Blackout

BLACKOUT
by
Ed Dougherty
Based on the Novel by Gianluca Morozzi
Screen Story by Ed Dougherty and Valerio Morabito
Current Revision by Rigoberto Castañeda
Simon O'Leary
Vice President
Morabito Picture Company
(310) 801-2668
Simon@morabitopictureco.com
FADE IN:
1 INT. DARK PLACE - NIGHT 1

SILENCE. DARKNESS.
CLICK -
- A red light shines in the center of the screen.
MAN'S VOICE
(whispering)
There is no chance, no destiny, no
fate. There is only what you take
from the world and what the world
takes from you. You understand that
now, don't you, my darling?
Shapes move in the darkness. Bodies. Flashes of what seems

like an erotic scene -
- A WOMAN's porcelain white skin. The pores, the tiny hairs -
- Suddenly stand up as the skin runs wild with goosebumps.
(Credit with the image)
A white sheet hangs off the side of a bed. Long black hair
cascades down.
A woman's eye upside down. Her head gradually turns, revealing

the other eye as they flutter closed.
The sheet pulls back to reveal a beautiful lower back as -
- The woman's feet tense as she's wracked with what surely must
be waves of intense pleasure which travel - *
- Across the curves of the woman's silhouette until a glass jar,
spinning slowly, enters the frame.
The jar deforms the woman's silhouette as images speed by:

2.
Different parts of the woman's body. Video cameras. Lenses.

Buttons. DV cassettes. Internal camera machinery.
Some images are distorted by the jar. And each time we see the
jar, a quick glimpse -
- Of a green, unrecognizable animal. The images are merging

more and more now. A kaleidoscope on acid. A moment of calm
clarity slowly emerges -
- A dark drop of liquid falls from above, landing on the woman's

belly. (Credits come and go between the images)
The images slow. The animal in the jar is a lizard. But the
jar is not in the same place as the woman. An intense light
burns through the jar as -
2 EXT. BEACH - AFTERNOON 2

- Sunlight reflects off the glass. The light flares for a
moment, then reveals two lizards desperately trying to scale the
inside walls of the jar.
The distorted image of a YOUNG GIRL (8) watches the lizards

behind the glass as -
- The hot sun bleaches the scorching sand. A lizard skitters

across the blazing grains and comes to a stop. A tiny hand
SNATCHES it. A SMALL BOY opens the lid of the jar and drops the
squirming lizard inside.
The girl looks on. She edges past the boy's red bike as the boy
stares into the jar.
YOUNG GIRL
Catch me one.
3 EXT. BEACH-SIDE CAFE - AFTERNOON 3 *

Through the viewfinder of a video camera -
- A TOPLESS SUNBATHER in the distance applies tanning oil.
The camera ZOOMS - desperate for a peek.
YOUNG GIRL (O.S.)

Daddy, daddy, look.
Karl's voice is sweet - yet firm.

3.
KARL (O.S.) *
One second baby.
YOUNG GIRL (O.S.)

Daaaaaaddy!
The camera pans to the young girl -
- Who proudly displays a lizard. It lingers for about a

millisecond -
KARL (O.S.)
(fake enthusiasm)
It's a lizard!
- Then back to the sunbather. But she's laid down. Show's

over.
Karl lowers the camera. A creepy fire burns in his eyes.
KARL'S WIFE (O.S.)

Jesus! Not at the table! That's
positively repulsive!
Karl plasters a smile on his face. He turns -
- KARL'S WIFE, a woman who could make rabid feminists everywhere

use the word bitch, frowns at her DAUGHTER.
Karl's daughter is angelic -
YOUNG GIRL/KARL'S DAUGHTER

A lizard is natural. It can't be
repulsive. You don't think he's
repulsive, do you, daddy?
- And the way she looks at her father, she clearly thinks he is
too.
KARL
I've seen worse.
KARL'S WIFE
Karl, would you please tell your
daughter that lizards carry diseases?
KARL
Actually, reptiles are quite clean.
And they eat bugs and rodents that do
carry diseases. They're the
misunderstood superheroes of the
animal kingdom.
4.
KARL'S DAUGHTER
Seeeeee, Mom? A boy told me there's
ton more lizards up the shore! Can we
go, pleaaase?!
Karl's phone goes off. He peeks at it. A moment of tense

silence descends over the table.
KARL
The hospital.
(off her look)
I'm on all weekend.
Karl's wife sighs.
KARL
(off the surroundings)
This...
(off the phone)
...Comes with this.
Karl kisses his daughter as he leaves. She fakes a cough.
KARL'S DAUGHTER
Daddy, I have a cough. Maybe I should
come with you to the hospital. Could
be cancer.
KARL'S WIFE
Jesus, honey!
Karl grins as he cups his daughter's chin in his hand. He

couldn't seem any sweeter...
KARL
This looks like a terminal case of
cooties to me. Inform your stuffed
animals. They'll soon be orphans.
KARL'S WIFE
I'm going to take Nikki to the
bungalow tomorrow.
KARL
You haven't been there in months.
KARL'S WIFE
Exactly. It will be nice. The
fireworks at the shore. And there's a
ton of those clean and useful lizards
there.
5.
KARL
The place is a mess.
KARL'S WIFE
Give me your keys.
KARL
I need to clean it.
KARL'S WIFE
Well we won't be able to get there
until at least five tomorrow. You'll
have plenty of time.
(extends her hand)
I trust we won't be seeing you before
then. You can use your spare set.
KARL
I left them in the downtown apartment.
KARL'S DAUGHTER
The boy said they've got yellow-
freckled lizards down there! Yellow- *
freckled!
Karl's wife clears her throat, her hand still extended and
waiting for the keys. Karl hands them over.
KARL
I'll run over there and grab them.
Make the place shine.
KARL'S WIFE
Oh Karl, that's really not...
KARL
No. I want it to be perfect for you.
Karl goes to pat his daughter on the head, then sees that he's
gripped his hand so tight that he's drawn blood. He kisses her
on the forehead.
KARL
Bye honey.
Karl heads off. He freezes when his wife clears her throat.
KARL
Oh, sorry.
Karl walks over and kisses his wife goodbye. But that's not
what she meant. She looks down at the check.
6.
Karl pulls out a wad of money and hands her a few bills.
His wife catches a whiff of him.
KARL'S WIFE
You're not smoking again, are you?
KARL
Only crack, darling. Only crack.
4 EXT. CAUSEWAY - AFTERNOON 4 *

Karl's car motors down a causeway as it crosses the blue waters
of the bay.
5 INT. KARL'S CAR - AFTERNOON 5 *

The clock on the dashboard reads:
5:58
Karl turns off the causeway into thick holiday traffic and
drives past a sign pointing to HOSPITAL.
6 INT. HOSPITAL - AFTERNOON 6

Sterile white. Silent and empty.
A clock on the wall ticks:
5:59
At the end of an empty hallway - a big double door. A sign

points in different directions for Intensive Care, Cardiology,
Trauma, etc. The doors BURST open. A PRETTY GIRL strides
through, trying her best to fight back tears.
6A This is CLAUDIA (20s). Blood peppers her clothing. 6A
7 EXT. HOSPITAL - AFTERNOON 7

Through the windows of the building we see Claudia hustle by.
She slows, trying to catch her breath. She grabs an inhaler
from her bag and breathes deeply.
A bus pulls to a stop. Claudia jogs toward it and rushes to get

inside.
7.
8 INT. PUBLIC BUS - AFTERNOON 8

Claudia rides the packed public bus. Just about every guy on
there would like to ask her what's wrong, but her eyes stay
glued on the window. Outside -
9 INT. GIRL'S ROOM - AFTERNOON 9

- A young man, TOMMY (18) pulls on a punk band t-shirt and
slides into torn jeans. A blood-stained bandage covers his
right hand.
Tommy's not exactly strapping - but not small either. His eyes
burn with an intensity that could put a chill down your spine.
On the bed sleeps a GIRL (17). We can see only her long black
hair and her pale back, which is covered with scratches and
bruises.
On the side table - a wad of cash.
10 EXT. HOUSE - AFTERNOON 10

Tommy rushes out the back door and jumps on a motorcycle.
11 INT. KARL'S CAR - AFTERNOON 11

Karl steers the car into a parking spot across from -
12 EXT. BIFROST BRIDGE BUILDING - AFTERNOON 12

- An old apartment building being renovated, with scaffolding
still covering some areas, rises twelve stories into the air. *
Karl takes out his keys. A HOMELESS MAN grabs the door for him.
HOMELESS MAN
Let me get that for you, boss.
KARL
(checking his pockets)
Oh, I don't have change for you right
now.
HOMELESS MAN
No problem, Karl. I'll just put it on
your tab.
Karl pauses and looks at the man's face.

8.
KARL
You've been taking that medicine I
gave you, right?
HOMELESS MAN
Sure have.
KARL
Because it will only get worse if you
don't.
HOMELESS MAN
All right, all right. Keep your pants
on, Doc.
KARL
Shouldn't be a problem with you
around, my friend.
The homeless man laughs and beckons Karl inside.
13 EXT. BUS STOP - AFTERNOON 13

Claudia steps off the bus.
14 INT. LOBBY - BIFROST BRIDGE BUILDING - AFTERNOON 14

Karl pushes the elevator "UP" button.
Floor numbers count down: 5, 4, 3, 2...
Inside, the sound of old machinery GRINDING to a halt and -
- DING.
The doors open. Three OLD WOMEN step out, followed by a

MAINTENANCE MAN. These are the MOIRAE SISTERS (CHLOE, LANA and
ALYSON). One of them carries a basket overflowing with yarn,
another carries a screeching cat in a "port-a-pet". The
maintenance man lugs their suitcases behind them.
KARL
Getting away for the fourth of July,
Miss Moirae?
CHLOE MOIRAE
Moving us out again!
LANA MOIRAE
Unit's ready, unit's not ready. This
building...
9.
ALYSON MOIRAE
...They're never gonna move anyone
else in if they keep this up!
Chloe steps through the lobby and falls over a child's red bike.
Karl catches her. She looks up into his eyes adoringly as her
sisters look on with jealousy - Karl is clearly the heartthrob
of this building.
Chloe makes no move to escape Karl's arms.
CHLOE MOIRAE
My hero.
KARL
Anytime, darlin'.
Karl puts Chloe back on her feet and holds the door open as the
old women file out.
KARL
You girls keep out of the heat.
Claudia storms past them and strides into the lobby. Karl gives
her a look as a motorcycle SPUTTERS to a stop outside.

Tommy parks his motorcycle as the cab with the Moirae sisters
pulls away. The maintenance man regards Tommy with suspicion as
the boy heads inside.

The elevator has risen up into the building since Karl last
called it. Claudia presses the illuminated elevator button
again and again.
KARL
You one of those people?
CLAUDIA
Today I am.

Tommy hustles toward the doors.
HOMELESS MAN
Got any change?
10.
TOMMY
Get a job, dude.
HOMELESS MAN
You first.

As the elevator descends, the gears GRIND and WAIL.
CLAUDIA
That's comforting.
KARL
You won't sound so hot when you're 80
years old either.
(checking her out, to
himself)
But I could be wrong...
The elevator doors DING open.
Karl and Claudia step onto the elevator.
19 INT. ELEVATOR - AFTERNOON 19

The doors begin to close -
- When a hand with the stained bandage shoots between the gap. *
The doors open again and Tommy shuffles aboard.
KARL
You know, they don't always open.
I've seen some nasty accidents.
TOMMY
I'll keep that in mind.
The doors close. Tommy presses number 10.
KARL
(to Claudia)
Which floor?
CLAUDIA
Eleven please.
Tommy makes no move to press Claudia's button, even though he's

right there. Karl squeezes past him and presses 11 and 12.
11.
20 INT. ELEVATOR SHAFT - AFTERNOON 20

Pulleys GROAN as -
- Steel cables WAIL and -
- The elevator STARTS TO RISE.
21 INT. ELEVATOR - AFTERNOON 21 *

Karl, Claudia and Tommy fidget, in their own worlds as the
elevator rises. But -
- The elevator JOLTS to a stop and -
- The lights FLICKER and -
- EVERYTHING GOES BLACK.
22 TITLE: 22
6:26
23 INT. ELEVATOR - AFTERNOON 23 *

DARKNESS. SILENCE.
The emergency lights BUZZ on.
Karl, Claudia and Tommy try their best to act casual.
KARL
(to Tommy)
OK, what did you hit kid?
TOMMY
I didn't do anything!
KARL
Just a joke. We'll be up and running
any second now.
(beat)
Any second now...
Everyone stares intently at the floor display -
- No movement, NOTHING.
12.
CLAUDIA
Told you it didn't sound good.
Claudia presses her floor repeatedly -
- But the button panel won't illuminate.
Claudia presses the ALARM -
- SILENCE.
TOMMY
Could be a silent alarm.
KARL
We're not in a bank.
Claudia pulls her cell from her purse. A sign above the button
panel reads 24-Hour Emergency Service Available. She dials the
number listed there, but her phone screen reads -
- SEARCHING FOR NETWORK.
Karl takes out his camera phone. He sighs as the phone searches
for a signal.
KARL
I probably shouldn't use any more
minutes anyway.
Claudia forces a smile. Karl grins.
TOMMY
Yeah this is really hilarious.
KARL
Lighten up, kid.
TOMMY
I've got somewhere to be!
KARL
I don't. I was actually hoping this
would happen. Jesus, my life is empty.
Claudia manages to laugh despite herself. Tommy scowls.
Karl SNAPS a photo of Tommy with his camera.
KARL
I've just captured the perfect image
of angst.
13.
TOMMY
Man...you better erase that picture!
KARL
Why?
TOMMY
Just do it, all right!
Karl shrugs and erases the picture.
CLAUDIA
It will just be a minute, OK? At
least we'll have a story to tell
later, right?
Tommy eases up a bit. Karl leans back calmly. Claudia stares at

the darkened button panel. *
CLAUDIA
Just a minute or two.
ABUELA (O.S.)
(thick Spanish accent)
Claudia? Claudia?
24 INT. CLAUDIA'S APARTMENT - AFTERNOON - FLASHBACK 24

Claudia's grandmother, ABUELA, reads the newspaper as her free
hand searches for something on a cluttered table.
ABUELA
Where'd you put them?
CLAUDIA
Put what?
ABUELA
Don't be coy with me. They were right
here! I don't go around hiding your
asthma inhaler!
CLAUDIA
My inhaler isn't going to kill me.
Pots CLANG as Claudia prepares lunch.
ABUELA
Fifty years from now, who knows?
Maybe that gives you cancer too! These
scientists...
14.
Claudia places a plate of pasta in front of grandmother.
ABUELA
Aren't you joining me?
CLAUDIA
I've got a to-do list a mile long. I
shouldn't have even gone to bed last
night.
ABUELA
Claudia! Life is for living!
CLAUDIA
That's what I'm trying to do! I just
need to work some things out first!
ABUELA
You know how to make God laugh?
CLAUDIA
(to herself)
Tell him your plans.
ABUELA
TELL HIM YOUR PLANS!
Abuela LAUGHS. Claudia heads for the door.
CLAUDIA
I'll keep them to myself, OK?
ABUELA
(re: her outfit)
You're going out like that?
CLAUDIA
Sorry, my Haz-Mat suit is at the
cleaners.
ABUELA
I want more skin, not less! We live on
the beach. What are you, a nun?
CLAUDIA
Yes. I'm a nun, Abuela.
ABUELA
I was your age, I'd set this town on
fire. The men wouldn't know what hit
them. Let's go to the beach. Check out
the hotties.
15.
CLAUDIA
Midterms start next week.
ABUELA
Listen, I love you. So don't take this
the wrong way - but you're starting to
suck. You don't break, you bend.
CLAUDIA
It's: if you don't bend, you'll break.
ABUELA
No, it's not. You don't start taking
breaks and breathe, you'll twist into
someone really, really horrible...
(her face wrinkles in
disgust)
...And the men will...
(motions "poof/disappear")
...The thought...it's too much for an
old woman to bear.
Claudia smiles in spite of herself. She really loves this woman.
CLAUDIA
OK. We'll go to the beach. Just for a
little while.
ABUELA
I'll need my smokes.
CLAUDIA
Don't push it.
Abuela follows Claudia out of the kitchen. Without even pausing,

she whips open the carton of eggs on the counter and sees her
cigarettes. She pockets them behind Claudia's back.
25 EXT. BIFROST BRIDGE - AFTERNOON - FLASHBACK 25

Claudia and Abuela stride into the sunshine. Claudia wears the
outfit we saw her in earlier as she trails behind Abuela and
searches through her purse.
HOMELESS MAN
Hey, pretty ladies!
The boy (who caught lizards earlier) ZIPS by on his red bike -
- Almost HITS Claudia and -

16.
HOMELESS MAN
Not on the sidewalk, kid!
- ROCKETS past Abuela and into the street where -
- A CAR HEADS STRAIGHT FOR HIM.
SCREEEEEEEECH -
- THUD! *
Claudia looks up from her purse, inhaler in hand. HER EYES
WIDEN...
...Abuela, bloody and motionless, lays beneath the bumper of an

SUV.
Claudia cradles her grandmother in her arms. A tear streaks down

her face -
26 INT. ELEVATOR - NIGHT 26 *

- And becomes a droplet of sweat.
Claudia, Karl and Tommy sweat like pigs. And it's only getting
HOTTER.
- Karl looks at the sign below the floor button panel. *

KARL
(reading)
Keep calm. You are not in danger...
TOMMY
We've gone over this dude.
Tommy takes something out of his pocket.
KARL
In most cases, the elevator mechanic
will arrive in thirty minutes...
TOMMY
(off his watch)
One hour 38 minutes and counting.
KARL
Report any elevator malfunction to
management, blah blah blah.
Claudia stares at the closed doors.

17.
CLAUDIA
Maybe we're at floor level.
KARL
(following her gaze)
Worth a shot.
Karl and Claudia grab the doors from either side and pull -
- But their hands are too sweaty to get a grip on the steel.
Karl shoots a glance at Tommy -
- Who plays with a small knife. *

KARL
Can you give us a hand?
TOMMY
My hands are sweaty too, man!
KARL
(off the knife)
Maybe you'll let me see that?
Tommy throws Karl the knife without even closing it. Karl glares
at him but shakes it off.
KARL
You always carry this around, kid?
TOMMY
Lot of dangerous people out there.
Karl wedges the blade between the doors and pries them apart
ever so slightly. Claudia grabs hold. Karl grabs hold. They give
it their all -
- As Tommy looks on, not helping -
- And the doors GROAN open revealing -
- A CONCRETE WALL.
KARL
Shit.
Claudia sticks her face into the opening.
CLAUDIA
HELP!
18.
KARL
ANYBODY? WE'RE IN HERE!
CLAUDIA
HELLO?!
27 INT. ELEVATOR SHAFT - NIGHT 27 *

Claudia's scream ECHOES down the dark shaft -
28 INT. BIFROST BRIDGE BUILDING - NIGHT 28 *

- REVERBERATES down an empty hallway -
29 EXT. BIFROST BRIDGE BUILDING - NIGHT 29

- But dies before it gets outside where -
- Streetlights buzz -
- PEDESTRIANS chat -
- And cars ZOOM by, oblivious.

Claudia and Karl jump back as the elevator doors CLANG closed.
KARL
Someone probably heard us.
TOMMY
The building's empty, man. Even the
freaking Golden Girls are away.
CLAUDIA
Who else has moved in here already?
There's that couple...don't they have
a baby? People don't go on vacations
with babies.
TOMMY
Oh really? You been on a plane lately?
CLAUDIA
You don't have to be a jerk! We're all
in this together.
19.
TOMMY
So I can't disagree with you? What a
fascist...
KARL
Let's calm down, OK?
TOMMY
With this heat wave, every air
conditioner in the city running...
probably a blackout.
CLAUDIA
Then the power should be back on soon.
TOMMY
That one a few years ago lasted almost
two days. Somebody died in a stalled
elevator.
CLAUDIA
Someone died?
KARL
(trying to restore calm)
It's not a blackout. How do you
explain the emergency lights?
TOMMY
Back-up generator, genius.
KARL
My hospital has a back-up generator.
Banks have back-up generators.
CLAUDIA
But if the elevator's just broken...
TOMMY
How many units have been rented?
CLAUDIA
Building's half-finished.
KARL
I think five?
CLAUDIA
Three here. You live with your
parents, right?
TOMMY
I think it's Aruba this week.
20.
CLAUDIA
OK, the Moirae sisters makes four. *
TOMMY
And that couple. Who are with
relatives while they redo their
plumbing. Baby in tow. I'm supposed
to feed their beagle.
KARL
That makes five.
Tommy rocks back and forth, head buried in his knees.
TOMMY
It could be a while. Jesus...
31 INT. GIRL'S ROOM - NIGHT 31

Tommy and FRANCESCA (16), a pretty young woman with black hair
and pale skin, hold each other beneath the covers as they lay
sprawled out in bed. Tommy smokes a joint as Francesca holds
him tenderly.
Tommy motions for Francesca to hit the joint. Francesca waves

it off.
FRANCESCA
(jokingly earnest)
It's a gateway drug.
TOMMY
Well, you gotta start somewhere.
Francesca chuckles, then gets quiet. Something's on her mind.
FRANCESCA
Tommy. I wanted to ask you...
TOMMY
Uh-oh.
FRANCESCA
...Someone told Olivian at school that
last year you were banging Evie.
Among others.
TOMMY
Among others?
21.
FRANCESCA
And I know I didn't know you then, and
I know I shouldn't care. But...
Francesca shakes her head.
FRANCESCA
...Nevermind.
TOMMY
Come on. Tell me.
FRANCESCA
Sometimes I just worry that you do
this with everyone...that your
promises and the things you say...I
don't think it's an act but -
TOMMY
Look. Evie was a drunk thing. Once.
At a party. I don't even remember
what her beautiful, round, supple
breasts look like...
Francesca slaps Tommy playfully.
TOMMY
But seriously...how could you worry?
You're pretty much the only right
choice I've ever made in my life. You
know I love -
Downstairs, the sound of a door SLAMMING. Francesca clamps her

hand over a confused Tommy's mouth.
TOMMY
(muffled)
What's wrong?
FRANCESCA
SHHHHH!
The sound of someone THUMPING around.
FRANCESCA'S FATHER (O.S.)

(drunk)
FRANCESCA!??!
FRANCESCA
(off the alarm clock)
Fuck. It's early. He must have lost.
He must have lost bad.
22.
Francesca springs out of bed. She throws her clothes on and

throws Tommy's clothes at him.
TOMMY
Lost at what?
FRANCESCA
At cards! Get dressed!
TOMMY
You never told me your father gambles.
FRANCESCA
Doesn't everybody?
(off Tommy's pants)
Put them on!
FRANCESCA'S FATHER
FRANCESCA?! WHERE ARE YOU?!
TOMMY
Is he...I mean...are you going to be
OK?
Francesca doesn't respond. She throws the window open,

desperately waving pot smoke outside. She's frantic.
TOMMY
You told me your father was an
accountant. You said he never drinks.
FRANCESCA
Well, he's not and he does. I'll tell
you the rest of the gory details later
but right now you need to get out.
TOMMY
Does he hit you?
Francesca looks at Tommy for a long moment.
FRANCESCA
Never. But he'll hit you if he finds
you here. I'm the only one who can
calm him down when he loses. He can't
stay mad when his little girl's
around.
FRANCESCA'S FATHER (O.S.)

Francesca!?!
Tommy's not budging.

23.
TOMMY
I'm not going anywhere until I know
you're going to be OK.
Francesca smiles, desperate to calm him down.
FRANCESCA
He's all bark and no bite. A big
softie, really - kinda like you.
TOMMY
So you're going to be -
Francesca hears footsteps come to a stop in front of her door

and shuts Tommy up with a kiss. She motions for him to leave.
Tommy takes a long look at Francesca. She stares back at him

with all the love in the world.
Tommy climbs out the window.
32 EXT. HOUSE - NIGHT 32

Tommy jumps to the ground and walks to his bike - but he can't
ride off. He walks back to beneath Francesca's window.
From the window, sounds that break Tommy's heart -
- Francesca SCREAMING, things SMASHING, and finally Francesca

SOBBING.
FRANCESCA
(whimpering)
I'm sorry...I'm sorry...I'm sorry...
Tommy SLAMS his fist into the side of the house, AGAIN and
AGAIN, until blood flows down between his fingers.
33 INT. ELEVATOR - NIGHT 33

Tommy springs to his feet -
- And ATTACKS the door. FREAKING OUT...
TOMMY
I NEED TO GET OUT OF HERE!
CLAUDIA
We all do!
24.
KARL
Calm down!
TOMMY
HELP!
Tommy BANGS on the steel doors: CLANG CLANG CLANG.
TOMMY
HELP ME!!!
Karl puts his hand on Tommy's shoulder.
KARL
Listen -
TOMMY
GET OFF OF ME!
Tommy knocks Karl's hand away but -
- Karl SLUGS him and -
- Sends Tommy toppling to the floor.
Karl shoots Claudia a glance. She gives him a sign with her
eyes: "You did the right thing".
Tommy wipes blood from his lips.
TOMMY
You fucking asshole!
KARL
I'm really sorry. OK. Jesus. Let me
get a look at that.
Tommy slaps Karl's hand away.
KARL
Please.
Karl grabs Tommy's face. Turns it back and forth as he did his
daughter's.
KARL
Keep pressure on the lip. Without ice
it's going to swell.
TOMMY
GET AWAY FROM ME MAN!
25.
CLAUDIA
Can you please stop yelling?
TOMMY
Don't tell me what to do!
CLAUDIA
Calm down. Please.
TOMMY
I've got somewhere I gotta be. If this
gets screwed up -
CLAUDIA
We all do, OK? Look...
Claudia inhales deeply.
CLAUDIA
...The air's getting thin. We need to
relax and think logically. OK?
Tommy paces silently. Still frantic but a bit more under

control.
KARL
Let me get that knife.
Karl and Claudia pull the elevator doors open. Karl props the
knife between the two doors and creates a little ventilation.
Claudia inhales deeply.
KARL
The mountains, it ain't. But it's not
bad.
Tommy stares up at the ceiling of the elevator, his eyes -
- FOCUSED ON AN ESCAPE HATCH.
Karl and Claudia lean against the elevator wall, oblivious to

Tommy's growing plan.
CLAUDIA
So you got a family?
KARL
I've got a daughter, yes. She's eight.
CLAUDIA
I don't think I've ever seen her here.
26.
KARL
We have a house outside the city. I
bought this apartment for days I work
late at the hospital.
CLAUDIA
You have a wife?
KARL
She's uh...she's dead, unfortunately.
34 INT. THE NILE BAR - NIGHT - FLASHBACK 34

A PRETTY WOMAN's (early 30's), black hair, pale skin. Her eyes *
widen as Karl nonchalantly sips his drink. All around them,
young attractive PEOPLE partying.
PRETTY WOMAN
I am so sorry!
KARL
It was a long time ago. Hard for a
while. Hard for a long time. But when
I look at my daughter now ...well...I
still see a part of my wife in her.
She's never really gone. *
(beat)
Sometimes my little girl will pull me
aside and say, "find a girlfriend,
Daddy. Mommy would want you to be
happy".
The Pretty Woman's heart practically melts. Karl motions to a

bachelorette party in full swing.
KARL
Your friends are probably missing you.
And here I am, talking your ear off.
PRETTY WOMAN
Nah, it's OK. I left that sort of
thing behind a while ago. Got sick of
waking up in an embarrassing story.
KARL
I know what you mean.
PRETTY WOMAN
Besides I'm getting a little old. It's
not really a trip to the bathroom
unless I see a new wrinkle in the
mirror.
27.
KARL
Oh, come on.
Karl cups the Pretty Woman's chin in his hand.
KARL
Let me get a look at you. I am a
doctor, after all.
(examining her)
You look good to me. I'd estimate your
age to be...
PRETTY WOMAN
Be careful...
KARL
Minor laugh lines...hint of crow's
feet...
PRETTY WOMAN
Hey!
KARL
Yeah I'd say you're about...14 years
old.
The Pretty Woman LAUGHS. She looks down at her empty drink and
fingers the straw.
PRETTY WOMAN
I think I can handle one more.
Karl flags down the bartender.
THE GLASS FILLS WITH LIQUOR.
LATER
The Pretty Woman raises a drink to her lips. She's lost in the
kind of drunk contemplativeness that makes one cringe the next
morning.
PRETTY WOMAN
Maybe I'm just destined to be a drunk.
I don't know...I'd like to think I'm
meant for higher things though, you
know? Higher...things...
Karl is cold sober. He smiles. The pretty woman smiles back.

28.
PRETTY WOMAN
It's so nice to finally hang out with
a guy and not have to worry
about...you know.
Karl studies her face. Unsure what this really means. He goes
fishing...
KARL
Yeah, I don't think there's physical
chemistry between us. But we just
might end up being best friends.
The Pretty Woman's face falls ever so slightly. Disappointed.

Karl grins...he's got her.
35 EXT. THE NILE BAR - NIGHT 35

Karl leads the woman toward his car. She staggers and weaves -
beyond drunk. Karl smiles sheepishly.
KARL
You sure you're up for this?
PRETTY WOMAN
Yeaaaaah...
Karl casts a glance over his shoulder. No one in the parking lot
seems to take any notice of them.

Tommy pushes the escape hatch open as -
- Karl holds his legs, hoisting him up there and -
- Claudia looks on, nervous.
Tommy grabs hold of the ceiling -
37 TITLE: 37
11:02 PM

- And pulls himself on top of the elevator.
29.
The gears and pulleys sit covered in rust and decay. Tommy looks
up -
- A set of doors leading to the next floor linger about eleven

feet up.

Karl yells up through the open hatch.
KARL
You need help up there?
TOMMY (O.S.)
I can handle it! I can reach. We're
going to be OK!
CLAUDIA
Thank God.
40 INT. ON TOP OF THE ELEVATOR - NIGHT 40

TOMMY
(whispering)
Everything's going to be OK...
Tommy tries to climb up the side of the shaft -
- But can't find any hand-holds. He checks the pipes running

along the wall, but they seem too weak to support him.
TOMMY
Shit.

Karl and Claudia lean against the wall, waiting.
KARL
Sorry about before. When I hit him.
CLAUDIA
He was freaking out. You had to do
something.
KARL
I was afraid it upset you.
CLAUDIA
I'm fine. He seems to be over it.
30.
Karl's eyes linger on Claudia a little too long.
CLAUDIA
I just need to get out of here soon.
Something I have to do.
KARL
Me too.
CLAUDIA
Something with your kid?
KARL
More like for my kid. She's getting
dropped off tomorrow at this bungalow *
I have. I really need to clean it up.
She wouldn't like what she'd find. I
mean...I usually use the bungalow
for...alone time.

Tommy takes off his shirt. He rips it in two and wraps up his
hands. He grabs onto the rusty cables and begins to climb.

Karl shakes his head - imagining the thought.
CLAUDIA
What is it? Porn?
KARL
What kind of guy do I look like?
(beat)
Yes. Porn.

Tommy hangs onto the cable with one hand, reaches for the set of
doors with the other. His fingers -
- Almost touch but -
- He's millimeters away and -
- HE STRETCHES HIS BODY TO THE LIMIT. His fingers reach the

door. His face lights up but -
- TEAR -
31.
- The piece of shirt RIPS as he loses his grip on the cable.
Tommy falls -
- He lands on one of the pulleys with a CRACK. Blood SPLATTERS

as the bone shoots out of his leg. But that's the least of his
problems -
- Because the ancient pulley GIVES -

- AND THE ELEVATOR DROPS.
Claudia SCREAMS. She stumbles into Karl's arms. Karl looks up

into the hatch as the shaft RUSHES BY.
46 INT. ELEVATOR SHAFT - NIGHT 46

Tommy holds on for dear life. Over the rush of the elevator -
- CLICK CLICK CLACK -
- AS THE EMERGENCY BRAKES, TWO IRON HOOKS ON EITHER SIDE OF THE

ELEVATOR, EXTEND.
The hooks catch on the side of the elevator shaft and -

- The elevator SHAKES as it comes to an uneasy stop.
CLAUDIA
Thank god, thank god, thank god.
KARL
WHAT THE HELL DID YOU DO UP THERE?
48 INT. ELEVATOR SHAFT - NIGHT 48

Tommy drags himself to the escape hatch. He looks down at his
leg -
- Which is a bloody mess.
TOMMY
AAAAARGH!!!
Tommy rolls on the top of the elevator in pain.

32.
The elevator VIBRATES and Tommy notices that -
- the hooks QUIVER - BARELY ABLE TO HOLD THE ELEVATOR UP.
Tommy moves as lightly as he can through the pain. He lowers

himself through the hatch -

- Claudia helps him to the floor. When he lands, Tommy casts a
nervous glance up at the ceiling. Karl sees this.
KARL
That bad, huh?
TOMMY
My leg...shit...my leg...
KARL
What did you do up there?
Claudia helps Tommy sit down. She pulls up his jeans and sees
the bone jutting out of his leg.
Tommy SCREAMS.
CLAUDIA
Help me, Karl!
Karl just glares at Tommy. Then the ceiling. Then his watch.
CLAUDIA
PLEASE!
Karl hesitates a moment and then kneels beside Tommy.
Karl squeezes Tommy's leg. Tommy SCREAMS.
Karl almost smiles - just a little.
KARL
It's definitely broken.
TOMMY
NO SHIT ASSHOLE!
Karl runs his hands over Tommy's leg.
KARL
Grab the knife.
33.
Claudia pulls the knife out from between the elevator doors.
They SLAM shut. Claudia hands the knife to Karl.
Karl cuts the bottom of Tommy's jeans off and ties a tourniquet
KARL
Not much I can do for a compound
fracture in here except to stop the
bleeding.
CLAUDIA
Is he going to be OK?
KARL
If we get out of here soon, yes. We
don't...
TOMMY
I don't wanna lose my leg!
KARL
That's a long way's off but...
TOMMY
ARGH!!!!
KARL
We can do something about the pain.
Karl pulls a package of painkillers from his briefcase.
Claudia pulls a water bottle from her bag. The sight of it

freezes Karl in his tracks.
KARL
You could have mentioned that water
sooner.
CLAUDIA
Sorry.
KARL
(off the pills)
For the pain, Tommy.
Claudia hands Tommy the water bottle.
CLAUDIA
Just a little.
(off Karl's look)
Just in case we need it later.
34.
A distorted, gravely voice comes out of a SPEAKER at the button

panel.
SPEAKER
We...ency...calm...soon.
Karl and Claudia wheel around. Even Tommy, in as much pain as

he's in, looks over.
CLAUDIA
What did he say?
Claudia rushes over to the speaker.
CLAUDIA
Hello? Hello! We need medical
attention in here!
KARL
I think it only works one way.
CLAUDIA
(oblivious)
WE NEED HELP!
SPEAKER
Stay calm...someone...
Claudia presses her ear against the speaker.
SPEAKER
Be the... soon. *
CLAUDIA
Thank God.
KARL
Make it quick!
SPEAKER
We know of your emergency. Please stay
calm. Someone will be there soon.
Relief washes over Claudia's face. She puts her hand on Tommy's
shoulder, rubs it: "we're going to get through this".
KARL
More than enough time to clean up the
ol' bungalow...
Claudia smiles.
35.
CLAUDIA
Perv.
Karl stares at the doors.
KARL
Any second now...
CLAUDIA
How do you think they'll pull us out
of here? The elevator's messed up.
KARL
Let them worry about the logistics. I
just wanna get out of here.
SPEAKER
A horrible realization spreads across everyone's faces.
SPEAKER
IT'S A RECORDING.

The street is silent. Pedestrians have been replaced by
HOMELESS PEOPLE pushing RATTLING shopping carts. A taxi cab
ZOOMS by.
The building sits serenely - betraying no sign of the crisis

inside.
TITLE:
11:18
Francesca hustles down the sidewalk, heavy make-up trying to *

cover a bruise on her cheek. She pulls her cell phone out of *
her bag and dials. The name on the phone -
- TOMMY.
51 INT. TOMMY'S APARTMENT - NIGHT 51

A phone RINGS in a darkened apartment.
36.

Francesca STORMS through the front doors.
53 INT. HALLWAY - BIFROST BRIDGE BUILDING - NIGHT 53

Francesca pushes the elevator button. It won't light up.
Francesca heads for the stairs.

It's as hot as ever in the elevator. Soaked clothes cling to
bodies, matted hair rains sweat down faces.
Claudia holds the water bottle as Tommy drinks. Karl winces as

water cascades down Tommy's chin.
KARL
We need to think about rationing the
water.
CLAUDIA
He needs it!
KARL
He'll need it in six hours too. And
we'll need it in six hours. We weren't
the ones who tried to play superhero.
Claudia lets Tommy take another long drink, deliberately irking

Karl.
CLAUDIA
We won't be in here much longer.
Karl checks his watch, then stares down Claudia.
KARL
We better not be.
TOMMY
What time is it?
KARL
11:20.
TOMMY
No...
37.
Tommy lets out a muted sob.
TOMMY
I'm late...I'm late...
KARL
We all are, kid.
TOMMY
...Francesca...
55 INT. TOMMY'S APARTMENT - AFTERNOON 55

Tommy steps inside his apartment. His cell rings: Francesca.
TOMMY
Why didn't you tell me?
Only the sound of CRYING responds.
TOMMY
I'm gonna kill that bastard.
FRANCESCA
That won't help me.
TOMMY
Then what can I do? Ask me anything.
FRANCESCA
I don't want to be alone right now.
TOMMY
On my way.
Tommy heads out -

- And jumps onto his motorcycle.
Tommy ROARS off.
57 EXT. FRANCESCA'S HOUSE - AFTERNOON 57

Tommy's motorcycle SPUTTERS dead. He storms through the back
door. As he does, we can see a boy's shadow on the door behind
him, watching...
38.
58 INT. FRANCESCA'S BEDROOM - AFTERNOON 58

Francesca sleeps - sprawled out in her bed. Dry tears streak
her beautiful face. Bruises and dried blood cover her body.
Tommy's devastated. He caresses her.
Francesca begins to cry the moment she's touched.
FRANCESCA
I can't take this anymore.
Francesca searches for the right word, but nothing comes. Tommy
hugs her. His eyes red with angry tears. Francesca sobs more
freely now.
FRANCESCA
What am I going to do? What can I do?
Tommy holds her close. Now he can't contain the tears either.
Through the window he watches a red balloon, hovering not far
outside the window. Suddenly the balloon rises, as if someone
let go of the string.
The balloon flies higher and higher. Tommy can't help but watch
- the image is almost hypnotic.
Unexpectedly a plane comes out from behind the balloon - like

the aircraft appeared magically from within the red oval.
Tommy's expression changes. A bit of hope intrudes. He turns

to Francesca.
TOMMY
Let's run away.
Francesca, racked by tears, can't even respond.
TOMMY
You said you wanted to visit Paris
someday. How about tonight?
FRANCESCA
That's crazy.
TOMMY
What's crazy is staying here with him.
FRANCESCA
We don't have the money for that.
39.
TOMMY
My father does. And I know where he
keeps it. Do you have anything we can
pawn?
FRANCESCA
My ipod...but it's pretty much broken,
some clothes maybe. My father...
(beat)
...Nevermind. He'd kill me.
TOMMY
Tell me.
FRANCESCA
He's always got some money scattered
around the house for betting. I found
a wad of cash yesterday.
TOMMY
Take it. He owes you.
FRANCESCA
When he sees it's missing -
TOMMY
- We'll be at the airport.
FRANCESCA
Tonight?
Tommy takes Francesca's hand.
TOMMY
Tonight. Nothing is going to happen
to you. I promise.
(beat)
We were born into these lives
Francesca. We didn't have any choice.
It's time to start over and do it for
ourselves.
Francesca hugs him tenderly. Hope in her eyes.
Through the window, the balloon is almost invisible, until it

fades with the sun, brilliant and powerful...
LATER
Tommy and Francesca sleep in bed, in their underwear. The blood

and scars on Francesca's body have been tended to.
Tommy wakes up and nervously fumbles for the bedside clock.

40.
5:52
Next to the clock, the money. Tommy dresses and tries to wake
Francesca. She's too sleepy. Tommy whispers in her ear.
TOMMY
I'm going to get my stuff and the rest
of the money. I'll be back soon.
Francesca smiles as she drifts off back to sleep.
Tommy throws clothes on as WE START TO FIND OURSELVES BACK IN

TOMMY'S FIRST SCENE.
THUD THUD THUD. The sound carries us to the next scene as -
INT. STAIRWELL - BIFROST BRIDGE BUILDING - NIGHT
- Francesca climbs the stairs. THUD THUD THUD. The stairwell

is narrow and creepy. The stairs CREAK beneath Francesca's feet.

Karl removes a pack of cigarettes from his pocket as Tommy dozes
off. Claudia's eyes widen.
CLAUDIA
No way.
KARL
Excuse me?
CLAUDIA
I have asthma. Please don't.
Karl motions to the elevator doors, which have been propped open
again with Tommy's pocket knife.
KARL
I'll blow my smoke out the opening.
CLAUDIA
I'm sorry.
KARL
It's been a long time, lady. I don't
know if you've ever had an
addiction...
41.
CLAUDIA
I don't know if you've ever felt your
throat close up on you.
KARL
You have your inhaler?
Claudia pulls her inhaler out of her bag.
KARL
You'll be fine. I'm a doctor,
remember.
Karl lights up and walks over to the doors.
He blows smoke out of the tiny opening.

Francesca KNOCKS and KNOCKS on Tommy's door.
No response.
Tears stream down her face.
FRANCESCA
Thanks a lot, asshole.
Francesca walks off but -
- She freezes when she hears -
- VOICES.

Claudia paces angrily behind Karl. Tommy wakes up.
CLAUDIA
I told you to put it out!
KARL
I'm almost done!
CLAUDIA
The smoke's just blowing back into the
elevator!
KARL
No it's not!
42.
TOMMY
Stop fighting!
CLAUDIA
(off the opening)
This isn't doing any good at all.
KARL
Jesus, calm down Claudia. Maybe you
should have one. *
CLAUDIA
(off the opening)
Might as well just close them if we're
going to pollute the air like this.
Claudia grabs the knife and YANKS it free -
- The elevator doors close -
- RIGHT ON KARL'S ANKLE! *

KARL
Fucking bitch!
Claudia snaps out of her rage.
CLAUDIA
Oh shit. I'm sorry. I didn't mean to!
Karl pushes Claudia away. He stamps out the cigarette and

hobbles away.
KARL
Great, now we've got a regular gimp
collection.
TOMMY
Jesus...it's only been five hours and
it's already Lord of the Flies.
CLAUDIA
I'm sorry, OK?!
KARL
Just like a woman.
CLAUDIA
What's that supposed to mean?!
43.
63 INT. HALLWAY - BIFROST BRIDGE BUILDING - NIGHT 63 *

Francesca puts her ear against the wall. She can't pinpoint
where the sound is coming from or what it is exactly...
...But her curiosity is piqued. Something in the noises sounds

vaguely familiar...
FRANCESCA
Tommy?

Karl hobbles around angrily, addressing Tommy.
KARL
It's true, Kid! Used to be able to
smoke anywhere. Movies, airplanes,
supermarkets. You'd be picking out
grapes with an ash an inch long!
CLAUDIA
Calm down!
KARL
I need to get the hell out of here.
Karl BANGS on the doors.

Francesca hears the banging. Sounds like it's a few floors
down. She runs down the stairs.

Karl BANGS and BANGS.
KARL
Let us out! LET US THE FUCK OUT!!!
CLAUDIA
You've got a temper on you.
KARL
God -
CLAUDIA
- Just like a woman.
44.
KARL
Exactly. Just like a woman to set a
guy off and then calmly criticize him
for blowing up!
Claudia SPRINGS to her feet.
CLAUDIA
WHAT THE HELL IS YOUR PROBLEM?!
The elevator SHAKES and GROANS as -
67 INT. ON TOP OF THE ELEVATOR - NIGHT 67

- The emergency brakes SHUDDER under the strain.

Karl and Claudia freeze. Tommy looks up.
69 INT. STAIRWELL - BIFROST BRIDGE BUILDING - NIGHT 69

SILENCE.
Francesca puts her ear against the wall, but nothing comes.

Karl puts his finger to his lips.
KARL
(whispers)
Nobody move.
71 INT. STAIRWELL - BIFROST BRIDGE BUILDING - NIGHT 71

Francesca begins to cry.
FRANCESCA
TOMMY!?
BOY (O.S.)
Was our TV too loud? I told mom to
turn it down.
Francesca looks up, toward the source of the noise. She sees
nothing. Suddenly the boy appears just in front of her.
Francesca gives a little scream.
45.
FRANCESCA
No, it's OK. I thought I heard
something.
BOY
Do you live here?
FRANCESCA
I'm just visiting a friend.
The boy narrows his eyes.
BOY
Where's your friend?
FRANCESCA
I...I don't know.
BOY
My mom says I'm supposed to call the
police when I see strangers in the
building.
FRANCESCA
Oh no. Don't. I was just leaving.

Francesca sobs as she pushes through the doors.
She hails a cab.
73 INT. CAB - NIGHT 73

Francesca gets in the backseat.
FRANCESCA
Airport, please.
EXT. BIFROST BRIDGE BUILDING - NIGHT
The moon hangs over the darkened building.

Everyone's sprawled out in the elevator. Exhausted. Karl's
taken his shirt off. Despite his age, he's surprisingly well-
muscled. His ankle has swollen black. *
46.
Tommy pops another pair of painkillers. Claudia takes a quick

puff of her inhaler as she sits lost in thought.
The elevator GROANS again.
KARL
Almost four in the morning. 9 hours
in here.
TOMMY
Maybe we should sleep in shifts.
KARL
What's that gonna do, kid? This
elevator collapses, it's going to do
it whether or not we're standing
guard.
TOMMY
It's gonna be daylight soon. If one *
of us hears something I
mean...somebody outside...one of us
should be awake to yell for help.
CLAUDIA
Tommy's right.
KARL
Of course he is, he disagreed with me.
You want to go first?
CLAUDIA
I can't sleep anyway.
KARL
Give me some of those, Thomas.
Tommy tosses Karl the painkillers.
KARL
(taking the pills)
Dreamland, here I come.
Claudia checks her watch:
3:47
CLAUDIA
Abuela...
47.
76 INT. WAITING ROOM - HOSPITAL - AFTERNOON 76

Claudia paces back and forth in front of PATIENTS and their
FAMILIES. DOCTORS and NURSES flood by, but no one pauses to
speak with Claudia. Claudia puts a dollar into a vending
machine and mashes buttons. A Snickers bar and water botttle
fall out.
Karl walks past Claudia as he speaks with a NURSE. Claudia

doesn't notice him.
KARL
I've been planning a weekend with my
family for months.
NURSE 1
Doctor O'Leary's been on for over 24
hours. Someone needs to spell him.
He said he was going to call you
personally.
KARL
I don't care. Fuck O'Leary.
(off his cellphone)
I'll turn this damn thing off.
The conversation fades into the hallways. Claudia collapses in *

a chair besides another waiting FAMILY MEMBER.
FAMILY MEMBER
It's the waiting that'll kill ya.
Claudia doesn't respond. A NURSE approaches Claudia. *

NURSE
Claudia Montero?
77 INT. DOCTOR'S OFFICE - DAY 77 *

A DOCTOR pulls a chair out for Claudia in a tiny office.
CLAUDIA
I want to see her.
DOCTOR
And you will. I just think we might
want to have a word first.
CLAUDIA
Is she going...
48.
The doctor pauses for a long moment.
DOCTOR
We did our best. The operation was
successful. But with patients her age
- her body just can't handle the
stress. I'm sorry. At this point,
it's a matter of time.
CLAUDIA
How long?
DOCTOR
I don't know. Maybe tomorrow. Maybe
in a few hours.
Claudia's in shock. She looks out the window. A beautiful

garden sits right outside the hospital.
CLAUDIA
We were going to the beach.
DOCTOR
I'm sorry.
CLAUDIA
There's nothing you can do. Anything
at all?
DOCTOR
The accident caused severe internal
bleeding. Her organs are damaged
beyond repair. If she wasn't such a
fighter, she'd be gone already.
CLAUDIA
Is she in pain?
DOCTOR
She's been sedated, but she's
conscious.
CLAUDIA
She knows?
DOCTOR
I was under explicit orders "not to
feed her any bullshit".
Claudia smiles a little as she stifles a sob.

49.
DOCTOR
Do you want to call someone? Your
parents? An aunt or uncle maybe or -
CLAUDIA
It's just my grandmother and me. It's
pretty much always been like that.
Can I see her now?
78 INT. INTENSIVE CARE - DAY 78

Sterile white and tense. The only sounds, the mechanical WHIRS
and BEEPS of the machines. Claudia approaches Abeula. Tubes
and cables cover her body. She appears to be sleeping.
Claudia can't help but cry.
ABUELA (O.S.)
Don't.
Claudia reacts. Abuela stares at her weakly.
CLAUDIA
Abuela, I'm sorry...
ABUELA
When it's your turn...it's your turn.
It's clear that the words come only with a lot of effort - and a
lot of pain.
CLAUDIA
Don't speak - it's OK...
ABUELA
Oh, but I have to...last chance to
piss you off...
Claudia smiles through her sorrow.
ABUELA
I have to ask you for something...
CLAUDIA
Tell me.
Abuela makes a weak indication for Claudia to approach.
ABUELA
Any chance you have a smoke on you?
50.
CLAUDIA
Abuela!
ABUELA
Just kidding Claudia...remember, you
have to bend...
CLAUDIA
Wasn't that "break"?
ABUELA
Whatever. Listen...
(more serious)
You'll be fine without me honey.
You've grown up as a beautiful, smart
woman. You don't need me anymore.
CLAUDIA
Don't say that.
ABUELA
I'm dying, I can say whatever the hell
I want...
(coughs, laughs, and gets
serious again)
I just need you to get me something.
The photograph in my room. The one
with your grandfather.
Claudia nods.
ABUELA
I want him with me when the time
comes.
CLAUDIA
I'll get the picture.
Claudia gives Abuela a tender kiss and gets up to leave.
ABUELA
Claudia...
CLAUDIA
Yes, Abuela?
ABUELA
Hurry.
Claudia nods and takes off past a clock on the wall that reads:
5:45
51.

A street clock a block away from the building reads:
5:32

Claudia reaches into her bag and pulls out the uneaten Snickers
bar. She looks at Karl and Tommy -
- Both sleep soundly.
Claudia opens the wrapper as quietly as she can.
KARL (O.S.)
You've been holding out on us.
Claudia JUMPS. Karl is wide awake.
CLAUDIA
You want a piece?
Karl just glares at her.
CLAUDIA
What?
KARL
What else do you have in that bag?
CLAUDIA
What do you mean?
KARL
First water, now candy. Fucking
convenience store you got there.
Karl staggers to his feet. Before Claudia can do anything -
- He's grabbed her bag. He empties the contents onto the floor
of the elevator. The RATTLING debris wakes Tommy.
CLAUDIA
Asshole!
Karl spots Claudia’s inhaler. He snatches it up.
CLAUDIA
Give that back.
52.
KARL
Give me the candy bar.
Karl wraps his hands around the inhaler -
- THREATENING TO BREAK IT.
CLAUDIA
Don’t. Please.
Claudia tosses Karl the rest of the snickers bar. Karl gobbles
it down...
...And tucks the inhaler in his pocket.
CLAUDIA
What the fuck?
TOMMY
That ain't cool.
CLAUDIA
Give it to me!
KARL
I’d rather not.
Tommy tries to pull himself to his feet.
TOMMY
You need to chill, man!
Karl casually pushes Tommy back down to the floor.
Tommy SCREAMS as pain shoots through his leg.
Karl advances on Claudia. She shrinks away from him. Suddenly

his demeanor changes. He smiles, almost looking fatherly.
KARL
Look. We’re not going to get out of
here unless we stop yelling at each
other and start working together. But
we need one person to make the
decisions. We need a strong leader...
(off the inhaler in his
pocket)
I’m just strengthening my hand. Don’t
worry. I’ll give you a hit when you
need it. If you behave.
CLAUDIA
What kind of monster are you?
53.
Karl shakes his head. He smiles.
KARL
Monster? Don't you think you're being
a bit dramatic?
81 EXT. WOODS - NIGHT 81 *

Gnarled trees fight through dark waters. A light shines in a
distant cabin.
82 INT. BUNGALOW - NIGHT - FLASHBACK 82

The RED LIGHT of a VIDEO CAMERA fills the center of the screen.
It's the same image we saw in the opening scene.
In the reflection of the lens - the Pretty Woman lays beneath

the covers in bed.
A man's hand touches the girl's ear.
Karl's mouth slowly enters the frame as he whispers.
KARL
There is no chance, no destiny, no
fate. There is only what you take
from the world and what the world
takes from you. You understand that
now, don't you, my darling?
Karl brushes the woman's hair tenderly.
Karl starts an Ipod. Suggestive music flows out of small

speakers.
Karl sits at a computer.
Dozens of videotapes litter the desk in front of him. Each one

bears a label - camera 1, camera 2, camera 3 etc.
Behind Karl -
- Dozens of cameras peek out from every orifice in the bedroom.
Karl inserts one of the tapes and presses play -
ON THE VIDEO
- Karl ties the pretty woman to the bed with surgical cord.
54.
PRETTY WOMAN
Kiiiiinky.
Karl laughs.
IN FRONT OF THE COMPUTER
Karl presses pause and clicks import. He pops in another tape.
ON THE VIDEO
A jerky handheld camera hovers over the smiling pretty woman.

She's tied up and waiting.
PRETTY WOMAN
My body is yours. There's 4000 things
you can do to me.
KARL (O.S.)
You're telling me.
Karl's hand JABS a hypodermic needle into the pretty woman's

arm. She SCREAMS...
...The sound dies in her throat. It becomes a WHISTLE of sorts:

She's PARALYZED.
The word IMPORT flashes on screen.
Filmed (Karl's POV): The woman's feet contract at the moment the
drug kicks in.
Filmed: (Karl's POV): The sheet falls away to reveal impossibly

white skin.
FROM ANOTHER ANGLE
Karl takes her chin in his hand and turns her head. The drug
has completely washed over her.
Filmed (Karl's POV): We see the exact image from the beginning,
eye upside down, head gradually turning to show the other eye.
Blinking.
FROM ANOTHER ANGLE
Karl passes his hand behind the girl's back. He gently moves
her hair so it cascades over the side of the bed.
Filmed (Karl's POV): Same action from his view.
FROM ANOTHER ANGLE

55.
Karl hovers over the woman with a scalpel. He glides it over her
belly. She gets goose-bumps.
KARL
That feel good?
Filmed (Karl's POV): Karl's hand touches her goose bumps -
Again with the scalpel. The skin parts. Blood flows.
Filmed (Karl's POV): A drop of blood rolls across the woman's

belly, the same drop we saw at the beginning.
Karl takes a camera and goes to handheld. He cuts all along the*
arm and body. He makes a design of sorts.
The woman can only WHISTLE.
Karl cups the woman's chin in his hands as he has with others
earlier.
KARL
Let me get a look at you...oh my.
We're going to have to get something
on these cuts.
IMPORT
FROM ANOTHER ANGLE
Karl gets undressed. He folds his clothes in neat piles.
IMPORT
FROM ANOTHER ANGLE
Karl squeezes baby oil into his hands and rubs it all over his
body.
Karl dips his finger into a bag of salt.
IMPORT
FROM ANOTHER ANGLE
Karl touches a cut on the woman's stomach, rubs salt into the
wound.
SHE WHISTLES SHRILLY.
IMPORT
FROM ANOTHER ANGLE

56.
Karl then takes handfuls of salt and rubs it into the oil on his
body. He completely covers himself.
He takes out a condom.
IMPORT
NOTE: THE REMAINING SHOTS HAPPEN FAST
FROM ANOTHER ANGLE
Karl mounts the woman
IMPORT
FROM ANOTHER ANGLE
Karl grabs the scalpel off the bedside table, moves it between
his belly and the woman's, so as not to be seen.
IMPORT
FROM ANOTHER ANGLE
Karl POUNDS AWAY
KARL
You feel me now?
IMPORT
FROM ANOTHER ANGLE
Karl rubs his body against the woman's.
IMPORT
FROM ANOTHER ANGLE
The woman's face, close-up, as she WHISTLES.
IMPORT
FROM ANOTHER ANGLE
Karl's face GLOWS as he goes at it. Behind him, dozens of red

lights record the action.
LATER
We’re back in the first scene (note: we see Karl from the front
this time, not the back)...
57.
Droplets of blood fall onto a wood floor. We rise -
- To see that the droplets drip from a black wire. We follow

the bloody wire -
- To the back of a camera mounted on a tripod.
A blood-drenched hand appears. Karl presses ZOOM and peers

inside the camera. Karl grabs a knife. He rises to his feet.
Karl’s footsteps THUMP THUMP THUMP as he walks toward us...
83 INT. ELEVATOR - MORNING 83

Karl absentmindedly rubs his crotch while thinking of the
memory. Tommy's in really bad shape and his condition has begun
to affect the way he speaks. Still, he can't help but react.
TOMMY (O.S.)
What the hell are you doing, man?
KARL
Just making sure everything still
works.
TOMMY
Jesus.
Karl watches Claudia as she sleeps.
KARL
She's pretty good-looking, isn't she?
TOMMY
I've got a girlfriend. Or I did. Jesus
Christ, I hope she's OK. He'll know
by now...
KARL
Oh boo hoo. My daughter sees the mess
I made at our bungalow...her idea of
me as the perfect father will be
tested.
TOMMY
We were supposed to run away. To
Paris.
Karl laughs.
58.
KARL
People still run away? I thought we'd
placated you kids with cell phones and
video games.
TOMMY
Shut up, man.
KARL
I'm just kidding around. Paris is a
great city. The food - and the women!
Some of the women are almost as
sexually adventurous as I am, if you
can believe it.
TOMMY
I'm marrying my girlfriend.
KARL
Of course you are.
(off Claudia)
What do you think she's like?
Tommy's looking worse every second.
TOMMY
What... you mean? *
KARL
Usually the hot ones just lay there.
TOMMY
You're out of line man. *
KARL
It's true. Bitches are so used to
getting their way. And why? Just
because they look pretty? They get the
jobs, they get the attention? And what
about the rest of us, Tommy? Sometimes
I wonder why I was born into such a
fucked up era.
Tommy's not listening anymore.
TOMMY
Yeah, fucked up.
KARL
Well, you'll see what I mean someday,
buddy.
Karl playfully slaps Tommy's leg.

59.
Tommy SCREAMS.
TOMMY
JESUS!
Claudia stirs, but does not wake.
TOMMY
Please...pills...
Karl removes a pair of pain killers from his pocket. He goes to

hand them to Tommy, then pulls them away.
KARL
Say "please".
TOMMY
I said...please...
KARL
Oh yeah. My mistake!
Karl hands Tommy the pills. Tommy gulps them down. *

KARL
(off his watch)
7:30. Hope. Let's have some fucking
hope.
Tommy leans back, he's already fading.
TOMMY
The elevator...do you think...maybe
it's terrorists?
KARL
At the Bifrost Bridge Building? Well,
it is a high priority target, but how
could they have made it past all the
security?
Tommy smiles as the drugs wash over him.
TOMMY
Maybe... aliens. Like in Twilight *
Zone. Electricity goes out
and...everyone thinks that everyone
else did it...but it was aliens.
KARL
I'm not really sure about that one
Tommy. All I know is, we don't get out
of here by 2 in the afternoon... *
60.
Karl leans in close, speaks into Tommy's ear. Tommy's fading

away under the influence of the painkillers, barely conscious.
KARL
(whispers)
I'm going to cut your fucking throat.
TOMMY
What...
KARL
And I'm going to rape the shit out of
that cunt.
TOMMY
I think it might be...the aliens...
KARL
Yeah I think you might be right about
that. Sweet dreams, Tommy.
FADE OUT:
84 TITLE: 84
SUNDAY, THE FOURTH OF JULY
FADE IN
85 EXT. BIFROST BRIDGE BUILDING - DAY 85

Time lapse...
From a distant corner we see the Bifrost Bridge Building.

PEOPLE and cars stream in front of us - it's obviously a busy
holiday weekend.
In front of the building, from a low angle, clouds cross in the

blue sky at the building's back.
From above the building, the shadow of the building moves across
the sidewalk.
86 INT. BUNGALOW - DAY 86

The body of the pretty woman lies beneath a sheet as -
61.
87 EXT. KARL'S HOUSE - DAY 87

- Karl's wife and daughter get inside an SUV while -
88 INT. HOSPITAL - DAY 88

- DOCTORS and NURSES mill about the hallways and -
89 INT. JET - DAY 89

- Francesca sobs into her hands beside an empty seat. The
aircraft touches down on the tarmac.
FLIGHT ATTENDANT (O.S.)

(in French)
Welcome to Charles de Gaulle
International Airport. The outside
temperature...
90 EXT. BIFROST BRIDGE BUILDING - DAY 90

The sun has dipped just behind the building, enveloping the
front of the building in shadows.
TITLE:
2:45
91 INT. LOBBY - BIFROST BRIDGE BUILDING - DAY 91

Light dances into the empty lobby but dies -
92 INT. ELEVATOR SHAFT - DAY 92 *

- In the tomb-like elevator shaft where -
93 INT. ELEVATOR - DAY 93 *

- Claudia's just coming to.
A DRIZZLE makes her eyes flutter open.
Cigarette butts litter the elevator floor. She follows the path
all the way to the doors -
- Where Karl pisses on the elevator wall. *

62.
CLAUDIA
WHAT ARE YOU DOING?!
KARL
It's been a while, give me a break!
CLAUDIA
You're an animal!
KARL
Exactly, I've got to dispose of body
waste.
Karl zips up and turns. A cigarette dangles from his mouth.
CLAUDIA
You piece of shit.
KARL
I am so asking you out once this is
all over.
CLAUDIA
(off the closed doors)
What happened to the knife?
Karl shrugs.
CLAUDIA
Give me my inhaler.
Tommy stirs awake.
TOMMY
Ugh...
KARL
I don’t know if I’d really call this
“behaving”...
Claudia springs to her feet -
- The elevator SHAKES and GROANS.
KARL
CAREFUL!
CLAUDIA
Give it to me.
Claudia’s breath begins to shorten.
Karl searches his pockets.

63.
KARL
Oh shit...I think I might have lost it
somewhere...
CLAUDIA
PLEASE!
Karl pulls the inhaler out of his pocket.
Claudia reaches for it. Karl pulls it away playfully.
CLAUDIA
Stop.
Karl extends the inhaler. Claudia reaches for it -
- Karl YANKS it away again.
TOMMY
Dick!
Karl KICKS Tommy in the leg. Tommy SCREAMS.
KARL
Language!
Claudia’s breathing comes with more and more effort.
CLAUDIA
Give it to me!
KARL
I'm done fucking around. I have a
couple of minutes to get out of here
and make it to the bungalow in time. *
My little girl gets there before I
do...let's just say the therapy bills
are going to be impressive.
CLAUDIA
We all need to get out of here! My
grandmother was in an accident and -
KARL
Boo hoo. That's what grandparents do,
they die. Be glad you still have one.
CLAUDIA
Fuck you.
KARL
Now listen everybody. The time has
come for us to get out of here.
64.
TOMMY
It doesn't matter now. I've lost
everything.
KARL
So you're going to live here? Way to
cope, Tommy. You're really handling
this in a mature fashion.
Tommy tries to struggle to his feet and face Karl.
CLAUDIA
Please...how are we supposed to get
out of here...
KARL
Had a lot of time to think, all
fucking morning. And a lot of time to
smoke.
Karl pats Claudia on the back. She pulls away, repulsed.
KARL
You'll get over it. Look.
Karl points out of the escape hatch.
CLAUDIA
What am I supposed to...
About eighteen feet up, on the side of the shaft, a RED LIGHT
BLINKS.
CLAUDIA
...What's that?
KARL
Smoke detector.
TOMMY
So you want to set the elevator on
fire?
KARL
Nah, we're not quite at that point
yet.
Karl takes his lighter out of his pocket.
He hands it to Claudia.
65.
KARL
Put this up against the sensor and
we'll hear sirens before you've even
climbed down.
CLAUDIA
I can’t...catch my breath...
KARL
I've got at least 70 pounds on you.
You want me climbing around on this
thing?
CLAUDIA
Just...one hit...
KARL
Sure thing.
Karl throws the inhaler out of the escape hatch -
94 INT. ELEVATOR SHAFT - DAY 94

- The inhaler rolls to a stop on the very edge of the top of the
elevator.
95 INT. ELEVATOR - DAY 95

Claudia's eyes burn with rage.
KARL
And since you're going up there
anyway: Smoke detector.
Karl steps forward. He caresses Claudia's face. His fingers

trail down to her throat, closing ever so slightly around her
jugular.
KARL
I've really got to excuse myself from
this elevator. So please. Don't
dream of coming back without setting
off that alarm.
96 INT. ON TOP OF THE ELEVATOR - DAY 96

Claudia hoists herself on top of the elevator as -
66.

- Karl pushes her feet up.
98 INT. ON TOP OF THE ELEVATOR - DAY 98

The elevator SHAKES as Claudia stands up.
TOMMY (O.S.)
Whatever you do, don't climb the cord.
Bad idea!
Claudia spots her inhaler. She grabs it and takes a hit. She
looks at the side of the elevator shaft -
- Ledges and pipes form hand-holds going all the way up to the
blinking smoke detector.
Claudia tucks the lighter and her inhaler in her pants and
starts up the side of the wall. She grabs a ledge, then a pipe,
making steady progress skyward.
But she FREEZES -
- As a rat skitters across the ledge. It pauses at her hand.
Claudia begins to hyperventilate again.
She grabs her inhaler.
The rat sniffs her fingers, WHICH ARE SMUDGED WITH CHOCOLATE
FROM THE MELTED SNICKERS BAR. THE RAT DROOLS -
- AND TAKES A CHUNK OUT OF HER FINGER.
Claudia SCREAMS -
- AND DROPS HER INHALER.
The inhaler tumbles into the blackness below.

Karl looks up into the escape hatch.
KARL
Keep your head in the game, kid!
67.

Blood trickles down Claudia's arm -
- All the way down to her sobbing face.
The rat GNAWS away. Claudia puts her other hand on the ledge to
pull herself up.
Three more rats scurry down the ledge from the other side.
Claudia starts to pull herself up.
The other rats begin to chew on her other hand.
Claudia's breath - shorter and shorter.
CLAUDIA
GET THE FUCK OUT OF HERE!
Claudia lets go with one of her hands and swipes the rats off
the ledge -

- One lands inside the elevator. It spins on its back and -
- KARL'S FOOT COMES DOWN - CRUSHING IT.

Claudia looks at the ledge, now clear of rats, with relief.
CLAUDIA
You can do this. Come on.
Claudia concentrates -
- She catches her breath. The smoke detector -
- Is only a few feet away. Claudia steels herself -
CLAUDIA
Let's go!
- A wave of confident energy cascades over Claudia's face.
She's going to get them out of there.

68.
Claudia grabs a ledge, then another, pulling herself to the

smoke detector. She grabs a pipe right beside the smoke detector
-
- THE PIPE RUPTURES! CLAUDIA HOLDS ON FOR DEAR LIFE WITH ONE
HAND AS -
- STEAM BLOWS OUT OF THE BROKEN PIPE -
- AND SEARS HER SKIN! Claudia SCREAMS. But with her other hand
reaches into her pants. She grabs the lighter.
She's going to do it...even as the steam COOKS the skin on her

other hand.
She extends the lighter...
Puts it right next to the sensor...
She flicks it -
- BUT THE PIPE BREAKS COMPLETELY.
CLAUDIA SCREAMS AS SHE PLUMMETS -
- AND CRASHES DOWN ON TOP OF THE ELEVATOR.
ONE OF THE EMERGENCY BRAKES SNAPS -
- AND THE ELEVATOR BUCKLES TO ONE SIDE.

Karl and Tommy tumble to the ground as the elevator slants to
one side and -
- The emergency lights shoot out of their sockets and SHATTER on

the floor -
- DARKNESS.

The elevator hangs on by the emergency brake as -
- Claudia crawls along the top of the elevator and -
- EVERY MOVE SHE MAKES THREATENS TO SEND THE ELEVATOR CRASHING

DOWN!
69.
Claudia moves as carefully as possible as she heads for the

escape hatch. She notices that -
- Now that the elevator is tilting one way, it's level with one
of the floors. She smiles through her pain...
...There's hope.
She lowers herself into the elevator.

Glass CRUNCHES beneath Claudia's feet. The elevator is
completely dark. For a moment, we see ALMOST NOTHING.
TOMMY
Claudia?
CLAUDIA
Here.
TOMMY
Are you OK? Where are you?
CLAUDIA
I'm right here.
The elevator SHAKES.
TOMMY
Jesus!
Karl's voice escapes from darkness. Calm and creepy.
We can almost see the whites of his eyes.
KARL
Can you imagine how she's going to
react? My little girl. Nobody should
need to see that kind of thing.
CLAUDIA
See what?
KARL
You can plan your whole life out, plot
the most complex course...but someday
you're going to step into some piece
of shit elevator.
CLAUDIA
We're going to get out of here.
70.
KARL
The optimism of youth. Remarkably
enduring. In fact, it's usually the
last thing to go when I cut some bitch
up. Their eyes, pleading and hoping to
the end. You can almost hear them
thinking "This isn't me. This isn't my
life. I've got class tonight. I can't
be late for class...".
A movement in the darkness as Tommy staggers to his feet.
CLAUDIA
Stay away from me.
KARL
Why do they always say that? I've made
the decision before I've even seen
their faces.
Tommy presses close to Claudia.
TOMMY
Shhhhh.
KARL
Smart Tommy. How will I find you in
this huge elevator after all?
Karl takes a step forward in the darkness.
KARL
Let's play Marco Polo. Come on guys!
Marco? Marco?
Glass crunches beneath Karl's feet.
Tommy pushes Claudia along the wall evading Karl. But -
- A FLASH -
- FROM KARL'S CAMERA PHONE REVEALS THEM SLIDING ALONG THE WALL!
KARL
Modern technology. You've got to love
it.
Another FLASH -
- Tommy and Claudia cower in the corner.
Another FLASH -
71.
- Karl closes in.
ANOTHER FLASH -
- Tommy puts his body in front of Claudia. Puts his hands up.
READY TO FIGHT FOR HER.
ANOTHER FLASH -
- Karl whips the pocketknife out of his pocket...
...And BURIES IT IN TOMMY'S THROAT.
CLAUDIA SCREAMS.
FLASH FLASH FLASH
Karl takes photo after photo as he twists the knife.
The sounds of SCREAMING and GURGLING ring out while with each
flash, we see...
106 EXT. HIGH SCHOOL - DAY - FLASHBACK 106

Francesca chats with her FRIENDS as they eat at long lunch
tables outside the cafeteria.
Francesca looks away from her friends, who seem, at first

glance, like shallow and boring people. She notices Tommy
getting chewed out by a CAMPUS SECURITY GUARD.
There's no sound. We don't hear what the guard's yelling about,

we just see -
- That Tommy can't even pay attention to the guard when he

notices Francesca.
Tommy and Francesca lock eyes. Tommy smiles even with the man
SCREAMING in his ear.
FLASH.
107 EXT. STREETS - NIGHT 107

Tommy and Francesca BLUR down the street on the motorcycle.
FLASH.
72.
108 EXT. ROOFTOP - BIFROST BRIDGE BUILDING - DAY 108

Tommy and Francesca look out across the city. Tommy takes her
hand. He goes in for their first kiss, full of nervous bravery.
FLASH.
109 INT. KITCHEN - FRANCESCA'S HOUSE - DAY 109

Francesca takes a box from the freezer and opens it. She
reveals her father's $1000 to Tommy.
FLASH.
110 EXT. STREETS - DAY 110

Tommy WHIPS through cars, driving way too fast and dangerously
as the Bifrost Bridge Building rises in the distance.
FLASH.
111 INT. LOBBY - BIFROST BRIDGE BUILDING - DAY 111

Tommy sticks out his arm, jamming his bandaged hand between the *
elevator doors. They open, he steps inside and -
FLASH.

- Karl RIPS the knife across his throat. A torrent of blood
GUSHES down Tommy's punk band t-shirt.
Tommy drops like a rock.
Claudia SCREAMS as Tommy goes down. She backs up to the wall.
Karl grins widely.
KARL
Finally some privacy!
Claudia scurries away across Karl's puddle of pee he made

earlier.
CLAUDIA
You killed him...you killed him...
73.
Claudia edges away as Karl comes closer.
KARL
What's the point, Claudia? We all know
how this ends.
CLAUDIA
Please...
KARL
You think the others didn't say
please?
CLAUDIA
We can get out of this together.
Throw me the knife.
KARL
You've got to be kidding me.
CLAUDIA
We can still get out of here, I'll
tell no one.
Karl just stares at her.
CLAUDIA
You want two bodies on your
conscience?!
This seems to hit Karl on some level. He thinks it over. After

a long moment, he makes as if he's going to hand Claudia the
knife -
- And instead STABS her! The blade buries itself in her

shoulder.
KARL
What conscience?
Claudia YELPS with pain as Karl -
- Grabs her by the throat and SLAMS her against the wall.
The elevator SHAKES -

- and is ABOUT TO GIVE WAY.
74.

Karl chokes Claudia with one hand, twists the knife with the
other.
KARL
"I'll tell no one!". Show me a
criminal who ever bought that crock.
Karl squeezes tighter and TIGHTER.
Claudia GASPS for breath -
- And KICKS Karl in the balls.
Karl SCREAMS and drops Claudia.
Claudia scrambles for the door, knife still protruding from her
shoulder.
Karl examines his wounded groin. He grins as he begins to pump

life back into it.
KARL
Most girls don't make me hard. You
should be proud.
Claudia drops to her knees, reeling from the pain, desperately

trying to get the doors open.
Karl CHARGES.
Claudia RIPS the knife free from her shoulder in an explosion of

blood as she wheels around -
- And SLASHES Karl’s groin!
Karl SCREAMS as blood paints his crotch red. He HITS the floor
HARD.
The elevator DROPS -

- As the emergency brake is seconds away from breaking off.

Claudia crawls over Karl, who SCREAMS and THRASHES on the floor.
She uses the knife to crack open the doors -
75.
- She puts the knife in between them, propping them open to

reveal -
- A sliver of light. THE SIXTH FLOOR, about two feet of it, at

the bottom of the opening. Not much, but enough for Claudia to
escape. Claudia opens the doors -
- Crawls out on to the fourth floor -
117 INT. HALLWAY - BIFROST BRIDGE BUILDING - DAY 117

- HALFWAY OUT OF THE ELEVATOR.
Claudia smiles -
- AND THEN SCREAMS.

Karl grabs onto her legs. He tries to pull her backward as -
- THE ELEVATOR GROANS LOUDER THAN EVER.
KARL
COME BACK HERE, YOU BITCH!
119 INT. HALLWAY - BIFROST BRIDGE BUILDING 119

Claudia's suspended over the floor. She can't get any traction -
- KARL PULLS HER BACKWARD, BUT -

- THE ELEVATOR DROPS AGAIN. Claudia's feet shoot up -
- HITTING KARL IN THE FACE.

Claudia pushes herself out of the elevator -
- AS THE FLOOR RISES AGAIN, CLOSE ENOUGH FOR HER TO GRAB IT.
Claudia grimaces as she pulls herself forward.

76.

Karl LUNGES at Claudia and grabs her legs -
123 INT. HALLWAY - BIFROST BRIDGE BUILDING - DAY 123 *

- But Claudia’s muscles flex as she pulls Karl's arms out behind
her as she climbs out and -

- The embattled emergency brake SNAPS and -

- SENDS THE ELEVATOR PLUMMETING DOWN.
KARL SCREAMS AS HIS ARMS ARE RIPPED OFF.

Claudia scampers away just in time.

The elevator plummets down the shaft.

Karl SCREAMS as floor numbers pass by through the open doors.
With each floor, we see...
3...
129 INT. YOUNG KARL'S BEDROOM - NIGHT - FLASHBACK 129

KARL'S MOTHER clicks on a small television in YOUNG KARL'S ROOM.
A classic film plays as she crawls into bed beside him and slips
out of her nightgown.
Young Karl cries silently.

77.
130 EXT. SORORITY HOUSE - NIGHT - FLASHBACK 130

Karl jerks off while spying on scantily clad SORORITY GIRLS
through the window.

2...
132 INT. MEDICAL SCHOOL CLASSROOM - NIGHT - FLASHBACK 132

Karl stands beside a FEMALE CADAVER. While his fellow MEDICAL
STUDENTS, with cadavers of their own, listen to their
INSTRUCTOR, Karl remains fixated on the body.
Karl gently runs a scalpel along the body.
133 EXT. BUNGALOW - NIGHT - FLASHBACK 133

Karl's face rains sweat as he pulls up in front of the bungalow
with a FAT PROSTITUTE.

1...
A RAPID SUCCESSION OF IMAGES...
135 INT. NILE BAR - NIGHT - FLASHBACK 135

Karl, seated beside the pretty woman, flags down the bartender.
136 INT. BUNGALOW - NIGHT - FLASHBACK 136

Cameras surround Karl as he tortures the pretty woman.
137 EXT. BEACH-SIDE CAFE - DAY - FLASHBACK 137

Karl examines his daughter as his wife angrily looks on.
138 INT. LOBBY - BIFROST BRIDGE BUILDING - DAY - FLASHBACK 138

Karl steps onto the elevator beside Claudia and -
78.

- THE ELEVATOR CRASHES INTO THE FLOOR.
Karl vanishes into an explosion of twisting metal.

Dust and smoke explodes out of the elevator shaft as Claudia
passes out.
141 EXT. BIFROST BRIDGE BUILDING - EVENING 141

Fireworks EXPLODE in the sky. SIRENS wail as -
- Police cars and emergency vehicles skid to a stop in front of

the building.
142 INT. HALLWAY - BIFROST BRIDGE BUILDING - EVENING 142

Claudia's still passed out in the hallway. Standing over her...
...The shadow of a young boy.
The shadow scampers off as -
- An army of cops flow into the hallway.
Claudia's eyes flutter open.
143 INT. AMBULANCE - EVENING 143

Fireworks POP in the distance as Claudia lies on a gurney.
144 INT. TRAIN - PARIS - NIGHT 144

Tears roll down Francesca's face as the city rolls past outside
her window. A CONDUCTOR comes up to her. He nudges her. He
speaks. And while -
- WE HEAR NO SOUND -
- It's pretty clear that Francesca has no idea what he's talking
about. Francesca takes out a wad of Euros, but that's no good.
The conductor shakes his head.
Francesca shrugs. The Conductor becomes more insistent.

79.
Francesca has no idea what he's talking about. She starts to

cry harder.
The conductor holds up a ticket, as in "where the hell is your

ticket?" But Francesca sobbing now, head buried in her hands,
while the conductor continues to berate her and -
145 EXT. BUNGALOW - EVENING 145

- Cop cars sit in front of Karl's Bungalow.
REPORTERS speak into cameras beside news vans as -
146 INT. BUNGALOW - EVENING 146

- DETECTIVES collect evidence and photograph the body of the
pretty woman.
In another room -
- Detectives question Karl's wife and daughter. Karl's wife

sobs, but his daughter is stone-faced.
It looks like something has died behind her eyes.
147 INT. HOSPITAL - EVENING 147

Fluorescent lights illuminate a hallway.
Claudia's strapped to a gurney which ORDERLIES race across the

slick hallway floors.
Claudia tries to crane her neck as she rockets past her

grandmother's room.
CLAUDIA
Is she...
Claudia passes out.
148 INT. HOSPITAL ROOM - DAY 148

Claudia wakes to find herself in a clean white hospital room.
The blue sky can be seen out her window, as well as a patch of
green grass and a boy playing.
The intense light gives the room an otherworldly glow.

80.
The doctor from the earlier scene steps into the room.
DOCTOR
You're severely dehydrated, you've
lost a lot of blood, two of your ribs
are broken, bruised and beaten -
CLAUDIA
How is she?
DOCTOR
You're lucky to be alive.
CLAUDIA
My grandmother. How is she?
DOCTOR
We’ll talk later.
CLAUDIA
Tell me now.
The Doctor slowly shakes his head.
Claudia sobs.
DOCTOR
I'm sorry.
CLAUDIA
All she wanted was a photograph...and
I let her down...
DOCTOR
You can’t blame yourself...even if you
had been here... *
CLAUDIA
Why?
The doctor says nothing.
CLAUDIA
Why did I say I'd go to the beach?
Any other day...
DOCTOR
You need to be brave right now. For
her, and for yourself.
CLAUDIA
Why do things happen this way?
81.
DOCTOR
I used to wonder that myself. But
after working here for a while. I
don't think there's any reason. No
pattern. Things are too random
and...well, get some rest. Please.
The doctor leaves. He turns at the door.
DOCTOR
The police want to ask you some
questions. I'll try to hold them off
as best I can until you're ready to
talk.
The door closes. Claudia stares at the ceiling.
149 INT. CLAUDIA'S PARENTS' HOUSE - NIGHT - FLASHBACK 149

YOUNG CLAUDIA sits amidst a crowd of RELATIVES at her parents'
wake.
ABUELA sits down beside Claudia and takes her hand.
150 INT. CLAUDIA'S APARTMENT - DAY - FLASHBACK 150

Abuela and Claudia head out the door to go to the beach.
151 INT. STREET - DAY - FLASHBACK 151

Claudia cradles her grandmother in her arms.
152 INT. HOSPITAL ROOM - DAY 152

Claudia watches a boy playing in the grass.
The boy turns, as if he can feel her watching him.
He waves.
It's the young boy with the lizards from the beginning.
153 EXT. HOSPITAL - DAY 153

As the boy stares at Claudia, one of the lizards scales the wall
and escapes from the jar. The other two are dead.
As the boy stares at Claudia, we see where he's been.

82.
154 EXT. STREET - DAY - FLASHBACK 154

The boy rides his bike through the street past Claudia's
grandmother. A car SCREECHES to avoid him.
The boy keeps riding as SCREAMS rise into the air behind him.
155 EXT. FRANCESCA'S HOUSE - DAY - FLASHBACK 155

The boy watches Francesca's house silently as he sits on his
bike. He holds a balloon in his hands. He lets go and watches
it rise with a smile.
156 INT. LOBBY - BIFROST BRIDGE BUILDING - DAY - FLASHBACK 156

The boy wanders through the building. He leaves his bike in the
lobby. As the Moirae sisters get off the elevator and Karl
speaks with them, the boy hops on the elevator -
157 INT. ELEVATOR - DAY - FLASHBACK 157

- Rides the elevator -
158 INT. STAIRWELL - DAY - FLASHBACK 158

- Slides down the handrail -
159 INT. UTILITY CLOSET - DAY - FLASHBACK 159

- AND DISCOVERS A UTILITY CLOSET.
He watches a security monitor, which displays what happens in

the elevator.
Claudia, Karl, and Tommy step in.
The boy watches as the elevator ascends. It's about to hit the
ninth floor when the boy hits all the buttons on the panel
playfully. On the monitor, the elevator GRINDS TO A HALT. The
boy settles in and watches.
HOURS LATER.
The boy watches as Tommy crawls on top of the elevator. He sits

in rapt attention.
HOURS LATER
83.
The boy watches as the elevator plummets. Karl, arms severed,

SCREAMS. An enormous CRASH rocks the utility closet. The boy
scampers outside -
160 INT. HALLWAY - BIFROST BRIDGE BUILDING - DAY - FLASHBACK 160 *

- And watches as Claudia passes out on the floor.
COPS SHOUT AROUND THE CORNER.
The boy hustles away.
161 EXT. HOSPITAL - DAY 161

The lizard skitters across the grass - *
- The boy's small hand tries to pick it up, but the lizard *
escapes through a crack in the pavement.
The boy casts a final glance at Claudia. He looks at his jar

with the dead lizards. He empties the jar out into the grass
and shoves it back inside his knapsack.
The boy gets on his bicycle and rides off -
162 EXT. STREET - DAY 162

- Into traffic.
The boy pedals hard, oblivious to danger as he -
- Weaves in and out of cars effortlessly.
As the boy merges with the crowd, he seems to glow a little

brighter than those around him. He refuses to disappear as
we...
FADE OUT:

Blackout

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Blackout

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BLACKOUT

Based on the Novel by Gianluca Morozzi

Screen Story by Ed Dougherty and Valerio Morabito

Current Revision by Rigoberto Castañeda

1 INT. DARK PLACE - NIGHT 1

- A red light shines in the center of the screen.

Shapes move in the darkness. Bodies. Flashes of what seems

- A WOMAN's porcelain white skin. The pores, the tiny hairs -

- Suddenly stand up as the skin runs wild with goosebumps.

(Credit with the image)

(Credit with the image)

A woman's eye upside down. Her head gradually turns, revealing

(Credit with the image)

The sheet pulls back to reveal a beautiful lower back as -

(Credit with the image)

(Credit with the image)

The jar deforms the woman's silhouette as images speed by:

Different parts of the woman's body. Video cameras. Lenses.

- Of a green, unrecognizable animal. The images are merging

- A dark drop of liquid falls from above, landing on the woman's

2 EXT. BEACH - AFTERNOON 2

The distorted image of a YOUNG GIRL (8) watches the lizards

- The hot sun bleaches the scorching sand. A lizard skitters

3 EXT. BEACH-SIDE CAFE - AFTERNOON 3 *

- A TOPLESS SUNBATHER in the distance applies tanning oil.

The camera ZOOMS - desperate for a peek.

YOUNG GIRL (O.S.)

Karl's voice is sweet - yet firm.

YOUNG GIRL (O.S.)

The camera pans to the young girl -

- Who proudly displays a lizard. It lingers for about a

- Then back to the sunbather. But she's laid down. Show's

Karl lowers the camera. A creepy fire burns in his eyes.

KARL'S WIFE (O.S.)

Karl plasters a smile on his face. He turns -

- KARL'S WIFE, a woman who could make rabid feminists everywhere

Karl's daughter is angelic -

YOUNG GIRL/KARL'S DAUGHTER

Karl's phone goes off. He peeks at it. A moment of tense

Karl's wife sighs.

Karl kisses his daughter as he leaves. She fakes a cough.

Karl grins as he cups his daughter's chin in his hand. He

His wife catches a whiff of him.

4 EXT. CAUSEWAY - AFTERNOON 4 *

5 INT. KARL'S CAR - AFTERNOON 5 *

6 INT. HOSPITAL - AFTERNOON 6

A clock on the wall ticks:

At the end of an empty hallway - a big double door. A sign

6A This is CLAUDIA (20s). Blood peppers her clothing. 6A

7 EXT. HOSPITAL - AFTERNOON 7

A bus pulls to a stop. Claudia jogs toward it and rushes to get

8 INT. PUBLIC BUS - AFTERNOON 8

9 INT. GIRL'S ROOM - AFTERNOON 9

On the side table - a wad of cash.

10 EXT. HOUSE - AFTERNOON 10

11 INT. KARL'S CAR - AFTERNOON 11

12 EXT. BIFROST BRIDGE BUILDING - AFTERNOON 12

Karl pauses and looks at the man's face.

The homeless man laughs and beckons Karl inside.

13 EXT. BUS STOP - AFTERNOON 13

14 INT. LOBBY - BIFROST BRIDGE BUILDING - AFTERNOON 14

Floor numbers count down: 5, 4, 3, 2...

Inside, the sound of old machinery GRINDING to a halt and -