Screenwriter Community |
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by Nathaniel Brehmer (nbrehmer@gmail.com)
Rated: 
Genre: Horror
User Review:  
Angela and her sister were savagely attacked when a masked man forced his way into their home. Her sister did not survive. One year later, Angela is at college and trying to move on, but the event caused a media circus she cannot escape. Enter Cole, a dashing young man with a shocking proposal: to make a movie of the horror that happened to her. Deciding that everyone wishes to exploit her anyway, she accepts his offer and his other advances. But Cole holds surprises of his own. He is more than a monster, he is an artist. And Angela is his masterpiece.
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
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FADE IN:
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EXT. HOUSE - DAY |
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We open the film with a beautiful, calm shot of a large
two-story white house. A faint image of sunset paints the
backdrop.We linger on this for a long moment. |
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INT. HOUSE - DAY |
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The place has been TORN TO PIECES. Everything is a mess.
Bookshelves have been overturned, thrashed about, furniture
destroyed, pictures torn down from the walls.
We pan across the room, hearing someone cough. |
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CLOSE ON |
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A pale hand, on the floor, covered in blood. PULL BACK to
see a young woman (FRANCESCA) beaten, bruised, naked and
bleeding. A lot.
Her eyes scan the room, blankly, as is she does not register
anything at all.
We hear footsteps.
Francesca rolls her head to one side. Something catches her
eye, her other eye too bruised to even properly open.
It's THE PHONE. On the floor, perhaps she could almost reach
it...
Footsteps again. |
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INT. KITCHEN - DAY |
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There is a man in here. He wears a dark suit, his face is
covered in bandages in a very similar fashion to H.G.
Welles' "Invisible Man". His form is long and spindly,
gentle fingers covered by leather gloves.
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2.
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He is making himself a peanut butter and jelly sandwich. We
hear Francesca cough again from the living room. Beat.
He peers in at her from the kitchen, but she is lying
completely still. |
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INT. BEDROOM - DAY |
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This room is also nearly destroyed. We move in on the
closet. |
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ANGLE ON |
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Inside the closet with a young woman, ANGELA, who is crying
softly. She peers out through the cracks, but can see very
little. |
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INT. LIVING ROOM - DAY |
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The dark suited man stands in the doorway, watching
Francesca. He steps back into the kitchen and lifts
something off the counter. An IRON ROD.
Francesca turns over. |
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ANGLE ON |
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The man's feet, stepping into the living room, crunching on
broken glass. We see a photo, a family portrait, for a
moment before his foot comes down on it. |
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ANGLE ON |
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Francesca's hand, touching the very edge of the phone.
Something SLAMS down on it. The iron rod. Francesca tries to
SCREAM, but a gloved hand covers her mouth. |
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ANGLE ON |
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The dark suited man, crouched over her. He places a finger
to his lips, telling her to be quiet.
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3.
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With one swift, forceful move, he PULLS the rod from her
hand. She gives a muffled squeal.
His hand moves down her bloodied body, the other still
clasped tightly around her mouth.
The rod traces down her body, past her navel, she shudders.
It almost seems as if we can feel the dark suited man smile
under his bandages. |
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ANGLE ON |
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The dark suited man, reaching to grab something behind him.
A BLOWTORCH. |
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CLOSE ON |
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Francesca's eyes, widening.
The dark suited man fires up the blowtorch. He places the
rod under the heat of the flames. |
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INT. CLOSET - DAY |
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Angela brings a shaky finger to the edge of the closet door.
She taps it slightly open. |
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INT. LIVING ROOM - DAY |
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The dark suited man turns the blowtorch off, looking at the
glowing hot iron rod in his hand.
We focus on him as he THRUSTS it inside her. |
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INT. CLOSET - DAY |
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We hear Francesca's painful SCREAM and Angela's eyes go
wide, nearly red with tears. |
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4.
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INT. LIVING ROOM - DAY |
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The dark suited man is sitting on Francesca, pinning her
down. She's convulsing, but he is nonetheless in complete
control.
Swiftly, he brings his hand down and CRACKS her jaw. This
only jars her for a second.
We focus on him as he brings his hand to his bandaged mouth.
He begins to unravel the mouth area.
His thin lips form a SMILE.
After a moment, he kneels down to KISS HER. She begins to
shake in his grasp, but not much.
Beat.
Blood begins froming around their mouths, running
everywhere.
Satisfied, the dark suited man sits up and SPITS OUT her
TONGUE.
Francesca gives a gurgled scream. The dark suited man wipes
the blood from his mouth and stands up. |
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INT. KITCHEN - DAY |
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A soft, feminine hand pulls a knife from the rack on the
counter. |
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INT. LIVING ROOM - DAY |
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The dark suited man finishes rewrapping the bandages. He
looks down at Francesca, tilting his head to one side,
studying her. Beat. He KICKS HER.
He turns around.
ANGELA stands behind him, raising the KNIFE. She SLASHES at
his arm, all she gets as he dodges.
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5.
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Spinning around, he TAKES THE KNIFE from her. Swiftly, he
stabs the knife THROUGH HER HAND and throws her to the
floor. |
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ANGLE ON |
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Angela, screaming, falling onto her sister. Francesca's body
begins to convulse.
Beat. |
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CLOSE ON |
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The knife, which has gone through Angela's hand and INTO
Francesca's SKULL. The two sisters are pinned together. One
is dead in a moment.
Angela is crying, barely audible, she barely seems to
register what she is seeing as she feels her sister die.
The dark suited man stands beside her. He grabs her free
hand by the wrist. Using his belt, he ties her hand to the
leg off the coffee table.
Lying face down on the floor, there is nothing she can do as
he begins to unbutton her pants. |
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He KICKS the back of her head. She begins to sob silently.
Now, he begins to unbutton his own pants. |
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EXT. STREET - DAY |
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We can hear sirens. Three POLICE CARS appear, turning the
corner. |
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INT. HOUSE - DAY |
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The police cars stop outside the house.
Two officers step out.MCKINLEY and BROOKS. |
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6.
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BROOKS
I don't hear anything... |
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McKinley only nods. |
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INT. HOUSE - DAY |
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The door creaks open. We can hear one of the officers,
probably Brooks, SCREAM as they enter.
Angela lies totally still on the floor. She looks dead.
After a moment, she blinks. But that is all. |
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CLOSE ON |
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McKinley, surveying the scene. He looks up.
And sees the DARK SUITED MAN, scurrying out the back door. |
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MCKINLEY
He's going out the back! |
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He draws his gun to fire. |
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EXT. HOUSE - DAY |
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We see now that the house is set against a cliff overlooking
a beautiful, peaceful lake. The dark suited man runs as fast
as he can from the back entrance of the house. Gunshots ring
out from behind him.
One catches him in the SHOULDER. He grunts, but continues to
run.
The police officers swarm out the back. McKinley chases
after him, firing wildly.
The next shot grazes the psychopath's arm, but that is all. |
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CLOSE ON |
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McKinley, narrowing his eyes to fire. |
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7.
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CLOSE ON |
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The gun, going off. |
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THE DARK SUITED MAN |
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jerks back, goes limp and falls off the cliff face.
McKinley holsters his gun and runs to the edge to look down.
ANGLE ON
The dark suited man's body, limp in the water.
A SCREAM from inside. McKinley runs back immediately. |
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INT. HOUSE - DAY |
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McKinley enters, hearing the scream again. It's Angela. |
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MCKINLEY
What the fuck is going on? |
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An officer stands, shrugging. |
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BROOKS
Sorry, sir... I had to get the
knife out of her hand. |
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He snaps out of it after a second. |
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MCKINLEY
(sighs)
Look, I got the son of a bitch.
He's floating, though. I suggest
we get a cleanup crew down there
and an ambulance ASAP for this
poor girl. |
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8.
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BROOKS
Angela White. I know her, she used
to go out with my brother a few
years back... God... |
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MCKINLEY
I know. Okay, right. Just make
sure that ambulance gets here,
Brooks, you got me? |
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BROOKS
Yes, Sergeant McKinley. |
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ANGLE ON |
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Angela, now covered in a blanket, sitting on the floor and
staring blankly at her wounded hand. |
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MCKINLEY (os)
Angela? It's okay now, honey. We
got him. You're going to be okay. |
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Angela just continues to stare, like his voice doesn't
register at all. |
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INT. HOSPITAL - DAY |
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McKinley sits in the waiting room with a styrofoam cup of
coffee.
Brooks approaches. |
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MCKINLEY
What have we got? |
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BROOKS
Other victim was her sister,
Francesca. |
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9.
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MCKINLEY
Jesus. What about the cocksucker
who did all this? |
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BROOKS
Washed up on the banks an hour
ago. Took us all night to find
him. |
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MCKINLEY
At least the bastard got what he
deserved. |
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They fall silent for a moment. |
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MCKINLEY
Hand's damaged. It'll never work
the way it used to. Other than
that... |
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BROOKS
That's not what I meant. |
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MCKINLEY
I know what you meant. But I don't
have an answer for that one. |
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INT. HOSPITAL ROOM - DAY |
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Angela lies flat on her back, staring up at the ceiling. We
hold this shot for a long, long moment.
Slowly, her eyes turn down to look at her bandaged hand.
We see a FLASH of the dark suited man's bandaged visage,
lingering in her memory.
She shuts her eyes tight.
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10.
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We PULL BACK to see McKinley watching her from the doorway.
His eyes turn down to the floor and he steps away.
Brooks stands beside him. |
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BROOKS
She's lucky to be alive. |
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McKinley tosses his coffee in the garbage can. |
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MCKINLEY
I really wish I could agree with
that. |
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Both silent, they walk off down the hallway. |
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CLOSE ON |
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Angela's eyes, staring blankly at us. |
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INT. CLASSROOM - DAY |
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We hold this shot, still focused on Angela's eyes, only the
background changes behind us.
We PULL BACK to see Angela sitting in a college lecture
hall.
TITLE: University of Eastern Maine. One Year Later.
We focus on Angela's hands, quickly scribbling down notes.
The other hand rests beside it, scarred.
She looks up at the clock, then turns back to the professor. |
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ANGLE ON |
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PROFESSOR STEWART, a middle aged woman with glasses. |
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PROFESSOR STEWART
So. What can Samuels tell us about
fate? |
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11.
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An attractive brunette girl sitting beside Angela raises her
hand, this is KAYLA. |
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KAYLA
Well, Samuels felt that fate was
like a poison. Something than
consumed, something that was truly
beyond prediction. Or control. |
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PROFESSOR STEWART
Interesting theory. But you're
right in some respects. Samuels
did definitely personify fate. |
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Angela's eyes seem to drift, she looks distant. |
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Professor Stewart glances up to her. |
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PROFESSOR STEWART
We'll, um, continue this
discussion tomorrow. |
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The class begins packing up. Angela lifts her bag over her
shoulder and makes her way to the door. |
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PROFESSOR STEWART
Angela. Hold on a minute. |
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Angela pauses, confused. She turns back to Kayla, who is
standing in the doorway. |
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KAYLA
I'll meet you in the dining hall. |
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Angela nods. Kayla exits. |
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PROFESSOR STEWART
Well... it's just... you seem a
little... a little lost, I
suppose. Is everything okay? |
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12.
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ANGELA
Okay? Yeah, sure. Why wouldn't I
be? |
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Professor Stewart stares for a long moment. |
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PROFESSOR STEWART
I suppose I don't really know.
You, um, you have a nice day,
okay? |
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She walks away. Professor Stewart watches her go. |
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INT. PROFESSOR STEWART'S OFFICE - DAY |
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Professor Stewart sits in her office across from the Dean,
Clive Collins. |
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PROFESSOR STEWART
There is something wrong with that
girl. |
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COLLINS
I'm not sure what you're talking
about. |
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PROFESSOR STEWART
Cut the bullshit, Clive. We both
know who I'm talking about. |
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COLLINS
She's... a little distant, yes.
But it's to be expected, isn't it?
I mean, the girl's been through a
lot. |
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PROFESSOR STEWART
Everyone goes through a lot.
People with cancer go through a
lot. People in car accidents,
people who get shot, they go
(MORE)
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PROFESSOR STEWART (cont'd)
through a lot. That girl went
through hell. |
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COLLINS
I'm not sure I see your point. |
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PROFESSOR STEWART
My point? My point is that nobody
who goes through that comes out
okay. Nobody. It just doesn't
happen, Clive. It can't. She's not
okay. She never will be and
there's nothing anyone can do to
change that. |
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COLLINS
Maybe. I don't know. People who go
through substantial times of
violence, or abuse, or anything
like what she went through and
actually overcome it... they
deserve more respect than anyone. |
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PROFESSOR STEWART
Maybe in your fucking fairy tale
land, but we're talking about real
life. This is real. And real
people can't deal with shit like
that. They snap. Real people can't
handle it. They're better off dead
than suffering. |
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COLLINS
Are we still talking about Angela? |
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PROFESSOR STEWART
Fuck you, Clive. I want her out of
my class. I want her out of my
school.
(beat)
That girl scares the living shit
out of me. |
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14.
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INT. DINING HALL - DAY |
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Angela joins Kayla at her table. |
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KAYLA
What did prof Stewart want? |
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ANGELA
Hm? Oh. Nothing important. |
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Angela is silent again. Kayla stares for a moment as if
expecting her to speak, but she doesn't. |
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KAYLA
You know... if you need anything,
you know you can talk to me,
right? |
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ANGLE ON |
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A man, from behind, watching the two girls from the doorway. |
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ANGELA |
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Looks up. There is no one there. |
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Angela stares at the doorway for a second longer, then
shrugs. |
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ANGELA
Nothing. Just thought I saw
something. |
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KAYLA
That's understandable. But there's
no one there. |
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15.
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EXT. CAMPUS - DAY |
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Angela and Kayla walk out of the dining hall. There is a man
standing up against a tree in the background, watching them.
Beat. He begins to approach. |
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The girls turn, startled.
The see COLE DENNER, a man in his late twenties. Handsome
and Angela notices. He, in turn, clearly notices her. |
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COLE
Are... are you Angela White? |
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COLE
Well... not really, I... |
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KAYLA
Whoa, whoa, whoa. Does she know
you? |
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KAYLA
Then do us all a favor and fuck
off. |
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Cole ignores her and locks eyes with Angela. |
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COLE
I just want to take a few minutes
to talk with you. |
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16.
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COLE
A few minutes. Please. Don't make
me beg. |
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Angela blushes. |
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ANGELA
I'm busy right now... |
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ANGELA
I... I have a date tonight. |
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Kayla's eyes widen. |
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ANGELA
Maybe we can talk tomorrow. |
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COLE
Noon. We'll meet here. |
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ANGELA
I didn't say yes... |
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COLE
Didn't you? Noon, then. Here. |
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He smiles at Kayla. |
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COLE
Very nice to meet you. |
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Eyes turn back to Angela. |
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Triumphant, he walks away. |
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Angela and Kayla watch him go. Beat. Kayla PUNCHES her arm. |
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KAYLA
You didn't tell me you had a date! |
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17.
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She shrugs. |
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ANGELA
Guess I better look for one. |
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Kayla shakes her head and the two girls walk away. |
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EXT. DOWNTOWN - NIGHT |
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Angela walks down the street with a boy named PARKER who
looks stunned to have her by his side. |
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PARKER
Did, um, did you like the movie? |
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ANGELA
Yeah. It was okay, I guess. |
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Too long of a silence. |
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PARKER
I'm fucking up here, aren't I? |
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ANGELA
You weren't till right now. |
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ANGELA
Look, even if you weren't, I don't
want a relationship. This is just,
you know, a one time thing. Just
thought I should let you know now. |
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PARKER
Right. Yeah. I didn't... I don't
want a relationship either. That
would be stupid... |
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18.
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ANGELA
And if it's just tonight, we
better make it special. |
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Beat. |
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INT. DORM ROOM - NIGHT |
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The door swings open, SLAMMING against the wall. Angela and
Parker rush in, she is practically on top of him already.
They FALL down onto her bed. |
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ANGELA
You wanna fuck me? |
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PARKER
I... um... what? I mean, yes. Stop
talking Parker. God, yes. |
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ANGELA
You. Want. To. Fuck. Me? |
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She TEARS off her shirt and tosses it to the floor. They
kiss, passionate and fiery.
She SLAMS his head back down onto the pillow. |
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ANGELA
You wanna hurt me? |
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Beat. |
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19.
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Her scarred hand brushes his cheek. |
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ANGELA
You wanna hurt me? |
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She SLAPS him. |
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PARKER
Ow! What the fuck is your problem? |
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Straddling him, she reaches into her pocket and pulls
something out. |
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ANGLE ON |
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The object in her hands. It is a SWITCHBLADE. |
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She brushes the blade against his face, then places it in
his hand. |
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She brings his hand, holding the knife, to her soft stomach.
The blade nicks at her skin. A trickle of blood runs down.
Angela MOANS in ecstasy. |
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PARKER
This is so fucked up. |
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PARKER
(softly)
So fucked up. |
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20.
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She shuts him up with her mouth.
With her free, unscarred hand, she begins unbuttoning his
pants.
The other hand moves up to his cheek, giving him a gentle
cut.
Parker KICKS her off of him. Immediately, he begins
buttoning his pants back up. |
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He wipes the blood from his cheek, appalled. |
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PARKER
You psycho bitch! I'm out of here. |
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Angela says nothing, and makes no move to stop him. |
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INT. LIBRARY - DAY |
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Angela sits alone in the library, studying. Though it's only
her here, she practically fills the table with books.
Her eyes move up to the clock. It reads 11:50.
She sighs and closes her book. |
|
|
| |
|
EXT. DINING HALL - DAY |
|
|
Angela walks back to the exact same spot where she met Cole
yesterday. She doesn't see anybody. |
|
|
|
|
|
|
Angela turns, startled.
Cole stands BEHIND her. |
|
|
21.
|
| |
ANGELA
Oh, hi. I didn't hear you come up. |
|
|
|
| |
COLE
I'm soft on my feet. |
|
|
|
Beat. He opens his mouth to speak again, before he can, she
stops him. |
|
|
| |
ANGELA
Before you say anything, I'm going
to need to know your name. |
|
|
|
| |
COLE
It's Cole. Cole Denner. |
|
|
|
| |
ANGELA
Okay. Now, what do you want, Cole
Denner? |
|
|
|
| |
COLE
Can we sit down someplace? |
|
|
|
She gestures to a bench by a small, man-made pond. They move
over to it and sit down. |
|
|
| |
ANGELA
Now. I believe you were about to
explain yourself. |
|
|
|
| |
COLE
Yeah, I think I was getting there. |
|
|
|
|
Long pause. When his words come, he just blurts them out. |
|
|
| |
COLE
I'm a film producer, Angela. |
|
|
|
| |
ANGELA
That's nice. I don't see what it
has to do with me, but that's
nice. |
|
|
|
He simply stares at her for a moment longer.
Angela looks down, hurt. |
|
|
22.
|
| |
ANGELA
You've got to be fucking kidding
me. |
|
|
|
| |
COLE
What happened to you was one of
the most shocking events in
American history. People have a
right to know. |
|
|
|
|
|
|
|
| |
COLE
Please, just listen to me. |
|
|
|
| |
ANGELA
You know, people always say the
same thing. Journalists, movie
producers, mostly just
psychiatrists looking to write a
book, they always say the same
thing. "People have a right to
know." Why? Why should people
know? What the fuck do their lives
have to do with mine? |
|
|
|
| |
COLE
I understand how you feel. I do.
But I'm not looking to make money
here, that's the furthest thing
from my mind. |
|
|
|
| |
ANGELA
Then why? Why is it up to you? |
|
|
|
| |
COLE
I want to make art. Almost all art
in history has been shaped by
tragedy. Sometimes the worst
tragedy transforms over time into
the most fantastic art. I want to
make a film that can touch people
on the deepest level, however
primal. The way your story touched
me. |
|
|
|
23.
|
| |
ANGELA
No. You leave me the fuck alone,
Cole Denner. |
|
|
|
| |
COLE
I don't want you to hate me,
Angela. Please. |
|
|
|
|
She stands. |
|
|
| |
COLE
Can... can I at least see you
again? |
|
|
|
|
CLOSE ON |
|
|
Angela, looking back at him with a look of pure, PSYCHOTIC
RAGE. |
|
|
|
She walks away. |
|
|
|
COLE |
|
|
|
buries his face in his hands. |
|
|
|
|
|
|
|
He walks away in the other direction. |
|
|
|
ANGLE ON |
|
|
|
Angela, who falls back against a tree and begins to cry. |
|
|
|
|
|
|
| |
|
INT. KAYLA'S DORM ROOM - NIGHT |
|
|
Angela sits on Kayla's bed, crying. Kayla cradles her in her
arms. |
|
|
| |
KAYLA
So... he just wanted to make a
goddamn movie? |
|
|
|
24.
|
|
Angela nods. |
|
|
|
|
|
|
|
Angela nods, sniffling. |
|
|
| |
KAYLA
Well, you told him to leave you
alone, right? To go away or you'd
cut off his goddamn dick? |
|
|
|
| |
ANGELA
...in so many words. |
|
|
|
| |
KAYLA
Okay, then. That should settle it. |
|
|
|
|
Angela comes close to smiling. For a moment. |
|
|
|
|
|
|
| |
|
INT. HOTEL ROOM - NIGHT |
|
|
The door opens and Cole enters with a pretty, but skanky,
young woman. A rather obvious prostitute. Her name is KIKI. |
|
|
| |
KIKI
So? How we going to do this,
honey? |
|
|
|
|
Cole shrugs. |
|
|
| |
COLE
You're the professional. |
|
|
|
| |
KIKI
Well, babe, what are you into? You
want to be in control, or should
I? |
|
|
|
|
Cole SMILES. |
|
|
| |
COLE
Sit down on the bed. |
|
|
|
25.
|
She does.
She pulls off his coat. Then his shirt. We see his torso,
specifically his back and shoulders. They're scarred.
Grazed. By bullets. |
|
|
| |
KIKI
What the fuck happened to you? |
|
|
|
|
|
|
|
|
He smiles at the thought. |
|
|
| |
COLE
It'd make a hell of a movie,
though. |
|
|
|
|
He joins her on the bed. |
|
|
| |
KIKI
Don't get any wild ideas. I'm not
into much freaky stuff. |
|
|
|
| |
COLE
Wouldn't dream of it. |
|
|
|
|
She takes off her top. He stares at her for a moment. |
|
|
| |
COLE
Still, I'll remind you that I am
the one paying for this. |
|
|
|
| |
KIKI
I know that. Just let me do my
job. |
|
|
|
She lays him back against the bed, grinding on top of him.
She leans in to kiss him. |
|
|
|
|
|
|
|
Beat. Kiki stares back, confused. |
|
|
26.
|
|
|
|
|
| |
COLE
No kissing. Kissing's personal.
This isn't. So let's not pretend. |
|
|
|
|
She shrugs. |
|
|
| |
KIKI
Suit yourself. So, what then? |
|
|
|
| |
COLE
Just sex. That's all. |
|
|
|
He moves into her, both moan. It takes them only a moment to
find their rhythm. When they get going, they get into it.
Moan turns to scream as their pace increases.
His hands clutch tightly around her ass, nails digging into
soft flesh. She doesn't seem to mind a bit.
PAN LEFT away from the action, seeing a CAMERA mounted in
the corner of the room. It's pointed at the bed.
Still focused on the camera, we hear the climax. |
|
|
|
ANGLE ON |
|
|
Cole and Kiki, falling back onto the bed, both giving a
satisfied smile. |
|
|
| |
KIKI
You're much better than my usual
business. |
|
|
|
|
Cole raises an eyebrow, intrigued. |
|
|
| |
COLE
Really? Describe them to me. |
|
|
|
|
|
|
|
| |
COLE
Your usual customer. |
|
|
|
27.
|
| |
KIKI
Why do you want to know? |
|
|
|
| |
COLE
(shrugs)
Depravity interests me. |
|
|
|
| |
KIKI
Okay. They're... you know. The
kind of guys who can't get sex on
their own. The ones who need me to
help figure themselves out. Most
of them are pretty fat. Usually
awful hygiene. |
|
|
|
| |
COLE
And that's what bothers you about
them? Hygiene? |
|
|
|
| |
KIKI
It's a factor... but no. Not so
much. I guess what bothers me is
their complete, total lack of
confidence. Like there's something
inside them that knows even if
they were to try, they would only
find new ways to fail. You know? |
|
|
|
|
Cole stares at her for a moment. |
|
|
| |
COLE
No. Can't say as I do. |
|
|
|
|
|
|
|
| |
|
INT. ANGELA'S SHOWER - NIGHT |
|
|
We linger close on Angela as she showers. Her body is still
clearly bruised, though much has healed in a year, some
things never will. Her hand remains the most obvious
example. |
|
|
|
ANGLE ON |
|
|
28.
|
Angela's face as she moves the hair from her eyes.
FLASH
in her mind of Cole, smiling.
Angela's hand moves down her torso at the thought. Past her
navel...
FLASH
of the dark suited man, standing over her. |
|
|
|
ANGELA |
|
|
Jerks back, nearly falling over.
Regaining her balance, she sighs and turns the shower off. |
|
|
| |
|
INT. ANGELA'S ROOM - NIGHT |
|
|
Angela steps back into her dorm room.
CLOSE ON
the answering machine on her phone, a red button is glowing
red. Angela presses it. |
|
|
| |
ANSWERING MACHINE (vo)
You have six new messages. To
listen, press... |
|
|
|
Angela hits the button again. The first voice is of an old
man. |
|
|
| |
BARNABUS FRANKLIN (vo)
Miss White, this is Barnabus
Franklin, the journalist. We met a
few months back. I've lost some of
the info I compiled, and frankly,
I'm going to need it for the book.
If I could just talk to you and
have you explain everything to me
in greater detail, I'm sure- |
|
|
|
29.
|
Angela hits the button again.
The next voice is PARKER. |
|
|
| |
PARKER (vo)
Um... listen, sorry I called you a
psycho bitch... |
|
|
|
She hits the button again.
The next voice is an old woman. |
|
|
| |
LIBRARIAN (vo)
This is the library calling to
inform you that the following
books are overdue: "Dealing with
Rape: A Step-by-Step Guide",
"American Crime: The Sylvia Likens
Murder", "When No Means Yes: A
Positive View on Dealing With Rape
in America", and "Harry Potter and
the Chamber of Secrets". |
|
|
|
Angela reaches back and unplugs the phone.
She picks her cell phone up off the bedside table and flips
it open.
We focus on the phone, reading "You have 12 new voicemail
messages."
Angela rolls her eyes, frustrated. |
|
|
|
|
|
|
| |
|
INT. HOTEL ROOM - NIGHT |
|
|
|
Kiki smiles at Cole as he exits the bathroom. |
|
|
| |
KIKI
You got me for another hour. Ready
to go again? |
|
|
|
|
Cole smiles. |
|
|
30.
|
| |
COLE
Yeah. Let's heat things up,
though. |
|
|
|
He moves over to the camera, repositioning it to look back
at the bed. |
|
|
|
|
|
|
| |
COLE
Get back on the bed. |
|
|
|
|
He watches her through the camera. |
|
|
| |
COLE
Show me something sexy. |
|
|
|
|
She removes her top. |
|
|
|
|
|
|
She bends over, seductively, professionally, smiling back at
him. |
|
|
|
|
|
|
Cole's face breaks into a thin smile.
He moves over to her, running his hands over her ass. She
smiles.
He pulls her hair back. |
|
|
|
|
|
|
|
|
|
|
|
He brings DUCT TAPE into view. |
|
|
|
|
|
|
31.
|
He tapes her mouth shut. She squeals.
Cole SLAMS her face down into the bed. She begins to writhe
in his grasp. |
|
|
| |
COLE
Oh, come on. You're just doing
your job, whore! |
|
|
|
Holding her down with one hand, he pulls handcuffs out from
under the bed. Two pairs.
He straps one arm down to the bedpost and repeats the
process for the other. |
|
|
| |
COLE
Oh, I see. So now you won't spread
your legs. |
|
|
|
|
He places a long, wooden block between her legs. |
|
|
|
|
|
|
|
She responds only with a muffled SCREAM. |
|
|
|
|
|
|
He takes two long hooks and DRIVES one into each ACHILLES
TENDON. The hooks are attached to a wire, which he wraps
around the other bedposts.
Cole runs his face along the back of her leg, all the way up
her back until he kisses her on the neck.
He sits on top of her. |
|
|
| |
COLE
Sorry, babe. No kisses. Not for
either lips. This isn't anything
personal. |
|
|
|
He TWISTS her head around until it's looking helplessly back
up at him. |
|
|
32.
|
|
|
|
|
ANGLE
through the camera, watching the scene. Cole turns back to
us and SMILES. |
|
|
| |
COLE
The magic of movies, my friends! |
|
|
|
|
He winks. |
|
|
|
|
|
|
| |
|
EXT. CAMPUS - DAY |
|
|
Angela sits alone on the grass. Kayla joins her after a
moment. |
|
|
|
|
|
|
| |
ANGELA
I was just thinking about that
guy... |
|
|
|
|
|
|
|
| |
ANGELA
Yeah. You know, that one that came
to see me the other day? |
|
|
|
|
|
|
|
|
Long pause. |
|
|
| |
KAYLA
Oh God. You don't really want to
see him again, do you? |
|
|
|
|
Angela shrugs, clearly conflicted. |
|
|
33.
|
| |
ANGELA
Well, I don't know. |
|
|
|
| |
KAYLA
He just wants to exploit you,
Angela! |
|
|
|
| |
ANGELA
Yes, but so does everyone else. At
least this one's cute. |
|
|
|
| |
KAYLA
Fair point. But it's still creepy. |
|
|
|
| |
ANGELA
At this point, could I really hope
for anything else? |
|
|
|
| |
KAYLA
(sighs)
Fine. Be creepy. You two deserve
each other. |
|
|
|
|
She points off screen. |
|
|
| |
KAYLA
He's over there, by the way. |
|
|
|
We see Cole, standing by a tree, startled as they turn to
see him. He tries to walk away, hurriedly. |
|
|
| |
ANGELA
That son of a bitch. |
|
|
|
|
She chases after him. |
|
|
|
|
|
|
|
He keeps walking. |
|
|
|
|
|
|
|
Cole sighs and turns back around to look at her. |
|
|
34.
|
|
|
|
|
| |
ANGELA
Were you following me? |
|
|
|
| |
COLE
No! Well... a little. |
|
|
|
| |
ANGELA
"A little?" You were following me
a little! Why were you following
me at all? I told you to leave me
alone. |
|
|
|
| |
COLE
Yeah. Yeah, you did. But I just
heard you tell her that you wanted
to see me again. |
|
|
|
| |
ANGELA
I didn't... say those exact words. |
|
|
|
| |
COLE
And now you want to shout at me
for thinking the same thing? |
|
|
|
|
|
|
|
| |
COLE
Women. They're all insane. |
|
|
|
| |
ANGELA
I'm sure it's a point you could
bring up in your film. |
|
|
|
| |
COLE
So you want to be a part of it,
then? Come on, Angela, I can't
make it without you. I mean, I can
and will if I have to, but I'd
much rather have you be involved. |
|
|
|
| |
ANGELA
It's sick. It's... horrible. |
|
|
|
35.
|
| |
COLE
Would you rather I made the movie
and it not be? It needs to be
horrible. It needs you to tell it
how horrible to be. |
|
|
|
| |
ANGELA
You talk about the film like it's
a living thing. |
|
|
|
| |
COLE
Maybe it is. It may not have a
physical life of its own... but
film has an energy to it. It does
have power. And the passion that
goes into making it, just like a
human child. It's the passion that
makes the product that much more
beautiful. |
|
|
|
| |
ANGELA
So, you want the movie to be our
lovechild? |
|
|
|
|
|
|
|
|
She gives a small laugh. For a moment. |
|
|
| |
ANGELA
Will... will doing the film, going
back there, reliving all that...
will it make me feel better? |
|
|
|
| |
COLE
I honestly can't say. |
|
|
|
|
He places a hand on her shoulder. |
|
|
| |
COLE
But I can tell you that ignoring
it won't. |
|
|
|
|
|
|
|
36.
|
|
|
|
|
| |
ANGELA
Yeah. I have no idea why and am
offended to no end by the very
idea, but yeah. |
|
|
|
|
They both smile, she grabs his arm. |
|
|
|
|
|
|
|
|
|
|
| |
ANGELA
Just so we're clear, even if you
do make the film, even if you
recreate every tiny detail of what
happened that day... you will
never know what it was like. |
|
|
|
|
He places his hand over hers, gently. |
|
|
|
|
|
|
KAYLA
watches them in disbelief.
COLE AND ANGELA are close enough to kiss. |
|
|
| |
ANGELA
So... I'm not really familiar with
the biz. Where does it go from
here? |
|
|
|
|
|
|
|
| |
ANGELA
I meant the movie. |
|
|
|
37.
|
| |
COLE
Right. Um, well, with the way
you've been hitting the news, it
should be greenlit in a couple of
days. From there, I'll work with
you on the script. Shooting should
be able to commence anywhere from
a couple weeks to a couple months. |
|
|
|
|
|
|
|
| |
COLE
(smiles)
I do fast work. It won't exactly
be mainstream, but the story will
be out there. And so will you. |
|
|
|
| |
ANGELA
I'm out there enough as it is. |
|
|
|
| |
COLE
This won't stop you from being
known. If you're uncomfortable... |
|
|
|
| |
ANGELA
Way I figure it, I'm gonna be
uncomfortable anyway, so I might
as well be making something off of
it. |
|
|
|
|
|
|
|
Beat. They're left staring into each other's eyes. Angela
leans in for a KISS.
Something GRABS her arm and YANKS her back. It's Kayla. |
|
|
| |
KAYLA
Sorry, movie guy, we've got class
to get to. |
|
|
|
|
|
|
|
38.
|
| |
KAYLA
Keep it moving, you little tramp. |
|
|
|
|
She hauls Angela away, leaving Cole alone and laughing. |
|
|
|
|
|
|
| |
|
EXT. MOTEL - NIGHT |
|
|
Angela and Cole pull up in his car. This is the first time
we see the motel from an outside view. It looks dingy, run
down. |
|
|
|
|
|
|
| |
COLE
I didn't want anything fancy.
Thing about film making, you
always have budget in mind. |
|
|
|
| |
ANGELA
I'll take your word for it. |
|
|
|
He steps out of the car and moves around to the other side,
opening up the door for her. |
|
|
| |
ANGELA
Yeah. Little late to be classy. |
|
|
|
|
|
|
|
|
They walk to the door to his room. |
|
|
| |
|
INT. MOTEL ROOM - NIGHT |
|
|
There's no evidence anything ever happened in here. But
after a moment we can still very much see that it is the
same room we saw Cole in earlier. |
|
|
|
|
|
|
39.
|
|
Beat. She scans the room. |
|
|
| |
ANGELA
Really nice room. Is this normal? |
|
|
|
| |
COLE
It's me, actually. I have a thing
about cleaning. I try not to let
it get in the way of my work. |
|
|
|
| |
ANGELA
It looks spotless. |
|
|
|
| |
COLE
Really, it's like an OCD thing. |
|
|
|
| |
ANGELA
You're just full of surprises,
aren't you? |
|
|
|
She sits down on the bed. After a pause, he sits down beside
her. |
|
|
| |
COLE
You know... you're different than
I expected you'd be. |
|
|
|
|
|
|
|
| |
COLE
I'm not sure. You seem so... so
confident. So... |
|
|
|
| |
ANGELA
So okay? Yeah, I get that a lot.
Doesn't mean I am. As a director,
or an artist, whatever you prefer,
that's the first thing you need to
understand. |
|
|
|
| |
COLE
Oh, I do. Trust me. I guess I just
find it enchanting. |
|
|
|
|
Angela smiles. |
|
|
40.
|
| |
ANGELA
Enchanting? Really? |
|
|
|
Cole nods. Beat. They KISS.
Both of them collapse against the bed. |
|
|
|
|
|
|
| |
|
INT. HOTEL ROOM - DAY |
|
|
We linger on the window, letting in the light of the morning
sun.
Cole and Angela lie sleeping, side by side. She seems soft,
almost calm in his embrace.
CLOSE ON
Angela, her eyes fluttering for a few moments before they
open. She scans the room as if trying to register
everything.
She smiles.
Cole lifts his head, nuzzling her neck for a moment before
falling back onto the pillow. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
ANGELA
(smiles)
Wow. That was... wow. |
|
|
|
|
|
|
|
41.
|
| |
ANGELA
I mean, I didn't expect it would
be. Usually... it doesn't go so
well. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
ANGELA
Please. you work in movies. I
thought you people were incapable
of trust. |
|
|
|
| |
COLE
Well, to be honest, so did I.
Guess we just keep surprising each
other. |
|
|
|
She turns back, locking eyes with him for a mischievous
smile. |
|
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| |
ANGELA
I like the sound of that. |
|
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| |
ANGELA
Yeah. I gotta be honest. I think
I'm ready for whatever surprises
you have to offer. |
|
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| |
COLE
Okay, then. Don't say I didn't
warn you. |
|
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| |
ANGELA
(smiles)
And what's that supposed to mean? |
|
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|
42.
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|
|
She slaps him on the head with a pillow. Cole laughs. After
a moment, they both do. |
|
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| |
COLE
See? We've been in a relationship
for five minutes. Already with the
violence. |
|
|
|
Angela stops, raising her eyebrow, but not at the word she
should. |
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| |
COLE
Too late to take that back? |
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|
He smiles, shaking his head. |
|
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|
They KISS, then EMBRACE. |
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| |
|
INT. HOTEL ROOM - NIGHT |
|
|
Cole kisses Angela at the door. She opens it, smiling
warmly, stepping back. |
|
|
43.
|
| |
COLE
I've got to head back to LA in a
few days. Call me? |
|
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| |
ANGELA
You better believe it. |
|
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| |
COLE
Great. I'll see you tomorrow,
then? I just... want to get in as
much time as we can before I go.
You know? |
|
|
|
Angela stares at him, warmly. Her eyes are wide, moist, her
mouth half open. She looks like she's falling in love. |
|
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| |
ANGELA
You. You are fantastic. Do you
know that? |
|
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|
Cole kisses her forehead, running his hand through her hair. |
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| |
ANGELA
I should probably go. |
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|
He kisses her once more. |
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|
She exits, closing the door behind her. Beat. Cole moves to
the window, watching her leave. After a moment, he closes
the curtain.
Whistling, he walks back through the hotel room, toward the
closet.
CLOSE ON
A GIRL, bound and gagged, her hands are bloody from
|
44.
|
scratching at the door.
COLE looks down, smiling. |
|
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|
|
The girl sobs, softly. Cole pats her on the head. She
squirms. |
|
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| |
COLE
Oh, sweetie, don't be like that. |
|
|
|
He grabs her wrist, dragging her out of the closet. She's
only wearing panties. The girl SCREAMS, but it's muffled,
barely audible. Cole sighs. |
|
|
| |
COLE
It's because of her isn't it? |
|
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|
He drops the girl to the floor, sitting down on the bed. |
|
|
| |
COLE
I suppose we should talk. Things
are different now. I think I love
this girl. Oh, don't be upset. I
still want to be friends, but I am
in a serious relationship now. |
|
|
|
He pauses, as if pondering something. Beat. He DRAGS the
girl onto the bed with him, a wide smile on his face. |
|
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| |
COLE
I guess this doesn't mean we can't
have one more night of fun, just
the two of us, now does it? |
|
|
|
He sits on top of her. We pan away to the edge of the bed,
seeing Cole's hand pull out a KNIFE from under the pillow.
It seems to have made a home there, meaning it was most
likely still right there when Angela was in this bed.
We follow the blade of the knife, tracing the skin, but not
puncturing it. It stops, hovering, above the pantie line. |
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| |
45.
|
|
EXT. LOS ANGELES - DAY |
|
|
We have a few quick shots of the city, of downtown LA.
Movies being made, drugs being dealt, a kid getting beaten
on his way home from school, a hooker offering herself to a
passing young boy, he checks his pockets for money on the
way by.
SUPER: LOS ANGELES. TWO MONTHS LATER. |
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| |
|
INT. BLOODBATH STUDIOS - DAY |
|
|
We find ourselves in what is decidedly a B-movie production
company.
We move along the hallway, stopping at an office with a sign
reading COLE DENNER. |
|
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| |
|
INT. OFFICE - DAY |
|
|
Cole sits in his office, talking on his cell phone, his feet
on his desk. |
|
|
| |
COLE
No. No... No, look I want you to
tell him to get his ass down here.
No, today. Principal photography
begins tomorrow, I don't think he
really has a choice. Well, I sure
as hell don't have a choice. Just
tell, well, then tell both of
those assholes to get down here as
soon as they can. Well... wait,
what? What about Angela? She's
what? She's coming here now?
Today. Yeah, yeah, I told her that
she could stay with me. Yes, I
meant it when I said I loved her.
Look, I got to go. Lunch with
Harrison Ford. No, I have to go
now. "All the time in the world?"
Have you seen Ford lately? Okay,
(MORE)
|
|
46.
|
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|
|
He slams the phone down and rushes out of his office. |
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| |
|
INT. HALLWAY - DAY |
|
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|
He rushes over to Wanda, the studio's receptionist. |
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|
| |
COLE
Wanda! Did you know Angela was
coming today? |
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| |
COLE
Then why the FUCK didn't you tell
me? |
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| |
WANDA
You were on the phone. I just got
the call five minutes ago. |
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|
|
He storms down the hall, Wanda turns back to her lunch. |
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|
| |
WANDA
Have a nice day, asshole. |
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| |
|
EXT. COLE'S HOUSE - DAY |
|
|
Cole drives up the winding road to his house. It's nice,
secluded, large and white and beautiful. Much better than
any hotel room. |
|
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| |
|
INT. BASEMENT - DAY |
|
|
|
We are in darkness. Beat. A young woman SCREAMS. |
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|
47.
|
We PAN through the darkness, stopping at the only figure we
can see. One lone light shines down on a battered, naked
woman hanging from the ceiling. Her wrists and ankles are
bound. There is blood beneath her feet. She is covered in
dried blood. It is very clear that she has been here for
some time.
CLOSE ON
The girl, SCREAMING, but her voice is hoarse. As she reveals
her face to the camera, we see that she has NO EYES.
CLOSE ON
Her bound wrists. A few of her fingers are missing too, on
her right hand.
PAN DOWN her body. It is horribly bruised, there are savage
bites and TORN FLESH (minimal) all over her neck, shoulders
and breasts.
Her pubic area is evidently, maybe scarred as well, but as
it is dimly lit, we cannot make out (nor will we) what has
been done down there.
We hear a noise upstairs. |
|
|
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|
|
The door to the basement swings open and the lights turn on.
We are basked in a white glow, showing far more of the room
than we wish to see.
The first thing we see clearly are other girls. Most of them
dead. Some of them just barely alive. A couple have been
dead for awhile. |
|
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|
COLE descends the stairs. |
|
|
48.
|
| |
COLE
Keep it down, honey. You're going
to wake the neighbors. |
|
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|
She hangs her head at the sound of his voice. |
|
|
| |
COLE
Hey, listen. I'm going to need to
hide you and the other girls for a
little while, okay? See, I've got
company coming. Somehow I just
don't think that she would
understand. Promise I'll make it
up to you when she leaves. |
|
|
|
|
He leans in to KISS her cheek. |
|
|
She THROWS UP all over him. Startled, he jumps back,
gagging.
CLOSE ON
Cole, looking up with an animal's eyes. |
|
|
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|
|
Growling, he LUNGES at her, BITING HER EAR OFF. She screams
and screams, even after he lets go of her, SPITTING the ear
into the bucket at her feet. |
|
|
She falls silent, shaking.
Cole runs his tongue over his lips. |
|
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|
| |
|
INT. LAX - DAY |
|
|
Angela walks through the airport to the help desk. The girl
standing there smiles at her, sweetly. |
|
|
| |
GIRL AT HELP DESK
Hi, there. How may I be of
assistance today? |
|
|
|
49.
|
| |
ANGELA
(yawns)
Hi. Sorry, long flight. |
|
|
|
| |
GIRL AT HELP DESK
Oh, it's no problem, I'd be pretty
tired too. Was there something you
needed assistance with? |
|
|
|
| |
ANGELA
Oh, sorry, right. I need some
directions, actually. First time
in LA. |
|
|
|
| |
GIRL AT HELP DESK
Yes, it's a... magical place.
Where were you going? into
Hollywood? Checking out where the
stars dine? Maybe one of the
studios? |
|
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|
| |
GIRL AT HELP DESK
Nice, which one? Paramount? Warner
Bros? Universal? |
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|
|
The help desk girl falls silent, raising her eyebrow. There
is a long, long pause. |
|
|
| |
GIRL AT HELP DESK
(softly)
I'm... I'm gonna need to search
the location on that one. |
|
|
|
50.
|
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|
| |
|
EXT. STUDIO - DAY |
|
|
A taxi pulls up to the main entrance of this
not-so-luxurious film production company.
CLOSE ON
The door to the taxi. It opens. ANGELA steps out. Seeing the
sign, something that clearly gives this place away as a
B-Movie company, she smiles to herself. |
|
|
| |
|
INT. STUDIO - DAY |
|
|
Angela steps inside, moving over toward the desk. Wanda
smiles up at her. |
|
|
|
|
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|
| |
WANDA
No.
(beat)
He didn't tell you? |
|
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|
| |
WANDA
He left for home about an hour
ago. I'd assumed you would meet
him there. |
|
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|
|
Angela shakes her head. |
|
|
| |
ANGELA
No. No, I've never even seen his
house. |
|
|
|
51.
|
| |
WANDA
Well, that makes two of us. But
you don't see me complaining. |
|
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|
|
Gently, Wanda places her hand over Angela's. |
|
|
| |
WANDA
Look, child. I know it's not
really my place, and there's not
much I can say... and, well, I've
only even seen you one or two
times. But, listen, I'm telling
you, Cole Denner is not a good
guy. |
|
|
|
|
Pause. |
|
|
| |
ANGELA
Well, duh. He's a movie director. |
|
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|
|
Another pause. Wanda shrugs, defeated. |
|
|
| |
WANDA
He give you his address? |
|
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|
| |
ANGELA
No. He said he'd give it to me
when he met me here... |
|
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|
|
Wanda smiles, mischievously. |
|
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|
| |
52.
|
|
INT. HOUSE - DAY |
|
|
Cole drags a large garbage bag through the hall of his
massive house. |
|
|
| |
COLE
(mumbles)
Knew I should have cut them up
first. |
|
|
|
He takes a momentary breather, catching his breath, then
resumes lugging the body. |
|
|
| |
|
INT. BOATHOUSE - DAY |
|
|
We see the same body bag ROLL down a hill, stopping out
front of a boat house. A white hand falls out, glistening in
the sunlight.
Cole opens the door. There are many other bags in here.
Grunting, he tosses this bag inside and slams the door shut.
ANGLE ON
Cole, wiping the sweat from his brow. |
|
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|
| |
|
EXT. DORM ROOM - DAY |
|
|
We see KAYLA, alone in what we see as ANGELA'S ROOM.
The phone rings. |
|
|
| |
KAYLA
Hello? No, no. This is her friend,
Kayla. Yeah, hi. Actually no,
she's in Los Angeles for a week at
least. I'll have her call you when
she gets back. Okay. Thank you. |
|
|
|
53.
|
|
She puts down the phone, sighing. |
|
|
| |
KAYLA
Yeah. Gives you and your mystery
man a few more days. You owe me
one, Angela. |
|
|
|
She pauses at the thought, as if something is triggered in
her mind.
Kayla stands up, walking over to her bag and pulling out her
laptop. Her face is aglow as the screen lights up in front
of her.
She pulls up a search engine and types in COLE DENNER. |
|
|
| |
KAYLA
Come on, girl. You know never to
get into a relationship with a guy
without facebook stalking him
first. |
|
|
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|
A sea of results pops up. |
|
|
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|
| |
|
INT. COLE'S GARAGE - DAY |
|
|
We pan across the garage, only one car in here, leaving for
a lot of room.
The GIRL we saw before is tied to a chair, gagged. Cole is
behind her, turned away from the camera. After a moment, he
turns back to the girl, kissing her forehead.
PULL BACK to see a camera, set up and pointed at her.
CLOSE ON
Cole, pressing REC. |
|
|
| |
COLE
Okay, baby. Now, we only have a
few minutes to wrap up. So I'm
afraid this is gonna have to be a
short film. I prefer features
(MORE)
|
|
54.
|
| |
COLE (cont'd)
myself, to be honest, so much more
fulfilling... but that's another
story. |
|
|
|
He kneels down, kissing her leg. She squirms. He kisses her
thigh.
POV through the camera as his head moves up her legs, toward
her crotch.
We focus in close on the girl, who tries to scream, but
cannot. His hands GRAB both sides of her head.
Bellowing with rage, he shakes her vigorously. Cole pounces
up, kissing her gagged mouth.
He holds her there, his face inches away from hers.
We PAN over to the camera, watching, still. MOVE IN ON the
glowing red light. |
|
|
| |
KAYLA (vo)
Hasn't made many movies... |
|
|
|
|
|
|
|
| |
|
INT. DORM ROOM - DAY |
|
|
Kayla's eyes go wide as she continues her internet search.
She brings up the website for his studio. |
|
|
| |
KAYLA
(reading)
Cole Denner took over for studio
head Chuck Trumpet eight months
ago. He has yet to finance or
produce even one film for the
studio, but fans of the company
are eager to see what he has to
bring to the table. |
|
|
|
|
She backs away, dumbfounded. |
|
|
55.
|
| |
KAYLA
Son of a bitch never even made a
movie. |
|
|
|
We focus in on a picture of ANGELA, smiling, on the bedside
table. |
|
|
| |
KAYLA (os)
Who the fuck is this guy? |
|
|
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|
| |
|
INT. GARAGE - DAY |
|
|
THE GIRL'S BODY falls to the floor, landing at Cole's feet.
We PAN UP his body, seeing him close a switchblade and tuck
it in his back pocket. Smiling, he turns back to the camera. |
|
|
| |
|
EXT. COLE'S HOUSE - DAY |
|
|
It is getting dark, the sky is an orangeish-pink hue. We see
headlights pull up the forested drive. A TAXI, dropping off
ANGELA. |
|
|
| |
|
INT. GARAGE - DAY |
|
|
Cole JUMPS up, startled, hearing the car approach. He winces
as he looks down at the body. |
|
|
| |
COLE
(sighs)
Fuck my life. |
|
|
|
| |
|
EXT. HOUSE - DAY |
|
|
Angela steps out of the car, walking up the steps to the
house.
She rings the buzzer. Beat. No answer.
She rings again. |
|
|
56.
|
|
|
|
|
| |
|
INT. DORM ROOM - NIGHT |
|
|
Kayla throws on her jacket and shoes, slamming her computer
shut. She dials Angela's cellphone. It doesn't even ring. |
|
|
| |
KAYLA
(muttering)
I've got to warn her. |
|
|
|
|
She runs out of the room, slamming the door shut behind her. |
|
|
| |
|
EXT. CAMPUS - NIGHT |
|
|
We linger on the image of a bright, fat full moon.
A young man stands with his back against the main entrance
to the dorms. Beat. The door SWINGS OPEN, knocking the young
man to the ground. |
|
|
Kayla RUSHES out of the dorm, across the field, and jumps in
her car. It takes a moment to start. |
|
|
A young man in a football jersey looks out at her,
perplexed.
The man who was just smoking walks over to stand beside him,
holding the back of his head in pain. |
|
|
| |
YOUNG MAN
You know what the fuck her problem
is? |
|
|
|
| |
SMOKING MAN
(mumbling, in pain)
Got no idea, pal. But...
(he shrugs)
She's still kinda hot. |
|
|
|
The young man turns, staring at the smoking man. After a
moment, the young man shrugs in agreement.
KAYLA sits inside the car, POUNDING the steering wheel. |
|
|
57.
|
| |
KAYLA
Move, you piece of shit! |
|
|
|
The moment it starts, she SWERVES out into the street.
MOVE IN ON the rear view mirror. Another car moves up
speedily behind us...
PLOWING INTO HER. |
|
|
|
|
|
|
| |
|
EXT. HOUSE - NIGHT |
|
|
Again, Angela rings the buzzer.
Long pause, she sighs.
The door opens, as if on cue. |
|
|
|
|
|
|
| |
ANGELA
Hey. You weren't at work. |
|
|
|
|
|
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|
| |
ANGELA
You said you'd meet me there. |
|
|
|
| |
COLE
Guess I got caught up. Sorry. But
hey, you're here now. |
|
|
|
| |
ANGELA
Yeah... here we are. Place is
fantastic. I still think I should
have seen it before now. But
still. It's great. |
|
|
|
58.
|
| |
COLE
Well, I don't know, it'll get
better. This has all just taken
some... adjusting. |
|
|
|
|
She looks taken aback. |
|
|
|
|
|
|
| |
COLE
Yeah. You know. I was expecting to
make a movie, not to meet the love
of my life. |
|
|
|
|
Angela blushes and kisses him. |
|
|
| |
ANGELA
I'd have never believed there were
any guys in Hollywood this sweet. |
|
|
|
| |
COLE
Trust me. There aren't. |
|
|
|
|
|
|
|
|
He takes her coat and leads her inside. |
|
|
| |
|
INT. HOUSE - NIGHT |
|
|
|
They step into the house. |
|
|
| |
ANGELA
So. What do we do now? |
|
|
|
| |
COLE
Hm. There's an exciting
prospect... |
|
|
|
He slaps her ass, gently, lovingly, she gives a little
giggle. |
|
|
|
|
|
|
59.
|
| |
ANGELA
What about the bedroom? |
|
|
|
| |
COLE
(nods)
Might as well work up an appetite
first. |
|
|
|
They kiss, long and passionate. He leads her by the hand
into the bedroom. |
|
|
| |
|
INT. BEDROOM - NIGHT |
|
|
Angela sits on the bed, unbuttoning her blouse. She notices
something.
ANGLE ON
the camcorder in the corner of the room. |
|
|
| |
ANGELA
That's an old camera. |
|
|
|
|
Cole smiles, going over to examine it. |
|
|
| |
COLE
I'm a film buff and a history
buff. I just love to look back and
see...
(beat)
see the progression of things, I
guess. |
|
|
|
|
He sits down beside her, caressing her shoulder. |
|
|
| |
COLE
You know... who we were, who we
are and, well, everything in
between. After all, film is about
discovery. |
|
|
|
| |
ANGELA
That's great. Let's have sex now. |
|
|
|
60.
|
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|
|
He kisses her and they lie back against the bed. |
|
|
|
|
|
|
| |
|
EXT. CAMPUS - NIGHT |
|
|
A large man falls out of his car, shocked, recovering from
the impact. |
|
|
| |
MAN
I didn't... I didn't even see... |
|
|
|
We see Kayla's car, COMPLETELY DEMOLISHED.
CLOSE ON
her face, SMASHED against the steering wheel, almost as if
they are merged. It's a bloody mess, either way. |
|
|
|
Beat. Kayla SQUIRMS, her mangled lips quivering. |
|
|
| |
MAN
Hey, now. It's okay. We're going
to get you out of here. You'll...
(beat)
You'll be just fine. |
|
|
|
He looks her over, and it is more than obvious that this
will not be the case. There are pieces of glass all over her
face, neck and shoulders. One of her hands is snapped back,
almost snapped off. A piece of metal has been driven through
her torso. She is part of the car, its metal in her body,
and with her blood flowing onto the seat, she is part of the
car as well. It looks like a grotesque found art piece, the
only difference being that this piece is still quivering. |
|
|
|
Still, her lips try to form words. |
|
|
| |
KAYLA
(hoarse, muttering)
Cole... Kill... And... ack...
Cole... |
|
|
|
61.
|
Her voice comes out in guttural sounds, barely audible as
words, barely human.
The man stares back, his face white. He turns away, throwing
up. He kneels above the ground, shaking before he turns
back.
Kayla is now very much dead. |
|
|
The man stares back, his face with childlike wonder. Devoid
of understanding, but not so much questioning either. |
|
|
|
|
|
|
In a moment, the smoking man appears beside him, shocked. He
looks over the display, horrified. |
|
|
| |
SMOKING MAN
(frantic)
I saw... I saw from over there. Is
she... She's dead. W-what did she
say? |
|
|
|
| |
MAN
(distant)
Something.
(shakes his head)
Something about Nat King Cole. |
|
|
|
The smoking man turns away, trying to vomit as well. The
large man, however, stares straight on ahead. |
|
|
|
|
|
|
| |
|
INT. BEDROOM - DAY |
|
|
Angela is nestled in Cole's arms. He embraces her, asleep.
She checks to make sure he is as he appears to be and steps
out of bed. |
|
|
|
She approaches the closet. |
|
|
62.
|
|
|
|
|
|
Angela turns back, startled. |
|
|
| |
ANGELA
Sorry. I didn't mean to wake you. |
|
|
|
|
|
|
|
| |
ANGELA
Nothing. I'm just... just not used
to such a great, huge place. |
|
|
|
|
She moves over to the closet. |
|
|
| |
ANGELA
What's in your closet? |
|
|
|
| |
COLE
My things. Can we leave it at
that? |
|
|
|
|
She nods, a little hurt. |
|
|
|
|
|
|
| |
COLE
Hey. Nothing to be sorry about.
Just wanted to make sure you get
your sleep. We got a big day
tomorrow. Production of the movie,
and all that. |
|
|
|
| |
ANGELA
Yeah. It's exciting. |
|
|
|
| |
COLE
How it manages to excite you is a
mystery to me. But whatever. Come
back to bed. |
|
|
|
|
After a moment, she gives in and rejoins him in his arms. |
|
|
63.
|
|
|
|
|
| |
|
INT. KITCHEN - DAY |
|
|
Morning. Cole is in the kitchen making eggs while Angela,
presumably, sleeps. He's humming to himself. |
|
|
| |
|
INT. BEDROOM - DAY |
|
|
Angela tiptoes out of bed, moving over to the closet. She
opens it slightly and peers inside.
ANGLE
inside the closet, where we see shelves upon shelves of
video tapes.
Angela is confused for a moment, then smiles, relieved. |
|
|
| |
ANGELA
Right. Film maker. |
|
|
|
|
She closes the closet door. |
|
|
| |
|
INT. KITCHEN - DAY |
|
|
She takes a seat at the counter, smiling as Cole continues
to cook. |
|
|
|
|
|
|
| |
COLE
Good morning. And a good evening
too, for the record. |
|
|
|
| |
ANGELA
You weren't so bad yourself. |
|
|
|
| |
COLE
Wow. Be still, my heart. |
|
|
|
64.
|
| |
ANGELA
Okay, hot shot. What's for
breakfast? |
|
|
|
|
|
|
|
He hands her a glass of orange juice. She stares at it for a
moment. |
|
|
| |
ANGELA
That's not coffee. |
|
|
|
| |
COLE
An astute observation. See? You're
halfway toward being a film maker
yourself. |
|
|
|
| |
ANGELA
Why is that not coffee? |
|
|
|
| |
COLE
Because it's orange juice. It's
wholesome and delicious. |
|
|
|
| |
ANGELA
I feel like I'm five. |
|
|
|
| |
COLE
Keep up the whining, I'll feel
like you're five too. |
|
|
|
They share a smile, then a quick kiss.
After a moment, he hands her the plate. She digs in
immediately. |
|
|
| |
ANGELA
(chewing)
So, what's it...
(swallows)
What's it like, making a movie? |
|
|
|
| |
COLE
It's... an experience. And
different, that's what I love
about it. You can always think
(MORE)
|
|
65.
|
| |
COLE (cont'd)
you're doing the same old thing,
especially with the movies I
make... but the truth is, it's
different every time. That's what
fascinates me. |
|
|
|
| |
ANGELA
And will you ever let me see one
of your movies? |
|
|
|
|
FOCUS on Cole as he smiles, thinly. |
|
|
|
|
|
|
He pours himself a glass of orange juice, then notices his
watch. |
|
|
| |
COLE
Um, listen, you keep eating. I
gotta get stuff ready. |
|
|
|
| |
ANGELA
(confused)
Okay... |
|
|
|
| |
|
INT. BEDROOM - DAY |
|
|
Cole opens the door to the ACTUAL closet, pulls something
out and lays it down on the bed.
It is A DARK SUIT.
We then see him move into the bathroom, pulling a roll of
bandages out from under the sink.
CLOSE ON
Cole, glancing up to look in the mirror. |
|
|
|
|
|
|
| |
66.
|
|
INT. KITCHEN - DAY |
|
|
|
Angela rises from her seat at the counter. |
|
|
| |
ANGELA
Everything okay in there? |
|
|
|
| |
COLE (os)
Yeah. There's just something I
want to show you. |
|
|
|
|
|
|
|
| |
COLE (os)
An effect for the film. |
|
|
|
| |
ANGELA
Oh, cool. Show me. |
|
|
|
MOVE IN ON the bedroom door, opening.
COLE stands there in the doorway, dressed EXACTLY as in the
film's opening scene. Every detail of the DARK SUITED MAN is
there.
Angela stares IN HORROR. |
|
|
| |
ANGELA
(flatly)
It's perfect. |
|
|
|
| |
COLE
(nods)
Great. I want it to look exact. |
|
|
|
| |
ANGELA
Please take it off. |
|
|
|
Cole unravels the bandages on his face and gives her a
confused look. |
|
|
| |
COLE
Did you forget what movie you were
making? |
|
|
|
67.
|
| |
ANGELA
I guess... I guess maybe it didn't
hit me. Not until right now. |
|
|
|
| |
COLE
But you're not backing out. I
mean, you can't back out. |
|
|
|
| |
ANGELA
Cole...
(beat)
I don't even know what this
relationship means. I don't know
what anything means. |
|
|
|
| |
COLE
Neither of us knew. It didn't
start as anything. It became
something, just like any other
story. But I first approached you
to make a movie, and that movie
needs to be made. |
|
|
|
| |
ANGELA
Cole, I really don't know about
this. |
|
|
|
| |
COLE
You know, there's something my
film instructor back in college
used to say to me. Something that
stuck with me. He told me that
when I finally made it, when I had
earned the right to truly call
myself a film maker, the meaning
of my life would change
completely. To survive in the
business, I would have to become
the film. Life for a true film
maker, he told me, is all about
getting the shot. Just get the
shot. By any means necessary. |
|
|
|
| |
ANGELA
Cole, I'm not a film maker. I'm
not. This isn't my world and I
don't know the first thing about
(MORE)
|
|
68.
|
| |
ANGELA (cont'd)
it. Now I don't even know if I
want to. I just wish I knew what
you were thinking right now. |
|
|
|
| |
COLE
I'm thinking that last night was
one of the best nights of my
entire life.
(he presses a hand
to her cheek)
And I'm thinking that you're
certainly better than you were a
year ago. |
|
|
|
|
Angela smiles, blankly, confused. |
|
|
|
|
|
|
Cole's smile is very different.
CLOSE IN ON Angela's face, changing, going WHITE.
Cole begins to chuckle to himself. |
|
|
|
|
|
|
| |
COLE
Sh. I want to show you something. |
|
|
|
|
|
|
|
|
Cole SLAMS her head into the wall, KNOCKING HER OUT. |
|
|
|
|
|
|
| |
|
INT. BASEMENT - DAY |
|
|
Angela wakes up, tied to a chair. Her mouth is duct taped.
Nonetheless, she tries to SCREAM.
|
69.
|
There is one light shining on her. The rest is darkness.
Cole steps into the light. |
|
|
| |
COLE
Come on, honey. Don't be like
that. This is going to be a great
night for us. You said that you
wanted to see my movies. That's
all I want to do, Angela. I just
want to show you my world. So
relax, baby. We've got a lot of
film to go through. |
|
|
|
He turns on a projector screen.
As Angela lifts her head, we see that her eyes are TAPED
OPEN.
Again, she tries to scream. Again, it's no use.
Her face is basked in a blue light as the first film begins.
CLOSE ON
The screen. We are in the bedroom that Angela and Cole had
sex in only a matter of hours ago. It's changed slightly,
however, what we are watching is likely over a year old.
We hear Cole's voice on the film, as he's holding the
camera. A beautiful, dark haired woman enters frame. |
|
|
| |
COLE
Sit down on the bed. |
|
|
|
|
The girl on screen does so, smiling. |
|
|
| |
DARK HAIRED GIRL
That's a nice camera. |
|
|
|
|
|
|
|
|
|
|
|
70.
|
|
She still holds a sweet smile. |
|
|
| |
COLE
Take off your clothes. |
|
|
|
| |
DARK HAIRED GIRL
You're kinky. |
|
|
|
|
|
|
|
CLOSE ON
ANGELA'S EYE, open and HELPLESS to the images it is
receiving, as well as the images it will shortly receive.
CLOSE ON
The projector screen. The girl is undressing, dancing a
little dance for the camera. She is totally enjoying herself
and has every reason to. Just a little bedroom kink.
Cole enters the frame and sits on the bed, behind her. He
caresses her shoulders, kisses her neck. And whispers in her
ear. |
|
|
| |
COLE
(whispering)
Open your mouth. |
|
|
|
|
|
|
|
| |
COLE
Open your mouth and say "ah". |
|
|
|
The girl shrugs and does so.
Growling, Cole SLASHES her mouth with a razor. The girl
begins to scream, but Cole holds her in place. The blood
from her mouth is running, a dark stream down her body and
onto the bed.
ANGLE ON
Angela, beginning to squirm in her seat. But there is
|
71.
|
nothing she can do.
ANGLE ON
The film. Cole holds the screaming girl down on the bed,
she's writhing, but she's not going far.
Her screams increase as we realize that he's cutting off one
of her fingers. And he's grunting, almost sexually, as he
does it.
Laughing, Cole brings her severed pinky finger to his mouth.
We see him from behind, blocking our view of exactly what
he's doing.
ANGLE ON
Angela, Cole now standing beside her. |
|
|
| |
COLE
I was an amateur film maker then,
didn't know many tricks of the
trade. But I can still look back
on this with nostalgia. I can
still see the art in it. |
|
|
|
He pauses the film.
CLOSE ON
The film, holding the image of Cole, midway through TWISTING
the girl's NECK.
CLOSE ON
COLE, smiling down at Angela. |
|
|
| |
COLE
Let's move on to the next one,
shall we? |
|
|
|
He goes over to the projector, replacing the first tape with
the second.
As the film starts, he walks back over to Angela. |
|
|
72.
|
| |
COLE
This one's... well, this one's
quick. The battery died, so the
movie had to stop. But the little
whore laughed at me for losing my
erection when the camcorder
stopped working. So I killed her
anyway. Totally unsatisfying. But
hey, maybe you'll see something in
this one that I don't. |
|
|
|
CLOSE ON
Angela's eye, forced to watch the film.
CLOSE ON
Cole's blank face, watching the film. After a moment, he
walks back over and replaces the tape again. |
|
|
| |
COLE
This is the one where I started to
get a feel for it. There's emotion
in it. Lots of raw, powerful
emotion. Just take a look. It's
truly a gem. |
|
|
|
We FOCUS ON the new film, starting up.
The girl is young and blond. One is more apt to call her
cute than beautiful, but she is certainly very cute, and
fairly obviously not a prostitute. |
|
|
| |
GIRL
Um, I had a great time tonight. |
|
|
|
|
She's a little shy and Cole SMILES at that. |
|
|
|
|
|
|
| |
GIRL
I, um, I always have a great time
with you. |
|
|
|
73.
|
| |
COLE
I think I love you, you know that? |
|
|
|
| |
GIRL
Yeah... I think I love you too. |
|
|
|
|
He guides her soft hand to the bed. |
|
|
| |
COLE
We don't have to do this if you
don't want to. |
|
|
|
| |
GIRL
No, no. I want to. I love you. I
think it's time for this to
happen. |
|
|
|
|
Cole KISSES her. |
|
|
| |
COLE
I was really hoping you'd say
that. |
|
|
|
They lie down on top of the bed, beginning to kiss,
smoothly, passionately. Cole is on top of her, her fragile
white hands trace his back.
For a moment, she glances up to us. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
She begins to try and sit up. Cole FORCES her back down onto
the bed. His hands clutch the side of her face and his
thumbs move toward her eyes.
CLOSE ON
ANGELA'S EYE, bloodshot and salty with tears as we hear the
girl's SCREAMS echo around the room.
|
74.
|
CLOSE ON
The film, Cole holds the girl down with his knees while he
wipes his hands on a towel.
She is SCREAMING, FLAILING, her eyes have been GOUGED OUT.
Here, we realize that this is THE SAME GIRL WE SAW EARLIER.
Hanging in this very room.
We hear Cole's laughter outside the film.
ANGLE ON
COLE, standing beside Angela. |
|
|
| |
COLE
God, I love this one. There's a
sort of humor in it I really
didn't have down before. |
|
|
|
|
ANGELA is still and silent. |
|
|
| |
COLE
But none of them, sweetheart, are
as beautiful as what I did to you.
None of them even come close. I
didn't videotape you and your
sister, I was more ambitious with
that one. With you, I was done
with artsy experimental films. I
wanted to test the waters of the
true movie industry. I wanted to
make a feature film. Plot,
characters, conflict, everything.
I think I succeeded admirably.
Don't you? A true film has lasting
impact. Far more than just an
image on a screen, and that's what
you are, my dear. You are my
movie, Angela.
(kisses her
forehead)
You're my masterpiece. |
|
|
|
|
She shivers. He chuckles, almost as if he thinks it's cute. |
|
|
75.
|
| |
COLE
You know, I mean it when I say it
to you. Not like them. I really do
love you, Angela. You're the best
thing that's ever happened to me. |
|
|
|
|
He walks over and changes the film again. |
|
|
| |
COLE
But if we're here, now, we might
as well see the rest of my amateur
productions. Take a good look at
everything that's gotten me here. |
|
|
|
|
|
|
|
| |
|
EXT. HOUSE - NIGHT |
|
|
We linger on the house, establishing that some time has
passed. |
|
|
| |
|
INT. BASEMENT - NIGHT |
|
|
Angela is the only image in the darkness, still tied to a
chair. |
|
|
| |
|
INT. KITCHEN - NIGHT |
|
|
Cole is in the kitchen, making himself a peanut butter and
jelly sandwich. |
|
|
| |
|
INT. BASEMENT - NIGHT |
|
|
Angela begins to squirm in her chair again.
ANGLE ON
her wrists, struggling against the ropes. They're purple,
badly bruised, she's clearly been trying to get out all day.
She sighs. No use. Her eye, still open, scans the room,
seeing a table behind her. She scoots the chair a little
|
76.
|
bit.
Closer, closer to the table. A little bit more. Closer.
She's almost reached it.
ANGLE ON
the table, various knives and cutting instruments all over
it. Cole has quite a collection.
She SLAMS into the table, sending one of the knives to the
floor. She herself falls to the floor immediately after it. |
|
|
| |
|
INT. KITCHEN - NIGHT |
|
|
|
Cole pauses eating his sandwich, hearing something. |
|
|
| |
|
INT. BASEMENT - NIGHT |
|
|
Angela is now on the floor. Her hand reaches around,
grabbing the handle of the knife.
When she has a grip on it, she cuts through the ropes
binding her wrists.
After they are free, she unties her feet. Then she tears the
tape from her mouth. Still, for a moment, she is silent.
Angela TEARS THE TAPE FROM HER EYES and lets out an
ANIMALISTIC SCREAM.
CLOSE ON
the BASEMENT DOOR. It OPENS. |
|
|
|
|
|
|
There is no answer. He begins to descend the staircase.
ANGLE ON
|
77.
|
The one lone light in the room. Only there is no chair there
now. And no Angela. |
|
|
|
|
|
|
|
The light TURNS OFF, leaving Cole in darkness. |
|
|
| |
COLE
Angela? Honey? Where are you? |
|
|
|
No answer, and though he tries to look around, he can't see
a damn thing. |
|
|
CLOSE ON
Angela, crawling along the floor like a snake, moving toward
him.
The knife is still in her hand.
COLE
does not see her. |
|
|
|
|
|
|
CLOSE ON
His foot, stepping back.
Angela SLASHES HIS ACHILLES TENDON. |
|
|
|
CLOSE ON |
|
|
|
Cole, SCREAMING. |
|
|
|
|
|
|
He stops himself before he falls, turning to try and limp
back up the stairs.
ANGELA rises to her feet behind him.
|
78.
|
COLE begins limping away like a wounded deer. She is one
step behind him.
CLOSE ON
Angela, raising the knife above her head. She pauses.
FOCUS ON
A KNIFE IN HER GUT.
PULL BACK to see Cole, smiling. He's panting, trying to
ignore the pain in his now useless ankle.
He pulls the knife out from her. |
|
|
| |
COLE
(panting)
Nice trick, babe. But I always
carry a spare. |
|
|
|
Angela stares blankly for a second.
Beat.
Her EYES NARROW. She PUSHES Cole to the floor and tries to
RUN up the stairs, but the wound in her torso is one she
cannot ignore. But she doesn't really have a choice.
MOVE IN ON the staircase as Angela forces her way up it. |
|
|
| |
|
INT. KITCHEN - NIGHT |
|
|
Angela BURSTS through the basement door and nearly collapses
on the floor. She steadies herself in a moment, and does not
look back down to the basement as she moves through the
kitchen.
COLE ascends the stairs.
ANGELA is almost to the door.
COLE enters the kitchen, watching Angela limp away with a
lion's eyes. Ignoring the pain in his body, he lumbers after
her.
|
79.
|
ANGELA tries to open the glass door, but it is JAMMED. She
BANGS at it, but it WILL NOT BUDGE. |
|
|
| |
|
EXT. HOUSE - NIGHT |
|
|
Angela SMASHES THROUGH THE GLASS DOOR, shards and the
resulting blood covering her entire body.
She rolls down the steps, onto the gravel, totally covered
in red. The only thing standing out through the blood, her
blue eyes.
Wincing in pain, she picks herself up. Panting, she begins
to RUN from the house.
COLE steps out onto the porch, glass crunching under his
feet.
ANGELA runs away from the house as fast as she can. We
follow her as she slows down, seeing what is ahead.
She is on a steep hill that goes down to the boat house,
right down to the water. Still, she has no choice but to
run.
ANGLE ON
COLE, a KNIFE in his hand. He THROWS IT.
ANGLE ON
THE KNIFE, HITTING ANGELA IN THE SHOULDER. Screaming, she
PULLS IT OUT.
Beat.
Her scream dies. She falls. |
|
|
COLE watches her fall, seeing her begin to roll down the
hill. He does not laugh. He merely breathes a sigh of
relief.
After a moment, he winces in pain as he looks down at his
ankle. |
|
|
80.
|
| |
COLE
(angry, saddened)
Fucking whore. |
|
|
|
|
Now he gives a small laugh. |
|
|
ANGLE ON
ANGELA'S BODY, lying still at the edge of the water.
PAN UP to see Cole slowly make his way down the hill. When
finally he reaches the bottom, he GRABS her by the ankles
and DRAGS her over to the boat house.
Grunting, he TOSSES her inside and SLAMS the door shut. |
|
|
| |
COLE
Jesus, I've got to clean this
place up. |
|
|
|
|
He begins climbing back up the hill, toward the house. |
|
|
| |
|
INT. HOUSE - NIGHT |
|
|
|
Cole stumbles through the house. |
|
|
| |
|
INT. BEDROOM - NIGHT |
|
|
|
He collapses on his bed, asleep almost immediately. |
|
|
| |
|
EXT. BOATHOUSE - NIGHT |
|
|
We linger on the image of the boathouse for a long moment.
The door SMASHES OPEN.
ANGELA, barely awake and barely alive, stumbles down the
driveway. |
|
|
| |
81.
|
|
EXT. ROAD - NIGHT |
|
|
Angela stumbles out of the woods and collapses on the side
of the road.
A CAR driving by SCREECHES TO A HALT in front of her. An OLD
MAN gets out. |
|
|
| |
OLD MAN
Holy fucking shit! |
|
|
|
|
He loads the girl into the car. |
|
|
| |
OLD MAN
Don't worry, little lady. We'll
get you to a hospital. You'll be
just fine, okay? |
|
|
|
|
The car drives off. |
|
|
|
|
|
|
| |
|
INT. HOSPITAL - DAY |
|
|
We linger on Angela in her hospital bed, asleep.
The old man is outside the room, being questioned by a
doctor. |
|
|
| |
DOCTOR
You just found her there? |
|
|
|
| |
OLD MAN
Yup. And look at her. She looks
like hell. How could I not help? |
|
|
|
| |
DOCTOR
Okay. Come with me. There are some
forms I need you to sign. |
|
|
|
They walk off.
We MOVE IN ON Angela's face. Beat.
HER EYES SNAP OPEN.
|
82.
|
PULL BACK to see her sit up in bed. She pulls the tubes from
her arms.
ANGLE ON
The old man's coat, hanging on a chair in the hallway.
Angela reaches in and pulls out his car keys. |
|
|
| |
|
EXT. HOSPITAL - DAY |
|
|
Angela walks out of the hospital, making her way to the old
man's car. She gets in. It takes a moment to start, but it
works.
SHE SPEEDS OFF. |
|
|
|
|
|
|
| |
|
INT. KITCHEN - DAY |
|
|
Cole is making himself breakfast in a complete parallel to
yesterday morning.
He finishes his glass of orange juice and smiles to himself. |
|
|
| |
|
EXT. ROAD - DAY |
|
|
Angela parks on the side of the road, right where the old
man picked her up.
ANGLE ON
a BAG OF LAUNDRY in the back seat. She stares at it, then
smiles. |
|
|
| |
|
INT. KITCHEN - DAY |
|
|
Cole sits alone at the counter, peacefully eating his
breakfast. |
|
|
| |
83.
|
|
EXT. ROAD - DAY |
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Angela pulls on a pair of BAGGY DARK SLACKS then fishes
around for the matching suit coat. |
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| |
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INT. KITCHEN - DAY |
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Cole finishes eating and walks out of the kitchen. |
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| |
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INT. LIVING ROOM - DAY |
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he takes a seat on the leather sofa and turns on some
cartoons. TOM AND JERRY, to be exact. |
|
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| |
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EXT. ROAD - DAY |
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Angela opens the glove compartment for a first aid kit,
pulling out A ROLL OF BANDAGES. She begins WRAPPING THE
BANDAGES AROUND HER HEAD. |
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INT. LIVING ROOM - DAY |
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Cole LAUGHS hysterically as he watches vintage Tom and Jerry
cartoons. |
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| |
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EXT. HOUSE - DAY |
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We are close on the image of A KNIFE. The same one Angela
pulled out of her shoulder, now GLEAMING in the wet morning
grass.
Two BARE FEET enter frame. The figure PICKS UP THE KNIFE. |
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| |
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INT. LIVING ROOM - DAY |
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|
We hear Cole taking a piss in the bathroom. The toilet
flushes. He walks back into the living room.
He sits back down, eyes refocused on the TV. For a moment.
He pauses, noticing something out of the ordinary.
|
84.
|
ANGLE ON
The front door. IT'S OPEN. |
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|
|
|
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A KNIFE GOES INTO HIS GUT.
PULL BACK
To see THE DARK SUITED WOMAN. ANGELA. She stands behind him.
Her face is bandaged and while it looks like a half-assed
job, it is a good representation of Cole's outfit.
She PULLS THE KNIFE OUT.
Cole SCREAMS.
She GRABS the back of his head and SLAMS it down into the
coffee table, KNOCKING HIM UNCONSCIOUS. |
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| |
|
INT. BASEMENT - DAY |
|
|
Cole is tied to a chair, bound in darkness. His mouth is
duct taped. His eyes taped open.
ANGLE ON
Angela, setting up the projector behind him. She puts in a
tape. |
|
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Cole tries to SCREAM. |
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Angela turns back to him. She stares for a moment, then
SHAKES HER HEAD.
The first film begins to play. |
|
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CLOSE ON
Another motel, another girl, another film. Another day in
|
85.
|
the life of Cole.
The girl kisses Cole. He pushes her down onto the bed. |
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|
She laughs. |
|
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| |
GIRL 2
Oo. You like it rough! |
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She pulls off her top. |
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He SMILES at her. Then he joins her on the bed. As they make
out, he reaches into his back pocket for a razor. He brings
it down on her BREAST.
ANGLE ON
COLE, watching the film. An evident BULGE grows in his
pants.
He tries to squirm, to hide it, but sometimes one just
can't.
ANGELA
clearly notices. We hear death on the screen, but we do not
see it. Instead, we follow Angela as she grabs A SAW. She
touches the blade with her finger to test its sharpness.
Satisfied, she moves back over toward Cole.
CLOSE ON
Cole's eyes, open, forced to watch. We hear a girl dying,
but as we see his eye, it is not what he hears.
CLOSE ON
the bulge, growing larger between his legs.
ANGELA appears in front of him. She goes to her knees. She
undoes the bandages around her mouth.
|
86.
|
At the supposed promise, Cole lets out a small MOAN.
This is all the signal Angela needs.
ANGLE ON
Angela, RAISING THE SAW. |
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| |
COLE
(nervously)
W-w-what are you doing? |
|
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|
He looks ridiculously close to orgasm as he asks this.
But there is nothing he can do now. She BRINGS THE SAW DOWN.
His screams go LOUDER AND LOUDER.
PAN AWAY to the blank projector screen as the saw does its
job. We hear something FALL TO THE FLOOR.
ANGLE ON
ANGELA, rising to her feet. She is COVERED IN BLOOD. She is
BREATHING HEAVY, but almost peacefully.
COLE is writhing in the chair, barely alive. For just a
moment, a glimpse as she walks by, we see the mutilated mess
that used to be his manhood, or his madness. |
|
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| |
ANGELA
I'll leave you to enjoy your
collection. You'll be dead
eventually. |
|
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|
She steps back to survey the scene. |
|
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| |
ANGELA
There's your movie, sweetheart.
Plot wore thin, it certainly got a
little gratuitous at times... |
|
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|
Through the torn away area of bandages, we can see her SMILE
as she walks up the stairs. |
|
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| |
ANGELA
...but the ending didn't suck. |
|
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|
87.
|
She chuckles to herself at the top of the stairs, smiling,
and SLAMS THE DOOR.
COLE is left alone in darkness. Just him and his movies.
Long, long pause.
He begins to WHIMPER. |
|
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| |
|
INT. KITCHEN - DAY |
|
|
Angela makes her way out of the basement, into the shining
sunlight that basks the kitchen. She is still masked,
suited, covered in blood.
But it is over.
She is still smiling. |
|
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| |
|
EXT. HOUSE - DAY |
|
|
Still holding her smile, she steps out onto the porch. Beat.
WIDE SHOT
seeing the house SURROUNDED by POLICE CARS. |
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CLOSE ON
ANGELA, her smile fading.
The rest of the glass door SHATTERS beside her as the
officers OPEN FIRE.
With no option left, Angela TURNS AND RUNS.
FLASHBACK
Of Cole, the dark suited man, running out of the house in
the opening scene as OFFICER MCKINLEY chases after him.
END FLASHBACK
ANGLE ON
|
88.
|
TWO OFFICERS beginning to chase after her.
She has no chance. |
|
|
ANGELA keeps running anyway, DROPPING THE SAW in her hand as
she moves.
CLOSE ON
An officer, running behind her, AIMING TO FIRE.
ANGELA keeps running, moving as fast as her wounded body
will allow her.
Not fast enough.
THE OFFICER FIRES. It catches her in the SHOULDER.
FLASHBACK
of Cole, taking a bullet IN THE SHOULDER from McKinley.
END FLASHBACK |
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|
PULL BACK
To see Angela, headed toward the steep hill by the boat
house, but she is running up it, toward the peak.
THE CLIFF OVERLOOKING THE LAKE.
Angela SCREAMS pulling the bandages away as she RUNS.
The officer FIRES AGAIN grazing her arm.
FLASHBACK
of the dark suited man, falling into the water.
END FLASHBACK
The FINAL SHOT HITS ANGELA IN THE SIDE OF THE HEAD.
Her eyes GO WIDE.
|
89.
|
We see her OUTSTRETCH HER ARMS, almost Christ-like, her last
action before she PLUMMETS into the LAKE below.
CLOSE ON
The splash Angela makes.We hold the shot, watching the wake. |
|
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| |
|
INT. HOUSE - DAY |
|
|
Two officers enter the house. The shooting officer (officer
Brown) runs in to join them, panting.
The other two officers are JOY and DAWSON. |
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| |
BROWN
(panting)
It's okay. It's okay. I got 'em. |
|
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| |
JOY
Looks like that receptionist
called us just in time. At
least... I hope. |
|
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| |
BROWN
We'll see about that. You boys
look up here. I'll check the
basement. |
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They nod in agreement. |
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| |
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INT. BASEMENT - DAY |
|
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Brown carefully descends the stairway. He notices Cole
IMMEDIATELY. |
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He runs over to Cole and checks his pulse. |
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| |
BROWN
Don't worry, Mr. Denner. You're
receptionist called, said there'd
be trouble up here. We got 'em
though. We got the killer. You'll
(MORE)
|
|
90.
|
| |
BROWN (cont'd)
be fine. You'll... |
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His voice trails off as he follows COLE'S EYES to the
SCREEN.
ANGLE ON
THE FILM, still playing. On the screen, we see Cole LAUGHING
while he slits a girl's THROAT, lying on top of her.
BROWN'S eyes go WIDE. He STARES AT THE SCREEN. The
realization hits him. Beat. He turns, SHOOTING THE
PROJECTOR.
The room goes dark. Brown falls to his knees. |
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EXT. LAKE - DAY |
|
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We MOVE IN ON Angela, lying face-up in the water, arms still
outstretched. She is looking up at us, her eyes cold. We
MOVE closer, closer, toward her eye.
We hold this shot, closer on her open, lifeless eye, until
it is COMPLETELY SUBMERGED, disappearing from view. |
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FADE OUT. |
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| Feedback |
| From Shannon |
Date 10/15/2009 |
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| Very creative. I would've liked it if you stopped at page 86, but I LOVE that you didn't. I would pay to see this. Did you want this to go 'Horrorfest' or mainstream? I think it could work either way. Good luck with it! =] |
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