The Battle of Bamber Bridge

Have you heard of the Battle of Bamber Bridge? If not, don’t be alarmed. This is an event that many Americans are unaware of. It may have something to do with the fact that it took place in a different country. But the event involved mostly Americans during one of the scariest moments in history: World War II.

In 1943, U.S. forces were sent to the village of Bamber Bridge, Lancaster in Great Britain where something surprising happened to the black American troops: they were treated with the same respect as their white counterparts. The all-black 11511^th Quartermaster Truck Regiment troops and the 234^th US Military US Military Police constantly got into frequent fights with each other over racial tensions during this time. The British have welcomed the black troops with open arms and even welcomed them in their local establishments. The white American troops began to worry that the black soldiers would feel inspired by their equal treatment and stir trouble by fighting to bring the same equality they experienced in Great Britain back to the U.S. In Jim Crow America, it was normal for black people to wait to be served when a white customer is around-even if the black person was in line first. The British barmaids refused to practice this: they demanded that the white soldiers wait their turn while they serve the black soldiers. This is one of many examples that caused the U.S. forces to address this equal treatment. The soldiers of 234^th unit asked the pub owners to use the same segregation practices that were used back home. The pub owners complied – but not the way the white American troops expected. The next day, when the white American soldiers went to visit the pubs, they were outraged to see signs posted on each of the three establishments stating “Black Troops Only.”  

On June 24, two MPS, Corporeal Roy A. Windsor and PFC Ralph F. Ridgeway entered Ye Old Hob Inn to arrest Private Eugene Nunn of the 1511^th for supposedly being improperly dressed and without a pass. The black soldiers began to argue with the MPs. The British soldiers and locals even sided with the black soldiers, demanding that the MPs leave the 1511^th unit alone. The argument almost escalated into a fight but Sergeant William Byrd of the 1511^th managed to persuade the MPs to leave. Private Lynn M. Adams threw a bottle at the MPs as they were driving away, prompting them to drive to their base to get reinforcements to arrest the black soldiers.

As the black soldiers were returning to their base, they were confronted by the MPs. A fight broke up and one of the MPs shot Private Adams of 1511^th in the neck. News of the battle spread as well as the news of the race riot in Detroit. The news of the riot and the fight caused the 1511^th unit to worry that the MPS will come to their camps. Around midnight more MPs did arrive with a machine gun-equipped vehicle, causing the black soldiers to panic. They raided the MP’s gun room and armed themselves with rifles. Both sides began shooting at each other. One soldier, Private William Crossland of 1511^th was shot in the back and killed. Five soldiers and two MPs were injured. Two trials were held, resulting in the conviction of 27 out of 32 black soldiers being found guilty for mutiny and other charges. The British public made an outcry, disgusted with the treatment of the soldiers. The outcry forced the sentences of the black soldiers to be reduced or dismissed. The original convictions ranged from five to fifteen years. After the reduction, the longest sentence lasted for thirteen months. After most of the black soldiers served their sentences, they went back on duty.

While the riot has stayed out of the American press (which may explain why a lot of Americans don’t know about this event), it turns out the riot was a precursor to the abolishment of racial segregation in the US Army in 1948.

Sources: https://www.blackpast.org/global-african-history/events-global-african-history/the-riot-of-bamber-bridge-1943/

https://theconversation.com/black-troops-were-welcome-in-britain-but-jim-crow-wasnt-the-race-riot-of-one-night-in-june-1943-98120

https://www.warhistoryonline.com/history/the-battle-of-bamber-bridge.html

Werrell, K. (1975). Mutiny at Army Air Force Station 569: Bamber Bridge, England, June 1943. Aerospace Historian, 22(4), 202-209. Retrieved July 28, 2021, from http://www.jstor.org/stable/44523444

Artemis Episode 1: “Pilot”

OVER BLACK. We hear the sound of RUNNING and HEAVY
BREATHING. FADE IN ON EXT.
FOREST EVENING
TITLE CARD: “TEN YEARS AGO” appears.
A forest. The moon glistens in the sky. A bunny hops over to
the bushes. Everything seems peaceful. UNTIL The
bushes rustle. The bunny hops out of the way in time as
a foot emerges.
A WOMAN, presents as mid20s,
rushes out of the bushes,
pulling on someone’s hand, a GIRL, around her midteens,
who
holds another girl’s hand. The woman wears a purple gown and
black boots. Her physical features are different from a
human’s her
features are more ethereal. She is ELIN.
The girls have features more similar to a human’s. They
both wear brown robes and black boots. One of them DIANA
carries
a bow and arrow on her back.
The girl behind her struggles to keep up with the pace of
the others. She carries a dagger in her hand. She looks
behind her and slows down for a second. This is ARTEMIS.
ELIN
Keep moving!
ARTEMIS
But what about Dad?!
ELIN
He’ll catch up! Come on!
Elin and the girls run through the forest. They stop at a
tree trunk. The tree is old and huge.
Elin places her fingers against the bottom of the trunk. She
closes her eyes.
ELIN (cont’d)
Opna.
A gaping hole appears. Elin pushes her daughters through
before heading through herself. The hole closes up. The tree
returns to its previous state.
INT. TREE EVENING
There is a small room with a wooden desk, a table and four
chairs. On the desk is a sword. The sword is sharpening
itself. The floor is actually dirt.
Elin reaches out her hand. The sword flies into her hand.
ELIN
Sit.
DIANA
Mom, whatELIN
Sit!
Artemis and Diana sit on the floor. Elin sticks her sword in
the dirt and draws a circle around the girls.
ELIN (cont’d)
Hold hands.
The girls grab each other’s hand.
ELIN (cont’d)
Diana, you are going to keep your
sister safe.
DIANA
Aren’t you coming with us?
ELIN
I’m afraid I can’t. Someone has to
stay here and keep her Royal
Bitchness from finding your sister.
ARTEMIS
Mom, please don’t leave us.
Elin bends down and looks Artemis in the eyes.
ELIN
I’m not going to leave you. I’ll
always be with you. Right in here.
She places her hand on Artemis’s heart.
Elin stands up and makes a motion with her fingers.
ELIN (cont’d)
Freya, please take my daughters from
this world.
(MORE)
2.
Take them to a realm where the First
ELIN (cont’d)
Witch cannot touch them. Not as long
as they are together.
The tree begins to unfurl. A dark light fills up the
entrance as a SHADOWY FIGURE emerges. The figure wears a
black robe and the person’s head is covered with a hood. The
figure’s arm stretches out, emitting a dark light.
ELIN (cont’d)
Okay, look, I don’t have a lot of
time right now! Take my daughters out
of here now!
SHADOWY FIGURE
Hand her over to me.
ELIN
Like hell.
Elin lifts up two fingers and a swirling light slams into
the figure. The shadowy figure absorbs the attack.
ELIN (cont’d)
Well, shit.
A stronger blast of light hits Elin, slamming her into the
wall.
ARTEMIS
Mom!
She lets go of Diana’s hand and runs toward her. She bumps
into an invisible force shield. She cannot leave the circle.
Elin restarts
the motion with her fingers.
ELIN
Freya, I know you can hear me and you
know she is your last chance! And you
owe me, dammit! Take my daughters out
of this realm NOW!
The circle begins to evaporate. Their surroundings begin to
fade away. Artemis pounds on the circle.
SHADOWY FIGURE
No!
The shadowy figure runs to them. Diana runs over to Artemis
to grab her.
It is too late Artemis
vanishes.
3.
DIANA
Artemis!
A second later, Diana vanishes. The only thing left is the
circle.
SHADOWY FIGURE
Dammit!
(to Elin)
Where is she?
ELIN
A place where you can’t find her. It
must really suck to be you.
The shadowy figure walks over to Elin. She picks her up by
the throat.
The figure’s hood falls from her face and we see a woman.
MARA. She is beautiful as she is terrifying. Her eyes are
dark. Her lips curl into a cruel smile.
MARA
You underestimate me. I thought you
of all witches would know better.
ELIN
(smiling)
And I thought you of all witches know
better than to mess with the will of
the gods.
Mara frowns a
nerve is struck. She snaps Elin’s neck and
drops the body to the floor.
Mara turns back to where the circle was. She closes her
eyes.
INT. HOPEWELL HOSPITAL EVENING
Artemis opens her eyes. She shoots up. She wears a hospital
gown. There is a white bandage on her forehead. Artemis
looks around her.
A NURSE comes in her room. The nurse hurries over to her.
NURSE
Hi.
Artemis jumps, startled.
4.
NURSE (cont’d)
It’s okay, it’s okay. You’re safe.
ARTEMIS
Where am I?
NURSE
You’re at the hospital.
ARTEMIS
Hospital?
NURSE
Do you remember what happened before
you woke up?
Artemis shakes her head.
NURSE (cont’d)
Do you remember your name?
Artemis closes her eyes and takes a deep breath. There is a
pause.
ARTEMIS
Artemis. My name is Artemis.
BLACKOUT.
END OF TEASER
5.
ACT ONE
INT. HOPEWELL HOSPITAL PATIENT
ROOM DAY
TITLE CARD: “PRESENT DAY”
Artemis, now in her mid20s,
looks over a clipboard. A MAN
lays in the same hospital bed we found Artemis in years ago.
ARTEMIS
Okay. You are free to go.
MAN
Finally.
ARTEMIS
But…you still need to be careful.
You cannot look at any screens for
awhile. That includes television and
cell phones.
MAN
Are you sure we can’t get around the
cell phone deal? I literally need it
to work.
ARTEMIS
Looking at any screen including a
cellphone will prolong your
concussion. You can follow up with us
in a few weeks and we’ll see if
you’re ready to look at your phone
then.
MAN
(sighs)
Fine.
ARTEMIS
Don’t worry. Everything will be
normal again soon.
INT. HOPEWELL HOSPITAL HALLWAY
DAY
Artemis leaves the patient’s room. DR. GARY SINGER, early
30s, walks down the hallway. He wears a white coat and blue
scrubs. He looks excited.
GARY
Houston, we have succeeded!
6.
ARTEMIS
The surgery went well?
GARY
Very well. Not bad for a firsttimer.
Please don’t tell my patient that.
ARTEMIS
Congratulations.
GARY
Let’s celebrate! There’s a new
karaoke bar that just opened a couple
blocks from here. We should go
tonight.
ARTEMIS
I can’t.
GARY
Can’t or won’t?
Artemis heads down the hall. Gary follows her.
GARY (cont’d)
C’mon, Artie. It’ll be fun. Plus,
it’ll help you take your mind off…
well, whatever it is you need to take
your mind off of.
ARTEMIS
One, I told you not to call me that
and Two, it’s not that I don’t want
to go out. It’s just…
Artemis stops walking and looks through a window.
A patient lies in a bed, eyes closed. A man stands over her,
placing a gentle kiss on her forehead. The man is tired and
struggling not to cry.
Gary looks through the window as well.
GARY
Oh. Today’s the anniversary.
ARTEMIS
Yeah. Today is the day I realize I
still can’t remember a thing about
that night.
7.
GARY
That…must’ve been rough. Waking up
in a hospital bed all alone. But you
are wrong. Today is the day you found
out you were a survivor. Come on.
We’ll celebrate surviving my first
surgery and surviving your first and
last mugging.
And as for the
folks who abandoned you, screw them.
They don’t deserve you. They don’t
deserve to know that you grew up to
become a kickass
doctor. Just not as
kickass
as me.
Artemis laughs.
GARY (cont’d)
What do you say?
ARTEMIS
…Alright. I’ll meet you at the
karaoke bar.
GARY
Yes!
Gary hops around. The other doctors and visitors turn to
look at him. Gary collects himself.
GARY (cont’d)
So, I’ll meet you there at 7:00.
ARTEMIS
7:00 it is.
Artemis slips away. Gary does another brief victory dance.
INT. KARAOKE BAR NIGHT
The place is packed. People sit at tables, as they chat and
sip drinks. A large television screen placed on the wall in
the center of the room. Lyrics to DJ Khaled’s “All I Do Is
Win” is displayed on the screen.
GARY
(singing)
All I do is win, win, win, no matter
what!
Got money on my mind I can never get
enough!
And every time I step up in the
building
(MORE)
8.
Everybody hands go up
GARY (cont’d)
Gary lifts his hands in the air. The crowd follows his lead.
GARY (cont’d)
And they stay there!
Artemis slumps at a table, stirring her drink. A man stops
by and whispers in her ear.
Artemis shakes her head. She points at Gary, indicating he
is her boyfriend. The man glares at him and nods. He slinks
away.
Artemis sighs.
As Gary finishes the song, the crowd cheers. Gary hops off
the stage and takes a bow.
He heads over to Artemis. Another patron is on stage singing
horribly to “Sweet Caroline.”
GARY (cont’d)
Sure you don’t want to go up?
ARTEMIS
I’m positive. By the way, if anyone
asks, you’re my boyfriend.
GARY
Really?
ARTEMIS
Just for tonight.
Artemis lifts up her drink.
ARTEMIS (cont’d)
What shall we toast to?
GARY
To surviving.
ARTEMIS
To surviving.
They clinked their glasses together and sip from their
drinks.
GARY
Yeah, I’ve come a long way from being
a kid who wanted to be a pirate.
9.
ARTEMIS
You wanted to be a pirate?
GARY
Of course. Not the killing and
robbing part, but you know, the
adventure. Fighting bad guys, getting
the girl, you know. The usual stuff.
What about you? Did you always want
to be a neurologist?
Artemis stares at her drink.
ARTEMIS
As long as I can remember. Literally.
Gary notices her somber mood. He pats her shoulder.
GARY
Hey, you know you can’t go to a
karaoke bar without singing, right?
ARTEMIS
Yes I can.
GARY
Nope. You’re next. Both of us. Come
on.
ARTEMIS
No, Gary.
GARY
Come on. I’ll even pick your favorite
song.
Gary grabs Artemis’s hand and pulls her out of her chair. He
leads her to the DJ and whispers in his ear.
As the patron leaves the stage, Gary and Artemis hop on. The
song “A Thousand Miles” by Vanessa Carlton blares on.
Artemis glares at Gary this
is not her favorite song.
GARY (cont’d)
(singing)
Making my way downtown walking fast
Faces pass and I’m home bound
The audience cheer and clap their hands.
GARY (cont’d)
Staring blankly ahead just making my
way
(MORE)
10.
Making a way through the crowd
GARY (cont’d)
Artemis sighs. Might as well go for it.
ARTEMIS
And I need you
And I miss you
And now I wonder
If I could fall into the sky
Do you think time would pass me by?
GARY AND ARTEMIS
‘Cause you know I’d walk a thousand
miles
If I could just see you tonight
In the crowd, a lone patron stares at them. We won’t know
until later on, but this patron is a VAMPIRE. The vampire
watches Artemis with great interest.
EXT. KARAOKE BAR
Artemis and Gary exit the karaoke bar, still singing at the
top of their lungs.
GARY
I’m telling you, we should take this
act on the road.
ARTEMIS
Definitely. Artemis and Gary. Coming
to a shower near you.
The vampire exits the karaoke bar. He follows right behind
the two doctors.
GARY
We should try this again next week.
ARTEMIS
I think you should make this a solo
act.
The vampire shoves Gary to the ground and grabs Artemis.
ARTEMIS (cont’d)
Hey!
The vampire tilts his head over Artemis’s neck. Gary grabs
him by the shoulder and pulls him away.
11.
Artemis drops to the ground. Gary punches him in the face.
The vampire snarls at Gary and grabs him by the throat.
ARTEMIS (cont’d)
Hey!
Artemis hits the vampire with her purse. He flings Gary
away like
he’s a rag doll.
Shocked, Artemis backs up.
The vampire charges at her. Artemis lifts her hands up. A
light emits from her palms.
The vampire stops. He covers his face, screaming. His hands
turn into ash.
As his hands fade away, his face turns old and wrinkly. His
face crumbles into ash, along with the rest of his body.
The light dissipate. Artemis holds her hands out and turns
them over what
was that?!
BLACK OUT.
END OF ACT ONE
12.
ACT TWO
EXT. KARAOKE BAR NIGHT
Artemis lowers her hands. Gary rushes over to her.
GARY
What the hell?!
ARTEMIS
Um…
GARY
What the hell. What the hell. What
the hell!
ARTEMIS
Yes, I get it! It’s a scary
situation!
GARY
I’m sorry, it’s just…you just burnt
that guy with your damn hands!
Artemis gestures toward the ashes.
ARTEMIS
I know. I was there, remember?
GARY
No. No. This is all wrong. People
can’t burn other people with their
hands.
ARTEMIS
Maybe it was a trick of the light. Or
something.
GARY
Or something.
ARTEMIS
Maybe we should call the police.
GARY
And tell them what? That you burned
someone with your bare hands?
Artemis looks at her hands. Her hands shake uncontrollably the
reality of the situation kicks in.
13.
ARTEMIS
Oh goodness. What did I do? What did
I do?
She moves toward Gary.
Gary jerks back.
GARY
Whoa, whoa, whoa! Put those down!
Artemis pulls her hands close to herself.
GARY (cont’d)
Look…it’s been a strange night. And
we’re both a little drunk. Maybe we
imagined it. That’s it. This is all
in our imaginations.
ARTEMIS
Yeah, yeah, you’re right. It was a
hallucination.
GARY
Definitely a hallucination. Okay, so
let’s just go home, sleep it off, and
worry about this later.
Gary glances back at the ashes.
ARTEMIS
Sounds good.
Artemis starts forward. Gary moves away from her.
GARY
You go first.
EXT. SCANDINAVIAN VILLAGE DAY
TITLE CARD: “356 B.C.”
Mara strolls down the road, carrying a basket.
LOKI (O.C.)
Lovely day, isn’t it?
Mara stops. She turns her head to see LOKI. He wears a green
cloak with shoulderlength
hair. He is incredibly handsome.
LOKI
It’s almost as lovely as you are.
14.
MARA
Who are you?
Loki leers toward her.
LOKI
Now that is a good question. Perhaps
if you allow me to walk you to your
destination, I’ll tell you.
MARA
Thanks for the offer, but I’ll pass.
Loki is taken aback.
LOKI
I’m sorry, I don’t think I heard you
correctly.
MARA
Did you hear ‘No’? If so, then your
ears are working fine.
Loki grabs her by the arm. Mara drops her basket.
LOKI
You dare to turn me down? Are you
blind?
Mara shoves at Loki’s chest. Loki flies back from her,
falling to the ground. He looks up, shocked.
LOKI (cont’d)
What are you?
Mara scoops up her basket.
MARA
That’s none of your concern. But
understand this, sir. My father is a
powerful man. If you don’t fear me,
you should fear him. He will
certainly put your head on a pike.
Loki scowls.
LOKI
Believe me, Mara. I am a very
powerful man. And I’ll make you wish
I put your head on a pike.
Loki vanishes in a cloud of smoke. Mara is dumbfounded.
15.
INT. ARTEMIS’S HOUSE HALLWAY
NIGHT
Artemis enters her house. She flicks on the light.
A box rests on her living room table with a note taped to
it.
ARTEMIS
What the hell?
Artemis strolls to the table, looking around the living
room.
No one in sight.
She snatches the note.
ARTEMIS (cont’d)
(reading)
Visit every place shown in each
photograph if you want to remember
what happened to you.
Artemis slowly peers inside the box.
Several pictures are strewn inside. It appears they were
tossed into the box haphazardly.
Artemis picks up a photo.
CU: The photo shows a sports bar close to a sign reading
“Marple Street.”
Artemis drops the photo in the box and closes it.
EXT. ARTEMIS’S HOUSE BACKYARD
Artemis chucks the box in her trash can.
ARTEMIS
No more surprises.
She looks up at the sky. The moon stares down at her.
Artemis closes her eyes. She clenches her fists.
ARTEMIS (cont’d)
(to herself)
Okay then. Good talk.
Artemis heads back to the house.
16.
INT. HOPEWELL HOSPITAL HALLWAY
Artemis enters the hospital.
Gary strides toward Artemis.
GARY
Last night was crazy, wasn’t it?
ARTEMIS
What do you mean?
GARY
I mean, we had a blast at the karaoke
place! We sang a few songs, had a few
drinks. I was so drunk I thought I
saw you kill a vampire.
(laughs)
Man, we had a good time.
ARTEMIS
Um, yeah. Maybe you should go easy on
the alcohol, buddy.
GARY
So, I was wondering. Maybe we can go
to the Hot Spot? Grab some dinner?
ARTEMIS
The Hot Spot? Isn’t that place
expensive?
GARY
Yeah. But it’s a really nice place.
It’s nice, quiet, and maybe we could
DR.
HODGES (O.C.)
Robinson!
A neurosurgeon, DR. HODGES, hurries to Artemis. She is
around mid to late 30s.
DR. HODGES
Dr. Robinson! Where have you been?!
ARTEMIS
I’m sorry, Dr. Hodges, I had DR.
HODGES
We have a patient waiting for you.
Stop fooling around and get in there!
17.
Dr. Hodges storms away. Artemis groans.
ARTEMIS
Can we do a rain check? I’m not up
for dinner tonight.
She trails after Dr. HODGES to the operating room.
GARY
Yeah, sure. No problem!
(to himself)
Smooth, Gary.Real smooth.
INT. HOPEWELL HOSPITAL OPERATING
ROOM
Artemis stands next to the operating table. The patient is
prepped on his side, pillows in front and behind him,
wrapped in a blanket.
The head lays on a head holder. A computer screen rests next
to the bed, showing images of the patient’s brain.
Artemis holds the wand over the patient’s head. She turns to
the screen. The brain tumor is lodged in the parietal lobe.
Artemis makes an incision in the patient’s brain.
ARTEMIS
Come on, tumor.
DR. HODGES
Do you see it?
ARTEMIS
The screen shows in in the parietal
lobe. I still don’t see it.
Artemis pauses. Her hands glow with a dim white light.
Artemis steps away from the patient.
DR. HODGES
What are you doing?
The patient’s heart monitor begins to flatline.
DR. HODGES (cont’d)
Dammit, we’re losing him.
Dr. Hodges grabs the incisor from Artemis and explores the
parietal lobe.
18.
Artemis’s hands glow brighter.
ARTEMIS
No, no. Not now!
DR. HODGES
Dr. Robinson, what The
light explodes from Artemis’s hands. The nurses and
other doctors freeze. It’s like time as stopped.
In a trance, Artemis places her hand on side of the
patient’s head. His head starts to glow.
The monitor screen stops flatlining.
Artemis snaps out of
her trance as the light vanishes.
The rest of the staff unfreeze.
DR. HODGES (cont’d)
Oh my goodness.
DOCTOR #2
The tumor’s gone.
The doctors look at each other, confused. Artemis is shaken.
INT. HOPEWELL HOSPITAL HALLWAY
Gary pulls out a bag of chips from the vending machine. He
turns around to see Artemis standing next to him.
ARTEMIS
The vampire was real.
GARY
What?
ARTEMIS
The vampire from last night. He was
real, and I killed him.
GARY
Artemis, are you feeling okay?
Artemis grabs Gary by the arm and pulls him into…
INT. HOPEWELL HOSPITAL SUPPLY
CLOSET DAY
Artemis closes the door.
19.
ARTEMIS
Gary, the light I used to burn the
vampire last night? I used it again
during my surgery.
GARY
What?
ARTEMIS
No one got hurt. I used the light to
remove the tumor from the patient.
Gary stares at her, confused.
GARY
Artemis. Maybe you’re still a little
hungover.
ARTEMIS
I’m not hungover! I didn’t even get
that drunk last night and neither did
you!
GARY
Forget about last night for a minute.
What happened today in that operating
room. That wasn’t magic. You helped
that man with your hands, your brain
and science. Your patient probably
never had a brain tumor in the first
place. You probably confused it with
something less serious.
ARTEMIS
I didn’t confuse it with anything,
alright? It was a brain tumor.
Something weird is going on right
now.
Gary sighs.
GARY
Let’s pretend for a second that I
believe you can do magic or whatever
it is. What do you plan to do about
it?
ARTEMIS
I think I need more answers about
this. And there’s only one person who
has them.
20.
INT. FREYA’S TEMPLE NIGHT
Mara bursts into the temple. Her sleeve is torn and her gown
is rumpled.
She spreads out a jar of honey, a couple of flowers wrapped
in a cloth and mead in front of Freya’s statue.
She places four candles each in different directions. She
lights them.
She kneels down on her two legs and closes her eyes.
MARA
Freya, I made a mistake. I turned
down the god of mischief when he
sought my company. He came back
tonight. He said he’ll give me one
more chance to do the right thing,
He…
Mara stops and catches her breath.
MARA (cont’d)
I refused him. He tried to have his
way with me. So I may have stabbed
him. In his thigh. I was shooting for
a completely different part. I don’t
think he will stop. He’s going to try
again, I know he will. Freya, I ask
for your protection. Grant me this
and my life is yours.
The candles blow out. Mara searches around the temple.
FREYA (O.C.)
What a foolish thing to ask for.
FREYA, a beautiful woman, emerges from the shadows. She
wears a brown dress with a brown cloak.
FREYA
I can’t protect you from Loki. If I
do that, I can risk starting a war
with him.
MARA
You’re the warrior goddess. Starting
wars is what you do!
21.
FREYA
Not within our own pantheon. Your
prayer is useless. You should’ve
given him what he wanted.
Freya glances over her offerings.
FREYA (cont’d)
And you should’ve brought jewelry. Or
read me a poem. Anything but this.
MARA
Are you telling me the Valkyrie Queen
is afraid of Loki?
The statue of Freya starts to tremble.
FREYA
Watch your tongue.
MARA
You can’t do anything? Cast me with
a protection spell or something?
The statue trembles a bit more.
FREYA
No.
(beat)
I’ve grown tired of this
conversation. Get out.
A green cloud of smoke envelops Freya.
MARA
Don’t you leave me!
Mara sticks out her hand. The statue falls to the ground.
It crumbles. Freya looks at the statue and back at Mara.
Mara appears horrified.
FREYA
Who are you again?
MARA
Marcelina Helvig.
FREYA
Who is your father?
MARA
Ivar Helvig.
22.
FREYA
Ivar.
Freya appears stunned. She looks at Mara in a new light. She
starts to reach for her but stops herself.
Freya turns toward the remains of her statue.
FREYA (cont’d)
You misunderstand. I’m not afraid of
Loki. It’s his blood brother that I
fear. If I go to war with Loki, then
I’ll go to war with Odin as well.
That cannot happen. Both for my sake
and yours.
Freya circles around Mara, studying her.
FREYA (cont’d)
However, I can help you protect
yourself.
She sticks out her hands.
FREYA (cont’d)
Give me your hands.
Mara hesitatingly places her hands in Freya’s. Freya closes
her hands over Mara’s.
FREYA (cont’d)
You have an extraordinary gift. A
gift that doesn’t belong to mortals.
I can teach you to be more than you
already are. But if I help you, you
will be hated among your kind. For
humans hate what they don’t
understand. And you cannot share this
gift with other mortals. Are you
prepared to make that choice?
Mara nods her head.
MARA
I am.
EXT. LINDA’S HOUSE DAY
Artemis and Gary stand on the porch. Artemis knocks on the
door.
23.
LINDA opens the door. She’s bubbly. That is until she
realizes who is at her door.
LINDA
Artemis?
ARTEMIS
Hi Linda.
LINDA
What are you doing here?
ARTEMIS
It’s nice to see you too.
Linda peers over Artemis’s shoulder.
ARTEMIS (cont’d)
This is my friend, Gary.
GARY
Hey. Nice to meet LINDA
You didn’t answer my question.
ARTEMIS
Can we talk inside?
LINDA
Fine. Come in.
INT. LINDA’S HOUSE LIVING
ROOM DAY
Artemis and Gary slide into the couch opposite Linda.
LINDA
I’d offer you something, but you’re
not really a guest. More like a
cancer.
GARY
Did I miss something?
ARTEMIS
Look, this isn’t a social call.
LINDA
Clearly.
24.
ARTEMIS
I need to know what you saw in me.
What was it about me that made you
hate me. Did I do anything weird? Did
my hands glow or..
LINDA
Hands glow? Are you on drugs?
ARTEMIS
Answer my question. That day, when I
was playing outside with Tess. That
was the day you started to hate me.
Why?
A beat.
Linda sighs.
LINDA
You and Tess were playing kickball in
the middle of the street. Do you
remember?
ARTEMIS
I try not to. But yes.
LINDA
(to Gary)
I told them to get on the sidewalk,
but they didn’t listen. Tess got hit
by car. She shouldn’t have survived.
(to Artemis)
Then you touched her chest…and she
got up. Her wounds were gone. She
felt okay. It was like she never got
hit. The driver called it a miracle.
But I knew it had something to do
with you.
A beat.
LINDA (cont’d)
I don’t hate you, Artemis. I hate
what you can do. It’s not natural.
Artemis stands up it’s
too much to take in.
ARTEMIS
Do you have any idea who my parents
are?
25.
LINDA
No. All I know is that someone found
you lying in the middle of the
street. But I think your parents gave
you up because they saw what I saw a
freak.
Artemis closes her eyes she
will not cry.
GARY
(stands up)
You’re out of line, lady! She has a
gift, a gift to help people. If it
wasn’t for her this Tess person
would’ve been dead. You should be
thanking her!
LINDA
For interfering with God’s will? I
think not.
Artemis glares at Linda.
ARTEMIS
At least I know now why you never
searched for me when I ran away.
(to Gary)
We’re done here.
Artemis storms out the door. Gary glares at Linda one more
time before he follows Artemis. He slams the door shut.
LUCAS (O.C.)
That went well.
A VAMPIRE, LUCAS, emerges from behind Linda. He wears a
flannel shirt and jeans. His hair is untidy.
LINDA
(frightened)
You got what you wanted. Now, please
let me go.
LUCAS
Not yet.
Lucas leans over Linda’s shoulder. He smells her neck savoring
the idea of drinking her. Linda shakes
uncontrollably.
LUCAS
I want to know where she came from.
26.
LINDA
Like I said, she was found on a
street LUCAS
Yeah, I got that part. But she didn’t
just appear on the street. What else
do you know about her?
LINDA
She used to talk about dreams. Dreams
of running away from someone.
LUCAS
Like who?
LINDA
Someone in a black cloak. This person
wanted to kill her.
LUCAS
Wow, Linda. That is pretty useless.
Lucas bare his fangs open. He leans forward.
LINDA
Wait! In her dream, she wasn’t alone.
She was with a woman and another
girl. The woman was protecting her.
The person in the cloak called her
Elin.
Lucas backed up in disbelief.
LUCAS
Elin?
LINDA
Yes. And the other girl was Diana.
But that’s all I ever heard from her.
LUCAS
If her mother is who I think she is,
then she has very powerful magic.
With magic that powerful, I can use
her to control the city.
Lucas backs away from Linda.
LINDA
Will you let me go now?
Lucas smiles at her.
27.
LUCAS
Yes.
Linda breathes a sigh of relief.
The Lucas bares his fangs. He places his hand on Linda’s
mouth and bites her throat.
BLACK OUT.
END OF ACT TWO
28.
ACT THREE
EXT. DREAM WORLD FOREST
NIGHT
Artemis stands in front of a tree. It’s the same tree she
and her family fled into years ago.
Artemis touches the tree trunk.
DIANA (O.C.)
It’s about damn time.
Artemis turns around. DIANA, a beautiful woman presents as
midtwenties,
approaches the tree.
DIANA
Ten years I’ve been here, waiting for
you. I was starting to think you were
dead. And then I realized if you were
dead, I would be dead too.
Artemis examines her, warily.
ARTEMIS
Who are you?
DIANA
Oh, that’s right. You don’t remember
anything. I wish I could forget who I
am. It would’ve made the past ten
years so much easier for me. Spending
less time looking for you, less time
getting trapped in here ARTEMIS
I’m sorry. Do you know me?
DIANA
Isn’t that what I just said?
ARTEMIS
You didn’t say anything! Who the hell
are you?
DIANA
The missing piece to your puzzle.
Diana places her hand on the tree.
DIANA (cont’d)
This was our home. Before the Royal
Bitchness kicked us out.
29.
ARTEMIS
Who?
DIANA
The woman who wants to kill you. I’m
guessing you didn’t run into her yet.
Good. There’s still time.
ARTEMIS
This is definitely a dream. I knew I
shouldn’t have eaten those chips
right before bed.
DIANA
It’s not just a dream. You’re stuck
in the realm between sleep and
consciousness. I’m surprised you
haven’t come here sooner.
Diana turns to her.
DIANA (cont’d)
Listen to me, Artemis. You need to
remember who you are. If you don’t,
you will be helpless when the First
Witch comes.
ARTEMIS
The First Witch?
DIANA
Yes. And if she finds you, it’s going
to be the end for all of us. Do you
follow?
ARTEMIS
No, I don’t.
DIANA
(sighs)
I can’t believe you’re our last hope.
ARTEMIS
Hey, I didn’t ask to be. I’m not some
savior or whatever. Well I am, but
only in the hospital. What am I
saying? None of this is real. This is
all just a figment of my imagination.
Diana pinches Artemis’s arm.
ARTEMIS (cont’d)
OW! What was that for?
30.
DIANA
To prove this isn’t a dream. Isn’t
that how mortals test to see if
they’re awake?
The forest begins to fade away. The scene dissolves into
darkness.
DIANA (cont’d)
And we are out of time. Follow the
photos. Photos will answer questions.
ARTEMIS
What if I don’t want to follow the
photos?
DIANA
You do. Trust me.
Diana embraces Artemis. Artemis keeps her arms to her side,
still uncertain of what is happening right now.
DIANA (cont’d)
It’s good to see you again, sister.
Diana releases Artemis. She vanishes.
ARTEMIS
Hey!
Artemis looks around frantically. The darkness envelops her.
INT. ARTEMIS’S HOUSE BEDROOM
NIGHT
Artemis’s eyes pop open. She throws the blanket off of her.
She has to get that box.
EXT. ARTEMIS’S HOUSE BACKYARD
NIGHT
Artemis unearths the box from the trash can. She pulls out a
photo of Marple Street.
ARTEMIS
This is crazy. It was only a dream.
Artemis doesn’t look certain about that.
She sighs.
ARTEMIS (cont’d)
I guess there’s only way to find out.
31.
EXT. VILLAGE DAY
Mara bounces down the road. She comes across a wilting
flower.
Mara lays her hand on it. The wilting flower begins to
bloom full
of life again.
LOKI
Neat trick.
Mara sighs.
MARA
What do you want now? Didn’t you
learn your lesson from last time?
LOKI
The painful memory of regrowing Loki
Jr. after you removed it stays with
me. I wish you no harm, sorceress. In
fact, I came here to apologize for my
behavior.
Mara is suspicious.
MARA
Is that so?
LOKI
Yes. In fact, I want to give you to
know how truly sorry I am about
everything.
MARA
Why should I believe you? How do I
know this isn’t a trick?
LOKI
How about this? We’ll go for a hunt.
We’ll make it a hunting contest. If
you get the first hit, I will leave
you alone. I will never bother you
again.
Mara narrows her eyes.
MARA
And if you win?
32.
LOKI
You are mine. And you cannot use
you’re magic against me EVER.
A beat.
MARA
Deal.
LOKI
Wonderful.
Loki waves his hands. She and Loki vanish.
EXT. WOODS DAY
Loki and Mara appear behind a pair of bushes. A stag stands
a few inches from them, wandering around.
LOKI
I probably should’ve asked you first:
have you ever gone hunting before?
MARA
A couple of times.
LOKI
Then you get the gist of it. I’ll go
first.
A bow and arrow magically appears in both Loki and Mara’s
hands. Loki pulls back his arrow against the bow.
LOKI (cont’d)
The trick is to be really, really
quiet.
MARA
(annoyed)
I know.
Mara repeats Loki’s actions. She studies the stag carefully.
LOKI
On three. One…two…three…
Mara lets the arrow fly. It hits the deer right in the side.
The deer yelps as it staggers to the ground.
MARA
Ha!
33.
She turns to Loki, only to realize he never let his arrow
fly. Loki smiles.
LOKI
Oh, I forgot one important detail.
The deer transforms into a young man. He lays on the ground,
naked and severely injured.
Mara stares at the man in horror.
LOKI (cont’d)
That stag was Thor’s son. Like I
said, I will leave you alone forever.
But I can’t promise Thor will. He’ll
be so upset once he finds out what
you’ve done.
Mara dropped her bow.
MARA
You bastard.
LOKI
I’d watch that tongue of yours if I
were you, Marcelina. It’ll only get
you into more trouble.
The sky turns gray. Thunder and lightening roars through the
air. Loki looks up to the sky and smiles.
Mara flees from the scene.
EXT. MARPLE STREET NIGHT
Artemis and Gary stand under the street sign: “MARPLE
STREET.”
GARY
You found a box of random pictures in
your house, and you don’t think
that’s suspicious?
ARTEMIS
If I didn’t, I wouldn’t have thrown
them in the trash.
GARY
How about contacting the police? Tell
them someone broke into your house
and dropped it off.
34.
ARTEMIS
There were no signs of a breakin.
I
checked. Besides, what’s harmless
about a box of pictures? The police
would just think I’m crazy.
A beat.
ARTEMIS (cont’d)
Gary, the girl in my dream said each
photo will help me remember who I am.
I know it sounds crazy, but I have to
know if it’s true.
GARY
Do you remember anything right now?
Artemis searches her surroundings. She glances at the sports
bar across from her.
ARTEMIS
Nothing.
GARY
See? It was just a dream.
Artemis lets out a sharp cry. She closes her eyes in pain.
FLASH IMAGES: A young Artemis falls from a portal in the
sky. She hits her head on the ground. Hard.
Artemis opens her eyes. Gary holds her up.
GARY (cont’d)
You okay?
ARTEMIS
I remember something. I fell out from
the sky, and I landed her.
Artemis touches the ground where she hit her head all those
years ago.
ARTEMIS (cont’d)
Gary, I don’t think I’m from here.
LUCAS (O.S.)
Funny. Neither do I.
Artemis and Gary look behind them. A group of vampires led
by Lucas surround the doctors.
35.
LUCAS
Gentlemen. Let’s eat.
BLACK OUT.
END OF ACT THREE.
36.
Act Four
EXT. MARPLE STREET NIGHT
Lucas steps forward as Gary moves in front of Artemis.
GARY
We don’t want no trouble, man.
LUCAS
Then you should’ve never killed my
brother.
ARTEMIS
What?
LUCAS
That vampire you killed two nights
ago? That was my brother.
ARTEMIS
Oh goodness. I’m sorry GARY
No she’s not. Your brother tried to
kill us. He got what he deserved. Now
go before my friend lights your ass
up too.
The vampires growl in unison. Artemis notices her hands are
glowing.
ARTEMIS
Stay back! I’m warning you!
Lucas jumps at her. Artemis shoves her hands around Gary,
emitting a ray of light.
The vampires turn their heads in pain. Artemis’s light
starts to fade.
ARTEMIS (cont’d)
Run. Now!
Artemis and Gary hurry inside the sports bar.
The vampires regain their bearings.
LUCAS
Don’t just stand around, people! Go
get them.
37.
The vampires head to the sports bar.
INT. SPORTS BAR NIGHT
The bar is crowded. People are playing pool, watching
television, and eating.
A few vampires run inside, pushing people aside. Lucas
notices a woman. She wears an outfit similar to Artemis.
Lucas grabs her by the shoulder and whips her around. It’s a
completely different woman.
Furious, Lucas shoves the startled woman away from him. As
Lucas storms away, a waiter strolls behind him.
Artemis and Gary hide behind the waiter as they make their
way to the back of the sports bar.
Artemis and Gary leaves the waiter as they notice the back
door.
GARY
This way!
EXT. SPORTS BAR ALLEYWAY
NIGHT
Artemis and Gary head out the back door. Lucas immediately
grabs Artemis.
GARY
Artemis!
Two vampires grab Gary, holding him down. Artemis bites
Lucas’ hand. Lucas screams.
ARTEMIS
See how you like it!
Lucas slams Artemis into the wall.
LUCAS
Stay down!
He tilts her head back. Gary struggles against the other
vampires but they are too strong.
LUCAS (cont’d)
I’ve always wondered what the
descendant of Freya tastes like.
38.
He sinks his teeth into her throat. Lucas feeds on her for a
few seconds…then he pulls himself away.
He falls to the ground, shocked. He looks at his hand,
covered in Artemis’s blood.
LUCAS (cont’d)
You’re. One of them. Too?
The other vampires and Gary watch in horror as Lucas begins
to decay.
After a few seconds, Lucas’ ashes are sprawled across the
ground. The vampires look at each other and flee.
Gary stands up in shock.
GARY
Artie…what did you do?
Artemis looks at him in shock she
has no idea.
INT. ARTEMIS’S HOUSE LIVING
ROOM
Artemis and Gary sit on the couch, staring at the box.
GARY
I guess I can’t blame it on the
alcohol this time.
ARTEMIS
We can blame it on drugs. Maybe those
guys drugged us up or something.
Gary chuckles.
GARY
You know damn well they didn’t drug
us.
Artemis smiles.
ARTEMIS
It was worth a shot.
GARY
So what are you going to to with
this?
ARTEMIS
I’m going to visit all of them. Every
single place in these photos.
(MORE)
39.
(pause)
ARTEMIS (cont’d)
I know this sounds crazy, but I
remembered something from my past.
And if following these places will
help me remember who I am, then I
should follow them. And I need to
remember who I am fast because
someone is coming after me and I need
to know why.
GARY
You really think those vampires are
coming back after what you did?
Sorry, I’m still wrapping my head
around that. Vampires. They’re real.
They tried to kill us. And you killed
two of them.
ARTEMIS
In my dream, there was this woman.
She told me that someone was coming
for me. She called her the First
Witch.
GARY
The First Witch? Gee, that sounds
original.
ARTEMIS
I’m serious. She said the First Witch
is coming to get me and I can’t stop
her while I’m like this. If I can
find out who I am, maybe I can find
out how to control these…powers.
GARY
How do you know this dream girl isn’t
trying to set you up? For all you
know, she is the First Witch?
ARTEMIS
No, she’s not. There’s something
different about her. Like I can sense
that her aura is pure and inhuman. I
know that still sounds suspicious,
but I just know I can trust her.
Gary sighs. He rests his hand against Artemis’s back.
GARY
Alright. Where do we go next?
40.
ARTEMIS
Gary GARY
You really think I’m gonna let you do
this by yourself? C’mon, you should
know better than that.
Artemis lets out a small laugh.
ARTEMIS
Okay.
She sticks her hand in the box and pulls out a photo. It is
a picture of a ranch. A young woman sits on top of a horse,
waving at the camera.
FADE TO BLACK.
END OF SHOW.
41.

Rib’n the Bone

FADE IN:
EXT. NEIGHBORHOOD DAY
Modest homes line a bumpy road. CHILDREN play on the front
lawn of one of the houses.
Title card: “1995” appears.
Two boys play catch. The baseball careens into the street. A
BOY goes to retrieve it.
RYANN (12) appears, wearing a backpack, she nearly knocks
into the boy.
She wears shorts and a black shirt. Her hair falls behind
her shoulders. She could be a model in a kids’ magazine.
Ryann dismisses the boy with a wave of her hand. She’s
excited about something and takes off.
KID WITH BALL
Hey watch it!
RYANN
You were in my way, buddy!
EXT. VANESSA’S HOUSE DAY
Ryann rides up to a house, dropping her bike on the front
lawn and runs to the door. Another bike lays in the yard of
the house.
Ryann runs to the side of the house and bends down to pick
up a small rock. She throws the rock at the upstairs bedroom
window.
RYANN
(whisper scream)
Vanessa!
Nothing happens. Ryann picks up another rock and throws it
at the window.
RYANN (cont’d)
(whisper scream)
(MORE)
Vanessa!
RYANN (cont’d)
The window opens and a young girl, VANESSA, 12, sticks her
head out.
She wears overalls with a short white shirt underneath. Her
hair is in a ponytail.
RYANN (cont’d)
Come on!
VANESSA
Alright. I’ll be down. Just give me a
minute.
She closes the window. Ryann runs back to her bike and picks
it up. Vanessa opens the front door and heads straight for
the bike laying on the front yard.
ESSA
Thank goodness my parents won’t be
home until ten. It’s getting harder
and harder to sneak out.
She stops and looks around.
VANESSA
Where’s Kai?
RYANN
He’ll meet us there. Now come on!
Ryann begins pedaling away.
VANESSA
Wait, hold on!
Vanessa begins to pedal, struggling to keep up with Ryann
who is already zipping down the street.
As they ride off, the sky starts to turn dark. A crow flys
in the opposite direction from the kids.
Anything can happen today.
EXT. CAMPSITE EVENING
A campfire licks away at a few twigs.
Vanessa tosses a stick into the campfire, and the fire burns
brighter.
2.
Ryann walks behind the campfire and sits on a log. She opens
her bag and pulls out a flashlight. She sits it on her lap.
The girls are at a campsite, however there is no tent. A
pair of bikes are resting against a tree nearby. The girls
are surrounded by trees and bushes.
RYANN
I hope Kai doesn’t forget the
marshmallows this time.
Vanessa sits next to her. She pulls out a jar of peanut
butter.
RYANN (cont’d)
Ew. Please tell me that’s not for the
s’mores.
VANESSA
Of course it’s for the s’mores. You
never tried a real s’more until you
tried it with peanut butter.
RYANN
In that case, I never want to try a
real s’more.
Vanessa laughs as she places the jar of peanut butter
between her feet. She turns to Ryann.
VANESSA
Hey, do you think Kai would, probably
want to go out with me?
RYANN
Um, you mean like a date?
VANESSA
(rolls eyes)
Of course like a date. I’ve been
trying to find the best way to tell
him I like him since…well, you know
how long.
RYANN
I can’t believe you still have a
crush on him after all these years.
VANESSA
Only for two years. And yeah, I still
do.
3.
Vanessa gets up and walks over to the bushes. She begins
searching the area. She picks up a couple more twigs and
walks back to the campfire. She places the twigs in the
fire.
VANESSA (cont’d)
Ryann, I think I’m going to do it. I
think I’m finally going to tell him.
The bushes begin to rustle. Vanessa and Ryann both start
searching the area frantically.
VANESSA (cont’d)
What is that?
RYANN
Probably a deer.
The rustling grows louder.
VANESSA
That doesn’t sound like a deer.
The girls stand back to back, Ryann darting her flashlight
around. Both girls are getting ready to fight to protect the
other but still look terrified.
A dark shape pops out the bushes. Ryann screams as Vanessa
automatically throws out a punch.
The figure falls to the floor and cries out.
Ryann’s flashlight lands on
KAI, 12,holding his face and rolling around on the ground.
A blue bag full of supplies is laying under him. Kai wears a
baseball cap, black shirt and jeans.
He carries himself with over confidence in usual
circumstances.
VANESSA (cont’d)
(mortified)
Kai?!
Ryann walks over to him and helps him up. She grabs the bag
and tosses it over to Vanessa.
RYANN
That’s what you get.
4.
KAI
I was only messin’ with y’all.
RYANN
Stop messing with us.
Vanessa, embarrassed, opts to distract herself by taking the
supplies out the bag: a box of graham crackers, a bag of
marshmallows, and a jar of peanut butter.
VANESSA
You brought peanut butter?
Kai and Ryann both sit on the log.
KAI
Yeah. I figured you’d want some with
those s’mores.
(turns to Ryann)
I tried it once. It’s actually pretty
good.
RYANN
You’re both disgusting.
VANESSA
Maybe you’d like it if you just try
it.
RYANN
No thanks.
KAI
Is this because of the peanut butter
incident? Man, that happened a long
time ago.
RYANN
Kindergarten was not a long time ago!
And it’s still traumatizing to think
about!
VANESSA
You can’t let the past hold you back,
Ryann.
KAI
For real. You need to get over that.
RYANN
Can we talk about something else,
please? Tonight’s the anniversary of
the day the Trio met.
(MORE)
5.
It’s also a Monday night so we don’t
RYANN (cont’d)
have much time left. Who wants to
start us off?
KAI
I’ll go first.
Vanessa hands Kai the bag of food. Kai reaches for it and
her hand briefly touches Vanessa’s fingers.
Vanessa jumps, her face turning red. She quickly grabs the
bag before Kai has time to notice.
Ryann, however, does notice. She looks between Kai and
Vanessa with a mischievous smile.
RYANN
I hope this story is actually scary.
KAI
It is. I’ve been dying to tell it for
weeks.
Vanessa sits on a log across from Kai and Ryann. Kai, trying
to be subtle but failing, places his hand on top of Ryann’s.
He turns to her and smiles. Ryann moves her hand away and
gives a small smile. Kai looks slightly confused.
Vanessa looks at their hands, a hint of curiosity and
jealousy on her face.
RYANN
(clears her throat)
Vanessa, can I have the food, please?
Vanessa looks up, a bit startled.
VANESSA
Oh. Sorry.
She walks over and hands Ryann the bag. Ryann begins to make
her own s’mores.
RYANN
So, what’s the story?
KAI
Have you heard of the legend of Rib’n
the Bone?
6.
VANESSA
Ribbon the Bone?
KAI
Rib’n the Bone. You know, our city’s
very own urban legend?
RYANN
Yeah right. It sounds like something
you made up.
KAI
No, I’m serious. My dad told me about
it when I was little. Rumor has it
some guy in Crescent Hills used to
eatVANESSA
Wait, aren’t you supposed to tell it
like an actual story?
RYANN
She’s right, Kai. Add some drama into
it.
KAI
(sighs)
All right. It started back in 1935…
RYANN
Wait! Sorry Kai, but I have to get
this out now!
Ryann stands up. She raises her s’more in the air as if she
is about to make a toast.
RYANN (cont’d)
To Vanessa. My best friend. You were
always there for me. To the time I
freed you from the locker when Casey
stuffed you in there to when we both
nearly drowned in the pool during
your ninth birthday party.
VANESSA
You mean when you nearly drowned and
I tried to save you, but you almost
drowned me along with you?
RYANN
(ignoring Vanessa)
To Kai. For showing both me and
Vanessa how to throw a good punch.
7.
Kai begins to open his mouth to say something, but Vanessa
places a finger to her lips. Kai reluctantly stays quiet.
RYANN (cont’d)
For being a great partner in crime,
and for being the reason why we do
camp outs once a year. But most
importantly to meRyann
Johnson.
Cheers!
Ryann bites into her s’more.
KAI
Great speech. Now back to myRYANN
Oh wow. It’s getting late. We should
head back, huh?
Ryann quickly throws the supplies back into the bag. Kai
stands up ready to protest, but Vanessa gives him a pleading
look.
Defeated, Kai begins to help Vanessa put out the campfire.
EXT. WOODS NIGHT
The kids ride their bikes. It is now slightly dark and the
trees are starting to blend together like one big giant
bush. There is a clear mist surrounding the kids.
Ryann squints her eyes as she approaches a clearing on her
right. A rocky road leads right into a grassy area. She’s
been here several times beforebut
something is off.
There is a trail of pieces of bloody meat.
Ryann stops in front of a piece laying in the road, right in
front of her. She looks confused.
RYANN
Hey guys!
Vanessa and Kai catch up to her and stop pedaling.
RYANN (cont’d)
Look at this.
VANESSA
That’s…interesting.
8.
KAI
You think someone lost their lunch or
something?
RYANN
It looks like a trail. I wonder where
it leads to.
VANESSA
Let’s find out.
Vanessa pedals through the clearing.
RYANN
What is she doing?
KAI
Something crazy.
Kai follows after her. Ryann hesitates. Then she hears
rustling close by from the woods behind her.
She quickly pedals after Kai. Behind her, we see a small
dark shape pop up from the bushes.
Watching. Waiting.
EXT. WOODS CONTINUOUS
The woods appears to be huge. The tall trees hover over the
kids as if they are watching them. A mist is shown up ahead.
Ryann looks around nervously. She makes a right turn…and a
female deer hops out right in front of her.
Ryann screams and falls off her bike. The deer disappears in
the other side of the woods.
KAI (O.C.)
You okay?!
Ryann gets up and picks up her bike. Kai and Vanessa are now
riding back toward her.
Vanessa looks concerned while Kai hops off his bike to help
Ryann up. Ryann looks annoyed.
RYANN
I’m fine! It’s just a deer.
9.
KAI
(teasingly)
No need to be afraid of Bambi, Ryann.
Come on.
KAI (cont’d)
Wait.
Kai points in the direction the deer has gone. Ryann follows
his finger.
In the distant, there is a blurry image of a building.
RYANN
That’s strange.
Vanessa pedals toward the building with Kai and Ryann both
right behind her. The woods seem to be getting darker and
darker as the kids get closer to the building.
Ryann makes it out of the clearing and stops right between
Vanessa and Kai.
The abandoned factory appears to be rundown, as if it hasn’t
been touched in years. The factory is faded brown and there
are windows boarded up.
A sign in front slightly above the door reads “BATES MEAT.”
There is a gravel leading right to the front door.
Vanessa appears to be drawn by the factorylike
it is
calling her for some reason.
VANESSA
Why is there a factory in the middle
of the woods?
RYANN
I don’t know.
KAI
Me neither. And I don’t want to find
out.
Vanessa drops her bike and begins walking to the factory.
RYANN KAI
Wait! Vanessa!
10.
Kai drops his bike and follows right after her. Ryann drops
her bike and follows right after them. Kai catches up to
Vanessa and grabs her arm.
KAI (cont’d)
What are you doing?
VANESSA
Aren’t you guys curious to see what’s
in there?
KAI
No. In fact, it reminds of Rib’n the
Bone. He used to eat kids out in the
a factory in the woods. Like this
one! Come on, let’s just go home.
RYANN
I agree with Kai on this one. Not
about Rib’n the Bone, but about this
place being dangerous.
VANESSA
Of course you do. Can’t you have my
back just once, Ryann?
RYANN
I am having your back. Keeping you
from doing something stupid is me
having your back.
VANESSA
I should’ve known you’d be too
scared. And here I thought I could
trust you to have my back.
Vanessa proceeds to walk to the door. She opens it. The door
creaks loudly. Vanessa looks behind her.
She locks eyes with Vanessa, sending a unspoken message that
she’s going through with it.
Vanessa steps in the factory, leaving the door open. Ryann
exchanges looks with Kai.
KAI
You’re going in too, aren’t you?
RYANN
Someone’s gotta look out for her.
11.
KAI
Yeah, but it doesn’t have to be you.
RYANN
You don’t have to come in, Kai. You
can stay out here. We should be back
soon.
As Ryann walks to the door, Kai hears a howl nearby. He
quickly follows Ryann.
INT. FACTORY NIGHT
Ryann enters the factory. She stands in a hallway. Ryann
pulls out her flashlight.
The walls appear to be brandnew
and covered with pictures
of old factory workers.
She jumps when a door on the left opens. Vanessa steps out.
VANESSA
Over here.
Ryann and Kai follow her into the room. It is a meat
processing room.
There are freshly deceased pigs lined up on each side of the
room. They are cut open from the side.
A machine is running, carrying the meat into a grinder.
Vanessa looks entrancedthe
other two kids look nervous.
VANESSA (cont’d)
Can you believe this place is still
running?
KAI
This is very creepy.
Ryann and Kai begin to look around the room. As they do, a
faint voice calls out “Vanessa.” Vanessa steps out the meat
processing room…and enters a completely different hallway.
INT. HALLWAY MEAT
PROCESSING ROOM SAME
This time, the walls are red. There is a long red carpet on
the ground.
12.
The faint voice continues to call her. Vanessa follows the
voice, moving further down the hall until she reaches a
brown door. The door knob spins rapidly.
INT. HALLWAY MEAT
PROCESSING ROOM SAME
Vanessa grabs the doorknob and pulls it open. There is no
one there. She rubs her hand against the side until she
finds a light switch.
As soon as it flicks on, a quick glimpse of a misshapen face
appears. We won’t know until later, but this is RIB’N THE
BONE.
INT. FACTORY NIGHT
Ryann and Kai are back in the hallwaythe
same hallway they
were in earlier.
KAI
Where is this girl?
RYANN
She couldn’t have gone far.
A scream echoes through the factory. Ryann and Kai take off
in the direction of the scream.
They come across a white door. Ryann opens it. The door
leads to many stairs heading down.
Ryann runs down the stairs, Kai close behind her.
The duo makes it to a dank basement.
Vanessa’s flashlight is laying in a pool of blood. Ryann and
Kai share a horrified look.
RYANN (cont’d)
Vanessa!
Ryann heads into another room. No one is there. We hear a
scream again, this time nearby.
Ryann spots another door and opens it. Vanessa is tied to a
chair, her head bent low. As Ryann begins to run to her:
CURIB’N
THE BONE
13.
appears in full form. His skin has been burned offwe
only
see blood and veins.
The left side of his face is torn as if it was cut open.
He has long, razor sharp teeth, a wide mouth and a meat
cleaver for a right hand. His eyes appear to be milky whiteno
pupils shown at all.
BACK TO
Kai and Ryann are staring at him with pure terror as the
silhouette of his actions appear on the wall behind them.
The silhouette kneels over Vanessa.
Vanessa looks up and spots her friends. Her face is swollen
and her lip is cut.
VANESSA
Kai? Ryann?
Vanessa looks up.
CU The
silhouette on the wall. Vanessa screams as a
silhouette of a large mouth hovers over her head.
KAI
Come on!
INT. FACTORY VARIOUS
NIGHT
Kai grabs Ryann’s arm and the two make a run for it. The
running scene is shown from a first person perspective.
The kids head up the stairs, down the hallway and out the
door.
EXT. FACTORY CONTINUOUS
As soon as the kids reach their bikes, Ryann looks up to the
factory…and freezes.
The factory is no longer there. There is nothing but a vast
of space in the middle of the woods.
CU Vanessa’s
bike lays on the pathway a few inches from
Ryann’s bike and from where the factory was.
14.
Ryann closes her eyes.
This cannot be real. She hears a ringing sound going off in
her ears. She opens her eyes….
INT. RYANN’S HOUSE BEDROOM
DAY
Title card: “TWENTYFOUR
YEARS LATER” appears.
Ryann, now in her 30s, wakes up in her bed. The ringing
sound dissolves into that of an alarm clock going off.
Ryann rolls over and turns off the alarm clock. Ryann looks
worn out and tiredand
not because she was sleeping. She
looks like she’s seen way too much over the years.
RYANN (V.O.)
I still dream about that night. Every
day I wondered what I could’ve done
differently. Every day I wonder why
can’t I forget about that night.
Ryann climbs out of bed. She doesn’t have time to dwell on
this dream.
INT. RYANN’S HOUSE VARIOUS
DAY
She opens the door and walks down the hall. She goes into
the bathroom. She grabs a plastic cup and pours water in it.
She steps back out the hall and stops in front of another
door.
A sign is hanging on the front: “DO NOT DISTURB.” Ryann
knocks on a door twice, then opens it.
INT. RYANN’S HOUSE JORDAN’S
BEDROOM DAY
Clothes are strewn all over the floor, a poster of Fortnite
is hanging on the wall, a PlayStation 4 is buried under a
hoodie.
Ryann walks to her son, JORDAN (12), who lays in the bed.
Ryann spots a picture of Jordan’s father and a younger
Jordanabout
fiveshooting
each other with Nerf guns.
Jordan seemed so happy in the picture. Ryann returns her
focus on Jordan and pours the water over his head.
15.
JORDAN
Ahhhhh!
Jordan jolts up, flinging the covers off his head. He looks
over to his mom, eyes wide open.
JORDAN (cont’d)
Seriously? You said you’d stop doing
that!
RYANN
No. I didn’t. Now get up. It’s time
for school.
Ryann heads out the room and closes the door.
INT. RYANN’S HOUSE KITCHENMORNING
Ryann is placing pancakes on a plate when Jordan comes down
the steps. She places the plate on the table.
RYANN
I need you to stop by the grocery
store after school. Don’t forget.
JORDAN
Alright, Mom.
Jordan sits at the table and pauses. He notices an article
that his mother is writing on her laptop.
The headline “Factory in the Woods” jumps out at him.
Jordan lets out a sigh as he begins to dig into his
breakfast.
JORDAN (cont’d)
Another article about the
supernatural?
Ryann walks over and closes the laptop. An “AA” sticker
rests on the top of the laptop. Jordan can’t help but notice
it and frown.
JORDAN (cont’d)
I mean, as long as it keeps you…
busy. No complaints here.
Ryann picks up the laptop and takes it to the living room.
She places it on the living room table.
16.
RYANN
Hurry up and finish those pancakes.
You’ll be late for school.
The door bell rings. Jordan gets up.
JORDAN
I’m actually not hungry. And I think
my friends are here anyway.
RYANN
You don’t want to take the pancakes
to go?
Jordan is already at the door. He opens it to reveal three
kids stand: two boys (MICHAEL and KYLE) and a girl
(CHIZOBA).
Kyle is in the middle of straightening the door mat.
JORDAN
Ay, what are you doing?
KYLE
Your door mat was crooked. It was
bugging me.
CHI
(rolling her eyes)
Oh my goodness.
Jordan shakes his head. He turns to Mike, slaps his hand and
pulls him into a man hug.
JORDAN
What’s up, guys?
Kyle stands up. Jordan does the same with him.
He only slaps up Chi’s hand and gives her a little nod. He
turns back to Ryann.
JORDAN (cont’d)
Okay, Mom, I’m leaving.
RYANN
Not without giving me a kiss.
JORDAN
C’mon, Mom.
Ryann ignores him and pulls him in for a hug. She proceeds
to kiss him on both of his cheeks.
17.
She pulls him back in for a tighter hug. Mike and Kyle are
both trying not to laugh.
RYANN
Have fun at school.
JORDAN
Okay.
RYANN
And come straight home after school.
JORDAN
Okay, okay. Can I please go now?
Ryann releases him from her hug, only to pat his hair down.
RYANN
See you soon! I love you!
JORDAN
Okay.
RYANN
Jordan!
JORDAN
Love you too! Goodbye!
EXT. RYANN’S HOUSE DAY
Jordan rushes to pick his bike up from the ground. Ryann
stands in the doorway, watching them pedal off.
He hopes on the bike and waves to his mom.
As the children begin to pedal away, Mike and Kyle start
laughing out loud.
KYLE
I love you, Mommy!
MIKE
Give me some sugar, baby!
CHI
You two need to grow up.
Ryann smiles as she watches the children ride away. As soon
as they are out of sight, her smile slowly fades away.
18.
Ryann goes back in the house. She picks up a pancake from
Jordan’s plate and eats it.
INT. RYANN’S HOUSE BASEMENT
DAY
Ryann walks down the basement stairs. The basement is small,
with a washing machine and dryer positioned on the right
side of her.
There are laundry baskets of clothes placed against the
washing machine.
Ryann turns to the left where she enters another section of
the basement: the furnace and water heater are pressed
against the wall and there is a tool workbench left in the
middle. The workbench has been untouched for years.
Ryann picks up a tool kit under the work bench and pulls out
a bottle of tequila. She opens the bottle and begins to
drink from it.
Ryann scrunches her nose as the alcohol burns down her
throat. She pulls out another bottle from the tool kit.
INT. POLICE DEPARTMENT DAY
KAI, now a handsome detective in his midthirties,
is at his
desk, cluttered with papers, folders and pens.
A picture of Kai, Ryann and Vanessa as children rests on the
left side of his desk away from the clutter. It is the only
picture he has on his desk.
Kai looks over a folder, pulling out pictures of young
children, ranging from five to twelve years old.
A pair of hands covers his eyes. Kai quickly moves the hands
and looks up.
SOFIA, a beautiful Latina in her twenties, smiles at him.
Sofia can turn many heads, but she only has eyes for Kai.
KAI
Not now, Sofia.
SOFIA
Well, hello to you too.
KAI
Hello Sofia. Goodbye
Sofia.
19.
Sofia rolls her eyes. She grabs a chair and pulls it next to
Kai’s desk. She sits in it and folds her hands on her lap.
SOFIA
Find anything new?
KAI
I’m drawing a blank.
Kai pulls out a picture of a young boy, dressed up as a
pirate. He is pointing the sword at the camera, smiling. The
boy is full of life.
KAI (cont’d)
It happens around the same time each
year. It’s always around the second
of October. That can’t be a
coincidence.
SOFIA
How do you know all this?
KAI
Because I…I know someone who went
through it. They said they went into
this factory and they made it out
alive.
SOFIA
Okay. How do you know this person
wasn’t messing with you?
KAI
(quietly)
I just know.
SOFIA
Kai, maybe it’s time to consider that
these kids weren’t kidnapped.
KAI
Aw, not you too. You can’t tell me
that a group of kids got together and
decided to run away. On the same day.
Different years.
SOFIA
What I know is that there is not
enough evidence to confirm they were
kidnapped. And so far, the only
connection we found is that these
kids did not have the best
relationships with their families.
20.
She takes the picture of the boy with the pirate.
SOFIA (cont’d)
Like this kid. Eddie Salvatore. Went
missing last year. His friends
reported he would show up in school
with mysterious bruises. He always
spoke of how much he hated his
father. It wasn’t until he
disappeared that his sister came
forward about their father.
KAI
Yeah. That son of a bitch. I will
never understand how someone could
hurt their own kid.
SOFIA
But you can understand why the kid
would want to runaway.
KAI
Yes, I do. And I also understand that
Eddie was afraid of something else.
His sister mentioned he used to sneak
out in the woods late at night. Just
to escape his situation. That when he
came back from one of his trips, he
mentioned there was a building in the
woods.
SOFIA
A building in the woods? (pause) Kai,
we searched those woods, remember?
There was no building there.
Kai looks up at Sofia.
He opens his mouth but closes it. He rubs the back of his
neck.
KAI
What if it was there and we missed
it?
Sofia touches Kai’s hand. Kai looks up to Sofia. As soon as
he does, the police captain steps out of his office.
Kai immediately gets up from his desk and grabs the
picture. Sofia follows after him.
KAI (cont’d)
Captain!
21.
CAPTAIN KELLEY
Please don’t tell me this is about
those missing kids?
KAI
Captain, I believe I may have found a
lead.
CAPTAIN KELLEY
Ugh, not again, Harris.
KAI
Eddie’s sister said he was talking
about a building in the woods.
CAPTAIN KELLEY
Unless the building is invisible, I’m
pretty sure the kid was lying to her.
KAI
Many of the children disappeared in
the same woods, Captain. And I
believe it may have something to do
with this building. We even found a
bike in the woods around this time
last year. Parents are going crazy,
demanding answers. Shouldn’t we at
least look into this?
CAPTAIN KELLEY
Harris, we’ve searched and searched
but we can’t keep looking for these
kids.
KAI
With all due respect, Captain, but
isn’t it our job to keep searching?
These children have families who are
depending on us to find them.
CAPTAIN KELLEY
I know. But even they need to accept
the fact that their kids are never
coming back.
Captain Kelley rubs his eyes.
Sofia steps forward.
SOFIA
Captain, maybe we can reopen
the
case? Maybe there is something we
missed.
22.
CAPTAIN KELLEY
There is nothing else to look into.
Those kids are gone. We can’t help
them. The best we can do is to make
sure another kid doesn’t end up
missing.
KAI
What happened to finding them no
matter what?
CAPTAIN KELLEY
KaiKAI
(lifts up the picture) Look at him,
Captain. He was only ten years old. A
ten year old wouldn’t have gotten
that far out of town. Not by himself.
He’s still here. We owe it to him to
find him. We owe it to all of those
missing kids.
Captain Kelley looks at Kai. The two men hold each others
gaze.
It is a silent standoff
between them. Captain Kelley turns
and exits the police department. Kai watches him leave,
defeated.
KAI (cont’d)
He’s scared.
SOFIA
That he will find the kids’ dead
bodies? Of course he is. It’s better
to believe they are alive and hiding
than dead and rotting in who knows
where.
Sofia turns and begins walking to her office. She stops.
With her back toward Kai, she lets out a sigh.
SOFIA (cont’d)
I’ll help you find the missing kids.
It’s the least I can do after
everything you did for me last year.
But be ready for what you find, Kai.
You keep poking at the hornet’s nest,
and eventually you’re going to get
stung. And it will hurt like hell.
23.
Sofia walks away.
Kai looks down at the picture in his hand.
EXTREME CLOSEUP
PICTURE
The boy dressed in the pirate costume is smiling back. As if
he were offering encouragement. PULL BACK to reveal:
EXT. SCHOOL DAY
Jordan and his friends leave the school.
Crossing the schoolyard, they approach the bike stand and
begin to collect their bikes.
MIKE
So, what she did say?
KYLE
She laughed in my face. She said she
would rather eat glass than go to the
dance with me.
CHI
Wow. And I thought I was the only one
who felt that way.
KYLE
Did anyone ask you?
JORDAN
Don’t worry. She’ll probably come
around.
The children hop on their bikes. They begin to pedal away.
CHI
Nah, he just being nice. Ain’t no
way, Shantel will go out with you.
She’s too smart to do that.
KYLE
Shut up, Chi! I don’t see any guys
lining up to ask you out.
CHI
Because one already did. Carter
Henderson.
MIKE
Isn’t that Shantel’s exboyfriend?
24.
EXT. THE ROAD DAY
The kids pedal alongside the road, passing several trees.
Jordan turns his head and notice a clearing in between
trees. He notices a trail of meat resting on the side of the
road.
JORDAN
Ay. Ay, look at that.
The kids slow down and stop. They turn to look at the slabs
of fresh meat on the road.
KYLE
Is that meat?
CHI
No, it’s a rock. Obviously, it’s
meat.
MIKE
Was somebody trying to have a cookout
or something?
The wind blows through the air. Jordan hears a faint
whisper, but he cannot make it out at first.
As the wind blows harder, he hears the whisper saying
“Jordan.” Entranced, Jordan pedals through the clearing.
MIKE (cont’d)
Jordan! What are you doing?
Chi and Kyle follow after him. Mike looks behind him before
he follows his friends.
EXT. WOODS CONTINUOUS
Jordan follows the same path his mother and her friends once
followed years ago. He pedals through twigs and bushes until
he finally sees an opening. Jordan stops pedaling.
The factory sits a few feet from him. Jordan hears the wind
whispering his name again.
Chi, Mike and Kyle stop next to him.
MIKE
Jordan, what the hell25.
KYLE
What is that?
CHI
Is that a factory?
KYLE
I wonder who’s in there?
MIKE
Or why it’s in the woods? Maybe we
shouldCHI
No, we shouldn’t. This whole
situation feels familiar. Like I
heard about this somewhere before.
MIKE
What are you talking about?
CHI
I don’t know. A trail of meat…a
factory in the woods…Wasn’t there
something on the news about all those
kids going missing?
MIKE
Who watches the news?
KYLE
Maybe it’s common sense. We’re not
really going into that factory, are
we?
MIKE
Aren’t you guys curious about why
there’s a factory in the woods?
CHI
We don’t need to know. C’mon. Let’s
just turn around and go home.
Jordan shakes his head. He turns to look at his friends,
them back at the factory.
JORDAN
Chi’s right. We should just go home.
CHI
Thank you.
26.
Kyle, Mike and Chi turn around and begin to pedal away.
Jordan stares at the factory for a moment longer before
turning around to follow them.
INT. RYANN’S HOUSE DAY
Jordan enters the house. He sees Ryann laying on the couch,
face down.
A bottle of tequila is dangling from her hand. Three more
bottles are seen scattered around the couch.
JORDAN
So much for quitting.
Jordan collects the bottles. He heads to the kitchen and out
the backdoor.
EXT. RYANN’S HOUSE DAY
Jordan tosses the bottles in the trash can. He bends over
the trash can and closes his eyes.
He breathes in and out of his nose. When he opens his eyes,
he looks tired and weary. He looks older than his twelve
years.
He heads back to the back door. As he does, a crow lands on
top of the trash can, watching him. Waiting for him.
INT. RYANN’S HOUSE DAY
Jordan heads to the living room. He taps on Ryann’s
shoulder.
JORDAN
Mom.
Ryann stirs. She looks up at Jordan with bleary eyes.
JORDAN (cont’d)
Mom, it’s me.
Ryann lifts her head up.
RYANN
Oh hi, baby. How was school?
She tries to sit up but she crashes back down on the couch.
She winces as she touches her forehead.
27.
JORDAN
School was fine.
Jordan goes to the kitchen and opens the cabinet. He pulls
out a glass.
Jordan goes to the sink and pours water in it. He heads back
over to Ryann.
JORDAN (cont’d)
I have a parentteachers
conference
tomorrow. Are we going to go?
RYANN
Oh, that’s tomorrow. Um…maybe next
time.
JORDAN
You said that last time.
Ryann takes the glass and takes a sip.
RYANN
I will definitely go next time. Oh,
Jordan, will you go to the grocery
store? I wrote a list of things that
we need.
Ryan reaches over to the living room table to grab the list.
As she moves, Jordan notices the article she was writing on
her laptop. He does a double take.
JORDAN
You’re writing about a factory in the
woods?
RYANN
Mmmhmmm.
JORDAN
Mom. Have you ever seen the factory
in the woods before?
Ryann places the glass on the table.
RYANN
I, um, heard of the story before. I
never saw it myself. But ever since I
saw the news with those missing
kids…well, I thought it might be a
good time to take advantage of that
myth.
28.
Jordan sits next to Ryann.
JORDAN
How does the story go again?
RYANN
Why are you interested all of a
sudden?
JORDAN
Your son can’t ask about the things
you write about? Especially since you
never talk about them?
RYANN
(pause) I don’t really know how the
story goes. I just know there is a
factory in the middle of the woods.
And if you go in…someone..or
something…can hurt you.
JORDAN
That’s it?
RYANN
(curtly) Yes. That’s all I know.
JORDAN
Do you know if…if hearing something
whisper your name has anything to do
with the factory in the woods?
Ryann turns to her son. She leans in and glares at him.
RYANN
Did you hear the voice?
Jordan looks at her, slightly scared. He looks away from her
and took a deep breath.
JORDAN
No. But…I did see a factory in the
woods.
Ryann sits up straight.
RYANN
What?
JORDAN
We didn’t go in. We just…saw a
factory in the woods.
29.
RYANN
Why did you go in the woods in the
first place?
JORDAN
My friends and I saw a trail of meatRYANN
Of course, your friends. I knew they
were trouble.
JORDAN
Wait, my friends didn’t do anything
wrRYANN
Was it their idea to go into that
factory?
JORDAN
No. No one went into the facRYANN
I don’t want you going into those
woods again, do you hear me? And I
don’t want you hanging out with those
kids anymore either.
JORDAN
What? All because we saw a factory in
the woods?
RYANN
All because your friends could’ve
gotten you killed! There are children
disappearing left and right, and it
is probably because of that damn
factory!
Jordan stands up.
JORDAN
My friends didn’t do anything! I was
the one who lead us to the factory
and we didn’t even go in. And what do
you know about that factory anyway,
Mom?
RYANN
You betta take that bass out your
voice, boy.
(MORE)
30.
I know enough about that factory to
RYANN (cont’d)
know you should’ve been nowhere near
there. And you’ll never go near that
place again.
Ryann stands up.
RYANN (cont’d)
You’re not hanging out with those
kids again and you’re definitely not
going into the woods again.
JORDAN
So, what? You want me to stay in this
house for the rest of my life and be
a drunk like you?
Ryann slaps Jordan’s face. Jordan touches his cheek and
looks at his mom with a steely look he is trying hard to
hide, but failing miserably.
RYANN
Go to your room.
JORDAN
I wish Dad was here instead of you.
Jordan grabs his backpack and runs up the stairs.
INT. JORDAN’S BEDROOM DAY
Jordan throws his backpack against the wall and plops on his
bed. He places his head in a pillow and muffles his scream.
He pulls out his phone.
Jordan sends a text to Chi:
JORDAN: Chi, can you come over? Come to my window. I need
to talk to you.
Jordan’s thumb hits send.
He lays back on his bed and looks up at the ceiling. Angry.
Confused. Hurt.
INT. JORDAN’S BEDROOM NIGHT
A small knock can be heard on the window. Jordan sits up
from his bed. He pushes the curtains open.
31.
Chi waves her hand from the other side of the window. Jordan
opens it up and helps Chi in.
CHI
Well, we haven’t done this in ages.
JORDAN
Thank you for coming.
CHI
No problem. What’s wrong?
JORDAN
Where do I start?
Chi and Jordan sit on the side of the bed. Jordan is resting
his head in his hands. Chi is looking at Jordan with a look
of shock on her face.
CHI
Wow. That’s…a little extreme.
JORDAN
My mom’s always been like this. I can
get a paper cut and she will flip
out. But she is flipping out on a
whole new level.
CHI
She…might have a good reason for
that. Jordan, I remember the story.
JORDAN
What story?
CHI
The one I was having trouble
remembering earlier. Have you ever
heard of the legend of Rib’n the
Bone?
JORDAN
Rib’n Who?
CHI
Rib’n the Bone. The guy who eats
children’s ribs.
Jordan looks at her with a dumbfounded look.
CHI (cont’d)
Well, anyway. It started a long time
ago. Like the ’70s, I think.
32.
FLASH IMAGE: A shadowy silhouette of a man is chopping meat
on a table.
CHI (V.O.)
A meat factory worker used to work in
factory here. He was a serious meat
lover. But,see, eating cow, pig and
any animal was getting boring.
Everything was starting to taste the
same.
FLASH IMAGE: The man picks up a sliced open chicken and
tosses it to the floor.
CHI (V.O.) (CONT’D)
So he decided to try something new.
Some kid made the mistake of playing
Ding Dong Ditch on his door. The guy
catches the kid in the act and he
kidnaps him.
FLASH IMAGE: The man carries the struggling child to the
factory.
CHI (V.O.)
He takes him to the factory and cuts
him open, eating his ribs. After
that, he captured kids all over the
neighborhood eating their ribs.
FLASH IMAGE: A kid is locked in a cage watching the man pick
up a meat cleaver. He turns to the cage. The kid screams.
CHI
One day, the parents tracked down who
was taking their kids. They burned
the factory down and killed the man
in it. But legend has it, the factory
pops up every now and then with Rib’n
the Bone looking for a new fresh
piece of meat. He even brings back
those kids he killed and has them
leave a trail of meat behind to
capture children.
JORDAN
You actually believe this legend?
33.
CHI
Not really. I do think someone
might’ve been taking tips from the
legend though.
JORDAN
My mom wrote an article about the
factory in the woods. I think she
actually believes in that legend.
CHI
She probably does.
JORDAN
Great. I have a mother who’s drunk,
afraid to leave the house and crazy.
Wanna trade parents?
CHI
Sorry. My dad believes in it, too.
But he knows I’m not the kind of
person to go hanging out in abandoned
factories. And, you know, kids are
going missing.
(pause)
Jordan, it’s going to be okay. We can
just all hang out whenever she’s not
around. We all go to the same school.
She can’t exactly stop us.
JORDAN
No, she’ll probably move me to a
different school.
Jordan stands up.
JORDAN (cont’d)
I gotta prove to my mom that this
Rib’n the Bone is not real. Maybe
she’ll finally get off my back then.
Jordan grabs his phone and starts texting.
CHI
Whoa, what are you doing?
JORDAN
Getting Mike and Kyle. We’re going
into that factory. Tonight.
34.
CHI
Wait, wait, wait. I didn’t tell you
that story so you can chase some
urban legend.
JORDAN
I need to do this. If I don’t, them
my mother will always be afraid.
CHI
I’m sure she’ll still be afraid. You
are her son, after all.
JORDAN
I’m serious. Come on, Chi.
Jordan looks at her, pleading with his eyes.
Chi looks back at him, unsure.
CHI
No. If you want to go to an abandoned
factory out in the middle of the
woods, go ahead. But I’m going home.
Chi goes over to the window.
JORDAN
Fine. Whatever.
Chi swings one leg over the windowsill. She pauses and looks
back at Jordan.
CHI
Jordan. Be careful.
Chi climbs out the window.
EXT. FACTORY NIGHT
The boys stand in front of the factory, flashlights in hand.
Mike and Kyle stare at the building nervously while Jordan
looks on with curiosity.
MIKE
Are we really about to do this?
KYLE
We’ll be fine. Just go in and out. No
problem. I said, there was no problem
right?
(MORE)
35.
KYLE (cont’d)
Jordan’s not listening. He takes a step forward to the
factory. Kyle and Mike follow him.
MIKE
I’m just saying, we couldn’t do this
tomorrow in the afternoon? When it’s
light outside?
Jordan stops at the door. He stares at the doorknob.
The crow lands on a tree behind the children.
FROM THE CROW’S P.O.V.: Jordan opens the doorknob and steps
right in. The two boys follow right after them. The crow
squawks as the door slams shut behind the boys. It’s like
the crow is trying to give at a warning. A warning the boys
can’t hear.
INT. FACTORY HALLWAY
SAME
The boys enter the hallway. The lights are off, the walls
are tearing apart, and there is no red carpet.
MIKE
Well, this is not creepy.
Jordan moves over to the door on the left.
JORDAN
I wonder where this leads.
He pushes it open.
INT. FACTORY MEAT
PROCESSING ROOM SAME
The boys file in. There are no pigs in the room this time.
The room is completely empty.
JORDAN
See? Nothing to worry about.
Jordan takes out his phone and takes a picture of the room.
MIKE
Cool, we got our proof. Let’s go now.
36.
JORDAN
Not yet. Let’s get a couple more
rooms first.
Kyle and Jordan head to the back of the room. They both exit
the room
Mike begins to follow them. He turns his head to the right
and stops walking.
There is a pig cut open from the side hanging on a hook on
the far right of the room. For now, it appears as a dark
shadow hanging on a hook.
Mike walks over to it. Once he gets closer, it becomes clear
it is a pig.
MIKE
What the?
Mike reaches out to the pig. He slowly lays his hand on the
pig’s side.
MIKE (cont’d)
It’s a fresh kill. How?
The pig’s eyes open. It starts squealing, thrashing back and
forth.
Mike falls to the ground, screaming. The pig continues to
thrash.
Mike scrambles to his feet and runs out the door at the back
of the room.
MIKE (cont’d)
Jordan! Kyle!
INT. FACTORY LIBRARY
SAME
Mike stops, eyes wide with confusion. The library room is
huge, with several bookshelves stacked against each other.
There is a wooden long table in the middle of the room with
chairs.
MIKE
What. The. Hell?
37.
INT. FACTORY HALLWAY
SAME
Jordan and Kyle walk down the hallway. Kyle and Jordan stop
by a door on their right and open it.
KYLE
Just a bathroom.
JORDAN
It’s better than nothing.
Jordan goes in and takes a picture. He steps back out.
JORDAN (cont’d)
Alright, come on.
KYLE
Wait. I need to use the bathroom real
quick.
JORDAN
Seriously? You want to use a bathroom
in an abandoned building?
KYLE
I just have to pee. It’ll be quick.
Kyle enters the bathroom and closes the door.
The voice speaks again, whispering: “Jordan.” Jordan turns
his head. He looks frightened at first. But the fright is
quickly replaced by an entranced look.
Under the voice’s spell, he heads to further down to the
hallway. He stops at the basement door.
The doorknob is jiggling.
Jordan stares at it, entranced.
He reaches out and open the door.
Nothing is on the other side.
Jordan steps in and looks around confused. But there is
nothing there.
JORDAN
Huh. That’s interesting.
38.
INT. FACTORY BATHROOM
SAME
Kyle stands over the toilet, his flashlight resting on the
top of it.
A drip of blood falls on his cheek.
He touches it and looks at his finger. He looks up.
Blood is spilling from the ceiling. Kyle hears a growl
coming from the toilet.
He looks down. There is nothing there.
A beat later, a bloody hand shoots out and grabs him by the
shirt. Kyle screams.
The flashlight falls over and rolls behind the toilet.
The hand pulls Kyle to the toilet. Kyle grabs both sides of
the toilet.
KYLE
Get off me! Get off me!
He reaches for the handle and flushes it. It works!
The hand shoots back down in the toilet and Kyle falls on
his behind.
He jumps to his feet and stumbles out the bathroom.
He doesn’t go back for the flashlight.
INT. FACTORY HALLWAY
SAME
KYLE
Jordan! Mike! Where?
Kyle stops in his tracks. There is a shadow of a boy
standing in the hallway. Kyle cannot see him to clearly at
first.
KYLE (cont’d)
Jordan?
A light comes from the same direction of the boy. It is
Jordan, holding up his flashlight.
JORDAN
What’s with all the screaming?
39.
KYLE
Yo, man, we got to get get out of
here, right now!
Kyle brushes past Jordan.
JORDAN
Wait, what?
KYLE
We gotta go now! Where’s Mike?
Kyle heads down the hallway.
JORDAN
So soon. Why?
KYLE
Why?! A freakin’ hand just came out
of the toilet and grabbed me!
JORDAN
Wait, what are you talkin?
KYLE
A hand. Grabbed me.
Jordan stares at Kyledid
he lose his mind?
KYLE (cont’d)
You don’t believe me? Forget it! I’m
out! I’m out! You and Mike wanna play
ScoobyDoo
all night, that’s y’all!
I’m out!
Kyle brushes past Jordan. He slips and falls to his knees.
He looks down at the culprit: it is a piece of meat. He
looks back and he notices a meat trail from around the
cornerwhere
Jordan came from.
JORDAN (O.S.)
Huh. Looks like I made a mess.
Jordan’s voice sounds different: deeper, darker, and
distorted.
Kyle slowly turns around.
Jordan is no longer standing behind him. In his place stands
a Riblet.
40.
The Riblet looks like a miniature Rib’n the Bone, except he
has meat cleavers for hands. This is the leader of the
Riblets.
He smiles a twisted smile at Kyleit
doesn’t fit his face
right. It’s a smile too huge and distorted for a child’s
face.
Kyle’s eyes widen with fear. He is frozen in a crouched
position and the Riblet does not make another movement.
A beat later: a pair of hands grab Kyle and pulls him
through the floorboards. Kyle’s bloodcurdling scream echoes
through the factory.
INT. FACTORY BASEMENT
NIGHT
Jordan walks through the basement. The voice whispers: “Come
closer.”
He heads further down the basement. He stops at the doorway
of the same room that Vanessa was kept hostage. The voice
whispers: “Closer.”
Jordan lifts his right foot, ready to step in. At that
moment, he hears Kyle’s scream.
Jordan shakes his head. It’s like he snapped out of a
trance. He looks around his surroundings, confused.
JORDAN
What?
Jordan begins to panic, realizing what he just heard.
JORDAN (cont’d)
Kyle!
INT. FACTORY HALLWAY
NIGHT
Jordan storms out the basement door and heads to the
bathroom. He panics.
JORDAN
Kyle! Mike!
He heads down a corner and stops in his tracks. The Riblet
is standing inches from him down the hall.
He stares at Jordan, smiling.
41.
RIBLET
Hi Jordan.
Hands pop out from the wall next to Jordan and grab at him.
Jordan jumps back, swatting the hands away with his flash
light.
More hands begin to pop out. The wall tears down as several
Riblets break through.
Jordan turns around and runs. He runs past the bathroom and
the basement, turning a corner around the left.
He notices a pair of stairs. Jordan turns around.
FROM JORDAN’S P.O.V.: The Riblets chase after him. They look
like a swarm of distorted children.
BACK TO SCENE
Jordan heads up the stairs, noticing a door on the right,
opening it and runs in the room.
INT. FACTORY OFFICE
NIGHT
Jordan closes the door, looks around, noticing he’s in an
office.
A desk is in the middle of the room with a chairs, a
computer and a bookshelf. There is a couch with a table in
front of it as well.
Jordan grabs a chair and places it under the doorknob. As
soon as he does, a pair of hands break through the door.
JORDAN
Shit. Shit. Shit.
Jordan looks around, panicking.
He sees a vent over the bookshelf.
He grabs the table in front of the couch and places it in
front of the bookshelf.
He steps on it and makes his way on top of the bookshelf.
The Riblets are starting to break through now. Jordan pops
the vent open.
He climbs in and places the grate back in place just as the
Riblets crash through.
42.
The Riblets fall on top of each other, looking around
frantically.
INT. FACTORY LIBRARY
NIGHT
Mike walks through the library. He passes each bookshelf
frantically. He passes the steps to a second floor.
A breeze travels through the open window.
MIKE
Okay. This is a weird place to find a
library.
A huge and dusty book falls from a shelf and lands in front
of Mike. Mike picks it up.
He blows the dust off and brushes the rest of it away. The
title: “BATES FACTORY.”
MIKE (cont’d)
Why does this sound familiar?
Mike opens the book. It is a collection of newspaper
clippings.
As he skims through the pages, the clippings unfold the
story of the factory owner, Jason Bates.
There is a article with a picture Jason Bates standing in
front of the factory, smiling.
The headline reads: “GRAND OPENING.” Another article:
“MISSING CHILDREN CONTINUES TO RISE.” Another article:
“JASON BATES GUILTY OF DEATH OF SEVERAL CHILDREN.”
The wind blows the pages through the book. Mike jumps in
surprise.
The wind lets down once it lands on one page: “RIB’N THE
BONE.
INT. POLICE STATION SAME
The same article is laying on Kai’s desk. Kai picks it up
and heads over to Sofia’s desk.
Sofia is hunched over old newspaper clippings of the missing
children. She looks up at Kai, flashing him a smile.
43.
SOFIA
Find anything?
KAI
Nothing new anyway.
He slides the newspaper clipping over to Sofia. Sofia picks
it up and skims over it.
SOFIA
An urban legend of a man who eats
children’s ribs?
KAI
It sounds very familiar to our case,
doesn’t it? A man kidnaps children
and brings them back to his factory.
Cuts out their ribs. No one has heard
or seen the children since.
SOFIA
Fascinating. And you think this
person is reenacting
the urban
legend?
KAI
…You could say that.
Sofia and Kai look at each other. A mental conversation is
going on between them.
Sofia: You can’t believe this is real? Kai: It could be?
Sofia: Why do you believe this?
KAI (cont’d)
Look, I know you think I’m crazy.
Hell, everyone thinks I’m crazy. But
I know there’s some truth to this. It
has to be. Everything comes back to
this story.
Sofia gives a slight nod. She gets up.
SOFIA
Let’s take a break.
KAI
What?
SOFIA
You heard me. We’ve been going over
these case files all day.
(MORE)
44.
There’s a new spot that opened up not
SOFIA (cont’d)
that long ago. Let’s go check it out.
KAI
Sofia…
Sofia grabs his arm and pulls him away from the desk.
SOFIA
Come on. It’ll be fun.
EXT. FOOD TRUCK NIGHT
Sofia and Kai stand in front of a Mediterranean pita food
truck across from the police station. They are waiting in
line behind a couple.
KAI
This is the new spot?
SOFIA
(laughing) Yup. And the food is
delicious. Trust me, you won’t regret
it.
The couple leaves the line. Sofia steps up.
CASHIER
How can I help you?
SOFIA
Hi. Can I have a chicken gyro,
please?
Sofia turns to Kai.
KAI
(to Cashier)
I’ll have whatever she’s having.
Sofia hands the cashier money for the gyros. The cashier
takes the money and closes window.
KAI (cont’d)
So, you come here often?
SOFIA
Only when I’m working a case. Helps
take my mind off everything.
KAI
So, that’s a yes?
45.
The cashier opens the window and hands Sofia the gyros.
SOFIA
Thank you.
Sofia hands a gyro to Kai. The two detectives walk away.
Kai unwraps his sandwich and takes a bite.
KAI
Wow. This is good.
SOFIA
When are you going to stop
underestimating me?
KAI
(takes another bite) I never
underestimated you, Sof.
Sofia beams at him, but Kai is oblivious to this.
SOFIA
In any case, this proves that it’s
possible to have a life outside of
work. You can go home, go see a
movie, go visit your kid,hang out
with your partner outside of work…
Kai stops walking and turns to Sofia.
KAI
I guess that could be nice. Maybe we
can hang out in Paris or something.
SOFIA
Well, I always wanted to go to Paris.
Kai and Sofia stand there. Sofia moves a little closer.
Kai slowly moves closer as well. Sofia tilts her head up to
him. Kai pulls back.
KAI
We should, um, head back to the
office.
SOFIA
Oh. OOkay.
Kai hurries back to the police station. Sofia watches him
walk ahead, with a disappointed look on her face.
46.
INT. FACTORY LIBRARY
NIGHT
The grate to the library vent is kicked open. Jordan peers
out, checking for Riblets.
He dangles his legs out the vent only to slip and fall out.
He crashes on a table.
JORDAN
Jeez Louis.
He picks himself up. He is on the second floor of the
library.
He is in the sitting area, surrounded by bookshelves. Two
chairs surround the table he fell on.
Jordan heads down the stairs. He stops by the table, where a
book is laid open.
He moves closer.
MIKE (O.S.)
Jordan?
Jordan jumps. He turns around to see Mike, holding a hug
book in his hands.
JORDAN
Mike? What are you doing in the
library? How is there even a library?
MIKE
Trying to find out what the hell is
going on. And I don’t know.
Mike heads over to the table.
MIKE (cont’d)
What I do know is a lot of weird
things have been going on. I saw a
pig in the first room we went in. A
pig with its sides cut open. And I
saw it come to life.
JORDAN
What?
MIKE
I thought I was hallucinating or
something. But then I found this
book.
47.
Mike opens the book and hold it out to Jordan. Jordan takes
the book.
MIKE (cont’d)
Read this.
JORDAN
(reading the article)
Jason Bates, owner of Bates Meat
Factory, has been accused of killing
20 children by eating their ribs. He
escaped the prison and somehow made
it back to Crescent Falls. On October
2, 1889, the Bates Meat Factory was
burned down by the parents of Jason
Bates’ victims.
MIKE
Jordan. The Bates Meat Factory was
built in the woods.
Jordan and Mike lock eyes, with horror.
MIKE (cont’d)
It gets scarier. Keep reading.
Mike turns the page in the book and points at a page.
JORDAN
In 1890, Rachel Hemingway went
missing on the anniversary of the
infamous destruction of Bates Meat
Factory. Two campers report they
found a trail of meat that leads to
an abandoned factory buried in the
heart of Crescent Hills campsite.
Campers recovered Rachel’s hat from
the area. They immediately went to
the police station to report their
findings. However, when the police
arrived there was no factory at all.
(To Mike) Wait, that makes no sense.
MIKE
Yes, it does. Don’t you get it? This
is the Bates Meat Factory. And today
is October 2, the anniversary of the
Jason Bates’s death. What if this is
his thingkidnapping
children as
revenge for what their parents did to
them?
Mike grabs Jordan by the shoulders.
48.
MIKE (cont’d)
I don’t think I was hallucinating. I
think that was all part of his mind
tricks! He’s going to kill us unless
we find a way to get the hell out of
here now!
JORDAN
It’s not that simple. I saw..I don’t
know what it is I saw. It..there’s
kids in here. But they look like they
had their skin cut off or something.
MIKE
Kids?
JORDAN
And there’s this voice. I keep
hearing this voice in my head. I
heard earlier today. Someone keeps
calling my name, and I can’t help but
listen to it. It’s like something has
taken over me.
MIKE
You heard this voice earlier? Like
when we first saw the factory
earlier?
Mike sits down at the table. He is about to go in full panic
mode.
MIKE (cont’d)
We are in here because you decided to
listen to some crazy voice in your
head. I don’t know who’s dumber. You
for listening to it or me for coming
here with you.
JORDAN
Mike, I’m sorry. I promise. I’ll get
us out of this. As soon as we find
Kyle, we’ll find aMIKE
Wait, Kyle?
Mike looks around, realizing Kyle is nowhere in sight.
MIKE (cont’d)
What happened to Kyle?
49.
JORDAN
I don’t know. I heard…screaming
earlier.
MIKE
They took Kyle?! Great, just great.
He’s pretty dead by now.
JORDAN
No, he’s not. He’s…he can’t be. We
just have to findThe
lights in the library flicker on and off. Mike and
Jordan both stand up.
Mike clutches the book to his chest. The lights go out
completely for a brief second.
When the lights come back on, a Riblet is standing in front
of them. The Riblet is Eddie Salvatore, but this will not be
revealed until later. He looks like his skin was flayed off
of him.
His veins are visible and he appears to be smaller than the
lead Riblet.
Mike is too shocked to scream; he stands behind Jordan,
frozen.
JORDAN (cont’d)
Who are you? And what do you want?
Eddie circles around the kids. The kids watch him closely.
EDDIE
You’re asking the wrong questions.
MIKE
Okay. How about why are you here? Did
you do something to Kyle?
Eddie stops next to Jordan.
EDDIE
Kyle? Ah, the other one. He’s safe.
JORDAN
Where is he?
EDDIE
He has him.
50.
JORDAN
He? (pause) Rib’n the Bone.
MIKE
How do we know you’re telling the
truth? How do we know he’s not dead
already.
EDDIE
Because he doesn’t want him. Or you.
(To Jordan)
He only wants you.
JORDAN
Why me?
EDDIE
No idea. But he wants us to take you
to him.
Mike steps from behind Jordan, keeping the book in front of
him as if it were a shield.
MIKE
Yeah. Well, you tell him he has to go
through me first.
JORDAN
Why are you telling us all this? Why
don’t you just drag me to your boss
like the other meat kids tried to do?
Eddie looks over the boys. He looks tired, sad and angry.
EDDIE
I don’t want to be like them. I’m
tired of watching people die.
JORDAN
Then help us get out. And maybe we
can find a way to help you.
MIKE
Yeah.. You know, we scratch your back
and you scratch our backs.
Eddie looks puzzled. Then he turns around and stands in
front of Mike.
MIKE (cont’d)
What are you doing?
51.
EDDIE
You said you’d scratch my back. Go
ahead.
Mike and Jordan look at each other.
JORDAN
You heard him.
Mike reluctantly reaches out to Eddie’s back. He scratches
it, pulling out chunks of meat in the process.
He pulls his hand away, making a face at the meat on his
head. Eddie faces Mike and makes a motion for him to turn
away.
Mike does so reluctantly. Eddie scratches Mike’s back. Mike
lets out a cry.
MIKE
Okay! Okay! Enough scratching!
Jordan covers his mouth, trying not to laugh.
JORDAN
Then it’s settled. We’ll all find a
way out of here. Um, what do we call
you?
EDDIE
We don’t have names.
JORDAN
‘Course you do. What did your parents
call you?
EDDIE
…Eddie. They called me Eddie.
INT. RYANN’S HOUSE NIGHT
Ryann knocks on Jordan’s bedroom door.
RYANN
Jordan. Come down, it’s time for
dinner.
No response. Ryann knocks again.
RYANN (cont’d)
Jordan. I know you hear me calling
you.
52.
Still no response. Frustrated, Ryann opens the door.
Jordan’s bedroom is empty.
RYANN (cont’d)
Jordan?
Ryann spots the open window. She runs over to it and looks
outside.
RYANN (cont’d)
Jordan!
She turns and sees Jordan’s cellphone on the bed. She picks
it up and skims through the text messages.
Her eyes widen with horrorher
worst fear is coming true.
She dials the police on her son’s phone.
INT. POLICE STATION SAME
Kai sits at his desk. Captain Kelley comes in his office.
CAPTAIN KELLEY
Harris, Lopez! I need you to go to
1213 Weston Street.
KAI
What is it?
CAPTAIN KELLEY
Another missing kid.
Kelley leaves. Kai and Sofia share a worried look.
Kai immediately gets up and grabs his jacket, following
Kelley.
EXT. RYANN’S HOUSE NIGHT
Kai and Sofia pull up to Ryann’s house. They exit the car
and head to the house.
SOFIA
I hope this is a situation where we
actually find the kid.
KAI
Yeah, somehow I doubt it.
He knocks on the door. Ryann opens it. Kai stands there in
shock.
53.
KAI (cont’d)
Ryann?
RYANN
Kai?
SOFIA
You two know each other?
RYANN
Hold on, are you the detective
working on this?
KAI
I am.
A beat.
RYANN
Thank God. Please come in.
Kai and Sofia enter the house.
INT. RYANN’S HOUSE NIGHT
Ryann, Sofia and Kai are sitting on the couch. Sofia is
writing down Ryann’s statements.
SOFIA
So the last time you saw him, he was
in his room?
RYANN
Yes. And he sent text messages to his
friends saying he was going out to
the factory.(to Kai) Chi was one of
them. Is she..?
KAI
Chi is at home with her mother.
RYANN
Still, she must know something.
KAI
I’ll ask her to be sure. Do you know
why your son may want to go to the
factory.
Ryann looks away.
54.
KAI (cont’d)
Ryann, if you want us to find him, we
need to know everything.
RYANN
He wanted to prove I was wrong.
SOFIA
Wrong about what?
Ryann looks at Kai, with a silent plea.
KAI
Detective Lopez, could you give us a
minute?
Sofia looks at him, then at Ryann. She shoots Kai a
suspicious look.
KAI (cont’d)
Please.
Sofia closes her notepad and stands up.
SOFIA
I’ll be outside.
Sofia steps outside and closes the door.
KAI
It’s him.
RYANN
Him, who?
KAI
You know who. And you’ve known for
awhile now. The news about all those
missing kids. That wasn’t a
coincidence.
RYANN
You’re wrong. He just said a factory.
Not a factory in the woods.
KAI
What other factory do you possibly
think he’d want to go to?
Ryann wrings with her hands. She closes her eyes, a single
tear falling down.
55.
RYANN
You have to find him. You have to go
to the factory and get him back.
KAI
I’ll see what I can do.
EXT. RYANN’S HOUSE NIGHT
Kai opens the door and greets Sofia. Sofia is sitting on the
porch, smoking a cigarette.
SOFIA
How’d it go?
KAI
We need to go to the woods.
Sofia stands up. She flicks the cigarette on the ground and
stomps on it.
SOFIA
Come again?
KAI
Her son went out to a factory in the
woods. We need to go out there.
SOFIA
I thought that’s what you said. And
no, we don’t.
KAI
I’m sorry?
SOFIA
Kai, you have been obsessed with this
damn legend for years. I figured this
was your way of coping with losing
all those kids, but this? This is
taking it too far. The woman said he
went out to a factory. There are lots
of factories out here that are not in
the woods.
KAI
We don’t know that. We…it has to
be..
Sofia lets out a humorless laugh.
56.
SOFIA
You know, I tried to help you with
your case because I thought I could
help you see reason. I could help you
see that there’s more to life than
this damn case, then that damn legend
that you think is true for whatever
reason. But I’m done, Kai. I can’t do
this anymore.
Sofia walks away.
KAI
Sofia.
SOFIA
I’ll walk home. Don’t mind me.
Kai begins to run after her when Ryann’s door opens. Ryann
steps out.
KAI
You heard all that?
RYANN
Yeah.
(pause)
Kai, are you going to give up?
KAI
No. I’ve been trying to hide away
from this for so long. And so have
you. It’s time to face him again.
RYANN
Good luck.
KAI
You’re not coming with me?
RYANN
I would, but…I’m afraid to leave
the house.
KAI
You’re more afraid of leaving the
house than your son being trapped in
the house with Rib’n the Bone?
RYANN
It’s not that simple.
57.
KAI
Then make it that simple. Do you want
Rib’n the Bone to kill him like he
killed Vanessa? Do you even care
about what happened to her?
Ryann pushes him.
RYANN
You fucking asshole! I can’t believe
you just asked me that.
KAI
What am I supposed to think? You
never said anything about Vanessa
since she was killed. You just went
away in your house and never came
out. The last time we even spoke to
each other, you didn’t say anything
about what happened to Vanessa. You
didn’t cry or rage or anything.
RYANN
Shut up.
KAI
I needed you, Ryann. I needed you. I
had to deal with all this shit alone
because the only person who knew what
I was going through didn’t give a
damn.
RYANN
I did care.
KAI
Then why, Ryann? Why did you cut
yourself off? Why did you try to
pretend that none of it even
happened?
RYANN
Because I’m the one who killed her,
Kai! Fuck!
Ryann looks away from Kai. Kai stares at her, stunned by her
reaction.
RYANN (cont’d)
I kept telling myself that it was
Vanessa’s idea.
(MORE)
58.
That she wanted to go into that
RYANN (cont’d)
factory. That she heard…this voice
in her head. But it wasn’t it was me.
FLASH IMAGE: The night the kids stumbled across the factory.
As Ryann rides her bike, she hears the voice call her name
instead of Vanessa.
FLASH IMAGE: The trio stand in front of the factory. Ryann
moves forward to go to the factory.
Vanessa grabs her, trying to stop her. Ryann yells at
Vanessa.
RYANN (cont’d)
I was the one I was the one who put
that thought inside her head that we
should go investigate it. Vanessa was
always the sensible one, the one who
knew not to go looking for something
you don’t want to find. I knew that.
I knew she didn’t really want to go.
But I made her. I accused her of
being a coward, of being some scared
little girl. I made her think she
needed to prove herself to me. Her
best friend.
FLASH IMAGE: The kids investigate the factory hallway. The
kids go into the basement.
FLASH IMAGE: Vanessa is grabbed by Rib’n the Bone. She
screams while Ryann and Kai run away.
RYANN (cont’d)
I can still hear her. I hear her late
at night. Whispering in my ear.
“Ryann, why did you leave me? Ryann,
you said you would protect me. Ryann,
you said he wasn’t real.” I see her
in my son. He’s always asking me
these questions. “Mom, why don’t you
ever leave the house? Mom, why can’t
you stop drinking? Mom, why are you
so scared all the time?” But I
couldn’t tell him. And now he’s
trapped in that factory because of
it. Because of me. Now I can hear
Vanessa, right now. Still whispering
in my ear. “You’re going to kill him.
Just like you killed me.”
59.
Tears roll down Ryann’s faces. Tears that are a long time
coming.
KAI
What happened to Vanessa wasn’t your
fault.
RYANN
Yes, it is. It’s time I accept that.
She looks into Kai’s eyes.
RYANN (cont’d)
I killed Vanessa. But I’ll be damned
if I kill my son.
Ryann takes a deep breath, closes her eyes and steps out of
her house. She takes a few small steps, then she stops.
She takes a deep breath and move a few steps further. It is
not until Ryann reaches Kai’s car that she opens her eyes.
Kai smiles at her.
KAI
There she is. It’s good to have you
back. Now, let’s go save your son.
INT. CHI’S BEDROOM SAME
Chi looks out her bedroom window. She can see the woods
miles from her house.
She looks worried. Scared.
Yet, a resolved look of determination crosses her face. She
grabs her flashlight from her lamp stand.
EXT. FACTORY SAME
Ryann and Kai pull up in front of the factory. They exit the
car.
RYANN
It still looks the same.
KAI
It’s like it never disappeared.
Kai and Ryann walk toward the house. The two stop in front
of the door.
60.
RYANN
Do you remember the last time we were
here?
KAI
How I wish I could forget.
RYANN
Promise me it will end differently
this time.
She reaches for Kai’s hand. Kai gently grabs it.
KAI
It will be.
As the two prepare to enter the factory, they hear a
rustling from the bushes behind them. Ryann and Kai turn
around.
Kai reaches in the back pocket of his jeans for his gun. He
pulls it out and points it.
KAI (cont’d)
Who’s there?
Sofia emerges from the bushes.
KAI (cont’d)
Sofia?
He lowers the gun.
KAI (cont’d)
What are you doing here?
Sofia approaches Kai and Ryann.
SOFIA
I’m your partner. I have your back no
matter what, remember? Even if I
think this whole thing is ridiculous.
RYANN
How did you know we’d be out here?
SOFIA
Well, I knew you’d be out in the
woods. And um, this might sound
crazy, but there was a meat trail
leading up this way.
61.
Kai and Ryann briefly look at each other. Sofia stare at the
factory.
SOFIA (cont’d)
And I can’t believe what I’m looking
out. This…there’s really a factory
out in the middle of the woods.
KAI
Yes. There is. (pause) I won’t blame
you if you want to walk away.
SOFIA
Of course I’m not walking away. You
need backup. And no offense, but I
don’t think she’s gonna cut it.
RYANN
I’m sure I’ll last longer than you.
SOFIA
I guess we’ll find out. (To Kai) I’m
here for you, Kai.
KAI
I’m glad you came. Partner.
RYANN
Yeah. Thanks for coming. Now can we
go get my son, please?
Ryann grabs the doorknob. She waits a minute and takes a
deep breath.
She opens the door and steps inside.
INT. FACTORY HALLWAY
SAME
Ryann, Kai and Sofia enter.
SOFIA
I thought this place would look…
older.
RYANN
Do you think he knows we’re here,
Kai?
Riblets jump down from the ceilings and through the walls. A
swarm of them begin to run toward the adults.
Sofia backs away.
62.
SOFIA
What the hell are those?!
KAI
That…is a great question! We’ll
figure it out later!
Kai pulls out his gun and starts shooting. Sofia does the
same.
They shoot at the Riblets. The bullets hit a few, but they
keep going. The bullets barely harm them.
RYANN
Come on!
Ryann begins to run, the two detectives right behind her.
Ryann runs straight to the basement door and pulls it open.
She runs down the stairs, Sofia right behind her.
As Kai goes to follow him, a Riblet grabs his leg.
KAI
Shit!
He kicks at the Riblet’s hand. Sofia runs over and shoots at
the Riblet’s head a couple times.
The Riblet makes a Gremlinlike
groan as it loosens its grip
on Kai’s leg.
Kai kicks the Riblet away and slams the door closed.
SOFIA
Are you okay?
KAI
Never been better.
INT. FACTORY BASEMENT
SAME
Kai and Sofia head downstairs.
KAI
Ryann?
RYANN (O.S.)
Over here!
63.
Kai and Sofia run to the same room where Vanessa was kept
hostage.
Ryann is kneeling behind Kyle, untying him from his chair.
Kyle has cuts and bruises on his face and hands. He is
lolling in and out of consciousness.
RYANN
It’s one of Jordan’s friends.
Kai rushes over and helps her untie him. Kai kneels next to
Kyle and gently shakes him.
KAI
Hey, hey kid. Are you okay?
Kyle slowly opens his eyes.
KYLE
Mr. Harris?
KAI
Yes, Kyle. It’s me.
KYLE
Where am I?
KAI
You’re inRYANN
Where’s Jordan?
KYLE
Jordan?
Kyle’s eyes widen. He tries to stand up but he falls back
down on the chair.
KYLE (cont’d)
Jordan! Mike! We have to find them!
KAI
And we will. But you need to tell us
where they are. Do you remember the
last place you saw them?
Kyle looks up at Kai. His eyes start to turn red.
KYLE
Oh, I’m sure they’re around here
somewhere. But why ruin our little
reunion, Kai?
64.
Kai backs away. He realizes who Kyle really is.
Kyle reaches his arm out. It transitions from a human arm to
a long veiny and skinless arm. His hand turns into a meat
cleaver as he back hands Kai.
Kai flies across the room and hits the wall behind him.
SOFIA
Kai!
Sofia runs over to Kai. Ryann is rooted to the ground.
Kyle fully becomes Rib’n the Bone. This time, he looks
different. He is still skinless and veiny, but he appears to
be more slender and feminine.
RIB’N THE BONE
Well, well, well. We finally meet
again.
RYANN
Whwhere
are the boys?
RIB’N THE BONE
I would worry about yourself if I
were you. Because this time, I will
make sure you don’t make it out
alive.
Rib’n the Bone rushes at Ryann. He knocks Ryann to the far
left of the room.
Ryann smashes her head against the wall and falls to the
floor.
SOFIA
Hey! Freak show!
Rib’n the Bone turns just in time to get shot in the face by
Sofia. The bullet hardly wounds him.
Sofia unleashes a round of bullets into Rib’n the Bone as
the monster runs toward her.
Rib’n the Bone grabs Sofia by the neck.Sofia kicks the
monster in the groin. The monster hardly.
Kai knocks Rib’n the Bone to the ground, causing him to drop
Sofia.
KAI
Sofia! Get out of here!
65.
Rib’n the Bone swats Kai away from him.
He turns to Sofia, then back at Kai. He narrows his eyes.
RIB’N THE BONE
You’re with someone else now? It was
all for nothing?
KAI
I don’t know what the hell you’re
talking about. And frankly, I don’t
care. This ends now.
Kai stands up, wobbling on his two legs. Rib’n the Bone
tilts his head.
RIB’N THE BONE
You have no idea, do you? Here, let
me refresh your memory.
Rib’n the Bone transitions into Vanessa. Only this time, her
eyes remain red. Kai stumbles over his feet.
Ryann starts to come to. As she lifts her hand, she looks
over to Rib’n the Bone and Kai.
RIB’N THE BONE (cont’d)
Do you remember now, Malachi?
FLASH IMAGE: Young Kai watches as Rib’n the Bone bends over
and seemingly devours Vanessa. As his mouth covers her, his
body begins to melt over her.
Vanessa and Rib’n the Bone begin to bleed together.
RIB’N THE BONE (V.O.)
Do you remember how you abandoned me?
FLASH IMAGE: Vanessa wakes up. She looks at her hands, only
to see they were replaced with meat cleavers.
RIB’N THE BONE
My best friends. You didn’t even try
to save me. You left me.
Rib’n the Bone turns to Ryann.
Sofia notices a hammer sitting on a work table nearby. She
quickly casts a look at Rib’n the Bone.
66.
RIB’N THE BONE (cont’d)
(to Ryann)
You left me because you wanted him
all to yourself. You will die for
this, Ryann. Both of you will.
KAI
VaVanessa?
Sofia takes advantage of this shocking moment by smashing
the hammer in the monster’s head. Rib’n the Bone screams.
SOFIA
Run!
Sofia runs over to Kai and the two begin to run out the
basement. Ryann hurries after them.
Rib’n the Bone rips the hammer out of her head.
As Kai and Sofia make it to the steps, the monster throws
the hammer. It hits Sofia smack in the back of the head. She
falls and hits her head off the step.
KAI
Sofia!
As Ryann turns to Sofia, Rib’n the Bone stabs her in the
stomach.
KAI (cont’d)
No!
Ryann turns her head sideways and looks Kai in the eyes.
FROM RYANN’S P.O.V.: On the verge of falling apart, Kai
stumbles up the stairs and out the basement door.
As Ryann’s vision fades, the scene cuts to black.
INT. FACTORY HALLWAY
SAME
Jordan, Mike and Eddie run down the hallway.
JORDAN
Are you sure Kyle will be this way?
EDDIE
Yes. This is where he keeps all of
his victims before he kills them.
67.
MIKE
Wait, I thought he only wants to kill
Jordan?
(to Jordan)
No offense.
EDDIE
He does, but I’m not sure he would
let you guys go either. He might make
you like me.
Eddie gestures to himself.
MIKE
A walking, talking rib? Great.
Fantastic, really.
JORDAN
Okay, which room would Kyle be in?
EDDIE
Probably here.
Eddie points at the first door on the right.
Jordan walks over to the door and turns to Mike.
Mike gives a quick nod.
Jordan opens the door and turns on the light.
It’s a walkin
closet. As the boys step in, they can hear
muffling coming from the right.
Kyle sits on the floor with a sack bag over his head, his
hands tied behind his back. He rocks back and forth, trying
to get free.
JORDAN & MIKE
Kyle!
Jordan and Mike hurry over. Mike begins to untie his hands
while Jordan removes the bag from his head.
Kyle looks around his surroundings in a frantic manner.
KYLE
Jordan. Mike. Where the hell have you
guys been?
MIKE
Looking for you.
68.
JORDAN
Are you okay?
KYLE
Oh, I’m great. Just running around,
getting captured by rib children and
stuffed in closets.
Kyle notices Eddie standing in the corner.
KYLE (cont’d)
Like that one! Why is he here?
Kyle rushes to his feet. Jordan places a hand on his
shoulder.
JORDAN
It’s okay! He’s with us. He helped us
find you.
KYLE
Wait, how are you here? One of those
rib kids were walking around,
pretending to be you? I thought they
killed you or something.
EDDIE
We can take as many forms as we want.
You don’t actually have to be dead.
JORDAN
Wait…that voice I’ve been hearing?
Who was doing that? How were they
doing that?
EDDIE
Are you having problems at home?
Family? Friends? Have you felt angry?
Jealous or anything?
Jordan looks away, guilty.
JORDAN
Yeah. With my mom.
EDDIE
That’s how it starts. He preys on
children who feel lonely or angry.
Like they have nothing much going for
them. You must have felt pretty low
if you heard his voice.
69.
KYLE
How do you know all this?
EDDIE
Because that’s how he got me. (To
Jordan) We should get going. The
others will find out about you soon.
EXT. HALLWAY SAME
KYLE
Jordan. You’re my friend. You’re like
my brother. But I have to say, this
is officially the worst idea you ever
had!
MIKE
I agree.
JORDAN
I’ll make it up to you guys later.
But right now, let’s just focus on
getting out of here.
The four boys stop as they feel the factory begin to shake.
EDDIE
Oh no. He’s angry. That’s never a
good sign.
JORDAN
Go. Now!
Before the boys can move, they see a black shadow slithering
down the hallway. The boys back up as the shadow gets
closer.
It stops at Jordan’s feet.
RIBLET (O.S.)
Leaving so soon? We were just
starting to have fun.
A hand emerges from where the shadow is and grabs Mike’s
leg.
MIKE
I’m getting really sick of this shit.
Kyle and Eddie both pull on Mike’s arms while Jordan kicks
the hand away. The hand lets go of Mike.
70.
It splits into three hands. It grabs each of the boys by the
leg.
All three of them fall to the floor. The hand pulls Jordan
closer.
JORDAN
Get off me!
Jordan kicks at the hand, but it only pulls faster. A pair
of hands grab Jordan by the shoulders. Jordan looks up:
Eddie’s face looks down at Jordan’s.
EDDIE
No. I’m not letting you take him.
BACK TO
Eddie’s hands yank Jordan back with incredible force. Jordan
is pulled back and falls on top of Eddie.
Jordan jumps to his feet. The hands let go of the other
boys.
The Riblet glares at Eddie.
RIBLET
What are you doing?
EDDIE
I’m not letting him turn any more
kids. I’m done with this.
RIBLET
You want to be one of them so badly?
Then you can die like one of them.
The Riblet whistles. For a second nothing happens.
Then Riblets crawl out of the walls and head straight to the
lead Riblet. They pile onto him, blending in with his skin.
The lead Riblet keeps growing bigger and bigger as the other
Riblets pile on.
JORDAN
Eddie….
The lead Riblet is a massive Riblike
monster. His head
reaches the ceiling. The Riblet stares down at the four
boys.
71.
MIKE
Eddie, what do we do?
EDDIE
Run.
Eddie takes off running down the hall. Jordan, Mike and Kyle
follow close behind.
The boys head down the hallway. They race downstairs and
head for the exit.
EDDIE (cont’d)
Wait! You can’t leave!
MIKE
The hell we can’t!
Jordan grabs the doorknob and pushes forward. The door
doesn’t budge.
JORDAN
What the?
KYLE
You’re not pushing hard enough!
The three boys pushed against it while Eddie stands back
watching. The door doesn’t budge.
EDDIE
Told you.
KYLE
What did you do?
EDDIE
I didn’t do anything. Rib’n the Bone
won’t let you leave. Not until he has
him.
Eddie points at Jordan. Jordan looks away, uncomfortably.
MIKE
That’s not going to happen. We just
need to find another way out.
JORDAN
Eddie, is there any other way we can
leave? A backdoor or something?
72.
MIKE
You’re asking the kid who never made
it out if he knows about another way
out of here?
JORDAN
Do you have any other ideas, genius?
KYLE
How do we know we can trust you? How
do we know that you’re not pretending
to help us so you could lead us to
Rib’n the Bone?
EDDIE
I would never do that.
KYLE
Of course you would say that.
JORDAN
Kyle, stop it.
KYLE
I’m just saying, it’s weird that he
just shows up and offers to help us?
Neither of you think that’s
suspicious?
MIKE
Hey! Less arguing, more trying to
find a way out.
The giant Riblet turns a corner.
JORDAN
Go, go, go!
The four boys run down the hallway. Kyle stops next to a
wallmounted
candlestick.
The candlestick appears to be crooked, bending slightly to
the right.
KYLE
Well, that’s annoying.
Kyle reaches out and pulls it closer to the left,
correcting its stance. As soon as he fixes it, the wall
begins to move to the left.
73.
A brown door is exposed. Jordan, Kyle and Eddie stop behind
Kyle. Kyle steps back, bumping into Mike. Mike shoves Kyle
forward.
JORDAN
Where does this lead to?
EDDIE
I don’t know.
KYLE
You’ve been here for how long, and
you don’t know?
EDDIE
I wasn’t here that long.
MIKE
Well, it’s good enough for me. Come
on, get in!
Jordan flings the door open to reveal a flight of steps
heading down. The boys rush through the door, closing it
behind them.
As soon as the door closes, the wall covers the door back
up.
EXT. WOODS SAME
Chi is sitting on her bike, shining the flashlight on the
factory.
CHI
Well, this is a lot more creepy at
night. Okay, Chi. Pull it together. I
gotta save my friends. I gotta save
my friends.
Chi drops her bike on the ground and takes a step toward the
factory. A scream echoes from the building.
Chi stops in her tracks.
CHI (cont’d)
I gotta save my friends, who are in a
possibly haunted factory. And they
are probably already dead as we
speak.
She turns around and hurries to her bike. She picks it up
and looks back at the factory.
74.
It appears just as lifeless as it did earlier.
BACK TO CHI
She lays her bike back down on the ground.
CHI (cont’d)
No. I can’t turn back now. I gotta
save my friends.
Chi takes a hesitant step forward. She takes another step.
After a moment, she walks quickly to the factory door.
CUCHI’S
HAND
wraps around the doorknob. She pushes the door in. PULL BACK
to reveal:
INT. FACTORY LIBRARY
SAME
The boys reach the bottom of the stairs to see the library.
JORDAN
It’s just the library. Forget it,
let’s go back.
EDDIE
No. It’s not the library. Look
harder.
Jordan turns to Eddie with a confused look. He turns back to
the room and squints his eyes.
The wind begins to blow through the air. Jordan’s eyes grow
wide.
JORDAN’S P.O.V.
Sofia and Kai are laying on the basement floor. Sofia’s head
lays in a pool of blood while Kai lays face down on the
ground with his eyes open and lifeless.
Jordan falls to his knees. Mike and Kyle stare at the scene
wordlessly.
EDDIE
Jordan?
EXTREME CU: Jordan stares ahead without making a sound.
Tears roll down his eyes.
75.
EDDIE (O.C.)
Jordan?
The wind blows through the air. Jordan closes his eyes.
RIB’N THE BONE (O.S.)
Jordan?
INT. FACTORY HALLWAY
SAME
The boys open the door, entering the factory hallway.
Jordan, Mike, and Kyle walk solemnly, barely paying
attention to their surroundings.
MIKE
You don’t think that was real, do
you? Maybe he’s making us think we
saw Mr. Harris but it wasn’t really
him.
KYLE
It has to be a trick. He’s trying to
get inside our heads. (To Eddie) It’s
a trick, right? It’s what he does?
EDDIE
I don’t think it was a trick. I mean,
it sounds like you guys only knew the
guy and not the girl. Why would he
show you a girl that you don’t know?
KYLE
To throw us off. Just like what
you’re probably doing.
MIKE
What if it was Rib’n the Bone and he
was pretending to be them? Or those
other Riblets?
EDDIE
I would’ve felt their presence. Every
time I’m near him or the others, I
can feel them somehow. Like we’re all
connected. I didn’t feel any of them
there at all. He must’ve killed them
and leMIKE
No, he didn’t kill them! Not Mr.
Harris, at least! It’s Chi’s dad, for
crying out loud.
76.
JORDAN
Chi.
Jordan stops walking.
JORDAN (cont’d)
Chi. She’ll never forgive me for
this.
KYLE
Jordan, this isn’t your fault.
JORDAN
Yes. It is. Chi warned me not to go.
My mother even warned me not to go.
But I didn’t listen. And now Mr.
Harris is dead because of me. (To
Eddie) You said you can feel his
presence? That means you can find
him, right?
Eddie nods.
JORDAN (cont’d)
Take me to him.
MIKE
What?
KYLE
Are you crazy? He’ll kill you!
JORDAN
I know. Look guys, I’m the one he
wants. I’m not going to let anyone
else die because of me. This is the
only way it will end. With me and
Rib’n the Bone.
Mike steps up to Jordan and stops in front of him. He looks
Jordan in the eyes and wraps his arms around him.
He closes his eyes, blinking away tears. Mike and Jordan let
go of each other.
Kyle wraps his arms around Jordan. They hug each other for a
moment before letting go.
EDDIE
Are you sure you want to do this?
JORDAN
No. But what choice do I have?
77.
Eddie heads down the hallway with Jordan following behind
him. Jordan looks back.
Mike and Kyle are still standing in the same spot, watching
him leave.
Jordan turns back around, following Eddie around a corner.
INT. FACTORY HALLWAY
CONTINUOUS
Chi turns around a corner and bumps into Mike and Kyle.
CHI
Mike! Kyle! Oh thank goodness, I
thought you guys were dead!
MIKE
There’s still a chance of that
happening.
CHI
Where’s Jordan?
Mike and Kyle both look at each other.
CHI (cont’d)
What?
KYLE
He’s in the library, we think. Said
he found out how to stop Rib’n the
Bone.
MIKE
We’re heading there right now. Why
don’t you come with us?
CHI
Uh, okay.
Mike and Kyle move forward and Chi follows them. Mike and
Kyle’s eyes begin to glow red as they both give a sinister
smile.
INT. COFFIN SAME
Ryann opens her eyes. She lays on her back in a cramped,
dark space.
She lifts her head and bumps it against the top of the
coffin.
78.
RYANN
Kai? Sofia?
Ryann pushes against the top of the lid. She begins to
panic.
She screams as she pounds and kicks at the lid.Nothing
happens.
Ryann covers her mouth as she begins to cry.
RYANN (cont’d)
Jordan. I’m so sorry.
JORDAN (O.S.)
Mom.
Ryann widens her eyes at the sound of Jordan’s voice.
RYANN
Jordan?
A white light engulfs the coffin, bathing Ryann in its
light.
INT. WHITE ROOM SAME
Ryann stands in an empty allwhite
room. A young Vanessa
sits in the middle of the floor. Rib’n the Bone hovers over
her.
VANESSA
Save me, Ryann! Save me!
Ryann freezes in her position, watching the scene in horror.
RIB’N THE BONE
She can’t save you. She can’t even
save her own son.
Rib’n the Bone turns to Ryann and gives her a sinister
smile.
RIB’N THE BONE (cont’d)
She used to think you were the
bravest person in the world. But look
at you now.
Ryann turns to her right hand. She is holding a bottle of
tequila.
79.
She turns back to Rib’n the Bone.The room has changed to her
living room.
Someone is banging on the door.
JORDAN (O.S.)
Mom! Help me! He’s going to kill me.
Ryann makes a move to the door, only to stumble over her
feet. She falls to the floor.
JORDAN (O.S.) (cont’d)
MOM!
Ryann pulls herself up and looks down to see Jordan. He lays
at her feet with his chest ripped open. She screams.
VANESSA (O.S.)
Poor Jordan. He almost made it out.
Ryann turns on her side to see Vanessa as Rib’n the Bone
standing over her.
RYANN
You killed him.
Ryann gets up and charges at Vanessa. Vanessa backhands her,
knocking her against the wall.
VANESSA
No. You killed him. Just like you
killed me.
Vanessa raises her hand. A white light engulfs her and
Ryann.
INT. FACTORY BASEMENT
SAME
Eddie and Jordan enter the basement.
EDDIE
I brought you someone.
Vanessa approaches them.
VANESSA
Finally. Leave us.
Eddie hesitates.
80.
JORDAN
It’s okay.
Eddie nods and exits the basement.
JORDAN (cont’d)
You got what you want. Will you let
my friends go, now?
VANESSA
Yes. You are the only one I want.
Your death is all that matters.
She grabs Jordan by the throat. Jordan grabs her hand.
One of Vanessa’s hands turns into a meat cleaver. She slices
at Jordan’s throat.
RYANN (O.S.)
No!
Ryann appears, charging at them.
INT. WHITE ROOM SAME
Young Ryann falls on the floor. She lets out a heartwrenching
cry.
VANESSA
What’s the matter, Ryann? Can’t
handle the truth.
Ryann crawls backwards away from Vanessa. Vanessa follows
after her.
VANESSA (cont’d)
I used to think you could take on the
whole world. But look at you now.
Vanessa bends and presses her hand against young Ryann’s
right shoulder pushing her down.
VANESSA (cont’d)
You are exactly where you deserve to
be.
Vanessa balls up her fist and punches Ryann in the face.
81.
INT. COFFIN SAME
Ryann opens her eyes. She begins to cry.
RYANN (V.O.)
I have come too far only to end up
right where I deserve to be.
INT. FACTORY HALLWAY
SAME
Mike and Kyle reach the front door of the factory. Mike
grabs the doorknob but he doesn’t push the door open.
MIKE
This doesn’t feel right.
KYLE
Nothing about this situation feels
right.
MIKE
We’re letting our friend walk to his
death right now as we speak.
KYLE
It was his choice.
MIKE
You think that makes it any better?
KYLE
No. But what can we do, Mike? Two
kids against Rib’n the Bone? We’ll
just get killed.
MIKE
We’ll get killed trying to save our
friends. Isn’t that what friends do?
Kyle lowers his head. Mike turns to look at Kyle
Chi and two kids“
Mike” and “Kyle” are further down the
hall, walking to the left side of the room. Mike smacks
Kyle’s arm.
KYLE
What?
Kyle looks at Mike’s terrified face. He turns around in time
to see Chi exit around the corner down the hall.
82.
KYLE (cont’d)
Is that Chi?
MIKE
I don’t know. It could be another
trick.
KYLE
Why would he pull another trick if
he’s letting us go? He only wants
Jordan right?
Mike and Kyle look to each other. Without a word, they share
an agreementthey
have to save their friends.
Mike lets go of the doorknob. Both boys head down the
hallway.
INT. FACTORYHALLWAYCONTINUOUS
Chi follows her “friends” to the library door. The boys stop
right in front of it.
CHI
Jordan’s in here?
MIKE
Yup.
“Kyle” opens the door. Chi starts to the door, only to stop
in her tracks.
CHI
Maybe you two should go first?
KYLE
No, you first.
CHI
Are you guys okay? You seem a
little…weird.
MIKE
We’re fine. Just go through the door.
Chi stretches her hand hesitantly,reaching for the doorknob.
KYLE (O.S.)
Chi, get away from them!
Chi turns behind her. Kyle and Mike appear around the
corner.
83.
Chi turns back to face the impostors.
“Mike’s” eyes turn red for a second before turning back to
his original color. Chi steps back and turns around,
preparing to run to her real friends.
“Kyle” and “Mike” grab each of her arm.
CHI
Let go, you freaks!
“Kyle” opens the door. He and “Mike” carry her through the
door.
Chi screams. Mike and Kyle run to the door. Mike flings the
door open and the boys run inside.
INT. FACTORY LIBRARY
SAME
The impostor Mike and Kyle are still holding Chi by the arm.
“Mike” and “Kyle’s” hands begins to turn into meat, covering
Chi’s hands.
Their skin begins to crawl over her arms.
CHI
Help me!
Mike and Kyle only watch in horror as the Riblets engulf
Chi.
KYLE
Mike…
MIKE
It’s okay. Just…just think of this
as the final boss battle. Mario and
Luigi getting ready to fight Bowser
to save Princess Peach.
KYLE
You’re really using video game logic
right now?
More Riblets begin to crawl from the floor and the walls.
Mike and Kyle stand back to back. Both of them ready to
defend the other with their lives.
MIKE
You ready?
84.
KYLE
Time to kick some ass.
A Riblet charges at the boy, giving a terrifying shriek.
INT. COFFIN SAME
Ryann’s eyes are closed. She has accepted her fate.
A white light engulfs the coffin.
INT. WHITE ROOM SAME
Ryann, now 12yearsold,
enters the white room. KAi, also 12
again, sits in the middle of the room.
His backpack sits next to his feet. A jar of peanut butter,
a box of graham crackers and a bag of marshmallows lay in
front of him.
He smiles when he sees Ryann.
KAI
Hey, Ryann.
Ryann approaches Kai. She stops inches from him.
KAI (cont’d)
Are you gonna join me? Or do I get
the s’mores all for myself? Not that
I’m complaining or anything.
Ryann tilts her head. KAi mimics his head tilt.
KAI (cont’d)
Are you okay?
RYANN
IS this another trick?
KAi sighs. He picks up a graham cracker.
KAI
What happened to you, Ryann?
RYANN
We already covered that subject.
Ryann looked around her surroundings. She sits down in front
of him, keeping a big space between them.
85.
RYANN (cont’d)
What is this place?
KAI
This is where she likes to play with
her victims before she kills them. Or
turn them. Who knows what she has in
mind.
RYANN
And you’re just something who takes
the form of the people I know or
something?
KAI
No. This is all you. I’m here because
you won’t let me go.
Kai turns into a young Vanessa.
VANESSA
Ryann, you had the potential to much
more than the person you are now. And
you still do. You must get out of
here so you can save your son.
RYANN
My son is dead. (pause) I killed him.
Just like I killed Kai. And you.
Vanessa picks up a knife and dips it in her jar of peanut
butter.
She swipes the peanut butter on her graham cracker.
I am so sorry, Vanessa. I should’ve
never made you go inside that
factory.
VANESSA
You really think I would’ve just did
anything you told me to do? (pause)
Listen to me. The past is the past.
Neither of us can change that. But
you still have a chance to make
things right with your son. Jordan is
still alive. He and his friends need
you. It’s too late me for me. It’s
not too late for him.
Vanessa stands up. Ryann stands up right with her.
86.
RYANN
Wait. What about us? Is there a
chance that we could be friends
again?
VANESSA
That’s the real tragedy of this whole
situation, Ryann. We were never just
friends. We were sisters. And that
will never change.
Vanessa vanishes.
Ryann looks around the room until her eyes lock on a white
door.
She starts walking to the door when she felt the room
tremble. She turns around to see Vanessa as Rib’n the Bone.
Vanessa knocks Ryann to the ground.
VANESSA (cont’d)
There you are. I was afraid I hit you
too hard.
Ryann tries to get to her feet before Vanessa kicks her
down.
VANESSA (cont’d)
No Kai. No Jordan. No hope. Who is
going to save this pathetic shell of
a woman now?
Vanessa’s hand turns into a meat cleaver. She aims for
Ryann’s head.
Ryann kicks Vanessa in the stomach. Vanessa doubles over.
Ryann punches Vanessa in the face.Vanessa falls to the
floor, spitting blood. Ryann stands up. Only this time, it
is adult Ryann.
RYANN
You know what you’re problem is,
Vanessa? You always talked the talk,
but you could never walk it.
VANESSA
You’re the reason why he got me.
RYANN
I know. I know. And I am so sorry,
Vanessa. I truly am.
(MORE)
87.
But I can’t change the past. And I am
RYANN (cont’d)
tired of living in it. It’s time to
move on.
VANESSA
The hell it is. Just who do you think
you are?
RYANN
I’m Ryann Johnson.
The basement begins to fade away. The white light engulfs
Ryann again.
INT. COFFIN SAME
Ryann opens her eyes. She is back in the dark, cramped space
again. She makes a fist with her right hand and begins
punching her way through the top of the coffin.
As she punches, dust begin to trickle inside the coffin. She
screams, but this time it is more like a war cry.
EXT. WOODS SAME
It is raining. Ryann’s hand pops out of the ground as she
claws her way out. Ryann pulls herself out of the ground.
She has a crazed look in her eye. The look of a woman who is
about to go to war.
Ryann stands up and shakes the dirt off of her. The factory
towers in front of her.
She walks toward it.
INT. FACTORY KITCHENSAME
Ryann picks up a meat cleaver from a table. She turns it
over in her hand, examining it.
INT. FACTORY HALLWAY
SAME
Ryann heads down the hall. A Riblet crawls out of the floor
in front of her.
Ryann walks toward it. Without a flinch, she swings the meat
cleaver and chops the Riblet’s head off.
88.
More Riblets crawl from the wall and the floor. Ryann swings
her meat cleaver left and right.
She chops off the heads of the Riblets as she continues to
head down the hall.
A trail of meat is left behind her as she chops her way
through. Ryann turns a corner. She hears a scream.
INT. FACTORY LIBRARY
SAME
Mike screams as he punches a Riblet in the face. He jumps on
the Riblet’s back and wraps his arm around his neck.
The Riblet tries to toss him off of him. Mike squeezes his
arm around his neck tighter. He bites the Riblet on the ear.
The Riblet howls with pain. Kyle grabs some books from the
bookshelf and throws them at the Riblets.
One of the books smacks a Riblet in the head. One of the
Riblets grabs Kyle by the arm.
Kyle smacks the Riblet with a book in his hand. The Riblet
lets go and falls to the ground.
KYLE
There’s too many of them!
MIKE
Just keep fighting!
The bigger Riblet grabs Mike and lifts him in the air. Mike
kicks at the Riblet.
The Riblet’s hand begins to blend in with Mike, covering his
shoulders.
The door bursts open, revealing Ryann with a meat cleaver in
hand.
RYANN
Let him go, asshole!
Ryann swings at a nearby Riblet. She hops over the library
table and rams her meat cleaver in the head of the Tiblet
attacking Kyle.
The Riblet falls to the floor while Kyle watches with his
mouth hanging open.
89.
Ryann chops off the head of a couple more Riblets. The
bigger Riblet drops Mike.
He charges at Ryann. Ryann runs toward the Riblet.
As he reaches for her, Ryann slides between his legs. She
hops to her feet.
Ryann hops on the table and jumps at the Riblet’s back. As
the Riblet turns his head, she rams her meat cleaver between
his eyes.
Blood begins to pour from his mouth. Ryann lands on her feet
as she hit the floor.
The bigger Riblet sways as if he is he trying to swing at
something. He falls to the floor, splitting into two slabs
of meat.
Chi lays in the middle of the two slabs of meat, coughing.
The meat cleaver lays next to her.
CHI
What…just…happened?
Ryann picks up the meat cleaver.
RYANN
Are all of you okay?
Mike nods. Kyle looks at her in shock.
RYANN (cont’d)
Where’s Jordan?
MIKE
He’s went to find Rib’n the Bone.
RYANN
What?!
MIKE
He said Rib’n the Bone wanted him for
some reason. So he turned himself in
so Kyle and I could leave.
Kyle nods.
KYLE
We were going to go find him, but we
had to save Chi first.
90.
CHI
And you did a poor job at it.
KYLE
Just be glad we even bothered to try.
RYANN
Tell me where he went.
MIKE
Probably the basement. That’s where
all the weird shstuff
happens.
RYANN
You three go home. Now.
MIKE
We’re not leaving without Jordan.
CHI
Yeah, we want to help. Wait…where’s
my dad? Why isn’t he with you?
Ryann closes her eyes, fighting the tears that threatened to
fall. Kyle and Mike both shared uneasy looks.
RYANN
We…got separated. But I’ll go find
him and Jordan. But you three need to
leave.
KYLE
ButRYANN
There’s nothing more you can do here.
Ryann leaves the library.
KYLE
Huh. Who would’ve thought Jordan’s
mom was such as badass?
CHI
We have to go after her.
MIKE
I’m sure she can handle herself.
Chi moves to the door and opens it.
91.
INT. FACTORY HALLWAY
SAME
As Chi steps into the hallway, she stops at the sight of the
lead Riblet. He is still in the form of the giant Riblike
monster.
Mike and Kyle exit the library, only to stop behind Chi. The
lead Riblet tilts his head.
RIBLET
There you are.
MIKE
Oh yeah. This guy.
INT. FACTORY BASEMENT
SAME
Jordan and Eddie head down the stairs. Eddie looks back at
Jordan. Jordan is close behind, hanging his head low.
Eddie stops at the bottom of the steps. Jordan cringes as he
spots Sofia’s corpse.
JORDAN
Where’s Mr. Harris? I don’t see him
anywhere.
EDDIE
He must’ve gotten rid of his body
already. Come on.
Eddie leads Jordan to the boiler room.
EDDIE (cont’d)
This is where he would be.
Jordan steps forward.
JORDAN
(yelling)
I’m here. And I’m not running
anywhere. You can come out.
The room trembles as Vanessa appears before them. She cocks
her head at Jordan.
JORDAN (cont’d)
I’m here. Let my friends go. They
have nothing to do with this.
VANESSA
No, they don’t.
92.
Vanessa gestures for Jordan to move closer. Jordan takes a
small step forward.
JORDAN
Before I get any closer, I just need
to ask one thing. Why me?
Vanessa laughs harshly.
VANESSA
Honey, this isn’t about you. This was
never about you.
JORDAN
But I’m the one who sought you out. I
was the one you were calling.
VANESSA
Yes, that is true. But I never had
any quarrel with you.
Vanessa lurches forward and grabs Jordan by the arm. Jordan
winces and instinctively steps back.
Vanessa places her thumb on his forehead.
VANESSA (cont’d)
You are just a tool to hurt the one
that I really want.
FLASH IMAGE: Ryann (12) is in the basement, watching Rib’n
the Bone devour Vanessa.
Jordan jumps back, but Vanessa keeps a firm grip on his arm.
VANESSA (cont’d)
Your mother left me to die here,
Jordan. Probably so she can have Kai
all to herself. Imagine how
frustrating it is to find out she
abandoned you for a guy she didn’t
even end up with.
JORDAN
That’s a lie. My mother would never
do that.
VANESSA
Really? Then why hasn’t she told you
about me? Do you even know who I am?
JORDAN
A psychotic meat sack?
93.
Vanessa throws Jordan against the wall. Jordan crumbles to
the ground.
Eddie darts a look between Jordan and Vanessa. Terrified.
VANESSA
How lovely. You even have her mouth.
That just makes it easier for me to
kill you.
Vanessa’s right hand turns into a meat cleaver. She aims at
Jordan.
Eddie jumps in front of the blade. The cleaver cuts his
neck.
JORDAN
Eddie!
Eddie falls to the ground. Jordan scurries over to the
Riblet.
Jordan lifts up Eddie’s head. Jordan begins to tear up.
JORDAN (cont’d)
Eddie, you idiot. Why did you do
that?
EDDIE
I couldn’t let her kill my friend.
Eddie smiles before he closes his eyes. Jordan presses his
head against Eddie’s.
Jordan lifts his head. Eddie has become a regular slab of
meat in his hands.
Vanessa flicks her meat cleaver, splashing blood on the
ground.
VANESSA
He was the weakest of them all. Now,
be a good boy and hold still.
Jordan stands up. He balls his hands into fists.
JORDAN
No. You promised you wouldn’t hurt
any of my friends. Deal’s off.
VANESSA
As if you ever had a choice.
94.
Vanessa’s mouth begins to widen. Her mouth is wide enough to
cover a horse. She displays many sharp teeth.
VANESSA (cont’d)
No friends. No grownups.
No hope.
What do you have left?
Jordan notices something over Vanessa’s shoulder. His eyes
are full of shock.
Vanessa frowns. She looks behind her to see Ryann, holding a
meat cleaver.
RYANN
He has me.
Ryann swings at Vanessa, chopping off her arm. Vanessa
screams.
INT. FACTORY HALLWAY
SAME
Mike, Kyle and Chi run down the hallway. Chi points at a
door. Kyle opens the door and gestures everyone to get
inside.
INT. FACTORY MEAT
PROCESSING ROOM SAME
Kyle closes the door behind him.
KYLE
Anybody got any ideas?
MIKE
A meat cleaver sounds really good
right now.
Chi rushes over to the pig on a hook.
CHI
I got an idea. Not sure if it’ll work
though. Someone help me take this
off.
Kyle runs over and helps her remove the pig.
RIBLET’S P.O.V.
The Riblet bursts through the door. Kyle is the only one he
sees standing in front of him.
95.
RIBLET
What? You’re not going to run this
time?
KYLE
No. I’m tired of running. So let’s
get this over with, Meatboy.
BACK TO SCENE
The Riblet charges at Kyle. When Riblet gets close, Kyle
moves out the way.
He sticks his foot out and the Riblet trips over it. The
Riblet’s head lands on the hook.
Chi hops on the Riblet’s back and pushes his head further
down on the hook.
The hook goes all the way through his head. The Riblet’s
body falls still.
KYLE (cont’d)
We did it.
CHI
Yes. We did.
Kyle and Chi stare at the body for a second. Kyle grabs Chi
by the face and kisses her on the lips.
Chi pushes him off.
CHI (cont’d)
Kyle!
KYLE
I’m sorry, I got caughtCHI
Not in front of other people.
She points at Mike. Mike is hiding under the table, looking
up at them.
His mouth hangs open. Kyle clears his throat.
KYLE
Right. Sorry.
Chi smiles. She places a quick kiss on Kyle’s cheek.
96.
CHI
Let’s go save our friend.
INT. FACTORY BASEMENT
SAME
Ryann swings at Vanessa again. Vanessa sidesteps to the
right and kicks Ryann to the ground.
She raises her hand in the air. A white light begins to
appear.
Jordan pushes Vanessa to the ground.
JORDAN
I think that’s enough mind tricks.
RYANN
I agree.
Ryann charges at Vanessa. Vanessa grabs Ryann’s arms and
kicks up her feet.
She flings Ryann to the back of the room. Vanessa stands up
and kicks her leg out at her.
Ryann ducks and Vanessa’s foot hits the wall instead. Ryann
stands up.
Vanessa kicks Ryann to the ground. She picks up Ryann by the
throat.
VANESSA
If you seriously think you can beat
me, then you are crazier than I
thought.
Jordan grabs a chair from the corner of the room. He runs at
Vanessa, smashing the chair against her head.
Vanessa lets go of Ryann and falls to the ground. Ryann
scrambles to her feet.
She grabs Jordan’s arm.
RYANN
Jordan, get out of here.
JORDAN
Not without you.
RYANN
This isn’t up for discussion!
97.
JORDAN
You’re right. It’s not.
Jordan pulls his arm out of his mother’s grip and charges at
Vanessa. Vanessa vanishes.
Jordan stops and looks around the area. Vanessa appears
behind him and picks him up.
She flings him across the room. Jordan lands on a table in
the other room.
The table crumbles underneath his weight.
RYANN
Stay away from him! This is between
you and me, remember? This ends with
us.
VANESSA
You got that right. I’ve waited so
long for this. You and Kai. Both of
you have betrayed me. Both of you
will pay for what you did to me.
RYANN
Vanessa, we were kids. Yeah, that
doesn’t excuse what we did. But we
didn’t know what to do.
Vanessa chuckles harshly.
VANESSA
They did. Your son did. Those brats
refused to leave until they were sure
everyone is out of here. They are
still here, trying to find Jordan as
we speak. It’s so annoying. Yet, I
kept help but wonder why you didn’t
do the same for me? I would’ve fought
for you, Ryann. I would’ve died
trying to save you.
RYANN
I know. I know. If I could go back
and save you, I would. But I can’t.
Stop this, Vanessa. We can get you
help. We can fix this.
VANESSA
No, Ryann. We can’t. This will end
with you taking my place.
98.
Vanessa charges at Ryann. Ryann charges at her.
Vanessa vanishes as soon as Ryann reaches her. Ryann looks
around.
She closes her eyes. A faint voice whispers: “Ryann.”
Ryann opens her eyes. She feels Vanessa coming near.
Ryann turns her upper body, swinging her meat cleaver
backward.
It connects with Vanessa’s neck. Blood pours out of
Vanessa’s mouth.
Her eyes gaze through Ryann’s eyes. At first, Vanessa looks
shocked. Then she looks relieved.
RYANN
Goodbye,
sister.
Vanessa falls to the floor, coughing up blood. She
transforms into a giant slab of meat.
The factory begins to rumble. The ceiling begins to cave in.
RYANN (cont’d)
Jordan!
Jordan stands up, rubbing his head.
JORDAN
Did we get her?
Ryann grabs Jordan by the arm. They run up the basement
stairs.
INT. FACTORY HALLWAY
SAME
Mike, Kyle and Chi stand by the basement door. The door
flings open, revealing Ryann and Jordan.
RYANN
Go! Go!
The kids follow Ryann down the hallway. Riblets are
disintegrating, turning into slabs of meat.
A large piece of the ceiling lands on Mike. Ryann, Jordan,
Kyle and Chi push the large piece off of Mike.
99.
RYANN (cont’d)
Come on!
The group runs ducking and dodging every piece of ceiling
that falls in their way.
Jordan reaches the door first and pushes it open.
INT. WOODS SAME
Ryann, Jordan and his friends burst out the door. They run
until they reach the pathway to the woods.
Jordan trips and falls to his feet. He looks behind.
The entire factory has crumbled to the ground. Mike, Kyle
and Chi stopped by Jordan, falling to their knees.
Ryann stares at the remains.
MIKE
We did it. We defeated Rib’n the
Bone.
He bursts out laughing.
CHI
Why are you laughing?
MIKE
‘Cause I can’t believe we survived!
Jordan stands up. He walks toward his mother.
JORDAN
Mom?
RYANN’S P.O.V.
Ryann turns to the sound of Jordan’s voice. She grabs Jordan
and pulls him to a crushing hug.
She cries into his shoulder, happy and relieved. Jordan hugs
her back, letting his tears fall.
JORDAN (cont’d)
Mom, I’m so sorry. IRYANN
It’s okay, baby. It’s okay. I’m just
glad that you’re safe.
100.
Ryann and Jordan hold each other, not quite ready to let go.
INT. RYANN’S HOUSE DAY
Ryann is in the kitchen, making lunch for Jordan. Jordan
sits at the kitchen table, watching television.
A news reporter appears on the screen.
NEWS REPORTER
Detective Malachai Harris and
Detective Sofia Lopez were killed
during an attempt to rescue three
children who went missing on Tuesday
night. One of the children reports
the kidnapper had trapped them in a
factory in the woods. The child also
confirms that the body of Eddie
Salvatore, a child who went missing
last year, was found in the factory.
Investigators are looking…
A knock is heard on the front door. Jordan turned off the
television.
He opens the door. Mike, Kyle and Chi stand on the doorway.
Kyle is fixing the door mat.
KYLE
Is it that hard to keep this thing
straight?
JORDAN
Hello to you too, Kyle.
Jordan slaps Mike’s hand and pulls him into a onearmed
hug.
He wraps Chi into a big hug.
JORDAN (cont’d)
How are you?
CHI
I miss him. I miss him so much.
JORDAN
I know. I won’t lie and tell you it
gets better. But you will learn how
to deal with it every day.
Jordan lets go of Chi. Kyle grabs Chi’s hand and squeezes
it.
101.
Chi gives him a small smile.
MIKE
You know, we could just skip school.
I say we earned it.
Ryann appears at the door.
RYANN
I heard that. No skipping school,
Jordan. I will go down there myself
if I have to just to make sure you’re
there.
JORDAN
Mom…
RYANN
Don’t “Mom” me. Now give me a kiss.
Jordan doesn’t hesitate as he kisses Ryann on the cheek.
EXT. RYANN’S HOUSE DAY
Jordan, Mike, Kyle and Chi pick up their bikes from the
front lawn.
KYLE
Race ya to school!
CHI
Think you can catch up?
KYLE
I guess we’ll see!
Kyle and Chi take off down the road. Mike watches them ride
away, shaking his head.
MIKE
I think I liked them better when they
didn’t like each other.
(pause)
Do you think about him sometimes?
Eddie?
JORDAN
No. I think about him all the time.
It’s not fair what happened to him.
102.
MIKE
It’s not fair what happened to Chi’s
dad either. But I think they’re both
in a better place now.
Jordan and Mike hopped on their bikes. Ryann steps outside
the house, watching them.
JORDAN
I hope so.
MIKE
Hey, how about we race to school?
Loser has to do the winner’s homework
for a month.
Mike takes off down the road. Jordan smiles before he rides
after him.
Ryann walks to the road, watching the boys ride into the
bright sunlight. A pigeon flys out in the opposite direction
of the boys.
Ryann smiles bravely.
Anything can happen.
But this time, she won’t tackle it alone.
103.
END CREDIT
EXT. WOODS NIGHT
The remains of the factory lay on the ground. A trail of
meat leads from the remains to the woods.
A shadowy figure walks on the gravel road.
CU Kai
walks slowly down the gravel. He’s face contorts,
turning into raw meat.
He is on a mission.
Kai reaches the end of the pathway. He hears a group of kids
riding down the road.
He turns his head at the noise. His eyes turn red.
THE END
(MORE)
104.
105.
106.
107.
108.
109.
110.
111.
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113.
114.
115.
116.

THE MUSICIAN

CHARACTERS

BERNADETTE                                  Mid 20s-early 30s; a nursing student, ambitious and determined.

JOHN                                                  Early-mid-30s; a jazz musician with a zest for life.

ZORA                                                 Mid 20s-early 30s; Bernadette’s best friend and fellow nursing student; out-spoken, youthful.

WENDELL                                        Early-mid-20s; Bernadette’s on-off again boyfriend

TERRI                                                Mid 20s-early 30s; Bernadette’s roommate.

WOOD                                                 Early 20s; Bernadette’s brother.

Setting

Bernadette and Terri’s apartment.

A poetry slam club.

A park.

Time

The summer of 1982.

1.

ACT I

SCENE 1

[Saturday night. BERNADETTE is in the living room, sitting on the couch. The living room has a couch in the center of the room and a table in front. Another table is located on the right side of the couch. A lamp is placed on the table. BERNADETTE is wearing a black dress and black shoes. She has a photo album on her lap, he is flipping through the pages and stops when she gets to a particular photo. Her best friend and roommate ZORA enters with TERRI, an acquaintance of ZORA and BERNADETTE.

                                                                        ZORA

Girl, you better stop lying!

TERRI

I ain’t lying! I’m telling you, the man was staring right at me. I was standing up, cheering along with the rest of the crowd. Then he looked me dead in the eye and he froze up. Like he recognized me or something.

ZORA

Please. You expect me to believe that some famous musician just spotted you out in a large crowd of people?  You had to be imagining things.

TERRI

I’m telling the truth! He was looking right at me! I would’ve be flattered if he wasn’t look at me with this terrified look on his face.

ZORA

Who wouldn’t be terrified by you?  Have you met you?

TERRI

Whatever. (To BERNADETTE) How are you doing, Bernadette?

ZORA

Aww, you’re looking at the photo album again?!

2.

BERNADETTE

I’m fine, Terri, thank you very much.

ZORA

Bernie, it’s been two months. It’s time to close that chapter of this story.

BERNADETTE

I have closed that chapter. (She closes the photo album). I closed it so hard that I think I’m done dating.

TERRI

There’s no need to swear off men altogether. You just haven’t found the right one yet.

ZORA

You know what I always say? The best way to get over a man, is to get under a new one.

BERNADETTE

I’m not done with dating completely. I just feel that I should focus on myself right now. You know, being single is a good time to get to know myself. Focus on becoming a better person and focus on my career, you know?

ZORA

That sounds like something single people say to make themselves feel better about being single.

TERRI

Wait a minute now, she does have a point. This is a good time for Bernadette to have some me time. Besides, hopping into another relationship isn’t going to help her get over Wen-her ex.

ZORA

Maybe not. But you know what will help her get over him? Going out! (To BERNADETTE)  Terri bought us tickets to a concert and guess who’s playing?

3.

TERRI

I’ll give you a hint. You’ve been playing his music every single day.

BERNADETTE

John Rashid?

ZORA

Ding, ding, ding. We have a winner!

TERRI

He’s performing at Soldiers and Sailors on this Saturday. You should come with us.

BERNADETTE

I don’t think so.

ZORA

What do you mean you don’t think so? You love John Rashid! Don’t give her an option, Terri. Never give Bernadette any options because she usually says no. (To BERNADETTE) Bernie, you’re going to the concert and that is final! Now, all we have to do is find you a nice outfit for the concert.

BERNADETTE

So did Wendell.

ZORA

And here it goes.

TERRI

Zora, stop it. (to BERNADETTE) Bernadette, you don’t have to come if you don’t want to. But I think this is a good chance for you to get out the house. Take your mind off of things.

BERNADETTE

I guess.

ZORA

4.

Come on. A night out with your girls, dancing, listening to great music, having the time of your life. It’ll be fun.

TERRI

Who knows, maybe it’ll take your mind off of him.

ZORA

Seriously, you can’t tell me you’re going to pass up the chance to see your favorite singer in person?

BERNADETTE

Do you remember my Aunt Etta?

ZORA

The crazy one who thought she could see the future?

BERNADETTE

That’s the one. When I was fourteen, she told me I was going to meet a doctor, a truck driver and a musician. And I was going to marry one of them.

ZORA

I already know she was lying. Because you didn’t meet one doctor, you met several. You work in a hospital.

BERNADETTE

The point is, she said I was going to marry one of them. She told me that when I was fourteen. I thought she was crazy too. Until I met Wendell, a truck driver and the man I can see myself marrying one day.

TERRI

Not to sound rude but what’s the point of this story?

BERNADETTE

The point is what if she’s wrong?  I met doctors, I met truck drivers…and nothing came out of them. What if…I’m meant to be alone? To grow old and become a cat lady or something?

ZORA

Honey, you do know there’s nothing wrong with being alone right?

TERRI

5.

I think what Zora means to say is don’t lose hope yet. You’re still young and still plenty of fish in the dating pool. And if it turns out you’re meant to be alone, well, there’s nothing wrong with that.

BERNADETTE

Oh I don’t want to hear that crap. Of course there’s something wrong with it. You know I had a dream last night. I was an old woman in my dream-probably about 90. I was walking down steps and I trip and fall. I can’t get back up. I’m screaming for someone, anyone to hear me. But no one comes. Just me, lying on the floor, wondering when the good Lord will have mercy on me and let me die.

ZORA

That’s…pretty dark.

TERRI

Hey, you said your aunt mentioned you will meet a musician? Well, you haven’t met one yet. So who knows maybe once you meet him, you’re love life will come full circle. But you won’t find that special someone if you’re still held up in your house. It’s time to get out and move on.

BERNADETTE

I guess one night out wouldn’t be so bad.

ZORA

Yes!

TERRI

Well, I guess that settles it then. I’ll stop by to pick yall up tomorrow around 7.

ZORA

Fine with me.

TERRI

How about you, Bernie?

BERNADETTE

Sure.

6.

TERRI

Great, tomorrow at 7. And Bernie, don’t worry. I have a good feeling about this concert. You’ll see.

Scene 2

BERNADETTE, TERRI, and ZORA are in the lobby of Soldiers and Sailors.

ZORA

Huh, now I see why you love him so much.

BERNADETTE

What do you mean? You love him too.

ZORA

Not as much as you do.

TERRI

That was a brilliant performance.

ZORA

So tell me Terri, did he look at you this time?

TERRI

Considering that we were on the balcony, I doubt it.

BERNADETTE

Wait, what did I miss?

ZORA

Terri thinks John Rashid is afraid of her. She went to one of his concerts once, and in her words, he looked like he was terrified of her.

TERRI

7.

I’m telling you, the man was spooked.  Plus, it did feel like there was a strange connection going on there.

Before anyone could respond, JOHN enters the lobby. As he brushes past the women, ZORA starts screaming.

ZORA

WE LOVE YOU JOHN RASHID! I HAVE ALL YOUR ALBUMS!

BERNADETTE

No you don’t.

ZORA

MY FRIENDS HAVE ALL YOUR ALBUMS, BUT I BORROWED EVERY LAST ONE OF THEM! I’M YOUR NUMBER FAN, ZORA! LOVE YOU!

JOHN looks back, smiles and waves. Then he exits the stage.

TERRI

Well, that was interesting.

BERNADETTE

Yes, he is. (To Terri) I think I know what you mean about that strange connection.

TERRI

(suspiciously) You do?

BERNADETTE

This is my first time seeing John Rashid in concert. I listened to all of his music and loved it as much as the next person. But tonight, seeing him on that stage…it felt like something was

pulling me toward him. Like there was an unspoken connection there, like maybe there is something more to him. Something I might like. I don’t know how to explain it, but it feels like John Rashid may be my kind of guy.

ZORA

The kind of guy that you want to be in a relationship with? It’s called a celebrity crush, honey. But if you ever decide you want to become a groupie, I could probably offer some tips.

TERRI

8.

Are you always like this?

ZORA

You knew me for two months, and you still haven’t figured that out?

BERNADETTE

John Rashid…I wonder….

ZORA

I wonder what hotel he’s staying at?

TERRI

Why do you want to know?

ZORA

(ignoring TERRI) The Hilton hotel. Isn’t that where celebrities usually stay?

BERNADETTE

Perhaps. Why?

ZORA

I bet you I can find out and track him down.

Later that night. ZORA is sitting on the couch, with a phone pressed against her ear. TERRI and BERNADETTE are sitting on each side of her.

TERRI

How long do you think she’ll be on the phone before she realizes she’ll never get him?

BERNADETTE

Until she finally gets bored. So I’d give it another hour.

TERRI

She’s already been on the phone for 45 minutes.

BERNADETTE

Zora doesn’t give up easily. Even when she should.

ZORA

9.

Hi! Is John Rashid available? (beat) I’m his girlfriend Zora. (beat) I’m actually not in town so I was not able to visit him in person. Can you put him on the phone? (beat) Yeah, you go ask him.

(places her hand over the phone) They’re going to put him on the phone. I knew I should have just called the Hilton hotel first.

BERNADETTE

Yeah right. They’re going to ask him if he knows you and when he says no, they’ll hang up.

ZORA

Hello? Hi John Rashid.

TERRI and BERNADETTE share a lock of shock with each other and move closer to the pay phone.

ZORA

Yes, I’m the girl who was screaming in the lobby. Did I wake you? (beat) Oh, so you weren’t doing anything anyway. You weren’t sleeping or nothing? (beat) Great. So, as I’ve said I’m a huge fan. I really like your music. But I was wondering if maybe we could talk about music together. We don’t have to do anything unless you want to.

BERNADETTE

Zora!

ZORA

(turns to BERNADETTE and presses her finger against her lips) Oh, that’s just my friend. She was the one I was with at the concert. The one who looked like she came straight from church? (beat) Yeah, she’s definitely available too. (beat. ZORA turns to TERRI and gestures for a pen and paper. TERRI grabs a piece of paper and a pen from the table and hands it to ZORA). Room

515. Under the name B.J Robinson. Got it. (beat) See you in 30 minutes. (hangs up the phone) Guess who’s going to visit John Rashid?

BERNADETTE

You actually did it?

ZORA

Yes! He invited all of us!

TERRI

10.

You two can go. I’m going to call it night.

ZORA

Aw, come on. I expected Bernie to pull that card but not you.

TERRI

I already told you, I scare the man. Besides, I need to get up early for work tomorrow anyway.

ZORA

Fine. Bernie, we are going. Do not argue with me on this one.

BERNADETTE

Even I don’t want to past his opportunity up.

ZORA

Oh, you should probably wear something less church-y. I have a dress upstairs that you could borrow.

BERNADETTE

Zora, forget it. Besides I’m not trying to catch anyone’s attention anyway.

ZORA

Your loss. Let’s go.

Scene 3

The hotel room. There is a bed, a table stand with a lamp, a television and a hotel phone. There is a table close to the door with two chairs. On the table is a copy of the book Wuthering Heights by Emily Bronte. There is a knock at the door. JOHN goes to the door. He peers through the peephole in the door.

JOHN

Who is it?

ZORA

(off stage) Zora and Bernadette. We’re here to see B.J. Robinson.

JOHN opens the door and lets them in. ZORA swoops in as if she is a lioness ready to pounce. BERNADETTE is a bit shyer, as if she is wondering why she agreed to visit this man.

11.

JOHN

Yeah, you’re definitely the screaming girls from the lobby.

BERNADETTE

Actually, she was the screaming girl. I was just the girl who was with her.

ZORA

Hello, John Rashid. So nice to meet you in person.

JOHN

Nice to meet you too. And you’re…?

ZORA

Zora, and this is my best friend Bernadette. She’s a little shy.

BERNADETTE

Nice to meet you, Mr. Rashid.

She reaches out a hand. JOHN is taken aback, then takes her hand. Instead of shaking it, he pulls it to his lips and kisses the top of it.

JOHN

Please just call me John. And nice to meet you too.

He lets go of her hand. BERNADETTE looks at him, a bit surprised.

JOHN

So, what can I do for you ladies? Would you like a drink? I think I have some champagne around here.

ZORA

That would be great, thank you.

JOHN exits stage left. He returns with a champagne bottle and three glasses.

12.

JOHN

Here we go.

JOHN pours the liquid in each cup and hands them to the women. When he hands his cup to BERNADETTE, his fingers brushes her hand and lingers for a few seconds.

JOHN

Do you ladies always hunt down musicians?

ZORA

If you’re asking if we’re groupies, no. This is our first time.

BERNADETTE

Aren’t you used to women hunting you down anyway?

JOHN

Not really. Jazz musicians don’t bring in the same fans as rock stars or pop stars. I hate to say it but jazz is becoming a dying genre.

BERNADETTE

That’s not true. Miles Davis still brings in a crowd. Dizzy Gillespie, Natalie Cole, Herbie Hancock…

ZORA

They probably don’t bring in as big as a crowd as Michael Jackson though.

JOHN

No one brings in as big as a crowd as Michael Jackson. Except the Beatles, probably. But you do make a good point, Bernadette. I guess what I mean is that jazz music tends to draw in a more sophisticated crowd. For example, you may never see anyone taking off their panties and throwing them on stage for me.

BERNADETTE

Oh, I sure hope not.

JOHN

13.

Also most jazz musicians are not as well-known as other artists. That’s actually a blessing really. Unless you get as big as Miles Davis, you can still have some privacy whenever you go out in public. Although, there are some perks to being that famous.

BERNADETTE

Being super rich?

JOHN

Having a beautiful woman like you show up at my hotel door.

ZORA clears her throat loudly.

JOHN

Having two beautiful women show at my door is even rarer for me.

BERNADETTE

(moving over to the table) You read Wuthering Heights?

JOHN

Guilty.

ZORA

I would’ve never pegged you for a guy who liked romance novels.

JOHN

I wouldn’t really call it a romance novel. Yeah, there is a hint of a romance between the two main characters but nothing romantic ever really happened.

BERNADETTE

It’s more like a tragedy of circumstances really. Two people grew up loving each other and yet they couldn’t be together. Heathcliff was denied an education so he couldn’t provide Catherine with anything, and Catherine was just an awful person.

JOHN

They were both awful really. But poor Heathcliff had to bear the brunt of everything.

ZORA

So, it’s more like a cautionary tale on how much life can suck?

14.

BERNADETTE

I like to see it more as learning from the previous generation’s mistakes. Catherine’s daughter, she meets another guy. Was he her cousin? I can’t remember. But the tragic circumstances between Heathcliff and Catherine were rectified with the relationship in the new generation.

JOHN

In other words, they refused to repeat the previous couple’s mistakes. Catherine’s daughter learns Hareton is trying to teach himself to read and write, and she decides to help him.

BERNADETTE

If only Catherine wasn’t so worried about her reputation, she and Heathcliff could have been something.

JOHN

True, but it was also a different time. She married the other guy out of survival. He was rich and educated after all.

ZORA

Okay, let’s talk about something else please. This whole story is depressing the hell out of me.

BERNADETTE

Please. Read Edgar Allan Poe if you want depressing. I swear Edgar Allan Poe knew depression as well as the back of his hand.

JOHN

I imagined he did, considering he was depressed.

ZORA

John, how about you play a song for us?

JOHN

(smiling) Aha! I knew it. You two are here for an encore.

BERNADETTE

Maybe just play one tune? I mean, it is late.

JOHN

I can sing a tune for you, Bernadette. In fact, I came up with it right now.

BERNADETTE

15.

Um…really?

ZORA

Well, this will be a long and interesting night.

JOHN pulls out his saxophone from his case. He sits on the bed. BERNADETTE sits next in a chair at the table along with ZORA. JOHN plays a soft, romantic tune. He is looking at BERNADETTE throughout the performance.  The song should last at least three minutes. When it ends, the lights fade to black.

Scene 4

BERNADETTE and ZORA’s house. The next day-afternoon. There is a knock on the door. BERNADETTE hurries over to open the door. A handsome man in his early twenties, WOOD, steps through. He is wearing a neat shirt tucked inside his pants and wearing dress shoes. He has a suitcase in his hand.

BERNADETTE

What are you doing here?

WOOD

Well, nice to see you too, Bernadette.

WOOD scoots past her and places his suitcase against the wall.

BERNADETTE

What are you doing here with your suitcase?

WOOD

Sis, I need a place to stay.

BERNADETTE

Why? What happened?

16.

WOOD

Kelly and I had a fight. I decided to move out.

BERNADETTE

You left or she kicked you out?

WOOD

She tried to kick me out but I told her I was moving out anyway.

ZORA enters from stage left.

ZORA

I thought I heard your loud mouth. What are you doing here?

WOOD

I can’t visit my sister, Zora?

ZORA

Visit? It looks like you’re planning to move in.

WOOD

That’s because I am.

BERNADETTE

Wood, what happened between you and Kelly?

ZORA

What did you do this time?

WOOD

What do you mean what did I do?  Why is it always my fault when my relationship goes wrong?

ZORA

Because it’s usually the man’s fault.

WOOD

17.

Oh, I don’t want to hear that shit. As if you women are saints. You tend to screw over men worse than we screw over women. Or at least that’s the case in my experience. In for your information, it was Kelly’s fault. I caught her in bed with another man.

BERNADETTE

What?

WOOD

I came home from work a little earlier than usual. I decided to head home and surprise her. I come in the house and I hear music playing upstairs. I went upstairs and that was when I heard the loud moaning. I push the door open and there she is…spread-eagle with our neighbor next door.

ZORA

Wow.

WOOD

They both stopped when they heard me come in the room. I told Kelly, “Don’t get up. I’ll let myself out.” So, yeah….

BERNADETTE

I’m sorry to hear that.

WOOD

Yeah, well I’m sorry to see it.

BERNADETTE

You can stay as long as you need to.

ZORA

How about until the 15^th of next month.

BERNADETTE

Zora…

18.

ZORA

He’s not staying here past the 15^th, Bernie and that is final.

WOOD

It’s cool, Bernie. I only plan to stay for a couple days anyway.

ZORA

Look on the bright side, Wood. At least you know what kind of woman Kelly is now.

BERNADETTE

Wood, what’s that red stuff on your shirt

WOOD looks down at his shirt.

WOOD

Oh, that. Right, I must’ve spilled some spaghetti sauce on me. I may have eaten three bowls of spaghetti before I got here. Anyway, I’ll just head on upstairs and go to sleep.

ZORA

Oh no. You are going to sleep on the couch tonight. Tomorrow night. And every other night until you find your own place.

WOOD

Can I at least take a shower first?

BERNADETTE

Go ahead, Wood.

WOOD

Thank you.

WOOD heads upstairs.

ZORA

Last night was crazy, wasn’t it?

BERNADETTE

19.

Meeting John Rashid and having him sing to us? That was an incredible experience, I will admit that.

ZORA

Well, meeting John Rashid was fun. But he was only singing to one of us.

BERNADETTE

What do you meant?

ZORA

Girl, don’t make me spell it out to you. You and John Rashid were exploding with chemistry last night. He barely remembered I was there. But you two were going on about Hovering Heights and whatever. I never thought a discussion about an old book could have so much romantic tension.

BERNADETTE

There was no romantic tension. There wasn’t romantic anything.

ZORA

I beg to differ.

BERNADETTE

I was just being friendly with the guy.

ZORA

Bernie, you’re going to have to let Wendell go sooner or later.

BERNADETTE

This isn’t about Wendell.

ZORA

Whatever helps you sleep at night.

ZORA digs in her pocket and pulls out a piece of paper. She hands to BERNADETTE.

ZORA

Here. I forgot to give you this yesterday.

20.

BERNADETTE

What is this?

ZORA

John Rashid’s phone number. I asked for it because I knew you wouldn’t. I know I was saying I wanted to marry somebody famous, but I want to marry somebody famous and interesting. Besides I think you two shared a connection back there.

BERNADETTE

You must have confused me with someone else.

ZORA

Don’t do that, Bernie. Every time someone seems remotely interested in you, you make up an excuse on why he’s not. You did the same thing with Wendell before he practically begged you-

BERNADETTE

Exactly! Wendell. We just broke up. Hell, he just proposed to me. I can’t just jump into another relationship. Not right now.

ZORA

Who said it has to be a serious relationship? Maybe you two can just have fun.

BERNADETTE

(Handing out the paper to ZORA) And we both know I’m not that kind of person.

19.

ZORA

(Waving her hands to say “No, I’m not taking the number back”) Just think about it, Bernadette. If you still think you have no interest in this man, then throw it away. But I’m not taking that number back.

 ZORA exits stage left. BERNADETTE looks at the paper in her hand. She turns around to see WOOD standing on the steps, staring at her.

BERNADETTE

Do you think I should call him?

WOOD

21.

I think you should do what’s best for you, Bernadette. But ask yourself this: Are you ready to put your heart on there again? Are you ready to open your heart to another person, show them all the map of all the things that can hurt you and trust them to never travel to those places? If not, then don’t do it. It ain’t worth it.

BERNADETTE

I guess I won’t know until I give it a shot. 

BERNADETTE picks up the phone from the table and starts dialing.

(a couple seconds later) Hello John?  This is Bernadette.

Scene 5

In a poetry slam club. There is one table and two chairs. Behind them there are three musicians, each sitting behind a microphone. The jazz band plays a short number. It could be an original jazz piece playing in the background. BERNADETTE and JOHN are sitting at the table. JOHN is enjoying himself while BERNADETTE is simply at awe of the club. The band ends their number and indicates there will be a break.

BERNADETTE

Wow. I can’t believe I never heard of this place before.

JOHN

I found it by accident. I was trying to find my way to the concert hall. I came in here, and ended up arriving a few minutes late because I’ve been in here most of the time.

BERNADETTE

I believe you were thirty minutes late.

JOHN

I did a hell of a show to make up for it. But do you see why I just couldn’t leave this place?

BERNADETTE

22.

Did you do any poetry slams?

JOHN

Poetry slams is what got me into jazz music.

BERNADETTE

Interesting.

JOHN

My brother and I…we used to work as busboys at this restaurant in Washington DC.  Busboys & Poets. They had this event called Jazz and Verse, where the poets go up to the open mic and perform over jazz music. It was amazing how music made the words sound so…beautiful. Better than it was without the music. It’s like…you hear the poems but the music is what carries you away.

BERNADETTE

Sounds like you miss working there.

JOHN

It was one of the best times of my life. Hustling to keep food on the table is something I don’t miss, but just being in that warm atmosphere…where you can give your voice just to share a part of yourself with the world, and not just to make a buck….I do miss that.

BERNADETTE

Who said you can’t do that now?  I think you should go up there.

JOHN

I don’t think so. Making music is one think…writing poetry, lyrics…that’s not my strongest suit.

BERNADETTE

Oh come on! I think it would be fun.

JOHN

I’ll tell you what, if you go up there and perform, I’ll go up right after you.

BERNADETTE looks up at the musicians, a nervous expression on his face.

23.

JOHN

Not as easy as it looks, huh?

A jazz musician speaks into the mic and says something like “Alright, who’s ready to come up next?” or something like that. BERNADETTE looks at JOHN again. She goes over to the mic stand.

BERNADETTE

Hi. I’m Bernadette Smith. This poem is dedicated to my new friend, John.

As BERNADETTE prepares to say her poem, she and the musicians freeze. The lights dim and there is a spotlight on JOHN. JOHN is taken aback when he sees the angel of death. Another spotlight lands on the angel as jazz music plays in the background. She dances around BERNADETTE and makes her way to JOHN.

JOHN

It’s you, isn’t it?

The angel doesn’t respond. She caresses his cheek as if he were a lover.

JOHN

You’re not going to take me. Not today. Not even tomorrow.

The angel dances away from him and nears the exit. She stops and turns to him, and says, “Soon.” The angel exits. The lights brighten up again and the musicians start clapping.

BERNADETTE

Thank you. Thank you.

BERNADETTE makes her way to JOHN, who appears to still be startled from his encounter.

24.

BERNADETTE

Well, what did you think?

JOHN

I’m sorry?

BERNADETTE

About the poem? What did you think?

JOHN

The poem was nice…it was nice. I need to get some air.

JOHN stands up and goes to the far left of the stage. BERNADETTE goes after him.

BERNADETTE

John, are you okay?

JOHN

Yeah. Sorry, just had to clear my head for a bit.

BERNADETTE

Are you sure?

JOHN

I’m fine. Why don’t you tell me a little about you?  What do you do for a living?

BERNADETTE

I’m studying to be a nurse. I’m in my third year of medical school right now.

JOHN

Really? So I can call you up whenever I get sick, huh?

BERNADETTE

(laughing) I guess.

JOHN

What if I’m lovesick?

25.

BERNADETTE

Boy, you are so corny. You’re lucky you’re so cute.

JOHN

Well, can’t blame a guy for trying.

BERMADETTE

Then stop trying so hard. You’re embarrassing yourself.

JOHN

Apparently not, since you’re still talking to me. So, Nurse Bernie, did you always want to be nurse?

BERNADETTE

No. I used to want to be an actress when I was little. Being on TV or the big screen, playing a cowgirl, lawyer, spy, thief-I wanted to be everything. And I figured the only way you can be everything is to get on TV.

JOHN

What changed your mind?

BERNADETTE

I was terrified of the camera. My sister Erin had a camera. She would always go around filming someone or something. You can never take her away from that thing. One day, I was in a school talent show with Zora and another friend, Maria. We were trying to sing the Supremes’ “Stop in the Name of Love.” I look right out in the audience and there was Erin holding up her camera. I stopped right there on stage looking at her the whole time while Zora and Maria were fumbling over me.

JOHN

Oh no.

BERNADETTE

Oh yeah. It was bad. To make it worse, I was singing Diana Ross’ part. I was so mortified.

JOHN

I bet you were. (pause) Does your sister still have the tape?

BERNADETTE

If she does, you are definitely never going to see.

26.

JOHN

(laughing) Hey, if it makes you feel better, I think you would’ve made a great actress.

BERNADETTE

Oh please.  (pause) So are you going to tell me what happened back there?

JOHN

Beat.

I thought I saw something. That’s all.

BERNADETTE

You looked like you saw a ghost.

JOHN

It’s…never mind. This is a date, remember? We should be enjoying ourselves.

BERNADETTE

I guess you’re right.

JOHN

You want to…stop by my hotel?

BERNADETTE

Yes. I think I would.

JOHN escorts BERNADETTE to stage right. As BERNADETTE leaves, JOHN pauses. Lights dim and a spotlight lands on JOHN.

JOHN

I know you’re out there, death. I know you’re waiting for me to mess up. But you’ll have to wait a long while before you can have me.

27.

The lights black out.

Scene 5

ZORA and BERNADETTE’s house. ZORA is dusting the tables, couches and pretty much anything she can get her eye on. WOOD and TERRI are both sitting on the couch, watching ZORA dust like a maniac.

TERRI

Zora? Don’t you think you’re going a little…Overboard?

ZORA

Bernadette is bringing John Rashid to our apartment. Forgive me for trying to make the house look hospitable.

WOOD

Man, every time someone comes by to visit you make sure the house is clean!

ZORA

Exactly! I don’t want people to think we’re dirty.

WOOD

Why? People don’t care if they look dirty and I know. I visit everyone’s houses and they never look presentable. You the only one who gotta go all out for somebody.

ZORA

Well, you clearly don’t care how you look.

WOOD

What’s that supposed to mean?

TERRI

Wood, honey…I’ve been silent for quite some time now, but…well, someone has to say it. You look like a complete mess. Your girlfriend cheating on you has clearly messed you up.

ZORA

And we’ve dealt with it. Because you were going through a hard time. But Wood, it’s been two weeks. It’s time for you to find your own place to live. You can’t keep sleeping on our couch.

28.

WOOD

I can’t believe this. You’re kicking me out? What happened to stay as long as you need?

ZORA

No one really means that. People just say that to be polite. Now, can we argue about this later? I still need to get the place ready for…

BERNADETTE enters with JOHN following behind her.

ZORA

No! I still need to clean the kitchen!

WOOD

You cleaned the kitchen three times already.

TERRI

Hi, John Rashid. You may not remember me. I was with Ber-

JOHN

I know who you are.

TERRI

Oh. Um…okay…

ZORA

Hi John Rashid! Do you remember me?

JOHN

Of course I remember. How can I forget Zora, my number fan?

BERNADETTE

John, this is my brother Wood.

JOHN shakes WOOD’s hand instead. TERRI and WOOD share a look of confusion.

WOOD

Hey, man.  Bernadette has told me a lot about you.

29.

WOOD

Was it anything positive?

JOHN

Mostly. But I must ask…is it true you almost burned down a gas station?

WOOD

I knew she was gonna tell you that story. She tells everyone that story.

BERNADETTE

Only to prepare everyone for how crazy you are.

WOOD

 It was an accident-and I was only ten.

ZORA

So, John, rumor has it that you plan to retire after you drop your next album. Is that true?

JOHN

Well-

BERNADETTE

You know, John didn’t come here to talk about his patients. How about we play a game.  John, do you play Spades?

WOOD

Spades?  You want to play Spades on the first day that we meet your boyfriend?

TERRI

A game of Spades isn’t going to hurt him.

WOOD

No, but it might piss him off. Spades is like Monopoly-you end up thing all your friends and loved ones once the game is over. Bernadette might be single again by the end of this.

ZORA

Well, I’m in. Besides, I still need to get back at your cheatin’ ass for the last time we played. You and Terri are both going down today.

WOOD

30.

I didn’t cheat. You just weren’t paying attention. (To John) Alright, man. You don’t realize it yet, but your about to cross the first test. If you can survive a game of Spades, then maybe you’re worthy to date my sister.

JOHN

Challenge accepted.

Everyone gathers around the table. BERNADETTE briefly exits the living room as she retrieves the cards. BERNADETTE sits next to ZORA. TERRI and WOOD are partners and BERNADETTE and JOHN are partners. ZORA opts to simply watch the game instead. BERNADETTE deals out the cards to each person. Each person gathers their cards and look them over.

WOOD

I spoke to my girl last night.

TERRI

Is she finally going to take you back?

WOOD

She ain’t with that guy anymore. She said she went out to a club with her friends and she found him making out with some girl.

TERRI

Huh, karma finally paid her a visit.

JOHN throws a card across the table followed by TERRI. BERNADETTE throws a card, then WOOD.

TERRI

Ha!

TERRI swipes up the cards.

WOOD

I tried to tell you, Bernie. Don’t humiliate Mark on the first date.

31.

BERNADETTE

I wouldn’t get cocky this early in the game, if I were you. Now what were you saying about your ex?

WOOD

(Throwing out a card) I spoke with her last night. I was going for a walk just to clear my head and I literally bumped right into her. She told me she made a big mistake cheatin’ on me. She even had the nerve to give her a second chance.

TERRI

Well, did you.

WOOD

I almost did. I wanted to take her back so bad. But the way that she spoke of this guy…it became clear that she was trying to use me as a rebound. Because while she was talkin’ about how much this guy sucked, I could tell from the look of her eyes that she was in love with him. She must have been in love with him, considering she was cheatin’ with him for two years.

ZORA

Two years?

WOOD

Yup. Two years. The crazy thing is I saw all the signs…but I didn’t want to accept it. (WOOD looks at BERNADETTE). I wish she would’ve just dumped me instead of stringing me along for all those years. I would’ve respected her more if she did. But I don’t think she wanted to accept the fact that she was in love with another man. Maybe she didn’t want to hurt me. Maybe she was tryna do what she felt she needed to do. Then again, considerin’ that he was cheatin’ on her anyway, I guess it doesn’t matter, huh?

MARK

That’s messed up, man. I’m sorry. I couldn’t imagine what I’d do if something like that happened to me.

TERRI

I’m sorry, Wood. But you’ll find someone else.

ZORA

Someone who can actually tolerate your annoying, cheap ass.

32.

There is a knock at the door. Everyone except TERRI looks up confused.

WOOD

Anybody expectin’ someone?

TERRI

That might be for me. I invited someone over if you guys don’t mind.

TERRI goes to open the door and WENDELL enters. BERNADETTE stands up, in shock.

BERNADETTE

Wendell?

TERRI

Wendell! For a second, I thought you weren’t going to show up.

WENDELL

Sorry I’m late. I got caught up with…something. Hi Bernadette.

BERNADETTE

Wendell. What a surprise this is.

WENDELL

I hope you don’t mind. Terri invited me.

WOOD

Why the hell did you do that?

ZORA

Good question.

TERRI

He came into town last night so I figured why not invite him over.

BERNADETTE

Mind? Of course not. Why would I mind if my friend invited my ex?

33.

WENDELL

Don’t be angry with Terri. Besides, I wanted to come. She told me John Rashid would be here. And there was no way I was passing that up. By the way I’m Wendell.

WENDELL excitedly shakes JOHN’s hand.

JOHN

Hey. You’re a-you’re Bernie’s ex-boyfriend?

WENDELL

Yeah. We dated a while back.

BERNADETTE

It wasn’t that long ago.

WENDELL

Oh, man. I can’t believe it. You’re friends with John Rashid! John, question: what was it like performing with Ray Charles on your album Once Upon a Midnight Dreary?

BERNADETTE

Wendell, John doesn’t want to talk about his career.

JOHN

It’s okay. I don’t mind.

BERNADETTE

Well, I do.

ZORA

Wendell, how about you pull a chair? We were just beating Bernie and her new boyfriend at a game of Spades.

WENDELL

Boyfriend?

BERNADETTE

Actually, we’re just friends.

34.

JOHN

We are?

BERNADETTE

Well, we haven’t really crossed the boyfriend-girlfriend line yet.

JOHN

We went on three dates. I think that qualifies crossing the boyfriend-girlfriend line.

ZORA

So what brings you to town, Wendell?

WENDELL

I had to deliver one of my packages here.  I need to head back out tomorrow though.

TERRI

Wendell, you need a new job.

WENDELL

Actually, I plan to get a part-time job.

BERNADETTE

What?

ZORA

A part-time job doing…?

WENDELL

Just a regular part-time job, Zora. Just something to hold me over while I go to culinary school.

TERRI

Culinary school? I didn’t know you could cook?

BERNADETTE

35.

What about your plans to start a trucking business?

WENDELL

About that. The last time we spoke, you said something that got to me. Why am I settling down? Why don’t I push myself to get a job I would actually enjoy doing? Well, I always liked cooking so I figured why not become a chef?

WOOD

Did she give you that follow your dream speech? Ay, I’m telling you right now, don’t do it. Keeping your head in the clouds will do you no good in the end, trust me.

WENDELL

It’s not like I have anything to lose, Wood. Besides, at least I’ll feel better knowing I tried instead of sticking with a job I hate.

BERNADETTE

Good for you, I guess.

TERRI

Well, come. Sit down. We’re playing Spades. Hell, you can be Zora’s partner for the next round.

BERNADETTE

I think I’ll sit this one out.

JOHN

Me too.

WOOD

You punking out already?

JOHN

Bernie, can we talk for a minute?

JOHN and BERNADETTE walk over to the far left center stage.

JOHN

A friend? Just a friend?

36.

BERNADETTE

Well, we never said we were actually dating. We were just hanging out.

JOHN

Okay…But I don’t want to just hang out. Don’t you want to make this…official?

BERNADETTE

I don’t know. I’m not exactly ready to see my face plastered all over the news about dating the John Rashid. I don’t think I’m ready to be in a serious relationship right now.

JOHN

Okay. Then how about we see each other, but without anyone else knowing.

BERNADETTE

What you’re proposing a secret affair?

JOHN

Yeah. A secret affair that a few people already know about.

BERNADETTE

I don’t know-

JOHN

Why do I have a feeling those are your favorite words? Come on Bernie. We don’t have to be serious if you don’t want to. But can we at least give this a shot?

BERNADETTE

Okay. You’re right. Let’s do it. Oh, and John….what is your problem with Terri? Every time you’re around her, you act…cold.

JOHN

She just reminds me of someone that’s all.

BERNADETTE

An old girlfriend?

JOHN

A future dance partner.

37.

Scene 4

The lights go down. JOHN remains on stage as the angel of death dances on stage. She performs a ballet dance, dancing around him and gesturing as if she were a lover. JOHN reaches out to her. She dance away from him and nears the exit. She stops and turns to him, and says, “Soon.” The angel exits. The lights brighten up again.

WOOD and ZORA are both at the door, carrying duffel bags. BERNADETTE is wearing a nice dress-maybe showing a bit of cleavage.

ZORA

I knew this dress will come in handy one day. I bet your glad I bought it for your birthday, huh?

BERNADETTE

Yes, yes. You are my savior. I just hope he will like it.

ZORA

If he can get you out of it, he’ll love it.

WOOD

C’mon, I’m ready to go.

ZORA

And I’m ready for you to go. I can’t believe you’re going back to West Virginia.

WOOD

Me neither. But I just can’t stay here any longer.

ZORA

For what it’s worth, I think Kelly made a big mistake.

WOOD

I know she did. I ever tell you how we first met?

ZORA

Uh-

WOOD

It was in New York City at the Empire Hotel. I was on a road trip wit ha few friends. We stopped by the hotel to stay for the night and I saw this beautiful woman sitting in the lobby. She was

38.

reading a book-I think it was “All Things Fall Apart” or something like that. Anyway, I couldn’t keep my eyes off this woman. So I go over and I tell her she has nice shoes. She said “Thank you.” I say, “Maybe we can exchange numbers and talk about shoes sometime.” Out of all the things to say, I say that. But she went along with it. I call her the next night and ask if we could meet in the lobby. I brought her flowers and everything. We spent the rest of the night, watching people and coming up with stories on what their lives must be like. One of the guys in the lobby, he was kept looking at his watch. I told him he must be cheating on his wife. Kelly asked me what I’d do if I ever caught my wife cheating on me. I said, “I’d shoot her dead.” I guess that’s the price of being a hopeless romantic, huh? Either you love me or you die loving me. Nothing else.

There is a knock at the door. WOOD quickly opens it. JOHN steps in, carrying a bottle of wine.

BERNADETTE

Hi.

JOHN

Hi.

ZORA

Um, I guess that’s our cue. Bye Bernie, John Rashid.

WOOD exits, with ZORA staying a couple feet behind him.

BERNADETTE

For a second, I thought my friends scared you away.

JOHN

(laughs) I’ve been around scarier people, trust me

JOHN hands BERNADETTE the bottle.

39.

JOHN

I brought you this.

BERNADETTE

Château Latour Pauillac. Sounds expensive.

JOHN

(Laughing) It certainly wasn’t cheap. But that’s the best wine on the market or so I heard. I say we give it a try. But first.

JOHN pulls a CD out of his pocket.

JOHN

You got a CD player?

BERNADETTE

Yeah, over here.

BERNADETTE takes the CD and crosses over to the left. She places the CD in a CD player. We hear music. It could be John Coltrane’s “In a Sentimental Mood “or Coltrane’s “My One and Only Love” or something romantic and jazzy.

BERNADETTE

Sounds nice.

JOHN

It’s one of my favorite songs.

JOHN takes BERNADETTE’s hand. He places his hand on her waist and they start to slow dance. BERNADETTE rests her head on his shoulder. The couple slow dances for a few moments. BERNADETTE looks up and her eyes meets JOHN. She leans in and they kiss. When they pull apart, JOHN lets go of her hand.

40.

JOHN

I got something else that could set the mood?

He pulls out a bag of coke from his pocket.

BERNADETTE

What is that?

JOHN

 An energy boost.

He sets the bag on the table.

JOHN

 You wanna try some?

BERNADETTE

Uh, no.

JOHN

More for me then.

BERNADETTE

You’re a cokehead?

JOHN

JOHN ignores her. Instead he sets up two perfect white lines on the table.

BERNADETTE

No, no. This is too much. John, I think you should go.

41.

JOHN

You think I should go or you want me to go?

BERNADETTE

Is there a difference? I’m not going to have you snort coke in my apartment!

JOHN

Bernie, relax. It’s not going to kill me. Trust me, I’ve done it enough times.

BERNADETTE

That’s not the point.

JOHN

Then what is the point?  You know what I think. I don’t think the coke is the problem. I think your inability to cut loose is the problem. You think too much. Think of this, think of that. Always think, think, think. I’m surprised your head didn’t explode, you think so much. Don’t you want to stop thinking for once and just be..? Just live in the moment, baby. Live in this moment with me.

BERNADETTE

I’m not snorting that crap up my nose.

JOHN

Alright.

JOHN gets up to leave.

BERNADETTE

John, wait.

BERNADETTE walks over to JOHN. She looks him in the eyes. There’s a knock on the door. BERNADETTE opens it and TERRI bursts in.

TERRI

Hey. Is Zora here?

BERNADETTE

42.

Zora just went to drop Wood off at the bus station.

TERRI

Do you know how long she’ll be? We were supposed to go to the bar tonight.

BERNADETTE

She should be back soon.

TERRI

Alright. I will wait.

TERRI sits at the couch, next to JOHN. JOHN moves a couple inches away from her.

TERRI

Can I have a glass of water, Bernie?

BERNADETTE

….Sure.

BERNADETTE exits stage left. TERRI moves closer to JOHN.

TERRI

You doing okay, John?

JOHN nods.

TERRI

You didn’t take anything, did you?

JOHN

No. Why would you ask that?

TERRI

Ah. You just look…intense it’s off. Like you were sniffing coke or something.

43.

JOHN attempts to sit up.

TERRI reaches out to help him. JOHN pushes her hand away.

JOHN leans his head back against the armrest of the couch.

TERRI

How’s everything? You know, with promoting the new album and everything?

JOHN

It’s coming along.

TERRI

Okay. That’s good.

TERRI looks at JOHN for another moment.

JOHN holds her gaze.

JOHN

What is your game?

TERRI

Excuse me?

JOHN

I know who you are. Don’t even try to deny it. Why are you here?

TERRI

Do you believe in reincarnation?

JOHN

What?

TERRI

(Continues as if she hadn’t heard him) Because I do. I believe that we don’t live one life but several. You know how some people just get certain vibes around someone? Like they can immediately see themselves being friends with one person even though they just met them? Or

44.

when you meet that person you like and you just have this feeling that you can tell them anything? Even though you didn’t know them very long? I believe that the people in your life now are people who were in your previous lives. Because why do you feel special connections with someone you just met, or someone you’re just getting to know right. Like you and Bernadette.

JOHN

What does that have to do with my question?

TERRI

It has everything to do with it. This isn’t the first time you and I did this dance together John. Although it’s certainly been the longest.

JOHN sits up, fully aware now.

TERRI gives him a smile.

TERRI

I’ve given you time, John. Plenty of time. Yet, you just don’t want to leave the path you’re on now. Make a choice, John. Make the right choice. You and I have danced this dance together before. I’d really hate for it to end like last time.

TERRI leans in and kisses JOHN on the cheek when WOOD enters first, followed by ZORA. JOHN jumps away from TERRI. BERNADETTE enters.

BERNADETTE

(handing TERRI the water bottle) Sorry it took so long. Wood, what are you doing here?

ZORA

He changed his mind. Always flip flopping.

WOOD

It didn’t feel right to leave right away.

BERNADETTE

45.

TERRI

Zora, you ready to go?

ZORA

Yeah, let’s go.

TERRI

It was nice talking to you, John.

ZORA and TERRI leave. WOOD stares at JOHN.

BERNADETTE

Wood.

WOOD

…Fine. I’ll join the women at the bar.

WOOD exits.

BERNADETTE

Here we are. Just the two of us again.

JOHN

Yeah.

Beat.

JOHN

Let’s run away. We can go to Paris or London or something.

BERNADETTE

And what? Disappear from the face of the earth, never to be seen again?

JOHN

46.

I don’t see why not? (pause) Do you believe in fate?

BERNADETTE

What do you mean?

JOHN

Do you believe we were destined to meet? Now. In this time or…any other time.

BERNADETTE

I believe it wasn’t an accident that we met.

JOHN

Do you think…that maybe we are meant to be but not meant to be?

BERNADETTE

John, you’re talking nonsense.

JOHN

I’m just saying-

BERNADETTE

Quit saying.

BERNADETTE leans forward and kisses JOHN.

JOHN

Bernie, are we okay? The coke-that’s not going to be a problem?

BERNADETTE

It is a problem. But I don’t want to fight right now. Let’s just be in the moment.

They kiss.

JOHN

I’m…gonna go outside and catch some air.

47.

JOHN exits. He appears in the far right of the stage. The angel of death enters. She dances over to him. She performs a ballet movement, dancing around him.

JOHN

You hear that death?

WOOD enters but JOHN doesn’t see him.

Bernie and I, we gonna be alright. You ain’t taking me out yet. I’m here to stay. I ain’t going nowhere!

WOOD points the gun at JOHN’s head. The angel. Then she dances over to JOHN and wraps her arms around him. The lights go out as we hear a gunshot.

Two days later. The lights slowly brighten to show BERNADETTE sitting on her couch with WOOD.

WOOD

Are you alright?

BERNADETTE nods.

WOOD

So you want me to stay? ‘Cause I can stay if you need me to.

BERNADETTE

Go home, Wood. There’s nothing else you can do here.

WOOD gets up and goes to the door. As he opens it, he sees ZORA standing in the doorway, as preparing to knock on the door.

48.

WOOD

Zora.

ZORA

Wood.

ZORA enters. WOOD exits, appearing in the far left of the stage.

ZORA

Bernadette?

BERNADETTE doesn’t answer.

ZORA

How’re you doing?

Silence.

ZORA

That’s a stupid question. You must be taking this pretty hard.

ZORA walks over to the couch and sits next to BERNADETTE.

\ZORA

I’m sorry.

BERNADETTE

So am I

ZORA

49.

Bernie, what happened to John wasn’t your fault. These things happen. It’s a shame that it happened to John Rashid, out of all people.

BERNADETTE turns to Zora and hugs her.

ZORA

When is the funeral?

BERNADETTE

Sunday.

ZORA

Sweet Black Sunday.

BERNADETTE

I don’t know if I can go. I don’t think I can even if I wanted to. After all, our relationship was secret.

ZORA

I doubt anyone would care at this point. And I know you’re trying to talk your way out of going. Don’t. You need to be there.

There is a knock on the door. ZORA opens it and WENDELL enters.

WENDELL

I heard the news. I came to offer my condolences.

ZORA

That’s nice of you, Wendell. Although you could’ve done that over the phone.

WENDELL

I have a feeling this isn’t something to call about.

WENDELL slowly walks over to BERNADETTE and sits next to the couch. ZORA heads outside and goes to WOOD.

50.

WENDELL

I’m sorry about your loss, Bernie.

BERNADETTE

Thank you.

ZORA

How’s it going Wood?

WOOD

It’s going.

ZORA

It’s sad what happened to John, right?

WOOD

Yup.

ZORA

I have a question: that story about how you and Kelly first met? Would you really kill the woman you loved if she wrong you?

WOOD

Of course not. I was just talking stuff to her. Trying to sound romantic.

ZORA

You are a hopeless romantic, huh? Have you heard from Kelly lately?

WOOD

I did. I asked her where she ran off to. Guess what she said?

ZORA

What?

WOOD

Don’t ask questions you don’t want the answers to.

The Jewelry Box

INT. PENELOPE’S LIVING ROOM-AFTERNOON

Penelope holds the alabaster box close to her breast as if she is willing to die for it. Joanne approaches Penelope, causing Penelope to take a step back. Joanne’s daughters, Elizabeth, 17, and Autumn, 14, glance at each other, as if wondering if they should step in.

JOANNE

That box does not belong to you!It was only meant to stay within the family!

PENELOPE

I am family. This is also the last gift I got from my husband.

JOANNE

That box belonged to my mother. My mother would want that box to go to her daughter!

JOANNE reaches for the box, but PENELOPE steps aside, keeping the box out of arm’s length.

JOANNE

Penelope, please. That is the last thing I have left of my mother. I need it.

PENELOPE can see the tears start to form in JOANNE’s eyes.

PENELOPE

I understand why you want this box. But…and please correct me if I’m wrong Joanne…but Charles once told me that your father gave this box to him because he felt it would get lost in your collection of jewelry boxes. Was Charles wrong about that?

JOANNE’s eyes begin to narrow. Then she lets out a sigh.

JOANNE

My father did think I was irresponsible enough to lose it, yes. But that has changed. I’ve given most of my jewelery boxes to my own girls. Besides, I doubt I would lose it now, considering it is the last thing I have left of my mother. Now give it to me.

PENELOPE

That’s funny coming from you, Joanne.  Where were you when your mother was sick? Wendy told you hardly came to visit her. Did you know that the last time I saw her, she was completely delirious? She looked at me and said, “Joanne, there you go! Getting your shoes all dirty again. You were always a wild one.”

Tears begin to form in Penelope’s eyes.

PENELOPE

“I’m so sorry for all the things I said to you. I love you so much. Could you ever forgive me?” I didn’t have the heart to tell her that I wasn’t you. So I told her…that I forgive her. Joanne, you were never much of a daughter to her when you were alive. There’s no point in trying now. Wendy would want this box to stay with the daughter who actually cared about her up to the very end.

JOANNE

How dare you! You have no right to speak to me that way. You…you don’t even know what happened between my mother and me. (takes a deep breath) I couldn’t bear to see my mother like that. I was in denial. I told myself she would get better. That there’s no need to see her while she’s like that  because she’ll get better soon. That is a mistake I will always regret. But despite what you think, Penelope, you are not her daughter. You don’t deserve that box. Perhaps you’re keeping it because it is the last thing you have of Charles. But that box didn’t even belong to Charles. What is the point of keeping something that was not his to begin to with?

AUTUMN

Elizabeth, do something.

ELIZABETH

Me? Why do I have to do it?

AUTUMN

Because you’re the one who wants to be a lawyer and you’re the oldest. Maybe you can get them to come to some kind of agreement. I don’t know. Just stop this before they kill each other.

ELIZABETH looks back and forth between JOANNE and PENELOPE. Knowing her mother, ELIZABETH is certain the argument could turn to blows. ELIZABETH takes one last look at AUTUMN before she slowly approaches them as if she is about to approach a minefield.

PENELOPE

This box was given to Charles first, who gave it to me. As his wife, it’s only right that I keep the box.

JOANNE gives a harsh laugh.

JOANNE

That’s a load of crap and you know it. As his sister and actual daughter of its original owner, I deserve that box.

ELIZABETH

Sorry for interrupting. But I must ask, what exactly do you have in mind for the box, Mom?

JOANNE

What do you mean?

ELIZABETH

I mean what do you plan to do with it, if Aunt Penelope were to give it to you?

JOANNE pauses. She thinks for a moment.

JOANNE

I would use it store my jewelry, of course. Then, I plan to pass it on to you or Autumn. (Turns to Penelope). Which makes sense considering that you don’t have children. Honestly, who do you plan to pass that down to when you die? Where you planning on letting it collect dust?

ELIZABETH

Mom, please. (She turns to Penelope). Aunt Penelope, what do you plan to do with this box?

PENELOPE

I plan to store photos of Charles and myself. I also plan to store the jewelry that he gave me. But mostly, I plan to store it on my nightstand so I can still have a piece of Charles with me. So I won’t go to bed alone-because he will still be with me.

Tears start to form in PENELOPE’s eyes. JOANNE’s eyes begin to soften.

JOANNE

Oh goodness. I haven’t even thought of that. You…goodness. You…the idea of being alone must be terrifying.

ELIZABETH

Mom, I’m sure Aunt Penelope respects that you are Grandma’s daughter. I’m sure she understands how important it is for you to have something of hers.

PENELOPE

And I do. Joanne,I…I know I implied that you were not being a good daughter. But…I understand that you must have been terrified when Wendy was ill. It’s just…you and Wendy did not have the closest relationship. Wouldn’t she want the box to go to someone that she was close to?

JOANNE

(defensively) What does that matter? Am I not her daughter?

ELIZABETH

Yes, Mom, you are. But so is Aunt Penelope. When she married Uncle Charles, she became Grandma’s daughter. This is no different from Grandpa handing the box down to Uncle Charles instead of you. Surely, you’d understand that Grandma would’ve passed it down to the child she was closest to? It’s why Uncle Charles gave her the box instead. He knew her relationship with Grandma is stronger than your relationship with her.

JOANNE looks away. At this point, AUTUMN has gained the courage to walk over.

AUTUMN

I’M sure you two could come to some kind of agreement without killing each other? (She turns to Elizabeth). Right?

ELIZABETH

Aunt Penelope, you made a good point on your reasoning for keeping the box. Not only were you closer with Grandma, but it seems like you need the box more. To keep you from feeling lonely. To remember that Uncle Charles and Grandma will both be by your side no matter what. And Mom, you made a good point about the box needing an heir. Perhaps when Aunt Penelope passes away, the box could be handed down to me or Autumn.

AUTUMN

Especially since we both had a stronger relationship with Grandma than you. (Elizabeth glares at her). Just saying.

ELIZABETH

Well?

JOANNE looks at her daughters, than at PENELOPE. She gives a tight smile as tears fall down her eyes. She nods her head. PENELOPE leans in and hugs JOANNE. JOANNE wraps her arms around PENELOPE. The two women cry softly into each other’s shoulder. AUTUMN nudges ELIZABETH in the side.

AUTUMN

Maybe there’s hope for you yet.

Mottephobia

I was newly born in the land of teenagehood.

You were planting his feet in the soil of adulthood.

I swallowed the heart and

You buried yourself in sarcasm.

I fed on his sarcasm like a leech.

Sucked it right out until it

began to consume me.

My skin has become a cocoon

harboring an ill-fated butterfly.

I coughed the heart up and

it was replaced with a grave.

Once you left me, I tried to find the gem

but it was not meant to be found.

I am trapped underneath

His moth-like skin.

I try to spread my wings

and fly back out.

It’s been eight long years

and I still can’t crawl out.

He was the moth.

He was the one that I feared.

Now I’m the moth

and I’m scared of myself.

More than I ever was of him.

Not A Dream

A faint noise rang in Jamal’s ears as he opened his eyes.  It took him a couple minutes to realize it was his phone.  Jamal took a sharp breath as he rolled over to his side, tangling the cotton sheets around his waist.  His eyes blinked through the darkness at the green numbers on the small digital clock, 5:20 AM.  He rubbed his eyes, wiping away the remainders of sleep dust. 

The phone kept ringing.  He reached for it and pressed it against his ear. “Hello?”

“You thinking about her?”  Her voice sounded like fingertips grazing a chalkboard. It made Jamal want to curl under his covers and go back to sleep, maybe forever. 

“What?”

“Are you?”

Jamal closed his eyes and counted to ten, as he learned to do in Anger Management classes he recently completed.  If he didn’t he would say something stupid, and then she would say something stupider, and they would embark on another round of their verbal fighting matches.  He took a deep breath before opening his eyes. “Yeah.”

“Me too,” she said, abruptly.

Jamal clenched his jaw.  “What do you want, Amber? And why are you calling me in the middle of the night?”

He could almost hear her shrug her shoulders.  “You weren’t doing anything.”

“Actually I was.  It’s called sleeping.”

Jamal’s finger hovered over the “End” button when Amber desperately cried, “Wait!”  He hesitated.  She was the last person he wanted to talk to.  But he also needed to talk to her.  He lay back on his pillow, curling his fingers around the phone and wanting to hang up, forget this whole thing. 

“So,” she said, returning to her matter-of-fact tone.  “I had a dream about giant bunnies chasing me. They were trying to get a carrot that was stuck inside my head. I ran as fast as I could but I couldn’t escape them.  Then I ran into a man.  I told him to get the carrot out of my head so the bunnies can stop chasing me.  He said, ‘There are no bunnies.’  I told him they were right behind me, but he couldn’t see them. He waved his hand right through them like they were air.  ‘Nothing there,’ he said. Then the bunnies grabbed me and started munching on my brain, and I started crying and the man stood there dumb-founded.”

“You called me at five in the morning to talk about a dream you had about bunnies eating your brain.”

“No. I called you because I realized this is how she must feel every day.  She sees things we can’t see, and we can’t protect her from them. The carrot in her head is making her see the bunnies, but the bunnies aren’t there, and it’s not a dream we can wake her from.”

Jamal hesitated.  “Her,” he said. “You mean Kaya,” with sadness and rage and a hint of laughter. His Kaya. Amber’s sister and the love of his life. Kaya had schizophrenia and was in Western Psychiatric Hospital. What were the odds the love of your life turned out to be mentally unstable?

“What if she never comes back to us, Jamal?”  He heard the hopelessness and shame in her voice.  “My sister is trapped inside of her own head and I can’t even help her.  I can’t help….” Her voice choked on the last words. Jamal wanted to cry too.  He was tired of putting on a brave face.  Tired of being everyone’s rock when their lives were in shambles.  He’d supported Amber, supported Kaya through all of it while he mourned alone. He’d let Amber think he was okay, but inside him was a volcano waiting to blow.

“Jamal?”

Jamal closed his eyes. He imagined Kaya sitting in a garden. The sun bore down on her as she smiled. Laughing as he toss a couple of flowers at him. Teasing him with her mischievous smile as they slow danced in the garden. Then the sun went down and Kaya was replaced with a woman running through the garden. Screaming in terror as she is being chased by something he cannot see. Kaya grabbing onto his arms, begging him to save her from the creatures who are chasing her.  But how can he save her from herself?

 “Jamal?”

 “She’ll get out soon,” he heard himself say. “She won’t be in there much longer.”

There was silence on the other end.  For a second Jamal thought Amber hung up. Finally, she said, “Tell me you believe that.”

He wanted to say he did. He wanted to tell her Kaya would come back, that everything would be like it was before. He wanted to. He slid his hand across the empty space beside him.

He wanted to tell Amber that her sister will get back to normal.  To tell her everything will go back to the way it was before. But he didn’t have the strength to lie to her or himself any longer.

“You know that she thought I was a serial killer?”  Jamal blurted out.  He told himself that he shouldn’t continue, but his mouth wouldn’t listen.  “I came home one day, and I go to the kitchen to make a sandwich.  I open the drawer only to find that there were no knives in there.”  He let out a dry laugh.  “She moved the knives so I wouldn’t try to kill her.  The ironic thing is that she didn’t break up with me because of that.  She broke up with me because she thought I was overbearing.”

“Well, you were hanging all over her for a bit.”

“She thought she was being chased by secret agents who wanted to conduct experiments on her,” Jamal stressed each word.  “Yeah, I may have clung on a little too tight, but I was trying to help her.”

A long silence filled the air.  “The doctor said there is some progress,” Amber said.  “He put her on Clozaril. They said it’s the perfect medication for hallucinations and stuff.  She’ll be back to normal soon.”

“She’s not going to go back to normal,” Jamal said, hopelessly. “The drugs will make her think that she’s back to normal, but she won’t be not.  Not truly.”  He remembered when his mother began taking Prozac for her depression.  At first she felt better; so much better that she stopped taking the pills altogether.  Then she fell back into her depression and tried to hang herself with a shoelace.  That was when Jamal realized that drugs can’t cure you.  They just make you think you’re cured.

“If you’re trying to make me feel better, you’re doing a hell of a good job,” she said sarcastically.  Jamal stared into the darkness as the ache in his chest began to grow bigger, more intense.  “We may get Kaya back, I know. But not really.  She’ll still hear voices in her head, and there is no drug that could cure that.”

The voice on the phone was silent.  After several moments of silence, Jamal said, “Amber, I have to go.” 

 “Don’t,” Amber cried out.  The word hung in the air until she gained the courage to continue in a wavering voice.  “Just lie to me.  I need to hear a lie.”

Jamal closed his eyes.  If he closed his eyes tight enough, he could see Kaya standing in front him.  He could almost feel her warm hands brush his cheek.  Her citrus scent filled his nose as she tilted her head up to give him a peck on the lips.  He could feel her smiling warmly at him.  Then he saw her face turn to horror.  She accused him of trying to kill her.  She was hitting him in the chest as he grabbed her hands, begging her to calm down.  Kaya was screaming in terror as she begged him not to kill her.  “She’ll go back to being the girl we know.  She won’t hear voices anymore, she won’t see things anymore.  The Kaya that we once knew will come back to us.”

Jamal heard a weeping sound on the other end of the phone. Pain clouded his body and his mind.  He lay on the bed with the phone against his ear, silently reaching out to the one person who understood his pain.

He stared at the ceiling, counting the invisible stars.  He thought of that one Beach Boy who admitted that he had schizophrenia.  He said that the voices were still in his head.  They were constantly telling him that he was no good, that he was pathetic.  But he just ignored the voices.  There was nothing else he could do but try to stay strong.  “It’s like a fight,” the musician said. 

But that was his problem just like this is Kaya’s problem.  This is her fight, Jamal thought.  I can just walk away. 

It was easy to walk away.  If you walk away, you don’t have to fight.  You don’t have to wake up and wonder how you’re going to get through each day.   Just take the easy road and walk away. 

Jamal closed his eyes.   He was lying to himself again.  It was his fight, too.

Kiss of Life

FADE IN:

INT. HOSPITAL ROOM-DAY

CLOSE-UP on the face of MEGAN, mid to late 20s. Her face is very pale, lips are blue and her eyes are closed. She appears to be in a death-like sleep, similar to that of Snow White. Her eyes pop open. She slowly turns her head and sees a young boy sitting on a bed across from her.

The boy, 13, is wearing a hospital gown with socks on his feet. His head has been shaved bald. His body appears to be tired yet his eyes reflect none of the weariness.

MEGAN (V.O.)

He’s staring at me again.

MEGAN slowly sits up.

MEGAN (V.O.)

Guess I can’t blame him. I’d stare at me too.

MEGAN looks down at her feet. They appear to be deathly pale. She tries to flex her toes. She gives a wry smile as her left foot manages to flex. The toes on her right foot remains still.

TYLER

Did you get the cure?

MEGAN gives a harsh chuckle.

MEGAN

They gave me the cure, yes. As I’ve told you the night before.

She takes a deep breath, then cringes as if it hurts to attempt to breathe.

TYLER

So how did you die?

MEGAN

I died from drinking piss and arsenic.

TYLER’s eyes went wide as MEGAN bursts out into laughter.

MEGAN

I’m joking, Ty. It was from the car crash.

MEGAN slowly tries to swing her legs around over the bed. Her right leg is limp but her left leg slid over smoothly. MEGAN struggles to move her right leg.

MEGAN

So you’re here to get the cure…for your cancer?

TYLER

Yes. I don’t think I’ll live long. Maybe the death cure could save me.

MEGAN looks away. She closes her eyes and takes a deep breath.

MEGAN

I’m sure it’ll help you. It has to.

She grits her teeth. Her left hand clutches her stomach. Tears begin to stream down her eyes.

TYLER

Meg, are you okay?

The door opens. ANTHONY, MEGAN’s fiance, enters. ANTHONY gives her an awkward as he moves over to her bed. ANTHONY frowns noticing her awkward position.

ANTHONY

Do you need help?

MEGAN opens her mouth, preparing to say “No.” She immediately closes it and opts for nodding her head instead. ANTHONY helps MEGAN sit up. MEGAN wraps her arm around his shoulder. He helps her move her body around until both legs are swinging over the bed. He reaches for MEGAN’s hand but she moves it away. TYLER notices this.

TYLER

Hey, Tony. How’s it going?

ANTHONY doesn’t respond. Instead he focuses on MEGAN.

ANTHONY

How are you feeling?

MEGAN

(sighs) I still feel pain every now and then. Those meds they gave me are as shitty as the last ones.

MEGAN turns to ANTHONY and tries to smile, but it comes out as a grimace.

MEGAN

At least I won’t be in pain forever.

ANTHONY

Did the doctor say when you can come home?

MEGAN

Next week. I asked when Tyler should come home too, but he didn’t say anything.

MEGAN notices TYLER staring at the two of them. She turns back to ANTHONY and squeezes his hand.

MEGAN

So, how are you holding up?

ANTHONY

I’ll be better once they let you go. It’s just…well, you heard about my sister.

MEGAN

Serena? Is she going to get the cure?

ANTHONY

(attempting to sound cheery) Well…they say she doesn’t have the right insurance for it.

MEGAN

What is that supposed to mean?

ANTHONY

It means in order for her to get the cure, she needs to have the revival insurance. You know, the insurance that a lot of people don’t have?

MEGAN looks away.

MEGAN

You mean like the insurance my family has?

ANTHONY

Baby, don’t do that. This is not your fault.

MEGAN

I can’t help that my family has money, Anthony. If I could, I would offer to take Serena under my insurance.

ANTHONY

I know that.

MEGAN

Do you? Because ever since I was brought here, you’ve been looking at me like you resent me or something.

ANTHONY

No resentment here. It’s just…it makes no sense that we have to buy the insurance. And it’s expensive as hell! $20,000 for the revival insurance? And there are no companies including it in their benefits package like they do with health insurance. It makes no sense.

TYLER

He does have a point, Meg.

DR. HARR enters the room, holding a long needle. The needle appears to contain a blue serum.

DR. HARR

Hello, Megan. It’s time for your daily dosage.

DR. HARR walks over to Megan and gestures for her to lift her shirt. MEGAN lifts it exposing her belly button. As Dr. Harr wipes the flesh close to her belly button, he sticks in the needle.

MEGAN

Doctor, why is he sharing a room with me? It looks like he is nowhere close to being dead. Don’t you have a separate ward for the not-dead yet patients?

DR. HARR starts to open his mouth, but  ANTHONY cuts him off with a pleading look. He looks between ANTHONY and MEGAN. MEGAN notices his uneasiness. After a pause, DR. HARR sighs.

DR. HARR

We ran out of rooms. There are so many people trying to get the death cure that we had to start sending patients all over the place. The children’s facility alone has stopped admitting patients so they focus on the current ones they have.

ANTHONY

I guess that makes sense. So many people and their grandmothers want this thing.

DR. HARR pulls out the needle and wipes MEGAN’s stomach with an antiseptic wipe.

TYLER

Is it true someone tried to bite a nurse’s head off?

MEGAN appears startled by this.

MEGAN

Who told you that?

TYLER

It’s something I heard from the other patients. Everyone’s talking about it.

MEGAN

I’m sure that’s just a rumor. No one is biting anyone’s heads off, right doctor?

DR. HARR

Yes. That is correct. Well, Megan. It appears your body is adjusting to the cure well. By next week, you won’t even need to take it anymore. All of your body parts should be functioning normally as well. The pain should subside in about two weeks.

ANTHONY

Thank you, doctor.

DR. HARR leaves the room.

MEGAN

That was a pretty sketchy moment between you two. Is there something you’re not telling me?

ANTHONY

Um…I may have heard some things…both of us…but we didn’t want to scare Tyler.

MEGAN

(laughing nervously) So, someone did try to bite the nurse’s head off?

ANTHONY

(smiling sadly) No, Megan. No one is going Hannibal Lecter in here. Just get some rest, okay.

INT. HOSPITAL WARD ROOM NEXT DAY-MORNING

MEGAN is laying on the bed, flexing her toes. Both toes on each foot is flexing. She starts up at the ceiling. TYLER is awake too, fiddling with his fingers.

MEGAN

Do you believe in life after death?

TYLER looks confused.

MEGAN

Like heaven? Or hell?

TYLER

My mom once told me our grandparents went to heaven.

MEGAN

That doesn’t mean heaven’s real. Do you know how many lies parents tell their kids to make them feel better? Like Santa Claus is real? Or the tooth fairy takes their tooth and leave them money? For all your parents’ know, there isn’t a heaven or hell.

TYLER

Well, you don’t know if heaven and hell is real if you never been there.

MEGAN

I…I think this is a mistake.

TYLER

What is?

MEGAN

This death cure. I mean, who wants to live forever really? It’s not going to change the terrible things that happen in this world. The killing, the pain, the suffering,the violence…being alive forever is not going to make that go away.The truth is…I’m not sure if I believe in heaven. But I do believe there is a hell. This world…this life…this is hell.

TYLER is confused, not knowing what to say and more importantly why she is telling him this. Shifting uncomfortably, he turns to look at a wall.

MEGAN

Tyler?

TYLER looks up at MEGAN and their eyes meet. A silent connection passes between the two of them.

TYLER

DO you regret taking the cure?

MEGAN

I…I don’t know.

TYLER

It kept you alive. It’s better than being dead.

MEGAN

I would hardly call this living. More like being stuck between two worlds.

TYLER sighs.

TYLER

You were always so dramatic.

MEGAN gives a small smile and we see a smile forming on TYLER’s lips as well.

TYLER

Megan, you were given an opportunity that a lot of people don’t have. You shouldn’t feel guilty that you had the cure.

MEGAN

Except the cure was forced on me, Tyler. My parents had them force it on me. The serum doesn’t really cure people anyway. Every pain, every weakness that I feel will still be there unless the doctors do find a cure for cancer as well. I’m not even sure if the chemotherapy would still work. This may be something I’ll have to deal with forever.

TYLER

“We suffer for the ones we love.” That’s something I heard Mom say once.

TYLER lays down on the bed. MEGAN does the same. Neither of them closes their eyes instead opting to look up at the ceiling.

INT.Hospital Ward Room-Day

ANTHONY arrives to the hospital room. He sits in a chair next to MEGAN’s bed. TYLER is  sitting on the bed, staring at the two of them.

ANTHONY

Megan, we need to talk about Tyler.

MEGAN

What about him?

ANTHONY

We need to discuss the fact that…he’s not coming home.

MEGAN

Baby, what are you talking about?

ANTHONY takes a deep breath. He closes his eyes, trying not to let the tears fall.

Snapshots of a man and woman leaning over a young boy. We hear crying. A young MEGAN pokes her head through the hospital door. The couple is huddling over the bed. The monitor is flat lining.

The woman starts to cry. The man holds the woman close to his chest. The camera zooms in on the boy’s face-it’s TYLER. We zoom back to the present-camera is focused on MEGAN’s face as she forced to remember the truth.

ANTHONY

Tyler hasn’t been here for a very long time. I’m sorry, Megan but we have to move on. You have to let him go.

MEGAN

Let him go? How can you say that? It’s Tyler. We can’t let him go! But then again, that’s probably what you always wanted. To replace him: you became a lawyer because he wanted to, you stayed in town because he would have stayed, you’re engaged to his best friend because we probably would’ve been engaged-

MEGAN fumbles over her words. Unable to hold it in any longer, she bursts into tears. ANTHONY sits on the bed and holds her in his arms. After a pause, MEGAN pulls herself out of ANTHONY’s arms and looks at him.

MEGAN

I thought…No, I know…I know, I saw him when I was dead. It was only for a second but…I was in a field. He was standing across from me. He opened his arms wide and he was smiling. I couldn’t believe what I was seeing. I ran over to him and I opened my arms ready to hold him. My fingers was just about touch him when I was brought back…brought back here. And Tyler was gone again. I just wanted to be with him again.

ANTHONY

I know. I miss him too.

ANTHONY takes a deep breath.

ANTHONY (CONT’D)

He was my baby brother. I was supposed to be the one to protect him from death. And I tried. I tried so hard. But I just couldn’t…

ANTHONY leans his head in his hands. MEGAN is at a loss for words. TYLER walks over to ANTHONY and places his hand on his shoulder, as if to soothe him. ANTHONY doesn’t react to this at all.

ANTHONY

Tyler is dead, Meg. He couldn’t get the death cure, we couldn’t afford it and we still can’t. But hey, at least your family could. And I;m glad. Because it not, I would’ve lost you too, and I couldn’t survive that. But here you are, right in front of me, and I’m still losing you.

He turns over to MEGAN.

ANTHONY

So you tell me what to do, Meg. Tell me how I can save you. Please, tell me how.

MEGAN looks behind her. We see TYLER standing by her bed now. He gives her a sad smile.

TYLER

It’s okay, Meg. You can let go now.

FADE OUT