EYE 4 EYE

"Pilot"

Written by
Eli Cates

[email protected]

PART ONE: TEASER

FADE IN:
EXT. ALYS HOUSE - DUSK
Unremarkable Brownstone in Prospect Park, NYC.
A brand new BMW SUV parks in front, blocking a hydrant.
The driver is DR. JILL JENKINS(28). A small town girl
doubling down on NYC hyper image conscious hip society. Her
scrubs say Mt. Sinai, but her hair and nails say uptown.
She CHIRPS the car alarm and heads to Alys
FRONT DOOR.
Jill presses the old-fashioned buzzer a few times before
speaking into the mic.
JILL
Aly? Are you there? Its Jill.
Jill buzzes again and the button falls off.
JILL (CONTD)
Piece of crap.
Jill KNOCKS, peering through a small window glass. Everything
is dark. She listens, takes out a key and lets herself in.
INT. ALYS HOUSE - CONTINUOUS
Everything dark. An unpleasant smell.
JILL
Uh!
The light switch reveals the source of the smell: old, half
empty takeout boxes stacked on every surface. Empty pints of
vodka fill in the gaps.
JILL (CONTD)
(growing concern)
Aly? Aly are you here?
Jill glimpses the KITCHEN, also trashed, and heads to the

2.

BEDROOM.
Pitch black, except for the outline of gray dusk from the
edges of a window otherwise covered in cardboard.
JILL (CONTD)
(knocks on door)
Aly?
Jill finds a light switch, but this one clicks uselessly.
JILL (CONTD)
Shit.
Jill stumbles towards the window, struggling but succeeding
to tear away a swath of cardboard.
The light reveals the walls are covered in PHOTOS. Photos
from far away, taken secretly:
A MAN(40) in his luxury penthouse; the sidewalk outside;
boarding a yacht.
Some pictures of his DAUGHTER(15), dressed Goth: Smoking on a
balcony; shouting at her father.
Jill notices one PICTURE features her, sharing a glass of
wine in the Mans apartment.
JILL (CONTD)
What the fJill follows the row of pictures, when she notices the
shadows in the corner are actually a huddled WOMANALLISON ALY EVERS(27). Haunted and haunting. Former
platinum beauty queen hiding under a jet black die job. Jet
black clothes, jet black everything.
She holds a gunmetal REVOLVER, pointing it nonchalantly at
Jill.
Jill gasps. Freezes. Eyes locked on the gun. Aly pulls the
trigger. The gun CLICKS on an empty chamber. Jill GASPS.
JILL (CONTD)
OH MY GOD WHAT THE HELL!?
ALY
Bang.
JILL
Are you crazy!? Put the gun down!

3.

ALY
Its empty.
Aly puts the gun to her temple and pulls the trigger. CLICK.
CLICK. CLICK.
ALY (CONTD)
See?
JILL
(starting to cry)
Can you put the freaking gun down?!
Please!
ALY
(puts the gun on floor)
Fine.
Jill sits on the bed, wiping a few stray tears.
JILL
Why do you have a gun Aly?
ALY
Dont worry. I dont have any
bullets.
JILL
Dont worry! This is the maximum
polar opposite of dont worry!
ALY
A lot of people have guns.
JILL
You havent answered your phone in
weeks. Your house looks like the
fast food apocalypse. You told your
boss: eat me you fat bastard.
ALY
Lawyers are evil. You said so
yourself.
JILL
Your bedroom is wallpapered with
secret pictures of Hollis! What the
hell?!
ALY
I got one of you.
JILL
I told you we were friends.

4.

ALY
Clearly.
JILL
Aly what is going on? Did something
happen? Did something happen with
Hollis?
ALY
Why would you say that? Im fine.
Im great.
JILL
Clearly Let me take you to the
hospital. You can talk to someone.
Youll feel better.
ALY
Im talking to someone right now.
Its not helping.
JILL
Please Aly. Were friends. I care
about you.
Aly checks her watch, gets off the floor, and begins packing
a bag. In go the GUN, a CAMERA, SCREWDRIVER.
ALY
You have to get out. If you break
in again Ill shoot you.
JILL
Dont say that!
(grabbing Alys arm)
Where are you going?
ALY
(shaking Jill off)
To buy bullets.
Aly rushes out with Jill in pursuit.
EXT. ALYS HOUSE - CONTINUOUS
Aly hails a CAB, Jill unable to prevent her.
JILL
Aly stop!

5.

INT. YELLOW CAB - MOMENTS LATER

ALY
Midtown.
The CAB DRIVER clicks the meter and pulls away without a
word. Through the rear window, Jill confronts the METER MAID
writing her SUV a TICKET.
Aly settles in as the NY city lights wash over the glass.
END TEASER

6.

ACT ONE
EXT. AVANTE TOWERS - NIGHT
Tony Midtown. Rents starting at five figures.
The CAB stops. Aly hands over some cash and exits.
CAB DRIVER
Nice tip.
Aly flips him off and the cab peels out. Aly pulls up her
hood and crosses the street, the Avantes luxuriant spotlit
steel and glass facade behind her.
I/E. MANHEIM BUILDING - MOMENTS LATER
Just down the street. An older, Gothic high-rise. The bottom
floor occupied by the
GOTHAM CAFE.
Aly enters, skipping the line and heading towards the
restroom in back. She pulls out her screwdriver and hides it
in her sleeve. Past the restroom a
DOOR: EMPLOYEES ONLY.
Alys shoves the screwdriver in the jam and pops it easily,
opening to the
STAIRWELL.
Dark, dusty, disused. Alys feet beat a rhythm to the top.
I/E. MANHEIM BUILDING ROOFTOP - NIGHT
A flushed Aly ignores the KEEP OUT sign and slams her
shoulder into the metal door, emerging out to the roof.
Aly takes position in the far corner and crouches against the
wall, SKYLINE beyond her.
Directly opposite her is Avante Towers PENTHOUSE. This is
where she takes most of her pictures. She pulls her CAMERA.

7.

CAMERA VIEW - AVANTE PENTHOUSE

The Goth DAUGHTER from her photos - LILY(19) - is on the
balcony, smoking a cigarette, watching the street below.
Suddenly shes startled, stubs out her cigarette. She flings
it away, trying to wave away lingering smoke.
The MAN from the pictures appears. Its HOLLIS WILSON(40),
Lillys dad. Hes clearly incensed by the smoking.
The camera shutter CLICKING.
A violent argument. Hollis grabs Lilly by the arm. She shakes
free and storms off to her bedroom.
Hollis looks out at the Skyline for a moment [CLICK], before
returning inside, pouring a glass of wine, watching TV.
EXT. ROOFTOP
The camera goes down. A ways down the street, a LIMO pulls to
a stop. A MAN emerges, dangerous, dressed in black, a panther
prowling the urban jungle.
The Limo pulls away.
CAMERA - STREET VIEW
His name is CHRIS(35). Former Spec Ops, and other various
things its illegal to talk about. He heads to the
underground garage GATE.
Chris pretends to talk on his PHONE as the foot traffic
clears. [CLICK].
Then he moves his phone across the Gates electronic lock.
The Gate opens and he slips inside. [CLICK].
BACK TO:
EXT. ROOFTOP
Alys phone starts to ring. Its Jill.
ALY
Shit.
She silences it. A TEXT follows:
Jill: Did you buy bullets?

8.

Aly: Yes.
Jill: Im calling the police. You need help.
Aly begins to text FU but the LIMO returns, piquing her
interest.
CAMERA - STREET VIEW
Chris emerges from the garage, carrying two bags of trash.
[CLICK]. The Limos trunk opens, and the trash is thrown in.
[CLICK] Chris glances up towards the camera.
BACK TO:
ROOFTOP
Aly ducks down. Peeking over the ledge, she watches the limo
drive away.
Aly sets the camera down on the wall and examines her photos
on the viewscreen. Details of: Chriss face; his fake phone
call; the trash bags; the Limos license plate.
CHRIS (O.S.)
Enjoying the view?
Aly spins around in shock. A person caught being naughty.
Chris is standing casually, leaning against a heating duct.
CHRIS (CONTD)
Nice camera.
Aly tucks her camera into her bag, surreptitiously pulling
out the revolver, holding it hidden behind her.
ALY
I was just leaving.
Aly starts walking towards the exit. Chris leans away from
the duct, cutting her off.
CHRIS
Im gonna need you to delete those
pictures of me.
ALY
Im sorry I dont know what you are
talking about.
Aly walking towards the exit. Chris blocks her. Putting his
hand up to hold her back.

9.

CHRIS
This can be easy or difficult. Your
choice.
ALY
(pulling out her gun)
Dont touch me!
Chris holds up his hands in mock surrender.
CHRIS
You know thats a revolver right?
ALY
Its a magnum .357. Ill blow your
goddamn dick off if you touch me
again.
CHRIS
(puts his hands down)
The thing about revolvers is, I can
see you have no bullets.
Aly panics, throws the revolver at Chris, starts running
towards the exit. Chris calmly catches it, drops down and
sweeps Alys legs.
She sprawls to the floor, her camera smacking the ground in
front of her.
Aly is dazed, attempting to get up, when Chris puts a knee in
her back, pinning her.
CHRIS (CONTD)
You chose difficult. I like that.
ALY
(fighting like a banshee)
GET OFF ME YOU PIECE OF SHIT!
CHRIS
Relax.
ALY
HELP! HELP ME!
CHRIS
No one can hear you.
Aly screams, kicking, flailing uselessly.
ALY
(screaming in frustration)
AHHHHH!

10.

CHRIS
Just relax for a second.
Chris grabs the camera and ejects the memory card, pocketing
it. Then he backs off and Aly spins over, crab walking
backwards up against the wall.
CHRIS (CONTD)
You dont know it yet, but we are
going to be friends.
ALY
Id rather jump off this ledge
right now.
CHRIS
You didnt let me finish.
ALY
What do you want?!
CHRIS
The same as you. Hollis Wilson.
ALY
I dont think so.
CHRIS
(checks revolver cylinder)
Something you cant get with an
empty gun.
Chris pulls out a business CARD.
CHRIS (CONTD)
When youre ready to stop
pretending, call this number.
Aly doesnt budge so Chris places the card on the ground,
setting the gun on top as a paperweight.
Chris exits down the stairwell. Aly watches the door close
then wipes her tears away with her sleeve.
INT. ALYS BEDROOM - MORNING
Aly asleep in her bed, wearing clothes from the night before.
POUNDING on the front door.
COP (O.S.)
POLICE! OPEN THE DOOR!

11.

ALY
(stirring awake)
Shit.
She gets to her unsteady feet, grabbing a half empty fifth of
Vodka before heading to the door.
I/E. FRONT DOOR - MORNING
COP about to pound again, interrupted as Aly opens the door.
COP
Allison Evers?
ALY
In the flesh. Whatd I do now?
COP
Hopefully nothing.
ALY
Sounds about right.
COP
(re: Vodka)
Would you mind putting that down?
Aly takes a slug of Vodka.
COP (CONTD)
(sighs)
We got a call from a friend of
yours.
ALY
That bitch is not my friend.
COP
Shes worried about your safety,
Miss Evers. Do you own a gun?
ALY
Is that illegal now?
COP
Did you recently buy a gun?
ALY
I support the second Amendment.
COP
Maybe we can talk inside?

12.

ALY
No thanks.
COP
Are you having any thoughts of
hurting yourself?
ALY
Not myself.
COP
Are you thinking about hurting
someone else?
ALY
Let me see people who dont mind
their own business. People who ask
stupid questions. People who pound
on my door when Im trying to
sleep.
COP
You seem very agitated, Miss Evers.
ALY
Im hungover, alright. Thats when
you drink too much alcohol the
night before
COP
I know what it is.
(fishes out card)
This is the card for the Citys
mental health line. Call if you
need to talk to someone. 24/7.
ALY
(takes card)
So is there anything else?
COP
NoAly SLAMS the door closed, wincing in pain at the noise.
INT. ALYS HOUSE - CONTINUOUS
Aly trudges back to the

13.

BEDROOM.
She puts the Mental Health card on her desk. She notices
Chriss business card and picks it up. On the back, the
handwritten address and time. On the front, a NOOSE and a
name:
HANGMAN P.I.
212-555-HANG
Aly rubs her finger over the embossed Noose, then grabs her
laptop.
She types Hangman Private Investigator into Google and
clicks Im feeling lucky.
The result: A plain white page webpage with a graphic of
lady JUSTICE holding her SWORD and SCALE.
Conspicuously her blindfold is removed. It lays discarded,
embroidered with the text: Vindicta Veritas
Aly grabs the bottle of vodka and takes a long swig,
contemplating, noticing the TEXT. She angles her head to read
it; it makes up her mind.
She dials the number on the card.
EXT. ALYS HOUSE - DAY
Aly exits. Jeans, hoody, bag. The CAB is parked out front.
CABBIE.
ALY
Are you here for me?
CABBIE
Allison Evers?
ALY
Yeah.
CABBIE
Your friend sent me. The fares
already been paid.
ALY
That works.

14.

INT. CAB - BROOKLYN - MOMENTS LATER

ALY
Can I drink in here?
CABBIE
Youre not supposed to.
Alys removes the Vodka bottle from her bag and swigs it.
CABBIE (CONTD)
But I guess its fine.
ALY
So where are we going?
EXT. RED HOOK, BROOKLYN - DAY
Dockside warehouse district. The un-gentrified underbelly of
Gotham. Used for rum running during Prohibition.
The Cab stops in front of a rust streaked brick building.
Apparently condemned, except for the freshly painted name on
the entry DOOR: Le Fin du Monde.
ALY
This is it?
CABBIE
This is the address.
ALY
What is it?
CABBIE
Looks like an old warehouse.
ALY
No shit.
CABBIE
You pay. I take you somewhere else.
Aly gets out and heads to the warehouse door.
INT. LE FIN DU MONDE - ANTEROOM - MOMENTS LATER
Poorly lit and claustrophobic. Half light seeping in front
paint cracks in the blacked out windows. Alys eyes adjust
and the true weirdness of the room is revealed:

15.

Voodoo iconography clutters various shelves. Black candles,

jujus of bones and teeth, jars of crimson liquid. In the
corner, a coop of CHICKENS. In another pen, a large SNAKE.
ALY
(sotto)
Giant frigging snake. Totally
normal.
Aly notices movement through a CURTAIN of beads.
ALY (CONTD)
Hello?
Aly ducks through the beads to
INT. LE FIN DU MONDE - CONTINUOUS
A bar, sort of. The high end version of what you would find
in a shanty town. Behind the bar is MARCEL aka MARS(38), a
charismatic Creole with an easy smile. Urgency is not in his
vocabulary.
Sitting at the bar with his back to Aly is Chris, muscles
rippling under his casual oxford. Halle fills his mug with
steaming green liquid from a teapot.
ALY
Chris?
Chris turns. In front of him on the bar sits a gift wrapped
PACKAGE, the size of a Tom Clancy paperback. Red bow on top.
MARS
(waving her forward)
You in the right place, my child.
Come. Come.
Chris pulls out a chair for Aly. She notices none of the
ancient bottles behind the bar have labels. What they do have
is various odd things soaking inside: sticks, herbs, frogs,
fish, and worse.
ALY
What is this place?
CHRIS
Exactly what it looks like.
ALY
It looks like a T.G.I. Voodoos.
(to Mars)
No offense.

16.

MARS
(laughing)
No worries. Youre pretty close.
Chris slides the package in front of Aly.
CHRIS
This is for you.
ALY
(awkward)
Okay.
CHRIS
Open it.
Aly apprehensively rips the wrapping paper, revealing a BOX
of .357 Magnum ammo.
ALY
What the hell is this?
CHRIS
Theyre for your gun.
ALY
Are you crazy? I dont want these.
CHRIS
I thought you needed some.
ALY
What I need is a drink.
CHRIS
Marcel. Something special for the
lady.
MARS
Special be my middle name. What fin
be your poison?
ALY
Vodka. Straight.
MARS
No vodka up in Marcelss place. It
be the white mans poison.
ALY
I am white.
MARS
Dont blame yourself.

17.

ALY
Whatever. Gimme a whisky then.
MARS
Try again. Third time be the charm
for sure.
ALY
Why dont you just tell me what you
have?
MARS
Tell me what you need.
ALY
Let me see... I need to forget Im
stuck in the worst bar in New York
City. As soon as possible.
MARS
Say no more.
Halle removes a short, fat antique glass BOTTLE from a hidden
shelf. Inside is a preserved puffer fish, puffed nearly to
the edges. Surrounding the fish is an obsidian colored
liquor, currents swirling like smoke.
ALY
What is it?
MARS
Lappel du Vide.
CHRIS
The Call of the Void.
ALY
How dramatic.
MARS
The last step be the hardest.
ALY
Will it get me drunk?
MARS
Illegal on seven continents.
Aly drinks.
ALY
(coughs)
Oh. My god. Anyone who serves that
should be in jail.

18.

MARS
Dont tell my parole officer.
CHRIS
Marcel, can you excuse us?
MARS
I be feeding the chickens.
ALY
How did you find this place?
CHRIS
Marcel and I go way back.
ALY
Why am I not surprised?
The question goes unanswered, as Aly watches Halle disappear
into the Anteroom.
ALY (CONTD)
I do not even want to know what he
does with those chickens.
Beat.
CHRIS
The reason we are here.
ALY
Yeah, you invited me.
CHRIS
How long have you been following
Hollis?
ALY
Awhile.
CHRIS
Who do you work for?
ALY
Thats private.
CHRIS
Do you do anything else but take
pictures?
ALY
I think I made a mistake coming
here.

19.

CHRIS
Pictures are not gonna get you
anywhere.
ALY
So whats your plan?
CHRIS
I do more than take pictures.
ALY
Youve moved up to stealing
garbage.
CHRIS
I have bullets in my gun.
ALY
Screw you.
Gets up, takes bag.
CHRIS
When you wake up from never, never
land, call me.
ALY
Please. Hold your breath.
INT. LE FIN DU MONDE - ANTEROOM - MOMENTS LATER
Aly passing Mars on the way out. Hes retrieving a live MOUSE
from a bin to feed the snake.
MARS
Peace be upon you.
ALY
Youre getting one star on Yelp.
MARS
(smiling)
There go me customers.
EXT. RED HOOK, BROOKLYN - CONTINUOUS
Aly heads East, towards the subway. After twenty feet, she
begins to have trouble breathing. Another twenty, and shes
about to collapse.
EVELYN(26), a passerby, comes to her aid, slinging Alys arm
over her shoulder like shes an injured football player.

20.

EVELYN
Oh my god. Are you okay?
Aly trying to speak. But she is suffocating now; shes dying.
Evelyn leads Aly into an alley and lowers her to the ground.
EVELYN (CONTD)
(whisper)
Just try to relax. Itll be over
soon.
END ACT ONE

21.

ACT TWO
EXT. CLUB AURORA - BALCONY - NIGHT
Aly exhaling a cigarette. Exulting in the skyline view of the
city from its most exclusive club.
This is a different Aly. Blond hair and flawless makeup done
by professionals. Show stopping black dress and club attire.
Shes giddy with attention and prestige. Hollis rejoins her,
carrying two shots.
ALY
This view is amazing. I feel like
it could swallow me.
HOLLIS
Youre the queen of the world!
ALY
(good natured)
Shut up!
HOLLIS
(hands shot)
Here... To the most beautiful girl
in the City.
ALY
Whoever she is.
They both drink.
Hollis pulls his cellphone for a selfie, skyline in the
background.
HOLLIS
Say money!
ALY
(smiling)
Money!
The camera FLASHES.

22.

INT. CLUB AURORA - DANCEFLOOR - MOMENTS LATER

The camera flash turns into a strobe light on the dancefloor.
Beautiful people dance to sultry, sweaty, electronic grooves.
Caught in Alys radiant gravity. Hollis too, smiling with
pride of ownership.
The lights begin to blur, coalescing in trails. The music
becomes distorted, dissonant. Aly is losing consciousness...
DISSOLVE TO:
INT. GAS STATION BATHROOM - NIGHT
Total DARKNESS. Just the sound of a dripping FAUCET.
The Gas Station ATTENDANT opens the door from outside,
letting in a sliver of half revealing light:
A toilet thats never been cleaned. A sink smeared with god
knows what. A floor covered in toilet paper, some of it used.
And a BODY.
The Attendant hits the light switch. A FLUORESCENT blinks a
few times before staying on:
The BODY is Aly. Laying in various human fluids. Her red
dress torn, missing straps, inside out. Wearing one shoe.
The light slowly rouses Aly from unconsciousness. It starts
with bewilderment, giving way to crushing understanding.
And PAIN.
The Attendant flees.
Aly pulls herself to her feet using the sink. In the mirror
is a horrorscape of clown/nightmare smeared makeup and blood.
Aly surfacing from the haze. In the mirror is someone else,
holding up a phone, recording.
INT. OFFICE HIGHRISE - RESTROOM - CONTINUOUS
On the other side of the REFLECTION. In the mirror is the new
Aly. Black hair, no makeup, hoodie and jeans. And PTSD.
ALY
(recording)
Im at his office. Hollis Wilson is
about to admit what he did.

23.

Aly takes her GUN from a fake delivery PACKAGE on the sink.
ALY (CONTD)
Im going to make him.
INT. OFFICE HIGHRISE - MOMENTS LATER
Aly approaches Holliss office nervously, pulling her hoodie
down to hide the gun tucked in her waist.
She spots Hollis holding court in a glass conference room
blocked by a RECEPTIONIST.
RECEPTIONIST
Can I help you?
ALY
I need to see Hollis.
RECEPTIONIST
Do you have an appointment?
ALY
No.
RECEPTIONIST
This floor is for authorized
visitors only. You need to leave.
Alys puts a hand on her gun, still hidden under her shirt.
RECEPTIONIST (CONTD)
Im calling security.
Aly releases the gun.
ALY
No, its fine. Im leaving.
Aly heads to the elevator and presses the down button.
The elevator arrives and the doors open. On the floor of the
elevator is the gift wrapped BOX of bullets.
Aly walks in and the doors closes behind.
Beat.
The elevator doors open and Aly walks back out, rotating the
now loaded revolver cylinder back into place.
Behind her in the elevator, torn wrapping paper and loose
bullets litter the floor.

24.

Aly on a mission. She walks past the Receptionist.

RECEPTIONIST
Where the hell do you thinkAly points her gun and the Receptionists face. She withers
and cowers in fear.
INT. HIGHRISE OFFICE - CONFERENCE ROOM
HOLLIS
The balloon payment is just
leverage. We jack up the points
later-Aly storms in, holding the gun.
HOLLIS (CONTD)
Are you kidding me right now?
Whoever the fuck you are, youre
fired.
ALY
You dont recognize me?
HOLLIS
Someone get this crazy bitch out of
here.
Aly raises her gun and blows apart the glass wall. The group
freezes in terror.
ALY
Everybody sit down and shut up.
HOLLIS
Are you crazy? You cant do this!
ALY
(pointing gun)
Then come over here and stop me.
HOLLIS
Okay. Okay! You want money? Is that
what you want? Whatever you need.
Lets not get crazy.
ALY
I need you to tell us what you did
to me.
HOLLIS
Jesus Christ I dont know you!

25.

ALY
Maybe this will help you remember.
Aly moves next to Hollis. Pulling her camera for a selfie.
ALY (CONTD)
Say money.
Hollis looks at her in a shock of recognition.
HOLLIS
Look. Im sorry. We can talk about
this.
ALY
Say it! SAY IT!
HOLLIS
Money..
Aly jams the gun in his mouth.
ALY
Here comes the money shot.
Aly squeezes the trigger and the hammer arcs forward.
SMASH CUT TO:
INT. MORTUARY - EMBALMING ROOM - NIGHT
Alys laying on an EMBALMING TABLE, covered in a sheet. She
lurches upward with the shock of consciousness,
hyperventilating.
Sitting at the foot of the table is VERA(45), a luxuriously
appointed high class British woman looking out of place in a
plastic chair. A throne would be more appropriate.
Vera has Alys hoodie and shoes in her lap.
VERA
Try to relax. Take a deep breath.
ALY
(still fuzzy)
Who the hell are you?
VERA
Im your guardian angel.
ALY
Youre fired. Dereliction of duty.

26.

VERA
Honestly Id say resurrection goes
above and beyond.
ALY
(dawning realization)
Where am I?
VERA
Everyone ends up here eventually.
Aly swings herself out of bed. Next to her is an empty TABLE.
Next to that is another table. Not empty.
ALY
Thats a dead body!
VERA
He doesnt get a second chance. You
should be more appreciative.
ALY
What the hell is this?
VERA
Purgatory would be more accurate.
You have some unfinished business.
ALY
(hushed secret)
Did I kill someone?
VERA
Not yet. Not without these.
Vera holds up the gift BOX of bullets, in the same state of
partial unwrap left at the bar. Aly grabs it and tears off
the rest, checking the bullets inside.
VERA (CONTD)
Lappel du Vide.
ALY
Theyre all here...
VERA
A minor tragedy.
ALY
Story of my life.
VERA
Im here to rectify that.

27.

INT. LIMO - BROOKLYN - NIGHT

Aly loading her gun. Shes manic from near death, rabid for
blood. She snaps the loaded revolver cylinder into place.
ALY
So thats it.
VERA
Thats it.
ALY
Wheres the safety?
VERA
Its a revolver my dear. Just point
and shoot.
Aly aims gun at a phantom target, imagining Hollis.
ALY
I wanna do it at his office. In
front of everybody.
Vera gently pushes the gun down.
VERA
One step at a time, Miss Evers.
Its not quite that simple.
ALY
Why not?
VERA
Theres someone else involved.
ALY
Then lets make it a party.
VERA
Put the gun down for a moment so we
can talk.
ALY
Fine.
Aly puts the gun down. Vera fills a scotch glass from a
decanter and offers it to Aly.

VERA
Glenlivet? I find it goes well with
near death experiences.

28.

ALY
What the hell?
Aly takes the scotch and drinks. Vera pours one for herself.
ALY (CONTD)
Not bad.
Aly chugs the whole glass, then holds it to Vera for a
refill. Vera obliges, then retrieves and IPAD from her bag.
Vera activates the IPAD and hands it to Aly. On the screen is
a stunning blonde WOMEN(26) with a striking resemblance to
Aly.
ALY (CONTD)
(touching hair)
She looks so... familiar.
VERA
She went on a date with Hollis. Now
shes missing.
ALY
This could be me.
VERA
The police found nothing. Gave up
after one week. Now its just you
and me.
ALY
What do we do?
VERA
I have a plan.
EXT. ALYS HOUSE - MOMENTS LATER
Aly steps out and the CHAUFFEUR closes the door. His name is
HIRO(35). A ninja is a tuxedo. Veras personal bodyguard. A
man who prefers actions over words.
ALY
Thank you.
Hiro nods.

29.

PORCH - CONTINUOUS
LANDLORD(55) blocks the doorway, buzzed, smoking a cigarette.
He is clumsily taping up an EVICTION NOTICE, transferring his
cigarette to his mouth to free up hands as needed.
ALY
Oh my god. Just give it to me.
LANDLORD
By law it has to be posted on the
door... There.
Aly rips the notice down.
LANDLORD (CONTD)
You have 14 days.
ALY
I can read.
LANDLORD
If you wanna come over later, I
think we can find a way for you to
work off some of that rent.
ALY
Gross. No. Youre disgusting.
Someone taps the Landlord on the shoulder. Its
HIRO
Excuse me.
LANDLORD
Yeah?
HIRO
How much?
LANDLORD
What?
HIRO
How much rent does she owe?
LANDLORD
Almost 6 Gs.
Hiro hands the Landlord a bundled stack of $100s.
HIRO
Buy a new doorbell.

30.

ALY
Oh my god. You dont have toHiro holds up his hand to silence her. Landlord is counting
the money in disbelief.
HIRO
One more thing. If I hear you are
rude to Miss Evers again, I will
kill your family and I will make
you watch.
LANDLORD
What? Im sorry I didnt mean
HIRO
Leave. Now.
Landlord scurries off. Alys in shock.
ALY
Thank you.
Hiro nods slightly and returns to the Limo. Aly watches as it
drives off.
INT. GLASS ELEVATOR - MORNING
Minimalist, modern and sleek, like the building it services.
Aly and Hiro stand shoulder to shoulder, as the elevator
ascends. Alys cleaned up, wearing makeup, dressed
professionally.
Near the top, the elevator car emerges from the shaft,
continuing along the building exterior. Sunlight floods in.
Aly turns and gazes out in appreciation.
ALY (CONTD)
You can see the Statue of Liberty
from here. I took a field trip
there in fifth grade.
HIRO
Fascinating.
ALY
Did you know it was a gift for
abolishing slavery?
HIRO
Yes.

31.

ALY
Do they charge you by the word or
something?
HIRO
If you have the need to talk about
nothing, find someone else.
ALY
Okay...?
The elevator stops at the top floor, the door slides open.
HIRO
After you.
INT. HANGMAN INVESTIGATIONS HQ - CONTINUOUS
Windows overlook the city. Offices, briefing rooms. All high
class, Uptown. Aly gawks.
ALY
Holy crap.
HIRO
Follow me please.
Aly puts on a serious countenance and follows him to a
BRIEFING ROOM.
Hi-rez displays cover the walls, surrounding a luxuriant
conference table and chairs. Sitting alone is Evelyn, looking
different now in makeup and classy attire.
EVELYN
(standing)
Hi. Im Evelyn.
Evelyn offers her hand and Aly shakes, while Hiro ducks out.
EVELYN (CONTD)
Have a seat.
Aly sits.
ALY
You were there, when I...
EVELYN
This is my day job.

32.

ALY
You were part of it.
EVELYN
I was just looking out for you.
ALY
I thought I was dying.
EVELYN
It has to happen sometime.
ALY
Yeah I think once is enough.
EVELYN
Then you only live once. Trust me.
I know.
Beat.
EVELYN (CONTD)
Did you bring the photos?
Aly slides a thumb DRIVE across the table. Evelyn plugs it
into her LAPTOP and begins clicking. The large display comes
alive, featuring a detailed overview of the city.
Red points of interest begin to alight, accompanied by
thumbnails of Aly's pictures.
Vera enters. Aly gets to her feet. They shake.
VERA
Miss Evers, welcome.
ALY
I need to thank you for yesterday.
That was so-Vera holds up a hand, silencing her.
VERA
--Stop. If you work for me, youre
family. Think of it as a signing
bonus.
ALY
Anyways, thank you.
VERA
Well before we get too cuddly let
me warn you I have to ask you some
things that will be difficult.

33.

ALY
I figured.
VERA
Are you ready?
ALY
Yeah.
Vera nods at Evelyn, who starts audio recording.
VERA
Start at the beginning.
ALY
It was a blind date My friend set
me up. Shes a doctor. She met
Hollis at the hospitals Black and
White ball.
(imitation snobby voice)
Hes smart, sexy, and filthy rich,
emphasis on filthy.
(normal voice)
Thats how she talks... Whats the
catch, right?
(imitation snobby voice)
He only dates blondes, she said.
Aly touches her hair.
ALY (CONTD)
My hair was blonde then.
VERA
Just like Wendy.
ALY
We went to the Aurora. The new club
on top of the Millennium.
EVELYN
High class.
ALY
Everyone was beautiful. It was like
being in the movies. We danced. We
drank. Too much.
VERA
Then what?

34.

ALY
(tears starting)
I woke up in a gas station
bathroom. I was laying in vomit. I
think it was mine. My dress was
inside out. My underwear was
missing.
VERA
You were raped?
Aly nods through tears.
ALY
I could barely walk.
Aly wipes her tears, tries to pull it together.
ALY (CONTD)
I shouldnt have drank so much.
With someone I didnt even know.
VERA
It was not your fault. Chris found
an empty bottle of Rohypnol in
Holliss trash
EVELYN
AKA the date rape drug. Almost
certainly your drink was spiked
with it.
ALY
Oh my god.
VERA
Likely the same thing happened to
Wendy.
ALY
But shes missing and Im not.
EVELYN
If Hollis has enough Rohypnol, he
could keep Wendy chemically
restrained more or less
indefinitely.
ALY
I would rather be dead.

35.

VERA
We are going to infiltrate Holliss
penthouse and find some answers.
ALY
Infiltrate? The building has
security and the penthouse requires
a special access key. I checked.
VERA
Chris is uniquely qualified to deal
with such matters.
EVELYN
According to your surveillance,
Hollis leaves for extended periods
every Saturday night.
ALY
He takes a yacht out with his Wall
Street cronies and a bunch of
hookers. I think they play poker,
when theyre not, you know
VERA
Then we just have to worry about
Lilly. What are teenagers into
these days?
ALY
That might be difficult. Ive never
seen her go out.
VERA
Theres gotta be something. Find
her Facebook Evelyn.
EVELYN
Wow. This is sad. Its just
depressing quotes from the
internet. No one cares. Theyre
just pretending. You knew exactly
what you were doing. Thats what
hurt the most. There is a hell.
Believe me Ive seen it. The last
one was this morning.
VERA
(looking at Aly)
It sounds like she could use a
friend.
ALY
Me?

36.

END ACT TWO

37.

ACT THREE
INT. BMW - NIGHT
Sixth Avenue, Midtown. Parked across from the Avante Towers.
The vanity mirror above the passenger seat is flipped open.
Aly applies black lipstick. Shes dressed head to toe Goth.
Chris is in the driver seat, dressed stylish and dark.
CHRIS
Are you mad at me?
ALY
I should be.
CHRIS
At least you didnt stay dead.
ALY
Oh yeah, totally. Besides the whole
mental torture, overwhelming terror
thing, it was practically a
vacation.
CHRIS
At least now you know what to
expect when the real thing happens.
ALY
I feel so much better.
Aly finishes her lipstick and smacks her lips.
ALY (CONTD)
Do I look sufficiently Goth to you?
CHRIS
I wouldnt know.
ALY
Think rave slash funeral.
CHRIS
I was actually thinking Morticia
Addams.
ALY
Perfect.

38.

Aly closes the vanity mirror, satisfied.

Chris pulls out the FAKE ID featuring Lillys picture from
the center console and gives it to Aly.
CHRIS
Here.
ALY
(reading name)
Matilda Devereux.
CHRIS
Evelyn chose it. Shes into
Victorian romance right now.
ALY
It looks perfect. Even the
hologram.
CHRIS
It is perfect. Just make sure Lilly
hides the original. Getting caught
with both is a hassle we dont
want.
ALY
Got it.
Down the block, on the opposite side of the street, a parked
Dodge CHARGER flashes its headlights.
AVANTE TOWERS GARAGE
Holliss PORSCHE exits, driving past the BMW. The Charger
lights up and follows the Porsche, Hiro behind the wheel.
INT. BMW - CONTINUOUS
CHRIS
Its time you ready?
ALY
I think so.
CHRIS
Ill page you when Im clear.
Chris exits the BMW. Aly slides into the driver seat. Dials
her phone.

39.

ALY
(into phone)
Lilly? Its Allison Hey You
ready to have some fun?
INT. AVANTE TOWERS LOBBY - MOMENTS LATER
The elevator CHIMES and Lilly emerges. Shes sullen, distant,
reticent. Goth inside and out.
DOORMAN
Do you need me to send some food up
Miss Wilson?
LILLY
No. Im going out.
DOORMAN
Oh. Well have fun. Do you need a
cab?
LILLY
No.
Lilly arrives at the Lobby DOOR as Chris approaches from
outside. He holds the door open.
CHRIS
After you.
LILLY
(sarcastic)
Thanks.
As she passes, Chris is secretly operating a scanner on his
phone, learning the electronic signature of Lillys key card.
Inside Chris waves cheerily to the Doorman.
CHRIS
Hows it going?
DOORMAN
Good. Thank you sir. Visiting?
CHRIS
Yes. Bethany Andraste, 1401.
Chris hands the Doorman a fake ID, who swipes it through a
reader. An affirmative BEEP.
DOORMAN
Go ahead sir.

40.

CHRIS
Thank you.
INT. ELEVATOR - MOMENTS LATER
Chriss phone hacks the key card reader.
ELEVATOR VOICE (V.O.)
Penthouse.
The Elevator starts to rise.
INT. BMW - NIGHT
In front of Avante Towers.
On her phone, Aly starts a playlist called Goth music.
Dark, moody synthesizers play Aly scrunches her face in
confusion.
She sees Lilly approaching, starts bobbing her head to the
music, putting on a Goth disinterested facade.
Aly rolls down the window.
ALY
Hey.
LILLY
Hey.
ALY
Get in.
Lilly gets in.
ALY (CONTD)
You like Sisters of Mercy?
LILLY
Of course.
Aly turns up the music: Sisters of Mercy - Lucretia My
Reflection.
ALY
(singing along)
Lucretia My Reflection,
ALY (CONTD)
(singing)
Dance the ghost with me.

LILLY
(singing)
Dance the ghost with me.

41.

The BMW peals off.

CUT TO:
INT. AVANTE TOWERS TOP FLOOR - NIGHT
FOYER between the Elevator and the Penthouse.
Chris exits the Elevator, looking around. No cameras. A side
hallway leads past the trash chute to the fire escape.
Chris dons a pair of blue latex GLOVES, then examines the
trash chute, shining his flashlight down.
With a click, the light flicks to ALS. (Alternative Light
Source - Blacklight used to detect body fluids.)
The chute is clean.
Chris moves to the door. All quiet. Tries the handle. Locked.
He pulls out a lockpick and the door is open within seconds.
BACK TO:
INT. BMW - MIDTOWN - NIGHT
Windows down. Goth music playing.
LILLY
This is a nice ride.
ALY
Its my dads.
LILLY
He lets you drive it?
ALY
He didnt say no.
LILLY
Can I smoke in here?
ALY
Screw it. Why not?! But you have to
give me one.
Lilly lights a cigarette, gives it to Aly. Lights one for
herself.

42.

ALY (CONTD)
Im glad you came. I dont have
many friends.
LILLY
Tell me about it
ALY
Everyone I meet seems so fake.
LILLY
Oh my god. Totally.
ALY
Like if everything is so damn
perfect why is everyone on antidepressants?
LILLY
Its reality TV. They made it to
brainwash us. Everyone thinks
Reality TV is real, and they ignore
Actual Reality.
ALY
Wow. I believe that.
LILLY
TV turns people are zombies. Sheep
to the slaughter. They dont see
the truth when its right in front
of them.
Aly takes a long drag, exhaling blue smoke out the window.
PENTHOUSE SUITE - NIGHT
The pinnacle of luxury. Glass walls look out over the city.
Sleek leather furniture. High end electronics. Atmosphere
controlled wine and cigar storage. Conspicuous wealth.
Chris takes in the scene, examining a happy painting of
Hollis and Lilly gracing a wall. Lilly looking younger,
different, her hair blonde.
INT. BMW - PARKING LOT - NIGHT
The girls parked in a Midtown lot. The nightlife district.
Aly opens her purse and hands Lilly the fake ID.

43.

LILLY
Margaret Devereux.
ALY
Margo might be easier.
LILLY
No. I like it. It's a goth name.
ALY
I need your other ID. Getting
caught with two is bad. Its like
the Patriot Act or something.
LILLY
You mean the Fascism Act.
ALY
Totally.
Lilly hands over her real ID.
Aly opens the center console and hides it inside. Something
else is already in there an empty pill bottle.
Aly takes it out, reads the LABEL Hollis Wilson Rohypnol
Rx: Dr. Jillian Jenkins
Alys eyes go wide.
LILLY
Whats in there?
ALY
(recovering)
My Dads medicine.
LILLY
Anything fun?
ALY
(shakes container)
Its empty.
LILLY
Too bad.
ALY
Totally.
Aly stuffs the pill container back and closes the console.

44.

ALY (CONTD)
You ready? I need a drink.
Lilly nods and the girls exit the car.
INT. PENTHOUSE - BATHROOM - NIGHT
Chris checks the drawers, then the medicine cabinet. A
prescription pill bottle: Lilly Wilson - Prozac.
EXT. NIGHTSHADE CLUB - NIGHT
Goth themed Various patrons dressed in mostly black
congregate outside, smoking.
BOUNCER checks Lillys ID. The girls enter without a fuss
beyond a few hungry male stares.
INT. PENTHOUSE - LILLYS BEDROOM - NIGHT
Black clothes everywhere. Goth posters on the wall.
INT. NIGHTSHADE CLUB - NIGHT
Appropriately gothic, macabre decorations. Clubbers in black
haunting the dance floor. Goth dance music pulsing in time to
a strobe blacklight. Lilly hit by the sensory onslaught.
Aly takes her hand.
ALY
(shouting to be heard)
Come on!
INT. PENTHOUSE - MASTER BEDROOM - NIGHT
Stunning view of the skyline, Manhattan light pouring in.
Chris searching. Nightstand; under the bed Nothing
He enters the attached
MASTER BATHROOM.
Inside medicine cabinet, Chris finds a prescription for
Hollis Wilson: Viagra. But not Rohypnol.

45.

INT. NIGHTSHADE CLUB - BAR - NIGHT

The girls take seats at the end. The music quieter here. The
BARTENDER (28) approaches. Shes dressed as the Evil Queen
from Snow White.
BARTENDER
Hello my pretties. What is your
poison?
Lilly looks to Aly, clueless.
ALY
Two shots of Jager. Doubles.
BARTENDER
Lovely choice.
The Bartender arranges two shot glasses. Expertly pours the
jet black Jager. Slides the glasses in front of the girls.
Aly puts two hundreds on the bar.
ALY
Keep it. You can leave the bottle.
BARTENDER
Your wish is my command.
The bartender retrieves the cash and moves on to other
customers.
Lilly sniffs her drink tentatively.
LILY
(Reading phonetically)
Jagger meister? Smells like
licorice.
ALY
Its German. It means master of the
hunt. Its good for you.
Lilly raises her black painted eyebrows. Aly raises her
glass.
ALY (CONTD)
Cheers.
They tap glasses. Aly throws back her shot, like water. Lilly
does the same, coughing.
LILLY
Pretty good.

46.

Aly pours two more shots.

INT. PENTHOUSE - MASTER BEDROOM - NIGHT
Chris activates a keypad next to the grand window. The
electrostatic glass turns black, throwing the room into
darkness.
Chris switches his flashlight to ALS. Faint spots flicker
from inside the
WALK-IN CLOSET.
More faintly glowing drops. Chris turns on the light and
searches. Armani suits, Heuer watches, etc. But nothing
suspicious, when Chris feels something under his foot.
He gets down on his hands and knees, feeling the wood floor
with his fingertip
He exhales, the condensation from his breath highlighting a
groove worn in the floor.
Chris on his feet, searching for the trigger. Finding it in
the underwear drawer
The back wall of the closet swings open, revealing a steel
VAULT door, big time bank style combination lock sealing it
closed.
CHRIS
Shit.
END ACT THREE

47.

ACT FOUR
INT. NIGHTSHADE - BAR - NIGHT
The Jager bottle is half-empty. Aly and Lilly have flushed
faces, pushing past the buzz into drunk territory.
Aly pours two more shots. Lilly holds hers reverently under
her nose, enjoying the smell.
ALY
(toasting)
To Margaret Devereux.
LILLY
The original goth.
ALY
Cheers!
They drink.
ALY (CONTD)
How do you feel?
LILLY
Not sad. Which is pretty cool.
Strange. But cool.
ALY
Im glad you came out with me.
LILLY
Im glad you introduced me to
Jagermeister. Hes my new best
friend.
ALY
You just met.
LILLY
It was love at first sight.
ALY
Sounds like a healthy relationship.
LILLY
What else is there?

48.

ALY
What about your old best friend?
LILLY
Freaky Freddy? I dont think hell
mind. He lives in a box.
ALY
Oh. Im sorry.
LILLY
No. Its not like that. Hes a
stuffed animal. Hes got like horns
and fangs, and this big long tongue
that rolls out. Pretty cool.
ALY
Any people friends?
LILLY
I dont like people.
ALY
What about your family?
LILLY
My homepage is a website that shows
every traffic accident in New York.
I check it for my dads car.
ALY
Why?
LILLY
Because he deserves it.
ALY
What about your mom?
LILLY
She took too many pills and fell
asleep in the bathtub. Under the
water. Kinda put an end to the
whole breathing thing.
ALY
Oh god. Im sorry.
LILLY
Im pretty sure it was what she
wanted.

49.

INT. PENTHOUSE - LIVING ROOM - NIGHT

Chris lays one of Holliss massive tower speakers flat on the
floor, pulls out his multi-tool, and unscrews the 12 inch
bass driver. He quickly removes the driver from the cabinet,
and a length of wire.
INT. PENTHOUSE - WALK-IN CLOSET - MOMENTS LATER
The back of the bass driver is a huge magnet. Chris attaches
it to the VAULT DOOR, above the combo DIAL.
Chris reaches up to unscrew the closets smoke detector. Hes
after the 9 volt battery. Using the speaker wire and his
switchblade, he wires the battery to the bass driver, and the
battery to the safe. Static hisses, going quiet once hes
finished.
Chris slowly turns the dial. Sound from the locks internal
movement is magnified through the speaker. Click, click,
click, click, click, CLINK! Hes found the first number. The
process continues until the satisfying steel CLANK of the
unlocking bolt is heard.
The Vault Door opens, revealing a dark concrete dungeon.
CHRIS
Open sesame.
EXT. NIGHTSHADE BAR - NIGHT
The girls outside smoking. Lillys drunk. Aly not so much,
checking her watch.
ALY
You feel drunk?
LILLY
I love it. I wanna be drunk
forever.
ALY
Wait till tomorrow morning.
LILLY
My first hangover!
A DRUNK GUY (25) approaches.
DRUNK
Hello ladies.

50.

ALY
What do you want?
DRUNK
I'm just being friendly. Can I bum
a smoke?
Lilly gives him a cigarette.
DRUNK (CONTD)
Can I borrow a light?
Lilly gives him a lighter.
DRUNK (CONTD)
I dig your outfits. Are you guys
like supposed to be vampires?
ALY
Are you retarded?
DRUNK
(To Lilly)
You look like the evil vamp chick
from Twilight.
ALY
You look like the kind of guy who
would go see that movie.
DRUNK
What? Vampires are hot. Especially
you.
LILLY
Thanks. I guess.
DRUNK
My Place is right down the street.
We can take this party back there,
get a little freaky. You can drink
my blood, and some other bodily
fluids if you know what I mean.
ALY
(pulling Lilly)
We have to go.
The DRUNK puts his arm around Lilly, pulling her close. She
freezes.

51.

DRUNK
(into Lillys ear)
You must be the bad girl. I bet you
like it rough.
Rage burns in Lillys eyes. She shoves the glowing end of her
cigarette into the Drunks neck. He SCREAMS.
LILLY
DONT TOUCH ME! DONT TOUCH ME!
ILL FUCKING KILL YOU! ILL KILL
YOU!
DRUNK
(serious pain)
You crazy bitch!
Lilly runs off, Aly pursues.
ALY
Lilly wait!
Lilly flags down a cab as Aly catches up.
ALY (CONTD)
Where are you going?
LILLY
(crying)
Home.
ALY
(grabbing Lillys arm)
Let me give you a ride.
LILLY
(shaking Aly off)
Get off me! Never talk to me again!
ALY
Lilly, Im your friend.
LILLY
Youre not my friend. I didnt want
to come tonight. You made me!
ALY
Im sorry. I thought we were having
fun.
But Lillys already gotten into the cab. The door slams
closed and the cab takes off.

52.

ALY (CONTD)
(sotto)
Shit.
Aly grabs her phone and calls Chris.
INT. CONCRETE DUNGEON - NIGHT
Inside the Vault, gray walls lead into darkness. Chris clicks
on his flashlight and explores.
...A stainless steel gynecological TABLE with restraints.
...A light switch. It illuminates the scene in cold
fluorescent, revealing an old fashioned steamer style TOY BOX
in the corner.
Chris digests the sight when his phone vibrates:
CHRIS
(into phone)
What?!
ALY (V.O)
(cell phone)
Lilly bailed. Shes heading home.
CHRIS
How long?
ALY (V.O.)
Ten minutes. Maybe fifteen Did you
find something?
CHRIS
Yes.
Chris hangs up and checks his watch. Using his phone, he
takes quick pictures. The TABLE, the TOY BOX.
The phone goes away and the LOCKPICK comes out as Chris
kneels at the Toy Box. The padlock is new, heavy duty
titanium. His attempt to pick it fails.
CHRIS (CONTD)
(sotto)
Goddamn it.
He puts the flashlight in his mouth for better light. This
time the lock SNICKS open. Chris puts it aside and opens the
Toy Box.

53.

His camera takes a picture: Sex TOYS, POLAROID CAMERA,

BOTTLES of PILLS, and a PHOTO ALBUM. He grabs a pill BOTTLE
and takes another pic of the label: Rx: Dr. Jill Jenkins.
The PHOTO ALBUM is next. Chris opens it slowly, reluctant of
what he might find.
Inside, a POLAROID of a drugged womans face, eyes glazed,
two manicured fingers prying her mouths into a smile.
Next to the picture is a lock of blonde HAIR.
Chris flips pages. More women. He finds Aly, touching the
picture briefly. He flips to the last picture: Its LILLY.
INT. AVANTE TOWERS TOP FLOOR - MOMENTS LATER
The elevator opens, and Lilly emerges, makeup smeared from
crying. She finds the front door unlocked, doesnt care.
LIVING ROOM
Lilly heading towards her bedroom when she sees the disabled
speaker.
LILLY
Dad?
The MASTER BEDROOM door is open, and Lilly investigates.
LILLY (CONTD)
Dad are you home?
Lilly enters the WALK-IN CLOSET, entering a fugue-like
transfixion when she sees the secret door.
LILLY (CONTD)
(Scared little girl voice)
Dad?
INT. CONCRETE DUNGEON - MOMENTS LATER
Lilly enters, discovering the Table, the Toybox--her mind
snapping, regressing, back to the bad time.
Lilly moves to the table, touching the steel.
LILLY
(breaking down)
No no no no no no.

54.

She kneels on the floor, hugging the Toy Box that was once
hers. Shaking her head. Losing it.
LILLY (CONTD)
This is my toy box. Inside are my
toys.
CHRIS (O.S.)
Lilly?
LILLY
This is my toy box. Inside are my
toys.
Lilly stares straight ahead.
Chris sits on the floor next to her.
CHRIS
I know he hurt you.
Lilly nods her head.
LILLY
These are my toys.
CHRIS
You were just a kid. There was
nothing you could do. But there is
now. We can fix this.
Lillys thousand yard stare continues.
LILLY
The toys are for bad girls.
CHRIS
Hes gonna pay for this. Ten times
over. Youre gonna help me.
Chris holds out is hand.
CHRIS (CONTD)
Youll never feel like this again.
I promise. Just take my hand.
Lilly pulls her mind from the haze, lifting her eyes to meet
Chriss. She takes his hand.
END ACT FOUR

55.

PART TWO: ACT FIVE

INT. HANGMAN HQ - NIGHT
LOBBY
Aly staring out the window, watching cars come and go on the
street below. Still dressed Goth. Nervously checking her
watch.
The Elevator chimes, opens. Aly spins, sees Chris, and sighs
in relief.
ALY
What happened?
CHRIS
Mission accomplished.
ALY
Whatd you find?
CHRIS
Bad things. Things it might be
better for you not to know.
ALY
I have to.
CHRIS
Its gonna hurt. More than a
little.
ALY
Ill live.
BRIEFING ROOM
Vera, Evelyn, Aly sitting at the table. Chris standing in
front, operating his phone, uploading photos.
CHRIS
(to Evelyn)
Can you find floor plans for the
penthouse?
EVELYN
Yes. Just a sec.

56.

A few keystrokes later, the Penthouse plans appear.

CHRIS
(pointing)
This is the Master Bedroom, and the
walk-in closet See this unused
space here? Hollis is using it.
CHRIS taps his phone and a PICTURE of the walk-in closet
appears, revealing the hidden wall and vault door.
ALY
Looks like a bank vault.
CHRIS
Not a vault. A dungeon.
Chris taps his phone for the next PICTURE: Gynecological
table...
ALY
Oh my god.
VERA
Are you okay?
ALY
I remember that.
CHRIS
It gets worse.
He looks to Aly. She nods.
ALY
I wanna see.
Next picture: Inside the Toy Box. (Sex toys, pills, camera,
photo album.)
Aly just shakes her head, crying. Remembering the worst
details for the first time. Vera nods to Chris for the next
PICTURE: Pill bottle, label hard to read.
EVELYN
More Rohypnol?
CHRIS
Yep.
ALY
Is that the last picture!?

57.

CHRIS
I was out of time.
ALY
What was in the scrapbook!?!
Chris hesitates, decides, and removes the SCRAPBOOK from his
bag on the floor. He slides it over. Aly grabs frantically
and looks inside. Stunned silence as she flips through. She
finds her page and rips it out, holding it in front of her
face in a trance, touching her hair.
Vera takes the Scrapbook, paging through, Evelyn leaning in.
VERA
(sotto, to Evelyn)
Its Wendy.
Vera arrives keeps turning to the last picture - Lilly.
EVELYN
Oh my god is that his daughter?
CHRIS
Yes. She used to have blonde hair.
EVELYN
Thats why she dyed it.
They glance at Alys black hair.
EVELYN (CONTD)
Sorry.
ALY
I dont want your apology.
VERA
(to Evelyn)
Can you get facial recognition off
these?
EVELYN
Ill make it work.
Evelyn closes the Scrapbook. They look to Aly, still holding
her scrapbook page.
ALY
What now?

58.

VERA
Once we identify the victims, we
turn the evidence over to the
police. Well get Wendys case
reopened.
ALY
Evidence?! Some pictures we stole
from his house? Polaroids of a
girls faces!?! Thats not illegal!
VERA
Raping them is.
ALY
You think you have to tell me
that!? But I was drugged! All these
girls were. How are we supposed to
testify?
VERA
If we get enough victims to come
forward, itll show a pattern of
misbehavior.
ALY
Hollis will just hire some big shot
lawyer. Hell get off with nothing!
You know that!
VERA
What do you suggest?
ALY
An eye for an eye.
VERA
Thats revenge, not justice.
ALY
Fair trade.
(re: Scrapbook page)
Im keeping this.
VERA
We need that for evidence, Miss
Evers.
ALY
Screw your evidence.
Aly storms out. Through the LOBBY, to the

59.

ELEVATOR.
Aly pressing [DOOR CLOSE] rapidly, but Chris steps inside
before the doors obey.
The Elevator starts to drop, Aly staring straight ahead in
silent rage
CHRIS
What are you planning on doing?
Silence.
CHRIS (CONTD)
You gonna kill him?
Silence.
CHRIS (CONTD)
Youll go to jail, you know The
rest of your life will be taken
from you. Because of Hollis.
ALY
I dont care.
Elevator arrives on the ground floor and opens. Chris grabs
Aly by the arm as she darts out.
CHRIS
A bullet in the brain is too good
for him.
Aly violently shakes herself free.
ALY
Trust me. I know.
Aly rushes outside, Chris watching her go.
INT. JILLS HOUSE - LATER
A large modern colonial on Long Island. Classy and expensive,
reflecting Jills out of her price range tastes.
KITCHEN
Jill refills a large wine glass, gulping half then topping it
off. Back to the
LIVING ROOM.

60.

The big screen TV is on. A college football bowl game back

from commercial. Down to the final play. A field goal to win.
Jill stands, totally focused, too nervous to sit.
TV ANNOUNCER 1 (V.O.)
Welcome back to the Heritage Bowl.
With the way these teams have
played tonight, its only fitting
it comes down to the last play of
the game. Now its all on the foot
of the young redshirt freshman.
TV COMMENTATOR 2 (V.O.)
His hearts gotta to be going a
mile a minute right now John. But
its moments like these that
separate the men from the boys.
Jill gulps more wine.
TV ANNOUNCER (V.O.)
And heres the snap, the hold -and ITS BLOCKED! ITS BLOCKED!
Terry has it! Hes got open field!
The 50. The 40. No ones gonna stop
him!
Horror on Jills face.
TV ANNOUNCER (V.O.)
TOUCHDOWN! TOUCHDOWN! Wichita State
wins on the last play of the game!
TV COMMENTATOR 2 (V.O.)
Unbelievable! What a finish! And
the fans are rushing the field!
Theyre gonna tear down the
uprights!
JILL
NO! NO! NO!
Jill launches her wine glass at the TV, smashing both. The TV
sparks and dies.
Jill is crushed, suddenly twenty years older. She slumps into
the couch and does a line of cocaine off a mirror.
A KNOCK at the door. Insistent.
Jill hides the coke, adjusts her hair, and answers the
FRONT DOOR.

61.

Its Aly. Still dressed Goth.

JILL (CONTD)
Hey.
ALY
Hey. Can I come in?
JILL
Are you here to shoot me?
ALY
No. The guns at home.
JILL
Come in
Jill leads Aly to the KITCHEN.
JILL (CONTD)
You want some wine?
Aly considers the smashed mess.
ALY
No.
Jill gets a new wine glass. Opens a new bottle.
JILL
Why are you dressed like that?
ALY
Long story.
JILL
Well I hope its only temporary.
(drinks)
You look like one of those losers
from high school.
ALY
Thanks.
JILL
You were so much prettier as a
blonde. I dont get why you dyed
it.
Aly pulls the bottle of Rohypnol from her bag, puts it on the
counter.

62.

JILL (CONTD)
(red handed)
Whats that?
Aly says nothing, so Jill picks it up and reads it, still
trying to feign innocence.
JILL (CONTD)
Whered you get this?
ALY
Does it matter?
JILL
Its a tranquilizer. Hollis said he
was having trouble sleeping
ALY
You prescribed him five bottles. At
least!
JILL
That cant be right.
ALY
You know what else this drug is
used for?
Jill puts the bottle down. Drinks, stares into her glass.
ALY (CONTD)
You remember that blind date you
set me up on?
Aly shows Jill the Polaroid featuring drugged, gagged Aly.
JILL
Oh my god.
Aly holds the picture in front of Jills face.
ALY
Look at this! LOOK AT ME!
JILL
(crying)
Aly Im sorry. Im so sorry.
ALY
You did this.
JILL
I didnt know. I didnt know!

63.

ALY
Theres a dozen more Polaroids just
like this one. A dozen different
girls. A dozen girls raped because
of you.
Jill collapses, sobbing now.
JILL
I needed the money alright! I was
in trouble. I didnt know what else
to do.
ALY
What about do no harm?
JILL
I didnt know!
ALY
You knew. You just didnt want to
think about it.
JILL
Whats gonna happen to me?
ALY
Youre gonna make this right.
JILL
How?!
ALY
Wheres your prescription pad?
JILL
In my bag.
Aly retrieves the pad and a pen, hands them to Jill.
ALY
Write me a prescription.
JILL
For what?
ALY
Exactly what you gave Hollis.
Jill hesitates.
ALY (CONTD)
Do it!

64.

Jill writes the script. Aly takes it.

ALY (CONTD)
How much does it take?
JILL
What?
ALY
(showing Polaroid)
How much does it take for this?
JILL
Five or six max. More than that,
you might not wake up.
ALY
Is that what you told Hollis?
Guilty silence.
Aly heads to the door, grabbing Jills keys off the table.
ALY (CONTD)
Im borrowing your car for a couple
days.
Jill just nods
The front door slams closed behind Aly. Outside, the sound of
Jills SUV peeling out.
Jill reaches up to grab the wine off the counter and drinks
the rest of it from the bottle, wiping away tears; smearing
makeup.
CHRIS (O.S.)
Dr. Jenkins?
Jill gasps when she sees Chris standing before her.
JILL
(in shock)
Who are you?
CHRIS
My name is Chris. Im the
investigator working on the Hollis
Wilson case.
JILL
Am I under arrest?

65.

CHRIS
Not if I can help it.
JILL
What do you want?
CHRIS
I want to make your problems go
away.
END ACT FIVE

66.

ACT SIX
EXT. DOWNTOWN DRUGSTORE - NIGHT
Goth Aly parks the SUV and heads inside. In the backseat, a
black BAG.
INT. DOWNTOWN DRUGSTORE
HAIR DYE AISLE
Aly examining the colors. She chooses Platinum Blonde, the
color on the far left of the shelf.
PHARMACY
Aly steps to the pickup counter.
PHARMACY TECH
Name?
ALY
Allison Evers.
The TECH retrieves Alys prescription for Rohypnol.
TECH
Do you have ID?
Aly slides her ID across the counter. Satisfied, the TECH
hands it back.
TECH (CONTD)
Thatll be $20.
ALY
(putting down hair dye)
This too please.
A new total pops up and Aly swipes her credit card.
TECH
(examining dye)
Bombshell Blonde. This is
definitely you I think. Black makes
you look pale.

67.

ALY
(takes bag, receipt)
Thanks.
TECH
(to Pharmacist O.S.)
Consult please!
ALY
I dont need a consult.
PHARMACIST appears.
ALY (CONTD)
I dont need a consult.
PHARMACIST
(looking at Rx)
Have you taken this before?
ALY
Yes.
PHARMACIST
Rohypnol can be dangerous.
ALY
Trust me, I know. Its fine.
PHARMACIST
(disappearing)
Okay.
EXT. RED HOOK, BROOKLYN - NIGHT
This neighborhood looks shadier the darker it gets.. Just
vagabonds and drug addicts and people you dont want to meet.
But Evelyn walks alone, unconcerned but aware.
EXT. LE FIN DU MONDE - NIGHT
She unlocks the door with a key and enters.
INT. LE FIN DU MONDE - BAR - MOMENTS LATER
Evelyn finds Mars alone, working on something special at the
bar. But hes not making a drink. Hes making PILLS.

68.

Spread across the bar is 19th century pharmaceutical and lab

equipment. A balance scale. Mortal and pestle. An alcohol
lamp burning under a cast iron PILL PRESS.
Evelyn approaches and sees the pill main ingredient chopped
up behind Mars: Puffer Fish. (The flesh contains the toxin
TTX, a paralytic that mimics death.)
EVELYN
How much longer Mars?
Mars slowly moves the alcohol lamp under the press,
distributing the heat. He points at a dwindling HOURGLASS to
answer her question.
EVELYN (CONTD)
You need to get a watch.
MARS
You need to be patient.
Evelyn sighs, noticing a strange BOOK on the bar while she
waits. Its open to Marss recipe. Evelyn spins the book
around to examine it.
The cover is stretched, withered, and blackened. Carved into
it are the words: CORPUS VOODU.
Evelyn flips back to the recipe page: Zombie Magick.
Its shows pictures of the Puffer Fish, a Zombie rising from
the grave, and ingredients listed in a strange, bastardized
form of Latin.
Evelyn runs her finger across the yellowed and oddly textured
page.
EVELYN
Is this what it feels like?
MARS
Human skin.
Evelyn jerks her hand away in disgust, rubbing it on her
shirt.
MARS (CONTD)
Maximum cool.
EVELYN
Lovely.

69.

The sand runs out of the hourglass. Mars blows out the
alcohol lamp and uses a mitt to unscrew the clamps holding
the pill press. Inside are pills pressed into molds. With a
TAP they pop out. Mars pours them into an orange pill BOTTLE.
Mars attaches a cap and hands the bottle to Evelyn.
EVELYN (CONTD)
How long will he look dead?
MARS
Three hours. Maybe four. Longer
than that, and he aint just gonna
look it.
EVELYN
Good thing I own a watch.
MARS
Not so good for him.
EVELYN
His hourglass ran out.
INT. ALYS HOUSE - MORNING
BATHROOM
Aly, wearing latex gloves, applies blonde hair dye, watching
herself in the mirror. Finished, she crosses the
HALLWAY.
Aly disappears into her bedroom. Shes unaware Chris is
hiding in the foreground LIVING ROOM, (which is now
immaculately CLEAN, like the rest of the house.)
Phone in hand, Aly returns to the bathroom.
ALY (O.C.)
(into phone)
Hollis? Its Aly You remember
me? Exactly Well Im glad you
liked it Yeah I was feeling kinda
embarrassed I must have drank way
too much, Im sure I acted like an
idiot Honestly, almost nothing
Thats not how I normally act
Maybe you could give me a second
chance? Really?! Tonight is
perfect. You can meet the real me.

70.

Aly crosses back into her room, hair dye doing its work. She
makes a second call.
ALY (O.C.) (CONTD)
Hi I need to reserve a room
Tonight Do you have anything on
the top floor? Perfect Allison
Evers Visa 4876 8244 1245 Thank
you.
Aly returns to the bathroom. Music starts playing on a small
radio (Justin Timberlake - Sexy Back) and the shower turns
on.
Chris heads to the
BEDROOM.
The Rohypnol is on the dresser. Chris pours the pills into
his pocket, replacing them with Mars Resurrection pills.
Chris checks the black BAG on the floor. Inside are
HANDCUFFS, a POLAROID CAMERA, BALL GAG, SEX TOYS. He zips it
closed.
SHOWER
ALY (CONTD)
(singing)
Im bringing sexy back. Yeah!
SMASH CUT TO:
INT. AURORA NIGHTCLUB - NIGHT
The exclusive nightclub, occupying the top floor of the
Millennium Hotel. Beautiful people, energetic beats, dizzying
views.
Justin Timberlake - Sexy Back continues to play, not
skipping a beat, now CRANKED loud on high end club speakers.
Blonde movie star Aly emerges from the ELEVATOR. Fire engine
red lipstick, plunging jet black minidress. Beauty that puts
life into slo-mo, every gaze pulled in her direction.
Hollis is behind her, hand around her waist. Presenting his
newest arm candy.
Hollis leads Aly through a gauntlet of fake friends. Fake
smiles for each and for some a fist bump or shoulder slap.

71.

A HOSTESS a wearing a uniform of basically lingerie greets

Hollis. He nods and she leads the couple to the VIP section.
Watching discretely from the sleek black BAR is Hiro,
immaculately dressed, sipping whiskey. He sends a TEXT.
VIP SECTION
Hollis pulls Aly to the lounge sofa in his private booth. He
sits next to her, a view of the dance floor below, a view of
the BALCONY and skyline behind.
HOLLIS
Bring me the most expensive bottle
of vodka you have.
HOSTESS
Of course sir.
HOLLIS
(to Aly)
I remember what you like.
HOSTESS
Anything else?
HOLLIS
(to Aly)
I can tell youre thinking about
something.
ALY
I hate to ask.
HOLLIS
Anything. I can afford it.
ALY
Do you have any caviar?
HOSTESS
Im sorry we are out.
HOLLIS
Then you need to get on the phone,
call the Hotel concierge, and tell
him to find some. Im assuming you
know how to use a phone?
HOSTESS
Yes.

72.

HOLLIS
Then why are you standing here?
The hostess hurries off.
THE BAR
Hiro watches the hostess approach the BARTENDER.
HOSTESS
A bottle service of Absolute
Crystal. Two glasses.
BARTENDER
Got it.
The Bartender goes to retrieve the liquor from the vault. The
hostess picks up the phone and dials zero.
HOSTESS
(into phone)
I need the Millennium Concierge
desk.
The Bartender returns with the bottle and begins assembling a
tray including two iced shot glasses and lemon wedges.
HOSTESS (CONTD)
(into phone)
Hi. Im a hostess at the Aurora...
Yeah... Is there any way you can
find me some caviar?.. He can
afford it. You are awesome.
She hangs up.
BARTENDER
Caviar?
HOSTESS
For Holliss latest conquest.
BARTENDER
Must be nice.
HOSTESS
Not for her.
She collects the tray and heads back to the table.

73.

VIP SECTION
HOLLIS
And its not even street legal in
the U.S. Which is stupid. But I
dont want to drop a half mil if
Obama wont let me drive it.
ALY
Totally.
The Hostess arrives with the Vodka service.
HOLLIS
About time.
She pours two shots of vodka.
ALY
Thank you.
HOLLIS
(to Hostess)
Have you ever tried this Vodka
before?
HOSTESS
No, I havent.
HOLLIS
And you probably never will.
The Hostess returns the bottle and leaves. Hollis raises a
glass and Aly joins him.
HOLLIS (CONTD)
One, two, three.
They down their shots. Hollis winces, grabs a lemon wedge.
Aly has no reaction. Hers goes down like water.
HOLLIS (CONTD)
(slapping table)
WOOO! Strong.
ALY
I guess.
HOLLIS
You know what?
ALY
What?

74.

HOLLIS
Youre the most beautiful girl
here.
ALY
Thanks.
Hollis grabs Alys thigh. She tries to grin and bear it.
ALY (CONTD)
How about another shot?
Aly pours two shots.
HOLLIS
One...
Aly immediately pounds her shot. No reaction. Hollis pounds
his, then coughs like a baby.
HOLLIS (CONTD)
Goddamn. Youre hardcore. I like
that.
ALY
Just wait.
The Hotel CONCIERGE arrives with the caviar spread on
glistening sterling silver.
MANAGER
Flown in from Russia this morning.
ALY
Wow. Thank you.
Hollis waves the Manager away.
Aly grabs a cracker, spreading caviar. When she hands it to
Hollis, it slips into his lap, staining his T-shirt.
HOLLIS
You dumb bitch! This is Givenchy!!
ALY
Im so sorry! Ill get you a new
one.
HOLLIS
You cant afford it Shit.
Hollis heads to the restroom. Alys face turns serious. She
pours herself another shot and swallows it.

75.

THE BAR
Hiro watches Hollis storm towards the restroom. At the VIP
table, Aly grabs Holliss shot glass and holds it out of
sight under the table, fidgeting with her free hand for
something under her dress.
VIP SECTION
Aly places Hollis glass on the table, a mound of white powder
coating the bottom. She fills it with vodka, discreetly
stirring it with her pinkie to dissolve the remaining powder.
Then she fills her own.
She notices Hollis returning and puts on a smile.
HOLLIS (CONTD)
(examining shirt)
I think I got most of it.
ALY
I cant even tell.
HOLLIS
(sitting)
Its still ruined.
ALY
Im really sorry. Lets take a
shot.
HOLLIS
Since you ruined my shirt, I get to
ruin your dress.
Hollis smiles lecherously.
HOLLIS (CONTD)
(raises glass)
Heres to seeing it on my floor
later.
ALY
Fair is fair.
They clink glasses and throw back their shots.
HOLLIS
Uhhh. Vodka is so brutal.
ALY
Yes she is. Lets dance.

76.

Aly is up, grabbing Hollis by the hand, pulling him towards

the dance floor.
HOLLIS
(pulling away)
One more shot.
ALY
You gonna make me dance alone?
HOLLIS
Ill be right there.
THE BAR
Hiro watches Aly enter the dance floor alone.
Then watches Hollis fill two shots, secretly adding something
from a palmed vial to one. He pounds the clean one, deftly
sliding the other to Alys spot.
Hiro is up and moving. He watches Hollis join Aly on the
dance floor, then smoothly walks past the VIP table,
discreetly knocking over Alys glass as he passes. The liquid
flows across the table and drips from the edge.
DANCE FLOOR
Strobing lights and bodies. Music getting louder. Holliss
vision blurring. His already awkward dance moves get more
robotic, disjointed.
ALY
Are you okay?
HOLLIS
(slurring)
Lets take a shot!
ALY
After this song!
Holliss state deteriorates. Hes bumping into people, moving
like a drunk toddler.
Aly grabs onto him, keeping him upright. She leads him off
the dance floor, away from the crowd, towards the elevators.
HOLLIS
(slurring)
Where are we going?

77.

ALY
I got us a room. Are you ready to
give it too me?
HOLLIS
(slurring)
Oh yeah. Im gonna kill it.
Hiro watches Aly lead Hollis to the elevator. He sends a
text.
The elevator opens. Aly carries Hollis inside and presses a
button. The doors close.
END ACT SIX

78.

ACT SEVEN
INT. MILLENNIUM HOTEL - KITCHEN - CONTINUOUS
Evelyn dressed as a staff room service WAITRESS. She slips
out a back DOOR into a
STAFF ONLY HALLWAY.
Evelyn finds the door labeled SERVER ROOM. She swipes an ID
Badge and enters.
INT. SERVER ROOM - CONTINUOUS
Evelyn inserts a thumb drive into the server panel, then
pulls out the keyboard drawer and begins to type. Green LEDs
turn to red.
INT. FORTIETH FLOOR - MOMENTS LATER
The ELEVATOR door opens. Aly has Holliss arm around her
neck, practically carrying him towards her room.
A nicely dressed young COUPLE passing in the HALLWAY, looking
concerned.
ALY
He drank too much.
MAN
Do you need help?
ALY
No, this happens all the time.
The couple continues on
retrieves her room key,
Hollis inside. A moment
hooks a Do No Disturb

and Aly arrives at her door. She

hidden in her GARTER, and carries
later the door opens a crack and Aly
sign to the handle.

ROOM 4041 - MOMENTS LATER

Hollis face down, barely conscious now, head towards the foot
of the bed. Aly strips off his shirt and jacket. Then she
kicks off her shoes and retrieves her black BAG from under
the bed.

79.

Aly pulls out HANDCUFFS and a BALL GAG. She straddles Hollis,
pulling his hands behind him and cuffing them tight. She
pulls his head back and straps on a BALL GAG.
ALY
You ready to have some fun, you
piece of shit? Were gonna get
dirty.
ALY pulls out the POLAROID CAMERA. But when she turns back,
Hollis is gasping for air. Short, shallow, spastic inhales.
His body begins to twitch with the death throes.
Aly jumps back in shock, dropping the camera. Hollis goes
still. Tentatively, Aly checks Holliss wrist for a pulse.
Nothing.
Aly grabs her mouth in shock, slumps in the lounge chair,
dazed. She flips off Holliss corpse. A few moments of
this, and Aly stands up, pacing the room.
She checks out the bathtub, but its just a small shower. She
checks the closet, but theres not place to hide. She checks
out the BALCONY, looking over the edge. No way in hell!
She returns to Hollis, out of options.
ALY (CONTD)
SHIT!!!!
Aly takes slow deep breathes, trying to calm herself down.
She takes out her phone and dials.
ALY (CONTD)
Chris? I need your help I did
something really bad.
INT. FORTIETH FLOOR - LATER
Chris KNOCKS on door 4041, noticing the Do Not Disturb
sign. Aly opens the door defensively, letting him in without
a word.
ROOM 4041 - CONTINUOUS
Chris silently surveys the scene. Aly has covered Hollis with
a sheet, so ridiculously obvious it makes her look even more
guilty. Aly is pure anxiety, flooding the room with nervous
tension.
Chris approaches the bed and pulls off the sheet, revealing
Holliss body. Aly turns away to avoid looking.

80.

ALY
Arent you gonna say something?
CHRIS
Whose ball gag is that?
ALY
What?! Did you not notice the
fucking dead body!? Dead Body! In
my hotel room! Hes fucking dead!
CHRIS
You said he deserved it right?
ALY
Yes but you talked me out of it!
CHRIS
I didnt do a very good job.
ALY
I didnt mean to kill him! It was
an accident!
Chris reaches into Alys black bag and pulls out an
aggressive looking sex toy.
ALY (CONTD)
He drugged me, so I drugged him. He
raped me. Today was gonna be his
turn.
CHRIS
So what happened?
ALY
He just stopped breathing! I think
I spiked his drink too hard.
Chris tosses the sex toy back in the bag.
CHRIS
Ill take care of it.
ALY
You can do that?
CHRIS
Its not a license for you to go
around killing people.
ALY
Of course not! Im not crazy. But
you can do that?!

81.

CHRIS
Grab your stuff and get out of
here.
Chris unlocks the handcuffs and removes the gag, placing them
in the bag. Meanwhile, Aly puts on her heels and grabs the
Camera. Chris hands over the bag and she puts the camera
inside.
CHRIS (CONTD)
Is that everything?
Aly nods, feeling saved, like a twelve year old girl.
CHRIS (CONTD)
Take a few days, goes somewhere.
Try to not to think about this.
Ill call you.
Aly hugs Chris tight.
ALY
Thank you.
CHRIS
This is my job.
ALY
Thank you anyway.
Chris uses one arm to hug her back reluctantly.
CHRIS
Make sure the hallway is clear
before you leave.
Aly checks the peephole, looks back at Chris a last time, and
leaves.
INT. HOTEL 28TH FLOOR - MOMENTS LATER
Aly is walking a bit too fast towards the elevator, trying
not to look guilty. Evelyn passes her in the hallway, still
dressed as a Room Service Waitress, pushing a large dining
CART draped in linen. Aly doesnt even notice.
Aly arrives at the elevator and pushes the down button
frantically until she realizes how she must look and gives up
her button assault.
Finally, the DING of the elevator, and the doors open. When
Aly sees Vera standing there, shes at a loss for words.

82.

VERA
Going down?
Aly doesnt know what to say.
VERA (CONTD)
Come on now front and center.
Aly skulks aboard. Vera presses L and the elevator
descends.
ALY
What are you doing here?
VERA
Waiting for you.
ALY
Why?
VERA
We need to have a chat.
ALY
Can we do it later?
VERA
Im afraid not.
ALY
It was an accident!
VERA
No, it wasnt.
The elevators DINGS. Doors open on the lobby. Vera takes Aly
by the hand.
VERA (CONTD)
Come along.
INT. HOTEL LOBBY - CONTINUOUS
Vera leads Aly forwards.
ALY
Where are we going?
Vera presents the Hotel Bar.
VERA
To have a drink.

83.

ALY
Here?!
VERA
Of course. The bartender makes an
excellent gin and tonic.
BACK TO:
INT. FORTIETH FLOOR - CONTINUOUS
Evelyn checks the coast is clear, then knocks a pattern on
Door 4041. Chris opens the door and Evelyn pushes her cart
inside.
ROOM 4041
Chris has Hollis redressed. Evelyn removes her carts linen
drape to reveal a GURNEY built underneath. They place Hollis
on it and replace the drape, hiding anything suspicious.
INT. FORTIETH FLOOR - MOMENTS LATER
Chris exits Room 4041, Evelyn following behind, pushing the
CART, down the hallway, to 4020. Chris swipes a keycard and
they enter
ROOM 4020.
The scene is already set for a suicide. A SUICIDE NOTE and
PEN sit on a table, next to bags of heroin, some empty, and a
half full bottle of vodka.
Chris and Evelyn place Hollis on the bed. Chris tosses
Holliss jacket in the corner, while Evelyn pulls out a blood
collection syringe and VIAL.
Evelyn sticks the needle in Holliss arm, filling the vial
with blood. Chris splashes Vodka on Hollis and his jacket,
then replaces it on the table.
Evelyn sticks the blood vial in her pocket and grabs a dirty
syringe and tubing from the nightstand. The needle goes in
Holliss arm, and the tubing beside, putting the final
touches on the simulated Heroin OD.
CHRIS
Looks good. Nice work.

84.

EVELYN
Its my job.
Evelyn leaves with the cart, and Chris dials a number on his
phone.
CHRIS
Detective Mitchell please I need
to report a possible suicide.
BACK TO:
INT. HOTEL BAR - MOMENTS LATER
Nearly empty. Aly and Vera sit alone in an dark corner. Vera
sips her gin and tonic. Aly has a vodka double and some.
VERA
Do you trust me Aly?
ALY
Yes.
VERA
Trust is a dangerous thing. When
its misplaced, we are at the mercy
of those who would do us evil.
ALY
Thats why I dont trust people. I
guess youre the exception. Plus I
killed a guy today, and trust is
the only thing keeping me out of
jail for the rest of my life.
VERA
If our situations were reversed,
could I trust you to do the same
for me?
ALY
You mean if you killed someone and
I knew about it?
VERA
Precisely.
ALY
You could trust me. If he deserved
it.
VERA
Do you think Hollis deserved it?

85.

ALY
He deserved worse.
VERA
Our justice system would disagree
with you.
ALY
I know more about right and wrong
than all the lawyers in the world
combined.
VERA
Very true Miss
place rules on
negotiate with
it back to the
came.

Evers. We cannot
evil. We cannot
it. We can only send
hell from which it

ALY
You told me we should let the
police deal with Hollis.
VERA
Im deciding to trust you Aly.
Youre gonna have trust me. Theres
no going back on this.
ALY
When I said it, I meant it.
VERA
What happened to Hollis was not an
accident.
ALY
What do you mean?
VERA
Youre gonna get your revenge.
END ACT SEVEN

86.

ACT EIGHT
INT. ELEVATOR - LATER
The clearly distressed hotel MANAGER riding up. Next to her
is a GURNEY, manned by Hiro wearing an NYC Medical Examiner
uniform. He checks his watch.
FORTIETH FLOOR - MOMENTS LATER
A pair of uniformed COPS stand outside the open door of Room
4020, talking. A few curious hotel GUESTS congregate a safe
distance away. The manager stops to disperse them, as Hiro
continues towards 4020.
GUEST
Whats going on?
MANAGER
One of our guests had some medical
distress. Please go back to your
rooms. Complimentary champagne will
be sent up in a few moments.
ROOM 4020 - CONTINUOUS
DETECTIVE MITCHELL(50) commands the scene, holding the bagged
suicide note. The other evidence has been collected, the
needle removed from Holliss arm.
Hiro pushes the gurney inside, next to the bed. The Manager
arrives at the door.
MANAGER
How much longer?
DETECTIVE MITCHELL
Were almost done.
HIRO
Ready for removal sir?
DETECTIVE MITCHELL
Get that piece of trash out of
here.
Hiro slides Hollis onto the gurney, covering him with a
sheet.

87.

EXT. HOTEL ENTRANCE - MOMENTS LATER

Medical Examiner VAN parked in front. Hiro loads the gurney
with Hollis in back, then gets in the driver seat. He checks
his watch and drives off.
EXT. HOLMES AND SONS FUNERAL HOME - LATER
Hunts Point warehouse district.
The Van arrives. Chris comes out to help Hiro remove the
gurney with Hollis.
Chris pushes Hollis inside. Hiro drives away with the Van.
INT. FUNERAL HOME - EMBALMING ROOM - LATER
Dr. Jill Jenkins, in her doctors coat, is waiting for Chris.
He removes the sheet and slides Hollis onto the stainless
steel embalming table.
Chris leaves while Jill snaps a couple autopsy photos,
including a close up of the needle mark. She perfunctorily
fills out the Death Certificate, marking SUICIDE.
Lilly enters with Chris. She moves to the edge of the table,
stoically taking in the sight of her dead father.
JILL
I know this must be hard for you.
LILLY
Its not hard.
JILL
Is that your father?
LILLY
Hollis Woodrow Wilson. Piece of
shit.
JILL
Can you sign this for me?
Lilly signs the death certificate.
JILL (CONTD)
Im sorry Lilly, for everything.
LILLY
Dont be sorry. This is the best
day of my life.

88.

JILL
You dont mean that.
LILLY
Yes, I do. I hope he burns in hell.
CHRIS
You ready?
LILLY
Ive been ready as long as I can
remember.
Chris ushers Lilly out to the
FUNERAL HOME - FOYER.
Evelyn stands silently, wearing black.
CHRIS
The lawyer is reading the will on
Monday. Youll probably be the
richest teenager on the planet.
LILLY
What should I do?
CHRIS
Thats up to you. Find something
that makes you happy.
LILLY
Ive always wanted a dog.
CHRIS
Then you should get one.
(hands business card)
Call me if you need anything.
Evelyn hands Chris a vial of BLOOD, then leads Lilly out.
EMBALMING ROOM
Chris hands Jill the vial of blood.
CHRIS (CONTD)
Thats everything right?
JILL
Cause of death: suicide. Ill file
it first thing tomorrow.

89.

CHRIS
Then Ill take it from here.
Jill moves to leave, but hesitates.
JILL
Did Aly kill him?
CHRIS
He killed himself, a long time ago.
INT. CREMATORIUM - MOMENTS LATER
Chris pushes Hollis, now strapped to the gurney, positioning
him alongside a massive INCINERATOR.
Chris checks Holliss pulse. Slight twitches of movement are
returning to the body.
The CLACK of heels on concrete and Chris looks up to see Vera
approaching. Then he sees Aly flanking her, and his eyes go
wide in surprise.
VERA
She deserves to be here.
Chris reaches out his hand to Aly. She shakes it.
CHRIS
Welcome.
ALY
Thank you.
CHRIS
Prepare yourself for this. Youre
about to get what you wanted.
Chris moves to the Incinerator and activates the controls.
The heavy furnace DOOR retracts, revealing the incineration
chamber, from which a scorched steel SLAB slowly extends
outwards like a mechanical tongue.
Holliss eyes start to blink, trying to process the
unfamiliar setting.
Chris slides the gurney with HOLLIS onto the slab. A tidy
fit, with some room to spare, because bodies can be large.
Vera pulls out a VIDEO CAMERA and begins filming. Aly watches
in morbid fasciation, arms hugging herself like she was cold.

90.

Hollis is dreamy but conscious, like being jerked awake from

Stage 4 sleep.
HOLLIS
Hello? Is somebody there? Im
stuck.
CHRIS
Hollis Wilson. Rape, 12 counts.
Guilty. Torture, 12 counts. Guilty.
Incest, 1 count. Guilty.
HOLLIS
What? What is this? Where am I?
CHRIS
With free will you have chosen
evil. So you wrought, now you will
reap.
HOLLIS
Are you crazy? Untie me goddamnit!
Chris operates the controls again, and the slab slowly
recedes into the furnace.
HOLLIS (CONTD)
Wait. Wait! You cant do this!
HELP! SOMEBODY HELP ME!
The slab almost fully receded, just Holliss shoulder and
head left to go.
HOLLIS (CONTD)
Please! Just listen! I have money.
I can give you anything you want.
TALK TO ME!
Chris hits the button the freezes the slab. The incinerator
has swallowed Hollis up to his eyes.
HOLLIS (CONTD)
Jesus Christ. Okay. You scared me,
alright? Tell me what you want and
well work this out. No hard
feelings. We can forget all about
this.
Chris moves close so he can look Hollis in the eyes.
CHRIS
There is something I want.

91.

HOLLIS
Anything.
CHRIS
I just talked to your daughter.
HOLLIS
Lilly?
CHRIS
I want to relay a message.
HOLLIS
What?
CHRIS
BURN. IN. HELL.
Chris hits a button and the slab finishes receding.
HOLLIS
No. No! NO! NOOO!
The furnace door closes, sealing Hollis inside and muffling
his screams. Vera moves the camera to the small viewing
window.
Chris turns on the furnace, letting out a low GROWL. A soft
orange glow appears on the glass.
EXT. MANSION - DAY
A grand colonial in the Hamptons. Hiro drives the LIMO to
the entrance and escorts Vera and Aly to the front door.
Theyre dressed for a funeral.
EXT. FRONT DOOR - MOMENTS LATER
Hiro knocks.
THOMAS COHEN(50), Veras client, opens the door.
TOM
Its done?
VERA
Its done.
Vera nods to Aly, who removes a DVD from her bag. She hands
it to Tom.

92.

VERA (CONTD)
You can only watch it once. Then it
will demagnetize. Make sure you are
ready.
TOM
Thank you.
VERA
An eye for an eye, Mr. Cohen.
INT. MANSION - BEDROOM - MOMENTS LATER
The room is dark. Lights off and the windows are covered.
Wendy sits alone on her bed. Hair disheveled, wearing sweats.
Post-traumatic.
A laptop is open in front of her. Dim orange light from the
screen shines her face.
Holliss muffled screams play through the laptop speakers.
Underneath that is the growl of the furnace, slowly getting
louder.
The orange glow on Wendys face intensifies. Holliss screams
reach a level of primal, total, annihilating agony.
The orange glow is bright enough now to illuminate the room.
Holliss screams transform into something that doesnt sound
human. A dimension of pain that transcends time and space.
But soon the furnace growl is even louder. Now its just the
roar of the flames.
FADE TO BLACK.
THE END