Skip to main content <#maincontent>
We will keep fighting for all libraries - stand with us!
Internet Archive logo A line drawing of the Internet Archive
headquarters building façade.
Search icon An illustration of a magnifying glass.
Search icon An illustration of a magnifying glass.
Upload icon An illustration of a horizontal line over an up pointing
arrow. Upload
User icon An illustration of a person's head and chest. Sign up
| Log in
Web icon An illustration of a computer application window
Wayback Machine
Texts icon An illustration of an open book.
Books
Video icon An illustration of two cells of a film strip.
Video
Audio icon An illustration of an audio speaker.
Audio
Software icon An illustration of a 3.5" floppy disk.
Software
Images icon An illustration of two photographs.
Images
Donate icon An illustration of a heart shape
Donate
Ellipses icon An illustration of text ellipses.
More
Hamburger icon An icon used to represent a menu that can be toggled by
interacting with this icon.
Internet Archive Audio
Live Music Archive Librivox Free
Audio
Featured
* All Audio
* This Just In
* Grateful Dead
* Netlabels
* Old Time Radio
* 78 RPMs and Cylinder Recordings
Top
* Audio Books & Poetry
* Computers, Technology and Science
* Music, Arts & Culture
* News & Public Affairs
* Spirituality & Religion
* Podcasts
* Radio News Archive
Images
Metropolitan Museum
Cleveland
Museum of Art
Featured
* All Images
* This Just In
* Flickr Commons
* Occupy Wall Street Flickr
* Cover Art
* USGS Maps
Top
* NASA Images
* Solar System Collection
* Ames Research Center
Software
Internet Arcade Console
Living Room
Featured
* All Software
* This Just In
* Old School Emulation
* MS-DOS Games
* Historical Software
* Classic PC Games
* Software Library
Top
* Kodi Archive and Support File
* Vintage Software
* APK
* MS-DOS
* CD-ROM Software
* CD-ROM Software Library
* Software Sites
* Tucows Software Library
* Shareware CD-ROMs
* Software Capsules Compilation
* CD-ROM Images
* ZX Spectrum
* DOOM Level CD
Books
Books to Borrow Open Library
Featured
* All Books
* All Texts
* This Just In
* Smithsonian Libraries
* FEDLINK (US)
* Genealogy
* Lincoln Collection
Top
* American Libraries
* Canadian Libraries
* Universal Library
* Project Gutenberg
* Children's Library
* Biodiversity Heritage Library
* Books by Language
* Additional Collections
Video
TV News Understanding 9/11
Featured
* All Video
* This Just In
* Prelinger Archives
* Democracy Now!
* Occupy Wall Street
* TV NSA Clip Library
Top
* Animation & Cartoons
* Arts & Music
* Computers & Technology
* Cultural & Academic Films
* Ephemeral Films
* Movies
* News & Public Affairs
* Spirituality & Religion
* Sports Videos
* Television
* Videogame Videos
* Vlogs
* Youth Media
Search the history of over 835 billion web pages
on the Internet.
Search the Wayback Machine
Search icon An illustration of a magnifying glass.
Mobile Apps
* Wayback Machine (iOS)
* Wayback Machine (Android)
Browser Extensions
* Chrome
* Firefox
* Safari
* Edge
Archive-It Subscription
* Explore the Collections
* Learn More
* Build Collections
Save Page Now
Capture a web page as it appears now for use as a trusted citation in
the future.
Please enter a valid web address
* About
* Blog
* Projects
* Help
* Donate
* Contact
* Jobs
* Volunteer
* People
* Sign up for free
* Log in
Search metadata
Search text contents
Search TV news captions
Search radio transcripts
Search archived web sites
Advanced Search
* About
* Blog
* Projects
* Help
* Donate Donate icon An illustration of a heart shape
* Contact
* Jobs
* Volunteer
* People
Full text of "Cursed (2005) screenplay
"
See other formats
MIRAMAX
INTERNATIONAL
presents
CURSED
DIRECTED BY
Wes Craven
WRITTEN BY
Kevin Williamson
MIRAMAX INTERNATIONAL
99 Hudson St., 5" floor
New York, NY 10013
Phone: 212 219.4100
Fax: 212.941.3836
BLACK SCREEEN
MALE VOICE
(voice over)
Do you believe in werewolves?
FADE IN:
EXT. BEL AGE ROOFTOP - BENEFIT - NIGHT 1
CLOSE ON a pretty, shapely WOMAN in a cat costume. This is
JENNY TAYLOR. 20’s. She LAUGHS, giddy. Flirtatious. She's
had a few drinks. The whiskers that sprout from her painted
cat nose wiggle. She’s adorable.
JENNY
Is that what you are? I had you
pegged for a gray wolf or a timber
type.
She's talking to a Wolf. A MAN dressed in a costume. A
furry canine mask conceals his face.
WOLF MAN
No, I'm a werewolf.
They stand pool-side at a crowded rooftop bar. The roof has
been transformed into a swank LA charity benefit. A P.E.T.A.
event. The GUESTS in attendance are all dressed in costume.
As their favorite endangered species.
JENNY
I had no idea the ‘werewolf’ was
endangered.
WOLF MAN
We are a vanishing breed.
JENNY
Is that why you’re here? To raise
money for your “people”? or is it
“species”?
The Wolf Man follows Jenny as they move through t
walking and talking. y : gh the crowd,
WOLF MAN
Actually, I'm looking for a victim.
She smiles. Amused.
2nd White Revisions 4/7/03 Za
JENNY ES
Is that all I am to you? A victim?
Can’t you look past that and see me
as the virtually extinct Arabian
Leopard that I am?
WOLF MAN
Not just a victim. You’d have the
initiation-rites-of-passage honor.
Jenny looks up to the sky.
JENNY
There is a full moon.
She refers to the large, round moon that hangs low in the
night. The Wolf Man points with his claw.
WOLF MAN
It only looks full. Actually, the
full moon is two nights away.
JENNY
So what are you doing out and
about?
WOLF MAN
Tonight's the first of two rising
moons. It’s a whole three-day-a-
month-cycle-of-the-wolf type thing.
JENNY
I see. Hey, do you ever worry
about wooden stakes through the
heart?
WOLF MAN
If I were a vampire, maybe.
JENNY
My bad. It's silver, right?
The Wolf Man nods.
JENNY
Now, say, if you bit me -- would 1
be cursed and turn into a she-wolf?
Her flirtation is growing. She's really getting into this
conversation. It’s a turn-on. l
2nd White Revisions 4/7/03
WOLF MAN
If you survived, yes. In a couple
days. But I couldn't let that
happen. You can't have a lot of
werewolves running around. This is
LA. Someone might find out about
me. It's best I stay in myth and
fiction.
Jenny's impressed with this “werewolf pick-up”.
JENNY
Nicely done. You're smooth. Let
me guess. You're an actor. 1
always get the actors.
WOLF MAN
So, what do you say, Kit Kat, wanna
play the part?
JENNY
Is this my audition? What do I
have to do?
He moves in close. It’s sexy.
WOLF MAN
Nothing. We're having drinks,
flirting, enjoying the thrill of
the chase. I'm stalking my prey.
Now we just say goodnight.
JENNY
I’m disappointed.
WOLF MAN
I'm not done. I'll follow you,
waiting for just the right moment
to strike. Timing is everything.
JENNY
Usually. Then what happens?-
The Wolf Man moves in even closer. Jenny allows it. She
finds him dangerously alluring.
WOLF MAN
I attack. Probably your neck
first. This being my first kill,
I'll be nervous, stage fright, ya
know, so I'll want to keep you from
screaming.
(MORE)
2nd White Revisions 4/7/03
. WOLF MAN (cont'd)
Then I’ll rip apart your lower mid-
section, causing instant .
disembowelment, allowing me to feed
easily.
SS POR ta E,
r Teh RNR tres a E ee
3A.
2nd White Revisions 4/7/03 4.
Jenny freezes. Fearful. Her eyes widen as his words
register. The way he describes his actions as if he were
reciting it from a text book. She doesn't know what to make
of it other than she’s immediately disturbed and horrified.
JENNY
You just lost me. You had me with
your whole sexy wolf shit, but for
the record -- and it should be a no-
brainer -- threatening to kill
someone is a real turn-off.
Jenny, disgusted, quickly walks away. Not looking back.
The Wolf Man watches her go. Then, quietly to himself...
WOLF MAN
Good-night.
INT. PARKING STRUCTURE - NIGHT 2
A little later. A large, unending parking lot where rows and
rows of cars are parked.
Jenny makes her way through the lot. She digs through her
coat, searching for her keys. Uneasy.
A CAR ENGINE starts up. Right in front of Jenny. She JUMPS
as HEADLIGHTS blind her. Jenny quickly scurries out of the
way, eyeing the COUPLE in the car.
They're dressed as matching lions. The driver sees her,
waves...apologizing for scaring her. “Sorry.”
Jenny waves back. “It's cool.” She SIGHS. Smiles, even.
She's a little wound up. She continues on as the lion couple
drives off. Uneasy. Shaken.
Jenny moves between a row of cars when...
A LOW RUMBLING is heard. She turns. Huh? What? Not sure
she heard anything. She looks behind her. To her left.
Right. She appears to be alone in the parking lot. It's a
little spooky. She pieks up her pace.
A GROWL emits. An animal SOUND. She hears it clearly,
stopping her in her tracks.
JENNY
Very funny...
* E
2nd White Revisions 4/7/03 5.
She waits a moment. Then, another NOISE. It's almost like a
response. A DEEP, GUTTURAL GROWL. It’s extremely unfunny.
And, very real. Jenny's heart skips a beat. S
i te. Several cars
She holds up her key ring. BEEPS the remote. :
away, her ae UNLOCKS. A small Honda Civic. The interior
light CLICKS on. She heads for 1t when...
She notices something on the hood of a car in front of her.
Clothing. Neatly folded. Next to it...the Wolf Man's mask.
Suddenly, a FLICKER of movement.
A DARK SHADOW is glimpsed between two cars...just ahead of
her. Between her and her car. Jenny freezes. Quickly, she
digs through her purse. Making noise. Calling out to the
SHADOW.
JENNY
Okay, freaky wolf guy. I have a
gun. Things are going to get real
funny in a second.
She's bluffing. There is no gun. But, it seems to work.
The SHADOW darts off. Moving rapidly. A car JOSTLES. Then,
another...as something moves farther and farther away.
Jenny proceeds. Extreme caution. Fighting her fear. She
inches forward, moving by the space where the SHADOW hid.
She checks it out. Nothing is there. She SIGHS, turning to
her own car when...
SOMETHING SMASHES INTO HER FROM BEHIND, ripping her OUT OF
FRAME. The CAMERA PANS catching Jenny CRASHING over the hood
of a nearby car, her body snatched violently down.
Jenny reappears. SCREAMING...CRYING OUT...her arms flailing
as she tries to crawl across the hood of the car when...
A QUICK FLASH of a BEASTLY ARM is glimpsed. LONG, DEADLY
CLAWS protruding from powerful, ungodly fingers CLAMP DOWN on
the back of her neck, JERKING HER BACK DOWN. Out of Sight.
The car ROCKS back and forth...the ALARM SOUNDS as Jenny's
body is SMASHED INTO IT. Her body is being violently mauled,
as it SLAMS into another car. HEADLIGHTS begin FLASHING.
More ALARMS SOUND.
Her body BACKSLAMS into a car window. GLASS SHATTERS as the
Savage SOUNDS of a BEAST rip the life from her.
CLOSE ON the pavement where Jenny lies:
: Her eyes dead wide,
frozen in horror.
Her body still -- a motionless corpse.
-
2nd White Revisions 4/7/03 6.
Her legs extend out of sight around the front of an SUV'S
front wheels. Then, her body starts to slide slowly out of
sight. Her legs, torso disappear around the front of the
vehicle.
Her upper body catches on the front wheel. It wedges there --
caught by her armpit. A moment. Her body stops moving,
stuck.
Then, the horrendous SOUND of BONES BREAKING, SINEW
STRETCHING. The body goes taut -- the SUV’s wheel starts
skidding ever-so-slowly sideways as an enormous pulling
pressure is applied to the body’s legs OFF SCREEN.
The wheels’ rubber SCREECHES as it abrades the concrete.
WHOOMPH! CRACK! Jenny’s body is un-wedged by brute force.
In one sickening, torturous twist -- she disappears forever
around the front of the vehicle as an incredible DIN OF CAR
ALARMS fills the parking structure.
EXT. FREEWAY - NIGHT - LATER 3
The 405 South. Cars and their headlights. Road signs
indicate various Los Angeles street exits.
The Honda Civic careens down the freeway, then stops
abruptly, braking as it finds itself in bumper to bumper
traffic. Typical LA. Nothing but brake lights as far as the
eye can see.
INT. HONDA CIVIC - NIGHT 4
A FIGURE is behind the wheel. Face unseen. Human. A dark
coat, gloved hands keep this person in mystery.
Through the driver's window, a CAR shoots by. There's a lane
that's completely open. PAN TO a sign -- CARPOOL LANE. TWO
PEOPLE OR MORE ONLY.
ANGLE FROM THE BACKSEAT
The Figure in the driver's seat leans over. Reaching down,
grabbing something with a gloved hand. A body LURCHES UP.
IN THE FRONT SEAT
Approaching headlights illuminate the body. It’s Jenny.
Covered in blood. She’s been ripped apart from the neck
down.
2nd White Revisions 4/7/03 7.
5 EXT. FREEWAY - NIGHT 5
The Honda Civic enters the carpool lane. Two silhouettes are
seen from the back window as the car gains speed, heading
down the freeway. CRANE UP to reveal LOS ANGELES in the
distance. The HOLLYWOOD SIGN is seen. An overhead freeway
sign announces “Hollywood. Next 3 Exits.” Above it all, the
rising moon hangs low in the sky.
ROLL CREDITS
6 INT. GARDEN OF EDEN - NIGHT 6
A trendy hot spot. Make-up, breast implants, botoX...it's
all put to good use as HOT CLUB GIRLS frolic, flirting with
GUYS on the prowl. Some annoying Electronica tune CRANKS.
The LA scene at its best. Or worst.
Lounging on a pile of giant pillows is...
VINCE WINSTON
Early 20's. Physically handsome and imposing. Tough guy.
L Angry. Desirable. With smarts. A dangerous combination.
And, tonight -- wasted off his ass. Too much booze has left
him limp on the cushions. Alone. A familiar sight. One he
finds comfort in. Empty eyes say it all.
He eyes the crowd when a CLUB GIRL, all hair and breasts,
plops down beside him. She smiles seductivel i
and teeth. Delicious. Y. Great lips
CLUB GIRL
Remember me?
| VINCE
(without pause)
Absolutely.
CLUB GIRL
What's my name?
He hasn't a fucking clue. He smiles drunkenly.
VINCE
You come right out of the gate with
a hard question. That's no way to
flirt. You gotta bring it down.
Make it easier. Ask me, uh...what
my name is? That I might know.
2nd White Revisions 4/7/03
Vince is not without his boyish charm. He has tons of it.
Even in his tweaked state. The Girl LAUGHS. She‘s not
exactly sober herself. He joins in. It’s flirtatious.
CLUB GIRL
I know your name. It’s Vince.
VINCE
Very good...Vivian?
CLUB GIRL
Other end of the alphabet.
VINCE
Annie...
CLUB GIRL
Closer. One more chance.
VINCE
Story of my life.
CLUB GIRL
C'mon, I could BE yours for the
night.
VINCE
Betty...
(eyeing her)
I mean Barbara, Bonnie, Bunny...
CLUB GIRL
Becky. It’s Becky. And, a bummer.
Big bummer.
You lose. Becky bolts.
Vince falls back on the pillows. Back to his alcoholic
Eh. He gave it a shot.
INT. CHIANTI ~ NIGHT
A tucked away Melrose bistro. A YOUNG WOMAN rushes in.
cell phone attached to her ear. Meet...
ELLIE HARPER
20's pretty and smart. Driven. With a no-nonsense
professional “young girl on the rise” appearance.
haze.
2nd White Revisions 4/7/03
ELLIE
(into cell)
If Timberlake’s confirmed for the
5th, we need to reschedule Colin
Farrell pronto.
8A.
*+
2nd White Revisions 4/7/03 9.
She eyes a MAN, sitting alone at a table. Their eyes meet.
Ellie smiles big. Happy to see him.
ELLIE
(into cell)
We can’t have them on the same
night. Britney -- bloodshed...I'm
at dinner. I'm meeting Kyle...I
don't know, he needed to
talk...I'11 call you after.
Ellie hangs up, racing through the restaurant to the table.
At the table sits KYLE COLE, 20's. An introspective guy,
too serious. A tad self-important. Or self-obsessed.
Whatever applies.
KYLE
(eyeing his watch)
Hello, Ellie.
ELLIE
Kyle, sorry I‘m late.
KYLE
You're here now.
Ellie greets him with a kiss, plopping down next to him.
ELLIE
You said it was important. I came
as quickly as I could. You got a
haircut. I like it.
Ellie’s cell phone RINGS. She grabs it.
ELLIE
(into phone)
Yes? Can we try for the 7th or the
10th?...the 8th is no good.
Kyle eyes her. Annoyed. Ellie reads it loud and clear.
ELLIE
I have a handsome man sitting
across from me and I'm being one of
those annoying cell phone people.
1 will, promise. You're the best.
(she hangs up)
Sorry. You said you needed to
talk.
A moment as Kyle chooses his words very carefully.
A A o
ECC
*
2nd White Revisions 4/7/03 9A.
KYLE
Ellie, you truly are a remarkable
‘woman. Funny, smart,
quirky...unique in so many ways.
I’ve never dated anyone like you.
ELLIE
Please tell me there's not a ‘but’
at the end of all that.
Ellie smiles carefully. Not sure where he’s headed.
KYLE
(avoiding the ‘but’)
Yet, we’ve reached a crossroads.
I'm not feeling any true intimacy
between us. I thought it would get
better. I felt like I understood
you. A small town girl in the big
city, growing up with no parents...
You have every right to hide your
emotions, stay distracted through
work -- but your self-reliance is
stifling.
+ te ee OF
+ % + E FF
2nd White Revisions 4/7/03
ELLIE
You had therapy today...
KYLE
That's not funny.
ELLIE
I didn't mean it to be. I just
don't understand what you mean.
KYLE
There's a lack of passion that
exists between us. And I don't
mean just the sex.
ELLIE
What's wrong with the sex?
KYLE
There's not a good in front of it.
Let's face it, Ellie. It's
perfunctory and, well, honestly --
on the lousy side.
That hurts. She stares at him in disbelief.
KYLE
I always thought your hidden
passion would eventually emerge.
But then I realized -- you can't
hide something you've never found.
ELLTE
I had no idea you felt this way.
10.
2nd White Revisions 4/7/03 11.
KYLE
I know, that's the sad part. Let's
face the three month mark, Ellie.
This isn't working anymore. I’m
sorry.
ON ELLIE'S FACE
And the freight train that’s just crashed into it.
EXT. HOLLYWOOD BLVD. - NIGHT 8
It's late on the Blvd. The street traffic is down to a
minimum. A young boy, JIMMY MYERS, no more than 16, exits a
Rare Comics store. Shopping bag in one hand. In the other,
he holds a leash attached to a sweet natured Golden
Retriever.
JIMMY
(to dog)
C'mon, Zipper, let's go.
Jimmy is a gawky teen. Likable, but not in the popular
sense. Most active in his mind. His dog is probably his
best and only friend.
Zipper, happy, tongue dangling, trots along side Jimmy as
they move down the sidewalk. The Hollywood Walk of Fame.
The Lon Chaney star passes by underneath.
They approach a store front. Actually, it's the Hollywood
Wax Museum. The entrance is a small tourist shop. Post card
stands, collectibles, etc. Jimmy stares into it. Eyeing a
young teenage girl. BROOKE MUELLER, 17. A high school
beauty. She's talking to a fellow employee, a SECURITY GUARD
-- JOSE. Jose heads inside the museum to make his rounds.
Jimmy runs his hands through Zipper's furry side, petting
him.
JIMMY
Okay, Zipper, be my magnet.
Jimmy undoes Zipper's leash.
+ ee OF
8A
2nd White Revisions 4/7/03 12.
EXT. MUSEUM ENTRANCE - NIGHT g , 8A
Brooke is behind the ticket counter, busying herself with the
closing down duties. Running receipts and closing out the
register. She looks up to see... Se
Zipper saunters in by himself. Brooke smiles.
BROOKE
Hey there, boy, where’d you come
from?
She moves around the counter to pet Zipper. She bends down
showers Zipper with love and kisses.
Just then...
JIMMY
Zipper? Zipper? Ah, there you
are.
Jimmy comes running up, taking Zipper’s leash.
JIMMY
Sorry, One minute he was there, the
next he’s...hey, Brooke, right?
BROOKE
Do I know you?
JIMMY
We go to school together. I sit
behind you in Government, Algebra,
and French.
BROOKE
Oh. Really? Wait -- are you sure?
Clearly, Jimmy lacks presence. He nods awkwardly.
JIMMY
Yea. Brooke Mueller, Jimmy Myers.
M-U, M-Y, I've sat behind you for
three years.
BROOKE
Oh.
She's not rude. She just has that “most popular-pretty girl”
syndrome. She can't keep up with everybody.
2nd White Revisions 4/7/03 13.
A sporty car pulls up to the curb in front of the museum.
ROCK MUSIC blaring. A bunch of TEEN-AGED BOYS are packed
inside. The driver of the car hops out... ;
Meet BO TURNER. 17. A high school jock stud asshole.
BO
Hey, Brooke, you ready?
Jimmy turns to see Bo approaching. Jimmy's eyes say all we
need to know about Bo Turner. Brooke greets him with a kiss.
BROOKE
Almost. Five minutes.
Jimmy starts off quickly. Anxious to disappear. Brooke
catches him leaving.
BROOKE
Seeya at school.
Bo eyes him. A sense of recognition.
BO
Hey, I know you. From P.E.
BROOKE
His name’s Billy.
-JIMI
Uh. .Jimmy.
BO
You're the dodgeball crotch target.
You should really wear a cup.
BROOKE
Stop it, Bo.
But Bo’s just getting started. He's the guy who likes his
entertainment at the expense of others. Zipper cowers behind
Jimmy. Knowing instinctively Bo’s not a good guy.
BO
I'm just looking out for him. He
can't help it. Every school’s got
one. The derogatory ‘it’. The
geek on his way to fag town.
Jimmy's feeling really small right now. He shrinks away a
bit, muttering... i
9A
10
2nd White Revisions 4/7/03 14.
JIMMY
I'm not gay.
BO
Bummer. You mean you're just an
ass wimp-wad for no reason. That
sucks.
Jimmy would like nothing more than to rip this guy apart.
But, he's no match for him. He lacks the strength and most
importantly-- the confidence.
Bo’s loving his torment. He leaps at Jimmy quickly. A fake-
out. Jimmy stumbles back -- almost tripping over Zipper.
He's scared of Bo. Bo LAUGHS. As do the other JOCK ASSHOLES
that have been watching from the car.
BROOKE
You’re such a dick, Bo.
(to Jimmy)
Just ignore him, Billy.
Jimmy doesn't even bother to correct her. He turns and walks
away, moving down the sidewalk. He turns back once and Bo is
still staring after him.
BO
I think your dog’s gay too.
Jimmy quickly scurries away with Zipper. Humiliated.
EXT. GARDEN OF EDEN - VALET - NIGHT - LATER 9
Vince is waiting at the valet for his car.
A convertible Mercedes SL 500 pulls up and Vince staggers to
it. The Valet Guy helps him in. Ignoring the fact Vince
should not be driving.
EXT. STREET - NIGHT 9A
Behind the wheel, Vince fumbles with the gears and speeds
away.
EXT. CANYON - LATE NIGHT 10
A WIDE SHOT of the valley -- a huge vista of twinkling
lights, like diamonds on velvet. The CAMERA PANS to reveal
Mulholland Drive in the foreground.
A small Volvo appears, winding along the canyon road.
11
12
13
14
15
2nd White Revisions 4/7/03 15.
INT. VOLVO - NIGHT 11
Ellie drives in a muddled state of emotion. The night's
events starting to settle in. She's stunned and stung. She
dials her cell phone.
ELLIE
(into phone)
Mark, where are you? He dumped me.
I've been dumped. Don't make me
use that word again. Please call
me.
She tosses the phone aside. From the radio, a sappy bleeding-
heart love ballad fills the car. Ellie’s not in the mood.
She switches stations.
Diane Warren is very popular tonight as every station has
opted for a wrist-slicing love song. She turns the radio
off. Silence.
CLOSE ON Ellie's face. Empty and hurt. A long moment. The
kind where everything gets quiet and painfully real. Then...
Her cell phone RINGS. She reaches for it...when...out of
nowhere...
THROUGH THE WINDSHIELD 12
A CLAWED ANIMAL FOOT COMES CRASHING INTO IT. The WINDSHIELD
SHATTERS. Ellie doesn’t know what hit her...
Instant reflex. Ellie YANKS the wheel.
EXT. CAR - CONTINUOUS 13
The car skids sideways, into the oncoming lane, directly into
approaching HEADLIGHTS.
EXT. CANYON ROAD - NIGHT 14
Ellie’s Volvo PLOWS smack into an approaching Mercedes.
IMPACT! BAM! SMASH!
INSIDE THE VOLVO 15
+ o
A * e +
2nd White Revisions 4/7/03 15A.
An airbag EXPLODES from the steering wheel, throwing Ellie
back against the seat. The spidered windshield obliterating
her view.
16
17
18
19
20
21
2nd White Revisions 4/7/03 16.
ON BOTH CARS 16
They careen out of control.
ON THE MERCEDES l l 17
As it sails across the road, to the shoulder, and into the
protective railing...metal RIPS as the car goes off the
road...
It tumbles down a canyon hillside, crashing through wooded 18
trees, before coming to a stop at the bottom of the ravine.
Silence. 19
That still aftermath. Smoke rising from its hood. No sign
of movement from inside.
ON THE ROAD 20
Ellie’s Volvo spins to a stop on the road’s shoulder. She
leaps from her car. Shaken. Terrified.
ELLIE
Oh, God...
She races to the protective railing. What’s left of it. She
peers down into the canyon ravine. Sees tire marks
disappearing into thick trees and foliage. The faint glow of
red brake lights barely visible.
ELLIE
Oh, shit, oh shit...no, no...
She’s instantly hysterical. Headlights dance across her
back. The sound of a car. Someone's coming.
Ellie spins around. Moves back to the center of the road.
Arms flailing in front of her.
INT. FORD TRUCK - NIGHT 21
A tired Jimmy is behind the wheel. On his way home. Zipper
sits at attention next to him. Listening to him ramble.
JIMMY
I know-- she's out of my league.
But, c’mon, Julia Roberts/Lyle
Lovett ~- what was that about?
2nd White Revisions 4/7/03 16A.
21A EXT. CANYON ROAD - NIGHT i 21A
Through the windshield, Jimmy sees a fear-stricken woman
flagging him down. He slows, coming to a stop.
22
23
24
2nd White Revisions 4/7/03 17.
EXT. CANYON ROAD - NIGHT 22
Ellie races to the truck's window, pointing.
ELLIE
There's been a wreck. A car went
over...please help me....
Jimmy leaps out of the truck, leaving Zipper inside. The
following seconds are panicked and hurried.
Ellie races back to the road's shoulder...Jimmy follows...
ELLIE
You have a phone?
JIMMY
No...
ELLIE
There’s one in my car...see if you
can get service...
JIMMY
Where are you going?
ELLIE
People could be hurt...call for
help.
Ellie’s gone over the side, scurrying, sliding down the 23
hillside.
She trips and stumbles her way through trees and rocks toward
the dreaded glow of the brake lights.
ELLIE
Please...be okay...God please...
DOWN. BELOW 24
Through the trees, the Mercedes comes into view, its
headlights ricocheting against the embankment. The car looks
busted up pretty good.
Ellie appears, slipping and sliding to the bottom of the
ravine. She maneuvers around a large dark culvert. A
drainage pipe, sticking out of the canyon like a black hole.
She eyes the Mercedes. It’s too dark and shadowed to make
out anyone in the car. Ellie proceeds ahead. As fast as she
can. She comes upon the car, coming around to the driver's
side.
2nd White Revisions 4/7/03 18.
ELLIE
Hello? Anyone?
She peers inside the car to find...
VINCE
His head back. Dizzy. Disoriented. Sees Ellie. Smiles
happily.
VINCE
Hi there...
ELLIE
Are you okay? Can you move?
Vince leans up, begins to check himself...he seems okay.
VINCE
I’m good.
Vince unbuckles his seat belt and begins to climb out. Very
casually. Looks at his car.
VINCE
The SL took the brunt of it. New
model, too.
ELLIE
Help’s coming...maybe you shouldn’t
be moving.
Vince is now sober drunk. Dazed and confused.
ELLIE
I’m sorry, something hit me...a
coyote or something...I didn’t see
it.
VINCE
Can we just privately deal with
this? I'm not hurt. I'm fine. We
can exchange numbers.
ELLIE
This is beyond numbers. You could
be in shock. We need police,
paramedics, tow truck...
VINCE
Police doesn't really work for me.
25
26
2nd White Revisions 4/7/03 19.
Ellie begins to sense what she’s dealing with here. He's
fucked up.
EXT. CANYON ROAD - NIGHT 25
Jimmy is at Ellie’s car. He's found her cell phone and is
dialing frantically.
JIMMY
(into phone)
Hello? Hello? I can't hear you.
Shit, AT&T.
Jimmy starts pacing up and down the road, searching for a
signal. He passes by his truck. Zipper watches from inside.
Headlights appear behind Jimmy. He turns, running to the
road, arms waving. The car ZOOMS by him. Not giving him the
slightest consideration.
JIMMY
Jesus, people, what’s wrong with
you?
Jimmy begins dialing again. Panicked.
JIMMY
(into phone)
Hello? Can you hear me now?
There's been a wreck. I'm on
Mulholland Drive, just east of
Coldwater...
INT. CANYON RAVINE - NIGHT 26
Ellie watches Vince move around the car. He stumbles a bit.
ELLIE
Lemme help you.
She moves in to help shoulder him. He lets her.
VINCE
Okay, but I’m not wobbling from the
wreck. Trust me.
ELLIE
Yeah, I got that.
Suddenly, a RUMBLING comes from behind them. Both of them
turn to the woods.
2nd White Revisions 4/7/03 20.
ELLIE
What was that?
Another RUMBLING. Louder. Clearer. More distinct. The
SOUND of an animal. Ellie’s face turns cautious. She eyes
the thick foliage on the other side of the Mercedes.
VINCE
You said a coyote...
ELLIE
.. Or a bear or something really
big...
Ellie watches as bushes move...branches RUSTLE.
ELLIE
Did you see that?
VINCE
See what? The bush? Or what moved
it?
Fear slowly creeps in on Ellie.
ELLIE
Let's get back to the road.
They turn towards the hillside when a SCUFFLING...branches
CRACKING...sounds to their right. Vince turns. Sobering up
by the second.
VINCE
Jesus, what is that?
ELLIE
It’s moving.
Then, from a completely different direction. A low, MENACING
GROWL emits. They spin towards it. Ellie is fear-stricken.
VINCE
Shit. Let's get out of here.
Ellie silences him. Trying to listen. A moment. Only a
fearful silence.
ELLIE
It's circling us.
Vince listens. The low rumbling continues. SNUFFING,
SNORTING...like that of a large animal BREATHING. It’s’
insidious. Eerie. l
2nd White Revisions 4/7/03 21.
VINCE
Shit. This way.
Vince grabs Ellie’s arm, leading her through trees, up the
hillside. It’s steep and they're forced to grab branches and
tree limbs to help their climb.
More GROWLING behind them. Closer. Too close.
VINCE
Hurry.
Ellie and Vince push through thick foliage, climbing upwards,
not knowing what's in front of them. Their terror growing.
Vince leads, pushing branches, separating them...gaining
speed, running faster, when he CRASHES INTO....
A LARGE SHAPE
Vince stumbles back...YELLING as he comes face to face
with. ..JIMMY.
Ellie SCREAMS. So does Jimmy.
VINCE
What the fuck? Who are you?
JIMMY
I called for help. It's on its way.
ELLIE
We need to get out of here. Right
now.
Vince agrees wholeheartedly.
VINCE
Quick. Here, help her.
ELLIE
(to Vince)
Do you hear it? Where did it go?
JIMMY
What's going on? Is everyone okay?
Vince listens. Hears nothing. He takes Ellie's arm and
moves her ahead of Jimmy and himself. She climbs a few
feet...her head, shoulders disappearing into the thick
branches above her. Jimmy follows, confused.
27
28
29
2nd White Revisions 4/7/03 22.
Jimmy turns to see Vince, who's still drunk-wobbly, stumble,
lose his balance and start to fall backwards down the ravine.
Jimmy reacts quickly -- grabbing Vince and hauling nim back
up. Vince grins, grateful.
VINCE
Thanks. Vince.
JIMMY
Jimmy. You --
SUDDENLY A HUGE, FERAL CLAWED HAND STRIKES THROUGH THE SHRUBS
BEHIND VINCE...grabbing him, YANKING HIM DOWN as a BEASTLY
HEAD with GNARLY EXPOSED TEETH ATTACKS viciously.
Jimmy YELLS in wide-eyed shock, as this hideous face clamps
down on Vince's shoulder...teeth digging into his flesh.
Vince is YANKED DOWN THROUGH THE BRUSH. Jimmy, still holding
his arm, is pulled down with him as they both go falling
backwards...down the hillside.
ON ELLIE 27
Spinning around, looks back to where Jimmy and Vince just
were. They’re gone.
ON JIMMY AND VINCE 28
Crashing down the sloped ravine. Flashes of their bodies
falling, tumbling through brush...
AT THE BOTTOM OF THE RAVINE 29
Vince and Jimmy break through brush, rolling to a stop ina
small clearing at the bottom of the ravine. Directly in
front of the culvert.
Jimmy sits up immediately. Vince is not so fast. His
shoulder is bleeding. The beast is nowhere in sight.
JIMMY
What the hell was that?
Jimmy moves to him, eyeing the brush from where they just
fell. Vince inspects his wound. Blood blossoms his shirt.
VINCE
I don't know, but it fuckin’ bit
me.
2nd White Revisions 4/7/03 22A.
Vince tries to rise. Jimmy is there to help as Vince WINCES
in pain. Nothing but deadly silence all around them. No
sign of the animal. a
JIMMY
Where'd it go?
They listen for a moment. SILENCE. Then...
29A
29B
2nd White Revisions 4/7/03 23.
A branch SNAPS. Ellie crashes out of the brush. They yell
out, startled. a
ELLIE
Sorry.
She sees the blood spreading through Vince's shirt.
ELLIE
Oh my God.
EXT. CANYON ROAD - NIGHT 29A
Two police cars and an ambulance are seen flying down the
road, lights flashing. They head for the busted railing.
EXT. CANYON RAVINE - NIGHT 29B
From above, the sound of SIRENS stop. Brakes SCREECH. Car
doors OPEN. MEN'S VOICES shout. Help has arrived.
ELLIE
We're down here! !
The sounds of PEOPLE climbing down the ravine. Jimmy turns
to Ellie, relieved. Then his expression changes. Ellie is
standing with her back to the culvert. And there's something
moving behind her. In the darkness of the big pipe.
TWO SHINING ORBS CATCH THE FLICKER OF THE SEARCHLIGHTS ABOVE.
They appear to be two blinking eyes...animal eyes.
Jimmy freezes in his tracks. Speechless. Ellie sees this.
ELLIE
What?
A HUGE BEASTLY FLASH OF A MONSTER EXPLODES FROM BEHIND HER.
30
31
2nd White Revisions 4/7/03 24.
IT COMES SO SHOCKINGLY QUICK AND FAST -- A MERE SECOND OF IT
IS GLIMPSED. ITS BODY HUGE...ITS FACE HIDEOUS, ITS TEETH
SNAPPING... E
Ellie doesn't even see it. It throws her to the ground,
plowing by her. It charges at Jimmy and Vince...throwing
them aside...LEAPING OVER THEM and disappearing into the
woods.
Branches, bushes...shake violently in a frenzied mayhem as it
travels away from them, fleeing into the night. Jimmy is
frozen in horror-stricken fear. Vince's face is one of pure
disbelief.
Jimmy helps Ellie up.
JIMMY
Are you okay?
Ellie's clutches her bleeding arm. Smiles gamely.
ELLIE
I'm okay. I think...
Suddenly...
A LARGE BEASTLY HOWL fills the wooded ravine. It's distant.
Far away. Whatever it is that attacked them is now gone.
The three of them listen, hearts pounding...their eyes wide
in pure, undiluted fear.
EXT. CANYON ROAD ~ NIGHT - LATER 30
The aftermath. The road has been closed. Several SQUAD CARS
line the road’s shoulder. A PARAMEDIC UNIT VEHICLE, a van
marked ANIMAL CONTROL, COUNTY OF LOS ANGELES.
UNIFORMED MEN are seen moving through the brush. RADIO
WALKIES screech as a small Search Unit communicates back and
forth.
ON THE ROAD 31
Jimmy is there, standing near his truck. He gives a
statement to DETECTIVE HARZEL. Seasoned. Intelligent.
There's a streak of blood on Jimmy’s torn shirt. Part of his
chest is exposed, revealing a small bandage. Inside the
truck’s cabin, Zipper is restless -- BARKING at the chaos.
JIMMY
I know it sounds crazy. It was
like a wolf, but it wasn’t. A
beast monster type thing.
hd White Revisions, 4/7/03
>
ee A ee ee Ty ee do ee
SE ae ae
32
33
2nd White Revisions 4/7/03 25.
Jimmy shakes his head. Frustrated.
. JIMMY
Ask the other guy. He saw it. I’m
not making this up. It clawed me.
See?
He points to the small bandage on his chest.
Harzel shakes his head. This kid is crazy. Jimmy senses
this.
Harzel eyes the MEDIA VAN that has arrived. Grimaces. He
moves to the edge of the road. Surveys the search unit. The
ravine is aglow with flickering search lights. He moves to
a nearby ambulance.
AT A PARAMEDIC VEHICLE 32
Vince and Ellie sit at the lip of the vehicle, being tended
to by EMT's. Harzel looks to Ellie.
HARZEL
Did either of you see the animal
that attacked you?
ELLIE
No, it came from behind. I felt it
though.
She refers to her arm. Harzel looks to Vince.
HARZEL
And you?
Vince opens his mouth to answer, then stops. Reevaluates.
VINCE
No, it was dark and happened too
fast...
There's something telling about his response. Ellie takes
note as an EMT wraps her forearm in gauze. She eyes Vince.
They're both shaken from the night's horror.
ON THE ROAD 33
Detective Harzel moves to a man, BEN TAFT. Young and
optimistic. He wears a jacket that has a logo that reads
CHIEF, DEPARTMENT OF ANIMAL CONTROL, LOS ANGELES COUNTY.
Sx HARZEL
What: are we dealing with here, Ben?
2nd White Revisions 4/7/03 25A.
BEN TAFT
I'm guessing a black bear or
mountain lion.
34
2nd White Revisions 4/7/03 26.
: HARZEL
What about the kid? He’s crying
wolf.
BEN TAFT
Not a chance. There hasn't been a
wolf sighting in Southern
California in 78 years.
HARZEL
Well, whatever the hell it is, find
it. And maybe accidentally shoot
it, too.
BEN TAFT
Detective, we're dealing with a
frightened animal. It hit the
girl's car, it was wounded and
scared-- so it attacked in self-
defense. There's no need for a
lynch mob.
Clearly, these two men have an opposing approach to their
jobs.
HARZEL
Don't pull that animal right's
shit. This is LA. The media's
gonna eat it up. Just take care of
it before it kills somebody.
Harzel looks back out onto the canyon and the search team
busy at work. Behind him, an OFFICER moves a police
barricade to allow a limo to enter onto the scene.
A chauffeur steps out. Meet TOBY. 40‘s. A paunchy robust
type. ;
AT THE PARAMEDIC VEHICLE. 34
Ellie watches as a tow truck backs up to her wrecked Volvo.
She moves to it. Reaches inside and retrieves her things.
Purse, a bag, paperwork... Her newly bandaged arm causes her
to drop her bag.
Suddenly, Vince is there to help her. He bends down and
sweeps it up, placing the strap on her arm. Tries to ignore
the twinge of pain that shoots through his shoulder.
VINCE
Need a ride?
Ellie sees the limo behind him. Considers.
35
2nd White Revisions 4/7/03
INT. LIMO - LATER THAT NIGHT
Vince and Ellie sit in the back of a moving limo.
Slightly awkward. A moment. Then...
ELLIE
What do you think it was?
Vince shrugs.
VINCE
Bear, maybe. I don’t know. I’m
Vince Winston, by the way...
ELLIE
(putting it together)
Ah, of the Winston’s.
VINCE
Have we met?
ELLIE
No, I know the name. Your father
owns Viacom or something.
VINCE
Something. And you are?
ELLIE
I'm Ellie Harper from THE LATE LATE
SHOW WITH CRAIG KILBORN.
VINCE
Ellie Harper from THE LATE LATE
SHOW WITH CRAIG KILBORN...that's a
long name.
ELLIE
It’s where I work. I'ma
coordinator, I book the guests,
screen interviews, talent
relations, things like that.
VINCE
How about I just call you Ellie?
ELLIE
And I’ll call you tomorrow so we
can deal with the insurance, filing
a claim part of this evening.
Is there a way I can reach you? A
work number?
27.
* +
36
2nd White Revisions 4/7/03 28.
Vince shrugs a bit. Like this is a hard question.
VINCE
Well, I don’t really work. I mean
I do work. For my Dad -- the
family business. I guess that's
work. Just going to work is work.
The work itself isn't. I can work,
I have an MBA, so I’m not incapable
of work, it's just, well...I'm
working on it.
Ellie stares at him for a beat. Baffled. If this were
another night, she'd even be amused. She reaches into her
bag and withdraws a business card.
ELLIE
Didn't mean to push a button. How
about you call me.
The partition in the front of the limo slides down 36
revealing Toby.
TOBY
Which one?
He refers to the string of small apartments nestled in the
canyons seen through the windshield.
ELLIE
You can let me off by those stairs.
VINCE
You want to grab a drink somewhere?
I could really use a drink.
ELLIE
(incredulous)
You're kidding, right?
VINCE
I guess I should be, huh.
The limo slows to a stop. Toby steps out and runs around to
Ellie's door. She turns to Vince. A moment as she finds him
staring at her. Intrigued. It’s very self-conscious.
ELLIE
What?
VINCE
It's just...well, you're so...
+ + F E ++ +
+ + +
+
37
2nd White Revisions 4/7/03 28A.
He doesn't quite have the words. Ellie clearly has a
flustering effect on Vince. It throws him a bit.
ELLIE
I'd stay away from quirky or unique
tonight.
VINCE
I was going to say...uh, well, it
would just sound like a line at
this point.
Ellie smiles at his awkwardness.
ELLIE
I'm really glad you're okay.
She means this. Vince can tell. The briefest moment between
them.
VINCE
It was nice to meet you Ellie
Harper from THE LATE, LATE SHOW
WITH CRAIG KILBORN.
ELLIE
You too, Vince Winston of the
Winston's. Thanks for the ride
and... everything.
Ellie gets out of the limo.
EXT. ELLIE'S APARTMENT - NIGHT 37
Ellie moves up the stairs to her small bungalow nestled on a
canyon hillside.
From the limo, Vince watches her as she disappears up the
hill. Intrigued.
The limo pulls away as THE CAMERA RISES to the sky above to
find a low hanging, ominously present moon.
The SCREEN burns to DAYLIGHT.
+ + HF E
38
39
40
41
42
43
44
2nd White Revisions 4/7/03 29.
EXT. LOS ANGELES - MORNING - ESTABLISHING 38
The morning sun shines down on Los Angeles. .
INT. ELLIE'S BEDROOM — MORNING Se 39
A stiff Ellie pulls herself out of bed. She's groggy and
disoriented.
INT. ELLIE'S APARTMENT - KITCHEN - MORNING 40
Ellie's in the kitchen. She’s got her coffee going. Her
laptop up and running. She reads the paper, works, and
watches TV all at the same time. Her multi-tasking is high
art. Something on the TV catches her attention. She looks
up.
ON THE TV SCREEN 41
Detective Harzel is being interviewed by a PRESS REPORTER.
HARZEL
(on TV)
“We have yet to capture the animal
in question. However, we've
obtained hair samples which should
help us with identification...”
Ellie eyes her bandaged arm. Bends and flexes it. It 42
doesn't seem to hurt. Then she notices her palm.
CLOSE ON IT. She finds several markings. Red marks. It
looks like busted capillaries just under her skin. They
create lines on her palm. She rubs it. Weird. She shrugs
it off. Carrying on.
EXT. WINSTON MANSION - MORNING 43
Elegant. Sprawling. An ARCHITECTURAL DIGEST cover. It
takes big money to live like this.
EXT. WINSTON DECK - MORNING 44
Vince is sprawled on a chaise. White bandages can be seen
around his shoulder, disappearing into his collar. He stares
out at an ocean size pool...tennis courts are seen beyond.
A few feet away, Vince’s father, TYLER WINSTON, refreshes a
Bloody Mary. Eyeing his son with the look of reserved
indifference that only the very rich can pull off.
2nd White Revisions 4/7/03 29A.
MR. WINSTON
You made the morning news. Once
again you've managed to stay
magnificently low-profile.
VINCE
It was a slow night.
Tyler Winston ignores Vince's remark. A common dynamic of
their relationship.
MR. WINSTON
And I understand the car's totaled.
+++
2nd White Revisions 4/7/03 30.
VINCE
“But, how are you, son? Are you
okay?”
Mr. Winston enjoys his morning cocktail.
MR. WINSTON
I assume you'll be taking the day
off.
VINCE
I actually have an excuse. I'd
hate to pass that up.
MR. WINSTON
Of course. It’s important to
preserve your potential.
VINCE
Just trying to exceed expectations.
This is clearly a tired routine between father and son.
MR. WINSTON
How exactly does one find nobility
in being a cliche?
VINCE
You tell me. All I can seem to
find is comfort.
Mr. Winston starts off the deck, grimacing. He turns back.
A moment.
MR. WINSTON
I understand your contempt and
disregard for this family and its
name -- it’s the only thing you
have going for you.
Ouch. It’s not his Father’s words that smack Vince in the
gut. It's his voice. The weight and pain of disappointment.
Vince watches his father as he crosses the pool and moves up
toward the tennis courts with his drink. In the distance,
his wife -- Vince's STEPMOTHER (30's) -- is glimpsed MESETAS
balls with a machine. The perfect trophy wife.
Vince SIGHS, settling into the lounge chair. He closes his
eyes. A long moment as Vince rests incredibly still.
Suddenly, NOISES begin to make their way into Vince's ear.
2nd White Revisions 4/7/03 30A.
Sprinklers sound. The spraying water, loud and distinctively
clear. Then...WHAM! A ball connects with a racket.
WOMAN'S VOICE
(off camera)
What did he have to say?
Vince hears this frighteningly clear. He opens his eyes.
Looks around. Where's it coming from?
He rises, looks out onto the pool and beyond, recognizing the
voice. Hearing it with great clarity.
45
2nd White Revisions 4/7/03 31.
MR. WINSTON
(from the court)
Nothing. As usual.
He looks up onto the tennis court where his Dad has joined
his wife as she plays. WHAM! Another ball connects to a
racket. Vince is startled beyond belief. He should not be
able to hear them at all. He continues to listen. Confused.
MRS. WINSTON
(from court)
I’m sorry, honey. I know he's a
disappointment.
WHAM! Her words cut straight to Vince's core. Being able to
hear them, what they’re saying -- Vince is stupefied.
He collapses back into his chair. His face a canvas of
confusion.
EXT. JIMMY'S HOUSE - MORNING 45
A brute of a man, JAMES MYERS, moves towards the pick-up,
calling back to the open front door.
JAMES MYERS
Get a move on.
Jimmy comes barreling out of the small and modest Valley
home. His book bag slung over his shoulder. He starts for
the truck. HEARS something. A WHIMPERING. He turns to find
Zipper hiding under the bushes by the front steps.
JIMMY
Zipper, boy...what's the matter?
The dog starts GROWLING. At Jimmy.
JIMMY
What’s the matter, boy?
Jimmy reaches for him. The dog back-steps. Skittish.
Snarling.
DAD
(off camera)
Get your ass in the truck now.
2nd White Revisions 4/7/03 32.
Just then, Zipper BOLTS from the bushes, racing around the
house. Jimmy moves to follow him, but his father grabs him
from behind.
JAMES MYERS
It would be nice if I could get to
work on time for once.
JIMMY
I think he’s traumatized by last
night.
JAMES MYERS
Right. The “monster”.
His Dad is not one to coddle or comfort. Jimmy gives up on
Zipper and they both climb into the truck.
JIMMY
I'm not saying it was a monster-
monster. But it was some kind of
crazy wolf-looking thing.
His father slams the car door and starts the engine.
JAMES MYERS
So, now you're Little Red Riding
Hood? You're really too old for
this whiny baby shit.
JIMMY
(under his breath)
Whine this.
POP! His Dad SMACKS Jimmy in the back of the head. Nothing
too abusive. But it nearly sends Jimmy into the dashboard.
His father calmly puts the truck in gear and starts off.
Jimmy rubs the back of his head. Ouch.
46 OMITTED 46
47 INT. STUDIO CORRIDOR - DAY 47
Ellie, dressed and fresh, marches down a hallway rattling off
a list to a P.A., DEBBIE (20). Ellie seems
uncharacteristically poised and confident. Sexy, even.
2nd White Revisions 4/7/03 32A.
ELLIE
Tell Albert we need the rough cut
for the kitty litter segment, then
call Anna Nicole Smith’s posse and
tell them five hours in make-up is
all she gets. I need a rental car.
(MORE)
47A
2nd White Revisions 4/7/03 33.
ELLIE (cont'd)
Call BUDGET. Mid-size, anything
but white.
Debbie looks at her, impressed.
ELLIE
What?
DEBBIE
Nothing.
A young guy (20's), approaches them. This is MARK. Witty
and affable. '
MARK
Ellie. What happened last night?
I got your message. Did you get
mine? Are you okay?
They pass several studio offices that open up into a busy
bullpen. Debbie veers off as Ellie stops to talk to Mark.
ELLIE
(glad to see him)
My office. Now.
INT. ELLIE'S OFFICE - MOMENTS LATER 47A
Small and cluttered. Ellie sits behind her desk while Mark
leans against it. His face bewildered. She’s been filling
him in.
ELLIE
So basically it was a nightmare
from hell.
MARK
I saw it on the news this morning.
That was you?
She waves her bandaged arm at him.
MARK
And you didn't see it?
ELLIE
No, it happened so fast. It was
some kind of beasty thing. But I'm
fine.
(taps her bandage)
See? Doesn’t even hurt.
+ + + E E
2nd White Revisions 4/7/03
MARK
And the other beast? The one named
Kyle?
33A.
Ellie leans back in her chair. Instantly remembering her
dinner with Kyle.
ELLIE
Apparently, I have issues.
MARK
I never liked the guy anyway. He’s
an 80's LA artifact. With his
therapeutic personality and those
daily affirmations he leaves on
your voice mail. Yick!
He's trying to lift her spirits but it’s not working.
ELLIE
What if he’s right? What if I am
all those things?
Mark leans down. Stares at her sweetly. Truthfully.
MARK
None of us come into this world
issue-free, Ellie. We all got our
shit. But one day you'll meet a
guy with appropriate compatible
shit and it'11 all fall into place.
She stares at her friend. Appreciates his intentions.
ELLIE
You're really good.
MARK
You're gonna be okay. Besides,
you're looking pretty sassy today.
I'm liking the new ‘do.
He refers to her hair. But Ellie doesn’t respond. Something
has taken her attention.
ELLIE ~ -.
What smells so good?
cS Ellie SNIFFS. Smells the air around her.
, y .
What? I don't smell anything.
+
*
+ + + + Ht OF
*
*
47B
47C
2nd White Revisions 4/7/03 33B.
Ellie stands, continuing to SNIFF.
ELLIE
You don't smell that? Yummy.
Ellie moves to her office door and opens it. Still SNIFFING.
Just then, her phone RINGS. She turns to Mark.
ELLIE
Get that, will ya?
Mark reaches for the phone as Ellie moves into...
INT. STUDIO BULLPEN - DAY 47B
Ellie moves down the hallway SNIFFING from left to right.
She's trying to find the smell.
She comes to a small kitchen area.
INT. STUDIO - KITCHEN - DAY 47C
The office assistant, DEBBIE, stands at the counter holding a
paper towel to her bloody nose. She looks over to see Ellie
staring at her. As an explanation...
DEBBIE
(nasal)
Hypoglycemic.
Something inside Ellie stirs. She can't take her eyes off
the bloody towel.
2nd White Revisions 4/7/03
34.
DEBBIE
1'11l live.
Behind her, Mark appears.
MARK
(from doorway)
Some guy’s on the phone for you.
He's holding on two.
Ellie turns to Mark, snapping out of it. Heads for her
office.
48 INT. ELLIE'S OFFICE - MOMENTS LATER 48
Ellie moves behind her desk, grabbing the phone.
ELLIE
(into phone)
This is Ellie.
49 EXT. WINSTON DECK - DAY 49
Vince stands on the back terrace with a cordless phone in his
hand.
VINCE
(into phone)
Ellie Harper from THE LATE LATE
SHOW WITH CRAIG KILBORN?
THE SCENE INTERCUTS:
ELLIE
Can I help you?
VINCE
It's Vince Winston. Last night.
Canyon. Car wreck. Wild animal.
How are you the morning after?
ELLIE
Fine. Sort of. And you? How's
your shoulder?
VINCE
The shoulder's fine. My head’s a
little screwy. But that's really
nothing new. o
ELLIE
How bad's your car?
2nd White Revisions 4/7/03 35.
VINCE
My Dad took care of everything.
ELLIE
That's not necessary. I’m
insured. I take full
responsibility for what happened.
VINCE
Trust me, I take none. I‘m
curious -- have you noticed
anything strange today? Anything
different since last night?
Ellie finds this question very interesting, considering what
just happened.
ELLIE
Uh...well..a little post-trauma,
maybe...why do you ask?
VINCE
Just wondering. Hey, you free for
drinks tonight? Say, Mariasol on
the pier? 8:00 o'clock?
ELLIE
Tonight? I have a meeting.
But, Ellie considers a moment. Why? She has no idea.
VINCE
C'mon, you hit my car, I could sue.
It's the least you can do. I'll be
on the patio -- look for the drunk
guy. Seeya there.
He hangs up abruptly. Smiling.
49A INT. ELLIE’S OFFICE - SAME 49A
She sits there. Staring at the phone. Quickly, she hits the
intercom.
ELLIE
(into intercom)
Debbie, see if you can move
tonight’s drinks to Mariasol. 8
o*clock.
She CLICKS the intercom. Shakes off her hesitation.
49B
2nd White Revisions 4/7/03
36.
OMITTED 49B
EXT. HIGH SCHOOL - OUTSIDE THE GYM - DAY A 50
Jimmy moves across the yard, books in tow, when he spots
Brooke Mueller, the girl from the Wax Museum. |
She's shoving a dollar bill into a soda machine. It keeps
spitting back out at her. She bangs on the machine. Jimmy
takes a deep BREATH. Approaches.
JIMMY
Hey, need some change?
She turns to him. Vaguely recognizing him.
BROOKE
Yeah...got any quarters?
JIMMY
Lemme check.
He shifts the library books he carries from one hand to the
other, while balancing his book bag, trying to rummage
‘through his pants pocket. Clumsily.
BROOKE
I’ll hold.
She takes his books to help him out. She eyes a couple of
the titles. THE WEREWOLF ENCYCLOPEDIA, URBAN WOLVES, etc.
BROOKE
Werewolves?
Jimmy finds his change.
JIMMY
Stupid report I'm doing.
He counts out the exact change. Brooke hands him her dollar.
JIMMY
Keep your money. It’s on me.
She smiles. Takes it. Jimmy takes his books when...
BAM! His books go flying. Jimmy looks up to see Bo LAUGHING
with TWO JOCKS in tow. His posse-- EARL and LOUIE. Dressed
in wrestling gear. Jimmy bends down to retrieve his books.
2nd White Revisions 4/7/03 37.
. BO
Yo, Geek Juice.
Bo eyeballs Jimmy. Decides to have some fun.
BO
Trying out for the wrestling team,
Jimny?
JIMMY
Nah, 1 don't wrestle.
The Jocks LAUGH at this. Apparently, they find it funny.
BO
I'd think all that male to male
contact would be right up your
alley.
JIMMY
Is that the appeal for you?
Earl and Louie CRACK UP.
LOUIE
Oooh. Back talk.
Jimmy stands. Turns to him. A flash of anger in his eyes.
JIMMY
Haven't you been the team captain
for, like, two years now?
BROOKE
Nicely done, Jimny.
Louie and Earl are LAUGHING again. “He told you.” Etc. Bo
is instantly fuming.
BO
Did you just attempt a
confrontation?
Jimmy thinks about the question. Did he? Guess so.
JIMMY
Maybe.
Bo moves in. Dangerously close to Jimmy. Seething. Ready
to take Jimmy out.
51
51A
51B
2nd White Revisions 4/7/03 38.
Jimmy struggles. He starts BREATHING heavily. Tensing up.
Not sure what to do. It almost appears as if Jimmy may stand
up to this jock. But then his body relaxes. He steps back.
BO
You let me know when you're sure.
BROOKE
Ignore him, Jimmy.
Brooke tugs at Bo. Her eyes inform him to “stop now”. Bo
steps back, allowing Brooke to have her way.
BO
Let's get out of here, before we
get homo-stained.
Bo and the others take off. Brooke turns back to Jimmy. She
throws him apologetic eyes. Shrugs.
Jimmy watches them go. There's something different on his
face. His fear has turned to anger.
OMITTED 51
EXT. SANTA MONICA PIER - ESTABLISHING - NIGHT 51A
Night has fallen. The pier is alive with activity. Lights
and festivity abound.
EXT. MARIASOL PATIO BAR - NIGHT 51B
The patio of Mariasol Bar & Restaurant located at the end of
the Santa Monica pier. Vince is there, leaning against the
rail. The ocean behind him. It glimmers from the light of
the round moon that hangs in the sky above.
Vince scans the crowd, sipping a bottled water. Just then,
Becky pops up. Looking delicious.
BECKY
Remember me?
Vince turns his attention to her. Smiles.
VINCE
Betty, Barbara, Bonnie -- BECKY.
She's impressed. Notices his bandages.
BECKY
What happened?
2nd White Revisions 4/7/03 39.
VINCE
You shouldn’t have bumped me last
night, Becky, it got ugly.
BECKY
(big news)
It's a great crowd tonight. Potsie
from HAPPY DAYS is here. He's
inside.
Just then, a MAN passes in front of Becky. She eyes him.
BECKY
Look. That's whats-his-name-
celebrity person. I'm such a
starfucker. Don't go anywhere.
1'11 be right back.
Becky takes off in search of the passing man. Vince watches
her go, bemused. His eyes catch the arrival of Ellie, who
makes her way into the restaurant. She's dressed in a
stylish, close-fitting dress. Her hair loose and wild. She
looks stunning.
He smiles to himself, surprised by how pleased he is to see
her. He quickly moves to her.
VINCE
Hey there, you made it.
Ellie plays down the fact she did, indeed, come.
ELLIE
I'm meeting someone for drinks.
It's a business thing.
VINCE
But you came here.
ELLIE
It's a bar. They have drinks.
VINCE
I’m glad. I was hoping we could
talk.
Vince's attention unnerves Ellie. She eyes her watch.
ELLIE
I'm actually late. I should go.
She quickly moves away before Vince can object. But then
she turns -- looking sheepishly sexy.
.
2nd White Revisions 4/7/03 39A.
Ellie greets her with a smile. The woman is young.
Attractive. Not exactly the “assistant” type.
52-60
61
2nd White Revisions 4/7/03
ELLIE
But, maybe after?
Vince smiles. Ellie enters the restaurant.
OMITTED
INT. MARIASOL BAR AND RESTAURANT - NIGHT
Ellie moves through the crowd. She eyes the bar.
she’s looking for.
AT THE BAR
Ellie approaches a MAN. He's stylish. Handsome.
ELLIE
Mr. Baio? Hi, I'm Ellie Harper
from THE LATE LATE SHOW WITH CRAIG
KILBORN.
The man turns and it's none other than Scott Baio.
SCOTT BAIO
Nice to meet you, Ellie. And it's
Scott.
39aA.
52-60
61
Sees who
He's instantly ‘on’. Smiling big. The Hollywood flirting
thing. He points to a YOUNG WOMAN beside hin.
SCOTT BAIO
This is Joannie, my assistant.
61A
2nd White Revisions 4/7/03
ELLIE
Hi.
JOAN
I’ll leave you two to talk.
ELLIE
No, please, stay.
SCOTT BAIO
It’s okay. Thank you, Joannie.
40.
Joannie gives Ellie the once-over. More of a girlfriend
jealousy look than professional. She moves to a table
feet away.
a few
Ellie sits down beside him. Scott checks her out. Eyeing
her up and down.
ELLIE
I'ma huge fan. Ever since the
Fonzie days.
SCOTT BAIO
That's a beautiful dress. And
you're beautiful in it.
Huh? Is he coming on to her? She dismisses it quickly.
equipped to handle the compliment.
ELLIE
Thanks. It’s a little tight. I've
gained weight.
SCOTT BAIO
It's perfectly tight.
He stares deep into her eyes. He is coming on to her.
Weird. It throws Ellie a bit.
ELLIE
Anyway...
INT. MYERS’ DINING ROOM - NIGHT
Father and son eat in their small dining room off the
kitchen.
Jimmy sits in silence, picking at. his food. Mr. Myers
next to him, cleaning his plate.
Not
61A
sits
x -
ara
Pes S
-an
ema wrae n
met purre meme mn
2
2nd White Revisions 4/7/03 41.
Jimmy sticks his fork in the steak on his plate. Rare juices
drip from the meat.
JIMMY
It’s overcooked.
JAMES MYERS
If it were any rarer, you could
milk it. Next time you get in the
kitchen and Wolfgang Puck it any
goddamn way you like.
Jimmy cuts a piece of meat and slides it under the table
where Zipper sits. He wiggles it, tempting Zipper.
Zipper's not having any part of it. He won't go near Jimmy.
He’s still scared of him.
JAMES MYERS
Hey, what did I say about that?
Jimmy ignores him. He leans under the table.
JIMMY
What's wrong, Zipper?
He reaches for the dog. Zipper backs up, coiled against the
wall. Nowhere to go. Jimmy, confused, takes Zipper by the
collar when Zipper SNAPS at him. Then flees, tearing out of
the room.
Jimmy leaps back. Eyes his hand. Blood drips from a small
bite. It pisses Jimmy off. Angering him. He sits up,
applying his napkin to his hand.
JIMMY
Goddamn it.
JAMES MYERS
Watch your mouth.
Jimmy’s dad POPS him on the side of the head again.
In a lightning move, Jimmy’s hand SHOOTS FORWARD, striking
back. He hits his father across the face. A move so
powerful, it sends Mr. Myers FLYING BACK several feet,
knocking him to the floor.
Jimmy is speechless. Stunned. It happened so fast and
insidious -- so uncontrollable.
61B
2nd White Revisions 4/7/03 42.
JIMMY
Dad, Oh God, I'm so sorry. I don't
know what happened.
Mr. Myers raises up. His lip bleeding. Blood trickling down
his chin. He wipes at it.
JIMMY
I’m sorry. I didn’t mean it.
Mr. Myers upturns his chair, returns to the table. Looks at
Jimmy who stands frozen in mortal fear of his father. Mr.
Myers is furious.
JAMES MYERS
Boy, you better get out of here
before they haul my ass away for
child abuse.
Jimmy doesn’t have to be told twice. He bolts from the room
in confused fear. Not sure what just happened.
EXT. MARIASOL PATIO BAR - NIGHT 61B
Vince is still there with Becky as she chats it up with the
man she noticed earlier.
BECKY
(to man)
Whatever happened to Corey Feldman?
COREY
I'm Corey Feldman.
Yep. It's Corey Feldman. Becky looks puzzled. Vince
barely pays attention. His eyes scan the crowd. He finds
himself tugging at his bandage. Itchy.
BECKY
Then who’s Corey Haim?
COREY
The other Corey.
BECKY
Which one of you was in THE LOST
BOYS? .
62
63
2nd White Revisions 4/7/03
COREY
We both were.
BECKY
I'm so confused.
COREY
Of course you are. Nice to meet
you.
Corey quickly takes off. Becky turns to Vince.
BECKY
Hey, I'm gonna stalk Potsie. He's
at the bar.
Becky heads inside.
OMITTED
INT. MARIASOL RESTAURANT & BAR - NIGHT
Ellie chats it up with Scott Baio at the bar.
ELLIE
You'll be Craig’s third guest.
SCOTT BAIO
Third?
ELLIE
After Ashton Kutcher and Carrot
Top.
SCOTT BAIO
I'm on after Carrot Top? And who
the hell is Ashton Kutcher?
43.
62
63
This doesn’t sit well with Scott. Ellie moves on quickly.
ELLIE
THAT 70'S SHOW. Now, Craig's doing
this whole retro week where we have
one star a night from a classic TV
show appear...
SCOTT BAIO
(under his breath)
.-After Carrot Top?
She watches as Scott tries to contain himself
drink. Not happy. Ellie plows forward.
Nursing his
63A
64
65
65A
2nd White Revisions 4/7/03
44.
ELLIE
We'll start with a Chaaci
clip...maybe something from CHARLES
IN CHARGE, then we could segue into
what you're up to now. What are
you up to now?
ACROSS THE BAR 63A
Vince watches Becky breeze through the room towards Scott
Baio. Then he sees that the person next to Scott is none
other than Ellie. Becky is honing in on them like a stealth
missle. He pulls at his bandage a little. Uncomfortable.
OMIT l 64
AT THE BAR 65
SCOTT BAIO
(coming around)
With all my new projects, between
the producing and the acting, I
finally got to take some time off,
traveled abroad, mostly Europe. I
just got back.
ELLIE
Funny road stories go over big.
Ellie looks up to see Becky bounce into their conversation.
BECKY |
Hi, Becky Morton, and I just wanted
to say 1'm a huge fan. 1 loved you
as Potsie.
65 CONT AT THE BAR
SCOTT BAIO
Chaaci.
OUTSIDE PATIO 65A
Vince watches as Becky interrupts Scott and Ellie. She's
fawning over Scott. He sees Ellie SIGH politely as Scott
does his best to deal with her.
65 CONT
Becky continues to bombard Scott Baio.
BECKY
I watched the re-runs every day
after school.
(MORE)
2nd White Revisions 4/7/03 . 44A.
BECKY (cont'd)
You really helped me get through my
prepubescent gawky phase. `
Becky touches his arm, flirty.
SCOTT BAIO
Thank you. But, I’m in the middle
of...
VINCE
(appearing by Becky)
Hey, Becky, how about we leave
these two alone. Sorry, Ellie.
He tries to pull Becky away, apologetically. But Becky won't
budge.
2nd White Revisions 4/7/03 45.
BECKY
Great, you know each other. Can we
join? Drinks on me. Or better,
Vince-- you buy.
Scott’s not in the mood to be fawned over.
SCOTT BAIO
We're in the middle of something
here if you don’t mind. So, if you
could just wiggle away.
Scott’s true colors surface. Bitter?
VINCE
Hey, don't be rude.
SCOTT BAIO
Who the fuck are you?
VINCE
The guy who's gonna kick your ass
if I don't hear an apology.
ELLIE
Vince, please...I'm working.
SCOTT BAIO
Take a hike, pal.
Scott shoves Vince aside casually. Vince staggers into
Becky. Big mistake.
Vince acts impulsively. Without thinking, he rears back and
decks Scott Baio upside his jaw.
Shockingly, Scott Baio goes FLYING into a nearby table,
upturning it. The CROWD goes wild as Scott and the table
crash to the floor.
Scott leaps up immediately. Fury in his eyes. His assistant
Joannie appears, frantic at his side.
JOANNIE
Scottie, are you okay?
ELLIE
Mr. Baio, oh my God.
66
2nd White Revisions 4/7/03 46.
Scott is ready to take on Vince. Joannie intercepts him.
Holding him back.
JOANNIE
Scott, don’t. I’ll handle it.
Joannie moves to Vince. Getting in his face.
JOANNIE
What do you think you're doing?
Vince has no idea what he just did. He's freaked. Out of
it. Becky steps in. On Vince's behalf.
BECKY
Back off, bitch.
Vince moves to Ellie. Who is shocked and furious.
VINCE ;
Ellie, I’m sorry...I don’t know
what’s happening to me...
ELLIE
Are you insane? Wait...Mr. Baio?
Ellie takes off. Racing after Scott Baio. Vince, lost and
confused, can only watch her go.
EXT. SANTA MONICA PIER - NIGHT 66
Ellie runs out of the restaurant. Catching up to Scott Baio
and his assistant on the pier.
67
68
2nd White Revisions 4/7/03 47.
ELLIE
I am so sorry. I don’t know what
to say.
Scott’s assistant is livid.
JOANNIE
I'll tell you what to say -- Scott
goes on before Carrot Top.
Joannie takes Scott and leads him away. A flustered Ellie
turns, running smack into...Kyle.
ELLIE
Kyle?
Just fucking great. The last person in the world Ellie wants
to see. He eyes her. Looks her up and down. It’s
unnerving.
KYLE
Look at you. You look so...wow.
ELLIE
Getting dumped agrees with me.
She starts off.
KYLE
Wait.
She charges off. Through the crowd. Kyle stares after her.
INT. JIMMY'S BEDROOM - NIGHT . 67
Books and comics are everywhere. A large TV sits on a
dresser in the corner.
ON SCREEN 68
A newscast update. “Mystery on Mulholland” fills the bottom
of the screen. Clips of Taft and Harzel's comments play.
HARZEL
Be assured that we'll take every
measure to make sure this wild
animal causes no more harm.
2nd White Revisions 4/7/03 48.
PRESS REPORTER
What about a possible link between
the canyon attack and last night's
violent disturbance at a West
Hollywood parking structure?
SCENE INTERCUTS:
Jimmy sits at his computer, typing away. He half-listens to
the television.
ON THE TELEVISION
BEN TAFT
There is no evidence that the two
incidents are related. This kind
of speculative panic is precisely
what we're trying to avoid. We're
dealing with an animal out of its
element, not a cold-blooded killer.
ON THE COMPUTER SCREEN
Jimmy is doing an engine search. KEYWORD: WEREWOLF
The cursor scrolls a few moments, then everything werewolf
appears. Jimmy SCROLLS through the topics and links. He
finds one that catches his interest. MODERN DAY WEREWOLVES.
He CLICKS on it. Scrolling through the information.
CLOSE ON IT.
The following is scanned: “Early symptoms of Lycanthropy
include memory loss, feral behavior, increased strength...”
Jimmy turns to the television set.
It’s a large television -- a 32 inch screen. He stares at
it. Slowly, he moves to the television. He looks down at
his hands. Then he looks back at the television.
With one hand, he tilts it up. He slides his other hand
underneath it.
PRESS REPORTER
Any confirmation on the type of
animal in question?
HARZEL SS
Early DNA results were corrupt, so
we're re-testing.
69
2nd White Revisions 4/7/03 49.
IN JIMMY'S OPEN DOORWAY
Zipper is seen passing by, disappearing down the hall. A
beat. Zipper reappears. Alert. He eyes Jimmy.
PRESS REPORTER
Corrupted in what way?
Jimmy slowly raises the TV...with one hand. He lifts it with
inhuman strength. He brings it eye level, perfectly
balancing it. Jimmy smiles in amazement.
HARZEL
The results indicated that the DNA
structure was not only canine, but
human as well.
Jimmy hears this. Stunned. Then, a LOUD BARK is heard.
Jimmy jumps, dropping the television. It crashes to the
floor. Sparking. Sizzling.
Jimmy turns to find Zipper in the open doorway. BARKING and
GROWLING. Low and mean.
Jimmy shoots Zipper a piercing glare. He kicks the door,
slamming it in the dog’s face.
EXT. SANTA MONICA PIER - NIGHT - LATER 69
The pier is alive with festive lights and activity. Vince
and Becky walk through the crowd. Becky is still high from
the earlier portion of the night.
BECKY
“I'm the guy who's going to kick
your ass.” And you did. Poor guy.
I'm so glad I gave up the acting
thing. I couldn't deal with the
fading star syndrome. Bitter,
bitter.
VINCE
A Corey and a Chaaci. We're
averaging a ‘C’ tonight.
BECKY
Don't you worry. We're having sex
later. Done deal. Look!
Becky points to a small gypsy wagon. A propped up sign reads
“FORTUNE TELLER”. A woman draped in scarves and jewels sits.
2nd White Revisions 4/7/03 50.
Meet ZELA, more Venice Beach than gypsy- Not your typical
fortune teller.
Becky heads over, while Vince turns to the pier’s railing,
looking up at the sky. The rising moon looks full as it
hangs low over the water. Vince studies it a moment.
BECKY
(off camera)
Hey, Vince, check this out.
Vince turns to find Becky sitting at the table in front of
Zela. Vince moves to them.
BECKY
She says I'm vivacious and
carefree.
ZELA
(correcting)
Careless.
BECKY
Sit down.
Becky grabs him and YANKS him down. He's too tired to
resist.
BECKY
Hand out.
Becky upturns Vince's right hand and places it in front of
Zela. As soon as she touches his skin -- Zela's face
changes. She stares at it. Studies it.
ZELA
Uh-oh. This is odd.
BECKY
What?
ZELA
How long have you had these marks
on your hand?
Vince and Becky both look at his palm. Zela points to them.
Small red marks under his skin. (Similar to the ones seen on
Ellie's hand earlier.) They create broken lines from his
thumb to his fingers, outer palm, and wrist. Vince looks at
it. Shakes his head. He fidgets, not in the mood:
VINCE
I don't know. Last night, N, got
roughed up a little.
2nd White Revisions 4/7/03 51.
ZELA
You're marked by the curse of the
beast.
Vince freezes. Dead in his tracks. He stares at the woman.
VINCE
What are you talking about?
ZELA
(shrugging it off)
I studied Tarot at Santa Monica
Community College. I took this
class in the occult.
zela reaches into her bag and pulls out an ink pen.
ZELA
See...watch...
She starts to draw on Vince's palm. He watches as she draws
lines that crisscross over his palm, connecting the points
from mark to mark. When she’s done, the connecting lines
have etched out a pentagram.
BECKY
How cool is that?
Vince stares at it. Then back to Zela. His face falling.
VINCE
What does it mean?
zela eyes him.
ZELA
It’s a pentagram. The mark of the
beast. Were you in the canyon last
night with that animal?
Vince is completely creeped out. His face registering fear.
VINCE
How did you know that?
ZELA
Chill, dude. I'm no psychic. I
saw it on the news. Two plus two.
Were you clawed or bitten?
VINCE
Bitten. __
los
70
71
2nd White Revisions 4/7/03 52.
ZELA i
Doesn't matter, either way you're
cursed. Or at least that's what
the books say.
Vince swallows hard. Completely unnerved. He stares at his
hand. Becky sees how disturbed he is.
BECKY ;
Vince, c’mon, snap out of it, the
woman’s a fake.
ZELA
Fake is a little harsh. I have a
degree.
Vince rises to his feet. Stumbles away.
BECKY
Where ya going?
Confused, Becky starts for him when Zela grabs her hand.
Becky turns. Startled.
ZELA
That'11 be ten dollars.
ON VINCE
He walks alone along the edge of the amusement park.
Physically uncomfortable.
EXT. ELLIE'S APARTMENT - NIGHT - LATER 70
Ellie moves up her front porch steps. Spent. Physically
uncomfortable, she tugs at her clothes. She loosens her
collar. She arrives at the door. Pulls out her keys and
doubles over in pain, collapsing to her knees.
She reaches up, trying to unlock her door. She manages to
get it ajar when she CONVULSES again. She falls to the
ground, clutching her stomach in severe pain.
EXT. SANTA MONICA PIER - NIGHT 71
A deserted section of the pier that overlooks the beach.
Near the parking lot. Not many PEOPLE can be seen.
Vince stares out onto the beach. Sees the moon in the
distance. His mind racing. Confused.
72
73
74
74A
2nd White Revisions 4/7/03 53.
He takes a deep BREATH. Suddenly, he begins PANTING. Vince
pulls at the bandage on his shoulder. Itchy. He begins to
convulse. Spasm. His back arches. He SCREAMS in -pain.
Agony.
He rockets backwards...against the pier railing. He
stumbles, loses his balance, going over the side.
ON VINCE 72
His body free-falling...
He SCREAMS as he plummets, back first. Arms flailing, legs
kicking as the impact comes.
Just before Vince's back slams into the sand, his body
twists, he rolls over in the air, landing...
ON ALL FOURS...His hands and feet planted firmly on the 73
beach, his back arched, poised like an animal, ready to
strike.
A LOW GROWL emits from his lips.
His face is one of stunned disbelief. He shakes his head.
What the fuck?
Vince staggers to his feet. His body intact. He straightens
himself. Bones CRACK...POP...
He's completely unharmed. And fuckin” freaked out.
INT. JIMMY'S HOUSE - BEDROOM 74
CLOSE ON A COMIC BOOK
Images of cartoon werewolves...fangs, claws, full moons.
Jimmy lies on his bed. Intensely reading the comic. He
hears BARKING from the window. It’s annoying. Restless, he
gets up and goes to an open window.
It seems like every dog in the neighborhood is BARKING...and
HOWLING. Something’s got them going.
JIMMY
Shut up.
The neighborhood dogs respond. BARKING louder...HOWLING 74A
even. It’s as if they’re barking at Jimmy. He responds,
HOWLING back at them. It’s fierce and chilling. It’s very
human and very Jimmy -- but it makes its point.
74CONT.
75
2nd White Revisions 4/7/03 54.
The BARKING dogs fall into sudden silence. Jimmy blinks.
Shocked. Holy shit!
Jimmy shuts the window. He shifts, fidgets. 7 74CONT.
He sits at his desk. He finds it impossible to sit still.
Uncomfortable. Itchy. He opens his closet door. A long
mirror hangs inside.
Jimmy stares at himself. His face is pale and sweaty. He
makes faces. Like an animal. He growls at himself. Then,
he notices ink marks on the door. Where’s he’s chronicled
his height through adolescence.
There’s a mark that has 13 written by it, then 14, 15...each
one slightly higher. Jimmy’s own little growth puberty
chart. He eyes the last one. The current one -- 16.
He stands up straight, next to it. Holds his hand flat over
his head. Steps back. It’s over an inch taller. He stares
at it. Long and hard.
Then, he GASPS. Grabbing his stomach. Fighting off a cramp.
He stares at himself in the mirror again. He wipes the sweat
from his face. A look of resignation falls over him.
EXT. SANTA MONICA PIER - NIGHT 75
Becky searches for Vince, passing a band that entertains the
crowd. She moves to the railing. No sign of Vince.
Frustrated, she looks out onto the beach.
In the distance, she sees the shadow of a Man staggering
along the sand. Is it Vince? She calls out.
BECKY
Vince?
The shadowed Man turns to her. A moment. Then, he takes
off, running down the beach. Into the darkness.
Disappearing.
Becky is confused. Annoyed. She eyes the nearby parking
lot. A set of wooden stairs leads down to the beach. She
moves through the parking lot. BUMP. She turns, eyes the
rear of a car slightly rocking. Puzzled, she continues on.
AT THE STAIRCASE
Becky moves down the slotted wooden staircase. Midway down,
she peers across the beach in the moonlight. She can’t see
anyone.
76
77
78
2nd White Revisions 4/7/03 55.
BECKY
Vince? Shit, Vince.
She looks into the darkness. Nothing. No one.
Becky turns, starts back up the stairs when... l 76
A GRISLY, GROTESQUE SET OF CLAWS BURSTS UP THROUGH THE STAIRS
JUST ABOVE HER - REACHING UP AND GRABBING HER AT HER
MIDSECTION.
Becky SCREAMS BLOODY MURDER as the CLAWS YANK, JERKING HER
ENTIRE BODY DOWN...FORCING HER BODY THROUGH THE SPLINTERED
HOLE IT’S CREATING.
Wood splinters and gives way as her body LODGES INTO RIPPED
WOOD...Becky grabs hold of an exposed plank, hanging on for
dear life...SCREAMING CRAZILY. IN ONE THRUST, more wooded
slots break away around her and she disappears beneath the
stairs.
A splintered hole now exists in the stairs where Becky was
ripped through. Suddenly, her body comes shooting back up.
Her arms flailing...SCREAMING...her torso, her waist jut up.
But something still has hold of her beneath the stairs.
HIDEOUS JAW SNAPPING SOUNDS are heard as Becky’s body is
tossed from side to side...then in one final thrust...
Her body is thrown forward...her head BASHES against exposed
wood. Her body goes limp. Then, once again, it’s RIPPED
DOWN BELOW.
The INHUMAN SOUNDS that follow are monstrous. Those of JAWS
SNAPPING, RIPPING INTO FLESH...JOINTS AND LIMBS TORN APART...
EXT. BLUE SKY - MORNING 77
The morning sun bathes a clear blue sky.
CLOSE ON ELLIE'S EYES.
They flutter open. Squinting from the bright sun. She
closes them again, not wanting to wake up. She YAWNS.
A MOMENT AS SHE STIRS MORE. HER MIND GROGGY. SHE SITS UP,
YAWNING, STRETCHING. SHE HEARS WIND...BIRDS...
She opens her eyes as...
THE ENTIRE SUNSET STRIP COMES INTO VIEW. . 78
79
80
81
82
82A
2nd White Revisions 4/7/03 56.
Confused. Disoriented. Ellie looks around.
And that’s when she realizes... she’s been sleeping on a 79
metal ledge high in the sky. What the hell?
She is lying at the base of a huge billboard that graces the
strip.
OMITTED 80
Ellie stands, gripping the support beam. Scared to move. 81
She looks down at her body. She’s completely naked...not one
stitch of clothing on her body.
She ducks down, out of view from the morning traffic that
crowds the streets. She eyes metal support bars that create
a ladder of sorts. Sees her clothing tattered and hanging
from it. She reaches for them, covering herself, completely
out of it.
EXT. JIMMY'S HOUSE - MORNING 82
A hedge of green bushes on the side of Jimmy’s house.
CLOSE ON JIMMY
As his eyes open and he instantly jolts awake...scared,
confused. He’s lying in the bushes just outside his house.
He looks down at himself. He’s completely naked.
Jesus Christ! He peeks out around the hedges.
Sees his yard. The quiet neighborhood beyond. No one in
sight. He looks up...sees his second story bedroom window
above him.
He crawls to his feet, hiding himself. Quickly, he scrambles
up the side of the house and flips into his bedroom window.
It’s more of a professional gymnast move than anything Jimmy
should be capable of.
ACROSS THE BACKYARD 82A
From a neighboring house, an ELDERLY LADY watches Jimmy from
her kitchen window. Her eyes peering over her glasses.
From the ledge, he pulls himself over the window silland
disappears inside. Nicely done.
82B
83
84
2nd White Revisions 4/7/03 57.
EXT. ELLIE'S APARTMENT ~ MORNING 82B
CLOSE ON THE HOLLYWOOD SIGN. PULL BACK to REVEAL Ellie, in
her tattered dress, walks up the steps to her apartment.
AT THE FRONT DOOR
She finds the front door ajar. The keys still in the lock.
Her purse laying on the door step. She eyes it bizarrely.
She can’t remember a thing. She steps inside.
INT. JAIL CELL ~ MORNING 83
Vincent wakes up suddenly. As if having a bad dream. He's
PANTING. Groggy. Disoriented. A small, soiled blanket
covers his nude body.
He looks around. He's in a holding cell. Sprawled around
the cell are various low-life THUGS and TWEAKERS.
INT. JAIL ROOM - MORNING - LITTLE LATER 84
Vince, wrapped in his blanket, signs forms at a table as TWO
COPS oversee.
VINCE
What exactly was 1 charged with?
The Cops eye him with disbelief.
COP #1
You were waving your billy club
down the beach.
COP #2
Drunk and disorderly. Indecent
exposure.
Drunk? Vince is surprised. He has no memory of it.
The door opens and Toby, the family chauffeur, enters.
Eyeing him in disdain. Toby throws fresh clothes on the
table in front of Vince.
VINCE
Is Dad here?
Vince begins to dress. As he puts his shirt on, notices that
his bandages are gone. In fact, his shoulder is completely
healed. He's momentarily thrown.
TOBY
He's waiting for you at home.
85-89
2nd White Revisions 4/7/03 58.
VINCE a
With a lengthy dissertation on the
pitfalls of child-rearing, no
doubt.
Toby SIGHS.
TOBY
Look, I know your dad’s been shit
for a father...
VINCE
Save it, Toby, something else is
going on here. This isn't about
him.
TOBY
What it’s about is an overgrown
playboy living at home like a punk.
Get on with it, get out from under
the man. You work so hard not to
be him, you're killing any chance
you have at being anything else.
Toby comes off strong. But he has nothing but this kid's
best interest at heart. Vince feels it. He sits down,
slipping into his shoes.
VINCE
Is this tough love?
There's clearly a bond between these two men. Something
that’s never existed between him and his father.
TOBY
If you don't want to be a Winston,
then you'd better decide who it is
you want to be.
Toby exits. Vince touches his shoulder where the teeth
marks should be. He looks at his palm only to discover that
the pentagram is still very much there.
OMITTED 85-89
INT. STUDIO CORRIDOR - DAY 89A
Ellie comes flying down the corridor. Late arid frazzled.
And it shows. Her hair is a mess, her usual’ work attire has
been shunned: in favor of a thrown together look. Its effect,
however, is nothing less than sexy.
She approaches...
*
AREA OF
*
2nd White Revisions 4/7/03 59.
89B THE BULLPEN 89B
To find Mark waiting for her. He eyes her appearance. She *
tosses off an instruction to Debbie. a *
ELLIE
We need to send major apology
flowers to Scott Baio. Call his
assistant Joannie for the address.
MARK
You're kidding, right? Her name is
Joannie?
ELLIE
Apropos, huh?
They move into her office. | *
89C INT. ELLIE'S OFFICE - CONTINUOUS 89C
She kicks off her shoes, rubbing her feet.
ELLIE
None of my shoes fit me anymore.
MARK
Are you gonna prep Craig like that?
ELLIE
Like what?
MARK
Looking all...sexed up?
ELLIE
What is it with you and the fashion
commentary lately?
MARK
C'mon, Ellie. You have this whole i *
‘strap me to the headboard’ thing *
going. *
Ellie defends herself. *
ELLIE
So I’m feeling a little feisty,
lately. It’s about time, don't you
think?
Tie Daa eda.
. 2nd White Revisions 4/7/03 ; 59A.
l ] Personally, I dig it. It’s working
i ' for you. l ;
90
2nd White Revisions 4/7/03 60.
He gives her a cute grin. She waves him off.
ELLIE
Go away.
INT. HIGH SCHOOL GYMNASIUM - DAY 90
Wrestling team try-outs. Mats are spread out across the
gym's floor. JOCKS battle it out, wrestling in pairs
throughout the gym.
The Coach weaves through the mats with barking commentary.
Sizing up his future players.
Brooke watches from the stands. Bored. Behind and above
her, Jimmy vaults over the bleacher balcony with acrobatic
grace. He has a new look. Tossed bed-head hair, jeans and a
sexy t-shirt. He‘s looking hot.
JIMMY
Hey, Brooke.
She turns, eyes him. Blushing instantly.
BROOKE
Are you stalking me?
She smiles. Secretly hoping he is. Jimmy smiles back.
JIMMY
Definitely.
BO
(off camera)
What's going on, Brooke?
Brooke and Jimmy turn to see a hostile Bo standing beside
them. Louie and Earl make up the rear.
BO
You going fruit fly on me?
Jimmy faces him. He's not looking so scared of Bo anymore.
JIMMY
Actually, we were talking, so if
you don’t mind -- shoo.
Bo jumps into his face.
i BO
You're asking for it, Abercrombie.
2nd White Revisions 4/7/03 61.
Jimmy doesn't back down for one second. Brooke looks on.
Impressed.
JIMMY
C'mon, Bo, you're really becoming
transparent. How about a little
identity intervention? Cuz’ all of
this internalized homophobia is
just giving you away.
BO
You calling me gay?
Brooke gives it serious consideration.
BROOKE
Actually, Bo, it would explain a
lot.
Bo goes livid. He shoves Jimmy. The Coach appears.
Intervening.
COACH
What’s going on?
Bo stares Jimmy down. Suddenly, he gets an idea.
BO
I was just giving Jimmy some
pointers. He's here to try out for
the team.
The Coach gives Jimmy a once over. Surprised as hell.
COACH
Really? You? You sure you want to
do that, Jimmy?
Bo throws Jimmy a wicked smile. It’s clearly a challenge.
Jimmy nervously shrugs.
JIMMY
Maybe.
BO
Sure he does, Coach. Tell ya what,
I'll wrestle him.
COACH
No. Louie, you and Jimmy take the
mat.
91
2nd White Revisions 4/7/03 61A.
INT. HIGH SCHOOL GYMNASIUM - MOMENTS LATER 91
Jimmy is paired off with LOUIE. Everyone has stopped to
watch the massacre. Louie and Jimmy get into position.
91A
2nd White Revisions 4/7/03 62.
Jimmy's sweating a bit. Not sure how this is going to play
out.
LOUIE
Okay, limp wrist, stay away from my
groin.
The Coach can’t bear to do it, but he blows the whistle. The
two guys go at it...grabbing, gripping, pulling...wrestling.
But then Jimmy makes a move. Quick and powerful. Before he
realizes it, he picks Louie up over his head and flips hin,
sending him flying to the mat.
Louie lands with a resounding, ass-hurting THUD.
Everyone in the gym is stunned. Even Jimmy. He looks to
Brooke, who smiles sheepishly. Bo takes note.
Pissed, Bo steps up.
BO
Give me a crack, Coach.
The Coach, impressed, waves Bo off. Points to Earl.
MOMENTS LATER 91A
On the mat, Jimmy and Earl face off. Jimmy revels in his new
confidence.
EARL
I'm gonna kill you.
JIMMY
Come on, stud boy...give it to me.
Jimmy's taunting incites Earl. He charges Jimmy -- but Jimmy
moves like lightning, grabbing hold of Earl, sending him up,
over and out. Bo can't stand it. He leaps onto the mat,
joining Earl as they double-team Jimmy. Coming at him from
both sides.
91B
2nd White Revisions 4/7/03 63.
The coach starts to blow his whistle to stop the fight, but
Jimmy's ready. He takes out Earl first, back-swiping him,
sending him sprawling off the mat into the team bench. Then,
he looks to Bo. Nothing but fury in his eyes.
Jimmy and Bo circle, facing off. Now, it's Bo who's looking
a little shaky. He plays the tough guy as best he can.
BO
C'mon fairy, shake your dust.
JIMMY
You'd like that, wouldn't you?
Bo lunges for Jimmy who side-steps, causing Bo to go
sprawling to the mat.
That does it. Bo leaps up and charges Jimmy. No cigar.
Jimmy springs into action. He does a double back turn,
secures Bo's arms and flips him up and over...but it doesn't
stop there.
Jimmy takes Bo, rolls him across his back, flips him right
side up, holding him tightly as he leans in, whispering into
Bo's ear.
JIMMY
You know the best part about being
a fairy? You get to fly.
Jimmy, with a flick of his arm, sends Bo sailing across the
gym...He goes crashing into Louie and Earl. They all hit the
floor, crumbling on top of one another.
Brooke CLAPS WILDLY.
ON THE COACH
Impressed with his new star player. But no one is more
impressed than Jimmy. He can't wipe the smile of victory off
his face.
INT. BACKSTAGE - AFTERNOON 91B
Ellie is there with CRAIG KILBORN. A MAKE-UP ARTIST does
final touches while Ellie preps him.
`~ ELLIE
The Rock is first up. He’s here to
promote his dramatic turn in Woody
Allen's new movie.
(MORE)
2nd White Revisions 4/7/03 63A.
ELLIE (cont'd)
So really play up the serious actor
who wants to be seen in a different
light, and whatever you do --
don't ask him to do the eyebrow
thing.
2nd White Revisions 4/7/03 64.
She straightens Craig's tie, pressing her hands against his
chest. A brief moment as her hands linger. Craig eyes her
oddly. a
CRAIG
My mouth’s dry.
Without missing a beat, Ellie shoves him a Diet Coke. We
hear an ANNOUNCER begin the show’s intro.
ANNOUNCER
(0.C.)
“It's the Late Late Show with Craig
Kilborn. Craig's guests tonight...
The Announcer continues. Craig opens his soda. He pushes
the metal top into the can.
CRAIG
Damn.
Craig has cut his finger. He pushed the soda top in too far.
He holds it up, bleeding. The Make-up Artist reaches for a
tissue.
ANNOUNCER
(0.C.)
. + «NOW, here's Craig Kilborn...
Without thinking, Ellie grabs his hand, brings it to her
mouth and sucks his finger dry. Cleans it of blood. Craig
freezes. Stunned at the unconscious act. He stares at his
finger.
ELLIE
You’re on.
Ellie shoves the bewildered Craig out onto stage. Licking
her lips, racing off.
She gets a few feet when she stops in her tracks. Realizing
what she just did. She brings her hand to her mouth.
Slowly, she licks her lips as she touches her tongue with her
finger. She licks at her finger as something stirs within
her. She finds herself shaking. Starting to lose it.
She eyes a door marked LADIES RESTROOM.
910
2nd White Revisions 4/7/03 65.
INT. LADIES RESTROOM - DAY - MOMENTS LATER 910
A long bathroom. Sinks with mirrors opposite a row of
stalls. Ellie rushes in, moving to the sink. She hits the
faucet, splashing water on her face.
Her face is red and flushed as she runs her hands across her
cheeks. Ellie stares at herself a moment. The face staring
back at her looks almost possessed. She eyes the marks on
her palm. Stares at them when she HEARS the bathroom door
open. She heads for a stall to hide.
Debbie, the young office girl, enters. She glimpses Ellie
racing into the stall, SLAMMING the door closed.
DEBBIE
Hi, Ellie.
INSIDE THE STALL
Ellie doesn't respond. She leans against the stall, catching
her breath, trying to fathom what's happening to her.
Suddenly, her knees buckle. Ellie doubles over, gripping the
wall for support.
IN THE BATHROOM
Debbie moves to the stall next to Ellie's. She rolls out
some toilet paper and BLOWS her nose.
DEBBIE
Damn allergies.
Suddenly, a LOW GUTTURAL MOAN comes from Ellie's stall.
DEBBIE
You okay in there?
Debbie moves back to the sink. Wipes her nose. Tosses the
tissue. Another LOW RUMBLING comes from the stall. Debbie
eyes it in the mirror.
DEBBIE
Ellie?
Debbie turns to the stall. Taps lightly on it.
ELLIE
(from inside stall)
I'm fine.
91D
91E
2nd White Revisions 4/7/03 66.
She doesn't sound fine. Her VOICE is low and raspy. In
pain. It doesn't sound like Ellie at all. E
Debbie, a bit worried, pushes on the stall door. It’s
locked.
DEBBIE
What‘s wrong?
No response. Just more SOUNDS. Eerie. Threatening noises.
Suddenly, the lock to the stall CLICKS open. Debbie eyes it.
Slowly, she pushes on the door as it CREAKS open.
DEBBIE
Ellie?
The door swings aside to reveal
Ellie, head down, BREATHING HEAVILY...Debbie takes a step
towards her, concerned. Just then...
ELLIE'S HEAD JERKS UPWARD. Her expression is PURE EVIL.
She SNAPS at Debbie like a wild animal.
Debbie LEAPS BACK, SCREAMING. She falls against the sink in
terror. She turns, racing from the bathroom.
Ellie's head lowers...her breath HISSING...GRUMBLING.
Slowly, she moves to the mirror. Raises her head, staring at
herself in the mirror.
ELLIE
No, no, no...
anes fighting against whatever is happening inside of her,
until...
Her face becomes normal again. The only thing different is
her expression. It's one of pure fear.
EXT. WINSTON ESTATE - DAY ~- ESTABLISHING
91D
The family limo pulls up in front of the large mansion.
Vince and Toby climb out and head into the house.
INT. WINSTON LIVING ROOM - DAY 91E
Vince moves through the living room. Heads straight for the
bar. Starts to pour himself a drink. Stops. Puts it away.
He doesn't want it. ;
2nd White Revisions 4/7/03 67.
MR. WINSTON
(off camera)
By all means, drink up.
Mr. Winston stands in the doorway. Vince’s shoulders slump.
VINCE
How about we move things along and
skip to the part where I'm a
hopeless disappointment.
MR. WINSTON
And state the obvious? 1 so prefer
the torment of subtext. It’s the
only amusement I find in all of
this.
VINCE
I can't do this. Not now.
Vince starts off. Mr. Winston steps in his path, stopping
him. Staring him down.
MR. WINSTON
Don’t you walk away from me.
You’ve lost all rights to such a
gesture.
Vince is getting worked up. His face sweaty, temples
throbbing.
VINCE
I'm feeling really out of my skin
right now. Please, dad.
MR. WINSTON
You don't get to decide. Listen to
m —
Vince doesn't. He continues out when Mr. Winston comes up
behind him and grabs him by the collar. Spinning him around,
grabbing hold of his son.
MR. WINSTON
I said listen-
+ + E
2nd White Revisions 4/7/03 67A.
Big mistake. Something in Vince snaps, he turns on his
father violently, grabbing him, hoisting him up and flinging
his entire body across the room. '
91F
92
93
2nd White Revisions 4/7/03 68.
Mr. Winston’s body CRASHES into the large patio window.
Glass SHATTERS as Vince's father goes tumbling out into the
garden outside.
But, it doesn't stop there. Vince, now in a complete state
of animal fury, leaps through the broken window with the
agility and focus of a wolf moving in for the kill.
IN THE GARDEN 91F
Vince lands atop his father, going straight for his throat --
with his teeth. Mr. Winston's eyes widen in terror as
Vince's eyes glaze over in a frightening blood-lust.
He leans into his father’s exposed neck, his teeth going
straight for Mr. Winston's pulsing jugular. Just before
Vince strikes...
TWO HANDS GRAB HIM FROM BEHIND. Toby's there, pulling Vince
off his father. Saving Mr. Winston from an ungodly attack.
Vince fights at first, but then comes to...realizing his
actions. A long, painful moment as he pulls himself
together, eyeing his horror-stricken father, realizing what
he's nearly done.
Vince looks to Toby. Pleading.
VINCE
Get me out of here.
EXT. ELLIE'S APARTMENT ~ EARLY EVENING 92
The sun is quickly setting.
Ellie parks her rental at the curb. Gets out. Her face
strained. Her walk uneven. She eyes the limo parked on the
street in front.
Ellie tops the stairs to find Vince at her door. Waiting for
her. His face troubled. Lost.
INT. ELLIE'S APARTMENT - AFTERNOON - LATER | 93
Ellie sits on the couch, listening to Vince as he stands in
front of a large glass door that leads to a patio. He holds
his palm out for her to see. The pentagram.
VINCE
The tarot lady said it was the mark
of the beast.
2nd White Revisions 4/7/03 68A.
Ellie takes a BREATH. Eyes her own palm. Looks back to
Vince. Displaying it to him. f
2nd White Revisions 4/7/03 69.
ELLIE
I almost hurt someone today. I
lost control.
Vince is only too familiar with what she's saying.
VINCE
Like you were aware, but you
weren’t. You don’t know you're
doing things until after you've
done them.
Ellie nods. Quiet fear.
VINCE
It's getting worse.
ELLIE
What did you see? In the canyon --
you saw it. What was it?
Vince shrugs a bit.
VINCE
I was drunk. I don’t know what I
saw.
ELLIE
Vince.
He nods. Time to come clean.
ELLIE
It wasn’t a bear...or a lion...
VINCE
No...
He trails off, unwilling to put a word to what he saw. She
gets it. Gropes for something rational.
ELLIE
There has to be some medical reason
for this. Some logical
explanation.
VINCE
I was bit pretty bad...you saw it,
- right? :
He points to his shoulder. She nods. He moves to her,
unbuttoning his shirt. ` e
S
2nd White Revisions 4/7/03 70.
Vince pulls his shirt down around his torso, revealing his
shoulder and chest. There’s nothing there. Both of their
faces take on an eerie dread. S
VINCE
Explain it. There’s not a mark on
me. It’s healed. No scar. Nothing.
Ellie pauses. At a loss. Inspects his body closely.
Touching him. It’s frighteningly intimate. Slightly
electric.
She looks to her arm. Unwraps her bandage to reveal that her
wound is gone as well. She holds up her arm. Vince gently
runs his finger over her unmarked skin.
ELLIE
What’s happening to us? I keep
having these weird...
VINCE
Urges?
She nods. A flush creeping up her cheeks.
ELLIE
All kinds...
His shirt is still unbuttoned. His chest is exposed. His
skin. Flesh. Her hand starts to find its way to his body.
Suddenly, she realizes what’s she’s doing. Stops herself.
ELLIE
Maybe you should go...I'm not
feeling well...something’s not
right.
It becomes clear. Ellie’s agitation is just masking how
aroused she's become. She can't take her eyes off him.
VINCE
Is that smart? Should you be alone
right now? Shouldn’t we stay
together?
He's starting to stir too. Ellie opts for lightness.
94
95
96
2nd White Revisions 4/7/03 71.
ELLIE
Are you hitting on me?
VINCE l ;
No, I'm pretty sure you're hitting
on me.
And, just like that, they lunge for each other. Kissing.
It’s mad hot. Their hands grope and pull, tearing at each
others clothes.
Coming together, bodies intertwined...it's physical. Ellie’s
aggression makes Vince stumble and they fall back onto the
coffee table, upturning it. Their lips not separating as
they hit the floor.
Their clothes begin to shed. Their GROANS get hot and heavy.
Almost animal. Vince moves on top of her as they devour each
other with insatiable hunger.
INT. JIMMY'S LIVING ROOM - LATE AFTERNOON 94
Jimmy sits on the couch. On the coffee table in front of him
are various books and comics all containing werewolves. The
TV is on. The remote in one hand, a werewolf book in the
other. The title of the book WEREWOLVES AMONG US: THE TRUTH
is seen.
The local news is on. 95
NEWSCASTER
. the mutilated body of a young
woman was found today near the
Hollywood reservoir. An abandoned
car suggests this may be Jenny
Taylor, the missing woman last seen
at a charity event in West
Hollywood two nights ago. Forensics
is working to connect the body with
the blood and bone fragments found
at the West Hollywood parking
structure...
Jimmy switches the channel. Flips past VH1's “Where are 96
They Now?” He turns a page. He reads something. Opens his
palm to the pentagram that exists there. Studies it. Reads .
on. l
The TV is now on the Discovery Channel's “Animal Planet”.
Various types of actual wolves are seen moving around in the
woods. `
2nd White Revisions 4/7/03 71A.
Jimmy looks to the television. He watches wolves run,
jump, leap in their natural habitat.
2nd White Revisions 4/7/03 72.
NARRATOR
(from the TV)
“King of his wilderness, cunning,
ruthless and determined... The more
gentle creatures of the forest
stand no chance against the wolf.”
Jimmy watches as a wolf on TV preys on a small animal.
Attacking it, ripping it to shreds. Feeding. The sight of
this ignites Jimmy. His eyes become fixated. Riveted to the
TV screen. Something moves inside of him.
JAMES MYERS
(off camera)
I'm bowling tonight. I'll be home
late.
Jimmy’s Dad, bowling ball in tow, moves to the front door.
Jimmy doesn't even acknowledge him. His body in a trance in
front of the TV. Finally, he breaks, turning to his Dad.
JIMMY
Hey, Dad, I made the wrestling
team.
His Dad eyes him. Disbelieving. Annoyed.
JAMES MYERS
Sure you did.
JIMMY
I kicked the team captain’s ass
left to right. And I got the
hottest girl in school hot for me.
Jimmy takes pride in this. Hoping his Dad will take pride
too. That never-ending search for approval. His Dad shoots
doubtful eyes at Jimmy. Dismissing him.
JAMES MYERS
Right. From wash-out to winner
just like that. Stop pulling this
shit, Jimmy. The only thing worse
than a wimp-ass loser is a wimp-ass
liar. -
Mr. Myers quickly exits the house. Jimmy is burned.
. Vulnerable. Hurt.
- JIMMY
(yelling after him) ;
Did I mention I was a werewolf?
97
2nd White Revisions 4/7/03 73.
Jimmy throws the werewolf book down on the coffee table.
INT. ELLIE'S BEDROOM - NIGHT e 97
Post-sex. The bed now sits at a slope. Empty. Two of the
bed's legs have been broken. Crushed. It must have been
some encounter. Next to the bed, on the floor are the
- tangled spent bodies of Ellie and Vince.
VINCE
That was the best sex I’ve ever
had, and I'm counting the
chemically induced ones too.
He turns to find Ellie. Though completely, orgasmically
satisfied, reality is quickly setting in. She clutches a
sheet. Mortified. Her heart racing.
ELLIE
(whew)
What just happened?
VINCE
The curse just happened.
Ellie jumps up and instantly starts to dress, hiding herself.
Suddenly, modest and starting to freak.
ELLIE
This is not me. I'm too rational.
I don't believe in hooba-hooba
curses. I don't suck blood off
Craig Kilborn or have hot sex with
someone 1 barely know. Something
is going on, but it's not a curse.
Vince watches her dart around the room, pulling on clothes.
She’s on the verge of completely unraveling. A train wreck
in action.
VINCE
And your answer would be?
ELLIE
Clearly I'm having your routine,
run of the mill mental breakdown.
It’s to be expected. I’m a small
town girl living in the big city.
Lonely and miserable, I work too
much, I'm lousy with men, have a
shitty sex life. I’m perfectly `
normal. I don’t know what's wrong
with you.
E E E
73K.
fee
2nd White Revisions 4/7/03 74.
VINCE
Maybe nothing. There's a part of
me that feels better than ever.
Being cursed by the mark of the
beast might not be such a bad
thing.
Ellie tries to hold on to her last grasp of rationale.
ELLIE
Okay, Vince, the word today is
rational -- there is no mark of the
beast. None of this is real.
VINCE
What just happened felt very real.
Ellie eyes him. Realizing the truth in his words. She gives
a little.
ELLIE
Alright, maybe, just maybe, we were
infected by something...some rare
wolf-like virus. We need medical
attention, some sort of specialist.
VINCE
Who? Lon Chaney?
Ellie breaks away. Angered by his glibness.
ELLIE
How can you make light of this?
If, and that’s a really big ‘if’,
any of this is true -- I'm scared
of what could happen next.
Vince grabs her, holds her a moment.
VINCE
I’m sorry. I’m scared too. This
is just me when things get too
real.
She stares at him. A shared desperation between them. An
idea comes to Ellie.
ELLIE
What about the kid? Jimmy Myers.
The one who was screaming monster.
Ellie heads for her desk. For the telephone.
+ + ob HF OF
+*+ E E
- 2nd White Revisions 4/7/03
VINCE
What about him?
74A.
98
2nd White Revisions 4/7/03 75.
Ellie reaches for the phone book. Opens it up.
ELLIE
He was attacked. Wouldn’t that
make him “cursed” too? Part of our
little “wolf pack”? Let's find
out. He shouldn't be too hard to
find. There's probably only 8
million Myers in Los Angeles.
She starts flipping through the listings. On a mission.
ELLIE
Let's just see what he has to say
about all of this.
Ellie's determined. Edgy. Desperate.
INT. MYERS’ KITCHEN - EVENING 98
Jimmy is at the refrigerator. He pulls a steak from it. He
rips open the wrapping and holds the bloody meat to his
mouth. He starts to take a bite when he spots Zipper
watching from under the kitchen table.
He and Zipper share a look. Jimmy realizes how uncivilized
he must look with a dripping piece of raw meat in his hand.
He grabs a plate from the dish drainer.
Then, he slides open a drawer. Sifts through silverware.
Finds a knife, fork...but then something catches his eye.
CLOSE ON the drawer. He eyes an old, very tarnished pie
server. Triangular shaped. Pointed. Silver. He stares at
it a moment. Reaches for it.
He grips it, pulling it from the drawer. An instant pain
shoots through his hand...
JIMMY
Motherfucker!
The server drops to the floor. Jimmy eyes his hand. It’s
scorched. There's a burn mark. He CRIES OUT in pain.
Zipper retreats further under the table.
JIMMY
Jesus.
He hits the faucet. Runs his hand under water.
The phone RINGS.
100
101
2nd White Revisions 4/7/03
OMITTED
INT. JIMMY’S LIVING ROOM — NIGHT
76.
99
100
Jimmy comes racing into the room, drying his hands with a
dish towel. He dives for the phone.
JIMMY
(into phone)
Hello?
PHONE CALL INTERCUTS:
With Ellie and Vince. At her place.
INT. ELLIE’S APARTMENT - NIGHT
ELLIE
(into phone)
Hi. Jimmy Myers?
JIMMY
Who wants to know?
ELLIE
101
Hi, Jimmy, it’s Ellie Harper from
the Late Late Sh--- from the
canyon, two nights ago. Remember
me?
JIMMY
What's up? How are you?
ELLIE
Thank god it’s you. This is gonna
sound really strange, but...have
you experienced anything weird
since the other night?
peculiar behavior?
Jimmy thinks about his answer.
Any odd or
Doesn't know quite how to
respond. Should he lie? Come clean? Decides to lie.
JIMMY
No. I don’t know what you're
talking about. I’m fine.
Something about his voice makes Ellie pause. She detects
something.
ELLIE
Really? Nothing?
102
103
104
2nd White Revisions 4/7/03 77.
JIMMY
I'm great. Couldn't be better.
ELLIE
Can 1 leave my number with you?
Just in case. Nobody knows what
exactly attacked us and I’m worried
that...well, do you have a pen?
Jimmy eyes the coffee table. Finds a pen. Grabs a werewolf
book.
JIMMY
Shoot.
ELLIE
Ellie Harper. 323-555-5447.
Jimmy scrawls it on the back of the book.
JIMMY
Look, I gotta go.
ELLIE
Call me if anything...
Jimmy hangs up. A look of concern creeping in. He shakes it
off. Throws the book back onto the coffee table.
INT. ELLIE'S APARTMENT - NIGHT 102
Ellie hangs up the phone. Vince turns from the window.
VINCE
How was he?
ELLIE
Fine. A little too fine.
She stares at him. Pensive.
OMITTED 103
INT. KITCHEN — NIGHT 104
Jimmy sits down at the kitchen table, cutting into his bloody
steak. He takes a bite, savoring the raw meat when...
ZIPPER BARKS CRAZILY.
From somewhere in the house. Jimmy turns. The BARKING turns
to SNARLS, GROWLING. :.
105
2nd White Revisions 4/7/03 78.
JIMMY
Zipper?
The GROWLING subsides...turning to WHIMPERS...sounds of PAIN.
Puzzled, Jimmy moves out of the kitchen down the hallway to
the living room.
In the background, Zipper darts back into the kitchen via the
dining room.
IN THE LIVING ROOM 105
Jimmy looks around...nothing...the room is empty. Only the
sound of the television in the corner.
JIMMY
Zipper? What's wrong, boy?
A CRASHING SOUND. A plate hitting the floor, breaking...
It comes from the kitchen.
JIMMY'S POV
Through the doorway, Jimmy eyes his plate, broken on the
floor. A flash of tail as Zipper moves into the dining room.
JIMMY
Zipper? No, you didn't.
He watches as Zipper disappears under the dining room table,
the steak firmly in jaws. He storms after him.
IN THE DINING ROOM
Jimmy approaches the table.
JIMMY
Zipper? That's mine.
He gets down on the floor, crawling underneath the
tablecloth.
UNDER THE TABLE
What he confronts is the dog's hindquarters. Zipper’s head
is hidden in the shadows, hossa ly munching on the forbidden
Steak.
Jimmy pulls: the. dog’ s tail, annoyed, os begins to
GROWL ANGRILY. °>- ;
2nd White Revisions 4/7/03 78A.
JIMMY
Hey, you just watch it.
Zipper turns to Jimmy, in the shadows under the table,
something looks different about Zipper's eyes. They look
like two orbs, glowing in the dark. His face shifting in an
eerie way.
JIMMY
Zipper?
Jimmy jumps up from under the table cloth, staring in shock,
not knowing what to think.
Suddenly Zipper EXPLODES FROM UNDER THE TABLE.
No
106
106A
2nd White Revisions 4/7/03 79.
The dog's teeth elongate, protruding through his mouth...his
face SNARLS into a hideous version of a dog-wolf. Jimmy
freaks as... e
The dog is like lightning...suddenly attacking...
.. frighteningly fast...its face ungodly.
The dog crashes into Jimmy and they tumble back into the
kitchen.
IN THE KITCHEN 106
Jimmy throws his arms up, gripping the dog by the neck as its
mouth CHOMPS DOWN at him, SNAPPING CRAZILY...
Jimmy uses every ounce of strength he has to keep this dog's
rabid mouth from sinking into his neck.
On his back, on the floor, Jimmy springs his legs up,
connecting with Zipper’s body, knocking the dog to its side.
Jimmy rolls to his knees and scrambles to his feet. He grabs
hold of the kitchen table and flips it over, shielding
himself as Zipper barrels into it.
Jimmy sees the silver pie server on the floor. He uses the
table to shove Zipper back into the chairs in the corner.
Zipper is temporarily trapped by the table. Jimmy turns,
grabbing a chair. Zipper breaks free from the table,
charging at Jimmy, who uses the chair as a way to hold off
the dog as Jimmy inches his way towards the stove.
He thrusts his hand into an oven mitt that lies on the
stovetop. Pulls it on with his teeth.
As Zipper gnaws the chair apart with his teeth, Jimmy reaches
down and grabs the silver pie server in his mitted hand.
Zipper successfully tears the chair from Jimmy, his SNAPPING
JAW inches from Jimmy’s face.
Jimmy rises up with the oven mitt, sliding the silver pie
server in between them. Zipper bites down...into the silver
server. The dog HOWLS in PAIN...retreating. Writhing, |
convulsing.
Jimmy thinks fast. He slams the door to the dining room
shut, then races out of the kitchen and into the
FOYER 106A
Where he slams that door shut. Zipper is trapped.
106B
106C
2nd White Revisions 4/7/03 79A.
IN THE KITCHEN i 106B
Zipper spits out the silver server and CHARGES after Jimny.
IN THE FOYER i 106C
Jimmy leans against the foyer door, breathless, when...
BAM! Zipper slams against it from the other side.
107
108
2nd White Revisions 4/7/03 80.
Jimmy races for the front door, stopping long enough to grab
the book with Ellie's phone number on it. He rips the door
open to see a... vip:
A FIGURE STANDING IN THE DOORWAY. 4 107
Jimmy SCREAMS. Startled to find himself facing Bo.
JIMMY
What are you doing here?
Bo shrugs. Nervous.
BO
I need to talk to you...
JIMMY
We gotta go...now.
BO
What is it?
Suddenly, the foyer door SPLINTERS with the weight of Zipper
throwing himself at it.
Zipper BURSTS THROUGH the kitchen door, racing towards them.
BO
Holy shit!
EXT. MYERS HOUSE - NIGHT 108
Jimmy pushes Bo out of the door. SLAMS it shut behind them.
The door shakes violently as Zipper’s body SLAMS into it.
The upper portion of the door has a small window in it.
Suddenly, Zipper appears, leaping up, SNARLING FEROCIOUSLY.
He drops back down out of sight. Bo is flabbergasted.
JIMMY
GO, gO, go...
Jimmy sees the sporty car at the curb. He grabs Bo and
starts racing towards it. He motions for Bo to get in the
driver's side. But Bo is riveted by the sight of Zipper
slamming against the front door window.
108AA
108A
2nd White Revisions 4/7/03 81.
Jimmy makes it to the passenger side and looks back to see
Zipper CRASH THROUGH THE DOOR’S WINDOW in a shower of glass.
Zipper PLOWS straight for Bo.
BO
Fuck me.
He dives into the car and shuts the door just as Zipper SLAMS
into it. The whole vehicle SHAKES.
INT. CAR/EXT. MYERS HOUSE - NIGHT 108AA
Zipper SNAPS and SNARLS at the window. Fighting like hell to
break into the car.
Bo starts the car and rips it into gear. Driving like hell.
He checks the rearview mirror. Zipper fades in the distance.
Howling with rage.
INT. CAR/EXT. VENTURA BLVD. - NIGHT 108A
Jimmy sits back in his seat. Spent. Bo is beyond words.
BO
What was that?
JIMMY
My dog.
BO
What kind of dog do you have?
JIMMY
A regular dog. It bit me
yesterday. I infected him.
Bo looks at Jimny.
BO
What the hell is going on?
JIMMY
Do you believe in werewolves?
Bo turns to him. Huh?
BO
Uh...no.
JIMMY
That stops my explanation in its
tracks.
108B
108C
2nd White Revisions 4/7/03 82.
BO
Where are we going?
JIMMY
Just drive.
INT. ELLIE'S APARTMENT - EVENING 108B
Ellie and Vince are now fully dressed. Ellie is in the
kitchen, pouring herself a vodka. She downs a gulp, calming
herself. Then, as an afterthought.
ELLIE
Want one?
VINCE
No.
He sits down on the couch and A LOUD NOISE ERUPTS. He leaps
up. Startled. The TV has turned on. A newscast is in
progress. Vincent pulls the remote control from under hin.
VINCE
Sorry.
Vince starts to turn the TV off, when..
ON TELEVISION 108C
A REPORTER stands on the beach doing a remote. The pier is
behind her. In the darkness, underneath the pilings, cops
and police dogs prowl.
BEACH REPORTER
Another mutilated body of a young
woman was discovered today, buried
in the sand under the pier in Santa
Monica...
Vince’s world stops as he stares at a picture of Becky on
screen. He continues to listen. As does Ellie.
BEACH REPORTER
--Police have identified her as
Becky Morton...
ELLIE
Isn't that your friend...??
But it's clear from the look on Vince's face. He's beside
himself.
` Bnd White Revisions 4/7/03 eon.
Jesus...
Ellie eyes the TV.
109-111
112
2nd White Revisions 4/7/03 83.
BEACH REPORTER
.-Officials are baffled by an
increasing amount of evidence
linking the deaths of Becky Morton
and Jenny Taylor with the animal
attack on Mulholland two nights
ago...
Suddenly, Ellie stops cold. She hears something.
ELLIE
Did you hear that?
Silence. Vince mutes the TV. They both listen. More
silence. No sound at all.
ELLIE
There it is again. It’s coming
from outside. Something’s moving
around out there.
Vince listens. Clearly, they’re hearing sounds no human
could hear. Vince moves to the huge glass patio doors.
Opens them...SNIFFS...then moves out onto the deck. Looks
around...then disappears. Ellie waits a moment.
ELLIE
Vince?
She follows.
OMITTED 109-
EXT. ELLIE'S BACK PATIO - NIGHT
Ellie has stepped out onto the patio. Still, no sign of
Vince. She peers into the darkness. Nothing. Then...
Ellie's cell phone RINGS.
From inside the apartment. Ellie moves...
BACK INSIDE
Ellie races around looking for it.
ON THE BACK PATIO
111
112
A SHADOW flickers against the grass as something looms just
outside the patio: doors.
113
114
115
2nd White Revisions 4/7/03 84.
EXT. BO'S SPORTS CAR - NIGHT 113
It's pulled over on the side of a busy Hollywood corner.
Jimmy is standing at a pay phone. Bo next to him.
Jimmy is on the phone. He holds the werewolf book in his
hand.
CLOSE ON THE PHONE BOOTH.
JIMMY
C’mon, answer...answer.
INT. ELLIE'S APARTMENT - NIGHT 114
Ellie finds her phone. Grabs it.
ELLIE
Hello? ...Jimmy...wait, calm
down...I can’t understand
you...where are you?
SCENE INTERCUTS:
Jimmy and Bo at the pay phone.
JIMMY
Hollywood and Highland. I lied.
It’s happening to me. I’m turning.
Tonight’s the full moon and we've
got to figure out what to do!
ON ELLIE
As a shadow dances across her back.
ELLIE
Stay there. I’m coming to get you.
Ellie hangs up, turning to see KYLE. Standing before her.
It catches her off guard and she SCREAMS...when...
KYLE IS TACKLED TO THE GROUND BY VINCE. 115
Ellie spins around to find Kyle pinned under Vince on the
living room floor.
ELLIE
Kyle.
Kyle doesn't know what hit him. His face is angry and
scared.
2nd White Revisions 4/7/03 85.
ELLIE
What are you doing here?
VINCE
You know this guy?
ELLIE
Yeah...
KYLE
I stopped by to see how you were.
You were really upset last night.
I see you got over it.
Eyeing Vince.
VINCE
What the fuck were you doing in the
bushes?
ELLIE
(to Vince)
Jimmy just called...he needs help.
KYLE .
What's going on?
ELLIE
(livid)
What does it look like? You need
to leave. Now, go.
Ellie shoves him towards the door. Vince helps. Opens it.
Kyle turns to Ellie.
KYLE
Is everything alright with you?
ELLIE
I just had the best sex of my life.
I'm stellar.
Ellie slams the door on his face. Looks to Vince.
ELLIE
I told Jimmy we'd meet him. He
sounds like he’s in trouble.
Ellie races into her bedroom, grabbing her house keys when...
A chilling HOWL ERUPTS the night. There's no mistaking it.
116
2nd White Revisions 4/7/03 86.
Vince enters, moving to the bedroom window. Starts to look
out. A sense of dread hits Ellie.
ELLIE
What's out there?
Just then, THE WINDOW EXPLODES...SHATTERING AS SOMETHING
COMES CRASHING THROUGH IT.
Ellie SCREAMS as Vince is knocked over by...
THE DEAD AND BLOODY BODY OF KYLE.
Kyle's body hits the ground. His midsection ripped open.
Blood and carnage.
Ellie is frozen in paralyzing fear. Vince rises from where
he fell, staring -- stunned -- at the body next to him.
Ellie freaks.
ELLIE
Oh my God...oh my god...
Ellie wants out of there. She races out of the bedroom to
the front door.
VINCE
Ellie...wait...
Ellie throws the door open, coming face to face with the most
HEINOUSLY EVIL BEAST she could ever imagine.
Vince throws himself in front of the door...SLAMMING IT SHUT.
Grabs Ellie...pulls her out of the way as the FRONT DOOR
STRAINS AGAINST ITS HINGES, eventually giving way.
Vince drags a frightened Ellie toward the back of the
apartment, to the patio doors. He throws them open and they
race out. The SOUND of the BEAST behind them...coming fast
and furious.
BACK OF THE BUILDING. 116
Vince and Ellie race across her deck
VINCE
Hurry. Run.
A cinderblock wall -- at least six feet high -- blocks their
exit.
117
118
2nd White Revisions 4/7/03 87.
Vince and Ellie run towards it.
VINCE
Jump.
Without thinking, Ellie responds...with her arm still holding
on to Vince -- they both jump.
Their bodies rocket upwards, and they land with amazing
agility on top of the wall. They race along the wall,
jumping onto an adjacent building’s balcony, then down to the
roof of another building.
EXT. ROOFTOP - CONTINUOUS
They scramble over the peak of the roof, coming down on the
other side. The street is now visible far below. They jump
to a lower section of the roof. From there, without
hesitation, they LAUNCH themselves out into a terrifying leap
NINE FEET DOWN to the street itself.
EXT. STREET - NIGHT 117
Vince and Ellie hit the ground, tumbling...
No time to ponder it. They leap up.
Vince eyes the limo parked a ways down the hill. He SCREAMS
at it. -
VINCE
Toby! Toby!
ON THE LIMO 118
Through the open driver's window, Toby is seen behind the
wheel. His head slumped back. Eyes shut. His body
lifeless.
Vince and Ellie race to hin.
VINCE
Toby...
Suddenly, Toby stirs...snorting...waking up. He was only
asleep. He looks up to see Vince's panicked face.
. VINCE
Let’s go...let’s go.
3 TOBY
What is it?
119-123
124
125
2nd White Revisions 4/7/03 88.
Toby starts to open his door.
VINCE
Just drive.
Vince is already at the back of the limo. Door open. He
pushes Ellie in. Climbs in after her.
INSIDE THE BACK OF THE LIMO
Vince and Ellie fall into the back seat.
TOBY
What the hell is going on?
VINCE
Get us the hell out of here -- now,
now, now. Fast.
Toby delays a second too long.
BAM! A LOUD THUMP IS HEARD ABOVE AS SOMETHING LANDS ATOP THE
LIMO...DENTING THE ROOF.
VINCE
Shit!
TOBY
Christ! What was that?
VINCE
Toby, go!
Toby JAMS his foot on the gas. Ellie and Vince go flying
across the back seat as the car accelerates, TEARING around
the corner. Vince and Ellie right themselves.
TOBY
Well, whatever it was, it’s gone--
OMITTED 119-123
SUDDENLY A WEREWOLF CLAW CRASHES THROUGH THE DRIVER'S 124
WINDOW ~ ATTACKING TOBY.
It slices into Toby’s neck. Blood goes everywhere as the
limo careens out of control.
The werewolf’s claw YANKS hold of Toby... 125
Toby struggles for the wheel, accidentally hitting the cruise
control. The werewolf RIPS him from the front seat, pulling
him through the driver's window and out of the car
d White Revisions 4/7/03 | 88A.
126 IN THE BACKSEAT 126
127
130
131
131A
2nd White Revisions 4/7/03 89.
VINCE
No!!!
Ellie SCREAMS...as Toby's body is seen through the rear
windshield, sliding over the rear window, face smearing the
glass. His body rolls off the trunk. Lifeless. Vince turns
back to the front, where the car is speeding along without a
driver.
He acts quickly, DIVING through the partition window.
IN THE FRONT 127
Vince’s upper body makes it through. He grabs hold of the
wheel, trying to keep the car in control as it BARRELS down
the road. He sees that the car's in cruise control, but he
doesn't know how to turn it off.
OMITTED 128
IN THE BACK OF THE LIMO 129
Ellie moves to help Vince when a CLAW CRASHES THROUGH the
moon roof. Its arm protrudes down, swiping at Ellie,
grabbing her by the back of her jacket, hoisting her into the
air.
Vince turns back to see Ellie struggling to escape the
Werewolf’s clutches as the Werewolf rips away at the ceiling.
IN THE FRONT 130
Vince can't help Ellie because the lights of a LARGE TRUCK
are bearing down on the limo. Heading straight for them.
Vince lunges for the wheel, steering the limo out of the way
of the oncoming vehicle.
IN THE BACK SEAT 131
Ellie, swinging wildly, reaches for the zipper on her jacket.
Tugs at it, she manages to unzip it...falling to the floor.
She rolls onto her back, looking up to see the arm of the
Werewolf rip away more of the ceiling. Now we see the whole
horrifying head of the thing thrust in. Jaws snapping. Eyes
blazing.
IN THE FRONT 131A
Vince barely misses an oncoming truck as he bangs the cruise
control --- it won’t shut off.
2nd White Revisions 4/7/03 89A.
131 CONT. IN THE BACK SEAT i 131 CONT.
Ellie bends her knees and kicks with both feet. She connects
with the werewolf's face with powerful force. She sends the
werewolf flying back and off the limo. l
132 OMITTED 132
133 INSIDE THE LIMO 133
134
134A
134B
134C
134D
2nd White Revisions 4/7/03 90.
Ellie looks through the rear window...sees the Werewolf land
on the road behind them, tumbling off the road, out of sight.
IN THE FRONT 2, 134
The car reaches the crest of the hill. Vince squeezes
himself all the way through the divider. His hands hit the
brake. Stopping the car just seconds before it hurtles
downhill.
He rights himself, calling out for Ellie.
VINCE
Are you okay?
No answer. Vince doesn’t hesitate for a minute. He jumps
from the car.
EXT. ROAD/LIMO - NIGHT 134A
Vince races for the back door, pausing to look back at the
dark road.
HIS POV
Nothing but darkness. There's no sign of the Beast.
IN THE BACK 134B
Vince opens the door to find Ellie curled up tightly.
Traumatized. Vince climbs in to her aid. She looks at him
in pure, undiluted terror.
ELLIE
It's real.
Vince moves to comfort her, holding her in his arms, when
insidiously, Ellie and Vince oblivious...
THE CAR STARTS ROLLING BACKWARDS. 134C
Slowly at first. Picking up speed. At the base of the hill,
the shadow of the Beast FILLS THE FRAME as the car gets
closer and closer.
INSIDE 134D
Vince realizes what's happening and leaps into action. He
dives completely back through the center divider. Ellie
stares out the back window, watching in horror as the car
rolls back towards the Beast.
134E
135
136
136A
136B
137
2nd White Revisions 4/7/03 90A.
IN THE FRONT 134E
Vince SLAMS HIS FOOT ON THE BRAKES, then scrambles to start
the limo.
OMITTED 135
THROUGH THE REAR WINDOW 136
The red brake lights illuminate the Werewolf. Ellie stares
at it in horror.
It stands on all fours, poised, ready to strike. It rises up
on its back legs -- arms outstretched. Its head, face...
grotesque.
Suddenly, the Werewolf attacks. Leaping at the limo's back
window. It CRASHES through. Its teeth and snapping jaw
coming right at Ellie...
IN THE FRONT SEAT 136A
Vince desperately tries to start the limo. The motor grinds
but doesn't start.
BACK WITH ELLIE 136B
Her hands find a liquor decanter. She swings it forward with
extraordinary strength. IT SHATTERS into the werewolf's face
AS...
IN THE FRONT 137
Vince successfully starts the car. Hits the gas. Lurching
the car forward.
The Beast falls out of the window as the limo plows forward.
It disappears up the hilly road and around a bend out of
sight.
IN THE BACK SEAT
Ellie collapses. Her body shaking.
IN THE FRONT SEAT
aos feels the same. Only their TERRIFIED BREATHING fills
the car.
138
2nd White Revisions 4/7/03 90B.
EXT. CANYON ROAD - NIGHT e 138
The torn and battered limo speeds away as THE CAMERA -PANS up
to the night sky. A lone HOWL breaks the night, heard
throughout the canyon.
2nd White Revisions 4/7/03 91.
139 EXT. HOLLYWOOD BLVD. — NIGHT 139
The famous street. It’s late. The bustling energy of the
boulevard is winding down.
The Chinese Theatre, the Roosevelt Hotel, Ripley's Believe or
Not, the Hollywood Wax Museum...it’s all there.
140 EXT. HOLLYWOOD BOULEVARD - NIGHT 140
A seedy section of the street. The shops are closing. Bo
leans against his Camaro, which is parked at the curb. He
flips through the werewolf book. Jimmy paces nervously in
front of him.
BO
So, you've been cursed by a
werewolf?
JIMMY
Believe it or not.
BO
Can't you just break the curse?
JIMMY
According to legend, I'd have to
sever the line of the Beast.
Bo shakes his head. Highly skeptical.
BO
Man, you’re crazy. I think your
dog was rabid and bit you and now
you’re rabid.
This angers Jimmy.
JIMMY
Why are you even here? Thanks for
the ride -- you can go now.
Bo fidgets. Stands. Stares at Jimmy. Uncomfortable.
BO
(softly)
I don’t mind hanging out.
JIMMY .
I don't want you here, okay? What
were you even doing at my house?
d White Revisions 4/7/03 91A.
Pause. Bo ‘shuffles his shoes a bit.
tet thet a et A aceite
2nd White Revisions 4/7/03 | 92.
BO
I wanted to talk to you. Ya know,
about the stuff you said today.
JIMMY
What stuff?
Bo starts rambling. His words fast and fumbled.
BO
Everything you said. About me. I
was wondering how you knew? No
one else did-- just you. And I've
been so shitty to you. Then I
thought-- why wouldn't you know?
Takes one to know one, right? Of
course you'd know...
JIMMY
Know what?
Bo moves in close, grabbing him. Tries to kiss him. Jimmy
breaks away.
JIMMY
No fucking way!
Jimmy’s eyes couldn't get any wider. His jaw on the
sidewalk. Bo shrugs.
BO
I think I'm gay.
JIMMY
Trust me, you're not gay.
BO
No, I’m pretty sure I am...
JIMMY
(freaking)
I'm appealing. 1 have an unnatural
sexual allure right now. It’s in
the book. Part of the curse.
You're not gay.
Jimmy charges down the street. Flabbergasted. Bo runs after
him. Confused. qe A
BO
But... De Loss
Jimmy waves him off when...
Nee
141
2nd White Revisions 4/7/03 93.
BROOKE
(off camera)
Hi Jimmy, what’s up?
Jimmy turns to find himself standing at the entrance. of the
HOLLYWOOD WAX MUSEUM. Brooke eyes both Jimmy and Bo.
Confused as to why they're both there together.
BO
Hi, Brooke.
He's looking really nervous. He looks to Brooke then to
Jimmy. Scared Jimmy will say something. It’s not lost on
Brooke.
BROOKE
What’s going on? What are you two
up to?
Bo covers.
BO
I just came by to see if you needed
a ride home.
{referring to Jimmy)
I don’t know what he’s doing.
Not a great save on Bo’s part. Brooke is suspicious.
BROOKE
It's gonna be a few minutes. I’m
still closing up.
BO
I can wait.
Jimmy looks up to see a battered limo pull up to the curb.
The door opens and he sees Vince help Ellie out.
Jimmy grabs the book out of Bo's hands and tears off down the
sidewalk. Bo looks to Brooke. He shrugs. Smiling big.
Pretending nothing’s wrong. The security guard, Jose
appears.
JOSE
I’m gonna lock up the back.
Brooke returns to her duties behind the counter. Bo joins
her.
AT THE CORNER 141
Jimmy comes running up to the limo.
-~ 2nd White Revisions 4/7/03 93A.
JIMMY $
We‘re in trouble. Big trouble.
ELLIE
We know.
2nd White Revisions 4/7/03 94.
Jimmy checks out the limo. The roof is half caved in. The
driver's side window is smashed and bloody. The whole limo
has seen better days. Ellie attempts an explanation.
ELLIE
That thing that attacked us in the
canyon. It came after us. It’s
trying to kill us. Why would it do
that?
JIMMY
It's trying to finish what it
started. It wants us dead before
we turn.
VINCE
How do you know this shit?
Jimmy holds up the book.
JIMMY
Werewolf 101. They live in secret.
It can't have a pack of wolves
running around Hollywood. Hello?
ELLIE
You said turn. You mean us turn?
Into werewolves?
Jimmy holds up his hand with the pentagram.
JIMMY
My dog sure as shit did. We can
try and fight it, but sooner or
later we'll turn and we'll kill.
That’s why it’s called a curse.
We're fucked.
Vince turns to Jimmy. His face determined.
VINCE
Is there anyway to stop it?
JIMMY
We have to kill it.
ELLIE
How are we going to do that? We
don't even know how to find it.
VINCE
She's right. It’s not just gonna
walk up and say, “Hi, remember me?”
142
2nd White Revisions 4/7/03 95.
Just then, a PIERCING HOWL echoes down the boulevard. Loud
and monstrous. It’s the beast announcing its arrival.
Foot traffic stops as people react to the unnatural sound.
Vince, Jimmy and Ellie look at each other with dread.
JIMMY
Sounds like it found us. This way.
He leads them two doors down to...
EXT. WAX MUSEUM ENTRANCE — NIGHT 142
Jimmy comes flying around the entrance with Vince and Ellie.
Brooke is behind the ticket booth, closing out the register.
Bo is sitting on the counter, waiting for her.
BROOKE
Jimmy, we're closed.
JIMMY
We need to lock the doors.
He looks around, sees the electric gate control. He turns
the key, causing the gate to close.
BROOKE
What’s wrong?
BO
Jimmy, what the...
JIMMY
It’s here.
BO
The werewolf?
Brooke looks to Bo. To Jimmy. Huh?
BROOKE
What’s going on, Jimmy?
JIMMY
We're in trouble, Brooke. We need
somewhere to hide.
BROOKE
But...
Jimmy moves to Brooke. Stares at her desperately.
143
2nd White Revisions 4/7/03 96
JIMMY
Please, Brooke, help me?
Is it the curse? Or just Jimmy? She can't help herself.
BROOKE
This way.
She moves out from behind the counter, moving to the museum
entrance. Jimmy bolts through the turnstiles, following her.
JIMMY
C'mon...
Bo follows. Then Ellie and Vince.
INT. HOLLYWOOD WAX MUSEUM - NIGHT 143
The museum is a winding, maze-like chamber of hallways that
leads visitors along a path of exhibits. Deliberately dark
and shadowed for maximum effect.
Brooke leads them past David Hasselhoff and Pamela Anderson,
as lifeguards, standing on a Baywatch Beach.
ELLIE
What are we going to do?
JIMMY
We have to kill it. In WOLF SQUAD,
Marvel Comics *457, you had to
separate the head from the heart so
it couldn't regenerate.
BROOKE
What kind of trouble are you in,
Jimmy?
Brooke STUMBLES OVER SOMETHING.
She looks down. Instantly SCREAMS IN HORROR. Lying on the
floor is the crumpled, bloody body of a UNIFORMED MAN.
BROOKE
Jose.
The others looks down to see the SECURITY MAN who lies dead
at their feet. Brooke is distraught. Jimmy puts his arms
around her. Ellie turns to Vince. Her face frozen.
ELLIE
It's here. I can smell it.
144
2nd White Revisions 4/7/03 97.
Vince senses the space around him. He can smell it too.
BO
We gotta get outta here.
VINCE
No shit.
They move quickly through the museun.
JIMMY
Is there a back way out of here,
Brooke?
She's too freaked out to be of any real help. She merely
points down another hallway... They round a corner to...
A MIRRORED HALLWAY. 144
Their reflections travel with them as they move down a
hallway with mirrored walls. Vince and Ellie now take the
lead, the others trailing behind them. Brooke stops.
BROOKE
Wait. This way...it's faster.
She's gaining her sense of survival. She points to a small
opening in the middle of the hallway. She leads Jimmy and Bo
to it. Vince and Ellie turn back to follow them when...
THE MIRROR IN FRONT OF THEM SHATTERS TO PIECES as...
THE HUGE WEREWOLF CRASHES THROUGH IT...landing in the center
of the hallway, cutting Vince and Ellie off from the others.
It GROWLS HIDEOUSLY, STRIKING AT ELLIE.
vince acts without hesitation, throwing himself in front of
Ellie, shoving her aside as the Beast’s claw SLASHES him.
Ellie goes sprawling to the floor. Jimmy, Brooke and Bo stop
in their tracks, horrified.
Four clean rips of blood and flesh as the Beast CLAWS VINCE'S
CHEST VIOLENTLY. Vince collapses to his knees. Blood spews
as he CRIES OUT...
VINCE
Get out of here!!!
Brooke and Bo waste no time. They flee into the darkness.
145
146
2nd White Revisions 4/7/03 98.
FANGS SNAP as the Werewolf strikes Vince again, backhanding
him, sending him CRASHING into the mirrored wall. It
SHATTERS as his body collapses to the ground. x
ELLIE
Ellie moves towards Vince when Jimmy intercepts, grabbing
hold of her, pulling her away.
ANOTHER HALLWAY 145
Jimmy drags Ellie around the corner, stopping at a wax figure
of President George W. Bush. Bo and Brooke are nowhere to be
seen.
Silence fills the museum. It falls like lead over them.
They talk in urgent whispers. -
JIMMY
Where did it go?
ELLIE
We have to go back. Vince...
JIMMY
No, it'11 kill us. We have to keep
going.
Jimmy pulls her farther away, turning SMACK into Bo and
Brooke. Everyone screams.
BO
Shit.
BROOKE
What was that?
Jimmy looks back. to see that Ellie has gone. He looks to
Brooke and Bo. Not sure what to do.
EXT. HOLLYWOOD WAX MUSEUM - NIGHT 146
The COUNTY ANIMAL CONTROL VAN pulls up to a stop and Ben Taft
hops out. He's met by Detective Harzel who is stepping out
of his PATROL CAR.
BEN TAFT
What are you doing here?
HARZEL
- Break-in at the wax museum. Why
are you here?
147
148
2nd White Revisions 4/7/03 99.
BEN TAFT
I got about 80 wild animal
sightings starting from Beachwood
Canyon, leading right to here.
Harzel grabs his walkie.
HARZEL
(into walkie)
We're gonna need some back-up...
INT. WAX MUSEUM - MIRRORED HALLWAY ~ NIGHT 147
Ellie backtracks through the hallway to where Vince lies.
She comes upon the wrecked area where he was attacked but
finds him -- gone. No sign of him anywhere.
ELLIE
Vince?
She continues on through the hallway.
INT. WAX MUSEUM - NIGHT 148
Jimmy moves through the Planet of the Apes hallway, passing
Rick Baker's award-winning simians. Bo and Brooke follow on
his heels.
BROOKE
I’m scared, Jimmy.
JIMMY
You should be.
Suddenly, a SHADOWED FIGURE FLIES past them. Quick and
sudden, ducking behind Mark Wahlberg.
BO
What was that?
Jimmy stops in his tracks. Scared to move an inch further.
He eyes Mark Wahlberg. From behind it, a FIGURE emerges,
falling to the floor.
It's Vince. He hits the ground, curled in a heap...heaving
in pain. Still bleeding from his wounds.
JIMMY
Vince! - :
Jimmy races to him. Kneels down. :
149
150
2nd White Revisions 4/7/03 100.
JIMMY
I thought you were...
VINCE LUNGES UP. His face freakish. No longer human. But,
not wolf either. A stage in between. sa
His teeth more rounded and pointed. His facial features are
altered -- his jaw more elongated, his brow thickened, eyes
sunken. His skin texture pimply from swelling pores. (As if
hair follicles were trying to protrude from them.)
It’s a grotesque and frightening sight. Vince LUNGES --
GROWLING, SNAPPING at them. Out of control. Overtaken by
the curse. Possessed and unaware.
Vince LEAPS...flying through the air, landing beyond
them...disappearing into the museum.
Jimmy turns to Brooke and Bo.
JIMMY
C’mon...I’m gonna get you two outta
here.
EXT. HOLLYWOOD BOULEVARD ~ NIGHT 149
Several more SQUAD CARS have arrived. A VAN opens up and
SEVERAL ANIMAL CONTROLLERS hop out to join Ben Taft. They're
loading rifles with tranquilizer darts as Ben Taft briefs
them. LIGHTNING flashes in the sky. THUNDER rumbles.
BEN TAFT
We need to subdue it and capture
it. Do not harm this animal in any
way. It might try and attack.
It's a very frightened, scared
creature...
Behind them, the closed entrance to the Wax Museum is seen.
Officers look for a way inside.
INT. WAX MUSEUM - NIGHT 150
Ellie moves into another part of the museum, passing more
waxed figures.
She eyes Fonzie from HAPPY DAYS. He sits on a motor cycle.
Thumbs up. “Hey!” She continues forward, passing Elvira and
Sylvester Stallone as Rambo.
She turns to find a MALE FIGURE moving in the shadows.
Directly towards her. Her eyes instantly hopeful.
Hee SAA iy Sea E
2nd White Revisions 4/7/03 101.
ELLIE
Vince?
The FIGURE moves closer. His face still shadowed. .
MALE VOICE
Hi. Remember me?
Ellie eyes him nervously. Suddenly, cautious. The MAN
before her moves into the light and his face is revealed. A
confused look of recognition falls on Ellie.
ELLIE
Mr. Baio?
Standing before her is Scott Baio. His face strained.
Distraught. He’s buttoning the remaining buttons on his
shirt as if just having dressed.
ELLIE
What are you...?
He moves closer to her. Eyes sinister. Face deadly.
SCOTT BAIO
Do you believe in werewolves?
Pause. She chooses her words very carefully. Very, very
afraid.
ELLIE
Yes. Very much.
SCOTT BAIO
I bet you didn’t see this coming.
Scott looks to the Fonz upon his motorcycle.
SCOTT BAIO
Remember Fonzie?
Ellie nods in terror.
SCOTT BAIO
His real name's Henry Winkler. But
to the world he’s always going to
be the Fonz. “Aey...”
Scott mimics Fonzie. Turns to Sylvester Stallone.
SCOTT BAIO
You got Stallone over there, only
it's Rambo. And Elvira over there.
(MORE) naa
-
2nd White Revisions 4/7/03
SCOTT BAIO (cont'd)
Does anyone even know her real
name?
ELLIE
Lei Lose
SCOTT BAIO ;
This place has a little identity
crisis going on. Wouldn’t you say?
Ellie takes a few steps back.
SCOTT BAIO
Have you changed yet?
Ellie doesn’t respond. She’s too terrified to speak.
SCOTT BAIO
You will. When the pain gets so
bad you can’t fight it anymore.
ELLIE
--you...?
SCOTT BAIO
What? I can’t be a werewolf? Too
absurd? Too crazy? I was
travelling when I was attacked.
Europe, remember? What’s a little
curse? I've been cursed by Chaaci
for years. What's one more? Now,
if I could just kill. 1 haven't
quite managed that yet. I've
tried, well...you were there...
JOANNIE
(off camera)
Do it now. Kill her.
Ellie spins around to find Scott's assistant, Joannie,
standing behind her.
Ellie stands trapped between the two of them.
SCOTT BAIO
You remember Joannie?
; JOANNIE
Do it. I know you can do it.
Ellie stands paralyzed, listening to their madness.
102.
151
2nd White Revisions 4/7/03 103.
SCOTT BAIO
I can't...I'm sorry...I thought I
could...but I can’t...
JOANNIE
I am sick of cleaning up your mess.
Two days now. The girl at the
benefit, the canyon clusterfuck,
the beach girl...I picked you,
Scott. You -- stumbling through
Europe, hopeless and dried up. Now
prove you’re worthy...
Ellie starts backing away. She starts looking for her
escape. Joannie inches towards her. Scott approaches from
the other side. She's being sandwiched in.
SCOTT BAIO
I can’t. I thought I wanted it.
But I can’t.
Joannie glares at Scott. He's resigned to failure. He
stands there...void of expression.
JOANNIE
You two-bit, has-been moron.
Joannie raises her arm and lashes out at Scott. Her human
hand takes on feral, claw-like qualities and her blow sends
Scott FLYING. His body lands, bloody and still. Joannie
stares down at him. Disgusted. Turning to Ellie.
JOANNIE
Actors.
She finds ELLIE GONE. This infuriates her. She EMITS A
BLOOD-CURDLING SCREAM...mid-vocal it turns into that of a
WILD WEREWOLF HOWL that rockets through the museum.
INT. WAX MUSEUM ENTRANCE - NIGHT 151
Jimmy has led Brooke and Bo back to the entrance where the
metal gate has them sealed off. He pushes Bo through the
turnstiles when the DEAFENING HOWL OF JOANNIE is heard.
BROOKE
It's coming...
JIMMY
You guys get out of here.
BO
You too.
152
153
154
155
2nd White Revisions 4/7/03
104.
Bo looks at Jimmy, scared for him.
JIMMY
No, it wants me. You're not safe
with me.
Bo moves to the metal gate, enabling it.
OUTSIDE THE MUSEUM 152
The whole area is now barricaded with police tape and squad
cars. Taft’s men stand by loading dart guns. And it begins
to rain.
Several COPS hear movement from the metal gate. An OFFICER
turns to Harzel and Taft.
OFFICER
Sir? The gate...
INSIDE THE MUSEUM ENTRANCE 153
Brooke's terrified but she doesn't want to leave Jimmy
behind.
JIMMY
Go with Bo.
Bo rolls the gate open a few feet.
OUTSIDE THE MUSEUM 154
The Animal Controllers and Officers stand poised, weapons
drawn. Ready for anything.
INSIDE THE MUSEUM ENTRANCE 155
Brooke is crying...
BROOKE
No, Jimmy. Come with us.
JIMMY
I can't. I have to finish this.
He moves to her. She's shaking and crying. In the moment,
and with Bo watching -- Jimmy grabs Brooke and lays a kiss on
her. Quick. Sweet. It’s full of everything he has. It’s
that “just in case I never get the chance to do this again”
kiss. He pushes Brooke to Bo. Then, turns and disappears
. back inside the museum.
156
157
LSA mentite =
2nd White Revisions 4/7/03 105.
OUTSIDE WAX MUSEUM 156
All eyes watch as Bo and Brooke crawl out from under the
gate. OFFICERS move in to help them...quickly pulling them
to safety.
Brooke and Bo are ushered past Harzel and Taft who overhear
Brooke's cries.
BROOKE
...a werewolf...it's going to kill
Jimny.
Harzel looks to Taft.
HARZEL
Why don’t you let some of my men go
in there with you. You might need
some real heat in there.
Taft holds up his state-of-the-art-dartgun.
BEN TAFT
I think we can handle it.
As he walks away...
BEN TAFT
Whatever it is -- it'll be in a
petting zoo tomorrow.
Harzel grimaces at this man's arrogance.
The team of Animal Controllers, armed with poles and nets and
their useless dart guns make their move into the museum.
INT. WAX MUSEUM — NIGHT 157
In another area of the museum, Jimmy races through quietly,
undetected. He passes a waxed figure Of XENA, WARRIOR
PRINCESS. She stands, brandishing a prop sword high in the
air. He reaches for it, rips it from Xena. It CLANGS HEAVILY
against the exhibit railing. Jimmy looks at it, surprised by
its authenticity.
He takes a practice swing. Then, he eyes Xena, swings the
sword and decapitates her waxed head in one POWERFUL SWIPE.
It works.
A NOISE BEHIND HIM.
Jimmy spins around. Sword high in the air.
2nd White Revisions 4/7/03 106.
It's Ellie. He relaxes the sword.
ELLIE
Where's Vince? We have to find
him.
JIMMY
Uh, I don’t think he’s on our side
anymore.
Just then, Jimmy is ATTACKED FROM BEHIND.
His body is struck with a near fatal blow as Vince strikes
him down. Vince is still in his “changed” state. Even more
ferocious than before.
Ellie SCREAMS at the sight of him. Vince ATTACKS.
Grabbing her, pinning her against the wall. His sharp nails
digging into the skin around her throat,
ELLIE
Noooooo...
Ellie COUGHS as the life is being CHOKED out of her.
Suddenly, from across the room...
JOANNIE
It's time, Ellie. He's already
made his choice. It’s time for you
to make yours. Give yourself over
to it.
ON THE FLOOR
Jimmy fights against the pain, trying to pull his strength
together.
Vince locks eyes with Ellie. He struggles with himself.
Ellie pleads with him.
ELLIE
Fight it.
JOANNIE
C'mon, rich boy, take her. Once
you kill, your conscience goes
away. What are you waiting for?
But Vince is hesitating. Fighting the curse that possesses
him. Ellie pulls her knee up, connecting with Vince’s groin,
racking him.
2nd White Revisions 4/7/03 107.
He doubles over, releasing Ellie. She quickly slides away.
Towards Jimmy...
Who now stands before her, face distorted. Eyes glazed over.
Ellie stops cold. Stuck between both of them as they move
in, cornering her. The sword lies painfully out of reach.
She's trapped.
Joannie watches in approval.
JOANNIE
Last chance, Ellie. Decide.
Accept it. It isn’t a curse, it's
freedom. The only curse was the
life you had before this. We can
be a pack. All of us. It's
everything you’ll ever want.
Ellie takes a beat. Defeated. Then raises her head and
looks Joannie dead in the eyes.
ELLIE
Fuck you.
Joannie looks to Vince and Jimmy. Threatening.
JOANNIE
Kill this bitch. Or you're all
dead.
Vince and Jimmy lock eyes. Their hideous sight witnessed by
each other. A long moment. Ellie, terrified, searches for a
way out. Her mind racing, contemplating when...
Vince and Jimmy turn simultaneously to...
JOANNIE. They attack with every ounce of power their new
forms allow.
They tackle her to the ground. Pinning her to the floor.
Turning on her.
Ellie grabs her bloody neck where Vince has injured her. She
brings her hand up to her face. It’s covered in blood.
Joannie struggles beneath Vince and Jimmy. Writhing and
WAILING. Her body instantly beginning to change before them.
Her body buckles as the SOUND OF BONES POP AND SNAP as they
re-structure themselves.
Her face transforms...going beyond any change experienced by
Jimmy and Vince.
2nd White Revisions 4/7/03 108.
They’re no match for Joannie. She throws both men off her.
Quickly, she rises to her feet. She's taller now...her body
has elongated. Her back is arched like a wolf. Her voice no
longer capable of human speech. She GROWLS FEROCIOUSLY at
them. Ready to kill. But then Ellie appears.
She's begun to change too. She charges right at Joannie,
crashing into her.
They roll across the floor together as JOANNIE CONTINUES TO
TRANSFORM. She's in a blind rage that is no match for Ellie.
Her body continues to grow and sprout hair and re-shape
itself into a more powerful creature.
By the time Jimmy and Vince leap back into action, they're
just barely able to pull Joannie off Ellie. Joannie spins
around SNAPPING WILD FANGS AT THEM. She's grotesque and
monstrous. Her change is almost complete.
Ellie eyes the sword. It’s in her reach. She grabs it,
rising up to find...
JOANNIE AS A FULL BLOWN WEREWOLF...staring back at her. More
slender in her female wolf form, but deadly as hell. Ina
blind, rabid rage...Joannie attacks when...
BEN TAFT
(off camera)
Freeze!
The Werewolf spins around to find a team of Animal
Controllers breaking onto the scene. Their dart guns drawn,
their nets raised.
ON BEN TAFT
As he eyes the Beast. His face freaked beyond belief at the
sight before him. The Beast rises up to its full frame,
SNAPPING at them, viciously. Ben Taft and his men are
instantly terrified. Shaking in their shoes.
BEN TAFT
We need guns...real guns...retreat,
retreat...
He screams at his men as he runs, fleeing from the Beast.
Scared to death. His men follow as they race out of the
museum, leaving Ellie, Vince, and Jimmy alone to defend
themselves.
The three of them use this distraction to hide. They run,
disappearing into the darkness of the museum.
2nd White Revisions 4/7/03 109.
158 EXT. WAX MUSEUM ENTRANCE - NIGHT 158
Detective Harzel watches as Ben Taft and team come- running
from the museum. SCREAMING like terrified children.
BEN TAFT
Kill it! Kill it!
159 INT. WAX MUSEUM - NIGHT 159
A sign reads “CHAMBER OF HORROR. ENTER AT YOUR OWN RISK.”
Ellie, Vince and Jimmy round a corner, racing into the
exhibit. Passing Vincent Price and Bela Lugosi...even Linda
Blair in all her possessed glory.
Vince and Ellie clutch the wall, head down, GASPING, fighting
the curse that is taking them over.
Jimmy moves to them. He’s almost completely normal again.
Barely a trace of the “curse”. He speaks to them,
determined.
JIMMY
Fight it. You can will it away.
Make it go away.
A GROWL is heard. It sounds distant. Jimmy turns to it,
listening.
Ellie and Vince rise up, their faces surfacing. They too,
have turned back to themselves.
ELLIE
I can’t be this. I don’t want
this.
JIMMY
We gotta kill this thing. It’s the
only way. The three of us...as a
pack.
Ellie still has the sword in her hand. She holds it up.
Exchanges looks with Vince -- they know Jimmy’s right.
Then, suddenly...the Beast RIPS THROUGH THE WALL, attacking.
It comes at Jimmy first. In an instant reflex, he leaps up,
jumping high into the air...grabbing hold of an exposed pipe
that runs along the ceiling.
The Beast turns to Ellie who ducks, hitting the floor,
‘rolling away.
160
2nd White Revisions 4/7/03 110.
Vince doesn’t flinch -- he attacks back, RAMMING INTO THE
BEAST, sending both of them crashing into props and waxed
figures.
Hanging from the ceiling, Jimmy swings his body, swaying as
his feet KICK THE BEAST that towers over Vince.
The Werewolf spirals backwards. Jimmy swings off the pipe,
flipping mid-air, hitting the floor on both feet.
The Beast LASHES out at him. He grabs the Beast’s claw and
executes a wrestling move that sends it to the ground. The
Beast springs back up, but Vince is there, hitting the Beast
with a vicious uppercut that sends it flying across the room.
The Beast, rabid with fury, rebounds. Jimmy and Vince stand
just yards away. Braced for the fight to continue. Ellie is
nowhere to be seen.
Just as the Beast prepares to leap back into action, it
stops. Sensing something.
It turns around to see Ellie standing there. Brandishing the
sword.
Ellie SWINGS...
Striking out in one superhuman move. She decapitates the
wolf. Its head goes flying. Rolling. Coming to a stop on
the museum floor.
Vince and Jimmy move to Ellie’s side. A moment as they
collect themselves. Spent. Exhausted. GASPING for air.
They look to the Beast -- a hairy heap lying at their feet.
Not moving. Not changing back to human. Then, their eyes
follow a trail of blood to where the wax figure of...
LON CHANEY AS THE WOLF MAN
Stands under a full moon. Laying at the foot of the WOLF
MAN, is Joannie's human head. Eyes agape. Dead.
A long, sustained moment as they stare at this very apropos
sight. It’s over.
EXT. HOLLYWOOD BLVD. - LATER 160
It's so late, it's early. The rain has stopped. Jimmy moves
through the POLICE and INVESTIGATORS. REPORTERS and
PARAMEDICS. His eyes find Brooke. He starts for her when Bo
appears.
Bo eyés him warily. Still overwhelmed by the night’s events. a
2nd White Revisions 4/7/03 111.
BO
So you killed it?
JIMMY
We severed the line. The curse is
gone.
BO
Your curse, maybe...
Bo looks away. His face ashamed. Jimmy realizes what he's
talking about. Uh-oh. Jimmy feels for him.
JIMMY
You‘re not cursed, Bo, you’re just
scared. Like the rest of us. Be
yourself. It'll all work out.
Bo is eyeing Brooke. She spots Jimmy and Bo. She makes her
way through the crowd, heading over.
BO
Probably can't wait to tell her,
huh?
JIMMY
That's your shit, man. I’m not
saying anything -- what if someone
called you names or teased you?
That wouldn't be nice.
Bo gets it. Looks apologetic. He wants to apologize, but
Jimmy cuts him off. It's not necessary.
JIMMY
However, in light of the new
circumstances, I will be asking her
out.
A moment. Bo smiles as Brooke arrives. She looks at him.
Then Jimmy.
BROOKE
(to Jimmy )
I hear you saved the day.
JIMMY
I had some help.
Brooke smiles at him. Blushing a bit. Still enraptured by
him. Bo seems okay with it.
161
162
2nd White Revisions 4/7/03 112.
AT THE POLICE BARRICADE l 161
Jimmy sees his dad being escorted to him. His face
concerned.
JAMES MYERS
I get home, the house is wrecked,
the TV’s on. And there you are,
all over the news.
JIMMY
(referring to Bo)
Hey, Dad, this is Bo, a friend from
the wrestling team and...
(pointing to Brooke)
.-this is Brooke, the girl I was
telling you about.
Mr. Myers eyes the beautiful Brooke. The way she stands next
to Jimmy. Extremely close. His eyes dart back to his son.
He’s impressed. Nothing but respect and pride.
JIMMY
They need a ride home.
And, just like that, Jimmy and his friends cross the
barricade to his father’s truck. The Dad not questioning his
son for a moment. He just lets it be.
Just then, ZIPPER SPRINGS UP from the back of the truck.
Jimmy jumps out of his skin. But Zipper is back to normal.
Happy faced, tail wagging. Jimmy goes to the dog, greeting
him with kisses.
JIMMY
Hey, boy.
Zipper eats it up. Happy to see him.
ACROSS THE WAY 162
PARAMEDICS pass by, rolling a stretcher. On it, isa
barely conscious Scott Baio. As they move him to an
ambulance, he mutters incoherently...
SCOTT BAIO
..I just wanted a second
chance...to be something else...
They roll him to an ambulance, fighting off REPORTERS who do
their best to SNAP photos. One HOLLYWOOD REPORTER stands in
front of the camera doing a live remote.
163
2nd White Revisions 4/7/03 113.
HOLLYWOOD REPORTER
(to camera)
I'm here at the famous Hollywood
Wax Museum where the unknown animal
believed responsible for several
deaths and attacks in the southland
earlier this week has struck again,
leaving two dead and several
injured before fleeing...
FROM THE BACK OF A FIRETRUCK 163
Ellie watches the spectacle, shivering in the early morning
cold. Vince arrives, wrapping her in a long black cape.
ELLIE
Where’d this come from?
VINCE
Apparently Lon Chaney was also the
PHANTOM OF THE OPERA.
Ellie smiles. Vince settles next to her. Their minds the
only thing more exhausted than their bodies.
VINCE
You think they'11 figure it out?
He refers to the aftermath of POLICE, FIRE DEPT., NEWS CREWS.
ELLIE
1t'11 fall into the anomaly
category. A media sound bite for a
few weeks. Then, the world will
forget and move on to something
else. We always do.
Vince nods. Agreeing.
VINCE
So what now? Going back to work?
Life as usual?
ELLIE
I was thinking about taking the day
off. What about you? What are you
going to do?
164
2nd White Revisions 4/7/03 114.
VINCE
I was thinking, I don't
know. ..about taking my last second
chance and actually becoming a
living, breathing human being
complete with hope and promise.
That sorta stuff...
He gives her a small smile. A hint of a new man. Ellie
stands to leave. Not sure what else there is to say.
ELLIE
I should go. Good luck with your
humanity and all that.
Vince smiles. Good-bye. She turns and leaves. Vince sits
there...staring ahead. A moment.
ELLIE
(off camera)
Vince?
He turns. Ellie didn’t make it far. She stands next to the
truck. Unmoving. He smiles.
ELLIE
Now that we are strictly human
again -- you think the sex would
still be hot?
VINCE
I predict -- hotter.
A moment. Ellie's face registers the slightest smile.
ELLIE
Then I'm definitely taking the day
off.
Vince gazes up at her. Music to his ears. He stands. His
arm encircles her and they move off...walking down Hollywood
Boulevard.
FADE OUT.
CREDITS ROLL as a SPLIT SCREEN APPEARS.
INT. THE LATE LATE SHOW WITH CRAIG KILBORN i 164
Craig sits by his desk, addressing the camera and the
audience.
2nd White Revisions 4/7/03
115.
CRAIG KILBORN
Our first guest tonight you may
know as the man making
headlines these days.
all the
Here to tell
us about it -- is Scott Baio.
The APPLAUSE goes crazy as Scott Baio appears. He takes a
seat next to Craig.
CRAIG KILBORN
Scott, what have you been up to
lately? What's all this I've been
reading? Is it true?
werewolf?
Scott smiles.
SCOTT BAIO
Are you a
Come on, Craig. Me? A werewolf?
That’s crazy. Please.
Chaaci...
The audience ROARS with LAUGHTER.
audience. Smiling...
BLACKOUT!
I'm
Scott turns to the