Titans Script by Titans (TV Show) Lyrics
TITLE SEQUENCE
It fades to black. As it becomes slightly brighter, three small, dirty circus tents can be seen surrounded by dark fog. There are string lights and two large glowing arrows that are flickering on and off. They are pointed at the center tent. A hooded figure wearing gladiator boots is walking towards the tent. There is very faint circus music and the sound of crickets. The music gets louder as the figure gets closer to the tents. Cut to inside the tent. The room is blurry, but the same dirty striped pattern is inside the tents, and the room is lit by old lights that are flickering and buzzing. Rachel Roth into the room cautiously, as the shot pans down to show her face. She appears to be young and very pale.
Cut to her walking further into the tent. She is running her hands along the narrow walls. An elephant can be heard trumpeting, and then another animal roaring as Rachel reaches an opening at the end of the tents. The music begins to climax as Rachel continues down the passage. As she swiftly opens the final curtains the music abruptly stops. She looks around at an empty room. There are leaves swirling to the ground. Cut to Rachel's face.
RACHEL: Hello?
Cut to the room. As the shot pans around, a circus ring can be seen on the ground. There is debris everywhere.
RACHEL: Hello?
Lights flash on as large, black birds fly away, cawing.
Cut to a large lit sign that reads, "THE FLYING GRAYSONS."
ANNOUNCER: Ladies and gentlemen!
The room is now lit up around Rachel.
ANNOUNCER: Boys and girls!
Cut to the sign again, however this time the whole room can be seen around it. An animation of someone doing gymnastics scrolls across the sign along with the words. Cheering is heard.
ANNOUNCER: The Flying Graysons!
There is applause and cheering. Cut to the girl’s face, which appears distorted with confusion. Cut to the whole room. Moving lights are flashing gobos around the room. Cut to a man. He is wearing a leotard with a cape. He is sitting on a swing looking around the room as if he is riling up an audience. Cut to a woman and a boy. They are on platforms looking around the room, holding their arms out as if to present themselves. They too are wearing leotards with capes. A somber violin song begins. Rachel can be seen, still confused. Cut to the Woman and boy. The woman holds a wooden bar and gracefully jumps off the platform. She swings as we cut to see the girl watching the performance. The man grabs the woman’s feet as she lets go of the bar, which swings to the boy. Cut to Rachel, who is now watching the boy. Cut to the boy, who follows what the woman did. The shot pans around as they continue the routine. Cut to Rachel, who is now content. The music turns ominous as the routine continues. Cut to the glowing sign. The word "FLYING" flickers out. Cut to the boy. He is swinging in slow motion towards the other performers. As they swing as him, one of the ropes holding their swing up snaps. They fall, as the woman tries to grasp the boy’s hand, who narrowly misses her. Cut to the boy’s face. He is screaming as he reaches for them. Cut to them plummeting. Rachel screams as they fall toward her. She sits up in bed. She is still screaming. As she stops screaming, she begins to pant. Rachel’s mom hastily enters her bedroom.
MELISSA: Rachel!
RACHEL: The circus again! The boy...
Rachel hyperventilates as Melissa tries to comfort her.
MELISSA: Take a breath, honey. Just calm down.
RACHEL: He watched as his parents fell. Oh, God. It was... It was so scary, I-I felt...
MELISSA: It was just a dream. Okay. Just... Just breathe like we practiced, okay?
They both breath deeply and consistently.
MELISSA: It's okay. Everything's gonna be okay. - Okay?
Rachel sniffles and nods.
MELISSA: Sweetie, you need to get a little more rest. Come on.
The woman helps Rachel to lie back down. She tucks Rachel back into bed.
MELISSA: Everything is gonna be okay.
Melissa kisses Rachel on the forehead, and very quiet, somber music can be heard playing.
RACHEL: Mom?
MELISSA: Yeah?
RACHEL: Keep the door locked.
Melissa closes the door. Cut to outside Rachel’s bedroom door. It is covered in crucifixes, crosses, and depictions of Jesus and/or Mary. Melissa locks several locks before sighing and walking away. The music gets louder as a large, white crucifix falls off it’s nail on the door.
TITLE CARD
A thunderclap is heard.
CUT TO: DETROIT MICHIGAN
A car is seen sitting outside of a bar in the rain
RADIO: With the low pressure coming in, we will see the temperatures dropping. Which means this rain would then turn to sleet and possible, even snow.
Cut to inside the car. The wipers in the car work to keep the rain off the windshield as the focus switches from the it to the front mirror, where Detective Dick Grayson’s eyes are, watching something unseen. Grayson looks intently out the window as low, dramatic music fades in. Cut to a case file. Grayson is flipping through pictures of a young girl who appears to have been beaten. The bottom of the photo reads, "EVIDENCE," and a paper that is clipped into the file reads, "CHARGES DISMISSED." The music builds as he turns around to look at a black case sitting in the backseat of the car. He looks away and starts the car.
CUT TO: DETROIT POLICE STATION
He walks with purpose into the station.
AMY: Detective Grayson? Amy Rohrbach. Transfer from Oakland. I'm your new partner.
DICK: Right. The Captain mentioned. It's a pleasure. I read your file. You seem to know what you're doing. You keep doing your thing, I'll keep doing my thing. We'll be good.
Dick walks away. A man walks up to Detective Rohrbach.
WOLF: Don't take it personally.
AMY: I need a breath mint or something?
WOLF: He's been pushing off getting a partner since he got here a month ago. Some shit about his last one or something.
FEMALE DETECTIVE: He's from Gotham. Likes to work alone.
AMY: Gotham? Jesus... What happened to his last partner?
WOLF: Gassed by The Joker. Who knows?
They laugh as Amy turns to look at Grayson.
CUT TO: RACHEL’S HOUSE, TRAVERSE CITY MICHIGAN
An alarm goes off as we cut to Melissa, laying in bed. Next to her alarm clock is a wine glass, a bottle of pills, and a picture of young Rachel. She waits before reluctantly turning the alarm off. She gets up to take medication. She lifts her shirt to reveal claw marks on her side, both healed and new.
Cut to the kitchen, where Rachel is eating cereal next to an empty glass bottle.
Rachel is wearing black clothing, has dark purple nail polish, and has dyed purple hair. Her dark appearance is in stark contrast to the white mug she is drinking out of, which reads: “Happiness is Homemade”
Melissa enters the kitchen wearing blue scrubs.
MELISSA: Did you have breakfast? You shouldn't drink coffee.
Melissa takes the coffee from Rachel and places it on a countertop.
RACHEL: You shouldn't smoke.
MELISSA: I quit.
RACHEL: No, you didn't.
MELISSA: Well, I'm going to.
Melissa Opens the fridge.
MELISSA: Darn it. I forgot to get cream.
RACHEL: You forgot to get everything.
Rachel holds up the empty jar.
MELISSA: Okay. I'm late. Can you take the bus to school again today?
RACHEL: Sure. Okay. You never sleep anymore.
MELISSA: No, not often.
Melissa chuckles
RACHEL: It's because you're scared of me.
The shot pans down. Rachel’s reflection on the metal arm of a chair can be seen with pitch black eyes and black veins. Ominous music fades in and whispering can be heard.
MELISSA: I am not scared of you, honey.
RACHEL: I can tell when you're lying. I can feel it. You know I can.
MELISSA: Pray with me.
Melissa puts her hands around Rachel’s
RACHEL: No, no. Talk with me.
Rachel Pulls her hands away and puts them around Melissa’s.
RACHEL: What's inside of me? What is it?
MELISSA: Rachel, just please pray with me. Please! - Our father who art in...
RACHEL: No more praying. No more lying. Tell me what you're not, Mom! Tell me!
Rachel’’s reflection comes out of her for a second, pushing Melissa to the ground.
RACHEL: I'm sorry, Mama.
Rachel runs out of the house, grabbing her coat and bag as Melissa walks after her.
MELISSA: It's okay, baby! Rachel!
RACHEL: I'm gonna miss the bus.
MELISSA: Rachel!
Rachel walks out of her house, walking down the street to her bus.
MALE NEIGHBOR: Hey, kid. You tell your mother that screaming keeps us up all hours of the night, I'm calling the police again. You hear me? I don't care about your emotional issues! Weirdo.
CUT TO: RACHEL’S BUS
Rachel is leaning her head against the bus window.
KYLE: Boo! Come on. What are you hiding from? You don't have to be shy with me. I like freaks.
Kyle leans over the seat of the bus, putting his hand on Rachel’s shoulder.
Matt turns around in his seat.
MATT: Leave her alone, Kyle.
KYLE: Don't you have a touchdown or something to throw, Matt?
Matt gets up out of his seat.
MATT: Just leave her alone, asshole. Before I make you.
Kyle shoves Matt.
KYLE: Maybe you should take a seat.
They fight. Kyle hits Matt in the face.
BOY: Knock him out!
BUS DRIVER: Sit back down! Both of you! Now!
BOY: Come on, it was getting good.
BOY: Does it hurt?
MATT: It doesn't hurt.
Kyle leans over to Rachel, annunciating.
KYLE: Slut.
Rachel turns to the bus window.
RACHEL’S REFLECTION: Slut!
CUT TO: THE SCHOOL HALLWAY
Rachel puts her stuff in her locker and turns to see Matt, now sporting a blackeye.
RACHEL: Uh, Matt. Thanks for...
Matt walks past her, looking annoyed. Rachel sighs
CUT TO: RACHEL’S HOUSE
As Rachel opens her front door, the shot shows a windowsill covered in crosses and pill bottles.
RACHEL: Mom?
Rachel enters her kitchen, where the fridge is ajar. Melissa enters the kitchen doorway.
RACHEL: Mom, I'm really sorry about this morning.
An Acolyte grabs Melissa’s shoulder and stops into the doorway. He is holding a gun pointed at Melissa. He slowly leads Melissa into the kitchen from behind.
ACOLYTE: Rachel. That's what she calls you. But that is not who you are.
RACHEL: Let my mom go.
ACOLYTE: This woman is not your mother. Tell her. Tell her!
MELISSA: I am not your mother. But I do love you.
RACHEL: No.
MELISSA: You have good inside your heart, sweetheart. Don't do...
The Acolyte shoots Melissa through the head. Her body hits the floor as Rachel screams.
ACOLYTE: There. Now, that's better.
Rachel’s eyes go black. She screams and all of the glass in the house shatters as the lights flicker and go out. Her reflection jumps out of her and throws the Acolyte into a window. Her reflection flies back into her. She pants and runs out of her house.
We cut back to Melissa, who is dead on the kitchen floor. Her face is covered in blood and there is a pool of her blood on the floor
CUT TO: DETROIT
It’s night now, the same bar as before is shown. A siren wailes.
Cut to Dick Grayson, who is sitting in his car just like before. He looks as if he is deep in thought, and also mad. He is watching men come out of the bar. The men are chatting.
Dick is going through the same file as before. He is looking at more photos of the young girl. There is a news clipping in the file, and the headline: “Charges Dismissed Against Child Abuser Tyler Hackett” is seen. The name “Tyler Hackett” is underlined in red ink. Dick flips to a picture of Hackett. The shot cuts to the men who are talking outside the bar. One of them is Hackett. The men walk away from the bar, one of them holding a large bag. Grayson looks at the black case, now sitting in the passenger’s seat of the car. He looks around for a moment before leaning over and placing his thumb on a red scanner on the case. The scanner turns green as two complementary scanners activate. They scan Grayson’s eyes and then turn green. The case unlocks.
Cut to an alleyway where two groups of men are walking towards each other. Dogs can be heard barking in the distance. Hackett motions for one of his men to step forward. The man throws the black bag in front of him. A man from the other group opens the bag. It’s filled with stuffed animals. Hackett exhales loudly, smirking. The man used a knife to cut open a stuffed tiger. He pulls a bag filled with pink crystals out.
MAN: Pink?
TYLER HACKETT: The kids love it.
A whoosh is heard. All the men look up and around.
MAN: What was that?
A figure is seen jumping from one rooftop to another, over the alleyway. A voice is heard.
ROBIN: I'm only here for Tyler Hackett.
Robin jumps down from the rooftop, onto a car. The men all whirl to the sound.
ROBIN: Leave the drugs. Leave the guns. And walk away.
MAN:Where's Batman?
MAN 2: He could be anywhere, man. He's up there somewhere. Look up. Look up.
MAN 3: Oh, where's the Bat! Where is he?
One of the men turns to his leader, lightly hitting his shoulder.
MAN: Hey. The little birdie's alone.
The men chuckle.
Robin hits him with a grappling hook and violently pulls him back into the windshield of a car, which shatters.
MAN 2: Get him!
The men all point their guns at Robin, who slams a smoke grenade onto the ground. The men cough and cover their faces as the gas reaches them. Robin covers his face with his cape. The men begin to shoot in his general direction. Hackett picks up the bag.
Robin throws R shaped throwing knifes at the men. They get hit as Robin begins to beat them up. Bones crack and guns go off. Robin runs a man’s head against a brick wall, leaving a large smear. Their blood splatters onto Robin. Hackett runs to a car that’s been left in the alley.
MAN: Tyler! Where you going, man?
Robin smashes in the window the car Hackett got into. Hacket grunts as Robin grabs his arm and pulls it. Robin then run’s Hackett’s face along the broken glass of the window.
ROBIN: If you ever touch your kid again, I will find you.
Robin knees Hackett in the head before pulling him out of the car and throwing him to the ground. Robin repeatedly stomps on Hackett with as much force as he can muster. He lays unmoving on the ground. Robin walks away.
He sighs and looks back at Hackett.
ROBIN: Fuck Batman.
CUT TO: DICK GRAYSON’S APARTMENT
Dick puts a needle on a record, which begins to play. The Song is Tom Petty’s “You Don’t know how it feels.”
You know
How it feels
Dick removes his toolbelt.
Alone
Alone
Dick picks up his armour and examines it. He begins to scrub at it with a towel.
Fight for your life
Pray for the others
He examines a bloodied R throwing star.
To die
He wipes at the R, getting blood on his thumb. He goes to rinse the R in his sink. He looks very upset as he washes it. He breathes deeply before getting aggravated and throwing the star at a punching bag, puncturing it at the seam.
Now dressed in a suit, he walks through the apartment, stopping to look at a poster that reads: “The Flying Graysons”. His reflection shows his face before he turns to walk away. The shot focuses on the poster where a depiction of three people in leotards swing from an unseen roof.
You're waiting for the others
To die
CUT TO: DETROIT P.D
CAPTAIN: Are you guys sure it's him?
COP: Absolutely, Captain.
WOLF: We called Gotham P.D. He hasn't been seen for over a year. Disappeared, they said.
FEMALE DETECTIVE: They thought he might be dead.
CAPTAIN: Why come here? Why Detroit?
DICK: The weather?
The other detectives all chuckle.
CAPTAIN: Let's just hope to hell he's passing through. You know the problems that these masks bring with 'em. Painted freaks.
The shot cuts to Dick’s saddened face.
CAPTAIN: Psychopaths in drag. We don't need that shit. We got enough of our own regular problems here. Come on, guys. Back to work. I need to talk to you for a second, Eddie.
MALE DETECTIVE: Sure, Captain.
The other detectives walk away, but Dick stays, staring at a screen. It’s showing pictures of Robin beating Tyler Hackett’s men, with a close shot of the “R” on his armour. S.O.B. by Nathaniel Rateliff & The Night Sweats begins to play.
CUT TO: BUS STATION
Rachel looks nervous as she makes her way to the front of a ticket line.
TICKET WOMAN: Where to?
We see the travel screen quickly change from previous locations say “Lansing Detroit Dearborn
RACHEL: Detroit. One way, please.
The woman rings up the ticket order.
I'm gonna writhe and shake my body
Rachel sits on the bus, watching a town go past the window.
I'll start pulling out my hair
I'm going to cover myself with the ashes of you
And nobody's gonna give a damn
Rachel gets off the bus, pulling her pointed hood over her head.
Son of a bitch
Give me a drink
One more night
this can't be me
Son of a bitch
Rachel sits against a building in the dark
if I can't get clean
I'm gonna drink my life away
She looks up to see a girl talking to someone sitting in a car. The music stops.
CUT TO: SOUP KITCHEN
Rachel, standing in a soup kitchen line, gets pasta. She sits at a table and hungrily devours it.
SALLY: I'll give your compliments to the chef.
Sally sits down in front of Rachel. She holds out a laminated name tag to show Rachel.
SALLY: My name is Sally. I work here. First, I don't need to know who you are, or how you got here, okay? What I really care about is keeping girls your age off the streets.
Sally speaks with a calming but concerned tone.
SALLY: Or out of the adult shelters which aren't much better. There's a youth shelter, a few blocks from here. They'll have a bed for you. No questions asked.
Sally leads Rachel out of the soup kitchen. They walk over to an ally. Erie music begins to play.
SALLY: Shortcut.
I grew up here, me and this city. I've lived here since I was your age.
a rat runs into a trash bag
SALLY: On the streets, too. Shelters saved my life.
RACHEL’S REFLECTION: Lies!
Rachel turns to see her black eye’d reflection in a broken mirror.
RACHEL’S REFLECTION: She's lying. Look behind you.
Rachel looks behind her to see a man in a hoodie turn a corner into the alley, following her and Sally.
SALLY: Hey, come on.
The man looks away from Rachel, fiddling with something a shopping cart. The music gets louder.
SALLY: I've been where you are. You feel like you can't trust anyone.
Sally leads Rachel around a corner, where a car is waiting. Rachel stops walking, looking nervous.
SALLY: What's wrong, sugar? I was just gonna give you a ride. Come on. It's okay.
Sally motions for Rachel to follow her. They walk closer to the car, when Rachel looks down into a puddle.
RACHEL’S REFLECTION: Run!
Rachel begins to run.
SALLY: Rachel! Rachel! Wait!
A cop car starts to drive by the end of the alley.
RACHEL: Wait! Stop!
Rachel picks up a rock and throws it at the cruiser, hitting the side of the driver’s side door. The car stops and turns on its siren. The siren stops and an officer gets out of the car.
POLICE OFFICER: Let's go, kid.
Rachel turns nervously back to see Sally still following her. She runs to the officer, who puts her in the backseat of the car. Sally still walking, slows to a stop, watching the car drive away.
CUT TO: DETROIT P.D.
Dick and Amy walk past each other, before Dick turns back to look at her.
DICK: Hey, uh, any luck on that Robin thing?
Amy turns around, suspicious.
AMY: Wait, are you talking to me? Is everybody else dead? Because I clearly must be the last person on Earth for that to happen.
DICK: I guess I haven't been the most welcoming.
FEMALE OFFICER: Hey, Grayson. You got that thing for helping kids, right?
CUT TO: INTERROGATION ROOM
Dick enters the room, where Rachel is sitting at a table.
DICK: Hi, there. How you doing? Word on the street is you like playing baseball with bricks and cop cars. I am Detective Dick Grayson. You wanna talk about what happened?
Dick sits down at the table. Rachel stares, wide-eyed at Dick.
RACHEL: It's you.
DICK: I'm not sure if you...
RACHEL: You're the boy from the circus.
Dick’s grin turns down in confusion. Rachel leans forward.
RACHEL: Please. Can you help me?
The shot cuts to black
”Heaven must be missing an angel” by Tavares begins to play.
As it gets brighter, pink hair curls are all that is visible
A woman’s big, green eyes open.
There is blood running down white fabric.
The fabric is a deflated airbag from a steering wheel. A man, dead and bleeding, lays against it.
Heaven must be missin' an angel
Missin' one angel child ‘Cause you're here with me right now
The woman opens her car door, and a purple purse falls out of the car.
Your love is heavenly baby
The shot pans up from the ground, showing the woman’s outfit; knee high black boots, a skin tight purple dress, a gold necklace with green stones, and a fluffy brown fur coat.
Heavenly to me baby
She walks a few steps away from the car. We can see that the car swerved into a tree and crashed. It’s smoking.
Your kiss filled with tenderness
OUTSIDE VIENNA, AUSTRIA
I want all I can get
Of your sexiness
She turns to see the windshield with a big hole in the middle of it. She sees her purse on the ground and goes to get it.
Showers
As she kneels down to grab her purse, she sees bullet holes in the back side foor of the car. She raises her hand to feel the holes. The once cheery music fades into a more suspenseful tone.
Your love comes in showers
And every hour on the hour...
Dramatic music begins to play as the woman stands up. She hears a car skidding and looks to see it racing to her. Two men lean out the windows, shooting guns in her direction. The bullets hit the car she is standing behind. She begins to back up and run away. Into the woods surrounding the road. The car skids to a halt and several men get out of the car. One of them, wearing a turtleneck and a leather vest examines the crashed car.
MAN: (in Russian) Find her!
The men enter the woods, holding their guns close. The man in the turtleneck says something in russian and points into the trees. The camera pans away from the men over to a fallen tree, where the woman is hiding.
CUT TO: GAS STATION
The woman is washing her face in the gas station bathroom sink. She steps back and looks up into the small mirror above the sink. She shuts off the water and leans in to examine her face. She appears very confused with what she sees. She begins to dig through her purse. She pulls out a key. Attached is a little wooden keychain with a skating frog on it. She bites her nail, as she examines it. She continues to go through her bag. She pulls out a passport. She holds it up to the mirror, trying to make the same face as in the passport picture. She flips to see the name on the passport.
KORY ANDERS: Kory Anders.
Kory looks up into the mirror.
KORY: Kory Anders.
She pulls out what appears to be a hotel key card. The card reads: “HOTEL DAS ALPEN”
CUT TO: THE ALPS HOTEL
Kory walks through the hotel doors into the lobby.
WOMAN: (in German) Miss Anders? Miss Anders?
Kory turns to the woman.
WOMAN: (in German) Late night or early morning?
KORY: (in German) So late I can’t seem to remember my room number, I’m afraid.
WOMAN: (in German) How could you forget? You have the whole top floor.
KORY: (in German) Very long night. Thank you.
The two laugh a little bit as Kory heads to an elevator. She quickly turns to hold up the key.
KORY: (in German) Is this for something in the hotel?
She holds out the key for the woman. She takes the key to examine it.
WOMAN: (in German) No. No frogs. No Skates.
Kory takes back the key and smiles. The turns around again for the elevator.
WOMAN: (in German) Can I send something up to your room?
KORY: (in German) What did you have in mind?
WOMAN: (in German) The same as before?
KORY: (in German) How exactly would you characterize, ‘The same’?
WOMAN: (in German) Oh madam, you make me blush.
Both women smile at each other for an awkward moment before laughing.
KORY: (in German) Maybe just some coffee. Yea, Coffee would be great.
Kory heads to the elevators. As Kory exits the elevator to her floor, she looks around. There is a tv, still on, end clothing strewn around. She walks into the bedroom. She holds one colourful, sequined shirt up to herself before spying a phone. She turns it on to see the homescreen. There is a picture of her with a man. She appears confused as a knocking can be heard on the door. She looks around and walks back into the main room.
KORY: (in German) Hello?
The knocking continues. Kory looks to see that it’s coming from a closet. She opens the door and looks down to see a beat up man who is bound and gagged. His screaming is muffled and his breathing is labored. Kory removes the gag from the mans mouth.
MAN: (in Russian) Ok! Don’t hurt me! I’ll tell you. They found her.
KORY: (in Russian) Who?
MAN: (in Russian) The girl. The girl you’re after. The girl you wanted. We... We can... We can get her for you.
KORY: (in Russian) Who am I?
MAN: (in Russian) Who are you?! I don’t know who you really are... You played us all, you crazy bitch.
The man tries to headbutt Kory, but she doges. She grabs him by the gag which is now around his throat and pulls him out of the closet. She shoves him up against a room service cart and shows him her phone screen.
KORY: (in Russian) Who is he?
MAN: (in Russian) You know who he is.
KORY: (in Russian) Remind me.
MAN: (in Russian) Listen, let me call him first. And we’ll try and make it work, He wants to.
Behind the man’s back he is using a knife to cut the ropes that his hands are bound by.
MAN: (in Russian) He likes you...
They both grunt as he tries to stab Kory. She doges and he flies forward. She grabs a glass off of the cart and hits him over the head with it as he runs at her. He falls to the ground but gets back up to continue fighting. He keeps trying to stab her until finally she punches him with inhumane force, sending him through the air. She pants as she stares at her hand. She opens it as if she is checking to see if she is holding something. She looks back up to see if the man is down. He is laying on the floor groaning. She walks over and leans over him, showing him the picture again.
KORY: (in Russian) Tell me his name. Hmm? Hmm?
She pats his cheek.
KORY: (in Russian) Tell me his name and where I can find him and I’ll get you help.
MAN: (in Russian) His name is Konstantin Kovar. He’ll be at his club... Das Schäman. Now help me...
Kory grabs his head and snaps his neck, killing him.
KORY: (in Russian) New plan.
Kory gets up and walks away from the body. She grabs her bag and exits.
CUT TO: DETROIT P.D. INTERROGATION ROOM
Dick and Rachel are sitting at the same table.
DICK: Who are you? Is this some kind of sick practical joke?
RACHEL: I remember. People were happy that night.
Dick leans in, putting his elbows on the table with his hands clasped together.
DICK:What the hell is this?
RACHEL:You, most of all. Your parents... I watched them fall. You kept wishing it was a dream. Wishing you would wake up.
DICK: Who put you up to this?
RACHEL: Everything led me here. To you. It can't be by accident. You've got to help me. I don't know how...
DICK: You want help? So you throw a brick at a cop car?
RACHEL:You don't understand...
DICK: Okay, make me understand.
RACHEL: Someone killed my mom!
Dick pulls out a notepad and a pen. He gives them to Rachel.
DICK: Okay. Name, address.
Rachel writes down her name and address. Dick watches her write. She slides the pad back to Dick without looking at him.
RACHEL: She was all I had. The only person in the world who cared for me. I'm alone now.
She hands him the pen. Her reflection comes out of her hand to touch the back of Dick’s hand. When they make contact, memories of Dick’s parents laying on the ground of the circus flash into view. Dick holding his mother’s hand, him crying over her, and police pulling him away from her as medics give her cpr are seen. An officer leaves young Dick Grayson’s side as someone puts his hand on Dick’s shoulder.
MAN IN MEMORY: I want to help you.
Then other memories appear faster than the previous ones. Dick standing in a bedroom, a tray with food on it, and then an envelope with “Dick Grayson” all appear before the shot focuses back on Dick and Rachel sitting in the interrogation room. They both pull their hands away and Rachel gasps.
DICK: Listen, I'm gonna check this out, okay?
Dick walks towards the door to exit.
RACHEL: Don't leave me here.
Dick turns back to look at Rachel. He pauses for a moment before speaking.
DICK: Rachel, you vandalized a police car. You're not going anywhere.
RACHEL: You don't understand. You need to lock me up. Please. There is something inside of me. Something evil.
DICK: I can't give you the kind of help you need. But I will find someone who can.
Dick opens the door
RACHEL: Don't leave me here.
Dick turns back to Rachel, again pausing before speaking.
DICK: Look, I'm sorry. I really am.
Cut to Dick sitting at his desk on the phone.
DICK: Hey, so, she's saying her mom was killed. If you could send someone down there, that'll be great.
OFFICER JONES: Okay, I'll call you if anything checks out.
DICK: Thanks.
OFFICER JONES: It's probably bullshit though. Kids down there livin' on the street stealing...
Dick looks up, focusing on a news report on a TV.
REPORTER: The Mayor has...
Footage of Robin beating up men in an alley plays on the screen as Dick watches.
OFFICER JONES: They'll say anything to get out of trouble.
REPORTER: ...released a warrant demanding the crime fighting vigilante known as Robin...
DICK: Yeah, I know.
REPORTER: ...to leave Detroit immediately. Quote. "This is a violent sociopath." End quote.
CUT TO: OUTSIDE DETROIT P.D.
It is dark outside the precint. Suspenseful music plays. Dick is leaving the building but pauses to look back.
AMY: Hey, can I ask you something?
DICK: I'm kind of in the middle of something.
Dick begins to walk past Amy back into the building.
AMY: So, what? You and your sidekick go bad?
Dick turns around to look at Amy, annoyed.
DICK: I'm sorry?
AMY: Your partner at Gotham P.D. I mean, I'm no mind reader, it just seems kinda obvious.
Amy chuckles as Dick’s face goes from serious to amused. He steps towards Amy, who now appears smug.
DICK: I guess we had different ideas of how to do the job.
AMY: How's that? He on the take? I heard most of Gotham is.
DICK: No, not him. He was a hero to a lot of people. Including me.
Understanding lights Amy’s face.
DICK: A stop-at-nothing guy who solved everything with his fists. I admired him at first, what he did... was trying to do. But eventually, I had to walk away.
AMY: Why?
DICK: Because I was becoming too much like him.
They both pause, looking at each other, before Amy looks down.
AMY: So, you're not really, huh?
DICK: What?
AMY: An asshole.
They both chuckle.
DICK: Don't tell. It'll kill my rep.
AMY: Yeah. Well, your secret's safe with me.
Amy turns and walks away while Dick watches her go.
CUT TO: DETROIT P.D. INTERROGATION ROOM
A uniformed officer comes into the room to talk to Rachel.
OFFICER: Hey, there. We're gonna transfer you. We're putting you with the other kids. It'll be safer for you there.
Rachel looks out the open shades of the room’s windows, as if searching for something.
OFFICER: It's okay. Bring your bag.
The officer waits for Rachel as she gets her bag. She swings the backpack over her shoulder and follows the officer out. The shot shows a camera in the room. There is a light fixture blocking the officer’s face from being seen on the camera
OFFICER: Right this way.
Cut to Dick Grayson walking through the precinct. He is on his phone.
OFFICER JONES: Grayson. This is Officer Jones. Traverse City P.D.
DICK: Mm-hmm.
OFFICER JONES: Girl you called in about, Rachel Roth? We found her mother. Gunshot to the head. Looks like a homicide.
Dick slows his walk pausing on a staircase.
OFFICER JONES: I'll have our C.S.I send you the details as we get them.
DICK: Okay, thanks.
Dick bites his lip as he puts his phone into his jacket. He looks away before heading up the rest of the stairs.
Cut to an officer who is leading Rachel out of the precinct. They walk past a man working on a car with its hood up, as the officer puts his hand on Rachel’s back to lead her further away.
Cut back to inside, where Dick is running torwars the interrogation room. The door is ajar. Dick looks into the room, seeing that it’s empty. He steps inside for a moment before exiting. He looks around the hallway and then walks away, looking for Rachel.
Cut back to the officer and Rachel. He is holding Rachel’s arm, leading her out of the building to a police cruiser. He pulls something out of his pocket as Rachel looks at herself in the reflection of the car.
RACHEL’S REFLECTION: Let me kill him! Let me kill him now!
The officer grabs Rachel and pulls her away from the car before pulling open it’s back door and shoving her into the back as she gasps for air and pushes against him. Her hair starts to flow in the wind before he shoves a needle into her neck and injects her with something. She passes out and the officer gently lays her in the rear of the car. He puts her seatbelt on before slamming the door.
Cut to Dick Grayson. He is walking past the car whose hood is up. He breaks into a run as he sees Rachel in the back of the cruiser, which is now driving away. He stops in the street behind the car as he pulls out his phone from his jacket. He starts running away from the car to another as he dials.
DICK: Detective Grayson. Can I get a 10-20 on the car number three one zero?
CUT TO: DAS SCHÄMAN
Rave music is playing as the shot pans across a club. Women are dancing on a stage in revealing clothing as strobe lights flash purple and yellow. There are lights hanging from the ceiling, lighting a crowd of people drinking, dancing, and making out.
Kory is walking in the background as the shot focuses on her. She looks around at the scene.
Cut to seeing the same scene through a security camera in the bar.
Cut back to Kory, who is still making her way through the room. She pauses, smiling, looking around. She continues to walk around, catching the eyes of many party goers. As she gets to a less crowded bar, a bouncer nods at her before she heads through a doorway.
The music becomes distant as she enters a dark room lit only by dark blue lights and a wall with a dim video of jellyfish. Kory approaches a desk at the end of the room. She looks up as the lights turn on. Three men enter from two doorways on either side of a wall behind the desk. One of the men is the man from earlier, still wearing a turtleneck and leather vest, while one man who comes to stand in front of the dest is wearing a business suit.
KONSTANTIN KOVAR: My dear...
Konstantin holds his arms out, as if waiting for an embrace. He puts his arms down, leaning against the desk.
KOVAR: I was worried for you.
KORY: Who are you, exactly?
KOVAR: Who am I?
Kovar becomes increasingly unnerved as he watches Kory.
KOVAR: Who the hell are you?
He calms down, lowering his voice to a whisper.
KOVAR: And who do you work for?
Kory bites her lip and laughs as she looks around the room.
KORY: Uh, I don't... I don't know. I...
Kovar scoffs and looks behind him at the two other men before saying something in Russian to them. He points at her and says it again. He turns back around, frustrated.
KOVAR: You come here, you sit at my side, you sleep in my bed!
Kory looks around again, smiling awkwardly.
KOVAR: I trusted you! And you turn on me? You betray me?
Kovar points a gun at an image sitting on his desk.
KOVAR: Because of this girl? Who is she? What do you want with her?
KORY: I don't know. I woke up in a car. And these men were trying to kill me...
Kovar holds up his finger, waving it at Kory as he shushes her. He sighs and looks around before his face becomes riddled with sadness.
KOVAR: I loved you.
KORY: Oh...
Kory clicks her tongue, smiling and looking down. She looks back up at Kovar, running a hand through her pink curls.
KORY: I don't think I loved you too. Yeah. Yeah, I'm pretty sure that's a no.
Kovar points his gun at Kory.
KORY: Wait!
Kovar pulls the trigger as the scene turns to slow motion. Kory raises her hand as the bullet flies through the air before impacting an invisible shield in front of Kory. She looks up, her eyes turning bright green. Her skin is flooded with orange fire, as is her hair. Her outstretched hand releases flames, engulfing the entire room and shooting down the hallway. As the fire returns to her, she stares at her hand and then around the room. Kory approaches the desk to see the picture Kovar had motioned to. Around the room small fires still burn. Kovar’s corpse is burnt to a crisp, unmoving from where he had been standing. Kory blows dust off of the picture. As she turns it around, we can see that it’s a picture of Rachel. Kory reads an inscription on the back.
KORY: Rachel Roth.
She flips it back around to examine the photo again. She begins to turn around and walk way, before looking up from the picture at Kovar smuggly. She laughs and turns to leave. The other two men’s corpses are also burnt. Kory walks away as Kovar’s corpse falls apart into a pile of ashes.
CUT TO: A BUILDING IN DETROIT
A cop car is sitting outside of a building.
Cut to inside, where Rachel is sitting in a dark room. There is a candle lit near her. The shot pans up, to show Rachel beginning to wake up. She blinks a few times before fully opening her eyes. Suspenseful music plays as the shot changes to show us a broken window and several lamps around the room. She looks around the room, focusing her eyes. She sees a small table to her right with a candle, some bloody tissues, and an ornate silver bowl. In the bowl is something wet and red. Rachel continues to look around to see the same bowl and candles on another table to her left. She looks down, surprised, to see that she is handcuffed to the chair she is in. She gasps as she struggles to get free.
ACOLYTE: You've always known you were different, haven't you?
The shot changes to show the acolyte standing behind Rachel. He lights a match and candle. He continues to light candles on a table behind Rachel, who looks back at the bowl on her left.
ACOLYTE: That you have a destiny.
RACHEL: Please...
The acolyte walks around to stand in front of Rachel. He is now holding a knife. He turns to look at Rachel.
ACOLYTE: I have been looking for you for so long.
The acolyte holds out the knife as Rachel gasps.
RACHEL: Let me go.
He leans towards her without breaking eye contact. He speaks slowly, in a low voice. He is quite sweaty.
ACOLYTE: Nothing resembles itself tonight. This dirty room is a church. I appear the villain but in truth, I am the savior. You...
He puts his hand on Rachel’s arm as she squirms.
ACOLYTE: You pose as the innocent, but deep inside... You know you're fecund and damned. You have the skin of the lamb. The sheath by which he will penetrate this world, and seed its destruction. But alas, you are the doorway he would walk through upright to put out our sun, and I... Can not allow that to happen.
He steps backwards and holds the knife up to Rachel.
ACOLYTE: I have to save us all.
He stands upright.
Cut to another room outside the previous. The officer from earlier walks up to a window covered in makeshift newspaper shades. He lifts one of the papers to peer outside. There’s a police car outside. A door is heard opening, and the officer flinches at the sound. He turns around and pulls out his gun and flashlight. He looks around, sweeping the area with the light. He begins to walk to another part of the room. Seeing nothing, he puts his gun away. He keeps his light out, turning around sweeping the room again. Dick enters, hitting the officer’s arm and punching him in the face. Dick knocks him out after a few more punches. He drags the officer over to the other end of the area and drops him. Dick takes out his gun and proceeds down a hall connected to the room with caution.
Cut back to Rachel and the acolyte. The acolyte is placing a basin filled with water on the ground. He rinses his hands with the water. He dries his hands by flicking them at the water as Rachel watches. He picks up the knife, which he had placed next to the basin. He stands up and walks over to Rachel, holding the knife for her to see.
ACOLYTE: I will lay your heart beside the heart of a beast.
The acolyte squishes a heart which is in the bowl to Rachel’s left with the knife. He holds the bloodied knife up to Rachel’s face as she leans away.
ACOLYTE: And beside the heart of a simpleton.
He shoves the knife into a heart in the bowl to Rachel’s right. He touches the knife, getting blood on his hands. He holds the knife to her face again.
ACOLYTE: And burn them all. And the doorway will be closed forever.
He brings the knife closer to Rachel’s neck as she begins to panic.
RACHEL: Don't hurt me!
Cut to Dick swinging open a door, gun cocked. He looks around the room he enters.
DICK: Rachel!
The acolyte is holding Rachel’s shirt, about to cut her.
RACHEL: Help! Help!
Dick looks up to where Rachel’s screams are coming from.
The acolyte shoved fabric in Rachel’s mouth to stop her from screaming. He walks away from Rachel, to the room’s door, which is open. He positions himself behind the door, knife ready to strike. Rachel tries to scream. Dick continues to search for Rachel, using her muffled screams to find her. Rachel begins to gag on the fabric in her mouth. Her hands begin to shake. She looks down and the fabric falls out of her mouth. As Dick reaches the door, he sees her. She looks up, eyes black. The acolyte’s body is slammed into the door, shutting Dick out and throwing him backwards.
The acolyte’s hand is forced open, and he drops the knife. He is turned around to face Rachel, who is sitting upright in the chair. Her eyes are still black, and the veins around them are as well. Loud whispering begins as a ghost like Rachel jumps out of her body and runs to the acolyte. She begins to choke him as he screams and groans. She puts her other hand on his face, squeezing. Dick gets up.
DICK: Rachel!
Dick tries to open the door, and through a frosted window on the door he can see the acolyte against it.
DICK: Rachel! Rachel! Rachel. Rachel, open the door!
Rachel’s projection puts her fingers in the acolyte’s mouth as bits of blackness fly around the room.
DICK: Rachel! Rachel!
The substance begins to fly into his mouth. As he screams in pain.
DICK: Rachel! Open the door!
Rachel’s projection liquefies into more of the blackness as flies into the acolyte’s mouth. The whispering stops as the acolyte begins to gag. He puts his hand to his throat as he chokes. He puts his hand on his chest as he struggles before falling to his knees. He contorts and folds over as he vomits blood. The floor becomes covered in his blood as he continues to vomit. He finishes vomiting and looks up as he screams. Dick continues to try to open the door. He looks up at the window just in time to see the acolyte’s face slam into it. Dick jumps back from the door and the acolyte falls into the pool of his own blood. The door opens just as Rachel’s projection jumps back into her. Dick creeps into the room, gun ready. He looks down at the body on the floor. Rachel begins to cough and dick runs towards her.
DICK: Rachel!
Dick kneels down to unlock the handcuffs on Rachel as she pants. As he gets the cuffs off, she begins to cry. He looks at the body and then back to Rachel.
DICK: What happened?
RACHEL: I don't know!
Rachel leans forward, hugging Dick.
RACHEL: Please help me!
He hugs her back as the shot fades to black.
CUT TO: A GARAGE
A door opens, letting light into a dark garage. There’s only one car. Dick enters through the door, Rachel not far behind. Other lights in the garage turn on. The car is a 1986 silver Porsche 911 Carerra. Dick opens the door to pop the hood of the car.
RACHEL: This is yours?
Dick puts a bag in the front trunk of the car.
DICK: Family heirloom.
RACHEL: From the circus?
DICK: Not the one you're thinking.
Dick closes the hood of the car.
DICK: Come on, let's go.
Dramatic music begins to play as the two drive off.
RACHEL: Where are we going?
DICK: Somewhere safe.
Rachel looks at Dick. It takes him a moment to return the look.
RACHEL: My mom says there's no such thing as monsters.
Rachel looks out the window.
RACHEL: I think she was wrong.
The music cuts out.
CUT TO: VISIONS STORE. COVINGTON OHIO
A pudgy security guard sips on a can of rootbeer as he plays on a playstation in the store. He puts the can down to continue playing level one of Crystal Castles.
A thudding noise is heard. The guard looks up. The clanging noise continues, and the guard slowly stands up, looking very nervous. He pulls out his flashlight. And walks to the sound, checking each isle of the store. The noises persist in the dark store. The guard pauses, showing light on a stand of video games, which appears to have been ransacked. One of the metal racks has fallen and games are littered around the floor. The guard pulls out a gun as he follows the trail of games. He gets to a hallway, and steps out, looking down the hall. Sitting on the floor is a large green tiger, facing away from the guard, pawing at several games. The tiger gets up and looks back at the guard, growling. The guard backs up, clearly shaken. He closes his eyes and shoots at the tiger while walking backwards. The tiger grabs one of the games and runs, knocking down a stepladder on his way out. The guard pauses watching the tiger go. He sighs and upbeat music plays.
GUARD: Okay.
The tiger runs into some woods outside the store. He slows down and stops near a bag. He leans his head down, and his bones begin to crack. He slowly morphs into a boy with green hair. The boy holds up the game he took from the store, panting.
GARFIELD: Rad.
Nacked, Garfield grabs the bag and covers himself as he begins to run deeper into the woods.
END CREDITS
It fades to black. As it becomes slightly brighter, three small, dirty circus tents can be seen surrounded by dark fog. There are string lights and two large glowing arrows that are flickering on and off. They are pointed at the center tent. A hooded figure wearing gladiator boots is walking towards the tent. There is very faint circus music and the sound of crickets. The music gets louder as the figure gets closer to the tents. Cut to inside the tent. The room is blurry, but the same dirty striped pattern is inside the tents, and the room is lit by old lights that are flickering and buzzing. Rachel Roth into the room cautiously, as the shot pans down to show her face. She appears to be young and very pale.
Cut to her walking further into the tent. She is running her hands along the narrow walls. An elephant can be heard trumpeting, and then another animal roaring as Rachel reaches an opening at the end of the tents. The music begins to climax as Rachel continues down the passage. As she swiftly opens the final curtains the music abruptly stops. She looks around at an empty room. There are leaves swirling to the ground. Cut to Rachel's face.
RACHEL: Hello?
Cut to the room. As the shot pans around, a circus ring can be seen on the ground. There is debris everywhere.
RACHEL: Hello?
Lights flash on as large, black birds fly away, cawing.
Cut to a large lit sign that reads, "THE FLYING GRAYSONS."
ANNOUNCER: Ladies and gentlemen!
The room is now lit up around Rachel.
ANNOUNCER: Boys and girls!
Cut to the sign again, however this time the whole room can be seen around it. An animation of someone doing gymnastics scrolls across the sign along with the words. Cheering is heard.
ANNOUNCER: The Flying Graysons!
There is applause and cheering. Cut to the girl’s face, which appears distorted with confusion. Cut to the whole room. Moving lights are flashing gobos around the room. Cut to a man. He is wearing a leotard with a cape. He is sitting on a swing looking around the room as if he is riling up an audience. Cut to a woman and a boy. They are on platforms looking around the room, holding their arms out as if to present themselves. They too are wearing leotards with capes. A somber violin song begins. Rachel can be seen, still confused. Cut to the Woman and boy. The woman holds a wooden bar and gracefully jumps off the platform. She swings as we cut to see the girl watching the performance. The man grabs the woman’s feet as she lets go of the bar, which swings to the boy. Cut to Rachel, who is now watching the boy. Cut to the boy, who follows what the woman did. The shot pans around as they continue the routine. Cut to Rachel, who is now content. The music turns ominous as the routine continues. Cut to the glowing sign. The word "FLYING" flickers out. Cut to the boy. He is swinging in slow motion towards the other performers. As they swing as him, one of the ropes holding their swing up snaps. They fall, as the woman tries to grasp the boy’s hand, who narrowly misses her. Cut to the boy’s face. He is screaming as he reaches for them. Cut to them plummeting. Rachel screams as they fall toward her. She sits up in bed. She is still screaming. As she stops screaming, she begins to pant. Rachel’s mom hastily enters her bedroom.
MELISSA: Rachel!
RACHEL: The circus again! The boy...
Rachel hyperventilates as Melissa tries to comfort her.
MELISSA: Take a breath, honey. Just calm down.
RACHEL: He watched as his parents fell. Oh, God. It was... It was so scary, I-I felt...
MELISSA: It was just a dream. Okay. Just... Just breathe like we practiced, okay?
They both breath deeply and consistently.
MELISSA: It's okay. Everything's gonna be okay. - Okay?
Rachel sniffles and nods.
MELISSA: Sweetie, you need to get a little more rest. Come on.
The woman helps Rachel to lie back down. She tucks Rachel back into bed.
MELISSA: Everything is gonna be okay.
Melissa kisses Rachel on the forehead, and very quiet, somber music can be heard playing.
RACHEL: Mom?
MELISSA: Yeah?
RACHEL: Keep the door locked.
Melissa closes the door. Cut to outside Rachel’s bedroom door. It is covered in crucifixes, crosses, and depictions of Jesus and/or Mary. Melissa locks several locks before sighing and walking away. The music gets louder as a large, white crucifix falls off it’s nail on the door.
TITLE CARD
A thunderclap is heard.
CUT TO: DETROIT MICHIGAN
A car is seen sitting outside of a bar in the rain
RADIO: With the low pressure coming in, we will see the temperatures dropping. Which means this rain would then turn to sleet and possible, even snow.
Cut to inside the car. The wipers in the car work to keep the rain off the windshield as the focus switches from the it to the front mirror, where Detective Dick Grayson’s eyes are, watching something unseen. Grayson looks intently out the window as low, dramatic music fades in. Cut to a case file. Grayson is flipping through pictures of a young girl who appears to have been beaten. The bottom of the photo reads, "EVIDENCE," and a paper that is clipped into the file reads, "CHARGES DISMISSED." The music builds as he turns around to look at a black case sitting in the backseat of the car. He looks away and starts the car.
CUT TO: DETROIT POLICE STATION
He walks with purpose into the station.
AMY: Detective Grayson? Amy Rohrbach. Transfer from Oakland. I'm your new partner.
DICK: Right. The Captain mentioned. It's a pleasure. I read your file. You seem to know what you're doing. You keep doing your thing, I'll keep doing my thing. We'll be good.
Dick walks away. A man walks up to Detective Rohrbach.
WOLF: Don't take it personally.
AMY: I need a breath mint or something?
WOLF: He's been pushing off getting a partner since he got here a month ago. Some shit about his last one or something.
FEMALE DETECTIVE: He's from Gotham. Likes to work alone.
AMY: Gotham? Jesus... What happened to his last partner?
WOLF: Gassed by The Joker. Who knows?
They laugh as Amy turns to look at Grayson.
CUT TO: RACHEL’S HOUSE, TRAVERSE CITY MICHIGAN
An alarm goes off as we cut to Melissa, laying in bed. Next to her alarm clock is a wine glass, a bottle of pills, and a picture of young Rachel. She waits before reluctantly turning the alarm off. She gets up to take medication. She lifts her shirt to reveal claw marks on her side, both healed and new.
Cut to the kitchen, where Rachel is eating cereal next to an empty glass bottle.
Rachel is wearing black clothing, has dark purple nail polish, and has dyed purple hair. Her dark appearance is in stark contrast to the white mug she is drinking out of, which reads: “Happiness is Homemade”
Melissa enters the kitchen wearing blue scrubs.
MELISSA: Did you have breakfast? You shouldn't drink coffee.
Melissa takes the coffee from Rachel and places it on a countertop.
RACHEL: You shouldn't smoke.
MELISSA: I quit.
RACHEL: No, you didn't.
MELISSA: Well, I'm going to.
Melissa Opens the fridge.
MELISSA: Darn it. I forgot to get cream.
RACHEL: You forgot to get everything.
Rachel holds up the empty jar.
MELISSA: Okay. I'm late. Can you take the bus to school again today?
RACHEL: Sure. Okay. You never sleep anymore.
MELISSA: No, not often.
Melissa chuckles
RACHEL: It's because you're scared of me.
The shot pans down. Rachel’s reflection on the metal arm of a chair can be seen with pitch black eyes and black veins. Ominous music fades in and whispering can be heard.
MELISSA: I am not scared of you, honey.
RACHEL: I can tell when you're lying. I can feel it. You know I can.
MELISSA: Pray with me.
Melissa puts her hands around Rachel’s
RACHEL: No, no. Talk with me.
Rachel Pulls her hands away and puts them around Melissa’s.
RACHEL: What's inside of me? What is it?
MELISSA: Rachel, just please pray with me. Please! - Our father who art in...
RACHEL: No more praying. No more lying. Tell me what you're not, Mom! Tell me!
Rachel’’s reflection comes out of her for a second, pushing Melissa to the ground.
RACHEL: I'm sorry, Mama.
Rachel runs out of the house, grabbing her coat and bag as Melissa walks after her.
MELISSA: It's okay, baby! Rachel!
RACHEL: I'm gonna miss the bus.
MELISSA: Rachel!
Rachel walks out of her house, walking down the street to her bus.
MALE NEIGHBOR: Hey, kid. You tell your mother that screaming keeps us up all hours of the night, I'm calling the police again. You hear me? I don't care about your emotional issues! Weirdo.
CUT TO: RACHEL’S BUS
Rachel is leaning her head against the bus window.
KYLE: Boo! Come on. What are you hiding from? You don't have to be shy with me. I like freaks.
Kyle leans over the seat of the bus, putting his hand on Rachel’s shoulder.
Matt turns around in his seat.
MATT: Leave her alone, Kyle.
KYLE: Don't you have a touchdown or something to throw, Matt?
Matt gets up out of his seat.
MATT: Just leave her alone, asshole. Before I make you.
Kyle shoves Matt.
KYLE: Maybe you should take a seat.
They fight. Kyle hits Matt in the face.
BOY: Knock him out!
BUS DRIVER: Sit back down! Both of you! Now!
BOY: Come on, it was getting good.
BOY: Does it hurt?
MATT: It doesn't hurt.
Kyle leans over to Rachel, annunciating.
KYLE: Slut.
Rachel turns to the bus window.
RACHEL’S REFLECTION: Slut!
CUT TO: THE SCHOOL HALLWAY
Rachel puts her stuff in her locker and turns to see Matt, now sporting a blackeye.
RACHEL: Uh, Matt. Thanks for...
Matt walks past her, looking annoyed. Rachel sighs
CUT TO: RACHEL’S HOUSE
As Rachel opens her front door, the shot shows a windowsill covered in crosses and pill bottles.
RACHEL: Mom?
Rachel enters her kitchen, where the fridge is ajar. Melissa enters the kitchen doorway.
RACHEL: Mom, I'm really sorry about this morning.
An Acolyte grabs Melissa’s shoulder and stops into the doorway. He is holding a gun pointed at Melissa. He slowly leads Melissa into the kitchen from behind.
ACOLYTE: Rachel. That's what she calls you. But that is not who you are.
RACHEL: Let my mom go.
ACOLYTE: This woman is not your mother. Tell her. Tell her!
MELISSA: I am not your mother. But I do love you.
RACHEL: No.
MELISSA: You have good inside your heart, sweetheart. Don't do...
The Acolyte shoots Melissa through the head. Her body hits the floor as Rachel screams.
ACOLYTE: There. Now, that's better.
Rachel’s eyes go black. She screams and all of the glass in the house shatters as the lights flicker and go out. Her reflection jumps out of her and throws the Acolyte into a window. Her reflection flies back into her. She pants and runs out of her house.
We cut back to Melissa, who is dead on the kitchen floor. Her face is covered in blood and there is a pool of her blood on the floor
CUT TO: DETROIT
It’s night now, the same bar as before is shown. A siren wailes.
Cut to Dick Grayson, who is sitting in his car just like before. He looks as if he is deep in thought, and also mad. He is watching men come out of the bar. The men are chatting.
Dick is going through the same file as before. He is looking at more photos of the young girl. There is a news clipping in the file, and the headline: “Charges Dismissed Against Child Abuser Tyler Hackett” is seen. The name “Tyler Hackett” is underlined in red ink. Dick flips to a picture of Hackett. The shot cuts to the men who are talking outside the bar. One of them is Hackett. The men walk away from the bar, one of them holding a large bag. Grayson looks at the black case, now sitting in the passenger’s seat of the car. He looks around for a moment before leaning over and placing his thumb on a red scanner on the case. The scanner turns green as two complementary scanners activate. They scan Grayson’s eyes and then turn green. The case unlocks.
Cut to an alleyway where two groups of men are walking towards each other. Dogs can be heard barking in the distance. Hackett motions for one of his men to step forward. The man throws the black bag in front of him. A man from the other group opens the bag. It’s filled with stuffed animals. Hackett exhales loudly, smirking. The man used a knife to cut open a stuffed tiger. He pulls a bag filled with pink crystals out.
MAN: Pink?
TYLER HACKETT: The kids love it.
A whoosh is heard. All the men look up and around.
MAN: What was that?
A figure is seen jumping from one rooftop to another, over the alleyway. A voice is heard.
ROBIN: I'm only here for Tyler Hackett.
Robin jumps down from the rooftop, onto a car. The men all whirl to the sound.
ROBIN: Leave the drugs. Leave the guns. And walk away.
MAN:Where's Batman?
MAN 2: He could be anywhere, man. He's up there somewhere. Look up. Look up.
MAN 3: Oh, where's the Bat! Where is he?
One of the men turns to his leader, lightly hitting his shoulder.
MAN: Hey. The little birdie's alone.
The men chuckle.
Robin hits him with a grappling hook and violently pulls him back into the windshield of a car, which shatters.
MAN 2: Get him!
The men all point their guns at Robin, who slams a smoke grenade onto the ground. The men cough and cover their faces as the gas reaches them. Robin covers his face with his cape. The men begin to shoot in his general direction. Hackett picks up the bag.
Robin throws R shaped throwing knifes at the men. They get hit as Robin begins to beat them up. Bones crack and guns go off. Robin runs a man’s head against a brick wall, leaving a large smear. Their blood splatters onto Robin. Hackett runs to a car that’s been left in the alley.
MAN: Tyler! Where you going, man?
Robin smashes in the window the car Hackett got into. Hacket grunts as Robin grabs his arm and pulls it. Robin then run’s Hackett’s face along the broken glass of the window.
ROBIN: If you ever touch your kid again, I will find you.
Robin knees Hackett in the head before pulling him out of the car and throwing him to the ground. Robin repeatedly stomps on Hackett with as much force as he can muster. He lays unmoving on the ground. Robin walks away.
He sighs and looks back at Hackett.
ROBIN: Fuck Batman.
CUT TO: DICK GRAYSON’S APARTMENT
Dick puts a needle on a record, which begins to play. The Song is Tom Petty’s “You Don’t know how it feels.”
You know
How it feels
Dick removes his toolbelt.
Alone
Alone
Dick picks up his armour and examines it. He begins to scrub at it with a towel.
Fight for your life
Pray for the others
He examines a bloodied R throwing star.
To die
He wipes at the R, getting blood on his thumb. He goes to rinse the R in his sink. He looks very upset as he washes it. He breathes deeply before getting aggravated and throwing the star at a punching bag, puncturing it at the seam.
Now dressed in a suit, he walks through the apartment, stopping to look at a poster that reads: “The Flying Graysons”. His reflection shows his face before he turns to walk away. The shot focuses on the poster where a depiction of three people in leotards swing from an unseen roof.
You're waiting for the others
To die
CUT TO: DETROIT P.D
CAPTAIN: Are you guys sure it's him?
COP: Absolutely, Captain.
WOLF: We called Gotham P.D. He hasn't been seen for over a year. Disappeared, they said.
FEMALE DETECTIVE: They thought he might be dead.
CAPTAIN: Why come here? Why Detroit?
DICK: The weather?
The other detectives all chuckle.
CAPTAIN: Let's just hope to hell he's passing through. You know the problems that these masks bring with 'em. Painted freaks.
The shot cuts to Dick’s saddened face.
CAPTAIN: Psychopaths in drag. We don't need that shit. We got enough of our own regular problems here. Come on, guys. Back to work. I need to talk to you for a second, Eddie.
MALE DETECTIVE: Sure, Captain.
The other detectives walk away, but Dick stays, staring at a screen. It’s showing pictures of Robin beating Tyler Hackett’s men, with a close shot of the “R” on his armour. S.O.B. by Nathaniel Rateliff & The Night Sweats begins to play.
CUT TO: BUS STATION
Rachel looks nervous as she makes her way to the front of a ticket line.
TICKET WOMAN: Where to?
We see the travel screen quickly change from previous locations say “Lansing Detroit Dearborn
RACHEL: Detroit. One way, please.
The woman rings up the ticket order.
I'm gonna writhe and shake my body
Rachel sits on the bus, watching a town go past the window.
I'll start pulling out my hair
I'm going to cover myself with the ashes of you
And nobody's gonna give a damn
Rachel gets off the bus, pulling her pointed hood over her head.
Son of a bitch
Give me a drink
One more night
this can't be me
Son of a bitch
Rachel sits against a building in the dark
if I can't get clean
I'm gonna drink my life away
She looks up to see a girl talking to someone sitting in a car. The music stops.
CUT TO: SOUP KITCHEN
Rachel, standing in a soup kitchen line, gets pasta. She sits at a table and hungrily devours it.
SALLY: I'll give your compliments to the chef.
Sally sits down in front of Rachel. She holds out a laminated name tag to show Rachel.
SALLY: My name is Sally. I work here. First, I don't need to know who you are, or how you got here, okay? What I really care about is keeping girls your age off the streets.
Sally speaks with a calming but concerned tone.
SALLY: Or out of the adult shelters which aren't much better. There's a youth shelter, a few blocks from here. They'll have a bed for you. No questions asked.
Sally leads Rachel out of the soup kitchen. They walk over to an ally. Erie music begins to play.
SALLY: Shortcut.
I grew up here, me and this city. I've lived here since I was your age.
a rat runs into a trash bag
SALLY: On the streets, too. Shelters saved my life.
RACHEL’S REFLECTION: Lies!
Rachel turns to see her black eye’d reflection in a broken mirror.
RACHEL’S REFLECTION: She's lying. Look behind you.
Rachel looks behind her to see a man in a hoodie turn a corner into the alley, following her and Sally.
SALLY: Hey, come on.
The man looks away from Rachel, fiddling with something a shopping cart. The music gets louder.
SALLY: I've been where you are. You feel like you can't trust anyone.
Sally leads Rachel around a corner, where a car is waiting. Rachel stops walking, looking nervous.
SALLY: What's wrong, sugar? I was just gonna give you a ride. Come on. It's okay.
Sally motions for Rachel to follow her. They walk closer to the car, when Rachel looks down into a puddle.
RACHEL’S REFLECTION: Run!
Rachel begins to run.
SALLY: Rachel! Rachel! Wait!
A cop car starts to drive by the end of the alley.
RACHEL: Wait! Stop!
Rachel picks up a rock and throws it at the cruiser, hitting the side of the driver’s side door. The car stops and turns on its siren. The siren stops and an officer gets out of the car.
POLICE OFFICER: Let's go, kid.
Rachel turns nervously back to see Sally still following her. She runs to the officer, who puts her in the backseat of the car. Sally still walking, slows to a stop, watching the car drive away.
CUT TO: DETROIT P.D.
Dick and Amy walk past each other, before Dick turns back to look at her.
DICK: Hey, uh, any luck on that Robin thing?
Amy turns around, suspicious.
AMY: Wait, are you talking to me? Is everybody else dead? Because I clearly must be the last person on Earth for that to happen.
DICK: I guess I haven't been the most welcoming.
FEMALE OFFICER: Hey, Grayson. You got that thing for helping kids, right?
CUT TO: INTERROGATION ROOM
Dick enters the room, where Rachel is sitting at a table.
DICK: Hi, there. How you doing? Word on the street is you like playing baseball with bricks and cop cars. I am Detective Dick Grayson. You wanna talk about what happened?
Dick sits down at the table. Rachel stares, wide-eyed at Dick.
RACHEL: It's you.
DICK: I'm not sure if you...
RACHEL: You're the boy from the circus.
Dick’s grin turns down in confusion. Rachel leans forward.
RACHEL: Please. Can you help me?
The shot cuts to black
”Heaven must be missing an angel” by Tavares begins to play.
As it gets brighter, pink hair curls are all that is visible
A woman’s big, green eyes open.
There is blood running down white fabric.
The fabric is a deflated airbag from a steering wheel. A man, dead and bleeding, lays against it.
Heaven must be missin' an angel
Missin' one angel child ‘Cause you're here with me right now
The woman opens her car door, and a purple purse falls out of the car.
Your love is heavenly baby
The shot pans up from the ground, showing the woman’s outfit; knee high black boots, a skin tight purple dress, a gold necklace with green stones, and a fluffy brown fur coat.
Heavenly to me baby
She walks a few steps away from the car. We can see that the car swerved into a tree and crashed. It’s smoking.
Your kiss filled with tenderness
OUTSIDE VIENNA, AUSTRIA
I want all I can get
Of your sexiness
She turns to see the windshield with a big hole in the middle of it. She sees her purse on the ground and goes to get it.
Showers
As she kneels down to grab her purse, she sees bullet holes in the back side foor of the car. She raises her hand to feel the holes. The once cheery music fades into a more suspenseful tone.
Your love comes in showers
And every hour on the hour...
Dramatic music begins to play as the woman stands up. She hears a car skidding and looks to see it racing to her. Two men lean out the windows, shooting guns in her direction. The bullets hit the car she is standing behind. She begins to back up and run away. Into the woods surrounding the road. The car skids to a halt and several men get out of the car. One of them, wearing a turtleneck and a leather vest examines the crashed car.
MAN: (in Russian) Find her!
The men enter the woods, holding their guns close. The man in the turtleneck says something in russian and points into the trees. The camera pans away from the men over to a fallen tree, where the woman is hiding.
CUT TO: GAS STATION
The woman is washing her face in the gas station bathroom sink. She steps back and looks up into the small mirror above the sink. She shuts off the water and leans in to examine her face. She appears very confused with what she sees. She begins to dig through her purse. She pulls out a key. Attached is a little wooden keychain with a skating frog on it. She bites her nail, as she examines it. She continues to go through her bag. She pulls out a passport. She holds it up to the mirror, trying to make the same face as in the passport picture. She flips to see the name on the passport.
KORY ANDERS: Kory Anders.
Kory looks up into the mirror.
KORY: Kory Anders.
She pulls out what appears to be a hotel key card. The card reads: “HOTEL DAS ALPEN”
CUT TO: THE ALPS HOTEL
Kory walks through the hotel doors into the lobby.
WOMAN: (in German) Miss Anders? Miss Anders?
Kory turns to the woman.
WOMAN: (in German) Late night or early morning?
KORY: (in German) So late I can’t seem to remember my room number, I’m afraid.
WOMAN: (in German) How could you forget? You have the whole top floor.
KORY: (in German) Very long night. Thank you.
The two laugh a little bit as Kory heads to an elevator. She quickly turns to hold up the key.
KORY: (in German) Is this for something in the hotel?
She holds out the key for the woman. She takes the key to examine it.
WOMAN: (in German) No. No frogs. No Skates.
Kory takes back the key and smiles. The turns around again for the elevator.
WOMAN: (in German) Can I send something up to your room?
KORY: (in German) What did you have in mind?
WOMAN: (in German) The same as before?
KORY: (in German) How exactly would you characterize, ‘The same’?
WOMAN: (in German) Oh madam, you make me blush.
Both women smile at each other for an awkward moment before laughing.
KORY: (in German) Maybe just some coffee. Yea, Coffee would be great.
Kory heads to the elevators. As Kory exits the elevator to her floor, she looks around. There is a tv, still on, end clothing strewn around. She walks into the bedroom. She holds one colourful, sequined shirt up to herself before spying a phone. She turns it on to see the homescreen. There is a picture of her with a man. She appears confused as a knocking can be heard on the door. She looks around and walks back into the main room.
KORY: (in German) Hello?
The knocking continues. Kory looks to see that it’s coming from a closet. She opens the door and looks down to see a beat up man who is bound and gagged. His screaming is muffled and his breathing is labored. Kory removes the gag from the mans mouth.
MAN: (in Russian) Ok! Don’t hurt me! I’ll tell you. They found her.
KORY: (in Russian) Who?
MAN: (in Russian) The girl. The girl you’re after. The girl you wanted. We... We can... We can get her for you.
KORY: (in Russian) Who am I?
MAN: (in Russian) Who are you?! I don’t know who you really are... You played us all, you crazy bitch.
The man tries to headbutt Kory, but she doges. She grabs him by the gag which is now around his throat and pulls him out of the closet. She shoves him up against a room service cart and shows him her phone screen.
KORY: (in Russian) Who is he?
MAN: (in Russian) You know who he is.
KORY: (in Russian) Remind me.
MAN: (in Russian) Listen, let me call him first. And we’ll try and make it work, He wants to.
Behind the man’s back he is using a knife to cut the ropes that his hands are bound by.
MAN: (in Russian) He likes you...
They both grunt as he tries to stab Kory. She doges and he flies forward. She grabs a glass off of the cart and hits him over the head with it as he runs at her. He falls to the ground but gets back up to continue fighting. He keeps trying to stab her until finally she punches him with inhumane force, sending him through the air. She pants as she stares at her hand. She opens it as if she is checking to see if she is holding something. She looks back up to see if the man is down. He is laying on the floor groaning. She walks over and leans over him, showing him the picture again.
KORY: (in Russian) Tell me his name. Hmm? Hmm?
She pats his cheek.
KORY: (in Russian) Tell me his name and where I can find him and I’ll get you help.
MAN: (in Russian) His name is Konstantin Kovar. He’ll be at his club... Das Schäman. Now help me...
Kory grabs his head and snaps his neck, killing him.
KORY: (in Russian) New plan.
Kory gets up and walks away from the body. She grabs her bag and exits.
CUT TO: DETROIT P.D. INTERROGATION ROOM
Dick and Rachel are sitting at the same table.
DICK: Who are you? Is this some kind of sick practical joke?
RACHEL: I remember. People were happy that night.
Dick leans in, putting his elbows on the table with his hands clasped together.
DICK:What the hell is this?
RACHEL:You, most of all. Your parents... I watched them fall. You kept wishing it was a dream. Wishing you would wake up.
DICK: Who put you up to this?
RACHEL: Everything led me here. To you. It can't be by accident. You've got to help me. I don't know how...
DICK: You want help? So you throw a brick at a cop car?
RACHEL:You don't understand...
DICK: Okay, make me understand.
RACHEL: Someone killed my mom!
Dick pulls out a notepad and a pen. He gives them to Rachel.
DICK: Okay. Name, address.
Rachel writes down her name and address. Dick watches her write. She slides the pad back to Dick without looking at him.
RACHEL: She was all I had. The only person in the world who cared for me. I'm alone now.
She hands him the pen. Her reflection comes out of her hand to touch the back of Dick’s hand. When they make contact, memories of Dick’s parents laying on the ground of the circus flash into view. Dick holding his mother’s hand, him crying over her, and police pulling him away from her as medics give her cpr are seen. An officer leaves young Dick Grayson’s side as someone puts his hand on Dick’s shoulder.
MAN IN MEMORY: I want to help you.
Then other memories appear faster than the previous ones. Dick standing in a bedroom, a tray with food on it, and then an envelope with “Dick Grayson” all appear before the shot focuses back on Dick and Rachel sitting in the interrogation room. They both pull their hands away and Rachel gasps.
DICK: Listen, I'm gonna check this out, okay?
Dick walks towards the door to exit.
RACHEL: Don't leave me here.
Dick turns back to look at Rachel. He pauses for a moment before speaking.
DICK: Rachel, you vandalized a police car. You're not going anywhere.
RACHEL: You don't understand. You need to lock me up. Please. There is something inside of me. Something evil.
DICK: I can't give you the kind of help you need. But I will find someone who can.
Dick opens the door
RACHEL: Don't leave me here.
Dick turns back to Rachel, again pausing before speaking.
DICK: Look, I'm sorry. I really am.
Cut to Dick sitting at his desk on the phone.
DICK: Hey, so, she's saying her mom was killed. If you could send someone down there, that'll be great.
OFFICER JONES: Okay, I'll call you if anything checks out.
DICK: Thanks.
OFFICER JONES: It's probably bullshit though. Kids down there livin' on the street stealing...
Dick looks up, focusing on a news report on a TV.
REPORTER: The Mayor has...
Footage of Robin beating up men in an alley plays on the screen as Dick watches.
OFFICER JONES: They'll say anything to get out of trouble.
REPORTER: ...released a warrant demanding the crime fighting vigilante known as Robin...
DICK: Yeah, I know.
REPORTER: ...to leave Detroit immediately. Quote. "This is a violent sociopath." End quote.
CUT TO: OUTSIDE DETROIT P.D.
It is dark outside the precint. Suspenseful music plays. Dick is leaving the building but pauses to look back.
AMY: Hey, can I ask you something?
DICK: I'm kind of in the middle of something.
Dick begins to walk past Amy back into the building.
AMY: So, what? You and your sidekick go bad?
Dick turns around to look at Amy, annoyed.
DICK: I'm sorry?
AMY: Your partner at Gotham P.D. I mean, I'm no mind reader, it just seems kinda obvious.
Amy chuckles as Dick’s face goes from serious to amused. He steps towards Amy, who now appears smug.
DICK: I guess we had different ideas of how to do the job.
AMY: How's that? He on the take? I heard most of Gotham is.
DICK: No, not him. He was a hero to a lot of people. Including me.
Understanding lights Amy’s face.
DICK: A stop-at-nothing guy who solved everything with his fists. I admired him at first, what he did... was trying to do. But eventually, I had to walk away.
AMY: Why?
DICK: Because I was becoming too much like him.
They both pause, looking at each other, before Amy looks down.
AMY: So, you're not really, huh?
DICK: What?
AMY: An asshole.
They both chuckle.
DICK: Don't tell. It'll kill my rep.
AMY: Yeah. Well, your secret's safe with me.
Amy turns and walks away while Dick watches her go.
CUT TO: DETROIT P.D. INTERROGATION ROOM
A uniformed officer comes into the room to talk to Rachel.
OFFICER: Hey, there. We're gonna transfer you. We're putting you with the other kids. It'll be safer for you there.
Rachel looks out the open shades of the room’s windows, as if searching for something.
OFFICER: It's okay. Bring your bag.
The officer waits for Rachel as she gets her bag. She swings the backpack over her shoulder and follows the officer out. The shot shows a camera in the room. There is a light fixture blocking the officer’s face from being seen on the camera
OFFICER: Right this way.
Cut to Dick Grayson walking through the precinct. He is on his phone.
OFFICER JONES: Grayson. This is Officer Jones. Traverse City P.D.
DICK: Mm-hmm.
OFFICER JONES: Girl you called in about, Rachel Roth? We found her mother. Gunshot to the head. Looks like a homicide.
Dick slows his walk pausing on a staircase.
OFFICER JONES: I'll have our C.S.I send you the details as we get them.
DICK: Okay, thanks.
Dick bites his lip as he puts his phone into his jacket. He looks away before heading up the rest of the stairs.
Cut to an officer who is leading Rachel out of the precinct. They walk past a man working on a car with its hood up, as the officer puts his hand on Rachel’s back to lead her further away.
Cut back to inside, where Dick is running torwars the interrogation room. The door is ajar. Dick looks into the room, seeing that it’s empty. He steps inside for a moment before exiting. He looks around the hallway and then walks away, looking for Rachel.
Cut back to the officer and Rachel. He is holding Rachel’s arm, leading her out of the building to a police cruiser. He pulls something out of his pocket as Rachel looks at herself in the reflection of the car.
RACHEL’S REFLECTION: Let me kill him! Let me kill him now!
The officer grabs Rachel and pulls her away from the car before pulling open it’s back door and shoving her into the back as she gasps for air and pushes against him. Her hair starts to flow in the wind before he shoves a needle into her neck and injects her with something. She passes out and the officer gently lays her in the rear of the car. He puts her seatbelt on before slamming the door.
Cut to Dick Grayson. He is walking past the car whose hood is up. He breaks into a run as he sees Rachel in the back of the cruiser, which is now driving away. He stops in the street behind the car as he pulls out his phone from his jacket. He starts running away from the car to another as he dials.
DICK: Detective Grayson. Can I get a 10-20 on the car number three one zero?
CUT TO: DAS SCHÄMAN
Rave music is playing as the shot pans across a club. Women are dancing on a stage in revealing clothing as strobe lights flash purple and yellow. There are lights hanging from the ceiling, lighting a crowd of people drinking, dancing, and making out.
Kory is walking in the background as the shot focuses on her. She looks around at the scene.
Cut to seeing the same scene through a security camera in the bar.
Cut back to Kory, who is still making her way through the room. She pauses, smiling, looking around. She continues to walk around, catching the eyes of many party goers. As she gets to a less crowded bar, a bouncer nods at her before she heads through a doorway.
The music becomes distant as she enters a dark room lit only by dark blue lights and a wall with a dim video of jellyfish. Kory approaches a desk at the end of the room. She looks up as the lights turn on. Three men enter from two doorways on either side of a wall behind the desk. One of the men is the man from earlier, still wearing a turtleneck and leather vest, while one man who comes to stand in front of the dest is wearing a business suit.
KONSTANTIN KOVAR: My dear...
Konstantin holds his arms out, as if waiting for an embrace. He puts his arms down, leaning against the desk.
KOVAR: I was worried for you.
KORY: Who are you, exactly?
KOVAR: Who am I?
Kovar becomes increasingly unnerved as he watches Kory.
KOVAR: Who the hell are you?
He calms down, lowering his voice to a whisper.
KOVAR: And who do you work for?
Kory bites her lip and laughs as she looks around the room.
KORY: Uh, I don't... I don't know. I...
Kovar scoffs and looks behind him at the two other men before saying something in Russian to them. He points at her and says it again. He turns back around, frustrated.
KOVAR: You come here, you sit at my side, you sleep in my bed!
Kory looks around again, smiling awkwardly.
KOVAR: I trusted you! And you turn on me? You betray me?
Kovar points a gun at an image sitting on his desk.
KOVAR: Because of this girl? Who is she? What do you want with her?
KORY: I don't know. I woke up in a car. And these men were trying to kill me...
Kovar holds up his finger, waving it at Kory as he shushes her. He sighs and looks around before his face becomes riddled with sadness.
KOVAR: I loved you.
KORY: Oh...
Kory clicks her tongue, smiling and looking down. She looks back up at Kovar, running a hand through her pink curls.
KORY: I don't think I loved you too. Yeah. Yeah, I'm pretty sure that's a no.
Kovar points his gun at Kory.
KORY: Wait!
Kovar pulls the trigger as the scene turns to slow motion. Kory raises her hand as the bullet flies through the air before impacting an invisible shield in front of Kory. She looks up, her eyes turning bright green. Her skin is flooded with orange fire, as is her hair. Her outstretched hand releases flames, engulfing the entire room and shooting down the hallway. As the fire returns to her, she stares at her hand and then around the room. Kory approaches the desk to see the picture Kovar had motioned to. Around the room small fires still burn. Kovar’s corpse is burnt to a crisp, unmoving from where he had been standing. Kory blows dust off of the picture. As she turns it around, we can see that it’s a picture of Rachel. Kory reads an inscription on the back.
KORY: Rachel Roth.
She flips it back around to examine the photo again. She begins to turn around and walk way, before looking up from the picture at Kovar smuggly. She laughs and turns to leave. The other two men’s corpses are also burnt. Kory walks away as Kovar’s corpse falls apart into a pile of ashes.
CUT TO: A BUILDING IN DETROIT
A cop car is sitting outside of a building.
Cut to inside, where Rachel is sitting in a dark room. There is a candle lit near her. The shot pans up, to show Rachel beginning to wake up. She blinks a few times before fully opening her eyes. Suspenseful music plays as the shot changes to show us a broken window and several lamps around the room. She looks around the room, focusing her eyes. She sees a small table to her right with a candle, some bloody tissues, and an ornate silver bowl. In the bowl is something wet and red. Rachel continues to look around to see the same bowl and candles on another table to her left. She looks down, surprised, to see that she is handcuffed to the chair she is in. She gasps as she struggles to get free.
ACOLYTE: You've always known you were different, haven't you?
The shot changes to show the acolyte standing behind Rachel. He lights a match and candle. He continues to light candles on a table behind Rachel, who looks back at the bowl on her left.
ACOLYTE: That you have a destiny.
RACHEL: Please...
The acolyte walks around to stand in front of Rachel. He is now holding a knife. He turns to look at Rachel.
ACOLYTE: I have been looking for you for so long.
The acolyte holds out the knife as Rachel gasps.
RACHEL: Let me go.
He leans towards her without breaking eye contact. He speaks slowly, in a low voice. He is quite sweaty.
ACOLYTE: Nothing resembles itself tonight. This dirty room is a church. I appear the villain but in truth, I am the savior. You...
He puts his hand on Rachel’s arm as she squirms.
ACOLYTE: You pose as the innocent, but deep inside... You know you're fecund and damned. You have the skin of the lamb. The sheath by which he will penetrate this world, and seed its destruction. But alas, you are the doorway he would walk through upright to put out our sun, and I... Can not allow that to happen.
He steps backwards and holds the knife up to Rachel.
ACOLYTE: I have to save us all.
He stands upright.
Cut to another room outside the previous. The officer from earlier walks up to a window covered in makeshift newspaper shades. He lifts one of the papers to peer outside. There’s a police car outside. A door is heard opening, and the officer flinches at the sound. He turns around and pulls out his gun and flashlight. He looks around, sweeping the area with the light. He begins to walk to another part of the room. Seeing nothing, he puts his gun away. He keeps his light out, turning around sweeping the room again. Dick enters, hitting the officer’s arm and punching him in the face. Dick knocks him out after a few more punches. He drags the officer over to the other end of the area and drops him. Dick takes out his gun and proceeds down a hall connected to the room with caution.
Cut back to Rachel and the acolyte. The acolyte is placing a basin filled with water on the ground. He rinses his hands with the water. He dries his hands by flicking them at the water as Rachel watches. He picks up the knife, which he had placed next to the basin. He stands up and walks over to Rachel, holding the knife for her to see.
ACOLYTE: I will lay your heart beside the heart of a beast.
The acolyte squishes a heart which is in the bowl to Rachel’s left with the knife. He holds the bloodied knife up to Rachel’s face as she leans away.
ACOLYTE: And beside the heart of a simpleton.
He shoves the knife into a heart in the bowl to Rachel’s right. He touches the knife, getting blood on his hands. He holds the knife to her face again.
ACOLYTE: And burn them all. And the doorway will be closed forever.
He brings the knife closer to Rachel’s neck as she begins to panic.
RACHEL: Don't hurt me!
Cut to Dick swinging open a door, gun cocked. He looks around the room he enters.
DICK: Rachel!
The acolyte is holding Rachel’s shirt, about to cut her.
RACHEL: Help! Help!
Dick looks up to where Rachel’s screams are coming from.
The acolyte shoved fabric in Rachel’s mouth to stop her from screaming. He walks away from Rachel, to the room’s door, which is open. He positions himself behind the door, knife ready to strike. Rachel tries to scream. Dick continues to search for Rachel, using her muffled screams to find her. Rachel begins to gag on the fabric in her mouth. Her hands begin to shake. She looks down and the fabric falls out of her mouth. As Dick reaches the door, he sees her. She looks up, eyes black. The acolyte’s body is slammed into the door, shutting Dick out and throwing him backwards.
The acolyte’s hand is forced open, and he drops the knife. He is turned around to face Rachel, who is sitting upright in the chair. Her eyes are still black, and the veins around them are as well. Loud whispering begins as a ghost like Rachel jumps out of her body and runs to the acolyte. She begins to choke him as he screams and groans. She puts her other hand on his face, squeezing. Dick gets up.
DICK: Rachel!
Dick tries to open the door, and through a frosted window on the door he can see the acolyte against it.
DICK: Rachel! Rachel! Rachel. Rachel, open the door!
Rachel’s projection puts her fingers in the acolyte’s mouth as bits of blackness fly around the room.
DICK: Rachel! Rachel!
The substance begins to fly into his mouth. As he screams in pain.
DICK: Rachel! Open the door!
Rachel’s projection liquefies into more of the blackness as flies into the acolyte’s mouth. The whispering stops as the acolyte begins to gag. He puts his hand to his throat as he chokes. He puts his hand on his chest as he struggles before falling to his knees. He contorts and folds over as he vomits blood. The floor becomes covered in his blood as he continues to vomit. He finishes vomiting and looks up as he screams. Dick continues to try to open the door. He looks up at the window just in time to see the acolyte’s face slam into it. Dick jumps back from the door and the acolyte falls into the pool of his own blood. The door opens just as Rachel’s projection jumps back into her. Dick creeps into the room, gun ready. He looks down at the body on the floor. Rachel begins to cough and dick runs towards her.
DICK: Rachel!
Dick kneels down to unlock the handcuffs on Rachel as she pants. As he gets the cuffs off, she begins to cry. He looks at the body and then back to Rachel.
DICK: What happened?
RACHEL: I don't know!
Rachel leans forward, hugging Dick.
RACHEL: Please help me!
He hugs her back as the shot fades to black.
CUT TO: A GARAGE
A door opens, letting light into a dark garage. There’s only one car. Dick enters through the door, Rachel not far behind. Other lights in the garage turn on. The car is a 1986 silver Porsche 911 Carerra. Dick opens the door to pop the hood of the car.
RACHEL: This is yours?
Dick puts a bag in the front trunk of the car.
DICK: Family heirloom.
RACHEL: From the circus?
DICK: Not the one you're thinking.
Dick closes the hood of the car.
DICK: Come on, let's go.
Dramatic music begins to play as the two drive off.
RACHEL: Where are we going?
DICK: Somewhere safe.
Rachel looks at Dick. It takes him a moment to return the look.
RACHEL: My mom says there's no such thing as monsters.
Rachel looks out the window.
RACHEL: I think she was wrong.
The music cuts out.
CUT TO: VISIONS STORE. COVINGTON OHIO
A pudgy security guard sips on a can of rootbeer as he plays on a playstation in the store. He puts the can down to continue playing level one of Crystal Castles.
A thudding noise is heard. The guard looks up. The clanging noise continues, and the guard slowly stands up, looking very nervous. He pulls out his flashlight. And walks to the sound, checking each isle of the store. The noises persist in the dark store. The guard pauses, showing light on a stand of video games, which appears to have been ransacked. One of the metal racks has fallen and games are littered around the floor. The guard pulls out a gun as he follows the trail of games. He gets to a hallway, and steps out, looking down the hall. Sitting on the floor is a large green tiger, facing away from the guard, pawing at several games. The tiger gets up and looks back at the guard, growling. The guard backs up, clearly shaken. He closes his eyes and shoots at the tiger while walking backwards. The tiger grabs one of the games and runs, knocking down a stepladder on his way out. The guard pauses watching the tiger go. He sighs and upbeat music plays.
GUARD: Okay.
The tiger runs into some woods outside the store. He slows down and stops near a bag. He leans his head down, and his bones begin to crack. He slowly morphs into a boy with green hair. The boy holds up the game he took from the store, panting.
GARFIELD: Rad.
Nacked, Garfield grabs the bag and covers himself as he begins to run deeper into the woods.
END CREDITS