Brume
Written by Tori Phillips
An excerpt of the following screenplay can be enjoyed in the Spring 2026 issue of Botticelli, and is published to the blog with Tori’s permission.
EXT. – MOLOCH MIDDLE SCHOOL – NIGHT
TIME STAMP: MOLOCH HILLS, PENNSYLVANIA – OCTOBER 12th, 1996
MUSIC CUE: “The Distance” by CAKE
The school is cool toned and cloudy. A late night basketball game ends and ZACH WILLIAMS (12) exits through the doors. He is wearing a green basketball jersey with a big number “7” on the front, with an unzipped windbreaker on top.
BENJAMIN “BEN” JOHNSON (12), Zach’s best friend, runs up behind him, his arm wrapping around his shoulder. Zach and Ben have been friends since childhood.
BEN
Good game dude! You totally demolished number four on that three point shot! He never had a chance!
ZACH
Thanks. Are your parents here?
BEN
Yeah, man! Do you need a ride?
Zach looks in the distance towards the road, watching it trail into the woods.
ZACH
Nah, I’ll be okay.
Zach shifts on his feet uncomfortably.
ZACH (CONT’D)
I’ll see you tomorrow, man.
BEN
See ya!
Ben runs towards his parents beat up family car, leaving Zach by himself.
EXT. – UNLINED ROAD IN THE MIDDLE OF THE WOODS – CONTINUOUS
Zach holds the straps of his backpack as he walks, the occasional street lamp lighting his path as he walks. Zach takes this way home everyday.
MUSIC SLOWS DOWN
Zach is about half way home when a CRACK is heard in the distant woods.
ZACH
Hm?
Zach looks up the road before he decides to take off his backpack, pulling out a small flashlight. He inhales hesitantly before heading into the woods.
EXT. – WOODS – CONTINUOUS
WIDE SHOT OF WOODS WITH ZACH WALKING
MUSIC STOPS
Zach continues his walk, the path is narrow and starts to fade after a few minutes. Leaves and bits of gravel crunch under his feet. Zach enters into a small clearing when he stops, flashing his light around the area.
ZACH
Hello? Is anyone there?
Zach continues to listen as he stands in the middle of the clearing.
A rustling in the trees is heard. Zach turns around quickly, his flashlight pointed towards the sound, only sees branches moving in the breeze.
Zach goes to turn again when something grabs his neck. Zach’s
backpack hits the ground along with this flashlight.
The only thing lit is his feet, dangling in the air helplessly. Zach’s muffled cries and gargling noises can be heard.
SMASH CUT TO:
EXT. – NEW YORK CITY SKYLINE – MORNING
TIME STAMP: NEW YORK CITY – OCTOBER 14th, 1996
The city skyline is muted and grey, making the city feel more miserable than what New York City is typically marketed as.
CUT TO: FBI HEADQUARTERS IN MANHATTAN
INT. OFFICE BUILDING – MORNING
ROWEN SINCLAIR, (40) is a gifted and complicated woman with a sophisticated skill set she’s spent an extended amount of time to learn. She is intimidating and strong, and has a bold sense of independence.
DERRICK LOGAN, (36) is a fellow co-worker and desk partner of Rowen. He is the personification of a man who is handed everything without doing much of anything worthwhile. While this is true, he often is unaware how frustrating it is to someone like Rowen, who works twice as hard for nothing in return.
Rowen sits in front of her computer, moving physical files into a developing digital space. Derrick enters the office space with a coffee cup in his hand.
DERRICK
Do you ever take a break and go home?
Rowen glances from her screen, but does not bother answering.
DERRICK (CONT’D)
Going home to a shower and a nice warm bed? Can’t beat that, right?
ROWEN
(looking at the screen) Glad you can sleep comfortably.
Derrick tosses his jacket on the back of his chair, and sets his coffee on the desk. He seems to disregard the deadpan response.
DERRICK
What are you even doing on that thing anyway?
Derrick gestures to the computer.
ROWEN
I’m digitizing these files since no one else seems to want to do it.
Rowen feels bitter, knowing its not a want, but a forced command from her boss, EDWARD STEWART, who often has her doing desk work rather than have her on the field, which was what she was trained to do. Rowen continues the sentence she was on.
CLOSE UP – SCREEN
“JANE DOE WAS FOUND STUFFED IN THE ICE BOX OF THE HOMEOWNER, ARNOLD JENKINS. MR.JENKINS HAS DISMEMBERED THE VICTIM, PACKING JANE DOE’S LIMBS FOR CONSUMPTION.”
Rowen subtly cringes.
ROWEN (CONT’D)
(under her breath) Gross.
The desktop landline on her desk rings, which Rowen answers on the second ring.
ROWEN (CONT’D)
(in the phone) Hello?
The voice of the young executive assistant to the director, CATHERINE DOUGLAS (34), chirps up on the other end with slight dramatization.
CATHERINE (O.S.)
The director would like to see you in his office in ten minutes!
Rowen’s eyes meet the ceiling momentarily.
ROWEN
Alright, tell him I’ll be there. Thanks.
Rowen hangs up the phone, and closes up the file she was working on, putting it into one of her desk cabinets.
Derrick, who has yet to start anything productive, raises a curious brow.
DERRICK
You going somewhere?
ROWEN
I’m going to see the director. He wants to meet with me.
Derrick cracks a grin playfully.
DERRICK
Are you in trouble with the boss man?
ROWEN
I doubt it. I have no idea what he wants with me.
Rowen grabs her leather bomber jacket, throwing it on, and adjusts the sleeves. She doesn’t bother saying farewell to Derrick, and leaves the office space.
INT. FBI HEADQUARTERS DIRECTORS HALLWAY – MORNING
Rowen strides towards the executive assistants desk. Catherine looks up with indifference from her computer.
CATHERINE
You’re good to go in.
Rowen turns to the door, knocking on the wood frame, the sign reading: EDWARD STEWART FBI DIRECTOR
EDWARD
(on the other side of the door)
Enter.
Rowen turns the door handle, and walks in. EDWARD STEWART
(50) is sitting at his desk, the shelves behind him flashing his awards he’s earned along with books he likely never read. He radiates importance, along with a snobbish personality.
ROWEN
Director, you asked to see me?
Edward smirks.
EDWARD
Ms. Sinclair, how are you?
Rowen is puzzled by the question. She is annoyed at the usage of “Ms” rather than “Agent” in his greeting.
ROWEN
I’m doing alright.
EDWARD
Good.
He stands up to walk around his desk, sitting on the edge.
EDWARD (CONT’D)
I’ve been looking at your file. You have a strong skill set.
ROWEN
Yes, sir.
Edward nods casually.
EDWARD
You’re not on the field all that much.
Rowen shifts her weight, uncomfortable. She hesitates.
ROWEN
I go where I am needed.
Edward hums.
EDWARD
I see.
Edward turns to grab a manila folder off his desk.
EDWARD (CONT’D)
I got a call from Sheriff Roger Myers, whose from a small town in Pennsylvania called Moloch Hills. He informed me of some disappearances are going on in the area-
ROWEN
And you are asking me if I’m interested?
Edward nods.
EDWARD
I think it would be best for you to get away from a while. I think this case could be a lot of potential for you.
Rowen’s body language starts to radiate irritability.
EDWARD (CONT’D)
So you accept?
Rowen and Edward stare at each other for a moment, and Edward continues.
EDWARD (CONT’D)
The sheriff thinks it’s something more than they can handle.
ROWEN
Did they make any connections to victims?
EDWARD
They’re all children, ages three to eighteen.
Rowen’s stomach sinks, but she remains steady.
ROWEN
How many?
EDWARD
Thirteen as of right now. The latest was a twelve year old boy, Zach Williams. He was walking back from a basketball game two days ago, and never came home.
Rowen glances out at the New York City skyline, her mind jumbled with possibility of escaping to a small town and be a part of something. Rowen turns to walk out.
ROWEN
I’ll start packing-
EDWARD
Not so fast, there is one more thing. I’m assigning you a partner to join you as well.
Rowen stops, and turns back to Edward.
ROWEN
Who? Derrick or…?
Edward shakes his head.
EDWARD
No, he’s got his place here. (beat)
Are you familiar with Lenora Reyes?
Rowen exhales slowly in recognition and dread.
LENORA REYES (42) is an FBI agent known for her more eccentric theories and overall experimental ways of case solving. Many refuse to associate with her, and Rowen was unsure where in the FBI she was these days.
ROWEN
Why are you assigning me with her? I mean, Derrick can not be that busy, right?
EDWARD
Derrick has his duty and where he deserves to be.
ROWEN
Is this some kind of punishment?
Edward gives a sly grin.
EDWARD
Of course not, Ms. Sincl-
ROWEN
Agent Sinclair, sir.
They keep eye contact, a silent battle, before Edward continues.
EDWARD
As I was saying, I’m sending you out there because I trust you. I have faith Lenora could take some notes from you.
Edward walks around his desk, and hits the PPT button his phone to connect to Catherine outside.
EDWARD (CONT’D)
Cathrine, send Ms. Reyes in.
The door clicks, and Lenora steps inside. She seems confident, and friendly.
EDWARD (CONT’D)
Hello Agent Reyes, this is Agent Rowen Sinclair.
Edward glances at Rowen when he utters the word “agent” from his mouth.
LENORA
(smiling)
Agent Sinclair, it’s great to meet you!
Lenora offers her hand, and Rowen shakes it with a lack of enthusiasm.
EDWARD
(at Lenora)
I was just talking about a case I received a call about, and I want you and Agent Sinclair to go check it out.
LENORA
What are the details?
EDWARD
Sinclair can get you up to speed on the way there. I suggest you two get aquatinted, and pack your bags.
Lenora shares a smile with Rowen. Rowen gives a sardonic one in return, sighing to herself.
CUT TO:
EXT. – PARKING GARAGE – MIDDAY
Rowen sits her Black Crown Victoria waiting for Lenora. She fidgets with CIGARETTE between her fingertips, letting ash hit the concrete ground.
The sound of footsteps disrupts her moment of tranquility, before her passenger door opens.
LENORA
Hey! You ready for this?
Rowen exhales the smoke she held in her mouth, and flicks the cigarette from her fingertips.
ROWEN
(miffed) I guess so.
Lenora haphazardly puts her bag in the back seat before getting settled in the one next to Rowen, only apart from an adjustable velvet armrest set in the middle.
Rowen looks out the front mirror, before turning the key into the ignition.
CUT TO:
EXT – THE HIGHWAY – CONTINUOUS
MUSIC CUE: “New Year” by The Breeders
The highway is busy, vehicles honking and traffic lights being anything but helpful, particularly in the city. One Rowen and Lenora make it out of the city, it feels much more steady, and after about an hour on the road, Lenora decides to try and spark a conversation.
MUSIC CUE FALLS INTO BACKGROUND BLENDING WITH RADIO
LENORA
So…have you been working with the FBI for a while?
Rowen’s eyes stay on the road.
ROWEN
About sixteen years.
Lenora smiles.
LENORA
I’ve been here just about eighteen years too. You probably get a lot of time on the fiel-
ROWEN
No.
Lenora pauses.
LENORA
You don’t? You’re just stuck behind a computer screen?
Rowen really doesn’t want to keep having this conversation, but she entertains Lenora anyway.
ROWEN
Pretty much.
Lenora does not speak for a moment, the song on the radio taking up space between them. However, Lenora presses Rowen about the case.
LENORA
Did Director Stewart give you any details about the case other then the missing kids?
ROWEN
All the town’s sheriff knows is that kids are going missing and no one knows why.
(break)
No clues have been found yet, so they want us out there to help.
Lenora does not reply.
ROWEN (CONT’D)
If we don’t find anything, I guess it’s not like they’d be missing us all that much.
Lenora furrows her brow.
LENORA
What do you mean by that?
Rowen shrugs carelessly.
ROWEN
I mean, it’s not like either of us are getting anything out of the job. I sit behind a computer, and you get, I don’t know, banished to the basement.
Lenora crosses her arms.
LENORA
I’m not crazy, you know.
ROWEN
I didn’t say you were crazy, now did I?
The car ride goes back to an awkward silence, the radio still playing.
The car drives by a large sign that reads: MOLOCH HILLS – POP. 3,586
AS THE CAR MOVES WE CUT TO:
EXT. UNLINED ROAD IN THE MIDDLE OF THE WOODS – LATE AFTERNOON
Police cars, caution tape, and officers surround a small section of woods, their red and blue lights flashing.
SHERIFF ROGER MYERS stands with his deputy, SIMON JEFFERSON
in front of the caution tape.
ROGER
These damn kids…
The sound of the Crown Vic pulls up to the scene, Roger and Simon looking up at the newcomers.
ROGER (CONT’D)
Who the hell..?
The car’s gas cuts, and Rowen and Lenora step out of the car. An officer goes to approach the two women, but Rowen flashes her badge in hand, Lenora mirroring her.
ROWEN
Sheriff Myers?
Roger doesn’t move.
ROGER
You much be the agents I asked for. I’m Sheriff Myers, this is by Deputy, Simon Jefferson.
Rowen nods in acknowledgement.
ROWEN
I’m Agent Rowen Sinclair, and this is my partner, Agent Lenora Reyes.
Lenora shakes Roger and Simon’s hand, much more approachable than Rowen.
ROGER
I hate to bring you ladies into this. I know you probably have a lot going on in the Big Apple.
Simon, you want to lead these ladies to our new lead?
Lenora and Rowen share a glance, follow Simon through the woods.
The trees look towering and possessive, and there in a clearing, sits a backpack and a flashlight.
SIMON
We found this about an hour ago. It belongs to the kid, Zach Williams.
ROWEN
Did anyone touch it?
SIMON
No, ma’am. We left that to you.
Rowen crouches next to the bag, eyeing the sharpie drawings, and the keychain on the bag. She pulls on a pair of gloves before touching anything.
ROWEN
Sees like an easy going kid. These drawings are pretty typical for any twelve year old.
Rowen digs through the bag, finding a folder with graded and half finished assignments, a couple of books that look like they’ve barely been read, and a pencil case. Nothing unordinary.
ROWEN (CONT’D)
Tell me about some of the other kids. I was told there were thirteen of them?
SIMON
I got their names, ages, and most of them gone without a trace. We are guessing someone is taking them out of town, but can’t say for sure. Let me get you their names.
Simon leaves the two women to go back to his car.
Rowen looks over at Lenora who is staring into the tree line. She’s fidgeting.
ROWEN
What?
Lenora doesn’t break her stare.
ROWEN (CONT’D)
Earth to Lenora?
Lenora finally hears her.
LENORA
Sorry. Is there anything in his bag aside from school supplies?
ROWEN
No, just the typical twelve year middle schooler stuff. What were you looking at?
LENORA
Nothing, just…
ROWEN
Just what?
LENORA
Just feels like something else is…no never mind.
Rowen SIGHS, but does not push it.
ROWEN
Then lets get back to the case, shall we?
EXT/INT – MOLOCH MOTEL – NIGHT
Rowen and Lenora pull into the parking lot of the MOLOCH MOTEL. They exit the car, and grab their bags.
LENORA
This looks like this place has been open for a while.
ROWEN
(gesturing to the building)
Looks like it. I think we collect our keys over there.
Rowen and Lenora walk to the front desk, where they run into the front desk attendant. IRIS (18) is the young attendant, her name on her tag on her vest, her grungy gothic appearance matching her moody expression.
Iris looks up, fairly uninterested.
IRIS
You two got a reservation?
LENORA
Yes, in room three.
Iris spins in her chair, grabbing the keys and a clipboard.
IRIS
Sign this for me, and here’s the keys.
Lenora and Rowen sign the sheet, and take the key. Lenora heads out, Rowen about to follow, when Iris speaks up.
IRIS (CONT’D)
You know they’ll want you gone, right?
Rowen turns around.
ROWEN
What’s that supposed to mean?
IRIS
You’re the FEDs that came in. I can see your badge.
ROWEN
Yeah. Why do they want us gone?
Iris shrugs.
IRIS
They’re gonna deny whats going on. It’ll phase out, and you’ll be out of here faster then those kids going missing.
ROWEN
The sheriff seems pretty concerned to me.
Iris grins to herself.
IRIS
You cops really are all the same, huh?
Rowen feels reactive, but does not want to argue with a mere kid.
ROWEN
Thanks for the keys.
Iris waves her hand sarcastically.
INT. – MOTEL ROOM THREE – CONTINUOUS
Rowen enters the room the old room, and shuts the old door behind her, locking it. Rowen tosses her bag onto the floor, then flops on one of the beds, kicking off her boots.
Lenora is in the bathroom, the shower running. So Rowen gets ready for bed.
INT. – MOTEL ROOM THREE – LATER
Rowen is asleep when something stirs her awake. The alarm clock reads 2:33 AM in bright red text.
LENORA
…when….okay…
Rowen turns around to see Lenora fast asleep. Confused, she listens.
LENORA (CONT’D)
…Can I take her…soil…
Rowen GROANS.
ROWEN
(hushed and grumbled)
Lenora, please, I’m trying to sleep.
Lenora doesn’t speak anymore, her eyes remaining shut. Rowen rolls over, and shuts her eyes, her expression tense.
CUT TO:
EXT. – MOLOCH MOTEL PORCH – MORNING
Rowen stands on the porch, leaning on one of the concrete beams, a cigarette between her lips. Her hair is damp from her shower that morning. She exhales the smoke, attempting to wake up.
Iris is spotted in the distance, hoping into a car with a guy around her age, and speeding out of the parking lot.
Rowen puts out her cigarette as she watches them go, and heads back inside to Lenora already dressed.
LENORA
I got off the phone with Sheriff Rogers. He wants us to meet with the father of Zach Williams.
ROWEN
Didn’t they talk to him?
LENORA
They were the ones who had to let him know his son didn’t show up to school…
(breaks)
…The poor kid.
Rowen pulls off her GARBAGE BAND SHIRT and throws on a black henley top. Lenora averts her eyes from her, noting Rowen really doesn’t care about Lenora being there.
ROWEN
You know…
(pulling up her jeans)
…You were talking in your sleep. Something about soil?
Lenora pauses her check in the mirror, but continues.
LENORA
Oh yeah…
(break)
Sorry. I’ve done that since I was a kid.
ROWEN
I’ll wake you next time. Scared the hell outta me.
LENORA
I can get you ear plugs.
For once, Rowen cracks a small grin.
