TBD*
 
 
 
written by
 
 
Brett Goodfarb
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
bgoodfarb@gmail.com
FROM BLACK:
We hear the sound of meat being cut...
Suddenly:

INT. KITCHEN -- NIGHT

Really late night. Suburban home. Silence.
FROM BEHIND: a DISHEVELED MAN sits hunched in front of a
corpse. Sawing at it with a kitchen knife.

CHARLOTTE ANDREWS(early 20s female)lays dead on the kitchen

floor.
The CAMERA slowly TILTS UP to reveal: the MAN has cut off her
head. He stands and admires...
Then -- with his knife. He smears a K on the tile in blood.

INT. HALLWAY, NEWS BUILDING-- DAY

Long narrow hallway with lots of windows.
Veteran reporter ROBERT WOODS(early 40s male), short hair,
well-dressed, WALKS while TALKING with his boss, GEORGE
KILLIAN(early 50s male).
ROBERT
Oh my god yes, I have it done.
GEORGE
All--
ROBERT
All of it. The water leaks,
homeless killings, arrests,
burglaries, all of it. Even the
damn rain chances.
GEORGE
I'm just--
ROBERT
--making sure. Yeah I get it. Let
me do my job so you can keep yours.
They make it to a large double door.
GEORGE
Hey, Robert. Motto?
 2.

Robert flings the door open with his shoulder, facing George.
ROBERT
"Let's make magic".
GEORGE
Be Houdini today, alright?

INT. CUBICLE -- DAY

The newsroom bustles with activity.

Focus on: A cramped cubicle. Hundreds of Post-it notes are stuck

on the walls. A lone laptop and a WORLD'S BEST WEATHER REPORTER
MUG decorated with a cartoon smiling globe giving two thumbs up
sits on a messy desk.

Robert sits at the desk, lazily scribbling notes in his notepad.

SOPHIE MILLER(mid-20s, female), a young sharp-witted columnist,

leans casually against the adjacent cubicle wall.

ROBERT
Sophie. Great timing. My coffee was
just running low.

While still scribbling, he grabs his mug from his desk and holds
it up, expecting her to take it. She doesn't.

SOPHIE
You need to see this.

ROBERT
What is it?

He lowers the mug back down. Sophie tosses a MANILA ENVELOPE onto
the desk. Robert picks up the already opened envelope.

ROBERT (CONT'D)
(re: envelope)
What is this?

SOPHIE
It's addressed to you directly.

ROBERT
You're snooping in my mail? Seriously?
I'm going on air in 3 hours with
nothing, and you give me fan mail?

SOPHIE
Just open it, Rob.

Robert opens the envelope. Inside is a LETTER - addressed to MR.

ROBERT M. WOODS. His eyes widen as he reads.
 3.

ROBERT
Dear Mr. Robert M. Woods. You do not
know who I am but I know you and I
know what you have done.

SOPHIE
What you have done?
ROBERT
What I propose is this: I will give
you news to cover in exchange for your
cooperation. If not, everything will
be revealed.
(beat)
No signature. Just a letter. "K".
(pause)
What the hell is this?

SOPHIE
I don't know.

ROBERT
Did you see who sent it?

SOPHIE
Nope. No return address either. It
could just be a prank.

Short silence.
SOPHIE (CONT'D)
What is the letter talking about?

ROBERT
I have no idea.
(beat)
You can't be taking this seriously
right? This a prank. A stupid one at
that.

Robert tosses the letter back onto the desk.

Sophie looks down as we push in on the signature:

-K

EXT. ROBERT'S HOUSE -- NIGHT

A well above-average house. A 1957 Blue Chevy Convertible pulls

into the driveway. Robert steps out.

He walks to the front door and unlocks it with a key underneath a

rock near the door.
 4.

He is greeted by SAM, his 6-year-old son, and his wife

KATHERINE(late 30's female).
SAM
Daddy!

Sam hugs his legs tightly. Robert tosses the keys onto the
counter.

ROBERT
Easy there, Sammy.
(to Katherine)
Hey.
(off look)
What's wrong?

KATHERINE
You're late.

ROBERT
Sorry, traffic.

KATHERINE
Glad you're back at least.

ROBERT
How's it going here?

KATHERINE
I got some dinner cooking. Should be
ready soon.

ROBERT
What's on the menu?

SAM
PIZZA!

ROBERT
(to KATHERINE)
Pizza?

KATHERINE
Is that okay?

ROBERT
It's perfect.

They kiss and he walks down the hallway.

INT. SAM'S BEDROOM -- NIGHT

Robert tucks Sam into his small bed.

 5.

ROBERT
Goodnight, Sammy.
He gives him a kiss on his forehead and walks out of the door,
turning off the lights as he leaves.

SAM
Night.

Silence.

We push in on Sam's door to reveal a small K roughly carved into

the corner.

INT. OFFICE -- DAY

A fancy glass office. In the center is a large oval table.
Editors and reporters sitting in every chair.
George sits at the head. Robert sits at the very edge, near a
large window.
GEORGE
So, today is a slow news day. No
death, at least any that are
interesting, no stock crash.
Nothing. That means we need to fill
time. What do we have?
REPORTER 1
What if we did a story on the
homeless problem?
GEORGE
Already been done.
REPORTER 2
What if we did a story about the
local wildlife infesting the parks?
GEORGE
Possible.
Silence.
GEORGE (CONT'D)
Come on guys. Give me more. I need
stories. Real stories. Where's the
magic? Don't make me point to the
sign.
He points to the sign above the door. It says: Make magic.
 6.

As he speaks his voice fades. Robert looks out the window

into the city.
He focuses on: a large KOHL'S ADVERTISMENT. Noticing the
large K.
He stares for a while. Not blinking. Suddenly:
GEORGE (CONT'D)
Rob. Rob!
Robert snaps back.
ROBERT
Sorry.
GEORGE
Do you have any stories you could
pitch?

EXT. LOCAL PARK -- DAY

Robert is shooting at a local park. Camera and mic pointed
directly at him.
ROBERT
--And that is why the locals in
this neighborhood are extremely
nervous about the supposed animal
uprising in the park. Crazy stuff
out here, guys. Back to you in the
studio.
Camera turns off and the operator puts the lens protector
back on. Robert GROANS.
Everyone walks back toward the NEWS VAN. Amidst the crowd,
appears Sophie. She walks towards Robert.
SOPHIE
Rob, you got a minute?
ROBERT
What's up?
SOPHIE
You know that letter you got a
couple of days ago?
ROBERT
The creepy one?
 7.

SOPHIE
Yeah, I've been thinking lately.
ROBERT
About what?
SOPHIE
The letter.
ROBERT
It's waisted energy to care about
that kind of stuff. If I bunkered
down every time I got a threat I
would look like a caveman.
(beat)
What are you doing here anyways?
Don't you have a shoot to get to?
SOPHIE
My story's right over there.
She points to a house. Police tape everywhere, officers
guarding, and a handful of news vans. One of them theirs.
ROBERT
Murder?
SOPHIE
Think so.
ROBERT
Lucky.
SOPHIE
What did you get?
ROBERT
Wildlife infestation.
SOPHIE
Sounds... exciting.
ROBERT
Doesn't beat murder. Who was it?
The victim I mean.
SOPHIE
Some 20-something-year-old from
Lincoln, Nebraska. Psycho cut her
head off and everything.
ROBERT
Her?
 8.

SOPHIE
I don't know. Charlotte something.
ROBERT
Charlotte Andrews?
SOPHIE
Yeah, how did you know?
ROBERT
(beat)
Lucky guess.
SOPHIE
Uhh... okay then. But,
apparently...
(off look)
Hey!
She snaps her fingers. Robert focuses again.
SOPHIE (CONT'D)
This is why I wanted to talk to you
in the first place. Apparently,
they found a K written in the
girl's blood on the ground.
The cameraman calls out to Sophie from the house:
CAMERAMAN
Sophie, we need you. Shoot is in 3
minutes.
SOPHIE
(to Robert)
I gotta go.
She walks off toward the crime scene. Leaving Robert in
shock. He stares off.

EXT. FIELD -- FLASHBACK -- NIGHT

A popular make out spot. Wide open field. No one around.
Younger Robert and Katherine sit in the same 1957 Blue Chevy
Convertible. Staring at the stars.
KATHERINE
I love this spot.
ROBERT
Me too.
 9.

KATHERINE
(beat)
My dad used to always warn me about
guys.
ROBERT
Yeah? What did he say?
KATHERINE
He said that guys were dumb.
ROBERT
Do you think I'm dumb?
KATHERINE
Yes.
ROBERT
(light-hearted)
Ouch.
KATHERINE
Don't be dumb.
They look at each other. Laughing.
Then -- a long but comfortable silence broken by:
KATHERINE (CONT'D) ROBERT
I love you. I love you.
ROBERT (CONT'D)
You go.
KATHERINE
(beat)
I've never said that before.
ROBERT
Me neither.
(beat)
I liked it.
KATHERINE
Loved it perhaps?
ROBERT
Maybe.
KATHERINE
(soft)
You are dumb. I love it.
Katherine leans in for a kiss...
 10.

INT. ROBERT'S CAR -- NIGHT

In his driveway, Robert sits in his car. Staring off.
A red Honda Accord pulls up next to him. It's Katherine.
KATHERINE
Did you just get back?
ROBERT
Uh... no. No.
Sam comes crawling to the driver seat window.
SAM
DADDY!

KATHERINE
(to Robert)
Want to come inside?
ROBERT
Yeah. Sounds good.
They all get out of their cars. Meeting each other by the
door.
KATHERINE
(whispering)
If something's not okay you need to
tell me.
They lock eyes.
KATHERINE (CONT'D)
I'm here for you, Robert.
Katherine unlocks and opens the door. They all flock in.

INT. CUBICLE -- DAY

Robert zones out. Sophie walks by and notices.
SOPHIE
Rob, what's up. Everything okay?
He jumps back to reality.
ROBERT
What? Do I not look okay?
SOPHIE
No, man.
 11.

ROBERT
Well, I am okay.
SOPHIE
Are you sure?
ROBERT
Yes.
Sophie sits on the edge of his desk.
SOPHIE
You can tell me if something is up.
I'm always here for you.
ROBERT
Thank you but, I'm fine. I swear.
SOPHIE
Pinky promise?
She holds up her pinky. Robert stares.
ROBERT
Really?
Suddenly, George comes from around the corner:
GEORGE
--Hey, Robert. You got all your
stories covered for today?
Sophie puts down her pinky.
ROBERT
(To George)
Yes, sir.
GEORGE
Cool. Because you need to cover
Rebeca's. She just had an
emergency. Second cousin died or
something. Anyway, just make sure
we won't have a blank spot at 3.
Got it?
ROBERT
Got it.
GEORGE
Motto?
ROBERT
Yeah, yeah, make magic. I got it.
 12.

GEORGE
Thatta boy.
George leaves.
ROBERT
(to Sophie)
I'm fine. I promise.

INT. LIVING ROOM, APARTMENT -- NIGHT

A brightly lit, small living room. A GIRL (early 20s) sits
typing on her laptop. Focused and typing away furiously. a
faint crash happens in the background.
The girl pauses the music and looks around. Nothing.
Suddenly -- BANG! A gunshot. Her head snaps back. A bullet
pierces her skull. Blood flies behind her on the wall.
Silence. The camera SITS on her corpse... Then -- We PAN to
reveal:
a MAN, face covered with a MASK. Cleaning a PISTOL.
We PAN with him as he walks to the body. The MAN takes out a
knife from his back pocket.
FROM BEHIND: He dices her up with his knife.
The man walks away after he is done. Music still playing.
We PUSH in on her chest: a single A carved into it.

INT. ROBERT'S CUBICLE -- DAY

Robert types away again... Then -- Sophie interrupts him:
SOPHIE
Hey, we got bad news.
ROBERT
What's up?
SOPHIE
There's another letter.

INT. MAILROOM -- DAY

Lines of cubbies with names on them. All the window curtains
are pulled down and the doors are locked.
 13.

Robert and Sophie stand alone. Robert holds the NEW LETTER.
ROBERT
(reading)
Dear Mr. Robert M. Woods. Hello
again. You did not take my first
letter seriously and so you face
the consequences. Charlotte Andrews
was innocent, but you brought her
into your world. You corrupted her
and ruined her life, yet the law
was never thrown down on you. You
escape free no longer. It all will
come crashing down. This is not a
warning shot.
(beat)
The rest is just the word shot
repeated about 50 times and an A as
a signature--
Sophie grabs the letter. Examining it herself.
ROBERT (CONT'D)
What the fuck is wrong with this
guy?
SOPHIE
I don't know.
ROBERT
This is insane.
SOPHIE
Who is Charlotte Andrews to you?
ROBERT
She was a friend. Just a friend.
That's all. This--
He rips the paper out of her hands.
ROBERT (CONT'D)
(re: letter)
This is horse shit.
He crumples the letter.
ROBERT (CONT'D)
I don't want you going through my
fucking mail either anymore, okay?
SOPHIE
Okay.
 14.

INT. GEORGE'S OFFICE -- DAY

A tidy office that looks over the city. George sits in his
chair typing up something on his computer, when Robert rushes
in.
ROBERT
Was Rebeca put on the murder in the
apartment? With the A?
GEORGE
I don't know. Why are you asking
me? Can't you look it up?
ROBERT
I've been here for over 20 years
and what some 20yr old from god-
knows-where gets to steal the best
stories?
GEORGE
Rob--
ROBERT
--Why did you give her the story? I
know you did, no one gets those
unless they get scoop from the
police.
GEORGE
You're right, I gave her the story.
ROBERT
Why?!
GEORGE
I don't know why. Does it matter
who covers what?
ROBERT
Yes! I'm the lead reporter. I'm the
main guy. Me! Not (an intern).
GEORGE
(over)
You wanna know what you lead?--
ROBERT
--the ratings. I lead the goddamn
state in ratings for (newscasters).
 15.

GEORGE
(over)
The only thing you lead right now
is the list of people who piss me
the fuck off. Get out of my office
and do your job. You have the story
now.
ROBERT
We can't. We can't! Give our best
stories to amateurs. That's what
bankrupt companies do.
GEORGE
Oh, so now you're giving me
business advise?
ROBERT
This is a once in a lifetime story.
Once in a generation. This would
make national news. The whole damn
country will see our city and our
news team.
GEORGE
See what exactly? The murders? The
high homeless rate? The rednecks?
ROBERT
See real journalism.
GEORGE
You need to make magic. Real news.
Not this, this pixie dust you're
passing off as professional
journalism.
ROBERT
You know where you can shove your
magic?
GEORGE
These are lives. The death of human
beings, loved ones. Journalism
isn't your play pen. You know
nothing about the news. This--what
you're doing--isn't news. This is
immature and it's childish. This
news channel will be run into the
ground by people like you.
 16.

ROBERT
I am this goddamn news channel.
(beat)
You know what you are?--
GEORGE
Get out.
ROBERT
--you're a horse gambler whos
bought the whole track but doesn't
know what to do with it. You have
everything at your disposal yet sit
on your ass. I don't see you in
front of the camera. I don't see
you waking up at 5am just to shot a
news clip that will only show for
10 minutes at most. I am this
goddamn news channel and before you
get rid of me, your best horse, you
better think about the Russian
roulette you are playing because
right now you've added another
bullet and it's only a matter of
time before that trigger is pulled.
He makes a gun with his hands and mimics shooting himself
while walking out of the office.

INT. NEWSROOM -- DAY

Robert storms angerly to his cubicle to collect his things.
Sophie and everyone else notices. Sophie walks up to him.
SOPHIE
Hey...Rob. Is everything okay? You
seem...
Robert ignores her.
SOPHIE (CONT'D)
Tell me what is going on.
He storms away.

EXT. APARTMENT -- NIGHT

Outside Sophie's apartment. Robert knocks on the door.
KNOCK KNOCK KNOCK! No answer. He rings the doorbell this
time. Sophie answers.
 17.

ROBERT
We need to talk.
SOPHIE
This late?
(off look)
Fine.
Sophie lets him in.

INT. SOPHIE'S APARTMENT -- NIGHT

He walks in and sits down.
SOPHIE
What's going on with you, man?
ROBERT
There's something I need to tell
you.
SOPHIE
What is it?
ROBERT
Charlotte Andrews.
SOPHIE
What about her?
Robert drops his head.

INT. APARTMENT -- FLASHBACK -- NIGHT

6 YEARS AGO. A cheap rental apartment. Empty pizza boxes and
beers everywhere.
The door handle shakes.
ROBERT (O.S.)
Fucking locks.
He eventually shoves the door open.
A slightly younger Robert walks in with a slightly younger
Charlotte.
ROBERT (CONT'D)
Welcome to my humble abode.
CHARLOTTE
Nice place.
 18.

ROBERT
You think so?
CHARLOTTE
Nah, I was just being nice. It's
alright.
Charlotte lies down on the couch and sets her purse on the
ground. Robert walks to the fridge.
ROBERT
Want anything?
CHARLOTTE
A million dollars and a beer.
ROBERT
I can get you one of those things.
CHARLOTTE
Which one?
He grabs two Heinekens from the fridge.
ROBERT
Guess.
CHARLOTTE
Well, you're not grabbing a
checkbook so I guess beer.
He hands her the beer and sits on the couch next to her.
ROBERT
Corretamundo.
CHARLOTTE
Correctamundo?
ROBERT
Fonzie?... The Fonz?... Arthur?
(beat)
Come on, you don't know who The
Fonz is?
CHARLOTTE
No.
ROBERT
You don't know Happy Days?!
CHARLOTTE
Clearly not, dude.
 19.

ROBERT
That's crazy.
CHARLOTTE
Am I supposed to know who or what
that is?
ROBERT
Only one of the greatest sitcoms of
the 70's and maybe all time. My dad
and I used to watch it all the
time. Loved the hell out of it.
CHARLOTTE
(soft)
Whatever, old man.
ROBERT
Old man?
CHARLOTTE
You heard me.
ROBERT
(laughing)
Whatever.
He grabs the remote from the coffee table and turns on the
tv. On the tv is him talking about the weather.
CHARLOTTE
God, you look awful.
ROBERT
Thank you. You're just so kind
tonight aren't you?
Charlotte looks Robert in the eyes. He stares back.

INT. BEDROOM -- FLASHBACK -- NIGHT

Both lying in a large queen bed. Charlotte is naked and
asleep.
Robert stares at the ceiling...
Then -- He quietly gets up in his underwear and walks to the
door.
 20.

INT. LIVING ROOM -- FLASHBACK -- NIGHT

Robert turns on a light. He searches through her purse and
finds a driver's license.
He reads it:
CHARLOTTE AVERY ANDREWS
DOB 11/25/2000
ROBERT
(whispering)
Fuck.

EXT. GAS STATION -- NIGHT

An old gas station in the middle of nowhere. Pitch black.
A 2004 Silver BMW pulls into the gas station.

INT. BMW -- NIGHT

A MAN puts on SURGEONS GLOVES and pulls out a gun from the
glove compartment. He cocks it and steps out.

INT. GAS SATION -- NIGHT

The GAS STATION ATTENDENT(early 30s male)sits at the register
distracted on his phone.
He hears the bell chime as the door opens. He puts his phone
away.
GAS STATION ATTENDENT
Hey. Can I help you with anything
today?
THE MAN walks over with his hands in his pockets.
THE MAN
Yeah, actually, you can.
He pulls out the gun and...
 
INSERT: NEWS CLIP OF ROBERT STANDING INFRONT OF THE GAS
STATION HOLDING A MICROPHONE.
 21.

ROBERT
I'm here at the scene of the gas
station shooting off West Ocesto
Street. From what the police have
reported, it appears, the attendant
working here was found shoot to
death. Police have also reported
that their was a T shape on the
ground made out of the attendants
limbs. No suspect has been
identified yet. Truly horrific
stuff here, guys. Back to you at
the studio.

INT. ROBERT'S CUBICLE -- DAY

A NEW LETTER sits on Roberts desk. Robert isn't at his desk.
We push in on the signature of the letter: -T

INT. BAR -- NIGHT

Sophie and Robert sit at a booth in a crowded bar. Both
buzzed.
ROBERT
What does this guy want more than
anything?
SOPHIE
Power?
ROBERT
Atten--power? No--attention. He
wants attention.
SOPHIE
And power.
ROBERT
Whatever. But, what he doesn't
realize is that he messed up.
SOPHIE
Messed up? What do you mean messed
up?
ROBERT
This.
Robert pulls a zip lock bag out of his pocket and holds it
up. Inside is: a bloody surgeon glove.
 22.

SOPHIE
Do you just have that on you at all
time?
ROBERT
 
I borrowed it from the police.
SOPHIE
"borrowed"?
ROBERT
This thing could be the clue.
He pulls out a note pad and pen from his pocket.
SOPHIE
How much stuff do you carry around
with you?
He pulls out a POLICE BADGE.
ROBERT
(re: police badge)
I got this too.
SOPHIE
What the fuck?
ROBERT
I'm a reporter. It's my job.
SOPHIE
To tamper and steal evidence?
ROBERT
To find truths.
Robert clicks the pen.
ROBERT (CONT'D)
You don't happen to know any
forensic experts do you?
SOPHIE
No.
ROBERT
Damn.
SOPHIE
Maybe you should have left it with
the professionals.
 23.

He puts away the pen and notepad.

ROBERT
We can find one.
SOPHIE
We?
ROBERT
Yeah, us. Together.
SOPHIE
Why are you dragging me into this?
ROBERT
You said you would always be there
for me. This could be one of the
best examples of modern journalism
ever. You would be remembered as
the person who caught a serial
killer. A serial killer!
Sophie looks around.
SOPHIE
Don't yell that.
ROBERT
Sorry, but who doesn't want to be
remembered for ever.
SOPHIE
I don't know. This all sounds...
ROBERT
I'll pay you.

INT. ROBERT'S CAR -- DRIVING -- DAY

Sophie sits passenger in Roberts car. Staring out of the
window.
ROBERT
We're doing a good thing. Think
about how many lives we could save.
SOPHIE
Or ruin.
 24.

INT. OUTSIDE FORENSICS LAB -- DAY

Sophie stands in the hallway. Snacking on chips. Then --
Robert walks out of the door.
SOPHIE
So?
ROBERT
The DNA on the glove got a match.
Some ex military guy living of 8th
Street. Mr. Jack Kasovak.
SOPHIE
Is this our guy?
ROBERT
I don't know.

EXT. SUBURBAIN HOME -- DAY

A neat suburban home. A long cement driveway sits empty. A
couple jogs by the house.
Silence...
Robert's car comes slowly pulling up. They both step out.
SOPHIE
This is the house right?
ROBERT
Yeah.
SOPHIE
What's the plan?
ROBERT
This.
Robert pulls out a revolver.
SOPHIE
Woah. Where the hell did you get
that?
ROBERT
Bought it from a guy a while ago
for protection.
SOPHIE
You lead then.
 25.

Robert walks to the door as Sophie follows.

He knocks. Nothing. He rings the doorbell. Nothing.
SOPHIE (CONT'D)
Is he even home?
ROBERT
I don't know. There's no car.
Robert jiggles the door handle and opens it.

INT. HOUSE -- DAY

Swarms of flies and maggots. No electricity. They walk
around. Until...

INT. BEDROOM, HOUSE -- CONTINUOUS

...They get to the bedroom.
The body of JACK KASOVAK(mid 30s)lays tied to the corners of
the bed.
SOPHIE
(gagging)
Oh fuck.
Robert walks up to the corpse. Sophie stays in the doorway
but looking away.
ROBERT
No wounds or marks. Body is
decomposed to shit too. Maybe he
starved to death.
SOPHIE
So we call the police and get the
hell out.
ROBERT
In a minute.
FROM BEHIND: Robert walks into the bathroom and notices
something on the ground. He rushes out.
Sophie makes a call in the background.
SOPHIE (O.S.)
Hello, police?
We PAN DOWN to reveal the marking: an H written in meat
 26.

SOPHIE (O.S.) (CONT'D)
Yes, hello, I would like to report
a dead body. Yes, we're at--

INT. MAILROOM -- DAY

Sophie and Robert in the mailroom. Robert holding a new
letter.
ROBERT
It has come to my attention that I
may need to take matters into my
own hands. You've become to
accustomed to my killings. I am a
rerun. Something to keep you're
meaningless lives feeling
fulfilled. In reality it means I
need to hit closer to home again.
Charlotte was not an outlier but
merely a warning. Sophie better be
careful.
(sighs)
Signed H.
SOPHIE
How does he know my name?
ROBERT
I really don't know.
SOPHIE
Am I in danger?
ROBERT
Everything will be alright.
SOPHIE
You don't know that. What about my
family?
(beat)
I want a gun.

INT. GUN RANGE -- DAY

Focus on: A metal target down range. Silence...
BANG! A gun shot. It misses. We PAN around to show Sophie at
the gun range.
Robert leans against the wall in the background, reading a
newspaper.
 27.

BANG! Another shot. Followed by a DINK!

SOPHIE
Hit.
ROBERT
(reading newspaper)
Shoot again.
She shoots again. DINK!
SOPHIE
Another hit.
Robert looks up.
ROBERT
Better.
SOPHIE
Am I ready to defend myself?
Robert looks back down at this newspaper.
ROBERT
Hell no.
Sophie unloads the rest of the clip. Only some of them
hitting the target.
She takes the magazine out and grabs another off the table.

EXT. OUTSIDE BAR -- NIGHT

MORGAN(late 20s male)waits outside of a local bar. Tapping
his toes.
MORGAN
Where the fuck is this Uber?
He looks around. Nothing. Then -- a 2004 Silver BMW pulls up.
THE DRIVER (early 30s male) rolls down the window.
MORGAN (CONT'D)
You're the driver right?
THE DRIVER
Yeah. You're Morgan?
MORGAN
Yep.
Morgan gets in.
 28.

INT. BMW (DRIVING) -- NIGHT

Morgan sits in the backseat and looks around. The DRIVER
drives off.
MORGAN
Sweet car.
Long silence. Morgan fidgets in the backseat.
THE DRIVER
You have any kids?
MORGAN
Nope.
THE DRIVER
Wife?
MORGAN
Divorced.
THE DRIVER
I got two beautiful girls myself.
Three if you count my wife.
MORGAN
Are we going the right way? It
looks like you passed the turn.
THE DRIVER
We are.
MORGAN
(beat)
You sure?
THE DRIVER
Positive.
MORGAN
I'm just saying because--
THE DRIVER
--We're going the right way!
THE DRIVER takes a deep breath.
THE DRIVER (CONT'D)
I promise you. You will get to
where you need to be.
Long silence.
 29.

EXT. MORGAN'S HOUSE -- NIGHT

A quiet house. Only a handful of lights on inside.
The BMW pulls up. Morgan gets out. He walks to his house. The
car doesn't move.
FROM BEHIND: Morgan walks up to his door and fishes in his
pockets...
Suddenly -- a plastic bag covers his face. He struggles hard.

INT. BASEMENT -- NIGHT

A dark and disgusting basement. Morgan's hands handcuffed to
a pipe. His mouth covered by towels and tape. A single orange
light dangles near the staircase.
Morgan wakes up to the sound of footsteps down the stairs. He
tries to scream but it is too muffled.
Down from the stairs comes: THE DRIVER. Partially obscured in
shadow. Slowly creeping down. Holding a key and a knife.
He walks closer to Morgan.
THE MAN
(soft)
Do not fear. I have given you're
life a new purpose. A better
purpose. Rest assured, you're
family is safe. I won't touch them.
You have my word. Do not die
thinking you're life was
meaningless. I have given you new
meaning. As a tool. Think of your
death as an arrow in a maze of
corn. You will die with purpose I
assure you.
THE MAN walks closer.
THE MAN (CONT'D)
But promise me this...
He reaches Morgan and crouches to meet his eye line...
THE MAN (CONT'D)
Do not scream.
 30.

INT. KITCHEN, ROBERT'S HOME -- NIGHT

Katherine is cooking macaroni. It is a really late dinner.

INT. LIVING ROOM, ROBERT'S HOUSE -- NIGHT

Robert sits on the couch watching tv. Katherine walks in with
two bowls full of macaroni and spoons.
They start eating the food together on the couch, watching
the tv... Then -- Robert tosses the bowl on the table and
stands up:
ROBERT
This is pathetic.
KATHERINE
What?
ROBERT
I'm a tv star, a grown man, I
shouldn't -- this can't be my life.
Eating macaroni out of a damn bowl
for dinner.
KATHERINE
What's going on?
ROBERT
All journalist do is report. Report
report report. They don't create.
I'm not an artist. I'm not a
writer. In 100 years no one will
even care.
He slumps back on the couch. Sobbing.
KATHERINE
I'm not a therapist. I can't talk
you into loving your life again.
All I can do is be here for you.
You know I will always support you.
Robert calms down. Long silence...
Then -- the door bell rings loudly. Robert jumps up and walks
to the window.
KATHERINE (CONT'D)
Who's there?
ROBERT
No one's there.
 31.

Robert unlocks the door and opens it. On the porch is: a
PACKAGE.
ROBERT (CONT'D)
There's a package.
Robert walks back in and sets it on the table. They both
examine it.
ROBERT (CONT'D)
It's got a return address.
Scribbles are written on the side.
KATHERINE
(reading)
From your closest friend.
He opens it. Inside: his World's Best Weather Reporter Mug.
He picks it up. The EYES of the cartoon globe now X'D OUT in
red marker.
Robert sits down on the couch as we PUSH IN on the return
address:
1847 Rose Ave.

EXT. ROBERT'S HOUSE -- DAY

KNOCK! KNOCK! KNOCK! Sophie is at the door. Katherine
answers.
SOPHIE
Hey, Katherine.
KATHERINE
Sophie isn't it?
SOPHIE
Yeah. We were both at that party a
couple months ago at Carter's
house.
KATHERINE
Right, I remember you. You work
with Robert. Don't quiz me though I
had a lot to drink that night.
SOPHIE
(fake laugh)
Didn't we all.
(beat)
(MORE)
 32.
SOPHIE (CONT'D)
I'm actually looking for Rob. Is he
here?
KATHERINE
He left for work this morning.
SOPHIE
Really? He never showed.
KATHERINE
He didn't?
SOPHIE
Do you know where he could be?

EXT. URBAN HOUSE -- DAY

A shiny urban house. Freshly repainted. All the curtains
open. No cars in the driveway.
FOCUS ON: the MAILBOX. Red carrier signal up.
A mailman drives up and stops. He gets out and grabs the box
inside. He brings it back in and drives off.
We PAN down to the curb to reveal: the address. 1847 Rose
Ave.
We PAN UP and stay still... until:
Sophie pulls up. She gets out and walks up the curb to the
door.
She knocks on the door. No answer. She knocks again. Some
commotion happens inside the house.
SOPHIE
Hello?
She rings the doorbell. This time an answer. An OLD LADY(late
60s)swings the door open.
OLD LADY
Hello?
SOPHIE
Hi, is this 1847 Rose Ave?
OLD LADY
Yeah. Why?
 33.

SOPHIE
Did a man stop here earlier. About
5'10, in his 40s?
OLD LADY
No.
The old lady tries to close the door but Sophie stops it with
her foot. She takes out a police badge.
SOPHIE
I'm detective Miller. I just want a
look around, ma'am. Nothing
serious. May I?
The old lady opens the door.
OLD LADY
(sarcastically)
Make yourself at home.
Sophie walks around.
OLD LADY (CONT'D)
What is this about?
SOPHIE
Missing person.
OLD LADY
Well, there's no missing people
here.
Sophie notices something: a strange door in the middle of the
hallway.
SOPHIE
(re: the door)
What is that?
OLD LADY
Oh that? That leads to the
basement. I haven't been down there
in a long time. Nothing's down
there.
SOPHIE
Not many people have basements
here.
OLD LADY
Not many people disturb my peace
either.
 34.

SOPHIE
Mind if I check it out?
OLD LADY
Go ahead. I'll continue my cooking
in the kitchen, in silence.
The old lady walks away.
Sophie creaks the door open and walks down the stairs.
She walks around, not seeing much. She pulls out her phone
for light and shines it to see: a dead body. Handcuffed to a
pipe. A key lodged into the top of its skull.
SOPHIE
Oh fuck.
She jumps back loudly. She gathers herself and looks to her
right. On the wall is written: FIND ME.

INT. KID'S ROOM -- FLASHBACK -- DAY

Younger Robert holds a baby in his arms. He sways it slowly
from side to side. He sets it back in his crib and plays with
the baby more.
ROBERT
I'm gonna be famous one day. And
buy you a big bed that you can
sleep in all day.

INT. NEWSROOM -- DAY

Sophie walks into the busy newsroom. She look to George's
office, he's not there. She looks around. No sign of him.
She checks the mail room. All that's in the mailroom is a
BOX. The box has no identifying marks. Only a label. She
examines the box and then -- opens it with her keys.
She immediately drops the box and runs out screaming bloody
murder.
We PUSH IN to the reveal the contents of the box:
GEORGE'S HEAD.
Employees flock in to see what is happening.
 35.

INT. SOPHIE'S APARTMENT -- NIGHT

Sophie sits in her apartment crying her eyes out. She
continues crying until she is interrupted by a furious knock
on the door.
She answers it to see: Robert. Clothes battered and hair in
slight disarray. He walks in and stumbles to the couch.
SOPHIE
Where have you been.
ROBERT
I...I was caught. Tortured. I
escaped.
SOPHIE
Oh my god. Are you okay?
ROBERT
Better now.
SOPHIE
Do you need a hospital, police?
Anything?
ROBERT
No no. I think some rest is good
enough.
SOPHIE
Did you get a look at the guy?
ROBERT
He had a mask on. It was also dark.
I was barley able to see my
surroundings.
SOPHIE
Sounds scary.
ROBERT
You couldn't imagine.
SOPHIE
Well get some rest. Please you my
couch.
ROBERT
I heard about what happened to
George. I hated the guy more than
anyone on this green Earth but even
I wouldn't kill the guy for Christ
sake. His poor wife.
 36.

Sophie tears up.

SOPHIE
Do you want a beer or something?
ROBERT
Water is fine.
Sophie gets up.

INT. COFFEE SHOP -- DAY

Sophie and Robert sit at a small table.
SOPHIE
How did you escape?
ROBERT