EXT. OAK TREE - NIGHT
The screen remains black, a light wind whistling in the
distance.
MAN IN WHITE
You know your about to die?
MAN IN BLACK PANTS
Yessir.
A small, wiry black man, his bruised face and chest
glimmering with sweat, stands stoically.
He is about to be hung.
MAN IN WHITE
Do you have anything to say to
that?
MAN IN BLACK PANTS
Yessir.
The man in white simply leans his head to the side,
waiting. His expression unseen beneath his white mask.
MAN IN BLACK PANTS
Fuck you.
The man's eyes flash.
Crack! The platform the young black man was standing upon is
kicked aside.
The rope snaps.
The black man struggles, teeth clenched in pain and fury.
The other slowly closes his eyes, glazed in demented
ecstasy, the shadow of his victim thrashing across his white
robe.
TITLE CARD
FADE IN
RICHARD HOUSEHOLD LIVING ROOM - DAY
YOUNG WIFE O.S.
I just don't understand momma.
MATRIARCH O.S.
Neither do I baby, neither do I.
Sometimes...sometimes there just
isn't any understandin.
YOUNG WIFE O.S.
(her voice elevating but
fading)
This isnt the nineteenth century!
We are past this! There is no...
A young child sits on the couch, his small faced slightly
pinched in thought.
CHILD V.O.
Something's not right.
The young boy glances towards the kitchen. Tear filled
dialogue is distantly heard.
CHILD V.O.
Mommy is upset. Where is Daddy?
Daddy always comes when mommy is
upset.
Glancing towards the window, the toddler hears a car driving
up to the house.
CHILD V.O.
Maybe that's Daddy.
Walking steadily towards the window seat, the child manages
to climb up.
Looking out to the yard, he sees a patrol car. A large man
is getting out of it. He slams the door of the car, walking
towards the house and out of sight.
The child frowns again.
CHILD V.O.
(almost pleading)
Where is Daddy?
RICHARD HOUSEHOLD KITCHEN - DAY
A venerable black woman sits wearily at the table, her eyes,
however, remain fierce attentive, untainted by the wiles of
time.
Head bowed over the kitchen sink, a young woman stands,
shoulders slumped under the sudden burden she bears.
Someone knocks at the door.
Again knocking is heard, louder this time.
Even louder, the knockin-
MATRIARCH
Are you going-
YOUNG WIFE
Yes!
Raising her head, eyes bleeding in resignation, the young
woman moves toward the door. Her hand rests on the handle as
the knocking continues.
The matriarch watches her, eyes unblinking.
Her eyes closed, the widow takes a deep breath, opening the
door and revealing the large patrol man, poised mid knock.
The young wife simply looks at him, not quite glaring.
PATROLMAN
Uh...uhh... are, are you Mrs., uh,
miss, uh, uh, Richard?
YOUNG WIFE
Yes.
The child comes in, peeping around the arch leading into the
living room.
PATROLMAN
I thought, uh, I though, I would
stop by. To, uh, check, uh, see
how you're doing.
The young woman simply raises an eyebrow.
MATRIARCH O.S.
Well let him in Beatrice.
Beatrice walks back into the house, the patrolman following,
quite embarrassed.
The child follows the large man with his eyes.
Beatrice pours a cup of coffee, thrusting it into the
patrolman's hands, and then sits down, taking the last chair
in the room.
An awkward silence ensues.
The child continues to stare at the man.
PATROLMAN
Well... I, uh -
YOUNG WIFE
Do you have any information
regarding my husband's killer!
PATROLMAN
(flustered)
Um, wel-
MATRIARCH
Beatri-
YOUNG WIFE
Well do you?
PATROLMAN
No Miss Richard. I'm afraid we
stil-
YOUNG WIFE
Why the hell are you here?
MATRIARCH
Beatrice! Excuse her officer she-
PATROLMAN
No, its ok. I'm sure your all under
a great deal of stress. I was j-
YOUNG WIFE
You don't care.
The poor man looks on, muted.
YOUNG WIFE
None of you care. He's a black
man.
The officer merely goggles.
The old woman gets up, coming around to comfort, and quiet,
the distraught younger woman.
MATRIARCH
I'm sure the police are doing
everything in their power to take
care of this. Aren't you officer?
PATROLMAN
Ye, yes. We have every man we can
spare out and -
YOUNG WIFE
Spare?
The matriarch looks at the patrolman, hard.
YOUNG WIFE
You mean you don't have every man
on the force working on this?
PATROLMAN
Well, Miss Richard, there, there is
only so much we can do. Eh,
especially in a case like this.
There is, ah, only so many we -
YOUNG WIFE
When Jay Jones' boy got lost in the
woods, you had every man and his
dog out there.
PATROLMAN
M, Miss Richard. This, this is
differen-
YOUNG WIFE
Get out!
The child jumps.
The young woman gets up.
PATROLMAN
M, miss Rich-
YOUNG WIFE
Get out!
The man hastily exits.
The young wife slowly falls to the floor, tears held back
too long begin to flow.
YOUNG WIFE
You miserable bastard.
Face crunching, the matriarch falls to the floor around her
daughter, letting the girl fall back against her.
YOUNG WIFE
Momma! Momma!
YOUNG CHILD V.O.
Where is daddy?
FADE OUT
CHURCH, BACKROOM - DAY
A younger black man takes care of the child, helping him put
on his jacket.
YOUNG MAN
Don't you look fine.
The young child just looks up, not returning the young man's
smile.
The young man begins to tie the child's tie, no longer
smiling.
YOUNG MAN
Keep your chin up. There yo-
The door slams open, the young wife storming in.
YOUNG MAN
What in the he-
YOUNG WIFE
That man is here!
YOUNG MAN
What man? What are you tal-
YOUNG WIFE
The sheriff. The one that came to
my house. The white man Terrence.
YOUNG MAN
So?
YOUNG WIFE
So!? So!? His kind killed my -
YOUNG MAN
His kind!?
The young woman stops, shocked at his change in tone.
YOUNG MAN
He's white Beatrice! He's not the
man that killed your husband!
Beatrice glares at him, tears in her eyes.
YOUNG MAN
Don't blame all your problems on
"his kind." He didn't do a thing
wrong.
YOUNG WIFE
How can you say that?
The young man simply looks at her questioningly.
The young child stares at the wall, detached, emotionless.
YOUNG WIFE
You don't even care about him do
you?
YOUNG MAN
Who?
YOUNG MAN
My husband!
Terrence just shakes his head.
YOUNG MAN
I would kill him Beatrice. If the
man that killed John were here, I
would kill him. But he isn't.
The young man puts on his own coat, looking at the young
widow -
YOUNG MAN
I'm not going to blame innocent men
for crimes they didn't commit.
- and walks out the door, slamming it behind him.
The young child starts at the sudden noise, turning to his
mother, crouched on the floor, breathing heavily.
YOUNG CHILD V.O.
Where is daddy?
FADE OUT
EXT. GRAVEYARD - DAY
A large crowd gathers around the great new scar in the
earth.
The patrolman stands behind the wrought iron gates, looking
forward with a forlorn expression.
The young wife walks along the small green carpet of thin
artificial grass, taking her place in front of the crowd,
the young child wrapped protectively in her frail arms.
Turning the patrolman, slowly leaves.
Sitting, the young wife, putting on a stoic mask.
A single tear betrays her, slowly traveling down her face,
hanging to her jaw dropping -
- onto a the steering wheel.
The patrolman starts the car, teeth set.
He remains there, idling.
The silence stretches on amongst the crowd.
Two men plunge shovels into the mound of fresh soil.
The minister steps up, looking into the crowd.
Dirt hits the top of the coffin with a dull thud.
MINISTER
We gather here today amidst this
tragedy, to remember a great man.
A great husband. A great father.
We gather here today to remember -
The patrol car drives out of the parking lot.
MINISTER
It is here we bear witness to yet
one more tragedy amidst many.
Thud.
MINISTER
The wounds our people bear are
deep.
Thud.
MINISTER
We cannot forget them.
Thud.
MINISTER
We will not forget them.
Thud.
MINISTER
And do not fret my brothers.
Thud.
MINISTER
My sisters.
Thud.
MINISTER
God knows of our suffering.
Thud.
MINISTER
We will be rewarded for it.
Thud.
YOUNG CHILD V.O.
Where is daddy?
A wail is heard.
Thud!
YOUNG CHILD V.O.
Where is daddy?
Men in uniform raise their rifles.
Thud!
Bang!
YOUNG CHILD V.O.
Where is daddy?
The young woman walks to the edge of the hole.
The young child holds a white carnation in his hand.
Thud!
Bang!
The child lets go, letting the flower fall.
A clump of dirt lands, the sound soft and distant.
The flower hits soon after, white petals flying apart with a
distant bang.
YOUNG CHILD V.O.
(whispering)
Where is daddy?
Saturday, July 3, 2010
Oh, How the Grand Lark Sings!
EXT. BISHOP'S LYNN - DAY - TWO WEEKS LATER
A young man runs through the streets of the large town, his
long hair bouncing behind him, shoving people out his path,
a loaded crossbow held in one hand.
NARRATOR O.S.
It becomes very simple at that
point.
The young man leaps over a small cart, turning sharply into
an alley.
NARRATOR O.S. CONT.
Everyone will be completely
distracted.
The young man runs down an empty street towards a high
rising cathedral, it's bells beginning to toll.
NARRATOR O.S. CONT.
You just have to get to the top of
that belltower.
The cathedral doors burst open, the outside light
illuminating the young man as he darts into the dark
structure.
NARRATOR O.S. CONT.
And no one has to get hurt.
Close up of the crossbow.
NARRATOR O.S.
Almost no one.
INT. CATHEDRAL - DAY - TWO WEEKS LATER
The ringing bells drown out all other sound in the small
landing at the top of the tower.
The young man emerges from the staircase at a brisk pace,
but suddenly stops, stunned.
YOUNG MAN
You.
INT. STUDY - DAY
GRIM MAN
- assure me you can go through with
this?
A grim man sits behind a large oak desk, crammed into the
small study amidst several bookcases. He address a skinny,
bedraggled looking man standing in front of the desk, the
lamp light dimly reflected in his cool brown eyes.
NIGHTJAR
Of course. It's not our normal
area of expertise, but I'm sure
we'll manage just fine.
GRIM MAN
If the bishop makes that speech
Alain...
NIGHTJAR
He won't.
Nightjar smiles quickly.
The grim man leans back.
GRIM MAN
All right.
INT. INN BACKROOM - NIGHT
Bam! A large goblet of wine, empty, is thrust into the
table, catching everyone's attention. The man possessing
the goblet, sharp eyes and red hair separating himself from
the rest of the rabble, stands at the far end of the table,
glaring.
GRACKLE
Alright...
OUTSIDE THE BACKROOM
The hallway is darkly lit. The young man is at the backroom
door, listening.
Hearing a soft thump behind him, he glances back.
Close up of a cane head, a small brass bird, a hawk, raised
in the air.
The young man's eyes grow wide.
Crack!
INT.COMMON ROOM - NIGHT
The young man' eyes slowly open, squinting into the dim
light from the fire place.
NIGHTJAR O.S.
What are you doing here.
The young man spins, turning around toward the voice.
Nightjar sits on one of the room's benches, leaning forward
on the hawk headed cane.
The young man quickly stands up, a hasty escape apparent on
his face.
A large hand shoves him back down.
The young man looks up at Grackle, looking down at him,
glaring.
NIGHTJAR
Getting out might be more difficult
than getting in.
Nightjar stands, leaning heavily on his cane.
NIGHTJAR CONT.
Now what's your name.
The boy looks down.
Nightjar raises his eyebrows at Grackle.
Grackle responds by roughly smacking the boy's head.
NIGHTJAR
What's your name.
The young man ignores hime.
Nightjar rolls his eyes in an exaspertaed guesture.
Grackle gives the boy another quick smack, which incices the
boy.
YOUNG MAN
What if I'm mute huh?
Nightjar just looks at him for a second, slightly shocked at
the young man's nerve.
The young man meets his gaze with challenge in his eyes.
Nightjar slowly smiles, chuckling a bit.
NIGHTJAR
What's your name?
YOUNG MAN
John Lark.
NIGHTJAR
Well, that wasn't as difficult as
you made it out to be.
Grackle smacks him again.
JOHN LARK
What was that for?
GRACKLE
I just don't like you.
NIGHTJAR
Reason enough. Now, John, what
brings you here.
JOHN LARK
I was told to come. I heard there
was money in it.
NIGHTJAR
Who told you this?
JOHN LARK
A little birdie.
Nightjar's eyes glint.
NIGHTJAR
How coy.
Nightjar begins to walk out, turning only for a second.
NIGHTJAR
Grackle, set him up with McKensie.
GRACKLE
What?
NIGHTJAR
You heard me.
Nightjar leaves the room.
John looks up at Grackle, smiling.
Grackle just glares.
INT. SMITHY - NIGHT
John works the billows, sweat running down into his eyes.
Nightjar enters, ducking slightly to get through the small
door frame.
Noticing him, John stops his work, mopping the sweat off his
face with his shirt.
NIGHTJAR
Why are you here?
JOHN LARK
Heron sent me.
NIGHTJAR
I figured that much. Why?
JOHN LARK
Grackle is one of the Bishop's men.
NIGHTJAR
That is why you have come here?
JOHN LARK
The information is valuable, is it
not?
NIGHTJAR
Not to one who already possesses
it.
John provides no retort.
NIGHTJAR
Does he really think I am so
incompetent?
JOHN LARK
If you already know this, why does
he remain here?
NIGHTJAR
Think. If I kill him, the Bishop
will just send another man. One
whom I will not know as such.
JOHN LARK
You really are as sly as they say.
I always wondered how you attained
such a prestigious name so quickly.
NIGHTJAR
Such a tone. One almost forgets
that your under half my age.
JOHN LARK
One almost forgets who I answer to.
Nightjar turns, beginning to walk out.
NIGHTJAR
Don't let the fires burn out now
Lark.
John glares at him through the smoke.
EXT. FOREST - DAY
A man leans forward, looking down the small path, the
sunlight shadowing his face.
Behind him comes Nightjar, leaning heavily on his cane.
NIGHTJAR
They shall be here any minute.
Ready yourself.
The man tightens his grip on the handle of a large axe.
A small carriage is seen coming down the path at a quick
clip.
The carriage comes closer.
Nightjar's eyes narrow.
The carriage is almost on top of them.
NIGHTJAR
Now.
The man swings the axe, cutting across a sturdy piece of
rope.
The rope snaps. A log crashes through the canopy, the
released rope trailing behind, crashing into the carriage as
it passes underneath.
Nightjar steps out onto the path.
From the other side, John steps out of the woods.
Glancing over, Nighthjar meets John's gaze.
The carriage driver crawls away from the wreckage.
Nightjar cracks him over the head with his cane. The
carriage driver remains still.
MAN 1 O.S.
He's not in here.
John glances over.
NIGHTJAR
Obviously. There was not one
additional footman.
JOHN LARK
This was a decoy.
NIGHTJAR
An excellent deduction John.
JOHN LARK
Someone alerted the Bishop to our
plans Nightjar.
John moves closer to Nightjar, whispering.
JOHN LARK
I thought you had an eye on him.
Now we have to execute an actual
assassination.
NIGHTJAR
(dejectedly)
Of course.
INT. SMITHY - NIGHT
John comes in the room, weary, but still alert.
NIGHTJAR O.S.
Where have -
John turns, a small dagger in his hand.
NIGHTJAR
- you been?
John just gapes.
NIGHTJAR
I've been sitting here quite
awhile.
John sheathes the dagger.
JOHN LARK
One of these days, your antics are
going to result in a quick death.
NIGHTJAR
Oh, I have no doubt.
JOHN LARK
Why are you here.
NIGHTJAR
You know why I'm here.
John raises an eyebrow.
NIGHTJAR
Oh, don't prance around.
John simply turns, going about his duties.
NIGHTJAR
(to himself)
Petty basterd.
(aloud)
Due to the difficulties with the
kidnapping of the Bishop, we will
have to make a more direct move.
JOHN LARK
So I surmised.
Nightjar glares at him.
NIGHTJAR
We will have to assasinate him on
the day of the speech.
JOHN LARK
So I surmised.
NIGHTJAR
I need someone that I may trust.
JOHN LARK
Ah. Really though? Would it not
be better to have someone you can
"keep an eye on" to do the job?
NIGHTJAR
Are you willing?
JOHN LARK
Of course, you neednt only to ask.
NIGHTJAR
Alright.
JOHN LARK
Do you have a plan?
NIGHTJAR
Yes.
FADE TO BLACK
NIGHTJAR
It is all very simple
EXT. BISHOP'S LYNN - DAY - PRESENT
A young man runs through the streets of the large town, his
long hair bouncing behind him, shoving people out his path,
a loaded crossbow held in one hand.
The young man leaps over a small cart, turning sharply into
an alley.
The young man runs down an empty street towards a high
rising cathedral, it's bells beginning to toll.
The cathedral doors burst open, the outside light
illuminating the young man as he darts into the dark
structure.
Close up of the crossbow.
INT. CATHEDRAL - DAY - TWO WEEKS LATER
The ringing bells drown out all other sound in the small
landing at the top of the tower.
The young man emerges from the staircase at a brisk pace,
but suddenly stops, stunned.
JOHN LARK
You.
NIGHTJAR
Oh yes.
JOHN LARK
What are you doing up here.
NIGHTJAR
Saving the Bishop.
JOHN LARK
What!?
John begins to raise his crossbow, but stops.
Looking back, he sees Grackle, holding a crossboy to his
back.
JOHN LARK
This does not make sense.
NIGHTJAR
Of course it does. You see, you
were right about Grackle being one
of the Bishop's men, what Heron did
not know, however, was that I am
also one of the Bishop's men.
JOHN LARK
Wh-wha-
NIGHTJAR
What? A Bishop has need of the
resources our organization
provides. But surely you do not
believe I would just let him die?
That would be half my income.
Losing the Bishop would mean many
more years before I could oficially
retire.
JOHN LARK
Heron- Heron will find out. I
don't think so.
Nightjar clears his throat.
NIGHTJAR
Unfortunately, the ambitious young
Lark was killed by the Bishop's men
before he could commence with the
assasination. I, unfortuantely was
already indisposed, taking care of
Grackle. Unfortuantely, he had
already alerted the Bishop of our
intentions.
John Lark is quiet, realizing his fate.
NIGHTJAR
Naturally, Grackle here will simply
dissapear. Spain maybe?
Nightjar looks at Grackle.
NIGHTJAR CONT.
The Bishop will leave Bishop's
Landing to prevent any future
attempts on his life. And the
world moves on.
JOHN LARK
Heron can spot lies.
NIGHTJAR
How will I be lying? The ambitious
young Lark was killed by the
Bishop's men before he could
commence with the assasination.
Sounds about right.
He nods at Grackle, and with a soft thump, the ambitious
young Lark falls to the ground, dead.
Nightjar looks out the window, listening to the begginings
of the Bishop's speech.
The bell begins to ring again.
A young man runs through the streets of the large town, his
long hair bouncing behind him, shoving people out his path,
a loaded crossbow held in one hand.
NARRATOR O.S.
It becomes very simple at that
point.
The young man leaps over a small cart, turning sharply into
an alley.
NARRATOR O.S. CONT.
Everyone will be completely
distracted.
The young man runs down an empty street towards a high
rising cathedral, it's bells beginning to toll.
NARRATOR O.S. CONT.
You just have to get to the top of
that belltower.
The cathedral doors burst open, the outside light
illuminating the young man as he darts into the dark
structure.
NARRATOR O.S. CONT.
And no one has to get hurt.
Close up of the crossbow.
NARRATOR O.S.
Almost no one.
INT. CATHEDRAL - DAY - TWO WEEKS LATER
The ringing bells drown out all other sound in the small
landing at the top of the tower.
The young man emerges from the staircase at a brisk pace,
but suddenly stops, stunned.
YOUNG MAN
You.
INT. STUDY - DAY
GRIM MAN
- assure me you can go through with
this?
A grim man sits behind a large oak desk, crammed into the
small study amidst several bookcases. He address a skinny,
bedraggled looking man standing in front of the desk, the
lamp light dimly reflected in his cool brown eyes.
NIGHTJAR
Of course. It's not our normal
area of expertise, but I'm sure
we'll manage just fine.
GRIM MAN
If the bishop makes that speech
Alain...
NIGHTJAR
He won't.
Nightjar smiles quickly.
The grim man leans back.
GRIM MAN
All right.
INT. INN BACKROOM - NIGHT
Bam! A large goblet of wine, empty, is thrust into the
table, catching everyone's attention. The man possessing
the goblet, sharp eyes and red hair separating himself from
the rest of the rabble, stands at the far end of the table,
glaring.
GRACKLE
Alright...
OUTSIDE THE BACKROOM
The hallway is darkly lit. The young man is at the backroom
door, listening.
Hearing a soft thump behind him, he glances back.
Close up of a cane head, a small brass bird, a hawk, raised
in the air.
The young man's eyes grow wide.
Crack!
INT.COMMON ROOM - NIGHT
The young man' eyes slowly open, squinting into the dim
light from the fire place.
NIGHTJAR O.S.
What are you doing here.
The young man spins, turning around toward the voice.
Nightjar sits on one of the room's benches, leaning forward
on the hawk headed cane.
The young man quickly stands up, a hasty escape apparent on
his face.
A large hand shoves him back down.
The young man looks up at Grackle, looking down at him,
glaring.
NIGHTJAR
Getting out might be more difficult
than getting in.
Nightjar stands, leaning heavily on his cane.
NIGHTJAR CONT.
Now what's your name.
The boy looks down.
Nightjar raises his eyebrows at Grackle.
Grackle responds by roughly smacking the boy's head.
NIGHTJAR
What's your name.
The young man ignores hime.
Nightjar rolls his eyes in an exaspertaed guesture.
Grackle gives the boy another quick smack, which incices the
boy.
YOUNG MAN
What if I'm mute huh?
Nightjar just looks at him for a second, slightly shocked at
the young man's nerve.
The young man meets his gaze with challenge in his eyes.
Nightjar slowly smiles, chuckling a bit.
NIGHTJAR
What's your name?
YOUNG MAN
John Lark.
NIGHTJAR
Well, that wasn't as difficult as
you made it out to be.
Grackle smacks him again.
JOHN LARK
What was that for?
GRACKLE
I just don't like you.
NIGHTJAR
Reason enough. Now, John, what
brings you here.
JOHN LARK
I was told to come. I heard there
was money in it.
NIGHTJAR
Who told you this?
JOHN LARK
A little birdie.
Nightjar's eyes glint.
NIGHTJAR
How coy.
Nightjar begins to walk out, turning only for a second.
NIGHTJAR
Grackle, set him up with McKensie.
GRACKLE
What?
NIGHTJAR
You heard me.
Nightjar leaves the room.
John looks up at Grackle, smiling.
Grackle just glares.
INT. SMITHY - NIGHT
John works the billows, sweat running down into his eyes.
Nightjar enters, ducking slightly to get through the small
door frame.
Noticing him, John stops his work, mopping the sweat off his
face with his shirt.
NIGHTJAR
Why are you here?
JOHN LARK
Heron sent me.
NIGHTJAR
I figured that much. Why?
JOHN LARK
Grackle is one of the Bishop's men.
NIGHTJAR
That is why you have come here?
JOHN LARK
The information is valuable, is it
not?
NIGHTJAR
Not to one who already possesses
it.
John provides no retort.
NIGHTJAR
Does he really think I am so
incompetent?
JOHN LARK
If you already know this, why does
he remain here?
NIGHTJAR
Think. If I kill him, the Bishop
will just send another man. One
whom I will not know as such.
JOHN LARK
You really are as sly as they say.
I always wondered how you attained
such a prestigious name so quickly.
NIGHTJAR
Such a tone. One almost forgets
that your under half my age.
JOHN LARK
One almost forgets who I answer to.
Nightjar turns, beginning to walk out.
NIGHTJAR
Don't let the fires burn out now
Lark.
John glares at him through the smoke.
EXT. FOREST - DAY
A man leans forward, looking down the small path, the
sunlight shadowing his face.
Behind him comes Nightjar, leaning heavily on his cane.
NIGHTJAR
They shall be here any minute.
Ready yourself.
The man tightens his grip on the handle of a large axe.
A small carriage is seen coming down the path at a quick
clip.
The carriage comes closer.
Nightjar's eyes narrow.
The carriage is almost on top of them.
NIGHTJAR
Now.
The man swings the axe, cutting across a sturdy piece of
rope.
The rope snaps. A log crashes through the canopy, the
released rope trailing behind, crashing into the carriage as
it passes underneath.
Nightjar steps out onto the path.
From the other side, John steps out of the woods.
Glancing over, Nighthjar meets John's gaze.
The carriage driver crawls away from the wreckage.
Nightjar cracks him over the head with his cane. The
carriage driver remains still.
MAN 1 O.S.
He's not in here.
John glances over.
NIGHTJAR
Obviously. There was not one
additional footman.
JOHN LARK
This was a decoy.
NIGHTJAR
An excellent deduction John.
JOHN LARK
Someone alerted the Bishop to our
plans Nightjar.
John moves closer to Nightjar, whispering.
JOHN LARK
I thought you had an eye on him.
Now we have to execute an actual
assassination.
NIGHTJAR
(dejectedly)
Of course.
INT. SMITHY - NIGHT
John comes in the room, weary, but still alert.
NIGHTJAR O.S.
Where have -
John turns, a small dagger in his hand.
NIGHTJAR
- you been?
John just gapes.
NIGHTJAR
I've been sitting here quite
awhile.
John sheathes the dagger.
JOHN LARK
One of these days, your antics are
going to result in a quick death.
NIGHTJAR
Oh, I have no doubt.
JOHN LARK
Why are you here.
NIGHTJAR
You know why I'm here.
John raises an eyebrow.
NIGHTJAR
Oh, don't prance around.
John simply turns, going about his duties.
NIGHTJAR
(to himself)
Petty basterd.
(aloud)
Due to the difficulties with the
kidnapping of the Bishop, we will
have to make a more direct move.
JOHN LARK
So I surmised.
Nightjar glares at him.
NIGHTJAR
We will have to assasinate him on
the day of the speech.
JOHN LARK
So I surmised.
NIGHTJAR
I need someone that I may trust.
JOHN LARK
Ah. Really though? Would it not
be better to have someone you can
"keep an eye on" to do the job?
NIGHTJAR
Are you willing?
JOHN LARK
Of course, you neednt only to ask.
NIGHTJAR
Alright.
JOHN LARK
Do you have a plan?
NIGHTJAR
Yes.
FADE TO BLACK
NIGHTJAR
It is all very simple
EXT. BISHOP'S LYNN - DAY - PRESENT
A young man runs through the streets of the large town, his
long hair bouncing behind him, shoving people out his path,
a loaded crossbow held in one hand.
The young man leaps over a small cart, turning sharply into
an alley.
The young man runs down an empty street towards a high
rising cathedral, it's bells beginning to toll.
The cathedral doors burst open, the outside light
illuminating the young man as he darts into the dark
structure.
Close up of the crossbow.
INT. CATHEDRAL - DAY - TWO WEEKS LATER
The ringing bells drown out all other sound in the small
landing at the top of the tower.
The young man emerges from the staircase at a brisk pace,
but suddenly stops, stunned.
JOHN LARK
You.
NIGHTJAR
Oh yes.
JOHN LARK
What are you doing up here.
NIGHTJAR
Saving the Bishop.
JOHN LARK
What!?
John begins to raise his crossbow, but stops.
Looking back, he sees Grackle, holding a crossboy to his
back.
JOHN LARK
This does not make sense.
NIGHTJAR
Of course it does. You see, you
were right about Grackle being one
of the Bishop's men, what Heron did
not know, however, was that I am
also one of the Bishop's men.
JOHN LARK
Wh-wha-
NIGHTJAR
What? A Bishop has need of the
resources our organization
provides. But surely you do not
believe I would just let him die?
That would be half my income.
Losing the Bishop would mean many
more years before I could oficially
retire.
JOHN LARK
Heron- Heron will find out. I
don't think so.
Nightjar clears his throat.
NIGHTJAR
Unfortunately, the ambitious young
Lark was killed by the Bishop's men
before he could commence with the
assasination. I, unfortuantely was
already indisposed, taking care of
Grackle. Unfortuantely, he had
already alerted the Bishop of our
intentions.
John Lark is quiet, realizing his fate.
NIGHTJAR
Naturally, Grackle here will simply
dissapear. Spain maybe?
Nightjar looks at Grackle.
NIGHTJAR CONT.
The Bishop will leave Bishop's
Landing to prevent any future
attempts on his life. And the
world moves on.
JOHN LARK
Heron can spot lies.
NIGHTJAR
How will I be lying? The ambitious
young Lark was killed by the
Bishop's men before he could
commence with the assasination.
Sounds about right.
He nods at Grackle, and with a soft thump, the ambitious
young Lark falls to the ground, dead.
Nightjar looks out the window, listening to the begginings
of the Bishop's speech.
The bell begins to ring again.
Pyxis
EXT. SHENANDOAH SPRINGS - NIGHT
A car rumbles down a small ill kept dirt road. Dense forest
leers in on either side, darkening the pitch black night.
The car's high beams sear ahead, lightening the twists and
turns towards the camp. Signs drift by, pointing the way to
Shenandoah Springs. Their white washed slats standing out
amidst the black.
Coming out of the forest, the car arrives at the top of a
steep and rocky path cut into the hillside. A large sign,
not white washed like the others, alerts the passengers of
the small car that they have reached their destination.
Rumbling down the hill, the car joins the other vehicles at
the bottom of the hill, pulling in next to a large red van.
EXT. CAMP CENTER - NIGHT
The car turns off. A small cabin, lights brilliant in the
oppressive darkness, is seen in the distance. The driver
side door opens.
A boot crunches into the gravel, shadowed by the frayed
edges of a long black coat.
He looks around, face devoid of expression.
WOMAN O. S.
Drake.
The young woman nods toward the cabin.
WOMAN
It's over there.
DRAKE
I hadn't realized.
INT. CABIN - NIGHT
A young woman sits a a desk near the window, absorbed in her
laptop. Another stands behind her, feigning mild interest.
The first girl's finger taps on the desk, setting a rhythm.
It's destroyed as both girls jump at the sudden knocking on
the front door.
Silence.
The girls look at each other.
The knocking begins anew, and just as suddenly stops again.
YOUNG MAN O.S.
Who is that!
A young man looks down the stairs from the upper level, a
frown creasing his face.
As the knocking continues, the young man steps down into the
lower level, looking over at the two girls, huddled together
as far away from the door as possible.
The young man gives the first girl an exasperated look,
which the girl returns with equal measure.
Rolling his eyes the young man opens the door, revealing
Drake and his overbearing companion.
WOMAN
(an annoyed smile on her face)
Hopefully were not interrupting
anything... important.
YOUNG MAN
Ah... no. No.
Closing his eyes for a second to collect his thoughts-
YOUNG MAN CONT.
Uh... can I help you?
WOMAN
Yes. May we come in.
The young man looks back at the two girls, before turning
back to the strange woman.
YOUNG MAN
Sure.
Stepping into the cabin, the two newcomers arrange
themselves.
An awkward silence settles, the two parties standing on
opposite sides of the room.
As the silence continues, Drake steps forward to break it,
putting his hand out.
DRAKE
My name is Drake. This is Elise.
The young man steps forward as well, hesitantly accepting
the handshake.
YOUNG MAN
I'm Gavin, and this is my sister
Shelby, and our friend Jasmine.
The introduced nod as their name is spoken, and the silence
falls again.
GAVIN
Uh-
ELISE
Were looking for something. We
believe it is on this property.
EXTREMELY QUICK IRIS IN
EXT. STABLE - NIGHT
Gavin leads the two strangers towards the stable, his
lantern swinging slowly in rhythm with his stoic gait.
GAVIN
What exactly are you looking for?
Elise ignores him, to which Gavin raises an eyebrow in
response.
DRAKE
Trust me, you wouldn't believe us
anyway.
They arrive at the stable.
GAVIN
Try me.
ELISE
Drake.
Drake looks over,coming towards her.
Elise looks into the stable.
ELISE
It happened here.
Gavin joins the two, searching for what has caught their
interest.
A large space of the stable floor, circular in nature, has
been cleared of debris, as if a small vortex had appeared,
clearing away the hay and filth the animals had left behind.
GAVIN
That's an unusual way to muck up.
ELISE
Indeed.
EXT. FOREST PATH - NIGHT
SHELBY O.S.
Where on earth did they go?
Jasmine and Shelby appear walking through the forest along a
well worn path.
JASMINE
I don't know! We should just go
back.
SHELBY
I want to know what they're doing.
JASMINE
We've been walking forever.
SHELBY
It's been like twenty minutes. My
god.
A soft murmur is heard, whispering along with the wind.
Jasmine stops, looking behind her.
JASMINE
(whispering loudly)
Shelby!
SHELBY
What?
JASMINE
I think I heard something.
SHELBY
Seriously? Seriously!?
She steps quickly towards Jasmine.
SHELBY
We have enough to deal with with
those two wack jobs wandering
around the camp and you're
seriously -
The murmuring grows louder, speeding towards the small light
illuminating the two young women standing alone in the
woods.
JASMINE
I'm serious Shelby.
Shelby rolls her eyes.
The murmuring is almost on them.
SHELBY
Just pull yourself together OK?
EXT. STABLE - NIGHT
DRAKE
Is this stable still used?
GAVIN
No, not for a long time. The
horses all died I think. Some sort
of disease or something. But that
all happened before I started
working here.
ELISE
When did you start working here?
GAVIN
Two years ago.
Elise and Drake share a glance.
GAVIN
Why?
ELISE
The owners, where are they?
GAVIN
They had to leave, that's why they
hired me. What does this have to do
with anything? What are you
looking for?
DRAKE
Why did they have to leave?
GAVIN
Their daughter, she got really
sick.
ELISE
Sick?
GAVIN
She went insane.
DRAKE
Damn.
ELISE
This is the place.
GAVIN
What is this all about? I think I
deserv-
A bloodcurdling scream rips apart the quiet.
GAVIN
Holy shi-
ELISE
Quickly!
EXT. FOREST PATH - NIGHT
Elise, Drake, and Gavin run down the path, desperate in
their haste.
Drake suddenly skids to a stop.
DRAKE
Wait!
The others stop.
Drake looks into the forest, eyes dead. Elise and Gavin
join him.
Shelby is on the ground, clutching a tree, shoulders
drooped, motionless.
GAVIN
Shelby?
Slowly coming forward, Gavin puts his hand on her shoulder.
GAVIN
Shelby?
Shelby screams.
Gavin, falls backwards, shuffling away.
Elise walks forward, Shelby still screaming.
DRAKE
Get away from her!
Elise slaps Shelby across the face immediately ending the
screaming.
DRAKE
Thank God.
GAVIN
What? What...
ELISE
Are you quite all right?
SHELBY
J-Jasmine
ELISE
Apparently. What did you see?
SHELBY
I- I-
ELISE
Get her to the cabin.
Neither of the men move.
ELISE
Quickly!
The two of them rush over picking her up.
FADE TO BLACK
INT. CABIN - NIGHT
Elise walks into the cabin. Drake walks down the stairs.
DRAKE
She won't respond.
GAVIN
You both need to leave. Now.
ELISE
Restrain yourself.
Elise continues walking to the stairs.
ELISE CONT.
Keep an eye on him Drake.
INT. UPSTAIRS - NIGHT
Shelby sits on one of the bunks, rocking back and forth.
Elise steps into the room, looking about cautiously.
Hearing her, Shelby turns, staring, stock still.
ELISE
(walking towards Shelby)
Foolish little girl.
Shelby continues to stare, hackles rising.
ELISE CONT.
It's always the same.
Elise takes out a small knife. The murmuring is heard
again, steadily increasing in volume.
SHELBY
(in a gravelly inhuman voice)
Be careful Elise. I'm afraid I've
become slightly more powerful since
the last time.
ELISE
Of course
Elise's shadow, knife hand raised, quickly brings it down.
INT. CABIN - NIGHT
A crashing boom sounds from upstairs.
Drake and Gavin look up, yet remain unmoving, anxiety
freezing them.
A few moments later Elise walks down the stairs, subtly
twitching.
DRAKE
Elise?
Elise, straining, seemingly moving backwards and forwards at
the same time, speaks, her voice twisted.
ELISE
Run.
The blood drains from Drake's face.
DRAKE
G-Gavin. We need to get out.
GAVIN
What's wrong with her.
DRAKE
She's going to kill us.
GAVIN
What?
DRAKE
Move!
Drake runs toward the door as Elise springs towards him.
Gavin remains unmoving, eyes widening at what Elise has
become.
Gavin frantically pulls a small wooden box out of his coat
pocket, thrusting it out towards Elise.
She stops in front of him, eyes bugging out.
DRAKE
Gavin, move.
Gavin remains seated.
DRAKE
Gavin, move. Now.
Gavin's eyes drift towards the floor.
DRAKE
Move!
Gavin jerks, as if coming awake from a light sleep.
Elise turns towards him, stalking closer, quickly looking
back at Drake before continuing forward.
DRAKE
Gavin, when
The murmuring begins anew, slowly picking up strength.
DRAKE CONT.
I say so, I need you to come toward
me. Ok? I'm going to-
Elise surges toward Gavin, the murmuring at the utmost
decibel.
Drake turns his head, hiding his face in the front door, his
screams joining Gavin's.
EXT. CABIN - NIGHT
There is absolute silence.
The door to the cabin opens, Drake stumbling out the door,
the light emanating from within illuminating him against the
dark.
Drake shuffles back, coming under a large pine tree.
Elise steps onto the threshold, eyes burning.
Drake shakily opens the small box, lifting it towards Elise.
DRAKE
Get back in the box.
Elise ignores him, stalking him, coming closer, the
murmuring beginning again.
DRAKE
Get back in the box!
Elise continues to walk towards him.
INT. CABIN - NIGHT
Shelby steps off the stairs, looking towards Elsie and
Drake, clutching Elise's knife, her breast a bloody mess.
EXT. CABIN - NIGHT
Elsie is nearly on top of him, coming ever closer, the
murmuring continually increasing.
DRAKE
Damn you.
Elise smiles, tensing, the murmuring reaches crescendo.
Elsie suddenly jerks her torso forward, the murmuring
ceases. Elise growls. Shelby stepping back, hands empty.
Reaching back, Elise pulls out a knife and throws it aside.
Shelby looks on, recognizing her fate, eyes uncaring.
Drake crawls forward, placing the box on the ground, the
murmuring and screams of a dying woman held back in the
distance.
Drake begins to whisper.
Elsie turns. The murmuring is unheard.
Drake continues to whisper.
Elise runs towards him.
The world turns dark at the sound of a thunderclap.
The box rests on the ground, Drake's outstretched hand lying
beside it.
Slowly, his fingers begin to curl. He clutches the box.
A car rumbles down a small ill kept dirt road. Dense forest
leers in on either side, darkening the pitch black night.
The car's high beams sear ahead, lightening the twists and
turns towards the camp. Signs drift by, pointing the way to
Shenandoah Springs. Their white washed slats standing out
amidst the black.
Coming out of the forest, the car arrives at the top of a
steep and rocky path cut into the hillside. A large sign,
not white washed like the others, alerts the passengers of
the small car that they have reached their destination.
Rumbling down the hill, the car joins the other vehicles at
the bottom of the hill, pulling in next to a large red van.
EXT. CAMP CENTER - NIGHT
The car turns off. A small cabin, lights brilliant in the
oppressive darkness, is seen in the distance. The driver
side door opens.
A boot crunches into the gravel, shadowed by the frayed
edges of a long black coat.
He looks around, face devoid of expression.
WOMAN O. S.
Drake.
The young woman nods toward the cabin.
WOMAN
It's over there.
DRAKE
I hadn't realized.
INT. CABIN - NIGHT
A young woman sits a a desk near the window, absorbed in her
laptop. Another stands behind her, feigning mild interest.
The first girl's finger taps on the desk, setting a rhythm.
It's destroyed as both girls jump at the sudden knocking on
the front door.
Silence.
The girls look at each other.
The knocking begins anew, and just as suddenly stops again.
YOUNG MAN O.S.
Who is that!
A young man looks down the stairs from the upper level, a
frown creasing his face.
As the knocking continues, the young man steps down into the
lower level, looking over at the two girls, huddled together
as far away from the door as possible.
The young man gives the first girl an exasperated look,
which the girl returns with equal measure.
Rolling his eyes the young man opens the door, revealing
Drake and his overbearing companion.
WOMAN
(an annoyed smile on her face)
Hopefully were not interrupting
anything... important.
YOUNG MAN
Ah... no. No.
Closing his eyes for a second to collect his thoughts-
YOUNG MAN CONT.
Uh... can I help you?
WOMAN
Yes. May we come in.
The young man looks back at the two girls, before turning
back to the strange woman.
YOUNG MAN
Sure.
Stepping into the cabin, the two newcomers arrange
themselves.
An awkward silence settles, the two parties standing on
opposite sides of the room.
As the silence continues, Drake steps forward to break it,
putting his hand out.
DRAKE
My name is Drake. This is Elise.
The young man steps forward as well, hesitantly accepting
the handshake.
YOUNG MAN
I'm Gavin, and this is my sister
Shelby, and our friend Jasmine.
The introduced nod as their name is spoken, and the silence
falls again.
GAVIN
Uh-
ELISE
Were looking for something. We
believe it is on this property.
EXTREMELY QUICK IRIS IN
EXT. STABLE - NIGHT
Gavin leads the two strangers towards the stable, his
lantern swinging slowly in rhythm with his stoic gait.
GAVIN
What exactly are you looking for?
Elise ignores him, to which Gavin raises an eyebrow in
response.
DRAKE
Trust me, you wouldn't believe us
anyway.
They arrive at the stable.
GAVIN
Try me.
ELISE
Drake.
Drake looks over,coming towards her.
Elise looks into the stable.
ELISE
It happened here.
Gavin joins the two, searching for what has caught their
interest.
A large space of the stable floor, circular in nature, has
been cleared of debris, as if a small vortex had appeared,
clearing away the hay and filth the animals had left behind.
GAVIN
That's an unusual way to muck up.
ELISE
Indeed.
EXT. FOREST PATH - NIGHT
SHELBY O.S.
Where on earth did they go?
Jasmine and Shelby appear walking through the forest along a
well worn path.
JASMINE
I don't know! We should just go
back.
SHELBY
I want to know what they're doing.
JASMINE
We've been walking forever.
SHELBY
It's been like twenty minutes. My
god.
A soft murmur is heard, whispering along with the wind.
Jasmine stops, looking behind her.
JASMINE
(whispering loudly)
Shelby!
SHELBY
What?
JASMINE
I think I heard something.
SHELBY
Seriously? Seriously!?
She steps quickly towards Jasmine.
SHELBY
We have enough to deal with with
those two wack jobs wandering
around the camp and you're
seriously -
The murmuring grows louder, speeding towards the small light
illuminating the two young women standing alone in the
woods.
JASMINE
I'm serious Shelby.
Shelby rolls her eyes.
The murmuring is almost on them.
SHELBY
Just pull yourself together OK?
EXT. STABLE - NIGHT
DRAKE
Is this stable still used?
GAVIN
No, not for a long time. The
horses all died I think. Some sort
of disease or something. But that
all happened before I started
working here.
ELISE
When did you start working here?
GAVIN
Two years ago.
Elise and Drake share a glance.
GAVIN
Why?
ELISE
The owners, where are they?
GAVIN
They had to leave, that's why they
hired me. What does this have to do
with anything? What are you
looking for?
DRAKE
Why did they have to leave?
GAVIN
Their daughter, she got really
sick.
ELISE
Sick?
GAVIN
She went insane.
DRAKE
Damn.
ELISE
This is the place.
GAVIN
What is this all about? I think I
deserv-
A bloodcurdling scream rips apart the quiet.
GAVIN
Holy shi-
ELISE
Quickly!
EXT. FOREST PATH - NIGHT
Elise, Drake, and Gavin run down the path, desperate in
their haste.
Drake suddenly skids to a stop.
DRAKE
Wait!
The others stop.
Drake looks into the forest, eyes dead. Elise and Gavin
join him.
Shelby is on the ground, clutching a tree, shoulders
drooped, motionless.
GAVIN
Shelby?
Slowly coming forward, Gavin puts his hand on her shoulder.
GAVIN
Shelby?
Shelby screams.
Gavin, falls backwards, shuffling away.
Elise walks forward, Shelby still screaming.
DRAKE
Get away from her!
Elise slaps Shelby across the face immediately ending the
screaming.
DRAKE
Thank God.
GAVIN
What? What...
ELISE
Are you quite all right?
SHELBY
J-Jasmine
ELISE
Apparently. What did you see?
SHELBY
I- I-
ELISE
Get her to the cabin.
Neither of the men move.
ELISE
Quickly!
The two of them rush over picking her up.
FADE TO BLACK
INT. CABIN - NIGHT
Elise walks into the cabin. Drake walks down the stairs.
DRAKE
She won't respond.
GAVIN
You both need to leave. Now.
ELISE
Restrain yourself.
Elise continues walking to the stairs.
ELISE CONT.
Keep an eye on him Drake.
INT. UPSTAIRS - NIGHT
Shelby sits on one of the bunks, rocking back and forth.
Elise steps into the room, looking about cautiously.
Hearing her, Shelby turns, staring, stock still.
ELISE
(walking towards Shelby)
Foolish little girl.
Shelby continues to stare, hackles rising.
ELISE CONT.
It's always the same.
Elise takes out a small knife. The murmuring is heard
again, steadily increasing in volume.
SHELBY
(in a gravelly inhuman voice)
Be careful Elise. I'm afraid I've
become slightly more powerful since
the last time.
ELISE
Of course
Elise's shadow, knife hand raised, quickly brings it down.
INT. CABIN - NIGHT
A crashing boom sounds from upstairs.
Drake and Gavin look up, yet remain unmoving, anxiety
freezing them.
A few moments later Elise walks down the stairs, subtly
twitching.
DRAKE
Elise?
Elise, straining, seemingly moving backwards and forwards at
the same time, speaks, her voice twisted.
ELISE
Run.
The blood drains from Drake's face.
DRAKE
G-Gavin. We need to get out.
GAVIN
What's wrong with her.
DRAKE
She's going to kill us.
GAVIN
What?
DRAKE
Move!
Drake runs toward the door as Elise springs towards him.
Gavin remains unmoving, eyes widening at what Elise has
become.
Gavin frantically pulls a small wooden box out of his coat
pocket, thrusting it out towards Elise.
She stops in front of him, eyes bugging out.
DRAKE
Gavin, move.
Gavin remains seated.
DRAKE
Gavin, move. Now.
Gavin's eyes drift towards the floor.
DRAKE
Move!
Gavin jerks, as if coming awake from a light sleep.
Elise turns towards him, stalking closer, quickly looking
back at Drake before continuing forward.
DRAKE
Gavin, when
The murmuring begins anew, slowly picking up strength.
DRAKE CONT.
I say so, I need you to come toward
me. Ok? I'm going to-
Elise surges toward Gavin, the murmuring at the utmost
decibel.
Drake turns his head, hiding his face in the front door, his
screams joining Gavin's.
EXT. CABIN - NIGHT
There is absolute silence.
The door to the cabin opens, Drake stumbling out the door,
the light emanating from within illuminating him against the
dark.
Drake shuffles back, coming under a large pine tree.
Elise steps onto the threshold, eyes burning.
Drake shakily opens the small box, lifting it towards Elise.
DRAKE
Get back in the box.
Elise ignores him, stalking him, coming closer, the
murmuring beginning again.
DRAKE
Get back in the box!
Elise continues to walk towards him.
INT. CABIN - NIGHT
Shelby steps off the stairs, looking towards Elsie and
Drake, clutching Elise's knife, her breast a bloody mess.
EXT. CABIN - NIGHT
Elsie is nearly on top of him, coming ever closer, the
murmuring continually increasing.
DRAKE
Damn you.
Elise smiles, tensing, the murmuring reaches crescendo.
Elsie suddenly jerks her torso forward, the murmuring
ceases. Elise growls. Shelby stepping back, hands empty.
Reaching back, Elise pulls out a knife and throws it aside.
Shelby looks on, recognizing her fate, eyes uncaring.
Drake crawls forward, placing the box on the ground, the
murmuring and screams of a dying woman held back in the
distance.
Drake begins to whisper.
Elsie turns. The murmuring is unheard.
Drake continues to whisper.
Elise runs towards him.
The world turns dark at the sound of a thunderclap.
The box rests on the ground, Drake's outstretched hand lying
beside it.
Slowly, his fingers begin to curl. He clutches the box.
Death Blow
EXT. SCARY BUILDING
Three teens stand outside a common, yet slightly ominous
building.
CHASTITY
Are we really going in there?
STACY
Yeah. Why not?
CHASTITY
I dunno, I just have a bad feeling
about this.
ALEX
Oh c'mon. What's the worst that
could happen. This building's been
empty for years.
CHASTITY
Exactly. What if there are-
STACY
Ghosts? (pause) In what sort of
sadistic world would a bunch of
teenagers, just looking for a good
time, ever all be brutally murdered
in extraordinarily gory ways by a
bunch of evil spirits.
CHASTITY
I guess you're right.
STACY
Of course I am. Let's go.
The group slowly walks towards the entrance, spirits
uplifted by Stacy's rationalization of reality.
INT. SCARY BUILDING
ENTRANCE
The small group slowly enters the abandoned building. Alex
pulls out a flashlight, surveying the dark interior. As the
three teens make further into the dark room, the door
suddenly slams shut behind them with a crash, thrusting them
into darkness.
ALEX
(turning on his flashlight)
Did you shut the door? (looking at
Stacy) Did you shut the door?
(looking at Chastity) Well I
didn't shut the door. It must have
been the wind.
Chastity moves over to the door, trying, in vain, to open it
back up.
CHASTITY
It won't open.
ALEX
A very strong wind.
STACY
Well... In wake of this
supernatural occurrence that
provides substantial evidence that
we could all be brutally murdered
in extraordinarily gory ways, we
obviously can't get out this way,
so I guess we should explore the
creepy building further.
CHASTITY
I guess so.
INT. SCARY BUILDING
HALLWAY
The three teens are seen walking down a long hallway. Alex
and Stacy are talking, but Chastity is not paying
attention. She looks back down the dark hallway, suddenly
stopping as a small light appears behind them.
CHASTITY
(whispering to herself)
That's curious. I should go check
it out without telling my friends.
Otherwise they would not continue
walking away completely oblivious
of my disappearance. That should
dramatically increase the chance I
have of being murdered in an
extraordinarily gory way.
As Chastity slowly walks back towards the mysterious light,
Alex and Stacy continue on, completely oblivious of their
friend's disappearance.
INT. SCARY BUILDING
A FEW MINUTES LATER
Alex and Stacy continue on through the building. Eerily,
Alex's flashlight keeps flickering.
ALEX
What is wrong with this thing?!
STACY
Paranormal activities perhaps?
ALEX
Oh c'mon Stacy. There are no such
things as ghosts.
At the moment Alex's flashlight cuts off completely,
plunging the two into darkness, a creepy apparition staring
at them with frightening intensity.
The light comes back on and the apparition disappears.
Stacy glances behind them, a frown creasing her face.
STACY
Where's Chastity?
ALEX
I don't know. She must have
wandered off, leaving us completely
oblivious to her disappearance.
STACY
I guess we should go and find her.
ALEX
We should split up, so we can cover
more ground.
STACY
Right, 'cause we can't know for
sure if Chastity was murdered or
not. So it makes perfect sense to
further separate ourselves from the
limited safety of each other's
presence, thus dramatically
increasing our own chances of being
murdered in extraordinarily gory
ways. I don't have a flashlight,
though.
ALEX
Oh, right. Well I guess- Hey look!
There's one right over there!
STACY
How convenient.
Alex walks over to one corner of the room, toward the
camera. Bending down, he begins rummaging around an unseen
pile of bones.
ALEX
Hold on. It's stuck in the grasp
of this teenage-sized skeleton.
With a small pop, the flashlight is free. A smile on his
face, Alex hands it over to Stacy. The two then split up,
each going down a separate hallway.
INT. SCARY BUILDING
OUTSIDE THE GHOST'S LAIR
Chastity continues down the hall, stopping in front one door
in particular, the mysterious light shining briefly through
the crack at the bottom, then going out.
Chastity slowly opens the door, entering the dark room.
GHOST'S LAIR
As Chastity slowly makes her way further into the small
room. Seeing nothing she begins to turn away, when
torchlight suddenly springs into existence. Quickly turning
towards the source, Chastity falters.
There, in the middle of the room, an old, yet remarkably
distinguished, man, seated behind a light wooden desk
covered in large piles of paper. A small torch is set into
the ground beside him.
OLD GHOST
(bringing out a clipboard)
Alright, I'm assuming that is your
natural hair color, correct?
Chastity simply nods.
OLD GHOST
Do you know your IQ?
Chastity slowly shakes her head.
OLD GHOST
No? Alright. Um... Are you a
virgin.
Chastity simply stares at him.
OLD GHOST
I said, are you a-
CHASTITY
Uh... Umm... Well...
The old man raises an eyebrow.
CHASTITY
Well... I... umm...
OLD GHOST
I'll take that as a no. What is
your relationship with the main
character?
CHASTITY
Who? Stacy? I'm pretty much her
best friend.
OLD GHOST
Ah. Well in that case...
The old man stands, the desk and all the papers gone, and
rips off a piece of paper, handing it to Chastity.
CHASTITY
What is this?
OLD GHOST
A death certificate. Just hand it
to the grotesque hatchet wielding
mad man when he floats through the
left wall.
CHASTITY
Uh... OK
INT. SCARY BUILDING
OUTSIDE THE GHOST'S LAIR
The camera focuses on the door, slowly zooming in in sudden
bursts.
CHASTITY O.S.
Oh, hello.
CHASTITY O.S.
I think I'm supposed to give you
this.
CHASTITY O.S.
What are you doing? No! No!
INT. SCARY BUILDING
Chastity's scream pierces through the darkness, stopping
Stacy dead in her tracks.
As she continues on, clutching the flashlight in her hands,
knuckles white. A shadow zips past behind her, but trips,
falling out of site.
Stacy looks behind her, sensing the disturbance, but seeing
nothing, continues on, as the shadow gets back up holding
its head.
A COUPLE SECOND LATER
Entering a small room, Stacy stops, spying a crouched figure
deeper in the room. As she gets closer, the figure becomes
a teenage boy, staring back at her. She gets closer drawn
by some unseen presence, her flashlight falling to her
side. The boy also comes closer, reaching out to embrace
her.
STACY
Wait a second!
The entire production comes to a standstill.
STACY
David!
The camera turns to focus on the director, holding his
script.
DAVID
What?
STACY
Is this a Shining rip off?
DAVID
What do you mean?
STACY
I'm going to start making out with
this guy, and as soon as it starts
getting good, he's going to go all
creepy disgusting ghost on me.
Isn't he?
DAVID
(slightly embarrassed)
No.
The director begins making alterations to his script.
STACY
Oh my god. That is so sad.
DAVID
Look, now the ghost just comes up
to you and stabs you in the
throat.
STACY
Now there's no need to be hasty. I-
MAKE OUT GHOST
Wait, so there isn't a make out
scene anymore?
STACY
(in a disgusted voice)
No.
MAKE OUT GHOST
(turning towards the director)
I want my fifty bucks back.
STACY
What?!
DAVID
Uh... Uh... Lets cut to the chase
scene!
INT. SCARY BUILDING
Alex is running down a hallway, eyes bugged in fear.
Two ghosts are chasing him, a girl and a guy.
Soon however, Alex outpaces them.
Panting, the two stop to catch their breath.
GIRL GHOST
Geeze... Why can't we catch him?
BOY GHOST
He hasn't tripped once.
GIRL GHOST
Must be a guy thing.
GHOST'S LAIR
Hurrying into the room and slamming the door behind him,
Alex leans on the frame, trying to catch his breath.
Suddenly torchlight springs into existence. Quickly, Alex
turns around, stunned by what he sees.
There, in the middle of the room, seated behind the same
desk, is the old man.
OLD GHOST
Is is true you don't believe in
ghosts?
ALEX
Uh... no. I mean yes, I don't
believe in ghosts.
OLD GHOST
Ah, and, well, let's just get right
down to it. What is your
relationship with the main
character?
ALEX
Who? Stacy? I'm just her
boyfriend.
OLD GHOST
Excellent.
INT. SCARY BUILDING
Stacy struggling with her flashlight, hears Alex scream.
STACY
Well crap.
Hearing voices behind her, Stacy turns, staring at the two
ghosts coming towards her.
STACY
Double crap.
Turning, Stacy runs down the hallway, only to trip a few
seconds later.
Letting out a slight scream, Stacy continues to run, only to
once again trip.
STACY
Dammit!
She gets up, begins to run, then trips.
STACY
Dammit!
The cycle continues, the two ghosts drawing closer and
closer with each fall, until Stacy, once again face down on
the floor, looks up, noticing the menacing presence of the
old ghost.
Getting up, Stacy looks behind her, noting the absence of
the other two ghosts.
STACY
I take it you're the one who's
responsible for killing all my
friends?
OLD GHOST
Indeed.
STACY
Are you going to let me by?
OLD GHOST
Why would I do that?
STACY
Hello? Main character! I have to
live, otherwise they won't have a
good intro for the sequel. I need
to struggle for a few years dealing
with my traumatic experience and
act all paranoid and stuff, so you
can come back and kill me. That
way, I don't stand in the way of
the new cast of sub-par actors
trying to start their career and
failing miserably. I just thought
we could save ourselves some time.
I wouldn't have to work up a sweat
running around, you wouldn't have
to die in some grisly manner,
everybody wins.
OLD GHOST
But, are you going to be
traumatized enough if I don't put
you in an inescapable position,
then hold back and let you escape
over and over again?
STACY
I think I can fake it.
OLD GHOST
Well, (extending his hand) I guess
I'll see you in a couple years
then.
STACY
Till then!
Three teens stand outside a common, yet slightly ominous
building.
CHASTITY
Are we really going in there?
STACY
Yeah. Why not?
CHASTITY
I dunno, I just have a bad feeling
about this.
ALEX
Oh c'mon. What's the worst that
could happen. This building's been
empty for years.
CHASTITY
Exactly. What if there are-
STACY
Ghosts? (pause) In what sort of
sadistic world would a bunch of
teenagers, just looking for a good
time, ever all be brutally murdered
in extraordinarily gory ways by a
bunch of evil spirits.
CHASTITY
I guess you're right.
STACY
Of course I am. Let's go.
The group slowly walks towards the entrance, spirits
uplifted by Stacy's rationalization of reality.
INT. SCARY BUILDING
ENTRANCE
The small group slowly enters the abandoned building. Alex
pulls out a flashlight, surveying the dark interior. As the
three teens make further into the dark room, the door
suddenly slams shut behind them with a crash, thrusting them
into darkness.
ALEX
(turning on his flashlight)
Did you shut the door? (looking at
Stacy) Did you shut the door?
(looking at Chastity) Well I
didn't shut the door. It must have
been the wind.
Chastity moves over to the door, trying, in vain, to open it
back up.
CHASTITY
It won't open.
ALEX
A very strong wind.
STACY
Well... In wake of this
supernatural occurrence that
provides substantial evidence that
we could all be brutally murdered
in extraordinarily gory ways, we
obviously can't get out this way,
so I guess we should explore the
creepy building further.
CHASTITY
I guess so.
INT. SCARY BUILDING
HALLWAY
The three teens are seen walking down a long hallway. Alex
and Stacy are talking, but Chastity is not paying
attention. She looks back down the dark hallway, suddenly
stopping as a small light appears behind them.
CHASTITY
(whispering to herself)
That's curious. I should go check
it out without telling my friends.
Otherwise they would not continue
walking away completely oblivious
of my disappearance. That should
dramatically increase the chance I
have of being murdered in an
extraordinarily gory way.
As Chastity slowly walks back towards the mysterious light,
Alex and Stacy continue on, completely oblivious of their
friend's disappearance.
INT. SCARY BUILDING
A FEW MINUTES LATER
Alex and Stacy continue on through the building. Eerily,
Alex's flashlight keeps flickering.
ALEX
What is wrong with this thing?!
STACY
Paranormal activities perhaps?
ALEX
Oh c'mon Stacy. There are no such
things as ghosts.
At the moment Alex's flashlight cuts off completely,
plunging the two into darkness, a creepy apparition staring
at them with frightening intensity.
The light comes back on and the apparition disappears.
Stacy glances behind them, a frown creasing her face.
STACY
Where's Chastity?
ALEX
I don't know. She must have
wandered off, leaving us completely
oblivious to her disappearance.
STACY
I guess we should go and find her.
ALEX
We should split up, so we can cover
more ground.
STACY
Right, 'cause we can't know for
sure if Chastity was murdered or
not. So it makes perfect sense to
further separate ourselves from the
limited safety of each other's
presence, thus dramatically
increasing our own chances of being
murdered in extraordinarily gory
ways. I don't have a flashlight,
though.
ALEX
Oh, right. Well I guess- Hey look!
There's one right over there!
STACY
How convenient.
Alex walks over to one corner of the room, toward the
camera. Bending down, he begins rummaging around an unseen
pile of bones.
ALEX
Hold on. It's stuck in the grasp
of this teenage-sized skeleton.
With a small pop, the flashlight is free. A smile on his
face, Alex hands it over to Stacy. The two then split up,
each going down a separate hallway.
INT. SCARY BUILDING
OUTSIDE THE GHOST'S LAIR
Chastity continues down the hall, stopping in front one door
in particular, the mysterious light shining briefly through
the crack at the bottom, then going out.
Chastity slowly opens the door, entering the dark room.
GHOST'S LAIR
As Chastity slowly makes her way further into the small
room. Seeing nothing she begins to turn away, when
torchlight suddenly springs into existence. Quickly turning
towards the source, Chastity falters.
There, in the middle of the room, an old, yet remarkably
distinguished, man, seated behind a light wooden desk
covered in large piles of paper. A small torch is set into
the ground beside him.
OLD GHOST
(bringing out a clipboard)
Alright, I'm assuming that is your
natural hair color, correct?
Chastity simply nods.
OLD GHOST
Do you know your IQ?
Chastity slowly shakes her head.
OLD GHOST
No? Alright. Um... Are you a
virgin.
Chastity simply stares at him.
OLD GHOST
I said, are you a-
CHASTITY
Uh... Umm... Well...
The old man raises an eyebrow.
CHASTITY
Well... I... umm...
OLD GHOST
I'll take that as a no. What is
your relationship with the main
character?
CHASTITY
Who? Stacy? I'm pretty much her
best friend.
OLD GHOST
Ah. Well in that case...
The old man stands, the desk and all the papers gone, and
rips off a piece of paper, handing it to Chastity.
CHASTITY
What is this?
OLD GHOST
A death certificate. Just hand it
to the grotesque hatchet wielding
mad man when he floats through the
left wall.
CHASTITY
Uh... OK
INT. SCARY BUILDING
OUTSIDE THE GHOST'S LAIR
The camera focuses on the door, slowly zooming in in sudden
bursts.
CHASTITY O.S.
Oh, hello.
CHASTITY O.S.
I think I'm supposed to give you
this.
CHASTITY O.S.
What are you doing? No! No!
INT. SCARY BUILDING
Chastity's scream pierces through the darkness, stopping
Stacy dead in her tracks.
As she continues on, clutching the flashlight in her hands,
knuckles white. A shadow zips past behind her, but trips,
falling out of site.
Stacy looks behind her, sensing the disturbance, but seeing
nothing, continues on, as the shadow gets back up holding
its head.
A COUPLE SECOND LATER
Entering a small room, Stacy stops, spying a crouched figure
deeper in the room. As she gets closer, the figure becomes
a teenage boy, staring back at her. She gets closer drawn
by some unseen presence, her flashlight falling to her
side. The boy also comes closer, reaching out to embrace
her.
STACY
Wait a second!
The entire production comes to a standstill.
STACY
David!
The camera turns to focus on the director, holding his
script.
DAVID
What?
STACY
Is this a Shining rip off?
DAVID
What do you mean?
STACY
I'm going to start making out with
this guy, and as soon as it starts
getting good, he's going to go all
creepy disgusting ghost on me.
Isn't he?
DAVID
(slightly embarrassed)
No.
The director begins making alterations to his script.
STACY
Oh my god. That is so sad.
DAVID
Look, now the ghost just comes up
to you and stabs you in the
throat.
STACY
Now there's no need to be hasty. I-
MAKE OUT GHOST
Wait, so there isn't a make out
scene anymore?
STACY
(in a disgusted voice)
No.
MAKE OUT GHOST
(turning towards the director)
I want my fifty bucks back.
STACY
What?!
DAVID
Uh... Uh... Lets cut to the chase
scene!
INT. SCARY BUILDING
Alex is running down a hallway, eyes bugged in fear.
Two ghosts are chasing him, a girl and a guy.
Soon however, Alex outpaces them.
Panting, the two stop to catch their breath.
GIRL GHOST
Geeze... Why can't we catch him?
BOY GHOST
He hasn't tripped once.
GIRL GHOST
Must be a guy thing.
GHOST'S LAIR
Hurrying into the room and slamming the door behind him,
Alex leans on the frame, trying to catch his breath.
Suddenly torchlight springs into existence. Quickly, Alex
turns around, stunned by what he sees.
There, in the middle of the room, seated behind the same
desk, is the old man.
OLD GHOST
Is is true you don't believe in
ghosts?
ALEX
Uh... no. I mean yes, I don't
believe in ghosts.
OLD GHOST
Ah, and, well, let's just get right
down to it. What is your
relationship with the main
character?
ALEX
Who? Stacy? I'm just her
boyfriend.
OLD GHOST
Excellent.
INT. SCARY BUILDING
Stacy struggling with her flashlight, hears Alex scream.
STACY
Well crap.
Hearing voices behind her, Stacy turns, staring at the two
ghosts coming towards her.
STACY
Double crap.
Turning, Stacy runs down the hallway, only to trip a few
seconds later.
Letting out a slight scream, Stacy continues to run, only to
once again trip.
STACY
Dammit!
She gets up, begins to run, then trips.
STACY
Dammit!
The cycle continues, the two ghosts drawing closer and
closer with each fall, until Stacy, once again face down on
the floor, looks up, noticing the menacing presence of the
old ghost.
Getting up, Stacy looks behind her, noting the absence of
the other two ghosts.
STACY
I take it you're the one who's
responsible for killing all my
friends?
OLD GHOST
Indeed.
STACY
Are you going to let me by?
OLD GHOST
Why would I do that?
STACY
Hello? Main character! I have to
live, otherwise they won't have a
good intro for the sequel. I need
to struggle for a few years dealing
with my traumatic experience and
act all paranoid and stuff, so you
can come back and kill me. That
way, I don't stand in the way of
the new cast of sub-par actors
trying to start their career and
failing miserably. I just thought
we could save ourselves some time.
I wouldn't have to work up a sweat
running around, you wouldn't have
to die in some grisly manner,
everybody wins.
OLD GHOST
But, are you going to be
traumatized enough if I don't put
you in an inescapable position,
then hold back and let you escape
over and over again?
STACY
I think I can fake it.
OLD GHOST
Well, (extending his hand) I guess
I'll see you in a couple years
then.
STACY
Till then!
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