"Pilot"
Written by
OVER BLACK: The snarling of wolves.
FADE IN:
EXT. GALENA OUTSKIRTS (1992) - EVENING
A beautiful auburn sunset over the outskirts of a cold,
secluded, old fashioned town. Wooden and stone buildings are interspersed between dirt roads.
In the middle of the snow, by a patch of trees, three large grey wolves tear into a large moose carcass.
SUPERIMPOSE: GALENA, ALASKA 1992
About a hundred feet away sits a two story wooden house. Not quite a lodge, but a place that could easily fit a family of four.
On a small balcony CHRIS KRAMER (4) - dark hair, light eyes - stands and watches the animals eat. He is bundled up against the cold and a thin leather necklace adorned with a single wolf tooth dangles around his neck.
One wolf, blood and flesh dripping from its mouth, looks up at the young boy.
Chris meets its gaze, nervous but intrigued.
As he stares, his hand absentmindedly goes to his necklace and grabs the tooth.
INT. WOOD SHED - NIGHT
A broken down wooden shack. Stacks of wood sit in the corner and snow collects under an ajar door.
In the middle of the room SAMUEL TURNER (28) - strong, gruff, mean - is tied to a chair. He wears a thin black watch on his wrist and bleeds from numerous wounds.
In front of him, bloody apron draped over his slim frame, stands ANGUS EDWARDS (30). He is a charismatic man with a cold smile and no patience.
Next to Angus are the silhouettes of two MEN who cannot be seen.
SAM Angus ple-please.
ANGUS
I don’t want to torture you Sam. You know that isn’t my business. I’m more of a straightforward kind of guy. Torturing is more their speed.
He motions to the men, who laugh. SAM
I-I didn’t... ANGUS
Didn’t what? Do anything? Angus backhands Sam, who spits blood.
ANGUS (CONT’D)
Don’t fuck with me Sam, it’s not worth it. There’s no reason to play dumb here.
SAM Pl-p-p...
ANGUS
You did this Sam. You put yourself in that chair, not me. I don’t like being betrayed.
SAM Angus
I-Sam slips in and out of consciousness.
Angus grabs Sam’s face and squeezes his cheeks together. ANGUS
Huh? What’s that? I can’t hear you. SAM
I-I...
Angus violently throws Sam’s head back. ANGUS
You know, it’s a goddamn shame this happened in the dead of winter. Ground’s way too cold to bury ya, but I’m sure you’ll find a home.
SAM I-I...
Sam’s tries to speak, but coughs. ANGUS
Honestly, I hate to leave your wife and girl all alone like this. But I’m sure they’ll find someone to keep them warm.
SAM Angus-Plea...
Sam’s eyes slowly close and he goes still. ANGUS
(To Men)
Put him out in the bush, someplace where only the wolves will find him.
Angus walks up to the door.
ANGUS (CONT’D)
And be careful where you dump him. This body could stir up trouble. Angus pushes through the door and leaves.
EXT. GALENA OUTSKIRTS - EVENING
Chris stands on the edge of the balcony and watches the wolves enjoy a new kill. It is much darker than last time, the sun has almost disappeared over the mountains.
The wolves snarl in the darkness, their eyes reflecting in the dull light.
As Chris watches on, through the fading twilight, the pack can be seen tearing away at the vague form of a human body.
ACT ONE
INT. HOTEL ROOM (PRESENT DAY) - NIGHT
A small, dark but surprisingly clean hotel room.
A cigarette slowly burns on the night stand next to a cell phone and a gun.
On the bed, the aged but attractive SARAH CARTER (29) rides cowgirl style on top of the strong and tired body of THOMAS MOORE (45).
SUPERIMPOSE: ALASKA, PRESENT DAY SARAH
Oh Tom, don’t stop! Don’t you fucking stop!
Tom looks past Sarah, lost in thought. THOMAS (V.O.)
When I was young my grandfather told me an old Native American tale.
SARAH Oh God!
THOMAS (V.O.)
According to the story, a young boy once asked his elder to explain the world. The elder replied by saying that there is a battle going on inside every person. The battle, he went on to explain, was between two wolves. One wolf represented all of good and kindness in mankind.
SARAH Ah!
Sarah grabs Thomas’ hair, climaxes and rolls off of him. THOMAS (V.O.)
The other, all of the evil and sin within our hearts.
Sarah slowly kisses down Thomas’ stomach and starts to perform fellatio on him.
THOMAS (V.O.)
Upon hearing this, the boy then asked the elder a simple question. Which one wins the battle? And the elder replied, which ever one you feed.
Thomas climaxes, but it is distant, hollow. The only sign is a flickering of his eye lashes.
THOMAS (V.O.)
I’ve been feeding the darkness for a long time now. I’ve never
regretted it, and it’s always hungry.
Sarah smiles and crawls back up the bed. She leans into Thomas’ ear.
SARAH (Whisper) How was it? Thomas ignores her.
SARAH (CONT’D) Tom? THOMAS Huh? SARAH What’s wrong? THOMAS Nothing. SARAH
What you thinking about? THOMAS
My wife’s dying Sarah. SARAH
I know that. Hell, everybody in town knows that. I thought those were the type of things you came to me to forget about, not remember.
She reaches over to the cigarette and takes a drag. THOMAS
You ever wonder if we’re bad people?
SARAH
Nah. Bad people do bad things, we’re just doing what’s natural.
THOMAS
So you have no regrets? SARAH
Oh, I sure as hell have regrets. But screwing ain’t one of em.
She offers the cigarette to Thomas, he takes a drag. SARAH (CONT’D)
Why you thinking so much? You’re usually passed out this long after a blow.
THOMAS
I just can’t help but shake this feeling.
SARAH What’s that?
THOMAS
That a storm’s coming. SARAH
Well sure. You seen the termination dust? It’s damn near freezing
outside as is. THOMAS
Not that kind of storm-I’m nervous is all.
SARAH ‘Bout what?
THOMAS
Not sure. But these decisions, these choices we make, don’t you ever worry they’re gonna come back to haunt us?
Sarah wraps her naked form around Thomas and nibbles his ear. SARAH
Honestly Tom, if you’re thinking this much after fuckin’, maybe they already are.
EXT. GRAVEYARD - OREGON - DAY
A grey day over a spanning graveyard. A large black coffin lowers into an open grave, but this is nothing like your typical funeral. Aside from the workers, there are only two people here.
HANNAH TURNER (24) - strong willed, smart - stands above the grave and cries. Her black dress reveals a toned body that screams ex athlete.
Beside her stands a DRIVER.
Hannah intently stares at the tombstone. It reads MEGHAN TURNER, BELOVED MOTHER AND WIFE 1965-2014.
As Hannah stares at the tombstone, the cranking of the casket lowering device becomes...
INT. HOSPITAL ROOM - DAY [FLASHBACK] The cranking of a hospital bed.
In the bed, the frail MEGHAN TURNER (48) lays among a mess of wires and tubes.
Hannah slowly lowers the bed down. As she does, Meghan stirs.
MEGHAN H-Hannah.
HANNAH I’m here mom.
Hannah gently touches her hand. MEGHAN
I know...I don’t have much time. HANNAH
Don’t talk like that. MEGHAN
If I don’t talk about it, it doesn’t make it any less true. You’ve known this was coming for a long time.
HANNAH
Doesn’t make it any less hard. MEGHAN
I know. Hannah sniffles.
MEGHAN (CONT’D) Don’t cry sweetie. Don’t cry.
HANNAH
I just...I wish dad was here. MEGHAN
I do too.
HANNAH Do you ever miss him?
MEGHAN
Hannah, he’s been dead for twenty years...But yes, yes I do.
Everyday.
HANNAH
I wish I had a chance to miss him. A beat.
MEGHAN
Why are you doing this Hannah? HANNAH
Mom can we not talk about this? MEGHAN
You left Alaska when you were very young.
HANNAH
I need to know what happened to him.
MEGHAN
It’s a dangerous place.
Hannah’s eyes water as she touches Meghan’s arm. HANNAH
With you gone there’s nothing for me here.
MEGHAN
There’s nothing for you there either. It’s not like Oregon. Things are different.
HANNAH
You’ve been telling me that my whole life.
MEGHAN
Because it’s true! Most people find themselves there because they want a new life, because they want to forget.
Hannah raises her mom’s hand and kisses it. HANNAH
Yes, but I need to go.
Hannah looks down at her wrist. She is wearing the same watch Sam had on in the shed.
HANNAH (CONT’D) I need to remember.
EXT. GRAVEYARD - DAY
Hannah stares at the grave. The driver steps up to Hannah. DRIVER
It’s getting late... Hannah continues to stare.
DRIVER (CONT’D) I don’t mean to rush...
HANNAH
No, it’s fine. We should go. She turns and leaves, the driver follows.
EXT. POINT MUGU AIRPORT - DAY
A mostly empty loading and drop off zone in a small airport. A couple of sparse buildings dot the white, snow covered countryside.
Hannah, dragging two large suitcases behind her, steps out of the automated doors and onto the sidewalk.
The only car in sight is a single, old fashioned clunker of a sedan parked at the curb.
ELIZABETH KRAMER (40), a tall, eccentric woman wearing a couple of bright layers of clothing, stands next to the car. Hannah sees the car and walks up to Liz.
LIZ Hi sweetie. Hannah smiles.
HANNAH Hi Aunt Elizabeth. Liz hugs her.
LIZ
I already told you over the phone, it’s just Liz.
Hannah nods.
HANNAH Ok.
Liz rubs Hannah’s shoulders. LIZ Cold?
HANNAH A little.
LIZ
Ah this ain’t bad. Plus, you’ll get used to it. Need help with your bags?
HANNAH That would be great.
Liz unlocks the trunk and starts to load Hannah’s bags. LIZ
Chris sure is going to be happy you’re here.
HANNAH Chris?
LIZ
Your cousin. He doesn’t really say much, but he’s a good kid at heart. Plus, it’ll be good for him to have a new face around the house.
Sometimes I think he gets tired of looking at mine.
Liz chuckles at her own joke. HANNAH Oh. Ok.
LIZ
Better get in, don’t want the heater to die on us now.
Liz climbs into the car and Hannah follows.
EXT. LIZ’S HOUSE - DAY
The same house as in the teaser. It’s a little more worn, but definitely has a charming, homey feel to it. The only other house in sight is a similar building down the street.
Liz’s sedan pulls up to the front and parks. She and Hannah climb out.
LIZ So, this is it.
HANNAH I suppose so.
LIZ
It’s not much, but around here nothing is.
HANNAH Seems that way.
LIZ
I thought it would be good to take you here first. Show you your room, maybe get some grub in you. You know, before I take you to meet Saul.
HANNAH Saul?
LIZ
He’s the one who runs The Frontier, that’s the bar you’re gonna work at.
HANNAH Ok. Cool.
LIZ
So, how about we grab your bags and head up?
She smiles, Hannah tries to look happy.
INT. LIZ’S HOUSE - HALLWAY - DAY
Hannah and Liz, each with a suitcase in hand, walk down a small, bare hallway.
Halfway down the hallway Hannah passes by an open door. She glances inside and stops in her tracks.
The room has all the makings of a normal bedroom, a bed, dresser and a desk, but it has been decorated with wolves to the point of obsession. Small stone and wooden wolf figurines sit on shelves, the bedsheets have wolves on them, and
numerous beautiful drawings of wolves decorate the walls. In the middle of the room sits a canvas with a half finished painting of a wolf just as intricate and skillful as the rest.
As Hannah stares, Liz looks into the room. LIZ
Yes, well...that’s Chris’ room. He really likes wolves, always has. Not sure why, but it makes him happy, so I go with it.
Liz motions down the hall.
LIZ (CONT’D)
You’ll be sleeping up there on the left.
Hannah looks up, glances back at Chris’ room, and then walks off.
INT. LIZ’S HOUSE - HANNAH’S ROOM - DAY
A small, wooden room. A bed sits on the far wall next to a window that overlooks the barren countryside.
Hannah stands in the doorway and surveys the space. Behind her, Liz carries in a suitcase.
LIZ
So? Whatcha think? HANNAH Well, it’s a room.
LIZ
That it is. I know it’s bare, but you probably brought some posters right?
Liz sets down the suitcase.
LIZ (CONT’D)
I mean, ya gotta have something in there.
Hannah nods.
HANNAH I have some stuff.
LIZ
Great, that might liven the place up a little.
HANNAH I’ll do what I can.
LIZ
I’m sure you’ll make it work.
Hannah walks around the room. There is clear evidence that it used to be filled with furniture.
HANNAH
Someone used to live here? LIZ
My ex husband. HANNAH Uncle Steve? Liz nods.
LIZ Yep.
HANNAH What happened to him?
LIZ
Hung himself, bout nine years back. Hannah looks out the window.
HANNAH
I heard you can’t bury people here. My mom told me stories. That it gets so cold the ground freezes and you can’t dig through it.
LIZ
Oh nonsense. That’s only in the winter. In the summer you can dig here just like anywhere else. Take Steve, we buried him under the house.
Hannah turns.
LIZ (CONT’D)
Oh don’t worry about that too much dear, this whole town’s built on dead men.
EXT. COUNTRY ROAD - DAY
On the side of an icy road, next to a parked car, a WOMAN cries hysterically while two COPS try to console her.
In the middle of the road lies the large corpse of GLEN
BRADBURRY (40). He is bleeding from his chest and has obvious signs of a bad beating.
A cop car, lights on, pulls up to the scene.
Thomas gets out of the car and walks over to the body. CODY CASERAS (33) a clean cut, dedicated cop, walks up to meet him.
THOMAS Afternoon Cody.
CODY Sir.
THOMAS How’s it going?
CODY
It’s a fucking mess. THOMAS Always is.
He turns to the woman.
THOMAS (CONT’D)
Ms. Jennings looks shaken as hell. CODY
She’ll be alright. They walk over to the corpse.
THOMAS So, who we got here?
CODY Glen Bradburry. Thomas’ eyes go wide.
THOMAS Fucking hell.
CODY
I know. Real bad news. He’s one of Edward’s boys right?
Thomas nods.
THOMAS That he is.
Thomas crouches down next to the body and examines the wounds.
THOMAS (CONT’D)
The hell? Someone go at him with a kitchen knife?
CODY
Sloppy work. Definitely an amateur. THOMAS
So, the question is, why kill him here?
CODY
Saw some marks over in the snow. He was dragged. Probably so someone would take notice.
THOMAS Appears that way.
CODY
Way I see it we’re looking for a big fella. To be able to drag Glen this far son of a bitch had to be strong. He probably put him out here to scare us. Either that, or...
THOMAS Or what?
CODY
Or, who ever did this wanted to say something to Angus Edwards without the trouble of talking.
Thomas nods.
THOMAS
I’d have to agree with you on that. CODY
Sir, I know I’m not at much liberty to say, but I really hope we got someone going after Edwards here.
THOMAS Why’s that?
CODY
Last thing this town needs is a killer running our streets.
THOMAS
Not much street to run. CODY
Either way, town would be a little safer.
Thomas looks over the body. THOMAS
A serial killer or someone going after Angus Edwards? Hell Cody, I’m not sure which one’s worse.
ACT TWO
INT. SEDAN - DAY
Liz drives through a collection of small shops that make up the downtown area, while Hannah sits in the passenger seat and looks out the window.
They stop at a traffic light and through the window Hannah sees two large, gruff MEN, hunting knives dangling from their belts, leaning up against the wall of a corner store.
In between the men, pistol proudly displayed on his waist, stands ZACH HENDERSON (early 40’s). He is a thin man with a wiry mustache.
On the wall behind the men is a large crude graffitid depiction of a PINE TREE.
As Hannah looks them over, her eyes meet Zach’s.
He spits a wad of tobacco onto the ground and flips her off. Hannah averts her gaze as the light turns green and Liz drives away.
EXT. THE FRONTIER - DAY
An old, dusty bar that’s been around since the town was
built. On top of the building, a large wooden sign depicting a Yukon traveler holding a pick axe and gold nuggets reads THE FRONTIER.
Liz’s sedan pulls into the small parking lot.
INT. SEDAN - NIGHT
Hannah looks over the bar from the passenger seat. HANNAH
That’s it? LIZ
Yep. That’s The Frontier. Man, I had some good times at this bar. Hannah gives her a look.
LIZ (CONT’D)
What? I know I’m old honey, but your Aunt Liz knows her way around a man.
HANNAH Ok Aunt Liz, please.
LIZ
It’s true. And you better get used to that kinda talk. You’re gonna be hearing a lot worse than that,
trust me. Ready? HANNAH I think so.
Hannah goes to open the door, but Liz grabs her arm. Hannah turns.
LIZ
I may be old compared to you, but I’m not as stupid as you might think.
HANNAH What?
Liz lowers her voice. LIZ
I don’t talk to you or your mother in twenty years, and you suddenly show up at my door like a summer storm expectin’ me not to know why you’re here?
HANNAH
I-Liz rubs Hannah’s arm reassuringly. LIZ
Relax dear. I’ll let you stay with me as long as you want. I may not know you too well, but you’re family. I just want to say, be careful. People in this town don’t take to questions too well. It might be best not to go proddin’ around. Alright?
LIZ (CONT’D)
Good. Most folks out here keep to themselves. There’s a reason I live out on the edges you know. People are here for their own reasons, and we all learn to respect that.
HANNAH (Sotto)
Everybody’s got something to hide. Liz opens her door.
LIZ
Yes, they do. Remember that, and you’ll do just fine.
INT. THE FRONTIER - DAY
The inside of The Frontier is a large space sectioned into three rooms. The entrance is lit by a couple of old wooden lamps and holds the bar as well as a few tables. The back two rooms are darker, filled with more shadows. One holds a large pool table, while the other has a few felt card tables.
At the bar stands KADLU PHILLIPS (25). He is a half Inuit with a quick smile, and more scars than friends.
Liz and Hannah approach him. KADLU Liz, how’s it going?
LIZ
Oh it’s going Kadlu. He looks over Hannah and smiles.
KADLU
And who might this be? LIZ
This
is-HANNAH I’m Hannah.
LIZ
Hannah, this is our local Inuit, Kadlu. He’ll be giving you rides home when you work the late shifts. Kadlu flashes a smile and extends his hand.
KADLU Ainngai.
Hannah gives him a puzzled look. KADLU (CONT’D)
Means hello. Nice to see a pretty face around here for a change. Hannah smiles and extends her hand.
He takes her hand and lightly kisses it. KADLU (CONT’D)
M’lady. Liz rolls her eyes.
HANNAH Inuit?
KADLU
Half, I get it from my dad. LIZ
(To Hannah)
Don’t let him smooth talk you, he can tend bar fine, but he don’t know a damn thing about the wild.
KADLU (To Hannah)
But I know some things about being wild.
Liz shoots him a look. LIZ Watch it. Kadlu looks at Liz.
KADLU
What? Just talking is all. He smiles at Hannah, she smiles back.
LIZ
Yeah, well a lot can come from just talking. Where’s Saul lounging
around at?
KADLU Where do you think?
LIZ At his table?
KADLU Like always.
Liz nods and heads off into the bar. Hannah follows.
INT. THE FRONTIER BAR - CONTINUOUS
The back room of the bar. SAUL WATERS (55) sits at one of the poker tables and puffs on a cigar. He is a large, commanding man who almost exclusively wears leather and fur.
Across from him are three similarly large MEN. Saul lays cards out on the table and laughs.
SAUL
Look at those bastards! Yer pussy hands ain’t gonna cut it in my bar!
He rakes in a pile of chips as Liz and Hannah approach. LIZ
Business going well today Saul? Saul looks over at her.
SAUL Liz!
He grabs two shots off the table and stands up. SAUL (CONT’D)
Ain’t it my favorite snatch in town! Business is always boomin’. He passes a shot to Liz and then looks at Hannah.
SAUL (CONT’D)
And who’s this now? Odd to see a face round here I don’t recognize.
LIZ
This is Hannah. The bar tender I told you about.
Saul nods.
SAUL
Course. Ya tended bar back in the Lower Forty Eight.
LIZ
She-Saul holds up his hand. SAUL
Please Liz, she can speak fer herself. Yer tongue works right?
HANNAH Of course it does.
SAUL Well there ya go.
HANNAH
I worked at a bar in Oregon. SAUL
Oregon ya say? Saul looks over her.
SAUL (CONT’D)
Well ya got tits, and a body t’ show em off. But tha real question is, do ya got the balls?
HANNAH
I really don’t think what’s between my legs is any of your business. But, if I had balls they’d damn sure work, don’t know if I can say the same about yours.
Saul laughs.
SAUL
Well I’ll be damned! With a tongue like that you’ll do just fine
around here. When can ya start? HANNAH
Tomorrow works for me. SAUL
That’s what I like t’ hear. Rules are pretty simple. Ya split tips with the savage, don’t cause too much of a ruckus and if people wanna talk, ya gotta listen.
HANNAH Seems easy enough.
SAUL
You’d think so, but when people get to drinkin’ they’ll chew yer ear to shit with the stories they tell. He takes his shot.
Hannah smiles.
EXT. EDWARD’S BUTCHER SHOP - EVENING
The commerce section of Galena. A small collection of shops and private restaurants.
Thomas and Cody walk up to the front of small wooden building. Different assorted meats are displayed in the window.
They enter.
INT. EDWARD’S BUTCHER SHOP - EVENING
A small room that looks more like a living room than anything else. In the corner, a table and three empty chairs sit in front of a low burning fireplace. Above the fireplace is a deer’s head and a large mounted shotgun. At the back of the room different cuts of meat sit behind a white counter.
A bell rings when Cody and Thomas enter. ANGUS (O.S.)
Who's out there? CODY
We got a few questions for you Angus.
ANGUS (O.S.) Thomas, you there?
THOMAS Where are you Gus?
ANGUS (O.S.)
In the back. You got questions, you come out here and see me.
EXT. EDWARD’S BUTCHER SHOP - BACK PORCH - EVENING
Angus, older now and with a few more scars, stands on a small wooden patio that is nothing more than a few steps and a
railing. He is dressed in a butchers apron. A large cut of meat sits on the railing next to a pistol.
Two small WOLF CUBS, barely visible against the fading
skyline, sit in the snow and watch the porch. The shadows of larger wolves can be seen in the distance.
Angus takes the hunk of meat and throws it to the cubs. They pounce on it.
The door opens.
Thomas and Cody walk out and watch the wolves. THOMAS
Feeding time? ANGUS
I wish I would get some full grown wolves around here, but they won’t come anywhere near the shops. I think the parents have taken a little too much buckshot to the eye. Pups don’t know any better. He watches the cubs eat.
ANGUS (CONT’D) I assume you’re bothering me because Glen’s dead.
CODY
How the fuck did you-Thomas puts his hand up.
THOMAS Yes, we are. Angus turns.
ANGUS
It’s a goddamn shame. (To Cody)
Word travels fast, and it’s not too often we get a corpse in these
parts. Cody stares at Angus.
CODY (Sotto)
At least not one that people find. ANGUS
Ya got something to say? CODY
You just don’t seem to shook up about it.
ANGUS
What’s to be shook up about? People die every second of every day.
CODY
And you wouldn’t know anything about the murder?
ANGUS Not a damn thing.
CODY
You sure about that? ANGUS
I don’t like to repeat myself much. THOMAS
Look, we just came by because we know Glen worked at your shop.
ANGUS You tell him family?
THOMAS Course.
ANGUS
Good. Glen was a little rough around the edges, but he was good stock.
He looks back at the cubs.
ANGUS (CONT’D) (Under breath)
Knew who fed him. Cody looks at the gun.
CODY
You got a permit for that gun, Angus?
ANGUS
That old thing? Shit, I’m sure it’s around here somewhere. How about you come back later tonight and I’ll see what I can dig up for ya.
CODY I might do that. Angus steps up to Cody.
ANGUS
Looking forward to it. Ya know I never miss a chance to cooperate with the law.
THOMAS
We’ll find out who did this Gus.
Angus steps back, but doesn’t take his eyes off Cody. ANGUS
Two fine boys like yourselves? Oh, I’m sure you’ll catch the son of a bitch in no time. Now, if you could get the hell out of my business, I have to close up shop.
THOMAS
Thanks for your time Gus. Thomas and Cody start to walk away.
ANGUS Cody.
Cody turns.
CODY Yeah?
Angus picks up the pistol. ANGUS
Be careful out there, ya hear?
He points the gun towards the meat in the snow. ANGUS (CONT’D)
Never wanna forget, no matter who we are, we’re all just one bad day away from becomin’ that.
INT. LIZ’S HOUSE - HANNAH’S ROOM - DAY
Hannah sits on the edge of her bed dressed in running clothes. A pen is gripped in her hand
A small black diary, filled with notes and scribbles, sits open on her lap.
She flips to a clean page and writes “CADLOO”. Then she writes “TOO YOUNG TO KNOW ANYTHING” next to it. She pauses, adds “CUTE?” and closes the diary.
She stands up and starts to stretch.
EXT. GALENA OUTSKIRTS - DAY
Hannah runs through the snowy countryside, a dot against the distant skyline. She breathes in the country air and watches the spanning hills.
A smile breaks across her face.
EXT. GALENA OUTSKIRTS - DAY
Hannah makes her way through a small copse of dead trees, Liz’s house is visible a few hundred feet away.
As Hannah runs, a GROWL is heard behind her. She turns to see-
A large WOLF watching her from the trees.
She speeds up and another wolf, bigger than the other, appears in the distance.
They slowly trot through the landscape, easily keeping pace with Hannah.
A HOWL is heard and Hannah starts to run faster.
The wolves move quickly, getting closer and closer with each step.
Hannah is less than twenty feet from the house when the wolves SNARL and BOLT into a run.
Hannah trips right before the porch and screams. The wolves are almost upon her
Hannah covers her ears and cries into the snow. The wolves back up, turn, and run.
LIZ (O.S.) You better get up.
Hannah looks over and sees Liz on the porch, shotgun in her hands.
LIZ (CONT’D)
I don’t know why you would go out a do a damn foolish thing like that, but suppers getting cold.
HANNAH
I-LIZ
Don’t bother to explain, just get inside.
She shuts the door.
Hannah wipes her face and looks up to the house.
Chris (20’s) small for his age, still recognizable by his dark hair and light eyes, stands on the balcony and watches the wolves retreat into the distance.
INT. LIZ’S HOUSE - DINING ROOM - NIGHT A table full of food.
Hannah sits across from Liz and Chris. Chris’ necklace is now adorned with many wolf teeth of all different sizes.
LIZ
You sure you’re ok? Hannah nods weakly.
HANNAH
I’ll be fine. Thanks though. LIZ
You need to be more careful.
Alright? I know I didn’t birth you, but you’re under my roof and I’m aiming to keep you safe.
HANNAH Got it.
CHRIS
You shouldn’t tempt them. HANNAH
What?
CHRIS
The wolves. They get hungry,
especially when it’s cold. They’ll eat anything that’s out there.
LIZ
You have to respect their space. They keep to the trees and we stay to the buildings. You have no
business going into the outskirts. Especially without bear insurance. Hannah gives her a puzzled look.
CHRIS She means a gun.
HANNAH
I don’t like guns, they make me nervous.
Liz smiles.
LIZ
Then you came to the wrong state hon. Promise me you won’t go back out there.
HANNAH I promise.
LIZ
Good. Then that’s that. Only a
couple of people ever have cause to go out that way, and none of those causes are good.
EXT. GALENA OUTSKIRTS - NIGHT
A small clearing on the outskirts of town.
Angus leans up against his car, a small pocket bible clutched in his hand.
A black car pulls into the clearing. The door opens and Thomas gets out.
ANGUS
I don’t like waiting Tom.
Thomas crosses the clearing towards Angus. THOMAS
Gus-ANGUS
And I sure as hell don’t like being surprised.
THOMAS Gus
listen-ANGUS
No, you listen! People don’t tell me to listen Tom, people listen to me.
Angus holds up the bible.
ANGUS (CONT’D) Do you know why this works?
THOMAS Pardon?
Angus shakes the bible. ANGUS This.
THOMAS What?
Angus throws the bible at Thomas, who flinches. ANGUS
Why does it work Tom? Why do people get up early on their day off and drag themselves to church? Why do people pray and try not to sin and all the other bullshit?
THOMAS
I-I-ANGUS I’ll tell you why.
Angus points to the sky.
ANGUS (CONT’D)
It’s not because of Him. Oh no, it’s because of down there.
He points to the ground.
ANGUS (CONT’D)
It’s because of h-e double fucking hockey sticks. Because people are scared. The world runs on fear Tom. Without it, we would have chaos.
THOMAS
I’m not disagreeing with you. ANGUS
I need that fear. I get my money, my reputation, my power, from that fear. People don’t pay me because they want to, people pay me so they don’t end up at the bottom of some frozen fucking river!
THOMAS I understand that.
ANGUS
I want who killed Glen. THOMAS
I’ll try.
ANGUS Try?
THOMAS
It’s just...we don’t know that this was personal.
ANGUS
I don’t give a rat’s ass what it was! Personal or not, people know me Tom. They know what happens when someone messes with my flock.
THOMAS
People will want an arrest. ANGUS
Then fucking make one! Take someone in, there are plenty of riff raff lurking around this shit hole.
But you bring the real guy to me, when you find out what son of a bitch did this, he’s mine.
Thomas nods.
THOMAS Of course.
ANGUS
Good. I’ve been doing this for too long for everything to fall apart now. I have this town in the center of my palm and I will not let it go.
Angus walks back to his car.
Thomas bends down and picks up the bible. THOMAS Hey Gus. Angus turns. ANGUS What? THOMAS
You ever think we’re gonna pay for this one day? That God is gonna have the last word?
ANGUS
The fuck kind of question is that? THOMAS
I-I’ve just been thinking. You ever worry he’ll get us in the end?
ANGUS
Not if he never finds out. THOMAS
They say He’s all powerful. ANGUS
Oh yeah? Well so am I. Angus gets in his car and drives off. Thomas watches him leave.
END OF ACT TWO ANGUS (CONT'D)
ACT THREE
INT. THE FRONTIER - DAY
Hannah sets a beer on the bar for the drunk QUINN CASEY (50’s), a pudgy man wearing numerous rings and an expensive suit.
QUINN
And that’s the first moose I ever put down.
He makes his hands into the form a gun. QUINN (CONT’D)
Bang! Right between the fuckin’ eyes!
He laughs, Hannah smiles.
QUINN (CONT’D)
Damn, you got a pretty smile. Reminds me of my first wife. She was a looker, and not too bad in the sack either.
Hannah laughs and bats her eye lashes. HANNAH
Hey Quinn, can I ask you something? QUINN
Course, can’t have my ugly mug doin’ all the talkin’.
Hannah smiles and leans in. HANNAH
Have you lived here a long time? QUINN
Since I came outta my momma. HANNAH
How well do you know everyone in town?
QUINN
Well enough. That’s kinda my job. So to speak.
He reaches for his beer. As he does Hannah notices he has a crude pine tree tattoo on the back of his hand that matches the graffiti on the store.
Her face floods with recognition. HANNAH
What the hell is tha-KADLU (O.S.) Quinn boring you yet? Kadlu walks up behind Hannah.
QUINN
Quit Inyut! Us two were just havin’ a good talk.
HANNAH He’s
right-KADLU It’s our break.
(To Quinn)
Go find someone else to ogle for a half hour.
Quinn grunts, waves his hand and stumbles off into the bar. Hannah looks at Kadlu.
HANNAH We were just talking.
KADLU
Eh, he’ll be back later. Quinn’s never far from a glass.
As Hannah watches Quinn, the front door flies open. She and Kadlu turn to see Thomas enter the bar. Everybody stops what their doing.
Saul quickly walks over to meet him. SAUL
Thomas? What brings you by? Care fer a drink? I got some stuff that’ll really make yer dick hard.
THOMAS
Not right now Saul. I’m just here to ask a few questions.
SAUL
Sounds like yer more interested in answers.
(Leans in)
Any chance ya can ask those questions of yers outside?
THOMAS
It’s a little cold out. I’d prefer to ask them in here.
SAUL
Thomas-Thomas holds up his hand. THOMAS
Not now Saul. Not right now. ZACH (O.S.)
Heard about Glen, real fucking shame if you ask me.
Thomas turns to see the Zach, just as he was in front of the store, seated at a table.
THOMAS
And what would you know about that Zach?
ZACH
I know you’re supposed to be
keeping the town safe. And I know that we got a dead body on our hands.
THOMAS
The fuck that supposed to mean? ZACH
Oh, I think you know what that means. Any idea who killed him?
THOMAS
I wouldn’t be wasting my time in this place if I did.
Zach stands up.
ZACH
Oh right. A bar is too low for you. Rather be slinking around a hotel bed like some weasel.
Thomas steps toward him. THOMAS Watch yourself Zach.
ZACH
I think you’re the one who needs to be watching yourself there Thomas. Zach’s hand rests on his gun.
SAUL
Boys, if yer set for a fight-Thomas steps closer to Zach.
THOMAS
This is not the time to run your goddamn mouth.
ZACH
I’m just saying. We got a killer out on the streets and your busy dipping your prick is some fucking
whore-Thomas steps forward and raises his fist. Zach’s tries to pull his gun but is too slow. Thomas smashes his knuckles across Zach’s head and he collapses over the table.
The bar goes still.
SAUL Damnit
Thomas-THOMAS I warned him Saul.
SAUL
(Through teeth)
If yer unruly ass didn’t have that
badge-THOMAS
I warned him to shut his damn mouth. You know that.
He looks across the bar.
THOMAS (CONT’D)
Each one of you knows that. If anyone knows anything about Glen’s death, you come talk to me.
I’m gonna get to the bottom of this one way or another.
Thomas storms out of the bar. Saul shakes his head.
SAUL
Fucking shit. Alright people, sorry bout the ruckus. How bout a drink on me if ya stick around?
A cheer goes around the bar. Hannah turns to Kadlu. HANNAH
Is he gonna be alright? Kadlu shrugs.
KADLU Thomas warned him. Saul turns to Kadlu.
SAUL
Inyut! Git over here and get this mess cleaned up.
Saul spits on Zach and walks away.
INT. HOTEL ROOM - DAY
Another dim hotel room. Thomas sits on the bed, shirt unbuttoned with a pack of ice on his hand.
Sarah, in a shirt and underwear, stands across the room and pours two shots from a bottle of Jack.
SARAH You’re quiet again.
THOMAS
A lot to be quiet about.
She walks over and climbs onto the bed. She straddles Thomas’ back and hands him a shot.
SARAH
This’ll help with the pain. Thomas takes the shot.
Sarah kisses his neck.
SARAH (CONT’D) Want some blow?
Thomas shakes his head. THOMAS Nah.
SARAH
Look, I know it ain’t my place, but you ever gonna tell me what’s going on in that head of yours?
THOMAS
Do you believe in anything? Sarah laughs.
SARAH
Like God? Shit no. I believe in my hands and the four feet in front of me. That’s about it. Do you?
THOMAS
I’m not sure anymore. He turns his head to look at her.
THOMAS (CONT’D) I don’t even really know you. Sarah smiles.
SARAH Good.
She kisses him.
THOMAS
Where did you live before Alaska? SARAH
Places. Thomas stares.
THOMAS Do you trust anyone?
SARAH
First boyfriend I ever had beat me something fierce. My husband wasn’t much better.
But both had a leg up on my parents. That don’t give ya too much faith.
THOMAS
I suppose it doesn’t.
Sarah gets up and walks around to face Thomas. She raises his hand and sensually kisses it.
SARAH
I don’t know what’s got into you, but you need to relax.
She pushes him back on the bed. SARAH (CONT’D)
I know you got a lot going on in your head these
days-She takes off her shirt and crawls on top of him. SARAH (CONT’D)
But I’m gonna see if I can make it a little better.
INT. RESIDENTIAL ROAD - DAY
Cody drives down the closest thing Galena has to a residential area, a couple of houses on a mostly empty street.
He pulls up to a small, low end, one story house that sits on a small dirt plot. The shutters are closed and the screen door is barely on its hinges.
CODY (Sotto)
Such a goddamn waste of time. He gets out and walk towards the house. Cody arrives at the door and knocks. There is no answer. Cody knocks again. Shuffling is heard inside.
WOMAN (O.S.) Who the hell’s there? Cody rolls his eyes.
CODY
Police ma’am. Open up. WOMAN (O.S.) Police?
The door opens to reveal an overweight WOMAN (50’s) leaning heavily on a walker. A cigarette is clutched between her fingers and smoke wafts in front of her distrustful eyes.
WOMAN (CONT’D)
The hell do you want with me? CODY
Is this a good time to talk Ma’am? WOMAN
Depends on what you’re askin’. CODY
I want to talk about Glen Bradburry.
The woman laughs, which causes her to cough violently. CODY (CONT’D)
Please ma’am. WOMAN
I don’t know a damn thing about that.
She tries to shut the door, but Cody stops her. CODY
You didn’t know Glen? WOMAN
Everybody knows everybody around here to some point.
CODY
And he was your neighbor-WOMAN
Doesn’t mean I knew him well. CODY
But you know he’s dead? WOMAN
Course.
(Under breath) Took long enough.
CODY Pardon?
The woman’s eyes look past Cody. WOMAN
You ever been to church detective? CODY
Once, when I was young. WOMAN
I ain’t one for remembering too much, but there’s something they teach you at church that everyone aught to learn.
CODY What’s that? He eyes focus back on Cody.
WOMAN
You dance close enough to the
devil, you’re bound to get burned. And Glen was dancin’ for a long damn time.
CODY And what about you? Hey eyes look past him again.
WOMAN
I ain’t much for dancin’. A beat.
WOMAN (CONT’D)
If you’ll excuse me, I need to get back inside. It’s very cold out. Not good for my health.
She puts the cigarette to her lips and shuts the door. Cody sighs and walks back to the car.
As he walks his eyes drift over to where the woman was
looking. Leaning up against a tree, one of the men from the corner shop casually cleans his nails with a large knife. The man nods at Cody, who gets back into his car.
ANGUS (PRELAP)
That damn cop’s a real pain my ass.
INT. BUTCHER SHOP - NIGHT
Angus and Quinn sit at the table in front of the fireplace. Quinn pours out a line of cocaine.
QUINN
Ya talkin’ about Cody? Angus nods.
QUINN (CONT’D)
Yeah, son of a bitch thinks he runs things.
He does the line and then holds the bag out to Angus. Angus shakes his head and points to his temple.
ANGUS Clouds the mind.
QUINN
Want me to do anything about it? ANGUS
That’s why you’re here. QUINN
Gun or knife? Angus shakes his head.
Quinn gives him a puzzled look. ANGUS
He’s an unruly son of a bitch, but he’s trying to find the
motherfucker who got Glen. I just want to scare him, let him know the order of things.
There is a knock at the door. QUINN Who the hell’s that?
ANGUS
Angus stands up and walks to the door.
He opens the door to reveal Zach, face still swollen from the fight.
He enters and Angus shuts the door behind him. ZACH
Boss-Angus punches Zach in the stomach and he falls. ANGUS
Are you a fucking idiot?
Angus tries to get back up but Angus kicks him. ANGUS (CONT’D)
I asked you a question. ZACH No. ANGUS You’re not? ZACH N-no. ANGUS
Then tell me why you’re running your mouth off in front of the entire fucking town?
ZACH G-Gle-Glen’s dead.
QUINN
Ya think we don’t know that? ZACH
I-I was just trying to find out what the cops know! Stir up some action!
ANGUS
I don’t cut you into my business to stir up action.
He kicks Zach again.
ANGUS (CONT’D)
I cut you in to make sure there is no. Fucking. Action.
Angus kicks him again.
ANGUS (CONT’D)
I don’t like you Zach, I never have. You get your hands dirty, I respect that, but you try too hard.
ZACH (Weak)
Boss-ANGUS
Glen knew how to keep things quiet. Never made a scene.
ZACH (Pleading) Angus...
Angus shakes his head. ANGUS
Damn shame, losing two men in one week.
Zach’s opens his mouth to scream, just as Angus falls to the ground and grabs his throat.
Zach goes into a frenzy, struggling for air.
As Angus strains to hold Zach down, Quinn jumps up from the table and kicks Zach in the chest.
Zach goes limp, and then falls still.
Angus and Quinn, sweating from the struggle, look at each other.
ANGUS (CONT’D)
Now we gotta do something about that fuckin’ cop.
ACT FOUR
INT. COP CAR - DAY
Another quiet street. Small houses have their blinds drawn and doors closed
Thomas sits in the driver’s seat and smokes out the window. One of the house doors opens and Cody comes walking out. He makes his way back to the car and climbs in.
THOMAS So?
CODY
Nobody’s going to tell us a fuckin’ thing, and you know it.
THOMAS
Yeah, I figure you’re right on that.
CODY So what do we do? Thomas starts to drive.
THOMAS Keep trying.
CODY
I say we go back after Angus. Thomas shakes his head.
THOMAS
No good’s gonna come of that. CODY
He’s a sick son of a bitch Thomas. Everyone knows it. He’s just got everyone in this town scared to shit of what he’ll do if they talk. Thomas shrugs.
THOMAS
Gus’s not out concern. We need to find out about Glen.
THOMAS (CONT’D)
Cody, you remember the first time you killed a man?
CODY
Of course I do, doesn’t everyone. THOMAS
When was it? CODY
Third year I had my badge. Years ago now. He was some little kid rapist, a real sick fuck. I got him between the shoulders. Upper
corner, a little to the left of the spine. What about you?
THOMAS Huh?
CODY
Do you remember your first? Thomas stares.
EXT. GALENA OUTSKIRTS - NIGHT (FLASHBACK)
A young Thomas drags Sam’s body through the quiet countryside.
A large MAN, holding a rifle, walks next to him.
He throws the body into the snow, wolves can be seen pacing a few feet away.
Thomas looks down at the corpse and then to his blood covered shirt.
INT. COP CAR - DAY Thomas slowly nods.
THOMAS
How many have you put down? CODY
More than I’d care to admit. THOMAS
CODY
All of em. Still see them some nights when it’s too bright to sleep. What about you? Yours ever get to you?
THOMAS They never used to.
CODY And now?
Thomas looks down at the gun on his belt. THOMAS
I’m not sure anymore.
INT. THE FRONTIER - NIGHT
Quinn takes a shot at the bar. HANNAH
One more for the road? Quinn smiles.
QUINN
Hard to turn down a face like yours.
HANNAH Aw, you’re sweet.
Hannah grabs a bottle. As she pours she leans forward and shows off her cleavage.
QUINN
No I ain’t. Probably the furthest thing from it.
He takes the shot.
Hannah leans in to pour another shot. Quinn watches her breasts.
HANNAH (Whisper) Hey Quinn.
QUINN Yeah?
HANNAH (Whisper)
I gotta say, I’ve been dying to ask you something.
QUINN
Well, shoot there darlin’. HANNAH
You said you’ve been here your
whole life. Did you ever know a man named Samuel Tuner?
Quinn’s eyes rapidly shoot up to her face. QUINN
The fuck did you just say? Hannah snaps out her flirting.
HANNAH What’s wrong
with-QUINN
You don’t say that name around here. You understand?
HANNAH
What’s the matter? It was just a question.
Quinn staggers to his feet. QUINN
Oh yeah that’s a question. But you’re askin’ fer trouble, not answers.
HANNAH
Quinn-QUINN
I’m tellin’ ya girl cause I like ya now. Yer pretty, and got soft eyes, but don’ be saying that name.
Alright? I’m tellin’ ya.
Fear in his eyes, Quinn grabs his shot off the bar and walks off.
INT. KADLU’S TRUCK - NIGHT
Kadlu drives Hannah back towards Liz’s house.
The night is dark. Hannah watches the sky through the window, amazed that you can actually see the stars.
KADLU
Almost at your house. HANNAH Yep.
KADLU
You ready to go back yet? HANNAH
Huh?
KADLU
To Liz’s. We can still kill some time.
Hannah eyes him.
HANNAH What’s that mean?
KADLU
I was just thinking. You’ve been in town almost a full day and I
haven’t given you a proper welcome. HANNAH
What kind of welcome you talking about?
Kadlu opens the middle console and pulls out a joint. KADLU
I’m taking about this. Hannah smiles.
HANNAH (PRELAP)
You’ve got to be fucking kidding me.
INT. KADLU’S TRUCK - NIGHT
Hannah and Kadlu are parked a little way away from Liz’s. She pulls the joint away from her lips and coughs.
LIZ
That is shit. We had way better weed in Oregon.
Kadlu grabs the joint. KADLU
I bet you did. We just work with what we’ve got around here.
He takes a drag.
NOTE: They pass the joint back and forth throughout this conversation.
KADLU (CONT’D)
Truthfully, this is all I’ve ever known. I wouldn’t know good weed if it hit me in the face.
HANNAH
So you’ve never left Alaska? KADLU
Hell no. It’s all white mountains and endless summers for me.
HANNAH
How long have you worked at The Frontier?
KADLU
About five years now. College was never really my thing. Family had no money for it anyway.
HANNAH
Oh yeah? What is your thing then? KADLU
My thing? Shit, I don’t know. I just try to stay warm. Find a body to hold during the night.
Hannah laughs.
KADLU (CONT’D) What?
HANNAH
You think just because I’m not from around here I don’t know when I’m being hit on?
She smiles, but Kadlu’s face is serious. KADLU
I’m not kidding. It get’s cold here, you’ll see. And I’m not just talking about the air, the people are cold too. Really cold, like they have ice in their veins. Winter comes and it gets so dark you can’t see a fucking thing, day or night. Everything freezes over. When that happens you just want something to hold on to. It gets so bad even the animals leave. Well, except the wolves.
HANNAH
Why don’t the wolves leave? He shrugs and looks at her.
KADLU
Maybe because they’re like us. Maybe they’ve got nowhere else to go.
EXT. STREET - NIGHT
An empty street near The Frontier. Quinn, keys jingling in his hand, drunkenly stumbles toward his car that is parked a hundred feet away.
As he walks he then pulls out his phone and dials a number. It rings, then goes to voicemail.
QUINN
Boss? Yeah, I was gonna call
earlier but I got caught up at the Frontier. There’s this thing I gotta
say-A crowbar smashes right across the back of Quinn’s skull, and he collapses to the ground.
A figure, nothing more than a silhouette, stands above Quinn. The figure watches Quinn for an instant and then quickly walks off into the night, leaving Quinn’s broken body behind.
ACT FIVE
EXT. STREET - NIGHT
Cop lights, blue and red, fill the night.
Thomas slowls paces down an icy road as a couple of POLICE OFFICERS set up a perimeter.
People gather behind the yellow tape. Cody checks Quinn’s corpse.
THOMAS Quinn Casey.
CODY
Crowbar. One clean shot to the head.
THOMAS Just like Glen.
CODY
This strike was cleaner, more fluid, less restraint.
THOMAS He’s learning.
CODY
Appears that way. Want to call it? THOMAS
Not much to call. It’s all in front of us now.
CODY
Someone’s going after Angus.
A car speeds down the road and screeches to a halt outside of the tape.
CODY (CONT’D) Speak of the devil. Angus gets out of the car.
THOMAS I’d rather not.
COP
Sir, you can’t be here. He blows right by the cop.
ANGUS
The fuck is going on here? THOMAS
(To Cody) I’ll handle this.
Thomas walks towards the furious Angus. THOMAS (CONT’D)
Angus-ANGUS
The fuck is going on Thomas? Thomas puts his hands up.
THOMAS
Angus you need to calm down. ANGUS
What did you just say to me? What the fuck did you just say?
Thomas grabs Angus’s jacket. THOMAS
Angus, shut the fuck up, turn around and leave.
ANGUS
Get your hands off of me Thomas. Now.
Thomas lets him go.
ANGUS (CONT’D) Who’s body is that?
THOMAS Angus-ANGUS Who? THOMAS It-It’s Quinn.
ANGUS Jesus Christ.
Thomas’ hand goes to his gun. THOMAS
There are people here Angus. You need to calm down and walk away.
ANGUS Who did this?
THOMAS
Angus-ANGUS
Who the fuck is killing my men Tom? If you
know-THOMAS
I don’t know Angus. I really don’t know. Just turn around and let me handle this.
ANGUS
You find out who’s doing this Tom. You find out. I know you don’t give a damn about your wife, but if I don’t get me results your little whore and I are going to have a very unpleasant conversation.
Angus turns and leaves. Thomas watches him as he moves back to his car. Behind Thomas, Cody continues to take notes among the flashing lights.
Thomas’ eyes never move, they fixate on Angus. THOMAS (V.O.)
When I was young my grandfather told me an old Native American tale.
As Angus makes his way back toward the tape Thomas’ vision blurs until Angus becomes...
INT. HOTEL ROOM - NIGHT
Sarah’s naked form. A different hotel room, a different
night, but the same routine. Sarah rides on top of Thomas as he watches her dance.
THOMAS (V.O.)
According to the story, a young boy once asked an elder to explain the world.
EXT. ELIZABETH’S HOUSE - NIGHT
Hannah lays in bed and stares at the ceiling. THOMAS (V.O.)
The elder replied by saying that there is a battle going on inside every person.
EXT. ELIZABETH’S HOUSE - BALCONY - NIGHT
Chris watches wolves run and wrestle in the snow. THOMAS (V.O.)
The battle, he went on to explain, was between two wolves.
INT. ELIZABETH’S HOUSE - NIGHT
Liz gets ready for bed. She takes off her shirt in front her bedroom mirror. A small pine tree tattoo can be seen right above her breast.
THOMAS (V.O.)
One wolf represented all the good and kindness within mankind.
INT. BUTCHER SHOP - NIGHT
Angus cuts through a large hunk of meat. THOMAS (V.O.)
The other, all of the evil and sin within our hearts.
INT. CODY’S HOUSE - NIGHT
Cody opens the door to a modest sized modern style house. THOMAS (V.O.)
Upon hearing this the boy then asked the elder a simple question. Cody turns on a light and his eyes go wide.
In the middle of his living room his HUSKY is dead, throat cut and knife protruding from it’s chest.
THOMAS (V.O.) Which one wins the battle?
INT. TOOL SHED - NIGHT
A small wooden shed filled with all types of tools and instruments.
The door bursts open and Kadlu staggers into the room, a long object in his hand.
He breathes heavily and walks over to a work bench. THOMAS (V.O.)
And the elder
replied-He takes a couple of deep breaths and then throws a dented, blood covered crowbar onto the workbench.
THOMAS (V.O.) Which ever one you feed.
