HAUNTED
1X00: PILOT (UNAIRED)
[UNAIRED]
TRANSCRIBED FROM PROMOTIONAL VIDEO
Written by: RICK RAMAGE & ANDREW COSBY
Directed by: MICHAEL RYMER
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist
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==========================
SUMMARY: While working on a child abduction case that hits close to home, Frank
dies. When he's revived, the doorway between the living and the dead isn't
fully closed within Frank.
==========================
HAUNTED
1X00: PILOT (UNAIRED)
==========================
FADE IN
[TITLE SCREEN]
CUE SOUND: (PRELAP) THUNDER RUMBLES
[EXT. SIDEWALK -- DAY]
(It is pouring.)
(A man carrying a paper package walks down the street; he's soaking wet. He
turns the corner and walks out of camera frame.)
(Behind him, FRANK TAYLOR follows him. He runs down the street to catch up to
the man he's tailing. He pauses near the corner and peers around the wall to
make sure it's clear. After a moment, he jogs down the alleyway to follow the
man.
(The camera pans upward to show the outside of the brick building that they both
just entered, the Fairmont Hotel.)
CUT TO:
[INT. FAIRMONT HOTEL - DAY -- CONTINUOUS]
(FRANK rounds the corner and reaches into his inner jacket pocket where he takes
out his cell phone. He dials and continues to walk through the hotel keeping a
close eye on the man he's following.)
MARCUS BRADSHAW: (from phone) Detective Bradshaw, Tenth Precinct.
FRANK TAYLOR: (to phone) Marcus, it's Frank. I need some backup at Tenth and
Lexington, the Old Fairmont Hotel. I think I found him.
(FRANK reaches the stairs to the next floor and starts walking upstairs.)
MARCUS BRADSHAW: (from phone) What are you talking about?
FRANK TAYLOR: (to phone) Billy Mason and his baby-sitter David.
MARCUS BRADSHAW: (from phone) Give me ten minutes. Frank, you stay cool till
I get there.
(FRANK has the phone to his ear and checks the stair well carefully. He sees
the shadow of the man he's tailing turn up to the next floor.)
MARCUS BRADSHAW: (from phone) None of your Lone Ranger crap. I got your word?
FRANK TAYLOR: (to phone) Yeah, scout's honor.
(FRANK pus the phone away and hangs up on MARCUS.)
MARCUS BRADSHAW: (from phone) Good. I mean it, Frank.
(FRANK puts the phone back into his pocket. He takes a breath and looks
upstairs. After a moment, he climbs up to the next floor.)
(He reaches the floor and almost bumps into a man walking by.)
(He looks down the hallway and sees the man he's following enter into a room.
Just beyond him is the janitor mopping the hallway floor.)
(FRANK reaches for his gun and arms himself. He starts walking toward the door.
The JANITOR looks up from his mop and holds out his hands in surrender.)
JANITOR: Hey, I don't want any trouble, man ...
(FRANK walks up to him and motions for him to get out of the hallway. The
JANITOR picks up his things and runs out of the hallway.)
FRANK TAYLOR: Sorry.
(FRANK turns around and heads back toward the apartment room #219. He stands
outside the room door for just a moment, then turns to jimmy the door open with
a credit card.)
(He tucks the credit card back into his pocket and opens the door. The door
swings open and FRANK cautiously enters the room. The main room is completely
empty.)
(FRANK walks over to the window to look up at the fire escape outside. He
doesn't see anything. He looks down on the bed and finds a newspaper with the
same diamond-shaped symbol drawn on it multiple times. Under that is another
newspaper article with the headline: "TWO MORE VALLEY YOUTHS TAKEN" with two
photos under it, one of Billy Mason and the other of David Howard.)
(FRANK hears a noise coming from the closet behind him. He turns around and
raises his gun to check it out. He walks cautiously toward the door. He
reaches out and opens it.)
(A teenager, gasping for breath, tumbles out into FRANK'S arms, surprising him
completely. FRANK turns and helps him to the floor where he finally gets a look
at the teenager. It's David.)
FRANK TAYLOR: David. David ... David ...
(DAVID is pale and barely breathing. FRANK looks down at DAVID; and lifts up
his hand which is now covered with blood from DAVID'S wound.)
DAVID HOWARD: (whispers) Help us.
FRANK TAYLOR: David, where's Billy? David, where's Billy?
(DAVID can't say anything. But he sees, as we do, that SIMON has appeared
behind FRANK wielding an iron pipe like a bat. He walks silently up to FRANK
who is too concerned with DAVID to notice.)
FRANK TAYLOR: David, stay with me.
(DAVID'S eyes shift to SIMON standing just behind FRANK.)
(FRANK notices the eye shift and sits up to look behind him.)
(SIMON swings and cracks FRANK on the back on his shoulders.)
(FRANK slowly falls forward.)
FADE TO BLACK.
FADE IN.
[EXT. FAIRMONT HOTEL - ROOFTOP -- DAY]
(It's raining. SIMON drags FRANK'S heavy body across the rooftop toward the
edge. As the rain hits FRANK'S face, his eyes flutter open.)
(SIMON turns back to find FRANK waking up and smiles down at him as he continues
to drag FRANK across the rooftop.)
(FRANK sees the name on the workshirt: SIMON.)
(With a single-minded determination, SIMON drags FRANK across the roof and
closer to its edge.)
(SIMON drags FRANK toward the edge and drops him there. He steps over FRANK who
still hasn't completely regained his senses. He kicks FRANK in the ribs hard,
trying to get FRANK to fall over the edge of the rooftop.)
(FRANK groans in pain upon impact.)
(FRANK swings his leg and knocks SIMON off of his feet. FRANK slowly gets up;
but SIMON is quicker. Her draws a switchblade knife and plunges it into FRANK'S
chest. FRANK falls back again bleeding from the wound.)
(SIMON stands up and looks down at FRANK.)
SIMON DEAN: Simon says it's time to die.
(With his foot on FRANK'S side, SIMON rolls FRANK over the edge and pushes him
off. FRANK turns over and grabs on to the edge of the roof. He struggles to
hang on to the gutter.)
(SIMON leans down and uses the knife to cut into the back FRANK'S right hand,
the one he's using to hang onto the gutter.)
SIMON DEAN: Say good-bye.
(FRANK looks up at SIMON and with a loud yell, he reaches over with his left
hand and grabs SIMON'S arm. The two struggle for a moment, then with
unbelievable strength, he pulls SIMON over and off the edge of the rooftop.
SIMON falls to the ground below with a thud.)
(FRANK uses whatever energy he has left to pull himself up to the rooftop.
Bleeding and weak, FRANK lies there.)
FRANK TAYLOR: Oh, god!
(The camera pulls up to show the two men flat on their backs and unmoving in the
rain -- FRANK high on the rooftop and SIMON down on the ground below. A visual
representation of what is to come.)
(In the background, sirens wail.)
(The rain continues to fall.)
FADE TO BLACK:
FADE IN.
[INT. HOSPITAL - NIGHT -- LATER]
(Hospital machines beep while medical personnel work on FRANK.)
MALE VOICE: Lost a lot of blood.
MALE VOICE: Get a reading on the EEG.
MALE VOICE: Keep pressure on the entry points.
FEMALE VOICE: No, that's typed.
MALE VOICE: Get a pressure.
(They continue to work on him. The camera pans out and we see that he's in a
darkened emergency room.
MALE VOICE: Stop blood.
MALE VOICE: No heart sounds.
FEMALE VOICE: He's not breathing.
MALE VOICE: Possible tension pneumo.
(The heart monitor flatlines, it's solid tone pierces through the quiet.)
FEMALE VOICE: He's crashing.
MALE VOICE: (echoing) Stats have fallen.
(The voices in the room become slower and echoing. The camera pans around and
standing next to the doctor is FRANK. He looks around the room at the doctors
and nurses working on him.)
FEMALE VOICE: Starting two liters IV saline wide open. FEMALE VOICE: No
pulse.
(On the table, they're working on him.)
MALE VOICE: Blood stat.
MALE VOICE: Check vitals.
FEMALE VOICE: He's not breathing. I'll bag him. 100/02.
(FRANK looks around and makes his way toward the door.)
MALE VOICE: (muffled) Can you hear me?
(FRANK pushes the door open and walks through it.)
FEMALE VOICE: (b.g.) V-tach on the monitor.
MALE VOICE: (b.g.) We need to defibrillate.
(He glances back at the ER room he started in.)
(In reality, the emergency personnel continue to work on FRANK. A man stands
near FRANK'S ear and talks loudly to him.)
MALE VOICE: (normal voice) Can you hear me? Can you hear me?
(The other physician gets the defib paddles out and puts them on FRANK'S chest.)
MALE VOICE: Clear.
(Everyone removes their hands from FRANK as they paddles surge and FRANK'S heart
is shocked.)
NURSE: Nothing. Still no pulse. PHYSICIAN: V-tach again. Defibrillate
again. One amp epi.
(Cut back to: FRANK turns away from the activity in the emergency room and
looks forward and out into the hallway
(FRANK steps out into the hallway.)
[HALLWAY -- CONTINUOUS]
(The Hallway is extremely dark; the only light coming from the ends of the
hallway. Shadows of figures move away from FRANK and toward the light at the
end of the hallway.)
(FRANK looks down one end of the hallway, then turns to look down the other.
People slowly mill past him.)
(Way down the hall, a little boy stands in the center of the hallway just in
front of the light, his face hidden in the shadows. FRANK stares at the figure
that appears to be turned toward him and looking at him.)
FRANK TAYLOR: (muffled thought) Kevin?
(The little boy smiles, raises his hand and motions for FRANK to come to him.)
ER DOCTOR: V-tach, defibrillate again.
MALE VOICE: Clear.
(FRANK turns to look at the door which he just walked out from and where the
voices inside are heard.)
(Cut to: Back in the emergency room, the hands remove the breathing pump and
FRANK'S body jerks as he's defibbed.)
NURSE: Still no pulse.
MALE VOICE: Defibrillating 360.
(Cut back to: FRANK turns to look at the door, then down at the hallway where
the little boy stands waiting for him. The last of the people milling toward
the end of the hallway disappear.)
FRANK TAYLOR: (softly) Kevin?
(The little boy turns away from FRANK and slowly walks toward the end of the
hallway.)
FRANK TAYLOR: No.
(FRANK turns to follow the little boy.)
(Cut to: Inside the ER room, the defib paddles are charged up and placed on
FRANK'S chest.)
(Back in the hallway, all the people have disappeared and only the dark figure
of the little boy remains. The little boy turns to look back at FRANK.)
FRANK TAYLOR: Kevin? Wait.
(FRANK walks further down the hallway toward the little boy and away from the
door. The little boy looks at FRANK.)
ER DOCTOR: Clear.
(Cut to: In the ER, the defib paddles send a charge through FRANK.)
(In the hallway: FRANK clutches his chest as he feels the charge. He doubles
over.)
(A hand grabs him from behind and spins him around. It's SIMON.)
SIMON DEAN: Gotcha.
(SIMON clasps his hand over FRANK'S mouth.)
(In the ER, the doctor watches the heart monitor as it starts to beat.)
ER DOCTOR: Gotcha.
(The DOCTOR puts his stethoscope on to listen to FRANK'S heart.)
ER DOCTOR: I think we got a rhythm.
(FRANK coughs.)
NURSE: Starting two liters iv saline wide open.
ER DOCTOR: I think he's going to make it.
FADE TO BLACK.
[TITLE SCREEN]
FADE IN.
[INT. HOSPITAL - FRANK'S ROOM - DAY]
(FRANK awakens in the hospital bed to find the nurse and doctor standing next to
his bed, adjusting him.)
NURSE: Move just a little bit.
(He wakes up. The NURSE looks down at him.)
NURSE: Mr. Taylor, your ex-wife's here.
(Leaning against the door frame is a dark-haired woman.)
NURSE: (to JESSE) Five minutes. He needs to rest.
(JESSICA MANNING walks into the room.)
FRANK TAYLOR: Jess.
(She sits on the edge of his bed and takes his hand.)
JESSICA MANNING: Hey.
FRANK TAYLOR: How's the baby-sitter?
JESSICA MANNING: David didn't make it.
FRANK TAYLOR: Did they, uh ... did they find Billy?
JESSICA MANNING: Frank, every cop in the city is looking for Billy. They
practically tore the building apart. He wasn't there.
(Disappointed beyond words, FRANK puts his hand over his eyes. He takes a deep
breath and after a moment, points to the phone on the bedstand next to the bed.)
FRANK TAYLOR: Bring that phone over here I need to call his parents.
JESSICA MANNING: What were you thinking, going in there by yourself? You know
you could have been killed.
FRANK TAYLOR: I was.
JESSICA MANNING: That's not funny.
FRANK TAYLOR: Come on. It's a little bit funny.
JESSICA MANNING: You can't go charging in there like that. You're not a cop
anymore.
FRANK TAYLOR: Yeah, well, it was a good thing 'cause if I was I'd still be
waiting for you guys at the DA's office to get me a warrant.
(JESSICA'S pager beeps. She checks it.)
JESSICA MANNING: I have to go.
FRANK TAYLOR: Jess ...
JESSICA MANNING: Frank. You've got to stop punishing yourself. It is not
going to bring our son back.
(FRANK puts a hand to his eyes. JESSICA stands and grabs her purse on her way
out of the room.)
(FRANK looks up at the ceiling and remembers ... )
CUE SOUND: (PRELAP) LAUGHTER
(Quick flashback to: In their bedroom, JESSICA and FRANK giggle and laugh as
JESSICA tickles FRANK. She lets up and kisses his back.)
(From the other room, they hear movement. JESSICA stops and looks up.)
JESSICA MANNING: What was that?
(Stops and listens.)
FRANK TAYLOR: What?
JESSICA MANNING: That noise.
FRANK TAYLOR: It's nothing it's just the wind.
(JESSICA moves to get up. FRANK moves to stop her.)
JESSICA MANNING: Maybe I should go check on Kevin.
FRANK TAYLOR: No, no, no. Gus barks at his own shadow. He'd go nuts if there
were someone out there.
(He manages to keep JESSICA in bed. They lie down facing each other, their arms
wrapped around one another. In the background, thunder rumbles outside.)
FRANK TAYLOR: See? A storm's coming, that's all.
(FRANK looks down at JESSICA and smiles.)
(The camera moves upward and lingers on the open window and the curtains
rustling in the wind.)
[INT. BATHROOM - NEXT MORNING]
(JESSICA walks over to the bathroom and looks in the direction of KEVIN'S
bedroom. She calls out to him.)
JESSICA MANNING: Kevin?
FRANK TAYLOR: Is he not up yet?
(FRANK is in the bathroom putting on his tie.)
JESSICA MANNING: No.
(She adjusts his tie.)
JESSICA MANNING: Will you get him?
(He leans in close to her and they both chuckle.)
FRANK TAYLOR: Yeah.
JESSICA MANNING: Hmm ...
(They kiss. FRANK leaves the bathroom to wake KEVIN up.)
FRANK TAYLOR: Kevin?
(He walks out into the hallway.)
FRANK TAYLOR: Come on, buddy. Up and at 'em now.
(FRANK turns the corner into KEVIN'S bedroom and the smile on his face freezes
when he sees the empty bed. The covers are pulled back and a lone gray teddy
bear lies in the center of the bed.)
FRANK TAYLOR: Kevin?
(FRANK looks around the room and sees the ripped window screen. He rushes
toward it and looks through it. The size is big enough for even him to get
through. He turns around and sees JESSICA standing frozen in the middle of the
bedroom.)
FRANK TAYLOR: Call it in, right now!
(FRANK runs out the room past JESSICA spurring her to motion as she, too, also
runs down the hallway to make that call.)
(End of flashback. Resume to present.)
(With tears in his eyes, FRANK recalls everything. He covers his face with his
hands and cries.)
CUT TO:
[INT. DINER - DAY]
(JESSICA looks over the crime scene photographs. MARCUS walks up to her table
from behind her. He peers over her shoulder and notices that she's looking at
the photos ... and crying. He announces his presence.)
MARCUS BRADSHAW: Jess.
(She looks up.)
JESSICA MANNING: Hey.
(He leans down and gives her a hug while kissing her on the cheek. He slips
into the booth with her.)
MARCUS BRADSHAW: How's Frank doing?
(She gathers the photos off the table.)
JESSICA MANNING: You know Frank. Whatever doesn't kill him makes him stranger.
I'm surprised you haven't been in to see him yet.
MARCUS BRADSHAW: Well. He and I have an understanding. We save our visiting
hours till after we get out of the hospital. You know what I mean? You know
this hits a little too close to home, Jess. Couldn't the D.A.'S office send
someone else?
JESSICA MANNING: I'm okay.
MARCUS BRADSHAW: How can I help?
JESSICA MANNING: I need to know what you know.
MARCUS BRADSHAW: Suspect's name is Simon Dean. We're still running a
background check on him. You know, he has at least three priors for assault.
One, against a minor.
JESSICA MANNING: And the knife found at the scene?
MARCUS BRADSHAW: Quantico confirms that it's the same knife that killed David
Howard. Poor kid never had a chance.
(The newspaper with the missing boys article and pictures is on the top. She
moves it to show a color photo of BILLY MASON just under it.)
JESSICA MANNING: Anything on Billy Mason yet?
MARCUS BRADSHAW: No. Now, you know that as soon as he can stand up without
passing out, Frank is going to be back out again looking for him.
JESSICA MANNING: Please don't tell him anything that's happened with this yet.
He needs to rest.
MARCUS BRADSHAW: He's going to be pissed.
JESSICAN MANNING: Yeah, let him be.
(He nods.)
MARCUS BRADSHAW: All right.
CUT TO:
[INT. CAR (MOVING) -- DAY]
(MARCUS drives ... and lectures FRANK.)
MARCUS BRADSHAW: Look, all I'm saying is that you should wait. Give yourself a
week or two before you get back in the game.
FRANK TAYLOR: I'm fine.
MARCUS BRADSHAW: Fine? You almost died, Frank. In what kind of messed up
dictionary is that the definition of fine?
FRANK TAYLOR: Almost doesn't count.
MARCUS BRADSHAW: Ah, yeah, well, tell that to your doctors.
FRANK TAYLOR: Message received, okay? Now will you get off my back?
MARCUS BRADSHAW: Look, I'm just trying to help you out.
(The car pulls up along side the curb and parks.)
FRANK TAYLOR: I'm trying to watch your back.
(MARCUS and FRANK both get out of the car.)
FRANK TAYLOR: Why don't you get yourself a car?
(MARCUS heads over to his bike parked on the side of the street.)
MARCUS BRADSHAW: Oh, yeah, I could ask you the same thing.
(FRANK enters the building as MARCUS rides off.)
CUT TO:
[INT. FRANK'S OFFICE - DAY -- CONTINUOUS]
(The office door opens to "FRANK TAYLOR INVESTIGATIONS" and FRANK walks in. He
closes the door and gingerly takes off his coat. He hangs it up and turns on
the answering machine as he heads for his desk. His office looks extremely
worked and lived in.)
(He tosses his keys onto the desk and opens the window blinds to let the light
in.)
MAN ( on answering machine ): Yeah, I was wondering how much you charge to
follow someone, my wife. You can reach me on my cell. It's 555-0128. Thanks.
(He turns on his computer and heads into the next room.)
LINDA GILBERT: (answering machine) Frank, Linda Gilbert from northwest
insurance. Do you have time to do another worker's comp surveillance? Call me.
(He walks into the kitchen where things are still in their boxes. He picks up
the mug in the sink, rinses it and fills it with water. The other rooms also
look as empty as their things are still in their boxes.)
JESSICA MANNING: (answering machine) Hey, it's Jess. I hope you got in okay.
Um, just calling to say hello. I'm still a little worried about you so call me
if you need anything, okay?
(He heads back into his office.)
(The camera pans over all the clippings and photos stuck on the wall behind his
desk.)
GREG MASON: (answering machine) Mr. Taylor, this is Greg Mason. They told me
you found Billy's baby-sitter, David. What about our son? What about Billy?
Was he there? Did you find anything? Please call me. Tell me you're still
looking for our son.
(He removes one particular photo and looks at it.)
CUT TO:
[INT. MASON RESIDENCE -- DAY]
(Camera opens on the photo of BILLY MASON that GREG MASON looks at. He puts the
photo down.)
GREG MASON: At least the police aren't treating us like criminals anymore.
FRANK TAYLOR: I know it's been hard, Mr. Mason but you have to understand when
you're dealing with a child, the police are obliged to treat everyone like a
suspect.
SUSAN MASON: Mr. Taylor, I don't care how I was treated. All I care about is
Billy. And right now the only two people who know what happened to him are
dead.
GREG MASON: Susan ...
SUSAN MASON: No! I don't want to keep hoping if there is none. Mr. Taylor,
please just tell us do you think that Billy's still alive?
(FRANK takes a long moment to answer the question.)
FRANK TAYLOR: Um ... I honestly don't know.
(SUSAN MASON starts to cry. She clings to her husband's hands, then stands up
to leave the room.)
SUSAN MASON: Excuse me.
(GREG MASON also leaves to comfort his wife. FRANK stands up also. Being left
alone in the room, he sighs.)
(Suddenly, he's not feeling very well. He puts a hand to his forehead as
something happens to him. Something inside. He takes a breath.)
VOICE 1: (whispers) Help us.
(FRANK looks around at the wall in the direction that he thought the voice was
coming from. The wall is nearly empty except for a large photo portrait of
BILLY.)
(FRANK takes a cautious step toward the wall, not exactly knowing what he's
looking for. As he gets closer to the wall, his ear nearly pressed up to it, he
hears it again.)
VOICE 1: (whispers) Help us.
(FRANK moves in even closer to the wall, his ear pressed up against it.)
(FRANK jumps as the portrait of BILLY literally leaps off of the wall and onto
the floor in front of his feet.)
(FRANK jumps back and stares at the wall in front of him.)
(GREG MASON walks back out into the living room.)
GREG MASON: What happened?
FRANK TAYLOR: I-I'm not sure.
(He puts his hand up against the wall.)
FRANK TAYLOR: This picture just fell.
(FRANK clears his throat and leaves.)
FADE TO BLACK.
FADE IN.
[EXT. FRANK TAYLOR INVESTIGATIONS -- DAY]
[INT. FRANK TAYLOR INVESTIGATIONS - DAY]
(FRANK sits in the middle of his bare living room sitting on the floor, his work
spread over two empty crates being used as a table.)
(Gus whimpers and turns the corner. FRANK puts down his pencil to pet and play
with his dog. The front door closes.)
FRANK TAYLOR: Gus, hey... come here. How you doing? How you doing? Did you
miss me, huh?
GINA: Now there's something I haven't seen in a while.
FRANK TAYLOR: What's that? A happy dog?
GINA: No. You ... smiling. For a second there I almost didn't recognize you.
FRANK TAYLOR: Gina, I pay you to take care of Guy while I'm away, not me.
GINA: Gus is easy. You're the one that needs the help. Do you eat anything
that's non-microwaveable?
(She picks up his empty dish and walks into the kitchen.)
GINA: Gus eats better than you do.
FRANK TAYLOR: It's Friday night. Don't you have a date or something?
GINA: Nope, and I got lots of time.
(GINA steps forward and takes a seat. She smiles at him.)
FRANK TAYLOR: Uh, you want a beer?
GINA: Yes.
(FRANK opens a bottle of beer and hands it to her.)
GINA: How long have you lived here now?
FRANK TAYLOR: Oh, about eighteen months. Why?
GINA: 'Cause this place looks like UPS. Why don't you unpack some of this
stuff? Make yourself at home.
FRANK TAYLOR: I don't know. I guess maybe because it's not my home.
CUT TO:
[INT. TAYLOR'S RESIDENCE -- NIGHT]
(FRANK lies down on his bed, his eyes closed and work papers on his chest. GUS
is lying down on the bed at his feet.)
(Somewhere in the apartment there's a creaking noise.)
(GUS whimpers.)
(FRANK immediately gets up and puts a calming hand on GUS to keep him quiet.
FRANK TAYLOR: Gus, Gus, shh.
(FRANK gets up and reaches for his gun on top of his dresser. He takes it out
of his holster and cocks it as quietly as possible. FRANK walks to the doorway
to look down the darkened hallway.)
(By the light of the other room, a shadow passes the doorway. FRANK quietly and
quickly heads for that room, his gun drawn. He turns into the doorway and finds
no one inside. The wall clock behind FRANK reads 2:25 a.m.)
(The refrigerator door is wide open. FRANK closes it. The floor is wet with
shoeprints.)
(FRANK turns and heads for his office where there's definitely sound as well as
movement. FRANK opens the doors and finds a peculiar sight.)
(In the center of the room from floor to ceiling are all his boxes stacked up
one on top of the other. The ceiling fan is on, its blades twisting the top box
in a circle.)
(There are wet shoeprints leading from the door to the stack of boxes.)
(FRANK reaches up and takes off the top box. The bottom of the box is soaking
wet. FRANK places the box on his desk to look inside. He tucks his gun in the
back of his jeans.)
(Inside the box is a photo of KEVIN. It's sitting in water. FRANK reaches in
and takes out the photo. Alone in his office, he turns and looks around.)
CUT TO:
[INT. POLICE DEPARTMENT - MARCUS BRADSHAW'S OFFICE -- DAY]
(MARCUS hurries through the bullpen toward his office. He opens the door to
find FRANK going through his files.)
MARCUS BRADSHAW: Damn it, Frank. You can't just walk in here and rifle through
my stuff whenever you please.
(FRANK turns around and leans back in MARCUS' chair. He holds out a file folder
to MARCUS.)
MARCUS BRADSHAW: We are not partners anymore. What's this?
FRANK TAYLOR: (teasing) A hunch. You know, that little feeling that you used
to get before they promoted you.
MARCUS BRADSHAW: Oh, don't push me, Frank, I'm not in the mood.
(MARCUS looks down at the photo in the file folder.)
MARCUS BRADSHAW: A kid's drawing from the newspaper. What about it?
FRANK TAYLOR: Look at it.
(It's the photo of the same newspaper FRANK had seen on the bed in the
apartment.)
MARCUS BRADSHAW: It's a simple diamond pattern.
(FRANK gets to his feet.)
FRANK TAYLOR: Exactly. Now why would an eight-year-old draw this over and over
again? I'll tell you why, Marcus. Billy is leaving us a bread crumb here. I
think this picture means something. This is a clue.
MARCUS BRADSHAW: I don't know, Frank. That's pretty thin.
FRANK TAYLOR: Then let me fatten it up for you.
MARCUS BRADSHAW: Oh, no way. Forget about it. Just give me one good reason.
FRANK TAYLOR: I'll give you two.
MARCUS BRADSHAW: You are not on the force anymore and its my ass if anyone
finds out.
(FRANK nods but persists.)
FRANK TAYLOR: Just let me have it for 24 hours.
MARCUS BRADSHAW: I can't just let you walk out of here with an active file.
FRANK TAYLOR; Then turn your back.
(MARCUS stops. He takes a step backward and glances out of the office window
into the bullpen. He takes another step backward away from FRANK. It appears
he's going to let FRANK do it.)
(MARCUS turns away; FRANK tucks the file folder into his coat and heads for the
office door. He opens the door and claps MARCUS on the shoulder. MARCUS takes
a breath.)
FRANK TAYLOR: I owe you one.
(FRANK turns to leave the office.)
MARCUS BRADSHAW: (mutters to FRANK) Yeah, you owe me more than that.
(He shakes his head and sighs.)
MARCUS BRADSHAW: (mutters) I know that man's going to cost me my pension.
CUT TO:
[INT. MORGUE -- DAY]
(SIMON'S body is out on the table. The photo moves aside to show the real body
out on the table.)
FRANK TAYLOR: Man ...
JIMMY LAMARR (CORONER): Yeah ... tattoo from the Tahitian Tattau. It means,
"to mark."
(JIMMY LAMARR looks at FRANK.)
JIMMY LAMARR (CORONER): What? Discovery channel.
(FRANK leans in close to look at the tattoo on the top of SIMON'S head.
FRANK TAYLOR: Looks like there's another tattoo underneath this one.
JIMMY LAMARR (CORONER): Uh-huh. Yeah, yeah, yeah. It's called a cover-up. I
see them all the time. You got a tattoo you don't like you just cover it up
with another one.
(He takes out a light and holds it close to the tattoo in which another tattoo
appears hidden inside it.)
FRANK TAYLOR: Oh ... "Lolita."
JIMMY LAMARR (CORONER): Huh. Old girlfriend maybe?
FRANK TAYLOR: No, "Lolita" is also a sexual reference. It means he was into
kids. Is there anything else I should know?
JIMMY LAMARR (CORONER): Well, I don't know if this will mean anything to you
but when we were checking for the victim's DNA we found trace amounts of
potassium ferricyanide under his fingernails.
FRANK TAYLOR: What's that? Some kind of poison?
JIMMY LAMARR (CORONER): Well, sure, if you drink it. But mostly it's used for
photo processing.
FRANK TAYLOR: Well, speaking of photos can you get a picture of that?
JIMMY LAMARR (CORONER): Yeah, sure, I'll just grab the camera.
(JIMMY LAMARR heads off into the other room to get the camera leaving FRANK
alone with the body.)
JIMMY LAMARR (CORONER): I don't mind telling you this stiff, he gives me the
willies. I'll be glad when we finally bake this sucker.
(FRANK leans in close to examine the body.)
(Suddenly, SIMON'S eyes shoot open. His hand reaches up and grabs FRANK'S
throat, choking him. FRANK fights to get out of SIMON'S grip. SIMON sits up
and continues to choke FRANK.)
SIMON DEAN: Storm's coming, Frank.
FADE OUT.
FADE IN.
[INT. MORGUE -- DAY]
(JIMMY LAMARR leans over FRANK who is down on the floor and shines his pen light
back and forth in front of his eyes while calling out to him.
JIMMY LAMARR (CORONER): Frank? Frank can you hear me?
(FRANK'S eyes flicker open and he starts coughing. His hand goes up
automatically to his neck and he gets up to his feet.)
JIMMY LAMARR (CORONER): Frank, you okay? What happened?
(FRANK breathes heavily.)
FRANK TAYLOR: I just got dizzy. It's no big deal.
JIMMY LAMARR (CORONER): You want me to call you a doctor?
FRANK TAYLOR: You are a doctor.
JIMMY LAMARR (CORONER): Yeah, well, when I get a patient I usually don't have
to worry about them driving home.
FRANK TAYLOR: Don't be too sure about that.
(FRANK moves toward the door. The camera lingers on SIMON'S dead body, still
lying down on the table.)
CUE SOUND: (PRELAP) THUNDER RUMBLING
CUT TO:
[INT. JESSICA'S RESIDENCE - KITCHEN -- NIGHT]
(In her kitchen, JESSICA pours them some coffee. She takes a seat. Outside,
it's raining. FRANK takes the cup and drinks.)
FRANK TAYLOR: (sighs) I, um ... I think maybe something's wrong with me. Ever
since that night, uh ... the night I got stabbed, uh ... I've been seeing
things.
JESSICA MANNING: What kinds of "things"?
FRANK TAYLOR: Well, I think I saw him, Jess.
JESSICA MANNING: Who?
FRANK TAYLOR: Kevin. I think I saw him on the other side ...
JESSICA MANNING: Don't.
FRANK TAYLOR: Look, I know how this must sound, believe me. But, uh, I feel
like I'm losing my mind here. I have to tell someone.
(JESSICA starts to cry.)
JESSICA MANNING: I told you that if you wanted to keep punishing yourself, you
could but I won't let you do it to me anymore. Kevin has been gone for nearly
two years, Frank. Two years.
FRANK TAYLOR: (hurting) I just want to know.
JESSICA MANNING: What? That some twisted psycho murdered our son? Is that
what you want to know? Is that the answer that you're looking for? I'm not
like you, Frank. Why can't you understand that? I don't want the Truth. I
won't survive it.
(FRANK wipes his eyes and sniffles. He sighs as he realizes that he can't talk
to JESSICA about this.)
CUT TO:
[INT. FRANK'S RESIDENCE -- NIGHT]
(FRANK'S asleep and dreaming. He sees KEVIN standing in the middle of the dark
hallway holding out his hand to him.)
KEVIN: Daddy.
(FRANK wakes up.)
[BATHROOM]
(FRANK walks into the bathroom, a towel wrapped around his waist. He pushes the
shower curtain aside. He turns to look at himself in the mirror and sighs.)
(Cut to: Frank's office. The boxes are off to the side. The ceiling fan isn't
moving.)
(Cut to: Frank's office. The door.)
(Cut to: GUS on the single seat leather chair. He's lying down, then suddenly
lifts his head. He growls, then whimpers softly.)
(Cut to: The ceiling fan. It starts moving.)
(In the background, thunder rumbles.)
(Cut to: The hallway light starts flickering.)
(Cut to: FRANK is in the shower, his head down and eyes closed as he lets the
hot water run over him. He lifts his head into the water.)
(He's suddenly hit with a wave of pain or dizziness or something as he puts a
hand to his forehead.)
(Something happens.)
(The water coming out from the showerhead turns to mud or some kind of dirty
water. It appears to still be hot, only thicker than water.)
FRANK TAYLOR: What the...?
(FRANK is disoriented and starts to slump down against the bathroom wall.)
FRANK TAYLOR: Oh, damn.
(He shuts the water off. He's still kneeling down in the bathroom stall and
breathing heavily.)
(The sludge runs down the drain. FRANK reaches up and sees through the thick
bathroom shower glass, someone in a red and white jacket appears to walk into
his bathroom.)
VOICE: (whispers) Help us. Help us.
(FRANK slides the shower door open and through the reflection of the steaming
bathroom mirror, we see FRANK slowly stand. In the fogged-up mirror is the same
diamond-patterned design that was found repeated on the newspaper.)
(FRANK steps out of the stall and sees the design in the mirror.)
CUT TO:
[EXT. PARK -- DAY]
(Children laugh and play in the park having a great time. On the park bench,
HENRY, a blind man, sets up his chess board.)
HENRY: Frank ... Gus ...
(Walking up the path toward HENRY is FRANK with GUS.)
HENRY: Hey, where you been?
FRANK TAYLOR: Oh ...
HENRY: Pretty day, huh?
(FRANK sits down.)
FRANK TAYLOR: Yes, it is.
HENRY: Why are you so down, man?
FRANK TAYLOR: Now, how did you know that I was down?
HENRY: It's in your step.
FRANK TAYLOR: What?
HENRY: The way you walk. When you're in a good mood you skip your left heel.
When you're not, you don't.
FRANK TAYLOR: I think maybe I'm losing it, Henry. I think maybe losing Kev is
finally starting to get to me. What if I told you that I was seeing things?
That I'm being haunted. That'd make me crazy, right?
HENRY: People who are crazy never think they're crazy. They think everybody
else is, right? Just suppose for a minute that what ... that what you're seeing
is real. What do you think it means?
FRANK TAYLOR: That's just it -- I don't know.
HENRY: Well, maybe you got yourself a ghost, Frank, you know. Some restless
soul with unfinished business.
FRANK TAYLOR: Do you actually believe that, Henry?
HENRY: It's not important what I believe. What matters is what you believe.
To believe is to let go. You know, sometimes it's not what you see. It's what
you don't see.
(Camera holds on HENRY'S white sightless eyes. FRANK turns away and sighs.)
CUT TO:
[INT. FAIRMONT HOTEL - HALLWAY/ROOM 219 -- DAY]
(FRANK walks down the hallway.)
(FRANK tears down the crime scene tape blocking the doorway to room #219. He
reaches into his pocket and takes out a credit card which he uses to jimmy the
door lock.)
(FRANK closes the door behind him. He walks to the center of the room and
sighs. He looks around.)
(He walks over to the spot where DAVID was and looks at the blood stain on the
carpet. He stops and listens. He hears something moving. He turns his head
and sees the yellow-handled screwdriver on the table spinning around
unnaturally.)
(He slowly reaches out a hand and stops it by picking it up. Through the
mirrors in front of him, he sees movement behind him in the room. The walls
move and the closet door opens.)
VOICE: (whispers) Help us.
(FRANK turns around to look at the closet door which is partially opened. He
walks across the room toward the closet and reaches out to look inside.)
MARTIN GRANT: (o.s.) Can I help you?
(FRANK is startled and finds himself looking at the janitor, MARTIN GRANT.)
FRANK TAYLOR: I didn't hear you come in.
MARTIN GRANT: You a cop?
FRANK TAYLOR: No. Uh, private investigator. Name's Frank Taylor.
(FRANK takes out his ID and shows it to MARTIN GRANT.)
MARTIN GRANT: Oh, yeah, I remember you now. You're ... you're the one.
FRANK TAYLOR: I beg your pardon?
MARTIN GRANT: Yeah, yeah, you're the guy who got him. (chuckles) Go figure,
huh? We had a freak like that living right down the hall.
FRANK TAYLOR: I was wondering if maybe you could tell me if you ever saw Simon
with the other little boy that's still missing -- Billy, Billy Mason.
(FRANK takes out a photo and lets MARTIN look at it. MARTIN glances down at the
picture and shakes his head.)
MARTIN GRANT: Well, I saw his picture in the paper but, uh, I haven't seen him
here. Look, uh, Mr. Taylor, uh, I think we should leave. Cops told me this is
a crime scene and we're not allowed to be in here.
FRANK TAYLOR: Just one more question. If Simon was the super, that means he
was your boss, right?
MARTIN GRANT: Yeah.
FRANK TAYLOR: Did he take a lot of pictures?
MARTIN GRANT: What do you mean, "pictures"?
FRANK TAYLOR: You know, photography. Was it a hobby?
(MARTIN chuckles.)
MARTIN GRANT: Beats me, I mean, I hardly knew the guy. I mean, hanging out
with my boss wasn't exactly my idea of fun, you know?
FRANK TAYLOR: Well ... I guess that's it. Thanks.
(FRANK turns around and heads for the door. MARTIN GRANT stops him.)
MARTIN GRANT: So, where are you going with the screwdriver?
FRANK TAYLOR: (looks down) Oh ... I completely forgot I had it. That yours?
MARTIN GRANT: Yeah.
(FRANK gives the yellow-handled screwdriver to MARTIN GRANT.)
FRANK TAYLOR: All right, thanks again.
MARTIN GRANT: Okay. See ya.
(FRANK leaves the apartment.)
CUT TO:
[EXT. FRANK'S OFFICE BUILDING - DAY]
[INT. FRANK'S OFFICE -- DAY]
(Sitting at his desk, FRANK talks on the speaker phone with MARCUS.)
MARCUS BRADSHAW: (from phone) It's Marcus. I ran a check on the maintenance
guy like you asked. Full name's Martin Eugene Grant.
FRANK TAYLOR: And?
MARCUS BRADSHAW: Nothing, Frank. No police record, not even a traffic ticket.
The guy's clean.
FRANK TAYLOR: (sighs) Okay. So, we know from Simon's Lolita tattoo that he was
into kids. You put that with the photo chemicals underneath his fingernails and
we've got a child pornographer. But where's the camera? I mean, where's all
the other equipment? There wasn't a single photograph found in that apartment.
MARCUS BRADSHAW: He must have been taking them someplace else.
FRANK TAYLOR: Exactly. But where? We figure that out, we find Billy.
(FRANK turns around to look at the photo of the newspaper with the symbols on
his computer monitor behind his desk.)
FRANK TAYLOR: ... And the symbol that he drew on the newspaper that means
something. It's the key.
(Suddenly, the monitor blacks out. FRANK hits a couple of keys on the keyboard
trying to get the picture back up.)
(GUS, who is sitting on the couch, puts his head down and whimpers.)
MARCUS BRADSHAW: (from phone) Frank, you still there?
(The other monitors on FRANK'S desk black out. A busy signal sounds in the
background.)
(Behind the glass of his front office door, the shadowy figure of a person walks
up to the door. FRANK hears a whispered voice.)
VOICE: (softly) Help us.
(The figure turns and walks away from the door. The computer monitors start to
power up again. GUS growls and runs from his place on the chair.)
(GUS continues to growl and is now barking. He runs down the hallway where
FRANK catches up with him.)
FRANK TAYLOR: Get back in there.
(FRANK checks out the other rooms of his apartment.)
FRANK TAYLOR: Hey ... I'm trying, but I don't understand.
(FRANK walks into the bedroom continually looking for some kind of a sign or
indication.)
FRANK TAYLOR: Just tell me what it is.
(FRANK turns around and looks at his open closet door. DAVID, wearing his red
and white jacket turns away from FRANK and walks into the closet where he
promptly disappears.)
(FRANK takes a step toward the closet door, finally understanding what he's
being shown. He breathes heavily as he remembers.)
(Quick flashback to: At the apartment, DAVID is on the floor.)
DAVID: Help us.
(Cut to: FRANK hands the yellow-handled screwdriver back to MARTIN GRANT.)
FRANK TAYLOR: That yours?
MARTIN GRANT: (nods) Yeah.
(End of flashback. Resume to present.)
(FRANK stares at the closet door.)
(Quick flashback to: Back in room #219, DAVID is on the floor bleeding.
DAVID HOWARD: Help us.
(Cut to: FRANK hands the yellow screwdriver back to the janitor.
FRANK: That yours?
(Cut to: FRANK sees the closet door opening through the mirror's reflection.)
(Cut to: FRANK has his gun out and prepares to open the closet door. Suddenly
DAVID lurches out and falls into FRANK'S arms.)
(Cut to: FRANK turns around to find SIMON swinging the pipe at the back of his
head.)
(Cut to: The closet door opening. Voices can be heard coming from the closet.)
(End of flashback. Resume to present.)
(FRANK puts it all together. He knows where BILLY is.)
HARD CUT TO BLACK.
FADE IN.
[INT. CAR (MOVING) -- DAY]
(FRANK is driving his car, heading back to the FAIRMONT HOTEL and talking on the
cell phone. It's pouring outside.)
FRANK TAYLOR: (to phone) Jess, don't talk-- just listen. I know where Billy
is. He's still in the same building. Now, I'm on my way to pick up Marcus
right now. You need to get him a warrant.
INTERCUT WITH:
[INT. COURT]
JESSICA MANNING: Based on what?
FRANK TAYLOR: Remember how I told you I was seeing things?
JESSICA MANNING: Oh, come on, Frank. I'm supposed to go to the Judge with one
of your visions?
FRANK TAYLOR: Tell him it's our only chance to save Billy Mason.
JESSICA MANNING: Be logical, Frank. I want something that I can use. I need
real proof, hard evidence.
FRANK TAYLOR: Two years ago logic told me not to worry about a certain bump in
the night. Listen, I know what I'm asking doesn't make a whole lot of sense,
but I am not ignoring another bump in the night, Jess. I can't. I won't.
(FRANK hangs up. He pulls over in front of MARCUS' house where MARCUS is
standing out in the rain waiting for him. When FRANK pulls over, MARCUS gets
into the car.)
(FRANK drives off.)
FRANK TAYLOR: Before you say anything there's something that I got to get off
my chest. I don't know how, but ... when I flatlined at the hospital something
happened to me, something ... something beyond dying. It's like... it's like,
when they brought me back the door to the other side didn't close all the way.
It's like I got one foot in this world and one in the other.
(FRANK'S phone rings. He answers it.)
FRANK TAYLOR: (to phone) Yeah.
INTERCUT WITH:
[EXT. BRADSHAW RESIDENCE]
MARCUS BRADSHAW: (impatient) Frank, what the hell, man? Where are you? I
thought you were going to pick me up.
(At the sound of MARCUS' voice, FRANK turns to see who's sitting next to him:
It's SIMON.)
MARCUS BRADSHAW: (from phone) This ain't funny, man. I'm out here in the rain
and it's cold. Okay, I'm getting wet ...
(SIMON turns to smirk at FRANK and grabs the steering wheel where he tries to
control the car. The two fight for the steering wheel and FRANK'S car
sideswipes into a parked van.)
(SIMON continues to smirk at FRANK, his eyes never leaving FRANK'S face. They
continue to fight for the steering. The car swerves and sideswipes another
parked car.)
(SIMON holds onto the steering wheel and finally FRANK'S car smashes into a pole
and comes to a stop.)
(FRANK hits the steering wheel.)
(FRANK opens the car door and gets out of the car. He starts running in the
rain.)
CUT TO:
[EXT. STREET -- CONTINUOUS]
(It's still raining. FRANK runs in the rain down the street toward the FAIRMONT
HOTEL. He turns the corner.)
CUT TO:
[INT. FAIRMONT HOTEL - ROOM #219 -- CONTINUOUS]
(FRANK pushes the door open and walks into the room. He heads straight for the
closet door. He opens it and immediately starts looking for the passageway
inside.)
(He turns on the closet light and removes the coats hanging inside. He starts
knocking on the walls and then he finds the hollow section of the closet.)
(He grabs the pole, twists and lifts. The trigger activates the mechanism that
opens the door.)
(Thinking twice before entering, FRANK takes out his penlight and looks inside
the passageway. He dials his phone and makes the call.)
FRANK TAYLOR: Frank. Marcus. I found it. Simon's got a bogus wall in his
closet, a hiding place.
MARCUS BRADSHAW: Stay where you are. Jess just called -- she got a warrant.
We're on our way.
(Suddenly, both the light in the passageway and his cell phone line are both cut
off. FRANK glances down at his cell phone display and finds that it reads: NO
SIGNAL. 4:45, 04/08/02.)
(He checks it again and finds that there's definitely nothing there. FRANK
glances back at the open closet door. He glances in front of him, then makes a
decision to continue. He puts his phone away, holds up his gun and moves
forward.)
(The end of the small passageway leads to another intersecting passageway. He
walks all they way down and takes the next corner. This one opens up to a
larger room where there are strips of film negatives hanging from the ceiling.)
(FRANK checks out the room and finds that there's no one there. He takes the
time to look at the film negatives hanging from the ceiling.)
(There are photos of children and of adult men also hanging on the line.)
(FRANK looks around the room and finds a television monitor of a room where
BILLY MASON is bound hand and foot and lying on his side on the floor.)
(FRANK grabs the line behind the television set and uses the wires to follow
where the room camera might be. FRANK finds it and tugs it down. He follows
the thick white cable into another passageway.)
(At the end of the passageway is a large hole leading downward. The rain water
seeps through the ceiling here and drips down onto the floor.)
(FRANK looks at the hanging ladder on the side of the wall and uses it to
descend.)
(Cut to: The closet. The secret closet entrance closes shut; the pole twists
and snaps downward with a click.)
(FRANK reaches the bottom.)
(He takes out his flashlight and gun. He takes a couple steps down and sees the
diamond-shaped symbol on the wall.)
"BILLY MASON": (o.s.) Is somebody there? Help me.
(FRANK heads down the old stairs. The rain leakage is bad and there must be
several inches of dirty rain water in the old terminal. Spurred forward by the
little boy's cries for help, FRANK continues on.)
FRANK TAYLOR: Billy?!
(FRANK descends the rest of the stairs and makes his way down the corridor.)
FRANK TAYLOR: Billy!
(He passes by an opening on his way to the end of the corridor.)
"BILLY MASON": Help. Somebody.
(But turns around when he hears the little boy's voice. FRANK finds a closed
door. He kicks it in and walks through it. He looks through the hallway and
finds no one there. He calls out.)
FRANK TAYLOR: Billy!
"BILLY MASON": Help me.
(The voice sounds incredibly close. FRANK rushes over to the room where he
thinks its coming from.)
FRANK TAYLOR: Billy?
(He opens the door and looks inside.)
FRANK TAYLOR: Hold on, buddy.
(FRANK looks inside the room and steps inside. He walks into the room
completely, looking for the missing boy.)
FRANK TAYLOR: Billy.
"BILLY MASON": (o.s.) I'm over here.
(FRANK walks into the room and shines his light into the corner behind the
pipes. Instead of finding BILLY MASON, he finds SIMON impersonating BILLY.
SIMON (BILLY'S VOICE): Help me. Please.
(FRANK sees SIMON and reacts. He backs away slightly, his gun still out in
front of him.)
SIMON DEAN: Help me, Frank.
(SIMON steps to the side and promptly disappears. FRANK shines the light in
front of him again and SIMON is gone. The door to the room slams shut. FRANK
backs up into a pillar thinking that someone is there. FRANK glances back at
the door.)
(The door's bolt slides locked.)
(SIMON is still inside the room.
SIMON DEAN: You can't save him, Frank.
(His voice echoes in the room. FRANK looks around.)
SIMON DEAN: (taunting) .. you couldn't even save your own son.
(FRANK puts a hand to his forehead to block the sounds in his head. He turns
around and starts firing at the door. He empties his clip on the door.)
(The lock breaks. FRANK kicks the door open and walks out into the corridor.)
(FRANK determinedly continues to look for BILLY. He changes his empty clip and
continues down into the terminal area. He walks up to the empty car and looks
inside. He searches the car.)
(From up above, MARTIN GRANT drops some broken down parts onto FRANK.
Disoriented, FRANK takes a step backward. MARTIN grabs FRANK and swings him
around and up against the pole. FRANK drops his gun and it goes skidding across
the floor.)
(MARTIN punches FRANK, then elbows him in the back as he goes down. He picks
FRANK up and slams him up against the car pole, then swings him around against
the door.)
(MARTIN lifts FRANK up and pounds him up against the ceiling.)
(FRANK reaches out with both hands and boxes MARTIN'S ears. MARTIN drops FRANK.
FRANK advances and knees MARTIN; but MARTIN grabs FRANK and rushes him back
toward the car door. He fists FRANK'S face, then slams him against the chains,
then uses the chains to choke FRANK.)
(FRANK struggles to get free.)
MARTIN GRANT: (grunts) You shouldn't have come back.
(FRANK slams his head back into MARTIN who looses his grip upon impact.)
(FRANK hits MARTIN clear through the car glass. MARTIN tumbles out of the car
and onto the floor. FRANK walks out of the car and picks up the gun from the
ground. He stands over MARTIN.)
FRANK TAYLOR: Where's the boy?
(FRANK kicks MARTIN in the side. He cries out in pain. FRANK grabs MARTIN and
aims the gun at his head.)
FRANK TAYLOR: Where is he?
(MARCUS approaches the two men from behind.)
MARCUS BRADSHAW: Don't do it, Frank.
FRANK TAYLOR: (shouts) Where is he?!
MARCUS BRADSHAW: It's not worth it, Frank.
(MARTIN cowers in FRANK'S grip.)
(Before his very eyes, SIMON appears in FRANK'S grip instead of MARTIN. SIMON
turns his head toward FRANK and taunts him.)
SIMON DEAN: Do it Frank. Do it, Frank.
(FRANK let's MARTIN go. MARTIN gasps with relief.)
FRANK TAYLOR: You just got lucky.
(FRANK leaves MARTIN to MARCUS who puts the handcuffs on him as he reads him his
rights.)
MARCUS BRADSHAW: You have the right to not say a word.
(FRANK walks down the old abandoned subway cars and searches for BILLY. As he
passes one car, he hears a little boy sob.)
MARCUS BRADSHAW: (b.g.) Anything you say can and will be used against you in a
court of law. You have the right to an attorney. If you cannot afford an
attorney ...
(FRANK hears a child coughing.)
(FRANK climbs up the car and pushes the doors apart. He climbs into the car and
sees BILLY on the floor.)
FRANK: Hey. It's okay, Billy.
FRANK: It's okay.
FRANK: Come on, it's time to go home now.
(He holds out is hand to BILLY who reaches out and grabs it. BILLY crawls into
FRANK'S arms. FRANK holds on to BILLY and stands up.
FRANK: (softly) It's okay.
(FRANK turns and leaves the car.)
(In the background, sirens wail.)
CUT TO:
[EXT. -- NIGHT]
(Officer cars and an Ambulance stand by. More police cars pull up. MARCUS
exits one of them and meets up with JESSICA.)
(He points behind her. She turns around to look. Behind JESSICA, SUSAN MASON
also spots them. She smiles and runs toward her son.)
SUSAN MASON: Billy! Billy!
(She runs to her son and her husband who is already there.
SUSAN MASON: Oh, my god.
SUSAN MASON: Oh, baby, you're okay.
SUSAN MASON: My god.
(GREG MASON lets BILLY go to his mother, turns and shakes FRANK'S hand.)
(FRANK turns and sees JESSICA standing off to the side. She walks toward him.
They both watch the family reunion going on just a short distance away from
them.)
(Cut to: The EMT ambulance pulls away. FRANK and JESSICA walk along the road.)
JESSICA MANNING: You keep beating yourself up, Frank.
FRANK TAYLOR: I'm fine.
JESSICA MANNING: Mm-hmm. You get stabbed and you start acting strange. You
tell me that you're seeing things. I don't think so.
FRANK TAYLOR: Okay, so maybe I'm not always fine but, uh ... right now I'm ...
pretty close.
JESSICA MANNING: Will you at least think about talking to somebody? For me?
(FRANK looks at her and doesn't say anything.)
BLUR OUT TO:
[EXT. PARK - DAY]
(Camera opens on the chess pieces on the park table, then moves up toward HENRY,
who lightly touches the pieces with his hands. Camera moves out to show FRANK
walking across the grass toward HENRY.)
(The park is full of activity -- people walking their dogs, children playing,
people walking.)
(FRANK stops near the fence and turns to look at the children playing for a
moment. He turns and stuffs a baseball into the fence wiring. He turns and
walks away.)
(The camera refocuses on the writing on the baseball. It reads:
Kevin: NEVER Give up!
DAD'S # 555-7789
(Camera holds on the message.)
FADE OUT.
========================
THE END
========================
[Captioning sponsored by Viacom productions and UPN. Captioned by Media Access
Group at WGBH access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
Transcriptionist.
========================
BEGINNING/TITLE CREDITS (from aired pilot)
========================
HAUNTED
1X00: PILOT (UNAIRED)
[UNAIRED]
TRANSCRIBED FROM PROMOTIONAL VIDEO
Starring
MATTHEW FOX as Frank Taylor
RUSSELL HORNSBY as Marcus Bradshaw
LYNN COLLINS as Jessica Manning
MICHAEL IRBY as Dante
JOHN F. MANN as Simon Dean
with ROBERT KNEPPER as Henry
Guest Starring:
GARRY CHALK
Music by MARK SNOW
Producer: MARGARET RILEY
Producer: DEBORAGH GABLER
Produced by: PAUL HELLERMAN
Supervising Producer: ANDREW COSBY
Co-Executive Producer: RICK RAMAGE
Executive Producer: EMILE LEVISETTI
Executive Producer: KEITH ADDIS
Created by: ANDREW COSBY & RICK RAMAGE
Written by: RICK RAMAGE & ANDREW COSBY
Directed by: MICHAEL RYMER
========================
END CREDITS
========================
Executive Producers: KEITH ADDIS
Executive Producers: EMILE LEVISETTI
Executive Producers: SCOTT SHEPHERD
United Paramount Network. All rights reserved.
========================
END CREDITS (from aired pilot)
========================
IE (tm) Industry Entertainment
CBS Productions
VIACOM Productions, a Paramount Company
Co-Starring
MICHAEL EKLUND as Stan
DARCY CABMAN as David
RILEY CANTHER as Billy
MITCHELL FARQUHARSON as Kevin
NANCY SOREL as Susan Mason
ROBERT LEWIS as Greg Mason
LINNEA JOHNSON as Gina
SHARON BRATHWAITE as Young Nurse
KEATH THOME as Cop
MARK HOLDEN as Surgeon
SIMON EGAN as E.R. Doctor
SUSIE WICKSTEAD as E.R. Nurse
ADRIAN HOLMES as 2nd Nurse
Directory of Photograph: PETER WINSTORF
Production Designer: RICHARD HUDDLIN
Edited by: DADANY COOPER / SONDRA WATANABE
Production Manager: TARA COWELL-PLAIN
First Assistant Director: SEANNA McPHERSON
Second Assistant Director: GORD MacDONALD
Second Assistant Director: JENNIFER MELCHIORRE
Unit Production Manager: ROBERT P. COHEN
First Assistant Director: TENA YATROUSSIS
Second Assistant Director: DAN STUART
Casting by: VICTORIA BURROWS and SCOT BOLAND
Canadian Casting by: CAROL KELSAY, C.S.A.
Casting Associate: SAORI YAMAMOTO
Production Executive: DAVIE WATSON
Associate Producer: DEE D'ORAZIO
Set Decorator: FRANCESCA DAFFEN
Costume Designer: MARY McLEOD
Additional Photography: GORDON G. LONSDALE
Camera Operators: CASEY TONER
Camera Operators: KEN HEWLETT
Chief Lighting Technician: CHRIS MEANS
Key Grip: BRIAN D. SMITH
Property Master: KEN HAWRYLIN
Script Supervisor: KEN FRISS
Visual Effects Supervisor: MICHAEL PULIATEN
Special Effects Coordinator: RAE REEDAN
Production Coordinators: JOYCE SAWA
Production Coordinators: MICHELE FUTERMAN
Casting Assistant: JOSH EINSOHN
Production Sound Mixer: JOHN DOYLE
Supervising Sound Editor: MARK FRIEDGEN
Music Editor: JEFF CHARBONNEAU
Re-Recording Mixers: RICK ALEXANDER
Re-Recording Mixers: MICHELE
Casting Assistant: JOSE
Production Sound Mixer: JOHN DOYLE
Supervising Sound Editor: MARK FRIEDGEN
Music Editor: JEFF CHARBONNEAU
Re-Recording Mixers: RICK ALEXANDER
Re-Recording Mixers: RICHARD ROGERS
Post Production Video Services Produced by: THE POST GROUP & COMMAND POST /
TOYBOX
Post Production Sound by: ECHO SOUND SERVICES, INC.
Film Processing Provided by: ALPHA CINE MOTION PICTURE C.F.I.
Filmed with PANAVISION Cameras &
Executive in Charge of Production: BRUCE KERNER
The persons and events in this film are fictitious. Any similarity to actual
persons or events is unintentional.
(c) 2002 VIACOM PRODUCTIONS, INC. All rights Reserved.
First publication U.S.A.
Viacom Productions Inc. is the author of this program for purposes of Article
15(2) of the Berne Convention and all national laws giving effects therein.
This motion picture is protected under the laws of the United States and other
countries. Unauthorized duplication or exhibition may results in civil
liability and criminal prosecution.
Dated:02/08/2004~lky
http://www.webphilia.com/~anthology/wnp.html