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Day 14 Assignments
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<div>I can send this work as a pdf to whoever wishes to review it and vice-versa</div><div>
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DAY FOURTEEN – ASSIGNMENT
Subject Line: O’Keefe’s – Thriller Plot!
“What I learned is that putting the pieces together in this manner allows you to tweak, add, adjust and increase the complexity and continuity of the thriller. Very helpful process
ACT ONE
Scene 1: INT. CAMARO – NIGHT
1. Action: Dino in Cindy’s car having sex.
2. Life Threatening situation: they could be caught by cops 3. Mystery: Why is Cindy having an affair a student?
4. Clue: She sets her wedding ring on dashboard.
5. Twist 1: Direction: Two people having sex in a car 5a.Twist: she takes off ring – #11 Just got more dangerousINT. CAMARO – NIGHT
CINDY(24)blond, bilingual, Rosemont High’s hottest teacher, runs her TONGUE up the side of DINO’S neck.
In the passenger seat, DINO SHIVERS — fingers working the buttons to her blouse.
CINDY I couldn’t stop thinking about you.
Calloused, Dino’s hands — hot against her flesh.
DINO In class, I kept remembering Christmas break, how we christened your desk with Santa’s chocolate.
CINDY (nibbles ear lobe) You’re such a bad boy.
Heart POUNDING, she helps him remove her bra.
DINO You’re so damn pretty.
With his tongue, Dino WRITES his initials on the swell of a breast. Tip of his tongue FLICKS her nipple ring.
CINDY (unzips him) Sugah, I can’t believe I’ve never made love in the front seat.
DINO (lies) That makes two of us.
Pain and memory cease as sensations intensify; Dino refuses to let the past get a foot hold. He smiles his crooked smile.
Cindy sets her wedding RING on the dashboard, eases into his lap — reaches down — guides him inside her.
Her momentary look of pain becomes something else. GRINDING. THRUSTING. Both, using the other to kill their pain.
In the distance, a police SIREN gives Cindy pause. =============================================================
SCENE 2: EXT. CINDY’S HOME – NIGHT (24 HOURS EARLIER)
1. Action: Cindy is being spied on by 2 different men.
2. Life Threatening situation: one man has a knife.
3. Mystery: why did man w/ knife plant a candy wrapper. 4. Mystery: Why does the second man have hidden cameras in Cindy’s bedroom.5. Villain’s plan: he’s the man w/ a knife leaving clues. 5a. He leaves tennis shoe imprints in the dirt.
6. Character Misdirect: man with video camera. He’s my red herringEXT. CINDY’S HOME – NIGHT (24 HOURS EARLIER)
Masked man seated on a rock, struggles to get on a running shoe. With a GRUNT, it goes on. The second shoe is easier.
He slips on gloves, moves stealthily through the trees toward a two-story Tudor home.
He drops in behind a large maple on the edge of the property. Unaware a slender man in dark clothing is standing motionless fifty feet to his left. Tip of his cigar BRIGHTENS as he INHALES, revealing a MUSTACHE.
Sloping downward, the lawn leads the eye to an outdoor kitchen and lap pool, separated by a stone walkway.
With BINOCULARS, the masked intruder ZOOMS in on a second- story window. Magnification brings into stunning clarity Cindy in the center of the room.
Stretching out, touching her toes, then reaching up toward the ceiling, Cindy repeats the motion: Slow. Controlled. In an oversized night shirt, she looks all of eighteen.
Our masked man pulls out a large, hunting knife. Without taking his eyes off the woman now performing bear squats, he STABS the base of the tree repeatedly. Thunk-thunk-thunk…
SLOW MOTION. ECU. Cindy’s hips tilt up — she stretches backwards — hands over her head — executes a back bend.
Touching the floor, her hands next to her feet, the tee shirt pulls up to her naval.
The high resolution reveals Cindy isn’t wearing panties.
Moments later, We HEAR a series of groans and guttural whimpers as if our peeping Tom is having sex.
Unaware he stabbed the tree a dozen times, the intruder puts away the knife, pulls out an empty protein bar wrapper from his pants pocket, drops it at the base of the tree.
To his left, the nub of a cigar butt strikes the ground and scatters bits or burning tobacco. In the slender man’s hand, we SEE a small video monitor.
On VIDEO: CINDY completes the gymnastic move, stands and shakes out her arms and shoulders. Moment later, we see her derriere as the focal point switches to a second spy camera.
Moment later, screen goes dark. Slender man stows the device.
Gotcha. MASKED INTRUDER
SLENDER MAN
Pushes down with all his weight leaving a shoe sole imprint in the soil at the foot of the tree.
HOLD ON the tread pattern and as the lines and ellipses fade. =============================================================
SCENE 3: INT. CAMARO – RESUME
1. Action: Dino & Cindy talk after sex; he’s her side piece.
2. Life Threatening situation: Cindy’s hubby shoots Dino.
3. Mystery: Why is Cindy having an affair with her student?
4. Clue: She puts on Wedding Ring after they finish signalling she is not going to give up her marriage for Dino.
INT. CAMARO – RESUME
AFTERWARDS — dripping sweat, Dino’s breathing is slow to recover. Cindy KISSES the crisscross pattern on Dino’s back made by the leather seat.
Dino takes her hand, stares at the rock on her finger.
DINO I get it. My step-dad is a douche. Thinks he’s the shit because he has a badge. Does Dean have a gun?
CINDY Not to worry, he’s never even fired a pistol. We have a good thing, sugah.
Dino stares at the windshield, white whit hoar frost. He starts to speak. Stops as Cindy slips her ring.
Cindy nudges him with her chest. Playful.
CINDY Don’t be that way. I’m married.
DINO In seven days, I’ll be legal.
CINDY Valentine’s Day; How perfect is that. A cupid’s baby.
============================================================
SCENE 4: NIGHTMARE – INT. BEDROOM – NEXT MORNING
1. Action: Dino is being threatened by man w/a gun.
2. Life Threatening situation: Might be shot
3. Mystery: who is the man and why that dream?
4. Clue: Dino wakes up from dream, grabs his shoulder, there is a scar – was it from the gunshot?INT. BEDROOM – NEXT MORNING
RAPID EYE MOVEMENT. DREAMING. CUT OUT to find Dino in bed. DINO’S NIGHTMARE – CONTINUOUS IN SLOW-MOTION — small boy RUNS into a bedroom — PLOWS into a man POINTING a GUN at Dino. And as the PISTOL DISCHARGES…=============================================================
SCENE 5: INT. BEDROOM – CONTINUOUS
1. Action: Dino is awakened by step-dad pounding on door.
2. Life Threatening situation: Threat of physical harm.
3. Mystery: Why the hostility.
4. Villain’s plan: reveal Jim’s hatred of step-son.<div>
</div>…POUNDING on Dino’s bedroom door followed by,
MAN’S VOICE (O.S.)
Get up! Don’t make me come in there and beat your lazy ass.Dino’s eyes fly open, He grabs his arm where he was shot. Nothing. Shakes off the dream, throws aside the covers.
DINO (flips off door) I’m up! Chill yourself.
The CAMERA circles Dino’s room. Posters of deep space, hot chicks and tricked-out motorcycles tacked to the walls.
There are no photos of family on the dresser, no trophies, ribbons, or awards. Clearly, not into team sports.
Beside his day pack, a collection of literature books, most with the names of libraries or schools inked onto the spines.
Linger on them. Stolen? Or checked out and never returned? ============================================================
SCENE 6: INT. BATHROOM – MORNING
1. Action: Dino grooms himself, gets ready for school.
2. Mystery: what’s the bracelet have to do w/ his gramps?3. Clue: why is it wet? Shouldn’t be, no water on cabinet.
Dino kneels, leans over the edge of the tub, head under the spigot. Cold-water faucet open: Stimulating. Invigorating.
He towels off, sprays deodorant, brushes his teeth, runs a handful of styling gel through his shoulder-length hair.
The MIRROR reveals a widow’s peak and dark eyebrows. Dino SLAPS on cologne. The sting is immediate. Gratifying.
DINO (to his reflection) Tell her it’s over. Steph’s right, I’m jus’ her booty-call biatch.
Voice inflection reveals, Dino hasn’t the conviction.
On the top shelf of the medicine cabinet, he retrieves a braided strip of leather. Friendship bracelet. Old. Worn.
He kisses it, stops. Feels the leather; it’s wet. He reaches up, runs his hand across the cabinet, checks his hand. It’s dry. With a shrug, he slips the trinket on his wrist.
DINO (CONT’D) Miss you, gramps.
Throwing on Levi’s, black tee-shirt and leather jacket, Dino exits the house via the back door munching on a protein bar.
He shoves the WRAPPER in his pants pocket. =============================================================
SCENE 7: EXT. BACK PORCH – CONTINUOUS
1. Action: Dino takes memory chip from nanny cam & leaves.
2. Life Threatening situation: riding that bike in am traffic
3. Mystery: What is with Dino having the nanny cam?
EXT. BACK PORCH – CONTINUOUS
Wooden enclosure in need of paint. Dated furniture. On the concrete slab beside the porch, a futuristic-looking motorcycle. New. Expensive.
Dino reaches up, extracts the memory chip, from a nanny cam hidden on one of the porch beams. He puts it in his pocket.
Moment later, Dino is astride the monstrous, red, DUCATI. =============================================================
SCENE 8: INT. MASTER BEDROOM – CONTINUOUS
1. Action: Step-dad points pretend gun at Dino as he leaves.
2. Life Threatening situation: Jim intends harm to Dino
3. Mystery: What is the “surprise” he has in store for Dino.4. Villain’s plan = Tells us he has a surprise for Dino
INT. MASTER BEDROOM – CONTINUOUS
Grey-haired man in paisley boxers stands at the window. He watches Dino leave. JIM THOMAS, fit at fifty, is not smiling.
The pretend gun he makes out of his hand, he points at his step-son as Dino races off.
JIM (at a whisper) Got a surprise coming, lover boy.
Career, law-enforcement officer, Jim has a smile that never reaches his eyes.
Behind him, asleep in bed, we glimpse GRACE: dark-haired, early forties, brunette version of Ann Margaret.
Jim gives her a disparaging look. It is clear love is not a word that describes what Grace means to him.
CAMERA LINGERS on the dresser beside Jim: Givenchy leather wallet, US Marshal’s badge, car keys with Lady of Justice charm, Versace sunglasses, purple Sharpee, stack of old lottery tickets.
HOLD ON Nikon CAMERA with telephoto lens. =============================================================
SCENE 9: EXT. LIVINGSTON – MINUTES LATER
1. Action: Dino riding his Ducati to school.
2. Life Threatening situation: car runs a stop sign.3. Mystery: why does he ride that bike, death wish?
EXT. LIVINGSTON – MINUTES LATER
Livingston, post-card suburbia. Town has its own police force, school system, two gated communities, five Starbucks and plenty of stressed-out residents.
Dino flies down the residential streets, past picturesque neighborhoods, manicured yards and enforced covenants.
At a four-way stop, mini-van piloted by soccer mom: Starbucks in one hand, head turned to scold a passenger — blows through the intersection — misses Dino’s bike by inches — doesn’t see him FLIP HER OFF.
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SCENE 10: EXT. ROSEMONT HIGH SCHOOL – CONTINUOUS
1. Action: Dino weaves thru traffic, parks the bike.
2. Life Threatening situation: Car cuts him off, etc.
3. Mystery: why wasn’t he scared or shaken by that.
EXT. ROSEMONT HIGH SCHOOL – CONTINUOUS
At a crawl, line of SUVs and SOCCER MOM VANS stretches for two blocks.
Ringing the cul-de-sac outside the school entrance, bright yellow school buses drop off students. The exodus, pure bedlam in spite of the orange-vested crossing guards.
FOLLOW the red Ducati WEAVING through traffic, veers right, onto the sidewalk and into the student parking lot.
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SCENE 11: EXT/INT. CLASSROOM – MORNING
1. Action: Dino meets new teacher; Cindy’s gone. Guilt!
2. Life Threatening situation: They know; he’ll be expelled3. Mystery: why the new teacher won’t elaborate
4. Villain’s plan: Did he know, is this his surprise?EXT/INT. CLASSROOM – MORNING
Dino’s state of mind, revealed in his quick stride and body language crossing over the parking lot.
At the classroom door, he pauses. Takes a breath. He mouths the words: it’s over.
Door opens with a SQUEAK. Dino finds a Hispanic man writing his name on the chalkboard.
DINO (reads handwriting) Excuse me, Mister Torrez, where’s Cindy, I mean Miss Lozano?
TORREZ I will be your teacher for the remainder of the year.
DINO Sir, you didn’t answer my question.
Dino notices Cindy’s glass apple and name plaque are not on the desk. It hits him: They found out. Mr. Torrez resumes writing on the chalkboard.
Guilt-stricken, Dino stares at the materials on the desk; his look of resolve gone. His gaze lands on the newspaper. Folded in half, we see today’s date: Thursday, February 8, 2018.
Set in bold letters, the streamer reads:
INSERT – STREAMER
“Mrs. Lozano Brutally Murdered! Husband Finds Body In Bed.”
BACK TO SCENE.
Without thinking, Dino grabs the Livingston Herald from the teacher’s stack of materials and RUNS out the classroom door.
=============================================================
SCENE 12: INT. SCHOOL HALLWAY – CONTINUOUS
1. Action: Stunned, Dino winds up at his book locker
2. Life Threatening situation: He is or will be a suspect.3. Mystery: Who murdered her and why.
INT. SCHOOL HALLWAY – CONTINUOUS
Dino winds up at his book locker: pale, heart pounding, ears ringing, unaware he has a death grip on the newspaper.
DINO I was with her(checks time on phone)ten hours ago. Jesus, who would do this?
A locker slamming shut down the hall kills his introspection. ============================================================
SCENE 13: FLASHBACK – INT. CAMARO – LAST NIGHT
1. Action: Cindy pulls up to a store; Dino kids her.
2. Mystery: what is the pain they share, that links them. 3. Trust: Dino trusts Cindy; he loves her or thinks so.FLASHBACK – INT. CAMARO – LAST NIGHT
Cindy whips into a convenience store lot, avoids the vehicles waiting to gas up, parks to the right of the front door.
CINDY Squeeze-bottle of honey and Handi-
wipes. Anything else, sugah?
Dino touches his lips. Cindy leans over, PLANTS one on him.CINDY (CONT’D) Don’t know what I’d do without you.
DINO (winks) Find another bad boy to keep you from getting lonely.
Cindy flashes him a disapproving frown.
CINDY (CONT’D) You’re not a bad boy.
She reaches over and lays her hand on his crotch.
CINDY (CONT’D) Tragedy brought us together. Girls your age can’t relate to real loss.
Dino gestures to a top-heavy girl exiting the store — cocks an eyebrow in mock interest.
CINDY (CONT’D) Those pants are so tight I can see her religion. Wet and willing won’t make the pain go away, hon.(turns) I’ll getcha box of red vines.
Cindy hops out.
Somewhat defeated, Dino’s eyes linger on Cindy’s ass as she walks toward the store. To himself: who needs love.BACK TO PRESENT.
Dino hurries down the steps, TEXTS Stephannie as he exits the Admin building.
INSERT – TEXT
“Can’t do school. CYL8ER.” =============================================================SCENE 14: INT. POLICE STATION – DAY
1. Action: Meet Leah, Detective on Cindy’s murder.
2. Mystery: who delivered the photos of Dino & Cindy
3. Clue: One of the photos is done w/ a telephoto lens.4. Reveal: Leah touches Dino’s face in photo w/ emotion.
INT. POLICE STATION – DAY
LEAH SINCLAIRE (24) moves past the cubes reviewing the to-do list on her phone. Her stride is impatient, mannish.
Tough and sexy, Leah takes her job and herself serious. She goes where the evidence takes her or so says her wall plaque.
ON HER DESK
Leah finds a manilla envelope with the word, “Welcome” written in purple marker, laying in her in-basket.
She looks around, expecting it to be a prank. In spite of her misgiving, she opens it.
PHOTOGRAPHS spill out, across her desk. She picks up three and immediately recognizes the woman in the shots.
INSERT – PHOTOGRAPHS
1. Cindy in a sexy dress beside a handsome, young man.
2. Cindy and same young man standing close – laughing.
3. Cindy with young man alone in a classroom – hugging.
BACK TO SCENE
Leah pauses on a long lens shot of the murder vic hugging the photogenic, young man — a student?
Clearly taken in a classroom, Leah studies each element of the photograph looking for clues.
She brushes the tip of her finger across the young man’s face in a telling gesture, unaware what it signifies.
=============================================================
SCENE 15: EXT. CONVENIENCE STORE – MID-MORNING
1. Action: Dino parks where Cindy parked last night.
2. Life Threatening situation: possible suspect in murder. 3. Mystery: retraces steps to see if he’s on a video cameraEXT. CONVENIENCE STORE – MID-MORNING
Dino parks where Cindy parked last night. A flood of memories surface. Fear turns to anguish. He bites his bottom lip.
SERIES OF SHOTS:
1. Ferris Wheel – A quick KISS as the cage reaches the top.2. Drama Room – Mistletoe suspended above
3. Classroom – Secret Santa gift, squeeze
BACK TO PRESENT.
With a shiver, Dino mutters:DINO She’s gone, like we never were.
Dino’s exhale the sound of hope dying. Astride his Ducati, he has an unobstructed view of the store front.
Dino scans the eaves, looks in the windows. There are no cameras, nothing that puts him here last night.
Cell phone CHIMES. He grabs his phone, checks caller ID. =============================================================
SCENE 16: INTERCUT: STEPH, GIRL’S LOCKER ROOM; DINO, HIS BIKE
1. Action: Steph calls; says she’s sorry; meet up for lunch
2. Mystery: Who killed Cindy
DINO Top of the morning to ya.
STEPHANNIE On the first ring. You miss me?
INTERCUT: STEPHANNIE, GIRL’S LOCKER; DINO, ON HIS BIKE
DINO And if I said yes.
STEPHANNIE (reaches for panties)
You’d be lying. I just heard; I’m so sorry. It’s all anyone is talking about.
STEPHANIE (18) wild hair, blue eyes set in a pretty face with a provocative mouth. Sexy, in a soft-porn way. Her mannerisms part tomboy, part sensualist.
DINO It’s why I left.(changes topic) Heard about Gloria, you good?
STEPHANNIE Butch had that beat down coming.
Stephannie’s “dare me” smile says it all. She is a force, quick to go hard-in-the-paint.
Dino spies the tamper-proof seal to a squeeze-bottle of honey Cindy bought last night.
Blanked, he stares at the dime-sized piece of PLASTIC: starts to reach for it, stops. Pulls back his hand as if repulsed.
With the toe of his boot, Dino pushes the seal into a PUDDLE.
DINO (CONT’D) You up for sushi? My treat.
DINO (CONT’D) Nakamora’s, noon?
STEPHANNIE (throws on bra) Sounds dope. See you there.
=============================================================
SCENE 17: INT. POLICE STATION – LATER
1. Action: Leah calls Rodney, tells him she has a lead.2. Mystery: who is this Dino person & did he do it.
INT. POLICE STATION – LATER
Leah pushes away from the desk. CALLS her partner, Detective Rodney Stokes, on her way out of the building.
LEAH Victimology report, weak. I’ve a lead.(listens)For the past year, not so much as a speeding ticket.
RODNEY He’s your suspect, why?
LEAH I Googled Rosemont High’s yearbook, he’s in it along with our vic. Several pics of them together. Also, his father is Luke Strickland.(listens)The same, correct. Our very own Art Williams.
RODNEY Speaking of weak. My money’s on hubby. He has money. If he knew about her infidelity, there’s motive. Two out of three: Means and motive. I find the murder weapon, that’s strike three, game over.
LEAH I read hubby’s profile, he’s an accountant. Heard back from Pam.
RODNEY His assistant? She called you? I left her like three messages.
LEAH Hate to burst your bubble, but Dean was in Denver at a conference. He came home and found her body.
RODNEY I want his ATM and credit card receipts. And your high school Romero, why him? Did he know Cindy in the biblical sense?
LEAH I intend to find out.
RODNEY How? I’m sure he hates anyone with a badge given his dad’s status.
LEAH I have my ways.
=============================================================
SCENE 18: EXT. POLICE STATION – PARKING LOT – CONTINUOUS
1. Action: Leah gets on her blue Ducati and leaves.
2. Life Threatening situation: riding a motorcycle
3. Mystery: why does she ride a bike like his.
EXT. POLICE STATION – PARKING LOT – CONTINUOUS
Morning sunlight bleeds through storm clouds. Leah throws on her helmet, riding gloves, leaves the lot on a blue Ducati.
=============================================================
SCENE 19: EXT. SCHOOL PARKING LOT – AFTERNOON
1. Action: Dino straddling his red Ducati on the phone.
2. Life Threatening situation: left semen in Cindy’s car.
3. Mystery: who did it; he fears he is a suspect.
EXT. SCHOOL PARKING LOT – AFTERNOON
Red Ducati. Purring. Dino straddling it, talking on phone.DINO I know; I’m a suspect or will be.
STEPHANNIE Anyone see the two of you together?
DINO No. I retraced where we went. Novideo cameras.(listens – frowns) No, she wasn’t a fan of condoms. What I don’t get, is we banged in her car, a first. Cindy was a freak about getting stains on the leather upholstery.(listens) Yeah, a DNA match and I’m toast.
STEPHANNIE Someone saw something. You sure you didn’t go anywhere in public?
DINO After hanging at the quarry, we stopped at the Dirty Bourbon. Alley in back, nada.
STEPHANNIE You said you didn’t go anywhere.
DINO We didn’t. She dropped me off. I wanted to dance;(eyes light up) I was dancing. Plenty of witnesses!
STEPHANNIE Do we know time of death?
Dino’s elation turns to something else.
DINO No. Gotta jet; meet ya, say nine.
He hangs up; in his jacket, he pulls out a sheet of paper. ===========================================================
SCENE 20: INSERT – FOLDED SHEET OF PAPER
1. Action: Dino makes paper airplane out
2. Clue: his comment reflects his fear
INSERT – FOLDED SHEET OF PAPER
Filled with trigonometry problems. Grade reads 100%
BACK TO SCENE.
Dino fashions the exam into a paper airplane, flies it across the parking lot.
DINO So much for AP classes.(chuckles) AP – attending prison.
CLOSE ON plane touching down in a puddle of water. And as the ink SMEARS, turning mathematics into abstract art.
DINO races off, oblivious to the blue Ducati tailing him. =============================================================
SCENE 21: EXT. HIGHWAY – CONTINUOUS
1. Action: Leah follows Dino on bike to pizza place.
2. Life Threatening situation: his reckless driving.
3. Mystery: How does he not have any speeding tickets.
EXT. HIGHWAY – CONTINUOUS
Leah is shocked at how fast Dino rides.The fact he doesn’t have any moving violations on his record is testament to luck and a great line of BS.
=============================================================
SCENE 22: EXT/INT. PIZZA PARLOR – LUNCH
1. Action: Leah parks, follows Dino in, sees the gang.
2. Life Threatening situation: NA
3. Mystery: Why does he give Steph & Jerome money, drugs?EXT/INT. PIZZA PARLOR – LUNCH
Leah pulls into the crowded parking lot as Dino steps inside the restaurant.
She parks beside his bike, notes the small mural of a BLACK SWAN painted on his gas tank.
INSIDE – Crowded. Noisy.
Leah takes a seat at the counter, does a sweep of the place: profiling, categorizing; it’s more than a hobby with her.
WAITRESS catches Leah’s eye who mouths, “Dr. Pepper.” Gestures the size wanted with her hands. Waitress nods okay.
DINO walks over to a corner booth filled with kids.
Leah observes their interaction. Dino gives a sexy girl, who is all over him, money on the down low. Does the same for a sad-faced, black kid.
Pretty blond girl POINTS at the pizza on the table. Dino shakes his head, JINGLES his keys.
It is clear by the consolatory hugs and facial expressions that Dino’s student-with-benefits relationship with Mrs. Lozano was no secret.
The realization and resulting frown prompts the detective to take her observation of the suspect to the next level.
At HALF-SPEED Dino high-fives and knuckle bumps. Sexy girl gives a full, frontal hug, leaves Dino with a shoulder punch.
As he crosses over the lobby heads turn, girls GIGGLE, unabashed STARES. He radiates charisma, innate sexual energy.
LEAH
Sets two dollars on the counter and FOLLOWS Dino out. ============================================================SCENE 23: EXT. PARKING LOT – CONTINUOUS
1. Action: Leah introduces herself; Dino flirts.
2. Life Threatening situation: he wants to take her racing.3. Mystery: Why did she lie about her name and occupation.
EXT. PARKING LOT – CONTINUOUS
Leah sees Dino stop and look down at her bike. She walks up.LEAH You know what red signifies?
Dino’s smile underscores his surprise: she is hot!
DINO LEAH I’ve no idea. Outgoing, aggressive and impulsive.
Leah talks with her eyes as much as with her hands.
DINO I’ve been called worse. (gestures to her bike) Blue represents someone who is (looks her over)suspicious, self- controlled and deliberate.
He walks around her bike, notes the license plate.
LEAH You forgot obsessive and inflexible.(extends hand)Maria.
DINO (shakes hand) Dino. You new in town?
LEAH I am. Where’s a good place to ride?
DINO Depends. Ever run a quarter?
LEAH As in on a race track?
DINO I’ve got to run an errand. Meet me here — five o’clock. We’ll go to the track. See what you’re made of.
Dino gives a sexy goodbye WINK.
Leah watches him leave, then speaks into her phone. The Notes application turns speech into print. Leah’s observations and impressions and hunches captured for later review.
=============================================================
SCENE 24: EXT. COASTAL HIGHWAY – LATER
1. Action: Dino sees Leah following; loses her, pulls off.2. Mystery: Why is she following him?
EXT. COASTAL HIGHWAY – LATER
Navigating the road with its curves and switchbacks, Dino spots Maria’s blue Ducati trailing behind.
Soon as he enters McNally, a three mile stretch of winding inclines, he floors it. Speedometer quickly passes 100 mph.
Dino brakes, pulls off on a side road, stops then calls Jerome(sad-faced black kid from the Pizza Parlor).
=============================================================
SCENE 25: INTERCUT: DINO, ON DUCATI; JEROME, HIS CAR.
1. Action: Dino calls Jerome, gives him her license plate.
2. Life Threatening situation: cop, detective, stalker?
3. Mystery: who is she really?
INTERCUT: DINO, ON DUCATI; JEROME, HIS CAR.
DINO I’m being tailed. Name’s Maria. A blue Ducati; I’ll text the license plate(listens) Thanks, you’re a G.
===========================================================
SCENE 26: INT. VISITATION ROOM – LATER
1. Action: Dino & Luke talk using memories as a code.
2. Mystery: their code for communicating via memories
3. Villain’s plan: ongoing and eavesdropping on them.
INT. VISITATION ROOM – LATER
Dino at a metal table. Across from him, LUKE in prison blues. Despite the room and guards, the two are comfortable.
LUKE Remember when we flew that split-tail dragon kite of yours, son?
Dino nods. They’ve developed their own way of communicating.
LUKE (CONT’D) And that lightning strike you thought was filled with honey? I dreamed of that day last night.
Dino touches his bracelet, rolls the braided leather between his fingers, a habit he finds comforting.
LUKE (CONT’D) You know the alpha-male leads. Be that wolf. Keep your pack close. =============================================================
SCENE 27: INT. CUBBY-HOLE OFFICE – LATER
1. Action: Jim reviews the recording, wants engraving plates.
2. Mystery: why the obsession, what’s he want.
3. Villain’s plan: Make Luke give him the engraving plates.INT. CUBBY-HOLE OFFICE – LATER
Jim watches the VIDEO FOOTAGE of Dino’s interaction with his biological father.
On the book shelf behind Jim’s desk there are several hundred VCR tapes, labeled in magic-marker by the date.
Jim extracts the tape from the machine.
JIM Five years of small talk.(shakes VCR tape)You are going to tell me where those engraving plates are
=============================================================
SCENE 28: EXT. FEDERAL PENITENTIARY – PARKING LOT – LATER
1. Action: Dino hears back from Jerome; Leah’s a detective.
2. Life Threatening situation: fear of incarceration.
3. Mystery: how did she find him so fast?
4. Villain’s plan: ongoing and unfolding; Dino’s a suspectEXT. FEDERAL PENITENTIARY – PARKING LOT – LATER
PHONE CHIMES. Dino grabs his cell phone.
JEROME Bad news. She’s Five-O. Leah Marie Sinclaire, homicide detective.
DINO I’m going to play her, find out what she thinks she knows.
JEROME Is that wise? Showing up like she did, it’s no coincidence.
DINO Been looking over my shoulder all my life. No more.
JEROME You could be playing with fire.
DINO I can think of three men Cindy curbed. The janitor at school went from drooling to giving her stink eye. Ted, our vice principle, got a little frisky at a faculty party, and Hawkins of Hawkins real estate. She ghosted him, said he got nasty. The detective needs to know this.
JEROME Fifty-eight percent of all female homicide victims are killed by their significant other. I Googled it. Do not let the detective know you are onto her.
DINO Cindy said Dean was scared of his own shadow. It’s not him. Laters.
Dino leaves the parking lot in a blur, SPEEDS PAST CAMERA positioned at the entrance to the parking lot.
=============================================================
SCENE 29: EXT. PIZZA PARLOR PARKING LOT – 5PM
1. Action: Dino rides up, Leah’s waiting, ride off together.
2. Life Threatening situation: riding across town w/ him.
3. Mystery: there are 3 other men Cindy told Dino about.
4. Villain’s plan: ongoing; Dino is now on their radar.EXT. PIZZA PARLOR PARKING LOT – 5PM
Dino pulls in, finds Leah straddling her bike — helmet in one hand — shaking out her hair. Provocative. Sexy.
Without a helmet, Dino’s wind-blown hair is a lion’s mane.
LEAH Get your errands done?
DINO I did. Shall we.
LEAH What, no small talk?
DINO (revs throttle) Actions speak my language. =============================================================
SCENE 30: EXT. CITY STREETS – EVENING
1. Action: Dino races across town; Leah follows.
2. Life Threatening situation: his driving.
3. Mystery: why such reckless disregard for safety.EXT. CITY STREETS – EVENING
They fly across town: past motorists, around delivery trucks, weaving through traffic as if reality were a video game.
Dino leads the way out to the county race track. ============================================================
SCENE 31: EXT. RACE TRACK ENTRANCE – CONTINUOUS
1. Action: Dino opens gate, goes onto the track.
2. Life Threatening situation: they are about to race.3. Trust: Dino trusts Leah to race; he tests her too.
EXT. RACE TRACK ENTRANCE – CONTINUOUS
Dino pulls to a stop at the wire-mesh fence, shows Leah a key, unlocks the gate.
DINO Manager’s chill.(off her look)You good? Look a little pale.
LEAH You know for every ten mph over the posted speed limit, the risk of dying in a crash doubles. Means doing eighty on a sixty mile per hour road increases the risk of a fatal crash by four times.
DINO Look, life is not the breaths you take, it’s the moments you make, that take your breath away.
LEAH Adrenaline junkie, good to know.
Dino drives off; Leah follows him onto the track. ==========================================================
SCENE 32: SERIES OF SHOTS:
1. Action: Leah & Dino racing.
2. Life Threatening situation: racing their bikes3. Mystery: why race, what’s it proving for Dino
SERIES OF SHOTS:
1. STARTING LINE – tires spinning, engines screaming.
2. FINISH LINE – red blur crosses over first.
3. DRAG STRIP – side by side, returning to the starting line. ==========================================================SCENE 33: EXT. RACE TRACK – LATER
1. Action: shows Dino winning every race.
2. Life Threatening situation: racing at top speed.3. Mystery: why he is so crazy reckless
EXT. RACE TRACK – LATER SOMEONE’S POV.
In SLOW-MOTION, red and blue Ducati’s pull away from the starting line. Both riders hunched over their machines.
Holding nothing back, Dino wins every run.
DINO (pulls up beside her) You’re good. Real good.
LEAH Where to now, or do you have errands to run?
Dino SQUIRTS his water bottle at her.
DINO I lied to you earlier.
LEAH “About?”
DINO I hate deception.
DINO You up for a ride?
LEAH Depends where.
DINO Place I go to clear my head.
Dino clocks her hesitancy.
DINO (CONT’D) Past your bedtime? Or is Mister Right waiting to tuck you in?
LEAH Neither, if I agree to go, I’m buying you a helmet and you are wearing it. Deal?
DINO ‘Ain’t here for a long time. I’m here for a good time.’ George Strait. Man’s seen a thing or two.
LEAH Is that a yes?
DINO Why not.
Leah realizes Dino’s lack of protective gear isn’t just teenage bravado: he’s not being cavalier; he is suicidally reckless. Holy shit.
LEAH It isn’t a race. I don’t want a speeding ticket. ===========================================================
SCENE 34: EXT. HIGHWAY – DUSK
1. Action: Dino drives out to Mtn. cabin, Leah follows.2. Mystery: Why did he bring her; what are his intentions
EXT. HIGHWAY – DUSK
Dino takes back roads out of town and the county highway into the mountains.
To Leah’s surprise, he rides sensibly, points out various landmarks along the way.
Pulling off the highway, they take a dirt road, hardly more than two groves in the dirt. Pine trees everywhere.
=============================================================
SCENE 35: EXT. CABIN – CONTINUOUS
1. Action: Dino parks, Leah parks; tells her they’re friends.
2. Life Threatening situation: alone w/ a murder suspect.
3. Mystery: why are they there.EXT. CABIN – CONTINUOUS
Dino parks in front of a large, two-story log cabin. Leah gives him a questioning look.
LEAH Friends of yours?
Dino nods, not giving the house a second glance.
DINO Vacation homes remind me of widows.
DINO Alone with memories and home to old ghosts.
LEAH Whose wisdom are you referencing?
DINO (gives hair a flip) You tell me.
LEAH From Ancient Greece to country music, it’s wide open — Twain.
DINO Yours truly. Quotes from people I admire and aspire to be like, help.
Dino starts across the clearing, heads for a trail, unaware Leah checks her pistol to make sure she is not printing.
LEAH DINO I didn’t bring hiking shoes. It’s not far.
=============================================================
SCENE 36: EXT. TRAIL – NIGHT
1. Action: Dino takes her up to the lake & the water falls.2. Mystery: Dino shows her the lake and water falls
EXT. TRAIL – NIGHT
They hike along a foot path. Incredible visibility thanks to the full moon.
Dino points out various types of vegetation, talks to their medicinal properties and whether or not they’re edible.
LEAH Didn’t take you for a nature buff.
DINO Round pegs, square holes, it’s a conundrum.
Dino and Leah break through the timber.
DINO (CONT’D)
‘Do not swear by the moon, for she changes constantly.’MOONLIGHT on the LAKE: WATER POURING over the cliff.
LEAH Wow, this is breath-taking.
=============================================================
SCENE 37: EXT. LAKE – CONTINUOUS
1. Action: Dino points to falls, strips and swims off.
2. Life Threatening situation: he’s naked, hypothermia.
3. Mystery: why does he go to the falls naked.
EXT. LAKE – CONTINUOUS
At the water’s edge, Dino kicks off his shoes and sticks a foot in. The cold is immediate and intense.
DINO Love it here. The stars, sound of the falls, wind in the pines.
Dino points to a slow-falling leaf suspended in midair.
DINO That’s freedom.
LEAH Earlier, you said you’d been untruthful… About?
DINO I went to see my father today. He’s not an errand… He’s in prison.
LEAH I’m sorry, that can’t be easy.
Impressed by the comment, Dino asks:
DINO When was the last time you did something real?
LEAH (stares across lake) Depends on your definition.
DINO Ever see a rainbow at night? Last one there buys breakfast.
To Leah’s surprise, Dino strips and dives into the water, rolls onto his stomach and swims toward the water fall.
LEAH Damn him.
Leah eyes the shoreline in both directions, turns to her right, takes off at a fast jog.
END OF ACT ONE
==========================================================
ACT TWO
SCENE 1: EXT. ROCK LEDGE – BASE OF THE FALLS – LATER
1. Action: Leah helps Dino out of lake water.
2. Mystery: to see this rainbow Dino’s talking about
EXT. ROCK LEDGE – BASE OF THE FALLS – LATER
Dino hides his surprise as Leah offers him a hand out of the water. Her grip strength surprises him.
DINO
There’s a ledge behind thewaterfall. Time for that rainbow. (off her look)
Things are rarely black and white if you know where to look.
===========================================================
SCENE 2: EXT. ROCK LEDGE – CONTINUOUS
1. Actions: Dino leads the way in behind the waterfall.
2. Life Threatening situation: Leah slips, almost falls
3. Mystery: this rainbow of Dino’s
EXT. ROCK LEDGE – CONTINUOUS
Dino moves over the wet stones, points out places to avoid stepping. At one point, Leah loses her balance.
Dino saves her from a painful spill. Looking up at him, her shoulder blades touching his chest.
LEAH
Thank you for telling me about yourfather. Sorry you two are apart.
She touches the scar on the outside of his shoulder:LEAH (CONT’D) What happened?
Leah knows it’s a bullet wound. The scar is unmistakable.
DINO
A friend and I were injured.Moments later, they stand side by side — staring through the mist — looking up at a translucent rainbow.
LEAH
I thought you were beingmetaphorical. It’s incredible.
DINO
I was eight when my dad brought mehere. Rainbows speak to the heart. Make a wish. Go ahead, make one.
LEAH Really?
DINO (takes her hand)
Put the back of your hand on the rainbow, like so. Now, close your eyes and make a fist. Good, toss it into the air and make your wish.
Leah FLINGS her hand up, then gives him the head-to-toe.
LEAH
Why’d you come here naked?DINO
Truth hides behind uniforms, masksand titles. Like this, lies have no place. Whitman wrote how nakedness is freeing. I agree, it is.
LEAH
You always so candid? We just met.Did you know dangerous people have a way of making a person feel safe, even comfortable and welcomed.
DINO
You saying you’re dangerous?DINO
Yet, you’re the one packing.DINO There’s (points) I’ve
firewood. We can talk
The detective in Leah connects the dots.LEAH Me, no. Take you for
instance; you’re friendly, easy on the eyes. In short, charming. And very open.
LEAH
And you’re shivering. It’stime we get back. Hypothermia is a real thing.
towels and there.
LEAH DINO The land, the cabin… Untraceable. Come.
============================================================
SCENE 3: INT. CAVE – LATER
1. Action: Dino & Leah talk re: life, goals, etc.
2. Life Threatening situation: she sees the ax
3. Mystery: this cave from his childhood
INT. CAVE – LATER
Small campfire ILLUMINATES the one-room, cavern.Leah can tell it’s been lived in; childhood fort perhaps. It makes her smile imagining Dino a carefree boy at play.
LEAH
Ever wonder why we do, what we do?The AX leaned against the far wall catches her eye.
DINO
What you are willing to do to makeyour dream a reality, separates dreamers from doers. At the heart of all our hopes, there is a dream.
Leah thinks on it; stares into the flames.
LEAH
For me, it’s about priorities. Letme ask, what are yours?
DINO
People live their fears, not theirdreams. I don’t want to be that. You’ve been keeping this version of yourself from surfacing, why?
LEAH
If you mean thrill-seeking andirresponsible, you’d be right.
DINO
You equate adventure with beingirresponsible. Interesting.
LEAH And your fear?
DINO
I refuse to be a slave tofear of any kind.
LEAH
Drag racing my Ducati – check.Standing behind a waterfall with a naked stranger – check.
DINO
A ride in the mountains – check.Making a wish on a rainbow – check. Spending time with someone I just met – check… All good.
LEAH
Doesn’t mean you throw yourself inharm’s way. What do you wish for?
DINO The impossible.
DINO My family back.
LEAH Which is?
============================================================
SCENE 4: INT. POLICE STATION – INTERROGATION ROOM -DAY
1. Action: Steph lies to cop taking her statement re: Dino.2. Mystery: Why is she here – really.
Stephannie sits dressed to impress and not in a good way.
STEPHANNIE
Dino was with me. Picked me up atDJ’s cafe. Not BJ’s.
OFFICER JONES (48) overweight and out of his league, sits across the table. Her play upon words sails over his head.
OFFICER JONES
Are there any witnesses who cancorroborate this?
Stephannie leans forward, giving him an eye full.STEPHANNIE
Lacy. She met us in the parkinglot. We got juiced, then bounced.
Stephannie walks over to the one-way glass — checks her lipstick — POINTS her index and middle fingers toward her eyes, then at the glass — MOUTHS the words: I see you.
=============================================================
SCENE 5: INT. VIEWING BOOTH – CONTINUOUS
1. Action: Leah watches Steph play the cop, gets pissed.2. Life Threatening situation: she alibi’s for Dino
LEAH, on the other side of the one-way glass, has had enough. She exits the room.
=============================================================
SCENE 6: INT. INTERROGATION ROOM – CONTINUOUS
1. Action: Leah enters, Steph warns her re: Dino and love. 2
. Mystery: How does Steph know her name
3. Reveal: Dino knew her name all along; he played her.INT. INTERROGATION ROOM – CONTINUOUS
Leah enters, walks over, whispers in Officer Jones’ ear. He leaves. She takes his seat.
LEAH STEPHANNIE Stephannie Caldwell, right. Detective Musgrave, what can
I do for you? Surprised the girl knows her name, Leah counters.
LEAH
Explain to me how Dino was withMrs. Lozano first, then you? How does that work exactly?
STEPHANNIE
What can I say, he gets around.LEAH STEPHANNIE Lacy have a last name? Haven, Lacy Haven.
Stephannie walks over, looks at herself in the one-way glass, catches Leah’s eye in the reflection.
STEPHANNIE (CONT’D) Love and lust, both four-letter words, detective. Don’t confuse
them. Dino doesn’t. Got to get back to class.
Stephannie strides out the door.
Leah looks into the one-way glass knowing things just got a lot more complicated.
Stephannie knowing her name means: Dino played her! ============================================================= SCENE 7: INT. POLICE CHIEF’S OFFICE – LATER
1. Action: Leah tells the Police Chief, she has a suspect.INT. POLICE CHIEF’S OFFICE – LATER
POLICE CHIEF, Stanley Higgins, mid-fifties, a man with political aspirations. He understands law enforcement is a young man’s profession. Fast-food and stress have aged him.
STANLEY
Where are we on the Lozanoinvestigation?
LEAH (swallows)
I think the vic was seeing one of her students.
STANLEY
We have physical evidence from theresidence and her vehicle. Bring him in. DNA will tell us the rest.
LEAH
We will need to get a court order.He’s a minor.
STANLEY
Great! Put together what you have.I will run it past Judge Hanson.
Desk phone rings. Stanley looks over. Leah leaves the room. =============================================================SCENE 8: INT. SCHOOL CAFETERIA – NOON
1. Action: Bruce hits Steph, Dino floors him, leaves w/ her.
2. Life Threatening situation: fight could escalate to guns
INT. SCHOOL CAFETERIA – NOON
Noisy, auditorium-sized room packed with STUDENTS: eating, talking, texting. Conversations blur.
CAFETERIA GUARDS (in yellow vests) stand watch over those in line to buy their lunch, ready to deal with line cutters.
PAN ACROSS a table of TEENS to a group of JOCKS talking shit and pointing at everyone that walks by.
NORMAN
Heard your old man got a coachinggig at the University. That’s dope.
BRUCE(18)aggressive, acned — football team’s dirtiest player, gives a head nod — OGLING Stephannie’s rack as she walks by.
At her side, Dino. It gives Bruce an idea.
BRUCE (loud voice)
Better than having a fuckin’ con for an old man whose only question at work will be, ‘can I supersize your fries with that order?’
Laughter and high-five’s. All eyes drift Dino’s direction.
ANGLE ON Stephannie. Anger flares her nostrils. Without warning, she THROWS her ice-tea in Bruce’s face.
Chorus of “Ooh’s” ensue.
Bruce SPRINGS off the bench — THROWS A PUNCH, feet set to bullrush Stephannie and body slam her into the wall.
Stephannie WHIPS her head back — a knuckle SPLITS OPEN the corner of her right eyebrow.
SLOW MOTION — DINO’S FIST — squares with Bruce’s mouth. He DROPS: SPITS blood and two front teeth onto the floor.
DINO turns to Stephannie: BLOOD runs down her face.
STUDENTS at the table can’t believe what happened. NEARBY — CHORUS OF HAND CLAPS — COMMENTS — eyes track Dino walking off, arm around Stephannie.
=============================================================
SCENE 9: EXT. PIZZA PARLOR PARKING LOT – AFTERNOON
1. Action: Leah & Dino argue re: Cindy, Leah’s lie, etc.
2. Mystery: did Dino know who she was from the start.
3. Trust: Leah does not trust Dino; he played her.
4. Trust: Dino knows she lied; still trusts her.EXT. PIZZA PARLOR PARKING LOT – AFTERNOON
Leah faces Dino, astride his Ducati. Body language visibly changed from last night. They are mid-conversation.
LEAH When?
DINO Six, six-thirty.
LEAH What did you eat?
DINO Pizza
LEAH Where’d you eat?
DINO The Quarry
LEAH Meaning you ate in her car?!
DINO You didn’t ask the fourth W.
LEAH The why is obvious. Like to know what forensics found in her car?
DINO Bits of pizza crust, hair fibers, dirt that can be traced back to…
LEAH Dried semen on the passenger seat.
Cindy was what (air quotes) a good person in a loveless marriage? And you were, let me guess, a friend?
DINO Something like that.
LEAH She was your teacher!
DINO Her personal life isn’t on trial.
LEAH It is if the infidelity led to her death. I believe it did.
Dino starts to speak, stops himself, looks off.
LEAH (CONT’D) How long have you known I was a detective?
DINO (shrugs) How you pay your bills is none of my business.
LEAH The race track, the falls, was that…You know what, never mind.
DINO They’re called feelings.
LEAH What am I to you? A distraction, someone to kill time with? A detective to add to your list of conquests?
DINO Killing time, bit on the head. Hate to disappoint, I don’t keep track of who, when or why. Never have.
LEAH What happened last night can’t happen again. We clear?
DINO Get a little too real? Or, you jus’ looking for an excuse to dip?
LEAH You are a suspect in a murder investigation. It’s unethical and a huge conflict of interest.
Dino see emotion in her eyes. Something painful.
LEAH Were you with Stephannie last Wednesday, after being with Cindy?
Dino fist bumps two students walking by. Girl hand gestures: call-me.
Leah clocks Dino’s left-handed awkwardness, sees his other hand: swollen, discolored.
<div>
DINO Truth, I met up with Rachael at the Dirty Bourbon. Not Stephannie.
LEAH Bar off Harding? And they let you, (waves off question) When was this?
</div><div>
LEAH Why would Stephannie come to the station and lie about being with you?
</div>
DINO I’m no killer. I’d do the same for her. We have each other’s back.
LEAH You know Stephannie is in love with you, right?
DINO (chuckles) Girl is many things, but love is not one of her handicaps.
LEAH Equating love with a handicap, that’s just sad. Would you be willing to come by the station and give a DNA sample?
DINO So you can match semen samples with what you found in Cindy’s Camaro?
Dino slips SUNGLASSES off his head and slides them on.
LEAH A cheek swab. To rule out what we found in the bedroom, not her car.
DINO Placing me in the car doesn’t put me in her bed.
LEAH Were you ever?
DINO In her house, no. She kept what we did on the down- low.(shame) Gotta jet.
LEAH This investigation will continue with or without your cooperation.
DINO Okay, fine; whatever body fluid you require, you can have.
Leah hands Dino one of her business cards.
LEAH Call and we can set up a
DINO (pockets card) You never said what you wish for.
LEAH I didn’t; did I. Goodbye, Mister Strickland.
DINO There is nothing good about goodbye, Maria.
END OF ACT TWO
=============================================================
ACT THREE
SCENE 1: INT. CHARGER – EARLIER IN THE DAY
1. Action: Dino treats Steph’s wound, needs stitches.
2. Life Threatening situation: subdural hematoma
3. Mystery: their bond, friendship but not amorousINT. CHARGER – EARLIER IN THE DAY
Dino whips off his tee-shirt, folds it in half. Under protest, Stephannie reclines the passenger seat.
DINO
Keep your head tilted back.Dino inspects the WOUND.
STEPHANNIE (eyes on Dino)
This really necessary?
STEPHANNIE
Am I going to live, doc?Using his tee-shirt as a compress, Dino applies pressure to stop the bleeding.
DINO
You’re going to need to getthis stitched up.
DINO No, you’re not.
STEPHANNIE (makes a face)
Okay, but I’m driving.
STEPHANNIE
Are you new? The hell I’mnot.
Stephannie starts to sit up. Dino’s puts his hand on her shoulder. They lock eyes; it looks like they might kiss.
I’m driving.
DINO STEPHANNIE Don’t you curb rash my
hellcat tires. Beat your ass, you do.
Stephannie POINTS her index and middle fingers towards her eyes, then at Dino.
=============================================================
SCENE 2: INT. DIRTY BOURBON – LATER
1. Action: Leah introduces herself. Show’s Dino’s photo.2. Mystery: Why Dino was there, when and with whom
INT. DIRTY BOURBON – LATER
DEE-DEE(41)owner and one of the bartenders, greets Leah. Tall, big-boned and blond, she radiates confidence and a certain amount of world weariness.
DEE-DEE
Let me guess, you’re not here forthe pot-roast special? Leah FLASHES her detective shield.
39.
LEAH
I’d like to ask you a fewquestions.
Leah shows her Dino’s photograph.DEE-DEE Not here. Follow me.
=============================================================
SCENE 3: INT. OFFICE – CONTINUOUS
1. Action: Leah & owner talk re: Dino and last Wednesday.2. Mystery: Why does Dino comes in
INT. OFFICE – CONTINUOUS
Cluttered, the desk is a mess. In the far corner, cases of high-end liquor.
LEAH
What can you tell me about DinoStrickland?
DEE-DEE
He comes in very other Wednesdaynight. Low key, very respectful.
LEAH
Did you know he’s only seventeen?40.
Dee-Dee’s surprise genuine.
DEE-DEE His ID’s genuine.
LEAH (CONT’D) Was he here this past
Wednesday?
LEAH
The boy’s resourceful.DEE-DEE (at filing cabinet)
I believe so.
Dee-Dee opens a drawer and rummages through video tapes. She finds the date in question and thumbs it into the VCR player.
INSERT – TV MONITOR
VIDEO: Time stamp shows Dino entering the bar at 9:05 pm. He joins a striking woman sitting alone at a corner table.
LEAH DEE-DEE That’s Rachael? It is.
Dee-Dee fast forwards, stops every few minutes. Dino and Rachael: dancing, chatting. Clearly friends. Maybe more.
LEAH
He usually dances with Rachael?DEE-DEE
Best dance couple in the place.Never seen Dino dance with anyone else. Same with Mrs. Brennan.
LEAH (eureka look)
As in Judge Brennan? (under her breath)
That’s how Stephannie knew
DEE-DEE
Stand behind a bar long enough, yousee it all. Booze and loneliness make for strange bed fellows.
LEAH They an item?
LEAH
What’s your gut tell you?DEE-DEE
Never seen them kiss or leavetogether.
DEE-DEE
Mrs. Brennan wants a piece of our wild-child.(off her look) Nickname one of my waitressesgave Dino.
Dee-Dee extracts the tape, hands it to the detective.DEE-DEE (CONT’D)
If it helps clear Dino, use it. He’s good folk.LEAH (nods)
Thank you. This helps.
DEE-DEE (CONT’D)
He’s a young man who needs a realwoman to show him what true love feels like. Boy’s had it rough.
(looks her in the eye)
You strike me as that kindov woman.Leah refrains from comment. She leaves the office, aware it doesn’t exonerate Dino: Coroner put the time of death between midnight and 2am.
41.
42. Leah exits the bar, asking herself: Where did he go after
closing time? It hits her: home! =============================================================
SCENE 4: INT. BOWLING ALLEY – AFTERNOON
1. Action: Steph & Jerome talk re: Dino & her and life.3. Mystery: Dino does he handle life’s problems w/ sex.
INT. BOWLING ALLEY – AFTERNOON
Stephannie approaches the lane line, draws her arm back and whips the ball forward.
Holding the pose a moment, she watches the bowling ball as it careens into the pens. A strike!
Stephannie walks back, fist bumps Jerome.
JEROME
Four strikes in a row!(gestures to forehead) The bandage good luck or what?
STEPHANNIE Something like that.
STEPHANNIE
I threw my Coke in Bruce’sJEROME
Tell me, I’m going to findout. Come on, girl.
JEROME (shocked look)
You did what?! Why?
face.
STEPHANNIE
He was talking shit. Bitch sucker-punched me.(grins) Dino knocked his punk ass out. D-bag left teeth on the cafeteria floor.
JEROME STEPHANNIE
Where’s Dino now? Being manic. You know how hegets. Jerome gives a sigh. He knows.
STEPHANNIE (CONT’D)
He is amazingly dense. Mashing withsome random ho is his answer for all of life’s problems.
JEROME STEPHANNIE You friend zoned him, girl. I what?!
JEROME
You been his friend since forever.You know how he does.
STEPHANNIE
He’s as bad as Lacy with herpills.(off Jerome’s surprise) Pills, pussy both are running from their pain, only Dino is too thick to realize it’s pain he’s feeling.
Stephannie points to the lane, makes a fist for emphasis.
STEPHANNIE (CONT’D) You better get a strike.
JEROME
And that’s your “P” — punching.============================================================
SCENE 5: EXT/INT. THOMAS RESIDENCE – LATER 1. Action: Leah calls on Grace, Dino’s mom.
2. Mystery: Mom’s relationship w/ Dino & Jim
EXT/INT. THOMAS RESIDENCE – LATER
Single-story and in need of attention, Leah notes the metal storm door and dead bolts.
She rings the bell and tries to picture Dino’s mother as footsteps approach.
GRACE opens the door.
In a silk blouse and slacks, she looks ready to step into a board meeting. At five foot eleven, she is a striking figure.
GRACE
One of Livingston’s finest Ipresume? Husband’s a US Marshal, you have the same law-and-order demeanor.
43.
LEAH May I come in?
GRACE
What’s this about, has myhusband…
LEAH
It’s about your son, Dino.Grace’s demeanor changes. Fear fills her eyes. For a split second, it looks as if Grace is going to close the door.
GRACE (shaky voice)
Please, come in.
Leah follows the well put-together woman inside.HOLD ON a FAMILY PORTRAIT of Dino with his mother and step- father. Snapshot of happier times.
Leah notes the appliances, the furniture, clearly, a before and after vibe: moneyed before and now… something else.
LIVING ROOM
Sectional sofa, marble coffee table, worn recliner. Eclectic.LEAH
I’m here to clear up a few things.Can you tell me what time Dino got home Wednesday night?
GRACE What’s this about?
GRACE Involving my son?
LEAH
Just routine questions. I’mworking a case.
LEAH
Not sure at this point.GRACE
Dino comes and goes as he pleases.Like his father sorry to say. (beat – then)
I go to bed at eleven. I now for a fact Dino wasn’t in then.
LEAH GRACE
Was Dino home in the morning? He was. Heard him say bye,then race off on that noisy motorcycle.
44.
LEAH
He goes to Rosemont High,correct?
LEAH
I’m ruling out potentialsuspects.
GRACE
Yeah, he graduates in May.What’s this about?
GRACE (preemptive)
And you can’t talk about an ongoing case. My husband is always feeding me that line.
And off her less than happy expression… ============================================================
SCENE 6: INT. CUBBY-HOLE OFFICE – CONTINUOUS
1. Action: Jim watches them via hidden camera.
2. Life Threatening situation: Leah is in his sights 3. Mystery: How does Jim know Dino’s been w/ Cindy. 4. Villain’s plan: will keep feeding Leah cluesINT. CUBBY-HOLE OFFICE – CONTINUOUS
US Marshal badge on a desk littered with file folders and magazines. Cork board glued to the wall and pin-cushioned with old newspaper articles.
============================================================= SCENE 7: INSERT – NEWSPAPER CLIPPINGS
1. Action: Shows Dino’s Dad’s capture and imprisonment. 2. Mystery: who is he keeping them
3. Villain’s plan: to get Luke to hand over the plates.INSERT – NEWSPAPER CLIPPINGS
1. Counter-fitter Caught After Decade of Extravagance.
2. Luke Strickland Arrested in Seattle, WA.
3. Easy Money Leads to Federal Penitentiary.
BACK TO SCENE. =============================================================45.
SCENE 8: INT. LIVING ROOM – CONTINUOUS
1. Action: Leah tells Grace about Dino’s affair w/ Cindy 2. Mystery: How did Jim know Dino was w/ Cindy.
3. Villain’s plan: feed Leah more clues re: Dino.Jim sits in a chair, attention drawn to the monitor.
LIVE VIDEO CAM: Leah on the sofa facing Grace. Jim ups the volume.
LEAH
Were you aware Dino was closeto Mrs. Lozano?
LEAH
GRACE (eyes narrow)
His Spanish teacher?
GRACE
You inferring she was seeingmy son?
Yes, ma’am.
JIM (V.O.)
Duh, boy’s been tapping that foryears.
LEAH
I’m not at liberty to say.Angered, Grace gets to her feet.
GRACE (pained expression)
He’s been her student for the past three years.
GRACE
She’s been sleeping with my boysince he was fifteen?! Now that she’s been murdered, you think Dino is involved?
LEAH
I’m simply ruling out suspects.Would your husband know what time Dino got in?
GRACE
Dino and my husband don’t see eyeto eye. ===========================================================
46.
SCENE 9: INT. CUBBY-HOLE OFFICE – CONTINUOUS
1. Action: Jim watches them, says something cryptic 2. Mystery: ongoing
3. Villain’s plan: ongoingINT. CUBBY-HOLE OFFICE – CONTINUOUS
US Marshal badge on a desk littered with file folders and magazines. Cork board glued to the wall and pin-cushioned with old newspaper articles.
BACK TO SCENE.
Jim sits in a chair, attention drawn to the monitor.LIVE VIDEO CAM: Leah on the sofa facing Grace. Jim ups the volume.
Yes, ma’am.
LEAH
GRACE
You inferring she was seeingmy son?
JIM (V.O.)
Duh, boy’s been tapping that foryears.
LEAH
I’m not at liberty to say.Angered, Grace gets to her feet.
GRACE (pained expression)
He’s been her student for the past three years.
GRACE
She’s been sleeping with my boysince he was fifteen?! Now that she’s been murdered, you think Dino is involved?
LEAH
I’m simply ruling out suspects.Would your husband know what time Dino got in?
GRACE
Dino and my husband don’t see eyeto eye.
47.
48. ============================================================
SCENE 10: EXT. BAR – PARKING LOT – SAT. NIGHT (FEB 10TH) 1. Action: Leah rides up, asks Dino to go eat w/ him.
2. Mystery: their chemistry and attraction
EXT. SPORTS BAR – PARKING LOT – SATURDAY NIGHT (FEB 10TH)
Vehicles in and out. New. Chic. There is a line of people waiting to get inside.
Dino, astride his bike chatting up two HOTTIES, when he spies Leah pull in, onto the lot.
Hotties give Leah stink eye as she drives up, but leave when Dino says,
DINO
My parol officer, here to collecta urine sample.
Leah removes her helmet, unaware what Dino told them. She shakes out her hair; can’t get a read on him.
DINO How’d you find me?
DINO (CONT’D) This an official visit?
LEAH Cop, remember.
LEAH
Off duty, if that’s what youmean.
DINO (CONT’D)
Mother told me about your visit. Iapologize if she was snarky. And sorry for earlier. Not sure why I said what I did.
LEAH
You were pushing me away. The idea of normalcy spooked you.DINO (gets off bike)
I don’t do normal.
LEAH
Can we start over? Name’s Leah.Maria is my middle name.
DINO
If you answer something forme.
LEAH (eyebrow raise)
What’s on your mind?
DINO
You more afraid of dying or living?LEAH
I’m terrified of failure.Leah sees something in his eyes, relief. And reaches around, unstraps a new helmet, hands
LEAH (CONT’D) Here, try it on.
It is a perfect fit. Dino sets the helmet on
DINO
You’ve got that look. What look?DINO
Where is it you want to go?LEAH
The Cauldron, ever been? Nope.LEAH
This is not a date. I’m serious,Dino. We need to talk.
DINO
(hands up in surrender)You are here to question a suspect in Cindy’s murder. Got it.
LEAH
I mean it, Lethario. Don’t make merepeat myself.
DINO
I’m still waiting to hear what ithope. She it to Dino.
his bike. LEAH
DINO
is you wish for.
Leah puts both arms around his neck, leans in close.LEAH (at a whisper)
Happiness. I wish for happiness.
Dino kisses her cheek, his lips soft against her skin.DINO
Thank you for the helmet and forbelieving I didn’t kill Cindy.
49.
A long beat. They stand frozen, neither wanting to move. =============================================================
SCENE 11: EXT. ACROSS THE STREET – CONTINUOUS
1. Action: We see a dark sedan
2. Life Threatening situation: someone watching them 3. Mystery: Who are they watching: Dino or LeahEXT. ACROSS THE STREET – CONTINUOUS
Dark SEDAN parked between two, upscale Hondas. Cars bumper-to- bumper for a block in either direction.
=============================================================
SCENE 12: INT. SEDAN – CONTINUOUS
1. Action: Rodney w/ camera captures Leah & Dino together.2. Mystery: Why she is getting so close to him
INT. SEDAN – CONTINUOUS
No music, no interior lights. In the driver’s seat, RODNEY watches his partner through a CAMERA’S TELEPHOTO LENS.
RODNEY
(click, click, click)You better keep that sweet ass in those jeans, girl.
=============================================================
SCENE 13: SERIES OF SHOTS:
1. Action: Dino’s erratic behavior & dangerous stunts. 2. Life Threatening situation: his driving
3. Mystery: Why he drives like thatSERIES OF SHOTS:
1. Traffic light – Dino hops off his bike, high-fives TEENS in a Mustang, takes a SWIG from their whiskey bottle.
2. Crosswalk – Dino hands a homeless man in military fatigues money, then shakes his hand and salutes him.
50.
3. On-ramp – Dino rides a wheelie into freeway traffic. =============================================================
SCENE 14: EXT. DINO’S HOUSE – BACK PORCH – NIGHT
1. Action: Dino parks bike; Jim comes out, drunk, mad etc. 2. Life Threatening situation: Jim tries to hit Dino
3. Mystery: why drunk;
4. Villain’s plan: ongoingEXT. DINO’S HOUSE – BACK PORCH – NIGHT
Dino kills the head lamp, parks his bike. Porch screen-door FLIES OPEN. Jim staggers out, YELLS:
JIM
YOU LAZY SHIT! WHERE YOU BEEN?MAN stumbles after Dino. Leah gets off her bike, ready to intervene.
Up in Dino’s face, Jim takes a SWING — misses. Off balance, he falls awkwardly in the gravel drive.
Dino GLARES down at him, hands balled into fists.
JIM (CONT’D) (slurs)
Minute you turn eighteen, you’re da fuck outta my house!
Dino gives a disgusted sigh, strides over to Leah’s bike.
DINO
That’s my step-dad: an idiot soberand a mean drunk.
Leah gives a sympathy hug; moment turns into something else as the embrace ends in a KISS. Raw. Unexpected.
DINO (CONT’D) Was that — okay?
Fingers to her lips.
LEAH DINO I get it; the why. (puzzled)
Why what?
51.
LEAH
Your stepfather’s behavior. It wasembarrassing and humiliating. You needed a distraction.
DINO
Is that what you’re calling it?Okay, let’s go with that.
Dino climbs on the back of her bike, scootches up close, puts his hands on her waist.
END OF ACT THREE
============================================================
ACT FOUR
SCENE 1: MONTAGE – LEAH & DINO OUT ON THE TOWN
1. Action: caring, gentle side of Dino is revealed.2. Mystery: their chemistry
MONTAGE – LEAH AND DINO OUT ON THE TOWN
1. Private Booth – talking, laughing, enjoying dinner.2. Street corner florist – Dino buys flowers, gives bouquet to an elderly lady waiting for the metro bus.
3. Fountain – Dino hands Leah a coin to make a wish with. =============================================================
SCENE 2: INT. SCHOOL – MORNING (MONDAY, FEBRUARY 12TH) 1. Action: Steph reads Dino riot act for being w/ Leah.
2. Mystery: her anger, then kissing him, conflicted
INT. SCHOOL – MORNING (MONDAY, FEBRUARY 12TH)
Between class periods, hallway buzzing with students: talking trash, downing energy drinks, texting, eyeing one another.
Dino at his book locker. Coming up behind, Stephannie. Look on her face says it all.
52.
STEPHANNIE
I know why you ghosted meyesterday. What were you thinking?! She your first cop, is that it?
Dino FLINCHES. He does not want to have this conversation.
STEPHANNIE (CONT’D) Sugar lips is going to do you
wrong. Detective Barbi playing nice? All up on you like a new tattoo?
She pins Dino against the locker, her hips pushed into his.
STEPHANNIE (CONT’D)
I thought vomiting in my mouth wasjust an expression. Missus Robinson is working to pin Cindy’s murder on you. That what you want?
Students gather. Stephannie draws a crowd wherever she goes.
DINO
It isn’t like that. Please,I’m playing her.
STEPHANNIE (eye roll)
Oh God, bro. You got it bad. You’re going fetal on me.
DINO
Get off me, I didn’t even tap that.STEPHANNIE
Don’t mistake an urge for emotion.In frustration, Stephannie KISSES Dino hard on the lips.
Students make sex sounds, some clap, others comment: “Get a room,” “package check,” “I’m next,” “Give her the tongue.”
Stephannie breaks off the lip lock.
STEPHANNIE (CONT’D) Love is for amateurs – D. Tap that
cooch, make a memory and move on.
Stephannie POINTS her index and middle fingers at her eyes, then to Dino before walking off.
CLOSE ON tears welling up in Stephannie’s eyes. =============================================================
53.
SCENE 3: INT. POLICE STATION – DAY
1. Action: Leah tells Rodney she has 3 suspects via Dino. 2. Life Threatening situation: her involvement w/ Dino 3. Mystery: Rodney can’t figure out why she is doing it
INT. POLICE STATION – DAY
Leah, hunched over her desk. Stacks of paper everywhere. Conflicted. Mind elsewhere. Upset with herself.
KEURIG on the filing cabinet next to her begins CHUFFING — stream of coffee bleeds into her oversized mug.
Rodney TOSSES a paper clip her direction.
RODNEY
Sinclaire, gangster beanie in roomtwo got your juices flowing?
54.
LEAH
Please, he needs more thanhis goatee snipped.
RODNEY (makes ouch face)
We all have a type. You’re taking a big risk with that Strickland kid.
Leah invades Rodney’s personal space.
LEAH
I got the names of three suspects:from him: school VP, the janitor, Mr. Hawkins, the real estate guy.
=============================================================
SCENE 4: FLASHBACK – CEMETERY – MORNING
1. Action: Leah spying on Dino, sees him cry at Cindy’s grave2. Mystery: If he killed Cindy, why is he there and upset.
FLASHBACK – CEMETERY – MORNING
Red Ducati parked under an enormous maple. Dino kneeling beside a grave marker.
PULL BACK, FIND LEAH in a CRV with BINOCULARS. HOLD ON Dino’s posture: head bowed, shoulders bunch; he is crying.
CLOSE ON DINO’S HAND CLUTCHING LONG-STEM ROSES — BLOOD FROM THE THORNS DRIPPING TO THE GROUND.
BACK TO PRESENT. =============================================================
SCENE 5: INT. POLICE STATION – CONTINUOUS
1. Action: Rodney gives Leah file on Dino re: 2. Mystery: why did the man accuse Dino; then 3. Distrust: This makes Leah distrust Dino to
Rodney GRABS a file off his desk, WAVES it at
RODNEY
Did you know Dino was involved in ashooting three years ago?
a shooting. recant
a degreeLeah.
55.
LEAH
I pulled his file. There isno record of any shooting.
RODNEY (hands her file)
Her name was Lorraine. File was sealed, friend in Juvie owed me.
LEAH
And what? Dino shoot her?RODNEY
The bullet grazed Dino, nearlykilled the girl. Her father claimed Dino was a burglar. The daughter refuted it. Charges were dropped.
Leah recalls Dino’s scar, remembers the vague walks over to the coffee station.
LEAH
Sounds like Dino was in a bedroomhe shouldn’t’ve been in.
RODNEY
Dino is damaged goods. The mom hasOD’d more times than a rock star. A boy seeing his dad in jail, that pain becomes a cancer.
(beat – then)
Dino finds pleasure wherever he can. It’s not about notches on his belt; it’s about stifling the pain.explanation.She
LEAH RODNEY
Dr. Phil, who knew. I minored in psychology.Leah’s gaze leaves the dark thread of coffee filling her cup.
RODNEY (CONT’D) Remember, bad boys don’t get the
blues. =============================================================
SCENE 6: EXT. FOOD TRUCK – NOON (TUES. FEB 13TH)
1. Action: Leah & Dino talk; she brings up Lorraine, he goes 2. Life Threatening situation: He is being framed for murder 3. Mystery: Why won’t he talk to her about Lorraine, leaves
EXT. FOOD TRUCK – NOON (TUES. FEB 13TH)
Dino steps away from the food truck: gyro sandwiches in one hand, soft drinks in the other.
He sets their lunch down on the table, proclaims:
DINO
Best Gyros in town. Bar none.Leah waits until Dino is seated.
LEAH
We need to talk about what happened56.
at dinner.
DINO
I won’t say a word, promise.LEAH
It can’t happen again. Itgoes against everything I — I won’t be another Cindy.
DINO
You’re not. You aren’t married, youdon’t treat me like a tool, you care, that’s a first.
LEAH
You need to be with a girl your ownage. Stephannie, for example.
DINO
Relax, it’s not like we banged. Akiss is just a kiss. Let’s eat.
LEAH
Please, don’t be like that. I’mtrying here. Your hunch about the janitor, he’s got a record: assault and stalking. I’m bringing him in this afternoon for questioning.
Dino TOUCHES the leather bracelet on his wrist.
We looked.
LEAH
LEAH
I didn’t hear that.DINO
He looks where you can’t orwon’t.
LEAH (CONT’D)
Mr. Hawkins lawyered up. We don’thave enough to go before a judge and ask for a warrant.
DINO
I can have a friend do somestalking. See how butt-hurt got over Cindy dissing him.
cyber Hawkins
Dino wipes his mouth with a napkin, sets down the sandwich.
LEAH (CONT’D) Talk to me about Lorraine.
Stunned, Dino is momentarily speechless.
I can’t.
DINO LEAH
I read the police report. HerIt’s my job.
LEAH DINO (pissed)
I didn’t want to believe it, Steph was right.
father was… Why are you digging into my past?
DINO
Dino pushes away from the table, walks off.
LEAH
Dino, Dino — wait. Don’t go.=============================================================
57.
SCENE 7: INT. BEDROOM – NIGHT
1. Action: upset, Leah calls Dino while lying in bed. 2. Life Threatening situation: Dino is upset, volatile 3. Mystery: Lorraine and that situation what happened
INT. BEDROOM – NIGHT
Alone in bed with a book, Leah eyes her phone.And as she vacillates, the CAMERA inventories her room: hardwood flooring, dresser, matching night stand. Antique floor lamp, Victorian-style window curtains. Classy.
Leah gives in, picks up her cell, dials a number.
LEAH Dino?
=========================================================== SCENE 8: INTERCUT: LEAH IN BED; DINO STANDING WITH HIS BIKE
1. Action: talk re: suspects, video of Dino & Cindy… 3. Mystery: he flies a paper plane w/ Cindy’s photo in it 3. Trust: reestablished by both Dino and Leah.
INTERCUT: LEAH IN BED; DINO STANDING WITH HIS BIKE.
DINO
Detective, this a personal call?LEAH
I called to apologize. I should nothave sprang that on you.
58.
Why did you?
DINO
LEAH
I was following up on…DINO A lead. I know.
LEAH
You’re a suspect in a homicide.Prosecution will try to vilify your character, make it look like you are capable of murder. The shooting doesn’t help. I have good news.
He does.
DINO Lay it on me.
LEAH
We found revenge porn on thejanitor’s computer. He admitted to planting cameras in the faculty bathroom. He expressed no remorse. He exhibits Antisocial Personality Disorder.
DINO That means?
LEAH
He’s a psychopath. The lie detectortest he took is not valid. There’s a good chance he was present when Cindy was killed or knows who was.
DINO
The janitor has a video of Cindyand me in the bathroom doing it?
LEAH DINO
Did he send the smut to Dean?LEAH
When we asked Mr. Lozano about it,he told us Cindy watched it with him, told him it was Photo-Shopped. That the boy in the video, you, was a student, and that you had a rep for taping women he’d been with.
DINO
He bought it? No one’s that dense.I don’t even own a camera. Was the janitor blackmailing Cindy?
LEAH
Not that we can tell. He said hedid it for the money, that there’s a market for that on the Internet. His mom has cancer and needs very expensive meds.
59.
Dino stands holding a PAPER AIRPLANE. Tucked in it, a wallet PHOTOGRAPH of Cindy taken last summer at an arcade.
DINO (sarcasm)
Glad I could be of service.
(MORE)
DINO (CONT’D)
You know, Lorraine nearly diedbecause of me. Dino KISSES the snapshot.
With a flick of his wrist, the paper plane SAILS into the night taking Cindy with it.
DINO (CONT’D)
Cindy did. Better watch yourselfdetective, you could be next.
We SEE Dino standing at the edge of Drake cliff. Below him, city lights fan out in all direction.
LEAH
You had no way of knowing whatwould happen to either one of them. Stop blaming yourself.
Dino pulls a child’s bottle of BUBBLES from his jacket pocket, twists off the lid — holds the stylus to his lips.
60.
I do.
DINO (blows bubbles)
You believe we make our own destiny?
LEAH DINO
I admire that about you.LEAH
The other night, the homeless manand those flowers for that lady. What was that about?
DINO
‘Kindness is a language the deafcan hear and the blind see.’ Some day that homeless man might be me, the lady waiting for the bus, you.
LEAH DINO
Is that why at dinner, you… I wanted to taste you.LEAH
That is either really sexy, or youneed help.
DINO
I wanted to make it special. Notlike I’ve ever been on a real date.
LEAH DINO
You’ve never, I thought… Hooking up doesn’t requireHolidays.
Regret.
LEAH
I’m going to say a word, tellthe first thing that comes to
DINO
Random, but I’ll play along.me mind.
DINO DINO
LEAH
LEAH
Leah’s silence a confirmation of sorts.Tomorrow.
Sorrow.
DINO (CONT’D) My turn. Passion.
LEAH Problems.
meaningful conversations.
61.
Love.
DINO (CONT’D) LEAH Complications.
DINO (CONT’D) Seems we both have issues.
And as Dino closes his eyes going back to their dinner…
END OF ACT FOUR
===========================================================
ACT FIVE
SCENE 1: FLASHBACK – FONDUE RESTAURANT – NIGHT 1. Action: Dino tells Leah why he hates “goodbye”
2. Mystery: he equates the word goodbye w/ death. FLASHBACK – FONDUE RESTAURANT – NIGHT
Sitting on throw cushions trading looks, sipping green tea.LEAH
Mind if I ask a personal question?DINO
You’ve analyzed my body fluids, Idon’t see the harm in a question.
LEAH
What’s with you and goodbye?DINO
My grandfather told me goodbye, henever came back. Died of a heart attack that night. Lorraine never came back after Christmas break. Cindy teased me with adios the night she was murdered.
Look on Leah’s face compels Dino to explain himself.
DINO (CONT’D)
I would omit the word adios on allmy tests. In its place, I would write, hola… Means “hello.”
=============================================================
SCENE 2: EXT. MOUNTAIN MEADOW – VALENTINE’S DAY 1. Action: Leah spying on Dino; he’s asleep.
2. Mystery: Why is Dino there alone, sleeping
EXT. MOUNTAIN MEADOW – VALENTINE’S DAY
THROUGH BINOCULARS: we SEE Dino lying on his back: shirtless, arms at his side. Unmoving. Clearly asleep.
PULL BACK to reveal him under a lone tree in a meadow. Wild flowers. Idyllic. Storm clouds building to the north.
FOLLOW LINE OF SIGHT BACK — to Leah. ==========================================================
SCENE 3: INT. CRV – CONTINUOUS
1. Action: Leah has flower bouquet for him in car. 2. Mystery: Why Dino is there alone on his b-day.
62.
INT. CRV – CONTINUOUS LEAH adjusts the focus.
LEAH
What are you doing here, alone onyour birthday, Mister Strickland?
She glances at the bouquet of roses on the floorboard: retrieves the flower arrangement. With a pen, she writes on the to/from slip, aware her hand is trembling.
=============================================================
SCENE 4: EXT. MEADOW – CONTINUOUS
1. Action: Leah walks over, sets flowers by Dino & leaves2. Mystery: her feelings for him
EXT. MEADOW – CONTINUOUS
Leah makes her way across the field. She stares down at Dino, clocks his skinned-up knuckles and bruised rib cage.
She sets the bouquet next to his book bag and walks off. =============================================================
SCENE 5: INT/EXT. ROSEMONT HIGH SCHOOL – LATER
1. Action: Steph calls tell Dino cops coming, get to her car 2. Life Threatening situation: cops coming to arrest Dino
3. Mystery: why, what has changed? New evidence.
4. Villain’s plan: he has gives them more clues against Dino.INT/EXT. ROSEMONT HIGH SCHOOL – LATER
Dino munches a protein bar heading to the last class of the day. Phone CIRPS. He digs in his pants pocket.
63.
DINO STEPHANNIE
Five-O! They are two minutesWhat’s up? =============================================================
out. Get your ass in my car.
SCENE 6: INT. CHARGER – MINUTE LATER
1. Action: Dino ducks down, Steph leaves, turns his cell off 2. Life Threatening situation: His capture, arrest etc.
3. Mystery: what has changed; what new evidence do they have 4. Villain’s plan: he has obviously upped his gameINT. CHARGER – MINUTE LATER DINO
Curled up on the back seat as Stephannie leaves the student parking lot.
DINO
I’m so screwed! Whatever they got,it can’t be good.
STEPHANNIE
Capt’n Spiral, you went straight tothe worst possible scenario in record time. You didn’t do it.
At the intersection, Stephannie turns right. Police vehicles race past, running lights and sirens.
STEPHANNIE (CONT’D)
Six squad cars and two blacked-out SUV’s. They got a hard-on for you.Dino joins Stephannie in the front seat.
DINO STEPHANNIE
I knew this was coming. Turn off your phone and pullout the battery and SIM chip.
DINO
I can’t believe she — damn her!STEPHANNIE
Soon as you get your Johnson wet,your stupid goes into overdrive. Stephannie makes pouty lips, then gives a sexy WINK.
STEPAHHNIE
Amateur hour is over. This isserious. You got a place to stay?
DINO
Head north. Take County Road 12.I’ll tell you when to turn off.
64.
Dino stares out the windshield as a list of what if’s plays over in his head.
Stephannie looks over, PUNCHES him in the shoulder.
STEPHANNIE BTW – Happy Birthday!
============================================================
SCENE 7: INT. STORAGE UNIT – TWO HOURS EARLIER
1. Action: Rodney & Leah enter: find photos, evidence. 2. Mystery: why did Dino have this place
3. Villain’s plan: new clues tie murder to DinoINT. STORAGE UNIT – TWO HOURS EARLIER
Rodney points to the PADLOCK. He looks at Leah, bolt cutters in hand. His smug, I-told-you-so expression bothers Leah.
RODNEY
Shall we see what he’s hiding?65.
LEAH How’d you find this?
RODNEY
Place is rented in his name.LEAH
You’re not interested in justice.Like the Chief, you just want to pin this on Dino and move on.
RODNEY (mimics her voice)
‘I go where the evidence takes me.’ Everyone is wrongly accused until they aren’t. Shall we find out?
Moment later, Master lock falls to the floor.
In booties and gloves, they enter looking like doctors stepping into a surgical suite.
=============================================================
SCENE 8: INT. STORAGE UNIT – CONTINUOUS
1. Action: Rodney finds Dino’s knife; it’s his 3rd M. 2. Life Threatening situation: Dino is now wanted
3. Mystery: how’d the knife get there & Cindy’s journal 4. Villain’s plan: ties murder around Dino’s neck.INT. STORAGE UNIT – CONTINUOUS
The ten-by-thirty unit has been made into a lavish bedroom suite; something out of a racy romance novel. Or movie set.
Rodney begins taking PHOTOGRAPHS. Leah SPEAKS into a micro- cassette recorder.
And as the two move around the room, it is apparent this was a love shack.
66.
RODNEY
(shows fingerprint card)Lover boy’s?
LEAH (waves fistful of
photos)
Brilliant deduction, Sherlock. He’s posing in all of these.Leah KNEELS to inspect a silver thread that has caught her eye. She HOLDS UP a strand of grey hair for Rodney to see.
Dino’s too?
LEAH RODNEY
No, but this is. Here’s thethird M, Sinclaire. Rodney holds up a pocket knife. CLOSE ON initials: DS.
=============================================================
SCENE 9: EXT/INT. ROSEMONT HIGH SCHOOL – NINETY MINUTES LATER
1. Action: Rodney leads raid and lock down of Dino’s school. 2. Life Threatening situation: Dino might have a gun.
3. Mystery: Where is Dino?
4. Villain’s plan: working out perfectlyEXT/INT. ROSEMONT HIGH SCHOOL – NINETY MINUTES LATER
We’re HOVERING above ROSEMONT HIGH, prototypical high school: utilitarian buildings, two-story gymnasium, dirt track encircling a grass, foot-ball field —
DESCENDING toward freshly re-topped PARKING LOTS.
Law enforcement VEHICLES descend upon the school: squad cars pull to a stop, blocking the entrance and exits to the student, teacher and visitors’ parking lots.
DROP DOWN TO GROUND LEVEL – find Rodney hurrying up the concrete steps to the school’s main entrance, flanked on either side by officers.
=============================================================
SCENE 10: INT. SCHOOL CONCOURSE – CONTINUOUS
1. Action: students video everything that happens. 2. Life Threatening situation: Dino might be armed 3. Mystery: where did he go
4. Villain’s plan: working to a tee.INT. SCHOOL CONCOURSE – CONTINUOUS
CAMERA pulls back. Rodney finds himself staring at dozens of STUDENTS: instantly suspicious and reaching for their cell- phones. And as video clips and texts begin, he enters.
School bell RINGS — STUDENTS SCATTER: down hallways, up staircases, piling into classrooms.
All at once empty, the concourse turns cavernous. Rodney points to the exit signs.
RODNEY No one in or out.
Uniformed officers move into position. SQUAWK of walkie- talkie begins, and we are…
============================================================
SCENE 11: INT. CHARGER – CONTINUOUS
1. Action: Steph asks Dino who wanted Cindy dead
2. Life Threatening situation: Dino’s freedom is in danger3. Mystery: Who is doing this; must figure it out
INT. CHARGER – CONTINUOUS
Stephannie turns off the black-market, police-band radio. A party girl, she keeps tabs for obvious reasons.
STEPHANNIE I keep asking myself: Who wanted Cindy dead?
DINO Leah feels the janitor might’ve been in on it, or knows who was. He has a history of stalking. Worse, he’s a video of Cindy and I on his computer.
STEPHANNIE That mean I can find you on
Pornhub? Kidding. Mullet boy is a creeper. I can’t see him killing, not with a knife. When Jones split his head open in PE, creeper showed up with a mop. One look at the blood, he nearly hurled. Way too squeamish.
DINO Cindy told me about John Hawkins of Hawkins real estate. Guess they had a brief ‘thing.’ He got clingy, she ghosted him. According to her, he has a temper and the cigars he smokes(clicks tongue) compensation, her words.
STEPHANNIE Ew. Another Bill Clinton. This was a crime of passion. A knife, multiples stab wounds or penetrations. It was real personal. Or he’s a violent woman hater.
DINO Word’s misogynist. Thoughts on Ted?
STEPHANNIE School’s wanna’be principle. He’s a cod. Wife probably cuts the crust off his PB&Js.(sly grin) What comes after sloppy seconds, gooey thirds?
DINO STEPHANNIE Very funny. You got a burner? In the glove box.
Dino retrieves a phone and texts — typing with vengeance. =============================================================
SCENE 12: INSERT TEXT
1. Action: Dino rips into Leah re: school raid, etc.
2. Life Threatening situation: he’s now wanted APB on him3. Mystery: what changed, what new evidence came up
4. Villain’s plan: working perfectly.INSERT TEXT
“U played me twice! WTF! Flowers, a card, then u sic SWAT on me. L8R.”
BACK TO SCENE. =============================================================
SCENE 13: INT. CHARGER – CONTINUOUS
1. Action: Steph gets idea; it’s Jim; he’s a hater.
2. Life Threatening situation: He wants you in jail!
3. Mystery: why does he hates on Dino
4. Villain’s plan: ongoingDino hits send, hands Stephannie the phone, wipes his hand on his trousers as if contaminated.
Stephannie plucks out the battery and SIMM chip.
STEPHANNIE It’s someone who knows you, knows you and Cindy banged.(snaps her finger) Of course!
Stephannie takes and kisses Dino’s bruised hand.
DINO Holy shit! He loves knives and he’s always trying to get up in my business.
STEPHANNIE I’ll have Jerome dig into his social media, see what skid-mark’s been up to.
DINO D-bag’s a hater. You think he knew about me and Cindy?
STEPHANNIE (guffaws) Who didn’t.
=============================================================
SCENE 14: INT. POLICE STATION – DAY
1. Action: Leah gets Dino’s text; didn’t know school raid.
2. Mystery: what happened at the school, the raid, he escaped 3. Distrust: Dino now totally distrusts her.
INT. POLICE STATION – DAY
Leah looks up from the file she is reviewing and grabs her cell-phone off the desk. She doesn’t recognize the number.
Reading Dino’s text, the color drains from her face. Leah starts to text back, stops.
Pushing away from her desk, she walks to the Chief’s office. Her face tells us she is ready for a confrontation.
=============================================================
SCENE 15: INT. CAPTAIN’S OFFICE – CONTINUOUS
1. Action: Leah confronts Chief; he shows her photos.
2. Life Threatening situation: she could lose her job.
3. Mystery: how did she get so far off target.
4. Villain’s plan: workingINT. CAPTAIN’S OFFICE – CONTINUOUS Captain, on the phone, holds up a finger.
CAPTAIN You certain? Damn it! Have them check all the vehicles. Find him!
Leah takes in the conversation. Slow burn as she realizes what went down without her.
CAPTAIN (CONT’D) LEAH Detective, can I help you? Why wasn’t I included in on
the Strickland raid?
CAPTAIN (CONT’D) Stokes got a time-sensitive tip.
LEAH I worked excluded
CAPTAIN You got too close.
Captain reaches in his desk, tosses photographs across the desk.
LEAH hard on this case. To be on the arrest. It’s wrong.
LEAH I was earning his trust, sir. a drawer, pulls out several photos and the desk top.
CAPTAIN Trust, or a thrust?
Leah stares at herself hugging Dino. Second photograph, a shot of Dino’s lips on her cheek.
Leah skims the rest: aware how it looks, aware she could lose her job, aware how far from objective she has taken it.
=============================================================
SCENE 16: INT. CABIN – BEDROOM – CONTINUOUS
1. Action: Dino & Steph start to make out.
2. Mystery: Steph seduces Dino, why now
INT. CABIN – BEDROOM – CONTINUOUS
Stephannie gives the wooden door a nudge with her heel. Door closes as Dino rips the coverlet off the bed.
DUST MOTES. Dino stares at the particles, visible in shafts of sunlight STREAMING IN through a part in the curtain.
DINO You sure about this?
STEPHANNIE Stop talking before I change my mind.
DINO Seriously, for reals?
STEPHANNIE Kiss me and find out.
Stephannie takes a hip flask of whiskey from her purse.
She takes a swig — grabs Dino, shot-guns the drink — feels him SHUDDER as the whiskey burns its way through him.
STEPHANNIE Undress me.
And as her blouse FLUTTERS to the floor…
=============================================================
SCENE 17: INT. SCHOOL GYMNASIUM – CONTINUOUS
1. Action: Rodney comes up w/ no Dino; pissed.
2. Mystery: where did he go, who tipped Dino off.
INT. SCHOOL GYMNASIUM – CONTINUOUS
PAPER BANNER DROPS to the floor as Rodney takes out his frustration on a display for an upcoming assembly.
RODNEY
Wrap it up. He’s not here.He walks off, inadvertently kicks an amber-colored medicine bottle. It skitters across the floor.
Giving the pill bottle a look of disgust, Rodney walks past, exits the building.
=============================================================
SCENE 18: INT. MASTER BATHROOM – DAY
1. Action: Jim puts his bottle of oxy in medicine cabinet.
2. Life Threatening situation: for the wife, Grace
3. Mystery: why is he doing this; to get rid of her?
4. Villain’s plan: is escalating.INT. MASTER BATHROOM – DAY
CLOSE ON amber-colored pharmacy bottle.
INSERT – LABEL
“Oxycodone, 20mg.”
Take one tablet by mouth every six hours as needed for pain.”
ENTER FRAME. Man’s hand closes over the bottle. PULL BACK to reveal Jim: clean-shaven, in Dockers and long-sleeve Polo.
He gives the bottle a SHAKE, sets it on the shelf, turns it so the label is visible.
Jim leaves the bathroom and strides through the house, straight into Dino’s bedroom.
=============================================================
SCENE 19: INT. DINO’S BEDROOM – CONTINUOUS
1. Action: Jim goes in, takes one of his black teeshirts.
2. Mystery: why one of his tee shirts
3. Villain’s plan: ongoing and evolvingINT. DINO’S BEDROOM – CONTINUOUS
At the dresser, Jim pulls open the top drawer, begins counting tee-shirts:
JIM One, two, three, four, five…
Jim takes one of the black tee shirts and leaves. =============================================================
SCENE 20: INT. CABIN – BEDROOM – DAY
1. Action: Dino and Steph making love.
2. Mystery: why now, why wait until this moment3. Villain’s plan: coming to a head
INT. CABIN – BEDROOM – DAY
We HEAR Plumb’s, “Cage” as we reveal a black tee shirt and a pair of V-string panties on the edge of the bed.
Woman’s weak-hearted protests turn into unmistakable SOUNDS of lovemaking.
SONOS BLUE TOOTH – PLUMB “…Don’t try to cage me, or save me, I am a wild thing…” WIDEN to reveal Stephannie in bed.
HOLD ON Stephannie as a mind-blowing orgasm crests — tears wetting her face, panting, chest heaving — breathing through her mouth.
=============================================================
SCENE 21: INT. WOMEN’S BATHROOM – SAME
1. Action: Leah mad at herself, vows to catch killer.
2. Life Threatening situation: for Dino perhaps
3. Mystery: Cindy was framing Dino, so did she get betrayed 4. Villain’s plan: working<div>
</div>INT. WOMEN’S BATHROOM – SAME
Leah looks into the MIRROR: tearing up, mad at herself.LEAH
His knife, it’s a plant! As is thejournal. Wow, I’m such an idiot.
The look of disgust turns to one of grim determination.LEAH (CONT’D)
It makes sense. She was working onan exit strategy of her own. Cindy, did you get double-crossed? Who was your accomplice?
Leah wipes her eyes, then TAPS the mirror with a fingernail as if waking a perp.
LEAH (CONT’D) I’m going to find you!
END OF PILOT
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Rachelle’s Thriller Map Version 1
What I learned… It’s all there and hopefully the elements are easy to see. Some clarification is still necessary for certain parts. I wasn’t quite sure how to label the scenes to make them absolutely clear – who’s house versus a specific room, etc. Do I say “Mom’s house” or give their mother a name?
INT. AVA’S ROOM – DAY
Ava is napping in a hospital bed in her own bedroom. She is on oxygen and hooked up to an IV. The door opens. A needle injects something into her arm and she wakes. Her eyes are wide open now, looking at the mystery medical attendant. She tries to say something, but has a seizure. Someone exits the room, dropping a glass vial on the floor as they leave. Ava is still.
INT. HOSPITAL ROOM – MORNING
Cyn is photographing a crime scene similar to the one we’ve just witnessed except the victim is a young man. She is professional, documenting the body and elements of the room with care. There are two detectives and a few officers waiting for her to finish.
On her way to exit the room she asks one of the detectives, “Why do they think he was murdered?” The detective gives a condescending chuckle and points under the bed. “Think you missed something sweetheart?” Cyn’s face flushes. She goes to check, and photographs an empty vial of Morphine.
She can’t get out of the room quick enough as the detective calls after her, “Not part of his regimen darlin.”
Cyn walks quickly through the corridors of the hospital until she finds a private bathroom to duck into. She pulls a prescription bottle from her pocket, crushes a pill, and snorts it.
INT. CYN’S APARTMENT – NIGHT
There is a knock at the door. It is one of the officers who was present earlier, but did not stick up for her. He gives her a hard time about not standing up for herself. They drink together and have pornographic sex.
INT. CYN’S APARTMENT – LATER
Cyn is startled awake by a phone call. She notes the empty spot beside her and answers. “Christ Jules, it’s 4 a.m.” Jules tells her that their mother has passed and Cyn needs to come home to execute the will. “I’ll see what I can do.” Jules is furious at her lack of concern.
INT. AVA’S HOUSE – CONTINUOUS
Jules is at home, the same home we saw earlier in which Ava died. She has on a uniform that shows she works at a hospital. Her boyfriend Xander is there, brings her a cup of coffee, and dries her eyes. We don’t see his face.
INT. BRUTAL CRIME SCENE – AFTERNOON
Cyn is stumbling drunk. She slips and falls in blood while taking photos. The lead detective tells her to clean up and be in the boss’s office in one hour. She shows up in the same condition as when she left the crime scene. She didn’t have time to clean up, because she uses public transportation.
She is on forced leave with an ultimatum – go home and handle her business or lose her job.
INT. CYN’S APARTMENT – NIGHT
She is drinking alone and watching home movies. There is young Cyn, Jules, and their brother Cody.
INT. CYN’S APARTMENT – MORNING
She is passed out on the floor in front of the TV. She calls her therapist and asks for a refill on her medication since she will be traveling for an undetermined amount of time.
INT. SMALL AIRCRAFT – NIGHT
Cyn is up in the air circling Burlington International, waiting to land in the worst snow storm of the decade.
INT. JULE’S CAR – LATER
Cyn is drunk. Jules scolds her the entire ride back to Ava’s house.
INT. AVA’S HOUSE – MORNING
Cyn wakes up in her old room. She ventures into their mother’s room, still intact with a hospital bed, I.V. bags, and meds all around. She checks the meds for anything she might like to have. She photographs the scene while smoking a butt. Jules catches her, slaps the cigarette out of her hand, “There are oxygen tanks in here!!”
Jules leaves and Cyn continues photographing, being sure to check under the bed. She finds an empty vial of insulin.
INT. GENE’S HOUSE – LATER
Cyn shows up at her father’s house. He’s not home, but she meets her step-mother, Carly, for the first time. She tries to hate her, but ends up liking her. Carly is polished, professional, and perfect. Everything Cyn is not.
Carly invites her to sit in her office while she waits for the next client. They banter. Cyn notices a picture of a boy about ten years old on her desk and asks about it. He died in an explosion – gas leak. Cyn had a brother who went missing around the same time as her son. They connect through this common ground.
INT. LAWYER’S OFFICE – LATER
Cyn goes over the will. The only thing her mother left her was $10,000 and a letter. In the letter her mother tells her she used the will to get Cyn to come home, because she knew Jules would need her. She says the reason her and Cyn’s father got divorced is because he cheated. She’s kept it a secret all these years.
INT. SHITTY DIVE BAR – NIGHT
Cyn is looking for Alex and finds him. He’s surprised to see her. They go out into the freezing alley to smoke a cigarette. She asks him if he’s still got connections and whips out some hundreds. He smiles and kisses her. Party montage.
INT. AVA’S HOUSE – DAY
Cyn wakes up in her own bed; hungover, surprised and relieved. She has a gun and can’t remember where she got it. Cyn looks through her phone for evidence from the previous night. Nothing telling. It must have come from Alex.
The empty vial of insulin sits on her nightstand. Did she put it there? She thought she left it in her mother’s room. She picks it up. Puts the gun in her pocket. She leaves her room to look for Jules.
She moves around the house slowly. Jules is in the kitchen making herself lunch. Cyn sets the empty vial next to her sister. Jules is confused. What’s this?
Jules reaches for a knife to use purely for cooking purposes. Cyn jumps back and pulls out the gun. Now Jules is the one who is jumping. She drops the knife and puts her hands up.
Cyn breaks down the crime scene. Obviously Jules killed their mother prematurely, attempting to cash in on her inheritance. Problem is, Jules wasn’t counting on their mother to leave it all to Cyn.
Jules corrects Cyn – she already got her inheritance. As soon as their mother was sick she transferred the house to Jules. The house is full of valuables hiding in plain sight, things their mother collected. Jules takes Cyn on a tour pointing out collectable lunchboxes, postcards, perfume bottles, first editions, vintage costume jewelry, and vinyl. If she wanted money she could have sold these things for tens of thousands of dollars.
There’s one more thing. Jules takes Cyn into the basement where there’s an antique safe. Jules opens it and there are several expensive necklaces inside.
She explains that their mother had a secret thieving past. She quit when Jules was born. She named her Jules, because she was the last precious thing she ever needed. Cyn is baffled – how’d she end up with her name?
If Jules didn’t kill their mother, who did? Xander was the only other person Jules knew who had access to the house. He must have assumed the outcome of inheritance, because Jules didn’t tell him about any of it. She didn’t think it was important.
Now Jules is scared. She knows very little about him, not even where he lives. Cyn puts the gun in the safe and they take their evidence to the police.
EXT. POLICE STATION – NIGHT
It’s gotten late. Cyn and Jules are outside the police station. The door is locked and they can’t see anyone inside.
There is someone in a car watching them. It’s Alex, he takes out his phone and makes a call.
INT. GENE’S HOUSE – DAY
Cyn is in her stepmother’s office going over the absurdity of the previous night’s events. She was prepared to shoot her sister. What she didn’t know about her mother, a jewel thief? And this Xander, who and where is he?
Her stepmother offers to prescribe her some meds that will help her cope, but Cyn turns them down.
INT. AVA’S HOUSE – LATER
Cyn walks in looking for Jules, but she’s not there. She left a note saying she had to take care of something and would explain later.
She’s got to find something to distract her from drinking. She rummages through family memorabilia. She finds a picture of her mother, father, and stepmother all together. It looks like they’re teenagers here. What the hell?
The doorbell rings. It’s Alex. Cyn lets him in. He immediately tries to feed her drugs. She’s not into it.
She tells him about holding Jules at gunpoint yesterday. Alex is floored. Whoa, where’d you get a gun? She thought it had come from him. The last he saw of her before they parted ways she said she was going to this other bar across the street.
How’d she get home? Alex says she was going to walk. Cyn is livid. It’s ten fucking miles from the bar to her mother’s house. He thought she would make it. She was super high, not feeling anything. Besides, she made it home didn’t she?
He tries to get her to drink or do anything with him. She won’t. She’s worried Xander might show up and she doesn’t even know what he looks like. The police are worthless, saying he doesn’t exist. They haven’t even come out to check the crime scene.
Alex again is floored. Crime scene? Come on, you said she had been sick for a long time. He asks Cyn to show him the scene. Maybe he can help.
She takes him to her mother’s room. “Don’t touch anything!” She shows him where she found the empty vial of insulin. They both walk around the room looking for new clues. Alex thinks he’s found something in the closet.
Cyn rushes over. He surprises her with a jab of narcotics to the neck.
INT. POLICE STATION – DAY
Cyn wakes up in jail with no recollection of how she got there. Her head is throbbing. The officer there remembers her from when she was a wild teen. Same old Cynthia Bardot.
There’s a woman who appears dead in their communal cell. She tries to get the officer to come over. They don’t bite.
They do, however, take her to a private room to ask her some questions. She came to them, looking all a mess, raving about now her sister has gone missing. What’s going on with her? First her mother was murdered and now her sister is missing?
The town is small. Everyone knows Ava was sick. Jules has been gone for like a day, and she left a note. That’s not exactly a missing person’s case. They call her father to come get her.
Back in her communal cell, Cyn discusses her predicament with the “corpse” of her cellmate.
The woman leaps to life – Alex and Xander are the same person.
EXT. POLICE STATION – EVENING
Cyn is walking with her father to his car and he’s giving her a lecture about how terrible this is for his career. Just like the old days when she was still in town.
Cyn gives him a lecture about cheating on her mother. He says it never happened.
She says she saw the picture of the three of them when they were younger. What’s going on? It’s a time when they were dishonest. They don’t talk about it anymore.
He says Ava was so deeply depressed after Cody (Cyn’s older brother) disappeared, it got to be more than he could manage.
He didn’t reconnect with Carly until years later.
Cyn asks him to drop her off at her mother’s house.
INT. AVA’S HOUSE – LATER
Cyn gets home, locks all the doors, checks all the windows. She goes into the basement and opens the safe. EVERYTHING is gone, including the gun she was counting on.
She turns around to see Alex at the top of the stairs – looking for this? He waves the gun playfully.
Cyn gets out her cellphone. She’ll call her dad, he was just here.
Better get to a landline. Cyn checks – no service. Alex is coming down the stairs now, gun pointed in her direction. He says it would have been better if her death had looked like an accident, but she has such a GD high tolerance, he didn’t give her enough.
He’ll just kill her and clean it up before Jules gets home so he can be Xander again. He pulls the trigger. The gun clicks, no bullets.
She runs to an alternative secret staircase – the house is old, it’s got neat passageways.
This one leads to the kitchen. Alex bolts up the other stairs trying to beat her on the opposite side.
She runs through the kitchen, grabbing the cordless phone. The knife is still where Jules let it fall. Cyn swipes it off the counter and runs with it straight into Alex. It lodges somewhere between his ribs. She lets it go and keeps running.
She runs to take shelter in her bedroom. She slams and locks the door behind her. She tries the phone. It’s dead.
Alex is kicking the door repeatedly, trying to bust through. He is hacking at it with the kitchen knife, eventually sending splinters flying.
He’s nearly inside when he stops and there is a thud. Jules pokes her head through the busted up door.
They take Alex to their mother’s hospital room and restrain him. Some joke about actively having a miscarriage while exacting revenge. She was gone having an abortion. Cyn wishes she could have just told her that!
Cyn and Jules are deciding what they should do with him when Carly comes knocking. She’s wearing the gemstones from the safe, all of them, total overkill.
Both women straight do not answer the door. They go to the basement to get the gun Alex abandoned earlier. The bullets are on the shelf close to the safe. They load the gun and wait.
Carly has a key. She lets herself in. Cyn and Jules wait and listen.
Carly’s heels click on the floor as she searches each room. When she gets to Ava’s room her heels stop. Alex is still unconscious and restrained.
Time to move. Cyn and Jules take opposite staircases to exploit the element of surprise. Carly hears the creaky old passageway and goes to the kitchen to wait. Jules opens the door slowly. Carly cracks her in the jaw with her high heel.
By now Cyn is behind her. She doesn’t wait for Carly to turn around. She shoots.
INT. AVA’S HOUSE – LATER
Carly and Alex are restrained in the same hospital bed in Ava’s room. They are both conscious now. The jewelry Carly was wearing is gone. There is some vinyl playing in the background.
Oh good, you’re awake. Just wanted you to know you’ll be blowing up to the sound of ____________. The best part is, you’re both already dead. On paper.
Blow oxygen tanks.
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Rachelle, would you like to review one another’s submission? I believe that is Day 15 req.
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Yes, that sounds good. If you want to send me your pdf version my email is rachellestorti@gmail.com. I can also send you mine in pdf if it makes it easier.
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David’s Thriller Map Version 1
Putting the Thriller Map together made it easier to keep the chronology of the plot in synch. Also, it exposed gaps in story and connections.
TREASURES OF THE SANTA ELENA
It’s the story of a bullied, eighteen-year-old who must solve the mystery of a treasure map, or his family will be killed by a Cult of psychopaths descended from the Spanish Inquisition.
FADE IN
on screen
1798 TAMPICO MEXICO
THE FORT OF THE SPANISH INQUISITION
followed by
THE INQUISITION NEEDS GOLD.
THEIR LAST CHANCE TO REESTABLISH
THEIR TERROR OF THE LAST
300 YEARS.
S1. INT-1790, GOLD ROOM-DAY
The Gold Room. Gleaming with shining gold, piles of precious stone. Carrying loads out the door to THE SANTA ELENA. A magnificent galleon with Indians loading it with treasure.
The SPANISH CAPTAIN is talking to his FRIEND. He is showing him his new sword. Toledo steel. The best in the world. The golden, jeweled hilt is gleaming and sparkling. He is boasting that, back in Spain, the sword will be in his family for generations.
S3. EXT-DECK SANTA ELENA-DAY
The Santa Elena in a storm. Rigging falling, masts gone, decks awash, sailors panicking. Pitching and rolling. Thunder, lightning, St. Elmo’s fire all over. The INQUISITOR NAVIGATOR stumbles on deck holding his maps and instruments. The captain’s Friend is tangled in rigging. The Inquisitor Navigator kicks him out of the way and enters a lifeboat. The Spanish Captain leaves the lifeboat and tries to cut his friend loose with his golden sword. More rigging falls, trapping them.
S5. INT-PAUL’S ROOM-DAY
Paul is looking at a video newscast of the rig explosion that killed his father. His mother enters and tells him he has getting obsessive and spending too much time indoors and reading. Tells him to see his parish priest tomorrow morning.”. Paul agrees.
S6. EXT-CHURCH-NIGHT
Two men get out of a car. Dressed in hoods and robes. One guards the door. The GRAND INQUISITOR walks into the church and …
S7. INT-CHURCH-NIGHT
.. is greeted by a SURPRISED PRIEST. Priest asks, “Which order?”. Grand Inquisitor responds, he belongs to “Tribunal del Santo Oficio de la Inquisición.”. Priest thinks – “Wasn’t that the Spanish inquisition?”,”It was indeed.” and then stabs the Priest.
S8. EXT-CHURCH-DAY
Paul tries to enter the church, now surrounded by police. He is let into church and sees Priest, dead on altar. Sees a cap his Uncle Jack wears in evidence bag, Questioned by SARGENT KELLY.
S10. INT-UNCLE JACK’S HOUSE-DAY
… walks in. Yells, “There’s been a murder.”. Sees a ransacked house and blood all over.
S12. EXT-SCHOOL STEPS-DAY
Paul is walking up the steps. He sees a new girl, SANDY, cute as a button, drive up and park. They quickly find out each are smart, like to read and are simpatico.
S13. INT- SCHOOL LIBRARY– NIGHT
A typical HS library. Third floor. Bookshelves, a few tables and chairs, desk lamps. Paul is studying in the library. Suddenly, the lights go out. He swears and shuts the books. Walks out …
S14. INT-HALL AND STAIRS-NIGHT
… into hall. Irritated. Hears a faint noise and pauses. Shrugs, starts again. Reaches the elevator and pushes the button. Nothing. Another sound, louder. “Who’s there?”. A flitting shape, just at the corner of his vision. Paul is scared. Reaches bottom – relieved.
S15. INT-FOYER-NIGHT
Outside door slams open. SANTOS, Paul’s nemesis since first year, moves in and punches Paul in the gut. Paul doubles over. Then he demands Paul; “Tell me the secret.” Over and over. Getting angry he pulls a knife. His buddies object. They all leave. Paul picks himself up and staggers out.
S17. EXT-SCHOOL STEPS-DAY
Paul is walking up the steps with Sandy, very close. Paul looks back and sees a MAN who looks like an ex-boxer who had too many fights, duck around the corner.
S19. EXT/INT-JACK’S BOAT AT PIER-DAY
Paul climbs aboard jack’s boat. There is a terrarium with a large tarantula in it. Paul gets as far away from it as possible. There is fear on his face. He never takes his eyes off it as he does chores. As he steps back on the pier the Man is seen, concealed behind a piling.
S20. EXT-UNCLE JACK’S HOUSE-DAY
Paul walks up to Jack’s door, opens it. Sees a gun on the table. Paul turns to escape and runs into the Man. Paul gets roughly pushed inside…
S21. INT-UNCLE JACK’S HOUSE-DAY
…and he grabs the gun. A hand grabs his wrist and Paul looks up at a wizened old man. “Uncle jack! I thought you were dead.”. The man following Paul is LENNY. Jack pretended to die when the priest was killed, because Jack was afraid for his life. “We have powerful enemies. I need to tell you a story your father would have told you when you were old enough.”…
LATER
… “and that’s the story of the wreck of the Santa Elena. We have all the records and a map of where the wreck went down.” Paul asks, “how did you get a map?”. Jack responds, “that ain’t a picture I’m proud of.”
Paul. “Are these longitude and latitude? Why haven’t you found the wreck? You’ve certainly looked.”.
Jack. We didn’t have the diving gear good enough. We didn’t have GPSs. When we did, we still couldn’t find it. Wrecks sink. How good is the map? Navigation was primitive in 1798.”
S30. INT- SCHOOL LIBRARY– DAY
Paul is reading with books open on the table. He starts up. Begins flipping through the books looking for something. He rushes out.
S31. INT-JACK’S HOUSE-DAY
Paul is explaining to Jack and Lenny that the Santa Elena went down before countries agreed on a Zero line, a Meridian, for longitude. Before that each country used its Zero through its capitol city. They agree it’s plausible, but they want to check it.
S32. INT-MARINE STATION-DAY
Paul and his group are talking to JASON a marine archeologist. He says it is possible.
S36. EXT-JACKS BOAT AT SEA-DAY
Paul sabotages the Cult’s Boat. The group leaves port at night and slip past the Cult. They dive for days, but do not find any treasure. They are threatened by sharks. They return, exhausted. How was Paul wrong?
S37. INT-BAR-NIGHT
The team breaks up. The group is angry at Paul for wasting their time. They start calling each other names. They tell Paul his books are useless and that he’s dumb, can’t do anything right.
S41. EXT-JACK’S BOAT PIER-NIGHT
Paul is miserably walking toward the boat. He sees a cap on the ground and recognizes it as Jack’s. He looks puzzled for a second and then rushes off.
S42. INT-PAUL’S HOUSE-NIGHT
Paul acts to rescue Jack. He shows Lenny the cap and both realize that Jack has been kidnapped by the Cult.
S45. EXT-CULT HOUSE BAYOU-NIGHT
Spooky, dark, old and overgrown. Lenny approaches with the shotgun and Paul apparently tied. Paul is begging and pleading to be let go. They are let in. They find Jack. They capture the Grand Inquisitor and free Jack. As they leave, they are ambushed by the Cultists and captured. Paul pulls the gun concealed in Lenny’s belt and holds it against the Inquisitors head. He doesn’t know how to use it, but bluffs the Cultists. A Mexican standoff. They disengage.
S47. INT-PAUL’S BEDROOM-NIGHT
Paul is quietly sleeping. The Grand Inquisitor creeps up to Paul. He raises the knife and plunges it into Paul’s chest. Blood spurts up into the Inquisitor’s face, and Paul jerks up in bed, yelling after his dream. Suddenly, he jumps out of bed and rushes to books piled on his desk. Frantically, he opens one, then another until he finds what he is looking for. “YES!!”.
S48. INT-PAUL’S HOUSE-DAY
Paul is telling Lenny and Jack his new solution to the map’s secret. Paul realizes the Santa Elena belonged to the Inquisition and they used a Meridian through their chapter house in Seville. They agree to go back to ask Jason if the new solution is plausible. Also, they realize they need another diver and agree to ask Jason to join them.
S50. EXT-JACK’S BOAT AT SEA-DAY
The group starts their second voyage. They chose a time to sneak out. As they leave, the camera focuses under the deck on a blinking device. The Cult has planted a tracker.
S54. EXT-JACK’S BOAT AT SEA-DAY
Several days have passed. The men are tired, dirty and exhausted. Most of the search squares have been checked off. They are looking defeated and disbelieving. Jason and Lenny begin another dive. Paul and Jack see the Cult’s boat approaching.
S55. EXT-JACK’S BOAT AT SEA-DAY
The Cult and Paul’s team go boat-to-boat and hand-to-hand in a battle to the death. The Cult attacks while the divers are below. They pour blood into the water to attract sharks.
A Cultist boards Jack’s boat. He is armed and bigger than Paul. Paul overcomes his fears of spiders. Paul picks up the tarantula and throws it at his adversary who jumps overboard. Paul fires a flare gun into the nets on the Cult’s boat and starts a fire.
The Coast Guard sees the smoke and a helicopter and cutter approach. The Grand Inquisitor knows he has lost. He pours blood on his head and jumps to the sharks. The Cult is defeated. The divers are rescued.
S56. EXT-JACK’S BOAT AT SEA-DAY
Hours later. The group is sitting around, exhausted. All except Paul want to give up. Paul sees the tarantula under a net. Paul picks up the spider and puts it back in its cage. All remember Paul’s terror of spiders. They are shamed and agree to one last dive.
S57. EXT-UNDERWATER-DAY
Jason and Lenny are on the bottom. They are raking the sand looking for old rigging. Jason gestures they are almost out of air and to surface. Suddenly Lenny’s rake catches in some ropes. He pulls and the rigging comes up from the sand in a line and at the end is the golden hilt of the Spanish Captain’s sword, glittering in the dim light.
S58. EXT-JACK’S BOAT AT SEA-DAY
Jason drugs Lenny and Jack. Jason pulls a gun and tells Paul he is a Cultist sent to study marine archeology to help the Cult find the treasure. He is going to kill them all, but needs them alive for the moment. Paul tricks him and knocks him overboard, but gets shot. He can’t help Jason when the sharks attack him. Paul manages to reach the helm and steer the boat toward port.
S59. INT-SCHOOL LIBRARY-DAY
The Principal reveals himself. He was the brains behind the Grand Inquisitor. He only wanted the money. Now, the Principal wants revenge.
He is going to burn the library with Paul and Sandy in it. He closed the valve to the library sprinklers. He starts to pour gasoline under the door. Paul rescues them by igniting the gas as it begins to ooze into the room. It catches the gas-soaked mat outside and explodes in the hall where the principal is pouring it. He burns. The hall sprinklers still work.
FADE OUT
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I can work with the next person posting. dmailman@comcast.net
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Logline: A suspended policewoman, in search of a pregnant teenager, must face the demons of her past as she fights a violent network to save this young girl and her unborn child.
OUTLINE
1.INT. HOME VANDERBELT – BEDROOM LILLY – NIGHT
Lilly is asleep. The doorknob slowly comes down. Her eyes wide open. When the door opens, she quickly closes them again. A man enters the room, sits next to her on the bed and softly strokes her hair and face. We need to speak about your behavior lately. You’re hurting your mother. She pulls the sheets up to under her nose, but he draws them down. Not a word about this to your mother. The consequences will be devastating for you. You understand? Do you understand? Without saying another word, he rapes her. Lilly stares at the wall. Expressionless. She transcended to another world.
2. INT. HOME VANDERBELT – DININGROOM – DAY
Lilly and mother are having breakfast. The man who raped her enters the room. They discuss the fact that she has to see the mentor about a paper she wrote. She’s defensive doesn’t want to talk. Closed off. She leaves when she hears a car honk. That’s her ride. Stepdad and mom discuss her big mouth. When can I just sit here in my own house and enjoy breakfast.
3. INT. HOME MEG & SARAH – DININGROOM
Two women having breakfast while getting ready to leave. We see a picture of one of them in police uniform graduating. She now puts on a security guard jacket. Sarah stops her and kisses her: I don’t know what it is about you in a uniform; you’re hot. Meg is wearing a security guard uniform. Sarah tells Meg she’s going to be late; she has mentor talks today. Talks about the disturbing paper she read from Lilly. You know her. The mayor’s stepdaughter. So real. The girl commits suicide. I need to speak to her about it. This isn’t right. She thinks Meg is sexy in her uniform. Meg thinks she’s crazy. The only thing this uniform does is remind me of the batch I’ve lost. You’ll get it back. Just be a good girl now and go see this police psychiatrist. Oh, come on! That cunt. Behave Meg. Jesus. When’s your next therapy session? Oh, thank you so much for making me feel less crazy.
4. EXT. ST. CLAIRE’S HIGH SCHOOL – DAY
Meg and Sarah drive up the driveway and park the car. It becomes clear that this job is not making Meg happy.
We see Lilly walking up the stairs with a girlfriend. Sarah waves at her. See you in a bit, Lilly.
Meg: it’s like looking at myself that age. How unhappy can you get. Sarah utters her concern with this girl. Suicide mention.
5. INT. HALLWAY SCHOOL – DAY
Lilly with friend Becca. Are you coming to mine? No, I have a mentor talk. Come after then and sleep over. I’m not allowed to sleep over. My stepdad won’t let me. I must go to stupid function with my stepfather. I can sleep over at yours if he lets you go then. Lilly doesn’t want that. Why not? Because my parents are weird. She laughs, just a little too loud.
6. INT. HIGH SCHOOL – SARAH’S ROOM – DAY
Sarah talks about the paper Lilly wrote. It’s so depressed and detailed about suicide. It worries her.
Knock on the door. It’s Lilly. We now see that she is talking to Lilly’s stepfather. Lilly is shocked to see he’s sitting there. So, tell us about the paper he asks. What’s the reason you are so sad. Lilly says it’s all fiction. They should not think anything of it.
INCITING INCIDENT – MEG SEES A VIOLENT STREAK IN STEPFATHER. TRIGGERS HER TO TAKE AN INTEREST IN LILLY.
7. INT. BATHROOM SCHOOL -DAY
Meg breaks up a fight between two boys and from the corner of her eye watches Lilly quickly entering the bathroom, crying. When Lily comes out, MEG watches stepdad and Lilly argue. From a distance it looks like he’s threatening her. She turns pale and starts breathing heavily. Controls herself and walks up to them and asks if everything is alright. Everything is fine. He introduces himself. I’m the mayor of this wonderful town. Meg is not impressed. He leaves. Sarah comes out and asks Lilly if she’s alright. She says yes. They talk about which university Lilly wants to go after her graduation. She’s doing so well; she might get into a prestigious one. Lilly would like to go to NYC to study English literature. Just like Sarah. Is she looking forward? She is. Very much so. Meg joins them and asks about the fight with her dad was all about. She doesn’t want to go to a function with her parents, she wants to go to the school dance. But she’ll go to that stupid function. It’s clear Lilly is scared. Sarah gives her private number. You can call anytime Sarah.
8. INT. POLICE PSYCHIATRIST OFFICE – DAY
Therapy session with psychiatrist.
Meg doesn’t break but psychiatrist sees this as a sign she’s not ready. The investigation is still in motion. How does she feel about that? How was her relationship with her own father?
Meg answers it was okay. But you are not visiting him now that he has cancer? No. She doesn’t feel the need. Her relationship with him wasn’t that good. Is he dying? She doesn’t know and doesn’t care.
Did she see the pictures of the man she arrested and assaulted, yet?
Does she want to? She acts like it’s no problem. We see the pictures of the man she assaulted while arresting him. How does this make her feel? Do you remember etc. etc.
How’s it going with the panic attacks? Good. It doesn’t happen any longer.
9. INT. CITY HALL MIAMI – CONFERENCE HALL MAYOR – NIGHT
Speech mayor. It’s stepdad. Police officials fill the room. He announces that the city of Miami
Will donate to the police a new communication system and the computers.
Mother and Lilly stand beside him in silence. Smiling.
10. INT. CITY HALL MIAMI – RECEPTION ROOM MAYOR – NIGHT
Mother and Lilly stand beside stepdad, while he shakes hands and excepts many thank you’s.
The captain of the police force embraces him and slams amicable on the shoulder. The force is so grateful to get rid of the old slow computers and a new system altogether. He owes him big time.
11. INT. CAR – NIGHT
Mother asks about the talk with mentor. Father little cynical about the suicide paper. Mother laughs with him. But she still asks if she can be totally sure nothing’s going on. Lilly reassures her. She’s not going to kill herself.
Mother is upset. Stepdad suppresses his anger.
11. INT. BEDROOM LILLY – NIGHT
Lilly takes out a rope and places a chair next to the window. Is she hanging herself?
12. INT. HOME VANDERBRUGER – BEDROOM PARENTS – NIGHT
Mother is still upset. Stepfather gives her a pill to sleep. He will talk to Lilly. Mother thanks him for being such a good father to Lilly. She wouldn’t know what to do without him…
13. INT. BEDROOM LILLY – NIGHT
An empty bed. The doorknob slowly goes down. Stepdad appears and is startled by the look of the open window. A rope hanging out. He runs to the window and in a distance, we see Lilly walking on the deserted road. He runs downstairs. Jumps in the car and follows her.
14. EXT. STREETS – NIGHT
He gets out of the car and grabs her. Puts his hands around her throat: I’m going to kill you, you hear? I swear to God: I’m gonna kill you if you do this to your mother again. Why would you runaway for? You live a life of luxury. I work my ass off to give you and your mother everything you need and you’re doing this to us? He drags her into the car. Lilly starts crying and long loud cries. He puts his hand over her mouth to muffle the sound. She tells him she’s pregnant. Do you know who the father is? Of course, she knows. There is no other way, Lily tells him. I slept with no one else…The only thing he can say is I can see the headlines: the pregnancy of the mayor’s daughter. He drives the car into the night. He makes a call. Bernard? I need your help. It concerns a pregnant girl. 17 years old. Thank you, Bernhard.
15. INT. ST. CLAIRE’S HIGHSCHOOL – NIGHT
Meg and Sarah are cleaning up after the school party. Sarah expresses her worries about Lilly. She didn’t attend the dance. Mentions stepdad. I walk into my office and the mayor is sitting there. Very nice man. They’re making fun of Sarah being star struck by the mayor. MEG thinks he’s an as hole. Hasn’t got any reasons to think so. Sarah angry. Meg should go to her therapy sessions. She sees an asshole in every man.
They turn off the light and close the door.
16. INT. SHELTER – BERNARD – NIGHT
He’s extremely nice to her. Does she know who the father is. Should we notify anybody. Are you sure you want an abortion? She’s very sure. He wants to talk with stepdad alone. Stepdad lies about Lilly being very promiscuous, so anyone could be the father. Introduced to gynecologist. Gynecologist knows stepdad. Old boys’ network. Talks with both Lilly and stepdad in private about the abortion. Who’s the father? Stepdad lies about promiscuity Lilly. Gynecologist. Old boys’ network. Talks with Lilly in private about the abortion. Who’s the father? Lilly cries. She doesn’t know.
While stepdad is talking to the gyn. in his office the assistant fills out Lilly’s form.
17. INT. EXAMINATION ROOM GYNECOLOGIST BERNARD – NIGHT
He examines her and concludes that she’s too far gone to perform an abortion on her. Stepdad and Lily can’t believe this is true. Stepdad says something like; We…uh she..uhm …her period was not so long ago. The doctor looks at him puzzled: what does he know about the period of his stepdaughter. The gynecologist raises his eyebrows: does he suspect something? He tells stepdad, he’ll see to it that she’s in good hands. He will call the Goldbergers, the billionaire couple. They work a lot young girls. Stray cats they call them. He also finds them at the shelter for runaway trains. They are very kind and are desperately seeking someone to carry a baby for them. This way it won’t reach the press. He calls them and after a brief conversation, he says: You’re welcome at the Goldbergers, Lilly. They are very excited that you are coming. You can have the baby there in peace and quiet. When he’s alone, he makes another call. Cryptic. I’ve got something special for you. As requested. Then we’re even.
18. INT. ST. PATRICKS HIGH SCHOOL – DAY
Meg and Sara start their day. Stepdad enters and tells Sarah that Lilly won’t be attending school anymore. Discussion. She is 17. In Florida the rule is that you must attend school until the age of 16. By law. He can’t force her to go. Meg and Sarah are dumbfounded. Meg wants to pay her mother a visit. She’s a detective after all. The girl was eager to go to university. What’s wrong with these people? Sarah is against it. Meg is suspended. No police work for her if she wants her job back. Meg flips. She says she is done with the questioning her abilities as a policewoman. Done with the fucking therapy. The past is the past. Sarah wants to know why she won’t talk about the past then.
19. EXT. BOAT – DAY
Gynecologist takes Lilly to billionaire couple.
One rule: no phones in the house. The housekeepers are very friendly but stern. She will meet with the Goldberger’s later. First settle in. Lilly is in awe with the splendor of the mansion. Bernard shows her the premise. The stables, the tennis court, the pool. From a distance we can see there are a lot of grey, white men with teenage girls having fun at the pool. The Goldbergers are there too. Quickly Bernard ushers her inside.
PP I MEG STARTS INVESTIGATION. SHE’S COMING WITH SARAH.
20. EXT. HOME VANDERBELT – DAY
Meg and Sarah ring the bell. A maid opens the door. Mrs. Vanderbelt is not feeling well. Meg insists and says they can wait.
21. INT. HOME VANDERBELT – DAY
Meg looks around. Mother finally comes downstairs. Lilly is at friends. No, she doesn’t know where. She got herself in trouble. Her husband wouldn’t tell what kind of trouble. Not to worry her. But he assured her she’s safe and she’s going to be alright. Her husband thinks it’s better if they are not in contact now. Lilly is a very difficult girl and I’m not well at all, so it’s probably best if we don’t see each other for a while. Weird behavior.
22. EXT. HOME VANDERBELT – DAY
They look at each other. What the fuck? Where would a girl go that is in trouble? The shelter.
23. INT. GYNECOLOGIST OFFICE – DAY
At the shelter Meg meets the gynecologist and asks about Lilly. He can’t give her any details for privacy reasons. He asks her badge. She hasn’t got one. On her way-out Meg casually asks the assistant for Lilly’s address. It’s the Goldberger’s Mansion. Meg must go to her therapy session and will ask her ex-partner for help. She needs to change though. She’s not going to visit the station in her monkey suit.
24. INT. GOLDBERG’S MANSION – DAY
Lilly is introduced to the Goldbergers. They are glamorous, attractive people. They ask her about her dreams and aspirations. Lilly feels seen and heard. She glows. There is another girl around who they introduce as their protegé. They thank Lilly for making it possible for them to be parents at last. They think she’s very pretty. How do you feel? Are you experiencing anything uncomfortable about the pregnancy? Tell us right away. We have masseuses and medical staff around 24/7. Germaine Goldberger shows her the massage room. Here’s where the magic happens. Why don’t you lay down so I can rub your back. She touches Lilly’s breasts. She thinks they feel tender, probably from pregnancy. She takes Lilly’s hand, puts them on her breasts and smiles. Feel. They feel totally different than yours, don’t you think. Lilly freezes. This doesn’t feel good, but normal enough not to stop it.
26. INT. POLICE STATION – PSYCHIATRIST OFFICE – DAY
Meg in session. Silence. Finally, the psychiatrist asks: you’re silence…what does it mean. No answer. Psychiatrist warns her, that when the hearing comes she has to file her report and it’s required to have made some progress. That’s not happening when you stay silent. So, if you want your job back, it’s very important to open up to me. Meg slams her fist on the table. Okay! If you want to know? The old bastard just died. And no, I’m not going to his funeral to pay him my respect. Because I don’t have any.
27. INT. GOLDBERGER’S MANSION – DAY
Lilly sees the Goldberger’s drive away in their car. Lilly explores the house and stumbles upon the protegé. They get along and the girl shows Lilly the control room. Camera’s are everywhere. Taped also girls in the bathroom. Surveillance / watched – cameras in the house. They find sex videos. She tries to call Sarah with the home phone. A click. The phone’s dead. The phone’s tapped. Quickly the girls put everything in order again.
28. GOLDEBERGER MANSION = OFFICE HOUSEKEEPERS – DAY
Mrs. tells Mr. the call was made from the control room. Go there, quick.
29. INT. GOLDBERGER’S MANSION – DAY
When the housekeepers walk in on them. The protégé is giving Lilly a neck massage. What exactly did they see? The girls deny. They haven’t seen anything. The housekeepers must report this to the Goldbergers. Sure. No problem. As soon as they leave, Lilly signals the protégé to stand on the lookout. Quickly Lilly dials a number with the land line. No answer.
LILLY wants out. The girl tells Lilly that the couple is bad news and that she must flee the island. She doesn’t know much about the gynecologist. He has been at parties, but she never saw him leave with a girl. Let’s leave together. They plan to meet at the boathouse.
30. INT. HOME MEG & SARAH – DAY
Sarah’s phone beeps. 2 missed calls. Call back the number see who it is. They look it up on their computer. It’s the Goldberg Mansion. The guy who has been convicted for fucking underaged prostitutes. What does he want from Sarah? They call the number.
31. INT. GOLDBERG MANSION – HOUSEKEEPERS OFFICE – DAY
Mrs. Housekeeper picks up the phone. Looks at her husband and signals to give her a pen. She says and what’s your number? Ah oh…now I see…I have dialed the wrong number. Your number ends at 3 but I was supposed to dial an 8. I scribbled the number down in a hurry…I’m sorry to have bothered you. Meg wants to go and see stepdad to ask where Lilly is. Sarah doesn’t want her to get involved. You focus on your own stuff. Here’s where our responsibility ends.
32. EXT. HOME VANDERBELT – NIGHT
Meg’s sitting in her car, watching the house. She hesitates but goes over the house and rings the bell. The housekeeper opens the door. She tells Meg she has to make an appointment. Stepdad appears. He says it’s okay and lets Meg in. She asks him where Lily is. He wants to know who’s asking. She introduces herself as Detective Meg Stubs. He wants to see her badge. She says she’s suspended. Then she has no business being here. He can assure her: Lilly is fine. Better than she has ever been. Stepdad tells her he doesn’t know either. Mother comes down. She looks sick. It’s best for her to leave Lily in peace for now. She doesn’t want to see them. She’s in good hands.
33. INT. GOLDBERG MANSION – NIGHT
Lilly sneaks out of the house. Avoiding the cameras.
33. EXT. GOLDBERG MANSION – BOAT HOUSE – NIGHT
When she arrives, she sees her new friend Abby waiting for her. When she comes closer, the housekeepers and Mr. & Mrs. Goldberg appear. A security guard leads Abby away. They leave the island in a hurry. The housekeepers tell her off. The couple has been so generous she must be grateful. That awful girl has been coming here for years and has gotten a professional training and she is so ungrateful. They bring Lilly to the billionaire couple. They interrogate Lilly. How much does she know? Suddenly, they are not the soft-spoken nice people anymore.
30. INT. HOME MEG & SARAH – NIGHT
Meg comes in. Sarah in bed. She joins her and tells her she visited stepdad. No luck. Her phone rings. It’s her boss, the chief of police. She has to come in for a talk the next day. What’s it about? Hopefully it’s about the hearing and she can return to the police force soon.
33. INT. POLICE STATION – DAY
Talk police chief and Meg. She must stay away from the mayor. 1. He has just donated the entire IT system to the force. 2. She’s suspended, so no more contact. The hearing will be in 2 day’s time, so back off. You can’t be involved in another scandal.
34. EXT. GOLDBERG MANSION – DAY
TV cameras and journalists outside the gate. Lilly watches the news. Her friend that betrayed her is found dead in another state. Mr. and Mrs. Goldberg are talking to the press. Very articulate and clique. We have helped her, tried everything we could to keep her clean, but the addiction was stronger. We are very sad. She was like a daughter to us. Lilly is in shock and pretends to feel pain. Cramps. They contact the gynecologist. He must come and examine her.
35. INT. HOME MEG & SARAH – DAY
Meg enters. Depressed. She won’t get her job back. Sarah comforts her. They turn on the TV and watch the new about the dead girl that apparently lived at the Goldberg Mansion for a long time. Meg jumps up. They killed her. Sarah tries to calm her down: Oh sweetie. You literally see a child killer/molester in everyone. What happened to you? Meg is stone cold: she just has seen too many children living in hell that’s called home. I saw just a little too many perverts. Especially the rich and powerful. The ones that people look up to. They are the worst. Sarah: maybe vice is just not the right place for you to work?
36. INT. GYNECOLOGIST OFFICE – DAY
There are two men with Bernard in his office, who listen to the conversation with Goldberg with great interest. They want to come with him. Bernard thinks it’s too soon. They should wait. 9 months is a long time. She’s not that much overdue. Tells his assistant he’ll be at Goldberg’s. On their way-out they bump into stepdad. Stepdad comes over to ask about Lilly. He wants to know where she is and with whom. Gynecologist tells stepdad to leave her alone and not to report her missing. The two criminal looking guys blackmail him: don’t report her missing otherwise I’ll go to the police tell them you sexually abused your stepdaughter. Yes. They know. Gynecologist: you gave yourself away Mr.
A cryptic conversation between criminals and gynecologist. They tell him to follow their plan. It’s not safe there. They are too sloppy over there.
37. INT. ST. PATRICKS HIGH SCHOOL – DAY
Meg is greeting the boys and girls that are coming in. In comes Lilly’s friend. Meg asks if she ever heard from her friend again. Sadly no. I’ve called her a hundred time, but her phone is not even on. Nothing on Insta or Tik Tok. Very unlike Lilly. It just doesn’t feel good not to know where her friend is. Could Meg help her find her? Meg promises to help her.
38. INT. VANDENBELT MANSION – NIGHT
Meg confronts stepdad and mother. Must report their child missing. Stepdad influential can have her fired. She talks with the mother and tells her off. What kind of mother is she?
38. EXT. ST. PATRICKS HIGHSCHOOL – DAY
Meg and Sarah drive away. Meg wants to stop by at the gynecologist office again. Sarah asks her if that’s a good idea: the hearing is tomorrow. You don’t want to get into trouble babe. Meg raises her eyebrows. More trouble than I’m already in?
39. INT. SHELTER – DAY
Meg asks if she can speak to Dr. Bernard. No he left. Can she wait? No he won’t be back for some time. Meg asks the assistant for Lilly’s address. She gave her the wrong address. That’s her home address, you see? And she moved somewhere else. Assistant looks it up. She is now at the Goldberg Mansion. Well what a coincidence. Dr Bernard just went there, I believe. He goes there quite often with his stray cats.
40. INT. GOLDBERG MANSION – DAY
Gynecologist examines Lilly. The Goldbergs want to be in the room, but he refuses. No this is between my patient and me. Lily tells the gynecologist that she wants to escape; he says he will help her. He promises her to smuggle her from the island. She tells him the billionaire couple are abusing the girls. Tried to touch her too. He promises he will protect her. Just hang in there. He tells her 2 police officers will come and get her later. They will tell them they are there on behalf of Lilly’s family. This is all part of an investigation of the Goldbergs. He makes a phone call. ‘ She’s ready to go’.
Lilly tries to listen in on the conversation he has with the Goldbergs next door.
41. INT. GOLDBERG MANSION – LIVING ROOM – DAY
He tells the couple Lilly wants out. They fight over the baby. They threaten him. They will ruin his career. He will always have to look over his shoulder. It was never your intention to let us keep the baby. They don’t know what kind of sick game he’s playing but they know he wants the baby himself. He always kept his part of the bargain. The baby was a coincidence. They got lucky. But the girl wants to leave. They’ve got plenty of girls he delivered on their doorstep. Plenty of girls to use as a surrogate. He leaves.
42. EXT. GOLDBERG MANSION – DAY
Meg and Sarah are watching the entrance of the mansion. They see the gynecologist leave while 2 men driving up the driveway, get out of the car and show their batches to the housekeeper.
43. EXT. GOLDBERG MANSION – DAY
Meg is puzzled. Who are these guys? Are they cops? Is it FBI? She doesn’t know them. They enter the house. After a while Lilly and the two men are coming out. Meg starts the car. She must know where they are taking her. She follows the car.
44. INT. CAR CRIMINALS – DAY
The man behind the wheel looks in his rear mirror. He notices Meg’s car is following them. He signals to his partner, who takes a gun out. He tells Lilly not to worry and to lay down. Bad people are following them. The guy opens the window and shoots.
45. INT. CAR MEG – DAY
A bullet flies right through the front window. It bursts in a thousand fragments. Meg is completely overwhelmed by the situation. Sarah screams while Sarah tries to keep the car on the road. The car zig zags, hits another car, spins, and stops against a tree.
46. INT. HOSPITAL – NIGHT
Meg and Sarah are questioned by the police. Police chef enters and tells Meg he had a talk with the mayor, who has supported the police force with communication system. We don’t want them to be crossed. She must back off. She is jeopardizing her come back to the force. The hearing is tomorrow. Maybe we should postpone it. No! That’s not what she wants. You were on a stake out at the Goldberg mansion. Why? You are fixated on pedophile cases. Leave the judgement up to us. This man is doing so much for the arts, for science, for politicians. This is way out of our league, Meg. Back off. He is a philanthropist. Gives enormous amounts of money to the community. You are not ready to come back. Mr. and Mrs. Goldberg are very concerned about Lilly. These men posed as FBI agents. Why did those people shoot at you? What did you do to these people this time? Did you shoot at them? Hand in your gun, you should have handed that in long time ago. There’s something not right in your head. And leave the investigation of Lilly’s abduction up to us.
47. INT. HOME GYNECOLOGIST – NIGHT
Lilly stays at gyn. home. She asks her phone back, but he thinks it safer not to make any calls. The Goldbergs are powerful people. She must promise to stay safe: no phones, no computers. Bernard installs her on the couch with a blanket. Makes her hot chocolate. I’m so sorry that you must go through all of this. He fatherly strokes her hair. You’re very special, you know that? Don’t let anyone tell you otherwise. You’re only 17. You’re very mature for your age. Lilly glows. His kind words touch her to the core. She misses her mom. Bernard comforts her. She’ll be going home soon. No! That’s not what she wants. Lilly doesn’t want to go home. He calms her down. Okay sweetpea, okay. You’re staying right here with me.
48. INT VANDERBELT HOME – NIGHT
Stepfather, mother, and detective. Questions of who could know where she is. The name Bernard comes up. He’s the one that brought her to the Goldbergs in the first place.
49. INT. HOME MEG & SARAH – NIGHT
Meg and Sarah enter. Meg’s depressed. Sarah is angry. Doesn’t say a word. It drives Meg crazy. Finally, she bursts out: Say it! Say I’m fucked up. Yes, I am fucked up. I was abused, used as a doormat and I haven’t ‘worked that through’, like my psychiatrist so euphemistically puts it. Well, fuck you, Sarah. Fuck you. With your fine and dandy childhood. With your loving parents and your loving siblings. Fuck you. Maybe you still trust the world, but I’m not. Sorry about that. Call me crazy but I’m going to try and find Lilly. Because I believe she is in danger. Fuck that.
50. INT. HOME GYNECOLOGIST – NIGHT
Lilly and Bernard are watching a movie together when the doorbell rings. He signals that Lilly must be quiet. He quickly puts her in the other room, taking her cup and blanket, pushing her into the room. It’s the detective. He lets him in. Asks a couple of questions. Shows him pictures from the security cameras of the Goldbergs. Does he know these men? No. Has he heard from Lilly? No. The doorbell. It’s Meg. The detective sends her away. He has to report this. Won’t look good at the hearing tomorrow. Meg: fuck the hearing. Asshole. Bernard suggests going to the shelter and see if Lilly has been seen there. The detective to Meg: and you’re not coming, luni.
51. INT. HOME GYNECOLOGIST – NIGHT
Lilly hears Bernard leave. She gets out of bed. Gets a drink and some food and snoops around a little.
52. EXT. HOME GYNECOLOGIST – NIGHT
Meg sits in her car and watches the gynecologist leave with her ex-colleague. She gets out of the car and climbs over the fence. She climbs up to look through the window. Where she sees Lilly.
53. INT. HOME GYNECOLOGIST – NIGHT
Lilly startled jumps up as she hears a knock on the window. She sees it’s Meg who signals her to open the door. She opens the door. Meg is very clear: get your stuff we’re out of here. You’re in danger. Lilly refuses. She trusts Bernard. Meg snoops around, trying to find proof. Breaks open his desk. Lilly wants to stop her. You can’t do this. She finds a loaded gun. She tries to open the computer no luck. She finds a notebook with names of girls with a phone number attached. She calls one: the girl answers with Hi Mr. Bocuse. She hangs up. Next one. This girl also answers with Mr. Bocuse. She tries to open the computer with Mr. Bocuse. No luck. Now with Bocuse. It opens. Files with photos of naked young girls complete with address and date of birth. Also, there are price tags attached to the girls. The younger the pricier. Now she sees a file: operation baby.
Finds videos on computer involving babies. We hear a baby cry. She puts her hand in front of Lilly’s eyes. Don’t look. Don’t look. Meg vomits. Lilly cries hysterically. She hears the door open.
Bernard and the two ‘policemen’ are coming in. Meg grabs the gun and pushes Lilly into the room leading to the garden. There is a boat in the water behind the house. ‘She hears Bernard whisper: we can still stop it. Too much attention on the Goldbergs and Lilly now. Not a smart move shooting at that lunatic ex-detective. Overhears conversation about Lilly being useless anyway after the baby is born.
Bernard tells them he wants out. He wants to stop the baby deal. She already knows too much. The two men threaten him, they are powerful people and capable of having him disappear. They will kill the girl when it’s all over.
54. INT. HOME GYNECOLOGIST – GARDEN ROOM – NIGHT
Meg tries to open the doors to the garden. It’s locked. She whispers I’m going to break down that door: run as fast as you can to that boat. I will follow you. Lilly doesn’t want to she’s scared. Trust me. You have to run as fast as you can. If you can’t get the boat started, swim as fast as you can. Meg breaks down the door. Lilly runs. Thedoor opens.
55.EXT. GYNECOLOGIST HOME – GARDEN – NIGHT
Meg runs outside. The two ‘policemen‘ shoot at her. She falls. Lilly stops and runs back. Meg cries: go, go, go!! She shoots back but passes out and misses. Lilly grabs the gun. Holds it behind her back.
Lights go on in the surrounding houses. Suddenly the scene is there for everyone to see. Quickly they drag Meg who is unconscious into the dark side of the garden and shout to Lilly: go inside! But from the corner of her eye, Lilly notices that Meg opens her eyes. Secretly she drops the gun next to Meg and runs inside. Meg grabs the gun and points. She shoots one in the back, but the other man runs into the house and shoots at her. She crawls behind a tree and tries not to lose consciousness. She shouts at Lilly: run, Lilly!
Lilly tries to run, falls and hits a statue in the hallway and bleeds. Gynecologist wants to examine her. She struggles. Shots are fired. Lilly sees a gun laying on the floor. Meg’s still down but pointing her gun at criminal. When he wants to shoot her, Lilly manages to get the gun and shoot him. Gynecologist tries to escape but the police has arrived.
56. EXT. HOME GYNECOLOGIST – STREET – NIGHT
He easily gives himself up. With a gun in his hand, he holds his hands up high. When they approach him, he say: I give up and shoots himself through the head.
57. INT. HOSPITAL – DAY
Lilly in hospital, she has lost the baby. She watches how the billionaire couple is taken into custody. Goldberg looks all smug. He thinks he’s going to get away with it. Mother in hospital beside her. Mother cries relentlessly if Lilly tells her that she doesn’t want to go back home. But seeing her mom in distress, she agrees to come home. She first wants to say goodbye to Meg.
58. INT. HOSPITAL – DAY
Meg’s in bed, her arm in bandage. She’s okay. She wants to go home but the doctors won’t let her out just yet. Police inspector walks in: for a suspended policewomen you get shot at quite a lot. She will get her job back. That’s the least they can do.
Lilly walks in and thanks Meg. She’s going home. Meg asks if she’s, okay? Lilly says yes she is okay. Meg gives her phone number. Call me now so I have your number as well. Yes, got it. Call me if you need me. When she’s gone, Meg doesn’t feel comfortable with the kid going back home. She still doesn’t trust that stepdad. Sarah rolls her eyes: are you kidding me?
59. INT. VANDERBELT HOME – NIGHT
Lilly stepdad and mother at dinner table. Stepdad opens champagne. A festive mood. Happy that she’s back. Mother utterly happy. They all need some rest. We’re off to bed early.
60. INT. VANDERBELT HOME – BEDROOM PARENTS – NIGHT
Mother thanks her husband for a wonderful welcome home for Lilly. He’s the best. But why is he pestering her about her sleeping with many boys? You know that isn’t true. Well she must have slept with one at the very least, he says cynically. Your daughter is making you sick. See how tired you look right now. Yes, she now is dead tired. She already took her sleep medication. Her head is bursting again. All the things that could have happened to my girl. He kisses her. But they didn’t. It’s over now. The pill kicks in and she already doses of.
61. INT. VANDENBELT HOME – LILLY’S ROOM – NIGHT
Lilly is asleep. The doorknob slowly comes down. Her eyes wide open. When the door opens, she quickly closes them again. Stepdad enters and sits next to her on the bed. He pulls down the sheets. As he starts undressing her, Lilly reaches for her phone under the sheets and calls the last person she has called that day: Meg.
62. INT. HOSPITAL – NIGHT
Meg’s phone rings. I’s Lilly. She picks up the phone. Lilly? No answer. She puts the phone on speaker and hears him breathing heavily saying:
So what did Lilly tell the police what had happened? Lilly scared: like you said. I ran away from home because I was pregnant. Ended up in the shelter and got aquatinted with the Goldbergs. Good. That’s the truth and nothing but the truth. You slept with too many guys to know who the father was, so I can imagine that’s shameful. You know that isn’t true.
63. INT. HOME VANDERBELT – LILLIY’S ROOM NIGHT
Tears well up in her eyes as he crawls on top of her.
64. INT. HOSPITAL – NIGHT
Meg and Sarah jump up. We hear Lilly cry out hysterically; You know that isn’t true. You raped me. You know you were the only one, you bastard you know that….Lilly reaches under her bed and grabs a heavy candle holder waiting there to hit him. She hits him on the head. Hard. She pushes him away and tries to run. He dives from the bed and grabs her ankles. She falls.
65. INT. HOSPITAL – NIGHT
Meg and Sarah run for the door. Meg in pyjama’s and limping but they reach the exit of the hospital. Sarah gets the car. We still hear Lilly screaming.
66. INT. VANDENBELT HOME – BEDROOM PARENTS – NIGHT
Mother wakes up and hears Lilly scream: You raped me. You raped me! She stumbles to Lilly’s room. We see him laying on top of Lilly. Naked. His blood dripping all over her. He tries to muffle her screams. Mother is crying hysterically. He shouts it’s all her fault. She can’t give him what he needs. You’re a sorry ass excuse for a wife. While he schleps Lilly by the hair through the hallway. Your whore daughter asked for it. She was dying to fuck me! Now mother is besides herself and runs for the candle holder.
67. INT. CAR MEG & SARAH – NIGH
Sarah drives through town like a mad woman, while they hear Lilly and mother cry out hysterically. Sarah’s using her phone to call ambulance and police. They arrive at the house and try to get in. They break the window and Sarah gets in through the window. Opens the door for Meg who stumbles inside. Takes out her gun as she limps upstairs. Mother and Vanderbelt are struggling Lilly gets up and as he lifts the candle holder to hit his wife, Meg shouts: stop! You fucking son of a bitch. Outside police and ambulances gather. Stepdad knows it over.
68. Stepdad is arrested. Mother and Lilly watch him getting into the police car. Meg and Sarah embrace each other. Sarah whispers in her ear: You did well, Stubs. You did well.
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