Sleepaway Camp IV
by
Will Dudley
First Draft
Completed 2/6/08
Fade inExt: Rural road – night
ESTABLISHING SHOT: The AMBULANCE that ANGELA was taken away in from the previous film is pulled off onto the shoulder of the road. The headlights are on, as are the red lights on top. Distant sirens are heard. In the BG, flashing blue lights come into view.
CUT TO:
Int: Police car – night
POV over the driver’s shoulder. The SHERIFF is speedily approaching the AMBULANCE. The radio buzzes with activity on the PD frequency.
CUT TO:
Ext: Rural road – night
PD, State Police, and State Ranger vehicles pull up around the AMBULANCE. POLICEMEN, all holding shotguns and pistols, pile out and take up positions behind their car doors. Several STATE RANGERS, armed with CAR-15 rifles, jump out.
RANGER #1
Police! You are under
arrest! Come out with
your hands in the air
or we will fire on you!There is no response from within the AMBULANCE.
RANGER #1
Last warning!
Nothing. The RANGERS open up with bursts of automatic fire.
CLOSE ON: The AMBULANCE DOOR as it is peppered with bullet holes. The windows of the ambulance flash with ricochets and sparks. The RANGERS cease fire. RANGER #1 motions to two STATE TROOPERS.
RANGER #1
Check it out!
(to the others)
Cover them!The two STATE TROOPERS move up and get on either side of the AMBULANCE. TROOPER #1 nods to the other to get ready. TROOPER #2 shakes his head, indicating that he understands.
The TROOPERS throw the doors open and pop off some buckshot.
CUT TO:
Ext: Rural road – night
View of the POLICEMEN. They look apprehensive.
RANGER #1
Clear it!
CUT TO:
Int: Ambulance – night
The TROOPERS enter the ambulance. They find the dead POLICEMAN and PARAMEDIC, as well as a bloody CAMP NEW HORIZONS SWEATER.
CUT TO:
Ext: Ambulance – night
View through the windshield. TROOPER #2 comes up to the front and looks at the driver. His throat has been cut. Though we don’t hear what he says, TROOPER #2 hits the seat with the palm of his hand and curses loudly.
CUT TO:
Ext: Rural road - night
A view of the POLICEMEN.
TROOPER #1
(OC)Nothing here, sir.
It’s clean.RANGER #1
Goddamn it!
BEAT
CONT’D
Jones!
Get me the FBI
on the line!JONES
Yes sir.
CUT TO:
Ext: Ambulance – night
The SHERIFF looks inside the AMBULANCE.
SHERIFF
Fuck. FUCK!
Damn… Gave us
the slip again!The SHERIFF turns to DEPUTY MORAN.
CONT’D
Moran, call up Howard.
Tell him to get the K-9
units down here.MORAN
Yes sir.
MORAN exits. The SHERIFF turns back to the TROOPERS.
SHERIFF
Anything, boys?
TROOPER #2
Not much. A bunch
of morphine and
bandages are missing,
as well as some other
things. These guys’ve
been dead for a nearly
an hour, I’d say.SHERIFF
Damn it!
The SHERIFF throws his hat on the ground and runs his hand through his hair.
CONT’D
I want everyone
down here. I want these
woods combed over until
she is found. And when
she is, we’re gonna put
her in her grave. No
fucking around this time.CUT TO:
Int: Forest – night
ESTABLISHING SHOT: The woods are lit by the glow of the moon. An owl hoots. In the distance, we hear the sirens from the police cars.
ANGLE ON: ANGELA BAKER. She forges her way through the trackless woodland. She breathes heavily and clutches her gut. Her sweater is gone, and she wears only a bloodstained undershirt. Her hair is disheveled and she walks with a limp. She carries a white bag over her shoulder.
ANGELA comes to a clearing and sits down on a stump. She picks up a piece of wood, shaves the bark off, and sets it in her lap. Next, she rummages through the white bag. She hums to herself all the while, trying to take her mind off the pain and the impending operation.
ANGELA peels off her shirt and rolls up her overly-modest undergarment, revealing the blood-crusted wound in her gut. She moans with pain as the cloth of her undergarment pulls free of the dried blood to which it was stuck.
ANGLE ON: ANGELA’S leg as she takes a hit of morphine.
ANGLE ON: ANGELA as she puts the carved stick in her mouth and positions it horizontally.
CLOSE ON: ANGELA’S hands. They reach into the bag and take out some DISINFECTANT.
ANGLE ON: ANGELA as she soaks a gauze pad with disinfectant. She proceeds to wipe her wound with it. The moment the gauze is applied she winces and bites the stick hard. It takes quite an effort for her not to pass out from the pain as she continues to clean the stab wounds.
ANGLE ON: ANGELA. She passes out momentarily, and then pulls herself together; she’s got to work fast before the morphine puts her out.
CLOSE ON: ANGELA’S hands as she proceeds to stitch up the wound. We hear her whimper.
ANGLE ON: ANGELA’S face. Tears roll down her cheeks. She bites the stick for all she’s worth.
ANGELA finishes. She spits the stick out and grabs her stomach.
ANGELA
Oh, God…
FADE TO:
Int: Apartment – day
We are inside a dimly lit apartment. The camera roves across the room. The curtains are pulled down and dust floats about in the few shafts of light that are admitted into the room. On a nearby coffee table is an overflowing ashtray, several bottles of aspirin, and a half-empty fifth of JACK DANIELS. During all this we hear the deep breathing of one exerting himself and the voice of a TV newscaster.
NEWSCASTER
(on TV)Sussex County was
again rocked this morning
by the news of yet another
series of heinous murders
at the nearby Camp New
Horizons.ANGLE ON: A powerfully built young man (who we never see very well) is performing one-armed pull-ups on a doorway-mounted chin-up bar. He stares at the TV intently. He hoists himself up one more time, and then lets go and lands on his feet. He walks over to the coffee table, picks up the bottle of Jack, and takes a long pull on it. He wipes his mouth and exhales. He never takes his eyes from the TV.
CONT’D
The campground was
littered with corpses
when EMTs and police
arrived on the scene
late last night.
All of the campers
present at New Horizons
save two teenagers
have been murdered in what
has been described as “The
worst series of slayings
to ever transpire in Sussex.”
The killer, the criminally
insane Angela Baker, was
injured by one
of the campers and
taken into custody, but
managed to escape after
being removed from the
scene in an ambulance.
Her whereabouts are
unknown at this time.The young man, in a fit of rage, slings the bottle into the television screen. The TV set falls from its precarious stand and crashes to the ground. The young man’s chest heaves and his arms tremble. A look of hatred permeates his visage. We slowly zoom in on his face. We hear his pulse quicken, and then
CUT TO:
Ext: “Doctor’s” office – evening
We see a back-alley “doctor’s” office. It looks like the shady type of place where criminals get stitched up.
CUT TO:
Int: “Doctor’s” office – evening
The office is grimy and dimly lit, save for a bright fluorescent lamp that stands above an operating chair.
CLOSE ON: A diploma. It’s a degree in veterinary medicine.
DOCTOR
(O.C.)You’re very lucky
you got here quick,
young lady. Gut wounds
are nasty. One time I
had to operate on a
horse that had been
accidentally
shot in the stomach
by his master. Bad
business, I’ll tell
you.ANGLE ON: The DOCTOR. He is a man of 60-something, balding, bespectacled, and longwinded. He washes blood from his hands in a dingy washbasin.
CONT’D
You’re also lucky
that you got off so easy.
Them street gangs usually
go a step farther, if you
get me.He finishes washing up and dries his hands.
CONT’D
Also, in the future, don’t
try sewing yourself up.
You do a half-assed job
like you done and you’re
likely to just make things
worse.The DOCTOR walks around to the front of the chair. ANGELA is sprawled out on it. She is clearly doped up and seems to be barely conscious. The DOCTOR sits on a stool and faces her. She meets his look.
CONT’D
Now I’ll tell you what
I’m gonna do. I got a
cot back there.
(motions)
I want
you to stay here a few
days until you’re healed
up. Then you gotta go, and
I don’t want to see you ‘round
here again. You can’t tell
nobody about me, okay?ANGELA nods her head.
CONT’D
Good. Now, I’m not gonna
charge you for this. Just
stay out of trouble,
all right?ANGELA
(weak)Thanks. I promise.
She smiles, though it’s a bit half-hearted.
DOCTOR
Good. Now come on.
I’ll see you to bed.The DOCTOR helps ANGELA get up and steadies her as they walk towards the backroom.
CUT TO:
Int: “Doctor’s” office – backroom – evening
The DOCTOR lets ANGELA down onto the cot slowly.
CONT’D
Sleep well.
ANGELA
Thanks.
The DOCTOR exits. ANGELA despondently stares up at the ceiling for a moment.
CUT TO:
Ext: Burger stand – day
It has been about a week, maybe more, since the last scene. ANGELA, seemingly better and no longer limping, walks aimlessly down a highway and steers herself towards a burger joint/ malt shop. She is wearing a new pair of jeans and a plain gray sweatshirt. As she walks up to the window of the burger stand, the clerk takes notice and comes over.
CLERK
(bored)Welcome to Frosty
Cream. May I take
your order?ANGELA
Um, yeah. Just a
second.ANGELA takes out her wallet.
CLOSE ON: Her wallet. There are only about two dollars inside.
CONT’D
Uh, a medium fries,
please.CLERK
Will that be all?
ANGELA
Yes.
CLERK
$1.79.
ANGELA pays. The CLERK gives her the change and goes into the back. He fidgets with the radio for a moment, trying to improve the reception.
ANGELA
Would you turn that
up?CLERK
Sure.
NEWSCASTER
(over radio)Local police are teaming
up with State Troopers
and State Rangers in a
county-wide manhunt for
the psychopathic killer,
Angela Baker. Baker, who is
responsible for numerous
slayings across the county,
recently escaped from an ambulance
after murdering a policeman
and two EMTs. Baker remains
at large. In a press conference
this morning the sheriff of
Sussex County announced
that Baker is extremely
dangerous and that residents
should report any suspicious
persons that match the following
description: Caucasian, female,
brown eyes, reddish brown hair,
five foot five, 115 pounds.
He went on to say that a reward
has been posted for any
information that leads to her
capture and continued with a
controversial statement that
Baker should be, and I quote,
“killed on sight following
recognition.” This statement
elicited outrage from humanitarian
groups nationwide when –ANGELA listens to the newscast attentively. She startles when the CLERK shoves her fries under her nose.
CLERK
Here you are, ma’am.
ANGELA
(distracted)
Oh. Thanks.ANGELA takes a seat at a nearby picnic table. A solitary TEENAGER, wearing a letterman and sipping a Coke, stares at her lecherously from another table. He whistles at her as she passes by. ANGELA is clearly disgusted, but what can she do? She just sits and morosely eats her fries.
ANGLE ON: The TEENAGER. He tosses his wax paper cup into a nearby garbage can, hops down from his perch on the table, and then walks coolly over to where ANGELA is sitting; he’s ready to put the moves on her. He sits on the corner of the table.
TEENAGER
(smoothly)Hey.
ANGELA
(repelled)Hey.
TEENAGER
You sure are a sweet-
looking little thing.
How come I haven’t
seen you around?ANGELA shrugs.
ANGELA
I’m new here.
TEENAGER
Mm-hm. Know anybody
yet?ANGELA
Nope.
TEENAGER
Maybe WE ought to
get to know each
other.ANGELA winces, apparently having to suppress the gag reflex. The TEENAGER doesn’t notice. Suddenly, ANGELA gets an idea and changers her demeanor.
ANGELA
(coquettishly)Maybe we should.
The TEENAGER looks elated.
TEENAGER
Really? Sweet!
My places
or yours?ANGELA
(musing detachedly)Oh, yours.
TEENAGER
Awesome. Let’s do it.
Both rise. ANGELA discards her empty bag of fries and follows the TEENAGER to his car: an ugly IROC-Z CAMARO. ANGELA scrutinizes it inwardly.
ANGELA
(nodding, quietly)Figures.
The TEENAGER holds the door for ANGELA in a mock-gentlemanly fashion. She sits down and he loudly slams the door to. He then circles around and gets in the driver’s seat.
CUT TO:
Int: Camaro – day
The TEENAGER slides into his seat and ignores the belt. ANGELA, buckled up, is trying to hide her abhorrence for him. The TEENAGER cranks up the car, puts it in gear, and haphazardly tears out of the parking lot.
CUT TO:
Ext: Burger stand – day
Overhead view of the CAMARO zipping out of the lot and onto the highway.
CUT TO:
Int: Camaro – day
The CAMARO races down the highway. The TEENAGER pops in a tape. LIFE IN THE FAST LANE blares out much too loud. ANGELA’S gall rises.
ANGELA
(almost shouting)Could you turn that
down?TEENAGER
Huh?
ANGELA
TURN IT DOWN!
TEENAGER
Oh. Sure.
He adjusts the volume to a more suitable level.
ANGELA
So, what’s your name?
TEENAGER
Dwayne.
ANGELA gets another “that figures” look.
CONT’D
What’s yours?
ANGELA
(quickly)Maria.
DWAYNE
(smug)Proud to make your
acquaintance, Maria.ANGELA
(grudgingly)Likewise, I’m sure.
DWAYNE flips the volume back up and howls excitedly as the song proceeds into the chorus. ANGELA looks extremely annoyed.
CUT TO:
Ext: Rural road – day
The CAMARO zips past.
CUT TO:
Ext: Trailer – day
The CAMARO pulls up in front of a doublewide.
CUT TO:
Int: Camaro – day
DWAYNE jams the brakes too hard, causing the vehicle to lurch. ANGELA flails around while DWAYNE excitedly shuts down the car.
ANGELA
Easy, you idiot!
DWAYNE
(unconcerned)Sorry. Come on!
ANGELA and DWAYNE exit the CAMARO. ANGELA surveys the grounds and takes note of a nearby JEEP. There is no sign of anyone else.
ANGELA
Where are your parents?
DWAYNE
Anniversary trip.
ANGELA
Uh huh.
DWAYNE
(nervously)Hey, is it cool
if I call up some
of my friends? My
buddy Chase has this
wicked camcorder –ANGELA shoots him an extremely dirty look. DWAYNE, realizing that he is in danger of overplaying his hand and losing his catch, changes his tune.
CONT’D
Okay, okay, never mind.
Uh, come on in.ANGELA follows DWAYNE up the cinderblock steps and into the doublewide. We hold on the door as the two walk inside and out of sight. Suddenly, a CHIHUAHUA is ejected from the door, which slams noisily.
CUT TO:
Int: Trailer – day
DWAYNE flips a light on. ANGELA looks the place over. It’s redneck through and through: deer mounts, Budweiser signs, and NASCAR posters decorate the walls. She seems to take an interest in the nearby gun cabinet, however.
DWAYNE suddenly comes up behind ANGELA and pushes her onto a pool table. He begins to kiss and grope her wildly. ANGELA pushes him off.
ANGELA
Hey! Quit it!
DWAYNE looks surprised. ANGELA forces herself to cool down and changes her tone.
CONT’D
(whorish, but forced)Let’s take it to
the couch.DWAYNE
All right!
ANGELA sits on the couch and pats the cushion next to her, insinuating that she wants DWAYNE to sit. He happily complies.
DWAYNE sits down and ANGELA takes off his letterman. He removes his shirt, revealing that he’s in pretty good shape. ANGELA, however, is not very impressed. Overcoming her antipathy, she removes her sweater. Underneath she wears a white Rolling Stones “tongue logo” shirt.
DWAYNE softly pushes ANGELA back and rolls up her shirt, revealing her stitched and scarred belly. He doesn’t notice, though, as his eyes are closed. He begins to lick and suck at her gut with a passion. ANGELA looks at the ceiling, rolls her eyes, and huffs as she removes her belt.
ANGELA
You gotta do what
you gotta do.ANGLE ON: DWAYNE as he opens his eyes and jerks back at the sight of ANGELA’S maimed and scarred stomach. He then regains his composure and shrugs it off.
DWAYNE
Oh well.
He’s about to push his face back in when ANGELA’S belt loops around his neck and tightens. He gasps.
ANGELA pushes DWAYNE onto the floor and climbs on his back. He doesn’t seem to exactly understand what’s going on as of yet.
CONT’D
(gasping)Kinky. Nice.
ANGELA smirks.
CONT’D
Tighter.
ANGELA pulls harder. DWAYNE is getting a charge out of it. ANGELA tightens the belt further.
CONT’D
Okay, ease up.
ANGELA
Sorry.
ANGELA stands, rolls DWAYNE over, and places her left foot on his chest. She begins to pull the end of the belt while pressing down with her foot. DWAYNE is shocked.
DWAYNE
(stifling)Hey! HEY!
ANGELA presses harder. We hear DWAYNE’S RIBS CRACK. He thrashes in agony. His face reddens and begins to turn blue. He tries to scream while ANGELA tightens the belt even more, but he is unable to make any sound.
ANGELA
(singing)Let me take you down,
‘cuz I’m going to
Strawberry Fields,
nothing is real –She gives the belt and good yank and simultaneously bears down with her heel.
CONT’D
And nothin’ to
get HUNG ABOUT…There’s a crack. DWAYNE goes limp. ANGELA studies her handiwork.
BEAT
ANGELA, satisfied that DWAYNE is no longer alive, stoops down and begins going through DWAYNE’S pockets. She takes out his wallet and removes some cash.
CONT’D
Well Dwayne, try not
to get TOO choked up. It’s
like my aunt always
said, “There’s plenty of
fish in the sea.” I’m
just not your type.She pats DWAYNE on the shoulder. He stares blankly at the ceiling, a look of terror etched on his lifeless face.
ANGELA puts DWAYNE’S letterman on, moves into the kitchen, and takes some keys from the key hook. She then crosses to the gun cabinet and peers inside. There’s nothing inside but rifles and shotguns – much too conspicuous. Disappointed, she takes only a large HUNTING KNIFE that sits on a shelf. She then goes to the door.
CONT’D
Later, “Dwayne.”
She pronounces his name as derisively as possible. She then exits the trailer.
CUT TO:
Ext: Trailer – day
ANGELA hops in the JEEP, cranks it up, and backs out. She turns onto the driveway and pulls onto the dirt road.
FADE OUT
CUT TO:
Ext: Camp Merrimack – morning
It is at least several months later. CAMP MERRIMACK is holding a counselor training week. We see various shots of young adults going here and there while others arrive in their cars.
CUT TO:
Ext: Parking area – morning
A WHITE TOYOTA pulls into the parking area of the camp. The door opens and a somewhat familiar person steps forth.
ANGLE ON: KYLE. We recognize him as the young man from the earlier scene in the dim apartment, only now we can see him well. He is a tall, broad, muscular, and capable-looking young man of about 21 and appears to weigh around 215 lbs. He wears tight jeans, striped sneakers, a flannel shirt, and a Carhartt jacket. A pair of black RAY BANS, seemingly grafted to his head, masks his chiseled face and heavy five o’ clock shadow. His brow is knit in a severe glare. Standing at about 6’5”, he towers over the other COUNSELORS and exudes a serious “don’t fuck with me” type of manner. He surveys the grounds through his hidden eyes.
CUT TO:
KYLE’S POV: He looks over several girls, his gaze halting now and then to study one more closely.
ANGLE ON: KYLE as he leans into his car and opens the glove compartment. Inside are maps, several bottles of aspirin, and a GOVERNMENT ISSUE COLT .45. KYLE withdraws a bottle aspirin, pops some, and gets out. He then moves away from his car in a slight, though distinct, limp; however, it doesn’t seem to impede his movement.
KYLE walks past the sign that says CAMP MERRIMACK. Posted above it is a poster that reads COUNSELOR TRAINING WEEK. WELCOME.
CUT TO:
Int: Admin cabin – registration – morning
A card table is set up inside the admin building. COUNSELORS, ages ranging from late teens to early twenties, stand around, joking and cutting up. Three urbane, jock type COUNSELORS stand off in a corner looking very superior. An affable college-age counselor takes down names as people come in.
KYLE enters and removes his glasses. His face is stony and uninviting. The friendly-looking counselor at the table greets him.
COUNSELOR
Welcome to Camp Merrimack!
Name please?KYLE
Kyle Dewitt.
The COUNSELOR checks his list.
COUNSELOR
Yes, Kyle Dewitt…
Here we are.
Okay, you’re in
Powhatan Cabin.
Brit!BRIT, a peachy girl of about nineteen, shows up. She takes one look at KYLE and is immediately taken with him.
BRIT
Yeah, Ben?
BEN
Please show Mr.
Dewitt here to
Powhatan so that
he can get settled
in.BRIT
Sure. Follow me.
BRIT leads KYLE out. BEN goes back to work.
ANGLE ON: The three JOCKS: from left to right they are JASON, TODD, and MARTY. TODD seems to be the ringleader; he’s of a decent height and fairly muscular. He exudes self-importance and confidence.
JASON
Whoa! Did you see
that guy? He was
a total beast!MARTY
And did you see
the way Brit was
ogling him, Todd?TODD doesn’t respond.
JASON
Todd? What’re you
gonna do about him?BEAT
TODD
Nothin’.
MARTY
(nonplussed)“Nothin’”?
TODD
Yeah. Unless he
fucks up.TODD punches his right fist into the palm of his left hand. JASON and MARTY give TODD “respect.”
JASON/ MARTY
(ad lib)Atta way, Todd.
Way to be, dude.CUT TO:
Ext: Parking area – morning
An all-too-familiar JEEP pulls up. ANGELA, wearing DWAYNE’S LETTERMAN, her Stones t-shirt, and tortoiseshell RAY BANS, hops out. She looks around, takes a deep breath, and smiles. Maybe it’ll be a good session for once! She merrily opens up the back hatch and pulls out a duffel and a red sleeping bag. She makes her way toward the main camp area along with a few other COUNSELORS.
CUT TO:
Int: Powhatan Cabin – morning
BRIT shows KYLE into POWHATAN CABIN.
BRIT
Here you go!
Let me know if
you need anything.KYLE
I will.
BRIT pauses a moment, hoping KYLE will say something else. He doesn’t. She exits, somewhat disappointed.
CUT TO:
Ext: Powhatan Cabin – morning
BRIT exits. TODD, waiting around the corner with JASON and MARTY bringing up the rear, grabs her.
TODD
Hey Brit. Who’s
the new guy?BRIT
Todd! Let go!
TODD
Answer my question.
BRIT
Just some guy. His
name’s Kyle.TODD
“Just some guy?”
Then why
were you looking
him over like that,
huh? I have an eye
for that sort of
thing.BRIT
I don’t know what
you’re talking about!BRIT breaks free and stomps away. TODD, MARTY, and JASON jeer as she walks off.
CUT TO:
Int: Admin cabin – morning
BEN signs in a female COUNSELOR. BRIT storms in and passes him by. BEN notices.
BEN
Welcome to Camp
Merrimack.
Name?GIRL
Beth Harding.
BEN
Okay, Beth. Juniper
Cabin. Brit!BRIT comes from the back and takes BETH outside.
CONT’D
Next!
ANGELA steps up.
CONT’D
Welcome to Camp
Merrimack. Your
name, please?ANGELA
(brightly)Maria.
BEN
Surname?
ANGELA
Martinelli.
BEN checks his list.
BEN
Okay, Maria. As soon
as Brit gets back,
I’ll have her show
you to Iroquois
Cabin.ANGELA
Thanks.
ANGELA sits down on a bench near the door. Some preppy-looking girls in Lacoste shirts look at her and whisper to each other. One of them giggles. ANGELA takes notice and sighs to herself.
ANGELA
(disappointedly)Here we go again.
CUT TO:
Int: Powhatan Cabin – morning
Several other COUNSELORS have joined KYLE in Powhatan Cabin. A SENIOR COUNSELOR hands out Camp Merrimack t-shirts.
SENIOR COUNSELOR
Okay guys. Be down
at the fire ring
in ten minutes for
the welcoming.The boys get changed into their camp shirts. KYLE pulls off his t-shirt, revealing his thickly muscled body. On it are deep scars and gouge marks. JACK, a friendly kid in his late teens, notices and stares for a moment.
JACK
(concerned)Jesus, man. What
happened to you?KYLE looks JACK in the face. KYLE’S grayish eyes evince a deep-seated hatred.
KYLE
(matter-of-factly)Street fight.
JACK
Really?
KYLE
Yeah.
JACK
How’d it happen?
KYLE
Long story.
JACK
(curious)Want to talk about it?
KYLE
No.
ANGLE ON: KYLE. JACK stares at him as KYLE pulls his shirt on.
JACK’S POV: KYLE’S forearm. A series of BLACK DOTS form a distinct pattern along his sharply protruding veins.
ANGLE ON: JACK. He looks somewhat intimidated but very sympathetic and a bit curious.
CUT TO:
Ext: Fire ring – morning
The COUNSELORS, fifteen in all, sit around the fire ring. DONNY, the head counselor, stands in the center and addresses the rest of the crowd.
DONNY
Welcome, all, to
Camp Merrimack’s
counselor training
week. Over the next seven
days we will cover the ins
and outs of the job,
review basic principles,
and most of all, have
a lot of fun getting
to know each other.
Right now I’d like
everyone to stand in
turn, state your name,
how old you are, where
you’re from, and what you
do. We’ll start with you
and go clockwise.DONNY points to JACK. JACK stands up.
JACK
Uh, hi. I’m Jack Schulz.
I’m nineteen and was raised
in Buffalo. I’m currently
enrolled at NYU as a
sophomore.DONNY
And what are you
studying, Jack?JACK
Physics.
DONNY
All right. Next.
TODD, with a good deal of swagger, stands.
TODD
Todd Murphy, Boston.
I’m twenty and play rugby
for Penn State.DONNY
Rough sport, huh?
TODD
(cocky)Oh yeah.
DONNY
Cool. Uh, you.
One of the preppy girls stands up. ANGELA looks at her scornfully.
TRACY
I’m Tracy Edwards.
I’m eighteen and
live in New York
where I work as an
independent model.DONNY
Interesting. Next.
ANGELA stands up.
ANGELA
Maria Martinelli.
She sits back down. DONNY coaxingly motions for her to stand again.
DONNY
Where are you from,
Maria?ANGELA
Pittsburgh.
BEAT
DONNY
And how old are you?
ANGELA
Eighteen.
Awkward BEAT
DONNY
And what do you do?
ANGELA seems annoyed with all the questions, especially considering that her replies are all bogus.
ANGELA
I’m finishing high
school.DONNY
(quizzically)You play football?
ANGELA doesn’t seem to know what DONNY is talking about. She then looks at her jacket, which is DWAYNE’S football letterman, and tries to recover the situation.
ANGELA
Oh. Yeah. My school has
a pretty hardcore
powder-puff team.DONNY
(perplexed)I… See.
Everyone looks at ANGELA as though they’ve never seen anything like her. ANGELA realizes that she’s drawing too much attention to herself and tries to act nonchalant.
ANGLE ON: KYLE. He looks at ANGELA intently. His thoughts are interrupted by DONNY.
DONNY
And how about you?
KYLE
(distracted)Huh? Oh, uh, I’m
Kyle Dewitt, I’m
twenty-one, and
I’m from Compton.
I, uh, work night
security at a
clearinghouse.DONNY
Uh huh. Next.
We hear the other COUNSELORS introducing themselves in the BG as we hold on KYLE, who resumes his inspection of ANGELA. ANGELA notices and slowly turns her head to meet his gaze. She smiles sheepishly and breaks off eye contact.
CHARLIE
(V.O.)Charlie Parsons, Richmond.
I’m seventeen and play
soccer at Eastside High.DONNY
(V.O.)All right. You.
CHET
(VO)Chet Wilkes, Texarkana.
I’m nineteen and -CUT TO:
Int: Chow hall – day
The COUNSELORS are all assembled for lunch. ANGELA takes her tray and sits at a table by herself.
ANGLE ON: The preppy girls. They continue to quietly criticize ANGELA.
TRACY
Hey, there’s that
spooky little bitch.JENNIFER
Christ, I know. She
gives me the creeps
just looking at her.
Did you notice how
weird she was acting
at the welcoming?LAURA
Totally fucked up,
quite obviously.TRACY
That guy from Compton
clearly doesn’t think
so. He was giving her
a look like he wanted
to use her in ALL the
wrong ways.JENNIFER
Ew. I can’t imagine.
LAURA
I CAN imagine it with
him, though.The girls giggle.
JENNIFER
Totally.
CUT TO:
Int: Chow hall – elsewhere – day
KYLE sits down with his lunch. Before he touches his food he takes out a bottle of aspirin, unscrews the top, and pours a couple capsules in his mouth. He proceeds to dry- swallow them. JACK comes over and takes a seat.
JACK
Mind if I sit here?
KYLE
Makes no difference
to me.JACK
Cool. So, you really
work security?KYLE
Yep.
JACK
Sweet. Tough job?
KYLE
Can be.
JACK
Oh?
KYLE
Yeah, like when
drunks try to stage
break-ins and you gotta
bust some heads. Then
it gets pretty ugly.BRIT comes and sits next to KYLE.
BRIT
Hi!
KYLE
Hey.
BRIT
What are we talking
about?JACK
Kyle here was just
telling me about
his job. It’s
interesting.BRIT
Ah. Do tell.
KYLE gives her a look.
CUT TO:
Int: Chow hall – elsewhere – day
TODD glares at KYLE from across the room.
JASON
What are you gonna
do, man?TODD
Just wait and see, guys.
Don’t worry.MARTY
All right!
CUT TO:
Int: Chow hall – elsewhere – day
ANGELA still sits alone, eating slowly and humming to herself. She looks slightly disappointed that nobody is sitting with her. Just then, TRACY, LAURA, and JENNIFER walk over. They all have mischievous looks on their faces. ANGELA acknowledges their presence with a forced smile.
TRACY
Hi.
ANGELA
Hi.
TRACY
(ostentatiously)We haven’t formally
met yet. I’m Tracy.
This is Laura, and
this is Jennifer.
And you’re Maria,
right?ANGELA
That’s right.
BEAT. ANGELA takes a drink of milk.
LAURA
So Maria, is it
true that you play
football?ANGELA
(swallowing)Uh huh. Center.
LAURA
I see…
JENNIFER
Isn’t that considered
a little… I dunno…
Tomboyish?ANGELA shrugs.
ANGELA
Never occurred to me.
TRACY
(meanly)You know, I like
what you’ve done
with your hair, Maria.
It’s so… Interesting.The three girls continue to harass ANGELA until BEN walks by. He clearly realizes what they’re up to and strides over. ANGELA simply tolerates their haranguing, knowing that she will avenge herself in due time.
BEN
If you three girls are
finished with lunch,
why don’t you
head on over to the
archery range and start
setting up targets or
something.TRACY
(grudgingly)Come on, girls.
Later, Maria.ANGELA watches the girls leave. They look over their shoulders at her, whisper, and laugh as they walk out of the chow hall.
ANGELA
Every year it’s
the same thing.CUT TO:
Ext: Campground – day
KYLE walks by one of the cabins, on his way to God-knows-where. Other COUNSELORS stand or walk nearby. Suddenly, TODD, goons in tow, steps out from behind one of the cabins. KYLE halts.
TODD
(menacingly sarcastic)Got a light?
KYLE
Sure.
KYLE hands TODD a Zippo. TODD angrily tosses it over his shoulder. KYLE doesn’t react; he only stands and looks at TODD with a nondescript expression that doesn’t betray any emotion he may be experiencing.
TODD
(threateningly)I seen you getting
pretty friendly with
Brit, pal. What’s that
all about, huh?KYLE
Nothing. She keeps
coming over and talking
to me. I’m just minding
my own business.TODD gets up in KYLE’S face, even though he has to stretch a bit due to his slightly inferior stature. He jabs his finger into KYLE’S chest.
TODD
Listen, asshole. Brit
and me has been steady
the last to summers and
I’d better not see you
around her again, you
dig?KYLE
(assertively)Get the *fuck* out of
my face.TODD furiously takes a swing at KYLE. JASON and MARTY get all excited and egg their leader on. KYLE deftly dodges as TODD throws several punches. The commotion attracts several other kids who stand in a semicircle and watch with keen interest.
TODD comes at KYLE aggressively, but KYLE easily dodges his every move. TODD throws a hard right and KYLE sees his chance; he grabs TODD’S arm and hits his opponent in the gut for all he’s worth, knocking the wind out of him. He then flips TODD onto the ground and begins kicking him around.
ANGLE ON: BEN and DONNY as they run over to break it up. They have a hard time managing KYLE, who has clearly lost control of himself.
BEN
Easy, easy!
Be cool!DONNY
Come on, knock it
off!BEN and DONNY succeed in subduing KYLE, though it takes a tremendous effort. TODD, looking more than a bit rough, staggers to his feet.
CONT’D
(harshly)Okay, I want both
of you at the admin
building. NOW.KYLE has regained his composure and looks completely serene; that is, as serene as he can be given his violent disposition.
CONT’D
(commandingly)Come on. We’re settling
this right now, or you
guys can pack your stuff
and get out of here.ANGLE ON: ANGELA. She watches from a distance. Her expression conveys contempt for fighting, but there’s something else in her look that suggests a vestige of ambivalence.
ANOTHER ANGLE ON: ANGELA, as she watches KYLE following DONNY to the admin building. A strange sort of lust is evident in her gaze.
ANGLE ON: KYLE as he glances at ANGELA. He stares at her ambiguously for a moment; his look suggests that he knows something about her and implies either suspicion or mutual attraction.
ANGLE ON: ANGELA, interpreting his look to mean the latter. She smiles and bouncily walks away.
CUT TO:
Int: Admin cabin – day
DONNY has KYLE and TODD sit down.
DONNY
(severely)I oughta 86 both
of you right now.
We’re trying to cultivate
a positive atmosphere here,
and I don’t want to see
anybody fighting, especially
on the first day. You understand?TODD and KYLE nod that they do. KYLE looks thoroughly unworried.
CONT’D
Good. Now, we’re gonna be
splitting up into groups
soon to do some teamwork
exercises. And I don’t want
to see any more shit like
this, got it? If either
of you have a problem, come
see me or Ben, but do not,
and I mean DO NOT, settle
it with your fists. You dig?TODD and KYLE reaffirm that they understand. DONNY seems satisfied.
CONT’D
Okay. You’re dismissed.
TODD and KYLE exit.
CUT TO:
Ext: Admin cabin – day
TODD and KYLE split ways. TODD looks dejected and very angry.
CUT TO:
Ext: Woods – day
All of the COUNSELORS all assembled in a clearing in the woods. DONNY reads off a list.
DONNY
Group 1: Chet, Maria,
Jennifer, and Jason;
you’re with Ben.
Group 2: Jack, Kyle,
Beth, and Tracy;
you’re with Brit.BRIT looks excited to have KYLE in her group, though she tries not to show it too much. ANGELA picks up on this and looks at BRIT jealously.
CONT’D
Group 3: Todd, Charlie,
Laura, and Marty; you’re
with me.DONNY sets the list down.
CONT’D
Okay, what we’re gonna
do is each group is going
to go off in a different
way. The members of
each group are going
to focus on getting to
know and trust each other.
You will do a number of
exercises that develop
teamwork but are also
fun and challenging.
Your group leaders will
instruct you further
once you’ve arrived at
your activities area.
After a while we’ll
mix up the teams for
different activities.
Towards evening you’ll
pitch camp and tent out.
Any questions?No questions.
CONT’D
All right. Good luck!
The groups go their separate ways.
BRIT
Okay, guys. Come on!
BRIT leads the way through the woods. ANGELA glares at her as she follows her group along a separate trail.
CUT TO:
Ext: Activity area – day
Group 1 reaches the activity area.
BEN
Okay, here’s what we’re
going to do.BEN lines his COUNSELORS up. He picks up a branch and walks behind them. He comes up behind ANGELA and lightly whacks her with the branch. ANGELA reacts.
ANGELA
Hey!
BEN
(not noticing)Maria can’t walk.
(motions)
Lie down, Maria.ANGELA complies.
CONT’D
Chet can’t use his
right arm or his left
leg.BEN whacks CHET on the aforementioned appendages.
CONT’D
Jennifer can’t use
her left arm or her
right leg.He lightly taps JENNIFER in the appropriate locations.
CONT’D
And Jason, who is also
incapacitated, has to
instruct you on how to
make a litter, load up
Maria, and take her to the
dock to be floated out.
Then you must do the same
with Jason. You two are
not allowed to do anything
unless Jason says. Okay?ALL
Okay.
ANGELA huffs. This is not what she wants to be doing. Besides, it seems just short of impossible.
JASON
Uh, okay… Assemble
the litter.CUT TO:
Ext: Wooded area – day
Group 3 is being instructed. We don’t hear DONNY distinctly. Instead we focus on TODD and MARTY who are off to one side.
MARTY
God man, that dude
really screwed you up!TODD
Don’t worry. I’m gonna
fix him. Asshole’ll
never see it coming.DONNY
Guys, pay attention.
CUT TO:
Ext: Different activities area – day
KYLE, JACK, TRACY, and BETH stand in a semicircle while BRIT instructs them.
BRIT
Here’s the score:
you have to run a
relay to get this flagBRIT holds up a flag –
CONT’D
Down to end of this
field.She motions downrange. It’s about four hundred yards to the other end of the field.
CONT’D
Jack and Beth have
to leapfrog halfway
and hand it off Tracy,
who can only use on leg
to convey –BRIT goes on with the ludicrous instructions. TRACY sighs.
TRACY
(under her breath)This is such bullshit.
CUT TO:
Ext: Waterfront – day
JENNIFER and CHET, carrying ANGELA, crash awkwardly through the underbrush and drop the litter. ANGELA yelps as she hits the ground. She looks furious.
ANGELA
Careful!
CHET
(irritated)Hey, screw you!
You don’t have to
do anything but lie
there the whole time!
JENNIFERYeah, Maria! Get off
your narrow, scrawny
ass and carry it
yourself!ANGELA
We’re SUPPOSED to follow
the rules!CHET
(impatiently)Fuck it. I’m gonna take a
leak. Be back.CHET leaves. The whole thing really fries ANGELA’S eggs. She hops to her feet and pats herself down. JENNIFER, sitting on a stump, gives her a reprimanding look.
JENNIFER
Hey, you can’t get up!
ANGELA
(defiantly)Watch me.
BEAT
CONT’D
You know, I think
YOU should be the victim
now.JENNIFER
Like hell! We’re fifty
feet from the dock!ANGELA
All the easier for me.
ANGELA grabs a nearby branch and smacks JENNIFER in the neck with it, crushing her throat. JENNIFER reacts; ANGELA hits her again. JENNIFER topples.
CUT TO:
Ext: Forest – day
CHET finishes taking a leak. He zips up and turns around.
CHET’S POV: JENNIFER is lying in ANGELA’S place on the litter. CHET looks pissed.
CHET
Hey, you guys! You
can’t fuck with the
plan! Maria, get back
on the damn litter and
let’s go!ANGELA suddenly appears behind him and claps her hand over his mouth.
ANGELA
I’m changing the plans,
Chet. Sorry.ANGLE ON: ANGELA’S HUNTING KNIFE as she stabs CHET in the kidney and drags the blade vertically up his side. Blood gushes from the wound.
DISTANT ANGLE ON: ANGELA. She holds the bloody knife at her side as CHET’S body slumps to the ground.
CUT TO:
Ext: Field – day
BRIT’S group has finished the relay. All but KYLE look thoroughly beat. KYLE cautiously takes several aspirin.
BRIT
Good work, guys.
Take ten.JACK
Hey, when are we
gonna reform the
groups?BRIT
Don’t know for sure.
Ben or Donny will let
us know.KYLE
When do we pitch camp?
BRIT
After a bit. We’ll do
a few more exercises
then go back to the admin
building and get some
tents and stuff.JACK
What’s the next game?
BRIT peruses a list.
BRIT
Actually, why don’t
you and Kyle go get
the stuff? I need to
figure out the setup
for this next one.JACK
Okay.
KYLE and JACK leave.
CUT TO:
Ext: Forest – day
ANGELA walks back to where JASON and BEN are sitting. They look surprised.
BEN
Where’re Jennifer
and Chet?ANGELA
They’re dead tired,
so they went back to
camp to catch some Zs.BEN
Are you kidding me?
They’re not allowed
to do that!JASON
Lazy sons of bitches.
BEN
(admonishingly)Watch it, pal.
JASON
(impenitent)Sor-ry.
BEN
You guys cool your
heals here. I’m gonna
go find them.ANGELA
I don’t think you’ll
like what you see.BEN runs off in the direction of camp. ANGELA sits down. JASON gives her a degrading look.
JASON
Looks like it’s just
you and me.ANGELA gives him the eye.
CUT TO:
Ext: Forest path – day
KYLE and JACK walk up a path to the campground.
JACK
(venturing,
curious)So, you never told
me about what happened
to you exactly.KYLE
Why do you want to
know?JACK
Concerned, I guess. I’m
a little, uh, sensitive.
Not very manly trait,
I suppose…KYLE gives JACK a look. He lights a cigarette. Amazingly, he opens up.
KYLE
My dad died when I
was eight: OD’ed on
painkillers from the VA.
He’d been exposed to
Agent Orange and other bad
shit in Nam and the
whole thing fucked
with his mind.
He used to beat on me
when he got wasted.
One night he broke my leg.
It didn’t heal right;
hence the limp.KYLE pats his leg.
CONT’D
But anyway, he
killed himself and I was
turned out on the street.
I lived rough for about nine
years, fighting and getting
by on petty crime. Got hooked
on coke something bad, but
I’ve been clean
for a long time.KYLE glances into the woods though he is lost in thought. He seems to be speaking more to himself than to JACK.
CONT’D
One night there
was a big brawl with
some guys from across town.
They sliced me within an inch
of my life. Maybe I had wasted
a buddy of theirs.KYLE turns his ZIPPO over in his hand.
CONT’D
That was a personal low.
KYLE fixes his gaze on the lighter. JACK looks both sympathetic and frightened.
CONT’D
Shortly after I turned
seventeen, my uncle found
out where I was and
took me in. I stayed
with him for a few years and
more or less got straightened
out.KYLE takes a long drag on his cigarette.
CONT’D
He was a good man.
JACK
What happened to him?
BEAT. KYLE looks as though he has said too much.
KYLE
I don’t want to talk
about that.CUT TO:
Ext: Activities area – day
BEN walks back to the activities area. He doesn’t look pleased.
BEN
Maria! Where
are you!He enters the activities area.
CONT’D
Where are you?!
ANGELA pops up.
ANGELA
Right here.
BEN
They’re not at camp,
Maria. Are you pulling
my leg?ANGELA
No. They came back.
See?ANGELA points to where JASON, JENNIFER, and CHET are sitting. BEN looks relieved.
BEN
Good. Okay guys,
time for the next
activity.BEN walks over to where the three are sitting. ANGELA follows close behind.
CONT’D
Guys?
BEN draws near. CHET, abdomen ripped open, is propped against a tree. JENNIFER is leaning against JASON, whose throat has been cut.
ANGLE ON: BEN reacting in horror.
BEN
Oh my God. Maria!
ANGELA
Yeah, Ben?
BEN turns around. ANGELA is standing there, smiling, knife poised. BEN realizes what’s going on.
BEN
(imploringly)Please, no.
ANGELA
(cheery)Sorry, Ben. You’re a
nice guy. But you know
too much.BEN
Don’t!
ANGELA digs the knife into BEN’S chest. He stumbles and falls.
ANGELA looks at BEN for a moment.
ANGELA
Like they say, “The
good die young.”She looks at her watch.
CONT’D
Mm. Is that the time?
CUT TO:
Ext: Main camp – day
KYLE and JACK have stacked some tents and sleeping bags on the grass.
KYLE
Be right back.
JACK watches KYLE trot away.
CUT TO:
Ext: Parking area – day
KYLE opens his car. He pulls back a mat in the trunk, revealing several GUN CASES. He withdraws a small bottle of JACK DANIELS and puts it in his coat’s interior pocket. He glances around, shifty-eyed, making sure no one is watching, and then takes a small .22 CALIBER HANDGUN and slips it in his pants along with several unseen objects. He then slams the trunk, lights a cigarette, and walks back to where JACK is waiting.
KYLE
Ready.
JACK looks at KYLE somewhat suspiciously. They shoulder the gear and leave.
CUT TO:
Ext: Group 3’s area – dusk
Group 3 sits around a fire. Their tents are pitched. ANGELA, carrying her stuff, walks in.
DONNY
What’re you doing
here?ANGELA
Ben said we were
mixing up the groups
now.DONNY
He never told Me
anything…ANGELA
Must’ve slipped his
mind.DONNY
Guess so. So, who’s
going back?ANGELA
Beats me. I thought
he would’ve told you.
Some guys from group 1
were coming over, though.DONNY
Okay, forget it. We’ll
settle it in the morning.
Laura!LAURA
Yeah?
DONNY
Maria will be tenting
with you.LAURA
Oh, shit.
DONNY
Hey! Be nice.
LAURA
Whatever. Make yourself
right at home.ANGELA enters LAURA’S tent and unrolls her bag and floor pad. LAURA looks as though she’s been the victim of a gross injustice. Her dislike is clearly reciprocated judging by ANGELA’S expression.
CUT TO:
Int: Cabin – night
We see a well made-up bunk. A lamp on a nearby dresser gives off a soft light.
ANGELA slowly reclines on the bunk. KYLE is on top of her. They kiss and touch each other gently. After a moment the two roll over so that ANGELA is top. KYLE peals her shirt off and wraps his arms around her slender shoulders. ANGELA lies flat against KYLE as they embrace and continue to kiss and roll about.
CLOSE ON: KYLE, as he unclasps ANGELA’S bra and proceeds to draw his tongue up the length of her spine toward her neck. ANGELA reacts with pleasure. We focus on the two for a long moment before we
CUT TO:
Int: Tent – night
ANGELA jerks awake from her dream. Her chest is heaving and her eyes are wide in an expression of bewilderment, as though she is not familiar with these sorts of sensations. She looks over at LAURA who shifts a bit in her sleep and breathes in a most irritating pitch. ANGELA, annoyed, grabs her pillow and proceeds to smother LAURA.
ANGELA
Sleep tight, Laura.
CUT TO:
Ext: Tent – night
ANGELA stealthily unzips the tent flap and exits. She proceeds to sneak out of the campsite.
CUT TO:
Ext: Dock – night
KYLE sits on the dock. He’s hunched over and has his knees pulled to his chest.
ANGLE ON: KYLE as he takes a deep pull from his bottle of JACK DANIELS. He looks out over the shimmering water. His vacant eyes are deadlocked in the 1000-yard stare.
KYLE drains the bottle and chucks it out into the water. We hear it splash.
KYLE
(reciting more
than singing)Feeling good is good
enough for me…He unwisely takes several aspirin. He never takes his despondent gaze from the moonlit water.
ANGLE ON: KYLE’S face. There is a snap behind him. Fully alert, KYLE whirls around and gets to his feet in a flash.
BRIT is standing behind KYLE. She looks surprised by his reaction. KYLE sits back down.
BRIT
Hey.
KYLE
Hi.
BRIT
(jocularly)You’re not supposed
to be out here, you
know.KYLE
I’m a big boy, I
can take care of
myself.BRIT
I know.
BRIT sits down next to KYLE.
CONT’D
So, why’d you come
here?KYLE
(dishonestly)Had to get away from
the city. Put my mind
at ease and all that.BRIT
I see…
KYLE
Needed a break, mostly.
I’m sorry that I had
to thrash that guy earlier.
I’m tired of things like
that.BRIT
Hey, Todd had it coming.
He’s such a jackass.KYLE
I hope he doesn’t try
anything again. My doctor
says I’m “dangerously
volatile.”BRIT puts her arm around KYLE. He shrugs her off.
CONT’D
Don’t touch me.
BRIT
(shocked)Sorry, I –
KYLE
Look, you don’t want
to get involved with me.
I have baggage like you
wouldn’t believe.BRIT
Everyone has problems,
Kyle. There’s nothing
wrong with it. Besides,
it’s good to have someone
to look after you.KYLE
You don’t understand.
BRIT
(empathetically)You could let me try.
KYLE gives BRIT a piercing stare. It makes her uneasy.
KYLE
Okay, we’ll do it your
way.BRIT looks happy. Maybe she can reach KYLE.
BEAT
CONT’D
Where do I start..?
BRIT
I dunno… Just tell me
about whatever. I’ll
try to understand.BEAT
KYLE
I lived out on the street
for years after my father
died. I got involved in
all kinds of gang shit.
It took me two years to
break my cocaine addiction.He pauses for emphasis. BRIT doesn’t look shaken. Yet.
CONT’D
Anyway, after I turned
seventeen, my uncle tracked
me down and took me into
custody. I didn’t want to
go, but I didn’t have much
choice. For about a year
after that I tried to
escape and go back to my
old ways, but he patiently
kept trying to reach me.
Finally did.BEAT
CONT’D
Things started looking up.
I had been straight almost
a year and half. Then
in a matter of a few
hours everything went
to shit again.KYLE turns his gaze back to the water. BRIT’S morbid curiosity is piqued.
CONT’D
(slowly)When I was nineteen I
did these two guys,
these two spades, that
were breaking into our house.
I was home alone.
My cousin was staying the
night at his friend’s house
and my uncle was out on
the job. They were jimmying
the back lock, so I waited for the
first guy to come through
the door. When he did,
I put a round of buckshot
in his head. His friend
turned to go, and I nailed
him with a shot in the back.BEAT
I ran out on my uncle
shortly after the
investigation. I knew nothing
was really different, and
that it never would be with
me.KYLE stops; he’s obviously trying to scare BRIT, who looks horrified, into leaving him alone. Her expression suggests that maybe she DIDN’T want to hear KYLE’S story after all.
BRIT
I’m so sorry…
What happened to your
uncle? Can’t you go
back to him?KYLE
That’s just it. It’s
too late. He and my cousin
died a few years ago.
When I heard I nearly
shot my myself in the head.
Only thing that stopped
me was that I was too drunk
to load the gun.This is more than BRIT bargained for. She tries to pull it off, though, and puts her arm around KYLE again.
CONT’D
I said, “don’t!”
BRIT
Sor –
KYLE starts to get angry.
KYLE
(icy)Just leave me alone.
I don’t want or need
your fucking pity.BRIT, hurt but not angry, gets up and reluctantly walks away.
CUT TO:
Ext: Woods – night
ANGELA has been watching this entire scene. She still looks taken with KYLE, but stares squinty-eyed at BRIT with hate. She might have finally found someone as twisted and screwed up as she is, and she’s not about to let BRIT get in her way.
ANGLE ON: ANGELA as she disappears into the woods.
CUT TO:
Ext: Woods – night
BRIT walks back to the campsite. She is startled by a voice.
VOICE
(O.C.)Nice night out, huh?
BRIT
(startled, nervously)Who’s there??
ANGELA steps out into the moonlight.
ANGELA
Hiya, Brit.
BRIT
Maria? What’re you
doing here? You should
be asleep!ANGELA
Restless night.
BRIT
I see…
BRIT is somewhat spooked by ANGELA’S extremely relaxed manner.
CONT’D
(suspicious)Is there anything
I can do for you?ANGELA
No.
BRIT
You okay?
ANGELA
(interjecting)Have a nice talk with
Kyle?BRIT
(taken aback)What?
ANGELA
I saw you guys
down by the dock.
It was looking pretty
emotional there for
a moment.BRIT
Not really. He’s pretty
far-gone. Distant.ANGELA
That’s too bad. He seems
like a good kid.BRIT
Maybe. I thought I could
get through his tough
exterior, but I don’t think
he’s putting on a show.ANGELA
Very interesting.
BRIT looks hard at ANGELA for a moment. BRIT is clearly dubious of ANGELA.
BRIT
Don’t I know you from
somewhere? Your face is
real familiar… Like I’ve
seen you in a newspaper,
or something.ANGELA
(hurriedly)Maybe so.
Well, Brit. It was SO
nice to know you.BRIT
Wha –
ANGELA lunges and stabs BRIT in the neck. BRIT grabs the wound as blood spurts with each heartbeat.
ANGLE ON: ANGELA, as she watches BRIT falls lifeless onto the leaves. She flips the knife in her hand like a baton. She watches amusedly as blood pools around BRIT’S head.
ANGLE ON: BRIT’S head. ANGELA grabs her by the hair and slices her throat wide open for good measure. There is an effusion of blood.
ANGLE ON: ANGELA, looking fairly pleased with herself, wipes the bloody knife on a handkerchief. She then turns in the direction of the dock.
CUT TO:
Ext: Campsite – morning
ANGELA feeds a small blaze that she’s started in the fire ring. DONNY comes out of his tent.
DONNY
Morning, Maria.
ANGELA
Morning.
DONNY
Is Laura up?
ANGELA
Uh, she went over
to group 1 not five
minutes ago.DONNY
Oh. Anyone coming
over here?ANGELA shrugs.
ANGELA
Beats me.
DONNY
Great.
CUT TO:
Ext: Different campsite – day
KYLE’S group is sitting around.
BETH
Brit should’ve been
back by now, wherever
she is.TRACY
Totally. That little
bitch is holding us
up.JACK
I’m gonna go over
and talk to Donny.
Maybe he’s seen her.BETH
See ya.
CUT TO:
Ext: Main camp – day
DONNY’S group is back at the central camp area.
DONNY
Okay guys. Put your
stuff in the cabins
while I go talk with
Ben. Somebody’s messing
with the plan.CHARLIE
Sure thing, boss.
DONNY
Maria, you and Todd
take the tools back
to the shed.ANGELA
Sure.
ANGELA hands TODD a shovel.
CONT’D
Come on.
CUT TO:
Ext: Camp ground – day
TODD and ANGELA walk towards the shed.
TODD
So, you got the hots
for that Dewitt guy,
huh?ANGELA
(offended)What’re you talking
about?TODD
I seen they way you
look at him. Word
of advice: get some
before I ruin his looks.ANGELA
Oh yeah?
TODD
Yeah. I’m gonna fuck
‘im over before this week’s
done.ANGELA
That so?
TODD
Yep. Nobody dicks with
Todd Murphy.TODD lights a cigarette, oblivious that ANGELA has taken up a MACHETE from the tool shed.
TODD turns around.
CONT’D
You finished stowing that -
oh fuck!ANGELA buries the blade in TODD’S face and watches him take several steps backwards before collapsing.
ANGELA
(sighs)Pride cometh before a
fall, Todd.ANGELA takes a broomstick from the shed and exits the shot.
CUT TO:
Ext: Camp ground – day
CHARLIE and MARTY just stand around, doing nothing. ANGELA appears in the background.
CHARLIE
I tell you man,
I’m gonna need a
truckload of weed
to get through this
week if it stays this
lame.MARTY
Fucking A, man.
ANGLE ON: ANGELA pouring DRAIN-O into two soda cans. She then approaches MARTY and CHARLIE.
ANGELA
Cold drink, guys?
MARTY
Hell yeah.
CHARLIE
Thanks. Hey, where’s
Todd?ANGELA
Around. Maybe scrounging
in the dining hall for
a snack.ANGELA takes a sip of her own soda as the two boys chug theirs. They suddenly drop their cans and grab at their throats, gagging.
ANGELA
Mm-mm. Goes down smooth,
huh guys?MARTY and CHARLIE gag in agony as the liquid eats away their flesh.
CONT’D
Yep, nothing like a cold
drink on a hot day.
“Obey your thirst,”
ya know.ANGELA leisurely drinks her soda as MARTY and CHARLIE expire.
CUT TO:
Ext: Woods – day
DONNY, irritated, walks through the woods.
DONNY
What the fuck is
going on around here..?He comes back to the campground and sees that MARTY and CHARLIE are gone and that none of the gear has been stowed. Loud ROCK MUSIC emanates from a nearby cabin.
CONT’D
What the asshole?!
GUYS!DONNY is really pissed now. He stalks over the cabin and throws open the door.
CONT’D
GUYS! I said to stow
the goddamn gear!
Turn that fuckin’
music off!DONNY’S POV: CHARLIE and MARTY are grotesquely piled on a cot.
CONT’D
Oh my God!
DONNY turns to go, but ANGELA springs up in front of him and skewers him with the sharpened broomstick.
ANGLE ON: DONNY’S reaction as he perishes.
ANGLE ON: ANGELA as she evaluates her handiwork. She turns and leaves.
CUT TO:
Ext: Campsite – dusk
KYLE is doing pull-ups on a tree branch. Everyone else looks worried.
ANGLE ON: KYLE. He looks like he knows what’s going on.
BETH
I’m worried. What the
Hell is going on, anyway?
Where IS everybody?!TRACY
I say we go back to camp.
ANGELA comes through the woods. They all turn to look at her.
TRACY
(condescendingly)What’re YOU doing here?
ANGELA
Donny told me to
come to this group.BETH
The joke’s on you.
We haven’t seen
Brit since last night
and no one has come
and told us anything.KYLE gets a look in his eye and drops to the ground.
KYLE
Fuck it. I’m going
back to camp. I’m tired
of this bullshit.
You guys stay here if
you want.ANGELA
Wait!
KYLE leaves. ANGELA looks upset.
BETH
Let him go. He’s about
as unfriendly as they
come.CUT TO:
Ext: Main camp – night
KYLE walks up to Iroquois Cabin. He looks very suspicious.
CUT TO:
Int: Iroquois Cabin – night
KYLE enters the cabin. He pulls out a flashlight and flicks it on.
ANGLE ON: A cot. KYLE’S light exposes a slender figure on the bunk.
ANGLE ON: KYLE as he moves closer. He rolls the body over.
ANGLE ON: BRIT’S body as KYLE rolls her over. The gaping wound in her throat is exposed.
ANGLE ON: KYLE’S FACE. He doesn’t look shocked or surprised in the least.
ANGLE: As KYLE shines his light down the room. More bodies are revealed.
CUT TO:
Ext: Iroquois Cabin – night
KYLE hastily leaves the cabin. He makes for the parking area.
CUT TO:
Ext: Parking area – night
KYLE slaps himself hard in the face, causing his temper to rise. He reaches his car, opens the door, and sits in the driver’s seat.
ANGLE ON: The glove compartment. KYLE opens it and withdraws a thin rubber hose, a syringe, and a baggy of powder.
ANGLE ON: KYLE, as he proceeds to load up the syringe with liquefied cocaine. He wraps the rubber hose around his arm.
KYLE
Feeling good is good
enough for –He sticks the needle into his arm -
CONT’D
(with a grunt)ME.
KYLE shoots up. When he’s finished he moves around to get his blood flowing and hits himself some more. He even takes out a knife and cuts himself on the arms.
KYLE’S face is flushed. His veins pop out of his arms and neck and his chest heaves: he’s whipped himself into a drug-induced frenzy.
He goes to the back of the car, opens the hatch, and removes a case. We don’t see what’s in the case; we only hear some rattling.
CUT TO:
Ext: Campsite – night
JACK, ANGELA, TRACY, and BETH sit around the fire.
JACK
Anyone know any camp
songs?ANGELA
I do!
TRACY
For God’s sake, NO.
ANGELA gives TRACY a look.
BETH
Anyone know any good
ghost stories?TRACY huffs and gets up.
TRACY
This is SO 7th
grade.TRACY walks off. JACK and BETH look peeved.
ANGELA
Don’t worry, I’ll
talk to her.CUT TO:
Ext: Woods – night
TRACY is about seventy-five yards from the fire. She leans against a tree, pouting.
TRACY
What were you thinking,
girl? You should’ve stayed
in New York…ANGELA
Coming back, Tracy?
TRACY turns to face ANGELA.
TRACY
Hell no.
ANGELA
Aw, come on. You’re
missing all the fun.TRACY
(sarcastically)What fun, you shrimpy
little skank?ANGELA
(brightly)The fun where I…
cut that sharp tongue
out of your dirty mouth!ANGELA jumps on TRACY and forces her to the ground. TRACY tries to scream but ANGELA holds her jaw shut.
ANGLE ON: ANGELA as she pulls out her trusty hunting knife.
ANGLE ON: TRACY as ANGELA CUTS THROUGH HER NECK AND SLICES OUT HER TONGUE.
CUT TO:
Ext: Campsite – night
JACK and BETH stare into the fire. ANGELA approaches.
BETH
She coming back?
ANGELA
No, I don’t think
so. Hey, do you
know what cabin Kyle
was staying in?BETH
No…
JACK
Oh, uh, Powhatan.
ANGELA
Thanks.
ANGELA clobbers JACK in the face with a heavy stick. BETH reacts, but is herself bludgeoned.
ANGELA stoops down and slices their wrists length-wise.
CONT’D
Sorry ‘bout this.
Just can’t leave any
witnesses.CUT TO:
Ext: Parking area – night
ANGELA goes to her JEEP. She tugs at the door; it’s locked. She digs into her pocket for the key. She can’t find it.
ANGELA
Nuts.
ANGELA turns and notices KYLE’S car. The hatch is open. Curious, she walks over.
ANGELA’S POV: The car’s license plate. It’s a New Jersey tag.
ANGLE ON: ANGELA as she looks over KYLE’S Toyota. She closes the back hatch and walks around to the front. The driver’s side door is open. She goes to peer inside when there is a crunch.
ANGELA stoops down and picks up the syringe. She examines it with a look of revulsion.
CONT’D
(somewhat disappointed)Oh, Kyle… I thought you
were different from all
the others. Too bad…She drops it and sits in the driver’s seat. Something catches her eye.
ANGLE ON: The glove compartment. It’s still open.
ANGELA reaches in and withdraws some cigarettes, some aspirin, and then the COLT .45. Her face registers surprise and puzzlement.
ANGELA exits the car and tucks the .45 into her pants. She then turns and heads back to camp.
CUT TO:
Int: Powhatan Cabin – night
ANGELA enters quietly and shuts the door. She spots KYLE lying in one of the bunks and furtively creeps up to the bed. KYLE doesn’t stir. She moves closer and closer, her hunting knife poised to strike. Her lower lip curls with mixed emotion; her eyes glint in the luminous shaft that seeps in through the window from the security light outside. In a flash, she jabs the knife into the body several times. She stands, the knife bloodied. There is no reaction from KYLE to indicate pain or feeling of any kind. With a look of wonderment, ANGELA cautiously pulls back the covers to reveal
ANGLE ON: BEN’S body. ANGELA looks confused; she didn’t put him there! Behind her, in the shadows, something moves. A voice suddenly snarls
VOICE
(O.C.)Back against the
wall.ANGELA spins around.
CONT’D
(O.C.)I said, “stick ‘em.”
A FIGURE moves out from the shadows and into the dim light. It’s KYLE. He looks frenzied and somewhat insane. In his hands he holds an 870 WINGMASTER.
CONT’D
Get against the wall.
NOW.ANGELA drops the KNIFE and puts her hands up. She looks amused.
CONT’D
(threateningly)Get that fucking look
off your face.ANGELA tries not to giggle at KYLE’S serious demeanor. Suddenly, the SHOTGUN fires. A gaping HOLE appears in the wall right next to ANGELA’S head. KYLE cycles the shotgun.
CONT’D
You’re lucky that
was a slug. But I
assure you, the next
one’s buckshot, and
that shit will ruin
your looks, what little
you’ve got. Now get over
there, ANGELA.KYLE motions with the barrel of the SHOTGUN for ANGELA to move. She complies.
ANGELA
How do you know
my name?KYLE
Oh, I know lots of
things about you.ANGELA
(bubbly)Ya know, now that I
think about it, you
remind me someone
I used to know a
while back.
Who are you?KYLE
You don’t know?
ANGELA shakes her head innocently and makes a face, clearly trying to goad him.
CONT’D
I’m a ghost. The spirit
of someone you killed.
Your sins catching up
with you.
(pause)
Still don’t recognize
me?ANGELA
Nope.
KYLE
Maybe I remind you
of, say, more than
one person?ANGELA
(playing dumb)You DO look
familiar… But I
just can’t say
why. I’m a bit of
an airhead.KYLE
Remember Sean?
Barney? Remember
them?ANGELA
(recalling)Oh yeah! Nice people.
Sorry they had to go.
But I don’t lose any
sleep over it. Still,
that doesn’t answer
my question.KYLE flips something at ANGELA. She catches it. It’s an I.D. card. It reads KYLE WHITMORE.
ANGLE ON: ANGELA. She looks a bit surprised.
KYLE
Get it?
ANGELA
(pleasantly surprised)You’re Barney’s
son too? What fun!KYLE
Not exactly. But a
relation.ANGELA
(amused)Oh, I see now.
So, what’s your
problem? Settling
the family vendetta?KYLE doesn’t reply.
CONT’D
Oh well. Three times
the charm, I guess.KYLE
Oh yeah? You’re
gonna kill me
too? Like you did my
uncle and cousin?ANGELA
(thoughtfully)It HAD crossed my
mind…KYLE
See, that’s where you’re
wrong. I’ve got you all
figured. I’ve been watching
ever since I got to this
camp, waiting, knowing
that you’d show up, and
I was right. I read your
fucking book!ANGELA
That’s why you came
here? Looking for little
ole me? I’m flattered.
Really, I am. So let
me guess: you’re gonna
kill ME now? Spin things
around a little for once?KYLE’S voice and manner seethe with maniacal hate.
KYLE
That’s right. I’ve been
waiting for this a LONG
time.ANGELA
Arrogance HAS always
been your family’s
weakness.ANGELA suddenly whips out KYLE’S .45. She pulls the hammer back and levels it at him.
ANGELA
(serious)Drop it.
KYLE laughs at her and grins for once in the movie. It looks unnatural and forced, as though it is not driven by any sentiment, but only by the muscles in his face.
CONT’D
I said, “drop it.”
KYLE
Hey, isn’t that MY
gun?ANGELA
(sweetly)Mm-hm. Drop it.
KYLE
Go to Hell.
ANGELA
(politely)After you.
ANGELA squeezes the trigger. Nothing happens. She looks nonplussed. She pulls the slide back, releases it, and squeezes the trigger again. Nothing.
KYLE
Oh, did you forget
something?KYLE pulls out a PISTOL MAGAZINE from his back pocket and waves it at ANGELA. For once she looks flustered.
CONT’D
I’m not stupid, you
know. You really
expect me to leave
that thing lying around
loaded?ANGELA drops the .45 and puts her hands up. KYLE uses to his thumb to push the rounds out of the magazine, which he then throws at ANGELA. She twists to dodge, but it still hits her.
ANGELA
(innocently)Well, you got me,
fair and square. What’re
you gonna do with me?
Have me locked up?KYLE shakes his head.
KYLE
No. I’m gonna get
you back for what you
did to Sean and Uncle
Barney. I’m gonna bleed
you. Slowly. Let you think
some things over while
you die. Or maybe I’ll
just beat you into a pulp.
But first, we’re
gonna have some fun.
Play a few games.
Let you suffer a bit.ANGELA
Oh, goodie.
I love games.KYLE walks over to ANGELA and butt-strokes her with the SHOTGUN, putting her lights out.
KYLE
Me too.
FADE TO:
Ext: Parking area – night
ANGELA’S POV. Her vision is blurred from the blow on her head. She looks back and forth. She groans.
ANGLE ON: ANGELA. She’s tied to a chair. Suddenly, a bucketful of water splashes all over her, bringing her to.
KYLE
Wake up.
ANGELA
Uh…
KYLE
Time to play.
ANGELA
(dazed)Oh, I can’t wait.
The camera repositions itself to show KYLE standing near his car. The hood is popped and several CABLES run out from underneath it. ANGELA is tied up near to the car. Her feet rest in a PAIL OF WATER. The CABLES run up her shirt. She begins to nod again, and KYLE slaps her hard in the face.
KYLE
Wake up!
ANGELA comes around.
ANGELA
What’re we gonna
play, Kyle?KYLE
It’s called,
“How loud can Angela
scream.”ANGELA
Oh? How do you play?
KYLE
Easy.
KYLE hops into the driver’s side. He pushes a KEY into the ignition. ANGELA, still groggy, doesn’t notice.
He turns the car ON. ANGELA shrieks as electricity surges from the car battery and into her fragile body. KYLE turns the engine OFF. ANGELA gasps and sputters.
KYLE
(darkly sarcastic)Oh, I’m sorry. I
thought that after
all that electroshock
you’d be used to that.ANGELA
(sardonicly)Ha ha.
KYLE
That was a
good try, but not
loud enough.He cranks up the engine and lets it run a little longer. ANGELA reacts in pain.
He turns the car OFF again. ANGELA looks terrible.
CONT’D
You can do better
than that. Now give me
a good one, or it’s
“frying tonight”, if you
get my drift.ANGLE ON: ANGELA’S hands. The electricity has burned through her bonds and she’s freeing herself. As KYLE looks the other way, she pulls the cables out from under her shirt. KYLE goes to start the car again.
CONT’D
(under his breath)Come on baby,
light my fire!ANGELA jumps to her feet and cracks KYLE on the jaw before he can turn the ignition again. He shakes it off in time for her to hit him again. She jumps at him as he gets out of the car, but he grabs her and hurls her in a JUDO THROW. She lands on the ground and rolls several times. She gets up and continues to attack, but KYLE simply tosses her around like a rag doll. The two tussle and cuff at each other for a while. At one point KYLE grabs ANGELA by the hair and begins to punch her hard in the kidneys, causing her to wail in pain. She manages to pull free.
After a few moments, KYLE pulls out a long KNIFE. He flips his hand, motioning for her to bring it.
CONT’D
Come on!
KYLE, like a coiled snake, strikes at ANGELA, trying to slice her throat with the knife. It’s clear that unless she can outsmart him, she’ll lose; KYLE is much too big and experienced of a fighter for her to handle.
KYLE comes at her again. Thinking fast, ANGELA grabs a handful of sand and throws it in KYLE’S face, temporarily blinding him. She sees her chance and takes it. Grabbing hold of the chair, she breaks it over KYLE’S back, knocking him cold.
BEAT. ANGELA makes sure KYLE is out.
ANGELA
(very chipper)Your turn to
play!ANGELA grabs KYLE around the chest and, with a good deal of effort, drags him out of the frame.
CUT TO:
Int: Cabin – night
KYLE, shirtless, jerks awake and tries to get his bearings. He’s tied to a chair. ANGELA, arms folded, leans against a counter, staring at him. She stoops over and hits him on the back of the head.
ANGELA
(enthusiastically)‘Morning, Kyle!
Wake up and smell
the coffee.KYLE
Oh shit.
ANGELA is holding KYLE’S KNIFE. She taps it menacingly against the counter. She walks over, pulls his sunglasses from his nearby shirt, inspects them, and puts them on. She then begins to go through the pockets of his shirt and jacket. She takes out a half-empty pack of cigarettes, a bottle of aspirin, some shells of buckshot, his keys (which she pockets), and a switchblade. She speaks the following while perusing his pockets.
ANGELA
See where arrogance
gets you? I guess
you Whitmore boys
never learn.
(looks at cigarettes)
(reprimanding)
Oh Kyle, these things
will kill you, you know?KYLE
Blow me.
ANGELA
Nice language. You
kiss your mother
with that mouth?ANGELA moves from the counter and stands in front of KYLE. He looks up at her with hate in his eyes. ANGELA gives him her sweetest smile.
CONT’D
You know, you really
ought to relax more.
Take it easy. You’d
feel much better.KYLE
(unshaken)What’re you gonna
do with me?ANGELA
(pleasantly)Well, what you did
to me wasn’t very
nice. So, like
my Aunt Martha always
said, “what goes around
comes around.”She leans in and slowly slices KYLE across the chest with the tip of the KNIFE. He heaves and gnashes his teeth but doesn’t scream; it only riles him some more.
CONT’D
Impressive. I thought
that would hurt
a lot more.KYLE
Sorry to disappoint
you.ANGELA slaps him.
ANGELA
Humor me.
ANGELA hums as she squats down and sticks her finger in his navel. She draws the KNIFE down KYLE’S abdomen, making a swishing noise all the while. She brings it to his stomach and slowly SHOVES THE BLADE THROUGH HIS BELLYBUTTON. KYLE screams, but maybe not as loud as one might expect. ANGELA pulls the knife halfway out and then pushes it back in. She repeats this quickly, over and over.
ANGLE ON: ANGELA. She is obviously deriving a perverse satisfaction from the experience.
ANGLE ON: KYLE. His face contorts with pain as he shrieks uncontrollably.
CLOSE ON: The KNIFE as it goes in and out of his gut. This carries on for a moment. Suddenly, ANGELA twists the blade. An effusion of blood spurts from the wound.
ANGLE ON: KYLE as he coughs up a mouthful of blood.
ANGELA pulls the knife out. Pause.
CONT’D
(icy and cruel;
somewhat
dirty-sounding)That was great.
Was it good for you too?KYLE gurgles up some blood. ANGELA sticks one of KYLE’S CIGARETTES into the corner of his mouth. He spits it out just as quickly.
CONT’D
(nodding, though
answering a
question)Don’t worry.
I’ll still respect
you in the morning.KYLE spits a mouthful of bloody saliva at her. She turns to dodge it, but a bit spatters her angular face. She looks disgusted.
KYLE
(defiantly)Fuck you in Hell.
ANGELA hits him again.
ANGELA
(maternally)Watch you mouth!
ANGELA squats down next to KYLE. She lifts his chin with the blade of the KNIFE and looks him over; she seems to be evaluating him. KYLE glares at her. He isn’t beat yet.
For a long moment ANGELA studies KYLE’S features and admires his physique. She smirks as she slowly fingers the deep scars on his torso; he clearly does something for her. KYLE reacts in repulsion to her caresses.
ANGELA
(whispering into
KYLE’S ear)You know, it’s too
bad your so mean.
We could’ve been…
“friends.”ANGELA strokes KYLE’S black hair and kisses him lovingly on the cheek. KYLE flinches, clearly repulsed.
CONT’D
(cheery)Well, I’d better be
on my way. See ya!KYLE
(sneeringly)Not gonna kill me,
huh?ANGELA
(ponderingly)No. I think I’ll
just let you bleed. Slowly.
Let you think about some
things before you die.KYLE
I see. Poetic justice.
ANGELA
You could call it that.
ANGLE ON: KYLE’S hands. His bonds have been loosened from his thrashing and he proceeds to shuffle them off.
KYLE
Or maybe you haven’t
got the guts to do it?ANGELA stops in the doorway and pauses. KYLE’S hit a nerve.
ANGLE ON: KYLE. He’s freed himself.
ANGLE ON: ANGELA as she stands in the doorway. KYLE can be seen in the BG. The more he talks, the more her face sours and darkens.
CONT’D
That it? You’re too
fucking yellow? Yeah?
It figures that you
haven’t got the balls,
‘cause they’re sitting in a
jar on a shelf back
at the nuthouse!
(hatefully)
The very sight of you
makes my blood run cold.
Christ.
(he spits)
You fucking abomination.
You don’t deserve to
breathe my air.ANGELA, her cheery façade gone, whips around, furious and hurt by his words. But to her surprise, KYLE is standing there, free! She takes an aggressive step towards him, knife poised, but freezes when he pulls the small .22 CALIBER PISTOL from the back of his pants.
CONT’D
You know, you really
ought to search people
first before tying them up.ANGELA smoothly pulls something from her pocket. The MAGAZINE!
ANGELA
(sneering, impersonating
KYLE)Think I’m stupid,
or something?KYLE
Oh yeah.
KYLE snaps ANOTHER MAGAZINE into the gun. He chambers a round.
CONT’D
(impersonating ANGELA)Like my scoutmaster
always said:
“Be prepared.”He fires. The bullet catches ANGELA in the shoulder. She reacts. He fires again, this time hitting her in the gut.
ANGLE ON: KYLE, as he mercilessly and unflinchingly empties the magazine into ANGELA. At this moment we come to realize that KYLE has even less remorse and emotion than ANGELA. He is little more than a burnt-out shell of a person, consumed by an obsessive vengefulness.
ANGELA falls backwards under the barrage of bullets and lands heavily, crashing into some wastebaskets near the door. KYLE, bent almost double, staggers over and kicks the KNIFE away. He pats ANGELA down and takes his .45 back. He then puts his hand to ANGELA’S neck to check her pulse. She’s still alive. She opens her eyes and smiles at him as he pops his remaining aspirin.
ANGELA
Nice shootin’, Tex.
KYLE slumps against the wall next to ANGELA. She watches him fixedly.
ANGLE ON: KYLE as he jacks the slide on the .45. He places the muzzle against his right temple and unhesitatingly squeezes the trigger. It clicks; empty.
KYLE cocks the hammer again and again pulls the trigger. Nothing. He repeats this process without success and then discards the gun.
CONT’D
Mind over matter,
huh?KYLE half stands and then falls on ANGELA. He grabs her by the hair. She reacts. KYLE moves so close to her that he blows his breath in her face. She shudders.
CONT’D
Didn’t you brush this
morning?KYLE stares at her.
CONT’D
(sarcastically)You like being this
close to me, don’t you?
You’re SO romantic.KYLE
I prefer not to touch
you. Believe me.KYLE takes a firm hold of ANGELA’S head. She reacts.
CONT’D
(stony, staring her
in the face)When you get to Hell,
Angela Baker, look
me up.KYLE slowly twists her head. ANGELA screams. There’s a sickening crunch.
CLOSE AND HOLD ON: KYLE’S EYES. The hate slowly melts away as they glaze over. For a brief moment, his soulless eyes seem to be at peace.
ANGLE ON: KYLE. His incredible strength is abandoning him. He collapses atop ANGELA’S seemingly dead body. We HOLD for a moment.
FADE TO BLACK
FADE IN:
Int: Cabin – early morning
The first rays of light are seeping throw the windows. Birds chatter outside.
ANGLE ON: KYLE and ANGELA. KYLE is dead; coagulated blood from the wound in his gut covers the floor.
CLOSE ON: ANGELA. She doesn’t move, but her chest rises and lowers erratically.
Or does it?
CLOSE AND HOLD ON: ANGELA’S brown eyes. They OPEN and squint slightly as she smiles at the camera.
FADE OUT
THE END
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