1 EXT.

FACTORY 1

We see a montage of the factory on fire and then the blaze

being put out.

DISSOLVE TO:

2 INT. FACTORY - DAY 2

POV from CHARLES MILLES as he walks through the rubble inside

the factory.

MICK (V.O.)
So what do you think? It’s perfect
for our base camp, right?

CHARLES (V.O.)
Yes, great job. This will be my
masterpiece.

POV reaches the outside of the factory and we reveal the

smoking aftermath of the fire.

CUT TO:

3 OPENING CREDITS 3

TITLE: TALES OF LIGHT & DARK

We see quick shots of surveillance photos, actor headshots

and index cards sprawled across a table all with various
notes sprawled across them (patient notes,surveillance notes,
screenplay notes, etc.)

C/U of a hand sifting through the photos until it stops on a

headshot of MARY DAVID. Notes line the corners of the photo
indicating times that she comes and goes from her apartment
and when she attends a church survivor’s group.

FADE TO:

4 TITLE 4

CHAPTER 1: OPEN CALL

5 INT. PSYCHIATRIST’S OFFICE - DAY 5

B&W SHOT. MARY, a 40 plus year old divorcée, sits across

from her PSYCHIATRIST. She fidgets every so often and never
seems at ease around men. His back is turned to the camera.
 2.

Most men will appear out of focus, in shadow or have their

faces remain hidden until our journey reaches it’s end.

PSYCHIATRIST
How is your job hunt going?

MARY
It’s...going...

PSYCHIATRIST
You don’t sound so positive about
it.

MARY
It’s harder than I thought.

PSYCHIATRIST
MARY, that’s to be expected.
You’re returning to the work force
after nearly 20 years.

MARY
(she avoids his eyes)
I just feel so...

PSYCHIATRIST
So what?

MARY
So useless.

PSYCHIATRIST
And why do you feel that way?

She seems lost in thought.

MARY
(trails off as we FLASH
BACK)
MARY...?

C/U on MARY.

FADE TO:

6 INT. DINER - DAY 6

B&W SHOT. C/U on MARY. PULL BACK TO REVEAL she is sitting in

a booth at the diner with a soda in front of her.

B&W SHOT. Her HUSBAND slides into the seat opposite her.
 3.

HUSBAND
Sorry I’m late.

MARY
(smiles)
Happy anniversary.

The WAITRESS approaches.

WAITRESS
(to HUSBAND)
Can I get you something to drink?

HUSBAND
(hesitant at first)
Ice tea, please.

WAITRESS
And do you need a moment before you
order?

HUSBAND
(looks at MARY and then
back at the WAITRESS)
Yes, please.

WAITRESS
Okay. I’ll be back in a few
minutes to take your order.

MARY
Thank you.

HUSBAND
(turns to MARY and feigns
happiness)
Happy anniversary.

MARY
I thought you forgot.

HUSBAND
How could I forget. This is where
we met.

MARY
Our first hello...

MARY reaches across the table and touches his hand. He

pauses for a moment and then withdraws his hand.

HUSBAND
(a little sad)
And our final good-bye.
 4.

MARY seems confused.

HUSBAND (CONT’D)
I don’t want to insult you.

MARY
Insult me?

HUSBAND
Mary, it’s been a long time since
things have been right between us.

MARY
(realization)
This is about her isn’t it?

HUSBAND
This isn’t about Julia and you know
that.

MARY
(gritting her teeth)
If you’re sleeping with another
woman then I think it pretty much
is.

HUSBAND
I’m sorry but I wanted a family and
you can never give me that.

MARY is horrified and angry. She begins to sob.

HUSBAND (CONT’D)
I’m sorry.

MARY
Sorry...23 years and all I get is
I’m sorry?

HUSBAND
What do you want me to say Mary?
Huh? Do you want me to say it’s
okay? We spent tens of thousands of
dollars trying because you wanted
one of your own but it’s not going
to happen and we couldn’t afford to
adopt now if we wanted to. I’ve
always been clear about wanting a
family.

MARY
What you want? What about what I
want? You don’t think I want the
same thing? We can still...
 5.

HUSBAND
(touches her hand)
Good-bye MARY.

Her husband leaves her sitting there. The WAITRESS sets the
ice tea down across from her. MARY looks at the empty seat
and then looks out the window to see her HUSBAND joined by a
young woman outside. The couple looks in her direction as he
removes his ring and puts it in his pocket. They walk off
with their arms around each other as we...

FADE TO:

7 INT. PSYCHIATRIST’S OFFICE - DAY 7

PSYCHIATRIST
Mary?

MARY
(snaps out of it)
Huh?

PSYCHIATRIST
I asked you why you felt so
useless?

MARY
(voice quivers)
I’m not good for anything.

PSYCHIATRIST
And why do you feel that way?

MARY
I wasn’t good for him. He traded
me in like a used car for a shiny
new model.

PSYCHIATRIST
You were married for years. That
must have meant something to him.

MARY
I was a fool to not see us drifting
apart.

PSYCHIATRIST
You were in denial.

MARY
I gave up my acting career. I gave
up my life for him. What do I have
now?
 6.

PSYCHIATRIST
You have a fresh start. So I ask
you again, how is the job hunt
going?

MARY
It’s not. Well, it is, sort of.

PSYCHIATRIST
Sort of?

MARY
(beams)
I went on some auditions.

PSYCHIATRIST
Acting. It’s good to pursue the
things you have a passion for.

MARY
(smiles)
Yea.

PSYCHIATRIST
It’s nice to finally see you smile.

MARY
It’s been so long since I’ve been
happy. I forgot what happiness was.
I guess that’s why I like acting.
I can be someone and forget about
the world around me. I can just...
escape.

C/U of MARY.

FADE OUT.

8 INT. AUDITION WAITING ROOM - DAY 8

MARY sits near twin sisters waiting to be called for her

audition. We recognize one of the sisters as the WAITRESS
from the diner. MARY is reading a copy of the casting sides
and finally looks at her watch. She’s very anxious.

MARY
(turns to WAITRESS)
The waiting is the worst part.

WAITRESS
(removes her earbuds)
Huh?
 7.

MARY
Sorry. How long are they going to
keep us here? It’s been hours.

SABRINA
(makes a cow noise and
laughs)
Moo!

MARY
Excuse me.

WAITRESS
Sabrina! Ignore her. She’s just
trying to rattle the competition as
usual.

The WAITRESS shoots her sister a look.

SABRINA
It’s a cattle call.

MARY
A cattle what...?

WAITRESS
Cattle Call. That’s what they call
it when they see bunch of actors at
once.

SABRINA
Yea, typical director “I don’t give
a shit” attitude towards actors...

WAITRESS
(to Sabrina)
Could you be any louder?

Sabrina gives her an “I don’t care “ look.

WAITRESS (CONT’D)
I can’t believe I missed my shift
at the diner for this...

She turns to MARY who is fidgeting.

WAITRESS (CONT’D)
So it looks like you’re a little
green at this.

MARY
Oh. Yea, it’s been a little while.
 8.

ACTRESS #2
(snickers as she eyes MARY
head to toe)
I’ll say.

The CASTING ASSISTANT appears.

CASTING ASSISTANT
Next.

MARY stands up and follows the CASTING ASSISTANT into the

audition room.

CUT TO:

9 INT. AUDITION STAGE - DAY 9

We don’t see the production staff. They sit in silhouette

around a table not far from the base of the stage.

MARY
Hello. Thank you for...

CASTING DIRECTOR
Name.

MARY
(fidgets)
Mary David

CASTING DIRECTOR
And what part will you be trying
out for today?

MARY
Alice

CASTING DIRECTOR
You may begin.

MARY takes a long final glance at the sides.

CASTING DIRECTOR (CONT’D)

(sternly)
Are you ready?

MARY
Yes.

MARY pauses for a moment to regain composure.

 9.

MARY (CONT’D)
I’ve missed you so much. It’s just
lately I haven’t been myself
exactly. I haven’t had a lot of
sleep.

CASTING ASSISTANT
(reads flat)
Have you been to see the doctor?
Maybe you’re coming down with
something.

MARY
No... no, it’s not that... It’s my
parents.

CASTING ASSISTANT
Your parents but...

MARY pretends to feel ashamed.

CASTING ASSISTANT (CONT’D)

I thought we’ve been through all
that. I thought you were getting
better.

MARY
It’s not like I can turn it on and
off like a light bulb.

CASTING ASSISTANT
How long are you going to dwell on
the past? It’s killing us . . .
It’s killing me.

MARY
(angered and hurt)
Not everything is about you.

CASTING ASSISTANT
I’m sorry. Look, it’s just as hard
on me as it is on you.

ALICE
How so? You can visit your parents
on Christmas. Mine...

CASTING DIRECTOR
Stop.

MARY
...I have to bring them a wreath.
 10.

CASTING DIRECTOR
Stop.

MARY
Is something wrong?

CASTING DIRECTOR
I’m just not feeling it.

MARY
Well, can I give it another try?

CASTING DIRECTOR
Thank you for coming.

MARY
I have a different take on the
character that I think you might
like to hear.

CASTING DIRECTOR
Your read was fine.

MARY
Then what’s the problem?

CASTING DIRECTOR
(reluctant then cold and
candid)
You’re too old.

MARY
But...

CASTING DIRECTOR
(to CASTING ASSISTANT)
Next.

MARY
(mutters as she leaves the
stage)
It was stupid dialogue anyway.

FADE TO:

10 INT. SUBWAY - DAY 10

MARY clutches her purse close to her, staring ahead blankly.

We just hear the rhythm of the train and the echo of the
CASTING DIRECTOR’S words “You’re too old.”

FADE OUT.
 11.

11 INT. MARY’S APARTMENT - DAY 11

PAN UP from a stack of bills marked “PAST DUE” to MARY. She

is on the cell phone with her mother.

MOTHER
Too old? Ah, what do they know?

MARY
(sarcastic)
More than me I guess.

MOTHER
Why don’t you just get a normal
job? They’re looking for a
waitress at Brooksie’s around the
corner from me. You could move
back home.

MARY
I’m not moving back home ma.

MOTHER
What’s wrong with that?

MARY
I’m too old to be living at home
with my mother.

MOTHER
So you don’t want to be near me?
Is that it?

MARY
(sighs)
No ma. I just need to be on my
own.

MOTHER
(sarcastic)
Well, it seems like you’re doing
such a fine job without me.

MARY
(rolls her eyes)
It’s late. I have to get up early.

MOTHER
I hope it’s not for another one of
those acting things?

MARY
They’re called auditions.
 12.

MOTHER
You know Brooksie’s isn’t such a
bad place. You could make good
money. I always use to tip Jeannie
a dollar or two when the ladies and
I would go there after our bridge
night.

MARY
I’m not interested ma.

MOTHER
Suit yourself. I’m only trying to
help.

MARY
(rolls her eyes)
Thank you ma. I love you.

MOTHER
I love you too honey.

MARY
Good night.

MOTHER
Good night dear.

MARY hangs up and makes a motion with her hand like she is
shooting herself.

FADE OUT.

12 EXT. CITY - DAY 12

MARY takes note of the building numbers as she walks down the
city street. She stops before a doorway, checks her cell
phone, then the building number and proceeds into the
building.

CUT TO:

13 INT. BUILDING - DAY 13

MARY walks down a long hallway toward the camera and opens a
door. She makes her way through across a dimly lit studio
towards another room. No one is there.

MARY
Hello.

No answer.
 13.

MARY (CONT’D)
It’s Mary David. I’m here for my
audition.

No answer.

MARY (CONT’D)
(checking her cell phone)
This is the right address.

PUPPET DIRECTOR
(from the other room)
In here doll.

MARY enters into a dark studio.

MARY
(calling out)
I can’t really see. Am in I the
right...

A bright spot switches on. MARY shields her eyes.

PUPPET DIRECTOR
(from the shadows)
Relax honey. You’re in the right
place now.

END OF PART 1

MARY
(squinting)
Is there a script that you would
like me to read from?

We see the butt of a cigar light up as the PUPPET DIRECTOR

take a drag. He exhales and the smoke drifts into the light
circling around MARY.

PUPPET DIRECTOR
Relax. Take a deep breath.

She takes a deep breath sucking in the cigar smoke and

stifles a cough.

PUPPET DIRECTOR (CONT’D)

You look tense. Shake it all out.

MARY appears confused.

PUPPET DIRECTOR (CONT’D)

Come on, try it. From your head to
your toes, give it a good shake.
 14.

MARY is apprehensive. She sets her purse down and then goes
for it.

PUPPET DIRECTOR (CONT’D)

That’s better. Feels good doesn’t
it?

MARY
(embarrassed)
Yea.

PUPPET DIRECTOR
Good. Now lets see what’s doing
under there.

MARY
(confused)
Excuse me.

PUPPET DIRECTOR
Drop the dress.

MARY
(snaps her purse up)
I don’t think so.

PUPPET DIRECTOR
I guess you don’t want the job
then. Shame, cause it pays pretty
well.

MARY
(pausing at the door)
How much?

PUPPET DIRECTOR
$500 a day. Weekend shoot. I’ll
have you home in time for dinner.

MARY
What...what do I have to do?

PAUSE as we see the light from another cigar puff and then
exhale.

PUPPET DIRECTOR
Would you have a problem getting it
on with a puppet?

MARY
(shocked)
What?
 15.

A hand with a PUPPET it on it leans forward from the shadows

and speaks.

PUPPET DIRECTOR
Would you have a problem getting it
on with a puppet?

CUT TO:

14 INT. MARY’S APARTMENT - DAY 14

MARY slams the door behind her and flings herself onto the
sofa and begins to sob. The cell phone rings. MARY looks at
the cell phone to see who it is and then sighs. The cell
phone continues to ring as she composes herself before
finally answering it.

MARY
Hello.

MOTHER
Hello dear.

MARY
Now’s not really a good time ma.

MOTHER
Something the matter?

MARY
(wiping away a tear)
No, everything is okay.

MOTHER
That’s good. How was your
interview?

MARY
The audition went...fine.

MOTHER
Well, that’s good. Your father and
I saw your Aunt Rose today. She’s
not doing to well you know.
Doesn’t remember things. Forgets
I’m her sister sometimes. She’s
even forgotten who she is.

MARY
That makes two of us.

MOTHER
Huh?
 16.

MARY
Nothing.

MOTHER
You should go and see her Mary.

MARY
I will. I’ve just been so busy.

MOTHER
Too busy with that acting stuff.

MARY
Don’t start ma. I’ve had a rough
day.

MOTHER
I thought you said the interview
went fine.

MARY
It’s an audition ma. Not an
interview.

MOTHER
Aren’t they the same thing?

MARY
(flustered)
Yes. No.

MOTHER
Seems like it would be less
stressful working at the diner.

MARY
I don’t want to work at the diner
ma!

MOTHER
Don’t shout at your mother. I
didn’t raise you like that.

MARY
I have to go ma.

MOTHER
Fine. I’m sure you have to get
ready for another audition.

MARY
Goodbye ma.
 17.

MARY hangs up the cell phone. She looks down at stack of

headshots and angrily scatters them to the floor. She picks
up a casting ad that is laying nearby, crumples it and throws
it to the ground. She collapses back onto the couch
exhausted.

FADE TO:

15 INT. BUILDING - DAY 15

MARY, with crumpled casting ad in hand, enters the building.

DISSOLVE for passage of time. We see her upset and hurrying

down the stairs. She barrels into CHARLES MILLES. We don’t
see his face at first.

CHARLES MILLES
Whoa. What’s the hurry?

MARY
I’m sorry.

CHARLES MILLES
That’s okay.

MARY is physically shaking.

CHARLES MILLES (CONT’D)

Are you okay?

MARY
(bursting with anger and
emotion)
No. No, I am not okay.

CHARLES takes a step back.

CHARLES MILLES
Let me guess. You just came from
Driscoll’s office?

MARY
Yea. How did you know?

CHARLES MILLES
He has that effect on women.

MARY
I’m just so tired of it all.
You’re too old. You’re too short.
You’re not thin enough. It’s a
plastic person’s world.
 18.

CHARLES MILLES
Well if you’re looking for
something a bit more real I think I
know of a director whose
auditioning.

MARY
Probably just another asshole.

CHARLES MILLES
I’ve been called worse.

MARY
(embarrassed)
I’m sorry.

CHARLES MILLES
(extends his hand)
Charles Milles.

MARY reaches out and shakes it.

PULL BACK TO REVEAL CHARLES MILLES IN FULL FOCUS.

MARY
Mary David.

CHARLES MILLES
Pleasure to meet you.

MARY
I don’t know what I want anymore. I
don’t even know why I came here.

CHARLES MILLES
You’re here because you love art -
the thrill, the excitement of it
all.

MARY
Yea and the distraction. I’m
recently divorced and on my own.
Acting was always my passion when I
was younger. I think I was acting
at being happy during my marriage.

CHARLES MILLES
That’s why we do what we do. We
live, we starve, we die for our
art. The hunger keeps us going,
keeps us wanting. It’s like a drug.
You can never have enough.
 19.

MARY
You lose yourself to it. You
become...

CHARLES MILLES
...art. Do you feel lost?

MARY
Yes, for a long time.

CHARLES MILLES
And what have you been searching
for?

MARY
Something to ground me.

CHARLES MILLES
Well, I don’t know if I can ground
you but I can offer you a part.

MARY
But I haven’t even auditioned yet.

CHARLES MILLES
Yes, you have.

MARY
(laughs)
I’m not sure I even know what I
just auditioned for.

CHARLES MILLES
The greatest role of your life.

MARY
I bet you say that to all your
actors.

CHARLES MILLES
(chuckles)
Probably, my ego is always getting
the best of me.

MARY
I should probably ask what this job
is paying.

CHARLES MILLES
It’s...not. I promise you though
that it’s a great opportunity for
exposure.
 20.

MARY
(nods)
Can I ask you something?

CHARLES MILLES
Sure. Anything.

MARY
Why me?

CHARLES MILLES
The human soul is a fragile thing.
For you to bare yours is a sign of
a true artist.

MARY
(smiles)
So when do we begin?

FADE TO:

16 EXT. FACTORY - DAY 16

WIDE SHOT of factory and then SLOW ZOOM as we hear the sound
of a cell phone ringing dubbed over the shot.

MOTHER
(V.O.)
Hello.

MARY
(excited)
Hey ma. Guess what?

MOTHER
What dear?

MARY
I got cast as the lead in a movie.

MOTHER
That’s great dear. How much is it
paying?

MARY
It...it pays real well.

MOTHER
Oh good dear. I’m so proud of you.

MARY
Thanks Ma.
 21.

MOTHER
I have to tell your father. Stan!
Stanley?! Mary got the part at her
audition today... (fades out)

Muffled screams rise from the cellar.

CUT TO:

17 INT. CELLAR - DAY 17

MARY is tied up in a chair screaming. Her face is streaked

with blood and dirt. She struggles to free herself as a GAS
MASK KILLER (SETH) stands over her with a machete poised to
strike. Fake body parts are in the background.

CHARLES MILLES
(off camera)
Cut! Great work everyone. Take 5.
Bill, can you add a little bit more
blood to her face? It looks like
it’s drying up.

BILL moves in to fix her makeup as JIMMY WAYNE GARRICK

strolls up and sits next to her. He sets a gun down between
them. SETH stands off to the side. He flips his mask up
just enough to take a sip of water from a bottle.

JIMMY
You’re doing great. The ropes
aren’t too tight are they?

MARY
No. I’m alright. Thanks Jimmy.

JIMMY
So Seth is gonna bring the machete
up to your neck as I walk in.

MARY
(motioning to the machete)
How sharp is that thing?

SETH swings the machete toward her. MARY flinches. We hear

him snort from beneath the mask.

JIMMMY
It’s fake.

MARY
I’ll have to take your word for it.
 22.

Tugs at her bindings.

JIMMY
(laughs)
Oh right.

Het touches the blade to show her it’s safe.

JIMMY (CONT’D)
See. Couldn’t even give you a paper
cut.

MARY
Oh, okay.

JIMMY
(passing it back to SETH
and picking up the gun)
So at that point I’m going to come
in gun in hand and bang. It’s
lights out.

SETH
I’ll starve to death first.
Where’s craft services?

JIMMY
Tell me about it. That’s the
problem with these rinky dinky
operations. All work and few
perks.

MARY
Seems like Charles is okay to work
with so far.

JIMMY
Yea, I’ve done alright by him.

MARY
How long have you worked with him?

JIMMY
(thinking)
Oh, it’s been a while. You know,
he really saved my life. I was in
a bad spot when Charles found me.

MARY
He seems to be really good with
people.
 23.

JIMMY
He’s great at bringing people
together. Me, I’m pretty much the
opposite. I’m not that much of a
people person.

MARY
But you’re an actor. You work with
people all the time.

JIMMY
Yea but most people just get on my
nerves. I couldn’t give up acting
if I tried.

MARY
So you do it for the exposure?

JIMMY
(chuckles)
Is that what Charles promised you?
Well I guess it’s good exposure. I
love the thrill of it but not the
limelight. I pretty much keep to
myself. I’d take an animal over
most people. There’s a lot of
wasted space on the planet.

MARY
My HUSBAND included.

They both laugh.

CHARLES MILLES
Alright everybody. Places.

MARY
Can you give me a sip of water.

JIMMY
Oh sure.

He grabs a bottle and helps her take a sip. A little spills

from her lips. Her CO-STAR gently touches her lips wiping
away the excess water with his fingers.

MARY
(smiles)
Thanks.

He walks away and SETH steps in.

 24.

CHARLES MILLES
When I call action you begin
screaming.

MARY nods.

CHARLES MILLES (CONT’D)

Action!

MARY begins screaming. JIMMY walks in, gun raised and

pointed at SETH. SETH withdraws and steps away from her.
BEAT. JIMMY turns his aim towards her.

C/U of JIMMY. His face loses all expression.

C/U of MARY as a look of confusion washes over her.

C/U of his hand as he begins to pull the trigger.

C/U of MARY. Serenity washes over her.

BANG! MARY’S head whips backwards as her brains splatter

against the wall.

LONG BEAT.

CHARLES MILLES (CONT’D)

And cut! That’s a wrap. Boys, you
know the drill.

JIMMY, SETH, BILL and crew move in to untie her and begin to
roll her up in plastic.

JIMMY
I’m fucking talent. I shouldn’t
have to clean up the mess.

SETH
Quit your whining you little bitch.

CHARLES MILLES
(strikes a match off the
wall and lights a
cigarette)
I love practical FX. (puffs the
cigarette) So much better than CGI.
Look at that.

C/U of blood spatter on the wall.

CHARLES MILLES (CONT’D)

It’s a work of art.
 25.

ZOOM IN on MARY’s face. There’s a hint of a smile on her

dead lips.

CHARLES MILLES (CONT’D)

It’s a shame. Audiences are so
spoiled these days with these whiz
bang effects they don’t even
appreciate the real thing when it’s
right before their eyes.

MARY’s face is wrapped in plastic.

CHARLES MILLES (CONT’D)

Okay boys, our flights leave
tonight. Keep a low profile. I’ll
see you in Europe. (EXCITED) We
have a movie to premiere.

CHARLES drops the cigarette near MARY’S head and grinds it

with his heel.

SETH
Can we eat now?

JIMMY
Now who’s whining like a little
bitch?

ZOOM IN on MARY as they begin bickering.

DISSOLVE TO:

18 INT. MARY’S APARTMENT - DAY 18

PAN across the floor to torn headshot of MARY.

FADE TO:

19 TITLE 19

CHAPTER 2: GEOKILLING

FADE IN:

20 EXT. MAILBOXES - DAY 20

NICOLE stands before an open mailbox sorting through junk

mail, bills, etc. and comes across a sealed envelope with no
markings other than her name “NICOLE”.
 26.

She turns the envelope over examining it and then tears it

open. She unfolds a letter that has GPS coordinates and a
message. N 41° 26' 31.9914" W 74° 2' 59.9166"

“You have been chosen as first to participate in a multi-

cache event. The gate will lead the way...”

CUT TO:

21 INT. CAR - DAY 21

We see a car pulled off to the side of the road. NICOLE is

riding in the front seat. ERIC, her boyfriend, is behind the
wheel. TEDDY is in the back seat reading the invite and
holding a cell phone that has a geocaching app on it. He
studies the coordinates.

ERIC
Teddy, are you sure this is the
right direction? Seems like we’ve
been driving in circles.

TEDDY studies the coordinates.

TEDDY
Yea, looks like it’s about a mile
up the road.

NICOLE
That’s what you said half an hour
ago. You sure?

TEDDY
I think so.

NICOLE
(to ERIC)
I told you we should have made that
right turn.

ERIC
Don’t blame me. I bet he’s not
reading the coordinates correctly.

TEDDY
(holding out the cell
phone and annoyed)
You want to switch places? Eric?
Nicole?

They both don’t answer.

 27.

TEDDY (CONT’D)
That’s what I thought.

ERIC
(annoyed)
I just hope you’re right this time.

ERIC reaches for the gearshift.

TEDDY
(looks back at the letter)
So what’s a multi-cache again?

They both turn back to him.

NICOLE
For the tenth time, it’s when
there’s more than one location in a
geocaching event.

TEDDY
I still don’t get the point of it.

NICOLE
It’s a scavenger hunt.

TEDDY
Sounds lame.

ERIC
Maybe if you stopped whacking off
to Lara Croft and left the house
once in a while you might find some
adventure and get a real woman.

Eric smiles at NICOLE as he squeezes her hand.

TEDDY
What can I say, the British accent
turns me on.

ERIC
You’re such a loser. So any idea
what this scavenger hunt leads to?

NICOLE
I don’t know. I guess we’ll find
out when we get there.

ERIC
Not unless Joe and Lydia beat us to
it.
 28.

ERIC puts the car in drive and begins to pull away.

DISSOLVE TO:

22 EXT. FACTORY - DAY 22

We see the car turn into an old factory and stop.

ERIC
Isn’t this the old factory that was
in the news when it caught fire?

TEDDY
(leaning forward)
And here I thought the only thing
Eric watched on TV was Dancing with
the Stars.

ERIC
Your sister makes me watch it with
her.

TEDDY
(grinning)
And yet you wept with glee when
Kelly and Derek took home the
Mirror Ball.

NICOLE snickers.

ERIC
Keep laughing and I’ll leave you
both in the woods.

NICOLE
(pinches his cheeks)
It’s okay. I like a sensitive man.

NICOLE leans in to kiss ERIC. TEDDY glazes over and then

forces the invitation between them.

TEDDY
According to the coordinates, we’re
very close.

NICOLE gives TEDDY an icy stare as she takes the letter.

NICOLE
(reading aloud)
The gate will lead the way.

ERIC
I don’t see any gate.
 29.

NICOLE
Drive down further.

ERIC’S car drives down a long road. We see another car

parked alongside the road. JOE is leaning against his car
smoking a cigarette. ERIC car pulls up behind JOE.

ERIC
Damn. There’s Joe. They beat us
here.

They all get out.

JOE
Hey guys.

NICOLE gives JOE a hug and JOE shakes ERIC’S hand.

JOE (CONT’D)
Great to see you guys.

ERIC
Yea, it’s been a while.

NICOLE
Where’s Lydia?

LYDIA comes walking out of the brush.

LYDIA
(waving)
Hey.

NICOLE
You weren’t sneaking a peek at the
first cache were you?

LYDIA
No, nature called. We just got
here.

NICOLE
Come on, I’ve seen you at events
before. Not even just a little
peek?

She studies LYDIA. LYDIA tries to keep a straight face.

LYDIA
(bursts out laughing)
Alright. Maybe just a little peek.

NICOLE
Busted!
 30.

LYDIA
Fine. So I’m a bad liar.

TEDDY
So where’s this gate?

LYDIA
And who is this dashing young
fellow?

JOE takes notice of her flirtation and rolls his eyes.

NICOLE
Lydia this is my brother Teddy.

TEDDY
(perks up)
Hey.

LYDIA
This your first time caching?

TEDDY
Yea, it sounded like fun so I
thought I’d tag along.

NICOLE
Weren’t you just saying how...

TEDDY gives NICOLE a nudge with his elbow to shut her up.

TEDDY
...I never get to spend enough time
with my wonderful sister.

NICOLE shoots him a look that says “you are so full of shit.”

LYDIA
Ah so sweet.

JOE
(sarcastic)
Yea, a regular Don Juan.

JOE flicks the cigarette to the ground.

TEDDY
You mind putting that out before
you burn the rest of the place to
the ground?

ERIC
Relax Teddy.
 31.

TEDDY
You know those things will kill
you.

JOE
(grinds the butt out)
There are worse things.

ERIC
So do you guys have any idea who
sent you the invitations?

TEDDY studies the letter geocaching app.

LYDIA
There wasn’t a postmark on my
envelope.

JOE
Nothing but my name on mine.

NICOLE
Same here. Maybe it’s a puzzle
cache.

ERIC
That would explain the mystery.

JOE
Yea but usually there would be a
clue to decrypt.

LYDIA
Maybe we just haven’t found it yet.

TEDDY
Well, according to the coordinates
in the letter we need to head in
that direction.

TEDDY points.

JOE
That’s the direction of the gate.
It’s just beyond the factory.

TEDDY
Isn’t this trespassing?

ERIC
(sarcastic)
Look, your first real adventure.
 32.

LYDIA
We can drive down there and leave
the cars. No one will see them
from the road.

NICOLE
Well then Lydia, lead the way.

CUT TO:

23 EXT. FACTORY - DAY 23

LONG TRACKING SHOT FROM ROOF TOP AS THEY DRIVE THE CARS
TOWARDS THE FACTORY.

CUT TO:

24 EXT. FACTORY - DAY 24

TRACKING SHOT AS THE CARS COME TO A STOP ON THE SIDE OF THE

BUILDING. JOE’S car is first in line.

CUT TO:

25 EXT. FACTORY - DAY 25

The group grabs their gear and gets out. TEDDY grabs a
backpack and hoists it on. As they grab their gear and begin
walking...

LYDIA
This is as far as we’ve gone. The
gate is right at the edge of the
clearing leading into the woods.

At the gate.

ERIC
Not much of a gate.

JOE
It’s the only thing that resembles
a gate.

TEDDY
(reading app)
Yea, it matches the coordinates.

ERIC peers through the gate.

 33.

ERIC
There’s a path straight ahead.
This must be the way.

TEDDY
Thank you Captain Obvious.

The group tries not to laugh at ERIC.

ERIC
(glares at him)
Just keep an eye out for clues.

TEDDY
(Scooby-Doo impression)
Rokay Raggy. [Scooby laugh]

ERIC
(heated)
Unless you want to be dragged from
the back of the Mystery Machine,
keep your pie hole shut.

NICOLE
(gives him a look)
Teddy... behave.

TEDDY
(hangs his head down low
and in a sad Scooby-Doo
voice)
Rokay.

NICOLE tries to hide her grin as ERIC flashes him a nasty

stare. She tugs ERIC by the arm and ushers him through the
gate.

DISSOLVE TO:

26 EXT. WOODS - DAY 26

We see the group walking along the path for awhile until they
come upon a pair of mattresses on the side of the trail.

JOE
(motions to the
mattresses)
Anyone up for a nap?

We see a wooden painted sign propped up on one of the

mattresses that reads “GONE FISHIN’”.
 34.

NICOLE
Maybe it’s a clue.

ERIC
Yea, that I want to have sexy times
with you while listening to “Us &
Them”.

ERIC grabs Nicole and pulls her close.

ERIC (CONT’D)
Let’s get freaky. Ow!!

NICOLE
(grins)
I was talking about the sign, not
the mattress, you maniac.

They kiss. TEDDY rolls his eyes.

TEDDY
Seriously? I’d like to strangle you
while listening to Dark Side of the
Moon.

LYDIA
Sounds like someone needs a little
bitch begone spray.

She makes a spraying sound and motion with her hand.

JOE
Is that a car?

All but TEDDY gather around to take a look.

NICOLE
Who dumps a car way out here?

LYDIA
I bet a lot of stuff gets dumped
out here.

JOE
Well if Gone Fishin’ is the next
clue there’s no way in hell I’m
wading into that shit.

TEDDY
I don’t think you’ll have to.

Everyone turns to see TEDDY holding up the sign.

 35.

TEDDY (CONT’D)
There’s GPS coordinates on the
back. I checked the map and the
location is not far from here.

ERIC
Okay Magellan, lead the way.

TEDDY
Do you even know who Magellan is?

ERIC
He created the GPS navigator. Now
lead asshole, lead!

TEDDY looks at him dumbfounded, shakes his head in disbelief

and leads the group down the trail.

DISSOLVE TO:

27 EXT. WOODS - DAY 27

The group come to a bit of a clearing. There are old iron

metal wheels protruding from the ground.

LYDIA
How much further?

TEDDY
(looking at app)
According to the map, we’re here.

NICOLE
(touching a metal wheel)
I wonder what this was used for?

ERIC
Could be part of the gas lines
connected throughout the property.
I think it was a gas leak that
started the fire at the factory.

JOE
Well, I don’t get the fishing
connection.

TEDDY
(looking at a rope tied to
the base of a wheel)
I think I do. Nicole, grab the
flashlight from my pack.
 36.

NICOLE passes him a flashlight and he follows the rope to

where it trails off down into a hole in the ground. He
shines the light into the hole.

NICOLE
See anything?

TEDDY
(passes the flashlight to
NICOLE)
Yea. Keep the light shining down
there.

We see that a bucket is suspended from the rope. There’s

something in the bucket.

TEDDY begins slowly pulling the rope up.

TEDDY (CONT’D)
(As the rope surfaces)
Gotcha!

ERIC
Now isn’t this better than warming
the couch with your ass?

TEDDY
(grins)
I didn’t get to kill anything yet.

ERIC
It’s not too late for you to kick
the bucket.

NICOLE gives ERIC a dirty look.

ERIC (CONT’D)
(grins)
He’s your adopted brother. You can
always get another.

TEDDY
What am I a goldfish? Want to
flush me too?

ERIC
Oh, I’d like to flush you alright.

NICOLE gives him a slap on his arm.

ERIC (CONT’D)
Ow! I like it when you’re rough you
crazy lady.
 37.

NICOLE
You’re an ass.

ERIC
Come on. I’m just kidding.

NICOLE
You’re mean.

TEDDY
(smirking)
Yea, you’re mean. My feelings are
so hurt.

JOE
(barging pass them)
Geez, let’s just see what’s in the
bucket already.

He reaches in and pulls out a black DVD case.

LYDIA
Impatient much?

JOE turns the case over examining it. There’s no markings.

LYDIA (CONT’D)
(eager)
Open it.

JOE
Now whose impatient?

He opens the case to see a blank DVD.

JOE (CONT’D)
It’s a DVD.

TEDDY unslings his backpack and pulls out a laptop.

TEDDY
I knew this might come in handy.

NICOLE
You brought that to play World of
Warcraft didn’t you?

TEDDY
(grins)
But it came in handy didn’t it.

TEDDY balances the laptop on top of one of the wheels and

inserts the DVD. It begins to play. They all gather around
the laptop.
 38.

LYDIA
Maybe now we’ll get some answers
about who sent the invites to the
three of us.

The DVD begins to play. Balloons disburse to display

“Congratulations! You found the secret cache. Now it’s time
to uncover it’s secrets.” The screen cuts away to a video of
a protest demonstration. A woman lays dead in front of a
car.

NICOLE
Joe, is that you?

JOE is wide-eyed and at loss for words.

JOE
Yea.

In the video, we see him nervously look around and then

retreat into the crowd.

ERIC
That woman looks...

JOE
Shut it off.

LYDIA
Joe, what, when did that happen?

Suddenly the video switches to a kitchen. NICOLE is cooking

at a stove. TEDDY comes up behind her. She lifts a ladle
from a pot and gives him a sip. She sets the ladle down and
then they begin to kiss.

JOE
Holy shit!

ERIC
What the fuck Nicole?!

NICOLE
(closes the laptop)
It’s not what you think.

END OF PART 1

She turns to ERIC who backs away in shock. TEDDY reopens the
laptop.

ERIC
Not what I think. Are you fucking
your brother?
 39.

NICOLE
No.

JOE
Oh shit.

LYDIA
Oh shit is right. There’s a dead
girl on that video. Did that seem
to skip your mind?

JOE
It’s not like I can say on the
first date “hi, I’m Joe. I ran away
and left a woman for dead.”

LYDIA
You ran away?

JOE
It’s not like that.

LYDIA
Then why don’t you tell me what
it’s like. It looks to me like
you’re a coward.

ERIC
(to NICOLE)
And you’re a slut.

TEDDY closes the laptop.

TEDDY
A better question is who has been
watching us?

FADE TO BLACK.

28 EXT. WOODS - DAY 28

ERIC punches TEDDY in the face. TEDDY stumbles back. He

holds his nose and when he pulls his hands away they are
cupped with blood.

NICOLE
(rushing to him)
Teddy!

TEDDY
Asshole!

TEDDY charges him but JOE jumps in and separates them.

 40.

JOE
Guys! Guys!! Quit it! This is some
serious shit.

ERIC
You’re fucking right it’s some
serious shit.

TEDDY
I think you broke my nose.

ERIC
I’m going to do worse than that.

ERIC starts swinging again but JOE shoves him back.

TEDDY
I’m going to sue your ass!

ERIC
And say what? I hit you because
you had incest with your sister.

TEDDY
I’m adopted, remember?

ERIC
And that’s supposed to make it all
right?

LYDIA
I like a little kink but even
that’s too weird for me.

NICOLE
Eric, just let me explain. It was
before we were dating.

ERIC
Oh well that’s okay then. We’ll
just forget all about it. Sweep it
under the rug like nothing ever
happened.

NICOLE
I’m not saying to forget about it.

JOE
I know I won’t. Pretty much burned
into my retinas.
 41.

NICOLE
You’re not helping Joe. We need to
figure this thing out. Who the
hell taped us?

She looks around and then back to TEDDY.

TEDDY
Well don’t look at me. I was on
the tape.

JOE
Me too.

LYDIA
Which you still haven’t explained.
How could you leave that woman for
dead?

JOE
It was an accident. She was
backing away from the protest,
tripped and fell in front of a car.

LYDIA
You were there. So you take no
responsibility for it?

JOE
I didn’t do it! You act like I
killed her myself.

LYDIA
You’re missing the point.

TEDDY
Speaking of which, what is the
point of all of this? Who taped us
and what do they want?

JOE
(to Lydia)
Why is it only me, Nicole and Teddy
on the DVD? Something doesn’t add
up.

LYDIA
Don’t look at me. Are you saying I
sent the letters? Don’t put this
on me killer.

JOE
I didn’t kill anyone! What about
Eric?
 42.

ERIC
What about me? I didn’t kill
anyone.

JOE
That’s not what I’m saying. You
didn’t get a letter and you’re not
on the video.

ERIC
That’s because I didn’t do
anything. I’m not guilty.

LYDIA
(accusing)
So you’re just in the wrong place
at the wrong time? You’re the
jealous type. Seems a little
sketchy to me.

ERIC
Are you kidding me? I’m a victim
here.

JOE
We’re all victims now.

NICOLE
Teddy didn’t get a letter either.

TEDDY
And I didn’t even want to come.

ERIC
How are you enjoying the adventure
now pal?

TEDDY
I should have stayed home. When I
take a hit in a game the controller
doesn’t punch me.

ERIC clenches his fist and TEDDY flinches.

LYDIA
So no one has any idea who could
have sent the letters and brought
us here?

NICOLE
It was clearly to expose us.
 43.

ERIC
Well God bless them for doing it.
Now I see you for who you really
are.

LYDIA
I’ll toast to that. Party’s over.
I’m heading back.

JOE
I’ll give you a ride.

LYDIA
(she storms off)
I’d rather walk.

JOE
Lydia...

JOE follows her.

NICOLE
Eric, we need to discuss this.

ERIC
There’s nothing to discuss.

He turns to TEDDY.

ERIC (CONT’D)
And now that your protector just
took a walk I’m gonna finally give
you the beat down you deserve.

ERIC clenches his fists again and takes a step towards TEDDY.
TEDDY takes a step back. He is clearly scared.

NICOLE
Knock it off! There’s nothing
going on between us anymore.

ERIC
You so sure about that? Now I see
why he hates me so much. He’s
jealous that he’s not with you.

TEDDY
I don’t like you because you’re a
dick.

ERIC charges TEDDY knocking him to the ground.

 44.

NICOLE
Stop it! It was a mistake. It
happened. I can’t take it back.

TEDDY
Mistake? Was it a mistake all
those times we were together?

ERIC
You son of a bitch!

ERIC climbs on top of TEDDY and begins punching him.

NICOLE
Eric!

She pulls him off of TEDDY.

ERIC
Give me one good reason why I
shouldn’t beat the shit out of him.

NICOLE
I’ll give you two. I love you
and... I’m pregnant.

ERIC and TEDDY both look surprised.

CUT TO:

29 EXT. WOODS - DAY 29

JOE
Lydia wait up!

LYDIA
Why don’t you just leave me here?
You left that woman...

JOE
Come on Lydia.

He grabs her by the arm. She tries to pull free but he holds
on.

JOE (CONT’D)
Will you just listen?

LYDIA
I haven’t known you that long Joe.
What else don’t I know about you?
 45.

JOE
That’s my point. I want to get to
know you. I want to explain.

LYDIA
I don’t think I want to know you.
People like you deserve what they
get.

She pulls her arm free and storms off.

JOE
(standing there)
I was afraid. Okay? I was a
coward and I ran.

LYDIA stops and turns to face him.

JOE (CONT’D)
I didn’t even know for sure that
she was dead until later on. I was
there protesting because I thought
it was cool. I was trying to
impress a girl. I’ve never
forgotten that day.

JOE starts to move toward her. A look of terror suddenly

washes over LYDIA.

JOE (CONT’D)
Lydia, you don’t need to be afraid
of me.

LYDIA screams and begins to run. JOE looks over his shoulder
and sees a GAS MASKED KILLER (ANTON) standing on the path
behind him holding an axe. He begins to charge towards JOE.

JOE (CONT’D)
Oh fuck!

JOE begins to run.

CUT TO:

30 EXT. WOODS - DAY 30

ERIC
When were you going to tell me? Is
it even mine?

TEDDY shakes his head with disbelief in the background.

 46.

NICOLE
Of course it is. I never meant to
hurt you.

ERIC
Yea well, you did.

NICOLE
I was going to tell you this
weekend.

ERIC
This whole thing is just too
surreal for me.

We hear LYDIA’S screams from the distance.

TEDDY
What was that?

NICOLE
It sounded like Lydia.

They hear it again.

NICOLE (CONT’D)
It sounds like she’s in trouble.

TEDDY
I hope Joe wouldn’t...

NICOLE
No, Joe wouldn’t hurt her.

ERIC
Are you so sure about that? What
do we even know about them Nicole?
The only time we hang with them is
when we go geocaching. Hell, I
didn’t know what my girlfriend was
capable of until today.

NICOLE
Eric, we need to talk about this
but for now we should see if Lydia
is okay.

ERIC
You two can do whatever you want.
You’re definitely good at that.
I’m out of here.
 47.

NICOLE
(tears well up and she
reaches for him)
Eric...

ERIC
(motions for her to stop
talking)
You disgust me.

He storms off.

NICOLE
(voice cracks)
Eric!

TEDDY gently puts his arm around NICOLE. She leans her head
against his hsoulder

TEDDY
(pointing)
Come on. It sounded like her
screams came from that direction.

She wipes the tears from her eyes and nods.

CUT TO:

31 EXT. GRAFFITI BUILDING - DAY 31

LYDIA and JOE come running into view. A small building

covered with graffiti sits off to one side of the path.
There’s a large opening in the front of the building, a rear
exit and a small front doorway partially covered by brush.

JOE
(panic)
I don’t think he’s far behind. We
can hide in there.

They duck inside the building.

COUPLE’s POV - We can see the KILLER coming down the path.

LYDIA ducks around the corner into an alcove and presses her
back against the wall. JOE scoots across to the far side of
the building toward the rear exit.

JOE (CONT’D)
(whispers)
Come on. Through here.
 48.

LYDIA is peering around the corner through a brush covered

doorway. She can see the KILLER coming closer so she shushes
JOE and motions him to quickly hide.

JOE pauses for a moment considering what to do and then ducks

outside through the door. He slips around the side of the
building and peers in through a window as the KILLER enters
the building.

LYDIA can no longer see the KILLER from her hiding spot but
JOE can see that he is getting closer to where she is hiding.

LYDIA trembles as she slides toward the brush covered exit.

Her foot hits some rubble and makes a sound. The KILLER is
quickly upon her.

JOE hears her scream as the KILLER rushes into the alcove.
He can’t see what’s going on.

JOE (CONT’D)
Lydia run!

He breaks from his hiding spot and races to the rear entrance
to come to her aide.

JOE (CONT’D)
Hold on. I’m coming!

As he enters the building the screams stop. He cautiously

moves toward her hiding spot.

JOE (CONT’D)
Lydia?

He enters the alcove. The KILLER has looped around through

the front of the building and appears behind him.

JOE stands in the doorway of the alcove.

JOE (CONT’D)
Lydia?!

We see the axe raise behind him.

ANGLE ON the axe coming down past the camera.

CU of the axe in JOE’s back.

ANGLE ON the KILLER standing over him.

CU of JOE as he screams.

CUT TO:
 49.

32 EXT. WOODS - DAY 32

NICOLE and TEDDY listen in every direction for any sound of

JOE or LYDIA. We hear JOE’s scream.

NICOLE
This way!

NICOLE races through the woods with TEDDY close behind.

CUT TO:

33 EXT. GRAFFITI BUILDING - DAY 33

NICOLE and TEDDY arrive at the building and approach it

cautiously. The screams have stopped. NICOLE gasps as she
sees a pool of blood flowing from the alcove.

CUT TO:

34 EXT. FACTORY - DAY 34

ERIC approaches his car. He’s clearly angry. He pulls out

his keys, fumbles and drops them.

CU as he picks them up. He stands up, unlocks the car and

slides behind the wheel.

We see him check his mirrors. All is clear.

He turns the ignition. BEAT. He hits the steering wheel.

ERIC
Fuck!

He hits it again.

ERIC (CONT’D)
Fuck!

BEAT. He holds his head in his hands fighting back tears.

He takes a deep breath, looks up and then puts the car in

reverse. WE NEED TO MAKE SURE THE EMERGENCY BRAKE IS ON.

Suddenly a bloody hand appears in the rearview dash camera.

ERIC jumps. He looks over his shoulder. Nothing there.

He looks back at the camera and JOE’S face appears.

 50.

JOE
Help me.

ERIC gets out of the car and rushes to the rear to find JOE
laying face down covered in blood.

ERIC
Oh my God! What happened?

He kneels down next to JOE. JOE looks up, blood trickling

from his mouth and tries to point to something behind ERIC.

JOE
(eyes wide with terror)
Behind...

ERIC stands up and starts to turn. We see the KILLER is

behind him. The KILLER pulls a barbed wire garrote around his
neck and begins to strangle him. ERIC tries to struggle as
JOE helplessly watches. ERIC’S limp body is dropped to the
side.

CU of JOE. He fights to keep his head up in defiance knowing

the end is coming.

JOE’s POV of the KILLER’S boot coming down towards his head.

CUT TO BLACK. Crunch!

CUT TO:

35 EXT. FACTORY GATE - NIGHT 35

NICOLE and TEDDY arrive the gate exiting the factory.

NICOLE
I can’t believe they left us here.

TEDDY
With all that blood back there...
Come on Nicole, something’s up.

NICOLE
Maybe they went to the hospital.

TEDDY
(bangs on the gate)
With the fucking gat locked!

NICOLE
(pulls out her cell phone)
I’m calling for help.
 51.

Suddenly the KILLER appears at the end of the alley blocking

their way. He has a machete.

NICOLE (CONT’D)
(notices the killer)
Oh my god. Oh my god Teddy.

TEDDY
(steps in front of Nicole
defensively)
Nicole, I’m going to distract him.
You go by. You run!

TEDDY (CONT’D)
(unslings his backpack to
use as a shield)
We’re both not getting by him.
I’ll distract him. You run.

NICOLE
No Teddy!

TEDDY
Run!

TEDDY rushes the killer putting the backpack up defensively

between them to block his blows. NICOLE races past screaming
and hurls her backpack at the killer but misses.

The KILLER takes a swing at TEDDY.

CUT TO:

36 EXT. FACTORY BAY DOORS - DAY 36

NICOLE pulls at the factory door but it’s locked. She

glances over her shoulder and then races to the bay doors.
She discovers that they are unlocked. She slides the door
open and scurries in closing the door behind her.

CUT TO:

37 INT. FACTORY - DAY 37

NICOLE is terrified. She takes out her cell phone and begins
to dial. As she dials she hears frantic banging on the door.
She steps back in horror.

NICOLE
Teddy?
 52.

The banging persists. Nicole opens the door. A machete

slides underneath. She screams and then we see TEDDY’s face
appear.

NICOLE (CONT’D)
Teddy!

She helps him in and closes the bay door behind him. He is
bleeding badly from his side.

TEDDY
(grinning)
I got him but he got me better. I
think next time... I’ll stick with
gaming.

Coughs up blood.

NICOLE
(begins to cry)
Oh no. No.

TEDDY
Be quiet Nicole. He’ll hear you.

He feebly tries to quiet her by covering her mouth with his

blood covered hand. His hand falls away smearing blood
across her face. NICOLE cradles him in his arms.

TEDDY (CONT’D)
It was never a mistake for me.

His head lolls back. TEDDY is dead.

NICOLE
(weeping)
I’ll always love you.

NICOLE leans in and kisses him. She begins to lose it.

Suddenly the bay door slides open and the KILLER ducks under.
He slowly rises to full height and staggers forward clutching
his side. He’s wounded. His other hand stretches out
towards her.

CU OF NICOLE. Anger floods her eyes.

CU OF HER HAND as she clenches the machete.

NICOLE charges the KILLER with a ferocious scream and plunges

the machete into his stomach. We see it come clear through
his back.

The KILLER looks down and then drops to his knees and falls
down dead to his side.
 53.

NICOLE lets out another scream and kicks the body.

She looks back at TEDDY laying dead on the floor and then
back to the killer. She gives the body a push with her foot.
It’s motionless.

She kneels over the KILLER and goes through his pockets. She
pulls out a wallet. There’s a few dollars but no ID. She
fishes a cell phone out of another pocket.

She fumbles with the phone and then launches the video app
and plays a video.

We see JOE’S car in the distance. ERIC’s car pulls up next

to it and the group gets out.

Suddenly Lydia pops in front of the camera giggling.

LYDIA
This is going to be great.

She leans in and kisses the cameraman and then walks off.
When she reaches the brush we hear the dialogue from the
beginning of the story.

LYDIA (CONT’D)
(waving)
Hey.

NICOLE watches in shock. Suddenly we see a (male) neon gas

mask emerge from the darkness flanked by two others (male
with spikes and female steam punk) also in gas masks. We
haven’t seen before. All of them are wielding knives.

NICOLE suddenly becomes aware of them and spins around. The

two male killers rush forward and back her back into a
corner. They grab her arms. NICOLE struggles to break free
but they hold her tight.

The female killer approaches her studying her and admiring

her at the same time. She pauses before NICOLE,
inquisitively cocking her head and then shifts her gaze
downward to NICOLE’s stomach. She reaches out and gently
touches her belly. Her hand lays across it for a moment
almost as if she detects a heartbeat. NICOLE tries to avert
her eyes.

BEAT. She snaps her hand away and plunges the knife into
NICOLE’s stomach where she lets the blade linger.

BEAT. She thrusts the blade three times in rapid succession

and then steps back. The others let her go and they all step
back to admire her handiwork.
 54.

NICOLE looks down at her stomach and clutches it. She lets
out a wail and then slides down the wall sobbing.

The NEON KILLER (SETH) seems unphased and speaks.

SETH
If you warn the wicked person and
they do not turn from their
wickedness or from their evil ways,
they will die for their sin; but
you will have saved yourself.
Ezekiel 3:19.

LYDIA
(trying to wipe the blood
from her hand on her
shirt but it doesn’t
quite come off)
Oh for Christ’s sake. Save the
Sunday sermons for another day and
lets just have some fun!

The female killer removes her mask to reveal LYDIA.

CU as the first male killer removes his mask to reveal JIMMY

WAYNE GARRICK (from OPEN CALL). He wipes the sweat from his
brow with his forearm. He’s winded and exhales as if he just
finished a hard job of chopping wood.

She then stretches her hand out towards JIMMY beckoning him
to come to her. She holds her bloody finger out to him. He
gently takes her hand and seductively sucks the blood from
her finger. She grabs him by his shirt, pulls him close and
gives him a lingering kiss. Their lips part and we see the
dead KILLER in the background between them.

JIMMY
(turns to the dead KILLER)
Too bad about Anton.

LYDIA
That’s what happens when you get
caught.

REVERSE SHOT. LYDIA turns to look at NICOLE’S lifeless body

laying in the background.

JIMMY cracks a twisted smile and then they lean in for

another kiss obscuring the body from view.

FADE TO:
 55.

38 TITLE 38

Chapter 3: DEARLY DEPARTED

FADE IN:

39 INT. FACTORY - NIGHT 39

C/U of JIMMY’s mask laying on the factory floor. It’s

speckled with blood.

PULL BACK TO REVEAL JIMMY kneeling over NICOLE as he wraps

her body in a plastic tarp.

JIMMY
(mocking)
Great job boys! You know what to
do. Yea, I know what to do. Clean
up everyone else’s shit!

JIMMY turns her over and begins to tie rope around her.

EXTREME C/U of NICOLE

JIMMY (CONT’D)
I’m always the first one in and the
last one out and what do I get
for...

NICOLE’s eyes snap open.

JIMMY screams and falls backward.

NICOLE gasps for air and the plastic sucks tight to her
mouth. Her eyes roll back for a moment and then they flutter
closed as she exhales and her body relaxes.

JIMMY cautiously leans forward and pokes her. She doesn’t

move.

He reaches for the rope to continue to tie her up.

NICOLE suddenly sits upright and lets out a scream.

JIMMY reaches for his knife to silence her when he suddenly

hears sirens outside the building. NICOLE continues to
scream.

JIMMY looks over his shoulder in the direction of the sirens

and then back at the screaming girl.

JIMMY (CONT’D)
Fuck this shit.
 56.

He flees through the back of the warehouse.

C/U of NICOLE screaming.

FADE TO:

Title

9 MONTHS LATER

FADE IN:

40 INT. TEDDY’S HOUSE - DAY 40

NICOLE is sitting in a chair with a swaddled baby in her

arms. We can’t see the baby at this point.

ZOOM IN ON BABY TO REVEAL that the infant is bloody and

mutilated.

CUT TO:

41 INT. TEDDY’S BEDROOM - NIGHT 41

NICOLE bolts upright with a yelp. She hyperventilates and is

dripping with sweat. Her breathing slows down as she looks
about the room and takes in her surroundings.

Realization sets in and she clutches her stomach and begins

to cry.

CUT TO:

42 INT. BATHROOM - NIGHT 42

NICOLE leans over the sink splashing water on her face.

She stands back up and looks into the mirror.

EXTREME C/U of image in the mirror.

TEDDY appears behind her.

A smile crosses her lips and she spins around expecting to

see him but there’s no one there. The smile fades from her
lips as she realizes she imagined him.

She reaches for a towel and dries her face. She looks back
into the mirror. TEDDY appears again.

EXTREME C/U of image in the mirror.

 57.

He lays his hand on her shoulder.

TEDDY
You know I’m not really here,
right?

NICOLE
(faint smile overcome with
sadness)
But I can imagine you are, can’t I?

She puts her hand on his.

TEDDY
I’ll always be with you.

He leans in and kisses her hand.

ERIC
(sarcastic)
Isn’t that touching?

PULL BACK TO REVEAL ERIC standing behind them.

TEDDY
Did you ever hear that two’s
company and three’s a crowd?

ERIC
Did you ever hear how my fist
sounds when it hits your face? Oh
right, you have.

CUT TO WIDE SHOT of Nicole as she pulls at her hair. ERIC

and TEDDY are gone.

NICOLE
Both of you, just get out of my
head!

She snaps out of it but is still shaking as she picks up a

bottle of pills. She fumbles with the bottle and then tosses
back a few pills.

She stares into the mirror again and begins to cry.

FADE TO:

43 INT. OUTREACH CENTER - DAY 43

A group is seated facing PETER. NICOLE is among them.

 58.

PETER
Before we end our session today I’d
like to take a moment of silence
for our friend Mary David. I know
some of you are new to the group so
if you haven’t heard the news,
Mary’s remains were found a few
days ago behind the woods near the
old lumber mill. She was a
survivor... right up until the end.

GROUP MEMBER
(snorts)
Lotta good it did her.

PETER casts a glance of disapproval at the GROUP MEMBER.

PETER
Is there something you you’d like
to share with the group?

The GROUP MEMBER shuffles her feet and lowers her head.

GROUP MEMBER
(turning to address the
rest of the group)
Every day is a struggle. What
happened to Mary could happen to
any one of us. I’m a survivor.
You’re all survivors. We’ve all
overcome the odds to get to where
we are today. Mary didn’t give up
her dreams and neither should you.

NICOLE
Her dreams were taken from her.

PETER
Yes, they were and it’s not fair.
That doesn’t mean that we should
curl up in a fetal position, turn
out the lights and just give up.

NICOLE
I’m just...

She hesitates.

PETER
(leans in)
It’s okay. We’re all friends here.
 59.

NICOLE
I’m afraid... afraid of being
alone, afraid that I’ll never love
again.

JIMMY (O.C.)
You have to embrace that fear.

The group turns to the voice off camera and we PULL BACK TO
REVEAL JIMMY sitting at the back of the group.

JIMMY (CONT’D)
I know what it’s like to live in
fear every day of your life. You
have to meet it head on, understand
it, embrace it before you can move
forward. Every day is a struggle
and you have to keep fighting to
keep the darkness from getting
inside.

NICOLE nods.

PETER
Thank you...?

JIMMY
Jimmy.

PETER
Thank you Jimmy. Welcome to the
group.

ENTIRE GROUP
Welcome.

PETER
Well, this is as good a place as
any to end our session. As always,
you are all welcome to visit with
me any time. My door is always
open.

CUT TO:

44 EXT. OUTREACH CENTER - DAY 44

The group disburses. We see JIMMY headed toward his truck.

NICOLE
(calling out to him)
Jimmy.
 60.

He turns as she approaches him. He flinches nervously.

NICOLE (CONT’D)
(extends her hand)
Nicole.

He looks at her outstretched hand, smiles and finally shakes

her hand.

NICOLE (CONT’D)
What you said back there. Does it
ever get any easier?

JIMMY
We all have our ways of dealing
with the past. Some of us relive
it every day, some manage to have
normal lives and some of us are
just better at hiding it than
others.

NICOLE
Which are you?

JIMMY
(a haunted look passes
over his face)
All of the above.

He shakes it off.

JIMMY (CONT’D)
Want to grab a drink?

NICOLE
Sure. I think I could use one
right about now.

LONG SHOT of JIMMY and NICOLE as they continue to talk.

PULL BACK TO REVEAL SETH is watching them from a distance.

SETH is dialing his cell phone.

CUT TO:

45 INT. CHARLES MILLES’ LIVING ROOM - DAY 45

CHARLES and his wife, LINDA are at home relaxing on a couch

with glasses of wine. Classical music plays in the
background. His cell phone rings and he answers it.
 61.

SETH (V.O.)
I found her.

LINDA
Who is it Charles?

CHARLES holds his hand to the phone.

CHARLES
It’s someone from the office.

LINDA
You just got home. Can’t they
leave you alone for one evening?

CHARLES
(getting up)
I have to take this. It’ll just be
a minute.

LINDA rolls her eyes. CHARLES walks to the other room.

CUT TO:

46 INT. CHARLES MILLES’ BAR ROOM - DAY 46

CHARLES
Where is she?

SETH
We need to talk.

CHARLES
Is something wrong? Is it Jimmy?

CUT TO:

47 EXT. OUTREACH CENTER - DAY 47

SETH is watching as they get into their cars.

SETH
You could say that.

FADE TO:

48 INT. SAL’S BAR - DAY 48

SAL is off to the side talking with other customers. JIMMY

and NICOLE sit along side each other.
 62.

JIMMY
So no one joins a survivor’s group
for no good reason. If you don’t
mind my asking, what’s your story?

NICOLE
My bother, boyfriend and a friend
were murdered about a year ago. I
was lucky enough to survive... if
you want to call it that.

She finishes off her drink and motions to SAL for another.

JIMMY
That’s... rough. I... found my
roommate with his throat torn out.

NICOLE
(gasps)
That’s horrible.

JIMMY
Yea. [PAUSE] Did they ever find the
killer?

NICOLE
There wasn’t enough evidence left
behind for the police to go on. The
coward left me for dead. Wasn’t
even man enough to finish the job.

JIMMY shifts nervously. SAL takes notice as he pours NICOLE

another drink.

JIMMY
You weren’t able to identify them.
Is that why the trail went cold?

NICOLE
I remember things...

JIMMY tenses up.

NICOLE (CONT’D)
...in pieces, sometime flashes in
my nightmares. I just can’t quite
remember his face.

JIMMY relaxes. He takes a drink.

NICOLE (CONT’D)
But I remember her voice. It was
so familiar...
 63.

He chokes and sputters out the liquor.

NICOLE (CONT’D)
You okay?

SAL hands him some napkins to blot his wet shirt.

SAL
(chuckles)
If you can’t handle your liquor you
shouldn’t drink with the big boys
and girls.

JIMMY snares at SAL and grabs the napkins from his hand. He
blots at his shirt.

NICOLE
Here, let me help.

He’s embarrassed and angry and pulls away. NICOLE seems

surprised.

JIMMY
I’ll be fine. I’ll be back in a
minute.

He leaves to go to the bathroom.

NICOLE
(turns to SAL)
That was a dick thing to say.

SAL
Honey, that guy is a dick. I’ve
seen plenty of his type come and go
with young girls like yourself and
leave them high and dry. I’m just
watching out for you.

NICOLE
Well no one asked you to.

SAL
I’m sorry for butting into your
business. You just remind me of
someone I used to know. Let me
pour you another drink, on the
house.

NICOLE
(smiling)
Thanks.
 64.

SAL
Name’s Sal.

NICOLE
Nicole.

SAL
Seriously Nicole, you can do
better. That guy’s an odd duck.

NICOLE
(laughs)
He kind of reminds me of my
brother.

SAL
Somethings off with that guy.
Looks familiar too, just can’t
place him.

NICOLE
So do you take this kind of
interest in all of your customers?

SAL
(smiles as he passes her a
drink)
No, only the pretty ones.

CUT TO:

49 INT. BAR BATHROOM - DAY 49

JIMMY tossed the paper towels into the wastebasket and turns
to leave. SETH appears blocking his way.

JIMMY
Are you following me?

SETH
Somebody has to make sure you don’t
screw up again.

JIMMY tries to push past him. SETH holds the door closed.

JIMMY
What the fuck Seth?

SETH
What the fuck is right? Are you
babysitting her or are you going to
finish the job this time?
 65.

JIMMY
I’m trying to see what she
remembers.

SETH
Does it matter?

JIMMY
It does to me.

SETH
Christ, you would think you’re
falling for this chick or
something.

JIMMY gets a wild look in his eye.

SETH (CONT’D)
That’s it, isn’t it? You’re sweet
on her. You just met this chick.

JIMMY
We met before.

SETH
Yea, when Lydia put a knife in her
belly. Oh wait until I tell her
this.

JIMMY
(wraps his hands around
Seth’s throat)
You won’t tell her shit!

SETH yanks JIMMY’s hands free.

SETH
You get one free pass. The next
time you lose you fucking hands.
Wrap up playtime with this bitch
and haul your ass to the rendezvous
point. Charles want to talk to
you.

JIMMY
Does he know I found Nicole?

SETH
(relishes the moment)
Oh yea.
 66.

JIMMY
Shit.

CUT TO:

50 INT. BAR - DAY 50

JIMMY approaches the bar. NICOLE has gone.

SAL
Sorry pal. She said she had to run
and to tell you she was sorry.

JIMMY grimaces and starts to leave.

SAL (CONT’D)
Hey, don’t I know you from
somewhere?

JIMMY stops in his tracks and doesn’t turn around.

CU as a nervous look washes over his face.

JIMMY
No.

CU as he reaches into his pocket and slips out his

switchblade unseen to Sal as Sal continues.

SAL
Are you sure? I really...

JIMMY
(starts to turn back to
SAL)
Really, I think you have me
mistaken for someone else.

SAL
(scratches his head)
Ah, maybe you’re right.

CU as JIMMY relaxes and slips the knife back into his pocket.
HE WALKS OFF CAMERA.

CU of SAL.

SAL (CONT’D)
(to himself)
Dick.

CUT TO:
 67.

51 EXT. PARK - DAY 51

CHARLES on a park bench waiting for JIMMY. ED is in the

distance standing as a lookout. SETH stands lookout in the
foreground.

CHARLES
You did what?!

CU of SETH as he turns toward camera smirking.

MEDIUM SHOT of CHARLES and JIMMY on the park bench.

JIMMY
She didn’t remember me from the
factory.

CHARLES
So you think that just makes it all
right to join a fucking survivor's
group with her? Are you out of
your mind?!

JIMMY
Jack...

CHARLES
(turns on him, eyes
blazing)
Don't ever use my real name.

JIMMY
(avoids his gaze)
Charles... she'll never suspect a
thing.

CHARLES
You better hope so. You need to
clean up this mess. You still owe
me.

JIMMY
(musters the courage)
And when will that debt be repaid?

CHARLES
If it wasn't for me you would have
rotted in the Westmore Psychiatric
Facility until the day that place
closed.

JIMMY
(laughs)
That place closed because of me.
 68.

CHARLES
You think this is funny? I put my
career on the line for you. I was
a doctor...

JIMMY
Hear we go again with the doctor
speech. You risked everything
because you're as crazy as me.

CHARLES
News flash for you Jimmy. I helped
you get better, treated you like a
son all these years.

JIMMY
And that’s why Linda knows who I
am. I bet there’s a lot of things
your wife doesn’t know.

CHARLES
(anger flickers in his
eyes)
Careful Jimmy.

JIMMY
You treat me like a son (laughs).
You treat me like an errand boy.

CHARLES
Is that what you think? (Calms
down) You are like a son to me.

Jimmy looks into his eyes.

CHARLES (CONT’D)
Everything I do for all of you is
because you're my family.

He takes both of Jimmy's hands and kneels down in front of

him.

CHARLES (CONT’D)

Say it with me Jimmy... We are

family. We are strong.

Jimmy starts to turn away. Charles grips his hands harder.

CHARLES (CONT’D)
We are family. We are strong.
 69.

JIMMY
(mutters)
We are family.

CHARLES
We are strong! (Shakes his hands
and grips them tighter)

Charles looks deep into Jimmy's eyes.

JIMMY
(louder)
We are strong.

CHARLES
No one...

JIMMY
No one...

CHARLES AND JIMMY

...will take away from us what we
take away ourselves. We live with
purpose. We breathe with purpose.

CU of SETH as he joins in.

CHARLES, JIMMY AND SETH

We see with purpose. We feel with
purpose.

CU of ED as he joins in.

ALL TOGETHER
We create with purpose.

ED and SETH walk behind the bench and loom over CHARLES and
JIMMY.

ALL TOGETHER (CONT’D)

We die with purpose. We are the
circle of life and the circle is
God's tapestry. We are God's
artists and doing God's work.

CHARLES
(sign of the cross)
Amen.

ED, JIMMY AND SETH

Amen.

Jimmy smiles.
 70.

Charles puts his hand on his shoulder and leans in.

CHARLES
Now, go kill that fucking bitch
once and for all.

CUT TO:

52 INT. TEDDY’S LIVING ROOM - NIGHT 52

NICOLE is curled up on the couch leaning against a pillow

eating popcorn and watching NO TRESPASSING. She wears one of
TEDDY’s t-shirts.

NICOLE jumps when she hears the girl scream in the movie.

TEDDY appears to her left.

TEDDY
(laughs)
That part gets you every time.

NICOLE doesn’t take her eyes off of the movie.

NICOLE
(she grins and looks
embarrassed)
I know. I’m a sucker for a good
scare.

TEDDY
Uh oh, here comes the big finish.

NICOLE squirms.

TEDDY (CONT’D)
(turns to her)
Remember how I would always cover
your eyes for you at this point.

NICOLE suddenly stops the movie with the remote. She turns
to face TEDDY but he’s no longer there. A sad look washes
over her face. She sits in silence for a moment and then
begins to sob.

ERIC
You know I hate it when you cry.

PULL BACK TO REVEAL ERIC sitting to her right.

 71.

NICOLE
The world’s a pit bull and your ass
is lunch. You can either feed it
or kick it in the teeth.

ERIC
I’ve taught you well.

She wipes away her tears and looks up at him.

ERIC (CONT’D)
(sweetly)
Good. No more tears.

NICOLE
Look at me. I’m a mess. It’s like
you when the president’s speech
interrupts Dancing with the Stars.

She trembles. PAUSE.

NICOLE (CONT’D)
I miss you.

Breaks down more.

NICOLE (CONT’D)
I miss you both so much.

She almost sputters her words.

NICOLE (CONT’D)
I don’t... think I can do this
anymore. Every night... I go to
bed and pray that I never wake up,
that this will all end. I wish I
died with you both that night at
the factory.

ERIC
No you don’t.

NICOLE
I do! What life do I have now?

She sobs again. She cups her face. TEDDY reappears next to
her.

TEDDY
This is probably bad timing but can
you make sure you clean the snot
from your hands before you put the
DVD back in its case. It’s a
pretty rare disc.
 72.

She laughs and uncups her face.

NICOLE
Jackass.

TEDDY
Is that any way to talk to your
dead brother?

ERIC
I can think of a few suitable names
since you slept with my girlfriend.

NICOLE
I didn’t sleep with him.

ERIC
(crosses his arms)
You know I could come back and
haunt you until you tell the truth.

NICOLE
I am telling the truth. I never
slept with him but... I love you
both.

She hugs the pillow close to her chest and stares down at the
coffee table. Realization sweeps across her.

CU OF DVD cover. It has a gas masked killer on the cover.

She picks it up and studies it. The words “BASED ON A TRUE
STORY” appear at the bottom.

FLASHES OF THE GAS MASK KILLERS towering over flicker in her

mind.

CU of NICOLE. She seems lost in thought.

FADE OUT.

53 TITLE 53

Chapter 4: THE SISTINE SLASHER

FADE IN:

54 INT. OFFICE - DAY 54

ELI KORMAN greets NICOLE.

 73.

NICOLE
Thank you for seeing me on such
short notice Mr. Korman.

ELI
(motioning for her to sit
down)
Please, call me Eli.

NICOLE
(as she sits)
Thank you Eli.

ELI
You mentioned on the phone that you
were interested in discussing some
of my late brother’s movies with
me.

NICOLE
Actually, one in particular... No
Trespassing.

ELI
I made a sequel to it.

NICOLE
I didn’t know there was a sequel.

ELI
I’m afraid not many did. That’s
why I’m stuck in this washed up
town. [SIGHS] So what wasn’t you
wanted to know?

NICOLE
It’s been said that most of Winston
Korman’s movies were based on real
events that happened in Fairview
Falls, right?

ELI
That’s correct?

NICOLE
How much of No Trespassing was made
up?

ELI
Winston embellished quite a bit.
How many movies do you see nowadays
with “based on a true story”
slapped all over them.
(MORE)
 74.
ELI (CONT'D)
Winston was doing that long before
most of Hollywood jumped on board.
He made most of his stories up but
every now and then there was a
shred of truth.

NICOLE
Where did he get the idea for the
gas mask?

ELI
Why do you ask?

NICOLE
(hesitates)
The police kept certain details
from the media.

ELI
Like what?

NICOLE
Like the fact that the people that
tried to kill me all wore gas
masks.

ELI
(leaning forward with
interest)
Really? So you think there’s a
connection?

NICOLE
Is it possible that someone is
copying what they’ve seen in your
brother’s movies?

ELI
(draws a breath)
Life imitating art. It wouldn’t be
the first time.

NICOLE
Is that the case with this movie?

ELI
Quite the opposite, in fact.
Winston based No Trespassing on a
killer that was never caught. He
was fascinated with the case. They
called him the Sistine Slasher
because every victim was a macabre
work of art.
 75.

NICOLE
So how does the gas mask play into
it?

ELI
One of his victims managed to get
away. The only thing they were
able to identify him by was the gas
mask that he was wearing.

NICOLE looks troubled.

NICOLE
So it’s possible that what happened
to me is connected.

ELI
This is Fairview Falls. Anything
is possible. Look, you seem like a
sweet young girl. I suggest you go
back to Devonsville and forget all
about this. Move on with your
life. If you keep poking the bear
you’re liable to get bit.

NICOLE’s phone rings. She looks at it and see it’s JIMMY.

NICOLE
Maybe you’re right.

She answers the phone.

NICOLE (CONT’D)
Jimmy, hold on just a second.

NICOLE (CONT’D)
(covers the phone)
Thank you so much for seeing me
Eli.

ELI
Any time. Be safe.

NICOLE turns away and speaks into the phone.

NICOLE
Hey Jimmy.

FADE OUT.

55 EXT. PARK - DAY 55

NICOLE approaches JIMMY. He has his dog, JD on a leash.

 76.

JIMMY
(looks up from playing
with JD)
I wasn’t so sure you’d come after
you left me at the bar.

NICOLE
I’m sorry about that.

JIMMY
No worries.

He kneels down and pets the dog.

NICOLE
Who’s you friend?

JIMMY
This is JD.

NICOLE
What’s the initials stand for?

JIMMY
My mother’ maiden name, Jackie
Daniels.

NICOLE
That’s sweet.

JIMMY
Yea, I loved her very much. [talks
like a baby to the dog] Isn’t dat
right JD? I loved her very much.

The dog licks JIMMY in the face. There’s something erotic

and uncomfortable about it. Nicole is a little grossed out.

NICOLE
You have some connection with
animals, huh?

He stops.

JIMMY
Yea, animals never betray your
trust. It’s just unconditional
love.

NICOLE
(raises an eyebrow)
I can see that.
 77.

JIMMY
Thanks for coming. I thought we
made a connection of our own.

He pats the dog and then stands up.

NICOLE
Oh... I hope I didn’t give you the
wrong impression. It’s just that...

JIMMY
I understand. It’s too soon.

They walk over to the shade of a tree and sit down beside it.

NICOLE
When will it not be too soon?
Someone told me today that I should
just move on with my life. I
should stop looking into what
happened?

JIMMY
(alarmed)
Wait, you’re still looking into it?

NICOLE
Yes. No. I don’t know what I’m
doing anymore. I feel like I’m
living this out of body experience
trapped in one spot while life is
moving all around me. I moved into
my brother’s apartment because I
just can’t let go of the past.

She throws her arms up.

NICOLE (CONT’D)
Here I am rambling on again when I
came here to return the favor and
let someone else do the talking for
a change.

JIMMY
It’s okay. Everyone needs a
shoulder to cry on sometimes. You
know you can talk to me.

NICOLE
Can I? It didn’t end well with the
last people I thought I could
trust.
 78.

JIMMY
You can. You know you’re the most
normal person I’ve known in a long
time.

NICOLE
(laughs)
You must know some crazy people
then.

JIMMY
You could say that. I’m in a
relationship now that’s so far from
normal that I forgot what normal
was... until I met you.

NICOLE
(embarrassed)
You’re not like other guys I’ve
met.

JIMMY
Is that a good thing or a bad
thing?

NICOLE
(smiles)
I don’t know yet. Maybe we’ll just
have to find out.

They lean into kiss and JIMMY’S eyes glaze over. His lips
thin into a wide, evil grin.

JIMMY grabs NICOLE by the throat, snarls and then rips at her
throat with his teeth. He throws his head back and howls.
Blood froths from his mouth.

NICOLE (CONT’D)
Jimmy. Jimmy are you alright?

REVEAL that this was just in JIMMY’S mind. He snaps out of

it but is breathing heavily.

JIMMY
I think I better go.

He gets up.

NICOLE
(getting up too)
Jimmy wait.

She puts her hand on his shoulder and he turns and growls at
her.
 79.

NICOLE (CONT’D)
(pulling her hand away)
You’re scaring me. What’s wrong?

JIMMY hurries away with JD in tow.

NICOLE (CONT’D)
Come back! Let’s talk!

CUT TO:

56 EXT. PARK - DAY 56

JIMMY slows down. He falls back against a tree. He start

hitting himself against the head.

JIMMY
Why? Why?! I just want it to
stop.

FLICKERS of JIMMY making his kill weapon and then shots of

past victims.

JIMMY (CONT’D)
Make it stop! Make it stop...

He slumps down and sobs.

JIMMY (CONT’D)
I just want to be normal.

JIMMY’s phone rings. It’s LYDIA.

JIMMY (CONT’D)
Fuck! Fuck, fuck, fuck!

He wipes away the tears and answers it.

JIMMY (CONT’D)
Hey Lydia.

LYDIA (V.O.)
Hey baby, something the matter?

JIMMY
No, I’m... fine.

LYDIA (V.O.)
Are you with anyone right now?

JIMMY
With anyone? No, it’s just me and
JD.
 80.

LYDIA (V.O.)
Good. [lowers her voice] I’m going
to take off and lay low for a
while.

JIMMY
Why are you whispering? Why are you
leaving?

LYDIA (V.O.)
(voice raises)
Because of your big mouth, that’s
why.

JIMMY
(sits up)
What did I do?

LYDIA (V.O.)
(voice lowered)
You had to tell Charles that Nicole
started to remember things.

JIMMY
I didn’t tell him that.

LYDIA (V.O.)
(slightly raised)
Then who did?

JIMMY
(realization)
Seth...

LYDIA (V.O.)
Hang on, someone’s coming.

JIMMY
Lydia, wait...

JIMMY hears LYDIA scream.

JIMMY (CONT’D)
Lydia? Lydia?!

Silence.

CHARLES (V.O.)
Hello Jimmy.

JIMMY
Charles?
 81.

CHARLES
If you ever want to see Lydia
again, come back to where it all
began.

JIMMY
If you hurt her...

Click.

JIMMY pulls out a worn picture that he carries of her in his

pocket and stares at it. His eyes glaze over once again.

CUT TO:

57 INT. FACTORY - DAY 57

CHARLES turns to Mick. Mick is holding a knife and his hands

are covered in blood.

CHARLES
He’s on his way.

We hear SETH screaming from the other room.

CHARLES (CONT’D)
Clean up this mess.

Starts to walk away.

CHARLES (CONT’D)
(grins)
On second thought, leave her there.

CUT TO:

58 INT. FACTORY BATHROOM - DAY 58

SETH is handcuffed and suspended from a shower rod. We can

see various bruises and cuts on his body. ED runs the shower
on him to wake him back up. SETH is screaming for him to
stop.

SETH
Please, God!

ED
(leans in)
I’m the devil and I’m here to do
the devil’s work.
 82.

SETH
(Spitting out water)
I thought we were friends.

ED
Friends? I don’t have any friends.
The last friend I had cut my thumb
off.

ED holds up his left hand. His thumb has a scar around it

and it’s bent out awkwardly.

SETH
Looks pretty good to me.

ED forces the thumb into a fist.

ED
Good enough to do this.

He punches him solid in the stomach.

SETH
After all the times I saved your
ass and you’re not going to save
me.

ED
I wouldn’t piss in your mouth if
your teeth were on fire. Then
again, if you have no teeth there’s
no chance of that happening.

ED backhands him. SETH spits out blood.

CHARLES
(off camera)
Such brutality will not do.

PULL BACK TO REVEAL CHARLES and MICK. MICK is holding a

video camera.

SETH
Charles. Thank GOD you’re here.
Please don’t let him do this.

CHARLES
You failed me Seth. You, Lydia and
Jimmy, you all failed me.

SETH
(scared and starts to
plead)
(MORE)
 83.
SETH (CONT'D)
Please Charles. Please don’t do
this.

CHARLES
All you had to do was shoot the
video and clean up the mess.

He picks up a blood stained knife.

CHARLES (CONT’D)
(he closes his eyes,
chants the words and
waves the knife as if
directing a symphony )
Shoot the video and clean up the
mess. Shoot the video and clean up
the mess.

He slowly turns away from SETH as he chants this and then

suddenly whirls back to SETH. He brings the knife close to
his face.

ED has an evil grin.

SETH
(whimpers)
Please.

CHARLES
I’ve given you a good life haven’t
I?

SETH
Yes.

CHARLES
Yes. And yet you disappoint me.
Everything I’ve accomplished all
these years could unravel because
that bitch is starting to remember.
I won’t see my life destroyed
because of your failure.

SETH
(really scared)
What are you going to do?

CHARLES
(caresses his hair)
I’m going to give you one final
gift.

SETH
You’ll let me go?
 84.

CHARLES
Out of failure comes success.

He leans in and kisses him on the forehead.

CHARLES motions to Mick. MICK begins to shoot video as

CHARLES walks off screen.

CU of SETH yelling at CHARLES.

SETH
Fuck you! You son of a bitch! I
hope they do find you and gun you
down like a dog.

CHARLES reappears wearing a gas mask and brandishing the

knife. He closes in on SETH.

SETH screams.

FADE OUT.

59 TITLE 59

Chapter 5: OF LIGHT & DARK