Sophocles Screenwriting Software
www.sophocles.net
TALES FROM THE TWENTY-FIRST CENTURY
EXTRACTS
by
David Collins and Peter Devonald
All rights reserved 2002
EXTRACT ONE - THE VOID
It is the future...
INT. GRANDMOTHER'S APARTMENT - BEDROOM - NIGHT
Grandmother opens up the old and battered book. The pages
are browned from age. She clears her throat and reads.
GRANDMOTHER
Many years ago there was a
man named Conrad who worked
on the New York Teller, the
most popular and sordid
tabloid magazine on the East
Coast. Conrad wasn't a great
man - he wasn't even a very
interesting man - but
amazing things were about
to happen to him...
INT. OFFICE - DAY
CONRAD inputs data into a large gray computer. Conrad is
forty years old, unmarried and his features mark him out
as a loser. It's not that he's not attractive - or got
good qualities - he's just been unlucky.
His BOSS walks by with a GROUP OF BUSINESSWOMEN, all
dressed in sharp expensive suits.
BOSS
Without this efficiency in
the workplace we just
wouldn't reach our targets.
Focus is everything.
The Boss stops at Conrad.
BOSS
Hello, Conrad. Can you show
my associates how the
process works?
The Businesswomen all watch the computer monitor with
interest.
CONRAD
Well, you see, I input
details here - and they are
assimilated and come out
here -
BOSS
Excellent. Excellent work.
The Boss pats Conrad on the back as he leaves.
2.
The OTHER EMPLOYEES in the office stare at Conrad as
though he's the black sheep on the floor.
INT. CAFETERIA - DAY
Conrad enters the Cafeteria to get some food. Conrad
stands in the queue. A JOURNALIST comes up to him.
JOURNALIST
Journalists first, inputters
second.
Journalist nudges Conrad out of the queue.
JOURNALIST
You know the rules.
Conrad stares at the Journalist for a moment contemplating
whether to fight back...
Meekly he moves back in the queue.
SALLY arrives and comes up to him.
SALLY
Ah Conrad! Office policy
states -
CONRAD
I know I know.
Conrad meekly goes back in the queue.
The same thing happens with other people. Quickly Conrad
is right back at the start.
INT. CAFETERIA - LATER
Conrad waits the longest for food.
By the time he gets to the front of the queue the only
food that's left is a gristly piece of steak and some
boiled potatoes. The CHEF, a fat Italian, scoops a measly
amount of watery gravy from the bottom of the tub and
pours it over the food.
Conrad looks around. All of the OTHER OFFICE WORKERS have
got lots of friends and they sit at their designated
tables to eat.
Conrad goes over and tries to sit somewhere.
JOURNALIST TWO
Get lost buddy. Clerks over
there.
Conrad stands and goes to a different table to sit down.
3.
CLERK
It's taken.
Conrad looks around. He goes and stands near a window and
eats there.
The Other Office Workers, including LUCY, stare at him,
giggling.
LUCY
What a loser.
Conrad tries to ignore them, but he's hurt.
INT. CORRIDOR TO SMOKING ROOM - DAY
Conrad goes to the smoking room. Emblazoned on the door
are the words -
'Smokers room. Smokers will die of cancer'.
Conrad enters.
INT. SMOKING ROOM - CONTINUOUS
The tiny room is full of smoke because there's no
ventilation. The walls are stained yellow with nicotine.
Conrad sits and looks at the other three people in the room.
OLD MAN ONE and OLD MAN TWO have white hair, mustaches,
tattered old suits and look near death... Old Man One
coughs and splutters.
The other person in the room is an attractive, pretty
woman called STELLA. Conrad can't take his eyes off her.
She has long brown hair, a beautiful body and wears a
colorful dress. She smiles at Conrad warmly.
Conrad is intoxicated by her, and she seems genuinely
pleased that he likes her. He smiles, awkwardly. He hasn't
smiled for a long time, and the look is absurd.
She smiles back radiantly. Suddenly, in one fluid motion,
Stella gets up and comes towards Conrad. Conrad looks
nervous.
STELLA
May I sit here?
Conrad pretends that he didn't notice her and nods
nervously as she sits beside him.
STELLA
I'm Stella.
CONRAD
Pleased to meet you. I'm
Con - con - Conrad.
4.
Stella and Conrad shake hands.
Uncomfortable silence.
CONRAD
Quite a day at the office,
huh?
STELLA
Oh yes - quite a day.
CONRAD
Your dress - it's nice.
Where did you -
STELLA
Nice? For how much I paid
it should be gorgeous.
CONRAD
Oh yes. It's very - with the
little... Yes.
STELLA
Yeah yeah I get that all the
time. Typical Man! All me,
me, me with you isn't it?
Conrad looks stumped.
CONRAD
Well, I - I suppose it's -
STELLA
Exactly. Typical. Not
listening to a word I have
to say. Well I say this. A
world run by women really
would be a greater place.
No wars and everyone being
kind -
CONRAD
Yeah I guess so I -
STELLA
Exactly. Everyone always
agrees. It's only men that
are the problem. A world
with just women would be
flowers as far as I'm
concerned -
CONRAD
Well I guess but -
5.
STELLA
Instead - NO! Oh know. Can't
have flowers can we? Do you
think I'd look this good
without flowers? And then
where would I be? Up a
paddle without a creek
that's what -
CONRAD
... It's the other way
around -
STELLA
Sorry?
CONRAD
The phrase is up a creek
without a paddle.
STELLA
Oh whatever. Typical.
Anyway, I was telling my
boyfriend - you know the
one - he's a bit of an
asshole. Sometimes he gets
physical you know -
Stella makes a punching gesture at her chin.
STELLA
I was telling him, you don't
send me flowers any more.
And you know what he said?
You'll never guess what he
said.
Conrad sits there, silently seething.
STELLA
He said I don't deserve
flowers! I mean, I ask you.
Would you send me flowers?
Conrad just stares at her.
STELLA
Well of course you'd send
me flowers. Who else would
you send them to? Only
gassing with you. But anyway
he said -
Conrad breathes out deeply as Stella talks.
INT. BATHROOM - DAY
Conrad waits for the private cubicle but somebody is in
there.
6.
Conrad looks at his watch and it is two minutes to two.
Time is running out so he goes to the public urinals and
urinates. As he pees he watches the company commercial on
the television above the urinal.
INT. TV - OLD DIRECTOR'S OFFICE - CONTINUOUS
On TV an OLD DIRECTOR gives a speech at his desk as he
smokes a cigar.
OLD COMPANY DIRECTOR
For years the Teller
Organization has been at the
leading edge of journalism.
I remember years ago, when
I was but a filing clerk...
INT. BATHROOM - CONTINUOUS
Conrad stands there minding his own business when the TWO
MEN on either side of him look at his penis. They are much
taller than he is and obviously have bigger... shoes.
Whenever Conrad looks back at them, they look away. But
when he continues urinating they stare at him.
Conrad finishes what he's doing and washes his hands. He
pretends that he did not notice the other guys staring at
him, but when they wash their hands they continue looking
at him like he's a freak.
Conrad turns and quickly leaves.
EXTRACT TWO - BILDERBECK GROUP
GRANDMOTHER
There were rumors for years
about The Bilderberg Group.
Some said they worshipped
Satan, others that they were
giant man eating lizards.
But nobody really knew the
truth...
BLACK ON WHITE: THE BILDERBERG GROUP
EXT. LAKE IN BILDERBERG PARK - DAY
ROBERT and KATHLEEN are both good looking, well dressed
and in their early thirties. They walk around a beautiful
lake in the park with their daughter, ANNA, who is cute
and ten years old.
7.
GRANDMOTHER (VO)
It all started in the Dutch
town of Bilderberg. Robert,
an investigative journalist,
was on holiday with his wife
Kathleen and their beautiful
young daughter, Anna.
EXT. TOWN CENTER OF BILDERBERG - DAY
Kathleen and Robert walk through the town, holding hands.
Anna follows behind them sucking a lollipop.
GRANDMOTHER (VO)
They saw all the sites and
had a wonderful time. It
certainly made a change from
the traffic and smog back
home.
EXT. MEMORIAL - DAY
Kathleen, Robert and Anna walk through the memorial.
Kathleen and Anna stop to feed a squirrel. Robert walks
alone.
GRANDMOTHER (VO)
Things were going great,
just like a holiday should.
But then something happened
that would change their
lives forever...
Robert notices somebody familiar... a MAN stands next to
a grave. Robert raises his camera from around his neck and
takes pictures of him.
GRANDMOTHER (VO)
There was the face that
didn't fit, someone that
shouldn't be there...
The Man looks up and notices Robert, who quickly lowers
his camera and pretends to look at something else.
GRANDMOTHER (VO)
Journalism was not only a
career for him, but a life-
long challenge. Once he
smelt mystery there was no
stopping him...
The Man lays a wreath on the grave and walks away.
Kathleen and Anna approach Robert with ice creams.
Kathleen hands one to Robert. Robert looks for the Man,
but he's gone.
8.
EXT. MEMORIAL - NIGHT
Robert walks down the path with a torch.
He stops when he finds the grave where the Man was
standing. On the gravestone is the name Pierre Lacrocq.
Robert stands and looks around, surprised.
INT. HOTEL - OFFICE - NIGHT
Robert is on the phone at the hotel. The STAFF stare at him.
ROBERT
(on phone.)
I know it's expensive - I
know that but -
Robert notices the Staff looking at him. He moves his back
towards them to try and have some privacy. He talks quieter.
ROBERT
(on phone.)
Listen... I might be on
holiday - but I'm not dead.
Do you hear me? I'm not dead.
So just fax me the picture...
Robert slams the phone down. The fax machine next to it
beeps and starts to feed through.
Robert watches it as the photo is created...
The picture is that of Pierre Lacrocq. And he is the same
man who was standing by the grave!
Robert grabs the fax and leaves.
The Staff continue staring at him.
INT. HOTEL BEDROOM - NIGHT
Anna lies in bed. She keeps turning over, restless.
It's dark in the room, although the door is slightly open
with a light out in the hall.
Robert peeks through the doorway. Anna notices him, and
sits up in bed.
ANNA
I can't sleep Daddy.
Robert enters the room.
ANNA
Can you tell me a story?
Robert shakes his head slightly.
9.
ROBERT
It's late Anna.
ANNA
Just a quick story.
ROBERT
Maybe tomorrow. I've got a
lot of -
ANNA
You've always got business
daddy.
Robert smiles. He tucks her in and kisses her on the
forehead.
ROBERT
I'm working on something big
at the moment.
ANNA
What about our holiday
together? You promised mummy.
ROBERT
I'll get this done in no
time - then all of us can
go to the castle. How does
that sound?
Anna doesn't look convinced. Robert hugs her and smiles.
Robert winds up Anna's ballerina toy and places it on the
table next to her. He kisses her again.
ROBERT
Night night sweetie -
He taps her on the nose and leaves. She looks disappointed.
Robert closes the door and there is darkness.
EXT. DUTCH STREET - NIGHT
Robert waits in his car in a residential area. He watches
a house.
Nothing happens...
EXT. DUTCH STREET - LATER
Robert has fallen asleep.
Suddenly Lacrocq comes out of the house, walking fast.
A dog barks at Lacrocq and Robert wakes up. He sees
Lacrocq and gets out the car. He follows him.
10.
EXT. DUTCH STREETS - NIGHT
Robert follows Lacrocq down some narrow pebble-stone
streets.
EXT. EXPENSIVE HOTEL ROOM - NIGHT
Lacrocq enters a hotel.
Robert follows him.
INT. EXPENSIVE HOTEL - CORRIDOR - CONTINUOUS
Robert knocks on the door. He looks down the corridor
nervously. A ROOM SERVICE WAITER pushes a trolley down the
corridor. Robert looks at him nervously...
Robert knocks again on the door again. The door opens to
reveal Pierre Lacrocq.
ROBERT
Hi, I'm -
Lacrocq instantly puts his hand over Robert's mouth. He
gestures for Robert to enter the room.
Lacrocq looks anxiously down the corridor and it's empty.
He quickly closes the door.
INT. EXPENSIVE HOTEL - BEDROOM - CONTINUOUS
Robert looks at Lacrocq nervously.
ROBERT
Look I -
Lacrocq puts his finger to his mouth to silence him. He
turns and quickly goes into the bathroom.
INT. EXPENSIVE HOTEL - BATHROOM - CONTINUOUS
Lacrocq runs all the taps.
INT. EXPENSIVE HOTEL - BEDROOM - CONTINUOUS
Robert stares at Lacrocq. Lacrocq runs around like a
maniac. He pulls the curtains shut, then goes to the radio
and puts some classical music on.
ROBERT
What are you doing?
LACROCQ
They are listening.
Lacrocq runs to the TV and turns that on as well.
ROBERT
My name is -
11.
Lacrocq turns to him and gets insistent, urgent eye
contact. His eye twitches from nerves.
LACROCQ
I know who you are. I know
what you are doing. We are
here for the same reason -
ROBERT
The Bilderberg Group -
Lacrocq takes out his cigarettes and moves the packet to
Robert, who shakes his head slightly. Lacrocq lights his
cigarette, panting slightly.
LACROCQ
'They' are the most powerful
organization in the world.
They control everything. If
any person, or even any
country, screws with them -
they won't be around for
much longer. 'That' is who
we are up against -
Robert stares at Lacrocq anxiously. Lacrocq rocks back and
forth slightly, from nerves.
LACROCQ
Finding the truth is like
unpeeling the onion. The
further you get, the less
you know. And all the way,
everybody weeps. And when
you reach the center, you
know what you find?
Robert looks at him anxiously.
LACROCQ
Nothing. There is nothing
there. That's how they're
safe.
ROBERT
Who are 'they'? You mean the
Bilderberg Group?
Lacrocq shakes his head, annoyed, and paces the room.
LACROCQ
No - you're asking the wrong
questions. You should ask -
who aren't they? They are
the elite - the most
powerful members of every
government. They are every
major bank. They are every
major business -
12.
ROBERT
Why are you telling me all
this?
LACROCQ
Because... Because they are
already aware of your
existence Robert. And as
such you have very little
time...
Robert stares at him anxiously.
LACROCQ
I wish there was another
choice, but our hands are
tied. The time is now. You
must crush them before they
strike.
Lacrocq coughs a nasty cough and holds out a file towards
Robert.
LACROCQ
Be careful. The truth is
there. Everything. Dates.
Photos. Transcripts. Evidence.
Robert takes the file and quickly flicks through it.
ROBERT
How can I thank you?
Lacrocq puffs on his cigarette.
LACROCQ
Just stop them Robert. The
future is in your hands.
They keep eye contact.
EXT. DUTCH SUBURBAN STREET - DAY
Robert drives with purpose. Kathleen and Anna are seated
in the back seat. Anna winds up her ballerina toy and
Kathleen leans forward, annoyed.
KATHLEEN
Where are we going?
Robert just stares straight forward, emotionless. He turns
up the radio, ignoring her.
EXT. POLICE STATION - DAY
Robert stops the car next to a police station. He stares
blankly forward.
13.
ROBERT
We're here.
Kathleen looks around, unimpressed.
KATHLEEN
And where exactly is here?
Robert opens the car door.
ROBERT
Wait in the car.
Robert gets out of the car. Kathleen looks frustrated.
KATHLEEN
Where are you going?
Robert turns to them, with a blank expression. He leans
inside the car towards Anna.
ROBERT
I've got a present for you.
Robert hands Anna his camera from around his neck. She
smiles and he kisses her.
KATHLEEN
Robert - what's going on?
You're scaring us.
Robert strokes Anna's cheek and leaves.
Anna looks around, confused.
ANNA
What's wrong mummy?
KATHLEEN
I dunno honey - I'll be back
in a minute. Don't open the
doors for anybody.
Kathleen gets out the car and runs towards Robert.
Robert enters the police station.
Kathleen gets closer to the building...
HUGE EXPLOSION.
The station bursts into flames.
Kathleen is knocked over and her head thumps against the
sidewalk.
Parts of the building land on the family car.
Anna cries. Her ballerina toy plays sweet music.
14.
Flames burst out onto the street, engulfing everything.
Kathleen slowly gets up, but she's in pain.
Her hand goes to her mouth in shock.
KATHLEEN
Oh My God. Oh my god...
Anna stares at the carnage, tears running down her cheeks.
EXTRACT THREE - THE ILLINOIS ENEMA BANDIT
EXT. STUDENT ACCOMMODATION - NIGHT
The Bandit watches a female STUDENT through his infrared
binoculars.
BANDIT
(mutters to himself.)
Nice. Very nice.
The Student is a beautiful blond and she's dressed
conservatively. She is oblivious to the fact that she's
being watched and she carries her groceries back to her
apartment. There are a FEW OTHER STUDENTS around, and one
of them stops to say hello to her.
The Bandit follows her movements through the binoculars.
When she reaches the front door he lowers his binoculars.
INT. STUDENT ACCOMMODATION - KITCHEN - CONTINUOUS
Student enters her apartment, but forgets to lock the door.
She places her groceries on the table in the kitchen.
The Bandit stands the other side of the window, watching
her. He is wearing a ski mask.
Student opens the fridge and places the food inside,
singing an Abba song.
STUDENT
(sings.)
The winner takes it all...
the loser has to fall.
She closes the fridge, and the Bandit is no longer at the
window.
INT. STUDENT ACCOMMODATION - LIVING ROOM - CONTINUOUS
Student turns the TV on. There's a news report about the
Bandit with a sketch of him wearing a ski mask. The
Student doesn't take much notice of it as she goes to the
bathroom to have a shower.
15.
STUDENT
(sings.)
Money money money... it's
not funny. In a rich man's
world.
The Bandit sneaks through the front door and closes it
quietly. He carries a briefcase with him.
INT. STUDENT ACCOMMODATION - BATHROOM - CONTINUOUS
Student is in the shower, singing and scrubbing her body
with a sponge.
STUDENT
(sings.)
Dancing queen, young and
lean, only seventeen...
INT. STUDENT ACCOMMODATION - LIVING ROOM - CONTINUOUS
The Bandit places his briefcase on the dining room table
and opens it. The case is full of enema instruments - a
pair of big yellow rubber gloves, a couple of bath towels,
an enema bag, a thermometer, a tub of jelly lubricant, a
metal pole divided into sub-sections, and bottles with
labels on full of various solutions - salts, lemon, oil,
beer, wine, soap, coffee, baking soda and urine.
The Bandit takes out the pole and puts it together.
INT. STUDENT ACCOMMODATION - BATHROOM - CONTINUOUS
Student turns off the shower and gets out.
INT. STUDENT ACCOMMODATION - LIVING ROOM - CONTINUOUS
The Bandit puts on his rubber gloves and tries to make up
his mind as to which solution to use.
BANDIT
Eeny, Meanie, Miny, Mo -
There's a sound from the bathroom. The Bandit turns
towards it.
The Student comes out of the bathroom as she dries her
hair. The Bandit is hiding but he has left all of his
equipment in the living room next to the sofa. The Student
doesn't notice it, and she goes to her bedroom to get
dressed.
When she comes out she combs her hair and sits down on the
sofa to watch TV. She still hasn't noticed the equipment
because her hair is in front of her eyes as she combs it.
There's a talk show on the TV, and there's lots of
laughing and applause from the audience.
16.
The Student combs her hair back, and notices the equipment.
She is surprised at first, and doesn't know what to make
of it. She puts her comb down and stands up to take a
closer look.
She notices the pole with the enema bag hanging from it,
and she picks up the hose that's connected to it. She
looks at it, and notices the briefcase full of bottles.
She looks at them and picks up the one with urine written
on it.
Suddenly, the Bandit leaps out from behind the sofa and
grabs her from behind.
BANDIT
Nice choice.
She screams as his hand covers her mouth.
EXTRACT FOUR - WALKING DESTINIES
INT. BEN'S HOUSE - NIGHT
Ben and Sarah lie asleep in bed together.
The door handle downstairs is rattled.
EXT. BEN'S HOUSE - CONTINUOUS
There is a clicking sound by the window. The window opens
from outside.
A FIGURE enters the house...
INT. BEN'S BEDROOM - CONTINUOUS
There is a sound from downstairs. Ben wakes up with a
start. He sits up in bed. He's sure he's heard something.
He looks anxiously around, then gets out of bed.
Sarah stirs, but turns over without waking.
INT. BEN'S STAIRS - CONTINUOUS
Ben goes downstairs, slowly and unsteadily.
INT. BEN'S LOUNGE - CONTINUOUS
Ben enters the lounge. His hand traces the tables in the
darkness, and comes across a gun. He picks it up and holds
it in front of him.
Someone runs up the stairs. Ben turns sharply and runs
after them.
17.
INT. BEN'S STAIRCASE - CONTINUOUS
Ben reaches the bottom of the stairs when he hears two gun
shots firing into Sarah's bed. Ben can't see who fires the
gun, but he reels away.
There is movement upstairs.
Ben regains his composure and turns towards the stairs.
He waits a second, but no one comes down the stairs.
He runs up the stairs, slowly and unsteadily. He reaches
the top of the stairs...
INT. BEN'S BEDROOM - CONTINUOUS
Ben goes to his bedroom. He kicks in the door, gun poised.
But he can't see anyone. He turns sharply for fear of
someone being behind him. But there's no one there.
INT. BEN'S SPARE ROOM - CONTINUOUS
Ben kicks in another door. Empty. He gets to the last
door, and hesitates.
INT. BEN'S SECOND SPARE ROOM - CONTINUOUS
Ben kicks in the door and sees a man in the darkness
beside a typewriter.
Someone is behind him!
He turns sharply but can't see anyone.
He turns back and sees himself by the type writer!
He looks wildly around the room. Someone has typed a
message on the paper by the typewriter.
'What a strange dream you're in. Reality has never been
so fragile... clues are everywhere... but solutions are
never so easy.'
Suddenly someone opens the door. Ben turns towards it, gun
in hand.
BEN
I've got a gun...
The person in the doorway is silhouetted against the light.
VOICE
It's Ben Fielding isn't it?
BEN
Turn on the light. Slowly!
Slowly the figure's hand goes to the light switch...
18.
The lights come on in the room.
Alistair stands in the doorway. Ben stares at him in shock.
BEN
What the hell are you doing
here?
ALISTAIR
I could ask the same about
you.
Ben looks around the room and sees that it's Alistair's
office...
ALISTAIR
I saw the light on as I was
passing. I came up to
investigate. So what's your
excuse?
BEN
I'm catching up on work.
ALISTAIR
In my office?
Silence.
ALISTAIR
How much do you know?
Ben looks anxious.
ALISTAIR
If I were you I'd have done
some investigating. It comes
naturally to our sort. You
see, we're a breed apart.
So what did you find? Murky
skeletons in the cupboards?
BEN
There are always skeletons.
ALISTAIR
There are always cupboards.
Alistair sits down opposite Ben.
ALISTAIR
Show us your cards.
BEN
We sell arms to dictators
through TanTech Limited.
Antoc have a holding
interest. And I'm on the
bank roll -
19.
ALISTAIR
Why does that surprise you?
BEN
Because we're so powerful.
ALISTAIR
Power attracts power. You
denigrate that power by
admitting failure. We never
admit failure.
BEN
People are dying!
ALISTAIR
Ah, please. Are you turning
into a God damn liberal now?
BEN
Did you send the messages?
ALISTAIR
Show me what you have.
Alistair stands and goes to the drinks' cupboard. He pours
himself a drink while Ben hesitates.
BEN
Antoc owns subsidiary
companies to hide it's dirty
work. Governments are
bribed... arms are sold to
terrorist dictatorships.
Chemical weapons, nuclear
weapons, any sort of
weapons...
ALISTAIR
You're not bad Ben. Though
of course I couldn't
possibly comment.
BEN
You control the media
through Calypso
communications. You stem the
information flow to cover
up deaths. How many bribes?
How much money? How many
deaths because of us? I know
what you've done in my name -
ALISTAIR
Then you know that you're
already one of us. And to
not be a part of it would
be to destroy yourself.
(MORE)
20.
ALISTAIR (CONT'D)
And your family. Now get to
the point.
BEN
Haven't I already made my
point?
ALISTAIR
Is that all you've found?
Wasn't the trail more
obvious? I seem to have
overestimated you. Just out
of curiosity - what was in
the box?
Ben suddenly remembers the flash of gun fire into his
wife's bed. He turns quickly and runs from the room.
Alistair smiles.
EXTRACT FIVE - DO YOU LIKE WORMS?
EXT. CAR - TOWN - DAY
The car with Danielle, Melinda and Angela in it drives
into town.
The place is poor and run down. There are DRUG DEALERS and
PROSTITUTES on the streets. The atmosphere is squalid and
bleak.
EXT. TOWN - DAY
Danielle, Melinda and Angela walk around. Danielle smokes
a cigarette.
ANGELA
I can't believe it. What
happened to this place?
DANIELLE
Same as it ever was.
ANGELA
Are you kidding?
They look over at the Prostitutes.
DANIELLE
When you're a kid everything
looks like peach floss.
Danielle notices Melinda staring out into the distance.
21.
DANIELLE
What is it?
MELINDA
It's over there.
They turns and stare at the old decrepit cabin.
Melinda walks over to it, followed by Danielle. Angela is
more nervous, and she watches them walk towards it.
EXT. CABIN - FRONT YARD - CONTINUOUS
Danielle, Melinda and Angela stand in a rough and unkept
front yard. Danielle holds a rusty old can, which she
drops to the ground. They stare at the old decrepit cabin.
DANIELLE
Who's going first?
ANGELA
Not me, that's for sure.
Danielle goes up to the house and stares in through the
window... but the windows are so dirty that she can't see
anything.
Angela and Melinda stand by the gate, anxious about
entering the place.
Danielle has no fear. She goes to the front door and
hammers on it.
ANGELA
Danielle -
Danielle turns towards her, surprised.
DANIELLE
What?
ANGELA
That's loud enough to wake
the dead.
Danielle laughs at her.
DANIELLE
I've wasted enough time on
this shit already.
Danielle hammers on the door again, louder and longer.
Nothing happens.
Angela turns to walk away.
ANGELA
Well we tried -
22.
Melinda grabs Angela's arm and shakes her head slightly.
Danielle smiles.
DANIELLE
Have we learnt our lesson
yet Melinda?
Danielle shakes her head as she goes around the back of
the house.
EXT. CABIN - BACKYARD - CONTINUOUS
Danielle looks in through the windows, but they're so
dirty that she can't see anything.
EXT. CABIN - FRONT YARD - CONTINUOUS
Melinda takes a step towards the cabin.
MELINDA
I'm going in -
Melinda walks towards the cabin.
ANGELA
Are you crazy? Let's wait
here.
Angela looks around at the silent, eerie forest, and
follows Melinda.
EXT. CABIN - BACKYARD - CONTINUOUS
Slowly, reluctantly, Angela and Melinda come around the
back of the house.
ANGELA
His parents are bound to
have moved on by now anyway.
Danielle brings out a cigarette and lights it. She notices
some more rusty cans on the ground.
ANGELA
And if they're not - what
the hell we gonna say to
them anyway?
MELINDA
Maybe, sorry?
DANIELLE
They'll probably thank us
for doing it.
Melinda and Angela get nervous eye contact.
23.
Danielle approaches the back door, which is boarded up.
However, one of the boards has been torn off and there's
a hole. She kneels down and peers through the hole.
INT. HOUSE - DOWNSTAIRS - CONTINUOUS
Danielle leads the way. Angela and Melinda nervously
follow...
The place is a real mess, full of dirt and grime. It is
also very dark.
Danielle moves from room to room without fear... Angela
and Melinda are afraid.
INT. HOUSE - LOUNGE - CONTINUOUS
Danielle enters the room.
On the table is a meal fully laid out, but the food is
infested with maggots.
DANIELLE
Nice.
Angela sees the sight and grimaces. Melinda looks anxious.
DANIELLE
Worms -
Danielle smiles, very self assured, as she looks at
Melinda and Angela.
Angela steps on a rat which squeaks. She leaps away from
it, and holds onto Danielle. Danielle pushes her away.
DANIELLE
There's nothing here.
MELINDA
What about upstairs?
Angela looks towards the steps, afraid.
MELINDA
I'll go.
DANIELLE
Okay Melinda - you go first.
Danielle and Angela watch Melinda as she goes up the stairs.
INT. CABIN - UPSTAIRS - CONTINUOUS
Melinda looks in one of the bedrooms, but it's empty.
She enters another...
24.
INT. CABIN - DELSIN'S ROOM - CONTINUOUS
There are lots of tin cans on the shelves, and worms
wriggling on the floor. There's also a single bed in the
corner.
Melinda picks one of the cans up and looks inside... It's
filled with fresh worms.
She puts the can down and notices some pictures and
writing on the wall, done using crayons.
There's a drawing of a super hero called Worm Man...
Another drawing shows two worms kissing with a big heart
above their heads...
Another has a nasty father figure beating a boy with a belt.
In the final picture, Worm Man comes to the rescue and
beats up the father.
INT. HOUSE - BATHROOM - CONTINUOUS
Danielle, followed by Angela, go into the bathroom.
Danielle looks in the bath... The bath gurgles, and a few
worms bubble out from the plug hole...
Danielle frowns as she moves towards it...
ANGELA
What is it?
Danielle keeps staring at it...
ANGELA
What is it?
Danielle stares at it as she moves closer to it...
INT. CABIN - DELSIN'S ROOM - CONTINUOUS
Melinda leaves the room, and enters the last bedroom at
the end of the hallway.
INT. CABIN - DELSIN'S FATHER'S ROOM - CONTINUOUS
Melinda pushes the door, and it creaks open.
Flies buzz round everywhere. The room is empty, apart from
a large double bed.
Melinda walks over to the cupboard and opens that.
A stream of flies shoot out.
Buzzing everywhere.
25.
She stares at something horrific and screams...
INT. HOUSE - BATHROOM - CONTINUOUS
Danielle moves closer to the plug hole...
Suddenly there's a loud gurgle of water and worms spew out
from the plug hole.
Danielle falls to the floor. Angela stares at it, surprised.
Melinda stands in the doorway. Her face is ashen.
MELINDA
There's something you better
look at.
Danielle and Angela turn to her, anxiously.
INT. CABIN - DELSIN'S FATHER'S ROOM - LATER
Danielle and Angela stand there, staring inside the
cupboard, holding cloths over their mouths.
Melinda sits on the bed, rocking back and forth, horrified.
ANGELA
What is it?
Danielle shakes her head.
In the closet is Delsin's Father... His arms dangle to his
side. He has no clothes on, and his face and body are
rotting and full of puss. His mouth is open... worms slide
out from it.
Angela is really freaked out. She looks around manically.
ANGELA
What the hell are we gonna do?
DANIELLE
Just leave everything as we
found it.
Melinda stares blankly forward.
MELINDA
We should be used to doing
that by now.
Danielle goes menacingly to Melinda. She grabs Melinda's
face and makes her look at her. Melinda smiles back,
sarcastically.
MELINDA
I suppose I did this as well?
Danielle keeps hold of Melinda's face.
26.
DANIELLE
You're as much involved in
this as us.
Danielle looks around.
DANIELLE
Now let's get out of here.
MELINDA
We can't just leave him like
this?
Danielle shakes her head and walks away.
Melinda turns back to the body and gives it the last rights.
EXTRACT SIX - THE PRINCESS
EXT. UNIVERSITY OF CASABLANCA - DAY
Bobby walks alongside a UNIVERSITY PROFESSOR. The
University Professor is aged fifty, has gray hair and a
bushy beard. They walk through an alleyway in the main
quad of the University.
UNIVERSITY PROFESSOR
Quite often the locals
create a myth in order to
increase their prestige in
society. That's been
happening for thousands of
years. All over the world
in fact. Witches were often
disenfranchised poor women
who found they could acquire
wealth and kudos through
black magic.
University Professor stops and stares at Bobby.
UNIVERSITY PROFESSOR
So what makes you think this
is any more serious?
Bobby keeps eye contact.
UNIVERSITY PROFESSOR
It sounds like a classic
case of a local having a
joke at your expense -
BOBBY
Except everyone from the bus
is dead.
University Professor stops and smiles.
27.
UNIVERSITY PROFESSOR
So thank your lucky stars
and move on.
BOBBY
Listen to me... There's
something going on. I was
given this Hamsa charm -
Bobby takes out the Hamsa Hand Charm and holds it out
towards University Professor.
BOBBY
And was told it would bring
me good luck. But it seems
like I'm experiencing the
complete opposite.
University Professor takes the Hamsa Hand Charm.
UNIVERSITY PROFESSOR
Are you stupid Bobby?
Bobby looks annoyed. Professor laughs.
UNIVERSITY PROFESSOR
Well of course you're stupid.
You're American.
University Professor smiles as he analyses the charm.
UNIVERSITY PROFESSOR
This isn't a Hamsa. Hamsa's
are a hand with five
digits - not six. They are
thought to have brought
deliverance from Egypt for
the people of Israel. They
have nothing to do with
Islam - nothing to do with
death - and absolutely
nothing to do with this
charm here.
Bobby looks at him, surprised.
UNIVERSITY PROFESSOR
You see - whoever told you
that is lying. Or, more
likely, pulling your leg.
BOBBY
So what is it used for then?
University Professor spots something. He looks at it
closely. Suddenly, he turns pale, and becomes agitated.
He holds his heart.
28.
BOBBY
Are you okay?
University Professor keeps staring at the charm.
BOBBY
Professor.
University Professor stares just at the object.
BOBBY
Professor!
University Professor's breathing is ragged.
UNIVERSITY PROFESSOR
Come with me.
University Professor walks past Bobby. Bobby stares after
him, confused.
INT. UNIVERSITY OF CASABLANCA - PROFESSOR'S ROOM - DAY
Books are stacked up on the table.
University Professor flicks through a book. He is now
wearing reading glasses. There is a packet of pills on the
table.
UNIVERSITY PROFESSOR
I'm sure I've seen it...
University Professor slams the book down. He turns
hurriedly and picks up another book.
UNIVERSITY PROFESSOR
You might really be onto
something -
Bobby watches, fascinated. The books are filled with
colorful drawings and paintings of different religions.
UNIVERSITY PROFESSOR
It might even be from one
of the lost religions -
University Professor turns the page and points at the book.
UNIVERSITY PROFESSOR
There. I knew it existed.
Bobby stares at the book, surprised. In it is a picture
of his 'lucky charm'.
UNIVERSITY PROFESSOR
It is not a Hamsa Charm -
it has nothing to do with
the Koran.
(MORE)
29.
UNIVERSITY PROFESSOR (CONT'D)
It pre-dates Islam by at
least a thousand years...
Bobby stares at him anxiously.
UNIVERSITY PROFESSOR
It's exact purpose is
shrouded in mystery.
University Professor turns the page over to reveal an
intricate drawing of a Woman belly dancing. Bobby looks
at it, fascinated. Behind the Woman is a fire. She tempts
some Men into it.
UNIVERSITY PROFESSOR
Folklore suggests that the
owner of the charm is
bewitched by an ancient
Princess -
Bobby stares at the picture.
UNIVERSITY PROFESSOR
And offered eternal life and
bliss -
All Bobby's attention is just on the picture.
INT. HOTEL ROOM - NIGHT (FLASHBACK.)
The Princess is naked and writhes on top of Bobby.
EXT. UNIVERSITY OF CASABLANCA - PROFESSOR'S ROOM - DAY
Bobby gets closer to the picture. It becomes more and more
real. All his attention is on the picture.
UNIVERSITY PROFESSOR (O.S.)
And more joy than is humanly
possible -
INT. HOTEL ROOM - NIGHT (FLASHBACK.)
The Princess gets on top of him as she writhes and
wriggles in ecstasy, her arms swirling upwards to the skies.
Bobby is underneath her. His face is total ecstasy.
He groans as he climaxes.