REHEARSAL

by

Nathan Logan Hanley

© 2005 Nathan Logan Hanley

www.mirrorimageentertainment.com

CREDIT SEQUENCE: REHEARSAL

FADE IN: INT. RESTAURANT/CAFE - DAY

It is a fancy, well-decorated, quaint restaurant cafe. Business is slow. A couple sits at a booth in the back.

MICHAEL COHLMAN (mid 20s), sits at a small table near the bar. He is handsome, thin, and stands about 5’10”. His short black hair is slightly tussled. He wears a fancy black - collared shirt. He stares down into an actor’s casting magazine. Michael holds a red felt pen in his right hand. As he looks down to the paper, his hand passes by various casting call ads. One is for a technical video, one is for a short film. He stops at an ad that reads:

Casting for independent feature film. Seven roles being cast for independent horror film entitled “Bloody Summer”. Three males, four females. All mid to late twenties. Auditions to be held June seventh between 10 a.m. and 7 p.m. at 1610 Locust Ave., San Francisco. Please bring headshot and resume. Good improv skills a plus.”

Michael circles the ad. We hear a voice close by.

SCOTT

Hey Mike.

Michael looks up. His manager, SCOTT DUNN (mid 30s), stands at the back of the bar. He taps his watch. Michael smiles. He closes the paper and stands up. There is a short black apron hanging over his blue jeans.

CUT TO: INT. BEDROOM - DAY

It is a bright, somewhat cluttered bedroom in a San Francisco apartment. There are a few movie posters on the walls, as well as photos of Europe and other artwork. ASHLEIGH CARR (mid 20s), sits on the edge of her bed. She reads through a book of monologues. She is beautiful, with brown hair and tan skin. Ashleigh studies the book for a moment before closing it.

ASHLEIGH

It was seven years ago. My mother had been gone for almost three hours. The farm was always hot that time of year, nearly a hundred degrees that day. I could hear the dog barking in the backyard. When I first heard my mother’s voice, I ... fuck.

Ashleigh opens her book.

ASHLEIGH

Right.

She closes the book.

ASHLEIGH

I knew something was wrong. She called my name and it sounded like, desperation. (Pause) Hey Sara?

Ashleigh stands up.

ASHLEIGH

Sara, you still here?

Ashleigh walks out of her bedroom.

INT. HALLWAY - DAY

Ashleigh stands in the hallway just outside her door. Sara responds from the kitchen.

SARA

Yeah.

ASHLEIGH

What time is it?

sara

Uh, five thirty.

ASHLEIGH

Shit.

CUT TO: INT. OFFICE - DAY

CULLY McDONOUGH (mid 30s), a thin, pale man, sits in a wooden chair behind a large brown desk. Cully has the tortured, artistic-genius look going full force. He stares at a headshot in front of him. Sitting directly across from Cully in a white director’s chair is TATE COLE (mid 20s). Tate is very handsome, with rugged, weathered features. His head is shaved, and he has light skin and a thick, muscular frame. Cully turns over the headshot.

CULLY

So how do you pay your bills Tate? Says here you used to kick box.

TATE

Yeah. ‘Til I tore my meniscus. Kinda’ had to re-think things. Not a lot a’ money in that anyways.

CULLY

How’d you do?

TATE

Most would say good. I had a belt, but had to give it up when I got hurt. My buddy owns a construction company so I work for him most of the time.

CULLY

Have you ever done a feature film before?

TATE

Well, sort of. I mean, I did a short for a kid at NYU. After I moved out here I met a guy that started a feature, we shot a coupla’ scenes an’ then he ran out of money an’ the whole thing fell apart.

CULLY

Happens. All right Tate, nice meeting you.

Cully stands up. He shakes Tate’s hand.

CULLY

We’ll give you a call.

CUT TO: INT. HALLWAY - DAY

A group of actors study monologue books and scripts. They sit in green plastic chairs in the hallway outside of Cully’s San Francisco office. Ashleigh hurriedly walks in. She sees all the actors waiting to audition.

ASHLEIGH

Fuckin’ hell.

Some of the actors turn and look at Ashleigh. She gives them a half smile. Ashleigh turns to a desk in front of Cully’s small office. TIM HOGAN (mid 30s), a bulky, chiseled man sits in a chair behind the desk. He is lost in thought. Tim taps a pencil slowly on the desk. He scratches his head. Ashleigh walks up to him. She holds her headshot and resume in her right hand.

ASHLEIGH

Am I too late?

Tim shifts his eyes to Ashleigh and smiles. He checks his watch.

TIM

You’re not. What’s your name?

ASHLEIGH

Ashleigh Carr.

TIM

That for me?

Ashleigh looks at her headshot and resume.

ASHLEIGH

Oh yeah. Sure.

She hands Tim her headshot and resume. Tim points to an empty green chair.

TIM

Have a seat.

Ashleigh finds the empty chair and sits. SUMMER RYAN (mid 20s), a gorgeous blonde, sits in the chair to Ashleigh’s left.

SUMMER

Hi.

Ashleigh looks at Summer.

ASHLEIGH

Hi.

TIM

Hey Ashleigh, why don’t you take a look at this.

Tim holds four pages of a script stapled together. Ashleigh stands up and walks to the desk. Tim hands her the copied script pages.

TIM

Plan on reading for Sarah.

ASHLEIGH

Thanks.

Ashleigh goes back to her green chair.

SUMMER

I’d do anything to be in this movie. This is my third audition this week.

ASHLEIGH

What part do you have there?

SUMMER

Sarah.

ASHLEIGH

Well good luck.

summer

You too.

CUT TO: INT. OFFICE - DAY

Cully now sits across from AYVIN PARKER (mid 20s). Ayvin’s hair is dark and wavy. She’s cute, and could pass as a twenty-year-old Shirley Temple. She has a shy way about her.

CULLY

And you just moved here? What happened where you were?

AYVIN

Nothing. New Orleans was fine. I just, I felt like a change. I needed a change.

CULLY

So why San Francisco? Why not L.A.?

AYVIN

I don’t know. Didn’t really appeal to me.

CULLY

Your reading was great by the way.

Ayvin lets out a soft, subdued smile.

CULLY

We’ll know in a week.

Cully and Ayvin both stand up.

CULLY

We’ll let you know then.

They shake hands.

AYVIN

Thanks.

CULLY

You bet.

Ayvin walks out.

CUT TO: INT. HALLWAY - DAY

Ayvin walks out of Cully’s office. She closes the door behind her. Tim’s eyes focus down to a list of names in front of him. He looks up.

TIM

Nick Bishop.

NICK BISHOP (mid 20s), a thin, handsome, very well groomed, well-dressed chap stands up. He closes the monologue book he’s been studying and clears his throat. He stretches his lips and tongue. Nick smiles and winks at Tim as he walks into Cully’s office.

TIM

Dipshit.

Summer and Ashleigh both study their pieces of the script. Summer looks at Ashleigh.

SUMMER

I did a short film last week.

Ashleigh looks at Summer.

ASHLEIGH

Oh yeah? Fun?

SUMMER

Well, not really. The director had me just sitting there blinking. Blink fast, now, blink slow. Pretend your eyelids have peanut butter on them. Now turn your head. Now pull your hair back and blink just one eye. He said it was a metaphor for how we only see what we want to see. I think he was full of it. Not at all the kind of role that’ll get me what I want.

ASHLEIGH

What’s that?

SUMMER

Covers. If I’m not on a magazine cover by the time I’m thirty I’m gonna’ hang myself.

Ashleigh’s eyes widen. She smiles.

ASHLEIGH

Well I hope you get there.

Summer smiles.

SUMMER

Thanks.

Nick walks out of Cully’s office. He closes the door behind him. Tim looks back down to his list of names.

TIM

Summer Ryan.

Summer lets out a deep breath.

SUMMER

Here we go.

Summer stands up and walks to the office. She opens the door and goes inside.

MICHAEL

That’s the scariest fuckin’ thing I’ve ever heard.

The view between Ashleigh and Michael once blocked by Summer is now clear. He sits in his own green chair to Ashleigh’s left. A small black backpack is on the ground in front of him.

MICHAEL

She might as well do it now and get it over with.

ASHLEIGH

Right.

She smiles. Michael smiles back.

MICHAEL

You know anything about this movie?

ASHLEIGH

Just what I read.

MICHAEL

It’s a slasher flick.

ASHLEIGH

Right. You think it’s a working title?

MICHAEL

Worst fuckin’ title I’ve ever heard.

ASHLEIGH

Just about. Bet you anything it’s food, credit and copy only for the actors. Or payment deferred, somethin’ like that.

MICHAEL

I don’t care so much about the money so long as they change the fuckin’ title.

ASHLEIGH

Right. You should tell ‘em that.

She smiles.

MICHAEL

I will.

He smiles. He reaches out his hand.

MICHAEL

I’m Mike. Cohlman.

ASHLEIGH

Ashleigh Carr.

They shake hands. Summer walks out of the office and closes the door behind her. She walks up to Ashleigh.

SUMMER

Fingers are crossed.

She holds up crossed fingers.

SUMMER

I think he liked it.

Summer smiles.

ASHLEIGH

Good.

SUMMER

Good luck with yours. Maybe I’ll see you at rehearsals.

ASHLEIGH

Maybe.

SUMMER

Bye.

Ashleigh waves. Tim looks down to his list. He looks at Ashleigh.

TIM

Ashleigh Carr.

Ashleigh stands up.

ASHLEIGH

Here we go. Nice meeting you Mike.

MICHAEL

Go get ‘em.

Ashleigh smiles. She walks into Cully’s office and closes the door. Michael grabs his backpack and stands up. He throws the backpack over his right shoulder. Tim looks at him.

TIM

Didn’t you already read?

MICHAEL

Yeah. But you know, she was too cute to not meet.

Tim smiles.

MICHAEL

See ya’.

Tim lifts his eyebrows and waves at Michael. Michael walks down the hallway and into the open doors of an elevator at the end.

CUT TO: INT. BEDROOM - DAY

Michael strums a black acoustic guitar in his somewhat messy bedroom. A tee shirt and pair of jeans lie next to the unmade bed. A phone on a small table next to the door begins to ring. Michael stops playing his guitar and answers the phone.

MICHAEL

Hello?

Cully’s voice comes across the phone line.

CULLY

Michael?

MICHAEL

Yeah.

CULLY

It’s Cully McDonough from Bloody Summer.

MICHAEL

Yeah, hey Cully. How you doin’?

CULLY

Just fine. You’re my last call.

MICHAEL

Is that good or bad?

CULLY

Well I get all the you’re just not right for this project calls out of the way first, so in your case it’s good.

Michael smiles.

MICHAEL

All right.

CULLY

We want you to play Scott. It’s the lead. One of only four characters that survive the movie.

MICHAEL

That’s great.

CULLY

First readthrough’s on Saturday. We start rehearsals on set in two weeks.

MICHAEL

On set?

CULLY

Up in the hills. La Honda. It’s pretty beautiful in the summer actually. We’ll rehearse there for a week. We come back to shoot some city stuff before going down there for the bulk of the movie.

MICHAEL

Is there a schedule?

CULLY

Yeah. My first AD won’t be joining us until filming starts. But we’ve got a schedule. You’ll get it at the readthrough.

MICHAEL

Where’s that gonna’ be?

CULLY

At the office. Saturday at one. After that we’re looking at a week of rehearsal and what comes down to about a two-and-a-half week shoot.

MICHAEL

Do I have to be off work?

CULLY

Yeah, if you can afford it. If it’s a problem I’ll find someone else. But I really liked your audition and we think you’d be a great Scott.

MICHAEL

It’s no problem, I’ll get it off. I can always just quit.

Cully laughs.

CULLY

Do what you have to. We’re pretty low budget here, so actors will get food, credit and copy. Deferred payment until we line up a distributor.

MICHAEL

Okay.

Michael smiles.

CULLY

And you guys’ll sleep on set for rehearsals. We have a great, creepy house that’ll definitely put you all in the right mindset. Congratulations Michael. I’ll see you Saturday.

MICHAEL

Right. Thanks a lot.

CULLY

You bet.

Cully hangs up. Michael pushes the talk button and tosses the white phone on his bed. He picks up his guitar and starts to play.

CUT TO: INT. HALLWAY - DAY

Michael walks out of the small elevator into the hallway that leads to Cully’s office. The green chairs are all gone. Tim leans on the edge of his desk. Summer stands directly across from Tim. They talk quietly. Ayvin stands detached at the back of the hallway, just past Tim’s desk. Tate leans against the wall near Ayvin. He glances at her before turning to look at Michael. He smiles. Michael smiles back. Tim gazes over at Michael.

TIM

Hey Michael. Just find a spot and hang out. We’re still waiting for a few people.

MICHAEL

Okay.

Michael finds a place next to Tate and leans against the wall. He looks at Tate.

MICHAEL

Hey.

TATE

What’s goin’ on?

MICHAEL

Michael.

Michael extends his hand. Tate shakes it.

TATE

Tate.

Tim and Summer return to their conversation.

TIM

Well, I think this is gonna’ be a lot different than all those other slasher flicks out there. Cully’s a genius when it comes to creating something that’ll sell. ‘Course, this is the first big idea he’s had he’s really run with. But that guy always knows what’s gonna’ be popular.

JOHN BODIE (early 30s), a huge six foot five Caucasian walks in. He boasts a thick black goatee. Tim looks over at him.

TIM

Heya John. Just hang out, we got three more people on the way.

John stands next to Michael. Tate looks up at him.

TATE

Damn man. You’re a big fella’ ain’t you?

JOHN

Yeah well, my mom ate well when she was pregnant.

TATE

I’ll bet.

MICHAEL

Are you playing the killer?

JOHN

I am.

MICHAEL

You scare me already.

JOHN

I’m a teddy bear, really.

He smiles at Michael.

MICHAEL

Who’s? The giant at the top a’ that beanstalk?

Nick walks in from the elevator, with Ashleigh right behind him.

NICK

Well I truly feel it’s really all about how you look. I mean, I’m going to impress anyone who sees me because I know how to dress. I’ve got them before I even act at all.

ASHLEIGH

Who gives a shit.

Tim smiles.

NICK

Well obviously not you. You know, you could really afford to go on one of those shows where they come and fix you up. You know, change your wardrobe, do your hair. Make you look presentable, professional. Would do you some good.

ASHLEIGH

Oh fuck off.

Cully walks out of his office into the hallway. He smiles as he sees everyone.

CULLY

All right. So here we are. Wait, who’s missing Tim?

Tim turns to a clipboard on his desk. He picks it up and looks it over. He looks back up to everyone in the hallway, then back to his clipboard. He looks at Cully.

TIM

Katie Coursin.

CULLY

Oh right. Well, let’s hope she shows up. If you all want to come into the office here we’ll get things rolling.

Cully walks into his office. Everyone else follows him in, with Tim pulling up the rear.

CUT TO: INT. OFFICE - DAY

There are nine of the green plastic chairs set in a semi-circle across from Cully’s desk. The group walks into the office. On each chair but one is a script entitled “Bloody Summer” by Cully McDonough with a character and actor’s name on the cover. Two black binders are on Cully’s desk, along with two pens. Aside from that, the desk is bare.

CULLY

Find your script and seat and we’ll get started.

Everyone looks for their respective scripts. Michael finds his, with “SCOTT” written across the top. He sits at the far left chair. Next to him Ashleigh finds her script with the name “SARAH”. Tate sits to her left, with a script marked “WALKER”. To his left is a script marked “DAISY” and the name Katie Coursin. Next to that chair sits Nick, holding a script marked “BLAIR”. On his left sits Summer with a script marked “HOLLY”. Next to Summer sits Ayvin with a script marked “KIM”. On her left John sits with a script marked “HENRY CUTTER”. Tim grabs one of the binders and a pen off Cully’s desk. He sits next to John at the end chair. Cully walks behind his desk and sits.

CULLY

So first off, welcome cast. Congratulations. Let me tell you a little about myself, an’ then we can all go around and get to know each other. As you know, my name’s Cully McDonough and I’ll be directing you. It’s my script you’re holding. Not a work of art necessarily, I’ll admit. But so be it. It’s gonna’ work just fine, I promise. I for sure have my own affinity for it.

He smiles.

CULLY

I worked in T.V. for eight years, and wrote for a small-time newspaper for three. This here is my first feature film. Actually, my first movie endeavor you could say. I’m really excited about going through this project and can’t wait to see how it all turns out. I’m single, not that it matters, and thirty-five years old. So there. We’ll all learn more as we go. Tim, you wanna’ tell everyone why you’re here?

TIM

Okay, well...

KATIE COURSIN (mid 20s), a beautiful brunette, frantically swings open the office door. She pants from her run upstairs. She smiles as she looks around the room. She looks at Cully.

KATIE

Hi.

cully

Katie. Welcome.

He looks at his watch.

CULLY

Ten minutes. Could be worse.

KATIE

Sorry, I just ... my alarm’s a piece a’ shit and I was up pretty late. I could’ve sworn I set it.

CULLY

No worries. Why don’t you grab your script and have a seat. We were just all introducing ourselves.

Katie finds her seat and sits. She smiles at Nick. Nick shakes his head and looks to Tim.

TIM

So, I’m Tim Hogan. I’m co-producing with Cully and putting up the little money we have for this. Rich family, long story. So I’ll be in charge of food, equipment, that kind of thing.

CULLY

Without Tim we have no film. So be nice to him everyone. John, go ahead.

JOHN

Okay, well my name’s John Bodie. I’ll be playing the psychotic killer Henry Cutter. What was he called Cully, The Mountain Man?

CULLY

Right.

JOHN

I’ve been in drywall contracting and worked at a dot-com startup before becoming a stunt man. I’ve been in or worked on twenty plus films. I’m married ... what else? Guess that’s it.

CULLY

Great. Ayvin?

Ayvin looks up. She lets out a shy smile.

AYVIN

Hi. I’m Ayvin Parker. Uhm, this is my first film. I guess I’m playing Kim. I work at a big credit corporation answering phones. I just, I wanted something new. Something exciting. I really didn’t even think I’d get a role. I’m twenty-five and single.

CULLY

Okay.

SUMMER

I’m Summer Ryan. I’ve modeled, acted and sung for years. All my life really. I just, I love the entertainment business and am really looking for, well, my springboard. Hopefully this is it. Oh, and I have a boyfriend of two years. He’s an actor too.

Katie rolls her eyes.

CULLY

Did he audition for me?

SUMMER

No. He’s in a play right now in London.

CULLY

Nice. Nick, go ahead.

NICK

Well, I’m Nick Bishop. I too have modeled extensively as well as act and sing. I have acted since early childhood...

ASHLEIGH

No shit.

Nick looks at Ashleigh.

NICK

Excuse me. I’m trying to speak here.

ASHLEIGH

I wish you wouldn’t.

CULLY

All right now Ashleigh, none a’ that. Keep going Nick.

NICK

I’m single. I devote my life to my career and really have no time for a girlfriend.

ASHLEIGH

Oh man. Whatever.

Tim smiles.

NICK

Cully, if this is going to keep up I’m not sure this is...

CULLY

It’s all right. Your characters hate each other. Katie?

KATIE

Oh. Well my name’s Katie Coursin. I’m not an actress. I bullshit my friends all the time, and my friend Raya saw an ad for this audition an said she’d give me a hundred bucks if I got a role.

CULLY

Okay.

KATIE

I mean I’m glad I did. I’m gonna’ go all the way with it. I just, I guess I’m hoping for a little leeway, this being my first time.

CULLY

I’m sure you’ll be fine. Tate?

TATE

Yeah okay. My name’s Tate Cole.

MICHAEL

Wait a minute. I knew I recognized you. I saw you fight in San Jose didn’t I?

TATE

Yeah, you could have. I fought Bing Cook in San Jose.

MICHAEL

That’s right. Second round knockout with a wheel kick to the cheek.

TATE

Yeah, well those days are done. I tore my meniscus an’ gave it up.

MICHAEL

That’s too bad man. You were brutal in there. Made my ex-girlfriend throw up.

TATE

Wow, nice. Well, so now I’m giving acting a try. Still hoping it pans out.

CULLY

There we go. Ashleigh, go ahead.

NICK

Do we have to hear this?

ASHLEIGH

Don’t think I won’t kick you in the nuts.

Nick turns to Cully.

NICK

Did you hear that?

ASHLEIGH

Hey, your mom’s not here shitbird.

CULLY

Enough you two, save it for rehearsals, huh?

ASHLEIGH

Sorry Cully. I know it’s not very professional. My name’s Ashleigh Carr. I love acting, The Rolling Stones, and a cold Corona with lime on a hot summer day. Single and couldn’t be happier about it.

CULLY

All right Michael, last but not least.

MICHAEL

I’m Michael Cohlman. Mike is fine. I’m playing Scott. An’ I guess I’m like the rest a’ you guys. I really have a great time acting an’ would love to someday tell my boss to take his flashy tie an’ shove it up his ass. And I’m uh, happily single.

CULLY

And there we are. Just the ten of us like a happy family. Almost. You all want to open to the first page of the script? I’ll read the action.

Everyone opens their scripts. Cully begins to read.

CULLY

Fade in. Interior bar, day. Scott Walker, a male in his mid twenties, sits reading a newspaper...

CUT TO: INT. HALLWAY - DAY

The cast walks out of Cully’s office. Cully and Tim follow.

CULLY

Hate to re-iterate, but next Friday, that’s the nineteenth, John will pick you all up in his van for the drive to La Honda. Eight a.m. or so. Make sure you have a week’s worth of clothes and toiletries. Thanks again everyone. I think we have a hit on our hands. I’ll see you Friday.

Ashleigh and Michael walk out ahead of everyone else. Michael whispers to Ashleigh.

MICHAEL

Hit my ass. What a piece of shit.

ASHLEIGH

No kidding.

They walk out.

CUT TO: EXT. STREET - DAY

Ashleigh and Michael walk out of the San Francisco office and onto the sidewalk. The rest of the cast members aren’t far behind. Michael turns to Ashleigh.

MICHAEL

You wanna’ go for a Corona? I’m a Guinness man myself, but I could definitely go for one.

ASHLEIGH

I wouldn’t mind. Sure.

CUT TO: INT. BAR - DAY

Michael and Ashleigh sit across each other in a dimly lit bar. Michael sips his Guinness. Ashleigh drinks her cold Corona.

MICHAEL

I can tell you’re not too fond of that Nick.

ASHLEIGH

How could you tell? He’s an arrogant shitbag.

MICHAEL

You don’t know him from somewhere else do you?

ASHLEIGH

No, but I can tell. It doesn’t take much for me. I like deep down to earth people. Not pricks with small dicks and too much bad cologne. Premadonna.

MICHAEL

Interesting cast huh?

ASHLEIGH

I’d say. And how about Katie? Never acted, auditioned on a bet. I think I’m gonna’ like her.

MICHAEL

How about me?

ASHLEIGH

You seem cool, like a gentleman. Strange question for you, do you smoke?

MICHAEL

What, cigarettes?

ASHLEIGH

No, pot.

MICHAEL

From time to time. Party nights, stuff like that. You?

ASHLEIGH

Yeah. Well, my folks were taking me to Dead shows when I was six.

MICHAEL

Hippies.

ASHLEIGH

Yeah hippies. Rubbed off a little.

MICHAEL

What do you think of this film? The week of rehearsal in La Honda seems pretty unique.

ASHLEIGH

It’s a little freaky. Maybe it’ll help the film. That script of Cully’s really is the pits.

MICHAEL

Same old bullshit. Cabin trip, people start getting killed, blah blah blah. How about a little innovation?

ASHLEIGH

And how about all going up in one van? I don’t really like being trapped, not having my car, you know?

MICHAEL

Really. I think he just wants us all in the right mood. I mean, it’s the guy’s first feature.

ASHLEIGH

You can tell.

Michael drinks down the rest of his Guinness. Ashleigh finishes her Corona.

MICHAEL

So I guess I’ll see you Friday morning huh?

ASHLEIGH

Friday morning.

FADE OUT.

FADE IN: INT. HOUSE - DAY

Michael brushes his teeth in front of the mirror in his small bathroom. His hair is still wet and he’s shirtless. The doorbell rings.

MICHAEL

Shit.

He spits into the sink. Michael rinses off his toothbrush and puts it back into the small plastic cup next to the sink. He rinses his mouth with running water from the faucet and spits again. He wipes his mouth with a small towel hanging by the bathroom door. He grabs his deodorant from the medicine cabinet hiding behind the bathroom mirror.

MICHAEL

I’ll be right there!

CUT TO: INT. BEDROOM - DAY

Michael walks into his bedroom. He quickly rolls the deodorant into his armpits and tosses it onto his bed. Michael sees a red t-shirt lying on his bed. He grabs it and quickly puts it on. Michael grabs a pair of sunglasses off his dresser. He unzips his backpack and throws the deodorant in. He heaves his over-stuffed backpack onto his shoulder and quickly walks out.

CUT TO: INT. HALLWAY - DAY

Michael walks out of his bedroom, down the hall and to the front door. He opens it. John stands on the front doorstep with his hands in his jean pockets.

MICHAEL

Hey John.

Michael steps onto the front doorstep. He and John shake hands.

MICHAEL

Am I the last one?

JOHN

You are. You ready?

Michael puts on his sunglasses and closes the front door behind him.

MICHAEL

As I’ll ever be.

He smiles.

JOHN

Then let’s go.

CUT TO: EXT. CITY STREET - DAY

John’s van makes it’s way through busy city streets.

CUT TO: EXT. FREEWAY - DAY

The van moves onto a fast moving freeway. The scenery is now lush, with green hills on either side and no signs of city life.

CUT TO: EXT. MOUNTAIN ROAD - DAY

The van now drives up a tight windy road. There are tall redwood trees all around, and no houses can be seen.

CUT TO: EXT. HOUSE - DAY

The van pulls into a cracked, weathered driveway. The ground is covered with leaves and fallen pine needles. The van stops in front of a decrepit, barren, two story house. The paint is chipped and worn, the windows cracked and dirty, and the yard seems unkempt and forgotten. The side door violently slides open. Ashleigh is the first to step out.

ASHLEIGH

Let me the fuck out of here.

She steps onto the cracked concrete. She takes two steps before stopping to look at the monstrosity of a house in front of her.

ASHLEIGH

Are you kidding me?

Nick is the next to step out of the van. He’s quickly followed by Katie, Michael, Tate, Summer, Ayvin and Tim. John opens the driver side door and steps out. Cully opens the passenger door and steps out.

NICK

Well I didn’t exactly want to sit next to you either.

Ayvin looks up at the house.

AYVIN

Oh my god.

KATIE

This is it? This is our set?

CULLY

That it is. Our final cast member.

NICK

Cully, no disrespect or anything. But why can’t we just have rehearsals back in the city? I mean, this place ... I’m just not used to this.

CULLY

Nick, I want you guys to be the characters. Really be them. Staying here before the shoot will only help put you in the mindset.

KATIE

Is it haunted?

CULLY

No, Katie. It’s just run-down. My family owns it, well, my hard-nosed uncle owns it. It’s just gone to hell over the years. Nobody lives here, and my family doesn’t stay too often.

ASHLEIGH

No shit.

TATE

Is it safe? I mean, I’m not gonna’ be sleepin’, have the floor fall out beneath me.

CULLY

No way. It’s safe. Don’t you think it’s scary?

ASHLEIGH

Absolutely.

TIM

Shall we go in?

CULLY

Let’s.

CUT TO: INT. HOUSE - DAY

The front door opens to Cully’s rusty key. The inside is much nicer, but barren. No television, no telephone. A torn couch sits on a stained rug in the living room on the left. The rustic kitchen is on the right, and a tall staircase leads to the second floor.

CULLY

So here’s how it works. Two bedrooms upstairs, two down here. So I figure boys upstairs, girls downstairs. There are two single beds in each room. Tim and I brought our inflatable mattresses, so we can just crash out here in the living room. And unfortunately there’s only one bathroom, so we’ll have to get up real early or make the showers short. We’ll start rehearsal tomorrow at noon. What am I forgetting?

KATIE

What if we back out?

CULLY

What? Are you thinking of backing out?

KATIE

No. I mean, John has the only car. I’m not backing out, I’m just ... I feel a little trapped.

ASHLEIGH

Me too. Cully, I totally respect you and what you’re doing. It’s just ... a week with strangers in, well, a shit-hole really. This isn’t exactly “Real World” conditions here and we’re doing it for free. It seems like a lot to ask.

CULLY

I know it is. But I’ll make it worth your while. We’ll have fun, I promise. The fridge is stocked with food, beer. I want this to be an experience you won’t ever forget.

Cully pulls out his cell phone.

CULLY

Look, whoever wants out, just say so. I’ll call a shuttle and you’ll be on your way. Can’t afford it? Tell me now before all the shit that’s really costing me starts. I can re-cast.

He looks around.

CULLY

Better right now than after rehearsal.

Everyone stays silent.

MICHAEL

I think it’s great.

CULLY

Thank you Mike.

MICHAEL

Yeah, come on you guys. It’s a week of rehearsal. It’s not fuckin’ boot camp or an asylum or prison or something. It’s a goddamn movie.

AYVIN

Is there a phone here? A landline?

CULLY

Just cell phones. You can use mine anytime you want.

KATIE

They’ll work up here?

CULLY

Pretty sure. Ayvin, please tell me you’re gonna’ stick it out.

AYVIN

I am. My sister though, she wants updates. Check in.

JOHN

Cully, you said the fridge has beer?

Cully smiles.

CULLY

Check it out.

John, Michael, and Tate walk over to the fridge. Nick stands silently.

CULLY

You all right Nick?

NICK

I guess. I mean ... this isn’t me.

TIM

Jesus.

NICK

What?

TIM

You can’t hunker down?

ASHLEIGH

Yeah, he’s used to rough living I’m sure.

NICK

Hey fuck you!

ASHLEIGH

Whoa!

CULLY

Come on now Nick. Expand your mind a little. It’s all for effect.

NICK

Is there at least an iron?

CULLY

Could be.

ASHLEIGH

Hey Mike, will you grab me a beer?

MICHAEL

Of course.

CUT TO: INT. LIVING ROOM - NIGHT

The group of ten sits in a circle in the living room. Nick and Summer sit on the torn couch. The rest of the group sit on the floor. Nick is the only person not drinking and seems stone sober. Cully seems a little buzzed, but isn’t as loaded as the rest of the group. Everyone else seems on the verge of drunk.

MICHAEL

That’s bullshit. You can’t convince me it’s talent.

ASHLEIGH

So how is it bullshit?

MICHAEL

It’s bullshit because nobody I know really likes that stuff.

ASHLEIGH

She’s sold millions of records.

MICHAEL

So what? It’s a trend. It’s not quality, it’s not the same thing.

Michael takes a long gulp of his beer.

TATE

I’m with Michael. I can’t stand that shit. Give me some good hip-hop any day of the week.

MICHAEL

So you’re a hip-hop man huh?

TATE

Fuck yeah. It’s all there is, far as I’m concerned.

MICHAEL

I got a question ... well, an observation I guess.

TATE

Shoot man.

MICHAEL

I’m flippin’ the channels...

He mocks like he’s pushing buttons on a remote control.

MICHAEL

I don’t usually watch MTV. But I’m bored an’ there’s actually videos on so I stop. It’s all hip-hop and I notice everyone is so and so featuring so and so. Like six in a row. Why is that you think?

Tate gulps down his beer.

TATE

Yeah, well the moguls a’ hip-hop know what they’re doin’ man. Especially on the business end.

MICHAEL

So you’re saying it’s marketing. Selling records.

TATE

CDs, yeah. You got it. I mean, it’s not like I know a lot about the business or anything, but it’s a guess.

CULLY

Personal question. Just so I can get a’ feel of movie taste. Favorite horror movie.

He looks around the room.

CULLY

I’ll go first. Nightmare on Elm Street Part One, with a young Johnny Depp getting sucked through a bed. Those Freddy movies made me afraid to go to sleep. Michael?

Michael downs some more beer.

MICHAEL

Horror movie? I don’t know ... I liked Creepshow 2. That wooden indian an’ the goo in the lake that ate those kids.

TATE

An’ the hitchhiker. “Thanks for the ride lady.”

MICHAEL

Right. That’s a good one.

TATE

Hey, Cully, a lot a’ big name actors in those early horror flicks huh? Like wasn’t Laurence Fishburne in Nightmare on Elm Street Three?

CULLY

He was. Patricia Arquette too.

SUMMER

My favorite’s The Exorcist. My parents were watching that when my brother and I were asleep, but I snuck out and watched from the top of the stairs. I couldn’t go back to sleep.

CULLY

Yeah, that’s a lot of people’s favorite.

ASHLEIGH

What exactly classifies a horror movie?

CULLY

Good question.

TIM

Indiscriminate killing.

CULLY

Not necessarily. Freddy killed the offspring of the people who burned him.

KATIE

Yeah, he got a little carried away.

CULLY

Right. So we’ll say, scary movie slash horror movie. ‘Cause there are some great mind-fucks out there that’ll whiten your hair for sure.

ASHLEIGH

What about The Thing?

TATE

Isn’t that sci-fi?

CULLY

But pretty damn scary nonetheless. That counts.

TATE

Well I’m sayin’ Poltergeist. That guy takin’ his face off in the mirror? That movie’s got one freaky scene after another.

KATIE

How about the moving meat? I went vegetarian for two months after seeing that.

CULLY

So two for Poltergeist?

KATIE

Loved it, but I gotta’ go with An American Werewolf in London. I must’ve seen that twenty times.

MICHAEL

You’ve really never done any acting?

KATIE

None. Well, unless you count the lying to my folks on a regular basis. I could’ve won an oscar for some of those bullshit stories.

MICHAEL

No high school plays huh? Shit like that?

KATIE

You kidding? Those little fuckers ridiculed me enough. I wasn’t about to put myself on display so they could do it in front of the whole fuckin’ school.

ASHLEIGH

I like you.

Ashleigh smiles. They clank their beer bottles together.

CULLY

Ayvin, you have a favorite?

AYVIN

Well, I haven’t seen many. My mom didn’t really let me watch that stuff. I saw Creature from the Black Lagoon in 3-D. That was good. Black and white.

MICHAEL

Have you seen Swamp Thing?

AYVIN

No.

MICHAEL

That’s a good one.

CULLY

Wes Craven again. I wonder what his dreams are like. Nick, you have a favorite?

NICK

Horror film?

CULLY

Yeah. Man, you sure you don’t want a beer?

NICK

No. I want to be sharp for tomorrow’s rehearsal.

ASHLEIGH

Jesus Christ. We’re all trying to get to know each other here, having a good time. Why don’t you just put your nose forward and chill the fuck out. One beer isn’t gonna’ kill you reverend.

CULLY

How about a wine cooler?

ASHLEIGH

You gotta’ be kidding me.

CULLY

Sorry man. We’ve got wine, good stuff too. There’s soda, water, whatever else you want.

NICK

I’ll have a water.

Nick walks over to the fridge. He opens it and takes a bottle of water off the rack on the fridge door.

TIM

Nick, favorite horror movie. It’s still your turn.

NICK

Oh right. I don’t know. The Shining?

ASHLEIGH

Wow. Good taste for once.

NICK

That’s it. I’m going to bed.

Nick caps up his water and puts it on the kitchen counter. He stomps up the staircase like a child sent to bed without dinner.

CULLY

Good night Nick.

NICK

Thanks Cully, I’ll see you in the morning.

He closes the right bedroom door.

JOHN

Can I ask to not bunk with him?

TATE

I will. I always like a good challenge.

ASHLEIGH

What a baby.

CULLY

Let’s just move on, huh? John, now I’m really curious about yours.

JOHN

Why’s that?

CULLY

You told me you love horror movies.

JOHN

And I wasn’t saying that just to get the part either.

CULLY

Were you?

JOHN

No. But I love a lot of movies. So, favorite horror movie, probably Halloween. That Michael Myers is as scary as they come. Part One. I wanted to marry Jamie Lee Curtis back then.

MICHAEL

Tim, what about you?

TIM

That’s easy. Texas Chainsaw Massacre. True story. And nothing’s scarier than something that actually happened.

ASHLEIGH

Cully, uh, I hope I’m not totally out of place here. But I’ve got a joint in my bag if anyone wants some.

CULLY

I’ll have to turn away on that. Beer’s okay, some getting-to-know-you drinks; but I don’t really wanna’ hear about drugs on set, you know?

ASHLEIGH

So you don’t smoke then.

CULLY

I don’t. But it’s all right. I’m not some right wing super conservative or anything. I won’t keep it from you tonight, we haven’t started rehearsal yet. Step on out front if you wanna’ smoke. I think I’m gonna’ get my bed ready anyway.

ASHLEIGH

Anyone?

MICHAEL

Count me in.

SUMMER

Not me. I do that and I’m going to eat and if I eat I’ll get fat and if I get fat I’ll hang myself. I’m going to bed. Thanks for the wine Cully, Tim. I’ll see you all in the morning.

Summer walks to the bedroom on the left hand side down the hall.

KATIE

I could go for a hit or two.

TATE

Me too.

Cully and Tim pull out their folded plastic mattresses and start to inflate them. Ashleigh, Tate, Michael, and Katie walk to the front door. Ayvin sits silently. She sips her beer.

JOHN

I’m going to bed. Michael, hope you don’t mind I get to pick beds.

MICHAEL

I’m sure they’re both fine.

JOHN

Right. Good night you guys.

TIM

See you in the morning John.

John lumbers upstairs.

CUT TO: EXT. HOUSE - NIGHT

Michael, Ashleigh, Tate, and Katie stand in a small circle under the house’s porch light. Ashleigh puts the joint in her mouth. She pulls a red lighter from her right pocket. She lights the joint and takes a hit. She passes it to Michael before blowing out the smoke.

KATIE

That Nick seems kinda’ full of himself doesn’t he?

ASHLEIGH

He thinks he’s the next fuckin’ Brad Pitt.

TATE

Yeah, but he’s good for the role. Blair, man that guy’s a putz in the script.

KATIE

Yeah, well the script sucks.

MICHAEL

Writer’s right on the other side a’ that door Katie.

ASHLEIGH

He can’t hear that.

KATIE

Yeah, he can’t hear it.

ASHLEIGH

And it does suck.

They continue to pass around the joint.

MICHAEL

I know.

TATE

Damn, it’s better than I could do. I can’t write for shit.

Ayvin opens the front door and steps out of the house. She closes the door behind her. She smiles at the group.

TATE

Well hello.

Tate smiles. Ashleigh holds out the joint.

ASHLEIGH

Want some?

AYVIN

Well, I’ve never done it before.

KATIE

Oh, we gotta’ break you in girl.

AYVIN

So how do I? Just suck in?

ASHLEIGH

Suck in, hold it a few seconds, and let it out. Simple as that.

Ayvin takes a drag. She coughs for a few seconds after blowing out the smoke. She hands the joint to Tate.

AYVIN

Wow.

ASHLEIGH

Give it a minute.

Michael looks up at the house for a moment.

MICHAEL

Man, is this house freaky or what?

KATIE

Big time. I don’t think I’ll sleep well tonight.

ASHLEIGH

Have a few more beers.

KATIE

Really. I just don’t want a hangover tomorrow.

ASHLEIGH

Have some aspirin and a glass of water before you pass out. You’ll be fine.

TATE

I’m gonna’ head on in you guys. Thanks for the late night high Ashleigh.

ASHLEIGH

Anytime.

MICHAEL

See you tomorrow man. Day one.

TATE

Right. Night all.

He smiles again at Ayvin. She smiles back. Tate walks in and closes the door behind him.

MICHAEL

What do you think of the script Ayvin?

AYVIN

Well, I don’t know. I mean, I didn’t really expect much with a title like “Bloody Summer”. It’s not Hemingway.

Ashleigh takes a drag on what’s left of the joint.

AYVIN

Can I have another one?

ASHLEIGH

But of course.

Ashleigh hands the roach to Ayvin. Ayvin takes a hit, this time not coughing.

KATIE

When this is all said and done I really hope it gets a distributor. I don’t wanna’ waste my time with that script.

ASHLEIGH

Me neither.

MICHAEL

All right ladies.

ASHLEIGH

Going in?

MICHAEL

‘Til tomorrow.

ASHLEIGH

Pussy.

MICHAEL

Hey now.

Ashleigh smiles. Michael smiles back.

MICHAEL

Good night girls.

ASHLEIGH

Good night guy.

Michael walks inside.

KATIE

Shit, I might as well try.

ASHLEIGH

Going in too?

KATIE

Well, I’m starting to see double. Usually means pillow time for Katie. See how far I can get.

ASHLEIGH

If you must. Tomorrow’s another day huh?

KATIE

Rehearsals. Jesus.

ASHLEIGH

See you bright and early.

KATIE

I don’t know how bushy my tail’s gonna’ be.

ASHLEIGH

I’m sure there’ll be coffee.

KATIE

Let’s hope. Night.

Katie walks in.

ASHLEIGH

More?

AYVIN

Maybe one.

Ashleigh re-lights the stub of the joint. She hands it to Ayvin. Ayvin takes a hit and passes it back to Ashleigh, who also takes a drag.

AYVIN

Ashleigh, can I ask you something?

ASHLEIGH

Sure.

AYVIN

How many films have you done?

ASHLEIGH

Not many. A few shorts. Really small roles in a couple of features. All indies.

AYVIN

Have you ever done a film like this before?

ASHLEIGH

Like what? A horror movie?

AYVIN

Well, you know, the rehearsals. No car, no way out without someone else taking you.

ASHLEIGH

No. I know, it’s not normal. But I can understand it, why Cully’s doing it that way.

AYVIN

Yeah. It’s just...

ASHLEIGH

Just what?

AYVIN

I have this feeling. I’m not sure I like it. Nerves maybe.

ASHLEIGH

That’s something else about getting high Ayvin. Paranoia.

CUT TO: INT. BEDROOM - NIGHT

Michael sleeps soundly in his small single bed. Suddenly, a disturbing sound, a shortened moan or howl can be heard outside. Michael’s eyes flutter open. He sits up slowly and looks around the room. Michael looks at John’s bed. It is disheveled and empty. Michael stares at the bed for a moment before turning and going back to sleep.

CUT TO: INT. KITCHEN / LIVING ROOM - MORNING

Michael steps down the stairs in his blue jeans and white t-shirt. Cully and Nick spread cream cheese on bagels in the kitchen. Ayvin, Katie, Summer, Tim and Tate drink coffee in the living room.

CULLY

Hey Michael. Morning. Ready for day one?

MICHAEL

Sure.

CULLY

Bagels and coffee are a good way to start.

MICHAEL

They are.

CULLY

John still asleep?

MICHAEL

He’s not down here?

CULLY

Uh, uh. He was out of bed?

Michael nods his head. Cully shrugs.

CULLY

Shower maybe.

MICHAEL

Right. Must be. He wasn’t in his bed last night though.

CULLY

What’s that?

Tim stands up and walks to the kitchen.

TIM

What?

MICHAEL

Yeah, well ... I don’t know. I was asleep, somethin’ woke me up. I don’t know if it was a coyote or what. Must’ve been pretty damn late, whatever it was. I sat up an’ John wasn’t in his bed. I figured he came downstairs for water or the bathroom or somethin’ so I went back to sleep.

TIM

There are coyotes here from time to time.

MICHAEL

And when I woke up this morning an’ was the only one in the room, I just figured he was down here.

Ashleigh steps out of the bathroom with a wet head of hair and clean clothes on. She puts in her earrings.

CULLY

Were you just showering in there?

ASHLEIGH

Yeah.

CULLY

Alone?

ASHLEIGH

I would’ve liked to have George Clooney with me, but no such luck this time.

TIM

Fuck.

MICHAEL

Fuck what? You think John took off?

CULLY

Has anyone seen John this morning?

The group all look at each other. Everyone shakes their head no.

CULLY

When was the last time anyone saw John?

MICHAEL

He was in bed when I went to sleep last night. You guys didn’t hear him come downstairs at all?

CULLY

I was out. First thing I heard was Nick this morning.

TIM

I sleep like a stone. A stampede of buffalo could’ve run through here, I’d probably have slept through it.

CULLY

None of you girls heard anything.

The girls all shake their heads no. Tate stands up and walks to the front door. He opens it wide. The rest of the group come to look. They see John’s van still parked in the driveway.

TATE

Van’s still here.

KATIE

So he didn’t leave.

CULLY

He probably got up early and went for a hike or something.

Cully looks at his watch.

CULLY

I told you guys noon and it’s eleven-thirty. We can panic if he’s not here in half an hour.

AYVIN

Why would he leave?

MICHAEL

He wouldn’t. Much less without his van. He knows we all need him.

TATE

We have a whole movie to shoot. I mean, this is just rehearsals.

CULLY

Everyone relax. Like I said, I’m sure he’s just on a hike.

NICK

And if he’s not?

CULLY

Then we have a problem, okay?

MICHAEL

Even if he left, changed his mind. There’s no way he’d leave on foot, I mean that’s insanity. He’s gonna’ walk back to the city?

CULLY

Exactly.

AYVIN

What if it’s something else?

TIM

Like what?

AYVIN

Well Mike said he thought he heard a coyote. Maybe John was attacked. Could there be bears up here?

ASHLEIGH

Mountain lions?

CULLY

Not here.

TATE

Why don’t we just look for the bastard?

SUMMER

Look for him? Where, in the woods?

TATE

Yeah. Hey, if he did get attacked or somethin’ he could be hurt. He might need an ambulance. We’re just gonna’ sit here an’ hope all is well? Fuck that, I’m going out there.

MICHAEL

I’ll go with you Tate.

CULLY

All right. I guess it’s a good idea.

NICK

I’m staying.

ASHLEIGH

Why am I not surprised you said that?

NICK

Someone has to stay. You all are overreacting. He’s gonna’ stroll in here at five ‘til noon and we’ll have to wait another hour for you all to get back.

SUMMER

Cully, I don’t think I wanna’ go either. I’m afraid of getting lost out there.

CULLY

Then you two stay.

ASHLEIGH

Well I’ll go.

AYVIN

Me too.

KATIE

Me three.

CULLY

How about this. We can go in groups. We’ll cover more ground if we split up. Tim and I will head uphill. Tate, why don’t you, Ayvin, and Katie go down. Michael and Ashleigh, you two can go left from the house and circle around. Everyone have a watch or their cell phone? Somethin’ can tell time?

TATE

Yeah I have my cell.

ASHLEIGH

Me too.

CULLY

And I have both. We have each other’s numbers, so we can call if we need to. We’ll search an hour and meet back here. Nick, if John comes back, you call me right away, okay?

NICK

Of course.

CULLY

Summer, make sure he doesn’t drink all the bottled water, huh?

He smiles. Summer smiles back.

SUMMER

Will do.

CULLY

Okay then. In Tate’s words, let’s find that bastard.

CUT TO: EXT. HOUSE - DAY

Tim, Cully, Tate, Ayvin, Katie, Michael and Ashleigh step out the front door. They walk past John’s van and begin calling his name right away. Cully and Tim turn right and walk up through the trees. Michael and Ashleigh make a left as Tate, Katie and Ayvin start down the dirt road.

TATE

John! Where the fuck you at man?

KATIE

What do you guys think happened?

TATE

Who knows? Maybe he slipped, took a dive downhill. Crazy shit like that happens all the time.

AYVIN

But why would he go out in the first place?

TATE

Fresh air, exercise. Who fuckin’ knows.

KATIE

John!

All three yell his name.

CUT TO: EXT. WOODS - DAY

Michael and Ashleigh walk through the woods. They yell John’s name.

MICHAEL

Are you freaked out yet?

ASHLEIGH

Are you kidding? I was freaked out the second I saw that house.

MICHAEL

Not exactly the Hilton.

ASHLEIGH

I gotta’ get out of independent film, fucking off, off broadway plays an’ do some mainstream stuff. This nickel and dime shit blows.

MICHAEL

You’re a real firefly aren’t you?

ASHLEIGH

You mean firecracker?

MICHAEL

No, not loud or anything. Mesmerizing.

ASHLEIGH

Are you hitting on me?

MICHAEL

I don’t know. Would your boyfriend get mad?

ASHLEIGH

Single, remember?

MICHAEL

Oh, right. I guess I’m just surprised.

ASHLEIGH

Yeah, well, I’m not one of those girls who needs a guy on her arm to have an identity.

MICHAEL

Independence is pretty nice.

ASHLEIGH

Yeah, ‘cause dependence sucks. Love isn’t supposed to be like heroin.

MICHAEL

Wait. Stop a second.

Michael looks straight ahead.

MICHAEL

Do you see that?

ASHLEIGH

What am I looking at?

MICHAEL

A boot.

CUT TO: INT. HOUSE - DAY

Summer sits on the short, torn couch reading a paperback romance novel. Nick studies his script. He looks up at Summer.

NICK

Hey Summer, do you have a cell phone?

SUMMER

Yeah, why?

NICK

I have to go to the bathroom. If John comes back can you call Cully and let him know? I’ll be fifteen minutes max.

Summer looks back to her book.

SUMMER

Sure.

Nick walks into the bathroom.

CUT TO: EXT. WOODS - DAY

Michael and Ashleigh stare down at a large brown boot covered in blood.

MICHAEL

You better call Cully.

ASHLEIGH

Is that John’s?

MICHAEL

I think so.

Ashleigh pulls out her cell phone. She turns it on, but it shuts off immediately.

ASHLEIGH

No reception.

MICHAEL

Fuck. Cully!! Tate!!

ASHLEIGH

Cully!!

CUT TO: INT. BATHROOM - DAY

Nick sits on the toilet. He reads his script.

NICK

The Mountain Man’s out there Scott. I can’t just sit here and wait for him to...

Nick grunts. We hear something splash in the toilet.

NICK

...to kill me.

A shortened scream comes from the living room, followed by a loud thump. Nick drops his script and quickly looks at the door. His eyes widen.

CUT TO: EXT. WOODS - DAY

Tate, Katie, and Ayvin hear Michael and Ashleigh yelling in the distance.

KATIE

Is that Michael and Ashleigh?

AYVIN

It sounds like it.

TATE

Put on your running shoes ladies.

They run towards the sounds of Michael and Ashleigh’s voices.

CUT TO: EXT. WOODS - DAY

Michael stops yelling. His hands drop to his sides. Ashleigh stares at a tree in the distance.

ASHLEIGH

Michael.

MICHAEL

Yeah.

ASHLEIGH

What’s that? On the other side of that tree?

Michael looks. He sees a peach finger peeking up from the left of a large redwood. Tate, Katie, and Ayvin run up to Michael and Ashleigh. They turn quickly.

TATE

Easy guys, we heard you yell. Cell phone’s not working?

MICHAEL

No reception. Should’ve known really.

TATE

What you find?

Cully and Tim run from the top of the hill to the rest of the group.

CULLY

I tried calling. No reception.

ASHLEIGH

We know.

The group all look down to the bloody boot.

CULLY

Is that John’s?

MICHAEL

I’m pretty sure. That’s not all.

Michael points to the distant tree.

CULLY

What is it?

MICHAEL

I don’t know.

TATE

Girls, why don’t you wait here huh?

Tate, Michael, Cully, and Tim slowly walk to the tree. They look to the ground just in front of the tree and see John’s body, somewhat covered in leaves. His left boot is missing. He’s dead, with a gash in his stomach and blood covering his shirt and the bottom part of his neck. His eyes are wide open. The men all gasp at the sight.

MICHAEL

Holy... fuck.

Tate, Michael, Cully, and Tim stare for a moment.

ASHLEIGH

What is it? Is it John?

Tate, Michael, Cully, and Tim slowly turn around. They walk back toward the girls. All of them seem to be in a state of shock or disbelief.

MICHAEL

It’s John.

AYVIN

Is ... is he okay?

TATE

Hardly.

KATIE

He’s dead?

CULLY

Yeah, he’s dead.

ASHLEIGH

What happened?

CULLY

We don’t know, Ashleigh. Bear. Fuck, a cougar or something. His stomach’s sliced open. There’s a lot of blood.

KATIE

We have to call the police.

CULLY

With these?

He holds up his cell phone.

CULLY

Reception up here is for shit.

MICHAEL

Are you sure there’s no landline?

CULLY

Yeah, I’m sure.

Nick screams from the house.

NICK

Help! Somebody fucking help!!

MICHAEL

You gotta’ be kidding me.

The group runs back to the house.

CUT TO: EXT. HOUSE - DAY

The front door is wide open. Blood trails across the deck of the house. The group run to the door. They stop as they see the blood. They slowly walk in.

TATE

What the fuck?

Nick stands shocked in the center of the living room. Blood is puddled in the center of the room, with a trail leading to the front door.

NICK

I... I was just in the bathroom. I...

CULLY

What happened?

NICK

I... I heard something.

MICHAEL

What do you mean? Heard what?

Nick stands silent. He shakes as he stares at the blood.

ASHLEIGH

Speak up shitbag!

Nick looks up.

NICK

Summer was out here. I heard, I... I don’t know. A scream. A short yell, and a thump or a crack. I thought, I hoped maybe, she dropped something.

KATIE

This is crazy.

TATE

No shit.

ASHLEIGH

We have to get the cops out here.

MICHAEL

Without a phone.

KATIE

Oh man Cully, I’m really startin’ to regret takin’ that bet.

Cully pushes hard on his cell phone’s talk button.

TIM

Nothing?

Cully shakes his head.

ASHLEIGH

So what do we do? Cully, this shit is your responsibility and you know it. I’m gonna’ need to see some step up action on your part pretty damn soon. We’ve got a fucking dead actor propped against a tree out there, and enough blood in here to fill a milk carton!

CULLY

I know, Ashleigh, I just ... I’m just a filmmaker. This isn’t the kind of thing I really prepared for!

TATE

How could you?

MICHAEL

The van.

CULLY

What?

MICHAEL

John’s van. One of us goes back out there. I bet you his keys are in his pocket. We drive the van into town and get the cops.

TATE

We have to find Summer.

NICK

There is no way, I’m walking around out there with, with, God knows what! No, I’m staying right here with the door locked!

ASHLEIGH

You fuckin’ pussy! Someone’d be out there lookin’ for you, you selfish prick.

MICHAEL

Look, fuck this. I’ll go out there. I’ll fuckin’ search John’s pockets. ‘Cause if we don’t get the cops up here a, s, a fuckin’ p, you might not have a cast to shoot your goddamn horror movie, Cully. And you’ll have lawsuits up your ass.

ASHLEIGH

I’ll go with you Mike. Only some of the boys here have any balls, I might as well wear a pair.

MICHAEL

Then let’s go. Tate, you up for lookin’ for Summer?

TATE

I’m not gonna’ pretend she’s not in trouble. Yeah, I’ll go out there.

NICK

Can’t you see she’s fucking dead? You think she got a bloody nose?

AYVIN

I’ll go with Tate.

Tate looks at Ayvin.

TATE

Hats off girl.

CULLY

Fine, so we’ll stay. We’re probably better off together.

Michael, Ashleigh, Tate, and Ayvin walk to the front door.

ASHLEIGH

Great fucking location choice, Cully. Nice scouting.

They walk out. She slams the door behind them.

CUT TO: EXT. HOUSE - DAY

Tate, Michael, Ashleigh, and Ayvin stand just outside the house.

MICHAEL

Tate. You see anything, you get attacked, somethin’ comes at you, you scream at the top a’ your lungs an’ we’ll come runnin’.

TATE

Ditto man.

The two pairs head their separate ways.

CUT TO: EXT. WOODS - DAY

Michael and Ashleigh slowly walk up to John’s body. Ashleigh sees him for the first time. She covers her mouth and turns away.

ASHLEIGH

Oh my god.

MICHAEL

Poor guy.

Michael bends down. He searches through John’s pockets. He goes through the two corner pockets of John’s shirt, then down to his left and right pants pockets. He comes up empty handed.

MICHAEL

Fuck. Nothing.

ASHLEIGH

I hate to say this, but what about his back pockets?

MICHAEL

Oh. Right.

Michael pushes John’s body. John slumps forward, his head hitting the dirt in front of him.

MICHAEL

There’s nothing there. I can see they’re empty.

ASHLEIGH

Maybe they’re in his bag back at the house.

MICHAEL

Hopefully.

Ashleigh looks at the tree opposite John’s body. She sees a glint of silver in the tree’s branches.

ASHLEIGH

What the...?

Michael looks ahead.

MICHAEL

What?

ASHLEIGH

I don’t know. Something.

They both stare for a moment, but see nothing.

MICHAEL

Come on. We need those keys.

They turn around and quickly head back toward the house.

CUT TO: INT. HOUSE - DAY

Cully, Nick, Katie, and Tim sit silently in the living room.

NICK

I can’t believe this is happening. John’s dead?

Cully nods his head.

NICK

How could that happen?

CULLY

I wish I had an answer for that Nick.

TIM

I’m going out there.

CULLY

What?

TIM

We brought those people here Cully. This is our responsibility. How wrong is it to let our cast go out there with whatever the hell is doing this?

CULLY

Tim, it isn’t smart.

KATIE

You fuckin’ pussy.

CULLY

What?

KATIE

You heard me. You write a slasher movie with no moral, and now that it’s unfolding in front of you you’re like a dog with it’s tail between it’s legs. At least your producer has the guts to walk out that door and deal with this. But you? You’re not volunteering at all.

CULLY

Katie, this isn’t my fault. It’s not.

TIM

You all just stay here, all right?

Tim walks out the front door.

CULLY

Fuck. Katie, you think I want this, is that it?

KATIE

That’s not at all what I think. But I do think this “rehearsal on set” idea of yours is suddenly a bloodbath. Open your eyes.

CUT TO: EXT. WOODS - DAY

Tate and Ayvin follow Summer’s blood trail from the house. It leads down, past the van and into the thick of the woods. They both stare into the woods.

AYVIN

This doesn’t look good.

Tate puts his hands to the sides of his mouth.

TATE

Summer! Summer!!

AYVIN

You didn’t bring a gun did you?

TATE

I wish. There was a butcher knife back at the house I think.

AYVIN

Maybe we should ... get something. Before we go out there.

TATE

Right. Yeah, good idea.

They turn around and walk back toward the house.

CUT TO: EXT. WOODS - DAY

Michael and Ashleigh jog toward the house. They reach it and knock on the door. Cully opens it.

CULLY

Any luck?

ASHLEIGH

None. We’re gonna’ check his bag.

Cully and Ashleigh scramble upstairs.

CUT TO: INT. HOUSE (UPSTAIRS) - DAY

Cully and Ashleigh walk in one of the upstairs bedrooms. They find John’s duffel bag. They scour through his clothes and toiletries. They eventually dump the bag’s contents onto the floor. No keys.

MICHAEL

Fuck. Fuck, fuck, fuck!

ASHLEIGH

What now?

MICHAEL

Cully, try your cell again!

CUT TO: INT. HOUSE (DOWNSTAIRS) - DAY

Cully pushes the green button on his cell phone.

CULLY

Nothing.

Someone knocks on the front door. Cully walks to it and opens the door. Tate and Ayvin hurriedly walk in. Ashleigh and Michael walk downstairs.

ASHLEIGH

Summer?

Tate looks up.

TATE

The blood trail leads to some seriously thick woods. I’m not going out there without a weapon.

Tate walks into the kitchen. He yanks open one of the kitchen’s drawers. The silverware rattles as the drawer slams open. Tate rummages through for a butcher knife.

CULLY

Did you see Tim?

ASHLEIGH

Tim? He’s not here, where’d he go?

CULLY

He went out there to look for you guys.

A howling scream can be heard from outside. A scream of pain in the distance. Everyone in the house hears it and freezes.

AYVIN

Oh my god.

MICHAEL

Tate, please tell me you know how to hot wire a van.

TATE

Wish I could bro.

Tate finds a long butcher knife. He pulls it out of the drawer and looks at it.

AYVIN

Are you going back out there?

TATE

This ain’t sittin’ around time. It’s fightin’ time now.

Tate opens the front door and walks out.

MICHAEL

Tate! Fuck.

ASHLEIGH

What now?

MICHAEL

Cully, how can there not be a fuckin’ phone here man?

NICK

I don’t want to die.

KATIE

And we do?

CULLY

The cell should work! The fucking cell phone should work!

ASHLEIGH

But it doesn’t! Mike, what do we do?

MICHAEL

I’m going out to the van.

KATIE

What for?

MICHAEL

Maybe the key’s in the ignition, I don’t know.

ASHLEIGH

I’m going with you.

Michael and Ashleigh walk to the front door. Michael opens it. They step out slowly and look around.

MICHAEL

Come on.

They quickly walk to the van. Michael pulls on the passenger door handle. It’s locked. Ashleigh pulls the driver door open.

ASHLEIGH

Mike!

CUT TO: INT. HOUSE - DAY

Nick looks ill. His face is white and he shakes subtly. He walks over to the kitchen sink. A small window is located just above the chrome of the faucet. Nick runs the water. He splashes his face. He leans up and looks out the window. A masked face briskly walks by, peering in at Nick.

NICK

Aaaahh!!!

Nick jumps back.

CULLY

What the fuck?

KATIE

What is it?

Nick is in shock.

NICK

A man ... a, fuck ... a man walked by. He ... he looked at me. I saw him. I swear, I saw him. He had a mask on ...

KATIE

So it’s not a bear.

AYVIN

He can’t be out there alone.

Ayvin runs out the front door.

KATIE

Ayvin!

CUT TO: EXT. HOUSE - DAY

Ayvin runs out the front door past Michael and Ashleigh in the van. Ashleigh turns around.

ASHLEIGH

Ayvin, where are you going?!

Ayvin runs into the woods.

MICHAEL

Anywhere?

ASHLEIGH

What?

MICHAEL

The keys.

ASHLEIGH

No.

MICHAEL

Check the visor.

Ashleigh opens the visor. A spare key drops out.

ASHLEIGH

Yes!!

MICHAel

Fuckin’ A!!

CUT TO: INT. HOUSE - DAY

Nick walks slowly to close the front door. He’s still in a slight state of shock. Michael sees him and yells.

MICHAEL

We got the key!

Nick’s eyes widen with hope. He walks to the front door.

NICK

We have to go!

Nick rushes to the van.

NICK

I saw a man!!

Suddenly from behind the van, the man in a skin-colored mask runs up behind Nick. He holds a bloody old-fashioned logger’s axe splattered with blood. He swings it into Nick’s back. Nick gasps. The man tears out the axe as Nick falls to the ground.

MICHAEL

Nick!!

The man quickly runs back to the side of the house.

CUT TO: EXT. WOODS - DAY

Ayvin runs feverishly through the woods.

AYVIN

Tate!! Tate!

She suddenly drops to the ground. Lying next to her is Tate. He’s yanked her down into the brush. He gives her a hush sign, putting his finger to his lips.

TATE

Sshhh. Look out there. Straight ahead.

Ayvin looks up. She stares for a moment.

AYVIN

I don’t see anything.

TATE

Look hard.

Ayvin again stares.

AYVIN

What is it?

TATE

There’s something metal in the hole of that tree.

CUT TO: INT. VAN - DAY

Michael puts his hand on his forehead.

ASHLEIGH

Oh my god.

MICHAEL

Ashleigh, you have to go. Start up this van right now.

Ashleigh puts the key in the ignition. Both Michael and Ashleigh are now terrified, but desperately try to stay calm. The van starts up. Michael opens the door.

ASHLEIGH

Where are you going?

MICHAEL

Nick.

Michael rushes out to Nick’s body. Nick shakes and sputters blood.

CUT TO: INT. HOUSE - DAY

Cully stares out as Michael leans Nick up by the back of his head.

KATIE

Oh god.

Michael looks into the house at Cully.

MICHAEL

Cully! Get the fuck out here and help me!

Cully, with eyes wide and fixated, walks to the door and closes it. He locks it.

KATIE

Cully!

CUT TO: EXT. HOUSE - DAY

Michael still leans Nick up.

MICHAEL

Cully!! God damn it!

Michael looks down at Nick.

NICK

Michael. Hold me, Michael. I’m ... I’m terrified.

Nick continues to shake. Blood pours from his mouth.

MICHAEL

You’re gonna’ be all right Nick. We got the van started, you hear that? Ashleigh’s gonna’ drive you to a hospital.

NICK

She is?

MICHAEL

You bet. You ...

Nick dies. Michael bows his head. Ashleigh screams.

ASHLEIGH

Michael!!

Michael looks up. The man in black stands next to the house. He wipes the blood off the axe’s blade with his sleeve. Michael puts down Nick and stands up.

MICHAEL

Get the fuck out of here Ashleigh! Drive to the cops!!

He takes a few steps back as he looks at the man in black.

MICHAEL

Come and get me you piece of shit.

Michael turns and bolts into the woods. The man in black chases after him.

CUT TO: INT. VAN - DAY

Ashleigh shifts the van into reverse. She backs up and stops quickly. When she stops, a small handgun slides forward from beneath the driver’s seat. She looks down at it.

CUT TO: INT. HOUSE - DAY

Cully stands facing the door.

KATIE

Cully! What the fuck are you doing?!

Cully turns around.

CULLY

Locking us in. It’s not safe.

KATIE

No shit! They got the van going! I wanna’ get the fuck out of here!

CUT TO: EXT. WOODS - DAY

Tate and Ayvin continue to stare at the tree. They lie still.

AYVIN

Something metal?

TATE

I saw it glisten.

AYVIN

What do you think it is?

TATE

I don’t know.

CUT TO: EXT. WOODS - DAY

Michael runs desperately. He turns around and sees the man in black is not following him. He slows down.

MICHAEL

What the ... where are you motherfucker?

He stops running.

CUT TO: INT. VAN - DAY

Ashleigh looks down at the gun at her feet. She grabs it quickly and jumps out of the van. She runs up to the house and bangs on the door. She holds the gun in front of her as she glances from side to side anxiously.

ASHLEIGH

Cully! Cully open the fuckin’ door!

CUT TO: INT. HOUSE - DAY

Cully faces the door. Ashleigh’s pounding is loud and echoes through the house.

KATIE

Cully, open it!

Cully looks at Katie before he unlocks and opens the door. Ashleigh runs inside. She slams the door closed and locks it.

ASHLEIGH

Cully, what the fuck are you doing?

Cully looks at the gun.

CULLY

Where’d you get that?

ASHLEIGH

John’s van.

KATIE

Is Nick dead?

ASHLEIGH

Yes. Cully, you and Katie have to take the van and get the cops.

CULLY

What?

ASHLEIGH

I’m going out there. I have to fucking shoot this son of a bitch.

KATIE

Ashleigh ... is it loaded?

Ashleigh checks the gun. It is.

ASHLEIGH

Yeah. Don’t worry, I’ve shot one. My dad was a marine.

CULLY

Then go. We’ll take the van.

KATIE

We’ll bring help Ashleigh.

ASHLEIGH

You’d better.

Ashleigh runs out the front door. Cully and Katie quickly follow.

CUT TO: EXT. WOODS - DAY

Tate and Ayvin lay silent on the ground.

TATE

Stand up.

Ayvin and Tate slowly stand. They look all around themselves through the trees.

TATE

Let’s go.

AYVIN

Tate, what if it’s a gun?

TATE

It’s not moving. It’s not a person Ayvin.

They begin to walk slowly towards the tree. They hear a crunch of leaves behind them in the distance. Tate turns slowly. The man in black runs their way.

TATE

Fuck! Ayvin run!

They run quickly through the woods. The man in black chases with determination. Tate and Ayvin reach a small, rusty shed.

TATE

Quick!

Tate yanks Ayvin’s arm. He swings open the shed’s door. Tate and Ayvin step inside the small metal shed and slam the door closed.

CUT TO: INT. SHED - DAY

Tate pushes over the small metal lock. He looks around for a light switch. A string dangles from a bulb on the close ceiling. Tate yanks it and the light pops on. The shed is nearly empty, with remnants of planting equipment, manure, and old rusty tools strung about. Summer’s body sits in the corner, her shirt torn and drenched in blood. Her eyes are wide open.

AYVIN

Oh my god!

Tate stares at Summer’s body.

TATE

Son of a bitch.

He walks to Summer. He passes his hand over her eyes to close her eyelids. He stands up. Ayvin stares for a moment before quickly turning away. Tate grabs a small three-pronged hand rake off the cluttered shelf. He turns and hands it to Ayvin. She hesitates a moment before taking it. They hold out their weapons and stare at the door.

CUT TO: EXT. HOUSE - DAY

Cully and Katie slam the van doors closed. Ashleigh jogs into the woods.

CUT TO: EXT. WOODS - DAY

Ashleigh runs into the woods. As the tree patches get thicker, she slows down and steps cautiously. She holds the gun out in front of her.

ASHLEIGH

Michael!

CUT TO: EXT. WOODS - DAY

Michael turns as he hears Ashleigh.

MICHAEL

Ashleigh!

Ashleigh creeps through the woods and finds Michael.

ASHLEIGH

Jesus Michael, where is he?

MICHAEL

I don’t know, he disappeared. Where’d the gun come from?

ASHLEIGH

The van, under the driver’s seat.

MICHAEL

Thank you John.

ASHLEIGH

No shit. Cully and Katie are taking the van. Have you seen Tate or Ayvin?

CUT TO: INT. SHED - DAY

Tate and Ayvin stand side by side facing the door. We hear a slow knock against the metal.

TATE

Come on in here motherfucker! I’ll fuck you up you piece of shit!

The knock continues.

AYVIN

Jesus.

TATE

You son of a bitch! Fuck you!! You hear me?! Fuck you!!

The knock stops.

CUT TO: INT. VAN - DAY

Cully shifts the van into drive. He stares straight ahead.

KATIE

Cully! Foot on the gas man!

CUT TO: EXT. WOODS - DAY

Ashleigh and Michael stand in the woods. They hear Tate yelling from the shed.

MICHAEL

You hear that?

ASHLEIGH

It’s Tate. We have to follow it, Mike. Blow this fucker into a tree.

MICHAEL

You okay with that?

ASHLEIGH

I’m fine. My dad was a marine before he heard The Dead and started taking acid.

CUT TO: INT. SHED - DAY

Tate and Ayvin wait anxiously.

TATE

I have to go out there.

AYVIN

Tate, no. We can just, stay here. He can’t get to us.

TATE

Ayvin, he has an axe. If he wants us, he’ll eventually start choppin’ up this rickety thing like it was a can of soda. I have to go fight him. Go head on. I’ve put guys through tables in the ring. I won’t be no easy kill. He can’t keep killing without a fight. I’m gonna’ snap his fuckin’ neck.

Tate goes to unlock it.

TATE

When I open this door, you wait for my say and just run like hell back to that house. Don’t look back, you hear me?

Ayvin grabs Tate’s arm.

AYVIN

Wait. Kiss me.

TATE

What?

AYVIN

Kiss me.

TATE

Ayvin, you’re real cute babe, but is this really the right time?

AYVIN

Please. It’s just. I might die tonight. There’s so much I haven’t done... and my last kiss. He forced me. It was horrible, I cried for what felt like a day. I just, I don’t want that kiss to be my last one. If I have a last kiss, I want it to be one I asked for. One I actually wanted.

Tate stares at Ayvin. He puts his hands to her cheeks and looks at her. He slowly goes in and gives her a long kiss on the lips. Ayvin closes her eyes and falls into it. They stop.

TATE

Good?

She nods.

TATE

You ready?

She nods again. Tate flips the lock and swings the door open. The man in black stands directly across from the door. Tate faces him.

TATE

Now Ayvin, go!

Ayvin runs out of the shed towards the house. The man in black turns to chase her.

TATE

No you don’t motherfucker, you an’ me are throwin’ down!

Tate tackles him. Tate’s knife slips from his grasp and falls to the ground. He punches the man in black in the kidney hard. The man in black swings his arm and elbows Tate in the face. He swings the back of the axe. It clips Tate’s forehead. Tate falls to the ground. Tate is extremely wobbly and stares at the dirt and leaves in front of him. Blood drips from his forehead. Tate tries to stand but is off balance and quickly falls. Ayvin is gone. The man in black flips the axe around. He stands above Tate and raises the axe.

Suddenly a gunshot echoes through the woods. The man in black gasps and lowers his axe. He looks down at his chest. A hole drips blood from the center of his chest. He drops to the ground dead.

Ashleigh and Michael stand behind him.

MICHAEL

Nice shot.

Ashleigh holds the gun outstretched in fron of her. She lowers it. They walk to Tate and help him up. He puts his arms around them.

MICHAEL

You okay bro?

Tate nods. He looks down at the man in black’s body.

TATE

You get him?

MICHAEL

Ashleigh.

Tate looks at Ashleigh.

TATE

Nice shot.

Tate turns to the body. He bends down.

TATE

Who are you motherfucker?

He starts to take the mask off.

CUT TO: INT. VAN - DAY

Cully and Katie sit in the still van. Cully turns off the ignition.

KATIE

Cully, what the fuck? We have to get out of here, now!

CULLY

I’m sorry Katie. For what it’s worth. I’ve heard every person is one bad decision between good and evil. I never really got that until lately. I don’t know if I’m evil. If I am, I have this world to blame for it. Because my bad decision was knowing I wanted to be remembered. To be famous at any cost.

KATIE

Cully, please, just drive the van. You can always make another movie.

CULLY

Don’t you understand Katie?

He looks at her.

CULLY

This is the movie.

Cully pulls a small blade from his jacket and jams it into Katie’s stomach. She screams. He moves his hands up and covers her nose and mouth.

cully

I am sorry. Ssshhh. You’re immortal. You’re immortal now.

Katie fights to pull Cully’s hands away, but he overpowers her. She stops moving. Her eyes roll back. She dies. Ayvin runs through the woods towards the van. Cully turns toward her.

CUT TO: EXT. WOODS - DAY

Ayvin gets closer to the house. She slows down. She looks at the van. Cully gets out of the driver seat and walks to the house. Ayvin sees Katie’s body in the passenger seat. She puts her hands to her mouth.

CUT TO: EXT. WOODS - DAY

Michael, Ashleigh, and Tate stand in the woods. Tate holds the man in black’s mask in his right hand. They look down at Tim’s body.

MICHAEL

How could he? He killed them all?

TATE

He’s not alone in this Michael. There’s a director.

Tate looks to the distance. He walks to the tree he saw earlier, with a hole in the middle. Michael and Ashleigh follow him.

ASHLEIGH

Tate, what is it?

Tate bends down and peers inside the tree’s hollow center. He reaches in, and pulls out a small digital camera. The power is on. A red light shines at the bottom.

MICHAEL

What the fuck?

ASHLEIGH

Oh my god. They’ve recorded this...

MICHAEL

Remember Tim, when we were talking about our favorite horror movies?

ASHLEIGH

He said there was nothing scarier than something that actually happened.

TATE

There’s no shooting back in the city. This house isn’t the set in two weeks. It’s the set now. Today, tonight. We were cast to be ourselves.

ASHLEIGH

Maybe that’s why Cully’s script was such a piece of shit. It didn’t matter.

MICHAEL

This can’t be the only camera.

TATE

Not a chance. They’re probably all over the place. But we were all too fuckin’ freaked out to realize what was happening. We never thought to look.

ASHLEIGH

So our night’s not over.

Tate turns toward the house.

TATE

Not by a longshot.

MICHAEL

What about Ayvin?

TATE

She doesn’t know.

Tate, Ashleigh, and Michael run toward the house.

CUT TO: EXT. HOUSE - DAY

Ayvin walks past the van. She sees Katie in the passenger seat, the knife still in her stomach and her eyes wide open. She’s now terrified. She slowly walks to the house’s front door and opens it.

CUT TO: INT. HOUSE - DAY

Ayvin walks in. She looks all around the house. Cully sits on the couch. He holds a gun in his right hand and stares forward.

AYVIN

Cully.

Cully sits still. He slowly turns to Ayvin.

AYVIN

Cully, what happened? Katie’s dead, where were you?

She looks down at the gun.

AYVIN

Where’d that come from? Cully, talk to me.

Cully stares at her for a moment.

CULLY

My bag. I could’ve been a good actor, don’t you think? You know, it’s you I feel the worst about Ayvin. So innocent. So pure. Untainted.

AYVIN

Oh my god.

She puts her hands to her mouth. A tear drops down her cheek.

AYVIN

You did all this?

Cully points the gun at Ayvin.

CULLY

Stand still.

Ayvin shakes subtly. She lowers her hands.

CULLY

I’m a bad man Ayvin. I’m not pure like you, innocent like you. I’m tainted.

Tate, Ashleigh, and Michael rush in the front door. They stop as they see Cully’s gun set on Ayvin. Ayvin looks back at Tate.

TATE

We know. It was Tim with the axe.

CULLY

Where is he?

ASHLEIGH

Dead.

Cully lets out a soft smile.

CULLY

He knew he would be. We both did.

MICHAEL

Cully, why the fuck did you do this? He’s been filming this Ayvin. All of it. Filming his so-called cast being butchered. And there are cameras on us right now I bet.

CULLY

Ofcourse. This is the big finale.

ASHLEIGH

You sick piece of shit.

CULLY

Don’t worry Ashleigh, you’ll survive to tell about it. Three of you, just like I said. Ayvin though, you might not make it.

Ashleigh raises her gun quickly. She points it at Cully.

ASHLEIGH

Don’t Cully.

Cully looks at Ashleigh.

CULLY

This is it Ashleigh. I never thought I’d survive. Sometimes you have to sacrifice to succeed. When I met Tim we hit it off immediately. We both worked in reality T.V., you see. But we saw where it all was going. Look at us, look around you. Day to day. Open the paper. What do you look for?

TATE

Sports shithead.

Cully smiles.

CULLY

Ofcourse. You know how many newspapers sold after September eleventh? They flew off the shelf. People were glued to their TVs for days. Check your history. Kids now, they don’t know who Gandhi is. But they know Britney Spears. What do you think that says about where we’re going? How long do you think people will really put up with the same old group of kids getting drunk and fucking eachother before they’ll want more? Before that bloodlust, that need to see someone else suffering to know things aren’t really that bad for you, takes over. That reality bullshit you see? Those car chases? Those cops throwing some drunk to the ground? That’s grains of sand on a sidewalk. There’s a whole beach out there.

MICHAEL

So you thought you’d start it. You sick motherfucker.

CULLY

I know I’m not a good person. Not anymore. But I will be remembered, as will you all.

He slowly stands up.

CULLY

See, I’m a victim too, after all. I wasn’t raised by my parents. I was raised by the movies I saw. The tv shows. Cartoons. The reality of nothing. And I started to wonder what my life really was. For me, you see, being a statistic was never a choice. I knew I had to stand out. That in the end, all that mattered was my page in history. Being remembered. Being spoken of. Whispers. Newspaper articles. Front pages. That’s immortality. And eventually it became me and all I really cared about. This is forever, on these cameras. This is our afterlife.

ASHLEIGH

Don’t do this Cully.

CULLY

I know you all think I’m crazy. I’ve lost it. But when it’s all said and done, and you’re sitting across from Larry King talking about what happened here, and you’re on the covers of Newsweek and Time, and some band has written a hit song about what happened to you, you’ll think of me.

Cully looks at Ayvin. Tate quickly tackles her as Cully fires. The bullet his Tate’s shoulder. Ashleigh responds by shooting immediately. Cully drops to the ground. He holds his throat. Blood spurts from it. Cully drops the gun. He dies. Ashleigh and Michael rush to Tate and Ayvin on the ground. Tate looks at his shoulder.

MICHAEL

You alright?

Tate nods.

TATE

Yeah.

Ayvin starts crying. Ashleigh lets out a tear. Tate holds Ayvin. Michael grabs Ashleigh and holds her tight. She drops her gun.

FADE OUT.

FADE IN: INT. DARK ROOM - TIME UNKNOWN

A camera sits in the middle of a dark room. We focus on the lens, and slowly pull out. Voiceovers of newsreporters can be heard. They overlap eachother.

REPORTER 1

A grisly scene at a house in the mountains yesterday left six people dead ...

REPORTER 2

Cully McDonough and Tim Hogan, a pair of filmmakers who had worked for years in reality tv, had filmed a night of brutal violence to create a real-life horror movie ...

REPORTER 3

Major studios are vying for the rights to the true story of two filmmakers ...

REPORTER 4

Today, the first public execution in over a century will take place and be televised on pay-per-view ...

REPORTER 5

Some say the tragedy that has been called the June Twentieth horror in the hills has brought public executions to the forefront. The real life horror film has been passed around the internet, and reality TV seems to have changed forever...

CUT OUT.

THE END.