Heartless

HEARTLESS
FADE TO WHITE:
The white is silk, delicate and beautiful.
The white silk goes in and out as if there is someone

breathing behind it.
A drop of sweet fall into view, soiling the pristine white,

moving from where it landed all the way out of our view.
A blade comes into frame, just the edge dancing its way into
the white satin, it doesn't penetrate, but where it touches
it rips the delicate material.
The in and out of the white increases, the silk moves like
wives in a storm.
The blade vanishes from view, but the waves on the silk don't
subside.
The blade is plunged into the white, the satin trembles. The
white around the blade turns red.
The blade is taken back, only to stab at the white yet again,
and again, and again.
When it stops, the white satin soaks the blood, soon there is
no more white, only red.
The waves die, and the red satin becomes quiet, only the
pouring blood moves from the countless gashes.
The defiled red silk is now hideous.
EXT. ROAD - NIGHT
A signpost reads: Welcome to CHARLESTON, South Carolina.
INT. BAR - NIGHT
ALICE (30s) sings on a small dark stage, a very pretty girl

with black hair and blue eyes.
ALICE
“Liar liar with your pants on
fire/White spades hangin' on the
telephone wire/Gamblers reevaluate
along the dotted line/You'll never
recognize yourself on Heartattack
and Vine. --”
She sings it beautifully.

2.
ALICE
“Boney's high on china white,
Shorty found a punk/Don't you know
there ain't no devil, there's just
God when he's drunk/Well this stuff
will probably kill you, let's do
another line/What you say you meet
me down on Heartattack and Vine.”
Alice finishes the song, smiling at first, but her smile

fades as she looks at the crowd.
The crowd pays no attention to her. She stares at them,

nobody looks at her. She might as well be invisible.
Alice drops her guitar and leaves the stage.
INT. HIGH SCHOOL - HALL - DAY
The hall is filled with teens. Commotion at the end of the

hall. The sound of laughter grows louder and louder.
Soon everyone is laughing. Everyone but one boy.
ALFIE (15) walks alone. He is the one people are laughing at.
He is stripped to his underwear, his body covered in paint.

With “loser” written on his forehead along with several
similar insults on the rest of his body.
Beneath all the paint, however, Alfie is a gorgeous boy, with

black hair and deep grey-blue eyes.
Something odd about him. He is calm and indifferent.
INT. DINER - DAY
A half full diner, everyone stares at one table.

TAMARA (20s) is one of those rare beautiful girls who can go
their whole lives without ever meeting someone as beautiful
as they are, stunning doesn't even begin to describe her.
However, it is not her beauty everyone is looking at, but Her

white wedding dress, and her messy makeup which tells us that
she had been crying.
On the table, a cell phone vibrates. The display reads:

“love.” Tamara just looks at it dancing on the table.
3.
The cell stops vibrating. Tamara takes the cell, opens the
lid, and replies by text. “I am sorry, I do love you, but I
can’t, please forgive me.”
She sends the text and turns off the phone.
EXT. CEMETERY - DAY
A tombstone reads: “Daniel Fairchild, Beloved Father.”
Tamara, Alice, and Alfie approach.
Tamara walks ahead. Alice and Alfie are just behind holding
hands. Each one carrying one red rose.
Tamara places the rose on top of the grave.
TAMARA
I miss you, daddy.
Alice and Alfie both place their roses in the same place.
Tamara makes an effort not to cry. Alice embraces her.
Alfie takes a Gameboy from his pocket. He starts to play, not

paying attention to anyone.
INT. CAR - DAY
An old Mustang in bad shape.
Alice is driving, Tamara is at her side, and Alfie is in the

back, still playing his Gameboy.
TAMARA
Mom called.
Alice just looks at her.
TAMARA
She did, she said --
ALICE
I don't care what she said.
TAMARA
She wants us --
ALICE
She's dead to us.
4.
TAMARA
We all make mistakes.
ALICE
We do, and some we can walk back
from. But what she did, leaving dad
when he was sick, there is no
walking back from that.
TAMARA
I miss her.
ALICE
Goddamn it, Tammy, a fucking phone
call, is that what it takes?
The car starts to make a loud noise. Soon the motor stops.
Alice starts the ignition. It works, then dies again.
ALICE
Fuck, fuck, fuck.
A car behind them starts to honk. Alice puts her arm out the
window and gives the finger.
Tamara tries not to laugh. Alice looks back seriously.
TAMARA
Karma is a bitch, hmm?
Alice smiles.
INT. BUILDING - CORRIDOR - DAY
Several beautiful women are lined up. Tamara comes in with

Alfie at her side. She stands at the end of the line. She is
by far the most beautiful woman in the room.
A pretty girl next to Tamara, looks at her from head to toe.

When she sees that Tamara notices, she smiles awkwardly.
MICHAEL (40s) comes from the door at the end of the corridor.
He is blond and charming, wearing an Armani suit.
He looks around, a brief second for each girl. He looks at

Alfie for more than a few seconds, he points at Tamara.
INT. BUILDING - INTERVIEW ROOM - DAY
The room is bare, a film crew and a table. Tamara sits.
Michael smiles as she gives him her headshot.

5.
MICHAEL
I see here that you don't have much
experience. Only a few plays. --
I'm sorry, I'm being rude, let me
introduce myself first, my name is
Michael like the archangel.
They shake hands, he makes it a long handshake.
MICHAEL
Tamara Fairchild, We are looking
for a very special girl. What makes
you think that you are more special
than all the others?
Tamara studies him and takes her time before answering.
TAMARA
I don't.
MICHAEL
How modest of you. Yet, here you
are, waiting in a long line of
pretty girls, hoping that you will
be chosen.
Tamara shrugs.
MICHAEL
Do you mind if I smoke?
TAMARA
Knock yourself out.
Michael lights a cigarette.
MICHAEL
Tell me, darling, do you have a
boyfriend? Someone to take care of
you?
TAMARA
That is none of your business. And
I'm not your darling. You can call
me Tamara.
Michael smiles.
MICHAEL
It is not just a pose, is it? You
really believe you are something.
TAMARA
Unlike you?
6.
The film crew giggles. Michael glances at them, and they

rapidly become dead quiet.
MICHAEL
Who are you? Isn't that the grand
philosophical question about
actors? A casting call for the role
of a whore, and like refugees from
Gomorrah here you all are, thinking
you can escape the disappointment
of your sad lives.
Michael reaches for her hand. Tamara tries to recoil from his
touch but he holds her hand with a strong grip.
MICHAEL
You are right, you are not special.
None of you are.
Tamara takes the cigarette from the ashtray and presses the
lit side on his hand.
Michael is terrified. He jumps back dropping his chair on the

ground. The film crew is shocked.
TAMARA
What the hell is your problem?
Tamara stands, as everyone looks at her. She looks at the

camera and leaves.
EXT. MECHANIC’S SHOP - DAY
Alice is standing in front of her broken car.
She paces impatiently. She looks at her watch.
A black BMW stops next to Alice. Just as she reaches for the
door, the car moves.
INT. BLACK BMW - DAY
CHRISTOPHER (40s) grins in the driver’s seat. He is a little

overweight, wearing glasses and a dark suit.
ALICE
Goddamn it, Christopher, I swear to
God, if you do that one more time
I'll make you wish you were a KFC
chicken.
Alice tries to open the door, but he moves the car again.
7.
She walks to the window, leans down and looks icily at him.
CHRISTOPHER
I’m sorry.
Alice enters the car and slams the door hard.
ALICE
That was not fucking funny.
CHRISTOPHER
It was a little funny.
Christopher drives. Alice doesn't look at him.
CHRISTOPHER
Well, maybe not Jon Stewart funny,
but it was at least Adam Sandler
funny.
ALICE
What part exactly do you think was
the funniest? That you were late
and I waited like a fool for more
than an hour, or maybe the fact
that my car broke down on the
freeway, or perhaps the part that I
don't have the money to get it
fixed? No, let me guess, the best
part of it all was you making me
look like a fucking idiot back
there.
Christopher smiles.
CHRISTOPHER
Yeah, that last one for sure.
Alice tries not to smile.
ALICE
Jerk.
INT. ALICE’S APARTMENT - ELEVATOR - DAY
Christopher and Alice in the elevator.
CHRISTOPHER
I can pay for the repairs.
ALICE
Thanks, but no thanks. I'd rather
take the bus than owe you money.
8.
CHRISTOPHER
That’s funny, because I'd rather
give you money than be your driver.
ALICE
Read my lips, out of the question.
CHRISTOPHER
How about I give you the money and
in return you give me like, say,
four coupons of anytime, anything
goes, have it your way, all lights
on, shameless, filthy, dirty sex?
ALICE
Wow, what a marvelous idea, the
exchange of money for sex. If only
there was a word to describe such
a ground-breaking concept.
INT. ALICE’S APARTMENT - BEDROOM - DAY
The room is simple, not big. There are album covers in frames
on the wall: mostly blues, mostly Tom Waits.
Alice undresses Christopher in a hurry.
CHRISTOPHER
Where is our male, Helen Keller?
Alice grabs his nipple and twists it hard. Christopher gives

out a loud cry.
CHRISTOPHER
That hurts.
ALICE
What did I tell you about making
fun of my baby brother?
CHRISTOPHER
What did you tell me? What makes
you think you are the one that
tells me what to do?
ALICE
Shut the hell up.
CHRISTOPHER
OK.
She pushes him to the bed and jumps in, then pulls him on top
of her. He kisses her, then tries to pull her on top of him.
9.
ALICE
What the fuck are you trying to do?
CHRISTOPHER
I’m tired. I think you should do
the work.
ALICE
You do, do you? Listen to me, boy
toy, I’ve had a horrible day. It’s
only fair for me to have it easy
right now.
She pulls him up, but again he moves to the bottom.
CHRISTOPHER
You see, the only problem is you
owe me. I left work in the middle
of the day to rescue you. Like you
said, baby, fair is fair.
ALICE
That’s why I don't let you lend me
money. Every time I ask you a
favor, you use that as leverage to
get what you want.
CHRISTOPHER
What can I say baby, I’m a lawyer.
ALICE
Rock paper scissors?
CHRISTOPHER
Okay.
Christopher makes rocks, Alice makes scissors.
ALICE
Fuck.
She gets on top.
EXT. HIGH SCHOOL - DAY
Alfie arrives to school on his bike. He locks the bike and

waits. He watches as the kids enter school. When everyone is
inside, he walks alone and enters.
INT. HIGH SCHOOL - CLASSROOM - DAY
Alfie sits in the back by the window.

10.
The TEACHER paces before the blackboard, where the word

“heritage” is written in bold letters.
TEACHER
Those who do not know their history
are bound to repeat it. And right
now, there are those who want to
erase our history, and with that,
they seek to undo our heritage.
No one speaks. In the back, Alfie gazes blankly out.
TEACHER
Confederate pride, that is nothing
to be ashamed of. There is no shame
in being Christian, no shame in
being white.
The teacher looks at the door and lowers the tone of voice.
TEACHER
Our ancestors fought and died for
states’ rights, but the left-wing
indoctrination by the almighty
liberal media will tell you
otherwise. They will say slavery,
they will call anyone that
disagrees with them a racist.
The Teacher notices Alfie, the only one not paying attention.
TEACHER
In the ‘60s, white people put in
place laws to remove race in
consideration for anything in
America. Blacks were as free as we
were, but that wasn't enough. Then
came the helping hand, the
affirmative action programs that
violated the Civil Rights Act, then
come the quotas, then they gave
proportionality to these quotas.
Today, cursed be the white that
speaks ill of a black man, or any
minority for that matter.
The Teacher looks again at Alfie.
TEACHER
That is history repeating itself.
This time, we the southern
Christian whites are the new
slaves, and the -- Alfie Fairchild,
am I bothering you with my class?
11.
Alfie looks at the Teacher.
TEACHER
Do you have anything to say? I
forgot my very special needs child.
Let’s raise our hands in a display
of our democratic system. Who
agrees that we should celebrate
Confederacy Day?
Every child raises their hand except Alfie.
TEACHER
You better raise that hand,
Fairchild.
Alfie just looks at him.
TEACHER
Raise your hand.
Alfie gets up from his desk, and gives the Nazi salute.
EXT. PLAYGROUND - HIGH SCHOOL - DAY
The playground is packed. Clicks everywhere. The athletes,

the outcasts, the nerds. Each teen stands with his own.
Everyone but Alfie, he sits alone in the farthest corner of

the playground, reading a book.
A BEAUTIFUL GIRL (16) walks in his direction. She sits at his

side in the shadow of a tree.
BEAUTIFUL GIRL
Hi.
Alfie looks at her, then looks back at his book.
BEAUTIFUL GIRL
Your name is Alfie, isn't it?
Alfie ignores her.
BEAUTIFUL GIRL
It’s Okay, silly, I just want to be
your friend.
She touches his arm. Alfie looks at her and pulls it back.
BEAUTIFUL GIRL
Why don't you speak?
12.
Alfie just looks at her very calmly. She can’t help but look
at his face, mouth, hair.
BEAUTIFUL GIRL
You are very pretty. Come, I want
to show you something.
She reaches to grab his hand. Alfie withdraws from her touch.
BEAUTIFUL GIRL
It’s OK, silly, I wont hurt you.
She smiles at him. Alfie looks around. Close to the bathroom,

an older SKINHEAD boy with equally hard-looking friends watch
him and laugh, but stop when they see Alfie looking at them.
Alfie looks again at the girl. She is embarrassed.
BEAUTIFUL GIRL
They just want to talk to you.
Alfie goes back to reading his book. The girl gets up.
BEAUTIFUL GIRL
Fuck you, loser.
She walks to the Skinhead.
EXT. SIDEWALK - DAY
Alfie rides his bike on the sidewalk.
A motorcycle comes fast behind him. Alfie turns his head to

see it. The Skinhead drives the motorcycle.
He drives onto the sidewalk, side by side with Alfie’s bike.
The Skinhead holds Alfie’s bike and speeds up, leading Alfie
into a fire hydrant.
Alfie tries not to hit the fire hydrant, but he loses control
and lands hard with his belly on the hydrant. His bike goes
into the street and is run over by a pickup.
The Skinhead keeps going.
Alfie is hurt and bleeding. As he gets up, he places his hand

over his belly, and starts to walk home.
13.
INT. DANCING SCHOOL - NIGHT
Tamara dances in the lounge. She moves with elegance and

precision. She perspires, but she is so focused and graceful
that there is no way you could tell if she is tired.
She dances to a soft Brazilian bossa nova. The musics ends.
SUSIE (20s) claps. They are alone in the room.
Susie is very pretty with blond hair and blue eyes. Her
clothes, on the other hand, are quite out of style for her
age, they have a ‘70s look.
SUSIE
That was absolutely divine. You
have so much tenderness and grace.
It is humbling to watch you.
Tamara smiles mechanically and nods.
SUSIE
If I ever found a genie that would
grant me three wishes, one would be
to dance as beautifully as you do.
Tamara responds without looking at her.
TAMARA
You came to the right place. I give
classes every Tuesday and Thursday
from seven to nine. But we are
closed now, so if you don't mind.
SUSIE
I didn't come here for dancing
lessons.
Tamara looks at her for the first time. She smiles as she
looks at the odd clothes of Susie.
TAMARA
Should I ask you then, why did you
come here?
SUSIE
I saw you at the audition.
TAMARA
And?
SUSIE
I’m directing a play, and I want
you to read for the lead.
14.
Tamara smiles, warmly now; she takes a towel and dries the
sweat off her face as she walks towards Susie.
TAMARA
When?
SUSIE
How about right now? I can take you
to the theater.
Tamara stops close to Susie. She tosses the towel aside.
TAMARA
Here, hold me like this.
Tamara places one of Susie’s hands on her hips and the other
on her shoulder.
SUSIE
What are you doing?
TAMARA
What does it look like I'm doing?
Tamara presses a small remote attached to the band on her

wrist. A Brazilian song that sounds like a tango plays.
TAMARA
No, you have to follow. Yes, just
like that.
They dance, Tamara effortlessly and Susie awkwardly.
TAMARA
What is your name?
SUSIE
Susie.
TAMARA
Well, Susie, why don't you tell me
what you really want from me?
Susie becomes tense and anxious.
TAMARA
I get offers like that all the
time, and nine of ten times I just
say no.
SUSIE
Pardon?
They stop dancing, and the music stops a few seconds later.
15.
TAMARA
Do you want to kiss me?
SUSIE
I’m not a homosexual.
TAMARA
That was not what I asked you.
Susie is trembling. Tamara places Susie’s hands on her face.
SUSIE
Yes, I do.
Susie blushes. Tamara smiles, and she leans to kiss Susie.
They kiss.
INT. ALICE BUILDING - ALFIE BEEDROOM - NIGHT
The room is pitch black, the only light comes from a table
lamp. On that table, Alfie works on an engine.
He assembles the engine with remarkable precision.
Alice is sleeping soundly. Christopher is at her side. He is

wide awake, looking at the clock.
The clock reads: 06:37 AM
Christopher takes the clock and changes the time to 06:59 AM,
and waits. When the clock hits 7 AM, the alarm sounds.
CHRISTOPHER
Baby, wake up. It’s time to get up.
Alice groans.
ALICE
It is 7 already?
CHRISTOPHER
Yep.
ALICE
Give me ten more minutes. Wake me
at 7:10.
16.
CHRISTOPHER
Jesus, Alice, what difference will
ten more minutes make?
ALICE
Please, I'm really tired. Please
let me sleep just ten more minutes.
Alice closes her eyes and puts her head on his shoulder.
Christopher waits a few seconds. He changes the time on the

clock to 07:15 AM. He nudges Alice.
ALICE
What, what.
CHRISTOPHER
Baby, it’s 7:15.
ALICE
Already? Goddamn.
Alice gets up. Christopher smirks.
INT. ALICE’S APARTMENT - LIVING ROOM - DAY
Alice comes out of her room, just in time to see Alfie about
to leave the apartment.
ALICE
Hey, mister, come here.
Alfie stops. He is wearing a shirt with long sleeves.
ALICE
What did I tell you about leaving
for school without paying the toll?
Alfie walks unwillingly to her. He kisses her on the cheek.
ALICE
You can do better than that.
Alice hugs Alfie. He cries out.
ALICE
What’s wrong? Are you hurt?
Alfie doesn’t reply.
ALICE
Raise your shirt.
17.
Alfie shakes his head.
ALICE
I’m not kidding.
Alice gets closer and raises his shirt. The left side of
Alfie is purple, painfully bruised. She panics.
ALICE
My God, what happened? Did someone
do this to you?
Alfie doesn’t speak.
ALICE
Listen to me, I want an answer, a
spoken one. What the hell happened?
ALFIE
I fell from my bike.
ALICE
Bullshit. Someone did this to you.
Who did this?
Alfie just looks at her.
ALICE
Goddamn it, Alfie, answer me.
Alice is shaking. Christopher leaves her bedroom.
CHRISTOPHER
What’s going on?
ALICE
Take him to the hospital for an X-
ray.
CHRISTOPHER
What? Me? What are you going to do?
ALICE
I don't know.
Alice puts on jeans and a jacket. Storms out.
INT. HIGH SCHOOL - HALL - DAY
Alice walks fast in the hall.

18.
INT. HIGH SCHOOL - PRINCIPAL’S OFFICE - DAY
Alice barges into the office.
The PRINCIPAL (50s) is an overweight woman with curly hair

eating a big bowl of low-fat yogurt.
ALICE
Do you even care about what happens
to the children in this fucking
school?
The Principal can’t speak because her mouth is full of

yogurt. She tries to swallow as fast as she can.
ALICE
I’m gonna tell you something, and
you better listen and listen very
carefully. If any boy here so much
as lays a finger on my brother
again, I'll hold you fucking
responsible.
PRINCIPAL
Wait a minute, I don't know what
you --
ALICE
Shut the fuck up.
The Principal stops talking.
ALICE
Someone beat him. Whoever did it, I
want him expelled.
PRINCIPAL
Can I say something now?
ALICE
Go ahead.
PRINCIPAL
Who hurt him?
ALICE
He won’t say.
PRINCIPAL
And you expect me to do what?
ALICE
I expect you to protect him.
19.
PRINCIPAL
Can I be frank with you?
Alice nods.
PRINCIPAL
Your brother should not be in this
school. He is not normal. He
doesn’t fit in with the other kids.
This is a public school, and we are
not equipped to deal with a mute
kid with schizoid disorder.
ALICE
He is not mute, he just doesn't
like to speak.
PRINCIPAL
He makes no effort, he is here but
he is not really here. I have
worked with children for more than
25 years, I have never seen one so
unfit.
ALICE
Yes, he is fucking unfit. By the
time his fit classmates grow up to
be clerks, waiters, and whatever
these fucking southern, redneck,
Bible-toting, gun-loving,
Republican-voting motherfuckers
grow up to be in their cliche of an
existence, my brother will be
somebody great.
Above the principal, there is a picture of Ronald Reagan.
PRINCIPAL
I had enough of your --
ALICE
You had enough? Of fucking what? I
haven't started yet. If my brother
comes back home from school with so
much as a broken fingernail, I'll
create a hell of such fucking
proportion that not only will end
your fucking carrier but will have
your double chin face as synonymous
of child abuse.
The Principal holds back tears.

20.
PRINCIPAL
Are you threatening me?
ALICE
Yeah.
PRINCIPAL
You are just as sick as he is.
ALICE
I want the boy that did this
expelled.
PRINCIPAL
I'm not afraid of you.
ALICE
You should be, you have no idea of
what I'm capable to do to protect
my own.
Alice stares at her. The Principal looks away.
ALICE
Do we understand each other?
PRINCIPAL
I'll see what I can do.
Alice leaves. The Principal notices that her yogurt cup is

shaking in her hands. She throws the bowl at the wall.
INT. TAMARA’S HOUSE - BATHROOM - DAY
Susie is in the shower. As she leaves, she is careful not to

expose her naked body, covering her breasts with a towel.
Tamara enters the bathroom and walks close to Susie.
TAMARA
Why didn't you wait for me?
SUSIE
I told you why.
Tamara tries to pull the towel from her. Susie moves away.
SUSIE
Stop that.
TAMARA
Again with that? Why can’t I see
your breasts?
21.
Susie is very nervous.
SUSIE
This is not easy for me.
TAMARA
You could have fooled me. Last
night was wonderful.
SUSIE
It was wonderful for me, too.
Tamara takes off her clothes and gets into the shower.
TAMARA
Why don't you come in?
Susie just looks at her.
TAMARA
Whatever.
Susie leaves the bathroom.
EXT. PARK - NIGHT
Tamara and Susie walk in the park, holding hands.
SUSIE
It doesn't feel real.
TAMARA
What?
SUSIE
You know.
TAMARA
I don't.
SUSIE
Being with you is like waking up
from a bad dream into a good one.
Was the last one real? Is this one?
TAMARA
You’re funny.
SUSIE
I guess I’m not making a lot of
sense.
22.
Susie takes off her bracelet and gives it to Tamara; it is a

silver bracelet with diamonds.
SUSIE
I want you to have this.
TAMARA
That looks terribly expensive.
We’ve just met.
SUSIE
Please, if you care for me, wear it
and never take it off.
TAMARA
Never is an awful long time.
SUSIE
Then promise that as long as you
care for me, you’ll wear it.
Tamara gets really close to Susie.
TAMARA
I can do better than that.
She kisses Susie.
INT. ALICE BUILDING - ALFIE BEEDROOM - NIGHT
The room is clustered. A desk with a computer on the side of

the door. Some shelves with books, others with stuffed
animals. Legos scattered all over.
In the center of the room there is a big table, so big that

leaves no room for a bed, instead, there is a sleeping bag.
Christopher is alone in the room looking around, he takes one

of the legos from the floor, an skull.
Alice enters.
ALICE
What are you doing here? You know
he doesn't like when you enter his
room.
CHRISTOPHER
Don't you think this is a bit too
much?
(points at the table)
I mean, what the hell do you think
that is?
23.
On the table there is an engine, and a set of tools.
ALICE
How should I know? I'm not a boy
genius. Let’s go, we are late for
my sister’s.
She leaves.
Christopher turns the engine on, it makes a running sound,

then it breaks with a soft bang.
CHRISTOPHER
(to himself)
So much for the Genius.
INT. TAMARA’S HOUSE - LIVING ROOM - NIGHT
Alice, Christopher, Alfie, and Susie sit at the dinner table.

Tamara brings in drinks.
Alfie is making origami with his paper napkin. Alice is all

but staring at Susie. Christopher is eating ahead of
everyone, and Susie is avoiding eye contact.
ALICE
So, Susie, why don't you tell us a
little about yourself?
SUSIE
That is such a difficult question
to answer.
ALICE
Give it a go.
SUSIE
I can say that I went to Harvard
and got a degree in literature, and
that I was the valedictorian of my
class. Then again, that was not the
real me, the real me didn’t even
exist until I met your sister.
ALICE
That is very dramatic considering
that you have only known her for
what, three days?
SUSIE
“It lies not in our power to love
or hate, for will in us is
overruled by fate.
(MORE)
24.
SUSIE (CONT'D)
The reason no man knows, let it
suffice, what we behold is censured
by our eyes. Where both deliberate,
the love is slight, who ever loved,
that loved not at first sight?”
The sound of a glass breaking on the ground.
TAMARA (O.S.)
Just an empty glass, don't worry.
Alice looks at Susie. An uncomfortable silence follows.
Christopher smiles.
CHRISTOPHER
You look like a nice girl and all.
Can I give you some advice?
SUSIE
Sure.
CHRISTOPHER
Don't get your hopes up. Tammy is
like that big roller coaster. It
takes your breath away when you
look at it, and when you’re on it,
your heart will beat fast, and
you’ll feel emotions that you never
thought possible to feel.
Christopher makes a dramatic pause.
CHRISTOPHER
But when the ride is over, you will
have to wait in a big fucking line
to ride it again.
Alice punches him in the shoulder.
ALICE
You jerk. That is so chauvinist on
so many levels. And if she's the
roller coaster what the fuck am I?
The fucking carousel? Not as much
fun, but you can ride to your
heart’s content?
CHRISTOPHER
I wish.
25.
ALICE
(to Susie)
Do you have family here in South
Carolina?
SUSIE
No, I’m an orphan. My parents died
when I was a child.
ALICE
That’s horrible. Who raised you?
SUSIE
My godfather did, but he also died
in my arms just after I turned 18.
CHRISTOPHER
How did he die?
SUSIE
Heart attack.
CHRISTOPHER
And your parents?
Alice gives him a disapproving look.
SUSIE
It’s fine, I don't mind. My parents
and my two brothers died in a
earthquake back in ‘72. Our house
collapsed. Somehow, I was the only
one that got out alive.
ALICE
I’m sorry.
Tamara comes back to the table bringing glasses and wine.
INT. TAMARA’S HOUSE - KITCHEN - NIGHT
Alice washes the dishes while Tamara dries them.
TAMARA
So?
ALICE
So what?
TAMARA
Do you like her?
26.
ALICE
Do you?
TAMARA
Of course I like her.
Alice faces Tamara.
ALICE
You got her in love with you, you
know? She's even reciting poetry,
but that’s nothing new for you, is
it?
TAMARA
We just met.
ALICE
What are you doing, Tammy?
TAMARA
I’m living, I’m taking a chance,
I’m getting laid, I’m having fun.
ALICE
You brought a stranger to your
home. How can you be so reckless?
How many times do I have to tell
you to be careful?
TAMARA
I don't want to be careful, I want
to be carefree. Do you really
expect everyone to stop living just
because of what happened to you?
Alice freezes.
TAMARA
I’m sorry.
Tamara hugs her sister.
ALICE
Tammy, all that I’m saying is that
you should get to know her before
things go too far.
TAMARA
So you didn't like her.
ALICE
No.
27.
Alfie stands in the doorway unnoticed.
TAMARA
Why not?
ALICE
I don't know. There is something
about her.
EXT. SIDEWALK - DAY
Alfie runs. Behind him, four boys driving motorcycles

approach fast; one of them is the Skinhead.
Alfie leaves the sidewalk and runs toward --
EXT. ALLEY - DAY
Alfie is exhausted, breathing heavily.
SKINHEAD
He’s here.
Alfie runs again. The boys follow him.
The Skinhead drives full speed in Alfie’s direction. Alfie

moves out of the way just before the bike hits him.
The boys circle and cut ahead of Alfie, making him run back.
The Skinhead passes by Alfie and kicks him on his side. Alfie
falls to the ground.
They circle him, laughing. Alfie gets up, his nose bleeds.
The bikers dismount. The Skinhead smiles at Alfie.
SKINHEAD
Bring him here.
The three other boys grab Alfie.
SKINHEAD
Why is the principal asking
questions about how you got hurt?
Did you tell the principal what I
did? Are you a tattletale?
Alfie doesn't respond.

28.
SKINHEAD
It was an accident. Do you get it?
Say it, say it, you fucking retard,
I know you can speak.
The Skinhead punches Alfie in the stomach. Alfie falls, but

the other boys lift him up.
SKINHEAD
You think I’m joking?
SKINHEAD
I’m newborn-with-AIDS serious. Say
it.
Alfie looks calmly at him. The Skinhead pulls the back of his
bike up. He places one of the boys on the gas.
The skinhead with the help of the other two boys brings Alfie
close to the tire. He pulls up Alfie’s sleeve and brings his
right arm close to the tire.
SKINHEAD
Hit the gas.
The tire spins. The Skinhead holds Alfie’s arm next to it.
SKINHEAD
I’m gonna make you bleed. Say it,
say it or I'll skin you alive. Do
you get me, you faggot nigger
lover?
Alfie doesn't even try to resist. He stands still, not

looking at the spinning tire, just looking at the Skinhead.
The Skinhead moves Alfie’s arm into the spinning tire. Blood
splashes on everyone.
BOY 1
What the fuck! What did you do? We
were just suppose to scare him!
BOY 2
I’m out of here. I’m not getting in
trouble over this shit.
BOY 3
He’s hurt.
Alfie is on the ground holding his bleeding arm, crying.

29.
SKINHEAD
He asked for it.
(to Alfie)
You asked for this. Now wise the
hell up. If you tell anyone about
what happened here, I'll come again
for you. I'll fuck you up, and if
that is not enough I'll fuck up
your pretty sister.
Alfie stops crying and looks with hatred at the Skinhead.
SKINHEAD
Let’s get the fuck out of here.
BOY 1
What about him?
SKINHEAD
Fuck him.
They go, leaving Alfie bleeding alone in the empty alley.
INT. DINER - DAY
Tamara is sitting in the same spot as before, but this time

she is not wearing a wedding dress but instead jeans and a T-
shirt. Her face, however, has the same expression as before.
At her side is a big black plastic bag.
Susie enters. She has a big smile on her face and holds
several pamphlets in her hand.
She sits facing Tamara and places the pamphlets on the table;
they are brochures of exotic locations.
SUSIE
I know I promised I wouldn’t choose
without you, and I didn't. Then
again, I must say, Rio is the most
beautiful city in the whole world.
Susie is holding a brochure with Rio de Janeiro on the cover.

Tamara takes the brochure from and holds her hand.
TAMARA
I need to say something.
The smile on Susie’s face dies as she looks at the big black
plastic bag. She takes her hand away.
30.
SUSIE
What’s in the bag?
TAMARA
Let me talk first.
SUSIE
I don't want to hear what you have
to say, I want to hear what’s in
the bag.
Tamara doesn't respond. Susie’s eyes are filling with tears.
SUSIE
Are my clothes inside that bag?
Tamara nods.
SUSIE
Is this why you chose to meet in
this place? Is this the place you
bring an end to your conquests?
TAMARA
No. My father would bring me here.
I feel safe here.
SUSIE
I don't.
TAMARA
I’m sorry, I never meant to hurt
you. I think it’s best to end it
now before things go too far.
SUSIE
I love you. How much farther could
things go?
TAMARA
You don't love me, we just met.
SUSIE
I know it is real.
TAMARA
It’s not real for me.
SUSIE
Yes, it is. You’re just afraid of
being loved.
TAMARA
That’s not it.
31.
SUSIE
How do you know?
TAMARA
I’ve heard it all before.
A tear rolls down Susie’s face.
SUSIE
Of course you have, who can’t help
loving you?
TAMARA
I’m so sorry.
SUSIE
Give me the bag.
Tamara gives Susie the plastic bag.
SUSIE
Have at least tried?
TAMARA
I always do.
Tamara takes the bracelet and hands it to Susie.
SUSIE
Keep it, precious things don't
belong to me.
Susie fakes a smile. She gets up and leaves.
Tamara looks at the brochure of Rio de Janeiro.
INT. ALICE’S APARTMENT - BATHROOM - DAY
Alfie is naked under the shower. Blood flows from the wound.
He steps away from the water with a bottle of alcohol in his

hand. He pours the alcohol over his wound. He cries.
Tamara is drinking wine. She empties the bottle while filling

up the glass. On her TV, Nina Simone plays in concert. The
music is sad, and Tamara is sobbing.
She is looking at the bracelet Susie gave her.

32.
The cell phone vibrates on the table in front of her; it

reads” “Susie.” Tamara lets it vibrate.
She drinks half a glass of wine in one gulp.
The phone keeps vibrating. Tamara finishes the glass. She

gets up, goes to a trash can in the kitchen, and drops the
bracelet inside.
The bell to her house rings.
Tamara looks at the phone. It is still vibrating. She goes to

the door and looks through the peephole.
Tamara hesitates for a moment, then she opens the door.
INT. ALICE’S APARTMENT - BEDROOM - DAWN
Alice wakes up screaming. Christopher is at her side.
CHRISTOPHER
Jesus. What’s wrong?
Alice is trembling.
CHRISTOPHER
Talk to me. Are you Okay?
ALICE
Hold me. Please, hold me.
Christopher embraces her.
CHRISTOPHER
Look at me. He can’t hurt you
anymore.
ALICE
I'm so afraid.
CHRISTOPHER
Come.
Christopher takes her by the hand to the balcony.
EXT. ALICE’S APARTMENT - BALCONY - DAWN
Christopher takes Alice to the railing, embracing her from

behind. He points ahead.
CHRISTOPHER
Look.
33.
The sun is rising, and it is a beautiful sight. Alice smiles.

He turns her so she can face him.
CHRISTOPHER
Everything is going to be fine, I
promise you.
They kiss.
EXT. SCHOOL - DAY
The kids bustle away. Alfie is the last one to leave. The
Skinhead and his friends are on their motorcycles outside,
and they look at Alfie and grin.
Christopher’s black BMW drives close to Alfie.
Christopher lowers the window on the passenger side.
CHRISTOPHER
Your sister asked me to give you a
ride home. Get in.
Alfie looks back at the bullies, then gets inside the back
seat of the car.
CHRISTOPHER
By all means, let me be your
chauffeur.
Christopher drives.
The sound of an accident makes Alfie look back. A woman

starts to scream. Alfie leaves the car.
EXT. SCHOOL - ROAD - DAY
Alfie runs between the cars. No one is moving. People leave

their cars to see what happened.
Alfie reaches the crash. A car has smashed into a motorcycle.
On the ground, just a few steps from Alfie, is the Skinhead.

He lies bleeding on the ground. His right arm is broken in
three places, his chin is peeled off, and his left leg is
also broken. The Skinhead is still alive.
People all around look away from the scene, except Alfie, who
looks intensely at the Skinhead.
34.
Their eyes meet, and for some time they look at each other.
Alfie grabs his smart phone and is about to take a picture

when Christopher grabs him and takes him back to the car.
EXT. CEMETERY - DAY
Alice and Alfie are in front of the grave of their father.
Alfie sits on the ground playing with his Gameboy. Alice

looks at her watch. She dials her cell; the screen reads:
“Tamara cell.” It reaches voice mail.
Alice dials her cell; the screen reads: “Tamara home.” It

rings and rings.
EXT. CEMETERY - NIGHTFALL
Alice is sitting on the ground with Alfie, who is sleeping

with his head on her shoulder.
Alice unlocks and enters the room with Alfie.
ALICE
Tammy? Tammy, are you here?
Alfie goes inside the house. Then comes back.
ALICE
Anything?
INT. POLICE STATION - OFFICE - DAY
Christopher and Alice sit side by side. In front of them, a

bald DETECTIVE (50s) writes on a notepad.
DETECTIVE
Let’s recap, no break-in, no sign
of struggle whatsoever, a fiance
left at the altar, and to top it
all up, a new girlfriend. Is that
the gist of it?
Alice nods seriously.

35.
DETECTIVE (CONT’D)
I'm gonna drop my two cents now. It
seems to me, that she's the kind of
gall that likes to take some time
out when things get to intense.
Maybe she had a fight with this
girl Susie, or maybe she found
another girl or boy that she liked
best. Either way, it’s just too
soon to worry.
ALICE
She didn't show up for work, her
bed was made, she didn't take any
clothes, or shoes, no money, no
credit card. She just vanished with
a fucking stranger.
DETECTIVE
One day, maybe two. God knows I
have gone longer without money,
shower and a new set of clothes.
ALICE
She wouldn't. Something happened to
her, something bad, I know it.
DETECTIVE
How could you possibly know that?
ALICE
Every week, we visit the grave of
our father, she wanted us to move
to LA. So, she said it was
important that we did that. In two
years, she never missed a day. Not
one day.
DETECTIVE
That is not knowing, that is
assuming.
ALICE
Please, find her.
DETECTIVE
No can do kiddo. Not before the 48
hour mark, not without evidence.
ALICE
You fucking lazy bastard.
CHRISTOPHER
Baby calm down.
36.
DETECTIVE
I can have you arrested for
disrespecting an officer.
CHRISTOPHER
Hold on there Kojak, grab a
lollipop and chill. Let’s not get
carried away here.
DETECTIVE
Get the blood hell out of my office
both of you.
ALICE
She could be dead or dying, right
now. Do you care? Answer me, do you
fucking care?
The detective doesn’t reply.
ALICE
What a waste of time.
Alice storms out of the room, Christopher follows.
INT. ALICE’S APARTMENT - BEDROOM - NIGHT
Christopher sleeps soundly, at his side, Alice is awake. She

looks at her cell; no calls.
Alice wipes tears from her eyes. She gets up.
EXT. ALICE’S APARTMENT - BALCONY - NIGHT
Alice curls into a fetal position in the corner, and she

starts to cry uncontrollably.
EXT. SCHOOL - DAY
Christopher drops Alfie in front of the school. There are

several kids grouped together. Alfie waits for them to leave.
The bell rings. The kids enter the school. Alfie approaches.
A memorial is set up in front of the school. There are

candles and flowers all around. In the center is a huge
picture of the face of the Skinhead boy.
Alfie looks at the picture for a moment. Then he takes one of

the flowers before he enters the school.
37.
Christopher and Alfie play chess.
CHRISTOPHER
The boy that died, was he your
friend?
Alfie shakes his head as he moves his queen on the board.
CHRISTOPHER
Are you sad for him?
Alfie shakes his head again as he uses his queen to check.
CHRISTOPHER
I saw that you took away that
engine from your room. -- that was
a fuel engine, right?
Christopher waits for a response that doesn't come.
CHRISTOPHER
That was a bad move. -- Never
expose your queen.
Christopher uses his bishop to take out the queen.
CHRISTOPHER
Checkmate, rain man.
INT. BAR - OFFSTAGE - NIGHT
Alice on her cell.
ALICE
Mom, it’s me Alice -- The only
reason I’m calling is to know if
Tammy showed up there -- You call
me if she does -- I have to go --
No, I'm not saying back -- You know
why -- Because I don't fucking love
you, that’s why.
Alice ends the call.
INT. BAR - STAGE - NIGHT
Alice gets on the stage. She sings “Dead and Lovely”.

38.
ALICE
She was a middle-class girl/She was
in over her head/She thought she
would/Stand up in the deep end/He
had a bulletproof smile/He had
money to burn/She thought she had
the moon/In her pocket/But now
she's dead/She's so dead/Forever
dead and lovely now.
Alice stops singing. No one notices she stopped.
ALICE
I'm dedicating this song to my
sister.
The people at the bar are still unaware of her.
ALICE
I think she's dead.
Some people stop talking and look at her.
ALICE
Did that get your attention? You
know, every night I watch you
people, a bunch of fucking
oblivious smiling mice, going about
your lives, all together in the
collective self-deception that
happiness is within your reach.
Now everyone in the bar is paying full attention, even the

waiters stop working and just look at her in disbelief.
ALICE
This is a world of unbound cruelty
and malice, and happiness is just a
fucking house of cards that you
keep on building, all the while
deluding yourselves that it will
never fall down.
Alice takes the microphone from the stand. She walks to her
purse. The people in the bar are dead silent.
39.
ALICE
It is bound to fall down -- if you
pay attention, behind the
background noise, you can hear the
ticking clock, the countdown to
hopelessness, that moment of
clarity when you see your life
crashing down on you and you know
what life is really about.
Alice takes a gun out of her purse. The people in the bar get
startled, getting up from their chairs and moving back.
Still, not many leave the bar, most keep on watching her.
ALICE
I bought this gun to protect my
family, thinking this time I could
make a difference. Isn't it fucking
hilarious?
Alice makes an effort not to cry.
ALICE
There is no one to shoot.
Alice looks at the gun, then puts it back in her purse.
ALICE
You have been a great audience.
Alice leaves the stage.
INT. ALICE’S APARTMENT - LIVING ROOM - NIGHT
Alice enters her apartment. She goes to the answering

machine, but it reads zero new messages.
Alice takes her cell from the purse and dials. The screen
reads: “Tammy cell” it reaches voice mail.
INT. ALICE’S APARTMENT - CORRIDOR - NIGHT
Alice walks past a door with a poster of a three-headed dog

behind a gate of fire. Under the door, she notices light.
INT. ALICE’S APARTMENT - ALFIE’S BEDROOM - NIGHT
Alfie is sitting at his computer. Alice enters.
ALICE
What are you doing up this late?
40.
Alfie presses the lock key on his keyboard, locks the screen.
ALICE
Whatever it is, it can wait until
tomorrow. Now go to sleep.
Alice embraces her brother and kisses him on his forehead.
ALICE
I love you. Do you love me?
Alfie nods.
ALICE
Is anyone still picking on you?
ALICE
Don't you ever let them get under
your skin. Let them think you are
the ugly duckling for now. They are
to dumb to see you for what you
are. -- You know you are special,
right?
Alfie nods.
ALICE
Good. Night night my swan.
Alice turns off the lights as she leaves the room.
Alfie unlocks the computer. On the screen, pages and pages of

reports of missing girls.
Alice is sleeping. Alfie enters holding a breakfast tray.
Alice wakes as he gives her the tray. She smiles.
INT. CAB - DAY
Alice and Alfie are seated in the back seat. Alfie dresses in
a graduation suit.
Alice combs his hair. Alfie takes the comb and shakes his
head, putting his hair back the way it was before.
ALICE
Are you nervous?
41.
ALICE
It’s OK to be nervous. Today is a
big day. Tammy would be so --
Alice stops talking. She looks away from Alfie, trying to

hide the tears building in her eyes.
Alice takes her cell and dials. Again the screen shows “Tammy
cell,” again voice mail.
Alice then dials again, the screen shows “Tammy home,” this
time she gets a busy signal.
ALICE
(to the driver)
Turn this car around right now.
INT. TAMARA’S HOUSE - LIVING ROOM - DAY
Alice enters the room.
The room has been disarranged. The sofa cushions are turned,
the drawers of the TV table are partly open, and the
telephone is on the floor.
ALICE
Alfie, don't come in.
Alice walks slowly in the direction of the bedroom.
INT. TAMARA’S HOUSE - BEDROOM - DAY
Alice opens the semi-closed door.
Susie sits on the bed holding something. She is sobbing.
ALICE
Where is my sister?
Susie looks up startled.
ALICE
I said, where is my sister?
SUSIE
I don't know.
ALICE
I don't believe you.
42.
SUSIE
She left me three days ago. I
haven't seen her since. I called,
but she never answered. I’m sorry
about the mess, I meant to fix it
before she got home from work.
ALICE
She's not at her fucking work. She
has been missing for three days
now. The police are looking for her
and you.
Susie gets up.
SUSIE
I didn't know. I thought --
ALICE
What are you doing here?
Susie opens her hand, revealing the old-fashioned bracelet.
SUSIE
I gave it to her. She promised me
never to take it off, but I knew
she would. It means nothing to her,
and a lot to me. So, I came back
for it. I knew where she kept the
spare key.
ALICE
So, you came here to steal it back?
SUSIE
I’m sorry.
ALICE
I want you to come with me to the
police station. You are probably
the last person who talked with her
before she went missing.
SUSIE
Of course. Anything I can do to
help.
INT. LIVING ROOM - TAMARA’S HOUSE - DAY
Alice and Susie walk into the living room.
Alfie is in the room.

43.
ALICE
I told you to wait outside.
Alfie looks at Alice, and she shakes her head.
SUSIE
I’ll take my car and meet you
there.
Alfie stands in the way. He looks at Susie.
ALFIE
Can I ask you something?
Alice and Susie are surprised to hear him speak.
SUSIE
Sure, dear.
ALFIE
What year did you graduate?
Susie stutters.
SUSIE
What?
Alfie doesn't repeat.
SUSIE
I think we should go.
Susie walks past Alfie, but Alice closes the door.
ALICE
You better answer his fucking
question.
Susie takes some time before she speaks again.
SUSIE
2001.
Alice looks at Alfie.
ALICE
Why?
Alfie gives his smart phone to Alice.
Alice looks at the phone, then looks at Susie.
ALICE
You’re lying.
44.
SUSIE
No.
ALICE
The valedictorian for the class of
2001 at Harvard was a man named
George.
SUSIE
That must be a mistake.
ALICE
You lied.
SUSIE
I can explain.
Alice opens her purse. The gun is in there. She takes some
money and gives it to Alfie.
ALICE
Take a cab home.
Alfie takes the money but doesn't move.
ALICE
You have to go right now.
Alfie leaves. Alice closes the door.
EXT. TAMARA’S HOUSE - DAY
Alfie goes around the house. The neighborhood is empty. The

houses next door are somewhat far.
Alfie stands next to the living room window and looks in.
Alice stares silently at Susie.
ALICE
Is she dead?
SUSIE
What? I don't know. I swear to you.
I don't know.
45.
ALICE
I had a bad feeling about someone
once, I dismissed that feeling --
there is not one day that goes by
that I don't regret doing that.
SUSIE
Why are you saying this?
ALICE
I have the same feeling about you.
SUSIE
You are frightening me.
ALICE
You should be frightened.
SUSIE
Why? Because you think I lied? You
think I lied and that means what?
That I killed her?
ALICE
Yes, that’s what I think it means.
SUSIE
If you really believe that I know
what happened to her, why don't you
just call the police?
ALICE
If I did that, you would have to
choose between life in prison or
lying.
SUSIE
And what choice are you to give me?
Alice takes the gun from her purse.
ALICE
Truth or dare.
Susie forces herself to smile.
SUSIE
What if I’m telling you the truth?
ALICE
You will die.
46.
SUSIE
We were talking about traveling.
Maybe she went alone.
ALICE
Where is she?
SUSIE
I don't know.
Alice points the gun at her.
SUSIE
You pull that trigger and there is
no going back.
ALICE
I know.
Alice shoots Susie in the stomach.
Susie looks surprised. She collapses on the sofa, bleeding.
ALICE
There is still time to call an
ambulance. If you want to live,
tell me where she is.
SUSIE
I loved her, she could have saved
me.
ALICE
Don't make me hurt you more.
SUSIE
You know nothing about hurt.
ALICE
I know some.
Alice shoots Susie again, this time closer to her chest.

Susie falls back. She lies on the sofa, bleeding all over.
Alice wipes tears off her face. Susie manages to sit up.
ALICE
Where is my sister?
SUSIE
I'm so thirsty.
ALICE
You will die, do you understand?
47.
SUSIE
Can I have some water please?
Alice approaches Susie. She puts the gun under her chin.
ALICE
What have you done to her? Tell me.
I know you did something to her.
SUSIE
I’m sorry. I'm so sorry.
Susie grabs Alice’s hand holding the gun with both hands.
ALICE
What are you fucking sorry for?
SUSIE
I thought that I could live without
her, but I can’t. Why did she leave
me? Why couldn't she love me?
Susie grabs the gun. The weapon shoots one last time, a
mortal wound to Susie’s head.
Alice’s face is covered in blood. Alice moves back and sits

on the ground, looking at the dead body in front of her.
INT. TAMARA’S HOUSE - BATHROOM - DAY
Alice enters the shower. She turns on the water at full

pressure. She is still wearing her clothes.
Alice crouches in a corner. She takes out her cell and dials.
She stands back away from the water.
ALICE
(on the cell)
Chris, I need you, please, I need
you here.
At the window in the bathroom, Alfie watches her unnoticed.
Alfie goes to the front of the house.
INT. LIVING ROOM - TAMARA’S HOUSE - DAY
Alfie enters the room. He walks close to the body of Susie.

He stares at it for a few moments. His face is unemotional.
48.
Alfie notices something on her chest. He looks closer,

careful not to touch the blood.
Alfie unbuttons the front of the dead woman’s blouse. He

takes pictures, then buttons her up again.
Alfie touches her pockets and from one of them he pulls out a
set of car keys. He watches the blood in his hand.
Alfie leaves the room.
Alfie looks to his right and left. On his left side, very far
down the road, he sees a parked car.
DOWN THE ROAD
As Alfie gets close to the car, he presses the button on the

base of the car keys, and the car unlocks.
INT. CAR - DAY
Alfie looks around the car. He opens the glove compartment.
He put his hand under the seat and pulls out a purse. He
opens the purse and finds a wallet. He takes out Susie’s
driver licence. It reads “Susie Fox.”
Also from the purse, he takes a hotel keycard: Number 1003.
The keycard has no name on it, just the room number. Alfie
notices a GPS, he browses it for the last location.
Alice sits by the side of the door wearing only a robe.

Someone knocks on the door.
She opens the door. Christopher smiles at her. Alice moves

out of the way. Christopher’s smile fades as he sees the body
of Susie on the sofa.
Christopher enters the room, and Alice closes the door.
INT. ALICE’S APARTMENT - ALFIE’S BEDROOM - DAY
Alfie enters his room, changes his clothes, and puts on jeans
and a black T-shirt.
49.
He logs on his computer and does a Google search of the name

“Fox.” A news article comes up, with a picture of a good
looking BLOND MAN (30s) with a beard. The blond man has his
shirt and face covered in blood.
Alfie turns off the computer and leaves the room.
Christopher sits at the dinner table, Alice next to him. Both

silent, both looking at nothing.
After a long and chilling silence, Alice looks at him.
ALICE
I’m calling the police.
CHRISTOPHER
No.
Alice waits for him to say more. He avoids looking at her.
ALICE
I don't have a choice.
CHRISTOPHER
And what are you going to say?
ALICE
The truth.
He looks at her.
CHRISTOPHER
The truth means life in prison.
This is not manslaughter, this is
first-degree murder.
ALICE
I thought she'd confess.
CHRISTOPHER
That doesn't matter. You call the
police now, and your life will be
over.
ALICE
I’m sorry, but I have to.
Alice gets up and goes to the telephone. Christopher goes

after her. He takes the phone from her hands and rips the
phone line from the wall.
50.
CHRISTOPHER
Stop. You do that, and it will not
be just your life you’ll be
ruining.
ALICE
Get out of here, Christopher. I
won’t let you be a part of this.
Christopher tries to hug her, but she pulls him away.
ALICE
No.
CHRISTOPHER
I’m not going anywhere.
ALICE
Please, Chris, I’m trying to be
brave.
Christopher embraces her. Alice holds to him hard.
CHRISTOPHER
It’ll be okay. I can fix this.
EXT. HOTEL - DAY
Alfie stands in front of a five-star hotel.
He enters.
INT. HOTEL - CORRIDOR - DAY
Alfie gets out of the elevator. He walks down the hall. He

reaches a door. It reads the same number as the magnetic key.
He knocks on the door. No answer. He uses the keycard.
INT. HOTEL - ROOM - DAY
Alfie enters the room.
The room is big and luxurious. There is a breakfast cart next

to a big table. There are two sets of plates on the table,
but just one has been used.
Alfie looks around. He notices the double doors that leads --

51.
BEDROOM
Alfie looks around. The bed is made. He opens the closet.

Inside are some dresses and shoes.
Alfie goes for the dressing room table. He opens the first
drawer. Inside, linen stockings and underwear.
He opens the drawer below. Inside, men’s clothes. Alfie takes

out one shirt. Below the shirt, a very old Bible.
Alfie opens the Bible. Inside, the book is heavily marked

with notations and underlines. On one of the pages, there is
a picture of an old man and three kids, two boys and a girl,
in front of a mansion.
The sound of the front door opening is heard.
BLOND MAN (O.S.)

Susie?
Alfie moves fast to the closet. He hides inside just as the

Blond man (40s) enters the bedroom.
From the slight opening of the closet door, Alfie watches the
man. He is tall and blond, with a thick beard. That is the
same Blond man that he saw in the news article, with a shirt
full of blood. Only now, he is about 10 years older.
The Blond man sits on the bed and turns on the TV.
He changes the channel until he finds an evangelical network.

He lies on the bed and watches the pastor preach.
EXT. CONSTRUCTION STORE - DAY
Alice and Christopher are walking out of the store carrying

two shovels and a big black plastic bag.
They reach the BMW. Christopher opens the trunk. They put all
the stuff inside. Alice looks at him.
ALICE
This is wrong.
Christopher closes the trunk and moves closer to Alice.
CHRISTOPHER
Get in the car.
He puts Alice in the car and closes the door.

52.
Christopher lays the plastic bag on the floor. Alice watches

him with an apprehensive expression on her face.
The body of Susie is as it was, with one hand off the sofa,
almost reaching the plastic on the ground.
CHRISTOPHER
Are you ready?
ALICE
This is monstrous.
CHRISTOPHER
Not now. Grab her legs.
ALICE
I can’t. I can’t do this.
Christopher glares at her.
CHRISTOPHER
You can and you will.
Alice is about to cry.
CHRISTOPHER
Don't you dare cry. You started
this. This is your mess.
ALICE
I’m a monster.
CHRISTOPHER
No baby, you are not.
ALICE
What have I done? My God, what have
I done?
Christopher gets closer to her and embraces her.
CHRISTOPHER
Easy baby, I’ll fix this.
They embrace a long time, then they get in position to move

the body. There is an awkward silence. They don't look at
each other and don't look at the body.
Christopher breathes in deeply. He takes Susie’s shoulders.
CHRISTOPHER
Grab her legs.
53.
Alice does. They place the body on the plastic bag, then they
roll her in, wrapping her tidily inside the plastic.
Christopher drives, with Alice at his side. Both silent.
Christopher turns on the radio. Alice grabs her cell phone.

She texts; the screen reads: “Alfie.”
INT. HOTEL - ROOM - CLOSET - DAY
Alfie’s smart phone buzzes.
He turns the phone to mute. He looks out the gap in the door.
ROOM
The blond man gets up and walks around the room looking for
the sound. He goes to the entrance of the bathroom, then
comes back to the center of the room. He looks at the closet.
The blond man walks to the closet and opens the door.
CLOSET
The closet looks empty. Where Alfie was sitting there is now
a jacket with a volume big enough to hide a boy.
The blond man looks right at the jacket.
The blond man closes the door.
UNDER THE JACKET
Alfie is texting on his smart phone. The chat reads:
Alice: “I can’t come home tonight. Lock the doors and call me
if you need anything.”
Alfie: “OK.”
Alice: “love u.”
Alfie: “love u2.”
Alfie ends the chat. He looks out the door. The blond man is
on the bed again.
54.
EXT. FOREST - NIGHT
Christopher digs. Alice sits at the edge of the hole, with

the wrapped body of Susie at her side.
CHRISTOPHER
I think it’s deep enough.
Christopher climbs out, grabs the body, and throws it inside

the hole. The plastic gets caught on an exposed root. The
body rolls off the plastic as it reaches the bottom.
CHRISTOPHER
We have to cover her again.
ALICE
I’ll do it.
CHRISTOPHER
I think it’s best if --
ALICE
Please, let me do it.
Alice jumps down the hole and grabs the plastic caught on the
root, then she turns the body face up.
ALICE
What the fuck.
Christopher climbs down.
CHRISTOPHER
Dear Jesus.
Susie’s shirt is torn open. On her chest, along with a lot of

dried blood, there are burn marks -- cigar burns -- about two
dozen of then.
ALICE
Who did this to her?
CHRISTOPHER
She probably did it herself.
ALICE
Why would she?
CHRISTOPHER
I don't know.
ALICE
I knew that there was something
wrong about her.
55.
Christopher places the plastic bag over her.
ALICE
What are you doing?
CHRISTOPHER
What I'm doing? What are you doing?
So she has burns marks, so what?
ALICE
It means something.
CHRISTOPHER
Well, behold the irony.
ALICE
Fuck you.
CHRISTOPHER
Let it go.
ALICE
I need to know what it means.
CHRISTOPHER
We will never know what it means,
like we will never know whether she
had anything to do with the
disappearance of your sister.
ALICE
That proves it, that proves she was
guilt, that proves that I was
right.
CHRISTOPHER
That proves nothing.
ALICE
You still think she's innocent?
Christopher bites his lip.
ALICE
Say it, be a fucking man and say
it.
CHRISTOPHER
Yes, I think she's innocent or was.
I don't know.
ALICE
She lied and now this.
56.
CHRISTOPHER
Your brother said she lied.
ALICE
What do you mean by that?
CHRISTOPHER
Never mind. Let’s finish this and
go home.
ALICE
I want to know.
CHRISTOPHER
Remember the boy that died in the
motorcycle accident?
She nods.
CHRISTOPHER
Everyone was shocked by the sight,
horrified, everyone but Alfie. He
had this look on his face.
ALICE
What look?
CHRISTOPHER
I don't know, peace maybe.
ALICE
What are you implying?
CHRISTOPHER
There is something different about
him. Not good different.
ALICE
He would never, do you hear me? He
would never hurt anyone.
INT. HOTEL - ROOM - NIGHT
The blond man is sleeping. The TV is still on. Alfie is at

the base of the bed, looking at him.
Alfie leaves the room, but a few moments later comes back.
Alfie goes to the drawer and takes out two black stockings.
Alfie walks to the right side of the bed. He makes a Boy

Scout knot called a bowline in both of the stockings. He ties
the stocking to the bed and then places the bowline knot on
the wrist of the blond man.
57.
The blond man moves on the bed. Alfie waits for him to stop.
He then goes to the other side of the bed and does the same
with the left arm, trapping him in a crucifix position. The
man opens his eyes.
Alfie goes for the plastic bag and takes out vodka bottles,
placing them above the small refrigerator.
The blond man is still half sleep, but he now notices Alfie.
He tries to move and realizes that his wrists are tied.
BLOND MAN
Who are you?
Alfie climbs on top of the bed, holding the plastic bag.
BLOND MAN
What are you doing?
BLOND MAN
Where is my sister?
BLOND MAN
Let me go.
The blond man tries to force his way out of the stockings,
but they only stretch.
BLOND MAN
Is my sister unharmed?
Alfie shakes his head. He then places the plastic bag over
the blond man’s head.
BLOND MAN
God is looking at you, boy. He is
looking at you right now. There is
right and wrong in this world, and
the choices you make will be
counted. We can’t hide our sins
from him.
Alfie takes the remote control and raises the sound of the
preacher on the TV. As the air runs out, the face of the
blond man turns into a mask of desperation.
BLOND MAN
Why, why are you doing this?
Alfie just stares at him. He makes a knot in the plastic bag.

58.
The blond man uses all his strength to break the stockings.
They stretch a great deal, almost reaching his face. Almost.
After all that effort, the air is all but gone inside the
bag. The blond man starts to cry.
BLOND MAN
I pray you, don't do this, please,
don't let me die.
The air runs out. Now guided by instinct, the blond man
struggles like a wild animal. He tries to breathe in. The
sound is unsettling.
After that, the blond man goes quiet. He stops moving, and
slowly he fades into unconsciousness.
Alfie turns down the sound of the TV. He climbs off the bed,
then waits for the blond man to die.
Alfie unties the stockings from the blond man’s arms. Then he
removes the knot from the plastic bag over his head, but he
doesn't remove the plastic.
Alfie takes the remote control and changes channels until he

finds porn. Then he puts the remote on the bed and pulls down
the pants and underwear of the blond man.
Alfie leaves the room, taking with him the stockings and the
Bible with the picture inside.
EXT. FOREST - NIGHT
Christopher and Alice fill in the hole.
INT. BMW - NIGHT
Christopher drives. Alice is at his side, sulking.
Christopher and Alice clean the blood with bleach. The couch
can be seen in the backyard, covered with a bed sheet.
EXT. TAMARA’S HOUSE - BACKYARD - NIGHT
Christopher pours lighter fluid over the sofa. He lights a

match and starts a big fire. He looks at Alice.
59.
CHRISTOPHER
Take off your clothes.
She does, and so does he. They throw the clothes on the fire.
INT. TAMARA’S HOUSE - BATHROOM - NIGHT
Christopher and Alice embrace inside a bathtub.
ALICE
The night that I was attacked,
Alfie was there -- He tried to help
me, but he beat him, he was so
little -- I tried to fight him --
but --
Alice is almost crying. Christopher caresses her head.
CHRISTOPHER
You don't have to tell me.
ALICE
No, I want you to understand. He
had a knife -- He told Alfie, if
you make a sound -- if you make a
sound I'll butcher her --
CHRISTOPHER
That’s enough.
ALICE
It’s all my fault. I couldn't
protect him. I couldn't protect
her. It’s all my fault.
CHRISTOPHER
You did the best you could. Look --
Christopher points out the window. The sun is rising.
CHRISTOPHER
It’s another day again.
Christopher and Alice enter the room. They are wearing shorts
and T-shirts.
CHRISTOPHER
I have to change. I look like one
of the missing Village People.
60.
Alice smiles mechanically.
Alice enters the room. Alfie is in his sleeping bag.
Alice kneels by his side. She watches her brother sleeping.

She caresses his hair.
Alfie moves without waking. Alice climbs inside his sleeping

bag. She embraces and kisses him on his head.
Alfie gives a smile but still doesn't wake. Alice watches him
for a few more moments, then she closes her eyes.
Christopher enters the room. He walks softly.
He looks at them for a brief moment, then he looks around the

room. The fuel engine is no longer on the table.
On the shelf, next to the books, there are stuffed animals.

Christopher pays particular attention to a brown bear.
Christopher goes to the computer and turns the monitor on. It

shows a screen saver. He presses the keyboard.
The screen asks for a password. He turns off the monitor.
LATER
Alice wakes. She looks around for Alfie. She is alone.
Alfie enters the room.
The room is totally empty and clean. No blood, no corpse.
Alice and Christopher eat breakfast together. Christopher

eats hungrily, while Alice only sips her coffee.
As he eats, Christopher reads the newspaper.
CHRISTOPHER
There is a new restaurant that’s
getting great reviews. What do you
say we go there tonight?
Alice just takes another sip on her coffee.

61.
CHRISTOPHER
So, how about it?
Alice puts the coffee on the table.
ALICE
Wow, boy have I underestimated you.
You just don't give a fuck, do you?
Mister cold heart.
Christopher puts the newspaper down and looks at her.
CHRISTOPHER
I do give a fuck. Actually, this is
me giving a fuck.
ALICE
We’ll just pretend it didn't
happen?
CHRISTOPHER
Precisely. The drama, the guilt,
and all that shit we keep inside.
Outside, we smile, we go to the
movies, we make believe last night
never happened.
ALICE
What does that makes us?
CHRISTOPHER
If we are lucky, unaccountable.
INT. RESTAURANT - NIGHT
The restaurant is nice and warm.
Alice wears an elegant black evening dress, and Christopher

wears a gray blazer.
Christopher eats. Alice looks distant. Her plate and her big
tall glass of wine are untouched.
CHRISTOPHER
You haven't tasted your food.
ALICE
I’m not hungry.
CHRISTOPHER
What about your drink? Aren't you
thirsty either?
62.
Alice takes the glass and drinks all the wine in one long
sip, then she shows him the glass upside down. Not one drop
of wine is left to fall on the table.
CHRISTOPHER
You can’t lose hope after only four
days. She will come back with some
crazy story.
ALICE
She's dead, I know it.
CHRISTOPHER
No, you don't. Like you didn’t know
that she'd leave her fiance at the
altar, or that she'd quit college
to become an actress. God only
knows what goes on in your sister’s
head, but now that should be your
comfort.
ALICE
And the scars?
CHRISTOPHER
What?
ALICE
The cigar burns on Susie’s body. I
can’t stop thinking about them.
CHRISTOPHER
I told you, she probably did that
herself.
ALICE
She didn't smoke.
CHRISTOPHER
It doesn't matter now.
ALICE
No, it does matter. That’s the only
thing that matters.
CHRISTOPHER
Even if someone burned her, even if
she lied about going to Harvard,
that doesn't make her a killer.
ALICE
Someone put a lit cigar on her. Can
you imagine what kind of person
would do that to another?
63.
CHRISTOPHER
You did worse.
ALICE
That’s different. Bad people
deserve what they get.
CHRISTOPHER
You’re not making any sense. She
deserved to be shot, but not to get
burned?
ALICE
Maybe she deserved both.
CHRISTOPHER
Or maybe, she deserved neither.
Think about it. If she had anything
to do with the disappearance of
your sister, why would she come
back?
Alice doesn't answer.
CHRISTOPHER
Why would she come back?
ALICE
I don't know.
CHRISTOPHER
And we’ll never know. And there
will be no good to come from
driving ourselves crazy thinking of
what might had been.
Christopher holds the hand of Alice.
CHRISTOPHER
You have to let it go.
Alice nods.
CHRISTOPHER
You promise? To let it go.
ALICE
I promise.
Christopher and Alfie are sitting at a small table, playing

another game of chess.
64.
CHRISTOPHER
You never asked about Tammy. Don't
you wonder where she is?
Alfie looks at Christopher without answering.
CHRISTOPHER
Do you miss your sister, Alfie?
Alfie nods.
CHRISTOPHER
Did you ever want to hurt anyone,
Alfie?
Alfie doesn't answer. He moves his queen.
CHRISTOPHER
What do I always tell you about
exposing your queen?
Christopher moves his knight and takes the queen.
CHRISTOPHER
You didn't answer my question.
Alfie moves his pawn.
CHRISTOPHER
So, what do you have to say?
ALFIE
Checkmate.
Christopher looks at the board. He lost the game.
Christopher is sleeping. Alice is at his side, wide awake.

She gets up and goes to her night table and takes something.
In her hand, the bracelet that Susie came back for.
EXT. JEWELRY STORE - DAY
Alice enters.
INT. JEWELRY - DAY
An old jewel store, outdated. Behind the counter --

65.
An OLD MAN (70s) with gray hair and thick glasses looks at
the Diamond bracelet using a big magnifying glass.
Alice waits. They are the only ones at the store.
OLD MAN
Tell me angel, how many stores did
you go before you found this one?
ALICE
Seventeen.
OLD MAN
And may I beg the question of what
they told you about this particular
piece?
ALICE
It belongs to a collection, a very
old and expensive one.
OLD MAN
Yes, my grandfather made this. You
see this small inscription? This is
his signature.
ALICE
So, you can tell me who they belong
to?
OLD MAN
What I can tell you, is that they
don't belong to you.
ALICE
I found it, and I want to give it
back.
OLD MAN
That’s a lot of trouble just to
give something so expensive back.
ALICE
Can you tell me who they belong to?
OLD MAN
I suppose I could. I have his old
books, however, that would be
unethical of me.
66.
ALICE
I can give you money, you can have
the fucking bracelet for all that I
care. But I’m not leaving without
the name of the owner.
OLD MAN
Aren't you the feisty one? Tell me
angel, if I told you, I wouldn’t
want your money. What else could
you provide to bend my will into
your favor?
ALICE
Anything. -- I’d fuck you for the
information.
The old man is taken back by her response.
ALICE (CONT’D)
But before I did that, I’d give it
a go trying to beat it out of you.
OLD MAN
I was just being factitious. A
young lady like yourself shouldn't
talk in such ways. Don't you know
right from wrong?
ALICE
Not lately.
He just looks at her for a long time.
OLD MAN
Wait here.
EXT. BAR - NIGHT
Alice is waiting in front of the bar.
Christopher’s black BMW drives up, she enters.
INT. BLACK BMW - NIGHT
As he drives, Christopher looks at Alice several times.
It starts to rain. Alice at last looks back at him.
CHRISTOPHER
What?
67.
ALICE
Susie wasn't an orphan. She has two
living brothers and a father.
CHRISTOPHER
How do you --
ALICE
The bracelet. That is why she had
to come back. She knew it could be
traced back to her family. It’s
part of a collection. It took some
time, but I found the grandson of
the man that made them all.
CHRISTOPHER
Why would she give away the
bracelet only to come back and risk
being caught?
ALICE
She did it, now I’m sure.
CHRISTOPHER
Oh, now you’re sure, as opposed to
when you pulled the trigger?
The rain becomes stronger, with lighting and thunder.
CHRISTOPHER
You promised me you would stop.
ALICE
I can’t, I have to know.
CHRISTOPHER
Know what? She's dead, she can’t
tell you anything.
ALICE
Maybe he knows.
CHRISTOPHER
Who?
ALICE
Her father.
CHRISTOPHER
Have you lost your mind?
ALICE
Someone burned her. Maybe he knows,
he should.
68.
CHRISTOPHER
Someone just has to pay, right?
ALICE
What are you talking about?
CHRISTOPHER
This isn't about finding your
sister. This is about payback. This
is about making someone suffer.
ALICE
How fucking dare you?
CHRISTOFER
You bought that gun long before
your sister went missing. How long
have you wanted to use it?
ALICE
Stop the car.
CHRISTOPHER
He’s in jail, he’s paying for what
he did to you. But that’s not
enough --
ALICE
I said stop the fucking car.
CHRISTOPHER
No.
Alice opens the door. Christopher almost crashes the car

trying to keep her from jumping out. He manages to stop the
car just in time as she blasts out of the car.
EXT. ROAD - NIGHT
The rain pours over Alice as she runs from Christopher.
Christopher grabs her and turns her to face him.
CHRISTOPHER
Stop. You’re going to listen to
what I have to say.
ALICE
Fuck you, Christopher. If I'm a
murderer what does that makes you?
CHRISTOPHER
Accessory after the fact.
69.
ALICE
She did it, she killed my sister, I
know it.
CHRISTOPHER
Then it’s over, she’s dead. But
that’s not enough. You want to find
her family, and what? Are you going
to kill them also?
ALICE
No. I’m just going to ask some
questions.
CHRISTOPHER
Like you asked her? If they
confess, then is it OK to kill
them, but if they deny it, well,
let the motherfucking liars burn in
hell just the same.
ALICE
She lied. If she told the truth
she'd be alive.
CHRISTOPHER
No she wouldn't. What you’re doing
is wrong.
ALICE
This isn't about morality. I don't
give a fuck about anything, and
I'll do anything to have her back.
CHRISTOPHER
Killing innocent people will not
bring your sister back.
ALICE
Why did she lie about her family?
And the fucking scars? I’m not
crazy. There is a connection, a
reason, I have to find it.
CHRISTOPHER
What if you’re wrong? Can you live
with yourself if you’re wrong?
ALICE
Some people deserve to die.
CHRISTOPHER
Not on a hunch they don’t.
70.
ALICE
She can’t be innocent. She can’t.
CHRISTOPHER
What if she was?
ALICE
Then, I’m the one that deserves to
die. Then, I’m the bad one.
Alice sleeps in the arms of Christopher.
Alfie walks into the room and watches them sleep.
Alfie uses the light of his smart phone to light his way. He
opens the closet. From a secret compartment under the floor,
he takes out a gun.
Alfie goes for the pants of Christopher and takes his wallet.
He grabs all the money and puts the wallet back.
Alfie goes back to watching Alice and Christopher sleeping,

gun in hand.
He places the gun on the table next to Alice.
Alfie uses his smart phone to write something. Just as he

finishes, Alice’s cell lights for a brief moment.
Alice wakes. Christopher is still sleeping at her side.
She sees the gun on the night stand.
Alice takes the gun and walks out of the room.
Christopher opens his eyes. He looks surprised as Alice walks

back to the room holding the gun.
ALICE
He’s gone.
CHRISTOPHER
What do you mean, he’s gone?
ALICE
Alfie is gone. He didn't sleep in
his bed, he didn't take his phone.
71.
CHRISTOPHER
Why are you holding the gun?
ALICE
It was on the night stand.
Alice takes her cell phone, which is blinking.
ALICE
It’s a text from him.
CHRISTOPHER
What does it say?
ALICE
“Don't worry, I’ll be back in two
days.”
INT. BUS - DAY
Alfie sits next to the window, his backpack at his side.
EXT. BUS STOP - DAY
Alfie leaves the bus. He walks to a big Walmart.
INT. WALMART - DAY
Alfie pushes a full cart. Inside the cart there is a coffee

grinder, lots of sugar, two jars of grant stump remover, four
plastic bottles of Klean Heat odorless heater fluid, rubber
bands, a huge roll of silver tape, mouse traps, a box, paper,
wrapping, and some tools.
Alfie also takes a Super Soaker water gun and puts it in.
Alice is pacing from one side of the living room to the

other. Christopher is sitting on the sofa.
CHRISTOPHER
Could you please just sit down?
ALICE
And do what? Wait? He could be in
danger.
72.
CHRISTOPHER
He’s not in danger. He left you a
text not to worry. Just relax.
He’ll be back.
ALICE
It is all a fucking coincidence, is
it? First my sister, now my
brother? What if someone took him?
CHRISTOPHER
How? We were here all night.
ALICE
Listen to me. There is something
terrible happening. I know you
don't believe me, but you have to
trust me.
Christopher gets up.
CHRISTOPHER
No, you have to trust me.
ALICE
I can’t wait, not one second, do
understand me? I have to find him
now.
CHRISTOPHER
I think I know how.
Christopher goes into Alfie’s room and comes back with the
big teddy bear.
He opens the back of the bear. Inside a nanny cam.
ALICE
A nanny cam? Are you spying on my
brother?
CHRISTOPHER
You should be glad I turned this
thing on.
ALICE
Why didn't you tell me?
CHRISTOPHER
Jesus, Alice. He left, stole money
from us, and took a gun from a safe
that he was supposed to not know
the code of.
73.
ALICE
What are you saying?
CHRISTOPHER
Maybe he is the one hiding stuff
from us. How can you not even
consider that?
Alice takes the tape from the bear.
INSERT: PLASMA TV
In comes the image. Alfie is looking directly at the camera.

He looks over his shoulder. The camera was set looking down
at his computer keyboard.
Alfie turns the camera off, the image becomes only static.
INT. ALICE’S APARTMENT - GARAGE - DAY
Alice walks towards the black BMW, Christopher runs after

her. They are alone in the poorly lit garage.
Christopher moves in front of her.
CHRISTOPHER
I can’t let you do this.
ALICE
No, what you can’t do is stop me.
CHRISTOPHER
Let’s compromise. You leave the
gun, and I’ll drive you there.
ALICE
No.
CHRISTOPHER
Why do you need gun?
ALICE
To make sure he will listen.
CHRISTOPHER
What if he doesn't know anything?
ALICE
There are no more what ifs.
Christopher moves closer to Alice. She steps back and takes

the gun from her purse.
74.
CHRISTOPHER
What do you think you’re doing?
ALICE
Get out of my way.
CHRISTOPHER
Or what? Are you going to shoot me?
ALICE
No. I'd never --
CHRISTOPHER
I’m not moving.
ALICE
I love you, I really do, like I
never loved any man before -- but
if you don't move out of my way, I
think I’ll hurt you.
Christopher moves away.
CHRISTOPHER
If you enter that car, we are over.
You will never see me again.
She looks at the car, then she moves closer to him and kisses
him on the lips. Christopher smiles in relief, but the smile
dies as she moves away from him.
ALICE
Whatever happens, you don't know
anything, you never helped me. You
should say I took your car without
your permission.
CHRISTOPHER
Don't do this. Please don't do it.
ALICE
I’m sorry.
She walks toward the car.
INT. BLACK BMW - DAY.
Alice drives the car.

75.
Christopher sits on the couch, looking at the teddy bear on

the table in front of him.
CHRISTOPHER
(To the teddy bear)
You think you got me?
Christopher enters the bedroom. He goes for the computer, and

without care he takes it from the table, ripping the cables
and dropping the monitor to the ground.
He leaves the room with the computer.
EXT. OLD MANSION - NIGHT
The black BMW parks in front of the mansion. It is an old

place, neglected and rundown, yet at the same time it is
still magnificent and colossal.
INT. BLACK BMW - NIGHT
Alice takes the gun. She opens the chamber and sees the
rounds. She takes a deep breath and reaches for the door.
Her cell phone rings. The display reads: “Chris.” She lets it
ring a few times, then she decides to answer it.
ALICE
Yes?
CHRISTOPHER (V.O.)
Tell me that you haven't done
anything stupid.
ALICE
Is my brother back?
CHRISTOPHER (V.O.)
No.
ALICE
I have to go.
CHRISTOPHER (V.O.)
Wait.
76.
ALICE
I’m done talking.
CHRISTOPHER (V.O.)
Your brother is a killer.
Alice sits back.
INT. CHRISTOPHER'S OFFICE - NIGHT
Christopher stands at the table. With Alfie’s computer open,

and the hard drive plugged into his laptop.
INTERCUTS BETWEEN CHRISTOPHER AND ALICE
CHRISTOPHER
He wants them dead.
ALICE
What the hell are you talking
about?
CHRISTOPHER
He tied a man to a bed, put a
plastic bag over his head and let
him die.
ALICE
You’ve lost your fucking mind.
CHRISTOPHER
He took pictures.
ALICE
I don't believe you.
On the screen, the images that Christopher describes. He

sends the images to Alice’s cell.
ALICE (CONT’D)
No, that can’t be, he’d never hurt
anyone.
CHRISTOPHER
He knew about Susie, he has
pictures of her body, of her scars.
ALICE
How do you know all this?
77.
CHRISTOPHER
It’s all on his computer. Daniel,
Michael, Susie and Ernani. -- Susie
and Daniel are crossed, the man on
the bed was her brother.
ALICE
No. No. No. No. Some goddamned
pictures don't make my baby brother
a killer.
CHRISTOPHER
There’s so much more, baby. He has
a catalog of information on how to
kill people, how to make poison,
how to extract potassium nitrate
from stuff you can buy at the
hardware store. Jesus Christ, even
how to make a flamethrower with a
toy gun.
ALICE
I don’t believe you.
CHRISTOPHER
Remember the engine in his room?
That was a motorcycle fuel engine.
If you cut the breaks and lock the
engine you can make a motorcycle
accelerate nonstop.
ALICE
No.
CHRISTOPHER
He killed that boy, he manipulated
you into thinking Susie did
something to your sister, and he
killed one of her brothers himself.
ALICE
Why? Why would he?
CHRISTOPHER
He is a sociopathy.
ALICE
No, he wouldn’t. He must know
something, he knows who has Tammy.
78.
CHRISTOPHER
I’m sorry, he knows nothing. There
isn't a shred of evidence on his
computer about why he wants them
dead.
ALICE
There must be something.
CHRISTOPHER
There’s a news article about
Daniel, protesting in front of a
abortion clinic with a shirt full
of fake blood. A peaceful protest.
ALICE
It doesn't matter if was peaceful
or not. Only crazy fucking people
go to those rallies.
CHRISTOPHER
Your brother killed someone. 15
year-old boys don't do that. I’m
sorry baby, but if you're looking
for a monster he is it.
ALICE
My brother isn't a monster.
CHRISTOPHER
I’m sorry. -- Now come back.
ALICE
The scars.
CHRISTOPHER
The witch-hunt is over, baby.
Whatever you’re looking for, you’re
looking in the wrong place.
ALICE
He’d never hurt Tammy.
CHRISTOPHER
Just come back, one more day,
that’s all I ask.
INT. BMW - NIGHT
Alice cries as she holds the phone.
CHRISTOPHER (V.O.)
Come back, I beg you.
79.
ALICE
Okay.
CHRISTOPHER (V.O.)
Promise me. You have to promise me.
ALICE
I promise.
Alice turns off the cell phone. She turns on the ignition.
She wipes the tears from her face and looks at the mansion.
Alice turns off the ignition. She leaves the car, taking the
gun with her.
Alice walks from the car to the front door of the mansion.
She knocks on the door.
After a few moments the door opens. On the other side is a

tall BLACK MAN (50s). The tall man looks at Alice, then looks
at the gun. He starts to tremble, terrified.
ALICE
Where is he?
Still trembling, he points to somewhere inside the house.
INT. OLD MANSION - ENTRANCE - NIGHT
Alice passes the tall man and walks down the hall.
INT. OLD MANSION - LIBRARY - NIGHT
Alice enters the library. The place is huge. The windows are
shut, and the few lights that still work aren't enough to
properly light the room.
In the center of the room, sitting behind a massive wooden

desk, is ERNANI (96), a decrepit old man, so thin and white
that you can almost see the bones beneath his skin.
He looks up from the book he is reading.
ERNANI
Yes?
Alice just looks at him.

80.
ALICE
I came here to ask you something.
ERNANI
The proper thing to do is to
introduce yourself first, child.
ALICE
My name is Alice Fairchild.
ERNANI
And I am Ernani Fox, but I assume
you know that much. Now, what is
the question you want me to answer?
ALICE
Your daughter Susie, she had her
chest covered in cigar burns. I
want you to tell me who did that to
her.
Ernani opens a box on his table. He takes a cigar from the

box, cuts the cigar, and lights it.
ERNANI
I did that to her.
A look of disgust comes over Alice. She walks closer.
ALICE
You fucking freak.
Ernani smokes the cigar.
ERNANI
Those who spare the rod, spoil the
child. For each and every burn,
there was mischief on her part.
ALICE
Where are my brother and my sister?
ERNANI
Have you lost your siblings, my
child?
ALICE
Where are they?
ERNANI
Such an abrasive child. Under my
roof, you should abide by my rules.
Alice points the gun at him.

81.
ALICE
I'm not going to ask you again.
The old man rises from his chair.
ERNANI
I have two children of my own
missing, for days now. Can you
account for what fate befell them?
Alice pulls the hammer of the gun.
ALICE
They are dead.
ERNANI
I see.
Ernani lowers his head.
ERNANI
Before you shoot me, I have
something to show you.
ALICE
What?
Ernani points to a dark place behind Alice.
ERNANI
The door behind you.
Alice goes for the door and opens it carefully. Inside the
door, only darkness.
ERNANI
(in German)
Attack.
A growling, along with the steps of something coming fast.
From the dark, a black rottweiler emerges. The dog is huge.

He jumps on Alice and attempts to bite her face off.
Alice falls to the ground with the dog over her. She fights
back. The dog bites her arm while she protects her face with
it, she slams the handle of her gun on its face.
Alice tries to shoot the dog in the face, but in the

struggle, she misses. She shoots two more times before she
finally hits the animal.
The bullet hits the dog on the side of his face, tearing off
one of its ears. The animal lets go of her.
82.
Alice faces Ernani. He is still standing in the same place,

with a smile on his face.
She points the gun at him. His smile fades. She shoots three
times. Misses all three.
The dog gets up and growls at her. Alice starts to run, and
the dog runs after her.
INT. OLD MANSION - HALL - NIGHT
Alice runs down the hall. The dog approaches fast. She turns
over a huge vase. It only barely slows the animal.
She opens the front door, but just as she does, the dog jumps
on her again. She manages not to fall, but the animal is now
between her and the open door.
She goes up the stairs behind her. The dog dashes after her.
INT. OLD MANSION - DOLL ROOM - NIGHT
Alice enters the room. She tries to close the door behind
her, but the dog manages to put his head in.
Alice slams the door with all her strength. The dog growls in
pain, but the animal is relentless, making his way into the
room, inch by inch.
Alice looks around. The room is pink, with old dolls covering
all the walls. There is no other door in the room, only a
closed window.
Alice goes for the window. The dog enters the room and bites
her on the leg before she reaches it.
Alice uses her free leg to kick the dog. The animal seems
unaffected by her effort.
Alice breaks the glass of the window with her gun. The dog
moves from her leg to her neck.
Alice lets go of the gun. She has to use both her hands to
grab the dog’s neck to prevent him from biting her neck.
She grabs a big broken piece of glass from the floor. She
cuts her hands as she does, and more when she plunges the
sharp glass in the torso of the animal above her.
The dog squeals in pain. Alice goes to the window. The dog,
quickly recovered, tries to bite her on her back.
83.
Alice throws herself out the window.
EXT. ENTRANCE - OLD MANSION - NIGHT
Alice falls hard on the ground. Beneath her, a pool of blood

starts to form.
FADE OUT
INT. CHRISTOPHER'S OFFICE - DAY
Christopher is sleeping on the sofa of his office, still

wearing the same suit from the night before.
His cell phone rings. Christopher wakes in a hurry and starts

to look for his cell on the sofa, under the sofa, on the
table. Finally he finds the cell in the jacket of his suit.
CHRISTOPHER
Baby, is that you? I’m sorry I fell
asleep. Are you home?
MAN’S VOICE
May I ask who is speaking?
CHRISTOPHER
You called me.
MAN VOICE
Is your name Christopher?
CHRISTOPHER
Yes.
MAN’S VOICE
I’m afraid I have bad news.
Christopher sits down.
CHRISTOPHER
Who are you?
MAN’S VOICE
I’m a detective with the
metropolitan police.
CHRISTOPHER
What’s the bad news?
MAN’S VOICE
Are you related to Alice Fairchild?
84.
CHRISTOPHER
She’s my fiancee. Now, please tell
me the bad news.
MAN’S VOICE
She’s dead.
He lowers the phone and stares ahead, at a motivational

picture on the wall. It shows a child crying and it reads:
“Failure: when your best just isn't good enough.”¨
On the cell phone the detective is still speaking.
Christopher brings the phone back to his hear.
CHRISTOPHER
How did she die?
MAN’S VOICE
I'd rather not discuss the details
of what happened over the phone.
CHRISTOPHER
I want to know.
MAN’S VOICE
I'm coming to get you. We need you
to identify the body.
CHRISTOPHER
How did she die?
MAN’S VOICE
I'll answer all your questions when
we meet.
CHRISTOPHER
Tell me something.
MAN’S VOICE
She was murdered, sir. She was
beaten and murdered.
EXT. STREET CORNER - DAY
Christopher waits at the street corner. A man comes from

behind and taps him on the shoulder.
MICHAEL
Hello. My name is Detective
Marlowe, we spoke on the phone.
The man is the same Michael that interviewed Tamara.

85.
CHRISTOPHER
I want to see her.
MICHAEL
Follow me. I'll take you to her.
I’m parked close.
EXT. PARKING LOT - DAY
Christopher and Michael walk together. They reach the BMW.
CHRISTOPHER
That’s my car.
Michael tosses him the car keys.
MICHAEL
Do you mind driving?
Christopher looks at him suspiciously.
CHRISTOPHER
No, guess not.
INT. HIGHWAY - DAY
Christopher drives. Michael at his side, almost smiling.
CHRISTOPHER
How far is it?
MICHAEL
You will be there soon enough.
CHRISTOPHER
If she was found with my car,
shouldn't it be locked up as
evidence?
MICHAEL
I suppose it should.
CHRISTOPHER
There is no morgue down this
highway, is there?
MICHAEL
I’m taking you to the crime scene.
CHRISTOPHER
That’s not protocol.
86.
MICHAEL
Then I guess I’m breaking a lot of
rules tonight.
An uncomfortable silence ensues.
CHRISTOPHER
You said your name was Detective
Marlowe.
Michael can’t contain his smile anymore.
MICHAEL
You can call me Philip.
CHRISTOPHER
Like Phillip Marlowe from “The Big
Sleep.”
MICHAEL
“Payback” was such a better book.
CHRISTOPHER
Who are you?
MICHAEL
You knew something was wrong,
didn't you?
Christopher doesn't respond.
Michael takes a gun from the inside pocket of his coat.
MICHAEL
You did, yet you entered the car
anyway. You would be surprised to
know how many times I have seen
that happen, that moment of
clarity, of fear and understanding,
being disregarded as a fairy tale.
CHRISTOPHER
I don't understand.
MICHAEL
You don't understand? You will. We
are driving to a magical place
where all the questions will be
answered.
Christopher looks at him, terrified.
CHRISTOPHER
You are Susie’s brother.
87.
MICHAEL
Bravo.
CHRISTOPHER
Don't you want to know what
happened to her?
MICHAEL
I know what happened. She was a bad
little girl. All she had to do was
bring that whore to us, like she
had done countless times before.
Only this time it was different.
She was in love, can you believe
it?
Christopher nods.
MICHAEL
It didn't last.
CHRISTOPHER
So she gave her up?
MICHAEL
She did, but then it was too late.
She met the family, she left clues
behind. I think deep down she
wanted to be caught.
CHRISTOPHER
Why would she?
MICHAEL
She had plenty of reasons to choose
from. -- Do you know what’s worse
than raping someone, hurting them
beyond recognition, bleeding away
their humanity, and cutting their
throats?
CHRISTOPHER
No.
MICHAEL
Not cutting their throats.
CHRISTOPHER
Are they all dead?
Michael smiles.
CHRISTOPHER
Why?
88.
MICHAEL
Just a family tradition.
CHRISTOPHER
Jesus, she was right all along, and
I didn't believe her.
MICHAEL
Nothing you can do about it now.
CHRISTOPHER
I wouldn’t be so sure.
Christopher accelerates the car.
CHRISTOPHER
Do you know the odds of surviving a
car crash at 60 miles per hour?
MICHAEL
What are you doing?
CHRISTOPHER
Less then 50 percent.
The speedometer indicates 68 miles per hour.
CHRISTOPHER
Now, at 80 miles the odds get
really bad, less than 20 percent.
MICHAEL
You are going to die as well.
CHRISTOPHER
Said the frog to the scorpion.
He almost crashes into another car, but regains control.
CHRISTOPHER
Above 100, only a miracle can save
you.
The speedometer indicates 103 miles per hour.
MICHAEL
She's alive, your girlfriend is
alive.
Christopher gives a sigh of relief.
CHRISTOPHER
Thank you.
89.
Christopher turns the car off the road.
EXT. FOREST - DAY
Michael pulls the hand brake. He fights for control.
The car spins out of control. It crashes into a massive tree.

The air bag inflates. The impact is so strong that Michael is
thrown out of the car across the windshield.
The air bag is pierced by branches and shattered glass.
Michael laughs with the realization he is still alive.
Michael gets up. He is barely hurt. His face is cut and his
clothes are torn, but he has no major wounds.
He walks back to the smashed BMW. On the ground, trying to

crawl away is Christopher.
Christopher is badly hurt. Both his legs are broken, and he

is bleeding from a wound on his chest.
Michael takes a big rock and moves above Christopher.
Christopher gives up trying to crawl. He turns over on the

grass and looks at Michael above him.
MICHAEL
Where is the boy?
Michael raises the big rock with both hands and screams.
MICHAEL
Where is the boy?
CHRISTOPHER
He will find you.
A sound comes from the highway of a car parking nearby.
Michael smashes the rock over Christopher’s head, once,

twice, three times.
He walks away, leaving behind the corpse of Christopher.
INT. CELL - DAY
A small cell. A rusted metal door and musky stone walls. No

beds, windows, or furniture, just a rag on the floor.
Alice sleeps on the rag. She opens her eyes.

90.
She wears a slave collar that binds her neck and limits the
movement of her legs and arms.
Her wounds are still open. She has dried blood all over her.
INT. MOTEL ROOM - DAY
Alfie stands next to a table. On it is a small cardboard box.

Under the box, there is red wrapping paper and a yellow
ribbon next to it.
On the table is the stuff he bought at Walmart. He used the

coffee grinder on the grant stump remover. Also the bottles
of Klean Heat odorless heater fluid are empty now.
Carefully, Alfie wraps the box and ties the ribbon.
He takes a small card and writes something on it. He then

puts the present in his backpack, very carefully.
INT. CELL - DAY
Alice sits in a corner of the cell.
The metal door unlocks. She looks up.
Ernani enters the cell with his dog just behind him. Its
wounds have been tended.
The animal barks at her.
Ernani has a chair in one hand and a brown bag in the other.
He places the chair next to her and sits.
ALICE
What did you do to my sister?
Ernani slaps her hard.
ALICE
What did you do to my sister, you
fucking pervert?
ERNANI
Spoiled.
Ernani takes a bottle of alcohol from the bag. He pours the

alcohol over her open wounds.
She screams in pain. She tries to hit him, but the chains
restrain her.
91.
ERNANI
Judgment has come for you, child.
Ernani’s eyes become full of unshed tears.
ERNANI
The sins against me, the hurt you
gave me. For that you will pay
dearly.
Ernani takes bandages from the bag. He attempts to attend to

her wounds, but she moves away from him.
Ernani pours some liquid from a black bottle on a rag. He

then, places the rag over her nose. She tries to fight back
and moves away, but the chains restrain her.
She loses consciousness. Ernani gets closer and whispers.
ERNANI
You are mine.
EXT. GRAPEVINES - NIGHT
Alfie walks through what used to be grapevines, now unkept

and rotten, with insects everywhere.
He wears his backpack. Ahead of him, is a shack.
EXT. SHACK - NIGHT
Alfie looks inside through a broken window.
There is a kitchenette and a wooden table. On the table are

plates with food that look inedible.
On the ground in a corner of the room is the big Black Man,

sleeping on an old mattress. He is embracing a slim black
woman and a small child, a boy of no more than six.
They have no blankets, and they look cold.
Alfie just keeps walking. Ahead is the old mansion.
EXT. OLD MANSION - ENTRANCE - NIGHT
Alfie stops at the entrance. He tries to open it, locked.
He goes for the window, but it’s also locked.

92.
Alfie notices something on the ground. He takes a flashlight

from his backpack. It is dried blood. He looks up. The second-
floor window has a wood board covering broken glass.
He walks around the mansion trying each window he passes by.
EXT. OLD MANSION - BACK ENTRANCE - NIGHT
Alfie stands by the back entrance. He tries the locked door.
There is a dog door. Alfie kneels and puts his head in.
INT. OLD MANSION - KITCHEN - NIGHT
Alfie gets inside and then pulls his backpack in.
It is pitch black. Alfie turns on the flashlight and flashes

it around. The kitchen is empty.
Alfie takes the Super Soaker from his backpack. He points the
plastic gun at the wall of the kitchen, then, pauses for a
few seconds. He doesn't spray the wall.
Alfie walks down the hall, and as he does, he sprays all over
the walls and furniture.
INT. OLD MANSION - MEMORIAL ROOM - NIGHT
The room is a memorial to the Civil War. On the main wall,

there is a huge flag of the Confederacy.
In a glass display is an old Civil War gun, a Colt 1851 Navy

revolver, with the powder sash and round lead bullets, six
caps for the chamber, ball mould, and a period percussion cap
box on the side.
There is also written instructions on how to load the weapon.
Alfie stops to look at a picture in black and white of

Confederate soldiers. Alfie sprays the picture, then he does
the same around the room.
INT. OLD MANSION - DOLL ROOM - NIGHT
As Alfie enters the room, he notices that there is padlock on

the outside of the door.
93.
He takes one of the dolls off its stand. Porcelain, old,

ugly, and expensive.
Alfie opens a closet. Inside are women’s clothes, similar to

those Susie would wear.
Alfie looks at the ground and sees more dried blood.
Alfie enters. He looks around. He sprays the furniture.
He stands in front of a closed door, the same one that Alice

had opened before. He opens the door. It is dark inside.
Alfie enters the dark room.
INT. OLD MANSION - DARK ROOM - NIGHT
Alfie turns on the light in the room. It is empty, and there

are no other exits or windows.
The room has a dog bed, two bowls -- one of food and the
other of water -- a huge plasma TV.
In front of the plasma TV there are four armchairs.
Alfie notices that on the TV there is a DVD player but no

disk inside. Alfie looks around. There are only four walls,
but one of them has a bloody fingertip on it. Alfie presses
on the wall.
It opens a secret compartment. Behind the wall there are

hundreds and hundreds of DVDs. There are also dozens of 19 mm
films. There is a spot where one DVD is missing.
INT. CELLAR - NIGHT
ERNANI (O.S.)
Wake up, Babylon whore.
Alice wakes. She is tied in a wheelchair.
Ernani is sitting in front of her. Michael at his side.
The stone wall is painted white, with a projector next to it.
ERNANI
Your fiance is dead.
She holds back tears.

94.
ALICE
My sister --
ERNANI
Silence your poisonous tongue.
Ernani rises and points his finger at her face. He drools as

he screams at her.
ERNANI
You killed my children, and you
brought a trail of blood to my
doorstep, and for what?
Michael puts a hand on Ernani’s shoulder for comfort. Ernani

turns to him.
ERNANI
I blame you, my life’s greatest
disappointment. I wish they had
killed you instead of your brother.
MICHAEL
It was Susie’s fault. She went
back, how could I --
Ernani spits in his face.
ERNANI
Be quiet.
Ernani turns to Alice. He comes closer to her. His face comes

close to her face, and she moves to bite him, but he pulls
back in time.
ERNANI
All that spirit --
He puts his hand on her hair.
ERNANI
I will break you, like the animal
that you are.
He pulls her hair and turns the wheelchair to the white wall.
He turns on the projector. Tamara’s image is on the wall. It

is the interview with Michael.
Michael leaves. Ernani turns to her at the doorsteps.
ERNANI
Enjoy.
95.
Ernani closes the door behind him. On the white wall, the
image changes. Tamara is held by a rope and wearing a white
dress, a knife coming close to her face.
Alice cries as she watches the film.
INT. OLD MANSION - DINING ROOM - NIGHT
Alfie takes the wrapped present from his backpack. He places

it on the dining room table, then he sprays the chair and the
floor all the way to the wall.
On the wall, there are framed old pictures of Ernani and his
three teenagers aged 12 to 15. He sits on a chair with Susie
on his lap, and the two brothers by his side.
Susie smiles sadly in the picture. Her eyes are blank and so
are her brothers’. Ernani has a believable happy smile.
Alfie sprays the picture.
Somewhere in the house comes the sound of a door opening.
Alfie freezes. Footsteps coming closer.
There are two entrances to the room. Alfie goes for one and
looks through the keyhole.
Ernani and Michael walk just outside the door.
Alfie runs to the opposite door, but he backtracks to get the

gift from the table. He puts it in his backpack.
The door of the room opens, and there is no time to exit now.
Alfie hides beneath the dining room table. Ernani and Michael
are standing just next to him.
MICHAEL
I’ll find him, I promise I’ll find
him.
Ernani takes a cigar from his coat.
MICHAEL
I'll kill the boy.
Ernani lights the cigar.
ERNANI
No.
He drags the smoke in and out.

96.
ERNANI
I want him.
Ernani lets the ashes of the cigar fall to the ground.
ERNANI
Open your shirt.
Michael obeys, trembling with fear. His chest is covered with

healed cigar burns.
ERNANI
I want the boy alive. He shall
replace what that whore took from
me.
Ernani presses the lit cigar on the chest of Michael. He

lights the cigar again and does it one more time.
MICHAEL
I’ll be good, father. I promise
I’ll be good.
Alfie watches as they leave the room. He exhales in relief.
Behind him, growling. Alfie looks back.
The rottweiler is at his side, drooling with fangs exposed.
The dog goes for his face. Alfie evades it reflexively. He

turns and runs, but the dog sprints after him.
Alfie runs for the door, but the dog is so much faster than
him. He dodges just as the dogs slams itself on the door.
The dog rises and turns to him, growling and drooling. It

barks at him, and the sound echoes in the silent night.
The dog charges again. Alfie jumps on the dinner table, and
the dog jumps on the table after him.
Alfie and the dog are facing each other. Alfie slowly steps
back, but as he does the dog steps ahead.
The door opens, and Michael walks in, gaping as he sees Alfie
and the dog on the table.
MICHAEL
(in German)
Sit.
The dog unwillingly obeys.

97.
MICHAEL
Come here boy, no one is going to
hurt you.
Michael moves closer, reaches for Alfie.
MICHAEL
Give me your hand.
Alfie jumps off the table. He runs for the other entrance. He
reaches the door and opens it.
He runs out of the room. The dog still sits on the table.
MICHAEL
(in German)
Attack.
The dog runs after Alfie.
Alfie runs far ahead, but the dog is closing the gap fast.
Alfie enters the kitchen.
Alfie goes for the exit door. He unlocks and opens it.
The dog is next to him.
Alfie gets out of the house and closes the door behind him.
He moves away from the door. He drops to the ground. The

rottweiler runs out of the dog entrance and grabs his right
foot. The animal drags Alfie back inside.
Alfie is halfway inside the kitchen. He grabs the door, but

the dog pulls him furiously.
The animal pulls so hard that it falls back with only an

empty sneaker in his mouth.
98.
The dog lets go of the shoe and goes again after Alfie, but
the boy now is out of the room. The dog charges after him
through the dog door.
As soon as the dog storms out, Alfie opens the door and comes
back inside.
The dog puts his head inside the dog door.
Alfie grabs an wooden cabinet that holds several old plates.

He drops the cabinet on the dog.
The rottweiler pulls back just in time, so that his head is

not smashed by the cabinet.
Alfie turns. At the door, Michael smiles at him.
MICHAEL
Aren't you the resourceful little
rascal?
Michael walks slowly towards Alfie.
Alfie takes a knife from the kitchen table. Michael stops

walking, but his smile grows even wider.
MICHAEL
You know what I think? I think
you’re scared.
Alfie doesn't reply.
MICHAEL
You’re worried about your sister,
is that it? She’s fine, she’s here,
and she’s worried about you. Give
me the knife. I’ll take you to her.
Michael walks towards Alfie.
MICHAEL
It’s fine. I know you will never
hurt me.
Michael reaches for the knife.
Alfie slashes the palm of his hand, and as Michael

instinctively uses his other hand to stop the flow of blood,
Alfie stabs him in the stomach.
Michael slaps him to the ground. The knife, however, is still

stuck in his stomach.
Alfie runs out of the kitchen.

99.
Michael grabs the knife and pulls it out of his stomach. He

vomits a little. He goes after Alfie, knife in hand.
INT. OLD MANSION - MEMORIAL ROOM - NIGHT
Alfie enters the room and locks the door behind him.
Alfie goes for the glass display. He takes a framed picture

of Confederate soldiers and uses it to break the glass.
Inside is the Colt 1851 Navy revolver. Alfie takes the gun.
The doorknob turns, and soon after, someone is pounding on

the door with savage violence.
Alfie puts the powder in the gun, his hands trembling, and
much of the powder is wasted. He loads just one of the six
chambers with a lead bullet.
The door collapses under the pounding. Michael enters.
Alfie places one cap into the uncapped nipple, pulls back the
hammer, and turns.
Michael stops, this time frightened.
MICHAEL
Please, don't do it.
Alfie pulls the trigger. There is a flash of powder, but a

weak one. The gun misfires.
Michael moves closer. Alfie tries to run, but he grabs him by

the neck and beats him, kicking and punching, beating Alfie
with an insane fury.
He beats and beats Alfie.
ERNANI
Enough.
Ernani is at the door. Michael obeys and steps back.
The boy is unconscious on the floor.
INT. CELLAR - DAY
Alice stares at the white wall. The movie is over, and the
room is dark.
Dried tears all over her face. She just stares at the wall
with an empty expression.
100.
She then, lowers her head and closes her hands tight, and
tries to break free by forcing open her shackles.
The iron chains hurt her skin, but they don't break. That
only makes her try even harder, but still the chains hold.
Alice starts to move her entire body in an animal-like

frenzy. Her face now is red with her teeth showing, and where
her skin touches the chains, she starts to bleed.
She falls with the wheelchair to the ground. Still

struggling, she screams in rage, and she gives her all to
break the shackles.
They don't break. She keeps on trying, but now she is

exhausted, so her struggling subsides.
INT. CELLAR - LATER
Alice is unconscious. The door behind her is open, and the

light casts a shadow of a man with a syringe in his hand.
INT. CELLAR - DAY
Alice now wears makeup and her hair is washed and combed. She
is just now waking up, and her lips are dry.
Michael is at her side very close to her face.
MICHAEL
You must be thirsty. Sorry that I
can’t give you any water. We don't
want you soiling yourself again, it
ruins the moment.
Alice is suspended, her hands tied behind her back. She is

hanging by her arms. A large rope is tied to her wrists and
passed over a pulley on the ceiling.
She is also now wearing a white dress.
MICHAEL
Now, I have a surprise for you, but
I want you to behave. Can you
promise you will behave?
ALICE
Go fuck yourself, you crazy
motherfucker.
Michael smiles. He leaves the room and then comes back

holding Alfie in his arms. The boy is unconscious.
101.
ALICE
No.
Michael places the boy on a table. On the table there is a

bucket. He puts his hand inside and takes out a wet sponge.
With his other hand he unbuttons the shirt of the boy.
ALICE
I’ll fucking kill you, do you hear
me? Look at me, let go of him or
I’ll kill you.
Michael looks at her. He makes a gesture for her to be quiet.
ALICE
Let him go. Do whatever you want
with me, but let him go.
He places his hand over the mouth and nose of Alfie.
MICHAEL
One more word. Do I make myself
understood?
She nods. He smiles again and removes his hand.
MICHAEL
Good.
Michael starts to wash Alfie with the sponge, tenderly.
MICHAEL
It’s been too long since we had
children here. He likes pretty
women. But I say; is there anything
more beautiful than a child’s
smile?
Alice discretely tries to break free from the rope.
Michael takes off Alfie’s shirt and sees the bruises.
MICHAEL
He is a miracle. My beautiful
miracle.
Michael sponges the chest and arms of Alfie as Alice resumes

trying to break free.
He leaves the room, Alice keeps trying to get free. Michael

returns bringing with him the wheelchair.
He places Alfie in the wheelchair and shackles him to it.

102.
MICHAEL
We have a celebration tonight. So,
there will be time for you to say
goodbye to your brother.
Michael turns the wheelchair to face her. He walks out.
Alice waits until there is no more sound of movement.
ALICE
Alfie.
Alfie is still unconscious in the wheelchair.
ALICE
Alfie, you have to wake up.
Alice tries to break free from the ropes.
ALICE
Please, Alfie, wake up, just wake
up.
The boy is still unconscious. Alice tries to raise her legs,

but she has a sandbag holding them down.
She struggles. Her wrists start to bleed again. She gives her
all to break free but she cannot.
Day turns into night.
INT. OLD MANSION - WALK-IN CLOSET - NIGHT
Michael ties a bow tie. He wears a tuxedo.
INT. OLD MANSION - STAIRWELL - NIGHT
Michael walks down the stairs. At the bottom, the big Black
Man is waiting for him with his head lowered. He is also
holding Alfie’s backpack.
He comes closer to the big Black Man.
MICHAEL
What’s this?
Michael takes the backpack. The Black Man leaves.

103.
INT. CELLAR - NIGHT
Alfie opens his eyes.
Alice is in front of him. Her eyes are closed, her white

dress is marked by blood from her wrists, and her makeup is
also messed by the dried tears on her face.
Alfie looks at her for a few moments.
ALFIE
Hi.
Alice opens her eyes, and they look at each other.
ALICE
Did they hurt you?
Alfie doesn't respond. She notices the bruises on his face.
ALICE
Why did you leave me?
Alfie doesn't answer.
ALICE
Did you -- Did you really kill two -
-
She can’t finish the question. Alfie nods.
ALICE
Why?
Alfie takes some time before he replies.
ALFIE
They meant to hurt us.
ALICE
But you knew right? You knew for
sure that they meant to hurt us?
Alfie shakes his head. Alice just looks at him.
ALICE
I’m sorry -- I’m the one who
should’ve saved us -- I’m so sorry.
The sounds of steps draw near. Alice looks with eyes wide at
the metal door, and the door unlocks.
Michael enters. He holds the backpack and smiles, but as he

sees the blood on the dress, his faces becomes serious.
104.
MICHAEL
What have you done?
He walks close to her. He looks at her, and she looks back at

him. They stare at each other in silence for a few seconds.
She looks at him, defiantly.
MICHAEL
Why aren't you afraid?
He punches her in the stomach, then he punches her hard in

the face, then again, and again.
Alice raises her head. She looks again at him with the same
hatred as before.
He takes a gun from inside his coat and points the gun at
her. She is still unafraid.
He turns the gun toward Alfie. He points it at his head. Now

Alice’s face changes. She is terrified.
ALICE
Don't you dare hurt him.
MICHAEL
Can you stop me?
ALICE
Please, please don't hurt him.
He kneels close to Alfie. He caresses his hair and face with

the hand holding the gun.
MICHAEL
Isn't he lovely?
He put his face just inches from Alfie’s. The boy just stares
back unemotionally.
Michael turns to Alice.
MICHAEL
I’m about to do something terrible.
He smiles kindly.
MICHAEL
This is not an act of vengeance.
I’m not my father. I hold no
bitterness for who you are, or for
what you have done to my blood --
On the contrary, I thank you for
it.
105.
He approaches her.
MICHAEL
This is my gift for you. -- Pain is
the only thing that it’s real. When
you feel it, you know it. Nothing
else matters, not love, not your
brother. Not even your life. I’ll
walk you there, and in that moment,
when I stab you for the last time,
you‘ll be grateful.
He has a lustful look on his face.
MICHAEL
People who die on their sleep don't
get to comprehend the true value of
life. Only here you can understand.
-- Let me show you.
Michael turns to Alfie.
ALICE
No.
Michael kisses the boy on the forehead then kisses the boy on
the cheeks, on his lips. Alfie doesn't pull away.
Only then, he notices that Alfie isn’t looking at him but

looking at the backpack.
Michael stops. He takes the backpack off the floor.
Alfie looks at Michael as he looks inside the backpack.
Michael takes the wrapped box from the backpack.
MICHAEL
Is this what you want?
Michael takes the card. It reads “happy birthday”.
He puts the gun on the table.
MICHAEL
What’s inside?
Alfie doesn't answer.
MICHAEL
Answer me.
106.
Michael shakes the box close to his left ear.
MICHAEL
What? It’s a bomb or --
The sound of a mousetrap sprung --
The box explodes in fire.
Blood sprays all around. Michael falls to the ground,

screaming and crying in pain.
One of his hands is missing, the other has only two fingers
left. The left side of his face is disfigured, missing its
ear and eye.
He rolls on the ground trying to extinguish the flames on his

left arm and hair.
Alice looks astonished at the scene. Alfie just looks with

the same blank expression as before.
Michael manages to put out the fire. Still crying in pain, he

rises and moves for the metal door.
At the door he tries to turn the key to open the door, but
without fingers he only hurts himself. He lets go with an
inhuman sound of agony.
ALICE
Let me down. If you want to live,
let me fucking down right fucking
now.
Michael kneels as he tries again to turn the key. He cannot.
ALICE
Listen to me. I said listen to me,
you freak.
Michael turns to look at her.
ALICE
Don't you fucking get it? You’re
dying.
MICHAEL
My father will come.
ALICE
How long do you think you have, you
fucking idiot?
107.
MICHAEL
(crying)
I don't want to die.
ALICE
Let me down. I’ll open the door,
and we can all leave this place
alive.
MICHAEL
I can’t, my father --
ALICE
He wants you to live, you’re all he
has.
Michael throws up blood. He looks at her with pleading eyes.
MICHAEL
You have to promise you won’t hurt
me, you have to promise.
ALICE
I swear I won’t hurt you, I just
want to take my brother and leave.
Michael looks at her in doubt.
ALICE
I promise you.
Michael moves past Alice. Behind her is the lever that binds
the rope. He uses his elbows to lower the lever. Alice falls
to the ground.
Alice passes her tied hands beneath her legs, and with her
hands in front of her face, she uses her teeth to break the
knot. She is now free.
She goes for Alfie. She caresses his hair and kisses him.
ALICE
It’s gonna be okay. You believe me,
right?
Alfie nods.
ALICE
I need to close your eyes. Keep
them closed until I say so, Okay?
Alfie closes his eyes. Alice turns to Michael. She takes the
gun, and from the table she takes one of the many knives
placed next to each other.
108.
MICHAEL
You promised me, you promised not
to hurt me.
ALICE
Where’s her body?
MICHAEL
We burned it.
Alice kneels close to him, her face just inches from his.
MICHAEL
That is not fair, you --
Alice closes his mouth with one hand. Michael tries to take
her hand off, but as he does, she plunges the knife into his
stomach. He gives out a muffled scream as she stabs him over
and over again.
He is long dead before she stops stabbing him.
Alice goes for Alfie.
ALICE
You can open your eyes now.
INT. CELLAR - CORRIDOR - NIGHT
Alice walks. Alfie in one hand, the gun in the other.
They reach the end of the corridor, where they find a door.
INT. CELLAR - WINE CELLAR - NIGHT
The door is hidden inside a huge wine barrel. As they walk

out of the wine barrel, they find a huge wine cellar with
several huge wine barrels.
The barrels are in terrible condition. The wood is rotten,

and they appear to have not been used for a long time.
Alice and Alfie walk along the wine cellar until they reach a
stone spiral staircase.
They climb the stairs until they reach the top.
EXT. DEAD GARDEN - NIGHT
Alice and Alfie exit the stairwell into what was once a
garden, unkept with wild flora all around.
109.
Just ahead of them is the old mansion.
EXT. OLD MANSION - ENTRANCE - NIGHT
Outside the mansion there are four parked cars. Alice goes
for the first one -- locked. She walks to the second one --
locked. The third one, a white Mercedes -- unlocked.
She puts Alfie inside on the passenger seat.
ALICE
You’ll wait for me here, do you
understand?
Alfie nods.
ALICE
It will be just a little while.
She walks to the front door.
Ernani is at the head of the table. He is holding a lit cigar

in one hand and a glass of wine in the other.
Also, at the table there are three couples, all of them old,
fat, and white, dressed in black-and-white formal attire.
The Black Man pours wine for the guests, and in the corner of
the room, the rottweiler sleeps.
ERNANI
It’s hard for me to toast, for we
have little reason to celebrate.
One hundred and fifty years ago we
lost. We had a cause on our side,
we had right on our side, we had
God. Nevertheless, we lost. Now
look around us. We live in a
Godless country ruled by Negroes,
faggots, and Jews. Decadence and
immorality are our inheritance. We
lost more than just the Civil War.
We lost the love of our God, and we
lost our country.
Ernani makes a small pause before he speaks again.
ERNANI
However, hope, we dare not to lose
hope.
(MORE)
110.
ERNANI (CONT'D)
We are the chosen few, chosen to
rise as the rest of the world
falls, and when our time comes, we
shall rebuild our country, we will
find our way out of this darkness.
Ernani raises his glass.
ERNANI
For our God and country.
The guests stand and raise their drinks.
GUESTS
God and country.
Alice stands at the doorway. They notice her.
The big Black Man drops the wine bottle and backs out of the
room in fear, and Alice lets him.
The rottweiler wakes with the sound, and as soon as he sees

Alice, it dashes in her direction.
Alice shoots the dog four times. One of the male guests moves
one step. She shoots him in the chest.
The man drops to the ground, and his wife holds him.
Alice walks close to the dog. The animal is still breathing.

She shoots the dog in the head.
ALICE
Leave your keys on the table.
No one does. She points the gun shoots one of the women.
ALICE
Keys.
The men take out their keys and place them on the table. The
wife of the man who was shot takes his key, caring little for
him. All keys are on the table.
Alice grabs the one with the Mercedes logo.
The guests who can walk move away from her to the corner of
the room. The two hurt guests are left bleeding.
Ernani places his cigar on the ashtray.
ERNANI
You will pay for this.
111.
Alice points the gun at him.
ERNANI
I am not afraid to die.
Alice keeps the gun pointed at his head.
ERNANI
What are you waiting for? Shoot.
Alice just points the gun at him.
The face of Ernani starts to change, from fierce

determination to tears, desperation and fear.
Ernani runs. He trips on the chair and falls hard on the

floor, he gets up and limps his way into the house.
Alice walks after him.
Ernani looks back as he tries to run with his hurt leg, and
doing so he stumbles on a decorative statue. He falls again
to the floor.
He enters the library. Alice is right behind him.
Ernani tries to close the door, but Alice puts her feet in
the doorway. She then slams the door open. Ernani falls a
third time to the ground. His nose is bleeding now.
He gets up again and looks around, no place to run.
ERNANI
My son?
ALICE
Dead.
ERNANI
Can I say a few words, so that you
can better understand why?
ALICE
I don't give a fuck.
Ernani shakes his head in disagreement.

112.
ERNANI
How dare you belittle what you
don't comprehend?
He walks one step in her direction.
ERNANI
There are so many untold stories
within these walls. -- My
grandfather fought in the civil
war. He never surrendered. The
first white person that was brought
to the slave cellar was a union
soldier. A small token of
retribution, I know, but more would
follow.
ALICE
Why her?
ERNANI
God chose her through me. She had
to be punished, someone has to pay
for all this evil.
ALICE
Bullshit. A fucking loser that
can't get laid. That's why, that's
always why.
He smiles.
ERNANI
You think you have triumphed? You
think that killing my children,
killing me will right the scale?
Are you so blind that you cannot
see, child? This is my triumph. I
have lived a long blessed life.
Dying will not unmake the good work
I have done.
Alice holds the gun with both hands, she points at him.
Ernani rips his shirt open, exposing his naked chest. On his
chest, countless marks of old cigar burns.
ERNANI
Shoot me, you whore. But my death
will disappoint you. For I will not
cry as she cried, I will not beg as
she begged. I will die with the
dignity your sister never had.
She looks at the scars for a few seconds. She lowers the gun.
113.
She turns her back to him and walks to the fireplace. She
places the gun and car keys on the ledge.
She grabs an iron stoker from the fireplace and turns back.
ERNANI
No.
Alice hits him with the stoker, breaking his right arm,
making him scream, a long scream followed by tears.
ERNANI
Please stop. I did as I was taught.
She hits him again on the leg, and he falls on the ground.
More screams, more tears. She keeps on hitting him, with all
her will, with all her heart.
The guests are attending to the man and woman that were shot,
trying to get them up.
Alfie enters the room. He looks around.
Alfie walks to the head of the table. He takes the cigar that
Ernani left in the ashtray.
The guests just look at him with puzzled expressions.
Alfie blows on the cigar, feeding the flame, then he drops

the cigar on the chair that belonged to Ernani.
It burns, and the fire spreads to all the places where he

sprayed the room.
In less than a few seconds, the room is on fire.
The guests run is panic, leaving behind the wounded.
Alice still beats Ernani with the iron rod. The fire has
spread fast around her, but she is oblivious to it. She keeps
on hitting him.
114.
INT. OLD MANSION - ENTRANCE - NIGHT
The guests reach the entrance, but the fire has reached there
first. They look down the hall, and they see the Black Man at
the kitchen entrance. They all run in his direction.
The Black Man is inside the kitchen with his wife at his
side. The kitchen is the only room not on fire.
The Black Man sees the guests coming in his direction. He

looks at his wife, then he closes the door. He uses a chair
to bar the door shut.
The Black Man and his wife walk away from the house. Their
child is outside, and he comes to their side.
They all watch together as the house burns.
The room blazes, the structure starts to crumble.
Alice only now stops beating Ernani, not because she wants
to, but because she is exhausted and cannot continue.
Ernani is unrecognizable. Broken teeth and jaw make his words

sound funny. Most of his bones are visibly broken, and his
skin color now is red and blue.
Ernani still moves, he speaks but whatever he says is almost

inaudible, like a disturbing child’s whisper.
Alice doesn't notice, but Alfie is in the doorway.
She finally looks around. She sees Alfie and the fire.
Alfie goes to her and takes her by the hand.
ALFIE
Come.
Alice takes the key from the fireplace. She looks at Ernani.
The fire is starting to burn his shoes.
Alice follows Alfie out of the room.

115.
EXT. OLD MANSION - LEFT WING - NIGHT
Alice helps Alfie out of a window just as the ceiling starts

to fall. They walk together toward the parked cars.
She embraces him, and they watch as the mansion burns.
INT. WHITE MERCEDES - NIGHT
Alice drives as Alfie sleeps at her side. He wakes and looks

at her. He smiles to her.
The sun starts to rise. She looks away from him and watches
the sun rise for a brief moment. She looks back at him.
Alice holds his hand, and she smiles back at him.
They drive away together.

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The white is silk, delicate and beautiful.

The white silk goes in and out as if there is someone

A drop of sweet fall into view, soiling the pristine white,

The defiled red silk is now hideous.

EXT. ROAD - NIGHT

A signpost reads: Welcome to CHARLESTON, South Carolina.

INT. BAR - NIGHT

ALICE (30s) sings on a small dark stage, a very pretty girl

She sings it beautifully.

Alice finishes the song, smiling at first, but her smile

The crowd pays no attention to her. She stares at them,

Alice drops her guitar and leaves the stage.

INT. HIGH SCHOOL - HALL - DAY

The hall is filled with teens. Commotion at the end of the

Soon everyone is laughing. Everyone but one boy.

He is stripped to his underwear, his body covered in paint.

Beneath all the paint, however, Alfie is a gorgeous boy, with

Something odd about him. He is calm and indifferent.

INT. DINER - DAY

A half full diner, everyone stares at one table.

However, it is not her beauty everyone is looking at, but Her

On the table, a cell phone vibrates. The display reads:

She sends the text and turns off the phone.

EXT. CEMETERY - DAY

A tombstone reads: “Daniel Fairchild, Beloved Father.”

Tamara, Alice, and Alfie approach.

Tamara places the rose on top of the grave.

Tamara makes an effort not to cry. Alice embraces her.

Alfie takes a Gameboy from his pocket. He starts to play, not

INT. CAR - DAY

An old Mustang in bad shape.

Alice is driving, Tamara is at her side, and Alfie is in the

Alice just looks at her.

Tamara tries not to laugh. Alice looks back seriously.

INT. BUILDING - CORRIDOR - DAY

Several beautiful women are lined up. Tamara comes in with

A pretty girl next to Tamara, looks at her from head to toe.

He looks around, a brief second for each girl. He looks at

INT. BUILDING - INTERVIEW ROOM - DAY

The room is bare, a film crew and a table. Tamara sits.

Michael smiles as she gives him her headshot.

They shake hands, he makes it a long handshake.

Tamara studies him and takes her time before answering.

Michael lights a cigarette.

The film crew giggles. Michael glances at them, and they

Michael is terrified. He jumps back dropping his chair on the

Tamara stands, as everyone looks at her. She looks at the

EXT. MECHANIC’S SHOP - DAY

Alice is standing in front of her broken car.

She paces impatiently. She looks at her watch.

INT. BLACK BMW - DAY

CHRISTOPHER (40s) grins in the driver’s seat. He is a little

Alice enters the car and slams the door hard.

Christopher drives. Alice doesn't look at him.

Alice tries not to smile.

INT. ALICE’S APARTMENT - ELEVATOR - DAY

Christopher and Alice in the elevator.