GET OUT
Written by
Jordan Peele
I appeal to you therefore, brothers, by the mercies of God, to
present your bodies as a living sacrifice, holy and acceptable
to God, which is your spiritual worship. Do not be conformed
to this world, but be transformed by the renewal of your mind,
that by testing you may discern what is the will of God, what
is good and acceptable and perfect. -Romans 12:1-2
EXT. THE SHAW'S HOUSE - FRONT LAWN - NIGHT
A perfect suburban house with bay windows and a front lawn.
The SHAW family. Caucasian and warm - RICHARD, 34; NANCY, 30;
JOSHUA, 6; and MAY, 4 - eat dinner inside. Richard reads
something on his tablet illuminating his face.
JOSHUA
Which one are we going to?
RICHARD
The one in Orlando.
NANCY
Disney World.
JOSHUA
Tony said that Mickey is not
really Mickey; it's someone else
in there.
RICHARD
Mickey's Mickey.
EXT. SUBURBAN STREET - NIGHT
ANDRE, 29, an African-American man runs down the sidewalk in
sweats. He listens to jazz on his phone. The music stops. He
stops running and checks his phone.
ANDRE
Damn.
He's right in front of the Shaw's house. He glances inside.
The Shaw's seem normal and content. Andre smiles.
A motion detecting security light floods the lawn.
INT. THE SHAW'S HOUSE - DINING ROOM - CONTINUOUS
Richard looks up from his table to see Andre standing there.
The rest of the family doesn't notice. Nancy tends to May, who
SQUIRMS in her chair. Richard watches Andre protectively.
2.
JOSHUA
Also, Tony said he saw a chef
Mickey and a normal Mickey.
NANCY
He must have changed his clothes
for work.
EXT. SUBURBAN STREET - CONTINUOUS
Andre walks on. It's getting dark. He is suddenly very alone.
A vintage creme-colored Porsche Boxter with tinted windows and
a roof CREEPS up on the street behind Andre. It's following
him.
INT. SPORTS CAR - CONTINUOUS
Driver's POV watching Andre. His BREATH ECHOES deep and tinny
as if it were into a coffee can. Through the car's system we
hear an English to French language tutorial recording.
TUTORIAL
Pardon me. Where is the nearest
restaurant? Pardonnez-moi. Ou est
le restaurant le plus proche?
The driver doesn't repeat.
EXT. SUBURBAN STREET - CONTINUOUS
Andre, feeling followed, stops to tie his shoe. The car also
stops. Andre waves at the unseen DRIVER. There is no response.
The ENGINE PURRS.
Andre begins walking again. The car begins slowly too. Andre
stops again. The car does too. Andre peers through the
windshield but can't see through the tint.
ANDRE
Can I help you...?
No response.
ANDRE (CONT'D)
I'm new to the area. I just moved
here... Down on Evergreen...
Nothing. Did I do something wrong? 'Cause--
3.
INT. SPORTS CAR - CONTINUOUS
Driver's POV. Andre continues to talk, but isn't heard.
TUTORIAL
Can you show me the nearest
bathroom? Pouvez-vous me montrer
la salle de bain la plus prouche?
EXT. SUBURBAN STREET - CONTINUOUS
Andre hears nothing from inside.
ANDRE
(under his breath)
This is some shit right here.
Andre begins walking. The car creeps alongside him. After a
few steps, Andre stops again. The car stops. Andre laughs.
ANDRE (CONT'D)
Wait a minute. I know you? You
messing with me right?..Come on.
No response. He realizes it's not a friend.
ANDRE (CONT'D)
You know this could be considered
stalking and harassment. Plus,
you're sitting in a deadly weapon
so that's some felony-type shit
right there.
No response.
ANDRE (CONT'D)
What?!? Say something then.
No response. Andre can't hide his anger anymore. He starts
walking the other direction. The car backs up, following Andre
in reverse.
ANDRE (CONT'D)
(TO HIMSELF)
Calm down, Andre. Don't do it.
Don't let him get to you.
After a few more steps...
ANDRE (CONT'D)
Fuck.
4.
Andre, fed up, stops. He approaches the passenger's side
window and bangs on it.
ANDRE (CONT'D)
I'm from Brooklyn, man. If you
wanna do something, then let's do
something. I'm ready..! Hey, I'm
talkin' to you!!!
INT. SPORTS CAR - CONTINUOUS
Driver's POV. Andre bangs on the window.
EXT. SUBURBAN STREET - CONTINUOUS
Andre bangs harder on the window three times. The car's
passenger-side window rolls down.
TUTORIAL
Can you help me find a hotel?
Pouvez-vous m'aider a trouver mon
hotel?
Andre's expression goes from anger to terror. The driver wears
a tubular metal medieval knight's helmet with slanted
rectangular eye holes.
ANDRE
Shit.
The driver raises a gun with a silencer on it. Andre turns to
run but is shot in the back. Stunned, Andre stumbles towards
the Shaw's house. The driver exits the car and follows him.
TUTORIAL
(From inside the car)
Can you please call the police?
Pouvez-vous s'il vous plait
appelez la police?
EXT. THE SHAW'S HOUSE - FRONT LAWN - CONTINUOUS
Andre falls in front of the Shaw's lawn. A dart sticks out of
his back. He reaches towards the Shaw family. The masked
driver approaches calmly Andre drags himself toward the house
as everything blurs around him.
ANDRE
(WEAKLY)
HELP
Andre passes out as the security light floods the lawn again.
5.
INT. THE SHAW'S HOUSE - DINING ROOM - CONTINUOUS
The Shaw family eats while Andre lays on their front lawn.
This time Richard, buried in his tablet, doesn't notice. the
driver lift Andre's limp body and carries him to his car.
JOSHUA
Tony said Mickey's face doesn't
move.
RICHARD
That's right. Mickey's always
happy.
EXT. SUBURBAN STREET - CONTINUOUS
The driver carries Andre to the car.
JOSHUA (O.S.)
Why?
RICHARD (O.S.)
Because he hasn't aged in 100
years.
The driver plops Andre in the padded trunk. He gets in his car
and drives off.
TITLE CARD:
"GET OUT"
EXT. BROOKLYN PARK SLOPE - DAWN
The sun rises over the city. Autumn. Beautiful.
INT. BROOKLYN LOFT - LIVING ROOM - MORNING
We move slowly through the small but clean apartment. The
walls are decorated with fascinating urban photography.
INT. BROOKLYN LOFT - BATHROOM - MORNING
CHRIS WASHINGTON, 26, a handsome African-American man shuts
the medicine cabinet. He's shirtless and naturally athletic.
He scrutinizes his reflection with a touch of vanity.
6.
INT. STARBUCKS COUNTER - MORNING
ROSE ARMITAGE, 28 - Caucasian, brunette with freckles - cool
and beautiful like an old Summer Camp crush. Rose looks at
pastries through the glass. She can't help but smile.
INT. BROOKLYN LOFT - BATHROOM - MORNING
Chris spreads shaving cream onto his face and shaves. He
postures a little then nicks himself on the neck. He smirks;
deserved that.
INT. BROOKLYN LOFT - LIVING ROOM - MORNING
Chris, clothed, looks out his window through a professional
camera. He flips through some striking urban images on the
digital display much like the ones framed around his
apartment. He is a very talented photographer.
Sid, a small black dog, watches him. The BUZZER RINGS.
INT. BROOKLYN BUILDING - HALLWAY. MORNING
Chris opens the door. Rose stands outside the apartment with
her hands full. She has two coffees and two bags of pastries.
Chris smirks.
ROSE
I couldn't decide...
He takes the coffee tray and pulls her inside. They kiss.
INT. BROOKLYN LOFT - LIVING ROOM - MORNING
Rose and Chris have coffee and sweets by the window. The small
mound of pastries sits on the coffee table. SID lays on her
lap. She strokes him. It's a perfect morning.
ROSE
Poor thing. Do you even pet him?
CHRIS
Are you kidding me? When you're
not here that dog gets the best
fuckin' pets of his life.
7.
ROSE
So, how come whenever I come over,
he acts like he's been totally
neglected.
CHRIS
`Cause he know he's got you
wrapped around his little paw.
ROSE
oh, really?
CHRIS
Yeah.
Chris picks up her foot sweetly and massages it. She melts.
INT. BROOKLYN LOFT - CHRIS' BEDROOM - DAY
Chris packs a small bag of luggage. Rose lays on the bed.
ROSE
Toothbrush... Deodorant...
CHRIS
Check... Check....
Chris puts a cigarette in his mouth. Rose pops up and grabs
the cigarette from his mouth and breaks it. Chris tries to
feign incredulousness but is amused.
CHRIS (CONT'D)
I'm not gonna have one the whole
weekend.
ROSE
You quit, remember?
CHRIS
I'm nervous.
ROSE
Why? They're going to love you.
CHRIS
Yeah? How do you know?
ROSE
Let's see, you're smart, sweet,
handsome, creative... You're you.
CHRIS
Good answer.
8.
Chris packs in silence for a moment.
CHRIS (CONT'D)
Do they know I'm black?
Rose is taken aback by the question.
ROSE
I don't think so. Why? Should
they?
CHRIS
Seems like you might give them a
heads up.
ROSE
Really? Like "Mom, Dad, my black
boyfriend is coming up for the
weekend"?
CHRIS
You said, I'm the first black guy
you'd ever dated.
ROSE
Yeah...?
CHRIS
So this is uncharted territory for
them.
Rose embraces him.
ROSE
Baby, it's fine. My dad would
legit vote for Obama a third time
he could. Yes, he will want to
talk to you about it, and that
will be embarrassing, but they're
gonna love you. I promise.
Chris nods. She kisses his neck and pulls him to the bed.
INT. BROOKLYN LOFT - LIVING ROOM - DAY
Chris turns on the TV for Sid. He and Rose stand by the front
door about to leave.
CHRIS
Bye.
ROSE
See you soon.
9.
Rose blows Sid a kiss and they leave.
EXT. BROOKLYN NEIGHBORHOOD STREET - DAY
Chris puts his luggage in the trunk and enters the passenger's
side of a shiny white BMW X5.
INT. BROOKLYN NIEGHBORHOOD STREET - PARKED CAR - CONTINUOUS
Rose sits in the driver's seat. Chris gets in the passenger
seat. Her car is a mess.
CHRIS
How do they even let you in a
hospital?
ROSE
Shut up. I'm very sanitary at
work.
She moves some fast food wrappers to the back seat.
ROSE (CONT'D)
You ready?
CHRIS
Yeah. You?
ROSE
Oh, wait.
She raises her phone and takes a selfie of the two of them.
ROSE (CONT'D)
Ready.
Chris puts his hand on her leg, and they drive off.
EXT. NEW YORK - CITY - CONTINUOUS
The car leaves the city.
EXT. RURAL ROAD - BIRD'S-EYE VIEW - DAY
We soar over the car as it drives through the beautiful
countryside; a road flanked by woods.
10.
INT. ROSE'S CAR - DAY
Rose hums. Chris, in the passengers seat, looks through his
camera at the passing trees. He snaps a test shot.
CHRIS
How long has it been?
ROSE
10 months, so a year basically;
longest I've ever been away.
Chris takes out another cigarette. Rose promptly grabs it and
opens the window.
CHRIS
Whoa... whoa!! Come on! I'm a
grown man. If a man says he wants
a cigarette, a man should be able
TOO- -
She throws it out the window.
CHRIS (CONT'D)
Okay, so that's like a dollar. You
basically just throwin' dollars
out the window.
ROSE
You shouldn't have bought them.
CHRIS
I didn't buy them. Rod... Shit.
ROSE
What?
CHRIS
I almost forgot Rod.
EXT. LAGUARDIA AIRPORT - OUTSIDE THE TERMINAL - DAY
ROD WILLIAMS, 26, African American, a stocky TSA agent smokes
a cigarette. His cell phone rings.
ROD
`Sup?
INTERCUT WITH:
11.
INT. ROSE'S CAR - DAY
Chris sits in the passenger seat and talks on the cell phone.
CHRIS
Hey. You at work?
ROD
Yeah. How I'm gonna get in trouble
for following standard procedure?
Fuckin' Gary out here thinkin'
just because a bitch old, she
can't hijack an airplane.
Chris laughs.
ROD (CONT'D)
Like you can't hide a bomb in a
wheelchair? Watch, Chris, the next
9/11 is gonna be on some geriatric
shit.
CHRIS
Look, man, real quick. You good to
watch Sid this weekend right?
ROD
What? You think I forgot? Damn
`C', give your boy a little
credit. I don't forget shit; you
do.
CHRIS
You're right. My bad.
ROD
Apology accepted. How's `Lil Miss
Rosie?
CHRIS
She's good.--
Rose takes the phone.
ROSE
Hi, Rod.
ROD
Whattup babygirl? You better bring
my boy back in one piece.
12.
ROSE
I don't even know what that means
but yes I promise.
ROD
You know you picked the wrong guy
though right?
ROSE
It's not too late for us is it?
Chris takes the phone back.
CHRIS
Okay, get your own girl.
ROD
Damn, I never seen you like this.
Meeting the family and everything?
What does she do lick your ass?
CHRIS
No! What the fuck is wrong with
you?
ROD
That's it! First girl licks your
ass and you done. Just...
Rod makes a WHIPPING SOUND.
CHRIS
You need help.
ROD
Yeah I do. I need your girl to
introduce me to one of her freaky
deaky boarding school friends.
CHRIS
(LAUGHING)
I'll see what I can do. Oh, and
I'll kick you some cash for
watching Sid.
ROD
Come on, son! I don't need your
money. I got you!
CHRIS
Thanks, man.
ROD
You better not come back all
bougie on me tho--
13.
Chris hangs up. He gives Rose a look.
ROSE
What..? Settle down. You know I'm
yours.
After a beat he puts another cigarette in his mouth.
ROSE (CONT'D)
No!
CHRIS
Last one!
She goes for it. He dodges playfully and tickles her causing
her to cackle.
A shadow darts across the road in front of the hood of the
car. It's hind legs SMACK the hood of the car with a loud
THWAT-THWAT. It's propelled into the woods at an awkward
angle. The CAR SCREECHES to a halt.
Chris and Rose breathe hard for a few moments of shock.
ROSE
Fuck!
CHRIS
You okay?
ROSE
Yeah. You?
CHRIS
Yeah. That scared the shit out of
me.
EXT. RURAL ROAD - CONTINUOUS
Rose gets out of her car and inspects the damage. Chris gets
out as well. There's a small bloody dent in the hood.
ROSE
Fuck!!!
Chris looks back in the direction of the collision.
CHRIS
Stay here.
ROSE
What are you doing?
14.
CHRIS
I don't know... See if it's okay?
Chris walks a few more steps then stops. He rethinks.
CHRIS (CONT'D)
Maybe it's gone--
A guttural, almost human, MOAN OF PAIN comes from in the woods
behind them. They watch the woods in horror.
Chris walks back towards the haunting wail. It stops.
ROSE
Chris...?
Chris motions for Rose the stay. He keeps walking towards the
thicket about 60 ft behind the car.
ROSE (CONT'D)
Be careful!
Chris gathers his courage and takes a step toward the thicket.
The Moan starts again, but much loader and closer than Chris
realized. He's startled.
Chris peers through the bushes. The deer lays there gasping
for breaths and watching him with a black wet eye. Chris is
transfixed.
ROSE (CONT'D)
Do you see it?
Chris snaps to. He nods and takes out his phone.
EXT. UPSTATE NEW YORK ROAD - DAY
A cop car is now pulled up to where the deer was hit. OFFICER
FROSTIE - Caucasian - 33 stands near the deer. Another
officer, OFFICER CROW - 40 - Caucasian with a patronizing
smirk, stands by the driver's side window of Rose's car which
Rose and Chris are both back in.
INT. ROSE'S CAR - CONTINUOUS
OFFICER CROWE
So in the future the number to
call is Animal Control Services.
Rose doesn't like the way he's looking at them.
15.
CHRIS
Right. That makes sense.
OFFICER CROWE
You two coming up from the city?
CHRIS
Yeah.
OFFICER CROWE
And what brings you up--
ROSE
I'm from here. The Lake Pontaco
area? We're going home.
OFFICER CROWE
(TO CHRIS)
You got a driver's license?
CHRIS
Oh... yeah.
Chris gives Rose a "see?" Look as he gets his license.
CHRIS (CONT'D)
I mean, I don't have a driver's
license, I have a state I.D.
ROSE
I was driving.
OFFICER CROWE
I didn't ask who was driving. I
asked him for his I.D.
ROSE
My boyfriend shouldn't have to
show you his I.D. because he
hasn't done anything wrong.
OFFICER CROWE
Ma'am, any time there is an
INCIDENT--
ROSE
No, fuck that!
CHRIS
Baby. It's okay--
ROSE
(TO CROWE)
It's bullshit, and you know it.
16.
There is a tense silence. Officer Crowe's walkie chimes in.
OFFICER FROST (O.C.)
Everything alright up there
Crowsie?
Officer Crowe stares Rose down. After a moment he presses his
walkie button.
OFFICER CROWE
Yeah, I'm all good.
He hands Chris his I.D.
OFFICER CROWE (CONT'D)
You guys be careful.
EXT. RURAL ROAD - DAY
The car winds through a thickly wooded road.
INT. ROSE'S CAR - AFTERNOON
Chris sits in the passenger's seat deep in thought. He watches
Rose with a new awe. Rose notices. She shrugs.
ROSE
What? I'm not gonna let anyone
fuck with my man.
CHRIS
That was some ride or die shit,
baby. I like that.
Rose smiles at him.
ROSE
We're here.
EXT. ARMITAGE ESTATE - AFTERNOON
The woods give way to an huge front lawn. A large mansion sits
in the middle. Thick forest surrounds the estate except for
one side which is the edge of a lake. The property feels
expensive and isolated; no other houses in sight.
As they drive through the large front lawn, Chris sees WALTER,
African American 35 in the distance facing away. Walter wears
a gardening hat and trims hedges. He works slowly and
methodically.
17.
ROSE
(TO CHRIS)
That's the grounds-keeper... I
think his name is Walter.
Rose parks in front of the house, and. He has a pleasant
smile. Rose gets out of the car and waves.
ROSE (CONT'D)
Hi!
Walter turns and waves back. Chris gets out and waves too.
CHRIS
(TO WALTER)
Hey! What's up?
Walter waves silently. Odd.
As Chris gets the luggage from the trunk, Rose runs to the
front door and RINGS the DOORBELL. FOOTSTEPS. The door swings
open revealing...
DEAN ARMITAGE, 59, a tall, balding, barrel-chested, bear hug
of a man. Though clearly smart, Dean has an endearing
cockiness and a bad case of Dad humor. He is the kind of guy
who pronounces garbage, Gar-bahge.
And... MISSY ARMITAGE, 56, A beautiful beacon of intellectual
patience. She is poised and warm; relaxed and in control. They
stand in the shadows of the doorway smiling. Rose hugs her
parents.
ROSE
Hi!!!
DEAN MISSY
There's my girl! Hello sweetheart.
ROSE (CONT'D)
I miss you guys.
MISSY
We miss you, Ro Ro.
Chris approaches with the bags.
CHRIS
Hi.
ROSE
Chris, these are my parents. Mom,
Dad, this is Chris.
18.
CHRIS
Good to finally meet you...
Chris holds his hand out.
DEAN
Mr. Armitage will do.
CHRIS
Sure.
DEAN
I got him.
(TO CHRIS)
Come here.
Dean grabs Chris' arm and pulls Chris in tight.
DEAN (CONT'D)
Call me Dean. We hug around here,
Fella.
CHRIS
Alright.
DEAN
My wife Missy.
CHRIS
I've heard so much about you guys.
Missy holds Chris' shoulders and examines his face and chest.
MISSY
Yes, you'll do just fine. So
handsome.
ROSE
Can we get inside before you guys
start embarrassing me?
MISSY
Of course, come inside, make
yourself at home.
CHRIS
I'm fine with the embarrassing by
the way; go ahead.
Missy and Dean laugh. The four enter the house. Missy shuts
the door behind them.
Outside, Walter watches as his smile fades away. He slowly
turns and goes back to work.
19.
INT. ARMITAGE LIVING ROOM - DAY
A wonderful house looms ahead. The interior is worldly and
interesting; clean and homey. Several paintings of castles and
medieval battles accent the walls. Taxidermy. One wall is all
bookshelf, and there is a fireplace.
Above the fireplace is a large hauntingly beautiful portrait
an old man and woman.
CHRIS
Wow.
DEAN
"Wow" is good. We'll take wow.
CHRIS
I grew up in a one bedroom, so for
me, this is ridiculous.
DEAN
It ought to be. Lord knows we've
done enough work on it through the
years...
MISSY
(To Rose and Chris)
How was the ride in?
ROSE
We hit a deer.
DEAN MISSY
Oh no! Where?
ROSE (CONT'D)
I don't know. Down around Lyons
road?
CHRIS
It came out of nowhere.
MISSY
Are you guys okay?
CHRIS ROSE
Yeah. Yeah. It just fruck us out.
MISSY (CONT'D)
I bet.
DEAN
You know what I say. One down... a
few hundred thousand to go.
Dean snickers.
20.
MISSY ROSE
Dean. So awful! Dad.
DEAN (CONT'D)
What?! Those things are everywhere
up here, Chris; like rats. The
damage they've done to the ecology
alone... Anyway, are we ready for
the grand tour?
MISSY
Let them unload their bags first.
DEAN
Leave `em. Walter will get `em.
ROSE
I think we'll manage, Dad.
INT. ARMITAGE UPSTAIRS HALLWAY - DAY
Rose and Chris take their bags upstairs.
INT. ARMITAGE HOUSE - ROSE'S BEDROOM - DAY
Rose's old room is preserved in the state of a young-minded
teenage girl. Lots of pink and dated boy band posters, a
stuffed lion. A window overlooks the front lawn.
Rose and Chris place their bags down.
ROSE
(SARCASTIC)
You think they wish I was still a
kid?
CHRIS
I cannot believe they kept it the
same.
Chris looks at some pictures posted on her dresser.
ROSE
So...
CHRIS
They're great.
ROSE
Yay.
21.
CHRIS
No, they're totally sweet.
ROSE
I told you they'd love you.
He sees a picture of Rose in high school on stage in a
production of `The Crucible.'
CHRIS
What?! Is this you?
ROSE
"The Crucible." I was Abigail.
CHRIS
I didn't know you acted.
ROSE
There's a lot you don't know about
me.
Rose grabs Chris by the belt and pulls him to the bed on top
of her. They kiss. She goes for his fly.
CHRIS
Wait, what about the tour?
ROSE
"The tour?" Are you serious?
CHRIS
We just got here. I don't wanna be
disrespectful...
ROSE
Who gives a fuck? Be
disrespectful.
He stops her.
CHRIS
I'm serious. Later.
INT. ARMITAGE DOWNSTAIRS HALLWAY - DAY
Dean and Chris walk and look at pictures on the wall. Rose and
Missy catch up in the living room.
DEAN
Frankenstein's monster. Only
pieces of the original structure
remain; I like to think the soul
is in tact though.
22.
They keep walking.
DEAN (CONT'D)
There are seven bedrooms, ten
bathrooms, three indoor dining
areas, two study's, two main
kitchens. There's an observatory
wing on the top floor. And you'd
be hard pressed to find a room
that doesn't serve as library.
Chris zones in on a photograph taken in the 90's in front of
the Armitage house. Dean and Missy are younger, and Rose and
her brother Jeremy are kids.
DEAN (CONT'D)
That's Jeremy. Rose's brother.
He's in Med school.
CHRIS
I've heard stories.
DEAN
He went through a couple dark
spots but came out the other side.
You'll meet him later.
CHRIS
Oh, cool.
Dean points out the older couple in the picture, the same from
the portrait in the living room; GRANDPA and GRANDMA.
DEAN
Mother and Father lived here till
the end. They died a few years ago
now. Passed away within weeks of
each other...
CHRIS
I hear that happens a lot.
DEAN
"Love" is a powerful thing.
They move down the hallway to a black and white framed picture
of a 25 year old man posing in the starting position for a
race.
DEAN (CONT'D)
My Dad was a runner. A good
runner; great sprinter.
23.
DEAN (CONT'D)
Oh, In fact, you might find this
interesting, he was just beat out
by Jessie Owens in the qualifying
round for the `36 Olympics in
Berlin. That's the one where--
CHRIS
--Owens won in front of Hitler.
DEAN
You know your history.
CHRIS
Not really. That one always just
stood out in my mind.
DEAN
Of course. One of those perfect
moments. There's Hitler on his
high horse with his perfect Aryan
race, and here comes this black
guy to prove him wrong on the
world's stage. What a moment.
CHRIS
Yeah, tough break for your father
though.
DEAN
He almost got over it.
Dean winks.
HOUSE - MISSY'S OFFICE - DAY
Dean opens the door to the office. He and Chris stand outside
the door as Dean reaches in to turn on the lights. In front of
the desk two comfortable-looking chairs face each other. Books
line the walls, and are stacked everywhere. Dean and Chris
don't enter. A white cat laying next to a teacup wakes up on
the desk.
DEAN
Okay Snowbell just looking.
(TO CHRIS)
Missy's office. This is where she
takes appointments.
CHRIS
She's a Therapist right?
DEAN
Yeah. One of the best in the
world. Not a tidy woman.
24.
CHRIS
Like mother like daughter.
Dean Cackles.
INT. ARMITAGE HOUSE - HALLWAY - DAY
CHRIS
And you're a surgeon?
DEAN
A neurosurgeon; was. I retired
early. Now, I pretty much focus on
the house and twiddle my thumbs.
Dean and Chris pass a closed door.
DEAN (CONT'D)
Oh, downstairs is the wine cellar,
the games room, some storage.
Apparently a black mold issue down
there. Almost everything needs to
get thrown out; shame.
INT. ARMITAGE KITCHEN - DAY
Dean and Chris continue their walk-through. The kitchen is
large, homey and pristine. Large windows overlook the
backyard. GEORGINA, African American, 30 stands facing a wall.
She is still.
DEAN
My mother loved her kitchen.
Upon hearing them, Georgina comes alive. She resumes cleaning
the kitchen.
CHRIS
That view.
DEAN
Oh, Georgina, this is Chris;
Rose's boyfriend.
Georgina turns to them. She has the same eerie smile as
Walter. Like she's masking something.
CHRIS
Hi.
GEORGINA
Hello.-
25.
DEAN
Ah ha! But now for the piece de
resistance...
Dean opens the glass back door.
EXT. BACKYARD - LATE AFTERNOON
The yard is huge and the woods beyond it ominous. The wind
RUSHES through the trees. Dean leads Chris out through the
yard towards a gazebo.
DEAN
Badminton and bocce ball, croquet;
we're a family who loves games.
Two other families have properties
on lake Pontaco, and they're way
on the other side. Total privacy.
Chris is distracted by Walter who prepares the lawn mower in
the distance.
DEAN (CONT'D)
I know what you're thinking.
CHRIS
Yeah?
DEAN
Well-to-do white family; black
servants...
CHRIS
I wasn't gonna go there.
DEAN
You didn't have to. We hired them
a few years ago to help care for
my parents; they became part of
the family. Couldn't bear to let
them go. I hate the way it makes
us look though...
CHRIS
Hey. People need work.
DEAN
Yeah.
They arrive at an outdoor patio. Dean stops Chris from
stepping on a dead sparrow.
26.
DEAN (CONT'D)
Well, crap.
(CALLING)
Walter!
Walter turns to face them. He has that same eerily mild smile.
Vacant in its sincerity.
DEAN (CONT'D)
Another dead bird!
(TO CHRIS)
Damn things fly into the patio
from time to time; break their
necks.
Walter nods slowly. Dean gently kicks the bird's carcass out
of their way.
DEAN (CONT'D)
Iced tea?
EXT. OUTDOOR PATIO - DAY
Dean, Missy, Chris and Rose sit with iced teas.
MISSY
(TO CHRIS)
Rose tells us your parents aren't
with us.
CHRIS
My Dad was never really in the
picture. My mom passed away when I
was 11; She was hit by a car.
MISSY DEAN
Oh, that's awful; so young. I'm so
sorry to hear that.
CHRIS (CONT'D)
Yeah. My aunt raised me, with my
cousins. We didn't have a lot of
money or anything, but she's a
good person; kept me off the
streets. She gave me my first
camera.
Rose holds Chris' hand.
MISSY
You two seem like you've been
together for years. How long has
it been now?
27.
CHRIS ROSE
4 months? 5 months.
CHRIS
5? She's right; I'm wrong.
DEAN
`Atta boy Chris. Get used to
saying that.
MISSY
Not a lot of time, anyway. So...?
You guys in love or what?
ROSE
Mom.
CHRIS
I mean, we've been trying to take
it slow but...
MISSY
Yep. You're in love. I can tell.
DEAN
Can't resist the inevitable.
Walter mows past them in the distance.
MISSY
And how did you meet, again?
CHRIS
At the blood drive.
ROSE
Remember when I volunteered at the
community center?
DEAN
Ah, yes.
MISSY
And he really is so good looking,
isn't he? You'd have beautiful
babies.
ROSE
I know!
DEAN
Uh oh. Get out of here before it's
too late!
28.
ROSE
(TO CHRIS)
Now, all you have to do is just
quit smoking.
DEAN
Oh no! A smoker!?
MISSY
And we were just beginning to like
you.
CHRIS
No. I'm quitting.
DEAN
You should have Missy take care of
that for you.
ROSE
Oh God.
CHRIS
How?
DEAN
Hypnosis. Works like a charm.
Missy watches Chris' reaction intently. He is uncomfortable.
CHRIS
Oh.
DEAN
I thought the whole thing was B.S.
too. I smoked for 20 years. She
puts me under once, now the sight
of a cigarette makes me wanna
vomit.
MISSY
Of course, I'd give you the
service for free. You are family
after all.
CHRIS
Wow. I don't... Thank you. Um, I
don't know.
Chris looks to Rose for help.
ROSE
You guys, normal people don't want
strangers fiddling around in their
heads.
29.
MISSY
If you change your mind... We're
just glad you could join us for
the big get-together.
Georgina brings the pitcher of iced tea around and refills
everyone's glass. Chris tries to thank her with a look. She
smiles and avoids eye contact.
CHRIS
The get-together?
ROSE
The party tomorrow? I told you.
CHRIS
I must have forgot.
MISSY
Oh, well we host a shindig once a
year for our friends.
DEAN
A tradition. Some of my Dad's old
social club. Some old patients.
Some just friends...
MISSY
Drinks, good food, good people...
CHRIS
Sounds fun.
Georgina has been pouring Chris' drink too long and his glass
has overflown.
MISSY
Georgina!
Georgina snaps out of her daze. She realizes what she's done
and starts to clean.
MISSY (CONT'D)
It's fine George, I'll get it.
Maybe you need a nap.
Georgina nods, smiles and walks away. Chris and Rose look at
Dean. That was odd. Dean shrugs.
A CAR HORN HONKS in front of the house.
DEAN
Jeremy's home.
JEREMY, 29, rounds the house with open arms.
30.
He's "Rich kid intense"; handsome and strong with an
unpredictable wildness behind his eyes.
JEREMY
Who answers the door around here?!
INT. ARMITAGE DINING ROOM - LATER/NIGHT
Everyone laughs.
Dean pours the remainder of a bottle of wine into Chris'
glass. Their meal is done and they are tipsy. Jeremy pops the
cork on a new bottle of wine as he energetically holds court.
JEREMY
One more... So, let me set the
scene. I'm a junior; Ro's a
freshman and she has a crush on
this guy Connor--
ROSE
--No. Mom.
MISSY
Jeremy...
CHRIS
No, no... These are good. I wanna
hear this.
DEAN
Manners, Rose. Give the guest what
he wants.
JEREMY
Yeah, Rose.
ROSE
I hate you.
JEREMY
Connor Garfield was on my lacrosse
team. Huge guy, like 6'3", and
crazy, just like "Looney Tunes,"
right? We had thrown a party--
ROSE
You did.
JEREMY
I think my parents were in Greece
or something. We had gotten into
their liquor cabinet and we're all
shit-faced.
31.
MISSY
No you weren't. Were you?
JEREMY
We put water in the bottles so you
wouldn't know. Let me finish.
Okay, so I'm upstairs in my
parents' bathroom hooking up with
Jenny Richardson. Hottest girl in
our class.
MISSY
Uch.
ROSE
You realize you're coming off like
a total douche right now, right?
JEREMY
Thanks. All of a sudden Connor
starts banging on the bathroom
door, right? I open it, and he's
got blood gushing out of his mouth
and he's screaming "Your thith-ter
bit my fuckin' thongue off!!!!"
CHRIS
Whoa, what?
JEREMY
Sure enough, there is a centimeter
of tongue meat missing right here.
Jeremy demonstrates and Chris winces.
CHRIS
(TO ROSE)
Ahhhh! You bit him?
ROSE
He cornered me and shoved his
tongue in my mouth, so yeah.
CHRIS
Damn. That's badass, Bae.
MISSY
I'm going to see how dessert is
coming along.
(TO DEAN)
Maybe we can change the
conversation to something a little
lighter.
32.
ROSE
Yeah, great story. Thanks for
making it totally uncomfortable.
Missy walks out of the dining room into the kitchen. The door
swings open and Chris gets another glimpse of Georgina who
stands with a kitchen knife and wears an intense and wicked
little smile. The door swings shut.
DEAN
Okay, new subject. Chris, Yanks or
Mets?
CHRIS
Ah, Orioles. My mom was from
BALTIMORE SO--
JEREMY
You an MMA fan?
ROSE
Oh God.
JEREMY
What?
DEAN
She's right. Let someone else talk
for a bit.
JEREMY
You've had your chance. He's
dating my sister. I can't bond
with the guy?
Dean exhales.
CHRIS
You mean like UFC? Yeah, nah. Too
brutal for me. I'm a lover, not a
fighter.
JEREMY
You ever get into street fights as
a kid?
CHRIS
Not really. I did take Judo for
after-school in 1st grade.
ROSE
Awww.
33.
JEREMY
Cause, with your frame, your
genetic make-up? If you pushed
your body, I mean really trained,
you'd be a beast.
CHRIS
Cool... Thanks?
The kitchen door swings open again, and Missy walks back in
with a perfect carrot cake. Georgina is gone.
MISSY
What'd I miss?
ROSE
More ramblings from King Awkward.
JEREMY
We're talking about sports.
(TO CHRIS)
Stand up. Let me show you
something.
MISSY
No karate at the dinner table.
JEREMY
It's not karate, it's jiu-jitsu.
He stumbles a little towards Chris and tries to put him in a
headlock. Chris stands.
CHRIS
I've got a rule. I don't play-
fight with drunk dudes.
JEREMY
I'M JUST--
DEAN
--Alright, enough Jeremy!
JEREMY
I wasn't going to hurt him.
Dean is loud and stern for the first time. Jeremy's eyes
flutter, DRUNK and embarrassed. He grabs a wine bottle and
goes upstairs`.
ROSE
And that's my brother.
34.
EXT. THE ESTATE. NIGHT
Full moon. CRICKETS.
INT. ROSE'S BEDROOM - NIGHT
Rose and Chris make hushed love in her bed. A stuffed lion
seems to watch Chris. He turns it away.
INT. ROSE'S BEDROOM - LATER
Rose sleeps, but Chris is wide awake. There's a buzz in his
ear. He smacks his own head and sits up. A soft HOWL of WIND
rushes through the room. The CLOSET DOOR CREEKS open.
Chris' eyes drift to the pack of cigarettes sticking out of
his camera bag pocket draped on the desk chair.
INT. ARMITAGE HALLWAY - NIGHT
Chris leaves Rose's room and walks down the dark hallway. A
floorboard creaks under his feet. He turns down the stairs.
INT. ARMITAGE DOWNSTAIRS HALLWAY - CONTINUOUS
Chris gets to the bottom of the stairs. He hears the
floorboard creek upstairs. He stops and turns, expecting
someone to follow him down. Nothing. Chris continues to walk
down the hallway past the pictures towards the kitchen.
The basement door is open a crack. Chris peers into it
curiously. A stairwell leads down into pitch darkness. Chris
shuts the door. A figure now stands at the end of the hallway
behind him. He doesn't notice. He just keeps going into...
INT. ARMITAGE KITCHEN - CONTINUOUS
Chris walks through the kitchen. He bumps into a bar chair
moving it slightly. He keeps walking. He continues out the
sliding back door of the house.
35.
EXT. BACKYARD - CONTINUOUS
Chris steps out the back door and takes a cigarette out. Chris
looks into the vast night around him. The CRICKETS are
deafening.
Suddenly, something DARTS FAST across the yard in the
distance. Chris peers out into the darkness. The thing RUNS
across the lawn again. A moment of terror comes over Chris. He
makes out a shape. It's now running towards him. Chris backs
up in fear just as the figure emerges from the shadows and
into the moonlight. It's Walter, the grounds keeper. He passes
Chris without noticing. Chris gathers his breath.
The kitchen light turns on and floods the backyard. Chris
drops the cigarette and stomps it out. He turns back towards
the house and finds himself face to face with Georgina, who
glares through the window dead in Chris' eyes. He's caught.
Georgina doesn't react. Chris it still. Georgina suddenly
exposes her teeth in a frightening grimace. Chris backs away
slowly.
INT. ARMITAGE KITCHEN - NIGHT
Georgina sucks her teeth. She doesn't actually see Chris at
all. She's looking at her teeth in the reflection in the
window which, front lit, reflects her and the room around her.
Outside is invisible.
EXT. BACKYARD - NIGHT
Chris realizes he's not caught. Close call. Inside Georgina
notices the bar chair has been moved. She moves it back into
its original position, and begins cleaning the kitchen
cabinets. Chris quietly sneaks around the house.
INT. ARMITAGE DINING ROOM - NIGHT
Chris sneaks in through the door in the dark dining room.
INT. ARMITAGE LIVING ROOM - NIGHT
Chris moves through the living room towards the stairs, the
lamp in the middle of the room turns on startling Chris. Missy
sits near him; cat in lap; almost seductively. He's caught;
for real this time.
36.
MISSY
Quick fix?
CHRIS
Yeah. Nerves got me I guess.
MISSY
Come. Let's nip this in the bud.
INT. MISSY'S OFFICE - NIGHT
Missy sits in a chair and directs Chris to sit across from
her. She pours them both some tea. Chris sits.
CHRIS
I still don't know if this is
right for me.
MISSY
There really is no need to be
nervous.
CHRIS
I'm good. The dude was running out
there. Scared me.
MISSY
Walter starts early every day.
He's borderline obsessive
compulsive. Tea?
CHRIS
Nah, I'm good. It'll keep me up.
Missy puts two sugar cubes in her cup. She begins to stir
slowly, CLINKING the SPOON softly and rhythmically against the
sides of the cup.
TING TING. TING TING.
MISSY
How's the bed. Good?
CHRIS
Yeah.
MISSY
Comfortable enough?
CHRIS
It's perfect, thanks.
37.
MISSY
Enough sheets?
CHRIS
Yep.
TING TING. TING TING.
CHRIS (CONT'D)
So, how does this work? Are you
going to swing a pocket watch in
front of my face?
MISSY
You watch a lot of Television.
Now, you are feeling very
sleeepy...
They share a smile.
MISSY (CONT'D)
We do use focal points sometimes,
but just about any object or
simple motion can guide someone to
a state of heightened
suggestibility.
CHRIS
Heightened suggestibility. Okay,
where do we start?
MISSY
Your childhood.
CHRIS
Yeah, my memory sucks.
TING TING. TING TING.
MISSY
Wounds get locked in your heart
and they fester and grow into ugly
little things like depression and
addiction. But, they are all in
there somewhere. All we need to do
is find the key.
TING TING. TING TING.
The world around Chris slowly goes out of focus.
CHRIS
I guess if it makes me quit...
Wait... Has it started--?
38.
MISSY
--we're going to go back to a
place that might be uncomfortable
for you. Your Mother's death to be
specific. Were you there when she
was hit?
CHRIS
I was home. I was watching TV.
MISSY
Let's go back there. Hear this
place. Let the vibrations rush run
through your body and ears. Hear
it... Find it... Tell me when you
find it.
The sound of RAIN AGAINST a WINDOW slowly fades up along with
the MUFFLED sound of a SITCOM ON TELEVISION.
CHRIS
Okay... Yeah, I found it.
TING TING. TING TING.
MISSY
Good. How did you find out she
died?
CHRIS
I knew it. She was never late
after work. When she didn't come
home, I just knew something was
wrong.
MISSY
Good. Now touch. Feel your
surroundings. Feel every part of
your body and what you touched.
Feel it. Find it... Tell me when
you find it...
FLASHBACK - INT. SMALL APARTMENT. NIGHT
Close on 11 year old Chris' hands scratches the bed post
nervously.
MISSY (V.O.)
Tell me when you find it.
CHRIS (V.O.)
I found it.
His toes brush the carpet as his dangling legs swing off the
side of his bed.
39.
TING TING. TING TING.
PRESENT DAY - INT. MISSY'S OFFICE. - NIGHT
Chris' feet try to swing but are too long. He scratches the
arm of the chair in Missy's office.
MISSY
You said `you knew something was
wrong.' What did you do?
CHRIS
Nothing.
MISSY
Nothing?
CHRIS
I just sat there. Watching TV.
MISSY
You didn't call someone? Your Aunt
or the police?
CHRIS
No.
MISSY
Why not?
CHRIS
I don't know. I thought if I did,
it would make it real.
MISSY
Next is smell and taste. Breathe
in and let the scent fill your
nose. Smell that place. Taste it.
Find it.
Chris is getting emotional. He breathes deep through his nose.
FLASH BACK - INT. SMALL APARTMENT KITCHEN - NIGHT
Young Chris finishes inhaling. The rain hits the window sill.
MISSY (V.O.)
Tell me. Tell me when you find it.
Young Chris takes sip of a juice box.
PRESENT DAY - INT. MISSY'S OFFICE. NIGHT
26 year old Chris sips from an invisible straw.
40.
CHRIS
I found it.
TING TING. TING TING.
MISSY
Good. Now lastly, you must see it.
Let the light flood into your
eyes. Every color, every detail.
See it. See it. Find it.
Chris' eyelids flutter. He continues to scratch the armchair.
TING TING. TING TING
FLASHBACK - INT. SMALL APARTMENT - NIGHT
11-year-old Chris scratches through the wood on his bed,
splintering the wood. He watches TV from his bed next to some
action figures.
MISSY (V.O.)
Tell me when--
11-year-old Chris nods.
TING TING. TING TING.
PRESENT DAY - INT. MISSY'S OFFICE. NIGHT
Chris nods and cries.
CHRIS
--Found it.
MISSY
(REALIZING)
You think it was your fault.
Chris nods.
TING TING. TING TING.
MISSY (CONT'D)
I want you to feel that fear
again, Chris.
CHRIS
I don't want to.
MISSY
It's okay. I'm here.
Chris trembles anxiously.
41.
MISSY (CONT'D)
Are you afraid now? Paralyzed like
that day?
He nods. Her empathetic expression turns into a sick smile.
MISSY (CONT'D)
Good. Now sink into the floor.
CHRIS
WAIT--
MISSY
Sink! Now!
TING TING...
Chris' hand has compulsively scratched open the arm of the
chair. His hand stops. His mouth drops and eyes open, frozen.
FLASHBACK - INT. SMALL APARTMENT - NIGHT
...TING TING.
Suddenly, 11-year-old Chris falls through the bed and floor.
END FLASHBACK.
INT. DARKNESS
Terror. Chris, 26 again, breathes fast but falls in slow
motion though darkness as if through water.
TING TING. TING TING.
He flails towards a pitch black abyss. He's illuminated by the
fading blue flicker of a large downward facing TV-like screen.
On it Missy sits Speaking to him and clinking her teacup.
Missy's voice is everywhere.
MISSY
Good. Good. Sink. Sink.
PRESENT DAY - INT. MISSY'S OFFICE. NIGHT
Chris' body sits in his chair motionless. He can't move. His
eyes are wide open, staring strait at Missy.
42.
INT. DARKNESS
Chris continues to slowly fall backwards. Missy approaches on
the screen above him. It shows what his eyes are seeing.
CHRIS
No! NO!!! I'm done! Bring me back!
Please!!!!
There is no response. Chris cries. Eventually he slows down
and comes to a stop. He lands feet first on a soft ground.
This place sounds like it's crawling with insects. He looks
up. He can still see the screen above but it is far away, like
the mouth of a deep and expansive well.
CHRIS (CONT'D)
Mrs. Armitage!!!
On the screen, Missy stands. She walks towards Chris' body and
looks down at him through his own eyes.
MISSY
Now you are in the Sunken Place.
Missy reaches towards the screen and shuts his eyelids. The
abyss goes almost completely dark. Now he's alone in the dark.
He cries in terror.
Chris hears a DEEP HULKING BREATHING in the darkness.
CHRIS
(WHISPERING)
Something's down here...
No response.
CHRIS (CONT'D)
(WHISPERING)
Bring me back. Bring me back.
Bring me back. Bring me back...
In the darkness, the SOUND OF HOOVES CRUNCHING ON SOFT GROUND
approaches.
THUNK THUNK. THUNK THUNK.
CHRIS (CONT'D)
Bring me back. Bring me back.
Bring me back.
The sounds get louder and louder.
THUNK THUNK. THUNK THUNK.
43.
An antlered thing emerges from the shadow. It's head is that
of a deer, but with the flesh stripped off and with mostly its
skull exposed.
CHRIS (CONT'D)
No!
Its eyes glow and flicker faint blue in its sockets. It MOANS
A WRONG SOUNDING MOAN; in hateful anguish. It charges Chris...
THUNK THUNK. THUNK THUNK. THUNK THUNK.
The bloody deer impales Chris on its antlers. They both MOAN.
INT. ROSE'S BEDROOM - DAWN
Chris wakes up with a start in Rose's bed sweaty and heaving.
He's alone and confused. Bad dream? Headache.
The SHOWER RUNS inside Rose's bathroom. SHE HUMS.
DING DING
He's gotten a message. It's a picture of Rod pretending to
pour beer in Sid's mouth. Chris smiles. The batteries are low.
He plugs his phone in and puts it on the dresser.
EXT. BACKYARD - DAWN
It's Golden hour. Beautiful. Chris walks through the yard to
the edge of the forest with his camera.
Chris keeps walking. He looks through a long-zoom lens into
the wilderness. He sees a bird and snaps a picture.
He turns to the house. Georgina can be seen through an
upstairs window knitting. He raises his camera. She's
beautiful. She stands and begins to remove her wig. Then as if
aware she's being watched, she turns towards him. Chris turns
away, taking a picture in another direction. He glances back
at the window. Georgina is gone.
BANG. A sparrow slams against the gazebo and falls to the
ground. Startling Chris.
CHRIS
Damn.
He turns away and is startled even more by Walter smiling
serenely at him about 50 feet away in the yard. Embarrassed,
Chris gathers himself. He walks towards Walter.
44.
CHRIS (CONT'D)
What's up?
No response.
CHRIS (CONT'D)
They working you good out here,
huh?
Walter's voice is soft and methodical. His eyes remain distant
as though he his looking through Chris. Chilling. There is a
hidden anger behind his pleasantness.
WALTER
Nothing I don't want to be doing.
CHRIS
Ha!
Walter isn't joking.
CHRIS (CONT'D)
Yeah... yeah. No, I can tell. I
never really got to meet you
actually, up close. I'm Chris.
WALTER
I know who you are. You're Rose's
friend.
Chris stops walking about 15 feet from Walter. Something
doesn't feel right.
CHRIS
Yeah. That's one way to put it.
So, where you from originally?
WALTER
She is lovely isn't she?
CHRIS
Rose? Yeah, she is...
WALTER
One of a kind; a real doggone
keeper.
Chris is weirded out.
WALTER (CONT'D)
Sorry if I scared you last night.
CHRIS
Oh, yeah. Actually, I guess I was
pretty drunk.
(MORE)
45.
CHRIS (CONT'D)
I don't remember much.
WALTER
And the hypnosis? Did it work?
CHRIS
Hypnosis? No, I didn't...
Chris remembers.
WALTER
Well, I should get back to work.
Chris raises his hand in a timid `black power fist.' Walter
raises his hand in an open wave.
CHRIS
There's another bird...
Walter nods. Chris turns and walks to the house. Chris makes
pops a cigarette into his mouth. He is repulsed by the taste
of it. He looks at it. More of last night seems to come back
to him.
INT. ROSE'S BEDROOM - DAY
Chris enters as Rose finishes blow drying her hair. He's
worked up.
ROSE
Hi. Where have you been?
CHRIS
Out. Taking pictures. Hey, so I
think your mom hypnotised me last
night.
ROSE
Wait, what?
CHRIS
(HAZY)
I think I snuck out for a smoke,
and she caught me and offered? I
don't know. I must have agreed to
it `cause the thing just made me
nauseous.
ROSE
Okay. Well then that's good,
right?
46.
CHRIS
No, not good. I can barely
remember any of it even happening;
I don't like that. Plus I had
these fucked up dreams.
ROSE
That happened to me too.
CHRIS
What did?
ROSE
The nightmares. When I was a kid.
She hypnotized me once for stage
fright, and I had the craziest
nightmares, but it worked...
She wraps herself up in Chris' arms. Chris thinks.
CHRIS
And, what's the deal with the
help?
ROSE
Like... The iced tea thing? Yeah
that was weird.
CHRIS
That, but also the lawn-mower guy
creepin' me the fuck out too.
ROSE
Why? Did he say something?
CHRIS
It's not what he says, it's how he
says it. You know?
ROSE
Yeah, something about them
seems... different.
Out the window, A CAR DRIVES onto the front yard. Rose hears
and looks.
ROSE (CONT'D)
They're here.
Chris looks as well. A car parks on the front lawn. A Chauffer
gets out and opens the backseat passenger door. A well-trained
Husky service dog exits the car followed by JIM HUDSON, 57.
Jim is blind and has slicked back grey hair.
47.
EXT. FRONT YARD - NOON
Bird's-eye view. Walter helps direct 12 expensive cars onto a
makeshift parking lot on the front lawn. Wealthy guests emerge
from each one.
EXT. BACKYARD - NOON
The party is in full swing. The 30 or so guests mingle
excitedly. They are all white except for one Japanese man.
Through the kitchen window, Georgina fixes food and helps
occupy four white children by helping them make Hors
d'oeuvres.
Rose and Chris get a drink at the bar. They walk through the
party. Missy mingles with some guests. She makes eye contact
with Chris and winks. He looks away.
Chris and Rose are stopped by GORDON GREENE, 68, and his wife
EMILY GREENE, 67. Gordon is a cute man with a cane and impish
excitement. Emily is pretty and birdlike. They watch Chris
intently and smile from ear to ear. Gordon shakes Chris' hand
thoroughly.
GORDON
Nice to meet you, Chris. Nice to
meet you indeed.
(TO EMILY)
Good grip.
CHRIS
Thanks. You too.
GORDON
You ever play golf?
CHRIS
Once, actually; a few years ago. I
wasn't very good.
EMILY
Gordon was a professional golfer
for years.
CHRIS
Oh? No kidding.
GORDON
Can't quite swing the hips like I
used to though. You know, I met
Tiger.
48.
Rose and Chris share a subtle smirk.
ROSE CHRIS
Wow, that's great. Cool.
EMILY
Gordon loves Tiger.
GORDON
Best I've ever seen. Ever, hands
down. Let's see your form.
CHRIS
Me? I could barely hit the thing.
GORDON
Show me...
Chris does.
GORDON (CONT'D)
If I knew what I know now at your
age? Now then I could really play.
CHRIS
It'd be kind of a waste of time
travel though.
They laugh.
EXT. BACKYARD - LATER
Chris and Rose speak to NELSON DEETS, 82, who's smiles in a
wheelchair with his jaw hanging, and LISA DEETS, 54, a loose-
lipped trophy wife smiles at Chris in a predatory manner. They
have Dutch accents.
LISA
(TO ROSE)
How handsome is he?
ROSE
Extremely.
Lisa squeezes Chris' bicep. A bit too familiar.
LISA
Not bad huh, Nelson?
NELSON
Eh?
49.
LISA
(TO ROSE)
So, is it true? The love making.
Is it better?
Rose cackles at the bluntness of the question. Chris almost
chokes on his drink. Lisa continues to size Chris up.
CHRIS
Wow. Um..
LISA
(TO ROSE)
I'm being too forward?
ROSE
We'll talk later.
CHRIS
Oh, will you now?
EXT. BACKYARD - LATER
Chris and Rose talk to PARKER DRAY, 60, and APRIL DRAY, 57.
They are an overweight, rose-cheeked tipsy wasp couple. Chris
and Rose try to mask boredom and annoyance.
APRIL
Who even cares about skin color?
My God.
CHRIS
Right. I mean--
PARKER
The world cares, April. But it's
not a question of physical
superiority, it's "What skin color
is more culturally advantageous?"
As Parker drones on Chris looks around the party. Dean
schmoozes animatedly with two couples. He quickly scans the
party, finds Chris and points him out. The two couples wave
and smile giddily. They had all just been talking about him.
Chris pretends to not see this.
ROSE
"Advantageous?"
Suddenly, Chris sees another black guy walking through the
crowd. Relief. It is Andre, the jogger from the first scene,
but he's very different than before.
50.
He seems glazed-over with the same frozen smile as Walter and
Georgina, and wears a particularly square ascot and golfing
hat.
PARKER
Fairer skin is has been in favor'
the last couple of thousands of
years, but the pendulum has swung
back again hasn't it..?
CHRIS
I'm sorry. I'm going to get
another drink.
Chris walks away.
PARKER
I didn't mean to offend him.
ROSE
Really? `Cause you have yet to say
anything that's not a blanket
statement about race.
PARKER
Now, Rose.--
EXT. BACKYARD - MOMENTS LATER
Andre stands by the bar and makes himself a Martini. Chris
approaches him.
CHRIS
It's good to see another brother
around here.
Andre turns to face Chris neatly. Andre's voice is completely
different from the first scene. There is no longer any trace
of an urban dialect. He speaks in a lower pitch and slow,
enunciating his words precisely.
ANDRE
Yes, of course it is.
Chris expects Andre to engage more. He doesn't. He just stares
at him smiling.
CHRIS
Who do you know?
ANDRE
Why, the Armitage's of course.
We're friends of the family.
51.
PHIL, 65, a craggy effeminate man with manicured eyebrows,
cuts between them.
PHIL
(TO ANDRE)
There you are. Here, put this
somewhere.
Phil hands his napkin to Andre who pockets it obediently. Phil
places his hand on Andre's back possessively.
PHIL (CONT'D)
(TO CHRIS)
Oh, hello. I'm Phil... and you
are...?
CHRIS
Chris. Rose's boyfriend.
PHIL
Fantastic. Logan and I know Rose
very well.
ANDRE
I'm sorry, where are my manners.
Logan, Logan King.
(TO PHIL)
Chris was just telling me that he
felt more comfortable with my
being here.
Chris is let down. Andre isn't what he had hoped.
PHIL
That's nice. Logan, I hate to tear
you away, dear, but the Wincott's
were asking about you.
ANDRE/LOGAN
Ah, well it was nice meeting you
Chris.
CHRIS
Sure.
Chris holds out his fist for Andre/Logan to bump. Andre/Logan
shakes Chris' fist and then, realizing his error fist bumps
him like it's the first time.
Andre/Logan and Phil laugh and walk away. They join a small
group of people who applaud Andre's arrival. Andre does a
little spin showing off his clothes.
52.
EXT. BACKYARD - MOMENTS LATER
Chris comes back to Rose. He is more creeped out and agitated.
ROSE
Where's your drink?
CHRIS
What? Oh, I forgot.
Dean projects over the crowd.
DEAN
Hello!
Everyone applauds and gives Dean their attention.
DEAN (CONT'D)
Achem! Once again, I want to thank
you all for coming. Words cannot
express how much it means to us
that after all these years we can
all still get together and share.
I'm reminded of stories of how the
knights of old would gather in
honor of a new crusade...
EXT. GAZEBO. DAY.
During Dean's speech, Chris wanders away from the group.
JIM
Ignorant shit...
Chris hadn't seen Jim Hudson, the blind man, who sits in the
gazebo with his seeing eye dog. He is close to Chris, but far
enough away from the group that no one else hears them.
CHRIS
Who?
JIM
All of them. Ignorant assholes.
They have no idea what real people
go through.
CHRIS
I guess people only see what's in
front of them.
Chris notices his faux pas.
53.
CHRIS (CONT'D)
I mean...
JIM
Heh. No, you're right. And usually
not even that much. That's people.
Jim holds a glass up. Chris fist bumps the glass.
JIM (CONT'D)
Jim Hudson.
CHRIS
CHRIS-
JIM
I know who you are. I'm an admirer
of your work; you have a great
eye...
CHRIS
Wait. Jim Hudson... of Hudson
Galleries?
Jim smiles.
JIM
The irony of being a blind art
dealer isn't lost on me.
CHRIS
How do you do it?
JIM
I have an assistant describe work
to me. You've got something... The
images you capture... so brutally
melancholic. Powerful stuff.
CHRIS
Thank you. Yeah, I just like
finding the beauty in abandoned
things.
JIM
I used to dabble myself.
Wilderness mostly. I submitted to
Nat Geo 14 times before realizing
I didn't have "the eye" for it;
Began dealing. And then, of
course, my vision went to shit.
CHRIS
Damn.
54.
JIM
I know. Life can be a sick joke.
One day you're working in a dark
room, and the next day - BAM. You
wake up in the dark. Genetic
disease.
CHRIS
Shit ain't fair, man.
JIM
Yeah.
Jeremy comes over with his preppy friend, Derrick, 29.
JEREMY
Chris, we need you...
CHRIS
Yeah, sure.
(TO JIM)
Nice to meet you.
JIM
Stop by the gallery some time.
Bout time you had a solo show.
CHRIS
Really? Wow, okay. Thank you. That
would be a game changer.
JIM
I think we could do wonderful
things together.
EXT. BACKYARD - LATER
Chris and Rose play badminton against Jeremy and Derrick. A
gaggle of party guests watch, entertained. Chris is actually
having fun. He swings big but misses the shuttlecock.
JEREMY
HA! Come on. You can do better
than that!
CHRIS
Not my game, what can I say.
JEREMY
Yeah, I see that.
ROSE
Shut up Jeremy.
55.
JEREMY
I'm just saying, if your boy isn't
gonna bring his `A' game, we might
as well bring Mom up here.
CHRIS
Whoa, whoa, okay. Now we talkin'
smack huh?
Chris serves the shuttlecock hard. The following rally is
long, captivating the crowd. Chris ends it with an impressive
diving swat. Derrick misses the return and the crowd goes
wild. Chris throws his arms up in celebration.
CHRIS (CONT'D)
Boom!
ROSE
Yay, baby!
JEREMY
See, that's what I'm talking
about!!! Okay, again!
Chris is about to serve. He scans the crowd of beaming faces.
Everyone is rooting for Chris. They love him. Chris scans the
crowd. It's too much.
CHRIS
Hold up. Here.
ROSE
Where are you--
CHRIS
I'm gonna go to the bathroom.
Chris gives his racket to Gordon Greene.
INT. ARMITAGE HOUSE - KITCHEN - DAY
Chris walks through the kitchen.
INT. ARMITAGE LIVING ROOM - DAY
Chris slips past several small groups of guests mingling. He
goes up the stairs to the second floor.
As soon as he are out of sight and earshot, the mingling
guests stop in mid-conversation. Everyone in the room waits
and listens to CHRIS' FOOTSTEPS above.
It is now clear that their conversations have been fake. They
are all hanging on Chris' actions.
56.
INT. ARMITAGE UPSTAIRS HALLWAY - DAY
Chris walks to Rose' room.
INT. ROSE'S BEDROOM - DAY
Chris exits the bathroom in Rose's room. The bed is made. He
picks his phone up from the dresser. It's unplugged and out of
batteries. That's odd. He plugs it in again as he hears a
CREAK down the hall.
INT. ARMITAGE UPSTAIRS HALLWAY - DAY
Chris leaves Rose's room. A door at the end of the hallway is
a crack open. Chris slowly walks down the hall, and peers
inside. A couple lacrosse trophies and one for ju-jitsu.
Jeremy's room. Movement inside. It's Georgina making the bed.
The door creaks alerting her of his presence, she turns
slowly. Before she sees him he walks quickly back to Rose's
room just as she comes upstairs.
ROSE
Hey! You okay?
Chris waves for her to join him back in her room.
INT. ROSE'S BEDROOM - DAY
Chris speaks quietly and frantically to Rose.
CHRIS
The housekeeper unplugged my
phone.
Rose sighs. "Not this again."
CHRIS (CONT'D)
I'm trying to check in with Rod,
and I got no juice.
ROSE
I'm sure it was an honest mistake.
CHRIS
Yeah, or maybe not. Maybe she
doesn't like the fact that I'm
with you.
ROSE
Chris...
57.
CHRIS
What? It's a thing.
ROSE
You think my family's housekeeper
gives a shit who you're with?
That's crazy bae.
Chris sits on the bed and rubs his forehead.
CHRIS
Forget it. Nevermind.
ROSE
Look, I get it. This whole thing
is stressful. I mean, they're
circling you like hyenas down
there. I just don't get why you're
taking it out on George and
Walter.
CHRIS
(PASSIVE AGGRESSIVE)
You're right. I'm being paranoid.
I just need a minute and I'll be
down.
ROSE
Fine.
Rose leaves a little annoyed.
INT. CHRIS' APARTMENT - DAY
Rod eats a cheeseburger and watches a true crime show on
Chris' couch with Sid the dog. His PHONE RINGS.
ROD
Hey.
INTERCUT WITH:
INT. ROSE'S ROOM - SAME TIME
Chris is alone in Rose's room. He peers out the window.
CHRIS
Bruh. What's up?
ROD
Not much. Sid's chillin'. We
eatin' burgers. What's up with
you?
58.
CHRIS
Yeah...
ROD
Uh oh. That doesn't sound good.
CHRIS
They just got me over here meeting
all the family friends. It's like
they never met a black dude that
doesn't work for them or some
shit.
ROD
Oh, they got you on display?
CHRIS
Exactly. Also, I got hypnotised
last night...
ROD
Nigga, what the fuck? Oh, Hell no!
CHRIS
Yeah, to quit smoking. Rose's mom
is a hypnotherapist--
ROD
--Nope. I don't give a fuck if
she's Dr. Drew up in this bitch.
You ain't getting in my head.
CHRIS
(Seeing Rod's point)
Right.
ROD
Who knows what they'll make you
do. You know white people into
some crazy sex slave shit.
Chris laughs.
CHRIS
Yeah, I'm like 99% sure they're
not a kinky sex family, but-
ROD
Why not? Jeffery Dahmer ate
niggas' heads, but that was after
he fucked the heads.
ROD (CONT'D)
You think they saw that shit
coming? Hell no.
(MORE)
59.
ROD (CONT'D)
One second they think they just
gonna suck some dick, next second
they sucking dick but their head
isn't on their body Chris.
CHRIS
And thanks for that image, right
there.
ROD
I saw that on A&E, so that's real
life.
CHRIS
It's the black people out here
that are the weirdest. The help.
It's like they're possessed or...
ROD
Hypnotised.
CHRIS
(DRY)
HA HA--
ROD
I'm just connecting the dots you
presenting me with. The mom
puttin' trances on niggas and
fuckin' them. It's clear as day
and that's fucked up. She hot?
CHRIS
What's fucked up is: You're the
first line of defense against
terrorism.
ROD
This is good shit tho.
CHRIS
Oh, and the one other black guest
is like the whitest-most dude at
the party.
Rod laughs.
CHRIS (CONT'D)
I mean Rod, if you could see what
this dude is wearing.
ROD
Send me a picture. You are a
photographer.
(MORE)
60.
ROD (CONT'D)
You should be documentin' this
shit.
CHRIS
(AMUSED)
Aiight. I'll try.
ROD
And yo, don't say I didn't warn
you `cause my ass sure as Hell
ain't coming up to the country to
save you from no fuckin' witch
coven... Unless the mom's hot. She
hot?
CHRIS
Thanks Rod, bye.
Chris hangs up and brings his phone with him. He opens the
door. Georgina stands right outside it, eerie smile and all.
Chris is startled.
GEORGINA
Hello.
CHRIS
Hi.
Georgina's voice is shaky and careful.
GEORGINA
I owe you an apology. I shouldn't
be touching things that don't
belong to me.
CHRIS
Oh, no. It's cool. I was just
confused.
GEORGINA
I lifted your cellular phone this
morning to wipe down the dresser
and it accidentally came undone,
see?
CHRIS
Yeah, I--
GEORGINA
Rather than meddle with it
further, I left it that way.
61.
CHRIS
Really, it's okay. I didn't mean
to rat you out.
Georgina eyes get lost for a moment. There's a pain behind her
smile.
CHRIS (CONT'D)
...get you in trouble.
GEORGINA
Oh no, no, no, no, no, no...
Aren't you the sweetest thing? Not
at all. The Armitages are so good
to us; They treat us like family.
EXT. BACKYARD - AFTERNOON
Chris walks back into the back yard where Dean entertains
seven people Chris hasn't met. They turn as Chris approaches
smiling eagerly. They all seem to share a private joke.
DEAN
Chris! There you are. I wanted to
introduce you to some old friends.
We'll do it quickly. Down the
line: David and Marcia Wincott,
Ronald and Celia Jeffries, Hiroki
Tanaka, and Fredrich and Jessika
Walden.
Each couple - DAVID and MARCIA, RONALD and CELIA, HIROKI,
FREDRICH and JESSIKA - waves as they are named.
CHRIS
Too many names to remember but...
The couples all laugh nervously.
HIROKI
(to Dean in Japanese)
Can we ask him questions?
DEAN
(JAPANESE)
Of course.
HIROKI
Do you find that being African
American has more advantages or
disadvantages in the modern world?
Chris pans the crowd who all give him their undivided
attention. The silence is long. Chris sighs. He looks for
Rose. She is off talking to someone.
62.
CHRIS
Yeah, I don't know, man.
They all smile like hungry vampires. Chris is very
uncomfortable with this unprovoked group interrogation. Andre/
Logan and Phil approach.
CHRIS (CONT'D)
That's actually a great question.
Logan! They were asking me about
the African American experience.
Maybe you could take this one.
Andre/Logan is a little caught off guard but dives in.
ANDRE/LOGAN
My life as an African American has
been, for the most part, very
good. It's hard to be too specific
as I haven't much desired to leave
the house in a while.
The crowd chuckles. Chris takes out his phone.
PHIL
We've become homebodies...
ANDRE/LOGAN
(TO PHIL)
But recently, even when you go to
the city, I've just had no
interest.
(To the group)
The chores are my sanctu--
With the attention on Andre/Logan, Chris subtly backs away
from the conversation. He raises his phone toward Andre/Logan
and the group and snaps a picture. The FLASH POPS.
CHRIS
Shit.
Everyone turns to Chris. Andre/Logan steps forward and looks
at Chris oddly; His head cocks a little and his peaceful
expression drifts slowly to maddened horror. Some of the party
guests gasp.
PHIL
Logan?
Andre/Logan drops his glass and stumbles towards Chris. Chris
backs up, but Andre is already up in his space.
63.
ANDRE
Get out.
Andre/Logan's voice is higher and scratchy, like it was in the
first scene.
CHRIS
Hey, man, I'm sorry, I--
Andre/Logan grabs Chris by the shoulders and screams shrilly.
Blood trickles out of his nose.
ANDRE
GET THE FUCK OUT OF HERE!!!!
Phil and Jeremy grab Andre. They have to pry Andre/Logan's
grip off of Chris. When they do Andre/Logan screams
bloodcurdlingly. It takes all their strength to bring him into
the house. Missy and Dean follow.
INT. LIVING ROOM - AFTERNOON
Rose sits on the couch. She's been crying. Chris comforts her
but is clearly traumatised. A few other concerned guests mill
around. Dean enters everyone gives him their attention.
ROSE
What the Hell was that?
DEAN
It was a seizure.
ROSE
A seizure?
DEAN
Yes. Logan's okay. Missy's with
him now. Are you okay Chris?
CHRIS
Yeah. Why did he come at me like
that?
ROSE
Yeah seizures don't make people
attack people, I'm sorry.
DEAN
It was an abnormal manifestation
but yes, actually, sometimes they
do. The flash on your phone must
have triggered it.
Andre/Logan enters with stands with Missy and Phil to a
smattering of concerned applause.
64.
He addresses a group in his lower pitched "Logan" voice.
ANDRE/LOGAN
Well, I do believe I owe you all
an apology.
The group grumbles.
MISSY
We're just glad you're feeling
yourself again.
ANDRE/LOGAN
Well yes I am. It's quite like
being trapped in a dark room and
watching my experiences through a
window. Thank God you and Dean
were here to calm me down.
DEAN
It's a simple glitch of the brain.
Nothing to be afraid of.
ANDRE/LOGAN
I know I scared you all quite a
bit.. especially you Chris.
CHRIS
No, I'm sorry about the flash. I
didn't know.
ANDRE/LOGAN
Of course. How could you have?
PHIL
(to Andre/Logan)
You shouldn't have been drinking
either.
The group chuckles.
ANDRE/LOGAN
As I said I'm feeling much better
now, but you'll all have to
proceed without the aid of my
marvellous wit; the whole thing
has left me a quite a bit
exhausted.
DEAN
Of course.
ANDRE/LOGAN
It was nice meeting you.
65.
CHRIS
Yeah, you too.
Chris is skeptical. Missy shows Phil and Logan out. Andre and
Phil leave.
DEAN
Let's do sparklers shall we?
Brighten the mood?
He gives Chris and Rose sparklers and to other people who
light them.
ROSE
Let's go.
Rose takes Chris' hand.
MISSY
Anybody need a drink?
ROSE
We're going on a walk.
Rose grabs Chris' hand and leads him out the front door. The
party guests in the living room, Dean and Missy included, go
silent. As their sparklers burn they approach the window,
watching Rose and Chris leave the front yard.
EXT. LAKESIDE - AFTERNOON
Rose and Chris walk by the lake. Their sparklers fizzle.
CHRIS
My cousin is epileptic. That
wasn't a seizure.
ROSE
Honestly? That was one of the
strangest things I've ever seen in
my life.
CHRIS
Also, this is gonna sound weird,
but when he got up in my face like
that, I got the feeling like I
knew that guy.
66.
EXT. BACK YARD. SAME TIME
With Chris and Rose are away, the party guests have all
gathered in the back yard facing Dean who stands by a large
picture of Chris on an easel. Everyone is silent.
Dean raises his hand and makes numbers with his fingers:
"Three and three." Several party guests raise their hands.
Dean points to the Waldens.
This is an auction.
EXT. LAKESIDE - SAME TIME
CHRIS
Let's go back home tonight.
ROSE
What? Wait, no.
CHRIS
I'm just... Something doesn't feel
right.
ROSE
You mean with us?
CHRIS
No. With this whole situation! I
just... I can't explain but I need
you to trust me. Let's just go. It
doesn't even have to be a big
deal.
ROSE
It is a big deal. It's my family.
I wouldn't even know what to tell
them.
INT. BACKYARD - SAME TIME
Dean raises his hand again making more numbers with his
fingers: "4, 5."
Gordon Greene raises his hand. Dean points to him accepting
his bid.
67.
EXT. LAKESIDE - SAME TIME
ROSE
Yes, it's weird. There are a lot
of ways I wish this was going
different. I wish my brother
wasn't a cock. I wish my parents
friends were chill; but just
because it's tough, it doesn't
mean you run away...
Rose cries.
CHRIS
Baby, I--
ROSE
...I'm late.
CHRIS
Late?
ROSE
I should've got my period like
last week.
CHRIS
Oh.
ROSE
I mean, I did change my birth
control, so it could just be that,
but...
Chris thinks silently.
ROSE (CONT'D)
So...?
CHRIS
I don't know what to say.
ROSE
Okay... Try any emotional response
whatsoever.
He's silent. Rose wipes her tears.
ROSE (CONT'D)
If you wanna go then go. I'm not
going to force you to stay but I'm
not leaving.
68.
EXT. BACKYARD - SAME TIME
The auction is flying now. Dean's hand signals are going fast.
It's down to three couples.
Dean signals "5, 6." Mr. Greene raises his hand. Dean points.
Dean signals "5, 8." Mrs. Deets raises her hand. Dean points.
Dean signals "6." Jim Hudson raises both his hands and signals
"10." His chauffeur stands beside him whispering in his ear.
Dean points at him.
Dean scans the crowd signalling "10, 2?" "10, 2?" The crowd
looks around. No one is challenging. Dean smiles. Finally Dean
bangs his fist onto his open palm and points to Jim Hudson.
Jim's chauffeur whispers in his ear.
The guests clap in a mixture of delight and disappointment.
EXT. LAKESIDE - DUSK
Chris and Rose sit watching the sunset over the lake. Chris
kisses her hand. He hears the faint APPLAUSE in the distance.
He looks in the direction of the house.
CHRIS
I told you about the night my mom
died. How I didn't call 911;
didn't go out looking for her.
ROSE
BABY--
CHRIS
One hour went by, then two,
three... I just sat there... I
just watched TV.
ROSE
It wasn't your fault--
CHRIS
I found out later she had survived
the initial hit.
CHRIS (CONT'D)
She laid there bleeding by the
side of the road all night, cold
and alone. And that's how she died
in the early morning... Cold and
alone. And I was watching TV.
(MORE)
69.
CHRIS (CONT'D)
There was time. If someone was
looking for her, there was time.
But no one was looking.
Chris cries. Rose embraces him.
ROSE
You were just a kid.
CHRIS
Yeah... yeah. So, I'm not gonna
leave here without you. I`m not
going to abandon you. Never.
They share a moment of pure love.
ROSE
Fuck it. Come on. Let's go back
home.
CHRIS
Yeah?
ROSE
Yeah. I mean, you're right. This
sucks. I'll go back with you. I'll
make something up.
CHRIS
I love you.
ROSE
I love you too.
The two get up and walk back toward the house.
EXT. FRONT LAWN - DUSK
Chris and Rose approach the house as the last of the guests
get into their cars and drive off. The fireflies are out.
CHRIS
That was fast.
ROSE
Yeah.
The guests wave to Dean and Missy, who stand at the front
door, and then to Chris and Rose. Lisa Deets, the trophy wife,
is tipsy. Nelson is in their car.
70.
LISA
Bye Chris! It was a pleasure
meeting you. I hope you--
Chris and Rose wave.
NELSON
Come on, Lisa. Before you say
something stupid.
Chris laughs. Walter shuts the car door behind Lisa. Walter
stands pleasantly watching the cars leave. He turns to Chris
with the same `ol smile. Chris and Rose enter the house.
INT. ARMITAGE BATHROOM - DUSK
Sink running. Chris washes his hands and looks in the mirror.
His phone SIGNALS a text message from Rod. It's picture from
the internet of witches in a circle around a man being
sacrificed followed by the text message. "You dead yet?" Chris
texts back. "Bruh, you have no idea." He finds the picture he
took of Logan/Andre on his phone and sends it.
Moments later, his phone vibrates.
INTERCUT WITH:
INT. CHRIS' APARTMENT - DUSK
Rod is on the phone.
ROD
That's Dre.
CHRIS
Dre?
ROD
Andre um... Hayworth! Yeah! He
used to kick it with Veronica.
CHRIS
Veronica from...
ROD
...Teresa's sister! Worked at the
movie theatre on 8th;
ROD (CONT'D)
got us into the movie a couple of
times; Rush hour 2 and, um Usual
Suspect.
71.
CHRIS
Yeah. That is him. But...
ROD
...But what?
CHRIS
This is so fuckin' crazy. He's
different now.
ROD
Different? How?
CHRIS
Different. Slower... I mean he was
street; now he's all like...
white- seeming. Oh, plus he's gay!
ROD
No, he ain't.
CHRIS
I'm telling you: He's gay, I met
his man. He's--
ROD
Chris, you in a fucked up Eyes
Wide Shut situation. You need
to--.
The phone goes dead. No batteries.
INT. ROSE'S BEDROOM - NIGHT
Chris' phone lays on the dresser plugged in. He's in a hurry
now. He packs his small bag and looks out the window. One car
remains parked in the designated parking area. It's the first
to have arrived for the party: Jim Hudson's. The driver brings
the dog to the back seat. He gets a green envelope from the
glove compartment and brings it to Missy at the front door.
She accepts it silently.
The driver drives away without Jim.
Chris goes to leave Rose's room. Her closet creaks open. Chris
sees a framed picture of Rose inside. Not quite knowing what
he's looking for, he goes to the closet. The picture is a
frightening one. Rose is one of the witches in a high school
production of Macbeth. It's on top of a red shoebox that has
the drama/comedy masks drawn on top of it.
He takes it off of the shelf. Inside is a pile of pictures. On
top is one of Rose dressed as Juliet in a high school play.
72.
The next one is of Rose at 13 playing Ms. Hannigan in Annie.
Chris flips through a few more pictures of Rose at different
ages in different class plays.
Finally Chris comes upon a photo printed from a computer. It's
a selfie of her and some other black guy. The picture is
almost identical to the one she took with Chris before the
ride up. Under the image are written the words. "X-mas 2014"
Stunned, Chris flips to the next picture. It's another
romantic selfie, this time with a different black guy.
Underneath, the caption "Memorial Day 2013"
He continues flipping through the stack of pictures of Rose
with 8 different black guys. The last one is a picture of Rose
with Walter. In it she kisses Walter's cheek intimately.
"Thanksgiving 2009" Walter looks different in the picture. He
isn't smiling vaguely; he's got swagger.
ROSE
(EMOTIONLESS)
What are you doing?
Rose stands there in the doorway behind him. Chris subtly
drops the pictures back in the shoebox.
CHRIS
Um... Looking for my camera.
Rose points to her desk. He grabs his bag and the camera.
CHRIS (CONT'D)
Where are the keys..? I gotta put
our bags in the trunk.
ROSE
Walter can do that.
CHRIS
Nah, I'll do it.
Rose is truly distant for the first time. A different person.
She is methodical and emotionless. The jig is up, and now she
is now phoning it in.
ROSE
I was just looking for them. I'm
such a mess, will you help me?
Chris walks out the door, leaving Rose.
73.
INT. FOYER/LIVING ROOM - NIGHT
Rose follows Chris down the stairs.
ROSE
Chris... What's wrong?
CHRIS
Nothing.
Jeremy stands near the front door twirling his lacrosse stick.
Dean and Missy sit in the living room.
JEREMY
Where are you going? The party's
just getting started.
CHRIS
I'm going to the car; see if we
left the keys in there.
MISSY
I just made tea.
CHRIS
I'm good.
The family is silent. Missy's glare pierces Chris. He avoids
eye contact.
ROSE
Oh, I know where they are. In my
bag. Duh.
MISSY
You're leaving us.
CHRIS
Yeah.
MISSY
Is something wrong?
CHRIS
No. Well, yeah... Um.
ROSE
(STILL BLANK)
His dog is not well. He needs to
go to the vet first thing in the
MORN--
Dean hits play on the sound system. Darkly valiant classical
music begins. He standing in front of the fireplace.
74.
Lost in the fire, Dean begins conducting the music.
DEAN
What is your purpose, Chris?
CHRIS
What?
DEAN
In life? What is your purpose..?
CHRIS
Right now, it's finding the keys.
DEAN
We've been looking for our purpose
for such a long time. Fire has
mesmerized man since the Stone
Age. It is a reflection of our
impermanence in the world. Fire is
born, it breathes and then it
dies.
CHRIS
Rose...
Rose lamely rummages through her bag.
ROSE
I'm looking.
CHRIS
Rose, what is this shit?!
DEAN
There's a reason we worship the
Sun, Chris. He who lights the way
through the darkness of life. He
in all his glory was around long
before us and will be here long
after we are gone, but he too will
die some day! That's right even
the Sun God will die. It is no
less mortal than we, but it
inspires us to defy it! So what do
we do?--
CHRIS
--Rose.--
DEAN
(UNHINGED)
--What do we do?! We baptize
ourselves in the firewater!
(MORE)
75.
DEAN (CONT'D)
We bathe in his reflection, for
one chance to emerge having defied
death!
DEAN (CONT'D)
You'd take that baptism wouldn't
you, Chris? The baptism of
immortality?
CHRIS
I was raised Episcopalian.
Chris starts toward the door, but his path is blocked by
Jeremy swinging at air.
JEREMY
Whoa! Be careful, bro.
MISSY
Don't hurt him, Jeremy.
JEREMY
What? I'm not doing anything.
DEAN
Listen, Chris--
CHRIS
--I don't know what you're saying!
DEAN
(Through tears of joyous
MADNESS)
I'm saying that we've found OUR
PURPOSE!!! There must be a
sacrifice! Sacrifice is essential
for the righteous to achieve our
true potential. A vessel must be
comprised. A host must be born!!!
CHRIS
Rose! The keys!!!
Rose backs away.
ROSE
Oh baby... You know I can't give
you the keys.
Chris makes a run for the door. Missy CLINKS the cup with her
SPOON.
TING TING. TING TING.
76.
The world instantly blurs around Chris. He begins to fall. He
sees a flash.
INT. DARKNESS
Chris falls through the abyss towards `The Sunken Place' again
just like when he was hypnotized. The blue screen above him
shows what his open eyes see. It's his own perspective falling
to the floor. CRASH! The screen now shows the living room
ceiling. Jeremy leans over him.
JEREMY
Oh shit!
MISSY (O.S.)
Is he hurt?
CHRIS
What the fuck?
JEREMY
Did you see him drop?
DEAN (O.S.)
He hit his head pretty good.
ROSE (O.S.)
It's just a bump. He's fine.
CHRIS
Rose!!!
MISSY (O.S.)
Why do you push them, Dean?
DEAN (O.S.)
It's important to me that they
acknowledge the purpose.
MISSY (O.S.)
Why do you think he ran?
JEREMY (O.S.)
Rose gave it away.
ROSE (O.S.)
He already knew.
MISSY (O.S.)
Take him to the games room.
Jeremy, get the legs. Dean, help
him.
77.
JEREMY
I can take him alone.
MISSY (O.S.)
No. We've already damaged him
enough. Dean, please.
Chris continues to fall slowly further from the screen above
which continues to show his body's POV as it is being lifted
by Dean and Jeremy and carried out of the room.
CHRIS
Rose!? No, no, no, no. Shit,
shit...
DEAN
You're going to drop him.
JEREMY
No I'm not.
MISSY (O.S.)
Be careful what you say, everyone.
He can hear every word.
CHRIS
Rose!!!!
ROSE (O.S.)
It doesn't matter any more does
it?
A DOOR CREAKS open. Chris' body is taken downstairs into the
darkness. The screen in the abyss goes dark.
CHRIS
No!! Help!!! Help!!!!! Help!!!!!!
Chris sinks, his screams are enveloped by the pitch back.
INT. AIRPORT - SECURITY CHECK - DAY
Rod sits by the bag x-ray but stares into space distracted by
thought. GARY (40) a condescending supervisor snaps his
fingers in Rod's face.
GARY
Hey... two strikes. Go take 10;
get it together.
78.
EXT. AIRPORT - DEPARTURES TERMINAL - DAY
Rod smokes a cigarette and dials Chris.
CHRIS' VOICEMAIL MESSAGE (V.O.)
It's Chris. I'm away from my phone
or I just don't want to talk to
you.
ROD
Sup? Making sure you good. I
thought you were coming back
yesterday, so hopefully you home
already and just sleeping or some
shit. Aiight. Let me know.
INT. CHRIS' LIVING ROOM - NIGHT
Rod opens the door. Sid wags his tail hungrily.
INT. CHRIS' KITCHEN - LATER
Rod opens dog food while he calls Chris.
CHRIS' VOICEMAIL MESSAGE (V.O.)
Hey, it's Chris. I'm away from my
phone or I just don't want to talk
TO--
Rod hangs up. He places Sid's bowl down. Sid doesn't eat.
Instead Sid looks back up at Rod and WHINES.
ROD
Yeah... me too.
INT. CHRIS' LIVING ROOM - LATER
Rod sits at Chris' desk in front of his laptop. Sid sits on
Rod's lap. Rod types "Andre Hayworth" into the search engine.
Images of Andre come up.
Rod finds an article entitled: "What Happened to Andre
Hayworth?" under in bold "Brooklyn Native Goes Missing In
Evergreen Hallow."
Rod's eyes go wide.
ROD
Oh shit.
79.
INT. GAMES ROOM - LATER
Chris wakes up with a bump on his head. In front of Chris, a
deer's head is mounted above an old-school floor-standing
television. Behind him, a goat's head is mounted under a
taxidermy owl, wings spread.
His arms and legs fastened to a leather upholstered chair in
the middle of a small dark room full of board games.
Chris pulls at the straps that bind his arms and legs.
CHRIS
Hey. Hey!!!! Rose!!!!
Chris tries to gnaw at the harnesses, but they are too thick.
CHRIS (CONT'D)
Oh shit. Oh shit. Oh fuck. Oh
shit. The fuck?!?!! Y'all are
psycho!? Is that it? Let me out of
this chair.
Chris looks around.
CHRIS (CONT'D)
People know I'm here. I told a
bunch of people where I was going!
You don't know me!!! You don't
know me!!!! Hey! Hey!! Hey!!!!!
The television screen turns on. Chris watches intently. The
image of deer walking through woods comes on. The words
"YOU'VE GOT A FRIEND by James Taylor" comes up as the song
starts to PLAY. It's a forest-themed karaoke video.
Chris is confused. He tries to slip out of the binds again
drawing blood on his wrists.
INT. CHRIS' LIVING ROOM - DAWN
Sid wakes Rod up with a lick to the face. He's on the sofa.
INT. POLICE STATION - DAY
Rod sits at a desk with Sid on his lap.. DETECTIVE LATOYA 50,
African American enters. She looks like she's been doing this
way too long. She speaks to someone outside her office.
DETECTIVE LATOYA
...Then he should've gone back up
there and made sure everything was
accounted for.
(MORE)
80.
DETECTIVE LATOYA (CONT'D)
`Cause hey, look; how about this?
If you record the evidence, you're
responsible for it.
Latoya shuts the door and sits at her desk. She begins opening
and eating a bag of cashews.
DETECTIVE LATOYA (CONT'D)
Hello Mr...
ROD
Williams... Rod Williams...
DETECTIVE LATOYA
From the TSA?
ROD
Yes Ma'am.
DETECTIVE LATOYA
You know that TSA issues should be
brought to your authorizing
officer, right?
ROD
It's not TSA business, ma'am.
DETECTIVE LATOYA
Please don't call me "ma'am," or
we're not gonna get along. How can
I help you, Rod Williams from the
TSA?
CHRIS
Here it is: My boy Chris has been
missing for two days.
DETECTIVE LATOYA
Your son is missing?
ROD
No, sorry, not my son, my boy.
He's my friend. He's 26. His name
is Chris... Washington...
He gives her time to write the name which she doesn't do. She
just stares at him.
ROD (CONT'D)
He left town on Friday with his
girlfriend Rose... Armitage...
She's white.
81.
DETECTIVE LATOYA
That's four days ago.
ROD
Yeah, I mean he's only been
MISSING for two days. He was
SUPPOSED--
DETECTIVE LATOYA
--I'm gonna stop you right there.
Now you know the minimum amount of
time without contact before you
can file a missing persons report
IS--
ROD
--Three days I know, but I have
reason to believe he's been
abducted.
DETECTIVE LATOYA
Go on.
ROD
Chris was set to come back home on
Sunday. I was watching his dog
Sid.
Latoya points to Sid
DETECTIVE LATOYA
That's Sid.
ROD
Yup. Cute right? Now look...
Rod takes out his phone and scrolls to a photo of Andre.
ROD (CONT'D)
Chris sent me this which he took
at the girlfriend's parents house.
That's Andre Hayworth, a guy we
knew from back in the day. Come to
find out he went missing 6 months
ago in an affluent suburb upstate.
DETECTIVE LATOYA
Don't look too missing to me.
ROD
Well that's the thing. We found
him and now, according to Chris,
he's gay with a different
personality.
82.
DETECTIVE LATOYA
Gay?
ROD
But he didn't used to be.
DETECTIVE LATOYA
I think he might just argue with
you on that one.
ROD
I know what I'm about to say is
gonna sound crazy.
DETECTIVE LATOYA
Try me.
ROD
You ready for this...? I think
this family is abducting black
people and brainwashing them to
work for them as sex slaves and
shit... Sorry.
DETECTIVE LATOYA
...Brainwashing?
ROD
Yeah.
DETECTIVE LATOYA
Hold on one second.
(over her intercom)
Garcia, Frostie, get in here a
second.
(TO ROD)
I want you to tell these officers
exactly what you just told me.
INT. POLICE STATION - MOMENTS LATER
Two detectives, Garcia, 37, and Drake, 43, stand behind
Latoya.
ROD
...See, I don't know if the
hypnosis makes you a slave or if
just turns you gay or what, but
they already got two brothers that
we know of, and who knows how many
more there could be.
The officers are all riveted... Then... All three detectives
laugh. Rod is not being taken the slightest bit seriously.
83.
LATOYA
(to her colleagues)
So, I don't want none of you
sayin' I don't do nothin' for
you... White girls'll get ya every
time!
They laugh even harder.
INT. GAMES ROOM - LATER
The SONG PLAYS Over and over. Chris is too weak to struggle.
CHRIS
Is this the only song you got?
INT. GAMES ROOM - LATER
The SONG ends. It BEGINS again.
CHRIS
Okay. Okay! What do you want? You
tryin' to break me? I won't say
shit!! I'll just... I'll do what
you say, just answer me!
INT. CHRIS' LOFT - DUSK
Rod sits by the window with Sid. He looks out over rooftops
and thinks. He picks up his phone and calls Chris again. He
knows Chris won't answer. Then--
ROSE
Hello?
Rod is taken off guard. He almost drops his phone.
ROSE (CONT'D)
Chris?
ROD
Yo. Um, Rose? It's Rod.
ROSE
Hi.
ROD
Where's Chris?
INTERCUT WITH:
84.
INT. ARMITAGE HOUSE. DINING ROOM - DUSK
Rose stands by the dining table on Chris' phone. Rose starts
to cry.
ROSE
He left like two days ago.
ROD
He left?
ROSE
We got in a fight. He got all
paranoid and flipped out; He took
a cab home. He forgot his phone.
Wait... You haven't seen him?
ROD
No. He never made it back here.
ROSE
Oh my God.
ROD
I've been calling. I went to the
police and everything.
Rose is silent.
ROD (CONT'D)
Hello?
ROSE
What did you say?
ROD
I told them he was missing.
ROSE
Uh huh...
ROD
So... What cab company did he use?
ROSE
I don't know. A local one I'm
guessing. Maybe uber? Wait, I'm so
confused...
ROD
Hold on a second.
Rod knows she had something to do with it.
85.
He opens up `Garage Band' on Chris' computer and puts the
phone on speaker, recording her.
ROD (CONT'D)
So, last time Chris and I talked,
he told me your mom hypnotized
him?
Rose is silent. Then...
ROSE
Rod, just stop.
ROD
Huh?
ROSE
I know why you're calling.
ROD
Why is that?
We now see Rose's family standing in the living room behind
her. They watch her operate.
ROSE
Come on. I mean, it's kind of
obvious.
ROD
What?
ROSE
That there's something between us.
ROD
No. I'm calling about Chris.
ROSE
We'd all go out drinking... I
remember you looking at me.
Rod is put on the spot. He becomes extremely uncomfortable.
ROD
That's my best friend. If you did
SOMETHING--
ROSE
I know you think about fucking me,
Rod.
ROD
--No. You crazy... No.
86.
Rod hangs up in a panic. He looks at Sid helplessly.
Rose's flirtacious smile goes blank. She places the phone on
the dining room table and looks back at her family. They watch
in approval.
INT. GAMES ROOM
"You've Got A Friend" plays.
Chris, still strapped to the chair, hangs his head in
resignation. Eyes shut, he sings along.
CHRIS
...Winter, Spring, Summer and
Fall, all you need to do is call.
And I'll be there. You got a
friend. Ain't it good to know
you've got a friend. Ain't it good
to know you've got a friend. Oh,
yeah, yeah, you've got a friend.
The song is over. After a moment. Chris begins to sing the
opening guitar lick. He gets a couple notes before realizing
he's singing alone.
The television in front of Chris flickers off and then back on
to the image of a tea cup comes into focus on the screen. A
spoon comes into the shot and clinks the side of the cup.
"TING TING, TING TING"
CHRIS (CONT'D)
NO-
Before he can react, Chris falls asleep.
Later...
Chris wakes up bald. Static snow clicks fills the TV lighting
the room. The image clicks to that of...
INT. HOSPITAL ROOM - DAY (TELEVISION)
Jim Hudson, also shaven, sits on a hospital bed. And faces
Chris through the television.
JIM
Hello Chris. How's it going...?
You can answer. There's an
intercom in the room; I can hear
you.
87.
CHRIS
I need water.
JIM
Yeah, sorry about that. If it
makes you feel any better, I'm
thirsty too.
CHRIS
I need to get outta here.
JIM
Right. So, the reason I am talking
to you now is so you can
understand what is happening to
you. I guess your `understanding'
it raises the success rate of this
whole thing. Not even sure I
`understand' it.
CHRIS
Where's Rose?
JIM
Hot isn't she? Hot voice anyway,
you dirty dog. You're one of the
lucky one's. The son Jeremy's
wrangling method sounds way less
pleasant.
CHRIS
Is this some kind of a game to
you?
JIM
They asked me for my favorite
song, which was hard; I like all
types of music. Turns out they
really just needed one I knew all
the words to: I went with James
Taylor's "You Got a Friend." I
hope it hasn't been too torturous;
that wasn't the point. The point
is that you learn it, and for us
to have that knowledge in common.
CHRIS
Who the fuck are you people?
JIM
Oh right. Okay, let me back up and
give you the cliff notes. The
Armitages and I are a part of a
society. A pretty extraordinary
society actually.
(MORE)
88.
JIM (CONT'D)
One whose sole purpose for many
many years has been a search for a
very powerful object. Armitage
lineage redefined the nature of
that search. They proved that the
power didn't just exist in that
object; You see, with science the
Armitage's created a miracle.
CHRIS
You hypnotize me? Break my will..?
Make me a slave like the others?
This is some crazy racist shit.
JIM
No. Not racist, Chris. We don't
hate you. We want to be you... You
are not going to be a slave.
You're going to be a vessel.
CHRIS
Wait, what?
JIM
Missy's hypnosis was merely to
sedate you. Oh, that and to
prepare you psychologically...
CHRIS
For what?
Jim smiles.
JIM
For the procedure.
CHRIS
What's the procedure?
JIM
Are you ready...? Drum roll
please. Brain transplantation.
Some say it could never be done;
JIM (CONT'D)
They experimented for centuries,
but it turned out re-linking the
brain to a foreign central nervous
system was impossible. The nerve
connections are far too intricate
and delicate.
89.
CHRIS
What the fuck?
JIM
Dean's the only guy who really
gets the science. He's the one who
discovered that full brain
transplantation isn't actually
necessary to transfer the soul,
and that partial brain
transplantation solves the little
nerve ending problem.
CHRIS
No.
Jim holds up a Color coded diagram of the human Brain. There
is a big red part that takes up 80% of the image. The other
20% is blue and located near the lower back of his skull.
JIM
Okay so... You see the blue part?
That's the piece of your brain
that's all rooted in the nervous
system. So that stays; keeping
those tricky little connections
intact. The rest is discarded.
Then they'll remove the red part
of my brain from my skull and put
in yours. Your "blue" and my "red"
basically absorb each other. And
apparently the brain heals
surprisingly fast, so assuming
everything goes as planned, we
should be up and functioning in a
couple weeks.
CHRIS
And my brain?
JIM
Your red part? It'll be discarded,
but don't worry. You wont be gone.
Well not completely. You'll still
be in there somewhere; limited
consciousness of course;
JIM (CONT'D)
you'll still be able to see and
hear but your existence will be as
a passenger... an audience. You
will live in...
90.
CHRIS
(DEFEATED)
...The Sunken Place.
JIM
Yes. That's what she calls it.
Good! So you understand, I'll
control the motor functions, the
will of our body, effectively
MAKING ME--
CHRIS
Me... You will be me.
JIM
As far as the world is concerned.
It's still a pretty new operation.
Some kinks. We're supposed to stay
away from flashes of light for
example. They can trigger a
"momentary lapse in control of
motor functions..."
CHRIS
Why black people?
Jim is disappointed in the question.
JIM
Well, because you get the highest
bids. For the last decade or so
anyway. I wish it was less simple
than that, but it's not. You're in
fashion, baby!
Final hope sinks from. Chris shoulders.
JIM (CONT'D)
Honestly though, personally..? I
couldn't give two shits about
race. I don't care if you're
black, brown, green, purple...
whatever. What I want is so much
deeper: Your eye, man. I want
those things you see through.
CHRIS
That's crazy.
JIM
Take it as a compliment.
CHRIS
You're not going to get away with
this.
91.
JIM
We have and we will. We'll be
together soon, brother.
The television turns off. Chris clenches his body trying to
pry free from his restraints, before his shoulders collapse
with exhaustion. He lifts his head to a rip in the leather arm
of the chair revealing its cotton stuffing. He looks at the
cotton. We see Chris make a difficult decision.
LATER...
We hear nothing except a HEART BEAT.
Chris' head hangs, asleep. His lips are dry. Chris wakes up.
The Television turns on. On the screen, a woman's hand holds a
tea cup. With a spoon, she clinks it. We don't hear it though.
We still hear nothing but the HEART BEAT.
CHRIS
No, No--
Before Chris can finish SCREAMING, his eyes widen. He goes
limp -- unconscious again.
Rose enters wearing a white and black nurse's outfit with a
red cross on the chest. She rolls a medical table into the
room. She draws a dotted line across his forehead and around
to the back of his scalp. Then she unstraps his arm and
prepares it for an IV. She inserts the needle.
She goes to put earbuds connected to an ipod in his ears but
sees the arm of his chair has been stripped open. She looks at
Chris. Cotton makeshift earplugs have been stuffed in his
ears!
He's not really hypnotized!
Rose tries to scream but Chris grabs her throat with his free
hand and squeezes. The HEARTBEAT quickens. Rose pleads, but we
don't hear her.
ROSE
(INAUDIBLE)
Wait. Wait. Chris!.... Chri-
Chris chokes her. Tears stream down his face.
CHRIS
Shhhh.
Rose convulses. She scratches his hand and cheeks. He's too
strong. She stares at Chris' eyes as her consciousness fades.
Then, through the agony, her face curls into a twisted smile.
She's having fun. Psycho. Rose goes limp in Chris' hands.
92.
Chris takes the cotton out of his ears. We can hear again.
"You've got a Friend" plays on the earbuds of the ipod.
INT. OPERATING ROOM.
Earbuds also rest in Jim Hudson's ears playing the same song.
He lies unconscious on one of two operating beds in the center
of the room connected to an IV and heart monitors.
A bright medical light shines on Jim's shaved head which also
has a dotted line around it. The other bed is empty and has a
light shining on it as well. This bed is for Chris.
Dean stands in a black and white robe with a red cross in the
middle, his palms upwards in silent prayer near some
ceremonial candles. Jeremy watches his father. They are
unaware of what's happening in the Medical room down the hall.
Dean finishes his prayer.
DEAN
Saw...
Jeremy hands Dean a circular surgical saw.
DEAN (CONT'D)
The vessel.
Jeremy leaves as Dean begins to saw into Jim's cranium.
INT. DARK HALLWAY
Chris finds an old badminton set.
Jeremy exits the room briskly and walks down a dark hallway.
He turns into the games room and finds Rose's body.
Jeremy's eyes go wild. He turns as Chris emerges lunging from
the darkness with a badminton racket. Before Jeremy can
scream, Chris slams him in the face with the metal side of the
racket. He pulls Jeremy inside and shuts the door cutting off
the sound from outside. Jeremy wilts in pain.
Chris whips him over and over warping the racket to a crumpled
bloody mess.
INT. OPERATING ROOM
Dean finishes sawing the top of Jim's skull off. He removes
the cranium preciously exposing Jim's brain.
93.
DEAN
Jeremy...?
Dean walks to the doorway. Dean scans the dark hallway. It's
quiet.
DEAN (CONT'D)
Ro Ro...?
Chris emerges charging from the darkness with Deer's head in
his arms. He punctures Dean through his neck and shoulder with
the antlers. Dean and stumbles back into the operating room,
deer's head attached.
DEAN (CONT'D)
MISS--
His call to Missy devolves into gargles. Dean falls knocking
the unused bed over along with some candles. The bed has
caught fire. The fire grows fast.
INT. KITCHEN - NIGHT
Missy takes a whistling tea pot off the stove and pours
herself a cup. Georgina sits nearby knitting. The window, like
before reflects the room around them.
She sniffs the air. She is suddenly afraid. She turns off the
light illuminating the back yard. Walter runs back and forth
in the distance. She turns the light back on again. Chris'
reflection is now behind hers. He looks savage; covered in
blood. Georgina screams and runs out the back door.
Chris heads to the door, but sees his phone on the dining room
table. He goes for it.
INT. DINING ROOM - CONTINUOUS
Chris runs through the dining room and finds his cell phone on
the dining room table.
Chris picks up his phone and presses the power button. The
loading screen comes up.
Chris grunts with frustration as he hears a creak behind him.
It's Missy, now in the kitchen doorway behind him holding her
teacup and spoon. She begins clinking her tea cup...
TING...
Chris knocks the cup out of her hand spraying hot water on her
chest and face. She screams.
94.
The cat bounds off the dining room table at Chris' face. Chris
punches it out of the air. This has given Missy enough time to
grab a knife. She lunges at Chris screaming psychotically.
Chris can't pin her down. She slices his hands. Chris grabs
the tea pot and cracks her in the head with it. She falls. He
hits her one more time. Done.
The cat slinks out an open window.
INT. FOYER - CONTINUOUS
Chris runs towards the front door. Before he can open it, he
hears a footsteps running upstairs from the basement followed
bloodcurdling scream from back in the kitchen:
JEREMY (O.C.)
Ahhhhhhhh!!!!!!!!!
Jeremy bursts though the dining room and pounces on Chris'
back. The two roll around.
Chris throws his elbow back at Jeremy who blocks it and uses
it to put Chris in a choke hold from behind. Chris slams the
back of his head into Jeremy's face. He does it again, and
again, and again. Jeremy squeezes tighter.
Chris, about to pass out, reaches into Jeremy's pocket and
pulls out his keys. He scrapes them deep into Jeremy's eye.
Jeremy screams in pain and Chris wriggles out of his grasp
tripping him with an improvised Judo throw. Jeremy lunges at
Chris again but slips on his own blood banging the back of his
head on the coffee table. He's out.
EXT. FRONT YARD - NIGHT
Chris begins to run but then sees the beige sports car we
recognize from the opening scene. He looks at Jeremy downed in
the doorway and then at the keys in his hand.
Moments later...
INT. SPORTS CAR - NIGHT
Chris is in the driver's seat. The tubular metal helmet sits
next to him in the passengers seat. His phone finally turns
on. There is a very small amount of batteries. He turns the
ignition. The English to French tutorial comes on.
TUTORIAL
I seem to have misplaced my
passport. Je crois avoi egare mon
passeport.
95.
Chris peels off, driving fast through the field into the
night. He dials 911.
911 OPERATOR
911 emergency, I'm at the home of
Dean and Missy Armitage--
Chris looks in the rearview mirror as the house gets smaller
behind him. All of a sudden, BAM! The car slams into and over
Georgina, who, in the night, seems to come out of nowhere. The
phone falls.
CHRIS
Ahhhh!
TUTORIAL
Can you direct me to the nearest
hospital? Pouvez-vous me diriger
vers I'hopital le plus proche?
He drives on a few more seconds on a flat tire but then stops
the car. Chris breathes heavy.
CHRIS
(TO HIMSELF)
No... no... Don't do it... Just
get the fuck gotta here... Just
go! Just... Fuck!
Chris puts the car in reverse and drives backwards beside the
motionless bloody heap that is Georgina.
TUTORIAL
Where is the nearest train
station? Ou est la gare la plus
proche?
He looks back at the house which is now filling with smoke.
Chris quickly gets out of the car and lifts what's left of
Georgina's mangled unconscious body into the passenger's seat
of the car. He shuts the door and gets in the driver's seat.
He floors it.
After a moment of driving, Georgina's eyes open and she rises.
The wig slides off her head revealing an old surgical scar
around the top of her head. Chris hasn't noticed her yet. He
reaches for his phone.
TUTORIAL (CONT'D)
Can you please call the police?
Pouvez-vous s'il vous plait
appelez la police?
Annoyed, Chris turns off the sound system just before Georgina
grabs his face and scratches it.
96.
GEORGINA
Ahhhhh!!
CHRIS
Ahhhhhhhh!!
Chris, veers the car into a tree. Georgina`s head hits the
windshield hard and bursts open. She's dead. So is the car.
A bullet hits the rear view mirror. Jeremy stands in front of
the smoking house with a hunting rifle. He's soaked in blood.
JEREMY
(THROUGH TEARS)
Grandma!!!!
Chris looks at Georgina's body. Georgina was Grandma.
JEREMY (CONT'D)
Grampa!
Walter, the grounds keeper, rounds the house at top speed.
Walter is grandpa and he's so fast.
JEREMY (CONT'D)
Get him!!!
Chris crawls out of the car as Walter/Grandpa sprints across
the front lawn strait at him. Walter's hat flies off revealing
the surgical scar around his head like the others.
Jeremy shoots again, and it grazes Chris' side. Chris runs
through the trees. Walter/grandpa closes the gap quickly.
Another shot hits a tree. As Chris reaches the road, Walter/
Grandpa pounces like a jaguar and rolls him over on his back.
He pushes his thumbs into Chris' eyes.
GRANDPA
Damn you to Hell!!!
Jeremy arrives behind them crying.
JEREMY
Kill him, Grandpa.
GRANDPA
The gun, Jeremy.
Jeremy tosses the rifle. Grandpa catches it and holds it up to
chris' head.
GRANDPA (CONT'D)
You ruined everything!!!
Chris, blinded, raises his phone to Walter/Grandpa's face. He
takes a picture, flashing strait into Walter/Grandpa's eyes.
97.
Walter/Grandpa doesn't shoot. Instead he looks up. Jeremy is
confused as to why Walter/Grandpa has stopped.
JEREMY
What...? Grandpa--?
Walter/Grandpa spins and gathers his bearing. His eye is
cocked and blood trickles out of his nose. He let's out a
PAINED MOAN reminiscent of the deer's.
WALTER/GRANDPA
Ahhhhhhh!
Walter/Grandpa shoots Jeremy in the chest. He falls. Chris, on
his back, pushes himself away. Walter/Grandpa sees Chris'
scurry. He turns looking mad.
CHRIS
Wait.
Walter/Grandpa raises the gun under his own chin and shoots
himself through the head. He falls. Approaching sirens blare
in the distance.
Chris lays in shock. It's over. Just then a hand grabs Chris
face! Jeremy's still alive! Blood pours from his mouth.
JEREMY
Ahhhhhh!
They both go for the gun, grabbing it at the same time. They
roll around in the grass. Chris ends up on top. He bludgeons
Jeremy over and over with the butt of the gun into the ground.
Chris is lost in violence.
2 police cars pull up. He drops the gun.
COPS
Hands! Hands! Get away from the
weapon/ Show me your hands!/
Hands! Hands!! Get on your Knees!/
Hands! Hands!/ Goddamn Hands!!!
Chris, covered in blood, raises his sliced hands.
CHRIS
Look in the basement!
He is violently swarmed by officers. The house burns.
98.
INT. MAXIMUM SECURITY PRISON. VISITING ROOM - NIGHT
Rod sits down opposite Chris who wears a prison jumpsuit and
smokes a cigarette. Both of them look like shit. Rod is gaunt
with circles under his eyes. Chris' hair and beard have grown
in.
There's a long silence.
ROD
I really need to...
CHRIS
...I don't remember...
ROD
...impress on you the importance
of remembering some of those
names. The fire didn't leave
ENOUGH--
They've clearly had this conversation many times before.
CHRIS
I don't remember.
ROD
You gotta help me out, Chris.
Secret societies doesn't get you
very far on Google. I'm over here
feeling like I'm playing connect
the dots on a fucking football
field. One name...
CHRIS
I don't remember.
ROD
Well, try again please.
CHRIS
Rod.
ROD
Let's start at the beginning; walk
me through it again.
CHRIS
Rod.
Rod knows he's been defeated.
99.
CHRIS (CONT'D)
I'm good, man. I stopped it. You
know? I stopped it.
Chris is at peace. He takes a long good drag of his cigarette
then gets up and leaves.
INT. MAXIMUM SECURITY PRISON. HALLWAY - NIGHT
Two GUARDS escort Chris back to his cell. He WHISTLES "You Got
A Friend."
THE END
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