--I
promise.
Howard giggles and snickers in the face of Malcolm.
(CONTINUED)
CONTINUED: 4.
HOWARD(CONT’D)
(to Malcolm)
It’s a lot harder than expected,
isn’t it? You seemed to have it all
figured out the last time I saw
you... Some much fire. So much
volume when you talked. I’m not
getting that from you this time...
Its alright we all get a little
chippy popping that first cherry.
RANDY
(to Howard)
How’s the living arrangements in
that cell of yours? I’m sure It
can’t be that comfortable. Serving
a capital murder charge. I bet an
upgrade would come in handy, seeing
how your gonna be here for a while.
HOWARD
(to Randy)
What do you want from me? I’m sorry
to reign on your parade, but I was
nothing more than a grunt in his
eyes. My job was to do whatever I’m
told, no questions asked. Me being
in this room is going to get you
nowhere, so I would like to return
to my "comfortable" cell if you
don’t mind.
RANDY
(to Howard)
Why were all those cabins so
important to Bishop? What’s he
hiding that we obviously can’t
find?
HOWARD
(to Randy)
I may be past my prime when it
comes to the old think tank, but
I’m sure I gave you everything.
What I know, you know.
RANDY
At this point, it’s pretty damn
clear "the old think tank" Still
has gas in it.
Malcolm slaps the folder on Howard’s chest and holds it
there.
(CONTINUED)
CONTINUED: 5.
MALCOLM
He wanted us to find the cabin...
You’re only telling us what he
want’s you to tell us... Isn’t he?
HOWARD
... Oh, the secrets. How fun they
can be.
FLASHBACK TO:
INT. ABANDON CABIN, LIVING ROOM - SUNSET
Malcolm and Randy rush inside the living room assisted by
the swat team. The flashlight on their weapons provided
enough light for them to sweep the living.
Malcolm’s muddled feeling wears on his face while he scans
over the burnt down atmosphere like hellfire has barged its
way through the inside of the cabin.
The swat members sweep the house. moments later all Malcolm
hears is everyone shouting "clear".
Malcolm drags his shoe on the floor, scrapping up tons of
ashes.
Walking through the living room, Randy approaches the
basement door and opens it. He uses his flashlight to shed
light on the pitch blackness.
RANDY
Malcolm!
Randy cautiously proceeds down the basement accompanied by
Malcolm.
INT. BASEMENT - CONTINUOUS
Randy uses the light to identify every inch of the basement.
seconds later The light on his flashlight flickers when he
discovers a mattress covered in blood on the floor.
The light switch is flipped up by Malcolm. With the lights
now on, Malcolm and Randy make a shocking discovery that
leaves them staring in disbelief.
RANDY
Dear, lord.
BACK TO PRESENT:
Howard holds the folder open where a picture of a
decomposing girl covered in blood stands out.
(CONTINUED)
CONTINUED: 6.
MALCOLM
(to Howard)
Diana Goldman... Fifteen years old
and just so happens to be one of
the missing girls your people
kidnapped last year--
HOWARD
(to Malcolm)
I know who she is.
MALCOLM
... You knew she would be at the
cabin when you gave us the
location. If I’m wrong, tell me.
HOWARD
(With a smile on his face)
I forgot to mention it-- NO WAIT! I
didn’t want to spoil the surprise.
Takes the fun out it.
Howard breaks out with an annoying laugh.
MALCOLM
(to Howard)
Did you have something to do with
her death?
Howard glances at the pictures within the folder.
HOWARD
(Sarcasm)
No, um. I don’t think I did. My
memory is a bit cloudy at the
moment. How about you do yourself a
favor and Check back in a week or
two. I’m pretty sure the old noggin
will have something by then.
RANDY
(To Howard)
You’ll be doing yourself a huge
favor if you give us something
useful.
HOWARD
(To Randy)
I bet I would, OLD MAN! I’m sure
that FUCKING murder charge might
feel a little better, shoved down
my old shithole, Huh?!
(CONTINUED)
CONTINUED: 7.
RANDY
(to Howard)
I’m over the comedian shit.
MALCOLM
(to Howard)
I need to know What the hell
happened to Diana!? How did her
body end up like this!?
A silent Howard locks eye contact with Malcolm.
MALCOLM(CONT’D)
... Take a good look around you. I
know you see this as some kind of
game, but You bullshitting me
doesn’t change the fact that what
you see here is never gonna
change... The game is over and I’m
giving you the opportunity to write
your own ending... or I’ll gladly
end it for you.
HOWARD
... We were all looking for a
purpose. He gave us one. What more
can I say?
MALCOLM
I don’t give a shit what lies he
fed you-- These are kids. Innocent
girls! They don’t deserve this--
Diana didn’t deserve this! No man
can be that cold-blooded.
HOWARD
They’re broken! They’ve always been
that way. Bishop saved those girls
since your fucked up system
couldn’t. As far as I’m concerned.
They’re in a way better place by
his side then in a society that
couldn’t care less.
RANDY
(to Howard)
She’s dead! How is that any better?
HOWARD
(To Randy)
You’ll never understand, old-man.
You see, You were corrupted long
before you even learned how to take
a piss in the pot.
(CONTINUED)
CONTINUED: 8.
RANDY
Enough with your Bullshit-- Where
are the rest of the girls?
The light flickers for a split second. Howard raises his
head up. His eyes are locked on the light.
RANDY(CONT’D)
(to Howard)
What do you want? Tells us
something. We might be able to help
you for the right price.
HOWARD
It doesn’t matter what I want...
nothing you have for me, matters.
After so many years when will you
understand nothing you do is worth
it...
(TO MALCOLM)
You lost so much already... give it
up agent before more people you
care about ends up like that one
bitch you had on a leash-- what was
her name--
Malcolm knocks Howard to the ground. He aggressively GRABS
Howard by the head and forces him to stare at Diana’s
picture--
RANDY
Malcolm!
Malcolm SIGNALS for Randy to stand back.
MALCOLM
(to Howard with anger)
... He is no god. He is a human
being and The moment you realize
that! I swear to you, It will be
the moment you’ll understand. All
those people you killed in his
name... All for nothing!
Malcolm releases his grip. Howard becomes fixated on the
picture of Diana’s body that Malcolm dropped on the ground.
He stares with a blank face.
HOWARD
(To Malcolm)
Your wrong, agent. He is more than
a god. It’s funny how you’re so
(MORE)
(CONTINUED)
CONTINUED: 9.
HOWARD (cont’d)oblivious to what really happens in
the world you swore to protect. The
days are getting darker. Each
second that manages to slither by
only makes him stronger. He will
rain down on you miserable fucks
and to be honest I rather be in
here when the rise begins.
RANDY
Tread lightly, Howard.
Howard looks at Randy with a cocky smirk on his face.
HUE
(To Randy)
Fuck! You! Pig!
Howard SPITS on Diana’s picture that was dropped and laughs
hysterically.
Randy BANGS on the door. The correctional officers enter the
room and begin to release, Howard’s shackles from the bar on
the floor. As he’s being taken away--
HOWARD
(shouting)
Praise Lord Bishop! He is our
savior! he is the true god of gods!
I will serve no one before him!
Praise him(repeated over and over
again)!
Randy is left shocked and motionless.
RANDY
... All these people are sick. He
has them completely
brainwashed--Turning them into
mindless, murderous puppets. I’ve
been through many wars, kid... Why
is it this moment that scares the
shit out of me?
Malcolm examines Diana’s picture.
MALCOLM
... She lost her life for nothing.
Every step we take we only make it
worse. Its like were just sitting
around watching as the bodies just
pile up.
(CONTINUED)
CONTINUED: 10.
RANDY
We can’t doubt ourselves, now. If
everything you had on this guy was
right, then he needs another girl,
right? You probably know him more
than anyone else. Where do we
start?
Malcolm gives Randy a confident look.
END OF ACT ONE
ACT TWO
INT. HIGH SCHOOL, CLASSROOM - DAY
Super: New Orleans
The rays of the sun peek through the window and gleams all
over the face of HALEY STONEBRIDGE,17, Long blond hair,
bright colorful eyes that are slightly hidden by her
prescription glasses. Haley is currently planted Indian
style atop of the counter with a notebook in one hand and a
pen in the other.
She seems fascinated as she gazes out of the window to
observe a tree that is perfectly set under the bright sun.
ANNA PAXWELL,17, Haley’s free-spirited and quirky best
friend, FLINGS the door open and STORMS in, WAIVING her
phone in the air.
ANNA
(Angry)
After six months in a relationship.
WHO THE HELL BREAKS UP WITH SOMEONE
WITH A TEXT MESSAGE?!
HALEY
He sent a text?
ANNA
LOOK AT THIS SHIT!
Anna DASHES over to Haley and presents her the text messages
on her phone.
ANNA
(Reading the text)
"I’m done, It’s over between us!"
HALEY
(Chuckling)
That’s it?
(CONTINUED)
CONTINUED: 11.
Anna throws a small tantrum, stomping her feet on the ground
and twirling are arms.
ANNA
(Angry)
I couldn’t find the bastard all
day! He couldn’t even say it to my
face, that arrogant cocksucker!
HALEY
Well, maybe he had his reason, I
mean your pretty unpredictable. If
anything he probably wasn’t sure if
you would hurt him or not-- maybe,
I don’t know.
ANNA
(Frustration)
Don’t get it twisted. I was gonna
hurt him-- I was gonna kill him and
after I did that I was gonna pray
to Jesus that he sends his stupid
ass to hell so he can get his
butthole tickled by SATAN!
HALEY
... And, maybe a text doesn’t sound
that bad.
ANNA
Stick to the script, asshole!
HALEY
Okay, I’m sorry, but you have to
calm down. You were gonna break up
with him anyway, so what’s the
problem?
ANNA
People have a change of heart, duh!
I was beginning to accept the fact
that he was an obnoxious bastard,
sometimes I was too-- it was the
perfect match!
HALEY(CONT’D)
Come on, Anna. You’re just pissed
he broke up with you first. You two
are the complete opposite--
ANNA
Which is better, isn’t it?
(CONTINUED)
CONTINUED: 12.
HALEY
In this case, no.
ANNA
Whatever! I hate losing! This
feeling sucks ass. I just wanna
HURT him and his STUPID family "Oh,
Anna you two are so adorable
together" BLOW MY DICK MS.CHAMBERS!
HALEY
Believe me, if anyone takes an L
for this, its Johnny. He had six
months to figure out he had the
hottest chick in school on his arm,
but he couldn’t cause was too
self-centered to figure it out. His
loss.
Anna gives Haley a sinister smile with her eyebrows raised.
ANNA
... I am a bad bitch.
HALEY
Don’t push it.
Anna and Haley share a laugh together.
ANNA(CONT’D)
I don’t need him now that I think
about it... You wouldn’t break up
with me, would you?
HALEY
Um, Not in this lifetime.
The school bell rings. Anna slumps her body and sighs really
loud.
ANNA(CONT’D)
(Annoyed)
God! I hate that repulsive ringing.
I didn’t even get to finish my
sandwich.
HALEY
Yeah, yeah. Let’s get to class.
ANNA
Two more minutes--
(CONTINUED)
CONTINUED: 13.
HALEY
No, come on!
Anna and Haley are collecting their belongings.
INT. BATHROOM - DAY
Inside a dirty bathroom stall with graffiti plastered all
over the walls, SARAH STILLS,17, Long black hair that’s
always in a ponytail, Punk rock attire and a large scar on
the side of her neck that sticks out like a sore thumb. She
stands before a toilet, holding a blade against the many
scars that are already imprinted on her arm--
WOMAN’S VOICE IN SARAH’S HEAD
You’re a pathetic whore! No one
will ever love you! You deserve to
die! Do it! DO IT NOW!
She slowly digs the blade into her skin. Blood slithers down
her arm. The sound of the doors barging open startles her,
causing her to drop the blade in the toilet.
SARAH
(Whisper)
Fuck!
Sarah listens to a group of girls chatting about random
subjects. Seconds later Sarah exits the stall and the girls
immediately go silent once they spot her coming out of the
stall.
Tanya,17, a violent gang member with a hard tom-boyish look,
watches as Sarah tries to scatter out of the bathroom, but
she is BLOCKED by one of the gang members.
TANYA
Damn, Sarah! Where you running off
to? Did we interrupt your SLICING
moment!?
The girls laugh at Sarah. Tanya notices Sarah GRIPPING her
backpack.
TANYA(CONT’D)
You looking scared as hell. All
nervous and shit-- look at you?
Sarah tries to walk away but Tanya aggressively grabs her by
the arm and pins her against the wall.
(CONTINUED)
CONTINUED: 14.
TANYA(CONT’D)
Where do you think you going?
Bitch, you see I’m tryna to be
polite to your punk ass. Have a
nice conversation and call it a
day, but you just flat-out
disrespect me and the homies like
we ain’t shit!
SARAH
Let me go!
Tanya GRIPS her harder.
TANYA
You getting hella bold. I suggest
you ease up before you get dropped,
my nigga.
SARAH
I don’t want any problems. I just
wanna leave!
Tanya laughs.
TANYA
Calm down, slice queen. I’m only
fuckin with you. I don’t want any
problems either. You want out so
bad... Leave then!
Sarah tries to leave But Tanya grips her arm, again and
pulls her back.
TANYA(CONT’D)
I said you can leave. The bag
stays.
SARAH
Bullshit! you can’t have my bag!
TANYA
Damn, slice queen. why you gotta
make shit extra difficult for? I’m
in a good mood, so I’m allowing you
to walk out of here unscathed. It’s
only right you pay a nigga back.
Right?
Sarah is motionless. Tanya is staring her down like a
vicious animal that is about to attack its prey.
(CONTINUED)
CONTINUED: 15.
SARAH
No.
Tanya HITS Sarah, knocking her and her bag to the ground.
Tanya picks up the bag.
TANYA
(angry)
Next time behave, bitch!
Tanya and her friends walk out of the bathroom, Leaving
Sarah on the floor catering to her bloody nose. Sarah sits
up and tries to wipe off the blood from her nose with her
bare hand, but it continued to leak like a broken faucet.
Sarah becomes fixated by the blood all over her hand. Haley
and Anna stroll into the bathroom where they encounter a
bloody Sarah sitting on the floor.
ANNA
Gross!
HALEY
(To Sarah)
Are you okay?
SARAH
Yeah... I’ll be fine.
Anna walks into one of the stalls. Haley grabs some paper
towels out of the dispenser on the wall and hands it to
Sarah.
HALEY
Best way to stop it is to tilt your
head slightly forward and pinch the
soft parts of your nose.
SARAH
How could I forget?
Sarah wipes the blood off her face. An awkward feeling is
presented by the silence and Haley’s uncomfortable body
motions.
HALEY
So... How are you?
SARAH
As you can see. I’m perfectly
peachy.
(CONTINUED)
CONTINUED: 16.
HALEY
That’s not what I meant.
SARAH
I know... How are you?
HALEY
Fine.
Haley looks at her watch.
HALEY
(To Anna)
Are you done?
ANNA(O.S)
Bitch, don’t rush me! It’s not like
I can just whip my dick out and
call it a day.
HALEY
(to Sarah)
... So, Who hit you?
SARAH
It’s really not that big of a deal.
HALEY
It kinda is. You shouldn’t let
people treat you like that.
SARAH
Its better than the alternative.
Anna strolls out of the stall.
ANNA
Why is it so hard for these shitty
janitors to clean a toilet. I had
to pee standing up and I think some
of it got on my pants and Someone
left a blade in the toilet, how
psychotic can these bitches be!
Anna advances towards the sink and washes her hands.
SARAH
(To Haley)
Hand me the paper towels.
Haley grabs more paper towels from the dispenser and hands
it to Sarah.
(CONTINUED)
CONTINUED: 17.
HALEY(CONT’D)
(To Sarah)
we’re going to be late for class...
Take care of yourself.
Haley makes her way towards the door--
SARAH
(To Haley)
Wait! Thank you.
HALEY
For what?
SARAH
For caring. It reminds me of the
old days... I miss it.
ANNA
(To Sarah)
You are so creepy!
Anna tugs Haley’s arm, pulling her out of the bathroom.
Seconds later, Sarah begins to hear the demonic voices in
her head laughing. Sarah showcases her anger as she throws a
violent outburst.
INT. CLASSROOM - DAY
Inside a student-less classroom BETTY, late 30’s, sits
behind her desk writing on a piece of paper. She glances up
at the stack of papers that sit before her and signs out of
frustration.
ROBERT,50, an elderly man fully dressed in a fancy get up
suit saunters into the classroom with a happy-go-lucky smile
on his face.
ROBERT
The day has finally ended. I can
already tell you love moments like
this
BETTY
I would love for my students to
actually take their book reports a
little more seriously.
ROBERT
They’re still just children, give
it more time. I’m sure under your
remarkable guidance they should
tune into fine individuals.
(CONTINUED)
CONTINUED: 18.
BETTY
I highly doubt it.
Robert sits on a desk close to Betty.
ROBERT
... So, How is everything coming
along?
BETTY
This is the third time today,
Robert. Everything is in order, so
I advise you not to worry about
every little detail.
ROBERT
I assure you my nerves are solid as
a rock. I never doubted you before.
No reason to start now.
BETTY
Yeah, I guess... I was thinking--
AMBER COLLINS,17, Bright red frizzy hair that blends in well
with her hipster attire. She walks into the room and finds
Robert sitting by Betty.
AMBER
... Am I in trouble?
ROBERT
(To Amber)
Not at all. I’m just stopping by
for a simple hello. I’ll make my
way out as you two have your
conversation.
Robert exits the classroom as Amber approaches Betty who
hands her a folder. Amber has a smile on her face as she
receives the folder.
AMBER
Did you finish it?
BETTY
I did and I have to say that I’m
quite baffled by the changes you
made to the main character.
AMBER
Do you hate it?
(CONTINUED)
CONTINUED: 19.
BETTY
I loved it, but Shila was so
radiant. Filled with some much
life--
AMBER
She was too perfect, to be honest.
The perfect life, the perfect
family... didn’t seem real to me. I
had to change it.
BETTY
Amber, If you feel Shila’s life was
too perfect then that’s okay. I
wanted you to dig more into
breaking the barrier between
reality and imagination. I
understand that in reality, the
world is not perfect, but in our
minds... our imagination. It can be
whatever we want it to be, perfect
or not... Try something different
this time. Create a fairytale world
where its nothing but a beautiful
princess and her handsome prince
with fairies and wizards... For a
moment in your life drift away from
reality and just live in an image
you created. I know it sounds
weird, but I promise it will make
you feel better and if it
doesn’t... I’ll quit my job.
Amber has a big smile on her face.
AMBER
I guess I could try.
BETTY
Good. Then how about we change
Shila back to the way she was and
after that how about you and I work
together to make the perfect
ending. Deal?
Amber holds out her pinky finger. Betty and Amber lock pinky
fingers. They share a smile, but seconds later Betty’s look
turns into a sorrowing one.
BETTY
(Sad)
I’m so sorry.
(CONTINUED)
CONTINUED: 20.
Robert quickly covers amber’s mouth, silencing her scream.
He STICKS a syringe in her neck and INJECTS an unknown
chemical into her blood system. Seconds later, Amber no
longer struggles and faints.
Betty tends to an unconscious Amber. Robert grabs his phone
and dials a number.
CUT TO:
INT. HIGH SCHOOL, HALLWAYS - NIGHT
In a dark and empty hallway, an extremely nervous Betty
chews on her fingernails. Robert anxiously paces back and
forth constantly looking at his watch.
BETTY
You should have seen the way she
looked at me... I could tell she
felt so betrayed... I feel so bad--
What the hell was I thinking?!
ROBERT
I told you not to attach yourself
to the girl. If you feel guilt or
shame for what we did to her then
you’ll have to live with that, not
me. I refuse to be dragged into
your pity party.
BETTY
... I wanna go with her.
ROBERT
Don’t be foolish. people like us
are not built to survive in
lifestyle those people have
created.
BETTY
How would you even know?
ROBERT
Trust me... It’s not for us.
Grady, a very tall and heavy set male paces into the hallway
with an unknown man by his side. They approach Betty and
Robert.
ROBERT
(to Grady)
We’ve been waiting for hours!
(CONTINUED)
CONTINUED: 21.
GRADY
We needed to make sure the school
was empty before we came.
ROBERT
I told you we were clear.
GRADY
Well, Your word is like shit to me.
Where is she?
CUT TO:
INT. PRINCIPLE OFFICE - EVENING
Grady and the unknown man casually places Amber in a body
bag.
BETTY
(to Grady)
Please be careful... What about her
sister?
GRADY
(to Robert)
Control her or I will.
BETTY
You can tell me something--
Robert SILENCES Betty. After they place Amber in the bag,
Grady takes a stuffed envelope out of his back pocket and
hands it to Robert.
GRADY
A little something from, Bishop.
ROBERT
... I don’t need his rewards, I
need my freedom.
GRADY
No one is in the clear with Bishop.
Take the damn money and call it a
night.
Robert takes the envelope.
GRADY(CONT’D)
Cops will be asking for the girl
once they notice she’s missing.
keep your mouth shut, and don’t
draw any attention. Understood?
(CONTINUED)
CONTINUED: 22.
ROBERT
I know what I’m doing.
CUT TO:
EXT. HIGH SCHOOL, PARKING LOT - NIGHT
In an empty parking lot, Grady TOSSES Amber into the back of
a black truck. He and unknown man get in the truck and takes
off.
INT. STONEBRIDGE RESIDENCE, HALEY’S BEDROOM - NIGHT
Inside Haley’s modern decorated bedroom filled posters of
movies and musicians on her wall. Haley lays on her bed,
TYPING on a computer.
Romana Stonebridge, late 30’s, strolls into the room
carrying a basket filled with clothes. She DUMPS all of the
clothes on Haley’s bed.
ROMANA
You’re seventeen years old now, I
think you’re capable of doing your
own laundry.
HALEY
I could, but I love the way you do
it. It always comes out so springy.
ROMANA
Don’t even try to sweeten me up. No
more favors. You’re old enough to
do this on your own, Especially
since your going away to college...
God, I feel so old.
HALEY
Well, If it makes you feel better
you’re the hottest old-lady I’ve
ever seen.
ROMANA
(Chuckling)
Shut up.
Romana TOSSES a shirt at Haley’s face as they share a laugh.
The doorbell rings.
ROMANA(CONT’D)
I want your work done before
dinner.
(CONTINUED)
CONTINUED: 23.
HALEY
Got it.
Romana walks out of the room. Haley digs through her
clothes. Seconds later she hears a whisper, calling her
name. She looks around for any sign but disregards it and
gets back on her laptop.
Romana enters the room with a baffled look on her face.
ROMANA
Um, Sarah is here.
HALEY
(Shocked)
WHAT!?
ROMANA
I thought you two weren’t friends
anymore--
HALEY
Did you let her in?
ROMANA
I offered, but she didn’t want to.
she’s outside.
Haley jumps out of bed and looks out her window where she
spots Sarah sitting on the sidewalk.
CUT TO:
EXT. STONEBRIDGE RESIDENCE -- CONTINUOUS
Sarah is planted on the sidewalk holding her head down in a
meditative state. She takes a deep breath--
SARAH
(to herself)
You can do this. Its okay--
HALEY
What are you doing here?
A nervous Sarah stands up and steps up to Haley.
SARAH
I’m sorry... Today was the first
time we talked for a long time.
Hearing your voice brought me back
to when we were kids and I couldn’t
get it out of my head, so I just
(MORE)
(CONTINUED)
CONTINUED: 24.
SARAH (cont’d)wanted to see you one more time if
its okay.
HALEY
it’s late, Sarah. I have so much to
do-- You should probably go home.
SARAH
Do you even know where that is?
Where I live? Everything I had is
gone. You do remember, right? My
mother? Leaving behind everything I
had. I don’t mean to be an asshole
about it, but we were best friends.
You could at least talk to me.
HALEY
... Just to let you know. I didn’t
know your mother died until after
you left. I tried, Sarah. I know
after everything I couldn’t leave
you by yourself because she was
everything you had.
SARAH
You were all I had. I hated her so
much that I accepted her death...
not being able to talk to you
again... That has a shitty feeling
to it.
HALEY
I’m sorry... I’m sorry about
everything If I knew I would have
been there.
SARAH
... Why can’t things go back to the
way it was? I was gone-- I get it,
but I’m back now. Why is everything
so different?
HALEY
I want nothing more than for us to
go back to the way it was. you were
my best friend. Don’t get me wrong
I miss the old us, the old you. Not
the person you are, now... I’m
sorry
(CONTINUED)
CONTINUED: 25.
SARAH
I can’t change that, because the
old me is the same person you see
standing in front of you. The old
me always wanted more than a
friendship.
HALEY
Sarah--
SARAH
Just hear me out. I tell you how I
really felt and its hard for
someone to handle, but you needed
to know... I still love you,
Hayley--
HALEY
SARAH, STOP! I can’t do this right
now. I’m trying so hard, but you
just make it so difficult. I’m
sorry, but you need to leave!
As Haley tries to walk away, Sarah quickly GRABS her and
forces KISS onto her. Haley quickly PUSHES her to the
ground.
HALEY(CONT’D)
(Shocked)
You can’t... Y-You can’t do that!
Haley SCATTERS back into her home. Sarah begins to sob.
seconds later she begins to hear the voices laughing.
INT. CABIN, BEDROOM - NIGHT
Inside a poorly lit bedroom, Four teenage girls casually sit
around Ouija board and a large lit candle on the side of it.
Jazz,16, eyes are shut as if she is in a meditative state
with the palm of her hand hovering over the Ouija board.
Jamie,16, gently wipes the sweat off of Jazz’s forehead with
a towel.
JAMIE
(To Jazzy)
Concentrate. Let your mind drift
into the unknown. It will be kinda
creepy but, its okay. You’re
stronger than them and I’m here
with you. just stay with my voice.
You’ll be okay.
(CONTINUED)
CONTINUED: 26.
Michelle,17, rests her head atop of her fist giving off a
sassy attitude when she signs real loud and rolls her eyes.
MICHELLE
(Whispering to herself)
This is so boring--
Jamie silences Michelle by shushing her.
JAZZY
I don’t think I’m doing it right.
No one is here. just darkness and
smoke or fog-- I think that’s what
it is.
JAMIE
(To Jazzy)
Fog is good. Your mind is beginning
to wander into the drift. just
focus a little more. You’re almost
there.
MICHELLE
(Irritated)
Two hours, for something a retard
can finish in thirty minutes--
Seriously!
ELLA
(To Michelle)
The term is mentally challenged.
MICHELLE
(To Ella)
Shut the fuck up I know what it
is--
JAMIE
Michelle! she can’t get anything
done if you continue to downplay
her, like that.
MICHELLE
(To Jamie)
I’m not doing anything. I’m hungry
and I’m tired of this bullshit!
It’s not a big deal that I wanna go
to bed! Human beings sleep, its
normal thing to do.
JAMIE
(To Michelle)
Why can’t you think about someone
other than yourself, for once? Jazz
(MORE)
(CONTINUED)
CONTINUED: 27.
JAMIE (cont’d)needs all the help she could get.
You wanna ditch so bad, Then just
help her so we can go. Please!
Jamie looks at Ella,17, who is disregarding everything
around, fully fixated on the comic book she holds in her
hands.
JAMIE(CONT’D)
Ella!
After no response from Ella, Michelle SNATCHES the comic
book from her and TOSSES it.
ELLA
(Angry)
YOU BITCH, THAT’S THE ONLY COPY
I HAVE--
JAMIE
(To Ella)
Ella, we are so close can we please
not do this right now?
ELLA
What’s the point? She can’t get it
we’ll do tomorrow.
JAMIE
(To Ella)
Kaladi want’s this done tonight.
you have no choice--
JAZZY
(excited)
WAIT! I think I saw something.
MICHELLE
(Relieved)
Well its about time!
JAMIE
Quick jazz, reveal yourself to the
spirit. Draw it in.
Jazz’s face expression shows signs of a struggle.
JAZZY
... I don’t think he can see me.
He’s just standing there. I don’t
know what to do... Should I walk up
to him or something?
(CONTINUED)
CONTINUED: 28.
ELLA
(To Jazzy)
You do that, you’re not coming
back.
JAMIE
(To Jazzy)
He can take your body if you move
from the flame. Let him come to
you.
JAZZY
... He’s coming!
The flame on the candle grows bigger.
JAZZY
He’s talking. I can’t hear
anything.
JAMIE
Try harder, You’re almost there...
Focus.
Seconds later the planchette on the Ouija board begins to
move on its own. Jamie, Ella, and Michelle try to read the
words it spells out.
ELLA
(Reading the ouija board)
"Please, help me".
JAMIE
He’s trapped in the drift.
Michelle and Ella laugh.
JAMIE(CONT’D)
I don’t see how that’s funny. He’s
trapped in there.
MICHELLE
(To Jamie)
Grow a sense of humor, dipshit.
ELLA
(To Jamie)
It is funny if you think about it--
Sarah opens the door and the flame goes out. The room is
completely dark.
(CONTINUED)
CONTINUED: 29.
JAZZY(O.S.)
I lost him.
Sarah turns on the light to find the girls around an Ouija
board.
MICHELLE
(Sarcasm)
Sarah has returned. oh, how this
day just keeps getting better and
better.
Sarah gives off a blank expression.
JAMIE
(To Sarah)
Is everything alright?
ELLA
(To Sarah)
Yeah, you kind of have that weird
look going on.
MICHELLE
(To Sarah)
Who beat the shit out of you?
Sarah takes a deep breath.
SARAH
... I went to see Haley--
MICHELLE
(To Sarah)
Another Haley love story. I’m bored
already!
JAMIE
(To Michelle)
Can you not be a jerk all the time?
MICHELLE
(To Jamie)
I was joking! God, you’re so
annoying!
JAZZY
(To Sarah)
What happen?
SARAH
Nothing, that’s the point. Its been
on the same level since I came back
(MORE)
(CONTINUED)
CONTINUED: 30.
SARAH (cont’d)
and it won’t change. She just
couldn’t get over the fact I opened
up to her and after two years...
Nothing but that cold and dead
feeling. She wants what she can’t
have... Being her friend is not
good enough.
JAMIE
Well, to be honest, Sarah. You
can’t force someone to love you.
sometimes its best you let things
go.
ELLA
(To Sarah)
Jamie is right, two years and
nothing has changed. I don’t wanna
sound like a complete jerk, but
theirs gotta be a point where you
drop her and move one.
MICHDON’T
I don’t even know the chick, but I
can already tell she’s a bitch--
you can do better.
JAMIE
(Annoyed at Michelle)
Why do you always have to use that
language?
MICHELLE
(To Jamie)
Can you just let me speak without
you bitching about everything I
say-- Bitch is not a bad word!
As Jamie and Michelle continue to argue. Sarah begins to
hear a high pitch tone and everything goes silent. She falls
into trance. A woman’s voice begins to whisper in her ear--
SARAH
What about the book?
The girls go silent after hearing Sarah mention the book.
MICHELLE
(To Sarah)
Are you out of your mind?
(CONTINUED)
CONTINUED: 31.
SARAH
... I think I’m beyond that. I have
nothing left if I’m going to turn
it around it needs to start
somewhere... I finally have a plan.
This is the beginning.
ELLA
After that whole stunt with Diana
totally flipping on us, Bishop’s
been a little iffy about us
actually using the book, so I don’t
know about your plan.
JAMIE
(To Sarah)
The book is for practice purposes
only. Anything beyond that is
forbidden.
SARAH
He doesn’t have to know. Nobody
does.
ELLA
(To Sarah)
He knows a lot of things. That’s
kinda his deal.
JAMIE
I’m not breaking any more rules. We
lost Diana cause we got reckless.
We can’t lose anyone else.
SARAH
Listen. I know for a fact if we all
work together nothing can go wrong
and as far as Diana goes, this is
completely different. She’ll be
missed but she’s gone because greed
was her problem. None of us has
that problem-- plus its only for
one night. That’s all I need.
JAMIE
Sarah. Using the book changes
people. You never used it before.
There’s no telling what it will do
to you.
SARAH
(To Jamie)
... I’m willing to do anything. No
matter what happens to me--
(CONTINUED)
CONTINUED: 32.
MICHELLE
I’m in!
JAZZY
Michelle!
MICHELLE
Sarah’s right. Diana got iced cause
she got greedy-- That’s not our
fault. Plus, Its been threes days
now, I need a breather from this
cabin.
JAZZY
You guys this is crazy!
ELLA
Um, I also want out of this cabin
too, so count me in.
MICHELLE
(Ella)
Love the balls on you!
ELLA
I do have pretty nice balls--
MICHELLE
Stop ruining shit, Ella-- let’s
just get the book.
Ella, Sarah, and Michelle head of into the next room. Janet
sits on the floor, covers her ears and begins to SOB. Jazzy
tries to comfort.
JAMIE
Jazz, stop crying.
JAZZY
(Sobbing)
He will be mad at us.
JAZZY
Bishop loves us. You know that.
JANET
(Sobbing)
But, what about Diana?
JAZZY
Bishop never harmed Diana. She did
it to herself. Stop crying, okay.
Jamie HUGS Jazzy to comfort her.
33.
INT. CABIN, BASEMENT - MOMENTS LATER
Michelle pulls out a wooden box with a lock on it and puts
it on a table. She takes a key off her necklace and uses it
to open the box. Seconds later she takes out an old leather
book.
SARAH
Do any of you know what it is?
MICHELLE
Duh! Of course, we do.
ELLA
(To Sarah)
We studied this book for months.
Its some pretty cool shit in there.
Superhero type shit that would blow
your mind--
MICHELLE
(To Ella)
She gets it.
SARAH
We just need something that would
make her love me, You know? Is
there anything like that in there?
Michelle shows Sarah a page filled with strange markings.
SARAH
I can’t read this. What the hell is
it?
ELLA
(To Sarah)
I call it "Master corruption".
Basically, it’s a spell that can
manipulate a soul, or a mind into
anything we want. In your case, we
would altar Haley’s mind and make
her believe you’re her true love.
It’s a perfect crime.
SARAH
Wait, If we do mess with her head
It won’t kill her or make her brain
dead will it? You guys do know what
your doing, right?
(CONTINUED)
CONTINUED: 34.
MICHELLE
Not really, but we know enough not
to get anybody killed. Maybe.
ELLA
(To Sarah)
We never actually tried the spell
on anybody before. You sure its
worth it?
SARAH
(To Ella)
... I don’t care. I just wanna make
sure nothing bad happens. To me or
Haley.
ELLA
(To Sarah)
Sweet. What’s the plan?
SARAH
Well, I don’t know, haven’t had
time to think this out.
MICHELLE
Well think of something, Bishop
comes back tomorrow. We don’t have
much time.
SARAH
I guess we just get Haley and do
the spell. Simple. right?
ELLA
(To Sarah)
You seriously think Haley would
come and do this shit, voluntarily?
MICHELLE
(To Ella)
No, jackass. She wants us to force
her.
ELLA
You mean like kidnap?! Wow,
high-level shit. We can’t just
kidnap somebody, That’s a bit too
much, isn’t it?
SARAH
(To Ella)
Well, It’s the only way. Unless you
have a better idea.
(CONTINUED)
CONTINUED: 35.
Michelle advances towards a shelve mounted on the wall. She
grabs a bottle filled with clear liquid and gives it to
Sarah.
MICHELLE
I saw all the needles in Paul’s
truck, we can use those.
SARAH
What is this?
MICHELLE
We need to put her to sleep. That
right there will do the job.
SARAH
Wait, we need a location. Somewhere
we can put her.
ELLA
(To Sarah)
No location, We have to bring her
here.
SARAH
(Shocked)
We can’t do it here, that’s crazy!
MICHELLE
(To Sarah)
All of Bishop’s Cabins are built on
sacred ground. Makes any spell we
do even more powerful. More juice
for the kick.
ELLA
(To Michelle)
Well, more juice isn’t shit if we
can’t get all four of us to
complete the circle.
The girls look at each other.
CUT TO:
INT. CABIN, LIVING ROOM - NIGHT
Jamie is still comforting Jazzy. The rest of the girl enters
the living room and steps up to Jazzy and Janet.
JAMIE
You guys this is totally messed up.
What if something goes wrong? Did
(MORE)
(CONTINUED)
CONTINUED: 36.
JAMIE (cont’d)you even think about the
possibilities of things not exactly
going the way you intended? Diana
didn’t! What if Bishop finds out
what we did? How would we even get
out of this place? Did you guys
think of all that, shit?!
MICHELLE
(To Jamie)
Once Paul falls asleep we sneak
out, no big deal.
ELLA
(To Jamie)
You worry too much. Its only for
tonight. Besides, Bishop won’t be
here until tomorrow. Things
couldn’t get much cleaner than
that.
Jamie begins to think about it.
SARAH
(To Jamie)
... You know how much Haley means
to me. I thought out of everyone in
here, you would be the one to back
me on this. No one’s going to get
hurt If we stick together. Please!
MICHELLE
(To Jamie)
Unless you want another dead body
on your conscious I suggest you
stop acting like a saint and help
us out.
Jamie makes eye contact with Jazzy’s puppy dog eyes.
INT. BEDROOM - NIGHT
Inside an unknown bedroom, Amber is unconscious on the bed.
She begins to regain consciousness, slowly raising her head.
She investigates everything around her, filled with
confusion. She JUMPS up and RUNS for the door. She realizes
its locked when she turns the handle.
Amber runs for the window and discovers its nailed shut. She
looks out the window only to see trees blocking her vision.
The door unlocks and opens. An elderly woman enters the
room.
(CONTINUED)
CONTINUED: 37.
ELDERLY WOMAN
Good, you’re up. I thought I heard
some wrangling going on around
here.
AMBER
(Scared)
Please, don’t hurt me!
ELDERLY WOMAN
Oh, dear child. I could never harm
you. If it makes you feel any
better, my name is Harriet. I’ve
been honored with the
responsibility of taking good care
of you. Making sure that your stay
is a pleasant one.
AMBER
(Scared)
... Where am I?
HARRIET
A safe place. Wheater you believe
it or not it’s up to you.
AMBER
(Scared)
I have a sister out there. She
needs me, I-I can’t stay here.
HARRIET
... Come with me. You’re needed
downstairs.
AMBER
(Scared)
I just wanna go home.
HARRIET
If you wish to get back to your
sister. You probably should Come
with me.
Amber cautiously saunters out of the room.
INT. LIVING ROOM - MOMENTS LATER
Amber escorted by Harriet walks down a flight of stairs.
When she reaches the first level. She is startled by all of
the people watching her as she enters the living room.
(CONTINUED)
CONTINUED: 38.
HARRIET
(To Sarah)
It’s okay my dear. These people are
family. Nothing, but loving
children. Something I’m guessing
you haven’t seen in a while.
Harriet points at a double door further into the living
room.
HARRIET(CONT’D)
In there is where you’ll find what
you’re looking for... It’s okay. Go
on now.
Amber slowly saunters through all of the men, women, and
children who stare at her with blank faces. Amber reaches
the doors. She takes her time but, she opens the door and
enters the room.
INT. STUDY ROOM - CONTINUOUS
She walks into a Victorian study room filled with ancient
artifacts on the wall and placed in display cases.
The door closes behind her, causing Amber to go on alert.
she scans the entire room where she finds an unknown man
sitting on a chair in front of a lit fireplace.
UNKNOWN VOICE
I can understand how something like
this can come off terrifying for a
girl your age. Forced into an
environment she doesn’t understand.
Surrounded by some of the strangest
folks. Your fear is understandable.
AMBER
... Who are you?
Bishop Mercier, Age Unknown, Long silky black hair, dressed
in an all black southern suit and a fedora hat. He reveals
himself to Amber and steps up to her.
Bishop removes his hat and places it over his heart.
BISHOP
You can me call Bishop. I would
like to consider myself a friend in
need.
Bishop slowly edges closer to Amber who slowly goes on the
defense.
(CONTINUED)
CONTINUED: 39.
BISHOP(CONT’D)
... Your mother has created an
angle--
AMBER
Don’t talk about my mother.
BISHOP
... Forgive me. I don’t mean to
cause any distraught... How about
we try to move on to a more
positive. more productive path,
shall we?
AMBER
I just wanna go home. My sister
needs me.
BISHOP
You misunderstand the situation.
You’re free to go anytime you want.
but why would you want to go back
to the family that has caused you
nothing but pain and misery since
you first arrived? you’re nothing
more than a paycheck to them and
you’re willing to accept that? Your
heart filled with so much love is
being corrupted. Tainted by those
who have no love to give. You allow
the real Amber to fade away. How do
you think Lilly will respond to
that. So young and innocent.
AMBER
Lilly? How do you know her name?
Where is she?
Bishop stares into Amber’s sad eyes.
BISHOP
She is at home where she has always
been. I only needed to see you,
Amber... At this very moment, I
offer you two options. You can
leave this place and safely return
to your sister... or you can learn
the truth about your mother.
AMBER
My mother? What is it?
(CONTINUED)
CONTINUED: 40.
BISHOP
She and I held many secrets. it’s
only right I share it with someone
she cared about.
Bishop directs Amber towards a chair and sits her down. He
picks up a music box and places it on the coffee table in
front of Amber.
BISHOP(CONT’D)
What do you desire the most? That
one thing that tears you up inside.
Begging for its freedom, but you
don’t know how to free it, So it
just stays in its place. Waiting...
What is it?
AMBER
... Nothing.
BISHOP
Oh, come on. I’m sure it has to be
something... If I had to guess...
Family?
Bishop notices Amber face expression slightly changes.
BISHOP(CONT’D)
Your parents died when you were
young. It’s a painful and a very
harsh reality. Deep down inside you
believe The love you crave was
buried with them.
AMBER
... I have Lilly.
BISHOP
True. And that’s enough for you?
You see, I feel as if you need more
then what you ask for. Am I wrong?
The room is quiet. Amber begins to twiddle her fingers and
rapidly bouncing her knee up and down.
BISHOP(CONT’D)
... I understand. More than you
think--
AMBER
(Angry)
LIAR! WHAT DO YOU WANT FROM ME!?
(CONTINUED)
CONTINUED: 41.
BISHOP
... To give what you always wanted.
something your mother and myself
always wanted.
Bishop slowly opens the box. Amber looks inside to find a
lot of old items inside. The music box begins to play a
tune. Amber notices a picture buried under items and She
digs in the box to pick it up. While staring into the photo
she begins to sob when she finds out the picture of her
parents standing next to Bishop along with other unknown
people.
AMBER
(Sobbing)
What is this?
BISHOP
The love from your family you
thought was buried. It was never
buried... It was only lost. Now it
has found its way back to you.
After a second look, The box is empty and the picture Amber
believes is in her hands is not really there. As Amber
continues to cry over what she thinks is the picture, Bishop
stares her down with his bright red iris brightly shining.
BISHOP(CONT’D)
(Vampire Voice)
Open your heart to me, Amber. I
want to bring you and your sister
back home... Back to where you
belong.
INT. STONEBRIDGE RESIDENCE, KITCHEN - NIGHT
Trevor Stonebridge, late 40’s, Digs through the refrigerator
and takes out a can of beer. He opens the beer and sips it.
Haley casually strolls into the kitchen.
HALEY
Hey.
TREVOR
Hey. Still up?
HALEY
I couldn’t sleep. How was work?
TREVOR
Long. I think that’s the only word
I can think of.
(CONTINUED)
CONTINUED: 42.
Haley approaches the refrigerator, digs through it and takes
out a bottle of water.
TREVOR(CONT’D)
Are you feeling okay?
HALEY
I’m fine, Its just one of those
nights.
TREVOR
... Hey, um. Your mother told me
Sarah came by today.
HALEY
Yeah, She did.
TREVOR
It’s been years since I seen her.
How is she since her mother past?
HALEY
To be honest. I don’t know. She’s
different now.
TREVOR
It’s understandable. She’s been
through a lot I’m sure of it. I
can’t imagine for someone at that
age to go through something like
that. Losing everything she had,
you know?
HALEY
... I feel like the bad guy. The
way things turned out, I feel
terrible about it.
TREVOR
No, you’re not a bad person, Haley.
Don’t ever think that. This
particular situation can be
difficult. You two were really
close. no matter how long its been,
you still have time to make it
right... Maybe that’s all she
needs.
HALEY
What do I even say to her? After so
long it all just seems so weird.
(CONTINUED)
CONTINUED: 43.
TREVOR
You don’t have to say anything.
Just try to be there.
HALEY
... It’s so hard, dad.
TREVOR
How?
HALEY
... Nevermind.
Trevor kisses Haley on the forehead.
TREVOR
It’s never easy. I wish it was, but
it’s not.
Trevor exits the kitchen.
INT. STONEBRIDGE RESIDENCE, HALLWAY - CONTINUOUS
Trevor strolls out of the kitchen and heads towards the
stairway. He hears a faint creaking noise that stops him in
his tracks. He scans the area, then proceeds upstairs. the
closet in the hallway slowly creaks opens.
CUT TO:
INT. STONEBRIDGE RESIDENCE, HALEY’S BEDROOM - NIGHT
Haley is sleeping in her bedroom. Her door slowly opens.
Moments later footsteps are heard creeping closer towards
the bed. Haley’s eyes JOLT wide open from the noise. She
looks around out of curiosity. Seconds later she looks
deeper into the dark corner where she see’s someone in a
clown mask staring at her.
Out from the dark two masked people dressed in all black,
RUSHES Haley. While one keeps her quite by covering her face
with her pillow and holding her down. The other person
DRIVES a syringe in her neck. Haley struggles and fights
back, but she eventually stops fighting and passes out.
CUT TO:
44.
INT. STONEBRIDGE RESIDENCE, HALLWAY - NIGHT
The masked people quietly carries Haley’s body down the
stairs.
CUT TO:
INT. TRUCK - NIGHT
Jazzy and Jamie are waiting in a truck outside Haley’s home.
JAZZY
I still don’t feel so cool about
this.
JAMIE
I know. Think of it this way. When
its all over no one is going to get
hurt. Just two people in love. like
one of those love stories, you love
to watch. Which one was it?
JAZZY
Adamsville is my favorite show. I
like Gracie palace, but I’m not a
fan of Karen though. She’s not that
good of an actor.
Jamie Spots the masked people carrying Haley outside the
house.
JAMIE
Here they come!
Jamie turns on the truck. The masked people stuff Haley
inside the truck and gets in.
MICHELLE
Let’s go!
The truck takes off.
CUT TO:
INT. CABIN, BEDROOM - NIGHT
Ella rushes into the bedroom. She opens the window and helps
pull Haley’s body into the room. Once her body is all the
way in, the rest of the girls jump through the window.
JAMIE
(To Ella)
Where’s Paul?
(CONTINUED)
CONTINUED: 45.
ELLA
He’s out.
SARAH
(To Ella)
Did you get everything ready?
ELLA
We’re good. Let’s get her to the
basement.
EXT. CABIN, PORCH - MOMENTS LATER
While Paul is sleep by the porch. Michelle SNEAKS close to
him and quietly places the keys on his key chain.
MICHELLE
(Whispering to Paul)
Goodnight jackass.
INT. CABIN, BASEMENT - MOMENTS LATER
Haley is unconscious in the middle of a painted circle with
candles surrounding her. The girls surround Ella who is
reading the book.
ELLA
So, basically what we have to do is
draw blood from both subjects. it
has to be the hands.
Michelle takes a knife and CUTS Haley’s palm. She approaches
Sarah, grabs her hand and CUTS her hand. Sarah jumps in
pain.
ELLA
(To Sarah)
Lay down next to her and hold her
hand. Sarah lays next to Haley and
holds her hand.
MICHELLE
Remember, Sarah. Whatever happens,
don’t break the circle. None of us
can break the circle. Got it?
SARAH
What would happen if we do?
MICHELLE
(To Sarah)
Nobody knows. Just don’t do it!
(CONTINUED)
CONTINUED: 46.
ELLA
Let’s do this.
The girls surround the circle.
MICHELLE
I’ll be the anchor, just follow my
lead.
The girls close their eyes and hold their hands up towards
Sarah and Haley. Michelle takes a deep breath. Moments later
her eye iris being to glow in a purple color right before
she closes them.
The candles begin to flicker, seconds later they grow
bigger. Sarah begins to hear a woman voice laughing in her
head. She falls into a trance. Haley’s eyes slowly open. She
hears a woman voice laughing.
Haley turns her head and looks at a dark corner in the
basement where she spots a demonic version of herself slowly
CRAWLING towards her. She tries to move and speak, but she
struggled to make a peep. The demonic Haley moves closer and
closer every second. Paul STORMS downs the stairs and finds
the girls performing a spell.
PAUL
(Angry)
What the hell are you doing?!
Paul STARTLES the girls casing them to stop the spell. Sarah
breaks from the trance and jumps up gasping for air. The
candles go out and its dark. Paul turns on the light.
PAUL
(Angry)
Answer my question! What the hell
are you guys doing and who messed
with my truck?
Michelle notices Haley is missing.
MICHELLE
(Shocked)
Oh my god!
The girls and Sarah are shocked to find Haley is missing.
ELLA
Where did she go?
(CONTINUED)
CONTINUED: 47.
PAUL
What the hell are you guys talking
about?
JAZZY
(Panicking)
WE BROKE THE CIRCLE!
They begin to hear a girl groaning and a scratching noise in
a dark corner. The scratching and groaning grow louder.
Moments later Demonic Haley reveals herself. Paul takes out
his gun and begins to shoot At demonic Haley. The girls are
terrified as demonic Haley LOUNGES at Paul in a supernatural
speed and rip him apart.
The girls SCREAM at the top of their lungs and scatter out
of the basement. Demonic Haley continues to rip Paul apart.
END OF ACT TWO
ACT THREE
INT. POLICE STATION, BRIEFING ROOM - DAY
Malcolm stands alone in front of a board with a picture of
Haley and Amber on it. He looks up at the T.V which is
broadcasting a breaking news report--
NEW’S REPORTER ON THE T.V
Police are on the lookout for
seventeen-year-old Haley
Stonebridge, a straight-A, high
school student who was reportedly
abducted from her home last night.
A security camera placed outside
the neighbors home, reveals Haley
begin dragged into a black S.U.V by
two masked perpetrators. Police are
asking if you happen to spot this
Suv with missing license plates,
please notify your local law
enforcement with any information.
In other news, Amber Collins
another seventeen-year-old high
school student, who attended the
same school as Haley Stonebridge,
was also reported missing the same
night of Haley’s abduction--
Randy turns off the T.V.
(CONTINUED)
CONTINUED: 48.
RANDY
He made his move. I can’t say that
I’m so surprised.
MALCOLM
Haley Stonebridge.
RANDY
What about her are we missing?
MALCOLM
Nothing. She doesn’t belong.
Michelle, Jamie, Ella, Diana, Jazzy
and even Amber. They fit what he is
looking for. Not her.
RANDY
I wish I knew more. Maybe its a
completely different case.
MALCOLM
Or not... He’s always two steps
ahead. That’s the only thing we can
go by... for now.
RANDY
You good, kid?
MALCOLM(CONT’D)
... What do you have on Victor?
RANDY
Come on, Malcolm. You sure we
should take that rout?
MALCOLM
We’re running out of time. Where is
he?
RANDY
... He was relocated to an
apartment not too far from here and
I could lose my job for this since
your not allowed anywhere near
him--
MALCOLM
How long?
RANDY
Twenty minutes, maybe Thirty.
Malcolm is fixated on Haley’s picture.
49.
CUT TO:
EXT. APARTMENT COMPLEX - DAY
Malcolm’s car pulls up to an old beat down apartment complex
and comes to a complete stop. Malcolm and Randy get out of
the car and takes a good look at the building.
MALCOLM
So, this is it?
RANDY
This would be it. Apartment 475 to
be exact... Just to be clear. This
is the only way, right?
MALCOLM
Wait here by the car.
RANDY
Now, you’re pushing it. Do I need
to remind you what happened the
last time I left you two alone?
MALCOLM
This is different... Trust me.
Malcolm heads towards the apartment building leaving Randy
behind.
INT. VICTOR’S APARTMENT, LIVING ROOM - DAY
Inside a beat down apartment Victor, late 60’s, sits in
front of the T.V watching a news report on Haley. Seconds
later he hears a knock on his door. He gets up, steps up to
the door and opens it. Malcolm stands before him. Victor has
a very noticeable disappointed look on his face.
VICTOR
Are you here to put another bullet
in me, Agent Baylor?
Malcolm doesn’t respond. Victor steps aside to allow Malcolm
into his apartment.
CUT TO:
Malcolm is currently sitting around a table inside Victor’s
living room. Victor carries two cups filled with tea and
places it in the middle of the table. He sits down and takes
a moment to think.
(CONTINUED)
CONTINUED: 50.
VICTOR
Bishop still roams the streets. I
can’t say I’m surprised by your
recent failures, Agent Baylor.
MALCOLM
I’m working on it.
VICTOR
You’ve been working on it for three
years, now... You wanted a clean
way out, I gave you one. Couldn’t
get any easier if you ask me.
MALCOLM
I didn’t come here for you to rub
all of this shit in my face.
Nothing is easy with Bishop, you
know that.
VICTOR
Well. Any more digging, then you
would be playing his game, son.
You’ll never catch him that way.
MALCOLM
One of the girls he kidnapped is
dead... We found her in pieces like
some animal mauled her to death...
The cabin was filled with ashes. It
was all over the place... What is
he capable of?
Victor takes a moment to sip his tea and get a good read on
Malcolm.
VICTOR
... Does your partner know about
recent history? Agent Baylor.
MALCOLM
... They know what I want them to
know?
Victory chuckles.
VICTOR
And how long do you think that will
last, huh? This persona you play is
obviously amusing you, im assuming
its why you keep it up.
(CONTINUED)
CONTINUED: 51.
MALCOLM
You speak like you know me.
VICTOR
I know you’re a vicious killer that
hides behind a badge. That’s all
anybody needs to know. You caused a
lot of waves in the underworld. You
may think you’ve left your ghosts
in the closet, but luckily I know
the right people that specialize in
hunting ghosts... Tell me, agent
Baylor. Why even wear the badge?
What are you hiding from?
MALCOLM
Who said I was hiding?
VICTOR
You didn’t have to say anything.
The blood and despair tends to
stain the face and change a man
from what he use to be... You had
to know I was going to figure you
out eventually, right? Last time we
talked it was a bit cloudy, but
after so many years... I finally
meet the real you.
MALCOLM
... Talk.
VICTOR
If I knew how stop Bishop don’t you
think I would’ve done it already.
This is beyond me, but it doesn’t
have to be for you. If you seek my
help then you are wasting your
time, but I can give you this... If
you really want Bishop, so bad then
you need to stop pretending to be
something you’re not.
MALCOLM
I take my job very seriously.
VICTOR
I’m not talking about your job, I’m
addressing you playing the hero...
You and I know that’s complete
bullshit.
52.
INT. ABANDON BUILDING - DAY
We soar over a large building secluded in the woods.
VICTOR(V.O.)
Playing by the government hands
will never succeed... Its time you
bathe in the blood of your victims
and embrace the darkness cause it
may be the only way you can bring
the devil down.
Entering the heavily damaged building. A blindfolded,
bloodied, and beaten man hangs from his ankles by the chains
that are attached to the roof of the first floor. JAMES
SHREDDER, late 30’s, casually sits on a chair observing the
hanging man.
A dozen men holding massive weapons in their hands stand
behind James. A phone rings James takes it out and reads the
screen. Seconds later he picks up his blade off the floor
and stands up. He advances towards the hanging man and takes
the blindfold off. Immediately The hanging man panics with
fear when he see’s James staring him down.
HANGING MAN
(Scared)
Oh, god, James! Please! I gave you
everything you wanted!
James uses the blade to slowly DRIVE it into the hanging
man’s stomach. He screams in pain and begs James to stop.
HANGING MAN(CONT’D)
WE HAD A DEAL! WE HAD A FUCKING
DEAL!
JAMES
Its funny you should mention our
little arrangement.
A mercenary approaches James and gives him a tablet. James
shows the hanging man a picture of him and his mercenaries
getting into a truck. A guilty look emerges on the hanging
man’s face.
JAMES(CONT’D)
Which part of the deal would this
part fall in?
HANGING MAN
(Nervous)
Okay! Okay! I had to. If I didn’t
give you up I would’ve spent the
(MORE)
(CONTINUED)
CONTINUED: 53.
HANGING MAN (cont’d)rest of my life in prison! do I
look like a man that can last in
maximum security? They had
everything on me. The murders, the
money! Enough to put me away for
good! What was I suppose to do?!
JAMES
NOTHING! You do nothing, couldn’t
get any simpler than that. You
know, I stuck my neck out for you
and in return, you have given me
nothing but a cowardly human being
who would rather quickly save his
own ass instead of looking at the
bigger picture-- Open your fucking
eyes and look!
HANGING MAN
James--
James silences him.
JAMES
... From this point forward you and
I are no longer in business. You’ve
broken a trusted bond... I’ll make
sure to send your love to your
family when you’re gone. Especially
the sweet ass wife of yours. I can
only hope she tastes as good as she
looks.
HANGING MAN
Please! you can’t do this! I can
give you the organization who
wanted those pictures!
JAMES(CONT’D)
You don’t have to do do that, but
there is one thing you can do for
me...
James leans in closer.
JAMES(CONT’D)
You can tell the devil he won’t be
seeing me anytime soon.
The hanging man begins to sob, begging for James not to kill
him, But James continues to stroll away. The mercenaries aim
their weapons at the hanging man and they pull the trigger.
They fill his body with bullets, killing him instantly.
54.
EXT. EMPTY BUILDING, PARKING LOT - CONTINUOUS
James strolls out of the building and paces towards a
stretch limo parked right by the entrance. He reaches the
back of the limo and gets in. (To James)
INT. LIMO - CONTINUOUS
JESSICA SANDRA, late 30’s, Is holding a phone on her ear
while taking a sip out of a wine glass she holds in her
hand. James enters the limo and sits next to her.
JESSICA
He had two weeks on us.
JAMES
Fuck him, He’s dead! That’s all
that matters.
JESSICA
Next time you won’t be so lucky and
maybe next time you will listen to
me whenever I question the type of
people you chose to go into
business with.
JAMES
Oh, I bet you’re loving the moment,
but do I need to remind you that my
business with the people you
question, provides more than enough
then your father ever could.
JESSICA
It’s not about the money anymore,
asshole. It’s about staying in the
shadows and right now we’re not
doing such a good job.
JAMES
We’ll fix it--
JESSICA
Wrong, I’ll fix it. Like I always
do.
Jessica hands him her phone.
JESSICA(CONT’D)
For you?
A confused James takes the phone and places it next to his
ear.
(CONTINUED)
CONTINUED: 55.
JAMES
(Into Phone)
Who is this?
EXT. VICTOR’S APARTMENT - DAY
Malcolm watches Randy from a distance while trying not to be
seen by him. He holds the phone to his ear.
MALCOLM
(Into Phone)
I figured by now you’ll be dead in
a ditch somewhere in Africa or
China.
INTERCUT -- PHONE CONVERSATION
JAMES
Malcolm. You of all people should
know I’m a hard man to kill. I see
you still have the number. Are
those violent urges beginning to
kick in, old friend?
MALCOLM
My mind is set, actually. I’m
calling cause I’m cashing in.
JAMES
Really?! I waited a long time to
hear you say that, but something is
telling me the F.B.I won’t be so
appreciative of my work.
MALCOLM
This is not about the F.B.I,
anymore. This goes further than
that.
JAMES
Is that right? Just exactly how far
are we talking?
MALCOLM
Can’t do the details. Where can we
meet?
JAMES
It depends. How many do you need
for the meet?
(CONTINUED)
CONTINUED: 56.
MALCOLM
All you got.
JAMES
You’re joking, right?
MALCOLM
Can you do it, or not?
JAMES
Of course. I have a prior
engagement I have to deal with, but
rest assure I’ll call you as soon
as I get a time and place.
Malcolm hangs up.
INT. LIMO - DAY
James watches his men DRAG the hanging man’s body out of the
warehouse.
JESSICA
Malcolm back in the game could
benefit us, tremendously. The way
things are going. We need him.
JAMES
If he’s willing. Then I couldn’t
agree more.
JESSICA
We’ll have enough time to convince
him once we bring him back home.
JAMES
... What the hell is he getting
into?
JESSICA
He’s chasing the devil. You of all
people should enjoy that.
EXT. CABIN - DAY
Outside the Cabin where the girls were kept at, Bishop
stands with some of his people staring the cabin down.
BISHOP
Wait here.
Bishop heads for the front door. He opens it and takes a
good look, then strolls inside.
57.
INT. CABIN, BASEMENT - CONTINUOUS
Bishop opens the door to the basement and walks down the
stairs and discover Paul’s mutilated body. He approaches the
body and inspects it. Without him noticing Demonic Haley
stands behind him just watching him.
A slight groaning noise is heard. Bishop turns around to see
nothing is there. He notices the book is on the floor. He
picks it up and leaves the basement. Demonic Haley’s hand
creeps into the light from the darkness. A weakened demonic
voice says Bishop’s name as the hand slowly SCRAPES the
concrete floor.
CUT TO:
INT. BISHOP’S STUDY ROOM - DAY
Bishop has the book open on the page of the spell the girls
used. The girls stand before Bishop with a nervous and
scared look on their faces. Kaladi, late 40’s, sits by the
fireplace observing the girls.
BISHOP
Is this it?
ELLA
Yes, sir.
Bishop shows Kaladi the page. She places the book on the
desk, reaches in her pocket for a brown bag. She opens it
and dumps ashes on the page and performs a spell.
JAZZY
(Sobbing)
We didn’t mean to hurt anyone. I
swear to you Bishop, I never wanted
to do anything to hurt Paul.
MICHELLE
(To Jazzy)
Fucking, kiss up.
JAMIE
(To Michelle)
LEAVE HER ALONE!
MICHELLE
(To Jamie)
Blow me, Bitch.
(CONTINUED)
CONTINUED: 58.
JAZZY
(TO Michelle)
SCREW YOU--
BISHOP
That’s enough.
SARAH
(To Bishop)
It’s my fault. If anyone should get
punished for what we did it should
be me.
ELLA
That’s not true. We all had a part
in this--
SARAH
(To Bishop)
I forced them to help me take the
book and performed that spell. I
take full credit.
Bishop takes a moment to observe the girls. He approaches
the sobbing Jazzy and gently kisses her forehead.
BISHOP
I need a moment alone with, Sarah.
JAZZY
Bishop, it’s not her fault--
BISHOP
Leave.
The girls start to walk out of the room. Bishop grabs
Michelle.
BISHOP
(To Michelle)
Go easy on your sisters. they’ve
been through enough, already.
MICHELLE
Yes, sir.
Michelle leaves the room and closes the doors behind her.
Bishop walks up to a glass case mounted on the wall behind
Sarah. He takes the blade out from the case and examines it.
BISHOP
... I failed you, Sarah. I promised
you the day I brought you back to
(MORE)
(CONTINUED)
CONTINUED: 59.
BISHOP (cont’d)New Orleans that I would make a
difference. No pain. No anger... I
want you to understand that I had
no intentions of feeding you any
kind of bullshit just to make the
situation sound perfect.
Bishop shows Sarah the blades then hands it to her.
BISHOP
You recognize this?
SARAH
My father’s blade.
BISHOP
It’s more than that. This is the
blade that killed my brother. The
blade that has made me what I am
today.
Sarah examines the blade.
BISHOP
Your father was my most loyal
member of this family, But the day
your mother took you from him he
was never the same. This family--
you included you meant everything
to him. How do you think he felt
dying without even knowing your
name? Before his death, he
practically begged me to do
whatever it took to bring you home
and I swore to him I would make
that happen and not only that I
would bring you in as my very own.
Bishop approaches Sarah grabs her arm and looks over her cut
marks.
BISHOP
Sadly I found you as a broken girl
in dire need of help. She destroyed
your innocence, made you feel out
of place in this world and it hurts
me to see you like this... You’re
more important to this family than
you think, Sarah. I have great
plans for you, but first, you must
be fixed and that’s what I plan to
do. I don’t want you to feel this
(MORE)
(CONTINUED)
CONTINUED: 60.
BISHOP (cont’d)misery, anymore. I don’t want you
to feel like you need to escape
from any obstacles that lay before
you. From here on out. We will face
it together. We will rebuild what
your mother has destroyed. I
promise.
Bishop looks into Sarah’s sad eyes when he hugs her. The
book burst into flames interrupting Kaladi’s spell.
KALADI’S
The spirits speak!
Bishop approaches the book to find an ancient symbol burned
into the page.
KALADI’S
(To Bishop)
A powerful spirit built on hatred
rises from hell and into our world.
BISHOP
What does it want?
KALADI
You... Revenge. All it wants is to
see your soul burning in the pits
of hell you put it in... for an
eternity!
BISHOP
(With a smile on his face)
This should be fun.
Bishop closes the book.
INT. CABIN, BEDROOM - NIGHT
Jazzy sits atop her bed, holding an old beat-up doll. She
places it on her pillow and stares deeply into its eyes.
She raises her hands over the doll, Her eye iris turns
purple. moments later the doll slightly moves on its own.
Jamie enters the room and sits next to Jazzy.
JAZZY
Is Sarah okay?
JAMIE
I don’t know.
(CONTINUED)
CONTINUED: 61.
JAZZY
You don’t think Bishop would hurt
her, would he?
JAMIE
Sarah’s bloodline means everything
to Bishop. I don’t think he would
hurt her.
JAZZY
Yeah, but--
JAMIE
He wouldn’t. I’m sure of it.
Janet grabs Jazzy’s doll and examines it.
JAMIE(CONT’D)
I haven’t seen miss lucy in a long
time. You only come to her when
you’re really down.
JAZZY
I can’t stop thinking about what
happened to that girl, Haley. Her
face. Her eyes. I can’t get it out
of my head.
JAMIE
I wish you didn’t have to see that
JAZZY
Well, I did. I don’t think I could
ever forgive myself.
JAMIE
Don’t say that. We are all in this
together, so we will stand together
and stay strong... For Bishop.
JAZZY
She’s dead because of us.
JANET
She’s not dead, we would’ve sensed
it if she was. I admit its not a
good situation, but she is still
alive.
JAZZY
For how long?
(CONTINUED)
CONTINUED: 62.
JAMIE
I don’t know.
JAZZY
We have to help her.
JAMIE
I want to so bad, but we can’t--
JAZZY
Jamie, please!
JAMIE
The best thing for us to do is stay
here and listen to anything that
Bishop says. We did enough already.
JAZZY
I just think we should do
something.
JAMIE
We all feel that way, but this is
out of our hands. Bishop will take
care of it like he always does. We
need to practice, everyone is
waiting for us outside.
Jazzy and Jamie exit the room.
INT. STONEBRIDGE RESIDENCE, HALEY’S BEDROOM - NIGHT
Inside Haley’s bedroom, a distressed Ramona lay’s on the top
of her daughter’s bed. Trevor enters the bedroom and tries
to comfort her.
TREVOR
Sweetheart you have to get some
rest.
ROMANA
I’ll rest when they find Haley.
TREVOR
The police are doing everything to
bring her back. I have faith she
will be found safe and sound. You
need you to sleep.
ROMANA
... Can I sleep in here?
(CONTINUED)
CONTINUED: 63.
TREVOR
That’s fine. If you need me I’ll be
downstairs.
Trevor kisses Romana and proceeds out of the room and closes
the door.
INT. STONEBRIDGE RESIDENCE, HALLWAY - CONTINUOUS
Trevor saunters down the hallway, he becomes distracted by
all of the pictures of Haley on the wall. A pounding sound
is heard at the front door. Trevor heads towards the living
room.
INT. STONEBRIDGE RESIDENCE, LIVING ROOM - CONTINUOUS
Trevor paces towards the door and looks through the peephole
only to see nothing. He opens the door and is shocked to
find a very frail Haley on the ground pounding on the door.
TREVOR
OH, MY GOD! HALEY!
Haley is in a state where she can’t speak. Trevor LIFTS her
off the ground and storms into the house, SCREAMING for
Romana.
CUT TO BLACK:
END OF ACT THREE
THE END
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