CARRIE II Written by Rafael Moreu 13 FEBRUARY 1998 "I wish that I could write you a melody so plain That would save you dear lady from going insane" Bob Dylan, Tombstone Blues BLACK MUSIC UP: Slow, sad, ethereal. Perhaps even eerie. FADE IN: On a sea of red, filling the frame. A crimson ocean without waves or ripples. A thick housepainter's BRUSH dips in, revealing its paint. The BRUSH is extracted, paint dripping like congealing blood. FOLLOW THE BRUSH to reveal... INT. A HOUSE - NIGHT A white wall, where the BRUSH is moved horizontally, leaving a thick continuous stripe, until the paint thins out. A WOMAN'S HAND plunges the BRUSH back into the paint can, then takes up creating the stripe again, painting the wall: until it reaches &pleated drape -- -- and doesn't stop. A window and another drape receive the same treatment before the BRUSH is re-dipped. A PUPPY, a sad-eyed basset hound, sits on the floor watching, a bit perplexed. This is WALTER and even he knows this is weird. The dog looks over to... A FOUR-YEAR-OLD GIRL standing next to him, also watching. This is RACHEL. Dark haired, in a plain dress. Her large eyes are welling on the verge of tears. The BRUSH is dragged across the wall, hits a wooden picture frame, moves across a cheap oil painting of a pastoral, forest scene, and over the other edge of the frame. Another ANGLE takes in the red line, five feet high, parallel to the floor, extending around a modest living room. Painting the line is BARBARA LANG, in her thirties, yet worn, haggard- She hasn't slept in a while. The precision of her work, her concentration, her focus, as the line runs across a wall and into a corner, is more than a little frightening. RACHEL Mommy BARBARA hears nothing, says nothing, just wipes a paint drip. This is a very careful line. RACHEL Momma, come play with me. In my room. But her mother keeps painting across a door. RACHEL Right now, mommy, okay? BARBARA looks at her, or rather through her. And continues her task. RACHEL steps forward, tugs on her mom's RACHEL I got a idea, we could-- -- and gets , , splat, right-in the face with the brush THE KITCHEN A TOY AMBULANCE sits on the floor. RACHEL's tiny hand deliberately presses a button on it. The TOY responds with a wheep whe ep siren, then: AMBULANCE VOICE (CANNED; TINNY) If you need help, dial nine one one. If you need help, dial nine one one. A WALL-MOUNTED PHONE RACHEL's HAND struggles to reach the buttons to dial 9-1-1. BARBARA's still painting the wall in the background. RACHEL (O.S.) Hello? It's my mom. She's doing some... some wrong things. She's doing wrong things, so, and, you should come. EXT. THE STREET - FROM ABOVE - NIGHT A light rain falls on an AMBULANCE sitting next to a POLICE Its dashing red lights CRUISER with its doors flung open. splash over the umbrella carrying NEIGHBORS, in pajamas and robes, watching... TWO E.M.S. WORKERS drag a struggling BARBARA across a lawn, her hands in plastic restraining cuffs. A wet RACHEL stands by a kneeling POLICE OFFICER holding a poncho over her head. POLICEMAN Rachel? Rachel, are you okay? She keeps staring off, watching her mother being stuffed into the ambulance. RACHEL Momma! She starts towards her, but the OFFICER holds her back. POLICEMAN Honey, she just has to go somewhere, to get some rest, so she'll feel better. As the AMBULANCE pulls away, RACHEL catches a glimpse of her mother in the rear windows, watching her. POLICEMAN is your dad around? When's he get home from work? I don't have a dad. The POLICEMAN collects himself. POLICEMAN Okay. Then we're going to take you someplace nice, with a family, a really nice family, till we get all this sorted out. (QUIETLY) No. POLICMIAN WE'LL JUS RACHEL She breaks free, races into. 4. INT. THE HOUSE - NIGHT Where she runs down the entrance hall. Behind her, outside, as the POLICEMAN runs toward the front door, it -- SLAMS by itself, right in his face. FOLLOW RACHEL as she rushes through the living room and down a hall. Another door slams shut behind her. HER ROOM She spins, frightened by the door that closed behind her. To her left... A WINDOW crashes shut, startling her. Then, like a wave moving in a circle around her, another WINDOW bangs down, a DOOR slams shut, another WINDOW. Scared, RACHEL backs into A CLOSET where she finds WALTER huddling and cradles him in her arms. The CLOSET DOOR swings shut, sealing her off from the world. FROM ABOVE In the dark, RACHEL is in a fetal position on the floor, dry eyed, in shock, curled around her puppy. There's the far-off sound of POUNDING on a door. DISSOLVE TO: NT. A DARKENED BEDROOM - DAWN RACHEL, now 17, is curled in bed around WALTER, also now a far more senior dog. She's enmeshed in tangled white Small TATTOOS come into view -- A delicate angel with broken wings on her ankle. A small EGYPTIAN ANKH is etched on her shoulder blade. Wrapped around her upper arm is an elegant THORN BAND encircling a HEART, either protecting or imprisoning it. There's a knock on her bedroom door. WOMAN (O.S.) Rachel. c et up. You're gonna be late again. She rolls over, blinks awake. She's beautiful, with sensual lips framed by raven black hair. RACHEL joy. CUT TO BLACK. A SUPER burns in: M. O N D A Y FADE INTO: A PAN AROUND RACHEL'S ROOM the usual teenage mess, clothes strewn everywhere. A POSTER of Jim Morrison reads: "No One Here Gets Out Alive." RACHEL stands before her dresser mirror, in a ratty bathrobe, putting on a small nose stud. She dons her daily armor -- -- Slipping on multiple earrings. -- Applying Kohl around her eyes. -- Shrugging on a T-shirt with a photo of Sharon Tate captioned "Manson Sucks". -- Disheveling her long black hair. Scooping up WALTER, she kisses him, takes him to an open ground floor window. Sorry, Walt. And gently lowers him outside. EXT. A HOUSE - MORNING It's not the home RACHEL lived in with BARBARA. This one is run down and in the section of town where people have cars in their yards they've abandoned tinkering with. The lawn is overgrown, there's broken glass on the street. INT. KITCHEN - MORNING The crammed eat-in-kitchen of the WALLACE house. EMILYN, 40's, is ironing a waitress uniform on the counter. A groggy BOYD, 40's, enters, he's a trucker and looks like one. He goes straight for the refrigerator. BOYD and his wife EMILYN have taken in RACHEL as a foster kid to augment their income. 6. RACHEL is alone at a formica table, eating cereal. BOYD looks at his ..rife. BOYD (YAWNS) Working tonight? EMILYN Graveyard shift, again. (TO RACHEL) Was the dog in the house last night? He's allowed in the morning. BOYD (head in refrigerator) Daytime, yes; nighttime, no. We've been over this ground. I only brought him in this morning. No juice? EMILYN We're out of a lot of things. (TO RACHEL) I heard dog noises last night. When I was trying to sleep. (LOUDER) Walter was not in the house last night. BOYD (shoots Rachel a look) You watch that voice in this house. While you're here, you'll respect her as your mother, and treat her as such. RACHEL (lowers her eyes, mumbles) Sorry. She picks through her cold cereal in silence. EMILYN Your mom's making progress isn't she, on the new medicacions, the tricyclics? 7. RACHEL Yes, ma'am. (BEAT) May I be excused? Without waiting for a reply, she stands and gathers the bowl. (casually, a routine) And you should take that thing outta your nose. Don't you have enough holes in your head? As she turns away, RACHEL makes a face, but replies. RACHEL Yes, sir. EXT. HOUSE - MORNING RACHEL stands outside, clad in a long dark overcoat, with a black backpack. WALTER sits next to her, behind a fence. A YELLOW SCHOOL BUS pulls up. RACHEL Later, Walt. On WALTER, bummed. WITHIN THE SCHOOL BUS A gaggle of young KIDS in faded denims and pastels. RACHEL moves to the back, sits with LISA PARKER, who could be her younger sister, also dressed Goth, black lace and metal. LISA has a HEART-THORN TATTOO around her arm, like RACHEL's. LISA (SMILES) Well, hullo. RACHEL She speaks. She opens her mouth and sounds come out. The sounds are words. LTA gives her a Cheshire cat grin. LISA What's wrong, fcscer-dad bein' a pain again? 8. RACHEL Why are you so weiz.ly happy? LISA o I look any different? RACHEL Do you look any... (GETTING IT) Oh, my gawd. You did it. LISA Yep. With who? LISA You'd never believe me if I told you. I'm bringing him to lunch. RACHEL C'mon. ' 1 Fess up. LISA All will be revealed in due time. RACHEL pulls out a worn Anne Rice paperback from her ba gives it to LISA. RACHEL You suck. LISA I love you too. Simultaneously, they bite their thumbs, then press them together; a pantomime of blood sisters. LISA / RACHEL Best Blood. / Best Blood. ARNIE, a skinny, pimply stoner, plops into the seat behind them, sticks his head on their seatback, smiles full braces. ARNIE Hi there gruesome twosome, how 'bout a threesome? LISA (ignoring him, to Rachel) Lunch. Meet me in the parking lot. 9. EXT. BERGEN HIGH SCHOOL - MORNING A modern, windowless school, shrouded in mist. It's beautiful in an eerie "Fall of the House of Usher" way. E SCHOOL ENTRANCE - MORNING Hung over the concrete entrance is a large bedsheet BANNER with oversized red lettering: CRUSH CARLIN FRIDAY! The school mascot, a scrappy BULLDOG wearing a CROWN tilted at a rakish angle, is also drawn on the banner. FADE IN -- KNOTS of STUDENTS, like spectral figures. The two major school cliques are... on the front steps. Land of burnouts, step-kids, Metalheat s skateboard junkiei-and other lost souls. A STONER KID kicks his skateboard up and catches it. HIS BUDDY follows suit and misses, suffering the embarrassment of watching his board shoot down the steps whose metal rail separates Freak Hall and.., THE PATIO a courtyard with concrete tables where the school's royalty hold court. The cleancut "Patio People" are the jocks, student government types and others who have no idea what it is to be alone on a Saturday night. At the patio is a pack of muscular jocks in football letter jackets reading "Bulldogs", some sport caps marked "Dawgs: There's JESSE RYAN, handsome, longish hair, a young Eddie Vedor if Eddie ever played football. Next to him is... MARK BING, good looking, with a body like a fist. Behind them, arrayed around a concrete table are the large, doltish BRAD, hearty rich boy CHUCK, and the arrogant ERIC. CHUCKS looks over a plain looking GIRL on the Patio. CHUCK (aside, low) Hey, Mark, the girl over there, how many if I do her? 10. Six. BRAD (MIFFED) Hold it. I did her last week, I only got five. MARK She was having a bad hairday. A group of PATIO GIRLS sit at another table. Among them is MONICA, a stunning brunette, AMY a cute redhead and TRACY, an icy BLONDE who could spend all day checking her makeup. JESSE looks over. TRACY graces him with a smile and turns away. MARK leans in to JESSE. MARK Hey, Jess. Tracy, she wants you, man. Jump her bones. I JESSE Yeah, whatever. CHUCK What's the matter with you, she's got an ass stamped "Made in Heaven JESSE I don't know, you ever have a conversation with her? It's like talking down a well. She only wants me cause I'm on the football team. MARK So what? You want her to want you cause of your dazzling personality? Look, you want someone to talk to, you got us. H, you screw. THE SCHOOL BUS RACHEL and LISA hop off and walk past the Patio. CHUCK watches LISA pass. CHUCK (ASIDE) Woof- Coyote date. JESSE That's harsh, man, keep it down. 11 ERIC What's a coyote date? MARK When you wake up in the morning, and she's sleeping on your arm, and the only way to get up is to wake her. So you gnaw your arm off instead. BRAD snorts a laugh. A goatee'd ENGLISH TEACHER nods to both camps as he passes. ENGLISH TEACHER Hello Montagues, hello Capulets. A BELL goes off and the STUDENTS start filing into school. LISA waves the tips of her fingers to RACHEL, bye-bye. RACHEL looks over, catches a glimpse of JESSE, across the line of demarcation. For a piece of a second it seems as if he's looking back. She drops her head, walks away. INT. ENGLISH CLASS - DAY The ENGLISH TEACHER strolls among the student's desk. RACHEL is in social Siberia, sitting in the back. ENGLISH TEACHER Okay, then how many saw the movie? A show of hands, all the girls, some of the boys. ENGLISH TEACHER Now, how many read the play? AS ASSIGN A few tentative hands, including JESSE. ENGLISH TEACHER I thank you for your honesty, but I am saddened. I'd like to think we're here to study William Shakespeare, not worship at the altar of Leo DiCaprio. Scattered laughs. ENGLISH TEACHER I was going to calk about the language. But since you haven't Z&&d the language, let's talk about the plot. 12. Sighs of relief ENGLISH TEACHER Romeo and Juliet, a tale of two lovers meant for each other, pulled apart by their families, society, and, some might say, by fate. (BEAT) Why is it that we are so moved by love stories that end with separation? The STUDENT' s faces are blank. ENGLISH TEACHER What are some other stories with this theme? (NO RESPONSES) How about, Dr. Zhivago? Casablanca? Still blank. AMY timidly raises her hand. AMY You meair like in Dumb and when the girl's husband showed up? The TEACHER surrenders to the inevitable. ENGLISH TEACHER Okay, well. Perhaps at some level we know that Lauren Holly's husband AIM to show up? What say? Anyone? (BEAT) Rachel? I don't know that I believe in it. ENGLISH TEACHER Believe in what? RACHEL Love. JESSE looks at her, pensive. ENGLISH TEACHER (SYMPATHETIC) Well, then you've got bigger problems than passing this crass. 13. ARNIE (raises his hand) Love is fifteen seconds of squishing noises. Unquote. Johnny Rotten. Scattered laughs. JESSE overhears TRACY as she nods at RACHEL, whispers to AMY... TRACY Who would love her? ENGLISH TEACHER Do you think that all love stories are tragedies? I mean, unless they die at the same time, all lovers are eventually separated by death. JESSE Well, then Romeo and Juliet isn't a tragedy, because the only way they could really be together was in death. ENGLISH TEACHER Very good. (nods at Rachel) A foul cynic, most cliche. (turns to Jesse) A true romantic, how refreshing. Kids scoff at JESSE, but RACHEL eyes JESSE, struck by this side of him. The BELL rings and ARNIE leads the exodus. ARNIE Food! ENGLISH TEACHER Next assignment, Brave New World, the book, not the TV movie. INT, HIGH SCHOOL HALLWAY - DAY A stone-faced LISA folds a NOTE, places it within her hallway locker, jammed to the brim with books; a photo of Fiona Apple and a Nine Inch Nails sticker are plastered on its door. EXT. ICE SCHOOL. THE REAR PARKING LOT - LUNCHTIME STUDENTS pour out the doors, some heading to a row of outside lockers. RACHEL appears, searching for LISA. BACK TO: 14. THE SCHOOL HALLWAY LISA walks as if moving through extremely dense air, hugging the wall as STUDENTS pass without acknowledging her. HACK TO: THE PARKING LOT RACHEL looks around the students, sees a GIRL's HEAD from behind, realizes it isn't LISA. BACK TO: A STAIRWELL LISA ascends several flights, still brushing the wall, exiting onto the... SCHOOL'S ROOF She walks past a TRIO OF STUDENTS smoking near the roof's edge. Without slowing or blinking an eyelash LISA simply.. DROPS OUT OF FRAME. A GIRL turns in the direction of LISA's disappearance. SMOKING GIRL Did you see that? SHOCK CUT TO: WITHIN A PARKED CAR LISA'S FACE smashes into the windshield which cracks in a spider web pattern. Blood fills the web. The sound of a droplet hitting car vinyl, then drops SPLATTER RED on our P.Q.V. EXT. THE SCHOOL PARKING LOT - DAY Standing in the lot is RACHEL. She stares in horror at -- LISA sprawled on the dented hood of a parked car, her head a bloody mass nestled in the shattered windshield. -- and RACHEL opens her mouth, but the SCREAM BOTTLED inside catches in her throat, which causes -- 15. A ROW OF OUTDOOR LOCKERS to "ULQ open, behind her, like dominoes, banging in a wave away from her, startling KIDS near them. INT. SCHOOL - DAY BANG as a door marked "GUIDANCE COUNSELOR" swings open and.. SUE SNELL whips around in her seat, late 30's, but with the eyes of someone who's been to hell and back. A YOUNG GIRL is seated before her for counseling. in her doorway is the SCHOOL PRINCIPAL, chaos in the hall behind him. PRINCIPAL You'd better come with me, a girl just killed herself in the lot. EXT. SCHOOL PARKING LOT - DAY. More chaos. KIDS'rush in to see, others move away. Next to the car with LISA's body is RACHEL. Slowly, tentatively, without knowing what she's doing, RACHEL runs her hand along the car's hood, coating her thumb with blood. RACHEL (TO HERSELF) Best blood. SUE pushes her way through the crowd, sees a stunned RACHEL, puts an arm around her shoulder. SUE Corns. Come with me. Let's back off. One step. Good. Let's back away. PULL BACK to see the widening circles of shock as the students of Bergen High realize what's just occurred. INT. GUIDANCE OFFICE - DAY A SNOW DOME with a forest scene. RACHEL is in a chair, her face an ashen mask, staring at the dome on the desk. SUE offers a glass of water, RACHEL doesn't take it. SUE leans on the desk's edge. SUE (low, intimace) Was she a friend? This is a place where you can calk about it. (MORE) 16. SUE (CONC'D) (NO RESPONSE) Or not. But if you need to, I'm always here. SUE takes RACHEL's hand. RACHEL looks up at her, eyes welling. Bur she doesn't cry. SUE It's okay. Let it out. RACHEL (shakes her head) I never cry. Miss Snell? She was so happy this morning. I don't understand. Why would she-- The INTERCOM BOX squawks: WOMAN (V.0.) Ms. Snell, would you please come to the principal's office? Ms. Snell, please come to the principal's office. - SUE You stay here as long as you need to. RACHEL nods. SUE moves to the door and exits. Leaving RACHEL alone, looking all of five years old. INT. PRINCIPAL'S OFFICE - DAY A medium-sized office, standing room only. The PRINCIPAL addresses SUE and his STAFF as he hands out sheets of paper. PRINCIPAL The board of education has given us these procedures to follow. I want every teacher to read this aloud in their classrooms in ten minutes. Do not digress or become overly emotional or dramatic. His VOICE under... EXT. THE SCHOOL ENTRANCE - DAY A door BANGS open as RACHEL runs out and down the steps. PRINCIPAL (V_O.) Then I'll ask you to identify any students who may have been Lisa Parker's close friends and therefore may require additional counseling. 17. PRINCIPAL'S OFFICE - DAY He scans the faces of his troops. PRINCIPAL No memorials. No assembly. We want a return to the normal life of the school. what do we not want? (PAUSE) Copycats. Everybody got it? Nods all around. PRINCI PAL Then let's go with the drill. A TEACHER reads from the prepared statement to her class. TEACHER One of our students died today. -- A FOREST -- Glimpses of RACHEL running through the trees. -- SUE at a microphone, reading from a sheet of paper: SUE We will observe, at exactly two p.m... -- Her voice emanates from an INTERCOM BOX high on a classroom wall. STUDENTS bow their heads. SUE (V.O.) .a moment of silence. EXT. FOREST - DAY th RACHEL -- running, branches tearing at her clothes. SUE (V.3.) Lisa Parker may be gone, but she will not be forgotten by her friends. INT. CLASSROOM - DAY ERIC surreptitiously passes MARK something under a desk, a large pocket NOTEBOOK. A GIRL picks her nose. A 3CY yawns. Another BOY absently fiddles with his crucifix as he reads a comic book. 18. A GIRL and a BOY whisper to each other, then stifle a laugh. SUE {V.0.) She will not be forgotten, by her fellow students, her teachers, and her school. EXT. THE FOREST - DAY RACHEL sits on rock in a clearing, observing her own moment of silence. She looks at her hand. It's trembling and still covered with LISA's BLOOD. EXT. ARI{HAM STATE MENTAL HOSPITAL - DAY th a sign identifying it as such. A fenced-in complex of spooky Victorian and Queen Anne buildings. EXT. A BUS - DAY CHEL sits, removing her nose stud and earrings as the bus approaches the hospital. INT. HOSPITAL BATHROOM - DAY RACHEL is washing off her makeup, which runs black into the institutional porcelain sink. She changes into a white cotton shirt. INT. STATE HOSPITAL, VISITING AREA - DAY The dilapidated room is a statue garden of catatonics and depressives seated on vinyl furniture before a static-filled T.V. PATIENTS shuffle past like motorized corpses. BARBARA LANG, now in her 40's, sits on a couch with a transformed RACHEL. BARBARA is lucid and beaming at her. BARBARA Yes, baby, I really am feeling so much better. I feel so good on the inside, I must be glowing on the outside. RACHEL You look great, mama. BARBARA Lord, you come all the way out here, we can't keep talking about me. How are you? I wane to hear every little thing I'm missing. 19. RACHEL takes a deep breath, working extra hard to seem happy and well adjusted today. RACHEL Things are really great. Last night I, um, I had this slumber party, with some girlfriends. And this morning, Mrs. Wallace made us all pancakes before school. BARBARA The Wallaces sure are a nice family. RACHEL (her smile falters) Oh, they are. A nice family. BARBARA What's wrong? RACHEL Nothing, I just... I miss those crepes you used to make me. BARBARA Oh, honey, those.crepes weren't nothing but watered down pancakes. (holds out her arms) Come here baby. She gives her daughter a big hug. BARBARA Now you listen to me, the doctors say I'm doing well. You know what that means? That means someday, soon, you and I are gonna be eating crepes for breakfast, lunch and dinner. For the first time, RACHEL's smile is genuine. RACHEL That would be so great. BARBARA (holds her at arm's length) Oh, I look at you, remembering what you were like at five, at ten... (decides not to go down a sad path) All I need is a little Loving Care for these grey hairs and we'll make up for all the time we've lost. ooks at a wall clock) (MORE) 20. BARBARA (cont ' d) Now you get going before you're late for work. RACHEL Yes, mama. INT. HOSPITAL HALLWAY - DAY RACHEL stands before glass doors, reinforced with chicken wire, waiting to be buzzed out. The NURSE on the other side is on the phone. RACHEL turns and sees graffiti reading: klnq of heLL She cocks her head, noting the capitalized letters reveal a hidden message: SLL. A smiling TEENAGE GIRL wears a nightgown with a large wet spot where she's soiled herself, without warnin she lets. out a arcing ; ,e. RACHEL wheels and pounds on the door. RACHEL C'mon, c'mon. Let me out! The door buzzes and she shoves through. EXT. THE KENNEL - DAY A restaurant/bar decorated with the BULLDOG insignia on a football helmet. INT. THE KENNEL - DAY The rear end of a young WOMAN in tight jeans walking away. MARK (V.0.) Backfield in motion. PULL BACK TO -- Pub decor with football paraphernalia everywhere; Bulldog lamps and paw prints painted on the floor. The bar's packed with local BUSINESSMEN. JESSE, MARK and the other BULLDOGS are in a corner booth. A.middle-aged, bearded WAILER with half his face bur -SS-arred approaches. WAITER Boys, what can Z get you? 21. MARK Hey, Al, we'll have three 1�.rge pepperoni pies and two pitchers of beer. WAITER (heading off) , Three large pizzas and cokes all around. B I can't wait to play Carlin, man, I'm onna bash Todd Simpson's face in. CHUCK He scored two touchdowns on you last time, dude. B Yeah, I wish hl would jump off a roof. TRACY, MONICA and AMY are at a table across the Kennel. MARK Yo, Jes$, I think Tracy's following you. He pulls out the black NOTEBOOK. ERIC eyes it, gets very nervous. MARK Now then, according to the scoreboard Jess, you'd have to bag every girl here to catch up. You need the points. I'll give ya ten for Tracy. BRAD Do her, Jess. CHUCK (a low chant) Do her, do her, do her. d the others join in. JESSE All right, all right. ERIC leans over to MARK, urgently whispers, and the two of them move to... 22. ANOTHER BOOTH -- ERIC (nervous, jumpy) When Lisa asked me to lunch, she was actin' like were on the road to marriage or something. I told her to wake up, she was just a pump, a nut. MARK And she freaked and took a header. ERIC And now I freakin.'. The Notre Dame scout's comin' Friday and it this gets out, I mean, sex and suicide? Catholic schools frown on that shit. MARK No one knows 'bout you and her. ERIC Lisa took a picture of me with. her. MARK Shit. Okay. I'll handle it. ERIC How? MARK Eric, relax, its me, Mark. I'll handle it. The WAITER sets a pitcher of soda and cups on the table. AT THE BAR -- MR. STARK, a rotund lawyer in his 40's, takes a pitcher of beer from the BARTENDER. BARTENLER I don't see nuthin'. STARK strolls to the booth with the pitcher in hand. He sits, hiding the pitcher below table level. STARK Hello, boys. ERIC Hi, dad. STARK winks, takes MARK's empty cup and fills it with beer below the table. STARK Great game last week. All of us on the town council are awful proud. He hands MARK the cup under the table and takes JESSE's cup. The PLAYERS smile at each other. STARK So, the Bulldogs bringing home the state championship again this year? MARK Absolutely. We're gonna crush Carlin Friday and make it seven years in a'row. STARK That's what I like to hear. MARK (offers a toast to Jesse) It's good to be king. INT.SCHOOL HALLWAY - DAY A CRASH of metal as the lock is cut off Lisa Parker's locker with a pair of boltcutters held by SHERIFF KELTON, 30"s, a former Bulldog himself. The PRINCIPAL and SUE stand nearby. Opening the locker, KELTON finds LISA's NOTE. As he pulls it out, something falls from the note. SUE What is it? KELTON (READS) Looks like a suicide note. (bending to retrieve) .and a stub. Royal Photos. EXT. ROYAL DRIVE-THRU PHOTCMAT - DAY RACHEL's at her job, an island in the middle of a parking lot. She wears her Walkman, listening to music. Across the street is a 7-11 type store. INT. MINIMART - DAY ARNIE,che sweet-natured stoner, mops the floor. He waves to RACHEL, who gives him a half-hearted wave back. 24. INT. ROYAL PHOTOMAT - DAY Photos glide out of the developing machine. RACHEL pulls the pictures out, stops dead when she sees they're shots of LISA; With RACHEL, laughing. LISA with Rachel's dog. RACHEL's finger tenderly slides along LISA's face. She's shocked to find a picture of -- LISA AND ERIC -- his arm draped around her in the backseat of a car. LISA's holding the camera at arm's length. JESSE's CAR pulls up outside. MARK sits beside him. RACHEL (STARTLED) Oh! She peels off her headphones. JESSE Sorry, didn't scare you, did I? RACHEL turns, slides LISA's PICTURES into an envelope. MARK checks her out, likes what.he sees, nudges JESSE. JESSE You're... Rachel, right? She nods, surprised he knows she's alive, much less knows her name. JESSE I'm Jesse. RACHEL Uh-huh. The true romantic. MARK leans over JESSE, his voice low now, intimate. MARK So, Rachel, there were some pictures Lisa took. They have, what you might call sentimental value. She just stares at him. MARK pulls a twenty from his wallet. MARK Twenty bucks cover it? RACHEL No. 25. MARK What do you mean? I'll go thirty. RACHEL They're not your pictures. MARK Well it's not like she's gonna be picking them up, is it? RACHEL turns away. JESSE glares at MARK. JESSE Hey, cool. it. MARK (tries a different tack) Rachel, why don't I come by when you get off and, you know, take you for a ride? JESSE cocks an ear for her reply, but she doesn't answer. T MARK C'mon, I don't bite... not unless you want me to. RACHEL I don't think so. MARK Why not? RACHEL (TURNS) Cause I'm a dyke. JESSE laughs. MARK doesn't. He knows she's putting him on and bores holes into her. MARK Let's go, Jess. The car pulls away, MARK glances in the REARVIEW MIRROR at RACHEL, framed like a target. MARK (low to himself) Bitch. I'll show you funny. ON RACHEL -- watching them go. Seconds later, a SHERIFF'S CRUISER pulls up. 26. KELTON Hi. He holds out Lisa's PHOTO STUB. RACHEL takes it, sees the name, her eyes widen. EXT. A HILL - NIGHT A star-filled sky hangs above the town's makeout spot, a hill overlooking Bergen. MARK and CHUCK stand outside a car sipping beers. JESSE's CAR, a blue G.T.©, is several yards away, with foggy windows. WITHIN JESSE'S CAR The backseat. JESSE's on top of TRACY. He pulls away from her. She pulls her top down, sits up. JESSE I'm sorry, it's not you. its me. TRACY It's okay. You should save your energy for the game anyway. JESSE opens the door, stands outside, tucking in his shirt. MARK and CHUCK make a crude humping gesture to JESSE. He hesitates, then nods at them. MARK pulls out the SCOREBOARD and enters JESSE's name with TRACY's and the number 10. MARK He shoots, he scores. ON TRACY -- in the front seat, using the rearview to adjust her makeup, pleased with what she sees. She glances at JESSE as he re-enters on the driver's side. TRACY What are you thinking about? JESSE Nobody. TRACY I asked what, not who. JESSE Oh. Nothing. (PAUSE) (MORE) 27. JESSE (CONT'D) Doesn't it bother you that a girl offed herself today? TRACY Why? She wasn't anybody. JESSE What? TRACY I mean, I didn't know her. (SMILES) You know, I still don't have a date to Mark's party Friday. Hint, hint. She leans over and nibbles on JESSE's ear. He pulls away, forces a smile and turns the ignition. INT. RACHEL'S KITCHEN - NIGHT SMASH as a dish drops onto the floor. RACHEL is at the sink, doing dishes. She crouches to retrieve the broken plate. WE PAN along the chorus line of dishes, glasses, and silverware on the counter as the metronome of the sink faucet's DRIP, DRIP, DRIP and the micro-explosions of the soap bubbles in the water intensify to deafening levels. TIGHT ON a SPOON atop the counter which suddenly begins dancing. Pots and pans on a hanging rack start rattling. A RUMBLE as more dishes and utensils vibrate and rattle, as if by a paranormal force. But as RACHEL casually straightens up and looks out the window, it's revealed it's only... EXT. RACHEL' S HOUSE - NIGHT BOYD driving a large SEMI-TRUCK pulling alongside the tiny house. Its engine shuts off.., THE KITCHEN .and the spoons and dishes stop vibrating. RACHEL (singsong, to herself) Daddy's home. She walks to her bedroom and closes the door. 28. EXT. THE HOUSE - NIGHT BOYD goes to shut the open fence and WALTER, the basset hound, scurries past him and into the street. BOYD Come back here, mutt. (WHISTLES LOUDLY) Aw, good riddance. And he closes the gate. INT. RACHEL'S BEDROOM - NIGHT RACHEL lays in bed, staring at the ceiling. BOYD knocks on her door. BOYD (0.S.) Your dog got out. Better get'im. INT. JESSE'S CAR - NIGHT JESSE's driving alone, wiping Tracy's lipstick from his cheek. EXT. THE STREET -NIGHT 's in her overcoat over her longjohns. She looks down the road and blanches as she sees WALTER trotting towards... The road in front of him, a two-lane blacktop with CARS and TRUCKS streaming by at high speed. RACHEL Walter! And she breaks into a run. WALTER looks back, starts running, this is all fun for him. There's the low BLEAT of a TRUCK'S HORN and then... The high, piercing SQUEAL of a wounded animal. In the road, WALTER, laying flat, keening in pain. She runs to him and in one continuous motion SCOOPS him into her arms. RACHEL, in the middle of the two lanes. She turns as.__ HEADLIGHTS approach, fast. 29. She stumbles under the dog's weight, tries flagging down a car. RACHEL Help me! Please! It speeds past, dangerously close. Another set of LIGHTS. RACHEL Stop! Please, stop! But the CAR passes, blaring its horn. She spins,around. is bearing down on her. She holds her ground. RACHEL THE CAR'S WINDSHIELD -- CRACKS, crazes, as if it hit with a sharp, fierce projectile. THE CAR -- lays down rubber as it screeches to a halt. JESSE is at the wheel. Sees through the crazed windshield: RACHEL, splattered with dog's blood. He gets out, stares at his'windshield, shaken-up, groping for some explanation. JESSE Damn. What... damn. RACHEL staggers up to him, holding a shivering mass of fur. RACHEL PLEASE-- JESSE Oh, my god. . JESSE'S CAR - NIGHT JESSE driving. RACHEL sits next to him, hugging the dog. RACHEL It's my fault. He should have been in bed with me. JESSE Everything's gonna be all right. His voice is not entirely convincing. 30. Through the spidered windshield: The car's headlights pierce the night. INT. THE VET'S PET CLINIC - NIGHT A craftsman bungalow which serves as a vet's hospital. The only light is over a FEMALE VET in her bathrobe, tending to WALTER on a shiny examining table. There are runnels on both sides of the table, for the blood. RACHEL and JESSE stand nearby. RACHEL His name's Walter. will he be all right? The VET's intensely focused on inserting an I.V. into the dog. VET You two had best wait outside. JESSE Let's go. Best thing's to let her do her work. JESSE gently guides RACHEL away, who keeps looking back at her dog. THE WAITING ROOM - NIGHT RACHEL and JESSE on a couch in the darkened room. She's rocking herself, caked with blood. He tries to comfort her. JESSE Your dog's gonna be okay. She nods, unconvinced. JESSE God, I almost roadkilled you. Are you sure you're all right? She nods. They hear a muffled, "pmt", from the VET in the examining room. JESSE tries to take RACHEL's mind off it. JESSE That tattoo on your arm, its pretty. Hurt a lot when you got it? RACHEL some. 31. JESSE Yeah? RACHEL But it's... you know, like the song says, you hurt yourself to see if you can still feel. (BEAT) I'm sorry. JESSE For what? RACHEL For making you-- JESSE No problem. Glad to help, you know. RACHEL And I'm sorry about your windshield, about your car. JESSE How bizarre was that,, huh? Anyway, wasn't your fault. RACHEL You can be sorry for things that aren't your fault. The VET enters, drying her hands. RACHEL sits up, bracing herself for the bad news. JESSE puts an arm around her seat back, getting ready to hold her. VET Walter's banged up pretty bad, lost quite a bit of blood, but he's gonna make it. RACHEL Can I see him? VET Come back tomorrow, any time after eight. EXT. HOUSE OF BREAKFAST - NIGHT Your typical I.H.O.P. JESSE's CAR is parked in the lot. 32. INT. BATHROOM, HOUSE OF BREAKFAST - NIGHT RACHEL's at the sink, washing the dog's blood from her arms. A WOMAN walks in, sees her. Looks alarmed. INT. HOUSE OF BREAKFAST - NIGi4T As RACHEL moves through the restaurant, THREE PATRONS stare, stare, stare at the blood stains on her coat. She slides into a booth with JESSE. He's eating eggs. JESSE Better. You don't look like a mass- murderer now. She smiles, sips a coffee. A country song comes on the jukebox. JESSE Wow, this music. Guess we should just count ourselves lucky it ain't Hanson. RACHEL (a weak smile) Lisa hLUd them. JESSE She was a friend of yours? She nods. JESSE really sorry. RACHEL Sometimes I'd see someone, from behind, and I'd know, I'd just know, it was Lisa. And then she'd turn ound, and it wasn't. But sometimes, you know, it was. And now... (PAUSES) Whenever I see someone who looks like her, and she turns around... it won't be... ever. They both go quiet, not knowing what to say. JESSE (looks at his latch) Wow. It's late. "ve got football practice tomorrow. 3 RACHEL I know. I hope I didn't ru;.n JESSE No, if it wasn't for you I wouldn't have had this nutritious medl, RACHEL You're very polite, for a jock. JESSE The compliments, they just keep on comin'. He drops some money on the table. RACHEL I don't have any-- JESSE 's cool, I got it. Can I give you a Et home or something? I can walk JESSE Yeah, right. RACHEL Or hitchhike. JESSE Right. RACHEL (SMILES) or I could wait for my limo, JESSE (SMILES) You could. You could just wait fo that limo. INT. JESSE'S CAR - NIGHT his engine. He pulls up in front of RACHEL's house and kills JESSE WEL RACHEL Thank you. For everything. 34. JESSE I guess I'll see you in school tomorrow? RACHEL Sure. JESSE You'll let me know how Walter's doing? RACHEL Yeah. JESSE Good night. He extends his hand. She takes it. 3i2! The SHOCK of static electricity. Their words are simultaneous. RACHEL Dry weather. JESSE Acrylic sweater. They both laugh. Then go quiet. Then just stare at each other. Then the moment is gone. RACHEL gets out of the car, through the gate, back inside her house. JESSE watches her go. Starts his engine, and his car WIPES THE FRAME TO: EXT. SCHOOL PARKING LOT - DAY RACHEL crossing the lot. Her HEARTBEAT can be heard. She looks up, sees LISA approaching the roof's edge. RACHEL's heart sounds like its bursting from her chest. RACHEL Lisa don't! Somebody stop her! Stop! SLOW MOTION -- LISA falls through the air towards the car, arms outstretched, hair trailing like black flames. SMASH -- she goes through the windshield, but the face is RACHEL'S. SLAM CUT TO: 33. NT. RACHEL'S BEDROOM - NIGHT RACHEL's eyes pop open as her body jerks awake, heart, pounding. She looks around, realizes where she is. FADE TO BLACK: A SUPER: T U E S D Under which is heard: KELTON (V.O.) "For a moment, I thought someone was actually seeing me. But it was all a lie..." INT. GUIDANCE OFFICE - DAY SHERIFF KELTON is reading from a photocopy of Lisa's SUE and RACHEL sit-,in chairs. KELTON "Eric lied when he said I was special. And I guess I was lying to myself when I believed him." He folds the note. SUE Rachel, is there anything in there that strikes a chord for you? Do you know what Lisa was referring to? RACHEL (after a moment) Yesterday morning, she told me she'd, uh, lost her virginity. KELTON looks at SUE, produces the photo of LISA with ERIC. KELTON You recognize this boy? RACHEL Sure. Eric Stark. He's on the team. KELTON gestures to SUE and they step out into... 36. THE HALLWAY with another "Heat Carlin!" banner in the background. KELTON What do you think? SUE Robbie, I had a Freshman crying in the hall last week. I couldn't get anything out of her, but her friend told me a football player slept with her, then dumped her. KELTON Nothing illegal about breaking a girl's heart. SUE Eric's 18. Lisa was 15. That's statutory rape. KELTON That's a stretch. SUE Then let's make it. I don't know what's going on around here, but if that's what it takes to stop it, let's stop it, before someone else's daughter kills herself. KELTON All right. I'll look into it. THE OFFICE SUE sits behind her desk, with RACHEL before her. SUE How are you feeling? RACHEL okay. Fine. Can I go no SUE opens a file on her desk. SUE I was looking at chic last night. it says here your mom's in Arkham. (BEAT) How's your mom doing? 37. RACHEL She's gonna be fine. SUE I spent some time up there. As a patient. RACHEL looks surprised. SUE Does that surprise you? RACHEL I guess. I mean, you seem pretty normal. SUE Thanks. i try. You visit your moat often? SUE Is that scary for you? RACHEL Why? SUE Well, children of schizophrenics sometimes live with the fear of it happening to them. At your age, it's perfectly normal to be afraid of turning out like your parents. RACHEL Normal, huh? Get real, I know I'm ten times more likely to get it than most people. SUE You're right. I'm sorry. So. You've been in a series of foster homes since you were, what, four? RACHEL N SUE How's your foster family? RACHEL They're happy, - 'z-rig as they get their check every month. 38. SUE What about your real father? RACHEL Never met the gentleman. My mom won't even tell me his name. RACHEL stares at a ceramic MUG of coffee, very close o the edge of the desk. SUE Rachel, in a way, you've lost your mother. And now you've lost a friend. Losing someone can be a very lonely, painful place to be. RACHEL (QUIETLY) You're right, I.lost my mom, I lost my, friend, the people who cared about me. But you only get paid to care. SUE I really do care. How can I show you that I do? RACHEL is silent, staring at the MUG. SUE Rachel? But RACHEL's shut off, pushing down a storm of emotions. SUE You know, this room is a place where if you have feelings, you can talk about them. You can let them out. RACHEL shifts. SUE sees RACHEL's forearm near the coffee MUG. And, as if by proximity alone, it EDGES off the end of the desk -- And FALLS -- RACHEL catches it in one smooth motion just before it hits. RACHEL sorry. I must've knocked it. SUE, the color draining from her face. SUE I didn't... see you knock it. 39. The DOOR swings open and the PRINCIPAL walks in, lays a computer printout on her desk. PRINCIPAL Sue, could you update the absentee lists, see who we have to call? SUE (DAZED) ure... sure. She turns, and RACHEL is gone. NT. SCHOOL HALLWAY - DAY ERIC is at his locker, wearing his BULLDOG letter jacket. He closes his locker to find RACHEL approaching him, intimidated, but determined. She looks him in the eyes. RACHEL (LOW) know. I know what you did. A chill goes through him. Not saying a word, he turns, walks through the crowd, looks back. She's still rooted, staring him down. EXT. FREAK HALL - LUNCH ARNIE plays hackey-sack behind RACHEL, who sits on the steps. She looks up, sees a BULLDOG letter jacket standing over her. It's JESSE. JESSE Hi. How's Walter? RACHEL (COLD) Good. I'm picking him up today. Why aren't you hanging out with your friends over there? JESSE (TAKEN ABACK) What's up? What's wrong? She sees the hurt look in his eyes and softens. RACHEL What do you wane from me? 40. JESSE I just wanted to, you know, see how you're doing. Over his shoulder she can see the stir his presence aC Freak Hall is causing among... THE PATIO GIRLS MONICA taps TRACY on the shoulder, who's checking her makeup in a compact mirror. MONICA Look at Jesse, talking to a burnout. TRACY turns, slips on a stylish pair of DKNY glasses. TRACY She's not very good in daylight is she? wonder where she keeps her coffin. BACK ON: JESSE So you'll meet me tonight, at the PIZZA PLACE-- RACHEL --yeah. Okay. JESSE (smiles, as he backs away) Okay. See you. Tonight. ARNIE sees the Patio Girls glancing at RACHEL. She sits an ARNIE nudges her. ARNIE What'd he want? RACHEL He asked me out. ARNIE What'd you say? RACHEL I said, "Okay, its your funeral." ARNIE Pardon me, but is hanging out with jockboy such a hot idea? I mean, (MORE) 41. ARNIE (CONT'D) I heard he's dating Tracy Campbell, who is giving you the look of a thousand deaths right now. RACHEL casually turns to take in TRACY, then turns away. Her heart sinks. RACHEL She's beautiful. ARNIE Duh. INT. FOOTBALL LOCKER ROOM - DAY CLOSE ON a TV SET showing game highlights of last year's Bulldog game against the Carlin Cougars. WALSH (O.S.) All right, as you can see from last year's tape, the Carlin Cougars are a tough, physical team. So Friday, it's gonna be kill or be killed. COACH WALSH, a charmless John Wayne, stands near the TV. The BULLDOGS sit on benches before him. On the VIDEO -.- MARK misses an easy block. WALSH points. WALSH Here, we can see mark Sing kissing an opposing player good-bye. There are hoots of derision from the other PLAYERS. MARK nods. ERIC leans into MARK, speaks low. ERIC You didn't get the picture? MARK Bitch wouldn't give it to me. Stay frosty, no one else knows anything. It's still at the photomat, I'll get it. WALSH (O.S.) You two ladies back there gossiping? No, sir. WALSH (O.S. ) Excellent. Then you can give me fifty when we hit the field. 42. EXT. FOOTBALL PRACTICE - DAY JESSE and BRAD rest on a bench in their uniforms as MARK an ERIC do push-ups. The COACH stands on a blocking sled with PLAYERS Pounding into it. WALSH C'mon girls, those are love taps! (sees Chuck give a weak block) Potter, show me you're a dog. CHUCK Aww, coach. WALSH You know the drill. The other PLAYERS begin a BARKING CHANT. CHUCK strips off his helmet, jogs to the bench and opens a styrofoam cooler, within it are slabs of raw steak on blood soaked ice.. WALSH Show me you're a dog, Potter. The barking rises as the PLAYERS psyche up CHUCK, who chews off a bite of the raw meat. JESSE whispers to MARK... JESSE I hate this bullshit. MARK Not me. I love it. MARK pops up, grabs a steak, rips off a bite, and runs full tilt at the, blocking tackle, smashing into it with meaning. WALSH You're a piece of work, Bing. MARK takes a bow as he jogs away, chewing. He spots the SHERIFF's CRUISER pulling --p to the practice field. INT. A BUS - DAY RACHEL hugs her dog, who 'Looks a mess; hind legs bandaged, a funny cone around his head. TWO OLD LADIES are staring at RACHEL, unsure if they're more appalled by her appearance or the doge. WALSH c `1.O . ) Show me you're dzgs'. 43. EXT. FOOTBALL PRACTICE- LATER WALSH drill sergeants over MARK and the other PLAYERS as they do drills. The CHEERLEADERS run their practice in the' background. on the sideline, SHERIFF KELTON is talking to ERIC, who's sweating bullets as he fiddles with his helmet. MARK watches ERIC, so intent he bobbles a ball thrown to him. KELTON So, you're saying you never met or talked to Lisa Parker? ERIC No, sir. Never. KELTON produces the photo of LISA and ERIC. N Eric, who's this you're hanging onto, a ghost? ERIC blanches. MARK watches KELTON leading ERIC away with WALSH. KENNEL - DAY A pinball machine as MARK plays, applying some body English to it. A wired ERIC enters, a bundle of violent energy. MARK What happened? ERIC (ANGRY) Kelton, man, with that sheriff's badge he pulled out of a cereal box. Somebody told him I did Lisa. He nails me with a picture of me and her, starts talking statutory rape. MARK Relax, that's bullshit. Your dad's a lawyer, he'll kill that talk dead. ERIC So I'm suspended. And Coach, Coach he up and does this scene where he says, "give me your helmet." 44. MARK What about Carlin? ERIC What about Carlin? Game of the year, football scouts are gonna be there and I'm gonna be sittin' on the bench with my thumb up my... (shoves the machine in anger) You said you were gonna get the pictures. MARK I tried. That Rachel bitch wouldn't give'em to me.. ERIC She's the one who put me and Lisa together. Shit. what are we gonna do, Mark? EXT. HOUSE - NIGHT BRAD and CHUCK are throwing unfurling TOILET PAPER rolls onto the trees in front of someone's middle-class house. BRAD Who's place is this, again? CHUCK Nimrod. It's Carlin's quarterback. MARK and ERIC pull up in Mark's Mustang convertible. MARK (WHISTLES LOUDLY) Hey, dogs! C'mon, we got a mission. BRAD and CHUCK run to MARK's car, jump over and into the back as MARK peels out. 'S BATHROOM - NIGHT A HAND WIPES shower steam off a mirror, revealing a wet RACHEL, a towel wrapped around her. RACHEL jy are going to be late. She hears her doorbell go off. 45. THE FRONT DOOR as RACHEL opens the door. RACHEL What'd you forget your-- There's nobody there. (WEAKLY) --keys? She looks around, closes the door, locks it, wraps her towel tighter. LIVING ROOM As she crosses back to her room. There's a KNOCKING on the kitchen back door. She frowns, goes to the back door, looks through the glass. No one there either. Now she's worried. . ' RACHEL (calls through the door) Boyd? Emilyn? She turns when the DOOR HANDLE on the front door JIGGLES once. She stops dead. Spins as... The BACK DOOR handle starts JIGGLING. She backs into the living room and spins as-- Something starts TAPPING on one of the living room WINDOWS. Like a wave moving around her, a WINDOW on the other side starts TAPPING. RACHEL turns a full circle, scared, surrounded by TAPPING and JIGGLING, which grow increasingly loud r. She puts her palms against her temples, as if struggling to keep something bottled inside: RACHEL Oh, god, oh, god. Not now. Stop Suddenly all goes silent. She jumps as... The PHONE RINGS near her. She scoops up the cordless. Beat. RACHEL Hello? 46. There's a long pause on the other end. MALE VOICE (V.0.) (FILTERED) What's your favorite scary movie? JUMP CUT TO : EXT. RACHEL'S HOUSE - NIGHT MARK on a CELL-PHONE. BRAD starts laughing next to him as MARK covers the receiver, gestures to ERIC and CHUCK, who scurry around Rachel's house. RACHEL (V.O.) Who is this? WITHIN THE HOUSE sees a SHADOW run past a window. MARK (V.O.) who is Wig? RACHEL Knock it off. Is this you, Arnie? MARK (V.0) Ding, ding, ding. Wrgnq, guess again. RACHEL What do you want? MARK (V.0.) (a menacing pause) You. The JIGGLING and the TAPPING starts up again, loud. The BOYS VOICES are heard outside chanting... BULLDOGS Rachel! Rachel! Rachel! MARK (V.o.) Rachel, come out and play now. RACHEL grabs a knife from the kitchen, backs into... HER BEDROOM where a bandaged WALTER is on the bed, looking alarmed. RACHEL keeps backing up, nearing her open closet door. RACHEL I'm calling the police. She hangs up, dials 911, fumbling with the knife. UT TO: INT. PIZZA PARLOR - NIGHT A beer-and-slice emporium. JESSE'S at a payphone, hearing a bus y sianal on RACHEL Is line. He hangs up. INT. RACHEL'S BEDROOM - NIGHT A horror-movie-moment as RACHEL waits for 911 to pick-up. Behind her, a HAND is reaching through the open sash window, pulling it up to gain entrance. RACHEI. (INTO PHONE) I have an emergency. Now, right now! Yes, 3366 Elm Street... She turns, sees the HAND at the window. RACHEL No! The WINDOW SMASHES down on the intruder's HAND. There's a muffled YELL outside and the HAND is extracted. EXT. THE HOUSE - NIGHT Headlights light up MARK's face as BOYD and EMILYN's beat-up STATION WAGON approaches the house. MARK whistles loudly. And takes off, joined by ERIC, clutching his injured hand. • SE - NIGHT RACHEL, still stunned by what just happened. The cordless in her hand speaks: 911 OPERATOR (V.O. ) Hello? Hello, :Ma'am, you still there? RACHEL slowly moves to tier bedroom doorway. BOYD comes in the front door. 48. RACHEL (INTO PHONE) Yes. It's okay. Things are fine. She hangs up as a clueless BOYD takes in her freaked-out appearance. BOYD What's wrong? RACHEL Nothing. She retreats into her bedroom, looks at the Window. The PHONE RINGS in her hand. She answers. MARK (V.0.) Don't go tellin' stories about my Eric. Click and the line goes dead. She hangs up. The PHONE RINGS again. She doesn't answer. THE LIVING ROOM The PHONE RINGS on another extension. EMI, swers. EMILYN Hello... just a second. Rachel? RACHEL curled on her bed with WALTER, calls out: RACHEL I'm not here. INT. PIZZA KING - NIGHT JESSE at the payphone, sipping a Royal Crown Cola. JESSE Okay. Thank you, then. He hangs up. Checks his watch. Waits. FADE TO BLACK: SUPER: WEID NElinA_Y JUMP TO: 49. EXT. SCHOOL ENTRANCE - DAY A SCREAMING DEVIL fills the frame. The bed of a speeding PICK-UP TRUCK is jammed with kneeling TEENAGE BOYS wearing children's Halloween masks. They're screaming bloody murder as they fire RAW EGGS at... The BERGEN STUDENTS gathered at the entrance. The PICK-UP speeds off as STUDENTS recover, straightening up from their ducking positions. MARK and his cohorts go running after the truck. TRACY Carlin creeps! At Freak Hall, ARNIE rises, wipes egg yolk from his hair. ARNIE (SLOWLY) Hormonally-charged mo,,,�r '„ns. Why do the innocent always get hit in a drive-by? RACHEL looks up, sees JESSE approaching. Her eyes flare. JESSE Hey, what happened to you last night? I waited. RACHEL You tell me what happened last night. JESSE What? ON RACHEL and JESSE as she tells him what happened last night. He gets more and more agitated. TRACY is wearing her glasses as she and MONICA watch JESSE from the Patio. TRACY What is wrong with this movie: does he see in her? MONICA Come on Trace, you're caviar, she's cheeze whiz. He'll come around. He's just letting little Jesse do the thinking for big Jesse. BACK TO -- A pissed-off JESSE. 5 JESSE Okay, don't worry, I'll talk to Mark, I'll take care of it RACHEL (FRUSTRATED) No, don't... maybe all this isn't such a good idea. JESSE All what? RACHEL I mean, guys like you are supposed to date girls like Tracy. JESSE I'm picking you up tonight. We're gonna have a nice, mellow date. RACHEL stands, silent, torn. The BELL RINGS, everybody starts filing in.. She moves, he smiles, blocks her way. JESSE I'm not going anywhere till you say yes. RACHEL (looks away, looks back, smiles) All right. Okay. (he doesn't move a muscle) Yes. JESSE lets her pass, with a chivalrous after-you sweep of his hand, then falls in next to her. RACHEL'S arm is grabbed by... S May I speak with you a second? INT. GUIDANCE OFFICE - DAY RACHEL crossing and uncrossing her legs, it's the last place she wants to be. She idly plays with the forest SNOW DOME. SUE doesn't look so comfortable herself. She's holding a stack of index cards. RACHEL What are those, tonight's Top-Ten list? 5 SUE These are just an exercise that will let me know how to help you better. RACHEL You're wasting your time. SUE Just answer true or false to these statements. (reads the top card) "There's a man inside the television set who tells me what to do." RACHEL False. I don't see the point- SUE "Sometimes my thoughts assume the form of a giant insect." RACHEL This ddesn't make any sense. SUE Answer true or false and this won't take all day. Again: "Sometimes my THOUGHTS-- RACHEL False. She sets down the SNOW DOME. SUE "If you want to play the piano well, you have to practice." RACHEL True. SUE "I can see sounds and hear colors." RACHEL False. SUE "Large furry animals crawl on my face every night while I sleep." RACHEL True. 52. SUE looks up, surprised. RACHEL I have a dog. SUE nods, watches RACHEL closely as she takes her time with this one, not reading off a card. SUE Sometimes I can move things with my thoughts. Beat. RACHEL stares at her, a million thoughts racing. Another beat. The only sound is the clock ticking on SUE's desk. RACHEL grabs her backpack and stands. RACHEL FUCK THIS-- SUE Honey, sit down. I just want to hel YOU-- RACHEL --and fuck you. You're not my mother! RACHEL turns to go. SUE jumps up, grabs her arm, and... THE S on the desk EXP DES, splattering water and white flecks all over the desktop. RACHEL looks at it. SUE stares at it, her worse fears coming true. As RACBZL flies out the door. EBT. FOOTBALL PRACTICE - CAY WALSH sees JESSE get tackled, then help up the teammate who tackled him. WALSH What was that? 'hat are you, Miss Manners? Show me you're a dog, Ryan. JESSE looks at the styrofoam cooler on the bench. A few of the nearby PLAYERS begin their barking chant. 53. JESSE Can't, Coach. WALSH Say what? The barking trails off. The other boys are stunned. BRAD Oh, shit. JESSE Well, I'm not a dog today, Coach, I'm a vegetarian. WALSH Since when? Don't give me that. Show me you're a dog, Ryan. JESSE Sorry, Coach. No can do. � WALSH Your attitude sucks. Hit the showers. Get outta my sight. JESSE doffs his helmet, jogs to the bench. He douses his head with water, sits there, looking angry. INT. LOCKER ROOM - PLAYERS goof around, snap towels at each other. Clanking steel and grunts from the boys at the weight machines. LOCKER ROOM SHOWERS The mist in a shower, through which are glimpses of a lean male figure with rippling stomach muscles. It's JESSE. MARK and BRAD enter the showers. BRAD (TO JESSE) Yo, lover boy, whatsa matter? Didn't ya nut that tattoo chick yet? MARK Brad, how many points he gonna get for straightening a dyke? BRAD Twenty, no, thirty. They fingertip high-five each other. 54. BRAD Jess, you score the skank yet? JESSE just glares at him, walks away. MARK What's with him? BRAD Must be that time of the month. THE LOCKER ROOM JESSE finishes dressing between the lockers. MARK, wearing a towel, approaches him. MARK Jess, what's the matter? JESSE You. What's with the stunt you pulled last night? MARK What? Papering McCabe's house? I asked you if you-- JESSE What you did at Rachel's. MARK what? We were just sendin' her a message. JESSE slams his locker closed. JESSE Tell me, I'll pass it on. MARK Look, man. She's getting Eric in all kinds a shit. I mean, if he gets charged with rape, there goes any CHANCE OF-- JESSE Screw Eric, he's a big boy. He made his own decisions, he's gotta live with 'em. And stay away from Rachel, or deal with me. 55. MARK What are you getting bent for? She's just a burnout, a slut-- BANG as JESSE shoves MARK against a locker. MARK shoves him back. The rest of the PLAYERS in the background go quiet. JESSE (low, intense) Don't call her a skank, don't call her a slut. MARK What's wrong with you? JESSE We screw with girls, use them, because it makes us feel like big men-- MARK Get to the bad part. ' - JESSE I'm tired. I'm tired of all of it. MARK What are you talking about? We're friends, we're all friends. JESSE No. We just grew up together. And he walks away. On MARK. Pissed. He sees JESSE left his letter jacket behind, hanging on the locker. INT. ARKHAM STATE MENTAL HOSPITAL - DAY CLOSE ON GRAFFITI reading: KIng of heLL RACHEL is looking at it, while she waits to be buzzed in. The capped letters read: KILL. THE VISITING AREA where RACHEL sits with BARBARA, holding her hand. There are occasional MOANS and SHOUTS from other PATIENTS. B Baby? Rachel? What's wrong? 56. RACHEL Mama, what was it like? WhEn you started to... when things went bad. What did it feel like, what did you see? B h, honey, why do you want to-- RACHEL Did you see things move by themselves? Please, mama. I have to know. BARBARA (thinks, then) Well, first, I thought I saw the devil in your eyes. Then I started to see people's faces looking... deformed, like they'd had plastic surgery, or the bones were moving under their skin. (LAUGHS) For a while, I thought I had this bi snake wrapped around my neck, and I couldn't'talk, or it would try to go down my mouth. sits, thinking. BARBARA looks at her in confusion for a long beat. BARBARA There is something different about you. Baby, are you all right? Yeah. Yes. Everything's fine. Everything's gonna be all right. HOSPITAL HALLWAY A BUZZ and as RACHEL leaves, she smiles at. sitting on the couch. BARBARA shifts slightly, looks at a CHROME CHAIR across from her. HER DISTORTED REFLECTION A LARGE SNAKE is coiled around her neck. She closes her eyes. opens them. And the SNAKE is gone. 57. There's the high, mechanical wssshh sound of film sliding through a gate on the-- CUT TO: INT. PUBLIC LIBRARY - DAY A MICROFILM MACHINE as IMAGES STREAM past its screen.' Black and white, abstract, poignant, fleeting, with newspaper text, scratches and magnified pieces of dust. SUE (V.O.) July. June. May. HER FACE is illuminated from below by the view screen. And now: She stops on a NEWSPAPER front page: CHAMBERLAIN RECORDER. May,-1976. With a PHOTO of C ' RIK W iITE at age seventeen. The headline identifies her as the girl thought responsible for the arson at Chamberlain High School which killed 73 people. The text below the photo states that ga1nh White is the ,father of Carrie White. ON SUE -- staring. Totally absorbed. A HAND grabs her forearm. SUE jerks. Looks up. LIBRARY MATRON The library is closing. EXT. HALL OF RECORDS - DAY SUE SNELL walks up the steps of a nondescript municipal building. INT. HALL OF RECORDS - DAY SUE SNELL at the files. She pulls up: An aging photocopy, white :,n black o 59. Rachel Ann Lang's BI CERTIFICATE. She scans the certificate finds: MOTHER: Barbara Elizabeth Lang. FATHER: WN S (under her breath) UNKNO EXT. ARKHAII STATE MENTAL HOSPITAL - DAY SUE'S red VOLVO sits before the entrance to the hospital. SUE looks at HER EYES in the rearview mirror, takes a deep breathe to summon her courage. SUE (WHISPERS) You can do this. She gets out of her car, holding a box of chocolates. INT. HOSPITAL CORRIDOR - DAY SUE strides up to the reinforced door. The sudden BUZZ o the lock seems to cut through her. She hesitates, then pushes in to... THE VISITING AREA .and approaches the NURSES STATION. SUE I'm here to see Barbara Lang. NURSE Stay here, I'll get her. SUE looks around. This place holds a lot of bad memories. DOCTOR NELSON, SO's, an overworked-underpaid psychiatrist approaches with a smiling MALE PATIENT. DOCTOR Suzy? Suzy Snell? SUE Hello, Doctor Nelson. 59. DOCTOR Suzy Snell, one of my rare success stories. What brings you back? SUE I'm visiting the mother of one of my students. DOCTOR I heard about the good work you're doing at the high school. The PATIENT turns and softly starts thudding his forehead against the wall. The DOCTOR casually pulls him away before he can harm himself. R Excuse me, Sue. (towing the Patient) Come see me after. I'd like to hear how you're doing. INT. THE VISITING'AREA - DAY SUE sits before BARBARA, who's picking her way though the chocolates. The MOANS of PATIENTS seem to rattle S BARBARA Thank you for the chocolates. Thoughtful of you. S AT) Mrs. Lang, why didn't you ever tell Rachel who her father was? BARBAR. Wasn't important. Why was it important for her not to know? BARBARA Why would she need to? Hrs. Lang, I need to know who he was. BARBARA sorry, that's private. 60. SUE Mrs. Lang, it's important that I know his name. BARBARA I really don't see how that's any of your business. SUE I promise you, I'll keep the information in the strictest confidence. BARBARA just looks at her, chewing. SUE I'm just trying to help Rachel. She seems very troubled and I'm worried about her. BARBARA (LAUGHS) You're worried? Very worried SUE I am. Yes. BARBARA You don't have children, do you, miss? SUE No. No I don't. BARBARA laughs. almost hysterically. SUE's thrown. BARBARA regains herself, then, with tremendous conviction... BARBARA Then you don't kzgx. You will never ever know, how terrifying children can be. SUE, frustrated, it's like punching water with this wo SUE Rachel needs my help. She... (DESPERATELY GROPING) She has a... a disease, a genetic disorder I think her father passed on to her. I need to know so I can help her. Who was her father, Mrs. Lang? es SUE, then goes quiet, lost in her memories. 61. BARBARA (SMILES) I did tell Rachel how I met him. He said it was love at first sight. I was his waitress. I insisted he try the cherry pie, 'cause I'd baked it myself. He said, with every bite of that pie, he could see our future together. By the time he got to the crust, he could see what I would look like, all old and saggy... and he still loved me. (her smile fades, then) He left me after Rachel was born. I never told her because, people around here aren't too fond of Carrie White, for what she did. I didn't want her having to grow up with that. His name was Ralph. Ralph White. SUEgoes cold. SUE So they are half-sisters. EXT. MINIATURE GOLF COURSE - NIGHT A castle, a windmill, and yards of worn astroturf. One of those places you go for fun if you're young and the city's too far away. MONTAGE -- of RACHEL and JESSE on their date, playing, laughing. -- JESSE takes a swing, muffs a shot, tosses his club. -- A tricky par-four hole, featuring a dogleg and a slope to the cup. RACHEL hits the ball. And it rolls a hole-in-one. -- She leaps in the air with joy. Behind her, JESSE feigns dropping dead. EXT. MONARCH MOTORS - NIGHT A sign reads: MONARCH MOTORS, below it are a row of USED CARS for sale, hoods open, like circus animals begging for peanuts. JESSE (V.O.) That's my dad's dealership. Y all that will be mine. 62. EXT. WITHIN JESSE'S CAR - NIGHT JESSE driving. RACHEL has her hand on the big HURST stickshift between the two bucket seats. He accelerates and RACHEL expertly shifts the gear. JESSE You are good. I'm impressed. RACHEL My foster-dad taught me on his semi truck. Where we going? EXT. THE HILL - NIGHT The twinkling lights of Bergen below. Stars above. RACH and JESSE lay on the hood of his car, leaning against the windshield. JESSE Before he sold cars, my dad wanted to write this book: One Hundred Senators Pick Their Favorite Restaurants.' So, he wrote, to all of them. RACHEL All of them? JESSE Dear Senator So-and-so, I am writing a book. RACHEL Anybody answer? JESSE Yes. No. Sort of. She laughs. JESSE He got two letters back. one was a form letter which said, 'Thank you for your support.' RACHEL And the other? JESSE The other was from Hubert Humphrey. RACHEL Who? 63. JESSE He was the vice-President once. He wrote back a three page letter, raving about a place called Wally's Burger Hut. My dad was knocked-out. RACHEL So your dad wrote a book, color me impressed. JESSE He never wrote it. Or he was going to, and then my sister was born, and then I was born. And there was this car dealership, and it was security. So your dad wanted to be a writer. How'd his kid end up being this sweaty armpit jock? JESSE (BEAT) Sometimes when they throw me the ball, it feels like time just slows down. And I know where to be and how to get there. When I have that feeling I catch it. Always. Every time. RACHEL And you like that. JESSE Yeah, I love it. Except. My dad. He's got my life all mapped out. He wants me to take over the business. RACHEL What's wrong with that? Sounds like a nice life. JESSE Selling used cars is not what I want. And, unless I nail that football scholarship,' that's what I'll get. (EXHALES) Wow. I can't believe I'm telling you all this. I've never said any of this out loud to anyone before. (takes a long look at her) Must be great not having to be like anyone else. 64. RACHEL It's not so great. Sometimes I wish I could just be one of the shiny, happy people. Does that surprise you? JESSE Everything about you surprises me. There's the soft pops of rain hitting the car as it begins to drizzle, then it comes down hard. WITHIN THE CAR RACHEL and JESSE are in front, facing each other, leaning against the doors as rain streams against the windows. RACHEL (SITS FORWARD) I used to know this guy, could suck a strand of spaghetti through his mouth and out his nose. He called it Brain Flossing. JESSE smiles. RACHEL He had a talent. You. You got football. It'll get you outta this place. You can make your own path after that. Write your own book. JESSE Yeah? Want to come with me? She smiles. He leans forward. And she pulls away-, afraid, then decides to let him. They kiss. Then she pulls away. JESSE What? HEL This... She indicates the gear shift. HEL is poking me right in the ribs. JE55E's eyes flicker to the back seat. RACHEL Um, I don't know how to say this. 65. JESSE Yeah? RACHEL But I've never... JESSE Oh. RACHEL And, I'd want it to be special. Like you ring the doorbell, with flowers in your hand. JESSE Right. So... what's your favorite flower? RACHEL (SMILES) Daisies. EXT. RACHEL'S HOUSE - NIGHT in his car. The street's wet, but it's stopped raining. RACHEL gives him a quick kiss goodnight. RACHEL SEE YOU-- JESSE --later. She pulls away, exits, closes the door for the-- CUT TO: INT. RACHEL'S BEDROOM - NIGHT RASE sleeps fitfully, tangled in her sheets. DISSOLVE TO: EXT. THE WOODS - NIGHT A massive GOTHIC BED sits incongruously in a clearing. RACHEL AND JESSE are making love. She's on top, her hands on his chest. Their glistening bodies catch the light of a RING OF FLAMES bursting around the bed. 66. RACHEL'S HANDS suddenly sink into the flesh of JESSE's chest. She SCREAMS as she tries to extract them,. but strips of his flesh stick to her like flypaper. RACHEL twists violently as her torso melds into his. Their bodies fuse, a grotesque apparition with four legs and two heads. Her mouth presses into his as their faces merge. The ring of fire leaps inward, consuming the bed. FADE TO WHITE: SUPER IN BLACK: T H U R S D A Y FADE IN: EXT. FREAK HALL - MORNING RACHEL sits, lost in thought. JESSE nears. She stands up. JESSE So, you're coming to the game, right? RACHEL I don't really get football. JESSE C'mon. I need you, for good luck. RACHEL All right. I'll be there. JESSE Good. I have practice today, but I can pick you up later, seven thirty? RACHEL Sure, go practice. Go be great. Live the life you want. JESSE What kind of life do you want? 67. RACHEL (PLAYFUL) I don't know. I have a hard time picturing it. JESSE Well if you can't, I'll do it for you. RACHEL What do you mean? JESSE I will predict your future. RACHEL Uh-huh. Can I get a hint? JESSE 'm in it. ON THE PATIO -- are TRACY, MARK and MONICA, watching the. TRACY If he's gonna do it, you know, be seen talking in public with someone else, he should show some respect. (a slow boil) He should show me the respect, at least, to be seen with someone pretty. Someone cool. Someone who counts. Amy or you, you know, ate. Instead, it's Its. And I feel... MONICA Disrespected? TRACY That's right. I wish there was something I could do to make him come to his senses. On MARK's face, a slow, insidious grin that seems to spread into eternity appears. TRACY What? MARK Let's nail the bitch. Plan a way to screw her like she's screwing us. .TRACY, a wicked smile as she nods. 68. INT. CLASSROOM - DAY RACHEL watches SUE at the door, speaking to her TEACHER. SUE points to RACHEL, who looks less than thrilled. EXT. PARKING LOT - DAY A dark smudge is spread on the empty parking space where LISA died. No one parks there anymore. SUE is escorting RACHEL to her VOLVO. RACHEL (V.0.) Where are you taking me? SUE (V.0.) There's something you have to see. EXT. THE WOODS - DAY A DREAM-LIKE GLIDE past SUE's VOLVO, parked on the roadside, and through the trees. SUE (V.0.) This used to be the school for the whole district. Chamberlain High. It was closed down in 1976. FAST DISSOLVE TO: EXT. THE OLD GYM - DAY A burned-out hulk, shrouded in mist. SUE (V.0.) There was a fire here that year. The night of the prom. Seventy-three people died. A few of us survived. INT. THE DESTROYED GYM - DAY Dark; full of exposed wires, metal rods and pipes, countless empty beer cans. Two mattresses are laid out amid the debris. SUE stands on a pile of rubble, next to RACHEL. There's a haunted look on SUE's face. FLASH TO: 69. GYM - PROM NIGHT, 1976 (STOCK) STROBING IMAGES of CARRIE WHITE, drenched in pig's blood. Sounds of horrible SCREAMING. Flashes of.KIDS stampeding. Burning. Dying. A fire rages behind CARRIE as she steps off a platform, turns and looks at us with the face of an avenging angel. BACK TO. THE DESTROYED GYM, present day, as SUE flinches. SUE I haven't really been here in over twenty years. But it feels like I've been back here every day since. RACHEL Happy homecoming. Can we go? This place is spooky. Gives me the creeps. SUE Do you know what happened here? RACHEL You just said. A fire. SUE What caused it? RACHEL They think a boiler blew up, okay? Am I gonna be graded on this? SUE Come on, you've heard of Carrie White. RACHEL (kicks a can) Everybody has. SUE And? RACHEL (SIGHS) Supposedly, she set the fire, as part (MORE) ! 0. RACHEL (CONT'D) of a revenge-suicide thing. Elvis was her date and they escaped in a U.F.O. I know what happened to that snow dome, on my desk. RACHEL (BEAT) It fell. SUE We both saw it. RACHEL looks at her, isn't going to talk about this. SUE I know everything there is to know about Carrie White. She did this. It began with what you did, with the snow dome. Then it got out of control. RACHEL (TURNS) I'm cold. Let's go. SUE It's a genetic recessive trait. The male is the carrier, when he combines with the right female, the trait surfaces in their offspring, usually in women. Like King's Disease, hemophilia. RACHEL What are you saying I have? SUE Its a trait, Rachel, you inherited. Telekinesis. RACHEL With all respect, lady, you're seriously bat-shit. I'm walking, back to the real world. SUE's voice is low, quiet. SUE Your mother told me your father was Ralph White. Carrie's father. It stops RACHEL in her tracks. 71. RACHEL I don't believe you. She never told me, why would she tell you? SUE You need help-- Like what? Like they helped you? SUE Yes. No. RACHEL So then it's Arkham for me? SUE No. I can help you, get it under control. RACHEL You want to know what I'm feeling today? `Happy. Happier than I've ever been. So I don't want or need your help. RACHEL runs off. SUE follows, trips on the rubble, falls. SUE Rachel! INT. FOOTBALL LOCKER ROOM - DAY JESSE stands at his locker, dressing. MARK approaches. MARK Hey. (no response from Jesse) Just wanted to say two things. I'm sorry. Maybe I overreacted. JESSE Don't play with me. MARK I'm not. We've been friends since we could both pee standing up. And I thought we'd be best friends forever. (BEAT) Never thought some girl could come between that. Look, I know I'm scum. I'm lower than scum, I'm smegma, I'm butt lint. 72. JESSE (smiles in spite of himself) Keep going. MARK I'm sorry. JESSE I'm not the one you should be apologizing to. MARK You're right. I'll come up with a way to make it up, to b of you. (smiles, full charm) tryin', brother, I'm tryin'. INT. DISTRICT ATTORNEYS OFFICE - DUSK Light streams in through the slatted blinds. The young D.A. is at his desk. MR. STARK, Eric's attorney father, sits across from him with ERIC. SHERIFF KELTON and COACH WALSH: also sit in chair's. STARK You're not really thinking of pressing charges against my son. D.A. We're doing more than just thinking. WALSH I need the boy for the game. STARK Robbie, we've known each other a long time, since you were a Bulldog. KELTON Save it, Lou. Sue Snell told me there were other girls-- WALSH Those kinds of girls know what they're getting in to. Eric's a good kid, he may be guilty of some youthful TRANSGRESSIONS-- KELTON Youthful transgressions? A girl killed herself. 73 The door opens and the town's MAYOR walks in, grey-haired, distinguished, with an air of authority. D.A. (NODS) Mr. Mayor. MAYOR Sit, everybody, sit, 'm just listening in. He leans against the desk, arms folded.. STARK (BEAT) Okay. Cards on the table. My boy isn't going down alone then. D.A. Go on. STARK He hasn't done anything other boys on the team haven't done. Eric can even get proof of it. Mark Bing, Jesse Ryan, Chuck Potter, Brad Winters. (PAUSES) Now, there will be college scouts at the game Friday. Eric takes a fall, I'll make sure they all do. You want to be responsible for tarnishing all these boys lives? MAYOR Well. I think that about sums it up. He looks at the D.A., as if to give him his cue. D.A. Robbie, I just don't think I have enough evidence to ruin this boy's reputation. KELTON BUT-- D.A. That's it, Robbie. That's all. MAYOR Lou, thank you for coming in. I'll walk you out. 74. They all stand and shakes hands. KELTON sits; seething as he realizes the fix was in before ever entered this room. he He looks across at ERIC, sitting, a smug look on his face. EXT. SCHOOL PARKING LOT - DAY MARK intercepts JESSE as he nears his car. MARK Hey, man, I got it. This girl, this Rachel, is special to you, huh? JESSE Yeah. MARK extracts a KEY RING from his jacket, pulls a KEY off. MARK The cabin. My folks aren't there. Get away from all of us idiots. Go have a romantic time. JESSE looks at him. MARK tosses the key, JESSE catches it. MARK smiles. MARK And bring her to my party. I'll show you we can be one big, happy family. EXT. STREET/TRACY'S BMW - DAY TRACY driving with MONICA as they follow a walking RACHEL. RACHEL crosses the street. MONICA Finally, she's going into the mall. TRACY (an evil smile) Perfect. We have the homefield advantage. INT. SHOPPING MALL, DEPARTMENT STORE - DAY The cosmetics department of an upscale store, mirrors on every counter. A SALESwoMAN sprays perfume samples on passing shoppers. She pulls up short as she encounters... RACHEL wandering by, out-of-place in her street urchin wear. The PERFUME WOMAN watches RACHEL pass. 75. Stopping at a counter, RACHEL takes in the vast array of makeup, the models on the displays. She sees a YOUNG COUPLE go by, very J. Crew, very much in love. She turns to her own visage reflected in several mirrors on the counter. RACHEL (under her breath) You're normal. At the end of the counter, the PERFUME WOMAN approaches a SALESWOMAN helping MONICA. PERFUME Karen, watch the girl in black, make sure she doesn't pocket anything. MONICA turns around to see... RACHEL -- staring at a row of-lipsticks. She's startled BY- SALESWOMAN Can I help you? RACHEL Uh, just looking. The woman gives her a smile of devastating insincerity, crosses her arms and just stands there. RACHEL gets her drift. MONICA walks up behind RA MONICA Oh, hi. Karen, this is a friend of mine from school. The SALESWOMAN nods, moves away. RACHEL Thought she was gonna frisk me. MONICA She does Step Class with my mom. (SMILES) You should see the scars from her liposuction. RACHEL edges way, checking out the lipsticks, but MONICA trails her. 76. MONICA What are you looking for? RACHEL Nothing. Just lookin'. MONICA Is it perhaps, something to wear on a date? Perhaps with a certain jock- hunk we all know? RACHEL (smiles, nervous, nailed) No. MONICA You know, Tracy isn't universally loved. RACHEL There's a shock. MONICA Exhibit A. I think she's a Melrose Place superbitch. RACHEL cracks a hint of a smile. MONICA You have great lips. (BEAT) No, really. Look, this shade would look very kissable on you. Soft. MONICA goes to apply the lipstick on her. RACHEL pulls away. MONICA Trust me. See, Tracy tried to steal Brad from me. Now hold still. And RACHEL does. MONICA So, he invite you to the game? Just nod. RACHEL nods. MONICA Well, there's a big party after. I hope you can go. I know it would mean a lot to Jesse if we all got along. 77. RACHEL Uh-huh. MONICA Good. See? Checking in a mirror, RACHEL sees she's right. MONICA Here, these two would also rock on you. The SALESWOMAN reappears. SALESWOMAN Can I ring those up? RACHEL Um, sure. How much are these? SALESWOMAN Twenty-two fifty. Each. RACHEL sets the lipsticks down. MONICA smiles at the SALESWOMAN. MONICA Maybe next time. Bye. She pulls RACHEL away. As they walk the SALESWOMAN keeps looking at RACHEL with distaste. MONICA (a conspiratorial smile) Here, I kleptoed it for you. She slips RACHEL the lipstick. INT. RACHEL'S BEDROOM - NIGHT RACHEL before the mirror, applying the lipstick. A P.J. HARVEY song plays under, slow, insistent, seductive: P.J. HARVEY She's burst/ dropped off! picked the fruit! realize! I'm naked / I'm naked too./ So cover rrry body/ dress it fine/ hide my linen and lace. She pulls on a silver, thrift-shop SLIP DRESS, moves a slee ve to cover her tattoo. 78. P.J. HARVEY (cont'd) So fruit flower myself inside out/ I'm happy and bleeding for you / fruit flower myself inside out / I'm tired and bleeding for you... She slips off her nose stud. EXT. RACHEL'S HOUSE - NIGHT JESSE waiting in his car. He looks up -- RACHEL stands under the porch light in her dress. A lanky gangster girl, with. one leg planted on a step like a cocked gun. She's bone-chillingly beautiful. He gets out, opens the car door for her. JESSE What happened to that little thing you wear, that, uh... He gestures to hib'nose, indicating her stud. RACHEL Took it off. JESSE Too bad. I like it. It's different. RACHEL looks at the car seat. On it are DAISIES. JESSE (SMILES) Just, you know, throw'em in the back. EXT. A CABIN - NIGHT A small cabin in the woods. Fire light in the window. JESSE's CAR is parked in t;^.e gravel alongside. INT. THE CABIN - NIGHT JESSE is stoking a fire in the fireplace. There's a MOOSE HEAD TROPHY on the wall. RACHEL's sitting on a bed, draped with a chenille spread. JESSE It was nice of mark to lend us the place. He's really tryin' to make peace. Invited .s to his party. But we won't go if y;,u,d be uncomfortable. 79. He moves to the bed. RACHEL No. Let's go. JESSE Great. (looks at her) What's wrong? RACHEL I feel like.., we're being watched. She looks up at the MOOSE HEAD's MARBLE EYES, reflecting firelight. JESSE drapes his jacket over the MOOSE HEAD. JESSE Sorry, Bullwinkle, lights out. (sits on the bed) Feel better? RACHEL Feel scared. JESSE Funny. He too., He leans in to her. She backs away, like a skittish doe. RACHEL I'm sorry, I just feel... weird. I don't know. Oh, wow, I am really losing my mind here. JESSE It's okay. Rachel, it's okay. It doesn't have to be tonight. Whenever you're ready. And, hey, you know what, you're the sanest person I know. And that's exactly what she needed to hear. She cups the back of his neck and pulls his lips to hers. They kiss; a deep, healing kiss. HER HAND brushes aside one of the straps to her dress,, which slips off her shoulder. JESSE tenderly runs his hand over her HEART-THORN TATTOO. FADE TO BLACK /FADE IN: 80. CLOSEUPS OF RACHEL AND JESSE in the bed, making love. Firelight playing over their skin. It's beautiful. what we all wanted our first time to be. They move slowly, as if all the pain in the world could be erased, �f only they could become one. JESSE watches RACHEL Her face open, vulnerable. FADE TO BLACK/FADE IN: RACHEL ASLEEP seems peaceful, holding on to JESSE like a child, they're covered by the chenille spread. Their sweat clings to them like the softest of prisons. He's awake, studying her. He gently runs his fingertips across her brow. E (SOFTLY) I love you. off them and across the floor. TO FIND a MI on the floor, hidden behind a chair. FOLLOW the MICROPHONE CORD to a closed WINDOW where it snakes out. There's the gaping lens of a VIDEO CAMERA visible in the corner of the window. Its RED recording light on. DIVE into the black lens, and... FADE TO BLACK: A SUPER - BLOOD RED: F R D A Y FADE IN TO: INT. RACHEL'S BEDROOM - MORNING And the round BLACK PUPIL of WALTER'S EYE. He lays on the bed watching'RACHEL sneaking in through her window. trying to be mouse quiet. She gets safely inside when her bedroom door opens. BOYD stands in the doorway. She's busted. 8l. BOYD You were out all night. RACHEL nods, defiantly. He walks over to her and, without warning, slaps her. BOYD You're grounded. No school today. You don't move from this room. He turns on his heel, walks out. The dog looks as stricken as she does. A SERIES OF DISSOLVES: Of RACHEL in her bedroom, as the day passes. The sun moves across the floor as a ghostly RACHEL and her dog FADE IN-AND-OUT around the room. She lays in bed, staring at the ceiling. Paces her room like a prisoner. FINALLY -- It's nightfall. RACHEL slips out her window. EXT. ARKHAM STATE MENTAL HOSPITAL And it looks even spookier at night. INT. STATE HOSPITAL, VISITING AREA - NIGHT Dimly lit as SUE SNELL sits with SUE Rachel needs help. She doesn't believe me and I'm afraid for her. I want you to tell her who her father was. Why? SUE She'll believe it from your lips. Mrs. Lang, I really need your help, before it's too late. I can take you to her. Will you help me? BARBARA slowly nods, yes. £2. EXT. FOOTBALL STADIUM, STANDS - NIGHT The entire town has showed for this traditional rivalry and there's Bulldog paraphernalia galore. RACHEL appears in the stands, looking a bit lost. Down front sit MONICA and AMY. On the field are TRACY and her fellow CHEERLEADERS. MONICA nudges AMY and waves to MONICA Rachel, Rach, over here. Hey. Grab a seat. Looking around, RACHEL sees she's surrounded by Patio People. RACHEL Thanks, but... MONICA Oh, please, you're.not gonna sit by your lonesome. There's plenty of room, if Amy;here slides her bubble butt. AMY (DRY) Very witty, Ms. Bulimia. But she moves over. RACHEL tentatively sits. INT. FOOTBALL LOCKER ROOM - NIGHT JESSE enters, mounds of hair are at his feet. He looks up. MARK and most of the BULLDOGS have shaved their heads and are working on the last players. They turn to him in unison. CHUCK grins, runs his hand over his scalp. CHUCK We did it for the big game. MARK C'mon, Jess, you're up. JESSE stares in horror at how identical they all look now. Then he starts to... giggle, then breaks into laughter, turns and walks away. A P-ALN Man, he'll ruin the whole effect. 83. EXT. THE STANDS - NIGHT MONICA and RACHEL. MONICA No, no, it's an extra point when you score the kick after the touchdown. A safety is when you get tackled with the ball in your own end zone. RACHEL Thought that was a bunt. What? RACHEL I'm kidding, I'm kidding. MONICA Okay, listen. Here's what Brad told me to say, doesn't matter if something good or bad happens, just say "You. gotta be fuckin' kiddin' mel" No matter what, just say that. It'll sound like you know what's going on. INT. STADIUM TUNNEL - NIGHT JESSE and the team move through a dark tunnel and onto... THE FOOTBALL FIELD with all the pageantry and sheer rush of a hometown crowd. The school band plays like they're going to bust a gut. Hysteria and bloodlust fill the air as the crowd starts a barking chant. JESSE on the sideline bench. He scans the crowd behind him, sees. A NOTRE DAME SCOUT, wearing a "Fighting Irish jacket, toting a clipboard. JESSE then spots RACHEL in the stands, gives her a reassuring grin. She glances at the SCOUT, smiles back at JESSE. TRACY sees them, is none too happy. SLOW MOTION -- A whistle sounds as a FOOTBALL is kicked to start the game. The BALL spins end over end until... 84. It's caught by a BULLDOG receiver who starts his return, then is popped hard and FUMBLES. An OPPOSING PLAYER leaps onto the ball on the muddy quagmire of a field. n the stands... RACHEL, MONICA, AMY (in accidental unison) You gotta be fuckin' kiddie' me! They turn to each other, burst into laughter. MONTAGE -- of the punishing game. Epic warfare with grunting, spitting and cursing as LINEMAN butt heads and. -- A CARLIN RUNNING BACK steamrolls through the BULLDOGS for a touchdown. -- RACHEL, MONICA and AMY do their You gotta be fuckin' kiddin' me routine. JESSE catches a pass, and is immediately slammed hard CARLIN PLAYER. RACHEL looks like she's been kicked in the gut. RACHEL Do they have to hit him that hard? MONICA Amy, Rachel's worried about Jesse. AMY Don't worry, i always looks worse than it really CUT TO: TRACY and the other CHEERLEADERS leading a cheer as... JESSE glances at the sideline, where the NOTRE DAME FOOTBALL SCOUT watches him, writing notes on his clipboard. THE HALF-TIME SCOREBOARD and the BULLDOGS trail 7- On the sideline, MARK SMASHES his helmet to the ground. INT. ARKHAM STATE MENTAL HOSPITAL - NIGHT mpatient SUE sits before an exhausted DOCTOR NELSON. 85. DOCTOR Well... I understand you need to take out Mrs. Lang, to do a drug-abuse intervention with her daughter. But while she's doing well, her condition may be fragile. (BEAT) In good conscience, I could only release her in your custody for two hours. 0 Thank you. SUE jumps to her feet to leave. DOCTOR Hold on. You have a bunch of release forms to sign. I'll go get them. On SUE, sitting, knowing she-may be running out of time. EXT. FOOTBALL FIELD - NIGHT The BULLDOGS prove their worth with brutal play as they cream the CARLIN QUARTERBACK for a big loss. THE FOURTH QUARTER SCOREBOARD -- the BULLDOGS trail 7-3. RACHEL sees... The Notre Dame FOOTBALL SCOUT writing notes as he watches... JESSE cutting across the middle of the field. He catches a pass, but two DEFENSIVE BACKS converge on him and he gets bone-jarringly plastered. JESSE hits the ground with such force his helmet flies off. For a moment, it looks like he's been decapitated. RACHEL (STANDS) Jess! THE HOMETOWN CROWD rises to their feet as... JESSE stays down, hurt. RACHEL Oh, no. RACHEL strains to see him as the team circles around JESSE. 86. FOUR PHOTOGRAPHERS rush along the sideline to snap shots, their cameras flashing. JESSE sits up, stands, shakes his head to clear it as he jogs to the sideline. RACHEL Thank, God. He's okay. CUT TO : THE SCOREBOARD CLOCK -- loudly TICKING from 0:09 to 0:07. JESSE -- running. He looks up to... THE NIGHT SKY -- A FOOTBALL silently arches up, spinning an achingly beautiful spiral in SLOW MOTION. THE SCOREBOARD CLOCK -- a booming TICK from 0:05 to 0:04. JESSE makes a spectacular one-handed catch on the run, streaking along the sideline. Ahead of him, a monstrous CARLIN LINEBACKER closes in on him with murder in his eyes. RA Look out ! THE LINEBACKER'S P.O.V. -- All the PHOTOGRAPHERS on the sideline have their CAM g FLASHES flare in unison, without their snapping them! The blinded LINEBACKER plows into the SIDELINE PHOTOGRAPHER JESSE scores a touchdown. And the CROWD goes berserk as the BULLDOGS throw their helmets in the air. MONICA (STUNNED) You gotta be... wow. RACHEL stands there, open-mouthed, relieved, but unsure if she had anything to do with what just happened. INT. LOCKER ROOM - NIGHT The Bulldogs are still whooping it up as COACH WALSH approaches JESSE. 87. WALSH Ryan, Notre Dame scout's-here, wants to talk to you first. JESSE nods, turns to BRAD. JESSE Brad, can you tell Rachel I'll be out soon? Have her wait for me. INT. STADIUM CORRIDOR - N RACHEL and MONICA stand in the hoard waiting for the players. TRACY passes, soggy, muddy, yet still radiating a cool confidence in her beauty. She gives RACHEL, a shark's smile. BRAD exits the locker room, goes to RACHEL's side. BRAD It's gonna be a while, Jess is talkin' to the scout, he said for you to go ahead to the party. MONICA (WARMLY) Rachel, did you hear that, Jesse's talking to the scout, isn't that great? RACHEL Yeah. MONICA C'mon, I'll give you a ride to Mark's. EXT. RACHEL'S HOUSE - NIGHT SUE drives up with BARBARA to RACHEL's tiny, run-down house. BARBARA No, this couldn't be it. Rachel said it was a real nice house, surrounded by trees, with a pool in the back. SUE I guess she didn't want to worry you. INT. RACHEL' BEDROOM - NIGHT The bedroom door is opened by EMILYN. SUE and BARBARA stand behind her. They find WALTER, alone on the bed, blinking awake. 88. MARK BING'S HOUSE - NIGHT An upper-class home built in the international style of fieldstone and gray-stained wood. The house is set back from the road, surrounded by trees, with a pool in the back. A herd of parked cars and throbbing music indicate MARK's party is at full tilt. INT. MARK BING'S HOUSE - NIGHT CLOSE ON -- a 36-INCH TV playing psychedelic music videos and Japanese anima. WIDEN -- to reveal a DANCING'CROWD in a dimly lit, split- level living room with exposed wooden beams. There's a large, roaring fireplace and a Jackson Pollock splatter PAINTING hangs opposite. Sliding glass doors overlook the backyard patio and swimming pool. CHUCK cuts through, sees someone jostle a table lamp. CHUCK Careful! Don't break anything, or Mark'll have my head on,a plate. EXT. MARK'S HOUSE - NIGHT MONICA leads RACHEL up the walkway to the front door where a BEEFY BOY plays doorman. ARNIE and two geeky YOUNGER BOYS mill outside the door, trying their damndest to look cool. ARNIE Hey, Monica, can ya get us into the party? MONICA Sure, Arnie, wait here. I'll come back for ya.. . And she waltzes past him. MONICA (CONT'D) . in two or three years. ARNIE points at a passing RACHEL. APISI E How come she gets to go in? MONICA (rais6s a toast) To new friends. They raise their glasses and RACHEL joins in with a hesitant smile. Their glasses clink together for the... CUT TO: EXT. STADIUM PARKING LOT - NIGHT JESSE crosses the near empty lot, hair wet from his shower. He stops dead. JESSE Damn it. Under a pool of lamplight -- HIS CAR has had its tires slashed and someone has sprayed in red Carlin uies!� across the door. TRACY pulls up in. her BMW, wearing her cheerleading outfit. TRACY Oh, wow, that sucks. Further proof Carlin guys are gravy sucking pigs. JESSE Yeah. TRACY Need a ride? JESSE You goin' to Mark's? TRACY Wouldn't miss it. Hop in. As he gets into her car, TRACY has one hand on the wheel, the other hanging out her window. She drops something as JESSE closes the door. REVEAL a CAN of red spray paint TRACY dropped onto the parking lot's tarmac. TRACY Just a quick stop at my house, want to change my outfit. Her car pulls off... WIPING THE FRAME TO, 91. INT. MARK'S HOUSE - NIGHT RACHEL and MONICA chat with AMY and two other PATIO GIRLS. AMY takes RACHEL 's hand. AMY I really like your nail color. MONICA Check out the tattoo on her arm wild huh? AMY Yeah. Did that hurt? RACHEL No. Well, yeah, actually some. AMY Oh, it's just too cool. MONICA I'm dying to get one, but my mom would have a shit fit. AMY So would mine. She says I'm not that type of gi rl. RACHEL What type is that? There's an awkward pause which MONICA breaks. MONICA A slut. (throws an arm around Rachel) That's why you should take all of us in for tattoos! AMY and the other GIRLS laugh. RACHEL softens, joining in. She looks around at everyone at the party, laughing, dancing. The shiny, happy people. it feels weird, but here she is. She smiles, takes a sip of her drink. By the stereo, MARK cranks up the music as CHUCK dances over to AMY, pulls her into the dancing CROWD. BRAD grabs MONICA. BRAD C'mon, wench, let's dance. He pulls MONICA into the crowd, and she gestures for RACHEL to join them. 92. RACHEL No, I'd rather wait for Jesse. MONICA Oh, c'mon, Rachel. He'd want you to have fun. AMY Yeah, c'mon, Rach. There's a chorus of "C'mon, Rachel" from the guys and some of the other DANCERS join in. An embarrassed RACHEL surrenders, sets down her drink and enters the dancing group. MONICA All right, girl. RACHEL smiles. BRAD starts dancing before RACHEL. SLOW MOTION -- CLOSE on RACHEL's face, dancing, beaming. For a few moments, everything seems perfect. And she throws her head back and laughs. MARK dances into the group. MARK Hey, Chuckzilla, why don't you put on the highlights tape? CHUCK You mean tonight's game? MARK shares a laugh and a glance with MONICA and B MARK Yeah, tonight's game. CHUCK Okay. Let's go to the videotape: He dances out of the group over to the VCR where he pops out a tape and inserts a tape marked "Bulldogs Highlights". RACHEL turns around, sees the large screen TV PLAYING images of the Bulldogs playing football. RACHEL Is that tonight's game? MARK No, it's the other game. Still dancing, she turns back to the group. 93. RACHEL What other game? MARK The game you were in. The others laugh. She smiles, confused. RACHEL What? BRAD The one you played. MARK Yeah, yeah, what was the score? Chuckie, pass me the scoreboard, I wanna show Rachel how she helped Jesse win the game. CHUCK pulls the BLACK NOTEBOOK next to the CD's off a shelf, pretends he's a quarterback hiking a ball. Twenty-four, twenty-six, hut, hut, hut. He drops back to pass the NOTEBOOK. CHUCK Go long, Bradzilla. MARK laughs as BRAD circles around RACHEL, twists between other dancers. CHUCK tosses the NOTEBOOK over RACHEL and BRAD leaps up to catch it. BRAD Post-pattern, Mark! Ducking around DANCERS, MARK raises his hands for the pass. KIDS start to notice their antics and start laughing. BRAD passes the book over to MARK who catches it, mimes spiking it for a touchdown and does a silly victory dance. MONICA laughs and turns to RACHEL, who laughs, even though she still looks a bit befuddled. MARK Rachel, catch! He throws the NOTEBOOK through the air, where it tumbles end over end for a few slow beats, then is caught by her. 94. BEHIND RACHEL -- THE TV SET -- keeps playing football highlights, but suddenly there's an almost subliminal -- FLASH of TWO INTERTWINED BODIES. RACHEL holds the NOTEBOOK, unsure of what to do with it. The boys are a little out of breath, but still grinning and dancing. MARK Open it. Go 'head, read off the scores. BRAD Start with Eric. CHUCK Yeah, start with poor Eric. She opens the book, looks at the pages with a quizzical expression. She sees the Bulldog names across the top of the page with lists of girls beneath each one. Every girl has a number next to her with a total at the bottom. MARK What's Eric's score? RACHEL Twenty-two? RACHEL stops dancing as she spots LISA PARKER's name at the bottom of ERIC's column with the number four next to it. MARK What's up, Rach? You know someone on that list? RACHEL (under her breath) Lisa. MARK Oh, yeah, Lisa, forgot about her. CHUCK How many points was she? BRAD Four. But maybe he shoulda lost those when she offed herself. 95. MARK Rach, look under Jesses's name, how many points you get? MONICA (CHEERLEADING) Two, four, six, eight-- AMY Who do we appreciate! RACHEL looks down JESSES's column sees-her name with thirty points next to it, then, above hers, sees TRACY with ten. MARK No, more than that, remember, we thought Rach was a dyke. He got extra-points for the conversion. BRAD points? Try thirty. RACHEL stares at the book, stunned, trying to make sense of it. MONICA Look at her face, this is priceless. At the front door, JESSE walks in, TRACY behind him. He looks around, hasn't seen what's going on yet. ERIC intercepts him, turning JESSE away from the TV. ERIC Hey, man, what did the scout say? Behind Rte... THE TV SET -- between shots of players grunting, tackling and smashing into each other, longer and longer segments appear of... A COUPLE MAKING LOVE -- from the waist up, with thick scan lines that almost make it look surreal. It's obvious that the girl is RACHEL, and the boy is JESSE. DANCING KIDS notice what's on the TV and start to point and laugh at the set. RACHEL is completely unaware of what's going on behind her. 9 MARK See, we didn't think Jess could do i so he offered to get evidence, proof that he'd scored you. MONICA Here comes Jesse's big play! MARK Lookie, lookie, Rachel. RACHEL realizes people are watching something behind her, then laughing at her. She turns and sees... The IMAGES of her and JESSE on the TV. Her face goes slack with horror. RACHEL Oh, God MARK leans in to RACHEL, who hasn't noticed JESSE. MARK Jess was disappointed with the picture quality, but I told him it was better than Pam and Tommy Lee's tape. CK Rach, was it good for you too? Sure looks like it, don't it? MARK Why don't we ask Jesse? He turns and calls out. MARK (CONT'D) Hey, Jesse! Over here! JESSE looks over and his eyes meet RACHEL's, but she just stares back, horrified. Then he sees the TV set behind her JESSE What... JESSE pushes his way through the crowd, trying to get to RACHEL. TRACY throws an arm around him, kisses his neck. TRACY He told me he was thinking of me when he fucked you. 97. Seeing MARK laughing, JESSE realizes what's going on. JESSE Rachel... He tries to shrug off TRACY, but ERIC and CHUCK grab his arms and pull him back into the crowd. JESSE Rachel! MARK pushes RACHEL towards BRAD. MARK Rachel! Rachel! She tries to get away, but BRAD pushes her into MONICA who shoves her to AMY as they join in the chanting. Rachel! MONICA Rachel! Rachel! Drowning out JESSE's cries. RACHEL's P.Q.V. -- spinning around. A NIGHTMARISH GALLERY of dancing, jostling torsos, TWISTED FACES and LAUGHING MOUTHS, smirking and pointing at her. INTERCUT WITH: FAST CLOSE-UPS of RACHEL and JESSE making love. The assault of music, chanting and images crescendo with... BRAD grabbing RACHEL's bare arm below her HEART-THORN TATTOO forcing her to face the TV screen. BRAD Hey, is that a zit on your ass? RACHEL has tears streaming down her face for the first time since she was four years old. She bows her head. 98. A LAUGHING BRAD glances down at RACHEL's arm. The THORN VINE around the HEART TATTOO looks bigger, edging up her arm. He looks away, shares a laugh with MARK, looks back and... THE HEART TATTOO on RACHEL's upper arm is growing, etched from within, the thorn covered vine snaking like a tendril up her arm. BRAD Holy shit. He releases her. RACHEL raises her head, eyes glowing with pain and rage, her broken heart turned to stone., The delicate THORN VINE has grown across her chin, cheekbone and forehead, swirling around to end on her other cheek. A stunned BRAD backs away from her. JESSE breaks free of ERIC's grip, slugs CHUCK and pushes his way towards RACHEL. Her HEART POUNDS at an alarming rate as she slowly turns and sees JESSE coming at her, his arms out to take her in his embrace. A KNIFE on the bar dances and rattles, then... A WHIP PAN finds... JESSE, as his back arches in pain and he screams. The KNIFE embedded in his open palm, nailing his hand to the wall. MARK and the other boys stare in shock. MARK What the fuck? ON JESSE -- as he screams again. A CORKSCREW has pierced his other hand, at waist level. The SCREW spins around, burrowing into his flesh. 99. Everyone on that side of the room stops dead, taking in the bizarre sight. RACHEL straightens up and... The kitchen door CLOSES... The glass doors to the back yard slide SHUT... The front door SLAMS. TRACY (LOOKING AROUND) What's going on Mark? I dunno. The floor starts to shake like a small earthquake. All the PARTYGOERS go still, looking around at each other. The room is frozen, even though the music keeps pounding. MARK looks at RACHEL, her disheveled hair partially obscures her features, but her eyes are glowing. THE GLASS WINDOWS surrounding the room, begin to RATTLE, then CRACK in a spider- web pattern. Then... THE WINDOWS BURST inward. FOLLOW the deadly hail of shards as they cut through the CROWD. FROM ABOVE -- The outer edge of the CROWD are mowed down as if by a machine gun and... A WHIP PAN -- Finds a BOY impaled by a large, jagged shard. TWISTED SHADOWS are splayed across a wall of KIDS falling to the ground. The hard-edged music keeps playing while... CHUCK's decapitated head rolls across the floor and onto... A plate. The BEEFY BOY spins around, clutcning at a shard protruding from his neck, his carotid artery spewing blood like a lawn sprinkler. 100. On a GIRL as his blood sprays across her face and... The BOY turns, arcing blood across... The Jackson Pollock PAINTING, which blends into the multi- colored canvas. Reeling into the stereo, the BOY scatters CDs everywhere. On RACHEL, clothes spattered red, tears streaming down her cheeks. TRACY straightens up, having been protected by MONICA, who`s screaming, her face a lacerated pulp with glass, shards sticking out of it like a pincushion. Surviving PARTYGOERS panic as they struggle to their feet and try to flee, stampeding over each other. , TRACY, ERIC and BRAD shove their way through the crowd. EXT. MARK'S HOUSE - NIGHT As SUE and BAR.BA k leap from the Volvo.. SUE hears the screams from within the house, takes in the shattered windows. SUE BARBARA Oh, not Rachel! They race to the door as... WITHIN THE HOUSE BRAD runs to the front door. An IRON FIREPLACE POKER lifts up one end, then flies like a javelin towards BRAD's back as... DOOR - N BARBARA and SUE approach the door when the end of the bursts from the center of it, nearly spearing a surprised BARBARA in the face as it sticks out about a foot. She jerks back, then pushes the door open with an effort. WITHIN THE HOUSE -- They enter and freeze as the door slams shut behind them, revealing a dead BRAD speared through the throat, pinned to the door. 101. Oai, my god. Where's Rachel? They see JESSE, then RACHEL covered in tattoos. A panicked itMY smashes into BARBARA, then runs toward a window. RACHEL sees AMY and her eyes narrow... MUSIC CDs fly off a shelf and... Spin through the air at high velocity. One of the deadly frisbees buries itself in AMY's back, spinning her around. More CDs embed in her stomach, chest and throat. MARK and ERIC smash their way through the chaos as MARK's eyes flash from a collapsing AMY to RACHEL MARK God, it'ls her! She's doing it! SUE moves towards RACHEL. SUE Stop! Stop it! RACHEL has her gaze locked on... MARK, who realizes he's a dead man. He moves toward a shattered window, through which some PEOPLE escape. But RACHEL turns her head slightly and... A TELEKINETIC PULSE travels across the row of LIQUOR BOTTLES at the bar, exploding them one-by-one, spraying alcohol which douses SUE. A FLAMING LOG erupts from the fireplace... Striking the alcohol-drenched BAR, setting a blazing trail and lighting the curtains on fire, creating a wall of FLAMES before the windows. SUE Stop it! You don't want to-- And RACHEL snaps her head around, launching another LOG from the fireplace which strikes SUE in the back, whose alcohol drenched clothes catch flames... and she , A. 102. A screaming SUE pitches forward, rolls on the floor to put out the flames, but caly succeeds in lighting another trail of liquor which creates a barrier to the backyard windows. In the eye of the storm is BARBARA, shaking her head in denial, muttering, as her mental state rapidly deteriorates. BARBARA No, this isn't happening. It isn't happening, isn't happening... MARK pulls ERIC by the shirt collar and they careen down... A HALLWAY where each of the DOORS ahead of them SLAM SHUT as they approach. Utter CHAOS, but RACHEL calmly turns into the hallway, following MARK, as if in a trance. I MARK lowers his shoulder, crashes through a closing door into. A DEN where the walls are decorated with deer heads and hunting trophies. MARK and ERIC are smashing a standing glass case containing pistols and rifles. TRACY leans panting against the wall. MARK slips a HANDGUN into his belt. TRACY Screw that, get the shotguns! Shaking, freaked out, they gather weapons. THE HALL d ERIC see RACHEL the end of the hall, silhouetted from behind. They take off in the other direction, TRACY bringing up the re Barrelling shoulders first into a door, the boys burst through and into... 103. EXT• THE BACK YARD - NIGHT Where they almost stumble into the swimming pool. Toting their rifles, MARK, ERIC and TRACY turn to find RACHEL, at a gunfighter's distance, coming towards them. TRACY and BRAD cock their weapons and bring them to their shoulders. TRACY slips on her glasses. MARK Wait till she's closer. TRACY tightens her finger on the trigger. RACHEL's eyes narrow and... TRACY's glasses shatter into her eyes, spewing blood milky fluid. Aaaaa... She staggers, fires her shotgun into ERIC's groin and he lands sitting next to the pool. A dying ERIC stares at his shredded lap, then falls over. MARK looks at his dead friend. Oh, shit. .recovers, and swings his aim back at RACHEL. But his rifle goes sailing over his head and into the grass twenty feet behind him. He makes eye-contact with a grim RACHEL advancing toward him, and hauls ass. RACHEL glances at a coiled GARDEN HOSE and it springs to life, slithering through the grass and across the concrete at high speed to wrap around MARK's ankle and trip him up. He hits the ground hard and rolls over to find the hose twisting around his legs and up his waist like a python. HIS HAND grasps for the rifle, but falls short as the hose pins his other arm to his side, then curls around his windpipe in a stranglehold. 104. His eyes widen as the life is squeezed from him and he sees RACHEL standing over him. He gropes for the shotgun again... and finally grabs it. RACHEL looks at the rifle and it flies from his hold, splashing into the pool. But she jolts on two... GUNSHOTS RACHEL looks down. MARK had pulled the handgun from his belt with his pinned hand and fired. She's holding her belly, gutshot, staggers and falls into the pool, disappearing amid a swirl of blood. MARK yanks the hose from his neck as it goes slack. He gasps, points the gun into the pool and FIRES until it's silent and he's left pulling the trigger on empty chambers. He gets his breatking under control, leans over to look into the water of the deep end. He Aar on the sound of a mechanical whirring, and turns. A POOL COVER starts to unfold. At that moment... RACHEL'S BLOODY ARM bursts from the water and grips his neck. MARK grabs her forearm as her other arm yanks him into the pool. UNDERWATER -- As RACHEL drags MARK down, he kicks and pummels her, but she holds on. The POOL COVER steadily closes over them, shutting out the light from above. MARK finally frees himself and lunges for the surface, but the POOL COVER blocks his escape. He desperately pushes at it, eyes bulging, lungs burning, as his feet kick to keep him afloat. ON THE SURFACE -- The POOL COYER closing as RACHEI, hauls herself from the water, barely making it out. MARK'S HAND, grabs her leg, slides, then clutches at the edge of the pool. His fingers slip under as the cover completely shuts. 105. M RX's head bulges the POOL COVER, then his hands punch feebly at it a few times. Then... nothing. BARBARA (O.S.) Rachel! A weakened RACHEL lays by the pool. She seems to be snapping out of her trance as she rolls over and sees BARBARA. RACHEL shudders and suddenly just looks like a wet, scared little girl reaching for her mother. RACHEL Mama. Maury? BARBARA'S P.O.V. o but it's a FOUR-YEAR-OLD RACHEL, pristine, without tattoos. BARBARA blinks and her P.O.V. is of a TEN-YEAR-OLD RACHEL, reaching for her. Mama, please. BARBARA blinks and it's now... The 17-YEAR-OLD RACHEL, covered in blood and tattoos. She looks her daughter in the eyes, backs away in terror. BARBARA What are you? You're not my little girl. No. The devil's in you. RACHEL (CRYING) Don't leave me, mama. But her mother disappears into the shadows. RACHEL Please, I don't have... anyone. She rolls onto her back, looks up at the STARRY NIGHT. RACHEL Please, God, let me die... And she tightly shuts her eyes. DISSOLVE BACK TO: 106. THE LIVING ROOM A vision of hell -- crimson-stained walls and piled bodies. The fire is spreading, licking its way across the burning SCOREBOARD NOTEBOOK, and along the floor toward... JESSE, in pain, still pinned to the wall. He raises his head and starts in fear as... o the center of the room, facing him. He sees the gunshot wounds in her stomach, then follows her gaze to... THE TV SET with a cracked screen, but still playing the tape of their intimate moment at the cabin, with a sleeping RACHEL laying ON JESS He looks back at her. JESSE Rachel, listen. I swear, d know they were taping us. d never hurt you. She looks at his pleading eyes. JESSE I LOVE-- The TV SET now has the video footage of... INT. THE CABIN - NIGHT JESSE looks at RACHEL clinging to him, asleep, peaceful. He gently runs his fingers across her brow. JESSE (SOFTLY) I love you . And oulls her closer. HACK TO -- - RACHEL staring at the TV. And the VCR rewinds and replays.. ON TV -- the moment of JESSE saying 'I love you" to her while she was asleep. 107. RACHEL falls to her knees, tears running down her face. She turns back to JESSE, amazed. A BLAZING CHUNK of ceiling falls near her. JESSE (COUGHS) Rachel. Gat out, now. Go. And the KNIFE and the CORKSCREW drop away, releasing him. He falls to the floor, drags himself over... and takes RACHEL in his arms. He cradles her. She whispers and he bends over to hear. She whispers again... RACHEL .love you. JESSE tenderly kisses her lips. And all the TATTOOS fade from her face and body Love. Her face is serene. JESSE traces his fingers across her brow, embraces her, the flames start to encircle them, just like in RACHEL's nightmare. JESSE pulls RACHEL over the debris ridden floor toward the back windows, but stumbles and goes down. Her eyes flutter open. RACHEL Leave. Get out Instead of leaving her, JESSE hugs RACHEL closer. The sleeve of his jacket catches flames. And he accepts his fate. RACHEL shuts her eyes, gives one last TELEKINETIC PUSH... EXT. THE BACKYARD - NIGHT And a BODY is flung out the back window like a rag doll, clothes in flames. The BODY goes fifteen feet and falls onto the pool cover, its weight bowing the cover enough for water to rush over it. BACK T0: 108. INT• THE LIVING ROOM - NIGHT RACHEL on her back, looking up, eyes open, a slight smile on her lips. SHE SEES -- The BURNING CEILING collapse, raining death on her. EXT. THE HOUSE - NIGHT .is now a burning inferno. A funeral pyre. BACK YARD - THE POOL At water level. All is quiet, there's only the sounds of the crackling fire and faraway sirens of firetrucks. Suddenly -- JESSE HURTS up on the -- CUT TO: EXT. THE HILL - NIGHT From miles away -- the LIGHT given off by the BURNING HOUSE rises over the treeline. CLOSE ON A dejected ARNIE and the two uncool BOYS who couldn't get into the party, leaning against a van, staring in amazement. ARNIE Man, we are missing one killer party. FADE TO BLACK: And the peaceful sound of CRICKETS for the... SUP : NOTRE DAMS' LINIVER.STTY - QNE YEAR LATER FAD; IN TO: EXT. NOTRE DAM UNIVERSITY - NIGHT A CHURCH TOWER with a BELL overlooks the student dorm buildings. The darkened campus is tranquil, still. INT. HALLWAY, STUDENT DORM BUILDING - NIGHT MOVING down a. dormitory hall. The room doors feature rock posters and "Fighting Irish" stickers and pennants. 109. INT. DORM ROOM - NIGHT JESSE is slumped over, asleep on a desk layered in textbooks and a notebook. An all-night study session. His hair is shor., he's wearing a beard. His face is more mature, sadder. The beard largely hides some burn scars on one side of his face. Over the desk is a MIRROR and a "Fighting Irish" pennant. The only light comes from his desk lamp. He jerks awake with a spasm, glances at a digital clock glowing on his desk: 11:S$ A.M. JESSE (rubs his eyes) Jesus. WALTER, Rachel's dog, hops on his lap, licks at.his face. The sad-eyed DOG whimpers'and,JESSE scratches him. In the distance the CLOCK TOWER BELL can be heard CHIMING MIDNIGHT: One, two... As JESSE looks down and his eyes widen in surprise: Somehow, he's scrawled on the notebook paper on the desk in front of him: kINg of HELL Or, if you only look at the capitalized letters, it reads: Around it, the same phrase is written over and over again: kINg of HELL kINg of HELL kINg of HELL kINg of HELL kINg of HELL kINg of HELL kINg of HELL kINg of HELL JESSE lowers the dog How did... Trails off as he stares at the page. The CLOCK BELL in the background is still CHIMING: give, six, seven and... 110. T h e F R E N C H DOORS fly o behind JESSE. ns. It's the wind. The DOG starts barkin JESSE (shushes the dog) Ssshhhh. Relax, boy. He takes a-deep breath, flips the page on the notebook, resumes his cram session. On the floor, the DOG looks at the open French doors, then scurries under the bed. JESSE is writing, in the MIRROR above h A WOMAN' s FIGURE anding in the French doors, her face hidden up, sees the WOMAN reflected, spins to watch her stop forward into the light. It's RACHEL, in hAk slip dress. JESSE (STUNNED) Rachel? RACHEL smiles. She lifts her arms to him. JESSE (with growing joy) Rachel. He rises, envelops her in his arms, and kisses her. He pulls back to take her in. T!!s two of thaw are reflected in ANOTHER MIRROR behind the r 's door. opens her mouth to speak -- A LARGE SNAKE FLIES out and jams itself into JESSE's mouth, throwing him back. Ho aacs. clutching at the SNAKE as it slithers down his throat, and qmIS'3i$ into the desk and mirror, shattering it on the -- SLAM CUT TO INT . DORM ROOM, NOTRE DAME - NIGH a' A LOUD SCREAM as JESSE jerks awake at his desk. His heart FATIM like it's about to explode from his mouth. He looks down at the paper in front of him. Filled only with his study notes. The dog, WALTER, is awake on the bed, blinking, having been stirred by the scream. JOS He recovers, runs his hands through his hair. Starts reading. The DIGITAL CLOCK reads: 11:59 A.M. In the distance, the CLOCK BELL begins'chiming midnight: One, three... JESSE reads, but in his ayes he's waiting for the savant chime. The BELL CHIMES: Four The FRENCH DOORSNinat JESSE spins. The wind. Nobody there. He turns back to his reading, his heart BEATING WILDLY again. Glances up at the mirror. Nothing. His HEARTBEATS and the BELL CHIMES get increasingly LQ= as,.. . He reads, glances up at the mirror, shivers, and it isn't in the cold. Move, to ANOTHER ANGLE : Where his image is MULTIPLIED TO INFINITY in the two mirror! Fear is written on his face. And we know he'll be looking over his shoulder... Until the day he dies. SLOW FADE