HANGMAN

Written by
Eli Cates

Elicates@gmail.com

FADE IN:
INTRO
EXT. ALYS HOUSE - DUSK
Unremarkable Brownstone in Prospect Park, NY.
A brand new BMW SUV parks in front, blocking a hydrant.
The driver is DR. JILL JENKINS(25). Her scrubs say Mt.
Sinai. She clicks her alarm fob and heads to Alys
FRONT DOOR.
Jill presses the old-fashioned buzzer a few times before
speaking into the mic.
JILL
Aly? Are you there? Its Jill.
Jill buzzes again and the button falls off.
JILL (CONTD)
Piece of crap.
Jill KNOCKS, peering through a small window glass. Everything
is dark. She listens, takes out a key and lets herself in.
INT. ALYS HOUSE - CONTINUOUS
Everything dark. An unpleasant smell.
Uh!

JILL

The light switch reveals the source of the smell: old, half
empty takeout boxes stacked on every surface. Empty pints of
vodka fill in the gaps.
JILL (CONTD)
(growing concern)
Aly? Aly are you here?
Jill glimpses the KITCHEN, also trashed, and heads to the
BEDROOM.
Pitch black, except for the outline of grey dusk from the
edges of a window otherwise covered in cardboard.

2.
JILL (CONTD)
(knocks on door)
Aly?
Jill finds a light switch, but this one clicks uselessly.
Shit.

JILL (CONTD)

Jill stumbles towards the window, struggling but succeeding

to tear away a swath of cardboard.
The light reveals the walls are covered in PHOTOS. Photos
from far away, taken secretly:
A MAN(40) in his luxury penthouse; the sidewalk outside;
boarding a yacht.
Some pictures of his DAUGHTER(15), dressed Goth: Smoking on a
balcony; shouting at her father.
Jill notices one PICTURE features her, sharing a glass of
wine in the Mans apartment.
JILL (CONTD)
What the fJill follows the row of pictures, when she notices ALLISON
ALY EVERS(25), sitting in the corner, her hair dyed black.
ALY holds a gunmetal REVOLVER in her hand, pointing it at
Jill.
Jill freezes. Aly pulls the trigger. The gun CLICKS on an
empty chamber. Jill GASPS.
JILL (CONTD)
OH MY GOD WHAT THE HELL!?
Bang.

ALY

JILL
Are you crazy!? Put the gun down!
ALY
Its empty.
Aly puts the gun to her temple and pulls the trigger. CLICK.
CLICK. CLICK.
See?

ALY (CONTD)

3.
JILL
(starting to cry)
Can you put the freaking gun down?!
Please!
ALY
(puts the gun on floor)
Fine.
Jill sits on the bed, wiping a few stray tears.
JILL
Why do you have a gun Aly?
ALY
Dont worry. I dont have any
bullets.
JILL
Dont worry! This is the maximum
polar opposite of dont worry!
ALY
A lot of people have guns.
JILL
You havent answered your phone in
weeks. Your house looks like the
fast food apocalypse. You told your
boss: eat me you fat bastard.
ALY
Lawyers are evil. You said so
yourself.
JILL
Your bedroom is wallpapered with
secret pictures of Hollis! What the
hell?!
ALY
I got one of you.
JILL
I told you we were friends.
Clearly.

ALY

JILL
Aly what is going on? Did something
happen? Did something happen with
Hollis?

4.
ALY
Why would you say that? Im fine.
Im great.
JILL
Clearly Let me take you to the
hospital. You can talk to someone.
Youll feel better.
ALY
Im talking to someone right now.
Its not helping.
JILL
Please Aly. Were friends. I care
about you.
Aly checks her watches, gets off the floor, and begins
packing a bag. In go the GUN, a CAMERA, SCREWDRIVER.
ALY
You have to get out. If you break
in again Ill shoot you.
JILL
Dont say that!
(grabbing Alys arm)
Where are you going?
ALY
(shaking Jill off)
To buy bullets.
Aly rushes out with Jill in pursuit.
EXT. ALYS HOUSE - CONTINUOUS
Aly hails a CAB, Jill unable to prevent her.
Aly stop!

JILL

INT. YELLOW CAB - MOMENTS LATER

Midtown.

ALY

The CAB DRIVER clicks the meter and pulls away without a
word. Through the rear window, Jill confronts the METER MAID
writing her SUV a TICKET.

5.
Aly settles in as the NY city lights wash over the glass.
ACT ONE
EXT. AVANTE TOWERS - NIGHT
Tony Midtown. Rents starting at five figures.
The CAB stops. Aly hands over some cash and exits.
Nice tip.

CAB DRIVER

Aly flips him off and the cab peels out. Aly pulls up her
hood and crosses the street, the Avantes luxuriant spotlit
facade behind her.
I/E. MANHEIM BUILDING - MOMENTS LATER
Just down the street. An older, Gothic high-rise. The bottom
floor occupied by the
GOTHAM CAFE.
Aly enters, skipping the line and heading towards the
restroom in back. She pulls out her screwdriver and hides it
in her sleeve. Past the restroom a
DOOR: EMPLOYEES ONLY.
Alys shoves the screwdriver in the jam and pops it easily.
STAIRWELL
Dark, dusty, disused. Alys feet beat a rhythm to the top.
I/E. MANHEIM BUILDING ROOFTOP - MOMENTS LATER
A flushed Aly ignores the KEEP OUT sign and slams her
shoulder into the metal door, emerging out to the roof.
Aly takes position in the far corner and crouches against the
wall, SKYLINE beyond her.
Directly opposite her is Avante Towers PENTHOUSE. This is
where she takes most of her pictures. She pulls her CAMERA.
CAMERA VIEW - AVANTE PENTHOUSE

6.
The Goth DAUGHTER from her photos - LILY(15) - is on the
balcony, smoking a cigarette, watching the street below.
Suddenly shes startled, stubs out her cigarette. She flings
it away, trying to wave away lingering smoke.
The MAN from the pictures appears. Its HOLLIS WILSON(40),
Lillys dad. Hes clearly incensed by the smoking.
The camera shutter CLICKING.
A violent argument. Lilly storms off.
Hollis looks out at the Skyline for a moment [CLICK], before
returning inside, pouring a drink, watching TV.
ROOFTOP
The camera goes down. A ways down the street, a LIMO pulls to
a stop. A dangerous looking MAN emerges, dressed in black.
The Limo pulls away.
CAMERA - STREET VIEW
His name is CHRIS(35). Former Spec Ops, and other various
things its illegal to talk about. He heads to underground
garage GATE.
Chris pretends to talk on his PHONE as the foot traffic
clears. [CLICK].
Then he moves his phone across the Gates electronic lock.
The Gate opens and he slips inside. [CLICK].
BACK TO:
ROOFTOP
Alys phone starts to ring. Its Jill.
Shit.

ALY

She ignores it. A TEXT follows:

Jill: Did you buy bullets?
Aly:

Yes.

Jill: Im calling the police. You need help.

7.
Aly begins to text FU but the LIMO returns, piquing her
interest.
CAMERA - STREET VIEW
Chris emerges from the garage, carrying two bags of trash.
[CLICK]. The Limos trunk opens, and the trash is thrown in.
Chris gets in the back seat and the Limo drives away [CLICK].
BACK TO:
ROOFTOP
Aly sets the camera down on the wall and examines her photos
on the viewscreen. Details of: Chriss face; his fake phone
call; the trash bags; the Limos license plate.
CHRIS (O.S.)
Enjoying the view?
Aly spins around in shock. A person caught being naughty.
Chris is standing casually, leaning against a heating duct.
CHRIS (CONTD)
Nice camera.
Aly tucks her camera into her bag, surreptitiously pulling
out her revolver, holding it hidden behind her.
ALY
I was just leaving.
Aly starts walking towards the exit. Chris leans away from
the duct, cutting her off.
CHRIS
Im gonna need you to delete those
pictures of me.
ALY
Im sorry I dont know what you are
talking about.
Aly walking towards the exit. Chris blocks her. Putting his
hand up to hold her back.
CHRIS
This can be easy or difficult.
ALY
(pulling out her gun)
Dont touch me!

8.
Chris holds up his hands in mock surrender.
CHRIS
You know thats a revolver right?
ALY
Its a magnum .357. Ill blow your
goddamn dick off if you touch me
again.
CHRIS
(puts his hands down)
The thing about revolvers is, I can
see it has no bullets.
Aly panics, throws the revolver at Chris, starts running
towards the exit. Chris calmly catches it, drops down and
sweeps Alys legs.
She sprawls to the floor, her camera hitting the ground in
front of her. The lens CRACKS.
Aly is dazed, attempting to get up, when Chris puts a knee in
her back, pinning her.
CHRIS (CONTD)
You chose difficult. I like that.
ALY
(fighting like a banshee)
GET OFF ME YOU PIECE OF SHIT!
Relax.

CHRIS

ALY
HELP! HELP ME!
CHRIS
No one can hear you.
ALY
RAPE! HES RAPING ME!
CHRIS
Just relax for a second.
Chris grabs the broken camera and ejects the memory card,
pocketing it. Then he backs off and Aly spins over, crab
walking backwards up against the wall.
CHRIS (CONTD)
You dont know it yet, but we are
going to be friends.

9.
ALY
Screw you! Youre sick.
CHRIS
You didnt let me finish.
ALY
What do you want?!
CHRIS
This same as you. Hollis Wilson.
ALY
What do you want with him?
CHRIS
Same as you.
ALY
I dont think so.
CHRIS
An eye for an eye.
(checks revolver cylinder)
But you carry an empty gun.
Chris pulls out a business CARD and writes a time and
address on it.
CHRIS (CONTD)
Let me buy you lunch. I think we
can help each other. I fix problems
like yours for a living. You dont
have to live like this.
Aly doesnt budge so Chris places the card on the ground,
placing the gun on top as a paperweight.
Chris exits down the stairwell. Aly watches the door close
then wipes her tears away.
INT. ALYS BEDROOM - MORNING
Aly asleep in her bed, wearing clothes from the night before.
POUNDING on the front door.
COP (O.S.)
POLICE! OPEN THE DOOR!
ALY
(stirring awake)
Shit.

10.
She gets to her unsteady feet, grabbing a mostly empty pint
of Vodka, and heads to the door.
I/E. FRONT DOOR
COP about to pound again, interrupted as Aly opens the door.
COP
Allison Evers?
ALY
In the flesh. Whatd I do now?
COP
Hopefully nothing.
ALY
Sounds about right.
COP
(re: Vodka)
Would you mind putting that down?
Aly takes a slug of Vodka.
COP (CONTD)
(sighs)
We got a call from a friend of
yours.
ALY
That bitch is not my friend.
COP
Shes worried about your safety,
Miss Evers. Do you own a gun?
ALY
Is that illegal now?
COP
Did you recently buy a gun?
ALY
I support the Bill of Rights.
COP
Maybe we can talk inside?
No thanks.

ALY

11.
COP
Are you having any thoughts of
hurting yourself?
ALY
Not myself.
COP
Are you thinking about hurting
someone else?
ALY
Let me see people who dont mind
their own business. People who ask
stupid questions. People who pound
on my door when Im trying to
sleep.
COP
You seem very agitated, Miss Evers.
ALY
Im hungover, alright. Thats when
you drink too much alcohol the
night before
COP
I know what it is.
(fishes out card)
This is the card for the Citys
mental health line. Call if you
need to talk to someone. 24/7.
ALY
(takes card)
So is there anything else?
No-

COP

Aly slams the door closed, wincing in pain at the noise.

INT. ALYS HOUSE
Aly trudges back to the
BEDROOM.
She puts the Mental Health card on her desk. She notices
Chriss business card and picks it up. On the back, the
handwritten address and time. On the front, a NOOSE and a
name:

12.
HANGMAN P.I.
212-555-HANG
Aly rubs her finger over the embossed Noose, then grabs her
laptop.
She types Hangman Private Investigator into Google.
Nothing. She tries the phone number. Nothing.
Aly flips the card over and tries the handwritten address.
Google has a result: Samurai Sushi.
Aly checks her watch, then looks the pictures of Hollis. She
swigs the last of the Vodka and starts getting ready.
EXT. LITTLE TOKYO - DAY
Japanese symbols adorn the shops and restaurants. A farmers
market lines the sidewalks.
A CAB stops and Aly exits. Address labels and Samurai Sushi
are nowhere to be found.
ALY
(hands money)
Are you sure this is it?
But the Cab is already leaving. She approaches a STREET
VENDOR(65), moving squirmy frogs from a bucket to a tank.
ALY
(shows business card)
Can you help me? Im looking for
this address.
STREET VENDOR
(heavy accent)
No English.
ALY
Its a Sushi restaurant. Sushi?
STREET VENDOR
You buy frog? Top fresh. Ten
dollar. Good strong for you.
ALY
No thank you.
STREET VENDOR
Eight dollar. Lucky day.

13.
ALY
No! No frogs.
Aly flips the card over, pulling out her phone to dial the
number on the face, when the Street Vendor glimpses the
NOOSE. He grabs her hand and pulls it close for examination.
Aly jerks her hand away.
Hey!

ALY (CONTD)

The Street Vendor holds up his hands in surrender.

STREET VENDOR
(pointing at card)
I know. I know. You wait.
The Street Vendor shouts Japanese orders to a STOCK BOY (15),
who approaches demurely. Quietly, the Street Vendor relays
further foreign instructions. Satisfied, he turns to Aly:
He show.
Thank you.

STREET VENDOR (CONTD)

ALY

The Street Vendor bows.

STOCK BOY
(no accent)
This way.
He leads Aly down the street to a red door, adorned with a
Japanese symbol. He holds the door open for her, a dark
hallway behind.
ALY
(hesitant)
This is it?
STOCK BOY
Best Sushi in Little Tokyo.
ALY
What does that symbol mean?
STOCK BOY
Kishi kaisei. Its Japanese.
ALY
What does it mean in English?

14.
STOCK BOY
There is no exact English.
Something like: Wake from death,
return to life.
ALY
Are you serious?
STOCK BOY
Its just a saying.
(Holds out inviting hand)
Please.
INT. SAMURAI SUSHI - CONTINUOUS
The dark hallway opens into a small Izakaya style sushi
restaurant. A wooden bar fronting a single Sushi CHEF(35),
dimly lit with traditional Japanese lanterns.
Aly looks but Chris is not here.
The handful of GUESTS [all male] and the Chef examine the new
arrivals, quietly suspicious of the gaijin.
A Japanese HOSTESS(20s) quickly approaches.
HOSTESS
You must be Miss Evers. Welcome! We
are expecting you.
The Hostess says polite Japanese to the Stock Boy, who bows
and leaves.
HOSTESS (CONTD)
Please. Come with me.
ALY
Im supposed to meet someone.
HOSTESS
Of course. Chef Morimoto-san has
prepared a private table for you
and your guest. Follow me.
SAMURAI SUSHI BACKROOM - CONTINUOUS
Beautiful fish tanks line the walls. Exotic fish, octopus,
crabs swim about. Blue and green ambient light set an
underwater mood.
The centerpiece is a classic bamboo sushi TABLE, chairs on
one side and chefs platform on the other.

15.
Behind the table is Master Chef MORIMOTO (65). Hes dropping
bits of food into the PUFFER FISH tank, who swim and nibble.
Morimoto replaces the lid and faces his guests. He speaks
curt Japanese to the Hostess, who bows and leaves. Then he
looks at Aly, and his face breaks into a cheerful grin.
MORIMOTO
Welcome! Come! Come!
Morimoto hustles around to pull the chair out for Aly.
MORIMOTO (CONTD)
Please make yourself my home.
ALY
Uh, thank you?
MORIMOTO
You like Sashimi?
I guess.

ALY

MORIMOTO
No guessing. Yes or no?
ALY
Actually Im suppossed to meet
someone.
Chris enters silently, dressed in a suit, carrying a small
gift wrapped present in his hand.
MORIMOTO
Speaking like the devil.
CHRIS
Speak of the devil.
MORIMOTO
Speak of the devil.
CHRIS
Im teaching him idioms.
(shaking Alys hand)
My names Chris. Sorry Im late.
Aly.

ALY

MORIMOTO
Late is never better.

16.
Chris sits.
ALY
I just got here. Not the easiest
place to find.
CHRIS
Thats what makes it good.
Morimoto moves to a side tank to retrieve a small octopus.
Chris gives the present to Aly.
For you.

CHRIS (CONTD)

ALY
(awkward)
Okay.
Open it.

CHRIS

Aly unwraps it. A box of .357 magnum bullets. Shes shocked.

ALY
Jesus Christ. What the hell?
CHRIS
They go in your gun.
No shit.

ALY

Morimoto retrieves a writhing octopus and returns to the

table. Aly hides the bullets under the table, out of sight.
Chris grabs the bullets from Alys lap and puts the box on
the table. Aly holds her hands out in exasperation, pointing
at the chef. But Morimoto is busy with the octopus.
CHRIS
He doesnt care. Its a reminder
why we are here.
Morimoto dishes octopus legs on a plate and serves.
Thank you.

ALY

Morimoto bows and Chris gracefully arranges the black lacquer

chopsticks in his hand. Aly follows suit, but clumsy.
CHRIS
This is the good part.

17.
Morimoto pours soy sauce over the legs, which begin to writhe
as if alive.
Oh god.

ALY

MORIMOTO
Kishi kaisei.
CHRIS
Life where there was death.
(eats a wriggling leg)
Yum.
ALY
Yeah, I dont think so.
CHRIS
You threaten to shoot a man, but
youre scared of a piece of fish?
Irked, Aly steels herself and puts a leg in her mouth. It
squirms out and she pushes it back in, gagging. But she
swallows.
ALY
Octopus are cephalopods, not fish.
Morimoto smiles. Then he looks at Chris, who nods subtly.
Morimoto moves to the special tank to retrieve a PUFFER FISH.
ALY (CONTD)
So, the reason we are here.
CHRIS
Im a private investigator.
ALY
Youre investigating Hollis. Why?
CHRIS
I think you know.
ALY
I have an educated guess.
Morimoto returns with a puffer fish, puffed up like a
balloon. He begins to cut and the fish shrinks back down.
CHRIS
The fugu fish is the rarest of
Japanese Sashimi. A chef must train
for six years before he is allowed
to prepare it.

18.
Morimoto expertly slices the fugu and presents it.
ALY
Are we waiting for it wriggle?
CHRIS
No. Go ahead.
Aly eats a piece of fugu fish.
Its good.

ALY

She tries another.

CHRIS
For the final test, the chef must
prepare fugu for himself. If he
lives, he passes.
A strange look crosses Alys face.
ALY
Why wouldnt he live?!
CHRIS
Youre are about to find out.
ALY
Oh my god. What did you do?
(touches face)
I cant feel my face! I cant feel
myAly freezes mid sentence, paralyzed. Chris lifts her from her
chair and lays her on the floor, arms out flat like a cross.
Morimoto provides a cloth for a pillow.
CHRIS
You are dying Aly. My voice is the
last thing you will hear in this
life.
Tears flow down from Alys eyes, the rest of her completely
still.
CHRIS (CONTD)
I know this is what you want. The
gun was a way out. Your soul is
dead, rotten. Your body is a prison
of flesh. A ghost, haunting this
world. Let it all die.
(MORE)

19.
CHRIS (CONTD)
Kishi kaisei. Life where there was
death. Today you are reborn.
SMASH CUT TO:
INT. HOLLISS DUNGEON - NIGHT
Hollis handcuffing Alys paralyzed hands to the cross bar of
a wooden TRESTLE, mimicking her position on the floor of the
Restaurant.
After her wrists are secured, Hollis begins to remove her
clothes, pulling her strapless dress down.
ALY (V.O.)
(sotto)
No no no no no no.
MORIMOTO (V.O.)
Kishi kaisei.
CHRIS (V.O.)
Life where there was death.
Aly begins to shake her head.
ALY
No. NO! NOOO!
Aly rips her hands through the cuffs. She grabs Holliss
head, springing forward, smashing her forehead into his nose.
ACT TWO
INT. SAMURAI SUSHI BACKROOM
Aly sits up in a jolt, GASPING huge breaths of air.
ALY (CONTD)
(smiling through tears)
Im alive.
MORIMOTO
Yes. Merry birthday.
ALY
Wheres Chris?
Morimoto points towards the exit.
MORIMOTO
You call him.

20.
Aly gets up, packs the bullets in her bag and leaves.
INT. SAMURAI SUSHI - MOMENTS LATER
The front restaurant is empty when Aly walks through, down
the dark hallway, opening the red door to glorious sunlight.
EXT. LITTLE TOKYO - CONTINUOUS
Aly swallowed by the crowd. She looks back and forth, moving
to the curb for better vantage, next to a parked LIMO.
Chris is nowhere. Aly pulls her phone, dials the number on
the business card.
Hello?

VERA (V.O.)

ALY
Hello? I need to talk to Chris.
Now.
VERA (V.O.)
Im afraid he is unavailable at the
moment.
ALY
Unavailable?! I was just with him.
That bastard almost killed me!
VERA (V.O.)
I can assure you Miss Evers, Chris
has never almost killed anyone.
ALY
Miss Evers? Who the hell is this?
VERA (V.O.)
You can call me Vera. Im the owner
of Hangman Investigations. Chris
works for me, as I hope you will.
Im told we have a common interest.
ALY
Look Vera, I dont know who you
freaks are but I dont need anymore
of this shit.
The rear Limo window rolls down, revealing VERA(45),
immaculately dressed. She could be on her way to a ball.

21.
VERA
I know youve been through a lot.
This is where things get better.
Let me give you a ride. We can
talk.
ALY
I have a gun.
VERA
And now you have bullets. Ill even
show you how to load them.
Vera nods to her driver. COX(35) emerges, intimidating former
Green Beret. He opens the door for Aly.
Aly gets in. Cox returns to the driver seat.
VERA (CONTD)
(presents bottle)
Champagne? 89 Dom Perignon. I find
it goes well with near death
experiences.
ALY
Youre crazy Ill take a glass.
Vera expertly pours as the Limo drives off.
VERA
(handing glass)
How are you feeling?
ALY
Happy to be alive, which is
strange. But Im never eating at
that place again.
VERA
A minor tragedy.
ALY
Being alive?
VERA
I was referring to the Sashimi.
Morimoto used to be the personal
chef of the Japanese royal family.
ALY
I can see why they fired him.

22.
VERA
I gave him a raise. Now about the
case. A few weeks ago, a client
contacted me. Thomas A. Cohen. Do
you recognize the name?
ALY
The hedge fund guy?
VERA
The hedge fund guy.
Vera unlocks an IPAD and hands it to Aly. It shows a picture
of a young blonde WOMAN(21).
VERA (CONTD)
Mr. Cohens daughter: Wendy.
ALY
What happened to her?
VERA
Her friends arranged her on a blind
date. Go to the next picture.
Aly swipes the IPAD. The pictures is a mugshot of Hollis
Wilson.
ALY
Dear god I knew it.
VERA
Wendy went to the police. Her dad
brought some pressure, and Hollis
was arrested. He made bail the same
day.
ALY
Is there a trial?
VERA
Thats the problem The day Wendy
was scheduled for questioning, she
disappeared. Its been six weeks.
Without her testimony, the police
dismissed the charges.
ALY
You think he killed her?!
Vera motions to swipe. Aly complies. A picture of Holliss
bedroom, spots outlined on the hardwood.
The picture jogs something traumatic from Alys memory.

23.
VERA
The police found blood in Holliss
bedroom. But it had been exposed
to bleach. They were only able to
determine it belonged to a female.
ALY
(swiping back to Wendy)
This could be me.
VERA
You share a certain resemblance.
ALY
What can I do?
VERA
I need all the surveillance you
have on Hollis. Ill send a car for
you tomorrow at nine and well plan
a strategy. Dont be late.
ALY
Late is never better.
Quite so.

VERA

Vera nods to Cox, who comes around and opens Alys door.
VERA (CONTD)
Its been a pleasure Miss Evers.
ALY
Likewise. Well, mostly.
EXT. ALYS HOUSE - CONTINUOUS
Aly steps out and Cox closes the door.
Thank you.

ALY

Cox nods.
PORCH - CONTINUOUS
LANDLORD(55) is taping eviction NOTICE to Alys door.
ALY (CONTD)
(re: the notice)
Shit. Just give it to me.

24.
LANDLORD
By law, I have to attach it to the
door.
Aly sighs, waits impatiently as the Landlord finally gets the
notice taped.
ALY
Are you done?
Yeah.

LANDLORD

Aly rips the notice down.

LANDLORD (CONTD)
You have 14 days.
ALY
I can read.
LANDLORD
You know, if you wanna come over
later, I can think of a few ways
you can work off some of that rent.
ALY
Gross. No. Youre disgusting.
Someone taps the Landlord on the shoulder. Its
Excuse me.
Yeah?
How much?
What?

COX
LANDLORD
COX
LANDLORD

COX
How much rent does she owe?
LANDLORD
Two months. Thats almost four Gs.
Cox hands the Landlord a bundled stack of $100s.
COX
This is for the next year. Use the
change and buy a new doorbell.

25.
ALY
Oh my god. You dont have toCox holds up his hand to silence her. Landlord is counting
the money.
COX
One more thing. If I hear you are
rude to Miss Evers again, I will
kill your family and I will make
you watch.
LANDLORD
What? Im sorry I didnt mean
COX
Leave. Now.
Landlord scurries off. Alys in shock.
Thank you.

ALY

COX
Thank Vera. Shes the boss.
Cox returns to the Limo and Aly waves as it drives off.
INT. GLASS ELEVATOR - MORNING
Minimalist, modern and sleek, like the building it services.
Aly and Cox stand shoulder to shoulder, as the elevator
ascends. Near the top, the elevator emerges from the shaft,
continuing along the building exterior. Sunlight floods in.
Aly turns and gazes out.
ALY
You can see the Statue of Liberty
from here. I took a field trip
there in fifth grade.
COX
Fascinating.
ALY
Did you know it was a gift for
abolishing slavery?
Yes.

COX

26.
ALY
You dont say much.
COX
Words arent worth much.
The elevator stops at the top floor, the door slides open.
COX (CONTD)
After you, Miss Evers.
INT. HANGMAN INVESTIGATIONS HQ - CONTINUOUS
Windows overlook the city. Offices, briefing rooms. All high
class, Uptown. Aly gawks.
COX
Follow me please.
The gawk disappears and Aly follows him to a
BRIEFING ROOM.
Hi-rez displays cover the walls, surrounding a luxuriant
conference table and chairs. Sitting alone is the Hostess
from Samurai Sushi - EVELYN LEE (24), looking different in
makeup and classy attire.
EVELYN
(standing)
Hi. Im Evelyn.
Evelyn offers her hand and Aly shakes, while Cox ducks out.
EVELYN (CONTD)
Have a seat.
Aly sits.
ALY
Youre the hostess from the Sushi
Restaurant.
EVELYN
This is my day job.
ALY
Have you ever tried the fugu fish?
Yes.

EVELYN

27.
ALY
Yes?! Did you, you know, feel like
you died?
EVELYN
It has to happen sometime.
ALY
Yeah I think once is enough though.
EVELYN
Then you only live once. Did you
bring the surveillance data?
Aly slides a thumb DRIVE across the table. Evelyn plugs it
into her LAPTOP and begins clicking. The large display comes
alive, featuring a detailed overview of the city.
Red points of interest begin to alight.
EVELYN (CONTD)
This program correlates the time
and location of your photos to
create a map of Holliss movements.
Red blips concentrated on the Avante Towers, but others
spread across the city, especially the nightclub district.
EVELYN (CONTD)
He seems to like the nightlife.
ALY
Thats Aurora. That nightclub on
top of the Regency. Hollis took me
there.
Im sorry.

EVELYN

ALY
I thought it would be fun.
INT. BRIEFING ROOM
Vera enters. Aly gets to her feet. They shake.
VERA
Miss Evers, welcome.
ALY
Thank you. And I need to thank you
for yesterday. That was so-Vera holds up a hand, silencing her.

28.
VERA
--Stop. If you work for me, youre
family. We take care of each other.
Think of it as a signing bonus.
ALY
Anyways, thank you.
VERA
Well before we get too cuddly let
me warn you I have to ask you some
things that will be difficult.
I figured.

ALY

VERA
Are you ready?
Yeah.

ALY

Vera nods at Evelyn, who starts audio recording.

VERA
Start at the beginning.
ALY
It was a blind date My friend set
me up. Shes a doctor. She met
Hollis at the hospitals Black and
White ball. Hes smart, sexy,
funny, and filthy rich, emphasis on
filthy. Thats what she said.
Whats the catch, right? He only
dates blondes, she said.
Aly touches her hair.
ALY (CONTD)
My hair was blonde then. I
shouldve known. Just a couple
drinks she said. I said yes.
VERA
Do you remember the date?
ALY
September 20.
EVELYN
The last day of summer.

29.
ALY
He picked me up in some fancy
sportscar. He seemed nice. He was
worried about his daughter being
home alone.
VERA
His daughter Lilly.
Yeah.

ALY

VERA
Isnt she almost 19?
ALY
Hollis said she had emotional
problems.
VERA
Apparently they run in the family.
ALY
We went to the Aurora. The new club
on top of the Regency.
EVELYN
High-class.
ALY
Yeah. It was. We danced, we drank.
Everyone was beautiful. It was
exciting.
Then what?

VERA

ALY
(tears starting)
I dont know.
VERA
You blacked out?
Aly nods, guilt and regret.
VERA (CONTD)
Whats the next thing you remember?
ALY
I woke up in a gas station
bathroom. I was laying in vomit. I
think it was mine.
(MORE)

30.
ALY (CONT'D)
My dress was inside out. My
underwear was missing.
VERA
You were raped.
ALY
(nods sadly)
I could barely walk.
VERA
You didnt go to the police?
ALY
I felt so ashamed. I felt dirty.
Some of it was my fault. I drank
too much, I wasnt keeping track,
with a guy I barely knew. Didnt
know at all, actually.
VERA
It wasnt your fault. You didnt
drink too much. You were drugged.
What?

ALY

VERA
Chris found an empty pill bottle in
Holliss trash Rohypnol.
EVELYN
AKA the date rape drug. Dissolves
tasteless in water. It causes
extreme pliability and memory loss.
Oh my god.

ALY

VERA
Whats scarier is Hollis has gone
through a whole bottle. At least
one.
ALY
Im gonna kill him.
VERA
No. Thats illegal. We are going to
break into his penthouse and find
proof.

31.
ALY
Break in to his place? Thats
illegal.
VERA
Its more like trivial, really.
Chris is uniquely qualified to deal
with such matters.
EVELYN
According to your surveillance,
Hollis leaves for extended periods
every Saturday night.
ALY
He takes a yacht out with his Wall
Street cronies and a bunch of
hookers. I think they play poker,
when theyre not, you know
VERA
Perfect. That leaves the problem of
getting Lilly out.
Evelyn types, and purple dots appear on the map, one on top
of the other, all centered on Avante Towers.
EVELYN
She never leaves the apartment.
ALY
Im friends with Lilly on Facebook.
VERA
Are you serious?
ALY
I was worried about her
VERA
Do you think you can get her out of
the house?
Ill try.

ALY

Evelyn slides the laptop over. Aly signs into Facebook, finds
Lillys Goth themed profile. She clicks [Send Message].
INT. BMW - NIGHT
Sixth Avenue, Midtown. Parked across from the Avante Towers.

32.
The vanity mirror in the passenger seat sun visor is flipped
open. Aly applies black lipstick. Shes dressed head to toe
Goth.
Chris is in the driver seat, dressed stylish and dark.
CHRIS
Youre not mad?
ALY
I should be.
CHRIS
St. Bartholomew said death is the
only escape from Limbo.
ALY
Oh yeah, whats a little poison
among friends?
(imitation male voice)
We totally pranked her, bro. She
totally thought she was dying. LOL.
CHRIS
Technically, it was toxin, not
poison.
ALY
I feel so much better.
(finishing lipstick)
Do I look sufficiently Goth to you?
CHRIS
The point is to look like a
vampire, right?
ALY
Its Goth. You know the kids in
school who always wear black? Doc
Martins Guyliner?
Chris shrugs.
ALY (CONTD)
Listen to Nine Inch Nails. Hate the
World?
CHRIS
Seems like a natural fit. Very
believable.
Thanks.

ALY

33.
Chris pulls out the FAKE ID featuring Lillys picture, gives
it to Aly.
CHRIS
Heres Lillys ID.
ALY
(reading name)
Matilda Devereaux.
CHRIS
Evelyn chose it. Shes into
Victorian romance right now.
ALY
It looks perfect. She even got the
hologram.
CHRIS
It is perfect. Just make sure Lilly
hides the original. Getting caught
with both could be trouble, with
all the Homeland Security bullshit
going on.
Got it.

ALY

Down the block, on the opposite side of the street, a parked

Dodge CHARGER flashes its headlights.
AVANTE TOWERS GARAGE
Holliss PORSCHE exits, driving past the BMW. The Charger
lights up and follows the Porsche, Cox behind the wheel.
BMW
CHRIS
Its time you ready?
ALY
I think so.
CHRIS
No guessing.
Im ready.

ALY

Chris exits the BMW. Aly slides into the driver seat. Dials
phone.

34.
ALY (CONTD)
(into phone)
Lilly? Its Tonya Hey You ready
to have some fun?
INT. AVANTE TOWERS LOBBY - MOMENTS LATER
The elevator CHIMES and Lilly emerges. Shes sullen, distant,
reticent. Goth inside and out.
DOORMAN
Do you need me to send some food up
Miss Wilson?
LILLY
No. Im going out.
DOORMAN
Oh. Well have fun. Do you need a
cab?
No.

LILLY

Lilly arrives at the Lobby DOOR as Chris approaches from

outside. He holds the door open.
After you.

CHRIS

LILLY
(sarcastic)
Thanks.
As she passes, Chris is secretly operating a scanner on his
phone, learning the electronic signature of Lillys key card.
Inside Chris waves cheerily to the Doorman.
CHRIS
Hows it going?
DOORMAN
Good. Thank you sir. Visiting?
CHRIS
Yes. Bethany Andraste, 1401.
Chris hands the Doorman a fake ID, who swipes it through a
reader. An affirmative BEEP.
DOORMAN
Go ahead sir.

35.

Thank you.

CHRIS

ELEVATOR
Chriss phone hacks the key card reader.
Penthouse.

ELEVATOR VOICE (V.O.)

The Elevator starts to rise.

INT. BMW - MOMENTS LATER
In front of Avante Towers.
On her phone, Aly starts a playlist called Goth music.
Dark, moody synthesizers play Aly scrunches her face in
confusion.
She sees Lilly approaching, starts bobbing her head to the
music, putting on a Goth disinterested facade.
Aly rolls down the window.
Hey.
Hey.
Get in.

ALY
LILLY
ALY

Lilly gets in.

ALY (CONTD)
You like Sisters of Mercy?
LILLY
Theyre pretty good.
Totally.

ALY

Aly turns up the music: Sisters of Mercy - Lucretia My

Reflection.
ALY (CONTD)
(rocking away)
Hell yeah.
Lilly smiles.

36.
ALY (CONTD)
Lets do this.
The BMW drives off.
CUT TO:
INT. AVANTE TOWERS TOP FLOOR - MOMENTS LATER
FOYER between the Elevator and the Penthouse.
Chris exits the Elevator, looking around. No cameras. A side
hallway leads past the trash chute to the fire escape.
Chris dons a pair of blue latex GLOVES, then examines the
trash chute, shining his flashlight down.
With a click, the light flicks to ALS. (Alternative Light
Source - Blacklight used to detect body fluids.)
The chute is clean.
Chris moves to the door. All quiet. Tries the handle. Locked.
He pulls out a lockpick and the door is open within seconds.
PENTHOUSE SUITE
The pinnacle of luxury. Glass walls look out over the city.
Sleek leather furniture. High end electronics. Atmosphere
controlled wine and cigar storage. Conspicuous wealth.
Chris takes in the scene, examining a happy painting of
Hollis and Lilly gracing a wall. Lilly looking younger,
different, her hair blonde.
BACK TO:
INT. BMW
The girls driving through Midtown. Windows down. Goth music
playing: Sisters of Mercy - This Corrosion.
Nice ride.

LILLY

ALY
Its my dads.
LILLY
He lets you drive it?

37.
ALY
He didnt say no.
LILLY
Can I smoke in here?
ALY
Screw it. Why not?! But you have to
give me one.
Lilly lights a cigarette, gives it to Aly. Lights one for
herself.
ALY (CONTD)
Im glad you came. I dont have
many friends.
LILLY
Tell me about it
ALY
Everyone I meet is just so totally
fake.
LILLY
Oh my god. Totally.
ALY
Like if everything is so damn
perfect, then why are blowing up
kids in Iraq? Why are we poisoning
the whales with global warming?
LILLY
Its reality TV. They made it to
brainwash us. They call it real and
everyone thinks its real but its
not. Its a false reality. So
people wont question real reality.
ALY
Wow. Youre totally right.
LILLY
Most people are zombies. Sheep to
the slaughter.
Beat.
ALY
Screw the Cardasians!

38.
Aly takes a long drag, exhaling blue smoke out the window.
CUT TO:
INT. PENTHOUSE
Chris opens the first door along a hallway.
BATHROOM
Chris checks the drawers, then the medicine cabinet. A
prescription pill bottle: Lilly Wilson - Prozac.
LILLYS BEDROOM
Black clothes everywhere. Goth posters on the wall.
HOME OFFICE
Chris sticks a thumb drive in a closed laptop. Flashing red
light indicates hard drive is being ghosted. Meanwhile Chris
rifles through a file cabinet. Nothing interesting.
Thumb drive light switches to green and Chris removes it.
MASTER BEDROOM
Stunning view of the skyline, night lights pouring in.
to a bathroom, walk-in closet.

Opens

Chris searching. Nightstand; under the bed Nothing.

He checks the bathroom. A prescription for Viagra.
Chris activates a keypad next to the grand window. The
electrostatic glass turns black, throwing the room into
darkness.
Chris switches his flashlight to ALS. Faint spots lead to the
WALK-IN CLOSET.
More faintly glowing drops. Chris turns on the light and
searches. Armani suits, Heuer watches, etc. But nothing
suspicious, when Chris feels something under his foot.
He gets down on his hands and knees, feeling the wood floor
with his fingertip
He exhales, the condensation from his breath highlighting a
groove in the floor.

39.
Chris on his feet, searching for the trigger.
the underwear drawer

Finding it in

The back wall of the closet swings open, revealing a steel

VAULT door, big time bank style combination lock sealing it
closed.
Shit.

CHRIS
ACT THREE

INT. BMW - LATER

The girls parked in a Midtown lot.

The nightlife district.

Aly opens her purse and hands Lilly the fake ID.
LILLY
Margaret Devereux.
ALY
Margo might be easier.
LILLY
No. I like it. It's a vampire name.
ALY
I need your other ID. Getting
caught with two is bad. Its like
the Patriot Act or something.
LILLY
You mean the Fascism Act.
Totally.

ALY

Lilly hands over her real ID.

Aly opens the center console and hides it inside. Something
else is already in there an empty pill bottle.
Aly takes it out, reads the LABEL Hollis Wilson
Rohypnol
Rx: Dr. Jillian Jenkins
Alys eyes go wide.
LILLY
Whats in there?

40.
ALY
(recovering)
My Dads medicine.
LILLY
Anything fun?
ALY
(shakes container)
Its empty.
Too bad.
Totally.

LILLY
ALY

Aly stuffs the pill container back and closes the console.
ALY (CONTD)
You ready? I need a drink.
Lilly nods and the girls exit the car.
EXT. NIGHTSHADE CLUB - MOMENTS LATER
Goth themed Various patrons dressed in mostly black
congregate outside, smoking.
BOUNCER checks the girls IDs. They enter without a fuss
beyond a few hungry male stares.
INT. NIGHTSHADE - CONTINUOUS
Macabre decorations. Clubbers in black haunting the dance
floor. Goth dance music pulsing. Lilly overwhelmed by the
sensory onslaught.
Aly takes Lillys hand.
ALY
(shouting to be heard)
Come on!
THE BAR
The girls take seats at the end. The music quieter here. The
BARTENDER (25) approaches. Shes dressed as the Evil Queen
from Snow White.

41.
BARTENDER
Hello my pretties. What is your
poison?
Lilly looks to Aly, clueless.
ALY
Two shots of Jager. Doubles.
BARTENDER
Lovely choice.
The Bartender arranges two shot glasses. Expertly pours the
jet black Jagermeister. Slides the glasses in front of the
girls.
Aly puts a hundred on the bar.
ALY
Keep it. You can leave the bottle.
BARTENDER
Your wish is my command.
The bartender retrieves the cash and moves on to other
customers.
Lilly sniffs her drink tentatively.
LILY
(Reading the bottle)
Jagger meister? Smells like
licorice.
ALY
Its German. It means master of the
hunt. Its good for you.
Lilly raises her black painted eyebrows. Aly raises her
glass.
Cheers.

ALY (CONTD)

They tap glasses. Aly throws back her shot, like water. Lilly
does the same, coughing.
LILLY
Pretty good.
Aly pours two more shots.

42.
INT. PENTHOUSE
LIVING ROOM
Chris lays one of Holliss massive tower speakers flat on the
floor, pulls out his multi-tool, and unscrews the 12 inch
bass driver. He quickly removes the driver from the cabinet,
and a length of wire.
WALK-IN CLOSET
The back of the bass driver is a huge magnet. Chris attaches
it to the VAULT DOOR, above the combo DIAL.
Chris reaches up to unscrew the closets smoke detector. Hes
after the 9 volt battery. Using the speaker wire, he attaches
the battery to the bass driver, static hissing during the
process, going quiet once hes finished.
Chris slowly turns the dial. Sound from the locks internal
movement is magnified through the speaker. Click, click,
click, click, click, CLINK! Hes found the first number. The
process continues until the satisfying steel CLANK of the
unlocking bolt is heard.
The Vault Door opens, revealing a dark concrete dungeon.
CHRIS
Open sesame.
EXT. NIGHTSHADE BAR
The girls outside smoking. Lillys drunk. Aly not so much,
checking her watch.
ALY
How you doing?
LILLY
Jagermeister is my new best friend.
ALY
But you just met.
LILLY
I dont care.
ALY
That sounds like a healthy
relationship.
LILLY
Is there any other kind?

43.
Aly shrugs, no answer.
LILLY (CONTD)
Not being sad is pretty cool. Right
now I dont even care the world
sucks.
ALY
Not everything sucks.
LILLY
I meant humans suck. Jager does not
suck.
A DRUNK GUY (25) approaches.
DRUNK
Hello ladies.
ALY
What do you want?
DRUNK
I'm just being friendly. Can I bum
a smoke?
Lilly gives him a cigarette.
DRUNK (CONTD)
Can I borrow a light?
Lilly gives him a lighter.
DRUNK (CONTD)
I dig your outfits. Are you guys
like supposed to be vampires?
ALY
Are you retarded?
DRUNK
(To Lilly)
You look like the evil vamp chick
from Twilight.
ALY
Sorry to break this to you, but you
know that movie was actually NOT A
TRUE STORY?!
DRUNK
Its cool. You still look hot

44.

Thanks.

LILLY

DRUNK
My Place is right down the street.
We can take this party back there,
get a little freaky. Ill let you
drink my blood, and maybe some
other bodily fluids if you know
what I mean.
ALY
(pulling Lilly)
We have to go.
The DRUNK puts his arm around Lilly, pulling her close. She
freezes.
DRUNK
(into Lillys ear)
I know you are a bad girl. I bet
you like it rough.
Rage burns in Lillys eyes. She shoves the glowing end of her
cigarette into the Drunks neck. He SCREAMS.
LILLY
DONT TOUCH ME! DONT EVER TOUCH
ME! ILL KILL YOU! ILL KILL YOU!
DRUNK
You crazy bitch!
Lilly runs off, Aly pursues.
ALY
Lilly wait!
Lilly flags down a cab as Aly catches up.
ALY (CONTD)
Where are you going?
LILLY
(crying)
Home.
ALY
(grabbing Lillys arm)
Let me give you a ride.

45.
LILLY
(shaking Aly off)
Dont touch me! I want you to leave
me alone.
ALY
Lilly, Im your friend.
LILLY
Youre not my friend. I didnt want
to come tonight. You made me! Look
what happened!
Im sorry.

ALY

But Lillys already gotten into the cab. The door slams
closed and the cab takes off.
ALY (CONTD)
(sotto)
Shit.
Aly grabs her phone and calls Chris.
INT. CONCRETE DUNGEON
Inside the Vault, gray walls lead into darkness. Chris clicks
on his flashlight and explores.
A wooden TRESTLE with cross beam - handcuffs built into the
extremities.
A stainless steel gynecological TABLE with stirrups and
restraints.
Chris finds a light switch, illuminates the scene in cold
fluorescent, revealing an old fashioned steamer style TOY BOX
in the corner.
Chris digests the sight when his phone vibrates:
CHRIS
(into phone)
What?!
ALY(V.O)
Lilly bailed. Shes heading home.
How long?

CHRIS

46.
ALY
Ten minutes. Maybe fifteen Did you
find something?
Yes.

CHRIS

Chris hangs up and checks his watch - 10:11pm. Using his

phone, he takes quick pictures. The TRESTLE, the TABLE, the
TOY BOX.
The phone goes away and the lockpick comes out as Chris
kneels at the Toy Box. The padlock is new, heavy duty
titanium. His attempts to pick it fail.
CHRIS (CONTD)
(sotto)
Goddamn it.
He puts the flashlight in his mouth for better light. This
time the pick finds its way home. Chris puts the lock aside
and opens the Toy Box.
His camera takes a picture. Sex toys, restraints, ball gag.
Chris shoves that stuff aside, and removes a FILE BOX.
Inside are a Toiletry Bag, a Polaroid Camera, and a Photo
Album. Chris unzips the Bag - bottles of Rohypnol,
prescribed by Dr. Jill Jenkins.
The PHOTO ALBUM is next. Chris opens it slowly, reluctant of
what he might find.
On each page, a Polaroid of a drugged womans face, wearing a
ball gag, two hairy fingers prying open her eyelids.
Presenting a glassed, drugged stare to the camera.
Next to it is a lock of blonde hair.
Chris flips pages. More women. He finds Aly, touching the
picture briefly. He flips to the last picture. Its Lilly.
PENTHOUSE ENTRANCE FOYER
The elevator opens, and Lilly emerges, her makeup smeared
from crying. She unlocks the front door and heads inside.
LIVING ROOM
Lilly heading towards her bedroom when she sees the disabled
speaker.
Dad?

LILLY

47.
The MASTER BEDROOM door is open, and Lilly investigates.
LILLY (CONTD)
Dad are you home?
Lilly enters the WALK-IN CLOSET, transfixed on the secret
door.
Dad?

LILLY (CONTD)

CONCRETE DUNGEON
Lilly enters, discovering the Trestle, the Table, horrible
recognition seeping up from repressed memories.
Lilly moves to the table, touching the steel.
LILLY (CONTD)
(breaking down)
No no no no no no.
She kneels on the floor, hugging the Toy Box that was once
hers. Shaking her head. Losing it.
LILLY (CONTD)
This is my toy box. Inside are my
toys.
Lilly?

CHRIS(O.S.)

LILLY
This is my toy box. Inside are my
toys.
Lilly stares straight ahead.
Chris sits on the floor next to her.
CHRIS
I know he hurt you.
Lilly nods her head.
LILLY
These are his toys.
CHRIS
You were just a kid. There was
nothing you could do. But there is
now. We can fix this.
Lillys thousand yard stare continues.

48.
CHRIS (CONTD)
Hes gonna pay for what he did. Ten
times over. But I need your help.
Chris gets to his feet.
CHRIS (CONTD)
You are never gonna feel like this
again. I promise.
Chris holds out his hand. Lilly pulls her mind from the haze,
lifting her eyes to meet Chriss.
INT. HANGMAN HQ - NIGHT
LOBBY
Aly staring out the window, watching cars come and go on the
street below. Still dressed Goth. Nervously checking her
watch.
The Elevator chimes, opens. Aly spins, sees Chris, and sighs
in relief.
ALY
What happened?
CHRIS
Mission accomplished.
ALY
Whatd you find?
CHRIS
Bad things. Things it might be
better for you not to know.
I have to.

ALY

CHRIS
Its gonna hurt. More than a
little.
Ill live.

ALY

BRIEFING ROOM
Vera, Evelyn, Aly sitting at the table. Chris standing in
front. He slides the ghosted thumb drive to Evelyn who plugs
it into her laptop and starts typing.

49.
CHRIS
(to Evelyn)
Can you find floor plans of
Holliss place?
Yeah

EVELYN

A few keystrokes later, the Penthouse plans appear.

CHRIS
(pointing)
This is the Master Bedroom, and the
walk-in closet See this unused
space here? Hollis is using it.
CHRIS taps his phone and a picture of the walk-in closet
appears, revealing the hidden wall and vault door.
ALY
Looks like a bank vault.
CHRIS
Not a vault. A dungeon.
Chris taps his phone for the next picture: Gynecological
table. Next: Wooden trestle.
Oh my god.

ALY

VERA
Are you okay?
ALY
He cuffed me to that.
CHRIS
It gets worse.
He looks to Aly. She nods.
ALY
I wanna see.
Next picture: The Toy Box. Next picture: Open Toy Box. Next
picture: Open file box with camera, closed scrapbook. Last
picture: Toiletry Bag with Pills.
EVELYN
More Rohypnol?
Yep.

CHRIS

50.
ALY
Is that the last picture?
Yeah.

CHRIS

ALY
What was in the scrapbook.
Chris hesitates, sighs, then removes the Scrapbook from his
bag on the floor. He slides it over. Aly grabs frantically
and looks inside. Stunned silence as she flips through. She
finds her page and rips it out, holding it in front of her
face in a trance, touching her hair.
Vera takes the Scrapbook, looking for herself, Evelyn leaning
in.
VERA
(pausing momentarily)
Its Wendy.
Vera arrives at the last picture - Lilly.
EVELYN
Oh my god is that his daughter?
CHRIS
Yeah. She used to have blonde hair.
EVELYN
I can see why she dyed it.
They glance at Alys black hair.
Sorry.

EVELYN (CONTD)

VERA
(to Evelyn)
Can you get facial recognition off
these?
EVELYN
Ill make it work.
Evelyn closes the Scrapbook. They look to Aly, still holding
her scrapbook page.
What now?

ALY

51.
VERA
Once we identify the victims, we
turn the evidence over to the
police. Well get Wendys case
reopened.
ALY
Evidence?! Some pictures we stole
from his house? A girl wearing a
gag is not illegal
VERA
Raping them is.
ALY
You think you have to tell me that?
I was there. I got raped. But I was
drugged. Blacked out. All these
girls were. How are we supposed to
testify? Sorry I dont remember
your honor.
VERA
If we get enough victims to come
forward, itll show a pattern of
misbehavior.
ALY
Hollis will hire some big shot
lawyer. If were lucky he does a
few years for misconduct.
VERA
I sympathize with your position,
Miss Evers. But what would you have
me do?
ALY
An eye for an eye. Hollis needs to
suffer.
VERA
Thats revenge, not justice.
ALY
Fair trade.
(re: Scrapbook page)
Im keeping this.
VERA
We need that for evidence, Miss
Evers.

52.
ALY
Screw your evidence.
Aly storms out. Through the LOBBY, to the
ELEVATOR.
Aly pressing [DOOR CLOSE] rapidly, but Chris steps inside
before the doors obey.
The Elevator starts to drop, Aly staring straight ahead in
silent rage
CHRIS
What are you planning on doing?
Silence.
CHRIS (CONTD)
You gonna kill him?
Silence.
CHRIS (CONTD)
Hed be getting off easy Youll go
to jail, you know Hell kill you
again.
ALY
I dont care.
Elevator arrives on the ground floor and opens. Chris grabs
Aly by the arm as she darts out.
CHRIS
A bullet in the brain is too good
for him.
Aly violently shakes herself free.
ALY
Youre right.
Aly rushes outside, Chris watching her go.
INT. JILLS HOUSE - LATER
A large modern colonial on Long Island. Classy and expensive,
reflecting Jills tastes.
KITCHEN

53.
Jill refills a large wine glass, gulping half then topping it
off. Back to the
LIVING ROOM.
The big screen TVs on. A college football game back from
commercial. Down to the final play. A field goal to win. Jill
stands, totally focused, too nervous to sit.
TV ANNOUNCER (V.O.)
With the score tied, its down to
the foot of the young redshirt
kicker. A 27 yard field goal for
the win.
TV COMMENTATOR (V.O.)
His hearts got to be beating a
mile a minute right now John. But
its moments like these that
separate the men from the boys.
Jill gulps more wine.
TV ANNOUNCER (V.O.)
And heres the snap, the hold -and ITS BLOCKED! ITS BLOCKED!
Terry has it! Hes got open field!
No ones gonna stop him!
Horror on Jills face.
TV ANNOUNCER (V.O.)
TOUCHDOWN! TOUCHDOWN! UCLA wins on
the last play of the game!
TV COMMENTATOR (V.O.)
Unbelievable! The fans are rushing
the field! Its pandemonium out
there.
JILL
NO! NO! NO!
Jill launches her wine glass at the TV, smashing both. The TV
sparks and dies.
Jill is crushed, her head suddenly too heavy for her body.
She slumps into the couch and does a line of cocaine of a
mirror.
A KNOCK at the door. Insistent.
Jill hides the coke, adjusts her hair, and answers the

54.
FRONT DOOR.
Its Aly. Still dressed Goth.
Hey.

JILL (CONTD)

ALY
Hey. Can I come in?
JILL
Are you here to shoot me?
ALY
No. The guns at home.
Come in

JILL

Jill leads Aly to the KITCHEN.

JILL (CONTD)
You want some wine?
Aly considers the smashed mess.
No.

ALY

Jill gets a new wine glass. Opens a new bottle.

JILL
Why are you dressed like that?
ALY
Long story.
JILL
Well I hope its only temporary.
(drinks)
You look like one of those losers
from high school.
Thanks.

ALY

JILL
You were so much prettier as a
blonde. I dont get why you dyed
it.
Aly pulls the bottle of Rohypnol from her bag, puts it on the
counter.

55.
JILL (CONTD)
Whats that?
Aly stays silent so Jill picks it up and reads it.
JILL (CONTD)
Whered you get this?
ALY
Does it matter?
JILL
Its a tranquilizer. Hollis said he
was having trouble sleeping
ALY
You prescribed him five bottles.
JILL
That cant be right.
ALY
You know what else this drug is
used for?
Jill puts the bottle down. Drinks, stares into her glass.
ALY (CONTD)
You remember that blind date you
set me up on?
Aly shows Jill the Polaroid featuring drugged, gagged Aly.
Oh my god.

JILL

Aly holds the picture in front of Jills face.

ALY
Look at this! LOOK AT ME!
JILL
(crying)
Aly Im sorry. Im so sorry.
ALY
You did this.
JILL
I didnt know. I didnt know!

56.
ALY
Theres a dozen more Polaroids like
this. A dozen different girls. A
dozen girls raped because of you.
Jill collapses, sobbing now.
JILL
I needed the money alright! I was
in trouble. I didnt know what else
to do.
ALY
What about do no harm?
JILL
Whats gonna happen to me?
ALY
Youre gonna make this right.
How?!

JILL

ALY
Wheres your prescription pad?
In my bag.

JILL

Aly retrieves the pad and a pen, hands them to Jill.

ALY
Write me a prescription.
For what?

JILL

ALY
Exactly what you gave Hollis.
Jill hesitates.
Do it!

ALY (CONTD)

Jill writes the script. Aly takes it.

ALY (CONTD)
How much does it take?
What?

JILL

57.
ALY
(showing Polaroid)
How much does it take for this?
JILL
Five or six. More than that youll
kill him.
Aly heads to the door, grabbing Jills keys off the table.
ALY
Im borrowing your car for a couple
days.
Jill just nods
The front door slams closed behind Aly. The sound of Jills
SUV peeling out.
Jill reaches up to grab the wine off the counter and drinks
the rest of it from the bottle, wiping away tears and
smearing makeup.
CHRIS(O.S.)
Dr. Jenkins?
Jill gasps when she sees Chris standing before her.
JILL
(in shock)
Who are you?
CHRIS
My name is Chris. Im the
investigator working on the Hollis
Wilson case.
JILL
Am I under arrest?
CHRIS
Not if I can help it.
JILL
What do you want?
CHRIS
I want to make your problems go
away.
ACT FOUR
EXT. DOWNTOWN DRUGSTORE - NIGHT

58.
Goth Aly parks the SUV and heads inside. In the backseat, a
black BAG.
INT. DOWNTOWN DRUGSTORE
HAIR DYE AISLE
Aly examining the colors. She chooses Platinum Blonde, all
the way on the left.
PHARMACY
Aly steps to the pickup counter.
Name?

PHARMACY TECH

ALY
Allison Evers.
The TECH retrieves Alys prescription for Rohypnol.
TECH
Do you have ID?
Aly slides her ID across the counter. Satisfied, the TECH
hands it back.
TECH (CONTD)
(to Pharmacist O.S.)
Consult please!
ALY
I dont need a consult.
PHARMACIST
(appearing, looking at Rx)
This stuff can be dangerous.
ALY
Trust me, I know. Its fine.
PHARMACIST
(disappearing)
Okay.
TECH
Thatll be $20.
ALY
(putting down hair dye)
This too please.

59.
A new total pops up and Aly swipes her credit card.
TECH
(examining dye)
Bombshell blonde. This will look
good on you. Black makes you look
pale.
ALY
(takes bag, receipt)
Thanks.
EXT. LITTLE TOKYO - NIGHT
The streets quiet now. Just barflies and drug addicts. Chris
pushes the door open to
SAMURAI SUSHI.
Empty. Chris heads to the
BACKROOM.
The various fish swim passively in their tanks. The puffer
fish tank noticeably depleted. Chris opens a bamboo wall
facade by pulling on an attached ornamental SWORD, leading to
MORIMOTOS LAB.
A mix of old and new. Old fashioned counterbalance scale,
modern Pyrex chemical glassware. Samurai accoutrements on the
walls, stainless work surfaces, behind which Morimoto sits.
Hes adjusting the settings on a small convection OVEN,
watching grains of sand fall in a nearby HOURGLASS.
On the table behind Morimoto is the eviscerated remains of
several puffer FISH.
MORIMOTO
Very soon. You wait.
CHRIS
You still use the hourglass? How
old is that thing?
MORIMOTO
Morimoto old. Still good.
CHRIS
Youre right. Sorry.

60.
MORIMOTO
Safe is sorry.
CHRIS
How long am I going to have after
the dose?
Morimoto silently points at a sinister black bound book open
on the table. The pages are faded shades of yellow, the ink
blood red. Chris examines it, running his finger down the
page.
CHRIS (CONTD)
Zombie Magick.
MORIMOTO
Black voodoo. Very powerful.
CHRIS
(feeling the page)
Is this what it feels like?
MORIMOTO
Human skin.
Chris reluctantly turns a page and pulls his hand quickly
away.
CHRIS
(reading)
The spell at sun down, Death at
dark. The witching hour tolls, the
zombie rises
The sand runs out of the hourglass. Morimoto removes a sealed
tray from his oven and unscrews the tightly clamped top.
CHRIS (CONTD)
The witching hour is midnight,
right? So like four hours.
MORIMOTO
Book from Haiti. Close to equator
Three hours.
Morimoto gets the lid off. Inside are pills pressed into
molds. With a TAP they pop out, and Morimoto pours them into
a container.
MORIMOTO (CONTD)
(hands pills to Chris)
Be careful. Favorite fish in here.

61.

Thank you.

CHRIS

INT. ALYS HOUSE - MORNING

BATHROOM
Aly, wearing latex gloves, applies blonde hair dye, watching
herself in the mirror. Finished, she crosses the
HALLWAY.
Aly disappears into her bedroom. Shes unaware Chris is
hiding in the foreground LIVING ROOM, now conspicuously
clean.
Phone in hand, Aly returns to the bathroom.
ALY(O.C.)
(into phone)
Hollis? Its Aly You remember
me? Exactly Well Im glad you
liked it Yeah I was feeling kinda
embarrassed I must have drank way
too much, Im sure I acted like an
idiot Honestly, almost nothing
Thats not how I normally act
Maybe you could give me a second
chance? Really?! Tonight is
perfect. You can meet the real me.
Aly crosses back into her room, hair dye doing its work.
ALY(O.C.) (CONTD)
I need to reserve a room please
Tonight Do you have anything on
the top floor? Thats fine
Allison Evers Visa 4876 8244 1245
Thank you.
Aly back to the bathroom. Music starts playing (Justin
Timberlake - Sexy Back) and the shower turns on.
Chris heads to the
BEDROOM.
The Rohypnol is on the dresser. Chris pours the pills into
his pocket, replacing them with Morimotos Zombie Magick
pills.

62.
Chris checks the black BAG on the floor. Inside are
HANDCUFFS, a POLAROID CAMERA, BALL GAG, SEX TOYS. He zips it
closed.
ALY (O.S.) (CONTD)
(singing)
Im bringing sexy back. Yeah!
INT. AURORA NIGHTCLUB - NIGHT
The exclusive nightclub, occupying the top floor of the
Regency. Beautiful people, energetic beats, dizzying views.
Behind the sleek black bar is obsidian glass, throwing dark
reflections. Watching them is Cox, immaculately dressed,
sipping whiskey.
The ELEVATOR opens, blonde Aly emerges, movie star beautiful.
Fire engine red lipstick and a plunging dress to match.
Hollis is attached to her hip, designer T-shirt, Armani
jacket, arm tight around her waist. He whispers in her ear,
then bites it. Aly responds with a faux smile.
Cox turns for a better view, pulling out his phone to send a
text. A HOSTESS greets Hollis obsequiously. Hollis nods and
she leads the couple to the
VIP SECTION.
Hollis grabs a pillow, throwing it aside, and invites Aly to
sit. As she does, Hollis grabs her ass, lifting her skirt.
Aly laughs it off, sits and wriggles her skirt back down.
HOLLIS
You know what Im going to do to
that later?
ALY
How about a drink first?
Hollis snaps at the Hostess.
HOSTESS
The usual sir?
HOLLIS
Do you have to ask? I get the same
goddamn thing every time.
The Hostess risks an ashamed glance at Aly.
HOSTESS
Yes sir. I mean, no sir.

63.
Hollis waves her off.
The MANAGER approaches. Hes equally obsequious.
MANAGER
Such a privilege to have you back
with us, Mr. Wilson. If there is
anything I can to make your evenHOLLIS
Fire that slut hostess. Shes a
waste of space.
MANAGER
My deepest apologies. How can we
can make it up to you, sir?
HOLLIS
(to Aly)
You like Caviar?
Sure.

ALY

HOLLIS
Bring us some caviar. On the house.
MANAGER
Right away sir.
THE BAR
Cox watches the hostess load a tray with a pair of iced shot
glasses and a dish of lemon slices. The BARTENDER adds a
bottle of high-end vodka, designed to look like a crystal.
HOSTESS
Hes such an asshole.
BARTENDER
He pulls a lot of hot girls.
HOSTESS
Just because hes rich.
BARTENDER
I think that explains both things.
The Manager goes by with caviar, sending an urgent look.
HOSTESS
I hope he chokes on that goddamn
caviar.

64.
VIP SECTION
The Manager places the caviar and toast neatly on the table.
MANAGER
Flown in from Russia this morning.
ALY
Wow. Thank you.
The Hostess arrives and the Manager places the Vodka, shot
glasses in similar fashion.
MANAGER
Anything else sir?
HOLLIS
You can go.
The Manager and Hostess gladly disappear. Hollis pours two
shots of vodka.
ALY
Vodkas my favorite.
HOLLIS
I remember.
(lifting glass)
Heres to getting you out of that
dress.
ALY
(smiling seductively)
Cheers.
Hollis drinks his shot first, winces.
Aly drinks hers with no reaction. Like water.
She grabs a cracker, spreading caviar. When she hands it to
Hollis, it slips into his lap, staining his T-shirt.
HOLLIS
Goddamn it! This is Givenchy!!
ALY
Im so sorry! Ill get you a new
one.
HOLLIS
You couldn't afford it Ill be
right back.

65.
Hollis heads to the restroom. Alys face turns serious. She
pours herself another shot and swallows it.
THE BAR
Cox watches Hollis storm towards the restroom. At the VIP
table, Aly grabs Holliss shot glass and turns her back from
the crowd. She appears to adjust her bra. When she turns back
around, Holliss glass has a small amount of clear liquid.
Aly tops the shot glass off with vodka and slides it in front
of Holliss seat. Then she fills her own.
VIP SECTION
Aly looking at Holliss spiked shot glass, a hint of white
residue. She notices Hollis returning and puts on a smile.
HOLLIS (CONTD)
(examining shirt)
I think I got most of it.
ALY
I cant even tell.
HOLLIS
(sitting)
Its still ruined.
ALY
You wont be wearing it for much
longer anyway
Hollis smiles lecherously.
ALY (CONTD)
(raises glass)
To getting you out of that shirt.
HOLLIS
Youre a dirty girl. I like it.
They drink.
ALY
Lets dance.
Aly is up, grabbing Hollis by the hand, pulling him towards
the dance floor.
HOLLIS
(pulling away)
One more shot, Ill be right there.

66.
THE BAR
Cox watches Aly enter the dance floor alone. Aly watching
Hollis, Hollis watching her as she dances seductively.
Hollis fills two shots, secretly adding something from a
palmed vial to one. He pounds one, deftly sliding the other
to Alys spot.
He joins Aly on the
DANCE FLOOR.
Kaleidoscopic strobe of lights and music and bodies. Music
getting louder. Holliss vision blurring. Coalescing trails
of light. Hollis unsteady on his feat.
Aly pulls him closer, supporting his weight.
ALY
I got a room. You think you can
handle this?
HOLLIS
(slurring)
Oh yeah. Im gonna kill it.
BAR
Cox watches Aly helping Hollis to the Elevator.
text on his phone.

He sends a

INT. REGENCY HOTEL - KITCHEN - CONTINUOUS

Evelyn dressed as a staff room service waitress. She slips
out a back DOOR into a
STAFF ONLY HALLWAY.
Evelyn finds the door labeled SERVER ROOM. She swipes an ID
Badge and enters.
INT. SERVER ROOM - CONTINUOUS
Evelyn inserts a thumb drive into the server panel, then
pulls out the keyboard drawer and begins to type. Green LEDs
turn to red.

67.
INT. FORTIETH FLOOR - MOMENTS LATER
The ELEVATOR door opens. Aly has Holliss arm around her
neck, practically carrying him towards her room.
A nicely dressed young COUPLE passing in the HALLWAY, looking
concerned.
ALY
He drank too much.
MAN
Do you need help?
ALY
No, this happens all the time.
The couple continues on
retrieves her room key,
Hollis inside. A moment
hooks a Do No Disturb

and Aly arrives at her door. She

hidden in her GARTER, and carries
later the door opens a crack and Aly
sign to the handle.

ROOM 4041 - MOMENTS LATER

Hollis face down, barely conscious now, head facing the foot
of the bed. Aly strips off his shirt and jacket. Then she
kicks off her shoes and retrieves her black BAG from under
the bed.
Aly pulls out HANDCUFFS and a BALL GAG. She straddles Hollis,
pulling his hands behind him and cuffing them tight. She
pulls his head back and straps on the ball gag.
ALY (CONTD)
You ready to have some fun, you
piece of shit? Were gonna get
dirty.
ALY pulls out the POLAROID CAMERA, preparing to mimic the
photo Hollis took of her. But when she pulls open Holliss
eyes, they have rolled back into his head. Foam from Holliss
mouth in a final spasm.
Aly jumps back in shock, dropping the camera. Hollis goes
still. Tentatively, Aly checks Holliss wrist for a pulse.
Nothing.
Aly grabs her mouth in shock, slumps in the lounge chair,
dazed. She flips off Holliss corpse. A few moments of
this, when Aly pulls it together, finds her PHONE in the bag
and dials.

68.
ALY (CONTD)
Chris? I need your help I did
something really bad.
INT. FORTIETH FLOOR - LATER
Chris KNOCKS on door 4041, noticing the Do Not Disturb
sign. Aly opens the door defensively, letting him in without
a word.
ROOM 4041 - CONTINUOUS
Chris silently surveys the scene. Aly waits, wringing her
hands, waiting to be judged. Chris checks Holliss pulse.
Nothing.
ALY
Arent you gonna say something?
CHRIS
Ive seen worse.
ALY
I havent! I JUST KILLED A MAN!!!
HES DEAD! D.E.A.D. DEAD!
CHRIS
Keep your voice down.
ALY
I must have given him too much
Rohypnol I just wanted to get
even. I wanted to do to him what he
did to me. You know he deserved it.
CHRIS
He deserves worse than that.
ALY
This piece of shit is going to ruin
my life again!
CHRIS
No, hes not. You dont have to
worry about Hollis anymore. Ill
take care of this.
ALY
You can do that?
CHRIS
Grab your stuff and get out of
here.

69.
Chris unlocks the handcuffs and removes the gag, placing them
in the bag. Meanwhile, Aly puts on her heels and grabs the
Camera. Chris hands over the bag and she puts the camera
inside.
CHRIS (CONTD)
Is that everything?
Aly nods, feeling saved. She kisses Chris on the cheek.
ALY
You saved my life twice now.
CHRIS
Thats my job.
ALY
Thank you anyways.
CHRIS
You should get out of town for a
few days. Lay low. Ill call you.
Okay.

ALY

CHRIS
And dont kill anyone else in the
meantime.
Aly looks at Hollis.
ALY
Fair enough.
Aly leaves and Chris quickly puts on Holliss T-shirt. A few
moments later there is a soft, patterned KNOCK at the door.
Chris opens it and Evelyn enters, still dressed as a Room
Service Waitress.
She pushes in a large diner CART. She removes the linen drape
cover to reveal a makeshift GURNEY built underneath. She
helps Chris place Hollis on it and replaces the drape, hiding
anything suspicious.
INT. FORTIETH FLOOR - MOMENTS LATER
Chris exits Room 4041, Evelyn following behind, pushing the
CART, down the hallway, to
ROOM 4020 - MOMENTS LATER

70.
The scene is already set for a suicide. A SUICIDE NOTE and
PEN sit on a table, next to bags of heroin, some empty, and a
half full bottle of vodka.
Chris and Evelyn place Hollis on the bed. Chris tosses
Holliss jacket in the corner, while Evelyn pulls out a blood
collection syringe and VIAL.
Evelyn sticks the needle in Holliss arm, filling the vial
with blood. Chris splashes Vodka on Hollis and his jacket,
then replaces it on the table.
Evelyn sticks the blood vial in her pocket and grabs a dirty
syringe and tubing from the nightstand. The needle goes in
Holliss arm, and the tubing beside, putting the final
touches on the simulated Heroin OD.
CHRIS
Looks good. Nice work.
EVELYN
Thats my job.
Evelyn leaves with the cart, and Chris dials a number on his
phone.
CHRIS
Detective Mitchell please I need
to report a possible suicide.
INT. ELEVATOR - LATER
The clearly distressed hotel MANAGER riding up. Next to her
is a GURNEY, manned by Cox wearing an NYC Medical Examiner
uniform. He checks his watch.
FORTIETH FLOOR - MOMENTS LATER
A pair of uniformed COPS stand outside the open door of Room
4020, talking. A few curious hotel GUESTS congregate a safe
distance away. The manager stops to disperse them, as Cox
continues towards 4020.
GUEST
Whats going on?
MANAGER
One of our guests had some medical
distress. Please go back to your
rooms. Complimentary champagne will
be sent up in a few moments.

71.
ROOM 4020 - CONTINUOUS
DETECTIVE MITCHELL(50) commands the scene, holding the bagged
suicide note. The other evidence has been collected, the
needle removed from Holliss arm.
Cox pushes the gurney inside, next to the bed. The Manager
arrives at the door.
MANAGER (CONTD)
How much longer?
DETECTIVE MITCHELL
Were almost done.
COX
Are we ready, sir?
DETECTIVE MITCHELL
Get that piece of trash out of
here.
Cox slides Hollis onto the gurney, covering him with a sheet.
EXT. HOTEL ENTRANCE - MOMENTS LATER
Medical Examiner VAN parked in front. Cox loads the gurney
with Hollis in back, then gets in the driver seat. He checks
his watch and drives off.
EXT. HOLMES AND SONS FUNERAL HOME - LATER
Hunts Point warehouse district.
The Van arrives. Chris comes out to help Cox remove the
gurney with Hollis.
Chris pushes Hollis inside. Cox drives away with the Van.
INT. FUNERAL HOME - EMBALMING ROOM - LATER
Dr. Jill Jenkins, in her doctors coat, is waiting for Chris.
He removes the sheet and slides Hollis on the stainless steel
embalming table.
Chris leaves while Jill snaps a couple autopsy photos,
including a close up of the needle mark. She perfunctorily
fills out the Death Certificate, marking SUICIDE.
Lilly enters with Chris. She moves to the edge of the table,
stoically taking in the sight of her dead father.

72.
JILL
I know this must be hard for you.
LILLY
Its not hard.
JILL
Is that your father?
LILLY
Hollis Wilson. Piece of shit.
JILL
Can you sign this for me?
Lilly signs the death certificate.
JILL (CONTD)
Im sorry Lilly, for everything.
LILLY
Dont be sorry. This is the best
day of my life. I just won the
lottery.
Come on.

CHRIS

Chris leads Lilly out to the

FOYER.
Evelyn stands silently, wearing black.
CHRIS (CONTD)
The will is gonna be read in a few
days. Everything is going to you.
LILLY
I deserve it.
CHRIS
Yes, you do.
Evelyn will take you home.
(hands business card)
Call me if you need anything.
Evelyn hands Chris a vial of BLOOD, then leads Lilly out.
EMBALMING ROOM
Chris hands Jill the vial of blood.

73.
CHRIS (CONTD)
Thats everything you need right?
JILL
C.O.D. suicide. Ill file it first
thing.
CHRIS
Then Ill take it from here.
Jill moves to leave, but hesitates.
JILL
Did Aly kill him?
CHRIS
He killed himself, a long time ago.
INT. CREMATORIUM - MOMENTS LATER
Vera waits next to the INCINERATOR.
Chris pushes in Hollis on the gurney, checking his watch.
Chris operates the Incinerator controls, and a loading SLAB
extends from inside the furnace. Holliss eyes start to
twitch, his fingers flicking to come alive.
Chris slides HOLLIS onto the slab. Vera pulls out a cell
phone and begins filming.
CHRIS
Nietzsche said guilt makes us
hollow. Only punishment can make us
whole. Which is why we are here Mr.
Wilson. You are going to be made
whole again Then you will be made
ashes.
Tears fall from the sides of Holliss eyes, which struggle to
blink.
CHRIS (CONTD)
No need to thank me. Your daughter
already did that. She was more than
willing to forge your suicide note.
I think she enjoyed it. Catharsis,
you know? But dont worry about
her, youll be reunited soon
enough. She already picked out the
urn.

74.
Chris operates the controls again, and the slab recedes into
the furnace. Another button, and the furnace door seals shut.
Vera moves the camera to the small viewing window.
Chris turns on the furnace, and a soft orange glow appears on
the glass.
Slowly

VERA

EXT. MANSION - DAY

A grand colonial in the Hamptons. Cox drives the LIMO to the
entrance and helps Vera out. Shes dressed for a funeral.
INT. MANSION - MOMENTS LATER
THOMAS COHEN(50), Veras client, opens the door.
Its done?
Its done.

TOM
VERA

Vera hands Tom a DVD jewel case.

VERA (CONTD)
You can only watch it once. Then it
will demagnetize. Make sure you are
ready.
Thank you.

TOM

VERA
Life where there was death, Mr.
Cohen.
Vera replaces her black SHADES and leaves.
INT. MANSION - MOMENTS LATER
Thomas carrying a LAPTOP and the DVD into a dimly lit ROOM.
Wendy sits on a COUCH, hair disheveled, wearing sweats. Posttraumatic.
Without a word, Tom places the Laptop on a coffee TABLE,
sliding in the DVD. He presses a key and the movie plays.

75.
We watch Wendys face. The GROWL of the furnace firing up.
Wendys skin lit with orange glow from the screen.
Slowly

VERA (V.O.)

We hear metallic POUNDING - Hollis beating against the

furnace door. His screams muffled through thick steel.
HOLLIS (V.O.)
No, wait! WAIT! Im alive. IM
ALIVE!!!
SCREAMS of a man being cooked alive a brightening orange
glow on Wendys face.
THE END

FADE TO BLACK.