§§§§чЦџџџџџџџџ2Final Draft, Inc. Final Draftєєџџџџџџџџ'nFFFF000000060002000177AA000000000088000000002000110190491000Т480048-2581295420A7128-1‚1F9F1FA31F9F1FA325B80‚‚6400647C312954327FFFF0‚‚1020‚‚4689000010000185C0000005206B140840‚‚5811D2E02CD6AC03CC0002D41652E018106B1DB140840‚‚37E11D7402CD6C603CC00273411D7402AC0DB114A740840‚‚74011DA1E2C86C903CC003A1211DA1E251014A71AD040840‚‚A1E11DDB02CF60503CE004D9811DDB021201AD0210C40840‚‚DB011DF782CD62E03CC004F6C11DF781780210C275140840‚‚101611D148C2CD62903CE0061480182148C23F027512DB440840‚‚148C11D178E2CD63403CC007178211D178E25F02DB4344340840‚‚178E11D1AD82CD67B03C80081ACC1961AD821B034433A5F40840‚11AD811D1E522CD5FD03CE0091E3A11D1E521EF03A5F409540840‚‚1E5211D21482CD61903CC00A213C11D21481E104095476240840‚‚214811D24622CD6AF03CC00B245611D24621E8047624D8F40840‚‚246211D28002C861F03CC00C27F411D280017804D8F53AE40840‚‚280011D2B4A2CF5F503CE00D2B3E1652B4A284053AE5A0E40840‚‚2B4A11D2EC42CD62C03CC00E2EB811D2EC428205A0E604840840‚‚2F9211D33602CD63103CE0010334829533602CD06048671140840‚‚336011D379A2C869A03CC0011378E11D379A25F067116D6E40840‚‚379A11D3B502CD64303CC00123B441653B5021406D6E739E40840‚13B5011D3E9A2CD62B03CC00133E8E1653E9A1810739E7A8A40840‚‚3F5011D438A2CD6D503CC0015437E11D438A1B707A8A810540840‚‚438A11D47702CD67203CC0016476411D47701550810587A040840‚‚477011D4A422CD67103CC00174A3611D4A4223C087A08E5C40840‚‚4A4211D4D802C86BB03C800184D741E34D801E308E5C952F40840‚‚4D8011D50CA2CD6B603CC001950BE11D50CA1E10952F9C3240840‚‚50CA11D54442C86FC03CC001A543811D544414709C32A2BA40840‚‚544411D58E02CD65503CC001C58D411D58E027B0A2BAA98940840‚‚58E011D5AE42CD6C603CC001C5AD811D5AE41550A989B02B40840‚15AE411D5D6E2CD66A03CC001D5D6211D5D6E29E0B02BB6BB40840‚‚5D6E11D60E82CD66B03CC001E60DC16560E82610B6BBBD8440840‚‚60E811D65602C869D03CC0020655411D656024A0BD84C49E40840‚‚656011D686E2CD70803CC0021686211D686E1940C49ECB0A40840‚‚686E11D6A422CD63F03CC00216A3611D6A422510CB0AD76640840‚16A4211D73302C8C5603CC0024732416573301880D766DD8E40840‚‚733011D772E2CD62203CC0025772211D772E1400DD8EE37440840‚‚772E11D7A242CD5C403CC00267A1811D7A242040E374E9BD40840‚‚7A2411D7D322CD61703CC00277D2611D7D322740E9BDF01440840‚‚7D3211D80342C863B03CC0028802811D80341DA0F014F68340840‚‚803411D831E2CD65603CC0029831211D831E1C50F683FD4240840‚‚831E11D865C2CD69603CC002A8650165865C27D0FD421037A40840‚‚865C11D896A2CD60103CC002B895E11D896A29701037A109C840840‚‚896A11D8C602CD61303CC002C8C5411D8C602B30109C810FF740840‚‚8C6011D8F4A2C862903CC002D8F3E11D8F4A140010FF71168840840‚‚8F4A11D91F82CD66E03CC002E91EC11D91F820B01168811D0A40840‚‚91F811D94FA2C867E03CC002F94EE11D94FA132011D0A1231D40840‚‚94FA11D98982C860E03CE003098801AD98981C901231D1294C40840‚‚989811D9C1E2C862803CC00319C121659C1E18F01294C12F6A40840‚‚9C1E11D9F682CD61903CE00329F501AD9F681C9012F6A1358D40840‚‚9F6811DA2CA2C860E03CE0033A2B21ADA2CA23901358D13C7640840‚‚A2CA11DA5D82CD6C603CC0034A5CC11DA5D820B013C761440740840‚‚A5D811DA9162CD76C03CC0035A90A165A91626101440714F3A40840‚‚A91611DADFA2C8AF703CC0037ADEE11DADFA2BA014F3A1570040840‚‚ADFA11DB1742CD7B803CC0038B168165B1741C001570015D6A40840‚‚B17411DB4762CD64B03CC0039B46A165B476237015D6A163AF40840‚‚B47611DB7D82C163603C8003AB7CC147B7D81A90163AF169EF40840‚‚B7D811DBB8E2CD62803CC003BBB8211DBB8E1BE0169EF170A940840‚‚BB8E11DBEB42CD68903CC003CBEA811DBEB426D0170A91780D40840‚‚BEB411DC2B22CD73803CC003DC2A611DC2B224A01780D17E8140840‚1C2B211DC59C2C864B03CC003EC59011DC59C235017E8118A4E40840‚‚C59C11DCBD02CDBBD03CC0040CBC411DCBD0186018A4E18C0A40840‚‚CBD011DCD522CD17F03CC0041CD4611DCD522C1018C0A1931940840‚‚CD5211DD0C02CD6F503CC0042D0B411DD0C01CC0193191998140840‚‚D0C011DD49A2C866203CC0043D48E165D49A1880199811A0F740840‚‚D49A11DD8142CD76A03CC0044D80811DD81416A01A0F71A78C40840‚‚D81411DDB9A2CD65F03CC0045DB8E11DDB9A29001A78C1ADCE40840‚‚DB9A11DDEC02C863503CC0046DEB411DDEC017101ADCE1B41A40840‚‚DEC011DE3682C863203CE0048E35C182E36823101B41A1BB8240840‚‚E36811DE75A2CD74D03CC0049E74E11DE75A1D301BB821C20A40840‚‚E75A11DEAA42CD66703CC004AEA9811DEAA41FD01C20A1C86840840‚‚EAA411DEDCA2CF62C03CC004BEDBE11DEDCA27401C8681CEA140840‚‚EDCA11DF1982CD61903CC004CF18C165F19823E01CEA11D51C40840‚‚F19811DF51E2CD63D03CC004DF51211DF51E2C801D51C1DB4140840‚‚F51E11DF9422CD61F03CC004FF936165F94218801DB411E1C040840‚‚F94211DFC682CD65A03CC0050FC5C11DFC6821901E1C01E83D40840‚‚FC6811DFF8E2CF64303CC0051FF8211DFF8E2AC01E83D1EEA640840‚‚FF8E11D103802C866103CC0052103741651038019601EEA61F53F40840‚‚1038011D107DE2CD67C03CC0053107D211D107DE1E101F53F1FD0240840‚‚107DE11D10C322C87A503CC005510C2611D10C321E801FD02205B840840‚‚10C3211D110902C888C03CC00561108411D1109023C0205B820C0140840‚‚1109011D113B62CD61503CC0057113AA11D113B6282020C012127740840‚‚113B611D117482CD65503CC00581173C16511748245021277218A840840‚‚1174811D11A922CD60E03CE005911A7A11D11A9220B0218A8226D740840‚‚11A9211D122782CDE1603CC005C1226C11D122781C50226D7230CF40840‚‚1227811D129542C89F8038E005E1293C11D1295411D00002000006B7000000006B1,EXT. LINCOLN HIGH SCHOOL - DAY A swarm of students make their way inside a large urban high school. If it weren't for the yellow school buses out front you'd think this mass of young people were heading into a factory. It is early December, the skies are fairly clear but in the far distance a patch of darkness creeps slowly toward the school. On the side of the school building are Paul and Lisa, two seventeen year old high school seniors enjoying the last inch of a cigarette. In their minds, this is worse than smoking pot. Pot never killed anyone. Lisa is attractive -- make not doubt about it -- very attractive but dresses down because she is honestly self-conscience about it. Paul is somewhat handsome and could have been an athlete but passed on "organized" activities long ago. Lisa wants one more "hit" before going inside and has to hit Paul, who is also listening to something on his Ipod, to get a reaction. She gets what she wants then notices that they both better hurry or they will be late. LISA Come on dumb ass! Better move or we'll be late. PAUL Pipe down, I think there's some curse if you stop listening to Zeppelin before the song is actually over. I don't need any curse putting the whammy on me. LISA OK?....... Whammy? So, is this now your attempt to all the sudden be cool, or hip or whatever it's called? PAUL (philosophically) It? And just what the hell is "it"? LISA Oh Jesus, let's go. If we're late," it" means detention and "that" (using her fingers to mimic quotation marks) means no game. OK, I've sold out and admit that I want to go to the game. If there's anything we all share in common it's that we all hate Kennedy High School. Yep, Kennedy vs. Lincoln, the big one. 000200000706000006B1700,PAUL (agreeing) Total and absolute. Hey, didn't both those dudes get shot. EXT. MAIN ENTRANCE TO LINCOLN HIGH - DAY. Lisa and Paul run like hell to make it inside the building. Paul flicks the cigarette to the side and stuffs the Ipod into his Army Jacket. They get to the door, Lisa reaches for the handle and bang! The bell goes off and, on this day, it couldn't be louder. From inside, Mr. Hoskins with his long face, thick glasses, white shirt and black tie has positioned himself to do what he does best -- lock the door. HOSKINS Well.....Well, Well. Sorry guys, you didn't make it. PAUL What! (under his breath )Oh, fuck off Loser! HOSKINS (stunned slightly) What?....What, what?. LISA (pointing one finger) Come on. Please. We were one second late. One second. One. HOSKINS And that "my pretty" is one too many. You know what they say. (pause) Come on, you know what they say. (bigger pause) Lisa and Paul have nothing to say. Nothing to offer. They will not beg any further. HOSKINS (CONT'D) Going once, twice...come on, you know what they say (pause) DETENTION! Hoskins, and this was something he thought of, pulls out a Red Card, the size of a standard 4 x 6 index card. HOSKINS (CONT'D) That's what they say:" Detention!" CUT TO BLACK START MAIN TITLE SEQUENCE The main credits of the film play over a montage of events that fill out the rest of a "typical" high school day. We see the standard array of school events and activities, inside and outside the classroom. Reciting the Pledge of Allegiance, teachers giving instructions, students taking notes and raising their hands, kids in lines at the cafeteria, gym class where a fight breaks out, music class where a small orchestra is playing, science lab, strolling the halls, opening lockers and smoking in the lavatories. 0002000006FC00000DB16F6,Every so often, throughout this Title Sequence, we see some kid, break some rule and get nailed with "Detention." Sadly, for each student, they must first endure the embarrassment of getting caught, then the humiliation of having Mr. Hoskins read them the proverbially "riot act." One day, the students will probably get together and tell this guy he just isn't all that funny. And make no doubt about it -- Kennedy vs. Lincoln is definitely the big event for this day. The images from the school's Pep Rally will highlight this opening Montage. We see the basketball team take the court, cheerleaders jumping up and down, the school band marching in and playing the "fight song," speeches from the team captain, the head coach and the Principal, a packed gymnasium going wild and JFK being hung in effigy- an activity that several faculty members scramble to stop and admonish those involved. Big Game. EXT. HIGH SCHOOL HALLWAY- LATER THAT DAY 3:30 p.m. The school day has ended. Lisa and Paul, from opposite directions come together in the middle of a hallway and start their walk to the designated Detention classroom. As they slowly move towards the center of the school building, a wave of fellow friends and classmates glides past them in the opposite direction all making a bee line for the exit doors. The buzz, literally bouncing off the walls, is about the championship basketball game just hours away. There is also an urgency in the air about making it across town and beating the incoming storm. CLASSMATE 1 Sorry, dudes, you guys got screwed. Gotta go! CLASSMATE 2 Make that screwed big time Royal! This only makes Paul and Lisa all the more dejected. And in total, not only are they going to miss the game of the year-- they will be bored stiff for one solid hour. 00020000062F000014A7629,LISA (dejected) What a waist. So, tomorrow I'll get to hear every last detail about the game from everybody I hate. PAUL At least it will be slanted to our side. Just think, if we win, we win. But, if we lose then we were cheated. I guess......we don't even have to go and we already know how it's going to turn out. LISA (mocking him) That's right! But, back here on planet Earth, I'd still like to go. Just a few yards in front of the Detention class door, they are joined by another disgruntled student. This is Denzel, a black hip-hop aficionado, small time drug dealer, big time drug dealer want to be, dressed in the finest 'gangsta' threads of the day. He is also mad about missing the game. Big crowd- big game- big money. Flushed. DENZEL This is fucked! Something is definitely wrong here. I got nailed with this Bullshit and I didn't do a damn thing. Is there some way to appeal this pile of crap! PAUL Oh...yeah...you talk to that dude right over there. (pointing at the Detention Supervisor) DENZEL Fuck you, that shit head wouldn't cut me slack if I pointed a gun in his face, pulled back the hammer and said: "I have a dream." PAUL Yep, that dude is not cool…… and they shot that other guy DENZEL Shot who? Maybe a bit over-dramatic but not entirely untrue. The Detention Supervisor today is assistant football coach Ed Littick, 40 years old, built like a small tank, crew cut, just downright mean. For some reason, he lets his coaching style carry over into the history class which he also teaches-doesn't make any sense why. INT. DETENTION CLASSROOM. LATE DAY. 00020000064200001AD063C,Mr. Littick leans back against the blackboard and watches as today's detention-bound students file in one by one. LITTICK (barely audible) Come on in you worthless little shit heads.(then cynically) Hurry students, yes hurry. Please find a seat so we can begin class. (pause) Scum. They walk in and take a seat- this group of detained. First, there is Kelly, a blonde, cover-girl babe. 100% knock-out. She was caught cheating -- on a test. Then, "Mr. Four Eyes" Harold, a pompous, rich kid "know it all" snob. What got him here was some smart ass remark he made to his English teacher. Rachel and Sam, the classic, middle class, milk toast, yearbook couple of the year. How did they end up here? Next, Denzel. We've already met him. He punched somebody in the face during gym. Then, Sara. Slightly overweight, smart, homely, bitter. For the tenth time she forgot her locker combination so he pried it open. They say that some girls do and some don't. Sara does not. Brad, call him a surfer dude or hippie stoner type. He's just not very bright. Big and clumsy, Brad leaned over and a joint fell out of his shirt pocket --- while handing in some assignment --- on the teacher's desk. Also in attendance is his opposite, Markus, the Goth rocker. Dressed in black, he also has jet back hair and sports black finger nails. Kind of ugly overall. And finally, Jenel- a buxom, obscene, latin- blood hottie who wears too much make-up and too much perfume. Smokin in the boy's room -- that right, boy's room. Most of these kids deserve to be here but, you know how the story goes, they are all innocent. 00020000064B0000210C645,SAM I waited forever to get two damn aspirins. Shit, it took her (the nurse) like 20 or 30 minutes to find them. So I'm late to my next class and get detention. They go to check it out and old Krajeck is gone. So, they don't believe me and....here I am. KELLY Quit complaining. BRAD I lost my joint. MARKUS In today's world, you're what's known as: "a total fuck up." BRAD And you're what's going to be known as the weirdo who got his ass kicked. JENEL Tell it boyz. Hey, Does anyone have any smokes? SARA (interrupting) I went down to Krajeck's office for a bandage and asked her if I could be cleared to go home because I cut up my hand pretty good. But Noooo. No. Steaming old sack of dog shit. LITTICK (breaking in) Hey, Hey, Old fart Krajeck has seniority around here. OK, so how many of you turds know what that means? Seniority. HAROLD (raising his hand, then speaking immediately) It means............. LITTICK Shut up Harold. This classroom is a dictatorship and I am the dictator and since you're a sniffling candy ass Homo, I hereby declare you to have no rights. So, shut the fuck up. Everyone laughs. Harold slinks down into his seat, willing to accept the "seen, but not heard' rules. HAROLD (very softly) Idiots. JENEL That word means she's old and she's been around here way too long. LITTICK OK, close enough. And now, it's time to collect all the cell phones. No calls from here when I'm out doing the rounds. Not unless we want Denzel to take that call from his mother begging him to bring more crack home. DENZEL God damn. LITTICK Shut up Denzel. PAUL (looking at an aghast Lisa) 00020000066900002751663,Whew.... At this point, Paul and Lisa don't know what to think. There could be a brawl at any second. But, everybody chills. Littick strolls around the classroom collecting all the cell phones then, without any concern, tosses them hard onto his desk. Lisa looks out the window next to her desk. She watches as cars and school buses take off and drive away. The wind kicks up. It's also classic Winter weather- cold, bleak and gray. At this time of year it gets dark at around 5 p.m. but today, in some strange manner, darkness has moved in much quicker. A cold chill hits the window. Cold enough for Lisa to feel it, though inside. The storm clouds are getting closer. LITTICK OK...let's see.....the assignment....what can keep your pea sized brains activated for one hour. This is going to be tough. (thinking it through) Issues, yeah, that's it. This country of ours is faced with major issues. KELLY Like feeding the hungry! LITTICK Yes, good Kelly, Hungry people need food. Kelly beams with excitement because of the contribution she has just made to this all-important discussion. LITTICK (CONT'D) Here's the bottom line. Just think of some problem that you don't have to deal with and will never have to deal with for the rest of your lives. Concentrate on those "social" issues. List three -- write two pages on each. And if I get a bunch of blank pages, don't worry, I'll understand. Morons. Littick motions to leave the room and start his "once over." The Detention Supervisor is also stuck with going through the entire school and to check all the doors, all the windows. To make sure all is locked up --- safe and sound. 00020000069500002DB468F,But before he can exit, the one and only Nurse Krajeck, still in a solid white uniform and cap, slides in. Old, yes, but not that old. And in her day, she was probably quite good looking. You could even say attractive. She has slightly gray brunette hair, a tight face and over the years has maintained a very healthy physique. Straight-forward, no-nonsense but, something is also odd about this woman. She seems pre-occupied, damaged. KRAJECK Well, I hate to rub it in but I am "out of here." Big game. Better leave now, or else. LITTICK Oh yeah, it's the big one, the biggie that I'm going to miss. I'll live. KRAJECK I bet you do.... OK, you know where everything is, in case anyone gets sick, or "acts" sick. With that said, Krajeck leaves in a hurry. JENEL Seniority. Littick shoots her a glance then prepares to exit himself. Grabbing a ring of keys upon leaving, he locks the door to the classroom. This is also standard procedure. If he didn't, half the kids inside would bail. INT. HIGH SCHOOL HALLWAY - LATE DAY Littick walks down the hall. For the first time we hear distant thunder accompanied with the crack of lightning. LITTICK Sad, pathetic, and then look at me. It's a long, sterile hallway. Dimly lit. Except for his footsteps, everything has gone silent. With metal lockers lining both sides it couldn't look more like an empty, hallow institution. INT. DETENTION CLASSROOM- LATE DAY. Inside, we see that the students, all dead silent, listen intently to the receding footsteps in the outer hallway. We hear the footsteps fade, fade, then a door opens and closes—-the footsteps gone followed by the rolling rumble of thunder. PAUL Fuckin' A. Glad he's gone. 0002000006220000344361C,HAROLD Maybe so, but I don't like the looks of this storm. Some of the students move to the window for a closer look. Ominous, but this could be quite a "light show." The storm clouds sweep in over the high school. Then in rapid succession- thunder, lightning, rain. Hard rain. KELLY Great, I didn't bring my umbrella today. Oh no, I didn't my raincoat. JENEL Stupid Bitch. BRAD This baby is our ticket home…..when asswipe sees this downpour even he'll want to split. Awesome. PAUL Just one problem. He won't be back for another 30 to 45 minutes. Shit I wished they'd hadn't changed the rules around this place. HAROLD No shit on that. I've heard about people sneaking out and causing all sorts of problems. Once, my old man got drunk, bragged about slipping out of detention, then he and his buddies ran amok inside this place. What a dip shit. DENZEL As I'd expect. My problems caused by a bunch of white dudes. Typical. SAM That's definitely one way to look at it. BOOM! Heavy thunder, then a sharp bolt of lightning illuminates the entire sky followed by a crashing jolt. This baby is for real. The lights inside the classroom flicker on and off. One or two bulbs even short out. The room is now darker. INT. HALLWAY- LATE DAY (DARKER) The "show" carries over to the hallway that Littick now patrols. The lights flicker on and off, leaving the entire area not only darker, but in a much more eerie cast. Littick hears something. Though low and muffled he hears a faint scratching sound. Could there be rats in the walls? Creepy. He then hears other footsteps. 00020000063C00003A5F636,LITTICK Trust me Denzel, this in not time for the Great Escape. Then, for one split second, he spots a human shadow cross the wall down the hallway from him. He walks in that direction. LITTICK (CONT'D) Fucking little shit heads INT. HALLWAY LEADING TO GYM – LATE DAY. Little walks towards a set of double-doors and opens them with some force. Stepping inside, he reaches to his left for a couple of light switches. Then behind him, the lights, one by one come on which reveals a large cavern-like gymnasium. A big empty shell. LITTICK (nicely) Is anybody home? (pause) I hope not. He decides to leave the lights on until he feels a little more satisfied dealing with his unwelcome "wanderer." Sure enough, we hear those footsteps and when Littick turns around he sees the same shadow that again slides across a nearby wall and is gone. INT. HALLWAY NEAR GYM – LATE DAY. Littick, now visibly annoyed, walks down another hallway looking around for the intruder. He stops where several hallways intersect, listens for the footsteps, then makes a left turn exiting our view. Everything goes very still, very quiet for a few seconds. Then, down this long hallway, past the intersection where Littick made his left turn, we now see another, entirely different, group of students. They are not members of our Detention Class. This is a whole new bunch. And, by the looks of their clothes, hairstyles, mannerisms, they are not from this era — the Y2K generation. This group is from the 1970s but they are not out of place. They walk these halls as if they know them like the back of their hand. 0002000006D3000040956CD,BOY 1 We're going straight for the good stuff. Shit worth hocking. Make some moola out of this raid. BOY 2 Good deal. We've got 30 minutes, lets not blow it. Where's Gabriel. Isn't he our look-out. Where is he!? INT. DETENTION CLASSROOM (FROM 1973) - LATE DAY. Sitting alone in the classroom is a tall, gangly and awkward kid. This is Gabriel. He's supposed to be on "look-out" but instead, he'd rather sit and draw. We catch a glimpse of what he is drawing and it's a strange sketch— a barren, moonlit, dreary landscape with a small hill to one side. Sitting on top that hill is a single dead tree with one long and heavy branch. Tied to this branch is a hangman's noose – but there is no body. Either Gabriel has no imagination or one you really don't want to know about. Suddenly, a classic good-looking blonde cheer-leader type bursts into the classroom. This is Diana and she is part of this detention class. DIANA Gabriel, we need your help. Come on. He looks up and hesitates. DIANA (CONT'D) Trust me, this is worth the trouble, but we need your help. Don't be a punk. Challenged like this, he has no choice. He gets up, she grabs him by the arm and the two blow out of the room, slamming the door shut behind them. Our view is directed towards the door as they exit. At this point, the camera pulls back and pans over to a full view of the Detention classroom where our first group of students still sit --- now worried about what is going on. (Production note: we will use this technique from time to time i.e., going from a 'present" day scene to a scene in the "past" or, vice versa, by connecting them with a seamless camera move or pan.) The storm outside has gotten worse and Mr. Littick is now officially late getting back. 0002000006330000476262D,KELLY Can I admit that I am getting a little bit worried. Sara notices something outside. The rain, just by sheer volume, has uncovered a small strange box that sits about ten yards from the side of the school building. The crashing rain has also forced this box open. Something inside has now mixed with the rain water and created a white milky stream that flows right up to the building. SARA Weird. Very weird. Sam has walked over to the door and tries to open it. SAM Oh well, fucker did lock it. Rachel moves over to the teacher's desk and picks up her cell phone. Trying to dial out, she gets nothing but static. It's a loud burst of static that hurts her eardrum. RACHEL Damn, (tossing the phone back on the desk) Ouch. Guess I'll have to call Mom using the pay phone out front. KELLY I don't have any money. DENZEL Got you covered. JENEL Bet you do. The lights again flicker off then on, then off again. INT. BATHROOM- LATE DAY. The lights flicker back on to reveal that we are inside the boy's bathroom. Mr. Littick pushes the door open. When he flicks on the overhead lights, one row of light fixtures work and one doesn't. LITTICK OK, best to give this game up. Trust me, I'll win and whoever is here is going to lose, so Denzel? Harold? Nah, no way Harold. Brad, might as well come out before I really get pissed. Little pushes open one toilet stall- nothing. Then steps back to see what may or may not be under the others. Nothing inside the next two. But then, as he gets to the end of the row, he does see a pair of feet that quickly lift up and out of his view. 00020000062500004D8F61F,LITTICK (CONT'D) You, my friend just got had. And for wasting my time......(bracing himself to kick the door) prepare to get fucked! I/E. THE LAST TOILET STALL. Littick wants to startle his intruder, to get a "jump on" whomever it might be so, he kicks in the toilet stall door as hard as he possibly can. Then he enters the stall and stops dead in his tracks. His eyes widen. In one quick moment, we see in his face a man overcome by sheer horror. HARD CUT TO BLACK INT. HIGH SCHOOL BASEMENT- DAY An elevator door opens. Our student group from the 1970s all bound out of it, including Diana and Gabriel who caught up along the way. The high school basement is also the storage room and inside, along with a lot of junk, are all of the school's A.V. (audio-visual) equipment along with the air conditioning, heating, and electrical systems. For this group, the "prize" are the TV monitors, VCRs, any and all audio and stereo sound equipment. BOY 1 (JACK) Bingo, we hit the jackpot. We'll move the big ticket items outside. Then later... we'll come by and load it all inside my van. This is definitely bingo. BOY 2 (WILL) We are going to have a party this Friday night. Rock on! Jack, the jock ringleader, then looks over to Gabriel who is not too pleased about these shenanigans but is "cool" enough to go along with it. He has to coexist with these guys. BOY 1 (JACK) Gabriel, hey do me a favor. While Will and I move this crap to the door....look inside that room over there. Could be more "merchandise" inside. GABRIEL There can't be a damn thing inside there. 000200000666000053AE660,DIANA (growing more nervous) Just do it Gabriel. Let's get this over with. So once again, to please Diana, someone he truly cares for, Gabriel, opens up the heavy industrial door and steps inside what appears to be a large, dank room with heavy machinery. It is also the room that contains a massive Incinerator. Gabriel walks in further and moves out of view. JACK OK, Girls, go back upstairs and stand guard. DIANA So, what's going on here? JACK Nothing's going on. Go upstairs. Mimi, the only other girl in this crew, and a girl of very questionable means, understands that there is "something" going on and eagerly prods Diana to leave this scene. She grabs Diana by the arm, tugging her towards the open elevator doors. MIMI Let's go. We don't have much time left. Old man Parkins is soon to be back soon. JACK Dig it. Go with Mimi. Everything is OK. Hesitantly, Diana does follow Mimi into the elevator but she is concerned about Gabriel and calls back to him. DIANA Gabriel......OK? Are you OK? Jack is clearly not pleased by the delay. Gabriel though further back inside the incinerator room, steps back into view. GABRIEL (trying to act tough) I'm fine. This room is kind of interesting. Some stuff laying around we could check out. The elevator door closes on the concerned face of Diana. Mimi, standing behind her, looks guilty about something. Kevin, the last of the group now downstairs, walks through camera carrying a number of VCRs to be set aside and stolen later. In short, Kevin is a two-bit punk. Then, we see only a boy's hand reach down and grab a short heavy metal pipe leaning against the basement wall. 00020000064000005A0E63A,INT. INCINERATOR ROOM - NIGHT From behind, we see Gabriel looking the room over, side to side, top to bottom. He then steps forward and opens the large iron incinerator door. Inside, nothing but the remains of burnt files, garbage, newspapers. GABRIEL Well, I take that back. This place doesn't have a damn thing except a bunch of old books...... Boxes.....files..... Suddenly, with Gabriel's back to us, we hear the big industrial door leading to this room close with a loud, metal click. Slowly, sensing that there is something wrong, Gabriel turns around to face us. Standing there, blocking the door, are Jack, Will and Kevin. Will is holding the metal pipe while Kevin, for good measure, holds onto a broken 2 x 4 now the size of a baseball bat. JACK Yes, I guess you could call this an Inquisition of sorts. Bottom line weirdo - you are on trial. GABRIEL What are talking about. So what is your problem, Jack. JACK So, you think stealing my girlfriend, behind my back, is just going to slide by. Like, I don't really give a flying fuck. GABRIEL The last I heard, you guys broke up. True? JACK According to who? GABRIEL According to Diana. At least that's the way she tells it. JACK So, who's asking her? GABRIEL I am. With that, Jack quickly throws a hard punch right into Gabriel's stomach causing him to buckle over. He staggers back slightly then musters up enough strength to land an counter blow right into Jack's face. But, before Gabriel can fully recover, Will and Kevin, in rapid 1-2 succession, each use their makeshift weapons to pummel Gabriel's head. CUT TO BLACK. FADE UP. 0002000006CF000060486C9,INT. HALLWAY - NIGHT Camera dollies slowing down an empty hall then stops at the detention classroom as the door opens. Diana looks out. She checks out the hallway in both directions- nothing. INT. DETENTION CLASSROOM - NIGHT Reverse angle as Diana steps back then quietly closes the door. She is still unsettled. MIMI (off screen) Don't worry, sit down and relax. CLASSMATES (all chiming in) Yeah, relax, they'll all be back soon. Don't blow it. Diana moves slowly back to her seat then looks straight at the camera. Her P.O.V. reveals the current day Detention Class---Paul, Lisa, Sam, Rachel, the whole bunch. Now, not just worried, but downright anxious about their predicament. Littick is a "no-show," and its past five p.m. He is never late. They are locked in, their cells phones get no reception and the blistering storm outside is now shrouded in darkness. Night has fallen. PAUL (attempting to break the tension) Harold, are you done with the assignment yet? Harold, talk to me. HAROLD Yep, War, Poverty, Disease. I'd say those are issues. JENEL I hope so. PAUL Good, when you're done make copies for the rest of us. Littick will never read this shit. DENZEL Yeah, he can't read. Then, with sudden impact -- the big hit. The sky outside flares up, followed by a prolonged, deafening crash of thunder and lightning which tails off with an echo. The lights go off. No "one and off" flicker. Off for good. The Detention class now sits in darkness. BRAD That's it. Littick or no Littick I am getting out of here. SARA He's right. We don't have to stay here....not all night. JENEL You idiots....we are locked in. Totally. In case we didn't mention - these days, because of vandalism, the school windows all have iron bars on them. 0002000006630000671165D,As Kelly sits and listens, she is hit on the head by a drop of water, then another. She looks up to see that one of the ceiling panels is now soaked with water that has leaked in and settled on it. Another drop hits her right in the face. KELLY Great, next we'll all drown. Paul looks up to the ceiling, then everyone looks up. CUT TO- JUST MOMENTS LATER. From inside the space just above the ceiling, a panel is pulled out to reveal Paul's face. The water that has built up drains out and drops to the floor below. The kids down there step back to avoid getting wet. Paul is standing on top of a desk doing all the work. PAUL I swear we can make it this way. I'll pull out another panel so we can get up here. LISA Crawling through the ceiling…..I like it……. Not! (pause) But then again, do we have any other choice. DENZEL Fuck that shit. With my luck I'll jump down right on Littick's head. When it's done just come and get me. sam (sarcastically) Sure.....no problem Dissolve to: INT. DETENTION CLASSROOM- NIGHT. MINUTES LATER Two ceiling panels have been pulled away from the metal grid that supports them. Below, a chair has been placed on a desk to make it easy for everyone to get into the small, cramped, wet crawl space. Inside this space between the panels and the floor above is mainly the ventilation system to either cool off or heat up the high school. Denzel gives lame support to Brad, the last one who needs a boost into the hole. BRAD Thanks bro......we will be back to haul you out of this rat trap. DENZEL Hey, take this serious...you if don't come back to help then my advice is simple: do not come back. 00020000063600006D6E630,INT. CEILING CRAWLSPACE - NIGHT Paul is in the lead. When Brad got in he quickly passed Kelly who is now at the rear. She is scared stiff about this entire adventure. All of them move forward slowly. One misstep and a panel could give way causing somebody to fall down, crashing headfirst onto the hard floor below. LISA Slowly but surely. This is the only way to take it. One small step at a time. SAM (impatiently) Shut up Lisa. You're making me nervous. PAUL Easy back there partner. I see an air duct about 20 yards in front of me...it's probably over the hallway. The camera moves right as our group moves left, enhancing the speed to cover all of them. They're now pretty much tired and scared. They can hear the rain which is coming down hard enough to cause some trepidation. The camera moves past Kelly, in the rear, then past a patch of darkness to the hole caused by the removal of two panels. Through this hole, and framed by exiting panels, there is Denzel looking up with a bit of honest- to- goodness concern. DENZEL (with sincerity) Well, good luck. What a fucking mess. Denzel turns and walks away, exiting our view. We hear voices- familiar voices. It is Jack and Diana in the middle of a heated argument. They both step into view. From time to time they will step out then back into view as their argument grows in intensity. JACK Diana, dippo is going to be ok. Here, have a Coke or here, a candy bar. All free stuff. Thank the School Store for a total lack of security. DIANA I just don't trust you......Gabriel and I have nothing going on. Nothing I tell you. 0002000006F20000739E6EC,MIMI (O.S.) That's not what I hear. CLASSMATES (O.S.) Yeah....not so baby doll. Don't believe her Jack. JACK So, what am I to believe. And he's a fucking weirdo to boot. A Mommy's boy and this cat has one strange fucking mother. Those stories are not good. DIANA Get off it Jack. There's nothing going on between him and his mother. That's perverse. Just the way you would think. MIMI She looks like a witch! CLASSMATES She is a witch. Nasty ass witch. JACK Come on, Diana. It's not me saying this shit. Something is definitely wrong here. Diana puts her hands over her ears. DIANA Fuck off. God damn you. Diana and Jack both exit this view from above. PAUSE Denzel walks back into view and looks up sheepishly. DENZEL Any luck yet? Hey guys........ anybody home? Hellooooooo. Stupid dumb white people. INT. BASEMENT STORAGE ROOM -NIGHT CAMERA DOLLIES SLOWLY TOWARD THE DOOR LEADING TO THE INCINERATOR ROOM. DISSOLVE TO: INT. INCINERATOR ROOM -MOMENTS LATER- NIGHT No one is there. At least no one can be seen inside this room. The heavy iron door on the incinerator, last seen open, is now shut -- shut tight -- closed and locked. But we hear scratching. Scratching coming from inside this burning machine. DISSOLVE TO: INT. INSIDE THE INCINERATOR- MOMENTS LATER- NIGHT. We are now inside the INCINERATOR chamber with GABRIEL. It doesn't take long for him to figure out that he is in trouble. Doomed. He is trapped. This sense of abandonment and dread will soon start to work on his mind. He begins to yell out. Then, he starts banging, first with his fist then with a small piece of metal he finds inside the chamber. He begins to scrape away at the chamber's door, both at the hinges and where the bolt lock closes. His actions to escape echo throughout the school. 00020000068100007A8A67B,INT. CEILING CRAWLSPACE- NIGHT Paul stops for a beat. PAUL I heard something. From the rear. KELLY I felt something. INT. DETENTION CLASSROOM - NIGHT Diana stands up from her desk. DIANA (upset) OK. Enough's enough. Where's Gabriel? The other kids in this detention class have now established a party-like atmosphere having looted the school store of soft drinks and other snacks. But they also react to the storm outside that now seems unusually intense. JACK You just can't deal with it, can you? That asshole has been stuffed inside the incinerator. I'd like to light him up but not even he's worth that much trouble. We're going to let him sweat it out for awhile. In the end, no harm- no foul. During this speech, Will has moved over to block the classroom door. No one is leaving. DIANA God damn you son of a bitch! MIMI Hey baby. Listen to what he said. We just want to scare lover boy. Then, he's all yours again. Relax. Jack and Mimi exchange a glance ripe with sexual overtones. DIANA I promise you....... JACK Do what the lady says.....Relax. The thunder and lightning outside increases. A downpour. INT. INSIDE THE INCINERATOR -NIGHT Our trapped student, Gabriel, also reacts when he hears the thunder and prolonged distant cracks of lightning. Gabriel senses a very bad fate is about to befall him unless he moves quickly. He manages to wedge the mental rod into the crack of the chamber door. There is hope when the heavy metal door begins to open but then the rod suddenly snaps. EXT. LINCOLN HIGH SCHOOL- NIGHT A huge burst of thunder and lightning erupts above the school building. Then, a bolt of lightning hits the school's radio antenna. 0002000006A10000810569B,INT. INSIDE THE INCINERATOR -NIGHT At that very same moment, the pilot light snaps on at the back end of the chamber. Gabriel twists around and maneuvers so he can get to it. He then notices that a small yet steady stream of fire now travels down a pipe that runs down the center and below the grating that he is lying on. This trail of fire very slowly and very systematically ignites a series of outlets on each side of the center pipe. These outlets fire up one by one by one. Gabriel is transfixed by this lethal and methodical process unfolding before him. When finished, all we hear is the low sound of gas exhaust and burning flame. Gabriel turns back to the chamber door and screams out. He picks up the broken metal rod and hammers it against the locked metal door then uses it to scratch violently against the hinges and seam around the door. This scraping is a disturbing and desperate sound coupled with his cry for help. int. detention classroom - NIGHT Upstairs, Diana clearly takes notice while the others continue to goof off and wait out their time in this class. Diana looks to the door but it's still "guarded" by the two-bit punk Will. She steps forward, away from the others to listen more intently. DIANA There's something wrong. Something is very, very wrong. INT. INSIDE THE INCINERATOR -MOMENTS LATER- NIGHT Inside the chamber, Gabriel turns to see that no change has taken place with the series of small flames that surround him. But he realizes that he is in grave danger. He also realizes that he is probably going to die. ext. LINCOLN HIGH SCHOOL -NIGHT Outside and above the school the sky suddenly explodes in a massive display of thunder and lightning. 0002000006C2000087A06BC,This causes a chain reaction strong enough to blow out many school windows. Our group of pranksters upstairs cringe in fear and duck for cover. INT. INSIDE THE INCINERATOR -NIGHT Down below, the chain reaction is strong enough to ignite the incinerator causing a massive explosion and forcing this fiery "coffin" to now operate at full capacity. In a matter of seconds, the roaring flames encompass the entire chamber and engulf Gabriel without pity. He curses those who put him here. From outside we hear him bellow out in horrific pain. The suffering is intense and unbearable. The banging and the scratching is now louder and quickens in its pace. Then, it stops. INT. DETENTION CLASSROOM - NIGHT Diana has heard everything. Her head drops, stunned. She exits frame. CAMERA PANS TO REVEAL DENZEL. Denzel sits alone in an empty room. His buddies have all gone into the ceiling to escape this screwed up situation. But not Denzel. Rain pelts the windows. Only a street lamp about thirty yards outside provide what illumination can seep into this darkened building. He looks around the room. Then he hears something. It is a very faint scratching sound, difficult to hear but still it's there. Scratching. Where is it coming from? Denzel gets up to investigate. He looks up to the ceiling "hole" again but hears nothing up there. He then steps across the room and puts his ear against the wall adjoining the outer hall- nothing. The handle on the classroom door creaks softly as the knobs turns and the door opens ever so slightly. DENZEL Littick! God damn fucking son of a bitch. I bet you money, honey, that you are just the type to wait for this moment. (in mocking tone) No please mistah Littick, I is so sccaaarrred. 0002000006D900008E5C6D3,The door opens a little more. The scratching sound gets louder. DENZEL (CONT'D) Come on dude, I want to go home. Denzel walks over and opens the door. First, he looks to his left and sees nothing. Then he turns to look to his right and at this moment lets out an ungodly bloodcurdling scream. INT. HIGH SCHOOL HALLWAY - NIGHT We see nothing but the blade of a cipher cut through frame. INT. CEILING CRAWLSPACE -MOMENTS LATER -NIGHT The scream was heard. That horrible scream was heard by all in this cramped, dark, wet crawl space. Kelly is overcome with fear and is not able to continue. Whether imagined or not, she looks around, then back, reacting to being surrounded by some "presence" and also feeling that somebody has actually tried to grab her. In short, she's out of here. For the others this is not the time to panic because Paul has almost reached the grating in the ceiling that will probably allow them to get out and home free. Kelly's fear is also becoming contagious. Fear acts that way. SARA Come on Kelly, don't punk out on us now. You have got to hang in there. JENEL Look, everything's good. OK ? KELLY Denzel? Kelly looks back and there is nothing. Either way she decides that waiting it out with Denzel in the classroom is not such a bad idea. She does a complete about face and starts crawling back to where she started -- quickly. KELLY (CONT'D) (Panicking) I'm going back. I'm going back. Back. But then she sees something see did not expect. The two panels taken out to create an opening have now been replaced. Whatever ambient light did come from the classroom below is no longer there. Darkness only leads to more darkness. What panels were pulled out? Where was the hole to get into the ceiling? Yes, time to panic. 0002000007090000952F703,KELLY (CONT'D) (starting to cry) Denzel ! Oh, Jesus Christ I want to get out of here! (screaming) Help. Denzel, help me! No answer. Kelly then starts trembling in fear and this starts to affect the others in the group who watch from twenty yards away. All the others have struggled to reach the dimly lit vent grating just yards in front of them. They call back to Kelly urging her to re-join the group. LISA (as consoling as possible) Kelly, turn around. This is the way out. With no sign of Denzel to help, with no way but back, Kelly turns around again and, with terror written all over her face, she moves without delay to catch up with the other students. BRAD (turning to the others) We have to get out of here. Paul, in forward position, has reached the vent opening. He tries to pull it off but it is wedged into the metal support rods that hold it to the ceiling panels. Next try is to slam down on it but this is also unsuccessful. Then, without warning, Kelly, while making her way back, places her hand on a ceiling panel that breaks slightly, giving way. She screams. Everyone stops breathing. LISA Fuck, do not move. Do not move. She doesn't and, with luck, this incident has been a true blessing in disguise. Looking to her right, Kelly sees another vent opening. For sure, she will not make any attempt to go forward but, motivated by high anxiety, she does quickly make the right turn and heads off to this option. KELLY This way! Trust me, this way! She makes it to the large vent grating and waits for the others, who all slowly crawl and push past the broken panel, making their way to her. The group re-assembles here. Sam is the first to reach her. With the help of Brad, the two are able to dislodge this grating panel which causes it to crash down onto the floor below. 00020000068E00009C32688,PAUL (now speaking from the rear) Good going guys. Kelly, (pause) remind me to kill you later. Nothing will stop these kids as they now eagerly scramble out of the dank ventilation passageway. They all jump to the hardwood floor below --- landing in the gymnasium. Paul scans the dark, thinly visible open space. Through the gym doors, left open by Littick, he sees a large shadow that darts quickly away. LISA (she saw it too) Paul, did you see what I saw. PAUL Yep. LISA (scared) What the hell is going on Paul? BRAD Yeah, dude, what the fuck is going on? HAROLD (tired from the work out) So, what are we waiting for? JENEL Shut up Harold. PAUL (a bit confused) Everything is Ok.....I think? LISA (looking to Paul to agree) I think we'll can get out of here faster if we have two groups searching.....what do you say? (nodding her head) MARKUS Let's do it. INT. HIGH SCHOOL HALLWAY- NIGHT. The camera has become somebody's P.O.V. as it walks down the dark school corridors. Then, it approaches an elevator at the end of a hallway. It enters the open elevator and the doors close sharply. INT. HIGH SCHOOL BASEMENT- NIGHT As seen earlier, this elevator leads to a huge basement- the storage and power room with its old, dusty and rusted array of antiquated maintenance, electrical, phone, heating and air conditioning equipment, plus a very large and imposing Incinerator. Our P.O.V. turns out to be someone dressed in a large black cloak with a matching black hood. Their face is covered. But, when this hood is finally pulled down it reveals Nurse Krajeck. You ask "what the hell is going on?" They call it Revenge. The Mother of Gabriel enters the Incinerator room. 0002000006D50000A2BA6CF,INT. INCINERATOR ROOM - NIGHT Inside, the sinister and criminal minded Mother kneels down onto the spot, in front of the incinerator door, where blood was spilled twenty five years ago. The blood stains, though faded, are still visible. She leans forward and kisses this spot, then pulls out a piece of white chalk and draws a circle around her. Next, she takes out a Holy Crucifix, spits on it, then slams it to the ground smashing it to pieces. Her intent is to make a Pact with the Devil. Satan himself. The Prince of Darkness. She pull the black robe up and over her shoulders, revealing a strange necklace or amulet and her now naked breasts. Next, she takes a small vial containing a strange translucent ointment and pours it onto her naked bosom. Sensually, she rubs the ointment in. Despite her age, she still has a voluptuous body - well worth offering to Satan, her newly ordained master. MOTHER I deny the Creator of Heaven and Earth. I deny my Baptism. I deny the worship I formerly gave to God. I deny the sacraments of the Holy Church and the Blessed Virgin and now faithfully adhere to lord Satan and believe only in thee. She then howls boldly in several ancient middle eastern tongues, some of it backwards, prompting this ceremony that will guide her son back from the Dead. She moves forward and opens the heavy iron door to the Incinerator. In a flash, it ignites on its own, causing huge flames to erupt inside. She rips off and tosses the occult-like amulet into the blazing Incinerator. After retaking her position back within the unholy circle, this Mother then reaches inside a leather pouch and pulls out a handful of teeth which appear to have just been pulled out of somebody's gums. Into the Incinerator they go. 0002000006A80000A9896A2,Next, she lifts out the severed head of Denzel. The head of a degenerate Criminal. Understand this -- she killed the detention supervisor, Littick, simply because he was in the way. But Denzel, the skull of Denzel, is a Gift, an Offering to cement both her unholy pact with Satan and to show this Mother's undying love for a son stolen from her and whose life was ended without just cause. She tosses the severed head with its gross entrails into the flames which consumes it as if it had a life of its own.....and it is hungry! MOTHER (CONT'D) Strike my name from the book of life and inscribe it onto the book of the Dead so that my Son may rise and live again. I do promise the sacrifice those children whom I seek revenge and will kill them one by one. I swear my allegiance to you my new master, oh glorious one. Hail Satan!! The rolling flames inside the Incinerator then start to flow out of it! Taking the shape like a stream of water, it creeps across the cement floor and completely encircles the Mother, rising up to form a ring of fire around her. Constantly, it sweeps and flies around her, getting faster and faster. From the side, and only visible inside the circle, appears a horribly grotesque, creature-like arm. Moving slowly, it breaks the plane of this ring of swirling flames. This arm has an equally ugly, demonic bony hand with long fingers and even longer, dark, pointy finger nails. This hand reaches directly, and with singular purpose, right at the Mother's head. When it reaches the skin on her forehead, the sharp dirty finger nail, slices it open, cutting it completely from one side to other causing deep red blood to drain out, onto her face and down her breasts. 0002000006960000B02B690,The Mark of the Devil has been made. The Mother now seems possessed. She wails out in both pain and ecstasy. Her face, though not completely changed has transformed, now shaped and molded with rigid, emboldened demonic features. Her leering eyes are now cold and red. MOTHER/DEMON For you, oh holy Master, I will kill and kill again to avenge the death of my one and only begotten Son. May Jesus rot on the cross and my son, Gabriel rise from the ashes. This is our Kingdom. Let Hell rise so the dark one can walk this Earth. While bowing down on all four hands and knees, she takes the black velvet cloak, and with both hands, pulls it up and over to cover her entire body. The circle of fire shoots back into the mighty Incinerator and the iron door slams shut. This duel action is done with such authority that for one split second the entire building shakes. INT. HIGH SCHOOL HALLWAY- NIGHT Up above this evil dwelling, the shaking stops prompting our group of students, now roaming the halls to stop. They know the terrain and that they are now standing in the middle of one of the main arteries in the school. BRAD Can't be, no way! SARA Earthquake?......oh, not now! MARKUS Settle down everybody. They all settle, look around. All is calm, stable. PAUL Ok, .......(giving the calm another second) this is the spot. From here, we go on as two groups. Plus, somebody - how about you Jenel - needs to go back and tell Denzel we're out and on the move. ALL THE OTHERS (agreeing) Sounds good. Ten - four. Good idea. JENEL Good luck to the group stuck with Kelly. She'll either get you all killed or arrested. (pointing her finger right at Kelly) You need to settle down Girl! 0002000006CF0000B6BB6C9,SAM Rach and I will go with you...Paul and Lisa, the rest stick together and with some luck this will be over soon. Remember, that ass hole Littick may still be out there. BRAD You dudes sticking me with Kelly, bummer. KELLY Fuck all of you, I'll make it on my own. Kelly turns, in a huff, and starts to walk away from the others. But, despite being a "screamer," some of them are willing to endure her freaked out behavior. Some. SARA Shit, let her go. Bye Bye. HAROLD No, No. Kelly hold up. The last thing we need is to have you running around and screaming your head off. Jenel saunters off away from the group and down the hall on her own. She looks back. JENEL Whoa...got the hots for her, don't you Howie? PAUL (in jest) Jenel.....just keep walking....go. MARKUS (directly at Paul) I'll stick it out with you guys. I don't trust what's his face. BRAD Cruising for a bruising. Later freak. Markus gives Brad the finger then quickly tags onto the Paul-Lisa-Sam and Rachel group, for his own protection. And so the class has separated into two groups, with Jenel on her own, going back to give Denzel the "heads up." END OF ACT I INT. HIGH SCHOOL SWIMMING POOL -NIGHT The group with the two couples plus Markus stops at the school's indoor pool filled with water that sits there still and smooth as glass. Paul, Lisa and Markus move on but Sam and Rachel stop for a second to gaze at this body of water. This will be a small but fateful decision. The pool, with just enough light to kick off the top and make itself visible, does have a hypnotic power within. Sam and Rachel are first motivated to stay because the overall serene and calm atmosphere is in complete contrast to the everyday hectic school ambiance they are accustomed. 0002000007200000BD8471A,But then it becomes much, much more. It becomes a fixation. In some deadly manner, this atmosphere has now mesmerized them. They are transfixed by the water that lays before them. Paul and Lisa, look back but then, decide to keep going and get out of the pool area. Markus is ahead of them. PAUL Hey guys....so what's happening? Rachel begins to pull off her blouse. Silent Sam looks on, bewildered but also highly aroused. RACHEL (flirting but trance-like) Nothing.....go away. LISA (thinking all is OK) Okie dokie, let's go Paul. Paul doesn't like what he sees but can't do a thing about it. These guys are on their own. He, Lisa and Markus all exit. Rachel continues to undress. Off come the bra and panties. Now, she is totally nude. After giving Sam an approving nod, Rachel jumps into the pool. Sam is so surprised by this sudden good luck that all he can do is stand by the pool and watch as the naked and uninhibited Rachel swims around and flirts with him. He is able to slowly take off his shirt and sneakers. Near the pool is an open storage room with a hose inside. This hose starts to uncoil then slowly it slides across the cement surrounding the pool. When it reaches the edge of the pool, it drops down into the water. All this is done at the "far end" and away from the kid's view. As Rachel continues to swim around unclothed, we see something else in the water --- a colored "slick" or cloud which begins to fill the swimming pool. This colored movement makes its way across the pool and towards Rachel who without warning, begins to feel a burning sensation. This "burning" starts to get worse by the second and Rachel is now under attack by some force. When we follow the hose out of the pool and trace it back, we find it connected to a huge drum clearly labeled and filled with toxic waste! 0002000006720000C49E66C,Rachel tries to "out swim" the destructive colored liquid as it spreads across the pool. Around her, the water starts to boil and steam. Sam, afraid now to jump into the pool, roots her on until she finally makes it to the edge of the pool where Sam quickly pulls her out. Just one problem- he looks down to see that he has only pulled out one half of her entire body. Below her waist there is nothing --- it has been melted away. Sam screams in shock then lets go as Rachel's upper torso falls onto the edge of the pool then rolls back and over the side, into the pool again. Sam runs off and towards the "deep end" from which the hose came from. As he runs at camera, a column of fire rises up in front of the camera view, momentarily blocking it, then receding to see Sam approach us. He stops startled when he sees a dark and sinister figure blocking the exit door. Again, we begin to hear that cursed distinctive "scratching" noise and it, as usual, begins to get louder and more disturbing. This figure steps forward under a dim light and we see it is the maniacal and possessed Mother/Demon. Behind Sam, the hose has pulled itself taut and above water level. It is now fully tightened. As Sam cowers away from this wretched Creature, he trips on the hose and falls backwards into the pool. Soon, a whirlpool of toxic waste encircles him and Sam is sucked downward --within seconds he floats back to the surface- dead. Production Note: Before someone is doomed to die, the presence of our Demon Creature is cued by both a stream of fire that flows along the ground and by a column of flames that rises up then recedes from camera view. 000200000C620000CB0AC5C,INT. HIGH SCHOOL HALLWAY -NIGHT Jenel walks down the deserted hall. She stops for a moment, realizing that this building is now ice cold. Folding her arms over her chest, she blows air hard enough to get visible frost. JENEL I ended up in a meat locker. (pausing to think a moment) Meat. Locker. Food. Say what, I am fucking hungry and Denzel, bitch, you can wait for this muchacha. Jenel is guided toward the school's cafeteria. The chill only makes this red blooded latina move faster. INT. HIGH SCHOOL HALLWAY -NIGHT Harold, always an ass hole "know it all," has quickly lost patience with his other group members: Sara, Brad and Kelly. But what's really pissing him off is that Brad has put his arm around Kelly's shoulder while the two walk side by side. Harold, now mad and jealous, slowly puts distance between him and the other three. He will not slow down and wait for them to catch up. HAROLD Hey, if the three of you can't keep up then forget it.....I can find a way out on my own. To make it even worse for Harold's ego, the others agree. BRAD Then go for it Harold. SARA Yeah scram...who needs you. BRAD Far out, and Sara here.....well, once she finds the right place, she'll just tear it open and we are gone. Harold looks back then officially ditches these three. HAROLD Fine, adios losers. INT. HIGH SCHOOL HALLWAY- MOMENTS LATER- NIGHT Paul and Lisa round a corner with Lisa stopping on a dime. She looks off camera and a big smile lights up her face. She moves forward slowly, obviously in awe of something. LISA Paul, be honest with me..... PAUL (hesitantly) OK? LISA I haven't asked you for much, have I? And, you do sort of like me, don't you? PAUL yeah...... LISA Is that Yes to both. PAUL Sure..... LISA That's good. Paul looks over to see what has become the object of Lisa's desire. PAUL Lisa, it's a pay phone. LISA I know Paul, give me two quarters. Markus, having grown both scared and impatient, simply walks off and is soon gone -- out of sight. While scrounging out two quarters from various pockets, Paul looks around for Markus. PAUL Markus? Where did he go? Lisa extends her hand with open palm. LISA (seriously indifferent) Don't know....don't care....two quarters. INT. PAY PHONE IN HALLWAY CUBICLE- MOMENTS LATER- NIGHT. Lisa's hand reaches in and inserts two quarters. Paul stands behind her looking around, still hoping that maybe someone will rescue them. LISA A second miracle. It's ringing. Lousy connection but I hear it ringing. A connection is made, the call goes through, we hear someone pick up on the other line. LISA (CONT'D) Mom....hey, it's Lisa. Before you get mad I do have a legit excuse. INT. LIVING ROOM IN MODEST HOME- NIGHT Lisa's mother looks awfully familiar. LISA'S MOTHER Well, it's a pretty bad storm out there. God, I'm glad to hear from you...didn't you go to the game? Lisa looks back to Paul. Roll her eyes. INTERCUT THIS CONVERSATION LISA No, we didn't make it. (looking back at Paul again) Might as well be honest. Paul and I ended up in Detention. Like Paul is to blame. LISA'S MOTHER Detention? How? LISA We were one second late for school. One second. You can check with Hoskins if you want. 00020000062E0000D766628,LISA'S MOTHER But what's the problem now?. Where are you now? LISA We're still here at the school....trapped sort of......all of us....waiting to get out. LISA'S MOTHER (growing alarmed) Who's with you. Who besides Paul? LISA (trying to smooth over the situation) Just a bunch of losers. LISA'S MOTHER (still probing) No Lisa, who's there with you. LISA OK...Sara, Rach, Brad Moore from down the street. Hell, I know most of these guys.....Sam Gotch. A few others. (pause) Hey, mom are you still there? INT. LIVING ROOM IN MODEST HOME- NIGHT A phone hits the carpet. We hear Lisa still asking if her Mother is still there. INT. PAY PHONE IN HALLWAY CUBICLE- NIGHT The line goes dead with a burst of static. Lisa pulls the phone away from her ear. Although she's happy to have gotten the "word" out, she does not like the way this conversation ended. She turns to Paul who gestures with both hands. PAUL OK, so what the deal...Lucille. LISA So I told her what's up. I guess someone should be by soon. PAUL YYYeeeessss! Maybe not. INT. HIGH SCHOOL CAFETERIA -MOMENTS LATER- NIGHT. The camera tracks above and down one of those really long, Formica top cafeteria tables. When it reaches the end, there sits Jenel, who has dished herself up a very hearty meal -- a full course meal- roast turkey, dressing, mashed potatoes and gravy, peas, corn bread, apple pie, vanilla ice cream and big ice cold glass of Pepsi. JENEL (happy as a lark) This girl is hungry and this girl is going to eat. Denzel can just wait. Jenel digs in. Big gulps of food, but you can't blame her for that. 0002000005EC0000DD8E5E6,From a distance, we see Jenel sitting alone eating her big free meal- compliments of Lincoln High. Then, from this P.O.V. a solid wave of flames rises up to obscure our view of Jenel, then recedes slowly to see her still enjoying the freebie. Those flames- the precursor of death. After the column of fire clears frame, the back of somebody then crosses in front of our view of Jenel. Jenel turns quickly, convinced somebody is trying to sneak up on her --- for practical joke purposes. JENEL (CONT'D) Spooky, spooky shit. Don't bother me, I'm eating. Another sound causes Jenel to jump a bit more this time. She is concerned enough to swing her whole body around, away from the table, to scan the entire cafeteria. Nothing. Nobody. A sickly deformed hand quickly passes over Jenel's food and sprinkles it with a light green powder. Not enough to see clearly. Jenel turns back to her plate of food and resumes eating. JENEL (CONT'D) (with her mouth full) Fuck off. Let me dine in peace. MOTHER/DEMON (O.S.) With pleasure.......young whore. This catches Jenel's attention who looks up, swings around, swing back, look straight ahead then gasp in terror, taking a big gulp which causes her almost to choke on her food. She seems paralyzed with fear. JENEL (shaking) Oh, Mary Mother of God please save me. Poor Jenel. First, the flames of doom. Then, some unseen force. But now, Jenel gets to deal with this up close and personal. The Mother/Demon "being" from hell, in all its Satanic glory, stands before her. 00020000064F0000E374649,MOTHER/DEMON (pointing directly at Jenel) Mary, the mother of God, YOUR GOD, NOT MINE! My Lord and Master is Satan, I serve him to bring my Son back from the dead. A death caused by your Mother ---another painted harlot! JENEL (begging, pleading) I didn't have anything to do with that. MOTHER/DEMON I said eat you pig. Eat well, and fill you bloated belly. Jenel burps, then regurgitates, spitting a load of moist food out of her mouth and into her hand. She looks down and sees that mixed in with the food is a small pile of writhing maggots. JENEL Nooooooo! I didn't kill your son! Jenel looks back up, but the Mother/Demon is gone. Looking round the room she soon spots the satanic possessed woman who is walking away from her. The hood is down revealing the back of her head. As the She-Demon walks away, its head actually turns 180 degrees around so the crazy leering face it is now facing Jenel. We hear bones crunch as the heads turns. MOTHER/DEMON (maniacally) Yes, tonight you will all ROT IN HELL! The evil Mother departs. Jenel screams and screams again. Maggots fly out of her mouth. When she looks down, maggots and roaches drop out from between her legs and hit the floor. She vomits up another pile of maggots mixed in with a thick black bile. She starts to choke. Her breathing is cut off. She struggles but will not win this battle to live. The choking has begun to literally turn her face blue, then bluer. She grabs her neck, then her eyeballs blow right out of their sockets. Jenel collapses- face first and with no eyeballs - dead, into a pile of maggots, roaches, black bile and vomit. 00020000065D0000E9BD657,INT. HIGH SCHOOL HALLWAY -NIGHT Harold, acting in character as the rich kid know it all is convinced he will find the way out. Muttering to himself about what dip shits the others are, he turns a corner and spots the basement-storage room elevator. HAROLD You know, I'll just do everybody a big favor and go turn the power back on. When they ask how did that happen, well, Harold did it. Harold had to figure that out. Harold has to figure everything out for these scum sucking idiots! Harold makes his way to the elevator and pushes the "Open" button. When the doors slide open, he jumps in. I/E. ELEVATOR -NIGHT Inside, he pushes the "G" button. G is for the ground floor. Harold caught the elevator on the 2nd and top floor of the school building. But, the elevator descends past the ground floor and instead lands in the basement. Not good. After landing, it just sits there, the doors do not open. Normally, they would do so automatically. A stream of fire flows across the basement floor, then rises in front of the elevator. Harold keeps pushing and pushing the "open" button but with no luck. He tries to pry open the door but it is sealed tight. Breathing is now starting to become a problem. And the small box is starting to get hot. Just outside, the flames swirl around, then sweep over the metal elevator doors. Looking up, he decides to go through the elevator ceiling. After pushing a ceiling piece upward and to the side, he jumps up and straddles out. Harold is now outside and standing on top of the elevator, he looks up the dark shaft and sees that the door from where he started is still wide open. 0002000006750000F01466F,Wait a second! The elevator motor revs up, the whole thing creaks for just a second and then it starts moving upwards, slowly but deliberately. HAROLD (pissed at himself) Well, sometimes even Harold makes a big fucking mistake. Now, Harold's game plan is to jump off and through the door opening when he reaches that upper floor level. As he gets closer, he hears the "scratching" noise. He also sees a silhouette of somebody step back and away from the door opening three floors above him. When this stranger disappears, those doors slam shut, hard enough to cause loose dust to kick off the inside of the shaft and fall down onto Harold. HAROLD (CONT'D) (becoming frightened) Hey, open the doors up there. Hey, I need help. (louder) Open the doors up there!! The scratching noise increases. Harold is trapped but soon realizes he must quickly scramble to get back into the elevator carriage and back to safety. When he reached down and braces his hands to the metal frame around the ceiling opening, another wave of fire and heat shoots up and singes his hands. Harold screams in pain. HAROLD (CONT'D) Shit no. I need help. (looking up again) Come on up there. I need help. What are you? Deaf? (scared shitless now) The elevator jolts up and down violently but then comes to a sudden stop. One second passes, two seconds. All is still. BLAST OFF! Fired like a cannon-ball and at the speed of a missile the elevator carriage, with Harold on top, rockets upwards at ten times faster then its normal speed. It has no place to go except to the very top and to the very end of the enclosed elevator shaft. Harold continues screaming for dear life. 0002000006C50000F6836BF,It soars up and crashes into the top end of the cement shaft. In doing so, it brutally crushes Harold's body. We hear bones, limbs and other body parts get crushed. His head cracks open like a watermelon. CRUNCH! INT. HIGH SCHOOL HALLWAY-2ND FLOOR ELEVATOR- NIGHT We hear the elevator lowering itself back to the floor where this all started. The mechanic drum sound then stops and the doors slowly open, on their own. After a beat, the remains of Harold, now pulverized and severed body parts, blood and guts, drip and spill grotesquely onto the elevator's floor. INT. HIGH SCHOOL HALLWAY- NIGHT The group of Brad, Kelly and Sara lurk around looking for some way, any way, to get out of this building. There is no let up from the storm outside. In fact, with gusting winds now added to the equation, the situation is worse. eXT. LINCOLN HIGH SCHOOL -NIGHT The thunder and lightning has been replaced by howling winds and pelting rain that is slamming into the windows of this school. INT. HIGH SCHOOL HALLWAY- NIGHT As they walk down a darkened hallway, Brad stops and looks into a classroom which has its door left half-way open. Inspecting the place a little closer, he realizes that it is one of the half-dozen fully equipped science labs- for either biology or chemistry. BRAD Hey girls, like, go ahead and I will catch up with you in just a few minutes. SARA So, what exactly are you planning to steal out of that classroom. BRAD Steal, woman, Brad Moore the III does not steal. I may choose to temporarily borrow something but steal (sarcastically and doing his best Jon Lovitz imitation) Never! SARA Yeah, right. So Kelly do you want to wait here until he steals something or keep looking for a way out of this dump. 00020000063E0000FD42638,KELLY (tired and still shaken) Steal what you want B. I want to go home. BRAD (thinking he does a great Jon Lovitz imitation) Be Gone Fools! SARA See ya.....wouldn't want to be ya. With that, the girls continue down the hall. Brad, losing some of his bravado, walks hesitantly into the science lab. INT. HIGH SCHOOL SCIENCE LAB- MOMENTS LATER- NIGHT Thinking aloud and just strolling around. What looks good? BRAD Now, if the rumors prove to be correct then there's something here worth finding and it will be something worth stealing. Brad finds the chemical he is looking for --- it's an ingredient used to manufacture crystal methamphetamine a.k.a. speed, crank, crystal. He then pours this powdered element onto a black surface lab table. BRAD (CONT'D) (reflecting) I think my days of smoking Pot are coming to an end. Time to move on. Why do you think they call it "dope." Without warning, a window crashes open, causing a huge gust of wind to blow into the room. This causes the massive pile of the prized chemical powder to be swept upwards, shooting directly into Brad's nose. Brad is able to survive this "big hit" (with pleasure) then shakes his head to regain his composure. Blood trickles out of his nose. He sniffles several times. It doesn't take long but within the next minute Brad starts to hallucinate. The room starts to look out of proportion, his depth perception is all screwed up and every object around him starts to take on a very soft and hazy feel. Everything in the room also seems to be stretched, enlarged and some items even appear to be floating in thin air. 0002000006540001037A64E,BRAD (CONT'D) (truly excited) Ohhh...What was it my parent would say? Psychedelic, far out, heavy....no wonder they said shit like that. Whooaa.... this is right up that alley. Brad is pretty certain that he now sees someone standing in front of him, about ten yards away. This person, through his skewed vision, is wearing a black cloak with a black hood? The hood, again, covers the person's face. Instead of being scared, Brad folds it right into the entire ambiguity of his entire surroundings. The image of this person blends into Brad's overall "trip" and has taken on a wavy, kaleidoscope quality. BRAD (CONT'D) Sara, is that you? (enjoying the "trip") Hey, this is some bad ass stuff. If you take a pass, you will miss one awesome experience. Brad walks right up to his visitor but, by the time he hits that spot, they are gone. Gone. He turns and looks around the room, then spots this person again in the complete opposite corner. BRAD (CONT'D) (getting more and more "dopey") This is psychedelic. You stay there. I'm going to see if there's any more of this stuff around. Brad turns to walk away from the person standing in the opposite side of the science lab. But, when strolling down an aisle of desks, he first glances back, and when he turns his head forward, the black-cloaked figure has suddenly appeared, almost out of thin air, right in front of him -- blocking him from advancing. BRAD (CONT'D) Oh, baby these are the best drugs ever. Let's you and me have a little fun. Instinctively, Brad, attempting to party with his new friend, leans forward and pulls the hood down to reveal who it is. 000200000635000109C862F,Brad is doped up, Brad is stoned on his ass. Brad is hallucinating. He is also now standing one foot, face to face, in front of the most intense, seething and bizarre looking demonic presence that has ever walked this Earth. BRAD (CONT'D) (thinking) Whoa.....like Sara...you got real ugly. INT. HIGH SCHOOL HALLWAY- JUST OUTSIDE THE SCIENCE LAB- NIGHT From the hallway we see back into the Science Lab. Brad suddenly flies through the air, end over end, right to left, at least eight feet off the ground. When hitting the blackboard, instead of bouncing off the hard surface, he sticks to it, like an magnet thrown onto a piece of iron. INT. HIGH SCHOOL SCIENCE LAB- NIGHT Back inside the lab, Brad, stuck to the blackboard upside down, starts to spin around in a circular motion. Brad has become a human spinning top. Around and around he goes, where he stops nobody knows. One rotation is complete. BRIAN (now sensing doom) Hey, Hey, I don't like this trip! Please let me down. Help, someone help! Brad will not be let down as he continues to spin faster and faster in the same rotational manner, then the pace starts to pick up gradually. The spinning speed increases and increases until his body becomes a slight blur. As the pace heightens even more, the shape of his body starts to become a very heavy blur. Brad cries out for help. The spinning reaches an impossible rate, so fast that we can no longer tell that it was a human body. When the rotating blur finally halts, "something" falls off the blackboard and onto the floor, out of sight as blocked by the teacher's desk. 00020000069700010FF7691,The P.O.V. of Brian's captor steps forward to see what lies behind the desk. It's a body of sorts, better described as a "blob." A blob where everything is completely out of place. Brian's head is in his stomach, with his eyes, mouth and nose all in the wrong place. Arms are where legs should be, legs are sticking out his sides. Everything is meshed together. Ghastly. INT. HIGH SCHOOL HALLWAY - NIGHT. LONG TRACKING SHOT STRAIGHT DOWN THE MIDDLE OF A DESOLATE HALLWAY. WHEN THE CAMERA REACHES THE END OF THIS HALLWAY IT TURNS LEFT AND TRACKS DOWN ANOTHER VERY LONG ISOLATED HALLWAY. MARKUS IS AT THE END OF THIS HALLWAY AND WALKING RIGHT AT CAMERA. AFTER FRAMING HIM IN FULL FIGURE, THE CAMERA EASES TO A STOP THEN TRACKS BACKWARDS IN THE OPPOSITE DIRECTION. The violent storm outside continues unabated. The lightning not only illuminates the inside of the school but the metal lockers that line the halls also create massive reflections causing white and blue light to bounce and kick all over the hallway. It's pretty cool and Markus is digging it. Markus would sell his own mother to a group of sailors to be a rock star. Talentless, he never the less plays a pretty good air guitar. Most people who can’t play for real do so. Unabashed, thinking he is on stage at the Garden, Markus is doing his very best Slash imitation. Better than the real deal himself. The rock star struts down the vacant corridor and the crowd loves it. MARKUS Check it out! Markus rules! Then, a buzzing sound comes out of nowhere causing Markus to temporarily suspend his performance. It sounds like an electrical saw and this would make sense since Markus now stands just outside the Wood Shop. 00020000068800011688682,MARKUS (CONT'D) (indulging himself) I'll catch you bitches later. INT. HIGH SCHOOL WOOD SHOP -NIGHT Markus goes inside the Wood Shop, which appears empty but there is the one power saw running. Unexpectedly, it then turns off. Markus is slightly amused by this unexplained action and it doesn't faze him in any way. For now, at least. Markus is also somebody who would not hesitate stealing something he really liked and really wanted if the opportunity presented itself. Hereby presented, he spots something worth the effort,(a valuable Swiss Army knife) grabs it, then tucks it away inside a pants or jacket pocket. Then, a couple of electrical power tools start up on their own. The buzzing catches Markus’ attention who now, not so slightly amused, turns them off. Everything lays still momentarily......then, a heavy duty, large, industrial-size power saw springs to life. This is followed by three or four more carpentry type machines that also come to life and start operating on their own. The overall humming, increasing in volume, makes it seem like the entire room is shaking. MARKUS Noise, nothing but noise. For peons. Other industrial hand tools, small, big, light and heavy, then fall off a high cabinet forcing Markus to dodge and duck backwards. When he does, it causes the pitifully uncoordinated Markus to first stumble, losing his balance. When he reaches to grab something to break his fall, he grabs onto the functioning large power saw and it ruthlessly cuts his hand- right off. Spurting blood, it drops to the floor. Markus cries out in excruciating pain, then picks up his severed hand. Blood gushes out of the arm where that use to be. 00020000061900011D0A613,MARKUS(CONT'D) MY HAND. THIS IS MY FUCKING HAND. I GOT TO PUT IT BACK ON! In vain, Markus attempts to put the disconnected hand back onto his arm, believing this just might work by either stuffing it in or twisting it back on. MOTHER/DEMON (O.S.) Good luck to that you retarded simpleton. Markus turns and without any hesitation, without a single missed beat, the Mother/Demon, holding onto a very heavy and operating power drill, thrusts it forward and into Markus’ chest. She pushed it in for good measure. This power drill continues to bore into Markus’ upper body until it protrudes out his back. While doing this, what organs did exist inside his chest – heart, lungs, etc. are all eradicated then forcefully pumped out an enlarging cavity in his back caused by the powerful drill. MOTHER/DEMON (CONT'D) Did you say: " I need a hand." INT. HIGH SCHOOL HALLWAY -NIGHT The Goth Rocker’s high pitched scream echoes throughout the school. Sara and Kelly stop walking. INT. HIGH SCHOOL LIBRARY -NIGHT. Paul and Lisa stop walking through the Library. PAUL Having heard that. I am now going to proceed as if we are in A-1 Big Time trouble spelled with a capital T. LISA Spell the whole word in caps. I'm scared. (starting to cry) Maybe my Mother will be here soon. PAUL Hey, lookee here. Paul does everything he can to break up the tension which is becoming overwhelming--even for him. He goes over to the computer section of the Library and stands in front of a laptop. PAUL (CONT'D) I'm not the computer geek but don't these things run on batteries. LISA 0002000006350001231D62F,(wiping some tears away) Yeah, they do. Still standing, Paul fiddles around with the computer, not exactly sure what he's doing. PAUL Here's the plan, I get on line and contact somebody by e mail. What do you think? LISA (sobbing less and less/ wiping her nose) OK. But Paul is not very good at all operating this modern day machinery- particularly that damn navigating mouse pad thing. He fumbles around trying to make something happen. His hand moves over and about the navigational tool. LISA (CONT'D) Here, let me help. Lisa reaches down and puts her hand on top of Paul's hand. She stops him from moving his hand around then calmly moves her fingers so they line up and fit in between his fingers. Paul and Lisa then turn to face each other and after a brief moment of sexually charged silence, they embrace for a short kiss, followed by a longer one, which can only lead to and does lead to an extremely passionate one. The long kiss ends. LISA (CONT'D) So, what is it exactly that you're trying to accomplish here. PAUL I don't have the slightest idea. INT. HIGH SCHOOL HALLWAY- MOMENTS LATER -NIGHT. Kelly and Sara continue their journey- one which to this point has led them nowhere or what could be better described as "nowheresville." Kelly spots the Nurse's office just ahead. For her, this is a welcome sight. The door has been left open which is odd. SARA Hey, Kelly look. Old lady Krajeck isn't so screwed up after all. She left her deal wide open. Thank God. KELLY (comforted) Thank God is right....I need to lie down. And I could use two aspirins. Make that three. 0002000006240001294C61E,INT. HIGH SCHOOL NURSE'S STATION -NIGHT. Sara walks in and helps Kelly lay down on the small black medical bed -- the type covered with paper. Kelly flops down onto it. Exhausted, she kicks off her shoes. Sara looks around and finds a bottle of aspirin. SARA We don't need anyone to find us these. You want three. KELLY Make it four. SARA No, come on, let's make it three. Sara continues to look around for anything that might help their perilous situation. A cell phone, a working computer, anything. No luck- nothing but standard Nurse stuff, mostly medical supplies but, this place would not be prepared to handle a major emergency. Fortunately, for Kelly there is an ample supply of aspirin. KELLY Let me just rest, that's all I ask. SARA (as she searches the office) No prob....hey, where is everybody? We started out as this big group and now nobody's around to be had. Can't find nobody nowhere.. KELLY Somebody's going to show up. But if I have to, I'll sleep here tonight. I'm serious about that too. Sara goes back to the open door and looks down the hall in both directions. It's a scary sight. Empty, cold. Still heard above everything else is thunder, heavy incessant rain and gusting winds that cause a slight piercing whistle-like sound which travels down the vacated metal lined corridors. Scary. INT. HIGH SCHOOL LIBRARY -NIGHT Paul and Lisa are back working on the laptop computer putting their romance, which will resume asap, on hold. Lisa is now on the computer while Paul watches over her shoulder. As usual, progress is not going well. LISA 00020000062900012F6A623,We're on line but in this weather don't count on much. It's a wireless connection. And a crappy one Lisa is trying to get on line but it is the weather and nothing of the supernatural sorts keeping her from accomplishing this task. LISA (CONT'D) I can't get a connection, we need a wire. PAUL What do you need? I thought these ran on batteries. Lisa turns around and looks at Paul incredulously. She then turns back to the computer screen and smiles. Paul abandons the computer route and goes over to a large old century wooden bookshelf. He looks over huge volume of books, in particular, looking for an older Yearbook. PAUL (CONT'D) I now have a theory about this whole night. Not a happy theory and not really based on a damn thing. You can call it a hunch. LISA And what's your hunch? Lisa also leaves the computer terminal and joins Paul at the bookshelf which covers the entire wall and reaches up to the ceiling. He keeps looking about with curiosity, doing all the talking while Lisa listens. After grabbing three or four heavy books he plops them down into Lisa's arm, who is not really ready to handle their weight. On the surface, they appear to be a collection of Lincoln High Yearbooks. Some recent, others from way back. PAUL It has to do with something bad that happened here or might have happened here. This whole situation feels like a curse. Like we are doomed. LISA Paul, don't start up with that crazy weird talk.....not now. PAUL But am I wrong. Something bad happens everywhere. And something real bad must have happened here. LISA'S MOTHER (O.S.) 0002000006EF0001358D6E9,It did. Paul stops gathering books. He is caught a little off-guard by a new voice in this conversation. Lisa is familiar with that voice and turns around sharply. LISA (surprised by happy) Mom? INT. HIGH SCHOOL NURSE'S STATION - NIGHT. Three aspirin have managed to relieve Kelly's headache and by making her slightly drowsy, have also calmed her down. She looks over to a table and sees a medical tray with a row of needles and syringes laying on top of drab green medical cloth. They are all prepped for use. They are all partially filled with some clear liquid. Kelly scans over the rest of the room, checking out the anatomy diagrams, charts, diplomas, advertisements for healthy living and drug information- legal drugs. There are also other medical supplies and instruments tossed about. When she looks back at the needles, there appears to be one standing up on its end, or standing at attention. Physically, isn't this impossible? Kelly gets up, a bit woozy, and approaches the medical tray, looking very intently at the upright needle. KELLY Just when you think that you've seen it all. This is impossible. The long sharp needle starts to lean over every so slightly then holds in a fixed position. It points itself right at Kelly. READY..........AIM.......... CUT TO- JUST MOMENTS LATER. INT. HIGH SCHOOL LIBRARY - NIGHT. Lisa sits with her Mother and Paul. Lisa's mom, who earlier we had mentioned looked very familiar to Diana, is Diana, the 1970's girl and a friend to Gabriel. Diana is pondering, into heavy thought. The story she has to tell is extremely uncomfortable, disturbing yet sad pretty much from start to finish. This terrible story she has kept secret for all these years is a Tragedy. It's about somebody she cared for you died needlessly. 00020000079700013C76791,DIANA It was all intended as a prank, a practical joke. Jack wanted to scare Gabriel and I mean scare the living daylights out of him...... WE SEE THE ACTION THAT IS DESCRIBED IN DIANA'S VOICE- OVER. THESE "FLASHBACKS" ALL HAVE A DIFFERENT LOOK AND A DIFFERENT STYLE FROM THE MAIN BODY OF THE FILM. Some flashbacks are in seen in fast motion, some in slow motion. Despite covering a lot of ground and a small period of time, they are smoothly connected from one scene to another. At least one scene will be printed in reverse. DIANA (CONT'D) When we went back downstairs, Gabriel was gone. That didn't make any sense because Jack told me he had been locked up in the Incinerator. So, he and his buddies looked everywhere. They immediately pushed me back into the elevator and was told to look upstairs. We all looked everywhere. Everywhere. shots of: iron door opened to incinerator with the fire now off and nothing inside -- Diana's P.O.V. to people looking around nervously -- close on Diana in elevator, then doors close shut. I had this sick feeling that something very terrible happened. I went back a second time but again, found nothing inside. Nothing except for Gabriel's ring which was damaged- slightly - but still intact. The Police showed up and we were questioned, then released. There was no evidence to hold us - to prove anything - no body. shots of: from inside the incinerator door swings open and reveals diana's face -- her hand picks up an ornate ring with occult markings -- police looking around the basement and storage area, always backlit, heavy smoke in air. I can remember when we left the police station later that night --- Gabriel's Mother was there and she went berserk. The things she screamed at us were devastating. She cursed us to hell and rambled on and on about how she would seek revenge. We would have our Judgment day. She renounced God and kept talking about Satanic things -- Evil things. 000200000B3900014407B33,printed in reverse - police lead students down steps outside police station --- gabriel's mother verbally assaults them and has to be restrained --- diana is stunned. She came off as so insane that the police had to arrest her in fear of her actually doing all she promised. That's how threatening she was to us. I heard they locked her up in an institution. She was obsessed with the mystery of her son's disappearance. shots of: Police car driving off into the distance --- gabriel's mother, in a strait jacket, in a padded cell. -- the door swing shut -- her image is "burned" off screen. (similar to a film print when caught in projector gate) Just like tonight there was this terrible storm - howling winds. I thought I heard him screaming for help but no one would believe me. The sense of guilt is overwhelming -- enough to keep an eye over my shoulder -- looking for that crazy mother of his. I have nightmares about her, coming to kill me like she promised. Standing at the foot of my bed. shots of: lightning bolt streaks the sky - ecu of mouth opening to scream (we hear nothing) --Diana bolts up in bed, in a sweat -- silhouette figure thrusts dagger downward and blood flies up. She was always strange, he was also very strange, long before that ill forsaken night. They lived alone and rumors were always rampant about the "goings on" in their house. We always felt that maybe she did have some strange power or magic to curse all of us. The power of Damnation. That's what Jack thought. shots of: Gabriel peeking out of his living room window, then closing the curtains -- from a distance, we see through a slit in another curtain, Gabriel's mother dressed in a see through negligEE' walking down a hall and stopping to look INSIDE a bedroom -camera tracks r to l to reveal the mother, through kitchen window, practicing something in occult nature Even I started having doubts when, weeks later, I took another look at that strange ring I found. I cleaned it, and that revealed a small creature carved into it. I did my homework and found out that it was a demon. The more research I did, the more my opinion changed because it only led to dark and evil stuff. I kept the ring --- as a secret -- but I also brought it with me tonight. shots of: damaged, burnt ring being cleaned - close shot of ring revealing creature - close shot on book with image of same creature revealing it to be a demon - ecu on demon image inscribed on ring. And then a year ago...(pause)..I thought I saw her, but at a distance. I saw a woman in a crowd, downtown, but she was more than a block away. I ran to get a closer look but she vanished, she was gone. You don't forget a face like that. shots of: From a distance, an intense woman in a nurse's uniform standing in a very busy crowd - closer on nurse - close on Nurse's face that turns and looks right at camera. 0002000007CC00014F3A7C6, I also remember that she was wearing a Nurse's uniform. Odd, because you don't expect that kind of reaction. From a nurse - Fear. It bothered me because when I spotted her, she was looking straight at me. I have no doubt about that. the shots above are intercut with diana running at camera, in extreme slow motion. she is running but not seeming to get anywhere - always starting at the same place. all alone now, the nurse slowly turns and walks away - diana runs at camera in normal speed, screaming "stop" but we hear noting - her p.o.v. reveals that the nurse is gone. back to diana - INT. HIGH SCHOOL LIBRARY - NIGHT. What would I have done if I had gotten to her ? I think I might have killed her. (pausing to reflect) What a horrible nightmare it was......and I still carry it with me to this day. It's definitely the "Nurse" part to this story that has caught Paul and Lisa's attention. And it's not that happy feeling you get upon solving a riddle. It's that sickly feeling, like the bottom of your stomach has just dropped out. Lisa steps up to look at the collection of yearbooks Paul dumped into her arms minutes ago. She spends a few seconds sorting them out - looking for one that might provide a clue of sorts. LISA So, Mom, if you remember I didn't buy a yearbook last year, that I decided to wait and get only one. The one for my senior year. Lisa tosses all the books aside except for the one she wants to page through. DIANA OK, so what does that mean? Lisa opens this Yearbook and looks over several pages, turning them over one by one until she comes to exactly what she is looking for. She stops, a look of dread overcomes her. Over her shoulder we can see she is looking at a page filled with a bunch of group photographs-- mostly school staff. LISA Take a look at these guys.....it's mostly faculty ......... other staff members. Taken last year but most of them are still around........ Take a look at the Nurse. (handing the book to her Mother) A close look. 0002000006700001570066A,Diana does. She's speechless, then she almost passes out. P.O.V. OF SCHOOL STAFF PHOTOGRAPH- NURSE KRAJECK. GABRIEL'S MOTHER. ONE AND THE SAME. Suddenly, a scream fills the air, emitted from an outer hallway. A painful, nightmarish scream. Paul and Lisa run out of the Library to address the new problem. Diana is too visibly shaken to do anything but will fight to regain her composure quickly. She will not abandon her daughter. INT. HIGH SCHOOL HALLWAY- NIGHT Paul and Lisa move quickly to where this screaming is coming from. It sounds like Kelly. After charging down one hall, Paul and Lisa make and quick left turn to go down another. They stop abruptly when they almost run right into Kelly who had been stumbling, barefoot down the adjacent hall. It is almost too horrible to fathom what they see before them. LISA I keep saying over and over that this is not happening and, it just keeps happening. PAUL (out of breath) Over and over and over (getting flat out mad and ready to fight) Kelly staggers forward- barely. Giggling, in pain, trying to somehow survive. She is also missing a finger which appears to have been cut off by a sharp blunt weapon. She has been "shot" by the needles that were laying on the medical tray. These needles turned into deadly projectiles and all of them hit their mark- Kelly! Eight needles in all. All shot deep into her body. And to make it unbearable to look at, one has been shot into her left eye. The other seven landing over her entire body--one in her stomach, another nailing her right in the middle of the chest. LISA Kelly, just stop, stop walking and kneel down, we're going to help you. 00020000064B00015D6A645,PAUL Do it Kelly. We want to help. Kelly starts to laugh...then she starts to cry...then she starts to go hysterical. These three emotions swing back and forth or are all rolled up in one. KELLY Help me? You think you can really help me. Help yourselves. Save yourselves. Run...(screaming) Run, before she kills you too. She's out to get you, she's out to get me..all of us. We're all going to die. (laughing) Kelly falls forward, landing flat on the floor. It couldn't be a worse sight. Each and every needle drives deeper. Mercifully, she dies, her eyes still open, haunted by something she saw before fleeing the Nurse's station. While checking out Kelly's body, Diana steps in behind Paul and Lisa. She looks sick to see such a terrible death- and for her to be right in the middle of it. Partly responsible. Diana then looks up to see that Shadow -- the same one seen long ago by Littick. It passes over another metal-lined wall and is gone --- like a ghost. DIANA Evil. Pure Evil. All of this can only lead to one place -- just one. INT. HIGH SCHOOL HALLWAY -NIGHT Sara, all alone now, struts through the empty school. SARA (in sing song fashion) Hello, is anybody home.(in full singing mode) Is anybody there? I don't care. I just want to know, if you'll let me go. EXT. MAIN ENTRANCE TO LINCOLN HIGH- NIGHT Outside, another strong and dramatic lightning bolt hits the school building with booming force. KABOOM. INT. HIGH SCHOOL HALLWAY- NIGHT. Back to Sara. Surprisingly, this force of unwanted electricity causes the power to actually come back on inside this vacated tomb a.k.a. Lincoln High. 000200000646000163AF640,It's an impressive sequence of events -- one by one, light panel by light panel, floor by floor, machine by machine. Sara watches all of this in amazement, a rare smile. In her mind, the long ordeal is about to end. CUT TO- JUST MOMENTS LATER. INT. HIGH SCHOOL HALLWAYS/ CLASSROOMS/ OFFICES -NIGHT Throughout the entire school, anything and everything that has the capability to fire up on electrical power is turned on. Item by item by item but only one (repeat one) comes on at a time. The whole thing is one big chain reaction. A remarkable series, concluding with the entire school building buzzing at full capacity. On the sound side, even one or two radios go on, both blasting the current hard rock hit of the day plus, one television pops on showing Judge Judy ridiculing some loser con man. CUT TO: INT. HIGH SCHOOL HALLWAY- NIGHT. In another part of this school, walking down a completely different hallway, are Paul, Lisa, and Lisa's mother, Diana. They also look up, down and all around at this display which positively lifts their spirits. PAUL Light! Things look so much different when there is light. LISA (regaining some hope) A total thrill. DIANA (very skeptical) I don't like it. LISA What are talking about? DIANA (confidently) The Devil is a trickster. Anybody who gives themselves to him is also a trickster. And He is a liar- a liar who will tempt fools, the weak, and those who want revenge. LISA (not believing a word) Devil.....Devil? Come on Mom, you can't believe in that shit, come on. Paul and Diana turn slowly to look at each other, hold, then both look back at Lisa. 0002000006C0000169EF6BA,LISA (CONT'D) (while pacing around) OK. So. This girl who was just shot by a bunch of needles drops dead right in front of me. Everybody else has not been seen or heard of in the last hour. The storm, which keeps getting worse, shuts all the lights off, now turns them all back on. We see "shadows" running around and at least twice, hear these horrible bloodcurdling screams. And then, on top of that, you tell me some freaky story about a strange kid who get fried up in the Incinerator, while his mother, who sure as hell looks like Nurse Krajeck, vows eternal revenge on you and a whole bunch of other people. Lisa crumples to the floor and leans against a wall. She sighs, then shakes her head slightly. LISA (CONT'D) The Devil is going to get us all. This sucks..(fading)..totally. PAUL With the power back on, let's not beat around the bush. I'm calling the Cops. No hesitation here. Paul moves quickly to find a phone and call the Police, pronto. But as he walks down the hallway, a light panel above him goes off- the long greenish tubes inside this light box then short out and explode. The glass panel below it cracks open causing Paul to duck down and jump away from the sparks that fly out followed by loose electrical wiring that drops out and onto the floor. CUT TO: INT. HIGH SCHOOL HALLWAYS/CLASSROOMS/OFFICES - NIGHT. Then, in the total complete reverse order, everything that was powered up is now, in another deliberate sequence of events, shut down- shut off- zapped out. In orderly fashion, throughout the entire school, every single item, which was up and running, turns off. Other light panels burst open causing any charged internal wiring to fall out and crash to the floor that lies beneath it. 00020000076A000170A9764,The school is about to be thrown into isolated blackness one more time. CUT TO: INT. HIGH SCHOOL HALLWAY -NIGHT The series of events that turned everything on started with the light fixture right above Sara's head. And in reverse, this is where it will all end -- panel by panel, until the last lit fluorescent panel directly over Sara's head pops off. SARA Hello, is anybody home.(in full singing mode) Is anybody there? I don't care. I just want to know, if you'll let me go. Sara struts down the hallway. CUT BACK TO: INT. HIGH SCHOOL HALLWAY -NIGHT DIANA (making her point) You see, for a second there was hope. But it was only false hope. A lie. Like I said: the Devil is a Trickster. It was all a cruel deception. PAUL He's a fucking asshole is what he is. Despite all the obstacles that still lie before them, these three have formed a fairly formidable group that Evil will have to deal with. They cautiously proceed down the dark corridor dodging a electrical wire that has one last spark in it. INT. HIGH SCHOOL BASEMENT- NIGHT. The elevator doors open again. SARA (the lyrics moving slower) Hello, is anybody home. Is anybody there? I don't care. I just want to know, if.... you'll............. Sara steps out of the elevator and pokes around the storage area of the basement. SARA (CONT'D) I don't like it here. She hears something coming from behind the door that leads to the Incinerator room. She also hears the roaring fire that comes from the Incinerator itself. Continuing to look around at all the worthless junk that has piled up over the years, she walks closer and closer to the door. She steps forward then leans forward to put her right ear squarely onto the heavy metal door. From here, she continues to hear the fire operating inside. Then, comes that ungodly scratching sound. She pulls her ear off the door because the scratching is not coming from behind there. 00020000067A0001780D674,Sara looks around and sees nothing. The scratching sound recedes. Sara looks into the corner of the old basement and sees a bunch of old books piled up and collecting dust. When she looks up into the corner of the room, she spots a huge spider's web, but no spiders. Sara shudders. SARA (CONT'D) Yeck, I hate spiders. Sara is now done with her search here, walks back to the elevator, hits the "open" button and the doors slide to each side immediately. Sara hops into the elevator and the doors close. INT./EXT. ELEVATOR - NIGHT. Sara hits the "G" button and waits for something to happen. The elevator does not move. She hits the same button several times and waits, but not patiently. The elevator does not budge. She will give it one more try with one last push on the "G" button --- nothing. SARA OK, so it doesn't want to work. Surprise, surprise. Time to walk. Hell, I could use the exercise. With this, Sara promptly hits the "open" button on the panel. Hitting any button causes her to lean down slightly and a closer look is also required because of the dim light. So, she is not facing the doors as they open. And they open unusually fast to reveal the Mother/Demon standing right there -- positioned directly in front of the elevator. First, she is completely shrouded in the black robe and hood. Quickly, her right arm is pulled out from under the robe and it holds the very same dagger used to draw her own blood. When she raises it to attack, her crazed, evil-driven face with reddish eyes and the long polished dagger blade are made visible and highlighted by a sudden burst of lightning which fills the entire room for just a second. 000200000BD300017E81BCD,Simultaneously, Sara stands back upright and re-directs her attention to the front of the elevator. The dagger thrusts downward. CUT TO BLACK. fADE UP OUT OF BLACK. INT. HIGH SCHOOL HALLWAY - MOMENTS LATER - NIGHT We're down to the two surviving members of the Detention Class plus one of their mothers. Paul, Lisa and Diana walk down yet another lonely, cold and vacated hallway. When they turn the corner, it leads to yet another. This one though is the longest corridor in the entire school building. LISA Look, Littick missed this one. Lisa points to an open door. All the other doors in this hall are closed up. Closed and presumable locked. But not this one. Lisa decides to take a look inside. PAUL Are you sure you want to look in there? Why don't we just keep moving. Lisa is caught unprepared to answer. It's an open door and the only open door they have come across in this haunted school so; "why not?" LISA (unsure) I don't know, maybe somebody is inside, scared to come out or maybe somebody in there needs our help. I don't know. PAUL All right, but let's make it fast. Really fast. DIANA Go ahead, I'll stand guard out here. Make it quick. So that's the plan. Lisa and Paul walk over to the open door, both look inside, then both gingerly enter. Diana stands in the middle of the dark hallway, looking left then right. She is becoming impatient rather quickly. iNT. basement/storage area -MOMENTS LATER- NIGHT. camera follows a trail of blood on the broken cement floor - leading to drops of blood, right up to the open doorway to the dreaded incinerator room. int. INCINERATOR ROOM -night. Half of the chalk-drawn circle is now surrounded by black candles that are all lit and glowing. Again, this unholy Mother kneels down within the circle. This desecrated beast pulls out her leather pouch and empties the contents directly in front of her, but still inside of the circle. One of the items is a long sharp dagger. She uses the dagger to slice open an artery in her left arm and blood immediately pours out. She then reaches down with her right index finger and places it into the open wound so it can be covered with blood. On the floor directly in front of her and just outside the circle she writes, with her finger that drips blood: L E I R B A G After writing this, she then tosses into the writhing flames inside the Incinerator several items that belonged to all of her victims up to this point. MOTHER/DEMON (crazed and bloodied) I give until thee my Master, those gifts that you demand from me. I have murdered that filthy lot of children so that my son, Gabriel, may return to life. Do not forsake me my holy Prince of Darkness for I have honored my pact and obeyed you. She tosses these "gifts" into the Incinerator --- gifts to the Devil himself. From Rachel, a lock of hair, from Sam, an eyeball, from Kelly a finger, from Jenel, a vagina, from Harold, an ear, from Markus, it's either a kidney or a liver from Brad, a tongue and from poor helpless Sara, what appears to be a larynx. 0002000001C200018A4E1BC,The Pact is complete. The dye cast. All tossed into the Incinerator, sucked into it like a vacuum hose and rapidly consumed by the blazing fire within. dISSOLVE TO: INT. HIGH SCHOOL ART CLASS - NIGHT Like everywhere else, this room is also cold, bitter cold. Paul finds that strange enough to blow into the air and there is visible frost. The chill in this room hits Paul and Lisa immediately and they clutch their shoulders while shivering. 00020000071500018C0A70F,LISA'S P.O.V.: She looks slowly across the room. A street lamp just outside the window provides a small pool of light inside. But this warmish yellow glow provides no comfort. The rain outside keeps spraying the row of windows with formidable force. The gusting wind blows incessantly. And every so often, the crackle of lightning, followed by distant thunder. Paul and Lisa walk down the center aisle, Paul looks to the right and Lisa to the left. Then, the scratching noise. Very faint but its there. Constant. PAUL Lis....how did I ever let you talk me into this one. As you'd expect, this art class room is filled with art projects: sketches, portraits, paintings, sculptures, items made of bronze and metal wiring, odd ball stuff. Some of the projects have just started, some are half done and some are completed. The sculptures, statues and certain items made of clay are all lined up in a row on the window sill. A closer look, helped by the ambient light, reveals a very disturbing, occult homage to some Demon. The sight of it alone would scare the wits out of some. This room is spooky. Very, very spooky. Lisa picks up a sketch off one of canted desks. OVER HER SHOULDER: It's a sketch with a moonlit bleak, barren landscape with a small hill to one side. A lone dead tree with one large branch sits on that hill. Tied to the branch is a hangman's noose. In silhouette, a limp corpse hangs from the noose. Lisa is captivated, slightly lost in thought, wondering. PAUL (CONT'D) Well, would you look at that. (pause) A rat is eating the teacher's apple. LISA (snapping out of it) What? Paul points to the teacher's desk at the front of the room. A rat is munching away at the big, juicy, red apple that sits on top of the desk. And its a big Rat with a long tail --- as big as a cat. Disgusting. 00020000066E00019319668,LISA (CONT'D) That's gross. PAUL You're telling me? In between Paul and Lisa, we see motion behind them, in the background. Someone is moving towards them – and fast. DIANA (out of the blue-unexpected) What's taking you guys so long! JEEPERS CREEPERS! With that Diana manages to scare the living daylights out of Paul and Lisa who almost jump right out of their skin. WOW! Even the big rat scrambles for shelter. LISA (regaining her wits and breath) Mom? Jeeeeezzzzz! PAUL (also regaining his composure) Hello! DIANA Have you guys seen enough? Find anything? Paul and Lisa want no more of this room. It's time to leave - move on. The threesome walks to the door and exit. Last one out is Diana who pulls on the door handle - slamming it closed. With Diana exiting, the motion of the closing door closing reveals the evil black cloaked Mother standing directly behind it. Her figure blends into the overall blackness but the glow in her hellion eyes can still be seen. She gazes forward – not moving an inch. INT. HALLWAY OUTSIDE ART CLASSROOM - NIGHT Diana realizes that the time has come not to mince words. DIANA (without hesitation) We have to go to the basement. End it there. LISA End "what" there? DIANA Lisa....Paul....you're going to have to trust me on this one. Understand? Lisa would take the time to understand but something else in the hallway has caught her attention. She moves away from her mother, then walks ten or so yards down the unlit hall, looking around, bewildered. LISA (confused) So Mom, while we were in the art studio, dicking around, did you check out all the other classrooms? Like, the doors are all open. 00020000077C00019981776,Paul figures that's exactly what happened. He should compliment Lisa's mother for checking out the rest of the rooms while they were "dicking around" in the art studio. PAUL Good work Mrs. Bell, guess you..... DIANA (interrupting abruptly) No..no..I stood in the hallway then came looking for you two. I didn't touch one door. Oh boy? Lisa senses trouble - big trouble. And right on cue, everything suddenly goes real, real quiet. Quiet enough to hear a pin drop. We can't even hear the lightning that flashes outside, sending a shaft of piercing light down the long, empty hallway. Lisa prods Paul and her Mother. While walking backwards, she motions with her hands for the other two to start walking towards her. She is not at all certain if anybody is watching but she is trying to keep her hand signals secret. As if it really matters. LISA (very quietly) Come on guys. (pause) Let's go. Out of here. (pause) Like now. Paul and Diana get it. They both walk softly towards Lisa who is now at the end of the hallway. It is still dead silent. BANG! A DOOR SLAMS SHUT - IT COULDN'T BE ANY LOUDER. BANG! ANOTHER DOOR SLAMS SHUT. SOMETHNG HANGING ON THE WALL - SCHOOL SAFETY RULES IN A GLASS FRAME - FALLS OFF AND CRASHES TO THE FLOOR - THE GLASS SHATTERING. BANG! ANOTHER DOOR SLAMS SHUT EXTREMELY HARD, CRACKING THE DOOR FRAME. Lisa, Paul and Diana can no longer bear the intensity of the noise, forgetting about any impending threat. All three cover both ears and cringe. BANG! BANG! BANG! Three doors slam close.. One appears to suck inward after crashing into its own door frame. BANG! BANG! One after the other, all the doors in the longest corridor slam shut. The force so intense, that all the dust which collected on the walls and particularly on the ceiling is shaken loose, then begins to float downward. Thirty years of dust and soot falls downward creating a clearly visible haze in the air. 00020000069B0001A0F7695,Holding his ears, Paul stands next to Diana in the hallway which slowly begins to get "cloudy." A black object, the size of a golf ball then lands on Paul's shoulder.........it's a Spider. A big, black, hairy, crawling Spider. Going undetected, the Spider inches closer to Paul's neck. Fortunately for him, Diana notices it and swats it off his shoulder. PAUL What was that! DIANA Don't ask. Lisa squints to see through the haze building up in front of her. In another minute, she will lose sight of Paul and Diana down the hall - this is something she will not wait to see happen. LISA Let's go! After Paul and Diana react to Lisa's cry to leave, two or three more black "golf balls" fall down just to the side of them, just missing their head, arms and shoulders. PAUL Whoa! What was...(looking around) that? PAULS P.O.V. Three of those big, black, hairy spiders crawl around on the floor, disappearing into the mist of dust now settling. Paul looks up and over to Diana who also looks up and then over to Paul. They dare not. They do. Paul and Diana both look up to the dark ceiling. That good old crashing lightning that every so often would create light couldn't come at a worse time. But it does. A piercing jolt illuminates the hallway and the ceiling above. PAUL (CONT'D) (looking up) You have got to be fucking kidding me? PAUL'S P.O.V. TO THE CEILING: The ceiling is crawling with spiders – dozens of them. Dirty, nasty spiders, big ones, little ones. Many of them are clinging to one or two thick massive webs. Some of them look ready to drop – and they do. With two or three spiders falling down, Diana and Paul run. One spider falls on and bounces off Diana's shoulder. 0002000006480001A78C642,PAUL (CONT'D) Run Lisa, run !! Lisa walking to them, stops, hesitates, confused. Feeling something, she looks down and sees a large spider crawling up her leg, just above her ankle. Screaming, she knocks it off violently. Just then, Paul, followed by Diana, breaks through the haze if front of Lisa. Paul grabs her arm and two run like hell, Diana just several feet behind them. WHEN ALL THREE RUN PAST CAMERA: We see a whole bunch of spiders dropping down, falling through the haze caused by the thick, loose dust. One spider here, one there. One or two fall through camera view in the foreground, others fall deep into the cloudy background, barely visible. A patch of them plops into the middle of the hallway. INT. HIGH SCHOOL HALLWAY/STAIRWELL -NIGHT. Paul, Lisa and Diana run to the end of the hall and push the two staircase doors open. Without looking back, they run through these doors and swing them close. INT. HIGH SCHOOL 2ND FLOOR STAIRCASE - NIGHT Paul, Lisa and Diana all stop to catch their breath. Paul knowing how to lock the double doors, walks over to them, grabs the metal bar on the one and pulls it upwards, clicking into the locked position. He repeats this process with Door # Two. PAUL (breathing heavily) Not completely sure what that will do but it can't be better unlocked. Lisa and her mother agree. After a brief rest, the three move quickly down the stairs. It's dark so they have to watch their step. They descend two flights of stairs. Following Paul and her daughter, Diana looks back up to the doors that Paul just locked. In each door there is a small window slit. 0002000006520001ADCE64C,DIANA'S P.O.V. From behind the locked door, a white, macabre face steps into view then steps back - just long enough to make it out - barely. Diana stands motionless, having seen that "face" come and go. Then, Lisa steps next to her and also looks up. Nothing. LISA What is it Mom? DIANA That face. That woman. I saw it again. It was there. PAUL (O.S.) Come on guys, let go! They three move on, quickly. INT. MAIN GROUND FLOOR HALLWAY - NIGHT. CAMERA IS POINTED RIGHT AT THE STARCASE DOUBLE DOOR. Paul, Lisa and Diana burst through, exhausted. They stop suddenly, looking directly forward, surprised. THEIR P. O. V. The hallway is brightly lit up and looks "normal," or like it normally would look on any average high school day. There are no students in the hall but the place has an overall feel to it that all is OK. Plus, the storm has ended. Completely. What can be seen outside, though night, is calm and serene. Loudly, the loudspeaker clicks on, first with a short burst of standard microphone feedback. Then a voice. LITTICK (V.O.) (sounding normal) OK, everybody, let's wrap it up. BACK TO PAUL, LISA AND DIANA. PAUL If I knew what to say, then I'd say it. But....like....what do I say? And this is the very same hallway where the Detention room was. Down to their right, in the middle. The door is open. Invitingly open. Voices can now be heard coming from that classroom. It's chatter coming from everybody who was in the Detention class earlier that day. LISA Did either of you guys ever see that movie, "The Game." The one ---- with Michael Douglas.....the one...... PAUL (cutting Lisa off rudely) 00020000076E0001B41A768,Lisa, I know the fucking movie (getting Diana's ire) you're talking about. (turning to Diana) oh, ah, sorry about that. DIANA Yeah, "The Game." (pause) I wish. Suddenly, the voices coming from inside the detention classroom are much more distinct. SAM (O.S.) Come on dudes, get in here before Littick gets back. JENEL (O.S) Yeah, move it bitches, this mamasito wants to go home. BRAD (O.S.) Ditto to that.....I think. Everybody inside has a good laugh at that one. Everybody sounds normal, everybody sounds OK. So, without delay Lisa and Paul walk right up to the open door. Diana gives pause. INT. DETENTION CLASSROOM - NIGHT. Paul and Lisa walk in and stop on a dime. Their eyes widen in utter fear. THEIR P.O.V It couldn't be a more worse situation, but it is. There they sit: the detention class of this day: Harold, Sam, Rachel, Brad, Jenel, Kelly, Marcus, Sara and of course, everybody's' favorite, Denzel. As a group they are all giddy, cackling away and gleefully encouraging Paul and Lisa to re-take their seats. Denzel has no head, it was cut off. But there he sits. Rachel, just her upper torso that is, sits on top of her desk. Sara has a huge dagger driven deep into her neck. Blood is still spurting out. Sam looks like a pealed onion, having suffered third degree burns from top to bottom. Half the hair on his head is gone. Markus has a huge hole in his chest. You can see right through it to the back wall. Brad, the "blob, bounces up and down on the top of his desk, shaped like a beach ball with every body part out of place. Jenel, has no eyes, just two bloody sockets, drools incessantly, laughing maniacally. Harold's head is crushed badly and compressed down into his neck, which is gone. From head to toe he is a foot shorter. And poor Kelly is exactly as we saw her last, with seven needles shot deep into her body. She pulls one out, looks at it, then starts to giggle. 00020000068E0001BB82688,BRAD (still bouncing) You guys just got busted, ha, ha! ALL OTHERS (giggling and laughing) Busted, busted, you just got busted! Thunder is now heard as a very long excruciating echo, rolling in from a distant. BOOM! CRASH! THUNDER AND LIGHTNING. THE ENTIRE ROOM IS THROWN INTO DARKNESS. INT. HALLWAY OUTSIDE THE DETENTION CLASS - NIGHT. Paul and Lisa bolt out of that room as if they were shot out of a cannon. While on the run, Lisa quickly realizes that her mother, last seen just outside the classroom, is gone. No sign of any struggle but gone never the less. Lisa soon learns that she can run and panic at the same time. LISA (breathing hard) Where's Mom? Where's my Mother? Lisa say this loud enough to serve as both a question to Paul and as a "call for help" to her Mother. They hit the end of this hallway and round the corner. When Paul and Lisa go out of view, all the lights that were on, suddenly shut off. Once again, it's become place which is all to familiar - Dark, haunted, cold. INT. HIGH SCHOOL HALLWAY - NIGHT. Paul and Lisa make a sharp turn landing them is an adjacent hallway which is pitch black. Not only do the lights going out motivate them to stop, but they also hear Diana's voice coming from nearby. DIANA (O.S.) Kids, I'm over here. Lisa, come this way - over here. Rest over, bearings re-gained, Paul and Lisa figure out which way to go. But when they prepare to run towards Diana, a large dark figure lunges out of the shadows and grabs Lisa by the ankle. Lisa screams holy terror. Paul moves in for the rescue, preparing to kick the attacker who is laying on the ground grasping hard to hold onto Lisa's ankle. Lisa struggles to escape. 0002000006640001C20A65E,Poised to land a blow with his foot to the perpetrator's guts, Paul suddenly stops in mid-kick. He is stunned PAUL Littick!! Sure enough, it is Mr. Littick laying there clutching to Lisa's ankle - not to harm her, just trying to get help. And Littick is very much alive. Seriously wounded but still alive. He's not a ghost, not part of the living dead, he's not possessed or crazed - none of that, he's alive and human. Stretched out, grabbing hold of Lisa, Littick is also a gruesome and pathetic sight. Not only does he have a gaping head wound but, he is also missing most of his teeth. The inside of his mouth is so bloodied, it looks as if most of the upper and lower teeth were torn right out of his gums - they were. Consoling him, Paul, at the same time, has to pry his hand off of Lisa's leg and it's not going to be easy. PAUL (CONT'D) (calmly) Hey man, it's going to be OK, just let her go......we plan to find help. Count on it. Littick mumbles incoherently, pleading for help, but at the same time trying desperately to pass on a warning about what lies ahead for these two. The expression in his eyes suggest that only sheer horror awaits them. Be Warned! PAUL (CONT'D) (while pulling off Littick's hand) We'll come back for you... Another call from Diana provides a break in the tension. I/E. ELEVATOR AREA -NIGHT. Diana has found her way to the elevator which is directly behind her. Without reason, the doors slide open, it appears empty inside. Diana steps inside and braces her hand against one of the sliding doors to block it from closing. She looks around instinctively and nothing is there – or is there? 00020000063F0001C868639,Something inside the elevation moves. DIANA'S P.O.V. Nothing. Just darkness. But in the darkness there is some form - followed by some slight movement. Is something there? INT. HIGH SCHOOL HALLWAY - NIGHT. Paul has his hand on Littick's wrist. This teenager's overall confidence provides him an assurance for recovering from this nightmare. Littick slowly lets go of Lisa's ankle who quickly darts away, into the darkness and toward the area that Diana's voice last came. PAUL Trust me sir, I won't leave you hanging here. Paul pats Littick on the shoulder then runs off to catch up with Lisa. Littick rolls over and collapses fully on his back, but he is still alive, breathing. INT. HIGH SCHOOL HALLWAY (TO ELEVATOR) -NIGHT. Paul combs through the dark hallway. From several yards away, he hears the elevator doors open. LISA Paul, over here! Paul does not hesitate and sprints over to where Lisa's voice came. He takes one last glance back to Littick, then straight ahead without delay. I/E. ELEVATOR AREA -NIGHT. Paul runs up to the elevator and Lisa is already inside, blocking the sliding door from closing. But, he does not jump in right away. There is pause on his part - too much weird stuff has gone down for such a hasty move. Besides, where is Diana? LISA Come on, lets go! PAUL (pondering) Wait a second, Lisa, where's your Mother? Where did she go? LISA Remember when she told us about that one place....the one place this is all going to lead to...the one place where it's all going to end. PAUL Yeah? LISA Well, that's where I'm going. I know she's down there. (pause) Well? 0002000006810001CEA167B,Paul is truly reluctant to jump in but Lisa is determined to ride that elevator down - down to the "one" place there's sure to be a whole bunch of weird, fucked up, scary shit. He rolls his eyes and cocks his head back. Paul steps up to the elevator but gets only half way through the door. PAUL I'll do it, but you have to promise me one thing. LISA What's that. Paul reaches forward, grabs Lisa by the waist, pulls her towards him and forcefully lands a big kiss. This moment is interrupted when the two elevator doors close, bumping them both in the shoulder. Paul pulls away. PAUL That you'll go with me to the Senior Prom. LISA I'd thought you'd never ask! Lisa throws both arm around Paul neck and kisses him again, then draws back. The two doors slam into them a second time then recede to the side. Grabbing Paul by the arm she pulls him into the elevator. LISA (CONT'D) Let's go. PAUL Why not. The elevator door closes. It's motor winds up. CAMERA PANS QUICKLY UP TO THE STRIP PANEL JUST ABOVE THE ELEVATOR'S DOOR FRAME. THE "G" SYMBOL IS DARK. WHEN IT CHANGES TO THE BASEMENT LEVEL, THE "B" SYMBOL LIGHTS UP - IN RED. INT. BASEMENT/ STORAGE AREA - NIGHT. Paul and Lisa poke their heads out of the elevator and look about. Even though a little bit of their determination was left upstairs, they exit the elevator. Slowly, stilling scanning about the room, they move away from the open elevator doors. The doors suddenly slam close. Paul and Lisa turn and look first, at the doors, and then to the strip panel above the outer frame. Again, the elevator motor winds up, then fades. The "B" symbol light pops off and, in good devilish manner, it pings. 00020000062B0001D51C625,PAUL I hope that comes back. Lisa continues to look around. Ahead of her is the heavy industrial door leading to the Incinerator room. It is closed. The scratching sound starts up, and it is coming from behind the Incinerator room door. LISA There's only one place left for my mother to be (pointing to the "one" place). I don't like it, but we really don't have any choice. The scratching gets louder. Lisa and Paul both walk over to the large door, not knowing what to expect next. But Lisa needs to find her mother. The scratching continues to get louder………and louder. INT. INCINERATOR ROOM - NIGHT. FROM INSIDE THE ROOM - LOOKING DIRECTLY AT THE CLOSED DOOR. The door swings open revealing Paul and Lisa. THEIR P.O.V. They look over the dark, foreboding room from right to left then back. Their view becomes fixed on the heavy iron Incinerator door. No doubt about it, the scratching noise is coming from behind that door. VOICE(O.S.) The person inside that chamber is going to be burned alive. That I promise you. Paul and Lisa turn to the voice coming from behind them. It is the demonically possessed Mother of Gabriel. Her right hand is on the switch, just inside the door, which operates the incinerator. She is more than prepared to yank that switch downward, thus igniting the large tomb-like machine. Now, a banging noise is coming from inside the Incinerator. Lisa has no problems addressing this Woman anointed by Hell. LISA (looking right at her) So, my Mother's in there. And you plan to kill her. MOTHER/DEMON I plan to burn her. Burn, you hear me! Burn! 0002000006850001DB4167F,Paul and Lisa are both shaken and totally unsure as to what to do. With that woman's hand on the switch, they realize it's impossible to make a quick attempt at dragging Diana out of the closed chamber. MOTHER/DEMON (CONT'D) (even more incensed) Your Mother could have helped my son that night but she didn't. She knew something was wrong but did nothing. She heard my child scream for help but still did nothing. (pointing) Go ahead, look inside. Take one last look at that dirty murderous whore before I send her straight to hell! Paul does not hesitate to take up that offer and pulls open the heavy door to the Incinerator chamber. There inside, pushed half way down the entire length of the floor plate inside the chamber, lies Diana. She has a sizable head wound and is semi-conscience. In her hand is the same exact metal rod that Gabriel used attempting to escape twenty-five years ago. Made of metal, it could never be consumed by the flames within. Diana, serious dazed by the blow to her head, is able to see Lisa and Paul outside the chamber. Lisa is overcome by the devastating, live threatening situation and, unable to contain herself, grasps desperately for her Mother. All Paul can do is watch. MOTHER/DEMON (CONT'D) (gloating) You're idiot Mother just had to get in the way and for that she will die. Just like that moron Littick. I killed that fool because he just happened to be there!! O.S. VOICE And now I'm over here! MOTHER/DEMON What?? She turns and steps just outside the doorway. In one very quick second, in one fast motion, with clear intent and clear purpose, the cipher blade, long discarded, cuts swiftly through the air. SWOOP! 0002000006830001E1C067D,And, in one clean, perfectly guided swing, it slices the head of the Mother/Demon right off! The severed head lands hard on the floor. By fluke, when her body crashes to the ground, the Mother/Demon's left hand is extended enough to push down the incinerator switch. Inside the incinerator, the flames ignite, spreading quickly. Paul and Lisa grab Diana and pulls her out as fast as they can. Diana's dress catches on fire but, after setting her onto the cement floor, Paul tears off his jacket and puts the flames to rest. Diana, though scared badly, is going to be OK. A hand reached down into frame and grabs the severed head of the Mother/Demon which is still yapping away! It's Littick. He lifts her head up and holds it face to face. Without any teeth, it's difficult to judge who's the uglier of these two. Mumbling, Littick can't help trying to say something, even if it does come out barely audible. LITTICK Moron, huh? MOTHER/DEMON Put me down you fool. And with that, Littick tosses the severed head right into the now full broiling incinerator. The head rolls over into perfect position - straight up and facing the door opening. The flames have no mercy, attacking the head, first setting the hair on fire. MOTHER/DEMON (CONT'D) Idiots! Do you think it now ends. It will never end. (laughing) Soon the entire head is engulfed by the heavy fire inside the Incinerator's core. Engulfed - consumed - destroyed - melted - gone. Taunting our survivors right to the bitter end. For an exclamation point, Paul walks up to the Incinerator and kicks the iron door shut. SLAM! By the sound alone, we know that the fire inside reaches it's maximum intensity. 00020000066F0001E83D669,PAUL Finally, it is over. CAMERA SWEEPS UPWARDS, CLIMBING TO THE CEILING ALONG THE SURFACE OF THE HUGE, CIRCULAR INCINERATOR EXHAUST. WITH IT, WE HEAR ONE FINAL DIABOLICAL CRY OF DAMNATION FROM THE EVIL AND POSSESSED MOTHER. Littick collapses to the floor. Knowing her Mother is OK, Lisa slides over to him and tries to revive him. It may be too late - but Littick did get in the last punch. He went down swinging. LISA (with great concern) I don't know Paul, he's in pretty bad shape. Diana, groggy, wounded, starts to re-gain her senses. Shaking her head, she takes a look around and isn't fully aware of what has just happened. With Diana OK, Paul takes his jacket off her and tosses it to Lisa who folds it up, then places it under Littick's head. Littick is barely hanging in there but still kicking. DIANA (disoriented) Where is she? (looking around) Where is that witch? (not content) Where? LISA It's over Mom. She's dead. Burned up dead. PAUL Yep, it's over. Diana contemplates the circumstances, lost in some deep thought. Uneasy. DIANA I'm not so sure about that. This gets Paul and Lisa's attention - and not in a good way. LISA (not happy) Mom, Jesus fucking God Damn Son of a Bitch Christ. Do not, I mean do not start up again with some hocus pocus bullshit, and excuse my French! PAUL Let me second that. Mrs. Bell, please. Diana doesn't want to surrender an explanation but she has to - and Lisa and Paul want to hear it. DIANA I know this is hard but that wretched woman made a pact with the Devil. She killed all those children, so I hate to say it but, I think the pact was complete. I pray it wasn't, but I think it was. 00020000069F0001EEA6699,Lisa strongly jumps in to disagree. Paul provides the moral support. LISA No Mom, No! Look, I'm still alive so the pact was not completed. She didn't get me. Not me. Diana looks nauseated, uncomfortable, crest fallen. DIANA (with no joy) Lisa, there's something your father and I promised we'd never tell you. Every family has its secret and this was something that you just didn't have to know. PAUL This does not sound good. LISA OK Mom, what are you talking about? DIANA Lisa. LISA Yes. DIANA You were adopted. PAUL On shit. BOOM! THUNDER HITS. THE LOUDEST BOOM SO FAR. CRASH! LIGHTNING HITS. THE LOUDEST CRASH SO FAR. IT'S ELECTRIC! VOICE (O.S.) Diana, help me. Diana please help me. Paul, Lisa and Diana are all visibly stunned by hearing this voice. Even more so because it's sounds as if it's coming from the Incinerator which is operating at full capacity. Nobody could survive inside there - nobody human that is. VOICE (O.S.) (CONT'D) Diana, please. The fire is burning me. The flames are hurting me. Oh please. Diana cover her ears, after staring into space, she begins to tremble. DIANA No! Oh God no! This has got to stop. But it doesn't. GABRIEL (it is his voice, calling) Oh please Diana, don't let me die in here. Please, not again. (pleading) I'm dying Diana. Please let me out. Diana simply can not tolerate it. That haunting voice has seized her very soul. The guilt she has carried for all these years - insufferable. Unbearable. Those memories run deep. DIANA I won't let this happen again. I can't. I have to let him out. Lisa and Paul can not believe what they have just heard. Before they can react, Diana lunges forward and grabs onto the handle to the iron door. 0002000007C90001F53F7C3,Paul and Lisa grab Diana and try to pull her back but it's too late. Forcing her away, Diana's grasp is just too strong, and she opens the door to Hell. The flames inside erupt like a small volcano. A huge fireball, with tremendous force, knocks all three to the floor, dazing them severely. But not enough to knock them out. All three sit up and look into the Incinerator. Something is in there - and it's coming out! It's Gabriel, or what looks to be Gabriel. It's a man, one who is able to walk on two legs. Both arms and both hands are also there. You can see two eyes - both wide open - with thick red blood vessels. But, it's a man who has been charred from head to toe. Seared and blackened. Burned to a crisp. Every hair on its body singed off. The head is bald and bloodied. Gabriel's entire body has at least one layer of skin scorched off. He appears as one large blister. The red and black face make the eyes stand out. Eyes mad with the desire for revenge - to kill! Diana's decision in made. She will stall Gabriel and block his way so the two kids can run - run for their dear life. Diana gets up and approaches Gabriel. LISA (perplexed) Mom, what are you doing? It's a ploy. She ignores her daughter and directs all her attention to Gabriel. DIANA Gabriel, poor innocent Gabriel needs help. I will not turn my back on him this time - and never again. Diana extends a hand and caresses his face. Gabriel falls for this. - briefly. At the same time, his "evil eye" strongly suggests that he has every intention of killing Diana, for leaving him to die. For now though, he will allow her seduction to consume him, just like he always did in the past. GABRIEL My beautiful Diana, I always knew that you would come back for me. Our love was that strong. Wasn't it? Paul has an inkling to what Diana's motive is. He knows that the toughest part will be getting Lisa out of there, leaving her Mother, adopted or not, behind. He grabs Lisa by the wrist and prods her to stand. 0002000008BC0001FD028B6,Behind them, Diana moves even closer to Gabriel who stands right in front of the Incinerator door. She continues her sexual advances to him. DIANA Yes, Gabriel, and I never stopped loving you, even after all these years. Diana produces the occult ring that she found and holds it up to Gabriel's face. His focus in now clearly on this recovered belonging of his. He wants it back. dIANA (CONT'D) Look - I found your ring in the ashes. And to prove my love, I've held onto it ever since - holding it so very close to me over the years. gABRIEL (his mood starting to change) My ring - the ring my Mother gave to me. I need it back Diana, back so I can be strong again. Diana is unwilling to part with the ring. Every second she holds onto it gives her child more time to move away towards safety. dIANA Forgive me Gabriel, please forgive me. But I want to keep it. This angers Gabriel. The two are now face to face, no more than inches apart. Gabriel gleams then grabs Diana's head with both hands and forces her to kiss him. Diana chooses to embrace this horribly burned, blackened and scarred face. It's a hard violent kiss. Gabriel, releasing the grip on her head, pulls his gross and pustules lips away from Diana's. Smiling with pleasure, he tilts his head back. GABRIEL I do forgive you my love --- and now I am going to kill you. On that note, one of his blistered arms shoots upwards and grabs Diana by the throat. Not taken by surprise, Diana does the same exact thing to Gabriel. Struggling to momentarily dislodge his hand, Diana swings around to tell Paul and Lisa to run - run and don't look back. DIANA Run, Lisa. It ends here! It ends here, and it ends now. The fighting continues, with Diana and Gabriel again strangling each other. Paul grabs Lisa and pulls her out of the Incinerator room. PAUL That's right. It ends here and now. I like that. INT. BASEMENT/STORAGE/ELEVATOR AREA -NIGHT. Paul and Lisa run up to the elevator doors. Before he even stops, Paul starts hitting the "Open" button over and over. Lisa looks back. She is both reluctant and hesitant about leaving her Mother, adopted or not, behind. A heavy cinder block lies just five yards to the side of the elevator. Paul spots it then picks it up. 00020000064F000205B8649,Before she can reach any decision, the elevator doors, surprisingly, slide open. Paul throws his arm around Lisa's shoulder and ushers her into the carriage, taking the cinder block with him. INT. ELEVATOR - NIGHT. Paul and Lisa jump into the elevator and he immediately hits the "2" button hard and often. They both take one last look at the struggle in the Incinerator room. PAUL AND LISA'S P.O.V. THROUGH THE CLOSING DOORS. Unfortunately, Diana is losing this battle - her body begins to collapse downwards as Gabriel continues to choke off any air that might save her. Leering down at his former lover, Gabriel's head then cocks up. As the elevator doors slide shut, the last thing we see are the penetrating and maddening eyes of this hideous creature staring right at us. INT. 2ND FLOOR HALLWAY - NIGHT. The elevator doors open and Paul and Lisa fly out. CAMERA TRACKS BACK - KEEPING PAUL AND LISA ALWAYS FRAMED IN FULL FIGURE. Paul is pulling Lisa by the hand while he carries the cinder block like a football. He has no intentions of letting her go and he would have made quite a football player. Dark or not, they run for dear life with Paul giving explicit instructions. PAUL (huffing and puffing) OK, listen, I'm going to take this and throw it right through a window and after that we're going to jump. Do you hear me Lisa? We're going to jump! LISA OK. They stop in front of any classroom. The door is locked but there's a standard window section covering the upper half of the door. Paul smashes the window out, reaches through it and unlocks the door. Opening it, he then enters the classroom. 00020000067C00020C01676,INT. 2ND FLOOR CLASSROOM - NIGHT. Paul dashes past the back row of desks until he is five yards from one of the windows. The second floor windows do not have bars. It is still raining outside and, to heighten the intensity, a lightning bolt steaks across the sky. Paul raises the heavy cement cinder block high above his head, and tosses it at the window pane that extends up to the ceiling. PAUL (while throwing) Jeez, Louise. Why didn't I think about this two hours ago. It's a tremendous event - with the window exploding into a thousand pieces. That huge piece of cement, did its job smashing open the glass pane. The still gusting winds blow rain into the room but that's a good sign - freedom! Paul turns to look back, trying to find Lisa's whereabouts. Where is she? Oh no. PAUL'S P.O.V. Through the classroom door frame, Paul sees Lisa who is still standing in the dark hallway, gazing at something that must be in front of her. She seems paralyzed. Lisa is completely overwhelmed by fear - and doubt. INT. 2ND FLOOR HALLWAY - NIGHT. Lisa snaps out of it. She is now drawn to walk forward, then stops again. LISA'S P.O.V. From the end of the hallway and from out of the darkness, comes Gabriel, carrying the corpse of Diana. He is also wearing that damned ring. Diana is dead, her lifeless arm swaying back and forth. Gabriel stops to gloat. Lightning shatters the black hallway. GABRIEL (cunningly) Lisa, why did you leave your Mother behind? Why did you leave her to die? Devastated, Lisa sinks to the floor, weeping. GABRIEL (CONT'D) Why Lisa? She was calling for you. Calling for help but you abandoned her. Just like she left me years ago. 00020000063700021277631,Gabriel rudely tosses Diana's body onto the hard floor, right in front of him. The corpse is made visible by distant lightning. Lisa now weeps uncontrollably while Paul moves into the doorway directly behind her - not at all sure what to do. GABRIEL (CONT'D) (cynically) Will you now be my lover Lisa? Can you love me the same way she did. We loved each other so much. O.S. VOICE And that- was - the - big - problem. CRACK! A baseball bat flies out of the shadow and nails Gabriel squarely on the side of the his head. SMACK! Another weapon - in this case a two by four - sails in from another direction and crashes right into Gabriel's knee causing him to drop. THUD! A small wrought iron pipe comes down hard on Gabriel's shoulder blade, breaking it, causing him to cry out in pain. Out of the shadows step Jack, Kevin and Tim. Remember those guys? Diana did, and she just happened to call them before heading over to the school. Too bad she got there early - and alone. Plus, for good measure, a woman then steps right up to Gabriel and gives him the hardest, swiftest back hand ever administered. It's Mimi. Behind all this, Paul helps Lisa back to her feet and decides, right then and there, to "pick it up" and leave. No need to jump, just walk right out the front door. They walk away, leaving these parents the opportunity to dole out justice anyway they see fit. PAUL Come on, let's get out of here. We don't want to see anymore of this. Lisa looks at Paul. Exhausted, she still couldn't be any more thankful - or sincere. LISA Thanks Paul. They turn the corner and are gone. 000200000E35000218A8E2F,Back down the hall, Tim, Kevin and Mimi huddle around the fallen Gabriel while Jack looks at Diana. He kisses her on the forehead then places his jacket over her head. Jack then rejoins the other "posse" members, all four now looking down, with disgust, at Gabriel. JACK I never did like you. KEVIN Nobody liked you. MIMI I always thought your Mother was a witch. Now, thirty years later, I find out that I was right. That really stinks. Despite being defeated, beaten up and a fried up little man, Gabriel snarls out defiantly. GABRIEL (boasting) I am the Messenger from Hell. Sent here to pave the road for the new Master of Heaven and Earth. You will not deny Satan his rightful throne. The four parent all chuckle. They take this guy seriously but laugh just the same. JACK Yeah, well, let’s go downstairs and tell Satan to go fuck himself. The foursome grab Gabriel roughly, each taking one arm and one leg. They haul him off to the elevator. Gabriel does not go easy - he kicks, yelps and squeals like a pig. Along the way the parents get an earful about damnation. INT. BASEMENT/ STORAGE ROOM - NIGHT. CAMERA VIEW IS THROUGH THE BASEMENT AREA AND STRAIGHT INTO THE INCINERATOR ROOM. THE DOOR TO THAT ROOM IS OPEN AND THE IRON DOOR TO THE INCINERATOR IS OPEN BUT THE FLAMES ARE OFF. From behind camera, the four parents, carrying the squirming and screaming Gabriel walk through the basement and into the Incinerator room. INT. INCINERATOR ROOM - NIGHT. They carry Gabriel up to the open door leading to the chamber of fire and death. JACK Hey, Kevin. I've got a hold on this guy. Do me a favor and turn this baby on. Kevin releases a leg and Jack easily scoops it up, now holding both legs. Kevin walks over and calmly turns on the Incinerator. We hear the gas make its way through the system then WOOSH! The Incinerator fires up, flames quickly rise inside the chamber. It's a huge, glorious fire - probably heaven sent. Kevin returns from the On/Off switch and re-grabs the leg passed on to Jack. JACK (CONT'D) Take a good hard look at those flames Gabriel. They're going to take you straight back to Hell. Straight back to where you belong. Gabriel's face widens with deathly fear. Hell's Messenger has become very frightened. In one big thrust, "heave ho," and into the Incinerator he goes, the door being slammed hard behind him. Shut and locked. The only thing left is the screaming. But Satan is not happy, and the entire Incinerator starts to vibrate and rattle. For added insurance, Jack takes the short iron pipe and wedges it into the door handle to make sure there is no possibility of it opening. Three of the parents leave but Jack stays behind, establishing his position as the guardian of this door and the evil behind it that is fighting to escape. MIMI (concerned) Jack, come on! Hurry! I think that's going to blow. KEVIN (agreeing) Damn right. Jack, let's get the hell out of here. JACK No guys, I'm going to stand here and make sure that little son-of-a bitch does not climb out of here. Mimi starts to cry. Kevin and Tim know that Jack's decision is firm. Not a damn thing will change his mind. They grab Mimi and run out of the Incinerator room. The shaking increases, making the entire area very unstable. A turbulent rumbling sound starts to emit from the chamber - and its getting louder. int. basemENT/STORAGE ROOM - NIGHT Mimi, kevin and tim run past camera blocking our view for a split second. After Mimi, Tim and Kevin race past camera, we see Jack, undeterred, in the background, standing guard over the Incinerator's door - preventing any possibility of it opening and Gabriel getting out. 0002000009FE000226D79F8,The machine shakes violently. It's going to blow! EXT. HIGH SCHOOL MAIN ENTRANCE - NIGHT. Paul and Lisa are safely outside, even the rain has decreased to a drizzle. They hear a rumbling sound coming from inside the school. They sure as heck aren't going back in there. Tim, Kevin and Mimi are pile out of the main entrance to the high school and jog over to where Paul and Lisa are standing. PAUL Where's Jack? INT. INCINERATOR ROOM - NIGHT. With Jack still blocking the iron door, the Incinerator does blow. A huge, massive fiery explosive that lights up the entire basement and completely obliterates his human form. EXT. HIGH SCHOOL'S ROOF/ CHIMNEY - NIGHT. Against the lighter slashing rain, one big fireball blows out of the exhaust system, then dissipates into the night sky. With it, comes one last dreadful scream from Gabriel - now gone forever. EXT. HIGH SCHOOL MAIN ENTRANCE - NIGHT. Everybody is looking up into the sky, having just seen and heard the Incinerator blow up. It's over. KEVIN Jack's gone. Took Gabriel with him. This time for good - and forever. There's a total sense of relief, but also one of great tragedy and loss. After a brief pause. PAUL So, where were you guys, what took so long? MIMI (looking guilty) You don't want to know Paul. PAUL (determined) I'm sorry, but I do. I really want to know what took so long. Guilty looks all around. KEVIN We were at the game. Another brief pause. Lisa looks at Paul then back to the three parents. LISA Who won? cut to BLACK. hold in black for two seconds. fade up from black. int. basement/storage area - night. Camera tracks above the cement floor in the basement and storage area, following all the debris caused by the massive Incinerator explosion. Many of the destroyed pieces remain on fire. int. incinerator room - night Camera then moves up and into the mostly destroyed incinerator chamber which had its sides totally blown outwards. Camera tracks along the charred ruin that was once the interior of the chamber then moves in closer and finds the cursed occult ring last worn by Gabriel. Using a series of short dissolves, the camera view keeps getting closer and closer until we see, in full figure, the Demon whose image was carved in this ring. Continuing to move closer and closer, the camera finally stops on a close-up of the Demon's head that is pointed to the side. Although it is made of an emerald and carved into solid brass, the head turns and the demonic, snarling face, looks right at camera. cut to black roll end credits 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C30‚‚СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚‚СFFFF0‚C00000Т 20ТС ‚‚С‚10930‚10СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚20СFFFF0‚C00000Т 10ТС-10С‚‚С‚10930‚30СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚40СFFFF0‚C00000Т 10ТС-10С‚‚С‚10930‚50СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚60СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚70СFFFF0‚C00000Т 10ТС-10С‚‚С‚10930‚80СFFFF0‚C00000Т 10ТС-10С‚‚С‚10930‚-20СFFFF0‚C00000Т 8B0ТС-10С‚‚С‚10930‚-30СFFFF0‚C00000Т 17E0ТС ‚‚С‚10930‚-40СFFFF0‚C00000Т 1E30ТС-10С‚‚С‚10930‚-60СFFFF0‚C00000Т 2170ТС ‚‚С‚10930‚-50СFFFF0‚C00000Т 6F0ТС ‚‚С‚10930‚-70СFFFF0‚C00000Т 130ТС-10С‚‚С‚10930‚-30СFFFF0‚C00000Т 260ТС-10‚‚С‚10930‚-60СFFFF0‚C00000Т 660ТС-10‚‚С‚10930‚-40СFFFF0‚C00000Т 310ТС-10С -10‚‚С‚10930‚-10СFFFF0‚C00000Т 40ТС ‚‚С‚10930‚-80СFFFF0‚C00000Т 320ТС-10С‚‚С‚10930‚-60СFFFF0‚C00000Т 10Т-10С‚‚С‚10930‚-80СFFFF0‚C00000Т 70ТС-10С -10‚‚С‚10930‚-50СFFFF0‚C00000Т 20ТС-10‚‚С‚10930‚-30СFFFF0‚C00000Т 10Т-10С‚‚С‚10930‚-70СFFFF0‚C00000Т 10ТС-10С -10‚‚С‚10930‚-20СFFFF0‚C00000Т 20ТС-10С -10‚‚С‚10930‚-30СFFFF0‚C00000Т 10Т-10С‚‚С‚00070000025A000000110Т‚10Т180‚С‚15A‚0Т ‚10Т180‚С‚25A‚0ТC0Т‚10Т180‚С‚35A‚0ТC0Т‚10Т180‚С‚4EA5A0ТC0Т‚10Т180‚С‚5C6‚-70Т ‚10Т180‚С‚6A2‚0Т ‚10Т180‚С‚2071325A0ТC0Т‚10Т180‚С‚85A‚0ТC0Т‚10Т180‚С‚-25A‚0ТC0Т‚7B0Т180‚С‚-35A‚0ТC0Т‚1510Т180‚С‚-4EA5A0ТC0Т‚1B00Т180‚С‚-6A2‚0Т ‚1BE0Т180‚С‚-5C6‚-70Т ‚6D0Т180‚С‚20-71325A0ТC0Т‚E0Т180‚С‚-15A‚0Т ‚10Т180‚С‚-85A‚0ТC0Т‚2B0Т180‚С‚0008000001520000000240,System40,4014E44000701‚0Т101040,Courier Final Draft40,4014E40‚701‚0Т1010000900000017000000020‚2513EB0‚2513EB000A0000001B000000027C331F3277C331F327000B00000005000000020Т000C0000001E0000000146894688‚241F16B2A54‚1000F0000005A0000000050‚E0Т5F0Т ‚10ТСТС‚‚СТ4,4,77A4,44, 4,[].4,4,00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-.ЖЕ•ЕЅЅ.'"‘’“”…ƒFFFF0FFFF001280000000D00000001230D1‚0С‚01290000000D00000001230D1‚0С‚FFFE000000060002000177AAџџџџџџџџМЌЌЈЈ™™џџџџџџџџŽџџџџџџџџИ&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skip&Skipџџџџџџџџ 8џџџџџџџџ џџџџџџџџЅFFFF000000060002000177AA00000000004F0000000020001101-7F7F6F000Т480048-20F0С-1‚0Т F264FFFF0‚‚1020Т0001000000320000000103840‚‚‚5AF20A20388000‚203F20A0000200000007000000003,[].00040000000C0000000302‚3530005000000090000000201500006000000EE0000000430C30‚‚СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚‚СFFFF0‚C00000Т 20ТС ‚‚С‚10C201020040СFFFF0‚C00000Т 10‚‚429D900121AB90C0С‚‚С‚10930‚‚СFFFF0‚C00000Т 10‚‚429D900ТС ‚‚С‚000700000038000000020Т‚10Т180‚С‚205A‚0Т ‚10Т180‚С‚0008000001520000000240,System40,4014E44000701‚0Т101040,Courier Final Draft40,4014E40‚701‚0Т1010000900000005000000020Т000A00000013000000020‚F2640‚F264000B00000005000000020Т000C0000000A000000010Т‚‚1000F0000005500000000400Т 10Т ‚10ТСТС‚‚СТ4,77A4,4,4,4,4,4,00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-.ЖЕ•ЕЅЅ.'"‘’“”…ƒFFFF0FFFF0012800000009000000015‚0С‚012900000009000000015‚0С‚0014000000AC000000001AB90C5C1BE204211AB9100С2C,E,42,>Page #1 М<яpюpyfЯN1 Мpю(яFFFE000000060002000177AAџџџџџџџџDЌЌЈЈ™™џџџџџџџџџџџџџџџџџџџџџџџџQFFFF000000060002000177AA00000000004B0000000020001101-7F7F6F000Т480048-20C0С-1‚0Т C264FFFF0‚‚10Т0001000000310000000101840‚‚‚5AC20A038E000‚203C20A0000200000005000000001, 0004000000090000000201300005000000090000000201300006000000640000000210C30‚‚СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚‚СFFFF0‚C00000Т 30ТС ‚‚С‚000700000038000000020Т‚10Т180‚С‚205A‚0Т ‚10Т180‚С‚0008000001520000000240,System40,4014E44000701‚0Т101040,Courier Final Draft40,4014E40‚701‚0Т1010000900000005000000020Т000A00000013000000020‚C2640‚C264000B00000005000000020Т000C0000000A000000010Т‚‚1000F0000005500000000400Т 10Т ‚10ТСТС‚‚СТ4,4,4,4,4,4,4,00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-.ЖЕ•ЕЅЅ.'"‘’“”…ƒFFFF0FFFF0012800000009000000013‚0С‚012900000009000000013‚0С‚FFFE000000060002000177AAџџџџџџџџDЌЌЈЈ™™џџџџџџџџџџџџџџџџQ6$$џџџџџџџџSџџџџџџџџ§џџџџџџџџёџџџџџџџџ1џџџџџџџџќ&2џџџџџџџџ “ ­3џџџџџџџџ:c4џџџџџџџџЌа5џџџџџџџџ11Д6џџџџџџџџ3327џџџџџџџџ8ћ98џџџџџџџџ;E;m9џџџџџџџџ=І=Ш10џџџџџџџџAiAš11џџџџџџџџJђK 12џџџџџџџџNN013џџџџџџџџObO14џџџџџџџџZZ,15џџџџџџџџ`H`]16џџџџџџџџa a*17џџџџџџџџjъk18џџџџџџџџmnmŽ19џџџџџџџџvСvу20џџџџџџџџw7wc21џџџџџџџџxdx—22џџџџџџџџzŠzЉ23џџџџџџџџzџ{ 24џџџџџџџџ~с25џџџџџџџџ€b€‚26џџџџџџџџ(27џџџџџџџџ„Ў„Я28џџџџџџџџ† †>29џџџџџџџџ‡‡:30џџџџџџџџˆ0ˆS31џџџџџџџџŠ=Š^32џџџџџџџџŠЄŠТ33џџџџџџџџЂ34џџџџџџџџо 35џџџџџџџџŸŸА36џџџџџџџџ v —37џџџџџџџџЂКЂи38џџџџџџџџËÎ39џџџџџџџџЛЛ(40џџџџџџџџЛ(ЛN41џџџџџџџџЫ Ы*42џџџџџџџџЬђЭ43џџџџџџџџа$аS44џџџџџџџџгЃгм45џџџџџџџџе]е„46џџџџџџџџжEж`47џџџџџџџџй]й„48џџџџџџџџйейў49џџџџџџџџлkл50џџџџџџџџщНщн51џџџџџџџџьь#52џџџџџџџџїYїŒ53џџџџџџџџјЙјй54џџџџџџџџљНљн55џџџџџџџџњ]њ}56џџџџџџџџўmў 57џџџџџџџџ ъ (58џџџџџџџџ E i59џџџџџџџџjŒ60џџџџџџџџŒЯ61џџџџџџџџЯA62џџџџџџџџAё63џџџџџџџџЪь64џџџџџџџџ R r65џџџџџџџџ г є66џџџџџџџџ'B'r67џџџџџџџџ)L)u68џџџџџџџџ.o.69џџџџџџџџ6P6z70џџџџџџџџ: :Т71џџџџџџџџ?П@}72џџџџџџџџAЦBЋ73џџџџџџџџDDЎ74џџџџџџџџE­F75џџџџџџџџG№HБ76џџџџџџџџIшKQ77џџџџџџџџLеM78џџџџџџџџN‹O:79џџџџџџџџP$PЫ80џџџџџџџџQyQЋ81џџџџџџџџW:W82џџџџџџџџXЏXЯ83џџџџџџџџazaš84џџџџџџџџbdbŽ85џџџџџџџџbїc86џџџџџџџџdЃdй87џџџџџџџџfзfј88џџџџџџџџnёo'89џџџџџџџџpљq90џџџџџџџџrВrв91џџџџџџџџt—tЙ92џџџџџџџџzz 93џџџџџџџџ&W94џџџџџџџџƒу„95џџџџџџџџ„Ћ„Щ96џџџџџџџџ‡S‡a97џџџџџџџџŠє‹98џџџџџџџџ— —599џџџџџџџџЊVЊ100џџџџџџџџЋ!ЋN101џџџџџџџџЏbЏŠ102џџџџџџџџЖlЖŽ103џџџџџџџџМЁМг104џџџџџџџџПhПŠ105џџџџџџџџЧ#Ч>106џџџџџџџџЩЩ6107џџџџџџџџЫЫ@108џџџџџџџџЬHЬc109џџџџџџџџг г.110џџџџџџџџзXзw111џџџџџџџџрТрЭ112џџџџџџџџHt113џџџџџџџџx114џџџџџџџџТт115џџџџџџџџ  #116џџџџџџџџє117џџџџџџџџи§118џџџџџџџџ=\119џџџџџџџџ%Ѓ%Ц120џџџџџџџџ' '1121џџџџџџџџ(s(’122џџџџџџџџ)C)m123џџџџџџџџ*/*W124џџџџџџџџ,№-125џџџџџџџџ-Ю-ь126џџџџџџџџ0Я0Я127юeLEM џџџџџџџџГGeneralџџџџџџџџ?Courier Final Draft џџџџџџџџџџџџџџ0џџџџџџџџ Z General0 CharacterџџџџџџџџЕ Scene Headingџџџџџџџџ?Courier Final Draft €џџџџџџџџџџџџџџ0џџџџџџџџ Z Action1ActionџџџџџџџџБActionџџџџџџџџ?Courier Final Draft џџџџџџџџџџџџџџ0џџџџџџџџ Z Action2 CharacterџџџџџџџџК Characterџџџџџџџџ?Courier Final Draft €џџџџџџџџџџџџџџ0џџџџџџџџ ъ Dialogue3 ParentheticalџџџџџџџџК Parentheticalџџџџџџџџ?Courier Final Draft џџџџџџџџџџџџџџ0џџџџџџџџ ЦžDialogue4 CharacterџџџџџџџџЗDialogueџџџџџџџџ?Courier Final Draft џџџџџџџџџџџџџџ0џџџџџџџџ ЂТAction5 ParentheticalџџџџџџџџМ Transitionџџџџџџџџ?Courier Final Draft €џџџџџџџџџџџџџџ0џџџџџџџџ 2  Scene Heading6 CharacterџџџџџџџџМShotџџџџџџџџ?Courier Final Draft €џџџџџџџџџџџџџџ0џџџџџџџџ Z Action Scene Heading7 CharacterџџџџџџџџџџџџџџџџёqsTCHW џџџџџџџџ LISAџџџџџџџџ PAULџџџџџџџџHOSKINSџџџџџџџџ CLASSMATE 1џџџџџџџџ CLASSMATE 2џџџџџџџџDENZELџџџџџџџџLITTICKџџџџџџџџ SAMџџџџџџџџ KELLYџџџџџџџџ BRADџџџџџџџџMARKUSџџџџџџџџ JENELџџџџџџџџ SARAџџџџџџџџHAROLDџџџџџџџџKRAJECKџџџџџџџџ BOY 1џџџџџџџџ BOY 2џџџџџџџџ DIANAџџџџџџџџRACHELџџџџџџџџGABRIELџџџџџџџџ JACKџџџџџџџџ MIMIџџџџџџџџ CLASSMATESџџџџџџџџ PAUSEџџџџџџџџMOTHERџџџџџџџџ MOTHER/DEMONџџџџџџџџALL THE OTHERSџџџџџџџџ LISA'S MOTHERџџџџџџџџ BRIANџџџџџџџџ ALL OTHERSџџџџџџџџ VOICEџџџџџџџџ KEVINђ6sTCEЙџџџџџџџџ (V.O.)џџџџџџџџ (O.S.)џџџџџџџџ (O.C.)џџџџџџџџ (CONT'D)џџџџџџџџ (SUBTITLE)џџџџџџџџ (JACK)џџџџџџџџ (WILL)џџџџџџџџ (O.S)єкsTTR˜џџџџџџџџ Cut To:џџџџџџџџ Fade In:џџџџџџџџ Fade Out.џџџџџџџџ Fade To:џџџџџџџџ Dissolve To:џџџџџџџџ Back To:џџџџџџџџ Match Cut To:џџџџџџџџ Jump Cut To:џџџџџџџџFade To Black.џџџџџџџџ CUT TO BLACKџџџџџџџџ CUT TO BLACK.џџџџџџџџ FADE UP.џџџџџџџџCUT TO- JUST MOMENTS LATER.џџџџџџџџ CUT BACK TO:џџџџџџџџFADE UP OUT OF BLACK.џџџџџџџџ LISA'S POV:џџџџџџџџOVER HER SHOULDER:џџџџџџџџ#WHEN ALL THREE RUN PAST CAMERA:џџџџџџџџ!BACK TO PAUL, LISA AND DIANA.џџџџџџџџ$ CUT TO BLACK. THE ENDџџџџџџџџfade up from black. wsTSIД!џџџџџџџџIntџџџџџџџџExtџџџџџџџџI/Eџџџџџџџџ STARTџџџџџџџџHARDџџџџџџџџ CAMERAџџџџџџџџENDџџџџџџџџOKџџџџџџџџ INTERCUTџџџџџџџџLONGџџџџџџџџWHENџџџџџџџџ MARKUSџџџџџџџџWEџџџџџџџџ THESEџџџџџџџџ P.O.Vџџџџџџџџ INT./EXTџџџџџџџџLџџџџџџџџBANGџџџџџџџџ PAULSџџџџџџџџ PAUL'Sџџџџџџџџ DIANA'Sџџџџџџџџ THEIRџџџџџџџџBOOMџџџџџџџџFROMџџџџџџџџO.SџџџџџџџџPAULџџџџџџџџ LISA'Sџџџџџџџџ KEVINџџџџџџџџ “DETENTIONџџџџџџџџ SCREENPLAYџџџџџџџџ STORYџџџџџџџџVџџџџџџџџ COPYRIGHTџџџџџџџџбeџџџџџџџџLINCOLN HIGH SCHOOLџџџџџџџџ!MAIN ENTRANCE TO LINCOLN HIGHџџџџџџџџMAIN TITLE SEQUENCEџџџџџџџџ'#HIGH SCHOOL HALLWAY- LATER THAT DAYџџџџџџџџ"DETENTION CLASSROOM. LATE DAY.џџџџџџџџHIGH SCHOOL HALLWAYџџџџџџџџ"DETENTION CLASSROOM- LATE DAY.џџџџџџџџHALLWAY- LATE DAY (DARKER)џџџџџџџџ&"HALLWAY LEADING TO GYM – LATE DAY.џџџџџџџџ HALLWAY NEAR GYM – LATE DAY.џџџџџџџџ#DETENTION CLASSROOM (FROM 1973)џџџџџџџџBATHROOM- LATE DAY.џџџџџџџџTHE LAST TOILET STALL.џџџџџџџџ CUT TO BLACKџџџџџџџџHIGH SCHOOL BASEMENT- DAYџџџџџџџџINCINERATOR ROOMџџџџџџџџ HALLWAYџџџџџџџџDETENTION CLASSROOMџџџџџџџџ-)DETENTION CLASSROOM- NIGHT. MINUTES LATERџџџџџџџџCEILING CRAWLSPACEџџџџџџџџBASEMENT STORAGE ROOMџџџџџџџџC?DOLLIES SLOWLY TOWARD THE DOOR LEADING TO THE INCINERATOR ROOM.џџџџџџџџ1-INSIDE THE INCINERATOR- MOMENTS LATER- NIGHT.џџџџџџџџCEILING CRAWLSPACE- NIGHTџџџџџџџџINSIDE THE INCINERATORџџџџџџџџLINCOLN HIGH SCHOOL- NIGHTџџџџџџџџPANS TO REVEAL DENZEL.џџџџџџџџ%!CEILING CRAWLSPACE -MOMENTS LATERџџџџџџџџHIGH SCHOOL HALLWAY- NIGHT.џџџџџџџџHIGH SCHOOL BASEMENT- NIGHTџџџџџџџџHIGH SCHOOL HALLWAY- NIGHTџџџџџџџџ OF ACT IџџџџџџџџHIGH SCHOOL SWIMMING POOLџџџџџџџџ-)HIGH SCHOOL HALLWAY- MOMENTS LATER- NIGHTџџџџџџџџ73PAY PHONE IN HALLWAY CUBICLE- MOMENTS LATER- NIGHT.џџџџџџџџ%!LIVING ROOM IN MODEST HOME- NIGHTџџџџџџџџTHIS CONVERSATIONџџџџџџџџ'#PAY PHONE IN HALLWAY CUBICLE- NIGHTџџџџџџџџHIGH SCHOOL CAFETERIAџџџџџџџџ ELEVATORџџџџџџџџ1-HIGH SCHOOL HALLWAY-2ND FLOOR ELEVATOR- NIGHTџџџџџџџџ1-HIGH SCHOOL SCIENCE LAB- MOMENTS LATER- NIGHTџџџџџџџџ<8HIGH SCHOOL HALLWAY- JUST OUTSIDE THE SCIENCE LAB- NIGHTџџџџџџџџ"HIGH SCHOOL SCIENCE LAB- NIGHTџџџџџџџџA=TRACKING SHOT STRAIGHT DOWN THE MIDDLE OF A DESOLATE HALLWAY.џџџџџџџџplTHE CAMERA REACHES THE END OF THIS HALLWAY IT TURNS LEFT AND TRACKS DOWN ANOTHER VERY LONG ISOLATED HALLWAY.џџџџџџџџЌЈIS AT THE END OF THIS HALLWAY AND WALKING RIGHT AT CAMERA. AFTER FRAMING HIM IN FULL FIGURE, THE CAMERA EASES TO A STOP THEN TRACKS BACKWARDS IN THE OPPOSITE DIRECTION.џџџџџџџџHIGH SCHOOL WOOD SHOPџџџџџџџџHIGH SCHOOL LIBRARYџџџџџџџџ&"HIGH SCHOOL HALLWAY- MOMENTS LATERџџџџџџџџHIGH SCHOOL NURSE'S STATIONџџџџџџџџ<8SEE THE ACTION THAT IS DESCRIBED IN DIANA'S VOICE- OVER.џџџџџџџџ_[FLASHBACKS" ALL HAVE A DIFFERENT LOOK AND A DIFFERENT STYLE FROM THE MAIN BODY OF THE FILM.џџџџџџџџRNOF SCHOOL STAFF PHOTOGRAPH- NURSE KRAJECK. GABRIEL'S MOTHER. ONE AND THE SAME.џџџџџџџџ($MAIN ENTRANCE TO LINCOLN HIGH- NIGHTџџџџџџџџ-)HIGH SCHOOL HALLWAYS/ CLASSROOMS/ OFFICESџџџџџџџџ+'HIGH SCHOOL HALLWAYS/CLASSROOMS/OFFICESџџџџџџџџ HIGH SCHOOL BASEMENT- NIGHT.џџџџџџџџ OF ACT IIџџџџџџџџ E I R B A Gџџџџџџџџ'#HIGH SCHOOL HALLWAY - MOMENTS LATERџџџџџџџџHIGH SCHOOL ART CLASSџџџџџџџџ!HALLWAY OUTSIDE ART CLASSROOMџџџџџџџџA DOOR SLAMS SHUTџџџџџџџџ…ANOTHER DOOR SLAMS SHUT. SOMETHNG HANGING ON THE WALL - SCHOOL SAFETY RULES IN A GLASS FRAME - FALLS OFF AND CRASHES TO THE FLOORџџџџџџџџD@ANOTHER DOOR SLAMS SHUT EXTREMELY HARD, CRACKING THE DOOR FRAME.џџџџџџџџ BANG! BANG!џџџџџџџџ BANG!џџџџџџџџ P.O.V.џџџџџџџџP.O.V. TO THE CEILING:џџџџџџџџ!HIGH SCHOOL HALLWAY/STAIRWELLџџџџџџџџ#HIGH SCHOOL 2ND FLOOR STAIRCASEџџџџџџџџMAIN GROUND FLOOR HALLWAYџџџџџџџџ1-IS POINTED RIGHT AT THE STARCASE DOUBLE DOOR.џџџџџџџџ P. O. V.џџџџџџџџ P.O.VџџџџџџџџJFCRASH! THUNDER AND LIGHTNING. THE ENTIRE ROOM IS THROWN INTO DARKNESS.џџџџџџџџ'#HALLWAY OUTSIDE THE DETENTION CLASSџџџџџџџџ ELEVATOR AREAџџџџџџџџ%!HIGH SCHOOL HALLWAY (TO ELEVATOR)џџџџџџџџЄ PANS QUICKLY UP TO THE STRIP PANEL JUST ABOVE THE ELEVATOR'S DOOR FRAME. THE "G" SYMBOL IS DARK. WHEN IT CHANGES TO THE BASEMENT LEVEL, THE "B" SYMBOL LIGHTS UPџџџџџџџџBASEMENT/ STORAGE AREAџџџџџџџџINSIDE THE ROOMџџџџџџџџ VOICEџџџџџџџџУПSWEEPS UPWARDS, CLIMBING TO THE CEILING ALONG THE SURFACE OF THE HUGE, CIRCULAR INCINERATOR EXHAUST. WITH IT, WE HEAR ONE FINAL DIABOLICAL CRY OF DAMNATION FROM THE EVIL AND POSSESSED MOTHER.џџџџџџџџjfTHUNDER HITS. THE LOUDEST BOOM SO FAR. CRASH! LIGHTNING HITS. THE LOUDEST CRASH SO FAR. IT'S ELECTRIC!џџџџџџџџ"BASEMENT/STORAGE/ELEVATOR AREAџџџџџџџџ0,AND LISA'S P.O.V. THROUGH THE CLOSING DOORS.џџџџџџџџ2ND FLOOR HALLWAYџџџџџџџџ TRACKS BACKџџџџџџџџ2ND FLOOR CLASSROOMџџџџџџџџBASEMENT/ STORAGE ROOMџџџџџџџџАЌVIEW IS THROUGH THE BASEMENT AREA AND STRAIGHT INTO THE INCINERATOR ROOM. THE DOOR TO THAT ROOM IS OPEN AND THE IRON DOOR TO THE INCINERATOR IS OPEN BUT THE FLAMES ARE OFF.џџџџџџџџBASEMENT/STORAGE AREAџџџџџџџџ!TIM AND MIMI RUN PAST CAMERA.џџџџџџџџHIGH SCHOOL MAIN ENTRANCEџџџџџџџџHIGH SCHOOL'S ROOF/ CHIMNEYџџџџџџџџBY MICHAEL MUSCALџџџџџџџџ'#BY JOHN STIENFIELD & MICHAEL MUSCALџџџџџџџџAUGUST 14, 2006 FIRST DRAFTџџџџџџџџ2006 NEW HORIZONS PICTURESљsTSTvџџџџџџџџDayџџџџџџџџ Nightџџџџџџџџ Afternoonџџџџџџџџ Morningџџџџџџџџ Eveningџџџџџџџџ Laterџџџџџџџџ Moments Laterџџџџџџџџ Continuousџџџџџџџџ The Next DayџџџџџџџџDAY.џџџџџџџџ LATE DAYџџџџџџџџ LATE DAY.џџџџџџџџMOMENTS LATER- NIGHTџџџџџџџџMOMENTS LATER- NIGHT.џџџџџџџџ NIGHT.џџџџџџџџIT COULDN'T BE ANY LOUDER.џџџџџџџџTHE GLASS SHATTERING.џџџџџџџџ IN RED.џџџџџџџџ($LOOKING DIRECTLY AT THE CLOSED DOOR.џџџџџџџџ73KEEPING PAUL AND LISA ALWAYS FRAMED IN FULL FIGURE.џџџџџџџџ night./EXT!PmCROџџџџџџџџ9INTINT. Scene Heading0111џџџџџџџџ9EXTEXT. Scene Heading0112џџџџџџџџ8I/EI/E Scene Heading0113џџџџџџџџ@DAY - DAY Scene HeadingAction0114џџџџџџџџDNIGHT - NIGHT Scene HeadingAction0115џџџџџџџџHSUNRISE - SUNRISE Scene HeadingAction0116џџџџџџџџDMAGIC - MAGIC Scene HeadingAction0117џџџџџџџџGCONT continuing ParentheticalDialogue0118џџџџџџџџJINTER interrupting ParentheticalDialogue0119џџџџџџџџ$0110џџџџџџџџGCUTTOCUT TO: Transition Scene Heading1111џџџџџџџџEFADEINFADE IN:Action Scene Heading1112џџџџџџџџKFADEOUT FADE OUT. Transition Scene Heading1113џџџџџџџџIFADETOFADE TO: Transition Scene Heading1114џџџџџџџџMDISSLV DISSOLVE TO: Transition Scene Heading1115џџџџџџџџIBACKTOBACK TO: Transition Scene Heading1116џџџџџџџџPMATCHCUT MATCH CUT TO: Transition Scene Heading1117џџџџџџџџNJUMPCUT JUMP CUT TO: Transition Scene Heading1118џџџџџџџџBFBLACKFADE TO BLACK. Transition1119џџџџџџџџ$1110џџџџџџџџ џџџџџџџџЅFFFF000000060002000177AA00000000004F0000000020001101-7F7F6F000Т480048-20F0С-1‚0Т F264FFFF0‚‚1020Т0001000000320000000103840‚‚‚5AF20A20388000‚203F20A0000200000007000000003,[].00040000000C0000000302‚3530005000000090000000201500006000000EE0000000430C30‚‚СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚‚СFFFF0‚C00000Т 20ТС ‚‚С‚10C201020040СFFFF0‚C00000Т 10‚‚429D900121AB97C0С‚‚С‚10930‚‚СFFFF0‚C00000Т 10‚‚429D900ТС ‚‚С‚000700000038000000020Т‚10Т180‚С‚205A‚0Т ‚10Т180‚С‚0008000001520000000240,System40,4014E44000701‚0Т101040,Courier Final Draft40,4014E40‚701‚0Т1010000900000005000000020Т000A00000013000000020‚F2640‚F264000B00000005000000020Т000C0000000A000000010Т‚‚1000F0000005500000000400Т 10Т ‚10ТСТС‚‚СТ4,77A4,,4,ЂM"џ4,њџџџ4,ќџџџ4,"4,њџџџ00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-.ЖЕ•ЕЅЅ.'"‘’“”…ƒFFFF0FFFF0012800000009000000015‚0С‚012900000009000000015‚0С‚0014000000AC000000001AB97C5C1BE204211AB9800С2C,E,42,>Page #1 МмяяpyfЯN1 МяШяFFFE000000060002000177AAџџџџџџџџDЌЌЈЈ™™џџџџџџџџџџџџџџџџџџџџџџџџQFFFF000000060002000177AA00000000004B0000000020001101-7F7F6F000Т480048-20C0С-1‚0Т C264FFFF0‚‚10Т0001000000310000000101840‚‚‚5AC20A038E000‚203C20A0000200000005000000001, 0004000000090000000201300005000000090000000201300006000000640000000210C30‚‚СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚‚СFFFF0‚C00000Т 30ТС ‚‚С‚000700000038000000020Т‚10Т180‚С‚205A‚0Т ‚10Т180‚С‚0008000001520000000240,System40,4014E44000701‚0Т101040,Courier Final Draft40,4014E40‚701‚0Т1010000900000005000000020Т000A00000013000000020‚C2640‚C264000B00000005000000020Т000C0000000A000000010Т‚‚1000F0000005500000000400Т 10Т ‚10ТСТС‚‚СТ4,4,4,4,4,4,4,00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-.ЖЕ•ЕЅЅ.'"‘’“”…ƒFFFF0FFFF0012800000009000000013‚0С‚012900000009000000013‚0С‚FFFE000000060002000177AAџџџџџџџџDЌЌЈЈ™™џџџџџџџџџџџџџџџџ"trVISќџџџџџџџџтџџџџџџџџ+First Revisionџџ*џџџџџџџџ,Second Revisionџџ*џџџџџџџџ+Third Revisionџџ*џџџџџџџџ,Fourth Revisionџџџџ*.џџџџџџџџџџџџџџџџ#ОsNTE|џџџџџџџџjџџџџџџџџ Important!џџџџџџџџ Information?џџџџџџџџ Suggestion*џџџџџџџџŠџџџџџџџџ?Courier Final Draft џџџџџџ(MORE)(CONT'D) (CONTINUED) CONTINUED:џџџџџџџџџџџџџџџџџџџџџџџџџџџџaCTRš џџџџџџџџ5Man 1џџџџџџџџ `Q|Чg(а„{DESTџџџџџџџџ5Man 2џџџџџџџџ `]УХDкбБёјфVџџџџџџџџ7Woman 1џџџџџџџџ pQ|Чg(а„{DESTџџџџџџџџ7Woman 2џџџџџџџџ д‘PO|uбњ`—Атџџџџџџџџ5Boy 1џџџџџџџџ `Q|Чg(а„{DESTџџџџџџџџ5Boy 2џџџџџџџџ д‘PO|uбњ`—Атџџџџџџџџ6Girl 1џџџџџџџџ pQ|Чg(а„{DESTџџџџџџџџ6Girl 2џџџџџџџџ д‘PO|uбњ`—Атџџџџџџџџ7Old Manџџџџџџџџ `]УХDкбБёјфVџџџџџџџџ9 Old Womanџџџџџџџџ pQ|Чg(а„{DESTџџџџџџџџeџџџџџџџџEџџџџџџџџ9џџџџџџџџ CHARACTERџџџџџџџџDIALOGUEџџџџџџџџџџџџџџџџkџџџџџџџџ1Arial џџџџџџџџџџџџџџџџџџџџџџWџџџџџџџџ?Courier Final Draft џџџџџџ6 Cast Listџџџџџџџџ\FFFF000000060002000177AA0000000000630000000020001101-767F6F000Т480048-25F292208CA6-1‚0ТE722922D6FFFF0‚‚10‚‚1804000010000003B000000010CE840‚‚5FBA29228ECE038E000284BA292BA00002000000D300000000CE, DETENTION SCREENPLAY BY MICHAEL MUSCAL BASED ON A STORY BY JOHN STIENFIELD & MICHAEL MUSCAL FIRST DRAFT V. 8-14, 2006 COPYRIGHT 2006 NEW HORIZON PICTURES CONTACT: (310) 657-0146 00040000002C000000090175102113124191893924D04000500000013000000040172921D000006000001330000000610C30‚‚СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚‚СFFFF0‚C00000Т 40ТС ‚‚С‚101350‚‚СFFFF0‚1800000Т 10ТС ‚‚С‚10E40‚‚СFFFF0‚1200000Т 20ТС ‚‚С‚10B30‚‚СFFFF0‚E00000Т 20ТС ‚‚С‚201F710‚‚СFFFF0‚2400000Т 10Т-10С‚‚С‚000700000054000000030Т‚10Т180‚С‚С48‚0Т ‚20Т180‚С‚1048‚0Т ‚10Т180‚С‚0008000001F90000000340,System40,4014E44000701‚0Т101040,Courier Final Draft40,4014E40‚701‚0Т101040,Copperplate Gothic Light40,4014E40‚701‚0Т1010000900000005000000020Т000A0000001B00000002E723262D6E723262D6000B00000005000000020Т000C000000140000000143‚881D340‚1000F000000590000000050‚E0Т10Т ‚10ТСТС‚‚СТ4,m34,77A4,4,4, 4,0D4,70000130000007E00000000DA91F8CE1C1D1E1F7F1B044,-.ЖЕ•ЕЅЅ.'"‘’“”…ƒFFFF0FFFF001280000000A00000001D0‚0С‚01290000000A00000001D0‚0С‚FFFE000000060002000177AAџџџџџџџџDЌЌЈЈ™™џџџџџџџџџџџџџџџџџџџџџџџџ 8џџџџџџџџ џџџџџџџџЅFFFF000000060002000177AA00000000004F0000000020001101-7F7F6F000Т480048-20F0С-1‚0Т F264FFFF0‚‚1020Т0001000000320000000103840‚‚‚5AF20A20388000‚203F20A0000200000007000000003,[].00040000000C0000000302‚3530005000000090000000201500006000000EE0000000430C30‚‚СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚‚СFFFF0‚C00000Т 20ТС ‚‚С‚10C201020040СFFFF0‚C00000Т 10‚‚429D900121ABA200С‚‚С‚10930‚‚СFFFF0‚C00000Т 10‚‚429D900ТС ‚‚С‚000700000038000000020Т‚10Т180‚С‚205A‚0Т ‚10Т180‚С‚0008000001520000000240,System40,4014E44000701‚0Т101040,Courier Final Draft40,4014E40‚701‚0Т1010000900000005000000020Т000A00000013000000020‚F2640‚F264000B00000005000000020Т000C0000000A000000010Т‚‚1000F0000005500000000400Т 10Т ‚10ТСТС‚‚СТ4,014,FFF4,4,4,4,4,Ф00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-.ЖЕ•ЕЅЅ.'"‘’“”…ƒFFFF0FFFF0012800000009000000015‚0С‚012900000009000000015‚0С‚0014000000AC000000001ABA205C1BE204211ABA240С2C,E,42,>Page #1LМаяяpyfЯN1LМяМяFFFE000000060002000177AAџџџџџџџџDЌЌЈЈ™™џџџџџџџџџџџџџџџџџџџџџџџџQFFFF000000060002000177AA00000000004B0000000020001101-7F7F6F000Т480048-20C0С-1‚0Т C264FFFF0‚‚10Т0001000000310000000101840‚‚‚5AC20A038E000‚203C20A0000200000005000000001, 0004000000090000000201300005000000090000000201300006000000640000000210C30‚‚СFFFF0‚C00000Т 10ТС ‚‚С‚10930‚‚СFFFF0‚C00000Т 30ТС ‚‚С‚000700000038000000020Т‚10Т180‚С‚205A‚0Т ‚10Т180‚С‚0008000001520000000240,System40,4014E44000701‚0Т101040,Courier Final Draft40,4014E40‚701‚0Т1010000900000005000000020Т000A00000013000000020‚C2640‚C264000B00000005000000020Т000C0000000A000000010Т‚‚1000F0000005500000000400Т 10Т ‚10ТСТС‚‚СТ4,77A4,04,934, 4,4,4,00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-.ЖЕ•ЕЅЅ.'"‘’“”…ƒFFFF0FFFF0012800000009000000013‚0С‚012900000009000000013‚0С‚FFFE000000060002000177AAџџџџџџџџDЌЌЈЈ™™џџџџџџџџџџџџџџџџQ6$$џџџџџџџџxД