Opening scene to Red Saints: Josie Chronicles 2. Josie is a modern day vampire hunter who enhances her blood and uses her body to kill her vampire foes.
EXT. LIBRARY — NIGHT
Three girls exit the library after another night of studying.
Well, here's to another disappointing evening.
I know, and I still don't think I'm ready for this exam.
Yeah, we definitely need to look over this stuff again tomorrow.
The girls pass a dark one lane street and GIRL1 separates from the group.
Hey, where are you going?
It's a short cut and I'm really tired.
GIRL 1's friends look down the dark street and see silhouette against a shadow moving as it notices them.
Hey! Hey girls! Over here!
The friends look at each other unsure of their friend's decision.
Why don't you just come with us? We'll walk you home first.
That's completely out of your way. Don't worry. I'll call when I get home.
GIRL1 continues her way.
EXT. ALLEY — NIGHT
GIRL 1 walks down the dark street. She's lost sight of the bum and tries to keep one eye on where she thought he was and the other on the comforting street light at the end of the road.
She's startled at some movement in the darkness.
Hey! Stop that. I see you there so knock it off.
A foreign, subtle sound comes from the area and a strange sigh.
GIRL 1 (CONT’D)
I'm warning you.
Another soft moan comes from the darkness but this one is similar to a sound of genuine pain.
GIRL1 slows down and looks into the darkness.
GIRL 1 (CONT’D)
Are you okay?
GIRL 1 sees movement again and makes out the man, slumped over, incapacitated it seems.
GIRL 1 approaches with caution, letting her eyes get accustomed to the light.
She gets closer and slowly bends toward the man.
GIRL 1 (CONT’D)
Hey. Do you need help?
The SHADOW WALKER rises from the darkness — pale skin, long fingernails, dark circles, long fangs, bony
fingers emerge from the dark. The shadows reveal his hideous face as it's too late.
EXT. DARK STREET (MURDER SCENE) — NIGHT
DET. CAPELLI arrives on the scene. The cops are already there documenting the site.
An OFFICER approaches him.
Detective Capelli, The scene's being swept right now.
Tell me what you have so far.
A dead girl and a dead homeless guy. That's about it.
The OFFICER shows him the bum first.
We're running a report on him now
back at the station.
DET. CAPELLI squats down over the bum.
Any reason he might have known her? Who she was, who her friends were?
Too early to tell but, he seems like more of just an addict case. Just never cleaned up his act.
DET. CAPELLI looks over to his side and sees the girl's book bag on the ground, then over to where the girl's body is now.
A mugging gone wrong?
We can't say for sure.
DET. CAPELLI is careful not to move the body too much.
And why is he dead now?
The officer hands him his flashlight.
Have a look, back of his coat.
DET. CAPELLI leans over the man, flashing the light onto his back revealing a large hole.
DET. CAPELLI pulls back, not startled, but he's seen enough.
DET. CAPELLI looks around the brightly lit crime scene for any signs from a third party.
(Under his breath)
Where did you go?
What have your men found on anyone
arriving or leaving this area recently?
Well, nothing. We got an ID on the girl and she lives just on the other side of this block. It looks like she was just on her way home.
You think she did this? Show me the girl.
The OFFICER stands up and walks across the ally.
She's over here.
C.U.: THE SHEET PULLING AWAY FROM THE GIRL'S FACE.
She's pretty. Her throat is gone. But her dull, lifeless eyes persuade you to think she felt nothing.
DET. CAPELLI looks at her from where he stood.
The flash of a camera taking photos of the crime scene breaks his gaze but only for a moment.
Pretty messed up.
DET. CAPELLI takes a moment to nod, acknowledging the OFFICER's comment.
DET. CAPELLI turns toward his car.
Where are you going?
I have a Polaroid in my car. I'm going to get some shots to look over later.
DET. CAPELLI takes a few shots of the crime scene.
INT. DETECTIVE CAPELLI'S APARTMENT — NIGHT
DET. CAPELLI looks over the pictures of the dead girl.
He's tired, but something inside keeps his conscious attention on the pictures of the girl and the scene.
INT. JOSIE'S APARTMENT. — MORNING
JOSIE walks into her living room with a fresh cup of coffee.
JOSIE takes a sip when a knock on her door interrupts her peaceful morning.
JOSIE opens the door and finds GIOVANNI (about 14) there with the day's newspaper.
GIOVANNI looks at JOSIE standing before him in her robe, camisole and pajama bottoms in awe.
Good morning Giovanni.
GIOVANNI takes another moment to take in the image.
Is that a newspaper?
Yes. I brought it for you. So you would have something to look at with your breakfast.
How thoughtful of you.
You think I could have it then?
GIOVANNI holds out the paper.
JOSIE takes it.
Thanks again Giovanni.
Would you like some coffee or anything?
No. I better go now.
JOSIE closes the door and returns to her chair with her paper.
JOSIE sits down and sees the front page headline about a girl brutally murdered.