VIEWS: 13 PAGES: 97 POSTED ON: 3/30/2011
FIERCE by Ryan Pfeiffer & Patrick Viall 310-401-0232 email@example.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.
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