Created using Celtx
Cloaked © 2025 by Stéfano Castellanos is licensed under CC
BY-NC-ND 4.0. To view a copy of this license, visit
https://creativecommons.org/licenses/by-nc-nd/4.0/
https://otilje.substack.com/p/cloaked

In a peaceful Norwegian town where life seems ordinary,

there’s more beneath the surface — if you know how to listen.


CLOAKED EP 2.
(
The Koppang Mysteries -
)
Impenitent Series.

1. EXT. BIRKEVEIEN 76 – EARLY MORNING
A modest house sits quietly behind a large fenced enclosure,
a spacious dog pen wrapping fully around it. The street is
empty. It's a beautiful summer day. Animal Rescue is on the
property.
INSIDE the house, two large dogs, a MALE and a FEMALE — MOVE
RESTLESSLY behind the large living room window. Both are
mixes of Malinois and Vorster, their posture tense and alert.
The female bark furiously, muzzles pressed against the large
windows of the house. It a nice house.
Across the street, (60s, toothless, gossipy) lights a
MAGDA
cigarette, watching everything like it’s a TV show.

2. EXT. YARD – CONTINUOUS
Outside, stands by the outer fence, phone to her ear.
ANNA
She’s just taken a step toward the southeast corner, where
the grass dips slightly — the covered sewer entrance.
BRITTA
(50s, steady, grounded) stands beside her — but doesn’t move.
The FEMALE has locked onto her.

ANNA
(into phone, calm)
Animal Services. Birkeveien 76. Two
large dogs. Owner possibly in medical
distress. Neighbor called it in.
A flat response on speaker.

VERISURE OPERATOR (V.O.)
There’s a social worker listed. Alarms
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not connected. I have visual inside.
Police are on route. Contact person
will be notified.

BRITTA
(quiet)
They’re watching us. Especially her.
The dogs growl, especially the female. The male pulls down a
curtain. The FEMALE DOG BURSTS THROUGH the window —
CRASH!
glass shatters violently. The ALARMS WAIL TO LIFE.
The FEMALE lands in the fenced dog pen, unharmed. The MALE
jumps out right after her.

BRITTA
I thought she said the alarms were not
on.

VERISURE OPERATOR (V.O.)
(slight sarcasm)
The sensors are always on. Good luck.

BRITTA
Jesus. How much do you think they
weigh?

ANNA
Thirty-five, forty kilos? That boy
looks like he’s eyeing the fence.

BRITTA
That is two meters high.

ANNA
And those are two mixes with Malinois
and something taller. Prepare to
shoot.
Before the word leaves her mouth A dart hits
“shoot”

PHFT!
the MALE above his tail. Another lands in the FEMALE’s
PHFT!
chest.

BRITTA
They’re juiced with adrenaline.

MAGDA (O.S.)
(Shouting)
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They're not dead? Are they?
Across the street, , scarfed and nosy, leans over her
MAGDA
gate. She’s got no teeth and too many opinions.

ANNA
(under breath)
Can you dart her?

BRITTA
Tempting. But animal control says
she's human.
Two young POLICE OFFICERS pull up.

YOUNG OFFICER ERIK REMME
You were always a good shot.

BRITTA
We just gotta wait.

3. EXT. BIRKEVEIEN 76 – MOMENTS LATER
The DOGS are asleep in the van. The door slams shut.
The van pulls away.
A beat of silence.
The two officers remain, eyeing the house. Erik looks toward
the spot where Britta fired her dart.

YOUNG OFFICER DAG ANKER
You think she got lucky. Don't you?
She’s the best shot at the range.

YOUNG OFFICER ERIK REMME
I know. But the sun was in her face.
And this sewer lid kinda—
(stops)
…what’s this?
Erik crouches near the concrete lid. He picks something small
from the grass.
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YOUNG OFFICER DAG ANKER
That's Warfarin, a blood thinner, my
dad takes them.

END SCENE.

4. INT. PSYCHIATRIST'S OFFICE – DAY
A warm, cluttered room. Books stacked on every surface. A
faint trace of pipe smoke lingers in the air.
DR. LARS BJORNSTAD (late 60s), bearded, calm-eyed, fills his
pipe but doesn’t light it. Esteban sits across from him, legs
crossed, quiet but alert.
A long silence. Not awkward — just thoughtful.

DR. BJORNSTAD
You’re not crazy, Esteban.
(beat)
I’ve reviewed your history, your
notes, the reports from Ingrid and the
others. You’re grieving. But not
irrational.
He gestures toward a worn file folder on the desk.

DR. BJORNSTAD (CONT’D)
Most of the research on sensory-
experiential experiences of the dead —
— happens in
SEDs, as they call them
the context of bereavement.
But yours... started before Oleg
passed.
Esteban nods, quietly.

DR. BJORNSTAD (CONT’D)
I believe what you experience is real
— . And more importantly, it’s
to you
benign. No psychosis. No disorder.
Just... meaning, trying to find a
place to land.
(beat)
The trauma with your father — the
accident — I think that opened a wound
you never stitched up. Not properly.
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Esteban fidgets slightly, but doesn't look away.

DR. BJORNSTAD (CONT’D)
So here’s what I think. You need to
move. Literally. It’s spring. You are
a jogger. Just not the same path every
time. OK?
A half-smile from Esteban.

DR. BJORNSTAD (CONT’D)
Go to a museum. Let yourself be seen.
Get out of Koppang. Denmark, Spain.
And — and I say this as a man who once
loved a German sculptor — don’t say no
to the next man who wants you. My Sara
and I were together for many years.

ESTEBAN
Is she dead?

DR. BJORNSTAD
No. She left me for a politician.
Dr. Bjornstad relights his pipe, then pauses.

ESTEBAN
Oh.

DR. BJORNSTAD
By the way...
(pauses)
Do you still know how to do things,
right?
Esteban blinks. And laughs — softly, for the first time.

ESTEBAN
Maybe I forgot...
But I remember we do them.
why

DR. BJORNSTAD
That’s a start.

END SCENE.

5. EXT. VACATION HOME– NORTH OF BIRKEVEIEN – LATE AFTERNOON
The gravel path is half overgrown. A red-painted house sits
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in the trees. Still. Peaceful. Too quiet. It is 8:45 May 20
it is sunny and windy outside. A little cold.
and step up to the
OFFICER INGRID YOUNG OFFICER DAG ANKER
broken door. The frame is splintered. The older couple Mrs.
and her husband are bewildered.
Bea Olsen Tom Olsen

TOM OLSEN
We haven't gone in.

OFFICER INGRID
Good move.
The cops step inside.

OFFICER DAG ANKER
Looks like they kicked it clean open.

BEA OLSEN
There is not much of value here but I
see they took the good plates and
cups. Probably we can buy them back on
Finn*no.

TOM OLSEN
No. We want nothing to do with that
lot ever. Did they get into Peter's
house too? We noticed...

OFFICER INGRID
Do you know Peter well? Do you know if
he is on medication?

BEA OLSEN
He is diabetic.
Dag notices a smell.

OFFICER DAG ANKER
It smells like dog shit in here.

BEA OLSEN
It does.

6. INT. VACATION HOME– CONTINUOUS
A cozy, functional space. Curtains sun-bleached. Some drawers
open. Dag notices the spots where there is no dust.

DAG ANKER
Judging by the dust around they took
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just small stuff.
Ingrid notices an antenna on the floor.

INGRID
Who is the radio ham?

TOM OLSEN
My wife.

BEA OLSEN
Good eye. They took it all. I see from
here they took all our batteries.
(beat) they all observe.

OFFICER DAG ANKER
Could be transients. Or-

Ingrid phone buzzes. She answers.

INTERCUT WITH:

7. INT. POLICE STATION – DAY
is at his desk, files in hand.
OFFICER ERIK REMME

OFFICER ERIK REMME
Hey — just a heads up. We had a call
from Peter — the guy on .
Birkeveien
Four days ago. Reported a suspicious
couple near the woods. He confronted
them. They left.

INGRID
What kind of suspicious?

OFFICER ERIK REMME
He thought they might be scoping it
out. We sent a car. That day. Nothing
suspicious.

BACK TO:

8. INT. VACATION HOME
Ingrid lowers her phone. Thinks.

INGRID
Four days ago. So Peter saw them.
They came back. They broke-in.
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She looks out the window — toward across the
Peter’s house
trees. follows her gaze… then looks to the couple.
Dag Anker

OFFICER DAG ANKER
That sewer. That's private.

TOM OLSEN
Yes. It connects four houses. Peter’s,
ours, the yellow one across the
street... and the old white next to
Peter’s.

OFFICER INGRID
Think they came back for ?
him

OFFICER DAG ANKER
No. I think Peter's dogs knew where he
was. (beat)

BEA OLSEN
They made us feel safe. Those dogs...
they lived for Peter. And he for them.
Ingrid turns to them, voice gentle but firm.

OFFICER INGRID
Stay here, please.

9. EXT. PETER’S PROPERTY – MOMENTS LATER.
Ingrid and Dag cross the yard. The broken window is now
covered with a . The house sits heavy in
large wooden plank
the late light.

OFFICER INGRID
The report said the pill was right
next to the sewer lid, yeah?

OFFICER DAG ANKER
Yeah.

OFFICER INGRID
Help me move it.
Gloved hands in place, they brace and lift — the lid shifts
with a brutal scrape of stone against stone.
9.
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10. INT. SEWER OPENING – CONTINUOUS
They both lean over the opening. A long silence. Then.

OFFICER INGRID
Oh, God!
Down below — PETER'S BODY lies crumpled. His head bent at an
unnatural angle, skull cracked against the concrete.
The position says everything: he landed headfirst.

OFFICER DAG ANKER
They threw him in. No hesitation. No
chance.

BEA OLSEN (O.S.)
Oh! Pete!

OFFICER DAG ANKER
Bea. Please. Step back. This is a
crime scene.

OFFICER INGRID
I think Pete was two steps ahead of
us. And the robbers.
They look down in silence.
The wind moves through the birch trees.

**FADE OUT.**

11. INT. ESTEBAN'S KITCHEN – NIGHT
The fireplace crackles warmly. Outside, wind fingers the
trees — a restless chill against the still house.
Esteban opens the fridge. Cold light bathes his face. He
rummages: a plate of chicken, sliced avocado, cottage cheese,
a jar of jam.
He sets them gently on the counter.
His dogs, and , rest on the rug by the door.
Melcocha Troco
Peaceful. Breathing slow.
But lifts her head. Something shifts in the air.
Melcocha
rises.
Troco
Esteban squints at the jam jar.
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Then...

GRANDMA MODESTA (O.S.)
"
Hoy he contado mil setecientos

cincuenta y nueve carros pasar por

aquí.”
The jam from his hand.
slips
. Glass. Jam. A burst of sticky red on tile.
CRASH
He turns. She’s there.

GRANDMA MODESTA.
Seated at the kitchen table.
Hair braided. Wrinkled hands folded.
Still. Watching.
The dogs don’t bark. They sit — reverent.
gives a soft whimper.
Melcocha

ESTEBAN
(he
whispers)
“Abuelita…?”
She doesn’t smile. Her gaze is deep, knowing.

GRANDMA MODESTA
"
Mil setecientos cincuenta y nueve. Y

tú no te has enamorado aún.”

(a beat)

“¿Sabes? Es posible tener muchos

amores. Pero tú no eres así. Y tampoco

la esencia.”
He steps forward—barefoot.

GRANDMA MODESTA
"
Él no te mira. Él busca. Y tú ves.”
Another step.

ESTEBAN
Ah!
YELP! He stumbles. Blood.
Glass in his foot.
He looks up —
She’s gone.
Just the chair. Rocking gently. The dogs sniff it, noses
delicate, like they’re trying to remember her scent. His eyes
11.
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fading. He staggers. And then — collapse. A seizure.
rushes to his side, trained to cushion his head.
Melcocha
positions his body to keep Esteban safely on his side.
Troco
Esteban convulses. Amid jam and glass — his loyal protectors
do what they were trained to do.

FADE OUT.

12. INT. INGRID'S APARTMENT
is at the table, books spread out, studying.
VIRNA KEYS
Ingrid enters in uniform.

OFFICER INGRID
Don't mind me!
Ingrid looks in a box under a chair.

VIRNA KEYS
Usually that follows with a question.

OFFICER INGRID
Ah? What? Oh! yes. Where is that
baseball we found last week?

VIRNA KEYS
Out back!
Virna gets up. Pauses as she sees the waiting in the
two dogs
backseat of Ingrid’s .
police car

OFFICER INGRID
Thanks. Carry on.
Virna follows her out back.

VIRNA KEYS
What's the plan with those dogs? I
know where they come from. And this
time give me the short story?

OFFICER INGRID
I'm asking Esteban to adopt them.
Virna raises an eyebrow.

VIRNA KEYS
Oh! hahaha! What makes you so certain
he will?
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OFFICER INGRID
What makes you so certain he won't?
Virna smirks, mock-defeated.

VIRNA KEYS
Oh! You clever cat. You'll ask him to
keep them for a few nights. Then he’ll
never let them go.

OFFICER INGRID
That's the idea.

13. EXT. ESTEBAN’S COTTAGE – LUNCH TIME.
parks outside his cottage. and jump
ESTEBAN MELCOCHA TROCO
out carefully — they both have light bandages. Esteban does
too. His face is pale, tired, but focused.
He unlocks the gate. The dogs trot ahead, tails cautious but
lifting.
, arrives. She sees Esteban’s walks a bit
Seconds later INGRID
uneasy, then the bandages. Then notices the dogs’ wounds.

OFFICER INGRID
What happened?

ESTEBAN
Oh Dear! you startled me. Help me get
these candles in. The new neighbor
makes candles. This is his second
batch.
Inside Ingrid sets the candles on the table.
ESTEBAN
It's called. Epileptic Vision.
(catches himself)
A seizure, I mean.
It’s still fuzzy.

OFFICER INGRID
Should you be driving?

ESTEBAN
No time to be charming.

OFFICER INGRID
No. I'll write you a ticket and leave
it by the candles.
13.
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ESTEBAN
Take some candles.
The kitchen is still a mess: dried jam, glass shards, a
tipped-over bin. Esteban moves directly to a bucket and
.
gardening gloves

ESTEBAN (CONT’D)
They said someone would come clean up.
No one did.
He kneels and begins collecting glass.

OFFICER INGRID
Do you have another pair of gloves?
He gestures to the cabinet. She grabs them and kneels beside
him.

OFFICER INGRID (CONT’D)
You said “vision.”
What did you see?

ESTEBAN
It’s probably the fall... or coming
out of it.
(pause)
I saw people breaking things. A
gorgeous yellow portrait. The woman
who broke it lost her wig. Picked it
up and tucked her on her belt and
continued breaking stuff. It was the
male laughter that gave me the
horrible desire to vomit.
He holds up a broken jar, sticky with jam.

ESTEBAN (CONT’D)
This was expensive jam.
Maybe that’s just remorse.
For letting it fall. Oh my god, do you
think the vision means I'm going bald?

OFFICER INGRID
I doubt it. You have quite the good
set of hair.
Esteban glances out the window — notices the
dogs in Ingrid’s
.
car
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ESTEBAN
You might as well let them in.

OFFICER INGRID
Just a week.
The first sign of happiness and they
go.

ESTEBAN
Did they see him?

OFFICER INGRID
Yes.
They know he didn’t leave them.
A long breath from Esteban.

ESTEBAN
Go on, then. Let them out through the
backyard.
They’ll want to stretch their legs.
He gets up, wipes his forehead.

ESTEBAN (CONT’D)
Then leave.
I’m going back to bed.
(beat)
The latch for the dog door is outside.
Open it. Lock the gate after.
(softly)
Call me after your next shift.
Ingrid gives a small smile.

OFFICER INGRID
You’re a darling.
She heads out the back.
(CALLING AFTER HER)
ESTEBAN
Don’t get used to it.

END OF SCENE
15.
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14. INT. POLICE STATION – TECH ROOM – DAY
INGRID is cross-referencing data at her terminal. On a side
monitor, patient lists scroll. The door swings open. ERNEST
BROOK enters briskly, a printed note in hand.

OFFICER ERNEST BROOK
Heads-up. A Wolf All Mode SDR
Transceiver — black — just showed up
at a second-hand radio shop. Seller
claimed it was theirs. Buyer flagged
it. Said it to be stolen. Says it
had
belonged to Bea Olsen.

CHIEF ANA HOLMEN
Did we get a description?
OFFICER ERNEST BROOK
Better. (looks at DAG) Daggy — check
your inbox. They sent video.
Dag clicks. The video pops up on the . A
main wall screen
second-hand shop. A man and a woman at the counter, handing
over the transceiver.

OFFICER DAG ANKER
There. (pauses the frame) Those two.

CHIEF ANA HOLMEN
Any hits?
Ingrid’s screen flashes. She taps. A mugshot appears on the
main screen next to the paused video.

OFFICER INGRID
Drug charges, theft,
Anders Berg. 50.
criminal possession. Record back to
1990.

OFFICER ERIK REMME
Woman is . Here.
Luna Nygård
He pulls up a photo — the blonde woman from the shop. It
locks into place next to the man’s.

CHIEF ANA HOLMEN
Good work. That’s enough. Put out a
red alert.

OFFICER INGRID
Already on it.
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Erik grabs his jacket.

OFFICER ERNEST BROOK
I'll retrieve the radio.

CHIEF ANA HOLMEN
Move fast.
The room hums with motion. They’re not chasing shadows
anymore.

END OF SCENE.

15. INT. MODEST PRIVATE HOME – DAY

A humble interior — worn sofa, a second hand table, a badly

painted table, a cat that runs scared, a simple kitchen with

colors but clearly the home of someone scrapping by. It is

clean but clearly lived-in. A faint ticking from a wall

clock. Everything here whispers of modesty and routine. BANG!
The front door FLIES OPEN — kicked with casual violence.
(late 40s, or older, erratic energy, oversized
WOMAN
sunglasses, yellow raincoat, white pants, pulls her black wig
off, blonde) steps inside alone. Behind her, the MAN (mid
50s, lean, quiet, alert) waits just outside on the porch,
scanning the woods.

(CALLING BACK)
WOMAN
You always get the easy job! One of
these days I’m gonna let you do the
trash dance!

MAN (O.S.)
Just be quick.

She SLAMS the door shut. Her heels echo like gunshots on the

laminate floor. She surveys the room, unimpressed.

(MOCKING TONE)
WOMAN
What a dump. They forgot to add
furniture and taste.

She YANKS a framed picture off the wall and SMASHES it. It is

a poster version of the Summer Evening at Skagen. The

The clatter of broken
Artist's Wife and Dog by the Shore.

glass. She moves erratically — pulls open drawers, yanking

blankets off the sofa, knocking a chair sideways.

(TO HERSELF)
WOMAN
Maybe a coin jar... maybe a gun...
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maybe something shiny?

She opens a cabinet — nothing but canned goods and water

jars. She kicks it shut with a groan, then notices a box of

on a side table.
Ferrero Rocher

WOMAN
Ooh! A little class after all...
She snatches it. Stuffs it in her crotch. Swipes her arm
across a shelf — porcelain birds crash to the floor.
At the fridge: she grabs a bag. Cold cuts, butter, half a
loaf of bread. Then finds a jar of beets. . Red liquid
SMASH
spills everywhere — all over her pants.
She shrugs.

WOMAN (TO HERSELF)
I hate beets. I’m taking the
charcuterie, lover boy!
She kicks the backdoor open and struts outside, groceries in
one hand, Ferrero box shows under her belt. She walks the
block.

16. EXT. FRONT PORCH / WOODLINE – CONTINUOUS
The MAN waits by a thin birch, scanning the forest. She walks
up casually, peeling a Ferrero Rocher.

MAN
What the fuck? why are you coming this
way?
She pops the candy in her mouth.

WOMAN
Nothing. That is probably the house of
some fucker disability fucken
pensioner. No drugs, no booze, no
pills, nothing, no shit. Not even a
used toothbrush worth pawning.
Another candy. Another peel.

MAN
Let's go then.

WOMAN
Got us some groceries though. And look
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— chocolate balls wrapped like
treasure.

MAN
Cute.
She offers him one. He declines. She smirks.

WOMAN
Suit yourself, Romeo. All trash and no
gold. Story of our lives.
They vanish back into the woods. They get into a little Fiat
Doblo and drive away. Ferrero Rocher Wrapper out the window.

FADE OUT.

17. EXT. ESTEBAN’S BACKYARD – EARLY EVENING

Golden light flickers through the birch trees. Esteban stands

barefoot in the grass, gazing toward the woods. The dogs roam

loosely — Melcocha stays close, protective.

One of the
— the female — nudges him
newly adopted dogs

gently. Esteban kneels. She presses her head to his chest.

ESTEBAN
Oh! Kiki. I know. You miss him.
He suddenly gets a nose bleed. He checks and sees blood in
his finger then In his mind’s eye — quick as lightning — an
old green street sign flashes: . He stumbles to the
MARLOR WAY
patio. Grabs a napkin. Dabs the blood away. Calm now.
Precise. He pulls out his phone. Types. SMS to INGRID:

“Marlor Way?” Does it mean anything?

.
18 INT. POLICE CAR – MOVING – CONTINUOUS

INGRID drives. DAG ANKER rides shotgun. Her phone buzzes. She

checks the screen.

OFFICER INGRID
"Marlor Way?”
(reads aloud) Does it mean anything?

OFFICER DAG ANKER
Marlor...?
(pause)
You mean Merlow's ? Out in
Tavern
Tynset? Just opened. Cozy little
place. Great food. We need to eat.
19.
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Great idea.
Ingrid looks over. A moment of silent agreement.

OFFICER INGRID
Let’s go. See what they got.

18. EXT. MERLOW'S TAVERN – EVENING
Merlow’s glows under soft gold light. People come and go with
takeaway bags, chatter, and laughter. A cozy scent of fried
food hangs in the air.
Across the street, a tosses black bags into
YOUNG MAN (25)
the back of his pickup. A —
large yellow-framed painting
cracked and torn — leans awkwardly in the pile. It’s a
Skagen.
INGRID and DAG ANKER pull up. Ingrid notices the painting.

OFFICER INGRID
Hold on. Let me talk to that man.

OFFICER DAG ANKER
Okay.
Ingrid approaches gently. The man wipes his hands on stained
pants — deep red smudges around his knees.

OFFICER INGRID
Everything okay?

YOUNG MAN (25)
Someone trashed my place.

OFFICER INGRID
Any idea why?

YOUNG MAN (25)
Probably didn’t find anything worth
stealing.
Ingrid eyes the painting. Then, the red on his pants.

OFFICER INGRID
You paint? That’s a lot of red.

YOUNG MAN (25)
Fine Arts. (beat) They broke a jar of
beets. Slammed it on the floor. Took
my food. I’m just cleaning up.
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She crouches, eyes narrowing. There’s a darker, red-colored
smear along the torn edge of the painting.

OFFICER INGRID
Mind if I keep the Skagen?
(nods toward the tavern)
I’ll have them send over some food.

(HALF-LAUGHS)
YOUNG MAN
Sure. Two crab cake sandwiches would
be nice. (pause) Even a third one.

OFFICER DAG ANKER
I'll get them.
Ingrid puts on gloves, carefully rolls the painting. Crosses
back to the patrol car. Dag steps out of the tavern, holding
a receipt.

OFFICER DAG ANKER
They got them. (pause) They're in
custody.

OFFICER INGRID
Did you pay for the sandwiches?

OFFICER DAG ANKER
Yeah, they know what to do. (beat)
Let's go.
They get in their police car and drive off.

END OF SCENE.

19. INT. POLICE STATION – BRIEFING ROOM – NIGHT
A thick silence. The wall screen is frozen on a still from
the radio shop video. In the room: CHIEF ANA HOLMEN, OFFICER
INGRID, DAG ANKER, ERIK REMME, and ERNEST BROOK.
Everyone looks tired. Frustrated. Notes, folders, photos.
Nothing new to add.

CHIEF ANA HOLMEN
So what do we have?

OFFICER INGRID
Breaking and entering. Robbery.
Selling stolen goods. But we can't
prove it.
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OFFICER ERIK REMME
Attempted dine and dash at a diner in
Rendalen. They claimed they forgot to
pay.

OFFICER DAG ANKER
The guy in the apartment? Blood type
AB+. Same as the trace in the Skagen.

OFFICER INGRID
They keep local. They have no address
registered. Where do they sleep? shit,
change, shower!
Ernest looks at them through the cams in each room

OFFICER ERNEST BROOK
They're not alone. Look at her, she is
sleeping. So is he.

CHIEF ANA HOLMEN
Ingrid, how did you know about that
young man. He didn't call it in.

OFFICER INGRID
We got lucky, a friend texted me about
the new restaurant. Wasn't certain of
the name. Daggy knew it.

OFFICER DAG ANKER
They’re slippery. They'll use the
system for a nap and a meal.
Chief Ana Holmen loses it.

CHIEF ANA HOLMEN
We don’t have murder. Not enough for
robbery. We got shit!
Phone rings. Erik picks up. It's a woman. Pete's daughter.

OFFICER ERIK REMME
Chief an Anne-Lise Jensen on the
phone. She says she is Pete's
daughter. She wants to talk to you.
She is outside the precinct.

CHIEF ANA HOLMEN
Daggy show her in.
22.
Created using Celtx
20.
INT. CHIEF ANA HOLMEN’S OFFICE – MOMENTS LATER

The blinds are half-drawn. A quiet, respectful tone fills the

room. Anne-Lise sits across from
and
CHIEF ANA HOLMEN
OFFICER
.
INGRID

ANNE-LISE JENSEN
My dad was... kind of boring, I guess.
(pause, breathes)
I didn’t visit much. That’s on me. I
have two kids. Recently divorced. I
decided to sell the house.

CHIEF ANA HOLMEN
I understand.

ANNE-LISE JENSEN
You see, Daddy was a bird watcher. He
had installed tons of tiny cameras
around his yard and the neighbors.
Around this time he was very much into
migratory birds. I'm having the house
painted and they gave me these, this
morning.
She dumps tiny little black cameras on her desk. The pulls
from her bag a PC.

ANNE-LISE JENSEN
I wanted to look at Daddy's hobby. I
stopped paying attention to his bird
stories a long time ago. I saw how
they killed my father.
She lets the tears out.

ANNE-LISE JENSEN
A woman. He was looking at the ground.
He was looking for something. She hit
him hard. He fell. She hit him again
and again. I collected it all in one
of his laptops. The code is
"Birchfinch" one word.
Ingrid opens the laptop and the video is right there,
playing.

ANNE-LISE JENSEN
The next swipe shows how they dumped
him in the sewer.
23.
Created using Celtx

CHIEF ANA HOLMEN
We have them in custody. Anne-Lise we
had nothing on them. This is the link
we needed. Thank you.

ANNE-LISE JENSEN
Can I see them?

CHIEF ANA HOLMEN
Why would you want to do that to
yourself?

21. INT. POLICE STATION – NIGHT
The team is gone. Quiet now. Fluorescent hum. Ingrid sits at
her desk, staring at her screen. The case file is marked:

CLOSED
CHIEF ANA HOLMEN leans on the doorframe, coffee in hand.

CHIEF ANA HOLMEN
You never told me.
How’d you know about that place?
Ingrid doesn’t look up at first. Then—

OFFICER INGRID
A friend.
Someone I trust.
He just... saw it.

CHIEF ANA HOLMEN
Saw it how?
Ingrid finally looks up. A pause. Then—

OFFICER INGRID
You’d have to ask him.

22. EXT. ESTEBAN’S TERRACE – NIGHT
Esteban sits outside. The stars are clear. Cold air. The dogs
lie near his feet. He lights a candle. One flicker.
A soft Ingrid appears — not in uniform.
knock at the fence.

OFFICER INGRID
Mind if I come in? He nods. She walks
in slowly.
24.
Created using Celtx

OFFICER INGRID (CONT’D)
It’s over.
We got them.
But I broke a rule.
I told them it came from you.
Esteban nods. A beat.

ESTEBAN
I hoped you would.
I don’t like people thinking I’m
guessing.

OFFICER INGRID
How did you know?
He doesn’t answer right away. He looks out — toward the
woods. Toward the invisible.

ESTEBAN
I don’t know what it is.
But it’s been with me since I was a
child.
Sometimes I feel the
before.
Sometimes... the
after.
(beat)
And sometimes... I feel what people
hide.
Ingrid watches him. He doesn’t look mystical. Just... tired.
Honest.

OFFICER INGRID
Does it hurt?

ESTEBAN
Only when I try to ignore it.
A long silence. She nods once. Turns to go.

OFFICER INGRID
Thank you, Esteban.
He stays there, lit by candlelight. One hand rests on the
dog’s back.

FADE TO BLACK.
25.
Created using Celtx

23. EXT. ESTEBAN’S TERRACE – NIGHT

The wind has quieted. Esteban sits on a comfortable wooden

chair, legs up on a poof, candlelight soft against his face.

The dogs lie nearby, drowsy but close, as if they’re

listening too. Ingrid is gone. The case is closed. For now,

the world feels still.
*Esteban breathes deeply. The kind of breath that says:
I am

here. I am ready.

Then—

A single
escapes his nose. He touches it. Looks
drop of blood

at his fingertip.

And then:

24. FLASH VISION – INT. HOSPITAL – DAY (FUTURE)

A sterile hallway in chaos. Screams. People crouched. A man

with a gun yelling. A
— frozen, terrified — a
pregnant woman

gun pointed directly at her. And then— Esteban.
Rushes forward. No fear. Just instinct. He throws himself in
front of her. The woman screams.
Gunshot. Impact. Blood.

25. BACK TO TERRACE – NIGHT
Esteban gasps, barely. His breath is thin, shallow. His eyes
stay open.
The dogs have all risen now. Quiet. Watching him. Whines,
barely audible. One rests its head against his leg. Another
noses his hand. He takes a clean napkin, folds it gently, and
wipes the blood from beneath his nose. One slow motion. One
practiced grace.
Then he sets the cloth aside. Sits back. Eyes connected to
his dogs. Breathing in the night. Still. Calm. Waiting.
Knowing.

FADE TO BLACK.

END OF EPISODE TWO.
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