GODS OF THE WICKED

PILOT

Lowell Edward Owens III

Copyright © 2018 by Lowell E.

Owens III All rights reserved.

This script or any portion

thereof Copyright 2018 All

Rights Reserved and may not be

reproduced or used in any

manner whatsoever without the

express written permission of

the Author.

TEASER

FADE IN:

EXT. FOREST - SUNSET

Slowly drifting along a thick forest where The dead silence

lingers throughout the dense fog. In the distance, a dark

and dingy two-story cabin is revealed in the center of a

field of ashes and dead trees.

leaves and twigs, crunching and crumbling from multiple

unknown steady footsteps break the silence. With every

second that passes the footsteps grows louder, edging closer

and closer towards the cabin.

Moments later, Heavily armed swat team members with the

F.B.I logo on the back of their vest emerges on the scene.

The leading man MALCOLM BAYLOR,mid-30’s, sporting a F.B.I

vest that overshadows his all-black business attire. He

raises his hand in the air and clearly points towards the

side of him. The swat team shields themselves behind the

trees fully focused on the cabin.

The ashes that overwhelm the dirt on the ground nabs

Malcolm’s attention.

RANDY HILLMAN, the early 50’s, Lightly treads through the

swat members to reach Malcolm who is sifting through the

ashes on the ground with his bare hands.

RANDY

(To Malcolm)

Our window is closing.

Malcolm glances at the fading sun that is descending beyond

the mountains.

MALCOLM

(Talking into radio)

Bravo Team, report.

VOICE FROM RADIO

No movement. Ready when you are.

CUT TO:

2.

EXT. CABIN/WOODS - CONTINUOUS

Malcolm and Randy scurry on the sides of the cabin door.

They lean against the wall with their standard issued pistol

fully gripped between their hands.

A swat member with a battering ram steps up and stands

before the front door like a lumberjack getting ready to

chop a tree down.

Randy peaks through the window, but his vision is obscured

by the dirt and dust that covers the glass.

Malcolm makes eye contact with the swat member and nods his

head at him. The swat member aggressively swings the ram

towards the door. BAM! The weak door flies off the hinges

and crashes on the floor.

The Swat team dashes into the cabin with their guns held

high...

END OF TEASER

CUT TO BLACK:

Title over black: GODS OF THE WICKED

ACT ONE

FADE IN:

INT. MAXIMUM SECURITY PRISON, INTERROGATION ROOM - DAY

Super: Three days later

Inside a secluded interrogation room occupied by nothing but

a concrete wall and a low-quality florescent light that is

tightly bolted to the roof.

We focus on Malcolm crouching in a corner of the room. He

hangs his head down, concealing his emotions from being

seen. A folder with a stack of papers within its covers is

positioned in front of Malcolm’s feet.

On the other side of the room, Randy holds a cigarette

between his lips while digging into his front pockets. He

takes out a cheap disposable lighter and attempts to light

the cigarette. Click! Click!

Randy raises the lighter towards the light. He squints his

eyes at the butt of it and discovers it’s empty.

(CONTINUED)

CONTINUED: 3.

RANDY

Shit.

The doors open. Two correctional officers escort Howard,

late 50’s, into the room, dressed In a bright orange

jumpsuit and heavy shackles that is tightly gripping him

from his waist to his ankles.

They drag and push the reluctant Howard towards the center

of the room. One of the correctional officers removes the

shackles from Howard’s ankles and reattach it to a steel bar

that is bolted to the floor.

The correctional offices walks out of the interrogation

room. Seconds later Howard takes a good look at the

disappointment on Randy and Malcolm’s face and gives off an

"I told you so" look with smugness all over it.

HOWARD

Well, look at those beautiful

faces. You know, you boys really

need to stop coming around here.

Big daddy is beginning to get a

little hard on from all the

attention.

Howard chuckles.

RANDY

(To Howard)

Classic. A psychotic murderer

turned comedian. I’m sure the

transition has its perks.

HOWARD

(To Randy)

I’m sure it does. only Time will

tell, old man.

Malcolm stares Howard down with a fire in his eye. Howard

returns the favor, but with a peachy smile on his face.

HOWARD(CONT’D)

(to Malcolm)

You seem upset with me. Was I a bad

boy Agent Baylor? As you can see

I’m already in timeout. May I

suggest a good old spanking. I

guarantee that shit right there

will set me straight this time--I

promise.

Howard giggles and snickers in the face of Malcolm.

(CONTINUED)

CONTINUED: 4.

HOWARD(CONT’D)

(to Malcolm)

It’s a lot harder than expected,

isn’t it? You seemed to have it all

figured out the last time I saw

you... Some much fire. So much

volume when you talked. I’m not

getting that from you this time...

Its alright we all get a little

chippy popping that first cherry.

RANDY

(to Howard)

How’s the living arrangements in

that cell of yours? I’m sure It

can’t be that comfortable. Serving

a capital murder charge. I bet an

upgrade would come in handy, seeing

how your gonna be here for a while.

HOWARD

(to Randy)

What do you want from me? I’m sorry

to reign on your parade, but I was

nothing more than a grunt in his

eyes. My job was to do whatever I’m

told, no questions asked. Me being

in this room is going to get you

nowhere, so I would like to return

to my "comfortable" cell if you

don’t mind.

RANDY

(to Howard)

Why were all those cabins so

important to Bishop? What’s he

hiding that we obviously can’t

find?

HOWARD

(to Randy)

I may be past my prime when it

comes to the old think tank, but

I’m sure I gave you everything.

What I know, you know.

RANDY

At this point, it’s pretty damn

clear "the old think tank" Still

has gas in it.

Malcolm slaps the folder on Howard’s chest and holds it

there.

(CONTINUED)

CONTINUED: 5.

MALCOLM

He wanted us to find the cabin...

You’re only telling us what he

want’s you to tell us... Isn’t he?

HOWARD

... Oh, the secrets. How fun they

can be.

FLASHBACK TO:

INT. ABANDON CABIN, LIVING ROOM - SUNSET

Malcolm and Randy rush inside the living room assisted by

the swat team. The flashlight on their weapons provided

enough light for them to sweep the living.

Malcolm’s muddled feeling wears on his face while he scans

over the burnt down atmosphere like hellfire has barged its

way through the inside of the cabin.

The swat members sweep the house. moments later all Malcolm

hears is everyone shouting "clear".

Malcolm drags his shoe on the floor, scrapping up tons of

ashes.

Walking through the living room, Randy approaches the

basement door and opens it. He uses his flashlight to shed

light on the pitch blackness.

RANDY

Malcolm!

Randy cautiously proceeds down the basement accompanied by

Malcolm.

INT. BASEMENT - CONTINUOUS

Randy uses the light to identify every inch of the basement.

seconds later The light on his flashlight flickers when he

discovers a mattress covered in blood on the floor.

The light switch is flipped up by Malcolm. With the lights

now on, Malcolm and Randy make a shocking discovery that

leaves them staring in disbelief.

RANDY

Dear, lord.

BACK TO PRESENT:

Howard holds the folder open where a picture of a

decomposing girl covered in blood stands out.

(CONTINUED)

CONTINUED: 6.

MALCOLM

(to Howard)

Diana Goldman... Fifteen years old

and just so happens to be one of

the missing girls your people

kidnapped last year--

HOWARD

(to Malcolm)

I know who she is.

MALCOLM

... You knew she would be at the

cabin when you gave us the

location. If I’m wrong, tell me.

HOWARD

(With a smile on his face)

I forgot to mention it-- NO WAIT! I

didn’t want to spoil the surprise.

Takes the fun out it.

Howard breaks out with an annoying laugh.

MALCOLM

(to Howard)

Did you have something to do with

her death?

Howard glances at the pictures within the folder.

HOWARD

(Sarcasm)

No, um. I don’t think I did. My

memory is a bit cloudy at the

moment. How about you do yourself a

favor and Check back in a week or

two. I’m pretty sure the old noggin

will have something by then.

RANDY

(To Howard)

You’ll be doing yourself a huge

favor if you give us something

useful.

HOWARD

(To Randy)

I bet I would, OLD MAN! I’m sure

that FUCKING murder charge might

feel a little better, shoved down

my old shithole, Huh?!

(CONTINUED)

CONTINUED: 7.

RANDY

(to Howard)

I’m over the comedian shit.

MALCOLM

(to Howard)

I need to know What the hell

happened to Diana!? How did her

body end up like this!?

A silent Howard locks eye contact with Malcolm.

MALCOLM(CONT’D)

... Take a good look around you. I

know you see this as some kind of

game, but You bullshitting me

doesn’t change the fact that what

you see here is never gonna

change... The game is over and I’m

giving you the opportunity to write

your own ending... or I’ll gladly

end it for you.

HOWARD

... We were all looking for a

purpose. He gave us one. What more

can I say?

MALCOLM

I don’t give a shit what lies he

fed you-- These are kids. Innocent

girls! They don’t deserve this--

Diana didn’t deserve this! No man

can be that cold-blooded.

HOWARD

They’re broken! They’ve always been

that way. Bishop saved those girls

since your fucked up system

couldn’t. As far as I’m concerned.

They’re in a way better place by

his side then in a society that

couldn’t care less.

RANDY

(to Howard)

She’s dead! How is that any better?

HOWARD

(To Randy)

You’ll never understand, old-man.

You see, You were corrupted long

before you even learned how to take

a piss in the pot.

(CONTINUED)

CONTINUED: 8.

RANDY

Enough with your Bullshit-- Where

are the rest of the girls?

The light flickers for a split second. Howard raises his

head up. His eyes are locked on the light.

RANDY(CONT’D)

(to Howard)

What do you want? Tells us

something. We might be able to help

you for the right price.

HOWARD

It doesn’t matter what I want...

nothing you have for me, matters.

After so many years when will you

understand nothing you do is worth

it...

(TO MALCOLM)

You lost so much already... give it

up agent before more people you

care about ends up like that one

bitch you had on a leash-- what was

her name--

Malcolm knocks Howard to the ground. He aggressively GRABS

Howard by the head and forces him to stare at Diana’s

picture--

RANDY

Malcolm!

Malcolm SIGNALS for Randy to stand back.

MALCOLM

(to Howard with anger)

... He is no god. He is a human

being and The moment you realize

that! I swear to you, It will be

the moment you’ll understand. All

those people you killed in his

name... All for nothing!

Malcolm releases his grip. Howard becomes fixated on the

picture of Diana’s body that Malcolm dropped on the ground.

He stares with a blank face.

HOWARD

(To Malcolm)

Your wrong, agent. He is more than

a god. It’s funny how you’re so

(MORE)

(CONTINUED)

CONTINUED: 9.

HOWARD (cont’d)oblivious to what really happens in

the world you swore to protect. The

days are getting darker. Each

second that manages to slither by

only makes him stronger. He will

rain down on you miserable fucks

and to be honest I rather be in

here when the rise begins.

RANDY

Tread lightly, Howard.

Howard looks at Randy with a cocky smirk on his face.

HUE

(To Randy)

Fuck! You! Pig!

Howard SPITS on Diana’s picture that was dropped and laughs

hysterically.

Randy BANGS on the door. The correctional officers enter the

room and begin to release, Howard’s shackles from the bar on

the floor. As he’s being taken away--

HOWARD

(shouting)

Praise Lord Bishop! He is our

savior! he is the true god of gods!

I will serve no one before him!

Praise him(repeated over and over

again)!

Randy is left shocked and motionless.

RANDY

... All these people are sick. He

has them completely

brainwashed--Turning them into

mindless, murderous puppets. I’ve

been through many wars, kid... Why

is it this moment that scares the

shit out of me?

Malcolm examines Diana’s picture.

MALCOLM

... She lost her life for nothing.

Every step we take we only make it

worse. Its like were just sitting

around watching as the bodies just

pile up.

(CONTINUED)

CONTINUED: 10.

RANDY

We can’t doubt ourselves, now. If

everything you had on this guy was

right, then he needs another girl,

right? You probably know him more

than anyone else. Where do we

start?

Malcolm gives Randy a confident look.

END OF ACT ONE

ACT TWO

INT. HIGH SCHOOL, CLASSROOM - DAY

Super: New Orleans

The rays of the sun peek through the window and gleams all

over the face of HALEY STONEBRIDGE,17, Long blond hair,

bright colorful eyes that are slightly hidden by her

prescription glasses. Haley is currently planted Indian

style atop of the counter with a notebook in one hand and a

pen in the other.

She seems fascinated as she gazes out of the window to

observe a tree that is perfectly set under the bright sun.

ANNA PAXWELL,17, Haley’s free-spirited and quirky best

friend, FLINGS the door open and STORMS in, WAIVING her

phone in the air.

ANNA

(Angry)

After six months in a relationship.

WHO THE HELL BREAKS UP WITH SOMEONE

WITH A TEXT MESSAGE?!

HALEY

He sent a text?

ANNA

LOOK AT THIS SHIT!

Anna DASHES over to Haley and presents her the text messages

on her phone.

ANNA

(Reading the text)

"I’m done, It’s over between us!"

HALEY

(Chuckling)

That’s it?

(CONTINUED)

CONTINUED: 11.

Anna throws a small tantrum, stomping her feet on the ground

and twirling are arms.

ANNA

(Angry)

I couldn’t find the bastard all

day! He couldn’t even say it to my

face, that arrogant cocksucker!

HALEY

Well, maybe he had his reason, I

mean your pretty unpredictable. If

anything he probably wasn’t sure if

you would hurt him or not-- maybe,

I don’t know.

ANNA

(Frustration)

Don’t get it twisted. I was gonna

hurt him-- I was gonna kill him and

after I did that I was gonna pray

to Jesus that he sends his stupid

ass to hell so he can get his

butthole tickled by SATAN!

HALEY

... And, maybe a text doesn’t sound

that bad.

ANNA

Stick to the script, asshole!

HALEY

Okay, I’m sorry, but you have to

calm down. You were gonna break up

with him anyway, so what’s the

problem?

ANNA

People have a change of heart, duh!

I was beginning to accept the fact

that he was an obnoxious bastard,

sometimes I was too-- it was the

perfect match!

HALEY(CONT’D)

Come on, Anna. You’re just pissed

he broke up with you first. You two

are the complete opposite--

ANNA

Which is better, isn’t it?

(CONTINUED)

CONTINUED: 12.

HALEY

In this case, no.

ANNA

Whatever! I hate losing! This

feeling sucks ass. I just wanna

HURT him and his STUPID family "Oh,

Anna you two are so adorable

together" BLOW MY DICK MS.CHAMBERS!

HALEY

Believe me, if anyone takes an L

for this, its Johnny. He had six

months to figure out he had the

hottest chick in school on his arm,

but he couldn’t cause was too

self-centered to figure it out. His

loss.

Anna gives Haley a sinister smile with her eyebrows raised.

ANNA

... I am a bad bitch.

HALEY

Don’t push it.

Anna and Haley share a laugh together.

ANNA(CONT’D)

I don’t need him now that I think

about it... You wouldn’t break up

with me, would you?

HALEY

Um, Not in this lifetime.

The school bell rings. Anna slumps her body and sighs really

loud.

ANNA(CONT’D)

(Annoyed)

God! I hate that repulsive ringing.

I didn’t even get to finish my

sandwich.

HALEY

Yeah, yeah. Let’s get to class.

ANNA

Two more minutes--

(CONTINUED)

CONTINUED: 13.

HALEY

No, come on!

Anna and Haley are collecting their belongings.

INT. BATHROOM - DAY

Inside a dirty bathroom stall with graffiti plastered all

over the walls, SARAH STILLS,17, Long black hair that’s

always in a ponytail, Punk rock attire and a large scar on

the side of her neck that sticks out like a sore thumb. She

stands before a toilet, holding a blade against the many

scars that are already imprinted on her arm--

WOMAN’S VOICE IN SARAH’S HEAD

You’re a pathetic whore! No one

will ever love you! You deserve to

die! Do it! DO IT NOW!

She slowly digs the blade into her skin. Blood slithers down

her arm. The sound of the doors barging open startles her,

causing her to drop the blade in the toilet.

SARAH

(Whisper)

Fuck!

Sarah listens to a group of girls chatting about random

subjects. Seconds later Sarah exits the stall and the girls

immediately go silent once they spot her coming out of the

stall.

Tanya,17, a violent gang member with a hard tom-boyish look,

watches as Sarah tries to scatter out of the bathroom, but

she is BLOCKED by one of the gang members.

TANYA

Damn, Sarah! Where you running off

to? Did we interrupt your SLICING

moment!?

The girls laugh at Sarah. Tanya notices Sarah GRIPPING her

backpack.

TANYA(CONT’D)

You looking scared as hell. All

nervous and shit-- look at you?

Sarah tries to walk away but Tanya aggressively grabs her by

the arm and pins her against the wall.

(CONTINUED)

CONTINUED: 14.

TANYA(CONT’D)

Where do you think you going?

Bitch, you see I’m tryna to be

polite to your punk ass. Have a

nice conversation and call it a

day, but you just flat-out

disrespect me and the homies like

we ain’t shit!

SARAH

Let me go!

Tanya GRIPS her harder.

TANYA

You getting hella bold. I suggest

you ease up before you get dropped,

my nigga.

SARAH

I don’t want any problems. I just

wanna leave!

Tanya laughs.

TANYA

Calm down, slice queen. I’m only

fuckin with you. I don’t want any

problems either. You want out so

bad... Leave then!

Sarah tries to leave But Tanya grips her arm, again and

pulls her back.

TANYA(CONT’D)

I said you can leave. The bag

stays.

SARAH

Bullshit! you can’t have my bag!

TANYA

Damn, slice queen. why you gotta

make shit extra difficult for? I’m

in a good mood, so I’m allowing you

to walk out of here unscathed. It’s

only right you pay a nigga back.

Right?

Sarah is motionless. Tanya is staring her down like a

vicious animal that is about to attack its prey.

(CONTINUED)

CONTINUED: 15.

SARAH

No.

Tanya HITS Sarah, knocking her and her bag to the ground.

Tanya picks up the bag.

TANYA

(angry)

Next time behave, bitch!

Tanya and her friends walk out of the bathroom, Leaving

Sarah on the floor catering to her bloody nose. Sarah sits

up and tries to wipe off the blood from her nose with her

bare hand, but it continued to leak like a broken faucet.

Sarah becomes fixated by the blood all over her hand. Haley

and Anna stroll into the bathroom where they encounter a

bloody Sarah sitting on the floor.

ANNA

Gross!

HALEY

(To Sarah)

Are you okay?

SARAH

Yeah... I’ll be fine.

Anna walks into one of the stalls. Haley grabs some paper

towels out of the dispenser on the wall and hands it to

Sarah.

HALEY

Best way to stop it is to tilt your

head slightly forward and pinch the

soft parts of your nose.

SARAH

How could I forget?

Sarah wipes the blood off her face. An awkward feeling is

presented by the silence and Haley’s uncomfortable body

motions.

HALEY

So... How are you?

SARAH

As you can see. I’m perfectly

peachy.

(CONTINUED)

CONTINUED: 16.

HALEY

That’s not what I meant.

SARAH

I know... How are you?

HALEY

Fine.

Haley looks at her watch.

HALEY

(To Anna)

Are you done?

ANNA(O.S)

Bitch, don’t rush me! It’s not like

I can just whip my dick out and

call it a day.

HALEY

(to Sarah)

... So, Who hit you?

SARAH

It’s really not that big of a deal.

HALEY

It kinda is. You shouldn’t let

people treat you like that.

SARAH

Its better than the alternative.

Anna strolls out of the stall.

ANNA

Why is it so hard for these shitty

janitors to clean a toilet. I had

to pee standing up and I think some

of it got on my pants and Someone

left a blade in the toilet, how

psychotic can these bitches be!

Anna advances towards the sink and washes her hands.

SARAH

(To Haley)

Hand me the paper towels.

Haley grabs more paper towels from the dispenser and hands

it to Sarah.

(CONTINUED)

CONTINUED: 17.

HALEY(CONT’D)

(To Sarah)

we’re going to be late for class...

Take care of yourself.

Haley makes her way towards the door--

SARAH

(To Haley)

Wait! Thank you.

HALEY

For what?

SARAH

For caring. It reminds me of the

old days... I miss it.

ANNA

(To Sarah)

You are so creepy!

Anna tugs Haley’s arm, pulling her out of the bathroom.

Seconds later, Sarah begins to hear the demonic voices in

her head laughing. Sarah showcases her anger as she throws a

violent outburst.

INT. CLASSROOM - DAY

Inside a student-less classroom BETTY, late 30’s, sits

behind her desk writing on a piece of paper. She glances up

at the stack of papers that sit before her and signs out of

frustration.

ROBERT,50, an elderly man fully dressed in a fancy get up

suit saunters into the classroom with a happy-go-lucky smile

on his face.

ROBERT

The day has finally ended. I can

already tell you love moments like

this

BETTY

I would love for my students to

actually take their book reports a

little more seriously.

ROBERT

They’re still just children, give

it more time. I’m sure under your

remarkable guidance they should

tune into fine individuals.

(CONTINUED)

CONTINUED: 18.

BETTY

I highly doubt it.

Robert sits on a desk close to Betty.

ROBERT

... So, How is everything coming

along?

BETTY

This is the third time today,

Robert. Everything is in order, so

I advise you not to worry about

every little detail.

ROBERT

I assure you my nerves are solid as

a rock. I never doubted you before.

No reason to start now.

BETTY

Yeah, I guess... I was thinking--

AMBER COLLINS,17, Bright red frizzy hair that blends in well

with her hipster attire. She walks into the room and finds

Robert sitting by Betty.

AMBER

... Am I in trouble?

ROBERT

(To Amber)

Not at all. I’m just stopping by

for a simple hello. I’ll make my

way out as you two have your

conversation.

Robert exits the classroom as Amber approaches Betty who

hands her a folder. Amber has a smile on her face as she

receives the folder.

AMBER

Did you finish it?

BETTY

I did and I have to say that I’m

quite baffled by the changes you

made to the main character.

AMBER

Do you hate it?

(CONTINUED)

CONTINUED: 19.

BETTY

I loved it, but Shila was so

radiant. Filled with some much

life--

AMBER

She was too perfect, to be honest.

The perfect life, the perfect

family... didn’t seem real to me. I

had to change it.

BETTY

Amber, If you feel Shila’s life was

too perfect then that’s okay. I

wanted you to dig more into

breaking the barrier between

reality and imagination. I

understand that in reality, the

world is not perfect, but in our

minds... our imagination. It can be

whatever we want it to be, perfect

or not... Try something different

this time. Create a fairytale world

where its nothing but a beautiful

princess and her handsome prince

with fairies and wizards... For a

moment in your life drift away from

reality and just live in an image

you created. I know it sounds

weird, but I promise it will make

you feel better and if it

doesn’t... I’ll quit my job.

Amber has a big smile on her face.

AMBER

I guess I could try.

BETTY

Good. Then how about we change

Shila back to the way she was and

after that how about you and I work

together to make the perfect

ending. Deal?

Amber holds out her pinky finger. Betty and Amber lock pinky

fingers. They share a smile, but seconds later Betty’s look

turns into a sorrowing one.

BETTY

(Sad)

I’m so sorry.

(CONTINUED)

CONTINUED: 20.

Robert quickly covers amber’s mouth, silencing her scream.

He STICKS a syringe in her neck and INJECTS an unknown

chemical into her blood system. Seconds later, Amber no

longer struggles and faints.

Betty tends to an unconscious Amber. Robert grabs his phone

and dials a number.

CUT TO:

INT. HIGH SCHOOL, HALLWAYS - NIGHT

In a dark and empty hallway, an extremely nervous Betty

chews on her fingernails. Robert anxiously paces back and

forth constantly looking at his watch.

BETTY

You should have seen the way she

looked at me... I could tell she

felt so betrayed... I feel so bad--

What the hell was I thinking?!

ROBERT

I told you not to attach yourself

to the girl. If you feel guilt or

shame for what we did to her then

you’ll have to live with that, not

me. I refuse to be dragged into

your pity party.

BETTY

... I wanna go with her.

ROBERT

Don’t be foolish. people like us

are not built to survive in

lifestyle those people have

created.

BETTY

How would you even know?

ROBERT

Trust me... It’s not for us.

Grady, a very tall and heavy set male paces into the hallway

with an unknown man by his side. They approach Betty and

Robert.

ROBERT

(to Grady)

We’ve been waiting for hours!

(CONTINUED)

CONTINUED: 21.

GRADY

We needed to make sure the school

was empty before we came.

ROBERT

I told you we were clear.

GRADY

Well, Your word is like shit to me.

Where is she?

CUT TO:

INT. PRINCIPLE OFFICE - EVENING

Grady and the unknown man casually places Amber in a body

bag.

BETTY

(to Grady)

Please be careful... What about her

sister?

GRADY

(to Robert)

Control her or I will.

BETTY

You can tell me something--

Robert SILENCES Betty. After they place Amber in the bag,

Grady takes a stuffed envelope out of his back pocket and

hands it to Robert.

GRADY

A little something from, Bishop.

ROBERT

... I don’t need his rewards, I

need my freedom.

GRADY

No one is in the clear with Bishop.

Take the damn money and call it a

night.

Robert takes the envelope.

GRADY(CONT’D)

Cops will be asking for the girl

once they notice she’s missing.

keep your mouth shut, and don’t

draw any attention. Understood?

(CONTINUED)

CONTINUED: 22.

ROBERT

I know what I’m doing.

CUT TO:

EXT. HIGH SCHOOL, PARKING LOT - NIGHT

In an empty parking lot, Grady TOSSES Amber into the back of

a black truck. He and unknown man get in the truck and takes

off.

INT. STONEBRIDGE RESIDENCE, HALEY’S BEDROOM - NIGHT

Inside Haley’s modern decorated bedroom filled posters of

movies and musicians on her wall. Haley lays on her bed,

TYPING on a computer.

Romana Stonebridge, late 30’s, strolls into the room

carrying a basket filled with clothes. She DUMPS all of the

clothes on Haley’s bed.

ROMANA

You’re seventeen years old now, I

think you’re capable of doing your

own laundry.

HALEY

I could, but I love the way you do

it. It always comes out so springy.

ROMANA

Don’t even try to sweeten me up. No

more favors. You’re old enough to

do this on your own, Especially

since your going away to college...

God, I feel so old.

HALEY

Well, If it makes you feel better

you’re the hottest old-lady I’ve

ever seen.

ROMANA

(Chuckling)

Shut up.

Romana TOSSES a shirt at Haley’s face as they share a laugh.

The doorbell rings.

ROMANA(CONT’D)

I want your work done before

dinner.

(CONTINUED)

CONTINUED: 23.

HALEY

Got it.

Romana walks out of the room. Haley digs through her

clothes. Seconds later she hears a whisper, calling her

name. She looks around for any sign but disregards it and

gets back on her laptop.

Romana enters the room with a baffled look on her face.

ROMANA

Um, Sarah is here.

HALEY

(Shocked)

WHAT!?

ROMANA

I thought you two weren’t friends

anymore--

HALEY

Did you let her in?

ROMANA

I offered, but she didn’t want to.

she’s outside.

Haley jumps out of bed and looks out her window where she

spots Sarah sitting on the sidewalk.

CUT TO:

EXT. STONEBRIDGE RESIDENCE -- CONTINUOUS

Sarah is planted on the sidewalk holding her head down in a

meditative state. She takes a deep breath--

SARAH

(to herself)

You can do this. Its okay--

HALEY

What are you doing here?

A nervous Sarah stands up and steps up to Haley.

SARAH

I’m sorry... Today was the first

time we talked for a long time.

Hearing your voice brought me back

to when we were kids and I couldn’t

get it out of my head, so I just

(MORE)

(CONTINUED)

CONTINUED: 24.

SARAH (cont’d)wanted to see you one more time if

its okay.

HALEY

it’s late, Sarah. I have so much to

do-- You should probably go home.

SARAH

Do you even know where that is?

Where I live? Everything I had is

gone. You do remember, right? My

mother? Leaving behind everything I

had. I don’t mean to be an asshole

about it, but we were best friends.

You could at least talk to me.

HALEY

... Just to let you know. I didn’t

know your mother died until after

you left. I tried, Sarah. I know

after everything I couldn’t leave

you by yourself because she was

everything you had.

SARAH

You were all I had. I hated her so

much that I accepted her death...

not being able to talk to you

again... That has a shitty feeling

to it.

HALEY

I’m sorry... I’m sorry about

everything If I knew I would have

been there.

SARAH

... Why can’t things go back to the

way it was? I was gone-- I get it,

but I’m back now. Why is everything

so different?

HALEY

I want nothing more than for us to

go back to the way it was. you were

my best friend. Don’t get me wrong

I miss the old us, the old you. Not

the person you are, now... I’m

sorry

(CONTINUED)

CONTINUED: 25.

SARAH

I can’t change that, because the

old me is the same person you see

standing in front of you. The old

me always wanted more than a

friendship.

HALEY

Sarah--

SARAH

Just hear me out. I tell you how I

really felt and its hard for

someone to handle, but you needed

to know... I still love you,

Hayley--

HALEY

SARAH, STOP! I can’t do this right

now. I’m trying so hard, but you

just make it so difficult. I’m

sorry, but you need to leave!

As Haley tries to walk away, Sarah quickly GRABS her and

forces KISS onto her. Haley quickly PUSHES her to the

ground.

HALEY(CONT’D)

(Shocked)

You can’t... Y-You can’t do that!

Haley SCATTERS back into her home. Sarah begins to sob.

seconds later she begins to hear the voices laughing.

INT. CABIN, BEDROOM - NIGHT

Inside a poorly lit bedroom, Four teenage girls casually sit

around Ouija board and a large lit candle on the side of it.

Jazz,16, eyes are shut as if she is in a meditative state

with the palm of her hand hovering over the Ouija board.

Jamie,16, gently wipes the sweat off of Jazz’s forehead with

a towel.

JAMIE

(To Jazzy)

Concentrate. Let your mind drift

into the unknown. It will be kinda

creepy but, its okay. You’re

stronger than them and I’m here

with you. just stay with my voice.

You’ll be okay.

(CONTINUED)

CONTINUED: 26.

Michelle,17, rests her head atop of her fist giving off a

sassy attitude when she signs real loud and rolls her eyes.

MICHELLE

(Whispering to herself)

This is so boring--

Jamie silences Michelle by shushing her.

JAZZY

I don’t think I’m doing it right.

No one is here. just darkness and

smoke or fog-- I think that’s what

it is.

JAMIE

(To Jazzy)

Fog is good. Your mind is beginning

to wander into the drift. just

focus a little more. You’re almost

there.

MICHELLE

(Irritated)

Two hours, for something a retard

can finish in thirty minutes--

Seriously!

ELLA

(To Michelle)

The term is mentally challenged.

MICHELLE

(To Ella)

Shut the fuck up I know what it

is--

JAMIE

Michelle! she can’t get anything

done if you continue to downplay

her, like that.

MICHELLE

(To Jamie)

I’m not doing anything. I’m hungry

and I’m tired of this bullshit!

It’s not a big deal that I wanna go

to bed! Human beings sleep, its

normal thing to do.

JAMIE

(To Michelle)

Why can’t you think about someone

other than yourself, for once? Jazz

(MORE)

(CONTINUED)

CONTINUED: 27.

JAMIE (cont’d)needs all the help she could get.

You wanna ditch so bad, Then just

help her so we can go. Please!

Jamie looks at Ella,17, who is disregarding everything

around, fully fixated on the comic book she holds in her

hands.

JAMIE(CONT’D)

Ella!

After no response from Ella, Michelle SNATCHES the comic

book from her and TOSSES it.

ELLA

(Angry)

YOU BITCH, THAT’S THE ONLY COPY

I HAVE--

JAMIE

(To Ella)

Ella, we are so close can we please

not do this right now?

ELLA

What’s the point? She can’t get it

we’ll do tomorrow.

JAMIE

(To Ella)

Kaladi want’s this done tonight.

you have no choice--

JAZZY

(excited)

WAIT! I think I saw something.

MICHELLE

(Relieved)

Well its about time!

JAMIE

Quick jazz, reveal yourself to the

spirit. Draw it in.

Jazz’s face expression shows signs of a struggle.

JAZZY

... I don’t think he can see me.

He’s just standing there. I don’t

know what to do... Should I walk up

to him or something?

(CONTINUED)

CONTINUED: 28.

ELLA

(To Jazzy)

You do that, you’re not coming

back.

JAMIE

(To Jazzy)

He can take your body if you move

from the flame. Let him come to

you.

JAZZY

... He’s coming!

The flame on the candle grows bigger.

JAZZY

He’s talking. I can’t hear

anything.

JAMIE

Try harder, You’re almost there...

Focus.

Seconds later the planchette on the Ouija board begins to

move on its own. Jamie, Ella, and Michelle try to read the

words it spells out.

ELLA

(Reading the ouija board)

"Please, help me".

JAMIE

He’s trapped in the drift.

Michelle and Ella laugh.

JAMIE(CONT’D)

I don’t see how that’s funny. He’s

trapped in there.

MICHELLE

(To Jamie)

Grow a sense of humor, dipshit.

ELLA

(To Jamie)

It is funny if you think about it--

Sarah opens the door and the flame goes out. The room is

completely dark.

(CONTINUED)

CONTINUED: 29.

JAZZY(O.S.)

I lost him.

Sarah turns on the light to find the girls around an Ouija

board.

MICHELLE

(Sarcasm)

Sarah has returned. oh, how this

day just keeps getting better and

better.

Sarah gives off a blank expression.

JAMIE

(To Sarah)

Is everything alright?

ELLA

(To Sarah)

Yeah, you kind of have that weird

look going on.

MICHELLE

(To Sarah)

Who beat the shit out of you?

Sarah takes a deep breath.

SARAH

... I went to see Haley--

MICHELLE

(To Sarah)

Another Haley love story. I’m bored

already!

JAMIE

(To Michelle)

Can you not be a jerk all the time?

MICHELLE

(To Jamie)

I was joking! God, you’re so

annoying!

JAZZY

(To Sarah)

What happen?

SARAH

Nothing, that’s the point. Its been

on the same level since I came back

(MORE)

(CONTINUED)

CONTINUED: 30.

SARAH (cont’d)

and it won’t change. She just

couldn’t get over the fact I opened

up to her and after two years...

Nothing but that cold and dead

feeling. She wants what she can’t

have... Being her friend is not

good enough.

JAMIE

Well, to be honest, Sarah. You

can’t force someone to love you.

sometimes its best you let things

go.

ELLA

(To Sarah)

Jamie is right, two years and

nothing has changed. I don’t wanna

sound like a complete jerk, but

theirs gotta be a point where you

drop her and move one.

MICHDON’T

I don’t even know the chick, but I

can already tell she’s a bitch--

you can do better.

JAMIE

(Annoyed at Michelle)

Why do you always have to use that

language?

MICHELLE

(To Jamie)

Can you just let me speak without

you bitching about everything I

say-- Bitch is not a bad word!

As Jamie and Michelle continue to argue. Sarah begins to

hear a high pitch tone and everything goes silent. She falls

into trance. A woman’s voice begins to whisper in her ear--

SARAH

What about the book?

The girls go silent after hearing Sarah mention the book.

MICHELLE

(To Sarah)

Are you out of your mind?

(CONTINUED)

CONTINUED: 31.

SARAH

... I think I’m beyond that. I have

nothing left if I’m going to turn

it around it needs to start

somewhere... I finally have a plan.

This is the beginning.

ELLA

After that whole stunt with Diana

totally flipping on us, Bishop’s

been a little iffy about us

actually using the book, so I don’t

know about your plan.

JAMIE

(To Sarah)

The book is for practice purposes

only. Anything beyond that is

forbidden.

SARAH

He doesn’t have to know. Nobody

does.

ELLA

(To Sarah)

He knows a lot of things. That’s

kinda his deal.

JAMIE

I’m not breaking any more rules. We

lost Diana cause we got reckless.

We can’t lose anyone else.

SARAH

Listen. I know for a fact if we all

work together nothing can go wrong

and as far as Diana goes, this is

completely different. She’ll be

missed but she’s gone because greed

was her problem. None of us has

that problem-- plus its only for

one night. That’s all I need.

JAMIE

Sarah. Using the book changes

people. You never used it before.

There’s no telling what it will do

to you.

SARAH

(To Jamie)

... I’m willing to do anything. No

matter what happens to me--

(CONTINUED)

CONTINUED: 32.

MICHELLE

I’m in!

JAZZY

Michelle!

MICHELLE

Sarah’s right. Diana got iced cause

she got greedy-- That’s not our

fault. Plus, Its been threes days

now, I need a breather from this

cabin.

JAZZY

You guys this is crazy!

ELLA

Um, I also want out of this cabin

too, so count me in.

MICHELLE

(Ella)

Love the balls on you!

ELLA

I do have pretty nice balls--

MICHELLE

Stop ruining shit, Ella-- let’s

just get the book.

Ella, Sarah, and Michelle head of into the next room. Janet

sits on the floor, covers her ears and begins to SOB. Jazzy

tries to comfort.

JAMIE

Jazz, stop crying.

JAZZY

(Sobbing)

He will be mad at us.

JAZZY

Bishop loves us. You know that.

JANET

(Sobbing)

But, what about Diana?

JAZZY

Bishop never harmed Diana. She did

it to herself. Stop crying, okay.

Jamie HUGS Jazzy to comfort her.

33.

INT. CABIN, BASEMENT - MOMENTS LATER

Michelle pulls out a wooden box with a lock on it and puts

it on a table. She takes a key off her necklace and uses it

to open the box. Seconds later she takes out an old leather

book.

SARAH

Do any of you know what it is?

MICHELLE

Duh! Of course, we do.

ELLA

(To Sarah)

We studied this book for months.

Its some pretty cool shit in there.

Superhero type shit that would blow

your mind--

MICHELLE

(To Ella)

She gets it.

SARAH

We just need something that would

make her love me, You know? Is

there anything like that in there?

Michelle shows Sarah a page filled with strange markings.

SARAH

I can’t read this. What the hell is

it?

ELLA

(To Sarah)

I call it "Master corruption".

Basically, it’s a spell that can

manipulate a soul, or a mind into

anything we want. In your case, we

would altar Haley’s mind and make

her believe you’re her true love.

It’s a perfect crime.

SARAH

Wait, If we do mess with her head

It won’t kill her or make her brain

dead will it? You guys do know what

your doing, right?

(CONTINUED)

CONTINUED: 34.

MICHELLE

Not really, but we know enough not

to get anybody killed. Maybe.

ELLA

(To Sarah)

We never actually tried the spell

on anybody before. You sure its

worth it?

SARAH

(To Ella)

... I don’t care. I just wanna make

sure nothing bad happens. To me or

Haley.

ELLA

(To Sarah)

Sweet. What’s the plan?

SARAH

Well, I don’t know, haven’t had

time to think this out.

MICHELLE

Well think of something, Bishop

comes back tomorrow. We don’t have

much time.

SARAH

I guess we just get Haley and do

the spell. Simple. right?

ELLA

(To Sarah)

You seriously think Haley would

come and do this shit, voluntarily?

MICHELLE

(To Ella)

No, jackass. She wants us to force

her.

ELLA

You mean like kidnap?! Wow,

high-level shit. We can’t just

kidnap somebody, That’s a bit too

much, isn’t it?

SARAH

(To Ella)

Well, It’s the only way. Unless you

have a better idea.

(CONTINUED)

CONTINUED: 35.

Michelle advances towards a shelve mounted on the wall. She

grabs a bottle filled with clear liquid and gives it to

Sarah.

MICHELLE

I saw all the needles in Paul’s

truck, we can use those.

SARAH

What is this?

MICHELLE

We need to put her to sleep. That

right there will do the job.

SARAH

Wait, we need a location. Somewhere

we can put her.

ELLA

(To Sarah)

No location, We have to bring her

here.

SARAH

(Shocked)

We can’t do it here, that’s crazy!

MICHELLE

(To Sarah)

All of Bishop’s Cabins are built on

sacred ground. Makes any spell we

do even more powerful. More juice

for the kick.

ELLA

(To Michelle)

Well, more juice isn’t shit if we

can’t get all four of us to

complete the circle.

The girls look at each other.

CUT TO:

INT. CABIN, LIVING ROOM - NIGHT

Jamie is still comforting Jazzy. The rest of the girl enters

the living room and steps up to Jazzy and Janet.

JAMIE

You guys this is totally messed up.

What if something goes wrong? Did

(MORE)

(CONTINUED)

CONTINUED: 36.

JAMIE (cont’d)you even think about the

possibilities of things not exactly

going the way you intended? Diana

didn’t! What if Bishop finds out

what we did? How would we even get

out of this place? Did you guys

think of all that, shit?!

MICHELLE

(To Jamie)

Once Paul falls asleep we sneak

out, no big deal.

ELLA

(To Jamie)

You worry too much. Its only for

tonight. Besides, Bishop won’t be

here until tomorrow. Things

couldn’t get much cleaner than

that.

Jamie begins to think about it.

SARAH

(To Jamie)

... You know how much Haley means

to me. I thought out of everyone in

here, you would be the one to back

me on this. No one’s going to get

hurt If we stick together. Please!

MICHELLE

(To Jamie)

Unless you want another dead body

on your conscious I suggest you

stop acting like a saint and help

us out.

Jamie makes eye contact with Jazzy’s puppy dog eyes.

INT. BEDROOM - NIGHT

Inside an unknown bedroom, Amber is unconscious on the bed.

She begins to regain consciousness, slowly raising her head.

She investigates everything around her, filled with

confusion. She JUMPS up and RUNS for the door. She realizes

its locked when she turns the handle.

Amber runs for the window and discovers its nailed shut. She

looks out the window only to see trees blocking her vision.

The door unlocks and opens. An elderly woman enters the

room.

(CONTINUED)

CONTINUED: 37.

ELDERLY WOMAN

Good, you’re up. I thought I heard

some wrangling going on around

here.

AMBER

(Scared)

Please, don’t hurt me!

ELDERLY WOMAN

Oh, dear child. I could never harm

you. If it makes you feel any

better, my name is Harriet. I’ve

been honored with the

responsibility of taking good care

of you. Making sure that your stay

is a pleasant one.

AMBER

(Scared)

... Where am I?

HARRIET

A safe place. Wheater you believe

it or not it’s up to you.

AMBER

(Scared)

I have a sister out there. She

needs me, I-I can’t stay here.

HARRIET

... Come with me. You’re needed

downstairs.

AMBER

(Scared)

I just wanna go home.

HARRIET

If you wish to get back to your

sister. You probably should Come

with me.

Amber cautiously saunters out of the room.

INT. LIVING ROOM - MOMENTS LATER

Amber escorted by Harriet walks down a flight of stairs.

When she reaches the first level. She is startled by all of

the people watching her as she enters the living room.

(CONTINUED)

CONTINUED: 38.

HARRIET

(To Sarah)

It’s okay my dear. These people are

family. Nothing, but loving

children. Something I’m guessing

you haven’t seen in a while.

Harriet points at a double door further into the living

room.

HARRIET(CONT’D)

In there is where you’ll find what

you’re looking for... It’s okay. Go

on now.

Amber slowly saunters through all of the men, women, and

children who stare at her with blank faces. Amber reaches

the doors. She takes her time but, she opens the door and

enters the room.

INT. STUDY ROOM - CONTINUOUS

She walks into a Victorian study room filled with ancient

artifacts on the wall and placed in display cases.

The door closes behind her, causing Amber to go on alert.

she scans the entire room where she finds an unknown man

sitting on a chair in front of a lit fireplace.

UNKNOWN VOICE

I can understand how something like

this can come off terrifying for a

girl your age. Forced into an

environment she doesn’t understand.

Surrounded by some of the strangest

folks. Your fear is understandable.

AMBER

... Who are you?

Bishop Mercier, Age Unknown, Long silky black hair, dressed

in an all black southern suit and a fedora hat. He reveals

himself to Amber and steps up to her.

Bishop removes his hat and places it over his heart.

BISHOP

You can me call Bishop. I would

like to consider myself a friend in

need.

Bishop slowly edges closer to Amber who slowly goes on the

defense.

(CONTINUED)

CONTINUED: 39.

BISHOP(CONT’D)

... Your mother has created an

angle--

AMBER

Don’t talk about my mother.

BISHOP

... Forgive me. I don’t mean to

cause any distraught... How about

we try to move on to a more

positive. more productive path,

shall we?

AMBER

I just wanna go home. My sister

needs me.

BISHOP

You misunderstand the situation.

You’re free to go anytime you want.

but why would you want to go back

to the family that has caused you

nothing but pain and misery since

you first arrived? you’re nothing

more than a paycheck to them and

you’re willing to accept that? Your

heart filled with so much love is

being corrupted. Tainted by those

who have no love to give. You allow

the real Amber to fade away. How do

you think Lilly will respond to

that. So young and innocent.

AMBER

Lilly? How do you know her name?

Where is she?

Bishop stares into Amber’s sad eyes.

BISHOP

She is at home where she has always

been. I only needed to see you,

Amber... At this very moment, I

offer you two options. You can

leave this place and safely return

to your sister... or you can learn

the truth about your mother.

AMBER

My mother? What is it?

(CONTINUED)

CONTINUED: 40.

BISHOP

She and I held many secrets. it’s

only right I share it with someone

she cared about.

Bishop directs Amber towards a chair and sits her down. He

picks up a music box and places it on the coffee table in

front of Amber.

BISHOP(CONT’D)

What do you desire the most? That

one thing that tears you up inside.

Begging for its freedom, but you

don’t know how to free it, So it

just stays in its place. Waiting...

What is it?

AMBER

... Nothing.

BISHOP

Oh, come on. I’m sure it has to be

something... If I had to guess...

Family?

Bishop notices Amber face expression slightly changes.

BISHOP(CONT’D)

Your parents died when you were

young. It’s a painful and a very

harsh reality. Deep down inside you

believe The love you crave was

buried with them.

AMBER

... I have Lilly.

BISHOP

True. And that’s enough for you?

You see, I feel as if you need more

then what you ask for. Am I wrong?

The room is quiet. Amber begins to twiddle her fingers and

rapidly bouncing her knee up and down.

BISHOP(CONT’D)

... I understand. More than you

think--

AMBER

(Angry)

LIAR! WHAT DO YOU WANT FROM ME!?

(CONTINUED)

CONTINUED: 41.

BISHOP

... To give what you always wanted.

something your mother and myself

always wanted.

Bishop slowly opens the box. Amber looks inside to find a

lot of old items inside. The music box begins to play a

tune. Amber notices a picture buried under items and She

digs in the box to pick it up. While staring into the photo

she begins to sob when she finds out the picture of her

parents standing next to Bishop along with other unknown

people.

AMBER

(Sobbing)

What is this?

BISHOP

The love from your family you

thought was buried. It was never

buried... It was only lost. Now it

has found its way back to you.

After a second look, The box is empty and the picture Amber

believes is in her hands is not really there. As Amber

continues to cry over what she thinks is the picture, Bishop

stares her down with his bright red iris brightly shining.

BISHOP(CONT’D)

(Vampire Voice)

Open your heart to me, Amber. I

want to bring you and your sister

back home... Back to where you

belong.

INT. STONEBRIDGE RESIDENCE, KITCHEN - NIGHT

Trevor Stonebridge, late 40’s, Digs through the refrigerator

and takes out a can of beer. He opens the beer and sips it.

Haley casually strolls into the kitchen.

HALEY

Hey.

TREVOR

Hey. Still up?

HALEY

I couldn’t sleep. How was work?

TREVOR

Long. I think that’s the only word

I can think of.

(CONTINUED)

CONTINUED: 42.

Haley approaches the refrigerator, digs through it and takes

out a bottle of water.

TREVOR(CONT’D)

Are you feeling okay?

HALEY

I’m fine, Its just one of those

nights.

TREVOR

... Hey, um. Your mother told me

Sarah came by today.

HALEY

Yeah, She did.

TREVOR

It’s been years since I seen her.

How is she since her mother past?

HALEY

To be honest. I don’t know. She’s

different now.

TREVOR

It’s understandable. She’s been

through a lot I’m sure of it. I

can’t imagine for someone at that

age to go through something like

that. Losing everything she had,

you know?

HALEY

... I feel like the bad guy. The

way things turned out, I feel

terrible about it.

TREVOR

No, you’re not a bad person, Haley.

Don’t ever think that. This

particular situation can be

difficult. You two were really

close. no matter how long its been,

you still have time to make it

right... Maybe that’s all she

needs.

HALEY

What do I even say to her? After so

long it all just seems so weird.

(CONTINUED)

CONTINUED: 43.

TREVOR

You don’t have to say anything.

Just try to be there.

HALEY

... It’s so hard, dad.

TREVOR

How?

HALEY

... Nevermind.

Trevor kisses Haley on the forehead.

TREVOR

It’s never easy. I wish it was, but

it’s not.

Trevor exits the kitchen.

INT. STONEBRIDGE RESIDENCE, HALLWAY - CONTINUOUS

Trevor strolls out of the kitchen and heads towards the

stairway. He hears a faint creaking noise that stops him in

his tracks. He scans the area, then proceeds upstairs. the

closet in the hallway slowly creaks opens.

CUT TO:

INT. STONEBRIDGE RESIDENCE, HALEY’S BEDROOM - NIGHT

Haley is sleeping in her bedroom. Her door slowly opens.

Moments later footsteps are heard creeping closer towards

the bed. Haley’s eyes JOLT wide open from the noise. She

looks around out of curiosity. Seconds later she looks

deeper into the dark corner where she see’s someone in a

clown mask staring at her.

Out from the dark two masked people dressed in all black,

RUSHES Haley. While one keeps her quite by covering her face

with her pillow and holding her down. The other person

DRIVES a syringe in her neck. Haley struggles and fights

back, but she eventually stops fighting and passes out.

CUT TO:

44.

INT. STONEBRIDGE RESIDENCE, HALLWAY - NIGHT

The masked people quietly carries Haley’s body down the

stairs.

CUT TO:

INT. TRUCK - NIGHT

Jazzy and Jamie are waiting in a truck outside Haley’s home.

JAZZY

I still don’t feel so cool about

this.

JAMIE

I know. Think of it this way. When

its all over no one is going to get

hurt. Just two people in love. like

one of those love stories, you love

to watch. Which one was it?

JAZZY

Adamsville is my favorite show. I

like Gracie palace, but I’m not a

fan of Karen though. She’s not that

good of an actor.

Jamie Spots the masked people carrying Haley outside the

house.

JAMIE

Here they come!

Jamie turns on the truck. The masked people stuff Haley

inside the truck and gets in.

MICHELLE

Let’s go!

The truck takes off.

CUT TO:

INT. CABIN, BEDROOM - NIGHT

Ella rushes into the bedroom. She opens the window and helps

pull Haley’s body into the room. Once her body is all the

way in, the rest of the girls jump through the window.

JAMIE

(To Ella)

Where’s Paul?

(CONTINUED)

CONTINUED: 45.

ELLA

He’s out.

SARAH

(To Ella)

Did you get everything ready?

ELLA

We’re good. Let’s get her to the

basement.

EXT. CABIN, PORCH - MOMENTS LATER

While Paul is sleep by the porch. Michelle SNEAKS close to

him and quietly places the keys on his key chain.

MICHELLE

(Whispering to Paul)

Goodnight jackass.

INT. CABIN, BASEMENT - MOMENTS LATER

Haley is unconscious in the middle of a painted circle with

candles surrounding her. The girls surround Ella who is

reading the book.

ELLA

So, basically what we have to do is

draw blood from both subjects. it

has to be the hands.

Michelle takes a knife and CUTS Haley’s palm. She approaches

Sarah, grabs her hand and CUTS her hand. Sarah jumps in

pain.

ELLA

(To Sarah)

Lay down next to her and hold her

hand. Sarah lays next to Haley and

holds her hand.

MICHELLE

Remember, Sarah. Whatever happens,

don’t break the circle. None of us

can break the circle. Got it?

SARAH

What would happen if we do?

MICHELLE

(To Sarah)

Nobody knows. Just don’t do it!

(CONTINUED)

CONTINUED: 46.

ELLA

Let’s do this.

The girls surround the circle.

MICHELLE

I’ll be the anchor, just follow my

lead.

The girls close their eyes and hold their hands up towards

Sarah and Haley. Michelle takes a deep breath. Moments later

her eye iris being to glow in a purple color right before

she closes them.

The candles begin to flicker, seconds later they grow

bigger. Sarah begins to hear a woman voice laughing in her

head. She falls into a trance. Haley’s eyes slowly open. She

hears a woman voice laughing.

Haley turns her head and looks at a dark corner in the

basement where she spots a demonic version of herself slowly

CRAWLING towards her. She tries to move and speak, but she

struggled to make a peep. The demonic Haley moves closer and

closer every second. Paul STORMS downs the stairs and finds

the girls performing a spell.

PAUL

(Angry)

What the hell are you doing?!

Paul STARTLES the girls casing them to stop the spell. Sarah

breaks from the trance and jumps up gasping for air. The

candles go out and its dark. Paul turns on the light.

PAUL

(Angry)

Answer my question! What the hell

are you guys doing and who messed

with my truck?

Michelle notices Haley is missing.

MICHELLE

(Shocked)

Oh my god!

The girls and Sarah are shocked to find Haley is missing.

ELLA

Where did she go?

(CONTINUED)

CONTINUED: 47.

PAUL

What the hell are you guys talking

about?

JAZZY

(Panicking)

WE BROKE THE CIRCLE!

They begin to hear a girl groaning and a scratching noise in

a dark corner. The scratching and groaning grow louder.

Moments later Demonic Haley reveals herself. Paul takes out

his gun and begins to shoot At demonic Haley. The girls are

terrified as demonic Haley LOUNGES at Paul in a supernatural

speed and rip him apart.

The girls SCREAM at the top of their lungs and scatter out

of the basement. Demonic Haley continues to rip Paul apart.

END OF ACT TWO

ACT THREE

INT. POLICE STATION, BRIEFING ROOM - DAY

Malcolm stands alone in front of a board with a picture of

Haley and Amber on it. He looks up at the T.V which is

broadcasting a breaking news report--

NEW’S REPORTER ON THE T.V

Police are on the lookout for

seventeen-year-old Haley

Stonebridge, a straight-A, high

school student who was reportedly

abducted from her home last night.

A security camera placed outside

the neighbors home, reveals Haley

begin dragged into a black S.U.V by

two masked perpetrators. Police are

asking if you happen to spot this

Suv with missing license plates,

please notify your local law

enforcement with any information.

In other news, Amber Collins

another seventeen-year-old high

school student, who attended the

same school as Haley Stonebridge,

was also reported missing the same

night of Haley’s abduction--

Randy turns off the T.V.

(CONTINUED)

CONTINUED: 48.

RANDY

He made his move. I can’t say that

I’m so surprised.

MALCOLM

Haley Stonebridge.

RANDY

What about her are we missing?

MALCOLM

Nothing. She doesn’t belong.

Michelle, Jamie, Ella, Diana, Jazzy

and even Amber. They fit what he is

looking for. Not her.

RANDY

I wish I knew more. Maybe its a

completely different case.

MALCOLM

Or not... He’s always two steps

ahead. That’s the only thing we can

go by... for now.

RANDY

You good, kid?

MALCOLM(CONT’D)

... What do you have on Victor?

RANDY

Come on, Malcolm. You sure we

should take that rout?

MALCOLM

We’re running out of time. Where is

he?

RANDY

... He was relocated to an

apartment not too far from here and

I could lose my job for this since

your not allowed anywhere near

him--

MALCOLM

How long?

RANDY

Twenty minutes, maybe Thirty.

Malcolm is fixated on Haley’s picture.

49.

CUT TO:

EXT. APARTMENT COMPLEX - DAY

Malcolm’s car pulls up to an old beat down apartment complex

and comes to a complete stop. Malcolm and Randy get out of

the car and takes a good look at the building.

MALCOLM

So, this is it?

RANDY

This would be it. Apartment 475 to

be exact... Just to be clear. This

is the only way, right?

MALCOLM

Wait here by the car.

RANDY

Now, you’re pushing it. Do I need

to remind you what happened the

last time I left you two alone?

MALCOLM

This is different... Trust me.

Malcolm heads towards the apartment building leaving Randy

behind.

INT. VICTOR’S APARTMENT, LIVING ROOM - DAY

Inside a beat down apartment Victor, late 60’s, sits in

front of the T.V watching a news report on Haley. Seconds

later he hears a knock on his door. He gets up, steps up to

the door and opens it. Malcolm stands before him. Victor has

a very noticeable disappointed look on his face.

VICTOR

Are you here to put another bullet

in me, Agent Baylor?

Malcolm doesn’t respond. Victor steps aside to allow Malcolm

into his apartment.

CUT TO:

Malcolm is currently sitting around a table inside Victor’s

living room. Victor carries two cups filled with tea and

places it in the middle of the table. He sits down and takes

a moment to think.

(CONTINUED)

CONTINUED: 50.

VICTOR

Bishop still roams the streets. I

can’t say I’m surprised by your

recent failures, Agent Baylor.

MALCOLM

I’m working on it.

VICTOR

You’ve been working on it for three

years, now... You wanted a clean

way out, I gave you one. Couldn’t

get any easier if you ask me.

MALCOLM

I didn’t come here for you to rub

all of this shit in my face.

Nothing is easy with Bishop, you

know that.

VICTOR

Well. Any more digging, then you

would be playing his game, son.

You’ll never catch him that way.

MALCOLM

One of the girls he kidnapped is

dead... We found her in pieces like

some animal mauled her to death...

The cabin was filled with ashes. It

was all over the place... What is

he capable of?

Victor takes a moment to sip his tea and get a good read on

Malcolm.

VICTOR

... Does your partner know about

recent history? Agent Baylor.

MALCOLM

... They know what I want them to

know?

Victory chuckles.

VICTOR

And how long do you think that will

last, huh? This persona you play is

obviously amusing you, im assuming

its why you keep it up.

(CONTINUED)

CONTINUED: 51.

MALCOLM

You speak like you know me.

VICTOR

I know you’re a vicious killer that

hides behind a badge. That’s all

anybody needs to know. You caused a

lot of waves in the underworld. You

may think you’ve left your ghosts

in the closet, but luckily I know

the right people that specialize in

hunting ghosts... Tell me, agent

Baylor. Why even wear the badge?

What are you hiding from?

MALCOLM

Who said I was hiding?

VICTOR

You didn’t have to say anything.

The blood and despair tends to

stain the face and change a man

from what he use to be... You had

to know I was going to figure you

out eventually, right? Last time we

talked it was a bit cloudy, but

after so many years... I finally

meet the real you.

MALCOLM

... Talk.

VICTOR

If I knew how stop Bishop don’t you

think I would’ve done it already.

This is beyond me, but it doesn’t

have to be for you. If you seek my

help then you are wasting your

time, but I can give you this... If

you really want Bishop, so bad then

you need to stop pretending to be

something you’re not.

MALCOLM

I take my job very seriously.

VICTOR

I’m not talking about your job, I’m

addressing you playing the hero...

You and I know that’s complete

bullshit.

52.

INT. ABANDON BUILDING - DAY

We soar over a large building secluded in the woods.

VICTOR(V.O.)

Playing by the government hands

will never succeed... Its time you

bathe in the blood of your victims

and embrace the darkness cause it

may be the only way you can bring

the devil down.

Entering the heavily damaged building. A blindfolded,

bloodied, and beaten man hangs from his ankles by the chains

that are attached to the roof of the first floor. JAMES

SHREDDER, late 30’s, casually sits on a chair observing the

hanging man.

A dozen men holding massive weapons in their hands stand

behind James. A phone rings James takes it out and reads the

screen. Seconds later he picks up his blade off the floor

and stands up. He advances towards the hanging man and takes

the blindfold off. Immediately The hanging man panics with

fear when he see’s James staring him down.

HANGING MAN

(Scared)

Oh, god, James! Please! I gave you

everything you wanted!

James uses the blade to slowly DRIVE it into the hanging

man’s stomach. He screams in pain and begs James to stop.

HANGING MAN(CONT’D)

WE HAD A DEAL! WE HAD A FUCKING

DEAL!

JAMES

Its funny you should mention our

little arrangement.

A mercenary approaches James and gives him a tablet. James

shows the hanging man a picture of him and his mercenaries

getting into a truck. A guilty look emerges on the hanging

man’s face.

JAMES(CONT’D)

Which part of the deal would this

part fall in?

HANGING MAN

(Nervous)

Okay! Okay! I had to. If I didn’t

give you up I would’ve spent the

(MORE)

(CONTINUED)

CONTINUED: 53.

HANGING MAN (cont’d)rest of my life in prison! do I

look like a man that can last in

maximum security? They had

everything on me. The murders, the

money! Enough to put me away for

good! What was I suppose to do?!

JAMES

NOTHING! You do nothing, couldn’t

get any simpler than that. You

know, I stuck my neck out for you

and in return, you have given me

nothing but a cowardly human being

who would rather quickly save his

own ass instead of looking at the

bigger picture-- Open your fucking

eyes and look!

HANGING MAN

James--

James silences him.

JAMES

... From this point forward you and

I are no longer in business. You’ve

broken a trusted bond... I’ll make

sure to send your love to your

family when you’re gone. Especially

the sweet ass wife of yours. I can

only hope she tastes as good as she

looks.

HANGING MAN

Please! you can’t do this! I can

give you the organization who

wanted those pictures!

JAMES(CONT’D)

You don’t have to do do that, but

there is one thing you can do for

me...

James leans in closer.

JAMES(CONT’D)

You can tell the devil he won’t be

seeing me anytime soon.

The hanging man begins to sob, begging for James not to kill

him, But James continues to stroll away. The mercenaries aim

their weapons at the hanging man and they pull the trigger.

They fill his body with bullets, killing him instantly.

54.

EXT. EMPTY BUILDING, PARKING LOT - CONTINUOUS

James strolls out of the building and paces towards a

stretch limo parked right by the entrance. He reaches the

back of the limo and gets in. (To James)

INT. LIMO - CONTINUOUS

JESSICA SANDRA, late 30’s, Is holding a phone on her ear

while taking a sip out of a wine glass she holds in her

hand. James enters the limo and sits next to her.

JESSICA

He had two weeks on us.

JAMES

Fuck him, He’s dead! That’s all

that matters.

JESSICA

Next time you won’t be so lucky and

maybe next time you will listen to

me whenever I question the type of

people you chose to go into

business with.

JAMES

Oh, I bet you’re loving the moment,

but do I need to remind you that my

business with the people you

question, provides more than enough

then your father ever could.

JESSICA

It’s not about the money anymore,

asshole. It’s about staying in the

shadows and right now we’re not

doing such a good job.

JAMES

We’ll fix it--

JESSICA

Wrong, I’ll fix it. Like I always

do.

Jessica hands him her phone.

JESSICA(CONT’D)

For you?

A confused James takes the phone and places it next to his

ear.

(CONTINUED)

CONTINUED: 55.

JAMES

(Into Phone)

Who is this?

EXT. VICTOR’S APARTMENT - DAY

Malcolm watches Randy from a distance while trying not to be

seen by him. He holds the phone to his ear.

MALCOLM

(Into Phone)

I figured by now you’ll be dead in

a ditch somewhere in Africa or

China.

INTERCUT -- PHONE CONVERSATION

JAMES

Malcolm. You of all people should

know I’m a hard man to kill. I see

you still have the number. Are

those violent urges beginning to

kick in, old friend?

MALCOLM

My mind is set, actually. I’m

calling cause I’m cashing in.

JAMES

Really?! I waited a long time to

hear you say that, but something is

telling me the F.B.I won’t be so

appreciative of my work.

MALCOLM

This is not about the F.B.I,

anymore. This goes further than

that.

JAMES

Is that right? Just exactly how far

are we talking?

MALCOLM

Can’t do the details. Where can we

meet?

JAMES

It depends. How many do you need

for the meet?

(CONTINUED)

CONTINUED: 56.

MALCOLM

All you got.

JAMES

You’re joking, right?

MALCOLM

Can you do it, or not?

JAMES

Of course. I have a prior

engagement I have to deal with, but

rest assure I’ll call you as soon

as I get a time and place.

Malcolm hangs up.

INT. LIMO - DAY

James watches his men DRAG the hanging man’s body out of the

warehouse.

JESSICA

Malcolm back in the game could

benefit us, tremendously. The way

things are going. We need him.

JAMES

If he’s willing. Then I couldn’t

agree more.

JESSICA

We’ll have enough time to convince

him once we bring him back home.

JAMES

... What the hell is he getting

into?

JESSICA

He’s chasing the devil. You of all

people should enjoy that.

EXT. CABIN - DAY

Outside the Cabin where the girls were kept at, Bishop

stands with some of his people staring the cabin down.

BISHOP

Wait here.

Bishop heads for the front door. He opens it and takes a

good look, then strolls inside.

57.

INT. CABIN, BASEMENT - CONTINUOUS

Bishop opens the door to the basement and walks down the

stairs and discover Paul’s mutilated body. He approaches the

body and inspects it. Without him noticing Demonic Haley

stands behind him just watching him.

A slight groaning noise is heard. Bishop turns around to see

nothing is there. He notices the book is on the floor. He

picks it up and leaves the basement. Demonic Haley’s hand

creeps into the light from the darkness. A weakened demonic

voice says Bishop’s name as the hand slowly SCRAPES the

concrete floor.

CUT TO:

INT. BISHOP’S STUDY ROOM - DAY

Bishop has the book open on the page of the spell the girls

used. The girls stand before Bishop with a nervous and

scared look on their faces. Kaladi, late 40’s, sits by the

fireplace observing the girls.

BISHOP

Is this it?

ELLA

Yes, sir.

Bishop shows Kaladi the page. She places the book on the

desk, reaches in her pocket for a brown bag. She opens it

and dumps ashes on the page and performs a spell.

JAZZY

(Sobbing)

We didn’t mean to hurt anyone. I

swear to you Bishop, I never wanted

to do anything to hurt Paul.

MICHELLE

(To Jazzy)

Fucking, kiss up.

JAMIE

(To Michelle)

LEAVE HER ALONE!

MICHELLE

(To Jamie)

Blow me, Bitch.

(CONTINUED)

CONTINUED: 58.

JAZZY

(TO Michelle)

SCREW YOU--

BISHOP

That’s enough.

SARAH

(To Bishop)

It’s my fault. If anyone should get

punished for what we did it should

be me.

ELLA

That’s not true. We all had a part

in this--

SARAH

(To Bishop)

I forced them to help me take the

book and performed that spell. I

take full credit.

Bishop takes a moment to observe the girls. He approaches

the sobbing Jazzy and gently kisses her forehead.

BISHOP

I need a moment alone with, Sarah.

JAZZY

Bishop, it’s not her fault--

BISHOP

Leave.

The girls start to walk out of the room. Bishop grabs

Michelle.

BISHOP

(To Michelle)

Go easy on your sisters. they’ve

been through enough, already.

MICHELLE

Yes, sir.

Michelle leaves the room and closes the doors behind her.

Bishop walks up to a glass case mounted on the wall behind

Sarah. He takes the blade out from the case and examines it.

BISHOP

... I failed you, Sarah. I promised

you the day I brought you back to

(MORE)

(CONTINUED)

CONTINUED: 59.

BISHOP (cont’d)New Orleans that I would make a

difference. No pain. No anger... I

want you to understand that I had

no intentions of feeding you any

kind of bullshit just to make the

situation sound perfect.

Bishop shows Sarah the blades then hands it to her.

BISHOP

You recognize this?

SARAH

My father’s blade.

BISHOP

It’s more than that. This is the

blade that killed my brother. The

blade that has made me what I am

today.

Sarah examines the blade.

BISHOP

Your father was my most loyal

member of this family, But the day

your mother took you from him he

was never the same. This family--

you included you meant everything

to him. How do you think he felt

dying without even knowing your

name? Before his death, he

practically begged me to do

whatever it took to bring you home

and I swore to him I would make

that happen and not only that I

would bring you in as my very own.

Bishop approaches Sarah grabs her arm and looks over her cut

marks.

BISHOP

Sadly I found you as a broken girl

in dire need of help. She destroyed

your innocence, made you feel out

of place in this world and it hurts

me to see you like this... You’re

more important to this family than

you think, Sarah. I have great

plans for you, but first, you must

be fixed and that’s what I plan to

do. I don’t want you to feel this

(MORE)

(CONTINUED)

CONTINUED: 60.

BISHOP (cont’d)misery, anymore. I don’t want you

to feel like you need to escape

from any obstacles that lay before

you. From here on out. We will face

it together. We will rebuild what

your mother has destroyed. I

promise.

Bishop looks into Sarah’s sad eyes when he hugs her. The

book burst into flames interrupting Kaladi’s spell.

KALADI’S

The spirits speak!

Bishop approaches the book to find an ancient symbol burned

into the page.

KALADI’S

(To Bishop)

A powerful spirit built on hatred

rises from hell and into our world.

BISHOP

What does it want?

KALADI

You... Revenge. All it wants is to

see your soul burning in the pits

of hell you put it in... for an

eternity!

BISHOP

(With a smile on his face)

This should be fun.

Bishop closes the book.

INT. CABIN, BEDROOM - NIGHT

Jazzy sits atop her bed, holding an old beat-up doll. She

places it on her pillow and stares deeply into its eyes.

She raises her hands over the doll, Her eye iris turns

purple. moments later the doll slightly moves on its own.

Jamie enters the room and sits next to Jazzy.

JAZZY

Is Sarah okay?

JAMIE

I don’t know.

(CONTINUED)

CONTINUED: 61.

JAZZY

You don’t think Bishop would hurt

her, would he?

JAMIE

Sarah’s bloodline means everything

to Bishop. I don’t think he would

hurt her.

JAZZY

Yeah, but--

JAMIE

He wouldn’t. I’m sure of it.

Janet grabs Jazzy’s doll and examines it.

JAMIE(CONT’D)

I haven’t seen miss lucy in a long

time. You only come to her when

you’re really down.

JAZZY

I can’t stop thinking about what

happened to that girl, Haley. Her

face. Her eyes. I can’t get it out

of my head.

JAMIE

I wish you didn’t have to see that

JAZZY

Well, I did. I don’t think I could

ever forgive myself.

JAMIE

Don’t say that. We are all in this

together, so we will stand together

and stay strong... For Bishop.

JAZZY

She’s dead because of us.

JANET

She’s not dead, we would’ve sensed

it if she was. I admit its not a

good situation, but she is still

alive.

JAZZY

For how long?

(CONTINUED)

CONTINUED: 62.

JAMIE

I don’t know.

JAZZY

We have to help her.

JAMIE

I want to so bad, but we can’t--

JAZZY

Jamie, please!

JAMIE

The best thing for us to do is stay

here and listen to anything that

Bishop says. We did enough already.

JAZZY

I just think we should do

something.

JAMIE

We all feel that way, but this is

out of our hands. Bishop will take

care of it like he always does. We

need to practice, everyone is

waiting for us outside.

Jazzy and Jamie exit the room.

INT. STONEBRIDGE RESIDENCE, HALEY’S BEDROOM - NIGHT

Inside Haley’s bedroom, a distressed Ramona lay’s on the top

of her daughter’s bed. Trevor enters the bedroom and tries

to comfort her.

TREVOR

Sweetheart you have to get some

rest.

ROMANA

I’ll rest when they find Haley.

TREVOR

The police are doing everything to

bring her back. I have faith she

will be found safe and sound. You

need you to sleep.

ROMANA

... Can I sleep in here?

(CONTINUED)

CONTINUED: 63.

TREVOR

That’s fine. If you need me I’ll be

downstairs.

Trevor kisses Romana and proceeds out of the room and closes

the door.

INT. STONEBRIDGE RESIDENCE, HALLWAY - CONTINUOUS

Trevor saunters down the hallway, he becomes distracted by

all of the pictures of Haley on the wall. A pounding sound

is heard at the front door. Trevor heads towards the living

room.

INT. STONEBRIDGE RESIDENCE, LIVING ROOM - CONTINUOUS

Trevor paces towards the door and looks through the peephole

only to see nothing. He opens the door and is shocked to

find a very frail Haley on the ground pounding on the door.

TREVOR

OH, MY GOD! HALEY!

Haley is in a state where she can’t speak. Trevor LIFTS her

off the ground and storms into the house, SCREAMING for

Romana.

CUT TO BLACK:

END OF ACT THREE

THE END