A long, empty highway stretches endlessly through the desert.
The heat ripples in the distance, distorting the landscape.
The sun is relentless, beating down on the cracked asphalt.
Not a car in sight.
In the distance, a figure emerges—an old TOW TRUCK, rumbling
down the road. It looks like a relic from the past, battered
but functional, with a weathered cross painted on the side
door. The truck moves slowly, like a predator stalking its
prey.
CLOSE ON the driver's side window.
Inside, we see ELIJAH (mid-40s), a gaunt man with piercing
eyes. His hands grip the steering wheel tightly, calloused
fingers sliding over the worn leather. His lips move
silently, reciting scripture under his breath.
CUT TO:
EXT. ROADSIDE ART EXHIBIT – DAY
We arrive at the art installation—Cadillac Ranch, but
twisted. A series of 1950s Cadillacs buried nose-first into
the ground, their tail fins pointing skyward, rusting under
the desert sun. There is something eerie about them, like
tombstones marking graves.
Elijah pulls his tow truck into the lot behind the exhibit—a
makeshift garage, hidden from sight. He steps out of the
truck, gazing at the cars with an almost reverent expression.
He walks toward one of the Cadillacs and steps behind it
revealing the entrance to his workshop. He pushes open the
door.
INT. ELIJAH'S WORKSHOP – DAY
The workshop is dark and cluttered, filled with tools, spare
parts, and religious paraphernalia. Crosses hang from the
walls, alongside faded Bible verses, handwritten and scrawled
on paper.
2.
In the corner, a HAMMER hangs, gleaming under a dim light.
Beneath it, a stained WORKBENCH. There is something
unsettling about the place, as if it holds secrets.
Elijah kneels before a small, hand-carved altar. A Bible lies
open in front of him. He places a hand on the cover, closing
his eyes.
ELIJAH
(whispering)
Forgive me, Lord, for I am your
humble servant. Guide my hand
today. Show me the wicked, and I
will cleanse them for you.
He stands, crossing himself with slow, deliberate movements.
His gaze turns to a nearby PHONE. It's an old model, with a
landline receiver. The phone suddenly rings—loud and shrill
in the quiet space.
RING. RING.
Elijah picks up the receiver, calm, composed.
ELIJAH
Elijah's Roadside Assistance. How
can I help?
VOICE ON PHONE
(panicked)
Hi, uh, we're stranded. Car broke
down, somewhere past Barstow. Can
you—?
ELIJAH
(cutting them off, voice
serene)
I'll be there shortly. Stay calm.
He hangs up the phone, grabs his keys, and steps back
outside, heading for the tow truck. His face hardens as he
drives off, eyes scanning the horizon with a predatory
intensity.
CUT TO:
3.
Genres:
["Drama","Thriller"]
Ratings
Scene
2 -
A Helping Hand in the Desert
EXT. DESERT HIGHWAY – DAY
WIDE SHOT of the desert as Elijah's tow truck speeds down the
barren highway, a small dot against the endless sands.
CUT TO:
EXT. DESERT HIGHWAY – DAY
A STATION WAGON sits stranded on the side of the highway. A
man in his late 30s, JIM, paces nervously by the vehicle,
sweating in the oppressive heat. His wife, LUCY, and two
kids, EMMA (12) and JOSH (9), wait inside, fanning
themselves.
The car's hood is up, steam billowing from the engine. Jim
looks around desperately, shading his eyes from the sun. He
spots a vehicle in the distance—a tow truck.
JIM
Finally.
The tow truck pulls up beside them. Elijah steps out, his
presence almost calm amidst the chaos.
ELIJAH
Having some trouble?
JIM
Yeah, overheated. I didn't think
we'd make it out here. Thank God
you showed up.
Elijah gives Jim a long, searching look, as though assessing
his soul.
ELIJAH
God is always watching over the
righteous.
Jim seems a bit taken aback by the comment but smiles
politely. Lucy gets out of the car, holding Josh's hand.
LUCY
We were worried we'd be stuck out
here all day.
4.
ELIJAH
(softly, nodding)
The Lord never leaves His flock
stranded.
Elijah moves toward the engine, glancing at the family. He
works quickly, fixing the issue with ease.
JIM
How much do we owe you?
Elijah wipes his hands on a rag, looking at Jim and his
family, then shakes his head.
ELIJAH
No charge. A small service for good
people.
JIM
(surprised)
Are you sure? We can—
ELIJAH
(interrupting, smiling
gently)
Your faith has already paid for it.
Jim nods, grateful but confused. Elijah watches as they pile
back into their car. As they drive off, Elijah stands still,
staring after them, his face calm but eyes unreadable.
CUT TO:
Genres:
["Drama","Faith-based"]
Ratings
Scene
3 -
Desert Encounters
INT. ELIJAH'S TOW TRUCK – DAY
Elijah gets back into his truck, watching the station wagon
disappear in the distance. He takes out a small NOTEBOOK from
the glove box and writes down the family's license plate
number.
He murmurs to himself, as though addressing God.
ELIJAH
Not today. These are good souls.
He puts the notebook away and drives off.
CUT TO:
5.
EXT. DESERT HIGHWAY – DUSK
The sun begins to dip below the horizon, casting long shadows
across the desolate landscape. A CHRYSLER 300, flashy and
gaudy with chrome rims, sits with a flat tire on the side of
the road.
A man in his 30s, MARCUS, stands outside, wearing an
oversized fur coat despite the desert heat. He paces angrily,
a cell phone pressed to his ear.
In the backseat, two women—LEAH and JASMINE, both in their
early 20s and scantily dressed—sit impatiently, the neon
lights of Vegas still faint in the distance behind them.
MARCUS
(yelling into the phone)
Man, where the hell is this guy? We
don't have all night!
He slams the phone shut, cursing under his breath.
LEAH
You said we'd be in Vegas by now,
Marcus.
JASMINE
Yeah, my feet are killing me. We
need to get this car fixed.
Marcus shoots them both an irritated glare. Just then,
headlights appear in the distance. Slowly, Elijah's tow truck
rolls up beside them.
MARCUS
(grinning)
Finally.
The tow truck comes to a stop, and Elijah steps out, his
posture straight and composed. He takes in the scene, eyes
narrowing ever so slightly at the sight of Marcus's flashy
clothes and the women's appearance.
MARCUS (CONT'D)
Took you long enough, man. We've
been sitting here for hours.
ELIJAH
(calm, almost a whisper)
Apologies for the delay.
6.
Elijah walks around to the flat tire, inspecting it silently.
Marcus crosses his arms, tapping his foot impatiently.
LEAH
You can fix this, right?
ELIJAH
I'll have it patched in no time.
He begins working on the tire, but his eyes occasionally
flicker toward the women, then back to Marcus. There's an
underlying tension in the air, subtle but growing.
MARCUS
(rubbing his hands
together, eager)
Hey, we're headed to Vegas. Got
business to handle. You know what I
mean?
Elijah doesn't respond, focused on the task. Marcus pulls out
a roll of bills and flicks through them casually.
MARCUS (CONT'D)
How much for the fix, my man?
Elijah glances at the money, his expression blank.
ELIJAH
The price is your soul.
Marcus lets out a short laugh, thinking it's a joke. He slaps
Elijah on the back.
MARCUS
Man, you're funny. We're all just
tryin' to get by out here, you
know?
Elijah stands up slowly, staring at Marcus with piercing
intensity. The smile fades from Marcus's face as Elijah steps
closer.
ELIJAH
(low voice, almost a
sermon)
Not all souls are worthy of
redemption.
MARCUS
(frowning)
What the hell are you talking
about, man?
7.
The atmosphere shifts as Elijah's eyes grow darker, his
posture rigid. He glances toward the women in the car, then
back at Marcus.
ELIJAH
The Lord sees your sins. He sees
all of you. The time for judgment
is near.
Marcus, confused, takes a step back, a flicker of unease
crossing his face.
MARCUS
Look, just fix the damn car,
alright? We don't have time for
this.
Elijah finishes the tire and stands, wiping his hands on his
rag. His demeanor has shifted completely—calm, cold, and
methodical.
ELIJAH
Why don't you follow me back to my
workshop? I can check under the
hood. Make sure everything's
working right for your trip.
Marcus hesitates but, needing the car fixed, finally nods.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
4 -
Beneath the Surface
EXT. ROADSIDE ART EXHIBIT – NIGHT
The sky has turned dark, only a sliver of moonlight
illuminating the bizarre scene at Elijah's headquarters. The
Cadillacs jut out of the earth like gravestones under a
starless sky.
Elijah's tow truck pulls in, followed by Marcus's Chrysler.
The headlights cut through the darkness as they roll to a
stop.
Leah and Jasmine exchange nervous glances as they step out of
the car, taking in the eerie surroundings. Marcus looks
around, unsettled.
MARCUS
Where the hell are we?
8.
Elijah walks toward the garage, unlocking the doors. The
space beyond is dark and uninviting.
ELIJAH
My workshop. This won't take long.
Marcus reluctantly follows Elijah into the garage. Leah and
Jasmine stay behind, leaning against the car, unease growing
between them.
INT. ELIJAH'S WORKSHOP – NIGHT
The inside of the garage is dimly lit, the shadows playing
tricks on the walls. The sound of creaking metal fills the
space as Elijah closes the door behind Marcus, locking them
inside.
Marcus shifts uneasily, glancing around.
MARCUS
What's with all the crosses, man?
This some kinda church?
ELIJAH
A church of redemption. A place
where souls can be cleansed.
Marcus laughs nervously, eyeing the door.
MARCUS
Look, man, just get this over with,
alright? I don't know what kinda
crazy shit you're—
Elijah suddenly grabs a wrench from the table, his expression
shifting into cold determination.
ELIJAH
(calm, controlled)
Your sins must be paid for.
Before Marcus can react, Elijah swings the wrench with brutal
force, cracking it across Marcus's face. Blood splatters
across the workshop floor as Marcus collapses to the ground,
gasping in shock.
CUT TO:
9.
Genres:
["Thriller","Drama"]
Ratings
Scene
5 -
Judgment in the Dark
EXT. ROADSIDE ART EXHIBIT – NIGHT
Leah and Jasmine hear a loud THUD from inside the garage.
They glance at each other, panic rising.
JASMINE
What was that?
LEAH
Maybe we should get out of here.
They start toward the car, but before they can reach it, the
garage door swings open. Elijah steps out, his face covered
in blood. He stares at them with cold, calculating eyes.
ELIJAH
The Lord sees your wickedness. But
don't worry. You'll be cleansed.
Jasmine screams and bolts for the desert. Leah stands frozen
in terror, unable to move. Elijah moves toward her slowly,
his presence overwhelming.
ELIJAH (CONT'D)
There is no escape from judgment.
Leah tries to run, but Elijah grabs her by the wrist,
dragging her toward the garage.
CUT TO:
INT. ELIJAH'S WORKSHOP – NIGHT
Leah is tied to the WORKBENCH, tears streaming down her face.
Elijah methodically prepares his tools, humming a hymn softly
to himself.
Leah's voice trembles as she pleads.
LEAH
Please… don't… I'll do anything…
ELIJAH
(softly, almost
comforting)
The Lord forgives. But only through
sacrifice.
10.
The garage door slowly closes, sealing the horror inside.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
The sky is pitch black, the stars barely visible through the
haze. A SHERIFF'S CRUISER idles on the side of the highway,
its red and blue lights flashing, casting an ominous glow on
the empty road.
SHERIFF THOMPSON (late 50s), a grizzled veteran with salt-and-
pepper hair and a weathered face, leans against the cruiser,
sipping coffee from a thermos. Beside him stands OFFICER
ADAMS (late 20s), fresh-faced and eager, nervously scanning
the highway.
In front of them, a stranded SUV sits with the hood up, no
sign of the driver. The car door hangs open, swaying gently
in the desert wind.
OFFICER ADAMS
(concerned)
Sheriff, you think we got another
missing person on our hands?
Thompson takes a long sip of his coffee, staring out into the
dark distance, as if considering something far off.
SHERIFF THOMPSON
Maybe. Or maybe just some tourist
who got lost chasin' a mirage.
Happens more than you'd think out
here.
He glances over at the open SUV, his expression hardening.
SHERIFF THOMPSON (CONT'D)
But this one feels different.
Adams fidgets, the silence of the desert getting under his
skin. The wind whistles through the night, eerie and
unwelcoming.
OFFICER ADAMS
I've been hearing rumors about
folks disappearing out here. People
talking about a... pattern.
(MORE)
11.
OFFICER ADAMS (CONT'D)
Missing vehicles, no sign of
struggle, nothing left behind but
broken-down cars.
Thompson stares at the young deputy for a moment, then looks
back at the abandoned SUV.
SHERIFF THOMPSON
People always talk. This highway's
seen its fair share of bad luck.
But if you want my gut feeling...
something's been off these last few
months.
He tosses the empty coffee cup into the cruiser and motions
for Adams to follow him.
SHERIFF THOMPSON (CONT'D)
C'mon. Let's call it in. I want a
full search on this one. Get a tow
truck out here too. Make sure we
get every detail this time.
As they walk back to the cruiser, Adams takes one last look
at the abandoned car, as if something is watching from the
shadows.
Genres:
["Thriller","Horror","Mystery"]
Ratings
Scene
6 -
Unraveling the Mystery
INT. SHERIFF'S OFFICE – MORNING
The next morning, inside the small, dimly lit SHERIFF'S
OFFICE, Thompson sits behind a cluttered desk, sifting
through a pile of MISSING PERSONS REPORTS. Each report bears
the same chilling details: cars breaking down on the highway,
the drivers vanishing without a trace.
Adams walks in, carrying a box of donuts. He sets them on the
desk, trying to lighten the mood.
OFFICER ADAMS
Brought breakfast. Figured we might
be here for a while.
Thompson doesn't look up from the reports, his face etched
with worry. He taps one report in particular.
SHERIFF THOMPSON
There's a pattern here, Adams.
People going missing along the same
stretch of road.
Same kind of breakdowns. The tow
truck drivers who go out there
never report seeing anything
unusual.
12.
He leans back, rubbing his chin, deep in thought.
SHERIFF THOMPSON (CONT'D)
But something isn't adding up.
We've got six vehicles missing in
the last two months. That's too
many for coincidence.
OFFICER ADAMS
You think we're dealing with a
serial killer?
Thompson looks up at Adams, his face grim.
SHERIFF THOMPSON
I'm starting to.
He pulls out a MAP of the highway and starts marking the
locations of the disappearances with red pins. They form a
loose cluster along the stretch between Los Angeles and
Vegas.
SHERIFF THOMPSON (CONT'D)
It's all happening here. The most
desolate part of the route. No
cameras, no witnesses. Just wide-
open desert.
Adams leans over the map, his expression growing more
serious.
OFFICER ADAMS
So what's the next step?
Thompson grabs his hat and stands up.
SHERIFF THOMPSON
We start looking at the people who
work this route. Tow truck drivers,
roadside assistance, anyone who has
regular contact with these roads.
He pauses, looking over the list of names.
SHERIFF THOMPSON (CONT'D)
There's one guy who's been called
out more than anyone else. A
religious fella named Elijah. Keeps
to himself. Runs his own little
business between here and Vegas.
Adams raises an eyebrow.
13.
OFFICER ADAMS
Elijah? He's helped me out before.
Seemed like a decent guy. Always
quoting Bible verses. Are you
saying...?
Thompson's face darkens.
SHERIFF THOMPSON
I'm not saying anything for sure
yet. But decent guys don't leave
behind a trail of bodies. We're
going to pay him a visit.
CUT TO:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
7 -
Shadows of Suspicion
EXT. ELIJAH'S HQ – DAY
ESTABLISHING SHOT of Elijah's headquarters behind the eerie
Cadillac Ranch. The Cadillacs glint in the sunlight, standing
like silent sentinels over the barren landscape. Elijah's tow
truck is parked outside, looking as if it hasn't moved since
the night before.
The SHERIFF'S CRUISER pulls up next to it. Sheriff Thompson
and Officer Adams step out, both scanning the strange scene.
OFFICER ADAMS
Hell of a place to set up shop.
Thompson doesn't respond. His eyes are locked on the garage
doors, sensing something off. The two of them approach
cautiously.
INT. ELIJAH'S WORKSHOP – DAY
Thompson pushes open the garage door, and the two lawmen step
inside. The air is thick with the smell of oil, metal, and
something else... something darker.
They survey the room. Tools are neatly arranged, religious
paraphernalia lines the walls, and the workbench is wiped
clean. Almost too clean.
Adams walks over to a TOOL RACK, noticing a HAMMER that's
missing.
14.
OFFICER ADAMS
Looks like he's been busy.
Thompson inspects the floor, his boot nudging a dark stain.
He kneels down, rubbing his fingers over it.
SHERIFF THOMPSON
This... isn't oil.
He stands, eyes narrowed.
SHERIFF THOMPSON (CONT'D)
We're going to need a search
warrant. Something's wrong here.
Suddenly, they hear a faint CREAKING SOUND coming from the
back of the garage, like something shifting in the shadows.
They both turn, hands instinctively moving to their holsters.
EXT. ELIJAH'S HQ – DAY
Elijah stands outside his tow truck, watching the two
officers from a distance, his eyes unreadable. He smiles
faintly, as though amused by their presence.
INT. SHERIFF'S OFFICE – NIGHT
Back at the office, Thompson sits alone in the dim light,
poring over more reports. His phone rings, and he answers
quickly.
SHERIFF THOMPSON
Thompson.
A pause. The voice on the other end is urgent.
DISPATCH (V.O.)
Sheriff, we just got another call
about a missing car near Barstow.
Tow truck driver's on his way now.
Same route. Thompson stands up,
grabbing his hat.
SHERIFF THOMPSON
Send the location to my cruiser.
We'll intercept.
He hangs up, his expression grim. The net is starting to
close around Elijah.
CUT TO:
15.
EXT. ELIJAH'S HQ – NIGHT
The desert night is still, with only the faint howl of the
wind cutting through the quiet. The CADILLACS, half-buried in
the ground, stand like silent guardians, casting long shadows
under the pale moonlight.
INT. ELIJAH'S WORKSHOP – NIGHT
Inside the workshop, Elijah stands over his workbench, hands
resting on the bloodstained wood. His NOTEBOOK lies open
before him, filled with the names and details of his past
victims—each one meticulously recorded.
He stares at the most recent entry—Marcus, Leah, Jasmine. The
words blur as his mind spirals. His breathing is calm,
methodical, but there's a storm behind his eyes.
FLASHBACK (Quick Cuts): LEAH struggling on the workbench,
tears streaming down her face. MARCUS, lying on the floor,
blood pooling beneath him. ELIJAH cleaning his tools, his
face expressionless, as though performing a holy ritual.
BACK TO PRESENT
Elijah's hand tightens into a fist, knuckles white. He knows
they're coming for him. The SHERIFF has been here. He could
feel their suspicions, the way they looked at his workshop,
at the stains he hadn't yet fully concealed.
He walks to the far end of the garage and pulls open a LATCH,
revealing a hidden CELLAR DOOR. The darkness below is thick
and suffocating. Elijah descends slowly, his feet making no
sound as he moves.
Genres:
["Thriller","Mystery","Horror"]
Ratings
Scene
8 -
Predatory Intentions
INT. ELIJAH'S CELLAR – NIGHT
The cellar is small and cramped, lit by a single flickering
bulb. Old NEWSPAPER CLIPPINGS line the walls—stories of
disappearances along the desert highway. In the center of the
room stands a small ALTAR, with candles burning low, their
flames dancing in the oppressive heat.
Elijah kneels before the altar, hands clasped in prayer. His
voice is a whisper, intimate, as though speaking directly to
God.
16.
ELIJAH
(whispering)
They've come for me, Lord. But your
will is not yet done. Show me the
way... give me strength to cleanse
this world of the wicked.
A sudden breeze blows through the cellar, flickering the
candles. Elijah takes this as a sign. He opens his eyes,
clarity settling in.
ELIJAH (CONT'D)
(RESOLUTE)
I will not fail you.
He stands, methodically gathering his tools—rope, knives, and
duct tape. His expression remains calm, but there's a growing
intensity in his movements.
CUT TO:
INT. ELIJAH'S TOW TRUCK – NIGHT
Elijah drives down the empty highway, the darkness of the
desert stretching endlessly around him. His fingers tap
rhythmically on the steering wheel, a hymn playing quietly on
the truck's old radio.
He glances at the NOTEPAD on the dashboard—next to the name
of Marcus, he scribbles a new entry:
The Family.
Barstow. Highway 15.
His eyes narrow. He's planning something big.
EXT. DESERT HIGHWAY – NIGHT
The truck rolls to a stop by the side of the road. Elijah
steps out, looking up at the sky. The stars shine cold and
indifferent. He walks to the back of his truck, pulling out
his tools.
His next victim is already in his sights. But this time, he
won't wait for them to break down.
17.
INT. ELIJAH'S TOW TRUCK – LATER THAT NIGHT
Elijah spots a MINIVAN driving down the lonely stretch of
highway. Inside, a middle-aged couple, GARY and SUSAN, with
their teenage daughter AMY (17), are returning from a family
trip to Vegas.
INT. MINIVAN – NIGHT
Gary is driving, tired but focused. Susan sits beside him,
reading something on her phone, while Amy dozes in the back
seat, earbuds in.
SUSAN
You think we should've stayed in
Vegas one more night? I feel like
we're rushing back.
GARY
Nah, better to get home before
traffic picks up tomorrow. Plus,
I've got that meeting first thing
Monday.
Suddenly, their car begins to sputter. Gary frowns, checking
the dashboard.
GARY (CONT'D)
What the hell...?
The minivan slows to a crawl, and Gary pulls over to the
shoulder. He tries turning the key, but the engine won't
respond.
SUSAN
That's just great. Out here? We're
in the middle of nowhere.
GARY
I'll check the engine.
EXT. MINIVAN – NIGHT
Gary gets out and opens the hood, waving away the steam. He
mutters to himself, checking the cables.
GARY
Damn thing's overheated.
Suddenly, headlights appear in the distance—growing larger as
they approach.
18.
Gary squints, stepping back toward the minivan. The lights
pull up behind them, and a familiar tow truck rolls to a
stop.
Elijah steps out, his face calm and almost friendly in the
dim glow of the headlights.
ELIJAH
Need some help?
Gary looks relieved.
GARY
Yeah, car's overheated. Can't seem
to get it started.
Elijah moves closer, his eyes drifting from Gary to the
family sitting inside the van. There's a faint twitch at the
corner of his mouth, like a predator sizing up its prey.
ELIJAH
I can tow you back to my shop. It's
not far from here. I'll have you
back on the road in no time.
Gary looks at the minivan, then at Susan, who gives him a
hesitant look.
SUSAN
(whispers)
I don't know... maybe we should
call a tow service we know.
Gary hesitates but nods.
GARY
I think we'll call someone, thanks
though.
Elijah's eyes harden for a brief second before his smile
returns.
ELIJAH
Suit yourself. But there's not much
cell service out here. Might be a
while before anyone else comes
along.
Gary reaches for his phone, and sure enough, there's no
signal. He frowns, looking back at Elijah, weighing the
decision.
Suddenly, a car horn blares from down the highway. Another
vehicle passes, heading toward Barstow. Elijah watches it
intently, his calm demeanor cracking for just a moment.
He steps back.
19.
ELIJAH (CONT'D)
Perhaps it's best you wait.
Elijah gets back into his tow truck, driving off slowly, but
his eyes never leave the family as they watch him go. The
family breathes a sigh of relief, unaware of how close they
came to danger.
CUT TO:
Genres:
["Thriller","Horror","Drama"]
Ratings
Scene
9 -
Suspicion on the Deserted Highway
INT. SHERIFF'S CRUISER – NIGHT
Sheriff Thompson and Officer Adams drive down the same
stretch of highway. Their radio crackles as a dispatcher's
voice comes through.
DISPATCH (V.O.)
Be advised, possible 10-98 near
Barstow. Tow truck was last seen
assisting stranded vehicle. Matches
description of subject. Thompson's
face tightens as he hits the gas,
the cruiser speeding up the empty
highway.
SHERIFF THOMPSON
We need to catch him before he does
anything worse.
Adams grips the door handle, his nerves growing. The hunt is
on.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
Sheriff Thompson's cruiser speeds down the empty highway, its
headlights slicing through the dark desert. The air feels
thick with anticipation.
20.
INT. SHERIFF'S CRUISER – NIGHT
Thompson grips the wheel, eyes fixed on the road ahead.
Officer Adams sits beside him, thumbing through a notepad
with the details of the recent missing persons.
OFFICER ADAMS
That tow truck driver—Elijah—has
been spotted at or near at least
three of the last disappearances.
We're closing in, Sheriff.
Thompson nods, his expression hard and focused. He's been at
this long enough to know the signs. But there's something
about Elijah that's bothering him—something too calm, too
controlled.
SHERIFF THOMPSON
If he's smart, he'll be long gone
by the time we catch up to him. But
if not… this ends tonight.
Suddenly, the cruiser jerks slightly, then again—a subtle but
noticeable thud-thud.
SHERIFF THOMPSON (CONT'D)
What the hell?
The car shudders violently as Thompson struggles to keep
control. He pulls to the side of the road, gravel crunching
under the tires as they slow to a stop.
OFFICER ADAMS
Flat tire?
Thompson grumbles, stepping out of the cruiser with Adams
following behind him. They approach the front of the car, and
sure enough, the tire is completely flat, deflated in an
instant.
SHERIFF THOMPSON
How the hell did that happen?
Adams kneels to inspect the tire, his flashlight revealing a
sharp metal spike embedded deep in the rubber. He yanks it
out, showing it to Thompson.
OFFICER ADAMS
Looks like we ran over something.
Thompson takes the spike, holding it up to the light. His
brow furrows—this wasn't an accident.
21.
SHERIFF THOMPSON
This isn't something you just run
over. Someone put this here.
Adams looks around at the dark, empty highway, a chill
running up his spine.
OFFICER ADAMS
You think it was him? Elijah?
Before Thompson can answer, the sound of an approaching
engine breaks the silence. Both men turn to see headlights in
the distance, growing closer. It's the familiar silhouette of
Elijah's tow truck, gliding down the road like a predator in
the night.
OFFICER ADAMS (CONT'D)
Speak of the devil.
Thompson watches as Elijah's truck pulls up beside them,
stopping just a few feet away. The driver's door opens, and
Elijah steps out, his face bathed in the cruiser's
headlights, casting long shadows across his features.
He smiles, slow and easy, as if running into the sheriff and
his deputy was the most natural thing in the world.
ELIJAH
Evening, Sheriff. Looks like you
boys could use some help.
Thompson's eyes narrow, suspicion flickering behind them, but
he keeps his voice calm.
SHERIFF THOMPSON
Flat tire. Convenient timing,
wouldn't you say?
Elijah walks over, kneeling beside the deflated tire,
pretending to examine it. He runs his fingers over the spot
where the spike punctured the rubber, his face an unreadable
mask.
ELIJAH
Things like this happen out here.
The desert doesn't play favorites.
You want me to tow you back to my
shop? I can have this patched up in
no time.
Adams glances at Thompson, uneasy. The sheriff, sensing they
don't have much choice,
nods slowly.
22.
SHERIFF THOMPSON
Alright. Tow us in.
Elijah's smile widens ever so slightly as he stands, heading
back to his truck. There's a quiet satisfaction in his
movements—everything is going according to plan.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
10 -
Tension Under the Moonlight
EXT. ELIJAH'S HQ – NIGHT
Elijah's tow truck pulls up to his headquarters, the
sheriff's cruiser in tow behind it. The Cadillacs loom in the
background, ghostly figures in the moonlight. The whole scene
feels like a trap, but with no other options, Thompson and
Adams step out of the truck.
SHERIFF THOMPSON
How long will this take?
Elijah walks over to the cruiser, tools in hand, and kneels
down to begin the repair. His calm demeanor never wavers.
ELIJAH
Not long. I'll have you back on the
road soon.
Thompson and Adams stand a few feet away, exchanging glances.
OFFICER ADAMS
I don't like this, Sheriff. The
whole setup feels wrong.
SHERIFF THOMPSON
I know. But we're playing it smart
for now. We watch, we wait. If he's
the guy, he'll slip up. They always
do.
INT. ELIJAH'S WORKSHOP – NIGHT
Elijah moves with precision, patching the tire in record
time. But as he works, he's also watching them—sizing them
up, calculating his next move.
Thompson wanders over to the workbench, glancing at the
tools. He notices something odd—an empty hook where a hammer
should be. His eyes drift to the stains on the floor, the
faint smell of something metallic in the air.
He looks at Elijah, suspicion growing.
SHERIFF THOMPSON
Mind if I take a look around?
23.
Elijah straightens, wiping his hands on a rag. He smiles, but
there's a hint of tension beneath the surface.
ELIJAH
Nothing much to see, Sheriff. Just
an honest man's workshop. But go
ahead. Snoop around if it'll put
your mind at ease.
Thompson steps further inside, eyes scanning the walls, the
tools, the religious symbols. There's something too neat, too
controlled about the place. It's like Elijah is hiding
something in plain sight.
Adams follows him in, his hand hovering near his holster.
He's on edge, every instinct telling him this is a bad idea.
Suddenly, the radio in the sheriff's cruiser crackles to
life, breaking the tension.
DISPATCH (V.O.)
Sheriff, we've got another call
about a missing vehicle outside of
Barstow. Possible connection to the
previous cases. Over. Thompson's
eyes snap to the radio. Elijah,
still standing near the cruiser,
suppresses a smile.
SHERIFF THOMPSON
(into the radio)
Copy that, Dispatch. We'll head
there as soon as we're mobile.
Over.
Elijah steps back from the cruiser, wiping his hands.
ELIJAH
All done. You boys should be good
to go.
Thompson gives Elijah one last long look before heading back
to the cruiser. Adams lingers for a moment, watching Elijah
with suspicion, then follows the sheriff.
CUT TO:
24.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
11 -
The Game of Shadows
INT. SHERIFF'S CRUISER – NIGHT
Back inside the cruiser, Thompson starts the engine, but his
mind is racing. Something about this doesn't sit right. He
watches Elijah through the rearview mirror as the tow truck
driver stands, almost like a statue, watching them leave.
OFFICER ADAMS
What now?
Thompson glances at the map. The missing car near Barstow
could be a distraction, or it could be the next step in
Elijah's twisted game. Either way, they need to investigate.
SHERIFF THOMPSON
We go to Barstow. But I'm not done
with him yet.
As the cruiser pulls away, Elijah watches from a distance,
his calm mask slipping just for a moment, revealing the
darkness underneath.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
The sheriff's cruiser speeds down the highway, disappearing
into the night, the radio crackling with updates about the
latest missing vehicle.
CUT TO:
Elijah's HQ - NIGHT
The killer stands in the moonlight, watching the taillights
fade.
He smiles—a cold, calculated smile.
ELIJAH
They'll be back, but by then, it'll
be too late.
CUT TO:
25.
EXT. DESERT HIGHWAY – NIGHT
The sheriff's cruiser barrels down the dark highway, the
radio continuing to crackle with information about the
missing vehicle near Barstow. Sheriff Thompson and Officer
Adams sit in tense silence, the weight of the investigation
pressing down on them.
INT. SHERIFF'S CRUISER – NIGHT
Thompson's knuckles are white on the steering wheel, his mind
racing. He's piecing together a puzzle, and Elijah's face
keeps surfacing in his thoughts.
OFFICER ADAMS
You think he's toying with us?
Thompson doesn't answer immediately. His eyes are fixed on
the road ahead, his jaw clenched tight.
SHERIFF THOMPSON
He knew we were coming. That tire
wasn't an accident. And the way he
talked, the way he acted... he's
not some good Samaritan. There's
something darker underneath all
that.
Adams fidgets, glancing out the window at the empty stretch
of desert around them.
OFFICER ADAMS
If he's our guy, why didn't he make
a move? Why not just get rid of us
right there?
Thompson lets out a slow breath, shaking his head.
SHERIFF THOMPSON
Because he's smart. He knew we were
suspicious, but he also knew we
didn't have enough to nail him. So,
he played nice. Gave us just enough
to let us walk away.
26.
Adams stares at the dashboard, the glow of the instruments
reflecting off his face.
OFFICER ADAMS
And now?
SHERIFF THOMPSON
Now we make sure he doesn't walk
away again.
CUT TO:
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
12 -
Desert Pursuit
EXT. BARSTOW OUTSKIRTS – NIGHT
The cruiser pulls off the highway and onto a narrow dirt
road, barely visible under the dim light of the moon. Up
ahead, faint headlights flicker in the distance, and as they
draw closer, the outline of a minivan comes into view—broken
down, stranded on the side of the road.
Thompson slows the cruiser to a stop, both men scanning the
area.
OFFICER ADAMS
That's the one. Dispatch said the
family called in a breakdown a
couple of hours ago. No word since.
They step out of the car, approaching the minivan cautiously.
The door is open, and the inside is empty. Thompson shines
his flashlight through the windows—no sign of the family.
SHERIFF THOMPSON
They didn't just wander off into
the desert.
Adams kneels down, inspecting the tire, then moves to the
back of the van, where a small metal spike lies on the
ground, identical to the one they ran over earlier. He picks
it up, showing it to Thompson.
OFFICER ADAMS
He's been here. Same trick he
pulled on us.
Thompson's face tightens with grim realization.
27.
SHERIFF THOMPSON
This is his work. He's picking
people off before they even have a
chance to call for help.
Adams's breath quickens as he looks around the empty
landscape, the vastness of the desert swallowing them whole.
OFFICER ADAMS
What now? We're hours behind him.
If he took them...
Thompson turns back toward the cruiser, already forming a
plan.
SHERIFF THOMPSON
We don't wait for him to make the
next move. We get ahead of him.
CUT TO:
INT. ELIJAH'S TOW TRUCK – NIGHT
Elijah drives down the same desert highway, his truck
blending into the darkness. His face is calm, almost serene,
but his fingers tap rhythmically on the steering wheel, an
unconscious sign of his rising anticipation.
Beside him on the passenger seat is his notebook, open to the
page with the family's name. He taps his finger on the page,
smiling slightly.
ELIJAH
(murmuring to himself)
Soon.
He glances into the rearview mirror, the highway behind him
empty and still. But Elijah's sharp instincts tell him that
the sheriff isn't far behind.
CUT TO:
28.
EXT. DESERT HIGHWAY – NIGHT
The sheriff's cruiser speeds back onto the highway, heading
toward the stretch where they last encountered Elijah.
Thompson's face is set in hard lines, his mind churning.
OFFICER ADAMS
So we're just gonna find him and
hope he slips up?
Thompson shakes his head.
SHERIFF THOMPSON
We're not waiting for him to slip
up. We're going to flush him out.
He reaches for the radio, switching to a private channel.
SHERIFF THOMPSON (CONT'D)
(into the radio)
Dispatch, this is Sheriff Thompson.
I need a perimeter set up along
Highway 15.
Block any exits to the west, and send units to check on all
registered roadside assistance operators in the area. Focus
on independent contractors.
There's a crackle on the other end before the dispatcher
responds.
DISPATCH (V.O.)
Copy that, Sheriff. Units are en
route. Thompson hangs up the radio,
turning to Adams.
SHERIFF THOMPSON
He thinks he's invisible, operating
out in the middle of nowhere. But
we've got him cornered now. If he
makes a move, we'll know.
Adams nods, but there's a tension in his posture—a nagging
feeling that Elijah might be more dangerous than they
realize.
CUT TO:
29.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
13 -
The Chase at Cadillac Ranch
EXT. ROADSIDE ART EXHIBIT – NIGHT
Elijah pulls his truck into the familiar Cadillac Ranch, the
half-buried cars standing silent and foreboding in the
moonlight. He steps out, scanning the area, his face calm but
his eyes sharp.
He knows they're coming.
Elijah opens the door to his workshop, stepping inside. He
moves swiftly, gathering his tools, organizing them with
precise care. He pauses in front of the altar, where a single
candle flickers in the darkness. He kneels down, closing his
eyes, hands clasped in prayer.
(CONT'D)
ELIJAH
(SOFTLY)
They hunt me now, Lord. But I am
your instrument. I will finish your
work before they can stop me.
The candle flickers again, and Elijah opens his eyes, calm
and determined.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
The sheriff's cruiser pulls to a stop just outside of
Elijah's headquarters. Thompson steps out, gun holstered,
scanning the dark expanse of desert around him.
SHERIFF THOMPSON
He's here. I know it.
Adams steps out beside him, more cautious, his hand resting
on his weapon.
OFFICER ADAMS
You really think he's going to let
us take him in without a fight?
Thompson smirks, shaking his head.
30.
SHERIFF THOMPSON
No. But we're not here to take him
in just yet. We're here to catch
him in the act.
They approach the Cadillacs, each one casting long shadows
under the moonlight. The air is thick with tension, every
sound amplified by the silence.
Suddenly, the distant sound of an engine roars to life.
Thompson and Adams turn, spotting Elijah's tow truck speeding
down the highway, its taillights disappearing into the night.
OFFICER ADAMS
He's running.
Thompson's face hardens.
SHERIFF THOMPSON
Not for long.
They rush back to the cruiser, starting the engine and
tearing off down the highway after Elijah. The chase has
begun.
CUT TO:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
14 -
Desert Pursuit
INT. ELIJAH'S TOW TRUCK – NIGHT
Elijah glances into his rearview mirror, seeing the sheriff's
cruiser gaining on him. His lips curl into a slight smile.
This is exactly how he wanted it.
He presses his foot down harder on the gas, the tow truck
roaring as it speeds through the desert night. But there's no
panic in his eyes—only calm determination.
CUT TO:
INT. SHERIFF'S CRUISER – NIGHT
Thompson floors it, the cruiser chasing after the tow truck,
the distance between them shrinking.
31.
OFFICER ADAMS
We've got him! He's got nowhere to
go!
Thompson doesn't respond. His eyes are locked on the truck
ahead, knowing full well that this is only the beginning of
Elijah's game.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
The two vehicles race through the empty highway, their
engines the only sound cutting through the vast silence of
the desert. But the real confrontation is still to come.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
The sheriff's cruiser races down the empty stretch of
highway, its lights flashing in pursuit of Elijah's tow
truck. The desert blurs by in a dark, endless expanse, the
sense of isolation pressing in on all sides.
CUT TO:
INT. SHERIFF'S CRUISER – NIGHT
Sheriff Thompson is laser-focused on the road ahead, his
hands gripping the steering wheel tightly. Officer Adams is
tense, adrenaline pulsing through him as he watches Elijah's
truck swerving just ahead of them.
OFFICER ADAMS
He's not slowing down. Sheriff,
what's the plan here?
32.
Thompson's face is set in hard lines. He knows that Elijah is
leading them somewhere, but he can't afford to let him get
away.
SHERIFF THOMPSON
We stay close. If he thinks he can
outrun us, he's dead wrong.
Adams shifts in his seat, his hand instinctively resting near
his gun. Something about this pursuit feels off—too smooth,
too planned.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
15 -
Calculated Escape
INT. ELIJAH'S TOW TRUCK – NIGHT
Elijah keeps one hand on the steering wheel, his eyes
flicking between the road ahead and the rearview mirror. He
can see the sheriff's cruiser gaining on him, but there's no
fear in his expression—just cold, calculated focus.
He knows exactly what he's doing.
Elijah's hand hovers over a switch on his dashboard. His eyes
narrow as he watches the cruiser grow closer. With a quick,
decisive motion, he flips the switch.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
Behind Elijah's truck, hidden underneath the back bumper, a
small device activates—a release mechanism. The back of the
truck opens, and a trail of sharp metal spikes spills out
onto the highway, scattering across the asphalt like teeth in
the mouth of a trap.
CUT TO:
INT. SHERIFF'S CRUISER – NIGHT
Thompson doesn't see the spikes until it's too late. The
cruiser hits them head-on, the tires exploding with a
deafening BANG. The vehicle jerks violently, careening out of
control.
33.
SHERIFF THOMPSON
Hold on!
The steering wheel fights against him as he struggles to
regain control, but the cruiser skids wildly, swerving from
side to side.
OFFICER ADAMS
Sheriff! Look out!
Up ahead, the road curves sharply, leading toward a steep
drop. The cruiser slams into the guardrail, the metal
screeching as it bends under the force of the impact.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
In one terrifying moment, the sheriff's cruiser flips over
the guardrail and plummets down the embankment, crashing into
the rocky terrain below. The vehicle tumbles violently,
rolling several times before finally coming to a stop, upside
down in a cloud of dust and debris.
CUT TO:
INT. SHERIFF'S CRUISER – NIGHT
Inside the wrecked cruiser, everything is upside down. The
airbag has deployed, but Thompson is barely conscious, his
head bleeding from a gash on his forehead. Adams groans in
pain, pinned by his seatbelt, his arm twisted awkwardly.
Smoke rises from the engine as the headlights flicker weakly.
OFFICER ADAMS
(weakly)
Sheriff... Sheriff, are you okay?
Thompson tries to respond, but his voice is faint, his vision
blurred. The world is spinning, the sound of the crash still
ringing in his ears.
34.
SHERIFF THOMPSON
Adams... can't... move...
CUT TO:
EXT. DESERT HIGHWAY NIGHT
Elijah slows his truck to a crawl at the top of the
embankment, watching the wreckage below with cold, unfeeling
eyes. He steps out of the truck, standing by the edge of the
road, silhouetted against the moonlit sky.
For a moment, he just stands there, listening to the sound of
the sheriff's cruiser settling into the silence of the desert
night. He tilts his head slightly, as if in prayer, and then
turns back to his truck.
Without a word, Elijah gets back in and drives away, leaving
the officers broken and stranded in the darkness.
FADE OUT:
INT. HOSPITAL ROOM – DAY
FADE IN to the sterile quiet of a hospital room. Sheriff
Thompson lies in a hospital bed, his head bandaged, a sling
supporting his arm. His eyes flutter open, adjusting to the
bright light. Machines beep softly beside him, monitoring his
vital signs.
Officer Adams lies in the bed next to him, unconscious, his
arm in a cast, cuts and bruises covering his face. The room
is thick with the scent of antiseptic, the low hum of medical
equipment the only sound.
Thompson groans, trying to sit up, but the pain in his ribs
forces him back down. A nurse rushes over, gently pushing him
back onto the bed.
NURSE
Take it easy, Sheriff. You've been
through a lot.
Thompson's mind is still foggy, but the memory of the crash
starts to seep in. He turns his head, looking at Adams, who
is still out cold.
35.
SHERIFF THOMPSON
Adams... is he okay?
NURSE
He's stable. They're keeping him
sedated for now. You both were
lucky to survive that crash.
Thompson grits his teeth, frustration boiling just beneath
the surface.
SHERIFF THOMPSON
It wasn't luck. That son of a bitch
set us up.
The nurse frowns, unsure what he's talking about, but she
gently places a hand on his shoulder, calming him.
NURSE
You need to rest. There'll be time
to figure things out later. Right
now, focus on healing.
Thompson nods, but his eyes burn with determination. He won't
let this go. Not after coming so close.
CUT TO:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
16 -
The Reckoning Begins
EXT. DESERT HIGHWAY – DAY
Back on the highway, DEPUTIES and EMERGENCY RESPONDERS
surround the wreckage of the sheriff's cruiser. The sunlight
glints off the twisted metal as investigators comb the area,
picking up the pieces of what happened.
A deputy inspects the metal spikes scattered across the road,
placing one into an evidence bag. They know this wasn't an
accident.
CUT TO:
INT. HOSPITAL ROOM – DAY
Later that day, Sheriff Thompson sits up in his hospital bed,
more alert now, his face etched with frustration and pain. A
young DETECTIVE stands at his bedside, a notebook in hand.
36.
DETECTIVE
Sheriff, we found the spikes.
Whoever did this wanted to take you
out, and they knew exactly how to
do it.
Thompson nods, wincing as he adjusts his position.
SHERIFF THOMPSON
It was Elijah. He knew we were onto
him, so he set us up. The bastard
baited us into that chase, then
made sure we'd never catch him.
The detective scribbles notes, nodding as Thompson speaks.
DETECTIVE
We've got units searching the area,
but so far, no sign of him. He's
gone off the grid.
Thompson's eyes narrow, his jaw tightening.
SHERIFF THOMPSON
He's not gone. He's out there, and
he's planning something worse. And
we're running out of time.
CUT TO:
INT. ELIJAH'S HIDEOUT – NIGHT
CUT TO Elijah in his new hideout, somewhere deep in the
desert, far off the beaten path. It's a small, rundown shack,
barely visible from the road. Inside, he sits at a small
table, his notebook in front of him, its pages filled with
names, each one crossed off methodically.
Elijah looks up at the wall where a MAP of the desert is
pinned, red circles marking specific locations. His eyes
settle on one of the circles—his next target.
He stands, moving with slow, deliberate steps toward the
door. Outside, the desert night is quiet, vast, and
unforgiving.
CUT TO:
37.
INT. HOSPITAL ROOM – DAY
Sheriff Thompson sits upright in his hospital bed, his face
drawn with pain but eyes filled with steely determination.
The hum of the hospital fades into the background as he
stares out of the window, his mind working over the events of
the crash. He shifts uncomfortably, wincing as he adjusts his
posture.
Officer Adams is still unconscious in the bed next to him,
the bruises and cuts on his face a testament to the violent
crash. Thompson's eyes flicker to Adams and then back to the
door, just as DETECTIVE MARTIN (mid-30s, sharp, no-nonsense)
enters, holding a case file and a stack of evidence bags.
DETECTIVE MARTIN
Sheriff, we've found some more
evidence at the crash site. And you
were right—this was no accident.
She pulls out one of the metal spikes used in the trap, now
sealed in a plastic bag, and places it on the bedside table.
Thompson glances at it, his face hardening.
SHERIFF THOMPSON
Elijah. He's been planning this for
a long time. He knew exactly how to
get us off his tail.
Martin nods, her expression grim.
DETECTIVE MARTIN
We've got all units out searching
the surrounding areas, but so far,
he's gone dark.
No sign of him on any of the main roads, and his last known
address has been empty for weeks. We're doing a deep dive
into his contacts, past clients, and everything we can find
on his business.
Thompson leans back, his hand gripping the hospital bed rail.
SHERIFF THOMPSON
You're not gonna find him that way.
Elijah's not some random psycho.
He's methodical, organized.
(MORE)
38.
SHERIFF THOMPSON (CONT'D)
He has a plan, and he'll stay
hidden until he's ready to strike
again.
Martin watches him closely, taking in his words. She can see
the fire in Thompson's eyes, the urgency.
DETECTIVE MARTIN
Then what's his next move, Sheriff?
He's already shown he's willing to
take out law enforcement. How far
is he willing to go?
Thompson's gaze darkens as he looks out the window again,
thinking about the missing people, the scattered clues that
all point to Elijah's carefully orchestrated plan.
SHERIFF THOMPSON
It's not just about killing. It's
about cleansing, in his twisted
mind. He's targeting people he
believes are sinners. The family we
found stranded—he didn't take them
because we showed up too soon. But
he'll find someone else. He'll keep
doing this until we stop him.
Martin closes her notebook, nodding with resolve.
DETECTIVE MARTIN
We'll expand the perimeter. I'll
have units increase surveillance
along the routes he's been known to
frequent. But Sheriff... you need
to focus on getting better. Let us
handle this for now.
Thompson shakes his head, determination tightening his jaw.
SHERIFF THOMPSON
I'm not sitting this one out. Not
when we're this close.
CUT TO:
Genres:
["Thriller","Crime","Mystery"]
Ratings
Scene
17 -
Desert Pursuit
EXT. DESERT ROADS – DAY
Wide shot of a long, empty desert road stretching toward the
horizon. A few patrol cars comb the highway, their lights
flashing as they search for any sign of Elijah or his truck.
39.
The vastness of the desert feels suffocating, each minute
that passes without a lead making the task seem more
impossible.
INT. DETECTIVE MARTIN'S CAR – DAY
Detective Martin drives along a remote road, scanning the
area carefully. Her radio crackles to life.
DISPATCH (V.O.)
Units, be advised, no new sightings
of Elijah's vehicle. All
checkpoints clear so far. Continue
with your patrols. Martin clenches
her jaw, frustrated by the lack of
progress. She glances down at her
dashboard, then pulls out her
phone, flipping through a series of
pictures and reports about Elijah's
victims. She stops on a photo of
the Christian family who had been
stranded before the crash.
Something clicks in her mind, and
she dials Sheriff Thompson's
number.
CUT TO:
INT. HOSPITAL ROOM – DAY
Thompson, still lying in his hospital bed, picks up his phone
when it rings. He sees
Martin's number on the screen and answers.
SHERIFF THOMPSON
Martin, what do you got?
DETECTIVE MARTIN (V.O.)
It's a hunch, but I've been
thinking about the families
Elijah's targeted. They're spread
out along a specific stretch of
highway. What if he's not just
picking people off at random? What
if there's something symbolic about
where he's taking them? Thompson's
eyes narrow as he considers her
theory.
40.
SHERIFF THOMPSON
You think he's got a pattern with
the locations?
DETECTIVE MARTIN (V.O.)
Yeah. What if he's not just driving
them into the middle of nowhere,
but to places that mean something
to him? Religious symbols, places
of judgment... Thompson shifts in
his bed, a look of realization
crossing his face.
SHERIFF THOMPSON
The Cadillac exhibit. The way those
cars are half-buried, like
tombstones... it's a sign to him.
He's using places like that as
staging grounds for his kills.
DETECTIVE MARTIN (V.O.)
Exactly. And there's more. There's
another spot just like that,
further down the road toward Death
Valley. Another weird roadside
installation—a giant cross,
forgotten by most people. But it's
the kind of place he'd see as a
symbol.
Thompson clenches the phone tighter, his heart pounding with
a mix of fear and anticipation.
SHERIFF THOMPSON
You think he's setting up there for
his next kill?
DETECTIVE MARTIN (V.O.)
I can't be sure, but it's worth
checking out. I'm heading there
now. I'll keep you updated.
SHERIFF THOMPSON
Be careful, Martin. He's more
dangerous than we thought.
CUT TO:
41.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
18 -
Divine Judgment at Dusk
EXT. ROADSIDE CROSS INSTALLATION – DUSK
Detective Martin's car pulls off the highway and onto a
narrow dirt road. Up ahead, she can see the faint silhouette
of a massive cross, a strange relic from a forgotten time,
standing alone in the vast desert. The sun is setting,
casting long shadows across the barren landscape.
She steps out of the car, her hand resting on her holstered
gun, her eyes scanning the area.
DETECTIVE MARTIN
(muttering to herself)
Let's hope you're right, Sheriff.
The wind kicks up dust around her as she cautiously
approaches the installation. The silence is unnerving, and
every step she takes feels heavy with the weight of
anticipation.
INT. ELIJAH'S HIDEOUT – DUSK
Elijah sits in his hideout, carefully preparing for his next
move. His tools are laid out in front of him, everything
organized with meticulous precision. The notebook lies open
beside him, the name of his next target written at the top of
the page.
He closes his eyes, whispering a quiet prayer to himself.
ELIJAH
(softly)
I am your servant, Lord. Guide me
as I deliver judgment upon the
wicked.
He stands, gathering his tools, and heads toward the door.
Outside, the sun is dipping below the horizon, casting the
desert in a deep red glow. It's almost time.
CUT TO:
EXT. ROADSIDE CROSS INSTALLATION – NIGHT
Martin carefully walks around the massive cross, her
flashlight illuminating the weathered structure.
42.
The air is thick with tension as she circles the area, her
instincts telling her that something is off, but she hasn't
found anything yet.
Suddenly, she hears the faint sound of an engine. Her heart
skips a beat as she ducks behind a nearby rock, peeking out
to see a pair of headlights in the distance, slowly
approaching the installation.
Her hand tightens around her gun as she watches the vehicle
come closer.
It's Elijah's tow truck.
CUT TO:
INT. ELIJAH'S HIDEOUT – NIGHT
Elijah is preparing for his next move, meticulously placing
his tools in a duffel bag. The dim light in the hideout
flickers as he works in silence, his mind focused and clear.
Just as he zips up the bag, his phone buzzes on the table,
breaking the stillness.
He glances down at the screen. It's a number he doesn't
recognize. For a moment, he considers ignoring it, but
something compels him to answer.
Elijah picks up the phone, his voice calm and composed.
ELIJAH
Elijah's Roadside Assistance. How
can I help you?
There's a pause on the other end, followed by the sound of
heavy breathing and a shaky, desperate voice.
VOICE ON PHONE
(nervous, slightly
slurred)
Hey, uh, yeah... I've got a
situation out here. Car's busted on
the highway—heading out of Vegas.
Can you come get me? I... I don't
want to be stuck out here all
night.
43.
Elijah listens carefully, his brow furrowing slightly.
There's something familiar about the voice, but it's off,
muddled by what sounds like intoxication. He waits for the
caller to continue.
ELIJAH
Where exactly are you?
VOICE ON PHONE
Mile marker 207... right off
Highway 15. I'll pay whatever you
want, man. I just need to get out
of here. And, uh... maybe we can
keep it discreet?
That last word piques Elijah's interest. He pauses, his mind
working over the details. Then it clicks—the voice belongs to
REVEREND AUSTIN LOCKE.
Locke is a famous celebrity preacher, known for his lavish
lifestyle, massive congregation, and frequent television
appearances. Once beloved, his reputation has been tarnished
by a series of damning allegations—whispers of pedophilia,
drug use, and scandals hidden behind the facade of his holy
persona.
Elijah's lips curl into a thin smile. He knows exactly who
this man is and what he represents.
ELIJAH
I'll be there soon. Stay right
where you are.
Locke lets out a sigh of relief, his voice filled with
gratitude, unaware of the danger heading his way.
LOCKE (V.O.)
Thanks, man. I really appreciate
it.
Elijah ends the call, staring at the phone for a moment, his
smile fading into something darker, more sinister. The
preacher's voice echoes in his mind, a reminder of the
hypocrisy and sin he's been sent to cleanse from the world.
ELIJAH
(softly, to himself)
Even wolves come dressed as
shepherds.
44.
He picks up his duffel bag, slinging it over his shoulder.
This isn't just another stranded soul. This is a mission, a
divine judgment waiting to be delivered.
CUT TO:
Genres:
["Thriller","Crime","Mystery"]
Ratings
Scene
19 -
Judgment on the Highway
EXT. DESERT HIGHWAY – NIGHT
Wide shot of Elijah's tow truck as it glides down the
desolate highway, the faint glow of Vegas long behind him.
The sky is pitch black, the stars swallowed by the desert's
vast emptiness.
The headlights of the truck cut through the dark, and in the
distance, Elijah spots a luxury Mercedes-Benz SUV sitting on
the shoulder of the road, its hazard lights blinking weakly.
As Elijah pulls up behind the vehicle, the faint outline of a
man steps out. Even from a distance, it's clear that this is
Reverend Austin Locke—once a figure of purity and
righteousness, now disheveled, wearing sunglasses even at
night, his face pale and sweaty.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
Elijah steps out of his truck, walking toward Locke with
slow, deliberate steps. The preacher stands by his SUV,
nervously fidgeting with his phone, looking around as if
afraid someone might see him. His clothes are wrinkled, his
once-pristine suit jacket hanging loosely off his shoulders.
Locke lowers his sunglasses, squinting at Elijah as he
approaches.
LOCKE
You're Elijah, right? Thanks for
coming so fast. I, uh... I can't
afford to have anyone see me out
here, you know? People like to
talk, and I've already got enough
on my plate.
45.
Elijah's eyes narrow as he takes in the sight of the
preacher. He can smell the alcohol on Locke's breath, the
faint trace of cocaine still dusting his nose. This man, who
once preached about righteousness and purity, now stands
before him, reeking of sin and desperation.
ELIJAH
You've fallen far from grace,
Reverend.
Locke stiffens, his eyes darting nervously as he forces a
shaky laugh.
LOCKE
Yeah, well... nobody's perfect,
right? You know how it is. The
world just keeps pushing, and
sometimes you... stumble.
Elijah says nothing, just stares at Locke with cold,
unblinking eyes. The silence stretches between them, thick
and heavy. Locke, sensing the judgment in Elijah's gaze,
clears his throat and reaches for his wallet, pulling out a
wad of cash.
LOCKE (CONT'D)
Look, I can pay you—whatever it
takes. Just... just tow me to the
next stop, and we'll call it even.
No need to make a big deal out of
this.
Elijah doesn't take the money. He steps closer to Locke, his
voice low and steady.
ELIJAH
Money won't save you from what's
coming. You've led people astray,
wrapped in the robes of false
piety. But the Lord sees through
the disguise.
Locke's face pales, and for the first time, true fear creeps
into his expression.
LOCKE
Hey, man, let's not get all
religious on me. I just need a tow,
alright? Elijah's smile returns,
but it's cold, devoid of any
warmth.
46.
ELIJAH
The Lord's judgment is swift,
Reverend. And your sins are many.
Locke steps back, his hands trembling as he realizes he's not
dealing with an ordinary tow truck driver. His voice rises,
desperation leaking through.
LOCKE
I don't know what you're talking
about, okay? This is crazy—I'm just
trying to get home!
But Elijah is already moving toward the back of his truck,
preparing the tow chain. His movements are calm, methodical,
as if this is all part of a larger plan. Locke watches, panic
growing with each passing second.
LOCKE (CONT'D)
Wait... what are you doing? I—I'm
sorry, alright? Whatever you think
I've done... it's not what it looks
like! Elijah doesn't respond. He
hooks the SUV to the back of his
truck, securing it tightly. Locke's
breathing becomes ragged, his pulse
racing. He glances around, hoping
for another car, another
person—anyone who might save him
from what's coming. But the road is
empty. There's no one but Elijah.
ELIJAH
(softly, as if reciting
scripture)
There is no salvation for the
wicked, Reverend.
Locke's eyes widen in terror as Elijah climbs back into his
truck. The engine roars to life, and Locke stumbles back,
realizing too late that he's been caught in something far
beyond his understanding.
As Elijah begins to drive, towing Locke's SUV behind him, the
preacher's last hope fades into the dark, empty highway.
Genres:
["Thriller","Drama"]
Ratings
Scene
20 -
Judgment at the Crossroads
INT. ELIJAH'S TOW TRUCK – NIGHT
Elijah drives in silence, his expression serene, almost
peaceful. Beside him, the notebook lies open, Locke's name
now neatly written at the top of the next page.
47.
ELIJAH
(whispering to himself)
One more soul to cleanse.
His eyes flick to the rearview mirror, where Locke's SUV
follows behind him, like a lamb being led to slaughter.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
The tow truck rumbles down the dark, deserted highway with
Locke's luxury SUV in tow. The desert seems even more
desolate in the blackness, the endless road a metaphor for
the preacher's descent into an unknown fate. Locke, inside
his SUV, begins to panic, realizing that something is
terribly wrong. He fumbles with his phone, but there's no
signal. He's trapped.
INT. LOCKE'S SUV – NIGHT
Locke breathes heavily, sweat dripping down his forehead. His
hands tremble as he tries to open the door, but the truck's
motion and the tight chains keep him from escaping. The dread
builds, and his muttered prayers for deliverance go
unanswered.
LOCKE
(muttering to himself)
God, please... I can change... I'll
do better... His prayers are cut
off as the truck begins to slow
down. He peers out of the window,
trying to make sense of their
surroundings.
CUT TO:
EXT. ROADSIDE CROSS INSTALLATION – NIGHT
Elijah's tow truck pulls up to the eerie, abandoned cross
installation. The massive wooden cross stands against the
night sky, a lonely symbol of forgotten faith. The
installation feels otherworldly, with the old wood creaking
in the breeze and the desert wind swirling dust around it.
48.
Elijah steps out of the truck, calm and controlled, like a
priest preparing for a ritual. He unhooks Locke's SUV from
the tow, watching with cold eyes as the preacher stumbles out
of the vehicle, disoriented and frightened.
CUT TO:
EXT. CROSS INSTALLATION – NIGHT
Locke staggers toward Elijah, desperation dripping from every
movement. His bravado is long gone, replaced by sheer terror.
He falls to his knees in front of Elijah, grasping at the hem
of his jacket.
LOCKE
Please... I'll pay you... whatever
you want. Just let me go. I can
explain everything. It's not what
you think—those rumors... they're
all lies.
Elijah looks down at Locke with quiet disdain, his voice a
low, steady murmur.
ELIJAH
You've deceived too many for too
long. Your false sermons, your
wickedness... You've hidden behind
your lies, but now... you will be
judged.
Locke's eyes widen as he backs away, fear seeping into his
every word.
LOCKE
No, no, no... You don't understand.
I'm a man of God. I'm... I'm His
servant.
Elijah takes a step forward, his presence towering over the
trembling preacher.
ELIJAH
You've led the flock astray. A
shepherd turned wolf. And now, you
will face the consequences.
49.
Locke tries to scramble to his feet, but before he can,
headlights appear in the distance, piercing the darkness.
CUT TO:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
21 -
Divine Judgment on the Desert Highway
EXT. DESERT HIGHWAY – NIGHT
Detective Martin's car approaches the installation, the
headlights cutting through the swirling dust. She slows down,
immediately sensing that something isn't right. She spots
Elijah standing in front of the massive cross, with Locke on
his knees, cowering like a broken man.
Martin pulls her gun and exits the vehicle, her eyes locked
on Elijah, her heartbeat quickening as she realizes how
dangerous the situation is.
DETECTIVE MARTIN
(yelling)
Elijah! Step away from him!
Elijah looks up, meeting Martin's eyes. His calm expression
barely shifts, but there's a flicker of recognition as he
steps back from Locke, raising his hands slightly in a
gesture of surrender. He knows exactly who Martin is—she's
the hunter who's been tracking him.
ELIJAH
(calmly)
Detective. You're just in time for
the final judgment.
Martin keeps her gun trained on Elijah, advancing carefully.
Her eyes dart between Locke and Elijah, trying to assess the
situation. Locke, sensing a glimmer of hope, stumbles toward
her.
LOCKE
Help me! This man... he's crazy!
Elijah's eyes shift to Locke, his voice chillingly calm.
ELIJAH
You cannot escape judgment,
Reverend. Not even now.
DETECTIVE MARTIN
(sternly, to Locke)
Get back. Stay behind me.
50.
Locke hesitates but scrambles behind Martin, cowering as she
keeps her focus on Elijah. Martin's voice hardens as she
takes a step closer.
DETECTIVE MARTIN (CONT'D)
It's over, Elijah. You're done. No
more running. No more victims.
Elijah tilts his head, studying her. There's no panic, no
desperation in him—only the eerie calm of a man who believes
he is in the right. His voice is soft, but his conviction is
unshakable.
ELIJAH
I don't run, Detective. The Lord
has shown me the path. You...
you're here for a reason.
Martin tightens her grip on her gun, every muscle in her body
tense.
DETECTIVE MARTIN
Don't make this harder than it has
to be. Let him go. Put your hands
on your head.
Elijah doesn't move. Instead, he looks at the cross behind
him, its towering presence a silent witness to the scene. He
speaks almost as if to the sky.
ELIJAH
There are so many lost souls,
Detective. So many in need of
cleansing. This man... he has led
thousands into darkness. And you
would stop me? You would stop God's
work?
Martin's pulse races, her instincts screaming that this
situation could spiral out of control at any moment.
DETECTIVE MARTIN
God's work doesn't involve murder,
Elijah. You're not a savior. You're
a killer.
For the first time, a flicker of something crosses Elijah's
face—perhaps disappointment, perhaps anger—but it passes
quickly, replaced by his usual stoic calm.
ELIJAH
No, Detective. I am the instrument
of His will. You don't understand
now, but you will.
51.
Without warning, Elijah takes a step back toward the cross,
as if preparing to make some final move. Martin's heart
pounds in her chest as she raises her gun, the tension
snapping into action.
DETECTIVE MARTIN
Don't do it!
Elijah pauses, looking directly at her, his voice softer now.
ELIJAH
You'll see, Detective. You'll
understand soon enough.
Before Martin can react, Elijah reaches for something behind
the cross—a trigger he had set up earlier, connected to a
series of hidden gas cans rigged to explode. He's been
prepared for this moment all along.
DETECTIVE MARTIN
(yelling)
No!
But it's too late. Elijah pulls the trigger.
CUT TO:
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
22 -
Aftermath of Chaos
EXT. CROSS INSTALLATION – NIGHT
A massive explosion erupts from behind the cross, sending
fire and debris into the air. The force of the blast knocks
Martin to the ground, her gun flying from her hand. Locke
screams, covering his face as the world around them erupts
into chaos.
The cross itself is engulfed in flames, the wooden structure
creaking and cracking as it burns. The shockwave leaves a
ringing in Martin's ears as she struggles to push herself up
from the ground, coughing and disoriented.
CUT TO:
52.
EXT. DESERT – NIGHT
Through the smoke and fire, Martin sees a shadow
moving—Elijah, walking away into the desert, disappearing
into the night. He's gone, leaving only destruction in his
wake.
CUT TO:
INT. DESERT – LATER
As the flames die down, Martin stands, battered and bruised
but alive. She looks out into the empty desert, her heart
sinking with the realization that Elijah has escaped once
again.
Locke, trembling and in shock, stares at the burning cross,
his once-flawless image shattered forever.
Martin watches the fire, determination etched into her face.
This isn't over. She's closer now, and she knows Elijah's
mission is far from complete.
CUT TO:
EXT. CROSS INSTALLATION – NIGHT
The last remnants of the explosion's fire flicker weakly as
fire trucks and police cars now surround the scene. The
towering cross is little more than charred wood, still
crackling as the fire dies out. EMTs attend to a visibly
shaken Reverend Austin Locke, wrapping him in a blanket as he
sits on the ground, staring blankly into the distance.
Detective Martin, covered in dirt and scratches, stands with
her arms crossed, watching as firefighters finish
extinguishing the last flames. The scene feels surreal—her
target, Elijah, vanished into the night after unleashing his
deadly trap. Despite the chaos, her mind is laser-focused on
the next steps.
CUT TO:
53.
INT. AMBULANCE – NIGHT
Locke sits on the edge of the ambulance, his hands shaking
uncontrollably. An EMT offers him water, but he barely
notices. His mind is elsewhere, consumed by the realization
that his life was nearly taken by a man who saw through his
carefully constructed facade.
Locke's gaze darts nervously around the scene, his voice
trembling as he speaks to the EMT.
LOCKE
(stammering)
He—he said it was judgment. He...
he knows everything. The drugs...
the rumors. I thought I could keep
it all hidden, but he... he knew.
The EMT offers a weak smile, trying
to calm him.
EMT
Just relax, sir. You're safe now.
Locke grips the blanket tightly, his eyes hollow. His once-
great reputation is in ruins, and he knows it's only a matter
of time before the media catches wind of everything.
CUT TO:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
23 -
Urgent Pursuit
EXT. CROSS INSTALLATION – NIGHT
Detective Martin walks over to Detective Martin's car, which
has survived the explosion. She pulls out her phone, dialing
Sheriff Thompson's number, her hands still shaking slightly
from the adrenaline of the confrontation.
CUT TO :
INT. HOSPITAL ROOM – NIGHT
Sheriff Thompson, still bedridden, picks up the phone with
his good hand. He's pale but alert, his eyes lighting up when
he sees it's Martin calling. He quickly answers.
SHERIFF THOMPSON
Martin. What happened?
Martin's voice is low, filled with frustration and
exhaustion.
54.
DETECTIVE MARTIN
He got away, Sheriff. He had the
whole place rigged to blow.
He's been two steps ahead of us
this entire time.
There's a pause on the other end as Thompson processes her
words, the weight of the situation sinking in.
SHERIFF THOMPSON
Damn it. How many more people have
to die before we catch him?
Martin glances back at the smoldering wreckage, her jaw
tightening.
DETECTIVE MARTIN
I don't know. But Locke... he was
Elijah's target tonight. That
preacher. I think Elijah saw him as
the ultimate sinner—someone who
used God's name to cover up some
pretty dark stuff. He was going to
kill him, and he won't stop until
every person he sees as corrupt is
wiped out.
Thompson's voice hardens.
SHERIFF THOMPSON
Then we need to turn up the heat.
No more waiting for him to make the
first move. We bring him down
before he even has the chance to
pick his next victim.
Martin nods, determination settling back into her features.
DETECTIVE MARTIN
I'll track him down, Sheriff.
Whatever it takes.
FADE TO BLACK
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
24 -
Legacy of Shadows
EXT. CROSS INSTALLATION – LATER THAT NIGHT
The emergency services begin to clear out as the
investigation winds down. Martin watches as Locke is loaded
into the back of an ambulance, still in shock. She steps over
to Detective Martin, one of the lead investigators on-site,
briefing him on the next steps.
55.
DETECTIVE MARTIN
We need to get ahead of him. Pull
up every record we can on
Elijah—his past, his family, his
business contacts. I want every
location he's ever been connected
to under surveillance. No one makes
a move without us knowing about it.
Martin glances at the horizon, where Elijah disappeared into
the night.
DETECTIVE MARTIN (CONT'D)
He's planning something bigger. I
can feel it.
CUT TO:
INT. ELIJAH'S HIDEOUT – NIGHT
Elijah's new hideout, a small, barely visible shack in the
middle of the desert. Inside, Elijah sits at a table,
meticulously flipping through his notebook. He pauses,
staring at Locke's name, now crossed out, and then at the
next empty page.
A map of the surrounding area lies on the table, with circles
marking key points—highways, religious institutions, and
areas of isolation. Each mark represents a potential future
victim, a new "sinner" in Elijah's twisted eyes.
He breathes in slowly, speaking to himself in a soft,
reverent tone.
ELIJAH
(quietly)
The work is not done. The wolves
are still out there, hiding among
the flock.
His eyes darken as he picks up his pen, moving toward the
next target. His mission of "cleansing" is far from over, and
he's prepared to take it to new heights.
CUT TO:
56.
INT. POLICE STATION – DAY
The next morning, Detective Martin sits at her desk,
reviewing files and reports on Elijah's past. The office is
buzzing with activity as law enforcement intensifies their
search for the elusive killer. Martin rubs her tired eyes,
the weight of the previous night still pressing heavily on
her. A junior officer drops a folder on her desk.
OFFICER
I pulled up everything I could on
Elijah's past. There's not
much—he's kept a pretty low
profile. But there's something
strange about his family
background. His father was a
preacher too. A small church in a
rural town, real fire-and-brimstone
stuff. But there's more...
Martin flips through the folder, finding photos of the church
and Elijah's father. The resemblance is striking—an older
version of Elijah, with the same piercing eyes and fanatical
expression. A wave of realization washes over her.
DETECTIVE MARTIN
This is where it all started.
The junior officer nods.
OFFICER
Yeah, and here's the kicker—his
father disappeared when Elijah was
just a kid. Some kind of fire at
the church, but the body was never
found. Locals said he was preaching
about cleansing the town of sin
just before it all went down.
Martin stares at the file, piecing together the puzzle.
DETECTIVE MARTIN
Elijah's following in his father's
footsteps. This isn't just about
some random kills. This is a
legacy.
She looks up, her mind racing.
DETECTIVE MARTIN
We need to find out where that
church is.
(MORE)
57.
DETECTIVE MARTIN (CONT'D)
If Elijah's planning something big,
that could be where he makes his
final stand.
CUT TO:
Genres:
["Thriller","Crime","Mystery"]
Ratings
Scene
25 -
Unraveling the Past
EXT. DESERT HIGHWAY – DAY
Wide shot of the barren desert highway, the sun blazing
overhead as police cars and helicopters scour the area for
any trace of Elijah. Every mile of road feels heavier with
the possibility that Elijah is out there, planning his next
move.
FADEOUT
FADE IN
INT. POLICE STATION – DAY
Detective Martin sits at her desk, the weight of her
discovery heavy in the air. She stares at the old, grainy
photos of Elijah's father, the preacher who vanished under
mysterious circumstances. The file in front of her contains
details about the fire at the church and rumors from the
small, isolated town where Elijah grew up.
A map of the region is spread across her desk, with pins
marking key locations linked to Elijah's movements. The
pieces are coming together, but the final answer still eludes
her.
Her phone rings, snapping her out of her thoughts. She picks
it up.
DETECTIVE MARTIN
Martin.
SHERIFF THOMPSON (V.O.)
Martin, any updates?
Thompson's voice sounds stronger, though still strained from
his injuries. He's eager to get back in the fight.
DETECTIVE MARTIN
I'm piecing together Elijah's
background.
(MORE)
58.
DETECTIVE MARTIN (CONT'D)
His father was a preacher, obsessed
with fire-and-brimstone sermons.
There was a fire at the church when
Elijah was a kid, and his father
vanished. No body was ever found,
and the locals had a lot of stories
about that family. They were known
for being... extreme.
There's a pause on the line as Thompson process the
information.
SHERIFF THOMPSON (V.O.)
So this is generational. He's
carrying on his father's
mission—cleansing sinners,
following some twisted family
legacy.
DETECTIVE MARTIN
Exactly. And I think his father's
church is the key. If we can find
it, we might have a shot at
predicting Elijah's next move.
SHERIFF THOMPSON (V.O.)
Do you know where it is?
Martin pulls out an old document from the file, an address
scrawled on the bottom in faded ink.
DETECTIVE MARTIN
I think I've got it. Small town
about fifty miles from here, deep
in the desert. The place was
practically wiped off the map after
the fire. No one talks about it
anymore. If Elijah's hiding there,
it's the perfect place to
disappear.
SHERIFF THOMPSON (V.O.)
Send me the details. I'm heading
out of here as soon as I'm cleared.
We'll meet up and end this.
Martin nods, though the doubt still lingers in her mind.
Elijah has always been one step ahead, and she knows this
confrontation won't be simple.
DETECTIVE MARTIN
Stay safe, Sheriff. I'll update you
as soon as I get more intel.
59.
She hangs up, staring at the map. There's a growing urgency
in her gut, a sense that time is running out.
CUT TO:
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
26 -
Echoes of Danger
EXT. DESERT TOWN – DAY
Wide shot of a small, nearly abandoned town in the middle of
the desert. The sun hangs high, casting long shadows over the
cracked asphalt. Dust kicks up in the wind, and most of the
buildings are boarded up, remnants of a place forgotten by
time.
Detective Martin's car pulls into town, the engine the only
sound for miles. She steps out, her eyes scanning the area.
The eerie quiet hangs over everything.
CUT TO:
EXT. ABANDONED CHURCH DAY
At the edge of town, an abandoned church stands tall, its
once-white walls now peeling and worn. The steeple is
crooked, casting a jagged shadow over the surrounding desert.
The building is a husk of what it once was, the windows
shattered, and the doors barely hanging on their hinges.
Martin approaches cautiously, her heart pounding. She knows
this place is important—this is where Elijah's father
preached his apocalyptic sermons, where the fire that
consumed the church started.
CUT TO:
INT. ABANDONED CHURCH – DAY
Martin pushes the creaking door open, stepping inside. The
interior is dark and covered in dust, but there are signs of
recent activity. Footprints in the dust, scattered papers,
and old, crumbling religious symbols line the walls.
In the center of the room, a large wooden altar still stands,
burned and scarred from the fire that took place years ago.
Behind it, a massive cross hangs, charred at the edges but
still standing tall.
60.
Martin walks toward the altar, her flashlight illuminating
the area. She notices something strange—a collection of
newspapers, carefully arranged on the floor. She kneels down,
picking one up.
It's a story about Reverend Austin Locke, the preacher Elijah
almost killed the night before. Other papers feature
headlines about prominent religious figures, all with some
form of scandal attached—hypocrisy, abuse, corruption. These
are the sinners Elijah has been targeting.
DETECTIVE MARTIN
(whispering to herself)
He's collecting them.
Martin's eyes narrow as she flips through the papers. They're
all connected to the people Elijah believes are hiding behind
a false veil of righteousness. He's choosing his targets
carefully, and this church is his war room.
Suddenly, she hears a creak behind her. She spins around, her
hand instinctively moving toward her holster. The door swings
open, and a young boy (10 or 11 years old) stands in the
doorway, wide-eyed and trembling.
BOY
You're not supposed to be here.
Martin takes a step forward, her voice calm but firm.
DETECTIVE MARTIN
Who are you? The boy shifts
nervously, his dirty clothes
hanging loosely off his frame. His
eyes flicker toward the altar.
BOY
You have to leave. He's coming back
soon.
Martin's heart skips a beat. She crouches down, trying to
connect with the boy.
DETECTIVE MARTIN
Who's coming back? Elijah? The boy
nods, fear etched across his face.
BOY
He said he's got work to finish.
That he's almost ready.
The boy shakes his head, glancing behind him nervously as if
he expects Elijah to appear any moment.
BOY
He doesn't stay long. Always
moving. But he said the next one is
important. Bigger than the others.
Martin stands up, her mind racing. Elijah is escalating. If
she doesn't act fast, there will be more blood, and this time
it could be on a much larger scale. She reaches into her
pocket, pulling out her phone to text Sheriff Thompson the
location. Just as she's about to hit send, the phone
vibrates—another incoming call from an unknown number. Her
pulse quickens as she answers.
DETECTIVE MARTIN
Martin.
The voice on the other end is soft, familiar—Elijah.
ELIJAH (V.O.)
Detective. I see you've found my
father's church. You're getting
closer.
Martin's heart pounds as she steps toward the door, scanning
the horizon outside. She can't see him, but she knows he's
nearby.
DETECTIVE MARTIN
This ends now, Elijah. We're not
letting you hurt anyone else.
There's a pause, and when Elijah speaks again, there's a
strange calm in his voice.
ELIJAH (V.O.)
You're wrong, Detective. It's only
just begun. There are still so many
to cleanse. You can't stop what's
coming.
Martin's grip tightens on her phone, her voice sharp.
DETECTIVE MARTIN
We'll stop you. You're not the
instrument of God—you're a
murderer.
62.
Elijah's voice remains steady, unshaken by her accusation.
ELIJAH (V.O.)
We'll see. I have one more message
to deliver. You'll find me... when
the time is right.
The call disconnects, leaving Martin standing in the empty
church, her heart racing. She looks down at the boy, who now
stands silent and scared. Elijah is preparing for something
bigger than anything he's done before. And time is running
out.
CUT TO:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
27 -
Race Against Divine Judgment
EXT. DESERT – DAY
Wide shot of Martin driving away from the abandoned church,
dust kicking up behind her. The boy watches from the doorway
as she speeds down the empty road, heading toward the final
confrontation.
CUT TO:
EXT. DESERT HIGHWAY – DAY
Detective Martin's car speeds down the dusty highway, a cloud
of dirt trailing behind her. She's on edge, adrenaline
pumping through her veins as she processes Elijah's cryptic
message. She knows now that something catastrophic is about
to happen. Elijah isn't finished—he's planning something much
larger, more deadly.
Her phone buzzes in the passenger seat. She glances over—it's
Sheriff Thompson. She puts it on speaker as she drives, her
voice tight with urgency.
DETECTIVE MARTIN
Thompson, I'm closing in. Elijah
called me, said he has "one more
message to deliver." He's planning
something big. We need to move now.
SHERIFF THOMPSON (V.O.)
I'm on my way. Any idea where he's
headed?
(MORE)
63.
SHERIFF THOMPSON (V.O.) (CONT'D)
Martin swerves around a curve, the
desert flying past her windows.
DETECTIVE MARTIN
His father's church—it's part of a
bigger plan. He's been using these
religious landmarks as stages for
his "cleansings," but this last
one... I think it's going to be
massive. He's ramping up. He wants
to make a statement. There's a
pause on the other end, the sound
of Thompson shifting in his
hospital bed.
SHERIFF THOMPSON (V.O.)
Then we stop him before he gets the
chance.
CUT TO:
EXT. DESERT TOWN – DAY
Sheriff Thompson, bruised but determined, steps out of his
car in front of the small-town sheriff's office. His body is
still recovering from the crash, but he's not going to sit
out any longer. His mind is set. He hobbles inside, where
Deputy Reyes and Officer Adams, still with his arm in a cast,
are waiting.
Adams looks concerned as he sees the sheriff.
OFFICER ADAMS
Sheriff, you should still be
resting. You took a hell of a hit—
SHERIFF THOMPSON
No time, Adams. Elijah's making his
final move. We don't have the
luxury of waiting.
Thompson points to a map spread
across the table, detailing the
area surrounding Elijah's father's
old church.
SHERIFF THOMPSON (CONT'D)
Get units to cover every road out
of town. We're going to create a
perimeter, flush him out.
(MORE)
64.
SHERIFF THOMPSON (CONT'D)
If Elijah's coming back here, we'll
trap him. Reyes nods, already
gathering officers and preparing a
plan.
INT. ELIJAH'S HIDEOUT – DAY
In the dark, isolated shack deep in the desert, Elijah sits
quietly at a small wooden table, surrounded by the remnants
of his father's sermons and symbols of religious judgment.
His eyes are calm, even serene, as he meticulously writes in
his notebook, his fingers moving with precision and purpose.
He flips to a new page, inscribing a new name with care. The
final name.
Elijah rises, moving to a small mirror hanging on the wall.
He looks at himself, his expression unreadable. In the
reflection, the outline of his tools can be seen in the
background—tools that will soon be used for his "final
cleansing."
He whispers softly, a prayer more to himself than to anyone
else.
ELIJAH
The wolves will be exposed... the
sinners cleansed. This is the last
judgment.
Elijah picks up his bag of tools and steps outside into the
scorching desert heat, his next destination set. His
movements are methodical, calm. He is a man with a
mission—one that he believes is divinely ordained.
FADE OUT
FADE IN
EXT. DESERT TOWN – DAY
Wide shot of multiple police vehicles scattered across the
desert roads, forming a perimeter around the town and the
abandoned church. Helicopters hover in the sky, their
searchlights sweeping the vast emptiness.
Martin pulls up to the edge of the perimeter, stepping out
and walking briskly toward Sheriff Thompson, who stands at
the center of the operation, a map spread out on the hood of
his cruiser.
65.
DETECTIVE MARTIN
You think this'll hold him?
Thompson nods grimly, his eyes
scanning the horizon.
SHERIFF THOMPSON
If he's coming this way, we'll
catch him. No way out once he's
inside the perimeter.
Martin sighs, but her gaze remains fixed on the distant
mountains, knowing Elijah's cunning too well to feel fully
secure.
DETECTIVE MARTIN
I have a feeling he'll try
something bigger than just another
target. He's not done with Locke
and those like him. He's going
after something more symbolic.
Thompson turns to her, frowning.
SHERIFF THOMPSON
What are you thinking?
Martin pulls out a series of photos from her pocket—each one
of religious gatherings, including Reverend Locke's
megachurch, an enormous building with tens of thousands of
followers, many of whom remain loyal despite the rumors.
DETECTIVE MARTIN
This is bigger than personal
vendettas. Elijah wants to send a
message to the world. He's going
after Locke's followers. If we
don't stop him here, I think he's
going to target a mass
gathering—something where he can
make a statement in front of
thousands.
Thompson curses under his breath, realizing the gravity of
the situation.
SHERIFF THOMPSON
We can't let him get that far.
CUT TO:
66.
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
28 -
Smoke and Mirrors
EXT. DESERT HIGHWAY – SUNSET
Elijah drives silently, his tow truck kicking up dust as the
sun sets over the horizon, casting an orange glow across the
desert. His eyes are focused, his grip on the steering wheel
tight but controlled.
Ahead, he spots the first checkpoint—a police car blocking
the road. He slows down, a slight smile forming on his lips.
He knows they're trying to stop him, but he's already planned
for this.
CUT TO:
EXT. POLICE CHECKPOINT – SUNSET
Officer Reyes stands beside the patrol car, watching as
Elijah's tow truck approaches. He raises a hand, signaling
for Elijah to stop. The truck slows down, coming to a halt a
few feet in front of the checkpoint.
Reyes steps toward the driver's window, his hand resting on
his holstered gun.
OFFICER REYES
Evening. We're conducting a routine
check. Mind stepping out of the
vehicle?
Elijah looks up at Reyes, calm and composed. He nods, but as
he opens the door and steps out, his hand moves swiftly to
the side of the truck, releasing a hidden trigger.
Reyes barely has time to react before a blast of smoke erupts
from beneath the truck, filling the air with a thick, choking
cloud. He stumbles back, coughing and trying to regain his
bearings, but by the time the smoke clears, Elijah is
gone—his truck speeding off into the desert, bypassing the
roadblocks.
INT. POLICE COMMAND CENTER – SUNSET
The radio crackles to life as reports of the smoke bomb and
Elijah's escape flood in. Martin and Thompson rush to the
control center, frustration etched across their faces.
67.
DISPATCH (V.O.)
Suspect has evaded the checkpoint.
Tow truck headed northwest—repeat,
suspect has bypassed the perimeter.
Thompson slams his hand on the table.
SHERIFF THOMPSON
Damn it! He's slipping right
through our fingers!
Martin steps forward, her mind working quickly.
DETECTIVE MARTIN
We need to figure out where he's
going. He's not running away—he's
moving toward something. Something
big.
Thompson looks at her, then at the map of the area.
DETECTIVE MARTIN (CONT'D)
There's only one major location
that fits the bill—Reverend Locke's
megachurch, where a massive service
is scheduled for tomorrow, despite
the controversy.
SHERIFF THOMPSON
Locke's megachurch... It's the
perfect target. Thousands of
people, most of them still loyal to
him.
Martin's eyes widen with realization.
DETECTIVE MARTIN
That's it. That's his endgame. He's
going to make a spectacle of it. We
need to move now—Locke might be the
only one who knows Elijah's plan.
Genres:
["Thriller","Action","Crime"]
Ratings
Scene
29 -
Descent into Darkness
EXT. DESERT NIGHT – NIGHT
Elijah's truck speeds through the desert, heading toward his
final destination. The road ahead is clear, and his mind is
set. His mission will soon be complete.
68.
As the lights of the distant city come into view, Elijah's
lips curl into a cold, determined smile.
CUT TO:
EXT. MEGACHURCH – NIGHT
The enormous Reverend Locke's megachurch stands illuminated
against the night sky, its towering cross casting a long
shadow over the massive parking lot. Cars stream in as
thousands of loyal followers gather for a special service,
despite the scandal surrounding Locke. The controversy only
seems to have strengthened their faith, and tonight's event
has drawn even more attention than usual.
Inside, the sound of voices praying and singing hymns fills
the vast space. The atmosphere is thick with emotion, a mix
of devotion and desperation.
CUT TO:
INT. POLICE COMMAND CENTER – NIGHT
Back at the mobile command center set up outside of town,
Sheriff Thompson and Detective Martin stand over a map of the
city, detailing the layout of the megachurch and the
surrounding area. Officers rush around, preparing for the
operation.
DISPATCH (V.O.)
Units are in position at all exits.
Roadblocks are set. If Elijah shows
up, he's not getting out. Thompson
nods but doesn't look convinced. He
knows how clever Elijah is—he's
always one step ahead. His eyes
flicker to Martin.
SHERIFF THOMPSON
We can't underestimate him. This is
bigger than anything he's done
before. He wants to send a message,
and Locke's church is the perfect
stage.
69.
Martin tightens her grip on the edge of the table, her mind
racing. They know where Elijah is headed, but the question
remains: how will he strike? She looks up at Thompson,
determination burning in her eyes.
DETECTIVE MARTIN
We can't let him turn this into a
bloodbath. I'm going inside to get
Locke. He might know how Elijah
plans to get in.
Thompson nods, understanding the gravity of the situation.
SHERIFF THOMPSON
Be careful. He'll be watching for
you.
CUT TO:
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
30 -
Tension at the Megachurch
EXT. MEGACHURCH – NIGHT
Detective Martin pulls into the parking lot, slipping through
the crowd as people file into the massive building. The glow
of television cameras and media crews hangs in the air—this
service is being broadcast live to millions of viewers around
the world, adding another layer of complexity to the
situation.
Martin keeps her head low, scanning the area for any sign of
Elijah or his tow truck, but nothing stands out. The church
is too big, the crowd too thick. She pushes forward,
determined.
CUT TO:
INT. MEGACHURCH – BACKSTAGE – NIGHT
Inside the cavernous church, Reverend Austin Locke is pacing
nervously backstage, sweat dripping down his brow. His once-
polished demeanor has cracked under the weight of his recent
scandals, and tonight is his desperate attempt at redemption.
He knows his followers still believe in him, but he's also
haunted by the thought of Elijah lurking somewhere in the
shadows.
70.
Locke is surrounded by assistants and security, but none of
them seem to ease his growing anxiety.
Suddenly, there's a knock at the door. Locke flinches, then
nods to one of the security guards to answer it. The door
swings open, and Detective Martin steps in, her face serious.
DETECTIVE MARTIN
Reverend Locke, we need to talk.
Locke stares at her, his nervous
energy intensifying.
LOCKE
I—I've already told the police
everything I know. Elijah... he's
deranged. He's obsessed with me.
Martin steps forward, lowering her
voice.
DETECTIVE MARTIN
He's more than obsessed. He's
coming here tonight, and we need to
know what he's planning. You've
dealt with him personally—what does
he want from you? Locke swallows
hard, looking down at the floor.
LOCKE
He thinks I'm a false prophet. A
hypocrite. He's made it his mission
to cleanse me, to make an example
of me in front of everyone. He's
delusional, but I can't predict
what he'll do next. I'm just...
trying to survive this.
Martin leans in closer, her eyes sharp.
DETECTIVE MARTIN
If he's coming for you, he won't
just target you. He's going to go
after your followers, too. This
whole event—it's the perfect stage
for him. A chance to send his final
message.
Locke's face pales, realizing the gravity of the situation.
LOCKE
You think he's going to attack the
congregation?
71.
Martin doesn't answer, but the look in her eyes is enough.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
31 -
Tension at the Megachurch
EXT. MEGACHURCH – PARKING LOT – NIGHT
Outside the church, the parking lot has mostly cleared as the
service begins inside. The distant hum of prayers and hymns
can be heard faintly through the thick walls. But at the far
end of the lot, a pair of headlights slowly flicker on.
Elijah's tow truck sits hidden in the shadows, unnoticed
among the sea of cars. The engine purrs quietly as Elijah
watches the church from a distance, his expression
unreadable. He reaches into the glove compartment, pulling
out a small remote detonator.
Elijah's plan is simple but devastating. He has rigged
explosives inside multiple vehicles parked close to the
church's main entrance. His goal isn't just to kill
Locke—it's to bring the entire congregation to their knees,
to send a message to the world.
He grips the remote tightly, his eyes fixed on the entrance
of the church.
CUT TO:
INT. MEGACHURCH – STAGE – NIGHT
Inside, the service is in full swing. Reverend Locke stands
at the podium, his voice shaky but determined as he speaks to
the sea of people. The audience hangs on his every word,
desperate to hear his message of salvation and redemption.
LOCKE
(voice trembling)
We are all sinners in the eyes of
the Lord, but we are also His
children. We must seek forgiveness,
seek the light in the darkness...
Detective Martin watches from backstage, her heart pounding.
She knows Elijah is somewhere outside, waiting to strike.
Every second that passes feels like a countdown to disaster.
Suddenly, her phone buzzes in her pocket. She pulls it out,
seeing a text from Sheriff Thompson.
72.
TEXT FROM SHERIFF THOMPSON
Elijah's truck spotted in the
parking lot. We're moving in. Stay
sharp.
Martin's pulse quickens. It's happening. She rushes toward
the back exit, slipping out into the parking lot just as the
police converge on the area.
CUT TO:
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
32 -
Divine Judgment
EXT. MEGACHURCH – PARKING LOT – NIGHT
Martin emerges into the dark lot, scanning the rows of parked
cars for any sign of Elijah. The faint glow of the church's
lights illuminates the scene, but everything feels eerily
quiet.
Suddenly, she spots it—Elijah's tow truck parked near the far
end of the lot, its engine running.
She moves quickly, ducking between cars as she approaches the
truck. Her hand hovers over her gun, ready for anything.
INT. ELIJAH'S TOW TRUCK – NIGHT
Elijah sits behind the wheel, staring at the detonator in his
hand. His expression is cold, resolute. This is his
moment—the final act in his mission of judgment.
But as his thumb hovers over the button, something catches
his eye.
Martin, moving toward the truck, her gun drawn.
Elijah's eyes narrow. He places the detonator carefully on
the seat beside him and steps out of the truck, his movements
slow and deliberate.
EXT. MEGACHURCH – PARKING LOT – NIGHT
Martin steps out from behind the car, her gun aimed directly
at Elijah. The two stand across from each other, the weight
of the moment pressing down on them.
DETECTIVE MARTIN
It's over, Elijah. Put your hands
in the air.
73.
Elijah looks at her, unafraid. His eyes flicker with
something almost like pity.
ELIJAH
You don't understand, Detective.
This isn't about revenge. This is
about salvation.
Martin tightens her grip on her gun, her voice sharp.
DETECTIVE MARTIN
This is about murder. You're not
saving anyone—you're killing
innocent people. It ends now.
Elijah tilts his head, studying her. There's a strange calm
in his voice as he responds.
ELIJAH
Innocent? You've seen their faces.
You know the truth. This world is
drowning in sin, and I am the
instrument to cleanse it.
Martin takes a step closer, her heart pounding in her chest.
DETECTIVE MARTIN
You're wrong, Elijah. And I won't
let you hurt anyone else.
Elijah's smile fades, replaced by a quiet, dangerous
intensity.
ELIJAH
You can't stop what's coming. The
judgment has already begun.
Without warning, Elijah reaches for the detonator. Martin's
eyes widen as she reacts, firing her gun just as Elijah's
thumb presses down on the button.
BOOM.
74.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
33 -
Judgment in the Flames
EXT. MEGACHURCH – EXPLOSION – NIGHT
A massive explosion rocks the parking lot, sending cars
flying and flames roaring into the sky. The shockwave knocks
Martin off her feet, throwing her back into the rows of
parked vehicles. Fire and debris rain down, lighting up the
night in a horrific blaze.
CUT TO:
INSIDE THE CHURCH, - NIGHT
The congregation erupts into panic, screams filling the air
as people rush toward the exits, desperate to escape the
chaos outside.
EXT. PARKING LOT – NIGHT
Martin struggles to her feet, coughing through the smoke and
dust. Her ears ring, and her vision is blurry, but she forces
herself to move. She staggers forward, her eyes searching
through the fire and wreckage.
In the distance, she sees Elijah, standing amidst the flames,
his body battered but still standing. His face is calm, his
eyes locked on hers.
He smiles—a small, eerie smile—as the flames rage around him.
CUT TO:
INT. MEGACHURCH – NIGHT
Inside the church, police officers storm through the doors,
guiding people out as the fire spreads. Reverend Locke is
dragged off stage by his security, his face pale and shaken.
CUT TO:
75.
EXT. MEGACHURCH – NIGHT
Outside, Martin limps toward Elijah, her gun raised once
again. She's exhausted, bruised, and bleeding, but she won't
stop. Not now.
DETECTIVE MARTIN
This ends... now.
Elijah stares at her, the smile never leaving his face. His
voice is soft, almost peaceful.
ELIJAH
It's already over, Detective. The
cleansing has begun.
Martin's finger tightens on the trigger.
CUT TO:
EXT. MEGACHURCH – NIGHT
The fire from the explosion burns bright in the background,
illuminating the parking lot where Detective Martin stands,
her gun trained on Elijah. Her body aches from the blast, but
her resolve is unshakable. This is the end.
Elijah stands amidst the flames, his smile eerie and calm, as
if the chaos around him is part of some grand design. His
eyes lock with Martin's, the intensity of his gaze unbroken.
ELIJAH
You can kill me, Detective, but you
can't stop this. The world will
see. The judgment is already upon
them.
Martin breathes heavily, her hand steady despite the tremors
in her body. Every instinct tells her to pull the trigger, to
end this once and for all. But something in Elijah's voice
gives her pause. There's a depth to his delusion that
frightens her, a belief so absolute that even now, after the
destruction he's caused, he feels victorious. She takes a
step closer, her voice hard.
76.
DETECTIVE MARTIN
This isn't judgment, Elijah. This
is murder. You're not cleansing
anything—you're just leaving a
trail of destruction. People will
remember you as a killer, not a
savior.
Elijah's smile falters, but only for a moment. He tilts his
head, almost curious.
ELIJAH
You still don't understand, do you?
I'm not here to be remembered. I'm
here to carry out His will. I am
nothing... but an instrument.
Martin's grip on her gun tightens. She knows this won't end
with words. Elijah is too far gone, lost in his own
fanaticism. She takes another step forward, her voice low.
DETECTIVE MARTIN
It ends here.
Before Elijah can respond, the sound of sirens and police
radios crackle in the distance. Backup has arrived, the
flashing blue and red lights cutting through the smoke.
Martin glances over her shoulder as Sheriff Thompson and his
team move in, weapons drawn, securing the scene.
SHERIFF THOMPSON
Martin! Step back!
Martin hesitates for a moment but then lowers her gun, taking
a step back as officers rush in to surround Elijah. His calm
demeanor never falters, even as they close in on him, weapons
aimed. His hands raise slowly, almost gracefully.
ELIJAH
You think this is over. But you'll
see. The world will see. The sins
of man are too great to ignore.
Thompson approaches cautiously, his eyes scanning Elijah for
any sign of another trick, another device. But Elijah is done
fighting. His mission is complete in his mind, and he offers
no resistance as they take him into custody.
77.
SHERIFF THOMPSON
Get him out of here. Officers move
in, cuffing Elijah and leading him
away. His eyes remain fixed on
Martin, that eerie smile still
etched on his face.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
34 -
Aftermath of Chaos
EXT. MEGACHURCH – NIGHT
As Elijah is taken to the police cars, the remaining officers
work to contain the fire and evacuate the remaining
congregation members. The area is a mix of chaos and
relief—people sobbing, media crews scrambling to capture the
aftermath, and police cordoning off the wreckage.
Martin stands still for a moment, watching the flames flicker
and die in the distance. Her body feels heavy with
exhaustion, but there's a quiet sense of victory. Elijah is
finally in custody, his reign of terror over.
Thompson walks over to her, his face worn but relieved.
SHERIFF THOMPSON
You did good, Martin. You stopped
him before he could do more damage.
Martin doesn't say anything for a moment. She looks out at
the destruction, the lives forever changed by Elijah's
twisted mission.
DETECTIVE MARTIN
Not soon enough.
Thompson nods, understanding the weight of her words. The
damage Elijah has caused can't be undone, but at least there
will be no more victims.
SHERIFF THOMPSON
You saved lives tonight. Don't
forget that. Martin turns to face
him, her expression softening.
DETECTIVE MARTIN
We stopped him. Together.
78.
Thompson offers her a small smile, then gestures toward the
approaching paramedics.
SHERIFF THOMPSON
Get yourself checked out. You've earned a break.
Martin nods, but before she walks away, she looks back at the
scene one last time—the smoking wreckage, the flashing
lights, and Elijah being loaded into a police car, still
calm, still smiling.
CUT TO:
INT. POLICE CAR – NIGHT
Elijah sits in the back of the squad car, his hands cuffed
behind his back. He stares straight ahead, his expression
serene. The sound of the chaos outside fades as the car doors
close, sealing him inside.
For the first time, Elijah closes his eyes, leaning back
against the seat. His lips move in silent prayer, as if the
flames, the destruction, and the arrests were all part of a
larger plan—a plan only he could see.
CUT TO:
EXT. DESERT HIGHWAY – NIGHT
The police cars pull away from the church, the flashing
lights growing smaller as they disappear down the long desert
highway. The night is quiet once again, the fires slowly
dying down as the first signs of dawn creep over the horizon.
INT. HOSPITAL ROOM - DAY
One week later, Martin sits in a hospital room, her arm in a
sling, recovering from her injuries. She stares out of the
window at the clear blue sky, her mind still replaying the
events of that night.
A soft knock at the door interrupts her thoughts, and Sheriff
Thompson steps inside, carrying a coffee. He gives her a nod
and sits down beside her bed.
79.
SHERIFF THOMPSON
How're you feeling? Martin shrugs.
DETECTIVE MARTIN
Better. Physically, at least.
Thompson hands her the coffee, and she takes it with a small
smile. There's a moment of silence between them, both of them
processing everything that's happened.
SHERIFF THOMPSON
Elijah's trial starts soon. They're
already calling him the "Highway
Prophet" in the papers.
Martin shakes her head, her expression darkening.
DETECTIVE MARTIN
He wanted that. To be remembered,
to be seen as more than just a
murderer. He thought he was doing
God's work.
Thompson nods, understanding the frustration in her voice.
SHERIFF THOMPSON
He's not a prophet. He's just a
man, Martin. A man who will spend
the rest of his life in a cell. And
that's because of you.
Martin sips her coffee, her mind drifting back to that final
confrontation in the parking lot.
DETECTIVE MARTIN
It's not over, though. There are
people out there who believed him,
who think he was right.
Thompson leans forward, his voice steady.
SHERIFF THOMPSON
There will always be people like
that. But you did your job. You
stopped him from killing more
people. That's what matters.
Martin nods, though the weight of it all still lingers. She
looks out the window again, her voice softer now.
80.
DETECTIVE MARTIN
Maybe. But I'm not sure if this is
over—not really. Not for the people
who lost someone. Not for the ones
who still think he was right.
Thompson stands up, giving her a
reassuring pat on the shoulder.
SHERIFF THOMPSON
That's something they'll have to
face. You've done your part. Now,
it's time to rest.
He walks toward the door, pausing just before he leaves.
SHERIFF THOMPSON (CONT'D)
Get some sleep, Martin. You've
earned it.
As Thompson leaves, Martin leans back in her bed, the
sunlight streaming in through the window. The world outside
is quiet, peaceful, but she knows there are still battles to
be fought—battles beyond the desert, beyond Elijah. But for
now, she closes her eyes, letting herself rest.
FADE OUT
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
35 -
Conversations in Confinement
INT. PRISON TRANSPORT VAN – DAY
The interior of the prison transport van rattles as it speeds
down the highway, heading toward the federal penitentiary.
The sun blazes outside, casting harsh shadows through the
small, barred windows. The van’s interior is cramped and
sterile, metal benches bolted to the sides, and a thick wire
mesh separating the back from the driver’s cab.
Elijah sits shackled and cuffed in the center seat, his
posture relaxed despite the restraints. His eyes are closed,
lips moving silently as if in prayer. He looks calm, almost
serene, his mind somewhere far away.
Two guards sit across from him, both dressed in standard
correctional uniforms—Officer Harris (late 30s, stocky, and
stern) and Officer Grady (early 40s, lean, and thoughtful).
They glance at Elijah with a mix of wariness and curiosity,
the silence between them heavy and expectant.
Grady shifts in his seat, breaking the silence.
81.
OFFICER GRADY
So, you’re the infamous “Highway
Prophet,” huh? Can’t say I expected
to meet you in person.
Elijah opens his eyes slowly, turning his gaze to Grady. His
expression is calm, and there’s a faint smile at the corner
of his lips.
ELIJAH
I’m just a man. A servant carrying
out His will.
Harris snorts, shaking his head.
OFFICER HARRIS
Yeah, that’s what they all say.
I’ve seen plenty of so-called
‘messiahs’ in my time. Most of ‘em
break down the moment they see
those prison walls.
Elijah’s smile doesn’t waver. He leans back slightly, his
eyes drifting between the two guards.
ELIJAH
Those who truly believe never
break. The world is blind to its
own sins. People like you... you
see it, don’t you? The corruption,
the lies. They say I’m a monster,
but I’ve only revealed the truth.
Grady’s gaze flickers with a hint of curiosity. He’s been
reading about Elijah, following the news, and though he won’t
admit it, something about Elijah’s calm, unwavering
conviction has drawn him in.
OFFICER GRADY
The world is a messed up place,
I’ll give you that. But your way of
fixing it... doesn’t seem like it’s
done any good. You think killing
people makes you some kind of
savior?
Elijah’s eyes soften, almost as if he pities Grady’s lack of
understanding.
ELIJAH
It’s not about killing. It’s about
cleansing. Bringing light to the
darkness.
(MORE)
82.
ELIJAH (CONT'D)
The wolves among the sheep have
always hidden their true nature.
People like Reverend Locke—men who
used faith to hide their own
depravity. The world needed to see
the truth.
Harris shifts uncomfortably, his face tightening in
annoyance.
OFFICER HARRIS
Enough of that crap. You’re going
away for a long time, pal. No more
preaching, no more killing. Just
four walls and a cell.
Elijah’s smile widens slightly, his voice lowering to a
whisper.
ELIJAH
Prison walls can’t contain the
truth, Officer. There are others
who see it too. You’d be surprised
how many people are waking up.
Grady leans forward slightly, his interest piqued despite
himself.
OFFICER GRADY
Others?
Elijah’s gaze locks with Grady’s, his smile fading into
something more serious.
ELIJAH
They’ll come to know the truth,
just like you’re starting to. You
see it, don’t you? The injustice,
the hypocrisy. You’re just waiting
for a sign. Waiting for someone to
show you the way.
Harris scoffs, but Grady remains silent, his mind clearly
turning over Elijah’s words. The van hits a bump, and the
jolt brings everyone back to the present.
CUT TO:
83.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
36 -
The Breaking Point
INT. DRIVER'S CAB OF THE PRISON VAN – DAY
Officer Jenkins (mid-50s, gruff, a no-nonsense type) drives
the van, his eyes fixed on the road ahead. Next to him,
Officer Ramirez (early 30s, quiet and observant) is scrolling
through a report on his tablet.
Jenkins glances in the rearview mirror at the shadowed
outline of Elijah sitting in the back.
OFFICER JENKINS
You hearin’ what’s going on back
there? Damn loony’s got them
talking like he’s the second coming
or something.
Ramirez shakes his head, unimpressed.
OFFICER RAMIREZ
They all do. Doesn’t matter what
they believe—prison has a way of
bringing them back to reality.
Jenkins grunts, keeping his eyes on the road. In the
distance, the federal penitentiary comes into view—its
massive walls towering over the flat desert landscape like a
fortress. The sight of it usually silences any prisoner, no
matter how defiant.
CUT TO:
INT. PRISON TRANSPORT VAN – DAY
Grady stares at Elijah, something unspoken passing between
them. Elijah’s gaze is calm, unwavering, like he can see
right through the guard’s hardened exterior.
OFFICER GRADY
( (low voice) )
And what if... what if you’re
right? What if the system is
corrupt? What if the people you’ve
gone after were just as guilty as
you said?
Harris shoots Grady a sharp look, disbelief etched across his
face.
84.
OFFICER HARRIS
What the hell are you saying,
Grady? You can’t seriously be
buying into this guy’s garbage.
Grady leans back, crossing his arms, but his eyes remain
locked on Elijah’s.
OFFICER GRADY
I’m just saying... maybe he’s not entirely wrong. Look at
everything that’s come out about Locke. The drugs, the money,
the... kids. We all knew something was off, but nobody ever
did a damn thing about it. Elijah’s the one who exposed it
all.
Elijah’s voice is soft, persuasive.
ELIJAH
The truth is always there. People
like me, we’re just willing to act
on it. You could be, too.
Harris shakes his head, his expression a mix of anger and
disbelief.
OFFICER HARRIS
Don’t listen to him, Grady. He’s
just trying to get in your head.
We’re almost there. Couple more
miles and he’s out of our hands for
good.
But Grady’s gaze remains fixed on Elijah, something shifting
behind his eyes.
OFFICER GRADY
What if... it didn’t have to end
like this?
Elijah’s smile returns, and there’s a flicker of something
triumphant in his eyes.
ELIJAH
It doesn’t. It can begin again.
This isn’t the end of the road—it’s
just a new beginning. And you can
help bring it to life.
Harris stands up, his face flushed with anger.
OFFICER HARRIS
You’re outta your damn mind,
85.
GRADY.
Jenkins! Pull over. We need to shut
this down.
Grady moves suddenly, shoving Harris back against the wall.
Elijah watches, his smile fading as the tension in the van
escalates.
OFFICER GRADY
No. You don’t get it, Harris. I’m
tired of looking the other way.
Tired of watching people like Locke
get away with everything. Maybe
it’s time for a change.
Harris struggles, his voice strained.
OFFICER HARRIS
( You’re gonna throw your
career away for this
psycho?)
Grady’s face hardens, his mind made up.
OFFICER GRADY
No. I’m making sure justice gets
served. Real justice.
Elijah’s voice cuts through the chaos, calm and clear.
ELIJAH
It’s time, Grady. You know what to
do.
Grady nods, and before Harris can react, Grady reaches into
his pocket and pulls out a set of keys. He unlocks Elijah’s
cuffs, the metal clinking softly as they fall away.
Harris’s eyes widen in shock, but Grady is already moving. He
grabs the radio and shouts into it.
OFFICER GRADY
Jenkins! Stop the van! Now!
CUT TO:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
37 -
The Great Escape
INT. DRIVER'S CAB OF THE PRISON VAN – DAY
Jenkins and Ramirez exchange confused looks as they hear the
commotion through the radio.
86.
Jenkins reaches for the brakes, but before he can respond,
the back door of the van swings open.
CUT TO:
EXT. DESERT HIGHWAY – DAY
The van screeches to a halt, kicking up dust as it skids to a
stop on the side of the road. The back doors fly open, and
Elijah leaps out, landing with surprising agility. Grady
follows, his eyes wild with a mix of adrenaline and
determination.
Harris stumbles out after them, shouting.
OFFICER HARRIS
You’re making a mistake, Grady!
This guy is dangerous!
But Grady is already shoving Elijah toward a small, unmarked
car parked just off the road—it’s been waiting there the
whole time, part of a plan that’s been unfolding right under
everyone’s nose.
CUT TO:
EXT. DESERT HIGHWAY – DAY
Elijah slides into the back seat of the small, unmarked car
as Grady jumps into the driver’s seat. He slams the door
shut, adrenaline surging through him. His hands tremble
slightly on the steering wheel, the weight of his decision
crashing down on him, but he’s committed now—there’s no
turning back.
Officer Harris stumbles out of the van, clutching his side
where Grady shoved him. His voice is strained as he yells at
them, disbelief etched across his face.
OFFICER HARRIS
You’re out of your damn mind,
Grady! You think they won’t catch
you both? You’re finished!
But Grady ignores him. He turns the key in the ignition, and
the car roars to life.
87.
He throws it into gear, his eyes flickering to Elijah in the
rearview mirror. For a split second, doubt clouds his face,
but then he sets his jaw, determination taking hold.
OFFICER GRADY
We’re not finished. We’re just
getting started.
The car lurches forward, kicking up a plume of dust as it
speeds off down the deserted highway, leaving Harris behind.
Elijah leans back, the faintest smile playing on his lips as
the landscape blurs past.
Fade to black
FLASHBACK: ONE WEEK EARLIER
Genres:
["Thriller","Drama"]
Ratings
Scene
38 -
A Choice in the Shadows
INT. COUNTY JAIL – VISITOR’S ROOM – DAY
Elijah sits alone in a small visitation room, shackled and
cuffed. The room is stark and empty, a single table and two
chairs the only furnishings. The door creaks open, and
Officer Grady steps inside, a conflicted look on his face.
Grady hesitates, then takes a seat across from Elijah. He
glances at the camera in the corner of the room before
leaning forward, his voice low.
OFFICER GRADY
I’ve been thinking about what you
said… about the truth and the
people who need to see it. And… I
can’t stop wondering… what if
you’re right?
Elijah’s eyes narrow, studying Grady closely. There’s a
vulnerability in the guard’s gaze, a desperate need for
something Elijah has been offering: meaning, purpose, a
higher cause.
ELIJAH
It’s not about being right or
wrong. It’s about seeing what
others can’t. The world is full of
darkness, but you and I—we see the
light. You know it too, don’t you?
Grady swallows hard, nodding almost imperceptibly. He glances
at the camera again, then reaches into his pocket, pulling
out a small keycard.
88.
OFFICER GRADY
There’s a van scheduled to
transfer you to the federal
penitentiary next week. I’ll be on
that transport. I can make sure the
cuffs are loose, give you a window
to escape…
Elijah’s smile is subtle, but it reaches his eyes. He leans
forward, his voice soft and persuasive.
ELIJAH
I knew you’d see it. But you’ll
need a way to get past the
checkpoints. There’s an old friend
who can help us with that.
Grady raises an eyebrow, curiosity mingled with caution.
OFFICER GRADY
Who?
Elijah’s smile deepens.
ELIJAH
A man named Luther Gray. You’ll
find him at the Red Sands Motel on
Route 56. He owes me a favor. Tell
him the “Highway Prophet” sent you.
CUT TO:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
39 -
The Reluctant Alliance
EXT. RED SANDS MOTEL – DAY
A run-down, dusty motel stands in the middle of nowhere, its
neon sign flickering faintly in the scorching sun. Grady
pulls into the parking lot, his gaze scanning the area. The
place is nearly deserted—an ideal spot for shady deals and
hidden arrangements.
He steps out of his car and heads inside, the bell above the
door jingling softly. The interior is dimly lit, the air
thick with the smell of cigarette smoke and cheap perfume.
Luther Gray (mid-50s, rugged and wiry with a permanent scowl)
leans against the front desk, flipping through an old
magazine. He looks up as Grady approaches, his eyes
narrowing.
LUTHER
What’s a cop like you doing here?
You lost?
89.
Grady takes a deep breath, steadying himself. He knows what’s
at stake. He reaches into his pocket, pulling out a small
piece of paper with Elijah’s handwriting on it. He hands it
to Luther.
Luther glances at the note, and his scowl deepens. His eyes
flick back to Grady.
LUTHER (CONT'D)
“Highway Prophet,” huh? Didn’t
think I’d be hearing that name
again. What’s he want?
Grady shifts his weight, lowering his voice.
OFFICER GRADY
He needs a car. Something unmarked,
no plates. Needs it waiting near
the penitentiary route—someplace
isolated.
Luther’s eyes flicker with recognition. He leans back,
crossing his arms.
LUTHER
So he’s planning a breakout. I
figured he’d end up back behind
bars eventually, but… what makes
you think I’ll help you?
Grady holds Luther’s gaze, his voice steady.
OFFICER GRADY
Because he’s helped you before.
And because if you don’t, he’s got
more than enough dirt on you to
ruin whatever quiet little life
you’ve managed to build out here.
There’s a tense silence as Luther considers the offer.
Finally, he grunts, shaking his head in reluctant agreement.
LUTHER
Fine. There’s an old dirt road
about ten miles from the last
checkpoint, leads out to a ridge
overlooking the highway. I’ll leave
the car there, gassed up and ready.
But you tell Elijah—after this,
we’re even. I don’t want to hear
from him again.
Grady nods, relief washing over him.
90.
OFFICER GRADY
He’ll know.
Luther shoves the piece of paper back at Grady and turns
away, muttering under his breath.
CUT TO:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
40 -
Escape and Redemption
INT. PRISON TRANSPORT VAN – BACK TO PRESENT
The plan falls into place. Grady’s arrangement with Luther
has come through, and the unmarked car was waiting exactly
where it needed to be. The moment Grady and Elijah exited the
van, the car was there, hidden behind a small ridge.
Grady glances over at Elijah as he speeds down the highway,
his mind racing. His loyalty has been tested, and he’s
crossed a line he can’t uncross. Elijah seems to sense the
turmoil, his voice calm.
ELIJAH
You did the right thing, Grady.
You’re part of something bigger
now.
Grady swallows, his eyes fixed on the road ahead. The reality
of what he’s done—helping a dangerous fugitive escape—crashes
down on him, but a strange sense of purpose keeps him steady.
OFFICER GRADY
Where to now?
Elijah’s gaze drifts to the horizon, a strange light in his
eyes.
ELIJAH
There’s a place I need to be. An
old church, just outside the city.
You’ll know it when you see it.
Grady’s fingers tighten on the wheel. He nods, focusing on
the task at hand.
OFFICER GRADY
We’ll get you there.
CUT TO:
91.
EXT. DESERT HIGHWAY – DAY
The unmarked car barrels down the deserted highway, the
landscape blurring past. In the distance, the massive walls
of the federal penitentiary disappear into the rearview
mirror, shrinking until they’re just a memory.
Elijah leans back, his eyes closing for a moment. The getaway
was perfectly executed, and now he’s free once again—free to
continue his mission.
FADE TO BLACK:
FADE IN :
INT. FEDERAL PENITENTIARY – WARDEN’S OFFICE – DAY
Back at the federal penitentiary, chaos erupts as the news of
Elijah’s escape reaches the warden. Warden Phillips (late
50s, stern and authoritative) stands behind his desk, staring
at the frantic officers and agents rushing around him.
The phone in his hand shakes slightly as he speaks.
WARDEN PHILLIPS
How the hell did this happen? He
was supposed to be secured! Get
every unit on this—search the
entire perimeter! I want that man
found!
But as the officers scatter, there’s a sinking feeling in the
warden’s gut. Elijah is gone, and the repercussions of his
escape are only just beginning to unfold.
CUT TO:
EXT. DESERT CHURCH – DAY
The car pulls up to a small, abandoned church at the edge of
the desert. It’s old and crumbling, the paint peeling off the
walls, but there’s a strange air of reverence about it.
Elijah steps out, his eyes scanning the building. He turns to
Grady, who watches him with a mixture of awe and fear.
ELIJAH
Wait here. There’s something I
need to do.
92.
Grady nods, his heart still racing. As Elijah walks toward
the church, his posture calm and unhurried, Grady glances
around, the reality of what they’ve done still sinking in.
Elijah disappears into the church, leaving Grady alone with
his thoughts. The escape is complete, but what comes next is
unknown—something Grady both fears and is strangely drawn to.
CUT TO:
INT. ABANDONED CHURCH – DAY
Elijah steps inside the empty church, the wooden floor
creaking under his boots. Dust hangs in the air, catching the
light filtering through the broken windows.
He moves to the front, standing before the old, cracked
altar. Slowly, he kneels, closing his eyes in silent prayer.
His mission isn’t over. It’s only just begun.
CUT TO:
INT. ABANDONED CHURCH – DAY
The inside of the church is silent and hauntingly still. Dust
motes float through the beams of sunlight streaming in
through shattered stained glass windows. The pews, long
abandoned, are covered in a thin layer of dirt and decay. The
altar stands at the front, cracked and worn, its once-
polished wood marred by time.
Elijah kneels before the altar, his head bowed, hands clasped
in prayer. There’s a profound stillness in his posture—a man
who believes he’s in communion with something far greater
than himself. His whispered voice fills the empty space, his
words a fervent plea, a reconfirmation of his purpose.
ELIJAH
(softly, almost
reverently) )
Lord, I stand before you, humbled
and grateful. You have guided me
through the fire, delivered me from
the hands of the unworthy.
(MORE)
93.
ELIJAH (CONT'D)
I am your servant... your
instrument. Use me as you see fit.
His eyes open slowly, glancing up at the cracked ceiling
above. The light filters down on him, casting eerie patterns
across his face.
ELIJAH (CONT'D)
I have not faltered. The world may
see me as a monster, but you see
the truth. You know that I am here
to purge the wickedness that has
taken root. I will cleanse it, as
you have commanded. I will bring
your judgment to those who hide
behind false righteousness.
He rises to his feet, the intensity in his eyes unwavering.
He turns, his gaze sweeping across the empty church as if
envisioning the future—a future only he can see, a future
that involves a mission far greater than anything he’s done
so far.
Elijah’s voice grows stronger, echoing off the walls.
ELIJAH (CONT'D)
I am ready. Whatever trials await
me, I will face them. I will not
stop until your will is done. Even
in the darkness, I will be your
light. Even when I am hunted, I
will be your messenger.
He takes a deep breath, his expression calm, resolute.
ELIJAH (CONT'D)
There are more out there—more who
hide their sins behind the mask of
piety. I will find them. I will
show the world their true faces.
And when the time comes... they
will know that they are being
judged.
Elijah closes his eyes, his voice dropping to a whisper
again.
ELIJAH (CONT'D)
You have shown me the way. I will
not fail.
CUT TO:
94.
Genres:
["Thriller","Drama"]
Ratings
Scene
41 -
A Call to Action
EXT. ABANDONED CHURCH – DAY
Grady sits in the car, his foot tapping nervously on the
floorboard. He glances at the church, watching Elijah’s
silhouette through the broken windows. Despite everything, a
strange sense of peace emanates from the building, almost as
if the place itself has been sanctified by Elijah’s presence.
Grady swallows hard, his thoughts racing. He’s gone too far
to turn back now. He’s seen the world’s corruption
firsthand—seen people like Reverend Locke get away with
horrors that were swept under the rug. And now, sitting here,
waiting for Elijah to emerge, he can’t shake the feeling that
maybe… just maybe, Elijah is right.
The church door creaks open, and Elijah steps out, his face a
mask of calm certainty. He moves toward the car with measured
steps, his gaze locking with Grady’s.
Grady lowers the window as Elijah approaches. There’s a long
moment of silence between them—no words are necessary. Grady
sees the resolve in Elijah’s eyes, the unshakable faith that
drives him forward.
Finally, Grady speaks, his voice barely more than a whisper.
OFFICER GRADY
What now?
Elijah’s smile is almost serene, a look of quiet triumph.
ELIJAH
Now... we continue the work. The
wolves still hide among the flock.
But they won’t hide for long.
Grady nods slowly, feeling the weight of Elijah’s words
settle into his bones. He’s in this now—part of something far
larger than himself.
OFFICER GRADY
I’m with you. Whatever you need.
Elijah places a hand on Grady’s shoulder, his touch light but
firm.
ELIJAH
Your faith will be rewarded, Grady.
You’ve seen the truth. Together, we
will bring the light to those who
refuse to see it.
95.
Elijah steps back, his eyes drifting to the horizon, where
the sun is beginning to set, casting long shadows across the
desert. The wind picks up, carrying the scent of dust and
sand.
ELIJAH (CONT'D)
There is a storm coming—a
reckoning. But first, we must
prepare. There are still many more
lost souls to reach. The next stage
of our mission begins now.
Grady swallows hard, feeling both fear and exhilaration
course through him. He grips the steering wheel tightly,
nodding once more.
OFFICER GRADY
Where to?
Elijah’s gaze shifts back to the distant horizon, his eyes
filled with a strange, almost holy fire.
ELIJAH
Head north. There’s a town there—a
place where the darkness has taken
root. I’ve seen it in my dreams.
It’s time to shine the light once
more.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
42 -
A New Dawn of Judgment
EXT. DESERT HIGHWAY – SUNSET
The unmarked car speeds away from the abandoned church,
leaving it standing alone in the fading light. The desert
stretches out endlessly, the wind whispering secrets through
the empty expanse.
CUT TO:
INT. UNMARKED CAR – SUNSET
Elijah sits in the backseat, staring out at the open road
ahead. He’s calm, collected, a man with a renewed sense of
purpose. The shackles are gone, and with them, the
constraints of law and society.
96.
He whispers softly, almost as if speaking to someone unseen.
ELIJAH
The world thinks it has defeated
me, but I am still here. Still
carrying out your will. The next
chapter is about to begin. The
wolves will be exposed. The true
believers will rise. And those who
continue to hide their sins... they
will face your judgment.
He leans back, closing his eyes, a small smile tugging at his
lips.
ELIJAH (CONT'D)
I am ready, Lord. Guide me to where
you need me most. I will not fail
you.
CUT TO:
EXT. DESERT HIGHWAY – DUSK
The car disappears over a distant hill, the sky painted in
hues of deep orange and purple. The desert falls silent once
more, the church’s broken silhouette standing like a monument
to something long forgotten.
But Elijah’s words linger, hanging in the air like a prophecy
yet to be fulfilled.