EXT. MACKAY APARTMENT PARKING LOT - NIGHT
The roar of the Houston streets overlay the small movements
of the residents, moving throughout the apartment parking
lot.
The stillness is broken by the agitated voice of a mother.
SAMMY’S MOM
Sammy! Didn’t I tell you to take
that damn trash out? Get up. And
don’t drop it on the ground this
time.
SAMMY (7), dormant, cold carries a large bag outside. Down
two levels, the heavy bag scuffs against the stair. Hidden
behind parked cars just out of sight, a large werewolf stalks
the small boys' steps.
At the large can, Sammy swings the bag over his shoulder with
everything he has, watching the bag land on top of the
overfilled bin.
The bag slowly rolls down, hitting the ground. Sammy takes
the bag by the strings; behind him, the shadow of werewolf
moves from between the cars, slowly approaching.
Sammy takes another go, slowly twirling the bag around. He
steps inside the large wooden doors of the can area, he lets
go, it lands hard on top, rolling to a stop just at the edge.
Sammy runs out through the inside door, oblivious to death
creeping behind him.
At the backside of the apartments, he collides with RAY
(40s), a drug addict on lookout duty.
RAY
(angry/whispering)
Get your little ass in the house.
Startled, Sammy lets out a yelp and rushes toward his
apartment. Ray looks around, sensing something walking toward
him.
A dark growl stops Sammy in his tracks, he looks back with
fear and shock.
BOB (40s), Ray’s crackhead partner, is underneath a car,
sawing off a catalytic converter. The distant howl startles
him momentarily.
2.
Ray's gaze shifts to the now fast-approaching werewolf, and
his trembling hand reaches for the gun tucked in his
waistband.
RAY (CONT'D)
(muttering to himself)
No... no.
Ray's hands shake uncontrollably, he raises the gun, aiming
at the advancing werewolf. He starts firing, the shots
echoing through the parking lot.
Ray screams in horror as the werewolf slashes into his flesh,
ripping him apart with its powerful jaws. Blood splatters
across the pavement, painting a gruesome scene. Sammy runs, a
bullet strikes him in the back. Sammy collapses, gasping for
air.
Underneath the car, Bob hears the commotion and peeks out
cautiously.
BOB
What the fuck?
His eyes widen in terror at sight of the savage werewolf. He
tries to scramble away, but it's too late.
The werewolf grabs Bob by the head and drags him out from
under the car. Bob's screams, the werewolf devours him,
tearing his limbs from his body.
The parking lot falls silent, except for the eerie howl of
the massive werewolf.
CUT TO:
TITLE: ONE WEEK EARLIER
Genres:
["Horror","Thriller","Drama"]
Ratings
Scene
2 -
A Mechanic's Dream
INT. CUSTOMER HOME GARAGE - DAY
Under the hood of the older model chevy, work weathered hands
tighten down the alternator belt, fastens down sparkplugs,
snaps on new wires over top the plug, spray cleans inside and
out of the carburetor.
The mechanic steps back, the engine is clean and powerful.
Admiring his own work, AMARI ANDREWS, (20) handsome, smart
wipes his hands clean after finishing the engine work. The
CUSTOMER, a stylishly dressed woman (30s) in short shorts and
a tight hoodie, steps from the house.
AMARI
(grinning)
Hey, want to give it a whirl?
3.
The customer nods eagerly and hops into the driver's seat.
She starts the car, and the engine ROARS to life. Her face
lights up with sheer joy. She revs the engine, the sound
echoing through the neighborhood.
CUSTOMER
(excitedly)
Amari! My husband will be over the
moon when he sees this.
She leaps out of the car and embraces Amari gratefully with a
lingering hug.
CUSTOMER (CONT'D)
(continuing)
I really can't thank you enough.
Amari smiles awkwardly.
CUT TO:
INT. LUXURIOUS HOME - DAY
Amari washes his hands in the guest bathroom, taking in the
opulence around him. He steps into the hallway and looks
around at the high ceiling and beautiful home. The customer
turns the corner, smiling, with cash in hand.
CUSTOMER
(cheerfully)
Here you go, Amari.
AMARI
Thanks.
CUT TO:
EXT. NEIGHBORHOOD - DAY
Amari drives through the neighborhood, he stops in front of a
SPEC CONSTRUCTION HOME with a "For Sale" sign.
CUT TO:
INT. SPEC CONSTRUCTION HOME - DAY
Amari steps inside the home, accompanied by a REALTOR, and
looks around, envisioning the possibilities.
4.
REALTOR
(soothingly)
It's a beautiful property, isn't
it? You just need 20% down and to
show income for the last two years.
Amari nods, a hint of longing in his eyes.
AMARI
(Soto)
Man...
REALTOR
(curiously)
Where do you currently live?
AMARI
(discomfited)
Man, I'm in the hood you know. I
want to move my grandmother out and
give my little brother a better
education.
REALTOR
Here's my card, give me a call when
you're ready.
Amari exits the home, the night is still just the sound of
crickets, he looks up at moon, it seems to slide pass a row
of thin clouds.
CUT TO:
Genres:
["Drama","Slice of Life"]
Ratings
Scene
3 -
A Day at the Garage
EXT/INT. REPAIR SHOP GARAGE ALLEY - DAY
Amari navigates his Dodge Grand Caravan into the narrow
alley. He steps out of his vehicle, he's greeted by Reid,
(20s) a twin, tall, handsome with bright green eyes and
reddish hair, and his twin brother Grein, (20s), green eyes,
and brown hair.
The brothers are covered with smudges of grease on their
hands and face. The dimly lit garage is filled with car
parts, tools, and old desk, a bench press and 300-pound
dumbbell.
AMARI
(sincerely)
What it do? Mrs. G's Try the
starter.
GREIN
I told you.
5.
Grein jokingly pushes Reid.
REID
You didn’t say shit.
Amari chuckles and walks to the corner of the garage, where
he has a small desk and chair. Reid approaches him, while
Grein wipes the grease off his hands with a rag.
Under the desk nipping at Amari’s pants leg is a brown and
black Pug, affectionately called DESTROYER.
Destroyer wiggles with excitement to see Amari. Amari pulls a
dog biscuit from a drawer, tosses it to the destroyer, he
waddles off into a backroom with the biscuit in his mouth.
REID (CONT'D)
(grinning)
How did the Camero go?
AMARI
Easy work.
Reid and Grein share a sneaky smile.
GREIN
(interjecting)
Did she wear the shorts?
Amari pulls out a crumpled wad of bills from his pocket, he
leaves two $50 bills on the desk.
REID
(Air pounding)
Hell yeah... He hit that.
GREIN
She for the streets!
AMARI
(nonchalantly)
I don't shit where I eat. Now,
Let's change that starter.
Amari and the giggling brothers begin work on the SUV, the
sound of the ratchet and the car roller scooting underneath
the vehicle.
CUT TO:
6.
Genres:
["Drama","Comedy"]
Ratings
Scene
4 -
A Helping Hand and a Playful Tease
EXT. HOUSTON DOWNTOWN - DAY
The downtown Houston air is filled with laughter and noise.
Families enjoy themselves at Discovery Green, whizzing by
teens cruise through the busy streets on scooters, through
bayou pathways.
The rail bus speeds toward the north side of Houston, leaving
the city's skyline in the back window.
EXT. SOUTHWEST HOUSTON ALLEY - CONTINUOUS
Amari, Reid and Grein are pushing MS. G’s (60s) old Buick
down the alleyway, to a makeshift repair shop in the garage
of a vacant home.
MS. G
(overwhelmed, cheering)
Oh, God bless you boys!
Amari, Reid, and Grein smile, their faces covered in sweat
from the effort.
AMARI
(grinning)
No problem, Ms. G.
They push the car into the repair shop. Reid and Grein begin
to inspect the car.
REID
(whispering)
You know she’s not going to pay us.
Ms. G turns and waves to Reid and Grein. The twins give a
fake smile and wave.
CUT TO:
EXT. NEIGHBORHOOD STREET - CONTINUOUS
Amari walks alongside Ms. G, carrying her grocery bags. The
neighborhood is alive with activity - kids playing, a couple
arguing, music echos from the porch of a trap house.
Three armed men exit the home carrying two bags.
MS. G
(smiling)
Your mother would be so proud of
you. It was so terrible to hear
about your father.
7.
They reach Ms. G’s front porch, and he sets the grocery bags
down. Four or five cats moving around the steps and chair.
MS. G (CONT'D)
(touched)
Thank you again. Now you let me
know how much it will cost to fix,
okay.
AMARI
(sincerely)
I will, Ms. G. Take care now.
MS. G
(to the cats)
Babies, Mommy’s home.
The cats come running from every direction.
The tinted vehicle from the trap house rolls pass Amari. The
men trade glances. Amari pulls the realtor card from his
pocket and stares at the 20% DOWN written on the back of the
card.
A small gray car rolls up slow behind Amari. The window
slowly lowers with irritating rub, a pretty young voice calls
out, AMARI’S GIRLFRIEND, NIKKI (20s), street smart, thin, and
pretty.
NIKKI
(playfully)
How much you selling that ass for?
AMARI
You can’t afford me.
NIKKI
Well, how about I give you a ride
for a little half-and-half.
AMARI
Sold.
CUT TO:
Genres:
["Drama","Urban Fiction"]
Ratings
Scene
5 -
A Deal With Danger
INT. NIKKI'S CAR - DAY
Amari climbs inside the small car, Nikki hits the gas, the
little car moves at a high rate of speed, flashing past
parked cars.
AMARI
Jesus!
8.
Amari straps on his seat belt. The car turns the corner
nearly sideswiping an oncoming van.
Amari phone rings.
AMARI (CONT'D)
(hesitant)
What’s up?
The realtor's car slides between his fingers.
LEO V.O.
A grand apiece. One easy snatch and
burn.
Nikki listens intently her eyes focused ahead.
AMARI
(beat)
When?
LEO V.O.
I’ll text you.
Amari ends the call. Nikki turns up the alley hard and fast,
she stares at Amari while speeding down the alley.
Amari tightens his seat belt and grips the door handle.
AMARI
I saw a house yesterday. It was
prefect, the neighborhood was
prefect. It cost money, real money.
Nikki doesn’t respond.
AMARI (CONT'D)
I want a better life for us.
NIKKI
Maybe what we already have is more
than enough?
The car slides hard to a stop outside the garage door. Amari
moves close to Nikki, kisses her on the cheek.
AMARI
Trust me, after this I'm done.
Amari leans in for another kiss, Nikki stares straight ahead
Amari kisses her cheek and closes the door. Nikki leaves a
burnt trial of tread pulling away from the garage.
CUT TO:
9.
INT. AMARI’S APARTMENT - NIGHT
Amari enters his little brother's bedroom, JAVIER (7) small
for his age, is sleeping, he pulls the blanket over his
shoulders.
Amari peeks into his grandmother's bedroom, MRS. ANDREWS
(60s) is a weary yet caring woman she coughs and adjusts her
posture. Amair's phone vibrates.
Amari leaves a note on the refrigerator door, WORKING LATE,
BE BACK IN MORNING.
CUT TO:
EXT. WOODLANDS, TEXAS - NIGHT
The car rolls slow, inside is Amari, RIP, a thin, tall
transgender male, with permanent attitude on her face,
Amari’s childhood friend, LEO (20s).
Leo reads over a text message with the address of a luxurious
vehicle. Amari’s eyes focused, his ears pinned to quiet
eloquent block, lined with large, beautiful homes.
AMARI
You hear that? No police, screams
or dogs. This how everyone should
live.
LEO
Slow down... The house should be
coming up.
Amari lets out a huff and stares toward the front seat, Leo
turns back toward Amari.
LEO (CONT'D)
Stop acting like a bitch. My plug
told me the dude is overseas.
(Pulling a gun) If not, he gave me
this new beauty.
Leo showcases a chromed revolver loaded with silver bullets.
RIP
(excited)
That bitch is nice.
LEO
My plug gave it to me as a gift,
even the bullets are silver. 3
grand when we drop off the car.
10.
Rip and Leo exchange a glance, not missed by Amari.
AMARI
(sincere)
3 grand? I’m not killing anyone.
LEO
I have the gun. Plus, I don’t plan
on killing anyone. Unless they fuck
with my bread.
Amari sinks back into his seat.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
6 -
Werewolf Robbery
INT. LUXURIOUS HOME - CONTINUOUS
Amari, Leo, and Rip slowly roll past a lavish home. The
garage door is open.
AMARI
(surprised)
Someone’s home.
LEO
(direct)
So, what, the car is right there,
easy work.
Rip turns the car around and parks a couple of houses down.
They cautiously wait.
LEO (CONT'D)
Rip, you’re on lookout, Amari’s
with me.
AMARI
(nervous)
I think we should bail; your info
was wrong.
LEO
Nigga, this is my call. We get the
car and we're out.
CUT TO:
11.
INT. GARAGE - CONTINUOUS
Amari scans the walls to capture the car's start signal.
Leo's attention is drawn to music blaring from inside, when
he notices the inner door ajar. Amari tries to redirect Leo's
focus back to the car.
AMARI
(whispering)
Leo, come on! We need to stick to
the plan.
Leo waves Rip over, gesturing for him to follow. They tiptoe
into the house, their senses heightened. Slowly moving around
the kitchen, Leo spots a set of keys hanging from the cabinet
wall, he quietly takes them.
AMARI (CONT'D)
(whispering)
Let’s go.
The man suddenly appears, it’s KESSLER (50s) handsome and
strong.
KESSLER
(angry)
Hey, get out! Get out now!
Nervous, Leo awkwardly pulls out his gun and points at
Kessler.
AMARI
(startled)
What are you doing?
LEO
Shut the fuck up. I got this.
Kessler rushes Leo.
Leo fires the gun, grazing Kessler's arm.
Kessler falls backward, over the table, he slides to the
hallway. Leo moves in closer and takes aim for the kill shot.
Amari pulls on Leo, stopping him from shooting a second time.
AMARI
Leo, we said no killing.
LEO
Man, this dude got a price on his
head.
12.
A low growl echoes through the home as Kessler turns
werewolf.
LEO (CONT'D)
Rip you see, him?
RIP
He’s not back here, hurry up and
blast this fool.
Suddenly, Kessler moves with lighting speed, past Amari
snatching Rip into the air, tearing into him with brutal
force.
Amari, disoriented, makes a desperate run for the door. Amari
is snatched by the shoulder and neck, violently shaken around
like a rag doll.
Leo turns back and fires three more shots at the beast, but
all miss their mark. Out of bullets, Leo breaks into a sprint
for the car. The werewolf tosses Amari to the side, chasing
down Leo.
Amari wills himself up, startled by Rips mangled body, he
struggles out the garage door, and over the privacy fence.
Leo’s screams echo through the neighborhood.
Porch and garage lights flood the street, a female neighbor
and her husband run up, the husband fires his shotgun in the
air. The beast runs off into the darkness. The woman looks
over Leo’s body and gags up her dinner.
SHOTGUN MAN
Call 911!
CUT TO:
Genres:
["Horror","Crime","Drama"]
Ratings
Scene
7 -
The Unhealed Wound
EXT. HOUSTON STREETS - NIGHT
Amari stumbles into a dimly lit bus stop, clutching his neck.
His breathing is labored, his face distorted with fear and
pain. Blood has painted his white shirt Reid.
The bus stops in front of the sign, the doors open, and
Amari, blurry-eyed and weak, falls into the bus.
CUT TO:
13.
INT. HOSPITAL RECOVERY ROOM - DAY
Amari awakens, bandaged, in pain. Every move is a task and
painful. His wrist cuffed to the bed rail keeps his motion
short; he rattles his arm, moving the chain back and forth.
The door opens. A nurse walks in. She's a dark-haired,
middle-aged woman wearing a resting bitch face. She isn't
gentle; as she checks the gash on his neck, peeling back the
bandage, Amari squints in pain.
FADE TO:
INT/EXT. FLOWER GARDEN DREAM - DAY
Amari sits inside the minivan, the a/c is blowing hard, but
Amari is sweating. He’s watching a field of sunflowers dances
in the wind. His eyes focus on the sunflowers. The a/c stops
blowing.
Amari tinkers with the A/C controls, removing the dashboard,
his sweaty fingertips struggle to grasp the worn control
nobs.
In the field a man, stumbles forward, his face dark and
tilted down. Amari focuses, pressing his eyes forward. The
pedals turn brown, blood like black goo begins to pour from
the stem.
The man's face lifts upward, reveling Amari's father's dead
eyes. Amari attention turns to the passenger seat, now
occupied by his deceased mother, she frowns as bloody tears
fall from her dead eyes.
The front window shimmers, suddenly shatters inward, sending
glass over Amari, slashing his shoulder.
SMASH CUT TO:
INT. HOSPITAL ROOM - CONTINUOUS
Amari jolts from the dream, his body shaking violently, the
room fills with a team of hospital staff.
NURSE
Let's sedate him.
Amari eye's flash open, his pupils turn bright yellow, his
body bolts upward and slams back down onto the bed.
FADE TO:
14.
INT. HOSPITAL ROOM - DAY
Amari awakens slowly, His eyes focusing on a clear plastic
bag hanging on the door is illuminated by his cell phone
dancing inside.
Amari pulls on the chain and slides the bed closer. He
grimaces in pain at with every move.
AMARI
(struggling)
Come on, just a little further...
His legs tremble as he forces himself out of the bed. He
stretches toward the door with all his might, pulling the bed
with him, but it refuses to budge.
Amari pulls harder, slowly the bolts from the bed rail begin
to give way. The links on the handcuffs begin to bend.
AMARI (CONT'D)
(gritting his teeth)
I got this...
Suddenly, the door creaks open, revealing GRACE, a young
beautiful nurse in her(20s).
GRACE
(concerned)
What are you doing? You're going to
hurt yourself!
Amari loses his balance. He tumbles to the floor with a thud.
GRACE (CONT'D)
(rushing to Amari’s side)
Are you alright? Let's you get back
into the bed.
AMARI
(groaning)
No, wait... my phone... I just need
my phone.
The nurse's expression softens, she realizes Amari’s
desperation. She helps him back into the bed and pushes the
mattress back into position.
GRACE
(sympathetic)
I understand, but you need to take
it easy.
15.
The nurse retrieves the plastic bag from the back of the
door, retrieving Amari’s phone.
GRACE (CONT'D)
(tenderly)
Here you go.
Amari’s pain subsides momentarily, he holds his phone in his
hands. He looks up at the nurse, gratitude shining in his
eyes.
AMARI
(softly)
Thank you...
GRACE
Just remember to call for
assistance next time. We're here to
help you get better.
Just then, Dr. Patel, (60s) in a white coat, accompanied by
DETECTIVE THOMPSON (50s), a no-nonsense veteran detective,
enters the room. Amari quickly hides his phone under his
legs.
DR. PATEL
(surprised)
Ah, Nurse Grace, how is he doing?
Dr. Patel approaches Amari and begins examining his stitched
wounds. His eyes widen in shock, he notices that the skin is
healed, with no signs of stitching.
DR. PATEL (CONT'D)
(stunned)
Your wounds are healing
exceptionally well.
The doctor decides not to reveal his findings at the moment.
Thompson steps forward, his gaze fixed on Amari.
THOMPSON
(suspicious)
Do you remember how you got here?
Amari’s heart races, but he remains composed, discreetly
keeping his phone hidden. He nods, acknowledging the
detective's request.
AMARI
(evasive)
I’m not sure.
16.
Dr. Patel turns to the nurse, motioning for her to leave the
room with him.
DR. PATEL
(whispering)
Grace, I need to talk to you for a
moment. Let's discuss it outside.
Grace looks at the doctor, her eyes widening with curiosity.
She follows him out of the room, leaving Amari alone with
Thompson.
Nurse Grace leaves the room with Dr. Patel, their
conversation fading into the background. Thompson sits near
Amari and begins questioning him about his wounds.
THOMPSON
(intense)
What attacked you?
Amari’s heart pounds in his chest but maintains a calm
facade.
AMARI
(direct)
I... I don't know what you’re
talking about.
Thompson narrows his eyes, suspecting Amari might be hiding
something.
THOMPSON
(skeptical)
You know a Lenard King?
AMARI
Lenard?
THOMPSON
Goes by Leo.
AMARI
Yea, I might know him.
THOMPSON
Well, he was killed last night, in
a botched home invasion. You were
with him.
AMARI
No, I wasn’t there.
17.
Images of the werewolf biting into Amari’s shoulder flash
through his mind. The Detective's frustration grows, and he
leans forward, grabbing the bandage on Amari’s shoulder.
THOMPSON
(angry)
Enough with the lies! Explain this?
AMARI
(irritated)
What are you talking about?
Thompson's patience snaps, and he yanks the bandage off,
revealing smooth, unmarked skin underneath.
THOMPSON
(furious)
Don't play dumb with me. Explain
that!
Amari stares at his unblemished shoulder in shock, his mind
racing to comprehend what happened.
AMARI
(stammering)
Explain what? I don't even know how
I got here. I want to go home.
Thompson takes a step back.
Dr. Patel and GRACE step back into the room.
DR. PATEL
Detective! Sir, we are releasing
you from our care.
DETECTIVE
(confused)
Doctor, what is going on here?
DR. PATEL
(direct)
We have no reason to hold him here.
I'm releasing him.
AMARI
(assertive)
If I'm not under arrest, can
someone get these cuffs off me?
THOMPSON
(Grudgingly leans in.
Whispers)
We're not done here.
18.
The detective uncuffs Amari, who quickly begins to dress
himself. He walks out of the hospital, confused at how he
escaped.
CUT TO:
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
8 -
A Father's Absence
EXT. HOUSTON MEDICAL CENTER STREET - DAY
Amari shields his eyes from the sun. The sounds of the busy
streets overload his ears.
His nose is engulfed with the smell of trash, piss, and body
odors of those approaching and around him.
CUT TO:
INT. ANDREW’S HOME KITCHEN - DAY
Amari walks into the kitchen.
JAVIER
(excited)
Amari! Where were you?
AMARI
(smiling)
I’m here now. What's up, bud, You
ready for school?
MRS. ANDREWS
Where were you?
AMARI
(sure)
I was at the shop. Customer needed
their car back for work this
morning.
Mrs. Andrews looks Amari over.
MRS. ANDREWS
(hurried)
I'll be working a double tonight.
Make sure Javier gets to school on
time.
JAVIER
Gammy? Are you going to go to take
Dad to the Zoo Day with me?
19.
MRS. ANDREWS
Oh, honey, is that today? I have to
work an extra shift.
Javier attempts to pour a second bowl of cereal; Mrs.
Andrew's moves the box away.
JAVIER
Joshua’s Dad is always there.
Gammy, you think Pa-pa would go if
he was here?
MRS. ANDREWS
Oh, for sure. Your Grandfathers
loved the zoo.
AMARI
I’ll be there.
Amari nods and gives Mrs. Andrews a reassuring smile. She
kisses Javier on the head and leaves.
JAVIER
(Dejection/Curiosity)
Amari, what is it like having a
daddy?
Amari is caught off guard by the question he pauses.
CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
9 -
The Donuts and the Dark Car
INT. FLASHBACK AMARI’S HOME AGE 8 - DAY
A young AMARI, 11 years old, sits on the worn-out couch, his
eyes fixed on the television screen. Voices and laughter
blare from the television. Amari’s face lights up with
amusement.
In the background, the muffled voices of his parents, POOKIE
(20s) and JUNE (20s), can be heard from the adjacent room,
their argument growing louder and more intense.
POOKIE (O.S.)
I can't take it anymore!
JUNE (O.S.)
This is not easy for me either!
The tension in the room mounts. Amari’s attention shifts from
the television to his parents.
POOKIE
What about Amari?
20.
JUNE
It’s not about him, he's young.
Kid's bounce back.
June abruptly enters the living room, frustration etched on
his face. He strides over to the television and forcefully
unplugs it and lifts it from the stand.
POOKIE (O.S.)
Great, really great, June
Silence and darkness surround Amari.
END FLASHBACK.
CUT BACK TO:
INT. KITCHEN - CONTINUOUS
Amari pours Javier another bowl of cereal.
AMARI
(angst)
It was okay...
(Beat)
Let's go before you're late for
school.
CUT TO:
EXT. NEIGHBORHOOD STREET - DAY
Kids walk in small groups, all heading to school, chatting
and laughing. Amari is confused that he can hear everyone's
conversation. His ears pick up the hunger rumbles in a
brother and sister's stomach.
Amari and Javier pass a small shopping center, they enter a
Shipley’s Do-Nut shop, returning a few seconds later. Amari
runs over to the brother and sister at the bus stop and hands
them a bag of donut holes.
JAVIER
You know they mama?
AMARI
No.
JAVIER
Why did you buy them donuts?
21.
AMARI
They were hungry. Always help when
you can.
Amari notices a scent in the air. Amari looks back, a black
car with dark-tinted windows is moving slowly behind them.
CUT TO:
Genres:
["Drama","Thriller","Mystery"]
Ratings
Scene
10 -
The Black Car
EXT/INT. ELEMENTARY SCHOOL - DAY
Amari walks Javier into the school, the brothers exchange
their signature handshake before Javier heads inside. Amari
watches him disappear through the school doors before turning
away.
Outside, Amari walks to the end of the block, pulls out a
cigarette blunt, and lights it. The taste quickly spoils in
his mouth, and he spits it out.
CUT TO:
EXT. CAR GARAGE SHOP - CONTINUOUS
Amari turns up the alleyway. Reid racks a bench press bar,
Grein slides out under a car sitting on a makeshift jack. The
Destroyer barks and growls at Amari.
CUT TO:
INT. GARAGE - CONTINUOUS
The Destroyer barks and growls at Amari.
REID
(slurring words)
Man, I heard they were ripped
apart. It had to be some maniac,
bro.
GREIN
(correcting)
Nah, bro, it was a trained police
dog. The owner let that bitch
loose.
Both Reid and Grein stare at Amari for answers. The Destroyer
begins to aggressively bark, Amari reaches for him, The
Destroyer whimpers and runs off into the back room.
22.
AMARI
(oddly)
I don't know shit.
REID
I heard Sid, got a hit out for
people responsible.
Amari spots a dark car sitting across the street, between the
houses. Walking toward them, A drug addict GHOST-POP (30s),
thin, pale, and filthy.
GREIN
Man, here come this broke
motherfucker.
Ghost-pop stops in his tracks, standing frozen in place.
REID
Ghost-Pop! Wake your tweaking ass
up. Do you have money or not?
GHOST-POP
(Unfrozen)
Yea, yea... I'm good.
Amari and the other men look at each other with annoyance.
AMARI
Where do you go when you tweak out?
GHOST-POP
(Unrolling money)
To another dimension!
Grein whistles, signaling someone inside a vacant house
across the alley.
GHOST-POP (CONT'D)
Can I get... Two on credit? I can
take my business to Mckay.
GREIN
Get the fuck outta here.
Ghost-pop walks off fast toward the vacant house, and a small
tray slides from under the back door. Ghost-pop takes the
small baggie from the tray and leaves.
REID
They say Mckay street doing 10gs a
week.
23.
GREIN
Fo show.
Amari watches Ghost-pop fade into the unkept brush.
Time, cars and customers move through the alley, and the
backdoor tray slides out repeatedly.
CUT TO:
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
11 -
The Day Amari Became Superhuman
INT. GARAGE - LATER
Amari works alone in the shop. Amari tosses a treat at front
of closet door. Destroyer barks inside the dark closet.
Amari reaches inside for him, the Destroyer scatters off,
toward the suspended car. The Destroyer runs over under the
car, bumping the jack.
AMARI
Hey!
The jack gives way, Amari catches the car mid fall with one
arm. He stands in shock, lifting the car un and down. Amari
restacks the car up on the jack. He looks over his hand with
amazement.
The destroyer waddles out from under the car with the treat
in his mouth and runs back into the closet.
Amari lowers the car, and slowly moves back to his chair, his
mind is racing, he mistakenly kicks the large dumbbell.
Intrigued, Amari slowly reaches for the dumbbell, grasping it
tight.
With one easy swoop, Amari lifts the dumbbell, curling the
dumbbell with one arm. He looks around at the garage, paint
can, tools, and car parts are scattered about.
AMARI (CONT'D)
Let's clean up.
With a burst of speed Amari dances around the garage
cleaning, stacking parts and tools. He flashes out the door
and back with snacks from the gas station. Returning to paint
the wall. Taking a step back, Amari looks over his work.
CUT TO:
24.
INT. HOUSTON CITY MORGUE - DAY
A cold room with a double row of Reid seats. At back of the
room is a metal door, with a Grein light bulb in cased wire,
behind the door bodies are stored and made ready for families
to identify loved ones.
At the edge of seats, Leo’s mother, DEE (40s) sits in tears.
Standing at the front of the room is SID, (50s) Dee’s older
brother, an imposing man, street gangster, his walk aided by
a cane, due to sickle cell anemia.
He's flanked by two of his large goons, TONY AND GINO (30s).
The sound of sniffles and tears is broken by the buzzing and
glow of the bright light, alerting the family that the body
is ready for viewing. Dee is to overcome with grief to move.
SID
(whispering)
Stay seated, I check on him.
Sid walks over to the door; the small slider moves left. Sid
is startled but holds his demeanor at the mauled face of Leo.
He nods at the camera and the slide closes.
Sid, painfully with the aid of the cane, walks back over to
his sister and takes her hand.
SID (CONT'D)
I’m sorry baby.
Dee belts out a loud cry, Sid motions to the young lady next
to Dee, she stands and escorts the wailing mother out of the
room.
Sid walks back over to the door, and taps on the window, the
door opens.
CUT TO:
INT. COLD ROOM
Sid and his goons stand over the body, the coroner leaves the
room, Sid pulls back the sheet, exposing Leo’s ravaged body,
the harden men are taken back.
SID
He was stupid. Maybe he even
deserved it. (beat) But he was my
little sister's son. So, whoever
did this has to pay. Who was he
with?
25.
TONY
He hangs with Rip and an alley
mechanic.
SID
(annoyed)
Rip is lying in the next room!
Who’s the mechanic?
CUT TO:
EXT. DAVISON ELEMENTARY SCHOOL-DAY
A school bus is parked at the school, surrounded by Javier
and his 4th-grade classmates, a few parents, and two
teachers. Amari races towards the group, a broad smile on his
face.
JAVIER
(excitedly)
Amari!
AMARI
(grinning)
Ready for the zoo?
The school bus doors swing open, and Javier, Amari, and the
rest of the group board the bus. With a hiss of the engine,
the bus sets off, headed for the zoo.
CUT TO:
EXT. ZOO - DAY
The group arrives at the zoo, their excitement palpable.
Among the crowd, Nikki stands at the gate awaiting their
arrival. She rushes towards them, embracing Javier and Amari.
NIKKI
(hugging Javier)
Hey there, little buddy! Ready to
see some animals?
JAVIER
Hey, Nikki.
Nikki rolls her eyes at Amari.
Amari notices the small animals watching him closely, their
curious eyes fixated on him.
26.
The group arrives at the large cat area. Lions and tigers
display aggression, hissing and growling at Amari, who
remains oblivious to their territorial warnings.
NIKKI
(supportive)
Look like they know a dog when they
smell one.
AMARI
Very funny.
Amari notices a YOUNG MAN with sunglasses following the group
and watching him closely.
The wolves move around excitedly, their scent filling the
air. Amari’s keen senses pick up on their distinct pack
scent.
Suddenly, without warning, a monkey in a nearby enclosure
throws poop at Amari, hitting his shirt. Javier and the other
kids burst into uncontrollable laughter.
JAVIER
(laughing hysterically)
You got poo on you!
Amari playfully chases Javier and Nikki, his poop-stained
shirt adding to the hilarity of the moment.
The YOUNG MAN in glasses walks up toward the wolf's den. The
wolves whimper and take submissive postures.
CUT TO:
Genres:
["Drama","Thriller","Horror"]
Ratings
Scene
12 -
Tension and Concern
INT. AMARI’S APARTMENT - NIGHT
Back at the apartment, Amari tucks Javier into bed.
JAVIER
(curiously)
Amari, if a monkey threw poop at
me, could I get a girlfriend?
AMARI
(chuckling)
Funny guy.
Amari kisses Javier goodnight before leaving the room.
CUT TO:
27.
INT. AMARI’S BEDROOM - NIGHT
Nikki rolls a pair of old dumbbells with her foot. In the
background, the weatherman talks about the super moon
happening later that night.
Nikki stares at Amari with desire and amazement as he pulls
off the stained shirt, his new muscular physique.
NIKKI
Looks like someone has been hitting
the weights.
Amari checks out his body in the mirror. He hides his shock.
AMARI
Yeah, a little. Drop me at the
garage.
NIKKI
Let's roll.
CUT TO:
EXT. REPAIR SHOP GARAGE - NIGHT
Amari and Nikki lie close together on the bed of pickup
truck, snugged together.
NIKKI
(Direct)
How long are you going to keep
risking your life for this?
AMARI
(Evading)
Nikki.
NIKKI
(Angry)
Next time, it could be your body
coming home in pieces.
AMARI
(Agitated)
I won't let that happen.
The pair sit silent, Nikki stares out the window. Amari leans
in close. Suddenly, Nikki's phone buzzes; it's an order for
Uber Eats delivery.
NIKKI
I got to go.
28.
Nikki breaks away, her expression filled with concern.
AMARI
My woman shouldn't be working like
this. Bringing food to strangers.
Nikki kisses Amari tenderly on the forehead and quickly
approaches her car.
NIKKI
Well, we know what happened last
time you tried.
SMASH CUT:
Genres:
["Drama","Romance","Action","Thriller"]
Ratings
Scene
13 -
The Werewolf's Rampage
INT. CAR DELIEVERY FLASHBACK - NIGHT
Lost, Amari speeds through the city streets, reading the
address on his phone. Unconsciously, he reaches into the
McDonald's bag, takes a handful of fries, and stuffs them in
his mouth.
Turn after turn, Amari approaches the house, drops the bag at
the door, and runs back to his car. A chubby woman opens the
door and looks inside the bag.
UBER CUSTOMER
(upset)
I know you fucking lying.
END FLASH BACK.
CUT BACK TO:
EXT. REPAIR SHOP GARAGE - NIGHT
Nikki's brake lights bend the corner. Amari turns back over
and places his airpods in his ears, glances to the night sky
and walks into the garage.
Amari falls into trans-like state, his attention off into the
night sky. The moon emerges from behind the clouds, casting
an eerie glow.
Amari’s eyes inexplicably turn light brown and Grein. He
winces in pain, his muscles spasming uncontrollably. He cries
out, the agony intensifying.
AMARI
(in pain)
Help...
29.
His body begins to transform into a werewolf. Skin stretches,
bones contort, and his body mass increases, he falls from the
truck bed to the garage floor, taking out the lights,
knocking over tool and car parts.
A neighbor step outside onto his patio, accompanied by his
barking dogs. The dogs suddenly grow silent and rush back
indoors, sensing danger.
Meanwhile, Amari writhes in pain. His face elongates, his
nose stretching into a snout. A haunting howl replaces his
human voice.
The weight of the massive creature causes the pickup truck
bed to sink. The alley echos with the deep, dark howl of the
werewolf.
CUT TO:
EXT. MS. G’S HOME - NIGHT
Ms. G in her night robe, taps a can of cat food, looking for
one of her cats.
MS. G
Baby... Baby!
The werewolf stalks her in darkness, watching her move back
and forth. Ms. G notices the werewolf’s eyes in the bushes.
MS. G (CONT'D)
Is that you baby? Come on in Mama
is getting cold.
The werewolf moves closer, startling Ms. G, her cat hisses
and jumps from the bushes, into her arms.
MS. G (CONT'D)
There you are! Let's go inside and
get you warm.
Ms. G walks back into her home holding her cat.
CUT TO:
EXT. HOUSTON DISCOVERY GREEN PARK - NIGHT
A couple, MALE (30s) and FEMALE (20s), walk hand in hand,
unaware of the danger lurking in the shadows. The street is
dimly lit, with a few flickering streetlights illuminating
their path.
30.
Suddenly, a low growl echoes through the air. The couple
glances around, their senses on high alert.
FEMALE
(nervously)
Did you hear that?
MALE
(concerned)
Let's pick up the pace.
Unbeknownst to them, the werewolf stalks from the shadows.
They round a corner, the werewolf lunges, they scream in
terror as the beast tares them apart with brutal swiftness.
CUT TO:
EXT. HERMAN PARK - NIGHT
The werewolf, snout covered in blood, prowls through the
park, its eyes glinting with a feral hunger. A JOGGER (40s)
runs along the path, unaware of the danger approaching.
The jogger feels the presence of the werewolf behind him. He
increases his speed, desperately trying to escape. The
werewolf chases the jogger relentlessly.
INT. TUNNEL - NIGHT
The jogger, breathing heavily, reaches the brightly lit
Memorial Park, Land Bridge Tunnel, hoping to find safety
within its confines. He darts inside, the sound of his
footsteps echoing through the space.
The jogger reaches the other end of the tunnel, a car
suddenly slams on its brakes, screeching to a halt. The
blinding headlights illuminate the werewolf, freezing it
momentarily and slams into the werewolf.
The car's impact sends the werewolf crashing the ground. The
jogger can driver of the car stare in amazement at the size
of the wolf.
The jogger pulls on the door handle and hops inside the car,
watching the werewolf run off into the darkness.
CUT TO:
31.
INT. TOW YARD - DAY
Amari wakes up, lying on the cold ground of a tow yard. Three
large guard dogs, keeping their distance, watch Amari’s every
move. Nude, petrified, Amari looks around, his eyes filled
with confusion and disorientation.
AMARI
(whispering to himself)
Where am I? Whoa! Good boys...
Desperate to find a way out, Amari scans through the fence.
His attention is drawn to a figure in the distance, Ghost-
Pop.
AMARI (CONT'D)
(yelling)
Hey, Ghost-Pop! Over here!
GHOST-POP
(smirking)
What are we stealing?
AMARI
(pleadingly)
I need clothes.
Ghost-Pop smirks, his eyes gleaming with mischief.
GHOST-POP
(whispering)
You're butt ass naked! What
happened to your clothes?
AMARI
Look, I need your help. And I'll
look out for you on your next trip.
GHOST-POP
(leaning closer)
Pants, huh? Okay, I can help you
with that. Three packs?
AMARI
(anxious)
Yeah, okay...
Ghost-Pop disappears into the shadows. The dogs keep their
distance and a watchful eye on Amari.
Ghost-Pop returns, a bundle of dirty pants and a shirt in his
hands.
32.
GHOST-POP
(handing over the clothes)
Here you go, just as promised.
Don't forget.
Amari quickly grabs the clothes; he turns in disgust at the
smell.
AMARI
Fuck... Where did you get --
GHOST-POP
-- No refunds or questions asked. 3
Pack.
AMARI
(grateful)
I got you.
GHOST-POP
Hey, you on that shit?
AMARI
No. Partied too much.
Ghost-Pop smirks.
GHOST-POP
Okay, good. That shit ain’t good
for you.
Amari quickly puts on the dirty pants and shirt. As he
dresses, he cautiously glances over at Ghost-Pop, and leaps
up the fence, shocking himself, and slowly climbing over.
GHOST-POP (CONT'D)
Damn...
The once-calm dogs crash the fence toward Ghost-Pop, barking
and growling. Amari runs off toward home.
CUT TO:
Genres:
["Horror","Thriller","Fantasy"]
Ratings
Scene
14 -
The Tow Yard Incident
INT. CITY STREET - DAY
Amari, disheveled, runs past a half-naked HOMELESS MAN who
cries out desperately.
NAMELESS HOMELESS MAN
My clothes!
33.
Amari, determined, continues running, trying to blend in with
the bustling city crowd. He can see his apartment in the
closing distance.
CUT TO:
EXT. APARTMENT BUILDING - DAY
Amari sneaks into the apartment building, hoping to find a
safe hiding place. He carefully makes his way through the
lobby, avoiding any suspicious glances.
Nikki, standing in the crowd, watches as the police
investigate the crime scene of a triple murder, including the
little boy shot in the back.
She notices Amari moving quickly through the back of the
parking lot.
CUT TO:
INT. AMARI’S APARTMENT BEDROOM - DAY
The floor of the room is crowded with car magazines. Small
car parts and a car bumper are spread around the room.
Amari is frantically getting undressed, frustrated and unsure
of what to say.
AMARI
(irritated)
I... I don't remember. I woke up in
a tow yard.
Nikki's concern deepens as she realizes something is off
about Amari’s behavior. Amari closes the door behind her and
starts to change clothing.
NIKKI
Nigga, you tweaking?
AMARI
(defensive)
Hold up, now you're tripping.
NIKKI
(aggressive)
I'm not the one wearing someone
else funky clothes.
AMARI
What happened in the lot?
34.
NIKKI
Some heads were stealing car parts
and got into a shootout.
AMARI
(excited)
Damn, who caught them?
NIKKI
(sincere)
Don't know. A kid was killed,
taking out the trash.
Amari pauses in thought.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
15 -
Catalytic Converter Murder
EXT. APARTMENT BUILDING PARKING LOT - DAY
Thompson investigates the gruesome crime scene, surrounded by
the little boy's grieving family and a crowd of concerned
residents. A NEWS CREW arrives, setting up their equipment to
report on the double murder.
NEWS REPORTER (V.O.)
(Reporting)
We are at the scene of a double
murder, where police are trying to
piece together the details of this
horrifying crime.
Thompson is escorting a little boy and his mom under the
crime tape.
NEWS REPORTER
Detective! Are these murders
related to the park murders?
THOMPSON
We have no indication the two are
related --
NEWS REPORTER
-- Is there a serial killer loose
in Houston?
THOMPSON
(to the crowd)
No, we do not have serial killers
on the loose.
(MORE)
35.
THOMPSON (CONT'D)
We are asking if anyone saw
anything or knows anything about
the crime to contact us at hpd.com
or the hotline number.
The residents exchange glances, hesitant to speak up. A
shaken Amari and Nikki walk up and join the crowd. Amari’s
emotions run high as he watches the coroner check under the
white sheet covering the little boy.
NEWS REPORTER
Do you know the names of the
victims?
THOMPSON
We will notify the family once we
have confirmation.
Thompson pauses as he notices Amari in the background. In
sight of everyone, the coroner lifts the arm of Bob's hand,
holding onto the catalytic converter as it slides into a
plastic bag.
RESIDENT 1
I guess they finally caught these
two.
RESIDENT 2
They got me last week. That's what
the fuck they get.
Amari watches as the man in sunglasses eats a candy sucker,
smiles, and climbs inside a dark-tinted car.
FADE TO BLACK.
Genres:
["Horror","Crime","Drama"]
Ratings
Scene
16 -
The Pit Bull's Shadow
INT. CORONER'S OFFICE - DAY
The CORONER, (60s) with a scientific demeanor, points to the
gruesome bite and rip marks on the autopsy table.
CORONER
Detective, these bite and rip marks
are consistent with the teeth of a
large canine, most likely a dog or
a bear. The force and pattern of
the injuries indicate a vicious
attack.
The door swings open, revealing a stunning woman, DETECTIVE
CHELL REEVES (30s).
36.
She stands tall, dark-haired, confident, with a large belt
buckle and cowboy boots. Accompanying her is the CHIEF OF
POLICE, a hardened, thin woman in her 50s.
CHIEF OF POLICE
Thompson, I'd like you to meet
Detective Chell Reeves from
Arizona. She has a background in
veterinary education and
specializes in animal attacks.
THOMPSON
(whispering to the Chief)
This is my case. The community
respects me.
Reeves offers a reassuring smile.
REEVES
(confidently)
I have closed five mauling cases,
two within 36 hours, and even
tracked down the culprit
responsible for three deaths caused
by a drug induced bear. I'm
confident I can assist in this
investigation.
The Chief nods in agreement, acknowledging Reeves' impressive
track record.
CHIEF OF POLICE
(grinning)
She's perfect for the case,
Thompson. Work closely with her and
utilize her expertise.
REEVES
So, do you have any leads,
Detective?
CUT TO:
EXT. LEO’S HOUSE - DAY
Amari arrives at the house, where grieving family members
stand around mourning. He nervously walks up to Sid and two
of his goons coming out of the house.
TONY
(whispering)
The alley mechanic. Amari.
37.
SID
I know him, June’s boy. His dad was
cold with a screwdriver, he could
tilt a ride in under 5 seconds,
before he offed himself.
Sid holds the leash of his large dog named Sable, a muscular
breed with gray and black fur, her face and paws covered with
scars.
Sable squats backward, pulling back on the chain; Sid hands
it off to a goon.
AMARI
Sorry about Leo.
Sid hugs Amari tight.
SID
You good?
AMARI
Yeah.
SID
Come by the bar later.
AMARI
Okay, I will.
Sable watches Amari closely, growling.
CUT TO:
INT. FUNERAL HOME - DAY
Amari sits in the funeral home, surrounded by Leo’s family.
Reid and Grein sit next to him.
REID
(whispering)
I heard his body is being held
together by ropes.
GREIN
Had to be a pit.
REID
Oh, yeah. Someone broke into the
garage and trashed it. We believe
it was Ghost-Pop --
38.
GREIN
-- We got it, though. Nothing was
missing.
REID
Only a pit could do that type of
damage.
Amari’s attention is abruptly snatched away. He turns around
and locks eyes with the YOUNG MAN in sunglasses, smiling at
him.
Amari quickly looks away, Leo’s Mother screams, the casket is
closed. He turns back, but the young man is gone.
CUT TO:
EXT. FUNERAL HOME - DAY
Outside, his senses on high alert. He looks around, feeling
the presence of Leo's family behind him, but his focus
remains on the man who disappeared.
The family starts to come out of the funeral, their grief is
evident.
CUT TO:
INT. URBAN CLUB - NIGHT
The club is alive with music and partygoers enjoying
themselves.
Amari makes his way through the crowd, charmingly greeting
the bartender and playfully blowing a kiss to the scantily
dressed barmaid.
BARMAID
Hey, Amari.
He reaches the back of the club, where a large bouncer
extends his hand for a shake.
Amari obliges before entering an office. Sid sits on the edge
of his large desk, and another BODYGUARD/HITMAN BOONE (40s)
occupies a chair in the corner.
Sid greets Amari with a firm hug.
SID
Damn Sickle cell wants my sanity.
39.
AMARI
I can come back.
SID
No. No. We’re good How was the
funeral? Regretfully, I couldn't
make it, had a prior business
meeting. My sister understands.
Amari nods.
AMARI
It's been tough. But we get through
it.
SID
I’ve always seen myself as kind of
a father to you youngsters.
Amari eyes look off toward Boone.
SID (CONT'D)
I was kind of pushed into the role,
you know?
Sid motions for Amari to walk with him and opens a secret
door, leading them into a loud room filled with women and men
playing cards, and throwing dice.
SID (CONT'D)
So, tell me, what happened that
night? You woke up in the hospital,
right?
Amari struggles to recall.
AMARI
Honestly, Sid, I can't remember
much. I don't know how I got there.
Sid pretends to believe him, while leading him to an adjacent
building. His fragile body is more evident in his struggle to
stay ahead. They enter a large, padded room where a brutal
dogfight is taking place.
Men and women excitedly bet and cheer on the dogs. Sid,
Amari, and Boone walk past the ring, observing Sable locked
in a ferocious battle with a Cane Corso.
SID
Shit, that fool already lost. Sable
is undefeated in 25 matches.
40.
AMARI
How long have you had her?
SID
Since she was a pup. Trained and
fed her myself. Yeah, that's the
only unconditional love for a man.
Through the window the fantastic night sky reveals the
emergence of the supermoon from behind the clouds. A dark-
tinted car pulls up and parks just across from a group of
people standing outside the bar.
Boone forcefully slams Amari into a row of lockers. Sid's
tone turns serious.
SID (CONT'D)
Tell me, Amari. How did you get
away when the others, including my
nephew, didn't?
Terrified, Amari stammers. Sid slashes his face with the gold
handle of his cane, blood gushes from Amari’s cheeks.
AMARI
(scared)
I swear, Sid, I don’t know.
Boone, fueled by anger, lifts Amari by his neck, choking him.
Sid intervenes, stopping Boone's violent act. Gasping for
air, Amari manages to speak.
AMARI (CONT'D)
I didn't say anything to the
police.
SID
Who said anything about police?
Sid pats Amari on the back, accepting his answer. He signals
Boone to open a cage, revealing three large, hungry pit
bulls.
AMARI
(pleading)
Please, Sid! I'm telling the truth!
SID
Okay... Okay.
SMASH CUT TO:
41.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
17 -
Werewolf Rampage
EXT. BAR - CONTINUOUS
MATEO (19) exits his car, his eyes focus up on the moon.
MATEO (YOUNG MAN)
Show time.
CUT BACK TO:
INT. LOCKER ROOM - CONTINUOUS
The moon light emerges from the clouds through a nearby
window, casting an eerie glow over the scene.
SID
I believe him. Let them bitches
eat.
Sid leaves the room, Boone eagerly loosens the chains,
relishing in Amari’s fear. The dog's inch closer, and Amari
drops to his knees in excruciating pain, a dog bites into his
leg. He screams in agony; his body convulses and twitches.
AMARI
It wasn’t my fault!
The dogs' barking slows, sensing the transformation taking
place.
BOONE
Eat motherfucker, eat!
AMARI
No... No!
Amari’s muscles spasm. His bones stretch and break. Hair
forcefully bursts through his skin, and blood vessels rupture
in his eyes and hands.
BOONE
You got to go out the same way,
kid.
His body tears through his clothing, revealing a fully
transformed, massive werewolf.
The dogs break away from Boone, pile into each other running
to the exit. Fear shimmers in Boone's eyes. Amari, now large
werewolf, prowls before them.
42.
BOONE (CONT'D)
What the fuck.
CUT TO:
EXT. URBAN CLUB - CONTINUOUS
Mateo heads quickly toward the back of the bar, he is
changing on the run into a large brown and black werewolf.
INT. LOCKER ROOM - CONTINUOUS
The werewolf rips into the dogs. Boone runs to a dark room
area, pulls out his gun, sending rounds booming toward the
werewolf.
Boone screams, meat and bones are torn from his body. The
werewolf eats into him.
Outside the room, Sid turns in disgust at the gunshots.
SID
I told him to let the dogs have
him.
The dogs slam and claw at the door from the inside. The door
opens, and the dogs run out in fear.
Sid looks on in shock as the giant werewolf emerges from the
darkness. Chaos ensues, and the gamblers begin running for
the exit.
The room is filled with an intense atmosphere. A crowd of
people lines the fighting ring. The cage door swings open,
and terrified dogs bolt past Sid, yelping in fear.
SID (CONT'D)
God-damn it.
Out of the darkness, a towering, menacing werewolf emerges.
Its eyes glow with an otherworldly intensity. Panic spreads
like wildfire through the crowd. People scramble to escape.
Chaos ensues, the frenzied crowd knocks over the tables.
Glass drinks shatter on the floor. They trample over each
other in their desperate attempt to reach the exits.
The werewolf growls ferociously, snapping at anyone who
crosses its path. The casino and bar devolve into a scene of
utter pandemonium.
43.
PANICKED PARTYGOERS scream for help, their faces filled with
terror. A desperate man's voice calls out for a weapon,
drowned out by the cacophony of screams and crashing objects.
BARMAID
Wolf!
PARTYGOER MALE
They're fighting wolves back there.
My money is on the Bully.
The rear door of the bar flings open, and a flood of people
pour out into the night, gasping for breath and shaking with
adrenaline.
Partygoer's escape to safety, the werewolf emerges from the
darkness of the alley, his massive frame commanding the room.
The werewolf enters the fighting area, he is circling the
rink, eyeing the Amari-werewolf on the other side.
PARTYGOER MALE (CONT'D)
Someone shoot it!
An intense standoff unfolds. They cautiously approach each
other, their powerful bodies ready to strike. They sniff the
air.
The werewolves lock eyes, their primal instincts pulsating
through the air. the werewolves bolt towards the rear door.
They vanish into the night, leaving behind a scene of
devastation and the stunned survivors who watch in disbelief.
CUT TO:
Genres:
["Horror","Thriller","Action"]
Ratings
Scene
18 -
The Glowing Eyes
EXT. CHAOTIC PARTY SCENE - NIGHT
Partygoers scatter in panic, their faces etched with fear and
confusion. Emergency lights flash. the air is thick with
sirens and panic.
FIREFIGHTERS and EMERGENCY TECHS work frantically to tend to
the injured partygoers, some of whom are being carried away
on stretchers.
A police officer is speaking with a group of shaken
PARTYGOERS huddled together.
44.
REEVES
(Urgent)
Can anyone describe the dog or it’s
owner? We need as much information
as possible.
PARTYGOER #1
It was huge! It's larger than any
dog I've ever seen. Its eyes...
they were glowing.
PARTYGOER #2
It moved so fast, like a blur. I've
never been so scared in my life.
Thompson has Sid off to the side.
SID
(defensive)
I don't know anything about a dog
ring! This is a legitimate
establishment.
THOMPSON
(sternly)
We have witnesses who saw a
sizeable wolf-like dog.
SID
Wolf? Like some Twilight shit?
There are no wolves in Houston.
Sid hesitates, his eyes darting around the chaotic scene.
Suddenly, the EMERGENCY TECHS carry BOONE'S MAULED BODY past
Thompson, bloodied and lifeless. The Detective's gaze follows
them, his expression grim.
THOMPSON
What do you think?
REEVES
First thought. Maybe a rival gang
rolls through and shoots up the
wake? The second one of the dogs
turned, and it led to panic.
THOMPSON
It's always the easy answer with
these people. Maybe even both.
Amid the chaos, a pack of DOGS races past the scene,
startling Sid. He quickly goes to a nearby SUV and gets
inside, seeking refuge.
45.
Thompson watches Sid retreat, his eyes filled with suspicion.
He knows there's more to this story than Sid is letting on.
THOMPSON (CONT'D)
(muttering to himself)
Wolf...
Thompson turns away, his focus returning to the scene of
chaos as he continues his investigation.
FADE OUT.
Genres:
["Mystery","Thriller","Horror"]
Ratings
Scene
19 -
Awakening in the Wolf's Den
INT. KESSLER LUXURIOUS HOME BEDROOM - MORNING
Amari jolts awake, his heart pounding in his chest. He finds
himself in a lavish, unfamiliar bedroom. Panic sets in, and
he sits up quickly. The door slowly opens, and Mateo enters
the room.
MATEO
(softly)
Hey, it's alright. You're safe
here.
Amari’s eyes meet Mateo's, filled with fear and confusion.
AMARI
(frantically)
Where am I?
Mateo approaches Amari.
MATEO
(relaxing)
Amari. You had quite a night.
AMARI
Where the fuck am I? I swear if you
mother fuckers are on some Bill
Cosby shit.
MATEO
Okay...
Mateo steadies his breathing, and his eyes turn light animal
brown. Brutal, intense, and painful, Mateo transforms into
his werewolf form.
AMARI
(shocked)
What the fuck!
46.
Mateo turns back, his human body contorting back. Amari
watches with amazement. Mateo pulls a robe from the door
hook.
MATEO
If you want to know more about what
you are? Follow me.
Mateo guides Amari out of the bedroom, leading him through
the expansive and luxurious home. They arrive in the bright
and spacious kitchen, where a large, fit man with a strong
beard cooks breakfast.
Mateo sits at the counter. The man slides a breakfast plate
to Mateo and a second to Amari. Amari reluctantly takes a
seat.
The man turns, it's Kessler.
KESSLER
(gently)
Good morning, Amari. Mateo, what's
rule 2?
MATEO
(annoyed)
He was freaking out! No
transforming inside the house --
Amari’s eyes widen. Memories from the car theft murders flash
through his mind. Kessler's face turns werewolf.
AMARI
(revelation)
-- You.
Mateo nods, confirming Amari’s realization.
KESSLER
(sincerely)
Yes, that was me.
Amari’s uneasiness begins to subside, curiosity replaces it.
AMARI
(whispering)
Werewolf... You were the Wolf. You
killed Leo.
Mateo eats away at the half-cooked bacon in front of him.
MATEO
(nodding)
They shot him first --
47.
-- Kessler darts a sharp look toward Mateo.
KESSLER
I wish things had turned out
differently.
Amari stands at the table, processing the revelations.
AMARI
This is crazy. How?
KESSLER
I'll explain things from the
beginning.
Kessler and Amari walk through the large home. A hallway is
lined with framed photos of Kessler with Presidents, the
British Royal family, and different figures spanning
centuries.
AMARI
How old are you?
KESSLER
A little over 300 years.
AMARI
(curious)
If werewolves exist, what else is
out there? Are vampires real?
Mateo, with a smirk, answers Amari’s question.
MATEO
(chuckles)
We got the Lizard people, Big-foot,
Biters, Royal Guards --
KESSLER
-- My journey started many moons
back.
CUT TO:
Genres:
["Horror","Fantasy","Action","Mystery"]
Ratings
Scene
20 -
The Curse of the Werewolf
INT. FLASHBACK LATE 1700S LONDON PRISON - DAY
Inside a damp, dimly lit London prison, terrified INMATES
scream for the guard. The haunting werewolf howls echo from
the basement.
48.
KESSLER (V.O.)
(narrating)
The strength of a werewolf is
unmatched. A creature of immense
power and speed. Its existence is
shrouded in mystery and fear.
INMATE #1
(panicked)
Help! It's got me! Someone, do
something!
INMATE #2
(screaming)
We're all going to die! It's a
cursed beast!
After the chaos dies, one prisoner is unharmed, causing
whispers of the curse and a werewolf to ripple through the
inmates.
INMATE #1
(laughing)
The wolf has marked you!
KESSLER (V.O.)
(narrating)
My maker's name was Bazel.
BAZEL (60s), desperate not to kill again, pleads with the
other inmates.
BAZEL
(desperate)
Blind me! Please! If I can't see, I
won't be a threat to any of you!
Four inmates hold the Bazel down, another inmate thrusts a
makeshift blade into his eyes, removing his eyeballs.
Bazel is released due to his blindness, leaving the prisoners
standing in silence.
CUT TO:
EXT. FLASHBACK BARCELONA SMALL TOWN - DAY
KESSLER (V.O.)
(narrating)
Our aging is slowed. Our limbs and
eyes can grow back, as in the case
of Bazel.
(MORE)
49.
KESSLER (V.O.) (CONT'D)
We can only be killed by silver in
the heart or decapitation.
Homeless and alone, the Bazel visits a small restaurant,
begging for raw food to satisfy his primal hunger.
The OWNER, (40s) a crude, large woman, storms in.
OWNER
(angry)
You reek! We don't serve your kind
here!
She grabs Bazel by the arm, escorting him out the tavern.
The Owner turns her attention to a YOUNG KESSLER, (18)
berating him for allowing the beggar inside.
OWNER (CONT'D)
(scolding)
You useless boy! Go tend to the
shed now!
The woman forces Kessler into the back room.
OWNER (CONT'D)
(slyly)
Your mother is due. You know what I
want, to stop it.
The Owner leads Kessler into the rear of the storage room,
pulls down his pants, smiles, turns, and bends herself over a
barrel. Kessler approaches her slowly, his face in disgust.
Outside the window a pair of yellow eyes, follow the pair.
Before Kessler can proceed, a giant werewolf walks into the
barn from behind.
KESSLER (V.O.)
(narrating)
Our speed is unmatched, allowing us
to strike with lightning-fast
precision.
The werewolf swipes Kessler back, knocking him into a pile of
barrels. He slowly stalks the woman. She screams in terror.
The werewolf begins to tear her body to shreds.
Men from the tavern rush in, stabbing the wolf with
pitchforks and machetes; one large man cuts the wolf's head
off with an axe.
50.
The men look over the werewolf’s body as it changes back into
the old man. Their eyes peel in fear as Kessler climbs out of
the pile of rubble.
Kessler survives but is now cursed with the same affliction.
That night, his mother sneaks him out of the tavern; in pain
from his wounds, Kessler is stowed away aboard a boat to
America.
CUT BACK TO:
Genres:
["Horror","Fantasy","Drama"]
Ratings
Scene
21 -
The Hyper Metabolism Revelation and a Grandmother's Protection
INT. PRESENT KESSLER'S HOME CHANGE ROOM - DAY
Amari sits in awe, struggling to comprehend the astonishing
tale that Kessler has just revealed.
AMARI
(astonished)
I pay the rent at my grandmother’s
as well. (Beat) What happened to
you, Mateo?
MATEO
Hey! I'm a rescue --
KESSLER
-- We have a hyper metabolism.
You'll need to control your
feeding, as your appetite will
change.
AMARI
(in disbelief)
Shit! I ate Boone.
MATEO
Yeah, you did.
AMARI
(nervously)
What are Royal Guards?
MATEO
Shapeshifters.
CUT TO:
INT. AMARI’S APARTMENT LIVING ROOM - DAY
A knock at the door.
51.
Mrs. Andrews makes her way to the door, leaning on her cane
for support.
Over Reeves shoulder, Mrs. Andrews sees Thompson comforting
the grieving Grandmother of the murdered little boy across
the parking lot. A look of empathy crosses her face.
MRS. ANDREWS
How can I help you?
REEVES
We're asking if anyone has seen
anything last night that may help
us locate the person or persons
responsible for that baby's death.
MRS. ANDREWS
We don't know anything.
REEVES
What about your boys?
MRS. ANDREWS
No, Javier was in bed because he
had school the next day.
REEVES
I believe I met him. What about
your other son?
MRS. ANDREWS
What?
REEVES
Your other grandson, you told me
that the younger one was asleep for
school. So, the other is out of
school but living with you.
Mrs. Andrews hesitates, her eyes filled with worry.
MRS. ANDREWS
(weary)
He's not home right now.
REEVES
(curious)
Do you know where he is?
MRS. ANDREWS
(uncertain)
He'll be home when he's ready.
52.
REEVES
What's his age and name?
MRS. ANDREWS
Amari, 20.
REEVES
(persistent)
That's not a boy, he's a man. Is he
involved in any gang activity?
Before Mrs. Andrews can answer, Thompson calls for Reeves to
join him at the car.
THOMPSON
Reeves!
Mrs. Andrews closes the door as Reeves turns her head.
CUT TO:
Genres:
["Horror","Mystery","Thriller"]
Ratings
Scene
22 -
Amari's Struggle and Family's Worry
INT/EXT. KESSLER’S HOME - NIGHT
AMARI
How do I control it?
MATEO
Lots of practice.
KESSLER
You should stay here until you've
learned to control your turn.
AMARI
I can't stay, my brother and
grandmother depend on me.
MATEO
Depend on you, not to eat them.
KESSLER
I highly advise you stay at least
for the next three days, allow
Mateo to work with you. Learn to
control your hunger.
AMARI
I should call.
Mateo hands Amari a phone.
CUT TO:
53.
INT. ANDREW’S HOME LIVING ROOM - DAY
MRS. ANDREWS
Amari, where are you? I've been
calling you. Nikki is out looking
for you.
AMARI V.O.
I'm sorry grandma. I was asked to
accompany a car expo for a couple
of days. I will be back in a day or
so.
MRS. ANDREWS
Your brother spent the night
waiting by the door.
AMARI V.O.
I will call Nikki, ask her to help.
I have to go; tell Javier I love
him, and I'll be back home soon.
Mrs. Andrew takes a seat at the kitchen table, softly ending
the call. Javier walks into the kitchen.
JAVIER
Was that Amari?
Javier turns back to Mrs. Andrew.
CUT TO:
TRAINING AROUND HOUSTON - MONTANGE
PRE-LAP: MILLION DOLLAR BABY VHS TOMMY RICHMAN
Amari and Mateo sit across from each other on floor mats.
Mateo transforms into a werewolf, Amari sweating through his
shirt, unable to change on command.
SMASH CUT TO:
Genres:
["Horror","Fantasy","Action","Drama"]
Ratings
Scene
23 -
The Vigilante's Shadow
INT. CITY STREET - NIGHT
Amari and Mateo wearing his shiesty mask, walk the
neighborhood, they watch elderly woman attempting to get in
her car, when a criminal runs up on her quickly, struggling
for her car keys.
54.
Mateo lunges at the criminal, effortlessly throwing him out
of the car. The criminal scrambles to his feet and runs away
in fear. The elderly woman falls to the ground, unconscious.
SMASH CUT TO:
INT. KESSLER'S TRAINING AREA - DAY
Mateo and Amari bench press over 400 pounds of weight,
curling barbells.
SMASH CUT TO:
INT. CONVENIENCE STORE - DAY
A ROBBER (20s) brandishes a gun, demanding money from the
frightened cashier. Amari burst into the store.
The robber hesitates, stunned by their presence. Amari, moves
swiftly, but the gun goes off, blowing out the beverage
bottles in the store. Amari disarms the robber and knocks him
out cold, smiling toward Mateo.
SMASH CUT TO:
INT. KESSLER'S TRAINING AREA - NIGHT
Amari sits across from Mateo; his eyes flash open bright
yellow. His body contorts on command, turning into a
werewolf. Mateo nods with approval.
They race each other on the treadmill, until smoke billows
from the track.
SMASH CUT TO:
EXT. RESIDENTIAL STREET - AFTERNOON
A group of YOUNG KIDS (8-12) play innocently in their yard
when a car speeds by, opening fire in a drive-by shooting.
Amari, alert and protective, leaps in front of the children.
Amari and Mateo shield the kids, his body taking the brunt of
the bullets.
CUT TO:
55.
INT. TRAP HOUSE - NIGHT
Three drug addicts nod off on the floor and sofa. Amari moves
quickly to the stairs.
Loud music covers the wood rotten staircase. At the top of
the stairs a man turns the corner. Amari and the man stare at
each other.
The man attempts to pull his gun. In a flash Amari slams the
man into the wall. Two young men, run out from the adjacent
room with their weapons drawn.
The lights go out, Reid beams from the gun sights sweep the
room. Amari growls, his eyes pop open, glowing brown, his
canines show as his face elongates to the snout of a
werewolf. The beams glow over his face.
DRUG DEALER
Shit!
The room erupts in gunfire. Amari explodes around the room
ripping into the men. The guns fall to the floor, the beam
highlighting the dead man's face.
Amari flicks on the lights in one of the rooms. On a table
are bundles of money. Amari snatches a blue backpack from the
floor.
CUT TO:
INT. CONVENIENCE STORE - LATER
The police and a local new crew are on the scene of the
attempted robbery. A female REPORTER (20s) interviews the
hostile store OWNER (50s).
FEMALE REPOTER
The owner of the convenience store
has some choice words for the man
who destroyed his store.
STORE OWNER
This is ridiculous, who's going to
pay for the damages. The robbers
normally just take a couple hundred
and leave. Now this vigilante
interferes and destroys my store.
FEMALE REPOTER
Police say the same masked man,
knocked a woman unconscious during
an attempted carjacking.
(MORE)
56.
FEMALE REPOTER (CONT'D)
Authorities are uncertain why who
the mask man is and what his motive
is. A triple homicide on the east
side had authorities searching for
answers and another mother left
with questions.
SMASH CUT TO:
EXT. TRAP HOUSE - NIGHT
The mourning of a mother's tortured heart cascades through
the neighborhood.
DRUG DEALER MOTHER
They killed my baby.
CUT TO:
EXT. HOUSTON PARK - DAY
Detectives Thompson and Reeves carefully make their way
through the murder scene. Reeves leans down over a paw print.
REEVES
This is definitely a large wolf
print.
THOMPSON
(confused)
How can you be so sure?
REEVES
(confident)
Based on the depth and size of the
imprint. Dogs have larger middle
toes. All wolf toes are the same
size.
Reeves covertly pockets a mysterious canine tooth, concealing
it from Thompson.
THOMPSON
I didn't know either had toes. Can
wolves be trained?
Thompson's confusion turns into concern.
REEVES
(amused)
No, Thompson. They're not pets, no
matter what TikTok tells you.
57.
Thompson takes a moment before responding.
REEVES (CONT'D)
I was sure the little boy's death
would turn up something.
THOMPSON
(grimly)
There used to be a code, no women,
children, working man. But, now
snitching could get you killed.
Reeves combs over the prints, her eyes stop on small thin
strings of hair in the grass.
REEVES
You have a family?
THOMPSON
(beat)
Never been the family type.
REEVES
Don’t tell me, childhood trauma?
THOMPSON
(annoyed)
You're true to your nature. How
about you? Husband, kids?
REEVES
(direct)
No, I’m a rolling stone.
Thompson pauses at her revelation.
REEVES (CONT'D)
I’m sure you’re a good enough
detective to figure that out.
THOMPSON
None of my business really.
REEVES
I thought new partners had to have
dinner with the family, meet the
kids.
THOMPSON
I prefer to keep my private life
private.
REEVES
Okay, I get it. You're gay.
58.
Thompson stares at her, annoyed and tired.
THOMPSON
Can we concentrate on the case?
REEVES
(perturbed)
Okay... I’m just thrown off by a
grandmother not wanting to make it
safe for her grandsons.
Thompson looks at Reeves intently.
THOMPSON
(interested)
What's the kid's name?
REEVES
(thinking)
Not sure, Andrews... She wasn’t
forthcoming.
Thompson's eyes widen with intrigue, the detectives head
toward the car.
THOMPSON
(determined)
Let's go.
CUT TO:
INT. AMARI'S BEDROOM - CONTINUOUS
Amari enters through the window, from the corner Mateo eyes
glow in the dark.
MATEO
I can smell the blood under your
fingers.
Amari stuffs the bag in a hidden broken piece of closet wall.
He turns on the light switch.
MATEO (CONT'D)
Who were they?
Amari changes his shirt.
CUT TO:
59.
INT. LIVING ROOM - CONTINUOUS
Mrs. Andrew's watches the news cast on the vigilante, her
attention turns to the light from under Amari's bedroom door.
She peeks down the hall; Javier is engulfed in his video
game, her eyes shift back as the shadow moves inside the
room.
Mrs. Andrews quickly opens the door.
MRS. ANDREWS
(startled)
What are you doing in here?
Mateo looks up dumbfounded from the bed.
MATEO
Uh.
Amari steps from behind the door.
AMARI
He's with me.
CUT TO:
INT. KITCHEN - MOMENTS LATER
Amari and Mateo scarf down bowls of spaghetti. Javier looks
on astonished.
MRS. ANDREWS
The police are looking for a masked
man for attacking kids and tried to
carjack a woman.
AMARI
Maybe he was trying to help?
JAVIER
(at Mateo)
Are you even breathing?
Mateo pauses and continues to eat.
AMARI
I'm going out of town for a few
days. There's a car show that pays
very well for onsite mechanics.
Once the fair is over, I'll be back
home.
60.
Mrs. Andrews pours Mateo another bowl of spaghetti, looks
over to Amari.
MRS. ANDREWS
(accepting)
Mateo are you enamored with the
gear torque of an alternator as
well?
Mateo is caught off guard, he smiles with a mouth full of
food.
AMARI
I spoke with Nikki; she will drop
Javier off at school.
JAVIER
Yes!
CUT TO:
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
25 -
Sid's Fury
INT. SID’S OFFICE - CONTINUOUS
Sid’s nurse rubs soothing cream on his hands, and neck. The
nurse gives him a drink and pain pills.
NURSE
Are the pills working or do we need
to increase the dose?
SID
Increase it.
NURSE
You know you’re one of the lucky
ones, normally this disease reduces
a person in their teens.
Sid downs the pills without the water.
SID
I feel cursed. (to the Nurse) Leave
me.
The conversation is interrupted by a hard knock on the door.
SID (CONT'D)
Come in.
HAM (30s) heavyset and loud squeezes into the room, passing
the nurse on her way out.
61.
TONY
All the hounds are down and dropped
in the pit.
SID
(Thinking)
Good... Good...
GINO
What about Sable? Do you want me to
put her down now?
The room falls silent.
SID
No word on the kid?
TONY
Nothing yet; we've been sitting on
the apartment for days now.
SID
Stay on it.
TONY
12 is also watching the place.
They're running daily patrols of
the area.
SID
He must know something about the
wolf.
HAM
Wolf? Boss. Don't tell me, you're
starting to believe this werewolf
bullshit as well --
-- Sid suddenly slams his cane into Ham's head, furiously
beating him over and over.
Tony and Gino try to pull him off, but Sid is filled with
rage, he continues to bludgeon Ham, until he's unresponsive
and twitching.
SID
(exhausted)
Motherfucker... Did I tell you what
I think. Did I!
Ham gasps for air, Sid wipes down his cane and stares through
the two-way glass, on the other side of the glass, Nikki is
delivering food.
62.
SID (CONT'D)
Let's flush him out. Yeah... That's
how we hunt.
Sid takes a towel, wipes blood from his hands, and adjusts
his clothing.
SID (CONT'D)
Drop this motherfucker in the pit.
Sid walks out of the office and
down the long hallway.
CUT TO:
Genres:
["Crime","Thriller","Horror"]
Ratings
Scene
26 -
A Cold-Blooded Act and a Prank Gone Wrong
INT. CAGE ROOM - NIGHT
Sid enters the cage room. Sable steps out and meets his gaze.
SID
How's my girl?
He gently rubs the scars on her face and head.
SID (CONT'D)
(Softly)
You're not the alpha anymore, baby.
Sid pulls his gun from his waist, Sable whimpers. A single
tear falls from Sid's eye. He pulls the trigger. The gunshot
echoes through the building.
Sid slowly and painfully carries Sable’s lifeless body over
to the pit, a large hole in the back of the warehouse floor.
Sid looks over into the endless abyss.
He kisses Sable's cheek and lets her slip away, he waits but
nothing comes back, not even a sound. With tears in his eyes,
he stares at the claw scratches on the wall.
A low buzzing from under the lockers grabs his attention, Sid
leans down, and pulls out Amari's phone.
CUT TO:
INT. POLICE STATION RECORDS ROOM - DAY
Thompson combs through the files. He pulls out Amari’s
record.
THOMPSON
(excited)
Amari Andrews.
(MORE)
63.
THOMPSON (CONT'D)
He was present the night of the
home invasion murders. He's known
to frequent the bar where the
shootings happened. And now, the
third murder is near his apartment.
REEVES
Okay, I’m listening.
He opens Amari’s family files.
THOMPSON
Amari’s father accidently killed
the boy's mother in an argument.
She pulled him, he pushed her, she
fell, hit her head and never got
up. He later hung himself in
prison.
REEVES
(Sarcastically)
Storybook family.
THOMPSON
(excited)
He was 8. So, he knows murder. He's
also known to frequent the bar
where the shootings happened. And
now, the third murder is near his
apartment.
REEVES
(nodding)
We need to find him. We could put a
car outside the apartment.
Thompson nods in agreement and leaves the records room. A
voice calls out to him.
STAFF OFFICER
Thompson!
The officer points to the copy room.
STAFF OFFICER (CONT'D)
You have a forensic sketch coming
in on copier 2.
Thompson looks to Reeves.
THOMPSON
Did you order a sketch?
64.
REEVES
(wary)
No.
Reeves looks around at the faces of the officers, who seem
too quiet. Thompson stands over the copier, the fax begins to
come through.
Thompson waits with anticipation; his eyes widen with
expectation as the face begins to appear.
The printing ends and Thompson snatches it from the copier.
His excitement and expectations die quickly. He balls the
paper up.
STAFF OFFICER
(laughing)
He was last seen wearing a
letterman jacket and Nikes.
The office erupts in laughter. Thompson tosses the paper in
the trash, grabs his jacket and heads toward the door.
Reeves picks the paper from the trash, unrolls a picture of
MICHAEL J FOX - TEEN WOLF.
CUT TO:
Genres:
["Horror","Thriller","Crime","Drama"]
Ratings
Scene
27 -
Fire, Transformation, and the Cure
INT. MAKESHIFT CAR REPAIR GARAGE - NIGHT
Gino and Tony storm into the garage, their expressions
hardened and determined.
GINO
(gruffly)
Where's Amari?
GREIN
(defiantly)
Don't know!
Tony takes Grein by the collar, shoving him against a stack
of tires. Reid tries to intervene, but Gino swiftly punches
him across the face, sending him crashing into a workbench.
Gino’s bracelet snaps, sending a piece into the floorboards.
The goons begin to beat the brothers relentlessly. Tony pulls
the beaten body of Grein close to him, pulls his knife from
his pocket.
GINO
Where is your homeboy?
65.
REID
(bloody)
We don’t fucking know.
TONY
(hateful)
You motherfuckers think yawl so
cute.
Tony digs his knife into Grein’s eyeball. Grein’s screams
fill his brother's heart with pain.
Gino kicks over a gas can. The flammable liquid pours out. He
tosses a lit match onto the gasoline-soaked ground, igniting
a fiery path towards Reid and Grein.
The flames dance menacingly, casting flickering shadows
across the beaten brothers.
Gino and Tony exit the garage, leaving the brothers trapped
amidst the encroaching inferno. The brothers take hold of
each other. They struggle to their feet, searching through
the flames for an escape.
CUT TO:
INT. OCEANS BAR - NIGHT
The bar is nearly empty. The bar tender sits a shot glass
down and pours a full glass of whiskey.
REEVES
I’ll take one.
Reeves takes a seat next to a frustrated Thompson.
REEVES (CONT'D)
You know it comes with the job.
Thompson gives her a short look and chucks down the shot of
whiskey.
REEVES (CONT'D)
Okay, maybe a break, get a release.
THOMPSON
(Irritated)
Is this simulated... Maybe I’m the
only one that doesn’t know what’s
going on.
66.
REEVES
(suspicious)
What do you mean?
Thompson downs his shot and taps for another.
THOMPSON
This is bullshit. Citizens won’t
help each other; our own team
thinks it a joke.
The bartender pours both officers a drink.
THOMPSON (CONT'D)
Well, this is my journeys end.
REEVES
Have another drink on me, and in
the morning, we get a fresh start.
In the meantime, I’ll step into the
lady's room.
Reeves leaves the bar, while Thompson takes another drink.
CUT TO:
INT. BAR MEN'S BATHROOM - CONTINUOUS
Reeves enters the stall, inside she transforms into a tall,
thin handsome man.
CUT TO:
EXT. BAR LADIES ROOM - CONTINUOUS
Reeves (Jackson) walks out from the men's room, takes a seat
at the end of the bar and trades flirting smiles with
Thompson.
SMASH CUT:
INT. BEDROOM THOMPSON’S HOME - CONTINUOUS
Thompson and Reeves (Jackson) roll in each other's arms,
kissing.
CUT TO:
67.
EXT/INT. BARNES & NOBLE BOOK STORE - DAY
Sid pauses for the door to open, his body in crisis, his
swollen hand tightly grips his cane, his painful limp even
more noticeable. Pain from the sickle cell anemia rifles
through his legs with each step.
CUT TO:
INT. SUV BACKSEAT - DAY
The driver adjusts his eyes forwards when Sid stares back
through the glass.
The book's titled The Truth About Lycanthropy. Sid turns the
pages slowly. The SUV rolls through the Houston streets. Sid
pauses and reads the passage.
SID
(Sotto)
After the first transformation, new
Werewolves bodies are healed of all
diseases. They have superhuman
strength and abilities.
Sid stares out the window, a newfound hope of relieving
himself of the crippling disease by becoming a werewolf. His
heart and eyes match the movements of kids running through a
playground and playing basketball.
CUT TO:
Genres:
["Thriller","Crime","Mystery","Horror"]
Ratings
Scene
28 -
Haunted by the Past
EXT. RANCH - DAY
Mateo and Amari stand on the edge of a cliff overlooking a
breathtaking lake. The sun shines brightly, casting a golden
glow over the scene.
MATEO
(excited)
The biggest splash wins!
They both take a deep breath and dive off the cliff, their
bodies slicing through the air and plunging into the crystal-
clear water below.
CUT TO:
68.
EXT. ATLANTA GEORGIA WOODS - DAY
Mateo and Amari, now in their werewolf forms, chase after a
wild boar. Their agile bodies move with grace and power,
their fangs bared, and their instincts razor-sharp.
They eventually bring down the boar, their triumphant howls
echoing through the trees.
CUT TO:
EXT. WOODS CAMP FIRE - NIGHT
Mateo and Amari sit by a crackling warm fire, parts of boar
hand over the burning branches.
MATEO
I can’t believe you wasted a good
kill.
AMARI
I just rather eat well cooked meat.
Mateo’s demeanor changes, his eyes more focused.
MATEO
(sincere)
You know you won't always be able
to control it. Sometimes the beast
just takes over.
Amari twirls a stick into the fire.
AMARI
I had a plan before all this, I
just wanted to get my grandmother
and brother out the hood. Now, its
fucked.
MATEO
Me and my mother came here for a
better life, you know the American
dream.
AMARI
Where's your mom?
Mateo stares into the crackling flames.
CUT TO:
69.
EXT. FLASHBACK HOUSTON OVERPASS - NIGHT
The sun rises over the rapidly moving river of vehicles
through the congested highway.
Waving a giant rose, a thin sun-beaten, a dark-haired woman,
ANGIE (40s), walking back and forth on the other side, is
MATEO age 10, missing his ability to hear.
The bright Houston sky turns Reid as the sun sets. Angie
signals with a hand wave to Mateo, as he steps to an
expensive SUV, the window rolls down, and he collects a
crumbled-up wad of dollars.
ANGIE
(signed)
It's getting dark, Mejo.
Stuffing the bills into his pocket, he moves to the roadside
beside a parking lot.
ANGIE (CONT'D)
(signed)
Let's count it.
The boy unrolls the bills from his pocket. Coins spill out
onto the ground.
ANGIE (CONT'D)
(signed)
Looks like they like you more than
me, Mejo.
MATEO
(signed)
I'm the boss now.
ANGIE
(signed)
Okay, boss man.
The area is engulfed with light. A rusty F-150 pulls up
behind them. Fear comes over her face; Angie stashes the
bills in her shirt.
ANGIE (CONT'D)
Come on, Mejo; we have to go.
The truck door opens. A large man drops from the driver's
side of the pickup. It's the TRAFFICKERS, (30s) stubby and
unshaved. They smuggled Mateo and his mother into the US.
Now the family must work to pay off the dept. The 2ND-
TRAFFICKER tilts back his seat and downs a beer.
70.
He leans out the window and throws the empty bottle,
shattering it directly in front of Angie and Mateo.
The TRAFFICKER-1 walks up close to Angie, with a thick
Spanish accent.
TRAFFICKER-1
How much do you have for me?
Angie unfolds twenty dollars, and some change falls to the
ground.
TRAFFICKER-1 (CONT'D)
(angry)
Don't play with me. You owe another
twelve hundred.
The driver begins to pat down and rub Angie's pockets.
ANGIE
I don't have it, but I will keep
working.
Mateo looks on, trying to read his lips. The 2ND-TRAFFICKER
snatches him by his shirt.
TRAFFICKER-1
I could put your son to work. There
are lots of freaks here who would
love a strong young man.
ANGIE
Please, hear this is all we have.
Angie slowly pulls out a $10 bill and hands it to him.
TRAFFICKER-1
No! More. He's going.
The 2ND-TRAFFICKER drags Mateo toward the truck. Angie tries
to fight him off, pulling Mateo backward. TRAFFICKER-1 turns
on her, but she rakes him across the face with her nails.
Angie grabs Mateo and runs with him through the parking lot
toward the neighborhood.
TRAFFICKER-1 is caught off guard and stumbles back in pain.
2ND-TRAFFICKER
(Laughing Intoxicated)
You better hurry; they're getting
away.
71.
Angie and Mateo cross over the street. The man runs back to
the truck. The 2nd-Trafficker, drunken laughter, eggs him on.
The truck's front end raises. The driver presses the gas,
with the vehicle in reverse. Smoke and burnt rubber marks are
left in the parking lot as the pickup, pulls out after them.
Genres:
["Action","Drama","Thriller","Horror"]
Ratings
Scene
29 -
Close Call in the Bungalow
EXT. HOUSTON BUNGALOW NEIGHBORHOOD - NIGHT
The streets are lit up from the tiny bungalow homes, roars
from football games, and the homeowners echo from garages
turned man caves.
ANGIE
Come with me.
Angie grabs Mateo’s hand and hurries into a garage, dodging
the owner who dashes inside for more beer.
Angie can feel their eyes burning through her head; she
unwinds her hair and flips it over her shoulder. The pickup
pulls off. The garage door opens.
A husband and wife come from inside the home, startled to
find the pair sitting on the sofa.
HOMEOWNER HUSBAND
Hey!
Angie grabs Mateo and their bags and backs out slowly. The
homeowner draws his gun.
HOMEOWNER WIFE
What the fuck are you doing here?
ANGIE
I'm sorry, we're leaving.
HOMEOWNER HUSBAND
Did he take anything?
The homeowner shouts and points his gun. Out on the sidewalk,
she sees the pickup brake lights shine.
ANGIE
We took nothing. I'm sorry.
HOMEOWNER WIFE
Get the fuck out of here!
Angie grabs Mateo's hand and runs off across the street. The
screeching tires of the pickup in a hard U-turn, Angie and
Mateo cut between the houses.
72.
ANGIE
We have to run, Mejo, come.
Dragging Mateo by the hand between the homes. The truck turns
back, speeding down the street past the husband and wife.
HOMEOWNER WIFE
They must have stolen from them as
well.
Mateo runs alongside his mother; his hearing aid bounces
around. The sound cuts in and out.
The truck brakes hard around the corner, the engine roaring.
The light from a phone leads the way. The pair slips past the
distracted guard, running down the tunnel.
CUT TO:
Genres:
["Drama","Thriller","Action"]
Ratings
Scene
30 -
Tunnel Terror
INT. WASHBURN TUNNEL - NIGHT
Midway through the dark tunnel, they slow their run to a
strenuous walk. Only heavy breathing, the sound of the damp
pavement under their feet, and a small light at the end of
the tunnel as the finish line.
Breaking the silence, the roar and lights of the pickup truck
speeding toward them.
A dimly lit tunnel stretches out before them. The sound of
footsteps and heavy breathing fills the air.
Mateo clutches his mother's hand protectively. The truck cuts
in front of them. Both men exit the truck.
ANGIE
Please take the money; this is all
we have.
The passenger laughs as the driver smacks Angie to the
ground. Mateo runs at him with all he has. The driver trips
him to the ground, knocking his hearing aid from his ear.
TRAFFICKER-1
All you had to do was give it to
me, but now, I had to chase you.
ANGIE
I'm sorry. Please don't we will
work it off.
73.
TRAFFICKER-1
The boy will pay it off faster.
The 2ND-TRAFFICKER takes hold of Mateo.
ANGIE
No!
Angie attacks, clawing at his face; he punches her to the
ground and begins to kick her, viciously beating her
The sound of the coyote's fist connecting with her face
echoes through the tunnel. Suddenly, a deafening ROAR pierces
the air, drawing everyone's attention except Mateo.
The tunnel guard drops her phone, startled by the commotion,
and peeks out of her booth. Alarmed, she quickly locks the
door.
CUT TO:
EXT. HOMEOWNER'S GARAGE - NIGHT
The couple stand in their garage, startled by the roar. The
once-barking dogs in the neighborhood fall silent and
motionless.
BACK TO:
INT. WASHBURN TUNNEL - NIGHT
Trafficker 2 is violently yanked backward into the darkness,
his screams echoing through the tunnel.
TRAFFICKER-1
Will...
From the shadows emerges an enormous werewolf, its eyes black
and penetrating, its thick dark fur bristling. It steps
forward.
Trafficker-1 panics and tries to flee, but the werewolf
ruthlessly hunts him down, tearing through his flesh.
Mateo and Angie watch in terror. The werewolf mauls
Trafficker-1. He turns towards the dying mother and son,
growling menacingly and taking slow, stalking steps.
The werewolf sniffs Angie's body. It growls and swiftly
swipes Mateo across the face.
CUT TO:
74.
INT. HOSPITAL ROOM - DAY
Mateo slowly wakes up, his eyes fluttering open. He looks
around, his gaze landing on the sterile white walls of the
hospital room. He sits up, feeling disoriented and groggy.
MATEO
(grimacing)
Ugh...
He reaches up and rubs his ears in discomfort. The amplified
static from the hearing aid and the noise from the hospital
hallways floods his ears.
MATEO (CONT'D)
(shaking his head)
Too loud... too loud.
Mateo moves to the mirror, his eyes widen with shock at the
sound of his own voice, and the scar on his face is gradually
fading away.
MATEO (CONT'D)
(in disbelief)
It's... it's me.
Stunned, Mateo turns his head towards the door, sensing
someone's presence. The door swings open, revealing a man
dressed in a sharp, fancy suit and glasses. Mateo's eyes
light up, glowing a vibrant green.
MATEO (CONT'D)
Mom...
CUT BACK TO:
Genres:
["Horror","Thriller","Action","Drama"]
Ratings
Scene
31 -
Blood and Bargains
EXT. PRESENT DAY - CONTINUOUS
AMARI
You miss her?
Mateo forcing his tears back.
MATEO
(somber)
Every day.
Amari rips off a piece of meat.
AMARI
But damn, man, you were deaf?
75.
MATEO
From birth.
CUT TO:
INT. AMARI’S APARTMENT - DAY
Mrs. Andrews collapses, unconscious, while Nikki frantically
dials 911. Javier rushes over, handing Nikki a phone to text
Amari discreetly.
JAVIER
(whispering)
You can call my brother.
Nikki quickly texts Amari. The emergency technicians arrive
to tend to Mrs. Andrews. The officer watching the apartment
follows the ambulance, unaware that Sid's goon is tailing him
closely.
CUT TO:
EXT. ATLANTA GEORGIA WOODS - NIGHT
MATEO
How did their blood taste?
AMARI
(gravely/Spanish)
A cargo
Amari pulls his buzzing phone from his pocket. His eyes
widen; it’s a text from Nikki.
CUT TO:
INT. OUTDOOR SHOOTING RANGE - DAY
The gun range is surrounded by a scenic landscape, with
targets set up at various distances. Sid, a slick and cunning
individual accompanied by two intimidating goons, approaches
the range.
Standing confidently at the firing line is HENRY GRILL,
(50s), a tall and muscular man known for his firearms and
extensive game-hunting expertise.
Sid and his goon's halt. Henry takes a deep breath in, aims
with a 50-caliber rifle. Pulls the trigger as he releases the
air. The bullet takes out a large target. Impressed, he
approaches Henry with a smile.
76.
SID
(nods)
Impressive shooting.
HENRY
(grinning)
Striving for perfection. Nothing
more reliable than a 50 cal. Does
insurmountable damage to the human
body.
SID
Well, my Sickle Cell will do the
same just slower.
HENRY
We all have our curses.
SID
I’m hoping you can help heal me of
mine.
Sid extends his hand, and Henry firmly shakes it. The goons
stand nearby, watching the interaction closely.
SID (CONT'D)
I require your hunting services,
and I require the utmost
discretion.
Henry raises an eyebrow, intrigued but cautious.
HENRY
(slightly skeptical)
That’s costly.
Sid snaps his fingers, and one of his goons promptly hands
him a larger envelope filled with cash. Sid opens it,
revealing a substantial amount.
SID
(grinning)
Money is not an issue, my friend.
Consider it an investment in your
talents.
HENRY
(appreciative)
Well, you certainly know how to get
my attention, Sid. So, what are we
hunting?
Sid leans in closer, his voice hushed.
77.
SID
(confidentially)
Something... Healing and
extraordinary.
Henry's eyes light up with excitement and curiosity.
CUT TO:
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
32 -
Interrogation and Denial
INT. HOSPITAL ROOM - DAY
Mrs. Andrews slowly awakens, her eyes fluttering open. Amari
grasps her hand and smiles with relief.
AMARI
(gently)
Grandma, you're awake. How are you
feeling?
MRS. ANDREWS
(struggling to speak)
Amari... I... I'm glad to see you.
Mrs. Andrews attempts to sit up, but Amari gently places a
hand on her shoulder, urging her to rest.
CUT TO:
INT. HOSPITAL HALLWAY - DAY
Sid's goon, watching Amari from a distance, discreetly calls
Sid.
GINO
(on the phone)
Boss, the kids here. You want me to
take him?
SID
No, stay with him. I’m coming.
Sid's SUV speeds down the highway.
CUT TO:
INT. HOSPITAL EXIT - DAY
A somber Amari, Nikki, and Javier step out of the hospital.
Detectives Thompson and Reeves approach them.
78.
THOMPSON
Hello again, Amari.
AMARI
Detective.
THOMPSON
(to Amari)
We need you to come down to the
station with us for questioning.
NIKKI
(concerned)
What's going on? Why do you need
him?
AMARI
(reassuringly)
It's okay, Nikki. I'll be fine.
Just go home with Javier, and I'll
join you soon.
Nikki hesitates, nods and takes Javier's hand, leading him
away.
JAVIER
Where's Amari going?
CUT TO:
INT. POLICE INTERROGATION ROOM - DAY
Amari sits alone in the dimly lit room. Detectives Thompson
and Reeves enter and stand silently for a moment, observing
him.
Thompson has two cans of coke. He slides one across the table
toward Amari and opens the other.
REEVES
How's the car business?
THOMPSON
Reeves is there a business permit
for a car repair shop at 13946
McDougall?
REEVES
Nope, I don't remember seeing one.
AMARI
I have the owner's permission.
79.
Thompson scoots close to Amari.
THOMPSON
What do you know about the
nightclub massacre?
AMARI
Nothing.
REEVES
Where were you that night?
AMARI
At home.
Reeves steps close to Amari, her annoyance showing on her
face.
REEVES
Who should we ask to verify that,
your little girl friend?
THOMPSON
Amari, death is all around you, and
you act as if you are immune. Let
me help you son.
AMARI
I'm not your son.
THOMPSON
Yea... That’s right. What do you
know?
Thompson narrows his eyes, his tone becoming more assertive.
Amari opens the Coke can and takes a sip.
AMARI
Nothing about murders.
Reeves changes the approach, pulling out graphic crime scene
photos.
REEVES
(showing the photos)
Do you recognize these men? They
were found dead in your complex.
And this... a young boy ...this
innocent child was caught in the
crossfire.
80.
Mixed in with the photos are pictures of Amari’s parents.
Amari's expression shifts from calm to anguish as he stares
at the photos.
THOMPSON
Oh, shit. How did those get in
there.
He slowly pulls out the photo of Amari's Mother and father.
AMARI
(upset)
I don't know them. I don't know
anything about this. Can I leave
now or am I under arrest?
Reeves steps forward. Her voice is stern.
REEVES
(not giving in)
You're not under arrest, Amari.
Amari, shaken by the images, stands up, his voice filled with
emotion.
AMARI
(determined)
I'm out.
Amari walks out of the room, leaving the detectives behind,
grappling with the weight of their investigation. Thompson
smiles at the coke can.
REEVES
Really?
THOMPSON
This kid is forged in murder, we
needed something tough to make him
crack.
REEVES
Did it work?
Thompson stares out the window.
CUT TO:
Genres:
["Mystery","Thriller","Crime","Drama"]
Ratings
Scene
33 -
Descent into Violence
EXT. CITY STREETS - NIGHT
Amari walks through the desolate city streets. Images of his
parents and the little boy flash through his mind.
81.
He passes the homeless area, filled with tents, trash, and
struggling people. A few small children wander aimlessly
while strung-out drug addicts nod off in strange body
contortions, resembling zombies.
Suddenly, his phone rings, breaking his train of thought. He
looks at the screen and sees Nikki on FaceTime.
AMARI
(distressed)
Nikki? What's going on?
CUT TO:
INT. NIKKI'S APARTMENT LIVING ROOM - NIGHT
Nikki holds Javier close on the sofa, a larger goon standing
behind her with a gun.
NIKKI
(teary-eyed)
Amari, it's Sid. He wants you to
come to the warehouse. He said
he'll let Javier and me go if you
come.
Amari’s heart pounds in his chest, and without hesitation, he
takes off running frantically. He weaves through the
neighborhood. He reaches his apartment complex, he stops and
sniffs the air, his keen senses homing in on the presence of
strangers.
CUT TO:
EXT. APARTMENT COMPLEX - NIGHT
Amari spots two goons sitting in a car and another lurking
under the steps. Moving with lightning speed, he creeps up on
the car and silently enters the back seat, startling the men
inside. Amari proceeds to rip them apart, his nails and fangs
drenched in blood.
In the adjacent apartment building, under a camouflaged tent,
Henry watches the scene unfold through his scope.
He loads a tranquilizer dart into his gun.
82.
Amari quietly exits the car; He swiftly takes care of the
goon lurking under the stairs, then moves to the balcony
while Henry follows him through the scope, having Amari in
his crosshairs.
CUT TO:
Genres:
["Action","Thriller","Horror"]
Ratings
Scene
34 -
Capture and Discovery
INT. APARTMENT LIVING ROOM - NIGHT
Amari peeps through the window, observing the goon sitting
with his back to him. Javier looks up and notices Amari’s
shadow. Amari takes hold of the door, ready to make his move.
Before he can act, a shot rings out from behind. The
tranquilizer dart fired by Henry lands flush in Amari’s back
shoulder, sending him tumbling through the doors, crashing
onto the floor.
CUT TO:
INT. EMPTY WAREHOUSE - NIGHT
Amari is dropped into an empty pool, his body hitting the
cold floor with a thud.
Sid and Henry stand over an unconscious Amari.
SID
(smirking)
All that power.
HENRY
I don't know.
SID
You saw it. You saw its power?
HENRY
I don’t know what I saw.
In a separate room, Nikki and Javier are led in by one of
Sid's brutish goons, who locks the door behind them.
EXT. WAREHOUSE - NIGHT
Mateo in werewolf form stalks the warehouse from across the
street; with his keen eyesight, he spots Sid and Henry
standing over the ring.
CUT TO:
83.
INT. BURNED-OUT REPAIR GARAGE - NIGHT
Detectives Thompson and Reeves comb through the charred
remains of the garage.
REEVES
You really believe the kid is
behind this?
THOMPSON
I believe he knows something.
REEVES
With 2nd degree burns, his boys
won’t be able to point us in the
right direction.
A thumping and soft growl comes from the back room.
CUT TO:
INT. CHARRED BACK ROOM
Detectives Thompson and Reeves cautiously enter the charred
back room, their senses heightened by the eerie atmosphere.
The room is dimly lit, with the remnants of a fire still
lingering in the air.
A growling shadow moves beneath the crack of a partially
closed door, catching the detectives' attention.
Thompson and Reeves exchange a glance, their focus
intensifying. Slowly, they approach the door, their guns
drawn and ready.
THOMPSON
(whispering)
Door.
REEVES
(nervously)
Got it.
They position themselves on either side of the door, Thompson
covering Reeves. She reaches for the knob. With a firm grip,
Reeves turns the knob and pulls the door open swiftly.
To their surprise, instead of a menacing threat, The
Destroyer waddles out into Reeves' arms. Far from the
terrifying image they had expected.
84.
REEVES (CONT'D)
(smiling)
Oh, look at the big bad wolf.
The tension in the room instantly dissipates. Reeves holds
the adorable pup, its growls replaced with playful whimpers.
CUT TO:
Genres:
["Horror","Action","Crime","Thriller"]
Ratings
Scene
35 -
The Awakening
INT. WAREHOUSE LAB - NIGHT
Amari lays uncomfortable, tied down to a hospital bed, Sid’s
nurse checks his vitals.
AMARI
You can’t help him do this. He has
no idea what will happen.
The nurse ignores Amari’s words and continues with her work.
Sid enters the room in a hurry, removing his jacket, taking a
seat next to Amari.
SID
Is he ready?
The nurse pulls a needle from the table. Amari fights the
restraints.
SID (CONT'D)
Now, Amari you don’t want anything
to happen to your little brother.
Maybe we should let him test it.
Amari relaxes, the nurse presses the needle into his arm.
Blood fills the syringe. Sid pumps his arm, his eyes filled
with anticipation.
The nurse turns to Sid.
NURSE
(beat)
Are you sure you want this?
Sid nods her way.
NURSE (CONT'D)
I’m only going to give you a
little, if you feel okay, we can
proceed.
CUT TO:
85.
INT. ABANDONED WAREHOUSE - NIGHT
Sid and Henry, watch intently, Amari stands in the center of
the warehouse, bathed in the ethereal glow of the full moon.
Sid grows visibly upset and confused, paces back and forth.
SID
(angry)
I don't understand, Henry. This is
a full moon. Why hasn’t he
transformed?
Sid's frustration boils over, and he turns to his goons.
SID (CONT'D)
(gritting his teeth)
Enough of this waiting shit!
Three goons' step into the rink with cattle prods crackling
with electricity and a large pit bull. Amari backs up into a
corner.
The goons lunge forward, jabbing the cattle prods at Amari’s
body. Electricity surges through him, causing him to convulse
in pain. The dog snaps at his arm, but Amari remains in human
form.
Amari’s pain echoes through the warehouse; Nikki covers
Javier's ears to protect him from his brother's screams.
SID (CONT'D)
(frustrated)
What the fuck is this?
HENRY
(trying to reason)
Maybe you were wrong? Maybe he’s
just a boy.
Sid, seething with anger and disappointment, clenches his
fists.
SID
(furious)
You saw it, you know its power. I
won't be made a fool of! There’s
another way.
Sid storms off, his determination unwavering, Amari lays
there, tired and battered.
Sid's goons forcefully bring Nikki, terrified and trembling,
into the dimly lit room.
86.
Amari, chained and helpless, watches with a mixture of fear
and anger. Sid, wearing a sickening grin, stands nearby.
SID (CONT'D)
(sadistically)
Dogs!
The goons obey Sid's command, and aggressive dogs start
barking and lunging at Nikki, nipping at her legs. She
screams in terror and pain, desperately trying to fend them
off.
NIKKI
(crying out)
Please, stop! Amari!
Amari, filled with a deep rage, pleads with Sid.
AMARI
(furious)
Sid, call off the dogs!
SID
(mockingly)
You can save her, or she will go
into the pit. Don’t let her die,
like you did your mother.
Amari’s face contorts with anger.
AMARI
(gritting his teeth)
Call off the dogs, now!
Sid's face turns Reid with rage, his voice booming with
intensity.
SID
(yelling)
Do it, damn it! Let them eat!
The dogs attack Nikki with ferocity, sinking their teeth into
her vulnerable body. The room fills with screams and chaos.
Amari, consumed by uncontrollable fury, he breaks free from
his chains and dives into the dogs, tearing them apart with
savage force.
SID (CONT'D)
(amazed)
That's it! That's what I've been
waiting for!
Henry in shock, steps back and leaves out the side door.
87.
Sid opens the door, cautiously entering as the Amari-werewolf
sniffs over Nikki's motionless body. Suddenly, Amari turns on
Sid, biting him in the face. Sid screams in agony.
Just then, three darts strike the werewolf's back, knocking
him to the floor. A group of Sid’s goons wearing body armor
rush in and begin to beat the werewolf with prods and batons.
The Nurse, Gino, and Tony rush to Sid's aid, startled and
shocked by his mangled face. They quickly carry his body into
the makeshift lab.
CUT TO:
Genres:
["Horror","Thriller","Drama"]
Ratings
Scene
36 -
Blood and Fury: A Night of Violence
INT. KESSLER HOME - NIGHT
Kessler hands shake as he pours himself a drink. His bags
still at his feet. Mateo enters the room, his eyes fixed.
KESSLER
Why are you not in Atlanta? Where’s
Amari?
MATEO
We have a problem.
CUT TO:
INT. POLICE HEADQUARTERS - NIGHT
Reeves sits at her desk going through case files when her
phone buzzes.
REEVES
(Phone text)
You will need help.
Reeves types back.
REEVES (CONT'D)
(Phone text)
Make the call?
Reeves's eyes shift.
The desk phone rings. Thompson answers.
ANONYMOUS CALLER
There's a dog fight happening at
warehouse 771 tonight. Thought you
might want to know.
88.
Thompson's attention is grabbed by the information. He jots
down notes frantically.
THOMPSON
(grateful)
Thank you for the tip. What's your
name?
The caller hangs up.
CUT TO:
INT. SID'S WAREHOUSE - NIGHT
Amari, badly bruised and wounded, holds Nikki's severely
injured head in his lap.
AMARI
(teary-eyed)
Nikki, hold on.
Nikki, her breathing heavy and labored, musters the strength
to speak through the pain.
NIKKI
(weakly)
I love you, Amari.
She places her hand on his chest. Amari’s heart sinks as he
feels the weight of the moment.
AMARI
(desperate)
Nikki, I can save you.
Nikki places a hand on Amari’s face.
NIKKI
(softly)
No... Save Javier.
The light fades from her eyes, Amari screams in anguish,
holding her tightly.
CUT TO:
EXT. FLASHBACK ANDREWS HOME - DAY
Amari runs to the bottom of the stairs, where his father is
screaming for help as Amari’s mother lays lifeless in his
arms.
89.
END FLASHBACK.
SMASH CUT TO:
INT. PRESENT WAREHOUSE - NIGHT
Glass shatters above Amari. Mateo and Kessler, in werewolf
form, crash through the roof of the warehouse. Gunshots ring
out as Sid's goons fire at the fast-moving werewolves.
The raid squad, led by Reeves and Thompson, storms in,
engaging in a fierce firefight with the criminals.
CUT TO:
INT. WAREHOUSE LAB - CONTINUOUS
Sid lays motionless on the bed, the nurse checks his pulse,
her eyes widen. His bruises from sickle cell begin to fade;
gunshots and screams echo from outside the door.
He moans in pain. His fingers and hands, once tightly curved,
begin to straighten. His eyes blink as he regains
consciousness.
GINO
(nervous)
Boss, the police are here. We need
to move.
Sid yells in pain, his body contorts, healing itself.
SID
(Painfully)
Get rid of the kid, I'll handle his
brother.
Gino and Tony move toward the door. Sid sits upright.
NURSE
Don’t move so soon. Your body is
healing. It’s remarkable.
Sid looks over his hands and arms, his newfound strength
showing in his hands and face. He tries to stand, but his
legs shake; he takes hold of the Nurse’s shoulder.
NURSE (CONT'D)
Slow down...
SID
I don’t have that time.
90.
Sid takes the nurse by the neck, with one hand.
SID (CONT'D)
Unfortunately, neither do you.
Sid stands and cracks his stiff bones, lifts the woman up in
the air, snaps her neck, and drops her body to the floor.,
takes off his shirt, and checks himself out in the mirror.
Sid takes a knife from the table, he slowly slices into his
arm, and painfully watches as the wound closes back.
CUT TO:
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
37 -
Werewolf Hunt: Warehouse Showdown
INT. ABANDONED WAREHOUSE - NIGHT
A spray of gun shots leaves large holes into the walls of the
warehouse, cement and wood chips sprinkle the air. Kessler
and Mateo rip through goons like butter.
Tony drops his gun after Mateo slashes his wrist, blood
streaming down his arm. Tony bolts at Mateo, who swiftly
takes his head off with one ferocious bite.
Kessler, injured but determined, reaches Amari, who is
devastated, clutching NIKKI's lifeless body. Kessler gently
lays NIKKI down and stands upright in human form. He
reassures Amari, his voice filled with sorrow.
KESSLER
(softly)
Amari, you have to get up --
-- A gun shot. A silver bullet hurls through the air,
piercing Kessler’s heart.
From the adjacent building, Henry looks through the scope of
his rifle, clearing the round with a cold expression.
He takes off towards Henry, who fires another shot that
misses its target before making a run for it.
Mateo bursts through the warehouse windows into the street,
where Detectives Thompson and Reeves, along with a squad of
officers, advance on the warehouse.
Some of the officers, shocked at the sight of the werewolf,
open fire, striking Mateo in his side and sending him flying
into a dark alleyway.
CUT TO:
91.
INT. ABANDONED WAREHOUSE - CONTINUOUS
Amari stumbles through the warehouse, desperately searching
for Javier. He calls out to him. Down a dark, smoke-filled
corridor, Sid's voice emerges from the darkness.
SID
(teasingly)
If you want to save your brother
from holding your dead body, come
and get him.
At that moment, Gino dives towards Amari, who swiftly slices
him across the chest. Gino's body falls to the ground,
lifeless. The smile clears from Sid's face. He holds Javier
by the neck.
AMARI
(angrily)
I thought you were an alpha. But
look at you, hiding behind women
and children. Destroying them,
using them as your excuse to be a
man.
Sid releases Javier and transforms into a werewolf. Amari
follows suit, their fierce fight commencing in the dimly lit
warehouse.
INT. ABANDONED WAREHOUSE - NIGHT
Detectives Thompson and Reeves, accompanied by a team of
officers, enter the building cautiously. The air is thick
with tension and anticipation.
REEVES
(to Thompson)
I'm going after the wolf in the
alley. You take the team and back
up the raid. Be careful, Thompson.
THOMPSON
(nodding)
You too, Reeves. Stay safe.
CUT TO:
EXT. DARK ALLEY - CONTINUOUS
Reeves, accompanied by two officers, walks slowly through the
dimly lit alley.
92.
She senses the danger lurking in the shadows. A shot rings
out from the roof top, Reeves turns to the officers.
REEVES
(intense)
Head back to the warehouse and join
the backup team. I'll handle the
situation here.
The officers nod, quickly retreating towards the warehouse.
Reeves takes off her coat and transforms into a powerful
werewolf. She sniffs the air, tracking her target, then leaps
onto a trash can and onto the rooftop.
Genres:
["Action","Thriller","Horror"]
Ratings
Scene
38 -
Werewolf Showdown and a Pit of Despair
EXT. ROOFTOP - CONTINUOUS
Reeves lands gracefully on the rooftop, her werewolf form
glistening in the moonlight. She scans the area, her senses
heightened. Her eyes fall upon Mateo, who is shot in the
shoulder, healing slowly.
Reeves approaches Mateo cautiously, her growl low and
threatening. She reaches into the wound and pulls the silver
bullet from his shoulder.
REEVES
(soft)
You need to heal.
Mateo, weak and wounded.
MATEO
(gritted teeth)
He killed my father.
REEVES
I know.
MATEO
(catching his breath)
I need to help Amari.
REEVES
No, you need to heal. I’ll get
Amari. Get to safety.
MATEO
(weakly)
Bring my father’s body home.
93.
Mateo hobbles away.
FADE OUT.
INT. ABANDONED WAREHOUSE - NIGHT
Amari and Sid, both transformed into powerful werewolves,
engage in a fierce and intense battle. They slam each other
through walls, leaving debris in their wake. The room shakes
with the impact of their blows.
They leap from one end of the room to the other, clawing and
biting at each other with primal fury. The fight is brutal
and unforgiving, each refusing to yield.
Bullets fly, creating chaos and destruction. Thompson takes a
shot in the shoulder but grits his teeth and pushes through
the pain, determined to bring the criminals down.
He returns fire with precision and accuracy, taking down the
goons one by one. The room fills with the sound of gunfire
and shouts of desperation.
SMASH CUT TO:
INT. ABANDONED WAREHOUSE - CONTINUOUS
Thompson and officers continue the fierce shootout with Sid's
gang. Bullets ricochet off walls, hitting gang members and
two officers. The room is filled with chaos and the smell of
gunpowder.
Thompson, determined and focused, enters a dark room where
Sid and Amari are stalking each other. He moves stealthily,
sneaking up on Amari.
THOMPSON
(commanding)
Freeze, Amari! I know it's you.
Amari freezes, Sid grabs Thompson from behind.
SID
(sinisterly)
Change, or I will kill him.
Reluctantly, Amari changes back into his human form. Sid
throws Thompson into the wall, knocking him out.
94.
SID (CONT'D)
You should've shared your power
with me, Amari. Maybe Javier will
make a better pet.
Dragging Amari by his hair towards the pit. Sid lifts him
over the pit.
Suddenly, Reeves emerges from the darkness, thrusting her
hand into Sid's chest. Shock widens his eyes.
Released from Sid's grip, Amari drags his nails across Sid's
throat.
Blood and Sid's lifeless body falls over into the pit. Amari
falls to his knees, he trembles and slowly transforms back
into his human form, gasping for breath.
REEVES
(concerned)
Are you alright?
AMARI
(tired)
You're a werewolf?
REEVES
I'm a Royal.
Amari looks up at Reeves, an expression of uncertainty
washing over his face.
AMARI
I need to find my little brother.
He is in here.
REEVES
(nods)
Go get him. I will take care of
things here.
Amari limps out of the warehouse, Reeves turns her attention
to Thompson, who is just regaining consciousness.
THOMPSON
(dizzy)
Wolf...
Before Thompson can fully recover, Reeves turns back to her
fully dressed human form.
Police fill the room and rush to the Detectives aid. Two
officers shine their flashlights down a pit, unveiling a pile
of dead dogs.
95.
OFFICER
Jesus...
CUT TO:
Genres:
["Action","Thriller","Horror"]
Ratings
Scene
39 -
The Pit of Truth
INT. WAREHOUSE LAB - CONTINUOUS
Amari searches the room, his eyes filled with concern.
AMARI
Javier!
He spots Javier, hiding nervously under a desk.
AMARI (CONT'D)
(softly)
Javier, it's me.
Javier springs out from under a desk. The brother's embrace
in a tight hug.
JAVIER
(excitedly)
Did you see the monster?
Amari gives Javier a reassuring smile, putting a hand on his
shoulder.
AMARI
(whispering)
Yea. He's gone now.
JAVIER
Where's Nikki?
They walk into the room where Nikki's lifeless body lies.
Amari’s expression turns somber.
CUT TO:
EXT. WAREHOUSE - NIGHT
Amari, shirtless and with Javier by his side, carries Nikki's
body outside. Officers and emergency personnel stand by,
watching in solemn silence.
Amari places her body down on a gurney. Thompson emerges, gun
drawn, pointing at Amari.
THOMPSON
(firmly)
You're under arrest.
96.
Amari looks at Thompson, pain evident in his eyes.
Thompson hesitates for a moment, his gaze meeting Reeves, who
steps forward.
THOMPSON (CONT'D)
(unsure)
I saw you. You are the werewolf.
REEVES
(gently)
Thompson, you hit your head pretty
hard. You may be concussed. Let's
get you checked out by the medical
team,
An officer steps up from inside the warehouse.
OFFICER
Detectives, you got to see this,
there's a pit of bodies and dead
dogs in here.
Thompson pauses, his confusion slowly fading. The weight of
the situation sinks in, and he holsters his gun.
THOMPSON
(softly)
Dead dogs?
REEVES
Tech! Check out my partner please.
FADE OUT.
Genres:
["Horror","Thriller","Drama"]
Ratings
Scene
40 -
Aftermath and Revenge
INT. POLICE PRESS CONFERENCE ROOM - DAY
Thompson, with a bandaged arm, Reeves, and the Police Chief
stand behind a podium. Eager Reporters fill the room.
The reporters scribble notes. Reeves steps forward to provide
more details.
THOMPSON
(nodding)
Our raid on the warehouse resulted
in the arrest of several gang
members and the death of crime boss
Sid Austin. We believe this is a
significant blow to their
organization.
97.
REPORTER
Was there a wolf found at the
scene?
REEVES
(focused)
During the raid, we discovered
deceased canines. It appears these
animals were used for fighting and
torture by the gang.
REPORTER
What happened to Mr. Kessler?
THOMPSON
Unfortunately, Mr. Kessler was
killed by the gang, in an act of
revenge for the killing of one
their gang members.
The Police Chief clears her throat and steps forward.
POLICE CHIEF
(sincerely)
I want to commend both Thompson and
Reeves for their relentless efforts
in bringing an end to this
violence. Their hard work and
dedication have made our city
safer.
The reporters applaud and snap pictures.
CUT TO:
INT. HOSPITAL - WAITING AREA - DAY
Amari, bruised and tearful, is comforted by Mrs. Andrews.
Javier joins them, seeking solace in their embrace.
MRS. ANDREWS
I'm so blessed, A lot of mothers
have lost their sons in the last
few weeks.
CUT TO:
EXT. DRUG DEALER HOME - DAY
A knock at the apartment door, the mother of killed drug
dealer opens the door.
98.
At the foot of the door is the blue backpack. She opens the
backpack to find it's still filled with cash.
CUT TO:
INT. HOSPITAL - MORGUE - DAY
Mateo stands in the morgue, his expression filled with
sadness. He sadly identifies Kessler's lifeless body. The
weight of loss hangs heavy in the air.
He takes a moment to say a silent goodbye before turning
away, determined to seek justice for his father.
CUT TO:
EXT/INT. KESSLER'S HOUSE - DAY
Two weeks later, Mateo answers the door to find Amari
standing there. They embrace, holding on to each other
tightly.
MATEO
(sincerely)
Kessler named us beneficiaries in
his will, except for the second
house he left for you and your
family. I'm tracking down his
killer and leaving for Mexico
tomorrow.
Amari nods, grateful for Mateo's efforts.
AMARI
(relieved)
Thank you, Mateo. Everything is
squared away with the police.
You're not a suspect anymore.
Mateo reaches into his pocket and pulls out a check and a set
of car keys, placing them in Amari’s hand.
MATEO
(softly)
There's one more thing Kessler left
for you, my friend.
Mateo points to the window, revealing a brand new 900 hp
Dodge Hellcat parked outside.
CUT TO:
99.
Genres:
["Crime","Thriller","Drama","Action"]
Ratings
Scene
41 -
A New Beginning
INT. HOSPITAL - ICU ROOM - DAY
Reid and Grein, still in ICU beds, Amari is seated between
them.
REID
(weakly)
We've thought it over, Amari.
GREIN
(nodding)
We're not going to be the same
anymore. 80 percent chance I’ll be
blind.
REID
It’s what we want. Let us help.
The twins extend their arms outward, Amari growls, showing
his teeth, accepting their request.
CUT TO:
INT. KITCHEN - DAY
Amari and Javier energetically enter the house, where Mrs.
Andrews is wiping down a new kitchen countertop. A faint,
whispering, but dangerous growl can be heard coming from her
direction.
The sound of construction in the background.
AMARI
(grinning)
Hey, Grandma! We're home!
Javier follows closely behind Amari, excitement in his eyes.
Suddenly, Lucky the cat appears, growling menacingly.
AMARI (CONT'D)
(slowly approaching)
Easy, Lucky... It's just us.
MRS. ANDREWS
There are my big strong men. Hey, I
heard someone gave a generous
donation to the elementary school.
AMARI
It will go a long way with helping
to pay for, lunches, field trips
and books.
100.
MRS. ANDREWS
Your mother and father would be so
proud of you.
Mrs. Andrews turns around, revealing a warm smile on her
face. Javier rushes over and affectionally pets Lucky.
Amari walks out the backdoor, through a tarp into the
backyard. A crew of men are working on the house.
Amari walks alongside the home out front where we see the
abandon home under construction and now owned by Amari.
CUT TO:
Genres:
["Drama","Thriller","Horror"]
Ratings
Scene
42 -
The Destroyer's Arrival
INT. CAR REPAIR SHOP - DAY
Amari, Reid (with a purple eye and one Green), and Grein (now
with a brown eye and one Green) are hanging a new flat screen
television on the wall.
Reeves pulls up in a small, fancy car.
AMARI
(excitedly)
Reeves! Good to see you.
REEVES
(smirking)
Amari. Just checking in.
Amari cleans his hands and hugs the Detective.
Reeves pauses for a moment, a small mischievous glint in her
eye.
REEVES (CONT'D)
(teasingly)
I do have a surprise for you guys.
She walks back to her car, opens the door, and The Destroyer,
hops out and runs excitedly towards them.
AMARI, REID, AND GREIN
(grinning, in unison)
The Destroyer!
They all gather around the dog, showering him with affection.
CUT TO:
101.
INT. ANIMAL SHELTER - MORGUE - NIGHT
An employee places the bodies of deceased canines into a
furnace. He walks out of the room to retrieve another body.
Unbeknownst to him, Sid's body is also lying on the table,
identified a dog.
Suddenly, Sid's eyes snap open, and he transforms back into a
human. A wicked smile spreads across his face. He takes the
man by the throat and swiftly exits, wearing the attendant's
clothes.
CUT TO:
INT. MEXICO CARTEL COMPOUND - NIGHT
Gun shots fill the air, men yelling in Spanish, then their
screams echo through the compound. The growl and howl of a
large werewolf strikes fear in the hearts of men.
They continue to fire into the dark corners of the building
and into the air, bullets open holes all around them.
Henry runs through the corridor, into a bedroom and closes
the door, but Mateo is on his trail.
HENRY
(Pleading)
They paid me to kill him.
The compound goes quiet. Henry shifts his attention to above
him, suddenly a body crashes through the wall.
HENRY (CONT'D)
(Scared)
Barcelona! That's all I know.
Standing tall and ferocious, Mateo glares down at Henry.
Outside, the screams from Henry echo in the air.
CUT TO:
EXT. AMARI’S REPAIR SHOP - NIGHT
Amari closes the door on the shop. With Reid and Grein stand
close by watching over The Destroyer, Amari approaches.
GREIN
So, what do we do now?
102.
AMARI
(stoic)
We help.
The sound of gun shots and police sirens in the background,
Amari smiles, his eyes turn bright yellow.
The end.