VINCENT, a young late 20s black man, is standing in front of
a mirror with an undone red bow tie hanging around his neck.
His hairline is cut razor sharp and braids neatly cornrowed
to the back.
SUPER: Opening Night
A spread of tinkering metal watches and jewelry are spread
out across the mahogany dresser as soft, elegant piano music
plays in the background.
He’s getting ready, slipping on one of the tinkering watches.
He's staring at his reflection in the wooden mirror.
He tries to tie a knot as his hands tremble with anxiety.
He brushes this sports coat and his hair.
He lets out a deep breath, hoping to get rid of the nerves. A
woman's voice rings out from the other room, breaking his
fumbling.
STACY (V.O)
Vincent, Car is here! We're gonna
be late!
VINCENT
Coming babe, give me just a minute,
I'll be right out!
There is a knock at the door.
MONTE, an early 20s black man, confidently saunters into the
master bedroom, with a cognac BOTTLE and a teasing smile.
He steps back and takes a look at his brother's dapper tux.
MONTE
Damn bro, Not too shabby!
Vincent and Monte share their elaborate, brotherly handshake.
Monte playfully starts sniffing Vincent's collar before their
hands break apart.
He sniffs the air and brings his nose close to Vincent's
collar, in a teasing little brother kind of way.
2.
MONTE (CONT’D)
You smell that?
VINCENT
What, what is it?
MONTE
(Jokingly)
Smells like Moneyyyy baby!!
(BEAT)
Your own show after all this time I
mean really, How does it feel bro?
VINCENT
I can’t lie, I’m kinda nervous.
MONTE
Nervous!? Shiit, You are the only
culture they got in that bougie ass
place. They should be the nervous
ones.
Vincent smiles.
Monte puts the bottle down and straightens his brother's
lapel.
He dusts his shoulders off, hyping him up.
STACY (O.C.)
Hello!!
MONTE
C'mon, we gotta take a shot to
celebrate before we leave.
He pours up the drink and hands it to Vincent with a big
smile.
MONTE (CONT’D)
I'm proud of you bro, seriously.
You know, Mamma would be proud too.
Not to many of us out here doing it
like this. She always knew you
would make it.
(BEAT)
Can't say I don't miss those days.
He holds up the glass.
MONTE (CONT’D)
(BEAT)
To art.
3.
VINCENT
And a toast to you too, college
boy. We made it far.
(BEAT)
To life.
They toast and throw back the shots.
The brown liquor burns going down and their faces contort.
MONTE
Let's get outta here.
Genres:
["Drama","Family","Comedy"]
Ratings
Scene
2 -
A Night of Triumph and Tension
INT. VINCENT'S MANSION - NIGHT (CONTINUOUS)
Vincent rushes through the lush mansion to meet his beautiful
girlfriend STACY, dressed in a gorgeous green evening gown.
Vincent hugs her from behind and the two share a quick kiss.
They walk out to the car as letters follow behind.
SUPER - TITLE CARD : BLACK RAGE
The luxury super cars pull out of the drive way. Vincent and
Stacy hop in with a driver.
INT. INDUSTRIAL ART GALLERY - NIGHT
Exposed rafters, concrete floors, and white walls fill the
industrial gallery space as huge paintings hang on the pop up
walls.
The art gallery is busy and the sounds of music fills the
halls full with drunken, pretentious, and mostly white artsy
folks.
Stacy is shooting a Youtube video with her phone trailing
behind Vincent capturing the event and taking videos with
other party guests.
CUT TO:
LAUREN, a black woman in her late 20s with a tight afro bun
and shimmering black evening gown, stands by the open bar and
a few paintings with her boyfriend TOM, early 30s black man
with a distinguished look and evening tux.
Tom sees a intimidating looking African mask sculpture
hanging on the white gallery wall behind a red velvet rope.
4.
He leans over the rope read the words on the wall:
"We shall become, who we allow ourselves to be"
He stares at the mask and can't help but reach out to touch
it, but Lauren shoos his hand away, snapping him out of his
trance.
TOM
You think this one’s stolen too?
LAUREN
Don't touch! Even if it is, it
doesn't need your little finger
prints all over it.
Lauren scans the busy crowded room
LAUREN (CONT’D)
He must be running late. He knows
we're coming right?
TOM
Of course! These things never start
on time anyway. He'll be here.
CUT TO:
MONTAGE
Paintings around the gallery with "SOLD" ribbons on them.
Well dressed art brokers pass along bills of sale over
cocktails as they flash cheap, sleazy smiles, laughing with
their new suckers.
Clients take away their new paintings wrapped in plastic.
Vincent is walking around shaking hands and kissing babies,
working the room as brokers sell pieces at lightening speed.
END MONTAGE
A loud glass clings in the air turning the crowds attention
across the room.
DARLA, mid 40s Miranda Priestly-type art broker with a
drunken smile and an evening gown cut way to short, holds up
her tall champagne flute in the air, TAPPING it with a silver
fork.
CLING CLING CLING
5.
DARLA
Attention Everyone!
Tom spots Vincent in the crowd, whispering into Lauren's ear.
Everyone is focused on Darla with a super serious look.
TOM
(Snickers)
There's our little Basquiat.
Lauren and Tom subtly wave at Vincent and he see's them,
giving them a smile and low wave back, trying to keep cool
while the spotlight is on him.
Stacy is recording the whole thing behind Vincent. The phone
awkwardly pops out from the rest of the focused group.
DARLA
I'd just like to thank you all for
continuing to patronize the arts
during such a troubling time in our
countries history.
(BEAT)
Art can feel like the only medium
where black artists can truly
express their inner worlds and
elevate the true meaning of the
human experience and Vincent, YOU
continue to help us all realize
that.
(BEAT)
So thank you for sharing your world
with us tonight.
Vincent sheepishly smiles, gesturing praying hands towards
her.
The crowd applauses at the gesture.
DARLA (CONT’D)
Ladies and Gentleman, I am proud to
present our feature pieces for the
evening.
White gloved men pull away the cover, revealing on of the 3
pieces on the wall.
The crowd bursts with a country club style applause and
enthusiasm.
Vincent watches all of the judging eyes, undressing his piece
with vicious smiles, like polite sharks smelling blood in the
water.
6.
Dizzying chatter takes up the room as random people walk up
to him shaking his hand congratulating him.
Stacy and Monte find Lauren and Tom in the crowd as they all
hug and greet one another.
LAUREN
Oh my god, hi you look amazing!
STACY
Thank you girl, you look good too.
Thank y'all for coming, I think
Vincent is not too far.
Monte daps up Tom.
TOM
Monte, it's nice to see you too.
How's the college search going?
MONTE
Oh yeah, I forgot to tell you. I
got in, i'll be at Atlanta
University in the fall!!
LAUREN
Congratulations, we're so proud of
you!
Lauren gives him a big hug and a smile.
TOM
Let's celebrate man, that's what
I'm talking bout!
Tom orders a round of shots.
CUT TO:
OTHER SIDE OF THE GALLERY
People with well dressed collars, jewelry, and furry
overcoats are talking to Vincent.
MOUTH #1
Well, this is .. different, but
good, so woke and revolutionary.
7.
MOUTH #2
The passion, the attention to
detail, the drama of it all, MY GOD
you've really out done yourself
this time Mr. Raphael!
MOUTH #3
Personally, I think this is a piece
that really speaks to "the
culture"!
MOUTH #2
How much?
MOUTH #3
I want it!
MOUTH #1
I'll have my people call your
people.
MOUTH #3
Do you have representation?
(BEAT)
Do you NEED representation?
Vincent smiles as the last broker walks away. He let's out a
sigh of relief.
Darla sweeps by with a smile as Vincent now stands in the
back of the room all alone.
DARLA
Hey Handsome. You did it, the board
is thoroughly impressed and we are
completely sold out.
VINCENT
Thank god.
MIKE BORELLI, mid 30s white male, flashes a smug smile at
Vincent and Darla as he whisks by.
He raises his glass to gesture a lose "Hello".
Darla gives him a fake wave.
Vincent nods with a forced smile.
VINCENT (CONT’D)
Look who made it-
8.
DARLA
Jealousy is the highest form of
flattery darling. Enjoy it while it
last.
(BEAT)
Remember stay focused and mingle.
They’re here to see YOU shine and
that's ALL that matters tonight.
Besides, this is the first BIG
exhibit of your career, everyone is
here, friends and enemies alike.
(BEAT)
Listen, Don't let anyone or
anything take you out of this
moment.
VINCENT
I'll be happy once I'm back home at
the after party.
Darla's smile falls, just for a moment.
DARLA
Right. Well, the night is still
young, so live it.
CUT TO:
MONTAGE
Vincent finds Lauren and Tom in the crowd giving them a big
hug with Stacy smiling beside him.
The old friends embrace and Tom wraps his arm around Vincent.
TOM
Long time no see!
LAUREN
It's been forever!
The group grabs drinks and return to the party.
END MONTAGE
CUT TO:
Genres:
["Drama","Art","Thriller"]
Ratings
Scene
3 -
Monte Triggers Alarm at Vincent's Mansion
INT. INDUSTRIAL ART GALLERY - BAR - NIGHT
Monte, Lauren, and Tom are standing at the open bar.
Monte notices his watch.
9.
MONTE
Ahh man, it's getting late, I gotta
get the house ready for the after
party. Y'all are coming right?
TOM
We wouldn't miss it.
STACY
You need any help?
MONTE
I'm all good, just let Vincent know
I'm headed out. See y'all in a
minute.
Monte leaves the group as the trio stays behind.
EXT/INT. VINCENT'S MANSION - NIGHT
Dark night. Light Rain
Monte pulls up to Vincent’s huge modern mansion, music
blasting from the subwoofer. The mansion sits on the top of a
grassy hill at the end of a long, winding driveway.
The moonlight and twinkling city lights illuminate the
background through the thick trees.
Crickets chirp in the distance.
He parks and gets out of the black sports car, puffing out
white smoke in the night air from the tailpipe.
He walks up the long driveway and pulls up a SECURITY APP on
his phone to open the door, but it doesn't work.
He reaches over the door ledge and feels around for the spare
key. His hands finally finds the key and he enters...
INT. VINCENT'S MANSION - NIGHT
Dark. Chaotic. Ritzy Mansion Foyer
From the inside of the house, he swings the door open and
tries to creep in, but the alarm system starts blaring!
He covers up his ears and stumbles into the dark house,
leaving the door wide open behind him.
CUT TO :
10.
INT. SUBURBAN STREET (POLICE CAR) - NIGHT
SARAH SMITH, mid 40s white woman and another OFFICER DAVIS,
TODD DAVIS, mid 40s white male, are sitting in a neighborhood
patrol car.
The officer's cell phone starts ringing.
OFFICER DAVIS
Princetown Patrol?
We are looking in from the hood of the patrol car, looking at
the faces' of the officers transition from surprise to
concern.
Someone has tipped them off.
The officer cuts on the police lights, looks at his partner
with a sly smile, and speeds off up the posh residential
street.
The car drives off as they spring into action!
Sarah has a nervous look on her face and a bit of sweat
dripping down her forehead as they drive.
The sound of the racing car roars. Police lights also ring
out and light up the interior of the car .
OFFICER DAVIS (CONT’D)
Just remember your training and
you'll do fine. I was nervous on my
first shift too, don't let the
nerves get the best of you, you got
this!
She nods and sits back in her seat.
They pass up other mansions glamorously lit with nighttime
accent lights illuminating the stone walls and luxury cars in
the driveways.
CUT TO:
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
4 -
Police Encounter at Vincent's Mansion
EXT. VINCENT'S MANSION - MOMENTS LATER
The police car pull up to Vincent's house.
The front door is wide open and the alarm is still going off
in the distance.
Sarah and Officer Davis hop out of the car and make there way
up the driveway.
11.
The officer puts his hand on his gun before going inside, at
the ready.
He motions to Sarah to go around the backyard, and she
nervously nods.
We follow him as he starts up the driveway, then pulls his
gun out of his holster belt, sitting between his back.
CUT TO:
INT. VINCENT'S MANSION - HALLWAY - NIGHT
Monte walks down the dark hallway looking for the security
pad still blaring through the house. Stumbling down the hall,
he feels along the wall walking towards the kitchen.
He finally spots the alarm pad blaring out senselessly at the
end of the hall.
He taps in the code disarming it, and he finally cuts the
lights on and starts to walk back to the front door.
The sounds of footsteps and police radio chatter rings down
the hall stopping him dead in his tracks.
OFFICER (O.C.)
Hello, anyone in here? Come out
with your hands up now!
Monte's face flushes with confusion and fear. He listens to
more radio chatter echoing from the family room, even louder
this time!
He slowly paces down the hallway holding his hands up above
his head. His voice is shaky and afraid as he tries to let
the officer know he's in the house.
MONTE
Hey hey, it's just me, you can put
your guns away!
OFFICER
Come out where I can see you. NOW!
MONTE
Yes, I'm not armed, I just needed
to deactivate the alarm, I live
here!
The two meet in the foyer of the mansion in a standoff.
The officer flashes the police light in Monte's face and
points his gun directly at Monte's nose.
12.
Monte tenses up holding his hands up.
OFFICER
I've never seen you around here
before, state your name, NOW!
He starts to ramble in fear.
MONTE
Monte, I'm Monte Raphael, Vince's
little brother!? I just move here
and I couldn't open the door.
Please, I just had trouble getting
in!
The officer doesn't drop his weapon, but he starts to loosen
his intense offensive stance.
OFFICER
Okay okay, let me see some ID,
slowly!
Monte reaches into his coat pocket, and just as he starts to
pull out his black leather wallet, he stops.
CUT TO:
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
5 -
Tragic Misfire
INT. VINCENT'S MANSION - BACK ENTRANCE
Officer Smith creeps through the dark house from the backyard
alert.
Her gun is drawn and she grips it tightly, walking through
the grassy garden.
She suddenly spots Monte in the living room and it shocks
her. She holds the gun at the ready, pointed directly at
Monte.
She busts down the door in a frenzy.
SARAH
Freeze!!
With his hands in his sports coat, he turns to her in shock.
BANG BANG BANG BANG BANG
Sarah gasps as the weight of what she did sinks in.
Monte falls to the floor as we see Officer Smith's horrified
face in the distance in front of him.
13.
OFFICER DAVIS (V.O.)
Shit. Call a medic, shit shit shit
shit!
The officer lifts his hands now covered in blood holding
Monte's chest.
He starts doing chest compressions, desperately trying to
keep him alive.
Sarah kneels over Monte's body in disbelief, horrified at
what she did.
Monte groans as he lifts his finger with blood, grabbing
Sarah's arm.
Monte is in shock as Sarah looks at him in the face.
She grabs her walkie and pages an ambulance.
SARAH
(trembling)
Shot's fired! Shot's fired we need
a medic, please! Hurry!
CUT TO:
INT. INDUSTRIAL ART GALLERY - NIGHT
The party is thinning out and people are walking out the
gallery. Stacy's cell phone starts to ring.
STACY
Hello, yes this is she! Wait wait,
slow down what happened? Is Monte
okay? Hold on, slow down!
Her face flushes with confusion as she rushes through the
showroom floor to find Vincent.
Vincent is standing in the crowd talking and smiling, but he
is caught off guard when Stacy frantically grabs him.
STACY (CONT’D)
Vincent, Vincent, Vincent, there
something wrong!
He excuses him self from the group and takes the call. Stacy
follows behind with a worried look on her face.
14.
VINCENT
Hello? Okay okay, what-
CUT TO:
INT. VINCENT'S CAR (CABIN) - NIGHT
Vincent and Stacy race up the dark residential street.
The posh neighborhood is now glowing with blue and red police
lights casting tree branch shadows against the windows of the
car.
The two pull up to Vincent's house and the neighbors are all
standing outside of their mansions watching the crowded lawn
of police and ambulance.
Police cars block the entrance to the house, but Vincent
get's out of his car and we slowly follow him and Stacy up
the driveway.
Everything slows down for a minute.
Vincent sees Tom rush over towards him with a distressed look
on his face.
The officers try to hold him back as he rushes onto the yard.
They try pulling him away, but Vincent wiggles out of their
grasp.
Lauren cries with her hand covering her mouth. She looks over
to see Vincent with fear and tears in her eyes.
Vincent stumbles across the front lawn in shock as tears
start to roll down his face.
He can only see his baby brother's feet on the floor of his
own house.
The paramedics are covering Monte with a white sheet. Their
solemn faces show the seriousness of the situation.
Rage sets in and time continues to slow down as officers try
to pull him back.
VINCENT
Monte!? What happened, Monte,
MONTE!! Let me go, what the fuck
did y'all do ??!
A beat.
15.
We crane away from the chaotic scene. Monte is dead.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
6 -
Monte Raphael's Death and the Struggle for Artistic Inspiration
INT. NEWSROOM - NIGHT
A black woman news anchor hits a stack of papers on the
wooden desk at a news studio.
Intercuts of the funeral scene as the anchor does her
reading.
NEWS ANCHOR
(somber but direct)
Tonight at 9, two off duty officers
were called to acclaimed Artist,
Vincent Raphael's Buck-head Home
after two local officers responded
to an alleged break in. Police
report that 19 year old, Monte
Raphael, the brother of the
establish painter, was shot and
killed at the scene after police
entered the home. More tonight as
thousands take to the streets in
protest, calling for the officers
to be fired and charged with
homicide.
(BEAT)
Our thoughts and prayers are with
the Raphael family tonight.
INT. CHURCH - DAY
Smokey Vestibule.
Monte's wake is in a huge church, empty and echoing with a
few crying people in the pews.
Vincent and Stacy are all alone grieving his brother and
standing in the middle of the room.
His finger caresses the wood of the casket. His face is blank
and still.
Stacy is crying as well, holding onto his arm.
He looks over in the pews and sees two empty seats with two
cards that read "Mr. and Mrs. Raphael", but know one is
there.
16.
A tear falls down Vincent's cheek and on the floor. He walks
away from the casket as the music is still high.
CUT TO:
EXT. GRAVESITE - DAY
Monte's casket is lowered into the ground as we pan down
under the ground with the level of the casket seeing the
earth rise into the frame.
An art broker JOE, mid 50s white man, in a black Tom Ford
suit is staring at Darla sitting at the end of a long wooden
conference table, folding his arms.
DARLA
Joe, this has been a hard time for
us all, but he WILL deliver just
like he always has in the past.
Joe let's out a deep sigh.
JOE
I hope you can see why we would be
concerned to include Vincent in
this months installation.
(BEAT)
His works' just not what it used to
be and he hasn't sold a piece in
months! There are PLENTY of others
that would bring some more DIVERSE
patrons into this gallery-
DARLA
(Sarcastically)
“Diverse” Like Mike Borelli huh?
JOE
That's not what I mean. Mike has
offered to step up production in
Vincent's absence but-
17.
DARLA
Ooooh, so you ARE looking for his
replacement?!
(BEAT)
Some family we've become here-
JOE
I didn't say that.
DARLA
You didn't have to!
The two are silent as they stare off at one another.
Darla inhales deeply.
DARLA (CONT’D)
(calmly)
One more chance Joe, that's all i'm
asking for here.
JOE
You and I both know, we aren't in
the business of second chances.
Darla looks out the window, unable to accept Joe’s position.
DARLA
So, what exactly are you saying?
He hesitates.
JOE
If Vincent can't come up with
something innovative before the
winter show, i'm afraid we are
going to have to part ways with him
in the new year.
DARLA
But Joe -
JOE
AND, considering that Vincent is
YOUR client, we will also have to
re-evaluate our longer term
relationship to your other projects
as well. Including your bid for
partner.
She SLAMS her hands on the wooden table!
18.
DARLA
Now you wait one minute, Joe you
know I have worked my ass off
trying to bring you the best work
possible from my clients!
(BEAT)
Vincent's work prior to this point
has showed and sold all around this
goddamn place! I mean what MORE are
you looking for him to bring to the
table at THIS point!?
Joe sits up in his chair and slowly leans towards Darla.
JOE
Listen, we need his work to really
tap into the "urban" market, the
raw authentic heartbeat of black
America today. We have to stick
with the times and you know THIS is
what people want.
DARLA
Tuh.
JOE
(cheeky)
We're looking for something with a
little more soul or funk ya know?
DARLA
You can't be fucking serious.
She grabs her purse and starts for the door. Joe grabs her
arm just before she crosses the threshold.
JOE
Darla wait!
(BEAT)
Listen, I don't mean to make you
upset, but we HAVE to stay relevant
and my hands are tied here. Get him
inspired and I'm sure we can change
the boards mind.
(BEAT)
The winter show will be his and
YOURS in no time. You know it's
nothing personal.
DARLA
You have a good day.
Darla gives him one last death stare as she storms out of the
conference room and into the busy hallway of other agents.
19.
She slaps on her oversized shades and starts dialing on her
cell phone, storming towards the elevator.
FADE TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
7 -
Haunted by the Past
INT. VINCENT'S MANSION - TWILIGHT
Smokey. Messy. Jazz Music
The house is scattered with magazines, newspaper clippings,
and unfinished oil paintings as the music echos through the
dark, depressing halls of Vincent's mansion.
A copy of Monte's obituary is crumbled up and sitting on a
coffee table next to a full ash tray with blunt buds stills
smoldering in the tray.
The trash bin is overflowing, clothes are piling up, a
calendar full of red markers crossing out the days that have
passed, and the house looks like a depression pin.
Vincent is laying on the couch with his hair all over the
place, much taller than it was before.
Smoke rises above his head from the joint sitting between his
fingers.
TV SCREEN - 90s HOME VIDEO
He is watching a old video of he and Monte riding bikes and
racing around in there Ladera Heights neighborhood.
Vincent is drawing a huge pictures on the driveway as a
little boy smiling and having fun.
TV SCREEN - 90s HOME VIDEO #2
Vincent switches over another home video with he and his
mother as Vincent paints a picture of his little brother
posing for a self-portrait.
Vincent’s mother is holding the camcorder.
A young monte poses with a muscle man pose and a big smile.
VINCENT’S MOTHER
Ohhh, that’s looks good baby, look
at them muscles! You gone be a
superstar when you grow up, mark my
words!
(MORE)
20.
VINCENT’S MOTHER (CONT’D)
(BEAT)
Vincent you getting this?
Vincent and Monte take videos with there mother. She looks
sick and strung out, but her boys love her.
He solemnly smiles their family was happy and fun in the
past.
Vincent is sitting in the dark house smoking and cracking a
light smile.
VIDEO ENDS
TV SCREEN - 90s HOME VIDEO #3
This video is more serious. It’s Vincents birth mother
sitting in a jail cell talking to them from the other side of
the window.
She looks skinny and sad.
MOM
Baby I’m sorry. I want you to know
momma loves you two okay. I gotta
go away from a little while, but I
promise I’ll be back okay.
(BEAT)
I just gotta allot going on right
now and I don’t want y'all to be in
the middle.
(BEAT)
I hope we’ll see each other again
someday, but if we don’t know that
I’ll always be with you. Take care
of each other, I love you baby.
A tear falls down Vincent’s face as he watches his mothers
last tape to him almost 20 years ago.
Vincent's suddenly phone starts ringing and he sees "Darla"
on the caller ID.
Genres:
["Drama","Family","Crime"]
Ratings
Scene
8 -
Confrontation Over Inspiration
INT. DARLA’S CAR - DAY
Darla is now in her car as she talks to Vincent.
INTERCUT BETWEEN VINCENT AND DARLA
DARLA
Vincent, we need to talk.
21.
VINCENT
Hey, Darla look, I'm almost done
with that piece you asked for, I
just-
DARLA
It's not about that, we have a
problem..
CUT TO :
INT. VINCENT'S MANSION (LIVING ROOM) - DAY
Darla is pacing around the messy living room, while Vincent
just sits still on the couch in disbelief.
VINCENT
So, they're gonna just drop me, can
they do that ?!
DARLA
They can and they will..
(BEAT)
Your career will be as good as
finished and God knows that is the
last thing we need right now.
(BEAT)
You know your not the only person
that can bring in a crowd anymore
Vincent, we gotta get back out
these.
VINCENT
I know. It's just that I've been
out of inspiration lately-
Darla turns to him in a fury. She is shocked by his arrogance
and stubborn stance.
DARLA
Out of inspiration?! Are you
serious!!!
A beat.
VINCENT
No, I'm not ready to start talking
about that publicly yet -
22.
DARLA
And why not?! You know, you would
think that your brother's own
murder was enough inspiration for
SOMETHING but you don't seem to
think so -
VINCENT
Look let's just ask for an
extension and be done-
DARLA
You can't keep running away from
what your dealing with Vincent!
Your an artists’ dammit, you have
more than enough inspiration right
in front of you, make a stand with
your work, stop just going through
the motions making all of this
vanilla SHIT!
Vincent tries to walk Darla to the door, but she jumps in
front of him.
DARLA (CONT’D)
Vincent, it's been months and you
keep pretending that you’re okay
and your work is SUFFERING for it!
(BEAT)
You aren't fooling anybody, but
yourself!
VINCENT
I can't think about that night
anymore Darla, what happened,
happened -
DARLA
And why not -
VINCENT
Look, I'm not contributing to this
black trauma bullshit! What
happened to Monte was messed up,
but I have other stuff I can make
too and if they don't like it then -
DARLA
Then WHAT!! Wait until your some
junkie failed artists on Peachtree
Street ASKING for change in a cup?
We worked TOO hard to get you to
this point Vincent!
(LONG BEAT)
(MORE)
23.
DARLA (CONT’D)
Don't you understand what's at
stake here!?
Vincent is stone-faced and silent as he pulls away from Darla
in thought.
His face is screwed up with firm contempt, eyes welling with
tears, but Darla still scolds him with her glare.
DARLA (CONT’D)
Fine, don't call me when you wake
up one day and realize that all of
this, all that we built, was for
nothing.
Darla walks off slams the door behind her, leaving Vincent
behind.
He lights another blunt and lays back out on the couch
letting out a sigh.
His eyes are low and his shoulders heavy.
FADE TO BLACK
Genres:
["Drama"]
Ratings
Scene
9 -
Artistic Agony and Grief
INT. VINCENT'S ART STUDIO - NIGHT
Smokey Room. Painters Pondering
MONTAGE
Music swells as a shirtless Vincent sits in the center of the
frame with blank, white canvases all around him.
He can't lift his brush to do anything.
Time passes as he moves around the room to a table with blank
drafting paper.
Clutter is growing around him as he balls up sheet by sheet.
He is walking around smoking and stretching looking at the
sheets, but ultimately nothing is getting on the page.
Slow motion as the trash bin fills up with each passing
moment.
His watch tics along.
He starts doing push ups and yoga, but nothing.
He drinks a bottle of whiskey sitting on the stool, thinking
about what he should do for inspiration.
24.
END MONTAGE
He sets an empty glass down on the table and plops back down
on the couch holding his head in his lap.
The faint sound of his heartbeat increases over the music as
we push in and hear what chatter is going on in his head.
SFX: [VOICEOVER/ FLASHBACK LIPS OF ART CRITICS IN HIS HEAD/
PIANO MUSIC, POLICE SIRENS]
We cut between the funeral, his yard full of police cars, and
Monte's dead body slowly haunting him. He starts panting,
unable to catch his breath.
His head is pounding with voices. He drops to his knees in
agony until-
BING! A text from his stepmother silences the noise. He
slowly sits up.
SUPER :
STEPMOM
Hey, why haven't we heard from you!
Are you okay ?! Have you seen the
news!!!!
SUPER :
STEPMOM (CONT’D)
Please call me!
He breathes in deeply and starts to respond to her message.
Three ellipsis show as he types, but he clears out the
message.
He notices that the TV is on in the background and he turns
it UP.
HEADLINE: Officer Smith Acquitted for Murder
NEWS
In a dramatic turn of events,
Officer Sarah Smith has been
acquitted of all charges in case of
the murder of Monte Freeman.
Tense music swells
Vincent squeezes his hand into a fist, lunging his phone
across the room!
25.
We cut out around the house to hear Vincent screaming in
agony and frustration.
Are a close on his face, as he breaks down in his living,
tears flowing down his cheeks.
The room is silent as his whimpers reveal his pain.
FADE TO BLACK:
Genres:
["Drama","Thriller"]
Ratings
Scene
10 -
Vincent's Struggle with Grief
INT. VINCENT'S MANSION (KITCHEN) - NIGHT
Vincent sits’ at a table on a Zoom call with his Grief
Therapist.
THERAPISTS
It’s not uncommon to feel the way
you feel right now, but more than
anything, you have to take care of
yourself.
VINCENT
I just can’t believe they got away
with it, just like that.
THERAPISTS
I’m sorry. Listen, we need to talk
through ways to cope with this
frustration that you feel. There’s
no since in sitting in just your
pain for like this. Eventually,
your life moves on, with or without
you accepting what happened to your
brother.
VINCENT
I guess your right, so what do you
suggests I do?
THERAPISTS
I would say keep your routine.
Don’t let this feeling be the end
of you.
(BEAT)
Sometimes it can help to channel
your emotions into a physical and
tangible thing.
VINCENT
And then what?
CUT TO :
26.
INT. VINCENT’S MANSION (ART STUDIO)- NIGHT
Vincent is sitting in the room of empty canvas surrounding
him, once again.
He mixes the paint in a bucket as the therapist words VO
THERAPISTS (VO)
And then you can finally “feel”
your feelings, good and bad. Create
a new reality out of you pain.
(BEAT)
Sometimes, the that is the only way
to beat the grief that traps us
inside.
(BEAT)
You must sink into the grief and
make peace the feelings are holding
you back. Believe it or not, those
feelings are valid They ARE valid.
VINCENT (VO)
I don’t know how that’s supposed to
to just keep going on like this.
Vincent is thinking about what he wants to paint and nothing
is still coming to mind.
THERAPISTS (V.O.)
Life isn’t always about “knowing”,
it’s about living.
(BEAT)
And you have so much to live for.
Don’t keep running away from what
is hurting, FEEL is. You have
nothing to lose by trying. Just
Think about it.
The suddenly doorbell rings breaking the VO dialogue. Vincent
leaves the paintings behind.
CUT TO:
Genres:
["Drama","Psychological Thriller"]
Ratings
Scene
11 -
A Night of Concern
INT. VINCENT'S MANSION (KITCHEN)- NIGHT
Stacy is sitting on the kitchen counter as Vincent just sits
across from her, not really making eye contact.
She leans in.
27.
STACY
(softly)
You can't keep on going on like
this Vince. Look at you, you’re
miserable.
VINCENT
I just have to get out of this rut,
that's all. I'm sorry I've been so
distant lately.
(BEAT)
I guess I've just been tryin to
keep busy.
Stacy smiles, trying to cheer him up.
STACY
I know, it's been hard for me too.
(BEAT)
I'm starting to worry about you
Vincent. How long have you been
locked up in here like this?
VINCENT
Just a few hours.
Vincent is still and just drinks another glass of whiskey.
She watches his face for a reaction, but nothing. He just
sits stone faced.
VINCENT (CONT’D)
I'll be alright babe, I've just had
a lot on my mind lately.
STACY
You don't want to talk about what
happened?
VINCENT
Nah, I'm straight.
A beat.
STACY
Well, how about we go out tonight?
Maybe that will help clear both of
our minds for once.
VINCENT
I don't know, I really have to
finish this project up and it's
already late -
28.
STACY
C'mon, this girl I know is having a
party, you should come with me.
(BEAT)
Please
VINCENT
Who all is gonna be there?
STACY
Just an influencer event.
VINCENT
(sarcastically)
Really? An "influencer" party?
STACY
I know I know, it will be fun.
VINCENT
Stacy I don't' know -
STACY
It'll be fun, I promise.
Vincent smiles and kisses Stacy, giving into her puppy dog
eyes staring back up at him.
VINCENT
Just for a few hours.
Genres:
["Drama","Romance"]
Ratings
Scene
12 -
Awkward Reunion
INT. PENTHOUSE LOFT - NIGHT
Red Neon Lights, Smoky High rise Penthouse, Playboy Carti
Style Music, Deep Bass.
Stacy walks Vincent into the Loft Party holding his hand.
People are dancing, snorting coke, and making out in the
hallway as they walk into the dark room.
His discomfort is written all over his face as he follows
behind her into the huge living room.
Stacy finds her other ditsy, alternatively dressed influencer
friends taking selfies on the balcony.
A skyline view is lit up in the background on their pictures
as they flex for the gram.
STACY
Oh my God, you guys made it! You
look amazing.
(to Vincent) *
(MORE)
29.
STACY (CONT’D)
Wait right here Vincent, I'll only
be a minute.
She leaves Vincent behind.
VINCENT *
Stac- *
She spins around while her friends are grabbing her away, she
mouths .
STACY
I'll be right back.
Stacy smiles, but Vincent rolls his eyes.
CUT TO: *
INT. PENTHOUSE LOFT (KITCHEN)- NIGHT
Neon Red Lights. Kitchen Island. Red Solo Cups On The Counter
Vincent is standing in the kitchen scrolling on his phone.
He pulls up his stepmothers text again.
He starts to text her, but he is interrupted by someone
standing in front of him.
Mike catches him off guard calling out to him. He puts his
phone away and awkwardly daps him up.
MIKE
Wow, The devil himself, in the
flesh.
(BEAT)
What up my brotha!
Vincent is a bit dry with the handshake. Vincent squints his
eyes, surprised that he's even talking to him.
VINCENT
What up Mike, I didn't think you'd
be here?!
MIKE
Well, here I am. I gotta be honest
I feel like I'm seeing a ghost!
Where have you been man?
VINCENT
I've been living bro. Not living as
good as you though!
30.
Mike burst with arrogant, obnoxious, and taunting laughter
showing his teeth.
MIKE
Don't gas me up bro! I'm just tryna
get like you man.
VINCENT
(half-heartedly)
Aye, congrats on the new
collection, I saw your write up in
the Metropolitan. I hear it's the
"cultural installation" of the
year.
MIKE
Ahh your too kind really.
I'm happy to see you man, let's go
have a drink on the roof.
VINCENT
Nah, I gotta go find my girlfriend,
she's running around here somewhere-
MIKE
Don't leave me hanging bro! She'll
be fine. Plus we need to celebrate
this moment together, it's been
forever, what almost a year now?
Mike swings his arm around Vincent and he takes a bottle with
him out to the balcony.
Genres:
["Drama","Thriller"]
Ratings
Scene
13 -
The Rooftop Showdown
INT. APARTMENT ROOFTOP - NIGHT
Roof. City Skyline. Cityscape sounds.
The two are all alone on the quieter side of the terrace
where they are both drinking, far away from the rest of the
party.
Mike is bouncing around and snorting coke from a little spoon
hidden behind his cup.
Vincent stands rigidly as he watches Mike take the line.
MIKE
So, what have you been working on
recently?
VINCENT
I'm on a bit of a hiatus right now-
31.
MIKE
I hear. Hiatus huh?
MIKE (CONT’D)
Some of the press might say Mr.
Raphael is loosing his mojo ??
(BEAT)
The gallery walls are getting empty
without the great Vincent Raphael
to fill them with his "artistic
genius". Your thinking about making
a come back aren't you?
VINCENT
I wouldn't call it a come back,
just something more authentic. I've
been thinking about doing a piece
to commemorate my little brother.
Mike pauses. His face falls before a tense smile breaks
through his teeth.
MIKE
Ahh really? So going on the whole
"Woke Art" wave I see?
VINCENT
Nah I wouldn't say that, I've just
been trying to finish a piece and I
just really need to tap in and get
it done.
MIKE
You know Vincent, I've got to tell
you, I used to really look up to
you. Honestly, you know you were
always the golden boy at the
gallery. You’re actually one of the
reasons I started painting the
urban pieces again.
VINCENT
Really, I never knew that.
MIKE
Yep. You just have that "swagger"
to your work. I mean everyone has a
certain style, but you really have
done this shit for the culture man.
(BEAT)
I gotta give you your props and
with all of the political stuff-
Vincent is pick up on his slated comment.
32.
VINCENT
Ahh stop. It's room for us all in
this crazy creative world am I
right?
MIKE
Right. So you ARE planning to start
painting again?
VINCENT
I mean yeah, eventually.
Mike stops and eyes Vincent with an intense glare.
He laughs as he takes another sniff, turning his back to
Vincent.
He’s getting more and more aggressive, but Vincent can’t
VINCENT (CONT’D)
Is everything cool-
MIKE
Listen, let me be very clear about
ONE thing between you and I.
The winter show is only a few weeks
away and I know you might think
that this is your chance to "rise
from the ashes" or whatever
bullshit fantasy your broker is
telling you-
VINCENT
Wait, what? I'm confused-
Mike steps towards him nose to nose.
MIKE
I'M the main exhibitor for this
show, I have been able to step up
and fill in for you while you've
been on your little vacation, and I
don't expect to stop anytime soon.
VINCENT
Yo, who the fuck are you talking-
MIKE
This is the first time in years
I've been recognized for MY work
and I'm not gonna let you stand in
front of me anymore.
33.
VINCENT
Oh really?
MIKE
Really.
Mike brushes up close to Vincent
Vincent laughs in disbelief.
VINCENT
Let me tell you something, You
ain't shit, but a fucking leech.
You'll NEVER be like me. That white
boy hype-beast shit that you do
will NEVER replace the real thing.
You ain't nothing but a culture
vulture and the sooner you figure
that shit out, the better-
MIKE
Your time is up Vincent. Your
little "homie" is dead and now you
think your gonna use that as a
"come up", please, give me a
fucking break-
VINCENT
A come up!? What the fuck did you
just say to me?
MIKE
Don’t play dumb Vincent c’mon!
Mike and Vincent are locked eye to eye. Mike start to circle
him.
Vincent balls his hands into fists, knuckles white.
MIKE (CONT’D)
You keep dragging along this little
"My Brothers keeper" pity party,
how cheap of you -
VINCENT
Yo back up-
Vincent look at the edge of the ledge. Mike is dangerously
close to the edge as he paces.
He breathing is heavy and his heartbeat loud.
34.
MIKE
You could really do us all a
fucking favor and just retire now.
You’re young, you've got the world
ahead of you, why keep this whole
act up? I mean honestly, aren’t you
tired of being just sum token?
A beat.
Everything slows down as Mike monologue, but while he’s
turned away, and Vincent rushes towards Mike!
Suddenly Bam!
Vincent shoves him right over the side of the building. We
cut into his eye first squinting with a anger then
indifference.
Time slows and we watch Mike hurl into the ground in a slow
motion. His arms flap in the air and his eyes are wide with
horror.
No one at the party seems to notice and Vincent just stands
paralyzed.
A beat.
Finally, Vincent walks over to the ledge and slowly looks
over.
Mike's body is still, but not dead.
From Vincent's POV we see Mike's face bloody and red. He
struggles to lift himself up to breathe, but the wind has
been knocked out of him as he wheezes.
He can’t move. His eyes are frantically moving back and
fourth as his breathing echos through the alley.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
14 -
Vicious Encounter
INT. APARTMENT BUILDING (STAIRWELL) - NIGHT
Vincent rushes down the stairwell.
He pauses when he comes upon two girls. He makes eye contact
and quickly diverts his gaze as he smiles sheepishly and
passes them.
CUT TO:
35.
EXT. APARTMENT BUILDING - ALLEY - NIGHT
Vincent busts out of the backdoor and finds Mike laying out
in the alleyway.
As he walks closer, Mikes eye's widen with horror.
Vincent is looking around to make sure no one has seen what
he did. He notices the blood pooling on the ground behind
Mikes head.
Vincent bends down and just looks at him.
VINCENT
I knew we’d come to this someday.
Vincent mouth slowly turns into a smile as he takes in the
scene.
MOMENTS LATER
Vincent pulls his car into the alley way and puts Mike's body
into the back of his car.
He’s rushes into his car to see that no one saw what
happened.
He races off into the night as we follow behind his tail
lights in the night mist.
CUT TO:
INT. VINCENT'S MANSION - NIGHT
Mike struggles on the ground.
VINCENT
Shit Mike, you know I didn’t mean
for all of this to happen right?
After all of this tension between
you and I mean you gotta admit, you
had it fucking coming.
He is still struggling to breathe through his collapsed lung.
He groans and wheezing in agony.
We pan over to Vincent, now holding a silver cleaver and
standing over Mikes Body.
VINCENT (CONT’D)
I wasn’t listening to my gut about
you Mike.
(MORE)
36.
VINCENT (CONT’D)
I knew you were a slithering,
conniving, jealous little snake.
But, you know what they say about
snakes?
(BEAT)
The only way yo kill a snake is to
cut off it’s head.
Mike just groans.
He lifts the cleaver
VINCENT (CONT’D)
But, no no no, let me be a bit more
transparent. I think my emotions
just got the best of me tonight, so
for that, I DO apologize.
(BEAT)
I’ve been learning how to better
work through my feelings and shit.
And I’ve got to say, you really
know how to - push me over the edge
don’t you?
Vincent smiles.
VINCENT (CONT’D)
Well, consider this your last
fucking day!
Vincent swings the axe towards Mike on the ground and blood
spatters all over the white canvas in front of them.
With every swing, Mike gargles as the sound of blood and
breaking bones narrate each violent swing.
We pan back up to see Vincent, breathing hard and wiping the
spatters of blood off of his face.
He stops, breathing hard and staring down at Mike’s body.
He slowly looks up at the blood now on the canvas, stepping
over Mike's hacked up brains.
He is fascinated by the blood splatters and it slowly draws
him in.
He rubs his bloody finger over the canvas. He rubs the blood
between his fingers.
He looks back over to the body. Then to the canvas now with
blood.
MONTAGE OF PREVIOUS SCENES
37.
(1) Monte laying on the floor as blood spills out of his
mouth from the night of the shooting.
(2) Vincent and Darla, back at the gallery, toasting in the
air with red wine.
(3) Mike falling to his death in slow motion off the side of
the building.
(4) Vincent is driving up the driveway.
(5) Monte's funeral casket. His thumb leaves a blood stain
behind that wasn't there before.
END MONTAGE
CUT TO:
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
15 -
Descent into Darkness
INT. VINCENT'S MANSION - BATHROOM - NIGHT
He washes his hands and face in the white sink. Blood rinses
down the drain.
He looks at the mirror at his own reflections and starts to
laugh as he wipes his face off.
He laughs so much that tears start to roll down his face.
He finally get's himself together and goes back out to the
room.
INT. VINCENT'S ART STUDIO - NIGHT
He rolls up Mikes body in the carpet and takes Mike's
dismembered head with it.
He drags the carpet across the hardwood floor, trailing red
blood behind him.
EXT. VINCENT'S MANSION - NIGHT
He throws the body into a fire pit in the back of his house.
He pours the lighter fluid all over the body.
WHOOSH, he see’s the fire roar.
He watches as the flames roar in front of him burning up
Mike’s body. Something is changed in Vincent. Something
soulless and twisted.
38.
A smiles and light chuckle peaks through his blank
expression. He enjoys this so much that tears start to run
down his face.
CUT TO BLACK:
BLACK CHAPTER CARD : CHAPTER 2
EXT. GOLF COURSE - DAY
Sunny Green Golf Course Pastures. Golf Carts riding in the
distance. Crane down to the tee.
SUPER: One week later.
A golf club hits a white tee ball and it goes flying in the
air.
We pan over to see Joe, sitting on a golf cart talking on the
phone, not paying attention to the game.
JOE
Ahh yes, Mike is one of a kind. I
hope he's alright.
(BEAT)
Now, how much are we talking for
this piece?
The number is huge and Joe, the stern business man, is even
surprised as he holds the phone away from his ear, widening
his eyes.
JOE (CONT’D)
I'll have my assistant send over an
agreement and title. Alright
sweetie, let's do lunch later.
He joins the other white men at the course. It's a casual
finance bro Saturday outing.
JOE (CONT’D)
Alright boys, next round is on me!
GOLFER #1
Closed on another one I see? I mean
who do I have to blow to get my
hands on a Mike Borelli exclusive
print?
39.
JOE
(Laughs)
Well we don't know what happened to
the guy, so no exclusive prints yet-
GOLFER #2
Oh please Joe, Mike Borelli was a
train wreck and you know it. It's
only a matter of time before his
body pops up in the Chattahoochee
River or some shit.
(BEAT)
C'mon your sitting on gold.
JOE
Well, I hope for the best and may
God have favor on him, that's all I
can do and hope for.
GOLFER #1
And cash that fat ass commission
check.
The group laughs as Joe's phone starts to ring, it's "Darla"
on the caller ID.
CUT TO:
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
16 -
Darla and Joe Discuss Vincent's Potential Replacement
INT. DARLA'S APARTMENT - DAY
Darla is sitting at her desk. She's looking at her computer
seeing news coverage on "Artists Mike Borelli Missing" in the
headline on the screen.
The woman on the screen is Sargent Vanessa, speaking at a
press conference as the news talks about the missing artists.
INTERCUT BETWEEN DARLA AND JOE.
DARLA
Hey how ya holding up?
JOE
I can't complain. This news is
spreading like wild fire, it's
kinda sad.
DARLA
I know. I DO hope he's alright and
he's found safe and sound.
He walks away from the group to talk a bit more candidly to
her in private.
40.
He pauses before he speaks letting out a light smile.
JOE
And I take it Vincent has heard
about the news already?
DARLA
I can't be sure but listen, things
ARE still touch and go. Joe, I just
want to reiterate that we ARE here
to step in the gap for the winter
show if need be.
JOE
(Sarcastically)
Same ol Darla. Dig the man's grave
why don't you?
DARLA
I'm just looking out for my
client’s best interest as YOU
should as well. If Mike isn't
found, the show must go on. No
sense in going on like this. It’s
an opportunity for the both of us.
JOE
I still need to talk to the board
about how we are going to move
forward if Mike isn't found, but if
this means that VINCENT can now be
the feature artist of the show -
DARLA
He will be. I will make sure of it.
JOE
Alright, well keep me updated with
how things are coming along. This
of course still doesn't change my
stance on anything, but Vincent
needs to prove himself if he wants
this newly open spot anyway.
(BEAT)
And it just so happens to look like
luck is on your side Darla.
DARLA
I won't let you down.
JOE
I'll give you three weeks to get me
something that is gonna secure his
spot with us for the Winter show.
41.
DARLA
That should be plenty of time.
We'll be in touch.
JOE
And Darla, if you can't turn this
around, there's not much else that
I can do.
A beat.
DARLA
Understood.
Darla hangs up rubs her temples with a stressed look.
Genres:
["Drama","Thriller"]
Ratings
Scene
17 -
Inspiration and Opportunity
INT. DARLA’S ART GALLERY - NIGHT
It’s the evening now and Darla is still in the gallery.
Her last employee leaves her behind and she goes to lock the
door behind her.
The gallery is finally clear.
Darla goes back to her desk and start to rummage around in
her files.
She pulls out a envelope buldging full of cash. She slices it
open to reveal a wade of cash then quickly closes it back.
She let’s out a sigh trying to calm herself down.
DARLA
(To Herself)
Easy, easy Darla.
She notices Sherry Knocking at the window knocking.
MOMENTS LATER
Sherry is sitting down on a leather chase lounge, reading an
art magazine "THE METROPOLITAN".
The cover page of the magazine has a bold cover title page
"Woman Sells A Pot of Collard Greens in New York Gallery for
$1.8 Million Dollars."
Sherry shakes her head.
42.
SHERRY
(Sarcastically)
You know, you can't blame her for
"getting to the bag". Hell, if I
were her, I'd demand top dollar for
my art too.
DARLA
It was a pot of collard greens, I
would hesitate to call that art-
SHERRY
Some might.
But the Market is changing darling,
we've got to change with it and
that's what these kids want.
Sherry sarcastically shakes her hands beside her head like
spirit hands.
SHERRY (CONT’D)
NOVELTY!!
Sherry stands up and walks over to the new art work in
Darla's walls. It's big and minimalist feeling with black
bodies in contorted shapes on the white image.
SHERRY (CONT’D)
Did you hear about Mike, poor thing
right?
DARLA
It's horrible.
SHERRY
I tell ya, a Tsunami in the
Philippines takes out a whole town,
wipes it right off the map and no
one lifts a finger. A hotshot,
bisexual, snowplow goes missing and
the metropolitan takes out a full
page editorial piece on the mental
health of America's richest
contemporary artists.
(BEAT)
What is Joe saying about all of
this?
DARLA
Don't even get me started, he was
just convince Vincent is over and
now this.
43.
SHERRY
Well, is he?
Sherry glares over at Darla.
DARLA
I just don't know what I should do-
SHERRY
Honey, it's been months-
DARLA
He claims he's "out of
inspiration", but it's like he
never wants to talk about it.
SHERRY
About the shooting?
Darla, that doesn't mean he isn't
going to be inspired by it. You
know how artists are, they hold it
all in until it comes bubbling to
the surface one day in some
dramatic feat.
(BEAT)
Look, my mentor always told me and
I'm gonna tell you this-
Darla listens in closely.
SHERRY (CONT’D)
The key to TRUE art IS trauma.
She pauses and locks eyes with Darla.
SHERRY (CONT’D)
Lack of talent, there's not much
you can do there, but a Lack of
inspiration, now you and I both
know THAT is a fixable problem to
have.
DARLA
I’ve seen his talent. I was
thinking that he’d be more
“motivated” by now.
Sherry roles her eye.
SHERRY
The point of Art Curation is to
"create" a moment that patrons can
feel.
(MORE)
44.
SHERRY (CONT’D)
Tell a story that reminds them that
there is more to life than their
privileged lives of nannies and
vacations and country clubs.
(BEAT)
You know sometimes you have to
"create" a moment for your artist
to be "inspired". It's your job.
Darla pauses, and starts thinking to herself. She swallows
hard. It's almost like Darla is talking to her self.
DARLA
He won't let me see his work, the
gallery is already threatening to
drop him I mean, we've got three
weeks to turn in some pieces or we
are finished.
Sherry leans in, breaking through Darla's rambling.
SHERRY
Darla this is a blessing in
disguise if there was one and for
it to happen to Vincent at THIS
point in his career Darla, you've
struck oil.
DARLA
You’re right.
SHERRY
I mean just think about it, a
young, handsome black man is on his
rise to artistic fame. He's on the
top of the world with money, and
prestige. He's selling out shows in
Paris and Germany. He's an original
RAGS TO RICHEST story. He's at the
top of the world until his life is
shattered after a fucking POLICE
SHOOTING!? AND NOW the only other
artist that stood a chance to take
his place, goes missing in action!
Darla takes a beat and considers everything she just said.
There is a long beat before Sherry speaks again.
SHERRY (CONT’D)
The press will be eating hot shit
out of the palm of your hand to
cover that lifetime movie.
(MORE)
45.
SHERRY (CONT’D)
Your retirement plan is staring at
you square in the face girl so you
better act like it. This business
is no place for the "humble woman"
and you’re not getting any younger,
so secure your spot in this
business now!
Darla is quiet.
DARLA
What would you do?
She leans in mincingly.
SHERRY
Inspire him Darla. By any means
necessary. Whatever you have to do
however you have to do it, GIVE him
something that will sustain the
both of you."Create" the moment of
inspiration, don't wait for it come
to him or you.
SHERRY (CONT’D)
Now, i've had my eye on this one
since I stepped in here.
She points to a huge painting with a black woman's butt,
plastered across the canvas hanging on the wall.
DARLA
This is one of Borelli's earlier
pieces.
SHERRY
I know a few young bankers who
would die to have this plastered in
their apartment.
(BEAT)
Give me a minute..
Sherry pulls out her phone and face times the bankers,
walking off screen.
Darla smiles a light sinister smile, knowing she made this
sale.
She pulls out her phone and start to send a text to Vincent.
DARLA (TEXT)
How's those paintings coming along?
46.
Vincent starts sending a text message and three ellipses
(...) flash on the screen.
CUT TO :
Genres:
["Drama","Thriller"]
Ratings
Scene
18 -
Missing Persons Briefing
INT. VINCENT'S ART GALLERY - NIGHT
We cut to severed heads, fingers, bodies, and drain bodies in
plastic bags.
The sound of Vincent texting back Darla clicks as we see the
bodies and blood spread out all around the room.
Vincent he sends a text.
VINCENT (TEXT BUBBLE)
Hey Darla, I took your advice and I
think I have something. I feel
ready now.
Vincent looks up at all of the bodies that he has hacked up
in his studio.
The blood on the canvas is crusted black.
CUT TO BLACK
INT. POLICE STATION - DAY
TOM is sitting in a dark classroom where VANESSA, mid 40s
Black Woman/ police chief in a pants suit and disinterested
glare, stands at the front of the smokey room of male police
officers.
A few officers are yawning and nodding off to sleep in the
dark room while they go through a slide show of pictures.
She is holding a clicker and standing in front of a projector
with a woman's picture and images of a eclectic brick
apartment.
VANESSA
Gentleman, this is missing person
#4 this month. Now I know things
are getting crazy as we get closer
to the holiday's, but do we have
ANY leads here?
The older officers are silent as there uninterested faces and
still gazes turn to annoyance.
47.
She can see their judging eye's through the projectors
lights, but she's still pushes to get answers.
VANESSA (CONT’D)
Not all at once.
One of the officers raise his hand through the projector
light.
RANDOM OFFICER
Well, this guy clearly has a type.
White, upper middle class, mid 20s
or 30s transplants-
OFFICER MILLER
Sounds like half of East Atlanta
Village, if you ask me.
They all chuckle in the dark, but Vanessa is not amused.
She cuts off the projector and nods to OFFICER MILLER, 40s
black man, to turn up the lights.
VANESSA
If we don't get some traction on
this perp soon, there won't be much
else to laugh about when we are the
laughing stocks of this city!
RANDOM OFFICER DAVIS
What do you think our guy is doing
out there?
(BEAT)
I mean, 4 missing people, no
bodies, and no evidence left at any
of the scenes. It's starting to
feel like were chasing ghost -
VANESSA
We ARE And THAT is our damn job! I
don't care if we need to raid every
street corner in Vine City.
Violence has no place in this city,
you all know that. I want you all
to put your thick heads together
and figure something out! If we
don't find this guy, it's only a
matter of time before he takes out
someone else and we don't need
anymore blood on our hands!
Tom looks down at his phone and see's a text from Lauren,
48.
VANESSA (CONT’D)
Tom!
He springs up from looking down at his phone.
VANESSA (CONT’D)
Tom is our newest detective on
these cases. I trust that he will
help lead us to finding this
monster and be a fresh set of eyes.
(BEAT)
We have to get in front of this.
He quickly stands up in front of the other officers and
smiles.
OFFICER DAVIS
Excuse me if I sound rude, but how
old are you again?
TOM
Well I -
VANESSA
Tom has come highly recommended
from some of the best attorneys in
the Chicago District Attorney's
Office. I trust you all will
respect his new role as Special
Cases Investigator among our ranks.
(BEAT)
You all are dismissed for lunch.
Tom, Miller, come with me.
The group dismisses while Tom still stands there, sensing
that his new team of officers won't take to the newbie as
well.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
19 -
Missing Persons Investigation
INT. INTERROGATION ROOM - DAY
Vanessa sits across from Tom and Officer Miller at a steel
metal table.
Vanessa is shuffling through a folder of peoples files.
VANESSA
Brittney Rockmore 26, Nicolas
Amastade 28, Derrick James 31.
(BEAT)
All within the last month. This is
a mess.
49.
Tom shifts through the folders and looks at the pictures of
missing people.
All of their pictures are from Instagram and all of the
victims smiling with their friends or online.
OFFICER MILLER
And they are all white?
I'm surprised the FBI ain't bust
through here already.
VANESSA
Regardless of their race, we need
to get a handle on this now. We
need to know if all of these people
are being targeted by the same guy
or group.
TOM
So you DO think they are all
connected?
Officer Miller rolls his eyes.
VANESSA
I hate to say, but all the signs
are there. All of these scenes were
flawless and in all my years of
work, this killer has a pattern
like the rest of them. These
victims are usually all connected
in some way.
(BEAT)
He comes in, gets close to the
victim and finds a way to take out
the victim without anyone even
hearing a pin drop. Maybe a
boyfriend, a friend, a new lover.
But, this is only gonna get harder
the longer we wait.
TOM
Whose this? He looks familiar.
Vanessa set's a stack of files in front of Tom. Showing Mike
on the top page.
VANESSA
Mike Borelli.
(BEAT)
He was reported missing about a
week ago. It took forever to get a
warrant from the family estate.
(MORE)
50.
VANESSA (CONT’D)
They locked down the entire place
to get a hold of all of his
unfinished paintings or something.
OFFICER MILLER
They must have forgot that those
"paintings" are part of a crime
scene now.
VANESSA
Well, I got a warrant for the place
earlier this morning. We don't have
much time to get in and get out, so
let's get out of here and take a
look around!
Officer Miller leaves the room leaving Tom and Vanessa
behind.
TOM
Hey V, just wanted to say, thank so
much again for the opportunity.
Vanessa’s hardened exterior softens and she smile at his
boyish enthusiasm.
VANESSA
Don't mention it. I owed Lauren a
sorority favor anyway, so consider
us even. You know, when Lauren
recommended you, I told her that
you would have a tough case on your
hands, so here it is.
(BEAT)
Now let's ride.
She playfully shoves him and winks.
VANESSA (CONT’D)
Plus, I need a guy like you on our
team. You come with some good
experience and we need more of "Us"
in the office.
TOM
Thanks, I won't let you down.
VANESSA
Just keep your head down and you'll
blend in fine. Let's get outta
here!
51.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
20 -
The Search
EXT. MIKE'S APARTMENT - DAY
Mike's apartment is very posh and minimalist looking. It's
white walls and white marble floor give it a Miami Condo Vibe
even in the middle of Atlanta.
The TV is still on and clothes still scattered from the last
night he was there.
Vanessa scans the room. She is barely impressed
VANESSA
Nice place. Check out the bedroom,
I'll get the kitchen. Get some
pictures for the file.
Vanessa walks around the apartment with gorgeous views and
hype-beast style art trinkets on the table.
She opens the wooden drawers revealing more watches and
eclectic socks and underwear.
She opens one of the drawers and pulls out a picture of Mike
at an art gallery.
She scans the picture for faces and puts the picture in her
leather overcoat.
CUT TO:
LIVING ROOM - CONTINUOUS
Tom walks over to the white modern living room with hip hop
music quietly playing on a small speaker in the corner.
The coffee table is scattered with magazines and letters that
read "fan mail".
Tom picks one of the letters up. It rolls out into a longer
image (likely a nude photo).
He see's a iPad and picks it up and starts poking through it.
He looks over at an Alexa style speaker sitting on the table.
He notices the flashing red light ring.
TOM
"Jinny, read my voicemail."
Tom starts to scroll through the iPad looking at Tom's
instagram page.
52.
SPEAKER
Okay, you have one new message-
(BEAT)
"Hey babe, it's Alex, i'm sending
you a flyer to my party next week
you should stop by. You know I miss
you, call me when you get here."
Vanessa walks in on the tail end of the voicemail.
TOM
(To Himself)
Alex?
VANESSA
Maybe a girlfriend or something.
Let's add her name to the list.
(BEAT)
At this point we need anyone we can
get cuz I have nothing concrete in
here. I have a feeling Alex
probably has some answers..
TOM
I don't know, how do we even know
they were together that night?
VANESSA
We don't, but this is the closest
thing we have to a witness right
now.
(TO MILLER)
Order a digital search and let's
find out who this ALEX person is
and what she might know about
Mike’s last location.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
21 -
Interrogating the Influencer
INT. INTERROGATION ROOM - DAY
ALEX, mid 20s white woman, IG Influencer/ Model type blonde,
sits on one side of the interrogation room with her attorney.
Vanessa, Tom, and FRANKLIN, White Male mid 40s and the local
City Attorney, sits in the interrogation room watching the
drama unfold on the other side of the window.
Franklin sits back and watches as they go at it on the other
side of the window. He's drinking his coffee as the screaming
match unfolds.
53.
ATTORNEY
I would suggests that if you don't
have any evidence that my client is
responsible for this, we will be
leaving now!
VANESSA
Tracy please! We just want to
understand what happened the night
of the party and Lex seems like she
would know.
(to Alex)
You said that you didn't see Mike
that night right?
ALEX
No, I didn't even know he made it
to my party!
TOM
And on that night you claim that
you were too drunk to remember
seeing him? This man is missing, we
need a little more details than
that!
ALEX
What do you want me to say, huh?
Mike and I were cool, but we had
just started talking! I met him at
a party, we exchanged number, and
we slept together once or twice,
but that’s it.
ATTORNEY
Enough. If you find the kid great,
but we're not gotta be roped into
your little witchhunt. You want to
talk to us, take it up in the
courts. But until then, have a good
day.
Alex and her attorney storm out of the interrogation room.
Franklin watches them walkaway with an annoyed look on his
face.
He sips the last bit of coffee and raises his eye brows to
the clown show.
FRANKLIN
Well, that was "helpful".
54.
VANESSA
Yeah real "helpful". Sorry you had
to see that.
Vanessa is disappointed at the set back.
VANESSA (CONT’D)
Well, thanks for stopping by anyway
Frank. I was sure we would have a
lead.
FRANKLIN
The clock is ticking. I've just
heard a few mumbles about this
escalating to your friends in
Washington.
(BEAT)
Look there is nothing I can do to
prosecute this.
VANESSA
Already?
(BEAT)
We can't get anymore time from the
DA's office to pin down a suspect?
FRANKLIN
I can see what I can do, but until
we get a body or evidence to
prosecute, this is JUST another
missing persons case.
(BEAT)
You’re honestly wasting your time
V. Maybe this isn't what you all
think it is. Thousands of people go
missing everyday and sometimes they
are never found.
VANESSA
C’mon Franklin.
FRANKLIN
I’m V, do really want your
reputation on the line for this?
Vanessa pauses.
VANESSA
Can you two give us a minute?
The room clears and Vanessa closes the door behind him.
55.
VANESSA (CONT’D)
Frank If you can’t tell, my office
has been under the microscope since
I took this position, I need your
support on this.
FRANKLIN
Don’t we all
VANESSA
C’mon Frank you know me. I have had
to fight tooth and nail to get this
position and this is a big case. I
can’t just take this lying down.
FRANKLIN
I feel for you and understand V,
but you gotta know when to hold ‘em
and when to fold em. This is a
serial killer case and we only at
30% clearance rate for these cases.
Honestly, I don’t think you even
have the resources to waste on a
hunch.
(BEAT)
I’ll keep my ear to the ground on
this, but that’s all I can do _
VANESSA
Frank please. Atlanta has never had
a sheriffs like me before and this
could be life changing.e I feel
like can crack this thing open
WITHOUT someone swopping in to take
credit for all of the work we did!
FRANKLIN
Feelings don't get convictions. You
don't even have a suspect yet! At
this point you all are just drawing
at straws and in all honesty, I've
spent too much time on this case as
it is.
(BEAT)
You need EVIDENCE to convict or
just move on. Call me when you do
get some real traction, but until
then, Happy Holiday's.
Vanessa let’s Franklin walk.
56.
TOM
I think there is more to this story
and we need to do some more digging
to get the evidence that we need.
I just have a feeling that we will
find something we just have to look
a bit closer.
FRANKLIN
Franklin walks out of the room leaving the duo behind.
Tom looks over at Vanessa with a disappointed look. He drops
his head down in defeat.
TOM
What now?
VANESSA
Back to the drawing board. Our
guy’s out there, but he's not gonna
make it easy on us to find him.
(BEAT)
We'll keep looking until we get
something. Leave no stone unturned.
Let's put our heads together and
figure something out.
CUT TO:
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
22 -
Vincent's Blood-Inspired Canvas
INT. DARLA'S OFFICE - NIGHT
Here it is! The first painting with blood. Vincent stands
behind her was she inspects the piece.
She doesn't know weather to be surprised or laugh or shrivel
in fear.
Vincent's eyes are shifting from side to side as he watches
her. He's worried, scanning Darla's face for approval.
She examines the art work. The painting is in the shape of a
human with expressionist strokes on it.
DARLA
What inspired this?
VINCENT
I've been working on it for a while
now, but last night something just
came to me. I took your advice and
tried something out so -
(MORE)
57.
VINCENT (CONT’D)
(BEAT)
What do you think?
She touches the strokes of paint/blood on the white canvas.
Sweat collects on the top of Vincent's forehead as he looks
on nervously over her shoulder. He swallows HARD!
Darla's heels click and she circles the painting.
She feels the ridged texture.
She hides her face from Vincent.
She lifts her finger from the painting and see's a spec of
red blood on her hand.
Darla is standing in front of the canvas while Vincent is in
the background behind her, looking on as she inspects the
work.
With out turning, Vincent mutters out -
VINCENT (CONT’D)
Do you think the gallery will like
it?
DARLA
You want me to be honest with you?
She turns to him and charges towards him.
DARLA (CONT’D)
This is breathtaking work. THIS is
your inspired work. THIS is what
we've been waiting for you to
produce since last year.
(BEAT)
It's dark and frantic. I FEEL YOU
in this piece in a way that I
haven't in so long.
(BEAT)
THIS is the new direction.
Vincent is relieved and smiling a bit.
Darla rubs her hands together getting rid of the blood on her
finger .
VINCENT
Okay good! Well, I can keep making
more things. I can try and
reproduce this a few times over.
58.
DARLA
Let me make a few calls to get the
word out to the agents, but
Vincent, I feel good about this
one.
Vincent just smiles.
DARLA (CONT’D)
I told you, we got this Vincent.
Trust me, I see something new in
you and we just have to harness it
right here right now.
(BEAT)
Keep doing whatever you are doing
to make pieces like THIS and we
will be back on top in no time.
(BEAT)
I'm curious, what was the change of
heart?
Vincent struggles to answer before Darla cuts him off.
DARLA (CONT’D)
Doesn't matter, we need to keep
this going and get you back out
there.
VINCENT
I'll work on a few more like this.
I just want you to know that I AM
serious about my career as a
artists and I am thankful that you
have stuck with me through all of
this.
The odd tone makes Darla tilts her head, surprised.
DARLA
Don't mention it.
Darla pulls out her phone and leaves Vincent behind, but his
smile turns to worry. His paranoia is starting to get the
best of him.
While Darla chatters away on the phone, the painting starts
to haunt him.
Vincent fixates on the painting across the room.
He steps closer and closer to the canvas as his heartbeat
increases in sound and pace.
59.
Darla glances over and as Vincent seems slowly enchanted by
the piece touching the canvas.
He's face to face with the painting. He reaches out to touch
it with his finger trembling.
DARLA (CONT’D)
Vincent?
Vincent JUMPS!
VINCENT
What, uhh yes, what's up?
DARLA
Is everything okay?
VINCENT
Sorry, just got a little
distracted. I'll let myself out.
DARLA
Okay, and Vincent. Any name for
these new pieces?
VINCENT
I'll leave that up to you.
DARLA
Okay.
Darla suspiciously looks at him over her shoulder while she's
on the phone. She smiles and waves talking back on her phone.
He lets out a deep breath and fast walks out of the Gallery.
Her eyes lock back on the painting while she talks on the
cell phone.
DARLA (CONT’D)
Alright, let me call you back.
The painting is all alone illuminated under the studio
lights.
Darla walks towards the painting with confusion and a bit of
suspicion.
Genres:
["Drama","Thriller","Mystery"]
Ratings
Scene
23 -
Vincent's Hallucinations and Dinner Tensions
EXT. DARLA'S OFFICE (PARKING LOT) - NIGHT
Vincent fast walks out to his car.
He opens the door and sits in the driver seat.
60.
He rest his head of the steering wheel as flashback of a few
of the killings plays back in his head.
He looks at his reflection in the rearview mirror.
His phone starts to ring LOUD in his pocket. It's Stacy.
STACY (O.S.)
Hey babe?
VINCENT
Hey, baby what's up?
STACY (O.S.)
What's where are you, why are you
breathing so hard?
VINCENT
Just left the gym, what's up?
STACY (O.S.)
Well, I was calling to see when you
would get here, we have that dinner
with Tom and Lauren remember?
Shit! This dinner completely slipped his mind. He shudders
out a response.
VINCENT
Of course, I was just on the way
there!
STACY (O.S.)
Okay, well hurry!
VINCENT
I'll be there in a few.
He turns the keys and pulls off.
INT. VINCENT'S MANSION - NIGHT
Stacy is in the bathroom getting dressed until she opens the
glass mirror looking for a hair ties.
She takes one out, but one of them and drops it in the
garbage. She sticks her hand in the can and feels around.
Suddenly, she pulls out an empty pill bottle.
She walks over and calls the number on the bottle.
61.
STACY
Hey Dr. Brown it's Stacy. Um yes, I
have a question about a
prescription that I just found. I
know i's late, I had a few
questions -
Audio fade out.
Lauren grabs her purse.
FADE TO BLACK:
INT. TOM AND LAUREN'S HOUSE (DINNER TABLE) - NIGHT
The table is full of food. Tom sits across from Stacy and
Vincent across from Lauren.
Vincent seems really distracted by Tom's new police badge
swinging on his neck.
He keeps looking at it and sipping his drink nervously.
We close in on the badge with his new patrol numbers as he
walks over with more food for the table.
STACY
Thanks so much for having us, it's
been forever since we had dinner
like this, right babe?
VINCENT
Yeah we really appreciate it,
especially with all that's been
going on these last few months.
LAUREN
Don't mention it, it's been ages
anyway!
(To Tom)
Babe tell them about the transfer.
STACY
Transfer?
TOM
I got the promotion.
VINCENT
I was wondering about that. New
job?
Vincent points to Tom's badge.
62.
TOM
Yeah, I'm working those missing
persons cases.
Vincent swallows hard as silence freezes over the table.
Stacy smiles at Vincent
STACY
Missing persons huh?
TOM
Yep. Mostly white girls too, I
can't say the news is all accurate
but, it's crazy. The count is up to
what, about 5 now?
LAUREN
It's just awful.
Lauren pours herself a glass of wine.
LAUREN (CONT’D)
But, White girls can only go
missing in action for so long. They
will catch em trust and believe.
Detective Tom has been working day
and night trying to find a lead on
this creep.
TOM
Well, hopefully we'll wrap this up
soon.
LAUREN
I just wish they would spend the
same money and time to find some of
these missing black girls too.
STACY
It feel so scary around here now of
days. I don't remember the city
feeling so unsafe!
TOM
I know. You know if more brothers
channeled their energy into
something more constructive like
Art, people wouldn't look at us
like criminals?
LAUREN
Here we go with this, can we just
have a nice dinner Tom!
63.
Lauren takes a sip knowing that Tom is about to go on one of
his "back the blue" conservative rants. Stacy is reeled in.
LAUREN (CONT’D)
As you can see, Tom's been sipping
the Blue Lives Matter Kool Aid.
TOM
What, it's true baby. Black people
in general commit more crime in
Atlanta and it starts with the
young black boys and they grow into
deviant black men. If niggas don't
want better for themselves then so
be it, nothing we can do about it.
Lauren rolls her eyes and Vincent doesn't look up.
Stacy places her hand on Vincent's knee under the table.
Tom is very different than he was when they talked last.
LAUREN
Wow, Tom I work with troubled black
kids everyday and not a single one
of them WANT to be in the
situations they are in. You don't
think they want better outta life?
Tom rolls his eyes and eats his food.
LAUREN (CONT’D)
These students don't even have
school councilors. No doors on the
bathroom, no air on the school bus,
you think people out here are just
choosing crime ?
(BEAT)
Sounds like a school to prison
pipeline to me. That's why I went
into civil law in the first place.
Tom rolls his eyes and eats his food.
LAUREN (CONT’D)
(To Stacy)
For example. Just last week, these
two little boys in my office lost
their mother. They just got to
middle school and there's no one
there to help them cope with there
day to day life or the trauma they
just experienced.
(MORE)
64.
LAUREN (CONT’D)
Yes, they have the teachers in the
classroom for a piece of their day
to provide some stability and
comfort for their schooling, but I
can't imagine what the rest of
their life is gonna be like without
the emotional support they need and
finding away to cope with what
happened -
TOM
(To Vincent)
See women just have a different way
of thinking than Men when it comes
to this stuff. We can't afford to
be these emotional creatures that
women want us to be. Boys SHOULD be
strong and learn how to provide and
be emotionally intelligent, but a
lot of my cases have been emotional
boys turned to evil men. I haven't
had a female serial killer, axe
murder, or peeping Tom that wasn't
emotionally unstable.
VINCENT
Come on Tom. Don't you think you’re
being a little judgmental?
LAUREN
A little?
TOM
I'm on the inside now bro. I see
how these white boys work and how
it all goes down.
VINCENT
Really?
TOM
I ain't a cop, but I see how they
talk behind closed doors. They plot
and scheme with their buddies, they
set the trap and we take the bait
every time. Why do you think they
keep killing us? That's how the
system is designed. I'm trying to
change the system from the inside
and that's just how I see it. It's
not right but it's fair.
Vincent is surprised.
65.
VINCENT
Fair? You even sound like one of
them now.
Tension heightens as Tom drops his fork and smiles at
Vincent.
TOM
Come on Vince, don't tell me you've
gotten all uppity on me?
VINCENT
Well, I wouldn't call it uppity.
Just Humane that's all. I just feel
like you of all people would
understand-
TOM
Understand what? The Streets?!
Tom laughs and looks around the table. Lauren is embarrassed
in front of Vincent and Stacy.
TOM (CONT’D)
We got an education, pursued our
dreams and avoided being the
stereotype. Those brothers fell
into the trap -
LAUREN
Please, Vincent doesn't wanna hear
all that shit. I swear niggas get
on salary and don't know how to act
and don't act like you wasn't one
of those "brothers" before I met
you.
(BEAT)
That's y'all's problem now.
Stacy laughs to herself.
Tom get's offended, but almost smirks at Lauren's curtness.
TOM
(Indifferently)
Attorney Baker may not think so,
But, we ALL had a choice and we
chose it. These water-boys can make
good choices too, without breaking
into peoples houses after the fact-
66.
LAUREN
And not everybody has Jack and Jill
and Ivy Leagues connects to get
them through life like us. Your
surrounding informs your choices,
that's all I'm saying.
The oven timer rings in the distance and interrupts the
tension in the room.
LAUREN (CONT’D)
And, I don't know who suggested
politics at the dinner table
anyway, but let's change topics
here!
STACY
Agreed.
LAUREN
Come help me get the pie out of the
oven.
Lauren walks over to the kitchen, as Tom shakes his head at
her wit.
Vincent start to cut a piece of the stake on the plate.
He's having a bit a trouble as he drives the knife through
the meat. This hallucination also, feels too real as the
blood spills on the white plate.
LAUREN (V.O.)
Stacy, you watched Potomac, Chile I
just can't deal.
Lauren's voice echos in the distance.
Vincent's stakes starts to bleed out! And he looks confused.
It looks way too real. He wipes his eyes and the blood goes
away.
Tom is eating his food too.
TOM (WHISPERS TO VINCENT)
I know they're not all bad but, I
just see some really dark stuff now-
(BEAT)
We’re gonna find this guy, if this
is the last thing I do.
(BEAT)
Anyway, what are you working on?
Any new pieces we should be on the
look out for?
67.
He pushes his setback, the chair drag across the ground.
The room is surprised by his outburst, looking at him.
Vincent stands up staring down at this plate and the plate
looks normal again.
He is embarrassed and quickly looks up at Tom and Lauren,
hoping they won't catch on.
VINCENT
Um, Can I use your bathroom?
TOM
Sure it's right around the corner -
Vincent jumps up from the table and rushes off screen.
Stacy looks over a notices him leaving the table, but she
doesn't make a fuss about it.
Genres:
["Drama","Thriller"]
Ratings
Scene
24 -
A Hidden Horror
INT. TOM AND LAUREN (BATHROOM)- NIGHT
Vincent rushes into the bathroom door, shutting it behind
him. He splashes water on his face and tries to calm himself
down. His heart beat is loud and breath short.
He rests his head on the door of the bathroom, letting out a
deep breath.
As he leans, we pan down his leg as blood drips on the floor
below him.
Each drop is slow and he doesn't notice until he looks down
at his hands now covered in blood. Just as he starts to calm
down, blood is all over his hands.
He grabs a towel and whip the blood on the floor.
He turns on the sink and tries to rinse the blood from his
hands.
He reaches into his coat pocket and see the empty pill
bottle. Shit, they’re all out.
He tries to compose himself and go back into the kitchen.
VINCENT
(To Himself)
Just chill. It's Tom and Lauren.
That's it. They are your friends.
68.
INT. TOM AND LAUREN'S HOUSE - NIGHT - CONTINUOUS
Vincent rushes back to the dinner table to see Tom standing
up and putting on his detective jacket.
He's in a rush as he prepares to head out of the door.
VINCENT
Leaving so soon?
TOM
Yeah, sorry I gotta head out, got a
lead downtown. Sounds like a body
or something, but I hate to leave
you like this.
Vincent is sweating and panting hard. Stacy looks at Vincent
with concern.
Vincent is about to say something, but Stacy cuts him off .
STACY
We'll still do dessert, but it's
was good seeing you again Tom.
Tom daps him up.
TOM
Gotta head out, but stick around, I
know Lauren has some good dessert
waiting.
(BEAT)
I'll see y'all, we gotta run this
back again bro.
He kisses Lauren and leaves.
EXT. THE MORGUE PARKING LOT - NIGHT
Officer Miller’s police car is parked at the front of the
Morgue. It's late at night so, he obviously isn't in the best
mood. He sits on the hood, smoking a cigarette, as Tom walks
up.
TOM
Officer Miller.
He throws the cigarette out and faces Tom.
OFFICER MILLER
You know, my wife thinks we are
having an affair.
69.
TOM
I wouldn't call it that.
OFFICER MILLER
Body’s inside, c'mon. Lets just get
this over with, it's already late.
INT. THE MORGUE - NIGHT
Flickering lights, sickly green hue, and buzzing sounds from
the florescent light bulbs. Officer Miller walks in first
getting a look at the body, still under the white sheet.
OFFICER MILLER
23 Year Old, JANE DOE, White found
down near the body shop. Owner
claims he took out the trash and
saw a car pulling away before he
opens the trash and discovers this.
Tom pulls back the white sheet to reveal the Jane Doe.
TOM
Where is the coroner? Why is the
body just here on the table like
this?
OFFICER MILLER
It IS the Holiday's you know.
Clearly they are backed up, so it's
just us here I guess.
TOM
Happy Holidays.
Officer Miller looks at the girls lifeless body as Tom
examines her. His fingers run across her neck, revealing a
stab wound.
Tom takes a picture with his iPhone.
OFFICER MILLER
I can't get an ID until Monday, but
I'm hoping that we get a match to
one of our missing people.
(BEAT)
If not, we just move on.
Tom looks annoyed at his partners aloofness about the
situation.
70.
TOM
So, I guess that just means problem
solved right?
OFFICER MILLER
No, but we do get to go back home.
I don't think this is 1 of the 4
this week anyway, so we're running
the name to see if we get any other
missing persons hits.
TOM
You know, I think we are in over
our heads here Miller.
OFFICER MILLER
It would seem like it. 19 missing
person reports, 240 Jane Doe's, 3
bodies found this weekend alone.
None of which match the missing
persons reports we are HIRED to
find.
Officer Miller takes a sip of coffee.
OFFICER MILLER (CONT’D)
I told Sargent V we should have
called this case in a long time
ago. We are wasting so many
resources on this and you and me
both know this is way bigger than
what we are admitting.
TOM
We are so close-
OFFICER MILLER
Look, I have a family. If these
people can't be found then let's
leave it to the FBI and they will
handle it. You can't keep running
to the scene of the crime every
time we find a Jane Doe around
here.
(BEAT)
There's hundreds of them everyday.
TOM
Mike this is my first investigation
down here in Atlanta, you know
that. I gotta stick it in there.
OFFICER MILLER
Yeah, but for how long?
71.
TOM
I don't know. Just a few more
weeks.
(BEAT)
Look why don't I stay here and wait
until we can run some ID manually
like in the old days. If it's a
match you'll be the first one I
call. If not we'll head back to the
drawing board. And no more pop up
calls.
OFFICER MILLER
Yeah, I guess. But Tom, I gotta
admit. I was just like you when I
came onto the force. Young,
excited, and a little crazy .
(BEAT)
Don't let this place run you crazy.
I promise it's not worth it and as
you can see, it's not many of "us"
here.
TOM
I'm good I promise. I just want to
pull my weight around here-
OFFICER MILLER
Look, this place will eat you up
and spit you out if you let it.
TOM
I understand.
OFFICER MILLER
Alright, trust me, if something is
there we'll find it.
Officer Miller shakes his head and heads back out to the
patrol car.
He leaves Tom behind with the body.
Genres:
["Thriller","Crime","Mystery"]
Ratings
Scene
25 -
Midnight Confidences
INT. TOM'S OFFICE - NIGHT
Late Night Office Cubicles, Isolated Lighting, A Sickly Green
Tom is looking on his desktop computer as he runs a manual
ID Search. The light from the terminal illuminates his face.
Tom is focused while he is typing.
The screen flashes red with the words "No Match Found".
72.
He shakes his head in defeat.
INT. VINCENT'S MANSION (BEDROOM) - NIGHT
Vincent sits in his bed
He can't sleep, laying next to Stacy.
He peaks over to see if Stacy is still awake.
He slowly get's out of the bed and heads downstairs, but
Stacy isn't sleep she is also laying in the bed, with her
back turned to Vincent and her eyes wide open.
INT. VINCENT'S MANSION (KITCHEN) - NIGHT
Vincent gets a glass of water from the fridge and sits down
at the table.
He get's up and look out of the window, paranoid, then back
to the kitchen table.
Stacy is standing on the stairs and knows that something is
wrong. She watches Vincent standing in the window and looking
out.
Vincent sits back down and notices Stacy standing in the
shadows.
STACY
You coming back to bed?
VINCENT
Yeah. I didn't mean to wake you up.
She is silent as she walks over to the table with Vincent.
Vincent doesn't make eye contact.
She look at his face worried. She hesitates to speak.
STACY
What was that tonight?
VINCENT
What do you mean?
STACY
Tonight, at dinner. I mean, you
were so anxious and spaced out. It
looked like you were gonna just
jump out of your own skin.
(MORE)
73.
STACY (CONT’D)
Something is clearly bothering you,
so why don't we just talk about it
like a normal couple?
VINCENT
C'mon Stacy it's late, let's just-
STACY
Let's just what?! Keep pretending
like we're just fine and everything
is alright!?
(BEAT)
Vincent, why do you keep pushing me
away? I mean did I do something to
you?
VINCENT
Pushing you away? For real?
STACY
Yes! You've been like this for
months now and I can't keep acting
like I don't feel this distance
between us. It just keeps getting
bigger and bigger and bigger and I
don't think I can keep doing this!
VINCENT
Really? So you’re tired of me
already huh.
STACY
You know that’s not what I mean.
STACY (CONT’D)
Look, I know you got a lot on your
mind, but you have to talk to me
about how you’re feeling. I feel
like I'm going crazy trying to
figure you out.
VINCENT
There's nothing to figure out okay.
Let's just go to bed and well talk
about it in the morning.
Vincent gets up and starts to makes his way upstairs. Stacy
stands her ground, stopping him.
STACY
Is there something going on?
(BEAT)
You know, is there someone else?
74.
Vincent nonchalantly tries to laugh it off.
Vincent walks away from her and heads back upstairs. Stacy
stands her ground, following behind Vincent grabbing his
harm.
VINCENT
Just drop it alright.
STACY
(passive aggressive)
Right, so you expect me to believe
you’re just out "getting
inspiration" for your stupid
fucking paintings all day right?
(BEAT)
And when did you start taking these
pills again? You didn't tell me
about that either! You don't tell
me anything anymore!
VINCENT
What, your snooping through my
trash now?!
STACY
It's not like I could ask you!
Every time we’re together I feel
like I'm by myself, like I'm just
some ghost following you around all
day.
Vincent sits back down at the table.
VINCENT
I didn't want you to worry. This is
my shit to worry about.
Stacy is quiet.
STACY
I heard you in your sleep. Last
night.
There is a long pause Vincent stops and lock in on Stacy's
concerned look.
VINCENT
So what?
STACY
Are you still having nightmares?
Vincent frowns trying to ignore her.
75.
STACY (CONT’D)
Vincent, if your having these
dreams again, we can just call Dr.
Brown and have them change the
dosage?! You might need some
different medication or something-
VINCENT
Why do you insists on figuring me
out!? There's nothing to figure
out, I told you I'm fine! Just
leave me alone and let's just move
past it!
STACY VINCENT (CONT’D)
I’m not gonna keep letting What don’t you fucking get-
you talk to me like that-
STACY (CONT’D)
I just want you to talk to me, you
owe me that at least.
VINCENT
Alright, you wanna talk, Let's
talk. I've been having nightmares
about that night. Even though I
wasn't there, I still feel like it
happened to me and every fucking
night I dream about him.
(BEAT)
I haven't been talking about it
because, every time I do, It just
keeps bringing me back to that
moment!
(BEAT)
Before Monte and I were separated,
I used to always protect him. We
always said we would stick together
no matter what.
(BEAT)
I wasn't there for him when he
needed me. I could have went to the
house first or at least rode with
him in the car, something-
STACY
It wasn't your fault.
VINCENT
My mind keeps saying it was. I
thought the pills would help
regulate some of that, but it
didn't. They aren't working any
more and I just -
(MORE)
76.
VINCENT (CONT’D)
(BEAT)
I feel like I'm losing myself.
Vincent is broken down in tears sitting next to Stacy on the
at the table.
She hold his head tenderly against her chest. There is a long
pauses as the two embrace.
STACY
Okay. Okay well, let's work on this
together okay. I know it's tough
and it's tough on me too to see you
like this, but baby you have to let
me know how your feeling. You can’t
keep pushing me out.
VINCENT
What's wrong with me ?
STACY
You just human baby. Monte loved
you and you were there for him when
no one else was. I miss him to
baby, but There is nothing you
could do. I know it hurts, but you
gotta find a way to move on.
(BEAT)
We're gonna get through this
together.
(BEAT)
I don't want you to keep pushing me
away, I want to be IN this with you
okay?
(BEAT)
Whatever it takes.
VINCENT
I love you.
STACY
I love you too. We're gonna get
through this together.
The two kiss and she wipes Vincent's tears.
As Stacy holds his head, she can't help but give a tired
looks off camera.
Vincent hugs her not noticing her giving up on there
relationships.
77.
Genres:
["Drama","Psychological Thriller"]
Ratings
Scene
26 -
Confrontation in the Shadows
INT. ART GALLERY - NIGHT
Dark night, Glowing Computer Screen, Still Raining
Darla is sitting on her desk smoking a cigarette looking at a
laptop as she bites her nails and listens to the acquittal
story on the news.
Smoke rises in front of her.
REPORTER
Last week Officer Sarah Smith as
been acquitted of all charges. This
is an unprecedented turn for this
case.
(BEAT)
This acquittal comes just weeks
after protests broke out in front
of the court house.
While she is deep in the video, she slams the computer
closed.
Fear, stress, and frustration flush over her paranoid face.
She pulls the cigarette one more time as headlights flash
against the inside of the glass.
CUT BACK TO SHERRY AND DARLA CONVERSATION, Joe and Darla at
the Office VIGNETTES
EXT. ART GALLERY (PARKING LOT) - NIGHT
She walks outside of the gallery to a dark parking lot to
sees the mysterious black car parked at the end of the deck.
The car cuts it's headlights on and the car starts making
it's way towards her.
She waits outside as the car pulls up. She looks on with
suspicion at first then the man hold his hand out of the
window.
She walks over and get's into the backseat.
INT. MYSTERY MAN'S CAR - NIGHT
A well dressed mystery man in a suit is sitting in the
shadows of the driver seat, just out of view of Darla.
The dark shadows are hiding his face.
78.
Darla looks increasingly stressed, anticipating for him to
start talking.
DARLA
So, is it all done? All of it?
MYSTERY MAN
Nice to see you too-
DARLA
Don't fuck with me okay! This has
gotten way, way out of hand! I gave
you the money, you got her off, and
now we should be done with this
whole thing right?
MYSTERY MAN
That's the hope, but nothing can
really be guaranteed, I told you
that already.
(BEAT)
Obstruction of a police
investigation, conspiracy, MURDER!
DARLA
Please! you knew what this was
before I even called those two-
MYSTERY MAN
And now someone is dead. An
innocent boy is dead. YOUR CLIENT’S
BROTHER IS DEAD!!
(BEAT)
That wasn't apart of the press
plan!
There is a long pause for this revelation.
MYSTERY MAN (CONT’D)
I mean, a rookie cop. What were you
thinking Darla?
DARLA
He needed something that was gonna
get is career off the ground! Get
US off the ground.
MYSTERY MAN
Give me a break.
79.
DARLA
You don't know the kinds of things
that I have had to do, things I've
had to tolerate to get where I am
today!
(BEAT)
I was thinking that this would work
just like everyone else.
(BEAT)
A DUI, Car Accident, overdose,
something!
There is a long pause between him and Darla.
DARLA (CONT’D)
You know, every other artist in
this business gets a life changing
event that takes him to the top,
why couldn't we have a moment too?
(BEAT)
I didn't think they would kill him.
I just needed something that would
stir up Vincent's life, I didn't
know, so you can't blame me for
doing what EVERYONE else does.
CREATE the MOMENT.
MYSTERY MAN
You’re sick.
The man stops and frowns at her prideful and arrogant rant.
We could only really see his teeth and the light from the
streetlights shining into the car.
He leans towards the front glass and we see it's FRANKLIN,
the city attorney.
FRANKLIN
I suggest you lay low Darla. This
place isn't safe for you anymore,
and I'm not gonna loose my license
over this.
(BEAT)
Sooner or later this is all gonna
come back to bite us in the ass-
(BEAT)
And bite YOU in the ass. You wanted
a big artist spectacle on the night
of the opening, you made one, and
now we have to deal with it.
Darla dismissively ignores his cautious tone.
80.
DARLA
Is the case handled?
FRANKLIN
For now. The city will likely want
to move on after the acquittal, but
the right winged media channels are
gonna have a field day running this
story.
She breathes in deeply.
DARLA
Good. Trust that I WILL keep my
commitment to silence and I hope
you do the same.
FRANKLIN
Silence isn't always the answer to
chaos Darla!
(BEAT)
Sometimes Chaos is born out of the
silence.
The man is quiet for a while.
FRANKLIN (CONT’D)
Darla let me ask you something. The
case is almost sealed, but I did
hear the phone call from that
night.
(BEAT)
Did you tell the police that night
that Monte had a gun??
Darla leaves the folder of money on the dashboard, cutting
him off.
He takes it out to count while Darla continues.
DARLA
You take care.
FRANKLIN
You can't hide this from him
forever. He'll find out -
DARLA
Your hands aren't clean in this
either Frank, might I remind you of
that fact Mr. Prosecutor.
81.
FRANKLIN
It turned into a murder, Darla.
They went to that house because of
you! You’re the reason that young
boy is dead and you’re too selfish
to even see it after all this
time?!
(BEAT)
I hope it was all worth it.
She gives him an indignant glare.
DARLA
Well sometimes we have to go to
dark place to see the light. Is
there anything else I can do for
you Mr. Franklin?
She holds her stone cold and careless stare.
FRANKLIN
God have mercy on you.
Darla opens the car door and walks back outside.
Franklin drives off, leaving Darla in the parking lot
Genres:
["Drama","Thriller","Crime"]
Ratings
Scene
27 -
Darla's Frustration
INT. DARLA'S ART GALLERY - NIGHT
Darla walks back into the Gallery. Her tall heels click
across the floor as she looks at her newest pieces.
They are hanging along the dimly lit white wall under a track
light as we are close on her face with an empty yet
frustrated expression.
She is tensely locked on the pieces in a tremble.
A tear rolls down her face
She quickly wipes her face as another tear drops.
She shuts off the studio lights and walks off the screen.
We close on the piece sitting in the showroom floor, but the
eye balls of the painting are the only thing glowing in the
night.
FADE TO BLACK.
82.
BLACK TITLE CARD - SUPER : CHAPTER 3
SUPER: "NO MAN CHOOSES EVIL BECAUSE IT IS EVIL; HE ONLY
MISTAKES IT FOR HAPPINESS, THE GOOD HE SEEKS. — MARY
WOLLSTONECRAFT."
INT. VINCENT'S MANSION (FOYER / STAIRWELL) - DAY
Cleaning Montage. Jazz Music. American Psycho Style
Vincent wakes up, we are overhead with him opening his eyes
in the covers.
He springs up and looks out of the window through the blinds.
TEXT BUBBLES
He checks his phone and see's one missed text from "Stepmom".
He open's it and it's a picture of her and Vincent Dad. It
read "Miss You"
He brushes his teeth and hair.
He opens the cabinet mirror and takes his pills sitting on
the shelf.
He washes his face and looks at his reflection slowly
changing in the mirror.
He is still listening to music, whistling away.
Vincent walks around with a trash bag and cleaning supplies
as he starts to sanitize his kitchen clean.
Quick cut to dismembered arms, legs, and fingers being put in
a big bag.
He wipes off the door nob (covered in blood), the island, and
ends of the table where another one of his victims finger
prints are left on the table.
He burns the bag in a fire and shovels the ashes into the
bucket of paint.
Vincent walks back into the dirty bathroom and starts to
sanitize and shower and throw bloody bath towels in a huge
black bag.
He is running the sweeper in his home office. He is polishing
the wooden table and puts out two water bottle.
CUT TO:
83.
Genres:
["Thriller","Psychological Horror"]
Ratings
Scene
28 -
Vincent's Elusive Interview
INT. VINCENT'S MANSION (OFFICE)- NIGHT
A reporter MASON "Hipster bro Type" (Early 30s/ white /
slightly overweight) is sitting across from Vincent at a
office table.
MASON
Does the pressure of being a Black
artists ever make you feel like you
need to make more political
statements with your work?
VINCENT
No.
MASON
What are your thoughts on "cultural
appropriation"?
VINCENT
What are YOUR thoughts?
MASON
Well it is YOUR interview.
VINCENT
I haven't really considered it. I
don't consider myself a "Black
Artists".
(BEAT)
I just create art.
MASON
I see, All Art Matters huh, okay.
Vincent takes a sip of his drink, evading the question.
MASON (CONT’D)
Do you ever have trouble drawing on
inspiration for your work since
your hiatus?
VINCENT
Not really.
He takes a sip, staring over the brim at the reporter with a
sly smile.
VINCENT (CONT’D)
I've been in a few slumps here and
there, every artists has -
84.
MASON
And the murder of your brother, how
have you been dealing with that
since it's been almost a year ago
now?
VINCENT
What do you mean?
MASON
Well some would say that your work
has "changed" recently?
VINCENT
In a good way or a bad way?
Vincent sarcastically smiles at the reporter, but the
reporter is growing increasingly anxious from Vincent's
aloofness.
VINCENT (CONT’D)
Well what do the critics have to
say about me now? I'm sure you
follow them closely.
(BEAT)
Some of them are your friends
right?
MASON
Well, I'M not a critic, but I'll
read you what some critics are
saying said about the newer pieces.
He scrolls on his computer.
MASON (CONT’D)
Umm here, "His work seems
distracted. Empty, soulless, and
overcompensatory. Where Mr. Raphael
used to make statement with his
work, now his work barely murmurs a
word, much less a sentence. He's
suffering under the weight of his
own grief and reacting in a sad
desperation."
VINCENT
Well he's certainly entitled to his
own opinion. Thank god we don't
make monuments of everyone with an
opinion to offer.
85.
MASON
Here's another one "Vincent is
washed. His pretentiousness has
caught up to him and his ideas have
run stale. This show might be over
for the artists and good thing
too."
Vincent shrugs his shoulders, acting like he doesn't care.
MASON (CONT’D)
So, what do you have to say about
all this I mean the press has been
brutal -
Mason looks up at Vincent, like he is looking for a bad
reaction from him.
Vincent just smiles and stops the recorder sitting on the
wooden table.
VINCENT
Hey Mason, why don't we take a
break here huh?
MASON
Is there something wrong?
VINCENT
Well, I wasn't really thinking this
would be a gossipy peace-
REPORTER
Oh no no, that's not my intention,
but you gotta admit -
VINCENT
Admit What?
MASON
Well things are different for you
now and people are taking notice. I
want to be the good guy here and
give you a platform to combat all
of this, so i'm just trying to
stimulate some conversation.
VINCENT
Well that's fair. I just don't want
to make this whole thing too
political.
MASON
Well what do YOU want to do?
86.
Vincent leans back in the chair and pretends to think about
what he is saying.
VINCENT
How about I give you an exclusive?
MASON
An exclusive? Now that sounds
interesting.
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
Vincent's Alluring Trap
INT. VINCENT'S ART STUDIO - NIGHT
Vincent walks into the studio with a sinister smile on this
face and as the reporter walks ahead of him.
The reporter is looking at all of the different pieces on the
wall that Vincent has finished, but not sold.
MASON
They are amazing.
VINCENT
Never before seen until today.
REPORTER
It's a honor. Why hasn't the world
seen these?
VINCENT
They will soon enough.
Vincent flashes a more sinister and insincere smile. Mason is
enchanted by the paintings.
He walks around the room and touches the paintings on the
wall.
VINCENT (CONT’D)
Mason, I really consider you a
friend you know that. We've had our
differences, but I've grown a real
appreciation for your artistic eye
and your keen insight.
(BEAT)
I mean you've been following me
since the beginning.
Vincent grabs his shoulder and stares in his eyes.
MASON
Thanks, that means a lot.
87.
VINCENT
You wanted to be an artist at one
point right? I remember you telling
me that you used to paint as a
child, no?
MASON
Well, I just went to school for
communications and never picked up
a brush again. This isn't a bad gig
though.
VINCENT
Right.
Vincent smiles and goes over to a desk, leaving the reporter
behind with his drink.
We are close on the drink as we see tiny bubbles dancing up
the side of the glass of champaign.
The glass sits on the table, behind the two.
He returns and we see Vincent handing the reporter a dried
paint brush.
VINCENT (CONT’D)
Would you like to give painting
another shot?
The reporter laughs at Vincent's charm.
Slowly, Mason breaks a smile, smitten by Vincent's
generosity.
MASON
I can't-
VINCENT
It's never too late to re-invent
yourself.
(BEAT)
You just need a little imagination.
He smiles a kiddish smile and takes the brush.
VINCENT (CONT’D)
I'll be right back, you go ahead
and get started, paint what comes
to you feel.
(BEAT)
Here is one of my favorite songs to
paint to. I know it’s kind a corny,
but fitting.
88.
He cuts some music, Just My Imagination - The Temptations.
Genres:
["Thriller","Psychological Drama"]
Ratings
Scene
30 -
Deadly Encounter
INT. VINCENT'S HOUSE (BATHROOM) - NIGHT
Vincent walks into the bathroom and looks at himself in the
mirror and starts to laugh a psychotic laugh.
He tries to wipe the joy from his face. He reaches down under
the cabinet and takes out a cleaver, covered in blood.
He holds it up to his face to get a closer look at the
cleaver.
He rinses it off under the sink and the water turns blood red
from the dry blood.
He puts on white painters over-alls over his clothes.
He wipes the cleaver off in the sink so that it is shiny.
VINCENT
You know, I've always been a fan of
The Metropolitan. You guys are
really, raising the bar for the art
world. No matter what they say
about print.
(BEAT)
You know, you didn't always have so
many friendly things to say about
me or my family.
(BEAT)
You did the article on Monte and I
just felt that we would never be
able to talk like two men.
He looks into empty pill bottle and throws it away. He bends
down under the cabinet and grabs the cleaver, holding it
behind his back.
INT. VINCENT'S ART STUDIO - NIGHT
Vincent walks up behind the reporter, looking at the work the
reporter is doing.
VINCENT
Wow, now that's the mark of an
artists.
MASON
Really?
89.
VINCENT
Sure. I mean, nothing that I could
have ever thought of.
(BEAT)
I've never been too much of a
critic myself. I find it too,
restrictive, but this!
(BEAT)
This feels like YOU!
MASON
Thanks!
VINCENT
You have some real talent, why
don't you have an agent?
MASON
Oh please.
A beat.
MASON (CONT'D) (CONT’D)
Oh I didn't realize it was so late,
we should get back to the interview
if you want to have this published
before the Winter Show.
VINCENT
True, well one last drink? I really
appreciate you doing my "comeback
story". I don't know where I would
be without you.
MASON
Ahh don't mention it
Vincent goes over to the table and drips two drops of a horse
tranquilizer into the cup. He drops two more drops.
Vincent smiles and hands the man the drink.
MASON (CONT’D)
Cheers!
The reporter takes the drink and immediately start to feel
the effects of the drips.
Vincent gives an evil smirks as his lips doesn't leave the
glass.
The reporter tries to shake off the immediate effects of the
drips blurring the room and slowing things down.
90.
Vincent stands up and zips up his white painter coat.
He leans down and grabs the reporters face as his head starts
to spin and he can't focus on Vincent.
VINCENT
Oh no, looks like you aren't
feeling too well buddy.
(BEAT)
You’re a parasite you know that
Mason?
MASON
I don't feel so, good.
He gets off the couch and starts to wobbles towards the door,
but he stumbles down, unable to get his feet up under him.
VINCENT
I'm sure you don't you fat fuck.
(BEAT)
Horse tranquilizers. And you have
enough to take out three.
Vincent breaks out in psychotic laughter.
He laughs at the man struggling on the ground as he crawls
towards the door.
VINCENT (CONT’D)
You won't even feel a thing.
(BEAT)
You know, your nothing but a blood
sucking parasite.
(BEAT)
You must have forgot about your
little exposé when my brother was
kill. But I didn't forget.
MASON
I was just trying to tell his story
that's all!
(BEAT)
What did you do to me?!
He pulls out a magazine from his couch as he swings the
cleaver over his shoulder.
He puts on reading glasses.
VINCENT
"Monte was a product of his
troubled home life.
(MORE)
91.
VINCENT (CONT’D)
With a drug addicted mother,
violent past, and rocky future: his
brother Vincent seemed to come into
his life at a time that would
curtail his downward spiral into a
jail cell or grave, the later being
the end result."
MASON
I shouldn't have ran that story.
Just let me go please! I'm sorry, i
was just doing my job-
VINCENT
"This dysfunctional family tree was
doomed from the start and now,
Monte Raphael is truly a martyr for
the movement against police
violence and a clear example of how
second chances do exists."
MASON
I -
VINCENT
"Vincent has been frozen in a
depressive pit since that night and
this artist might not be able to
climb his way out of his sorrow.
Vincent’s shiny career died with
his brother and we must learn to
embrace the fall of the artists
just as much as the meteoric rise
to fame."
The reporter tries to stand and walk towards the door, but
the drugs are making it really hard as he pushes over
everything on the table.
VINCENT (CONT’D)
Aht aht!
(BEAT)
Who gave you that story, c’mon you
can share?
MASON
I can't tell you, it's protected.
All of the identities of the
sources are private.
VINCENT
I bet it is. And you ran this story
a few weeks after the funeral too.
(MORE)
92.
VINCENT (CONT’D)
(BEAT)
Timely.
Vincent stands over him as the reporter is seeing double and
fading away.
VINCENT (CONT’D)
Here's your fucking story!
Vincent chops the reporter up. Blood gargles in his throat as
he kills him off screen.
We pull outside of the house where we hear gargles and scream
some inside.
The music is loud and sounds like it's been chopped and
screwed.
Genres:
["Thriller","Horror","Crime"]
Ratings
Scene
31 -
Blood Art
INT. VINCENT'S MANSION - NIGHT (COUNT.)
We cut out to other places around Vincent's mansion. Art
work, pictures of Vincent's family, and Monte cut between
each swing.
The home has gotten darker, grittier, and more emotional.
Loud music plays in the room covering his yelling.
We end on the obituary for Monte as Vincent goes into the
bathroom again and looks at himself in the mirror and takes
off his white painters overalls, not covered in blood.
Blood is on his spattered face.
INT. VINCENT'S MANSION (ART STUDIO) - NIGHT
Vincent drags the reporters heavy body through the house,
leaving a trail of blood behind.
He ties him by his feet and hangs his body upside down as
blood drips into a painters bucket.
We pan up to see that there are other bodies in the room that
he is in and Vincent has killed a few other people.
TIME-LAPS / INTERCUTS
Vincent drops a stirring drill into the bucket and mixes the
blood with red coloring in a powder pigment with oil.
The two elements mix in the bucket using a drill.
93.
Vincent starts painting on the canvas.
We pull away from behind Vincent to see that he is working on
another big piece that spans the length of the wall.
We are close on Vincent's eyes as he takes another puff of
his joint.
He is working on a new the paintings and with each killing,
the painting get closer and closer to being complete.
MONTAGE OF MORE KILLINGS and VINCENT PAINTING
- Vincent strangles a man in a car from behind the driver
seat with a rope.
- Slits a woman's throat with a knife at his studio.
- He drains her blood with drips in a bucket.
- Fire pit flames
- Vincent throws a man's body into his trunk with a mask over
his face.
- Spatter of blood on canvas.
- Fire pit flames
- He stabs someone in an alley a few times. Topples them over
into his backseat.
- Fire pit flames
END MONTAGE
CUT TO:
INT. DARLA'S ART GALLERY - NIGHT
Piano music, low lights
Darla stands at the white wall looking at all of the pieces
that Vincent has been able to finish.
There is a sign that reads "Broker Evening Viewing" on a
stand.
SUPER: BROKER EVENING SHOWING - November 15, 2023
Well dressed brokers in suits and dresses are in a evening
gallery event. It's a pretty fancy night.
94.
Joe walks up next to Darla. He is impressed looking up at
Vincent's new and improved painting on the wall. It's drawing
in a crowd.
JOE
I'm impressed.
DARLA
I had a feeling you were around
here.
Joe gestures at the more abstract paintings full of blood.
JOE
Seems like you got through to him.
I have to say, this is exactly what
we are looking for.
(BEAT)
Something darker, grittier. The
critics are gonna go crazy over
these pieces!
DARLA
Vincent wanted to come up with
something for the one year
anniversary, so this is what he
came up with.
JOE
Anniversary?
DARLA
Next month would have been exactly
one year since his brother's death.
JOE
I didn't realize-
(BEAT)
That must be why these are so
arresting.
DARLA
That's okay. We are hoping to make
a comeback, for Monte.
Joe considers Darla's soft pitch.
JOE
The winter show is all yours. These
pieces need to be seen and you
certainly delivered on your
promise.
(BEAT)
(MORE)
95.
JOE (CONT’D)
I do wonder though, how did you get
him "inspired" and back on track so
quickly?
Darla stops and stares into Joe's eyes.
DARLA
It's a secret.
JOE
Fair enough, So, what are we gonna
call this "comeback" installation?
DARLA
We'll come up with something before
then.
(BEAT)
He tells me that there is one last
piece left. He’s calling it his
feature piece.
(BEAT)
So I take it I will be considered
for partner now, since we have been
in a major show?
JOE
That would be correct. You deserve
it. And you'd be one of the first
women on the board as well, so you
should celebrate!
Darla can't believe it as she smiles.
Suddenly, Joe walks up behind Darla and gropes her thigh,
breaking her gleeful moment.
JOE (CONT’D)
Or WE could celebrate together?
She tenses up and moves his hand away.
DARLA
Joe please, let's just keep things
professional between us okay?
JOE
C’mon, just a little fun.
Joe creepily stares down at Darla smiling.
He hasn't given up pursuing her, but he restrains himself..
96.
JOE (CONT’D)
Well, keep up the good work anyhow,
Cheers!
(BEAT)
Remember I'll be watching.
He gives her a wink.
The two toast their glasses of champaign and Darla awkwardly
moves further away from Joe.
Joe walks away leaving Darla behind.
She gulps down the rest of her champaign.
A woman calls her over to one of the paintings as we pan away
from the gallery.
The last frame we see is the canvas paintings on the wall.
FADE TO BLACK
BLACK CHAPTER CARD : CHAPTER 4
SUPER: "Battle not with monsters, lest ye become a monster,
and if you gaze into the abyss, the abyss gazes also into
you." - Friedrich Nietzsche
Genres:
["Thriller","Horror","Drama"]
Ratings
Scene
32 -
Haunted by Guilt
INT. VINCENT'S MANSION - NIGHT
Dark. Focused Painter. Brown Protective paper covers the
floor.
Quick cut of the finished paintings distributed all around
the room.
Vincent sits in the middle of his art studio and many of his
paintings are 80% done.
He looks like he's been sitting in the same spot for hours
and his strokes on the canvas are slow and poignant.
Other paintings, covered in dried blood, are half way done,
and sitting in a row all around him.
Just behind him, in the distance, a dead body wrapped up in a
huge plastic sack, hangs from the ceiling and drips blood
into the painters bucket.
97.
He stops and stands up to give another look at his paintings
now almost completely done.
He walks over to another area of the basement gallery and
there is one on canvas left with no paint on it. We push in
as Vincent's eye are glazed over with an empty look.
CUT TO:
INT. SARAH AND GREG'S HOUSE - NIGHT
Sarah is sitting in her bedroom. Her laptop is propped up and
lighting is ready for a livestream.
She is wearing her glasses awkwardly.
Twitch Live stream. Chatbot and Emoji's going crazy in the
lower thirds .
A white talkshow host sits behind a desk in front of a black
curtain with a table and plants, similar to the Alex Jones
show.
His southern draw and preachy theatrics captivate the
hundreds of streamers commenting racists in the lower thirds
below.
HOST
You know, we’re all human. We all
make mistakes and the mainstream
media loves the good guy who makes
a mistake and that is all this
woman is.
(BEAT)
A good person who just made a
mistake.
(BEAT)
Look, this thug was in an area he
didn't belong in if you ask me,
Officer Smith did everyone a favor
to avoid the inevitable.
The host shows a picture of Monte.
HOST (CONT’D)
Officer Smith was clearly justified
in her approach, they got the call,
saw a threat, and took out who they
thought was a drug addicted
criminal we all would have done the
same thing.
(MORE)
98.
HOST (CONT’D)
Based on my investigation, Monte
came from a broken home, drug
addicted mother, and had a wrap
sheet in Oakland as long as my arm!
This woman did America a favor and
she was REWARDED for it.
(BEAT)
As a matter of fact, we have a call
from the former officer now. Sarah,
are ya there honey.
The live stream pauses and a call in voice rings over the
line.
CUT TO:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
33 -
Sarah Speaks Out
INT. SARAH'S HOUSE (BEDROOM) - NIGHT
Sarah sits on the couch of her dingy open apartment as the
Late Night show plays over the TV sitting on a few moving
boxes.
She is biting her finger nails and pacing around, waiting to
speak.
HOST
Hey, Sarah sweetie are you there ?
SARAH
Yes, I'm here.
She get's on camera.
HOST
So, tell the viewers how all of
this has affected you and your
family.
She pauses and takes a long sigh.
SARAH
People don't know how dangerous
this profession is.
Everyday I fear for my life and now
I am the one being persecuted in
the court of public opinion.
(BEAT)
(MORE)
99.
SARAH (CONT’D)
We had to pick up and move four
times now, I can't go to the
grocery store anymore, my church
has turn against me, I can't even
go jogging without someone
accosting me, accusing me of being
a murderer!
(BEAT)
I wish we never went in that house
that night. I think about that
night every night. We're just
getting back on our feet.
Her husband GREG, mid 50s, white dad with peppered beard and
sleepy disposition walks by, listening to her conversation
through a crack in the door.
She doesn't notice, preparing for her call.
HOST
See folks, this INNOCENT woman is
suffering at the hands of a radical
group of race bating thugs and
cancel culture.
(BEAT)
But you can't cancel democracy and
our legal system HAS prevailed for
Sarah and her family.
(BEAT)
What do you have to save since
you've been cleared of all of those
BOGUS charges?
SARAH
I'm just happy the truth has set me
free. And now I get to be with my
family again.
(BEAT)
That's all that matters to me right
now.
HOST
Family. This woman is a class act.
Greg shakes his head, looking through the cracked doorway and
he goes downstairs, leaving his wife alone.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
34 -
Sarah and Greg's Conversation
INT. SARAH'S HOUSE - NIGHT (COUNT.)
Sarah walks downstairs to see her husband standing in the
kitchen waiting for her at the table and drinking a cup of
tea.
100.
SARAH
Hey.
GREG
Yeah.
(BEAT)
Honey I love you okay, and I hate
to see you like this.
SARAH
What are you talking about? See me
like what ?
He pauses and looks at this desperate wife.
GREG
The Micheal Nelson Show? I mean why
are you even talking to that quack?
You don't have to keep doing this
to yourself.
SARAH
You wouldn't understand Greg, you
just don't get it. Look at us! This
is the fourth house this year -
GREG
So what-
SARAH
So, you would think that things
would get better by now! I just go
on these shows to try and clear my
name, don't I owe myself that at
least!?
GREG
Honey, I love you and know you want
to make this right, but the legal
system did its job.
(BEAT)
You were acquitted of all charges.
We knew that it was just an
accident.
SARAH
You don't think I'm a racist?
GREG
No honey. Let's just move on from
all this and start over new. No
more interviews, no more op-eds, or
one on one's with these wack jobs
on the internet okay?
(MORE)
101.
GREG (CONT’D)
(BEAT)
It's not doing you or I any favors.
SARAH
Okay.
(BEAT)
I'm sorry. I just want things to go
back to normal, how things were
before all of this.
(BEAT)
I didn't mean it you know.
GREG
I know. I love you. That is all you
need to be worried about.
The two kiss as Greg walks over to grab the trash and take it
outside for the night.
Genres:
["Drama","Thriller"]
Ratings
Scene
35 -
Home Invasion
EXT. SUBURBAN STREET - NIGHT
Vincent sits in his car outside of Sarah's house with blacked
out headlights, with a dark hoodie and mask.
He watches as her husband takes out the garbage, completely
unaware that anyone is watching.
Greg drags the can down the driveway and we follow him, just
before we see the dark on the street.
He pauses at the end of the driveway.
He looks down the dark street, and heads back inside.
He doesn't even see Vincent dark car in the background.
CUT TO:
INT. SARAH'S HOUSE - NIGHT
Sarah is laying in the bed and wakes up after hearing the
rumbling downstairs.
Her eyes shoot open.
She can't be sure so, she tries not to back another move.
Another bang from downstairs, forces her to sit up.
SARAH
Greg wake up.
She tries to wake her groggy husband and he turns over.
102.
There is a crash downstairs and the two's fear heighten,
springing them up from there bed.
GREG
Shh, go in the closet and don't
come out until I come get you.
SARAH
No.
Greg goes under his bed and grabs a gun.
She dashes into the closet.
Greg slowly walks down the dark hallway, gun in hand.
GREG
Whoever you are, leave this house
immediately, I have a gun and I
will shoot. This is a stand your
ground state and you are
trespassing on my property!
(BEAT)
C'mon you asshole.
He let's off a warning shot.
He paces down the steps, gun in hand, to see that the front
door is cracked open.
He stops at the top of the steps, we angle up looking at Greg
and we see a figure in a black hoodie standing right behind
him.
Suddenly, the man in the hoodie knocks him over the head.
He falls down the steps and is knocked out unconscious.
CUT TO:
INT. SARAH'S HOUSE (CLOSET) - NIGHT
Sarah hears her husbands heavy body collapse onto the wooden
floor and she springs into action.
Sarah slowly opens the closet door, grabbing her cell phone
dialing 911.
SARAH
Greg! Greg! Please answer me!
The operator answers the phone and she's starts to whisper
103.
SARAH (CONT’D)
Yes, someone broke in and I think
my husband is hurt please send
someone, i'm really scared, please
hurry.
(BEAT)
I'm officer Sarah Smith, Protection
Order #2356.
CUT TO:
HALLWAY - MOMENTS LATER
As Sarah starts to panic more, she walks down the hallway and
as she turns the corner slowly.
And it's a man in a dark hoodie and ski mask, trailing behind
her in the distance without her even noticing.
She rushes down the step and spots her husband, laying on the
floor at the bottom of the steps.
She stands there in shock looking down at her husband dying
on the floor.
She doesn't even see Vincent standing behind her.
She hold her husbands head as he chokes on his blood, he can
only widen his eyes as Vincent stands behind his clueless
wife.
Sarah notices that her husband's eyes are widening and
clearly something is wrong.
She looks up and see's Vincent wearing the dark hoodie and
sprint over to the door.
Vincent trips her up and she falls to the ground .
The two wrestle on the ground as Sarah goes for the shot gun.
Vincent kicks the gun away.
Vincent jumps on top of Sarah and quickly pulls out a knife.
He points it directly towards her nose, stopping her in her
tracks.
VINCENT
Shhh shhh, it's okay.
Sarah squirms and cries.
104.
SARAH
Please, just let me go, don't hurt
me.
Vincent smiles under the shadow of the mask, enjoying her
fear.
Sarah struggles to get away from him, but she is too frazzled
to do so.
He take out a rope and ties her wrist together.
VINCENT
I've waited all year to find you.
All this time, I've been tracking
you.
(BEAT)
And now your here. I didn't know
when the right time would be to
come and find you.
SARAH
Please, I'll give you money, I'll
give you all my jewelry, just let
my husband go.
He let's out a psychotic chuckle and stands up.
CUT TO:
Genres:
["Thriller","Horror"]
Ratings
Scene
36 -
Sarah's Murder
EXT./INT. SARAH'S HOUSE - NIGHT
Hazy Yard. Wides
Sarah's let's out a blood curdling scream, but we are outside
of Sarah's house and we don't see the horrors that are taking
place inside.
Vincent sprints of the front door with greg over his
shoulders.
He goes back in to drag Sarah into the car, now duck tapped
and arms tied.
On the floor of Sarah and Greg's room , we push in to see a
cell phone with the time "19:34" seconds busy line.
The cops heard the whole killing over the phone!
Music Swells
105.
INT. VANESSA'S HOUSE - NIGHT
It's late at night and Vanessa is sleeping in her bed.
Her phone starts to ring and she springs up.
VANESSA
(Sleepy Voice) Hello? What, Okay
okay, send me the address, I'm
coming now!
She hops out of bed and puts on her police jacket.
She hops into her car and speeds off to the crime scene.
EXT. SARAH'S HOME - NIGHT
Crime scene, photographs, wet pavement.
Vanessa's Car pulls up to the scene as she get's out and
rushes inside. Tom and Officer Miller are standing outside.
INT. OFFICER SARAH'S HOME - NIGHT
Vanessa is holding up an iPHONE camera to the blood streaks
along the hardwood floor.
He flashes his light on the blood.
VANESSA
This is a mess. Any ETA on Tom?
RECORDER
None yet, Alison's pulling the ring
doorbell footage now. Looks like
the perp got away right through the
front door
OFFICER
Get a load of this.
Officer plays the 911 call from his cell phone as Tom listens
with a sullen face.
He hears Sarah on the line screaming and crying.
VANESSA
I knew it would be a matter of time
before this guy would pick the
wrong victim.
106.
(BEAT)
This is not gonna go off well.
TOM
You think-
VANESSA
We can't be sure.
The Officer show's Sarah's police Academy picture he picks up
off the table.
VANESSA (CONT’D)
Look familiar??
Tom walks in. Just a
OFFICER MILLER
Shit! That's her, I thought her
name sound familiar. She's probably
the most hated woman in Atlanta
right now.
VANESSA
Sarah Smith. I just approved her
additional protective order since
all of this social media stuff.
TOM
Wait I know that woman?
VANESSA
What do you mean?
Suddenly, car speed onto the screen, much bigger than the
local sheriff. They all hop out of Black Sprinter vans
looking official and organized.
Vanessa rushes back outside to meet the crew, leaving Tom
behind.
VANESSA (CONT’D)
Wait wait, what is going on here?
An older, taller FBI Agent hops out of the van. He put on a
jacket that reads (FBI).
FBI AGENT
Sargent Vanessa?
VANESSA
What the hell are you doing, this
is my crime scene.
107.
FBI AGENT
Not any more it isn't. We've been
watching these cases for a while
and we will be taking over from
here.
VANESSA
Shit.
FBI AGENT
You and I both know it was coming.
You've wasted enough resources as
it is.
The FBI agents rush into the house and push out the local
police.
TOM
So now what?
VANESSA
We move on to the next. I knew it
was a matter of time any way.
TOM
So that's it, were just off the
case? What about all of the work we
put in.
VANESSA
It's okay. We'll just standby and
support were we can, at this point,
let the Men in Black Handle it.
TOM
Man, i'm sorry.
VANESSA
Don't be. You have been kicking ass
around here. You good in my book.
(BEAT)
At least we get to celebrate the
holiday now. Get some rest Fields.
We'll have plenty to do in the
morning knowing these guys.
Tom stand with a sad face as we pull away from the chaotic
scene of FBI Agents.
108.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
37 -
FBI Takeover
EXT. SARAH'S HOME - NIGHT
Suddenly, a fleet of BLACK SUVs speed down the road towards
the onto the scene.
They all hop out of Black Sprinter vans looking official and
organized.
Vanessa, Tom, and Miller all watch as the trucks file in.
VANESSA
Just my luck.
An older, taller FBI Agent hops out of the van. He put on a
jacket that reads (FBI).
FBI AGENT
Sargent Vanessa?
VANESSA
What the hell are you doing, this
is my crime scene and we just got
started!
FBI AGENT
Not anymore it isn't. We've been
watching these cases for a while
and we will be taking over from
here.
VANESSA
You gotta be kidding me-
FBI AGENT
You and I both know it was coming.
You've wasted enough resources as
it is and now one of your own is in
trouble.
(BEAT)
We can take it from here, just
relax.
The FBI agents rush onto the scene and push out the local
police.
VANESSA
Wait wait wait! Just wait a minute.
I’ve have been on these cases for
just a few weeks without a peep.
Why am I on such a short leash
here?
109.
FBI AGENT
Don’t make this worst than it
already is. She’s
The agent walks off and Vanessa stares accepts defeat.
TOM
So now what?
VANESSA
I don’t know. Tom I know you worked
hard on this case. I just want to
thank you for sticking beside me
this whole time.
(BEAT)
I knew it was a matter of time any
way.
TOM
So that's it, we’re just off the
case? What about all of the work we
put in, what about the leads?
VANESSA
It's okay. We'll just standby and
support were we can, at this point,
let the Men in Black handle it.
Look honey, You have been kicking
ass around here, so you good in my
book.
(BEAT)
At least we get to celebrate the
holidays now. Get some rest Fields.
We'll have plenty to do in the
morning knowing these guys.
Tom stands with a sad face as we pull away from the chaotic
scene of FBI Agents.
The yard full of agents.
CUT TO:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
38 -
The Monster's Redemption
INT. VINCENT'S ART STUDIO - NIGHT
Raining, The Thunderstorm is Raging Outside of the House, and
Music Blast in the room Smile Sarah - Halls and Oates.
Sarah wakes up to dark room surrounded by one ambient light.
Lightning strikes from outside of the window
110.
SARAH
Hello! Hello! Please someone help
me!
Vincent sits in the dark, just looking at her.
We only see a silhouette of his dark shadow and smoke rising
from his joint in the distance.
He let's out a long, psychotic giggle.
VINCENT
No on can hear you.
SARAH
Who are you? Please I'll give you
anything, just don't hurt him.
Vincent laughs.
SARAH (CONT’D)
Someone will come. I'm an officer.
It's not worth it to kill me, just
let us go and I'll make sure they
go easy on you.
Vincent emerges from the shadows with a knife held at Greg’s
neck and an evil look on this face through the ski mask.
He pulls off his Ski-Mask, revealing his face.
VINCENT
So then, why don't we just get to
it huh, stop all these
pleasantries?
She immediately recognizes him.
SARAH
Vincent!?
VINCENT
Officer Smith, I've been thinking a
while about this night. It's quite
literally eaten me up inside for
months, and now the time has
finally come huh?
(BEAT)
Our little family reunion.
(BEAT)
You know I blamed myself for what
happened. My brother had a bright
future and you took it away from
him in a few seconds.
111.
SARAH
You don't understand, I didn't mean
to hurt him -
VINCENT
You mean kill him.
SARAH
I was just as afraid as he was! I
was just starting out in the field,
I wasn't trained for that kind of
work and I just let my nerves get
the best of me, please. I have
nightmares about that night,
Vincent. I lost everything after
the shooting and I just-
(BEAT)
I'm so sorry what happened Vincent,
I thought, I thought he was a -
VINCENT
A threat. You thought he was a
threat right?
(BEAT)
Wouldn't be the first time.
Vincent pauses and stares for a while.
VINCENT (CONT’D)
But it will be the last.
Clap of thunder.
Vincent starts to undress from his blacked out overalls .
VINCENT (CONT’D)
You know, I AM gonna kill you
tonight, but I just thought I'd
show you that it won't be in vain.
Vincent pulls a remote from his pocket.
Vincent clicks a button on a remote that controls the lights.
They reveal the "Black Rage" paintings surrounding Sarah and
Greg.
With each painting reveal, the light above shows the canvas,
full of blood and horrific paintings.
We dolly around to see the paintings covered in blood
surrounding the two of them standing in the center of the
room.
112.
Greg is still bleeding out in the distance.
He wipes off his knife.
VINCENT (CONT’D)
At first, they started as little
"passion" projects I did for
creative inspiration.
(BEAT)
You know I spent a year denying my
self this feeling? I felt
everything that they say you are
supposed to feel after someone you
love dies. Fear, Delusion,
Bargaining.
I took pills, I worked out, I
picked up my hobbies again, I
distracted myself with all this
shit, but none of that worked to
fill this hole I felt. To fill that
hole you created.
(BEAT)
I blamed myself for bringing him
here to Atlanta to live with me. No
one wanted anything to do with him
after our mother died and he
started to go down the wrong path.
I took him in, despite his past and
took care of my baby brother and
after all those years of being
separated, we finally became a real
little family he and Stacy and I.
Vincent picks up the picture of his family again, he looks at
it as he talks to her.
VINCENT (CONT’D)
You know after you killed him, I
thought "this death will feel just
like the ones I've had before, I've
had people die in my life and yeah
you’re sad, you don't know what to
do with yourself at first, but
eventually you get over it. But I
don't want to be sad anymore and I
haven't gotten over it. I can't let
this monster inside take control of
me, but now, I just have to accept
the reality of the world that we
live in. The world that YOU created
for us to live in.
113.
SARAH
You don't want to do this. You’re
not some monster-
VINCENT
I thought that too.
(BEAT)
But sadly you've been mistaken. I
am a monster.
We are close as Vincent comes to realize his place in the
world.
His eye water and psychotic stare intensifies.
He stands up.
FIXED ANGLE OF THE EMPTY CHAIR AND PAINTINGS IN THE
BACKGROUND
OC Sarah is begging for her life and screaming.
Vincent kills her and we hear the sound of blood curdling and
choking.
We still are close as Vincent walks back over with a paint
brushes, his hands now covered in red blood.
SCENE INTERCUTS AS MUSIC NARRATES THE SCENE.
Genres:
["Thriller","Horror"]
Ratings
Scene
39 -
The Night of Change
INT. VINCENT'S MANSION (BATHROOM) - NIGHT
SCENE #1
Vincent is cutting off his hair and looking the mirror. He
has completely lost it and with a straight face, he cuts
away. All of it falls off.
INT. POLICE STATION, PRESS PODIUM - NIGHT
SCENE #2
Dark Conference Room, People are chatting, taking pictures as
flashes illuminate the scene.
SUPER: Palisade Police Department - December 9, 2023
Tom and Lauren stand in the back.
Tom has a sad and confused looking face. Vanessa is at the
podium.
114.
VANESSA
Ladies and gentlemen. We have made
a major development here at The
Palisades Police Station. There may
be a masked murder on the loose in
our city.
INT. VINCENT'S MANSION - NIGHT
SCENE #3
Vincent is cleaning up his and moving things out of house.
The furniture is bring wrapped with plastic.
He is looking out of the blinds of his window and all of this
clothes are being burned in the backyard.
Vincent goes into his art studio, now being completely
painted over in white. It's spotless and looks nothing like a
place where grizzly murders would take place.
He signs a clipboard and his house is now completely empty.
No furniture, no paintings, no bodies, and no blood.
INT. POLICE STATION, PRESS PODIUM - NIGHT
SCENE #2 : INTERCUT BACK
VANESSA (V.O.)
Last night, Officer Sarah Smith and
her longtime husband were abducted
and forced out of their Reynolds-
town Home. As of now, the person of
interest in this case is still at
large, unidentified and considered
armed and dangerous.
INT. DARLA ART GALLERY - NIGHT
SCENE #4
Darla is looking on as the movers bring the new pieces into
the gallery. Wrapped in plastic.
115.
VANESSA (V.O.)
If you have any information on the
where about of Mr. And Mrs. Smith
or you have any leads on a
potential suspect in this case,
please reach out to our police
department.
We push in as her face is glowing with happiness, smiling
cheek to cheek.
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
40 -
Artful Protest
INT. POLICE STATION, PRESS PODIUM - NIGHT
SCENE #2 : INTERCUT BACK
VANESSA
We want to re-enforce our
commitment to equity, family,
safety, and justice as you enjoy
this holiday season with loved
ones. So help us find Officer
Smith.
CUT TO BLACK.
INT. ART GALLERY - DAY
Busy Documentary Set, Light and artificial boom mic swinging
in the shot.
Darla is talking while we are on black screen .
SUPER - OPENING NIGHT
SUPER - December 12th, 2023 - One Year After Shooting
Vincent and Darla are in a documentary style video set up as
the camera is trying to capture it's focus.
Vincent is in the middle of Darla's gallery, surrounded by
his new pieces.
Vincent is frozen and looks like he doesn't really have too
much to say.
Darla is sitting center frame fixing herself to start
interviewing.
Vincent is set up in another shot, sitting center frame as
well.
116.
An INTERVIEWER off camera starts to ask questions to both of
them.
INTERVIEWER
So, how would you describe
Vincent's inspiration for this
installation?
DARLA
Well, we wanted to make a statement
with this project being on the one
year anniversary of Monte's
killing. As you know, it's been a
struggle to get to this point to
say the lease, but that's the
beauty of Art. Sometimes that
"struggle" can tell a compelling
story and the story of so many
other black and brown people in
this country IS about "the
struggle".
(BEAT)
When Vincent told me about this
project and how he wanted to
commemorate is brother in this
years show, as his broker I was
unsure, but as a fellow human, I
knew that THIS was the time to talk
about what he and so many others
had been feeling in this country.
INTERVIEWER
And what was that?
DARLA
Rage. Black Rage. We gave it that
name because of what I felt we were
trying to convey with the pieces.
Move to Vincent's interview set up.
VINCENT
I've spent the last year of my life
in darkness and I think just,
eventually overtime, I became that
darkness and it feels good.
INTERVIEWER
And despite the public support for,
it seems like you still remained
relatively reclusive for the last
year, in fact, THIS has been your
first interview since that night
right?
117.
VINCENT
I think it's time the world feel
these pieces.
INTERVIEWER
What do you say to the critics who
have already started buzzing about
your come back?
VINCENT
Fuck em. They didn't dictate good
art before and they don't now.
INTERVIEWER
Well, your lucky lady, what does
she think about your work?
Vincent pauses for a long time.
VINCENT
Me and Stacy decided to go our
separate ways.
Sudden cut back to Darla's set up.
DARLA
I think this is really a time of
reflection and inquisition. It's
time that the real BLACK Experience
be put on display for the world to
see.
(BEAT)
That’s what this work is all about.
INTERVIEWER
And you don't feel that the message
might overshadow the work?
DARLA
Not at all. In fact, come see for
yourself. Tonight.
(BEAT)
Experience is our best teacher.
Come and experience Black Rage.
She smiles a charming and evil smile.
Vincent is withdrawn and just sits back in is chair.
CUT TO BLACK:
118.
Genres:
["Thriller","Drama","Crime"]
Ratings
Scene
41 -
The Tragic Exhibition
INT. DARLA'S ART GALLERY - NIGHT
The gallery is full of people once again.
We are following behind an older man and older woman at the
door as they walk onto the gallery floor.
A waiter stops to take their name.
WAITER
Name please?
We only see the back of the man's head as his brassy voice
answers.
MAN
Mr. And Mrs. Raphael.
We cut to see Vincent's parents' face. MR. RAPHAEL has a bit
of a dignified look and his STEPMOTHER stands beside him
excited to see the show.
Vincent spots his parents from across the room. He walks over
and gives his stepmother a big hug.
He's drunk and slopping around, his physical appearance is
different and he looks like he's really lost it.
They both notice his condition.
He holds out his hand to shake his fathers hand and his
father hugs him.
Vincent is a bit surprised as he embraces his father. The two
are a bit awkward until Dad breaks the iciness.
DAD
It's been a while huh. I'm glad to
see you.
STEPMOM
We're so proud of you Vincent.
VINCENT
Thank you guys for coming.
Vincent pauses. He fidgets around and stutters to get it out.
VINCENT (CONT’D)
And I just wanted to say, I'm sorry
for not calling or checking in with
y'all. I just, I just -
119.
STEPMOM
It's okay. We understand. It's been
hard for us too.
(BEAT)
But we love you and we're proud of
you, don't forget that.
Vincent hugs his Stepmom, but his father is still kind of
cold.
STEPMOM (CONT’D)
Oh this is beautiful.
DAD
All of this is you huh?
VINCENT
Ah, yeah. This is me.
DAD
Well, I think you know Monte and
your mother would be proud.
(BEAT)
You know it takes a lot to show
yourself in this way and I haven't
always been the most supportive of
that. Your really blossoming into
your own in a way that I never did.
(BEAT)
I have to respect you for that.
VINCENT
Thanks.
DAD
And son. I just wanted to tell you,
thank you for looking after your
little brother. I now I didn’t make
it to the funeral and I can’t live
that down.
(BEAT)
When he called back after all those
years, it just brought back so many
painful memories for me and when he
died, I just couldn’t bare to see
him like that. I hope you can
understand where I’m coming from.
Vincent gives him and empty look, confused at this father
apology.
VINCENT
Why didn’t you call me or check on
me or anything after all this time?
120.
DAD
I knew could handle it, your tough,
I knew you would be fine. Raphael
men always are.
VINCENT
Yeah, I guess so.
His dad looks into Vincent eyes and almost comes to tears.
He’s trying to connect to his son but doesn’t really know
what to say.
DAD
I love you son.
VINCENT
I love you too Dad.
DAD
Your mother would be proud of you.
The two embrace again.
They hug for a long time, but the tender moment is
interrupted by the light flickering, signaling for Vincent to
do his speech.
VINCENT
I'm happy we got a chance to talk
one last time.
DAD
One last time?
Vincent smiles.
VINCENT
I hope you like the rest of the
exhibit. It's been a long time
coming you know, good things always
take time right?
There something off about Vincent's smile and it bothers his
father.
DAD
Right, he son is everything okay?
VINCENT
Everything is fine.
Vincent grabs his shoulder. He's smiling through the pain,
but can't seem to break his gaze and watery eyes.
121.
VINCENT (CONT’D)
I'm sorry, have to go now.
(BEAT)
I love you.
Dad is confused, but Vincent rushes off to the main stage at
the center of the gallery.
Darla welcomes him with a double cheek kiss as people file
into their seats.
Some sit down and the other stand up, staring at Vincent
shuffling his way onto the stage.
The mic screeches and people are on there way to their seats.
People notice his new look and are unpleasantly surprised.
VINCENT (CONT’D)
Uh, Hello everyone. I won't take to
much more of your time. I just
wanted to thank you all for coming
to this exhibit.
(BEAT)
Honestly, I didn't have too much
prepared for tonight. It's been a
while since I've done one of these.
I'd like to thank the Foxworth
Foundation for hosting this
Installation tonight. My agent
Darla. My family who is here
tonight. I didn't know if they
would come since we haven't
communicated in almost a year since-
(BEAT - he stops)
One thing that I want you all to
take away from tonights show is
that life is just a big stage.
All of us play a role in it. Each
one of us with our own fears,
desires, secrets, bias,
expectations. Black Rage
incapsulates a story that many of
you know.Fear. Greed. Paranoia. The
last year I've spent making these
pieces, I've felt all of these
things in a constant loop.
The stage light is bright, Vincent is stumbling around and
the mic is echoing.
He squints to see the people in the crowd looking on with
piety and confusion.
122.
They snicker as he is clearly fumbling through this speech.
VINCENT (CONT’D)
I just want to say. "Art" is the
product of creative and technical
skill. The skill being something
that is carefully crafted overtime
and the creative being something
that is innate and almost primal if
you will. I shoved the more primal
part of who I was down and realized
that it only takes one spark to
light a flame. The paintings you
see today are a reflection of that
flame. The sacrifices that I had to
make personally to make these
pieces many of you can only
imagine.
Darla is confused at Vincent's speech and walks up to try and
get him back on track.
VINCENT (CONT’D)
When my brother was killed, I
blamed myself. I blamed myself for
caring too much, loving too hard,
aspiring too high. I knew deep down
that their's nothing more dangerous
to the world than a nigga with too
much hope. And I channeled that
hate and pain into these pieces.
(BEAT)
I hope that these painting make you
as hopeless and angry and hateful
as I have felt this past year and
hell, for my entire life!
The crowd gasps. Darla walks on the stage and tries to grab
the mic.
Mr. Raphael stands up, concerned for his sons drunken ramble.
DARLA
(under her breath)
Vincent what are you doing?
VINCENT
I'm giving the people what they
want.
DARLA
Stop it, please-
123.
VINCENT
That's what you all want.
(To the Crowd)
YOU all want to commodify art and
my creativity like some stock.
Packaging up "feeling" to make your
self feel better, live better,
understand better because deep down
you know, your soul isn't for sale
like mine is.
The crowd is confused and getting a bit scared. They snicker
as Darla tries to control the situation.
Vincent start to let out one of his laughing cries.
VINCENT (CONT’D)
Well folks, my soul is for sale
tonight, ain't it Darla? That's
what you wanted right? A piece of
it at least?
DARLA
Vincent, you stop this now! You’re
embarrassing yourself -
Vincent pulls a gun out from his jacket and the crowd burst
with screams and gasp.
VINCENT
Well my soul isn't for sale
anymore.
(BEAT)
Because monsters, don't have no
fucking souls. And that all we seem
to be to you all.
His tears stream as he holds the gun under his chin and
suddenly pull the trigger in front of the crowd.
BANG!
They burst in horror and scream. A few people faint and
Vincent's father rushes up to the front of the room.
Quick cuts between the blood splatters and the paintings.
Music Cue - For Sale? (Interlude) - Kendrick Lamar
Vincent's own blood splatters on the canvases behind him.
Each on poetically getting a splatter of blood from Vincent
on the pieces behind.
124.
Darla stands in horror as the room burst in chaos. People are
running around crying and screaming, but she’s just standing
there.
Mr. Raphael is rushes the floor trying to revive his son off
screen, but he's gone.
Darla looks down at a dead Vincent. His father cries over his
lifeless body.
We see her face covered in blood again. She wipes her face,
smearing the blood even more.
She walks off screen, leaving us to focus on the painting in
the back.
- ROLL CREDITS -
POST CREDIT SCENE
PICTURE OF JOE AND DARLA SMILING IN THE GALLERY.
SUPER - The night of the suicide, Vincent Paintings Increased
in Value by 4,000%. Darla Bell later became the first
chairwoman of the Foxworth Foundation and the richest Art
Broker in Southeast.
PICTURE OF STACY WALKING OUTSIDE OF THE COURT ROOM
SUPER - Stacy went into hiding in Russia while suing the
Raphael Foundation for a percentage of the profits from the
sale. They ruled in her favor awarding her $15 Million
Dollars in Damages.
PICTURE OF TOM AND LAUREN
SUPER - Tom and Lauren Moved back to Chicago and had a baby.
Tom's cases were never solved. All 10 missing persons bodies
were never found.
The letters all fade away with the last to words on the
screen lingering.
“Never found”
The words fade away.
CUT TO BLACK:
Genres:
["Drama","Thriller","Psychological"]
Ratings
Scene
42 -
Vincent's Mansion: A Glimpse into the Future
EXT. VINCENT'S MANSION - DAY
It’s sometime in the future. Birds are chirping, The Sound of
Lawn Mower Going on in the Distance.
125.
There is a huge FOR SALE SIGN in the front yard and a couple
looking at the property.
A fancy Rang Rover sits in the driveway.
INT. VINCENT'S MANSION - DAY
REALTOR
This is the famous Raphael Estate.
Comes with 7400 Square Feet of Pure
Sophistication.
WOMAN
It sure has sure had character.
(BEAT)
Aht, boys no running.
(BEAT)
Sorry, they are just excited
The boy run out the back door.
MAN
How much for this house going for
again ?
REALTOR
Let's just take a look around, and
we will talk numbers later.
EXT. VINCENT'S MANSION - DAY
Two boys are playing in the grassy backyard of huge mansion.
They brought there dog along, who runs down the hill with
them in the backyard.
From the house the parent glance over a the kids.
We see one of the boys are calling out to him.
They finally find the dog and he is pulling up bones from
Vincent's bodies.