(Note: I am currently writing the Helen-Karen interrogation scene; it should replace this scene as scene four once I finish. Thanks!)

CUT-
EXT. A CUL-DE-SAC - same time, same day

Austin arrives at an average yet subtly pretty house in said cul-de-sac (the walk back is strongly implied, though cut for viewers' sake), simply opening the unlocked door and entering. It seems he hasn't locked the door due to the presumed safety of his neighborhood.

At first, the house seems normal--in a room by the door rests a piano, another room is a functional kitchen. But as Austin walks through, it begins to seem strange. The floor has scuff marks on it and some furniture has been shoved out of the way--there are also a few broken pieces of glass scattered around. On the stairs is a hammer, presumably thrown there in haste.

Finally, Austin enters a room in the back of the house that is almost completely hidden. In the room is a small refrigerator, a desk, and a bookshelf; on top of the desk: a telephone and a computer. It seems to have been compulsively cleaned and sorted over and over, though the bookshelf is in disarray. From the neglected bookshelf Austin pulls a photo album, bound in leather and worn by time.

A small but reminiscent smile crosses his face as he leafs through the pages; sometimes, even a chuckle escapes his lips. With each new picture his smile is replenished.

The contents of the photo album are not revealed at this time.

RATE THIS CHAPTER!

Author guidance for This work

Near Detroit, a monstrous serial killer has chosen his victims. Each have one thing in common: every target is being consumed by their own greed and immorality. A story of dehumanization in American culture (as well as other places) and the abandon of traditional values accompanying the wish to satisfy the longing that said depletion of identity causes.

Thanks for reading! Hope you enjoy!
Feedback would be greatly appreciated. :)

updated Feb 24 '11 by Euphrates