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Post by Dale on Feb 1, 2009 7:57:26 GMT -5
MISS FORTUNE
Starring
Diane Kruger as Dana Fortune
Josh Brolin as Terrence Oliver
Mark Ruffalo as Clark Borden
Emily Blunt as Samantha Greene
Forrest Whitaker as Larry Sinclair
and
Nestor Carbonell as Senator John Soloman
FADE IN.
INT. INTERROGATION ROOM – NIGHT
CLOSE on the gentle, tired face of a young blonde woman. She is roughly thirty years old.
Her name is DANA FORTUNE.
The video is black and white and somewhat fuzzy, giving the effect of a home video camera.
OFFICER (O.S.)
State your name please.
Her eyes slowly move up to the camera. They are a bright sky blue color. They brim with an everlasting tranquility.
DANA
Dana Fortune.
OFFICER (O.S.)
Miss Fortune, do you confess to the murders of these six individuals?
BEAT.
OFFICER (O.S.)
Miss Fortune? Did you kill these people?
DANA
Yes I did.
She stares ahead coldly for a long, dramatic moment.
CUT TO:
TITLE AND CREDIT SEQUENCE
FADE IN:
INT. DANA’S APARTMENT – MORNING
Dana’s eyes slowly open as she lies in bed, flat on her back.
She remains still for a moment, staring at the stucco ceiling.
BEAT.
She removes the blanket and sits up. “Heart of Glass” by Blondie plays as she exits the room.
As the music plays, CUT through her daily routine.
Dana stands in the shower, the water beating down on her face. She gingerly washes her sandy blonde hair.
She stands in front of the stove top casually frying eggs. Whites only.
She grabs her purse as she heads toward the front door. She is dressed in blue scrubs and a thin black jacket. She stops a moment to feed her yellow parakeet CHARLIE.
DANA
Watch the house, Charlie.
The bird cocks it’s head as she feeds it. She brushes off her hands and heads out the door.
INT. ST. LUKES VETERINARY HOSPITAL – DAY
Dana enters the quaint, modern clinic. A young brunette with a slight British accent sits behind the counter. She stands to greet Dana.
This is SAMANTHA GREENE.
SAMANTHA
Good morning Doctor.
DANA
Good morning Samantha. How’s it look today?
Samantha eagerly follows her through the clinic halls.
SAMANTHA
Slow for now. I’ve made a list of your appointments for today. I put it on your desk.
Dana smiles pleasantly.
DANA
Thank you. Good work.
They pass a young man, early twenties. He has a handsome surfer look to him. TUCKER GRACE.
TUCKER
Morning ladies.
Dana nods to Tucker. He and Samantha exchange sly grins.
DANA
How was your date?
Samantha slightly blushes.
SAMANTHA
It was...fun.
Dana chuckles softly.
DANA
School going okay?
SAMANTHA
Got an A on my exam from last week. My professor says I show great potential.
DANA
That’s great. You’re gonna’ make a fine doctor.
She laughs timidly as Dana enters her office.
SAMANTHA
What can I say? I’ve got a good teacher.
DANA
(playfully)
Just remember that when I’m old and need someone to take care of me.
They share a laugh as Samantha heads back to the front. Dana removes her jacket, taking a seat behind her desk.
INT. ST. LUKE’S VETERINARY HOSPITAL – DAY
Samantha sits at the front desk conversing with Tucker, who leans against the counter.
They giggle in a flirtatious manner as the door BURSTS open.
WOMAN
Please help me!
Samantha quickly jumps from her seat to see the frantic elderly woman standing at the door. Her hands are doused with blood.
SAMANTHA
Ma’am, are you okay?
She nods frenetically, struggling to speak.
WOMAN
I’m fine, it’s the dog! He needs help!
Samantha and Tucker both hurriedly follow her outside.
EXT. ST. LUKE’S VETERINARY HOSPITAL – DAY
She leads them to her maroon Oldsmobile, parked crooked in two spaces. As she opens the back door, Samantha gasps in horror.
WOMAN
Can you help him?
BEAT.
SAMANTHA
Come on, let’s get him inside.
With a grimace, Samantha climbs inside the backseat to retrieve the wounded dog.
INT. DANA’S OFFICE – DAY
Dana, at her desk filling out paperwork, looks up as Samantha enters.
SAMANTHA
Dana, we need you. It’s an emergency.
She drops her pen and quickly exits.
INT. ST. LUKE’S VETERINARY HOSPITAL – DAY
The two quickly head toward the surgical room.
DANA
What is it?
SAMANTHA
I’m not sure. A woman came in here completely in a panic. She has a dog, looks like it may have been hit by a car.
They push open a set of double doors and enter the –
INT. SURGICAL ROOM – CONTINUOUS
A badly wounded dog lies still on the operating table. In the corner sits the elderly woman, tears flowing like a broken spout.
Dana stops in her tracks at the sight of the dog.
DANA
My God.
The elderly woman leaps up and rushes to Dana.
WOMAN
Doctor, can you save him? Please, tell me you can. It’s that son of a bitch, it’s his fault.
(sobbing now)
Damn it, tell me you can help him.
DANA
Ma’am, we’ll do the best we can.
(to Samantha)
Take her out to the lobby.
She nods and escorts the traumatized woman out.
Dana takes a deep breath and steps toward the table.
DISSOLVE TO:
Some time later, Dana exits into the lobby. She removes her hair cover, her eyes filled with sadness. We know it’s the worst.
The elderly woman sees this as well and tears stream down her face. Dana takes a seat next to her.
DANA
I’m sorry. We did all we could, but he was too far gone.
She nods in understanding.
DANA (cont.)
Was this your dog?
WOMAN
No. It was from next door. Paul Leonard’s dog.
DANA
Did you...hit him?
She shakes her head “no”.
WOMAN
No, no I didn’t. I came home this morning from the market, he was lying in the road. I went to Paul’s door, you know, to tell him his dog was in the street. He asked “What do you want me to do about it?”. The dog was still alive! God knows how long it had been laying there.
Dana looks appalled as she consoles the woman.
DANA
Let me look in our records. What’s his address?
WOMAN
I believe it’s 6728 Parkway Lane.
(beat)
I think the police should hear about this as well.
DANA
I really don’t think they can do anything, unfortunately.
WOMAN
Did you see that dog? He looked like he hadn’t eaten in days!
Dana frowns, thinking.
DANA
Listen, I’ll make a few calls. But don’t get your hopes up, okay?
She nods, wiping the tears from her eyes.
Dana exits back toward her office.
INT. OFFICE – DAY
She sits at her desk, clicking on her computer.
CLOSE on the monitor as a previous file is pulled up. The name is Paul Leonard.
She picks up the phone and dials.
PAUL (O.S.)
Hello?
DANA
Is this Paul Leonard?
PAUL
Yeah. Who’s askin’?
DANA
Mr. Leonard my name is Dana Fortune. I’m a doctor at St. Luke’s Animal Clinic.
(beat)
You’re dog, Shiver, was brought in today. It appears that he was hit by a car.
PAUL
Okay?
Dana seems confused at his lack of interest.
DANA
Mr. Leonard, he didn’t make it.
Paul sighs softly over the phone.
PAUL
So what you gonna’ bury him or something?
DANA
We can dispose of the body, yes. Unless you would like to do it.
He laughs sarcastically, much to the chagrin of Dana.
PAUL
The hell do I want with a dead dog?
She grimaces through clenched teeth, biting her tongue.
DANA
Okay. Well sorry to have bothered you, Mr. Leonard.
CLICK. The line goes dead as Paul hangs up. She sets the phone back onto the receiver, shaking her head in disgust.
INT. LOBBY – EVENING
Dana appears from the back and leans onto the counter before Samantha and Tucker.
She has her jacket and purse, appearing to be leaving.
TUCKER
Hey, what happened with the police?
DANA
Nothing. They said there wasn’t anything they could do. Of course.
Samantha sighs angrily.
SAMANTHA
Should have expected that, I guess. You taking off?
She nods, rubbing her temples softly.
DANA
Yeah. These headaches are back. Worse than before.
TUCKER
Maybe you should go see a doctor.
SAMANTHA
Yeah. It wouldn’t hurt to get checked out.
She shrugs, disinterested.
DANA
I’ll be fine. Just need some rest. Will you guys be alright for the rest of the night? Bonnie should be here in an hour or so.
SAMANTHA
Of course. Go get some rest.
Dana nods “thanks” and exits the clinic. Tucker and Samantha exchange worried looks.
EXT. 6728 PARKWAY LANE – EVENING
CLOSE on the street sign reading:
PARKWAY LANE
INT. CAR – EVENING
Dana sits in complete silence, staring at a small brown house.
The house is a bit run down. The exterior paint is chipped sporadically.
She watches for a few moments, thinking about SOMETHING. The feel of a night stalking is eerily present.
BEAT.
Paul Leonard exits through the front door, staggering down the patio steps and into the lawn.
He tilts his head back, downing the can of beer in his hand. When finished, he crumples it in his fist, discarding it into the grass.
Dana shows a look of disgust as she casually drives away.
INT. ST. LUKES VETERINARY HOSPITAL – SURGICAL ROOM – DAY
Inside the surgical room, Dana stands stitching up a small brown Labrador.
Samantha appears in the doorway, absurdly excited.
SAMANTHA
Dana, he’s here! He came in for a “check-up”.
She winks at Dana, bringing a coy smile onto her face.
DANA
It’ll be just a few more minutes. I’m almost finished.
Tucker, jotting notes down in the corner of the room, intervenes happily.
TUCKER
I can finish this for you.
She pauses a moment, Samantha grinning giddily behind her.
She playfully sighs and hands him the utensils. As she exits, she takes a brief moment to fix her hair in the small mirror by the door.
INT. LOBBY – DAY
Dana enters the lobby to see a man, TERRENCE OLIVER standing by the door. A leash runs from his wrist down to a gold German shepherd.
Terrence is of average size with a rugged yet kind face. He smiles at the sight of Dana.
DANA
Mr. Oliver, how are you?
TERRENCE
Great. You look nice today.
She timidly looks down to the dog. Samantha watches from the background, smirking deviously.
DANA
How’s Ace? He’s doing okay?
She rubs his head affectionately.
TERRENCE
Yepp. Just wanted to get a routine checkup, if that’s okay?
DANA
Of course. Let’s bring him back to the examination room.
Terrence follows her into the first exam room, dragging the worried dog along.
One of the other female employees leans over to Samantha.
EMPLOYEE
What’s so funny?
SAMANTHA
Mr. Oliver. I think he fancies the doctor.
She doesn’t look convinced.
EMPLOYEE
Why? He’s just being polite.
She squints a bit, chuckling lightly.
SAMANTHA
He just had Ace in here two weeks ago.
The employee mouths “ohh”, understanding. Samantha grins as she goes back to work.
INT. EXAM ROOM – DAY
Dana awkwardly leans against the counter, looking over Ace’s file.
DANA
Nothing unusual lately?
He shakes his head “no”. She slyly grins.
DANA (cont.)
You know, Mr. Oliver—
TERRENCE
(interrupting)
Terrence, please.
DANA
Terrence. Ace was just in two weeks ago and everything seemed fine. He really didn’t need to come back so soon.
Terrence’s face reddens as he nervously pets the dog’s head.
TERRENCE
Okay, you caught me.
DANA
I’m sorry?
TERRENCE
I just need a reason to come in here. I wanted to umm...well would you like to go to dinner sometime? Or coffee maybe?
She crosses her arms thoughtfully and bites her bottom lip.
TERRENCE (cont.)
For Ace? I mean, he hates it in here, but is being quite a soldier for me to get a date.
She laughs wholeheartedly.
DANA
Coffee.
TERRENCE
Coffee? Yeah, coffee’s great. Friday night?
DANA
Sure.
TERRENCE
Great.
(beat)
So..Ace is okay?
She smiles affectionately as she kneels down to rub his ears.
DANA
He’s perfect.
INT. LOBBY – DAY
Dana hands Samantha some paperwork on a recent client. Samantha’s gaze is directed toward a television set mounted near the ceiling.
SAMANTHA
Can you believe this?
DANA
What?
She nods to the TV. On it we see a news report and video footage of a distinguished man, mid-forties in a suit and tie. This is SENATOR JOHN SOLOMAN.
NEWS REPORTER (O.S.)
Many animal rights groups are up in arms after Senator Soloman’s decision to fight the National Institute of Health and overturn the Animal Welfare Act.
On the SCREEN are images of the Senator holding trophy deer and pheasant. Even one of him, a bloodhound by his side, crouched near a recently slaughtered black bear.
NEWS REPORTER (O.S.)
If won, that would mean that any animal can be used in any procedure in a testing environment. Scientifically justified or not.
CUT through random images of a small monkey laying on a table, tubes and needles in his arms and throat. Another image of a rat with a strange sensor contraption on it’s head.
NEWS REPORTER (O.S.)
This is of course one of many things that the Senator has done related to animal rights since taking his seat last May.
Dana looks away, unable to watch anymore.
SAMANTHA
That’s absurd, right? I mean, who the hell does he think he is?
Dana adjusts her eyes as if she is having trouble seeing, blinking repeatedly. She leans forward, falling onto the counter. Seconds later she hits the ground hard on her side and her eyes roll back in her head.
BLACK.
SAMANTHA (O.S.)
Dana, are you okay!?! Someone call an ambulance!
Through Dana’s POV we see a blurry vision of paramedics leaning over her before returning to BLACK.
CUT TO:
INT. HOSPITAL – DAY
A loud BUZZING sound is heard as Dana is moved slowly into a CT. She stares straight ahead as the cat scan VIBRATES loudly.
CUT TO:
She sits on a chair in a room as doctors scatter around in FAST MOTION. They randomly appear, pricking her with a needle to gain blood samples.
CUT TO:
INT. HOSPITAL ROOM – EVENING
Dana lies back on a bed, totally confused and bewildered. An older doctor, mid-fifties, enters. He smiles warmly toward her.
DOCTOR
Hello Dana. I’m Doctor Armstrong.
They exchange a handshake.
DOCTOR (cont.)
How are you feeling?
DANA
Okay, I guess. Under the circumstances.
DOCTOR
Well, I got the results back from your tests.
BEAT.
The doctor appears very hesitant.
DANA
And?
DOCTOR
Miss Fortune you have what is called a glioblastoma multiforme.
(beat)
Essentially it’s a tumor in your brain.
She looks shocked, staring at the doctor.
DANA
So, what does that mean exactly?
DOCTOR
Well, a GBM such as yours is a very rare case. Honestly, we are lucky to have found it at all.
DANA
I’m not following. How are we lucky?
DOCTOR
You see, a GBM forms in the white matter of your brain before quickly infiltrating the rest of your brain. Usually, before any symptoms appear, the tumor swells to be very large. This one is still relatively small in size.
Dana is taken aback, the words not really making sense to her.
DANA
Can we treat it?
DOCTOR
We can, yes. We can try surgery, chemotherapy, radiotherapy.
DANA
Will it get rid of it?
BEAT.
She wipes away a tear from her eye as the doctor remains silent.
DANA (cont.)
Please, just be up front with me.
DOCTOR
There is a slight chance that it will go away. But in the rare chance that it does, it will most likely come back again.
DANA
So how long will I have if we do the treatment?
DOCTOR
It varies case-by-case of course. But on average, one to two years.
Dana breaks down a bit, lowering her head into her hands and silently sobbing.
BEAT.
After a moment she does her best to pull herself together and look at the doctor again.
DANA
And in those one or two years, I will be completely debilitated due to surgery and the different therapies, correct?
He nods solemnly.
She chuckles softly, almost sadistically.
DANA (cont.)
So without the surgery, how long will I have?
DOCTOR
Two to three months.
She nods in understanding, almost an acceptance.
EXT. NYC STREETS – EVENING
CLOSE on a pair of nice black shoes, as they step one after another down rough pavement. PAN UP to see they belong to Dana as she trots down the sidewalk. The booming city surrounds her, threatening to swallow her whole.
As she walks through the crowded streets she makes note of a woman casually pushing a baby stroller. Another glance she sees a man and woman walking hand in hand.
OFFICER (V.O.)
Miss Fortune, is it alright if I ask you a few questions?
With sadness in her eyes she stares straight ahead as she finishes the walk home.
INT. INTERROGATION ROOM - NIGHT
Again with the homemade film, grayish colored and grainy. Dana nods silently.
OFFICER (O.S.)
What is it that forced you to kill?
She doesn't respond, staring coldly into the CAMERA.
OFFICER (O.S.)
Just got tired of the world? Sick of the way things are? What was the breaking point exactly?
BEAT.
DANA
There was no breaking point. I just...
(short BEAT)
Did it.
OFFICER (O.S.)
So you just one day decided to murder Paul Leonard?
Dana doesn’t miss a beat with her answer.
DANA
I didn’t kill him.
INT. ST. LUKES VETERINARY HOSPITAL - MORNING
The lobby is empty of any clients, but we see the entire staff standing anxiously behind the counter. Samantha and Tucker included. They chat inaudibly amongst themselves when --
Dana enters. Everyone quickly goes back to work, attempting to look inconspicuous. Except Samantha who quickly approaches her.
SAMANTHA
Dana, is everything okay?
Dana hangs her jacket, acting modest.
DANA
Everything's fine. They just ran a few tests.
SAMANTHA
Well? What did they find out?
She shrugs, doing her best to hide the truth.
DANA
Nothing. They don't know what happened, said it must have been stress related.
Samantha squints, looking at Dana is if she's searching for a poker tell.
SAMANTHA
Have you been stressed?
DANA
No. But who knows?
She shrugs and smiles cheerfully as she heads to the back. Samantha doesn't look quite convinced.
EXT. PAUL’S HOUSE - EVENING
Dana slowly pulls up to the curb outside the same house she visited previously. A single light emanates from the front room, indicating Paul must be home. She cautiously creeps her way up through the yard and toward the front door.
As she steps onto the patio, it CREAKS underneath her feet. She puts her face inches from the front window, attempting to see inside. The TV is on, playing an old Carol Burnett show.
She turns to glance at her car, contemplating her next move.
BEAT.
She takes a deep breath, possibly building courage. She turns to the door and KNOCKS. After a few moments the door opens to reveal Paul Leonard, beer in hand, eyeing Dana angrily. Laughter roars loudly from the television.
PAUL
Sellin' somethin'?
She looks taken aback by his swagger and liquored-up breath.
DANA
My name is Dana Fortune. I was wondering if I could speak to you about Shiver?
PAUL
Shiver's dead. Damn dog runs out in the road and then BAM! Truck whips through here at fifty.
DANA
I know he is dead. I just need to ask you a few questions.
PAUL
Few questions? You the cops or somethin’?
He begins to shut the door but she persistently pushes to keep it open. Her tone increases in urgency.
DANA
Mr. Leonard, I am not with the police. I...
(stuttering momentarily)
I'm with an insurance company. We think you may have a claim to be filed regarding your dog.
His eyes bulge and a grin creeps it's way onto his face.
PAUL
Damn, why didn't ya' just say so?
He steps out of the way, allowing her to enter.
INT. PAUL’S HOUSE – CONTINUOUS
Paul points to the sofa, which is covered in dirty clothes.
PAUL
You can sit. Want something to drink?
DANA
I’m fine, thanks.
She takes a seat on the couch, examining the rest of the room. The table is flooded with used Chinese food containers and old newspapers.
Paul enters the kitchen, adjacent to the living room. He opens the refrigerator and retrieves a bottle of beer. As he reenters the room he cracks the cap off with his palm and casually tosses it onto the table.
PAUL
So what do you mean by a claim?
DANA
Do you have any other pets? Or do you have a spouse living here with you?
He looks confused.
PAUL
Neither. Why?
DANA
Just standard questions, Mr. Leonard. Why was your pet outside, in the street?
PAUL
He gets out from time to time. Shouldn’t you be more worried about the truck that hit her? I mean, dogs can be outside, am I right?
DANA
I’m just concerned as to why you show no remorse or sympathy after the accident.
Paul’s voice becomes louder and a bit meaner.
PAUL
It’s no business of yours what I feel! Who the hell do you think you are?
Dana stands to leave, somewhat frightened.
DANA
Well, thank you for your time Mr. Leonard.
She heads quickly to the door as Paul stands up staggering after her.
PAUL
You can’t just leave!
As she opens the door it immediately SLAMS shut. He forcefully grabs her by the shoulders, pulling her back.
DANA
Get your hands off of me!
PAUL
You’re not here for a claim are you? What the hell do you want?
BEAT.
She goes for the door again, but he stops her. He pushes her hard back into the living room, knocking over and breaking a porcelain lamp. The table tips over, spilling the food containers all across the floor.
PAUL
Answer my question!
She crawls backward as he stumbles a bit from his drunken state. She stands and hurries into the kitchen. He follows closely.
DANA
Stay away from me.
She grabs a small steak knife from the counter, holding it in front of her.
He laughs at her in a menacing way.
PAUL
What are you going to do with that, little lady?
He walks toward her, not even slightly hesitant. Her hand shakes uncontrollably.
DANA
Don’t come any closer.
He sneers at her as he gets close enough for her to smell his alcohol breath.
In one quick motion he slaps her hard across the face, the knife instantly dropping from her grasp. She takes a moment to let the shock register before running toward the door.
He follows quickly, staggering the entire way. She opens it, about to exit when she hears a loud THUD.
She slowly turns around to see Paul lying on the floor next to the knocked over table. His head is bleeding profusely.
PAUL
Please. I need help.
She takes a deep breath and shuts the door. She walks over to him. He apparently fell and cracked his head against the table’s edge.
PAUL (cont.)
For Christ sake, just call 911!
She goes to the phone, hanging on the wall near the kitchen entrance. She picks up the receiver and dials two numbers.
BEAT.
She hangs it up, turning back to Paul.
DANA
Do you believe in karma, Mr. Leonard?
Through bloodshot eyes he looks at her in a panic.
PAUL
Please. I need help.
His breathing becomes more erratic as he struggles to stay alive.
DANA
I do. It follows us.
(beat)
It’s here right now.
She stands watching as Paul’s eyes stare off toward the ceiling. His breathing slows until it comes to a complete stop. The moment his heart stops you can almost see the life exit his eyes.
Dana slowly walks out of the house.
CLOSE on Paul’s face as we—
DISSOLVE TO:
INT. PAUL’S HOUSE – MORNING
CLOSE on the pale, lifeless face of Paul. Around his head the thick pool of blood has dried.
A detective, CLARK BORDEN, crouches next to him. He looks closely at the head wound.
Clark is a rather young detective, only twenty-nine. He has a frayed goatee and piercing dark eyes.
CLARK
What did he estimate?
A uniformed officer stands over him.
OFFICER
Approximately ten hours.
Clark nods, noticing someone in the doorway.
CLARK
In here!
Standing in the doorway, with a badge clipped to his belt, is Terrence. Detective Terrence Oliver.
He enters, also kneeling next to the body.
TERRENCE
What happened?
CLARK
Sister in law came over this morning, found him like this. Happened last night.
Terrence closely examines the wound.
TERRENCE
Who is he?
CLARK
Paul William Leonard. Car salesman.
TERRENCE
(jokingly)
So we have quite a broad list of suspects.
The uniformed officer chuckles quietly. Clark seems a little confused.
CLARK
Suspects?
TERRENCE
Well there was obviously some foul play involved.
CLARK
Why do you say that?
Terrence stands and heads into the kitchen, thinking.
He kneels down, putting on a latex glove. He picks up a steak knife, checking it over.
TERRENCE
Whoever it was, Paul must have known them. No sign of forced entry.
He looks in the living room again, noticing the broken lamp and tipped over table.
TERRENCE (cont.)
I think there was a struggle at some point. It started in there, breaking the lamp and knocking over the table. It just doesn’t make sense.
CLARK
Why?
TERRENCE
Let’s say the attacker gets him in here. Paul runs to the kitchen for a knife.
BEAT as Terrence tries to go through the motions. He reenters the living room.
TERRENCE (cont.)
But how did he get back in here? Without the knife? Managing to fall, or be pushed, hitting his head on this table?
CLOSE on the table edge, where a small stain of dried blood sits.
TERRENCE (cont.)
It’s like one giant coincidence. All these things fell into place last night.
Clark looks on, impressed. Terrence seems stumped.
CLARK
Want to get some breakfast?
He nods.
TERRENCE
(to the Officer)
Could you send the knife in for prints?
OFFICER
Will do.
TERRENCE
Thanks.
He and Clark exit the house.
EXT. PAUL’S HOUSE – CONTINUOUS
They both walk to their cars. A small group of onlookers watch as the police finish taping up the crime scene.
CLARK
So, when’s your date?
TERRENCE
Tonight.
Clark smiles slyly as Terrence rolls his eyes.
TERRENCE (cont.)
I’ll meet you at Charlie’s.
They both get into their vehicles and drive away.
INT. RESTAURANT – EVENING
Dana sits quietly in the quaint, dim restaurant. She sips her wine, looking at the empty seat across from her. Her mood seems relatively chipper.
Terrence appears at the entrance, smiling as he spots her.
TERRENCE
Sorry I’m late. Work was a little hectic.
She shrugs it off.
DANA
No problem.
TERRENCE
You look lovely.
Dana, in a nice white dress, smiles bashfully.
DANA
Thank you.
Terrence peers around the room. It is filled with tables, all surrounding a small dance area, where a band plays.
TERRENCE
Nice place.
She smiles warmly.
TERRENCE (cont.)
So, how long have you been a veterinarian?
DANA
About six years.
TERRENCE
What made you decide that was what you wanted to do?
DANA
The animals, I suppose. Someone needs to help them.
He nods, knowingly.
DANA (cont.)
What is it that you do?
As he is about to answer, a waiter cuts in.
WAITER
Hello. What can I get for you two?
He looks to Dana.
DANA
Please, go ahead.
TERRENCE
Alright.
He quickly scans the menu to order.
DISSOLVE TO:
“Non Je Ne Regrette Rien” by Edith Piaf plays softly as a series of QUICK SHOTS appear, taking us through the night.
They eat, laugh and talk. Enjoying the company of each other.
The music fades as they finish the rest of their wine.
TERRENCE
Would you...like to dance?
She looks off to the dance area, where a few couples are present.
DANA
Why not?
He stands, taking her hand and leading the way. A nice classical ballad plays in the background as they begin to dance awkwardly.
DANA
I have to tell you...
(beat)
Two weeks ago I probably wouldn’t have agreed to come here. I probably wouldn’t be here, dancing.
TERRENCE
Why?
DANA
I don’t know. Scared, I guess.
TERRENCE
Not anymore?
BEAT.
She places her head gently on his shoulder, smiling blissfully.
DANA
No. Not anymore.
She closes her eyes, soaking in the moment as they sway rhythmically to the music.
INT. DANA’S BEDROOM – NIGHT
OVERHEAD SHOT of Dana while she sleeps. She tosses and turns, seemingly frightened of her dreams.
She SHOOTS up in her bed, the sweat pouring profusely down her face. She looks around, at first unsure of her whereabouts.
She gets out of bed and exits the bedroom.
INT. STUDY – NIGHT
She sits down at the study desk, bringing the internet up on the computer. She clicks away for a moment, staring at the screen intently.
CLOSE on the screen as we see a nicely designed website. The headline reads:
BONSAI CATS
A phone number is listed on the website. She quickly jots it down on a yellow sticky note.
INT. INTERROGATION ROOM – NIGHT
The usual home video plays again as Dana takes a sip of coffee. Metal handcuffs are visible around her thin wrists.
OFFICER (O.S.)
Tell me about Mr. Pao.
INT. SUBWAY TRAIN – DAY
Dana sits quietly on the dim subway, the lights flickering every few seconds.
INTERCUT WITH VETERINARIAN HOSPITAL
Samantha enters the dark office, flipping the light on and dropping her purse off at the desk. The Clinic appears to be empty.
Dana dials a number on her cell phone, the rest of the subway jam packed with patrons.
Samantha notices a small sticky note. CLOSE on it as we read:
Samantha,
I’m going to be out today, maybe tomorrow. A family emergency has come up. Please, reschedule any appointments if necessary. Thanks.
Dana
Dana examines some papers she holds in her lap as she waits for an answer on the phone.
DANA
Hi, Mr. Pao? Yeah I was just calling about the calico kitten you have for sale. Great, yeah that would be perfect. Four o’clock is fine.
(beat)
Dana Fortune. Yes. Goodbye.
She snaps the phone shut and stares through the subway window as the images outside ZOOM by.
EXT. LARGE HOUSE - DAY
Outside the house is a beautiful view of a luscious green lawn. It is enclosed by a white picket fence, freshly painted.
A yellow taxi pulls to the curb. Dana gets out and leans in to the driver.
DANA
You’ll wait? Just five minutes?
He nods. She smiles and heads toward the house.
She walks up the hand-crafted stone walkway. Her curly blonde hair hangs down just below her shoulders and bounces poetically as she makes it to the front door.
DING!
She rings the door bell and waits. She adjusts her glasses, which give her a “librarian” appearance. She looks a little unfamiliar with them on as well.
BEAT.
A short, older Asian man answers. This is CHARLES PAO. He is dressed in casual slacks and a button up shirt.
DANA
Hi, I’m Dana. Here to see the kittens.
He smiles, waving for her to enter.
CHARLES
Of course, of course. Thank you for coming all the way out here Miss...I’m sorry I do not recall your last name.
INT. CHARLES HOUSE – CONTINUOUS
The two exchange a brief handshake.
DANA
Fortune.
CHARLES
Yes, that’s right. Welcome. You were interested in the calico one, yes?
She nods and grins.
He leads the way through a long hallway amidst the luxurious home. Doors to unknown rooms line both sides of the hallway as they travel through. She casually peeks around for anything noteworthy.
They pass one room where the door sits slightly ajar. Inside she gets a glance at what appears to be a long necked wine bottle. A strange MEOW sound emanates from inside.
DANA
What’s in this room?
He quickly shuts the door and laughs awkwardly.
CHARLES
Oh, those...that’s nothing. You wouldn’t be interested in them.
DANA
Could I see? I love cats.
CHARLES
No, no. Those are already sold.
(walking again)
Come on, I have some kittens in this back room. Calico one is there as well.
She looks at him suspiciously, but continues to follow. They pass a few more rooms, one in which has a freshly ironed white dress shirt hanging from the door handle.
Dana grabs it as she continues to follow.
CHARLES
I hope thirty is a reasonable price.
She removes the shirt from the clothes hanger, dropping it to the floor.
DANA
Quite reasonable.
He reaches the door at the end of the hallway and opens it. It leads to a small patio area, facing the heavily wooded backyard.
CHARLES
Here we are.
Dana bends the clothes hanger, making it into a U shape.
Another meow sound, this one sounding much more normal than the first.
CHARLES (cont.)
And here he is.
He bends down to reach for the kitten when—
BAM!
Dana lunges forward in a swift, fluid motion and wrenches the clothes hanger around his neck. He struggles with everything he can muster as her blank expression stares straight ahead, her jaw clenched tight.
BEAT.
His bulging eyes begin to flutter before closing completely. His body falls limp.
She lets him slump to the floor, dropping the hanger by his head. She bends down and slowly reaches her hand toward a little striped black and gold cat.
DANA
Hey there.
The cat rubs it’s fuzzy head against her hand lovingly. Dana smiles blissfully.
INT. SUBWAY TRAIN – NIGHT
Dana sits, just as before, staring out the subway window.
She shakes slightly, the adrenaline from the murder still coursing through her veins. She smiles, strangely satisfied.
EXT. POLICE STATION – DAY
ESTABLISHING SHOT. A few uniformed officers enter the front doors.
INT. POLICE STATION – DAY
The bustling station is filled to the max with officers and other citizens there to report crimes.
Terrence and Clark sit at their desks across from one another. Clark casually talks on the telephone.
CLARK
Yeah, that’s great. Thanks Max.
As he hangs up he swivels in his seat anxiously biting the end of his pen.
CLARK (cont.)
That murder, Mr. Pao. Apparently he’s made a nice living selling cats.
TERRENCE
So?
Clark leans forward, very serious.
CLARK
Not just any cats. Cats in wine bottles.
Terrence looks appalled.
TERRENCE
Are you serious?
CLARK
That’s what they’re saying. Bonsai cats. He had a website and everything.
Terrence thinks for a moment. His face immediately lights up, you can almost picture a light bulb going off above his head.
TERRENCE
That death the other day, Paul Leonard. Didn’t the neighbors mention his dog?
CLARK
I think so, why? Think there might be a connection?
He shrugs.
TERRENCE
It’s worth looking into, right?
CLARK
I’ll make some calls.
Terrence leans back in his chair, deep in thought.
INT. INTERROGATION ROOM – NIGHT
Dana sits, same as we’ve seen previously, her head slightly bowed.
DANA
After the first, it got easier.
OFFICER (O.S.)
Killing became easier after Mr. Pao?
She nods.
DANA
It’s strange. There was only two things I could think about. Killing was one of them.
BEAT. She raises her head, looking directly into the CAMERA.
DANA (cont.)
It consumed me.
CUT TO:
INT. FIRING RANGE – NIGHT
She stands in one of the booths, goggles strapped tightly over her eyes. She raises a 9MM pistol to eye level and fires several times, emptying the clip.
CUT TO:
INT. GYM – NIGHT
Inside the upbeat gym, Dana sits on a bench wrapping her hands. One wall is filled with treadmills where people exercise, most with IPOD’s in their ears.
The wall behind her is all glass as pedestrians walk by unnoticed in the city night.
Dana now pounds on a large black heavy bag. She hits it one after another, right and left.
THUD! THUD! THUD! THUD!
INT. ST. LUKE’S VETERINARY HOSPITAL – MORNING
As Dana enters the clinic, hanging her jacket casually, Samantha immediately approaches her.
SAMANTHA
Dana, is everything okay?
DANA
(confused)
Of course. Why wouldn’t it be?
SAMANTHA
I just thought, you know, because you were gone.
She smiles.
DANA
Oh no, it was nothing. Everything is great.
Samantha shrugs, though happily.
SAMANTHA
Well good.
Dana heads to her office as Samantha remains at the door. She looks totally lost.
INT. OFFICE – DAY
Dana sits at her computer, browsing the internet. She finds something interesting, some kind of conspiracy page showing a young man standing next to the Senator.
She begins to print it as the phone RINGS.
DANA
Hello?
TERRENCE (O.S.)
Dana?
DANA
Yes?
TERRENCE (O.S.)
Oh, hi. This is Terrence, from the other night.
She smiles warmly.
DANA
Of course. I wanted to thank you again. I had a wonderful evening.
He chuckles softly.
TERRENCE (O.S.)
As did I.
(beat)
Listen, would you like to have dinner with me tonight? There is something I really need to talk to you about.
She glances at the papers sliding out of the printer.
DANA
Well, tonight’s umm...
TERRENCE (O.S.)
Please, Dana? This is really important.
She contemplates the offer silently for a moment.
TERRENCE (O.S.)
Besides, I really want to you see again.
A smile creeps it’s way onto her face.
DANA
Alright. Dinner sounds great.
TERRENCE (O.S.)
How about Gugino’s? At say, seven?
DANA
I’ll be there.
She hangs up, retrieving the papers from the printer.
INT. INTERROGATION ROOM – NIGHT
Dana rests her head on her hands, leaning onto the table. The metal handcuffs remain latched onto her wrists.
OFFICER (O.S.)
So that night, after work, you went to Tom Russell’s home?
DANA
No. I had to do something first.
OFFICER (O.S.)
What was it that you had to do, Dana?
She leans her head back restlessly, a nostalgic grin spreading across her face.
INT. GUGINO’S RESTAURANT – NIGHT
Dana and Terrence are both already seated in the busy restaurant.
Gugino’s is a luxurious Italian spot with chandeliers and high rise ceilings. The interior would make even some of the best designers envious.
The dinner has already been brought out as they both casually eat the pasta.
DANA
So what was it you wanted to talk to me about?
TERRENCE
I’m not sure if I ever told you what my line of work was?
DANA
Not that I can recall, no.
Terrence reaches inside his jacket and pulls out his police badge, smiling somewhat proudly.
TERRENCE
I’m a detective with the New York Police Department.
She pauses, sipping her wine. Her expression is of shock, but she tries to hide it as best she can.
DANA
Oh.
TERRENCE
Anyway, there is a case I’m on. A murder.
Dana raises her eyebrows inquisitively.
TERRENCE (cont.)
His name was Paul Leonard. Does that ring a bell?
She briefly hesitates, suddenly beginning to feel as if she’s being boxed in. Like an interrogation.
DANA
I don’t think so...Should it?
TERRENCE
I was speaking with one of his neighbors and she told me that just before his death she brought his dog into your clinic. Shiver, I think was it’s name.
She tries to sell a look of recollection as she nervously nods.
DANA
Of course, I remember now. It was a sad situation.
Terrence takes a bite of his pasta as Dana continues to eye him in a paranoid manner.
TERRENCE
Can I tell you something?
DANA
Sure.
TERRENCE
And you promise to keep it between us?
DANA
Of course.
BEAT.
TERRENCE
I think the man who killed him, I think he’s killed someone else. I have a feeling it’s only a matter of time before he kills again.
Dana relaxes in her chair a bit, though keeping up the act.
DANA
Don’t you think this should be made public? I mean, shouldn’t the people know there is a potential serial killer on the streets?
The waiter approaches, pouring them both another glass of red wine.
TERRENCE
It’s not that easy. This is just a hunch I have, we don’t really have anything circumstantial. Until we do there is no way my superior will agree to alert the media.
She nods, understanding. The waiter sets the bill on the table and smiles before exiting.
TERRENCE (cont.)
Would you like to come to my place?
Dana smiles, but her eyes give away the answer.
DANA
Sorry, I have an early day tomorrow.
Terrence’s face reddens in the embarrassment of rejection.
TERRENCE
Oh, of course. No problem.
BEAT.
DANA
What about Saturday?
His face lights up slightly as he nods.
TERRENCE
Saturday’s perfect.
Terrence places his money in the booklet and takes another drink of his wine. Dana continues to eye him just a little suspiciously.
INT. HOUSE – NIGHT
TOM RUSSELL, a young man in his mid-twenties, makes a sandwich at the kitchen counter. He has a slender build and wears thin rimmed glasses.
He licks some excess mustard from his finger, casually wiping them on the sleeve of his Dartmouth t-shirt.
With his plate in his hands, he heads to a door down the hall. As he opens it all that is seen is a staircase leading to darkness. As he flips the switch, the light CLICKS on.
INT. BASEMENT – CONTINUOUS
He descends the stairs, the basement contents being revealed. It looks similar to a laboratory with cages lining the walls. Inside the cages we see a variety of animals, mostly small monkeys and rats.
He takes a seat next to the computer and picks up the phone, dialing a number.
TOM
Yeah it’s me.
(defensively)
No, no. I’ll have it. Just give me-
He shuts his eyes for a moment in frustration.
TOM (cont.)
Just give me two more days. Tell Mr. Soloman it will be ready in two days. Yes, I got the transfer. Thank you.
He angrily hangs up the phone and sighs.
DISSOLVE TO:
INT. BASEMENT – LATER
Tom’s head SHOOTS up from the desk. He yawns, his eyes red and damp.
He blinks a few times as he turns the small desk lamp on to reveal—
Dana standing right behind him!
DANA
Hello Tom.
He jumps nearly a foot out of his seat.
TOM
Jesus Christ!
(looking at Dana)
Who the hell are you?
She circles him, taking a seat across the desk.
DANA
Tom, have you ever heard the story of Robin Hood?
He looks totally confused as he begins to stand.
TOM
How did you—
She interrupts him as she pulls out a small black pistol.
DANA
Sit down.
He sits obediently, his gaze now directed to the gun.
DANA (cont.)
Robin Hood. Have you heard it?
TOM
Yes, of course! Why are you in my house? With a gun? What do you want?
DANA
What is it that Robin Hood did?
Tom takes a deep breath, obliging to the game.
TOM
He shot arrows. He...
(beat)
He fell in love with the girl. The princess.
DANA
What else?
His face reddens and his pulse begins to race more and more as he eyes the gun.
TOM
I don’t know what you want from me!
DANA
I just want you to think, Tom. What was he known for?
TOM
Or what? If I don’t get it right you’ll kill me?
She shakes her head solemnly.
DANA
I’ve already killed you, Tom. While you were sleeping I injected you with a small dose of hydrogen cyanide.
She holds the bottle up, examining it closely.
DANA
I really don’t want to know how many animals you’ve poisoned with this stuff.
He looks shocked for a moment before a look of realization spreads across his face.
TOM
Are you...are you the one who killed that man with the cats?
She nods. He strangely seems accepting of his fate.
TOM
At least it doesn’t hurt.
DANA
Fortunately.
He almost smiles for some strange reason. A tear forms in his eye as he speaks genuinely.
TOM
I never meant to hurt the animals, not at first.
(beat)
I just got greedy.
DANA
Why was the Senator paying you?
He shakes his head in uncertainty.
TOM
I don’t know. He wanted some evidence that tests on these animals could help us in the future.
He looks down at his feet in remorse.
TOM (cont.)
No matter the cost.
Dana looks away toward the animals. They, like Tom, look defeated. Lying completely still in their cages, almost like spectators to an execution.
Tom coughs softly. A small line of blood drips from his nose.
TOM (cont.)
I’m sorry, I really am.
DANA
That’s good.
His eyes flutter for a moment as the poison begins to kick in. He looks at the computer screen, disgusted with himself.
TOM
Forty thousand dollars. That’s how much I sold my life for.
She looks at him, almost with regret. His youth and innocence.
DANA
You SOLD your soul. Not your life.
(beat)
I made good use of it, I promise.
He smiles, closing his eyes. It’s apparent that he is beginning to slip in and out of consciousness. Dana remains silent.
After a few moments she stands to exit. As she takes her first step onto the large staircase—
TOM (O.S.)
He was a thief. He stole money. Stole from the rich and gave to the poor.
Dana looks sorrowfully at her feet as Tom erupts in a loud cough. She climbs the stairs, not looking back.
INT. HOSPITAL – DAY
Dana lies on a CT bed as it slides into the machine. She stares straight up as a voice emanates softly through the speaker system inside.
DOCTOR (O.S.)
Dana I need you try to remain completely still.
The CT machine hums loudly as she lies motionless.
CUT TO:
INT. HOSPITAL ROOM – DAY
She and a doctor sit in a small examination room. The doctor places her x-rays on the wall viewer and points to a large mass in the picture.
DOCTOR
As you can see Dana, it is not getting any better.
BEAT.
She stares at it hypnotically, unable to break her gaze.
DANA
(sarcastically)
Were you expecting it to?
DOCTOR
To be honest, no. But it’s not too late. We can still try and fight it, extend your time.
Dana shakes her head angrily. Very uncharacteristically.
DANA
My time now is limited and I do not want to spend it being tortured. In this bed, in this hospital. I’m sorry.
The doctor frowns, unsure exactly how to respond.
DANA (cont.)
I’ve accepted my fate, doctor. If we are finished, I’d like to go home.
(beat)
I just want to make my time left here worthwhile.
He nods in defeat as she exits the room.
INT. ST. LUKES VETERINARY HOSPITAL – DAY
As Dana enters the front door a rush of lighting is heard from outside. She hangs her jacket and trembles slightly, her hair damp from the rain.
DANA
Sorry, had to run an errand. It’s really coming down out there.
SAMANTHA
Like cats and dogs.
DANA
What?
SAMANTHA
Nothing, just a little veterinarian humor.
Dana smiles warmly.
DANA
Oh.
SAMANTHA
You okay?
DANA
(rolling her eyes)
I’m fine.
(looking at the TV)
What are you watching?
Tucker, who’s leaning casually against the counter eating a sandwich, talks as he chews.
TUCKER
Another murder. Cops are saying there might be a connection. There is a serial killer on the streets.
Dana raises her eyebrows in surprise.
TUCKER (cont.)
Apparently he’s targeting people involved with animal abuse.
DANA
That seems silly.
SAMANTHA
Maybe it’s like a PETA vigilante.
They chuckle softly.
The news report now shows images of Senator Soloman as protestors rally outside his office. One young college student holds a sign that reads:
“ANIMAL RIGHTS ARE HUMAN RIGHTS”
TUCKER
Maybe this guy will kill the Senator, do us all a favor.
Samantha gasps.
SAMANTHA
Tucker!
He shrugs nonchalantly.
TUCKER
What? I just think this killer is willing to do what we all wish we could do. Or even say, in your case.
She shakes her head in disagreement.
SAMANTHA
What do you think Dana?
BEAT. She stares at Soloman’s picture on the TV.
DANA
I think murder is illegal, justified or not.
Samantha thinks it over in her head as Dana shrugs.
DANA (cont.)
But I’m not one to judge.
She smiles to her as she goes back toward her office.
INT. NYPD PRECINCT – DAY
Inside the busy precinct, Terrence sits across the desk from Police Chief LARRY SINCLAIR.
Larry is a black, slightly overweight man in his late forties. He looks very angry as he speaks with Terrence.
SINCLAIR
Three murders?! Goddamn it Oliver, I can’t take a serial killer running loose on these streets.
Terrence looks down shamefully, like a student being scolded by a principal.
SINCLAIR (cont.)
You’re sure they are connected?
TERRENCE
I think so –
SINCLAIR
(interrupting)
You think so?
TERRENCE
They are. Same M.O. for all three. Motives appear to be the same, or at least very similar. This morning they hauled twenty seven different animals out of that basement. God knows what kinds of things we will find in their blood.
Chief Sinclair rubs his forehead and sighs loudly.
TERRENCE (cont.)
We’ll catch him, Sir. But we need surveillance on as many known felons in the area that have a history with animal abuse. Dog fighting rings, big game hunters, anything.
SINCLAIR
Do you realize how much manpower that would require?
TERRENCE
I do, but ANY could help. We might just get lucky.
He nods in agreement. The door BURSTS open as Clark enters, his face filled with excitement.
CLARK
You won’t believe what we’ve found!
He sets some papers down on the desk as the two look over them.
CLARK (cont.)
Apparently a transfer was made to the victim’s bank account just hours before his death last night.
TERRENCE
A transfer?
CLARK
Forty thousand dollars.
Their eyes widen at this revelation.
CLARK (cont.)
That’s just the beginning. I talked to the bank and the money was then donated just an hour later.
SINCLAIR
Donated? Donated to whom?
Clark raises his eyebrows in a mixture of intrigue and excitement.
CLARK
The ASPCA.
SINCLAIR
The what?
TERRENCE
The American Society for the Prevention of Cruelty to Animals.
Terrence laughs, sort of out of place.
TERRENCE
Wow.
(beat)
So where did this money come from in the first place?
CLARK
That’s the biggest surprise of it all.
He quickly shuts the door, lowering his voice to a near whisper.
CLARK (cont.)
The money was transferred to our victim by a Mr. Jonathan Mantle.
SINCLAIR
Jonathan Mantle? The same Jonathan Mantle I’m thinking of?
Clark nods gravely.
CLARK
Most likely.
He rubs his eyes, clearly agitated.
SINCLAIR
Wonderful! Amidst all of this we now have a political scandal. Just what we need.
TERRENCE
Sorry, I’m lost. Who is Jonathan Mantle?
BEAT.
SINCLAIR
Senator Soloman’s attorney and economics advisor.
There is a long dramatic PAUSE as Terrence realizes what he’s saying.
INT. TERRENCE’S APARTMENT – NIGHT
The apartment is filled with darkness. A SOUND emanates from somewhere in the room.
Suddenly the door opens, filling the room with light. Terrence steps inside, laughing quietly. Dana follows behind him.
DANA
Nice place.
He smiles, hanging her coat on the rack next to the door. A CRASH of lighting fills the dimly lit apartment with a flash of light.
TERRENCE
You want something to drink?
DANA
Sure.
He goes to the kitchen as she takes a seat on the sofa.
His apartment is rather bland, typical of a man whose job consumes him.
BEAT.
A JINGLE is heard as Ace, Terrence’s dog from the clinic, runs up to Dana and licks her hand affectionately.
DANA
Hey little guy. How are you doing?
She rubs his head lovingly as Terrence reemerges with two glasses of red wine.
TERRENCE
You sure do have a way with animals.
DANA
(jokingly)
Good thing, considering my profession.
He chuckles, taking a seat next to her.
DANA (cont.)
Thanks for dinner.
TERRENCE
You’re welcome. Sorry, I’m still trying to get used to this “dating” thing. It’s been a while since Julianne died.
Dana nods toward a picture on the fireplace. It’s a young blonde woman on a swing.
DANA
Is that her?
He nods, looking away timidly.
DANA (cont.)
She’s beautiful.
TERRENCE
Yes. She was.
DANA
Do you mind if I ask what happened?
BEAT.
TERRENCE
It was two years ago. She wanted me to go to the store to get some milk. It was ten o’clock at night and I had just gotten off of an eighteen hour shift.
He takes a long drink of his wine. The tormenting memories present in his eyes.
TERRENCE (cont.)
She would get these strange cravings in the middle of the night.
(beat)
This one happened to be for a strawberry milkshake.
He wipes his eye, not allowing the tears to come. Dana continues to listen intently.
TERRENCE (cont.)
Some punk kid decided, in the exact moment Julianne would be at that store, to rob the place.
She rubs his shoulder, an attempt at comforting him.
TERRENCE (cont.)
She was shot. Died almost instantly.
(beat)
She was six months pregnant.
Dana’s eyes now become glassy as she hears those words. Terrence stares at the photograph nostalgically.
DANA
I’m so sorry, Terrence.
He nods, the grief overwhelming him.
TERRENCE
I haven’t had to fire my weapon since. I’m not even sure I could.
He looks at her, his eyes welling up with tears.
DANA
She’s in a better place now.
Terrence leans in slowly, kissing her gently on the lips. After a few seconds he leans back timidly.
Awkward BEAT.
TERRENCE
I’m sorry.
She smiles.
DANA
It’s okay.
She leans in and reciprocates the kiss. Softly at first, then becoming increasingly intense.
They stand, kissing as they move into the bedroom. She forcefully removes his shirt, followed by his belt.
START SLOW MOTION B&W MONTAGE
The two lie together, kissing passionately. Echo and the Bunnymen’s “Killing Moon” plays softly.
Terrence is on top of her, the blue moonlight shining in through the windows.
An occasional FLASH fills the room as lighting CRASHES from outside.
As they have sex, Dana’s lips part and her eyes close in ecstasy.
END SLOW MOTION B&W MONTAGE
She rolls off, lying still beside him. They both pant loudly, completely exasperated.
Long BEAT as they both stare at the ceiling.
TERRENCE
Wow.
She chuckles in an absurd manner, wiping a bead of sweat from her brow. She scoots closer to him, resting her head gently onto his chest.
BEAT.
DANA
What are you thinking about?
TERRENCE
The killer.
(silence)
I’m sorry. I can’t get it out of my mind.
DANA
It’s alright.
She rubs his chest gently with her hand.
DANA (cont.)
Want to talk about it?
Terrence exhales a long breath, thinking deeply.
TERRENCE
It’s just...the people he is killing. They are not good people. It’s almost as if he is doing our job for us.
He closes his eyes, his face a mixture of exhaustion and torment.
TERRENCE (cont.)
And now our job is to catch him.
DANA
Well sometimes doing what’s right physically, isn’t really the right thing morally. It’s not the legal thing or the accepted thing to do.
TERRENCE
Exactly. But I’ve got to put them behind bars, even though I agree with what they are doing.
(beat)
What’s that say about me?
DANA
It says you’re a good man. A good cop. You’ve gotta’ do your job.
He smiles, softly kissing the top of her head through her blonde hair.
They lie in silence for a few moments.
DISSOLVE TO:
INT. TERRENCE’S APARTMENT – NIGHT
Dana’s eyes SNAP open. She lies in the same spot as before, her head placed squarely on his chest.
She tilts her head up to see him sleeping soundly. The CLOCK on the bedside table reads 2:10.
She quietly gets up, sliding on her jeans over her black underwear. She grabs her coat and exits through the front door, shutting it as quietly as possible.
CUT TO:
INT. INTERROGATION ROOM – NIGHT
She sits in the same chair, her head leaned back. Her eyes are bloodshot, probably due to a lack of sleep.
OFFICER (O.S.)
Next was James Marshall. Why him?
DANA
Because of things he did. Like the others, things I didn’t agree with.
OFFICER (O.S.)
(as if reading)
James Marshall. Tried on seven counts of animal cruelty. Dog fighting.
DANA
Unfortunately our justice system failed.
BEAT.
OFFICER (O.S.)
So you took the matter into your own hands.
She nods gravely.
CUT TO:
EXT. JAMES’ HOUSE – NIGHT
Dana, her car not in the area, approaches the house on foot. She reaches into her waistline and removes a gun and cautiously steps onto the lawn.
INT. CAR – NIGHT
About a half a block away we see a SHOT of Dana walking toward the house.
A young police officer, DAWSON, squints his eyes as he notices. It’s dark and only appears as a figure.
DAWSON
Stevens, wake up!
He nudges the other officer, STEVENS. He sits in the passenger seat snoozing.
DAWSON (cont.)
Damn it Stevens, wake up!
He wakes up, looking around the car puzzled.
STEVENS
What?
DAWSON
There is somebody here.
Stevens sees the figure as well.
STEVENS
Just wait, it could be anyone.
INTERCUT BETWEEN CAR AND HOUSE
Dana takes a step onto the front porch, checking her surroundings carefully.
DAWSON
We need to move, just in case.
He opens the car door.
Dana knocks loudly on James’ door. She looks over just in time to see the officer’s car, the dome light now illuminating the inside.
Her eyes widen as James answers the door.
JAMES
Can I help you with somethin’?
Without breaking her gaze toward the officers, she raises the pistol and FIRES! James falls to the floor in the doorway, blood rushing from his head.
Dawson ducks swiftly behind the car door when he hears the SHOT.
STEVENS
Holy shit!
DAWSON
Call for backup! And tell em’ to get a damn ambulance down here now!
He runs toward the house where Dana quickly scurries to a pathway around the side.
She fluidly jumps a chain fence, rushing down the alley as she steps in a large puddle.
Inside the car Stevens dials a number on his phone.
CUT TO:
INT. TERRENCE’S APARTMENT – NIGHT
Terrence lies still, peacefully sleeping in the empty bed. His phone vibrates rampantly on the bedside table.
CUT TO:
EXT. ALLEYWAY – NIGHT
Dawson jumps the same fence, still on her trail. He sees her take a quick right turn a few yards down. Once he reaches it, he makes the same turn.
It’s another alley, dark and empty. He draws his gun and slowly marches down it, cautiously checking along the sides. Dumpsters and cardboard boxes fill the alley haphazardly.
A loud CLANK makes him jump, nearly firing. It’s just a small rat, escaping from under some rubble.
He exhales as WHAM!
He’s knocked over the head by the butt of Dana’s pistol. He collapses hard to the wet pavement, his gun sliding out of reach.
As he slowly regains his composure, he climbs to one knee. The rain beats down onto his face. He suddenly feels the forced pressure of a pistol against the back of his head.
He takes a deep breath, clenching his jaw in anticipation until-
The gun is pulled back and the sound of running footsteps echo into the distance. He exhales and falls back to the ground. |
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Post by Dale on Feb 1, 2009 7:58:38 GMT -5
INT. TERRENCE’S APARTMENT – MORNING
Terrence rolls over in his bed, placing his arm softly on the pillow next to him. He opens his eyes, realizing Dana isn’t there. He stands up and stretches before exiting the bedroom.
INT. KITCHEN – CONTINUOUS
He enters the kitchen where he sees Dana standing in front of the counter, her back facing him.
TERRENCE
Good morning.
She turns and greets him with a smile. She is making a pot of coffee.
DANA
Hey.
(beat)
Want some coffee?
TERRENCE
I’d love some.
She pours him a mug and they exchange a short kiss. The kind of kiss that seems like it could easily become an everyday occurrence.
TERRENCE (cont.)
You sleep okay?
She nods, sipping on the coffee.
TERRENCE (cont.)
Good. I’m going to get dressed.
INT. BEDROOM – CONTINUOUS
He reenters the bedroom, grabbing a white button-up shirt and sliding it over his head.
He casually picks up his cell phone. CLOSE on the display screen.
12 MISSED CALLS
TERRENCE
Damn!
He quickly puts his blue denims on and rushes back into the kitchen.
INT. KITCHEN – CONTINUOUS
Dana watches in confusion as he scurries about.
DANA
What is it?
TERRENCE
There was another murder last night. I left my damn phone on vibrate.
She unknowingly turns away, taking another sip from her coffee.
TERRENCE (cont.)
Sorry, I’ve really gotta’ go. Lock the door when you leave?
DANA
Of course.
He smiles and leans in giving her a peck on the cheek.
TERRENCE
Drinks later?
She nods as he hurriedly exits. She dumps the last of her coffee into the sink and also heads for the door.
INT. ST. LUKES VETERINARIAN HOSPITAL – DAY
Inside the small, isolated surgical room a large black Bull Mastiff lies on the table. Dana and Samantha stand across from each other.
SAMANTHA
Small tumor, based just inside the large intestine.
Dana watches closely as she makes a small incision on the dog’s belly.
SAMANTHA (cont.)
Should be easy to remove. Let this dog live the rest of it’s life happily.
They exchange smiles. Dana looks on proudly.
DANA
You know I’m proud of you, right? I mean the things you’ve accomplished so fast, it’s just short of amazing.
SAMANTHA
Thank you.
BEAT.
DANA
Eventually I hope you will take over as lead here at the clinic.
She giggles softly, her voice genuine.
SAMANTHA
Well when you decide to retire, I’d be honored.
DANA
You think you’re ready?
She glances at Dana, uncertain of her implications.
SAMANTHA
I don’t know. I mean, I’ve still got a lot to learn to be honest. Fortunately you’re not retiring any time soon.
(beat)
Right?
Dana smiles playfully.
DANA
Of course.
She watches proudly as Samantha continues to work on the dog.
INT. NYPD PRECINCT – DAY
Dawson sits in a folding chair, holding an ice pack firmly against the back of his head. Terrence and Clark both sit next to him.
CLARK
You didn’t get a look at him?
He shakes his head “no” shamefully.
DAWSON
They were fast. And he knew what he was doing.
CLARK
Then why didn’t he kill you when he had the chance?
He shrugs.
TERRENCE
Because he did nothing wrong. This killer obviously has some distinct set of morals. Rules they abide by when killing.
He chews on his pencil thoughtfully.
TERRENCE (cont.)
We’re getting close and he knows it. Just need to keep our guys out there. We’ll eventually catch the bastard.
CLARK
What if he’s spooked now? Our chance could have expired last night.
Dawson looks at his feet in embarrassment.
TERRENCE
I think this killer is just working his way up to something. Some goal.
They exchange glances of uncertainty.
INT. ST. LUKES VETERINARY HOSPITAL – EVENING
CLOSE on a television screen. Yet another news report depicting Senator Soloman waving to a crowd of supporters.
NEWS REPORTER (O.S.)
Tomorrow is the Senator’s big day as his bill to turn over the Animal Welfare Act is being pushed through congress. Most people agree this bill will float by unnoticed.
PAN OUT to Dana, sitting at her desk. She reaches under the computer and retrieves a few papers from the printer.
Her next kill.
She opens her desk drawer, pulling out a small bottle. Popping the cap, she shakes out two pills and flips them into her mouth.
CUT TO:
INT. INTERROGATION ROOM – NIGHT
Dana rubs her temples, her face exhausted. She cringes as the light shines down from above, giving her a terrible headache.
OFFICER (O.S.)
Then we have Jaqueline Chirac. She was a very wealthy woman. But you weren’t after money, were you? It was the means to her wealth that you were interested in.
No response from Dana as she stares into the camera coldly.
OFFICER (O.S.)
The trading and selling of rare animal fur. Seems like Miss Chirac had quite a collection.
She lowers her eyes to see her hands, bound by handcuffs.
CUT TO:
INT. CHIRAC RESIDENCE - EVENING
CLOSE on an old fashioned record player. A solid black record is placed on top as it begins spinning.
"Milord" by Edith Piaf begins playing loudly throughout the room.
PAN out to a middle-aged French woman named JAQUELINE CHIRAC. Her long flowing black hair rests elegantly on her slender shoulders.
She half-dances to the music as she makes her way to the mini-bar across the room. As she pours herself a drink, humming happily to the music, a figure in the hallway behind her ZOOMS by unnoticed.
As she sips the drink she continues casually dancing in the center of the room. She closes her eyes, the music flowing through her poetically.
PAN DOWN across her slim figure and down to her shuffling feet. Beneath her is a large white rug made from bear's fur.
PAN UP slowly until we reach her face again, eyes still closed. As she turns the figure is revealed to be mere INCHES from her. A strange reflection shines from her hand to Jaqueline's face.
As she steps out of the darkness we see the figure is Dana, a hand firmly grasping a sharp hunting knife.
Suddenly a loud SQUISH sound is heard. Jaqueline's eyes BURST open in shock.
BEAT.
Blood drips from her mouth as she collapses to the floor, clutching her stomach. She struggles heavily to breath as the white rug turns red with blood.
Dana, holding the bloody knife, walks to a closet near the window. She reaches inside, pulling out a long sheet of mink fur.
She kneels next to Jaqueline, who is losing the desperate battle with death. She gently drapes the mink fur over her face and body like a coroner would a corpse.
EXT. CHIRAC RESIDENCE – EVENING
Dana exits the house, shutting the door quietly. As she walks from the front patio and out to the road we PAN UP to a security camera. It is fixed to the patio roof, pointing down to the exact point in which Dana just stood only seconds before.
INT. BAR – EVENING
Dana and Terrence sit at a small table, just big enough for two. They sip on their drinks, enjoying themselves.
DANA
So how’s the case going?
He shrugs unhappily.
TERRENCE
It’s slow-moving. But I think we’re getting closer.
She nods, though not thrilled as she sips her drink.
BEAT.
She rubs her temples gingerly, squinting her eyes in an apparent pain.
TERRENCE (cont.)
You okay?
DANA
I’m fine. I –
(beat)
Can I be honest about something with you?
TERRENCE
Of course.
She takes a breath, preparing her next words.
DANA
I didn’t know how serious this relationship was going to become. I wasn’t expecting it to be like this. It seems like MORE than just a fling.
He laughs softly.
TERRENCE
I’d like it to be more.
DANA
So would I. Which is why I need to tell you something.
He listens intently.
DANA (cont.)
I have a tumor, in the base of my brain. It was found recently, I collapsed at work.
He gasps in shock.
TERRENCE
Is it...life threatening?
DANA
Yes.
(beat)
I just wanted you to know. Know that my time here is limited. If this is going to be more than just a fling, you have to know it’s not forever.
TERRENCE
Dana I’m so sorry.
She nonchalantly waves off the sympathy.
DANA
It’s okay. It really is. I’ve accepted my fate. I just felt it was right for you to know. If after tonight, I never see you again, it’s completely understandable.
Terrence scoots his chair closer to her. He rubs her back lovingly.
TERRENCE
There is nothing you can tell me that would make me do that.
Dana smiles, also sensing the irony of his words. They share a kiss as a tear rolls down her cheek.
DANA
Thank you. Maybe in a different life it could have worked.
TERRENCE
Dana, one day with you is better than a lifetime with someone else.
Her face reddens as she looks away, fighting off the emotions.
TERRENCE (cont.)
Ever since I met you, I’ve changed. Things are different now. Food tastes better, the air smells better. It’s BECAUSE of you, Dana.
(beat)
It’s because I love you.
She smiles warmly and hugs him tightly.
DANA
I love you too.
As they are in each others arms, his phone VIBRATES loudly from his pocket.
TERRENCE
Sorry.
DANA
(happily smiling)
No problem.
He flips it open, pressing it to his ear.
TERRENCE
What have ya’ got?
As he listens a moment, his eyes widen in disbelief. He smiles to her, indicating good news.
TERRENCE (cont.)
Give me fifteen minutes.
He hangs up, quickly shoving the phone into his jacket pocket.
TERRENCE (cont.)
They’ve got him!
DANA
(confused)
Huh? What do you mean “They’ve got him”?
TERRENCE
There was a murder tonight. A wealthy woman, sold rare animal furs. Anyway, she had a home security system. It caught the killer on camera!
Her eyes bulge in shock. She downs her drink.
TERRENCE (cont.)
I gotta’ get down there. I’m sorry.
(beat)
But listen, we’ve got this bastard. I’ve got some vacation packed away. Let’s take a trip. We can spend every day together, make this worthwhile. What do you say?
She looks into her empty glass sorrowfully.
DANA
It...it sounds wonderful. Perfect.
He smiles, kissing her passionately.
TERRENCE
I’ll call you tomorrow, okay?
She nods as he takes off quickly. She watches closely as he exits through the door, as if it’s the last time she will ever see him again.
EXT. DANA’S APARTMENT – NIGHT
Dana’s red Mazda pulls into the driveway, screeching to a stop. She hurries into her house, leaving the car running.
INT. DANA’S APARTMENT – CONTINUOUS
She goes to her computer, retrieving a file from the desk drawer.
She moves to the closet, frantically pushing away clothes to grab a small black box. She places it on the bed.
As she opens it, a strange look overcomes her face.
CLOSE on the box’s contents. It’s a small black 9MM handgun. Her hand grasps it as she makes her way quickly to the front door.
INT. NYPD PRECINCT – NIGHT
Terrence enters a small room. A television is set up against the far wall. Clark and Chief Sinclair are already present, impatiently waiting.
As he enters, Clark hops out of his seat in excitement.
CLARK
You made it! You’re not gonna’ believe this, man.
He pushes the video tape into the VCR. The word “PLAY” appears over the black screen.
The VIDEO pops up. It’s black and white, typical security camera view.
The overhead shot from the camera shows an empty patio. Terrence watches closely in angst.
BEAT.
CLARK (cont.)
Here it comes.
The three silently stare at the screen until-
The killer appears, but only for a second as she shuts the door, leaving the premises.
TERRENCE
It’s a...woman?
SINCLAIR
Looks that way.
Clark smiles giddily. Terrence thinks, something seeming very familiar about the figure.
TERRENCE
Rewind it.
Clark obeys, quickly rewinding the tape. Terrence crouches near the TV to get a better look.
The figure appears on screen again. The room is filled with a silent hush.
TERRENCE
Again. Pause it so we can get a better look.
Clark nods, playing it over once again. At the moment she steps into view, he pauses the tape.
Dana’s face is in full view, plain as day. Terrence’s face is overdrawn with utter shock.
TERRENCE
Oh my God...
The realization sets in as he leaps up, rushing out the door.
SINCLAIR
Detective Oliver! Where the hell-
Clark looks out the door, he’s already gone. He and the Chief exchange confused glances.
EXT. OFFICE BUILDING – NIGHT
CLOSE on the large office building. Hundreds of glass windows line the exterior walls. The building itself is around twenty stories tall.
PAN DOWN to the ground level. Dana stealthily sneaks toward the front doors. Looking through the glass door she sees a SECURITY GUARD perched behind a desk. He watches a small television set closely.
She pulls out a small gun. It looks strange, not the 9MM she had earlier.
INT. OFFICE BUILDING – NIGHT
The glass door opens as Dana casually steps in. The guard notices her and immediately stands.
GUARD
I’m sorry Miss, office hours are 9 AM to 5 PM.
In one swift motion she raises the gun and FIRES. The shot is dead silent.
The guard grabs at the left side of his neck, pulling a small black object out. He looks at it for a moment in bewilderment.
It’s a tranquilizer DART.
The guard suddenly collapses to the floor unconscious. Dana quickly walks down the hall.
INT. SENATOR’S OFFICE – NIGHT
Behind a large oak desk sits Senator John Soloman, on the telephone. He rubs his eyes restlessly.
SOLOMAN
No, I’ll be here another couple hours. They’ve assured me that this bill will go through tomorrow, regardless of what that young punk got me into.
(beat)
Alright, talk to you tomorrow.
He hangs up, putting his reading glasses back on. As he begins to write, the door opens.
A young brunette stands at the door, her white wool jacket draped over her upper body.
SECRETARY
Mr. Soloman, are you sure you don’t need me to stay?
He nonchalantly waves her off.
SOLOMAN
No, no. I’ll be late tonight. I’ve gotta’ be sure this damn thing is perfect.
She nods, hastily backing out of the room.
EXT. DANA’S APARTMENT – NIGHT
Terrence stands outside of Dana’s apartment door. He knocks loudly a few times.
No answer.
He uses brute force now, ramming the door open with his shoulder. He peeks his head in, looking around the dark and empty apartment cautiously.
INT. DANA’S APARTMENT – CONTINUOUS
He comes across some disheveled files next to her computer.
CLOSE on the files as he looks them over. They each show a picture of one of the previous five victims. He reads through in astonishment until he comes across a sixth one.
It’s a picture of Senator John Soloman. As he realizes what this implies, he drops the files to the floor and rushes out of the apartment.
CLOSE on the pictures as they lie scattered amidst the white carpeting.
OFFICER (V.O.)
So with the heat now on you, you decided to go after your next target. Senator Soloman.
CUT TO:
INT. INTERROGATION ROOM – NIGHT
Dana looks off to the right of the camera for a BEAT.
She shrugs matter-of-factly.
DANA
Circumstances forced me to move ahead of schedule.
She lowers her sagging, tired eyes.
INT. OFFICE BUILDING – NIGHT
Dana heads down the main hall, spotting an elevator at the end.
As she gets only a couple yards away, the elevator DINGS!, stopping on her floor. She swiftly spins to the side, finding cover behind a large pillar.
The doors open and the secretary steps out, on her cell phone.
SECRETARY
(absurdly loud)
Yeah, I’m on my way.
Dana watches as she passes the guards desks, not paying any attention.
SECRETARY (O.S.)
Oh I know! I was like “what? Are you kidding me?”!
Dana looks to her immediate left, seeing a door that leads to the stairway. She quickly enters.
INT. STAIRWAY – CONTINUOUS
She jogs up the countless stairs, breathing heavily. As she nearly reaches the top, she grabs the railing apparently becoming dizzy. She cringes from a stinging headache.
BEAT.
She continues moving, getting to the top. She cautiously enters the door.
INT. OFFICE AREA – NIGHT
She crouches slightly, making her way through the dim work area. The place is empty, all except for the Senator.
She notices a faint light through one of the offices window blinds. The door reads:
SENATOR JOHN SOLOMAN
She stands outside his door, closing her eyes and breathing deeply.
BEAT.
She removes the 9MM from her belt, cocking it silently. One last exhale before she KICKS in the door ferociously.
INT. SENATOR’S OFFICE – CONTINUOUS
Soloman jumps wildly as Dana aims her pistol in his direction.
DANA
Don’t move!
SOLOMAN
Who the hell are you?
Long dramatic PAUSE as he drops his pencil onto the table.
EXT. CAR – NIGHT
OVERHEAD SHOT of a Sedan, pedal to the metal, zipping in and out of heavy traffic.
INT. CAR – CONTINUOUS
Inside Terrence grips the wheel tightly, his blood pressure increasing quickly.
He sees a van slowing in front of him, much to his displeasure.
TERRENCE
Ah, damn it. Move!
He sighs, pulling out his phone. He dials and puts it to his ear, just as he ZOOMS past the van.
TERRENCE (cont.)
Clark! I need you to get down to the Senator’s office right now!
He shakes his head in frustration.
TERRENCE (cont.)
Senator Soloman! He’s the next target. Because I know, just trust me!
(beat)
Just get your ass down there. And bring back up!
He snaps the phone shut, the engine roaring through the foggy night.
INT. SENATOR’S OFFICE – NIGHT
Soloman leans back in his chair, seemingly not intimidated at all.
SOLOMAN
You sure you know how to use that thing?
Dana doesn’t waiver.
DANA
Only one way to find out.
BEAT.
SOLOMAN
Who are you? What the hell do you want?
DANA
My name is Dana Fortune.
He shrugs carelessly, the name not meaning a thing to him.
SOLOMAN
Alright Miss Fortune, why did you break into my office?
She looks directly into his eyes.
DANA
I’ve come here to kill you.
He laughs whole-heartedly.
SOLOMAN
To kill me? Have you ever fired a gun? I don’t think you have.
DANA
(sadistically)
You’d be surprised, Senator.
BEAT. Soloman expresses a look indicating that he has put two and two together.
SOLOMAN
Oh, I get it. You’re this killer who has been terrorizing the city, aren’t you?
No response.
SOLOMAN (cont.)
I was wondering if I’d ever see you.
(beat)
Though I must admit, you are not what I expected. Not in the slightest.
He picks up the paper from his desk. She watches his moves closely.
SOLOMAN (cont.)
Is this why you’re here? This bill?
DANA
One of many reasons.
SOLOMAN
(confidently)
If you kill me, this bill will pass anyway. I assure you of that. You want to make me a martyr, be my guest.
Dana snaps back in anger.
DANA
You’re no martyr! You’re a disgrace to this city. To this planet! I know of the things you’ve done. Things you are proud of.
(beat)
Zaire. Cambodia. Should I keep going?
He smiles in a taunting manner.
DANA (cont.)
You disgust me.
He looks away quickly. Her seriousness seems to hit him hard as he realizes his clock may very well be ticking away.
EXT. OFFICE BUILDING – NIGHT
Terrence exits his car, staring up at the large tower. All the windows are dark and abandoned, except for one near the top.
As he approaches the front doors, he pulls out his gun and checks the clip.
INT. OFFICE BUILDING – NIGHT
As he enters, he notices the empty security station.
He cautiously cranes his neck to look behind the desk. The guard lies lifeless in a heap on the floor. He hurries around, kneeling to feel for a pulse.
He’s still alive. Terrence stands and proceeds to the stairwell.
INT. SENATOR’S OFFICE – NIGHT
Dana peers through the windows, looking down around twenty stories. In the distance she can see a barrage of police vehicles heading her way.
SOLOMAN (O.S.)
You’ll never get out of here alive.
DANA
Yeah. Didn’t really plan on it.
As she looks out, Soloman is seen in the window’s reflection. He stands up silently.
As she turns, he charges and tackles her to the ground forcefully. The gun flies from her hands, hitting a bookcase near the wall.
A struggle ensues. Soloman grasps her neck, choking the life out of her.
SOLOMAN
You’ve messed with the wrong man this time! Who the hell do you think you are, coming in here and waving a gun around like Dirty God damned Harry?!?
Her eyes bulge as the air is cut off slowly. She looks to the left, noticing a small lamp sitting on his desk.
She reaches up, getting a good grip on the lamp and SMASHES it against his skull. He falls off of her, his head bleeding instantaneously.
She crawls to the gun and turns just as he runs toward her again.
DANA
Stop!
She fires, the bullet narrowly missing him and hitting the wall behind. He stops dead in his tracks.
DANA
Get on your knees.
(beat)
NOW!
He complies, slowly lowering to his knees. She stands before him, the gun pressed to the back of his head.
SOLOMAN
You’re making a big mistake.
She cocks the gun slowly. Soloman closes his eyes, grimacing in anticipation.
As her finger tightens on the trigger, the door BURSTS open. Terrence enters, pointing his gun at her. An odd look of shock is present on everyone’s face.
TERRENCE
Dana, what are you doing?
She looks at him sorrowfully.
DANA
I’m sorry, Terrence.
TERRENCE
You don’t have to do this. We can end it right now, just put the gun down.
She looks away coyly, her gun still aimed at the back of the Senator’s head.
TERRENCE (cont.)
Is this because of your condition? Is that why you are doing these things?
No response.
TERRENCE (cont.)
Dana, we can convince them that your actions were brought on by the illness. You have to put your gun down.
DANA
It’s not because of my tumor. This was in me all along, I just didn’t know it.
TERRENCE
That’s not true.
(beat)
Listen to me, Dana. It’s not worth it. If you kill him, your life is over. Everything you know and love is gone.
She shakes her head in frustration.
DANA
It’s already gone. I knew that a long time ago, Terrence. I accepted it.
TERRENCE
(pleading)
Please, Dana. Just lower the gun. Let it end here, you don’t have to do it.
She looks at the gun, contemplating the situation.
BEAT.
DANA
Yes. I do.
He cocks his gun, his face reddening dramatically.
TERRENCE
Don’t make me do it, Dana. Don’t make me shoot you.
They look into each others eyes a moment, she smiles lovingly.
DANA
You do what you have to do.
TERRENCE
I will shoot you, please do not do this. Please Dana, don’t make me kill you.
BEAT.
DANA
It’s okay, Terrence.
(beat)
I’m already dead.
BOOM!
She fires, executing the Senator. He falls forward, face first onto the floor.
Terrence gasps in horror, but unable to pull the trigger.
Dana casually drops her gun, slowly falling to her knees. She puts her hands behind her head, staring at the ground shamefully.
Terrence grimaces, moving toward her. He removes handcuffs from his belt and places them onto her wrists. She looks up at him.
DANA
I’m sorry.
BEAT.
He is totally speechless as he raises her to her feet. Just as he does, a group of uniformed officers enter the room. They look to the ground in shock as they see Senator Soloman’s lifeless body.
One of the officers takes Dana and leads her to the door. Terrence watches sadly.
EXT. OFFICE BUILDING – NIGHT
Terrence stands alone next to his Sedan. He watches as the police put Dana carefully into the back of a squad car.
Clark approaches, leaning on the car next to him.
CLARK
I’m sorry, man.
BEAT.
CLARK (cont.)
You gonna’ be alright?
He nods, doing his best to hide his emotions.
TERRENCE
Yeah.
They sit in silence for a few moments. Dana looks through the car window. Their eyes meet.
BEAT.
The sirens BLARE as the car drives off into the darkness.
INT. INTERROGATION ROOM – NIGHT
For the first time we see the interrogation in real time.
Dana looks tired from the long emotional night. An officer sits across the white table. A large one-way window is placed on the left wall.
OFFICER
We are almost finished, Miss Fortune.
She remains staring straight ahead.
OFFICER (cont.)
After all of this, are you sorry? Are you sorry for the things you’ve done?
She doesn’t respond at first. When she does, it comes out matter-of-factly.
DANA
I regret nothing.
He nods. He rubs his eyes, taking a few notes.
OFFICER
You told me earlier there were only two things in this world you could think about. Killing was one of them. Would you mind telling me what the second was?
She looks at the one-way window, a small smile creeping onto her face.
Behind the window we see a few people. Terrence is among them. He watches Dana closely, a sad expression on his face. Through all the emotion, the smile on her face causes him to smile slightly.
OFFICER (O.S.)
Dana? What was it?
She continues staring at the one-way window as we—
CUT TO:
INT. CELL – NIGHT
That night Dana lies on her new bed, staring up at the cement ceiling. The confined cell is small and isolated. The gray bars separate her from everything she had in her past life.
She smiles in tranquility as she stares at a large CRACK in the ceiling.
A look of satisfaction spreads across her face.
FADE OUT.
FADE IN.
INT. SINCLAIR’S OFFICE – MORNING
Police Chief Larry Sinclair sits at his desk, filling out some reports. The door opens and a young blonde officer enters, his demeanor seeming urgent.
OFFICER
Sir?
He looks up from his work.
SINCLAIR
Yes?
OFFICER
There is..umm...a problem.
SINCLAIR
A problem? What kind of problem?
OFFICER
I think you need to come see it for yourself, Sir.
He sighs impatiently and stands, following the officer through the door.
INT. NYPD PRECINCT – CONTINUOUS
“Lucy in the Sky with Diamonds” by The Beatles plays softly throughout the scene.
Sinclair follows the young officer through the busy Precinct.
They enter a stairwell and head down a couple of floors. Sinclair seems to realize where they are heading.
SINCLAIR
What’s this about, son?
He turns his head, but continues to walk.
OFFICER
Miss Fortune, Sir.
He sighs again.
They now walk down a long hallway. The lights above flicker every few seconds. The area seems old and in need of a good renovating.
Up ahead a few other officers are seen standing. As they get close, another officer turns to Sinclair.
OFFICER #2
Sir, I came to check on her this morning. I thought you would want to know about this first.
He nods, turning in to look into the cell.
CLOSE on his face. He lowers his eyes sadly as he stares inside.
SINCLAIR
You call the coroner?
He shakes his head “no”.
As the music reaches the chorus we—
CUT TO BLACK.
THE END.
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