CARNIVORE by Larry and Andy Wachowski


Dream-like tides of shadow swirl around the wet phosphorescent streetlights that glow dimly in a desolate urban intersection. It is Fall; the misty breath of winter rises up through the sewer grates. Huddled in a small doorway is a figure swaddled in darkness. We hear footsteps, expensive shoes clicking against the pavement in a brisk city gait. The figure stirs. A well dressed man passes the doorway as the figure raises its head. It is Kuru. Kuru is dressed in rags, his jet black skin, including his face and bald head, is covered with blue tattoos. KURU Mister? His hand reaches for the shadows. KURU You got a dollar, mister?


The man ignores him as Kuru rises behind him. KURU Mister -- mister, please. hungry.


Walking even faster, the man continues past Kuru as he strides into the street against the blinking "Don't Walk" sign. KURU Mister?


Hey -- Mister!

A horn explodes as a car booms past, almost hitting the man. He shrieks. Kuru's laughter echoes from the dark. The man looks back but Kuru is gone. He scurries across the street toward the layered concrete parking garage. Dead red neon causes the vertical sign to read: RAGE. INT. GARAGE STAIRWAY - NIGHT

The man climbs quickly, the metal stairs ringing, "thoom, thoom, thoom."

As he reaches his level, a whisper floats up from the garage's concrete bowels. KURU ... mister. The man looks over the railing but sees only shadow. turns and pushes through the door. INT. PARKING GARAGE - NIGHT He then

The grey garage is damp and cold, every sound echoing as though it were inside a whale. Nervous, the man hurries toward the only car on the level, his red SAAB. He digs out his keys and hits the remote alarm disarm. Far away, we hear a rattling metal sound. The man reaches the car groping for the door handle as the rattling draws closer. Hy jumps into the car, locking the door and jams the key into the ignition. Suddenly, a baseball bat arcs down so that the twisting of the key seems to shatter the windshield. The explosion of glass becomes -INT. DINER - NIGHT

The crash and tinkle of dirty plates being thrown into a bin by a busboy clearing them from the table of an old diner. Once the table is cleared by the quick automatic hands, the busboy wipes it down with a grey rag. He then places a setting. A napkin. A fork and a spoon. A knife. The utensils are heavy duty stainless steel. The knife is flat like a butter knife but the end is serrated and sharp enough to cut meat. We hold on the empty setting as if we were sitting at the table waiting to be served. John Bunyan throws his backpack into the booth and sits down at the empty setting. JOHN Man, I'm starving. John is a friendly looking fellow whose simple expression of awe and behind-the-times wardrobe immediately places him as new to the city.

then zips it back up. JOHN How are you tonight? She sighs. attractive woman who is uncomfortably overdressed. country. Her date. When in Rome. JOHN Hi there. WAITRESS My feet hurt. waiting for his order. He holds up his hamburger to her mouth. not the items. okay? She leaves. OPHELIA . Ophelia is a young. WAITRESS Let me give you some advice. WAITRESS To drink? JOHN Water is fine.The waitress steps over to the table. Now what can I get you? JOHN Let me see here. John takes out twenty dollars from a small compartment in his backpack. but the prices. my back is killing me and I smell like a hamburger. there is a commotion that swallows the normal diner noise. expecting to be in a more formal restaurant. trying to get her to taste it. She stands. His hair is slicked back into a ponytail and he is also overdressed but quite comfortable. John smiles. pencil to pad. has the face of a weasel. In the background. He runs his finger down the menu. do like the Romans. JOHN I'll have the hamburger special. Roman Links. John turns and we follow his gaze to a far booth where a man and a woman are having an argument.

then grabs her Fuck you. She stabs him with the fork just hard enough to make him let go. fork with her free hand. LINKS You foul-mouthed bitch. OPHELIA Fuck your salad. he catches hold of her hair. you'd order a fucking salad. He snatches her by the wrist. Just try it! OPHELIA No! Links slaps the burger down. this place ain't good enough for your highness. She tries to lower the argument. . LINKS What the fuck difference does it make where you eat? All you ever want is a fucking salad. LINKS Shit. She struggles. I'm sorry. Before she can get out of the booth. LINKS You ain't going anywhere until you clean that plate. yanking her head down. He forces her face in the plate of salad and cottage cheese.No! You know I don't eat red meat! LINKS It ain't fucking red! Look at it! It's brown. OPHELIA You have no idea what I want. I take you to the fucking Ritz. She snatches up her purse and coat. OPHELIA I didn't mean that. Why go out if you never try nothing? OPHELIA You call this going out? LINKS Oh.

He smashes open the door. John looks around the room at the frozen employees and patrons in the diner. The diner is silent. Eat it! She screams. John can hear Links talking and Ophelia crying. LINKS Open the door. LINKS Are you from another planet or something? JOHN Why don't you leave her alone? Links' bony finger pokes John in the chest. Fifi? It's Roman. squirming free. There is another loud slap. OPHELIA (O. . John stands and slowly walks toward the bathroom as the waitress runs for the pay phone. Her face covered with food.) Leave me the fuck alone. The door swings open.LINKS Now eat it. a sharp slap is heard and Ophelia cries out. Muffled behind the bathroom door. He chews. she runs for the nearest door. LINKS What the fuck? JOHN I heard the woman crying. At the door. eyes burning and tearing. the women's bathroom. He sips the last of his coffee then politely dabs at his mouth with his napkin before getting up. He knocks.S. Links has a huge black eye. Links becomes quiet and John knocks again. glancing around. The diner is uncomfortably quiet. goes inside and slams it shut. Links walks to the women's bathroom and lightly knocks on the door. listening. Links calmly pushes the last over-sized bite of burger into his mouth.

He swings. he rushes at John like an animal. John shrugs. cocking another punch. sending him sailing onto his back. hot blood speckles the bright white ceramic floor. Both men recoil. spinning him out of the bathroom. ramming a fist into Links' gut. standing. mashing Links' thin pointy nose. They thrash wildly like dogs. back his hair. John jumps back but the knife slashes open his forearm. throws Stop it. Roman! Links. LINKS You got that right. Links doubles over as John grabs him. Links throws the first punch but John blocks it. His John howls and lunges at Links. Links even biting John. staring hard.LINKS Why don't you do what you're supposed to do and mind your own fucking business. LINKS Pay for your own fucking salads! . Links scrambles to his feet. and grabs a knife from the nearest table. LINKS I never forget. his ears red hot. Screaming. JOHN Too late now. a wild man. fighting for the knife until -Ophelia stomps on Links' arm with her high heel and snatches up the knife. LINKS This ain't over! This ain't over! He points at his bloody nose. staring at John. This dog's got a long memory! And you -He stabs a finger at Ophelia who is still holding the knife over him. OPHELIA Stop it. knocking both of them to the ground. hair splayed across his bleeding face. seizing hold of the knife hand.

Ophelia digs out a handful of paper napkins from a dispenser and presses them to his wound. Ophelia looks up. JOHN You're welcome. using his left. OPHELIA But .. JOHN Maybe not. it was really. OPHELIA You're not from around here. You're really hurt. thank you. John. storming out of the diner. I'll be alright. I didn't know it was that obvious. suddenly uncomfortable that the eyes of the diner have been on them the entire time. John looks up into her smiling face. OPHELIA I can't believe this. OPHELIA Listen -JOHN John Bunyan. His knees buckle a bit at the sight of so much of his own blood and he sits at one of the chrome tables. suddenly conscious of his bleeding arm. JOHN It's okay. John. I mean Roman is a little crazy but what you did. OPHELIA Oh my god. are you? JOHN Just off the bus. We really need to get you to a doctor.. I think. He shakes her hand. JOHN I don't really have the money.They watch as he whirls. OPHELIA I'm Ophelia. actually. groans.

JOHN What is this place? OPHELIA It used to be something like a YMCA but it was condemned. . The Mission is an old stone building that had once been a proud. OPHELIA Well. She pounds on the door again. with its boarded windows and crumbling brick work. She's the cook. urban decay. her name is Gretchen.Do you have someplace to stay? Relatives? He shakes his head. Ophelia looks at the clump of napkins. THE ALLEY . white soaking red. EXT. A man named Rex Mundi somehow convinced the city to let him run a soup kitchen out of it. OPHELIA Come on. but she told me to call her Granny. magnificent landmark. She thinks. From inside. EXT.NIGHT Ophelia pounds on the heavy steel side door. old voice. we hear a faint.NIGHT A cab pulls up outside the Mission. it wears an edifice of dark. John follows Ophelia from the cab into the alley that runs behind the Mission. THE MISSION . that arm is going to get infected if we don't take care of it. OPHELIA Granny? Granny? JOHN Your grandmother's house? OPHELIA No. It is now a squatting corpse.

I was hoping you could. dabs at the wound with a wet. Just like sewing up a turkey -She wraps it with gauze as Ophelia hands her strips of tape. MISSION DINING HALL . It's Ophelia. Her gaze fixes immediately on the cut on his arm and her eyes bulge. wait. INT. OPHELIA Granny. Her smile is a checkerboard of lost teeth gladly given for the chocolate she constantly consumes. and wrinkled as a willow tree but has the boundless energy of a child. GRANNY . this is John. leaning in.. only endless rows of cheap fold out tables and chairs. GRANNY Oh. Close on a large button hook as Granny pushes another stitch through the flaps of skin. Granny is a woman who looks impossibly old. Come in. She then pulls. drawing the skin together. Come in She pulls them inside and the door slams shut. bloody towel. John winces. There. Beneath nasal-humming fluorescent light. GRANNY Almost done. Come back tomorrow.. blood. a series of locks and bolts click and slide before the door finally opens.GRANNY We're closed. Ophelia. JOHN Feels better already. After a long pause. OPHELIA Granny. Granny sits hunched over John's arm. locks and bolts snapping back into place. I have a friend here who's hurt.NIGHT We hear the The dining hall is a cavernous room that seems to have no walls or a ceiling. thin. quick. bleeding.

Just bad enough for a nice scar and a good story. She winks at him. JOHN I don't know how to thank you. GRANNY Oh no, no -- Well -An idea slips into her mind and a smile creeps across her face. GRANNY Okay, how about a kiss? Ophelia laughs. OPHELIA Granny! GRANNY Oh, it's not like that. Just a sweet little thank you, that's all. JOHN Uh, sure. Granny leans forward, her eyes closed, lips puckered. John puts a hand on her shoulder, leaning in, deciding to close his own eyes. The moment is painfully slow to arrive as they inch closer and closer until finally their lips touch. Granny pops back cackling with laughter. John laughs awkwardly as she licks her lips, tasting the kiss. GRANNY Yes, yes, very nice. Ophelia, you ought to give them a try. Ophelia looks up at John. There is a hint of something beyond the smile on her lips. GRANNY Now, can I get you kids something to eat, some chocolate, maybe? Sugar for the blood? OPHELIA Actually, Granny, there was something else. I brought John here because he's new to the city and has nowhere to go.

Granny is suddenly very uncomfortable. GRANNY Oh, you'd really have to ask the boss about that. OPHELIA Is Rex here tonight? MUNDI At last, the fair Ophelia calls. They turn as Rex Mundi emerges from the black edges of the room. Mundi is a dark featured man, tall and sinewy who forever seems to be cast in shadow. His clothes have an antique quality to them which includes a battered stove-pipe hat. He smiles, gliding across the room, his eyes riveted on Ophelia. GRANNY Rex, I thought you'd gone out. MUNDI You know me, Gretchen. about.


Mundi takes Ophelia's hand, holding it almost to his lips. His face hovers over her, nostrils flaring, inhaling the scent of her soft skin. Then, ever so delicately, he kisses it. MUNDI To what do we owe this savory surprise? Tell me, how is Ms. Shelley? OPHELIA She's good. I'll tell her you say hello. Mundi nods. OPHELIA The reason I'm here, Rex, is for my friend, John Bunyan. He's looking for a job, a place to stay, anything. Ophelia gestures to John but Mundi does not look away from her. GRANNY You did promise me a dishwasher, Rex.

Mundi considers this, turning, appraising John. He notices the bright, white gauze bandage and the small spot of blood seeping through. MUNDI Are we running an animal shelter now, Gretchen? Taking in every wounded stray? OPHELIA I brought him here, Rex. It's my fault. He was hurt because he helped me. This is all I could think of. Mundi watches John. MUNDI The city is full of cheap hotels. OPHELIA He doesn't have much money. MUNDI Then why not bring him home? Ophelia doesn't know how to answer, leaving an awkward silence. JOHN Listen, it's okay. any charity.

I don't need

MUNDI I am not offering charity. has no place here.


JOHN I thought this was a soup kitchen. MUNDI Oh it is. But it is not run out of charity. There is a bargain, a contract if you will. I offer a bowl of stew in exchange for an appetite. John is confused. MUNDI This is my mission, you see. To teach those that will listen that no one need ever be hungry. He has a voice that seems to weave the words around his audience.

would it be a fair question to ask you what brought you to our vanity fair? JOHN Your what? MUNDI To the big city? JOHN Oh. MUNDI What is it that they whisper to themselves when they open a closet full of fur coats. Rex. MUNDI In that case. OPHELIA Gee. JOHN Not necessary. you're as cheery as ever. or a garage full of sports cars? How do they justify the consumption of so much while so many have so little? It is painfully simple. they may obfuscate. but deep down the rich know exactly what I know. They may equivocate. MUNDI Perhaps I should apologize for my candor. just looking for a job. doesn't it? Yet if you were to meet one of the two percenters you would find them quite at ease with it. It sounds obscene.MUNDI Two percent of the world's population controls ninety percent of the world's wealth. They know that this world is cruel. it is unfair and uncaring and its single guiding principle is dog eat dog. MUNDI Is that all? You seek nothing but a paycheck? You have no dreams? No aspirations? . How do they do it? His black eyes flash like the spinning watch of a hypnotist.

Kuru. someone for you to Ah.. meet. Behind them. ambition. the door to the dining room opens and clangs shut. silhouetted against the kitchen's light we see a very large man..JOHN Well.. Kuru ignores John. John. Mr.. Business. we see that it is the man with the blue tattoos. MUNDI Kuru. MUNDI Ahh. Ophelia -He tips his hat. MUNDI Let me tell you. That is something I can understand. no. They shake left hands. MUNDI I must be off. Bunyan. My mission is growing and Gretchen reminds me that I am in need of hands. your hand. For a moment. I hope one day to open a restaurant. I like to cook. MUNDI Come. . Kuru moves into the room and when he reaches the light. MUNDI We have a deal? JOHN We have a deal. Would you agree with that? JOHN Yeah. I think so. I can offer you the bedroom above the kitchen and all of Gretchen's stew you can eat in exchange for. that I am many things to many people but I am first and always a pragmatist. whispering something in Mundi's ear. Understand the dreams and you understand the man. this is John. our new hand. Mundi extending his hand. John is surprised by the offer. Granny will show you the room.

It reads: Slimage Surgicenter. He watches her leave then regards his increasingly throbbing arm. do you think -. He tugs on the pull chain but the bulb is burned out. A naked bulb hangs above John's head. leaving the light on. JOHN'S BATHROOM . OPHELIA I should be going too. GRANNY I'll go find you some bedding. OPHELIA It's where I work.MUNDI It is always a pleasure. .NIGHT John throws a wall switch and a buzzing strip-light flickers on. A layer of dust covers the floor like moss. Together. Ophelia. Don't be such a stranger. he edges back into his bedroom. JOHN I will. dark room. the spot of blood growing wider. John urinates and flushes the toilet. Ophelia and John are alone again. Yes. Call me. Kuru and Mundi leave. JOHN'S BEDROOM . would you mind -OPHELIA Would you like my phone number? JOHN Very much. Bye now. Cancerous spots of mildew grow everywhere on the dirty tub. JOHN Listen. John.I mean. She hands him a business card she already had in her hand. INT. yes. Then. It is bare of furniture except for a twin-sized metal framed bed and a broken chair.NIGHT John stands in the door frame of the small. INT. shower curtain and tile. I wrote my home number on the back.

After a long beat. I'm really sorry about what happened. APARTMENT STAIRWAY . "Buy your own . mock pouting. pipes groaning. A stair creaks. LINKS I went a little crazy. the metal springs shrieking beneath his weight. we begin to become aware of faint noises from deep within the building. that's all. Please. Ophelia looks back over her shoulder and sees Links. Fi. LINKS Let me in! Fi! He pounds on the door.NIGHT Crouched in the shadow behind the banister. turning away from the sounds. Silently. he descends the stairs. hiding.INT. OPHELIA What do you want? doing here? What are you LINKS I didn't mean to scare you. the lobby door opens and closes. She screams as he lunges. the distant hiss of a radiator. open-mouthed as both nostrils are stuffed with wads of bloody congealing cotton. John twists. OPHELIA What happened to. I need you. It is though the building were trying to digest something. grabbing at her coat but she rips free of him. He leans against the door. pulling the single blanket over him. His breathing is labored. squeezing through her apartment door and locking it behind her. watching Ophelia's door from the landing above. Fifi. Links presses against the spindles to watch as Ophelia climbs the stairs and crosses to her apartment. He takes off his shoes and lays back. Roman Links squats. creeping towards her as she pulls out her keys and unlocks the door. INT. JOHN'S BEDROOM .NIGHT John sits on the bed. Below. open the door.

OPHELIA Stop it! LINKS Pretty poodle. LINKS Fifi -. She rips out the knife. just missing Links' neck. OPHELIA You were following me? What? He pulls out a small plastic folder that is labeled "Master series 1001-2001.fucking salads?" LINKS You know I love it when you use that word. jamming the knife into the door. OPHELIA Don't call me that! LINKS Fifi in heat. Links steps back." Inside are five skeleton keys of which . She screams. OPHELIA I'm calling the police. holding it up as if to stab him. OPHELIA You little prick. I saw you take him to that flophouse. LINKS I saw you leave with that guy.Come! OPHELIA Goddamn you! LINKS Good poodle. OPHELIA Then fuck off! Yeah? Ophelia feels the steel dinner knife still in her pocket. laughing. An inch of the blade splinters through. LINKS Bitch.

backs away as he works it against the lock. The glass is knocked from the sink top and shatters on the floor. Ophelia Another key is pushed in. hair heavy with sweat stuck to the side of his head. LINKS You're mine. He shoves it in. INT. Just thinking about you and somebody else. He slides out the last key. stopping lightly against the chain lock. its teeth fighting tumblers. pulls another and jams it in. As he rises. plipping bathroom sink. plip. she hears his footsteps fade down the stairs. My Fifi. Fifi. LINKS It's killing me. the teeth sawing into the keyhole. OPHELIA Roman! LINKS I need you. and reaches for a glass. BATHROOM . It's eating me up. He rips the key out. turns on the water. After a beat. still clutching the knife. Fi. OPHELIA Roman! The lock clicks and the door floats open. JOHN'S BEDROOM . INT.NIGHT John sits up in his bed. Dehydration carries him to the plip. Ophelia holds her breath. Ophelia leans against the door. we see that his sheets are soaked with blood. JOHN Oh great -- .NIGHT John squints at his bleary eyed reflection.Links draws the first. Ophelia yanks the knife out of the door. She hears the first key go into the lock. The lock jiggles as he twists it back and forth but it does not open.

I need that! He turns for the hall. licking his fingers. Where his hand had been is now a bloody. John.Look! No. I woke up and it was gone! Mundi butters the two long slices of bread with clumpy wads of mayonnaise. confused. under the bed. MUNDI Hello. relax. Rex. INT. MUNDI Relax. Care to join me in a midnight snack? Mundi drags a serrated knife across a loaf of French bread. chuckling slightly. JOHN Someone -. bandaged stump. not my hand. and produce. JOHN Where is it? Oh god. JOHN Rex! Mundi smiles warmly from behind a mountain of strange condiments. JOHN Then -.then this isn't What? . hand! My MUNDI Oh my. JOHN My -. Where's my JOHN'S BEDROOM His body heaving in panic. I see. behind the radiator. meats.John looks down and immediately sees why he broke the glass. John. John searches frantically around the room. JOHN My hand -. KITCHEN John finds Rex Mundi in the gleaming steel and tile kitchen making himself a sandwich. Can't you see you're only dreaming? John stares.Someone stole my hand.My hand! Oh god! hand?! INT.

run off and sold your soul to the devil? John begins to feel a sickness in his stomach. JOHN What happened to counting sheep? . the answer is a more literal one. then his face. He looks up. though. more true than life itself. And are sometimes all that we are. maybe John. John's eyes crack open. MUNDI Perhaps. MUNDI Care for a bite? He takes a huge bite. I didn't say that. MUNDI They are the sum of us. John. Dreams are more real.real? Mundi begins to pile things onto his sandwich. MUNDI Have you. Secrets whispered while we slumber. He lifts the sandwich and John sees his hand between the two pieces of bread. Mundi closes the top of his sandwich. MUNDI You say you are missing something. revealing who we are. MUNDI Real? Oh no. Your innocence? Lost childhood. John. JOHN'S BEDROOM He rubs his hand. INT. perhaps? Any sexual shortcomings of late? He smiles at John. Mundi returns to fixing his snack. MUNDI A hand which is a sandwich turns a man into a meal.

JOHN'S BEDROOM . begins to smell Granny's cooking wafting up through the floorboards. Base for any good stew. She dumps it back into the pot. They both turn as the basement door slams open and Otto enters carrying a large sack of flour over his shoulder. GRANNY Liver and onions. as if his mouth were suddenly stuffed with liver and onions.He rolls over. stumbles into the kitchen. then ladles in another cup of melted fat. stiff and disheveled. GRANNY Suit yourself. INT. John swallows hard. As the steam blossoms up. GRANNY Stomach got you up. Granny stirs the reddish brown meat into the mixture. INT.DAY Close as a pile of raw liver drops into a deep metal pot sizzling with onions and yellow fat. Not just yet. still asleep. . trying to keep his stomach from turning on him. she inhales deeply.DAY John. blowing on it between her teeth. INT.DAY Granny pours a mound of salt into her hand and begins to sprinkle it into the pot when John. He is a terribly wide man with enormous hands that he is constantly wiping on his bloodstained apron. MISSION KITCHEN . The smell is suffocating. it? Granny scoops up a big spoonful. MISSION KITCHEN . JOHN No thanks. She offers the steaming meat to him. It's real revitalizing. did Morning. Otto is the Mission's dwarf-like butcher. His eyes pop open.

OTTO You alright? Didn't bite you. It does not look quite as ominous in the sunlight.DAY A large stray dog is chewing open some plastic garbage bags piled near a dumpster. revealing his large canines. He lets the bag of flour drop to the ground and crosses back to the basement door. the dog looks up. John watches as Otto shuts the basement door behind him. OTTO Hey! Otto rushes right at the dog. He handles the goods and deliveries and does all of our butcher work. exploring his new surroundings. John freezes as the growl grows to a bark. After a beat. giving John a friendly wink. following a strange noise around back. EXT. Otto wipes his hand before they shake. John turns. As John edges closer. did he? JOHN . we hear the click of a lock snapping into place. this is Otto. OTTO Get out of here! Go on. JOHN Find anything good? Hey boy. JOHN You butcher your own meat here? GRANNY It's a lot cheaper that way. THE MISSION . The dog coils ready to attack when the back door slaps open. get! The dog whines. EXT. ALLEY .GRANNY Oh John. bolting down the alley as Otto turns to John.DAY John is wandering outside the building.

John smells it. INT. It has been a long night. It is still hot. Those bowls . John sits down with his bowl across from her. John rinses the pot and racks it. Rex calls them the invisible people. smoking a cigarette. There are stacks of soup bowls beside him. and samples it. we had thirty to forty. GRANNY All done then? JOHN It wasn't too bad.NIGHT Wearing heavy. perhaps three hundred of them. Homeless. JOHN The same people every night? GRANNY When we started. even friendly considering. Now we get two hundred. John scrubs the enormous silver pot Granny had been cooking in earlier. She smiles. mostly they're alright. MISSION KITCHEN . He opens the door and sees the bowl of stew Granny left for him. OTTO Yeah. He dips a finger into it Surprised. GRANNY They love every last drop. you got to be careful. But when they're hungry.No.NIGHT The only lit strip of fluorescent light hangs above the far table where Granny sits. MISSION DINING HALL . were pretty clean. nodding. He grabs one of the newly washed spoons. yellow latex gloves. already cleaned. It smells good. INT. it tastes very good. JOHN Who are they? GRANNY The poor.

It's really good. Granny watches as he blows on it and slips it into his mouth. GRANNY You do. a little bit of everything. exhaling a cottony cloud of smoke. rabbit even. GRANNY How do you like it? He chews a juicy piece of the meat. trying to identify the different ingredients. Veal. JOHN There's something I can't put my finger on. JOHN Garlic. lamb. chicken.John spoons up his first taste of the stew. She seems as if she's about to start laughing. Granny. A secret recipe? GRANNY Everyone's got a secret. pepper but -- Lots of He swishes the masticated stew over and around his tongue. hot in his mouth. John samples it again. JOHN What kind of meat is this? Veal? GRANNY Whatever's donated. She smiles again. JOHN Come on. JOHN What else is in it? GRANNY Oh. beef. Granny stares off into the dark edges of the room. rosemary. John's chewing fills the silence. basil. JOHN I don't have any secrets. You just can't keep them to yourself. JOHN It's good. .

OPHELIA John? JOHN We kind of met the other Um. Like he helped you. Rex helped me. arm? How's your JOHN . INT. OPHELIA How are you? Oh. OPHELIA'S BEDROOM . Ophelia? John leans against the wall. JOHN Oh. night.NIGHT Ophelia. She smiles her checkerboard smile. GRANNY I remember when I came to this city. it's John. rubbing her eyes. in bed. Ophelia sits up. but stops remembering something. talking on an old rotary pay phone.. do you think you could loan me a quarter? I'm good for it. JOHN Over dinner. She smiles. awakes and reaches to answer the ringing phone. hi. JOHN You had kids? GRANNY A long time ago..He looks up. John fills his spoon with a big chunk of the stringy stew meat. Granny. yeah. I was young and poor with little ones. OPHELIA Hello? JOHN Hi.

JOHN Bye. JOHN Huh? I You saved me OPHELIA I was -. a grin spreading wide on his mouth. did I wake you? can call another time. Then thank me by letting me cook you dinner. She laughs. He hangs up. OPHELIA No. huh? I think I'm punishing myself for not getting a chance to thank you properly.NIGHT We race with a pounding roar of drums. .It's okay. JOHN You too. CITY STREET . it's okay. OPHELIA Sounds easy enough. He smiles. Uh. no. around a corner and into a parking lot. He lingers. JOHN Okay. savoring her goodbye. JOHN Nine o'clock? Tomorrow? OPHELIA Do you mind if it's vegetarian? JOHN How could I forget that? OPHELIA Tomorrow then.I was having the weirdest dream. OPHELIA Oh really? I think I should be thanking you. again. down an empty street. EXT. actually.

Faster and faster we glide across the cracked concrete which is awash in the bright overhead kliegs toward the only car in the lot. then starts down the stairs. PARK STREET . BASEMENT . unable to sleep. John groans.NIGHT The refrigerator door opens. reaching for a cupboard but pauses when he notices the basement door is ajar. rolls up from his bed in frustration.NIGHT A steady rhythm of droplets drip from the leaping faucet against the soft echoing digestive sounds from the building's pipes. the only sound is the whining electric warning that the keys have been left in the ignition. he can make out a light at the bottom. We circle around the car. INT. He turns. there is a massive bowl of raw meat. INT. It hangs open. Close on the broken wheel as blood trickles from the dark load down the chrome frame. On the car seat. EXT. are you down here? He looks around. a red Mercedes. the window smashed. A small figure pushes the cart which is piled high with green garbage bags down a deserted sidewalk.NIGHT . Inside. JOHN'S BATHROOM .NIGHT The whine becomes the metal squeak of a broken shopping cart. MISSION KITCHEN . he gently pushes and it creaks open. INT. frigid light spilling into the dark kitchen. JOHN Otto.NIGHT John. a cigarette hanging between her wrinkled fingers. Down the uneven steps. the drums at their most fevered pitch and we see the driver's door open. JOHN Otto? He steps down. With one hand. JOHN'S BEDROOM . we see a splintered broken gold inlay cane. INT.

covering his nose. THE SHOWERS The room is After a moment. hacksaws.It is the old men's locker room. There is a nasty wet. John sees Otto's apron. In the center several blood formed in the grout lines. Grabbing hold of the wooden handle. John sees various butchering tools.NIGHT On the pegboard. curved bone saws. He edges toward it and slides back the curtain. he sees the mop is caked with thick. and rows of glinting. red-brown gore. A layer of sawdust covers the floor. John catches the odor from an old metal pail and mop in the corner of the room. sucking noise as the tangled mop strings separate from the scum at the bottom. In the light. JOHN Otto? At the end of the room a dirty. WORKSHOP . heavy The room reeks of rot. John finds the pulls chain for the naked bulb. clear plastic curtain hangs in front of what appears to be the showers. An old white radio with a bent hanger for an antenna sits on a workbench beneath the peg board. hanging from the ceiling are encrusted meathooks. . Web-like cracks have large tiles and green furry mold grows in the Near the door. Except for a sparse few hooded electrician's lamps hung from the web of pipes overhead. behind a six foot chopping block. On a coat hook. John slowly moves into the labyrinth of rusting metal lockers. much of it clumped together with dried blood. rubber boots. He creeps down the aisles past a bank of old salvaged refrigerators and freezers most of which are wrapped and padlocked with heavy iron chains. of the room. The red paint. pitch black. metal cleavers and paring knives. covers the locker doors like frozen flame. its knobs crusty with smears left by bloody fiddling fingers. INT. INT. cracked and peeling. he lifts the mop from the pail. John sees a pair of black. it is dark.

pointing out the lines that require a signature. a silhouette against the alley flood lights.NIGHT John slips up from the basement. As they devour it. I just need you to sign a few more things. carrying a clipboard. SLIMAGE SURGICENTER . hunched protectively over the meat. Mundi reaches to the counter where there is a small pile of meat in unwrapped butcher brown paper. INT. MISSION KITCHEN . In the alley. The clinic is stylishly furnished. Ms. John rushes for the stairs. MUNDI Good boy. she seems very much like her over-fed cat who sits in her lap. Mundi smiles almost imperceptibly as he tosses another chunk of meat out. purring as it is stroked and scratched by a woman with long. we can make out the unmistakable forms of several naked men and women. looking out. INT. From outside. we hear low. Sedier. Sedier. Good boy. OPHELIA We're almost ready. smiling brightly. a cross between a modeling agency and a nautilus health club.Sickened. Ophelia enters from her receptionist's office. Mundi stands in the open back door. We hear something scarf it up as John silently backs out through the stairwell door. hearing something from the kitchen. older woman sitting alone in the clinic's waiting room. red nails. He takes a piece of red meat and tosses it outside.DAY Close on a white Persian cat. Sedier is an extremely wealthy. Ms. he drops it back into the bucket. . animal-like growling. OPHELIA That's a beautiful cat. their bare skin glows sickly under the yellow alley light. Nestled in a chair with her mink coat over her shoulders. She sits in the chair next to Ms. then turns suddenly.

No matter what I did or what I looked like. Do you have a pet. Sedier. SHELLEY M. OPHELIA Well. Perdue rising from her desk. SEDIER Everyone should. moving to greet Ms. please? Would She leads the older woman through a series of doors to -INT. PERDUE'S OFFICE . MS. OPHELIA Here and here. Do you know Mrs.DAY Ophelia opens the door allowing Ms. Perdue is a mature looking woman. SHELLEY M. SEDIER Don't you find it funny that some pets live better than some people? Ophelia doesn't know how to answer. Ms Sedier continues to sign. Through the opening we see Shelley M. I think we're ready. cosmetically perfect. It is a high-pitched whine like that of a vacuum cleaner. unnaturally. PERDUE Evelyn. Ms. Kovit? She has a Pekinese. MS. Everything about her is slick with glamour magazine gloss. Ophelia? OPHELIA No. you follow me. SEDIER They say that animals love unconditionally. .MS. They embrace as Ophelia is about to close the door. Felicity will always love me. Can you imagine? She hands the clipboard back to Ophelia. In the background we hear a noise coming through the walls from another room in the clinic. it's so good to see you again. Shelley M. Sedier. Sedier to enter. She feeds it caviar. SEDIER Felicity. MS.

Sedier is wearing a small hospital gown that leaves her lower buttocks and legs exposed. Her flesh is moon-white except for her face which is still covered with make-up. INT. . Sedier is laying on the table. surrounded by several nurses and the cosmetic surgeon. Ophelia. SHELLEY M. all dressed in white and wearing masks. Sedier. SEDIER Did you ask her? SHELLEY M. of course you know Ms. Ophelia does not want to do it. PERDUE I spoke with Dr. She is moving closer to Ophelia. MS. Sedier and her cat. Manno and he said that it would not be a problem so would you be a dear and hold the kitty-cat? You know I would myself if it wasn't for my allergy. Chrome-plated scalpels and other operating instruments are spread neatly like a dinner setting.MS. but she's a bit nervous after the last one and she asked if it would be possible to have Felicity nearby. Ms. CLINIC OPERATING ROOM . cradling the cat. Perdue takes hold SHELLEY M. watches from nearby as the operation begins. Sedier is here for a treatment. We hear again the whirring of the vacuum clearer but now it is very loud. Everything in the room looks sterile and crowded with high tech machines attached to stainless steel cables and hoses. PERDUE It won't take long and I'll mind the front desk. Ophelia looks at Ms. SEDIER We hate to be apart. I really do appreciate this and so does Ms. PERDUE Oh. her teeth sharp and pearly white. of her arm. She smiles. Shelley M.DAY Ms. Ophelia.

Ophelia sees the large clear container of the liposuction machine as it begins to fill with white. INT.. he nicks himself. OPHELIA I'm so sorry I'm late. redness. JOHN'S BATHROOM . John flashes a large knife over an onion. tip of his tongue. perfect. The steam has refogged the mirror somewhat. MISSION KITCHEN . drying himself in the swirling steam and moves toward the sink to shave. viscous wads of cellulite. There is something about it. John throws it open. melted butter. JOHN .. Something he has never noticed before. As he turns up the burner. INT. his image blurred. INT. MISSION KITCHEN . He touches the blood. She smiles from the bottom step.NIGHT John steps from the shower. no. Dragging a cheap disposable razor across his cheek.NIGHT A large hunk of butter is thrown into a heavy skillet and begins to melt. The Then to the He looks up at his reflection as though his name were just called. he looks at the clock. He wipes a circle in the fogged mirror and we see his face lathered with shaving cream. JOHN What? Oh no. Slowly. You're. There is a soft knock on the back door. OPHELIA I'm starving. He carries his cutting board over to the large skillet and scrapes the various vegetables into the hot. John brings his fingers up to his nose. It reads 7:30pm. doing his best Benny Hana imitation. Close on the blood as it trickles down the white shaving foam.NIGHT Steam wisps up from a rich burbling spaghetti sauce.

Everything tastes better when you're hungry. JOHN It's the best I could do on my budget. finding them terribly cute. Whoever weighted the most won the piggy prize and had to wear a little piggy nose for the rest of the week. leading her in and closes the door. multitiered globular pool of slag wax. JOHN Only the freshest wine for the lady. The candles. lean at strange angles. no. propped up in tin cans. MISSION DINING HALL . He helps her into a chair and lifts a large jug of wine to fill their glasses. OPHELIA Oh no. but in a way. OPHELIA When I was little.NIGHT John and Ophelia walk towards the far dining table. Everything is. I was grateful because I learned real quickly what . They're perfect. The instructor would weigh us every Monday in front of the entire class. OPHELIA Yeah. Close on a candlestick as it suddenly begins to collapse. OPHELIA John.Good. INT. as though superheated. including candlelight. I wanted to be a dancer. The wine bottle is nearly empty and they both are feeling quite warm. JOHN That's pretty horrible. this is so nice. It was horrible. It is romantically set. My mother sent me to a special school one summer. time-lapsing into a melted. He takes her hand. Yikes. She looks at the cans and laughs. They are still nibbling at the tangle of saucy red noodles on their plates. Dinner is almost over.

I went to all the agencies.dancing was all about. I guess she liked me 'cause she offered me a job. JOHN Wise woman. One summer. my hips. I was about to get a nose job and I just broke down. Not a big difference. They liked me but everyone told me I needed "work. Tutu buried in the closet. I don't know. Other times. JOHN And how long did that take to learn? OPHELIA Eight weeks. After high school. OPHELIA Not wise enough. They all needed work. Never saw daylight again. OPHELIA What about you? Have you always wanted to open a restaurant? JOHN . I went from wanting to be a dancer to wanting to be a model. It wasn't tutus and ballerina shoes. I couldn't do it." My nose. my chin.. It's a brutally competitive world where you learn to torture your body to survive. my breasts. I came here to the city. JOHN Do you like working there? OPHELIA Sometimes it does feel like we're helping people. She drains her glass and he refills it.. Took me much longer to figure that out. That's how I met Shelley. JOHN You mean surgery? OPHELIA Yeah. She talked to me for a long time.

JOHN Thank you. I'd have been on the next bus back home. JOHN Uh no. OPHELIA Why? JOHN I'm from this small town. JOHN My parents and I never really got No. OPHELIA I don't know why I kept it. OPHELIA What about your parents? JOHN Living dead. . Dinner was delicious. Living there is like being dead. OPHELIA Oh god. Unless you've been there you can't imagine it. I think my arm is having a flashback. But I've always OPHELIA Well. The people are the same.I don't think so. JOHN I can't go home. It's Night of the Living Dead. OPHELIA God. Total Hicksville. Nothing ever happens. OPHELIA They can't be that bad. if what happened to you happened to me. look what I found in my pocket the other day. She pulls out the knife from the diner. speaking of dinner. you are an incredible cook. loved cooking. Every day is the same. but it's night and day and night and day of the living dead.

that duck was my best friend.along. JOHN It gets worse. We had a falling out when I was young. Ophelia laughs. OPHELIA Aw. after about a year. OPHELIA How young? JOHN Seven. in secret I gave him a name. JOHN He was really my first pet. Anyway. Jesus got nice and fat and one day when I came home from school and I smelled something on have But So I . OPHELIA Didn't he bite you? JOHN No. I figured that was the way you carried ducks. OPHELIA The poor thing. he would just fall back and his wings would spread loose and he'd dangle there until I let him down. We had a rule our farm that no animal could a name. So I'd loop some string around his feet and hang him from my belt. almost choking on a sip of wine. OPHELIA Jesus? JOHN I was just a kid. called him Jesus. JOHN I found this duckling with a broken wing so I decided to bring him home and take care of him. for obvious reasons. I took him everywhere which was funny because I'd always see my Dad come back from hunting and he'd have all these ducks hanging upside down from his belt.

. the weirdest part of it is? I ate dinner that night. From then on I never liked school and I never trusted my parents. OPHELIA That is so sad. JOHN What? OPHELIA I'm trying to figure out why I'm so attracted to you since you don't have a hairy back. JOHN You know what the worst. OPHELIA You ate poor Jesus? JOHN I had to. I hate hairy backs but I always seem to end up with men that have hairy backs. She studies him with the kind of intensity that is only possible after consuming large quantities of alcohol. JOHN You like hairy backs. They made me. JOHN I'm glad my back isn't -OPHELIA Oh no. JOHN Oh yes. JOHN What about hairy palms? She laughs. OPHELIA No. But Jesus sure did taste good. Even stood over me while I cleaned my plate. OPHELIA So am I.

INT. pulling them up from the table to each other. lit by the flickering candles. OPHELIA John.. to feel. She tears open his buttoned shirt and reaches for his jeans. sitting her on the table. OPHELIA He feeds me. Every action seems to drive them farther. rising up from the alley. as we move over the bed to the open window. Looks around. John lurches up. as he pulls off her underwear. until -A scream. SECOND FLOOR HALL . They grow more and more vicious. White. each desire leading to another. He pushes her dress up past her thighs as she leans back on her hands. he sees two stray dogs savagely fighting over a large bone.NIGHT Moving down the hall towards John's door. to kiss is over-powering. They laugh guiltily as he lifts her up. But the wild animal sounds continue. then eats me. as he eases from her side and goes to the window. its strange shape catches John eye. magnetically so. Outside in the alley. then up at her. He looks up over her leg. then a short giggle. We see them from the dark edges of the room. . Ophelia stirs slightly. right where he had been eating. we hear the sound of violent love making. their lips snapping tightly as they embrace. We watch her reaction. against the dark fur of the dogs.. dizzy with alcohol.The urge to touch. as the sounds rise to their most desperate and wild and we see the lovers sound asleep. The sounds are coming from outside. the sheets wound about their naked intertwined bodies. wait. The door opens. Her thighs are wrapped around his head when she suddenly feels a chill. It is a bone he has never seen before. A smile creeps across her face. It sounds almost bestial. He lifts her. We hold on the table listening to their laughter fade as they run for the door.

shutting out the noise. Then she hears something. the light flashing blue as it dies. still screaming. Links scurries wildly to his feet and races for the door. OPHELIA I have a gun. catching him on the side of the head. OPHELIA'S APARTMENT . EXT. . still very tipsy and smiling. his broken nose is taped up. hunched strangely. LINKS Filthy. He looks over his shoulder. Roman! What -LINKS Bitch! He charges at her and she sees that he is naked under his long black leather coat. her dress not zipped all the way up. OPHELIA Shit.After a moment. he closes the window.DAWN The sun has begun to rise. As he lunges at her. INT. She is very disheveled. the orange of dawn hardly visible behind the drawn blinds.DAWN Ophelia enters. closing the door behind her. fucking bitch! Bitch! She rips the lamp from its cord. The light clicks on a metal desk lamp. Obviously. but realizes something is wrong with her apartment. It is still and dark inside. THE CITY SCAPE . and she shines it into the darkness. OPHELIA Who's in here? Her heart pounds as she reaches for the nearest light. she swings the lamp violently. she had a good time. standing on her futon bed. Something inside her apartment. She nearly crumbles with relief. She lets out a scream when the improvised spot finds -Roman Links. his eyes wide like an animal frozen in the headlights of a car. knocking him over a chair. She slams the door behind him and slides the heavy iron deadbolt.

GRANNY I saw your company leaving this morning. I'm starving. Granny smiles. It's hot and he chews carefully. The answering machine clicks on. GRANNY Worked up an appetite. the liver seems to melt away. his face contorting orgasmically. MISSION KITCHEN . JOHN Man. The phone begins to ring but the scrubbing does not stop. a smile stretched from ear to ear. GRANNY And a good morning to you. I could eat anything.DAY Granny stirs up a mixture of liver and onions as John enters.DAY In the background. JOHN Was she all right? You did? GRANNY Oh yes. INT. John smiles even harder. His hair is pointing in various gravity defying positions. Wearing an equally ridiculous smile. She offers him the steaming helping of meat and wet onions and he opens wide. He is again surprised by the richness and flavor. JOHN That smells good. JOHN Right now. Rolling it in his mouth. INT. OPHELIA'S APARTMENT . holding her spoon like some bizarre advertisement. almost blushing.There is a terrible smell. we can hear a vigorous scrubbing sound. John smiles. John. did we? Maybe you'd like a taste? She scoops up a spoonful. .

JOHN (V. is wearing rubber gloves. OPHELIA Yes.) Hey! I called work but they said you weren't coming in. searching for the perfect fit. on her hands and knees. scrubbing the carpet with a heavy brush and sudsy water. JOHN (V. but then I found.O.O.) What happened? Shit.) When I woke up I was thinking maybe it was all a dream.O. well not exactly a glass slipper.) Was it Roman? Oh no. on the pay phone. John. MISSION STAIRWELL . INT. . JOHN (V.JOHN (V.O. There is a long beat. Not hungover.O. OPHELIA Hello. Smiling. I hope? OPHELIA Not exactly. trying every butt. OPHELIA'S APARTMENT .DAY John..DAY Ophelia. JOHN (V. I'm home. as if they were a country morning.O. JOHN But this is not your typical fairy tale.) Are you okay? OPHELIA I don't know if I want to talk about it. JOHN (V. he smells them.. is holding her bright pink panties. She drops the brush into the bucket and grabs the phone.) Perhaps I should scour the countryside. INT.

Ms. he. She sits awkwardly as her thighs.) So did I. Anything. I don't want it to get any worse. They're looking for him. OPHELIA Thanks.) Ophelia. buttocks. John. I had the landlord change the locks.DAY Ms.O.) He did what? OPHELIA He pissed all over my apartment.) I will. But if you need anything. Am I? . I understand. and abdomen are encased by heavy medical binders used to patch the liposuction punctures. There is a tension to her body as though she were afraid that motion might cause some seepage. OPHELIA Call me tomorrow. JOHN (V. John. OPHELIA I guess I am. just tell me where he lives -OPHELIA No.O.Her voice is very faint.O. Sedier is again in the waiting room.) Okay.. I had a really beautiful time last night. JOHN (V.O. Sedier? MS.O. SLIMAGE SURGICENTER . INT. SEDIER You're smiling today. I called the police. OPHELIA He just scared me. some meaty human juice to leak out of the sieve-like holes. OPHELIA Are you all right.. JOHN (V. When I came in What? JOHN (V. JOHN (V.

MS. MS. CLINIC OPERATING ROOM . OPHELIA There was a problem with your last check. SEDIER I've already spoken to Shelley about that. wore a size four and had an eighteen inch waist just like Scarlett O'Hara. SEDIER Can I ask you something. SEDIER I once weighed one hundred four pounds. SEDIER Is it a boy? Her smile brightens. SEDIER By check as usual. MS. MS. The smile fades. SEDIER A size seven? OPHELIA Six. dear? much do you weigh? OPHELIA One hundred eighteen. MS. OPHELIA Yes. INT. OPHELIA Fine. I remember that smile. SEDIER Of course. OPHELIA And how do you wish to pay for this visit? MS.DAY How . they never do. She leans back and smiles.MS. It feels wonderful while it lasts but that's the trouble with smiles.

MANNO Okay. Ophelia pets the fat white cat. SEDIER 100. Outside the observation window. Sedier's lower legs in the stirrups of the adjustable operating table.. her thoughts drifting up to the mirror.. it's okay. 99. mirror on the wall. its white tail curving up the perfect calf of Shelley Perdue..Doctor Manno positions Ms. 90. the cat got spooked. SHELLEY Is that him? The one you brought .. Felicity squirms and jumps free. Look. OPHELIA Felicity! She follows the darting cat who runs straight to Shelley's office. She sucks at the gas. MS... SHELLEY'S OFFICE . MS. SHELLEY Ophelia.DAY The cat stops. I'm fine. She is standing at the wall adjacent to the reception area. SEDIER 95. 97. The cat continues to cry and as Dr. Mirror. Sedier. OPHELIA Shhh. Manno goes to work. Ms. DR. OPHELIA I'm sorry... The two-way mirror behind Ophelia's desk allows Shelley to look into the waiting area while maintaining the privacy of her office. circling a pair of high heels. Ms. Perdue. The sudden vacuum whir makes the cat cry out. 98. INT. SHELLEY Come here. From one hundred. Ms. Sedier stares up past the bright lights at the mirrored ceiling as the anesthetic is fed into the air mask.

The drawer is very low. He is only looking at as one might look upon a Monet. SHELLEY Wait. She scoops up the purring cat. smiling boyishly. Ophelia smiles again. SHELLEY But if I were you. John jokes with her. Finishing a report. Ophelia. John. SHELLEY Don't feel hurt. She bends. Or jealous. His eyes speak for but you mustn't fault their honesty. Watch. batting her luscious false eyelashes. that never lie. I want you to see something. OPHELIA He is. SHELLEY Yes. a Michelangelo. RECEPTION AREA .to the mission? Ophelia looks out the glass and sees John talking to Mimi. Beauty demands admiration. one of Shelley's stunning beauty technicians. She starts to turn for the door. There they are. JOHN . Mimi smiles at John. does he look at me like that? INT. SHELLEY He's adorable. OPHELIA Yes.DAY her or our him John turns as Ophelia enters the waiting area. I would certainly ask myself. she stands to return a file to an open cabinet. Look at his eyes. Eyes like Ophelia's smile again fades away. He watches.

Ophelia! OPHELIA John. You might as well open a McDonald's. RESTAURANT . I've always wanted to come here but it's so expensive. made reservations. JOHN This is exactly the kind of place I'd like to open one day. I'm starving. the less fresh it is and the more assembly line it becomes. He nods. pepper-crusted filet mignon is set before John. JOHN It can't be too big.DAY I It is a trendy little bistro. INT. what are you doing here? JOHN I came to take you to lunch. She grabs her coat and purse while Mimi smiles at them. Oh. Red. doesn't it? She nods as a walnut and avocado salad is placed in front of her. his jaw grinding hard while she watches him. A charred. her fork furtively advancing on her salad. MIMI Have a nice time. John. don't they? OPHELIA Yes. They do let you eat lunch. The bigger it is. ruddy juice oozes from a glistening cube of steak that he pitchforks into his mouth. There is a clatter of wielded knives and stabbing forks as John begins sawing open his meat. . That's the trick. OPHELIA It's lovely. that smells good. OPHELIA Reservations? JOHN Yeah. God. the more prep there is.

you didn't answer my question. JOHN . He continues to eat but tries to cut away the charred crust. Maybe it's overcooked. And she's a helluva cook. OPHELIA So.. OPHELIA She's so sweet. OPHELIA John. just a little taste. like charcoal. OPHELIA Are you kidding? It's almost raw. It's unbelievably rich. choking down the lump of meat.. JOHN It's supposed to be. He pokes at the bloody steak. slicing out the reddest part of the steak. JOHN Come on. Her stew is amazing. JOHN Yeah. I'm trying to get the recipe. How's your salad? OPHELIA It's good. but I know what you really want. JOHN Yep.OPHELIA Where did you get the money? Suddenly he grimaces. she said she knew I'd play her back some day. He stabs a tiny bit of steak onto a single fork tine. OPHELIA Is something wrong? JOHN Had a funny taste. she is. JOHN Granny gave me some money. you know I don't eat meat.

That's all it is. OPHELIA Why do you want me to? Why? JOHN Haven't you ever watched two people in a restaurant feeding each other. mostly. It's a personal choice. It's just discrimination. And one tiny teeny weeny taste won't turn you into some kind of strung out meat addict. her lips slowly parting as he slips the fork inside... John smiles as she chews. She closes her eyes. uneven cut of meat to her mouth like a bizarre communion. JOHN You don't believe those vegetables died for you? OPHELIA They don't have eyes. OPHELIA I don't have to have a reason. JOHN I know but it's not like it's the forbidden fruit here. OPHELIA Okay -She watches as he lifts the tiny.Why not? Is it a taste thing or an ethical thing? OPHELIA Ethical. Ophelia smiles nervously. sharing their food? I know why they do it. You won't burn in hell for it. just try it. JOHN What do eyes have to do with life? A blind man isn't alive? That's not ethics. It's because they're in love. JOHN Little party going on in there I . So come on. They want their lover to taste what they're tasting to feel what they're feeling.

KITCHEN . INT. Ophelia shivers. I JOHN In that case. OPHELIA I can't believe I just did that. You're Satan. a tiny teeny weeny taste. THE MISSION .NIGHT A crescent moon cuts scythe-like through the clouds.think. RESTAURANT . . the heavy taste blooming through her. JOHN Can I see you tonight? OPHELIA I'd like that. chick. swick. swick. OPHELIA Oh. swick.. chick. The stack appears to have doubled in size. OPHELIA That was wonderful. Maybe I just need a taste. must really like you.DAY From far away. We hear the mucused whistle of his breathing and a sound that repeats rhythmically. Roman Links peers around the corner of the alley. EXT. EXT. why don't we pick up some pig's feet and have a real lunch. She leans toward him and they kiss. someone watches as they exit the restaurant. He is about to drown another beneath the sudsy water when he notices a small puddle of stew gravy at the bottom of the bowl. He slips off his yellow latex glove and runs his finger along the curved belly of the bowl. Thank you. fondling a switch blade that he continues to open and close.NIGHT John is washing bowls. chick. I get it.. JOHN You hate me now? OPHELIA I'm not sure.

After a moment.. MANNO'S OFFICE . I thought it was just a rash but it's gotten worse. INT. Ophelia rubs her thighs together. SLIMAGE SURGICENTER . he sucks.DAY Alone in a stall. she pulls her dress up and examines her thigh. Ms. we hear a small crunch as he absently bites down. Perdue. Manno when Ophelia enters. A tiny drop of blood swells around his knuckle and he sucks on his finger again.DAY Shelley is talking to Dr. SHELLEY It's all right. SHELLEY What is it. but there's something. DR. As she scratches. JOHN Ow -. Beneath her desk.Sticking the coated finger into his mouth. There are several red sores swollen with irritation. Ophelia.DAY There are several women in the waiting area. dear? OPHELIA I don't know.shit. Sit here and let's let Dr. She has Glancing up. all of whom are reading glamour magazines. At the center of each sore is a white protuberance.. INT. is also reading a glamour magazine. she goes to the bathroom. The only sound in the clinic is the rattle of magazine pages being turned. at her reception desk. she surreptitiously slides her hand under her dress. Manno have a . a terrible itch on the inner part of each thigh. obviously upset. something wrong with me. OPHELIA I'm sorry to interrupt. Come. Concerned. one of the alley dogs begins to bay. BATHROOM . like a stye but harder. INT. Outside. her nail catches on something that hurts to touch.

the root obviously connected to something much larger.yes! SHELLEY How bad is it? DR. Swinging a light between her legs. MANNO It's coming. Hold on. The side of her thigh bulges. . he clamps hold of one of the white nubs. MANNO Difficult to say. OPHELIA Tell me. typically in dark. MANNO Calcified cellulite. She gestures to the examination table and Ophelia sits. The danger is that it is impossible to know how large the tubors have gotten. Ophelia screams as the fist-like potato of calcified fat is torn from her thigh. Dr. He pulls and the nub is revealed to be a thick white stalk like a root growing from the eye of a potato. SHELLEY Oh no. please. moist places like between toes or the inner thigh. Manno continues pulling the stalk. fitting her feet into the steel stirrups. Manno examines the sores. MANNO Does this hurt? OPHELIA Ow -. feeling a large lump. Ophelia winces and writhes in the chair as Dr. DR. OPHELIA What is it? What? DR. particularly with vegetarians. cellulite spreads beneath the derma like a spore. In certain cases. He probes her flesh. With a pair of gleaming stainless steel forceps. What is it? DR.look.

What's the purpose? JOHN So people like Shelley Perdue could make a lot of money. JOHN Ophelia?! Ophelia breathes. It doesn't make any sense.? . but it looks good to me. JOHN Is something wrong with your What? leg? OPHELIA Do you know what that is? There are several small dimple-like marks on her thigh. bolting up from her bed. realizing she is in her apartment. OPHELIA That's not an answer. or acne. or warts. Ophelia. why would nature design something like this.T.INT. She opens her leg and examines the inner thigh. He starts to bite her but she pushes him away. OPHELIA'S BEDROOM . Maybe OPHELIA Do you know the only way to get rid of cellulite is to go U.K. It means that I have a diffused pattern of irregular and disconnective tissue. It's a genetic predisposition. nature is evil. It's cellulite.NIGHT Ophelia continues to scream. JOHN No. That's what's so horrible. There are olympic athletes with cellulite. OPHELIA It's not funny. looking at John. Just a bad dream. JOHN I don't know. OPHELIA It was a dream.

John. Roman Links stops. One of the chains hangs loosely around the bulbous waist of an old Frigidaire. He slips on a patch of congealed grease as he moves through the showers into the locker room. The dog attacks and Links slashes a bright red cut across its flank. BASEMENT . one brown crusty wad still plugging his nose. Prowling along the back of the Mission. his head jerks up. INT. the toilets are black with an unctuous grime. Links drops down among the stalls of the men's room. INT. She leans back down. Links growls back.T. He looks terrible.NIGHT Creeping through the maze of lockers. the dog scampers away. switching off the light. LOCKER ROOM .JOHN U. The padlock is open. EXT. Links pops the door. baring its teeth.NIGHT Worming through the small window. Links smiles. The dog coils onto its haunches. ALLEY . still wearing the same clothes. Huge piles of hamburger sit proportioned onto butcher paper. Links searches for a way inside. In the white light and swirling frost.K. The dog growls.? OPHELIA Under the knife. Several pounds of meat and miscellaneous organs have been fed through the grinder.K. wiping the bloody blade on his pant leg.NIGHT Nature A big stray is viciously digging at the garbage behind the mission. He finds a rotting piece of plywood covering a basement window and pries it open. Sniffing. . Quietly. his expression turns to horror. Sensing someone. OPHELIA I think you're right. swick. eyes wide as he reacts to every noise. he finds the work bench. is evil. It's done with lasers now but we still call it U. Howling. Links creeps toward the refrigerators.T. Links slides the knife out of his pocket.

SHELLEY There you are. would you ignore it? No. it's not big deal. OPHELIA This is not a big deal.DAY Ophelia talks to the reflection. EXT. revealing Kuru. After a moment. She looks over at a clock. OPHELIA Yes. But if it isn't then why am I freaking out? I don't know! You need help -The door opens and Shelley smiles. coiling back. very nervous.DAY The . INT. the pen trail whirlpooling until the entire space is blackened into an inky tangle. Links yelps. There are no names scheduled after three thirty. SLIMAGE SURGICENTER . Ready? Ophelia takes a breath and looks back into the mirror. INT. It is as natural as getting a haircut. INT. People change themselves every day. MISSION . It's more natural than having your ears pierced.DAY Ophelia is sitting anxiously at her desk. reflection answers. She is now Glancing at the mirror that separates her from Shelley. BATHROOM . her pen orbiting the only blank hole in the book. he unsheathes his massive gurki like blade.The door slams shut. Kuru sees the tiny blade and smiles. It is three twenty. OPERATING ROOM . Ophelia begins to circle the open space. From the back of his belt. his knife flashing from his pocket.NIGHT Several smaller dogs now digging through the garbage react to a terrible animal-like scream. she gets up and goes to the bathroom. You see. staring into the appointment book. the circle becomes a spiral. If you had a cavity.

John. angel-blue eyes staring down. It's what you want.NIGHT The coughing hiss of whipped cream spitting out the nozzle into a cloud-like mound. Ophelia's body becomes light. Ophelia. OPHELIA I hope this helps. his eyes are dark and hollow. the chair rises into position. you'll feel wonderful. I can't. JOHN You're not having one? OPHELIA No.Hydraulically. Everything will be fine. You go to sleep and when you wake up. as Dr. The first tiny white bits of Ophelia's inner thigh slap against the glass wall of the catch as the splattering sound becomes -INT. SHELLEY Don't worry. and hungry. JOHN I'm fine. Your legs will be smooth and beautiful. isn't it? To be beautiful. He looks like a piece of overcooked meat. Ophelia puts a spoon into the chocolate sundae and carries it to the living room. transubstantiating with the gas and she feels herself floating up towards her reflection. Ophelia stares at the mirrored ceiling. She hands him the sundae. I'm just tired. OPHELIA Are you sure you're okay? You don't look very good. Manno moves between her spread legs. John is on the futon. breathing in the gas. Through the slurred syrup of her senses. Tired . she hears the whir of the machine. It's just like magic. Ophelia sees Shelley standing over her. OPHELIA'S APARTMENT . his face grey and gaunt. a smile half-hidden beneath the surgical mask.

see the surprise? Her smile says something naughty. she slides her loose fitting dress up over her thighs.JOHN Why? OPHELIA My surprise. JOHN Did what? Slowly. JOHN I wasn't drooling. JOHN Maybe a little. John scoops up a spoonful of ice cream into his mouth. OPHELIA I did it. is perfect. OPHELIA You certainly were. The surprise. The cellulite. OPHELIA I got some lipo. JOHN What happened? When do I Oh god. JOHN Ahh yes. JOHN Ophelia. OPHELIA As perfect as Mimi's? JOHN Who's Mimi? OPHELIA The one you were drooling over when you came to take me to lunch. JOHN What? OPHELIA I told you. you're crazy. revealing the heavy white binders. Your body But I wasn't .

There was nothing to her. lifting her into his arms. John? Hurriedly. you know. There is a smell in the air that swirls about him like a perfume. JOHN I have to go. She's like an appetizer.really interested. INT. . OPHELIA I knew it. It is later. Something is wrong. John is having a tortured night. He turns and sees the bandages on Ophelia's thighs. OPHELIA What are you doing? . Sick and afraid. OPHELIA'S BEDROOM . he gets dressed. He grabs hold of her.. I'm not feeling very good. OPHELIA What are you doing? JOHN I'm taking you to your bedroom. but never very satisfying.NIGHT They are both asleep. fit tight to each other Again. I could tell.. His gut squeezes hard and demanding as a fist. OPHELIA Is everything about food with you? JOHN Food is life. he pushes himself off the bed. His face is wet with sweat when his body seems to jerk him awake. away from her. like spoons. OPHELIA I thought you wanted dessert? JOHN I do. OPHELIA Oh no? JOHN No. pretty.

go OPHELIA Kiss me. nibbling at a chicken wing begins to laugh. an Something catches his eye and he stops beneath a sign that reads: "Casmir's Butcher Shoppe. JOHN Okay.JOHN I just need some rest. OPHELIA Promise me you'll go see a doctor. but as her eyes close and he pulls away. sitting outside despite the cold." The siren is getting . I'll give you the money. he notices something he never had before -The taste of her lips.NIGHT John crosses the street towards "Babe The Blue Ox's BBQ. There is a group of rowdies in leather. Something is wrong. Smoke is billowing from the stack and John catches the scent of char-broiling ribs. I will. I promise. A woman in the group. He does. clutching his stomach. He grimaces. what are you looking at? John turns. he leaves. ambulance siren can be heard. Just promise me. John hurries away. CITY STREET . fleshy piece of raw meat. Now. Quickly. guzzling beer and gobbling barbecued chicken. glimpsing that the woman is again holding a chicken wing." a late night take-out joint. LEATHER MAN Hey. John looks at her and sees that she is now holding a large. a high drunken cackle. EXT. The human like skin flaps with her laughter and a piece of gelatin falls to the table. back to sleep. LEATHER MAN Dickhead. Very faintly.

staring into the window listening to a sound that is growing in his head. splashing red light across John and the store front window. MISSION . His head cocked.NIGHT John stumbles toward the open alley door when he catches a scent that immediately bolsters his strength.louder. My stomach. they swing ever so slightly. doubling over as he vomits. John. KITCHEN . INT. In that moment John sees hanging in the window. a sound like the buzzing of flies. John spins away. dripping oil and gelatin to the ground. MUNDI Perhaps just a taste then? JOHN Yeah. MUNDI Welcome home. maybe. MUNDI You're hungry.. JOHN I haven't been feeling very well. The Mundi smiles as John slurps the thick broth from the spoon.. stirring the burbling stew which is in an unusually large pot. massive slabs of rancid meat covered with maggots and flies.NIGHT Mundi is at the stove. Dotted with black ink spots of rot. rising vapors envelop him with medicinal magic. JOHN Where's Granny? MUNDI Off to bed. EXT. is upset. it smells good. We see the window now filled with a beautiful assortment of meats and sausages. Mundi steps away and John edges closer to the stove. JOHN God. Just a little. I can smell it on your breath. The ambulance booms past. . She's left me to tend the stew.

that's good. he rises from his bed and heads for where he knows he must go. he wrestles to get free as the stew-demon rises up out of the brown magma until we see his face and realize -It is John. a bulbous 1950's model which he opens. crackling through the old. MISSION KITCHEN ." Through a slit. Standing in the wash of white refrigerator light and a swirling mist of cold steam. INT. John descends. John moves with him. The butcher's hands are bloody to the elbows as he carries something that looks like a bleeding basketball. Determined. as it does. thoughts begin to fill his mind with the chill of ice water. John sees Otto in the workshop. Screaming.JOHN Mmm. John makes his way towards the refrigerator. INT. Gradually.NIGHT He wakes. From below. In the background. the panic subsides and. over the continuing Muzak we hear Otto as he returns to work. JOHN'S BEDROOM . terrified. INT. we begin to hear music. THE LOCKERS . leading the imagination towards the most gruesome speculations.NIGHT A long blade knife is pushed through the wall and John methodically jimmies back the bolt from the jamb.NIGHT The music is a catchy little Muzak number like "The Girl from Ipanema. cheap radio. clutching his knife. The stairs curl like a beckoning finger into the darkness below. The sounds are grisly. He then closes the door and goes back to work. the back and forth grate of a saw. Otto checks the object and then sets it inside. Silently. catching glimpses as Otto waddles to the nearest refrigerator. sweating almost immediately. followed by a series of shredding . The door swings open without a sound. He dips the spoon in for another when a hand shoots up out of the stew and grabs his wrist. barely audible.

He lets out a shrill animal yelp as -John runs. Jerking it free. John inches towards the door handle as suddenly the cracking stops. his heart pounding from his temples to his toes. Otto scales the stairs into fucking asshole -. OPHELIA'S APARTMENT . John. He closes it and. Otto is about to follow when a hand reaches out and stops him. we see the hint of a smile. The light goes on and Ophelia enters. tongueless. INT. there is a chilling sucking sound. then lunges up the curving stairs just as Otto swings -The cleaver just misses. The white tape still covers his broken nose. After a beat. clattering to the floor. still sucking the marrow from the femur bone whirls at the crash and sees John. Otto whips around the corner gaining -Raising the cleaver as John stumbles on the first steps. KITCHEN . OPHELIA If this is you. around a corner towards the stairs now in sight but. slamming into the lockers.the police are on the way -- . Otto hunches back like a heeled dog as Rex steps toward the door. A scream catches like a barb in John's throat.sounds like corn being husked and then a snapping like the cracking of crab legs. John slams through the rows of lockers. His hand covers his mouth as he stumbles back. sawed-open head of Roman Links. Roman -.NIGHT But John is already gone.NIGHT And buzzing. The knife slips from his hand. embedding into the wooden tread. the back door thrown open. Otto. opens the refrigerator. obviously annoyed. in his black eyes. hitting the intercom. Inside he sees the eyeless. The apartment door signal is buzzing. Otto grabs the nearest cleaver and flails after him.

what happened? Immediately. No. I see. OPHELIA Oh. OPHELIA John. hands wringing. They told me what they were doing. No. unable to speak. OPHELIA John -. OPHELIA Did you see Roman? John nods. something happended -. His's John. it's three-thirty -JOHN Please. JOHN No." JOHN Ophelia -. he is pacing around the small apartment. They told me the first day. OPHELIA Told you what? JOHN . OPHELIA What? You saw Roman in the refrigerator? John nods again. fingers knotting. As soon as she unlocks the door. it's real.something bad -She presses the "enter" button. OPHELIA In the mission? JOHN In the refrigerator. He is shaking and out of breath. despite the cold. OPHELIA Is it Roman? A little squeak jumps out of John's mouth. Ophelia. is slick with sweat. John bursts in. It was another bad dream.She switches to "listen. No.

JOHN But I didn't know! I didn't know! I swear to you OPHELIA All right. and it's making me sick because. cheaper that way. I can smell it! OPHELIA Smell what? JOHN The meat! OPHELIA John. OPHELIA Say it. Ophelia.. OPHELIA Believe what? JOHN That I didn't know because I was there.. I'm calling the police. . JOHN Because.They butcher their own meat.. they'll smell it. It's the meat. I know. His stomach convulses. Two bowls.... you're not making any sense. They'll know it's still inside me. believe me. like everyone else... Every night. something is wrong with you -JOHN I know. I ate it every night. JOHN You can't! OPHELIA Why not? JOHN Because they won't. It's OPHELIA John. No! What? JOHN It tasted so. I can feel it.

he wraps his arms around her. you're scaring me.Horror and revulsion rise with human bile as he clamps his hand over his mouth and runs to the bathroom. She feels his body go rigid with fear. Making you half crazy. taking hold of him. he smells something. You need sleep. Maybe its some kind of food poisoning. INT. kisses his head resting on her shoulder. his head still hanging over the toilet. scrambling away from her.. something that tastes. . something just beneath her skin. BATHROOM . There is the soft curve of her neck. kissing her neck when something happens to him. OPHELIA You need rest. OPHELIA It'll be okay. OPHELIA What? JOHN I don't know! She jumps to her feet. As she hold him. She kneels beside him.NIGHT John is kneeling on the floor. She softly He turns his head. OPHELIA Goddamnit. OPHELIA John? He screams. Shivering and weak. Ophelia follows. half-dead.. good. OPHELIA What!! What! He's too terrified to speak. John. his breathing begins to ease. JOHN Something's happening to me. Forcing herself to remain calm.

JOHN How did you? Where's -MUNDI The fair Ophelia stepped out to find you something to eat. fully dressed. OPHELIA'S APARTMENT . we'll talk. A smell fills his nostrils. A single slice of light cuts across his mouth. FADE IN: INT. MUNDI Good morning. It was a torturous night. John. She shoves the glass into his hand. waking up. He grins. drinks and swallows. is asleep on the futon. When you wake up. You need to sleep. his face as gray as ash. is sitting in the room. wrapped tightly in a mess of sheets. MUNDI But it won't be enough. OPHELIA You need to calm down. will it.DAY The room is still dark. She filles a glass of water.OPHELIA Enough of this shit! She throws open the medicine cabinet and grabs a large bottle of sleeping pills. citizen. the venetian blinds holding back the morning. He FADE OUT. a terrible gagging smell and he coughs. deep in shadow. John scrambles back into the corner. John? JOHN . OPHELIA Open! He opens his mouth and she drops in several capsules. Rex Mundi.

Everything else is a lie. MUNDI There is only one true desire. John grimaces.I know what you are doing? MUNDI Of course you do. MUNDI It is what everyone wants. John. John tries to stand.why? You will gorge yourself on the flesh of every animal except one -. a lie that begins for most when they are pulled from their mother's teat and given a bottle of cow's milk. It was what it had always wanted.why John? Because you are afraid. He does not want to hear MUNDI The mind learns to accept what it cannot have. John can feel his stomach. Afraid of . to move away. this. but deep inside. from the very first bowl. Mundi watches John in obvious anguish. the body never forgets. MUNDI You can eat until you are sick without ever feeling sated or satisfied -. JOHN No. that first mouthful -JOHN That's a lie! MUNDI Your body knew at once what it had inside of it. JOHN What's wrong with me? MUNDI Your body has been set free. You've known all along. His stomach feels like the skin of a sausage grilling. a great gaping hole. about to rupture. as empty as it has ever been.

John stuffs them in his mouth. it wants. gobbling them down. After a long beat. gray. John lunges for the package. Mundi throws it on the floor between them. Good boy. office building. we see a man and woman pushing out through the revolving door of the building. MUNDI You can make it stop.what you really are. Now. tearing it open. I woke the truth inside you. The appetite is a part of you now. Feed it. Afraid that what you are is all that you are. MUNDI Feed me. gnawing away. Mundi pulls a heavy package. we hear a woman giggling. CITY STREET . He is . JOHN God! MUNDI There is no god that can help you. JOHN No! MUNDI I reminded you. On hands and knees. his glance shifting from Mundi to the package. As the giggling grows louder. wrapped in butcher-brown paper from his pocket. dripping with sweat. MUNDI Good boy. EXT.NIGHT It is a bitter cold night. John stares at it and we can almost see him begin to drool. outside a dull. You can feel your stomach trying to digest itself. sinks to the floor. the appetite is alive. Bloody cubes of raw meat spill out. clutching his stomach in agony. Mundi smiles. John. Give it what John hesitates.

you're a pig. Oh. They stagger out. He looks at her indifferently. WOMAN You make me sick! I don't want any part of you anymore! She throws the earrings at him. he heads towards the entrance of an underground parking garage. WOMAN There it is. Stunned and sickened by him.pushing with both hands on her ass. her lipstick smeared. Even his tie is fixed tight to his collar. He smiles. The woman's laugh dies ugly. WOMAN God. spins on her heel and walks away. He reaches into his pocket and pulls out his wedding ring and slides it on. obviously drunk. Its staircase darkens into a black shadow I don't know . picks up the earrings and slips them into his pocket. MAN It doesn't bother you when you see me take it off. The woman is disheveled. Whistling. laughing as she stumbles in her high-heels. why I fuck you. her hair tousled. she rips a ruby earring from each ear. yet he looks exactly as he probably looked early this morning when he entered the building. MAN See you tomorrow. Their laughter is swallowed by the emptiness of the city. Her appearance suggests they just had sex. yes. her blouse not fully buttoned. MAN You want to keep your job. He smiles. WOMAN You could wait five more fucking minutes.

closer.NIGHT The man appears. JOHN Mister. save for the man's hurried footsteps. can you help me? John reaches out with his hand as the man passes. It is John dressed in garbage-picked clothes. Abruptly. The man's eyes are . From behind. he stops. noticing a figure huddled in the corner of the landing below. JOHN Hungry. the door again opens and booms shut. rounding the corner of the first level. a flash somewhere else. It is empty. catching a glimpse of a shadow that disappears behind a steel column.. There is faint rattling in the distance. he hears the sound of someone running and he turns. listening as the door to the level below opens and closes. UNDERGROUND GARAGE . INT. To his left.that swallows the man as he descends. JOHN I'm hungry -John grabs hold of the man's pant leg.. darting. INT. The metal rattling grows louder. The man is repulsed and jerks his leg free. The man stops and looks back at the circle of light around the door. John crawls to the edge of the landing. JOHN Mister? Mister? The man does not acknowledge him. like a deer. He seems frozen. STAIRCASE . MAN Is someone there? Another series of running steps. The man looks away and continues down the stairs toward John. His footsteps quickly fade down the stairs.NIGHT The vast garage is ominously empty and silent.

turning to see -He begins to cry. The man can see his red Jaguar. John rolling away. nothing to worry about. pushing her grocery shopping cart. The predators surrounding him. GRANNY Sssh. feeble. The man. running with him. now. Take it! Please They close in on him. It is a wild chase weaving through the iron and concrete columns that seem like the trees of a man-made jungle. The jingle of the keys blends into the metal rattle as Granny moves into the half circle. In the dark edges of the garage. landing on top of the terrified. John. This'll just take a minute. but the keys are gone. He tears out his keys and jams the key into the lock when -There is an animal shriek. he can see them. tries to get back to the car. He reaches for the handle. continues to sob. Behind him the predators gain. They tumble to the ground.He bolts. MAN What do you want? He throws his wallet at them. the silver cat is poised on the hood as the man races towards it. shadows. scampering on hands and knees. unable to resist. screaming man. MAN Here -. springing over the car. trying to calm him. free for a moment. . Otto. He hears the jingling keys behind him. and Kuru. GRANNY It's okay. John bounds up. She pets his head.take it! don't hurt me. Kuru and Otto taking hold of his arms as the man. for the keys. dangling the keys. behind the rows of columns.

one law to obey. John's grip loosens. John stands motionless.. GRANNY You can and you will. GRANNY He's a keeper. looks up at John pitifully. That's all. GRANNY Look at him. Granny pulls a baseball bat. Because deep . Granny stands behind him. pinching his fat. GRANNY There is only one truth in this world. JOHN I can't. John. Meat you can almost taste. John raises the bat. one rule to survive. Not bad. She licks them. He is now crying uncontrollably. The man on his knees. MAN Please. GRANNY Congratulations. John. coating them with his sweat. Inspecting closer. whispering in his ear. John shakes his head. Meat. John. Eat. The man drops his head as he fills his pants with urine. she reaches under his arm. down you want to. The man begins repeating the word "god" over and over. smacking her lips and tongue. From her shopping cart.. tasting. Fresh marbled meat that you can smell.. See him for what he really is.She runs her fingers across his forehead. his arms still held behind him. She gives John the bat and pushes him up to the plate. Eat or be eaten. John's mouth begins to salivate..

It . was a big step. GRANNY You're one of us now. INT.His face contorts viciously as he raises the bat. just a dim echoing roar in our ears. The bat falls. Ophelia. Kuru and Otto lift the body of the man and load it into the shopping cart. The scream fills the entire garage. Ophelia smiles and unlocks the door.DAY Ophelia is admiring her new earrings in the mirror behind her desk when Shelley enters. SLIMAGE SURGICENTER .DAY Ophelia walks down the hall towards the glass door of the clinic. but never seems to die. SHELLEY How are your thighs? OPHELIA Much better today. The scream fades. OPHELIA Morning. wasn't it? Ophelia nods. She digs the keys from her purse and stoops to unlock the doors when she notices a manila envelope with her name on it. Perdue. Ophelia." She tilts the envelope and a pair of ruby earrings spill into her palm. They are the same earrings the woman threw back at the man. Ms. INT. Granny pats John. SHELLEY I am so proud of you. There is a loud pop as the bat strikes the back of the man's skull. Inside the envelope is a note from John: "I'm sorry that I haven't been myself lately. I hope these will help you forgive me. SHELLEY Good morning. SLIMAGE SURGICENTER .

I suppose I can. Sedier's appointment today. OPHELIA All right. The richer they are. OPHELIA Thank you. I think this one was . Smiling. the more they eat. the first step always the hardest but now new world of possibilities opened up for you. INT. JOHN Is that why Rex wanted this one? OTTO I don't know. is a beautiful dark fur. SHELLEY Now maybe we'll finally get to fix that little nose of yours. SHELLEY Oh yes. Was there another problem? SHELLEY Yes. you can can't you? OPHELIA Yes. don't think she'll be back. suspended in the dark space above us. cancel Ms. SHELLEY And you're still so young and pretty. she shuts the door behind her. is a whole has feel it.NIGHT I Stretched limply over a hanger.SHELLEY Believe me. though their voices are muffled. MISSION BASEMENT . She winks teasingly and passes Ophelia but stops at the door to her office. but I've taken care of it. In the background we can hear John and Otto. OTTO There is one basic rule of thumb. the better they taste.

OTTO Now grab one of them bottles. We hear the quick zink. it looks like a great side of beef. The other figure appears to be suspended in the air and through the translucent haze of the curtain. The jugs are empty. which is hidden by the heavy plastic shower curtain. sucked dry. All the tasty bits. where we can see into the room. slaps the naked flesh. Lipotracts. more defined through the foggy plastic. of a knife being sharpened. we see the voices are coming from the shower room. Otto . We see the three figures in the room. OTTO The bottle! The bottle! The blood stops. The two darker figures are Otto and John. I'll show you what's next. Ahead. Here. the colors of suet and meat. We can see John's shoes and the heavy rubber boots that Otto wears.a favor. After they're drained. on the flank and all along the butt and thighs. John bends down and lifts one of them. zink. OTTO Hold it like this. OTTO You just pull back on the hair and cut. as we hear it filling the bottle. Blood suddenly sprinkles onto the floor around their feet. white and pink. But she ain't bad. We pass under the dark emptiness of the fur. OTTO This one here'll probably fill three and a half or so. On the floor beside them is a funnel and several green wine jugs. It's easier than you think. There is a gap at the bottom. OTTO See here. which can be determined by their feet.

shattering on the tile floor. John steps back as though he suddenly lost his balance. Otto snaps the curtain shut and again we hear the knife sharpening.. OTTO Here at the tailbone. Blood is missing the bottle and splattering around his feet. OTTO Granny's probably got some work for you upstairs. breathing deep and looking very sick. It's a good coat. OTTO You can throw all that stuff in the furnace. gulping air..Zink. We are almost to the curtain and the blood is everywhere. The heavy rubber boots step through the pool of blood.. disappointed. John turns towards the curtain. John looks up.. But not the coat. lunging out. Otto shakes his head.. puddling on the floor. OTTO Then. OTTO Then you just cut a finger hole. Otto throws open the curtain and finds John sitting on the bench between the lockers. zink. past the swinging shadow of the hanging body. in a deafening explosion of green glass and blood. and tear. about an inch deep. and here. the knife sharpens again. slips out of his hand.. right down the spine. There is a strange zipping sound. here. . glass crunching underfoot. JOHN I'm sorry. An awful tearing noise begins as -The bottle that John had been filling.



A bowl is being washed. John passes it under the running water, rinses it, then sets it in the rack. John stares blankly as he lifts another dirty bowl from the cart. The crusty, brown remnants of the stew, thin scrape lines left from the spoon. John begins to hear the scraping of the spoon against the bowl. He is unable to move, listening. We hear the man eating, slurping the stew, smacking on the thick pieces of meat. John looks at the enormous stack of dirty bowls piled on the cart. The number has grown to almost comic proportions. We begin to hear more eating noises. The munching, scraping, clattering spoons multiply, growing louder, swelling, until it seems the entire dining hall was stuffed into the tiny kitchen. Suddenly, there is a knock on the back door, cutting the noise short. John shuts the water off goes to the door. bolt and opens the door to find Ophelia. He throws the

She pulls back her hair, revealing the ruby earrings. OPHELIA I love them. She embraces and kisses John who reacts awkwardly. OPHELIA I... thought you were feeling better? JOHN I just, I mean, I wish...

I am.

He glances at the open basement door. JOHN You shouldn't come here anymore, Ophelia. OPHELIA Why not? He doesn't want to answer the question. JOHN

Come on. INT.

Let's go upstairs.


John shuts the door. OPHELIA John, what's going on? You have to tell me. I want to know why you were acting so strange the other night and why you disappeared that morning. JOHN God... OPHELIA What? He can't stop himself from smiling at her. JOHN You are so beautiful. She blushes. JOHN How are your legs? OPHELIA They're fine. JOHN Can I see? He sits on the bed beside her and tries to push her skirt up. OPHELIA No. I can't remove the bandages yet. JOHN Just a peek. OPHELIA Stop. Come on, talk to

No, John. me.

JOHN Talk about what? OPHELIA What happened the other night? JOHN I don't know, I'm not sure I can explain it. And even if I could, I

don't think you could understand it. Not yet, anyway. OPHELIA What does that mean? JOHN I've just had this feeling lately that there's this connection between us, like we're headed in the same direction and that, right now, you're learning the same things that I'm learning. OPHELIA Learning what things? JOHN Things like who and what you are. And more importantly, what you want. He leans into her and kisses her neck. JOHN You liked the earrings? OPHELIA Yes. Very much. But I have to know where you got the money for them. And don't tell me Granny gave it to you. JOHN They were donated to the Mission. OPHELIA By who? JOHN An older woman, or, I mean, her estate. She died and gave everything to Rex. He said I could pick out what I wanted. I took the earrings and... He crosses to the closet. JOHN I was going to save it and give it to you later, for your birthday maybe or Christmas but I think you should have it now. From the closet, he pulls the long, lush fur coat. clamps her hand over her mouth. Ophelia

OPHELIA No. John. JOHN What? OPHELIA It feels wonderful. behind her. but turns and lets him slip it on. He buries his head in her hair which tumbles loose in the fur. He feels the fur against his naked arms wrapped around her.OPHELIA Oh my god. wrapped in its luxuriousness. JOHN Try it on. John offers it to her though she seems almost scared to touch it. There's woman who comes to the clinic who has a coat like this. OPHELIA Oh. soft fur. it's bad. John. no. god. He kisses her neck and ear. JOHN It's fur. JOHN Why? OPHELIA It's not right. I've always wondered what it would feel like to wear one. JOHN Do you like it? OPHELIA It's beautiful. is excited by the animal skins. JOHN Good. I can't believe this. OPHELIA Oh. She smiles guiltily. . She models herself in the mirror. Her fingers disappear beneath the thick.

He begins to bite at her hair. his hands moving through the fur. JOHN Listen to what your body wants. Against the wall. He presses her against the wall. the more excited they become. almost intoxicated by the feel.You said it felt good. OPHELIA John. closing her eyes. JOHN No. And he answers in a low. His hand strokes across the fur finding her breast. She moans. The more he touches her. She smiles. OPHELIA John. down her wallet. Blood begins to seep from . her warm flesh under the animal skin.ow! He holds her tighter. lost in the coat. Licking it. in the shadows of the room. OPHELIA It feels incredible. OPHELIA That sounds like Rex. that hurts! She screams and as she tears free. exposing her naked body beneath the black coat. She moans again. we hear his teeth biting through the cartilage. where he begins to pull the coat and her skirt up along the back of her thighs. She laughs. pulling at it with his lips and as he sucks it we hear her earrings tinking against his teeth. no one needs to talk. his tightly pursed lips. her expression changes. Suddenly. we need to talk. please. He begins to nibble at her ear lobe. OPHELIA John -. He unbuttons her blouse. her shoulder and up along her neck. almost bestial growl. she looks very much like an animal standing on its hand legs.

better. like an animal pressed against the bars of its cage. She begins to clean the blood from his face with a dish towel. his fist still clenched. Had a little mess. John is unable to say anything. John cannot move. OPHELIA Jesus! Ophelia throws off the coat. unable to understand what he has become. Granny gently turns John from the window.John stumbles back. holding it tightly. blood and saliva running between his fingers. OPHELIA What is wrong with you?! John. JOHN I bit her. He spits it into his hand. She covers her bleeding ear. looks straight at Granny. running from the building. he tastes the piece of her earlobe and earring in his mouth. GRANNY Tsk. . After a moment. He closes his hand into a fist. still has something in his mouth. here. He is seen pressed against the panes of the window. Granny opens the door to John's room. John turns to the window and watches Ophelia burst into the alley. Shaking her head. JOHN I love you. didn't we? He stands numbly. she rushes out the door. his mouth and chin covered with blood. suddenly. GRANNY It's hard at first. Ophelia is gone. GRANNY John. It'll get John. stunned.

. GRANNY Okay. She puts the towel to his nose. remembering. dabbing the towel to her tongue and then wiping his face. DISSOLVE TO: INT. I know." That's when I wondered. It's natural. You'll see. for a long time. He jerks it away from her. She leads him to the bed. It's natural. GRANNY Do you know that cats eat their young? Rex kept telling me that. One day you'll understand. honey. She continues to clean him. John is having a nightmare. It's okay. Gretchen. his face beaded with sweat. He lays down. John blows his nose into the towel. Something has to die for something else to keep on living. tossing in his sleep. JOHN'S BEDROOM . GRANNY Sleep makes everything feel better. She pauses for a moment. GRANNY Here. but Rex just kept saying. "It's natural. you just need to get some sleep. She sees the blood leaking from his fist and tries to open it. blow. He clutches his fist to his chest and rolls away from her. GRANNY Now.NIGHT It is much later that night. over and over. I know. GRANNY I felt so bad about it.GRANNY I know.

as though he were trying to scream. He sees everything from the perspective of the man he killed.NIGHT John is hanging upside down. JOHN'S BEDROOM . a spray of blood dotting the sink. staring at the tile floor and the feet of Otto and John. but to his horror. He gags. catching the stream of blood. his face turning bright red. which is still knotted into a tight fist. . it is empty. He grabs his throat to make sure it isn't slit.NIGHT Clicking on the white light. He sees he has begun to sweat tiny beads of blood.NIGHT John bolts upright.NIGHT John's head whips sideways as if he had been bashed by the bat. He jumps out of bed and runs to -INT. He calms down. He lifts his head and catches his reflection in the mirror.NIGHT Everything moves very slowly as John rises up to see himself standing with the baseball bat. INT. THE PARKING GARAGE . JOHN'S BEDROOM . unable to dislodge the object caught in his throat. The bat smashes down. SHOWERS . Slowly. The bottle slips and we see it slowly fall and smash -INT. and hacks something out onto the porcelain. unable to breathe. It is an entire ear with the earring. He tries to wipe it off but he cannot. We watch as John holds the bottle. He gulps at the stream for a long time before coming up for air. He looks at his hand. the hand opens. as Otto slits his throat. The earring is gone. He doubles over. He begins to cough. his breathing begins to slow. INT.INT. his mouth gaping. but couldn't. JOHN'S BATHROOM . John goes to the sink and turns on the cold water.

again.O. INT.) Ms. of course.) This is Detective Darrow with the Chicago P. The earring is gone. OPHELIA Go ahead. I'm sorry to bother you but I'm investigating a missing persons and I need to ask you a few questions. detective. how can I help you? DETECTIVE DARROW (V. Ophelia is about to disconnect but stops herself and stays on the line. Perdue.O. I need to speak with one Shelley M. Perdue. there is a police detective that would like to speak to you.D. curling up in the bed. near the end of the day. There is blood on his lips. OPHELIA Yes. Put him through.He starts to scream. SLIMAGE SURGICENTER . He looks at his fist and opens it. OPHELIA Ms. bolts upright from his dream. OPHELIA Slimage Surgicenter. JOHN'S BEDROOM . JOHN What's happened to me? Oh god.) Really? How strange. One moment. Perdue. Ophelia answers it.NIGHT John. SHELLEY (V. collapsing into himself. She puts the detective on hold.O. DETECTIVE DARROW (V. He starts to cry.DAY The phone rings and It is late. SHELLEY (V. covered in sweat.) . INT.O.

O. Do you have any idea what might have happened to Ms.O.O.O.) Did Ms. feeling the presence of Shelley behind the silvered glass. SHELLEY (V. DETECTIVE DARROW (V. detective. she was.O. SHELLEY (V. Evelyn Sedier was a patient of yours? SHELLEY (V. one last question.) Can you tell me why? Ophelia fiddles nervously with her bandaged ear.O.) She owed the clinic money? SHELLEY (V. . she did.Of course. DETECTIVE DARROW (V. detective. I don't know anything.) I'm sure I don't know. Sedier? SHELLEY (V.O.) I see. For several years.) Can you verify that Ms. DETECTIVE DARROW (V.O.) Yes.) Forty six thousand dollars. DETECTIVE DARROW (V. Ms. But the appointment was canceled. DETECTIVE DARROW (V.) She has been listening to our conversation. Perdue. Sedier have an appointment scheduled on the afternoon of the 12th? SHELLEY (V. but why don't you ask my secretary? Ophelia looks back at the mirror.O.O. I believe was the figure.) Yes. we've been seeing Evelyn for a variety of procedures.O.) There had been a problem with Evelyn's payments for the past several appointments. I suspect she can tell you what happened to poor Evelyn. OPHELIA No.

that's a lie! He steps closer and Ophelia pulls the dinner knife from her pocket. You tried the coat on. He grabs for her and she swipes wildly. SHELLEY Remember. lifting her into the air. she's mine. fighting for the knife which she twists free and -Slashes across Shelley's breast. OPHELIA Get away from me! MUNDI Oh yes. MUNDI Of course you do.The phone line goes dead. ducking past him and bolting into the hall while -Shelley appears behind her and grabs her by the throat. causing clear saline to arc from the lacerated implant. Ophelia twists back to find Rex Mundi. OPHELIA No. OPHELIA I swear I don't. I don't. OPHELIA What are you doing here? Rex? MUNDI You know the answer to that question. the boy. Ophelia. You got Ophelia screams. Mundi grabs Ophelia. Mundi moves around the desk as Ophelia backs away. I love a little vinegar in my greens. his hand still over the phone. I get the girl. OPERATING ROOM You're going to . didn't you? You knew the truth the moment you tried it on. Rex. From behind. SHELLEY You little bitch! pay for that! INT.

SHELLEY . OPHELIA Why are you doing this? MUNDI If you look deep enough. isn't it. my dear? He is close enough to whisper. Ophelia. never reveal a woman's age. Ophelia begins to scream when Shelley stuffs her mouth with gauze and secures it with more tape. Isn't this all your fault? Didn't you bring John to the Mission in the first place? OPHELIA Who are you?! Mundi laughs.Mundi slams Ophelia down onto the operating table. savoring her helplessness. He smiles. MUNDI Would you like me to tell you that I am a demon. MUNDI Nature is evil. showing her the long hollow needle-tube of the liposuction machine. That we are manifestations of human nature created by your subconscious to anthropomorphize your darkest fears. He moves in closer. your guilt and desire. OPHELIA Please! No! No! He holds her down as Shelley holds her in place with a heavy roll of white medical tape. MUNDI The conclusion is really the same. you know the answer. an incubi as old as hunger itself or that Shelley was born beneath the face of the first mirror? SHELLEY Rex. MUNDI Perhaps you would prefer a more secular answer.

then hurries as . With painstaking care. She smiles. It'll be over soon. The smell of the basement assaults her.. rigid with fear. OPHELIA'S BEDROOM . Trying to keep herself calm. looking for a way into the mission. Carrying several empty wine jugs. INT. She hears someone descending the stairs.NIGHT Ophelia crawls down into the putrid lavatory..NIGHT Ophelia creeps down the back alley. It's just another bad dream. The machine whirs to life.. Rex dear. and Mundi begins inspecting the meaty part of each thigh. The words seems to conjure a resolve and she suddenly knows what to do. John. He seems about to look straight at her when he turns and continues on his way. She finds the basement window that Links broke open.Suck it all out. His nostrils flare. INT. I want every last lovely drop. he stops. Suck her dry. Quietly. she opens the locker. MEN'S ROOM . Kuru turns the corner just as she closes the door. MISSION . Through the metal slits she sees him. SHELLEY Isn't it? Ophelia screams into her gag as Mundi inserts the needle and begins to suck the life out of her until -INT. he walks past the locker where she is hiding. OPHELIA Oh god. she hides inside one of the lockers. Blood pounds against her temples as her body sets.. SHELLEY Don't worry. pretty girl. she moves through the greasy rot of the showers and enters the locker labyrinth. Suddenly. shaking with fear.NIGHT She wakes. like a dog catching a scent.

drawing her in tight. OPHELIA What's happening here? I brought Why? JOHN Please.. I'm so sorry. INT. expecting another dream. He jerks awake as though electrified by her touch. She touches his face and the warmth of her hand fills him with emotion. it's not your fault. Sedier.. She takes hold of him. rushes to the back staircase. don't ask me that. John lays in a tangle of sheets. KITCHEN . The police were at the clinic today. OPHELIA John.. He pulls away from her. the kitchen appears to be empty. Yes. OPHELIA No. JOHN Ophelia. Then they started asking about Rex and the mission. JOHN You shouldn't have come here. JOHN'S BEDROOM Again wrestling with his dreams. Ophelia sits softly beside him.NIGHT Ophelia Coldly quiet. touching him gently. look at me. OPHELIA John. OPHELIA It's me. I'm here. OPHELIA . INT. He wraps his arms around her. asking me all sorts of questions about Shelley and Ms. you here. JOHN Ophelia? He looks around.silently as she can to the stairwell..

will she John? John can almost feel Mundi squeezing his intestines. a bloody baseball bat cradled in his arms. Come on. It's too late for me. when suddenly he sees something over her shoulder that frightens him. Ophelia. it? I love you. He nods.. I believe you will be saying goodbye but you won't be leaving here.. you are. JOHN . Don't you get He feels those words. I love you too. leave this place and just forget about me. OPHELIA No. I was hoping to see you. Kuru stands at the door. JOHN You can't. OPHELIA Rex? Good. OPHELIA What is it? She turns and finds Mundi standing behind her. MUNDI Yes. I wanted to thank you and to say goodbye. MUNDI Ophelia. a feast for the eyes. I won't. as always. we're getting out of here. She grabs his clothes from the floor and begins dressing him. OPHELIA Then come with me. Ophelia. MUNDI I spoke with Shelley. I don't believe that.I want to help you. trying to heal some part of him. OPHELIA I can't. JOHN Please. She told me you were talking to the .

MUNDI What is it. twisting it behind her. John. for beauty. still living in denial. it is hunger that separates the world into the only two distinctions that matter: that of predator and that of prey. His eyes gleam with the wet-black of coal. Kuru hands John the bat. unable to face what a part of them has always known to be true. There is only one truth that is universal. his eyes cold . Help her. for money. for love. that gives our lives purpose. that is eternal and everlasting. I MUNDI Poor Ophelia. OPHELIA John. MUNDI Hunger. MUNDI It is hunger that drives us. Ophelia feels a strange dyslexic blur of dreams and reality. He grabs the knife hand. Ophelia feels the knife in her pocket. Ophelia? You look as if you've seen a ghost. hunger for power. Like so many others. OPHELIA Stay away from me! MUNDI Oh yes.police. He steps towards her with malice in his grin and she rips the knife from her pocket. and in the end. OPHELIA I didn't tell them anything! don't know anything. It is hunger that shapes us. He turns to Ophelia. I do enjoy a little vinegar with my greens. help me! No! MUNDI Yes.

Ophelia rips free of his grip and bites down. John? Please. MUNDI Of course. Ophelia tears free and Mundi falls while john attackes Kuru. scrambling back up the stairs. sinking her teeth into his hand.. He holds her face as if he might kiss her. It's not too late. a cleaver in each hand as Ophelia and John turn. or power. Kuru now rushes towards them as they . Mundi howls with rage as -John's face contorts as a bestial cry rises out of him and he raises the bat -Smashing it down. I love you. MUNDI Kill them! INT. OPHELIA John. you have to believe me.NIGHT Otto rises up the stairs. or chocolate. fight him. OPHELIA John! John! JOHN Ophelia. STAIRWELL . At the end of the hall.. really? Sadly. MUNDI Such beautiful canines wasted. like sex. it is little more than something we simply acquire a taste for. Kuru helps Mundi. staring at her mouth. The magic elixir of love. blood oozing down his temple as he quickly regains consciousness. I myself must confess to a certain weakness for vegetarians. forcing him back into the bathroom until -He grabs Ophelia and they bolt from the room. you shouldn't have come here. His grip tightens on the bat.and dead. But what is love. cracking it against Mundi's head.

JOHN I need.flee.. JOHN I'm right behind you. The screws turn. unable to see inside the black hole. JOHN Careful. along the thin stone edge. John looks back once. Ophelia summons her courage and crawls out onto the stone ledge. There is a muffled bump. Ophelia slowly reaches for the sash. painfully slow. There is a small padlock and latch which is screwed into the window jamb. Forcing herself to stare at the open window. He takes the dinner knife from her. the cage opens. she crawls into the dark opening. as if she fell to the floor. JOHN It's the only way. then climbs out onto the ledge. JOHN Ophelia? He edges closer. OPHELIA What are we going to do? Caged windows glow with moonlight. JOHN You first. the door suddenly quiet. several windows away is an open window. she edges toward it. They are over two stories above the alley. John examines them even as Kuru and Otto continue to bludgeon on the door. To the left. Together they slide. as the door shrieks with every shouldered blow. bending down. The bolt begins to splinter. inch by inch. It seems that they are trapped.. running wildly through the first open door -Slamming it and bolting it just as Kuru batters against it. JOHN . Finally.

holding onto the ledge with one hand. trying to find some kind of hold as he begins to fall -He dives forward. looking down at John. FADE IN: INT. MUNDI You came here with only one thing to offer me. Mundi steps out of the shadows. Don't worry. He nods to Otto and John suddenly sees the horror of what is about to happen. We had a deal. just behind the bone of the wrist and -John screams. shouts. Mundi smiles. SHOWERS . unreal world. he dangles over the alley. our blurry single eye sliding along the greasy green ceramic tile. grabbing hold of the window ledge. dragged roughly. . FADE TO BLACK. Dirty white lines of moldy grout stretch out like lines of longitude of a dark. John. Legs kicking helplessly. JOHN Nooo! There is the flash of a sharpened wedge of steel as the cleaver -Buries itself into the wood sill. We begin to move.NIGHT We are unsure of where we are. Your hands. That's why I couldn't let you leave. JOHN Ophelia! MUNDI She's here. She'll be joining you soon enough. twisting away but loses his balance -John His arms flail wildly. plummeting to the alley below where he slams into a pile of over-ripe bags of garbage.Ophelia? He is about to climb in when Otto jumps out at him.

she finds the nuts to the back of the handle.NIGHT Kuru leans over the inverted John.Our vision fades in and out as the world begins to tilt with a racheting chain ringing in our ears until the hard green squares slowly fall away and spin lightly beneath us. INT. Tearing out the old foam insulation. Screaming.NIGHT Ophelia kicks viciously at the door but a padlocked chain is wrapped around and through the handle. SHOWERS . John begins to hear a familiar sound. Her breath steams around her as she realizes she is locked in one of the refrigerators packed with slabs of bright red and white marbled meat. her skin is pale moon-white. KURU In a minute. KURU You're stew now.NIGHT Half conscious. we see a handle screw turn and fall. As he passes one of the refrigerators. She is inside a dark. I just want a little sip of him while it's still nice and warm. INT. LOCKER ROOM . SHOWERS . making a tiny plink against the floor. exposing the inside of the door.NIGHT Ophelia jerks awake. REFRIGERATOR . zink. He tries to reach up to free his feet but he has no . Ice-cold. INT. OTTO What are you doing down here? You see the time? Granny's gonna need help serving. we black out. INT. naked. We are dangling there when we see the bloody stump at the end of one arm as we realize that we are John.NIGHT Otto grabs his knives and the sharpener. John-boy. MEAT FREEZER . she beats against the door which gives enough to let a sliver of light in. zink. She cracks open the plastic shelve-form. her lips already blue. cold space that feels like a coffin. hanging upside down in the shower room. Again. INT.

NIGHT Behind the bank of refrigerators is the main fuse box. Otto grabs his hair. The knife gleams unnaturally bright and long. JOHN Ophelia.hand. shoving him . OTTO You bitch! He grabs for her but she knees him in the groin. LOCKER ROOM .NIGHT Kuru finds the chain curled around the base of the refrigerator and the inverted. They seem to be out of reach but he begins to swing toward them. exposing his throat. After dinner's served tonight. all the basement lights go out.. sashimi. pulling him back. SHOWERS .. OTTO Grab one of them bottles. LOCKER ROOM . Rex promised us a little treat. INT. Otto slips in behind the largest freezer and finds the circuit main has been tripped. limp handle. KURU She's on ice. Suddenly. OTTO What? INT. John-boy. arcing towards his neck. OTTO Fucking fuses. Kuru holds the bottle with the bloody funnel under John's head. like death's scythe. KURU Otto! Otto! Otto turns just as Ophelia plunges a long boning knife into Otto's hump. each time drawing closer and closer.NIGHT John sees his pile of clothes nearby. INT.

Ophelia runs into the dark metal labyrinth of the lockers as Kuru lunges after her. cooking him instantly. . INT. John searches the pockets until he finds what he needs. searching for the showers until -She runs straight into Kuru.NIGHT With the faintest of holds.. His knife hisses against the leather of his belt. He slams her back. INT. a true predator stalking its prey. against the lockers.NIGHT Ophelia creeps silently through the maze. I just been dying for a piece of this ass. he turns to see John heave the enormous wine jug -Smashing down onto Kuru who crumbles under the explosion. John catches the sleeve of his coat. KURU Oh.back against the wall where the knife hits the open fuse box -Electrifying Otto.NIGHT Straining to stay conscious. afraid. SHOWERS . perched above her like a jungle cat. almost feeling the darkness come alive around her as -We move up to the top of the locker where Kuru stands barefoot. She freezes. trying to not even breathe. She turns a corner. INT. Crouching. she listens. pinning her The long knife traces down her body like a finger. SHOWERS . her fingers using the lockers as the blind use braille. There is a sharp metal bang behind her. falling with a shower of blood and green glass. Kuru follows her scent. INT.. LOCKERS . Hearing something. moving through the black space by touch. the dinner knife. LOCKERS .NIGHT Kuru sees Otto's twitching body fall to the floor. hears it and bolts -Ophelia Rushing blindly.

NIGHT Granny stands at the edge of the basement stairs. JOHN Where are the keys? Granny smiles innocently. They cross to the metal backdoor but each and every lock has been thrown. she wipes her hands on her apron and goes to the stove. JOHN We're getting out and if you try to stop us. KITCHEN . GRANNY I might know -JOHN Where are they! GRANNY Please.. GRANNY Rex? Rex! Dammit. through the double doors.. INT.. Fretting. I need help. John. leads Ophelia up from the stairs.Ophelia and John collapse into each other's arms. Ophelia. Can't So . splattering against the floor. GRANNY Otto! Kuru! Quit your monkey business and get up here! Can't you hear them? Behind her. where are you? I need help. calling into the stygian dark. I will kill you. Granny whirls around. the clattering spoons seem to react. GRANNY Oh?. John. the clatter of spoons can be heard. dressed now. Her smile is dark and toothless. The stew sloshes about precariously and as some spills over the edge. John. with a towel wrapped around his hand.. She tries to lift the enormous pot of stew but it is obviously too heavy. you hear them? It's late.

He stands over the pot. The stew continues to call. smoke billowing out until her screams die. sweat stings his eyes as a single sound begins to rise. pinning her throat against the metal refrigerator with his forearm as he searches the pockets of her apron. trying to open the door. he looks at the smoke-blurred image of Ophelia. GRANNY You can't leave. OPHELIA Look out! She jumps on his back. running through his hair. howling mad. quiet. a sound that blots out even the metal clatter of keys. OPHELIA John. Granny sinks her few remaining teeth into his shoulder. With only one hand. . The room seems to grow There is a dream-like quantity to the number of keys and locks and a dream-like quality to the struggle to find each match. The oven jerks and bangs. John stumbles over to the steel door. knocking him into the counter where he slams against the enormous oven. They're hungry. luring him towards the stove. John fumbles the key ring. let me help you. gets hold of her and flips her over onto the oven door which he quickly kicks shut -Rolling her into the hot metal box. Turning away. They have to eat. He almost can't hear her as she takes the ring of keys. siren-like. blood bubbling out around her leathery lips as -John. Everyone must eat -He rushes at her.late. Falling. he grabs hold of the oven door which yawns open as they tumble to the floor. finger-like wisps of fragrant stew steam curling around him. Granny attacks. like blood pounding in his temples. Smoke swirls around him. John! leaves Rex! No one! No one John finds the keys but when he turns to Ophelia. locking it shut as she yowls in pain. the soft burble of stew.

he does not see himself.. Rex Mundi is there. he sees Mundi. Outside. when he glimpses the reflection again.JOHN Hurry. A fat bubble of stew pops as the distant rhythm of beating bowls grows more and more insistent. The final lock snaps open and Ophelia throws open the door. OPHELIA John! No! He grabs her by the neck. OPHELIA Come on! John! When she turns back to the open door. one little finger dip. John. One last taste. JOHN No more deals. No. Please. Ophelia tries to scream. gagging her with his other hand. MUNDI Leaving before a meal is bad luck. One last taste and I will release the lovely Ophelia and you and she may do as you wish. MUNDI What are you doing? He pitches the pot forward. the alley seems empty.. "No" as John stands at the edge of the stove. Go ahead. backing her into the kitchen.. He sees himself reflected in the metal door of the refrigerator. MUNDI I give you my word. throwing half the stew onto the floor. John feels Mundi taking hold of him. John. The steaming brown liquid rushes over Mundi and Ophelia's .. his stomach growls and. John grabs the entire pot and lifts it. His mouth begins to water. MUNDI It's all right. and then you can go.

MUNDI You're making your final mistake. John shakes his head as outside becomes a feeding frenzy. You are what you eat. Wherever you go. covering him from head to toe in thick.feet. John. MUNDI What have you done? There is a huge commotion of scraping chairs and tables as hundreds of people scramble to the doors. tongues and fingers lapping at the bottom of the doors. MUNDI Give that to me. He shoves Ophelia towards him. . brown gravy. spilling under the double doors. The first few slam against them. John! JOHN Let her go! MUNDI Remember this. Remember that. MUNDI If you want to live you will give that to me! JOHN Let her go! The frenzy becomes more and more violent. JOHN Take it! He throws the remaining stew at Mundi. marked by bestial cries as bodies begin pounding against the door. John holds the pot which is half filled with stew. running across the tile. MUNDI Oh no. followed quickly by a dozen more. I'll be there with you. MUNDI Now give it to me.

Blood pours out of the bottom of the door. slaps the dinner knife onto the counter.maddogmovies. an unnatural amount of blood. The fat cook watches as Ophelia reaches into her pocket. FADE OUT. DINER . The pounding against the door becomes -INT. we see John and Ophelia enter the diner. slamming the door shut. and are carrying their suitcases. Both are bandaged. Arm in arm. She -------------------------Hosted by "Almost A Movie" http://www. bracing against it as the tidal wave of humanity slams Mundi against the metal.The double doors burst open with a savage force as -John and Ophelia jump into the alley. they turn and leave. a waterfall of red. It has been several days. As the man sinks his teeth into his hamburger. The bottle coughs and the thick red sauce gushes onto a hamburger. HUNGRY MAN Mom. It is bent and flecked with blood. John's hand thoroughly wrapped.NIGHT The pounding of a single palm against a bottle of . rushing down the concrete steps and washing over their feet. I'm starving.

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