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BLOOD/LUST
GIRLISH GIGGLING over the SOUNDTRACK.
FADE IN:
EXT. SUBURBAN STREET - NIGHT
A quiet night in the suburbs of Encino.
Our ATTENTION is on a faux-castle-style mansion, standing out
from the more modern homes on either side of it. The living
room lights burn, brightly.
INT. MANSION, LIVING ROOM - CONTINUOUS
It FLIPS through different channels . . . Cult cartoon
"Groovy Ghoulies" . . . An infomercial for doing your
own piercings . . . Perennial horror classic "Suspiria"
. . . Stops on the local news, which has just begun.
BLUE'S VOICE (O.S.)
(whining)
Hey, why'd you change it?
AGNA'S VOICE (O.S.)
Priscilla, put it back.
REVERSE ANGLE - We now see the girls to be Goth beauties
dressed in sexy lingerie. They are AGNA, BLUE and Brit
PRISCILLA, early 20s . . .
AGNA
Why are we even watching this?
PRISCILLA
I want to see if there's anything
new on the "Grim Reaper".
ONSCREEN - A FEMALE NEWSCASTER -- all bleach-blonde hair and
bleached teeth -- reports. In the inset box is a drawing of
the Grim Reaper.
NEWSCASTER
"The Grim Reaper" has struck again.
A sixth victim of the serial killer
was discovered this morning in
Encino. Her identity and details
have yet to be disclosed.
(beat)
Women of the San Fernando Valley
are being strongly advised to keep
their doors and windows locked.
(beat)
The killer was given his nickname
after third victim -- and lone
survivor -- Abigail Robbins
described the mythos figure
tattooed on his left bicep.
(beat)
Robbins survived a brutal beating
and twenty-three stab wounds at the
hands of "The Grim Reaper".
(brightens)
But there's certainly nothing grim
about tomorrow's weather. It'll be
all sunny all day--
BACK TO SCENE - Agna has taken the control away from
Priscilla. Switches it off.
PRISCILLA
What'd you do that for?
AGNA
Like we really need to hear the
five-day forecast.
(beat)
What's your interest in this "Grim
Reaper" anyway?
PRISCILLA
(dreamily)
Well, he's like the ultimate bad
boy, isn't he?
AGNA
You've got issues, Priscilla.
PRISCILLA
That's what makes me so intriguing,
Love.
Agna rolls her eyes.
BLUE
(whining)
I'm hungry.
PRISCILLA
What do you think, Agna?
AGNA
I'm feeling . . . pizza.
PRISCILLA
(dismissively)
Whatever.
Agna crosses the room. Picks up the yellow pages. Flips
through it.
INSERT - THE PAGES - We see several pizza ads have been
crossed out in marker. Her blood-red fingernail points to
one that remains unmarked.
BACK TO SCENE
AGNA
"Pizza Pie Guy"?
BLUE
(giggling)
That rhymes.
PRISCILLA
Brilliant.
Agna gets on the phone. Dials out. Waits a beat.
AGNA
I'd like to order a pizza . . .
Ummm . . . Oh, yeah . . . 720
Peyser Street . . . What do I want
on it?
She looks to the other girls for an answer.
PRISCILLA
(shrugs)
Everything?
BLUE
Everything?! You know I'm a
vegetarian.
Priscilla rolls her eyes.
PRISCILLA
Shut up, Blue.
Agna hangs up the phone.
AGNA
(frowns)
It'll be awhile. There's some big
fight going on tonight.
BLUE
What'll do 'till then?
Priscilla flashes a nasty grin.
PRISCILLA
Anyone fancy playing in my
"dollhouse"?
Blue giggles, shyly.
Agna yawns, sarcastically.
AGNA
Its a nice place to visit but I
wouldn't want to live there.
Priscilla scowls at her.
PRISCILLA
You got a better idea?
BLUE
I know! I know! We can tell scary
stories! That would be so cool!
AGNA
(to Priscilla)
Is she serious?
PRISCILLA
It is Blue.
AGNA
Blue, sweetie, how about if we just
went back to watching T.V.?
Blue pouts.
Agna and Priscilla exchange resigned looks.
AGNA
I'm sure with our combined life
experiences we have interesting
tales to tell.
Blue claps, excited. Scurries out of the room.
PRISCILLA
Where'd she go?
BLUE'S VOICE (O.S.)
Someone turn out the lights.
Priscilla obliges.
Blue enters the darkened room. Lit candle leading the way.
Sets it down on a table.
BLUE
Come on. Gather around.
Agna and Priscilla sit down.
PRISCILLA
What's next? A Ouija board?
BLUE
(genuine fear)
No way! Those things are scary!
Dead people are even scarier!
PRISCILLA
(dumbfounded)
But, Blue, we're -- Oh never mind!
BLUE
I'll go first!
She gathers her scatterbrain thoughts.
BLUE
Okay. I got one. It all starts in
a nightclub . . .
STORY ONE: "HELL HATH HO FURY . . ."
INT. NIGHTCLUB - VARIOUS LIGHTING
TECHNO MUSIC reverberates throughout the cavernous club.
Sweaty bodies clutter the dance floor, illuminated by the
various lighting -- strobe, colored spotlights, etc.
AT THE BAR - BRAD, 28, an overaged frat boy, checks out a
variety of women ordering drinks.
THROUGH HIS POV - He locks onto an attractive redhead
standing at the opposite end of the bar.
BACK TO SCENE - Brad walks up behind the girl. Reaches out
to tap her on the shoulder. Abruptly backs off as . . .
Another woman joins the redhead. They greet each other and
begin chatting.
Brad retreats back to his previous position.
TIME LAPSE: AN HOUR LATER
Brad is growing bored. He finishes his drink. Checks his
watch. He is about to leave when . . .
A beautiful Latina appears next to him. Orders a drink. She
is ANITA, 25.
ANITA
(to bartender)
Rum and Coke, please.
The BARTENDER walks off.
Brad gives himself a predatory smile. Loses it as he
addresses Anita.
BRAD
Hi.
She looks to him. Smiles, cordially.
ANITA
Hello.
He offers his hand.
BRAD
I'm Nick.
She shakes it.
ANITA
Annette.
The bartender sets down her drink.
BARTENDER
That's six dollars.
She reaches for her purse.
Brad sets down a ten dollar bill.
BRAD
Keep the change.
BARTENDER
(scoops up the bill)
Thanks.
He walks off, again.
ANITA
Thanks for the drink, Nick.
BRAD
Not a problem.
(beat)
So, tell me, did it hurt?
ANITA
Did what hurt?
BRAD
The fall from Heaven, because you
must be an angel.
She giggles, mischievously.
ANITA
Hardly.
He gives her a salacious once-over.
BRAD
Really?
ANITA
Who's completely innocent, right?
BRAD
I couldn't agree with you more.
So, what do you do that's naughty?
She takes a sip of her drink. Appraises him.
ANITA
(coquettishly)
I'm a bit of a flirt.
BRAD
Are you now?
ANITA
Yeah, but that's it. Its not like
I'm a slut or anything. I'm
already promised to someone.
BRAD
Then what are you doing here?
ANITA
He's not very possessive.
She inexplicably giggles. Sips more of her drink.
BRAD
Do you two live together?
ANITA
Its sort of a long distance
relationship. But I'll be with him
when the time comes.
BRAD
Oh.
(beat)
You're almost done with your drink.
I'll get you another one.
ANITA
(apprehensively)
I really shouldn't.
BRAD
Oh, come on. Its still early.
(checks her watch)
Its barely past midnight.
ANITA
Maybe one more. I'll be right
back. I have to use the restroom.
BRAD
I'm not going anywhere.
She walks off.
Brad catches the passing Bartender.
BRAD
Another Rum and Coke.
The bartender serves up the drink before him.
Brad pays with another ten dollar bill.
BRAD
I want the change this time, bud.
The bartender rolls his eyes. Walks off with the money.
Brad waits a beat. Looks in both directions -- No one is
looking at him. Serendipitously drops a tablet into the
drink.
INSERT - THE DRINK - The pill rapidly dissolves, leaving no
trace behind.
BACK TO SCENE - Anita returns. Smiles at Brad.
ANITA
Thanks again.
BRAD
You're welcome, Anita.
(beat)
To spending time with a beautiful
woman.
They CLINK their glasses together.
BRAD
Do you live around here?
ANITA
Not far. Why?
BRAD
I think I should take you home.
ANITA
(coyly)
Really. And why would you wanna do
that?
BRAD
Just to make sure you get home
safe.
ANITA
Nice try. But like I said, I'm
invol--
She suddenly becomes disoriented. Braces herself against the
bar.
BRAD
See what I mean.
ANITA
I feel dizzy.
A couple of people look over at them.
BRAD
She's had too much to drink.
EXT. NIGHTCLUB PARKING LOT - A FEW MINUTES LATER
Brad guides the dazed Anita through the parking lot.
ANITA
(yawning)
I'm so sleepy.
BRAD
Which car is yours?
ANITA
(slurred)
The red Honda Accord.
BRAD
(pointing)
That one?
Anita nods her head.
Brad fumbles through her purse. Takes out her keys.
INT. ANITA'S ACCORD - MINUTES LATER
Brad gets behind the wheel. Anita is already dozing in the
passenger's seat.
He removes her wallet from her purse. Takes out her driver's
license.
BRAD
(reading it)
Four-three-one Van Black Avenue.
EXT. APARTMENT COMPLEX - MINUTES LATER
ESTABLISHING SHOT of the apartment complex. The Accord pulls
into the driveway, leading to the rear parking lot.
INT. ANITA'S APARTMENT - MINUTES LATER
Brad leads in a lethargic Anita.
ANITA
(slurred)
You have to leave.
BRAD
Where's the bedroom?
ANITA
(slurred)
Why?
BRAD
(matter-of-factly)
Because that's where I'm going to
fuck you. Unless you wanna do it
right here. Its all good.
She uses her waning strength to pull free of him. Collapses
to the floor.
Brad laughs.
BRAD
(sing-song)
Ashes, ashes, all fall down.
He picks her up in his arms. Carries her down the hallway.
INT. ANITA'S APARTMENT, BEDROOM - MOMENTS LATER
The bedroom door opens.
Brad drops an unconscious Anita onto the bed. Looks around.
Reacts.
BRAD
What the fuck?!
ANOTHER ANGLE - reveals the room to be decorated with black
magic paraphernalia -- lit black candles, shelves of magic
potions, wax figures, etc.
Hanging on the walls are the horrific, hellish paintings of
Hieronymous Bosch.
BACK ON BRAD - He chuckles, nervously. Shifts his attention
back to Anita. Begins to unbutton her dress.
BRAD
Wanna be one of my sleeping
beauties? I know you do.
He reaches into his pocket. Takes out a digital camera.
Leans over Anita. Forms her mouth into a smile.
BRAD
Smile pretty.
FLASH!
EXT. ANITA'S APARTMENT - AN HOUR LATER
Brad steps out. Shuts the door behind him. Leaves.
INT. ANITA'S APARTMENT, BEDROOM - SAME TIME
ANGLED FROM OVERHEAD - The CAMERA PULLS SLOWLY on a naked
Anita, strewn on an unmade bed . . .
Her body suddenly begins to spasms violently. Her mouth
froths with white foam. She GASPS desperately for air . . .
And then she dies. Her lifeless body rolls onto the floor.
A pentagram illuminates through the carpet with Anita strewn
atop it.
She suddenly bolts upright by an unseen force. A RASPY,
DEMONIC VOICE speaks through her:
DEMONIC VOICE
You must avenge yourself, Bride of
Mine. I cannot accept your soul
until retribution is served.
EXT. ANITA'S APARTMENT - A FEW MINUTES LATER
The front door opens.
Anita, still nude, steps out. Walks off, entranced.
EXT. APARTMENT COMPLEX, REAR PARKING LOT - SAME
A PAIR OF CHOLOS loiter in the shadows, smoking a joint.
CHOLO #1
. . . That slut fucked my whole
crew, man! Now she wants to take
me on some talk show to prove I'm
the baby's daddy.
Cholo #2 is staring over Cholo #1's shoulder. He wears a
dumbfounded expression.
CHOLO #2
You gotta be shitting me, homes!
Cholo #1 looks back. Reacts.
Anita approaches.
CHOLO #1
I want some of the shit she's
smoking.
CHOLO #2
Gotta be a crack 'ho.
She walks past, oblivious of them.
CHOLO #1
You wanna get some?
CHOLO #2
Fuck yeah!
We FOLLOW Anita as she heads for her car.
The Cholos pop up before her.
Anita tries walking around them but they keep blocking her
way.
CHOLO #1
Wanna party with us, mija?
CHOLO #2
Where you going, baby?
Cholo #1 grabs her by the arm.
She pulls free. Continues walking.
Cholo #2 forcefully shoves Anita into the barrier wall.
CHOLO #2
You wanna play, puta?
He pulls out a switchblade. Wields it under her chin.
Anita flashes a sinister smirk.
CHOLO #2
What's so fucking funny?!
She reaches over to a metal sign -- reading: TENANT PARKING
ONLY -- attached to the wall. Rips it free. Breaks and
bloodies her fingernails in the process.
The cholos exchange incredulous looks.
Anita forcefully swings forth the sign . . .
. . . And decapitates Cholo #2's head, which goes flying
through the air.
ANITA
What's your sign?
She laughs, maniacally.
CHOLO #1
What the fuck are you, man?!
Anita lunges forth. Grabs him in an embrace. Uses her
supernatural forces to begin squeezing the life out of Cholo
#1.
ANITA
If I told you had a great body,
would you hold it against me?
Cholo #1's body folds into himself until . . .
CRACK! -- He snaps in half like a twig!
Anita discards his body. Casually strolls over to her car.
The driver's door opens for her.
Anita climbs inside.
The Accord pulls from its parking space. Drives off.
INT. TOWNHOUSE, LIVING ROOM - SEVERAL MINUTES LATER
Brad enters.
Seated on the couch is his housemate, JOSH. Dressed in
surgical scrubs. He is reading through a pile of medical
books scattered around him.
BRAD
Another victim has been Braded!
Josh looks to him.
JOSH
Yeah, but did you accomplish it
without chemical assistance?
Brad says nothing.
JOSH
Then its only worth half a point.
BRAD
I'm gonna need another batch. I'm
almost out.
JOSH
I don't know, Brad.
BRAD
(scoffing)
Don't tell me you're suddenly
growing a conscience.
JOSH
If I get caught, I could lose my
residency. Even worse, I could go
to jail.
BRAD
Are we negotiating here?
JOSH
Didn't you hear what I just said?!
I'm putting my life on the life
just so you could get laid!
BRAD
How much, Josh? Name your price,
dude.
JOSH
Okay.
(throwing out a number)
A thousand dollars.
BRAD
You got it.
Josh is incredulous.
JOSH
Really?!
BRAD
A thousand bucks could put a slight
dent in your student loans.
Josh sighs, resignedly.
JOSH
Alright. But this is the last
time.
BRAD
(knowing better)
Right.
He starts to head upstairs.
JOSH
Hey.
BRAD
Yeah?
JOSH
There's something I don't
understand.
BRAD
Morals?
Josh glares at him.
JOSH
Why not just put in the effort?
You'd have no problem getting
girls. Its not like you're some
sort of hideous freak.
BRAD
(proudly)
Oh, I'm a freak alright!
JOSH
That's not what I meant.
BRAD
Its hard to explain if you haven't
done it.
JOSH
Isn't it just like fucking a
corpse?
BRAD
Now that I'm sure you've done.
JOSH
(annoyed)
Anyway . . .
BRAD
(aroused)
There's nothing like it, Josh.
Having any bitch you want -- no
matter how hot she is -- just
laying there like a little fuck
doll, ready to be violated in every
possible way. I've done some shit--
JOSH
T.M.I., Brad.
BRAD
You're pretty queasy for being a
doctor, dude.
JOSH
I like you, Brad. And I want to
keep on liking you; so do us both a
favor and spare me the graphic
details.
BRAD
Pussy!
JOSH
If you say so.
Brad reaches the top of the stairs. Stops.
BRAD
Hey, I've been meaning to ask you:
When's the next time your
girlfriend is coming over?
Josh looks up at Brad, vehemently.
JOSH
Don't even joke about that.
Brad shrugs, innocently.
BRAD
I just think she's kind of cute.
That's all I'm saying.
JOSH
(pissed)
Fuck you.
BRAD
You'd have to give me a dose of my
own medicine in order to do that.
Brad disappears down the upstairs hallway.
Josh glower after him.
INT. TOWNHOUSE, BRAD'S ROOM - MINUTES LATER
Seated at his desk, Brad works his computer.
ON MONITOR - A website comes up -- "Sleeping Beauties". On
display is an unconscious blonde discarded onto a mattress.
The only thing she wears is a tiara.
COMPUTER VOICE (O.S.)
Welcome to your website.
BACK ON BRAD - He taps in a few keys.
COMPUTER VOICE (O.S.)
New entry.
He connects the digital camera to the computer. Downloads.
ON MONITOR - The first photo appears -- Brad undressing
Anita. His face suddenly becomes scrambled.
BACK TO SCENE - Brad smiles at his handiwork.
BRAD
Ah, another Kodak moment.
EXT. TOWNHOUSE - A SHORT TIME LATER
The Accord pulls up to the curb. Parks.
INT. TOWNHOUSE, BRAD'S ROOM - SAME
Brad swiftly taps away at the keys, while speaking aloud his
words:
BRAD
. . . If she only knew about the
things I did to her, Anita Madre
would take refuge at the nearest
convent!
INT. TOWNHOUSE, LIVING ROOM - A FEW MINUTES LATER
There is a KNOCK at the front door.
Josh sets down his book. Crosses the room. Arrives at the
door. Reaches for the knob . . .
BRAD'S VOICE (O.S.)
As far as I'm concerned, she got
everything she deserved.
. . . and opens the door. Reacts, startled.
A nude Anita stands before him, posing seductively in the
doorway.
JOSH
(taken aback)
Ummm . . . Hello?
She doesn't respond.
JOSH
Is this a joke? Did the guys at
St. Mercy's put you up to this?
(no answer)
Are you some sort of dyslexic
stripper?
Anita giggles, demented.
JOSH
Oh, you must be here to see Brad.
She pushes Josh aside. Enters the townhouse.
He shuts the door after her. Turns around.
JOSH
He's in his room upstairs. Should
I go get him? Or do you it to be a
surprise?
Anita rubs herself up against him. Looks deeply into his
eyes.
ANITA
Do you know you have beautiful
eyes? They look directly into
your soul.
JOSH
(shyly)
Really?
She suddenly lashes out her right hand.
SQUISH! -- Plunges her fingers into his eyeballs!
INT. TOWNHOUSE, BRAD'S ROOM - SAME TIME
Brad thinks he heard the scream. Calls out:
BRAD
Josh?
Obviously there is no reply.
INT. TOWNHOUSE, UPPER FLOOR CORRIDOR - CONTINUOUS
Brad leans out the door.
BRAD
Josh? You alright?
He tentatively proceeds down the darkened hallway. Comes to
the staircase, overlooking the darkened living room.
BRAD
Dude?
Brad starts down the steps. Stops. Listens.
Dead silence.
BRAD
(to himself)
Are you still pissed about what I
said about Mandy?
He continues down the steps.
BRAD
(under his breath)
That skank.
INT. TOWNHOUSE, LIVING ROOM - CONTINUOUS
Brad walks up to the light switch. Turns it back on . . .
empty.
BRAD
You better not be screwing with me.
He steps forward. Slips. Lands flat on his back.
BRAD
(grunts)
Shit!
Brad sits up. Removes something from under his foot. Looks
at it . . .
INSERT - Its a SQUISHED eyeball!
BACK TO SCENE - He flings it away, disgusted.
BRAD
(calls out)
You're sick, Josh! Leaving body
parts around the house!
He starts to straighten up.
Anita suddenly pops up from behind the couch. Lunges at him.
Knocks his back to the floor.
Brad stares at her, shocked.
BRAD
YOU!
THROUGH HIS POV - Anita SLAMS her fist into his/our face.
COMPLETE BLACKNESS.
Beat.
INT. ACCORD - LATER THAT NIGHT - (MOVING)
TIGHT SHOT - BRAD'S FACE - He snaps awake, startled. Sweat
trickles down his panicked-stricken face.
FRAME WIDENS to REVEAL him squeezed into the cramped confines
of the Accord's backseat floor. His hands and legs are bound
together by jumper cables.
BRAD
What the fuck is this?!
No answer. Except for the occasional TIRES SCREECHING and
BRAKES GRINDING.
Brad angles himself to look over the front seat.
ANOTHER ANGLE - A sleeping Anita is slumped in the driver's
seat. The wheel is steering itself.
ON BRAD - reacts, horrified.
BRAD
(yelling)
Help! Help me! Help!
He throws himself against the side window. His screams turn
into an audible GASP.
EXT. MOUNTAINSIDE ROAD - NIGHT - (MOVING)
We FOLLOW the Accord as it RACES along a winding road,
hugging the side of a mountain.
INT. ACCORD - NIGHT - (MOVING)
Brad futilely attempts to free himself. Barks out at Anita:
BRAD
Wake up, you crazy bitch! Wake up!
Anita remains lifeless.
He bangs his head against the back of the driver's seat.
Anita becomes reanimated. Glances back at Brad.
BRAD
What do you want from me?! An
apology?! Alright!
(pleading)
I'm sorry, okay?! I shouldn't have
fu-- Done what I did! Please
forgive me! I won't ever do it
again! I swear to God!
She throws him a blank look.
BRAD
Don't you have anything to say?!
ANITA
All those curves and me without any
brakes.
BRAD
What?!
Anita grabs the steering wheel.
BRAD
(realizes)
NO! NO! NO!
She spins the wheel, sharply to the left . . .
EXT. MOUNTAINSIDE ROAD - CONTINUOUS
SPARKS EXPLODE as the Accord CRASHES through the guard
railing . . .
THE ACCORD - AIRBORNE - CONTINUOUS
. . . and flies through the air before suddenly plummeting
into the darkness below . . .
EXT. CLIFFSIDE - CONTINUOUS
. . . COLLIDING into a jagged cliff jutting out from the
mountainside. The IMPACT causes a FIREBALL to fill the
SCREEN!
The CAMERA PULLS BACK to reveal . . .
. . . A wall of flames lashing downwards from a rust
yellowish, cavernous ceiling!
HELL - SMOKEY, YELLOW TINT
The CAMERA PANS DOWN from the flames to reveal . . .
An EPIC SHOT of Hell, which makes those Hieronymous Bosch
paintings look like rural landscapes!
The SOUNDTRACK is drowned in the GUT-WRENCHING MOANS and
WAILS of the eternally damned.
A sulfur cave that runs on for eternity! Mile high stalag
mites and stalactites jut out of the ground and ceiling,
resembling crooked, rotting fangs! Thousands of bodies are
chained to them, writhing in anguish.
Many others burn in lakes of smoldering lava! Demons --
living shadows -- lash out their forked tails to keep them
from crawling out.
HELL, MOUNTAINTOP - SAME
Overseeing this from the highest mountain is SATAN, ageless.
His massive figure (about eight feet tall) consists of a
muscular, human body and the head of a pissed-off goat.
He turns his throne -- made of living, human body parts --
around to find Anita before him.
SATAN
What bring you me, Bride?
She steps aside to reveal a disoriented, naked Brad lying on
the ground. TWO DEMONS stand on either side of him.
Satan stares into Brad's eyes, momentarily. Breaks into a
demonic grin.
SATAN
A rapist of over thirty. And now a
murderer, too.
BRAD
I didn't kill anyone.
SATAN
(to Demons)
Welcome him to his new residence
. . . in New Sodom.
The Demons CROAK a response. IMPALE their tails into Brad's
chest. Slither off with a SCREAMING Brad in tow.
Satan extends his own tail. Wraps it around Anita. Lifts
her into his lap.
SATAN
So, tell me, is it hot down here?
Or is it just you?
She giggles.
He pulls her close. Inserts his large, snake-like tongue
into her soft mouth. Kisses her.
END OF STORY
INT. MANSION, LIVING ROOM - NIG
Blue claps at her own story.
BLUE
So, what'd you think?
AGNA
Its fine, Blue. Just as long as
you don't tell me its a--
BLUE
Its a true story.
PRISCILLA
You're kidding, right?
BLUE
No.
PRISCILLA
I've read "Penthouse" letters that
are more grounded in reality than
this.
BLUE
This girl I met in Pilates class?
It was her step-cousin's sister.
PRISCILLA
(sarcastically)
How could I doubt it when it comes
straight from the source like that?
BLUE
(adamantly)
Its a true story.
PRISCILLA
Then answer me this--
AGNA
Just let it go, Priscilla.
PRISCILLA
No, I've got her, Agna.
(to Blue)
Answer me this: If your friend's
daughter's niece--
BLUE
--step-cousin's sister.
PRISCILLA
(flustered)
Whatever! If this bird is
currently residing in Hell,
how did she tell her story?
BLUE
("well, duh")
You don't think they have the
Internet down there? Where do you
think all the Pop-ups come from?
Priscilla sighs, exasperated.
AGNA
Its your turn for a story,
Priscilla.
PRISCILLA
I hope you're both in the mood for
a love story. Because I'm about
tell one . . .
She reaches out to Blue. Grabs her nipple. Twists it.
BLUE
Owww!
PRISCILLA
. . . with a twist.
STORY TWO: a world of hurt
CLOSE-UP - BETH - A no-frills pretty blonde in her early
30s. She speaks directly into the CAMERA.
BETH
Its a whole, wide world of hurt.
(beat)
I wouldn't have it any other way.
FRAME WIDENS to reveal her stripped down to her panties,
leaning up against a pillar.
INT. EMPTY BUILDING - SAME TIME
(NOTE: We continuously HEAR the heavy sounds of CONSTRUCTION
EQUIPMENT and WORKMEN SHOUTING orders coming from outside.)
Beth is inside an abandoned building. We can tell by the
graffitied walls, falling plaster and discarded office
furniture.
A fully-dressed, giddy man tightens the bungee cord that
binds Beth's hands behind her back. He is JERRY, mid-30s.
Tears well up in Beth's eyes. It contrasts her aroused
facial expression. She YELPS.
JERRY
(turned on)
God, I love it when you make that
sound!
BETH
(muttering)
Enjoy it while you can.
He doesn't hear her. Reaches into his backpack, on the
floor. Pulls out a police blackjack.
JERRY
You have the right to remain
screaming.
Despite herself, Beth is intrigued.
BETH
What are you gonna do with that?
JERRY
You should be asking what aren't I
gonna do with it.
Jerry runs it down her petite body. Comes to a rusty shackle
attached to Beth's right leg.
JERRY
You've been a pretty bad girl to be
chained up like this.
He taps the connecting chain with the blackjack, ensuring its
fastened to the pillar. Stands. Tosses the blackjack aside.
Rips open his shirt to reveal him wearing nipple clamps.
JERRY
Ah hah!
Beth stifles a laugh.
Jerry catches it. Gets in her face.
JERRY
You laughing at me?! Don't ever
laugh at me!
He SLAPS her across the face.
Beth falls to the floor. THUMP.
CLOSE UP - BETH - Her left cheek is already bruising.
Her nostrils are bleeding. Her expressions is utter
indifference. She stares off into space, remembering . . .
CUT TO:
FLASHBACK SEQUENCES . . .
INT. BETH'S OFFICE - DAY
The posh office of a high-ranking executive. Floor-to
ceiling windows give a panoramic view of downtown L.A.
Beth -- almost unrecognizable in glasses and a power suit --
sits behind a sprawling desk.
She is in the middle of chewing out a couple of lower-ranking
executives. Holds up a report.
BETH
This report is shit! There is no
way I'm risking my position as
C.O.O. by giving this to Lasky!
She throws the report at them. Pages flutter everywhere.
BETH (CONT'D)
Get your people to rework the
statistics and get them back to
me first thing in the A.M.!
The executives quickly gather the papers. Leave the room,
wordless. Shut the door behind them.
The intercom BUZZES.
BETH
(into intercom; irritated)
What is it, Stephanie?
SECETARY (O.S.)
(over intercom; FILTERED)
I have Adrian on line three.
Beth's heart skips a beat. Her face becomes flushed.
BETH'S VOICE (V.O.)
(adoringly)
Adrian -- The only man who could
bring me to orgasm without ever
having to be inside me.
BETH
(into intercom)
Put him through.
Her body language immediately turns submissive.
ADRIAN'S VOICE (O.S.)
(over intercom; FILTERED)
Beth?
BETH
Yes, my sweet punisher.
ADRIAN'S VOICE (O.S.)
I want you to do something for me.
BETH
Anything, baby. Anything.
ADRIAN'S VOICE (O.S.)
Do you have a letter opener?
She pulls one out of her desk.
BETH
(breathless)
What do you want me to do with it?
ADRIAN'S VOICE (O.S.)
I want you to insert it under the
nail of your middle finger.
Beth complies.
ADRIAN'S VOICE (O.S.)
And push it as far as you can.
She does so.
INSERT - HER MIDDLE FINGER - as the letter opener pushes in
deep. Blood colors the fingernail crimson.
ON BETH - pants, heavily.
BETH
(breathless)
Oh, yes, Adrian! I feel the pain!
Oh God!
ADRIAN'S VOICE (O.S.)
Now stop.
Beth is pulled from near-orgasm. Reacts.
BETH
Huh?
ADRIAN'S VOICE (O.S.)
(sharply)
You heard what I said.
She halts.
ADRIAN'S VOICE (O.S.)
I don't want you coming until later
tonight.
BETH
(giddy)
And what exactly will we be doing?
ADRIAN'S VOICE (O.S.)
I'll put it this way: Are you
working tomorrow?
BETH
No.
ADRIAN'S VOICE (O.S.)
Good. Because then you'll have the
weekend to heal. Until then, my
precious bitch.
He DISCONNECTS.
Beth literally swoons.
BETH'S VOICE (V.O.)
And then one night it all changed.
EXT. PINS & NEEDLES - NIGHT
A private nightclub with a black granite facade. Carved into
it are the words: PINS & NEEDLES.
Standing at the door is the DOORGUARD, with Maori facial
tattoos and multiple piercings. Clashing with his image
is the tailored suit he is wearing.
Beth approaches. Dressed in a latex dress. Curly, blonde
hair pulled into a ponytail.
DOORGUARD
Good evening, Ms. Beth.
BETH
Hey, Tam. Is Adrian here?
DOORGUARD
Yes, ma'am. He's taking his break
in the private booth.
BETH
Thanks.
He opens the door.
THROBBING INDUSTRIAL MUSIC escapes from within.
Beth enters.
INT. PINS & NEEDLES - CONTINUOUS - DIMLY LIT
TRACK Beth walking beside several booths, occupied by well
dressed couples. Some appear to be playfully struggling with
each other.
ANOTHER ANGLE - At the center of the club is a giant cage
decorated in barbed wire. Inside, the clientele receive body
piercings from the oh-so-hip employees
TRACKING BETH - She walks up to a private booth, which
overviews the caged area.
Behind her, we see an illuminated sign reading: FIRST AID.
Beth casually pulls back the black-velvet curtain. Reacts in
surprise.
INSIDE THE BOOTH - A man -- his back to us -- is passionately
kissing a pretty, young woman.
BETH
(shocked)
Adrian!
ADRIAN turns around. He looks nothing like we expected --
Not Eurotrash, one of "America's Most Wanted" or even a Satan
worshipper. In fact, he has the angelic face of an altar
boy.
ADRIAN
(flatly)
Beth.
BETH
What is this?!
The young woman removes a razor blade from her mouth. She
flashes Beth a bloody smile.
ADRIAN
I'd introduce you but we're in the
middle of something here.
Beth doesn't know how to react.
BETH
What happened to us?
Adrian sighs, heavily.
ADRIAN
Your screams have become whiny.
Your bloodletting is like watching
paint dry. And your pain has
become unbearable . . . for me to
watch.
Beth's mouth hangs open, flabbergasted.
BETH
But Adrian . . . I love you!
He shrugs his indifference.
ADRIAN
That's your problem.
The CLUB MANAGER comes up beside Beth.
MANAGER
Adrian, your break is over.
Adrian stands up. It reveals him to be wearing a black
apron. The guy is a waiter!
MANAGER
Table eleven wants to place an
order.
Adrian kisses the young woman softly on the cheek.
ADRIAN
I'll see you in a little while, my
precious bitch.
Beth walks away, clearly upset.
INT. BETH'S APARTMENT, BATHROOM - LATER THAT NIGHT
IN THE MIRROR - Beth stares at her reflection. Rips her
earrings off. Blood to trickle down her lobes. She has no
reaction.
INT. BETH'S APARTMENT, BEDROOM - MINUTES LATER
Beth, in her undies, WHIPS herself with a cat-o-nine-tails.
She GRUNTS, softly.
BETH'S VOICE (V.O.)
I was so furious with Adrian . . .
The CAMERA PANS AROUND to reveal her back covered in angry,
overlapping welts.
BETH'S VOICE (V.O.)
. . . that I took it out on myself.
(beat)
I wanted to inflict some serious
pain on him . . . but not in a good
way.
INT. BAR - EVENING
Beth sits alone at the bar. Drinking a martini.
BETH'S VOICE (V.O.)
By the time my wounds healed, I was
right back out there.
Jerry joins her. Slides onto the stool next to her.
JERRY
I'm Jerry.
BETH
Beth.
JERRY
So, what do you wanna do on our
first date?
BETH
Pretty confident, aren't you?
JERRY
I know a fellow "dare-do-it" when I
see one.
BETH
What's a "dare-do-it"?
JERRY
Its like a "dare-doer". Except you
do it.
BETH
(dismissively)
What, like getting a blow job while
you're riding a rollercoaster?
JERRY
(amused)
You're cute.
(beat)
You know what I think we should do
on our first date? Go on a picnic.
Beth eyes him, uncertainly. Finishes her drink.
EXT. FOREST HIGHWAY - AFTERNOON
Jerry's truck coasts down a road paved through the national
forest.
INT. JERRY'S TRUCK - SAME TIME - (MOVING)
Jerry is behind the wheel. A bored Beth rides passenger.
BETH
You know, when you said we were
going on a picnic, I thought you
were joking.
JERRY
Then why'd you come?
Beth shrugs.
JERRY
Because you're looking for a little
excitement in your life. Right?
BETH
Sorry but I don't consider keeping
ants away from the food as a walk
on the wild side.
JERRY
Yeah but what if we were the bugs?
BETH
Huh?
He makes a sharp, right turn. Gestures out the windshield.
EXT. FOREST OFFROAD - CONTINUOUS
The truck veers onto a dirt road off the highway road. It
races past a bright, orange sign reading: WARNING!
POISONOUS PESTICIDE SPRAYING! DO NOT ENTER!
INT. JERRY'S TRUCK - SAME TIME
JERRY
What do you think?
Beth remains unimpressed.
BETH
What's to worry about? These huge
trees will shelter us from any kind
of spray.
JERRY
Not with the spot I have picked
out.
BETH
So you've done this before.
JERRY
Once or twice.
BETH
And lived to tell the tale.
JERRY
And to think, it might die with us.
Beth suddenly appears intrigued.
Jerry suddenly speeds up.
JERRY
Hold on!
Beth looks out the window. Reacts.
THROUGH THE FRONT WINDSHIELD - We COLLIDE with a road block.
SMASH right through it. Continue racing along.
EXT. FOREST, CLEARED AREA - A FEW MINUTES LATER
The truck parks in an open section of the woods.
INT./EXT. JERRY'S TRUCK - SAME TIME
Jerry checks his watch. Begins to unbutton his shirt.
BETH
Not the master of seduction, are
you?
JERRY
We've got haven't got long. So,
unless you want some sweet nothings
as your epitaph, I suggest we get
started.
He climbs out of the truck. Begins removing his pants.
Beth also undresses.
They climb into the truck bed, naked.
BETH
I wanna be on top. In case we
don't make it, I wanna feel the
spray wash down my body.
JERRY
A girl after my own heart.
He sprawls out on the truck bed.
Beth mounts Jerry.
Off in the distance, we hear a LOW HUMMING.
Jerry grunts his approval as Beth intensely rides him.
BETH
Hit me.
He is too distracted to respond.
JERRY
(absently)
Maybe later.
Beth comes to an abrupt halt.
Jerry appears startled.
JERRY
What are you doing?!
BETH
I want you to hit me.
JERRY
Sorry but I'm not that kind of guy.
BETH
You're a guy, period.
JERRY
Look, can we just go back to what
we were doing? We haven't got much
time!
The HUMMING grows LOUDER.
BETH
(sternly)
Then do it.
JERRY
(annoyed)
I'm not gonna fucking hit you,
alright?!
BETH
(increasingly aroused)
Remember me? I'm the girl you
liked in the third grade who tore
up the valentine you gave me.
(beat)
I'm the college sweetheart you
caught in bed with your best
friend.
(beat)
I'm the beautiful woman who laughs
in your face when you try to talk
to me.
(beat)
I'm your mom--
JERRY
You're crazy!
BETH
Certifiably. Now, hit me.
The WHINE of a bi-plane engine grows increasingly
distinctive.
JERRY
This shit isn't getting any
funnier, SO GET OFF ME!
Beth doesn't budge.
JERRY
Did you hear me?!
BETH
Hit me, Jerry.
Jerry attempts to shove Beth off of him. She, however, has
her legs clenched around his hips.
JERRY
Get the hell off me!
He struggles to squirm free but Beth's leverage keeps him
locked in place.
JERRY
(frustrated)
Sonofabitch!
The bi-plane's DRONE fills the air.
BETH
Hit me!
He SLAPS her across the face.
JERRY
Now get off me, you psycho slut!
Beth looks at him, unfazed.
BETH
That was nothing more than a bitch
slap . . . bitch!
Jerry PUNCHES her in the jaw. Shoves her off. Quickly
climbs into the cab. Slams the door shut.
A dazed Beth sits up.
The shadow of the bi-plane is cast upon her! Its ROAR
overwhelms the SOUNDTRACK!
Beth flings herself off the side of the cab! Opens the
passenger door. Looks back . . .
THROUGH HER POV - A torrential downpour of amber liquid is
coming directly at her!
BACK TO SCENE - She climbs into the trucks. SLAMS the door.
SPLASH!
BI-PLANE - AIRBORNE - CONTINUOUS
It SOARS past the truck, raining pesticide.
INT. JERRY'S TRUCK - CONTINUOUS
Beth rubs her bruised jaw. Looks to a pissed Jerry.
BETH
A guy after my own heart.
EXT. BETH'S APARTMENT BUILDING - EVENING
Jerry's truck pulls up,
BETH'S VOICE (V.O.)
Jerry was so upset he didn't say a
word to me all the way home . . .
Beth climbs out.
The truck SPEEDS OFF before she can shut the door.
BETH'S VOICE (V.O.)
But I knew I'd hear from him again
. . . which was about two weeks
later.
INT. BETH'S APARTMENT, BEDROOM - NIGHT
ON T.V. SCREEN - "Jackass-The Movie" plays.
Beth watches it. Fondles her breasts, aroused.
The phone RINGS.
She answers it.
BETH
Hello.
JERRY'S VOICE (O.S.)
(from phone; FILTERED)
Beth, its Jerry.
BETH
Yes?
JERRY'S VOICE (O.S.)
I don't think I can handle a girl
like you.
BETH
Then why are you calling?
JERRY'S VOICE (O.S.)
Because I'd like to try.
BETH
You try sushi, Jerry.
JERRY'S VOICE (O.S.)
(filtered)
I have it in me, Beth. You helped
me to find it that day.
BETH
And how did you come to this
realization?
JERRY'S VOICE (O.S.)
Because I enjoyed punching you in
the face. I had such a hard-on on
the way back.
BETH
Really? And why didn't you tell me
this when it happened?
JERRY'S VOICE (O.S.)
The truth? I was sort of ashamed.
BETH
Like everything else, it fades.
JERRY'S VOICE (O.S.)
Does that mean we can get together
again? I have something special in
mind for us.
BETH
(coyly)
We'll see.
She hangs up. Begins to contemplate.
BETH'S VOICE (V.O.)
I was curious enough to see him
again . . . and he didn't
disappoint
INT. DARKENED ROOM - DAY
Beth is pressed up against a filthy wall. Her expression is
one of ecstacy fused with pain.
FRAME WIDENS to reveal her bent over with Jerry thrusting
from behind. He has one of her arms twisted behind her back.
Around them, the undisclosed room violently QUAKES. Broken
furniture rolls across the dirt floor. Dust clouds are
illuminated by daylight peeking through the small, high
windows.
LOUD, CONTINUOUS ROARING drowns out all other sounds.
Beth and Jerry both climax. Gather their clothes. Race out
a pair of storm doors . . .
EXT. ABANDONED HOUSE/DECONSTRUCTION SITE (#1) - CONTINUOUS
. . .out the basement of a house in the process of being
demolished by a pair of bulldozers!
They disappear into a nearby copse of trees.
AMONGST THE TREES - Beth and Jerry get dressed. Share a
joint.
Beth's attention is diverted back to the remains of the
house. Becomes mesmerized as the bulldozers expose the
basement cavity.
Jerry comes up behind her. Spins her around. Presses her
up against a tree.
JERRY
I knew you would like this.
BETH
(kidding)
Its alright.
He leans in to kiss her.
JERRY
Then we'll have to figure something
out to make this experience more
memorable for you.
They are just about to kiss . . .
. . . when Jerry unleashes a brutal punch to Beth's stomach.
She CRIES OUT. Drops.
He stares down at her, slightly crazed.
JERRY
That's what you like, right?!
Jerry kicks her.
Beth curls into a fetal position, WHIMPERING.
Concern spreads across Jerry's face.
JERRY
Beth, are you alright? Beth?
He kneels down beside her.
JERRY
Did I go too far? I'm sorry. I
thought this was what you wanted.
Jerry delicately strokes her hair.
BETH'S VOICE (V.O.)
Jerry spent the next couple of days
apologizing. I accepted his
apology but knew that he would
never learn the fine art of pain
distribution.
(beat)
He'd never be anything more than a
bully.
(yearning)
And he would never be Adrian.
(beat)
I decided to see Jerry once more.
For the last time . . .
END FLASHBACK SEQUENCES
INT. EMPTY BUILDING, 3RD FLOOR -DAY - (PRESENT)
Beth stares into the CAMERA.
BETH
. . . and that's where I'm at.
Jerry strips off his clothes. Crouches next to her.
JERRY
Soon. Real soon.
He runs his sweaty hands along her body, grinning. Snaps his
fingers, remembering something.
JERRY
I almost forgot.
Jerry crosses the room to his pants. Removes an item from
the pocket. Returns to Beth. Holds up it for display -- a
vial of cocaine.
JERRY
This will take us over the top.
He pours out a line across his palm. Offers it to her.
JERRY
Take the first line.
BETH
Its better afterwards. As dessert.
JERRY
But we might not make it through
dinner.
BETH
I'll wait.
Jerry shrugs. Gets an idea. Wipes blood from one of her
nostrils. Drips it onto the cocaine, which turns pink.
He gazes adoringly at Beth.
JERRY
I think I love you, Beth.
Beth rolls her eyes, aside.
Jerry SNORTS the line.
JERRY
Oh, yeah!
He prances around Beth, fueled by an energy that is
unnatural.
JERRY
Fuckin' yeah! Fuckin' yeah!
Jerry suddenly hits the floor, face first.
BETH
Jerry? Jerry?! Quit acting stupid
and get up.
No reaction.
BETH
This isn't funny.
A WAILING SIGNAL screeches through the building.
BETH
Is that the five minute signal?!
Jerry?! JERRY!
Panic captures Beth. She tugs frantically at the shackle.
It holds fast.
BETH
Oh my God! I'm gonna die here!
She takes a few deep breaths. Calms down.
BETH
Just get the key from his pants,
Beth. That's all you have to do.
Beth clumsily gets to her feet. Moves past Jerry's body.
Advances towards the pile of clothes.
The chain stops her with a violent tug . . . only a few feet
short.
She makes a desperate effort and dives for the pants . . .
CRASHES to the ground, still missing it. Her jaw bounces
off the dusty floor.
From outside, a SUPERVISOR'S VOICE is heard through a
BULLHORN:
SUPERVISOR'S VOICE (O.S.)
(filtered)
Alright, guys, lets move it out!
Wrenched with pain, Beth forces herself to come around.
Spits out blood . . . and a tooth! Futilely screams out:
BETH
HELP ME! HELP, I'M IN HERE!
Beth looks to her right. Finds herself face to face with
Jerry's corpse. Scowls at him.
BETH
Are you dead?! Can you hear me,
you stupid shit?!
INSERT - JERRY'S FACE - His face is turning purple. Eyes
bulged from their sockets. Mouth frozen in a demented grin.
His expression seems to be taunting Beth.
BACK TO SCENE
She sits up. Kicks at the body.
BETH
"Fuckin' yeah'"ed yourself right
into Hell, didn't you, asshole?!
A CONTINUOUS BEEPING begins to sound -- Like a time bomb
counting backwards towards annihilation.
Beth gets an idea. Stands up. Use her free foot to kick
the body towards the discarded clothing.
Jerry's face flops onto the pile.
Beth smiles, broadly. Grapples Jerry's leg. Tugs it back
but loses hold.
BETH
Oh, come on!
She clenches her toes, again. Heaves and pulls harshly . . .
Amazingly, his body is coming towards her . . . and then Beth
falls back!
THUMP! -- She lands flat on her back, jarred by the her full
body weight hitting the cement floor. However, she is too
charged with adrenaline to feel any pain.
She anxiously leans forward towards Jerry's face . . . and
lets out a disappointed WAIL.
BETH
No! No! No!
No pants!
ANOTHER ANGLE - The pile of clothing have been slightly
altered. At the top are the pants -- the literal key to
Beth's salvation.
BACK TO SCENE - A defeated Beth wipes some sweat from her
brow . . . and suddenly realizes her hands are free! She
looks behind her.
INSERT - THE BUNGEE CORDS - have been discarded after coming
free from the impact of the fall.
BACK TO SCENE - Beth reaches of the pants . . . but still
can't reach them.
From outside, the SUPERVISOR'S VOICE comes on the BULLHORN
again:
SUPERVISOR'S VOICE (O.S.)
(filtered)
All clear! We're down to two-and-a
half minutes and counting!
Beth fights back a scream. Tugs frantically at the chain
and pillar -- Nothing gives.
BETH
Goddamnit!
THROUGH HER POV - She looks around desperately for any
solution . . . Anything! . . . Anything! . . . And then
she sees the blackjack!
BACK TO SCENE - Beth picks up the blackjack . . .
POUNDS it at the pillar . . . nothing!
WHACKS on the chain . . . nothing!
STRIKES the rusted shackle . . . nothing!
SUPERVISOR'S VOICE (O.S.)
(filtered)
Ninety seconds!
Beth comes to a grim realization.
BETH
There's only one thing that'll
give.
She gnashes her teeth. SLAMS the nightstick into her ankle.
Winces from the blow. A sickening SLAPPING SOUND fills the
room as she does it again . . . and again . . . and again!
Beth, frothing at the mouth, finally relents. Looks at her
inflamed leg and foot, now colored a sickening purplish-pink.
The pulpy flesh oozes and warbles as she pulls it through the
shackle hole. The SHIFTING OF BROKEN BONES can be heard in
the process.
Beth looks on, deranged.
BETH
(to herself)
No more Salsa lessons for you.
SUPERVISOR'S VOICE (O.S.)
(filtered)
Sixty seconds.
She quickly hobbles over to the nearby stairs . . .
INT. PINS & NEEDLES - NIGHT - DIMLY LIT
LOW ANGLE - We FOLLOW a mangled foot, in a brace, that limps
along. Comes to a halt before a familiar black curtain.
INSIDE THE BOOTH - Adrian sits with the Young Woman from
before. She, however, now looks worse for the wear.
The curtain is suddenly pulled open to reveal Beth. She
holds a cane designed to resemble a blackjack.
Adrian is surprised to see her.
The Young Woman pouts.
ADRIAN
Beth! Its good to see you!
BETH
Hello, Adrian.
ADRIAN
How long has it been?
BETH
Months.
ADRIAN
Seems longer. How are you?
BETH
Good as can be.
Adrian is intrigued by the cane.
ADRIAN
What's with the cane, Beth?
She flashes him a seductive smile.
INT. EMPTY BUILDING (#2) - DAY
Adrian is shackled to a pillar, just like Beth.
She stands before him.
BETH
I'm so glad you decided to do this
with me, Adrian.
ADRIAN
Why not? It sounds like fun.
BETH
Oh, its so much more than that! My
last experience "transformed" me in
ways you couldn't imagine.
(beat)
I'm sure it'll do the same for you.
(beat)
We should get started. We don't
have much time.
ADRIAN
Okay. What do we do first?
BETH
This.
She RAPS him across the face with her blackjack cane.
Checks hold of the shackle. Walks away, laughing
hysterically.
A dazed Adrian comes around. Calls after her.
ADRIAN
Beth! Beth! Where are you going?!
Is this part of the game?!
BETH
Goodbye, Adrian.
ADRIAN
Goodbye, Adrian?! Come back here!
What are you doing?! I order you
to come back!
She stops. Turns around. Flips him off.
BETH
Order this.
She turns back around. Walks off, ignoring him.
ADRIAN
No, fuck you, you stupid bitch!
I'm not afraid of you! You're
nothing! Nothing but a human
pincushion!
He begins to laugh, hysterically.
A wrecking ball suddenly IMPLODES the outside wall! It
swings forth mightily and CRASHES through the pillar . . .
Adrian is decimated to a bloody SPLAT on the remaining walls!
EXT. DECONSTRUCTION SITE (#2) - MINUTES LATER
As the wrecking ball lays waste to the empty building, Beth
approaches the CAMERA. She speaks directly into it:
BETH
It was painful to lose Adrian for
the second time.
She smiles, wickedly.
BETH
But then you know how I feel about
pain . . .
END OF STORY
INT. MANSION, LIVING ROOM - NIGHT
PRISCILLA
The end.
Blue waits on, expectantly.
BLUE
But what happened to Beth
afterwards?
PRISCILLA
How the Hell should I know?!
BLUE
It is your story.
AGNA
(teasing)
She is right, Priscilla. Make
something up.
Blue nods her head with anticipation.
Priscilla throws her an annoyed look.
PRISCILLA
Alright, then.
(off the top of her head)
She went on to write a novel on how
to control men, promoted it on
Oprah and became a media goddess.
There now, how's that?
Blue claps, pleased.
Agna giggles.
PRISCILLA
Now, where is that so-called "Pizza
Dude"?
BLUE
(correcting her)
"Pizza Pie Guy".
PRISCILLA
I'm famished.
She grunts, hungrily.
BLUE
(hopeful)
I guess we have time for another
story?
AGNA
Its my turn. Here's a story about
a girl I met while working at The
Bad Kitten . . .
BLUE
What's the Bad Kitten, Agna?
PRISCILLA
(deadpan)
A kennel. Go on, Agna.
ON AGNA
AGNA
It was about a year ago . . .
STORY THREE: BAD HAPPENINGS AT THE BAD KITTEN
SUBLIMINAL, GRAPHIC IMAGES of a scalpel slicing into flesh
. . . A plastic surgery procedure . . . A woman's face
horribly disfigured . . . A pair of crazed, icy-blue eyes
over a surgical mask . . .
INT. MAGDALENA'S APARTMENT, BEDROOM - NIGHT
MAGDALENA, late 20s, an Italian beauty snaps awakens. Mouth
frozen in a silent scream. Face drenched in perspiration.
ANOTHER ANGLE - She sits up. Grabs hold of a rosary hanging
around her neck. Begins muttering a prayer until inner calm
settles upon her.
Removing her hand from the rosary, Magdalena notices her
right-hand fingers are bleeding.
THROUGH HER POV - She follows trickles of blood off the bed
. . . onto the floor . . . where a copy of the "L.A. Weekly"
lays open to the strip club advertisements.
BACK TO SCENE - Magdalena picks up the newspaper. Studies
the ad circled in her blood.
INSERT - THE AD - is for The Bad Kitten gentlemen's club. On
display is a striking redhead -- ROSEBUD -- appearing on the
club's opening night: MAY 12th.
BACK TO SCENE
MAGDALENA
Tonight.
EXT. THE BAD KITTEN - DAY
A post-modern, duo-floored office converted into a prominent
gentlemen's club.
Atop the roof, a large neon sign reading: WELCOME TO THE BAD
KITTEN. Beside it, a screen displays an animatronic kitten
playing in a pile of lingerie.
A VW Beetle parks in the adjacent parking lot.
EXT. THE BAD KITTTEN, ENTRANCE - CONTINUOUS
Head of security, DEAN, stands outside smoking a cigarette.
Magdalena comes up to him. Frowns.
MAGDALENA
Those are bad for you. Not just
physically but mentally and
spiritually, too.
DEAN
So's my ex-wife. But I've still
gotta deal with her.
Dean takes a final puff. Tosses his cigarette. Crushes it
under his boot.
Magdalena retrieves it. Places it into his palm.
DEAN
Let me guess -- you're here to
protest. Sorry but you're a little
early for the party. We don't open
until seven.
MAGDALENA
Actually, I'm here to--
DEAN
You know, you're a little too cute
to be a protester.
MAGDALENA
Thank you . . . I think. What are
protesters usually like?
DEAN
Fat, hairy and ugly.
(beat)
And you should see the men.
He laughs at his own joke. It dies down when he sees
Magdalena straight faced.
DEAN
Hey, what do you want from me? The
girls are the entertainment here.
MAGDALENA
So, what does that make you? A
bartender, maybe?
DEAN
I'm security.
He scrutinizes her. Narrows his eyes.
DEAN
You're not a protester, are you?
What are you, some reporter?
MAGDALENA
Actually, I'm here to--
DEAN
No comment.
MAGDALENA
Look, I just wanna--
DEAN
No comment.
MAGDALENA
Are you some sort of ass?
DEAN
No com--Hey!
She giggles.
Despite himself, he joins her.
MAGDALENA
I just wanna apply for a job.
Could you introduce me to the
manager?
DEAN
Come with me.
They enter the club.
INT. THE BAD KITTEN, AUDITORIUM - VARIOUS LIGHTING
ONSTAGE - A scrawny brunette strips by rote to DANCE MUSIC on
the platformed main stage.
A THROATY FEMALE VOICE calls out from OFFSCREEN:
GRETA'S VOICE (O.S.)
(over the music)
What are you doing, undressing for
bed?! Somebody get her a Red Bull!
REVERSE ANGLE - The voice belongs to club owner, GRETA, mid
50s. She is a handsome woman with an exotic blend of both
masculine and feminine features.
She criticizes from a front table, which is cluttered with
resumes and headshots.
Seated at surrounding tables are a handful of other dancers
awaiting their turn to audition.
Greta gestures for the music to stop. It does.
GRETA
(to dancer)
Thank you and goodbye.
The scrawny brunette walks off stage.
In the b.g., janitor LOU, late-60s, sets up tables.
Magdalena and Dean come up to the table.
DEAN
Greta, you got a minute?
She turns to them. Gives Magdelana a once-over.
GRETA
What's your name?
MAGDELANA
Magdalena.
GRETA
Nah. Too Catholic. How about
. . . Magenta?
MAGDELANA
Sorry. I'm not here to be a
dancer. I wanna be a waitress.
GRETA
Nobody wants to be a waitress.
MAGDELANA
Well, I do.
GRETA
You sure? I could make some good
money off you . . .
(smiles, sweetly)
. . . I mean, FOR you.
MAGDELANA
Thanks, anyway.
GRETA
(resignedly)
Alright. Go upstairs, fill out the
paperwork and get yourself a
uniform.
MAGDELANA
Thanks. Can I start tonight?
GRETA
Be here at six. Use the back
entrance.
MAGDELANA
(to Greta & Dean)
Nice meeting you both.
Dean watches her walk off.
DEAN
Nice girl.
GRETA
Yeah. What a fucking shame with a
body like that.
She shifts her attention back to the stage.
GRETA
Next!
ONSTAGE - A California blonde, dressed like a gangsta girl,
steps out. Carrying a boom box. She is MARY, 22.
GRETA
What's your name?
MARY
My bitches call me Mary-Go-Round.
GRETA
Mary-Go-Round?
MARY
As in Mary-Go-Round-gettin'-all-the
dick-she-need.
She laughs at her own joke.
ON GRETA
GRETA
Charming. Why don't we just call
you Mary for short?
ON MARY -
MARY
Whateva'.
Mary turns on the boom box. HIP-HOP MUSIC begins to play.
MARY
Watch my shit explode!
She begins to expertly breakdance/strip across the stage.
ON Lou - who shakes his head, dismayed.
EXT. THE BAD KITTEN, MAIN ENTRANCE - SEVERAL MINUTES LATER
Magdalena walks out of the club. She carries her uniform.
INT. THE BAD KITTEN CLUB, AUDITORIUM - CONTINUOUS
ONSTAGE - A wholesome YOUNG GIRL, in a black leotard,
"dances" clumsily around the stage. Her attempts at
sexuality are downright embarrassing.
ON GRETA - Her head in her hands, exasperated.
GRETA
(calls out)
Enough!
ONSTAGE - The girl stops. Looks on the verge of tears.
GRETA
How old are you?
GIRL
Eighteen.
GRETA
And a day?
GIRL
A month and a half.
EXT. THE BAD KITTEN, PARKING LOT - CONTINUOUS
Magdalena crosses the parking lot.
INT. THE BAD KITTEN, AUDITORIUM - CONTINUOUS
We INTERCUT as necessary:
GRETA
Are you a virgin?
The girl is stunned.
GIRL
Excuse me?
GRETA
Are. You. A. Virgin?
GIRL
(demurely)
Yes. Why?
GRETA
Because I think you just busted
your cherry performing your "act".
The girl looks down . . .
Blood is running down her thigh.
EXT. THE BAD KITTEN, PARKING LOT - CONTINUOUS
Magdalena arrives at her car. Unlocks the door.
INT. THE BAD KITTEN, AUDITORIUM - CONTINUOUS
THE YOUNG GIRL'S LEG - We FOLLOW the streak of blood running
down her leg . . .
GIRL'S VOICE (O.S.)
(babbling)
I'm so sorry! I know its stupid to
audition when I'm on my period but
I need the work!
. . . her calf . . .
GIRL'S VOICE (O.S.)
I've only been here a month and I'm
already out of money! I just--
. . . her ankle . . .
GRETA'S VOICE (O.S.)
(interjecting)
Spare me the soliloquy and get off
my stage. You're bleeding all over
it!
. . . onto the polished hardwood floor . . .
INT. VW BEETLE - CONTINUOUS
Magdalena places the uniform in the back seat.
CUT TO:
THROUGH THE FLOOR PANELING
. . . the blood passes through the layers of wooden paneling
that makes up the floor . . .
INT. VW BEETLE - CONTINUOUS
Magdalena drops her keys on the floor. Retrieves them.
INT. THE BAD KITTEN, BLUE ROOM - CONTINUOUS
A basement storage room.
ON THE CEILING - The blood has now passed through a crack in
the basement ceiling . . .
TIGHT SHOT - A SINGLE TRICKLE OF BLOOD - We TRACK its quick
descent . . .
INT. VW BEETLE - CONTINUOUS
Magdalena puts the key into the ignition.
INT. THE BAD KITTEN, BLUE ROOM - CONTINUOUS
TIGHT SHOT - THE TRICKLE OF BLOOD - impacts onto the cement
floor, which is painted a deep blue. And into a crack in the
foundation . . .
Beat.
WIDE SHOT - The room suddenly begins to SHUDDER violently.
The entire floor turns a deep-blood red and FRAGMENTS!
INT. VW BEETLE - CONTINUOUS
Magdalena has a violent seizure.
INT. THE BAD KITTEN, AUDITORIUM - A FEW MINUTES LATER
Greta turns to Lou.
GRETA
Lou, go get a mop and wipe the
stage down.
INT. THE BAD KITTEN, BASEMENT CORRIDOR - A FEW MINUTES LATER
Lou walks the cavernous corridor. Past closed doors on
either side.
LOU
(muttering)
They call that a striptease?!
Where's the tease part?! Nowadays
there's all this nakedness -- all
bouncing titties and wiggling
asses!
He arrives at a door marked: MAINTENANCE. Opens it up.
A SEDUCTIVE FEMALE VOICE ECHOES through the corridor:
SEDUCTIVE VOICE (O.S.)
Yoohoo, Louie!
Lou looks around, startled.
LOU
(startled)
Who's there?!
No response.
LOU
Hey!
Still no reply.
A broom suddenly falls out, scaring the living shit out of
Lou!
He curses to himself. Puts it away. Takes out the mop.
SEDUCTIVE VOICE (O.S.)
Come check out my bit, Cat.
Lou cautiously proceeds down the corridor. Wielding the mop
like a baseball bat.
LOU
You're in alot of trouble, girlie!
No one is suppose to down here!
SEDUCTIVE VOICE (O.S.)
Don't be a square, Louie.
LOU
Who are you?! How do you know my
name?!
He begins checking various doors . . . until he arrives at
one painted deep-blue. Opens it. Reacts, flabbergasted.
INT. THE BAD KITTEN, BLUE ROOM - CONTINUOUS
The floor is back to normal.
At the opposite end of the room is the FAN DANCER. She is
concealed behind her large, feather fan . . . except for her
pretty face (her hair and makeup done up 50s-style).
LOU
Oh my goodness!
FAN DANCER
Goodness has nothing to do with my
classy chassis.
She pulls back the fans to reveal her voluptuous figure in a
burlesque (circa 1950s) outfit. Bounces her hip a couple of
times.
FAN DANCER
Pull up a chair and enjoy the show.
A chair upends off a pile. Slides behind Lou, dropping him
into it. He continues to gaze at the Fan Dancer.
She disappears behind the fan, again.
FAN DANCER
Hit it, fellas.
JAZZ MUSIC begins to play out of thin air.
Lou looks around, bemused.
FAN DANCER
Relax, Louie. Its your fantasy --
just like it use to be. Right?
She gives a masterful performance of vamping poses, fan
movements and removing her clothes.
LOU
(taken)
Razz my berries!
Lou takes out a flask. Pulls a hard swig off of it. Enjoys
the show.
The Fan Dancer advances on him.
She sways her fan around, giving us glimpses of her nude
body, now covered with open slash wounds . . . or is it?!
As the fan passes over again, they magically disappear!
Lou sees the same thing. Dismisses it to the booze.
The Fan Dancer stops before him. The fan conceals everything
except her legs.
FAN DANCER
There's one thing you should know
about me, Louie.
Lou gazes up at her, intoxicated (in both senses of the
word).
LOU
What's that?
She pulls back the fan to again reveal her deformed body.
Her face -- though still striking -- is now also covered
with open gashes.
FAN DANCER
I'm bad news, Big Daddy.
The Fan Dancer leans in to Lou. Pulls the fan around him
like a predator capturing its prey.
Lou emits a BLOODCURDLING SCREAM.
EXT./INT. VW BEETLE - CONTINUOUS
Dean gently nudges Magdalena awake. She looks around,
startled.
MAGDALENA
We have to get inside right now!
Something terrible has happened!
DEAN
What?!
MAGDALENA
I don't know exactly. But its bad
. . . so bad.
DEAN
Relax, Magdalena. I just came from
inside and everything is fine.
She looks to him, hopefully.
MAGDALENA
Really?!
DEAN
(reassuringly)
Really.
(concerned)
How are you? I came out and found
you passed out behind the wheel.
She strains a sheepish smile.
MAGDALENA
I'm cool. It happens every once
and awhile.
DEAN
What are you, narcoleptic?
MAGDALENA
Sort of. My body shuts down on me
when I get too stressed. It
doesn't happen very often.
Dean is reluctant to let her go.
DEAN
You sure you're alright to drive?
MAGDALENA
Positive. Thanks.
He sighs, resignedly.
DEAN
Then I guess I'll see you later
tonight.
MAGDALENA
Okay. Bye.
He starts to walk away.
MAGDALENA
Hey.
Dean reapproaches.
MAGDALENA
Do me a favor?
DEAN
Sure. What is it?
She removes a rosary from around her neck. Hands it to him.
MAGDALENA
Wear this.
DEAN
But I'm not Catholic.
MAGDALENA
Do you believe in God?
DEAN
Kind of.
MAGDALENA
Close enough.
He tries to hand it back to her.
DEAN
I can't take this. Its obviously
very special to you.
MAGDALENA
Its not a gift. Its a loaner.
DEAN
(confused)
Uh . . . okay. Thanks.
He slips it around his neck.
DEAN
One size fits all, huh?
She smiles.
MAGDALENA
See you tonight.
She starts up the Beetle. Drives off.
INT. CHURCH, VESTIBULE - AFTERNOON
Magdalena bottles some holy water from the basin.
A MALE FIGURE appears from the shadows.
MALE FIGURE
Hello, Magdalena.
She looks up, startled.
MAGDALENA
(relieved)
You scared me.
The figure steps into daylight, illuminating through a stain
glass window. Its a kindly-faced priest named FATHER BELLA.
FATHER BELLA
Are your confessions that bad?
MAGDALENA
I'm not here to confess anything,
Father Bella.
FATHER BELLA
But you are here to talk with me.
MAGDALENA
What makes you say that?
He gestures towards the basin.
FATHER BELLA
You can get holy water at any
church.
MAGDALENA
I had visions again.
FATHER BELLA
Lets go for a walk, Magdalena.
INT. CHURCH GARDEN - A FEW MINUTES LATER
They stroll through a plush, colorful garden adjacent to the
church.
FATHER BELLA
What did you see this time?
MAGDALENA
They're worse than anything I've
seen before. Images of women being
disfigured by some sort of surgeon.
Father Bella shudders.
FATHER BELLA
Do you have any idea what they
mean?
MAGDALENA
Not yet.
(determined)
But I will soon.
He looks at her, troubled.
FATHER BELLA
I worry about you.
Magdalena knows what's coming.
MAGDALENA
Please don't.
FATHER BELLA
(ignoring her)
I wonder if you're not getting in
over your head with your new . . .
"mission" in life.
MAGDALENA
I've done this once before.
FATHER BELLA
But you never know what you're
getting yourself into. You are
dealing with the supernatural,
here.
MAGDALENA
And what do you call religion, if
not supernatural, Father? We
believe in miracles, resurrection
and an all-powerful, otherworldly
being.
FATHER BELLA
If they are the same, then why did
you leave the Church?
MAGDALENA
Because the Church is not as open
minded about these things as you.
There is no room for a psychic in
their modern sensibilities.
FATHER BELLA
So you've decided to become some
sort of paranormal vigilante?
MAGDALENA
We're in the same game -- trying to
banish evil from this world.
FATHER BELLA
But what if this turns out to be a
real life threat?
MAGDALENA
Then I turn it over to the police.
FATHER BELLA
And if its too late?
MAGDALENA
Then I think we both know what
happens.
Father Bella nods his head, saddened.
MAGDALENA
I have to go, Father.
FATHER BELLA
Be careful, Magdalena. That's all
I ask.
MAGDALENA
I will. I promise.
They hug.
INT. MAGDALENA'S APARTMENT, BEDROOM - EARLY EVENING
She is knelt on the side of her bed, praying in Latin . . .
INTERCUT with her packing a Prada backpack with items that
include a crucifix, the holy water and the Book of Exorcism.
END INTERCUTTING as Magdalena completes both her packing and
prayer.
She stands up to reveal herself dressed in skin-tight cat
suit. Places a pair of cat ears on her head to complete the
image.
MAGDALENA
(sighs, heavily)
The things I do to battle evil.
Magdalena goes to the closet. Takes out a coat. Slips into
it. Walks out of FRAME.
The closet door remains open. The most prominent outfit
amongst her clothes is a nun's habit.
INT. LIMO, BACK SEAT AREA - EVENING - (MOVING)
A plain, no-frills redheaded woman relaxes in back. Her is
face is familiar to us.
She wears an outfit displaying her surgically embellished
body. Tattooed on her right shoulder is a bright-red rose.
She is porn superstar ROSEBUD, mid-20s.
ROSEBUD
(to the driver)
Are we almost there, Steven?
DRIVER
We're just arriving, Rosebud.
Rosebud looks out her window.
EXT. THE BAD KITTEN, PARKING LOT - EVENING
As it pulls into the driveway, the limo is mobbed by a
DOZEN-OR-SO PROTESTERS.
INT. LIMO, BACK SEAT AREA - CONTINUOUS - (MOVING)
Even though no one can see through the tinted windows,
Rosebud conceals her unmade face.
ROSEBUD
Hurry up, Steven. I don't want my
fans to see me unglamorized.
DRIVER
Uh, those aren't fans exactly. I'm
pretty sure they're protesters.
EXT. THE BAD KITTEN, PARKING LOT - CONTINUOUS
The Driver is correct since the small crowd being CHANTING
"Heck No, Porn Must Go!".
INT. LIMO, BACK SEAT AREA - CONTINUOUS
A fanatical woman rants into the window.
Rosebud sticks her tongue out at her.
ROSEBUD
Somebody needs to get laid.
EXT. THE BAD KITTEN, REAR ENTRANCE - CONTINUOUS
The limo pulls up to the rear entrance, stalked by the
protesters.
Dean, positioned at the door, comes up to the protesters.
DEAN
(calls out)
You are on private property.
Anyone who doesn't return to the
sidewalk will be arrested for
trespassing.
The protesters JEER at him. Someone yells out:
PROTESTER
May your mother become the Devil's
concubine, you sinner fuck!
DEAN
You learn that in Sunday School?
He takes out a pair of handcuffs.
DEAN
Who wants to be first?
This gives pause to the protesters. They begrudgingly walk
away.
Dean walks over to the limo. Opens the rear passenger door.
Rosebud climbs out. Yelling into her cell phone:
ROSEBUD
I want you to re-do my blow-up
doll! . . . I don't care how much
it costs! . . . Ever heard of
something called A LAWSUIT?! . . .
That's better! . . . Yes, there is
something else! Get my fucking
tatt right this time!
She hangs up. Arrives at the door. Waits.
The Driver, pulling a pair of wheeled suitcases, hurries to
the door. Opens it.
Rosebud enters without so much as a "thank you".
Dean has observed this. Mutters to himself.
DEAN
Maybe she should sue the charm
school she was sent to, too.
INT. THE BAD KITTEN, DRESSING AREA (2ND FLOOR) - MINUTES
LATER
A large room with an elongated vanity table (and mirror)
running along the right side of the room. The left side is
cluttered with racks of clothing and a wall of lockers.
There are several dancers, waitresses in various states of
undress. Others sits at the table making themselves up.
Magdalena is one of the latter.
Greta enters. Accompanied by Rosebud. The Driver trails
behind.
GRETA
Ladies! Ladies!
Everyone shifts their attention to them.
GRETA
I'd like to introduce you all to
adult superstar, Rosebud. She'll
be performing here all week.
MILD APPLAUSE.
Rosebud raises her hands, quieting them down as if they were
in some sort of uproar.
ROSEBUD
(painfully humble)
I'd just like you to know that I
started out in places like this.
So just treat me like I'm one of
the girls.
(to Greta)
Is my private dressing room ready?
GRETA
Its down the hall and to the right.
ROSEBUD
(to Driver)
Come on, Steven.
They walk off.
Dean comes up to Greta.
GRETA
We getting a crowd?
DEAN
Yeah. They don't seem to be too
deterred by the non-humpers and
Bible-thumpers.
GRETA
Non-humpers?
DEAN
Feminists.
GRETA
Sounds like a real sideshow.
DEAN
I got my boys holding the line.
GRETA
(checks her watch)
We'll let them in about another
half-hour.
DEAN
Okay.
(beat)
Have you seen Lou around?
GRETA
Try the basement. He's probably
down there tying one on.
DEAN
I'll find out.
They walk off in opposite directions.
The CAMERA, however, FOLLOWS on an entering Mary, who sits
down at the vanity table. Sets her purse on the empty chair
next to her.
She begins applying dark, heavy makeup to her face.
Another DANCER comes over. Moves Mary's purse. Takes the
empty seat.
Mary jumps up.
MARY
What the fuck you think you're
doing, bitch?!
The Dancer reacts, startled.
DANCER
What's your problem?!
An enraged Mary gets in her face. Her expression is one of
sheer malevolence.
MARY
I'll tell you what the fuck my
problem is! Don't be touching my
shit, that's what!
The Dancer back off.
DANCER
Okay. Okay. Sorry.
She gets up. Moves further down the table.
MARY
(calls after her)
Run, 'ho, run! Don't wanna be
getting mixed up in this!
Mary grabs her purse. Places it back on the chair.
MARY
Stupid bitch. Wind up getting her
flat ass filled with holes.
INT. BASEMENT CORRIDOR - MINUTES LATER
Dean walks along.
DEAN
Lou, you down here?
No reply.
He look into passing doors.
DEAN
Lou?
Dean comes to the blue door. Turns the knob. Swings it wide
open . . .
INT. THE BLUE ROOM - CONTINUOUS
. . . and discovers the dead Lou slumped in the chair.
Dean lifts his Lou's head to reveals his face to be a mask
of sheer horror!
DEAN
(into his walkie-talkie)
Greta, you need to get down here.
TIME LAPSE: A FEW MINUTES LATER
THE ENTITY'S POV - Hidden amongst the overhead pipe work, it
watches as Greta enters.
GRETA
What is it?
She notices Lou's body. Appears unfazed by it.
GRETA
How'd he die?
DEAN
I'm guessing a heart attack.
POV - It slithers through the pipework. Hurls towards
Greta . . .
DEAN
I better call an ambulance.
POV - Its upon Greta . . .
GRETA
Why the rush? He's obviously not
going anywhere.
POV - Dean steps forward, blocking the entity from Greta.
It sees rosary around his neck, flees back into a ceiling
corner.
ANOTHER ANGLE
DEAN
You wanna leave him here?
GRETA
This is not the kind of publicity
we need on opening night. We'll
wait until we close to call it in.
DEAN
That's pretty morbid.
GRETA
I've dealt with worse.
They start to exit.
THE ENTITY'S POV - It hurls towards the open door.
Dean shuts it just in time.
EXT. THE BAD KITTEN, MAIN ENTRANCE - SEVERAL MINUTES LATER
A line of patrons (both male and female) await the opening of
the club. Protesters -- now doubled -- condemn them.
A handful of large, intimidating men work at keeping them
separated. They wear SECURITY jackets.
The CAMERA PULLS BACK to reveal a MALE REPORTER -- tanned to
a brownish-orange -- does a stand-up report.
REPORTER
As you can see, the opening of The
Bad Kitten gentlemen's club has
raised both tempers and curiosity.
(beat)
If this establishment looks
familiar, then you probably
remember it as the site of the
"Makeover Massacre" eleven years
ago.
(beat)
For those of you unfamiliar with
the case, this was a facility owned
and run by world reknown plastic
surgeon Doctor Henry Sully.
FILE PHOTO of DR. HENRY SULLY, mid-40s, this beauty maker is
ironically unremarkable in appearance . . . except for his
icy-blue eyes.
BACK TO THE REPORTER
REPORTER (CONT'D)
Back Ninety-One, a client
accidentally wandered into the
basement. It was there that she
made a terrible discovery -- the
body of a disfigured young woman.
She called the police. But by the
time they arrived, Sully was long
gone. He was never apprehended.
POLICE FOOTAGE of a group of detectives, uniforms crossing
the vacated waiting room to an ajar door.
They hurry down a set of stairs and arrive at basement level.
The FOOTAGE then abruptly CUTS OFF.
REPORTER'S VOICE (CONT'D)
(over footage)
Further investigation led to the
discovery of four more bodies in
various rooms of the basement . . .
MATCH CUT TO:
ON T.V. - CUT BACK TO the reporter. In the lower left corner
it reads: LIVE.
REPORTER (CONT'D)
Sully's probable first victim was a
twenty-three-year-old JEN EVANS . .
FRAME WIDENS to REVEAL:
INT. THE BAD KITTEN, GRETA'S OFFICE - SAME TIME
A troubled Greta watches the news report.
ON T.V. -
FILE PHOTO - of an attractive young woman. We immediately
recognize her as the Fan Dancer.
BACK TO REPORTER
REPORTER (CONT'D)
. . . who went missing in October
of Nineteen-Ninety on the day she
was scheduled for breast
augmentation surgery by Sully.
(beat)
During the preliminary
investigation of her disappearance
Sully claimed that she never
arrived for her appointment.
(beat)
Evans' body has never been
recovered.
ON GRETA - who flips off the T.V., exasperated.
GRETA
I don't need this.
INT. AUDITORIUM - DIMLY LIT/VARIOUS DANCE LIGHTS
Patrons takes seats around one of the three elevated, stage
platforms, which are cast in darkness.
Waitresses -- Magdalena among them -- begin taking drink
orders.
D.J. BOOTH -
A FEMALE D.J. gets on the microphone.
D.J.
(on the sound system)
Hey guys and gals, this is D.J.
Cyn. I'd like to welcome you all
to The Bad Kitten -- Where you
don't pet the pussy but if you're
lucky the pussy pets you.
She hits a button the console.
A Britney Spears ballad plays over the sound system.
STAGE #2 - suddenly comes alive with dance lights. This
reveals a blonde Asian dancer, dressed as a ballerina.
D.J. (O.S.)
(over the music)
On stage two, your very own
ballerina girl . . . Kiki!
She begins to dance.
STAGE #3 - also comes alive with dance lights. This reveals
Agna as a Catholic schoolgirl.
D.J. (O.S.)
(over the music)
On stage three, say your prayers
for . . . Agna!
She too begins to dance.
CENTER STAGE - Complete darkness.
D.J. (O.S.)
And on the main stage, "America's
Porn Sweetheart" . . . Rosebud!
A spotlight illuminates Rosebud, all glammed up and wearing a
scarlet evening gown that highlights her tattoo and hair.
APPLAUSE.
VARIOUS ANGLES - We gaze lovingly on her voluptuous body as
she gives a provocative performance that strips her down to a
pair of red thong panties.
MORE APPLAUSE.
Rosebud takes a bow like she's just received a standing
ovation at Carnegie Hall. Gathers the multitude of cash
bills scattered around the platform. Struts offstage.
INT. THE BLUE ROOM - SAME TIME
THE ENTITY (JEN) POV - We SOAR frantically around the room,
searching for an escape route . . . Notices an air vent
behind a stack of boxes.
INSIDE THE AIR VENT
Jen SURGES forward . . .
Ascends up a vertical shaft. Hits a dead end . . .
Continues down a connecting passageway. And through the
first air vent it comes across . . .
INT. ROSEBUD'S DRESSING ROOM - SAME TIME
A robed Rosebud enters. Counting her tips. Crumples up a
bill. Tosses it away.
ROSEBUD
(offended)
A single.
She fails to notice wisps of pink vapors -- Jen -- seeping
through the overhead vent.
Rosebud locks the door. Pops a tab of Ecstacy. Washes it
down with bottled water.
INT. AUDITORIUM - MEANWHILE
Magdalena walks past the onstage Agna. Disapprovingly frowns
at her sacrilegious ensemble.
INT. ROSEBUD'S DRESSING ROOM - MEANWHILE
A high Rosebud sits at a personal vanity table. Admires
herself in the mirror.
ROSEBUD
You are so yummy that you should
have calories.
JEN'S VOICE (O.S.)
Rosebud.
A startled Rosebud looks in the mirror. Reacts.
ROSEBUD
What is this?
She spins around . . .
Against the wall is a blow-up doll that looks identical to
Rosebud . . . right down to the rose tattoo. It could almost
be mistaken as being human.
Rosebud tentatively approaches the doll.
ROSEBUD
How did this get in here?
(thinks)
Steven must have brought it in.
She touches its smooth face.
ROSEBUD
(impressed)
Feel almost lifelike.
The doll suddenly opens its eyes.
A surprised Rosebud jumps back.
The doll speaks in her voice:
DOLL
Hi. I'm Rosebud. Fuck me dirty.
A pleased Rosebud laughs. Begins dancing around the room.
ROSEBUD
It talks, too?! This doll is gonna
make me a fortune!
DOLL
Can I play with your tulip,
Rosebud?
Rosebud stops in her tracks. Looks to the doll.
ROSEBUD
Are you talking to me?
The doll walks up to a stunned Rosebud.
ROSEBUD
I am soooo high!
DOLL
I can offer you sex with the person
you want the most . . . yourself.
It leans into Rosebud. Plants soft kisses along her ears and
throat.
Rosebud, having no idea how to react, allows it to happen.
It doesn't take long for her to succumb to the pleasure.
Throws back her head. MOANS, softly.
The doll removes Rosebud's robe. Peppers her large breast
with butterfly kisses. Grabs hold of her ass. SMACKS it.
Rosebud SQUEALS with delight.
The doll licks Rosebud's smooth, flat belly.
Rosebud grabs the doll's head. Pulls it upright.
They gaze into each other's eyes, lovingly.
ROSEBUD & DOLL
(in unison)
I love you.
The doll kisses Rosebud, passionately.
After a moment, Rosebud attempts to pull back.
The doll wraps its arms around Rosebud, pulling her into a
tight embrace.
Rosebud begins to struggle, losing her breath.
INT. AUDITORIUM - MEANWHILE
AT THE BAR - Magdalena awaits an order. Suddenly struggles
to catch her breath.
INT. ROSEBUD'S DRESSING ROOM - MEANWHILE
Rosebud weakly struggles to pry the doll off of her. She
grows frighteningly thinner as the doll swells up.
It suddenly slams Rosebud up against the wall, dazing her.
INT. AUDITORIUM - MEANWHILE
A hyperventilating Magdalena clings to the bar.
An approaching Dean sees this. Rushes over.
INT. ROSEBUD'S DRESSING ROOM - MEANWHILE
The bloated doll releases its hold on Rosebud.
She collapses to the floor, dead. Revealed to be literally
skin and bones.
INT. AUDITORIUM - MEANWHILE
Dean catches Magdalena as she faints. Carries her off.
INT. ROSEBUD'S DRESSING ROOM - MEANWHILE
The doll floats in the air. EXPLODES into the pink mist.
Escapes back through the air vent.
INT. FIRST AID - MINUTES LATER
Magdalena awakens to find herself lying in a cot.
Dean stands over her, concerned.
MAGDALENA
Where am I?
DEAN
First aid. Now, you wanna tell me
what's going on with you?
MAGDALENA
You wouldn't believe me.
DEAN
Try me, Magdalena.
MAGDALENA
All I can say is that terrible
things are going on here.
DEAN
You said that before. What things?
MAGDALENA
Like people dying.
Dean comes to a grim realization.
DEAN
Lou.
MAGDALENA
(knowingly)
Somebody's already died.
DEAN
That's it. I'm calling the cops.
MAGDALENA
Won't do any good.
DEAN
Why not?
MAGDALENA
Because you can't handcuff evil and
read it its rights. I'm the only
one who can put a stop to this.
DEAN
And what are you? Some sort of
Ghostbuster?
MAGDALENA
Something like that.
She climbs off the cot.
DEAN
Where are you going?
Too late -- Magdalena is out the door.
He scurries after her.
INT. DRESSING AREA - CONTINUOUS
Magdalena opens a locker. Removes her backpack. Slips it
over her shoulders.
Dean comes up to her.
DEAN
What's in the backpack?
MAGDALENA
(matter-of-factly)
The necessities -- holy water,
crucifix, Book of Exorcism.
DEAN
(incredulous)
Are you saying we're dealing with
some sort of demon here?!
MAGDALENA
That would be my guess.
DEAN
And how do you plan on finding it?
MAGDALENA
The Lord will guide me.
As if on cue, they hear POUNDING from the upcoming corridor.
They hurry around the corner.
INT. CORRIDOR - CONTINUOUS
The Driver stands outside Rosebud's dressing room. Knocking
hard on the door, calling out:
DRIVER
Open the damn door, Rosebud! This
isn't funny!
Magdalena and Dean come up to him.
MAGDALENA
What's going on?
DRIVER
I think she might have O.D.ed
again.
MAGDALENA
Dean?
DEAN
Lou is the only one with the keys.
MAGDALENA
Then kick it open.
DEAN
Alright. Step back.
The Driver and Magdalena stand aside.
Dean positions himself before the door. Repeatedly KICKS
until the frame splinters and CRACKS.
INT. ROSEBUD'S DRESSING ROOM - CONTINUOUS
They discover Rosebud's shriveled body.
DRIVER
Jesus! What happened to her?!
DEAN
I'm guessing she didn't O.D.
Magdalena kneels down beside the body. Takes out the
crucifix and holy water.
MAGDALENA
You are at peace now, child. Go to
the Lord. He welcomes you in His
arms.
JEN'S POV - It retreats back up towards the ceiling.
BACK TO SCENE - Magdalena closes Rosebud's eyes. Sprinkles
holy water on her.
JEN'S POV - It jettisons into the air vent.
INT. WOMEN'S RESTROOM - MINUTES LATER
Mary stands before the mirror, practicing her bad attitude.
MARY
What's up, nigga! You looking for
trouble, punk?!
She reaches into her purse. Pulls out a gun. Holds it
sideways. Aims at her reflection.
MARY
You want this! I'm fucking super
sized trouble!
High on the wall, the pink mist passes through the air vent.
JEN'S POV - It SWIRLS directly into Mary's mouth!
BACK TO SCENE - Mary gags, violently. Recovers. Stares at
her reflection.
Her eyes are now a pink gel.
INT. ROSEBUD'S DRESSING ROOM - MEANWHILE
The Driver moves to the door.
DRIVER
I don't know what the Hell is going
on here but I'm calling the cops!
He exits. Shuts the door behind him.
INT. CORRIDOR/DRESSING AREA - CONTINUOUS
The Driver walks down the corridor.
Someone is coming up behind him.
The Driver comes to the dressing room doorway. Addresses the
handful of dancers.
DRIVER
Where's the phone?
BLAM! -- A gaping hole blooms in his forehead. He drops out
of FRAME . . .
REVEAL the Jen/Mary behind him. Smoking gun clutches in her
hands.
INT. ROSEBUD'S DRESSING ROOM - MEANWHILE
Magdalena and Dean react to the gunshot.
DEAN
Gun!
FEMALE SCREAMS. Abruptly halted by FIVE MORE GUNSHOTS.
Magdalena rushes for the door, crucifix leading.
DEAN
(loud whisper)
Magdalena, what the Hell are you
doing?!
INT. DRESSING AREA - CONTINUOUS
Magdalena reacts in horror.
MAGDALENA
Oh my God!
REVERSE ANGLE - displays the bloodbath before her. Blood
soaked dancers are splattered around the room.
BACK ON MAGDALENA - Dean appears beside her.
She starts to continue along. He grabs hold of her arm,
pulls her back.
MAGDALENA
What are you doing?!
DEAN
(gestures to bodies)
I'm not letting you become one of
them.
MAGDELANA
(calmed)
I'm not afraid to die, Dean. I've
been preparing for it all my life.
She breaks free of his grip. Notices a open door leading
downstairs to the auditorium. Hurries towards it.
INT. GRETA'S OFFICE - MEANWHILE
Greta stands before a large window that overlooks the
auditorium. She is pleased by the capacity crowd.
INT. AUDITORIUM - SAME TIME
Jen/Mary reaches the bottom of the stairs. OPENS FIRE,
wildly.
Chaos ensues! Patrons and dancers dive for shelter. Others
race for the exit . . . shot in the back while doing so.
Two bouncers charge at Jen/Mary from opposite ends.
She casually FIRES in one direction. Then the other.
Both bouncers are critically struck. Collapse.
INT. GRETA'S OFFICE - SAME TIME
Greta unlocks her wall safe.
INSIDE THE SAFE - We see important papers, packets of money,
a gun. And something only the keen viewer will notice -- a
surgical case.
Greta removes the gun.
INT. THE BAD KITTEN, MAIN ENTRANCE - MEANWHILE
The protesters CHEER as frantic patrons and half-naked
dancers bolt out of the club. Scatter into the streets.
THE ROOFTOP SIGN short circuits! It EXPLODES. Glass shards
and broken neon tubes rain down upon the protesters . . .
. . . some of who are severed or impaled by the fragments!
The few survivors run for their lives!
PAN UP to the remain sign, which now reads:
WELCOM TO lHE A K IIE .
INT. AUDITORIUM - SAME TIME
Jen/Mary advances toward the stage area, looking for more
victims.
MAGDALENA
Its over!
Jen/Mary spins around to find Magdalena a few feet away,
crucifix held up before her.
Magdalena sprinkles Holy Water at her.
Jen/Mary vaults backwards onto the main stage.
Magdalena pulls out the Book of Exorcism. Knowingly opens to
a particular page. Begins loudly reciting passages in Latin.
Jen/Mary chortles. Raises the gun.
Magdalena steels herself.
Jen/Mary squeezes the trigger . . . BLAM!
DEAN'S VOICE (O.S.)
NNNOOO!!!
Dean flies into FRAME. Shoves Magdalena out of the bullet's
path. He is struck in the stomach. Collides into a table.
Jen/Mary locates Magdalena on the floor. Fires again . . .
CLICK! -- The gun is dry.
Magdalena quickly picks up the Book of Exorcism. Resumes
reading her passage. Confidently advances on Jen/Mary.
Jen/Mary WAILS in agony. Steps backwards as Magdalena
reaches the steps of the platform.
Greta suddenly appears at Magdalena's side.
GRETA
Spare me the Godspeak. I'll handle
this the old fashion way.
She aims the gun at Jen/Mary.
Magdalena throws down the Book of Exorcism. Grabs for the
gun.
MAGDALENA
Don't! She's still alive inside!
Greta struggles with her. Shoves Magdalena aside. FIRES OFF
at Jen/Mary.
Mary/Jen is BLASTED in the chest. Falls to the floor.
GRETA
And that is that.
Magdalena slaps the gun from Greta's hand. It flies across
the room.
Greta looks to Magdalena. This reveals her left eye to now
be icy-blue.
Magdalena reacts.
MAGDALENA
You're . . . You're . . . the
surgeon!
Greta realizes her colored contact lens is missing. Removes
the right one. This eye too is icy-blue.
SULLY/GRETA
I guess my identity wouldn't be a
secret forever. Even I had my
appearance altered the best plastic
surgeons in the world -- me.
In the b.g., the pink mist rise from Mary's body. Neither
Magdalena nor Sully/Greta take notice of this.
MAGDALENA
But . . . why?
SULLY/GRETA
Why did I come back? That's easy.
I need to continue my advancements
in surgically creating the perfect
woman.
(beat)
But this time I wouldn't make the
mistake of using subjects that had
ties. Instead I will now use
strippers -- whores with rhythm -
who will not be so easily missed.
MAGDALENA
Why are you telling me all this?
SULLY/GRETA
Just so you know you were lucky
enough to have died at the hands of
genius Dr. Henry Sully.
He/She pulls out a scalpel. SLICES it through the air . . .
Magdalena pulls back.
The surgical instrument misses her face. However, its blade
cuts her in the shoulder.
She CRIES out.
Sully/Greta is pleased. Stands over her.
SULLY/GRETA
When I get through with you, you'll
be the prettiest girl in Purgatory.
He/She SLASHES at her face.
Magdalena grabs his/her arm in mid-swipe. Bends it inward.
Thrusts it forward.
Sully/Greta GASPS. Looks, downward. Has a stunned reaction
to the scalpel sticking out of his/her stomach.
SULLY/GRETA
(incredulous)
How . . . unappreciative . . . can
you be?!
He/She painfully removes the scalpel. Drops to his/her
knees. Stares wide-eyed at Magdalena.
Magdalena begins to pray for his/her soul.
Sully/Greta bursts out laughing. Blood sputters from his/her
mouth. Begins to fall to the floor . . .
. . . in mid-air suddenly straightens up as the pink mist
suddenly inhabits the body!
Magdalena looks up, startled.
Sully/Greta has transformed into Jen!
MAGDALENA
Who are you?!
Magdalena is momentarily dazed as a vision comes to her. She
looks back at Jen, knowingly.
MAGDALENA
You were his first victim. He
buried you in the basement.
JEN
Who is really the evil one,
Magdalena? Sully or the monster
he turned me into?
MAGDALENA
Alot of innocent people have died
from your vengeance to kill him.
JEN
A girl's gotta do what a girl's
gotta do.
MAGDALENA
You can still save yourself if you
ask the Lord for forgiveness. If
you are truly sorry--
JEN
He wasn't there for me when Sully
was carving me up! I begged and
pleaded for Death but He ignored
me! So now I denounce Him!
MAGDALENA
Then take your place in the Hell
where you belong!
JEN
Better make that a plus one.
MAGDALENA
What are you talking about?!
JEN
Just imagine the Brownie points
I'll score if I bring a nun with
me to Inferno.
MAGDALENA
I'm not a nun anymore.
JEN
But you've still got that holier
than-thou attitude, don't you?
Magdalena reaches down for the crucifix.
Jen brutally BACKHANDS her.
Magdalena flies backwards. COLLAPSES atop a table.
Jen advances on her. Grabs her by the shirt front. Flings
her against the main stage . . .
SLAM! -- Magdalena slumps against the platform.
Jen comes up to her. Picks her up. Hurls her onto the main
stage.
CLANG! -- Magdalena bangs her head against the pole. Fades
towards unconsciousness.
Jen steps onto the stage. Steps up to the pole.
JEN
You love your precious Jesus so
much? Good. Because you're gonna
pay tribute to Him.
She uses her otherworldly powers to pry off some off the
brass guard railing.
A disoriented Magdalena drags herself towards the edge of the
stage.
Jen is preoccupied with attaching the piece of railing to the
pole, turning it into a makeshift crucifix.
Magdalena slides off the stage -- THUMP!
Jen turns to her. Laughs, amused.
JEN
Not your day, is it?
Magdalena drags herself a few more feet. Slumps down.
Jen walks off the main stage. Comes up to her.
JEN
Hell awaits you, Magdalena. Don't
keep your new lord waiting.
She leans over to grab her.
Magdalena suddenly spins around. Holds up the discarded
bottle of Holy Water. Throws it into Jen's face.
Jen SHRIEKS as it burns her face like acid! Her wounds
reappear. Open up, smoldering.
Magdalena gathers her waning strength. Quickly crawls across
the room.
An infuriated Jen comes after her. Lunges.
Magdalena retrieves the Book of Exorcism. SLAMS Jen across
the face with it!
Jen is hurled backwards . . . onto the main stage . . . and
finds herself impaled on the extended part of the brass pole!
She emits a SUPERNATURAL WAILING as she bursts into greyish
black flames! The face repeatedly MORPHS into Jen, Greta and
Sully!
Magdalena hurries over to the wounded Dean. Helps him up.
Guides him towards the exit.
(Normal) Flames begin to spread hungrily across the club!
The body finally slumps, dead of all inhabiting souls.
INT. THE BAD KITTEN, MAIN ENTRANCE - CONTINUOUS
Magdalena exits. Collapses under Dean's weight. Lays him
out on the ground.
Dean's shirt is drenched in blood. Face ashen. Near death.
SIRENS can be heard in the near distance.
Magdalena hold back tears.
MAGDALENA
Thank you for saving my life.
DEAN
You're . . . welcome.
He takes hold of the bloody rosary around his neck.
DEAN
I bloodied your rosary . . . I'll
clean it before . . . I . . .
return it.
MAGDALENA
I want you to keep it.
DEAN
Take it . . . after. Okay?
MAGDALENA
(changing the subject)
I'm going pray for you now, okay?
Dean looks at his splattered stomach.
DEAN
Looks to me like . . . I haven't
got . . . a prayer.
His laugh turns it a harsh COUGH. Blood spills out his
mouth.
Magdalena wraps her hand around his hand -- The one clutching
the rosary. Begins to pray over him.
SCREAMING SIRENS fill the air . . . Police units and
paramedics urgently pull up before the club.
Police officers climb out of their vehicles, guns drawn.
Cautiously approach the entrance.
The paramedics begin checking the down protesters for vital
signs.
The lead UNIFORM comes up to Magdalena and Dean.
UNIFORM
What's going on in there?
She looks down at Dean. He is dead.
MAGDALENA
(spent)
Its over.
She gently opens Dean's hand. Places the rosary back inside
his shirt.
ANOTHER UNIFORM (#2) rushes up to the main entrance. Pulls
the door open. Jumps back.
UNIFORM #2
(calls out)
Get a fire crew down here! This
place is blazing!
MAGDALENA - straightens up.
She maneuvers through all the frantic activity. Quickly
walks away from the scene.
CRANE BACK until the shrinking Magdalena is a mere after
thought in our vision.
We HOVER above The Bad Kitten whose rooftop collapses from
the ravenous, angry flames eating away at it.
SMASH CUT TO:
SURREALISTIC IMAGES as we FOLLOW a sickly-green entity races
through the circuitry of a computer terminal . . . A man
SCREAMS out when the screen goes blinding white . . .The
monitor reads: I AM GOD . . .
INT. MAGDALENA'S APARTMENT, BEDROOM - MORNING
Magdalena snaps awake. Climbs out of bed. Finds herself
drawn to her own computer . . .
Even though its shut off, the screen reads: CARLYLE HIGH
SCHOOL CURRENTLY SEEKING GUIDANCE COUNSELOR. APPLY IN
PERSON.
TIME LAPSE: SEVERAL MINUTES LATER
A dressed Magdalena packs a new backpack with the tools of
her trade -- A crucifix, Holy water, a Book of Exorcism . . .
and a gun.
She slips the backpack over her shoulder. Walks over to the
door. Reacts.
THE DOORKNOB - Hanging off of it is the rosary. Its been
polished clean of blood. Gleams with purity.
BACK TO SCENE - Magdalena smiles. Slips it around her neck.
She exits, determinedly . . . onto her next mission.
END OF STORY
INT. MANSION, LIVING ROOM - NIGHT
BLUE
I'm confused.
PRISCILLA
Did you look in a mirror again,
Blue?
BLUE
How do you know everything that
happened to Magdalena when you
never actually met her?
Priscilla is stunned.
PRISCILLA
I don't believe it. She actually
has a bloody point.
They both look to Agna, quizzically.
AGNA
Her story has become legendary in
the Black World. Just her name
strikes fear in the darkest of
hearts. She is the boogeyman to
the boogeymen.
Priscilla and Blue exchange nervous glances. The doorbell
RINGS.
They are startled. Look at each other -- Could that be HER?!
AGNA
The "Pizza Pie Guy".
They share a relieved laugh.
Agna goes to the front door. Opens it.
Standing on the porch is the PIZZA PIE GUY, pizza box in
hand. He wears a bright-orange uniform, which is too snug
for his stocky frame. We catch a glimpse of the tattoo on
his left arm.
PIZZA PIE GUY
"Pizza Pie Guy" with your delivery.
AGNA
Come in, please.
He enters.
The CAMERA SOARS OVER HIS SHOULDER . . .
EXT. MANSION - NIGHT - (MOVING)
. . . down the walkway . . .
EXT./INT. HONDA - CONTINUOUS
. . . and into a beaten-up car parked on the street.
Slumped in the back seat is the undressed body of the real
"Pizza Pie Guy". His throat has been messily slit.
INT. MANSION, LIVING ROOM - SAME TIME
Agna shuts the door behind the "Grim Reaper".
AGNA
How much is it?
"GRIM REAPER"
(guessing)
Fifteen bucks?
AGNA
I'll have to get my purse.
She crosses the room.
"Grim Reaper" watches her. He is unaware of Blue and
Priscilla coming up behind him.
Agna arrives at a table. Begins rummaging through her purse.
Her back is to the "Grim Reaper".
He quickly advances on her. Tosses the pizza box aside.
Draws a butcher knife . . .
. . . And repeatedly thrusts it into Agna's back! She slumps
to the ground.
"Grim Reaper" spins around to Priscilla and Blue . . . STABS
one in the heart . . . SLASHES the other's throat.
Both stagger back, clutching their wounds. Collapse to the
floor.
The "Grim Reaper" is pumped; adrenaline courses through his
veins. He GIGGLES, maniacally.
. . . And is joined by a TITTERING Agna.
He spins around, startled.
Agna's back is completely healed. She spins around. Snarls
at him, exposing her elongated fangs.
She literally flies at him.
He turns to run.
Agna literally flies at him. Lands on his back. Sinks her
teeth into his nape.
He spins around wildly, trying to shake her loose.
Agna's body swings around freely . . . but her mouth is
clenched onto his neck like a steel trap.
The "Grim Reaper" reaches back. Grabs hold of Agna. Flings
her over his shoulders.
Agna COLLAPSES atop the coffee table.
His wound continues spraying blood. He covers his hand over
it. The gushing ceases.
"THE GRIM REAPER"
(to Agna)
Nothing but a flesh wound, you
unholy bitch!
A healed Blue appears directly below him.
BLUE
Its not nice to cuss.
She buries her fangs into his crotch.
The "Grim Reaper" HOWLS. Grabs onto Blue's head. SNAPS her
neck.
Blue hits the floor, spasms violently.
He looks around the room, frantically.
"GRIM REAPER"
Where's the other one?!
A recovered Priscilla appears behind him. Spins him around.
PRISCILLA
Ever heard of a "vampire's kiss"?
She pulls out his tongue. Impales her fangs through it.
The "Grim Reaper"'s SCREAM is muffled as Priscilla consumes
him in a crimson kiss -- drinks the blood gushing out his
mouth.
Agna and Blue appear on either side of him. Bite into his
thick shoulders.
He attempts to fight them off.
They overtake him. Pull him to the ground.
The "Grim Reaper" disappears beneath the trio.
Beat.
A small geyser of blood spews up, drenching the lingerie of
the femme vampires.
They giggle like evil schoolgirls (from the opening). Look
at each other, hungrily. Erotically lick the gore off each
other.
TIME LAPSE: A FEW MINUTES LATER
The vampires slouch around, full off their liquid feast.
Priscilla curiously eyes the pizza box.
PRISCILLA
Ever wonder what its like?
AGNA
What?
PRISCILLA
Food.
AGNA
Can't say that I have. I've been
feeding off the life blood since
birth.
PRISCILLA
I can't remember anything from when
I was mortal.
BLUE
I remember.
PRISCILLA
How was it?
BLUE
Delicious. I use to eat
everything. But my most favorite
food was pizza.
PRISCILLA
(to Agna)
Fancy a try?
Agna shrugs.
Blue is enchanted.
BLUE
That would be wonderful. It'll be
just like old times.
Priscilla grabs the box. Pulls it over. Opens it to reveal
a delicious-looking pizza with everything.
Priscilla and Agna, however, appear queasy at the sight.
PRISCILLA
(uncertain)
Are you sure about this, Blue?
Blue is already grabbing a slice.
BLUE
Uh-huh.
Priscilla and Agna tentatively remove a slice. Stare at it.
Blue sees their apprehension.
BLUE
Come on. This has to be better
than some of the ugly mortals I've
seen you drink from. On three,
okay?
They nod their heads.
BLUE
One . . . Two . . . Three!
They take a bite. Appear pleasantly surprised by its taste.
Take a second bite.
Priscilla suddenly starts to GAG. She tries to cough up the
food . . . instead black smoke discharges. She crawls around
before collapsing, dead.
Agna clutches onto her inflamed throat. Also, dies.
Blue GASPS one last word before her demise:
BLUE
Garlic!
THE END
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