The digging sounds grow louder over a beautiful starlit sky
that gives way to the camera weaving slowly through the dark, *
dense trees, stumps, and overgrown bushes. Ahead through the
brush and trees, we see the glow of dimly lit light, and - *
REPORTER (V.O.) *
Our lead story tonight. College *
student Cynthia Michelle Mears is
still missing...
The bloodied fingers of a lifeless hand extending from under *
a dark tarp. *
REPORTER (V.O.)
Ms. Mears, a student at Evan Mill’s *
Hapewell College in upstate New *
York was last seen departing the *
campus over 15 days ago and later *
reported missing after failing to *
show up for classes and work...
The digging stops, the shovel rattles to the ground. A pair
of 80’s era, black military-style combat boots appear as a *
gloved hand shoves the lifeless hand back inside the tarp. *
REPORTER (V.O.)
Cynthia, a senior and ROTC student *
is expected to graduate this
summer.
2 EXT. WOODS - GRAVE SITE - NIGHT 2 *
The tarp slides to a thud at the bottom of the hole, and the *
lifeless face of a twenty-something Caucasian female appears
through the poorly stitched opening. The digging starts *
again, but this time we see dirt landing across the tarp and
the young girl’s ghostly face. *
2.
REPORTER (V.O.)
If anyone has any information at
all regarding Cynthia Mears
disappearance or whereabouts we
urge you to immediately contact
your local police department... *
FADE TO BLACK: *
The shovel’s heavy thuds slowly give way to the thuds of *
heavy footfalls and the loud chanting of a military cadence. *
SOLDIERS SINGING CADENCE (PRE-LAP) *
Old King Cole was a merry old soul
and a merry old soul was he. He
called for his pipe and called for
his bowl and he called for his
privates, three...
EXT. GREG’S HOUSE - BACKYARD - DAY *
ANGIE THOMPSON (26) medium height, beautiful, fit her long *
black hair pulled back into a bun is dressed in shorts and a *
sleeveless tee-shirt. She’s busy working in a flower bed, *
while three-year-old BRANDON THOMPSON gleefully pumps his *
tiny little legs on the swing set behind her. *
Angie glances over her shoulder. She smiles at Brandon’s *
little legs pumping away. She stands and removes her gloves *
as she walks over and gently pushes the swing. *
3 EXT. FORT BENNING - DAY 3 *
SUPER: TEN YEARS LATER
A formation of Army soldiers jogs past a sign that reads, *
Fort Benning Airborne School. Three gigantic red and white *
airborne towers loom high in the background. *
SOLDIERS SINGING CADENCE
Beer, Beer, Beer said the privates
Merry men are we, but none so fair
that they can compare to the
airborne infantry!
4 EXT. FORT BENNING - HEAD QUARTERS BUILDING - DAY 4 *
The bing and thump of an elevator. *
3.
DARIEN (PRE-LAP) *
Greg, listen to me. Forget work and
why don’t you, Angie, and the mini- *
Ranger come do the food truck event *
with us this weekend? *
INT. HEAD QUARTERS BUILDING - ELEVATOR - DAY *
The elevator door opens and Captain GREG THOMPSON (28), *
average height, fit, military hair cut, and Captain DARIAN
BOYD, both dressed in Army ACU uniforms exit amongst a sea of *
uniformed soldiers and civilians.
GREG
Would love to, but I need to get
spun up on General Hawthorne’s new *
command. *
Greg holds up a large file. *
GREG *
I need next week’s interview to be *
easy, breezy. *
DARIEN *
No, what you need to do is spend *
more quality time with your family, *
because if you keep taking work *
home on the weekends, you’re going *
to wake up one morning and fine *
yourself alone... for good. *
Greg chuckles.
GREG
Don’t worry about me and Angie,
Darien. Ours is a love forged in *
combat, remember? What could *
possibly tear such a union like *
that apart? *
Darien shakes his head. *
DARIEN *
Human nature is a formidable foe *
with unpredictable and *
uncontrollable urges my friend. *
Darien walks away. *
DARIEN *
And, it should never be *
unappreciated or underestimated. *
4.
Greg stares a moment, turns, and walks down the hallway. *
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
2 -
Tensions in the Neighborhood
INT. GREG’S HOUSE - KITCHEN - DAY *
Greg enters a small kitchen with plenty of warmth and charm,
just as Brandon speeds into the room and leaps into his *
waiting arms. *
BRANDON
Daddy!
GREG
There’s my little Airborne Ranger.
Right behind Brandon is Angie. She gives Greg a sweet kiss. *
ANGIE
Well, your little Airborne Ranger *
has been quite the handful today.
GREG
Ah, come on, look at that cute
little face,
(off Brandon’s smile)
He can’t be that bad.
Angie smiles as she gathers a bucket of gardening tools. *
ANGIE *
I could use some help finishing up *
the flower bed. *
GREG *
You got it. *
6 EXT. GREG’S HOUSE - BACK YARD - DAY 6
Angie works in a flower bed while Greg gently pushes Brandon *
on a swing set. *
ANGIE *
This is not what I had in mind when *
I said I needed help. *
Greg shrugs. He points to Brandon, both big smiles. Rusty, a *
super hyperactive, Jack Russell Terrier barks and bounces
spastically around them, when -
A familiar voice rings out.
ALEX (O.C.)
How goes it, guys?
5.
Greg glances over to ALEX MORGAN (50), medium height, wide, *
strong frame leaning against the fence. Standing beside Alex
is DOUG (26), a dark, stone-face, six feet, a strong *
intimating frame, and - *
LISA (25) petite, frail. Time has been unfriendly to her. *
She’s flanked on either side by two scruffy, uncombed little
boys ages 10 and 8.
Greg picks up Brandon and walks over to greet Alex. Doug *
glares distastefully at Angie as she walks to the fence. Lisa *
spots Doug’s lustful glare. Her lips tighten, her brow furls. *
ALEX
Good to see you home, Greg.
They share a hand shake.
GREG
Yeah, but unfortunately, it’s short- *
lived. I’m on the zero dark thirty
Sunday morning for D.C.
ALEX
What’s going on in, D.C.? *
GREG
General Hawthorne just got his new *
command and he’s putting his
command staff together.
ALEX
Aren’t you too young to be stuck in *
a staff job, son? Plus, you’d have *
to move and I just started to like
your sorry ass.
He cuts Angie a glance, smiles. *
ALEX
Her, I’ve always liked, but you...
They share a laugh.
ANGIE
Alex please talk some sense into
him.
Greg gives Angie an uncomfortable glance... she backs off. He
quickly changes the subject, turns to Doug and Lisa.
6.
GREG
Hello, I’m Greg (pointing), this is
my wife Angie and this little guy
is our son, Brandon.
ALEX
I’m sorry, please forgive me. This
is my nephew, Doug. That’s his wife
Lisa and their two boys.
Angie nervously avoids eye contact with Doug. She turns to
Lisa and the two young boys.
ANGIE
Hi, nice to-
Lisa eyes slice through Angie like razor blades, she turns to
Doug.
LISA
You gotta fuck-n problem wit yo
eyes?
ALEX
Hey! Language, (pointing) kids.
DOUG
You full of shit, why you always
accusing me of-
ALEX
Okay, that’s enough! Doug, take
Lisa and the kids back to the
house!
Lisa brushes past Doug, speeds off. Doug and the kids follow.
ALEX
I’m sorry. Boy use to be a good *
kid. Got that one pregnant. Been
downhill ever since. Drugs, jail,
you name it. My sister got tired of
the crack-heads and cops knocking
on her door-
GREG
So they’re here to stay with you
and Mary?
ALEX
Oh hell no! They’re headed out of
here in a couple of days.
7.
I don’t have a clue where they’re
going and I don’t care. I just want
them gone A-S-A-P.
Angie watches with unusual concern as they walk away, arguing
out of earshot.
Genres:
["Drama","Family","Mystery"]
Ratings
Scene
3 -
A Fragile Balance
7 INT. GREG’S HOUSE - BRANDON’S BEDROOM - NIGHT 7 *
The room is small, simple... lit only by a tiny bedside lamp
with colorful animal figures adorning its shade and base.
Brandon, fast asleep, clutches a small, red stuffed animal -
it’s lower half is unevenly white.
Greg leans over, pulls the cartoon decorated covers to *
Brandon’s shoulders and gives him a soft, fatherly kiss. *
Rusty leaps on the bed and cuddles up next to Brandon. Greg
gives Rusty a gentle head rub.
ANGIE (PRE-LAP) *
Are you sure this is the best move *
for us right now? Things are really *
going well here. *
8 INT. GREG’S HOUSE - MASTER BEDROOM - NIGHT 8 *
Greg, in pajamas, sits on the bed, covered with files and
documents. His fingers rapidly tap on his laptop. Angie is in
the bathroom.
ANGIE (V.O.) *
We have the house, I have a good *
job and Brandon’s in a really great *
daycare.
GREG
We’ve gone over this a thousand
times, Angie. This job will
guarantee my promotion to Major,
and to Lieutenant Colonel. It’s
going to look good in my records
for years to come.
Angie leans outside the bathroom door.
ANGIE
I know, but-
8.
GREG
You’ll find a new job, sweetheart *
and we’ll find Brandon a new
daycare. Trust me. It will all work *
out. I promise. *
Angie forces a smile and leans back into -
9 INT. GREG’S HOUSE - BATHROOM - NIGHT 9 *
The bathroom. Her reflection in the mirror reveals her
anguish from the finality of Greg’s response. *
10 EXT. NATIONAL AIRPORT - DAY 10 *
A plane lands and speeds down the runway.
11 EXT. THE PENTAGON - DAY 11 *
Greg, wearing his dress blue uniform walks through the *
crowded parking lot towards the Pentagon.
12 INT. GREG’S HOUSE - GARAGE - ANGIE’S MINIVAN - DAY 12 *
Angie, dressed in nursing scrubs, glances into the rearview
mirror at Brandon, seated in his car seat clutching the same
red and white stuffed animal from the night before. *
She smiles, glances down, and buckles her seat belt. She *
fails to see the waistline of someone in her side-view mirror
approaching the vehicle.
13 EXT. WOODED AREA - DAY 13 *
Two mountain bikers watch fearfully as a patrol car slows to
a stop on a narrow, muddy road.
14 INT. HOTEL - LOBBY - DAY 14 *
Greg walks into the hotel’s lobby. His cell phone buzzes. He
answers.
GREG
Hello.
His steps slow, his face falls flush. *
9.
15 EXT. WOODED AREA - DAY 15 *
The day is coming to an end. Bristling treetops slowly give *
way to flashing red and blue lights from a sea of emergency
vehicles surrounding a taped-off crime scene.
Detective DARAN HOWARD, (45), tall, well-dressed, cigar
hanging from his lips, stands near the coroner's vehicle. His
eyes slowly search the surrounding area with keen intensity
when a ruckus breaks out behind him.
He rubbernecks, cuts a quick glance at two uniformed Officers *
restraining a tense, frenzied, and distraught Greg.
GREG
Where is she?! Where’s my wife?! My
son?! Where’s my son! Where’s my *
family! *
Detective Howard shakes his head, takes a long drag on his
cigar, and allows the smoke to flow evenly over his face. *
DETECTIVE HOWARD
I hate this fucking job.
He turns and meanders to the chaos.
DETECTIVE HOWARD
Captain Thompson, my name is
Detective Daran Howard.
GREG
Where’s my wife?! My son?! Where
are they?!
Detective Howard cuts a disheartened glance over his shoulder
to a cluster of Officers and Detectives. Greg follows his *
glance, his eyes wander to a crime scene photographer
snapping pictures, and -
Angie, face down, her half-nude body partially covered with *
branches and brush. Her head, twisted to the side, exposes
her swollen, lifeless face. He freezes.
The flashes of the photographer’s camera explode like loud *
clashes of thunder. Greg tries to run to her, but the *
Officers restrain him. He struggles mightily to break free, *
weeping uncontrollably, as -
The camera’s flashes grow louder and louder, slowly drowning
out his woeful pleas.
GREG
No!... please God, No! Angie! *
He slides downwards, wailing dreadfully. His weight supported
by the two Officers holding him. Detective Howard watches, *
quietly, helplessly, before forcing himself to look away as
we float upwards and overhead revealing the busy crime scene
below.
Greg sits in Detective Howard’s office, leaning forward, his *
face resting in the cups of his hands. The door opens. Greg
leaps up as Detective Howard walks in. *
DETECTIVE HOWARD *
Sorry to keep you waiting, Captain *
Thompson. *
GREG *
Did you find my son?! *
DETECTIVE HOWARD
No, but we are doing all we can *
right now. *
Greg’s head slumps. *
DETECTIVE HOWARD
We don’t have any reason at this *
time to believe your son is dead, *
sir. Right now Officers and *
volunteers are combing every inch
of those woods. Helicopters and dog *
teams will be joining the search *
soon. I promise you, we’re doing *
everything we can to find Brandon. *
Greg sighs, slumps in the seat, rubs his bloodshot eyes.
DETECTIVE HOWARD
Captain Thompson, this may not seem
like the right time for you, but I *
need to ask you a few questions.
11.
Greg nods.
DETECTIVE HOWARD
Do you know of anyone that may have
wanted to hurt your wife? Any
issues at work? *
GREG
No. Angie was loved by everyone.
Her patients, co-workers-
DETECTIVE HOWARD *
Any problems with friends,
relatives, recent arguments...
fights?
GREG
No.
DETECTIVE HOWARD
Any problems at... home? *
GREG
Absolutely not!
DETECTIVE HOWARD
I have to ask. *
Detective Howard walks over to Greg.
DETECTIVE HOWARD
Go home Captain Thompson. Try to
get some rest. I’ll contact you if *
we find or hear anything. *
Greg reflects a moment, then looks up.
GREG
She saved my life you know.
Detective Howard flashes a confused glance. *
GREG
In Afghanistan.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
5 -
Descent into Despair
17 EXT. DESERT - NIGHT (FLASHBACK) 17 *
Greg, dressed in full combat gear, runs flat out, zigzagging
through the explosions erupting around him. *
12.
GREG (V.O.)
Her medic convoy got turned around.
They ran into an entire ISIS *
infantry company. Nearly 100 enemy *
soldiers. My platoon was nearby. We *
were sent in to rescue them.
Greg suddenly clutches his chest and heaves forward as if *
shoved violently from behind. He stumbles and slams face-
first to the ground.
GREG (V.O.)
I took an AK round to back.
EXT. DESERT - WADDY - NIGHT *
Machine gunfire fire and explosions fill the night air. Greg *
is slammed on a combat liter. Angie and several medics rip *
and cut away his body armor and bloodied uniform as orange *
and green tracer rounds streak overhead.
Greg, barely conscious, gazes up at Angie with pleading eyes.
The sounds of combat and screaming voices slowly fade. His
vision blurs as he blinks into darkness.
18 INT. POLICE STATION - DETECTIVE HOWARD’S OFFICE - DAY 18 *
(PRESENT DAY)
Tears run down Greg’s face.
GREG
She was the last face I saw when I *
passed out, and... the first face I
saw when I came to.
He wipes at his tears.
GREG
She came to my hospital room every
day. She eventually got out of the
Army. We stayed in touch, started
dating... a year later we were
married.
Greg stands.
GREG
She saved my life that night and *
she gave me life with my son. *
He shares a longing glance with Detective Howard.
13.
GREG
What am I supposed to do without *
them?
Detective Howard watches in silence, hidden in his own grief *
as Greg stands, and walks out of the office over the commands *
and sounds of a twenty-one gun salute. *
DRILL NCO (PRE-LAP) *
Ready! Aim! Fire! *
BANG! *
19 EXT. CEMETERY - ANGIE’S GRAVE SITE - DAY 19 *
The twenty-one gun salute ends and a lone, distant bugler *
plays taps. Greg, no emotion, rigid stares at Angie’s flag- *
draped coffin.
20 INT. GREG’S HOUSE - LIVING ROOM - DAY 20 *
The room is filled with family, friends, and guests eating, *
drinking and talking softly.
21 EXT. GREG’S HOUSE - BACK DECK - DAY 21 *
LT. COL JOHN GARRETT, (50), average height, fit, with hints *
of speckled gray in his hair, joins Greg walks over to, Greg. *
JOHN
I talked to the Old Man. He told me *
to tell you take all the time you *
need.
Greg doesn't respond. His eyes frozen forward, starring at
the swing set. John moves closer, rubs him gently on his *
back, much like a father would his son.
JOHN
This is a tough time right now,
son. Just know we’re all here for
you. Especially Sandra and I. You
need us, you call, come by the
house, doesn’t matter the time.
GREG
Yes, sir.
John follows Greg’s gaze to the swing set. He does his best *
to flash Greg a reassuring glance. *
14.
JOHN
They’ll find him Greg.
Greg forces an accepting smile. *
22 EXT. WOODED AREAS - DAY/NIGHT 22 *
A SERIES OF SHOTS
-- Greg, surrounded by a large group of volunteers, Officers, *
and barking dogs carefully and systematically search a wooded
area shouting Brandon’s name. Greg glances up at a helicopter
racing overhead. *
-- It’s night and a different wooded area. Greg and a visibly
smaller group of volunteers and Officers, flashlights in *
hand, walk towards the tree line.
-- Another day. Pelting rain. Greg struggles to maintain his *
footing in a hilly wooded area. There are maybe ten people in
the search group now.
-- Another night. Greg stands in a new wooded area listening *
to the sounds of the woods. He’s all alone now. No shouting,
no police, barking dogs, or volunteers. He clicks on his
flashlight and heads into the darkness. *
END SERIES OF SHOTS
23 INT. COLUMBUS PD - SQUAD ROOM - DAY 23 *
Greg, unshaven and flushed stands in the squad room’s
doorway. He surveys the busy room with fatigued eyes until he
spots, Detective Howard across the room talking to a small
group of Detectives. *
Detective Howard glances up, spots Greg, jaw muscles flexing,
his eyes wide as he approaches the group. As Greg moves
closer, his focus falls on names written on a large *
whiteboard near the group. His eyes land on the name “Angie *
Thompson” written in bold red letters beside the number 17.
GREG
(to Detective Howard)
It’s been over a month and you’ve *
given me nothing! My son is out
there somewhere. My wife, dead-
DETECTIVE HOWARD
Captain Thompson. Sir, let’s go
into my office-
15.
GREG
I want to know what you’re doing to
find my son and the person that
killed my wife!
DETECTIVE HOWARD
I promise we’re doing our best-
GREG
Your best! You're doing your best!
Greg’s shouts draw the attention of the Officers and *
Detectives in the squad room. *
GREG
Where are the search parties?! The *
helicopters?! *
DETECTIVE HOWARD
We are doing everything we can to
find your son and the person that
murdered your wife. But, your wife
isn’t the only number on our
board...
Detective Howard winces, he immediately regrets his last *
remark.
GREG
That’s it! My wife is what... just
another fucking number on your got-
dam board?! *
(pointing)
Number 17! Is this all she is to
all of you now?! *
He looks scornfully around the room to guarded expressions. A
couple of uniforms ease cautiously towards him. Detective *
Howard smartly waves them off. *
DETECTIVE HOWARD
Captain Thompson. Please, calm down
and lets just go into my office and
I promise-
Greg turns, speaks with determination to Detective Howard. *
GREG
You keep your fucking promises, *
Detective. I don’t need you! I *
don’t need any of you!
He weaves his way out of the squad room, speaks under his
breath to nobody.
16.
GREG
I’ll find my son, myself.
Detective Howard follows Greg’s departure with unusual *
concern and attachment.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
6 -
A Glimmer of Hope
24 INT. GREG’S HOUSE - KITCHEN - DAY 24 *
Greg sits at the kitchen table staring at a small, framed
photograph of Angie and Brandon. His face is weary with *
exhaustion, his eyes are filled with sadness.
Rusty, laying quietly at his feet, raises his head, then *
leaps to his feet. He barks just as the doorbell rings. *
DETECTIVE HOWARD (PRE-LAP) *
You have... had a beautiful family, *
sir. *
25 INT. GREG’S HOUSE - KITCHEN - DAY 25 *
Greg and Detective Howard sit quietly at the kitchen table. *
Detective Howard hands Greg the framed photograph. *
GREG
Why are you here Detective?
DETECTIVE HOWARD *
We still haven’t been able to
locate your wife’s missing van, but *
all of the labs are back now, and *
her rape kit was... positive.
Greg grimaces, tears well in his eyes.
DETECTIVE HOWARD *
Unfortunately, the lab wasn’t able
to found any DNA evidence for us to
work with.
GREG
What happens now?
DETECTIVE HOWARD *
I don’t know Captain Thompson. *
(off Greg’s disappointment)
We’re doing our best, but the
case... well, to be honest, it’s
going cold.
17.
Greg glances at Angie’s photo as Detective Howard removes a *
small manila folder from his coat pocket. He removes a 5x7 *
photo from the folder and slides it across the table to Greg. *
GREG
What’s this?
DETECTIVE HOWARD *
I took the liberty and asked our
service to do a photo rendering of *
your son, what he’ll look in two *
years. *
Greg looks at the photo, his eyes widen, astonished. *
DETECTIVE HOWARD *
Not to say that it’s going to take
that long to find him but, you *
know... I thought you may want to-
GREG
No... thank you, this is (off the
photo) amazing. What service did *
you use to create this? *
DETECTIVE HOWARD *
I figured you’d ask. *
He slides Greg a business card. Greg picks it up, reads.
GREG
Thank you.
Detective Howard nods, gracefully. They share a moment of *
awkward silence before Greg’s eyes fall back on the rendered
photo. *
Genres:
["Drama","Mystery","Crime"]
Ratings
Scene
7 -
Desperate Pursuit
26 EXT. VARIOUS LOCATIONS - DAY/NIGHT 26 *
MONTAGE - GREG SEARCHING FOR BRANDON
-- Greg sits in his car watching a busy intersection, his
eyes darting from one passing car to the next, carefully *
scrutinizing the occupants. *
-- Greg’s car speeds past a road sign that reads, Welcome to *
Tennessee.
-- Snowflakes fall heavy in the air as Greg attaches an 8X10 *
flyer with Brandon’s image and the word “abducted” in bold to *
a street crossing pole.
18.
-- It’s night and raining. Greg’s car speeds past a road sign *
that reads, Welcome to North Carolina. *
-- It’s day and Greg stands at a busy intersection passing *
out the 8x10 flyers with Brandon’s image and information.
-- Greg’s headlights flash across a sign that reads, Welcome *
to South Carolina.
END MONTAGE
27 INT. GREG’S HOUSE - BEDROOM - NIGHT 27 *
Greg’s cell phone blares to life. A bedside light clicks on. *
Greg scrambles to answer the phone.
GREG
Hello.
A male voice on the other end with a noticeable southern
drawl.
MAIL VOICE (V.O.)
Opelika, Alabama. Greenbrier Motel
off highway 431. Room 18.
GREG
What? Who is this?
MAIL VOICE (V.O.)
You want your boy back or what? *
Room 18! *
The caller hangs up. Greg springs up... he struggles to *
comprehend the call.
EXT. GREENBRIER MOTEL - PARKING LOT - NIGHT *
Greg’s car pulls into the seedy motel’s parking lot.
28 EXT. GREENBRIER MOTEL - ROOM #18 - NIGHT 28 *
Greg peeks through the curtained window. What little he can *
see, the room is dark and empty. He tries the doorknob, it’s *
locked. Frustrated, he gives the area and parking lot a quick *
scan.
19.
29 INT. GREG’S CAR - NIGHT 29 *
Greg eases into his car and places a gun on the seat beside *
him. He pours a cup of hot coffee from a thermos, sips...
stares... waits.
30 INT. GREG’S CAR - NIGHT (LATER) 30 *
Greg tips his thermos, it's empty. He replaces the lid just
as a beat-up pickup truck pulls to a stop in the parking lot.
An overweight DRIVER (30s), male, dressed in blue jeans,
camouflaged hunting shirt, muddied camouflaged boots, and *
matching hat stumbles from the truck. Greg glares as his hand *
eases slowly towards the gun. *
31 EXT. GREENBRIER MOTEL - PARKING LOT - NIGHT 31 *
Holding a set of keys in one hand and a six pack of beer in *
the other, the overweight Driver staggers across the parking
lot towards the motel. Completely wasted, it takes him
several attempts before finally getting the key into, -
Door #18.
The Driver curse...
DRIVER
Sum-bitch.
The door pops open, he stumbles into the room, and slams the *
door behind him.
Genres:
["Thriller","Drama"]
Ratings
Scene
8 -
Confrontation at the Greenbrier
32 EXT. GREENBRIER MOTEL - NIGHT 32 *
Greg moves with stealth and precision towards door #18.
33 INT. GREENBRIER MOTEL - ROOM #22 - NIGHT 33 *
A NOSEY FEMALE OCCUPANT (40), peaks from behind a thin white
curtain... she spots Greg moving slowly towards door #18.
Nosey squints as the light from a nearby window reveal the
outline of the gun in Greg’s hand. She steps back... picks up *
the room’s phone and dials. *
20.
34 INT. GREENBRIER MOTEL - ROOM #18 - NIGHT 34 *
Phone ringing. Drunk Driver stumbles from the bathroom,
answers.
DRUNK DRIVER
Hello... what, (shouting) I don’t
give a shit about you, or that
fucking kid!... Fuck me! No! Fuck *
you! I should have never gotten
involved with you and I wouldn’t be
in this shit right now! *
35 EXT. GREENBRIER MOTEL - ROOM #18 - NIGHT 35 *
Greg, ear pressed against the door, listens. *
DRUNK DRIVER (V.O.)
The got-damn kid ain’t my *
problem... I don’t give a flying- *
fuck! I’m done with you and all *
your bullshit! So, you can kill the *
little bastard if you want! I’m
out! *
36 INT. GREENBRIER MOTEL - ROOM #18 - NIGHT 36 *
Drunk Driver slams the phone, and at that moment, the motel
room door crashes in. The impact of the door sends Drunk *
Driver careening backward, but somehow he maintains his
balance. He spins, spots Greg speeding through the door.
Drunk Driver’s face reveals this is not the first time he’s
been in a situation like this, and in a flash he lunges
forward, slamming hard into Greg.
The force on the impact knocks Greg’s gun from his hand. It
slides across the floor and under the bed. Drunk Driver, the *
slightly larger man, quickly uses his size to gain an early
advantage.
The action is swift, jerky, violent.
The room’s close quarters offer very little space for the two
combatants to maneuver. Shit’s being smashed and knocked all *
over the place. Then with a sudden and quick move -
Greg slams Drunk Driver into a small space between the bed
and the wall. Advantage, Greg. He slams his fist repeatedly
into Drunk Driver’s face.
21.
The punches are short, hard, and violent, when suddenly -
Drunk Driver turns his face away, causing Greg’s hand to
smash into the floor. Greg screams in agony, he clutches his *
hand. Drunk Driver spots something under the bed. He reaches,
struggling at first, but manages to grab Greg’s -
Gun.
Greg rolls away... leaps to his feet. Clutching his hand, he *
stumbles out the door just as Drunk Driver struggles against *
the side of the bed and fires - *
BANG! BANG! *
The bullets slam hard into the doorway and wall, missing Greg *
by mere inches.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
9 -
Chaos and Care
EXT. GREENBRIER MOTEL - PARKING LOT - NIGHT *
Greg explodes from the room, falls to the ground, and is
immediately blinded by brilliant bright lights.
VOICE (V.O.) *
Freeze!
37 EXT. GREENBRIER MOTEL PARKING LOT - NIGHT (LATER) 37 *
A sea of flashing red and blue lights. Emergency vehicles
crowd the small parking lot. The motel’s occupants are out,
standing, gawking, talking.
We move slowly passing Nosey, animated, telling her version
of the story to an Officer, to - *
Greg sitting at the back of an ambulance.
An Officer stands nearby as a paramedic wraps his swollen *
hand.
JOHN (PRE-LAP) *
I appreciate you doing this for me,
Detective Howard.
39 INT. JOHN GARRETT’S HOUSE - KITCHEN - EARLY MORNING 39 *
Major John Garrett, on the phone, talks to Detective Howard. *
DETECTIVE HOWARD (V.O.) *
This is a one-time deal, Colonel. I *
know he’s been going all over
searching for his son. *
22.
Hell, can’t say that I blame him, *
but if he does something stupid
like this again... I’m personally *
going to lock his ass up. *
Detective Howard hangs up. John holds a moment before he *
hangs up his phone. *
41 INT. JOHN GARRETT’S HOUSE - KITCHEN - DAY (LATER) 41 *
John sits at the kitchen table. His newspaper conceals his
face. SANDRA GARRETT (50), studious, very attractive is *
pouring a cup of coffee, when -
Greg, battered, his arm in a sling and eyes locked on John, *
cautiously eases into the room. Sandra smiles big. She acts *
as if it’s just a typical morning and nothing’s wrong with *
Greg. *
SANDRA
Oh, there you are. Good morning, *
Greg.
GREG
Good morning, Mrs. Garrett.
Greg cuts a quick glance back to John. He gets an eyeful of *
the newspaper.
SANDRA
Have a seat and I’ll make you a cup
of coffee. You hungry?
GREG
Thank you. Ah, yes ma’am. *
Greg sits. Sandra sets a plate of food in front of him. Greg
forces a smile, nods his appreciation. He cuts John another *
guarded glance. *
Genres:
["Drama","Thriller","Mystery"]
Ratings
Scene
10 -
Confrontation in the Backyard
42 EXT. JOHN GARRETT’S HOUSE - BACKYARD 42 *
Greg stares at a well-manicured flower bed. John, furious, is *
well into delivering him an Army-style ass-chewing.
JOHN
And after all the years we’ve *
worked together, and you act as if
you haven’t learned a got-damn
thing! (off Greg’s glance)
23.
I know you’ve been running off on
the weekends, driving God knows
where! Hell, who do you think been
covering your ass when you’ve shown
up late for work damn near every
Monday morning for the past year?!
Greg takes a seat on a bench. His eyes and face filled with *
exhaustion and self-pity.
GREG
I don’t know what to do anymore,
Sir. The phone call, it... it
seemed so real, I-
JOHN
The phone call was a hoax! The guy
you attacked was a local dumb-ass
that got caught fucking his best
friend’s wife and got her pregnant!
His wife put him out, he was
staying at the motel!
John takes a deep breath, runs a hand through his hair, and *
steals a second to collect himself. *
JOHN
His friend saw your web site,
decided to give you a call. Figured
you’d show up and kill the dumb
bastard.
Greg lowers his head, his hands, body shakes. *
GREG
Jesus! I could’ve killed him.
JOHN
Or got yourself killed!
John pauses, allows time for his words to sink in.
JOHN
The Sheriff over there is ex-
military and he’s aware of your
case. He’s also a close friend of
Detective Howard. They’re going to
look the other way this time.
Greg slumps, sighs. *
24.
JOHN
You really dodged a bullet here,
son, literally. Now, it’s time for
you to get your shit together-
GREG
I’ll be fine, Sir. I just need a
little time.
John gives him a sharp, cold, angry look. *
JOHN
You’re out of time! And getting *
help is no longer an option, it’s
an got-damn order. My got-damn *
order! Your sessions start first *
thing Monday morning. *
Greg’s head snaps up, he leaps to his feet.
GREG
Are you ordering me to see a
shrink, sir?! *
JOHN
I’m ordering you to save your life, *
Greg! *
GREG
Sir, I can’t go see a shrink! It
will go in my records, my career-
John, furious, steps close Greg’s. *
JOHN
What career?! Have you looked into *
a mirror lately?! You’re a fucking *
mess! You damn near killed a man
last night and you came even closer
to getting yourself killed! You’re
lucky the bastard was drunk or he
may not have missed!
John moves closer. He’s all the fuck up into Greg’s personal *
space now. He speaks with absolute authority. *
JOHN
I’m the only one... the only one
that’s been holding on to what
little career you have left and *
son... I’m damn tired of holding *
on!
25.
John steps back... takes a deep breath. His brow furrowed,
jawline flexing. He turns and walks away.
JOHN
You start Monday morning. And
Greg...
He stops... doesn’t look back.
JOHN
If you’re a no show, then don’t
come back. Just keep driving.
Greg, speechless, watch as John walks away. Tears run freely
down his face.
Genres:
["Drama","Thriller"]
Ratings
Scene
11 -
Confronting Shadows: Greg's Journey to Healing
43 EXT. FORT BENNING - MENTAL HEALTH CLINIC - DAY 43 *
Greg stares at the sign on the building’s door that reads -
Fort Benning Army Mental Health Clinic.
44 44
INT. FORT BENNING - MENTAL HEALTH CLINIC - MEETING ROOM - DAY *
A group of men and women sit in a tight semi-circle. The *
Counselor turns to Greg.
COUNSELOR
Greg, would you like to share?
Greg shakes his head, no.
45 EXT. FORT BRAGG - DAY 45 *
A sign reads, Welcome to Fort Bragg, Home of the 82nd *
Airborne Division.
46 EXT. FORT BRAGG - RUNNING TRAIL - DAY 46 *
Greg running, his pace slow, his movements sluggish.
47 INT. FORT BRAGG - C-130 - NIGHT 47 *
Loud. A square-jawed, barrel chest, Jump Master stands at the
front of the dimly lit aircraft barking out commands. He
points, shouts directly at Greg.
JUMP MASTER
Stand in the door!
26.
Greg shuffles forward ahead of a deep line of waiting *
Paratroopers. He braces himself in the aircraft’s doorway and *
prepares to jump. A small red light in the doorway turns *
green, and - *
JUMP MASTER
(slapping Greg on the ass)
Go! Go! Go!
Greg leaps, vanishing into the dark night sky. *
48 48
INT. FORT BRAGG - MENTAL HEALTH BUILDING - MEETING ROOM - DAY *
Greg sits amongst a new group of men and women. Greg listens
as one of the men describes his ordeal.
49 INT. GREG’S CAR - DAY 49 *
Greg sits, grief-stricken, staring at a 5x7 photo. *
50 EXT. WOODED AREA - DAY 50 *
Greg stares at the distant patch of overgrown weeds and the *
barely visible piece of weathered yellow crime scene tape *
near the dirt road where Angie’s body was found. *
GREG (PRE-LAP) *
It was eight years ago this month. *
51 EXT. FORT POLK - MENTAL HEALTH BUILDING - DAY 51 *
A sign on the building reads - Fort Polk Mental Health.
52 52
INT. FORT POLK - MENTAL HEALTH BUILDING - MEETING ROOM - DAY *
Greg, a Major and visibly older now sits amongst a new group
of men and women. His face despondent, somber. The assembled *
group encourages him with their eyes.
GREG
My wife was brutally murdered and
my son... (choking up) abducted. *
No sound now as Greg talks. Sadness dominates every *
expression in the room.
27.
53 EXT. PARK - NIGHT 53 *
A dark sky, pelting rain. Greg, drenched runs along a winding *
trail. Rain pounds his face, but there’s something very *
different now. His pace is fast, his stride fluid, strong...
smooth.
He slows to a stop... looks out at the distant city lights, *
and falls to his knees. He slumps forward onto the wet, muddy *
ground. Greg weeps. *
54 EXT. FORT HOOD TEXAS - MAIN GATE - DAY 54 *
SUPER: TWO YEARS LATER
A sea of traffic creeps towards the front gate. A large sign
reads, Welcome to Fort Hood. *
55 INT. MAJOR GENERAL JOHN GARRETT’S OFFICE - DAY 55 *
Greg stares at a group of neatly arranged photos in a large,
cherry oak bookshelf that matches the oversized cherry oak
desk, executive office furnishings, wall-mounted plaques, and *
unit guidons. *
He smiles, picks up a photo of a young Captain John Garrett
sitting on a grassy hillside with three, even younger second
lieutenants. Greg is one of the smiling lieutenants.
JOHN (O.C.)
That’s one is my favorite. *
Greg smiles, chuckles, and-
GREG
We were soldiers, once... and
young.
Sets the picture back in its place. He greets his old friend. *
GREG
It’s really good to see you again,
Sir.
*
John, a Major General now, gives Greg a warm, fatherly *
embrace.
GREG *
And, congratulations on your second *
star, Sir. Only two more to go.
28.
JOHN
Shit, trust me. Two is more than
enough. But, damn son, look at you! *
He gives Greg a good once-over.
JOHN
Lieutenant Colonel promotable.
(off Greg’s smile)
I’m damn proud of you, Greg. Happy
with the way you turned your shit *
around.
GREG
If I recall I didn’t have much of a
choice. Let’s see, I think you said
something like, if you don’t show
up, just keep driving.
John, all business, picks up a stack of papers from his desk,
hands them to Greg.
JOHN
I’m assigning you to Division staff
for now, but don’t get too
comfortable. Second and Third
brigades are downrange. You’ll join
the command group there and run OPS *
until they redeploy. *
Greg studies his new orders.
JOHN
That should give you time to get *
familiar with the unit and for us *
to- *
GREG
See if I’m ready to take command.
John moves to the edge of his desk and removes a couple from *
cigars from a humidor. *
JOHN
Whatever floats your boat. Either
way, you leave in 30 days and in
six months, you’re either ready or *
not. *
GREG
I know you're doing the hard right
for me here, Sir. Thank you. *
29.
JOHN
Don’t be so quick to thank me yet.
The Boss and I have watched your
progress very closely. Fort Bragg,
one hell of a job. You got even
better at Fort Polk. You’ve made
great progress, but you’re not
there yet.
Greg nods.
JOHN
This is a new start for you, son.
Get it right over there and you get
third brigade, fucking simple, *
right? *
John hands Greg a cigar.
JOHN
Now, if I remember correctly you’re
an Alec Bradley Man, Tempus Maduro,
right?
Greg takes the cigar, nods. They share a smile.
Genres:
["Drama","Military","Psychological"]
Ratings
Scene
12 -
Fading Memories
56 EXT. GREG’S NEW HOUSE - FRONT YARD - DAY 56 *
A FOR SALE sign with the word SOLD in bold letters sits in *
the front yard.
57 INT. GREG’S NEW HOUSE - FRONT DOOR - DAY 57 *
Greg, dressed in casual clothes, stands near the front door,
as familiar sounds slowly creep through the room.
-- Brandon’s laughter.
-- A hammer banging.
-- Rusty’s barking, and -
Across the room, a blurred image slowly appears, it’s -
Angie.
She looks exactly the way she did 10 years ago. She’s dressed *
in a white tee-shirt, sneakers, and blue jeans... her hair
pulled back into her customary bun. She’s busy hanging a *
colorful painting in the space over the fireplace. *
30.
She takes a step back, eyeballs her work, when suddenly -
Rusty, barking, flashes full speed past her feet. *
Rusty stops, turns... barks. Greg looks and spots three-year- *
old Brandon running into the room.
ANGIE
No running in the house!
Greg smiles fondly as Brandon continues his pursuit of Rusty *
As Greg watches -
Furniture, curtains, flooring, decorations, paintings, and
other home settings slowly morph into their proper places. *
ANGIE (O.C.)
So, what do you think?
Greg turns... looks at Angie. She gives him her best Vanna
White pose in front of the painting on the wall. He smiles.
Brandon giggles. Greg turns in time to see Brandon and
Rusty’s images slowly fading away. He glances back at Angie.
Her image is also fading.
He watches with tormented eyes as the visions of the people,
and the life he still loves and desires so very much, slowly
and completely fade away.
Tears run down his face and we see that Greg’s dressed in his *
Army MCU uniform now. The house is quiet, the rooms are *
complete with the furniture, decorations, and fixtures from
his vision.
A single manila folder rest on a living room table. He picks
up his backpack and backs out the front door. *
JASPER (PRE-LAP) *
I swear I didn’t fuck you man. I
would never do that to you, bruh. *
58 EXT. DARK ALLEY - NIGHT 58 *
Cold, dark... drizzling rain swirls around a mounted light *
perched on an alley building when suddenly a series of loud, *
heavy thumps, a painful cry, and a low moan followed quickly *
by and the tell-tale slide and clank of a round being *
chambered.
SUPER: ATLANTA
31.
JASPER (16), bloodied and badly bruised face, lay curled on *
the wet ground. He looks up at ANDREW (20) tall, strong *
frame, braided hair and, JOSH (18) short, slim, short hair. *
DONTRELL (20), average height, hoodie pulled over his head, *
nervous, jittery hovers in the background.
JASPER
Please, I swear, man. I didn’t do
shit wrong. Tell em, Dontrell, tell *
em, I-
Andrew cut a “what the fuck you know” look to Dontrell. *
Dontrell quickly, frightfully looks away. There’s no way he’s *
going to say shit.
JASPER *
Come on, man! Tell him, I- *
In a flash, Andrew pounds Jasper viciously with his pistol. *
ANDREW
Shut (hit) your (hit) fucking (hit)
mouth!
Jasper cries out with each blow. He sobs uncontrollably. He *
lies helpless, trembling, bleeding.
ANDREW
Mutha-Fucka, I know you didn’t
steal my shit! But this ain’t about *
that. This bout you running around
telling people you did. Trying to
make your game large by putting my
name in the street. You fucked up,
son.
Jasper exhales and his body suddenly relaxes, and in a
measure of finality, he submits, accepting his inevitability,
as Andrew places the barrel of his gun against his head. *
JASPER
This shit ain’t right, man. *
Andrew chuckles, speaks softly, convincingly. *
ANDREW
Shit never is, brother. *
He pulls the trigger.
BANG!
32.
Jasper’s head explodes against the alley floor. Andrew fires *
a second shot, watches as blood oozes from Jasper’s lifeless
body... he raises his left foot to reveal speckled blood
spots on his pristine white sneakers. *
ANDREW
Fuck! *
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
13 -
Confrontation in the Dark
59 EXT. THOMAS’ HOUSE - NIGHT 59 *
A single light near the front door offers a glimpse of the
old, small, run-downed house. *
60 INT. THOMAS’ HOUSE - BEDROOM - NIGHT 60 *
The room is small, dark. Two small beds dominate what little
space there is.
THOMAS (13), short, thin sits on the floor. His face lit by *
the video game he’s playing on the TV. His head bobs and *
weaves as if he’s dodging invisible punches, when -
The bedroom door flies open and, - *
Andrew and Josh walk in. *
Thomas sits perfectly still, his face racked with fear. *
Andrew violently slaps the game controller from his hands,
then slumps down heavy on one of the small beds. *
ANDREW
Thought I told you to
stay the fuck outta here.
*
Josh looms menacingly over Thomas. *
JOSH
You a fucking retard ain’t cha?
Josh removes a gun from his waistband, presses the barrel
flush against Thomas’ head. Thomas doesn’t react, doesn’t
respond... doesn’t move.
JOSH
You hear me talking to you, boy?
No reaction. Josh eases the hammer of the gun back. *
JOSH
What, you a bad ass now, you think
I won’t-
33.
ANDREW
Let the little bitch be, bro.
Josh holds his gun to Thomas’ head a few seconds more, then
allows the trigger to ease back into position. Thomas stands,
moves quickly towards the door.
ANDREW
Stay the fuck outta here, and...
Andrew tosses his blood satined white sneakers towards *
Thomas.
ANDREW
Clean that fucking blood off my
shit.
Thomas picks up the sneakers and speeds out of the room. *
61 INT. THOMAS’ HOUSE - LIVING ROOM - NIGHT 61 *
A TV plays in the background as we move slowly from Andrew’s
freshly cleaned sneakers through the shabbily decorated room
to -
Thomas sitting on a tattered couch watching TV. *
MIA (PRE-LAP) *
Have you seen this crap? *
63 63
INT. KILLEEN HERALD BUILDING - SANDRA GARRETT’S OFFICE - DAY *
A nameplate on a door reads - Sandra Garrett, Digital Editor *
in Chief. *
Sandra sits at her oversized desk talking on the phone when
MIA HODGES (30) animated and waving papers, speeds into the *
room.
Mia is remarkably attractive, average height with long dark
hair. Her smooth caramel skin compliments her sultry, curvy
figure.
MIA
Please tell me you you’ve read *
this?
SANDRA
I’ll call you back.
Sandra hangs up the phone.
34.
SANDRA
That depends on what “this” is.
Mia hands Sandra the papers. Sandra peeks over the top of her *
stylish, tiny rimed reading glasses.
SANDRA
Who do you think approved it?
MIA
You're pushing my story?! Why?! *
It’s a good piece.
SANDRA
Never said it wasn’t?
MIA
But you’re pushing it behind a text *
link? It should be front and center *
on the splash page! *
SANDRA
You’re still coming over tonight
right?
Mia stops... her head tilts, her brow tightens.
SANDRA
To the house... dinner?
MIA
Oh, yeah... about that. Don’t you
think I’m a little too old for a
blind date? I mean, I’m sure John’s
friend is nice, but-
Sandra cuts her off, her resolve stiffens. She stands, walks *
towards the door.
SANDRA
He’s had some tough times, but he’s
okay now.
She opens the door and the sounds from the busy pressroom
floor rush in. She gives Mia a warm, affirming smile.
SANDRA
You’re going to like him, I *
promise.
Mia glares at her boss, picks up her papers, waves them as
she-
35.
MIA
If I come I at least get a photo *
link and I mean that. *
Speeds out of the office. Sandra smiles, shuts her door.
Genres:
["Drama","Thriller"]
Ratings
Scene
14 -
Sweet Memories at Wilson's Bakery
64 EXT. ATLANTA - NEIGHBORHOOD STREET - DAY 64 *
A SERIES OF SHOTS
-- Run down Row style housing and shops.
-- Beat up cars line both sides of the street.
-- School age kids hustle the latest “get-high” packages.
END SERIES OF SHOTS
65 INT. WILSON’S BAKERY - DAY 65 *
The door chimes and Thomas enters, his book bag hanging
halfway off his back. He glances up at -
OLD MAN WILSON (65), medium height, overweight, wearing a
soiled white apron behind the store’s glass counter filled
with the day’s freshly baked offerings.
There isn’t much to the bakery. A single room with a couple
of outdated tables, chairs, fixtures, and wall paintings. The *
place is a clear throwback from the seventies.
WILSON
Hello Thomas. *
Thomas walks behind the counter, lets his book bag fall to
the floor. He reaches under the counter and removes a small
white apron, slides it over his neck.
THOMAS
Hi Mr. Wilson. Cans all ready in
the back?
Wilson smiles, nods. *
66 EXT. WILSON’S BAKERY - BACK ALLEY - DAY 66 *
Thomas quietly empties trash cans... stacks bags of plastic
bottles on empty pallets... sprays the trash cans down with a
hose.
36.
67 INT. WILSON’S BAKERY - DAY 67 *
Thomas sits quietly at a table tearing into an oversized
piece of chocolate cake and sipping from a large glass of
milk. Wilson, a glass of milk in hand, takes a seat at the
table.
WILSON
So how was school today?
THOMAS
Good. We learned about recycling.
(off Wilson’s smile of approval)
How long this store been here Mr.
Wilson?
Wilson gives the store a quick survey, smiles proudly.
WILSON
Well, my dad started the business. *
It was a butcher shop back then. I
started working here when I was
about your age...
Thomas eats, takes it all in.
WILSON
When dad died, I took it over. Me *
and Old Mr. Charlie across the
street there
(off Thomas’ glance)
But, we never liked the meat
business, you know, the blood and
the smell. So Charlie decided to *
open a deli and I turned this place *
into a bakery. I guess that’s been
about, oh... over 40 years ago now.
THOMAS
You and your good pal Mr. Charlie
need to recycle more. You guys are
helping kill the Earth you know.
Wilson smiles, stands, walks over, and looks out the store’s
front window. *
Genres:
["Drama","Slice of Life"]
Ratings
Scene
15 -
Flirtation and Reflection
EXT. WILSON’S BAKERY - DAY *
We see what Wilson sees... street hoods, dope slingers,
pregnant teenagers, and Charlie’s Deli across the street.
WILSON
Huh... I guess you’re right, son...
I guess your’e right.
37.
He sighs, his face reveals his sadness. *
JOHN (PRE-LAP) *
And I’m standing as high in the
turret as I can, scanning the
entire area...
68 INT. JOHN GARRETT’S HOUSE - STUDY - NIGHT 68 *
The study is buzzing of activity as John and an assembled
group of men and women stand, laughing, talking... all with
drinks in hand.
JOHN
And Green One over here (glances at *
Greg) is nowhere to be seen, but
he’s on the radio telling me, Sir,
I’m serious, I am looking right at
you.
GREG
(to the group)
Because I was 30 feet behind him
the entire time.
The group share a robust laugh. John raises his glass. *
There’s a sense of fatherly pride in his voice.
JOHN
Ladies and gentlemen, to the
Infantry.
They all raise their glasses, and in unison -
THE GROUP
Hoo-ah! To the Infantry!
They down their drinks. The doorbell rings.
SANDRA (V.O.)
Someone get the door please!
JOHN
(to Greg)
That, would be you son.
Greg cuts his boss a curious glance... sits his glass on a
table, and walks to the front door. He opens the door to
reveal -
Mia’s dressed down, but still stunning.
38.
She enters without saying a word, quickly removes her coat.
Greg sneaks a peek at her incredibly curvaceous shape. His
expression, a deadpan giveaway that he likes what he sees.
Mia spins quickly... he’s busted, but there’s a sense that
she got exactly the reaction she was hoping for.
MIA
Hi, I’m Mia, and since I’ve never
seen you around here before...
She hands Greg her coat.
MIA
You must be the one and only
Colonel Greg Thompson.
Greg closes the door, takes note of the sarcasm in her voice -
- decides to play along.
GREG
Actually, I’m the one and only
Colonel promotable Greg Thompson.
Mia, not impressed and definitely not ready to yield the
advantage fires back.
MIA
Ooooh, is that right? I bet you
have your own secret handshake too.
Greg smiles as she makes her way down the hallway, speaking *
to John and the assembled guests as she speeds past the
study.
MIA
Hello John, guys... gals. *
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
16 -
A Flirtatious Setup
69 INT. JOHN GARRETT’S HOUSE - DINING ROOM - NIGHT 69 *
The meal is well underway. Sandra, John, and the group from
the study sit at the dinner table. Everyone’s talking at
once. Greg and Mia are seated directly across from each
other. They share the occasional uncomfortable glances.
70 EXT. JOHN GARRETT’S HOUSE - STUDY - NIGHT 70 *
The dinner party is over. Greg hands John a drink... pours *
one for himself, places the bottle on the shelf as Sandra *
walks in.
39.
SANDRA
Greg, will you walk Mia out for me,
please?
Greg sits his drink down, heads for the door.
GREG
Why do I get the feeling this
entire night has been some kind set
up?
JOHN
More like an ambush.
Sandra smiles, give Greg as motherly rub on the shoulder as *
he walks by.
71 EXT. JOHN GARRETT’S HOUSE - NIGHT 71 *
Greg and Mia walk to her car.
GREG
So, how would you rate our blind
date?
MIA
You knew?
GREG
For someone that heads a major
newspaper’s digital content, Sandra *
is not very good at keeping
secrets.
They chuckle.
GREG
If it counts for anything, I had a
pretty good time.
MIA
Really?! We barely said ten words *
to each other all night.
Greg opens her car door.
GREG
Yeah, well... it’s not always *
what’s said.
Mia flashes a flirty look, eases into the car, and starts the
engine. She rolls the window down, looks up at Greg.
40.
MIA
I guess it isn’t. Have a good
night, (flirtatious) the one and
only Colonel promotable Greg
Thompson.
Greg nods with a thin smile as she drives off.
SANDRA (PRE-LAP) *
Don’t give me that crap. He’s nice, *
isn’t he?
72 INT. THE KILLEEN HERALD BUILDING - HALLWAY - DAY 72 *
Sandra and Mia walk briskly down the busy hallway.
MIA
I wouldn’t say that he isn’t.
SANDRA
Well, who knows, maybe you can drop
him a line or two. *
Sandra hands Mia a small piece of folded paper.
SANDRA
Give him something to look forward
to when he gets back from his
deployment.
Sandra opens a door and walks into a conference room filled
with waiting staffers. Mia stops, unravels the paper with
Greg’s name and unit address. She smiles, puts the paper into
her pocket, and walks into the room.
73 INT. UAV CONTROL VAN - DAY 73 *
SUPER: SOMEWHERE IN THE MIDDLE EAST
Two Airmen sit in the UAV control van’s tight confines
surrounded by a bank of TV monitors displaying an overhead
view of a convoy of four Army HUMMVEEs maneuvering cautiously
through a small middle eastern town. *
Greg’s voice springs to life over the radio.
GREG (V.O.)
Eagle Eye 1-9, this is Manchu 3
Alpha, over. *
41.
AIRMAN #1 *
Manchu 3 Alpha, this is Eagle Eye 1- *
9, go ahead, over. *
GREG (V.O.) *
I need you to take a look at the *
building structures 150 meters east
of the intersection at checkpoint *
Harvey, over. *
AIRMAN #1
Roger Manchu 3, this is Eagle Eye 1-
9, stand-by for digital image
download, over.
Airman #1 pushes several buttons on his digital console
screen.
Airman #2 reaches up, twists a small knob. Pushes a button.
His console beeps.
AIRMAN #2
Turning east 95 degrees, 1-200 *
meters, roger.
He twists a second knob, and we-
AIRMAN #2
Camera’s on and recording.
Slowly morph into the screen and over the UAV flying high
overhead. It banks slowly, silently, turning towards its new
heading and mission.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
17 -
Ambush in the Dust
74 INT. GREG’S HUMMVEE - DAY 74 *
Greg, his driver, one soldier sitting in the back, another
manning the .50 Cal turret machine gun... all dressed in full *
battle rattle, alert - their heads on a swivel as they
maneuver down a narrow, bumpy dirt road between decaying *
buildings and run-down shops. *
75 EXT. MIDDLE EASTERN TOWN - DAY 75 *
The HUMMVEE column maneuvers at a steady pace around the
town’s pot-holed riddled street.
42.
76 INT. GREG’S HUMMVEE - DAY 76 *
Greg surveys his outside surroundings. He flashes a look of
concern, his years of military experience kicks in - he gets
the feeling that something’s off today. *
77 INT. MIDDLE EASTERN TOWN - BUILDING #1 - DAY 77 *
An Insurgent peers carefully from a distant window as Greg’s
HUMMVEE column approaches the intersection known as
Checkpoint Harvey and slowly turns east onto a long, narrow *
street.
INSURGENT
(in native voice)
Allah give us victory.
Behind him, six Insurgents race to their weapons and prepare
for the fight.
78 INT. UAV CONTROL VAN - DAY 78 *
Airman #1 stares intensely at his monitor when he spots the *
slight hint of movement on the rooftop of a three-story
building at the end of the long narrow street.
He eases close to his monitor, pushes a small joystick that
causes the UAV’s onboard camera to zoom tight on the
building’s rooftop, until - *
The blurred, dark outline of an insurgent, holding an RPG
fills his screen. Airman #1 lunges for his radio hand mic.
AIRMAN #1
SHIT! AMBUSH!
79 INT. GREG’S HUMMVEE - DAY 79 *
Greg’s head is on a swivel moving quickly, methodically
searching the town’s surroundings. He struggles, trying hard
to discover what’s out of place until he spots -
A SERIES OF QUICK SHOTS
-- A mother snatching up her young daughter and moves
hurriedly across the street into a nearby shop... The door
slams behind them.
-- Two older men rise from their stools and shuffle quickly
into a building, slamming the door behind them.
43.
-- Doors and windows on both sides of the street slam shut,
one after the other and in just a few brief seconds -
END SERIOUS OF QUICK SHOTS
The street is empty now and Greg suddenly gets it. *
The locals know something bad is about to go down. He reaches
for his hand mic just as the HUMMVEE’S onboard radio blares
to life.
But, his warning comes too late. Greg looks out at the three-
story building looming high at the end of the narrow street
in time to spot a flash and a plume of smoke. He screams into
his radio hand mic.
GREG
R-P-G!
The RPG round streaks through the air... it misses its mark.
The round impacts and explodes into the ground a few feet
short of the lead HUMMVEE.
Genres:
["Action","War","Drama"]
Ratings
Scene
18 -
Ambush and Counterattack
80 EXT. HUMMVEE COLUMN - DAY 80 *
A second powerful blast. The Insurgents detonate a roadside
bomb too soon... it rocks the column spewing dirt and debris
everywhere. In a flash, the scene transforms into violent
chaos as small arms fire, machine-gun fire, and explosions *
erupt. *
The Insurgents fire, rapid, angry burst of red tracer rounds *
that streak towards the HUMMVEE column. The convoy’s Machine
Gunners open fire releasing a lethal barrage of .50 Cal *
Machine gunfire that tears through the thin buildings.
81 INT. MIDDLE EASTERN TOWN - BUILDING - DAY 81 *
Insurgents flee... they duck for cover... they die. *
82 INT. GREG’S HUMMVEE - DAY 82 *
The HUMMVEE is filled with smoke, steam, and debris. *
GREG
Out! Out! Out!
44.
83 EXT. HUMMVEE COLUMN - DAY 83 *
Greg and the soldiers pile out of the HUMMVEES.
84 EXT. MIDDLE EASTERN TOWN - BUILDING #2 - ROOFTOP - DAY 84 *
Two Insurgents peer down at the chaos below. One shakes
violently as he places an RPG on his shoulder. He presses his
eye against the sight, fires... SWOOSH!
The poorly aimed RPG round streaks downward, exploding hard
against the ground, missing its HUMMVEE target by twenty
yards or more.
85 EXT. GREG’S HUMMVEE - DAY 85 *
The gunner on Greg’s .50 Cal Machine spins... he follows the *
missed RPG’s contrail back to its start point and spots the
two Insurgent RPG gunners working feverishly to load a second
round. He flashes an angry - not today mutha-fuckers - look *
as he -
Squeezes the .50 Cal’s butterfly trigger, and - *
Sends a barrage of violent and lethal orange tracer rounds *
streaking towards the rooftop attackers.
86 INT. MIDDLE EASTERN TOWN - BUILDING #2 - ROOFTOP - DAY 86 *
The streaking tracer rounds rip and tear into the Insurgents *
sending blood, flesh, and body parts flying everywhere. *
87 EXT. MIDDLE EASTERN TOWN - MULTIPLE BUILDINGS - DAY 87 *
Twenty Insurgents race and scream loud, chaotic from several *
buildings. Their fire poorly aimed, their attack grossly
uncoordinated.
88 EXT. GREG’S HUMMVEE - DAY 88 *
Greg spots the Insurgent’s assault. Crouched, he raises his *
weapon and shuffles forward with confidence placing well-
aimed rounds onto his disorganized attackers. He shouts to
his men.
GREG
Follow me!
45.
The men follow his lead, all firing with pinpoint accuracy at
the attacking Insurgents.
SWOOSH... BLAST!
An errant RPG slams hard, exploding against the side of a
building near Greg. But, Greg isn’t phased. He continues to
lead his men forward, each placing well-aimed rifle fire on *
their attackers.
Genres:
["Action","War","Drama"]
Ratings
Scene
19 -
Final Assault and Intimidation
89 EXT. MIDDLE EASTERN TOWN - BUILDING #3 - DAY 89 *
A wave of Insurgents rush from one of the buildings, this is
their final assault. But, Greg and his men are ready. The
three HUMMVEE Machine Gunners release a lethal barrage of .50
Cal tracer fire, ripping the attackers to pieces.
90 EXT. HUMMVEE COLUMN - DAY 90 *
Greg and his men reach the front of the column. They drop to
their knees, and fire with precision, discipline and purpose.
They change magazines with the synchronized grace of ballroom
dancers, and with every round fired -
They completely fuck up the last of the attacking Insurgents.
GREG
Cease fire! Cease fire! Cease fire!
The men respond. They quickly release used magazines,
replacing them with fully loaded ones. Greg stands, surveys
the street filled with the carnage of the Insurgents smoking,
bloodied dead bodies. *
91 INT. UAV CONTROL VAN - DAY 91 *
The two Airmen stare dumbfounded at their monitors. They look
at each other, barely believing what they just witnessed. *
92 INT. ATLANTA PD - INTERROGATION ROOM - DAY 92 *
The room is small, the walls are bare and dirty. Three chairs *
and a small table sit in the middle of the room. Josh sits
slumped in one of the chairs sporting a, I don’t give a fuck, *
shit eating-grin.
Standing across the room is Atlanta Police Detective WALTER
“METZ” METZGER (40), African-American, strong, well-dressed.
46.
Metz is 6’2, 215 pounds, and he’s built like an NFL
linebacker with the menacing looks of a Marine Corps Drill
Sergeant.
Metz partner, Detective NELSON BEAM (25), medium build,
babyface stands near the table with Josh.
JOSH
Damn Metz, why you and baby boy
wonder always try-n to fuck with me *
when ya know you ain’t got shit?
Beam slaps Josh hard across the back of his head.
DETECTIVE BEAM
That’s Detective Metzger and I’m
Detective Beam you filthy piece of *
ass jizz!
Josh recovering after the slap. *
JOSH
Fuck you! You ain’t got shit! You
ain’t never got shit! *
DETECTIVE METZ
We got your dumb ass close to the *
murder scene asshole! That’s what
we got!
Josh chuckles, taunting. *
JOSH
Yeah, well, we ain’t throwing hand *
grenades mutha-fucker, so being *
close don’t mean shit. *
Josh flashes a shit-eating grin that sends Metz over the
edge. He rushes the table, stopping inches from Josh’s face. *
Josh flinches, cowers.
METZ
You murdering little cock sucker! I
will rip that stupid grin right off
your fucking face and skull fuck
you to death!
Metz harsh glare and clenched fist cut through Josh like
razor blades and daggers. Metz takes a few moments, calms
himself, remains in Josh’s private space... speaks softly.
47.
METZ
Yeah Josh. Everyone on the street
knows you swing both ways and how *
much you love holding a hard one in
your mouth until the swelling goes
down.
Josh tries to glance away... Metz remains close, still,
glaring... Beam leans in from the other side. *
BEAM
Your sexy little girlfriend told me
last night after she swallowed my
load that she taught you everything
you know about deep throating.
METZ
Look at him, Beam. The little bitch
is thinking about wrapping his
nasty cock sleeve around your shit *
right now.
Josh’s glare deepens, his jaw muscles flex.
METZ
You ain’t no gangsta Josh. You just
a little bitch ass pole smoker,
riding the coattails of your
violent no good big brother. But
know this... shit’s getting ready *
to hit the fan.
He whispers into Josh’s ear. *
METZ
We done found us an eye-witness,
boy. *
Josh’s head snaps up.
METZ
Yeah, that’s right.
(off Beam’s glance)
We gone bring down your brother’s *
entire weak ass operation and put
both of your sorry asses in prison.
BEAM
Last chance to save yourself, Josh.
Metz stands, turns his back to Josh.
48.
METZ
But you’d probably like that
wouldn’t you, Josh? Going to
prison, becoming some big dick
Mandingo looking mutha-fucker’s
bitch.
Josh leaps to his feet, but Metz is ready. It’s exactly the *
reaction Metz was hoping would happen. Metz spins, and with a *
swift and violent move, slips Josh’s swing and slams him hard *
against the wall.
Josh barely has time to gasp for air before Metz slams him
face down on the table and for shits and grins... adds a *
swift hard knee to Josh’s groin. Josh doubles over in
excruciating pain, just as-
The interrogation room’s door flies open, and - *
DETECTIVE MACKENZIE “MAC” ARMSTRONG (45), short, fit speeds *
into the room.
MAC
You two, hallway, now!
Metz eases back, allows just enough room for Josh to slump
and fall hard to the floor. Beam laughs as he eases past, *
Mac.
METZ
Go tell your bitch-ass brother I *
said he’s next.
Metz steps over Josh and walks away. Mac watches as Josh
heaves, gasps and moans.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
20 -
Tension at the Atlanta PD
93 EXT. ATLANTA PD - HALLWAY - DAY 93 *
Mac, angry steps to Metz and Beam. *
MAC
What the fuck wrong with you two?! *
Are you trying to get our only eye
witness to at least six murders
killed before he can testify? *
METZ
Dontrell is fine, Boss. He’s out of *
town getting his girl and kid
squared away, that was part of the
deal. He’s in touch and when he’s
done he’ll turn himself in.
49.
MAC *
You’d better be right. We’re close
to shutting this little prick and
his brother down for good so you
two better not fuck this up.
She shakes her head as she speeds down the hallway. *
94 INT. PLANE - NIGHT 94 *
A hand clutching a small stack of envelopes, all addressed
from Mia slowly gives way to Greg, fast asleep on a plane
filled with sleeping soldiers.
95 INT. VARIOUS LOCATIONS - DAY/NIGHT 95 *
MONTAGE OVER SONG - GREG AND MIA SPENDING QUALITY TIME
TOGETHER
-- Greg and Mia sit opposite each other in a crowded
restaurant enjoying a meal.
-- Greg and Mia stroll down a charming river walk laughing
and talking. They’re a little closer to each other now.
-- Greg and Mia hold hands, laughing as they exit a theater. *
-- Dark. Quiet. Greg and Mia lie in bed together under the
covers. Mia is fast asleep, her head resting comfortably in
his arms. Her small hand barely covering the dark three-inch *
scar on his chest. *
END MONTAGE
96 EXT. ATLANTA STREET CORNER - DAY 96 *
A police cruiser slows to a stop in a rundown part of town. A
young street thug, head on a swivel, eases up to the car and *
hands the Officer a bulky envelope. The Officer inspects the *
thick wad of money inside. The Officer smiles and slips the *
young street thug a photo.
The police cruiser car pulls away. The young street thug *
scowls at the photo and the writing in the lower margin that
reads, Dontrell Henderson, two o’clock, Charlie’s Deli. *
97 INT. WILSON’S BAKERY - DAY 97 *
Thomas quietly sweeps.
50.
98 EXT. BROWN CAR - DAY 98 *
A brown car sits in the distance down the street from *
Charlie’s Deli.
99 INT. BROWN CAR - DAY 99 *
We see the POV from someone inside the car watching as a *
black male, twenty at best, dressed in loose baggy clothes
turns the corner and walks swiftly, cautiously down the *
street.
A dark hoodie covers his head... his head is down, but we *
recognize him because we’ve seen him before... it’s Dontrell
and he’s nervous as hell. *
He stops, takes a troubled hard draw from his cigarette, and
a quick survey of the area. He flicks the cigarette to the
ground, and walks, into - *
Charlie’s Deli.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
21 -
Chaos at Charlie's Deli
100 EXT. CHARLIE’S DELI - DAY (MOMENTS LATER) 100 *
An unmarked police car pulls to a stop in front of the deli. *
The doors open and Detectives Metz and Beam step out. They
give their surroundings a long, detailed look, before
slamming their doors shut and walking into the Deli.
101 INT. BROWN CAR - DAY 101 *
The unseen driver starts the engine and drives slowly towards
the deli.
102 EXT. BROWN CAR - DAY 102 *
The car turns into the alley just before Charlie’s Deli.
103 INT. WILSON’S BAKERY - DAY 103 *
Thomas glances out the shop’s window. His eyes pop when he *
spots the brown car turning into the alley. His face fills
with unrestrained fear.
51.
104 EXT. CHARLIE’S DELI - DAY 104 *
The street is quiet, nearly empty. A couple of unassuming
dope boys stroll casually by Metz and Beam’s unmarked car,
when, suddenly -
BANG! BANG! BANG!
Gunshots ring out inside Charlie’s Deli.
BANG! BANG!
The dope boys’ heads snap up, their eyes pop, and they dash *
away.
105 INT. WILSON’S BAKERY - DAY 105 *
Thomas speeds to the door just as Old Man Wilson rushes in
from the back. Thomas spins, looks afraid, speaks in a low,
desperate voice.
THOMAS
Mr. Charlie.
Mr. Wilson speeds across the room, and runs - *
WILSON
Call 9-1-1, and stay here!
Out the door.
Thomas watches as Old Man Wilson sprints across the street *
towards the Deli.
106 EXT. CHARLIE’S DELI - DAY 106 *
Old Man Wilson nears the Deli, pushing past a group of *
fleeing dope boys, when suddenly the Deli’s door flies open,
and -
Josh stumbles out.
Gun in hand, he slams hard into Old Man Wilson.
The impact knocks both men to the ground. The younger and
panicky Josh recovers first. He scrambles to his feet, turns, *
and spots Old Man Wilson just as he stands, and in a
terrifying moment of uncontrolled fear, he fires two shots *
point-blank range into Old Man Wilson’s chest. *
THOMAS
Noooooooo!
52.
Josh looks up and locks onto Thomas sprinting across the *
street. Josh’s eyes tighten. Anger replaces his fear. *
He raises his gun and fires a single shot. He misses. Thomas *
frightened... freezes and flashes an absolute look of
disbelief. They lock eyes. *
Josh glares vehemently, then his expression and demeanor
slowly change. A harsh devious look filled with anger and
hatred washes over his face. He levels his gun, steadies his
aim on Thomas.
Thomas stiffens, his eyes frozen in horror. He has no place
to go, when suddenly - *
The brown car comes speeding down the street. It swerves,
missing Josh at the absolute last moment.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
22 -
Chaos Unleashed
107 INT. BROWN CAR - DAY 107 *
Andrew slams on the brakes, the car skids to a screeching
halt. His eyes wide with disbelief at Thomas standing in the
street.
ANDREW
Get in the fucking car! *
Josh lowers his aim and speeds to the car. *
Thomas, frozen with fear, doesn’t move as faint sounds of
sirens in the background draw near. A crowd of curious *
onlookers eases cautiously out of buildings and shops, some
using their cell phones to record the action in the street.
Andrew opens his car door, leaps out, grabs and drags Thomas
by the arm.
ANDREW
Get your sorry ass in the fucking *
car!
He shoves Thomas into the back seat, slams the door, leaps *
in, and peels away. *
108 INT. BROWN CAR - DAY 108 *
Thomas stares out the back window at Old Man Wilson’s
lifeless, bloodied body, lying face down in the street. *
53.
109 INT. GREG’S HOUSE - OFFICE - DAY 109 *
Greg, beer in hand, walks into his office. He sits at his *
desk, picks up a TV remote, turns on the TV mounted on the *
wall. He flips the channel to CNN, then lowers the volume, *
and opens his laptop. *
ANDREW (PRE-LAP) *
What da fuck happened to you back *
there?! *
110 INT. BROWN CAR - DAY 110 *
The car speeds down a winding back road. Josh, nervous, *
unsettled. *
JOSH
I got the fucking job done didn’t
I?!
ANDREW
Why da fuck did you shoot that old *
dude (to Thomas) and what da fuck
were you even doing there?!
Neither responds. Andrew slams his hand repeatedly against *
the steering wheel.
ANDREW
Got-Dam-It!
111 EXT. BROWN CAR - DAY 111 *
The car speeds down the winding road towards the looming
distant mountains.
112 INT. GREG’S HOUSE - OFFICE - DAY 112 *
The wall-mounted TV is muted as Greg types on his laptop when *
a chime announces the front door opening.
MIA (V.O.)
Hey! I’m home!
GREG
Grab yourself a beer! I’m in the
office!
Greg picks up his beer, shakes it. *
54.
GREG
Make that two beers!
Moments later Mia walks into the office, beers in hand. She
hands one to Greg, leans in. They share a soft, loving kiss.
MIA
Really, Hon? It’s Friday night.
What could you possibly be working
on that’s so important?
GREG
Change of command speech.
Mia plops down in a seat near the desk, sips her beer.
MIA
Let’s go out tonight. Have a good
meal, a few drinks, and finish with
a little...
Her voice trails off, seductively... Greg smiles.
GREG
I do like the way you think.
Mia stands and saunters across the room. She strikes a
seductive pose near the TV.
MIA
Oh, so you are interested in more
than my body? *
Greg smiles, starts to speak, then suddenly goes stiff. His
eyes pop, his face goes flush.
MIA
What? What is it?
Greg leaps to his feet and speeds across the room to the TV *
where a news reporter is surrounded by a sea of reporters,
cameras, police cruisers, and emergency vehicles in front of *
Charlie’s Deli.
The scene behind the reporter is complete with onlookers, *
Officers, and medical personnel. The lower third on the *
screen in bold letters reads, Atlanta Detectives Gunned Down *
in Cold Blood.
Mia flashes Greg a troubled look. *
MIA
Greg? *
55.
Greg spins, dashes back to his desk, cycles through the
channels with the remote.
MIA
Greg, please...
She glances at the TV.
MIA
What’s going on? What- *
She stops as Greg lands on a channel reporting the same
story. On-screen, a different reporter, same chaotic
backdrop, but from this angle we can see the bloodied white
sheet covering Old Man Wilson’s lifeless body.
REPORTER (ON TV)
The shooting started just after two
o’clock. Three young men believed
to be part of a violent local
street gang walked into Charlie’s
Deli and executed two highly
decorated Detectives, the Deli *
owner, and a young black male that *
has yet to be identified.
Mia’s eyes drift slowly over to Greg... his attention is
fiercely locked on the reporting.
REPORTER (V.O.)
And while fleeing from the scene
one of the young men shot and
killed the owner of the shop across
the street as he raced to help his *
long-time friend.
Mia’s attention eases to the TV. *
REPORTER (ON TV)
Police just released photos of the
alleged suspects last seen fleeing
in a brown, mid-sized car...
The reporter continues as photos of Josh, Andrew, and Thomas *
appear on the screen.
Mia, confused, stares. Greg moves quickly across the room and *
opens the desk’s top drawer. He removes a key and speeds with *
purpose to a filing cabinet. He unlocks the cabinet, and *
removes a stack of manila envelopes.
Mia watches, confused as he drops the stack on his desk,
grabs the top envelope and moves quickly back to the TV, but
the images are gone. He grabs the remote...
56.
rewinds back to the pictures of the three suspects... he
freezes the images on the screen.
MIA
Greg, please, what’s going on,
what’s happening?! *
Greg remains focused on the pictures on the TV.
GREG
My son... his picture...
He looks at Mia, realizing at that moment that he never
shared the complete details of his past with her. He stares a
moment, then quickly returns his attention back to the TV.
GREG
Years ago my wife was murdered and
my son was abducted-
MIA
I know all about it Greg.
He flashes a startled look.
MIA
Sandra... she told me everything. I
figured you’d tell when you felt
the time was right. Please don’t be
upset, I love you, and-
Greg flashes a surprised look.
GREG
Brandon, my son was never found.
MIA
What does this have to do with *
those murders? *
Greg doesn't respond. He fumbles to remove what appears to be *
a photo from the manila envelope, holds it up for Mia to see. *
GREG
This rendering is what my son,
would look like if he were he alive *
today.
We stay on Mia as Greg speeds over and holds the Rendered
photo of Brandon up to the TV. Mia’s eyes slowly widen as *
they volley from the photo to the screen. She speaks in a *
low, shocked voice.
57.
MIA
Oh my God.
Genres:
["Drama","Crime","Mystery"]
Ratings
Scene
23 -
Confrontation and Consequences
113 INT. GREG’S HOUSE - OFFICE - NIGHT (LATER) 113 *
John stares quietly at the rendered photo. Greg, agitated,
pace nearby, his eyes locked on the three images still frozen
on the TV screen.
JOHN
I admit, the rendering, the *
resemblance is damn close, uncanny *
actually, but- *
GREG
It’s him, sir.
JOHN
You can’t be-
GREG
I’ve gotten those renderings done
every year since he was abducted.
He picks up the stack of manila envelopes from his desk,
opens each one by one, handing the contents to John. John *
shuffles slowly through each and in full view -
The rendered photos reveal Brandon aging before our eyes.
Greg walks over to the TV, holds the last photo next to the *
frozen image of Thomas on the screen, and for the first time
we see that the two pictures are - *
Nearly an exact match.
114 EXT. WOODED AREA - DAY 114 *
It’s more night than day. Dark rain clouds move slowly across
the late evening sky. Below, Josh and Thomas are busy
concealing the car with clumps of brush and broken branches.
ANDREW
That’s good. Let’s go.
Andrew walks towards the tree line. *
JOSH
In there?! Fuck that shit! *
Andrew spins.
58.
ANDREW
Every fucking cop in the state is
looking for us right now. They’re
watching every bus stop, train
station, highway, and hotel. We *
need to lay low and tonight we lay *
low in there. So pick up your shit,
and let’s go.
Josh doesn’t move.
JOSH
I ain’t hiding in no mutha-fucking *
woods like some kind of animal, *
bro. I say we find another car and-
Andrew grabs Josh by his collar, slams him hard against the *
car.
ANDREW
You think you calling the shots or
sump-n now, mutha-fucka?! *
JOSH
Yo! What da fuck, man, get-
ANDREW
Shut da fuck, up! We in this shit
because of you! You were the one *
that wanted to smoke Dontrell and
those two cops for a little
payback.
Josh struggles, Andrew slams him against the car, again. *
ANDREW
All you had to do was smoke em,
then slip out the back to the
alley, we let the Dope Boys take
the fall. But your punk ass freaked
the fuck out and ran right out the *
front fucking door where everyone
could see you and then you nut up
and shoot some fucking old dude.
THOMAS (O.C.)
Mr. Wilson.
They both turn and glare at Thomas. Josh releases Andrew. *
THOMAS
His name was Mr. Wilson. He owned
the store across the street.
59.
He was going to help his best
friend, Mr. Charlie... did you kill
him too?
Andrew approaches Thomas. Thomas takes a guarded step back.
ANDREW
What the fuck was yo bitch-ass even *
doing there? *
THOMAS
I work there after school. I
help... helped Mr. Wilson clean, *
get ready for the next day. That
kind of stuff.
JOSH
We should just smoke his little
ass, bro and- *
Andrew regards Josh with hardened resolve and sinister eyes.
ANDREW
You tried that already. Try it
again, and I’ll fucking kill you. *
He cuts Thomas a side glance, then sprints off into the
woods.
Josh scowls at Thomas, picks up his backpack, and sprints
into the woods. Thomas stands, uncertain... cuts a glance
over his shoulder in the opposite direction, then back to his
brothers. *
His eyes reveal the uncertainty of what he should do before *
he turns and sprints towards -
The woodline and his brothers.
JOHN (PRE-LAP) *
For heaven’s sake, son. You just
pinned on Colonel and you’re taking
command in a month.
Genres:
["Drama","Thriller"]
Ratings
Scene
24 -
A Father's Desperation
115 INT. GREG’S HOUSE - KITCHEN - DAY 115 *
Greg sits at the kitchen table with Sandra and Mia. John,
pacing, is clearly not happy.
JOHN
You’ve come so far.
60.
Greg leaps up, jabs his finger against the rendered photo of *
13-year-old Brandon on the table. A dire sense of urgency on *
his face, he speaks with authority.
GREG *
I’m his father, John. I have to go *
find him.
SANDRA
How Greg? What can you do? They
killed two Detectives, and- *
GREG
I don’t know Sandra, but I can’t
believe... I won’t believe that
Brandon would do something like
that.
JOHN
Listen to what you're saying! You *
don’t know for sure that this is
actually, Brandon! And let’s say *
that it is, you can’t possibly say
what he’s capable of doing or not
doing, it’s been 10 years since he- *
Greg’s head snaps around, he glares at John.
GREG
I don’t need you to remind me how
long it’s been, sir! I know! I
think about them every day, I...
His voice breaks, trembles. He says nothing for a moment,
then he speaks more seriously, quietly.
GREG
I should have been there for them, *
I should have protected them- *
JOHN
Greg, you can’t do this yourself
again. *
GREG
But, I wanted that job so badly.
The promotions, the... *
61.
Angie didn’t want me to go, she
didn’t want us to move again, *
and... *
He cuts a grief-stricken look at Mia.
GREG
She died because I was selfish, she
died because-
SANDRA
There was no way you could have
known what was going to happen,
Greg. John is right, you can’t keep
blaming yourself.
Mia watches, listens quietly, her face flushed with grief and
sadness.
GREG
What would you do if it were Amy *
John? What would you do? *
John stands, runs his hand through his hair, frustrated. He
walks towards the door... stops. Doesn’t look back.
JOHN
Ten days.
GREG
What?
JOHN
You don’t wrap it up in ten days,
keep driving... and don’t come *
back.
John is gone.
GREG (PRE-LAP) *
I’m sorry, but, I have to do this? *
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
25 -
Desperate Search for Truth
116 INT. MIA’S CAR - AIRPORT - DAY 116 *
Greg and Mia sit at the departure drop off point. Outside, *
the street is lined with Ubers, Lyfts, rental car buses, *
departing, and arriving passengers. *
Mia, her eyes, her demeanor reflects her sadness, she speaks *
softly.
MIA
I know. But, what happens if- *
62.
GREG
I find him and I’m wrong?
MIA
You find him and you’re right?
Greg stares... a question he wasn’t exactly ready for. *
GREG
I... I don’t know. I just know that
I have to go. I have to find out if *
it’s really him. I have to find *
out... the truth.
Mia, nods. Greg opens the door, pauses. *
GREG
I love you too.
He exits the car. Angie watches as he speeds off and
disappears into the crowded airport.
117 INT. ATLANTA PD - SQUAD ROOM - DAY 117 *
Greg stands in the doorway staring at the frenzied chaos. Two
of their own are dead and nothing is being spared to track
down the killers. Greg watches as the activity in the room
slowly morph into the familiar scene many years ago in the *
Columbus, GA police station. *
118 INT. COLUMBUS PD - DAY (FLASHBACK) 118 *
A SERIES OF QUICK FLASHES
-- Greg standing in the doorway staring at the busy squad
room.
-- Greg walks up to Detective Howard talking to a group of
Detectives. *
-- Greg stares at Angie’s name written on the whiteboard by
the number 17.
119 INT. ATLANTA PD - DAY (PRESENT DAY) 119 *
Greg’s daydream is broken up by an inquiring Officer. *
POLICE OFFICER (O.C.)
Sir? Sir? Can I help you, Sir?
63.
Greg snaps back to the now. He locks on to the uniformed *
Officer standing near him. *
GREG
Ah, yes. I need to talk to a
Detective. *
POLICE OFFICER
Sir, all our Detectives are busy at *
the moment. Can someone else help
you?
GREG
No. It’s important I speak with a
Detective now. *
POLICE OFFICER *
I’m sorry, sir. But, I’m going to *
have to ask you to go down the hall
and talk to the Desk Sergeant. She
will be glad to take your
information and when possible, one
of the Detectives will contact you. *
Greg speaks directly, softly. *
GREG
You're looking for my son.
The Officer fails to understand. *
POLICE OFFICER
Sir, please. We’re very busy right *
now. I have to insist that you- *
Greg, fed up, shouts.
GREG
I said you are looking for my son!
Everyone in the room comes to a complete and sudden halt. The *
room turns deafly silent, except for a couple of ringing
phones that no one answers. Greg stares with painful eyes, as
we -
MAC (PRE-LAP) *
This is quite the fucking twist.
And, you think this Thomas kid is
your missing son? *
64.
Genres:
["Drama","Mystery","Crime"]
Ratings
Scene
26 -
A Father's Hope
120 INT. ATLANTA PD - TASK FORCE OPERATIONS CENTER - DAY 120 *
Greg stands in the crowded operations center, watching as *
Detectives and uniformed Officers rubberneck at the rendered *
photo of Brandon pinned on the wall opposite a picture of
Thomas.
Mac is at the front of the group and although short and
petite, it’s perfectly clear even during this temporary
moment of silence, who’s in command of this room.
GREG
Brandon. His name is Brandon and
yes, I do.
Mac doesn't look convinced. She cuts a hard glance back at *
the photo.
MAC
I admit, I can see why you would *
think that. Except, there’s one
problem.
Mac walks over to Greg. *
MAC
This kid, Thomas (pointing to
Thomas’ picture) is the younger
brother of these two pieces of
work.
She hands Greg a stack of mug shot photos of Josh and Andrew,
and several school-age pictures of Thomas. Greg disregards
all the photos except those of Thomas. He thumbs through the
pictures. *
GREG
Where did you get these?
MAC
From the Father and according to
him, the family’s been living in
the Atlanta area now for the past
ten years. *
Greg calculates the timeline in his head.
GREG
My son was abducted less than 100
miles south of here 10 years ago *
when he was three. He would be 13 *
now. *
65.
He turns his attention back to the pictures, shuffling *
through them. *
MAC
Thomas isn’t a bad kid, or so we
thought. No record, no arrest, not
even a single fight in school, but
the other two...
She points to two telephone book sized files on the desk. *
MAC
They have files the size of the
Atlanta phone book. I don’t know
Colonel. The probability of this *
being your son...
She spots Greg’s sudden change of expression as he stares at
the picture he’s holding. *
MAC
What is it?
He sits the photo on the desk, moves over to a table and,
removes a photo album from his backpack. He flips through the
pages, stops... removes a picture. *
Mac watches, confused... curious as he walks back to the
desk.
GREG
Brandon had his favorite toy with
him the day he was taken. A small
stuffed elephant. He carried it *
everywhere with him.
MAC
Lots of kids have stuffed elephants *
for toys, Colonel.
GREG
One day I was doing some work in
the garage, Brandon was with me. He
decided he wanted to give his *
elephant a bath, so he dipped it *
into the bucket of water I was
using.
His story slowly gets the attention of Mac and the gathered
Detectives. *
GREG
Problem was, I had bleach in that
water.
66.
By the time I got to him, he’d
dipped half of that elephant into *
the water.
He stares at the photo in his hand.
GREG
At the end of the day, it didn’t
matter how that thing looked. He *
still loved it. It didn’t matter to
him that over half it was white and *
not red. *
Greg lines up the picture in his hand with the one on the
table, and steps back. Mac and the assembled Detectives speed *
to the table, rubberneck to look at the two photos, of -
-- The photo on the left of Greg holding a smiling three year
old Brandon clutching the tiny half red, half white stuffed *
animal.
-- The photo on the right is of the younger trio of John,
Andrew and Thomas.
All eyes pop... and we see what they see -
Thomas is holding the same half red, half white stuffed *
elephant in both photos. Mac can’t believe it, she turns *
slowly, stares wide-eyed to Greg.
CAPTAIN ACEVEDO (PRE-LAP) *
I hear you got a lead.
Genres:
["Drama","Mystery","Crime"]
Ratings
Scene
27 -
Tensions in the Task Force
121 INT. ATLANTA PD - TASK FORCE OPERATIONS CENTER - NIGHT 121 *
Mac hands Captain ANTONIO ACEVEDO (50), Hispanic, handsome,
fit, jet black hair, a clean square face a copy of Brandon’s
rendered photo.
MAC
I’m really don’t know what to call
it right now.
Captain Acevedo studies the photo. *
CAPTAIN ACEVEDO
Well, is it a lead or not, Mac?
Mac turns. *
MAC
Captain, meet Army Colonel Greg
Thompson from Fort Hood, Texas.
67.
He believes the younger of the
three suspects...
She hands him a picture of Thomas.
MAC
May actually be his son that was
abducted 10 years ago in Columbus,
Georgia. *
Captain Acevedo stares at the picture.
MAC
The picture in your right hand is
one of the younger brother, Thomas.
The one in your left hand is a
rendering that shows what Colonel
Thompson’s son, Brandon would look
like today.
Captain Acevedo gives the pictures a long look.
CAPTAIN ACEVEDO
It looks just like him. But, I
thought you said the parents of
these murderers are from the city?
MAC
A black and white is bringing the
parents in for questioning. They
should be here soon.
GREG
I want to meet them!
MAC
Absolutely not!
GREG
Detective, they could be the people
that killed my wife and took my
son. You have to let me talk to
them!
MAC
Not a chance in hell that’s going
to happen. This is an ongoing
investigation-
CAPTAIN ACEVEDO
That needs to be solved and solved
quickly.
68.
If this (waving the rendered photo)
is his son then maybe we catch a
break and solve two crimes at once.
Mac’s brow raises, her jaw muscles tightens.
MAC
Can I speak to you in private, sir?
Captain Acevedo sets the two pictures on the table and
follows Mac to the back of the room.
MAC
I don’t think letting him talk to
those parents is a good idea,
Antonio.
CAPTAIN ACEVEDO
Mac, we have one dead witness and *
two murdered Detectives. We need *
every break we can get. Even the
lucky ones. Let him see the parents
when they get here.
Captain Acevedo glances back to the busy room as if checking
to see if anyone is watching them. No one is. He takes Mac’s *
hand gently into his, speaks sweetly.
CAPTAIN ACEVEDO
Are you alright?
MAC
No, I’m not Antonio. Two of my
people are dead, and now this shit
with the Colonel.
He cups her hand with his. His wedding ring is visible now, *
and we get the feeling that this is no longer a superior
Officer concerned for his employee. This is starting to look *
and sound more like a show of affection. He speaks softly. *
CAPTAIN ACEVEDO
Why don’t we stay in the city
tonight? I can call-
Mac quickly withdraws her hand from his, giving us a short
glimpse of her wedding ring.
MAC
We talked about this, Antonio.
Plus, none of my people are going
home tonight. *
Captain Acevedo flashes a disappointing look.
69.
MAC
I still think it’s a bad idea to
let him see to the family. *
Captain Acevedo’s entire demeanor shifts. *
CAPTAIN ACEVEDO
He sees the fucking family. If it
pans out, we act on it. If not,
stay on task. Are we clear?
Mac flashes a familiar, yet angry look. It’s as if she’s seen
this behavior from him before.
CHIEF
I said, are we clear, Detective?
Mac flashes a harsh glance as she walks away.
MAC
As fucking mud.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
28 -
Echoes of the Past
122 INT. ATLANTA PD - WAITING AREA - DAY 122 *
Greg walks in the station’s waiting room stirring a cup of
coffee. He looks up and freezes. His eyes grow wide at the - *
Two distant, yet familiar faces, sitting across the room. *
One is a sturdy framed male, dressed in a city bus driver’s
uniform. Sitting beside him is a small, frail, older looking
female.
Greg stares as the images of the two people on the bench
slowly morph into the way he remembered his neighbor’s nephew
Doug, and his emaciated wife, Lisa from 10 years ago. *
MAC (PRE-LAP) *
Did he tell you how he killed her?
123 INT. ATLANTA PD - INTERROGATION ROOM - NIGHT 123 *
A small box shape room with dull gray walls. Doug, nervous
sits at a small table, tears flowing down his face. Mac sits
across from him. A uniformed Officer stands near the door. *
Doug, face down, answers. *
DOUG
Yes.
70.
124 INT. ATLANTA PD - INTERROGATION ROOM - OBSERVATION AREA - 124
DAY
Greg, Captain Acevedo, and several Task Force Detectives *
watch, in stunned silence through the two-way mirror as Doug *
explains the events of that ill-fated day ten years ago.
As Doug talks, the events of that day play out in images on *
the two-way mirror.
DOUG
He knew the military dude was going
out of town that day. *
IMAGES PLAYING OUT IN THE TWO-WAY MIRROR *
-- We see the waistline approaching the van in the sideview
mirror.
DOUG (V.O.)
He told her he locked his keys in
his truck, out in the woods while
putting salt in one of his deer
licks. *
-- We see Angie, with her unseen attacker in the front seat
pull to a stop in the woods. She rubbernecks... searches for
his truck. Nothing... she flashes her attacker a confused
glance.
125 INT. ATLANTA PD - INTERROGATION ROOM - DAY 125 *
Mac leans forward, waits... Doug, nervous. *
MAC
Why did he want to kill her? What
did she do to him, that-
DOUG
Can I get a smoke? I could really
use a smoke.
MAC
Yes, of course, would you like
something to drink, a cup of
coffee, maybe?
She digs into her pocket, removes a pack of cigarettes, taps
one out. *
DOUG
No. Cigarette will do. *
71.
Doug’s trembling hand takes the cigarette from, Mac. Mac
leans over the table, lights it. Doug’s head plops back, he
closes his eyes as he takes in a long, satisfying pull.
MAC
Doug? *
Doug’s head eases forward, his eyes still closed... he blows
out the smoke.
DOUG
She didn’t do nothing. He couldn’t
help himself. He said it was a
disease. It wouldn’t let him stop
thinking about... he liked her, he
liked both of them, but he said she
was just so beautiful.
We can hear Brandon crying hysterically in the background now
as Angie screams, and -
MORE IMAGES PLAY OUT IN THE TWO-WAY MIRROR *
-- Tumbles frantically out of her van. Her nurse’s scrubs
torn, nearly ripped from her body.
DOUG
He said he tried to make her
understand. He said he didn’t want
to kill her, but...
-- Angie’s attacker knocks her to the ground. She screams,
struggles. He punches and slams her head repeatedly against a
protruding, jagged rock.
DOUG
He said he screwed up this time,
because the kid, well... the kid
wasn’t suppose to be there because
the Army dude always dropped him
off at daycare. *
-- Angie’s attacker leaps into the minivan’s front seat. He
adjusts the review mirror and stares at Brandon, crying. *
We see a close up of the attacker's eyes in the rearview
mirror and as we slowly pull back and around, we see for the
first time Angie’s attacker is revealed as their friendly
neighbor from 10 years ago - *
*
Alex Morgan.
72.
Genres:
["Crime","Drama","Mystery","Thriller"]
Ratings
Scene
29 -
Secrets and Betrayals
126 INT. ATLANTA PD - INTERROGATION ROOM - OBSERVATION AREA - 126 *
NIGHT
Greg is stunned, shocked at the disclosure of his old *
neighborhood friend as his wife’s murderer. *
DOUG
Uncle Alex wanted to kill the kid,
but he couldn’t. Said he’d never
killed a kid, before-
MAC
Wait! You’re telling me he’s killed
before?!
DOUG
Yeah, at his other bases, but I
swear, he didn’t tell me about
those until years later.
Greg stares as Mac cuts a bewildered glance into the two-way
mirror.
MAC
What happened next?
DOUG
He came back to the house just as
we were getting ready to leave. I
swear, he made us take the kid. He
said he was going to dump the
minivan in some lake across the
state line.
MAC
Don’t bull shit me, Doug! I’m not- *
DOUG
No, seriously, we didn’t want
anything to do with that lady’s
murder or the kid but, he said he
would kill the kid, and if we
didn’t take him with us, he’d make
it look like we killed both of them
while trying to steal money for
drugs! *
MAC
So just like that, you decided to
become an accessory to murder and a
child abductor?
73.
DOUG
We were young man, we had drug
problems, and owed a lot of bad *
people a shit load of money. He was
their neighbor, they liked him,
they were his friends. Who do you
think the police would have
believed?
127 INT. ATLANTA PD - INTERROGATION ROOM - OBSERVATION AREA - 127
DAY *
Greg, listens in silence... and anger.
128 EXT. WOODED AREA - DAY 128 *
A dark-gray sky gives way to Andrew laying near a tree
surrounded by tall grass and weeds. He stares intensely at a
run-down cabin 50 feet away. *
Thomas sits on the ground behind him. His knees pulled tight *
into his chest. He shivers from the cool, early morning air.
Josh creeps up, kneels beside him, his eyes locked on Andrew. *
They speak in hushed voices. *
THOMAS
Why did you kill Mr. Wilson?
Josh doesn’t respond.
THOMAS
You didn’t have to kill him, he was
just trying to help his friend. *
Josh snaps around, makes it a point to show the gun he has
tucked in his belt. Thomas looks away, sheepishly. *
JOSH
You think I give a shit about what *
happened to that old dude? *
Thomas eyes tighten... Josh, shocked from Thomas hint of *
defiance. *
JOSH *
Well, I don’t and I don’t give a *
shit about what happens to you
either.
Thomas shivers. *
74.
THOMAS
Why do you and Andrew hate me so
much? Why do you treat me like-
ANDREW
Like what?! Like you don’t belong? *
Look at Andrew, look at me, and *
dad. Are you so fucking stupid that *
you don’t see it?
Thomas regards Josh with a confused look.
JOSH
You don’t know, do you? Oh man,
(laughing) daddy’s golden boy and *
you have no fucking idea, not a
single fucking clue about the *
family’s little dark secret.
THOMAS *
What are you talking about?
JOSH
Oh shit! (laughing) This is really *
gonna be fun. We treat you like the
piece of shit that you are because
you don’t belong. You have never
belonged and you never will,
because-
Josh is interrupted by a loud whistle from the cabin. He
spins and spots Andrew standing on the cabin’s front porch,
gun in hand, he waves for the two of them to join him.
THOMAS
What do you mean, I don’t belong?
Josh leaps to his feet, looks down at Thomas, gives him the
barest of smiles before sprinting towards the cabin.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
30 -
Tensions Unraveled
129 EXT. THOMAS’ HOUSE - DAY 129 *
Greg paces, watching the constant flow of Officers, *
Detectives, and CSI personnel move in and out of the house. *
Mac exits the house, walks to Greg.
GREG
Can I go in?
MAC
Nope. The place is a mess and *
they’re going to be collecting *
evidence for hours. *
75.
We contacted the police in
Columbus, Georgia and your wife’s *
case has been reopened. *
GREG *
What about, Alex? *
MAC *
Mr. Morgan caught wind of what’s *
going on here by another relative. *
He took off by the time an arrest *
was attempted.
GREG *
Did they catch him?! *
MAC
Not yet, but they will. And, we’re
going to catch these three, too. So
don’t worry about-
GREG
I’m sure Brandon had nothing to do
with those murders, Detective. *
MAC
You're not sure of shit. You’re
working off emotions and that’s
what scares me.
She opens her car door, looks at Greg, waits.
MAC
Well?
GREG
What?
MAC
Let’s go. You don’t think for one
second I’m going to let a man like *
you, with all your military
training, out of my sight so you
can run off and look for your kid
on your own do you?
Greg walks towards the car.
MAC
Move your ass. We don’t have all
day.
76.
130 INT. CABIN - LIVING ROOM - DAY 130 *
Eye-to-eye with a larger than life deer head that’s mounted
on the cabin wall. Andrew stands inside the cabin’s small, *
shabbily decorated living room area.
Thomas and Josh enters. *
JOSH
What the fuck?
ANDREW
It’s a hunting cabin. I found a *
closet in the back with some guns
and ammo. There’s some canned food
in the cabinets, water, and beer in
the refrigerator (to Thomas).
There’s a couple of rooms back with *
beds in them. Go get some rest.
We’ll stay here until dark-
JOSH
Why does he get to rest first? I
walked all night too.
ANDREW
Because I fucking said so. Now get
some food, and grab one of those
rifles, and ammo. You got first *
watch.
Thomas walks towards the back of the cabin, stops. Glances
back to Josh.
THOMAS
What did you mean out there?
Andrew’s head snaps around.
ANDREW
What did you say to him?
THOMAS
He said that I’m not like the two
of you, dad either. That I’m
different and there’s some secret-
ANDREW
Go get some rest, Thomas. *
Andrew flashes Josh a harsh glare.
77.
ANDREW
And don’t worry about what he said, *
okay.
Thomas, nods... disappears down the hallway. Andrew glares at *
Josh.
ANDREW
Didn’t I tell you to keep your
fucking mouth shut?
JOSH
I’m sick of him and this fucking
family secret. He doesn’t know. He
really believes we’re his brothers
and that piece of shit bus driver
is his dad. *
Andrew walks to the front window, eases the curtain back, *
searches the outside area. *
ANDREW
And that’s how it’s going to stay.
Not another word. Do you hear me?
Josh glares. *
ANDREW
Now, go get one of those rifles and
make sure the damn thing works.
There’s enough food and water here
to feed a small Army which means
the red necks that use this place
may be coming back soon. I want to
get some rest then get the hell out
of here before that happens.
Josh flashes a fuck you look as he disappears into the
hallway.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
31 -
Chaos at the Cabin
131 INT. MAC’S CAR - DAY 131 *
Mac drives at breakneck speed down the highway. Greg sits
white knuckled in the passenger’s seat.
MAC
The locals found the car in a
wooded area in north Georgia.
They’re going over it now.
GREG
Any signs that someone may have
been hurt?
78.
MAC
You know what I know. We’ll be
there in an hour.
Mac stomps on the gas... the car races forward.
MAC
Or less. By-the-way, you look like
shit. You should go try to get some
sleep.
Mac slams on the gas pedal. The car lurches forward again,
she swerves sharply to avoid a slower-moving car. Greg fires
her a frightened look. *
MAC
What?
132 EXT. MAC CAR - DAY 132 *
Mac car speeds down the highway.
EXT. CABIN - DAY *
The sun is setting over the distant treetops. An engine revs, *
and, a mud-covered 4x4 truck rumbles to a stop in front of *
the cabin. The door opens and a camouflaged pant leg and a
dirty work boot steps out. *
This is DONALD DEARBORN (20), tall, overweight. His long hair
hangs beneath his dirty baseball cap. His camouflaged pants *
and jacket are as dirty as his boots.
133 INT. TRUCK - DAY 133 *
DANNY PERNELL (20), dirty mullock hair cut, baseball cap,
plaid flannel shirt, dirty sleeveless jacket, and jeans grabs
his rifle, then cuts a glance through the back window at
JUNIOR SIMMS (18) fast asleep in the truck’s bed. *
DONALD
Should we wake up sleeping ugly?
Junior steps out of the truck, his rifle resting across his
arms.
JUNIOR
Hell no. That’s what the sum bitch
gets for drinking all fucking nite.
They share a laugh as they walk towards the cabin.
79.
134 INT. CABIN - DAY 134 *
Andrew pressed flush against the wall, peeks through the
curtain at the approaching hunters. Josh waits behind the
door. Both have guns in hand, as keys jingle, the door opens,
and -
Donald walks in.
He stops, cuts confused glances at -
A SERIES OF SHOTS
-- Empty beer cans in the middle of the floor.
-- A crumbled blanket on the chair.
-- An open can of food on the counter.
END SERIES OF SHOTS
He senses something’s not right, but it’s too late. He
freezes at the sight of Josh’s gun hovering inches away from
his face.
JOSH
Move another inch, Hillbilly and
I’ll blow your fucking brains out.
Now, slowly give me that rifle.
Donald eases the rifle off his shoulder, Josh snatches it,
motions him into the room. Andrew moves quickly. He’s out on
the porch, his gun aimed directly at Danny. Danny’s eye pop,
he moves to ready his rifle.
ANDREW
Don’t do it, white boy!
Danny freezes. *
ANDREW
Drop the fucking rifle! *
Danny releases the rifle. It thuds hard against the porch. He
raises his hands over his head, speaks slowly, loud.
DANNY
Just take it easy, buddy! Don’t
want that there gun ya holding to
go off, or nothing!
ANDREW
Shut your fucking mouth!
80.
He cuts a glance over Danny’s shoulder at the truck. *
ANDREW
Anybody else with you?
Danny replies, again... loud.
DANNY
No! We alone! Ain’t nobody but us!
135 EXT. TRUCK BED - DAY 135 *
Junior lies flat in the truck’s bed. His eyes wide with fear,
his hand slowly searching for his rifle.
ANDREW (O.C.)
Stop fucking shouting and move your
ass! Let’s go! Get inside!
Junior eases up, peeks through the truck’s muddy back window
to see Danny being led at gunpoint into the cabin. *
Andrew gives the truck and the area a final scan... Junior
drops down, clutching his rifle, panting... then the cabin
door slams shut. He slides off the back of the truck and
eases into the front seat. Picks up the mic on a CB radio. *
136 INT. CABIN - LIVING ROOM - DAY 136 *
Josh has Donald at gunpoint near the front door. Andrew
directs Danny to move near the hallway that leads to the back
of the cabin.
DONALD
My keys are in my front pocket. If
you boys take my truck and leave
now, you’ll have time to get going
before the others show up.
JOSH
How many more of you assholes are
coming?
DANNY
This is our hunting weekend so
three trucks. Four or five guys
each.
ANDREW
Fuck.
81.
137 EXT. CABIN - DAY 137 *
Junior slowly eases to the cabin’s back door, opens it, and
slips unnoticed into the cabin’s tight, dark hallway. His
shotgun is up and at the ready. He moves slowly, quietly down
the hallway, towards -
Andrew, agitated standing near the hallway entrance, his gun
aimed dangerously close to Danny’s head.
JOSH
What we gonna do, Andrew?! We gotta
get the hell out of here, we gotta
go now, man!
Junior eases down the hallway, his shotgun leveled square on
Andrew’s head when -
A bedroom door opens. *
He spins, spots Thomas standing in the doorway behind him. He
levels his shotgun. Thomas’ eyes pop. He reacts, dives back
into the bedroom just as Junior fires.
BOOM!
The hallway fills with smoke and splintered wood as buckshot
pellets dig into the walls.
Andrew spins, spots Junior in the hallway... he fires, puts
two rounds dead center Junior’s back. Junior stumbles forward *
and falls... dead before he hits the floor. *
Danny, seeing his opportunity, rams into Andrew, knocking him
hard against the wall. Josh, distracted by the shotgun’s
blast, takes his eyes off Donald for a brief moment. It’s a
big mistake.
Donald swings and connects to the side of Josh’s head causing
him to stumble backward. Josh’s gun flies from his hand as he *
falls to the floor. Danny delivers a brutal punch and a swift *
hard kick to Andrew’s mid-section.
It’s a violent all-out brawl now - a fight to the death.
A SERIES OF VIOLENT SHAKEY SHOTS
-- Danny struggles with Andrew for control of his gun giving
us a flash glance at the large knife tucked the back of his *
jeans.
-- Donald’s punches are short, aimed, and precise. He’s
getting the best on Josh. Then, in a flash, the tables turn
and -
82.
Josh pins him against the wall and pounds the shit out of
him, just as -
-- Thomas runs into the room and is knocked to the floor by
Andrew and Danny.
-- Danny slams his forehead into Andrew’s face. Blood
explodes from his nose. Andrew reels backward, drops his gun.
Advantage Danny.
-- Donald makes a final attempt to turn the tide of the ass-
kicking he’s receiving from Josh, but it’s too late. Josh
dives over a small table, lands near his gun. He grabs the
gun, spins, and fires three rapid shots -
BANG! BANG! BANG!
All direct hits. Blood spews from Donald’s chest, neck, and
face.
Donald clutches his neck, gags for air as blood pools between *
his fingers... he drops to his knees. Josh fires two more *
shots -
BANG! BANG! *
Into his Donald’s head. Donald slumps bloodied and dead to *
the floor.
-- Danny grabs Andrew’s gun and spots Thomas getting up from
the floor. Andrew spots him leveling his gun on Thomas. He
fires -
BANG!
The round slams hard into the wall just above Thomas’ head.
-- Danny squares for a second shot, just as gunshots ring out *
- *
BANG! BANG!
The rounds slam into Danny’s side and chest spinning him *
around and sending the gun flying from his hands. Danny falls *
backward, and slides down the wall. He looks down at the *
blood pumping from the crimson holes in his jacket.
Josh fires again - *
BANG! BANG! *
Headshots. Danny’s brain fragments splatter against the wall. *
END SERIES OF SHAKEY SHOTS, as -
83.
The room goes quiet.
Thomas slowly scans the room, his eyes falling on -
-- Josh, bloodied and stunned.
-- Donald laying in a pool of his own blood.
-- Danny’s blood-soaked body slumped against the wall.
Thomas frightened trembles uncontrollably. He cautiously
eases himself from the floor while glancing over to Andrew, *
slumped over. Andrew uses one hand for support, the other is *
wrapped tightly around his mid-section. He pants unusually
hard.
THOMAS
An-drew?
Josh flashes a glance at his brother as he moves quickly to
the window and nervously checks the outside surroundings.
JOSH
We need to get the fuck out of here
now! We need to go right now!
Andrew doesn’t respond. *
Thomas stares, nervous now... fear growing in his eyes as all
sound goes away... in the background, Josh panics as he moves
back and forth across the window. Thomas’ eyes slowly widen,
his fears turn quickly to reality as Andrew leans back to
reveal -
His blood-soaked mid-section and hand gripped tightly around
Danny’s knife protruding from his stomach. *
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
32 -
Desperate Measures
138 EXT. CABIN - DAY 138 *
Chaotic, shaky. Josh supports Andrew as they stumble towards
Donald’s truck. Every step causes Andrew a tremendous amount
of pain, every step causes blood to squirt from his gaping *
wound. Josh looks back at Thomas. *
JOSH
Go get the rifle, and the ammo! (to
Andrew) Hang in there, bro! We’re
getting outta here! (to Thomas) GO! *
Thomas dashes back into the cabin.
84.
DETECTIVE JACKSON (PRE-LAP) *
CSI found good prints, hair
samples, a few cigarette butts.
139 EXT. NORTH GEORGIA PD - VEHICLE COMPOUND - DAY 139 *
CSI agents carefully collect evidence from the brown car. In
the b.g., Detective ANDREW JACKSON (40) tall, slim, chiseled *
features observe with Greg and Mac.
GREG
What about blood? Did you find-
DETECTIVE JACKSON *
No blood.
A sense of relief covers Greg’s face.
DETECTIVE JACKSON *
I’ll take you over to the lab.
We’re rushing the DNA tests, but it *
looks like this is going to be your
vehicle.
*
Detective Jackson walks away. Mac follows. Greg’s gaze *
lingers on the car a moment longer.
140 INT. THE KILLEEN HEARLD BUILDING - MIA’S OFFICE - DAY 140 *
Mia stressed, sits quietly in her office. The door opens and
Sandra walks in. She drops something on her desk. Mia leaps *
up. *
MIA
What is this?
SANDRA
John just called. They found the
car in north Georgia. Greg’s on his
way there now. He’s going to need
you there when all of this is over.
Your plane leaves in two hours.
Sandra turns, walks out of the office... stops, doesn’t look
back. We see her emotion in her eyes.
SANDRA
Bring him back, Mia... bring both
of them back.
Sandra walks out. Mia glances down to the plane ticket on her *
desk. *
85.
141 INT. DONALD’S TRUCK - DAY 141 *
Josh is driving. Andrew, seated in the middle, his head
resting on Thomas’ shoulder, is covered with blood and fading
in and out of consciousness.
THOMAS
We need to find a hospital! He *
needs a doctor!
JOSH
Shut up! We can’t stop. Somebody *
might recognize us, this truck.
THOMAS
But he’s bleeding really bad, Josh! *
Josh ignores Thomas’ pleas, presses harder on the gas pedal.
JOSH
We’re not stopping. Now shut up,
and watch for the fucking police.
Thomas pissed leans over to comfort Andrew when he spots
Josh’s handgun resting between his legs. His eye flit between *
Josh and his gun, and in a flash -
Thomas grabs the gun and points it inches from Josh’s head. *
JOSH
What the fuck! What are you doing?!
Put that damn gun down before you
accidentally shoot me! *
THOMAS
Believe me, Josh it won’t be an
accident.
Thomas chambers a round.
THOMAS
We’re going to find a hospital,
we’re going to get Andrew some
help.
Josh, furious cuts a quick glance to Thomas before turning
his focus back to the road.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
33 -
Blood in the Cabin
142 EXT. DONALD’S TRUCK - DAY 142 *
The truck speeds down the highway.
86.
DETECTIVE JACKSON (PRE-LAP) *
Watch your step. Fucking blood
everywhere.
143 INT. CABIN - LIVING ROOM - DAY 143 *
Detective Jackson and Mac ease into the cabin. The place is *
an absolute mess. Blood is splattered everywhere. They
immediately spot Donald and Danny’s beaten and bloodied *
bodies. Detective Jackson points to Donald. *
DETECTIVE JACKSON *
The big guy over there is Donald
Dearborn. That’s his cousin Danny
Pernell.
They circle the room. Detective Jackson looks into the *
hallway and spots Junior Simms bloodied body.
DETECTIVE JACKSON *
Damn, Junior Simms.
144 EXT. CABIN - DAY 144 *
The entire cabin is taped off by yellow crime scene tape.
Emergency vehicles sit in the front, local Officers cordon *
off the area. Detective Jackson, angry talks to the SWAT *
commander out of earshot of Greg and Mac.
Greg watches the conversation with deep intensity, he doesn’t
have to hear to know what’s being said. He walks towards
Detective Jackson. The angry SWAT commander glares as he *
walks away.
GREG
Detective?
Detective Jackson doesn’t respond, pulls out his cell phone. *
GREG
Detective, you have to give me a
chance, we don’t know if-
DETECTIVE JACKSON *
Let me tell you what I know,
Colonel.
Greg flashes a troubled look.
87.
DETECTIVE JACKSON *
Those dead boys in there, they were
good kids, kids I knew well, kids
that every Officer on this force *
knew well. Now I have to tell their *
families they’re dead. *
Mac appears.
DETECTIVE JACKSON *
We’re shutting down the city and
we’re going to find these bastards
and if they so much as fucking
twitch a face muscle, I swear,
we’re going to cut them to pieces.
He glares at Greg... his face tense, angry. *
DETECTIVE JACKSON *
Every got-damn one of them.
He walks away against Greg’s fearful gaze.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
34 -
Chaos at Red Devil High
145 INT. DONALD’S TRUCK - DAY 145 *
Josh drives slowly through the small town. His eyes nervously
searching the streets and surrounding buildings.
Thomas, the gun still pointed at Josh, spots the Red Devil
high school gymnasium. His eyes fall on a sign that reads -
Red Devil High School Wrestling Tournament.
The parking lot is full of vehicles, but his eyes lock onto
an ambulance parked near the Gymnasium door. He raises his
gun to level.
THOMAS
There, pull over there! *
Josh spots the ambulance.
ANDREW
We can’t stop there. We’ll get
caught, we have to keep-
THOMAS
Do it!
EXT. DONALD’S TRUCK - DAY *
The truck slows to a stop near the rear of the ambulance.
88.
146 INT. DONALD’S TRUCK - DAY 146 *
Josh turns to Thomas.
JOSH
If am gon do this, I’m going to
need that fucking gun.
Thomas stares... unsure what to do. He cuts a quick glance to
the rifle resting against his door. He grabs it, points it at *
Josh. Tosses the handgun in Josh’s lap. Josh, pissed grabs
the gun. *
JOSH
Stay here.
147 INT. AMBULANCE - DAY 147 *
Two middle-aged paramedics, SAM (40) and JOY (30) sit in the *
front of the cab listening to the small portable radio, when
the Sam’s face suddenly goes flush - he drops his soda, *
raises his arms slowly.
JOSH
What’s your name, boy?
Drew, nervous.
SAM *
Sam. My name is, Sam. *
Joy spots Josh’s, gun pressed firmly against Sam’s head. Josh *
opens the door.
JOSH
Let’s go, Sam. Out... (to Joy) you, *
come out this side and keep your
hands where I can see them.
Arms held high in the air, both slide out of the ambulance. *
JOSH
You got some medical shit in this
thing?
SAM *
There’s a kit in the back.
JOSH
Let’s go. Move!
89.
148 EXT. TOWN - STREET - DAY 148 *
An unmarked police car moves slowly past the Red Devil
gymnasium.
149 INT. UNMARKED POLICE CAR - DAY 149 *
Detective ROD GADSON (40) immediately recognizes Donald’s
muddy truck parked at the back of the ambulance. He slows,
spots, Josh and the two paramedics. He picks up his radio
hand mic.
150 INT. CABIN - DAY 150 *
Detective Jackson, Mac, and Greg speed to Detective Jackson’s *
car - *
DETECTIVE JACKSON *
The truck’s been spotted at the Red
Devil high school. (to an unknown
Officer) Alert SWAT, and somebody *
get the Chief on the horn. *
151 INT. DONALD’S TRUCK - DAY 151 *
Thomas careens, spots the unmarked car moving slowly down the
street, and the person inside starring intensely, talking on
a hand mic.
THOMAS
Josh!
152 EXT. AMBULANCE - DAY 152 *
Josh spots the unmarked car. He locks eyes with Gadson. He
follows the unmarked car as it moves slowly down the street. *
He spots a police cruiser slowing to a stop at the far end of
the street.
ANDREW
Shit!
153 INT. RED DEVIL HIGH SCHOOL - HALLWAY #1 - DAY 153 *
The doors burst open. Sam and Joy, supporting Andrew stumble *
in. Josh follows with his gun trained on them. Thomas, rifle
in hand speeds in and slams the door shut behind them. *
90.
154 INT. RED DEVIL HIGH SCHOOL - HALLWAY #2 - DAY 154 *
Five Red Devil students walk playfully down the hallway. They
turn the corner and stop dead in their tracks. They stand for
a moment, bewildered, not sure what to make out of -
Josh standing several feet away.
Their eyes fall on the gun raising in Josh’s hand. *
JOSH
Don’t fucking move!
The two students in the back make a break for it... they dash
across the hallway. Josh fires - *
BANG! BANG!
He misses. His shots slam into the wall, spraying concrete
fragments into the air. The students disappear around the
corner. The other three students hit the deck.
155 INT. RED DEVIL HIGH SCHOOL - GYM - DAY 155 *
The gym is crowded and loud. Fans and team members cheer the
ongoing matches, when -
The muffled sounds of gunfire ring out, causing several fans
to flash troubled glances. A referee turns, cuts a glance *
first at the door that connects the gym to the main school,
then to an - *
Officer standing near the door. *
The Officer speaks into his mic attached to his jacket lapel *
then disappears through the door.
156 INT. RED DEVIL SCHOOL - HALLWAY #3 - DAY 156 *
Josh leads the students and paramedics, still supporting
Josh, at gunpoint down the hallway. Thomas follows at the
back of the group. They near a corner in the hallway, when *
Josh spots -
The Officer from the gym turning the corner. *
The Officer reaches for his gun, but he’s too late. Josh *
squeezes off a shot -
BANG! *
91.
Striking the Officer in the shoulder. The impact forces him *
back around the corner. Andrew races forward and turns the *
corner. The Officer, kneeling, waiting, fires - *
BANG! BANG! BANG! *
Andrew dives back around the corner.
The Officer fires three more rounds - *
BANG! BANG! BANG! *
Before slamming into the door, and falling backwards into - *
157 INT. RED DEVIL HIGH SCHOOL - GYM - DAY 157 *
For a brief, eerie moment, the wrestlers, coaches, fans, and *
family members fall completely silent, all eyes locked onto *
the scrambling Officer. Then, everyone erupts into pure *
pandemonium.
158 EXT. RED DEVIL HIGH SCHOOL - GYM - DAY 158 *
The gym doors explode open and the frantic crowd inside tears
out.
159 INT. DETECTIVE JACKSON’S CAR - DAY 159 *
Detective Jackson, Mac, and Greg speed down the highway. *
Jackson’s radio blares to life. *
DISPATCHER (V.O.)
All available cars. 10-53 in
progress, shots fired at the Red
Devil high school, Officer down. *
Possible Atlanta murder suspects
inside. All available cars respond.
I repeat, 10-53, shots fired at the
Red Devil high...
A worried look flash across Greg’s face.
DETECTIVE JACKSON *
Shit!
Detective Jackson stomps the gas pedal... the car speeds down *
the highway.
92.
160 EXT. RED DEVIL HIGH SCHOOL - GYM - DAY 160 *
Detective Jackson, Mac, and Greg stand at the rear of *
Detective Jackson’s car. Detective Jackson slips on a black *
body armor vest with bold, large white words POLICE visible
on the front and back.
Detective Gadson from the unmarked car and another Officer *
work frantically on the school’s wounded Officer. *
DETECTIVE JACKSON *
(to Mac)
Detective Gadson and I are going
in. We’ll contain them until SWAT
arrives. I need you to stay here
with these Officers and cover the *
exits best you can.
Mac draws her weapon. She reaches into her shirt, allows her
badge to hang visibly.
MAC
I want to go in with you.
DETECTIVE JACKSON *
Not an option.
MAC
Fuck your options.
DETECTIVE JACKSON *
As much as I’d love to have the
extra gun inside, we have to cover
these exits until SWAT and backup *
arrives. *
Detective Jackson flashes Mac a pleading look. *
DETECTIVE JACKSON *
I need you to make that happen, *
Detective. *
Mac doesn’t like the option, but she knows he’s right. She
relents.
GREG
I want to go-
MAC DETECTIVE JACKSON
No! No! *
GREG
My son is in there, and-
93.
DETECTIVE JACKSON *
Got-dam-it, Colonel, there may be a
lot of son’s in there. Stay the
fuck out here and keep your head
down!
Detective Jackson grabs a shotgun from his trunk, pumps a *
round. Greg and Mac watch Detective Jackson and Detective *
Gadson, race crouched towards the gym door. *
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
35 -
Desperate Measures
161 INT. RED DEVIL HIGH SCHOOL - HALLWAY #3 - DAY 161 *
Josh waits crouched low against the wall. He has the rifle
now. He aims it at the door that leads into the gym, just as *
two dark silhouettes warily approach the thick stained glass *
door panes. He waits until one of the blared figures is in
view. He fires - *
BANG! BANG! BANG! BANG! BANG! *
162 EXT. RED DEVIL HIGH SCHOOL - GYM - DAY 162 *
Mac is about to brief arriving Officers when the automatic *
rifle fire rings out inside the school. Intuitively, everyone
ducks, except one -
Greg.
GREG
Nooooo!
He bounds full speed towards the school.
MAC
Colonel Thompson! No!
Greg ignores her. He reaches the gym door. Mac watches as he
eases the door open and peeks inside. Satisfied it’s clear,
he jerks open the door and enters.
MAC
Shit! (to the waiting Officers) *
Stay here!
She leaps to her feet and dashes towards the school. *
163 INT. RED DEVIL HIGH SCHOOL - GYM - DAY 163 *
Mac enters the gym, makes her way to Greg as he drags *
Detective Gadson’s lifeless body away from the door. Mac *
speaks in an agitated, hushed voice. *
94.
MAC
What the fuck do you think you’re
doing?! *
GREG
Detective Jackson’s been hit, but *
he’s alive. We need to get them out *
of here.
She glances at Detective Gadson’s lifeless body, blood *
pouring from under his vest just as two Officers spring *
through the gym door.
MAC
Over here!
The two Officers speed to them. *
MAC
Secure this door and call a bus. *
Get someone in here to help get *
these guys out.
The two Officers, nod. One moves to the door that connects *
the gym to the hallway. The other sprints out of the gym.
MAC
Colonel Thompson, you cannot be
here.
GREG
I’m going to get my son, Detective! *
MAC
Like hell you are! *
He looks at her firmly.
GREG
I’ve been waiting ten years
Detective, ten fucking years, so
you can either help me, shoot me,
or stay the hell out of my way.
Your choice.
Mac glares as Greg drags Detective Jackson away from the *
door, and using his body to conceal his move, he slips
Detective Jackson’s handgun into his pants. He cuts Mac a *
dismissive glance, then peeks through the shattered door into *
the empty hallway.
MAC
Don’t even think about-
95.
Too late. Greg disappears through the door.
MAC
Colonel! Fuck!
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
36 -
Tensions Rise at Red Devil High
164 INT. RED DEVIL HIGH SCHOOL - HALLWAY #3 - DAY 164 *
Greg peers into an empty hallway. Mac eases up close from *
behind. She taps him on the back, motions for him to move
behind her. He shakes his head, no. Mac speaks in a low
voice.
MAC
I’m the one with the gun, remember?
Greg holds up Detective Jackson’s gun for Mac to see. She *
shakes her head in disbelief.
165 INT. RED DEVIL HIGH SCHOOL - CLASSROOM - DAY 165 *
A typical classroom complete with tables, chairs, computers,
and usual adornments. The frightened students sit in a tight *
group against the wall.
Andrew lies on one of the tables. The paramedics are busy
working on his wound. Thomas, gun in hand, watches. Josh *
paces nervously. *
JOSH
I told you! I told you we couldn’t
stop!
THOMAS
(to Joy)
Is he going to live?
JOY
He’s lost a lot of blood, so unless *
we get him to the hospital soon, he *
will die. *
Thomas motions for Joy and Sam to move away. He walks over to *
Andrew, places a gentle hand on his forehead.
THOMAS
Andrew, she say you gone die unless *
they take you to a hospital.
Andrew forces a halfhearted smile.
ANDREW
Josh.
96.
Josh races over, shoves Thomas aside.
JOSH
This little bitch got us in a heap
of shit here, bro. I’m trying to *
figure out how to get us out of *
here, so just hang in there, *
alright.
ANDREW
It’s over Josh. No one else is
gonna die today. Let those kids go,
then you and Thomas put the guns
down, and-
JOSH
No! They’ll kill me! I gotta to get
out of here, I-
ANDREW
None of us are getting out of here
alive unless you put those guns
down.
JOSH
Fuck that! I ain’t giving up like
some bitch! I’m not going to jail-
THOMAS
If we don’t give up, Andrew is
going to die! *
Josh pivots, smashes Thomas hard in the face.
JOSH
Shut your fucking face!
Thomas stumbles and falls to the floor. Blood spills from his
nose. The students scream.
Genres:
["Drama","Thriller"]
Ratings
Scene
37 -
Desperate Negotiation
166 INT. RED DEVIL HIGH SCHOOL - HALLWAY #2 - DAY 166 *
Greg and Mac move slowly down the hallway, they freeze at the
sound of the screaming students. They move quickly,
tactically in the direction of the screams.
167 INT. RED DEVIL HIGH SCHOOL - CLASSROOM - DAY 167 *
Josh hovers angrily over the group of frightened and cowering
students.
97.
JOSH
Shut up! Shut the fuck up, or I’ll
shoot all you mutha-fuckas! *
Thomas gets up slowly from the floor. Josh spins, levels his
rifle on him.
JOSH
The gun mutha-fucker!
Thomas wipes away the blood running from his nose, lays his *
gun on the floor. He kicks it several feet away from Josh. *
THOMAS
He’s our brother Josh and he’s
gonna bleed to death if we don’t
get him to a hospital.
ANDREW
He’s not your fucking brother, dumb- *
ass! *
Josh glances towards Andrew on the table. Tears swell in his
eyes. He’s about to speak when the classroom door suddenly
burst open, and -
Mac, followed by Greg bolts in.
MAC
Freeze, police!
Andrew spins... fires wildly towards the door -
BANG! BANG! BANG!
Greg dives to the floor, landing behind a large desk. Mac *
falls hard on top of him, she rolls away. Greg spots the
stream of blood pouring from her left forearm. *
GREG
You’re hit.
MAC
I’m okay.
Greg turns his attention to the threat across the room. He
sits for a moment, contemplating his next move.
GREG
Thomas, can you hear me?!
98.
Thomas, surprised, looks in the direction of the counter,
then cuts at glance at Josh, his arm wrapped firmly around a *
young female student’s neck, his gun pressed firmly against
her frightened face.
JOSH
Hey Mutha-fucka! I’m in charge *
here, not him! You got something to
say, you say it to me!
GREG
Okay, okay! I’m going to place my
gun on the countertop...
Mac flashes Greg a penetrating, disapproving glare.
GREG
Then I’m going to stand up so I can
see you, and you can see me, okay?!
Greg and Mac speak in hushed voices.
MAC
What the fuck are you doing?
GREG
My son is over there. I need to see
him, talk to him.
MAC
You can’t-
Greg reaches up, sets his gun on top of the counter.
JOSH *
Put the other cop’s gun up there
too!
MAC
Not going to happen, asshole! *
JOSH
Do it or I’ll blow this little
bitches face off! The other gun,
now!
Mac pulls her spare weapon from her ankle holster, hands it
to Greg. He sets the gun on the countertop.
JOSH
(to Thomas)
Go get em and bring them to me.
99.
Thomas speeds over, grabs the guns, speeds to Josh. Josh
tucks Greg’s gun in his waistband, sets the other on the desk
near him.
GREG
There! You have both guns now! My
partner is shot and bleeding bad!
She can’t stand up but, I’m going
to stand up now. I’m unarmed, so
don’t shoot me!
He gives Mac a final glance, calms himself, then slowly
stands, his hands held high. His eyes dart quickly, searching *
the room with nervous and anticipated excitement. We see what
he sees -
-- The group of frightened students cowering on the floor.
-- Josh clutching one of the frightened students, his gun
pressed against her face.
-- The two paramedics crouching near Andrew, and finally, his
eyes fall on -
Thomas *
And immediately time appears to freeze in place. The room *
narrows into a shotgun vision on the young figure standing
across the room, and - *
Greg stares in sober disbelief at the son he hasn’t seen in *
ten years.
JOSH
Hey Mutha-fucka! *
Greg snaps back to the now, turns to Josh. *
GREG
Josh, right?
JOSH
Shut your fucking mouth cop, and
listen-
Josh presses his gun hard into the side of the young
student’s face. She whimpers. *
GREG
Hold on, son, take it easy! I’m not
a cop. My name is Greg Thompson.
I’m in the Army.
100.
JOSH
I don’t give a fuck who you are!
I’m walking out of here, or I’m
gonna kill this little bitch and
all of her friends!
The frightened group of students cower together as Josh
shuffles close to them.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
38 -
Confronting Truths
168 EXT. ROOFTOP - DAY 168 *
Thin crosshairs move slowly, searching the inside of the
classroom. The crosshairs stop on an obscured view of Josh.
SNIPER #1
Sniper Six, this is Sniper One. No *
shot. Target obscured by hostage,
over.
169 INT. RED DEVIL HIGH SCHOOL - CLASSROOM - DAY 169 *
Greg eases clear of the counter. His eyes flicking quickly
between Josh and Thomas.
GREG
(to Josh)
Listen to me, Josh. The school is *
surrounded. They found the dead
boys in the cabin and you shot two
of their Officers in the gym. Their *
SWAT teams are in place and I
promise you, they’re going to storm
in here and kill all of you if you
don’t put an end to this right now. *
Josh drags his hostage, his back against the wall now. *
GREG
There’s no place for you to go.
It’s over.
He cuts a glance to Andrew’s blood-soaked body on the table.
GREG
There’s still time for you to help *
your brother.
ANDREW
Nah, man! Fuck you! I want a car
right now so I can get outta here *
and this bitch and Thomas are *
coming with me-! *
101.
GREG
They’re not going to let that
happen, Josh.
Greg inches slowly towards Thomas. He pointedly keeps his
attention on Josh and his teenage hostage.
170 EXT. ROOFTOP - DAY 170 *
Sniper #1’s crosshairs are locked on Mac hidden behind the *
counter, her shirt’s covered with blood.
SNIPER #1 *
Sniper Six, this is Sniper One. I *
have the Atlanta Detective in my
sight. She’s alive, but bleeding,
lower left arm. She’s armed and *
posted behind a desk near the *
entrance, over.
171 INT. RED DEVIL HIGH SCHOOL - CLASSROOM - DAY 171 *
Greg eases closer to Thomas.
JOSH
That’s far enough, mutha-fucker!
Whatever else you gotta say, you’d
better say it quick, then get your *
ass out there and get my car, or
little miss sunshine here dies
first!
GREG
I’m not here to talk to you, Josh.
Josh flashes Greg a frightened, confused look.
GREG
I’m here to talk to him.
(off Thomas’ confused glance)
This is all going to sound strange
to you Thomas, and maybe at first a
little hard to believe, but,
this... this is not your life. You
were never meant to be here.
Thomas glances at Josh, then back to Greg.
THOMAS
Who are you?
102.
GREG
My name is Greg Thompson. 10 years *
ago my wife Angie, your mother was
murdered.
Thomas’ eyes pop, he flashes a confused look.
GREG
She was killed by a friend from our
old neighborhood, a relative of
his.
Greg points to Josh.
GREG
He couldn't kill you so he took you
and gave you to the man you think
is your father.
THOMAS
I, I don’t understand. How-
Greg’s expression turns somber.
GREG
I know, son. I know this is hard to
understand, but you have to listen
to me. Your real name is Brandon
Tyler Thompson. You were taken from
me when you were three years old. I *
can prove all of this, but not
here. Right now you have to let
these people go before somebody
else gets hurt, or killed.
THOMAS
No. None of this makes sense. My
dad-
ANDREW (O.C.)
It’s true Thomas.
They all turn their attention to Andrew as he struggles to
lift himself on the table. *
ANDREW
Doug isn’t your dad, Thomas, and *
we...
He cuts a glance to Josh.
ANDREW
We’re not your brothers.
103.
THOMAS
What do you mean, Andrew?
JOSH
It’s you dumb-ass! You’re the *
fucking family secret we were never *
allowed to talk about!
Genres:
["Drama","Thriller"]
Ratings
Scene
39 -
Betrayal and Revelation
172 EXT. ROOFTOP - SNIPER #1 - DAY 172 *
Sniper One’s cross hairs slowly track off Andrew and over to *
Greg.
SNIPER #1
Sniper Six, this is Sniper One. I *
have the Army Officer in sight.
He’s standing near one of the
perps. No signs of injury, over.
SNIPER SIX (V.O.) *
Roger. Standby for tactical breach.
173 INT. RED DEVIL HIGH SCHOOL - CLASSROOM - DAY 173 *
Andrew shares a glance with Greg. He looks back to Thomas. *
ANDREW
Dad didn’t want to take you, but
his Uncle threatened him. Said he *
would make it look like dad killed *
your mom. He had to take you. *
THOMAS
Take me! From where?!
ANDREW
When we got older, we asked dad why *
Uncle Alex took you from those
people, but he made us promise to *
never ask him about that day again.
Over the years he started to feel
bad about what happened to your
mother, to you, so he started to
treat you better... like you really
were his son.
Thomas stares in shocked disbelief.
104.
174 INT. RED DEVIL HIGH SCHOOL - HALLWAY - DAY 174 *
A six-man SWAT team moves quietly down the hallway. The lead
man signals... the team quickly and quietly stack up near the
classroom door. The SWAT leader eases up... peeks into the
room.
175 INT. RED DEVIL HIGH SCHOOL - CLASSROOM - DAY 175 *
Mac spots shadowed movement beneath the classroom door. She
looks up, locks eyes with the SWAT leader. She points to her
gun, holds up three fingers. The SWAT leader nods... lowers
himself out of view.
176 INT. RED DEVIL HIGH SCHOOL - HALLWAY - DAY 176 *
The SWAT Leader taps his automatic rifle. Holds up three *
fingers. The men nod. He taps his right outside thigh, holds
up two fingers. The second and third men in the stack quietly
remove cylindrical flash-bang grenades.
The SWAT Leader eases up a second time, again making eye
contact with Mac. He points to his watch, holds up two
fingers. She nods.
177 EXT. RED DEVIL HIGH SCHOOL - HALLWAY - DAY 177 *
The SWAT Leader whispers into is throat mic. *
SWAT LEADER
Breach in two.
178 INT. RED DEVIL HIGH SCHOOL - CLASSROOM - DAY 178 *
Andrew calls out to Mac.
ANDREW
You, behind the desk. Are you *
really a cop?!
MAC
Yes. My name is Detective
Mackenzie, Atlanta PD!
ANDREW
Prove it! Show me your badge!
JOSH
What the fuck you doing man?!
105.
Andrew ignores him.
ANDREW
Stand up and show me your badge!
She clutches her badge hanging around her neck, pauses...
regards her decision for a moment... she eases her gun in a
slot on the desk, then stands, hold her badge hand high for *
them to see. Josh, nervous, spins towards her. *
JOSH
Hands bitch! Hands!
Mac raising her hands. *
GREG
Take it easy, Josh! Take it easy. *
Andrew speaks... there’s a lifting sense of relief... a
feeling of finality in his voice.
ANDREW
Listen to me very carefully, ma’am.
Thomas, he had nothing to do with
killing those cops and that snitch.
That was me and Josh.
JOSH
Shut the fuck up, Andrew!
ANDREW
The hit just went to shit. Josh
panicked and he shot the old store
owner from across the street.
JOSH
Got-dam-it Andrew! what da fuck, *
man?! Don’t tell them shit, we can *
still-
ANDREW
Thomas was just at the wrong place
at the wrong time. We didn’t know
he worked at that store. He didn’t
kill anybody at that cabin either.
That was me and Josh, too. Josh did
the big one. I killed the dude in *
the hallway and the one in the
flannel shirt. *
He runs his hand across his bloodied stomach, grunts a
painful chuckle.
106.
ANDREW
Just not fast enough.
Josh can’t believe what he’s hearing, and neither can Greg,
but Mac, a hard nose cop in one of the toughest cities in the
world has seen and heard it all before. She knows that this
is a dying man’s confession. *
ANDREW
Josh shot those cops in the gym
today.
He cuts Thomas a glance, grins sadly.
ANDREW
Thomas is innocent in all of this.
Like I said. He was just in the *
wrong place at the wrong time. A *
place he’s been for the last 10 *
years, now. *
Josh, his deadpan eyes locked on Andrew, slowly releases his
young hostage. She scurries away, cowers with the others. *
Josh walks slowly over to Andrew.
JOSH
Why you doing this, Andrew? Why you *
choosing him over me?
Thomas, motionless, searches the floor with his eyes until he
spots the gun he kicked across the floor.
Genres:
["Drama","Action","Crime"]
Ratings
Scene
40 -
Rooftop Reckoning
179 EXT. ROOFTOP - SNIPER #1 - DAY 179 *
Sniper Six cross hairs lay dead center Andrew’s chest. *
SNIPER ONE *
Sniper One, Sniper Six. Target’s *
clear. I have a shot, over. *
SNIPER SIX (V.O.) *
On my command, we wait for the
breach, I say again do not take the
shot until breach begins, over. *
180 INT. RED DEVIL HIGH SCHOOL - CLASSROOM - DAY 180 *
Josh hovers over Andrew, tears run freely down his face. He
pulls Greg’s gun from his waistline, it hangs in his hand.
MAC
Josh!
107.
Josh ignores her, his tear-filled eyes locked on Andrew.
Across the room Thomas, eases slowly towards the gun on the
floor. Greg and Mac share fearful glances.
ANDREW
Because he didn’t ask for any of
this, Josh. The way he ended up
here, in this life, it wasn’t fair-
JOSH *
Fair?! You think it’s fair that dad
loved him more than us, that we
have a crack-head whore for a
mother?! Is that fair Andrew?! Is
it fair that I have to go to jail,
and he won’t?!
Andrew, barely able to hold himself up, turns to Greg.
ANDREW
I’m sorry this happened to your *
family. *
He turns his attention to Thomas.
ANDREW
Your’e a good kid, Thomas. I’m
sorry for the way we treated you,
the way I... treated you.
Thomas takes it all in... cuts a quick glance with his eyes
at the gun just inches from his feet now, back to Andrew.
Andrew slowly shakes his head, no.
JOSH
I can’t believe this shit, bro! You *
actually choosing him over your own
flesh and blood. After all the *
times I’ve stood by you, lied to
the police, protected you.
Josh frowns, then calmly plants his gun firmly against *
Andrew’s forehead, and chambers a round. *
181 INT. RED DEVIL HIGH SCHOOL - CLASSROOM - DAY 181 *
Greg steps towards Josh.
GREG
Josh wait! Please. It doesn’t have
to end this way.
Josh doesn’t respond, he keeps his eyes locked on Andrew. *
108.
JOSH
This ain’t right, Andrew. None of *
shit this ain’t right. *
Andrew smiles. These are words he’s heard many times before,
but he was always the one at the trigger end of the gun. He *
looks up to, Josh... smiles, speaks softly.
ANDREW
Shit never is... brother. *
He closes his eyes and Josh understands. He to has witnessed *
this scene play out many times before. He smiles slightly and *
- *
Pulls the trigger - *
BANG!
And the single shot ends Andrew’s life. *
His body collapses limp on the table. Mac grabs for her gun *
hidden in the desk’s slot. No use of her wounded arm, she *
does her best to square her aim. *
MAC *
Drop the gun, Josh! *
Josh spins, fires a rapid burst of shots - *
BANG! BANG! BANG! *
Mac ducks as the rounds ping and splinter around her. She *
raises quickly, fires two quick rounds - *
BANG! BANG! *
Josh stumbles backwards, hit in the leg. *
JOSH *
Got-dam-it! You fucking bitch! *
182 INT. RED DEVIL HIGH SCHOOL - HALLWAY - DAY 182 *
The SWAT Commander punches his hand mic, shouts! *
SWAT LEADER *
(over his radio mic) *
Fuck! Flash bangs! We’re going in! *
The SWAT team members pull their flash-bang pins. *
109.
183 INT. RED DEVIL SCHOOL - CLASSROOM - DAY 183 *
Thomas reacts and reaches for the gun on the floor just as *
the two flash-bang grenades tumble loud across the room. *
Greg looks down in time to see two silver canisters tumbling *
by him. His eyes pop.
Josh looks back and spots the two silver canisters sliding
towards him. He spins, aims his gun at Greg not three feet *
away, and just as his finger tightens around the trigger, *
gunshots ring out - *
BANG! BANG! *
And Josh’s body snaps violently back from the two rounds - *
Thomas plows into him. *
Greg, stunned, glances quickly over to Thomas in time to spot *
him shaking hands and the smoke seeping from the barrel of *
the gun he’s holding. Greg’s eyes pop when he spots - *
Two tiny, bright red dots *
Paste dead center of Thomas’ chest. *
His eyes pop, he reacts, sprints towards, and dives in front *
of Thomas, right before Sniper One’s round pings through the *
classroom’s window pane a split second before - *
KA-BOOM! KA-BOOM! *
The room is rocked by two thunderous booms and covered
completely in a brilliant flash of blinding light.
184 INT. ATLANTA AIRPORT - DAY 184 *
Mia moves quickly through the airport. She cuts a glance at a
small group of passengers and airport personnel glued to a
hallway TV. She stops, stares at the TV, her eyes reveal her *
horror.
185 EXT. RED DEVIL HIGH SCHOOL - PARKING LOT - DAY 185 *
Sam and Joy work frantically on someone. Mac Jumps into the *
back, the doors slam shut.
110.
186 INT. HOSPITAL - HALLWAY - DAY 186 *
The only sounds we hear are the low beep of a heartbeat
monitor and the tumbling wheels of the ambulance gurney *
speeding down the hallway. Blinking eyes reveal the hallway’s *
lights speeding by overhead. *
187 INT. ATLANTA COURT ROOM - DAY 187 *
SUPER: SIX WEEKS LATER
A SERIES OF SHOTS - BRANDON’S GRAND JURY HEARING
-- Detective Mac is on the witness stand testifying.
-- Thomas (BRANDON), dressed smartly, sits at a table with
his lawyer.
-- Sam testifies. *
-- One of the Young Student’s testify. *
-- The presiding judge listens intensely to the SWAT
Commander testifying.
END SERIES OF SHOTS
188 INT. HOSPITAL - GREG’S ROOM - DAY 188 *
Mia approaches the bed, leans over and kisses -
Greg
Softly on his forehead. He slowly opens his eyes, they share
a warm, loving smile.
189 INT. ATLANTA COURT ROOM - DAY 189 *
The Grand Jury Judge is making her final ruling.
JUDGE
Based on the witness testimonies,
and the dying confession of Mr.
Andrew Moore, I find insufficient
evidence to charge the Defendant, *
Brandon Tyler Thompson with the
counts before me. The charges are
dismissed without prejudice. Young
man, you are free to go.
111.
Brandon shows no emotion as he looks over his shoulder at
Detective Mac and Mia hugging Greg.
The squad room looks very much like it did 10 years ago. A
few new faces are busy at their desks. The computers and *
phones are more modern. The old whiteboard with the case
names on it still sits at the back of the room.
A door opens and the room’s occupants watch in silence as
Detective Howard escorts Angie’s handcuffed killer, Alex *
Morgan, into the room. *
As they pass through the room, a Detective stands and walks
over to the old whiteboard. He picks up an eraser, and with a
single swipe -
He wipes away the name Angie Thompson, beside the #1 at the
top of the board.
191 EXT. FORT HOOD - PARADE FIELD - DAY 191
A beautiful sunlit sky. Greg, in his Army uniform, stands
behind a podium giving a speech.
GREG
As your new Commander, I promise to
carry on our unit’s storied
traditions.
A military formation of several hundred soldiers stand across *
the field at the position of parade rest. Major General John *
Garrett, Sandra, and a small group of Army personnel sit to *
his rear.
GREG
And to all of you that, for so many
years stuck with me, guided and
protected me even from myself...
He glances over his shoulder to John and Sandra. *
GREG
Thank you.
He steps away from the podium, snaps to the position of
attention, presents a perfectly executed military hand
salute.
112.
GREG
Sergeant Major, the Brigade is
dismissed.
He drops his salute, stares proudly across the field.
192 EXT. FORT HOOD - RECEPTION TENT - DAY 192
The reception tent is full of well-wishers, soldiers, and *
guests eating, talking, and enjoying the moment.
Sandra walks over and joins John and the small group of
Officers surrounding Greg. She gives Greg a big smile and a *
motherly hug. *
SANDRA
I am so happy for you Greg, for all
of you.
GREG
Thank you, Sandra. Thank you for
everything.
She smiles, gently touches his face as she walks away.
Greg spots Detective Mac in the background, picking finger
food from a large platter on the table. He excuses himself
from the group, and looking astoundingly grateful, joins Mac
at the table.
MAC
Wow, look at all of this. You
military types really know how to
throw a party.
GREG
We try.
MAC
I spoke with Detective Howard from *
Columbus, PD. He said he worked
your wife’s case years ago. The
nephew was right, your wife wasn’t
your neighbor’s only victim.
GREG
How many?
113.
MAC
The counts up to sixteen so far,
all cold cases from different
locations surrounding the military *
bases he was stationed over the *
years.
GREG
Alex was a serial killer?
MAC
And a serial rapist.
GREG
How did I not see it?
MAC
The guy was a professional killer
Colonel Thompson which explains why
there was never any DNA evidence
found on your wife, or at the
scene.
Greg sighs. Mac looks over to Brandon standing near, Mia. *
MAC *
How’s he doing? *
Greg glances over to Brandon. *
GREG *
He’s still young, resilient. He’ll *
get the best counseling and in *
time... *
He gives Mac a warm look. *
GREG *
So what’s next for you? Back to *
Atlanta, nail more bad guys. *
MAC *
That and try dig myself out of an *
ugly situation. *
Greg flashes a concerned look. *
GREG *
Anything I can do for you? *
Mac forces a smile, chuckles. *
MAC *
Do you know my husband? *
114.
Greg takes the hint. Decides to retreat from the *
conversation. *
GREG
Thank you... for everything, *
Detective. If you every need *
anything that either myself, or the *
Army can help you with- *
Mac waves him off. *
MAC
You don’t have to thank me. But you
are one tough son-of-a-bitch, *
Colonel. You took a sniper’s round *
in the back and lived to tell about
it.
GREG
Believe me, it wasn’t on my to-do
list.
MIA
Yeah, well, either way, it was a
hell of a thing to do. You saved *
your son’s life. *
Greg glances over to Brandon standing with Mia and Sandra.
MAC
If you ever decide to give all of
this hut two three four shit up and
just happen to find yourself in
Atlanta, look me up. I could use a
good partner.
They share a laugh.
GREG
I’ll keep that in mind.
They shake hands. Mac walks away. Mia walks over to him.
MIA
Congratulations, Commander.
He leans in, hugs her tightly, whispers softly into her ear.
GREG
I love you.
She clutches him tightly, his words, the sound of his voice,
nearly brings her to tears. She whispers, sweetly. *
115.
MIA
I love you, too.
Greg slowly releases his hug as Brandon walks over, stares
calmly at Greg for a few moments before he allows his head to
sink into his father’s body. *
Greg gently wraps his arms around him. Mia watch, tears
flowing freely, and without regard. She joins the moment. *
Greg gazes out at a blurred, and slightly obstructed image,
between the gathered group across the tent - it’s Angie... a *
empty swing on the swing set sways back and forth in the *
background. *
She’s beautiful, dressed in soft white. He smiles. She
returns a pleasing and approving nod... she smiles, and *
somehow he knows that this will be the last time he will see
her.
He mouths a silent, and final - I Love You.
She smiles big, as -
Several soldiers cross her front, obscuring his view. They *
clear, and -
She’s gone. *
Greg squeezes Mia and Brandon a little tighter.
The three stand, smiling and holding each other tightly as a
warm, bright light slowly, and completely engulf them. *
THE END
FADE IN:
193 END CREDIT SCENE 193
Muffled rage music loud in the air. *
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
42 -
Desperate Whispers
194 EXT. CABIN - NIGHT 194
The rage music is louder now as we move slowly towards a
dimly lit cabin surrounded by towering dark trees. We move up
the steps and pass through the cabin door into -
116.
195 INT. CABIN - LIVING ROOM - NIGHT 195
The sparsely decorated living room. We continue through the
living room and through an open door and a set of steps that *
lead down into -
196 INT. CABIN - BASEMENT - NIGHT 196
The rage music pounds now... blares loud as we move into a *
basement lit by dim red lights mounted on the walls. We pass
between a row of 6 feet, 5x5 box-shaped rooms when -
A tall dark figure passes the camera.
He stops, presses his ear firmly against one of the box rooms
and we hear the pounding and desperate, pleading voice of a
small girl.
SMALL GIRL (V.O.)
Help me! Somebody, please help me!
Please! Please!