FADE IN: INT. BUS STATION - DAY The bus station is LARGE and filled with glass and white tile. Ceiling fans overhead swirl methodically. ALEX YORK, 24, sits at the end of one of the benches. She is dressed in a kakhi trenchcoat and appears to be very contemporary. She's attractive, but doesn't show it much. The clock catches her eye: 4.29. ANNOUNCER (FILTER) Bus now arriving from Athens, en route to Aldershot. Boards in ten minutes. A few people begin entering the bus station. Alex sighs. She is tired, we can read it on her face. An old man, SALEM, late '70s, sits beside her. He is wearing glasses and touts a WHITE cane. SALEM This seat taken? He sounds innocent. Alex smiles. ALEX I guess not. He sniff the air. SALEM New jacket? Smells nice. ALEX How did you - Salem taps his nose. Alex smirks again. ALEX (CONT'D) It's actually my brother's. SALEM Oh yeah? You in town for a visit? ALEX Looks like. I'm looking to settle down for the summer.
2. SALEM That's nice. (beat) You have a nice voice. Reminds me of my wife's. ALEX Is she traveling with you? He smiles. SALEM Nope, I'm going this one alone. (beat) She recently passed away. ALEX Oh, I'm so - SALEM Don't be. She lived a good life. No reason to be sorry. (pause) I guess that's the reasoning for my trip. ALEX Really? He pulls out a YELLOW envelope from his wolly coat. His hands feel around the edges. SALEM She wanted this delivered. ALEX And you're traveling all the way to Aldershot just do drop off a letter? SALEM Among other places. Even after she's dead she's still got me running around. (beat) Next stop Atlanta. ALEX What about the mail?
3. SALEM You'd be surprised. It's hard to scribe things down when you're blind. I don't get much help from the postal service, either. Here they don't care. They'll take my money and give me a ticket. His smile is inviting. Alex looks up at the clock again: 4.31. She looks at Salem. He takes off his sunglasses. He stares in one direction, as a blind man would. ANNOUNCER (FILTER) Train 28V departing for Aldershot in five minutes. Alex stands. ALEX Did you say that the letter is going to Aldershot? SALEM Yes, Clement street. ALEX Well, my brother lives on Clement. Why don't you let me deliver it? It'll save you thirty bucks for a ticket. SALEM Oh no, I couldn't do that. ALEX Really, it's no trouble. Salem makes his way to his feet, supported by the cain. He hands her the envelope. Alex grabs hold of the envelope in one hand and her luggage in the other. SALEM You've been a great help. ALEX It's no problem. I've been in your shoes before. The group of people surrounding them intensifies.
4. SALEM Thank you. ALEX Nice meeting you. She walks off into the crowd of people, making her way towards the front door where a BUS is loading people on. Salem stands and watches. He stares at Alex as she departs. He is looking at her. INT. BUS - SOME TIME LATER Alex sits in the middle of the bus. She has her head leaned back against the seat. She cannot sleep. She looks down at the envelope and touches it with her fingers. The window then catches her attention. The bus continues to drive into the darkening sky. Thunder can be heard. CUT TO: EXT. RILEY'S HOUSE - NIGHT The sleepy street sports houses with large oak trees on either end. Very Victorian - All American. Picturesque, but faded on the edges. Alex jumps out of a cab with her luggage. It's raining hard. Covering her head, she RUSHES up the porch of a cozy two- story house. INT. FOYER - SAME A knock comes at the door. Seconds later, RILEY YORK, 21, comes to answer it. He's tall, college material. Nothing out of the ordinary. The door opens and Alex jumps inside out of the rain. ALEX Riley, hi. They hug. RILEY Alex! How was the trip?
5. ALEX Good. ALEX (CONT'D) Your coat got a little wet. RILEY No worries. Take it off and stay awhile, would you. Alex exhales. She's a little short of breath from the sprint to the house. ALEX Actually, I just need to drop something off across the street. RILEY Drop what off? ALEX It's a letter that someone asked me to deliver. RILEY Someone asked you to deliver a letter? ALEX I'll be five minutes, I promise. RILEY Okay, but hurry. It's past my bedtime. They both smirk at each other. Alex opens the door again and departs into the rain. Riley watches her as she RUSHES across the street. EXT. DARK HOUSE - SAME Large TREES cover a dimly lit, two story house across the street. It has a FOR SALE sign on the front yard. Alex quickly takes refuge under the porch overhang. She looks down at the letter, checking the address. Extending her hand, she knocks three times on the door. SILENCE. The door opens. There stands CHARLIE, mid '30s, very well dressed - business like. He smiles.
6. ALEX Hi, I'm here to deliver a letter. He opens the door, a gesture for her to enter. CHARLIE Come in (beat) please. Alex smiles and enters. INT. LIVING ROOM - MOMENTS LATER The room is completely '50s drab. Washed out colors of retro furniture and wall paper. Alex sits on a couch with her coat over her lap. The letter is in her hand. Charlie stands in front of her a few feet away. ALEX Actually, I never did get the man's name. He said he had a wife who recently passed away. She wanted this sent to you. She hands him the letter. He begins to open it. ALEX (CONT'D) He was blind, very sweet. He reads the letter, then IMMEDIATELY looks down at Alex for a moment. A slight look of concern crawls on her face. ALEX Anything wrong? He folds it and stuffs it back in the envelope. CHARLIE No, nothing at all. Charlie turns around and heads for the kitchen. Alex watches as he departs. She glares around the room. No family photos, no nothing. Just the bare bones.
7. CHARLIE (OS) Can I get you anything to drink? (beat) Coffee? ALEX That'd be great. The noises that accompany coffee making are heard from the kitchen. Alex becomes nervous. The lightbulb in the lamp FLICKERS next to her. She whirls her head towards it, peering at it. SILENCE. Charlie enters with a tray of coffee and coffee related items (cream, sugar, etc.). He sets it down on the coffee table in front of Alex. She looks at him. ALEX So how did you know his wife? Charlie looks at her and smiles. He's a bit hesitant. We can see him thinking. CHARLIE Old family friend. Alex smiles. ALEX I see. She takes her coffee mug and brings it towards her mouth. She stops and puts it back down again. ALEX Actually, can I use your bathroom? CHARLIE Sure, no problem. It's just past the kitchen on the left. Near the back door. Alex arises, setting down her coat on the couch. ALEX Thanks.
8. She walks off towards the kitchen. Charlie stirs his coffee, blankly staring off into another world. INT. KITCHEN - SAME Alex enters the kitchen, walking off towards a SMALL dark hallway that branches off on the left end of the room. A garbage bag sits open against the counter. In it, she spots the YELLOW envelope. Alex glares back into the living room. She can see the back of Charlie's head. With one quick motion, she leans down and SWOOPS up the letter. She walks towards the door on the left nearest the back door. Opening it, she slithers in. INT. BATHROOM - SAME Alex turns on the light. The bathroom is stingy. Yellows and oranges stain the small room's color scheme. She sits down on the covered toilet seat. She begins to SLOWLY open the letter, keeping an eye on the door, making sure she's not heard. A FOOTSTEP is heard in the kitchen. Alex freezes. She quickly reaches out and turns on the sink faucet. The faucet STRAINS, then starts a flow of liquid. She gets the letter out of the envelope. The door catches her eye. Alex stands and turns off the faucet. All she can hear is her heavy breathing. She slowly approaches the door with the letter in her hand. She leans her ear against it to hear. At the same time she looks down at the letter, which reads: "CHARLIE, THIS IS THE LAST ONE I'M SENDING YOU TODAY" She covers her mouth and completely stops breathing. BUT WE CAN STILL HEAR BREATHING.
9. CHARLIE (OS) Your coffee's getting cold. He is RIGHT ON THE OTHER SIDE OF THE DOOR! Alex JOLTS, dropping the letter. A corner of it slides under the door. She keeps her mouth covered. She takes a step back. CHARLIE (OS) Why don't you come out and finish your coffee? Alex slowly reaches down for the letter. Just as her hand reaches it, it is YANKED through the door from the other side. Turning around, she spots a WINDOW about head level on the wall opposite the door. She approaches it and OPENS it with a little force. The sound of RAIN fills the room. On the other side of the door, footsteps can be heard. A door is opened then closed. HE IS GOING OUTSIDE. Alex darts for the bathroom door. INT. BACK DOOR - SAME She flies out of the bathroom and jumps on the back door, locking it. Her breathing is shallow and shaky. She turns around and runs out of the kitchen, towards the front door. EXT. FRONT DOOR - SAME The door opens into the rain. Alex runs out onto the porch, nearly slipping. Jittery and terrified, she continues her sprint off the property and across the street. The door to the house remains OPEN. CUT TO:
10. INT. RILEY'S HOUSE - SECONDS LATER Alex rips open the door and enters. She is soaking wet and breathing up a storm. Riley trots in from the living room, picking up on her concern. RILEY What's wrong? She leans against the door, still out of breath. She slides down to the ground. RILEY Alex, for Christ's sake, what happened? We can hear hear heartbeat getting louder and louder. Intensifying. DISSOLVE TO: INT. LIVING ROOM - NEXT MORNING Alex sits on the couch in Riley's living room. It's well spaced, more up to date, less gaudy. She holds a cloth on her head. A detective speaks to her. Riley speaks to his two roommates, OWEN, 21, and MALCOLM, 23. They stand against the entrance that connects the living room and kitchen. Their tone is quiet, trying not to let anyone else hear them. The detective and Alex converse on the other end of the room. MALCOLM So she wasn't hurt, right? RILEY No, she just (beat) She's just tired. OWEN Well what the fuck happened, some old man got her to deliver a letter or some shit? RILEY I don't know, I guess we'll talk to her later.
11. Alex looks out the window. It's overcast outside. Police cars are on the street. Charlie's house is TAPED with yellow Police tape. DETECTIVE CHAMBERS, 40, sits across from her. CHAMBERS Did he know the old man? ALEX I never asked, I don't know. Alex's carries monotone in her voice. She removes the cloth from her head. CHAMBERS You said he knew the dead wife. ALEX He said he knew the man's wife. How can I be sure? CHAMBERS What was his name, again? ALEX Charlie. It said on the note, (beat) "Charlie... (beat) This is the last one I'm sending you today." She holds back tears. Someone enters the front door. It's a UNIFORMED police officer. He steps in the living room, looking at Chambers. CHAMBERS Thanks Ms. York. I'll get back to you. Chambers stands. His eye contact with the officer provokes a sentence. OFFICER Detective, you'll want to come and check this out. We found some things in the basement. Alex looks out the window at the house again. She keeps an intent view on the scene.
12. CHAMBERS (OS) What is it? OFFICER (OS) You'll have to come check it our, sir, it's kind of hard to explain. The officer looks down at Alex, who still looks out the window. Chambers closes his eyes for a moment, then follows the officer out of the house. Riley approaches and sits on the couch next to Alex. She sniffles and wipes her eyes. ALEX This is fucked, you know that? RILEY I know. ALEX I mean, Jesus Christ, what's next? (beat) I came here to settle down, you know. At least for a little bit. RILEY Things'll get better, Alex. I promise. ALEX I can't trust anyone anymore. No one. RILEY You can trust me. (pause) and Owen and Malcolm. Most of my friends are good people. (beat) We're not all bad people here in Aldershot, you know. She takes her attention away from Riley and back to the scene over at the house. EXT. CRIME SCENE - SAME Chambers exits the house with the officer. CHAMBERS What is it?
13. OFFICER Looks like human flesh to me, sir. CHAMBERS There's two rooms stacked with it. OFFICER What should we tell the press? CHAMBERS Nothing. Absolutely nothing. (beat) Not now. There are two media reporters there. One is from a television broadcast. The other, SCOTT OLIVER, mid '20s, is from a newspaper. The TV reporter chats with an officer. Scott approaches Chambers as he walks to his vehicle with the officer. SCOTT Excuse me, sir. Are you a detective working on the case? CHAMBERS Yes, who are you? SCOTT My name's Scott Oliver, I'm a reporter from the Aldershot Observer. CHAMBERS I've heard of you. SCOTT Thank you sir. Can you tell me anything about what's gone on here today? What's this all about? Scott has a MINI-RECORDER in his hand that he doesn't make too obvious. OFFICER (BLUNT) I'm sorry, we're not releasing any information to the press -
14. CHAMBERS No murder, no theft. That's what I'll give you for now, Mr. Oliver. (beat) As soon as we get some more info we'll let you know. But for now, just let us do our job. Scott nods. SCOTT Fair enough. Chambers and the officer enter the car. It comes alive and rolls down the road. He looks up at Riley's house and sees Alex in the window, looking out at the scene with a blank, emotionless face. He sees that something is wrong with her. She makes eye contact with him. INT. LIVING ROOM - SAME Alex turns to Riley - RILEY Can I get you anything? He stands and makes his way towards the kitchen. RILEY (CONT'D) Coffee? Tea - ALEX No! He stops dead. Riley turns back to her slowly, as do Malcolm and Owen from the kitchen. ALEX (CONT'D) I'm just (beat) not thirsty, thanks. Riley nods his head and continues in towards the kitchen. INT. BASEMENT - NIGHT Riley opens the door to the basement. A wooden staircase leads down. It opens on the left side, exposing the rest of the room.
15. He casually trots down the stairs, carrying a luggage bag. Alex follows him. She looks around. It's unfinished, but has a decent looking bed, armoire and television stand. Riley puts down the bag. RILEY The Presidential suite. ALEX Looks great. RILEY Hey, don't complain. You want to see my room? She forces a smile. Riley pulls a cord above him. A single lightbulb illuminates the room. The far end away from the bed reveals a sink, furnace, washer and dryer. The dryer is on. RILEY The washer doesn't make much noise. I'll make sure not to leave it on while you're sleeping. (pause) After tonight. Alex sits on the bed and takes her shoes off. ALEX No problem. Riley smiles and turns around, walking back up the stairs. ALEX Riley... He looks at her, half way up the stairs. He ducks his head down to make eye contact. ALEX (CONT'D) Thanks.
16. RILEY Don't worry about it. He continues up the stairs. Alex stands and removes her sweater and pants. We can see that she has an attractive body under her contemporary clothes. She pulls back the covers of her bed and tucks herself in. There is a window on the wall to her left. She looks up at it. Moonlight seeps in. Her eyes begin to droop. INT. LIVING ROOM - SAME TIME Riley comes up from a door that leads to the hallway. He enters the living room and sits down beside Owen on the couch, facing the television. Owen and Malcolm (on a chair nearby) drink beer and gaze at a late night talk show. OWEN She okay now? RILEY Better. MALCOLM What do you expect? OWEN I don't know, man, shut your mouth. Malcolm smirks slyly. OWEN Hey, Riley. Malcolm and I wanna check out this new bar downtown. You wanna come? RILEY Naw. Sam's supposed to be coming over after work. OWEN Really? RILEY Yeah, she gets off in ten minutes.
17. OWEN Alright, then can I borrow your coat? RILEY Where's yours? OWEN Malcolm has it. Malcolm looks sternly at Owen. MALCOLM I don't have your fucking coat, man! Riley, frustrated, stands up and walks towards a closet door in the hallway. RILEY Hold on! He opens the closet and shuffles around for a moment. RILEY It's not here. Owen stands. OWEN Where is it? When was the last time you had it? RILEY Alex took it two weeks ago when she came here? MALCOLM Where'd she put it? RILEY I don't know, I didn't see her come in with it - (realizing) Oh no. Malcolm puts down his beer and stands. MALCOLM She left it in that fucking house! RILEY Shit, I liked that coat. OWEN Let's go and get it then.
18. He retreats to the WINDOW facing the house across the street. It's empty, dark and blocked by yellow police tape. OWEN (CONT'D) No one's there. Riley and Malcolm hover behind him, peering out the window also. RILEY Are you kidding? OWEN What? No one's there. Look, it's covered with tape. RILEY What if that crazy fucker comes back? OWEN As if he's gonna come back and get his ass caught. Pfft.. MALCOLM He's got a point. Riley gives Malcolm a sour look. EXT. CHARLIE'S HOUSE - NIGHT The three boys stand outside the house, looking at it from beyond the yellow tape. RILEY You wanna go in there? OWEN Why not? RILEY Just for a coat? It's not even cold out. OWEN All in the name of style, my man. Owen and Malcolm hop over the police tape. Riley hesitantly follows. They make their way up to the door and quietly/quickly enter.
19. INT. LIVING ROOM - CONTINUOUS Riley closes the door behind him. The boys step into the living room. Everything is dark. The only light seeps in from the windows. SILENCE. The floor creaks with every move. Owen and Malcolm begin their hunt. Riley slowly walks around. OWEN Where would she have left it? MALCOLM Damned if I know. Owen begins searching all over, ducking behind crevices, lifting cushions. Riley sticks near the door. Malcolm finds a door against the stairwell and opens it. It's dark. There's a staircase leading down. Riley looks at Malcolm. RILEY Didn't they say they found something in the basement? MALCOLM They never said what. Owen approaches and closes the door slowly. OWEN Too gruesome to tell. Malcolm steps back. OWEN Keep looking. Owen enters the kitchen and looks around. He goes out of sight. Malcolm scans the rest of the living/dining room. Riley sighs. RILEY Guys, it's not here. The cops probably took it as fucking evidence. Let's just go.
20. MALCOLM You're right. Malcolm walks towards the door. Owen exits the kitchen and sighs, walking towards the other two. OWEN I really liked that coat! EXT. STREET - SECONDS LATER They're facing the house, walking normally across the street. A LIGHT goes on inside. Riley stops. Owen and Malcolm peer at the house, seeing Riley's concerned expression. MALCOLM What? RILEY Someone's in there. Look. He points. RILEY (CONT'D) A light just went on. Owen continues walking. OWEN It's your damn sister you more-off. INT. FRONT DOOR - SECONDS LATER The three enter, taking off their shoes. INT. LIVING ROOM - SAME Riley spots the TRENCH COAT on the chair in the living room. His eyes widen with confusion. RILEY What? Someone approaches him from behind, putting their hands over his eyes. It jolts him. FEMALE VOICE Guess who?
21. He WHIRLS around to see SAM BOWLES, 21, standing in front of him smiling. She's attractive, sporting slightly retro clothes (not a lot of money). SAM Hey baby. RILEY Hi. SAM What's wrong? He turns to Owen and Malcolm who enter the room. RILEY Guys, look, the coat. It's here. Enthusiastic, Owen runs up and snatches it. OWEN Yes! He puts it on and heads back towards the door with Malcolm. MALCOLM Check ya later, Riley. OWEN See ya. Sam turns his head back towards hers. SAM I got off a little early. I just kinda came in. (beat) You okay? RILEY My sister's staying here for a while. She had a run in last night with a psycho across the street. SAM Psycho? In that house for sale? Is that why's it's all taped up? I didn't think anyone lived there. RILEY No one does, that's the thing. SAM Creepy.
22. RILEY Yeah, it's a long story. She's downstairs sleeping. She leans in and kisses him innocently. SAM Let's not disturb her. Riley smiles, almost giggling. RILEY Okay. CUT TO: INT. BAR - NIGHT Malcolm and Owen enter the bar. It's rather pretentious. Many artsy people. It's swank with a lot of style happening. Owen smiles. They approach the bar and sit down. An attractive female bartender approaches them. She smiles and leans in towards them, over the chatter of the people. BARTENDER What can I get you two? MALCOLM Vodka cooler, please. She turns to Owen. BARTENDER And you? What can I do for you? OWEN Sex on the beach. He smiles and winks. Malcolm turns to Owen. MALCOLM Some pretty fine ladies here, you think? OWEN For sure.
23. She slides the two drinks down on the table. Malcolm puts down a 20 dollar bill. He takes a sip of his drink. OWEN Hold up, I need to go to the bathroom. Owen disappears into the crowd of people. Malcolm spots a FINE female across the bar. He makes his way over towards her and sparks up a conversation that we cannot hear. Owen's drink sits alone on the table. INT. BAR - MOMENTS LATER Owen passes Malcolm and the fine female on the way back to get his drink. OWEN You sonofabitch, you started without me. MALCOLM What can I say, I'm irresistible. They all laugh. Owen walks up and grabs his drink. He chugs a good third of it back. Taking a quick breath, he returns to chugging the rest of the glass. All the way down. He turns to see the bartender behind him. She smiles. BARTENDER Swallow it, baby. He exhales as he finishes the drink. BARTENDER (CONT'D) Did you like my sex on the beach? OWEN Best I've ever had. BARTENDER Next time make it last, you finished pretty quickly.
24. OWEN Quick and hard. The only way. He begins walking over towards Malcolm. Suddenly he stops. Something's wrong. Shaking it off, he takes another step. It happens again. He JOLTS. His eyes widen. Malcolm sees him and chuckles a bit. Owen rushes through the crowd, past Malcolm towards the bathroom again. MALCOLM Must have been something he ate earlier. He turns back to the fine female on his arm and takes a sip of his cooler. INT. BATHROOM STALL - SAME TIME Owen VIOLENTLY vomits into the toilet. His face is turning yellow. Must have been the drink? But what? He vomits again. Everything comes up. This time it's mostly blood. OWEN Oh shit! Fucking SHIT! Shaking uncontrollably, he stands up. His bloody hands push against the stall walls for support. INT. BAR - SECONDS LATER Owen exits the bathroom. His face looks like shit and there is a mixture of blood and vomit around his mouth. A BIG BLACK BOUNCER pulls him aside under a red EXIT sign at the back of the bar. Owen is a mess. He's crying. His eyes keep rolling back. BOUNCER Looks like you've had enough for tonight. Owen can't get out any words. Blood begins to pour from his mouth.
25. BOUNCER Come on, buddy, let's go. He opens the back door of the bar and SHOVES Owen out into the alley way. EXT. ALLEY - SAME Owen rolls over on the ground. He vomits again. Crying uncontrollably, he wipes away the blood from his face. His eyes roll back and he passes out. He is unconscious in the alley way. A CAR slowly backs up towards him. We can see the GLARE of the brake lights on his face. The car is obscured by the darkness, as is the diver. The trunk POPS open. MONTAGE - Owen's frail body is lifted into the trunk. The trunk closes and the car comes alive. It slowly exits the alley way. INT. BAR - LATER THAT NIGHT Malcolm, a little tipsy from the alcohol, sees off his female friend. She kisses him on the cheek and makes for the door. He turns to the bartender. MALCOLM Hey, have you seen my buddy? BARTENDER You mean "sex on the beach"? MALCOLM Yeah, that's him. BARTENDER No. He probably split (beat) prematurely. MALCOLM Goddamn!
26. Malcolm is frustrated. He walks towards the front door and exits. CUT TO: INT. LIVING ROOM - SAME TIME Sam and Riley kiss on the couch. The same late night talk show is just ending. Sam breaks from the kiss and looks down at her watch. SAM Baby I've got to go. RILEY Why? What time is it? SAM It's almost one in the morning. (beat) My grandpa always waits up. RILEY Alright. Call me tomorrow? She kisses him once on the lips. SAM I will. She unmounts him and walks to the door, putting on her shoes. Within a few moments she is gone. Riley sits on the couch. The trench coat on the chair next to him grabs his attention. He sits up and reaches out for it. The front door opens. Riley keeps his eyes locked on the coat. RILEY Sam, baby, you forget something? Malcolm walks into the room and leans against the hallway/living room entrance way. He sighs. RILEY The bar that bad?
27. MALCOLM Fucking Owen. RILEY What? MALCOLM He took off, again. RILEY With who? MALCOLM I don't know, but he always does this. (beat) God, I hate always having to look out for him. He's like a kid. RILEY I know what you mean. Malcolm exits, departing up the staircase. Riley looks at the trench coat once again. He stares at it for a moment. INT. BASEMENT - NIGHT Alex tosses and turns in her bed. It's dark in the basement. The basement door CREEKS open. Alex opens her eyes. The floorboards creek as the person begins to SLOWLY descend the stairs. Alex sits up. She sees a pair of legs walking down towards her. ALEX Who is that? They continue, slowly. Their torso becomes visible. Alex's breath gets shallower. The person's face finally becomes visible. It's Riley. He looks at Alex. RILEY Sorry, I didn't mean to wake you up.
28. ALEX It's ok. What time is it? RILEY Around eight. Go back to bed. ALEX No, I've got to get up now anyways. RILEY No big rush. He walks over to the dryer and removes a load of laundry. He transfers the clothes into a laundry bin and turns to carry it away. INT. KITCHEN - SECONDS LATER Riley and Alex emerge from the basement. Alex is in a white robe. Alex passes Riley and heads to the kitchen where Malcolm drinks some coffee. The kitchen is green and very inviting. MALCOLM Good morning. ALEX Good morning to you, too. MALCOLM So what are your plans for the day? ALEX Things change by the minute with me. MALCOLM Me too. He looks at her and touts his mug. MALCOLM You want me to get you a cup of - (realizing) Orange juice? Alex smiles. ALEX No thanks, I'm fine. (pause) Actually, write me down a grocery list. I want to do something productive today.
29. MALCOLM You sure? Why don't you stay inside? Cool off for a little bit. ALEX I think if I do that I'll go crazy. INT. UPSTAIRS HALLWAY - MOMENTS LATER Malcolm walks up the stairs. He meets Riley, who has just put his laundry away. MALCOLM (CONCERNED) Riley, Owen didn't come in last night. RILEY He didn't? MALCOLM No, his room's empty. SILENCE. RILEY Maybe he'll show up later today? Wouldn't be the first time. MALCOLM You're right. RILEY Hey... (beat) Don't mention any of this to Alex. I don't want to worry her any more. MALCOLM I won't. Malcolm leaves to his room. Riley goes downstairs. CUT TO: INT. GROCERY STORE - DAY Alex wanders the aisles of the grocery store with a shopping cart. She is well dressed as we've seen her before. There are a few people here and there. Alex picks out a few items and places them in her cart, slowly moving along.
30. Scott enters the same aisle. He begins following her; browsing for the same items as she is. SCOTT You've got quite the big family to feed, don't you? ALEX My brother and his roommates. They made the list. She smiles - the first time in a while. SCOTT I live with my niece. She's not hard to please. ALEX No, women know what they want. Men are the picky eaters. SCOTT You've got that right. (beat) Are you new in town? I can pick up on a new face when I see one. ALEX Yes, I got here yesterday. SCOTT How do you like it so far? ALEX Don't ask. She begins to push along. SCOTT You're on Clement, aren't you? I saw you, yesterday. ALEX Yes. SCOTT There was an incident. The police aren't telling anyone what happened. (pause) Do you know what went on? She turns to him.
31. ALEX Who are you? SCOTT My name's Scott Oliver. I'm a reporter for the Observer. ALEX I've been told not to talk to any press about it. SCOTT Off the record, as a friend. (beat) Can I take you out for lunch? I know this great bar downtown that just opened. I'll drive you back to your house, you can drop off your stuff. (beat) Half an hour, sit, relax. ALEX I don't know? She's hesitant. He's charming. SCOTT I'm a good listener. Alex smiles at him, then glances down at her food. CUT TO: INT. BAR - SOME TIME LATER The bar is less crowded. A few casual customers linger at the tables nearest the windows. Alex and Scott sit at the bar. Alex has a bottle of water while Scott sips on a glass of red wine. SCOTT So I take it you're not married. (beat) You look too young to be married. ALEX Widowed. (pause) Yep, two years. He died six months ago.
32. SCOTT I'm so sorry, I - ALEX No, don't be sorry. (beat) 'He lived a good life.' SCOTT What was it from? ALEX He needed a liver transplant and needed a donor. After awhile it was too late. SCOTT That's horrible. He takes a drink of his wine. ALEX That's why I quit drinking. (beat) Because of him. He protected me. He had the sweetest smell to him. I could always tell him by his smell. (beat) Always sweet. Scott awkwardly puts down his glass. He leans in to signify a deeper part of the conversation. SCOTT So tell me what happened last night across the street. (beat) What did you see? Alex clears her throat. ALEX It goes back a little farther than you think. SCOTT Tell me. Alex takes in a deep breath.
33. ALEX I was at the bus station, on my way here. I met this old man who seemed really decent. He was blind. He was coming to Aldershot to deliver a letter from his dead wife. Since I was staying on the same street I offered to deliver it for him. (pause) When I get to this house this man answers. He's really awkward and he offers me coffee. I ended up getting away for a minute and I found that letter and it said "Charlie, this is the last one I'm sending you today." SILENCE. Scott is totally glued. SCOTT That's terrifying. ALEX I don't drink coffee anymore either. SCOTT How did you get away. ALEX I ran out the front door. (beat) If he had found me, though, he would have killed me. I know it. SCOTT The observer would eat this up. ALEX You can't tell anyone. SCOTT And I won't. I promise. Alex glances around the room.
34. ALEX The scariest thing was he didn't look that crazy. I knew something was wrong when he read the letter and immediately looked at me. (beat) Just his 'look' was... (pause) Kind of makes you think, doesn't it? She continues to look around at the people and their separate conversations. Everyday people. CUT TO: INT. RILEY'S BEDROOM Riley sits on his bed. His room is nice. Guy like, posters of this and that on the walls. Well kept and clean. He has is on the phone. RILEY Hi, my name's Riley York, I'm calling from 709 Clement Street. I want to report a missing person. OPERATOR (FILTER) Can I have their name, please? RILEY Owen McCready. OPERATOR (FILTER) Has it been over 48 hours since they were last seen? RILEY No, just under a day. OPERATOR (FILTER) Okay, here's what we're going to do: we'll put his name and file in a queue and alert all of our units. If he hasn't contacted you within 48 hours we'll put out an APB. RILEY Okay, thank you. He hangs up the phone. The television is on. It catches his attention with the titled "LATE BREAKING NEWS".
35. He turns it up with the remote and listens intently. ON TV there is a reporter (the same female reporter from earlier). REPORTER Police have reported today about an incident that occurred last night, here at this house behind me. (beat) Upon inspection, the authorities made a horrifying discovery when they found kilos upon kilos of human skin stacked in the basement. (beat) No more details are being given as of yet, but the police warns homeowners to keep their doors locked. Riley is taken back. He is completely shocked. He glances to the left in thought. CUT TO: EXT. CAR - AFTERNOON Alex and Scott lean against Scott's car in front of his house. It's pretty and picturesque. White Victorian home with picket fence and garden to boot. ALEX What type of reporting do you do? SCOTT Investigative journalism. ALEX Interesting. You must uncover a lot of horrifying stuff. SCOTT You can see why I was attracted to you - your story. Alex blushes. SCOTT (CONT'D) It's really gruesome sometimes. The things I hear. (MORE)
36. SCOTT (CONT'D) (beat) Kids are cut open by razors in their Halloween candy, stuff like that. (pause) One time I interviewed a man who had cut part of his face off while high on LSD. ALEX And that happens around here? SCOTT Around the state. I do a bit of traveling. ALEX I see. (beat) I'd better get back. SCOTT You need a lift? ALEX No, that's alright. It's just a few blocks down. SCOTT Give me a call if the police allow you to say anything, okay? I want to get to the bottom of this. You've got my number. ALEX Sure. (beat) I'll talk to you later. She begins off down the road. CUT TO: INT. KITCHEN - EVENING Malcolm, Riley and Alex sit around the kitchen table, eating dinner. It's chicken of some sort - nothing difficult to prepare. ALEX Where's Owen? Riley and Malcolm exchange a glance.
37. MALCOLM He met a girl. Last night at this bar downtown. ALEX I had lunch with a reporter in a bar this afternoon. RILEY I saw a news report today about it. The cops are telling people to stay in. ALEX They're talking about it? RILEY Yeah, all the local stations. ALEX His name's Scott Oliver. He writes for the Observer. Do you know him? RILEY I don't read the news. He finishes his meal and takes his plate to the sink. Malcolm hands him his plate also. Alex continues to chew on a piece of bread. She eyes Riley. RILEY I want you to call mom and tell her you're okay. She'll end up hearing about it in Orlando. ALEX They hear about everything in Orlando. RILEY Will you do that for me? ALEX I'll call her first thing tomorrow. He runs some water and begins to wash the dishes. Malcolm walks to a cupboard and pulls out a POWER BAR. He rips open the seal and takes a bite. Riley washes. Alex chews.
38. Malcolm takes another bite. He stops. SILENCE. He winces in pain. Alex looks at him and stands abruptly, knocking over her chair. Riley turns towards Malcolm who is leaning over in pain. ALEX Malcolm, what's wrong? He opens his mouth and SPITS out the powerbar. Embedded in his cheek is a SMALL, pencil sharpening razor. RILEY Jesus Christ. ALEX We need to get him to a hospital. He begins to lead the quivering Malcolm out of the room and towards the front door. INT. FRONT DOOR - SAME Riley slips on his shoes. ALEX Do you have a car? He picks up a set of keys from a key holder on the wall. RILEY I'll take Owen's car. Stay here and lock the door. He opens the door and leads the moaning Malcolm out. The door closes. INT. KITCHEN - MOMENTS LATER Alex cleans the blood and food off of the ground with a cloth. She arises and tosses the cloth into the sink, running the water to wash away the blood. INT. LIVING ROOM - MOMENTS LATER Alex sits down on the couch, facing the television. A moment passes. The television sounds fill the room. She is watching the news. She can see Charlie's house on the television.
39. The phone rings. Alex picks up the portable unit on the floor. ALEX Hello? No answer. The other line doesn't respond. ALEX Who is this? Nothing. Alex hangs up. She returns her attention to the television. More reporters talking. The phone rings again. Flustered, she picks it up. ALEX Hello? Breathing. Regular breathing. It's slightly loud. ALEX Who keeps calling? (pause) Who is this? She hangs up the phone again. It begins to ring again in her hands as she sets it down. She lets it ring three times then picks it up again. ALEX Yes. CHAMBERS (FILTER) Alex, this is Detective Chambers. ALEX Did you just call. CHAMBERS (FILTER) No, I'm in my car right now. (beat) Listen, I have something important to tell you. The police down in the marsh have uncovered thirty two bodies.
40. ALEX Thirty two? A look of horror hits her face. CHAMBERS (FILTER) Yes, thirty two. All of them skinned, all of their internal organs removed. They were dumped in a swamp, all together. (pause) It's connected with last night, I'm sure of it. ALEX What do you want me to do? CHAMBERS (FILTER) Lock your doors. (beat) We've released a statement to the media about what we found in the house - ALEX What did you find in the house? CHAMBERS (FILTER) Skin, Alex. It was stacked all in the basement. (beat) We're having DNA tests done to match up the bodies to the skin. (beat) Don't talk to anyone about what I just told you. I want to keep this on the low-down for a few days. ALEX Okay, but a guy from the Observ - CLICK! The other line goes dead. Alex sighs. The phone rings again. She picks it up. ALEX (CONT'D) Chambers, I talked to this guy from the Observer who - Alex stops. Her eyes widen ever so slightly.
41. She stands up and turns around. She can see the HOUSE across the street. A LIGHT GOES ON from within. CHARLIE (FILTER) Your coffee's getting cold. Alex drops the phone to the ground, still staring at the house across the street. She DARTS to the door and locks it. Her breathing is heavy. Flicking off the hallway light, Alex slowly makes her way back towards the view of the house. The light is now off. She reaches down and picks up the phone. Resetting it, she pulls out the slip of paper from her pocket. She dials the number on the paper. It rings. SCOTT (FILTER) Hello? ALEX (PANICKED) Scott, can you get over here please? Something's wrong, I - I'm getting these calls and - SCOTT (FILTER) I'm on my way over now. Don't move. CLICK! Alex puts down the phone. Tears stream from her face. She is still sitting on the floor, back to the couch. INT. LIVING ROOM - SOME TIME LATER Alex paces across the room while Scott sits in a chair. Her eyes are still wet from crying. She glances up at the house every now and then. SCOTT I don't think he's going to call back again. (beat) What did he sound like?
42. ALEX He sounded exactly like Charlie. Same tone of voice, same everything. SCOTT So it was him? Alex sighs. ALEX I don't know. This whole thing is sick. SCOTT I'll stay with you for a while. ALEX Could you? At least until Riley gets back from the hospital? SCOTT Hospital? ALEX Malcolm's power bar had a razor in it. SCOTT (concerned) Like razor blades in Halloween candy? She stares down at him, deep in thought. CUT TO: INT. WAITING ROOM - NIGHT Riley is in a STERILE hospital waiting room. The ambiance of the emergency room can be heard - beeps and voices from all over. A nurse approaches Riley. She's black and dressed in green mod robes. He stands, looking concerned. NURSE Are you the one who brought in Malcolm? RILEY Yes, is he going to be alright?
43. NURSE We've put him in intensive care for now, we won't be sure until tomorrow. RILEY Intensive care? Can't you just stitch up the wound? NURSE It's not that easy. The razor blade that we took from Malcolm's cheek muscle was contaminated with a harmful bacteria. It's a parasite that breaks down nerve cells. (pause) Last time we saw this bacteria was in a man's foot. It had to be amputated. Riley looks confused. RILEY I-I don't understand... NURSE Go home and we'll call you tomorrow if anything has changed. RILEY Do you think he'll be okay? She gives him a questioning look. It says "I don't think so". The nurse walks away. CUT TO: INT. LIVING ROOM - SOME TIME LATER The front door opens. Alex and Scott look up as Riley enters the room. He senses something's wrong. RILEY What's going on? ALEX I'm being harassed on the phone. It's that guy again. (pause) Where's Malcolm.
44. RILEY Intensive care. The razor blade was contaminated. Things don't look good. (beat) This is totally fucked. (beat) I've got to get out of here. ALEX Where are you going? RILEY Sam's waiting for me. Riley hastily exits the same way he came in. ALEX Riley, wait! The door closes. SCOTT Big day today, I guess I'll leave soon. Alex sits down on the couch, still looking at the door. She inhales deeply. CUT TO: INT. BAR - NIGHT It's busy again, just like last night. Sam sits at the bar, slowly mixing her drink with a stirstick. Riley approaches her. SAM Hey you. RILEY Sorry, I'm late. She takes his hand. SAM Baby, you're shaking. What's wrong, talk to me. His eyes are watery.
45. RILEY Malcolm's in the hospital. SAM Why? What happened? RILEY He got a razor blade in his cheek. It's infected and shit. (beat) And Alex. This whole thing is fucked up. SAM I'm here for you. He sniffles and wipes his eyes. RILEY I still haven't heard from Owen in two days. SAM Where'd he go? RILEY He took off, too. (beat) At least he doesn't have to deal with all the shit that I do right now. SAM He'll be back. You know Owen. RILEY Why is this town so fucked up. Why am I so fucked up? SAM Riley, listen to me, you're not fucked up, ok. Some shit's happening now that's a lot to digest. RILEY I'm choking on it, Sam, I'm choking. He sits unsettled in his seat. CUT TO: INT. BASEMENT - NIGHT Alex puts on a load of laundry.
46. She turns around and walks towards her bed. She picks up her BLACK suitcase and opens it. In the middle of the clothes is a PICTURE. Alex removes the picture and lifts it up. We can see that it is over her and another man - her husband. A wedding photo. Sitting down she looks at the picture more. A million thoughts rush to her head. She closes her eyes and inhales, remembering her lost lover. BEHIND HER - on the stairs - a SHADOW descends. Breaking from the moment, Alex WHIRLS around towards the stairs. NOTHING. No one is there. She lies back down in her bed with the picture on her chest. CUT TO: INT. NEWS OFFICE Alex sits in front of Scott's desk at the newspaper offices. She appears tired and warn out. ALEX I can't be alone today. SCOTT Where's your brother? ALEX He must have spent the night with his girlfriend. I'm not sure. SCOTT I see. He sits down. ALEX I thought you wanted an interview from me.
47. SCOTT I do, but not right now. (beat) It seems like the town's saturated in the whole thing right now. ALEX I don't know how people can leave their houses? SCOTT It doesn't affect them as much. ALEX It affects me. And Riley too. I want to take him and leave for a while. Just until all of this settles. SCOTT You don't want to stay and solve the case? ALEX I'm not much for solving cases... (pause) After my husband died, I just (beat) I don't think I can deal with this right now. Her eyes are misty. Scott arises and squats beside her. He brushes the hair off of her face. SCOTT I understand. (beat) I'll protect you. Alex looks in his eyes, trying so desperately hard to trust him. He leans in for the kiss. Alex beats him to it. She aggressively kisses him for a few seconds. She breaks from it and stands, covering her mouth. ALEX I'm sorry... Scott stands and looks at her.
48. ALEX (CONT'D) I've got to go. (beat) I've got to go home. She turns and leaves the room. SCOTT Alex, Alex wait! He stands and watches as the door closes on him - and on a possible love connection. CUT TO: INT. WAITING ROOM - DAY Sam and Riley sit in the waiting room of the hospital. Sam holds Riley's hand. She spots the nurse. SAM Here she comes. Riley arises with red eyes. Sam stands behind him. NURSE Riley, I've got some bad news. SAM (QUIET) Oh God... NURSE (CONT'D) Malcolm's infection spread to his spinal cord and left him brain dead. He was pronounced dead early this morning around six. They're going to perform a post-mortem examination later on this evening. We're currently contacting his parents. (beat) I'm truly sorry for your loss. He must have meant the world to you. The nurse looks at him comfortingly. She nods to Sam, then turns around and leaves. Riley's eyes well up with tears. He doesn't move. He has a fixated stare. Sam kisses his neck and hugs him from behind. She whispers in his ear -
49. SAM Baby I'm so sorry. She hugs him from behind around his waste. He doesn't move or flinch at all. SAM I'm so sorry... CUT TO: INT. LIVING ROOM - SOME TIME LATER The phone is ringing on the coffee table in the living room. We can hear someone enter. Alex walks over to the phone and picks it up. ALEX Hello? CHAMBERS (FILTER) Alex, it's Chambers. ALEX Yes? CHAMBERS (FILTER) I need to talk to you. (beat) We've found another body. This one's fresh. (beat) Stay there, I'll be there in a minute. ALEX I will. INT. KITCHEN - SOME TIME LATER Chambers and Alex sit in the kitchen. He smokes a cigarette. CHAMBERS We've identified the body. ALEX Who is it? CHAMBERS Owen McCready.
50. ALEX Owen? CHAMBERS We got a call from your brother two days ago about his disappearance. ALEX He was missing? CHAMBERS That's what your brother said. Didn't come home from a night at the bar. (pause) We did dental identifications. It took us a few hours. ALEX Why? CHAMBERS Approximately 83% of the skin on his body was removed. All the major organs in his thoracic cavity were removed. ALEX Why? CHAMBERS Black market. Organs are hard to find. ALEX I'm leaving tonight. I'm finding my brother and we're taking off. CHAMBERS I want to stay in contact with you. I might need your help in pointing this guy out if we find him. ALEX I can't stay here. CHAMBERS Then drive over to Harville, but I need you to be here, Alex. This case depends on it. SILENCE. Alex thinks about it.
51. ALEX Two more days and I'm gone. CHAMBERS Keep your doors locked. Call me if anything happens. Chambers arises and exits the room. Alex is motionless. We hear the door close. CUT TO: INT. HOSPITAL - DAY Riley and Sam follow a male nurse down a long corridor. It's very well lit, very sterile. MALE NURSE I just need you to identify the body. I'll show you a picture on the monitor. RILEY Okay. Sam grabs his hand and squeezes it. They enter a SILVER door marked "MORGUE" INT. MORGUE - SAME The walls are covered with boxes that pull out and store cadavers. It's lit single source from a high watt light in the center of the ceiling. There is a television monitor near the door. Sam and Riley stand in front of it. In the background, the nurse PULLS open a cadaver storage unit and unzips the black bag to expose the face. He presses a button on the front of the silver rack. An image of man, NOT MALCOLM, comes on the screen. Riley and Sam squint and gawk. RILEY (QUIET) That's not Malcolm. MALE NURSE Excuse me?
52. He looks up at them. Sam shakes her head. RILEY That's not Malcolm! The nurse is taken back. MALE NURSE This is who we have marked here as Malco - RILEY (SCREAMING) That's not fucking Malcolm! Riley turns around and RUNS out of the morgue. INT. HALLWAY - SAME Riley TAKES off down the hallway. Sam runs out the door after him, then stops and watches as he takes off out of sight. SAM Riley! (pause) Riley wait for me! Riley Please! Riley keeps running. Sam sighs. CUT TO: EXT. SCOTT'S HOUSE - DAY Alex approaches the front porch of Scott's house. She carries a WHITE envelope in her hands. She opens a SMALL, aluminum mail box beside the door and is about to stick it in when - SCOTT opens the door. Alex smiles. ALEX Hi. SCOTT What are you doing? ALEX Leaving you a letter.
53. SCOTT Hasn't delivering letter gotten you in enough trouble lately? ALEX I thought that this one might fix a few things. (pause) Scott, I'm really sorry the way I acted earlier. I'm really high strung, I don't know what came over me. SCOTT I understand. A lot of shit is happening to you and around you. ALEX I don't want you to think that you're getting in the way, because you're not. SCOTT I'm an investigative reporter, that's my job. Alex laughs. ALEX Do you want to go and get some coffee or something? SCOTT Coffee? ALEX Yeah, coffee. CUT TO: INT. BAR - AFTERNOON Alex sips the last of her coffee. She smiles and looks at Scott who smiles back. ALEX I feel better. SCOTT You look better. You still owe me an interview.
54. ALEX Thanks. (beat) I'm surprised, though. This has been the second hardest week of my life. SCOTT The police talk to you today at all? ALEX Yeah. Chambers came over. (realizing) Oh god, Riley. SCOTT What? ALEX Owen was found. SCOTT Found? What do you mean? (beat) Dead? ALEX Yes, he was skinned like the others. All his skin was removed. (beat) I've got to get home to tell him. (beat) Stop by later tonight, after dinner? SCOTT I can do that. Alex arises. ALEX Thanks so much. She then makes her way quickly out of the building. Scott watches as she departs. CUT TO: INT. KITCHEN - AFTERNOON Alex is heard coming through the house. She runs into the kitchen and sees Sam at the sink. ALEX Where's Riley?
55. Sam turns to her. SAM Alex, right? ALEX Yes, that's right. SAM I don't know? I came here thinking he would be here but he's not. I looked all over. ALEX What's wrong, what happened? SAM Malcolm's dead. (beat) They had a mix up at the morgue. ALEX What do you mean, a mix up? SAM They can't find his body. Alex's expression fades. ALEX Does he know about Owen? SAM What about Owen? ALEX Sam, Owen's dead. They found his body with the skin removed, just like the other bodies found. SAM Jesus, what next? ALEX I need to find Riley. I want him in doors. SAM I can help you look. ALEX No, listen to me, I want you to go home and lock your doors, okay? Anyone in this house isn't safe.
56. SAM But I can help you - ALEX Sam, please. It's for your own good. Sam sighs and exits the kitchen. We can hear her leave. INT. LIVING ROOM - SAME Alex walks into the living room and picks up the phone. She dials a few numbers. ALEX Chambers? CHAMBERS (FILTER) Yes? What's up? ALEX Malcolm's dead, Riley's other roommate. CHAMBERS (FILTER) What happened? ALEX I don't know? But he's dead and they can't find the body. CHAMBERS (FILTER) Where's your brother? ALEX I don't know, that's why I phoned you. I can't find him. Is there anything you can do? CHAMBERS (FILTER) I can put up an all-points bulletin, but that's it for now. A SHADOW BEHIND HER! ALEX Okay, thanks. CHAMBERS (FILTER) Call me when you find him, ALEX I will.
57. She hangs up the phone and turns around. The shadow is gone. CUT TO: EXT. BUS STATION - EVENING A cab pulls up to the small bus stain. It looks a lot like the one we saw previously, but a slightly different design. Alex exits the cab and quickly trots into the station. ALEX I'll be one minute... There are a LOT of people around her, waiting to board their busses. INT. TICKET BOOTH - SAME Alex RUSHES up to the ticket booth. A man sits behind the counter. They are divided by glass. ALEX Hi. TICKET HOLDER Hello there. ALEX I need two tickets to Atlanta. TICKET HOLDER I've got two seats on an seven thirty buss still open, would you like those? ALEX Yeah, yeah. TICKET HOLDER Sixty six, thirty two, please. She hands him a wad of cash. He processes the order in a computer, hands her back her change and then hands her the tickets. She smiles - she is still in a rush. ALEX Thank you. Alex turns around, then freezes.
58. The change falls from her hands and PINGS on the ground. Up ahead, through the CROWD of people she spots SALEM peering at her. He's laughing. He removes his glasses and laughs diabolically. Alex's eyes widen. She begins off towards him. His image becomes obscured through the crowd. Alex moves through the people, but stops when she reaches where he was. She looks around, searching for Salem. There is no sign, only a crowd of people. On the ground there is a YELLOW ENVELOPE. Alex spots it. She leans down and picks it up. Opening it, she reads what it says on the inside: "SHE HAS NICE SKIN... SHE'LL DO WELL" Alex RIPS the paper in four and ANGRILY whips it in the air. ALEX FUCK! EXT. BUS STATION - SECONDS LATER Alex RUSHES out of the building and jumps back into her cab. ALEX (VO) Clement Street again, please. The cab takes off. It's getting darker out. The sun hangs around the horizon. CUT TO: INT. FRONT DOOR - SAME TIME Riley closes the front door, having just entered. He SIGHS and leans against it. INT. LIVING ROOM - SAME Sitting on the couch, he closes his baggy eyes. He is extremely tired.
59. The radio plays softly in the kitchen. A SHADOW MOVES from behind Riley. His eyes perk open slightly. A voice - SAM Riley? Riley awakens and WHIRLS around to see Sam behind him, leaning on the kitchen entrance way. RILEY Sam, Jesus Christ! SAM What? RILEY You scared the shit out of me. SAM Sorry, I got off work early and couldn't wait to see you. RILEY You have screwed up schedules. SAM I told my grandfather you'd come and have dinner with us. RILEY You did? SAM Yeah, I thought it would be nice. (beat) Something relaxing. I don't want you all cooped up in here. Not after... Riley blinks and looks away. SAM (CONT'D) Will you come? RILEY I don't know, Sam... SAM My grandfather's a great guy. He's no one to impress.
60. RILEY I don't know if I - SAM Say you will. He hesitates, then forcibly cracks a smile. RILEY Okay. She slithers over the couch and sits behind him, legs around his waste. She pulls out a BLIND FOLD and wraps it around his head. RILEY What is this? SAM Just some fun. He pulls it off and looks at her, not impressed. RILEY Things aren't 'fun', Sam. She looks at him for a moment. SAM (QUIET) Cut me some slack, Riley, I'm really trying. He sighs. RILEY I'm sorry. SAM You don't have to wear it. I thought it'd cheer you up. RILEY I'll wear the blind fold. SAM Okay. RILEY Where are we going?
61. SAM Granpa's house. It's a bit of a walk. You'll be fine. You just have to trust me. He smiles as she reapplies the blindfold. They both stand. Sam slowly leads him towards the front door. CUT TO: INT. BAR - DUSK Scott sits at the bar with a pad of paper in front of him. It is slightly less crowded than before. He appears flustered and tired. The attractive female bartender approaches him. BARTENDER Late night? SCOTT I've got a story to finish by tomorrow night. BARTENDER Really? What's it about? SCOTT I don't know. BARTENDER Anything interesting in the world today? SCOTT You haven't been hearing what's going on? BARTENDER Nope? (pause) It's nothing to get worried about, right? Scott sighs. SCOTT Nope. In frustration he RIPS out a piece of paper and crumples it.
62. SCOTT Can I get a double of Bacardi? BARTENDER Coming right up. CUT TO: INT. HOUSE - SAME TIME Sam leads the blindfolded Riley into the living room of the house. The living room is dressed down and casual, CIRCA 1050s! She sits him down on the couch. He takes off his blindfold. His eyes adjust. Sitting in front of him is SALEM. Salem appears without his glasses and cane. SALEM Hello there boy! Riley looks around. RILEY Hi. SALEM You must be Riley! I've heard quite a bit about you. RILEY Likewise. Sam SMILES. She takes his hand in hers. Riley recognizes the room. He PULLS his hand away. SILENCE. Salem sits and smiles at Riley. SALEM I heard your friend just passed away. (beat) I'm very sorry. Must be a horrible loss. (beat) My wife recently passed.
63. RILEY That's terrible. He is monotone. SALEM Old age. It happens. We had her cremated. RILEY Really? SALEM That's the only way to do it, you know. None of that burial shit. You've got to make sure it's all you in there. Riley becomes noticeably uncomfortable. The window behind Salem is covered in a THICK curtain. It's the window that he can see from his house. SALEM (CONT'D) What do you think? RILEY About what? Cremation? (pause) It's alright, I guess. I'd rather be buried. SAM Baby do you want a drink? He keeps looking around. RILEY No thanks. Sam stands and makes for the kitchen. It's the same as CHARLIE'S KITCHEN! She turns back to him half way there. SAM Oh come on, you look dehydrated. Let me get you something. RILEY It's fine, Sam. SAM Don't be modest, Riley.
64. She disappears into the kitchen. Salem leans forward towards Riley, as if to signify his words with importance - SALEM We're having you for dinner. Riley swallows subtly. RILEY You are? SALEM Yes, I thought it was a good idea for you to come and eat with us. (beat) Sam told you, right? RILEY Ye - yes. EXT. CLEMENT STREET - SAME TIME Alex exits the cab a few houses down from her brother's place. She TROTS off towards it, looking to see if any lights are on. One is on in the living room. INT. LIVING ROOM - MOMENTS LATER Alex comes through the door and straight into the living room. The radio still plays softly in the kitchen. No signs of life. ALEX Riley? INT. HOUSE - SAME TIME Sam brings in a platter with two filled glasses on it and sets it down on the coffee table in front of Riley. She takes her seat and the drink on the end closest to her. Riley hesitates, then picks up the glass. She takes a sip of her drink, watching him. Riley takes a small sip of his, then puts it down. His face crunches together with displease.
65. RILEY Does this taste weird to you at all? SAM Taste's fine. RILEY It tastes like its powdered, is it powdered? SAM Yeah. What's wrong with that? SALEM They just don't make it like they used to, do they? INT. RILEY'S BASEMENT - SAME TIME Alex looks around her bed area and all throughout the basement. Stopping, she glances at the stairs. NOTHING. She quickly runs up the stairs and into the main level. INT. LIVING ROOM - CONTINUOUS Alex RUSHES into the living room. SILENCE. The clock ticks. She looks at it. It's 5.30. INT. SAM'S LIVING ROOM - SAME TIME The clock on the fireplace mantle reads 5.30. Riley watches it from the corner of his eye. RILEY I should really go back to my house, you know. (beat) My sister's a wreck. (beat) Maybe we can do this another time? He goes to stand. Sam holds him back.
66. SAM What are you kidding? We've been slaving in the kitchen all afternoon. SALEM It's good for the soul, boy. RILEY Tonight's the best night. SAM You'll be home, Riley. Home where Malcolm and Owen aren't. Alone. RILEY Alex will be waiting for - SAM No (beat) she won't. (pause) If she were sane she'd have left the second she got here. Riley SIGHS and turns his head away, closing his eyes in frustration. Salem stands, slowly (as old men do), with the help of a cane. SALEM Looks like it's time to eat. He walks over towards the dining NOOK behind the couch. Sam arises to go to the kitchen. RILEY (QUIET) What are we having? SAM Don't worry, grampa's a good cook. You'll love it, I promise. Riley arises and turns his head. He sees Salem sitting at the head of the table. INT. DINING AREA - SAME Riley walks behind the couch and slowly takes a seat at the LONG table. There are candles lit and the fine china is out.
67. He sits in the middle on the side nearest the wall. He is facing the COVERED window. INT. RILEY'S LIVING ROOM - CONTINUOUS Alex keeps looking around the house for any signs of any action what so ever. Something catches her eye in the kitchen. In the center of the table, she spots a WRAPPED PRESENT BOX. It's pink and 20'x20'. There is a bow on top of it. She looks at it for a moment. It is out of place. Slowly and hesitantly, she approaches it. INT. SAM'S DINING ROOM - CONTINUOUS Sam enters with a LARGE SILVER PLATTER, covered by a dome- shaped lid. She sets it down in the center of the table and sits down across from Riley. He keeps his eyes on the PLATTER. INT. RILEY'S KITCHEN - CONTINUOUS Alex approaches the box and begins to unwrap it slowly. Her hands are shaky. INT. SAM'S DINING ROOM - CONTINUOUS Salem lays a napkin over his lap, as does Sam. Riley looks VERY anxious. He glances at both of them. RILEY (MONOTONE) What are we having? Sam reaches forward and removes the platter lid. We just BARELY see the meat dish before - INT. RILEY'S KITCHEN - CONTINUOUS Alex pulls the box towards her more. She lifts the lid to the box to reveal a LARGE, RAW LIVER. INT. SAM'S DINING ROOM - CONTINUOUS Sam sits down.
68. SAM Liver. Riley looks at the LARGE heap of brown liver on the platter in front of him. Salivating, Salem licks his lips. Riley inhales. INT. RILEY'S KITCHEN - CONTINUOUS Alex exhales. She steps back from the box. Her hands find the wall. She is shaking even more. Her face clearly shows her horror. INT. SAM'S DINING ROOM - CONTINUOUS Salem forks two slices of the meat to his plate. He looks at Riley. SALEM Come on, boy, eat up! Salem scoops up a LARGE slab of the dripping organ and SLAPS it on Riley's plate. INT. RILEY'S KITCHEN - CONTINUOUS The box falls and the liver SLAPS to the ground. Alex jumps back, completely terrified. INT. SAM'S DINING ROOM - CONTINUOUS Riley SLOWLY begins to cut at the liver on his plate. He cringes. Sam looks at him and smiles. She looks at Salem somewhat diabolically. SAM Tastes good, doesn't it? SALEM Yes it does. She turns to Riley, smiling.
69. SAM What do you think, Riley? RILEY I've never had liver before. (beat) It's a big liver, though. (to Salem) Where did you get it? It looks like a pretty big liver for a cow to me. SALEM Over at the butcher. (beat) My son - Sam's dad - works there. RILEY I see. (to Sam) Sam, you never really talked about your father. SAM For good reason. SALEM Oh come on, Sammy, your dad's not a bad guy. Sam arises. She walks into the living room. A moment later she returns and places Riley's ICE TEA in front of him. SAM You never finished. RILEY For good reason. SAM It's not that bad. Riley takes it and CHUGS the entire thing. It takes him a good seven seconds. He exhales and places the empty glass back on the table. He licks his lips. A bit of liquid cascades down his chin and drops to the meat. He looks down at his food and blocks out the other two. He concentrates.
70. SALEM So Sam, how's work at that diner. SAM Good. Hours are shit. SALEM And shit happens. SAM I suppose. The uniform is the most annoying part. (beat) Riley says I look sexy in it though. SALEM He should. You eat good, you're a good looking kid. SAM And you a cook good. Riley turns to Sam, breaking from his concentration. Something's wrong. RILEY Can I use the washroom? SAM Sure, it's just in the kitchen, first door before the back door on the left. He stands abruptly and slowly walks into the kitchen. INT. KITCHEN - SAME Riley slows down. His drink was spiked with some sleeping drug. He takes a few steps forward towards the back door - an ESCAPE. A few more steps. He slowly glances at the open kitchen beside him. HANGING in the middle of the room from a MEAT HOOK is Malcolm's dead body. It's been ripped open, his entire thoracic cavity exposed and EMPTY. Riley reaches out and FALLS over, just a few feet from the BACK DOOR.
71. INT. RILEY'S LIVING ROOM - CONTINUOUS Alex FALLS to the ground, tripping over something. She turns around and grabs the phone near hear left arm. Sitting up, she dials a few numbers and waits. Her eyes stay GLUED on the kitchen. The liver isn't in her view. SCOTT (FILTER) Hello? ALEX Scott, something's wrong - something's really, really wrong. Tears start to well up in her eyes. She's breaking down. SCOTT (FILTER) What is it? ALEX Someone left something here, in the house. It was in a wrapped box on the kitchen table... SCOTT (FILTER) What did they leave? ALEX I - I don't know, it's flesh or liver or something. SCOTT (FILTER) Is anyone there right now? Alex stands up. She scans the area with her eyes, being very still. ALEX I don't think so. SCOTT (FILTER) Alex, listen to me, I want you to get out of the house. Drop the phone, leave everything there and just leave. ALEX I need to find Riley. SCOTT (FILTER) We'll find him. Just - I want you to leave. Come meet me downtown.
72. ALEX Scott I'm scared. SCOTT (FILTER) Hang up the phone, Alex. She hangs up the phone and turns around. INT. FRONT DOOR - SAME Alex makes for the front door. She opens it and quickly exits. CUT TO: INT. BAR - NIGHT Scott and Alex sit at a table in the bar. Alex looks at the watch on her hand. She SIGHS. It reads 7.09. She's still noticeably shaken up. It's less rowdy than previous nights - then again, it's still early. ALEX Our train leaves in 20 minutes. SCOTT You're leaving? ALEX Yes, I told you that. I wanted to go home and grab Riley but he's gone. SCOTT Any ideas about where he'd be? ALEX His girlfriend was over earlier. He's probably at her house, I guess. (beat) I'd still like it better if he'd call. SILENCE. Alex sniffles and wipes away her eyes. SCOTT What did they leave? (beat) In the box, what was it? What was there? Alex hesitates.
73. ALEX An organ. (beat) I don't know? Liver, maybe. SCOTT Did it look fresh? ALEX Yes, it looked fresh. SCOTT What about Chambers? Aren't you going to call him? ALEX No. If I call him now, he'll have me put somewhere he thinks is safe until he gets back from where ever he is. I don't want to go some place that he thinks is safe, I want to go somewhere that I know is safe. (pause) I want to leave, Scott. That's all I want to do. I just want to leave. SCOTT You can stay at my place tonight, if you want. Beats a hotel and I'll be there. (beat) I'll take you and your brother where ever you think is safe tomorrow, okay? ALEX Thanks. CUT TO: INT. SCOTT'S BEDROOM - NIGHT Scott throws down his jacket on a nearby chair. Alex stands casually at the door entrance. He turns to her and sighs, as if the night is coming to an end. SCOTT Heater's broken. I'll take the couch.
74. ALEX Are you sure? SCOTT Yes. You need a good night's sleep. Besides, it's a comfortable couch. (pause) We'll stop at the station and you can talk with Chambers tomorrow - tell him everything that's happened. He'll be back then; he'll know what to do. SILENCE. Alex smiles. ALEX Scott? SCOTT Yes? ALEX Thanks. CUT TO: EXT. ALDERSHOT - MORNING The sun rises above the sleepy burg. INT. SAM'S BASEMENT - SAME TIME It's dark and drippy. The ceilings are low and flanked with wooden supports. Beads of light shine in through boarded windows along the top of the walls. Amongst the stored items and police tape, Riley hangs from a meat hook by his hands. His legs drag on the ground at the shins - he is too weak to stand up -- we can see it on his face. He looks like shit. Sam watches him from the far end of the room, standing in front of the stairwell leading upstairs. She has a bottle of water in her hands. Smiling and walking slowly, she approaches him. He barely lifts his eyes. She sits in front of him and puts the bottle up to his mouth. SAM Here.
75. She pours back - most of the water runs off down his face. He chokes on the rest. SAM You're spilling. He glares up at her. She takes in a deep breath. There is a moment of silence as Sam DIPS her head back and exhales. SAM Remember the first time we made love? It was two years ago and we were both virgins - kinda pathetic if you think about it. Everything was so (beat) fumbled. It was rushed and we were so aware. It burned for me, the pain was incredible - but it felt good at the same time. It was instinctive. RILEY Why are you telling me this? Her eyes SLIGHTLY water. SAM Because it's hard for me. Doing this to you. It hurts me, but it feels so good at the same time. (pause) It's like being touched. RILEY Sam, you don't have to do this to me. If you let me go, I won't tell, I - She reaches forward and puts her index finger over his mouth. SAM Shhh. (beat) You'll tell them, Riley, I know you will. It's instinctive. Sam removes her finger.
76. RILEY You don't know instinct. (beat) You're here killing your boyfriend. (beat) The man who was loved you more than anything for the past two years of his life. (pause) And for what? Black market money and bloodlust? A tear drips from Sam's distant eyes. Riley's eyes also begin to water. RILEY (CONT'D) Was there ever a time - a mere moment in our relationship that you loved me more than anything? More than life? More than this? Her mouth looks to form the word "yes" - but she stops herself. She looks down and wipes away her eyes. She looks up and stares coldly at Riley in the face. SAM (QUIET) No. Riley peers at her, trying to penetrate the wall she has put up. His expression fades and his head drops down as he realizes he's failed. Sam arises and walks away from him - leaving him in the dark pit by himself. She ducks behind a wall near the stairwell. A hand quickly finds her mouth as she completely - yet silently - breaks down. Her face crunches together and turns red. Her eyes grow blotchy and glisten with tears. CUT TO: INT. PRECINCT - MORNING Alex sits in Chambers' office. Light shines down on her face from the window behind his desk. Chambers walks with Scott over towards the door. CHAMBERS I need a few minutes to talk to Ms. York, if you will.
77. SCOTT No problem. Alex turns around, making eye contact with Scott as he exits the room. Chambers turns to her, sighs, and makes his way around his desk. CHAMBERS Things have been going on, Alex, why haven't you talked to me about this? ALEX I'm sorry, I - CHAMBERS And you've been talking to the press? (beat) What's been going on? ALEX Phone calls. Detective, my brother's two roommates are dead, I - CHAMBERS What else? Phone calls, anything else? ALEX Someone left a human - a human liver in my kitchen. CHAMBERS And why didn't you contact me? ALEX I said I was sorry. CHAMBERS We've got another lead, I think you might - ALEX No. (beat) I want to find my brother and leave. CHAMBERS Well where is he?
78. ALEX At his girlfriend's house. CHAMBERS Who is his girlfriend. ALEX Her name's Sam. I don't know her last name. He picks up a BLACK telephone on his desk and presses a number. CHAMBERS Carly, I want you to call up the Westpark campus for a second year student, first name Sam. He hangs up the phone. CHAMBERS Done. (beat) We may not be the FBI, but I'm sure we can track down a college student, Ms. York. ALEX Good, so I should be out of here by the end of the day. Chambers leans forward. CHAMBERS As I was saying, I have another lead. ALEX I've had enough of leads for one week, Detective. CHAMBERS You'll want to hear this. (beat) A man named Charlie Bowles was fired two months ago from a slaughterhouse about two miles from here. Alex freezes. ALEX What?
79. CHAMBERS His parents were the previous owners of the abandoned house on Clement St. ALEX So that's him - that's his house. Why can't you track him down. (beat) "You might not be the FBI, but -" CHAMBERS It's a little harder than that. (beat) We have someone in custody in Atlanta related to the chain. Right now we're trying to get answers out of him. ALEX Chain? What do you mean 'chain'? Chambers sits back in his seat. He takes a moment to speak slowly and clearly. CHAMBERS It's an underground black market chain - organ thieves... skin, hearts, liver. (beat) Biggest I've ever seen. Biggest in the southern states I think anybody's ever seen. ALEX Jesus. CHAMBERS It's cleared up a lot missing persons cases. Abductions, kidnappings. (beat) Kids. A lot of kids. I found that really sickening. (beat) A lot of them were missing kids. Alex covers her mouth with her right hand. She stares off in thought. Chambers stands and hovers over Alex.
80. CHAMBERS We'll find the girl. I'll call you and give you the address. Find your brother and leave. ALEX Will you call me if you find out more on Charlie Bowles? Alex stands. CHAMBERS Do you want to know more? She stares at him. He walks to the door and opens it. Alex takes a breath then walks out of the office, exchanging a last concerning look with Chambers. He closes the door. He leans against the door. The phone on his desk rings. Chambers breaks from his position to answer it. CHAMBERS Carly, what do you have for me? He sits down. CHAMBERS (CONT'D) What do you mean? First year only? (beat) Samantha Townsend. No, it's second year. (pause) Who's the one who graduated? What's her name? (beat) Bowles? Jesus Christ. He hangs up the phone. There is a moment where he stares blankly. He immediately picks up the phone, dialing numbers quickly. SILENCE. A look of concern crawls on his face. CUT TO:
81. INT. LIVING ROOM - CONTINUOUS In Riley's living room sits an answering machine. It's on a SMALL table near the back window. The phone is ringing. CLICK! RILEY (FILTER) You've reached Riley, Owen and Malcolm - we've got school so the machine's subbing in. Leave details and we'll call back. The machine beeps. Someone is near it. Their face is skewed. CHAMBERS (FILTER) Alex, this is Chambers. Listen to me, I think you're in trouble if you stay in that house any longer. I want you to come to the station as soon as you get this. (beat) Get out of that house, Alex. The machine beeps off. CHARLIE stands above the answering machine, looking down at it. He smiles, then turns to the kitchen. CUT TO: INT. CAR - SAME TIME Scott drives. Alex is in the passenger seat. SCOTT So you can't tell me anything? ALEX Chambers said not to. SCOTT I've helped you through this whole thing. Who was there for you when - ALEX I'm leaving today. I'll get Riley back from Sam's house and we're taking off. (beat) I'll call you as soon as I know I'm safe.
82. SCOTT Where is 'safe', Alex? ALEX I don't know? - just not here. SCOTT Ok, ok. I'll take you two to the bus station. I'll drop by later on. (pause) And Alex - ALEX What is it? SCOTT You still owe me that interview. Alex looks out the window of the car. CUT TO: INT. BASEMENT - SAME TIME Sam has a bottle of HAND CREAM next to her as she methodically rubs it over Riley's strung-up arms. He looks at her. She continues to massage his arms, sensually relaxing his muscles. She looks down at him and cracks a slight smirk. Her hands grasp onto his collar. She slowly unbuttons his shirt and rubs the cream over his chest. RILEY (QUIET) Why are you doing this? Sam avoids eye contact. SAM (STERILE) It firms the skin. She continues to rub. CUT TO: INT. FRONT DOOR - SAME TIME Alex enters the front door. She slides off her shoes and her casual sweater, tossing them on the ground.
83. Her hands cover her eyes. She is on the verge of a breakdown, but she fights it stops her self. Sniffling, she continues in towards the kitchen. INT. KITCHEN - SAME Alex looks at the ground: the liver is gone. She glances around the kitchen. ALEX Riley?! No answer. She walks into the living room. INT. LIVING ROOM - SAME Nothing is out of the ordinary. Alex does not see the BLINKING RED LIGHT on the answering machine. ALEX (FRUSTRATED) Jesus Christ. A SILHOUETTE OF A MAN passes by in the kitchen behind her. She does not notice. Alex turns around towards the basement. INT. BASEMENT LANDING - SAME Alex opens the door and stands on the landing, looking down the stairs. Hesitating slightly, she begins the descent. INT. BASEMENT - SAME Her bed is unmade. She looks at it. A pair of pants lie on top of her bed. She walks towards the sink between the washer and dryer. There is a WARPED mirror above it at eye level. Alex catches her warped reflection for only a brief second. She opens the dryer and sees a WAD of wet clothes. She turns two dials and suddenly the machine is alive. The room is abound with a LOUD, mechanic noise that echoes off the walls.
84. Alex turns back to the sink. Her reflection makes her sick. She vomits into the sink, then proceeds to wash it away. SOMEONE IS DESCENDING DOWN THE STAIRS. Their warped reflection is seen in the mirror. She looks in the mirror and stops. Someone is there on the stairs. Alex remains neutral. ALEX Riley is that you? The figure on the stairs ceases to descend. It stands there. Dark pants, dark shoes. She turns around, backed up against the sink. ALEX Riley. Say something. Her eyes grow wide. The figure continues his descent down the stairs, faster this time, almost desperate to get down. Alex, in complete fear, skitters over to a corner and stares wide eyed. THE MAN IS CHARLIE. He smiles and approaches her. Her breathing is shallow. Charlie SHOVES her against the concrete basement wall. Her eyes are filled with fear and anger. CHARLIE Why don't you come back over to my place for awhile? ALEX You go to hell. Alex shrugs off his arms on hers and violently SHOVES him, causing him to fall down. Immediately, she breaks for the stairs. Charlie is up as soon as he gets down and bounds after Alex. He is very close behind her. INT. FOYER - SAME Alex LEAPS out the basement door and SLAMS it. The front door is in her sight.
85. She RUSHES towards it, but slips on her shoes and sweater on the ground. She grips the door handle and scramble to get up, but Charlie is right behind her. He reaches down and SCOOPS her up. She screams. Her arms and legs FLAIL in the air like a wild woman. He covers her mouth with a WHITE RAG, obviously coated with some sort of gas. Alex's eyes roll back and she is subdued -- not completely, but enough. Charlie opens the door and carefully carries her out. INT. LIVING ROOM - SAME The phone begins to ring. It rings three times. The answering machine picks up. CHAMBERS (FILTER) Alex, listen, it's Chambers. I'm at the station. Sam Bowles is Charlie Bowles' daughter. I think your brother is in serious danger. Get out of the house and come to the station. CLICK! The answering machine stops. CUT TO: INT. BAR - DAY Scott sits at the bar with a beer in his hands. The attractive female bartender is leaned in towards him. The bar is quiet; only a few people are in it. Scott finishes off the last swig of his beer then puts it down on the counter. The bartender tucks it away. BARTENDER I'm cutting you off? SCOTT I've only had one, you know.
86. BARTENDER Where's your girlfriend? SCOTT At home. She's leaving. BARTENDER No she's not. (beat) Go get her. Scott holds his questioning glare on the woman for a few seconds before arising. She watches him as he leaves. CUT TO: INT. BATHROOM - DAY Alex is lying in a bathtub FILLED with ice. Her eyes flutter as the drugs start to ware off. Her face is pale. Her shirt is ripped open at the blood-drenched bottom, exposing a FRESH stitched incision. One of her kidney's has been taken. Charlie and Sam are in the room. They can be heard packaging the kidney, having a sterile discussion about it. SAM (OS) Clot the top, make sure there's enough room. CHARLIE (OS) Hand me that bag, would you? Alex's eyes open. She shivers. We see that she is lying on RILEY'S DEAD BODY. She is stacked on top of him. Her face is near his. Alex is still heavily drugged and takes a moment to sink into her diluted reality. CHARLIE (OS) Make sure it's labeled properly, they won't take it if it's not convincing? Alex turns around to Riley's face. She rubs her eyes. Her vision is going. SAM (OS) How much for this?
87. CHARLIE (OS) One grand, give or take. She closes her eyes and feels his face and hair. She cannot process if he is living or dead. Her words are mumbled - ALEX (WHISPERING) Riley. Riley it's me. Sam and Charlie continue their conversation off screen. SAM (OS) The bag's still wet, I can't write on it. Slowly, Alex reaches up and touches Riley's face. ALEX (WHISPERING) Riley. Open your eyes. (beat) Open your eyes. I'm here. (pause) Riley (beat) open your - Charlie LOOMS over top of Alex and PUSHES her shoulder back so she is lying back down on the ice bed. CHARLIE She's awake. ALEX (WHISPERING) What did you do to me? Sam walks over and looks down at Alex. SAM What about her liver? Can't we get that? CHARLIE Not with all the drugs I've given her. She'll be a vegetable within ten hours, trust me. ALEX (WHISPERING) No.. SAM She's too small to take skin from. We wouldn't even get one stripe off of her.
88. CHARLIE We've got the skin. We don't need anything else. ALEX (WHISPERING) No! Charlie PULLS her from the ice bath. She is shivering, wet and bleeding. SAM You're cold, aren't you? CHARLIE Get her dressed. We'll all have some coffee before we leave. Sam PULLS off Alex's shirt, revealing her LARGE, stitched wound. Alex's bra is bloody and wet. Sam starts with Alex's pants. They blood has stained her panties also. Her pants fall to the ground. Alex is shivering and hugging her body. ALEX (WHISPERING) My eyes... SAM We'll get you dressed. CUT TO: EXT. RILEY'S FRONT PORCH - SAME TIME The sky is overcast. Scott steps up to the door and knocks. He waits for a minute. No answer. INT. FRONT DOOR - SAME Scott opens the door and steps inside. He pauses a moment and waits for a reaction. NOTHING. He takes another step inward. SCOTT Alex?
89. He closes the door and steps into the living room. He passes her shoes and sweater on the ground. INT. LIVING ROOM - SAME Everything looks in its place. His eyes scan the room. SCOTT Riley? Alex, you here? Scott RUMMAGES through the living room. He comes upon the ANSWERING machine and presses one of the buttons inquisitively. CHAMBERS (FILTER) Alex, this is Chambers. Listen to me, I think you're in trouble if you stay in that house any longer. I want you to come to the station as soon as you get this. (beat) Get out of that house, Alex. Scott's eyes widen. He takes a stumbled step back in complete shock. CUT TO: INT. SAM'S BEDROOM - DAY Alex's eyes are closed. Her head sways methodically as if she is spiritually transcending. She puts up her arms, gracefully. Sam slides an ELEGANT, simple white dress on to Alex's bare body. Her stomach is bandaged on the side. They both sit down on Sam's bed. Sam pets the dress on Alex, whose eyes are still closed. SAM The dress looks nice on you. ALEX (QUIET) It's not mine. Alex is obviously not in her right mind. She does not make eye contact.
90. Her hands blot around her eyes. Her vision is blurry. SAM It still looks good. ALEX (QUIET) I can't see anything. Where are we going? Where are we? SAM Nowhere special. ALEX (QUIET) Where's Riley? I saw him - SAM He's fine. ALEX (QUIET) Did you two break up? SAM Yes. Sam puts up her shield again. The conversation is getting to her. ALEX (QUIET) You two were so good together. SAM I broke it off with him. (beat) It was quick and painless. He felt no pain. ALEX (QUIET) No, he shouldn't. He's a good kid. SAM I didn't want to see him hurt. I couldn't stand to see him hurt. So I did it quick... (beat) so he wouldn't hurt. ALEX (QUIET) I hope he's okay. SAM (QUIET) Yeah... CUT TO:
91. EXT. SKYLINE The sun looms in the late afternoon sky. INT. SAM'S DINING ROOM - SOME TIME LATER Salem, Sam, Charlie and Alex sit around the dinner table. Alex still appears mellow. Her face is a pale blue. The three casually sip coffee from mugs. Alex doesn't touch hers. Someone is sitting on the couch in the living room - MALE, dark hair. Only the back of their head can be seen. Alex notices them. CHARLIE So, where are you from? Alex turns her head towards Charlie but still stares off into the distance. Her vision has faded. She is now blind. ALEX Boston. CHARLIE How do you like it in Boston? ALEX I don't know? CHARLIE How long have you been here in Aldershot? ALEX A little bit. SILENCE. CHARLIE Do you remember when we first met? ALEX Who are you? CHARLIE (CONT'D) The casual conversation that we had with each other... innocent, nothing much really. ALEX No.
92. CHARLIE (CONT'D) You were just an regular woman. An everyday person. Nothing out of the ordinary. ALEX I don't remember. SILENCE. Charlie puts down his coffee cup. Alex reacts to the sound of the cup against the saucer. CHARLIE What is your name? ALEX I ca-can't remember. CHARLIE Who are you? ALEX I don't know. A song comes on. It's a retro '50s style brood. Alex remembers it. ALEX (QUIET) This is my song. The SILHOUETTE on the couch arises and walks into the light, extending an arm in front of Alex. IT IS SCOTT. SCOTT May I have this dance? Alex turns her head towards his voice. He reaches down and grabs her hand gently. She floats out of her chair and into his arms. He embraces her tightly. They glide as they dance into the living room. SCOTT I didn't want you to leave? ALEX (QUIET) I remember you... SCOTT You're really special to me.
93. ALEX (QUIET) Is this our interview? SCOTT (QUIET) Yes... ALEX (QUIET) What's happening to me? SCOTT I don't know? ALEX (QUIET) Tell me, please. Her eyes water in his tight embrace. SCOTT I don't know what to say to you. She INHALES through her nose, smelling him. A tear breaks from her eye. ALEX (QUIET) You smell exactly like how my husband used to smell. Scott's eyes begin to water. SCOTT I know. ALEX (QUIET) I miss him. (beat) I just want him to be with me now. I want him to protect me now. (pause) I'm scared. Sam, Salem and Charlie sip their coffee pretentiously from the dining room, gazing at their graceful, emotional dance. SCOTT (QUIET) It's okay... ALEX (QUIET) Don't take Riley. (beat) He's so young. He's just a baby. Scott pulls back from her. He looks down at her dress. Her scar has BLED through, staining crimson on the white dress.
94. SALEM It's almost time. She closes her eyes methodically and feels around her wound, wincing in pain. Alex FALLS to the ground, but Scott leads her there. The movement is almost dance-like. She is bleeding. Scott leans over her passionately. SAM We have to go now. We won't have enough time. Alex opens her watery eyes and looks into Scott's, straining her failing vision. ALEX (QUIET) I won't tell anyone, I swear I won't. SCOTT I can't trust you. ALEX (QUIET) I won't tell. SCOTT Yes (beat) You will. Alex takes a deep breath in. ALEX (QUIET) I guess it's over. SCOTT Yeah. (beat) For now. Scott gets up and walks away. Alex lies on the ground. They all begin to depart, walking by Alex's body on the ground. She breathes heavily and stares upwards. Her heartbeat slows down. TIME PASSES Blue and red police lights start slowly flashing on her face.
95. The distorted voices of police men arriving on the scene can be heard. They are soon drown out. DISSOLVE TO: INT. HOSPITAL - NIGHT Alex sits in a hospital bed. It's night and the moon shines down. CHAMBERS sits on the bed next to her. She has that 'distant stare' in her eyes. From blindness or emotional exhaustion? CHAMBERS They left? ALEX I can't remember. I couldn't see their faces. CHAMBERS The reporter, what happened to him? ALEX (QUIET) Scott... CHAMBERS He left his job the day after you were attacked. That was his last day. Nobody's heard from him since - except you. ALEX Where is he? CHAMBERS That's why I was asking you? ALEX Where's Riley? CHAMBERS We haven't found him. ALEX Is he dead? He doesn't answer. She upholds her stare. Her eyes get a little glossy. ALEX (QUIET) Silence is golden.
96. CHAMBERS You've got a lot to be thankful for - you escaped with your life. ALEX I have nothing. No husband, no brother, no vision... (pause) Where did everybody go? Chambers stands up. He looks down at her. She closes her eyes. CHAMBERS You've got to rest. You're still tired from the surgery. (beat) They're keeping you here for another three days. Then you can go home. He walks towards the door and is about to exit when - ALEX (QUIET) Where's home? Chambers appears to be sorry for her. He shakes his slightly, then exits the room. CUT TO: INT. BUS STATION - DUSK (DAYS LATER) Alex sits with her one luggage bag in the bus station. She has a white cane with her. She looks like hell. A few people walk through and around the station. ANNOUNCER (FILTER) Bus arriving from Atlanta en route to Athens, arriving in ten minutes. A young woman hastily sits down and takes a load off beside Alex. She's young an attractive, much like how Alex used to look. She turns to Alex. YOUNG WOMAN I'm sorry, is this seat taken? ALEX No, I guess not anymore.
97. Alex's speech is 100% monotone. YOUNG WOMAN Okay, thanks. I'm picking up my husband and it's my first time at a bus station. ALEX Husband... I remember my husband. He had the sweetest smell. YOUNG WOMAN Divorced? ALEX He died. YOUNG WOMAN Oh, I'm so sorry, I didn - ALEX Don't be sorry. He had a good life. (beat) Excuse me. Alex stands and walks in amongst the crowd. BEHIND HER, we can see SCOTT. Alex stops. SCOTT (WHISPERING) Alex... She turns around and stares at him right in the face. She takes a step towards him. They are inches apart. Alex blinks her eyes and suddenly he is gone. She cannot see him. She smells the air and closes her eyes, remembering her husband... remembering herself. FADE TO BLACK THE END