Origin Story

7/29/2019 Origin Story

1/37

"Origin Story"

Written by

Ethan R. Friend

PRELIMINARY DRAFT:September, 2013


2/37

TEASER

INT. BARGAINMART, PORTLAND OREGON--DAY

A big box store. Shoppers push their carts along aisles

crammed with toys, cookware, clothing. A 1990s pop version ofSilent Night plays over the sound system.

CHECK-OUT

ANDRE MONROE (mid 30s) stands in line, holding a BOOK with apicture of a chimera on its cover.

SUPER -- DECEMBER 18, 1990: PORTLAND OREGON

The CASHIER, in her 50s, hands the woman in front of Andreher change. The woman pushes her cart toward the exit. Thecashier calls after her.

CASHIERThanks for shopping Bargainmart!

Andre hands the cashier the book. Her NAME TAG identifies heras SHEILA. She looks from the book to Andre.

SHEILA (CASHIER)Interesting choice.

Andre shifts, uncomfortable.

ANDRE

For my daughter. Her birthdayscoming up.

Sheila flips through a few pages.

SHEILALooks pretty good, though I dontknow how much of its factual.

She shrugs and scans the book. BEEP.

SHEILA (CONTD)Paper, or plastic?

EXT. BARGAINMART--PARKING LOT--DAY

Andre unlocks his car door and tosses his SHOPPING BAG ontothe passenger seat. A red MAGNETIC POLICE LIGHT sits on thedashboard. Andre gets in.


3/37

INT. ANDRES CAR

The RADIO crackles into life. GENE SHELLY SHELLICK, Andrespartner, speaks over the radio.

GENEMonroe. Andre, buddy, you there?

Andre picks up the mic.

ANDREYeah, Shelly, I copy.

GENEWe got another one. Abandonedwarehouse off of Grand.

ANDRE

On my way.

Andre hangs up the mic. He grabs the LIGHT from the dash, andslaps it on the roof. He turns on his SIREN.

EXT. PARKING LOT

Lights flashing, siren wailing, Detective Monroes car peelsout into the street.

INT. BARGAINMART--BREAK ROOM

Sheila hangs her apron up in her locker and closes the door.

JIM (50s), the manager, sits at the lunch table, eating asandwich.

JIMHeaded home, Sheila?

SHEILAAlmost. Need to pick up a fewthings first.

JIMChristmas shopping, eh? I supposeIll have to start mine sooner orlater.

SHEILASomething like that. See youtomorrow, Jim.

JIMTake care.

2.


4/37

INT. CITY BUS

Sheila, dressed in a dark cloak, looks out the window. Sheholds a copy of the same BOOK Andre had earlier.

SHEILA (V.O.)Dear Editor.

EXT. EAST BURNSIDE STREET NEAR LAURELHURST PLACE

Sheila steps off the bus. It pulls into the street with aHISS and drives away. Sheila walks down Burnside.

SHEILA (V.O.)I have just finished reading yourbook, Monsters of the World.While Mr. Stantons illustrationshave a certain style, one notes a

distressing number of errors intheir substance.

EXT. SE ANKENY

Sheila passes a series of bungalows surrounded by unrulyshrubs and trees with low-hanging branches. A small boyscoots by on a bicycle.

SHEILA (V.O.)The text is pure fabrication.Misinformation of this caliber isdangerous.

EXT. ABANDONED WAREHOUSE NEAR GRAND AVENUE

Andre gets out of the car and walks toward the warehouse,where two UNIFORMS are rolling out CRIME SCENE TAPE.

GENE walks to meet him.

ANDRETalk to me.

GENESame as before. Looks like a dumpsite, not the crime scene. Not muchspatter. M.E. figures about elevenlast night.

They reach the tape. Andre moves to duck under it. Gene putsa hand on his shoulder.

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GENE (CONTD)Wait. Theres something else.Something weird.

ANDREWhat?

GENEWhoever these kids are, it lookslike a family. Twins, maybe.

Andre looks at him, then ducks under the tape.

SHEILA (V.O.)The darkness is real. We must bevigilant. We must be ready.

Andre looks down at the BODY: a small boy, blond hair, blueeyes, a dark stocking cap. The throat slashed. Puncture

wounds down his frail torso.

ANDREWhoa. De ja vu.

INT. SHEILAS HOUSE--STUDY

Sheila sits at the desk, writing on an electric typewriter.

SHEILATo that end, let me offer you mygreat-grandfather Warren ConnellyJacksons Explorations In the Dark

as a worthy substitute. While itstone is of course more scholarlythan Mr. Stantons, I think youwill find it well-researched, andaccurate.

A SOUND comes from the hallways outside the study. Sheilaturns toward the door, listening. She resumes typing.

SHEILA (CONTD)This worthy volume has long sincelapsed out of print. As thecopyright holder, I would like tooffer you the opportunity-- toostuffy. This worthy volume--

The SOUND again. Sheila gets up and walks to the

INT. HALLWAY

Sheila pulls open the closet door. She scowls.

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SHEILAStop that. Someone will hear you.

INSIDE THE CLOSET

a boy squats, bound and gagged with duct tape over his mouth.

He looks IDENTICAL to the body in previous. He struggles,trying to scream through the duct tape.

HALLWAY

Sheila slams the closet shut.

CUT TO BLACK.

END OF TEASER

5.


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ACT ONE

INT. BARGAINMART, PORTLAND OREGON--ESTABLISH

Re-establish.

SUPER -- TWO DAYS LATER

INT. PET SUPPLIES AISLE

LISA ABBOTT, early 20s, very pregnant, restocks garish rubberdog toys from a stack of CARTONS on a cart. One TOY slipsfrom her grasp and falls to the tile floor.

LISADamn.

She groans and stoops to retrieve it.

ERIC KREUGER, a dwarf, quickly scoops it up and hands it toher. Lisa straightens, looking at him gratefully.

LISA (CONTD)Thanks, Eric.

ERICDont sweat it, Lisa. Shouldnt bebending in your condition. When doyou go on break?

Lisa wipes sweat from her brow with one hand.

LISANot for another hour. Gotta restockthese chew toys first.

ERICI could give you a hand if youlike. Nothing doing in hardwareright now.

LISAHey, thanks.

They both reach into the same CARTON of toys. Their handsbump each other. They both pull their hands back, laughing.

SHEILA (O.S.)There you are, Eric.

They turn toward the end of the aisle, where Sheila stands,arms crossed.

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SHEILA (CONTD)Theres a gentleman in aisle sevenhunting frantically for the rightdrill bit. Thats your department,if Im not mistaken.

Eric hesitates, looking at Lisa, the CARTONS.

LISAIts OK, Eric. Thanks.

ERICDuty calls, milady.

He bows. Lisa giggles. Eric gives Sheila a look as he passesher. Sheila takes his spot beside Lisa, and startsrestocking.

LISA

Killjoy.

SHEILAThere really is somebody overthere. Anyway, better if you dontassociate too much with him.Hes...not the right sort.

LISAEric? I think hes sweet.

She gasps suddenly, putting a hand to her belly.

SHEILAAre you all right?

Lisa gasps again, nodding.

LISAShes kicking fierce today.

SHEILAYou really shouldnt be here.Whatll you do if Elena decides tomake her grand entrance right herewith the dog toys and flea collars?

LISAYou know I cant afford to getdone. Not yet. Besides, the doctorsays she isnt due for another twoweeks.

She takes the last toy from a carton and hangs it up.

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9/37

LISA (CONTD)One down, fourteen to go. Hand methat box cutter, will you?

INT. COUNTY MORGUE--DAY

The M.E., DR. HOGAN (60s), digs his gloved hand inside anopen chest cavity, pushing aside the heart. He points to asort of SAC on the backside of the heart muscle.

DR. HOGANYou see that?

WIDER

Andre stands across the exam table. The two men lean acrossthe BODY of the child found by the warehouse two days ago.

ANDRE

Just like the other one.

DR. HOGANI dissected the first one youbrought in. Never seen anythinglike it. Its not cancerous, thatIm sure of.

ANDREThen what is it?

Hogan sighs.

DR. HOGANAs near as I can tell, its somekind of organ, though I cant beginto guess its function.

ANDREA family of mutants. Jesus.

Hogan peels off his gloves and steps to the sink, washing hishands.

DR. HOGANThe only other thing I can tell youis the killer used the same weaponas last time. A triangular blade,very sharp. Traces left in thewounds suggest iron, rather thansteel. Probably very old. Anyoneclaim the bodies yet?

Andre shakes his head.

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10/37

ANDRENo luck canvassing, either.

DR. HOGANWell, they had to come fromsomewhere.

Andre looks down at the body.

INT. BARGAINMART-- CHECKOUT

Sheila hands a customer change.

SHEILAThanks for choosing Bargainmart.Happy holidays!

The customer pushes his cart toward the exit. Sheila sipsfrom her WATER BOTTLE and looks toward the

HARDWARE DEPARTMENT-- SHEILAS POV

Eric sprays glass cleaner across the knife case, then wipesat it with a rag. He looks around the department, then setshis cleaning supplies on the counter and walks toward theback.

CHECKOUT

Sheila waves her arm toward the customer service desk.

SHEILA (CONTD)

Bathroom break, Jim!

INT. HARDWARE

Sheila crosses the deserted hardware department. She reachesthe back aisle in time to see Eric disappear into the

INT. STORAGE ROOM

Sheila slips inside the swinging doors into the dimly litstorage room. She picks her way along rows of rusty shelves,stacked with CARTONS of overstock. She moves down one ofthese aisles to the cavernous TRASH COMPACTOR. No sign ofEric.

The rear exit door, to the left of the compactor, standsajar. Sheila pushes it open and steps through.

EXT. BEHIND THE STORE

Sheila scans the litter-strewn pavement. Weeds grow in thecracks around the ancient dumpster.

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11/37

ERIC (O.C.)Help you find something, Sheila?

Sheila whirls. Eric leans against the building beside thedoor, smoking.

SHEILAYou startled me.

ERICSorry. Looking for something?

SHEILAI-- have you got another of those?

ERICDidnt know you smoke.

SHEILA

Sometimes. During holiday.

Eric fishes a PACK from his apron pocket. He draws out acigarette and tosses it to her. He snubs his own butt out onthe pavement and heads toward the door.

ERICDont let Jim catch you, eh?

He slips inside. Sheila looks doubtfully at the cigarette.

INT. PRECINCT--DAY

Andre sits at his desk, looking at PHOTOS of the murderscenes. Gene hangs up the phone and sighs.

GENEThat was Romero. Still nothing fromthe canvass. Hey, you wanna go outfor a cigarette.

ANDREYou quit.

GENEYeah, but you didnt. And whatDolores doesnt know--

ANDRE--will still kill you.

He stuffs the photos back into their FILE FOLDER and closesit.

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12/37

ANDRE (CONTD)Hell if I know, Shelly. Thisthings starting to give me thewillies.

GENE

Yeah, its a weird one, all right.

ANDREIm serious. Hogan says the knifeis an oldie. And then theres thoseweird hearts. Howd the killer knowabout that?

GENEHe didnt. I told you, its afamily thing.

ANDRE

And thats the other thing.Nobodys claimed the bodies. Nobodyknows who these kids even are. Itsnot normal, and you know it.

Andre covers his face with his hands, then reaches for thefile again.

GENEYou wanna go grab a burger orsomething?

ANDRE

Arent you supposed to be off redmeat now, too?

GENEYoure a monster.


Lisa and Sheila sit across the table from each other, eating.Lisa spears a bite of salad and waves her fork at Sheila.

LISAYoure overreacting. Hes a humanbeing, not a monster. He cant helphow he was born. Give the guy abreak.

SHEILAIts not that. Not really. Itsjust-- Dont you think he comes ona little strong after only beinghere a month?

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LISAHes just friendly.

SHEILAToo friendly.

LISAHes nice. I havent seen a lot ofnice since a certain Daddy whoshall remain nameless turned out tobe married. Give the guy a break.

SHEILAIm sorry. I just worry about you.Ill try to be nicer. Just becareful around him, OK?

LISAOK, Sheila. OK.

INT. SHEILAS HOUSE--LATER

Sheila enters through the front door, holding an orangeKITTEN. She talks to it in a high baby voice.

SHEILAJust a wittle pretty kittikins,arent you? Yes.

INT. KITCHEN--MOMENTS LATER

Sheila pours milk into a dish on the counter and nudges it

toward the kitten, who totters forward and drinks. Shestrokes its back with two fingers.

SHEILAMmmm, so tasty. Just what kittyneeds. Yous a good kitty...

INT. HALLWAY

Sheila approaches the closet, holding the kitten. It MEWS andsquirms in her grip. She opens the door to the closet, whichis dark.

The kitten MEWS again, clawing at Sheilas hands, trying toget away.

SHEILAYou know what I need. And Im sureyou know what I can do to you. Solets make a bargain. Tell me whatI want to know, and you can eat.

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The kittens squirming becomes frantic. It sinks its teethinto Sheilas thumb. She jerks her hand away.

SHEILA (CONTD)In fact, Ill let you eat first. Ifyou cross me, however, the

punishment will be excruciating.Are we agreed?

Apparently she receives the answer she needed. Sheila nods.

THE KITTEN

Mewing, the kitten thrashes in Sheilas grip as she tightensone hand around its head.

SHEILA

Her face twists with exertion. From off-camera, a WET

CRUNCHING SOUND. The kitten is silent.

CUT TO BLACK.

END OF ACT ONE.

13.


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ACT TWO

INT. SHEILAS KITCHEN

Sheila stands at the sink, scrubbing at her BLOODY HANDS.

Tears trickle down her cheeks. She straightens, pushes herhair back.

Sheila looks over her shoulder down the hallway to thecloset.

INT. THE STUDY--NIGHT

Sheila sits at the desk, poring over her grandfathers BOOK.The open page shows a hand-drawn ILLUSTRATION of a grotesque-shaped humanoid creature with pointed ears.

SHEILA

The Erlkin. Of course.(reading)

Often employed by more powerfulsarkics for espionage. Masters ofdisguise, often presentingthemselves as children or dwarves.Frequently associated, in legendand fact, with thievery and theabduction of infants.

Sheila looks up, thinking.

SHEILA (CONTD)

What does he want the baby for?

The clock on the wall CHIMES. Sheila looks up. Midnight.

SHEILA (CONTD)Goodness. The time. Best getmoving.

She stands hurriedly, and heads for the hallway.

INT. ANDRES APARTMENT-- BEDROOM-- NIGHT

The ALARM CLOCK on the night stand reads 1:15. The phoneRINGS. From the bed, Andre gropes, finds the phone, answers.

ANDRE(sleepy)

Yeah? On my way.

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16/37

EXT. LAURELHURST PARK--NIGHT

Andre stands near the north end of Firwood Lake in the middleof the park. Three BODIES lie on the ground around him. Thefirst looks exactly like the previous children. DRIED BLOOD

covers its lips and chin. The other two could be hissiblings, perhaps cousins.

Gene passes Andre a PAPER CUP of coffee.

ANDREThanks, Gene.

GENENo prob.

He surveys the trees. The winds RUSTLES the leaves.

GENE (CONTD)Never liked this place. Too manytrees. Nature in the heart of thecity.

ANDREWhat do we have so far, city boy?

GENEStaging of the first vic matchesthe previous kills.

ANDRE

Suggesting another dump.

He crouches down beside the bodies.

GENEBut these other two-- sloppy.Theres no staging. Throats arentslashed. The knife works alldifferent.

ANDREMaybe the perp was in a hurry. Hedumps the body, then realizes theother two kids are witnesses. Hasto act fast.

Something catches Andres eye. He leans toward one of the un-arranged bodies, training his FLASHLIGHT on one outstretchedfist.

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GENEOr maybe were looking at twokillers. First killer dumps thebody. The other kids wander intothe park, followed by our secondkiller.

THE CHILDS FIST-- CLOSE-UP

Andre pulls open the childs bloody fingers with one glovedhand, revealing a torn scrap of PAPER, soaked in blood.

GENE (O.C.) (CONTD)They find the body. They panic. Andin their confusion--

ANDRE

He holds the PAPER up, looking at it in the flashlights

beam.

ANDREWho called it in?

Gene gestures down the walking path toward the

EDGE OF THE CRIME SCENE-- ANDRES POV

A hooded homeless man-- CHARLIE-- stands talking to auniformed officer.

GENE (O.C.)

Some crackhead who claims he waslooking for a bench to sleep on.

ANDRE

As before. Andre turns his attention back to the PAPER.

GENE (CONTD)Hey, what is that?

INT. INTERROGATION ROOM

Charlie sits at the table, fidgeting. Andre slaps a FILE onthe table. Charlie jumps.

ANDRECharlie Morrisey. Three years onpossession charges. Sexualmisconduct with a minor, chargesdropped. Start talking.

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18/37

CHARLIEHey, man, I didnt have nothing todo with those kids.

ANDREI didnt say you did. Just tell me

what happened.

CHARLIEIt was crazy, brah. Like somethingout of a movie.

EXT. LAURELHURST PARK--NIGHT-- FLASHBACK

Charlie walks along the path that loops around the lake. Hefreezes and ducks behind a bush. He peers through thebranches.

THE LAKE SHORE-- CHARLIES POV

A cloaked FIGURE-- Sheila-- drops the childs body onto theground. The figure bends to arrange the limbs.

SHEILA

She stands up, looking down at the body. A low HISS comesfrom behind her. She whirls.

The second CHILD stands before her. He steps toward her, hismotions suggesting an animal more than a child. He speaks,his voice sibilant.

CHILDAnother of our line has fallen. Buthe shall be the last by your hand.

SHEILADont bet on it. Ill still bekilling monsters when the last ofyour kind has been forgotten.

She draws a long, triangular BLADE from within her cloak. Thechild advances. Sheila steps toward him.

The third child suddenly LAUNCHES itself from behind a tree,landing on Sheilas back. She whirls, slashing at both of thechildren. They SNARL, biting, clawing at her.

THE LAKE SHORE-- CHARLIES POV

The fighting continues.

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CHARLIE

Charlie backs away from the bush, eyes wide.

INT. INTERROGATION ROOM

Andre stands, leaning across the table.

ANDRECome on, Charlie, cut the crap. Youfollowed those kids into the park,hoping to score a little action.Then you found them with the body,and you thought What the hell, thecopsll pin it on this guy.

CHARLIENo, it wasnt like that, I swear.

ANDREThan give me something I canbelieve! Not this Highlander bull--

A KNOCK at the door. Both men turn to look as Gene sticks hishead in.

GENECan I borrow you a sec?

Andre walks to the doorway.

ANDREWhats going on, Shelly?

GENECall just came in. Romero talked toa guy who lives on Oak Street,right off the park. Serious case ofinsomnia. He was on his porch,having a smoke, when he says he sawsomebody run out of the parkwearing a black cloak.

Andre looks back at Charlie.

ANDRESon of a bitch.

GENETheres more. Hogan called.

ANDREYeah?

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20/37

GENEAll three of these kids had thesame heart mutation as the lasttwo.

ANDRE

Jesus.

Andres BEEPER goes off. He glances at it.

ANDRE (CONTD)Hogan. Must be important.

GENELets go.

They head down the hall. The interrogation room door swingsshut. Charlie jumps from his chair.

CHARLIEHey, guys?

INT. MORGUE--NIGHT

Dr. Hogan holds a pair of FORCEPS, at work in the abdomen ofthe child with blood on its face. Andre and Gene stand to oneside, observing.

DR. HOGANNever seen anything like it.Stomach contents are primarilychunks of meat. Raw.

GENE(disgusted)

Tasty.

Hogan pries something out with a grunt.

DR. HOGANWhen I realized what this was, Icalled you immediately. There wego.

He raises the forceps.

FORCEPS-- CLOSE UP

A triangular piece of CARTILAGE clenched between the forceps,covered in blood. Small shreds of flesh and hair cling to it.

WIDER

Andre stares.

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21/37

ANDREWhat the hell is that?

DR. HOGANAn ear. A cats ear.

EXT. LAURELHURST PARK--NIGHT

The moon gleams over the treetops.

EXT. MOUNT HOOD--DAY

The sun rises, bathing the mountain in its light.

EXT. EAST BURNSIDE--DAY

A city bus trundles past the tree-shaded houses.


Re-establish.


Sheila comes in for the start of her shift. She winces as shecloses her locker and starts donning her apron. She pushes upone sleeve, revealing an ugly purple BRUISE.

Sheila looks around. Shes alone. She opens Erics locker.

A decorative, curving KNIFE and a curious carved STATUETTEsit on top of a folded Bargainmart apron. Sheila picks up the

knife, studying it.

ERIC (O.C.)Looking for something?

Sheila whirls. Eric and Lisa stand beside her. Lisas eyeswiden in shock. Sheila sets the knife down.

LISASheila, what are you doing?

Sheila steps away from the locker.

SHEILAGet away from him, Lisa.

LISAYou cant just go through otherpeoples things--

SHEILATell her.

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ERICWhat are you--

Sheila reaches into her apron pocket and pulls out theTRIANGULAR KNIFE seen earlier.

SHEILATell her. Erlkin. Sarkic.

ERICThis is crazy.

SHEILAIs it? Tell her, Eric. Tell her howyour ancient people glorify themoon in blood. Tell her why yourmasters have sent you out of theshadows.

She raises the KNIFE. Lisa jumps forward, grabbing her arm.

LISAShut up! Will you shut up, youcrazy old bat!

Sheila stares at her. Her arm lowers.

SHEILALisa, I--

Jim enters from the back room.

JIMWhat the heck is going on here?

ERICShe came at me with a knife. Shewas going to kill us both.

Tears fill Sheilas eyes.

SHEILAYou monster. Let go of me.

She tears loose from Lisas grasp and lunges toward Eric. Hecries out. Lisa falls back against the break room table,clutching her belly. Jim jumps forward to protect Eric.Sheila struggles against him. He grabs her wrist and twistsit til the knife CLATTERS to the floor. He releases her. Theystare at each other, panting.

JIMI want you out of here. Now.

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SHEILAJim, please.

JIMEric, are you all right?

ERICIm fine.

JIMSheila, weve known each other along time. Until this morning, Ithought of you as a friend. Asfamily. Youve got two minutes toclear your locker and be out thefront door, or Im calling thepolice.

SHEILA

Jim--

JIMI mean it. Dont you ever comeback.

Crying now, Sheila empties her locker and pushes past them.Lisa drops into a chair. She moans. Jim puts a hand on Ericsshoulder.

ERICIm OK. Really. No need to callanybody.

LISAYeah, there is.

They turn to look at her. She gasps in sudden pain. The twomen look at each other, understanding: shes gone into labor.

EXT. BARGAINMART--PARKING LOT--DAY

PARAMEDICS wheel Lisa out of the store on a GURNEY, followedby Eric and Jim.

Sheila watches from across the lot, behind a parked car.

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AMBULANCE-- SHEILAS POV

The paramedics load Lisa into the back of the ambulance. Erictries to join her in the back, but is blocked by themovements of the paramedics. They close the back door and the

ambulance drives away, siren WAILING.

FADE TO BLACK.

END OF ACT TWO

23.


25/37

ACT THREE

INT. MATERNITY WING CORRIDOR--NIGHT

Two NURSES converse quietly at their station. The phone

RINGS. A doctor in scrubs moves down the hallway, past theopen door to

INT. ROOM 315

Lisa lies half-propped up in bed. Baby ELENA sleeps in awheeled BASINET near the foot of the bed. Eric stands byLisas side, looking down at her.

LISABut even so, they say we should beOK to go home tomorrow.

ERICThats wonderful. And listen, Imsorry if Im overstepping here, butif you need anything, anything atall--

LISAYoure sweet.

(tearing up)Im so sorry about today. I dontunderstand it.

ERIC

Its OK.

LISANo. She was crazy. Ive never seen--you really should call the police.Talk to a lawyer about arestraining order. Something.

Lisa looks over at the basinet. Eric slips a hand into hisjacket pocket.

LISA (CONTD)Shes beautiful, isnt she?

Eric smiles.

ERICYes. She is.

He starts to draw his hand out, obviously holding something.A NURSE sticks her head inside the room.

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26/37

NURSEIm sorry, Mr. Kreuger, butvisiting hours are over fortonight. You can come backtomorrow.

Eric pulls his hand out of his pocket-- empty. He turnstoward the Nurse.

ERICYeah, OK.

(turning back)Ill see you tomorrow. Get somerest.

Lisa grabs his hand and squeezes.

INT. TORIS LIVING ROOM--NIGHT

Sheila sits on the sofa in her neighbors cluttered livingroom, watching television and sipping tea. The neighbor,TORI, a middle-aged dwarf woman, sits in a nearby easy chair,swirling the dregs in her own MUG.

TELEVISION NEWSCASTER (O.C.)And thats the evening in briefhere on Channel Sixteen, DecemberTwenty-first, 1990. Good night.

THEME music plays. Tori stops swirling and looks into thecup. She snorts.

TORIAnother bird. I swear, youd expectmy mailbox to be overflowing.

SHEILAWhat am I supposed to do now?

Tori looks over at her.

TORIYouve got some years left in youyet. Something else will comealong.

SHEILAOh, that.

TORII know just the thing. Adistraction. Give here.

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27/37

She gestures for Sheilas cup. Sheila complies. Tori swirlsit around, then inverts the contents on a saucer. She rightsthe cup and peers into it.

TORI (CONTD)Whats this thing here? A knife of

some kind. Danger. Romance.Adventure. A full moon. And thishere. What does that look like toyou?

She proffers the cup. Sheila freezes.

SHEILAA dog. A big, black dog. Thespecter of Death.

Tori sets the cup aside quickly.

TORIIt might just as easily be a bear.And what does it matter, anyway,its only an old parlor game, justsome girlish fun, it doesnt mean--

Sheila bolts from the sofa and heads for the door as a talkshow comes on the TV.

TORI (CONTD)Where are you going? Sheila?

INT. SHEILAS HOUSE--STUDY

Sheila hurriedly shoves papers, books, knives into aKNAPSACK. She runs a hand across the wood of the desk. Shelooks at the pictures on the wall. She picks up hergrandfathers book, starts to back it. Changes her mind. Shelooks at it a long moment, lips pursed.

INT. ERIC KREUGERS APARTMENT--NIGHT

A cluttered studio. Clothing lies strewn about the furniture,the floor. Eric stands near the window looking down at theneighborhood street, the PHONE to his ear.

ERICNaw, nurse got in the way. Its toocrowded there. Yeah, but shell beout in a day or two. I know, UncleMort. Yeah. I wont let you down.

He turns to look at himself in the wall mirror. He grins.

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ERICS POV

The grotesque face of the ERLKIN from Sheilas book grinsfrom the mirror. The creature speaks into the telephone.

ERLKIN (ERIC)By the blood of the fallen.

SLEET begins tapping against the window.

FADE TO BLACK.

END ACT THREE

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ACT FOUR

INT. PRECINCT--DAY

Andre sits at his desk, on the phone.

ANDREDid you have a good birthday? Good!Soon, honey. No, the day after. No,Mommy gets Christmas Day.

Gene enters, holding a manila FOLDER. He points at it. Andrenods and waves him over.

ANDRE (CONTD)Listen, honey, I gotta go. Catchingbad guys. I love you Corrine.

He hangs up and turns to Gene, all business now.

ANDRE (CONTD)Talk to me.

Gene tosses the folder onto Andres desk. Andre opens it,revealing blow-ups of the scrap of PAPER found previously.

GENELab guys just got done with thatpiece of paper. Its a receipt fromthat big store out toward Gresham,what do you call it.

ANDREBargainmart.

GENEThank you. Purchase of one item,from the Literature section. Twelveninety-five, minus a ten percentemployee discount.

Andre blinks.

INT. BARGAINMART-- CHECKOUT-- FLASHBACK

Sheila rings up Andres book purchase and hands it back tohim.

INT. PRECINCT--PRESENT

Andre grabs his coat from the back of his chair.

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ANDRELets go.

GENE(calling after him)

Go where?


Andre and Jim walk past the checkout lanes toward Jimsoffice. Gene lags a few feet behind.

JIMSheila was one of our betterassociates. Always good with thecustomers, got along well with justabout everybody. Until yesterday.

ANDRE

What happened?

JIMShe attacked another associate. Ihad to let her go.

GENEWhy didnt you report it?

JIMEric asked me not to.

ANDRE

Eric?

JIMEric Kreuger. He covers hardware.Nice guy, transferred in fromCleveland a couple months ago. Sortof a, what, little person?

INT. JIMS OFFICE

Jim walks over to his desk and sits.

JIMAnyway, he wasnt actually hurt, soI didnt push the issue. Still, ifI hadnt gotten between them intime...

He opens the top drawer in his desk and pulls out SheilasKNIFE. He hands it across the desk to Andre.

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Andre inspects it. Its very old, the blade made of iron.Triangular. He turns to Gene.

ANDREWe need a warrant.

(back to Jim)

Id like to talk to Eric Kreuger.

JIMHe hasnt come in today.

INT. SHEILAS HOUSE--DAY

Andre kicks in the front door, gun drawn. Gene and threeOFFICERS in bullet-proof vests follow him inside. They fanout into different rooms. Each officer calls Clear. Andresteps into

INT. STUDY

He looks at the disheveled papers, the pictures on the walls.He lowers his gun.

ANDREClear.

GENE (O.C.)Hey Andre.

INT. HALLWAY

Gene stands before the open closet door. Andre joins him.

Gene points to the RED STAIN on the floor of the closet.

GENELooks like blood. Better get CSUdown here.

ANDREWhere is she?

EXT. HOSPITAL PARKING LOT-- LATE AFTERNOON

Jim pulls up near the exit as an attendant wheels Lisa to thecurb. She holds the sleeping baby in her arms. Jim gets outto help load everything.

INT. JIMS CAR

Jim stops at an intersection in Southeast. Lisa cradles Elenain her arms.

LISAThanks for picking me up.

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JIMDont worry about it. I meant whatI told you yesterday. Yourefamily. I mean, if Cheryl and I hadever had a daughter-- Well, anyway.Here we are.

EXT. BELMONT STREET--EVENING

Jim pulls up outside Lisas apartment on Belmont.

INT. LISAS APARTMENT-- LIVING ROOM

Lisa carries the baby in. Jim comes behind, lugging a carseat, a diaper bag.

LISAJust set that stuff down wherever.

She moves toward the bedroom. Jim sets the baby accoutrementsin the hallway and closes the door. He bends down to pick upthe car seat. Eric steps behind him, blocking the door. Heraises a KITCHEN KNIFE. A grin twists his face into somethinghorrible.

INT. BEDROOM

Lisa tucks the sleeping Elena into an old wooden crib.

LISAThere, baby. All home and snug.

(calling to Jim)

Help yourself to anything in thefridge if you want. Jim?

She steps back into the

INT. LIVING ROOM

Jim sprawls facedown on the floor, covered in blood. Lisasteps nearer.

LISAJim?

A SOUND. She turns to the left. Eric stands there, covered inJims blood, still grinning.

Lisa screams and bolts toward the bedroom. Eric chases her,knife raised.

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INT. ANDRES CAR

Andres driving too fast. Gene rifles through some of thePAPERS from Sheilas place.

GENEListen to this. The blood of thechild not yet eight days old is ofgreat value to them, almost theequivalent of gold in our society.Jesus.

(turns a few pages)And here it says... talking about asacrifice. Killing the baby underthe moon of the solstice is said toinfuse the blood with even greatersignificance. Can you believe thiscrap?

ANDREDidnt the manager say one of theother employees had just had ababy?

Gene checks his pocket NOTEBOOK.

GENEYeah, Lisa Abbott. Looks like shelives in that apartment house onBelmont, near 28th. Andre, come on,man, you dont really believe--

ANDRENo. But Sheila does.

(grabbing his radio mic)This is detective Monroe,requesting back-up.

INT. LISAS BEDROOM

Lisa frantically jiggles the button on the phone, but theresno dial tone. She glances toward the bolted door. On theother side, Eric continuously POUNDS against the door withsomething heavy.

LISAOh, God. Please.

ERICLisa, come on. It doesnt have tobe this way. We just want thechild.

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LISALeave us alone!

The door SPLINTERS. Eric keeps pounding. Lisa searches forsomething, anything, to use as a weapon. Elena CRIES from hercrib. Lisa picks up a shadeless LAMP. Eric smashes an arm-

sized hole through the door. He reaches for the knob. Lisahits him with the lamp. Glass and porcelain rain on thecarpet. Eric HOWLS and withdraws his arm. Lisa backs away,dropping the lamp. Blood drips from her fingers. She grabsonto the crib for balance, gasping.

Eric cannonballs through the door, smashing it into pieces.Lisa screams. Eric gets to his feet. His human disguise isgone. He is every inch the Erlkin.

He jumps on her, KNIFE raised. The knife descends again andagain. With each blow, Eric FLICKERS between his human formand his true face. Lisa screams, then falls silent. The

Erlkin keeps stabbing her.

At last he stands, drenched in Lisas blood. Elena wails fromher crib. Eric steps toward her.

The window to his left explodes inward as Sheila, wrapped inher cloak, jumps through the glass. She draws her own weaponfrom beneath the cloak. They stare at each other.

SHEILAYou shall not take the child,sarkic.

Eric hisses. His voice lacks all humanity.

ERICStep aside, woman. She bears themark already.

SHEILAIf you run, there is some chanceyour masters will have mercy. Iwill not. Touch her, and you willfall. Flee, and you may yet live.Your move.

Eric stares at her, thinking. SIRENS approach from thedistance.

EXT. LISAS APARTMENT BUILDING--NIGHT

Andre and Gene run toward Lisas apartment, guns drawn. Twocruisers pull up beside Andres sedan, SIRENS wailing. TheOFFICERS jump out of the car and follow the detectives.

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INT. LISAS APARTMENT--FRONT ENTRY

Andre kicks the door in. He steps over Jims body and rushestoward the shattered bedroom door.

GENEGet an ambulance. Man down.

He follows Andre into

INT. LISAS BEDROOM

Eric and Sheila are gone. Lisa lies on the floor, mutilatedalmost beyond recognition. Broken glass lies everywhere. Thecurtains blow in the breeze coming in the window. Andreapproaches the crib. Its empty.

From outside the bedroom, cries of Clear! Gene nudges the

discarded kitchen KNIFE with his foot.

GENEThink I found it. Andre?

Andre stares out the window at the CRESCENT MOON.

ANDREWhere are you?

EXT. WATERFRONT

Sheila walks quickly along the dark street, clutching Elena

to her. She passes a huddle of HOMELESS FOLKS gathered arounda burning TRASH BARREL. It starts to rain.

FADE TO BLACK.

END OF ACT FOUR

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TAG

INT. PRECINCT--DAY

Andre sits at his desk, on the phone. Gene works at his

computer.

ANDREThanks again.

He hangs up.

SUPER -- MARCH, 1991

GENEWho was that?

ANDRE

A lead on the Chesnyk case.Somebody thought he saw our vicoutside a jewelry store in thePearl just after ten.

GENEYou want to go down?

ANDRENaw, send a uniform. Probablynothing.

A MAIL CARRIER walks up to the desk, holding a PACKAGE.

MAIL CARRIERDetective, this just arrived foryou.

She hands the package to Andre and exits.

GENEWhat is it?

ANDRENo return address.

He opens it. Inside is Sheilas grandfathers BOOK. Theres anote taped to the cover. Andre pulls it off, reading.

SHEILA (V.O.)Detective. I hope you dont mind mywriting to you. I got your name offthe news. They said you werelooking for us. Dont.

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ANDREIts from her.

Gene comes over to look.

SHEILA (V.O.)

There is a great deal more in thisworld than is dreamt of in yourphilosophy, detective. I hope youwill find this book of some use.Sheila Jackson.

GENEThat crazy bitch.

Andre grunts in reply. He opens the book and begins reading.Gene walks to the window.

GENE (CONTD)

We can try to trace it, but we bothknow that wont get us anywhere.

ANDREProbably not. Where do you supposeshe is now?

EXT. DRIVEWAY OF A NEW ENGLAND HOME--DAY

Sheila climbs out of a black sedan. Her glasses are gone. Herhair is gray, tied back. A REALTOR gets out of an adjoiningcar, smiling.

SUPER -- HOPELAND, CONNECTICUT

The realtor hands Sheila a set of keys.

REALTORThere you are, Ms. Spruce. Thehouse is yours.

Sheila smiles. She turns and looks at the car. Through thewindshield, we see baby Elena in her car seat, kicking herfeet, looking around in wonder.

END OF EPISODE.

36.

Origin Story

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Transcript of Origin Story