Documents
Resources
Learning Center
Upload
Plans & pricing Sign in
Sign Out
Your Federal Quarterly Tax Payments are due April 15th Get Help Now >>

FIERCE by Ryan Pfeiffer _ Patrick Viall 310-401-0232 info

VIEWS: 13 PAGES: 97

									                         FIERCE




                           by

                      Ryan Pfeiffer

                            &

                      Patrick Viall




310-401-0232
info@crabdiving.com
FADE IN


INT. STUDIO “CONFESSIONAL” VIDEO - DAY

The screen is filled with the video image of an extra-hot
“girl next door”. BECKY D’ANGELO, early 20s, long, mousey
hair pulled back into a ponytail, sits in front of a plain
background and speaks directly to the camera.

                     BECKY
           Hi, I’m Becky D’Angelo. Ok, so one
           day right after midterms this guy
           comes up to me before my Anatomy
           Lab. He snapped a picture of me
           with his camera phone and said,
           “you know, you could be a model”.

FADE OUT


EXT. ARIZONA DESERT - DAY

Fade in on a soaring overhead view of the scorching Arizona
desert. A tiny cloud of dust enters the frame, stirred by
the far-below dots of a caravan motoring across the sand.

As we descend, the caravan comes clearer into view. Four
dusty Hummers follow closely behind two white panel trucks
and a large motor home as they make their way toward towering
rock formations and scenic canyons.

The frame is suddenly broken by a black, feathery mass
sweeping silently through.

A vulture glides on its lazy mission, oblivious to the
motorcade below.


EXT. BINOCULAR POV - CONTINUOUS

The black silhouettes of several vultures against the red
afternoon sky, seen through binoculars, circling some unseen
prey. The view pans down and away to the approaching
caravan.


EXT. ARIZONA DESERT - CONTINUOUS

Sitting on a red plastic cooler, his dusty, mismatched
clothes blatantly broadcasting an “I-live-in-the-desert-and-
don’t-give-a-fuck” attitude, BILL MOSSER, 40s, lowers the
binoculars from his sun-creased, unshaven face, and sighs.
                                                              2.


He raises a beer can in the other hand to his lips and drains
the last sip.

Crushing the empty, he stands, opens the cooler, and tosses
it in. He digs through a layer of similarly crushed cans and
fishes out a dripping, full, cold one.

He closes the cooler, sits back down, and sighs again.    A
small burp, and he continues to wait.


EXT. ARIZONA DESERT - MINUTES LATER

Bill smashes another empty. The panel truck pulls up and
stops, the motorcade following suit. Bill finally stands as
the truck passenger door opens. PAUL GLEASON, 30s, emerges
wearing sunglasses, black jeans, black t-shirt and a silver
BlueTooth headset attached to his ear. He carries a
clipboard as he approaches.

                    BILL
          You’re late.

                    PAUL
          Happens. You’re getting paid by
          the day, anyway. Find a good spot
          for the challenge?

                    BILL
          Diablo’s Crag.   Five clicks away.

                    PAUL
          Ok. Time to meet your students.
          You got your work cut out for you
          with this herd.

Bill drains and crushes the can.

                    BILL
          Anybody can survive in the desert
          for just one night.

Paul turns to the caravan and spins his finger in the air.
Doors start opening.

A hot, stilettoed leg emerges from the passenger door of one
of the Hummers, followed by its partner. Another similar set
of legs (different color stilettoes) steps out of the rear
door.

In slow motion under hot chick music, eight supermodels
emerge from two of the Hummers.
                                                            3.



The eight pause outside the vehicles, primping hair and faces
in eight compacts. They start walking to camera all at once,
Reservoir Dogs style.

One by one, they trip, stumble, etc., trying to strut in
heels in the sand.

BRITTANIA CHAPMAN, 20s, a stick-figure blonde, manages to
stay upright, surveying the fallen babes around her.

                    BRITTANIA
          You have got to be fucking kidding
          me.

The camera ascends as the models continue to complain and
flail. Panning off, nearby we see that a large production
camp with trucks, tents, crew, etc., has been set up and
teems with production-type activity.

Fade to black.


INT. PRODUCTION VAN - DAY

We hear the HIGH-PITCHED SQUEAL of video footage being
rapidly rewound.

Fade up on a computer monitor.   The Botoxed face of KRYSTáL
(40s...?) fills the screen.

                    KRYSTÁL
          Last time on America’s Toughest
          Model, brought to you by Blue Ram
          Energy Drink, ten girls had a photo
          shoot in Davy Jones’ locker. Most
          of them swam like sharks, but two
          of the girls floundered and were
          sent packing. This week tan lines
          will be drawn in the sand as the
          ladies strut their hot stuff down a
          scorching catwalk, and face an
          overnight challenge where only the
          fiercest will survive.

OPENING CREDITS

As opening credit music rolls, we pan away from the computer
over to a large corkboard on a wall. Pinned up are the
audition Polaroids of the eight remaining contestants, taken
pre-makeover show, each with a small sign beneath stating the
type of reality-show character that each girl is categorized
as.
                                                            4.



Becky the “girl next door”.

Lupe the “ghetto chick”.

Brittania the “smart one”.

Chantelle the “plus size”.

Leslie the “hippie chick”.

Raja the “racist”.

Sharon the “lesbian twin”.

Julie the “straight twin”.

Fade to black.


EXT. “AMERICA’S TOUGHEST MODEL” (”ATM”) BASE CAMP - DAY

We see a pile of video equipment. Cameras, tapes, and cables
are piled neatly on a tarp that has been laid out in the
sand. A hand, cigarette between its fingers, grabs a video
camera from the top of the pile revealing a small paper bag
that had been hidden there. TONY MACPHEARSON, late 30s,
Scottish, looks around, picks up the bag, and quickly hides
it in his clothes.

He makes his way through the bustling camp, passing two
makeup ladies setting up brushes and sponges in their area.

Rounding a corner, he barely dodges a distracted PRODUCTION
ASSISTANT who scurries by carrying a three-foot, golden
stiletto shoe.

A CHEF finishes writing “Today’s lunch: Tofu Kabobs” on a
small sign set up on the Craft Services main table. Tony
walks by, reads the sign, looks as if he might vomit and
continues walking past.

He breezes in front of a large motor home marked
“Production”. Four corporate “suit”-types in the background
direct a couple of PAs that are trying to evenly hang a large
Blue Ram Energy Drink poster on the side of the van. The
poster shows a muscular blue goat holding a Blue Ram can, and
the catchphrase “Ram It!!” splayed across the bottom.

Tony walks around a panel truck and spots MARK BARNES, 20s,
parabolic mic in one hand, fiddling with some dials as he
listens on a pair of bulky headphones.
                                                             5.



                    TONY
          Hey mate, wanna sneak off behind
          the Hummers and take a hit?

Tony snaps his fingers in front of the mic.

                      MARK
          Asshole.

                    TONY
          Hear any three syllable words yet?

Mark’s gaze follows the direction of his mic to the gaggle of
hot models splayed underneath a huge open party tent.

A banner, “America’s Toughest Model”, hangs from the side of
the canopy.

                    MARK
          I think Raja just said the “n
          word”.

Tony pulls the headphones off Mark’s head.

                      TONY
          Let’s go.    I smuggled this past the
          warden.

He waives a small crumpled paper bag at Mark’s face.

                    MARK
          What are you talking about?

Paul officiously interrupts.    Tony passes the crumpled bag
off to Mark.

                    PAUL
          Let’s make sure those batteries are
          charged. I don’t want another
          dolphin incident on my hands.

                    TONY
          Aye, aye, Captain.

Paul marches off.    Tony snatches the bag back from Mark.

                      TONY
          Come on.

Tony exits.   Mark follows.

                    MARK
          It wasn’t up your ass was it?
                                                         6.




INT. MODELS’ TENT - DAY

A pair of lily-white skeletal hands struggle to cram a small
makeup case into an overstuffed backpack. We pull back to
see Brittania trying to figure out how to make the small case
fit. She looks into her backpack and pulls out a small box
clearly marked “First Aid Kit”. She opens the kit and dumps
out the bandages, ointments and antiseptics contained within.
After unzipping her makeup case, she pours its glittery
contents into the empty first aid kit and slips the box back
into her pack.

Throughout the tent, the rest of the models strive to pack
their backpacks. We stop on Becky, her post-makeover-show
hair now lighter with highlights, who is already finished and
stretching out on the floor of the tent. She glances up.

                    BECKY
          What are you doing?

GUADALUPE “LUPE” GARZA, 19, strikes different poses. Lupe
holds a cologne mister shaped like a champagne bottle, and
punctuates each pose with a dramatic spritz.

                    LUPE
          I’m working my angles, chica.

                     BECKY
          What angles? We aren’t on camera
          right now.

                    LUPE
          It’s a reality show. There are
          hidden cameras everywhere.

                    BECKY
          How do you know where -

Suddenly, in the background behind them, CHANTELLE RAWLS,
plus-plus-sized model with perpetual sun hat, 20s, lunges at
RAJA KLAUS, 20s, Asian, knocking a Blue Ram Energy Drink out
of the smaller girl’s hands.

                    CHANTELLE
          What’d you call me, bitch!?

SHARON FISCHER, and her twin JULIE FISCHER, skinny even by
model standards, both 20s, rush in to try and restrain
Chantelle. Sharon has a shaved head and a tattoo on her neck
while Julie has long, red hair.
                                                           7.



Brittania, now deciding between a Prada and Gucci handbag,
watches as LESLEY BROWN, late teens, mixed race, joins in the
effort to hold Chantelle back.

                    BRITTANIA
          What’s she gonna do?     Eat her?


EXT. BEHIND THE HUMMERS - SAME

Seated on the ground with the crumpled paper bag between
them, Mark and Tony pass a candy bar back and forth.

                    TONY
          No high fructose corn syrup within
          a hundred feet of the models, my
          red-haired ass.

Suddenly, Chantelle’s screeching yell echoes through the
camp.

                    MARK
          Model fight!

He gets up and bolts. Tony jumps up to join him, furiously
rewrapping the candy bar as he follows.


INT. MODEL’S TENT - CONTINUOUS

Chantelle, fuming, tends to her weave in a compact as Mark
and Tony burst into the tent, sound and camera rolling.

                       BRITTANIA
          Too late.     Again.

                       MARK
          Shit.

                    TONY
          Might as well get some b-roll.

Tony aims the camera over to Lupe who squeals in delight and
runs through her repertoire of sexy poses.

Mark glances around. He makes eye contact with Becky.   After
an awkward moment they both quickly look away.

Tony sniffs the air.

                    TONY
          Christ. Somebody let a cum-
          splattered skunk in here?
                                                         8.



He exits in disgust.    Mark uncomfortably follows.

A moment, then Lupe tentatively puts her nose to the perfume
bottle.


INT. MOTOR HOME - DAY

In a small office in the back of the main production
Winnebago, Paul sits with Bill.

                    PAUL
          Minimal supplies. Lord knows we
          won’t need to carry a lot of food.
          Just make sure nobody gets dragged
          off by a coyote or anything. Just
          one night. One photo shoot. No
          photographer. The girls will be
          taking each other’s pictures.
          Here’s the shooting schedule.

Paul hands a paper to Bill who, without even glancing at it,
stuffs it into one of his pockets.

                    PAUL (CONT’D)
          Minimal crew. Me, you, one camera
          guy, one sound guy, the girls.
          We’ll get some additional “bitches
          bitching in the desert” footage in
          the morning. Then make our way
          back to base camp.

A walkie-talkie on Paul’s desk squawks.

                    PRODUCTION ASST.
              (lisps over the radio)
          Hey Paul, Krystál’th gonna be four
          hourth late.

                       PAUL
          Great.


INT. MODELS’ TENT - DAY

The models sit seemingly frozen in various packing
activities.

                       MARK (O.S.)
          Go.
                                                           9.



The girls leap up in fake surprise. Some of them actually
pull off the act realistically. They applaud, jumping up and
down, screaming.

                       THE MODELS
          “Krystál!!     Krystál!!”

Their enthusiasm wanes a little after a few seconds of this.

                    MARK
          Ok, ok, ok!

The hot chicks instantly return to bitchy and bored.

                    MARK
          All right, let’s try one more.

Groans all around.

We pull back to see that the girls have been greeting a life-
sized, cardboard standup of Krystál, former top international
supermodel. As an eyeline for the girls, the giant photo is
being wielded by a hapless PA. In the image, Krystál holds
the same perfume bottle Lupe had been spraying earlier. The
label clearly shows the product’s name: “Krystál”.

The girls’ protests grow.

                     TONY
          Fuck it.   I’m out of batteries
          anyway.


EXT. ATM BASE CAMP - CONTINUOUS

Bill leans against one of the Hummers and watches Tony exit,
then continues to stare at the models for a long while.
                     (MORE)
INT. MODELS’ TENT - LATER

Mark and Tony shoot footage of Brittania while the other
models keep packing.

                    BRITTANIA
              (to camera)
          I deserve to win this contest.
          Even going through pre-med at an
          Ivy League school, I always wanted
          to be a model. I didn’t just
          decide to do it for some tv show.
                                                           10.
                    BRITTANIA(cont'd)
          I wasn’t recruited out of some
          junior college in the middle of
          nowhere.

Sitting with Lupe, Becky flips the bird to Brittania who
continues on in the background.

                    LUPE
              (to Becky)
          Girl, you were in pre-med, too.
          How come you don’t ever talk about
          that on camera?

                    BECKY
          I’m not the “Ivy League doctor”
          model. I’m the “girl-next-door”
          model.

Brittania begins her signature walk for the camera.

                    LUPE
          Pinche cabrona.


INT. MODELS’ TENT - LATER

Mark and Tony continue shooting. It’s Raja’s turn in front
of the camera. She sits on a stool sipping a Blue Ram, while
Lesley meditates in the lotus position on the floor beside
her. Lesley holds a small dream catcher in each hand.

                    RAJA
          It’s ridiculous that everybody has
          to be so politically correct these
          days. I mean look at this, the
          last eight girls. There’s one of
          each kind. Black, white, Mexican,
          Asian, and -
              (turns to Lesley)
          what kind of brown are you, anyway?

Without opening her eyes, Lesley waves the dream catchers as
if cleansing away Raja’s bad energy.

                    MARK
          Ok, thanks, Raja.

He and Tony make their way through the growing model mess.

                    TONY
          Let’s go finish that chocolate,
          then we can shoot your girlfriend.
                                                        11.



                     MARK
           She’s not my girlfriend any more.

Mark makes eye contact again with Becky before following Tony
out. Lupe sits next to Becky.

                     LUPE
           Has he said anything yet?

                      BECKY
           Nope.   Still don’t know why.


EXT. ATM BASE CAMP - DAY

Crew members scramble to grab flying debris as a helicopter
touches down nearby.

Moments later Krystál struts out. Paul scurries up to meet
her as a couple of grips unload a four-wheeler from the back
of the copter. Silver streamers hang from its handlebars.

                     PAUL
           We just need a couple of shots of
           you surprising the girls in the
           tent, a quick promo for the
           perfume, and a couple of one-on-
           ones with the girls.

                     KRYSTÁL
           No hugging right?


INT. MODELS’ TENT - LATER

Krystál, now in slutty Pocahontas gear, bursts in beaming.

                     KRYSTÁL
           Guess who, girls?!

Silence.

Aside from Tony, Mark, Paul, and a couple of random crew
members, the tent is empty. Krystál does a couple of fake
reactions.

                     KRYSTÁL
           We have a Krystál-o-gram!

She holds up a sequined envelope.

                      PAUL
           Cut!
                                                          12.



Krystál sighs as if exhausted.   She turns and leaves.

                    TONY
          I guess we don’t need another one.

Paul slinks out after Krystál.

                    TONY
          Sadly enough, I’d still fuck her.

                    MARK
          Not me, man. I’m out of the model
          business. I can’t handle that
          shit.

                     TONY
          Yes. Sounds horrible. All that
          “sex with a model” stuff and things
          like that.

Mark ignores Tony and stares at Becky.

                    MARK
          Who knows? Becky will probably win
          this contest and end up just like
          Krystál.

                    TONY
          Krystál. If she was gonna chose a
          one word name, she should’ve picked
          cunt.


EXT. EDGE OF CAMP - LATER

Bill sits on his cooler, beer in hand, and continues to
intently survey the insanity of the model camp.

After a moment, he glances down to see a beetle crawling near
his foot. Bill watches it for a bit then reaches behind the
cooler and picks up a football-sized rock. He holds it over
the insect for a moment, then lets it drop.

Bill takes a sip of his beer.


EXT. OUTSIDE OF CAMP - LATER

A flashy sign announces the “World’s Longest Catwalk”. An
elaborate Finish Line set has been built near the camp.

                    KRYSTÁL (O.S.)
          You go girl! You work it!
                                                            13.



Drenched in sweat and sand, Brittania remains poised as she
gamely crosses the line. She stops, poses, and promptly
collapses.

Krystál sits on her four-wheeler under two umbrellas being
held by two shirtless male models.

                    KRYSTÁL
          Now that’s fierce!

As Brittania is being carried off, one by one Raja, Lesley,
Sharon and Julie cross the finish, some crawling. Finally,
Becky and Lupe appear, with Becky supporting her obviously
exhausted friend.

                    KRYSTÁL
          What the fuck?!

In disgust, Krystál starts her four-wheeler and dramatically
tears out of there, kicking up a cloud of dust.

A couple of crew members help Becky and Lupe away. Paul
approaches the finish line. He looks down the catwalk
course. Pulls out his radio and puts it to his face.

                    PAUL
          Could somebody take a golf cart and
          go get Chantelle?


EXT. ATM BASE CAMP - LATER

Krystál, wearing a gold lame’ turban and a slutty purple “I
Dream of Genie” outfit, sits on a pile of red velvet pillows
in what appears to be a grand sultan’s royal tent.
Elaborately displayed and spotlighted on a table sits a
trophy shaped like a giant stiletto heel.

                    KRYSTÁL
          Congratulations on winning the
          challenge, but just remember, be
          the model, and don’t let the model
          be you.

We widen to see that the background of Krystál’s royal tent
is actually just a backdrop hung on one side of one of the
panel trucks. Brittania stands before Krystál, with the rest
of the girls in formation behind her.

                    BRITTANIA
          Thank you, Krystál.

She rejoins the models.   Krystál gestures to the trophy.
                                                           14.



                     KRYSTÁL
           Now some of you apparently don’t
           want this as bad as Brittania. Lupe
           and Becky, step forward.

They do.

                     KRYSTÁL (CONT’D)
           Lupe, the survivor, you stumbled
           today, and even though you were
           helped across the finish line, you
           may still be eliminated. And Miss
           Becky, you are choking! Modeling
           isn’t Saving Private Ryan, you
           don’t go back for your buddies!
           You were in the lead and you blew
           it! I better see fierceness from
           you soon, missy, or you’re going
           back to Idaho.

Krystál turns and stalks out.    Lupe mouths “sorry” to Becky.


EXT. ATM BASE CAMP - LATER

With the beautiful desert canyon vista in the background,
Paul, Mark and Tony record Krystál doing some intros.

                     KRYSTÁL
           And so, since I’m known for my all
           natural assets, for tonight’s
           challenge the models will be
           photographing each other, using all
           natural makeup they make themselves
           from ingredients provided by mother
           earth. After a long hike to the
           location, following the shoot, the
           girls will have to survive a night
           in the desert alone, in a place
           known as Diablo’s Crack.

Paul glances at the cue card which clearly shows the name as
“Diablo’s Crag”. He debates in his head whether to say
anything.

                     PAUL
           Uh, it’s Crag.    Diablo’s Crag.

                      KRYSTÁL
           Fuck it.   Fix it in post.

Off their looks as she stomps off toward her helicopter,
where the crew struggles to load her four wheeler.
                                                         15.




EXT. DIABLO’S CRAG - EVENING

The rust-colored wall of a canyon. Suddenly a flash goes
off. A moment later, a pair of camouflaged eyes open on the
rock wall. Pull back to reveal Lesley, face covered in clay,
posing against the rocks. Chantelle stands off to the side,
photographing her.


EXT. DIABLO’S CRAG CAMP - EVENING

A makeshift camp. The girls’ packs are set out around a
fire. The models search through the surrounding terrain for
natural cosmetics. Off in one direction, an occasional flash
can be seen.

Bill sits with a beer on a cooler, watching as usual.   Lupe
tip-toes up.

                    LUPE
          Hola, Mr. Bill.     Will this hurt my
          skin?

                    BILL
          Don’t think so.

                     LUPE
          Gracias!

Lupe dances away, starting to smear the stuff on her face.

                    BILL
          It’s coyote shit.

She doesn’t hear him.   He drinks.

Lupe continues her shit-smearing jig up to Tony who is with
Chantelle. Chantelle applies ash from the fire to her face.

                    TONY
          You know, my fourth wife was a
          robust woman.

We follow Lupe past them. She approaches Raja, who is
covered head-to-toe in mud, cactus flowers hiding her nips,
etc. Lupe flits out of frame. Raja slyly takes a long draw
from a can of Blue Ram she had hidden behind her back.

We pick up Lupe dancing again, up to Mark who attaches a
wireless mic to Becky in silence. Lupe smears and dances for
a couple moments more.
                                                          16.



                    LUPE
          Oh, you guys are talking again!

Uncomfortable seconds pass.

                    MARK
          What’s that smell?

Suddenly, a SCREAM pierces the desert air.


EXT. DIABLO’S CRAG CAMP - MOMENTS LATER

Extreme closeup of a wiggling spiny cactus.

                    BRITTANIA (O.S.)
          Don’t touch it!

Brittania sits with a cactus stem impaled on the side of her
face. She is surrounded by the group. The girls all have
sticks, dirt, etc., placed on various body parts. Becky
pulls her hand away from Brittania’s face.

                    BECKY
          You know, they teach basic first
          aid in pre-med at public college,
          too.

                    BRITTANIA
          I just don’t want anyone in the
          13th grade fixing my face!

                    BECKY
          Suit yourself.

She walks away.

Brittania starts to pull the cactus from her face.

                    LUPE
          Cactus juice makes an excellent
          insect repellent.

Brittania stops, shoots her a look.

                    LUPE (CONT’D)
          I watch a lot of Discovery Channel.


EXT. DIABLO’S CRAG CAMP - NIGHT

Around the fire, the models lay in their sleeping bags.
                                                        17.



                    MODELS
          Good night. Sweet dreams. (etc.)

Paul stands behind Mark and Tony, who are filming the good
night scene.

                    PAUL
          Ok, that’s enough. Thank you,
          ladies. Sleep well.

                    CHANTELLE
          Easy for you to say, you have a
          tent.

The guys leave.

                    JULIE
          I miss my boyfriend.

                    SHARON
          I miss my girlfriend.

                    LESLEY
          I was gay until graduation.


EXT. EDGE OF CAMP - LATER

A crushed empty beer can sits in the sand next to Bill’s open
cooler. Other similarly crushed cans are strewn about.

It appears that Bill is gone.


EXT. DIABLO’S CRAG CAMP - MORNING

The girls, in sleeping bags surround the smoldering fire.

Panning away, a distance off in the background we see the
crew tent.


INT. CREW TENT - SAME

The guys sleep peacefully. Tony’s lighter and cigarette are
set up right next to his head, ready for morning.

A SHRIEK jolts them awake.
                                                           18.




EXT. DIABLO’S CRAG CAMP - SAME

Becky shrieks as she squirms from her sleeping bag. Lupe
bounds over to Becky. The rest of the girls bolt, screaming.

                    LUPE
          What happened?

                    BECKY
          Something’s in my sleeping bag!

Lupe grabs a stick and beats the outside of the sleeping bag.
Becky watches. After a good pummeling, they stop and look at
the unmoving bag.

Becky picks up the bag and small audio cable falls out.

Becky holds up the cable and addresses the rest of the girls
who are hiding in the rocks.

                     BECKY
          Sorry.   False alarm.

Mark and Tony come running up.

                    BECKY
          Sorry cowboys. Too late.      Here’s
          the snake that bit me.

She tosses the cable to Mark.     Becky sashays away.

                    TONY
          Maybe she wants you to suck out the
          poison.

The guys turn and walk away. They are met by Paul who has a
black sleeping mask hanging from his neck.

                    PAUL
          I heard screaming.     Where are your
          cameras?


EXT. DIABLO’S CRAG CAMP - A FEW MOMENTS LATER

                    PAUL
          Where the fuck is Bill?

Paul walks to the middle of the camp where Mark and Tony
shoot the girls as they pack up.
                                                        19.



                    PAUL (CONT’D)
          There’s shit in the latrine and I
          need him to show the girls how to
          bury it.

                     SHARON
          Shit?   Who’s been eating?

                    MARK
          I haven’t seen him all morning.


EXT. THE TRAIL BACK TO BASE CAMP - LATER

Paul turns to Tony as he leads the crew and the girls through
the desert.

                    PAUL
          I’m gonna sue that drunken Rambo
          motherfucker for leaving me out
          here with these bitches.

In line behind, Becky and Lupe trudge along.

                    LUPE
          Did you see how worried he looked
          when the cable attacked you?

                     BECKY
          Really?

                    LUPE
          I think he’s totally still into
          you.

                     BECKY
          No.   He made that perfectly clear.

After a few steps.

                    BECKY (CONT’D)
          I mean with all these models
          around, why would he want to be
          with the girl from Idaho? And what
          is the Idaho girl doing with all
          these models? In the desert? One
          minute I’m on my way to dissect a
          fetal pig, the next some junior
          talent scout associate or whatever
          is taking my Polaroid. I’ll have
          to take that class over.
                                                         20.



                    LUPE
          What are talking about? You’re not
          going back. You’re going to win
          this contest. If I don’t.

Becky can’t help a little smile.

At the front of the group.   Paul walks with Mark and Tony.

                    PAUL
          How’d I get to be Moses?

                    MARK
          You know where we’re going?

                    PAUL
          Camp is just outside of the canyon
          over there.

                    TONY
          You mean over there by all those
          birds?

Far ahead, in the direction they are traveling, a host of
vultures circle ominously.


EXT. NEAR ATM BASE CAMP - DAY

They round a bend in the canyon, and stop abruptly.

                    BRITTANIA
          What’s that?

A strange arch made out of lighting stands and cables has
been constructed over the trail ahead. Dangling from the top
of the structure, three large, black balls swing gently in
the sun.

                    LUPE
          They look like black piñatas.

                    LESLEY
          Maybe it’s a challenge.

                    RAJA
          Are we supposed to pick one?

As the group tentatively moves up to the arch, Becky squints
and notices a drop forming on the bottom of one of the orbs.
She watches as the drop falls, hitting the sand below. She
bends down to look at the droplet. It is blood red.
                                                          21.



                       BECKY
          Oh my god!

She inches closer, and there is a distinct CLICK. Looking
down she notices her foot has tripped some kind of wire.
With a WOOSH, a fourth, tethered black ball comes swinging in
from the rocks above the arch. It smacks into the end ball,
sending that one into the next, etc. They bounce into each
other for a few seconds before two of the spheres fall off
the contraption, thudding into the ground below.

Becky trips dodging the falling objects.

                       MARK
          Holy shit!

Mark, Paul and Tony rush in to help Becky.

                     PAUL
              (to the rest of the girls)
          Stay here!

The guys help Becky to her feet.    Tony kneels down to examine
a ball.

                    TONY
          Looks like gaffer tape.

He pulls a Swiss Army knife from his pocket and starts to saw
at the tape. A human nose is revealed. Tony jumps back in
horror.

                    BRITTANIA
              (from the group)
          What’s happening?

Becky, Mark, Paul and Tony look at each other.

                    BECKY
              (turns to girls)
          Nothing. It, uh, was a spider.

                    TONY
              (whispers)
          Spider?! It’s a fucking head!

                    PAUL
          Is it Bill?

The four all pause, look down at the head and back at each
other. Nobody moves. Becky finally sighs and bends down.
She pulls back some more of the tape revealing the face to be
that of the PRODUCTION ASSISTANT.
                                                          22.



                      BECKY
            It’s not him.

                         MARK
            Who is it?

                      BECKY
            It’s that one PA, the one with the
            lisp.

                         PAUL
            Oh my god!

                      BECKY
                (glancing back at models)
            They can’t see this! They’ll
            freak!

                      MARK
            I’m freaking!

                      PAUL
                (back to the whole group)
            Ok everybody! Let’s get back to
            camp.

                (quietly, to Tony)
            Turn that camera on.

Like a zombie, a stunned Tony switches on the camera.

Cut to black.


EXT. ATM BASE CAMP - MINUTES LATER

Over black.

Retching.   Whimpering.     Sobbing.

Fade up on Tony’s camera. It sits on the ground next to
Tony, who appears shell-shocked, sitting in the sand.

Around him are the girls, some huddled together crying, some
vomiting. Paul stands, unmoving.

Mark paces in a tight circle, hands on his head.

                         MARK
            Holy shit!     Holy shit!   Holy shit!

Becky cradles Lupe who starts hyperventilating.
                                                         23.



                     BECKY
          It’s ok.   Deep breaths.   Deep
          breaths.

As Lupe gasps in her lap, Becky surveys the scene around her.

It is one of horror. Looking like the dead Jawa scene from
the first Star Wars, the entire base camp crew is decimated.
Blood, bodies, body parts, etc., cover the camp.

The vehicles have been obviously disabled, with hoods open
and wires and parts hanging, torn out.

Off to one side, a PA lies lifeless, eyes bugging out.   A
time stamp clapboard has nearly fully decapitated him.

A grip appears to have been beaten beyond recognition and is
crucified on a c-stand.

Two makeup girls are splayed like rag dolls in two makeup
chairs. Four sets of eyelash curlers protrude from the dead
women’s scooped-out eye sockets.

                    BECKY
          What do we do?

A long moment.

                    PAUL
          Start filming.

                     TONY
          What?

                    MARK
          You gotta be fucking kidding me!

                    PAUL
          These people are dead! There’s
          nothing we can do for them anyway.
          Kid, this is the biggest story
          we’re ever gonna be a part of.

                    BECKY
          Shouldn’t we call someone?

Tony looks at his camera.

                    TONY
          Just about out of battery anyway.

Brittania waves her cell phone around.
                                                         24.



                    BRITTANIA
          Still no reception.

                     PAUL
          Ok. There’s a satellite phone in
          the motor home, and we can stop at
          a production truck for more
          batteries.

                    CHANTELLE
          Should we stay here?

                    BECKY
          We should stick together.

                    PAUL
              (points at Lupe)
          She going to be able to make it?

                    BECKY
          She’ll be fine.

              (to Lupe)
          Come on, sweetie.   I need you to
          walk.

Lupe takes a moment, then pulls it together.   She stands.


EXT. ATM BASE CAMP - DAY

The group recoils and cowers as they make their way beneath
wires with severed fingers attached, which hang across the
space between a tent and a panel truck, looking like finger
wind chimes.


EXT. ATM BASE CAMP - CONTINUOUS

They tentatively round the corner of a truck. Seated in
chairs beneath two hair dryers, the dead hairdressers sit,
scalped.

Becky gently turns Lupe away. As they pass, she pushes the
dryer domes down, covering the hideous faces.


EXT. ATM BASE CAMP - CONTINUOUS

Looking left and right, Paul leads them toward the camera
truck.
                                                           25.



A body lies on the ground next to the van. The front tire of
a heavy camera dolly sits over the smashed dead guy’s head.

                    TONY
          I’m not shooting this.

                    PAUL
          You’re serious? This footage will
          make us millions.

                    TONY
          These people have families.

Paul grabs the camera.

                     PAUL
          Fine.   Then I’ll do it myself.

He walks over to the equipment truck, setting the camera down
on the bumper. He climbs up, bends down to lift up the large
sliding door. With a loud CLACK, he yanks open the latch and
starts raising the door open. When the bottom of the door is
over his head, another loud CLICK is heard.

There is a metal on metal SQUEAL, the sound of something
cutting through the air, and from behind we see a silver
spike erupt through Paul’s back.

Paul swings up and out of the back of the truck. We see the
spike is attached to a metal arm which hinges down from the
inside roof of the truck. Gasping, Paul reaches the highest
point of the pendulum’s outward swing, and falls back inward.
Blood spewing from his mouth, he quickly dies as the trap
swings him in smaller arcs. As the girls scream, he finally
hangs there, limp.

                    MARK
          Ok! Everybody stay close!     Don’t
          touch anything! Fuck!

                    BECKY
          We’ve got to get to that phone!

                    BRITTANIA
          Screw that! We’ve got to get out
          of here! There may be more traps!

                    CHANTELLE
          She’s right!

                    BECKY
          No, we’ve got to get the phone
          first!
                                                        26.



                    BRITTANIA
              (points at dead Paul)
          And end up like that?!

                    RAJA
          Yeah, let’s get out of here!

                    LUPE
          We have to call for help!

Voices of protest rise over each other, with the girls evenly
split over staying versus going. When the volume reaches its
peak-

                    MARK
              (stops the cacophony)
          All right, ALL RIGHT!!! We get the
          phone first. Where are we gonna
          go? We’re in the middle of the
          desert. We weren’t supposed to be
          back at the hotels until late
          tonight anyway, so nobody will be
          looking for us until at least
          tomorrow. You want to spend
          another night out here? I’m
          getting the phone.


EXT. ATM BASE CAMP - MOMENTS LATER

Mark, Becky, Brittania, Lupe, Sharon, Chantelle, Tony, Julie,
Raja, and Lesley all stand, staring. Reversing, we see the
outside area just in front of the main production motor home.

Seated in four director’s chairs, their backs to the group,
the bodies of the four corporate-suit types sit in a row
facing the open door of the RV. The Blue Ram poster hangs
unscathed on the van, the only thing not splattered with
blood.

The group inches forward. Suddenly, a SQUISH, and Lesley
looks down. Her foot is covered in the blood and tissue of
some random organ that had been tossed into the sand. She
starts to swoon, and Tony grabs her, helping her along.

More hurling and whimpering follow when they move up and see
the fronts of the bodies. Each has been cut open from chin
to crotch, with the intestines trailing out and up the stairs
into the motor home.

Mark makes his way up to the doorway of the van and peers in.
There are flies everywhere.
                                                        27.



                      MARK
          Oh shit.

Becky looks in.

                    BECKY
          The phone’s in there?

                    MARK
          Yeah, all the way in back.    Paul’s
          office.

We see inside the motor home. The entrails hang throughout
the interior like grotesque Christmas tree garland.


EXT. ATM BASE CAMP - MOMENTS LATER

The group stands huddled together off to the side of the van.

                    BRITTANIA
          There could be traps everywhere!

                    BECKY
          I think I could make it through
          without touching anything.

                    SHARON
          I know I could make it through.
          I’m the smallest size zero here.

Julie gives a “whatever” look.

                      MARK
          No way.    It should be me or Tony.

                    TONY
          He’s right.

                    BECKY
          We don’t have time for your macho
          bullshit! We need to get that
          phone. Sharon is the smallest.

                    SHARON
          And I did take gymnastics.


EXT. ATM BASE CAMP - MOMENTS LATER

Sharon is poised ready to enter the van.

Julie hugs her.
                                                        28.



                    BECKY
          Be careful, sweetie.

A last look at the group, and Sharon climbs carefully up the
stairs and into the motor home.

Becky and Mark watch from the doorway as Tony and the rest
take up positions looking into the windows on the sides of
the van.

Sharon slowly eases through the hanging entrails, at times
crawling, sometimes stepping over, contorting around,
reminiscent of Catherine Zeta Jones in the laser beams in
Entrapment.

                       JULIE
          Watch out!

Sharon squeezes between two pieces of hanging guts. She
doesn’t see the mesentery tissue webbed between them and ends
up with it all over her face. She freezes as one of the
fleshy loops falls to the floor with a SPLAT.

                       TONY
          Oh shit!

A few moments pass with all of them waiting for something
horrible to happen. Nothing does. Sharon peels the membrane
off her face and continues snaking toward the back office.

                    MARK
          Almost there.

Right before getting to the desk, Sharon has to crawl on her
belly to avoid a wall of dangling human meat. Finally
through, she hops up on the desk and spots the satellite
phone.

                    BECKY
          (now watching through window)
          She’s got it!

Sharon picks up the phone. There is a CLICK.   She notices a
tripwire attached that leads down.

Off Sharon’s final look.

Outside the van, we see a flash, and the windows are
instantly painted red from the inside.
                                                        29.




EXT. JUST OUTSIDE OF CAMP - MOMENTS LATER

Mark, Tony, and the seven unexploded models run for their
lives out of camp.

They stop, frantic, just near “World’s Longest Catwalk” sign.

                    LUPE
          Are we sure the phone’s gone?

                    MARK
          It blew up!

                    LESLEY
          What about Sharon?

                    TONY
          Same as the phone.

A low, plaintive wail causes everyone to look over at Julie
who stands convulsing, completely losing it. She starts
backing away, down the “longest” catwalk.

                    BECKY
          Julie!

Julie turns and runs away from the group. About three steps
in, there is the CRACK of sticks breaking and she disappears
beneath the surface of the ground in a puff of dust.

The rest stand in stunned silence. After a moment, they inch
their way over to where Julie disappeared. They peer
carefully over the edge of a hole dug into the desert.

Julie’s now lifeless body hangs impaled on upturned spears in
the pit. She twitches a couple of times, each movement
causing her to slide further down the pointy sticks. It
sounds like wet paper ripping.


INT. STUDIO “CONFESSIONAL” VIDEO - DAY

We see Julie and Sharon in a pre-makeover-show video shot
speaking directly to camera. The twin girls both have long,
light brown hair. The main difference between the two is
Sharon’s small tattoo on her neck.

                    SHARON
          So we look the same --
                                                       30.



                    JULIE
          Well, at least until the makeover
          episode.

                    SHARON
          -- but we’re really very different
          people. I’m more couture.

                    JULIE
          And I’m more commercial.
              (whispers and points)
          And she likes girls.

                    SHARON
          We know we’ll be the final two --

                       JULIE
          Of course.

                    SHARON
          -- but if I had to say which one of
          us will win, I’d have to say...

She points at Julie, who points right back at her.


EXT. ABOUT 100 FEET FROM THE CATWALK - LATER

The models, Mark, and Tony sit in a tight huddle on the
ground. About 100 feet in the background is the pit with the
corpse of Julie.

Nobody talks.

Mark stirs the sand with a twig. A shadow passes over him.
He looks up to see a vulture circling above. He watches as
it lands at the edge of Julie’s death hole. It cranes its
long neck downward -

                    MARK
          Ok, we gotta get out of here.

                       BRITTANIA
          Which way?

                    TONY
          Who gives a shit? Sand is sand.
          The whole desert can’t be trapped.

                    MARK
          We should get back to the main
          road.
                                                           31.



                    LUPE
          It’s a really long way.

                    BRITTANIA
          What are we going to do?     Stay
          here?

                    LESLEY
          Which way is it?

                    MARK
              (pointing)
          I think it’s back that way.

                    BECKY
              (pointing opposite way)
          Maybe we can follow the caravan
          tracks back.

                     MARK
          Oh yeah.

They stand and start walking carefully in the direction of
the Hummer and truck tracks.

                    BRITTANIA
          It had to be Bill.

                    BECKY
          How could one person do all this?

They make their way under the “World’s Longest Catwalk”
banner.


EXT. ARIZONA DESERT - EARLY AFTERNOON

Travel montage under music. The group plods along in the
middle of a large flat expanse of desert.


EXT. ARIZONA DESERT - AFTERNOON

They continue their tired journey toward some scenic hills
and canyons. Lupe stops to rest, but is gently urged onward
by Becky.


EXT. ARIZONA DESERT - LATE AFTERNOON

Still walking.   Everyone appears to be bitching.   Tony looks
miserable.
                                                        32.




EXT. ARIZONA DESERT - EARLY EVENING

Mark and Becky lead the exhausted group into a very hilly
area. End montage.

                    BRITTANIA
          I don’t remember driving through
          this.

                    TONY
          We probably didn’t.

                    BRITTANIA
          Wait, where are the tracks?

                    MARK
          Lost them long time ago.

                    BRITTANIA
          What?!

                     MARK
          We’re still headed in the same
          direction.

                    LUPE
          I’m thirsty.

Tony points to a shriveled up, Charlie-Brown-Christmas-tree-
like cactus.

                    TONY
          Surely we can find someone to suck
          the moisture out of this.

                    BECKY
          We need to find water soon.

Chantelle sits on a rock and fans herself with her giant hat.

                    CHANTELLE
          We should have brought the packs.

                    RAJA
          Why, you hungry?   You want to go
          back for them?

                    CHANTELLE
          Fuck you, bitch!

                    RAJA
          Suck my dick, heifer!
                                                        33.



                     BECKY
          Hey!   Do we need this now?

                    MARK
          Yeah, it’s going to be getting dark
          soon. We have to find some
          shelter.

                    BRITTANIA
          Shouldn’t we keep moving? What if
          Bill is tracking us? I heard Paul
          say he was in Desert Storm.

                    BECKY
          Everybody’s exhausted. We need to
          rest. We walked for hours.
          Nobody’s following us.

                    MARK
          We still have some light left.
          Let’s keep going for a while and
          get to that high ground. Maybe
          we’ll be able to see some water
          from up there.

He turns and starts walking. One by one the rest follow,
Chantelle and Raja glaring at each other.


EXT. ARIZONA DESERT - SAME

POV of someone, or something, watching the group from the
rocks.


EXT. ARIZONA DESERT - LATER

Feet CRUNCH in the rocks as the group hikes up some rocky
terrain. Mark is in the lead. Chantelle and Raja bicker.

                    CHANTELLE
          I’ll seriously fuck you up, you
          little bitch!

                    RAJA
          What you gonna do, sit on me?

Mark stops.

                       MARK
          All right!     Shut the fuck up a
          minute!
                                                        34.



                       CHANTELLE
          Excuse me?

                    MARK
          You hear that?

                       BECKY
          What?

                       MARK
          Listen.

The sound of distant running water.

                    TONY
          Over there.

They climb a small ridge and are surprised to find themselves
on the rim of a deep river canyon. The water is far below.


EXT. ARIZONA DESERT - MINUTES LATER

The group edges their way, one-by-one along a steep, narrow
path that snakes down the canyon wall. Mark leads, followed
by Lupe, Brittania, then Becky, Chantelle, Raja, Lesley, and
Tony at the rear.

                    LUPE
          Madre’ de Dios!      It’s a far way
          down!

                    BECKY
          Just stick to the wall.

                    MARK
          We’ll be able to camp near the
          river. It’s more open.

They continue carefully making their way down.

Mark doesn’t notice as he steps on a particular spot in the
narrow trail. We see the sand move slightly under his foot
over what appears to be a board hidden in the dirt.

Lupe steps on it next, the vibration of her footfalls shaking
a little more sand off the wood.

Then Brittania walks over it, more sand shaking.

Becky passes over it, displacing a little more dirt.
                                                         35.



When Chantelle’s cankles enter the frame and her feet hit the
spot, there is a loud CREAK and the wood flips downward.

The plus-sized model falls, sliding a few feet down the cliff
wall, clinging momentarily to some rocks. Becky and Raja
dive to reach down to help her. The board trap pivots more,
causing a pile of rocks used as counterweight to rain down on
Chantelle. Becky desperately reaches downward, but the
falling stones push her back.

Chantelle loses her grip and slides down the canyon wall,
bouncing painfully a couple of times off some rocks. She
reaches the end of a long slide, and launches airborne. The
rest watch in horror as she falls to the river far below.


INT. STUDIO “CONFESSIONAL” VIDEO - DAY

Pre-makeover Chantelle talks to the camera wearing her
trademark sun hat.

                    CHANTELLE
          I didn’t come here to make any
          friends. I’m playing to win.
          People are sick of America’s
          Toughest Model “Lite”. You can be
          fierce with a booyah like this.

She stands, turns, and shakes her ample asset at the screen.


EXT. ARIZONA DESERT - SAME

Back to Mark and the girls on the ledge.

                       MARK
          Holy shit!

                       BECKY
          Chantelle!

                    LUPE
              (leaning over edge)
          I can’t see her!

                     MARK
              (grabs her)
          Stay back!

                    BRITTANIA
          I’ve got to get out of here!
                                                        36.



She starts to go back over the spot where Chantelle fell.
Becky stops her.

                    BECKY
          She might still be alive!    We have
          to go down there!

                    BRITTANIA
          There could be more traps!

Raja chooses that moment to jump over the gap in the trail.
She crashes into Becky and Brittania setting everyone
scrambling to remain balanced on the ledge.

                    MARK
              (steadying the girls)
          Becky’s right. We have to go look
          for her. And we all need water.

Brittania huffs, but relents under everyone else’s stares.

Mark offers his hand over the gap to Lesley. She shakes her
head, takes a small step back, and does a graceful gazelle
hop over the space.

The two guys watch Lesley continue on. Mark and Tony make
eye contact, then Tony looks way down into the collapsed
section. A moment, then he peers ahead to make sure none of
girls is watching. He reaches his hand over for Mark’s help.


EXT. BOTTOM OF RIVER CANYON - LATER

Mark and Brittania look around some rocks amidst calls of
“Chantelle!”, “Where are you?”, etc., from the rest of the
group, searching in the background.

                    BRITTANIA
              (not finding anything)
          Nothing.

                    MARK
          Shit.

He grabs his protesting stomach.

                    MARK (CONT’D)
          I’m gonna need to eat something
          soon.
                                                          37.



                    BRITTANIA
          Seriously? During bikini calendar
          season, I survive on sugar free
          gum, Tic Tacs, and clove
          cigarettes.

Mark can’t help but chuckle a little.    Brittania smiles and
touches his arm.

Their little moment is interrupted by Becky’s approach.    She
notices the arm touch.

                    BECKY
          All we found is a shoe.

                    BRITTANIA
          I don’t think we’re going to find
          her.

                    MARK
          It’s getting dark. We should get a
          fire started. We can look farther
          down river in the morning.

                    BRITTANIA
          I’ll help you get some wood.

                    MARK
          Cool.

Awkward moment with the three standing there.

                    BECKY
          Guess we’ll keep looking until it’s
          too dark.

She walks away.


EXT. RIVER CANYON - NIGHT

In the flickering light of a small campfire, Becky and Lupe
talk quietly off to one side. Mark, Tony, and Brittania sit
close to the flames.

A few feet away, Lesley and Raja sit facing each other.

                    LESLEY
          It’s an Ayurvedic breathing
          technique. It helps you relax.

Raja exhales.
                                                      38.



                    RAJA
          Yeah, it really does.

Over at the fire, Tony pokes a stick in the embers.

                    TONY
          God, I wish I had a big, fat, steak
          cooking on the end of this stick.

                    BRITTANIA
          Eew.

                    TONY
          Not all of us get our nutrition
          from tanning spray, dearie.

                     BRITTANIA
          Ok, Crocodile Dundee. Why don’t
          you go hunt us down a kangaroo or
          something?

                    MARK
          He’s not Australian.    He’s
          Scottish.

                    TONY
          We hunt sheep.   And alcohol.

                    BRITTANIA
          Why did you move here, for a girl?

                    TONY
          Yes, and her name is money.

                    MARK
          Actually, Tony’s the shit over
          there.

                    BRITTANIA
          What do you mean?

                    TONY
          Doesn’t matter. Especially if we
          starve to death in the desert.

                    MARK
          He was one of the top
          cinematographers in the indie film
          scene over there.

                    TONY
          Apparently I’m famous in Glasgow.
                                                           39.



They sit quietly for a second. Mark stretches his back,
letting out a pained groan. Brittania slides over and begins
rubbing his shoulders.

Off Tony’s raised eyebrows.

On the other side of the makeshift camp, Becky sees Brittania
massaging Mark. Lupe follows Becky’s gaze.

                    LUPE
          Puta.

                    BECKY
          Looks like Doctor Brittania is on
          call.

                    LUPE
          I can’t believe he’s letting that
          hooker touch him.

                    BECKY
          He wouldn’t go for that fake,
          plastic bitch.

At that point, Mark points to a spot on his back that needs
work.

Off Becky’s look.

Brittania kneads the spot Mark pointed at for a few more
seconds. She stops.

                    BRITTANIA
          Ok, you’re done.

Mark, obviously unimpressed with Brittania’s therapeutic
skills, continues his own backrub.

                    BRITTANIA
              (stands)
          I have to pee.

                    MARK
          You shouldn’t go alone.

                    BRITTANIA
              (to everyone)
          Ok, who’s going with me?

                    RAJA
          I have to go.
                                                        40.



                      LUPE
          Me too.

                    BECKY
          Guess we should all go.

The hot chicks make their way not too far away around a rock
formation.

Tony smacks Mark.

                    TONY
          Good and relaxed, are you?

                    MARK
          What? It was just a backrub.    She
          didn’t blow me.

                      TONY
          Yet.

                    MARK
          There’s no way she’s into me.

                    TONY
          She’s doing a good job of faking
          it.

                      MARK
          Whatever.    No model’s going to stay
          with me.

                    TONY
          What are you talking about?

                    MARK
          Brittania helped me see it,
          actually. Honestly, that’s the
          reason I broke up with Becky. Brit
          thinks Becky has a good chance to
          win this contest. She’s gonna have
          billionaires and rappers crawling
          all over each other for her. What
          is she gonna do, bring some sound
          guy to Diddy’s next White party?

                    TONY
          You’re a bleeding asshole.

                      MARK
          What?
                                                        41.



                    TONY
          Let me get this straight. You let
          that serpent Brittania talk you
          into dumping Becky.

                    MARK
          She didn’t -

                    TONY
          Because you weren’t going to be
          good enough for her once she won
          this ridiculous show?

                    MARK
          That’s not exactly -

                    TONY
          You’re a bleeding asshole.


EXT. RIVER CANYON - CONTINUOUS

On the other side of the outcropping, the models pee.

                    LUPE
          Well it looks like someone’s going
          to sleep warm tonight.

                    BECKY
          Lupe...

                    BRITTANIA
          What, me and the boom jockey? Oh
          please, he knows his place now.

                    BECKY
          What does that mean?

Brittania doesn’t answer.


EXT. - RIVER CANYON - CONTINUOUS

Tony and Mark continue their discussion.

                    MARK
          Let’s just drop it!    I’ll take the
          first watch, ok?

                    TONY
          You think you can handle it, you
          bloody numpty?
                                                        42.



                     MARK
          Huh?   What?!

                    TONY
          After all you were outsmarted by
          that lanky minge. Did you ever
          stop to think this is a contest,
          you daft cow? Do you honestly
          believe Brittania thought Becky was
          the frontrunner?

Mark shoves Tony.

                    MARK
          Mind you own fucking business!

                    TONY
          Fine, mate! I will! Not that any
          of it fucking matters when we’re
          all going to end up at the bottom
          of fucking pits with spears up our
          asses!

The models round the corner at that moment. A couple of them
are obviously shaken by what they just heard Tony yell.

                    BECKY
              (to Tony)
          Nice.

                    TONY
          I’ll take second watch.

              (to Mark)
          Wake me in four hours.

He walks off to the other side of the small camp and lies
down.


EXT. RIVER CANYON - LATER

Raja’s face, eyes closed. Shadows move over her features.
Pulling back we see Lesley’s hands passing rhythmically
inches away over Raja’s face and upper body.

A few feet away, Becky, Lupe, Brittania and Mark warm by the
campfire.

                    BECKY
          But the four of us stepped on it
          and didn’t set it off.
                                                        43.



                    MARK
          It’s almost as if it was set for
          someone... heavier.

                    BRITTANIA
          Maybe Bill has a thing for big
          girls.

                    BECKY
          But how do they know where we’re
          going?

                    MARK
          I don’t know.

He rises and goes to grab more brush for the fire. The girls
sit silently for a few moments. Lupe begins to lightly sob.

Becky moves to her and wraps her arm around the crying girl.

                    BECKY
          Come on, sweetie, you can handle
          this. You’re strong. You’ve been
          through so much. Didn’t you and
          your family survive a hurricane?

                    BRITTANIA
          It wasn’t a hurricane.    It was a
          tropical depression.

Brittania moves away and impossibly tries to find a
comfortable place to sleep.

                    BECKY
              (quietly to Lupe)
          Ignore her.

                    LUPE
              (whispers to Becky)
          Depression is bad.

                    BECKY
          We’ll get through this.

                    LUPE
          How is it you’re so strong? You
          know, I think you were going to
          win.

                    BECKY
          Oh, I don’t know about that. I
          thought it was all pretty stupid.
                                                          44.



                    LUPE
          Gee, thanks.

                    BECKY
          That’s not what I meant. I mean, I
          felt stupid for even being here.
          You and all the others have wanted
          to model your whole lives. I’ve
          always wanted to be a pediatrician.

                    LUPE
          But you’re a natural.

                    BECKY
          You know, it was starting to feel
          kind of natural.

                    LUPE
          See, you wanted to win.

                    BECKY
          Hell yeah, I wanted to win.

Pause.

                    LUPE
          I meant you would have won if I
          didn’t.

                    BECKY
          That’s my girl. Hey, do you want
          Lesley to manipulate your aura when
          she’s done with Raja?

Lupe smirks.


EXT. RIVER CANYON - LATER

Embers glow in the withering fire. A few small twigs fall
into the flames, and catch light, casting a little more
flickering shadows over the sleeping models.

Mark prods the fire.    There is a sound off behind him and he
jumps a little.

Becky walks toward him.    She sits.

                       BECKY
          Sorry.

                    MARK
          Guess I’m a little jumpy.
                                                45.



                    BECKY
          You’re allowed.

                    MARK
          How you doing?

                    BECKY
          Can’t sleep.

                    MARK
          You’re allowed.

                    BECKY
          Everything ok with you and Tony?

                    MARK
          We’re fine. He just got his
          Scottish up a little bit.

A few silent moments.

                    BECKY
          This really sucks.

                    MARK
          Yeah.

                    BECKY
          No, I meant us.

                    MARK
          Oh.

More silence.

                    BECKY
          I really liked you.

                    MARK
          I really liked you, too. But
          you’re not going to want someone
          like me around.

                    BECKY
          What do you mean?

                    MARK
          You’re going to be traveling the
          world, meeting studio heads and oil
          sultans. You’re not going to -
                                                         46.



                    BECKY
          What kind of gold-digging bitch do
          you think I am?!

                    MARK
          What, that’s not what I -

                    BECKY
          You think I’d win this contest and
          just dump you for the first jackoff
          that comes by with a black Amex?!

                    MARK
          You’re not even -

                    BECKY
          So you think I’m just like the rest
          of these shallow bitches?

                    MARK
          No.

                    BECKY
          Ok, guess I’ll just go off to be
          with my own kind, then.

She stalks off.

                    MARK
          Fuck.

Fade out on Mark sitting there.


EXT. RIVER CANYON - NEXT MORNING

Mark stands by the ashes of the fire.

                    MARK
          Fuck!

Lesley walks up to him.

                    LESLEY
          No sign yet?

                    MARK
          Nope.

The girls search around the edges of the area.   Brittania
comes up.
                                                        47.



                    BRITTANIA
          He’s not behind the pee rock.

                    MARK
              (yelling)
          Tony!

                    BECKY
          He didn’t answer the first fifty
          times you did that.

                    LUPE
          You think he would just take off?

                    MARK
          No, I don’t know.

                    BRITTANIA
          It seemed like he was starting to
          lose it last night.

                    MARK
          He wasn’t losing it.

                    BECKY
          It doesn’t matter either way. If
          someone or something took him we
          can’t stay here.

                    BRITTANIA
          She’s right. Bill could be
          watching from any where.

                    LUPE
          Tony will be ok.    He’s smart.

                    BRITTANIA
          If he’s still alive.

Off Mark’s look.


EXT. RIVER CANYON - MORNING

The group sploshes parallel to shore through the waist deep
water of the center of the river.

                    MARK
          This far enough?

Lupe stops, she seriously surveys the area forward and back.
                                                        48.



                    LUPE
          Maybe a hundred meters more.

                    MARK
          Discovery Channel?

                     LUPE
          Si.

They keep wading ahead.

                    BRITTANIA
          Don’t you think we would’ve seen
          one of them by now? Not even a
          body.

                    LUPE
          You can’t think like that. Krystál
          would never think like that. She
          would never give up.

                    BRITTANIA
          Who cares what Krystál would do?

                    LUPE
          Be the model don’t let the model be
          you.

                    BRITTANIA
          What does that even mean?

                     RAJA
          Yeah.   It’s not even a sentence.

                    BECKY
          It’s a sentence.     It’s just stupid.

                    LUPE
          I don’t think it’s stupid.

The girls continue to splash down river.

                    MARK
          There’s some rocks over there.
          Maybe we can dry off.

They head in that direction.


EXT. RIVER CANYON - SAME

Off in the rocks we see a gloved hand holding a parabolic
microphone aimed at the waterlogged group.
                                                        49.




EXT. RIVER CANYON - LATER

The tiny pieces of colored cloth that are the models’ scant
clothing lay spread out over some rocks in the sun. The
girls sit around drying and warming themselves topless, in
nothing but panties.

Mark, in boxers, tries to remain casual around all the nearly
naked girls.


EXT. RIVER CANYON - LATER

Still on the rocks, Lesley does a sun salutation as the rest
of girls put on their dried clothing. Mark approaches Becky.
He holds what appears to be two large birds’ nests in his
hands. He offers one to Becky.

                    MARK
          Lupe made us sun hats.

Becky tries unsuccessfully not to smirk.


EXT. RIVER CANYON - LATER

Coming around a turn in the river, Mark leads the group along
the bank. Lupe wears a large mass of twigs on her head.

They take a few steps and Mark stops, spotting something in
the river up ahead.

Becky comes up to him, sees it too.

                       BECKY
          Oh my god.

A large, dead tree is mired in the river ahead. Lodged,
obscured in its twisted roots, a brown, fleshy mass bobs in
the water.

The rest of the girls gasp as they see it.

                    RAJA
          Do you think it’s...?

                       MARK
          Wait here.

He starts into the water.
                                                           50.



                    BECKY
          What if she’s alive?

She follows him.

Lupe turns to Brittania.

                    LUPE
          Shouldn’t you go, too?

                    BRITTANIA
          I’m not going over there.

Mark and Becky wade over to the tree.

                    BRITTANIA (CONT’D)
          It could be a trap.

                    LUPE
          Some Yale doctor.

                     BRITTANIA
          Harvard.

Near the tree, Mark and Becky    tentatively approach. Mark
peers into the shadows of the    roots squinting to see better.
He fishes around a minute and    finds a stick. He prods the
floating mass awkwardly a few    seconds.

With a SPLASH, the body dislodges from the tangled tree.
Becky and Mark both jump.

As it settles, they see the decaying head of a cow, its
bloated tongue sticking out at them.

                    MARK
          It’s a cow.

                    BECKY
              (back to the group)
          It’s not her.

Back on shore Lesley shakes her head.

                    LESLEY
          It’s a bad omen.

                    RAJA
          I never should have called her a
          heifer.
                                                           51.




EXT. RIVER CANYON - MINUTES LATER

Still traveling down river.     Raja and Lesley talk at the rear
of the group.

                    LESLEY
          You can’t put the toothpaste back
          in the tube. Words can hurt, you
          know that now. The universe
          forgives you.

Near the front, Becky stops.

                    BECKY
          We should rest a bit.

                       MARK
          Good idea.

Brittania, Raja and Lesley sit. Lupe struggles to remove her
disintegrating sun hat made of twigs.

Mark takes a few steps and looks down river. He reaches up
and massages his sore shoulder. Behind him, Becky
approaches. She sees Mark and takes a few moments to
struggle with the decision whether or not to help him with
the back rub. She finally decides and reaches up, taking
over for him and putting some real effort into kneading his
muscles. A thankful smile from Mark.

Raja stands.

                    RAJA
              (doing pee dance)
          I have to pee.

She heads off behind some large rocks.

                    BECKY
          Someone should go with her.

                       LESLEY
          I’ll go.


EXT. BEHIND ROCKS - CONTINUOUS

Raja makes her way through some rocks to find a suitable
squat spot. She is startled when, off a bit ahead, a loud
CLINK of metal on rock is heard. She moves up to
investigate.
                                                           52.



Lying on the ground, a Blue Ram can spills out the last of
its contents. Raja picks it up and tries to get the last few
drops into her mouth.

Another CLINK, further ahead.


EXT. BEHIND ROCKS - CONTINUOUS

Lesley gets to the spot Raja originally heard the sound.

                    LESLEY
          Raja?

She moves ahead, looking.


EXT. BEHIND ROCKS - CONTINUOUS

Raja finds a second can, again mostly empty. Glancing
around, her eyes light up when she spots something.


EXT. BEHIND ROCKS - CONTINUOUS

Lesley comes around a bend.

                    LESLEY
          Since when are you pee shy?

She looks down and sees a Blue Ram can.   She hurries ahead.

                    LESLEY (CONT’D)
          Raja!


EXT. RIVER CANYON - SAME

Becky, Brittania, Lupe, and Mark wait for the other girls.

                    BECKY
          Crap, I’ve got to pee now.

She rises and walks toward the rocks.


EXT. BEHIND ROCKS - SAME

The Asian model reaches out to grab a can of Blue Ram from a
six pack that has been set out on a rock.

Lesley runs up.
                                                          53.



                       LESLEY
          Don’t --

Raja picks up a can.

CLICK.

The sound of massive boulders shifting, and a stone the size
of a Volkswagen thuds down on the spot where Raja and the six
pack were.


INT. STUDIO “CONFESSIONAL” VIDEO - DAY

Raja confessional, pre-makeover.

                    RAJA
          I think I have a great chance to
          win this. I’ve got the look and I
          get along with everyone. I mean,
          it has been tough sleeping four to
          a room. Lupe is probably used to
          it, though.


EXT. BEHIND ROCKS - SAME

Becky, holding a can of Blue Ram, jumps at the sound of the
falling rock. She starts running toward where it came from.


EXT. BEHIND ROCKS - SAME

Lesley gasps and runs over to the Raja and boulders sandwich,
clawing at the rocks in a futile attempt to shift them.

Blood begins to ooze from between the boulders.

Lesley retches then steadies herself.
                     (MORE)              Suddenly, she hears
something. She looks over.

An expression of recognition crosses her face right before a
crossbow bolt plunges into her left eye with a THWACK.


INT. STUDIO “CONFESSIONAL” VIDEO - DAY

Lesley, her hair much curlier, speaks to the camera.

                    LESLEY
          Out of everybody here, I’m the only
          model with a balanced aura.
                                                        54.
                      LESLEY(cont'd)
            I’ve already won. I mean have you
            seen me in a swimsuit.


EXT. BEHIND ROCKS - SAME

Becky rushes up to where Lesley lies, dead. In shock, she
sees the bloody rocks and Raja’s hand sticking out from
between.

We see the POV of someone watching Becky from behind. A
crossbow raises into frame. With the back of Becky’s head in
the crosshairs, a gloved hand poises on the trigger.

A moment.

The crossbow slowly lowers.

Becky kneels to the ground overcome as Mark, Lupe and
Brittania enter from around the rocks.

                      MARK
            What was that?!

Lupe gasps at the scene.


EXT. RIVER CANYON - MINUTES LATER

Small avalanches roll down the rocky terrain as Becky
scrambles desperately upward. Farther below her, following,
Mark, Lupe and Brittania struggle to keep up.

                      MARK
            Becky!


EXT. RIVER CANYON - MOMENTS LATER

Becky makes it to the top of the canyon ridge, gasping out of
breath.

She pauses for a second for the rest of the group to crest
the ridge. Lupe stops, grabbing her upper thigh.

                      LUPE
            I have to stop!

                      BECKY
            We need to keep moving!

                      LUPE
            But I have a cramp!
                                                           55.



                    BECKY
          Will you stop whining for one
          fucking second!

A few silent moments, thick with the group’s reaction to
Becky snapping at Lupe.

                    MARK
          We don’t even know where we’re
          going.

                    BECKY
          They could be right behind us!

                    MARK
          We haven’t seen anyone.

                    BECKY
          Someone shot her with a fucking
          crossbow! They left it sitting
          there!

                    MARK
          Hey! I need you not to lose it.
          You’re the least craziest bitch
          here!

                      BRITTANIA
          Fuck you!

                    BECKY
          They could be anywhere!    We need to
          get out of here!

                    MARK
          Just let me think!

                    BECKY
          Lot of good that’s been doing!    We
          need to just head for the road
          before we’re all dead!

She turns and stalks away.    Off the others’ looks.


EXT. ARIZONA DESERT - LATER

Becky walks slowly a short distance ahead of the rest of the
group through the sharp salt rocks of a flat lake bed.
                                                         56.




EXT. ARIZONA DESERT - LATER

As the afternoon sun slowly descends, the group comes upon a
small pool of water. They quietly drink as they rest a
moment.

                    LUPE
          Do you think this is ok to drink?

                    BECKY
          I’ll pick parasite over
          dehydration.

Becky walks over to Lupe and sits next to her.   Lupe avoids
eye contact.

                    BECKY (CONT’D)
          Here, this will help cool you off.

She puts a water-soaked sock on Lupe’s head.

                    LUPE
          Thanks.

                    BECKY
          I’m sorry I yelled at you.

                    LUPE
          You used the “f” word.

                    BECKY
          I know, sweetie, will you forgive
          me?

                    LUPE
          You hurt my feelings.

                    BECKY
          I know.

Lupe thinks for a second then hugs Becky.

                    LUPE
          I couldn’t bear the thought of us
          still being mad, I mean, if
          something happened.

                    BECKY
          Nothing is going to happen.

Becky reaches into her pocket.
                                                          57.



                    BECKY (CONT’D)
          I got you something. It’s a worry
          rock.

She hands Lupe a small stone.

                    LUPE
          What do I do with it?

                    BECKY
          In Idaho, farmers keep them in
          their pockets. When they’re
          worried about the weather or a sick
          cow or something, they take them
          out and rub them.

                    LUPE
          Why?

                    BECKY
          It just makes them feel better.

Lupe starts rubbing the rock.

                    LUPE
          You know who else you should
          apologize to?

Becky follows Lupe’s glance over to Mark.   She says nothing.


EXT. ARIZONA DESERT - LATER

Late afternoon. The three girls and Mark reach the end of
the lake bed and pause at the base of the hills ahead.

They point in different directions, talking, finally settling
on one and starting to hike onward.


EXT. ARIZONA DESERT - LATER

Mark leads as they continue through a narrowing canyon.


EXT. ARIZONA DESERT - LATER

The canyon has narrowed to where they can only walk one at a
time. Mark continues to lead them through the muted light.

                    BRITTANIA
          I don’t like this.
                                                        58.



                    BECKY
          It’s creepy.

                    LUPE
          I think I’m getting claustrophobia.

                       MARK
          It’s ok.     It looks like it opens up
          right -

CLICK.

Mark’s eyes widen as he looks down to see the tripwire he
just set off.

As a GRINDING noise starts, Becky jumps forward, knocking
Mark to the ground.

With a WHOOSH, two roped, large camera flight cases swing
down from either side, SMASHING into each other where Mark’s
head had just been.

Becky and Mark cower beneath the cases.

                       MARK
          Holy fuck!     Are you ok?

                    BECKY
          Yeah, I’m ok.

                    MARK
          Those are our camera cases.     What
          the fuck is happening?!

Nobody has an answer.

                    LUPE
          How far is the road?


EXT. ARIZONA DESERT - LATER

Thin, brown fingers feverishly stroke a smooth, black stone.
Lupe works her Worry Rock as she hikes.

                    BRITTANIA
          He could be anywhere! I feel like
          I have a giant bull's-eye painted
          on my head.

                       LUPE
          Who?
                                                            59.



                    BRITTANIA
          Bill!

                    LUPE
          How do we know it’s him?

                    BECKY
          Who cares who it is?   We need to
          find that road.

                    MARK
          It’s going to get dark soon. I
          really don’t want to spend another
          night out here.

They continue on in silence for a few moments. After some
contemplation, Becky moves quietly up to Mark’s side as they
climb a small hill.

                    BECKY
          Thanks for keeping me in line.

                    MARK
          Lot of good that’s been doing.

                    BECKY
          I know, I’m sorry. Guess I’ve been
          acting like a bitchy model.

                    MARK
          You’re not allowed.

A little smile from Becky.   After a few steps.

                    BECKY
          Everyone’s ready to drop. You
          really think we should keep going
          when it gets dark?

Mark sighs.

                    MARK
          Fuck.

He holds his hand out in front of him, perpendicular to the
ground as if measuring something on the horizon.

                    MARK (CONT’D)
          We’ve got about an hour and a half
          of sunlight left.

There’s a loud CRACK, and the sound of rocks falling.   A
SCREAM.
                                                           60.



Mark and Becky turn to see Lupe freaking out and pointing
down the side of the hill.

Another SCREAM.

Mark scrambles downward, with Becky sliding down behind.

At the bottom of the gully, Brittania hangs suspended just
above the ground. She continues to SCREAM and writhe around.

Mark and Becky run over to her. Their terror turns instantly
to relief when they discover Brittania is merely stuck in an
old barbed wire fence.

Still hysterical, Brittania flails, cutting herself more on
the tangled barbs.

                     BRITTANIA
          Help me!   Oh god! Help me!

                     BECKY
          It’s ok!   It’s ok!

                    MARK
          It’s not a trap, it’s a fence!

The blonde struggles for a few seconds more, then, looking
around her, comes to realize it is just a fence.

                    BRITTANIA
          But I set off something!

Lupe comes down into the scene.

                    LUPE
          You stepped on a stick.

Becky and Mark start to extricate Brittania from the wire.

                     BRITTANIA
          Ow!

                    MARK
          Hold still!

                    BECKY
          You’re bleeding.

As Mark pulls the last of the fence from around Brittania,
Becky tears a length of cloth from the bottom of her shirt.
She kneels down and starts to wrap a bad cut on Brittania’s
calf.
                                                         61.



Mark moves ahead, following a length of the fence around a
turn.

Brittania watches as Becky tenderly dresses her wound.

                    BECKY (CONT’D)
          Try to keep it clean. Well, as
          clean as you can.

A rare warm smile comes to Brittania’s face.

                    BRITTANIA
          Thanks.

Mark returns.

                    MARK
          Hey, check this out!

Becky helps Brittania to her feet. Along with Lupe, they
join Mark and follow him around the bend.

They stare at the fence stretching away from them ahead and
at the dilapidated cabin where it ends.


EXT. ARIZONA DESERT - MOMENTS LATER

We see Mark, Becky, Lupe, and Brittania standing, looking at
each other as they stand amidst some cactus plants a few
yards from the door of the cabin.

                    MARK
          Think this would be a good place to
          spend the night?

                    BRITTANIA
          If it’s not loaded with traps.

                    MARK
          I guess I can check it out.

Nobody talks him out of it.

                    MARK
          Ok, well...

                    BECKY
          I’ll go with.

                    MARK
          No, you stay here.    I’ll go.
                                                           62.



He walks up, and scrutinizing the ground before every step,
walks slowly to the door of the cabin. He examines the
entire door. With a look back at the girls, he holds his
knuckles an inch or so from the wood before finally knocking
tentatively. No answer.

Another knock, louder.     No answer again.

He takes a deep breath and lightly turns the knob.

CLICK.   He winces.   The girls hold their breaths.

Nothing happens.

Mark anticipates certain death as he closes his eyes and
pushes open the door.

CREEEEEEAAAK.

Nothing happens.

He peers a long time into the building, looks back one more
time, and steps carefully in.

                     BECKY
           Screw this. Wait here.

She follows Mark into the shadows of the cabin.

Brittania and Lupe scan the area like deer in headlights.
The blonde model puts her hand to her mouth and starts to
sob.

Lupe puts her arm around her.

                        LUPE
           It’s ok.

                        BRITTANIA
           I’m sorry.     I’m just really scared.

                        LUPE
           Me too.

Lupe reaches into her pocket.

                      LUPE (CONT’D)
           Here.   You want to borrow my worry
           rock?
                                                          63.




EXT. ARIZONA DESERT - SAME

A pair of binoculars. We reverse to see they are aimed at
the cabin, currently watching Lupe and Brittania nervously
fidgeting outside.

The binoculars lower and we see Bill as he hides in the
rocks, face and hands camouflaged with desert clay.

He continues to stare at the cabin.


INT. CABIN - LATE AFTERNOON

Mark and Becky are in the living area of a small three room
dwelling. To one side, a swinging door hangs half open,
revealing a tiny kitchen. On the other side of the main
room, a closed door. A small stone fireplace sits empty.

Shafts of muted light from between wall boards and ceiling
holes break the shadows as Mark tiptoes slowly inch by inch,
Becky close behind. The inside of the small abandoned house
appears empty, except for shards of wood from small collapsed
areas of the roof.

He spots a long thin, piece of wood on the floor, kneels and
picks it up. He uses it to tap the floor ahead of them.

                    MARK
          Try not to touch anything.

                       BECKY
          No shit.

As Mark taps, they walk to the kitchen. Mark gingerly pushes
the swinging door. With a SNAP, its hinges break, and the
door falls to the floor with a loud BANG.


EXT. OUTSIDE OF CABIN - SAME

Brittania and Lupe spazz after hearing the sound.

                       LUPE
          Oh my god!

                    BRITTANIA
              (yelling into cabin)
          You ok?!
                                                            64.




INT. CABIN - SAME

                     MARK
              (answers Brit)
          It’s cool!

                    BECKY
          Just a door!

They enter the kitchen. A rusty potbelly stove sits in a
corner. Spider webs fan from it all the way across the room
to the tin bucket sink on the opposite side.

They look around for a while.

Mark knocks down the webs with his stick. Finally satisfied
the kitchen is trapless, he moves back into the living room.

They approach the closed door.

                      BECKY
          Bedroom?

                      MARK
          Probably.

                      BECKY
          Open it.

                      MARK
          Probably.

He turns the knob. CLICK. Waiting for something to happen,
but nothing does. He opens the door. They both jump back.

                      BECKY
          Ah!

In the tiny bedroom through the door, we see a fancy blue
velvet fainting couch. The skeletal, partially mummified
remains of a woman recline on it, hand to head as if
swooning. Her other arm clutches a shiny, small evening bag.
The body is completely naked, with giant burgundy hair teased
into a lion’s mane. Two clear plastic bags hang attached to
the decaying chest. White stilettoes dangle from the grey
tendons of the rotting ankles.

They approach carefully.      Mark points to the plastic bags.

                    MARK
          What are those?
                                                         65.



                    BECKY
          Thirty-two C’s.

                     MARK
          Oh.


EXT. OUTSIDE OF CABIN - MINUTES LATER

                    BRITTANIA
          A dead body with fake tits?   Eww!

                    LUPE
          What is she doing out here?

                    MARK
          Who knows? But at least we’ll have
          some shelter. There’s even a stove
          we may be able to use.

                    BECKY
          God, I’m starving.

It doesn’t compute for Brittania.   Lupe points to the cactus.

                    LUPE
          These are edible. I saw it on Food
          Network. I can cook them!


EXT. ARIZONA DESERT - SAME

Bill, hiding in the rocks, watches the group as they begin
gathering wood and cactus.


INT. CABIN - LATER

Four green lobes of cactus SIZZLE on the cast iron top of the
potbelly stove.

Lupe lets out little “ows” as she burns her fingers flipping
the cooking plant parts.

The group sits eating in the fading light coming in through
the kitchen window.

                    BECKY
          Lupe, thank you.   This is great.

                    MARK
          Yeah, it’s actually good.
                                                           66.



                    LUPE
          It’s a fruit and a vegetable.

Lupe pushes the cactus from the stove to a piece of wood
she’s using as a serving tray. She offers Brittania some
more.

Brittania points to the two bites she’s taken out of her
first course.

                       BRITTANIA
          No thanks.     I’m stuffed.

Mark stands.

                    MARK
          I’ll have my dessert after I get
          some more wood, before we lose the
          light.

                    BECKY
          I’ll go, too.

                    BRITTANIA
          We’ll be here.

Mark starts to go out the front door, remembers his manners,
then stops and holds it open for Becky.


EXT. OUTSIDE OF CABIN - CONTINUOUS

Becky and Mark walk out of the cabin into the soft red light
of the setting sun. Becky holds her hands towards the
horizon, fingers pointed upward.

                    BECKY
          What were you doing before?

Mark turns to her. He smiles and grabs her hand, turning it
sideways the way he had held his earlier.

                    MARK
          There was this bar on Venice beach
          where they have a daily Happy Hour.
          This bartender showed me how to
          figure out how much more time I had
          to order cheap drinks by how many
          fingers I could fit between the
          horizon and the sun.

                     BECKY
          Wow.   That’s resourceful.
                                                          67.



                    MARK
          Two dollar mojitos.

                    BECKY
          Did we ever go there?

                    MARK
          Nope.

Mark picks up a piece of wood and snaps it in half.   Becky
starts scanning the area for more with him.

We pan over to see that Bill is hidden in the rocks, closer
than before. He watches them, unmoving.


INT. CABIN - SAME

Lupe and Brittania sit in the cabin.

                    LUPE
          So my cousin Alejandro ended up
          getting arrested in his underwear.
          He was on “Cops”.

                    BRITTANIA
          So you aren’t the first member of
          your family to be on TV?

                    LUPE
          I guess not.

Brittania pushes her plate of barely eaten cactus away.

                    LUPE (CONT’D)
          I’ve got some left over if you want
          to stick it to your face.

                    BRITTANIA
          Hey, at least I didn’t wear coyote
          shit foundation.

They laugh. As Lupe starts to clean up the remnants of their
feast, Brittania’s smile fades.

                    BRITTANIA (CONT’D)
          I’ve been such a bitch on this
          show. Especially to Becky. She
          really is nice.

                    LUPE
          She’s my home-girl.
                                                         68.



                    BRITTANIA
          I feel bad for breaking them up. I
          think home-girl and what’s-his-face
          with the headphones make a cute
          couple.

Off Lupe’s puzzled look.


EXT. OUTSIDE OF CABIN - SAME

Mark holds a bundle of twigs and kindling. Becky slams a
piece of wood on top of the pile in his arms.

                    BECKY
          You’re an asshole!

                     MARK
          What?   What do you -

                    BECKY
          She “helped you see”?!       You’re
          pathetic!

                    MARK
          I did it for you.

                    BECKY
          You’re really pathetic. And stupid
          for listening to Brittania.

                    MARK
          I didn’t know.       Why would she lie
          about that?

                    BECKY
          Because she’s a chick.       And we lie.

Exasperated, she starts to walk away for more wood.   Mark
ponders.

                    MARK
          Like.... especially when they’re
          trying to win a reality show?

Becky raises her arms in victory.

                       BECKY
          Thank you!

Mark sighs.
                                                        69.



                    MARK
          I’m such an asshole.


INT. CABIN - SAME

Brittania carries some twigs from the kitchen to the living
room.

                     BRITTANIA
          You think it would help if I
          apologize?

Lupe breathes hard as she kneels in front of the fireplace,
furiously twisting a stick into another, trying to light a
flame.

                    LUPE
          You know how?

Brittania sets down the sticks next to Lupe.

                    BRITTANIA
          I could try, but they really don’t
          teach apologies at Harvard, but -
          what are you doing?

                    LUPE
          Starting another fire.

                    BRITTANIA
          What’s wrong with the one you
          started in the kitchen?

Lupe stops twisting.


EXT. OUTSIDE OF CABIN - SAME

Becky this time gently places a stick on top of the pile in
Mark’s arms.

                    BECKY
          This enough, you think?

                       MARK
          Should be.

Face to face, they look at each other a long moment.

                    MARK (CONT’D)
          Just so you know, it is tough being
          an asshole.
                                                        70.



                    BECKY
          You’re not an asshole.   You’re just
          a little dumb.

                    MARK
          Oh, really?

                    BECKY
          But don’t worry, maybe you’ll find
          somebody smart. Like a doctor.

                    MARK
          Do you know any hot ones?

                     BECKY
          Asshole.

She leans in to kiss him.


INT. CABIN - SAME

A small fire now going in the fireplace, Lupe bends before
it, stoking the embers.

Brittania stands outside the closed bedroom door.

                    BRITTANIA
          Aren’t you a little curious?

                   LUPE
          No. I’ve already seen enough dead
          bodies.

Becky enters with Mark. He is carrying the bundle of sticks
and his hair is a little messier than before. He puts the
wood down, makes eye contact with Becky and tilts his head
toward the kitchen.

                    BECKY
              (to the girls)
          Could you give us a couple minutes?

With small, sheepish smiles she and Mark walk into the
kitchen. A moment later, Mark struggles to lift the fallen
door and prop it in the doorway. Just before covering the
entrance -

                    MARK
              (to Lupe and Brittania)
          We’ve got, um, a lot to talk about.
                                                             71.



He slides the door over the doorway.       Brittania looks over at
Lupe.

                       BRITTANIA
             Guess I’ll apologize later.


INT. CABIN KITCHEN - SAME

Becky and Mark make out like horny teenagers. She stops.

                        BECKY
             Mojitos?

                       MARK
             Beer gives me gas.

They kiss.    They fuck.


INT. CABIN KITCHEN - LATER

In the dark room, Mark and Becky sleep together on the floor
of the kitchen.

Mark’s eyes open. He carefully gets up so he doesn’t wake
Becky. He looks around the room, wanders over to the tin
bucket sink. Starting to unzip his fly, he looks back at
Becky, then changes his mind about pissing in the kitchen.

He tiptoes over to the doorway, takes forever to quietly move
the unhinged door, and makes his way into the living room.


INT. CABIN LIVING ROOM - CONTINUOUS

Mark softly pads to the front door as Lupe and Brittania
sleep near the weak fire.


EXT. OUTSIDE OF CABIN - CONTINUOUS

After exiting the house, Marks walks a few feet away to pee.
Midstream, he hears a RUSTLE in the darkness.

Quickly finishing and zipping, he listens.

Another sound. Mark spots a shadow moving away.        He grabs a
board and runs off into the darkness.

Ahead of Mark, the figure scrambles away, no longer concerned
about being quiet.
                                                           72.




INT. CABIN LIVING ROOM - SAME

Brittania stirs. She gently moves Lupe’s unconscious head
off of her shoulder and stands.

She stretches and her eyes move to the closed bedroom. With
a glance back at sleeping Lupe, she goes over to the door and
turns the knob.


EXT. ARIZONA DESERT - SAME

Mark moves quickly in the moonlight, hopping over rocks as he
tries to catch up to the running figure ahead of him.

The fleeing person dashes into the entrance to a narrow
ravine.


INT. CABIN BEDROOM - SAME

Brittania examines the mummified remains on the fainting
couch. She lightly cups one of the clear, plastic breast
implants with one hand. With the other she cups her own left
breast, seeming to compare the perkiness of the two.

Her attention diverts to something on the body.   She goes
wide-eyed.


EXT. ARIZONA DESERT - SAME

In the darkness of the ravine, the shadowy figure turns a
corner, stops, and moves to hide behind a large boulder.

Mark runs in, pauses, then continues past.

The hidden figure slips from behind the rock and doubles
back.

CRACK!!

The unmistakable sound of another trap going off.

Mark SCREAMS from the darkness.


INT. CABIN BEDROOM - SAME

Brittania kneels in front of the body, squinting to carefully
see something.
                                                          73.



Behind her, Lupe sleepily comes up and puts her hand on
Brit’s shoulder.

Brittania jumps, startled.

                     BRITTANIA
          Shit!   Don’t do that!

Lupe doesn’t really hear Brittania as she has finally woken
fully and is totally grossed out by the body.

                       LUPE
          Ewwwww!

                    BRITTANIA
          Oh get over it. Check this out.

She points to the body.

                    LUPE
          That’s what implants look like?

                       BRITTANIA
          Not those.     That.

She points to the sequined bag clutched in the mummy’s hands.

                    LUPE
          It’s a purse.

                    BRITTANIA
          I don’t think it’s just any purse.
          I think that’s an original Mario
          Biscotti. But I’ve never seen a
          clasp like that on one.

                    LUPE
          It looks like an “O”.

                       BRITTANIA
          Oh my god.     Omál.

                    LUPE
          The supermodel who disappeared a
          few years ago?

                       BRITTANIA
          Yeah.

                    LUPE
          How do you know it’s her?
                                                      74.



                    BRITTANIA
          The bag. When Omál was named
          Fiercest Supermodel of the Decade
          by Fierce Magazine, Biscotti
          presented her with a one-of-a-kind
          handbag. It had an O-shaped clasp.

                    LUPE
          You think that’s the bag?

                    BRITTANIA
          Has to be. I’d recognize a
          Biscotti anywhere.

                    LUPE
          You think that’s Omál?

                    BRITTANIA
          Burgundy hair, 32 C’s, priceless
          purse? Gotta be.

                    LUPE
          What is she doing out here?

                    BRITTANIA
          I don’t know. It probably means
          something. We should wake the
          others.


EXT. ARIZONA DESERT - SAME

Bill moves past a rock and stops, looking around. A drop of
something hits his face. He wipes it. It’s blood. He looks
up.


INT. CABIN KITCHEN - SAME

Becky groggily looks up at Brittania and Lupe.

                    BECKY
          What?

                    BRITTANIA
          We found something!

                    LUPE
          Where’s Mark?
                                                           75.




EXT. OUTSIDE OF CABIN - SAME

Becky bursts out of the front door of the cabin followed by
Lupe and Brittania.

                      BECKY
          Mark!    Mark!

She searches frantically, stops and turns to the other two
girls.

                       BECKY
          Wait here!

She takes off into the darkness.


EXT. ARIZONA DESERT - CONTINUOUS

Dodging rocks, etc., Becky pauses occasionally to loudly
whisper Mark’s name.

She runs around a rock formation and SLAMS directly into the
arms of Bill.


EXT. OUTSIDE OF CABIN - SAME

Lupe and Brittania huddle nervously in front of the cabin.

A SCREAM echoes through the night.

                       LUPE
          Becky!

Lupe tries to run into the woods but Brittania holds her
back.

                    BRITTANIA
          We should get back to the house!


EXT. ARIZONA DESERT - SAME

Becky paces with her hands on her head, trying to make sense
of what’s happening.

                    BILL
          If I was going to kill you, you’d
          already be dead!
                                                         76.



                    BECKY
          Then why were you following us?!

                    BILL
          I got back to base camp and found
          that bloodbath. How did I know you
          guys didn’t do it?!

Becky struggles with the information.

                     BECKY
          Ok.   So where’s Mark?

Off Bill’s look.


INT. CABIN BEDROOM - SAME

The mummified face of Omál fills the screen. The camera pans
downward, revealing two pairs of model legs and feet hiding
behind the fainting couch.


EXT. ARIZONA DESERT - SAME

Two blue-jeaned legs wearing hiking boots dangle in the
foreground. A small river of blood trickles down one leg
dripping to the gravel below. Becky sobs and buries her head
on Bill’s shoulder as he looks up at the body.

                    BILL
          We should get back to that cabin.


INT. CABIN - SAME

With a CREAK, the cabin door opens.   Becky walks in, followed
by Bill. She doesn’t see anyone.

                    BECKY
          I told them to stay here.

Becky walks slowly to the kitchen and enters.

Bill looks around and edges over to the bedroom door.   He
reaches down and opens it.

Taking a step in, he squints at the body on the sofa. With a
WHAP something swings through the air and belts him in the
face. He falls backward into the living room.

Lupe, screaming Spanish obscenities flies out of the bedroom
wielding a small board.
                                                          77.


She jumps on Bill, flailing away at him as he desperately
blocks. Brittania follows behind Lupe, tentatively kicking
him once or twice.

                       BILL
          Ow!

Becky comes running in from the kitchen.

                    BECKY
          Stop! Stop! Lupe, it’s okay!       It
          wasn’t him!

Lupe gets in a couple more hits before Becky manages to pull
her away from the man.

Bill lays there, dazed.

                       BILL
          Jesus!     That hurt.


INT. CABIN - LATER

In the firelight of the living room, Bill recoils.

                       BILL
          Ow!

Lupe kneels next to him, gently applying the gel from a
broken aloe leaf to one of his nastier scrapes.

                    LUPE
          Sorry, Mr. Bill.

Becky listens, sitting near them on the floor. Brittania
still stands, putting distance between her and Bill.

                    BILL
          So I followed your tracks from base
          camp. Models don’t leave deep
          footprints but they tend to be
          loud.

Brittania scowls at Bill.     Lupe stops dabbing.

                    LUPE
          But why did you leave us in the
          first place?

                    BILL
          You’re all assholes.
                                                            78.




EXT. ARIZONA DESERT - DAWN

In the dim light of the desert dawn, Mark’s legs still
dangle.

For the first time, we see him fully in the trap. He is
being held up in the trees by a long wooden spear that has
pierced his chest.

With a WHOOSH, a shadow passes over his face.      A few seconds
go by, and the shadow glides past again.

A few seconds of quiet.      Then several loud FLAPS break the
silence.

A vulture lands on a branch near Mark’s head. It cranes its
neck around, surveying its next meal. The bird reaches out
and grabs a taste of the man’s ear.

                      MARK
          Fuck!

Mark jolts into consciousness, still hanging on the spear,
and slaps at his ear. He sees the vulture.

                      MARK (CONT’D)
          Yaaahhhh!

He swats at the bird, which launches and flies away. It’s
then that he winces in pain and looks down to see his
predicament.


INT. CABIN KITCHEN - MORNING

Lupe munches on the last bit of a cactus as she pours water
on the fire in the potbelly stove.

Becky and Bill finish the last of their prickly breakfast.

                    BECKY
          Where’s Brit?


INT. CABIN BEDROOM - SAME

Brittania kneels in front of Omál’s body. She gingerly
reaches down and carefully pries one bony finger after
another off of the priceless handbag.
                                                              79.



With wide eyes she lifts the purse up. She doesn’t see the
tiny string attached to the bag, stretching back under the
body. After softly running one finger around the “O” shaped
clasp, she opens it.

Puzzled, she pulls out a purple, sparkly envelope. She opens
it and removes a golden card, reading it with horrible
recognition.

                        BRITTANIA
           Oh my god.

The card reads, “Only two of you keep going.”

She gets up and starts to dash out of the room. She stops
and looks back at the Biscotti bag. She grabs it, the string
snaps.

A CLICK.


INT. CABIN KITCHEN - CONTINUOUS

Becky, Lupe, and Bill hear a loud BANG.     They run to the
living room...


INT. CABIN BEDROOM - CONTINUOUS

... and into the bedroom.     Some smoke is clearing.

Brittania lies on the floor partially burned and mortally
wounded, with several of Omál’s ribs having pierced her body
in the explosion.

Lupe gasps as Becky kneels down to help the dying model.

                     BECKY
           I need something to stop the
           bleeding!
               (to Brittania)
           You’re going to be ok.

                        BRITTANIA
           Bullshit.

A painful coughing spasm overtakes her.

                     BECKY
           I’m so sorry.
                                                        80.



                    BRITTANIA
          You’d make a great doctor, but an
          even better supermodel.

She croaks.


INT. STUDIO “CONFESSIONAL” VIDEO - DAY

Brittania’s a brunette in her confessional taken before the
makeover show.

                    BRITTANIA
          I pretty much keep to myself here.
          These girls are all so dumb and
          immature and... common. America’s
          Toughest Model is about beauty and
          brains. So, whatever, I can’t
          lose.


EXT. ARIZONA DESERT - DAY

Mark walks unsteadily away from camera. From the back, we
see the dark blood stain on his shirt. He turns to reveal
that the broken spear is still protruding a foot or so out of
his chest and back.

Pushing through some brambles, he almost runs into the side
of a white panel truck. He stumbles to the front, it’s
empty, the door is locked.

Wincing when he accidently hits the spear on the side mirror,
he makes his way to the rear of the truck. He has a few
moments of dread-filled anticipation before he throws up the
cargo door, painfully doubling over with the effort. As he
slowly stands upright again, he looks with confusion into the
back of the van.


INT. CABIN BEDROOM - DAY

Bill looks down at dead Brittania and removes his jacket,
kneeling down to cover the body’s face with it. He spots one
of Omál’s implants, still intact, lying on the ground.

                    BILL
              (mutters to himself)
          Booby trap.

Behind him, Lupe picks up the golden card, hands it to Becky.
                                                          81.



                    LUPE
          It’s a Krystálogram.

Becky grabs the card.    She reads it.

                       BECKY
          It’s her.


INT. PANEL TRUCK - DAY

Mark looks around the inside of the truck. It looks set up
to be a small field office, with a desk, chair, maps on the
walls, etc. The one item that sticks out is a large makeup
station with a lighted mirror.

He walks over to the mirror and sees himself. He pivots
slowly sideways to marvel at the spear skewering his upper
body.

                       MARK
          Whoa.

He turns his attention to an easel set   up with flip charts.
Mark approaches and sees the pages are   a series of
storyboards. He leans in for a closer    look and spots panels
showing a model setting off a trap and   being smashed by giant
boulders.

He flips backwards a page and sees depicted a large model
with a sun hat stepping on a weight-sensitive trap.

                       MARK
          Chantelle?

The next series has large red “X” drawn through the panels
showing the camera case trap that Mark had eluded earlier.

He quickly pages forward. One panel shows Mark hanging dead
in the tree, and in another sketch is Omál’s booby trap
exploding.

Mark scans the next panels, detailing another model dying in
a shotgun trap set up in one of the Hummers.

The final storyboard shows an epic battle back at base camp
between a model and a figure that can only be... Krystál.

                     MARK
          You gotta be fucking kidding me.

He looks over to the small desk and sees several DVD cases
with writing on them.
                                                         82.


Thumbing through them, he reads the titles: “Julie’s Death”,
“Sharon’s Death”, “Raja’s Death”. On the desk he also sees
Tony’s dusty video camera.


EXT. OUTSIDE OF CABIN - DAY

On the porch of the cabin, Becky paces while Lupe sits
against one wall. Bill stands.

                    BECKY
          Which way back to camp?

                    BILL
          North beyond that crag. But our
          best chance is to head back to the
          road.

                    BECKY
          Which way is that?

                    BILL
              (pointing)
          That way.

                      BECKY
          Let’s go.

Becky extends her hand to Lupe and helps her stand. Bill
walks off with the two girls following closely behind.

                    LUPE
          Do you think she’s watching us?

                    BECKY
          I don’t know.

                    LUPE
          Why do you think she’s doing this?

                    BECKY
          She’s fucking nuts.

                    LUPE
          But I always wanted to be her. I
          even had the Krystál doll with the
          removable weave.

                    BILL
          Yeah, but now it should come with a
          machete and a Luger.
                                                           83.



                    BECKY
          Speaking of, shouldn’t you have a
          gun? Weren’t you in Desert Storm
          or something?

Bill leads them through two large stones that frame the
entrance to a dried creek bed.

                    BILL
          Oh, I’m not allowed to have one of
          those anymore. But don’t worry,
          you’ll be safe with me.

At that moment, Bill takes another step forward.

There is a CLICK.

We see Becky and Lupe standing frozen as there is a loud
WHOOSH followed by a THUD. The fronts of the two girls’
bodies are splattered with drops of blood.

Lupe starts screaming. Becky looks down to see Bill’s
severed head coming to rest at their feet.

She grabs Lupe and drags her quickly away. Lupe struggles
for a few seconds then goes with reluctantly.

                    LUPE
          She’s everywhere!

Becky starts walking back the way they came.

                    LUPE
          But the road’s that way.

                    BECKY
          Fuck the road. We’re gonna kill
          that bitch!


INT. PANEL TRUCK - DAY

Mark is watching playback through the eyepiece of the video
camera.

Over the tiny speaker, we hear the sounds of Tony screaming.

Mark drops the camera, overcome.
                                                          84.




INT. STUDIO “CONFESSIONAL” VIDEO - DAY

The empty confessional chair   sits in front of the usual
background. The camera view    moves around, centering and
focusing on the chair. Once    framed, the camera stops moving
and we see Tony make his way   from the lens to sit down in the
chair.

He stares into camera for a second before starting a series
of ridiculous model poses.

                    TONY
          Hey look at me boobies! I’m really
          smart ya know. Oh no, don’t cut my
          hair! I’m so fierce! I need a
          spanking!


INT. PANEL TRUCK - DAY

Mark, tears and rage in his eyes, glances over at the last
storyboard panels depicting the final showdown at base camp.

He painfully climbs out of the truck and, searching around,
spots some four-wheeler tracks that lead away from the truck.
He ambles off in their direction.


EXT. ARIZONA DESERT - DAY

Becky and Lupe walk across a flat expanse. Off in the
direction they are traveling, Becky sees something.

                    BECKY
          What’s that?

Lupe squints into the distance.

                    LUPE
          Looks like one of the Hummers.

They start running toward the distant vehicle.


EXT. ARIZONA DESERT - MOMENTS LATER

The two girls stand like statues several yards away from the
Hummer. The vehicle’s passenger door is open, with a dead
crew member’s body hanging out, partially held back by the
seat belt.
                                                         85.



                    BECKY
          Maybe we can use it to get out of
          here.

They slowly creep up to the Hummer. Lupe goes to the
passenger side as Becky pulls open the driver’s door.
Another body slumps over the steering wheel, a crossbow bolt
sticking out of the side of its head.

                    BECKY
          You see keys?

                       LUPE
          No.

                     BECKY
          Shit.   We gotta move these guys.

Off Lupe’s grossed-out look.


EXT. OUTSIDE OF CABIN - DAY

The cabin door bursts open and Mark exits looking around. As
he goes to look around the side of the structure, he turns
and smacks the spear (still stuck through his chest) into the
wall.

                      MARK
          Aaaaah!    Damn it!

He slumps down to recover from the pain.


EXT. ARIZONA DESERT - DAY

Becky and Lupe sit in the front seat of the Hummer.
Cardboard boxes fill the back seat.

                       BECKY
          Nothing.

                    LUPE
          You know, I could hot wire it.

                       BECKY
          Seriously?

                    LUPE
          Yeah, trade places.

Lupe and Becky crawl over each other to switch seats.   Lupe
starts to feel under the steering wheel.
                                                        86.



                    LUPE (CONT’D)
          Guess I’m the ghetto model. My
          cousin taught me how to jack a car
          and roll a joint, mija. I even
          told that story on my audition
          tape.

                       BECKY
          Really?

                     LUPE
          Yeah. Krystál said that’s why she
          picked me.

A moment of realization for Becky.

                       BECKY
          Wait.

                       LUPE
          What?

Becky grabs Lupe’s hands from under the dash.

                    BECKY
          Don’t touch anything.

Lupe slowly gets it.

                       LUPE
          Oh my god.

Becky and Lupe both bend down to look under the dash.
Through the other wires, a distinctive silver tripwire can be
seen leading back under the driver’s seat.

They sit up and look behind the seat. Peeking between two
boxes is the large double barrel of a shotgun.

                    LUPE
          Let’s get out of here!

                       BECKY
          No wait!     I have an idea.


EXT. ARIZONA DESERT - DAY

Mark lays there next to the cabin, wincing.

Off in the distance, there is a loud GUNSHOT.
                                                          87.



Mark reacts to the sound and painfully struggles to one knee,
but is overcome with the agony and again slumps down to the
ground.


EXT. ATM BASE CAMP - DAY

Wearing a tight, white wifebeater and desert camo pants
tucked into her black boots, Krystál turns her head and
smiles as the distant GUNSHOT reaches the camp.


EXT. JUST OUTSIDE OF CAMP - DAY

Under hot bitch music, Becky and Lupe walk in slow motion
toward camera, ready to fight.

Reversing angle, we see them pass under the black, taped
tethered heads they first saw before returning to camp two
days earlier.


EXT. JUST OUTSIDE OF CAMP - MOMENTS LATER

As they pass the pit trap that killed Julie, Lupe reluctantly
glances in. There doesn’t appear to be any body.

                    LUPE
          Where’d she go?

Becky looks around, then up in the sky where several vultures
circle. She doesn’t answer.


EXT. ATM BASE CAMP - MINUTES LATER

Lupe puts her hands over her mouth and nose as she and Becky
walk tentatively through camp. Two day’s worth of desert
temperatures and vultures have taken their toll on the
decaying bodies strewn about.

                    LUPE
          Think she’s here?

Becky angles her head, directing Lupe’s gaze.

In the center of the camp sits Krystál’s four-wheeler.

They take a few more careful steps, looking around.

                    LUPE
          Watch out for traps.
                                                        88.



                       KRYSTÁL (O.S.)
             Oh, I’m done with traps.

Becky and Lupe step back as Krystál dramatically struts into
the center of camp.

Without hesitating, she raises her arm toward the girls,
aiming the Dirty Harry-like gun in her hand. She pulls the
trigger.

BANG!

Lupe Falls backward, clutching her chest. Blood starts to
soak her shirt before she even hits the ground.

Becky dives on the wounded girl.

                       BECKY
             Lupe!

Lupe coughs up blood as Becky holds her.

                       KRYSTÁL
             There weren’t supposed be two of
             you. And I really thought it would
             be the other white girl. Oh well.
             Congratulations, Becky. You’re
             America’s Toughest Model.

Lupe dies.


INT. STUDIO “CONFESSIONAL” VIDEO - DAY

Lupe, looking plainer and without hair extensions, talks to
camera, clapping excitedly.

                       LUPE
             Oooo, I can’t believe I’m here!
             I’ve been through so much and
             worked so hard. Everyone here is
             so nice! If I get sent home, I’ll
             be happy to have gotten this far.
             Oh, but I’m gonna win! I want to
             be just like Krystál. I can even
             do her signature pose.

She does the pose.
                                                          89.




EXT. ATM BASE CAMP - DAY

Becky stares at her dead friend for a moment, then stands
defiantly.

                    BECKY
          Fuck you, you old bitch!

                    KRYSTÁL
          I’m not old!

Krystál’s anger at the “old” comment burns, but she slowly
smiles. She throws the gun away, and beckons Becky to her in
a “bring it on bitch” kind of way.

Becky lunges at the older model, fists flailing. Krystál
ducks most of the blows, larger and stronger than the younger
girl.

They fight, trading blows, kicks, etc. Krystál outmatches
Becky and taunts her every time one of her punches dazes the
girl.

As they continue to grapple, a viscous roundhouse kick to the
head sends Becky into a display of Krystál perfume, knocking
it over.

Krystál moves in, choking the girl. As Becky gasps, she
reaches around, finding one of the perfume bottles. She
sprays Krystál in the face which sends the older woman
screeching away.

Becky gulps in needed air.

Krystál, rubbing her eyes, stumbles in the direction of the
gun. She grabs it, squinting through the tears smearing her
mascara. She spots Becky gasping on the ground. She lifts
the gun. Takes aim.

                    MARK (O.S.)
          Yaaaaaaaah!

Krystál spins to see Mark ambling toward her, a c-stand pole
in his hand, spear still in his chest. Just as he gets to
her, she squeezes off a round.

BANG!

Mark swings the pole down, clubbing the older model in the
head with a THUNK. She falls.
                                                         90.



Mark stops and sinks to his knees. Disbelief crosses his
face as he looks down at the new blood spot forming on the
opposite side of his chest from the spear.

Becky makes her way over to him, amazed he is still alive.

                      BECKY
           Mark!   Oh, my god!   Are you ok?!

                     MARK
           I’ve been stabbed and shot.

                     BECKY
           I thought you were dead!

                     MARK
           I’ve been stabbed and shot.

Mark sits on the ground.     More pain.   He looks up.

                      MARK
           Krystál.

Becky turns to see Krystál gone. She jumps up, looks around.
On the ground is the gun. Becky picks it up.

                     BECKY
           I’m gonna get her.

                     MARK
           I’ll be here.

She kisses him and gets up. Spotting a couple of fresh blood
drops heading away, she goes off following them.


EXT. ATM BASE CAMP - MOMENTS LATER

Creepy stalking music plays as Becky walks carefully between
two panel trucks, still looking down for blood drops.

There are racks with hangers of clothes and weaves on either
side of her. Becky fights through them like pushing through
jungle vines.


EXT. MODELS’ TENT - MOMENTS LATER

Becky enters the models’ tent.     She looks around.

She sees Krystál and jumps.

BANG!   BANG!
                                                           91.



She fires off two rounds.   Recovering, she lowers the gun and
shakes her head.

In one corner of the tent, the life-sized, cardboard standup
of Krystál stands, two fresh bullet holes in it.


EXT. ATM BASE CAMP - CONTINUOUS

Gun ready, Becky marches out of the models’ tent.

                    BECKY
          Where the fuck are you?!

                    KRYSTÁL (O.S.)
          Paging Doctor D’Angelo.

Becky spins toward the sound, firing off the gun.

BANG!

Nothing there.

                    BECKY
          Shit!

From a different direction, Krystál laughs. Becky turns
again, holding her fire, trying to figure out where the sound
comes from.

                    KRYSTÁL (O.S.)
          Only one bullet left, mija!

Becky struggles with her rage as she stalks past another
production truck, and to the Craft Services area.

Next to the Craft Services tent, the chefs are laid out on
food tables. They are stuck to the tables by barbecue
skewers through their gaping mouths.

                    BECKY
          Hey bitch! How’d you kill all
          these people anyway?

A RUSTLE off to her left draws Becky’s attention, and her
aim. A rushed blur darts between two vehicles. Becky almost
shoots.

                    BECKY (CONT’D)
          You couldn’t have done it by
          yourself.
                                                            92.



                    KRYSTÁL (O.S.)
              (from right behind Becky)
          Oh, I roofied lunch.

Becky rounds instantly, raising the small cannon in her hand.
Krystál, blood streaming from a cut on her forehead, smacks
the gun easily out of the smaller girl’s grasp.

                    KRYSTÁL
          I knew the models wouldn’t touch
          it.

Becky punches Krystál square in the nose.      The larger woman
recovers quickly...

                    KRYSTÁL
          Not the face, bitch!

...and returns an identical shot to Becky’s face.

SNAP!

Becky reels, trying to slow the blood spurting from her
smashed nose.

                    KRYSTÁL
          I know the number of a good nose
          guy.

Becky looks up defiantly, stands upright. She puts both
hands to either side of her nose and with a loud, wet,

CRUNCH

... she resets her own broken nose.

                       BECKY
          Thanks.     I won’t be needing it.

She launches at Krystál.

Epic battle ensues.    Punches, kicks, bites, hair pulls, etc.

Following a flurry of martial arts chops and punches, Krystál
kicks Becky right in the crotch. The younger girl falls over
one of the food tables, yanks one of the skewers from a dead
worker’s mouth, and stabs Krystál in the left boob.

Krystál screams, attacking Becky with new fury. They rumble
past another vehicle to a costume area, knocking over a table
full of high heels.
                                                         93.



At one point they grapple closely. Becky head butts Krystál
a couple of times. The older model responds by raking her
nails down the girl’s eyes.

They both fall, exhausted. Becky crawls around, trying to
clear the blood from her eyes.

Krystál recovers from the head-butts and limps over to Becky.
She savagely kicks the fallen girl over and over.

Becky finally manages to grab a fistful of sand and throw it
in Krystál’s face. She kicks out at the older woman’s knee.

CRACK!

Krystál shrieks in pain, falling and grabbing her leg.

Becky rolls over, coughing up blood. She looks over to see
the other woman crawling slowly toward something. She
squints to see Krystál’s target, the gun lying on the ground.

Spitting red again, she painfully stands. Looking around for
a second, she grabs the nearest thing to her on the ground, a
six-inch stiletto shoe.

As Krystál drags herself toward the gun, Becky limps slowly
toward her. When the gun is just out of Krystál’s grasp,
Becky reaches her.

Mustering all her strength, Becky kicks Krystál over onto her
back. She puts the shoe on her foot.

Krystál looks at Becky with sheer hatred and reaches once
more for the gun.

                    BECKY
          Fierce enough for you now, bitch?

Becky raises her foot and stomps that stiletto heel right
into Krystál’s eye socket.

CRUNCH!

Krystál dies. Becky slips her foot out of the shoe, leaving
it stuck in the dead supermodel’s face. She slumps, sitting
on the ground and stares at the scene for a long time as she
tries to catch her breath.

She spits out some more blood.

                    BECKY
          Ok.
                                                          94.



She struggles to her feet, shuffling past one of the disabled
Hummers. As she passes, she catches her reflection in the
window. Broken nose, split lip, scrapes and bruises
everywhere, blood.

She fixes her hair a little.


EXT. ATM BASE CAMP - MOMENTS LATER

Mark sits in the same position he was when Becky left.

Becky limps over to him and sits.

                    BECKY
          You ok?

Mark looks down at the spear on one side of his chest and
bullet hole on the other. He shrugs.

Becky gets to her feet, helping Mark stand.    They assist each
other over to Krystál’s four-wheeler.

                    MARK
          You kill her?

                    BECKY
          Yup.

                    MARK
          Cool.

Mark climbs on the vehicle.    Becky spots something.

                    BECKY
          Wait a second.

She walks over to the table where the giant, gold stiletto
trophy for “America’s Toughest Model” sits.

She takes it.

Fade out as Becky walks toward camera in slow motion, trophy
in hand.


INT. STUDIO “CONFESSIONAL” VIDEO - DAY

A closeup of Becky. She looks great, made up, refreshed.
Highlights in her hair.
                                                        95.



                    BECKY
          I’ll always remember what happened
          in the desert. A lot of amazing
          people lost their lives and their
          sacrifice and dedication should
          never be forgotten. So I’ve
          decided to honor their memory and
          the institution that is America’s
          Toughest Model by --

We pull out fast to reveal Becky standing in a Roman
gladiator outfit, stiletto heels. She is surrounded by a
dozen models of various sizes and shades, all in similar
attire, all in fierce poses.

                    BECKY (CONT’D)
          ... becoming the new host! Join us
          this season as we find out who can
          be like me, and become America’s
          Toughest Model!

THE END

As the CREDITS roll:


EXT. ARIZONA DESERT - DAY

A card reads:   Six Months Later

A pair of hands lifts a pan full of stones from under some
water, swishing them around.

In his Boy Scout uniform, RYAN, 12, pans for gold next to a
stream. A little downstream, more of his troop looks for
their own treasure.

The sound of rocks brings the boy’s attention to another
scout, PAT, also 12, ambling toward him from around a bend in
the river.

                    PAT
          Hey dude! Check it out!    I think
          someone lives down here.

                    RYAN
          Whatever, douche bag.

                       PAT
          Seriously!

Ryan sighs and follows his friend.
                                                          96.



They round the bend and see some gauzy clothes hanging
outside of a small cave.

                    PAT
          Told you, asshole.

                    RYAN
              (calls toward cave)
          Hello?

A beat, then a husky voice from inside.

                    HUSKY VOICE (O.S.)
          Hello?

The boys’ eyes go wide.

Hot chick music, and a thin, scantily clad, super-hot woman
appears slowly from the cave. Her face is obscured by the
large sun hat she is wearing.

She tilts her head up.    We see it is Chantelle, now skinny.

                    CHANTELLE
          I’m rescued.

Fade to black.

								
To top