Dont Look Away

By
Rob Swanson
And
Stephen Morgan
& Alex Couch
Studiotown, LLC
1541 Sunset Dr.
Jacksonville Beach,
Fl 32250
COPYRIGHT 2014 STUDIOTOWN, LLC
Stephen Morgan
Production@dontlookawayfilm.com
407-489-2104
FADE IN:
1 EXT. BEACH BOARDWALK -- DAY
DANA, a 17-year-old girl from a broken home, stands by the
edge of the pier, browsing on her cell phone, looking upset.
VINCENT approaches Dana from the other side of the pier. He
is hansom and appears to be in his mid-twenties.
VINCENT
Dana?
She sees him but doesnt recognize him.
DANA
Yes?
VINCENT
Its me, Vince.
DANA
Im sorry.
Failing to think of how she knows him.
VINCENT
We met at Sams party last month.
DANA
Ohh!
She still doesnt remember but politely acts like she does.
VINCENT
Yeah, you were kinda...
Nods his head to insinuate she was drunk, but tries not to
make a big deal about it.
DANA
(embarrassed)
Yeah. Thanks.
Uncomfortable beat.
VINCENT
Hey, so, what are you doing?
DANA
What, right now?
(CONTINUED)
CONTINUED: 2.
VINCENT
Yeah.
DANA
I donno. I guess I was...
VINCENT
(interrupting)
Cause Ive got a couple free burger
coups. Would you... wanna join me?
They laugh together in an "awkward first date" manor.
DANA
Yeah, where over there?
She points to a burger hut.
VINCENT
Yeah, great. (beat) Vince.
MONTAGE: BUDDING RELATIONSHIP/TITLE SEQUENCE
During this sequence, both of their clothes change from
scene to scene. Dana always wearing distilled grays and
greens, Vince always wearing deep reds and blacks.
2 EXT. BOARDWALK -- DAY
Dana and Vincent stroll down the boardwalk eating burgers
and laughing.
3 EXT. BEACH -- DAY
They walk down the beach and play in the waves. Her a little
on the reserved side, him on the charismatic.
4 EXT. RESTAURANT -- DAY
Dana and Vincent dine together outside of a fine restaurant.
She has never eaten such expensive food.
5 EXT. DANAS HOUSE -- NIGHT
Vincent escorts Dana to her doorstep and they share their
first kiss, then he leaves. She backs into the house,
smiling embarrassingly.
MONTAGE FADES OUT:
3.
6 INT. DANAS ROOM -- DAY
An extreme close up of a text conversation between DANA and
Vincent plays out on screen. We see the first two texts have
already been sent.
Dana: because my mom sux
Vincent: Ill never treat you bad. Ill take care of you
forever.
Dana: 143
Vincent: I love you too
Vincent: I want to see you tonight
Dana: How bout now?
Vincent: Cant. Picking up someone.
Dana: A girl?
"typing"
We see shots of different things inside bedroom.
A dusty and worn photograph of Dana and her mother at her
1st grade graduation lays on the floor.
Her old laptop sits on the nightstand, open to Facebook
showing a photo of her in a bikini at the beach, tagged at
her specific location.
Vincent: Yes a girl.
HE SEND AN INSTAGRAM PIC OF A 15 YEAR OLD GIRL, ASHLEY.
Dana: Shes pretty.
Vincent: Shes 15 - its for work.
DANA SENDS A PIC OF HERSELF NAKED. WE ZOOM IN TO ONLY SEE
HER HEAD AND SHOULDERS.
Dana: Theres a favor.
Vincent: meet me outside tonight. 7:30.
(pause)
Dana: should I wear something nice?
Vincent: yes.
4.
Dana: :-)
7 INT. DANAS ROOM -- MOMENTS LATER
Dana gathers her belongings into her purse. She wears an
uncharacteristically nice outfit.
She looks in the mirror and at the necklace from Vincent.
She smiles at the thought of being in love. She has never
felt loved by a man before.
She puts on some makeup, sprays some perfume in the air, and
steps into it.
8 INT. DANAS HOUSE -- HALLWAY -- MOMENTS LATER
She leaves her room and creeps down the hallway to the
stairs.
9 INT. DANAS HOUSE -- KITCHEN -- CONTINUOUS
CLAIRE, Danas strung out, cigarette smoking, mother,
microwaves dinner in the kitchen. She hears Dana sneak
downstairs.
CLAIRE
Where you going?!
10 INT. DANAS HOUSE -- DOWNSTAIRS -- MOMENTS LATER
Dana rolls her eyes as shes discovered.
DANA
Out!
CLAIRE (V.O.)
Whenll you be back?
11 INT. DANAS HOUSE -- KITCHEN -- CONTINUOUS
DANA (V.O.)
When Im back, Claire.
Claire huffs. We hear the door unlock, open and shut from
the other room.
5.
12 EXT. DANAS HOUSE -- CONTINUOUS
Dana slams the door and storms to the driveway. She smiles
as she sees Vincent drive up in a WHITE CARGO VAN.
13 EXT. DANAS DRIVEWAY -- MOMENTS LATER
Vincent is dressed nicely.
She playfully models on the passenger door for him.
DANA
(in a low sexy tone)
Ohh, your majesty.
Vincent smirks at her but doesnt play back.
Dana jumps into the passenger seat and kisses him.
VINCENT
You look nice.
DANA
Oh, thanks.
VINCENT
I got you something.
He hands her a box. She opens it and delights to find a
diamond necklace.
DANA
Vince. Is it real? Is this real?!
VINCENT
I love you.
DANA
(overwhelmed)
Oh my god.
They speed off.
14 INT. WHITE CARGO VAN -- NIGHT
The van speeds down the road. Him in more of a seductive
mood than playful. Dana stares at Vincent, then the road,
acknowledging the silence.
She surveys the van, finding a video camera on the floor and
picks it up.
(CONTINUED)
CONTINUED: 6.
DANA
Is this for us?
She giggles as she turns it on, pointing it at Vincent and
faking an interview.
DANA (CONTD)
So Mr. Sneaky. Where are you taking
the "love of your life"?
Vincent looks at her but not the camera, then back to the
road.
VINCENT
Im taking you somewhere new.
DANA
(still looking through the
camera viewfinder)
A cluuub?
VINCENT
Somewhere I can show you off the
way you deserve.
She giggles as they speed away.
15 EXT. ARTHURS HOUSE -- MOMENTS LATER
They pull into a rich neighborhood and park outside of a big
house. Several expensive cars are in the driveway and on the
street, obviously theres a party going on. She has never
been there before, but the cars and houses impress her.
Vincent turns off the van and they both exit with him
ushering her up the walkway, staying close.
VINCENT
Dana, this is the home of a very
important man. He has the ability
to make a lot of wonderful things
happen for us.
He stops and turns to her.
VINCENT
It is very important for us to make
a good impression.
Dana straightens up and clumsily tries to walk and talk more
sophisticated.
(CONTINUED)
CONTINUED: 7.
DANA
Then I shall be on my best
behavior.
They stop at the door.
VINCENT
(looking at door)
Dana. You know how special you are
to me. The love of my life. Youre
mine forever.
He knocks on the door. She smirks. His smile back at her
comes with a secret. HE knows what awaits her. He turns to
her.
VINCENT (CONTD)
Do you trust me?
DANA
(beat)
Yes!
Her tone suggests a complete surrender of trust to him.
The door opens and a cloud of smoke comes pouring out.
FRANK, a middle aged businessman with a beer in his hand and
a cigar in his mouth, emerges from the smoke. He looks at
them both, then back at a fully occupied poker table in the
living room behind him.
At the table six, cigar smoking, scotch drinking, bulbous,
wise-cracking men play poker. They all appear successful. At
the head of the table sits ARTHUR, the distinguished,
handsome, gray bearded host of the party. He stands as he
sees Vincent and Dana at the door.
ARTHUR
Vincent! Please come in.
16 INT. ARTHURS HOUSE -- CONTINUOUS
Vincent and Dana enter the house. Arthur greets Vincent with
a firm handshake and hug.
ARTHUR
Vincent, my boy. Its wonderful to
see you.
He turns his attention to Dana.
(CONTINUED)
CONTINUED: 8.
ARTHUR
And you must be Dana. It is truly a
pleasure to meet you.
He takes her hand and kisses it ever so gently. Dana,
embarrassed by his flattery, tries to remain composed.
DANA
Why, the pleasure is all mine.
She smiles at Vincent for approval. He smirks.
Still holding her hand, Arthur brings her over to the poker
table.
ARTHUR
Dana. I want you to meet my guests.
He gestures in their directions as he introduces them. And
they nod and smile to Dana, one by one.
ARTHUR(CONTD)
This is Howard. Colin. Dennis.
Kenneth. And this find gentleman
here, with all the chips, is
Malcolm.
He turns back towards the door.
ARTHUR(CONTD)
And of course, Frank. Whom I
believe you have already met.
Frank nods.
DANA
Pleased to meet you all.
ALL 5
(simultaneously)
MMmm. You too. Pleasure.
Vincent is now closer to the front door but still watching.
Arthur escorts Dana back over to him.
ARTHUR
Vincent, well be right back. I
have a gift for young Dana here.
She gets a nod of approval from Vincent.
Arthur speaks soft and kind to her as if he is speaking to
his own niece. Trusting. She listen intently.
9.
17 INT. ARTHURS HOUSE -- HALLWAY -- CONTINUOUS
ARTHUR(CONTD)
You know, I have a daughter about
your age. She is currently studying
abroad; in London.
DANA
Oh that sounds so wonderful!
ARTHUR
Oh she looooves it! Shes having
the time of her life.
DANA
Ive never even been out of the
country.
ARTHUR
No!
Their voices fade out as they go deeper into the hallway.
ARTHUR(CONTD)
(whispering)
Well we shall just have to do
something about that.
They arrive at a closed door. Arthur opens it and ushers
Dana inside.
18 INT. ARTHURS ROOM -- CONTINUOUS
It is his bedroom. It is darkly lit with candles all around.
His bed is covered in red silk sheets and is closer to the
ground than typical beds. Dana is aware of the seductive
nature of the room and situation. She begins to question
Arthers intentions. She continues to surveys the room and
sees Arthur uncorking a bottle of wine.
ARTHUR
Dana. Do you like wine?
She says nothing.
ARTHUR(CONTD)
This particular bottle is very
rare, and quite expensive.
He turns his head back to her.
(CONTINUED)
CONTINUED: 10.
ARTHUR(CONTD)
I would be honored to share it with
you.
She is now feeling a little uncomfortable but not sure if
all this is intended for her.
Arthur prepares HER GLASS with an extra ingredient. He
separates a tablet and the contents fall into her glass,
unseen by her. Then he pours the wine.
She watches him from just inside the room.
He moves toward the bed and sits on the corner. He holds
both half full glasses.
ARTHUR(CONTD)
Come sit with me.
She stares.
ARTHUR(CONTD)
(gently)
Dana. Come try your wine. I promise
youll like it.
She peers out the door to catch a glimpse of Vincent. He is
still there talking to the other men. She assumes his
proximity will keep her safe.
She hesitantly joins Arthur. She accepts the glass from his
hand and takes a sip.
ARTHUR(CONTD)
Not too bad, huh? Go ahead.
They both take another couple sips then he takes her glass
back to the table. After placing the glasses down, he moves
to the open door and grasps it.
Dana is very uncomfortable.
ARTHUR(CONTD)
You know, Dana. You are a very
special young woman.
He closes the door but keeps his back to her for the moment.
She is starting to become frightened but says nothing.
ARTHUR(CONTD)
I am going to make you a deal.
(CONTINUED)
CONTINUED: 11.
He turns and steps slowly toward her. His demeanor changes.
He seems to be negotiating with her but they both know who
is in control.
(The music slowly rises to build the tension)
ARTHUR(CONTD)
I am going to do some things to you
now.
He moves closer.
ARTHUR(CONTD)
And I am trusting that you will
return those favors to me.
Closer.
ARTHUR(CONTD)
And I do trust that no matter how
far things go, you WILL continue to
preform appropriately.
CLOSER.
She is horrified; speechless; motionless. She can only watch
as Arthur moves closer, who is now only inches away. Her
face is even with Arthurs belt buckle.
Arthur grins at her with the most evil and sinister of
intentions and begins to undue his belt.
ARTHUR
Now. (beat) Lets have a look.
She musters up the courage to push him away and runs for the
door. He laughs as she runs out into the hallway.
19 INT. ARTHURS HOUSE -- CONTINUOUS
She makes it to the living room but Vincent is not there
anymore.
Everything is getting blurry. She can not focus. She shakes
her head and makes for the front door.
12.
20 EXT. ARTHURS HOUSE -- CONTINUOUS
She blows through the door and outside to find Vincents van
is gone.
DANA
Vince! Vince!
Her limbs become weak. She falls to her knees as Frank comes
out to pull her back inside. Clearly, Frank has done this
before.
21 INT. ARTHURS HOUSE -- CONTINUOUS
Frank drops Dana on the floor, face up.
POV: DANA
She sees all the men huddle over her in a circle, grinning
with lustful expressions; like ravenous wolves. Arthur joins
them, staring directly down at her. He leans in close.
ARTHUR
(smirks at her)
We are going to have a VERY
eventful night, Dana.
They all laugh.
BLUR OUT:
FADE IN:
22 INT. ABANDONED WAREHOUSE -- NIGHT
TWO-SHOT: DANA AND VINCENT (DOLLY MOVES BACKWARDS)
Dana lays face down on a wet mattress, shaking in pain.
Vincent kneels beside her.
VINCENT
You did amazing, baby.
Vincent puts his hand on Danas shaking back. Danas
NECKLACE is visible.
Vincent leans back to grab a syringe from a table behind him
and preps her arm for the injection.
(CONTINUED)
CONTINUED: 13.
VINCENT
Let me give you something for the
pain. Trust me.
Danas eyes close tight from the injection but then relax as
she falls into utopia.
FADE OUT/IN:
23 INT. ABANDONED WAREHOUSE ROOM -- DAY
Dana wakes up in a dark room, in dirty bed, surrounding by
unlit work lights, and a camera pointed at her. Disheveled,
she slowly sits up. A survey of the room reveals an
underground porn studio. Only cracks in the ceiling let
small rays of light into the room. She peers into the camera
and instantly remembers where she has seen it before.
24 INT. CAR -- NIGHT -- FLASHBACK
Dana sits in the car with Vincent in the same scene as
before, holding the same camera as before. She plays with it
in a romantic way with him, not knowing she holds the same
camera that has recorded so many terrible things.
25 INT. ABANDONED WAREHOUSE ROOM -- DAY
The door opens and wakes her from her flashback. Vincent
appears in the doorway through the light.
Dana sees him and blinks to focus on who it is, still coming
off of the hit of heroin she was given.
Vincent goes to her and helps her out of the bed and towards
the doorway. As he passes the camera he flashes back to an
earlier memory.
FLASHBACK: BELINDA IS PURCHASED
26 INT. BELINDAS ROOM -- NIGHT -- FLASHBACK
BELINDA, a 16 year-old Mexican girl, quickly applies makeup
in front of a mirror.
14.
27 INT. BELINDAS HOUSE -- DINNER TABLE -- NIGHT
ANGEL, a Mexican man whispers with Belindas MOM and DAD at
the dinner table. We barely hear them in Spanish.
SUBTITLES WILL BE SHOWN.
Both parents sit next to each other for comfort. Mom cries
and Dad gives his attention to Angel.
ANGEL
Ive already got her setup working
in a hotel. Shell be completely
safe. But we have to hurry.
Belindas parents look at each other.
28 INT. BELINDAS HOUSE -- LIVING ROOM -- MOMENTS LATER
They all hug and kiss and bid her farewell. She leaves with
Angel.
29 INT. CARGO TRUCK -- NEXT MORNING
Belinda sits next to the other girls, all of whom are
sliding around a bit because of the rough ride. They are all
sweaty. They dont know where they are.
Suddenly the truck stops. The cargo door opens.
The bright morning sun plunges in on them, causing them to
squint and shield their eyes. Angel appears, silhouetted by
the sunshine.
ANGEL
Out.
All the girls stand and gathering their things.
30 EXT. CARGO TRUCK -- MIDDLE OF NOWHERE -- MOMENTS LATER
Belinda steps out of the truck. She see nothing resembling
the modern America she was promised.
All the girls clutch their belongings.
As she turns around the side of the truck she sees the WHITE
CARGO VAN parked with ZACK, Vincents partner, standing
outside of it.
(CONTINUED)
CONTINUED: 15.
Angel speaks to Zack but we dont know what they are saying.
Then Zack turns to the girls to inspects them. He looks
inside their mouths and at their eyes.
ZACK
(to Angel)
Clean?
ANGEL
Virgins.
He gets to Belinda and stands intently in front of her,
looking her up and down. His eyes gleam as he leans in.
ZACK
Her.
Zach ushers Belinda to the white cargo van.
31 EXT. CARGO VAN -- CONTINUOUS
The back doors open. Belinda sees Vincent inside with a
syringe and ropes, ready for her.
STYLIZED MONTAGE OF INJECTION/FALLING IN VAN/TIED
The doors shut and the van pulls away. Day turns to night
and they are back at the warehouse.
32 EXT. ABANDONED WAREHOUSE -- NIGHT
Belinda is in a strung out haze. Zach and Vince escort her
from the van to the warehouse.
33 INT. ABANDONED WAREHOUSE -- CONTINUOUS
Vincent grabs a camera from a table. He and Zach move
Belinda towards a brightly lit area in a dark warehouse with
an old mattress laying on the ground, surrounded by lights.
34 INT. ABANDONED WAREHOUSE -- PORN SET -- CONTINUOUS
POV: BELINDA, STILL HAZY FROM THE DRUGS
Vincent sets the camera on a tripod and points it at the
mattress.
Zack forces Belinda forward and rips off her shirt,
revealing a tank top.
(CONTINUED)
CONTINUED: 16.
POV: THROUGH CAMERA
Belinda is pushed past the camera and onto the bed.
The RECORD button is pressed. Beyond the camera we see
several men walk towards the mattress, taking off their
shirts.
EXTREME CLOSE UP: CAMERA LENS
We peer into the camera lens as it records Belindas rape.
We see shadows and movement but nothing explicit. A RED
RECORD light flashes.
END FLASHBACK BY CUTTING TO:
35 INT. ABANDONED WAREHOUSE ROOM -- DAY
Vincent pulls out of the memory and continues ushering Dana
out of the room and into a hallway.
36 INT. ABANDONED WAREHOUSE HALLWAY -- CONTINUOUS
Dozens of young girls line the edges of the hallway, some
are bruised, clutching to cardboard beds and stained
pillows.
Dana is disgusted as she passes one after another. Some
girls look back at her but most do not. She passes a little
Mexican girl and we realize its Belinda.
Vince looks at the face of one girl in particular and
realizes she has seen her face before. Its ASHLEY.
FLASHBACK: ASHLEY IS ABDUCTED
37 EXT. PLAYGROUND -- DAY
We establish the scene as two sisters arrive. ASHLEY,
mid-teens, holding a smart phone, and her six-year-old
sister, NIKKI, holding a teddy bear. Nikki entrusts her
teddy bear to Ashleys care and runs off to play. Several
moms and nannies at various benches talk to each other while
watching their children play.
17.
38 EXT. PLAYGROUND -- ASHLEYS BENCH -- MOMENTS LATER
Ashley sits looking at her phone. Vincent strolls into the
park. Hes been here before and watched Ashley on prior
occasions. Ashley has sat herself away from the pack without
realizing it.
Vincent strides around the other side of Ashley and lightly,
almost playfully, plucks the phone out of her hand. He
pockets it as he sits next to her. Its a teasing gesture.
Anyone watching would think them friends or family.
ASHLEY
Hey!
Ashley reaches for the phone and then realizing she doesnt
know this man, pulls back a little.
Vincent slowly but intently looks at her to see if she will
react. Ashley does not yell or scream. Vincent checks off
another internal box.
She looks at him wide-eyed in an exasperated fashion.
ASHLEY (CONTD)
Hello? Do I know you?
When he doesnt answer, she looks for an adult in the
distance to go get assistance from.
He transitions from SITUATIONAL ASSESSMENT to INTIMIDATION.
She tries to get up, but he clamps a hand on her wrist. She
still makes no sound, but slowly tries to free her hand.
Vincent leans close to whisper...
VINCENT
I am taking you with me today.
Dont move. Dont make a sound. We
know Nikki. See?
Vincent shows her a picture of Nikki copied from her
Facebook page. She looks at it and then up at him in fright.
LONG SHOT: FROM A DISTANCE THROUGH THE PLAYGROUND.
Vincent sits close to her, but it appears familiar, not
overbearing. Vincent looks like he is sharing something on
his phone with her. He smiles. Ashleys expression is
frozen, but her natural inclination not to broadcast her
emotions works against her.
TWO-SHOT: BACK TO BENCH
(CONTINUED)
CONTINUED: 18.
VINCENT
(Smiling and looking away)
See how innocent she is. How...
unassuming.
39 EXT. PLAYGROUND -- SLIDE -- CONTINUOUS
Nikki plays at the base of a slide, chattering with another
girl.
40 EXT. PLAYGROUND -- ASHLEYS BENCH -- CONTINUOUS
Ashley looks back at Vincent, her eyebrows climbing, eyes
wide, frozen in fear.
VINCENT
Do as I say and nothing happens to
your sister. Simple as that.
He smiles at her to mask his intimidation from onlookers.
She looks at her sister playing, then back to Vincent and
nods.
VINCENT
Were getting up now. Stand up and
walk out of the park the way you
came.
He pops up, uncoiling like a snake. Ashley rises woodenly.
Vincent directs her from behind, obscuring her from other
peoples view.
41 EXT. BACK ALLEY -- CONTINUOUS
Vincent and Ashley turn the corner to find the white cargo
van, waiting for them. The moment she nears the rear, doors
swing open and, in an instance, Vincent pushes Ashley
inside.
42 INT. WHITE CARGO VAN -- CONTINUOUS
Ashley fights to get to the front door to escape when a
syringe is injected into her neck.
CUT TO BLACK:
FADE IN:
19.
43 INT. MOTEL ROOM -- NIGHT
Ashley slowly wakes to find herself gagged and tied down on
a bed, in a DARK MOTEL ROOM.
END FLASHBACK:
44 INT. ABANDONED WAREHOUSE HALLWAY -- DAY
Dana looks down at her as they pass and has another
flashback.
FLASHBACK: TEXT CONVERSATION
45 INT. DANAS ROOM -- DAY -- FLASHBACK
Dana sits on her bed, texting Vincent, who sends her an
Instagram picture of Ashley.
CUT OUT OF FLASHBACK:
46 INT. ABANDONED WAREHOUSE HALLWAY -- DAY
She look up at Vincent, realizing the man she knew is more
sinister than she could have ever imagined.
47 INT. ABANDONED WAREHOUSE -- COMPUTER AREA -- CONTINUOUS
Dana sees Zack at a desk, searching the Internet for young,
unassuming girls, to prey upon. She is overwhelmed.
The horrors of Vincents operation crash into Dana like a
flood. She turns and escapes out of the building as fast as
she can.
Zack begins to run after her but is halted by Vincent.
VINCENT
Wait. (beat) Let her go.
Zack shoots a look of confusion at Vincent, who stares
forward calmly, with a plan.
20.
48 EXT. ROAD -- MOMENTS LATER
Dana runs for her life back home.
49 EXT. DANAS HOUSE -- MOMENTS LATER
Dana arrives at the driveway of her house, but is unable to
continue forward. She looks up at her window, then thinks
about all she has been through in the past 24 hours. An
inner battle rages as she fights with the devil on her
shoulder.
VINCENT (V.O.)
You know you cant go back.
Dana turns to see Vincent standing behind her, looking up at
her house. She cries in despair and guilt. Vincent
approaches her slowly and gently.
VINCENT
(calmly)
We dont get to take back our sins.
Dana allows Vincent to embrace her.
VINCENT (CONTD)
But there are ways to ease our
pain.
Danas teary eyes rise to meet his, listening to his words
of comfort. Vincent peers into her eyes with false love.
VINCENT (CONTD)
Stay with me, Dana. I wont judge
you. You will be safe with me.
Dana has no other choice.
50 INT. WHITE CARGO VAN -- DAY
Dana sits with her head against the window of the van,
looking at simple, happy folks, on the street.
Vincent is watching the road but glances at her, silently
admiring his genius.
They pass a park filled with families and children, all
oblivious of Vincent and Dana, oblivious of her fate. Dana
shutters with envy. Vincent smirks with evil.
CUT TO TITLE: DONT LOOK AWAY