Chosen - Pilot

CHOSEN Pilot by David Polk

Contact: David Polk 176 Dusty Rose Court Simi Valley, CA 93065 805.428.5775 [email protected]

2. TEASER FADE IN: INT. BEDROOM – NIGHT We hear sounds of intense lovemaking. In the darkened room we catch glimpses of a MAN and WOMAN, their naked bodies bathed in sweat, ravaging one another like wild animals. They come hard and loudly and fall to the bed, exhausted. We see him, handsome, athletic, breathing hard. We don’t see her – she remains hidden in shadows. She reaches over, caresses his face with perfectly manicured fingernails. WOMAN Daddy like? He musters the strength for a smile. MAN Daddy like. Beat. WOMAN Where’s your bathroom? MAN First door on the right. She rolls out of bed. He admires her sexy body as she crosses the room. Before she exits we notice a BEAUTIFUL, INTRICATE TATTOO on the small of her back. The light from the bathroom flicks on and illuminates the hallway; a shaft of light streams into the bedroom. MAN (calls out) You’re incredible, you know that? WOMAN (O.S.) (from bathroom) You were great too. MAN I’ve never come that hard... Ever. I have to tell you, normally women as fine as you aren’t nearly so good in (MORE)

3. MAN (CONT’D.) the sack. I mean, they can be pretty self-conscious... Not that I’m a player or anything like that... We hear her LAUGH from the bathroom. He looks up, sighs deeply. The motion of a CEILING FAN lulls him to sleep. EXT. WOODS – NIGHT (A DREAM) The Man is running naked through the woods. Sweating, desperate, terrified. SOMETHING is chasing him. He stumbles and falls. Gets to his feet and continues. Something flashes past CAMERA. We don’t see enough of it to make it out. Is it an animal or human? THE MAN is lashed by shrubs and tree branches as he races through the woods. His face, torso and thighs are bloody from lacerations. He trips and tumbles down an incline. Lands in a heap against a dead tree trunk. He CRIES OUT in pain.

His ankle is broken.

SOMETHING’S POV – THE MAN sitting helplessly against the tree trunk. Clutching his ankle. The Man can feel eyes on him. THE MAN peers into the thick night, not seeing his pursuer but sensing its presence. Tears of anger now fill his eyes. MAN (shouts) Who is it?! Who are you?! want?! WHAT?!

What do you

A rustle of leaves and branches as Something, still unseen, moves. The man follows the sound to the right with his eyes. We hear a low GROWLING. MAN (shouting, desperate) Help! Somebody help me! Please... somebody!

4. The woods go deathly quiet, as when a predator is near. WE MOVE slowly toward the Man. He grabs at sticks and stones, anything, to defend himself... Then the Man hears Something behind him! A LICKING sound. CLOSE ON the Man’s face as he senses – no feels – hot breath on his neck. He spins to his left and we glimpse glistening WHITE FANGS and EVIL YELLOW EYES an instant before – END OF DREAM INT. BEDROOM – NIGHT The Man wakes with a start, covered in sweat from his nightmare. He looks around. Everything is as it was before he fell asleep. He realizes it was just a nightmare. He relaxes. Then he looks down. He’s pitched a tent in the sheet. A lustful grin curls his lips. MAN Hey babe, ready for another ride? (off eerie silence) Babe? A gust of WIND blows through the window, parting the sheer curtains. The Man reacts. Was that window open before? He sits up in bed, his anxiety growing. MAN Hey Beautiful, you alright in there? Beat. The bathroom light flicks off and the room is dark again. The Man breathes, relieved, and looks down at his Johnson, still hard. He lay back on the bed and smiles. Then he hears it – the low GROWL from his nightmare. His smile vanishes as he snaps his head to the right, to the window. The curtains ruffle gently in the night breeze. The bedroom door SQUEAKS OPEN behind him. He spins around and is scared shitless to see the EVIL YELLOW EYES and gleaming WHITE FANGS of a WEREWOLF! He SCREAMS as the jet black beast pounces and begins ripping him to shreds...

5. INT. APARTMENT DOWNSTAIRS – SAME TIME TWO STONER DUDES are playing a VIDEO GAME with lots of blood and gore. They hear the Man’s screams in the apartment above. They pause and look up. They smile.

Dude!

STONER DUDE #1 (admiringly) They’re at it again?

STONER DUDE #2 I told you, dog. Every weekend, Ol’ Boy be putting the cream in the donuts! They laugh and slap homeboy high-fives. STONER DUDE #1 Seriously, that dude is my idol! OFF the Man’s manic death screams we... SMASH TO MAIN TITLES. END TEASER

6. ACT ONE FADE IN: INT. CONFERENCE ROOM – DAY WIN DEVILLE (30), dynamic, sorority girl looks and the conceit to go with them, is ending a SLIDE PRESENTATION. WIN ...So, we’ll leverage our alliances in New York, Paris and London to amplify share of voice on both sides of the Atlantic. Ms. Duvalier’s performances at the Beauchamps Room and her media interviews and CD signings here at the hotel will garner considerable regional attention, which should drive an increase in Belle Epoque’s awareness index just in time for the critical July-August booking season. Win’s last slide, “Merci beaucoup”, appears on the wall screen. She smiles, quite satisfied with her performance. Frenchman GUY MARCHONT (50s), suave and shrewd, leans forward in his chair. Beat. MARCHONT And you guarantee this public relations campaign will increase bookings? WIN (deftly) We guarantee the successful execution of our PR strategy, Monsieur Marchont. Once potential guests know of the uniqueness of your hotel, I don’t doubt their good taste will guide them to your doorstep. A long silence as Marchont considers the presentation – and Win’s bust line. Four other PR AGENCY SUITS wait with bated breath. A fifth is casually doodling what looks like a WOLFMAN CARTOON. This is DIRK MCGOWAN (30), intelligent, dark Irish good-looks. He seems utterly disinterested by what’s going on. MARCHONT I like this approach. Very much.

7. The Agency Suits react. in on the smiles.

Dirk closes his notepad and joins

WIN We can get started right away. Marchont stands to leave. He shakes hands with Win and Dirk, nods at the others and leaves. As the Agency Suits – all attractive and in their 20s – clinch their fists and high-five, Win and Dirk exchange a look. INT. BELLE EPOQUE HOTEL, MEETING ROOM AREA – DAY The Agency Suits walk through the hotel, still stoked. Win, ahead of the pack as always, reprimands Dirk. WIN I really wish you’d focus in these meetings, Dirk. What if Monsieur Marchont had noticed you doodling? DIRK (glances at her breasts) Mister Marchont only had eyes for you and the twins, Win. Besides, if he noticed me at all I’m sure he thought I was just taking copious notes. WIN Still, you should take these meetings more seriously. You’re a partner. DIRK Look, Winifred, I bring home the bacon, you fry it up in the pan. Like the United Way, it works for all of us. Win rolls her eyes. She hates when he calls her that. group stops at an elevator. Win pushes the button. INT. LOBBY – DAY The lobby exposes the Belle Epoque to be a hip, ultra modern boutique hotel. An elevator door opens and the Agency Suits come out and begin crossing the lobby.

The

8. DIRK Okay Win, how about this: no more sketching in client sessions, but I get a permanent pass on all Death by PowerPoint meetings? WIN Is that your way of telling me my presentation was too long? DIRK Fifty-eight slides? It’s a PR plan, Win, not a guide to open heart surgery. WIN Clients want to know they’re getting their money’s worth. DIRK So we’re billing by the slide now? Dirk slows a step, as if sensing something. WIN Oh really, Dirk! If it weren’t for your connections in this town I think – NATHALIE (O.S.) Bonjour. Win, Dirk and the others stop and stare at NATHALIE MARCEAU (20s), raven-haired, dark-eyed, breathtakingly beautiful. The concierge’s smile is radiant. Her accent completes the picture of French elegance. NATHALIE Monsieur Marchont asked that I give each of you one of these. She hands each of them a small GIFT BOX embroidered with the hotel logo. WIN My, that was fast. We only just finished our meeting a few minutes ago. NATHALIE Service is our hallmark here at the Belle Epoque.

9. DIRK I thought beauty was your hallmark... At the Belle Epoque, that is. Their eyes meet.

A connection is made.

Dirk is smitten.

NATHALIE Thank you, Monsieur McGowan, for noticing our décor. DIRK (shamelessly flirting) It’s hard not to. WIN Please pass our gratitude on to Monsieur Marchont. We’ll be in touch soon to finalize our plans. NATHALIE Of course. And please don’t hesitate to contact me should you need anything before then. Nathalie gives Win her BUSINESS CARD, turns and walks off. Dirk smiles as he watches her go. EXT. BELLE EPOQUE HOTEL – DAY A doorman hails a taxi. Win and Dirk climb in the first one that pulls up. The Agency Suits wait. INT. TAXI – MOVING – DAY Dirk is trying to open his gift box. WIN It’s a card holder. DIRK (still working the box) How do you know? She stares at him like he’s an idiot.

“We’re in PR!”

WIN I would’ve suggested that you two get a room, but seeing as how we were in a hotel that would’ve been too easy.

10. DIRK Pull the claws back in, Win. We figured out in grad school that we’re better partners in business than we are in bed. She harrumphs. Another thing she loathes hearing. looks out the window as they pass BOSTON COMMON.

She

EXT. AMBULANCE – DAY Paramedic SADIE JACKSON (27), a fine Sister with caramel skin and hazel eyes, gets out on the shotgun side. Her husky white partner, WILL MAHRE (30), comes around from the driver’s side and they head into a three-story walkup. INT. STAIRWELL – DAY Sadie and Will climb the stairs, each holding an end of a stretcher. WILL I’m still trying to figure out how an animal that big got into a guy’s apartment in the first place. SADIE You know people. They get these exotic animals as pets – alligators, mountain lions, pumas, stuff like that – and when they get too big to flush down the toilet they just let them out the back door and look the other way. WILL Yeah, well, they still haven’t found whatever it is that ate the guy. SADIE Just be glad you’re not working animal control. They reach the third floor, Will a bit winded. An anxious, petite WIFE (30s) in a bathrobe waits at an apartment door. Here you are! in here!

WIFE It’s about time!

He’s

11. Sadie and Will fight the urge to smart off at the little lady and follow her into the apartment. INT. APARTMENT/BEDROOM – DAY The Wife leads them to the bedroom. Sadie and Will stop in their tracks and their faces fall. WHAT THEY SEE: An OBESE MAN (30s), face down on the BROKEN BED, hairy-backed, hog tied, oiled up and wearing lingerie. An enormous RED DILDO sticks out of his ass like a plunger handle. You see a lot of things on the job, but Sadie and Will need a moment for this sight to sink in. They look at each other. We know they’re both thinking, “Animal Patrol doesn’t sound so bad.” The Obese Man MOANS. SADIE What, exactly, happened here, Ma’am? WIFE It was just a little role play. You know, to keep things interesting... Will goes to the bed to better evaluate the situation. WILL (to Obese Man) Just try to relax, sir. Believe it or not, we’ve seen worse. We’ll get you out of this. The Obese Man cuts his eyes back to see Will but even that motion is painful. He moans again. Will touches one of the ropes. The oil and tension have made it like steel. WIFE (fretting) I tried to untie the ropes, but the oil made the knots too hard to undo. And I couldn’t find a knife or scissors that would cut through them. Will looks at the protruding phallus then back at the diminutive woman. He notices she’s in fishnet stockings and fuck me pumps. She offers a small, nervous smile.

12. EXT. MASS GENERAL HOSPITAL – DAY To establish. EXT. HOSPITAL EMERGENCY ENTRANCE – DAY Sadie’s ambulance pulls into the driveway. She hops out of the driver’s seat and goes around back, where Will opens the door and jumps down. Together, with effort, they slide the Obese Man out and wheel him inside, his wife at his side. INT. JAY’S DINER – DAY A greasy spoon where COPS and PARAMEDICS hang out. Sadie and Will come in and head for a just-vacated table. BEA (24), a hot Goth waitress, stops by. Will, Sadie.

BEA What’s it going to be?

SADIE Just a cup of coffee for me, Bea, thanks. WILL Coffee and... Make it a bear claw this time, sweetie. SADIE I thought you told Mona you were cutting back on the sweets? I did.

WILL And I am. After the bear claw.

BEA Don’t pay her any attention, Will. Women like a man of substance. Just more of you for Mona to love. Bea smiles at Will. their eye flirt.

He likes the attention.

SADIE (playful) Nobody likes a home wrecker, Bea.

Sadie clocks

13. BEA Look who’s talking. Bea gestures with her eyes to the half-dozen GUYS scoping Sadie out on the sly. Sadie plays it off, used to it. BEA Jay ought to pay you just for coming in every day. SADIE (smiles) He should. I could use the money. Bea smiles and goes about her business. WILL That private school for Malcolm setting you back? SADIE That and about a hundred other bills. WILL You need a man, Sadie. She lets out a derisive laugh. SADIE Says the married man who was just flirting with Satan’s daughter. WILL I wasn’t flirting. SADIE Puh-leez! You two do this every time you see each other. You order something full of fat, she smiles and bats her false eyelashes, then you both babble on like adolescent idiots. It’d be funny if it weren’t so pathetic. WILL Don’t try to change the subject. know I’m right.

You

SADIE I had a man, that’s how I got Malcolm. Which, by the way, is the only good (MORE)

14. SADIE (CONT’D.) thing that came out of my marriage. No, I don’t need to get caught up with another trifling Negro who is more interested in himself and his XBox than he is in taking care of business. WILL So why limit your options? Who says he has to be tall, black and handsome. SADIE I say. Look, my son is going to grow up to be a black man. Any man I bring into his life needs to be a suitable role model. WILL (dismissive) Good luck with that. Sadie smirks at him just as Bea returns with their coffee and Will’s BEAR CLAW. She’s put an extra DONUT on his plate too. Will looks up and shares a flirtatious smile with Bea. Sadie rolls her eyes. INT. CHEVY BLAZER – MOVING – SUNSET Sadie’s driving and talking on the hands-free phone. SADIE Okay, Ma, I’ll stop by Star Market after martial arts class and get the Children’s Tylenol. SADIE’S MOM (V.O.) Can you pick up my medicine from the pharmacy while you’re there? They’re open late tonight. You have my co-pay card, right? SADIE Sure, I’ll get it, Ma. Thanks again for taking Malcolm to the doctor and staying home with him. SADIE’S MOM (V.O.) Now you don’t even mention that, honey. That’s why I’m here, to help take care of you and my little man.

15. SADIE I know, Ma, but you don’t always have to be the one who takes off work. SADIE’S MOM (V.O.) I ain’t missin’ them and they ain’t missin’ me. Besides, you and my baby are more important than some ol’ Post Office job. Sadie smiles, then suddenly she senses something. clouds.

Her face

SADIE Thanks, Ma. Look, I’m hitting some traffic. Gotta go. SADIE’S MOM (V.O.) Alright, honey. Drive safe. SADIE I will. Tell Malcolm Mommy will be home in time for stories tonight. She pushes a button to disconnect. EXT. CHEVY BLAZER/NEIGHBORHOOD STREET – SAME The Blazer’s turn signal blinks and the SUV takes a right at an intersection onto a quiet neighborhood street. INT. CHEVY BLAZER – MOVING – SAME Sadie looks at the three-story row houses – expensive urban rehabs – as she drives very slowly down the street. One house inexplicably gets her attention. She stops. EXT. FRONT YARD/HOME – SUNSET Sadie’s Blazer is double parked behind her. She opens the gate and walks into the postage stamp-sized yard. Her eyes scan the area like a detective’s. She has a CARRY ALL BAG on her shoulder. Instead of going up the stairs to the front door, she walks around to the side of the house.

16. INT. HOUSE – SAME STALKER POV – SADIE Through a dining room window, as she checks to see if any windows are unlocked. EXT. BACK PORCH - SAME Sadie comes quietly onto the porch. She tries the back door. Locked. She reaches into her bag, pulls out a LOCKSMITH TOOL. She skillfully unlocks the door. She’s done this before. INT. KITCHEN/DINING ROOM – SAME Sadie closes the door behind her. She looks around the kitchen – modern, spotless. Her eyes stop on a butcher block full of knives. Beat. Then she looks to the arched entry way leading to the dining room. In the dining room it’s eerily quiet. CLOSE ON Sadie’s eyes as they scan her surroundings. INT. UPSTAIRS HALLWAY – SAME Sadie slowly makes her way down a dark, narrow hallway. She ignores the room doors on either side of her. She’s focused on the door at the end of the hall. STALKER POV – SADIE behind her. the hall.

Low to the floor.

Following as she walks down

RETURN TO SCENE Sadie stops at the door. She leans close, listens. begins to turn the doorknob. Beat.

She

STALKER POV – SADIE as the stalker moves in quickly for her legs – SADIE is pushing the door open when she’s STARTLED! She turns and looks down at a BLACK CAT brushing against her calves.

17. She picks up the cat/stalker, looks into its eyes. Seeing nothing to fear, she strokes its head. The cat purrs. INT. BEDROOM – SAME The door slowly opens. The cat darts in, then Sadie steps inside. She stops and her face hardens. WHAT SHE SEES: blood everywhere, the BODIES of a man and woman on the floor, their throats ripped open, flesh brutally torn, faces frozen in gruesome death gapes. The cat jumps up on the windowsill next to the bed, arches its back. Sadie goes closer and takes in the scene. KILLER’S POV – SADIE as seen waist-high from inside the closet. We hear a CREEPY CHILD-LIKE GIGGLE. Then the unseen killer rushes out of the closet toward – SADIE who spins around just in time to see a wild-eyed, PINTSIZED DEMON lunge at her with bloodied fangs and claws. SMASH CUT TO BLACK. END OF ACT ONE

18. ACT TWO FADE IN: EXT. BELLE EPOQUE HOTEL – DAY Establishing, over which we hear Win’s VOICE. INT. CONCIERGE DESK – DAY She’s talking earnestly to Nathalie. WIN ...Ms. Duvalier should arrive at the hotel no later than 9:30 tomorrow morning. You’ll be sure to have white orchids and her favorite organic Belgian chocolates in her suite when she arrives? NATHALIE Yes, Neuhuas Assorted Bollotins. Everything will be in order, precisely as you’ve detailed, Madame. WIN And the masseuse? NATHALIE Will be on call around the clock during her stay with us. WIN The hair stylist? NATHALIE Naturally, the same, Madame Deville. DIRK Sounds like Nathalie’s got it all under control, Win. I’m satisfied. WIN (trying to stump her) And what about the psychic? NATHALIE My personal spiritualist has made herself available, Madame.

19. Dirk shoots Win a smug grin.

Great.

WIN (covers) Well then, I –

A cell phone RINGS.

Win takes it from her purse.

WIN Yes, Bryan? You can’t be serious! (to Nathalie) Excuse me, I have to take this. She walks away, talking on the phone with urgency. Dirk and Nathalie look at each other. Beat. DIRK I have to say, I didn’t figure you for a “spirits from beyond” type. NATHALIE (conspiratorial smile) I have a confession, Monsieur. I don’t have a psychic. But I didn’t want you to lose face in front of your boss. Win, my boss?

DIRK Oh, no, we’re partners.

NATHALIE Oh. Please forgive me. It’s just I sensed there was something between you. I incorrectly read it as her being your superior. DIRK Well, she did like being on top. (off her reaction) We dated years ago. Many, many years ago. Before we started the agency together. But we’ve gotten all of that out of our system. And I’m “Dirk.” NATHALIE I see. But there is still chemistry between you, no?

20. DIRK Only the kind you find in oil and vinegar... Seriously, Win and I have a great relationship, we’re just the sort of opposites that don’t attract. Nathalie gives him a curious look. NATHALIE And what kind of woman are you attracted to... Dirk? Before he can answer, Win is back. WIN (to Dirk) That was Bryan. We need to get back to the office. Dirk shoots her a look that says, “Seriously?!

Now?!”

WIN (to Nathalie) I’ll be here by 9 to greet Ms. Duvalier when she arrives. There have been a few changes to her interview schedule. NATHALIE You’re welcome to stay overnight at the hotel. Free of charge, of course. Win senses something has transpired between them. looks at Dirk as she considers the offer. DIRK (grins) Maybe I could get a room too? NATHALIE (accommodating smile) I’m sure that can be arrange, Monsieur McGowan. Thank you, no. Dirk shrugs.

WIN We’re fine.

She

21. EXT./INT. TAXI – MOVING - DAY Win finishes a call and closes her phone, agitated. DIRK We’ve lost clients before, Win. In this economy, it’s to be expected. WIN Exactly, Dirk. In this economy we should expect to lose clients. And we should expect to lay off employees. DIRK What?! Who said anything about laying people off? WIN Now that we’ve lost Bacon’s, Bryan wants to restructure the agency. DIRK Things haven’t gotten that bad, Win. Bacon’s is one account. WIN Our oldest and second biggest account... You’re not helping any you know, Dirk! Lately you’ve been more interested in drawing stupid stick figures than bringing in new business. She snatches his leather notebook and flips it open, revealing page upon page of monster cartoons. He recovers the notebook and closes it. DIRK Hey, I landed the last two accounts, including Belle Epoque. What’s Bryan done lately besides lose Bacon’s? WIN Please, Dirk! Those two accounts combined won’t make up for the loss of Bacon’s – which Bryan brought in. And you wouldn’t give a rat’s who-ha about Belle Epoque if you weren’t trying to nail the concierge. Dirk settles back and cuts her a mischievous look.

22. DIRK Well at least you can admit there’s something worthwhile in it. That pisses her off. She smacks him hard on the arm just as – WHAM! The taxi is broadsided by a CEMENT TRUCK. EXT. ACCIDENT SCENE – LATER POLICE CRUISERS, AMBULANCES and a FIRE TRUCK crowd the intersection where the cement truck has crushed the taxi like a yellow soda can. The TAXI DRIVER’S BODY is on a stretcher. A PARAMEDIC pulls a sheet over his face and pushes him away. We follow until the body is loaded into an ambulance. When the ambulance pulls away we see Win strapped to another stretcher, her head held down by a stabilizer. WIN Dirk?

(crying) Dirk?

Dirk comes into frame and takes her hand. DIRK I’m here, Win. It’s alright. You’re going to be alright. I promise. WILL That’s right, Miss. Just take it easy. We need you to stay still awhile. We’ll have you to the hospital in no time. WIN I’m sorry I hit you, Dirk. He smiles at her with genuine affection. I deserved it.

DIRK I always did.

She feels better. SADIE (O.S.) Sir... If I can just finish up. Dirk looks over at Sadie, holding a compress and bandages for him.

23. DIRK (to Win) I’ll be right back. Promise. WIN Dirk, I don’t want to go to the hospital without you. Okay.

DIRK Just lie still a minute.

Dirk goes to Sadie. She directs him to sit on a metal stool and he does. She tilts his head back and shines a penlight in his eyes. SADIE Not a single scratch. You’re a very lucky man, Mister – DIRK McGowan. Dirk McGowan. Look, I need to ride with my friend. And since I’m not hurt, do you mind if we make this quick? SADIE Sure. But the police will want to ask you questions at the hospital. DIRK Not much more I can tell them. One second we’re riding along Boylston Street, the next there’s a Mack truck where the driver used to be. She notices a CRESCENT SHAPED MARK on his left inside forearm. SADIE (re: the mark) Burn yourself with a car lighter when you were a kid, Mr. McGowan? DIRK Oh, this. It’s a birthmark. At least I think it is. Been there as long as I can remember. WILL All set here, Sadie. Let’s roll.

24. WIN Dirk!

Dirk!

Dirk looks at Sadie, who releases him with her eyes. He goes to Win’s side. Will and Sadie lift her into the ambulance. Dirk and Sadie climb in after her. INT. BACK OF AMBULANCE – DAY Sadie secures the stretcher. She looks at Dirk with a curious eye. We hear the front door shut as Will climbs behind the wheel and starts the engine. Then we hear the SIREN as the ambulance begins to move. INT. NATHALIE’S APARTMENT/BATHROOM - NIGHT While Nathalie puts the finishing touches on her makeup, a television news report is on in the next room. ON TV ANNOUNCER (V.O.) Police continue to search for clues in the grisly deaths of a South Bay couple and their 6-year-old son. Chad and Marissa Stevens and their son Chase were found in their home brutally slashed to death in what police believe could be a ritualistic murder... RETURN TO SCENE Nathalie’s high-rise apartment is tastefully decorated with modern, comfortable furnishings and expensive artwork. She comes into the living room and turns off the television with the remote control. She’s rocking a sexy little black number. A BUZZ and she goes to the intercom in the hall. NATHALIE Yes, Edward? EDWARD (V.O.) Mr. Phillips has arrived. Shall I send him up? Oui.

NATHALIE Merci, Edward.

25. Nathalie goes in and out of rooms, preparing to leave for the evening. A KNOCK on the door. She opens it to RANCE PHILLIPS (late 30s), handsome, wealthy, self-assured. She gives him a peck on the cheek. RANCE You look gorgeous. NATHALIE Thank you, Rance. She takes her purse from the hall table and they leave. INT. LOBBY – NIGHT Nathalie and Rance come out of the elevator. EDWARD (50s), silver-haired doorman, tips his hat and smiles broadly as he opens the door for the impressive-looking couple. His French is tortured. EDWARD Bon soire, monsieur et mademoiselle. NATHALIE Bon soire, Edward. INT. FANCY RESTAURANT – NIGHT We find Rance and Nathalie enjoying dinner. As Rance is going on about his latest business coup, Nathalie notices FOUR MEN come into the restaurant. Dirk is one of them. She smiles to herself then refocuses on Rance. DIRK’S TABLE Dirk and his buddies – JOE, GREG, MAC and SEAN – order drinks from an ATTRACTIVE WAITRESS. They check her out as she walks away. SEAN She looks just like a girl I dated in college. MAC Which one, the one in your dreams or the one on that internet porn site you spent a fortune downloading smut from? The guys share a good-natured laugh.

26. JOE Seriously, Dirk, finish telling us about the accident. GUYS Yeah/Tell us/I can’t believe it. DIRK Not much more to tell. Like I said, the taxi was totaled. The driver died instantly. Win was lucky to come away with only a little whiplash and a few scrapes. GREG What about you, man? You were behind the driver and didn’t get a scratch?! DIRK Just lucky I guess. Time passes as Dirk and his pals go through dinner and more than a few rounds of beer. Dirk excuses himself to go to the bathroom. INT. NEAR THE BAR – NIGHT Dirk is passing the bar on his way back to his table when he runs into Nathalie. He’s even more taken by her in the dress that shows her sexy legs. Her smile is bewitching. NATHALIE Hello, Monsieur McGowan. DIRK Hi. I wish you’d call me Dirk. Especially when you look like that. Alright, Dirk.

NATHALIE Nathalie.

DIRK You clean up real nice, Nathalie. date?

On a

She glances over at Rance, who is signing the check. sizes him up.

Dirk

27. DIRK (critical) But a bit old for you, don’t

Not bad. you think?

NATHALIE Older men have wisdom... And savoirfaire. DIRK And heart attacks. No, I see you with someone younger, less full of himself. NATHALIE And I suppose you have someone in mind? DIRK (charming smile) Well, now that you mention it... They look into each other’s eyes. There is definitely something there. Without taking her eyes off him, she reaches into her purse and hands him a card. It’s her phone number. NATHALIE Enjoy the rest of

Bon soire, Dirk. your evening.

She continues past him toward the ladies’ room. Dirk looks down at the card then up at Rance. Dirk smiles. DIRK (to himself) Just lucky I guess. EXT. FANCY RESTAURANT – NIGHT Dirk and his buddies exit the restaurant. The guys hail a taxi; Dirk says goodnight and starts walking. He lives nearby. EXT. BOSTON STREETS – NIGHT We’re with Dirk as he walks. turns off the main street.

He comes to his block and

28. STALKER POV – DIRK seen through a car windshield as he comes down the street. RETURN TO SCENE Dirk comes to a brownstone and goes up the stairs to the entrance. Still buzzing from the beers, he drops his keys, bends over to pick them up. Beat. He looks around, sensing something. Nothing. He unlocks the door and goes inside. INT. STAIRWAY – SAME It’s dark. The hall lights aren’t lit. Dirk shrugs. He goes to the second floor, opens the door of his apartment. INT. DIRK’S APARTMENT – NIGHT A typical bachelor pad of leather sofa and chairs, untidy with clothes, Diet Coke cans, takeout food cartons, etc. But what we notice most are the dozens of DRAWINGS and SKETCHES all over the apartment. A couple are framed and on the walls but most are on sketch pads that are on top of every flat surface. The subjects are dark – creatures, ghosts, werewolves. Dirk goes about the business of getting ready for bed. He goes into the bathroom and brushes his teeth. Peels off his shirt and tosses it in a hallway hamper. Before he takes off his jeans, he digs Nathalie’s phone number out of his pocket and stares at it. He smiles to himself. A KNOCK on the door startles him. He looks at his watch. It’s almost 1 a.m. Who the hell could that be? Dirk goes to the door, looks through the peephole. He does a double take. Another KNOCK. Louder than the first. He goes to the hallway and pulls his shirt out of the hamper, puts it back on. He opens the door. It’s Sadie. FADE OUT. END OF ACT TWO

29. ACT THREE FADE IN: INT. DIRK’S APARTMENT – NIGHT Dirk and Sadie stand in the doorway looking at each other. He fights his confusion and an arousal brought on by Sadie’s inherent sensuality. The beer buzz helps too. SADIE I’m sorry to bother you so late, Mr. McGowan. I wouldn’t have come if it weren’t very important. Really. DIRK Um... I’m sorry, I don’t think I ever got your name. SADIE I’m Sadie Jackson. Do you mind? She looks past him into his apartment. He stares at her, deciding. He steps aside and lets her in. She’s got her carry all bag and an ARTIST’S CANISTER on her shoulder. INT. HALLWAY – NIGHT Nathalie and Rance walk hand-in-hand down the hallway to her apartment. They stop at her apartment and he takes her in his arms. They kiss passionately. After a few moments she stops. NATHALIE Goodnight, Rance. RANCE Sure you don’t want me to come in? Check under the bed to make sure there aren’t any ghosts or goblins? NATHALIE (smiles sweetly) Thank you, no. He wants her badly. she’s had enough –

He moves in and they kiss again.

When

30. NATHALIE It’s very late, Rance... You’ll call tomorrow won’t you? RANCE I’d rather serve you breakfast in bed. NATHALIE In time, mon chéri. In time. She gives him a final peck on the lips, turns and goes into her apartment. Rance is left standing there. He sighs heavily and stares at the door. INT. DIRK’S APARTMENT – NIGHT Sadie stands in the living room and checks out the drawings. Dirk checks her out, still baffled. DIRK So, Ms. Jackson, not to be rude, but it is almost one in the morning. SADIE (eyeing his artwork) Is this what you do for a living, Gothic drawings? No.

DIRK It’s more of a hobby. SADIE (looks at him)

How long? DIRK I beg your pardon? SADIE How long has it been your hobby? Dirk is about to answer when he realizes he doesn’t know. He has no idea how long he’s been drawing. DIRK I don’t know. A while, I guess. Look, I’ve just come in and I was really looking forward to hitting the sack, so...

31. SADIE Yes, of course... Mr. McGowan, I’m afraid I’ve got some really bad news. DIRK (reacts) Is it Win?! SADIE No. No, Mr. McGowan, it’s nothing to do with your friend. I think you should sit down. Beat.

He sits and she sits across from him. SADIE Mr. McGowan, the mark on your inside forearm, you say that’s been there since you were born? DIRK Yeah as far as I know. I mean, it’s not a cut or a burn or anything. It’s pretty late for twenty questions, Ms. Jackson, so why not just tell me what this is all about.

Beat. She rolls up her left shirtsleeve and sticks her arm out, revealing an identical CRESCENT SHAPED MARK. He stares at it. SADIE When I first noticed this mark I assumed it was a birthmark too. I couldn’t remember when it wasn’t there. Then one day my mother asked what happened. I told her I thought it was a birthmark. She assured me it wasn’t. DIRK So, we have a similar mark on our arms that showed up sometime between birth and today. What’s so special about that that you came to my apartment at one a.m.? SADIE It’s not similar, Mr. McGowan. It’s identical. And it didn’t just show up, it was put there.

32. She looks at his arm and he rolls up his sleeve. close to put her arm next to his.

She moves

DIRK Okay. Assuming you’re right – somebody “put” identical marks on our arms. So? SADIE So it’s not just a mark, Mr. McGowan. It’s a sign. The sign of the Chosen. OFF his growing curiosity... INT. LOBBY – NIGHT Rance steps out of the elevator. Affable doorman Edward tips his hat and smiles as he opens the door for him. Rance doesn’t even notice him. He’s still annoyed at being shut down by Nathalie. After Rance is gone, Edward’s smile fades, his face turns ashen, his eyes become black as coal. Evil personified. INT. NATHALIE’S APARTMENT – NIGHT Nathalie opens the sliding glass door to the balcony. The sheer curtains billow in the gentle breeze. She turns and goes to her bedroom. EXT. ALLEY – NIGHT Rance walks to his MERCEDES. It’s the only vehicle in the narrow passageway. As he approaches, the streetlamp above the car flickers. He uses his key fob to unlock the car before he gets to it. INT. MERCEDES – SAME Rance opens the door, sits behind the wheel and starts the engine. The streetlamp flickers again, then goes out. At the same time, the Mercedes’ engine dies. It’s pitch black in the alley except for the lights from the car’s dashboard. Beat. Rance looks at the dashboard, curious. He turns the ignition again and the engine purrs to life.

33. INT. DIRK’S APARTMENT – NIGHT Dirk is on his feet, clearly agitated. seated and calm.

Sadie remains

DIRK Lady, you’re crazy! You really expect me to believe demons, zombies, vampires and werewolves are walking around the city killing people?! And that I’ve been “chosen” to destroy them?! SADIE I haven’t come across any zombies yet. Though it’s possible. Anything’s possible when you’re dealing with this much evil. DIRK (laughs it’s so crazy) Look, Ms. Jackson – SADIE I wish you’d call me Sadie. we’ll be working together.

Since

DIRK I’m calling you Coo-coo for Coco Puffs and then I’m going to call the cops if you don’t take yourself and your bullshit story out of my apartment in the next ten seconds. SADIE I know it’s hard to swallow. It took me months to come to grips with it myself. And in that time five people were killed and their souls sent to the Devil himself. The longer you stay in denial the more lives and souls will be lost, Dirk. He’s losing his patience.

And he’s pretty damned spooked.

DIRK Alright, that’s enough! I’ve heard enough about lost souls and the Devil.

34. SADIE It’s true, Dirk. The Devil has begun a full court press to take possession of the world. Demons and ghouls are his minions, forced to prepare the world for his return. Every person they kill, every soul they take, earns them a lifetime under his rule. But the most evil and ruthless of all are the Devil’s own children. They have all the powers of the Devil himself – they can possess souls, take any form they want. And they are immortal. So when they kill, it’s purely for pleasure. It’s like sex for them. Only the Chosen can destroy the Devil’s spawn. ENOUGH!

DIRK I want you out of here!

Now!

A long, awkward beat. She rises from the sofa and walks to the door. He doesn’t follow her, just watches. When she reaches the door she turns. She looks at the drawings scattered about and on the walls. Then their eyes meet. SADIE Search your feelings, Dirk. As horrible as it is to believe, you know what I’ve told you is true. You know the world hangs in the balance. None of us knows why, but we’ve been chosen to fight a war against the Devil’s own. And now, you have been chosen too. She opens the door to leave. Before she does, she leans the artist’s canister against the wall next to the door. Then she closes the door on her way out. INT./EXT. NATHALIE’S APARTMENT/BALCONY – NIGHT Nathalie comes out of her bedroom, naked. She steps onto the balcony and goes to the balustrade. She looks out over Boston, 20 stories below, and takes a deep breath, closes her eyes, takes in the sensations of the city from high above. With eyes still closed, she caresses her face, slowly moves her hands to her neck, to her breasts and further down... We notice the glass door behind her slides open!

35. INT. MERCEDES – MOVING – NIGHT Rance drives along a main street in the city. SUDDENLY he sees a YELLOW-EYED RAVEN flying straight toward his windshield. He swerves to avoid it and in doing so crashes into an ELECTRIC TRANSFORMER. The car BURSTS into flames! Rance rolls out onto the street, engulfed and screaming! EXT. RAVEN’S POV – BOSTON (VARIOUS SHOTS) - NIGHT We stay with the bird as it leaves the car fire and flies over familiar parts of the city – Boston Common, Fleet Center, Prudential Building, Fenway Park, etc. Finally the Raven swoops into a pitch black alley and disappears. EXT. BOSTON STREET – NIGHT Bea and another Goth Girl, JENNY (21), come out of a THUMPING nightclub and walk past DRUNKS, STONERS and gay and straight COUPLES making out. JENNY That had to be the lamest club I’ve ever been to. BEA Seriously! I can’t believe we just wasted like, what, two hours in that dump. And nobody was holding anything worth squat! JENNY Couldn’t even get a contact high. the guys?! Ugghhh! Eeewww! Total Zeroes!

And

BEA Double zeroes!

JENNY Triple zeroes!... Where to now? BEA There’s a place on Commonwealth that Teddy said was bumpin’. You game? JENNY Yeah. I need to get lit tonight. was hoping to get laid too.

I

36. BEA You and me both, girl! They laugh. The girls continue walking. Time passes and as they near an alley a GUST OF WIND blows into their path. They stop just before they reach the alley entrance. What the f-- ?!

BEA Did you feel that?!

JENNY Yeah, what the hell was that? They move ever so cautiously to the alley entrance, compelled by curiosity to peek around the corner. ALLEY POV – THE GIRLS peeking their heads around a building. RETURN TO SCENE The girls step into the alley entrance, peering into the darkness, not knowing what they’re looking for. A SCRAPING sound comes from deep in the alley. Another WIND GUST and with it the streetlamps all go out. Now the street and the alley are dark. A deathly quiet comes all at once. Beat. Jenny holds Bea’s hand and the girls draw close to each other. They’re both shaking with fear, but like deer in headlights, they can’t tear themselves out of the path of whatever is in the alley. We hear more SCRAPING. JENNY (scared) Bea?

I know.

BEA (scared) We should go.

They both turn to run like hell. But in the blink of an eye, the unseen IT lunges out of the darkness and SNATCHES them! The girls’ DESPERATE SCREAMS are snuffed out, seemingly by the darkness itself. SMASH TO BLACK. END OF ACT THREE

37. ACT FOUR FADE IN: EXT. ALLEY – DAY We hear the BEEP, BEEP, BEEP of a garbage truck backing up. Then we see a TRASH COLLECTOR hooking a dumpster to the truck’s hydraulic lift. As the dumpster rises, the trash collector notices something on the ground behind it. He squints, then his jaw drops. TRASH COLLECTOR Holy sh--! WHAT HE SEES: the mutilated body of a Goth Girl. INT. JAY’S DINER – DAY Same crowd as before. Sadie and Will enter and grab a table. They’re in a good mood. SADIE I told him it looked like an overripe plantain. What?

WILL You mean those little bananas? SADIE

Yeah. WILL (reacts, “Ouch!) Sadie, that’s cold! Cold! You know how to hit a man where it hurts? SADIE That would be in the “grapes.” Will, Sadie.

BEA (O.S.) What’ll it be today?

Will and Sadie look up and do a double-take. Without the Goth makeup and hair dye, Bea is a blond, blue-eyed girlnext-door with dimples. WILL Bea?

38. BEA (coquettish smile) In the flesh. WILL What happened? BEA (shrugs) No biggie. Just thought it was time for a change. (specifically to Will) Do you like it? Will is smiling like a schoolboy. Until Sadie kicks him underneath the table. He reacts, “Ow!” SADIE You look very nice, Bea. (to Will) Speaking of a change, why don’t you try some fruit? BEA That’s a good idea. I’ll bring some out. With two coffees? WILL (still taken aback) Yeah, sure... She heads off to the counter.

Sadie bugs her eyes at Will.

WILL What? Seriously?

SADIE Do I have to say?

WILL Oh, come on, Sadie! We’re just kidding around. It’s totally innocent. EXT. ALLEY – DAY DETECTIVE #1 kneels over Jenny’s body, examining her wounds. Her throat has been slashed and she’s been bitten dozens of times. Chunks of flesh are missing.

39. DETECTIVE #2 is going through her bag. driver’s license.

He pulls out a

DETECTIVE #2 Jennifer O’Leary. Twenty-two. Yesterday was her birthday. DETECTIVE #1 (to himself, disgusted) Sick, sick bastard! He reaches up to give an evidence bag to a TECHNICIAN. DETECTIVE #1 Here, see what you can get off of this. The Technician takes the bag and leaves. stands. Looks down gravely at Jenny.

Detective #1

DETECTIVE #1 I want to catch this sun of a bitch, Sully. I want to see him burn. INT. JAY’S DINER – DAY Sadie and Will are on their way out. At the door, Will looks back at Bea. She’s taking an order but seems to sense his eyes on her. She looks over her shoulder and their eyes meet. She smiles prettily. He leaves the diner with a grin on his face. Sadie catches him. He shrugs. INT. WIN’S OFFICE – SUNSET Workaholic Win sits behind her desk going over papers. She’s wearing a neck brace. Her office is modern and feminine. Awards and celebrity photos attest to Win’s PR prowess. Dirk sticks his head in. DIRK Hey. She looks up and smiles warmly. WIN Hi. DIRK How you doing?

40. WIN I’m fine... I spoke with Monsieur Marchont this afternoon. He’s very happy with the Duvalier campaign so far. Thanks for handling her when she arrived in town. DIRK No problem. Beat. WIN We still make quite a team, don’t we? DIRK Yeah, we do, “Winifred.” She cuts him a scolding look but softens when he smiles. WIN We’ve been through a lot, you and me. DIRK (jokes) Another near disaster and we’ve lived to tell yet another tale. WIN You’re always making fun, but I’m serious, Dirk... You know, when that truck slammed into us, all I could think of was how glad I was that you were with me. I knew you’d look after me, Dirk. I knew you would. Beat. DIRK Win, you know I’ll always be there for you. But we tried – really tried – and it’s just not in the cards for us. At least not that way. WIN And you think you’re better off hopping from bed to bed with women you couldn’t (MORE)

41. WIN (CONT’D.) care two-cents about? (off his reaction) I was the best thing that happened to you, Dirk. You know it. Our timing was off, that’s all. DIRK It wasn’t just bad timing, Win. (beat) Look, Win, we’ve been through a harrowing experience. When bad things happen, it’s only natural to cling to something we know, something that’s comfortable and safe. But we can’t reinvent history. “We” didn’t work for a lot of reasons. Real reasons. She lowers her eyes to cover her disappointment. He goes to her and strokes her cheek gently. Kisses her forehead. DIRK Don’t work too late, okay? She nods.

Goes back to her paperwork.

INT. AGENCY HALLWAY – SUNSET Dirk leaves Win’s office and walks down the hallway. He stops and stands in front of his office, thinking. Beat. He goes inside. When comes out a moment later he’s carrying the artist’s canister given to him by Sadie. EXT. BOSTON STREETS – SUNSET Dirk walks down bustling streets. canister slung over his shoulder.

He’s got the artist’s Over this:

INT. DIRK’S OFFICE – DAYS EARLIER (FLASHBACK) Dirk speaks on the phone in hushed tones. DIRK Look, I’m not saying I believe you. But just for the sake of argument, what do these “demons” look like? If they’re just walking around like normal people, how do we know who’s who?

42. EXT. AMBULANCE – DAY Sadie stands next to her ambulance, talking to Dirk on her cell phone. SADIE It’s impossible to recognize a demon when it’s in human form. Over time your senses will grow stronger and you’ll be able to sense when a Disciple of Hell has transformed into its demonic form. When you have that feeling you have to act, Dirk. Decisively and without hesitation. INTERCUT: DIRK/SADIE DIRK Act? SADIE We were chosen to destroy them all, Dirk. DIRK (disbelieving) And you’ve actually killed one of these “Disciples of Hell?” QUICK FLASHBACK KILLER’S POV – SADIE as seen waist-high from inside the closet. We hear a CREEPY CHILD-LIKE GIGGLE. Then the unseen killer rushes out of the closet toward – SADIE who spins around just in time to see a wild-eyed, PINTSIZED DEMON lunge at her with bloodied fangs and claws. Sadie dives to the floor and rolls like a Ninja. She whips a pair of razor-sharp DAGGERS from her carry all bag, gets to her feet in a martial arts crouch. The little hellion smiles hideously at her and CACKLES. He attacks furiously but Sadie skillfully slices and dices him. When it’s over the diminutive creature lay dead on the floor. RETURN TO SCENE

43. SADIE Yes, Dirk, more than one... The first thing you have to know is every fight with a Disciple of Hell is to the death. There are no second chances. And if you let one get away, it will know who you are and – EXT. BOSTON STREETS – SUNSET (RETURN TO PRESENT) Dirk walks the thinning streets. He’s left the well-lit downtown and is in a darker, rougher area. DIRK (V.O.) Yeah, I know. Find me and kill me. think I got that part.

I

SADIE (V.O.) There are worse things, Dirk. DIRK (V.O.) What’s worse than being killed by a bloodthirsty demon? Like what? SADIE (V.O.) Becoming one yourself. Dirk turns off a main street onto one with rundown apartment buildings. We sense he’s being guided by instinct. He walks past several buildings and SHADY CHARACTERS who eye him with contempt. He stops in front of a decrepit 6-story tenement. INT. VESTIBULE – SUNSET Dirk opens the door and enters. He reacts – the small foyer smells as nasty as it looks. We hear SNORING. Dirk look down at a VAGRANT passed out on the floor. He steps over the man and goes to the elevator, pushes the button. He watches the lighted numbers as the elevator slowly comes from the fourth floor. The door finally opens – it’s an old-fashioned elevator – and he pushes back the gate, steps inside. INT. ELEVATOR Dirk closes the gate. He looks at the numbers. Beat. He pushes “4”. The door slides closed. The car lurches up.

44. EXT. HONDA ODYSSEY – SUNSET The mini van turns a corner and pulls to the curb. The passenger window slides down and we see Will behind the wheel. He looks over and smiles. WILL Hey. Bea smiles and climbs into the van.

They drive off.

INT. ELEVATOR The elevator finally reaches the fourth floor. The outer door slides open. Dirk pulls the gate open and steps into the hallway. INT. HALLWAY Dimly lit. The one or two wall lights that aren’t broken flicker. Dirk walks slowly, “feeling” his way with his senses. He stops at Apartment 404. EXT. TENEMENT/VESTIBULE – NIGHT A TOLLBOOTH WORKER (40s) approaches the building entrance. She’s carrying plastic bags full of groceries. She enters the filthy vestibule and casts a weary eye on the vagrant, snoring on the floor where Dirk left him. She pushes the elevator button and watches as it begins its slow descent from the fourth floor. INT. APARTMENT 404 – NIGHT BLACKNESS. We hear the sound of a LOCK BEING PICKED. Then Dirk slips inside quickly. He closes the door behind him. ON HIS FACE as he adjusts to the spooky darkness. Then, behind him and over his shoulder, we become aware of TWO SINISTER RED ORBS. Eyes! A blood curdling SHRIEK and Dirk is knocked to the floor violently. The THING is on him, fangs SNAPPING inches from Dirk’s eyes. Dirk struggles mightily to roll the beast off of him and scrambles to his feet. He gets a good look and is horrified by the Thing’s deformed, ghoulish visage, jagged yellow teeth and depraved red eyes.

45. Dirk reaches for the artist’s canister on his shoulder – but it’s not there! It fell off when the Thing pounced him. Dirk’s eyes scan the floor of the dark room. The Thing charges him again! INT. ELEVATOR The Tollbooth Worker stares straight ahead as she passes the second floor. INT. APARTMENT 404 – SAME The Thing sinks its teeth into Dirk’s hand. Dirk CRIES OUT in agony. Mad as hell, he POUNDS THE SHIT out of the Thing’s head with his other fist and rams it into a wall, flinging it off of him. When Dirk tries to get away, steps on something that rolls underneath his foot. He flips up feet first and hits the floor hard on his ass. The Thing lunges at him. He kicks it in the stomach and topples it over. Then Dirk realizes what tripped him. The artist’s canister! INT. HALLWAY - SAME The elevator stops and the door opens. The Tollbooth Worker opens the gate and steps out into the hallway. INT. APARTMENT 404 – SAME Dirk grabs the canister and flips off the lid. The Thing is turning to make another attack. Dirk tips the canister and out falls a HANDLE. The Thing rushes him and Dirk REVEALS a gleaming SHORT SAMURAI SWORD. He swings and takes off the Thing’s left hand! It HOWLS! Dirk swings again and misses. The monster glances at the window. Dirk can see the silhouette of a fire escape landing outside. The demon makes a run for it. Dirk puts his foot on a cocktail table and shoves it into the Thing’s path, knocking it to the floor. Dirk crosses to the monster and raises the sword with both hands just as it turns over to face him. Dirk looks into the Thing’s evil eyes and PLUNGES THE SWORD into its chest, killing it. Then Dirk watches, astonished, as the hellish being transforms back to its human state: an OLD WOMAN (70s).

46. The apartment door opens and the Tollbooth Worker flicks on the light. TOLLBOOTH WORKER Why is the door unlock –

Momma?!

The Tollbooth Worker SCREAMS at the sight of her mother dead on the floor. The window to the fire escape is open. EXT. ALLEY – NIGHT Dirk jumps down off the fire escape, the sword in one hand, canister in the other. He makes his way through the alley, putting away the sword as he goes. We hear the anguished CRIES of the Tollbooth Worker from the apartment above. EXT. HONDA ODYSSEY - NIGHT Parked in a secluded area.

We hear MOANS OF PASSION.

INT. HONDA ODYSSEY – SAME Will and Bea are having sex on the rear floor. top. She kisses him deeply.

She’s on

BEA You like it, baby? WILL Oh, yeah.

Yes...

She sinks fingernails into his chest, arousing him more. WILL Oh, Bea, you feel so good. BEA Mmmmm, so do you. She looks down at him, then closes her big blue eyes. Beat. She opens them, revealing RED DEMON EYES. Her brow furrows. FANGS descend from her mouth. Her fingernails become claws that draw blood from his chest. He opens his eyes and looks up at the grotesque monster riding him.

AHHHH!

WILL (in terror) SHIT! NO!

47. Bea throws her head back then PLUNGES her fangs into him. EXT. HONDA ODYSSEY – SAME Will’s FRANTIC SCREAMS mingle with disgusting GNASHING and TEARING sounds as Bea ravages her prey. The van rocks with the ferocity of her carnal frenzy. INT. MARTIAL ARTS STUDIO – SAME Sadie’s martial arts session has just ended. Along with other STUDENTS she begins gathering her things from the side of the room. She stops abruptly, sensing something. INT. NO. 9 PARK – NIGHT ON A BANDAGED HAND. WIDER ANGLE and we see it belongs to Dirk, who is sitting at a table in one of Boston’s most elegant restaurants. His face brightens and he stands – Nathalie approaches, stunning in a red dress, hair up to accentuate her slender, sexy neck. Dirk greets her with a peck on the cheek. They sit. DIRK Nathalie, you look incredible. NATHALIE Thank you. (alarmed, re: his hand) My goodness! Dirk, what happened? DIRK Oh, it’s nothing really. Just more evidence that I can’t be trusted in the kitchen. She gives him a very French look of disapproval. NATHALIE Poor thing. DIRK (flexes his fingers) Really, it’s worse than it looks.

48. NATHALIE No. I meant what a pity you are not good in the kitchen. To us French, it is the most important room in the home. DIRK I thought that was... another room. Her smile is playful, inviting. the specials.

A WAITER appears to recite

EXT. NO. 9 PARK – LATER SOMEONE’S POV – NATHALIE AND DIRK through the restaurant window as they enjoy themselves over dinner. They’re hitting it off fabulously. INT. NO. 9 PARK – SAME Nathalie’s laugh is enchanting. DIRK And that’s why I’ll never, ever go back to Istanbul! NATHALIE (mocking) Oh, you poor, poor baby! Beat. NATHALIE It is refreshing to meet an American man whose idea of adventure is not spending hours in a La-Z-Boy watching your dreadful American football. DIRK Hey, you don’t know adventure until you’ve been to a Patriot’s game at Foxboro in December... What about you, have you traveled much? NATHALIE Oh, yes. Extensively. My father insisted that we become World Citizens.

49. DIRK We? NATHALIE My sisters and I. I’m the eldest of five. DIRK (impressed) You mean there are four more like you somewhere out there? NATHALIE (demure smile) Yes. And now I suppose you’d like to meet my younger, prettier sisters? He looks into her eyes, completely captivated.

Beat.

DIRK The thought never entered my mind. INT. DIRK’S APARTMENT - NIGHT Dirk and Nathalie are standing, kissing passionately. stops for air.

She

NATHALIE Dirk, I don’t want you to get the wrong idea. I don’t normally go to a man’s apartment after only one date. DIRK Then I feel especially fortunate. They begin kissing again... INT. DIRK’S BEDROOM – LATER VARIOUS ANGLES of Dirk and Nathalie having intense sex. Time passes and they eventually collapse on the bed, totally spent from hours of lovemaking. They lay side-byside on their backs. Beat. NATHALIE Are you alright?

50. DIRK I’m pretty sure I saw the Pyramids that last go-round... How are you? She smiles at him.

She’s aglow.

DIRK Nathalie... You’re the most incredible woman I’ve ever been with. She turns on her side, kisses his shoulder, chest and neck, and caresses his face. She looks in his eyes. Beat. NATHALIE Where is your bathroom? DIRK Right there. He gestures to a door in the bedroom. She kisses his lips – a tender, loving promise of things to come – then rolls out of bed and heads for the bathroom. DIRK Hey, don’t get lost in there. NATHALIE (turns her head, smiles) I won’t. He admires her sexy body. Before she slips into the bathroom, we notice a BEAUTIFUL, INTRICATE TATTOO on the small of her back. The same tattoo from our opening scene! She closes the door. The bathroom light comes on. INT. BATHROOM – SAME Nathalie stares at her reflection in the mirror. She takes a deep breath and closes her eyes, as she did on the balcony of her apartment. Beat. INT. DIRK’S BEDROOM - SAME Dirk sighs and drifts into a deep sleep.

51. INT. APARTMENT 404 – NIGHT (A DREAM) Deathly quiet. Dirk in the apartment as he was moments before the demon attack. The sinister red eyes appear and move behind him. Dirk turns and we see QUICK FLASHES – the demon’s hideous face and fangs, its severed hand hitting the floor, Dirk’s sword slicing through the darkness – INTERCUT: DIRK’S BEDROOM/DIRK’S DREAM Dirk sleeps fitfully. bathroom door opens –

The bathroom light goes out.

The

In the dream, Dirk battles the howling demon in Apartment 404. As he does, QUICK FLASHES of Win, Sadie, his werewolf drawings and Nathalie in place of the demon – In the bedroom, SOMEONE CROSSES THE ROOM to the bed and STANDS LOOKING DOWN at Dirk, who tosses and turns in what by now has become a terrifying nightmare – In the dream, Dirk plunges his sword, not through the heart of a bloodthirsty demon, but a HELPLESS OLD LADY. The apartment door opens and the lights come on. The Tollbooth Worker SCREAMS. Dirk escapes down the fire escape, jumps the final five feet to the alley and starts to run. But a jet black WEREWOLF with EVIL YELLOW EYES leaps into his path! He reaches for his sword, but it’s gone! He’s helpless and cornered! The werewolf moves in fast and it POUNCES! END OF DREAM INT. DIRK’S BEDROOM – NIGHT (RETURN TO SCENE) Dirk wakes with a start, covered in sweat. He’s disoriented for a moment, then he looks up at... NATHALIE standing over him, naked, beautiful. bed, caresses his face. NATHALIE (soothing) It’s alright, mon chéri. bad dream.

She comes onto the

It was only a

52. DIRK (still shaken) Jesus. She eases him back down onto his pillow. Tenderly kisses his forehead, cheeks and lips, then rests her head on his chest. ON NATHALIE’S FACE She is contented. NATHALIE Sleep, my darling. It’s over now. You’re safe in my arms. Dirk wraps his arms around her. that it was only a dream.

We hear him sigh, relieved

Nathalie closes her eyes. Beat. When she opens them again, they are yellow... like a wolf’s. FADE OUT. END OF EPISODE CHOSEN