SCRIPT – Manhunters Act 1

Troubled times have befallen the city y the bay. A ruthless serial killer has claimed the lives of nineteen young women, and it won’t be long before his next. Detective Jennifer Steele has two days to save a girl’s life, and the few leads she has just aren’t enough.

But soon Steele finds out that three citizens have a secret. Local radio personality Jordon Childs, modest college student Kotori Dan George, and retail worker Ethan Wallace hold the key that might bring the killer to justice. The three of them are werewolves, and only they are capable of finding the killer in time.

If you are interested in seeing the full script, shoot me an email.

MANHUNTERS

Written by Eric Hanson and Danny Geiger

Based on a story by Eric Hanson

EXT. SAN FRANCISCO BAY – DAY

In the harsh midday light of the California sun, a lone RED COOLER drifts across San Francisco Bay. Its white lid is soaked in blood.

JORDAN (V.O)

Good evening my bay-side beauties. Jordan Childs here to bring you our evening weather report. It’s 4 PM with that cool 60 degree bay breeze, so find yourself a lover to keep you warm.

EXT. ROAD – DAY

A lone POLICE CRUISER rides along the bay front. Inside is JENNIFER STEELE, a grizzled cop in her mid 40s. The outside of her is a mess, which says a lot about what’s going on in her head.

JORDAN (V.O)

Your night light Charlotte Hopkins will be on to soothe you all off to sleep, so don’t go anywhere.

STEELE

Whatever you say.

EXT. BAKER RICK’S – DAY

The BAKER RICK’S retail store glows from the harsh yellow of the setting sun. It casts onto KOTORI, a mid 20s Native American boy leaning against the outside wall. He has a certainty in the way he stands, someone who is right where they want to be. A backpack hangs off his shoulder and an open book on LAW graces his eyes.

Out of the doors of Baker Rick’s walks ETHAN WALLACE, a early 20s Kentucky redneck with the liberal southern flavor in his step and his cloths, which include a DODGERS baseball cap. Alongside him is ALLAN, his manager, an overweight man in his 40s.

ETHAN

I told you, night shift’s ain’t happening. I’ve got guard duty.

ALLAN

Guard duty? Seven days a week?

ETHAN

Frisco will frisk you.

ALLAN

I want confirmation and I want it this week Ethan. And don’t come in so sweaty again. You smell like my dog after a bath.

Allan storms off. Ethan GROWLS at the back turned manager before he spots Kotori.

ETHAN

Kit! Good to see you.

Kotori puts his book away and leaves the store.

ETHAN

Kit! Come on. Don’t be that way.

KOTORI

My name is Kotori, damn it. How hard is it to say three syllables?

ETHAN

Impossible when I’m just a poor dumb country boy.

KOTORI

(rubbing Ethan’s head)

Yeah. You’re my favorite pale face.

The two cast nervous glances to the setting sun.

KOTORI

Jordan better get off the air.

ETHAN

No worries. We’ve got some time before the shapes start dancing. How about a couple drinks?

KOTORI

I’ve got exams in a few weeks. Besides, us drinking this close to dark is a very bad idea.

ETHAN

Who said us? I can do all the drinking.

EXT. BOTTIN’S BAR – DUSK

Ethan and Kotori stroll outside a bar with a BOTTIN’S sign of neon. Several motorcycles are propped in the parking lot.

ETHAN

This looks like a good place.

KOTORI

I’m not big on biker bars.

ETHAN

They sell all the hard stuff. I’ll keep the bread, you keep the cards.

Ethan pulls out his wallet and hands Kotori his credit cards. The two enter the bar.

INT. BOTTIN’S BAR – DUSK

Ethan and Kotori enter a bar filled with bikers, smoke, red lights and dart boards. Kotori rolls his eyes while Ethan almost dances. He nudges Kotori.

ETHAN

Now this has a nice southern spice.

Ethan walks over to the bar and slams his fist on it. An older BARTENDER in her 50a, turns towards him with a fresh cigarette in her mouth.

BARTENDER

What in the Hell are you doing wearing those colors in here?

Ethan looks around and notices decorations for the Giants, the chief rival of the dodgers.

ETHAN

I like the Dodgers dogs. Say sweetheart. I got a couple of twenties that would just love to move into your fine establishment. Think your stiffest drink could help with that?

BARTENDER

You can’t handle our best, sweetheart.

ETHAN

How about I be the judge of that?

The Bartender BLOWS SMOKE in Ethan’s face, but he SUCKS IT OUT OF THE AIR with a wink. The Bartender is impressed.

BARTENDER

Our stiffest, coming right up.

Kotori hovers by the door next to a radio. Jordan’s voice returns, catching Kotori’s attention.

JORDAN (V.O)

Oooh. Can you feel that hot warm sun stirring us a nice mist for the morn? I sure do. Already getting some sweet dew on the windows down here by the water.

EXT. K-A-B STATION – DUSK

The K-A-B STATION is a decent sized three story building with faded letters and all the lights off, save one lone orb on the top floor.

JORDAN (V.O)

It’s five o-clock now at our bayside paradise, and the temperature has added a nice five degree chill as that old sun prepares to go to bed. I think the sun’s been working too hard.

INT. K-A-B RADIO BOOTH – DUSK

Alone in a radio booth is JORDAN CHILDS, mid 20s, a professional and resourceful African American woman who speaks in a strange blend of joy and irritability as she casually flings a RED YO-YO. A cell phone sits on her desk along with a picture of her with a young 10 year old boy, ASHANTE.

JORDAN

Both of us will be leaving you shortly, so how about you enjoy this jam from the Miracles and start spending that quality time together.

Jordan flips the switch and turns off the receiver.

JORDAN

Pervs.

Jordan’s phone rings. It’s Kotori.

JORDAN

(answering phone)

Hey Kotori. Shit stain with you?

INTERCUT. K-A-B/BOTTIN’S

ETHAN

Now I know she ain’t talking about me!

KOTORI

His hearing is getting better.

JORDAN

Bout time. This’ll be my last seven thirty for a while since Ashante’s birthday is paid for. Where you guys at?

KOTORI

Some bar. Bottin’s. Ethan wanted a few drinks before we meet at the usual spot.

JORDAN

Make sure you leave with plenty of time to spare. And keep an eye on Ethan. You remember what happened last time he got drunk.

KOTORI

I try to forget.

JORDAN

In a few, Kotori.

KOTORI

See you, Alpha.

The two hang up.

INT. BOTTIN’S BAR – DUSK

STEELE enters the bar and sits down next to BIKER BOB, an overweight Hell’s Angel Wannabe with a stench of sleaze.

BIKER BOB

Hello sweetheart. What brings you out here tonight?

STEELE

Booze.

A NEWS REPORT on the TV displaying images of missing girls. Steele diverts her eyes as if ashamed. Ethan and Kotori become transfixed.

NEWS REPORTER

The remains found last week have been identified as college student Claire Dobson, making her the eighteenth known victim of the Butcher by the Bay. Police are struggling to find any leads before this madman strikes again. Anyone with any information-

BARTENDER

(turning off report)

Depressing ass news.

BIKER BOB

Ain’t gonna find what did that.

BARTENDER

Biker Bob, no horseshit tonight.

ETHAN

Well I happen to be jonesing for some horseshit. What you got?

BIKER BOB

Werewolves, boy.

Kotori and Ethan looks to each other as if they’ve been caught. After a pause, Ethan laughs.

ETHAN

That’s some good horseshit.

BIKER BOB

I’ve seen ’em, boy. Out there after dark. You know some of the neighborhoods around here used to have a lot of crime, but those bitches out there have been doing a culling. Only now they’ve run out, so they go hunting that co-ed poon tang.

STEELE

You mind not calling those dead kids poon tang?

BIKER BOB

Where do you get off telling-

Steele brushes away her jacket to reveal her BADGE and PISTOL. Bob backs off.

BIKER BOB

I can prove it. I’ll track one of them and put ’em right on this bar.

ETHAN

Won’t work.

BIKER BOB

How’s that?

ETHAN

Werewolves change back after you kill ’em.

The bar erupts in laughter. Angered, Biker Bob finishes his pint in a series of massive gulps, a display meant to diminish Ethan. It only amuses the Kentucky boy.

ETHAN

Barkeep, drain me out another.

The Bartender gives Ethan the bottle. He proceeds to drink it just like Biker Bob.

BARTENDER

Hold on, sweetheart.

Ethan doesn’t listen. Some of the others in the bar take notice and start to cheer. Ethan finishes the drink and slams the bottle down on the counter top.

ETHAN

Barkeep, I’d like some pretzels.

Biker Bob rushes over and grabs Ethan. Ethan grabs Bob’s right middle finger and BREAKS IT without effort!

ETHAN

Don’t touch me, creep!

Biker Bob falls to his knees. Rather than do anything, Steele continues to drink. She pulls out a photo of a six year old BRUNETTE GIRL and stares at it longingly. Kotori pulls Ethan off his stool.

KOTORI

We’re leaving right now.

ETHAN

(winking to bartender)

Close it out, will ya, darlin?

The Bartender closes out the tab as Ethan and Kotori leave. Steele takes a swig of her drink.

EXT. BOTTIN’S BAR – DUSK

Ethan and Kotori hurriedly walk off into the dimming evening light.

KOTORI

What the hell is wrong with you?

ETHAN

I don’t like being touched.

Beat.

ETHAN

(singing)

When the lights go down in the city.

KOTORI

(singing)

And the sun shines on the bay.

ETHAN & KOTORI

(singing)

Oh I want to be there in my city! Whoa whoa oh oh oh!

EXT. SAN FRANCISCO BAY – Dusk

The bay laps peacefully as Jordan does her final broadcast for the night.

JORDAN (V.O)

Greetings my bayside beauties. Well, it’s seven, so I’ll be tuning in for the night and leaving all of you to lovely Charlotte. As you get ready to drift off to bed, I hope this tune from Stevie Wonder will be enough to keep you and your special someone very warm.

INT. K-A-B RADIO BOOTH – DUSK

Jordan closes down her booth, still flinging her YO-YO as she works. As the sun dips below the buildings, Jordan clutches her head. She starts to sweat profusely. She rushes out of the booth and locks it up, her yo-yo still dangling from her finger.

EXT. GOLDEN GATE PARK – DUSK

Ethan and Kotori walk alone in the park.

ETHAN

How much longer will Ashante be staying?

KOTORI

Until Jordan’s parents wrap up that house in London.

ETHAN

Think it’ll start for him soon? I know it’s always hard to tell with the shape but-

The faint revving of an engine stills Ethan and Kotori’s steps.

KOTORI

You hear that?

The two start going again and again the engine revs.

KOTORI

The hell would someone be doing here this late?

ETHAN

How about we don’t bother asking?

EXT. CALIFORNIA ACADEMY OF SCIENCES

Ethan and Kotori approach the building.

As they near it, a motorcycle appears from around the corner, blocking their path. It is BIKER BOB.

Kotori and Ethan wordlessly back away. Bob revs his engine and the two walk faster, only to be cut off by a SECOND and THIRD BIKER behind them.

BIKER BOB

Break my fingers, boy?

ETHAN

Hey, listen man. I’m just a dumb southern bumpkin. Ask this guy. He’ll tell you.

KOTORI

Dumbest person I know.

ETHAN

(to Kotori)

You don’t have to sound so certain.

Biker Bob pulls out a bowie knife. The sun retreats lower.

BIKER BOB

You boys like breaking fingers. How about I take a few of yours?

ETHAN

You don’t want to do this.

BIKER BOB

Oh, I do. I do.

KOTORI

No, man. You don’t understand. You need to run

SECOND BIKER

You telling us to run, red boy? Go on then. You run.

Kotori and Ethan look to each other and bolt to the trees. The bikers take off after them on their machines.

GOLDEN GATE PARK TREES

Ethan and Kotori run through the trees forcing the bikers to ditch their rides. Kotori looks up. The stars have started to shine.

KOTORI

Oh no.

Ethan collapses and clutches his chest. He starts foaming at the mouth. Kotori stops to help him.

ETHAN

No! Keep going!

Kotori lingers for a moment before bolting into the trees. Biker Bob and the other two Bikers converge on Ethan. Bob kicks him in the ribs and pulls him to his feet.

BIKER BOB

Well well, want to give my bowie a throat bath, boy? Hold this one, Murr.

He throws Ethan into the arms of the Third Biker and slashes his chest! Ethan cries out in shock and pain.

BIKER BOB

Now you stay right there while we go fetch your friend.

Biker Bob and the Second Biker take off. Ethan glares at the Third Biker, drooling.

ETHAN

Meat.

GOLDEN GATE PARK WOODS

Kotori runs into the trees. He stops, dripping with sweat. He looks up to the night sky, filled with stars and blackness. Sounds of crunching bones and tearing clothing fill the air.

BIKER BOB (o.s)

Come out red boy!

Biker Bob and Second Biker run to where Kotori was hiding, and find only his cloths.

SECOND BIKER

The hell this queer doing?

The chirping insects suddenly silence, unsettling the bikers. Without warning, a DARK SHAPE lunges from the blackness and knocks both of them down. The Second Biker looks down and sees his right arm is missing!

SECOND BIKER

Oh. Oh! Oh God! God! Aaahhh!

The DARK SHAPE emerges from the blackness, the KOTORI BEAST. It lunges down on the SECOND BIKER, ripping into his throat and silencing him with a gurgling yell.

Bob runs back to where the Third Biker waits with Ethan, wet ripping noises polluting the darkness. He find a horrific sight, a hairy ETHAN BEAST, hunched over his disemboweled friend and feasting on his entrails. The Ethan Beast turns to him with a snarl.

Biker Bob makes a break for the pathway as the Ethan Beast takes off after him.

GOLDEN GATE PARK

Biker Bob bursts out of the trees hops on his bike. As he tries to start it, a THIRD BEAST reaches out and casually pulls the keys from the ignition. Biker Bob looks up and screams. He falls off the bike as the three beasts converge on him. The Third Beast has a RED YO-YO hanging from its finger. The JORDAN BEAST

Biker Bob can only scream.

INT. APARTMENT – NIGHT

ASHANTE’S BEDROOM

ASHANTE, the child from Jordan’s office photo, an imaginative 10-year-old African-American boy nervously scans his room. The open closet; the door to the hallway; the door to the bathroom. No motion.

The GROWL of the JORDAN BEAST catches his attention. He leaves his bed and follows the noise out into the

HALLWAY

Ashante looks down the hall towards an open BATHROOM DOOR. In the darkened bathroom is the obscured form of the JORDAN BEAST, still holding the yo-yo, glaring at Ashante with harsh yellow eyes.

ASHANTE

Jordan? I can’t sleep.

The JORDAN BEAST slowly lumbers over to the child, before softly picking him up and carrying him back to

ASHANTE’S ROOM

The JORDAN BEAST tucks Ashante back in before grabbing a blanket from the closet and snuggling up on the floor.

INT. APARTMENT BUILDING – ASHANTE’S ROOM – MORNING

The morning sun and the sound of chirping filters into Ashante’s window, stirring him from sleep.

ASHANTE

Jordan? Jordan. Wake up.

JORDAN

(groaning)

Ashante, I love you. But sometimes you’re a pain.

A now human Jordan sits up.

JORDAN

Hey pup. How was your night?

ASHANTE

The monsters kept me up again.

JORDAN

Pup, how many times I have to tell you? This apartment is monster free.

Jordan tickles Ashante.

ASHANTE

No. No!

JORDAN

Come on. Who’s the best pup in the world?

ASHANTE

Me.

JORDAN

(rubbing Ashante’s head)

That’s right. Now, get up. Today’s a steak day.

ASHANTE

Extra bloody?

JORDAN

How else would it be?

ASHANTE

(holding out pinky)

Pinkie swear?

JORDAN

(holding out pinky)

Pinkie swear.

They shake pinkies.

INT. K-A-B RADIO BOOTH – MORNING

Jordan and Ashante enter the K-A-B RADIO STUDIO as Ashante plays with the Yo-Yo.

JORDAN

No. You gotta fling the wrist.

ASHANTE

Like this?

Ashante tries to bring the YO-YO back but it doesn’t obey. MIKE, 30s walks alongside her.

MIKE

Where were you? You’re on now. The song is “Go Your Own Way” by-

JORDAN

(rubbing Ashante’s hair)

Relax, Mike. I know Fleetwood Mac. You ask me this station could use some Motown.

MIKE

What’s Motown?

JORDAN enters the booth and glares at Mike.

JORDAN

Good God, Mike. I don’t think I can ever look at you again.

Ashatne starts laughing as Jordan shuts the booth and powers up the radio.

JORDAN

Good Morning San Francisco, this is Jordan Childs of K-A-B with your morning wake up call. It’s eight AM Saturday_

EXT. SAN FRANCISCO BAY – DAY

A JEEP lies stalled on a road near San Francisco Bay. The GOLDEN GATE BRIDGE looms in the background. Ethan stands by the car as Kotori works under the hood until the engine starts running.

JORDAN (o.s)

(cont)

_with that nice morning fog just starting to burn off. Since things look a little gloomy out there, I have selected a nice little retro jam for you from Fleetwood Mac.

Kotori closes the hood to the Jeep.

KOTORI

This jeep will be the death of me.

ETHAN

(laughing)

See the look on those guys’ faces?

KOTORI

It’s not funny.

ETHAN

Hey, they came after us. So Kit, going to teach us any tricks on the camping trip?

KOTORI

Tricks?

ETHAN

You know, smoke signals, trails_

KOTORI

Ethan, just because I’m indigenous doesn’t mean I automatically know those things, just like your hick ass doesn’t automatically want to fuck your sister.

ETHAN

My sister is gay.

The two stop and look to each other.

KOTORI

You smell that?

ETHAN

Smells like rotted meat.

KOTORI

That’s no ordinary meat.

The two run up the beach until they come across the RED COOLER. The two hesitate before opening it. Kotori is shocked to stillness, while Ethan falls away horrified, vomiting onto the sand.

EXT. CREEK – NIGHT – FLASHBACK 

Three POLICE OFFICERS ride through a creek on a small boat, with flashlights. One of them is recognizable as a YOUNG JEN STEELE. They find a WHITE PLASTIC GARBAGE BAG in the water. Steele opens it up and looks inside.

INT. BOTTIN’S BAR – DAY

As the bar prepares to open for business, a visibly disheveled Steele shoots upright.

STEELE

No!

Steele’s phone starts to ring as the sweat drenched woman answers it.

STEELE

Palmer, you have any idea what time it is?

PALMER (V.O)

It’s eight thirty.

STEELE

(embarrassed)

Oh.

PALMER (V.O)

We’ve got nineteen.

Steele snaps to attention.

EXT. SAN FRANCISCO BAY – DAY – LATER

Inside the cooler is the SEVERED HEAD of a young woman. Steele and her partner ADRIENNE PALMER, late 30s, stand over it.

PALMER

Missing persons is looking into it. Steele, we’ll get him. Guys like the Butcher always slip up.

STEELE

How many more heads before then?

Steele spots Ethan and Kotori being interviewed. She approaches them.

STEELE

I remember you from the bar. What brings you out here?

ETHAN

Just wanted to have a walk after work last night. Got off a mid at the Baker Rick’s in the beach district.

Steele spots a WHITE GARBAGE BAG blowing across the sand. She becomes fixated on it.

KOTORI

Detective, can we get out of here We’ve told you everything.

STEELE

Go then.

Kotori looks back to the cooler as the two leave the scene. They hop in his Jeep and drive away.

INT. MEDICAL EXAMINER’S OFFICE – DAY

Steele stands by SAVINI, a 30 year old male medical examiner as he examines the head. Several workers meander about.

SAVINI

Same. Looks like a machete. Decomp has been maybe three days.

Steele spots Palmer by another body. Palmer lifts up the sheet to reveal Biker Bob’s badly mutilated corpse.

STEELE

What have we here?

PALMER

Couple of bikers found in Golden Gate Park this morning. Torn up worse than the case with those two German Shepherds. Looks like some kind of meat eater.

STEELE

What could have done that, Savini?

SAVINI

Not sure. Molds of the front teeth look canine only way too big. Some of the molars even looked human.

PALMER

Maybe a gorilla.

Savini shakes his head as if to say ‘no.’

STEELE

I know this guy. Got into it with those two kids at the bar last night.

Savini gently brushes the victim’s head from what is left of her neck, exposing a TATTOO of a SCORPION.

SAVINI

Look at this.

One of the workers takes a picture.

INT. K-A-B RADIO BOOTH – DAY

Jordan sits in her booth as “Bad Moon Rising” plays on the radio. Ashante sits on a table outside looking in. As Mike walks by, Jordan taps on the glass and slips a stack of bills under the door. She motions to Ashante. Mike rolls his eyes and walks over to the boy.

MIKE

Want some snacks?

ASHANTE

Got anything meaty?

MIKE

We just might have some jerky.

Mike and Ashante walk away just as Ethan and Kotori enter the studio. Jordan leaves the booth and approaches them.

JORDAN

It’s eleven forty. Where the hell_

Jordan notices the two appear disheveled. She tilts her head into the soundproof booth. The three walk inside. Ashante walks back into the room with some beef jerky and looks to the booth.

Their words muted by the soundproof glass, Jordan, Ethan and Kotori are deep in conversation. Jordan puts her head in her hands as Ethan fights back tears.

The three look to the child as he awkwardly waves at them. Jordan, Ethan and Kotori force smiles as they leave the booth.

KOTORI

(hugging Ashante)

Hey pup. Sorry we’re late. You want a steak?

ASHANTE

Extra bloody.

KOTORI

That’s our pup.

ETHAN

I’m not hungry.

Ethan walks away from the others.

JORDAN

Take it easy Ethan.

EXT. K-A-B STATION – DAY

Ethan exits the station. He looks out to the bay and hurriedly walks away.

INT. SQUAD ROOM – DAY

Steele pins a photo of the victim on a billboard. It is a map of the San Francisco Bay area marked with nineteen pins, each one linked to a series of photos of young women, all brunette, in their twenties. Accept for the latest victim. She is blond.

Palmer walks up behind Steele carrying a file.

PALMER

Tattoo’s fresh from the day she died. Checked. Only one parlor does it.

Steele hands Palmer the photo and examines the billboard.

STEELE

Something’s wrong. Our guy keeps them for a week. If she got that the day she died, he killed her right away. Take a look at this. The others are brunettes. She’s not his type. You have an address for_

Palmer hands Steele a sheet of paper with an address for the parlor. Steele gathers up her jacket.

STEELE

Keep checking with missing persons.

PALMER

Will do.

Steele walks out of the squad room.

EXT. TATTOO SHOP – DAY

Outside a shop labeled BUEHRER’S COMPLETELY NOT SEXUALLY EXPLICIT ART AND TATTOO SHOP, Steele squeezes her car into a street parking space and exits the vehicle with a folder tucked under her arm.

INT. TATTOO SHOP

TATTOO ARTIST, a young man with glasses and slight beard stubble, reads a comic behind the counter. Steele approaches the counter.

STEELE

Hello. Detective Jennifer Steele, SFPD. Looking for information on a young lady in here last Wednesday. Blond. Got a scorpion tattoo.

TATTOO ARTIST

(not looking up)

Yeah. Maybe I saw her.

Steele shows him a photo of the victim.

STEELE

See this? This is a head. I’d like to know how she got that way. Do you remember her?

TATTOO ARTIST

Gotta ask Clarence.

The Tattoo Artist points behind himself to reveal a small hidden camera labeled: CLARENCE.

STEELE

Can I talk to Clarence?

The Tattoo Artist leans forward with a smirk.

TATTOO ARTIST

Not without a warrant, babe.

Steele bets her eyelashes and grins.

LATER

A team of CSI investigators bag all the discs from the security camera. Steele takes the camera off the wall mount and carries it under her arm.

TATTOO ARTIST

Hey, you people can’t do this.

Steele turns, deliberately knocking over a display, though she tries to make it look like an accident.

STEELE

Oops.

Steele walks out of the parlor, leaving the disgruntled tattoo artist to clean up the mess.

EXT. TATTOO SHOP – DAY

Steele exits the shop and her phone rings. Steele answers it.

STEELE

Yeah.

PALMER (V.O)

Steele, she’s got a name.

INT. INTERVIEW ROOM – DAY

Steele and Palmer enter. They find MR. and MRS. FLETCHER, both in their 50s, waiting for them. The two nervously walk back and forth in the room, turning only when Steele and Palmer enter.

STEELE

Mr. and Mrs. Fletcher?

MRS. FLETCHER

Yes. You said you might have news about Angie?

Steele and Palmer are absolutely silent, a message that is unmistakable to MR. and MRS. FLETCHER. Mr. Fletcher rhythmically punches his leg.

MR. FLETCHER

No. No. No! No!

Mr. Fletcher lunges at Palmer and pins her against the wall. Steele pulls him away.

MR. FLETCHER

Fuck you! It’s a mistake!  Show me! You’ll see it isn’t our baby!

PALMER

Mr. Fletcher, that’s a bad idea.

Beat.

Mr. Fletcher releases Palmer and slides down the wall, sobbing. Mrs. Fletcher walks over to her husband and breaks down herself. Steele rests her hand on Mrs. Fletcher’s shoulder.

MRS. FLETCHER

(weeping)

Was Laurie with her? I mean, we need to call the Thompsons to let them know.

STEELE

Who?

MRS. FLETCHER

Laurie Thompson. She was with Angie last time we-

PALMER

Do you have a picture of Laurie?

Mr. Thompson shows a picture of the two girls together. LAURIE is a beautiful young brunette. Just the killer’s type. Steele leaves the interview room.

PALMER

Where are you going?

STEELE

To the bay.

EXT. SAN FRANCISCO BAY – DAY

Steele drives up to the crime scene. She parks her car and heads out onto the sand. The wind whistles around her blowing away the sand and disturbing the scene. She looks down and spots a set of FOOTPRINTS inside the crime scene tape.

Steele follows the footprints and spots ETHAN walking along the shore. Ethan stops and smells the air. Steele looks curiously after him.

Nearby, a flurry of seagulls feast on Ethan’s vomit. Steele glances over at it and sees what looks like the bone of a HUMAN FINGER! Steele runs over to it, but it is snatched by a seagull.

The detective looks to where Ethan is walking.

EXT. PORT OF SANK FRANCISCO – DUSK

Ethan walks alone along the port through a TRAIN YARD until he nears a STORAGE LOCKER. Ethan sniffs the air and heads towards the locker. He spots BLOOD seeping under the door. Suddenly, Ethan snaps his head around to see Steele parked behind him.

STEELE (O.s)

What you doing here, kid?

ETHAN

Oh, uh. Just a walk.

STEELE

Where to?

Ethan glances up at the darkening sky. He reached to the back of his neck and feels thick black hairs growing there.

ETHAN

I’d better go.

Steele stops Ethan.

STEELE

No, kid. I wanna talk. First let’s talk about your diet.

Ethan shoves Steele down, spraying her face with saliva. He bolts into the TRAIN YARD.

STEELE

Son of a bitch.

As the sun sets ever lower, Ethan nears a running train of boxcars, several of them with open doors. Nowhere to run, Ethan effortlessly hops on one of the open doors. Steele tries to catch him, but cannot.

She groans, runs back to the STORAGE LOCKER and spots the blood. Steele pulls out her phone and dials.

STEELE

Palmer.

PALMER (V.O)

Yeah, Steele. What is it?

STEELE

I need the work address of that Ethan kid. And get CSI down to the port. We’ve got something.

LATER

The storage locker is unbolted, allowing Steele and several officers to enter. They find a grisly scene of blood spattered walls. What’s left of a human body, a headless torso, two legs and an arm, lies in the center of the room.

INT. BAKER RICK’S – DUSK – LATER

STEELE approaches one of the CASHIERS at a CASHIER DESK.

STEELE

Detective Jennifer Steele, SFPD. I need to speak to a manager.

Allan overhears the conversation and approaches the desk.

ALLAN

What can I do for you officer?

STEELE

Do you have an employee named Ethan Wallace? I have some questions.

ALLAN

Yes, but he isn’t in today.

STEELE

May I see his locker, please?

CASHIER

Don’t you need a warrant?

ALLAN

Not if I want to show her.

BREAK ROOM

Allan unlocks ETHAN’S LOCKER. It is lined with PHOTOS of Ethan with his family. One PHOTO is of him with Kotori, Jordan and Ashante.

STEELE

Jordan Childs, the DJ?

ALLAN

Keeps bragging they’re old buddies.

INT. K-A-B RADIO BOOTH – DUSK

Jordan turns off her radio and prepares to leave the studio just as Kotori and Ashante return.

JORDAN

(Rubbing Ashante’s head)

Big day on the town, little pup?

ASHANTE

Yes. Good meat. Jordan, when will it happen to me? When will I be like you?

Beat.

JORDAN

Your Shape is coming. So enjoy this while you can.

ASHANTE

But Ethan says when it happens, nothing is scary anymore.

KOTORI

(kneeling down)

You enjoy dreaming?

Ashante nods.

KOTORI

Honestly, I miss a good dream. Most people spend half their lives asleep. We spend all our lives awake.

ASHANTE

I have nightmares. About the man.

Jordan notices Kotori appears troubled.

JORDAN

What’s bothering you?

KOTORI

I think we should go after who killed that girl.

JORDAN

No. I don’t want to get involved with this.

KOTORI

Why not? How is this meat different from the other meat?

JORDAN

They’ll miss this one, and if they miss one, they find us. We need to survive, not play detective.

KOTORI

So we just save our own asses?

JORDAN

You know what used to happen to people like us. Plus, it’s not my ass I’m worried about.

ASHANTE

What you guys talking about?

KOTORI

A monster. A very bad man who likes hurting people.

JORDAN

Kotori-

KOTORI

Someone has to tell him. You didn’t see her eyes Jordan. She was so afraid.

Rapid footsteps sound, and Ethan bursts into the studio.

ETHAN

Hey Jordan, listen. This cop from the beach. She’s been following me.

The sound of an approaching car draws them to the studio window. Outside, STEELE’S CAR pulls up.

JORDAN

You lead her right to us!

ETHAN

Sun’s almost down. What’ll we do?

INT. K-A-B HALLWAY – DUSK

Steele runs down the hall towards the booth.

INT. K-A-B RADIO BOOTH – DUSK

Steele enters the booth room to find Kotori and Ashante sitting at a table and Jordan talking in her microphone. ETHAN is gone!

JORDAN

This is K-A-B, San Francisco Bay, leaving you with this little eighties tune to sooth you off to sleep. Stay tuned for the lovely Charlotte Hopkins to be your nightlight. This is Jordan Childs, and I’ll see you all tomorrow.

STEELE

(to Kotori)

What are you doing here?

KOTORI

Who doesn’t want a live show from San Francisco’s Child?

Jordan turns off the radio and locks the booth behind her.

STEELE

So you’re the famous Jordan Childs.

JORDAN

According to some people.

STEELE

(flashes badge)

Jennifer Steele SFPD. How do you two know Ethan Wallace?

KOTORI

Just a friend.

STEELE

Has he been around here? I’ve got some questions.

Inside the booth, ETAHN HIDES UNDER JORDAN’S DESK! Kotori motions out the window. The sun is almost down.

JORDAN

(hiding her hands)

Can we do this later, detective?

Steele glares at Jordan and lets out her hand.

STEELE

Keys.

Beat. Jordan hands her the keys. Steele enters the booth and finds Ethan.

STEELE

Well, if it isn’t the cannibal. Why did you run?

ETHAN

I had to go to the bathroom?

STEELE

What are you? Ten?

Ethan gets out from under the desk. Steele cuffs him.

JORDAN

Detective, this isn’t a good idea.

ETHAN

Please don’t touch me like that. I don’t like being touched.

STEELE

I’ll be back to chat with you two in a minute.

Steele forces Ethan out of the room.

EXT. K-A-B STATION – NIGHT

Steele leads Ethan out to her car. Steele puts Ethan in the back seat and gets into the driver’s seat. She doesn’t notice Ethan sprouting hair on his hands.

ETHAN

I’ve gotta throw up.

STEELE

Go ahead. I have had worse things in the back of this car. The spot on your seat? That was from when I drove a pregnant woman to the hospital. Popped out twins right on the leather. That spot on the floor? That was from when this junkie_

ETHAN

I was only trying to help.

STEELE

(turning back to Ethan)

What could you do to find my boy?

ETHAN

Found the locker, didn’t I?

Ethan’s eyes turn yellow and he sprouts fangs! Steele throws open the car door and jumps out as Ethan TRANSFORMS into the ETHAN BEAST, breaking his cuffs and leaving the car.

INT. K-A-B HALLWAY – NIGHT

Steele runs into the building and to the small ELEVATOR leading to the upper floors. She hits the button for the THIRD floor.

STEELE

Come on. Come on. Hurry up.

The Ethan Beast growls, making Steele draw her weapon. He appears at the end of the hall, only his yellow eyes visible as he rushes her. The door to the elevator opens and Steele jumps inside just in time to avoid being grabbed.

INT. K-A-B RADIO BOOTH – NIGHT

Steele bursts out of the elevator. She uses a janitor’s broom to block the stairs just as Ethan slams into the other side. Steele stumbles into the office where Ashante waits.

STEELE

Get behind me, kid. There’s a monster down there.

ASHANTE

They’re not monsters.

STEELE

(turns to Ashante)

What?

JORDAN BEAST (o.s)

Shh.

Steele spins around, bringing herself face to face with the JORDAN BEAST. Steele is about to fire her weapon but the KOTORI BEAST wrenches the gun from her hands. Steele dives to the nearby window.

EXT. K-A-B STATION – DAY

Steele climbs out the window and lets herself fall into a DUMPSTER. She climbs out and runs back towards her CAR. Before she can get in, the ETHAN BEAST hops on the roof. The beast puts its index finger to its lips.

ETHAN BEAST

Shh.

Steele runs down the road away from the station as the Three Beasts rush after her. They catch her easily and surround her, snarling and bearing their deadly razor teeth at the frightened cop.

INT. K-A-B RADIO BOOTH – MORNING

Jordan, Ethan and Kotori sit in a circle, sporting new cloths, all exhausted. Kotori sits on a large TRUNK.

JORDAN

I wish Ashante didn’t have to be there.

ETHAN

I loved that shirt.

JORDAN

Shut up. Off the trunk, Kit.

KOTORI

You guys and all this Kit stuff.

Kotori gets off the trunk. Jordan opens it revealing Steele inside, tied up with duct tape over her mouth.

JORDAN

Listen up, cop. We’re taking the tape off you and having a nice civil talk, understand?

Steele nods. Jordan rips the tape off.

STEELE

You’re fucking werewolves!

KOTORI

(laughing)

Haven’t heard that in a while.

Steele looks to a claw mark from where Jordan grabbed her.

JORDAN

Relax detective. Gotta be born with it. Silver bullets. Wolfsbane. Changing at the full moon. It’s all horseshit. We change every night, and then we hunt. There are packs of us here and there. We’re what you’d call the local chapter.

STEELE

I suppose you’re going to tell me there’s vampires all over Brooklyn.

ETHAN

Don’t be stupid. There’s no such thing as vampires.

STEELE

You kill those girls?

JORDAN

No. We hunt ones you don’t miss. Crooks. Drug pushers. Killers. So we don’t have a problem.

STEELE

Kill people, we’ve got a problem.

JORDAN

We have no choice.

STEELE

If that’s true, why didn’t you tear me up?

JORDAN

The Shape only gives you control when you feed it. The Shape demands to be fed. You don’t feed it, it steals your mind.

STEELE

Okay. Okay. Then why don’t you just eat cows or something? Everyone eats cows!

ETHAN

Tried that. Dead or alive, it’s gotta be human.

STEELE

(to Ethan)

If you didn’t kill that girl, how did you find the storage locker?

ETHAN

Followed the current until I smelled it.

STEELE

Smelled?

JORDAN

The shape is always within us, even in daylight. We have its senses. We can pluck a bead of sweat from a river. Track someone from yesterday’s shadow. Smell blood and flesh from yards away. And that’s before the sun goes down.

Jordan unties Steele’s bonds just as the detective’s phone rings. Steele answers it.

PALMER (V.O)

Steele, I’ve been trying to reach you all night. What happened?

STEELE

Hey Palmer. Interesting night.

PALMER (V.O)

We’ve got something on the tape.

STEELE

Oh. Nice.

Steele hangs up.

JORDAN

You know everything, now just try to forget it. Get lost, cop.

Steele scrambles to her feet and rushes out of the station, leaving the three werewolves alone.

KOTORI

I think that went well.