Instability

Pilot

4/19/2023
 Teaser

1 EXT. HOSPITAL - MORNING 1

It's early morning; the sun just starting to rise. We see

VICTOR HIGGINS (55) walk out of the hospital in scrubs.
He's sweating, exhausted.

His eye catches a homeless man, EARL (60s), sat against

the building. Right by him is a SHOPPING CART full of
dirty blankets and clothes.

Victor approaches him.

VICTOR
Hello.

EARL
Hello, sir. Spare some change?

VICTOR
Who are you? What's your name?

EARL
I'm Earl.

VICTOR
If I gave you a million dollars
right now, what would you do?

EARL
Shit... I'd probably get a meal.

VICTOR
A meal? No, no... Tell me. Who would
you go back too? What does your life
look like?

Earl looks around. No camera nearby...

EARL
Uhh... I don't know. Maybe... I
really don't know. I had a family...
But I can't go back. Even with a
million bucks.

Earl looks remorseful.

VICTOR
So you have no one to go back to?
Then... Why bother? Why not just
kill yourself?

Earl looks somewhat uncomfortable.

 2.

EARL
Sir, I... I'd really just like some
change.

VICTOR
I'll give you change. But first,
tell me... Why do you keep going?
What's the point of it all? I mean,
do you have any real hope that one
day... life will be worth living?

EARL
Man... I just don't want to die. I'm
young... at heart.
(a beat)
I've answered your questions. Give
me some change, will ya?

VICTOR
So for you, it's just meaningless
suffering? There's no point to it
all, is there?

EARL
I ain't telling you shit till I get
some money. Want to practise your
therapy or whatever on me? Buy me a
meal first.

Victor looks at Earl, contemplating. Then, he takes a look

around; no one in sight.

He pulls out his WALLET, and grabs a wad of cash. He hands

it to Victor.

EARL
Oh... Thank you!

VICTOR
Pleasure.

Victor extends his hand, gesturing for a handshake. Earl

accepts graciously.

EARL
You're a good man. World needs more
people like you, looking out for the
little guy.

Victor holds onto Earl's hand firmly, not letting it out

of his grip. After a long beat, Earl starts to look
confused.

EARL
Sir... You can let go now.
 3.

VICTOR
I'm sorry, Earl. But this is really
for the best.

EARL
Sir... What... What are you doing?

Earl's voice gets fainter, and shakes more with every

word.

VICTOR
Trust me. It's for the best.

Earl is trying desperately to break his grip with Victor,

but Victor isn't budging. Earl grows weaker by the second.

After a beat, Earl seems to go unconcious. His body lays

flat on the ground. He's still breathing, but seemingly
asleep.

Victor looks at Earl's body, laid out. He grabs the wad of

cash he handed Earl off the floor.

Victor takes another quick look around, and walks off.

End Teaser
 4.

Act One

2 INT. MARK AND BRIAN'S APARTMENT - MARK'S ROOM - DAY 2

A modest 2-bedroom apartment downtown.

MARK WOODS (black, 25) is laid out on the bed. Asleep.

After a short beat, we hear...

RING! A (touch-screen) PHONE on the bedside table has its

alarm go off. Loud.

Mark, absolutely exhausted, gets up and turns it off.

He checks his phone to see TWO NOTIFICATIONS:

- HEALTH APP: "You slept for 2h 29m last night. Down 29%
from your average."
- NEWS APP: "End of human developers? Recent chatbot
from..."

Mark groans.

3 INT. MARK AND BRIAN'S APARTMENT - LIVING ROOM - MOMENTS 3

LATER

Mark, exhausted but now dressed for work, slogs into the
living room.

It's in a horrible state of mess; the aftermath of a

birthday party.

PIZZA BOXES, BEER BOTTLES, and BALLOONS litter the floors

and tables.

We see a colorful BANNER just beginning to fall from the

walls: "HAPPY BIRTHDAY BRIAN".

We see HALEY PARK (25) in the kitchen. She's moving

around, preparing a traditional COFFEE, EGGS, and BACON
breakfast.

HALEY
Hey babe, you alright?

Mark takes a second to respond. He yawns.

MARK
Yeah... Just tired.

Mark takes a look around the apartment.

He sees BRIAN PARK (27) laid out on the LIVING ROOM SOFA,
face down. He sighs, and walks towards him.

MARK
Brian? Brian?
 5.

He lightly grabs the back of his neck. Brian slightly

shifts his body.

Mark slaps the back of Brian's head. Brian, again, shifts

his body, and groans out something unintelligible before
falling back asleep.

HALEY
Yeah... He's going to need a minute.
Are you sure that you even want to
go to work? When did you sleep, two?

MARK
Around then, yeah.

HALEY
Can't you take today off? It's...
his belated birthday. We should
rest.

MARK
Day off? Oh. I... I think I used all
of them already this year.

Haley looks slightly suspicious.

HALEY
Everything going okay at work?

MARK
(convincingly)
Ah. Same old, same old. Carlos
always trying to suck the most out
of us.

Haley smiles.

HALEY
Uh...

MARK
Productivity. Come on.

HALEY
Anyways... Because you're taking
the car... Could you pick up dinner?

MARK
Eat out two nights in a row?

HALEY
Not for me! I don't eat 8-topping
triple-cheese pizzas like you two!

MARK
Err... Sure. What were you thinking?
 6.

HALEY
Springo's. Family meal.

MARK
Shit, they're like 30 minutes out...
It'll be cold.

HALEY
Come on, baby... I heard they're
cutting hours -- we need to support
them, now more than ever.

MARK
Fine, fine... Just...
(looks around)
Could you do something about this
mess?

Haley frowns.

HALEY
Nope. He
(nods to Brian)
can do it himself. I'm your
girlfriend, not his maid.

4 INT. STREET - MARK'S CAR - DAY 4

Mark drives a somewhat disheveled-looking SUV.

We hear a CHUGGING NOISE; something's wrong with the car.

Mark, very subtly, nods his head to its rhythmic pattern.

He's now in deep traffic, looking desperately at the time

on the dashboard.

He sips COFFEE from a TRAVEL MUG.

5 INT. LOVERLINK OFFICE - DAY 5

A generic, but expensive tech office - We see the phrase

"loverlink-hq.py" painted in pink on the walls.

Mark sits at a desk, lazily writing code letter by letter.

He still seems exhausted; he takes a sip of coffee from a

DISPOSABLE CUP.

RING! Mark's phone sets off. He answers.

MARK
Hello?

BRIAN (V.O.)
Mark! What the hell?! Are you at
work?!
 7.

MARK
Uhh, yeah.

BRIAN (V.O.)
Why didn't you wake me up?!

MARK
I tried. Ask Haley.

BRIAN (V.O.)
Shit... Damn it! Bro... They're
going to kill me.

MARK
Come on, dude. Literally nobody
expected you to show up the day
after your birthday.

BRIAN (V.O.)
But still... Tell Carlos I'm sick.
Just say I got a flu, and I was too
weak to call in, so I just told you
to tell them.

MARK
You want me to tell Carlos you're
sick? Do you know what he'll do?
He'll ask for Dr. Liang's number,
and call him to confirm. Then go to
the clinic and look at the
examination sheet himself.

BRIAN (V.O.)
Oh uh... Yeah. Scratch that. Just...
Yeah. Don't say anything.
(a beat)
Oh, uh... Is the car still making
that noise by the way?

MARK
Yep.

BRIAN (V.O.)
Shit, man! I paid Richie like a
grand to take care of it!

MARK
I like it. It's got some riddim to
it.

Mark starts to beatbox something that sounds somewhat

familiar to the CHUGGING NOISE from the last scene.

A COWORKER (40s) walks past Mark, who stops beatboxing

abruptly. We hear Brian chuckle.
 8.

BRIAN (V.O.)
Was that Carlos?

MARK
Nah. Not him. I got a one-on-one
with him end of day though.

BRIAN (V.O.)
Oh shit. One on one with Carlos?

MARK
It's... It's not the end of the
world is it?

BRIAN (V.O.)
Dude... He was at that AI conference
last week. Flew out for that shit.
And you know he's trying to make
cuts...

Mark has a worried look on his face.

6 EXT. VICTOR'S HOUSE - DAY 6

In the driveway, Victor steps out out of a RED MODERN

SPORTS CAR. He's parked it parallel to a BLUE MODERN
SPORTS CAR.

Victor walks up the door of his beautiful, upper-middle

class house.

After knocking, his daughter, ALYSSA HIGGINS (22) opens

the door for him.

She has a cold look on her face, not pleased to see her
father.

VICTOR
Hi, Honey. How are you?

Victor walks in.

7 INT. VICTOR'S HOUSE - LIVING ROOM 7

A well-kempt, cleanly organized living room.

We see SHERRI HIGGINS (45), dressed for work, drinking TEA

on the couch.

VICTOR
(to Sherri)
My love... How are you today?

SHERRI
Fine, Victor. Like every other time
you ask that question.
 9.

They both smile at eachother, while Alyssa looks repulsed.

VICTOR
Listen... Do you maybe want to,
call in sick today? I could use
some company.

Alyssa walks out of the room.

SHERRI
Oh honey... I'm already dressed. And
it's Martin's birthday -- he'll hate
me if I don't show. We're already on
thin ice.

VICTOR
Oh. That guy. Are you sure you'd
rather to go to that dickbag's
birthday party, than stay home with
me?

SHERRI
It's politics. Office politics... If
the one day I don't show up in a
year is his birthday, I'm toast.

VICTOR
Ahh... Screwed if you go, screwed if
you don't.

Sherri puts her cup down, and stands up. She smiles at
Victor, chuckling slightly.

SHERRI
How am I screwed if I go?

VICTOR
Because then you don't get the
other screwing.

SHERRI
Goodbye, Honey.

Sherri walks out, leaving a satisfied Victor behind.

8 INT. MARK AND BRIAN'S APARTMENT - LIVING ROOM 8

Brian sits alone on the couch, watching television. The

mess from earlier untouched.

A half-eaten plate of eggs and bacon lies on the table in

front of him.

A news reporter is speaking on TV, with the headline

ANOTHER HOMELESS MAN FOUND UNCONCIOUS, UNABLE TO WAKE -
COINCIDENCE, OR CONSPIRACY?
 10.

TV REPORTER
This marks the third overall
incident this year, the fifteenth
in the past decade. Homeless men,
found unconcious in public, in what
is considered to be a vegetative
state. So far, there has been no
indication of brain damage in any-

Brian changes the channel. STEVEN UNIVERSE now occupies

the television.

After a beat, we see HALEY walk into the room.

HALEY
What the hell?! Why haven't you been
cleaning?

BRIAN
It was my birthday!

HALEY
That means it's your mess,
dumbass!

BRIAN
You're the one without a job! Why
don't you do it?

HALEY
Really? Because your ass is supposed
to be at work right now!

Brian grunts. He takes a breath.

BRIAN
Ok. How about this... You do half
now, I'll do half later.

HALEY
What? Hell no, you're the one that
did all this!

BRIAN
Ok. As your big brother, I comma-

HALEY
As your little sister, I order you
to be a big boy, and clean up your
own messes!

A beat. Brian sighs, and gets up. He starts to pick up the

bottles and bags of chips layed around.

BRIAN
I really never get my way around
here, do I?
 11.

9 INT. SHERRI'S WORK OFFICE - DAY 9

A boring finance office.

Through the windows, we can see it's later in the day now
-- afternoon.

Sherri and a group of COWORKERS are huddled together,

staring at the door.

Behind them is a table with a store-bought BIRTHDAY CAKE

with a 65 CANDLE on it.

After a beat, the door opens and MARTIN (60s, middle-aged,

obese) walks in.

In classic manner, everyone yells "Surprise!". On a few

faces, including Sherri's, the smiles seem especially
forced.

MARTIN
Oh, wow!

The office manager, Karen (40s), steps up.

KAREN
Come on, you guys know what to do!

The crowd sings Happy Birthday. Sherri just barely moves

her mouth, staring at the clock.

KAREN
Thank you, Martin. You've served
this company greatly in the past 30
years. We wanted to let you know how
much we appreciate all the hard work
you do here.

She extends her hand, but Martin goes in for a hug

instead.

When hugging, Martin puts his hand on her LOWER BACK.

Everyone looks at the display awkwardly; Karen seems to be

put off by it as well.

After a long beat, he lets go. Karen lets out a quiet sigh
of relief.

Martin starts to walk around the room, greeting everyone

and shaking their hand.

Sherri begins to walk out, but Martin stops her before she
can.

MARTIN
Sherri! Where are you going?
 12.

SHERRI
(making an effort to be
kind)
Oh. Hi, Martin. Happy birthday.

MARTIN
Thank you, Sherri. I was afraid you
wouldn't come, thought you might've
been asleep at your desk again.

SHERRI
That was one time, Martin.

MARTIN
Ah. Only teasing, Sherri. Come on.
(a beat)
You're still married to that man...
What's his name... Victor?

SHERRI
Yep.

MARTIN
That's great. I'm very happy for the
two of you.

SHERRI
Thanks.

MARTIN
So... Did you submit those market
research reports to R.E.?

SHERRI
Yes.

MARTIN
Did you consult with Business
Intelligence about those prediction
models?

SHERRI
I did.

MARTIN
Great, great... What about the Cost
Volume Profit analysis for the ad
agency?

Sherri takes a long look at Martin, eyes wide open. As if

she would like nothing better than to punch him. She
sighs.

SHERRI
I'm still working on it.
 13.

MARTIN
Well, better get on that. We can't
be slacking around in this office...
No, not in this economy.

SHERRI
Sure.
(a beat)
So... Big 65, huh? That's about the
age my dad was.

MARTIN
Huh?

SHERRI
Oh. My dad passed at 66. Natural
causes, you know... Old age.

Martin looks frightened for a moment.

SHERRI
Oh. Don't worry though. He didn't
take care of himself at all. He
weighed... What, like 200 pounds I
think?

Martin's mouth is wide open.

SHERRI
Well.. I've got to get going. See
you later, Martin.

Sherri, quickly, walks out of the room. Leaving Martin in

a state of shock.

10 INT. LOVERLINK OFFICE - CARLOS' OFFICE - DAY 10

A small, almost cupboard-esque personal office. Photos of

Carlos and his beautiful nuclear family are hung around.

Mark sits opposite to Carlos.

CARLOS
So... Where's Brian? I noticed he
didn't come in today.

A beat. Mark contemplating.

CARLOS
You live with him, don't you? What
happened? Is he alright?

MARK
He's... sick. Flu.
 14.

CARLOS
Hmm. Right after his birthday,
too...

Another beat. Mark looks away from Carlos, focusing on one

of the family photos.

CARLOS
Just teasing, Mark. I'll just get a
doctor's note when he's back, I'm
sure he's learned he needs to get
one.
(a beat)
Do you know why I called you in here
today?

MARK
To figure out where Brian is?

CARLOS
No.
(a beat)
I'm sure you have some idea about
the recent advancements of AI, yes?

MARK
Sure.

Mark starts to have a worried look on his face.

CARLOS
Mark... Come on. The company is
hurting in this economy. Every
manager in the goddamn company has
to get rid of a couple of people...

MARK
What?! You're getting rid of me?

CARLOS
At that convention last week, I saw
a chatbot do what you do in a day in
two minutes. It was beautiful... It
just doesn't make sense to have a
human work your position anymore.
It's not up to me, I'm sorry.

MARK
Carlos... Look at me. I've worked
here since this company even
started. I've never missed a day.
Lead testing on the biggest projects
this company has... You can't get
rid of me.

Mark holds a stoic look on his face, but we can see his
eyes slowly start to water.
 15.

CARLOS
Unfortunately... I have to. I'm
sorry, Mark -- I truly am. It's only
a matter of time before I'm gone
too.

MARK
Then don't fire me! Fuck it, right?
Let's get that money while we can!

Mark looks somewhat frantic. Carlos laughs.

CARLOS
Out of respect... I'll let that
slide.

MARK
It's not like you can punish me for
it anyways. Dick.

CARLOS
Technically... I haven't fired you
yet. And you've just given me legal
reason.

Mark has an Oh shit... look on his face.

CARLOS
Like I said... I'll let it slide.
You'll get your severance.
(a beat)
Listen... It's not the end of the
world, is it? There's more to life
than a job. Look at these pictures.
You see work in any of them?

Mark looks around the family photos hung around the

office. It doesn't cheer him up at all.

11 EXT. PARKING LOT OUTSIDE LOVERLINK - DAY 11

Mark sits in his car alone. He's on his phone.

After a beat, we can see what he's doing. He's just

started a conversation with a CHATBOT.

The chatbot types the first message instantly.

CHATBOT (TEXT)
Good afternoon, Mark! How are you
today? I hope you were able to solve
your sleeping problems -- let me
know if we still need to discuss
potential solutions!

Mark types.
 16.

MARK (TEXT)
what jobs wont be replaced by ai

CHATBOT (TEXT)
It's difficult to say, Mark! Some
jobs aren't likely to be replaced by
AI anytime soon include:
- Healthcare Professionals
- Social Workers
- Teachers
- Artists
Amongst other jobs that require high
levels of human creativity and
emotional intelligence.

Mark reads this and grunts, angrily. He steps out of his

car, and...

SMASH! Slams his phone right into the concrete.

12 INT. SPRINGO'S - DAY 12

Through the windows, we can see that it's late-afternoon

now; the sun's starting to go down.

Mark sits alone at the empty family restaurant; his eyes

are shut, clearly asleep.

Nobody at the service desk, but we hear bustling in the

back.

After a beat, the waitress comes up to the desk, putting a

large bag on the table.

WAITRESS
Chicken Family Meal!

The waitress' loud voice wakes Mark up like a bolt of

lightning.

Mark, extremely tired, steps up, and grabs the bag with
his order.

Mark's eyes are red and puffy; he's cried.

MARK
Could I get a coffee too? Large.

WAITRESS
Sure. That'll be $2.50.

13 INT. PARKING LOT - MARK'S CAR - DAY 13

Mark puts the bag in the passenger seat, but his hand
slips, and he ends up spilling the coffee over himself and
the car seat.
 17.

MARK
Fuck!

From the car window, Mark looks temptingly back at the

restaurant. He shakes his head discretely, and buckles
himself, ready to drive off.

14 EXT. HIGHWAY - NIGHT 14

We see Sherri driving the BLUE MODERN SPORTS CAR we saw in

the driveway earlier. She's speaking on the phone.

SHERRI
Oh, honey! You should have seen his
face! I wish I took a photo!

VICTOR (V.O.)
Goddamn the money I'd pay... Was
there a security camera in the room?

SHERRI
There was. But how could you get the
footage?

VICTOR (V.O.)
Oh for this? By any means
necessary. I'll kill for it if I
have to.

Sherri chuckles over the phone. After a beat, it falters.

VICTOR (V.O.)
Everything okay?

A beat.

SHERRI
I saw an article earlier. A... A man
found unconcious near the hospital.
Vegitative state.

VICTOR (V.O.)
Honey... Come on. I told you, I
stopped! It's not my place.

SHERRI
Victor... Please. Don't bullshit me.
I know it was you.

A beat. We can hear Victor sigh on the other end.

VICTOR (V.O.)
His name was Earl. And you know
where Earl is now? He's at peace.
Because of me! His soul knows
nothing but... love and pleasure.
And he's none the wiser!
 18.

SHERRI
Fuck, Victor... You promised you'd
stop! Why... why can't you just
stick to your word, for once in your
goddamn life!

A long, awkward beat.

VICTOR (V.O.)
We'll... We'll talk about this at
home, okay? Listen, um... Alyssa's
calling for me. I've, I've got to
go. See you soon.

Victor hangs up. Sherri sighs and shakes her head.

SHERRI
Bullshit...

15 EXT. HIGHWAY - NIGHT 15

It's sundown now; the sky a beautiful orange.

Mark is driving on a sparsely populated highway. He's

visibly exhausted; coffee stains all over him and the car.

In front of him, we can clearly see Sherri's car, and an

outline of the back of her head through the window.

CLOSE IN on Mark's face.

After a long beat, his eyes slowly close an inch.

Impossible to tell whether this was intentional or not.

We FADE TO BLACK.

End Act One

 19.

Act Two

MONTAGE - VARIOUS

A long, drawn-out montage. We can't hear any voices.

A) EXT. HIGHWAY - NIGHT - The scene of the car crash. A

BODY is laid on a stretcher and put in an AMBULANCE.

B) INT. FUNERAL - DAY - Victor and Alyssa at a funeral.

Alyssa looks horribly sad, but Victor is an absolute mess,
in complete despair.

C) INT. POLICE STATION - NIGHT - Mark, only slightly

bruised, is escorted into a JAIL CELL.

D) INT. FORENSIC LABORATORY - DAY - A CRIME SCENE

INVESTIGATOR takes photos of the underneath of Mark's
damaged SUV.

END MONTAGE

16 INT. POLICE STATION - JAIL CELL - DAY 16

A boring, rusty jail cell with bars blocking the outside.

We see a YOUNG INMATE (irresponsible-looking, teenager) in

a cell opposite to Mark, minding his own business.

Mark sits on the the cold hard ground, a remorseful look

on his face.

We see a VIAL OF PAINKILLERS in the corner: completely

full.

After a beat, we see Haley enter the scene. She stands

directly behind the bars, facing Mark.

HALEY
Mark?

MARK
Haley? How'd you get in here?

HALEY
I had to visit you, Mark. I had to
let you know... We're through.

MARK
What?

HALEY
You killed a woman, Mark! For
what?

MARK
It was an accident! I'm sorry!
 20.

Mark doesn't sound very convincing.

HALEY
Was it? Was it an accident?! A whole
family. Ripped apart. Because of
your accident! Nothing you do
can fix what you've done. NOTHING!

Mark gasps, closing his eyes.

When he opens them back, Haley is gone. Just an

illusion. Mark takes some deep breaths.

Mark notices that the young inmate opposite him is staring

at him fearfully. He looks back.

The young inmate nervously backs up into the corner of his

cell, and turns his head from Mark.

17 INT. VISITATION ROOM - DAY 17

The defense attourney, ERIC (40s, cheap suit) sits at a

table alone, tapping his feet nervously. Staring at the
door.

After a beat, an emotionless Mark opens the door, and

walks into the room.

ERIC
Mark! How are you, my friend?

Eric has a shit-eating grin on his face. After waiting a

beat for Mark to speak, he continues:

ERIC
I have good... No, great news.
You're free!

Mark looks bewildered.

MARK
What?

ERIC
You're free! Come on, let's get out
this place.

Eric jokingly gestures to get up, but sits back down when
he notices Mark's look.

ERIC
Just kidding. There's a mountain of
paperwork first.

MARK
What are you talking about?
 21.

ERIC
The CSI. He found issues with the
brakes on your car; more than enough
proof to suggest a delayed
activation.

MARK
The brakes worked fine. I drove that
car to work in the morning.

Eric covers his ears, jokingly.

ERIC
Shh! Let's calm down a bit, and act
like I was just drifting off for a
moment there. Listen... There's not
even a case here. Not against you.
Have you heard of the word...
negligence?

MARK
Yes.

ERIC
Well... Richie, your, quote on
quote, mechanic... Had a duty to
properly maintain your car. To
ensure it was safe to drive. He
failed that job, and thus he's
legally responsible. Ipso facto...
You're free!

MARK
(pained)
I don't understand... I, I..., um,
fell asleep at the wheel. How can I
be free?

ERIC
Because no district attourney in
their right mind would bother taking
this to trial. Just, uh... KEEP.
YOUR. MOUTH. SHUT.

18 INT. VICTOR'S HOUSE - NIGHT 18

Victor's house is an absolute mess. TISSUES, SNACK

WRAPPERS, and TAKEOUT CONTAINERS litter the floor.

No lights are on; we're lit only by the windows and the
light of a TELEVISION in the entertainment center.

On the living room couch, Alyssa and Victor lie in lazy

positions on different couches, staring at the television.

It's as if they haven't left this place in days.

 22.

A NEWS REPORTER shows on the television as Victor switches

channels. Victor stops switching and watches.

NEWS REPORTER (O.S.)

We now have an update on the highway
incident resulting in the death of
Sherri Higgins, a local financial
analyst. Mark Woods, the suspect,
has been cleared of all charges.
Crime Scene Investigators discovered
mechanical errors in the brakes of
Mr. Woods' car -- only days later,
the assigned District Attourney
agreed to drop-

Alyssa gets up and turns off the television by hand.

VICTOR
He's... he's not being charged?

ALYSSA
It... It wasn't his fault.

VICTOR
Like hell it wasn't! He drove right
into my goddamn wife!

ALYSSA
Dad... Please. Calm down.

VICTOR
Calm down?! The man who killed your
mother is now wondering the streets
after a goddamn slap of the wrist?!
You're ok with this?!

ALYSSA
Dad... Please. I know it's hard,
but... Accidents happen. Mom
wouldn't want you to be like this,
please... Just forget it.

A long beat. Victor looks menacingly at his daughter.

VICTOR
You... You just can't see it. The
universe, it revolves around one key
concept. Balance... Balance! He's
killed my wife. Your mother. Your
goddamn mother, Alyssa... I have to
set the scales right.

ALYSSA
STOP! Stop this bullshit! It was an
accident! Life isn't some fucking
(MORE)
 23.

ALYSSA (CONT'D)
game, sometimes bad shit just
happens!
(a beat, calms down a bit)
It... It doesn't always has to be
corrected. Sometimes... It can't
be fixed. This is one of those
times.

VICTOR
I'm impressed. The distance you're
going, to defend this man... Did you
not love your mother as much as I
thought you did?

A long beat. Victor and Alyssa look at eachother coldly.

ALYSSA
Don't do anything. For me.

VICTOR
Like I said, Alyssa... You'll
understand, eventually. Everything
has a price.

19 EXT. POLICE STATION - DAY 19

A quick TIME LAPSE of a shot of the station; night to

early morning.

Mark walks out of the station, a somber look on his face.

Brian and Haley are in a NEW SUV, parked by the curb.

Haley steps out the car and rushes to hug him.

MARK
New car?

HALEY
The old one broke down on us.

Haley smiles. Mark smiles back; it seems only slightly

forced.

Mark speaks with a cheery, upbeat tone; also slightly

forced.

MARK
Oh I missed you...

They kiss (Mark initiates).

HALEY
Wow, here? In public? Jail must have
changed you.
 24.

MARK
Yep. It just... Cleared my mind. Let
me know what's important.

Brian stares at the wheel in the drivers seat; letting

them have their moment.

HALEY
Mark... I missed you. So much. Why
the hell didn't you let us visit?

MARK
Sorry about that. I just... I was in
a rough spot.

A beat.

HALEY
It wasn't your fault. You know that,
right?

Mark's cheery mood breaks for a beat, but comes back in

full force.

MARK
Of course! Accidents happen. I've
done my mourning... It's just
something I have to live with. It'll
take some time, but... what can I
do, but try to move on?

Haley smiles, but her eyes show that seems concerned. Mark
picks up on the nuance.

MARK
Haley. Seriously... I thought about
it. It sucks. Someone died. But
there's a reason I'm walking out
of here, right? Come on. Don't make
me feel guilty. Let's start
rebuilding.

Haley's doubts alleviate. She smiles again, this time

completely genuine.

HALEY
Sorry. You're right... We have to
move on. Let's get in.

Mark and Haley both step in the backseat of their new SUV.

20 INT. NEW SUV - CONTINOUS 20

Mark continues to speak upbeat and cheerily while talking

with Brian.
 25.

BRIAN
Mark! What's up, man?

MARK
I'm good, dude! How've you been?

BRIAN
Hey... you know it wasn't your
fault, right?

MARK
Dude. Of course I know. Come on...
Let's not talk about this now.

BRIAN
Listen. This shit fucking happens
man. Trust me, you'll get over it
eventually. There's a reason you're
walking out right now. Everybody
knows you're innocent.

MARK
Come on, come on... I'm fine.

BRIAN
Dude. Nobody on Earth would be fine
after that shit. You'll see a
therapist. Trust me on this.

MARK
Man... I don't need a therapist. I'm
not crying right now, am I?

BRIAN
Don't be insecure. It's a bad look.
We'll talk about it at home.

Brian starts the car.

BRIAN
Oh shit, almost forgot!

Brian pulls out his phone, and starts tapping speedily.

BRIAN
I got the perfect song for the
occasion.

Suddenly, FIRST DAY OUT by Kodak Black blasts at

full-volume, scaring the hell out of Mark and Haley.
(Note: This can be changed to any of the numerous "First
Day Out" hip-hop tracks)

Brian turns it down to a regular volume.

BRIAN
Shit. Sorry.
 26.

Haley looks frustrated at her brother. The CAR SPEAKERS

blast the first words of First Day Out: First day out,
Gave my mama hundred racks..

21 INT. VICTOR'S HOUSE - HOME OFFICE - DAY 21

Victor walks into an elegant home office. He sits down at

a COMPUTER DESK, and opens a browser on his computer.

GOOGLE is open now. He searches the words: "Mark Woods",

and presses enter.

Mark's LinkedIn pops up, but nothing else; profiles of

other people named Mark Woods show up in the search
results.

Victor clicks the link, and see's a fairly barren profile

page on LinkedIn.

He sees:
- The title, "QA Engineer @ LoverLink".
- A boring headshot of Mark smiling.
- Cringeworthy LinkedIn reposts of Mark's friends boasting
obnoxiously. We see that Mark liked a post from Brian a
few months back: "Recently, I've become a certified SCRUM
Master...".

We see a menacing look in Victor's eyes.

22 INT. LOVERLINK OFFICE - DAY 22

Victor walks into the LoverLink office, and finds himself

at reception. The receptionist, JANINE (40s), glances at
him.

VICTOR
Hello... I'm looking for a Mark
Woods, a QA engineer here?

JANINE
Hello. I'm sorry sir, do you have an
appointment?

VICTOR
No, I just... I really need to speak
to a Mark Woods. I have an issue
with my QA, and I was advised to
come here and speak to him.

JANINE
Sir... Mark doesn't work here
anymore.

VICTOR
Damn it...
 27.

JANINE
If you'd like, I could set up an
appointment for you with one of our
other staff members.

VICTOR
No, no... I need to speak with Mark.
He's the only one that can help.
Listen... You wouldn't happen to
have his address, would you?

JANINE
Sir, I'm unauthorized to give you
that information.

Victor notices Janine's name on a NAME PLATE: "Janine

Wallace".

Victor takes a look around; office is pretty empty. A few

WORKERS at desks nearby, all glued to their screens.

Victor lowers his voice slightly, to make sure only Janine

can hear.

VICTOR
(sweet-talking)
Janine, Janine... How much do they
pay you here?

JANINE
Sir, please. I don't want to call
security.

Victor pulls out his wallet. He pulls out two HUNDRED

DOLLAR BILLS, which Janine notices. For a moment, it's
tempting; but she keeps control of herself.

VICTOR
Listen, Janine... I need one little
piece of information. Mark Woods'
address. I'm willing to pay for that
information. Now, come on... Tell
me, what do they pay you?

JANINE
$21 an hour.

VICTOR
These goddamn tech companies, huh?
You're the most important person in
this building and you're making a
quarter of what these other idiots
staring at screens all day are
making.

Janine sighs; she agrees with him.

 28.

VICTOR
Let's see... $21 an hour. You work
full-time?

JANINE
I do.

(Note: The following part assumes we're located in

Seattle.)

VICTOR
Let's see... No state tax at least,
huh?

Janine smiles at him.

VICTOR
An 11% federal tax though. Maybe an
8% insurance... You're taking home,
just under $700 every two weeks,
yes?

JANINE
That's about right.

Victor pulls out more five more HUNDRED DOLLAR BILLS from
his wallet.

He flashes the money at Janine, smiling.

VICTOR
$700. Two weeks of your hard work.
Nobody will ever know, Janine. It'll
be our little secret.

Victor smiles.

Janine, for a beat, contemplates. She looks longingly at

the money.

She extends her hand.

23 INT. VICTOR'S HOUSE - LIVING ROOM - DAY 23

The house is just how we left it; still a mess.

Alyssa walks into the room. She's wearing new, clean

clothes, and has somewhat moist hair. Clearly taken a
shower.

She looks around the living room, and she sighs when she
sees her father isn't there anymore.

Panicked, she runs into...

 29.

24 INT. VICTOR'S HOUSE - ALYSSA'S ROOM - CONTINUOUS 24

Her room. It's a simple bedroom - we see MOVIE POSTERS

hanged on the walls and a computer desk with a PINK LAPTOP
laying on top.

On the laptop, we see a PAUSED YOUTUBE VIDEO from a LOCAL

NEWS CHANNEL: it's about Mark getting off with no charges.

She rushes to pick up her PHONE, laying on a bedside

table. She unlocks it, and dials a number. After a beat,
it answers.

ALYSSA
Dad?

VICTOR (V.O.)
Oh. Hi, honey.

ALYSSA
(frantically)
Where'd you go?

VICTOR (V.O.)
Sweetie... Please. Just calm down.
I'll be back before you know it.

ALYSSA
Are you... are you going to take his
soul?

A long beat. Victor sighs.

VICTOR (V.O.)
Remember what I said about balance?
Please. You'll understand it all
eventually. Just relax, Alyssa --
everything will be okay.

ALYSSA
No. I... I want to be there. You're
right. If that fucker won't rot in
prison, this is the next best thing.

VICTOR (V.O.)
Language, honey. And... Come on.
You don't need to see this Alyssa.
Go shopping to take your mind off
things. The mall should still be
open for another hour or so.

ALYSSA
She was my mother! I deserve to be
there and watch justice be served
just as much as you!

Another long beat.

 30.

VICTOR (V.O.)
Okay. Fine, just... Ok. I'll text
you the address, be there as quick
as you can.

25 INT. MARK AND BRIAN'S APARTMENT - MARK'S ROOM - NIGHT 25

Haley sits alone at a desk, a somber look on her face.

She's looking at a REDDIT THREAD in the local city

subreddit, about the crash. We see several comments,
including:

- "It says they found spilt coffee all over his car. Makes
you wonder..."
- A reply to the above, stating "yep. coffee at 6pm? dick
probably shouldn't have been driving in the first place."
- From the account, martin58: "Damn it. I worked with her.
A bit tough at times, but I'd never have wished for
this..."
- A heavily DOWNVOTED comment: "And this is why we need
segregation."

Haley clicks the REPLY BUTTON on the last comment, but

after a beat, sighs and just closes the laptop.

We hear a TOILET FLUSH from somewhere else in the

apartment.

For a beat, she sits alone, taking deep breaths.

RING! Someone rings the doorbell. Haley steps out of her

room, to:

26 INT. MARK AND BRIAN'S APARTMENT - LIVING ROOM - CONTINUOUS 26

We notice a ZIPPED BACKPACK on the floor, right by the

door.

Haley opens the door. We see Victor on the other side,

groomed and well-dressed.

VICTOR
Hello there. I'm looking for Mark?

Haley looks at him questioningly. She seems to analyze his

face.

HALEY
Hi. Do I know you? I... I think we
may have met.

A beat. Victor contemplates.

VICTOR
My name is Victor Higgins. Sherri
(MORE)
 31.

VICTOR (CONT'D)
Higgins, my wife... She's the one
that passed in the accident.

Haley looks horrified.

HALEY
Oh my god... I'm so sorry...

VICTOR
I wanted to... I wanted to talk to
him. I... I wanted to forgive him.

HALEY
Of... Of course. Please, come in.
Mark ran out a second ago, but I'll
call him. He'll come back for this.

Haley steps aside, letting Victor in.

HALEY
Please, sit down.

She gestures to the couch. Victor sits down.

We hear a TOILET FLUSH in the back.

HALEY
I'm Haley.
(painfully)
I'm... I'm Mark's girlfriend. Can I
get you anything?

VICTOR
No, thank you. I just... I just
really would like to speak to Mark.

HALEY
Right. I'll call him now.

She pulls out her phone from her pocket. She dials a
number, but after a long beat of calling, it stops. Nobody
picked up.

HALEY
Shit... He's not picking up. Now, of
all times...

VICTOR
Thank you for trying. I.. I can come
another time. What time do you think
he'll be home?

Victor starts to get up.

 32.

HALEY
No, please... Stay. For a couple of
minutes. He doesn't have anything
planned; I'm betting he just got a
coffee across the street or
something.

Another beat. Victor contemplates.

VICTOR
Sure.

Victor sits back down on the couch.

We hear the SHOWER start to run in the back.

VICTOR
That's not him in the shower, is it?

HALEY
Sorry, no... That's just my brother.
Brian. He lives here too.

Victor looks disappointed.

VICTOR
Ah.

HALEY
Are you sure you wouldn't like
anything? Tea? Anything to eat?

VICTOR
No... Thank you.

HALEY
Victor... I really can't express how
sorry I am. That was such a... a
horrible accident.

Victor grunts. It's subtle, but Haley notices.

HALEY
I'm sorry. I shouldn't have
mentioned it.

VICTOR
That's alright. You said you were
his girlfriend?

HALEY
Oh... Uh, yeah.

VICTOR
How's everything going?
 33.

HALEY
It's tough. The accident... It kind
of messed everything up.

VICTOR
Is the love there?

Victor's voice sounds greedier with every word.

HALEY
Of course. It's there, alongside a
whole bunch of other things...

VICTOR
Do you think he thinks the same?

A beat. Haley looks questioningly, but decides to give an

answer.

HALEY
I'd be... very surprised if he
didn't. You have a daughter, right?
Alyssa? I saw her in all those
articles... She's beautiful. Is she
doing okay? Maybe we could all have
dinner one day...

VICTOR
How long have you two been dating?

HALEY
Maybe... Two years at this point?
I'm not sure...

VICTOR
Is he... seeing any other women?

Haley looks uncomfortable.

HALEY
I'm... I'm sorry?

VICTOR
I asked you... Is he seeing any
other women? Are you the only woman
he's dating?

HALEY
Yes, I am.

An awkward beat.

HALEY
Who knows where Mark might be... How
about you give me your number, and
I'll pass it along to him when he
gets here?
 34.

VICTOR
That's quite alright. I'll be on my
way now.

Haley lets out a very subtle sigh of relief.

Victor stands, and walks towards Haley. He extends his

hand.

Haley shakes it. After a beat, she starts trying to break

free; Victor holds a firm grip.

HALEY
Victor? You can let go now...

VICTOR
I'm sorry. It's not fair to you. But
the scales have to be balanced.

HALEY
W-what are you doing...

Her voice grows fainter with every word. She struggles to

keep on her feet.

VICTOR
Come with me, Haley.

Haley's knees drop; she's desperately trying to break free

from Victor's grip. No success at all.

VICTOR
Here... Relax.

Victor pushes her lightly onto the couch. She lays down.

After a beat, her eyes close, and she seems to go

unconcious.

Victor looks at her with a remorseful, prideless look.

He leaves the apartment.

We FADE TO BLACK.

SUPER "15 MINUTES EARLIER"

We now see Mark, alone in the kitchen. He's holding an

unzipped BACKPACK (the one we just saw by the door) in one
hand, and looking through drawers with the other.

We can't see exactly what the backpack holds.

After a beat, he pulls out a handful of DIFFERENT

MEDICINES and lays them on the counter.
 35.

He picks through them; examing them individually. He sees

a pack of COUGH DROPS, and different containers of ADVIL,
TYLENOL, and VITAMIN SUPPLEMENTS.

(note: These can be swapped; what's essential is that

these are relatively harmless substances; impossible to
overdose on.)

He lets out a disappointed sigh.

Brian walks past him, a TOWEL and CANDLE in his hand.

Mark quickly shoves the medicines back into the drawer.

BRIAN
(casually)
The usual.

Brian walks into what can only be the BATHROOM.

Mark sighs; relieved.

He zips the backpack, and puts in on his back.

Mark starts to walk around the apartment; looking around.

As if it was his last opportunity to do so.

After a beat, we hear KNOCKING on the door.

Mark answers to find Alyssa standing on the other side,

looking disheveled.

ALYSSA
Mark? We need to leave. NOW!

MARK
What? Who are you?

Alyssa, for a moment, looks frustrated. She contemplates.

ALYSSA
Someone's... someone's chasing me.
Trying to hurt me. Please, I need
your help.

MARK
Okay, okay. Come in.

Alyssa grunts.

ALYSSA
PLEASE! We need to get out of
here! I'm in danger!

She looks absolutely hysterical.

 36.

MARK
Come in! You'll be safe here!

Another beat.

ALYSSA
He... He knows I'm in the building.
He has a gun. We've got to go!

Mark contemplates for a moment. Confused.

Mark sighs, and nods. He leaves the backpack by the door.

They both leave.

27 EXT. DOWNTOWN - NIGHT 27

Mark and Alyssa run out of the apartment building. Alyssa

looks frantic.

ALYSSA
There.

Alyssa gestures to a CAFE on the opposite end of the

street. Mark looks confused.

28 INT. CAFE - NIGHT 28

An elegant-looking cafe. Mostly empty.

We see Mark and Alyssa sitting in the far back corner;

Alyssa has a clear view of any entrances.

MARK
What do you need? Should I call the
cops?

ALYSSA
Forget that. I'm not in danger,
Mark. You are.

Mark chuckles.

MARK
How am I in danger?

ALYSSA
Do you know who I am?

MARK
I don't.

ALYSSA
Right. You probably wouldn't have
seen all those articles in jail.

Mark looks confused. He looks at Alyssa's face.

 37.

MARK
Articles? Are you... Are you her
daughter?

ALYSSA
Yep.

Mark sighs, depressed.

MARK
I'm... I'm so sorry. You have every
right to... to do whatever you want
to me. It... It should have been me.
I was the one who cau-

ALYSSA
Mark... I'm not the one putting you
in danger. I want to protect you.
Listen, my father... He can take
souls away from people.

MARK
What?

ALYSSA
He can take souls away from people.

Mark chuckles again.

MARK
What do you want from me? Money? I'd
rather not... do all this.

Mark's phone rings from his pocket. He pulls it out.

Alyssa snatches it from him. She immediately SILENCES it;

letting the call buzz, but muting the sound.

MARK
What the hell?!

ALYSSA
You have to listen to me. He's on
his way now, if he's not already
there. He wants your soul.

MARK
Can you stop, please?!

ALYSSA
Quiet. Please, just... You owe me,
right? Just... play along for now.
Do you know about those homeless
men, found unconcious, unable to
wake up?
 38.

MARK
Sure. But I grew out of being a
conspiracist a long time ago.

ALYSSA
That's him. Pitying those who he
deems don't have lives worth living.
I don't know what he does exactly,
but I know he has some... some
control over the souls he takes.
Like, he can give them peace... or
just torture them, endlessly. For
you... It'll be the latter.

MARK
So your father... He wants to put me
in hell?

Mark chuckles again.

MARK
Okay, come on. Relax. It's just
probably some new drug or something
they haven't bothered researching
yet, because... you know, the only
people who died are homeless. I'll
be fine.

Mark gets up from his booth.

ALYSSA
Mark... Look me in my eyes. I'm
telling you the truth.

A long beat. Mark's smile fades as he looks into Alyssa's

deeply serious eyes.

MARK
Fuck... I need to go back.

ALYSSA
What? Mark... He might be there,
right now. You can't go.

MARK
My friends.

Mark is running to the door, Alyssa following behind him.

29 EXT. DOWNTOWN PARKING LOT - NIGHT 29

Victor walks over to his red sports car, and leans over on
it. A subtle, satisfied look on his face.

He takes a quick look around him.

 39.

He pulls out his phone, and opens the MESSAGES app. We see
TEXT BUBBLES between him and Alyssa now, they're several
months old.

At the top of the screen, we see a message from Alyssa

from a year ago. "Dad... I know it was you. I saw it on
the news. You need to stop.". Victor replied "We'll talk
later".

Victor's most recent message, "Are you close?" from 30

minutes ago, has a read receipt. But no response.

Victor clenches his fist, and grunts. Realizing he's been

made a fool.

He chuckles.

30 INT. MARK AND BRIAN'S APARTMENT - LIVING ROOM - NIGHT 30

We see Brian walk out of his room, his hair wet, wearing a
new set of clothes.

We still see the BACKPACK by the door; untouched since

Mark left it.

He walks in the living room to find Haley laid on the

couch.

Brian sighs. He lifts her up gently, and carries her o.s.

to Mark's room.

He walks back into the living room, and lays down on the
couch.

He smiles when he sees Steven Universe on the television.

31 INT. MARK AND BRIAN'S APARTMENT - LIVING ROOM - NIGHT 31

Brian sits lazily on the couch, watching the subsequent

episode of Steven Universe.

Mark and Alyssa come in through the front door. Both

sweating.

MARK
Brian?! Brian, are you good?

Brian looks confused.

BRIAN
Uh... Yeah, I'm alright. Who's this?

MARK
Listen, did someone come in here
earlier? Looking for me?
 40.

BRIAN
Someone rung the bell while I was in
the bathroom. Ask Haley.

MARK
Where is she?!

BRIAN
Your room, dude. Relax. She fell
asleep watching some Steven.

Alyssa's eyes widen; internalizing what may have happened.

Mark runs over to his room, Alyssa promptly following.

32 INT. MARK AND BRIAN'S APARTMENT - MARK'S ROOM - CONTINUOUS 32

Mark and Alyssa see Haley lying straight on her back in

bed. A BLANKET covers half her body.

Mark walks slowly to her, taking deep breaths.

MARK
Haley? Haley?

No response.

Mark tries again, putting his hand on her cheeks. He rubs,

gently.

MARK
Haley?! HALEY?!

No response.

He shakes her, with a mild amount of force.

MARK
Haley! Wake up! Wake up, now!

ALYSSA
MARK! It's... Fuck. Fuck! FUCK! He
did it. To her.

Mark falls apart on the bed.

Brian walks into the room, having heard the noise.

BRIAN
What's going on?

ALYSSA
Haley, your friend... She needs
help. Call an ambulance. NOW!

BRIAN
What?!
 41.

Brian pulls out his phone and immediately makes the call.

CLOSE IN on Alyssa's voice while Brian desperately makes

his call.

BRIAN
Hello?! I need an ambulance,
immediately! My sisters in trouble!
I need an ambulance, NOW!

Brian's voice DROWNS OUT as we focus on Alyssa's

desolate face.

End Act Two

 42.

Act Three

33 INT. MARK AND BRIAN'S APARTMENT - LIVING ROOM - CONTINUOUS 33

Haley is being escorted out on a stretcher by EMTs while

Alyssa, Mark and Brian watch horrified.

EMT #1
You... You can all ride along with
us.

BRIAN
Tha-

ALYSSA
No. We need to stay here, right now.
We'll visit in the morning.

BRIAN
I'm going.

MARK
Brian. Please... Listen to her.

The EMT looks confused.

EMT #1
Okay. She'll be in Bordeaux, about
15 minutes away. I wish you all the
best, I'm very sorry about what
happened.

The EMTs all leave with Haley.

BRIAN
What... What happened? Why couldn't
she wake up?!

ALYSSA
Her soul was taken from her.

BRIAN
What the FUCK are you talking
about?

Brian is frantic; enraged.

MARK
Brian, she's... she's right.

BRIAN
Who the fuck is this Mark?! What did
she tell you?!

ALYSSA
Listen. My name is Alyssa. My father
(MORE)
 43.

ALYSSA (CONT'D)
came to your apartment, and... He
took your friend's soul.

BRIAN
My friend?! That was my sister!

ALYSSA
I'm sorry. Your sister. He... He
must have thought of it as...
revenge.

BRIAN
Revenge?!

ALYSSA
My father, Victor Higgins. His wife
was the one that died in the
accident... My mother. Listen... We
can get it back. Your friends' soul.

MARK
What?! How?!

ALYSSA
We just need him to touch Haley.
That's it. He... He used to use it
on patients when he would operate.
His version of an anasthetic.
That's all we need to do.

Mark looks at Alyssa suspiciously.

BRIAN
What the fuck is wrong with you?
Mark, please... Tell me you're not
buying this bullshit.

MARK
She... she said this could happen.
That he could take souls. The same
thing happened to those homeless men
on the news.

BRIAN
Fuck! Fuck... Of course you believe
in this shit. You fucking moron,
can't see that this family is
fucking with you. They drugged your
goddamn girlfriend... And you're
playing along with it? Fuck you!

This ignites Mark.

MARK
What the fuck else should I do?! I
(MORE)
 44.

MARK (CONT'D)
don't see what other choice we have,
Brian!
(a beat)
Listen... Just calm down. Please.

BRIAN
CALM DOWN?! MY SISTER GOT.. ROOFIED,
AND YOU WANT ME TO CALM DOWN?! NONE
OF THOSE HOMELESS MEN EVER WOKE UP,
MARK!

MARK
You have to calm down! Listen.
Alyssa just said it. All we have to
do is one thing. Have Victor touch
Haley. Simple, right?

He leans towards Brian, and speaks in a hushed tone so

Alyssa can't hear.

MARK
(hushed, to Brian)
Listen... If it turns out to be
bullshit, we'll do whatever you
want. But right now, she's our only
hope...

Alyssa looks at Mark suspectingly, almost angrily.

BRIAN
You're just... Such a fucking idiot.
I can't believe it. Souls?! Since
when have you been religious...

Brian looks at Alyssa.

BRIAN
I'm going to the hospital. For the
sake of you and your father.... You
better hope my sister is okay.

Brian walks out of the apartment. We hear his steps as he

goes down the stairs.

MARK
Fuck... Fuck. You're... You're sure
about this, touching stuff, right?

ALYSSA
I'm certain.
(a beat)
We... We need to get out of here.
Grab what you need.

Mark looks at Alyssa, almost suspciously for a beat. He

nods.
 45.

MARK
Sure. Give me a minute.

Mark walks to the door, and picks up the BACKPACK he left;

in the same spot.

He unzips it, and empties its contents onto the floor; we

can't see exactly what they are.

Mark walks O.S. into his room, empty backpack in hand. He

makes sure to close the door behind him.

Alyssa sighs.

ALYSSA
(mumbling)
Fuck...

After a beat, we hear Alyssa's phone RING. Victor is

calling her.

Alyssa hesitates. But after a beat, picks up.

ALYSSA
Dad?

VICTOR (V.O.)
My own daughter. My own goddamn
daughter.

ALYSSA
Dad... Please. Give that woman her
soul back. She did nothing.

VICTOR (V.O.)
So... Your mother must have deserved
what happened to her then, no? Of
course you're like this. Working
against your own father. Against
your mother! All for some... some
murderer.

ALYSSA
You know that she wouldn't want
this!

VICTOR (V.O.)
I wouldn't know at all. I can't
know. Heh... A single man kills my
wife, and now turns my own fucking
daughter against me. And here I
thought, the scales were balanced...

ALYSSA
They're not balanced as long as that
poor woman has no soul!
 46.

VICTOR (V.O.)
They're not balanced because justice
hasn't been served. Not yet.

ALYSSA
Just stop this! Sto-

VICTOR (V.O.)
Sweetie... Do you know the extent of
my capabilities?

ALYSSA
What?

VICTOR (V.O.)
You... you need rehabilitation,
Alyssa. I can provide that to you.
Your soul... It will heal with me.

ALYSSA
What... I don't want you to take my
goddamn soul!

VICTOR (V.O.)
I'm offering you a choice here,
Alyssa. Rehabilitation... It can be
a pleasant, peaceful experience.
Or... It could be like a withdrawal.
Endless suffering. Maybe that's
what you need to see clear.
(a beat)
Come home, Alyssa. Bring that man.
And your rehabilitation will be
painless. There's nothing you can do
for him, I'm afraid...

A long beat; Alyssa looks scared shitless.

VICTOR (V.O.)
Sooner or later, Alyssa. You can't
run forever.

Victor hangs up. Alyssa looks very distressed.

We PAN DOWN to the floor; we now see what Mark emptied out
from the backpack.

We see TWO BOTTLES OF BEER, and a very thick SLICE OF

PIZZA with a bunch of different toppings, wrapped in a
ziplock bag.

34 INT. HOSPITAL - HALEY'S ROOM - NIGHT 34

Haley is laid on a hospital bed, in a coma.

Brian opens the door and enters; they're alone.

 47.

BRIAN
Haley? Haley?

He approaches her.

BRIAN
It's me. Brian.

He rubs her cheek.

BRIAN
Please, Haley... Wake up.

Tears start to fall from his eyes.

BRIAN
(sobbing)
Wake up, Haley! Wake up! I'm here!
Your big brother!

Haley doesn't move an inch.

35 INT. CHERIBON HOTEL - ROOM - NIGHT 35

A modest, double-bed hotel room. Alyssa and Mark walk in;

Mark carrying the completely full backpack.

ALYSSA
Listen... He's coming for you. And
me. We can't afford mistakes. You
need to take this seriously.

MARK
I, I know. I am. I just... This
doesn't seem possible. How can we
get him to touch Haley, when she's
in the hospital?

ALYSSA
I... I don't know. It'll be hard,
but... It's possible. We just need
to do this one thing, and your
friend will have her soul back.

MARK
Girlfriend.

ALYSSA
Right. Girlfriend.

Mark sits down on one of the beds. He looks displeased,

unsure if he's made the right decision.

ALYSSA
Your friend, Brian? Is he... Do we
need to worry?
 48.

MARK
He's... He's not like this. Not
usually. Just... Stay vigilant.

36 INT. MARK AND BRIAN'S APARTMENT - LIVING ROOM - NIGHT 36

The lights are off now; the apartment is empty.

After a beat, the door opens. Brian walks in and turns on

the lights.

His eyes are puffy. He looks manic.

We can see he's holding a BAG very clearly holding a BOX,

which he places down on a table.

He pulls out the box from the bag, and places it on the
table.

We can't see what, but Brian opens the box and pulls out
something small out of the box.

CLOSE IN on the open box.

We hear Brian fiddle with something metallic.

We hear what's clearly a MAGAZINE being slammed into a

HANDGUN.

37 INT. VICTOR'S HOUSE - HOME OFFICE - NIGHT 37

Victor lays down a laptop on the desk. We can see that

it's the same PINK LAPTOP we saw earlier in Alyssa's room.

He opens it, and TYPES and CLICKS for a beat. We can't see
what he's doing.

After a beat, Victor lets out a sigh.

We now see what's on the screen: ALYSSA'S TRANSACTION

HISTORY.

We can an alarming amount of transactions at fast-food

restaurants and candy shops. All made in the past couple
of weeks.

At the top, we see the most recent transaction.

$90.00 at the CHERIBON HOTEL.