2Final Draft, Inc. Final Draft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he screen is BLACK like splayed DARK MATTER. The sound of patient BREATHING is followed by the BEEP of an answering machine. KENNEDY (V.O.) Dad, this is Kennedy. I thought you were gonna be back last week but...I guess not. I, uh, took a few days off work. Figured we could...I dont know, hang out or something. Thats what I was calling to tell you...all last week. (beat) Anyway, my cell phones on but Ill probably be here most of the time. Here at home...so if you get a chance...Dad? -BEEP- The beep echoes into the dark matter, and like the beginning of so many other nightmares we FADE IN: EXT. WOODS - AUTUMN DUSK KENNEDY HALLOWAY(early 20s) tramples through the woods wearing nothing but a pair of sneakers and the headphones of his MP3 player. He RECORDS dry leaves as they rain in slow motion from the dwindling canopy above with a DIGITAL VIDEO CAMERA. A large CENTIPEDE trudges up the thick trunk of a tree. Kennedy RECORDS it. -CRUNCH!- Dry leaves crackle from the other side of a small hill. Kennedy turns the music OFF, and PAUSES. A moment of silence, then the crackling resumes. Kennedy slowly backs behind the tree. He PEEKS around the rough bark. OVER THE HILL Walks a GIRL, mid-teens, BLINDFOLDED, BLOOD in the corner of her mouth, clothes dirty and torn. A LEASH made of fat, dirty brown rope around her neck leads back to the grime encrusted hand of a hulking hooded VAGRANT. KENNEDY (whispers) Negative. Kennedy holds up his CAMERA, recording from around the tree. POV CAMERA - The Vagrant JERKS the girls leash. She STOPS, a fearful whimper escapes. Its quiet...no one moves... KENNEDY Holds his breath THE VAGRANT RUSHES her violently. She SCREAMS as he hoists her three feet into the air by her neck, slamming her against a tree and binding her too it at the waist and neck with the leash. She hangs there, suspended, gasping for air. The Vagrant takes off her blindfold. The girl's eyes go big, she cries harder. POV KENNEDY'S CAMERA he can't see the Vagrant's face. The Vagrant leans in to kiss the girl; she SCREAMS. Fumbling rapidly he puts her blindfold back on. She screams LOUDER. He pulls out a rusted homemade KNIFE and STABS her in the neck. -SLICE- A TEAR appears at her throat- -SLICE- Her mouth is jagged and red like that of a clown- -SLICE- An x torn in the flesh of her neck- She goes silent. Her new mouth makes a confused curled expression. Kennedy covers his mouth, tries to keep the camera steady. A stream of blood jets from her neck drenching a sticker on her chest that says: 'Hello, my name is CHLOE'. THE VAGRANT Faces the body for hyper eternity and then, as if suddenly lost, sloshes slowly back over the hill. Chloe CONVULSES. Her feet kick wildly and then stop. She DIES. KENNEDY turns off the camera and leans against the tree, trying to breathe again. He peeks around; Chloes hair waves in the light wind. There is something perversely magnetic about the new her. 00020000085000000B7784A,He takes another breath and comes from behind the tree moving slowly toward her. His shoes crunch the dry leaves like spaced out sonic booms. He stands before her, REACHING out for her blindfold. Slowly Her body TWITCHES. He recoils slightly. Reaches again and SNATCHES her blindfold OFF and RUNS back the way he came. Unbound by the blindfold the girls EYES, all white, slump three quarters the way out of her head. Slowly her PUPILS roll down from the top to watch Kennedy's hasty retreat. INT. HALLOWAY RESIDENCE - KENNEDYS ROOM - LATER THAT NIGHT Kennedy SLEEPS. The blindfold squeezed tightly in his hand. His Camera rests on a NIGHTSTAND next to his bed. The autumn breeze creeps in repeatedly from his OPEN second floor bedroom window. Beyond the window, the woods. A large BUMP sounds out from somewhere in the room. Kennedy STIRS momentarily before waking. He gets up leaving the blindfold on his pillow and walks groggily to the adjoining BATHROOM He flips the light on and takes a piss. Kennedy hops back into bed. INSERT: the blindfold is GONE. He doesn't notice, he's already nestled back to sleep. -BUMP! His eyes OPEN. The camera is ON. In its position he can see he can see the front of his DESK through its mini monitor. ACROSS THE ROOM A BOOKCASE jerks of its own accord, and then settles. He activates the lamp on the night stand. A soft beige light coats the room. THROUGH THE MONITOR CHLOES rope bound midsection SLAMS into the front of Kennedy's desk. BUMP! Kennedy REACTS. THROUGH THE MONITOR Chloe U-turns and wanders back out of frame. Kennedy picks up the camera and slowly covers the room, searching for her. BUMP! The bookcase ROCKS. Kennedy swings the camera over. IN THE MONITOR Chloe moves back and forth across the room, bumping into furniture as Kennedy looks on in awe. Kennedy grabs his CELLPHONE from the night stand drawer and moves slowly back into the BATHROOM He leaves the light off and the door OPEN. Through a vanity MIRROR he can see back into his room. Kennedy DIALS. RINGING on the other end. NAPOLEON picks up. NAPOLEON(VO) Ken, its like, four in the god damn morning. 000200000D26000013C1D20,KENNEDY (whispers) Napoleon. Shut up. Just shut up and listen to me. (beat) Are you listening? NAPOLEON(VO) Not for long. -BUMP!- KENNEDY I was getting footage in the woods behind my house and this homeless looking hulk, he tied this girl to a tree and he slashed her. He slashed her throat. He slashed her throat and then he just left. And she died right there, right in front of me. And then I did something I probably shouldn't have. NAPOLEON(VO) Oh god, you didn't touch anything did you? KENNEDY I took something. -BUMP!- NAPOLEON (V.O.) What the fuck did you take!? KENNEDY Calm down...I took her blindfold. And don't fucking ask me 'why'. I don't know why. I walked up to the body and the closer I got the more excited I got- NAPOLEON(VO) That's sick. KENNEDY I know that. You don't think I know that!? It was so interactive though. Like being in a dream. Or a movie. I just had to take something so I knew it was real. NAPOLEON(VO) Serial killers take mementos, Kennedy, that's not gonna look too good. -BUMP!- KENNEDY She's in my room right now. NAPOLEON(VO) You took the body too??!! KENNEDY No. Elasticize your logic for a moment. Last time I saw her she was tied to a tree. NAPOLEON(VO) Dead? KENNEDY As dead as they get. Now she's walking around my room blindfolded, bumping into shit. That's how I woke up. Napoleon LAUGHS. The laugh turns into a YAWN. KENNEDY (CONTD) I need you to get over here. (beat) What the fuck is so funny? NAPOLEON(VO) I'm sorry. It's just that...now that I'm fully awake I can see the holes in your plot. KENNEDY What fucking holes?! This shit actually happened! Its happening right now! NAPOLEON(VO) You said you took her blindfold. KENNEDY Yeah, and? NAPOLEON(VO) C'mon, Halloway. I'm supposed to believe that this dead girl detached her self from a tree, something she couldn't even do when she was alive, found her way through the woods and into your bedroom so she could steal back her blindfold and walk around your room pretending to be blind. Why would she do that? -BUMP!- Kennedy pauses, thinking. KENNEDY I don't know. (beat) I dont know. Why would you do it? NAPOLEON(VO) To fuck with somebody. Like you're trying to fuck with me. Napoleon HANGS UP. Kennedy glances into the bathroom mirror just in time to see CHLOE who stands in the center of his room. Her blindfold is pulled UP and she stares at Kennedy with her BULGING BLOODY EYES! She quickly pulls the blindfold down and continues feigning her handicap. Blood frozen by what he just saw, he cautiously CLOSES the bathroom door and stands in the dark. -BANG!- Something SLAMS up against the bathroom door. Kennedy moves to the farthest part of the bathroom. -CRACK!- The door BURSTS OPEN. Chloe wades in, unbalanced. She stands still at the end of the lamp light. It's quiet. Kennedy tries not to breathe. Again. SHE SLAMS THE DOOR SHUT! BLACKNESS fills the screen. The only sound is of Kennedy's breathing which is more erratic by the second. Forever seems to pass. His CELLPHONE lights up with dizzying blinks and his ringtone at full blast. KENNEDY Fuck, fuck, fuck! He struggles with the phone trying to cancel the call. Stupidly he flips it OPEN. The extra light from the display exposes the twisted face of CHLOE inches from his own. CUT TO COMPLETE BLACK. SUPERIMPOSE: SQUARE DARK PLANETS CUT TO: INT. BOOKSTORE/COFFEE SHOP - AFTERNOON 0002000006CE000020E16C8,Kennedy's hand SHAKES as he stirs his coffee. He's wearing a black turtleneck and large designer sunglasses that seem to cover his entire face. NAPOLEON, a docile looking Asian twenty something sits down at his table. Kennedy just stares at him. NAPOLEON What? KENNEDY (beat) You ever been raped? NAPOLEON Only by the IRS. KENNEDY Funny. Kennedy looks away, sips his coffee. KENNEDY (CONTD) Intercourse is mechanical. Same thing as putting gas in your car, repeatedly. Any other attachment made to an action as clean cut and well defined is purely romantic. But rape? There's an off the books exchange with rape, a transfer. Not just of power but of grey area type goods. Phantom material. Not so well defined. People like to think it just takes from the victim Kennedy breaks off, watching people pass. KENNEDY(CONT'D) It gives to them too NAPOLEON You formula babies are so easy to spot. KENNEDY Yeah? Suck on this. Kennedy pulls his turtle neck down exposing rows of scabby ROPE BURNS. NAPOLEON What happened? KENNEDY Last night. You didn't come save me. Now I owe you a flick. NAPOLEON Whats the movie? KENNEDY Untitled as of yet. (Finishes coffee) Meet me out side. EXT. BOOKSTORE/COFFEE SHOP - MOMENTS LATER The sky has clouded over. Kennedy stands on the curb in front of the bookstore smoking a cigarette. Napoleon is next to him watching the monitor from Kennedy's digital camera. Suddenly he spins around and THROWS UP. Kennedy tosses his cigarette and wrestles the camera from Napoleon before he pukes on it. EXT. HALLOWAY RESIDENCE - LATER Kennedy and Napoleon arrive in front of the Halloway residence in their respective vehicles. The home is large and beautiful but surrounded by foreboding forestry on all sides. 000200000922000027A991C,INT. KENNEDY'S ROOM Kennedy ENTERS followed by a reluctant Napoleon. The place is TRASHED. It looks like a crime scene. Kennedy tosses items about. Napoleon wades through the mess. NAPOLEON You do this? Kennedy doesn't answer; he just moves to the threshold of the bathroom door, turns the light ON and stares inside. Behind him Napoleon lifts something up from the ground. NAPOLEON (CONTD) Ken...this isn't it, is it? Napoleon holds the BLINDFOLD, bloody and covered with bile. CUT TO: INT. HALLOWAY RESIDENCE - DINING ROOM - LATER Kennedy and Napoleon sit at a large dining room table. The only light is from a floor to ceiling WINDOW behind them that frames the swaying trees of THE WOODS. The STEAM from the tea that they drink rises up, blurring the outside world into some other dimension, some other life. The blindfold sits on the table between them. NAPOLEON What kind of tea is this? Kennedy Green. NAPOLEON (beat) Where's your dad? KENNEDY It's green Tea. (Beat) Wait, what? NAPOLEON I asked about your dad. Business again? KENNEDY London. He was supposed to be back (checks his watch) two weeks ago. I call everyday but his assistant carries his cell phone. She's a certified slut. (beat) She'll be back, you know. (beat) Tonight. NAPOLEON Why would your dad's assistant come back without him? KENNEDY Not her. The other certified slut. (beat) She left it as an excuse to come back. Kennedy sips his tea, stares off into the empty hallways of the house. NAPOLEON You know how this sound's don't you? KENNEDY No, why don't you tell me how it sounds. NAPOLEON IT SOUNDS FUCKING RIDICULOUS!! (calming down) Look...I can't...I cant KENNEDY I don't know if you've ever noticed but I'm not exactly the running gag type of guy. Nor have I ever expressed any penchant for self mutilation. NAPOLEON Lovely disclaimer but it means nothing. KENNEDY So prove it. NAPOLEON What do you want me to do? Spend the night? Watch you? Make sure you don't dream? KENNEDY No, all you have to do is give it back. CUT TO: EXT. WOODS - MOMENTS LATER The woods are mostly still and appropriately threatening. Very little light left. A small hill separates Kennedy and Napoleon from the area they seek. Kennedy puts the blindfold in Napoleons hand and trudges up the hill, leans on his old hiding tree, stares at something ahead and waits. 000200000E95000030C5E8F,Napoleon scowls at the blindfold and moves up the hill. POV NAPOLEON - The dropping horizon reveals Chloes TWISTED FACE. Its almost as if she's staring at Napoleon, daring him. He freezes. His stillness reflects hers. He doubles over vomiting violently. KENNEDY (reaching out) You okay? NAPOLEON Get the fuck off me!! (beat) How could you let this shit happen to somebody?! KENNEDY What the fuck was I supposed to do!? I was fucking naked. I was weaponless NAPOLEON This little girl's fucking dead, Kennedy. I mean she's really fucking dead. And your worried about some asshole seeing your little dick!? Napoleon stops, wipes his mouth, tries to catch his breath. NAPOLEON (CONTD) (panting) I mean, who knows man, you might have scared him off. You didn't even try, you're so sick KENNEDY Or, or I could be dead too! I mean, fuck her! Do you have any idea...what she did...last night... NAPOLEON You know what? (stands up) You can do this shit yourself. He throws the blindfold. It hits Kennedy in the chest and falls to the ground. Napoleon STOMPS back toward the house. Kennedy watches him disappear into the green and growing shadows. He picks up the blindfold and moves down the hill toward CHLOE He doesn't like being this close to her for the obvious reasons. Maggots already seethe in her hallow sockets. He cradles her dangling eyeballs with the blindfold and lifts them back into place. Obscene SQUASHING sounds as the maggots are crushed as he secures the blindfold. He turns his head in disgust. When he does Chloes cracked, ripped lips shape up into a wicked SMILE. CUT TO: INT. KENNEDY'S ROOM - NIGHT He's left the window OPEN. The room is still. CLOSE ON KENNEDY sound asleep, blankets pulled up to his shoulders. The wind RUSTLES. The curtains SHUDDER. A gust SWIRLS around the room and EXITS. Maybe. Hold for a moment on Kennedy hopefully not dreaming. His CELLPHONE RINGS out from the nightstand! Kennedy BURSTS from under the covers with a large BUTCHER KNIFE. He hacks at it, piercing through the digital display. He finally stops, realizing what he did. KENNEDY Fuck! He tosses the knife across the room. He lays back in bed and assesses the damage of the phone. It's fucked. He THROWS it across the room too. Kennedy repositions himself in bed and closes his eyes. A SCRATCHING SOUND from close by. Kennedy turns ON his lamp. He peeks over the edge of the bed. POV KENNEDY - Chloes swollen and bloated dead FEET stick out from underneath the bed. Kennedy covers his own mouth so he doesn't scream and backs up against the headboard. POV KENNEDY - the bedroom door is OPEN and the KNIFE a few feet from it. He RUNS and JUMPS from the bed. He SLIPS on his trashed PHONE and spins out, crashing into his dresser. A CLAWED little girl hand shoots out from the darkness under the bed and buries itself in the hardwood of his bedroom floor. Kennedy is quiet, frozen. He just stares at the hand. No one moves. With a blood-curdling SHRIEK Chloe DRAGS herself out of the dark. Kennedy SCREAMS and RUNS. INT. HALLOWAY RESIDENCE - HALLWAYS - cONTINUOUS Kennedy runs frantically. No destination, speed the only target. He flies DOWN THE STAIRS Jumping over the railing and continuing through the DINING-ROOM Nonstop past the KITCHEN, into THE GARAGE, out to THE BACKYARD, BACK INTO THE HOUSE PAST THE INDOOR POOL and the staircase again. He's running in CIRCLES. INT. HALLWAYS - cONTINUOUS Kennedy runs straight through an OPEN door and SLAMS it behind him. INT. HALLOWAY RESIDENCE - LIBRARY He launches himself over a large desk and slides underneath it. He pops back out and SNATCHES a large LETTER OPENER off of the desktop and goes back UNDER THE DESK Kennedy breathes heavy. His panting is almost- 000200000F0C00003F54F06,The library door CREAKS OPEN. Kennedy holds his breath. FOOTSTEPS move across the room and then STOP. The sound of PAGES turning. Kennedy peeks out Chloe stands next to a wall of BOOKS. She holds one, turning its pages slowly. Kennedy recedes back into his foxhole. KENNEDY (whispering) God damn it. He takes a deep breath and readies his weapon. Kennedy KICKS the desk chair out of the way and stands up, holding out his wannabe salvation blade. KENNEDY (CONTD) Leave. Her neck CRACKS as she looks his way. She puts the book back on the shelf. She glances at the letter opener then grins. Chloe doubles over and THROWS UP. Dirt, maggots and sludge spew violently from her mouth and settle in a thick pile when she finishes. Kennedy DROPS the letter opener and backs away. He turns to RUN. She grabs him and faces him down in the VOMIT. From behind she rips at his clothes. The vomit bubbles up as he tries to scream through it. When a SCREAM does escape it is drowned out by her sadistic ripped throat CACKLE. CUT TO BLACK Where we hold. It's comfortable here. Past horrors only echo here. MAN'S VOICE(O.S.) Almost done Mr. Halloway. FADE IN: INT. DOCTORS OFFICE - EXAM ROOM Kennedy is face down on an exam table as DR. MINCE stitches him up. There is so much tension in here that some bleeds outward into the vents contaminating the rest of the hospital. DR. MINCE You want to talk about it, son? KENNEDY (laughing) Both of our middle names start with 'b', and our eyebrows sort of curl up at the end, you know, like the devil -ouch!- But I think that's where the similarities end. Last I checked we didn't share any DNA. Not a sliver, so; I'm not your son. Furthermore, My dad's an asshole who I haven't seen in weeks and even though I try desperately to get in contact with him he fails to return the favor. I don't think you want to be him. OUCH!! (beat) FUCK!! Kennedy buries his head in his arms to hide his tears as he talks but they drip down to the floor. DR. MINCE I'm sorry. The flesh right here is- KENNEDY I don't care. I don't want to know, just do what you do. DR. MINCE (beat) So, how's work? KENNEDY What? DR. MINCE Your job. How's your job? You told me you work at that Japanese company right? What do you guys do there again? KENNEDY We make gas tanks for their disturbingly efficient little vehicles. DR. MINCE Sounds like rewarding work. KENNEDY Yeah, well, I felt a little overworked and under-appreciated so I took a some time off just to give them a scare. Figured I'd run around with my camera, get some footage for this whack ass student film I was making...spend some time with my dad Kennedy shuts his eyes but the tears squeak through. DR. MINCE So youve been productive, huh? KENNEDY I quit smoking. DR. MINCE Really? When? KENNEDY (crying) Just now. DR. MINCE (beat) How about that film? Film anything good? Kennedy shuts his eyes tighter. INT. HALLOWAY RESIDENCE - DINING ROOM - LATER Kennedy sits at the table, house phone to his ear. -BEEP- KENNEDY Dad... (beat) I really need to talk to you. (beat) Please. He HANGS UP. INT. MASSIVE MOVIE THEATER/LOBBY We float past the ticket taker and past the snack bar, past the bathrooms and down the halls that become increasingly dim. We turn a sharp corner, still milling past doors to theater rooms, each holding a different mystery, a different perversion. EXT. THEATER ROOM 13 - cONTINUOUS A marker over the door designates the film as: STUDENT FILM OF THE MONTH; TEDDY CARNAGE. A GIDDY COUPLE opens the door and goes inside, we slip in behind them. Thanks. INT. THEATER ROOM 13 - cONTINUOUS The pre-preview lights are still on as the place starts to fill. We move up the stairs and into the seating where we hold on KENNEDY, alone, foot rested on the seat in front of him, designer shades splashed over his face like four hundred dollar swimming goggles. 000200000E6E00004E5AE68,MAN'S VOICE(o.s.) Kennedy fuckin' Halloway!! POV KENNEDY - REESE stands in between FOUR BLONDES a few rows down. KENNEDY Reese. REESE (to girls) Ladies, choice seating is apparently up yonder. Shall we? A few of the girls move into his row, squeezing past him, purposefully falling into his lap as they do. Reese sits next to Kennedy, two more girls at his side. REESE (CONTD) How the hell are you, man? KENNEDY I don't quite know how to answer that. There some sort of scale I should use. REESE Just tell it like it is champ. KENNEDY I think I may be dead by next week. (beat) At the latest. REESE (laughing) Yeah fucking right! I forgot what a riot you were Halloway. Shit I didn't introduce you to the girls. (stands up) Ladies, if I may have your attention for one shiny second, this absolutely critical friend of mine here who looks like he's been up all night on a necrophilic coke binge- Kennedy doesn't find that funny REESE (CONTD) -is the indispensable Kennedy Halloway. Little background on Kennedy; one of two point zero children, step sister lives a couple cities away, rich divorced parents: plus, strikingly handsome: plus, majoring in? KENNEDY (bored) Industrial Hydraulics. REESE While he works in? KENNEDY (smiling) Industrial Hydraulics. REESE Yeah, and that's basically the low down on sleepy hallow. So ladies, feel free to cuddle. He sits down. REESE (CONTD) (to Kennedy) They love you. KENNEDY What are their names? REESE (singing) Who caaaaares? (beat) So last time I saw you were about to start that flick with that absolute pussy who couldn't tell his editing board from his asshole. KENNEDY Who? Napoleon? He's actually quite good. He's just...sometimes. Indecisive. REESE Yeah, well, whatever. He butchered my shit. We are potential industry professionals, dog. No time for all that sensitive fecal matter. I hope you're here by yourself 'cause your girls gonna be pissed when she gets back from the bathroom. KENNEDY No date. Just needed to stay out of the house for a while. KENNEDY (CONTD) Oh. Lucky I brought extras. The house lights DIM. KENNEDY (CONTD) (whispering) So, what's with the girls? REESE (whispering) The guys that made this movie, I'm doing some casting for them. I told the girls I need to seem them in their 'natural environment'. Later on I'll pull out a note pad and pretend to take notes. You should get some paper. I'll tell them your helping me and you might could be a pimp also. I know two of them that aren't gonna make it (beat) the other two I haven't fucked yet. KENNEDY (whispering) You're a savage. REESE (whispering) Certified. EXT. THEATER ROOM 13 - LATER Reese and Kennedy stumble out of the theater. The girls hang on them like they're rock stars. REESE High powered, huh? KENNEDY Nasty. BLONDE ONE I thought it was chic, like those Gothic Italian movies from the 1830's. (beat) And the 1840's. REESE Okay, I don't know what movie she saw but the one I was at a toddler looked like someone dropped a running lawnmower on his face. Excuse me? 1840's? Blonde One SCOWLS. KENNEDY Blood isn't even really that color. It doesn't move like that either. It doesn't want to spray. It wants to stay together. (beat) I gotta take a piss. Kennedy breaks away from them and moves down a dark hall. INT. MOVIE THEATER - MENS RESTROOM - cONTINUOUS Kennedy takes a piss at the urinal. He washes his hands at the sink. The STALL DOOR behind him CREAKS as it creeps open a bit. He freezes. POV KENNEDY - In the mirror, swollen dead feet show themselves in the space below the stall door. Kennedy turns around slowly. He lifts his shirt revealing the handle of a LARGE BUTCHER KNIFE. He slides it out of his pants slowly. 000200000E8100005CC2E7B,He backs toward the exit, the stall door OPENS a bit more A MAN BURSTS into the bathroom. STARTLED Kennedy slams into him. CHLOE EXPLODES FROM THE STALL! THE MAN falls back against the LIGHT SWITCH. Everything goes BLACK. Sounds of blind SLASHING in the dark. STILLNESS. EXT. MOVIE THEATER RESTROOM A PUDGY KID breaks away from his parents and ENTERS INT. MENS RESTROOM He turns on the lights and stands SHOCKED. The MAN lays on the tile, slashed beyond recognition, red air bubbles leaking from his mouth. Pudgy Kid is transfixed, the door starts to close behind him to reveal KENNEDY Covered with BLOOD. He catches the door before it closes all the way and SNEAKS OUT. EXT. MENS RESTROOM - CONTINUOUS People EVERYWHERE. A GROUP OF GIRLS are heading this way. Kennedy ducks into INT. WOMENS RESTROOM - CONTINUOUS He heads toward the stalls, catches a glimpse of himself in the mirror, his mouth DROPS. He steps toward the mirror, touching his face. VOICES AND FOOTSTEPS coming closer. He ducks into INT. HANDICAP STALL - cONTINUOUS He closes the stall door just as the group of girls ENTER. He splashes water from the toilet bowl onto his face, clearing most of it up. Then he stands, eyes closed, leaning back against the restroom wall trying to breathe like a normal mammal. Chloes ragged DEAD HAND floats into frame. She puts her hand into his mouth, gripping his bottom jaw tightly. Kennedy's eyes widen with surprise. She pulls his head close slowly. Close enough for the WORMS to work their way from her nose to his clamped mouth. She PUSHES his face back rapidly. The back of his head SLAPS the concrete. LIGHTS OUT. INT. WOMENS RESTROOM - HANDICAP STALL - MOMENTS LATER Kennedy wakes up on the cold restroom tile. He grabs his throat immediately yelping hoarsely with pain. He burst from the stall and EXITS the restroom. EXT. LADIES RESTROOM A group of spectators have amassed at the door of the Men's room. He pulls his sweater hood over his head and sneaks out down the theater hallway and out of a side EXIT. EXT. THEATER SIDE EXIT - NIGHT Kennedy spits a WAD OF BLOOD on the side walk. The sound of POLICE SIRENS. Kennedy looks up. A wave of police cars surf down a side street loud and flashy. EXT. SIDE STREET - cONTINUOUS Kennedy walks quickly down the side street opposite the police. MAN VOICE(os) Halloway, get your ass in this car! REESE'S CAR cruises quietly next to him. Kennedy stops, debating. REESE C'mon man, the girls are getting cold. You don't want the viscosity too low, do you? C'mon. Let's smoke. The approaching SIRENS make up Kennedy's mind for him. He gets in. INT. REESE'S HOUSE - LIVING ROOM - LATER Kennedy sits on a couch in front of a large widescreen plasma. AT THE BAR Reese is making drinks with the girls. Someone hands Kennedy a JOINT. He takes a few huge drags off of it and tries to hand it back. They wave him away. His hood is still ON. BLONDE ONE So, like, what the hell happened back there? REESE Who knows. Probably some preppy prick called the cops 'cause his wireless network couldn't get a signal from the handicap stall. BLONDE ONE Aren't you a preppy prick? REESE Look closer. KENNEDY (o.S.) How do you turn this thing on? REESE The white remote. To your left. Kennedy grabs a remote and uses it to turn on the TV. It's all static. KENNEDY Uh, Reese REESE Are you kidding me, you don't have one of these at home? Reese grabs another remote and turns on the cable. He drops the remote on the couch and heads back to the girls. ON SCREEN - Three males hold a thin nude woman over a rock while a fourth penetrates her from behind. Kennedy is understandably repulsed but he can't look away. BLONDE TWO Oh my god, what are you watching? Sick. 0002000009F000006B3D9EA,KENNEDY I don't know, its just on. Reese change this shit. REESE Youve got the remote, rocket scientist. (beat) Wait! Leave it. This is a classic. 'I spit on your grave'. You guys never saw this? (looks around) No one? (looks up) God, I cant culture the whole fucking planet myself. They bring the drinks over and sit on the couch with Kennedy. REESE (CONTD) Shit, its like halfway through. BLONDE ONE Aw, thats too bad. It looks so...deep. Reese gets up and scans a WALL OF DVDS. He chooses one, rips the plastic off with his teeth. REESE (smiling) I keep one for the car. (puts disk in player) Some call it sexploitation, some call it pornography, I call it a little hiccup from the eye in the sky. BLONDE THREE The eye in the sky? REESE The eye in the sky. The eye in the sky sees all. It zeros in on the meanest, harshest experiences of humankind. The kind of moments that force us into evolution. The eye in the sky is privy to the slices in time that form the fragments of our being. When it hiccups that energy crash lands into our lives like a seven forty seven with no fuel. Were never ready. CUT TO: INT. REESES HOUSE - LATER The lights are lowered. OVER TIME the shocked faces of the girls turn to that of sleeping angels. Still Kennedy and Reese bare witness to the madness. The reflections of secret carnage play out on their faces in the dark room. KENNEDY So, they rape her...alot. She survives...and kills them all. So what? Reese Man, you sound like a god damn liner note. Look closer. Had she given it to them willingly this would be a story about a girl who becomes a woman. But through these acts of physical greed a forced martyrdom is committed. Now its a story about a woman who becomes a man. KENNEDY If the woman becomes a man...what do the men become? REESE On the fringes of society there is truth, on the fringes of truth there is hell. A man is full circle with his primal idiocy. Hes done evolving...only the victim is rewarded with a metamorphosis. KENNEDY What if the victim is a man. REESE Either hes a man or a victim. He cant be both. KENNEDY I mean male, what if the victim is a male? REESE Simple: he draws blood or stays a boy forever. Like peter pan. BLACKOUT REESE (V.O.) (CONTD) Second star to the right. Strait on till morning. EXT. THE WOODS - VARIOUS - TWILIGHT It's the magic hour. The forest canopy is finished. The trees stick up from the ground like frozen dead fingers. AT THE DEATH TREE Chloe's body hangs, devoid of moisture, curling up on itself because of the rigor mortis. 00020000061A00007527614,She WAKES with a twisted agonizing scream. There are sharp SNAPS as she writhes, her joints crackling like dry wood. Her shoulders BREAK as they twist allowing her to claw herself UP THE TREE. Weak branches snap as she snakes upwards, pushing with her swollen bloated feet. She screams all the way. Maybe its pain from the return. Maybe it's the language of the dead. Once at the top the rope lifts over the high point of the tree. Her body FALLS, smashing to the ground. She lays there, motionless. Her shoulders RE-BREAK. The ROPE around her waist CRAWLS out ahead of her and DRAGS Chloe's body in the direction of Kennedy's house. EXT. HALLOWAY RESIDENCE/WOODS - CONTINUOUS A group of bushes on the outskirts of the residence began to SHAKE. The rope pulls Chloe's body through the bushes, across the yard and up to the back door of the house. The rope slides up the door frame and wraps around an exterior lamp. Chloe's body is hauled to a standing position. INT./EXT. HALLOWAY RESIDENCE/BACK DOOR -CRASH!- The back door EXPLODES inward. CHLOE stands on her own, breathing heavily, as if ravenous. The rope SLITHERS back around her waist. In the sky behind her THE MOON PUSHES ORANGE AND PURPLE HUES OUT OF THE SKY. Darkness now reigns. INT. HALLOWAY RESIDENCE - KENNEDYS ROOM The door creaks OPEN. Its only half way when Chloe BURSTS in, rips Kennedys covers back and hoists and dead claw high over her head-- She FREEZES. A BLOWUP DOLL lays in Kennedys bed. PROFANITIES and TAUNTS written over its body in erratic, uncontrolled black marker. 000200000BD500007B3BBCF,Chloe SCREAMS. INT. HALLOWAY RESIDENCE - VARIOUS She haunts the house. Wicked. Hungry. She knows hes here somewhere. Come out Kennedy. Time to finish it. A DOOR that wont budge. She growls at it. Leaves. Reappears with a large AXE. She cocks back to swing. The door OPENS just a few inches. She pushes it the rest of the way. Blackness. Chloe ENTERS. The door SHUTS softly. INT. DARK ROOM Disgustingly bright white fluorescence ACTIVATE exposing the room. Its the size of a regulation basketball court. Fluffy white shag carpeting. A porcelain BATHTUB at its center. Chloe CREEPS to the tub, peers over. POV CHLOE - Its only water. A small RADIO comes alive up against the wall. Its playing JAZZ. Chloe stares at it. A MASKED FIGURE RUSHES her from behind, KNOCKS her into the tub. The axe falls to the carpet. She SCREAMS. A SIZZLING sound joins her pleas. Smoke rises from the tub as she THRASHES. The figure holds her under with arms gloved up to the elbows. The ROPES shoot from around her waist. The Figure grabs them and wraps them around Chloes neck. Her already decomposed flesh is starting to MELT away. She stops kicking. Shes seizing, oddly. The figure picks up the radio. Its connected to an extension cord. The radio is TOSSED into the tub. Chloes body SURGES. The lights DIM repeatedly but dont go out. The figure RIPS the cord from the wall. The commotion stops. Figure inspects the body. Lifeless, again. Figure sits up against the wall, pulls off his MASK. Its Kennedy. He closes his eyes. Glad its over. Chloes LAUGH is deep and hulking, evil, as if tickled by the devil himself. She wasn't dying, she was ORGASMING. Kennedy buries the axe in her FACE and doesn't stop swinging until shes green mud. Even the tub is decimated when hes through. CUT TO: INT. KENNEDYS ROOM - LATER THAT NIGHT Wind blows softly into the room through the OPEN window. The GORE covered AXE sits at the bottom of the bed. IN THE BED Kennedy SLEEPS like a baby. DISSOLVE TO: EXT. MANUFACTURING PLANT - DAY Kennedy slides a KEY CARD over a mounted sensor. The door unlocks with a DOUBLE BEEP. He ENTERS INT. MANUFACTURING PLANT - cONTINUOUS Past the door the rumbling HUM of hydraulic machinery takes over dominating the wide open space of the plant. Kennedy wanders deeper into the plant. He stare at items, moving parts strangely as hes if seeing them through new eyes. Thin fencing separates him from a ROBOTIC KNIFE that carves hot excess plastic from the edges of an odd shaped GAS TANK. He gets closer, STARING. CLOSE UP - The knifes blade moves rapidly as if programmed at the speed of light. It flashes and slices, shimmering in the light. The free tank is whisked away. Some one calls Kennedys name. He turns, acknowledging them weakly. The MECHANICAL HAND slams down on the cutting table so hard that Kennedy is startled. GORE covers its metal prongs. And the tank is not a tank at all. Kennedy REACTS. Its a wicked looking GIRL covered in sizzling hot plastic. She SMILES. The robotic knife DECAPITATES her. 0002000006190000870A613,Kennedy BACK PEDDLES into ALEX God damn, Halloway, put your fucking blinker on, huh? Kennedy looks back at the corpse. Yes, its still there. ALEX (CONTD) What are you doing here? I thought you had the day off? THE ROBOT Does its job, SLICING the girls ARMS off at the shoulders. Kennedys eyes are SHOCKED but his speech is recessed. KENNEDY I...I do. ALEX Yeah? Well, some people maybe idiotic enough to commend you for reaching a new warped level of dedication. I, however, dub thee retarded. But since your here come take a look at something for me. The LIMB LESS body is whisked away. The Mechanical hand delivers a new monstrosity. ALEX (CONTD) Cmon... Alex leads Kennedy over a catwalk to a control panel for another molding machine. He hands him a FILE filled with multi colored graphs. ALEX (CONTD) We made about two hours worth of defects before we shut down. Ripped apart the omal valve, its clean. KENNEDY (looking at graphs) Consistently inconsistent blowing. Air pressure? ALEX Never over a thousand Qs. KENNEDY And the tanks are warped, not flat, right? ALEX Right. KENNEDY You guys check for binding? Alex draws a blank. Kennedy SIGHS. Kennedy pulls out a safety plug and enters the machine. He walks into the mold. Ducks down, stares into its piping. Alex stays at the control panel. ALEX So how was the movie? KENNEDY What movie? ALEX I saw you at the theater the other night. Kennedy GLARES at him. What else did you see, Alex? KENNEDy The movie was...interesting. ALEX No. You hanging out with Reese Pendelton; thats interesting. 00020000061B00008D1D615,KENNEDY Put out nozzle number one. Alex hits a button on the control panel. -CHOOM!- A thick pointed needle protrudes from the mold casing. Kennedy reaches into the machine, fiddling with something. KENNEDY (CONTD) Bring it back. -CHOOM!- KENNEDY (CONTD) Why is that interesting? ALEX You guys make an odd couple. KENNEDY First of all, were not a couple. Second, hes not so odd. Just another perpetrating trust fund baby searching for a higher purpose. Just like the rest of us. ALEX Trust fund baby my ass. His parents aren't rich. You know how he gets his money? KENNEDY I dont care. ALEX He robs drug dealers. KENNEDY Yeah right. Hit it again. -CHOOM!- ALEX No, actually your right, I lied. He pretends to be a drug dealer, sets up a deal, half way through it he whips out this fucking glock and fake fucking police badge he bought on ebay, tells these poor fuckers that they can get low or take a ride downtown and then he takes everything. He keeps a black back pack in his car with his gun, the badge, a wad of cash, a pair of latex gloves and a fucking pound of coke. KENNEDY Youve witnessed this? ALEX Its just what Ive heard. Its true though. KENNEDY I thought he was a casting agent. ALEX No, just a low life thief. Your friend. KENNEDY Bring it out. -CHOOM!- KENNEDY (CONTD) Blow it. Alex pushes another button. Air SCREAMS through the sharp tip of the nozzle. He stops it. KENNEDY (CONTD) Whats it reading? ALEX Looks like forty five hundred. Perfect. Hope you dont mind. Im gonna go ahead and tell the Japs that I fixed it. KENNEDY 00020000062B00009332625,Be my guest. ALEX Hows vacation anyway? KENNEDY Great. Im learning about all sorts of pain. Idle hands, you know? ALEX Yeah, thats right. You got that big ass house to yourself. I bet its just pure...debauchery. Most of my genius takes place when no one is looking, too. Tantric masturbation, making functioning bongs out of Jell-O, I just fixed this thing. (indicates machine) Alex looks around, he comes close to Kennedy. ALEX (CONTD) (whispers) Theres this kid lives next door to me. They got him on life support, hes comatose. Complications from some affliction, who gives a rats ass which one. Ever see that movie While you were sleeping? Well, while he was sleeping both of his parents died in a freak car accident. Last month. There was some mix up in the mail. Some sensitive information must have fallen into the wrong hands...Im claimin the little fucker on my taxes. Alex LAUGHS. He cant stop. Kennedy moves back over the catwalk. POV KENNEDY - A machine operator is supposed to be weighing a gas tank but instead positions another LIMB LESS CORPSE on the scale. Kennedy REACTS. Walks a little faster. Another operator uses a PANAMETRIC to measure the pulse of a ROTTING TORSO. Kennedys pace quickens. TWO MUTILATED HALF BODIES travel on an automated tray up into a STORAGE RACK. Kennedy passes through EXT. ASSEMBLY LINE - CONTINUOUS He tries not to look as he passes but its too late. DEAD GIRLS are loaded into a WELDING MACHINE. Large holes are BORED in there chests. An OPERATOR dunks a PUMP MOTOR into the dead body and then WAVES at Kennedy. 0002000008310000995782B,He breaks into a RUN. - HOSES AND GAS LINES are anchored into BLOODY STUMPS. - Torsos exit HELIUM CHAMBERS, gyrating, seizing. - an Operator slaps a BARCODE on a body and shoves it into a STORAGE RACK. Kennedy RUNS as fast as he can out of the assembly area and into EXT. STORAGE RACK AREA He zig-zags through rows upon rows of storage racks filled with hundreds, no, thousands of bodies. Even headless they seem to squeal his name. He runs, disappearing into a BLUR OF LIGHT from an OPEN cargo door. INT. KENNEDYS ROOM - LATER THAT NIGHT Wind BLOWS through the bedroom in haunting pairs of gentle cyclones. Kennedy isn't sleeping so well. He GRIPS his sheets and WHIMPERS in his slumber. We PUSH into his subconscious pain... DISSOLVE TO: INT. RITZY HOTEL - LOBBY - BEGIN DREAM SEQUENCE Kennedy ENTERS through revolving doors and heads toward THE FRONT DESK Hes dressed in all black with a ridiculous pair of DIAMOND STUDDED SUNGLASSES. SKIPPY, a concierge, and his boss, MOODY, languish behind the desk deep in conversation. They dont seem to register Kennedys arrival. He waits patiently, staring at them from under his frames. SKIPPY I saw a ghost once. It was here. In the restroom. It was the first time Id seen a ghost. It wasn't like I imagined itd be. MOODY How did you imagine it? SKIPPY Dont know really. Dark. Alone. I was sure Id be alone the first time I would see a ghost but the restroom was full. People everywhere. And there it was...sitting in the reflection. MOODY Was it dripping with dead flesh? SKIPPY It was Felix. My sisters puppy. When we were little a biker that lived a few doors down from us got drunk and ripped Felix arm off with his bare hands. We heard him crying before he fell through the doggy door. He sat up, whined some more until he passed out. That was years ago. But last month I saw him. In a reflection. In the restroom. He was just sitting there on the floor behind me, blood draining from the hole in his shoulder, huge puddle on the floor. Somebody stepped in it and tracked blood across the tile on their way out...then he was gone. 0002000006290000A182623,MOODY I wonder what he wanted. SKIPPY Im gonna go out on a limb and say he wanted his arm back. As if waking out of a trance Skippy acknowledges Kennedy. SKIPPY (CONTD) Oh, hi there. Can we help you? KeNNEDY Reservation. For Halloway. Skippy looks over Moodys shoulder as he taps on a keyboard. SKIPPY First name...Kennedy? KENNEDY Yes. SKIPPY Oh, the penthouse. You must be somebody important. KENNEDY Im...nobody. SKIPPY Nobodys nobody. My granny told me that. Sign right here Mr. Halloway. Mr. Somebody. Kennedy signs. Skippy packs away the paper work and rounds the desk, checking Kennedy out. SKIPPY (CONTD) (perplexed) You dont have any bags. (beat) Oh well, if you would follow me I will show you to your roo- MOODY Ahem! Are we forgetting something? Key cards for the guests of the guests, maybe? SKIPPY I didnt forget them. MOODY You always forget them. Skippy SNATCHES the cards from Moody. KENNEDY Could you show me the restroom, please? SKIPPY Oh, the penthouse has a lovely toilet. Trust me. KENNEDY No. The one with the dog. Skippy glances at Moody, who SHRUGS. SKIPPY Oh...sure. Right this way. INT. RITZY HOTEL - MENS RESTROOM - MOMENTS LATER Skippy waits close to the door as Kennedy circles slowly around an unspectacular hotel restroom. SKIPPY It was right there. Skippy points at a spot on the floor. Kennedy kneels down, touching the tile. He stands up, leans against the stall door. KENNEDY What did you do then? SKIPPY I...went to lunch...? KENNEDY No. When you were a kid. When your sisters puppy came home mutilated. What did you do then? 0002000006050000A7A55FF,SKIPPY My mom was steaming mad. My sister was sad- I dont understand the question. KENNEDY Just tell me you did nothing. SKIPPY Did nothing? I was a kid. It was just a dog. KENNEDY Just a dog? SKIPPY Yeah...just a dog. KENNEDY I have huge surprise for you. Kennedy EXITS the bathroom. INT. ELEVATOR - MOMENTS LATER Kennedy and Skippy ENTER. The doors close. They ascend. SKIPPY So what do you do? You must do something important. KENNEDY I design coffins for the super rich. SKIPPY And they, like, buyem? KENNEDY Some people cant wait to die. SKIPPY Thats kind of morbid...dont you think? KENNEDY Who touched the dog last? SKIPPY (beat) I cleaned him up. The blood too. KENNEDY Bury him? SKIPPY No...dumpster. KENNEDY Kind of morbid...dont you think? -DING!- End of the ascension. INT. PENTHOUSE - MOMENTS LATER Skippy lets them both in. Kennedy gives himself the tour before making his way back into the main room. SKIPPY Is that yours? Something sits deep in the foyer, a velvet TARP thrown over it. Kennedy GRINS at Skippy and rips the tarp OFF. THREE GIRLS stand there. Alive and smiling. Giggling even. A PUNK ROCKER, a FRENCH MAID, and a JAPANESE SCHOOL GIRL. They BLUSH at Kennedy. This makes him SMILE. Kennedy says something to the school girl in JAPANESE. She BURSTS out laughing. This makes the rest of them laugh. SKIPPY Notices an OPEN BOX by his foot. He peers in. Whatever he sees...STARTLES him. SKIPPY (CONTD) Mr. Halloway sir, here is your key card, sir. Anything you need sir, dont hesitate to...good night sir. 000200000F920000ADA4F8C,Skippy SCAMPERS out of the penthouse to INT. ELEVATOR He slams the lobby button impatiently. INT./EXT. Front desk SKIPPY (to Moody) I think something is going to happen upstairs. MOODY Like cocaine? Rich people do cocaine. SKIPPY There are girls up there. MOODY Already? I like this guy. SKIPPY There was a box. I couldn't really tell but I think...I never want to go up there again. MOODY You gave him his keys right? SKIPPY Yes. MOODY All of them? Skippy pulls the extra guest KEY from his pocket. SKIPPY (begging) Please? Moody walks AWAY. INT. ELEVATOR - MOMENTS LATER The elevator comes to a stop. The doors OPEN and an a vicious BARK seems to fade away as if it thought it was alone. Skippys eyes go WIDE. Slowly he steps out into INT. HALLWAY - CONTINUOUS Skippy takes a deep breath and rushes to the penthouse door. He knocks rapidly. No answer. He uses the key card. INT. PENTHOUSE - CONTINUOUS LOUD MUSIC fills the space. There is another sound underneath it. Something mechanical. Its DARK. SKIPPY Mr. Halloway? Its just me. I forgot your spare guest key..for your guests... -CHOOM!- The door to the master bedroom is AJAR, outlined in bright light. SKIPPY (CONTD) Mr. Halloway...? Skippy moves toward the door. -CHOOM!- INT. MASTER BEDROOM - SAME Skippy OPENS the door slowly to reveal CARNAGE The room is trashed. The girls: shredded. There is blood EVERYWHERE. Skippy drops the card, hes SHAKING like a rattle. KENNEDY JUMPS up and down on the bed NUDE except for his shades and an apparatus he wears around his pelvis. Is that a battery pack connected to it? -CHOOM! CHOOM!- KENNEDY Back for your surprise? Skippy SCREAMS. He runs back to the front door but its locked FROM THE INSIDE. He runs back to the threshold of the master bedroom. INT./EXT. MASTER BEDROOM - SAME SKIPPY (crying) Mr. Halloway...I really think I should leave now... KENNEDY You need the key to get out. SKIPPY Wheres the key? KENNEDY Through the door. SKIPPY Which door! KENNEDY That one... Kennedy hits a remote control. Lights spring ON behind Skippy illuminating the rest of the penthouse. Illuminating the massive DOGGY DOOR that takes up an entire wall. Note the trail of blood that disappears past its flap. KENNEDY (CONTD) Its right on the other side...I promise. Skippy cries harder as he creeps to the other side of he penthouse. Hes a few feet away now...reaching out... A GIANT DOG leaps through the flap, tackling Skippy who screams in fear and then pain. Felix tosses him around like a rag doll. Kennedy jumps up and down on the bed. His back to the action. KENNEDY (CONTD) I like this part. He turns the stereo UP. Blood, blood, blood. Skippy splits in HALF. INT. KENNEDYS ROOM - NIGHT - END DREAM SEQUENCE Kennedy WAKES with a start. His sheets are drenched. He stares right at US. INT/EXT. MOMS MANSION - LATER Expansive marble floors. Gold candle holders. Intimidating chandeliers. The door bell RINGS. The MAID materializes from a maze of hallways and OPENS the front door. Kennedy stands there. A pathetic thing. She SCOWLS at him and walks away leaving the door OPEN. MAID Ill tell your mother youre here. The Maid dematerializes. Kennedy sits quietly, cradling his face away from all the light. WOMANS VOICE (O.S.) Pussy is pussy. Kennedy REACTS. MOM leans against a column, heavily bejeweled in a flowing pearl colored gown, a champagne flute in hand. KENNEDY What? MOM Pussy is pussy. Thats what you want me to say right. She saunters away from the column, sits across from him. MoM (CONTD) Youve got that defeated body language. That pose of someone under reconstruction. There was a girl involved. Doesn't matter what she did. Stood you up, disrespected your comic book collection...sucked off the Polo team. You, my son, have been turned inside out and not surprisingly that monumental waste of life you call a father is nowhere to be found. So on my door step you arrive for a few kind words, the offering of motherly comfort. Warm milk and a hug. 0002000006C10000BD306BB,(sips champagne) Both the milk and the stove are in the kitchen. KENNEDY (sarcastic) What about the hug? MOM (grins) Pussy is pussy. Kennedy looks down, smiling back a scream. Moms eyes bounce around the room from sparkle to sparkle. MOM (CONTD) What was her name? KENNEDY I thought pussy was pussy? MOM Fair enough. So, did she take something or did she break something? KENNEDY She...awoke something. Something in me that wont end with her exit and Im so scared of not being able to count on- MOM The pain. He looks at her. MoM (CONTD) Dont look so amazed. It is widely believed, especially in this house, that men secretly hate women. And the woman that a man chooses to love is chosen for the simple fact that he, in this case you, can derive the maximum amount of pleasure from this particular females suffering. You only think you chose her for her popularity, her personality. Maybe you heard she gives good head. You chose her because she liked you. She needed you. Damaging someone you could just as easily save is the most succulent of bliss. This is the X chromosomes prime directive. A woman can smell this in laden intention. It is both repellent and attractive. But there is no future in it. The black widow, the praying mantis, they all know. Now so do you. KENNEDY Its not about the girl. Its about whats left, its about this...void. MOM This void? (She laughs) Welcome to the world of the vagina. Kennedy drips tears on the white carpet. Mom SCOFFS. MOM (CONTD) Look, Kennedy, Im really trying to be passionate and all of that dramatic jazz but I dont know any other way to tell you. Your just a man. Your whole life is going to be a casting call for victims. She gets up and sits next to him. 000200000B900000C3EBB8A,MOM (CONTD) Fall into it son. Embrace it. Its nature. Look at me. (she twists his head for him) My boy. So handsome. I both despise and commend the girl who tore your heart out and fed it to you. You see we women, we have our own agenda and it is exactly. The same. As yours. The door bell RINGS again. Mom gets up and answers the door. POV KENNEDY - She leads two muscle bound BLACK MEN into the house. She whispers into their ears and sends them upstairs. She returns, standing behind Kennedy. MOM (CONTD) Kennedy, darling...if its is a revenge fuck you need, I can make a call. Shell be here in twenty, you can tie her up, put matches out on her belly, whatever makes you feel like a real man. But I wont tuck you in and sing you to sleep. She pecks him on his cheek, ruffles his hair. MOM (CONTD) Good talk kid. You know where your room is at. As she leaves she looks at her hand, WIPES something on her gown. She heads up the stairs. KENNEDY Mom? She STOPS. KENNEDY (CONTD) I never wanted her to get hurt. Mom considers this. MOM If only youd banked on her suffering. Imagine how happy you would be this very instant. She blows him an indecent KISS. INT. MOMS MANSION - MOMENTS LATER Kennedy moves up the dark stair way. UPSTAIRS He passes a door. GRUNTS and sharp SCREAMS of ECSTACY sound out from behind it. INT. MOMS MANSION - KENNEDYS ROOM Its not really his room. There is no trace of him except the lone NIGHTLIGHT that weakly illuminates the space. Its a cartoonish JACK-O'-LANTERN. He runs his fingers over it, remembering something. He begins to CRY. He slides to the floor with his back to the wall. Then from the corner of his eye... UNDER THE BED CHLOE lays there. Staring at him. Docile in her partial regeneration. Kennedy crawls under the bed with her. He SPOONS her. Speaks softly in her ear. KENNEDY (whispering) After you died, the second time, after I killed you, everything seemed to change. I didn't feel scared. It was this strange sort of calm. It was like...a lack of everything. A peace. It was so warm. Like when my parents loved each other. Before I was born. It only lasted a day or two but it made me feel like I could go on a little longer. I need that back. No matter what...I need that back... He closes his eyes. Not to sleep, but to get a peek at the darker road ahead. INT. CROWDED SHOPPING MALL Kennedy stands in the center of a crowded shopping mall. People whiz by him in multicolored blurs. He's vacant, like a dazed ghost freshly ripped from the fabric of waking life. CLOSE - An ESCALATOR. Its teeth making their sinister revolutions. INT - CROWDED SHOPPING MALL - FOOD COURT - LATER Kennedy sits at a table. Some manner of chocolate desert sits in front of him right next to his DIVI CAM. POV KENNEDY - Two parallel ESCALATORS. One going up, the other down. People float on them like happy zombies. A HAND lands on his shoulder. REESE Sleepy Halloway. Still alive, huh? KENNEDY Its early yet. 0002000005E30000CF755DD,REESE Ha fucking ha. Reese SITS. They stare out at the zombies. The inside looking out looking in. REESE (CONTD) Theres a party tonight. KENNEDY I cant... REESE What the fuck do you mean you cant? I havent told you where its at, what time it starts, whos going to be there, what the theme is- KENNEDY The theme? REESE Yeah, the theme. This is a frat party, so its high concept. Reese leans back in his seat, watching zombie girls pass. KENNEDY So whats the theme? REESE Rainbow Bright. KENNEDY Excuse me? REESE I shit you not. KENNEDY Well you can keep on not shitting me because Im not going. REESE Listen, its me, you and twenty seven sorority girls. Hot ones, okay, I do my homework. Dont bicker, just say thanks. They said me and one friend. The Marquis De Sade isnt returning my calls so I chose you. KENNEDY Great. REESE Ill tell you whats great; the fashion sense on Wednesday Adams right here. POV KENNEDY - a GOTH GIRL, dressed in all black, naturally. A few dozen NECKLACES hang from her neck, all of them equipped with numerous styles of silver crucifixes and her dress, which drags a few feet behind her, is tattered like confetti. Kennedy is TRANSFIXED. REESE (CONTD) Personally I vote 'no' on Goth chicks. (looking away) Still skeptical of their bathing habits. KENNEDY You think shes taking the escalator? REESE Why? You want her to leave too? KENNEDY Not exactly POV REESE - GOTH GIRL, THE DRESS, THE ESCALATOR TEETH. REESE C'mon man. That shit has like, never happened. 000200000D980000D552D92,Kennedy ACTIVATES his DV Cam. REESE (CONTD) Never. Ever. Kennedys eyes GLAZE OVER. His breaths become deep and quick. KENNEDY We live in...strange times... Goth Girl moves for the escalator. Kennedy is rising out of his seat, DV in hand. Her hand is on the rail... Kennedy is moving toward her... GIRLS VOICE (O.S.) Remmy! Goth Girl STOPS and WAVES to her GIRLFRIEND, who is advancing from across the food court. Kennedy HALTS. REMMY (to Girlfriend) Hey!! Remmy tries to walk but something holds her in place. CLOSE ON REMMY - Confused. -WHISH!- Remmy is ripped off of her feet onto the escalator. REESE (standing) Well, fuck me in the neck! Girlfriend SCREAMS and charges the escalator. She grabs Remmys arm, trying to haul her up. Kennedy runs UP the downside escalator trying to get a good shot. Remmys crucifixes along with the flowing portion of her dress are RIPPED down into the groove between the stairs and the glass railing screen. A few MALL PATRONS descend upon the two girls. Kennedy holds the camera high. Nice aerial. He ZOOMS IN. POV CAMERA The necklaces CONSTRICT around Remmys throat, cutting in. She coughs BLOOD. It covers her hand. -WHAP!- The bloody hand SLAPS against the glass divider. Nice shot. GIRLFRIEND (screaming) Somebody do something! A MAN hits the emergency stop at the bottom of the escalator. The whole mechanism grinds to a halt. What the fuck? Kennedy looks around, confused. The Man runs up the stairs toward the bloody scene. MAN We have to cut her out! Kennedy turns off his camera. Hes down right HEARTBROKEN. AT THE BOTTOM OF THE ESCALATOR Reese wanders over, checks for witnesses before RESETTING THE EMERGENCY STOP with his foot. Remmys eyes go wide as the invisible grinding sound resurrects itself. The escalator hustle upwards. The girls SCREAM. Kennedy is FILMING again. Reese reclines back into his seat. Job well done. The stairs are nearing the top. They STOP, LURCH forward a foot or too and stop again. A metallic screaming sounds out from underneath. Tea kettle like. Vicious. Kennedy lowers the camera, SNIFFS the air. Its a new face he wears now. He walks down the escalator slowly. The upside still inching its way up in brutal ripping movements. FOOD COURT Kennedy stands by the table where Reese sits, watching. He aims the camera again. Not so sure anymore. REESE Dude, what the fuck? You were in the trenches on some guerrilla shit. Climax first, then falling action. KENNEDY Somethings wrong... REESE No shit. KENNEDY No, really, I think... The tea kettle scream wasn't a just precursor to the EXPLOSION that rips the escalator from the ground and pushes it up to the ceiling of the food court, Remmys head separating from her body on the way up, and slams the structure, upside down, back to earth. Smoke. Fire. Dazed screams. The destruction seems to end like a city limit exactly where Kennedy stands. The boys are speechless. REESE So the partys at eleven... Well, one of them is. INT. MANUFACTURING PLANT - NIGHT The plant lights are OUT. Kennedy sits atop a large structure. His eyes closed. An oversized WRENCH in his lap. SCREAMS Fifty feet away Kennedys DIVI footage plays out larger than life on the wall. In between the screams we hear the CLICK and WHIRL of the PROJECTOR that sits next to him. The footage ENDS, begins again. BLOOD SPRAY Kennedy SNIFFS the air. Grips the wrench tighter. THE ESCALATOR EXPLODES -CRASH!- Kennedy WHIPS around, glaring into the blackness of the plant. 0002000006510000E2E464B,Kennedy hops down off the structure. He does a double take. POV KENNEDY - The structure has gravity defying FOOTPRINTS running up its side and flowing in a single stream down to the floor...He follows them into INT. MAINTENANCE CAGE - CONTINUOUS The cage takes up large space in the corner of the plant. On the walls, power tools, hammers...saws. Kennedy pulls out a FLASHLIGHT. The beam is WEAK and PINK. The trail of footprints split into TWO SETS. Theres a GIGGLE in the dark. Kennedy RUNS toward it. Shining his light as he circles quickly around a maze of racks. GIGGLES behind him. He turns back, running the way he came. The floor is thick with prints, indistinguishable from the ground. Kennedy SLIPS, spinning out and crashing to the cement near the cage entrance. He holds his head. His pink light illuminates the floor space directly in front of him. Illuminates the BLOODY FOOTPRINT that appears inches in front of him. He pretends not to see it and then... -SWIPE!- He SWINGS the wrench viciously where the ankles should be. A GIGGLE sounds out as a set of footprints SKIP out of the cage. Kennedy pulls himself off the floor and follows the feet to an EXIT DOOR. He pushes through... EXT. MANUFACTURING PLANT - REAR AREA - NIGHT The prints curve around the corner and disappear into a EXT. MUDDY ABANDONED LOT - CONTINUOUS Something large sticks out of the mud in the center of the lot. Kennedy advances. He gets closer. Its an old decrepit PORT-A-POTTY. It SLANTS in the wet dirt like the Leaning Tower of Pisa. It ROCKS a bit, GIGGLES from inside. Kennedy SHIVERS, GRINS, readies his wrench. 00020000062C0000E92F626,He rips the door OPEN and- Nothing. GIGGLES somewhere in the lot move deeper into the night. He doesn't bother. INT/EXT. SORORITY HOUSE - LATER A glossy MULTICOLORED manicure OPENS the front door. KENNEDY Stands there. All black SUIT, silk maybe. Rainbow colored CONTACTS in his eyes. AMBER(22), bleach blonde, decked out in Rainbow Bright gear, stares back at him, unimpressed. AMBER No, seriously. KENNEDY Whats the problem? AMBER Wheres your color? KENNEDY Blacks not a color? AMBER No, it isn't. Its the absence of color. Hence, the opposite of color. Hence, have a nice night. She begins to shut the door. KENNEDY Wait a second. Wouldn't white be the absence of color, hence, the opposite of color? AMBER White is in the spectrum. Is black in the spectrum? KENNEDY I dont know... AMBER Well you go ahead and add that to your little list, kay hon? She SHUTS the door. The door RE-OPENS immediately. Reese is here now. Dressed in some sort of half ass rainbow toga. REESE Amber! Do you even know who this is? (beat) This is Kennedy fuckin Halloway. AMBER ... REESE He created marbles! AMBER Oh, shut up Reese, this guys like eleven years old which makes him under age and out of uniform; hes not coming in. REESE How the hell is he out of uniform? AMBER Hes in all black, Reese! REESE No, no, no I dont want to hear that blacks not a color shit. Both black and white are colors and further more...hes got rainbow contacts on! The man is probably in pain and your dicking him around at the door. He needs alcohol in his system. What the hell is wrong with you?! 0002000007150000EF5570F,AMBER Hes in all black with color contacts. Im an eighth Cherokee with bleach blonde hair and fake tits. Exactly how many pow wows do you think I would be granted access to? REESE So this is like a revenge thing? KENNEDY (under his breath) This is ridiculous... AMBER (to Kennedy) So go home. REESE Kennedy, wait... (to Amber, calmly) Amber, there is no light without darkness. You need, we need, Kennedys negative spectral influence or Rainbow Land cant fully exist... She considers this. AMBER So...hes like, the villain? REESE Yeah...okay... AMBER I dont think that I could in good conscious risk the safety of the color Kids. REESE Fuck, Amber, what is it gonna take? AMBER You know what its gonna take! They stare each other down for a moment. Frat party telepathy. REESE Why didn't you just say so!? Reese grabs Kennedy and they head out to EXT. SORORITY HOUSE - STREET - CONTINUOUS where Reeses CAR is parked. Reese STOPS Kennedy a few feet short of the trunk. REESE Sit tight, huh? Kennedy watches Reese pop the trunk, the contents of a BLACK BACKPACK are hidden by Reeses body. The sounds of shuffling PLASTIC. REESE (CONTD) What you just witnessed...was the unreasonable bounds of lesbian compromise. See, she knows the rules of the party...so its easier for her if you just go home. Blacks not a color my dick. He SLAMS the trunk shut, HIDES something small in his hand. EXT. SORORITY HOUSE - FRONT DOOR - CONTINUOUS Reese passes something to Amber. She waves them in with an imaginary wand. AMBER (to Kennedy) So glad you could make it! INT. SORORITY HOUSE - DANCE FLOOR - MOMENTS LATER Kennedy wades through two-dozen rainbow brights. The strobe effect is a hypnotic blitz on the senses. He looks menacing. A shark in the kiddie pool. Ill intent wrapped up in a sexy, doomed package. 0002000004550000F66444F,MAKESHIFT BAR - CONTINUOUS Kennedy stares at a TABLE covered with CUPS filled with different colored liquids. He picks out a LIME GREEN sample. Sips, gags, puts it back down. Kennedy sits back on a sofa. Stares out into the dace floor at the all female grinding. Its girls gone wild trapped under the drug hazed restriction of free flowing tree sap. Amber plops down in the spot next to him. AMBER Not a fan of the magic potion, huh? KENNEDY That depends. Was it straight antifreeze or did I taste cinnamon too? AMBER Very funny. Coconut juice, food coloring, various prescription pharmaceuticals...sugar. (beat) Im sorry about earlier. I was just fucking with you to get what I needed out of Reese. I think you look great. KENNEDY I hope so. I slaved over a hot stove all day for you guys. She LAUGHS a coked up mercy laugh. AMBER So, what do you do? KENNEDY Lately? Just marvel at my blatant disregard for my own safety. AMBER You sound like me. I dont think I like that. KENNEDY Not too loud. Your self esteem might hear you. AMBER No way. I took care of that bitch. Shes sleeping with the fishes. 00020000096C0000FAB3966,(licks her lips) Poured the concrete myself. KENNEDY Self hatred and industrial dexterity? They should give you a TV Show. AMBER Oh, the conventions of etiquette I could demolish with that one up my sleeve. KENNEDY Indeed... AMBER Your one of those guys. KENNEDY What guys? AMBER Rouse up all the attention and once you got a girl on your hook you do the minimalist Im so mysterious act thinking shell fuck you faster, right. KENNEDY Either that or...? AMBER Or what? You dont want to fuck me? Bullshit. KENNEDY I thought your self esteem was dead? Let me guess. They never found the body? AMBER Whatever. I just have to find your fetish. Your catalyst. Your small dark planet. KENNEDY Small dark planet? AMBER Its an overly poetic philosophy term. She scoots CLOSER. Brandishes a small white PILL, holds it up for him to see. AMBER (CONTD) Lets say this is sex. Or general pleasure in its most widely accepted conventional term. Moneys in here, powers in here. Fast cars, fame and multiple orgasms. She pushes the pill gently into Kennedys MOUTH. He GRIMACES, swallows. Ambers holds up a new PILL. Black, square, vicious looking. AMBER (CONTD) This is the taboo ecstacy you keep in the vault. This is the vice that leaves your nerves raging on golden fire. This...is your small dark planet. She puts the pill in her mouth, KISSES it into his. He seems reluctant. She holds him tighter, she PINCHES his nose closed. He SWALLOWS the pill, pushes her away. She leans back on the sofa, CACKLES like a witch. KENNEDY Stunned. AMBER (CONTD) (laughing) Read the book. REESE (O.S.) Sleepy Halloway! Reese leaves TWO GIRLS in the foyer to meet Kennedy halfway. Amber WATCHES the two from the sofa. REESE (CONTD) Im leaving. KENNEDY What? Where are we going? REESE No, Im leaving. You are staying here. KENNEDY No fucking way, I dont know any of these people. REESE You know Amber. Kennedy looks back over his shoulder. Amber WAVES. KENNEDY Reese, this shit is weird even for me. I came with you I should leave with you. REESE Lets do the math right quick. Im taking two and leaving you twenty five. You know that shit you guys are drinking? In five minutes these bitches wont even be able to see. Look, just stay till twelve thirty, fuck it, stay till twelve oh one, okay. This is my gift to you, this is my olive branch to let you know there's no hard feelings. To let you know that I understand. 00020000066900010419663,KENNEDY Understand what? REESE You murdering that loser at the movie theater. Kennedys world goes QUIET. REESE (CONTD) Twelve oh one. Reese WINKS and EXITS with the two girls. Kennedy returns to the SOFA POV KENNEDY - a digital CLOCK on the wall reads: eleven fifty-five. AMBER What was all that? KENNEDY That was my small dark planet getting smaller and darker. POV KENNEDY - The dance floor has been vacated and replaced with an oversized TWISTER MAT in the middle of the floor. The lights DIM. Rainbow colored disco ball reflections swirl around the room. Something erotic with deep bass seeps from the speakers. The room settles. Track lights suddenly favor LANE Frat girl, attractive in a pornish way, walks slowly from around a hallway corner. She is NUDE. All shades of lipstick cover her body. Stilettos, black. Lane pulls a LEASH. Connected to that leash is a beautiful girl with a rainbow colored mane. This PET may or may not have a dildo secured to her rectum with tail-like rainbow tassels trailing from it. Ambers hand falls into Kennedys lap. AMBER (smiling) Whoops. Lane signals for Pet to STOP. She does. Lane kisses Pets lips wetly. -SLAP!- Lane hits Pet sharply across her face! Pet SMILES. Her teeth streaked with BLOOD. Lane stretches out on the mat, spread eagle. Pet begins to FEED. Ambers hand continues its search as Kennedy watches Pet lick hungrily between Lanes legs. POV KENNEDY - Something saunters by in the shadows in a bedroom across the open space of the house. Something with just enough neck left to hold on its necklaces. Kennedy RISES, walks to INT. SORORITY HOUSE - BEDROOM - CONTINUOUS 00020000064500010A7C63F,He glances around; Is that a large PENTAGRAM drawn on the wall in ash? It may be but there is nobody in here. He heads back to his place on the sofa but STOPS suddenly. POV KENNEDY - Amber has shed the lower half of her costume and is touching herself. On the twister mat Lane and Pet still writhe but now with REMMYS HEADLESS BODY between them. Amber, drunken and drugged, slips to the floor joining in the mix. Many girls follow suit. Some stay on the couches, TASTING each other. Kennedy stands over the mat. Taking it all in. Utterly delicious. He strips off his jacket and his shirt, injects himself into the flesh knit. He is welcomed with GROPES and KISSES. The floor of the room is like breathing skin. Pet licks the length of Kennedys face like a dog. She LICKS a CONTACT right out of one of his eyes. POV KENNEDY - All of the girls seem to share an odd shaped TATOO. Must be a fraternity thing. THE CLOCK now reads: eleven fifty nine. Amber rolls over on her stomach, pulls Kennedy on top of her. LANE Licks the bloody stump of Remmys neck. Kennedy pushes into Amber. She whimpers, gripping the edge of the twister mat. POV KENNEDY - He REACHES for Remmy who is blurring in and out with his suddenly failing vision. The corpse SMACKS his hand away. Amber GRIPS tightly at the edge of the plastic mat, pulling it back a bit. POV KENNEDY - Something is CARVED into the floor, cant tell what. The TEMPO of the music grows erratic, menacing. Remmys hands slither around Lanes throat. A DOOR off to the side of the room creaks OPEN an inch... Amber ORGASMS ripping back the mat to reveal 000200000638000110BB632,A PENTAGRAM Kennedy REACTS The clock strikes midnight! A FIGURE with an EXECUTIONERS HOOD bursts from the side door with an AXE raised high. Kennedy looks back, REACTS, rolling away. The Executioners axe splashes down in Ambers spine just as-- REMMY -- PUNCHES Lane in her throat -- Lane DIES instantly. Kennedy snatches his coat as he scuttles quickly into the next room holding his pants up. The Executioner RIPS the axe out of Ambers back and stomps in Kennedys direction. Half of the girls follow drunkenly. The rest are too slow as Remmy slams the door that separates the rest of the house and DISAPPEARS into the blinking strobe light. One of the girls, drunk, trips over Lanes body and falls pulling a large pillow off of the sofa. She tries to rise and is face to face with REMMYS SEVERED HEAD The EYES lean toward her with a sound like nails on a chalkboard. FRAT GIRL What...is that? BEHIND THEM headless Remmy marches out of a pocket of darkness. IN THE NEXT ROOM The girls, including the Executioner, STOP their march when they hear the SCREAMS from the party room. -CRASH!- Their heads whip back as something breaks INT./EXT. BEDROOM Kennedy flails about against the wall blindly trying to make his way. He knocks a computer monitor off of a desk, TRIPS on the cord. KENNEDY Fuck! -CRACK!- The head of an axe splits a door panel! Kennedy rises, rushes forward. He finds the bedroom window, feels it OPEN and flops himself out of it. EXT. SORORITY HOUSE - BACKYARD - CONTINUOUS Kennedy hits the ground with a THUD. He stumbles forward quickly, hurdles the fence into 00020000065B000116ED655,NEIGHBORS BACKYARD He breaths heavy feeling along the side walk way of the residence. He gets the side gate OPEN and moves out onto the residential street. POV KENNEDY As cars whiz by light streaks of their headlights register in his blackness. BEHIND HIM the side gate he just passed through clanks SHUT again. Kennedy REACTS. He carefully moves off the side walk into the side gate of a EXT. LARGE RESIDENTIAL HOME Kennedy feels along the side of the house, a DOORKNOB appears in his hand. He turns it, ENTERING INT. LARGE RESIDENTIAL HOME - GARAGE Kennedy closes the door SOFTLY. Finds find the house access door. ENTERS INT. KITCHEN He crouches down against a cupboard camouflaged by midnight and slivers of moon shine. He breathes. An anxiety attack looms. He fights it. Rubs his eyes. KENNEDY (whispering) Fuck. He gets up. Feels along the counter top. Soda cans, salt and pepper shakers, a cookie jar, a container of some sort. He FONDLES the container, UNCAPS it. He raises it over his head and holds one of his eyelids OPEN. Light from the moon catches the container label. OH SHIT! ITS FUCKING BLEACH! The first drops of the clear liquid roll to the front of the opening... -CREEEEEAK!- The house access door inches OPEN slowly. Kennedy has disappeared with the container. The cap is still on the counter. FOUR Girls ENTER. Quiet as ninjas. Rusty PENTAGRAMS around their necks. Armed with ugly blades. Then, the Executioner. UPSTAIRS FRAT GIRLS TWO AND THREE stalk an upstairs hallway. Frat Girl Two peeks into INT. KIDS ROOM The room is colorful. Even in the dark. Two small beds. One sleeping boy each. 00020000065B00011D42655,Undisturbed. Shes closing the door...but WAIT. Whats that? POV FRAT GIRL TWO - An uncapped container of bleach on the floor between the beds? HALLWAY Frat Girl Two barks a quiet, inhuman CLICKING NOISE at Frat Girl Three. The two ENTER INT. KIDS ROOM Frat Girl Two props the door CLOSED with a desk chair. Frat Girl Three covers her mouth as she giggles, POINTS under one of the beds. UNDER THE BED Kennedy tries to breath quiet and steady. A Frat Girl slides up on either side of him. He doesn't register their presence. They can see each other. They try not to laugh. Behind Frat Girl Three the bedroom closet is OPEN. They hold their KNIVES at the ready. One of the boys roll over in their sleep. Frat Girl Two glances at the boy on the bed behind her. Keep dreaming little one. You dont want to see this. A glint of LIGHT from under the little ones bed. POV FRAT GIRL TWO - the trace of a severed head stares back at her. What?- She turns toward her counter part. -SWISH!- FRAT GIRL THREE IS SUCKED INTO THE CLOSET! The doors SLAM shut. The boys STIR. Frat Girl Two, surprised, confused, SLASHES at Kennedy. A line of BLOOD appears over his left eye. Kennedy drives an aluminum ERECTOR SET PEICE up through the bottom of her jaw and through her brain! Rumbles and SCREAMS sound out from the closet. The slats CRACK. Blood seeps through. Kennedy rises in between the two beds. BANGING on the bedroom door! The boys begin to cry. They hop out of bed, HIDE behind Kennedy. They hold onto him, shocked between the door and the closet. POV KENNEDY - Vision CLEARING, slowly. Blurry dark shapes. The chair at the door 00020000065F00012397659,GIVES WAY. FRAT GIRL FOUR almost falls into the room. POV FRAT GIRL FOUR - The closet, Frat Girl Two twitching on the floor. She HOWLS, running at Kennedy with her knife raised- -BLAM!- -BLAM!- Two bullets open her chest up. Her face smashes into the floor at Kennedys feet. In the door way the FATHER of the house holds a smoking GUN. His eyes are BLOODSHOT and his hands are crusted with grey DIRT. FATHER What...what are you doing to my kids? KENNEDY I...nothing... FATHER WHAT ARE YOU DOING TO MY KIDS!! Executioners axe LOPS the back of his head off into a strange little shape that SPINS around on the floor for a moment. Father freezes in pose. Executioner has to PUSH him over. KIDS DADDY!! Kennedy CHARGES the Executioner. INT. HALLWAY - CONTINUOUS He slams her against the wall! The axe falls. The house shudders. Family pictures hit the floor. The executioners rips Kennedy around like a rag doll. Remmy, carrying her HEAD by its hair, slickly slips across the hall into another room. FRAT GIRL FIVE rounds a corner, runs at Kennedy from behind. Two dead hands eject from a door way kidnapping Frat Girl Five into it. The door slams shut. Bones are BREAKING in there. KENNEDY Ducks a vicious elbow swing, grabs a hallway lamp from a night stand near a WINDOW and shatters its base against the black hood. The executioner doesn't make a sound. KENNEDY (breathing hard) Oh. Okay... -CRASH!- Kennedy pushes the Executioner through the window. A large SPLASH follows. Kennedy peeks out. POV KENNEDY - the Executioner FLOATS at the surface of a very nice pool. Kennedy grabs the kids and leads them to a hall CLOSET. 00020000065A000129F0654,KENNEDY (CONTD) Get in there. They do. KENNEDY (CONTD) Be very...very quiet. The kids are still whimpering when he SHUTS the closet door. DOWNSTAIRS Kennedy moves toward the kitchen- -BOOM!- Remmy TACKLES him! They break through he BASEMENT DOOR and tumble down the stairs. INT. BASEMENT - CONTINUOUS Kennedy STIRS, dizzy, whips around looking for Remmy but he doesn't see her. Only THE EDGE OF A LARGE HOLE He crawls to it, peeking over POV KENNEDY - Remmy and what could only be the MOTHER OF THE HOUSE lay at the bottom of a freshly dug and very deep hole. KENNEDY Holy shit. BEHIND KENNEDY Remmys HEAD tumbles down the stairs in slow motion. Kennedy looks around. Pick axes, umbrella bases, a mixing tin and enough bags of concrete to fill the hole. Remmys body SITS UP! Kennedy starts grabbing umbrella bases and tossing them into the hole until shes covered and unable to move. Remmys head goes for his ankle but he snatches it up off of the ground. Holds it up, looks into its dead eyes. He knows he owes her an apology...but fuck it. He tosses the head into the hole followed by the umbrella base that CRUSHES it. Kennedy wearily pours a bag of concrete into the tin, runs a water hose in from out side, starts mixing. EXT. LARGE RESIDENTIAL HOME - DAWN Kennedy EXITS through the front door. Hes exhausted and covered in concrete. We follow him around the block to the front of the sorority house. He gets in his car. Drives AWAY. But it wont be far enough. INT. HALLOWAY RESIDENCE - DINING ROOM - DAY Dads voice mail greeting PLAYS. -BEEEEEEEEP!- Kennedy THROWS the phone. It EXPLODES against the wall. 00020000065800013044652,He lays his face on the large polished table. CRIES. INT./EXT. COFFEE SHOP/BOOK STORE - LATER Napoleon ENTERS the shop. He walks the rows. INT. POETRY ROW - CONTINUOUS Napoleon enters a row where Kennedy READS slumped against the casing. He shudders as his lips move to the printed page. NAPOLEON Kennedy? Kennedy doesn't look up. A TEAR falls from his face and melts into the seam of the book. NAPOLEON (CONTD) Kennedy? KENNEDY You know its really strange how you hang on to the little things in times of, I dont know what you would call this, a cryptic crisis? But the small things, they stick around in your brain and you think their just debris, but...theyre bread crumbs. The problem is you think that theyre leading you home. (looking at Napoleon) They dont. (beat) Anyway, I was lamenting on the true definition of rape. Once you solidify it, you can apply it. No problem. (reading) It breaks and melts. Grave stones coated with ironys of wicked meat. (beat) Thats raping your heart. He turns the page. Napoleon begins to interject but- KENNEDY (CONTD) (reading) Hemispheres, startled by shivers and fissures and shivers of red black red dust. Moist with bleak guilt. (beat) Thats raping your mind. Napoleon begins to distance himself, slowly. Kennedy turns the page. KENNEDY (CONTD) (reading) Obtuse in the dark, digital in the search, in the erection of slithering deception. The lost voice folds death, over, under...around. (to Napoleon) Thats raping your mouth... Napoleon turns away but Kennedy GRABS him and SLAMS him against the book case. He begins to SLAP him. The slaps morph into PUNCHES. 00020000064F00013696649,Strong strange arms pull them apart. Napoleon COLLAPSES to the floor, bloodied. Kennedy is dragged away. KENNEDY (O.S.) (CONTD) (screaming) Nobody ever answers! CLOSE on the cover of Kennedys book. It reads: Small Dark Planets. EXT. COFFEE SHOP/BOOK STORE Kennedy is EJECTED out onto the sidewalk. He seems to be contemplating a second attack when he spots A POLICE CAR surfing slowly in his direction. Kennedy runs across the street, tearing down an ALLEY WAY between buildings so tall that only the shadow of sunshine lights the way. He STOPS and uses the filthy wall to prop him up as he gasps for air. Kennedy looks up toward the L shaped curve of the alley way. He STOPS breathing. POV KENNEDY - Near the corner stands a red headed GIRL. Fifteen maybe, skinny, but almost SEVEN FEET TALL. Her school uniform is TORN. She stands absentminded, her flat chest rising and falling with deep breaths. Two crusted HANDS that could only belong to The Vagrant snake from behind the corner and snatch RED out of view. The sound she makes is more of a screech than a scream. Kennedy is STUNNED. KENNEDY No...NO! He CHASES them through the winding ALLEY WAYS Until he comes to a DEAD END He STOPS. Surrounded in by grime and brick. Noises attempt to confuse him. Cats fighting, rats battle for domination over an old beer bottle. POV KENNEDY - A large broken WINDOW. Could be an entry. He steps toward it. A slow CREAK opposite the window. POV KENNEDY - not even a real door. Just wood held together by...desperation. He stares at the wood door. A new SCREECH! Distant sounding! In the wood doors direction! 00020000062A00013CDF624,Kennedy BOLTS toward the door. He loses his footing in a pile of TRASH. -WOOSH!- -KABOOM!- He cannonballs through the wood door which seems to explode into dust particles. INT. OLD POOL HOUSE - CONTINUOUS WIDE SHOT The pool house is a veritable super dome. But the stairs have long since collapsed so Kennedy falls down, down, down...into -SPLASH!- An Olympic sized POOL filled to its brim with watery brown sludge, run off, dead leaves, cutlery... The liquid threatens to take him down like an angry living thing. He struggles to its edge. Pulls himself out and collapse pool side, SPITTING out brown fluid. POV KENNEDY At the far end of the pool Red is positioned on her knees, her head submerged under the waster, her hands TWITCH at her side. Kennedy RUNS to her. Her tries to pull her head out of the water but something holds her. He reaches down... RUBBER STRAPS around her neck...secured to something big. He SCREAMS as he pulls with all his might. A RUSTED SHOPPING CART lifts from the mess. He hauls it over the side, releases the leather straps. Kennedy begins a gruesome mouth to mouth session on Red. Its useless. He holds her close until she stops twitching. He WEEPS into her grimy red hair. -BEEP!- Kennedy spins around! THE VAGRANT closes the view finder on his CAMCORDER. Kennedy RISES. The Vagrant GRINS sickly through his DISFIGURED SKIN. He back peddles into a shadowy door way. Slamming a METAL GATE closed between Kennedy and himself. Kennedy SCREAMS as he beats on an old gate that wont give. CUT TO: INT. HALLOWAY RESIDENCE - DINING ROOM - LATER 00020000066A00014303664,Kennedy sits at the dining room table speaking on his new house phone. Its ugly. He didn't devote much effort to its purchase. OPERATOR (O.S.) Nine-one-one emergency...? KENNEDY (on phone) I want to report a...somebody died. (beat) The old pool house...downtown. Theres a body. Please hurry...Shes all alone... He HANGS UP. He rests his head on the table. TIME LAPSE Behind him the sun doesn't just go down, it hides from the next twenty minutes. The door bell RINGS. Kennedys eyes OPEN. INT/EXT. HALLOWAY RESIDENCE - FRONT ROOM Kennedy OPENS the front door to reveal TWO POLICE OFFICERS They look annoyed. OFFICER KELLER Im officer Keller, this is officer Ishi... KeNNEDY Officer what? OFFICER ISHI Ishi. Kennedy NODS. Ishi it is. OFFICER ISHI (CONTD) You called earlier about the girl? KENNEDY Yeah, that was me. OFFICER KELLER Are your parents around? Never. KENNEDY Look if there was a reward or something I dont want it. Give it to charity or something. I just want to go back to sleep. OFFICER KELLER Reward? KENNEDY Yeah. OFFICER KELLER For what? KENNEDY For the tip. (beat) About the girl? (beat) The one I called about?! The officers look at each other. Keller SHAKES his head. OFFICER KELLER (to Ishi) Lets get the fuck out of here. Keller heads off down the walk. OFFICER ISHI (to Kennedy) Look, we were supposed to come down here and razz you about your unfunny crank call that wasted the time of civil servants and countless volunteers, but were kind of tired from cleaning up frat girls all day. So Im gonna tell you like this; we gotta come back up here on some bullshit, Im shoving my nightstick up your ass. 000200000B6700014967B61,(beat) Even this part. (shows Kennedy the handle) Have a nice night. Ishi heads off down the walk. Kennedy shuts the door. He turns around facing the rest of the HOUSE. The everyday ambiance seems magnified, malicious. Where is she hiding? The door bell RINGS again. Kennedy hesitates, OPENS up. REESE AND THE EXECUTIONER Stand on his porch. Reese is all smiles, his infamous black BACKPACK slung over his shoulder. The Executioner has a new hood. Its WHITE. REESE Theres that wily guy. (beat) We didn't miss tea time did we? She loves tea. (beat) Invite us in Kennedy, home invasion is so mother fucking tacky. Kennedy stands to the side. Reese motions him forward. REESE (CONTD) No, no, no, master of the house sits first. Kennedy moves into the adjoining LIVINGROOM Reese sits across from him, the Executioner stands Reeses side. REESE (CONTD) La Casa de Halloway. This is nice. Im gonna have a place just like this after the big score, whatever that is. Your dad still out of the country? Shit... (to Executioner) This guys dad is like a fucking jet setting phantom. Probably tagging some international B-list ass no doubt. And Moms on some dynamo Heidi Fliess shit. (to Kennedy) So little Halloway is here all alone...Youre here all alone. Aren't you...little Halloway? Reese UNZIPS his back pack. REESE (CONTD) (beat) We need your blood, Kennedy. Alot of it. Like, a shit load. Like, Im not entirely sure you could survive the donation. KENNEDY My blood? REESE Yeah, your blood. Very interesting scenario, see, I find talent, Thats what I do. Ask anybody. Give me the criteria, make, model year, height, weight, potency, a generous time frame and commission, Im the eighth fucking wonder of the world. So when the Dark Rainbow Fraternity tells me they need either some really clean blood or some really, really dirty blood, I say, okay. Now if you want really clean anything you gotta go for the young girls. Thats where its at, this is common knowledge, Im told. However, kidnapping baby chicks is slightly out of my comfort zone but Im also not comfortable with the thought of breaking bread on some subcontract bullshit...or am I? One day Im cruisin the private elementary schools when I catch this...nasty ass, homeless, walking lice ball trying to make off with this youngling. So I corner him, hand him a couple hundred plus my laundry list, right? Couple days later he gets my peice but disappears into the fucking bushes with her. Now Im all fucked cause the ladies have a deadline to keep with the full moon approaching and all that jazz. Meeting with them turns into such a rag fest that I know I gotta find something quick or they might get pissed and send her to fuck me up. So I do what any red blooded American does when they need to clear their head; snatch up a couple of chicks and go to the movies. Thats when I see you. Thats when you kill that lame ass butter ball. 0002000006BC000154C86B6,(beat) Kennedy, youre my dirty blood. So I throw you to the snakes. Im sorry, just business. You gotta count on having to co-fillet a cool mother fucker every now and then. I counted on that. But I didn't count on you turning a nice civilized sacrifice into a god damn blood bath. Fucking rude, Kennedy. I dont have to tell you she is not really feeling you right now. Frat house turned into fucking exhibit A. Her whole coven splattered all over the place. So if it truly is an eye for an eye...you owe someone a couple of lungs. From his back pack Reese pulls a large clear plastic folding container with an I.V. cord connected to it. He throws it on the coffee table between them. Its like a tiny duffle. Theres no fucking way- REESE (CONTD) Put the money in the bag...and I wont let her turn your garden tools against you. Kennedy stares at the I.V. KENNEDY You see the cops outside? REESE Yeah...theyre still there. In varying degrees of existence I might add. KENNEDY (standing up) Guess Ill grab some orange juice then... The executioner makes a move for Kennedy. -BUDUMP!- From upstairs. Everybody looks up, frozen. KENNEDY (CONTD) (beat) Looks like your gonna get your little girl after all. -BUDUMP!- -BUDUMP!- Whatever it is its big and its MOVING. -BUDUMP! BUDUMP! BUDUMP!- The PORT-A-POTTY from the mud field SLIDES down the stairs on its side finally CRASHING into the wall at the bottom of the stair case. The potty sits still for a moment, then ROCKS a bit. Reese looks to Kennedy. REESE Open it. KENNEDY Yeah right, fucker. REESE (to Executioner) Sweetheart..? The Executioner walks over fearlessly and flips the door OPEN to reveal BLACK BLOOD It fills the unit to the brim like toxic gruel. 00020000068100015B7E67B,REESE (CONTD) Kennedy!? What the fu- -RED, menacing, dead, BURSTS from the unit and pulls the Executioner inside! Reese SCOFFS, amazed. Reds arm ejects from the sludge, grabbing the Port-a-potty door and slamming it CLOSED! REESE (CONTD) Goddamn, Ken, you hang with badder bitches than I do- Kennedy TACKLES Reese to the floor. He tries to beat Reese full throttle but Reese flips him over taking the upper hand in mere seconds. Reese holds Kennedys neck with one hand, pummels his face with the other. KENNEDY Hold still! Dont...fucking move! Kennedy reaches up to the coffee table and grabs the I.V. He SLAMS the syringe end into Reeses neck. Reese HOWLS as his BLOOD floods into the plastic sack. Kennedy WRAPS his arms up so he cant pull the cord out. The bag fills courtesy of Reeses panicking guilty heart. Reeses face goes BLUE. He PASSES OUT. Kennedy stands over him. Nose and mouth BLOODIED. He STOMPS on the plastic sack which explodes covering everything within a few feet with fresh red. Kennedy stumbles over to Reeses back pack, looks inside. He zips it up. Slings it over his shoulder. Reeses BLOOD has streamed over to the PORT-A-POTTY Which OPENS with a slow creak as if activated by its contact. POV KENNEDY - Red SLITHERS out of the unit like a possessed preppy demon snake, LAPPING the blood up all the way to Reeses face. -CRUNCH!- She BITES into his forehead! KENNEDY ...RUNS! Reds attention jerks in his direction. EXT. HALLOWAY RESIDENCE Kennedy RUNS. Past the dead police officers through the DRIVE WAY Out to EXT. MAIN STREET - CONTINUOUS Kennedy STOPS. Which way now? In the distance the sound of approaching SIRENS. 0002000006E3000161F96DD,Kennedy cuts across the street and into THE WOODS Brush whips at him as he fights for every step. He PAUSES in a clearing to wipe blood from his face. Red SCREECHES somewhere in the dark. Kennedy keeps moving. EXT. WOODS/CITY STREETS - MOMENTS LATER Kennedy breaks through the thicket directly into the city plaza. He moves down the side walk, brisk, trying to be a shadow. -SHOOM! SHOOM! SHOOM!- A trio of POLICE CARS whiz by. Kennedy ducks into INT. RITZY HOTEL - LOBBY He moves straight to the FRONT DESK Where Skippy and Moody wait to serve. SKIPPY Goooooood evening sir. How may we service you on this lovely night. KENNEDY I need a room. I need a room now. Kennedy tosses a CREDIT CARD on the desk. SKIPPY No problem. Do you- KENNEDY (looking over his shoulder) I dont have a reservation. SKIPPY (looking at card) Okay, well get you set right up, Mr...Halloway? (beat) Sir...did you lose your key? KENNEDY What? SKIPPY Looks like your already in the system. Penthouse and the whole shabang. Kennedy REACTS. KENNEDY I... SKIPPY Dont be embarrassed, sir, it happens all the time. This is The Ritzy. The very last thing were gonna do is make you pay for it all over again, Mr. Halloway. that would be so rude. (hands him a key card) Top floor. But, you know that. Kennedy moves off toward the elevators. Once hes out of earshot: SKIPPY (CONTD) (to Moody) Rich people and their cocaine. MOODY And how. EXT./INT. RITZY HOTEL - PENTHOUSE - MOMENTS LATER Kennedy stands in front of the door. He reaches the key card out toward the slot. Hes SHAKING like a leaf. -CLICK- The door OPENS. Kennedy ENTERS INT. PENTHOUSE - CONTINUOUS Kennedy stands in the middle of the suite. Its not like in his dream. Its not so dark, its warm even. MANS VOICE (O.S.) 000200000648000168D6642,Kennedy? Kennedy whips around. Meet COLE HALLOWAY, Kennedys father. Hes handsome, just like his son. COLE HALLOWAY Son? Are you okay? Kennedy RUNS to him. He hugs his father tightly. Cole is surprised and little startled. Kennedy wails crocodile tears into his fathers chest. COLE HALLOWAY (CONTD) Son, youre bleeding. Hey, calm down. You hear me? Sit down. Over here. He leads his son to the sofa. Kennedy tries to get it under control. COLE HALLOWAY (CONTD) Kennedy...hey? Hey...what happened? KENNEDY What happened? I called you every day. Every day for so many days I lost track. Where were you? COLE HALLOWAY Son, I told you exactly where I was going. I even left you the itinerary. Boston, then Paris, then London. KENNEDY But I called your phone and it- COLE HALLOWAY My phone is in Boston. Still. Its most likely going to stay there too. I didn't have any of the numbers written down. Im embarrassed to say I couldn't even remember the number to my own house. My own sons number. I must have sent you a dozen E-mails though. Did you check your E-mail? KENNEDY No...you were supposed to be back. COLE HALLOWAY I know. Ive actually been back for a few days now. I came by the house the other day. You were gone. What the heck happened to your room? You have a party or something? KENNEDY No. COLE HALLOWAY My son. The party animal. KENNEDY Im not a party animal. (beat) Dad...why are you here? Why didn't you come home. COLE HALLOWAY Kennedy...I met someone in Paris. Its really moving quite fast. You know that's not my style. Or maybe you dont know that much about your old mans style. 00020000065E00016F18658,KENNEDY You dont have any style. COLE HALLOWAY I dont have any style?! Son you are way out of the loop. Check out my myspace when you get a chance. KENNEDY Shut up! COLE HALLOWAY Kennedy...Im not gonna lie to you. When Im gone, Im working hard. Im playing hard too. All these exotic places and people its easy to get caught up in the material of it all. You start to only believe in the things that you can feel. The things that make you feel. You can forget about those you feel for. When Im not working so hard I start to feel guilty about you being all alone, here. I mean I guess you got your mother if you need her but...Im gonna take some time off. Well go on vacation, just me and you. Anywhere you want. You name it. KENNEDY Paris? COLE HALLOWAY Sure. Paris is great. Single guy like you- KENNEDY Can we go now? COLE HALLOWAY Now? KENNEDY Right now. I want to get out of here now and I dont ever want to come back. (beat) Dad...please? COLE HALLOWAY You win. Were on the next flight out. But you gotta help me pack. They HUG. COLE HALLOWAY (CONTD) Nice back pack. Cole heads off into the bed room. Kennedy seems to EXHALE. But whats that in the corner? POV KENNEDY - A velvet TARP covers something BIG. Kennedy ADVANCES, reaches out with another one of those shaky hands...pulls of the tarp to reveal A beautiful SCULPTURE. Parisian probably. COLE HALLOWAY(O.S.) (CONTD) I got it in Paris. Nice huh? Come help me out with this. Cole ducks back into the room. Kennedy actually does EXHALE. KENNEDY (walking into bedroom) When we get to Paris, I have to tell you somethi- Kennedy stops cold- MASTER BEDROOM 000200000DFF00017570DF9,The bed has been pushed up against the wall flat ways to make room for the YOUNG DEAD GIRL that is attached to a cactus shaped WIRE FRAME. Her body parts have been MIXED AND MATCHED. Maybe only the HEAD and TORSO are hers. BACKPACKS, Girls backpacks litter the floor. Along with many pairs of female type SHOES and ACCESSORIES. In the closet, DUFFLE BAGS and PLASTIC GARBAGE BAGS packed so tight theyre bursting at the seams are piled up. Most of them stained or leaking RED. The sound coming out of Kennedys throat is called FEAR. The look on his face is HORROR. COLE HALLOWAY Now I was hoping to shrink wrap these ladies and finish them up before I left. I wasnt sure I was going to make it. But now Ive got four hands...dont I? KENNEDY Tears STREAM down his cheeks. He looks as if he may faint. Who else could it have been really? Kennedy Bites his lip, choking something back. The Cole Halloway that steps closer to his son, staring down upon him, is a different Cole Halloway. Darker, deadly, proven. COLE HALLOWAY(CONTD) Kennedy...? I do have four hands...dont I? Kennedy SHAKES his head slowly, as if scared of being stricken. COLE HALLOWAY (CONTD) Dont look at me like that? What are you? Mad? Disappointed?! Are fucking kidding me?! Are you fucking crying?! Goddamn it you know Im the one prancing around in Paris taking up art and shit but you..youre a fucking pussy, guy, come on. What the fuck do you need? A fucking toy? (looking around) Here. Cole hands Kennedy an AXE with a shiny chrome head. Kennedy holds it for point five seconds and drops it on the ground. COLE HALLOWAY (CONTD) You know what that is? Thats Platinum. Swear to god. You know what I was gonna do with that, Ken? I was gonna take that tall red head bitch...you ever see those cartoons where somebody hits a tree with an axe and entire foot long sections get knocked out and the rest of the tree just drops down into place? I was gonna try that. Of course itd be hard to get a good swing in the gorilla suit. Cole nudges a pile of clothing with his foot. Its his VAGRANT uniform. COLE HALLOWAY (screaming) Dont fucking look at me like that, Kennedy. Dont you dare fucking look at me like that. Youre mad at me?! Youre disappointed in me?! Hey, son, there wouldn't happen to be dead cops on my fucking front lawn would there?! You know what happens now!? Theyre gonna go inside! And theyre gonna find whatever it is you have in that bath tub!! And theyre gonna find my little collection in the basement!!! And then were both gonna be in a lot of fucking trouble, so stop staring at me like such a fucking coward and help me clean this shit up- -SLATCH!- The platinum axe takes COLES jaw clean off yet he looks merely confused. He slumps against the wall. Kennedy raises the axe for a second take but doesn't have the energy. The shock is too much. Kennedy DROPS the axe, turns around. RED Towers over him, staring at Coles body. She collapses into Kennedys arms. She supremely ghoulish, but he doesn't turn away. She dies for real this time. He sheds more tears into her grimy red hair. He lays her down on the floor softly. Slings Reeses backpack over his shoulder. We follow him into the ELEVATOR We ride down with him, mentioning nothing of his guilt. We walk through the LOBBY With him, hoping that he gets what he deserves without it hurting so bad. EXT. RITZY HOTEL - CITY STREET - CONTINUOUS But once he hits the sidewalk he leaves us behind. Pushing through the darkness of the early morning into the next nightmare... FADE to black 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Transition1119$000 LFFFF000000060002000177AA00000000004F0000000020001101-7F7C6F000480048-20F0-10 F264FFFF010200001000000340000000103408105AF20A20388000203F20A0000200000007000000003,[].00040000000C00000003023530005000000090000000201500006000000EE0000000430C30FFFF0C00000 10 10930FFFF0C00000 20 10C201020040FFFF0C00000 10404DC70121BFD44010930FFFF0C00000 10438B900 00070000003800000002010180205A0 101800008000001690000000240,System40,Courier10A014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A00000013000000020F2640F264000B00000005000000020000C0000000A0000000101000F0000005500000000400 10 104,04,14,04,C004,14,438B4,00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF0012800000009000000015001290000000900000001500014000000AC000000001BFD445C1AE204211BFD4802C,E,42,>Page #!j?Q!FFFE000000060002000177AADjFFFF000000060002000177AA00000000004B0000000020001101-7F7C6F000480048-20C0-10 C264FFFF0100001000000330000000101408105AC20A038E000203C20A0000200000005000000001, 0004000000090000000201300005000000090000000201300006000000640000000210C30FFFF0C00000 10 10930FFFF0C00000 30 00070000003800000002010180205A0 101800008000001690000000240,System40,Courier10A014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A00000013000000020C2640C264000B00000005000000020000C0000000A0000000101000F0000005500000000400 10 104,04, 4,x|4,4,4,4,00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF001280000000900000001300129000000090000000130FFFE000000060002000177AAD2rVIS+First Revision*,Second Revision*+Third Revision*,Fourth Revision*.4LsNTE! 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Suggestion*?Courier Final Draft (MORE)(CONT'D) (CONTINUED) CONTINUED:aCTR =Man 1(`Q|g({DESTۉ}P=Man 2(`]DVۉ}P?Woman 1(pQ|g({DESTۉ}P?Woman 2(ԑPO|u`ۉ}P=Boy 1(`Q|g({DESTۉ}P=Boy 2(ԑPO|u`ۉ}P>Girl 1(pQ|g({DESTۉ}P>Girl 2(ԑPO|u`ۉ}P?Old Man(`]DVۉ}PA Old Woman(pQ|g({DESTۉ}PeE9 CHARACTERDIALOGUEk1Arial W?Courier Final Draft 6 Cast List.  - ]5/82 1/84 5/81 2/82/82/83/81 6/81 4/81 1/83/81/811 6/83/82/82/82 7/86/85/83/81/82/84/81/82/82/84/82 1/815/82/83/83/83/812/81/85 1/84/82/81/82 3/87/87/85/81/86/82/82/84/85/87/81/83 4/82/86/82/84 5/85/87/81/83/82 5/84/82/82/84 7/82 1/83/84/81/81/86/83/82 7/86/82/82/81/81 4/81 3/81 1/85/86 2/82/83/82/81 2/85 5/82/81/81/8PAGE&\13899910111314141516181818182122222323232424242424272828282929293031313636373739404141424242434344444548484949545455555658595959646667676767686871727272727475767783838484859191920FFFF000000060002000177AA00000000005D0000000020001101-7E7C6F000480048-25F1132008A-10EF2113356FFFF010D000010000003E000000010208405F13A11330E20038E00010713A11313A00002000000250000000020, SMALL DARK PLANETS 00040000000A00000002012210005000000130000000401D220122000060000008F0000000310C30FFFF0C00000 10 10930FFFF0C00000 30 20930FFFF0C00000 00070000005400000003010180480 2018010480 101800008000002100000000340,System40,Courier10A014E440007014000100000011640,Courier Final Draft40,Courier104070114E407010100000011640,Courier Final Draft40,4014E4070101010000900000005000000020000A0000001B00000002EF2326356EF2326356000B00000005000000020000C0000001600000001D14151235D01000F000000590000000050E010 104,77A4,4,77A4,4,um4,[z4,[].00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF001280000000A0000000122001290000000A00000001220FFFE000000060002000177AAD j LFFFF000000060002000177AA00000000004F0000000020001101-7F7C6F000480048-20F0-10 F264FFFF010200001000000340000000103408105AF20A20388000203F20A0000200000007000000003,[].00040000000C00000003023530005000000090000000201500006000000EE0000000430C30FFFF0C00000 10 10930FFFF0C00000 20 10C201020040FFFF0C00000 10404DC70121BFE54010930FFFF0C00000 10438B900 00070000003800000002010180205A0 101800008000001690000000240,System40,Courier10A014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A00000013000000020F2640F264000B00000005000000020000C0000000A0000000101000F0000005500000000400 10 104,77A4,4,t4,014,F204,~4,:00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF0012800000009000000015001290000000900000001500014000000AC000000001BFE545C1AE204211BFE5802C,E,42,>Page #1\!j?Q1\!FFFE000000060002000177AADjFFFF000000060002000177AA00000000004B0000000020001101-7F7C6F000480048-20C0-10 C264FFFF0100001000000330000000101408105AC20A038E000203C20A0000200000005000000001, 0004000000090000000201300005000000090000000201300006000000640000000210C30FFFF0C00000 10 10930FFFF0C00000 30 00070000003800000002010180205A0 101800008000001690000000240,System40,Courier10A014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A00000013000000020C2640C264000B00000005000000020000C0000000A0000000101000F0000005500000000400 10 104,77A4,~4,04,14,04,04,100130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF001280000000900000001300129000000090000000130FFFE000000060002000177AADQ6$$