Scene #2 TOBY: We went after him. Chased through the streets, you know? Ended up at the warehouse. DANNY TSE: Tell me about the shoot. (flashback) EXT. WAREHOUSE - DAY Toby watches the squad go in. He draws his gun, edges around the graffiti covered walls and through an alley to the back. Toby looks for cover - none. He sets up on the corner, scans ways constantly, nervous. Crashing inside. Toby climbs an old pallet, looks through the high window. He sees Tariq inside, crouched in a corner behind debris. Toby drops from the pallet and moves to the back entrance of the warehouse. He quick-peeks a dark doorway. Dives through. Broken partition walls divide the space into offices. Toby kneels at a corner, quick peeks again, gun in the lead. He advances down a short hallway to where he saw the bandit. Another quick-peek at the corner. There's Ryan, gun out, in another doorway. Toby ducks back behind the wall, panting. Shakes. Toby hears the 3 gunshots, jumps around the corner. Watches Ryan run toward Tariq. DANNY TSE (V.O.): Did Tariq have a gun? Toby stares, immobile, as Ryan crouches at the body. He sees the revolver in Tariq’s hand. TOBY (V.O.): Yes. Toby rubs his eyes. Now Ryan has the revolver and puts it in Tariq’s hand. Ryan looks up and locks eyes with Toby. TOBY (V.O.): Maybe. I think so. I don’t know. Ryan stares at Toby. DANNY TSE (V.O.): Which is it? Toby stares back at Ryan. Sweat beads on his face. TOBY (V.O.): He... I think... Toby watches Ryan throw the revolver across the room. Ryan cuffs Tariq. Pete stands in the doorway, Valerie behind him. TOBY (V.O.): I didn’t see. (end flashback) INT. MARSHALS CONFERENCE ROOM - DAY Danny hits stop on the recorder. Toby quivers in his chair. DANNY TSE: I believe you.

SCENE 3 UNKNOWN (V.O.): There was a time when everything was an adventure. Everything was wondrous, yet still so simple, you know? FLASHBACK TO: INT. THICK FOREST - DAY A BOY (12) steps through the lush green foliage, ferns bigger than him, trees disappearing into the heavens. He grunts as he vigorously pulls himself over a massive boulder. Once he scales it, before him all sound is overcome by a wide rushing river, white in its rage. The boy closes his eyes and feels the sprinkle of cool water on his grinning face. UNKNOWN (V.O.): But like death and taxes, change is inevitable. FADE TO: INT. THICK FOREST - DAY (PRESENT) A MAN (30s) strolls through the same forest, but different; the landscape is normal size, losing most of its extravagance. MAN (V.O.): And with every new experience life becomes less and less interesting, but more and more complicated. The way it is, I suppose. FLASH BACK TO: EXT. ROAD AND FIELD - DAY The boy sprints across a dirt road without looking, the blaring sound of a horn fades as he passes. There is a GIRL (11) waiting for him at the edge of a trailer park, flashing a half toothed grin and holding two butterfly nets. They journey into the field, disappearing within brown grass as tall and thick as bamboo. MAN (V.O.): You look back on it a lot, you know? When you’re down, when there’s nothing in your life worth a damn, you look back in awe at how much the world interested you. FADE TO: EXT. ROAD AND FIELD - DAY (PRESENT) The road is now paved and lined with houses and stores. We can barely see past them to the field beyond, still brown, but cut short, making it look more dreary than before. A WOMAN (30s) stands on a ramshackle porch next to a suitcase. In conversation with the man, who pleads with her. She begins to yell and flail her arms. The man lowers his head in defeat. She storms off. MAN (V.O.): But you can’t bring it back, the wonder. Though everything insists on changing, you sure can’t go back and change it once it has. There’s only forward, which everyone tells me is good. Look forward, they say. But all I see before me is more of the same. FLASHBACK TO: RIVER BELOW BRIDGE - DAY The boy stands barefoot at the edge of the river as he watches a man, his FATHER, cast a line. He is knee deep in the river. He looks back at the boy and waves him in, the boy more than happy to oblige. As he splashes into the warm water we see a tan car by the road. MAN (V.O.): And there I was, always looking back, dreading looking forward, and it just weighs on you, you know? Every change like another sack on your already broken back. Why can’t I just be allowed to throw them all off? That should be MY decision. FADE TO: RIVER BELOW BRIDGE - NIGHT (PRESENT) The man stands barefoot on the bridge, looking down into the rushing river. Tears dot his pale face. There is fear in his eyes. But then a car comes screeching onto the bridge, the same tan one as before, older. The sound of a car door opening, and a shadow steps out. MAN (V.O): But no, what I do has to be everyone's business. I have to keep going, keep chugging, through my wheels have fallen off a while back. It’s not fair, you know? Life changes, it changes me, and there’s nothing I can goddamn do about it. INT. OFFICE - DAY The man sitting, staring, has said his fill. He wears all white clothing, big on him, but pristine, the creases prominent. Across a metal desk is another man, glasses, wearing a black suit. By the name-tag on his desk he is DR. WAYNE. The only other thing on the desk is a manila folder, of which contents DR. WAYNE is studying intently, his face stoic. Then he looks up at the man. Focus back on the folder, the first page, typed, a picture of the man paper-clipped to it. With a bang a stamp falls, then rises to reveal the black word COMMITTED.

That turned out to be an extension of my story (first part is on that link http://ow.ly/Y6Vlb) ? Director’s room 2 hours later. There are director, inspector Tatiana (40 yo) and FRANK FRANK: What would happen with the girl? TATIANA: She’ll be cleaned for sure. Intrusions are clear about that case. Clear instructions about cleaning isn’t it funny? FRANK: But Cleaning is not stabile. Her brain might be destroyed. She is the best in the class. Her curiosity… Tatiana: “curiosity killed the cat” Frank you did everything absolutely right. Are you sure you did not read that magazine? FRANK: Yes sure, I told you. TATIANA: You looks upset. May be you want us to sent you for some treatment? FRANK: Or, no thank you I’ll be alright Director: Frank situation is very serious. Will be in touch. Take a rest for today. Do not leave too far. Barracks night. There are many beds with sleeping men and women. Close up on Frank. He lies on one side. His eyes open. Flashbacks coming back and forth. SOFIA VO: But what did I do? Tatiana vo: Clear instructions about cleaning. Isn’t it funny? IMAGE SOFIA raising her hand TATIANA vo: Curiosity killed the cat, IMAGIES of MAGAZINE: girls in bikini with nice hairstyle. IMAGES of words: SEX, LOVE, SOFIA VO: What is love? A silent small drone flies to FRANK, Frank closes his eyes, catches his breath. Drone scans his face with laser lights. Wait one second and flies away.

Scene 2 INT. NIGHT CAVE INNER SANCTUM Princess Edina, Malcolm, Portia, and James are seated around an enormous brazier for heat, the sarcophagus behind them seems larger than when they first saw it. Their shadows play against it unnerving them, a reminder that they may not make it home. JAMES: If the Red King is so awful why do they follow him? MALCOLM: (hissing) James! EDINA: ‘Tis all right. (beat) When my father was alive the land was quiet, and fertile. CUT TO: EXT. DAWN SCOTTISH HILL OVERLOOKING A VILLAGE An unholy horde, faces painted with grey and black mud, are mid war cry, frenzied and frothing they race toward the huts. EDINA (V.O.): My father treated his people fairly. An old man emerges and is cut down with a mace. He falls. His wife appears clutching a small boy and rushes to his side. The child is pulled from the mother and with an axe she joins her husband in death. EDINA (V.O.): He signed the peace treaty with our furthest neighbor five years before I was born. The English ease through the Scottish peasants like a fish cuts the water. Bodies fall unencumbered by their heads. EDINA (V.O.): I still remember hearing the crossbill’s song. They call for their mates in late winter. The children huddled together crying as they watch their homes lit like Candlemas Day. Through the fires emerges the Red King atop a massive black stallion and the sight of him frightens them out of their sorrow. EDINA (V.O.): When he touches a hamlet there is nothing left. Towering over them he extends a gloved hand, his glare bores into their eyes. A small girl delicately grasps his, he turns to walk back up the hill. She clasps the boy next to her and he clutches the next and so on. The group daisy-chains it’s way through the wreckage. EDINA (V.O.): All souls are his to claim as he wishes.

SCENE 5 INT. POLICE STATION - DAY KATHY: The heather was in bloom you see and it was the first day of my vacation. I set off early in the morning with the lunch they'd packed for me at the inn. BEGIN FLASHBACK KATHY: (V.O.) There was a light fog, a mist really that gave the moors a magical feel, or so my writer's heart imagined. By the time I stopped for lunch dark clouds gathered all around me, adding to the drama of the rolling golden hills and the tors that stood like the remnants of ancient battlements. I wasn't alarmed until the thunder began. I gathered my things and hurried along cresting hill after hill. Finally, I stopped. Panic welled in my chest. Unbelievably, I was be lost in a place where I could see for miles in any direction. And then, there it was, in the distance, the manor home. It was a welcome sight but could I be so bold as to walk up and ask for shelter? A sudden sharp clap of thunder spurred me on. I hurried toward the house with visions of a warm country kitchen. But as I neared its grounds, I felt my skin crawl. Its windows were dark except for a dim light in the back and smoke that smelled of something I didn't want to define issued from the chimney. With a crash and boom of lightening on my heels, I hesitated only a moment before pounding on the doors. With a creak, the ancient door opened and the handsome lord of the manor welcomed me with disturbing glee, as though I were a long-awaited guest. I stepped in and the door closed behind me with a sound like a final warning. END FLASHBACK

This is actually Scene 6 for me.

SCENE 2 INT. LOGAN’S HOUSE - BASEMENT Junk is strewn all about the floor, and piled into boxes and crates. LOGAN is very obviously in the middle of packing up to move. KYA sits on the floor by the bookshelf, helping him sort through his things - organizing papers and flipping through books. KYA Are you sure you wanna get rid of all this? I mean, some of it looks kinda sentimental. LOGAN (bored, tossing a stack of papers into a trash bin) “Sentimental” is just another word for “useless.” Kya rolls her eyes before coming across a photo, a decade or so old. Logan is young in it - early 20s. Over his shoulder is the arm of a similarly aged young man. Handsome. Both smiling and happy. KYA Aw… come on, you’re telling me you don’t want to keep this? She holds out the photo for him to see. Logan gives it a double-take before staring at it for a moment. LOGAN Just toss it. KYA Who is he? He’s cute. CUT TO: (FLASHBACK) INT. BEDROOM. Logan and the other man in bed, embracing, writhing, moving together, half-covered in sheets. Their lovemaking is more sensual than anything else. LOGAN (V.O.) A friend from grad school. KYA (V.O.) Good friend? CUT TO: INT. BATHROOM. Logan stands in front of a bathroom mirror, brushing his teeth. His companion approaches behind him, smiling, wrapping his arms about his waist and kissing his shoulder. Logan smiles around his toothbrush, laughing. LOGAN (V.O.) I guess. CUT TO: INT. LIVING-ROOM The two are snuggled together on a sofa, smiling and content. They hold hands with interlaced fingers - a gold ring glints on the other man’s finger. Logan lifts it to his lips and kisses it sweetly. KYA (V.O.) Are you two still in touch? CUT TO: (PRESENT) KYA (CONT’D) Because I mean, if he still looks like that, you should give me his number- Logan finally reaches over to yank the photograph out of Kya’s hand. He balls it up before chucking it into the trash. Without another word, he turns to continue sorting through the bookshelf. KYA (A little stunned) ...I guess I can do without his number, then. Sorry. Sheesh.

Feedback 2 Hi, Audrey! The scene you've painted is very vivid and is easy to visualize. Nice! However - it seems that Kathy is simply narrating exactly what goes on in the flashback, which is a bit redundant. If we're seeing it, then we don't really need to hear her say it. And if we're hearing her say it, then we don't really need to see it. My suggestion would be to consider what we might learn from the flashback that isn't already evident in her narration. Her monologue also seems like something she's reading right out of a mystery novel. Perhaps think about how you can maintain the spirit of her "writer's heart," without compromising the realism? As it is now, It doesn't read/sound like something someone might actually say.

Feedback 3 Hi again, Kim! :) I'm loving the contrast you've set up here. Even knowing nothing about this world and these characters, I get a really strong sense of the hush-hush atmosphere regarding the Red King. The flashback has an elegant balance of chaos, stoicism, and grief. Edina's last words are chilling. I wonder, though, what tone you had in mind for Edina? I get the sense that she's speaking in a composed monotone, so I'm curious as to whether or not that matches up with what your intent was.

Hi Brahmscounterpoint. Yes, Edina is from a more formal time than the other 3 characters. As royalty she does not easily show her emotions and has been taught to be analytical. Thanks for the feedback.

Scene 3. INT. PSYCHIATRIST OFFICE - DAY An opulent office, filled with wood, leather and wall-to-wall libraries filled with books. MR RICHARDSON (35, Wall Street type) lays comfortably on a chaise lounge. Next to him in a DR. WEGNER (50s, basically a Freud wannabe) sits by him in a large single sofa with a high back rest in burgundy leather. DR. WEGNER: So, Mr Richardson. Did you try the relaxation exercises I recommended? MR RICHARDSON: Yes doctor. They were very… relaxing. DR. WEGNER: I will ask you to please dispense of the irony and answer truthfully. MR RICHARDSON: No, really. Last night I finally slept like a baby. DR. WEGNER: Walk me through it. START FLASHBACK INT. ELEGANT RESTAURANT - NIGHT Mr Richardson is seated in a sumptuous table accompanied by three YOUNG WOMEN dressed for a night on the town. Mr Richardson is eating large food portions while downing them with champagne. MR RICHARDSON (V.O.): Well, I started out with a nice dinner. DR WEGNER (V.O.): Nothing too heavy I presume. MR RICHARDSON (V.O.): Noo. Really light. DR WEGNER (V.O.): Entertainment? INT. FLASHY NIGHTCLUB - NIGHT Mr Richardson is dancing the night away with the three Young Women. MR RICHARDSON (V.O.): Some TV. Interesting documentary on the mating rituals of the mayfly. DR WEGNER (V.O.): Did you drink any alcohol? Mr Richardson is seated in a booth drinking Cristal and kissing one of the Young Women while the others wait their turn. MR RICHARDSON (V.O.): I was going to drink a cup of wine, but decided against. You mentioned it would have deutor… detery… DR WEGNER (V.O.): Detrimental. MR RICHARDSON (V.O.): That’s it. I went teetotal. DR WEGNER (V.O.): Excellent. Sleep? INT. BEDROOM - NIGHT Mr Richardson is sleeping barechested on top of a terribly messy bed surrounded by the three sleeping Young Women in their lingerie. MR RICHARDSON (V.O.): Oh, yes. I went straight to bed after that. I was knackered. END FLASHBACK INT. PSYCHIATRIST OFFICE - DAY DR WEGNER: Very well done. Couple more night like this and you will see how your anxiety issues will dissipate. Mr Richardson gets up and walks towards the exit. MR RICHARDSON: I will behave like the mayfly. Living one day at a time. Same time next week? He exits the room. DR WEGNER: A mayfly. (beat) Wait a minute!

Feedback 5 Hey Jon! I really like that scene! I´m just missing a scene description of where the interview is taking place and some visuals on how Danny and Toby look. Like their age, uniform, is it hot -just little descriptives to help me visualize the situation. I´m not sure if there is a lot of pressure or an easy chat. But excellent finale.

Feedback 6 Wow, that is one loaded scene! Or rather scenes. Kind of like a short film already. I understand why no one has commented on it yet, it takes some digesting. It´s poetic and tragic and I like it -but also I can´t quite belive it. I have to admit, I don´t fully understand the end, because all white clothing and the words committed don´t seem obvious to me. I´m not american, that might be why, but also I don´t think the setting of a psychiatric ward or someone being committed to it is quite like that in (even US) reality. Here is one thought on a philosophical level and you might totally disagree: I found that if one has a "low-energy" state of mind in the present, one is likely to remember low energy memories, and they kind of imply: "see: it´s allways been this way." If your Man is this low, to me it seems odd that he vividly remembers the good times and high spirited feelings -without deriving any kind of optimism from them. Except if he used these wholesome memories to escape into a bubble from his reality. But the scene didn´t read like that to me. Right?

Thanks a lot for this detailed feedback Paula, I really appreciate it. To your first point, I'm not really sure if that's a proper psychiatric ward setting either, maybe I'll do a little research on how it should look. As for your (excellent) second point, I'm thinking he does look fondly on the "good" memories because those are times he wishes he could relive. His "low-energy" is a result of the reminder that these memories have been shattered by the more recent "bad" ones that he can't go back on. Again though, great feedback.

Thank you Brahmscounterpoint for the insight. Yeah, this is not something that I ever write so I had some difficulties with the finer points. Thanks again for the suggestions.

This is a very good scene but I feel like I need more from the flashback. Some indication as to why they broke up. Another way to give the flashback more gravity would have be if Kya were his new wife. Of course, this is your scene. :) Good job!

FEEDBACK 10 I like the scene and want to read more from it. Main feedback is more clarity on who is who with a scene description. I like the conflict between the questions and Toby's attempts to recall the shoot out...great good urgency.

SCENE 4 INT. OLD BUILDING - OFFICE - DAY MARY (18) young and pretty lies over a pool of blood. MARY (V.O.): Life is such a precious thing. INT. OLD BUILDING - HALLWAY - DAY (FLASHBACK) Mary walks through a hallway, the paint chipped of, the lights blinking. MARY (V.O.): The advertisement said pretty models wanted, easy work, $1000 cash pay! must be 18-25 years old. I know what that means. Walks to a door, knocks. MARY (V.O.): Nobody pays that much just for photos. A large bald man opens the door. MARY: I'm here for the ad. The man nods her to enter. INT. OLD BUILDING - OFFICE RECEPTION - DAY Mary sits on al old, beaten couch. The hefty man sits behind a desk, near to a closed door. MAN: Wait here. Boss is busy. MARY (V.O.): Yes, just what I thought. Either hardcore porn auditions or prostitution. It would be disappointing to come all the way here and find out they just wanted to take some pictures. The door opens. JOHN (40) comes out. JOHN: You are here about the ad? Come in. INT. OLD BUILDING - OFFICE - DAY John enters, followed by Mary and the large bald man. JOHN: So listen, we pay good money but me and my partner, we gotta try the goods first. MARY (V.O.). That's my cue. Mary puches the large bald man, he falls out unconscious. John takes out a switchblade. MARY (V.O.): Would it be easier to pick out random people on the street? Yes. Mary shows large fangs, jumps over John, bites his neck. MARY (V.O.) But hey, I got morals. If I've gotta eat why not make the world a better place? Call me a vampire with ethical food choices. END FLASHBACK. INT. OLD BUILDING - OFFICE - DAY Mary lies over a pool of blood. MARY: I'm full. I'll save the other guy for dinner.

FEEDBACK 6 I like the contrast you create between the narration and what really happened, It's a very good use of the voice over. I find Mr. Richardson an intriguing character and I would like to know a little more about his motivations. Due to their non-flashback dialogue I think he's just playing with the doctor, right? Anyway, nice fun scene.

Alejandro You got Mr Richardson all right. I see him only toying with the doctor as he is forced to go there. Glad you liked the story.

Feedback 4 Alejandro Very nice scene. Beautifully constructed. I would like to see a bit more flourish in your descriptions as they are a bit minimal. But if this is your style of writing, I guess it's ok. Whatever you are comfortable with. Well done!.

Feedback 4 Alejandro Very nice scene. Beautifully constructed. I would like to see a bit more flourish in your descriptions as they are a bit minimal. But if this is your style of writing, I guess it’s ok. Whatever you are comfortable with. Well done!

--- SCENE THREE --- EXT. SPACE PETER, late 30s, in his spacesuit sits on the relay buoy. A panel of the buoy is open wires flow out to a device on Peter's lap. PETER: Begin recording. I doubt anyone will find this or me or any evidence I even existed. Peter looks around space... there are no stars. PETER (Con't): This is for my own benefit. ...My name is Commander Peter D. Thomas of the Earth Space Agency. I am the commanding officer for the inaugural flight of the Argus. We were to attempting faster than light travel. INT - ARGUS - COCKPIT Peter along with several other crew members are strapping themselves to their seats. Peter calls out the final preparations. PETER (Con't): Everything checked out. There was nothing. No variation. No deviance to suggest something may go wrong. EXT - ARGUS The engines of the Argus fire up. As the ship is ready to launch, a bubble emanating from the ship appears. In a flash, the ship and a relay buoy disappears. PETER (Con't): We lost almost half the crew. The circumstances were either unknown or puzzling. My second in command, Adlynn Grant, died from severe burns, but his suit and clothing was intact. The flight officer, Ganesh Saran, died from a brain aneurysm and one of the scientists, Mia Yenay, had a number of her internal organs disappeared, including both of her lungs. INT - ARGUS - COCKPIT The remaining crew members work to get the ship ready to recreate the jump. The ship flashes brightly. Peter sees nothing in space, no stars. Nothing, except that relay buoy. He floats over to where the other crew members were seated. PETER (Con't): The rest of the crew is dead. The medical officer, Stephan Kogler, exploded in his suit. One scientist, Valya Solinkova, had all her facial features fused together, and I never found the body or the suit of the other scientist, Arima Haru. INT - ARGUS - ENGINE ROOM Peter checks over the instruments. All are approaching critical or at critical. INT - ARGUS - COCKPIT Peter works frantically to get the ship ready for flight. He has a box of components that he keeps close. PETER (Con't): The ship's antimatter component is collapsing. There's nothing I can do. The countdown to send the ship back to Earth is almost finished. I couldn't risk sending it back. The best option is to send the ship away and rig it to explode. EXT - BUOY Peter floats to the buoy, he opens the panel and works some more. The Argus's engines fire up and it flies away from Peter. PETER (Con't): I don't have anything else. There's nothing here. No stars, no galaxies. Nothing. I wish I could tell my family that I'm sorry I wouldn't be returning home and apologize to all the family of those brave crew members, who gave their life for science and the advancement of mankind. EXT - SPACE A flicker of light at the edge of darkness. The Argus explodes like a supernova. Matter and antimatter are thrown everywhere. A wave of energy and matter expands everywhere and races towards Peter. PETER: It's beauti--

SCENE 06 Over black: BOGART: It started just like any other day... CUT TO: INT. CAR - TRAVELLING (FLASHBACK) A man, good looking but tired, drives through the streets of 1940s L.A. at sunrise. BOGART: I was driving to work. I'm a screenwriter, you see. I make enough to be able to afford a car and gas but my job isn't quite glamorous enough to warrant a chauffeur. As I was saying, I was driving and I took the turn at the corner of Sunset Boulevard. I always turn right off Sunset and it was nothing different that day. Like I said, It started just like any other day. He turns his wheel. The car turns the corner along with him. His eyes flutter. BOGART: At the studio we were working on a new film, some monster movie. I was called in to doctor the script that a rookie writer had royally screwed up that same week. A hacks work. Same thing every day, droning on and on and on and on... It always does. Bogart's eyes shut. His head falls onto the steering wheel. BOGART: It really did start just like any other day-- An oncoming car sideswipes him, ending in a tantrum of shattered glass and screeching tyres. BOGART: Only it ended rather peculiarly. I died. Cut to black: THE END.

SCENE 9 INT. INTERROGATION ROOM - DAY Tom and Jim sit in the police station across from a Detective who takes notes. Detective: Whenever you're ready. Tom: It was a dark and stormy evening. EXT. STREET - NIGHT - FLASHBACK It's pitch black, the wind howling as it rains. Tom(VO) : Pitch black with the wind blowing the rain so hard it put holes in the telephone poles. Jim(VO): Actually, it wasn't that dark and stormy. INT. INTERROGATION ROOM - DAY Jim: More like full moon and drizzling. EXT. STREET - NIGHT - FLASHBACK 2 It's the same street, but light out because of a full moon. The rain drizzles lightly. Jim walks in a leather jacket. Tom next to him in a T-shirt. Jim (VO): I was looking super cool in my leather jacket. Tom (VO): I was in the leather jacket. INT. INTERROGATION ROOM - DAY The detective looks at Tom. Tom: I'm pretty sure I was in the leather jacket. Detective" It doesn't matter who was in the leather jacket. Jim: I was in the leather jacket. Detective: You were both in leather jackets. EXT. STREET - NIGHT - FLASHBACK 3 They're both wearing leather jackets. Tom (VO): We were both in leather jackets, but really just me. Jim's leather jacket is gone now. Jim: I was wearing my Hugh Hefner style smoking jacket. Now Jim's in a red smoking jacket. Tom (VO): I was surrounded by women. Like two hot supermodel girls. In bikinis. Two girls appear on either side of him. Jim (VO): But then they decided they were into me and not you and I had sex with them. Tom (VO): No I had sex with them. Detective (VO): Was it still raining? INT. INTERROGATION ROOM - DAY Tom: What? Detective: You said it was stormy. Or drizzling. Tom: Are you even listening? Jim: We're trying to tell you about how we hooked up with these hot girls. Detective: This isn't about the Peterson murder? Tom: There was a murder? Jim: I did it. Tom: No I did it and I'll tell you how. They start wrestling as the Detective walks out of the room, shaking his head.