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FADE IN: EXT. CITY STREET - NIGHT
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.
expecting to be in a more formal restaurant.The waitress steps over to the table. country. do like the Romans. John smiles. okay? She leaves. John takes out twenty dollars from a small compartment in his backpack. John turns and we follow his gaze to a far booth where a man and a woman are having an argument. attractive woman who is uncomfortably overdressed. He runs his finger down the menu. JOHN I'll have the hamburger special. my back is killing me and I smell like a hamburger. She stands. trying to get her to taste it. WAITRESS Let me give you some advice. WAITRESS To drink? JOHN Water is fine. but the prices. WAITRESS My feet hurt. not the items. there is a commotion that swallows the normal diner noise. Ophelia is a young. then zips it back up. In the background. has the face of a weasel. JOHN Hi there. OPHELIA . Now what can I get you? JOHN Let me see here. pencil to pad. He holds up his hamburger to her mouth. Roman Links. His hair is slicked back into a ponytail and he is also overdressed but quite comfortable. Her date. JOHN How are you tonight? She sighs. When in Rome. waiting for his order.
you'd order a fucking salad. He snatches her by the wrist. LINKS What the fuck difference does it make where you eat? All you ever want is a fucking salad. Why go out if you never try nothing? OPHELIA You call this going out? LINKS Oh. He forces her face in the plate of salad and cottage cheese. he catches hold of her hair. I'm sorry. She tries to lower the argument. She stabs him with the fork just hard enough to make him let go. Just try it! OPHELIA No! Links slaps the burger down. She struggles. then grabs her Fuck you. OPHELIA I didn't mean that. . yanking her head down. fork with her free hand. She snatches up her purse and coat. LINKS Shit.No! You know I don't eat red meat! LINKS It ain't fucking red! Look at it! It's brown. LINKS You ain't going anywhere until you clean that plate. OPHELIA Fuck your salad. LINKS You foul-mouthed bitch. Before she can get out of the booth. this place ain't good enough for your highness. OPHELIA You have no idea what I want. I take you to the fucking Ritz.
Links calmly pushes the last over-sized bite of burger into his mouth. goes inside and slams it shut. the women's bathroom. LINKS What the fuck? JOHN I heard the woman crying. listening. . The door swings open. John can hear Links talking and Ophelia crying. Links walks to the women's bathroom and lightly knocks on the door. Links has a huge black eye. John looks around the room at the frozen employees and patrons in the diner. LINKS Open the door. At the door. He knocks. OPHELIA (O. LINKS Are you from another planet or something? JOHN Why don't you leave her alone? Links' bony finger pokes John in the chest.S. There is another loud slap. eyes burning and tearing. He sips the last of his coffee then politely dabs at his mouth with his napkin before getting up. The diner is uncomfortably quiet. The diner is silent. glancing around. Eat it! She screams. Fifi? It's Roman. Muffled behind the bathroom door. He smashes open the door. He chews. John stands and slowly walks toward the bathroom as the waitress runs for the pay phone. Links becomes quiet and John knocks again.LINKS Now eat it. she runs for the nearest door. a sharp slap is heard and Ophelia cries out. Her face covered with food. squirming free.) Leave me the fuck alone.
seizing hold of the knife hand. standing. cocking another punch. LINKS Pay for your own fucking salads! . his ears red hot. and grabs a knife from the nearest table. Links throws the first punch but John blocks it. staring at John. hot blood speckles the bright white ceramic floor. John shrugs. Links scrambles to his feet. a wild man. hair splayed across his bleeding face. Links doubles over as John grabs him. Both men recoil. Links even biting John. staring hard. fighting for the knife until -Ophelia stomps on Links' arm with her high heel and snatches up the knife. JOHN Too late now. ramming a fist into Links' gut. This dog's got a long memory! And you -He stabs a finger at Ophelia who is still holding the knife over him. They thrash wildly like dogs. Screaming. throws Stop it. John jumps back but the knife slashes open his forearm. sending him sailing onto his back. His John howls and lunges at Links. OPHELIA Stop it.LINKS Why don't you do what you're supposed to do and mind your own fucking business. Roman! Links. spinning him out of the bathroom. LINKS You got that right. LINKS I never forget. mashing Links' thin pointy nose. back his hair. he rushes at John like an animal. LINKS This ain't over! This ain't over! He points at his bloody nose. knocking both of them to the ground. He swings.
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. John. JOHN It's okay. OPHELIA I'm Ophelia. OPHELIA You're not from around here. Ophelia digs out a handful of paper napkins from a dispenser and presses them to his wound.. John. OPHELIA Listen -JOHN John Bunyan. thank you. We really need to get you to a doctor. JOHN Maybe not. JOHN You're welcome. actually. groans. I think. I mean Roman is a little crazy but what you did. it was really. I didn't know it was that obvious. OPHELIA Oh my god. His knees buckle a bit at the sight of so much of his own blood and he sits at one of the chrome tables.They watch as he whirls. using his left. He shakes her hand. I'll be alright. suddenly conscious of his bleeding arm. Ophelia looks up. OPHELIA But . You're really hurt. JOHN I don't really have the money. are you? JOHN Just off the bus. storming out of the diner..
we hear a faint.NIGHT A cab pulls up outside the Mission. THE ALLEY . it wears an edifice of dark. OPHELIA Come on. EXT. . old voice. but she told me to call her Granny. The Mission is an old stone building that had once been a proud. her name is Gretchen. urban decay. OPHELIA Well. magnificent landmark. EXT. A man named Rex Mundi somehow convinced the city to let him run a soup kitchen out of it. OPHELIA Granny? Granny? JOHN Your grandmother's house? OPHELIA No. It is now a squatting corpse. JOHN What is this place? OPHELIA It used to be something like a YMCA but it was condemned. that arm is going to get infected if we don't take care of it. From inside. She's the cook.NIGHT Ophelia pounds on the heavy steel side door. white soaking red. She thinks. She pounds on the door again. Ophelia looks at the clump of napkins.Do you have someplace to stay? Relatives? He shakes his head. THE MISSION . John follows Ophelia from the cab into the alley that runs behind the Mission. with its boarded windows and crumbling brick work.
INT. Her gaze fixes immediately on the cut on his arm and her eyes bulge.NIGHT We hear the The dining hall is a cavernous room that seems to have no walls or a ceiling. It's Ophelia. Close on a large button hook as Granny pushes another stitch through the flaps of skin. GRANNY Oh. I have a friend here who's hurt. dabs at the wound with a wet. Beneath nasal-humming fluorescent light. only endless rows of cheap fold out tables and chairs. drawing the skin together. Come in. JOHN Feels better already. blood.GRANNY We're closed. After a long pause. quick. John winces.. She then pulls. Ophelia. locks and bolts snapping back into place. GRANNY . wait. this is John. I was hoping you could. OPHELIA Granny. Come in She pulls them inside and the door slams shut. thin. MISSION DINING HALL . Granny is a woman who looks impossibly old. OPHELIA Granny. Granny sits hunched over John's arm. Just like sewing up a turkey -She wraps it with gauze as Ophelia hands her strips of tape. bloody towel. Come back tomorrow. Her smile is a checkerboard of lost teeth gladly given for the chocolate she constantly consumes. leaning in. GRANNY Almost done. bleeding.. and wrinkled as a willow tree but has the boundless energy of a child. a series of locks and bolts click and slide before the door finally opens. There.
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.
just looking for a job. MUNDI In that case. but deep down the rich know exactly what I know. 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 equivocate. It sounds obscene. How do they do it? His black eyes flash like the spinning watch of a hypnotist. doesn't it? Yet if you were to meet one of the two percenters you would find them quite at ease with it. JOHN Not necessary. MUNDI Perhaps I should apologize for my candor. MUNDI Is that all? You seek nothing but a paycheck? You have no dreams? No aspirations? . they may obfuscate. OPHELIA Gee. you're as cheery as ever. 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. They know that this world is cruel. it is unfair and uncaring and its single guiding principle is dog eat dog.MUNDI Two percent of the world's population controls ninety percent of the world's wealth.
. Kuru ignores John.. your hand. MUNDI Kuru. Mundi extending his hand. our new hand. this is John.. meet. Understand the dreams and you understand the man. I hope one day to open a restaurant. Behind them.JOHN Well. I can offer you the bedroom above the kitchen and all of Gretchen's stew you can eat in exchange for. For a moment. silhouetted against the kitchen's light we see a very large man. Kuru moves into the room and when he reaches the light. MUNDI Ahh. They shake left hands. John is surprised by the offer. that I am many things to many people but I am first and always a pragmatist. MUNDI Let me tell you. Business. MUNDI We have a deal? JOHN We have a deal. My mission is growing and Gretchen reminds me that I am in need of hands.. MUNDI I must be off. whispering something in Mundi's ear. Mr. Would you agree with that? JOHN Yeah. Granny will show you the room. Kuru. That is something I can understand. . John. the door to the dining room opens and clangs shut. Ophelia -He tips his hat. Bunyan. we see that it is the man with the blue tattoos. someone for you to Ah. MUNDI Come. ambition. no. I like to cook. I think so.
It reads: Slimage Surgicenter. Yes. He watches her leave then regards his increasingly throbbing arm. Call me. OPHELIA It's where I work.I mean. John urinates and flushes the toilet. Don't be such a stranger. It is bare of furniture except for a twin-sized metal framed bed and a broken chair. JOHN'S BATHROOM . the spot of blood growing wider. Bye now. Ophelia. Then. would you mind -OPHELIA Would you like my phone number? JOHN Very much. I wrote my home number on the back. Kuru and Mundi leave. .NIGHT John throws a wall switch and a buzzing strip-light flickers on. Cancerous spots of mildew grow everywhere on the dirty tub. JOHN I will. he edges back into his bedroom. Together. leaving the light on. GRANNY I'll go find you some bedding. John. yes. do you think -. JOHN Listen. She hands him a business card she already had in her hand.NIGHT John stands in the door frame of the small. INT. INT. OPHELIA I should be going too. A naked bulb hangs above John's head.MUNDI It is always a pleasure. dark room. Ophelia and John are alone again. He tugs on the pull chain but the bulb is burned out. A layer of dust covers the floor like moss. JOHN'S BEDROOM . shower curtain and tile.
open the door. John twists. squeezing through her apartment door and locking it behind her. the lobby door opens and closes. His breathing is labored. pulling the single blanket over him. JOHN'S BEDROOM .NIGHT Crouched in the shadow behind the banister. She screams as he lunges. INT. Ophelia looks back over her shoulder and sees Links. Roman Links squats. APARTMENT STAIRWAY . mock pouting. I'm really sorry about what happened. Fi. I need you. hiding. Silently. A stair creaks. Below. grabbing at her coat but she rips free of him.INT. turning away from the sounds. LINKS Let me in! Fi! He pounds on the door. pipes groaning. he descends the stairs. that's all. He takes off his shoes and lays back. Links presses against the spindles to watch as Ophelia climbs the stairs and crosses to her apartment. open-mouthed as both nostrils are stuffed with wads of bloody congealing cotton. "Buy your own . After a long beat. OPHELIA What happened to. Please. watching Ophelia's door from the landing above. creeping towards her as she pulls out her keys and unlocks the door. He leans against the door.NIGHT John sits on the bed. It is though the building were trying to digest something. the metal springs shrieking beneath his weight. Fifi. we begin to become aware of faint noises from deep within the building. the distant hiss of a radiator. LINKS I went a little crazy. OPHELIA What do you want? doing here? What are you LINKS I didn't mean to scare you.
OPHELIA You little prick. LINKS Fifi -. LINKS Bitch. OPHELIA Stop it! LINKS Pretty poodle. holding it up as if to stab him. I saw you take him to that flophouse. OPHELIA I'm calling the police. LINKS I saw you leave with that guy. Links steps back. She rips out the knife. An inch of the blade splinters through.fucking salads?" LINKS You know I love it when you use that word." Inside are five skeleton keys of which . just missing Links' neck. OPHELIA You were following me? What? He pulls out a small plastic folder that is labeled "Master series 1001-2001. laughing. jamming the knife into the door.Come! OPHELIA Goddamn you! LINKS Good poodle. OPHELIA Don't call me that! LINKS Fifi in heat. OPHELIA Then fuck off! Yeah? Ophelia feels the steel dinner knife still in her pocket. She screams.
and reaches for a glass. JOHN Oh great -- . INT. OPHELIA Roman! The lock clicks and the door floats open. INT. Ophelia holds her breath. Just thinking about you and somebody else. My Fifi. its teeth fighting tumblers. Ophelia Another key is pushed in. Fi. plipping bathroom sink. hair heavy with sweat stuck to the side of his head. stopping lightly against the chain lock.NIGHT John squints at his bleary eyed reflection. It's eating me up. she hears his footsteps fade down the stairs. She hears the first key go into the lock.Links draws the first. Ophelia leans against the door. LINKS It's killing me. He slides out the last key. As he rises. He rips the key out. still clutching the knife. Dehydration carries him to the plip. we see that his sheets are soaked with blood. Fifi. pulls another and jams it in. turns on the water. JOHN'S BEDROOM . LINKS You're mine. backs away as he works it against the lock. plip. He shoves it in. OPHELIA Roman! LINKS I need you.NIGHT John sits up in his bed. Ophelia yanks the knife out of the door. the teeth sawing into the keyhole. After a beat. The glass is knocked from the sink top and shatters on the floor. The lock jiggles as he twists it back and forth but it does not open. BATHROOM .
MUNDI Relax. Where his hand had been is now a bloody. JOHN Then -. INT. chuckling slightly.John looks down and immediately sees why he broke the glass.Someone stole my hand.then this isn't What? . JOHN Where is it? Oh god. JOHN Someone -. I woke up and it was gone! Mundi butters the two long slices of bread with clumpy wads of mayonnaise. JOHN My -. relax. behind the radiator. John searches frantically around the room. JOHN Rex! Mundi smiles warmly from behind a mountain of strange condiments. Rex. I need that! He turns for the hall. JOHN My hand -. hand! My MUNDI Oh my. MUNDI Hello. bandaged stump. Care to join me in a midnight snack? Mundi drags a serrated knife across a loaf of French bread. Can't you see you're only dreaming? John stares. I see. under the bed. confused. Where's my JOHN'S BEDROOM His body heaving in panic. meats. KITCHEN John finds Rex Mundi in the gleaming steel and tile kitchen making himself a sandwich. John.My hand! Oh god! hand?! INT. not my hand.Look! No. and produce. John. licking his fingers.
He looks up. MUNDI A hand which is a sandwich turns a man into a meal. He lifts the sandwich and John sees his hand between the two pieces of bread. JOHN'S BEDROOM He rubs his hand. Dreams are more real. run off and sold your soul to the devil? John begins to feel a sickness in his stomach. perhaps? Any sexual shortcomings of late? He smiles at John. John's eyes crack open. JOHN What happened to counting sheep? . Your innocence? Lost childhood. I didn't say that. John. INT. maybe John. And are sometimes all that we are. then his face. John. more true than life itself. MUNDI Real? Oh no. MUNDI Have you.real? Mundi begins to pile things onto his sandwich. MUNDI Perhaps. though. MUNDI They are the sum of us. Secrets whispered while we slumber. MUNDI You say you are missing something. Mundi closes the top of his sandwich. revealing who we are. the answer is a more literal one. MUNDI Care for a bite? He takes a huge bite. Mundi returns to fixing his snack.
DAY Granny pours a mound of salt into her hand and begins to sprinkle it into the pot when John. stumbles into the kitchen. still asleep. John swallows hard. He is a terribly wide man with enormous hands that he is constantly wiping on his bloodstained apron. it? Granny scoops up a big spoonful. . she inhales deeply. Otto is the Mission's dwarf-like butcher. She offers the steaming meat to him. GRANNY Liver and onions. The smell is suffocating. As the steam blossoms up. as if his mouth were suddenly stuffed with liver and onions. INT. GRANNY Stomach got you up. Base for any good stew. Not just yet. GRANNY Suit yourself. It's real revitalizing. INT. INT. then ladles in another cup of melted fat.He rolls over. MISSION KITCHEN . MISSION KITCHEN . did Morning. begins to smell Granny's cooking wafting up through the floorboards. Granny stirs the reddish brown meat into the mixture. They both turn as the basement door slams open and Otto enters carrying a large sack of flour over his shoulder.DAY John. trying to keep his stomach from turning on him. His eyes pop open. JOHN'S BEDROOM . blowing on it between her teeth. stiff and disheveled.DAY Close as a pile of raw liver drops into a deep metal pot sizzling with onions and yellow fat. JOHN No thanks. She dumps it back into the pot.
following a strange noise around back. He handles the goods and deliveries and does all of our butcher work. After a beat. Otto wipes his hand before they shake. bolting down the alley as Otto turns to John. EXT. OTTO Hey! Otto rushes right at the dog. THE MISSION .DAY John is wandering outside the building. John watches as Otto shuts the basement door behind him. did he? JOHN . giving John a friendly wink. JOHN You butcher your own meat here? GRANNY It's a lot cheaper that way. As John edges closer. get! The dog whines. JOHN Find anything good? Hey boy. The dog coils ready to attack when the back door slaps open. the dog looks up. revealing his large canines. OTTO You alright? Didn't bite you. EXT. OTTO Get out of here! Go on.DAY A large stray dog is chewing open some plastic garbage bags piled near a dumpster. we hear the click of a lock snapping into place. He lets the bag of flour drop to the ground and crosses back to the basement door. this is Otto. ALLEY .GRANNY Oh John. John turns. exploring his new surroundings. It does not look quite as ominous in the sunlight. John freezes as the growl grows to a bark.
There are stacks of soup bowls beside him. OTTO Yeah. Now we get two hundred. it tastes very good. JOHN The same people every night? GRANNY When we started. Rex calls them the invisible people. GRANNY All done then? JOHN It wasn't too bad. He grabs one of the newly washed spoons. nodding. GRANNY They love every last drop. He opens the door and sees the bowl of stew Granny left for him. It smells good. smoking a cigarette. It is still hot. INT.No. even friendly considering. JOHN Who are they? GRANNY The poor. you got to be careful. MISSION DINING HALL .NIGHT The only lit strip of fluorescent light hangs above the far table where Granny sits. perhaps three hundred of them. INT. John smells it. John scrubs the enormous silver pot Granny had been cooking in earlier. Homeless. mostly they're alright. we had thirty to forty. Those bowls . It has been a long night. He dips a finger into it Surprised.NIGHT Wearing heavy. yellow latex gloves. But when they're hungry. She smiles. were pretty clean. already cleaned. MISSION KITCHEN . and samples it. John sits down with his bowl across from her. John rinses the pot and racks it.
rosemary. GRANNY How do you like it? He chews a juicy piece of the meat. She seems as if she's about to start laughing. It's really good. exhaling a cottony cloud of smoke. JOHN What kind of meat is this? Veal? GRANNY Whatever's donated. You just can't keep them to yourself. pepper but -- Lots of He swishes the masticated stew over and around his tongue. A secret recipe? GRANNY Everyone's got a secret. beef. trying to identify the different ingredients. a little bit of everything. Granny stares off into the dark edges of the room. GRANNY You do. She smiles again. JOHN There's something I can't put my finger on. basil. chicken. John's chewing fills the silence. John samples it again.John spoons up his first taste of the stew. hot in his mouth. JOHN What else is in it? GRANNY Oh. JOHN Garlic. JOHN It's good. Veal. JOHN I don't have any secrets. Granny. Granny watches as he blows on it and slips it into his mouth. JOHN Come on. . rabbit even. lamb.
hi. OPHELIA John? JOHN We kind of met the other Um. OPHELIA Hello? JOHN Hi. yeah.He looks up. JOHN You had kids? GRANNY A long time ago. OPHELIA How are you? Oh. JOHN Over dinner. in bed. do you think you could loan me a quarter? I'm good for it. I was young and poor with little ones. arm? How's your JOHN . Rex helped me. OPHELIA'S BEDROOM . rubbing her eyes. John fills his spoon with a big chunk of the stringy stew meat. awakes and reaches to answer the ringing phone.. Like he helped you. GRANNY I remember when I came to this city. Granny. but stops remembering something.. it's John. JOHN Oh. She smiles.NIGHT Ophelia. INT. talking on an old rotary pay phone. night. She smiles her checkerboard smile. Ophelia? John leans against the wall. Ophelia sits up.
JOHN Bye. EXT. actually. CITY STREET . He lingers. OPHELIA Oh really? I think I should be thanking you. down an empty street. no. Then thank me by letting me cook you dinner. JOHN Nine o'clock? Tomorrow? OPHELIA Do you mind if it's vegetarian? JOHN How could I forget that? OPHELIA Tomorrow then. did I wake you? can call another time.I was having the weirdest dream. it's okay. He hangs up. JOHN Okay. JOHN Huh? I You saved me OPHELIA I was -. JOHN You too. savoring her goodbye. huh? I think I'm punishing myself for not getting a chance to thank you properly. . He smiles. Uh. around a corner and into a parking lot. again.It's okay. She laughs. a grin spreading wide on his mouth.NIGHT We race with a pounding roar of drums. OPHELIA No. OPHELIA Sounds easy enough.
the drums at their most fevered pitch and we see the driver's door open. He turns. then starts down the stairs. he gently pushes and it creaks open. INT. Inside. JOHN Otto? He steps down. Down the uneven steps. A small figure pushes the cart which is piled high with green garbage bags down a deserted sidewalk. EXT. With one hand. MISSION KITCHEN . he can make out a light at the bottom. a cigarette hanging between her wrinkled fingers.NIGHT The whine becomes the metal squeak of a broken shopping cart. INT.NIGHT A steady rhythm of droplets drip from the leaping faucet against the soft echoing digestive sounds from the building's pipes. frigid light spilling into the dark kitchen. the only sound is the whining electric warning that the keys have been left in the ignition. INT. It hangs open. PARK STREET . We circle around the car. rolls up from his bed in frustration. there is a massive bowl of raw meat. Close on the broken wheel as blood trickles from the dark load down the chrome frame. unable to sleep. JOHN'S BATHROOM .NIGHT . BASEMENT . JOHN Otto.NIGHT John.NIGHT The refrigerator door opens. John groans.Faster and faster we glide across the cracked concrete which is awash in the bright overhead kliegs toward the only car in the lot. JOHN'S BEDROOM . a red Mercedes. are you down here? He looks around. the window smashed. INT. we see a splintered broken gold inlay cane. On the car seat. reaching for a cupboard but pauses when he notices the basement door is ajar.
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. WORKSHOP . clear plastic curtain hangs in front of what appears to be the showers. of the room. INT. sucking noise as the tangled mop strings separate from the scum at the bottom. The red paint. much of it clumped together with dried blood. .NIGHT On the pegboard. covers the locker doors like frozen flame. hanging from the ceiling are encrusted meathooks. JOHN Otto? At the end of the room a dirty.It is the old men's locker room. In the light. John sees a pair of black. John finds the pulls chain for the naked bulb. On a coat hook. John catches the odor from an old metal pail and mop in the corner of the room. red-brown gore. THE SHOWERS The room is After a moment. INT. curved bone saws. John slowly moves into the labyrinth of rusting metal lockers. behind a six foot chopping block. covering his nose. John sees various butchering tools. its knobs crusty with smears left by bloody fiddling fingers. and rows of glinting. pitch black. Web-like cracks have large tiles and green furry mold grows in the Near the door. A layer of sawdust covers the floor. heavy The room reeks of rot. Grabbing hold of the wooden handle. In the center several blood formed in the grout lines. he sees the mop is caked with thick. He edges toward it and slides back the curtain. rubber boots. An old white radio with a bent hanger for an antenna sits on a workbench beneath the peg board. cracked and peeling. hacksaws. metal cleavers and paring knives. John sees Otto's apron. Except for a sparse few hooded electrician's lamps hung from the web of pipes overhead. it is dark. There is a nasty wet. he lifts the mop from the pail.
He takes a piece of red meat and tosses it outside. Mundi smiles almost imperceptibly as he tosses another chunk of meat out. John rushes for the stairs. hearing something from the kitchen. Mundi reaches to the counter where there is a small pile of meat in unwrapped butcher brown paper. I just need you to sign a few more things. smiling brightly. then turns suddenly. Sedier. hunched protectively over the meat. older woman sitting alone in the clinic's waiting room. SLIMAGE SURGICENTER . Ms. carrying a clipboard. Sedier is an extremely wealthy. looking out. From outside. Sedier. OPHELIA That's a beautiful cat. In the alley. She sits in the chair next to Ms. he drops it back into the bucket. MUNDI Good boy. their bare skin glows sickly under the yellow alley light. animal-like growling.NIGHT John slips up from the basement. a cross between a modeling agency and a nautilus health club. OPHELIA We're almost ready. The clinic is stylishly furnished. Mundi stands in the open back door. we hear low. MISSION KITCHEN .DAY Close on a white Persian cat. purring as it is stroked and scratched by a woman with long. INT. red nails. . As they devour it. Ophelia enters from her receptionist's office. Ms. We hear something scarf it up as John silently backs out through the stairwell door. INT. Good boy. we can make out the unmistakable forms of several naked men and women. Nestled in a chair with her mink coat over her shoulders.Sickened. a silhouette against the alley flood lights. she seems very much like her over-fed cat who sits in her lap. pointing out the lines that require a signature.
MS. SEDIER Don't you find it funny that some pets live better than some people? Ophelia doesn't know how to answer. Through the opening we see Shelley M. Do you know Mrs. Sedier to enter. SHELLEY M. it's so good to see you again. moving to greet Ms. Perdue is a mature looking woman. In the background we hear a noise coming through the walls from another room in the clinic. you follow me. She feeds it caviar. unnaturally. SHELLEY M. PERDUE'S OFFICE . SEDIER Everyone should. Ophelia? OPHELIA No. Perdue rising from her desk. SEDIER They say that animals love unconditionally. Kovit? She has a Pekinese. Do you have a pet. They embrace as Ophelia is about to close the door. cosmetically perfect. Felicity will always love me. No matter what I did or what I looked like. . Everything about her is slick with glamour magazine gloss. OPHELIA Here and here. Sedier.DAY Ophelia opens the door allowing Ms.MS. Shelley M. Can you imagine? She hands the clipboard back to Ophelia. MS. It is a high-pitched whine like that of a vacuum cleaner. PERDUE Evelyn. MS. please? Would She leads the older woman through a series of doors to -INT. Ms Sedier continues to sign. Sedier. SEDIER Felicity. OPHELIA Well. I think we're ready. Ms.
Everything in the room looks sterile and crowded with high tech machines attached to stainless steel cables and hoses. . surrounded by several nurses and the cosmetic surgeon. Ms. We hear again the whirring of the vacuum clearer but now it is very loud. Perdue takes hold SHELLEY M. Ophelia does not want to do it. MS. her teeth sharp and pearly white. but she's a bit nervous after the last one and she asked if it would be possible to have Felicity nearby. SHELLEY M. Chrome-plated scalpels and other operating instruments are spread neatly like a dinner setting. Sedier is laying on the table. Her flesh is moon-white except for her face which is still covered with make-up. Ophelia. Ophelia looks at Ms. Ophelia. Sedier is here for a treatment. I really do appreciate this and so does Ms.MS. CLINIC OPERATING ROOM . PERDUE I spoke with Dr.DAY Ms. of course you know Ms. watches from nearby as the operation begins. Sedier and her cat. Sedier is wearing a small hospital gown that leaves her lower buttocks and legs exposed. Sedier. of her arm. PERDUE It won't take long and I'll mind the front desk. Shelley M. PERDUE Oh. all dressed in white and wearing masks. She smiles. SEDIER We hate to be apart. cradling the cat. INT. SEDIER Did you ask her? SHELLEY M. 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. She is moving closer to Ophelia.
John throws it open. INT. The Then to the He looks up at his reflection as though his name were just called. tip of his tongue. He carries his cutting board over to the large skillet and scrapes the various vegetables into the hot. melted butter. John flashes a large knife over an onion. John brings his fingers up to his nose. Something he has never noticed before.NIGHT A large hunk of butter is thrown into a heavy skillet and begins to melt. drying himself in the swirling steam and moves toward the sink to shave. The steam has refogged the mirror somewhat.NIGHT John steps from the shower. doing his best Benny Hana imitation. OPHELIA I'm starving. Dragging a cheap disposable razor across his cheek. Slowly. JOHN'S BATHROOM . no. He wipes a circle in the fogged mirror and we see his face lathered with shaving cream.. MISSION KITCHEN .NIGHT Steam wisps up from a rich burbling spaghetti sauce. perfect. viscous wads of cellulite. She smiles from the bottom step.. JOHN What? Oh no. He touches the blood. his image blurred. he nicks himself. You're. It reads 7:30pm. As he turns up the burner. he looks at the clock. INT. Close on the blood as it trickles down the white shaving foam. OPHELIA I'm so sorry I'm late. There is something about it. There is a soft knock on the back door. INT.Ophelia sees the large clear container of the liposuction machine as it begins to fill with white. JOHN . MISSION KITCHEN . redness.
The wine bottle is nearly empty and they both are feeling quite warm. Whoever weighted the most won the piggy prize and had to wear a little piggy nose for the rest of the week. Everything tastes better when you're hungry. time-lapsing into a melted. Close on a candlestick as it suddenly begins to collapse. but in a way.NIGHT John and Ophelia walk towards the far dining table. The instructor would weigh us every Monday in front of the entire class. no. JOHN Only the freshest wine for the lady. Everything is. multitiered globular pool of slag wax. JOHN That's pretty horrible. OPHELIA Oh no. They're perfect. OPHELIA John. He takes her hand. JOHN It's the best I could do on my budget. finding them terribly cute. They are still nibbling at the tangle of saucy red noodles on their plates. lean at strange angles. as though superheated. My mother sent me to a special school one summer. The candles. leading her in and closes the door. It is romantically set. MISSION DINING HALL . He helps her into a chair and lifts a large jug of wine to fill their glasses. INT. OPHELIA When I was little. this is so nice.Good. propped up in tin cans. I was grateful because I learned real quickly what . I wanted to be a dancer. OPHELIA Yeah. It was horrible. Dinner is almost over. She looks at the cans and laughs. including candlelight. Yikes.
She drains her glass and he refills it. They all needed work. JOHN And how long did that take to learn? OPHELIA Eight weeks. I couldn't do it. my breasts. It wasn't tutus and ballerina shoes. After high school. I don't know.dancing was all about. OPHELIA Not wise enough. I guess she liked me 'cause she offered me a job. my chin. She talked to me for a long time." My nose. Not a big difference. It's a brutally competitive world where you learn to torture your body to survive. JOHN Wise woman. JOHN You mean surgery? OPHELIA Yeah.. Never saw daylight again. my hips. I came here to the city. I went from wanting to be a dancer to wanting to be a model. Tutu buried in the closet. They liked me but everyone told me I needed "work. OPHELIA What about you? Have you always wanted to open a restaurant? JOHN . That's how I met Shelley. I was about to get a nose job and I just broke down. JOHN Do you like working there? OPHELIA Sometimes it does feel like we're helping people. Other times. One summer.. Took me much longer to figure that out. I went to all the agencies.
OPHELIA They can't be that bad. Unless you've been there you can't imagine it. OPHELIA What about your parents? JOHN Living dead. JOHN Uh no. It's Night of the Living Dead. Living there is like being dead. OPHELIA I don't know why I kept it. Total Hicksville. But I've always OPHELIA Well. . The people are the same. but it's night and day and night and day of the living dead. speaking of dinner. loved cooking. JOHN My parents and I never really got No. OPHELIA Oh god. if what happened to you happened to me. JOHN I can't go home. you are an incredible cook. She pulls out the knife from the diner. JOHN Thank you. Dinner was delicious. look what I found in my pocket the other day. Every day is the same. I'd have been on the next bus back home. Nothing ever happens. I think my arm is having a flashback. OPHELIA God. OPHELIA Why? JOHN I'm from this small town.I don't think so.
OPHELIA Didn't he bite you? JOHN No. We had a rule our farm that no animal could a name. OPHELIA The poor thing. called him Jesus. that duck was my best friend. Anyway. OPHELIA Jesus? JOHN I was just a kid.along. for obvious reasons. Ophelia laughs. JOHN He was really my first pet. almost choking on a sip of wine. I figured that was the way you carried ducks. OPHELIA Aw. OPHELIA How young? JOHN Seven. JOHN It gets worse. in secret I gave him a name. Jesus got nice and fat and one day when I came home from school and I smelled something on have But So I . he would just fall back and his wings would spread loose and he'd dangle there until I let him down. after about a year. JOHN I found this duckling with a broken wing so I decided to bring him home and take care of him. So I'd loop some string around his feet and hang him from my belt. 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. We had a falling out when I was young.
cooking -OPHELIA Oh no. They made me. I hate hairy backs but I always seem to end up with men that have hairy backs. From then on I never liked school and I never trusted my parents. She studies him with the kind of intensity that is only possible after consuming large quantities of alcohol. OPHELIA You ate poor Jesus? JOHN I had to. OPHELIA That is so sad. . Even stood over me while I cleaned my plate. But Jesus sure did taste good. OPHELIA No. OPHELIA So am I. JOHN What? OPHELIA I'm trying to figure out why I'm so attracted to you since you don't have a hairy back. the weirdest part of it is? I ate dinner that night. JOHN You like hairy backs. JOHN Oh yes. JOHN I'm glad my back isn't hairy. JOHN You know what the worst. JOHN What about hairy palms? She laughs.
He lifts her. White.The urge to touch. He pushes her dress up past her thighs as she leans back on her hands. sitting her on the table. Her thighs are wrapped around his head when she suddenly feels a chill. We hold on the table listening to their laughter fade as they run for the door. their lips snapping tightly as they embrace. . They grow more and more vicious. OPHELIA John. to kiss is over-powering. wait. It is a bone he has never seen before. The sounds are coming from outside. Looks around. then up at her. we hear the sound of violent love making. as the sounds rise to their most desperate and wild and we see the lovers sound asleep. SECOND FLOOR HALL . John lurches up. They laugh guiltily as he lifts her up. We watch her reaction. then a short giggle. against the dark fur of the dogs. its strange shape catches John eye. right where he had been eating. until -A scream. She tears open his buttoned shirt and reaches for his jeans. rising up from the alley. he sees two stray dogs savagely fighting over a large bone. INT. as we move over the bed to the open window. He looks up over her leg. Every action seems to drive them farther. then eats me. as he pulls off her underwear. dizzy with alcohol. lit by the flickering candles. It sounds almost bestial. the sheets wound about their naked intertwined bodies. Outside in the alley. to feel.NIGHT Moving down the hall towards John's door. OPHELIA He feeds me. A smile creeps across her face. Ophelia stirs slightly... But the wild animal sounds continue. magnetically so. We see them from the dark edges of the room. The door opens. pulling them up from the table to each other. each desire leading to another. as he eases from her side and goes to the window.
Links scurries wildly to his feet and races for the door. INT. She nearly crumbles with relief. but realizes something is wrong with her apartment. fucking bitch! Bitch! She rips the lamp from its cord. she had a good time. shutting out the noise. closing the door behind her. and she shines it into the darkness.After a moment. still screaming. . the orange of dawn hardly visible behind the drawn blinds. the light flashing blue as it dies. his eyes wide like an animal frozen in the headlights of a car. Roman! What -LINKS Bitch! He charges at her and she sees that he is naked under his long black leather coat. OPHELIA'S APARTMENT . standing on her futon bed. his broken nose is taped up.DAWN Ophelia enters. hunched strangely. her dress not zipped all the way up. knocking him over a chair. As he lunges at her. she swings the lamp violently. Something inside her apartment. LINKS Filthy. She slams the door behind him and slides the heavy iron deadbolt. It is still and dark inside. Then she hears something. Obviously.DAWN The sun has begun to rise. He looks over his shoulder. he closes the window. THE CITY SCAPE . OPHELIA Who's in here? Her heart pounds as she reaches for the nearest light. EXT. The light clicks on a metal desk lamp. She is very disheveled. OPHELIA Shit. She lets out a scream when the improvised spot finds -Roman Links. still very tipsy and smiling. OPHELIA I have a gun. catching him on the side of the head.
a smile stretched from ear to ear. almost blushing. JOHN Was she all right? You did? GRANNY Oh yes. John smiles even harder. . It's hot and he chews carefully. his face contorting orgasmically. INT. I'm starving.DAY In the background. John smiles. Wearing an equally ridiculous smile. OPHELIA'S APARTMENT .There is a terrible smell. the liver seems to melt away. we can hear a vigorous scrubbing sound. He is again surprised by the richness and flavor. The phone begins to ring but the scrubbing does not stop. Rolling it in his mouth. JOHN Right now. did we? Maybe you'd like a taste? She scoops up a spoonful. JOHN That smells good. His hair is pointing in various gravity defying positions. MISSION KITCHEN .DAY Granny stirs up a mixture of liver and onions as John enters. She offers him the steaming helping of meat and wet onions and he opens wide. GRANNY And a good morning to you. GRANNY I saw your company leaving this morning. John. I could eat anything. GRANNY Worked up an appetite. INT. JOHN Man. Granny smiles. holding her spoon like some bizarre advertisement. The answering machine clicks on.
is wearing rubber gloves.O. MISSION STAIRWELL .O. I'm home.) Was it Roman? Oh no. There is a long beat. INT. JOHN (V.) Are you okay? OPHELIA I don't know if I want to talk about it.) Hey! I called work but they said you weren't coming in. INT. She drops the brush into the bucket and grabs the phone.) When I woke up I was thinking maybe it was all a dream. on her hands and knees.DAY John. but then I found.) What happened? Shit. JOHN (V.. JOHN But this is not your typical fairy tale. JOHN (V.O. Not hungover. JOHN (V.DAY Ophelia. he smells them.O.. is holding her bright pink panties. scrubbing the carpet with a heavy brush and sudsy water. JOHN (V.O. OPHELIA Hello. well not exactly a glass slipper.) Perhaps I should scour the countryside. trying every butt. OPHELIA'S APARTMENT . Smiling.JOHN (V. on the pay phone. John. . as if they were a country morning.O. I hope? OPHELIA Not exactly. searching for the perfect fit. OPHELIA Yes.
I called the police.Her voice is very faint. I understand. OPHELIA Are you all right. There is a tension to her body as though she were afraid that motion might cause some seepage. just tell me where he lives -OPHELIA No. Am I? . Ms.O. Sedier is again in the waiting room.) He did what? OPHELIA He pissed all over my apartment.O. But if you need anything. Sedier? MS. Anything. John. SLIMAGE SURGICENTER . JOHN (V. INT.O.) Okay. he.) I will. OPHELIA He just scared me.DAY Ms. I had a really beautiful time last night. JOHN (V. buttocks. JOHN (V. and abdomen are encased by heavy medical binders used to patch the liposuction punctures. OPHELIA Call me tomorrow. OPHELIA Thanks. JOHN (V.. They're looking for him.O. When I came in What? JOHN (V. I don't want it to get any worse. She sits awkwardly as her thighs. I had the landlord change the locks..) So did I. John. some meaty human juice to leak out of the sieve-like holes.) Ophelia. SEDIER You're smiling today. OPHELIA I guess I am.O.
CLINIC OPERATING ROOM . MS. SEDIER Of course. OPHELIA And how do you wish to pay for this visit? MS. MS. MS. SEDIER I once weighed one hundred four pounds. I remember that smile. SEDIER Can I ask you something. dear? much do you weigh? OPHELIA One hundred eighteen. MS. INT. SEDIER A size seven? OPHELIA Six. The smile fades. wore a size four and had an eighteen inch waist just like Scarlett O'Hara. SEDIER I've already spoken to Shelley about that. OPHELIA Yes. It feels wonderful while it lasts but that's the trouble with smiles. MS.MS. they never do. SEDIER Is it a boy? Her smile brightens. She leans back and smiles. OPHELIA Fine. OPHELIA There was a problem with your last check. SEDIER By check as usual.DAY How .
Ophelia pets the fat white cat.. SHELLEY Is that him? The one you brought . Sedier's lower legs in the stirrups of the adjustable operating table. The two-way mirror behind Ophelia's desk allows Shelley to look into the waiting area while maintaining the privacy of her office. her thoughts drifting up to the mirror. 98.. SHELLEY Come here. Perdue. I'm fine... Look. Felicity squirms and jumps free.. OPHELIA Felicity! She follows the darting cat who runs straight to Shelley's office. MS. its white tail curving up the perfect calf of Shelley Perdue. DR. SEDIER 95. Mirror. Outside the observation window. SHELLEY Ophelia. the cat got spooked. circling a pair of high heels. OPHELIA I'm sorry. From one hundred. 97. Manno goes to work. 99.. She is standing at the wall adjacent to the reception area.. Ms. The sudden vacuum whir makes the cat cry out. 90. Ms. INT. She sucks at the gas.Doctor Manno positions Ms. Ms. OPHELIA Shhh. MS. SHELLEY'S OFFICE . MANNO Okay. Sedier stares up past the bright lights at the mirrored ceiling as the anesthetic is fed into the air mask. Sedier.. mirror on the wall. The cat continues to cry and as Dr. it's okay. SEDIER 100.DAY The cat stops.
RECEPTION AREA . SHELLEY Yes. John. SHELLEY Wait. I would certainly ask myself. Watch. that never lie.DAY her or our him John turns as Ophelia enters the waiting area. Look at his eyes. she stands to return a file to an open cabinet. smiling boyishly. She starts to turn for the door. SHELLEY He's adorable. Beauty demands admiration. The drawer is very low. batting her luscious false eyelashes. SHELLEY Don't feel hurt. John jokes with her. Ophelia. Mimi smiles at John.to the mission? Ophelia looks out the glass and sees John talking to Mimi. Eyes like Ophelia's smile again fades away. does he look at me like that? INT. There they are. OPHELIA He is. He is only looking at as one might look upon a Monet. Finishing a report. Or jealous. a Michelangelo. one of Shelley's stunning beauty technicians. JOHN . Ophelia smiles again. His eyes speak for but you mustn't fault their honesty. She bends. OPHELIA Yes. SHELLEY But if I were you. I want you to see something. He watches. She scoops up the purring cat.
I've always wanted to come here but it's so expensive.DAY I It is a trendy little bistro. I'm starving. OPHELIA Reservations? JOHN Yeah. The bigger it is. pepper-crusted filet mignon is set before John. A charred. MIMI Have a nice time. the less fresh it is and the more assembly line it becomes. JOHN It can't be too big. ruddy juice oozes from a glistening cube of steak that he pitchforks into his mouth. his jaw grinding hard while she watches him. what are you doing here? JOHN I came to take you to lunch. INT. You might as well open a McDonald's.Ophelia! OPHELIA John. She grabs her coat and purse while Mimi smiles at them. RESTAURANT . her fork furtively advancing on her salad. JOHN This is exactly the kind of place I'd like to open one day. He nods. There is a clatter of wielded knives and stabbing forks as John begins sawing open his meat. OPHELIA It's lovely. They do let you eat lunch. don't they? OPHELIA Yes. doesn't it? She nods as a walnut and avocado salad is placed in front of her. Red. that smells good. made reservations. Oh. That's the trick. the more prep there is. God. John. .
. JOHN It's supposed to be. JOHN Come on.OPHELIA Where did you get the money? Suddenly he grimaces. choking down the lump of meat. And she's a helluva cook. OPHELIA Is something wrong? JOHN Had a funny taste. Maybe it's overcooked. you didn't answer my question. OPHELIA John. He stabs a tiny bit of steak onto a single fork tine. Her stew is amazing. she said she knew I'd play her back some day. just a little taste. JOHN Granny gave me some money. I'm trying to get the recipe. He pokes at the bloody steak. she is. It's unbelievably rich.. OPHELIA Are you kidding? It's almost raw. OPHELIA She's so sweet. you know I don't eat meat. JOHN Yeah. OPHELIA So. slicing out the reddest part of the steak. JOHN Yep. He continues to eat but tries to cut away the charred crust. but I know what you really want. How's your salad? OPHELIA It's good. JOHN . like charcoal.
And one tiny teeny weeny taste won't turn you into some kind of strung out meat addict. OPHELIA I don't have to have a reason. uneven cut of meat to her mouth like a bizarre communion.Why not? Is it a taste thing or an ethical thing? OPHELIA Ethical. It's because they're in love. OPHELIA Okay -She watches as he lifts the tiny. JOHN Little party going on in there I . It's a personal choice. It's just discrimination. Ophelia smiles nervously. That's all it is. her lips slowly parting as he slips the fork inside. So come on. OPHELIA Why do you want me to? Why? JOHN Haven't you ever watched two people in a restaurant feeding each other. JOHN I know but it's not like it's the forbidden fruit here. They want their lover to taste what they're tasting to feel what they're feeling. John smiles as she chews. just try it.. JOHN You don't believe those vegetables died for you? OPHELIA They don't have eyes. She closes her eyes. You won't burn in hell for it. sharing their food? I know why they do it. JOHN What do eyes have to do with life? A blind man isn't alive? That's not ethics. mostly..
We hear the mucused whistle of his breathing and a sound that repeats rhythmically.think. swick. swick.. THE MISSION . I JOHN In that case. The stack appears to have doubled in size.. INT. why don't we pick up some pig's feet and have a real lunch. fondling a switch blade that he continues to open and close. swick. KITCHEN . OPHELIA Oh. EXT. He slips off his yellow latex glove and runs his finger along the curved belly of the bowl. RESTAURANT . a tiny teeny weeny taste. chick. chick. Maybe I just need a taste. JOHN You hate me now? OPHELIA I'm not sure. must really like you. 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. EXT. JOHN Can I see you tonight? OPHELIA I'd like that.DAY From far away. Ophelia shivers. the heavy taste blooming through her. OPHELIA I can't believe I just did that. I get it. Roman Links peers around the corner of the alley. OPHELIA That was wonderful. You're Satan. someone watches as they exit the restaurant. chick.NIGHT John is washing bowls. She leans toward him and they kiss. . Thank you.NIGHT A crescent moon cuts scythe-like through the clouds.
. at her reception desk. Manno when Ophelia enters. something wrong with me.DAY Alone in a stall.DAY There are several women in the waiting area. SHELLEY It's all right. Sit here and let's let Dr.shit. As she scratches.Sticking the coated finger into his mouth. is also reading a glamour magazine. one of the alley dogs begins to bay. all of whom are reading glamour magazines. Ms. INT. MANNO'S OFFICE . There are several red sores swollen with irritation. SHELLEY What is it. JOHN Ow -. she goes to the bathroom. obviously upset. She has Glancing up. Perdue. Concerned. like a stye but harder. SLIMAGE SURGICENTER . A tiny drop of blood swells around his knuckle and he sucks on his finger again. dear? OPHELIA I don't know. Manno have a . but there's something. Come. he sucks. she surreptitiously slides her hand under her dress. Ophelia. a terrible itch on the inner part of each thigh. she pulls her dress up and examines her thigh. INT. Beneath her desk. BATHROOM . DR. INT. Outside.. The only sound in the clinic is the rattle of magazine pages being turned. At the center of each sore is a white protuberance. we hear a small crunch as he absently bites down. After a moment. OPHELIA I'm sorry to interrupt. her nail catches on something that hurts to touch. I thought it was just a rash but it's gotten worse.DAY Shelley is talking to Dr. Ophelia rubs her thighs together.
In certain cases. DR.look. Ophelia screams as the fist-like potato of calcified fat is torn from her thigh. The side of her thigh bulges. Manno continues pulling the stalk. . He pulls and the nub is revealed to be a thick white stalk like a root growing from the eye of a potato. She gestures to the examination table and Ophelia sits. please. cellulite spreads beneath the derma like a spore. he clamps hold of one of the white nubs. MANNO Calcified cellulite. SHELLEY Oh no.yes! SHELLEY How bad is it? DR. What is it? DR. moist places like between toes or the inner thigh. Swinging a light between her legs. He probes her flesh. With a pair of gleaming stainless steel forceps. MANNO Does this hurt? OPHELIA Ow -. The danger is that it is impossible to know how large the tubors have gotten. OPHELIA Tell me. typically in dark. MANNO It's coming. feeling a large lump. OPHELIA What is it? What? DR. Ophelia winces and writhes in the chair as Dr. fitting her feet into the steel stirrups. Manno examines the sores. the root obviously connected to something much larger. Hold on. Dr. MANNO Difficult to say. particularly with vegetarians.
OPHELIA That's not an answer. JOHN No. There are olympic athletes with cellulite. It's a genetic predisposition. She opens her leg and examines the inner thigh. Maybe OPHELIA Do you know the only way to get rid of cellulite is to go U. It means that I have a diffused pattern of irregular and disconnective tissue.NIGHT Ophelia continues to scream.K. 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. why would nature design something like this. nature is evil. JOHN Ophelia?! Ophelia breathes. It's cellulite. looking at John. It doesn't make any sense. realizing she is in her apartment. That's what's so horrible. OPHELIA It's not funny. but it looks good to me. Just a bad dream. or acne.INT.T. bolting up from her bed. JOHN I don't know. What's the purpose? JOHN So people like Shelley Perdue could make a lot of money. OPHELIA It was a dream. OPHELIA'S BEDROOM . Ophelia.? . He starts to bite her but she pushes him away. or warts.
In the white light and swirling frost. The dog attacks and Links slashes a bright red cut across its flank. his expression turns to horror. the dog scampers away. OPHELIA I think you're right. EXT. Sniffing. INT. Links searches for a way inside. . still wearing the same clothes. Huge piles of hamburger sit proportioned onto butcher paper. his head jerks up. switching off the light. It's done with lasers now but we still call it U. Links creeps toward the refrigerators. one brown crusty wad still plugging his nose.NIGHT Creeping through the maze of lockers. The dog coils onto its haunches. he finds the work bench. The dog growls. ALLEY . swick. INT. He slips on a patch of congealed grease as he moves through the showers into the locker room.? OPHELIA Under the knife. eyes wide as he reacts to every noise. BASEMENT . Several pounds of meat and miscellaneous organs have been fed through the grinder. LOCKER ROOM . John. He finds a rotting piece of plywood covering a basement window and pries it open. She leans back down.T. The padlock is open. Links pops the door.JOHN U. Prowling along the back of the Mission. Links growls back. wiping the bloody blade on his pant leg. the toilets are black with an unctuous grime.NIGHT Nature A big stray is viciously digging at the garbage behind the mission. Howling.K. One of the chains hangs loosely around the bulbous waist of an old Frigidaire. is evil. baring its teeth.K. Links slides the knife out of his pocket. Links drops down among the stalls of the men's room. Quietly. Roman Links stops. Sensing someone.T. He looks terrible.NIGHT Worming through the small window. Links smiles.
NIGHT Several smaller dogs now digging through the garbage react to a terrible animal-like scream. But if it isn't then why am I freaking out? I don't know! You need help -The door opens and Shelley smiles. If you had a cavity. the circle becomes a spiral. It's more natural than having your ears pierced. It is as natural as getting a haircut. She is now Glancing at the mirror that separates her from Shelley. would you ignore it? No. It is three twenty. she gets up and goes to the bathroom. Kuru sees the tiny blade and smiles. There are no names scheduled after three thirty. his knife flashing from his pocket. coiling back. She looks over at a clock. From the back of his belt. SLIMAGE SURGICENTER . EXT. OPERATING ROOM . revealing Kuru. her pen orbiting the only blank hole in the book. OPHELIA Yes. Ophelia begins to circle the open space. reflection answers.The door slams shut. After a moment. Links yelps. Ready? Ophelia takes a breath and looks back into the mirror. People change themselves every day. the pen trail whirlpooling until the entire space is blackened into an inky tangle.DAY The . INT. INT. it's not big deal. he unsheathes his massive gurki like blade. BATHROOM . You see. INT. staring into the appointment book. MISSION .DAY Ophelia is sitting anxiously at her desk. SHELLEY There you are. very nervous.DAY Ophelia talks to the reflection. OPHELIA This is not a big deal.
Your legs will be smooth and beautiful. she hears the whir of the machine. Ophelia. isn't it? To be beautiful. The first tiny white bits of Ophelia's inner thigh slap against the glass wall of the catch as the splattering sound becomes -INT. I'm just tired. Ophelia puts a spoon into the chocolate sundae and carries it to the living room. You go to sleep and when you wake up. It's what you want. his face grey and gaunt. He looks like a piece of overcooked meat. Tired . JOHN You're not having one? OPHELIA No. John. OPHELIA I hope this helps. and hungry. Ophelia's body becomes light. OPHELIA Are you sure you're okay? You don't look very good. I can't. John is on the futon. his eyes are dark and hollow. SHELLEY Don't worry. Ophelia stares at the mirrored ceiling. as Dr. Through the slurred syrup of her senses. Ophelia sees Shelley standing over her. transubstantiating with the gas and she feels herself floating up towards her reflection. you'll feel wonderful. It's just like magic.Hydraulically. the chair rises into position. Everything will be fine. a smile half-hidden beneath the surgical mask. angel-blue eyes staring down. Manno moves between her spread legs. She hands him the sundae. JOHN I'm fine. OPHELIA'S APARTMENT . breathing in the gas.NIGHT The coughing hiss of whipped cream spitting out the nozzle into a cloud-like mound.
she slides her loose fitting dress up over her thighs. JOHN Ophelia. JOHN Did what? Slowly. The cellulite. see the surprise? Her smile says something naughty. The surprise. JOHN What happened? When do I Oh god. JOHN Ahh yes. OPHELIA I got some lipo. is perfect. Your body But I wasn't . JOHN Maybe a little. revealing the heavy white binders. OPHELIA I did it.JOHN Why? OPHELIA My surprise. 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. you're crazy. JOHN I wasn't drooling. John scoops up a spoonful of ice cream into his mouth. OPHELIA You certainly were. JOHN What? OPHELIA I told you.
away from her. Sick and afraid. .. It is later. fit tight to each other Again. OPHELIA I knew it. He turns and sees the bandages on Ophelia's thighs. lifting her into his arms.NIGHT They are both asleep. JOHN I have to go. you know. he pushes himself off the bed. OPHELIA What are you doing? . OPHELIA Is everything about food with you? JOHN Food is life. OPHELIA What are you doing? JOHN I'm taking you to your bedroom. I'm not feeling very good. Something is wrong. There is a smell in the air that swirls about him like a perfume. There was nothing to her. INT. John? Hurriedly. She's like an appetizer. His gut squeezes hard and demanding as a fist.. OPHELIA'S BEDROOM . His face is wet with sweat when his body seems to jerk him awake. he gets dressed. He grabs hold of her. John is having a tortured night. pretty. OPHELIA I thought you wanted dessert? JOHN I do. I could tell. but never very satisfying. like spoons.really interested. OPHELIA Oh no? JOHN No.
glimpsing that the woman is again holding a chicken wing." The siren is getting . There is a group of rowdies in leather. LEATHER MAN Dickhead. a high drunken cackle. Now. guzzling beer and gobbling barbecued chicken. John looks at her and sees that she is now holding a large. Smoke is billowing from the stack and John catches the scent of char-broiling ribs. A woman in the group. Quickly. I will. nibbling at a chicken wing begins to laugh. JOHN Okay. what are you looking at? John turns. CITY STREET . he leaves." a late night take-out joint. but as her eyes close and he pulls away. He does. sitting outside despite the cold. I promise. go OPHELIA Kiss me. clutching his stomach. ambulance siren can be heard. Something is wrong. OPHELIA Promise me you'll go see a doctor. an Something catches his eye and he stops beneath a sign that reads: "Casmir's Butcher Shoppe. LEATHER MAN Hey. Just promise me. back to sleep. EXT. The human like skin flaps with her laughter and a piece of gelatin falls to the table. Very faintly. I'll give you the money. fleshy piece of raw meat. he notices something he never had before -The taste of her lips.NIGHT John crosses the street towards "Babe The Blue Ox's BBQ.JOHN I just need some rest. He grimaces. John hurries away.
She's left me to tend the stew. staring into the window listening to a sound that is growing in his head. a sound like the buzzing of flies. His head cocked. Mundi steps away and John edges closer to the stove. MUNDI You're hungry. In that moment John sees hanging in the window. John spins away. We see the window now filled with a beautiful assortment of meats and sausages. MUNDI Perhaps just a taste then? JOHN Yeah. KITCHEN .louder. INT. MUNDI Welcome home. Dotted with black ink spots of rot. splashing red light across John and the store front window. JOHN Where's Granny? MUNDI Off to bed. they swing ever so slightly. dripping oil and gelatin to the ground. JOHN God. is upset. The ambulance booms past. Just a little.NIGHT John stumbles toward the open alley door when he catches a scent that immediately bolsters his strength. . rising vapors envelop him with medicinal magic. EXT. doubling over as he vomits. it smells good.. I can smell it on your breath.NIGHT Mundi is at the stove. MISSION . stirring the burbling stew which is in an unusually large pot. maybe. massive slabs of rancid meat covered with maggots and flies. JOHN I haven't been feeling very well.. My stomach. The Mundi smiles as John slurps the thick broth from the spoon. John.
The sounds are grisly. INT. Otto checks the object and then sets it inside. Determined. From below. He dips the spoon in for another when a hand shoots up out of the stew and grabs his wrist. over the continuing Muzak we hear Otto as he returns to work. Screaming. The butcher's hands are bloody to the elbows as he carries something that looks like a bleeding basketball. the panic subsides and. INT.NIGHT A long blade knife is pushed through the wall and John methodically jimmies back the bolt from the jamb.NIGHT He wakes. Standing in the wash of white refrigerator light and a swirling mist of cold steam. we begin to hear music. clutching his knife. In the background. The door swings open without a sound. barely audible. that's good. leading the imagination towards the most gruesome speculations. the back and forth grate of a saw. The stairs curl like a beckoning finger into the darkness below. he rises from his bed and heads for where he knows he must go. INT.JOHN Mmm. a bulbous 1950's model which he opens. John descends. cheap radio. JOHN'S BEDROOM . Gradually. He then closes the door and goes back to work.NIGHT The music is a catchy little Muzak number like "The Girl from Ipanema. terrified. John moves with him. thoughts begin to fill his mind with the chill of ice water. catching glimpses as Otto waddles to the nearest refrigerator. MISSION KITCHEN . John sees Otto in the workshop." Through a slit. THE LOCKERS . followed by a series of shredding . Silently. John makes his way towards the refrigerator. sweating almost immediately. 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. as it does. crackling through the old.
He closes it and. INT. hitting the intercom. The knife slips from his hand.the police are on the way -- . Roman -. then lunges up the curving stairs just as Otto swings -The cleaver just misses. Otto whips around the corner gaining -Raising the cleaver as John stumbles on the first steps. slamming into the lockers. obviously annoyed. The apartment door signal is buzzing. there is a chilling sucking sound. Otto hunches back like a heeled dog as Rex steps toward the door. in his black eyes. He lets out a shrill animal yelp as -John runs. the back door thrown open. we see the hint of a smile. After a beat. Otto grabs the nearest cleaver and flails after him. around a corner towards the stairs now in sight but. His hand covers his mouth as he stumbles back. sawed-open head of Roman Links. opens the refrigerator.sounds like corn being husked and then a snapping like the cracking of crab legs. still sucking the marrow from the femur bone whirls at the crash and sees John. The light goes on and Ophelia enters.you fucking asshole -.NIGHT And buzzing. embedding into the wooden tread. John slams through the rows of lockers. OPHELIA'S APARTMENT . Otto. Otto scales the stairs into -INT. A scream catches like a barb in John's throat. John. OPHELIA If this is you. his heart pounding from his temples to his toes. tongueless.NIGHT But John is already gone. clattering to the floor. John inches towards the door handle as suddenly the cracking stops. The white tape still covers his broken nose. KITCHEN . Jerking it free. Otto is about to follow when a hand reaches out and stops him. Inside he sees the eyeless.
They told me the first day. No. No. fingers knotting.what happened? Immediately. JOHN No. OPHELIA In the mission? JOHN In the refrigerator. No. OPHELIA John -. OPHELIA What? You saw Roman in the refrigerator? John nods again. His hair. OPHELIA Is it Roman? A little squeak jumps out of John's mouth.She switches to "listen. He is shaking and out of breath. something happended -. it's real.it's John." JOHN Ophelia -. As soon as she unlocks the door. They told me what they were doing. hands wringing. despite the cold. OPHELIA Oh. OPHELIA John. Ophelia. it's three-thirty -JOHN Please. is slick with sweat. I see. OPHELIA Told you what? JOHN . unable to speak. he is pacing around the small apartment. It was another bad dream. OPHELIA Did you see Roman? John nods. John bursts in.something bad -She presses the "enter" button.
something is wrong with you -JOHN I know. I ate it every night.. .. It's the meat.. Every night.. I know.. They'll know it's still inside me..They butcher their own meat. OPHELIA Believe what? JOHN That I didn't know because I was there. OPHELIA Say it. believe me. No! What? JOHN It tasted so. I can feel it. like everyone else. It's OPHELIA John. and it's making me sick because. JOHN But I didn't know! I didn't know! I swear to you OPHELIA All right. Two bowls. I can smell it! OPHELIA Smell what? JOHN The meat! OPHELIA John. they'll smell it. JOHN You can't! OPHELIA Why not? JOHN Because they won't.. I'm calling the police. cheaper that way. Ophelia.. you're not making any sense. His stomach convulses. JOHN Because.
you're scaring me. INT. OPHELIA Goddamnit. something just beneath her skin. OPHELIA What!! What! He's too terrified to speak. She softly He turns his head.. OPHELIA You need rest. Making you half crazy. John. . There is the soft curve of her neck. he wraps his arms around her.Horror and revulsion rise with human bile as he clamps his hand over his mouth and runs to the bathroom. kissing her neck when something happens to him. good. scrambling away from her. OPHELIA John? He screams. Maybe its some kind of food poisoning. kisses his head resting on her shoulder. half-dead.NIGHT John is kneeling on the floor. OPHELIA It'll be okay. She feels his body go rigid with fear. You need sleep. OPHELIA What? JOHN I don't know! She jumps to her feet. BATHROOM . She kneels beside him. he smells something. Shivering and weak.. Ophelia follows. taking hold of him. Forcing herself to remain calm. something that tastes. JOHN Something's happening to me. his head still hanging over the toilet. his breathing begins to ease. As she hold him.
JOHN How did you? Where's -MUNDI The fair Ophelia stepped out to find you something to eat. we'll talk. is asleep on the futon. MUNDI Good morning. wrapped tightly in a mess of sheets. his face as gray as ash. the venetian blinds holding back the morning. A smell fills his nostrils. will it. John? JOHN . drinks and swallows.DAY The room is still dark. is sitting in the room. MUNDI But it won't be enough. FADE IN: INT. A single slice of light cuts across his mouth. She shoves the glass into his hand. a terrible gagging smell and he coughs. fully dressed. John scrambles back into the corner. OPHELIA Open! He opens his mouth and she drops in several capsules. She filles a glass of water. You need to sleep. OPHELIA You need to calm down.OPHELIA Enough of this shit! She throws open the medicine cabinet and grabs a large bottle of sleeping pills. Rex Mundi. He grins. It was a torturous night. OPHELIA'S APARTMENT . citizen. deep in shadow. When you wake up. John. He FADE OUT. waking up.
MUNDI You can eat until you are sick without ever feeling sated or satisfied -. John. John can feel his stomach. John tries to stand. MUNDI It is what everyone wants. He does not want to hear MUNDI The mind learns to accept what it cannot have. JOHN No. Mundi watches John in obvious anguish. a great gaping hole. about to rupture. this. MUNDI There is only one true desire. but deep inside. to move away. as empty as it has ever been.why John? Because you are afraid. John grimaces. from the very first bowl. that first mouthful -JOHN That's a lie! MUNDI Your body knew at once what it had inside of it. It was what it had always wanted. You've known all along. Everything else is a lie. JOHN What's wrong with me? MUNDI Your body has been set free. His stomach feels like the skin of a sausage grilling. the body never forgets. Afraid of . a lie that begins for most when they are pulled from their mother's teat and given a bottle of cow's milk.why? You will gorge yourself on the flesh of every animal except one -.I know what you are doing? MUNDI Of course you do.
Mundi throws it on the floor between them. He is . gnawing away. Mundi pulls a heavy package. John lunges for the package. JOHN God! MUNDI There is no god that can help you. I woke the truth inside you. dripping with sweat. wrapped in butcher-brown paper from his pocket. the appetite is alive. sinks to the floor. MUNDI Feed me. As the giggling grows louder. On hands and knees. tearing it open. it wants. MUNDI You can make it stop. You can feel your stomach trying to digest itself. The appetite is a part of you now. clutching his stomach in agony. Good boy. JOHN No! MUNDI I reminded you. Now. gray. CITY STREET . EXT. Bloody cubes of raw meat spill out. gobbling them down. office building. John. MUNDI Good boy. Mundi smiles. After a long beat. we see a man and woman pushing out through the revolving door of the building. we hear a woman giggling. outside a dull. John stuffs them in his mouth.NIGHT It is a bitter cold night. Afraid that what you are is all that you are.what you really are. John stares at it and we can almost see him begin to drool. Feed it. his glance shifting from Mundi to the package. Give it what John hesitates.
MAN See you tomorrow. Her appearance suggests they just had sex. The woman's laugh dies ugly. Whistling. laughing as she stumbles in her high-heels. Oh. He smiles. Even his tie is fixed tight to his collar. he heads towards the entrance of an underground parking garage. Their laughter is swallowed by the emptiness of the city. The woman is disheveled. her lipstick smeared. MAN It doesn't bother you when you see me take it off. WOMAN God. WOMAN You could wait five more fucking minutes.pushing with both hands on her ass. He looks at her indifferently. obviously drunk. He reaches into his pocket and pulls out his wedding ring and slides it on. yet he looks exactly as he probably looked early this morning when he entered the building. yes. MAN You want to keep your job. WOMAN There it is. you're a pig. her hair tousled. They stagger out. WOMAN You make me sick! I don't want any part of you anymore! She throws the earrings at him. her blouse not fully buttoned. Stunned and sickened by him. why I fuck you. picks up the earrings and slips them into his pocket. she rips a ruby earring from each ear. He smiles. spins on her heel and walks away. Its staircase darkens into a black shadow I don't know .
The man stops and looks back at the circle of light around the door. The man's eyes are . JOHN Hungry. To his left. Abruptly. His footsteps quickly fade down the stairs. can you help me? John reaches out with his hand as the man passes. The metal rattling grows louder.. save for the man's hurried footsteps. a flash somewhere else. From behind. the door again opens and booms shut.NIGHT The man appears.that swallows the man as he descends. JOHN Mister? Mister? The man does not acknowledge him. There is faint rattling in the distance. The man looks away and continues down the stairs toward John. He seems frozen. MAN Is someone there? Another series of running steps. It is empty. UNDERGROUND GARAGE . It is John dressed in garbage-picked clothes. INT. JOHN Mister.NIGHT The vast garage is ominously empty and silent.. he stops. listening as the door to the level below opens and closes. closer. The man is repulsed and jerks his leg free. he hears the sound of someone running and he turns. JOHN I'm hungry -John grabs hold of the man's pant leg. John crawls to the edge of the landing. INT. like a deer. noticing a figure huddled in the corner of the landing below. rounding the corner of the first level. darting. catching a glimpse of a shadow that disappears behind a steel column. STAIRCASE .
Otto. turning to see -He begins to cry. nothing to worry about. Behind him the predators gain. pushing her grocery shopping cart. the silver cat is poised on the hood as the man races towards it. screaming man. In the dark edges of the garage. unable to resist. It is a wild chase weaving through the iron and concrete columns that seem like the trees of a man-made jungle. . scampering on hands and knees. They tumble to the ground. MAN What do you want? He throws his wallet at them. GRANNY Sssh. He hears the jingling keys behind him. He tears out his keys and jams the key into the lock when -There is an animal shriek. This'll just take a minute. John rolling away. The jingle of the keys blends into the metal rattle as Granny moves into the half circle. springing over the car.He bolts. feeble. running with him. Kuru and Otto taking hold of his arms as the man. for the keys.take it! don't hurt me. MAN Here -. behind the rows of columns. GRANNY It's okay. Take it! Please They close in on him. free for a moment. trying to calm him. and Kuru. The predators surrounding him. shadows. He reaches for the handle. The man. continues to sob. tries to get back to the car. dangling the keys. now. he can see them. landing on top of the terrified. John. She pets his head. John bounds up. but the keys are gone. The man can see his red Jaguar.
Inspecting closer. Because deep . John. smacking her lips and tongue. JOHN I can't. John. John. Meat. Eat. John's mouth begins to salivate. GRANNY Look at him. The man drops his head as he fills his pants with urine. his arms still held behind him. The man on his knees. John raises the bat.. GRANNY Congratulations. coating them with his sweat. Granny pulls a baseball bat. one rule to survive. See him for what he really is. She licks them. She gives John the bat and pushes him up to the plate. Eat or be eaten. tasting. she reaches under his arm. MAN Please.. John's grip loosens. He is now crying uncontrollably. Meat you can almost taste. GRANNY He's a keeper. GRANNY There is only one truth in this world. From her shopping cart. GRANNY You can and you will.. John stands motionless. pinching his fat. That's all. one law to obey. John shakes his head. whispering in his ear. down you want to.She runs her fingers across his forehead. looks up at John pitifully. Fresh marbled meat that you can smell. Granny stands behind him.. The man begins repeating the word "god" over and over. Not bad.
SHELLEY How are your thighs? OPHELIA Much better today. The scream fades. They are the same earrings the woman threw back at the man. OPHELIA Morning. SLIMAGE SURGICENTER . She digs the keys from her purse and stoops to unlock the doors when she notices a manila envelope with her name on it. GRANNY You're one of us now. Ophelia. Granny pats John. Inside the envelope is a note from John: "I'm sorry that I haven't been myself lately.His face contorts viciously as he raises the bat." She tilts the envelope and a pair of ruby earrings spill into her palm. Ophelia smiles and unlocks the door. but never seems to die. Ms. It .DAY Ophelia walks down the hall towards the glass door of the clinic. The bat falls. I hope these will help you forgive me. INT. was a big step. INT. just a dim echoing roar in our ears. SHELLEY I am so proud of you. The scream fills the entire garage.DAY Ophelia is admiring her new earrings in the mirror behind her desk when Shelley enters. Perdue. wasn't it? Ophelia nods. SHELLEY Good morning. Ophelia. SLIMAGE SURGICENTER . Kuru and Otto lift the body of the man and load it into the shopping cart. There is a loud pop as the bat strikes the back of the man's skull.
In the background we can hear John and Otto. OPHELIA Thank you. I think this one was . is a beautiful dark fur. The richer they are. is a whole has feel it. Was there another problem? SHELLEY Yes. suspended in the dark space above us. MISSION BASEMENT .SHELLEY Believe me. but I've taken care of it. the more they eat. cancel Ms. I suppose I can. the first step always the hardest but now new world of possibilities opened up for you. OTTO There is one basic rule of thumb. SHELLEY And you're still so young and pretty. she shuts the door behind her. OPHELIA All right. don't think she'll be back.NIGHT I Stretched limply over a hanger. She winks teasingly and passes Ophelia but stops at the door to her office. though their voices are muffled. INT. SHELLEY Oh yes. the better they taste. SHELLEY Now maybe we'll finally get to fix that little nose of yours. you can can't you? OPHELIA Yes. Sedier's appointment today. JOHN Is that why Rex wanted this one? OTTO I don't know. Smiling.
Ahead. as we hear it filling the bottle. Blood suddenly sprinkles onto the floor around their feet. sucked dry. Here. The two darker figures are Otto and John. It's easier than you think. Lipotracts. slaps the naked flesh. it looks like a great side of beef. We see the three figures in the room. we see the voices are coming from the shower room. But she ain't bad. Otto . on the flank and all along the butt and thighs. OTTO See here. We pass under the dark emptiness of the fur. We hear the quick zink. white and pink. OTTO The bottle! The bottle! The blood stops. There is a gap at the bottom. which is hidden by the heavy plastic shower curtain. We can see John's shoes and the heavy rubber boots that Otto wears. where we can see into the room. OTTO You just pull back on the hair and cut. The other figure appears to be suspended in the air and through the translucent haze of the curtain. John bends down and lifts one of them. zink. more defined through the foggy plastic. OTTO Hold it like this. After they're drained. which can be determined by their feet. On the floor beside them is a funnel and several green wine jugs.a favor. The jugs are empty. the colors of suet and meat. of a knife being sharpened. OTTO This one here'll probably fill three and a half or so. OTTO Now grab one of them bottles. All the tasty bits. I'll show you what's next.
OTTO Granny's probably got some work for you upstairs. and tear. gulping air. But not the coat. slips out of his hand.. zink. We are almost to the curtain and the blood is everywhere. John steps back as though he suddenly lost his balance. John turns towards the curtain. about an inch deep. lunging out. past the swinging shadow of the hanging body.. shattering on the tile floor.. breathing deep and looking very sick. OTTO You can throw all that stuff in the furnace. There is a strange zipping sound. OTTO Then.Zink. JOHN I'm sorry. Otto throws open the curtain and finds John sitting on the bench between the lockers. right down the spine.. . Otto shakes his head. glass crunching underfoot. OTTO Here at the tailbone. The heavy rubber boots step through the pool of blood.. and here. Blood is missing the bottle and splattering around his feet. Otto snaps the curtain shut and again we hear the knife sharpening. OTTO Then you just cut a finger hole. An awful tearing noise begins as -The bottle that John had been filling. John looks up. here. puddling on the floor. in a deafening explosion of green glass and blood. It's a good coat. the knife sharpens again.. disappointed.
MISSION KITCHEN - NIGHT
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...
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'S BEDROOM - NIGHT
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. He buries his head in her hair which tumbles loose in the fur. She models herself in the mirror. John offers it to her though she seems almost scared to touch it. but turns and lets him slip it on. JOHN Good. JOHN It's fur. JOHN Why? OPHELIA It's not right. JOHN Try it on. it's bad. . I've always wondered what it would feel like to wear one. John. no.OPHELIA Oh my god. OPHELIA Oh. behind her. wrapped in its luxuriousness. god. She smiles guiltily. He feels the fur against his naked arms wrapped around her. John. JOHN What? OPHELIA It feels wonderful. is excited by the animal skins. I can't believe this. He kisses her neck and ear. There's woman who comes to the clinic who has a coat like this. OPHELIA Oh. JOHN Do you like it? OPHELIA It's beautiful. soft fur. Her fingers disappear beneath the thick.
You said it felt good. Licking it. almost bestial growl. OPHELIA It feels incredible. in the shadows of the room. she looks very much like an animal standing on its hand legs. her shoulder and up along her neck. He begins to bite at her hair. pulling at it with his lips and as he sucks it we hear her earrings tinking against his teeth. She smiles. we hear his teeth biting through the cartilage. almost intoxicated by the feel. JOHN Listen to what your body wants. please. Suddenly.ow! He holds her tighter. down her wallet. closing her eyes. OPHELIA John -. his tightly pursed lips. exposing her naked body beneath the black coat. her expression changes. we need to talk. OPHELIA John. She moans. He presses her against the wall. no one needs to talk. The more he touches her. that hurts! She screams and as she tears free. OPHELIA John. her warm flesh under the animal skin. He begins to nibble at her ear lobe. She moans again. JOHN No. his hands moving through the fur. lost in the coat. where he begins to pull the coat and her skirt up along the back of her thighs. She laughs. He unbuttons her blouse. Against the wall. the more excited they become. And he answers in a low. His hand strokes across the fur finding her breast. Blood begins to seep from . OPHELIA That sounds like Rex.
John is unable to say anything. stunned. OPHELIA What is wrong with you?! John. It'll get John. She begins to clean the blood from his face with a dish towel. looks straight at Granny. She covers her bleeding ear. . He is seen pressed against the panes of the window. Shaking her head.John stumbles back. After a moment. Ophelia is gone. still has something in his mouth. here. like an animal pressed against the bars of its cage. GRANNY Tsk. Granny opens the door to John's room. John cannot move. didn't we? He stands numbly. unable to understand what he has become. He spits it into his hand. John turns to the window and watches Ophelia burst into the alley. running from the building. Granny gently turns John from the window. GRANNY John. suddenly. blood and saliva running between his fingers. his fist still clenched. He closes his hand into a fist. better. holding it tightly. she rushes out the door. his mouth and chin covered with blood. GRANNY It's hard at first. Had a little mess. OPHELIA Jesus! Ophelia throws off the coat. JOHN I love you. he tastes the piece of her earlobe and earring in his mouth. JOHN I bit her.
JOHN'S BEDROOM . She puts the towel to his nose. I know. for a long time. "It's natural. GRANNY Sleep makes everything feel better. but Rex just kept saying. over and over.NIGHT It is much later that night. GRANNY Here. He lays down. GRANNY Okay. One day you'll understand. dabbing the towel to her tongue and then wiping his face. tossing in his sleep. It's okay. his face beaded with sweat. She sees the blood leaking from his fist and tries to open it. blow. She continues to clean him." That's when I wondered. He clutches his fist to his chest and rolls away from her. . remembering. She leads him to the bed. GRANNY Do you know that cats eat their young? Rex kept telling me that. She pauses for a moment. John is having a nightmare. He jerks it away from her. Something has to die for something else to keep on living. It's natural. I know. John blows his nose into the towel. GRANNY Now. Gretchen. GRANNY I felt so bad about it. DISSOLVE TO: INT. you just need to get some sleep. It's natural. honey.GRANNY I know. You'll see.
catching the stream of blood.NIGHT John's head whips sideways as if he had been bashed by the bat. and hacks something out onto the porcelain. He grabs his throat to make sure it isn't slit. the hand opens. SHOWERS .NIGHT Clicking on the white light. JOHN'S BATHROOM . The earring is gone. unable to dislodge the object caught in his throat. John goes to the sink and turns on the cold water. He lifts his head and catches his reflection in the mirror. unable to breathe. JOHN'S BEDROOM . staring at the tile floor and the feet of Otto and John. as Otto slits his throat. He begins to cough. it is empty. He tries to wipe it off but he cannot. but to his horror. He calms down. The bottle slips and we see it slowly fall and smash -INT. He gulps at the stream for a long time before coming up for air. . as though he were trying to scream. but couldn't. He gags. He sees everything from the perspective of the man he killed. Slowly. We watch as John holds the bottle. THE PARKING GARAGE . INT. It is an entire ear with the earring. He looks at his hand. his face turning bright red. which is still knotted into a tight fist. The bat smashes down. his mouth gaping. his breathing begins to slow.NIGHT Everything moves very slowly as John rises up to see himself standing with the baseball bat. INT. JOHN'S BEDROOM .NIGHT John is hanging upside down. a spray of blood dotting the sink. He jumps out of bed and runs to -INT.INT. He doubles over. He sees he has begun to sweat tiny beads of blood.NIGHT John bolts upright.
The earring is gone. I need to speak with one Shelley M. Perdue. how can I help you? DETECTIVE DARROW (V. JOHN'S BEDROOM . curling up in the bed. SHELLEY (V. Ophelia answers it. INT. OPHELIA Yes. covered in sweat. JOHN What's happened to me? Oh god.O. SHELLEY (V.) This is Detective Darrow with the Chicago P.He starts to scream. again. SLIMAGE SURGICENTER .O.O.NIGHT John. Ophelia is about to disconnect but stops herself and stays on the line. of course. He starts to cry.O. collapsing into himself. INT.) Ms. One moment. bolts upright from his dream. near the end of the day. detective.D. there is a police detective that would like to speak to you. Put him through. OPHELIA Ms.DAY The phone rings and It is late. I'm sorry to bother you but I'm investigating a missing persons and I need to ask you a few questions. There is blood on his lips. She puts the detective on hold. OPHELIA Go ahead. Perdue. DETECTIVE DARROW (V.) Really? How strange. OPHELIA Slimage Surgicenter. Perdue.) . He looks at his fist and opens it.
) Yes.O. she was. For several years.) I see. detective. DETECTIVE DARROW (V. Evelyn Sedier was a patient of yours? SHELLEY (V. Perdue. OPHELIA No.O. we've been seeing Evelyn for a variety of procedures.O.) She has been listening to our conversation. feeling the presence of Shelley behind the silvered glass.O. I suspect she can tell you what happened to poor Evelyn. Ms. detective. Do you have any idea what might have happened to Ms.O. DETECTIVE DARROW (V.) Can you verify that Ms. Sedier have an appointment scheduled on the afternoon of the 12th? SHELLEY (V.O. . SHELLEY (V.O. DETECTIVE DARROW (V.) Forty six thousand dollars.O.) Yes.O. one last question.O.) She owed the clinic money? SHELLEY (V. I don't know anything.Of course. Sedier? SHELLEY (V.) Can you tell me why? Ophelia fiddles nervously with her bandaged ear. but why don't you ask my secretary? Ophelia looks back at the mirror. DETECTIVE DARROW (V.O. she did.) Did Ms. I believe was the figure. SHELLEY (V.) There had been a problem with Evelyn's payments for the past several appointments.) I'm sure I don't know. DETECTIVE DARROW (V. But the appointment was canceled.
He grabs for her and she swipes wildly. that's a lie! He steps closer and Ophelia pulls the dinner knife from her pocket.The phone line goes dead. the boy. From behind. OPERATING ROOM You're going to . OPHELIA I swear I don't. I get the girl. lifting her into the air. MUNDI Of course you do. Ophelia twists back to find Rex Mundi. Mundi grabs Ophelia. didn't you? You knew the truth the moment you tried it on. his hand still over the phone. Mundi moves around the desk as Ophelia backs away. OPHELIA Get away from me! MUNDI Oh yes. You got Ophelia screams. OPHELIA No. OPHELIA What are you doing here? Rex? MUNDI You know the answer to that question. ducking past him and bolting into the hall while -Shelley appears behind her and grabs her by the throat. I don't. Rex. I love a little vinegar in my greens. Ophelia. You tried the coat on. fighting for the knife which she twists free and -Slashes across Shelley's breast. she's mine. SHELLEY You little bitch! pay for that! INT. SHELLEY Remember. causing clear saline to arc from the lacerated implant.
He smiles. OPHELIA Please! No! No! He holds her down as Shelley holds her in place with a heavy roll of white medical tape. Ophelia. never reveal a woman's age. That we are manifestations of human nature created by your subconscious to anthropomorphize your darkest fears. an incubi as old as hunger itself or that Shelley was born beneath the face of the first mirror? SHELLEY Rex. SHELLEY . He moves in closer.Mundi slams Ophelia down onto the operating table. MUNDI Would you like me to tell you that I am a demon. your guilt and desire. 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. savoring her helplessness. MUNDI The conclusion is really the same. you know the answer. my dear? He is close enough to whisper. MUNDI Perhaps you would prefer a more secular answer. showing her the long hollow needle-tube of the liposuction machine. OPHELIA Why are you doing this? MUNDI If you look deep enough. MUNDI Nature is evil. isn't it.
The machine whirs to life.NIGHT Ophelia crawls down into the putrid lavatory. he stops. and Mundi begins inspecting the meaty part of each thigh. Through the metal slits she sees him. OPHELIA'S BEDROOM .NIGHT Ophelia creeps down the back alley. Rex dear. she moves through the greasy rot of the showers and enters the locker labyrinth. looking for a way into the mission. He seems about to look straight at her when he turns and continues on his way. pretty girl. INT. It'll be over soon. His nostrils flare. Suck her dry. SHELLEY Don't worry.Suck it all out. 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. John. Carrying several empty wine jugs. OPHELIA Oh god.NIGHT She wakes. She finds the basement window that Links broke open. rigid with fear. Blood pounds against her temples as her body sets. MEN'S ROOM ... then hurries as . She smiles.. like a dog catching a scent. I want every last lovely drop. The words seems to conjure a resolve and she suddenly knows what to do. shaking with fear. he walks past the locker where she is hiding. INT. she opens the locker. With painstaking care. The smell of the basement assaults her. she hides inside one of the lockers. Quietly. Suddenly. Kuru turns the corner just as she closes the door. MISSION . She hears someone descending the stairs. It's just another bad dream. Trying to keep herself calm..
OPHELIA .. INT. rushes to the back staircase. expecting another dream. asking me all sorts of questions about Shelley and Ms. I'm so sorry. She takes hold of him. He jerks awake as though electrified by her touch.. OPHELIA John. it's not your fault. look at me. OPHELIA No. INT. JOHN Ophelia. John lays in a tangle of sheets. Ophelia sits softly beside him. Yes. you here.silently as she can to the stairwell. KITCHEN ...NIGHT Ophelia Coldly quiet. OPHELIA John. OPHELIA What's happening here? I brought Why? JOHN Please. JOHN Ophelia? He looks around. She touches his face and the warmth of her hand fills him with emotion. JOHN'S BEDROOM Again wrestling with his dreams. He wraps his arms around her. Sedier. He pulls away from her. don't ask me that. I'm here. OPHELIA It's me. JOHN You shouldn't have come here. The police were at the clinic today. Then they started asking about Rex and the mission. touching him gently. the kitchen appears to be empty. drawing her in tight.
OPHELIA Rex? Good. I won't. Ophelia. you are. She grabs his clothes from the floor and begins dressing him. JOHN You can't. I believe you will be saying goodbye but you won't be leaving here. Don't you get He feels those words.. Come on.. it? I love you. I love you too. trying to heal some part of him. I don't believe that. She told me you were talking to the . I wanted to thank you and to say goodbye. MUNDI I spoke with Shelley. OPHELIA No. a bloody baseball bat cradled in his arms. JOHN Please. when suddenly he sees something over her shoulder that frightens him. as always. OPHELIA I can't. MUNDI Yes. It's too late for me. I was hoping to see you. JOHN . OPHELIA Then come with me. leave this place and just forget about me. will she John? John can almost feel Mundi squeezing his intestines. MUNDI Ophelia. OPHELIA What is it? She turns and finds Mundi standing behind her. Ophelia. a feast for the eyes.I want to help you. Kuru stands at the door. we're getting out of here. He nods.
his eyes cold . He grabs the knife hand. it is hunger that separates the world into the only two distinctions that matter: that of predator and that of prey. still living in denial. I do enjoy a little vinegar with my greens. OPHELIA Stay away from me! MUNDI Oh yes. unable to face what a part of them has always known to be true. hunger for power. MUNDI What is it. I MUNDI Poor Ophelia. OPHELIA John. that gives our lives purpose. Ophelia feels the knife in her pocket. that is eternal and everlasting. There is only one truth that is universal. for love. Ophelia? You look as if you've seen a ghost. Ophelia feels a strange dyslexic blur of dreams and reality. MUNDI It is hunger that drives us. His eyes gleam with the wet-black of coal. MUNDI Hunger. Help her. John. help me! No! MUNDI Yes. OPHELIA I didn't tell them anything! don't know anything.police. He turns to Ophelia. It is hunger that shapes us. and in the end. twisting it behind her. Kuru hands John the bat. Like so many others. for money. He steps towards her with malice in his grin and she rips the knife from her pocket. for beauty.
STAIRWELL . At the end of the hall. I love you. blood oozing down his temple as he quickly regains consciousness. or power. sinking her teeth into his hand. MUNDI Kill them! INT.and dead. MUNDI Such beautiful canines wasted. John? Please. OPHELIA John! John! JOHN Ophelia.. I myself must confess to a certain weakness for vegetarians. fight him. a cleaver in each hand as Ophelia and John turn. staring at her mouth. The magic elixir of love. you shouldn't have come here. Ophelia tears free and Mundi falls while john attackes Kuru. you have to believe me. It's not too late. Kuru now rushes towards them as they . He holds her face as if he might kiss her. forcing him back into the bathroom until -He grabs Ophelia and they bolt from the room. OPHELIA John. MUNDI Of course. His grip tightens on the bat. cracking it against Mundi's head. really? Sadly.NIGHT Otto rises up the stairs. scrambling back up the stairs. or chocolate. 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. Kuru helps Mundi.. Ophelia rips free of his grip and bites down. it is little more than something we simply acquire a taste for. But what is love. like sex.
JOHN Careful. John looks back once. JOHN Ophelia? He edges closer.. several windows away is an open window. Forcing herself to stare at the open window. Together they slide. along the thin stone edge. the cage opens. painfully slow. The bolt begins to splinter. OPHELIA What are we going to do? Caged windows glow with moonlight. the door suddenly quiet. she edges toward it. There is a muffled bump. JOHN You first. Finally. John examines them even as Kuru and Otto continue to bludgeon on the door. It seems that they are trapped. JOHN . Ophelia summons her courage and crawls out onto the stone ledge. The screws turn. running wildly through the first open door -Slamming it and bolting it just as Kuru batters against it. unable to see inside the black hole. as if she fell to the floor. There is a small padlock and latch which is screwed into the window jamb. They are over two stories above the alley. To the left. JOHN I need.flee. she crawls into the dark opening. Ophelia slowly reaches for the sash. JOHN It's the only way. JOHN I'm right behind you. as the door shrieks with every shouldered blow. then climbs out onto the ledge. He takes the dinner knife from her. inch by inch. bending down..
FADE IN: INT. We had a deal. JOHN Ophelia! MUNDI She's here. just behind the bone of the wrist and -John screams. Your hands. he dangles over the alley. holding onto the ledge with one hand. grabbing hold of the window ledge. twisting away but loses his balance -John His arms flail wildly. Legs kicking helplessly. Mundi steps out of the shadows. Mundi smiles. unreal world. shouts. FADE TO BLACK. trying to find some kind of hold as he begins to fall -He dives forward. looking down at John. . our blurry single eye sliding along the greasy green ceramic tile.Ophelia? He is about to climb in when Otto jumps out at him. JOHN Nooo! There is the flash of a sharpened wedge of steel as the cleaver -Buries itself into the wood sill. He nods to Otto and John suddenly sees the horror of what is about to happen. She'll be joining you soon enough. SHOWERS . dragged roughly. We begin to move.NIGHT We are unsure of where we are. plummeting to the alley below where he slams into a pile of over-ripe bags of garbage. MUNDI You came here with only one thing to offer me. That's why I couldn't let you leave. John. Don't worry. Dirty white lines of moldy grout stretch out like lines of longitude of a dark.
NIGHT Ophelia kicks viciously at the door but a padlocked chain is wrapped around and through the handle. He tries to reach up to free his feet but he has no . We are dangling there when we see the bloody stump at the end of one arm as we realize that we are John. INT. REFRIGERATOR . 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. LOCKER ROOM . Screaming. we see a handle screw turn and fall. exposing the inside of the door. INT. making a tiny plink against the floor. As he passes one of the refrigerators.NIGHT Otto grabs his knives and the sharpener.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. her lips already blue. naked. SHOWERS . she beats against the door which gives enough to let a sliver of light in. she finds the nuts to the back of the handle. hanging upside down in the shower room. cold space that feels like a coffin. Ice-cold. MEAT FREEZER . zink. Tearing out the old foam insulation. OTTO What are you doing down here? You see the time? Granny's gonna need help serving. John begins to hear a familiar sound. SHOWERS . John-boy. INT. Again. INT. her skin is pale moon-white. She is inside a dark. INT. zink. I just want a little sip of him while it's still nice and warm.NIGHT Half conscious. KURU You're stew now.NIGHT Ophelia jerks awake. KURU In a minute. She cracks open the plastic shelve-form. we black out.NIGHT Kuru leans over the inverted John.
John-boy. The knife gleams unnaturally bright and long. each time drawing closer and closer. SHOWERS . After dinner's served tonight. OTTO Grab one of them bottles. Otto grabs his hair.NIGHT John sees his pile of clothes nearby. JOHN Ophelia. Rex promised us a little treat. exposing his throat. sashimi.NIGHT Behind the bank of refrigerators is the main fuse box. OTTO Fucking fuses. pulling him back. KURU Otto! Otto! Otto turns just as Ophelia plunges a long boning knife into Otto's hump. limp handle. LOCKER ROOM . Kuru holds the bottle with the bloody funnel under John's head. shoving him . OTTO What? INT.. Otto slips in behind the largest freezer and finds the circuit main has been tripped. INT. OTTO You bitch! He grabs for her but she knees him in the groin.hand.. like death's scythe. KURU She's on ice. INT. Suddenly.NIGHT Kuru finds the chain curled around the base of the refrigerator and the inverted. arcing towards his neck. all the basement lights go out. They seem to be out of reach but he begins to swing toward them. LOCKER ROOM .
INT. against the lockers. afraid. searching for the showers until -She runs straight into Kuru. LOCKERS . INT. perched above her like a jungle cat. He slams her back. almost feeling the darkness come alive around her as -We move up to the top of the locker where Kuru stands barefoot. John searches the pockets until he finds what he needs.NIGHT Kuru sees Otto's twitching body fall to the floor. hears it and bolts -Ophelia Rushing blindly. her fingers using the lockers as the blind use braille. SHOWERS . KURU Oh. SHOWERS .NIGHT Ophelia creeps silently through the maze. . She turns a corner. the dinner knife.NIGHT With the faintest of holds. Kuru follows her scent. INT. Ophelia runs into the dark metal labyrinth of the lockers as Kuru lunges after her. There is a sharp metal bang behind her. she listens. falling with a shower of blood and green glass. Hearing something. John catches the sleeve of his coat. LOCKERS . moving through the black space by touch. cooking him instantly. a true predator stalking its prey.NIGHT Straining to stay conscious. I just been dying for a piece of this ass. She freezes.back against the wall where the knife hits the open fuse box -Electrifying Otto. pinning her The long knife traces down her body like a finger. His knife hisses against the leather of his belt. INT... Crouching. trying to not even breathe. he turns to see John heave the enormous wine jug -Smashing down onto Kuru who crumbles under the explosion.
Her smile is dark and toothless. John. She tries to lift the enormous pot of stew but it is obviously too heavy. where are you? I need help. she wipes her hands on her apron and goes to the stove. INT.. you hear them? It's late. The stew sloshes about precariously and as some spills over the edge. JOHN Where are the keys? Granny smiles innocently. GRANNY Oh?.Ophelia and John collapse into each other's arms. GRANNY Rex? Rex! Dammit. the clattering spoons seem to react. Ophelia. the clatter of spoons can be heard. I need help.. GRANNY I might know -JOHN Where are they! GRANNY Please. Granny whirls around. dressed now. John.NIGHT Granny stands at the edge of the basement stairs.. leads Ophelia up from the stairs. splattering against the floor. KITCHEN . I will kill you. They cross to the metal backdoor but each and every lock has been thrown. through the double doors. JOHN We're getting out and if you try to stop us. calling into the stygian dark. with a towel wrapped around his hand. GRANNY Otto! Kuru! Quit your monkey business and get up here! Can't you hear them? Behind her.. Can't So . John. Fretting.
John fumbles the key ring. John stumbles over to the steel door. Smoke swirls around him. OPHELIA Look out! She jumps on his back. siren-like. pinning her throat against the metal refrigerator with his forearm as he searches the pockets of her apron. quiet. The oven jerks and bangs. OPHELIA John. knocking him into the counter where he slams against the enormous oven. They're hungry. running through his hair. GRANNY You can't leave. With only one hand.late. a sound that blots out even the metal clatter of keys. Falling. John! leaves Rex! No one! No one John finds the keys but when he turns to Ophelia. he looks at the smoke-blurred image of Ophelia. gets hold of her and flips her over onto the oven door which he quickly kicks shut -Rolling her into the hot metal box. let me help you. howling mad. smoke billowing out until her screams die. Granny attacks. blood bubbling out around her leathery lips as -John. He stands over the pot. The stew continues to call. he grabs hold of the oven door which yawns open as they tumble to the floor. Everyone must eat -He rushes at her. . Turning away. sweat stings his eyes as a single sound begins to rise. like blood pounding in his temples. the soft burble of stew. They have to eat. He almost can't hear her as she takes the ring of keys. luring him towards the stove. Granny sinks her few remaining teeth into his shoulder. 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. locking it shut as she yowls in pain. trying to open the door. finger-like wisps of fragrant stew steam curling around him.
OPHELIA John! No! He grabs her by the neck. A fat bubble of stew pops as the distant rhythm of beating bowls grows more and more insistent. His mouth begins to water. Outside. throwing half the stew onto the floor. Please. "No" as John stands at the edge of the stove. Go ahead. he sees Mundi. MUNDI What are you doing? He pitches the pot forward. No.. John. The final lock snaps open and Ophelia throws open the door. he does not see himself. and then you can go. MUNDI I give you my word.. The steaming brown liquid rushes over Mundi and Ophelia's . He sees himself reflected in the metal door of the refrigerator.JOHN Hurry. the alley seems empty.. One last taste. John feels Mundi taking hold of him. gagging her with his other hand. one little finger dip.. MUNDI It's all right. backing her into the kitchen. Rex Mundi is there. JOHN No more deals. OPHELIA Come on! John! When she turns back to the open door. One last taste and I will release the lovely Ophelia and you and she may do as you wish. Ophelia tries to scream. MUNDI Leaving before a meal is bad luck. his stomach growls and. John grabs the entire pot and lifts it. John. when he glimpses the reflection again.
JOHN Take it! He throws the remaining stew at Mundi. followed quickly by a dozen more. covering him from head to toe in thick. I'll be there with you. brown gravy. tongues and fingers lapping at the bottom of the doors. John! JOHN Let her go! MUNDI Remember this. MUNDI If you want to live you will give that to me! JOHN Let her go! The frenzy becomes more and more violent. marked by bestial cries as bodies begin pounding against the door. You are what you eat. John. MUNDI You're making your final mistake. MUNDI Now give it to me. MUNDI Oh no. Remember that. MUNDI What have you done? There is a huge commotion of scraping chairs and tables as hundreds of people scramble to the doors. John shakes his head as outside becomes a feeding frenzy. John holds the pot which is half filled with stew. .feet. Wherever you go. running across the tile. spilling under the double doors. The first few slam against them. He shoves Ophelia towards him. MUNDI Give that to me.
Blood pours out of the bottom of the door. slamming the door shut.com/almost . we see John and Ophelia enter the diner. DINER . I'm starving. John's hand thoroughly wrapped. The fat cook watches as Ophelia reaches into her pocket. bracing against it as the tidal wave of humanity slams Mundi against the metal. rushing down the concrete steps and washing over their feet. It has been several days. slaps the dinner knife onto the counter. It is bent and flecked with blood. The bottle coughs and the thick red sauce gushes onto a hamburger.The double doors burst open with a savage force as -John and Ophelia jump into the alley. Arm in arm.NIGHT The pounding of a single palm against a bottle of ketchup. She -------------------------Hosted by "Almost A Movie" http://www.maddogmovies. Both are bandaged. As the man sinks his teeth into his hamburger. FADE OUT. HUNGRY MAN Mom. a waterfall of red. they turn and leave. an unnatural amount of blood. The pounding against the door becomes -INT. and are carrying their suitcases.
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