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by Henry Blackshear jr (henryblackshearjr@mac.com)
Rated: 
Genre: Action/Adventure
User Review:  
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
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SHADOWS - FIRST DRAFT
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FADE IN:
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EXT. SOME WHERE ABOVE NEW YORK - NIGHT |
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Upon the roof tops of New York City a hero named YANCY DAY a
16 year old girl about the statuesque figure of a runway
model dressed in a dark suit with strips of gray and a mask
that covers her face, travels to watch over the city.
She leaps from building to building, making protecting, her
main focus.
She stops as a howling scream causes her head to become
bothered with pain. She turns her head in the direction of
the scream, not clearly seeing where the person is.
She immediately looks up above her towards the sky. She
leaps and then back dives off the roof. Out of her arms
forms feathers as wings that helps her glide as she soars
down towards the scream that howls in her head. She then
lands as a cat in front of an alley way looking inside to
attach the human to the scream. She sees two people one male
and a female below him. This hero then reacts without a
second thought and dives the distance above the man. While
in motion she grabs the man by the shoulders and pulls him
towards her. They continue in motion and Yancy rotates 360
degrees. The man follows her path and he is pulled from the
woman below and thrown into the wall in front of the hero.
The man fall to the floor. The hero YANCY turns towards the
victimized woman and yells |
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The man turns toward the hero in pain. He gets up and before
he can stand the Hero front kicks him in the face.
The man flips back and lands on his feet like a lizard.
He then leaps for Yancy diving for her stomach slamming her
into the wall.
Yancy crosses her arm as her nails grow and she strikes the
man's face.
The man reacts to the pain and releases Yancy for a moment
then catches himself and then pushes Yancy from behind and
slams her against the other wall.
The man then launches for Yancy again.
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2.
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Yancy focuses and throws herself backwards clinging to the
bricks like a squirrel
The man crashes into the wall and makes a dent in it.
Yancy then notices a marking on the back of his arm that
reminds her of something.
The man seems subdued so Yancy goes down to look at it. As
she is about to the man comes out of the wall.
Yancy reverses and runs quickly towards the roof |
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Yancy then stops on the roof top and starts to rub her eyes
from exhaustion.
She then flies a distance.
She looks to the right and sees a building tower abandoned
She soars down and heads for the window seal. She looks
inside. We see a man in the distance in a shadow as Yancy
tosses a bag of food at him.
She then pauses and smiles.
She then looks left below her and sees the water of the
Coney Island beach just below the D train line.
A D train is now entering the station to this last stop.
Yancy leaps from the building upon the moving train and then
towards the boardwalk sands below. The streets are empty and
she begins to stagger her way towards the sands. |
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DISSOLVE TO |
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MORNING |
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Yancy slowly staggers upon the sand under the morning sun.
She looks exhausted. She staggers because she doesn't really
know how she got there.
Suddenly she falls and drops in the heat from walking the
great distance that morning.
Suddenly a LITTLE BOY taps her to ask her if she has seen
his mother. |
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LITTLE BOY
(scared)
Mommy...where's my mommy? |
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Yancy struggles to get up unsure of herself |
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3.
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LITTLE BOY
I want my mommy |
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Yancy now clearly sees the little boy and sits up on the
sand becomes scared and timid. |
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YANCY
(still dizzy)
what... |
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Yancy gets up on her feet trying to make sense of where she
is. She really isn't paying attention to the boy in-fact she
walks away from him.
The little boy pull on her begging for her help and
beginning to cry |
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LITTLE BOY
(full of tears)
Where's mommy? |
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Yancy then stops and looks down on the child realizing he's
just at lost at she is |
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Yancy looks left and right dazed and confused |
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Yancy looks towards the water and then both directions of
the sand. |
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YANCY
What is this place? |
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LITTLE BOY
Please find my mommy? |
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YANCY
(scared and
confused)
I, I don't understand. What... is
a mommy? |
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Yancy begins to walk away from the boy and as she does the
boy follows her. |
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4.
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As they continue to walk from their position a Female adult
peeks behind the rocks. As of seeing Yancy and the boy she
then tries to duck out of Yancy's site. |
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Not to far in the distance MARY wearing dark clothes, a bit
shorter than Yancy enters the beach and notices Yancy
walking away from her with a boy at her side towards the
woman who peeked away. |
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MARY
(relieved)
Found you... |
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Mary then runs towards Yancy |
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Yancy continues her path yet confused when she hears sounds
from behind her. |
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YANCY
(to the little boy)
Do... you hear noise? |
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The little boy looks up at Yancy then towards Mary as she
calls again |
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He then looks towards his mother |
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LITTLE BOY
The lady behind you is calling
someone named Yancy |
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Yancy stops and turns towards Mary |
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YANCY
(to the little boy)
I think that's me. |
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The boy pulls Yancy's hand towards the lady behind the
rocks |
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LITTLE BOY
(to Yancy)
My Mommy |
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Yancy then looks towards the rocks and sees The boys mother |
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5.
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YANCY
I think that's her behind those
rocks? |
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The boy looks |
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LITTLE BOY
I don't see her. |
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Mary makes her way to Yancy |
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MARY
(to Yancy)
You're a tough person to find |
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YANCY
What are you saying |
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MARY
(excited to see
Yancy)
You had one of those sleepwalks
again. |
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YANCY
I'm sorry, do I know you? |
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Mary pauses becoming confused |
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YANCY
I'm sorry I don't...know you |
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MARY
Oh no... the effect of the sleep
walk is causing you to have
amnesia |
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Mary looks side to side then down at the boy |
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LITTLE BOY
(to Mary)
Where's my mommy? |
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LITTLE BOY
Can you help me find my mommy? |
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6.
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Mary looks towards the rocks |
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MARY
Where did you come from? |
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LITTLE BOY
I don't know I can not see very
far |
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Mary looks towards the woman near the rocks looking away
from Mary and Yancy |
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MARY
(to Yancy)
stay right here |
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The little boy's MOTHER turns around and you see her with
thick glasses |
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MARY
(making connection)
oh... |
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Mary takes the boy by the hand |
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MARY
(to the little boy)
Come on...let's get you over to
your mommy |
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Mary short jogs with The little boy towards the mother.
The Mother turns towards Mary. |
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MARY
(to Mother)
Lady is this your son |
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Mother turns to Mary confused |
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The lady looks down at the little boy |
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7.
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MOTHER
Yes what happened? Is there
something wrong? |
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MARY
He was some where over there lost
next to that young lady. He said
he couldn't see you. |
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MOTHER
Yeah he has bad vision I have to
get to that appointment and get
him glasses soon. |
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MARY
in the mean time you should keep
an eye on him. He could have been
found by a crazy person. |
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MOTHER
I know I don't know where was my
mind I was just trying set up the
place to have a nice picnic with
him and I was so involved that I
forgot about... |
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Mother goes down to hug little boy |
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MOTHER
(to little boy)
I'm so sorry Honey... |
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mary smile and walks away back towards Yancy as she sit on
the beach still confused |
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MARY
Do you remember me yet? |
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YANCY
Some of it is coming back to me
but not all. It really hurts. I
somewhat remember you |
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MARY
I'm your best friend and I have to
keep up with you. |
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MARY
because you sleepwalk |
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8.
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mary pauses |
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MARY
You don't just sleep walk |
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MARY
you become another person |
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YANCY
I'm so tired and exhausted |
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MARY
NO! Don't go to sleep now |
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YANCY
let me just rest my head for a few
seconds. |
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MARY
You can't cause every time you do
she comes |
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MARY
OWL... a vigilanti alterego |
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YANCY
But I have to sleep I'm tired! |
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MARY
Come on we have to get you to
school we're late. |
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Mary gets up.
Yancy looks towards her. |
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YANCY
Can't we go to the doctor instead? |
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MARY
No...no must know... |
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9.
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MARY
Because your different than they
are...we both are. |
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YANCY
what are you talking about...
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MARY
Don't worry your little head. The
exhaustion will pass in about... |
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Mary looks down at her watch on her wrist |
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MARY (CONT'D)
...thirty seconds |
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They exit the beach towards the train that Yancy jumped
over. |
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CUT TO |
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EXT. MID TOWN - LATER |
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INT. 54TH PRECINCT |
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Inside the busy Precinct the officier are taking prisioner
inside temporary cells and arresting battering men.
the camera pans over to OFFICIER JACKSON an overweight yet
muscular cop sits behind a cluttered desk trying to figure
out a confusing case.
Jackson then pushes himself away from his desk and goes over
to the wall where different victims are posted. He pauses
and stares at them. It come clear to us that a serial killer
is what is bothering him.
OFFICIER BARNES a female cop rookie, who just learning the
ropes is Jacksons partner, too is stumped by the actions of
this killer |
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Jackson faces the bullettin board |
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OFFICER JACKSON
(troubled)
I just don't see a connection... |
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OFFICER BARNES
We've been over the clues piece by
piece the rage the blood the car
nothing links these victims |
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10.
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OFFICER JACKSON
(to Officer Barns)
There has to be a link we are not
seeing. |
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Barnes gets up and goes over to Jackson's ear |
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OFFICER BARNES
(Whisphers)
What about you know the OWL? Can
she help us out? |
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OFFICER JACKSON
yes she's helping us out... but
Crime doesn't wait for us. It just
strike without warning |
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OFFICER BARNES
I know that...I was just... |
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OFFICER JACKSON
I know what you thought but times
running out |
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Jackson turns back to the wall |
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OFFICER JACKSON
Now look here. The killer stuck
the victims in the same way
leaving similar markings in the
face area. |
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OFFICER BARNES
That's true, but they are not all
women so that rules out the theory
of our killer being a women hater |
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OFFICER JACKSON
So why leave the same mark on them
what's the connection |
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OFFICER BARNES
Let's see what the mark look like. |
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Barnes takes down one of the pictures and looks at a some
what chinese inscription. She's looking at it upside down so
she can't make it clear and some blood is in the path of the
scar. The inscription is means First. |
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11.
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OFFICER BARNES
What of this? |
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Jackson gets up from his seat to get a closer look |
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OFFICER JACKSON
I'm not sure.
(to second officer)
Miller could you get this down
town to see if they could make any
thing with these marking.
(To Barns)
C'mon |
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OFFICER BARNES
Where we going? |
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OFFICER JACKSON
Let's go back to where we found
the last body. May be it will help
us connect the other victims |
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The cops exit the precinct |
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CUT TO |
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EXT. UP TOWN - HIGH SCHOOL 80- LATER |
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INT. MAIN OFFICE |
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Upon the computer is TONEY GILBERT is overdressed in a
Fishing outfit, typing emergency card into the computer.
Upon the screen is MARK YUN'S records.
We get to read what's on the screen
As Toney hears foot steps he turns his head slightly and
then drags the file down to the bottom of the screen
MS SUSAN in the office carrying a wet umbrella after picking
up a cup of coffee from outside. She then goes over to her
desk picks up a stack of cards and hands it to Toney. |
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MS SUSAN
Looks like you just jumped off a
ship in a rain storm. |
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Toney lifts his head and turns to Ms Susan |
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MS SUSAN
It's drizzling outside not
flooding |
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12.
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TONEY
Human rights you know, to wear
what you want, besides I got in a
bit late and I wanted to catch up
so I forgot to take it off. |
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MS SUSAN
(confused a bit)
Right...uh here's more of those
cards. |
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TONEY
Okay just leave them right here |
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Susan places the cards down and Toney gets up grabs the
Attendance folders and goes over to the mailboxes to put the
folders in the appropiate boxes.
Susan then sees Mary and Yancy enter the office wearing
their rain jackets |
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The secretary reaches Mary and Yancy and prepares to hands
them a late pass.
Toney turns his head and sees them at the counter and turns
pausing with the folders and heads back to the computer. |
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The secretary prepares to hand the two girls late passes |
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MS SUSAN
You two are later than yesterday
What's gives? |
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MARY
(To Ms Susan)
overslept again
(To Yancy)
Now today we're taking a Chinese
appreciation class which is a 5
credit class that could help us a
good deal when we graduate. |
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Mary then sees Toney as he walks over to the computer |
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MARY
(to Toney)
Going fishing Toney? |
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Yancy looks up at Mary when she makes that coment |
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Toney sees Mary and then knows what she's referring to |
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13.
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TONEY
(disruppted)
Okay okay. I'll take it off. |
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Toney stands up and starts to remove the coat. He then looks
at Ms. Susan as she smile at him. He smiles back at her and
continues to take the coat off.
You see a suspenders outfit below the jacket over a short
sleeve shirt. |
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Thunder suddenly strikes very softly.
Toney snaps his head back at the window cautiously.
Then Toney looks at Yancy as he is looking at her.
Toney smiles embarassed at Yancy and then rises to take off
his Fisherman's outfit |
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Tomey removes his top coat and you see a short sleeve shirt
on under. He reveals a piece of a tattoo on his right arm.
Yancy notices part of the tattoo for a moment turns away to
Mary. Yancy does takes another look at the tattoo for a
momment then turns to Mary. |
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Yancy is still focused on the tattoo |
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YANCY
(to Mary)
uh...Why did I decide to take that
class? |
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Just then Mark Yun covers Yancy's eyes |
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MARY
That's the reason why. |
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Yancy pulls Mark's hands off her face and turns around and
looks at him |
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Mary gives Yancy the eye to play along. |
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Yancy looks at Mary confused then looks at Mark |
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14.
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YANCY
(pretending to
remember)
oh I'm sorry Mark. My eyes you
uh... |
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MARK
sorry didn't mean to do it so hard |
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YANCY
(still confused)
It's ok did you want something? |
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MARK
Today is well a newday for me.
being that I'm the oldest I get a
special celebration. |
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Toney looks up from the computer and cuts in stopping from
his work |
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TONEY
(Chinese
translation)
They say it is a very important
celebration for the oldest child
born. He is the one to replace the
dad if something were to happen. |
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MS SUSAN
(to Toney)
wow I'm impressed...why the
interest in Chinese? |
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Mark and Mary briefly listen |
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Yancy stands behind timidly waiting for Mary to help her. |
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TONEY
(to Susan)
Being the oldest cause you to
wonder if there is any importance
to it...and in my research I
learned about the chinese and how
they praise the eldest child. |
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MS SUSAN
I didn't know that |
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TONEY
What about you what line do you
fall in, in your family? |
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15.
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Mark leads heading for the exit |
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MS SUSAN (V.O.)
I grew up in a pretty big family
with thirteen brothers and
sisters...and I fall... |
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Mark turns around and taps Yancy |
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MARK
(to Yancy)
So you want to get going? |
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YANCY
(to Mark)
Your taking the class too. |
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MARK
ha ha...no you know I teach the
class. |
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MARY
(to Yancy)
let's go sleepy head |
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Mark, Yancy and mary exit |
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PRINCIPAL
Susan can you bring in the file on
the Mendez student, I need to
review something over with his
mother. |
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MS SUSAN
Right away, Mr Levy |
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CUT TO |
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EXT. BROOKLYN -UNDER BROOKLYN BRIDGE - LATER |
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Jackson and Barnes pull up below the bridge to look for
other evidence. Barnes is the first to exit |
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OFFICER BARNES
I don't see the purpose of coming
back here the CSI unit has been
through this area up and down. |
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16.
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OFFICER JACKSON
Everyone that this serial killed
was in an open field like this
one. |
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OFFICER BARNES
There was a shoe over there near
the bridge
(turning opposite)
one over there near the building
(turning left)
two other shoes over there and
opposite to the shoe behind me on
the left side... |
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OFFICER JACKSON
(interupting)
and the victims were right here in
the center so we can see it. |
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OFFICER JACKSON
(interupting)
So why not hide them |
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OFFICER BARNES
I don't know |
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OFFICER JACKSON
he wanted us to see them |
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Jackson turns towards the all the building
pauses then smiles at Barnes |
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OFFICER JACKSON
Everytime he comitted a murder he
did so to leave them here. The
victim would be number five if it
was a pattern on a die. |
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OFFICER BARNES
That's true but what does number
five have to do with the murder.
How does it connect? |
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Officer Jackson looks around and up at the sky |
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17.
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OFFICER JACKSON
It's gonna get dark soon. Day
light saving's time you know so we
better look around for more
evidence. |
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CUT TO |
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INT. HIGH SCHOOL 80- HALLWAY-LATER |
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Mary and Yancy walking slower than Mark, breakaway and head
for the restroom.
As they are walking the run into school bullies tomboyish
girls. About seven are grouped together.
The lead girl ALEX slams her fist to her palm and as Mary
and Yancy approach |
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ALEX
Hey girl look what spilled out of
the trash can |
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Yancy looks up at Alex remembering why she has become shy
and timid. Yancy then cowers behind Mary |
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MARY
That's real original Alex. Who
taught you that one your baby
sister |
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Alex's girls start to giggle and chant |
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FLY GIRLS
OOh...oh no Alex that was low
rank...rank |
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ALEX
(turns to flygirls)
ENOUGH! |
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Alex snaps her fingers and the girls stop chanting |
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ALEX
(To Yancy and Mary)
now that you got my girls stirred
up I'm gonna beat you silly. |
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18.
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MARY
C'mon Alex that was an accident in
the girls room we didn't know it
would back up. I just wanted to
get an early dismissal for the
school |
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ALEX
Did you know I had to walk 20
block with my pants like that
because no bus wanted to let me
on. |
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ALEX
Yeah you're gonna feel more than
and ouch.
(to fly girls)
sick em |
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Mary grabs Yancy's hand and pull her in the opposite
direction of the fly girls |
|
|
|
|
|
|
Yancy follows Mary
The Flygirls trail behind.
Mary and Yancy race around the corner and head for the Dean
who is opn his way to the office not paying attention.
The Flygirls the turn the corner one of them hitting a
garbage can causes the Dean to look up.
Mary and Yancy then sees the Dean down the hall and run into
the stair case. |
|
|
| |
DEAN
(seeing the
Flygirls)
Excuse me ladys! |
|
|
|
The girls stops and scramble running opposite.
The Dean starts to run after them. |
|
|
| |
DEAN
Do you have all have a hall pass! |
|
|
|
19.
|
The girls empty that floor
Mary and Yancy arrive on the second floor a good distance
from their appreciation class.
Alex's girls exit the stair case near the class.
Yancy below Mary looks at her |
|
|
|
|
|
|
| |
MARY
Go to sleep. You said you were
tired! |
|
|
|
| |
YANCY
you said it only happens at night |
|
|
|
|
|
|
|
| |
YANCY
I don't like the idea and besides
she may kill them. |
|
|
|
| |
MARY
okay okay, I'll do my thing. Hold
your ears |
|
|
|
Mary covers her ears and so does Yancy. The Mary creates a
high pitch sound that animal can become annoyed but it could
make a human deaf. The sound could be centered to only
affect the people it is aimed at. |
|
|
|
|
|
|
The fly girls start to fall and so does Yancy.
The sound can crack a wall made of brick. |
|
|
|
|
|
|
|
Mary stops |
|
|
| |
MARY
Now you know why I wanted you to
fight |
|
|
|
| |
YANCY
c'mon lets go to class |
|
|
|
20.
|
Mary takes Yancy's hand and they run into the Appreciation
class. |
|
|
|
LATER |
|
|
|
EXT. MARY'S HOUSE |
|
|
|
INT. MARY'S BED ROOM |
|
|
Mary and Yancy are upon the bed laying on their stomachs
watching movies and eating popcorn dressed and full pajamas
and huge bunny slippers. |
|
|
| |
MARY
This is the fifth time I watched
this movie it's like so good. |
|
|
|
| |
YANCY
It doesn't look that cool...look
you can see the wires... |
|
|
|
| |
MARY
But it's a classic and the story
is like...my father says when they
played it on the radio people were
like jumping out of the window... |
|
|
|
|
|
|
|
| |
MARY
Yeah radio was all they had and I
guess the sound effect scared them
cause is seemed like a real
broadcast |
|
|
|
|
Yancy then lowers her head |
|
|
| |
YANCY
Am I from another planet |
|
|
|
|
Yancy gets up and looks up into the sky |
|
|
| |
MARY
(pauses)
No way...I mean I don't think we
are. |
|
|
|
|
Yancy turns to Mary |
|
|
| |
YANCY
Then how do you explain these
powers that we have...things that
(MORE)
|
|
21.
|
| |
YANCY (cont'd)
make us feel like were so
different from other people |
|
|
|
| |
MARY
My mom told me that I was born on
the night of an eclipses. I don't
know if that has any thing to do
with it but it would explain a
lot. |
|
|
|
| |
YANCY
I'm not sure what day I was born
my parents died when I was a baby. |
|
|
|
| |
MARY
Perhaps you were born the same
time and we could be like
moonsisters or something |
|
|
|
|
Yancy smiles... and sits on the bed beside Mary... |
|
|
| |
MARY
Don't worry about it so much. |
|
|
|
| |
YANCY
But I sleepwalk Mary and I don't
like waking up forgetting what I
did or who I am. |
|
|
|
| |
MARY
we'll figure a way to work this
out. |
|
|
|
| |
YANCY
Can't I just tell the doctor that
I sleep walk and he can give me
pills or something |
|
|
|
| |
MARY
we can check it out in the
morning. Now I have the doors
locked tight down here so if you
are to sleepwalk there no where
you can go |
|
|
|
|
|
|
|
| |
MARY
let's finish the movie |
|
|
|
|
|
|
|
22.
|
|
Yancy turns to the TV |
|
|
|
DISSOLVE TO |
|
|
Mary is starting to slowly fall asleep.
Mary falls asleep then we go over to Yancy as she starts to
fall asleep.
Yancy falls asleep |
|
|
|
CUT TO |
|
|
|
EXT. NIGHT SKY |
|
|
|
Outside you see the moon pass the clouds |
|
|
|
CUT TO |
|
|
|
INT. MARY'S BED ROOM |
|
|
We get closers to Yancy as she starts to shake in scared
motions, tensing up. |
|
|
|
DISSOLVE TO |
|
|
|
DREAM SEQUENCE |
|
|
Yancy sees flashes of people running. Then there is a little
girl running towards two people arguing.
Yancy stops as she sees the adult pleeding at a teenager
holding a baby.
The teenager then throws the baby against the wall.
The mother cries seeing the horror and tells him he has to
leave . The boy argues and starts stamping refusing to go.
She tries to push him out the house where he then pushes her
back. |
|
|
There is a sign upon teenager's chest as his hands become
claws and starts to strike down on the women.
The women starts to run. The symbol on the figures chest is
more prominant now. The teenager then catches up to the
woman and strikes her again her through the back.
The little girl screams as the teenager then smiles a snear,
hurries away leaving her alone. |
|
|
|
RETURN TO SCENE |
|
|
23.
|
Yancy then snaps up stronger than she had been in school
Inside of Yancy boils her adrenaline and she heads for the
stair case that lead to the first floor in Mary's apartment.
Yancy rips the door off. |
|
|
Yancy transforms as the hero we seen early as her clothing
just merges replacing the pajamas forming her costume.
Yancy is now Night OWL |
|
|
|
CUT TO |
|
|
|
EXT. WEST 110TH STREET - !0:30 P.M |
|
|
Yancy dressed as Night Owl meets up with Officer Jackson and
Barnes and they begin to prowl the city in search of the
serial killer
|
|
|
| |
OFFICER JACKSON
Glad to see you OWl. Here's what I
have for you. |
|
|
|
Jackson hands Owl the photos of the last victims the killer
took out |
|
|
Owl looks puzzled again seeing a flash of the sign on the
victms forhead |
|
|
| |
YANCY
I seen this sign before...infact I
seen it the other night |
|
|
|
|
|
|
|
| |
YANCY
When I was fighting a criminal the
other day I seen it on the back of
his right arm...I didn't know he
was also the serial |
|
|
|
| |
OFFICER JACKSON
Did you see his face? |
|
|
|
| |
YANCY
He was wearing a mask |
|
|
|
| |
OFFICER JACKSON
Well we got a tip that he may be
in this area...You do what you do
(MORE)
|
|
24.
|
| |
OFFICER JACKSON (cont'd)
best and we'll check everywhere
else |
|
|
|
|
|
|
|
|
yancy leaps for the roof top |
|
|
|
CUT TO |
|
|
|
INT. MARY'S BED ROOM |
|
|
Mary wakes and she looks over to where Yancy had been and
doesn't see her. mary runs up the stairs from the basement
to the first and stops at the ripped door
|
|
|
| |
MARY
(shocked small
laugh)
She took the door off the
hinges... |
|
|
|
Mary then continues and runs through the house.
Not seeing Yancy she then thinks of the only place she could
be |
|
|
|
|
|
|
|
Mary grabs the phone to call Officer Jackson |
|
|
|
CUT TO |
|
|
|
EXT. WEST 138TH STREET |
|
|
Yancy spots some one who seams to be their killer and she
chases him down.
Yancy then reaches a point to corner him off |
|
|
|
CUT TO |
|
|
|
INT. WESTSIDE TRAIN |
|
|
Mary is on the underground west train in an abandoned car as
she travels to help Yancy. |
|
|
Mary gets a flash of pain as she sees Yancy being over
powered |
|
|
25.
|
The train stops inbetween stations on 145th street before
the one Mary must get off at. |
|
|
| |
TRAIN CONDUCTOR (V.O.)
Sorry for this inconvencience but
we are experiencing differculties |
|
|
|
|
|
|
|
Mary goes to the door and look towards the next station.
|
|
|
Mary looks at lady at other end of the train.
Mary then inpatiently runs through train car to the next one
in front |
|
|
| |
MARY
I got to get out of this train.
|
|
|
|
Mary goes to the next door ahead that leads to the following
car but only one door opens.
Mary struggles with the door. |
|
|
|
|
|
|
Mary looks back to the car she just left as she stands
between cars. She then looks up and starts to climb upwards. |
|
|
| |
MARY
Don't die on me Yancy or this is
all for nothing |
|
|
|
|
CUT TO |
|
|
|
EXT. WEST 140TH STREET |
|
|
Yancy then leaps down from the roof seeing a shadow race
inside an alley where warehouses are.
She then chases the killer into an alley that starts to
shelter the moon's rays from her.
Yancy starts to feel her eyes getting heavy |
|
|
|
CUT TO |
|
|
|
Mary races through the streets to catch up to Yancy |
|
|
|
CUT TO |
|
|
26.
|
|
EXT. UPPERWEST 148TH - DARK ALLEY |
|
|
|
yancy is suddenly interupted by two tugs who work for him |
|
|
| |
YANCY
I thought serials worked alone |
|
|
|
|
Thug one crushes his knuckles together |
|
|
| |
THUG 1
Differnt story sister |
|
|
|
Thug two then punches yancy in the face.
Yancy grabs her face and Thug 2 comes up and kicks her and
throws hers against the stairs of a warehouse.
Yancy rolls to the side as Thug 1 is about to slam down on
her.
Then as he lands Yancy comes into the back of his knees.
Thug 1 falls Yancy continues the rotation and comes down on
Thug 1's face.
Thug 2 then picks yancy up and throws her into the wall.
|
|
|
|
CUT TO |
|
|
|
EXT. WAREHOUSE |
|
|
|
INT. WAREHOUSE |
|
|
The masked serial, starts to drag tied and gagged man
attached to a work truck, through warehouse to the center of
the room.
The serial then pulls the tied man on to a work table and
starts to taunt him before he kill him.
the man struggles |
|
|
|
THe serial rotates around the man |
|
|
| |
SERIAL
Stop it you're ruining the mood |
|
|
|
|
The man stops for a moment shocked by the Serial's words |
|
|
| |
SERIAL
I thought you should know that
being the starting child really
(MORE)
|
|
27.
|
| |
SERIAL (cont'd)
isn't the joy your parents were
looking for. You're all the cause
of their arguements. They scream
back and forth because of you.
Neither one knows how to care for
you and it becomes a challenge as
to who is the better parent. You
all want things before every one
else. You make them want to give
you up and go their separate ways.
So I took the liberty of removing
thier pain by getting rid of you. |
|
|
|
The man struggles more.
The serial then punches the man in the face. |
|
|
| |
SERIAL
If you keep it up I'll make sure
you feel all the pain before you
die...you don't want that do you |
|
|
|
|
The man shakes his head no |
|
|
| |
SERIAL
I didn't think so. Now before I
kill you so quick and painless are
there any last request. |
|
|
|
| |
BOUNDED MAN
(Crying)
MMMMMMMMmmmmmm |
|
|
|
| |
SERIAL
I'm sorry I can't hear mumbles |
|
|
|
|
The serial then rips the duct tape off the man's mouth |
|
|
| |
BOUNDED MAN
(Crying a scream)
AAAAAOOOOOUwwwwwwwww! |
|
|
|
|
The man stuggles as he continues to scream |
|
|
| |
SERIAL
Now that's not nice. I don't like
the noise. |
|
|
|
|
CUT TO |
|
|
|
EXT. WAREHOUSE |
|
|
Yancy is up against the wall by thug 2 looks towards the
|
28.
|
scream
Yancy then looks back at the Thug and her eyes turn
animalistic |
|
|
| |
YANCY
(fiercely)
Sorry I can't play no more! |
|
|
|
Yancy arm come between Thug 2's arms and she pushes his arms
away from her throat. She then come back with her arms as
cat claws and cuts him across the face.
yancy continues in rotation and does a cart wheel that
doubles the blow to Thug 2's face.
She then looks towards the warehouse and leaps toward it. |
|
|
|
CUT TO |
|
|
|
INT. WAREHOUSE |
|
|
Yancy crashes through the doorway.
The Serial turns looks up as he's trying to shut the man up. |
|
|
| |
SERIAL
See what you did. You woke the
neighbors. |
|
|
|
The Serial then throws the an AX at her
Yancy leaps toward the Serial over the AX does an aerial no
hand cartwheel and while in motion catching the Ax's handle
and continues in motion and lands on her feet on the floor.
She then rotates and prepares to throw the ax back at the
serial.
Yancy eyes suddenly start to get heavy. She then stumbles a
bit and looks for the Serial.
Then suddenly Serial comes up from behind Yancy and strikes
he upon the head. |
|
|
|
CUT TO |
|
|
|
EXT. NIGHT SKY |
|
|
|
The cloud covers the moons rays |
|
|
|
CUT TO |
|
|
|
EXT. WAREHOUSE DOORWAY |
|
|
29.
|
Mary and the officers reach the door way of the warehouse
mary looks up to the sky |
|
|
| |
MARY
oh no...the clouds are covering
the moon. I've got to get to OWl! |
|
|
|
|
Officier Jackson goes to push Mary out of the way |
|
|
| |
OFFICER JACKSON
Stand back |
|
|
|
| |
MARY
There's no time. Hold your ears! |
|
|
|
|
|
|
|
| |
MARY
(sternly)
JUST DO IT! |
|
|
|
|
The officers hold their ears |
|
|
|
Mary then prepares to shreek |
|
|
| |
MARY
(shreeking)
AAAAAAAAAAAAAAAAAAAOOOOOOOOOOKKKK |
|
|
|
|
CUT TO |
|
|
|
INT. WAREHOUSE |
|
|
Yancy is then smacked again and thrown over the man upon the
table. She then hits the floor.
As of hearing the shreeking sound the Serial then covers his
ears in pain trying to block the noise.
The Serial then leaves Yancy and leaps away towards the
roof. |
|
|
Yancy looks towards the roof top as she lays helpless as
Mary and the officers bust through the door way. |
|
|
|
Yancy looks at Mary barely alive |
|
|
|
Mary look at Yancy and tears |
|
|
30.
|
| |
MARY
(scared)
Get her outside FAST! |
|
|
|
The cops run over to Yancy and carry her outside the
building |
|
|
Mary looks around and up. She thens sees the man tied and
finishes untying him. |
|
|
|
|
|
|
The man still shooken up scrambles out of the ropes and runs
out of the building. |
|
|
|
Officer Jackson catches him at the doorway |
|
|
| |
OFFICER JACKSON
(snapping)
Hey buddy slow down we have to ask
you a few questions. |
|
|
|
| |
BOUNDED MAN
(panicky and
scared)
He kept rambling on about "Eldest"
and being the "starting one". He's
crazy that what he is Crazy. |
|
|
|
|
The man gets out of Jacksons' grip |
|
|
| |
BOUNDED MAN
now let me go! |
|
|
|
| |
OFFICER JACKSON
Let me at least take you home. |
|
|
|
| |
BOUNDED MAN
(scared)
That's okay I'll find my way. You
just go find that creep and stop
him! |
|
|
|
|
The man leaves the scene |
|
|
| |
MARY
(to Jackson)
I'm behind him a hundred
percent...so we better get
going... |
|
|
|
|
They exit the warehouse |
|
|
31.
|
|
CUT TO |
|
|
|
EXT. NIGHT SKY |
|
|
The clouds clear away from the Moon and shines down it rays
on OWL |
|
|
|
CUT TO |
|
|
|
EXT. OUTSIDE WAREHOUSE DOORWAY |
|
|
Yancy eyes start to blink her eyes.
Mary goes down to Yancy's side |
|
|
| |
MARY
(to yancy)
Are you okay OWL? |
|
|
|
Yancy starts to come to. Yancy is still Owl and starts to
push Mary and the officers gaining her strength back. |
|
|
| |
YANCY
(to Jackson)
Let me see those pictures again... |
|
|
|
| |
MARY
Hey you just blacked out don't you
thin... |
|
|
|
| |
YANCY
(interupting)
I'm fine! where are the pictures |
|
|
|
Officer Barnes pulls the pictures from her back pocket and
hands it to Yancy |
|
|
|
|
|
|
Yancy views pictures of two victims and she looks closely at
the marking.
we notice the markings so similar and rope binds around the
bodies |
|
|
| |
OFFICER BARNES
(to yancy)
What are the pictures going to
tell you |
|
|
|
| |
YANCY
Just will confirm if this was our
man or not and it is. |
|
|
|
32.
|
|
Yancy then creates her wings |
|
|
| |
MARY
Wait. Where are you going? |
|
|
|
| |
YANCY
We're not going to find him on
land |
|
|
|
| |
MARY
Yeah, but you don't know what he
looks like. |
|
|
|
| |
YANCY
But I know how he moves |
|
|
|
|
Yancy then jumps up towards the sky |
|
|
| |
MARY
(to Jackson)
She's not going to be able to
continue that all night soon she's
gonna want to fall to sleep again.
You're going to have to follow her |
|
|
|
| |
OFFICER BARNES
(To mary)
If our captian found out we were
chasing a lead from some one who
doesn't suppose to exist, we're
history |
|
|
|
| |
OFFICER JACKSON
(To mary)
Don't mind Barnes. We'll follow
her. Get in the car. |
|
|
|
|
Mary starts to get's in the car. |
|
|
| |
OFFICER BARNES
(to Jackson)
but... |
|
|
|
| |
OFFICER JACKSON
(To Barnes)
We've come this far and now you're
complain... |
|
|
|
|
Barnes gestures "what gives" |
|
|
33.
|
| |
OFFICER JACKSON
I know we've been on this day and
night...but what did I tell you
before... |
|
|
|
| |
OFFICER BARNES
I know I know..."Crime waits for
noone" |
|
|
|
| |
OFFICER JACKSON
Good you learn fast. Now get in
the car. |
|
|
|
|
CUT TO |
|
|
|
EXT. NIGHT SKY |
|
|
Owl flies above through the clouds and and down ward toward
central park. |
|
|
|
CUT TO |
|
|
|
EXT. WEST 100TH STREET - OVER OFFICER JACKSON'S CAR |
|
|
|
INT. JACKSON'S CAR - BACK SEAT - LATER |
|
|
Mary is looking out the side window up to the sky at Owl
flying the sky. |
|
|
| |
MARY
I see her. She's heading for the
middle of the park. |
|
|
|
| |
OFFICER JACKSON
What do you want us to do? |
|
|
|
| |
MARY
let me off here on 98th. I'll be
okay. |
|
|
|
| |
OFFICER JACKSON
(To mary)
what...what's wrong with you. It's
pitch black out there and you know
this isn't the wiset thing... |
|
|
|
| |
MARY
(to Jackson)
I'll be okay. Honest... |
|
|
|
34.
|
| |
OFFICER JACKSON
(To mary)
I can't hold you against your will
but... |
|
|
|
Jackson in the front seat taps Barnes for the glove
compartment |
|
|
| |
OFFICER JACKSON
(To Barnes)
...at least...um Barnes...hand her
the radio... |
|
|
|
Comfused Barnes reaching in and gives the radio fron the
compartment |
|
|
| |
OFFICER BARNES
(to Jackson)
Why do you want me to ... |
|
|
|
Jackson grabs the radio from Barnes hand and hands it to
Mary |
|
|
| |
OFFICER JACKSON
(To Barnes)
You ask to many questions...
(To Mary)
Stay in contact. If you see any
thing call us. We're going to turn
in here, on 86th... |
|
|
|
Mary gets out of the car and jumps over the railing and
heads for OWL. |
|
|
|
CUT TO |
|
|
|
EXT. CENTRAL PARK THE FOUNTAIN |
|
|
Owl lands from the air. She then starts to morph into the
shy Yancy as she heads for the tunnel near the fountain.
Yancy then leans against the wall and slides down to her
rear as she starts to fall asleep. |
|
|
|
CUT TO |
|
|
|
EXT. CENTRAL PARK 97TH TRANSVERSE RD |
|
|
|
WRITTEN: THIRTY MINUTES LATER |
|
|
Mary is running East on 97th transvese looking for Yancy
believing she came this way.
|
35.
|
Mary then looks right sees and image inside the tunnel a
distance away from the fountain |
|
|
|
|
|
|
|
Mary takes out the radio and calls to Jackson |
|
|
| |
MARY
uh I don't see her I think she
went home. If I see her I'll radio
you. |
|
|
|
| |
OFFICER JACKSON (V.O.)
Where's your location we can pick
you up |
|
|
|
| |
MARY
(lying)
That's okay I'm getting on the
subway and heading home |
|
|
|
| |
OFFICER JACKSON (V.O.)
Okay |
|
|
|
Mary cuts off the radio and head towards yancy under the
Fountain tunnel. |
|
|
| |
MARY
(to herself)
Sorry I had to lie but I can't
tell any one her secret |
|
|
|
Mary struggles to stay awake sitting by Yancy's side but
fails to the stronger power of sleep and passes out beside
her. |
|
|
|
FADE OUT |
|
|
|
FADE IN |
|
|
|
EXT. CENTRAL PARK THE FOUNTAIN - NEXT DAY - 4 A.M. |
|
|
The camera zooms in on Yancy as she is struggling through
the night |
|
|
|
CUT TO |
|
|
|
DREAM SEQUENCE |
|
|
|
INT. ABANDONED SCIENCE LAB - BLUE LITE |
|
|
36.
|
Inside the lab is a large tank surrounded by lab computers
connected to wires that lead to the tank.
Inside the tank is Yancy connected to the wires inside the
water.
Yancy is stable for a while.
Suddenly the read out starts to panick on her heart rate |
|
|
| |
PROFESSOR SIMS (V.O)
She's going into shock...Jacobs I
need 200 cc's of Biothall stat |
|
|
|
Yancy struggles to breath causing the water in the tanks to
splash voliently out of the tank. |
|
|
| |
PROFESSOR SMITH
We're losing her...increase the
Zorflex pusle.
(to unconcieous
Yancy)
Yancy stay with us! |
|
|
|
Suddenly Yancy stops moving.
There is a sudden stillness and the doctors think every
thing is back to normal.
Suddenly the sound of a flatline goes off. |
|
|
|
BACK TO SCENE |
|
|
|
Yancy snaps up gasping for air panicking |
|
|
| |
YANCY
(paniking)
Ugghhh hhhuuuuuhhhhggghhhh |
|
|
|
Mary wakes shocked as she sees Yancy struggling. Mary goes
over to Yancy's side |
|
|
Yancy starts fighting against the air as if she were trapped
under water inside a closed tank. |
|
|
| |
MARY
you have to calm yourself and
focus. It was just a dream... |
|
|
|
| |
YANCY
(gasphing for air)
IIIUUUUGGGHHHH..... |
|
|
|
37.
|
|
|
|
|
Yancy slows down and then starts to panick because she
doesn't recongize any thing. |
|
|
| |
YANCY
(still scared)
It was water every where and wires
coming out of me... |
|
|
|
| |
MARY
Wohoa...Yancy calm down.It was
just a dream it's not happening.
You were having one of those
memory lost attacks again. |
|
|
|
|
Yancy starts pacing not know where she is |
|
|
| |
YANCY
(calming down)
What do you mean again? How many
times does this happen. |
|
|
|
| |
MARY
Everytime you sleepwalk. By the
way I'm Mary your all time best
friend in the whole world. I'm
tell you this because you always
forget who I am. Oh yeah and your
name is Yancy. |
|
|
|
|
|
|
|
| |
MARY
It's okay. Now why don't you sit
down and try to focus so we can
try to remember. |
|
|
|
|
Yancy stops pacing. |
|
|
|
|
|
|
Yancy leans against the wall and scoots down to sit on her
rear.
She then starts to breathe slowly... |
|
|
| |
MARY
Now close your eyes and focus |
|
|
|
38.
|
|
Yancy closes her eyes and starts resting |
|
|
| |
MARY
Things will start coming back... |
|
|
|
| |
YANCY
I see them...I remember some
but...very little |
|
|
|
|
Yancy opens her eyes then lowers her head in shame |
|
|
| |
YANCY
Why does this keep happening to
me. |
|
|
|
|
Mary comes down by Yancy's side |
|
|
| |
MARY
I been trying to figure that out
for as long as I've known you. I
don't know the answer. |
|
|
|
| |
YANCY
Even though I remember, things
seems empty. My head, it hurts... |
|
|
|
| |
MARY
I know. I guessing everytime you
start sleep walking you lose more
of your memory. |
|
|
|
| |
YANCY
I don't like this feeling. it
hurts. I don't want to wake every
morning in a different place. |
|
|
|
| |
MARY
The thing is when this happens to
you at night. You become someone
strong, stronger than anyone I
know. The city has grown a need
for that person you are at night. |
|
|
|
| |
YANCY
You're saying that I become some
sort of hero... |
|
|
|
| |
MARY
Yeah you make the city more safer. |
|
|
|
|
Yancy starts to tear |
|
|
39.
|
| |
YANCY
What good is it if when I wake
from this sleep I don't enjoy the
feeling... |
|
|
|
| |
MARY
You really are unhappy... |
|
|
|
|
Mary looks into Yancy's eyes |
|
|
| |
YANCY
I want to live a normal life |
|
|
|
| |
MARY
Okay...I'll take you to a
doctor... may be they can give you
something. |
|
|
|
|
DISSOLVE TO |
|
|
|
EXT. SOUTH MANHATTAN HOSPITAL - LATER |
|
|
|
INT. SOUTH MANHATTAN HOSPITAL- PHYSICATRIC WARD |
|
|
Mary is bringing Yancy into a waiting room where there are a
bunch of people waiting to see the Psychiatrist with
different problems. |
|
|
|
Yancy and Mary stop at the NURSE SMITH'S desk |
|
|
|
Yancy and Mary look at all the strange people |
|
|
| |
MARY
They sure have a lot of quacks up
in this place... |
|
|
|
| |
NURSE SMITH
(To mary)
Can I help you with something? |
|
|
|
|
Mary turns around and looks up to the nurse |
|
|
| |
MARY
(To the Nurse)
Oh hey...Hi huh...my uh friend
needs to see a doctor about her
sleep walking |
|
|
|
|
THe Nurse picks up a tray to hand to Mary |
|
|
40.
|
| |
NURSE SMITH
Fill out these forms and sit over
there and wait for your number to
be called |
|
|
|
| |
MARY
(To the Nurse)
okay
(To Yancy)
Come on. lets go sit over there
near the wall. |
|
|
|
|
DISSOLVE TO |
|
|
|
The doctor then exits out of His room to the waiting room, |
|
|
| |
DOCTOR BAKER
Is there a Yancy Day here? |
|
|
|
|
Yancy raises her hand slightly |
|
|
|
DISSOLVE TO |
|
|
|
INT. DOCTOR'S EXAMING ROOM - LATER |
|
|
Yancy sits upon the medical bed.
the doctors pull a subscription to give to her |
|
|
| |
DOCTOR BAKER
From what you told me it could be
from fatique or suppressed fears.
Sleepwalking is a common effect
but what you are describing to me
are like what one only hears from
comics books. |
|
|
|
| |
YANCY
(worried)
Okay maybe it sounds a little far
fetched but how can you explain
why I wake in differnt places
miles away from home but not
killed by some speeding car. |
|
|
|
|
The doctor moves around |
|
|
| |
DOCTOR BAKER
I have to admit this is a strange
story. I'm not here to either to
judge nor doubt, but if you want
to wake up in your bed every
morning I can prescribe something |
|
|
|
41.
|
|
|
|
|
| |
DOCTOR BAKER
allright...I going to prescribe
"Liphodall" it should help you
sleep through the night. |
|
|
|
|
The doctor gives her one pill now |
|
|
|
Yancy takes the pill and swallows it with some water. |
|
|
|
|
|
|
Yancy then starts to exit the examing room and the doctor
reminds her |
|
|
| |
DOCTOR BAKER
If there's any problem with the
drug what so ever call me |
|
|
|
|
|
|
|
|
Mary meets Yancy at the door. |
|
|
| |
MARY
(to yancy)
so do you feel any better? |
|
|
|
| |
YANCY
I don't think it works that fast. |
|
|
|
| |
MARY
I know...I meant are you feeling
better about coming here to the
doctor? |
|
|
|
|
|
|
|
| |
MARY
(excited)
Good...cause we got to get over to
the school cause Mark is showing
this film, that I just have to
see. |
|
|
|
| |
YANCY
(in pain)
okay but I just have to make a
stop to the bathroom. |
|
|
|
42.
|
| |
YANCY
(confused)
oh...yeah no problem... |
|
|
|
|
They walk out of the scene |
|
|
|
CUT TO |
|
|
|
EXT. HIGH SCHOOL 80 - LATER |
|
|
|
INT. HIGH SCHOOL 80- HALLWAY-LATER |
|
|
|
INT. CLASSROOM 407 |
|
|
Mary and Yancy walk into the a noisy appreciation class and
sit down and wait
Then a substitute comes in and heads straight to the board
and starts righting his name.
The class pauses |
|
|
| |
MR.KAM
I am Mr. Kam and I will be... |
|
|
|
|
Mary stands up |
|
|
| |
MARY
(interupting)
HOLD ON!... |
|
|
|
|
Mr Kam pauses and turns around |
|
|
|
|
|
|
|
Mr Kam walks back over to his name |
|
|
| |
MR.KAM
As I said before I'm... |
|
|
|
|
Mr Kam hits each part of his name as he say it. |
|
|
| |
MR.KAM
Mr Kam and Mark will be out... |
|
|
|
| |
MARY
(interupting)
Mark's never been absent a day in
his life. You must be mistaken. |
|
|
|
43.
|
| |
MR.KAM
I don't think I am or I wouldn't
be here...Now could you please
take a seat... |
|
|
|
|
Mary starts getting her books and then taps Yancy |
|
|
| |
MARY
(interupting)
Actually I need to take a trip to
the office if you are not showing
the film |
|
|
|
| |
MR.KAM
(confused)
What film? |
|
|
|
| |
MARY
(to Mr. Kam)
My point exactly
(To Yancy)
c'mon Yancy |
|
|
|
|
Mary and Yancy exits the class and heads for the main office |
|
|
|
|
|
|
|
Ms Susan looks up from her computer |
|
|
| |
MARY
That sub upstairs said Mark is
out. That didn't strike any one as
weird being that he's never out. |
|
|
|
|
Yancy looks over to Mary confused |
|
|
| |
YANCY
Are you sure you're not the one in
love with him? |
|
|
|
Mary looks at Yancy and smiles alittle and then goes over to
Susan's desk |
|
|
| |
MARY
(embarassed)
Okay yes I have a crush on him I
admit it but he's out he not
here...does any one know where he
his. |
|
|
|
| |
MS SUSAN
He may be at home sick |
|
|
|
44.
|
| |
MARY
(upset)
Did any one check? |
|
|
|
|
Ms Susan continues to type |
|
|
| |
MARY
(jokingly)
Do you understand that he may well
be the future father of my
children and I need to know if
he's okay at all times! |
|
|
|
| |
YANCY
(shocked small
laugh)
Hey I heard that...I thought I was
the one who liked him...I didn't
loose all my memory you know. |
|
|
|
| |
MARY
(to yancy)
Hey it's a Dog eat Dog world out
there sister. Get used to it... |
|
|
|
|
Ms Susan slightly turns her head up to Mary and smiles |
|
|
| |
MARY
(to Ms Susan and
unsure)
bad choice of words? |
|
|
|
| |
MS SUSAN
(un pleasant
feeling)
yeah |
|
|
|
|
|
|
|
| |
MS SUSAN
(interupting)
I really feel your pain Mary, but
did you need my help for something
cause I'm really busy here? |
|
|
|
| |
MARY
(to Susan)
Yeah I need you to check on Mark |
|
|
|
| |
MS SUSAN
Right now I don't... |
|
|
|
45.
|
| |
MARY
(interupting)
Where's Toney he'll do it for me.
He usually does things when I
ask... |
|
|
|
| |
MS SUSAN
He'a down at the police station
filing a complaint on the the
Principal... |
|
|
|
| |
MARY
(interupting)
we'll then is there a file or
record cabinet of the students
names so I can help myself... |
|
|
|
|
Susan looks to see if anyone is coming by shifting her eyes |
|
|
|
Susan signals Mary down to her level |
|
|
| |
MS SUSAN
(whispering)
Just because I know what you are
going through, don't tell anyone I
told you but the records are over
there. |
|
|
|
| |
MARY
(pleading)
Thanks. Can Yancy help me look
this once. |
|
|
|
| |
MS SUSAN
(sternly
whispering)
Okay shhh! Just hurry up! |
|
|
|
|
Mary signals Yancy to come over to help. |
|
|
|
PAN DISSOLVE TO |
|
|
|
EXT. 54TH PRECINCT |
|
|
|
INT. 54TH PRECINCT |
|
|
Three officers are in the room with Toney at the time.
OFFICIER EPSON is at the computer taking a statment from
Toney as he is talking up a storm.
Upon Epson's desk is a Chinese Comic that one person had
left before Toney |
|
|
46.
|
| |
TONEY
...and it started when he crossed
me in the mens room. I let it go
and didn't think nothing of it
until... |
|
|
|
|
Toney pauses and sees his favorit comic book on the desk |
|
|
| |
TONEY
(suprised)
Hey that's Tsui Yu-on.. |
|
|
|
|
Epson stops and looks up |
|
|
|
|
|
|
| |
TONEY
The comic where did you get it.
It's my favorite especially this
issue |
|
|
|
| |
OFFICER EPSON
The last person before you made a
statement left it for me as a
gift. A way of thanks I guess. |
|
|
|
Toney finishes writing down his address and birth date and
hands it to Officer Epson |
|
|
| |
TONEY
I took a few classes that's how I
got interested in these comics... |
|
|
|
|
Toney pauses dwelling on the comic |
|
|
| |
OFFICER EPSON
The statement? |
|
|
|
| |
TONEY
oh yeah...where did I leave off... |
|
|
|
| |
OFFICER EPSON
(interrupting)
Until... |
|
|
|
| |
TONEY
Oh yeah...Until it was time for
lunch when I checked for my wallet
and it was gone. I seen this guy
before on the news I know I did. I
was going to call you guys up but
then the principal called and said
(MORE)
|
|
47.
|
| |
TONEY (cont'd)
Toney that's what every one calls
me there, Toney he said I want to
speak to you now! Yelling at me in
front of all the kids... |
|
|
|
| |
OFFICER EPSON
(interupting)
What time was this about? |
|
|
|
|
|
|
|
| |
OFFICER EPSON
Time...What time was it? |
|
|
|
| |
TONEY
oh...about 10:00 this morning... |
|
|
|
| |
OFFICER EPSON
(interupting)
Was this is the first time
something like this happened? |
|
|
|
| |
TONEY
(upset)
yeah...now can you let me finish! |
|
|
|
| |
OFFICER EPSON
Keep going. |
|
|
|
| |
TONEY
Thank you...Now as I was saying
the Principal had came up to me
and... |
|
|
|
|
Barnes rushes in and calls Epson in... |
|
|
| |
OFFICER BARNES
(interupting)
Epson, Kilnger, Jones .Emergency
meeting now, down in 211. |
|
|
|
|
Epson looks up at Barnes |
|
|
| |
OFFICER EPSON
(interupting)
Excuse me. |
|
|
|
The three officers clear the room and leave Toney at the
desk alone with the computer.
Toney sits there for awhile patiently.
|
48.
|
Suddenly he looks to see if someone is returning.
No one does.
Toney then jumps into Epson's seat and starts typing on the
computer.
He then starts to open police records.
The computer shows profiles of several different people.
Toney checks the dates and goes to file and print.
He then types in The name TONEY DOSER SR
A face and a related name shows up on the computer but it
isn't his.
Toney moves the curser to file then print.
The paper prints
Toney closes the file grabs the papers and turns back
towards the wall in the back that's a big mirror.
He then smiles and winks at it and then rushes out of the
station. |
|
|
|
INT. ROOM 211 |
|
|
The crew stands behind a one way mirror looking into the the
empty office. |
|
|
| |
OFFICER BARNES
(to Jackson)
Looks like he's on to us. |
|
|
|
| |
OFFICER JACKSON
(to crew)
Okay listen up he could be our man
and or he could be playing us to
throw us off. Either way he
eventually will lead us to his
next target
(to Epson)
Epson check to see who's profiles
he typed out on your computer. He
seems to be interested in Chinese
I've notice. See if that is a link
in any way to our case
(To Phillps and
Klinger)
You two are going to have to find
out his last place of employment.
We have to catch him in the act to
prove he's our man or we have no
case
(to Barnes)
You come with me! |
|
|
|
|
The officers dispurse |
|
|
|
DISSOLVE TO |
|
|
49.
|
Days pass and Toney is sending the officers on a wild goose
chase.
The officers go from door to door holding up pictures of
potenial victims.
When they victims arrive at the door the cops are puzzled
Three Bodies later show are show up but Toney is no where
near any of the murders.
All the addresses that Toney typed up were addresses to
throw the cops off his trail.
We see the cops at different crime scenes scratching their
heads not understanding why they can't catch this guy.
They think they may be following the wrong man |
|
|
|
FADE OUT: |
|
|
|
FADE IN: |
|
|
|
WRITTEN: FIVE DAYS LATER |
|
|
|
EXT. YANCY'S HOUSE |
|
|
Yancy is enjoying her life. She is dressed in bright colors
that look a little more attractive than what she normally
wears.
Mary calls her on the phone and they talk for a while |
|
|
| |
MARY
The school still heard nothing
from Mark. I'm starting to worry. |
|
|
|
| |
YANCY
It's not my problem. |
|
|
|
| |
MARY
(upset)
Hey what are you saying. Didn't
you hear what I said They can't
find Mark |
|
|
|
| |
YANCY
And why do I suppose to care? |
|
|
|
| |
MARY
What's wrong with you there's a
human out there missing |
|
|
|
50.
|
| |
YANCY
I'm not related to him so I really
don't have to worry, now do I. |
|
|
|
| |
MARY
What happened to you? What
happened to the Yancy that cared
about everything? |
|
|
|
| |
YANCY
Nothing I still care about
everything...Everything that
concerns me! That's all.
Is there anything you wanted to
say. |
|
|
|
| |
MARY
You're jealous. That's what it is. |
|
|
|
| |
YANCY
I don't that's an issue...goodbye |
|
|
|
Yancy hangs up the phone and then you see her full outfit.
Yancy then walks out of the frame |
|
|
|
CUT TO |
|
|
|
INT. MARY'S HOUSE |
|
|
|
Mary hangs up phone, puzzled. |
|
|
| |
MARY
(to herself)
what's up with her? |
|
|
|
|
Mary picks up the phone to call Yancy back |
|
|
|
CUT TO |
|
|
|
INT. YANCY'S HOUSE KITCHEN |
|
|
|
The phone rings |
|
|
MS DAY goes to the phone in looks at the caller ID knowing
who it is. Ms Day yells up to Yancy |
|
|
| |
MS DAY
Yancy it's Mary again! |
|
|
|
|
The phone rings again |
|
|
51.
|
|
|
|
|
The phone rings again.
Ms Day pauses. The she starts up to Yancy's room.
The phone continues to ring as Ms Day reaches Yancy's room |
|
|
|
|
|
|
|
Ms Day gets the phone |
|
|
| |
MS DAY
Hello Mary. Yancy isn't here. |
|
|
|
| |
MARY (V.O.)
But I was just speaking with
her... |
|
|
|
| |
MS DAY
I didn' here her leave so I don't
know where she went. |
|
|
|
| |
MARY (V.O.)
Okay thanks Ms Day... |
|
|
|
Mary hangs up the phone again and pauses to try to connect
with Yancy through her mind. |
|
|
|
Mary feels pain of emptiness |
|
|
| |
MARY
(in pain)
ugh...she's blocking me out
somehow I can't find her. |
|
|
|
mary then looks in the direction of her table and sees the
radio and goes to it. |
|
|
| |
MARY
(to the radio)
is this thing working I need
Officer Jackson. |
|
|
|
|
CUT TO |
|
|
|
EXT. ABOVE 30TH STREET |
|
|
|
INT. JACKSON'S CAR |
|
|
Jackson and Barnes are racing to the next house on the list
when they hear the car radio |
|
|
52.
|
| |
MARY (V.O.)
Officer Jackson are you out there |
|
|
|
|
Jackson gets the radio |
|
|
| |
OFFICER JACKSON
Mary this is Jackson...We're on
our way to check out student in
your school You said was
Missing...Mark |
|
|
|
|
CUT TO |
|
|
|
EXT. MARY'S HOUSE |
|
|
| |
MARY
Don't bother going to the family's
house I already checked he's not
there. I also radio because my
friend is acting strange. She just
left out of her house with out
telling her mom. |
|
|
|
| |
OFFICER JACKSON (V.O.)
All kids do that from time to
time. |
|
|
|
| |
MARY
Not Yancy. I mean I usually know
where she is or where she's going
we go almost everywhere together. |
|
|
|
| |
OFFICER JACKSON (V.O.)
Give her a while maybe she'll show
up |
|
|
|
| |
MARY
(interrupting)
I know I know you really can't do
anything usless the person's
missing for twenty four...I just
thought you would be alittle more
helpful since we helped you out
before. Thanks a lot!
|
|
|
|
|
Mary clicked turns off the radio leaves the scene. |
|
|
|
CUT TO |
|
|
|
EXT. 26TH STREET - LATER |
|
|
53.
|
Yancy is walking pass the Chelsa area. She head for the
street and starts talking to the guys as they pass by. |
|
|
|
CUT TO |
|
|
|
INT. TONEY'S CAR |
|
|
Toney watches as Yancy walks the street. He then begins to
dive towards her and then stops as he sees Mary spot her and
running over to her. |
|
|
|
CUT TO |
|
|
|
EXT. 26TH STREET - YANCY'S LOCATION |
|
|
|
Mary taps Yancy from behind |
|
|
| |
MARY
(relieved)
What are you doing? |
|
|
|
| |
YANCY
(overdosed)
What does it look like I'm doing.
I'm showing the world the new me. |
|
|
|
|
people are passing by |
|
|
| |
MARY
(scared)
What's wrong with you girl? |
|
|
|
| |
YANCY
Nothing. I look amazing. |
|
|
|
| |
MARY
Yeah you look amazing alright.
Amazingly stupid. Look at you
you're dressed like a Tramp. C'mon
let's get out of here and get the
real Yancy back. |
|
|
|
| |
YANCY
(talking crazy)
This is the real Yancy. I like the
new me.
(to man passing)
Hello handsome... |
|
|
|
| |
MARY
(interrupting)
STOP IT...It's those pills the
doctor gave you.. |
|
|
|
54.
|
| |
YANCY
(overly happy)
And they're doing wonders. |
|
|
|
| |
MARY
(scared)
They're going to get you killed |
|
|
|
|
Mary goes to grab Yancy |
|
|
|
|
|
|
Yancy then swings back and throws Mary. Mary gets hurt.
Yancy then starts to feel pain and then realizes she hurt
her best friend. |
|
|
|
|
|
|
Yancy then runs away from Mary.
People on the street go to help Mary up.
Toney leaves his car. Gets out on foot and follows Yancy.
Mary comes to. |
|
|
| |
MARY
(confused)
Where did she go? |
|
|
|
|
One of the pedesitrians point in the direction Yancy went. |
|
|
Mary looks around getting her focus and sees the radio on
the ground broken. |
|
|
| |
MARY
(psst)
Great! just great! |
|
|
|
|
Mary gets up and runs after Yancy. |
|
|
As Mary is running down the street she sees an abandoned
police car. The windows are open.
Mary looks for the officers and sees no one.
Mary then grabs the radio and calls to Jackson
|
|
|
55.
|
| |
MARY
Jackson are you out there? I need
you please! |
|
|
|
| |
OFFICER JACKSON (V.O.)
Mary |
|
|
|
|
|
|
|
| |
OFFICER JACKSON (V.O.)
(interrupting)
look I'm glad you radioed we found
the boy....I'm sorry but... |
|
|
|
| |
MARY
(interrupting)
...NOOO! |
|
|
|
|
Mary stands in shock... |
|
|
| |
OFFICER JACKSON (V.O.)
Mary. Did you locate your
friend... |
|
|
|
|
Mary stops tearing for a minute |
|
|
| |
MARY
(still upset)
Yeah she's out of control. She hit
me and ran away and I don't know
where she went. She's not herself. |
|
|
|
|
CUT TO |
|
|
|
EXT. 14TH STREET - PARK - LATER |
|
|
Yancy walks into the park a bit confused as the pills's
sideeffects continue to screw her up.
She comes up to Mr. Kam the Sub in her class sitting at a
checker table writing down Chinese symbols and rolling a
DIE.
Yancy stops to question him not recongizing him. |
|
|
| |
YANCY
(bubblily)
What's ya doing? |
|
|
|
|
Mr Kam glances up at Yancy |
|
|
| |
MR.KAM
oh hi Ms Day. I 'm crea... |
|
|
|
56.
|
| |
YANCY
(interrupting)
hey...how you know my name! |
|
|
|
| |
MR.KAM
Let's see I subbed in Gym, Music
and Math. Oh yeah also in your
Chinese Appreciation class, which
you and Mary skipped the other
day. |
|
|
|
| |
YANCY
(still bubblely)
oh...sorry I guess |
|
|
|
|
Yancy sits down opposite Mr Kam. |
|
|
| |
MR.KAM
anyway as I was about to say I
creating some sort of pobability
game. |
|
|
|
| |
YANCY
(excited)
Can I try? |
|
|
|
| |
MR.KAM
It's not perfected yet so...
|
|
|
|
|
Yancy is looking down at Mr Kam's paper |
|
|
| |
YANCY
(interrupting)
Are those symbols for this game? |
|
|
|
| |
MR.KAM
Yes uh...Writing my notes in
Chinese is faster for me. |
|
|
|
Officer Barnes is strolling through the park asking poeple
about a picture in her hand |
|
|
| |
YANCY
You know I really love a guy with
brains. |
|
|
|
|
Mr Kam looks up at Yancy shocked by her statement |
|
|
| |
MR.KAM
Does your parents know what you
are doing? |
|
|
|
57.
|
|
|
|
|
| |
MR.KAM
you need to be careful, saying
stuff like that to grown ups. It
could be dangerous. |
|
|
|
| |
YANCY
(mad)
Is everyone going to play my
parent! |
|
|
|
|
Yancy gets up to leave. |
|
|
| |
MR.KAM
Hey you want to talk about it? |
|
|
|
|
Yancy stops and turns her head to Mr Kam. |
|
|
|
|
|
|
Officer Barnes comes to Mr Kam's table after he had just
rolled a five on his Die upon the table. |
|
|
| |
OFFICER BARNES
Have you seen this girl? |
|
|
|
|
Mr. Kam looks up at Officer Barnes |
|
|
|
|
|
|
Mr. Kam points at Yancy leaving his area for the trees
ahead. |
|
|
| |
MR.KAM
I think she maybe lost. She's been
talking out of her head.. |
|
|
|
|
Barnes looks ahead at Yancy... |
|
|
|
|
|
|
Officer Barnes eyes then catches Mr. Kam's notebook and she
notices the top symbol.
Barnes then gets a flash of the symbol on the pictures she
seen on the victims |
|
|
58.
|
Barnes then looks slightly to the right and sees the Die as
a five on the table.
She then connects the two |
|
|
|
Barnes points down to Kam's book |
|
|
| |
OFFICER BARNES
Does this Chinese character mean
One or First? |
|
|
|
|
Barnes grabs the radio |
|
|
| |
OFFICER BARNES
(psst)
It was right in front of my face! |
|
|
|
| |
OFFICER BARNES
(to the radio)
Jackson come in |
|
|
|
| |
OFFICER JACKSON (v.o)
(on radio)
This is Jackson... |
|
|
|
| |
OFFICER BARNES
(to the radio)
I think I figured it out... |
|
|
|
| |
OFFICER JACKSON (v.o)
(on radio)
speak... |
|
|
|
| |
OFFICER BARNES
...The reason he put all the
victim in the pattern we found
them so we would see them
first...as we do on a Die and as
we do in real life. The Firstborn.
Each victim was a Firstborn. That
was the other reason for leaving
the chinese symbol on the victims. |
|
|
|
| |
OFFICER JACKSON (v.o)
(interrupting)
This killer is obsessed with
killing Firstborns? |
|
|
|
|
|
|
|
59.
|
| |
OFFICER JACKSON (v.o)
(on radio)
Why? |
|
|
|
|
Barnes is looking directly at Yancy in the distance. |
|
|
| |
OFFICER BARNES
I don't know but I may have a
lead. on that kid Mary was looking
for, perhaps they connect some
how. |
|
|
|
|
Barnes then turns to thank Mr. Kam |
|
|
|
|
|
|
She then turns back to head for Yancy and Yancy is gone.
Barnes doesn't see Yancy. |
|
|
| |
OFFICER BARNES
(shocked)
What the?... |
|
|
|
Barnes then runs towards the direction Yancy used to be to
see if she just turn a corner or something.
She stops looks around and doesn't see Yancy anywhere. |
|
|
| |
OFFICER BARNES
Where the heck did she go? |
|
|
|
|
Barnes pulls out her radio |
|
|
| |
OFFICER BARNES
Jackson I got a problem. I lost
her. |
|
|
|
|
Barnes turns around in circles and then exits the scene |
|
|
|
FADE OUT: |
|
|
|
FADE IN: |
|
|
|
INT. MARY'S ROOM. |
|
|
|
Yancy is tied up in a chair struggling to get out. |
|
|
| |
MARY
Be quiet and I'll let you loose in
a few. |
|
|
|
60.
|
Yancy starts to panic as she again is frighten and a bit
timid.
Mary then removes the ropes. |
|
|
| |
MARY
I'm sorry I had to do this to you
but it was the only way I could
get you away from those pills. |
|
|
|
| |
YANCY
I need those pills! |
|
|
|
| |
MARY
No you don't. I know what's wrong
now. |
|
|
|
| |
YANCY
(interrupting)
but I'm strong with them... |
|
|
|
| |
MARY
You were always strong. Something
closed you out created a shell and
only made the strong come out at
night. Yeah the pills helped it
helped me see that you are hiding
inside and you have to let go of
that. |
|
|
|
| |
YANCY
I can't. I can't do it without
them. |
|
|
|
| |
MARY
you're going to have to try. |
|
|
|
|
The phone rings in Mary's room |
|
|
| |
MARY
Only you can do it! Not those
stupid pills. Those pills are not
the answer. |
|
|
|
|
Mary goes to answer the phone. |
|
|
| |
MARY
(to the phone)
Hello |
|
|
|
| |
OFFICER JACKSON (v.o)
(on the phone)
Have you found your friend? |
|
|
|
61.
|
|
|
|
|
| |
OFFICER JACKSON (v.o.)
(interrupting)
Good because we need her help
badly. |
|
|
|
|
Mary looks at Yancy sitting in the chair with her head down. |
|
|
| |
MARY
I don't know if she can. She's
different now. |
|
|
|
| |
OFFICER JACKSON (v.o.)
Try to convince her. Times running
out and we keep running into dead
ends |
|
|
|
| |
MARY
(to Yancy)
You can lay down on my bed. I have
to go down to the precinct to help
out Officer Jackson. Just think
about what I said. |
|
|
|
|
Mary exits. |
|
|
|
CUT TO. |
|
|
|
EXT. 54TH PRECINCT - LATER |
|
|
|
INT. 54TH PRECINCT - MEETING ROOM |
|
|
Mary is escorted into the room by officer Phillips as
Jackson is before the others of the precinct going over the
clues. |
|
|
| |
OFFICER JACKSON
(To crew)
This guy more puzzling stranger by
the minute. This guy Toney Doser
what we have on him...
(to Mary)
uh...sit down over here |
|
|
|
| |
MARY
(interrupting)
Toney? The man that works at my
school. |
|
|
|
62.
|
| |
OFFICER JACKSON
(to Mary)
That's the one. |
|
|
|
| |
MARY
(shocked)
You've got to be mistaken. He's a
nice guy. |
|
|
|
| |
OFFICER JACKSON
We'll that same nice guy has been
from foster home to foster home.
On his rap sheet he has a history
of domestic abuse. He could be
upset with his parents for giving
him up. What puzzles me is that
every one he killed was the
firstborn of the family. |
|
|
|
Jackson hands Mary the file of Toney's rap sheet.
Mary opens the file and starts to look through it
It shows records of Toney Gilbert and pictures of him going
from foster home to foster home. It also shows his history
of domestic abuse. Then later she looks down and sees his
real name ROBERT DAY |
|
|
|
Mary looks up at Jackson |
|
|
| |
OFFICER JACKSON
(To Mary)
We all were fooled. After we
started making visits to the homes
that he pulled up on the computer.
It caused us to question his
motives. He wanted us to believe
something that wasn't. Toney
Gilbert never existed he made him
up. His real name is what you see
in the folder Robert Day
(To his crew)
He's got a lead ahead of us |
|
|
|
| |
MARY
(interrupting)
Not anymore. I know where he's
going. |
|
|
|
|
|
|
|
63.
|
| |
MARY
Everyone wants love. He's been
moved from home to home because
that isn't where he wants to be.
He wants to be with his parents
but they don't want him. So in any
event he's going to take that away
from them. To him every Firstborn
in tbe world is the burden he
thought he was on his parents so
he's going to ease their pain.
He's trying to find his parents
and then he's going to kill them. |
|
|
|
| |
OFFICER JACKSON
(To Epson)
Get on the computer find anyone
related to Day we have to find his
parents before he does. |
|
|
|
Mary looks up and stays quiet knowing she could not reveal a
secret.
|
|
|
Epson rushes over to his computer, Phillips starts making
phone call Barnes and Jackson starts to go over routes in
the city that he had tracked already to see where he will
strike next. |
|
|
Mary gets up and starts watching the crew through the two
way mirror and starts reflecting sadden that she can't say
any thing knowing her friend maybe become the victim of
their torchure as well as Toney's.
|
|
|
|
CUT TO |
|
|
|
INT. MARY'S ROOM - LATE NIGHT |
|
|
Yancy watches the news as she sees the reporter talking
about the serial killer |
|
|
| |
NEWS REPORTER (o.s.)
The cops are still stumped by the
these mass killing that have taken
place through out the city. Seven
victims have been found just this
pass week and each were found in
similar positions... |
|
|
|
The camera moves close to Yancy's face as we see reflections
on her face of the images on the T.V. |
|
|
64.
|
|
DISSOLVE TO: |
|
|
|
DREAM SCENE |
|
|
Yancy is waken by the thunderous noise outside. She runs
though the house towards the kitchen where other noise is
going on other than the thunde. One teen is dressed in a
fisherman's suit arguing with a female. |
|
|
The images flash in her head like a strobe as the strike in
her head.
She starts to see the images clearer as the light starts to
slowly brighten his face.
Yancy then starts to shy away as the man shows an evil smile
at her.
She couldn't do a thing and this caused her great pain.
He repeatedly stabbed the older female again and again.
Yancy as small as she was back away and cried more and more.
He turns to Yancy and yells |
|
|
| |
TONEY
(in the shadow)
Where's your father! |
|
|
|
He searched and tears up the house searching for him. He
found no one else and left her alone in the empty house.
He runs towards the door and he hears the lighten. He cowers
and for a moment in fright the turns back to Yancy chasing
her through the house.
she starts to blend the dream with real life as she start to
panic again as he continues to chase her. |
|
|
|
RETURN TO SCENE |
|
|
|
Yancy starts feel as if the walls are closing in on her. |
|
|
| |
NEWS REPORTER (o.s)
...no one know where or when he
will strike next. The cops were
unable to come up with any
sketches of what this victim may
look like because the victim that
survived the attack were too
scared to give any statemet... |
|
|
|
| |
YANCY
(crying)
No! no...No |
|
|
|
65.
|
Yancy backs away towards the door scared of his image as
when she was a little child |
|
|
| |
YANCY
(crying and scared)
You're not going to get me no... |
|
|
|
Yancy begins to back away scared of every corner as if he
was there trying to hurt her. |
|
|
Yancy looks the way of the door and runs. She starts to runs
faster and faster. |
|
|
|
DISSOLVE TO |
|
|
As Yancy runs, the squad car travels also towards the
Toney's mother's house. |
|
|
|
EXT. 256TH STREET MANHATTAN |
|
|
Mary and the Cops reach the mother's house and we see
simulataneously split screen Jackson's crew arriving at the
house as Yancy starts speed increases. |
|
|
|
CUT TO |
|
|
|
EXT. TONEY'S MOTHER'S DRIVEWAY |
|
|
Mary stays in the car with Barnes as you see the reflection
on her windsheild looking at the building blowing up.
Barnes turns her head towards the house and runs out to
Jackson as he falls to the floor in front of the building.
Barnes Runs back to the car and yells at Mary to call 911
Mary gets out of the back seat and goes to the front to get
on the radio.
Yancy is speeding towards the building and she sees Mary and
Jackson below near the burning building.
Mary runs to Barnes side and looks up as Yancy comes to
their side |
|
|
Yancy stops as she sees the burning building and the squad
cars surrounding the house.
then she sees Mary by the side of Jackson upon the ground
and Barnes also next to his side. |
|
|
66.
|
| |
MARY
(to Yancy)
This is the result of the city's
serial killer. We figure out who
it is. The lovable Toney Gilbert
who works at out school. His real
name is Robert Day. Do you know
him? |
|
|
|
| |
YANCY
(ashamed and
shocked)
He's my brother. |
|
|
|
| |
MARY
He knew our every moves. I didn't
know it was him who was killing.
We just figure he may be after his
parents but we were too late. They
need you Yancy to stop him.
There's no one else that can do
it. |
|
|
|
| |
YANCY
(tearing)
My mother died years ago. he
killed her. He wanted to kill my
father too. He never found him. I
hid him. I didn't know he was
doing this I thought he was gone.
He became some one else so I did
not recongize him I can't stop
him. He's stronger. |
|
|
|
| |
MARY
(tearing)
You're not that little girl
anymore. You're the stronger
one...You just have to believe
that. |
|
|
|
|
Yancy lowers her head in pain knowing she has to leave |
|
|
| |
YANCY
I think he found where I hid my
father. |
|
|
|
|
Mary crying bends down to look Yancy in the eyes. |
|
|
| |
MARY
I couldn't talk with you...
(pointing to her
head)
(MORE)
|
|
67.
|
| |
MARY (cont'd)
up here when you are not as that
strong person. When you became
that other person it blocked me
out all to gether. I need you.
This world needs you and most of
all your father needs you. If you
don't believe in yourself he won't
stop killing. |
|
|
|
Yancy looks left into the distance then back at Mary. She
then reaches deep inside herself and starts to build up her
confidence. She then stands straighter and stronger as she
did when she became the hero at night. |
|
|
| |
YANCY
(sternly)
He's not going take down anyone
else |
|
|
|
|
|
|
|
| |
YANCY
No time. I'm going to have to wing
it. |
|
|
|
On that cue Yancy holds her fist in front of her face and
tighten up. |
|
|
|
|
|
|
Yancy then whips her hands by her side and spreads her
fingers as they then start to grow.
With in seconds wings start to form and her clothing starts
to change.
Suddenly she forms as The Night OWL once again.
Yancy then takes to flight. |
|
|
|
Mary looks up frighten for Yancy's life. |
|
|
| |
MARY
Be careful Moonsister. |
|
|
|
|
Yancy hears Mary as she flies through the skys |
|
|
|
Mary hears Yancy's voice in her head |
|
|
| |
YANCY (v.o)
Just keep rooting for me. |
|
|
|
Mary smiles up towards the sky as she watches Yancy head for
|
68.
|
the battle
Yancy loops in the air at the speed of an owl. She then
passes through the clouds and then circles down.
From her eye view she heads for Greenpoint Brooklyn |
|
|
|
CUT TO |
|
|
|
EXT. GREENPOINT - GREEN STREET - LATER |
|
|
On the abandon streets a man races down the dark alley way
towards buildings that look abandoned. The mans image seems
to be as a shadowy figure still.
The man reaches a building and he runs up the stairs.
He turns around and we only see his eyes looking back to see
if anyone is behind him.
|
|
|
|
CUT TO |
|
|
|
EXT. ABOVE THE CITY SKIES - OVER THE HUDSON - LATER |
|
|
Yancy now as Night Owl flies closer and closer to her
distination.
She is now passing the flying pass Randalls Island as she
heads towards Greenpoint. |
|
|
Yancy from a birdseye view then spots her mark.
Yancy then soars down at rapid speed.
|
|
|
|
EXT. GREENSTREET WAREHOUSE |
|
|
|
INT. GREENSTREET WAREHOUSE - THIRD FLOOR - MIDDLE WINDOW |
|
|
Yancy crashes through the window. The glass flies all over
the place and as she lands it's as if time had slowed down.
She lands in a warrior position nealling and spreading her
wings.
She pauses as cautious as a serpent.
She slowly rises as she heads for the areas where she had
left her father.
She makes her way towards the staircase and pears her head
left to look ahead to see if anyone is there.
She walks downstairs to go to the room below where her
father is.
|
69.
|
She then reaches the door way to a darkroom that only shows
the shadow of a man from the outside light tied up in the
middle of the room.
Without looking and just reacting Yancy runs towards him |
|
|
|
|
|
|
As Yancy is hurling her way over to free her day he lifts
his bruised and beaten head to try to warn her not to come
any closer.
As he raises his head Toney tackles Yancy from the side when
she reaches midway point to her father.
Yancy is spun in the air left rotating 360 degrees over
Toney and landing on her stomach catching herself with her
hands.
Toney slams into the wall unable to take Yancy with him.
Yancy looks Toney's way as he turns around and comes for her
again.
He then runs her towards the wal. Yancy and jumps up front
tumbles and kicks against the wall throwing herself behind
Toney and kicking him into it.
Toney then inferiates and turns towards Yancy |
|
|
| |
YANCY
Why are you doing this Robert? |
|
|
|
|
Toney then transforms into a bull form |
|
|
| |
YANCY
(shocked)
Arh CRAP! |
|
|
|
Toney lanches for Yancy and Yancy Quickly turns her top
torso righ t dodging the his charge.
Toney lands on all fours and turns towards Yancy as she
starts to run.
As Yancy is running she looks above and notices pipes and
she jumps for them.
Toney then leaps behind Yancy and she is banged into the
ceiling.
Yancy then falls towards the ground and Toney follows.
|
70.
|
Just before Toney comes to the ground on top of Yancy she
rolls out of the way.
In the roll motion Yancy gets to her feet and head for the
next room that is full of crates.
Toney transforms into a Hippo and starts to charge the wall.
Toney crashes the wall open and heads for Yancy
Yancy leaps above a crate and starts to hide from the
charging hippo.
Toney slows down and changes back into Himself unable to
find Yancy through the maze of boxes.
|
|
|
| |
TONEY
Come out Yancy! I know you're in
here. |
|
|
|
Yancy starts flying like a bat and quietly through out the
room back and forth so Toney couldn't pin point exactly
where she was.
|
|
|
| |
YANCY
(moving around)
Robert you've killed to many. You
left all those families mourning.
|
|
|
|
| |
TONEY
They must be that way. It is best
for them. |
|
|
|
| |
YANCY
What are you saying no one
deserves to die! |
|
|
|
| |
TONEY
(smiling)
There you are! |
|
|
|
Toney leaps up on top of the crates in the form of a
cougar.
He sends out a roar towards Yancy below him.
Yancy looks up and as Toney leaps downward she leaps up and
back hovering over the crates.
|
71.
|
Toney crashes the boxes below him and falling upon his
stomach. Toney gets back on all four legs and runs around
the crates.
Yancy exits the room full of supplies for a store.
Each roll has hundreds of stuff on the shelves. Some shelves
have open ways where supplies were removed and the spaces
were wide enough for Yancy to hide.
Toney transforms back on four legs and starts to slowly walk
searching as he sees how vast the room is. |
|
|
| |
TONEY
You're ruining my plans. I
wouldn't have to kill you if would
have just stayed home. |
|
|
|
|
Toney enters the room and closes the door behind him. |
|
|
Toney still searches the area.
Yancy hovers in the shadows very close to him as he just
passes her.
Yancy then comes down to kicks Toney from the back. Toney
then quickly as he hears her rotates jumping in the air
doing a roundhouse kick to Yancy's face.
Yancy is thrown through the supply stack to the next two
aisle and crashes on to the floor.
Toney runs over to the aisle and doesn't see Yancy.
Toney turns around after seeing Yancy's silhouette run to
the next aisle.
Toney transforms again into the cougar jumps uptop and
starts going from aisle to aisle searching for Yancy. |
|
|
Yancy makes her way back to the door and lands.
She starts to stuggle with the door knob unable to open it.
She then starts to kick it and she crashes it open.
Toney at the opposite end of the room now knows where Yancy
is.
Toney starts to run down the aisle towards the door exit.
He runs through the door way and pauses looking left and
right.
|
72.
|
Yancy is above him in the shadow and comes down on him.
She starts to wrestle him as a tiger and tries to get a hold
of him.
Toney suddenly transforms into a Dragon lizard and starts to
craw at Yancy.
Yancy jumps away frighten of this change because she never
seen one like it before.
Toney starts to corner and Yancy again. |
|
|
| |
YANCY
We we're once a family. Robert you
can change. |
|
|
|
| |
TONEY
Yeah I can change...your
existence. All I wanted was love
but they and they hated me for one
little thing |
|
|
|
|
Yancy starts to back away getting out of Toney's range. |
|
|
| |
YANCY
You got angry threw our baby
brother against the wall because
he had was getting a little more
attention. That wasn't just a
little thing. |
|
|
|
| |
TONEY
(very upset)
He was taking them from me... |
|
|
|
Toney lanches at her and misses realizing she needs to be
gone |
|
|
| |
TONEY
Then you came! Now you must die
also and there's no way you can
stop me. |
|
|
|
Toney then leaps again at a cornered Yancy. She then slides
down and rips her crawls at the belly of the beast he has
become.
Minor scratches occur but none enough to damage the Lizard.
Toney crashes and falls to the floor head first. He turns
around morphing to man then back to the beast.
|
73.
|
Yancy is becoming tired and looks at Toney and then at the
open doorway.
Yancy runs through the door way toward the staircase that
leads to the room she entered. |
|
|
|
Yancy jumps to fly but she is unable to. |
|
|
|
CUT TO. |
|
|
|
EXT. NIGHT SKY |
|
|
The clouds start to form around the moon causing the night
to become dreadful |
|
|
|
CUT TO. |
|
|
|
INT. INSIDE WAREHOUSE |
|
|
|
Toney starts his way back for Yancy. |
|
|
| |
YANCY
(panicking)
I can't fly... |
|
|
|
Yancy starts to run for the stair case.
Toney rushes behind her turning into cheetah.
Yancy jumps over tables and other stuff that are in the room
Toney then leaps on top of Yancy and pins her down just
below the window seal that she entered.
Yancy is using her human strength to try and fight her way
out of his grip
Toney's grips is very strong and it starts to subdue Yancy.
Suddenly lighten strikes a flashes outside the window.
The camera moves in closer as Yancy struggles in pain |
|
|
| |
YANCY
(terrified)
GET OFF OF ME! |
|
|
|
| |
TONEY
Just give in. There's no way out. |
|
|
|
|
camera zooms in on Yancy's face shedding tears |
|
|
|
CUT TO. |
|
|
74.
|
|
EXT. NIGHT SKY |
|
|
|
The lighten strikes again. |
|
|
|
CUT TO. |
|
|
|
INT. WARE HOUSE |
|
|
Yancy struggling turns her eyes to the sky as the rain
begins to fall |
|
|
|
CUT TO |
|
|
|
FLASH BACK |
|
|
Yancy sees a flash of when they were smaller and Toney at
the door when the lighten sounded he jumped
Yancy remembers the main office when Toney was wearing a
Fisherman's outfit and jumped at the sound of lighten.
|
|
|
|
RETURN TO SCENE |
|
|
Yancy turns her tearing eyes from the window and looks at
Toney and starts smiling as her adrenline starts to boil.
She starts to get stronger with her human strength and
starts to push Toney off of her |
|
|
| |
YANCY
(struggling)
One thing I learned through
life...
Everyone has a weakness! |
|
|
|
Yancy then using her legs tumble kicks Toney up towards the
open window out into the rain.
Toney begins to fly outside down towards the ground |
|
|
| |
TONEY
(feain fear)
NOOOOOOOOOOOOO! |
|
|
|
As Toney starts to fall towards the ground the rain begins
to melts his skin as if it were acid. |
|
|
| |
TONEY
AHHHHHHHHHHHHHHHHHHH! |
|
|
|
|
Toney hits the ground and shatters into millions of pieces. |
|
|
75.
|
Yancy is looking down the tall tower into the rain watching
Toney disperse.
|
|
|
| |
YANCY
(saddened)
Goodbye Robert... |
|
|
|
|
Yancy saddened turns away and heads for her father. |
|
|
|
DISSOLVE TO |
|
|
|
INT. ROOM WHERE FATHER IS TIED |
|
|
Yancy is untying her father.
She then hugs him as he does her.
Suddenly we hear sirens below...
Yancy looks towards the window then towards her Father |
|
|
| |
YANCY
(smiling)
You can come home now Daddy. |
|
|
|
FADE OUT. |
|
