5 Stories

The Gauntlet
by Ralph Pitre
EXT. STREET
A bloodied BEATEN MAN cautiously scurries through the streets
of a city. In the distance we can hear the calls for him. He
charges across a street and into a building. A PEDESTRIAN
looks back just as he disappears. The PEDESTRIAN smells the
air, inhaling deeply.
PEDESTRIAN
He’s here!! I can smell him!
INT. APARTMENT BUILDING
The BEATEN MAN struggles up the stairs to the top floor of a
run down tenement apartment building. There he comes upon A
WOMAN standing at an open apartment door. They stare at each
other a long while. He looks at her, then the door, then
stands, leaning against the wall & stumbles into her
apartment.
INT. APARTMENT
The apartment is sparsely furnished: a couch backed to a
large window looking out onto the street, a tall lamp & an
end table.
The BEATEN MAN stumbles across the room & into the corner
beside the large window. He listens. She listens.
WOMAN
You can’t stay for long. You have
to go before my husband comes home.
If he sees you he’ll beat you like
the others.
BEATEN MAN
I understand, I just need a minute.
WOMAN
Would you like some water.
BEATEN MAN
Yes.
She leaves the room. The BEATEN MAN closes his eyes,
listening to the calls for him, from outside.
The WOMAN returns with a glass of water that he takes &
drinks.
WOMAN
Why do they beat you?
BEATEN MAN
Why don’t you?
WOMAN
I don’t know.
BEATEN MAN
Neither do I. Why would your
husband want to beat me?
WOMAN
I don’t know. But he will, I know
that.
She steps up to him and kicks him in the side.
WOMAN (cont’d)
There. I’ve done my part. How did
it feel?
BEATEN MAN
Like a love tap.
WOMAN
I’m sorry.
She walks to the window & looks out.
WOMAN (cont’d)
Where do you go from here?
BEATEN MAN
Nowhere in particular, just moving
on, running, hiding, I never know
where. It all depends on who’s
doing the beating and then I run
from there in whatever direction
will take me away from it. I’ve
made my way through so many cities,
beaten by so many, hiding in
condemned buildings, finding
benevolent people to hide me, but
who still hate me for what I’ve
done.
WOMAN
How is it that you go on like this?
Did you kill someone? Is that why
they beat you? Because you’ve done
something so wrong?
BEATEN MAN
I don’t know for sure but I seem to
remember having killed once a long
time ago. I don’t remember who or
when or why. I remember losing all
my strength, realizing the
magnitude of what I’d done. But
now, I just can’t imagine killing
anyone. This has gone on for so
long I can’t remember why I’m
tortured so. I imagine that I once
knew why, but now most of my
memories are gone. I’m not even
sure that the memories I do have
are mine and not just fabrications
to placate my burden.
A sound at the door.
She turns & there stands a man at the door.
Without saying a word, THE MAN, wearing a worn pair of jeans,
a dyed wife-beater shirt & a pair of black work boots, struts
over to the BEATEN MAN, stands over him for a moment, looking
him over & then begins to kick him. The BEATEN MAN drops the
glass of water on its side, recoils into the corner and
cowers while trying to absorb the pain. THE MAN continues to
pound away at the BEATEN MAN. The WOMAN turns away, holding
back tears, a scream. THE MAN tires quickly, each kick
needing further exertion. The BEATEN MAN moves quickly
between tired kicks, sliding over & away. THE MAN turns to
give chase & kick the BEATEN MAN but steps on the glass of
water, rolls on it & falls hard on his back. The BEATEN MAN
runs for the door & out of the apartment. THE MAN stands,
grimacing from the pain, turns to THE WOMAN with a look of
anger then runs out of the apartment screaming about the
BEATEN MAN. He chases The BEATEN MAN all the way down to the
first floor.
EXT. STREET – DAY
THE MAN runs out of the building all the while screaming, as
The BEATEN MAN charges into the streets, pedestrians suddenly
turn, pursue & capture the BEATEN MAN in a consuming swarm.
INT. APARTMENT
The WOMAN watches from the apartment window.
THE MAN returns to the apartment. The WOMAN stands at the
window, not looking out, not turning to see THE MAN.
THE MAN walks off screen, then returns with a handful of
paper towel, drops to his knees, takes the glass and begins
to wipe the floor.
THE WOMAN
What’s going to happen to him?
THE MAN
Same as always, nothing’s going to
change. He runs on, beaten wherever
he goes. It’s the first time I’ve
met him. I hope I don’t ever meet
him again. I hope I don’t ever
become him.
EXT. STREET
The BEATEN MAN is pummeled in the street by a crowd, each
person; man, woman and child, taking their turn. Until one
man grabs and holds The BEATEN MAN.
FIRST MAN
You are the sorrow in our world.
The agony. The pain and suffering
you bring with your existence. Why?
Why do we beat and pummel you like
some soccer ball, and you don’t go
away? Why can’t you just die?
BEATEN MAN
I don’t know. I wish I did. I wish
I could. But everywhere I go;
everywhere I’ve gone, there has
been someone there to beat me.
There have been moments where I
have found that place, where I am
alone, but someone always comes
along, as if summoned to beat me.
FIRST MAN
Then kill yourself.
BEATEN MAN
I can’t. I don’t have the strength
of body or spirit to beat another
person, kill another, let alone
kill myself.
FIRST MAN
Then I will do it for you!
The first man pulls out a gun and shoots The BEATEN MAN point
blank in the heart. The crowd is aghast.
SECOND MAN
What have you done? He’s going to
die!
The FIRST MAN looks at them all, unaware of what he has done.
FIRST MAN
What? I’ve done what we all wanted.
To be rid of him.
The BEATEN MAN laughs, a menacing snicker at first that
develops into an all out choking guffaw. Blood dribbles and
spits from his mouth, the redness coloring his laugh. He
motions for the FIRST MAN to bow down close to him.
FIRST MAN (cont’d)
What?
BEATEN MAN
What is your name?
FIRST MAN
Orlando.
BEATEN MAN
Orlando?
ORLANDO
Yes.
BEATEN MAN
I am Benito.
ORLANDO
Benito.
BENITO
Where are you from, Orlando?
ORLANDO
Far away from here. The country.
Why?
BENITO
I remember where I’m from now. For
so long I couldn’t remember where I
was from. But I remember now. I’m
from the city, from Brooklyn, NY. I
lived in a small studio apartment
near the bridge, with a beautiful
view. I remember that now. I
remember it all now. Orlando?
BENITO(cont’d)
Do you remember where exactly it is
in the country you come from?
ORLANDO
That’s none of your business.
BENITO
You don’t remember, do you?
ORLANDO just stares.
BENITO (cont’d)
I understand. I understand it all
now.
BENITO laughs, tears flow from his eyes. But it subsides as
he dies. A man slips in through the crowd, reaches down to
grab BENITO under his arms, and drags him away, out of the
crowd.
ORLANDO is alone, surrounded by the crowd. They look at him.
Someone grabs him from behind, clamping his arms; someone
else takes the gun from him. They all converge, the crowd
swarms and they begin to pummel him as they did to BENITO.
ORLANDO gets away and begins to run, and run.
ralphpitre@gmail.com

Exegis
by
Ralph Pitre
INT. NIGHTCLUB – NIGHT
We watch Rae dance nude on a hot dirty stage. She can see all
the faces, all these men, spending their money to see her &
her kind dance, their fly-catchers agape, silent foghorns
exhaling the cries of class sorrow, each one the same, but
for one, his mouth shut tight, visible only because of the
subtle smirk on his face, out-shined only by the bright green
glint in his eyes. The others salivating dogs, lusting for
her, this man, Green Eyes, no longer lusts but demands, for
something more than her body, something she could never give.
Rae avoids Green Eyes, focusing instead on an older fatter
John sitting up front, pushing the edge of the stage with his
belly, flashing dollar bills and calling for her to dance for
him. She does, hanging her legs off the side of the stage and
straddling The John’s girth, holding him close, his ear to
her mouth.
JOHN
How about a private dance?
RAE
I can do better for you.
JOHN
Yeah?
RAE
Yeah. Wait for me by the hall in
the back after I’m done up here.
She climbs back on stage and continues to dance, looking for
Green Eyes, who seems to have disappeared.
She finishes her dance, climbing off the stage at the far
end and makes for the hallway. She looks back, she can see
him, Green Eyes. She turns away to face her over-weight John
standing against the wall beside the hallway leading to the
bathrooms & dressing rooms.
JOHN
Off duty?
RAE
Yeah. I need some protection.
JOHN
A ride home?
RAE
Something like that. Wait here for
me.
Rae walks past The John and down the hall into the communal
dressing room, crowded with girls in various degrees of dress
& undress under the watchful eye of their handler, Jerome, a
big guy who stands in the doorway, just across from the men’s
bathroom where the guys tread space to wait to take a pis or
catch a peek at some snatch before they slip into the
bathroom to blow it off. Rae steals a spot at the far end of
the room, away from the door. She begins to undress. She sees
Jerome talking to a man whose back is to the room, Green
Eyes. Still half naked, she slips out a second door into the
same hall as the other but behind a taut curtain. She looks
out to see the back of Green Eyes still chatting it up with
Jerome. Jerome lets him enter the dressing room. Rae steps
back aghast. She slips into the private bathroom unsure of
what to do, still half naked. She dresses & slips into a
stall & waits, listens. The bathroom door opens slowly, not a
sound seems to be coming from the club. She listens. The door
opens again and Trix, a dancer, walks in, the club noise
trailing in. Door closes.
TRIX
Oh! Hi. Your not supposed to be in
here.
Silence.
The stall door just beside the one she is in opens, closes. A
gurgling sound. Slurp. The sound of a tongue lapping, lips
smacking. A rustle of clothing & body movement. Rae looks
down into the next stall. She can see Trix’s high heeled foot
stretched out. Blood dribbles onto the floor back near the
wall. Rae slips out & into the hall & all its noise, Dana,
another dancer, stands at the door.
DANA
You see Trix, Rae?
RAE
No.
DANA
Anybody see Trix?
Rae goes into the dressing room. Looks for her things,
finding that someone else has taken her space. She finds her
things set aside on a chair.
RAE
Nikki you stole my spot.
NIKKI
You weren’t around hon, sorry.
Share?
RAE
Forget it, I’m outta here.
Rae shuffles her way through the dressing room crowd & out
the door.
RAE (cont’d)
Bye Jerome. Oh Jerome? Who was that
guy you let through the dressing
room before?
JEROME
What guy? Baby I wouldn’t let no
man enter this room, ever.
RAE
But you were talking to him.
JEROME
Maybe I was, but I talk to lots a
guys trying to crash the dressing
room to get a piece, but honey no
one ever gets through.
RAE
Sure, OK Jerome, later.
JEROME
Night Rae.
Rae walks off into the crowd & catches a glimpse of the Green
Eyed Man standing, waiting at the front door. She turns to
see The John beside her.
RAE
Ready?
JOHN
Yep.
They make their way through the crowd to the front door.
Green Eyes is gone. Rae and The John leave.
INT. MOTEL ROOM – NIGHT
A cheap clock radio on the night stand is screeching out some
funk that Rae and The John are fucking hard to in bed. She’s
all over him, working her way up from between his legs to his
head, letting his head hang back over the edge of the bed,
she licks his neck, rears back up on her knees, gyrating to
the beat, holds her head in her hands, squeezing her palms to
her temples while squinching her face in a painful ecstacy.
JOHN
You alright?
She looks down to The John, smiles, drooling…
RAE
Yes.
… revealing her fangs, quickly coming down on The John &
thrusting her fangs deep into his neck, the blood so profuse
it pours onto the clean hardwood floor. When she’s done
sucking him dry, she gets down on all fours & laps up all the
blood on the floor, then settles back against the bed &
masturbates to a quick but powerful orgasm. She looks in his
wallet, photos of his wife & children. Like some hand model
she runs her bloodied hands gracefully along them, drops
them, takes the cash, stashing it in her bag sitting on the
floor beside the bed and then makes her way to the shower.
She stops at the entry door, leans into it and listens, then
looks through the peep-hole. Nothing. She goes in to shower.
The camera follows her into the shower where she begins to
undress as we pull away and back across to the entry door,
hold and then onto the bed where The John lays. A figure
walks into the frame, screen left, back to us.
EXT. CITY STREETS – DAWN
Various panoramic shots of the city at sunrise leading us to
a neighborhood of depressed homes, tenements and public
housing.
INT. RAE’S APARTMENT LIVING ROOM/KITCHEN – MORNING
Rae is greeted by dreadful poverty. Dirty dishes in the sink
& on the table. Clothing strewn throughout.
RAE
Penny?
INT. PENNY’S ROOM
Rae enters the room finding Penny’s bed is still made. Rae
kneels at the night stand beside Penny’s bed, slips her
fingers into the draw, hesitates then opens it and rummages
through. A picture of Penny as a little girl, then another of
Rae & Penny in her teens. Digging deeper she finds a joint
half smoked. A needle kit, spent needles and emptied vials.
Rae is attacked from behind, thrust up against the wall
beside the bureau.
Rae’s eyes change color to blood red, her fangs start to
show. The attacker pulls her back and throws her across the
room into the far wall. Rae keeps herself from falling,
dropping into a crouching stance instead. She turns to face
her attacker, her daughter Penny. For a moment they face each
other, then Penny throws herself at Rae, crushing her against
the wall, then pulling her onto the bed, straddling her at
the waist and looking down on her, fangs full, gleaming.
PENNY
Hello Mother.
RAE
Penny?
PENNY
All my life you’ve lied me to
believe you were just sick. Now I
know better! Now I know how you’ve
wasted all that power you’ve been given.
RAE
And I regretted it.
PENNY
I won’t.
Penny rears back, looks up and howls, then slowly comes down
on Rae, face to Rae’s turned face.
PENNY (cont’d)
What happens when a vampire bites
another vampire, Mother?
Penny brings her mouth to Rae’s neck.
VANDAL
Let her up!
Silence. Penny closes in, mouth open and licks Rae hard on
the cheek.
VANDAL (cont’d)
Get off her!
Penny rolls off Rae and onto the bed. Rae looks over to see
who it is.
Green Eyes. Vandal, seated on the far side of the bed beside
Penny, looks down to her then leans in to kiss her on the
lips.
VANDAL (cont’d)
Get yourself cleaned up.
She’s left alone on the floor, Penny leaving her and getting
into the shower. As she cries leaning against the bed, Vandal
chats with her.
VANDAL (cont’d)
I came by the club to introduce
myself.
RAE
Are you her Master?
VANDAL
No, I just turned her. We met at a
party a bunch of us crashed. A
rather boring party until we got
there. Penny was sitting alone,
people all around her, but she was
alone. Before we stomped the place,
Penny and I talked a bit. Penny,
who never got a break in life.
Mother with a bad habit too hard to
kick. Its a bad habit when you
can’t accept it. A devotion when
you do. So my friends and I took
the place and everybody in it.
Penny was the only one to come out
alive, more alive than she had ever
been before, because I took pity on
her and turned her. Best thing that
ever happened to her. Maybe she’ll
make more of it than you ever did
Rae. I don’t get it Rae. You looked
for us. You begged my Master to
take you. Then you insulted him by
denying what you had become and
doing nothing with your power but
suffer. We won’t let that happen to
Penny.
Penny appears all dressed.
PENNY
I’m ready.
Vandal bows down to Rae and kisses her.
VANDAL
From our Father.
Vandal stands and steps toward the door. Penny moves in to
sit behind Rae and bows down to her.
PENNY
I won’t ever see you again.
Penny kisses her and leaves the room with Vandal, leaving Rae
lying fetal on the bed.
FADE OUT.
ralphpitre@gmail.com

HOUR GLASS
by
RALPH PITRE
INT. MORNING. LIVING ROOM
The living room is heavily decorated in CATHOLIC
PARAPHERNALIA and lighted VOTIVE CANDLES. The window shades
have been pulled, the room dark.
MOTHER steps into the living room from the hall outside of
the apartment, holding a BOTTLE in her hands, close to her
bosom. Closing the door behind her she stands against the
door, using it for support. She looks down at the BOTTLE.
CUT TO:
CLOSE UP:
Angle on BOTTLE.
WIPE:
DIAGONAL SPLIT SCREEN.
Reveals a close up of an OLD WOMAN speaking upper screen
right.
CUT TO:
TITLE CARD:
OLD WOMAN
Rub ointment on your childs chest,
then sprinkle holy water to relieve
your sons thirst for blood within
the hour.
INT. MORNING. LIVING ROOM
MOTHER walks briskly to a door across the living room. MOTHER
steps into the room.
INT. MORNING. BEDROOM
MOTHER enters the bedroom slowly, cautiously and afraid, but
determined, carrying the BOTTLE.
The bedroom is also decorated in CATHOLIC PARAPHERNALIA and
lighted VOTIVE CANDLES, the shade of the only window also
drawn. MOTHER walks across the room to the bed where a
teenaged boy, TOBE, pale and soaked in sweat, lies asleep.
She stands over him.
MOTHER sits on the bed beside him. TOBE suddenly lurches up
to a sitting position to attack her, revealing VAMPIRE FANGS
and saliva frothing at the edges of his mouth. MOTHER pulls
away, revealing a CROSS that she had been hiding in her
bosom, and holding it out to show TOBE. TOBE retreats,
sinking back into the bed, bringing the covers back up to
protect himself. Still displaying the CROSS, MOTHER settles
back onto the bed. MOTHER gently pulls the covers from TOBE,
enough to expose his chest. MOTHER removes a pinch of
ointment from the BOTTLE, that she gently rubs into TOBE’S
chest, while he grunts and squirms in discomfort, hissing and
growling at her, still eyeing the CROSS she holds in one
hand. MOTHER removes another SMALL BOTTLE from her pocket,
stands away from the bed, and sprinkles some of the liquid
contents (HOLY WATER) of the SMALL BOTTLE on TOBE while
saying a prayer. TOBE squirms in agony, writhing in bed.
MOTHER stops, watches him for a moment, waiting for the
anger to subside and then steps forward to sit on the
bed beside him. She holds his hand, looks into his eyes.
Suddenly, for a moment, the monster in him retreats, and
we see a little boy giving MOTHER a pleading look.
MOTHER takes her hand away, pushes the covers back,
tucking TOBE in to bed, caressing his face. TOBE turns
away and closes his eyes. MOTHER stands and walks
backwards away from the bed to the door, sprinkling holy
water & giving the sign of the cross until she has
stepped out of the room.
INT. TENEMENT APARTMENT HALLWAY
MOTHER has stepped out of the bedroom and stands with
her back pressed against the door, looking away.
INT. TENEMENT APARTMENT HALLWAY
MOTHER struggles down the hall to the living room.
INT. LIVING ROOM
MOTHER enters the living room, racing to the HOURGLASS
on the mantle, turning it over so that it starts again.
MOTHER places the CROSS on the mantle.
INT. HALL OUTSIDE OF APARTMENT.
Close on apartment door. A hand reaches into frame and
knocks.
INT. LIVING ROOM
MOTHER struggles across the living room to the door. She
hesitates to open it, but then does so.
MOTHER steps back from the door, revealing the visitor.
A man FATHER, with a smile, he enters and calls to
MOTHER. She turns away from him, waving him away.
CUT TO:
TITLE CARD:
MOTHER
What are you doing here? I don’t
need you, your son doesn’t need
you. Go away!
MOTHER looks to the bedroom door.
FATHER motions for her to accept him, offers an apology,
even getting down on one knee. But she’ll have none of
it. She demands he leave.
CUT TO:
TITLE CARD:
FATHER
I want to see my son! I want to see
TOBE!
MOTHER explains what has become of their son, once again
looking sullen and beaten.
CUT TO:
TITLE CARD:
FATHER
Let the boy free. Nothing you do
will break him from his MASTER’S
hold. A Vampire is a powerful
demon.
MOTHER turns on him, suddenly strong, she orders him to
leave. She pushes him out the door.
MOTHER sits on the couch, lays back and falls asleep.
INT. HALL OUTSIDE OF APARTMENT.
Close on door, a hand reaches in and knocks.
MOTHER awakens to hear the door knock. She looks at the
HOURGLASS. Time is almost out. MOTHER goes to the door
and yells for whoever, to go away.
INT. HALL OUTSIDE OF APARTMENT.
Close on pale lips speaking.
INT. LIVING ROOM
MOTHER, embarrassed, opens the door.
The door opens revealing a tall man dressed in black,
looking frighteningly elegant.
MOTHER rushes off to look in a MIRROR hanging on a wall,
trying to fix her hair, but can see that the entry door
reflected in the mirror has opened and closed without
anyone there; the stranger has no reflection. THE
MASTER!
THE MASTER has closed the door is poised in a menacing
stance.
CUT TO:
TITLE CARD:
MASTER
I want the boy.
MOTHER cowers, backing away, pleading with the MASTER, then
with anger, challenging him.
THE MASTER becomes furious and spells MOTHER. THE MASTER
floats toward MOTHER, his eyes drilling deep into her,
keeping her entranced. THE MASTER towers over her, bending
down toward her. MOTHER tries to fight him off with weak
hands but it is as if nothing can stop him. THE MASTER shows
his VAMPIRE FANG as he brings his head down to her neck.
INT. BEDROOM
TOBE’s eyes open, alert. He rises from bed and moves
quickly toward the door. He looks out.
INT. HALLWAY
TOBE races down the hall.
INT. LIVING ROOM
TOBE looks into the living room, seeing THE MASTER biting
MOTHER on the neck. Blood flows from her neck and down her
arms, pooling onto the floor. THE MASTER turns to look at
TOBE and smiles, mouthing TOBE’s name and laying MOTHER on
the floor in a pool of blood.
TOBE rushes toward them, pushing THE MASTER away and cradling
MOTHER in his arms. Her head falls limp, blood flowing from
the gash in her neck. TOBE takes her head in one hand.
MOTHER’S eyes barely open to look up at TOBE, her mouth
puckered, her tongue lapping, gasping for air. TOBE bows his
head, closes his eyes, lays her gently on the floor and
stands on all fours over her. TOBE looks back over his
shoulder to THE MASTER. THE MASTER looks back at TOBE.
CUT TO:
TITLE CARD:
THE MASTER
I’ve come for you, Tobe, not for
The Mother.
TOBE turns quickly toward THE MASTER and lunges toward him,
wrestling THE MASTER to the floor and pinning him down as
TOBE shows his VAMPIRE FANGS, trying to close in on and bite
THE MASTERS neck. THE MASTER quickly brings his right arm in
between them, resisting TOBE, then throwing him over toward
and against the wall, causing the CROSS to fall from the
mantle onto the floor beside TOBE, away from THE MASTERS
view. TOBE turns over quickly as THE MASTER pounces on TOBE.
TOBE thrusts the CROSS into the lunging MASTER, stabbing THE
MASTER dead center in the chest. THE MASTER, stunned and held
in place, pulls away from TOBE, and falls back on his knees;
blood flows from THE MASTERS wound onto his hands as he
struggles to pull the CROSS from his heart.
THE MASTER falls forward, one arm stretched out to keep from
falling, the other still clutching the CROSS. THE MASTER
loses his strength and falls to the floor on his side, dead.
TOBE quickly moves toward MOTHER, kneels down beside her and
takes her in his arms, then rests her on his lap, stroking
her face. TOBE looks at his own forearm then places it to
MOTHERS mouth. MOTHER takes TOBE’S arm with both hands and
begins to suckle from the wrist. TOBE looks back toward THE
MASTER, then back to MOTHER. MOTHERS strength returns enough
to keep her alive. She opens her eyes and looks up at TOBE.

At Last
by
Ralph Pitre
914.557.0870
INT. OFFICE BUILDING – SUNSET
Camera at floor level pulls back from revolving doors. A
woman in heels and a winter coat walks toward us with
determination. We pull back and rise to follow her as she
passes the doorman.
BENNY
Evening Mrs. Banger.
MRS. BANGER
Evening, Benny.
BENNY
Need help, Ma’am?
MRS. BANGER
No thank you, Benny.
MRS. BANGER smiles and struts along with confidence, carrying
a large black duffle bag. She stands at the elevator door,
pressing the call button. BENNY rushes up from behind
offering her a building pass.
BENNY
So’s things are proper and the boss
don’t take notice of the liberty’s
I take for you.
MRS. BANGER takes the pass, stuffing it in her coat pocket as
the elevator doors open and she boards.
MRS. BANGER
Thank you, Benny.
BENNY
Ma’am. Smells good what you got in
that bag.
MRS. BANGER
Yes it does.
MRS. BANGER presses a button on the control panel then steps
aside standing opposite of the control panel, grasping a very
loose handrail that startles her.
BENNY
Be careful, Ma’am.
MRS. BANGER
I will.
The doors close.
INT. ELEVATOR
Camera starts at MRS. BANGER’S feet then quickly tilts up her
body to a head & shoulder close up.
INT. BUILDING LOBBY
We follow BENNY back to his station where he dials the phone.
BENNY
Mr. Banger’s wife is on the way up.
INT. MR. BANGER’S FLOOR
Close on papers handled by a pair of beautifully but overly
manicured hands, we tilt up and around behind a
breathtakingly curvaceous body to see MIGDALIA.
MIGDALIA
Too bad. He ain’t in a good mood.
BENNY
(voice over)
Is he ever?
MIGDALIA
Got to go, handsome.
INT. MR. BANGER’S FLOOR
As the camera comes around, MIGDALIA hangs up the phone and
comes out from behind the desk, we follow as she struts into
MR. BANGER’S office with a small pile of papers.
INT. BUILDING LOBBY
We swing around BENNY as he hangs up the phone, to see him
screen right and the elevator background screen left. We push
in with a series of dissolving focal lengths until we come to
a close up on the floor number panel over the doors as the
elevator reaches the penthouse floor.
INT. MR. BANGER’S OFFICE
We push in behind MIGDALIA as she stands at the desk, placing
the papers in front of MR. BANGER who starts signing the
papers while still chatting on the phone and eyeing MIGDALIA
up and down.
CUT TO:
Swinging swish pan left from MR. BANGER to MIGDALIA who
acknowledges his stare, looks away then turns back to look at
him with a smile then struts out of the office. We come
around and look through the door to watch MIGDALIA walk to
her desk and pass MRS. BANGER approach the office.
MIGDALIA
Evening Mrs. Banger.
MRS. BANGER says nothing, giving MIGDALIA a bitch side glance
as she struts into MR. BANGER’S OFFICE, and closes the door
behind her. She stands in vogue at the door waiting for some
acknowledgement from MR. BANGER, but receives none at first,
seeing that he is still on the phone chatting and playing
with the amulet hanging from his neck. He looks up at her,
without reacting and nods off screen a direction in which to
go.
MRS. BANGER steps across the room to find a small table set
before a large fireplace, quickly clearing it of its props,
she drapes a white table cloth across it then empties the
contents of the duffle bag, setting down two elegant place
settings. Then taking out a heat pack from which she removes
two aluminum containers, whose hot contents she serves onto
each plate. She pours wine, lights candles, sits down &
waits. Moments pass as they stare at each other; she waits,
twiddling her fingers, straightening wrinkles in her dress,
while he talks on the phone. When his phone conversation ends
they just stare at each other a few moments. He continues to
toy with the amulet.
MR. BANGER
I have to work late. We’ll eat but
you should leave soon after we’re
done.
Pause. MRS. BANGER looks away for a moment, then back to him.
MRS. BANGER
Come and sit with me.
MR. BANGER walks across the room to a small refrigerator from
which he removes a bottle of water and then walks to the
table and sits down. Nothing but silence as they begin to
eat.
MR. BANGER
This is excellent. From Alfredo’s?
MRS. BANGER
No, from me.
MR. BANGER looks up at her, somewhat surprised. She doesn’t
look up & continues to eat. He sits back away from the table
& turns away, sipping water.
MR. BANGER
I’m leaving you, Carol.
MRS. BANGER pauses for a moment, never looking away from her
plate, then continues to eat.
MR. BANGER (cont’d)
There isn’t anyone else. No other
woman, but you. You’ve become that
other woman. I don’t feel like I’m
married to the same woman I married
twelve years ago. Does that make
any sense? You’ve become that woman
who would break us apart. You’ve
done everything you could do, to
become the other woman, the woman I
didn’t want to marry, that woman
that would end up breaking up our
marriage if I were tempted to
stray. But I didn’t have to stray.
At least if there were another
woman I’d have you to come back to,
but you are that other woman and
there’s no you for me to come back
to. I’m sure that I’ve changed,
perhaps as much as you, but not in
the same way that you have.
Still toying with his amulet chain,
MR. BANGER eats & drinks,
letting the wine she poured for him
sit still on the table.
MRS. BANGER finishes
her glass of wine in one fast gulp,
almost choking
and then wiping her lips with the napkin.
MRS. BANGER reaches across the table to hold his hand.
He stops, startled by her initiative and looks up to her.
Tears trickle down her cheeks
as she takes his hand and uses
it to wipe the tears from her cheek.
DISSOLVE TO:
Camera tilt up from dark below chair to, lit from above, MRS.
BANGER rising up from between MR. BANGER’s legs, his pants
top evidently undone & open, her dress top evidently undone &
open, she pushes up to meet him face to face. He holds her
head, bringing her lips to his & they kiss passionately, cut
to…
INT. MR. BANGER’S FLOOR
MIGDALIA leaves the floor, looking back at MR. BANGER’s
closed door.
INT. BUILDING LOBBY
We see BENNY standing at the exit door. He looks off to the
elevator. We snap tilt down from the elevator floor display
to see MIGDALIA coming off the elevator. We swing around to
see her walk away from us to the front lobby door, where
BENNY waits holding the door open then locking the door as he
leaves with MIGDALIA.
EXT. BANGER’S BUILDING
BENNY looking up from the street, smiling & nodding up to the
only floor with a light on. BENNY turns to smile at MIGDALIA,
she smiles back and they walk away down the street together.
INT. MR. BANGER’S FLOOR
We push slowly toward MR. BANGER’S office door. It swings
open. MRS. BANGER struts toward the elevator with the duffle
bag. Camera stays low, letting her come to us, comes around
her legs to follow & rise to see her in medium shot, still
floating around her to see the office door in background,
MRS. BANGER in foreground. She is nervous, somewhat spent of
energy as she stands at the elevator door waiting. She looks
back at MR. BANGER’s office door. The elevator comes. She
boards.
INT. ELEVATOR
The doors close as MRS. BANGER presses the lobby button. The
elevator creeps down ever so slowly. She presses a button.
The elevator picks up speed & races to the lobby, scaring
MRS. BANGER as she grabs the handrail. The elevator stops
short on the lobby floor, lurches then holds for a moment.
She puts the duffle bag down in the corner of the elevator
with the control panel & presses the door open button, which
does nothing. The elevator lurches again. She presses more
buttons as the elevator suddenly rises & heads up faster &
faster. Leaning back against the wall, sliding over to the
corner & holding the rail, she looks up, first at the floor
number panel, then to the ceiling, noting the roof access
panel, back to the number panel, seeing that the elevator has
reached the penthouse floor, where it eases to a subtle
pause, she presses the door open button again. The elevator
rushes back down. She looks at the control panel, then down
to the duffle bag, sliding even further away into the
opposing corner from the duffle bag, grabbing the loose rail,
she looks sick & starts to scream for help.
INT. MR. BANGER’S OFFICE
Up at MR. BANGER’s office we look around, taking note of the
dinner place settings left untended on the small wooden
table.
INT. MR. BANGER’S FLOOR
Floor level tracking shot moves slowly toward the penthouse
floor elevator door. No sound.
INT. BUILDING LOBBY
Floor level tracking shot moves slowly toward the first floor
elevator door. No sound. Camera rises to a close up of the
number panel. Elevator reaches first floor then starts back
up.
INT. ELEVATOR
Struggling against gravity as the elevator rises, MRS. BANGER
breaks the rail loose from the wall & struggles to use it to
break open the ceiling access panel which flies away as the
elevator light blacks out, and the elevator stops just below
the penthouse floor, where she can see the elevator doors.
The only light is from a red safety light at the top of the
shaft. She looks down at the duffle bag. The elevator light
begins to flicker intermittently. She takes her heels off &
tries to jump to reach the opened ceiling access, once,
twice.
And on the third try, the elevator suddenly shoots back down,
throwing her up into the ceiling, then crashing her to the
elevators floor, where she lays still but awake & hurt,
looking across at the duffle bag as the elevator rushes back
down to the first floor, pauses, then gently rises. The
elevator lights continue to flicker, the red & orange shaft
lights swing past.
She carefully sits back against the wall, a bruise evident on
her face. She is bewildered. From a wide shot tilting down to
a medium close-up looking down at the floor area obscured
from her view by the duffle bag, we see blood flowing from
the bottom of the bag.
MRS. BANGER finds her cell phone in her coat pocket & makes a
call. At first the signal is weak but as the elevator rises,
it gets better. She looks up into the shaft. But the elevator
stops midway, the signal still weak.
MRS. BANGER
Carla? Carla? It’s Carole. Can you
hear me? Carla? I need your help.
If you can hear me, call the
police, I’m stuck on the penthouse
elevator in Carl’s building. If you
can hear me, hang up and call the
police. Carla, call the police!
MRS. BANGER looks down at the phone.
CLOSE UP: CELL PHONE DISPLAY SHOWING “NO SIGNAL” GRAPHIC.
MRS. BANGER whimpers but stays resolute. The elevator hasn’t
moved. She crawls to the panel, reaching over the duffle bag
with her right hand to press a button & keep upright by
planting her left hand down on the floor between the wall &
duffle bag. She stops. The floor is wet. She leans back on
her knees to look at her hand & the blood dripping from it.
She looks down at the duffle bag. An eyeball looks back at
her. A very deep, guttural & low volume voice says, “Hello
Carol.” A bloodied arm thrusts up from the bag to grab her
arm & hold it for a moment. The elevator starts to rise.
Shocked, she breaks loose, falling back away from the bag &
leaning back against the wall to see the arm standing erect
from within the bag. Camera close on arm and hand in
foreground, MRS. BANGER against the elevator wall compressed
in background. Camera trucks in as lens zooms wide
decompressing the depth of field, pushing MRS. BANGER
optically away, the arm now prominent in the foreground of
the shot.
INT. MR. BANGER’S OFFICE – FLASHBACK
Camera pans right along MR. & MRS. BANGER’s bodies pressed
against each other, she on top of him. We start at their
groins & pan right to their heads then passed to follow MRS.
BANGER’s arm reaching beyond MR. BANGER’s head & out of
frame. Looking down at the table, her hand reaches into frame
to take a large chef’s knife & slide it out of frame. Looking
up at MRS. BANGER, she raises the knife in both hands above
her head & immediately hammers down. Close-ups on both as the
slaughter continues, agony, ecstasy & blood splatter
everywhere, drenching. Close on MR. BANGER, shock & pain
wrench his face. The camera moves up & left to white
tablecloth, blood soaking its way across the frame, MR.
BANGER’S arm falls limp across the frame.
INT. MR. BANGER’S OFFICE
The elevator stops at the top & immediately starts down. In
the elevator, the camera cranes down bringing outstretched
arm up into frame foreground, MRS. BANGER in the background.
Dolly back & zoom in to compress the shot. The arm snaps down
out of frame. Close up on demon hand slamming down onto the
floor for support beside the duffle bag. The amulet chain
falls into frame beside his hand. Wide shot as we watch the
demon rise bloodied & slimy from the bag. MRS. BANGER watches
in shock, sliding back against the corner opposite & as far
away as possible from the duffle bug. The demon rises,
lacking strength it struggles like a limp marionette to stand
& move forward to MRS. BANGER.
Close on MRS. BANGER’s face turned away, terrified & pressed
against the wall as the demon approaches. Her eyes look away
then shift across to take a peek at the demon. Close on
eyeball & demon reflected in it. She looks down & is suddenly
surprised by what she sees. Cut to her point-of-view & the
broken handrail. She reacts. Reaches for the handrail, grabs
it & swings it back hand across to hit the demon, slamming it
against the wall, shocking it & causing some damage but not
enough, so she stands & hits it again, and again, and again,
splattering blood & body parts all over. The demon collapses,
limbs & parts falling & flying away. MRS. BANGER stands over
the demon, hammering down at it then falling on knees to
straddle the demons torso.
The elevator suddenly stops. A ping sounds. She looks up at
the floor display panel showing “1”. We tilt down to the
doors as they open to a close-up shot of a woman.
MRS. BANGER
Hi Carla.
CARLA
I heard you, Carol. But you
couldn’t hear me when I said I
would bring help! Oh my God! Carol!
The camera zooms back to a wide shot of those with her, a
POLICE OFFICER fumbling to pull his gun, two FIREMEN & an
EMS. MRS. BANGER stays in place, dumbfounded & bloodied.
CARLA’S scream continues into black.
FADE OUT.
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