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FADE IN

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									FADE IN: MONTAGE OF IMAGES AS OPENING CREDITS ROLL. PRESIDENT BUSH BEING SWORN IN. THE BUSH AND GORE SCANDAL. NARRATOR THE DECLINE WAS THE NATURAL AND INEVITABLE EFFECT OF IMMODERATE GREATNESS. OSAMA BIN LADEN. THE TWIN TOWERS FALLING. OSAMA BIN LADEN SENDING A TAPE THREAT. NARRATOR (CONT‟D) INTERNAL AND EXTERNAL CONFLICT. LOSS OF ECONOMIC AND POLITICAL FREEDOM. A MEDIA NOURISHED ATMOSPHERE OF FEAR. AN INSOUCIANT POPULACE ALLOWED POLITICIANS TO SUCCUMB TO THE TEMPTATIONS ENGENDERED BY THEIR OWN SUCCESS. A DECLARATION ON THE WAR ON IRAQ. SHOCK AND AWE ATTACK ON IRAQ. HALLIBURTON “WINNING” THE CONTRACT TO REBUILD IRAQ. DICK CHEYNEY PAYCHECK FROM HALLIBURTON. GEORGE W. BUSH SIGNS THE PATRIOT ACT. SADAAM HUSSEIN. SEARCH FOR WMD‟S IN IRAQ. STATUE FALLING OF SADAAM. WIRETAPPING ON CITIZENS PHONES. NARRATOR (CONT‟D) INTERNATIONAL ECONOMIC COLLAPSE. POLITICAL UPHEAVAL. NATIONAL MARITAL LAW. RIOTS. ALLIED NATIONS UNABLE AND UNWILLING TO PROVIDE AID. LAW ENFORCEMENT PROVIDED BY THE MILITARY. PUNISHMENT FOR DISOBEDIENCE BECOMES BARBAROUS. WORLD WIDE ANTI WAR PROTESTS. SADAAM BEING FOUND. SCOOTER LIBBY. COPS VERSUS PROTESTORS. ALLIED NATIONS DECLARING NO SUPPORT OF US. THE GUANTANAMO BAY PRISON INCIDENT. KATRINA. HABEUS CORPUS BEING DISCONTINUED. ILLEGAL ALIEN INTERNMENT CAMPS. NARRATOR (CONT‟D) FROM THESE FRUITS THE NATION HARVESTED A JOURNEY DOWN A SLIPPERY SLOPE OF WHAT WAS ONCE CONSIDERED A FALLACY OF EXTENSION BUT NOW WAS AN ADMITTED CONTENTION THAT THERE WAS ONE COMMON PERCEPTION OF REALITY: THE PLEBEIAN COUNTERREVOLUTION HAD BEGUN. SADDAM BEING ON TRIAL AND HUNG. THE OPENING SEQUENCE TO FAHRENHEIT 911. THE LOOSE CHANGE ON LINE DOCUMENTARY. BUSH‟S CALL FOR MORE TROOPS IN IRAQ. AL GORE WINNING AN OSCAR.

NARRATOR (CONT‟D) THE COUNTRY IS LEFT IN A STATE OF DECAY ... BUT DECAY IS BUT ANOTHER NAME FOR CHANGE. AND CHANGE IS THE BAIRN OF REVOLUTIONARIES. ACTIVIST PROTESTS TURNING INTO RIOTS. DON ROBERTO AND JAYMES (TWO HIP HOP ARTISTS) ON STAGE RAPPING WITH A P.L.U.R.R. (IT IS THE NEW HIP HOP MANTRA: PEACE LOVE UNITY RESPECT REVOLUTION) BANNER BEHIND THEM. DECLARATION OF MARTIAL LAW. A.R.C. PUNK PATCH (THE NEW PUNK MANTRA: ANARCHY REVOLUTION CHANGE). A NEWS REPORT OF A TERRORISM ATTACK IN LOS ANGELES. RIOTS FEATURING THE PUNKS FROM THE MOVIE. MILITARY LINED UP ON THE STREETS. AN ACTIVIST LEADER (BEBE)SPEAKING AT A PODIUM RALLYING UP THE ACTIVISTS. A RIOT GEAR COP VERSUS A GIRL PUNK. NARRATOR (CONT‟D) HISTORY WILL LOOK BACK AT THIS TIME AND CALL IT THE EMERGENCE RECONSTRUCTION. BUT FOR NOW HISTORY LOOKS FORWARD AT THIS DAY AFTER THE DECLINE OF THE PRODIGY OF THE ROMAN EMPIRE. THIS ... THE DAY AFTER… FADE OUT. FADE IN: EXT. ABANDONED WAREHOUSE DISTRICT - NIGHT - EARLY AUTUMN Dimly lit, vacant streets cut the landscape in a labyrinth fashion. A gentle breeze causes loose paper debris to dance down the neglected sidewalks. Softly, a heartbeat-like sound is heard in the form of tribal drum thumping. Penetrating the graffiti tattooed walls, the heartbeat thumping increases in it‟s volume, intensity and speed. Over the rooftops a security light flickers in a struggle to keep lit. The beating of bass is emanating from a single warehouse. From it multi-colored lights flash in a kaleidoscope fashion from the cracked windows. The heartbeat thumping sound transforms into that of a techno-house-beat. A few extravagantly dressed young people are finding their way from the inky shadows of the streets and into a two story warehouse for the rave that is occurring inside. Two individuals approach the building. They are KELLY PAYTON and STERLING WEXAL. Kelly is glittered and both are in baggy clothing. Kelly bounds toward the building with excited anticipation. Sterling follows after her, jovial but hesitant. Kelly stops at the corner and waits for Sterling to catch up to her. Sterling watches other people enter in the warehouse. He knows that he is out of his element. Kelly is completely

comfortable at the rave scene. KELLY Come on slowpoke. Will you quit draggin‟ STERLING I‟m not dragging ... I‟m pacing myself. KELLY That‟s not going to do you any good tonight. Kelly comes up seductively close to Sterling. She takes both of his hands into hers. Sterling looses his concentration on the surroundings and is now only focused on her. KELLY (cont'd) Mmm hmm. There‟s only one pace here. Kelly parts her lips revealing a mischievous smile. She takes Sterling‟s hand and pulls him toward the building. Kelly races off dragging him with her. Sterling does all he can to keep up with the energetic Kelly. STERLING (as he is jerked) Oh! The couple scamper off into the building. CUT TO: INT. DJ STAGE - SAME NIGHT The DJ Stage is a platform with two sets of turn tables atop cinder blocks. The stage gives a good vantage point to view the crowd on the dance floor. DON ROBERTO is spinning the music. A few ravers dance near the turntables. CUT TO: INT. RAVE WAREHOUSE - SAME NIGHT Inside the couple stops for a moment to gather their bearings. Sterling‟s senses are overloaded by the loud music, annoying whistles, bright lights and colorful personnel. He tries to talk over the noise.

STERLING I feel stupid dressed like this. You sure this isn‟t going to get us into trouble? KELLY You are trouble. Kelly grins and pulls Sterling into the turbulent sea of dancing ravers. The couple is swallowed up in a blizzard of ultraviolet lights, glow sticks and backlit people. CUT TO: EXT. ABANDONED WAREHOUSE DISTRICT STREET - SAME NIGHT The street outside the warehouse is abandoned save for a couple of stragglers entering the rave. A block away, blending into the darkness, two black vans slowly pull to a stop along the curb. CUT TO: INT. WAREHOUSE - SAME NIGHT SYDNEY SANTIAGO is talking with ARTURO. She watches Don Roberto intensely. Arturo watches her intensely. SYDNEY Who‟s spinning? ARTURO Him? That‟s ole Two Strikes. SYDNEY Two Strikes? ARTURO Got only one left. Sydney watches Don as Arturo continues to scope out her body. ARTURO (cont‟d) What do you do? SYDNEY (cont‟d) Fashion. ARTURO Not a whole lot people worried about fashion these days.

SYDNEY Everyone wants to look good no matter what. And one day everyone will want to wear pants with my name on them. ARTURO Yeah? Arturo checks out her pants as if thinking he wants to get into them. An angry VINCE HOVETER walks up to Sydney and Artuo. VINCE (to Sydney) Can I see you for moment? SYDNEY (to Arturo) Excuse me. Sydney walks off with Vince. Vince glares are Arturo and follows her. CUT TO: INT. DJ STAGE - SAME NIGHT Don Roberto looks out, through the crowd. He notices Kelly. He sighs slightly as he diverts his gaze away from her and to the turntables. DJ JELLY comes onto the stage and stands near Don. Don looks at his watch and nods to Jelly. Jelly puts on a set of headphones. Don takes a hold of a microphone and makes an announcement. DON ROBERTO That‟s my set but before I hand you lookahs over to the selectah himself, DJ Jelly. Remember to tell the power that be - freedom, equality, fraternity or kiss our asses! The crowd cheers and screams with enthusiastic replies. Don moves aside and makes room for Jelly. DJ JELLY Now for somethin a little old school. Jelly doesn‟t miss a beat and takes over blending the current song into a new tune seamlessly. CUT TO:

INT. DANCE FLOOR - SAME NIGHT Kelly and Sterling dance along with the hordes of other silhouetted dancers. Multicolored lights saturate the atmosphere along with the light smoke that has traveled along the dance floor from a near-by fog machine. CUT TO: EXT. ABANDONED WAREHOUSE DISTRICT STREET - SAME NIGHT Several black boots drop from the van and race out into the shadows of the area. The unseen men carry rifles and spread out with military precision and predatory intent. CUT TO: INT. DANCE FLOOR - SAME NIGHT Sterling and Kelly are dancing. Kelly looks around and sees something. She gets Sterling‟s attention to speak to him above the loud music. KELLY I‟ve got to see someone. Wait here. STERLING You want me to go with you? Kelly takes out a black marker and draws a larger black „X‟ on the back of Sterling‟s hands. STERLING (cont‟d) What hell is this? Kelly looks up at Sterling and smiles. She knows that he doesn‟t understand the sXe mark. KELLY Blood of the lamb. Kelly caps her marker. KELLY (cont‟d) I‟ll be back. Wait here. Kelly scurries off leaving Sterling surrounded by club kids, candy ravers, etc. CUT TO:

INT. WAREHOUSE NEAR DJ STAGE - SAME NIGHT DON sees Kelly leave Sterling. He looks hard at Sterling then as Kelly slowly makes her way through the sea of moving bodies, he pretends to occupy himself with packing up his vinyls. CUT TO: EXT. WAREHOUSE - SAME NIGHT Sydney walks outside and Vince chases after her. VINCE Hey, don‟t walk away from me. What was all that about? SYDNEY Jealously isn‟t a turn on, Vince. VINCE Sydney ... let‟s just go home and talk. Vince grabs Sydney‟s arm. Sydney immediately jerks her arm away form him. They stop and face off. SYDNEY Vince. It‟s over. Okay. Sorry I didn‟t tell you sooner but you should‟ve known. VINCE Since when? SYDNEY Before it ever started. VINCE What was I? A toy for your amusement? SYDNEY No. You weren‟t very amusing. SNIPER POV Vince and Sydney are watched from the roof top of an adjacent building. A couple of men dressed in black position themselves, gesturing with hand signals. The couple continues to fight. Sydney turns and walks to the side entrance of the warehouse. Their words cannot be heard until Vince screams...

VINCE You Bitch! CUT TO: INT. DANCE FLOOR - SAME NIGHT Sterling is approached by two ravers. Both of them have pacifiers around their necks.

RAE You roll? STERLING What? RAE You roll? STERLING Yeah. ARTURO Lay off him. He‟s a straight edge. Arturo points to the „x‟s on sterling‟s hands. RAE You fuckin‟ elitist fairy raver. ARTURO Leave him alone. RAE Think that you‟re better than us? STERLING No. Dude, what‟s the problem? RAE What are you even here for? STERLING Hey, this is my first time. I‟m sorry if I did something wrong.

RAE First timer? Hey, I‟m sorry I didn‟t know. Have a good time. Oh, take this. Rae takes out a little opaque white, gelatin capsule and hands it to Sterling. RAE (cont‟d) It‟ll help you fit in. You‟ll enjoy the scene better. ARTURO If you don‟t want it - pass it on to someone who does. STERLING What is it? RAE Disco-biscuit. Don‟t worry it‟s safe. Sterling takes the pill. He looks at the two ravers for a moment. Then he puts it into his mouth. The two ravers return to dancing. Sterling does as well but an expression of uncertainty appears on his face. Sterling walks away from the dance floor. He uses his tongue to push the pill in his mouth to his lips. Sterling reaches up to remove the pill. A third RAVER (Jaymes) is dancing viciously and runs into Sterling. Sterling accidently bites down on and swallows the pill that he was hiding in his mouth. JAYMES Sorry Bro. You okay? Sterling becomes fearful of what he just ingested. CUT TO: INT. WAREHOUSE NEAR DJ STAGE- SAME NIGHT Kelly makes her way through the crowd and walks up to Don. KELLY Hey there you. DON Hey ... does the Assemblyman know where his daughter is? I was wondering when you‟d make it up here. KELLY I wouldn‟t miss a performance by the melodious Nelson Mandella for the world.

DON Hey now, my ass can‟t cash that kind of credit. KELLY Is Bebe coming? DON She‟s got some peace rally to attend - or run - or something that makes a real difference. KELLY You know this matters too. DON Yeah, just for a different reason. KELLY Or the same reason. Just a different approach. DON Ha Ha I feel you. So did you bring the newbie? KELLY His name is Sterling. DON After I finish loading up you can introduce me. Kelly now seems more interested in looking at the ravers than making eye contact. KELLY Of course. (searching for words) So anything new with you? DON No. Same shit, different smell. KELLY You happy? The awkwardness saturates both of their actions and words. DON I‟m doing fine. You?

KELLY Same. CUT TO: INT. MEN‟S ROOM - SAME NIGHT Sterling, sweating profusely, wanders into the men‟s room. He is confused by the altered state he is experiencing from the drug. He is sweating. He walks over to the sink and tries to wash his face. He pauses and then cups his hand to get some water to drink. CUT TO: INTERCUTTING BETWEEN THE VAN INTERIOR, ROOF TOP, STREETS AND WAREHOUSE INTERIOR. A raver adjusts on a candy bracelet. An army commander checks his watch. A raver puts on goggles. A soldier puts on night vision goggles. A raver pulls a water bottle out of his cargo pants. A soldier pulls out an ammo clip from his cameo cargo pants. Ravers pogo dance. Soldiers hold up and check their weapons. Ravers, side by side, scream and shout in excitement. Soldiers, sitting side by side, stare ahead with stolid expressions. A Club Kid calls on a cell phone. A solider calls out on a walkie-talkie. DJ Jelly waves her arm around in a circular fashion. The Commander gives the „move out‟ signal to the troops. Don and Kelly part company. CUT TO: EXT. ABANDONED WAREHOUSE DISTRICT STREET - SAME NIGHT Troops spilt away from one another and quickly secure the perimeter of the warehouse. CUT TO: INT. RAVE WAREHOUSE - SAME NIGHT Kelly searches for Sterling but he is nowhere to be found. The police soldiers burst into the rave. DJ Jelly stops the music. The soldiers have their rifles at the ready. SOLDIER #1 On The Ground! Everyone Now! You are in violation of State Curfew. On the Ground

Now! A few ravers obey but the majority protest. DJ Jelly turns the music up in defiance. They shout obscenities to the officers. The soldiers and the ravers are at a stand-off. SOLDIER #2 Down! Now! The soldiers begin to fire their rifles into the crowd. The rifles are set for a three bullet burst. The ravers nearest to the soldiers fall. The rest flee, pushing over one another. CUT TO: INT. RAVE WAREHOUSE - SAME NIGHT DJ Jelly tries to escape but he is pushed down and trampled under the stampede of fleeing ravers. Kelly also tries to run but finds herself trapped in a corner surrounded by the cries, gun fire and her own screams. CUT TO: INT. REAR DOCK OF THE WAREHOUSE - SAME NIGHT Upon hearing the gunshots, everyone races from the docks. Don whips his head around, first in shock then horror. DON ROBERTO ... Kelly ... He drops his records and races back to the dance floor. CUT TO: EXT. SIDE ENTRANCE TO WAREHOUSE - SAME NIGHT Sydney and several ravers are captured by the authorities. Several ravers look at one another then on a silent command rush the military police. The police react with batons but in the commotion Sydney and others make their escape. As Sydney runs she hears behind her that the use of batons has been replaced by pepper spray. CUT TO: INT. RAVE WAREHOUSE BATHROOM - SAME NIGHT Sterling exits the restroom confused. He is knocked to the ground by fleeing ravers. CUT TO:

INT. RAVE WAREHOUSE - SAME NIGHT Don races to the dance floor. He halts when he sees the assault on the partiers. As the military silhouettes and voices close in on him, Don turns and races away. CUT TO: EXT. WAREHOUSE DISTRICT ALLEY - SAME NIGHT A van with it‟s side door open drives along slowly as a couple of people leap into it. Sydney runs toward the van. Sydney races to catch up with the van. One of the passengers holds out his hand. Sydney runs with her hand out to catch his and be pulled on board. Sydney looks up and sees that the out stretched hand belongs to Vince. With an emotionless expression, Vince withdraws his hand and slams shut the sliding side door as the van speeds away. Only the red rear van lights reveal Sydney as she falls to her knees, calling out through the darkness and tailpipe exhaust. CUT TO:

INT. RAVE WAREHOUSE - SAME NIGHT Don flees through the pandemonium, making his way to an escape door. He runs into Sterling, who is lost and scared. Don pushes Sterling aside. He looks back at Sterling and recognizes him. He clenches his jaw and grabs Sterling. DON Come on, newbie. Sterling in his chemically altered mind, still not understanding what is happening, resists. DON (cont‟d) Come on! Don pulls Sterling out the door. CUT TO: Don, with Sterling following, races through the darkness. He pulls out a remote with a key pad on it. He takes a quick glance at the remote and sighs. Then he types a code into it and waits for a beep. He hears one in the distance. Don rushes over to an SUV. Don gets into the vehicle and begins hot wiring the vehicle. DON (cont‟d) (to Sterling)

I suggest you get in, now. Sterling crawls into the backseat. As Don works on starting up the vehicle, Sterling, still in a daze, looks back at the warehouse. STERLING ... I need to get Kelly -Don starts up the SUV and speeds off. STERLING (cont‟d) Kelly. I gotta go back. DON Naw, we gotta go forward. Don pulls out a small piece of paper and his cell phone. He looks at the phone. He has no service. He then turns his attention forward. In the headlights of the vehicle is Sydney standing in the path of the vehicle. Don slams on the breaks. Sydney screams. The vehicle comes inches from running her over. SYDNEY You fucking bastard! DON Get in or get out of the way! SYDNEY What the hell are you doing? DON I‟m either going to save your ass or run it over! Now get in! Sydney hears gun fire and a helicopter in the near distance. She quickly runs around and gets into the front passengers seat. As she opens the door and hops in, Don speeds off. Sydney squeals in anger as she shuts the door on the racing vehicle. CUT TO: EXT. ABANDONED CITY DISTRICT - LATER THAT NIGHT Don maneuvers the vehicle through a maze of streets in darkness. He drives up to an area where there are some trash cans with burning trash in them. Several people have gathered at one corner. One of them, JAYMES, approaches the vehicle as Don rolls down his window. Jaymes is a bit spacey but well informed.

DON ROBERTO What‟s the news? JAYMES Elected terrorists ... disciplining the civil opposition -- culling the dissidents. DON ROBERTO Just here? JAYMES (shrugs) Communication - dead - „cept for state channels. Don looks again at his cell phone realizing that there is a sinister reason that he has no service. Jaymes smiles and starts to sing „London Bridge is falling down‟ as he walks back to the group huddled together. DON Look you two can get out here. Someone over there will help you get home. SYDNEY You‟re just going to dump us out? DON You need to get out. STERLING And go where? DON Someplace safe. STERLING I don‟t know where that is anymore. Sterling is now very ill. Sydney opens the door in disgust. Sydney begins to leave the vehicle then gets back into the vehicle. DON What the fuck is you doing-SYDNEY What‟s it look like? Don looks at the two passengers.

SYDNEY (cont‟d) Just go already. DON OK, tough jawn some risks aren‟t worth taking. Don puts the vehicle in gear and takes off into the remaining night as Jaymes continues to sing to the flicker of the flames. DON (cont'd) So what‟s your name? SYDNEY Sydney. DON I‟m Don. That‟s Sterling. Welcome to being on the run. They drive off into the night. FADE TO: INT. SUV - JUST BEFORE DAWN Don drives in an almost zombie-like state with the small piece of paper in his hand on the steering wheel. Sydney leans her head against the window and stares into the purple sky on the horizon. Sterling is still sweating and grinding his teeth. He has signs of eyewiggling and a headache. Everyone is quiet in the vehicle, absorbed in their own thoughts. Don searches for something on the radio. There are no music stations, only government run news/information programing with the occasional patriotic song wedged between propaganda speeches from appointed political figures. Sterling, lying down on the back seat, has enough wherewithal to be puzzled by the fact that Don knows his name. Don pulls off the highway and onto a dirt road. Sydney looks over at Don. Don glances down at the paper he is holding then back to the road. Ahead he notices a broken down sedan on the side of the road with its hood up. As he passes it he remembers where he has seen it before. Don slams on the brakes of the vehicle. SYDNEY God Damn it! You get your licence through a correspondence course? Don puts the vehicle in reverse and backs up to the sedan. Sterling shoots up from the back.

Don gets out and walks slowly toward the car. SYDNEY (cont‟d) (to Don) Have you flipped? (to Sterling) Can you quit grinding your teeth! Please! CUT TO: EXT. ROADSIDE BUILDING - EARLY MORNING Don examines the sedan. It seems to be broken down. Don looks about the area. Only a single building stands. The area seems to have been abandoned. Sterling gets out of the SUV. He slowly walks after Don. STERLING Hey, how'd you know my name? DON We‟ve got a mutual friend. Don walks to one side of the building. Sterling stops as he realizes who their mutual friend is. CUT TO: EXT. SIDE OF BUILDING - SAME MORNING A figure within the building watches Don as he walks around the grounds. Don examines the landscape, with a feeling that something is out there amongst the rocks and shrubs. Don realizes he is being watched by a figure in the window. The figure quickly slinks into the shadows as Don turns. The sound of a falling, empty paint can catches his attention. Don walks around the corner. CUT TO: EXT. ROADSIDE BUILDING - SAME MORNING Sterling begins to walk to the other side of the building. SYDNEY Oh, great, you both are going to leave me. STERLING I have to take a piss.

Sterling leaves. Sydney pouts. CUT TO: EXT. BACK OF BUILDING - SAME MORNING As Don comes around the back, he notices a small woman sitting in a clearing. Her hat and hair obscure her downward tilted face. He carefully approaches, stopping when he hears a board creak. He looks to the building and then darts his glance to the wilderness as something catches his attention from the corner of his eye. Each bush and pile of debris holds a potential ambush. Don walks on toward the woman. Don stops a few yards from the woman. She hears him and slowly raises her head to face him. The two stare at one another for a moment. DON Bebe? BEBE Don. Bebe rises. Don and Bebe quickly approach one another and embrace. BEBE (cont‟d) What are you doing out here? DON MP raid. Figured I'd hide out at your folks place if the offer still stands. BEBE (smiling softly) Give us a lift. She motions to the building. Don turns and sees a very butch woman, CHRISTIANA DENMARK, standing in the door-less entrance with a splintered board in her right hand and a stern expression. From his other side appears SKYLEE. At first she timidly reveals herself but seeing Bebe's confidence, Skylee's shyness disappears. Skylee has in her left hand several dry twigs that probably held blooms on them during the spring. DON Load up. CHRISTIANA Already on it. Christiana goes to their sedan to unload it and put their stuff in the SUV.

CUT TO: EXT. OTHER SIDE OF BUILDING - SAME MORNING Sterling breathes deeply and bends over with his hands on his knees. He still is ill and spits on the ground. Unnoticed but behind him on the wall is painted an odd crest or territorial marking. CUT TO: EXT. SUV AT ROADSIDE BUILDING - SAME MORNING Christiana opens the back of the SUV and throws in a couple of large backpacks and gently sets her guitar on top. Sydney looks on in disbelief. She closes the back of the SUV. CUT TO: EXT. BACK OF BUILDING - SAME MORNING Bebe brushes a piece of thicket out of Skylee‟s hair. Skylee seems to pet her bouquet. DON What happened to your rally? BEBE Raided. DON Police have had a busy night. I thought they left rural areas alone. BEBE I don't think it was them. DON Then who? BEBE I don't know. We just ran. The car made it this far then broke down. DON (indicating Christiana) So who's she? BEBE That's Christana. This is Skylee.

SKYLEE Thank you for coming for us. (hands the dried plants) You can have them. DON You can keep 'em. Where is Sommer? SKYLEE (in over exaggerated tears) She got killed. BEBE No she‟s didn‟t Skylee. We don‟t know. She disappeared. (to Bebe) Who's your other friend? Bebe doesn‟t understand the question. Don never looks in the direction of the phantom person. DON The one hiding out there. BEBE There isn't anyone else with us. Bebe looks out in the distance for the mysterious voyeur. Sensing danger, Don continues to not look in that direction. DON I think we should go. Don leads the way as Bebe takes Skylee‟s hand. CUT TO: EXT. OTHER SIDE OF BUILDING - SAME MORNING Sterling straightens up and walks along the wall. Then he stops. Suddenly he feels the urgency to vomit. He abruptly leans over and pukes out his stomach's contents. The dreadfully loud noise of his regurgitation is the only sound his ears can pick up. When he rises back up his head hits something. He turns to discover that it is an arrow sticking in the wall. He is momentarily perplexed since there was no arrow their a minute ago. But quickly he comprehends his situation and looks out into the landscape to notice a dark figure ducking back behind some shrubbery (rocks, building, whatever).

DON (O.S.) Sterling! Sterling quickly rushes off to the SUV, always glancing back. CUT TO: EXT. ROADSIDE BUILDING - SECONDS LATER The SUV speeds off, leaving the scene behind. SYDNEY (O.S.) Who do we pick up next - the Professor and Mary Ann? The vehicle soon passes over the horizon. CUT TO: EXT. BEBE‟S FAMILY FARM HOUSE - LATE AFTERNOON The SUV drives up a farm road to a large home near an even larger barn. The grounds have not been taken care of in years. The two buildings are in terrible disrepair. An old wooden fence encircles the grounds. The makeshift fence seemingly has been reenforced with long pipes, logs and tin - as if it was made hastily to keep something out. But the reenforcements are as tattered and in as much disrepair as the fence itself. Christiana parks outside the house. Everyone slowly gets out. The dilapidated buildings give an ominous image. The windows of the house are boarded up but with very shoddy carpentry skills and seemingly limited resources. Everyone is cautious in their approach. Bebe especially shows signs of being nervous. CHRISTIANA When was the last time you were up here? BEBE A little over two years ... maybe. Christiana and Bebe walk toward the house. Skylee, Sydney and Don follow. Sterling stays near the SUV and looks about. The five walk onto the farm house‟s porch. Bebe hesitates at the door. She looks at Christana and then takes the key that is hanging on her necklace. She unlocks and opens the door. They all enter except for Sterling, still feeling ill, wanders over to the barn.

CUT TO: INT. BEBE‟S FAMILY FARM HOUSE - AFTERNOON Bebe walks around, investigating the rooms. The house seemingly hasn‟t been lived in for a long time. There is little furniture and that which remains is in disrepair. BEBE Mom? Dad? Don wipes his hand across some furniture. He pulls off a thick layer of dust. The floor too has a layer of undisturbed silt. Christiana acknowledges Don‟s discovery. CHRISTIANA I don‟t think anyone‟s been here for a long time honey. Bebe stops her eyes frantic search about the place and looks toward Christiana and Don. She knows they‟re right. She then continues on down the hallway passing a room on the right. Christiana follows her. Don walks up to a door that is locked with a pad lock on the outside of it. On the door is painted a strange symbol of a circle inside a triangle. Don then walks to the back door. It is boarded up and completely inaccessible. Finally he walks into the room that Bebe passed. Sydney sticks close to Don. Skylee remains behind and enters the living room.


								
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