Succubus Draft 1

8/12/2019 Succubus Draft 1

http://slidepdf.com/reader/full/succubus-draft-1 1/97



EXT. MIDDLE-EASTERN DESERT - DAY

Two soldiers ride a HUMVEE. They’ve rolled back the top.They’ve got RAP MUSIC blaring on the radio.

The driver is JIMMY, an all-american boyscout with a

lifespan of maybe sixty more seconds. The passenger is OSCARMACREADY. Oscar’s got the look of a man who used to beoverweight before he sweated off the fat.

With a hand still on the wheel, Jimmy turns to Oscar,smiling. He opens his mouth to speak --

CUT TO:

INT. CHURCH BASEMENT - NIGHT

Eight men sit around a table. They’re all ex-military, most

quite young, most with heavy bags under their eyes. It’s an"anonymous" group. Oscar stares at his twitching hands. Hisleft eye is badly scarred, permanently stitched shut. Ugly.

SUPERVISOR (OS)What did he say, Oscar?

Oscar’s hand shakes, but he forces it to stop. He looks up.He breathes in.

OSCARHe said --


Jimmy turns to Oscar, smiling.

JIMMYAin’t it a shame?


Oscar raises his hand to pick at his eye, but he stopshimself. It takes him a while to spit out the words.

OSCARLike he knew it was gonna happen.

The room stays quiet. He shrinks under the gaze of unseenpeople. His hand taps against his leg.



2.

SUPERVISOR (OS)If you don’t want --


Oscar stares at Jimmy in confusion.

OSCARWhat did you say?

JIMMYI said --

The humvee hits a BUMP --

CUT TO:


OSCAR(quickly)

No. I can’t do it.

SUPERVISOR (OS)Are you sure?

Beat.

OSCARI’m sure.

SUPERVISOR (OS)That’s perfectly alright. It’s upto you.

Oscar’s hand stops shaking. He furrows his brow.

INT. HOSPITAL WAITING ROOM - DAY

Oscar sits in a waiting room, surrounded by old people andlittle kids. Leaning against his chair is a WALKING CANE.

Someone coughs beside him and his entire body tenses up inresponse.

A NURSE calls from the desk.

NURSEOscar MacReady?



3.

Oscar grabs his cane and hobbles over to the desk. He has apretty bad LIMP. The nurse doesn’t look up at him.

OSCARYes?

NURSE

Radiology wants you.

OSCAROkay, how long will it --

CUT TO:

EXT. HOSPITAL PARKING LOT - DAY

Oscar hobbles to his car. Under his armpit are some X-Raysin a brown folder.

He throws them in the back.

He gets behind the wheel. His hands shake as he pulls outthe keys.

As he tries to start the car, the keys drop down beside hisfoot. He bends over but he can’t quite reach.

He presses his head against the steering wheel. He closeshis eyes in defeat.

OSCARI can’t drive this car.

Beat.

OSCARI can’t drive this car.

INT. HOSPITAL FRONT DESK - DAY

Oscar talks to the RECEPTIONIST.

OSCAR

Umm ...

RECEPTIONISTThere are people waiting.

It’s true. There are many sick people waiting. More peopleare entering the hospital than leaving. A man named ROBERTBRADSTONE is among them. Big guy with a beard. He has anotepad. He blends in.



4.

A woman in her early twenties stops to look at Oscar. Hemakes brief eye contact. He turns away in embarrassment. Thewoman’s name is SARAH BELL. She is entrancingly,seductively, IMPOSSIBLY beautiful.

The receptionist types away at her computer. Oscar taps on

the counter, trying to get her attention.

OSCARI’m just ... I don’t think I candrive, I don’t think it’s safe ...Can you tell me where to ... catcha bus?

The receptionist looks up. She’s busy, but that doesn’t meanshe isn’t sympathetic.

RECEPTIONISTOh, geez. The buses aren’t running

today. There’s some sorta riotdowntown.

OSCAREvery ... none of the buses arerunning? None of them?

RECEPTIONISTIt’s a big riot. Would you like meto call you a cab? Would that bealright?

OSCAR

I don’t think ... I don’t have themoney for --

Sarah Bell taps him on the shoulder and he nearly jumps insurprise. She raises her hands in surrender.

SARAHHey, hey, sorry, don’t get upset. Ijust overheard, and maybe I can ...

Oscar can’t tear his eyes away this time. He staresdumbfounded at her face. She is PREPOSTEROUSLY ATTRACTIVE.

She snaps her fingers next to his good eye.

SARAHHey, stop that. I’m doing a gooddeed, alright? I’m proving I’ve gota shred of humanity, okay? Stopstaring at my face.



5.

OSCARWhat ... ?

SARAHWhereabouts you live?

OSCARWhat are you ...

She sighs in defeat. She looks at the receptionist with anexpression that says, "Would you believe this guy?"

SARAHI’m offering you a lift.Whereabouts you live?

INT. SARAH’S CAR - NIGHT

It’s very dark. Sarah drives too fast. At every bump in theroad, Oscar shrinks further into himself. He is visiblyuncomfortable.

Her dashboard displays the time: 9:30 pm.

Sarah speaks to him without taking her eyes off the road.

SARAHMilitary, huh?

He waits a moment before he responds.

OSCARYeah.

SARAHWhere?

OSCARIt doesn’t matter. I’m here now,and I’m done.

SARAHThey give you a medal?

He nods. She doesn’t notice. Beat.

OSCARUm. Yeah, they did. I’ve got it onme, I think.

He reaches under his jacket. He delicately produces a PURPLEHEART.



6.

Sarah briefly turns to look. She nods.

SARAHCool.

He puts it away.

OSCAROh. I think I forgot something.

Sarah chuckles.

SARAHSeriously? We’ve been on the roadfor an hour.

OSCARIt’s not important.

SARAHLet me decide.

OSCARJust ... x-rays. Left them in theback of my car.

SARAHYeah, that’s not important. If yougot a car, why can’t you drive?

OSCARNormally I can but ...

He raises his hand. It’s shaking. She quickly looks, thenlooks back at the road. The car goes over a bump and Oscartenses up completely.

OSCARDropped the keys trying to put ’emin the ignition.

She smirks to herself.

SARAHHow noble.

OSCARHmm?

SARAHI know guys who’d power through it.



7.

OSCARWhat?

SARAHThey’d deny it, you know? They’dsay to themselves, yeah, I can

handle this, don’t worry. And nextthing you know they’ve jammed theircar through a little kid. But no,you’re self-aware, you know yourlimits, don’t you? You looked atyour shaking hands and you toldyourself, "I can’t drive this car,"so you walked back in and asked ifyou could take a bus.

OSCARI ... I know all that. I was there.

SARAHIt’s just funny, is all. Wait, no.Sorry, forget I said that. It’s notfunny. It shouldn’t be funny.

She looks at him with sincerity.

SARAHIt’s noble. What do you think?

OSCARI don’t ... There’s nothing nobleabout that.

SARAHGive yourself some credit.

The car goes up a hill. She focuses on the road.

SARAHWhere’d you get the cane?

OSCARUm. Airport. First thing since Icame back.

SARAHYou should get a better one. Youneed something better to supportyou than that ugly thing.

Oscar says nothing to this.



8.

They sit in silence for a moment. Sarah seems comfortable insilence, self-satisfied, but Oscar’s agitation overwhelmshim.

OSCARYou look alright.

She turns to him with a huge smile. Perfect teeth. Sheraises her eyebrows suggestively.

SARAHDo I, now?

OSCARNo, I ...

He can’t resist a smile of his own. He turns away to hide itfrom her.

OSCAR

I mean, you were at the hospital.But you don’t look sick.

Sarah is disproportionately pleased with his awkwardness.

SARAHWouldn’t be much of a hospital if Icame out sick, would it?

He laughs a little despite himself.

OSCARNo, I mean ... What were you doingin the hospital? Why were youthere?

SARAHSuch a personal question.

OSCARYou don’t have to tell me.

SARAHNah, it’s alright. I was getting anabortion.

He looks at her in shock.

She grins even wider. She playfully shoves his shoulder.

SARAHI’m juuust kiiidding!

He does a poor job of holding in his smile.



9.

OSCARThat’s not cool.

SARAHIn all honesty, it was a governmentthing. I haven’t had any medical

expenses in the last fourteenmonths and it looked suspicious onmy tax reports. There’s nothingwrong with me, but I had to get adoctor’s opinion to prove to theauditors I wasn’t committing fraud.

OSCARThat is ... extremely hard tobelieve.

SARAHWhat, you think I’m a fraud? Oh,

hold on, we need to turn in here.I’m not gonna hit any IEDs, sodon’t get all tense.

She spins the steering wheel. They’re in a small suburb onthe outskirts of a city. She pulls the car into a graveldriveway. The noise makes Oscar uncomfortable.

OSCARI didn’t mean that ... I mean, it’shard to believe that you don’t ...that you haven’t been sick in overa year. That’s what I meant.

SARAHOh, longer than a year, muchlonger! I’ve never been sick in myentire life. Wanna know why?

She puts the car into park and kills the engine. Oscar looksaround.

OSCARThis isn’t my house.

SARAHJust answer the question. Do youwanna know why I don’t get sick?

OSCARUhh ... okay.

She grins. It’s an evil, slasher smile.





11.

INT. SUBURBAN LIVING ROOM - NIGHT

She’s already on top of him when their lips touch, ridinghim naked.

There’s no light in the house beyond the streetlightsthrough the open window. They’re silhouetted on the COUCH.

Sarah’s on top, and Oscar’s on the bottom.

Oscar pulls her down, mouths locked together. She grinds herhips against him.

FADE TO:

Darkness. Silence.

FADE TO:

Sarah sits naked on a CHAIR, leaning forward, hands curledunder her chin in concentration.

Oscar sleeps on the couch in front of her. He’s draped in aBLANKET. His forehead twitches from bad dreams.

Sarah stands up, towering over him.

She opens her mouth wide. Monstrous FANGS sprout from herlips, spraying BLOOD and BILE.

CLAWS curl from her fingertips.

Sharp SPINES emerge from her back.

She licks her lips with an exceptionally long FORKED TONGUE.Her EYES blaze RED.

She bends down beside him and reaches for his face.

Still asleep and defenseless, he squirms. His bad dreams areoverpowering him. His pupils flick under his eyelids from anREM nightmare. His lips part.

OSCAR(quietly)

Please ...

Sarah leans closer, trying to wrap her teeth around hishead, but she can’t bring herself to clamp down and finallykill him.

After a moment of hesitation, she bolts upright. Hermonstrous features recede back into her body. She shiversfrom denial, shaking in much the same way that Oscar’s handalways shakes.



12.

Her eyes are still red.

She screams in anger and kicks over the chair.

Oscar bolts awake. He throws off the blanket and grabsSarah, holding her, defending her from an unseen terror.

She seems inexplicably tiny in his arms.

OSCAROh god, what is it? It’s okay, it’sgonna be okay. What’s wrong?

She leans into his burned chest. Her eyes glow red.

SARAHIt’s nothing ... nothing. Just anightmare. Nothing.

He tilts her head up to look at him. She slams her eyes shutto prevent him from seeing the red.

OSCARIt’s okay. I’m here.

She opens her eyes. The red has gone away.

SARAHI’m sorry.

OSCARFor what?

Beat.

SARAHJust ... for waking you up.

She looks down.

OSCARMaybe we should ... move to thebed? It’ll be more comfortable ...

SARAHYeah.



13.

INT. SUBURBAN BEDROOM - NIGHT

Oscar sleeps with his arm around her. Sarah is wide awake.Her eyes have turned red again.

She silently moves his arm away and gets out of the bed,

still naked. She leans against the wall. She stares at Oscarwhile he sleeps. Her red eyes glow against her face.

She grabs her head in frustration.

SARAHNnngggh. God dammit. God damn itall to hell.

FADE TO BLACK:

INT. SUBURBAN KITCHEN - DAY

It’s morning. Oscar hobbles into the KITCHEN. Sizzling baconcan be heard, like rain.

Sarah grins at him, though there’s a hint of trepidation inher eyes.

OSCARBacon?

SARAHCatch.

She tosses him a strip of bacon. He snatches it out of theair. He stares at his hand in amazement. No shaking.

OSCARHuh.

SARAHLooks like I cured you.

He eats the strip of bacon.

SARAHThink you can drive again?

OSCARI’ll give it a shot.



14.

EXT. HOSPITAL PARKING LOT - DAY

They pull into the spot beside Oscar’s car. He’s in thedriver’s seat of Sarah’s car, looking very surprised athimself.

Oscar gets out and unlocks his own car. He turns theignition. The engine sputters to life.

Sarah taps on the window. He lowers it for her.

SARAHHey.

Beat.

SARAHGood luck, okay?

Oscar nods.

OSCARThank you. For ... everything. Foreverything you’ve done.

Neither of them move. They read each others’ faces, unsureof what to do next.

Sarah bites her lip and pulls a pen from her back pocket.She leans through the car window and writes her phone numberon Oscar’s face, backwards, mirror-writing. He lets her doit, but not without some confusion.

OSCARWhat’s this?

SARAHI want you to look at yourself inthe mirror. You shouldn’t be afraidof who you are.

He’s silent. Dumbfounded.

Sarah gently places a kiss on his forehead. She walks backto her car. Oscar rolls up the window.

His hands stay still. No more shaking.



15.

INT. OSCAR’S APARTMENT - DAY

Oscar stares at the mirror. Sarah’s phone number reflectsback at him.

He smiles. He copies it down on a piece of paper. He shoves

the paper in his back pocket.

He splashes water on his face.


It’s very quiet. Seven people are seated in a circle.There’s an empty chair where Oscar normally sits.

One man coughs. Mid-to-late sixties, slightly overweight,bearded. His name is Robert Bradstone. We’ve seen him beforeat the hospital, but only briefly. He’s a PRIEST. It’s not

immediately obvious.

Oscar delicately opens the door and enters. The SUPERVISOR-- a balding man in his fifties -- smiles warmly.

OSCARSorry I’m late.

SUPERVISOROh, it’s alright. We haven’tstarted yet. Take a seat.

He hobbles over to the empty chair and sits down.

SUPERVISORI’m glad you decided --

CUT TO:

INT. NIGHTCLUB - NIGHT

Blaring music. Deafeningly loud. Screaming crowds andsparkling glitter. Slutty girls and douchey guys. Thickcrowds, sticky floors, cartoonishly-large speakers.Black-shirted bruisers guarding the exits from the drunks.

A scrawny young man, SAMMY STONE, sits at a bar stool,sandwiched by two DUDEBROS whose v-necks stretch to theircrotches. Sammy is not having a good time.

Sarah Bell wades through the crowd with familiarity andease. Her outfit screams SEX at the top of its lungs. Notquite promiscuous, but definitely sensual and vibrant.



16.

Sarah taps one of the dudebros on the shoulder. She guideshim into the crowd with a sultry look, but she quickly,deftly, expertly slips away to steal his vacated seat.

She signals to the BARTENDER. He ignores everyone but her.

SARAH

Whiskey on the rocks. No ice.

The bartender grins wide.

BARTENDERSo, just whiskey.

SARAHYeah.

As he expertly pours her a glass, she lightly taps Sammy onthe shoulder. He startles.

SARAHHey there. Don’t you like dancing?


Compared to the club, the church is -- almost violently --silent.

The ex-soldiers take a short break. Oscar pours himself aglass of water.

As he goes to take a sip, Robert clasps him firmly on theshoulder. It’s not a rough gesture, just overtly familiar.

ROBERTHey. Robert Bradstone.

OSCAROscar. Vietnam, I take it?

ROBERTYeah. Long time ago. Not a greatwar for a priest, eh?

OSCARYou don’t look like a priest.

Robert rolls his eyes.

ROBERTThere’s no dresscode. Actually,there is a dresscode, but I’m tiredof uniforms these days.



17.

OSCARYeah, me too.

ROBERTIf anyone needs God, it’s you youngfolk. Good to see you opening up

tonight, by the way.

Oscar smiles.

OSCARI barely said anything.

ROBERTIt’s only your second go, don’trush. Know how long before Istarted talking, back in theseventies? Took me two months tospeak up. So what changed for you?

Oscar thinks about it for a moment.

OSCARI ... mighta met someone.

Robert grins broadly. His beard seems to expand.

ROBERTWell then! Tell me about her.

OSCARHim.

Robert gives Oscar a look.

Oscar smirks. He chuckles and playfully punches Robert onthe arm.

OSCARI’m juuust kidddding! Her name isSarah --


Sammy shouts to be heard over the ruckus. Sarah has notrouble getting heard, but Sammy must strain his voice asfar as it can go.

SAMMYI don’t like dancing.



18.

SARAHJust here for the drinks, eh?

SAMMYNo, my friends told me to come. Idon’t usually go out.

SARAHWhat?

She heard him fine.

Sammy purses his lips and goes back to nursing his drink.

SAMMYNevermind.

SARAHWhere are your friends?

The bartender hands her a glass of whiskey. She passes him atwenty dollar bill with a wink.

Sammy takes a sip of his drink, muttering into the glass.

SAMMYI dunno.

SARAHThey don’t seem like very nicefriends to me.

This gets his attention. Her eyes are wide with innocentcuriosity. Without breaking eye contact she drinks theentire glass of whiskey.

SAMMYThey’re not.

SARAHSorry, it’s just, I can’t hear youat all.

Sammy turns away again.

SAMMYWhatever.

She gently places her hand over his wrist.

SARAHNo, what I mean is -- we shouldfind somewhere quiet. It’s too loudout here.



19.

EXT. BRIDGE - NIGHT

Sarah and Sammy lean on the railing, overlooking the wateron the outskirts of the city. They’re alone. It’s abeautiful night.

Sarah shivers. Sammy stares out at the water. He doesn’tnotice her. She stops shivering. When he finally looks ather, she shivers again. He courteously removes his jacketand drapes it over her shoulders.

She gives him a grateful smile.

SARAHThank you.

SAMMYIt’s nothing.

They look out at the sparkling river. Neon lights reflectover its surface.

SAMMYIt’s beautiful.

SARAHYeah ...

His hand creeps over to hers. He clasps her tightly. Shelets him, but she turns her head away to grimace without himnoticing.

SAMMYDo you mind ... Do you mind if Ikiss you?

When she lets him see her face, she’s got her vulnerable,innocent eyes again.

SARAHI don’t mind at all.

He leans in, eyes closed, blind. Sarah’s eyes are open. Theyfilm over with a red glow. She grins: slasher smile.

Her phone rings. The redness goes away. She pulls back. Shebites her lip.

SARAHI’m sorry.

Beat.



20.

SARAHI’m sorry, I’ve been expecting acall. It could be important.

SAMMYNo, no, it’s fine.

He dejectedly leans back against the railing.

EXT. CHURCH PARKING LOT - NIGHT

Oscar leans against his car. Out of nervousness, he taps hisindex finger on his cane. He holds his CELL PHONE to hisear.

We can hear it ringing. Five rings. With each ring, he getsmore and more anxious.

CLICK.

He smiles even before her voice comes through.

SARAH (OS)Took your damn time.

Oscar chuckles.

OSCARSorry.

Behind him, the support group members who haven’t already

gone home socialize quietly among themselves. Robert getsinto his car and slowly pulls out of the parking lot.

OSCARSo ... I didn’t really ...

Robert waves through the car window. Oscar waves back.

OSCARI didn’t think about what I wantedto say. So it’s coming out allawkward, I’m just spitting outwords. You make me do that.

SARAH (OS)That’s alright. I know why you’recalling.

OSCARI mean, if you don’t want to --



21.

SARAH (OS)No no no, I do. I really do. I wantto see you so bad I could tear outmy own eyes. I’m starving.

Oscar raises his eyebrows.

OSCAROkay, uh. I definitely wasn’texpecting ... that.

SARAH (OS)I’m half-joking.

OSCARRight then.

SARAH (OS)Half. So when can we --

OSCARIs tonight good?

EXT. BRIDGE - NIGHT

Sammy stares at the river while Sarah talks. His brow’sfurrowed with disappointment and resentment.

SARAH... Tonight sounds great.

She hangs up the phone and shoves it in her pocket. Her

expression is culpable.

SARAHSorry.

SAMMYYour boyfriend?

SARAHThe one that got away.

Sammy stews for a moment.

SAMMYI know how that feels --

SARAHHey, hey, no, listen.

She grabs him by the chin, affectionately.



22.

SARAHListen to me. I really wanted thisto happen. I did. But this is moreimportant, understand?

SAMMYNo, I understand ...

SARAHI have to figure out what wentwrong. I have to figure out why Icouldn’t go through with it.

SAMMYYeah.

He looks at her with hope in his eyes.

SAMMYMaybe later we could --

SARAHNo. We missed our chance.

CUT TO:

Sarah is long gone. Sammy sits on the bridge by himself. Hetakes a swig of his beer, then spits it out in surprise.

SAMMYDammit, she took my jacket!

He slouches, weighed down by helplessness.

SAMMYAnd now I have no phone. Great.

He takes another swig.

FADE TO:

EXT. SUBURBAN DRIVEWAY - NIGHT

Sarah’s car is already parked in the driveway.

Oscar pulls up in his car. His high beams illuminate thehouse. There aren’t any lights on inside.

He kills his beams. He takes a deep breath and gets out ofthe car.

He’s cleaned himself up. A stylish EYE PATCH hangs acrosshis eye.



23.

The front door opens. It’s dark inside.

A light flicks on.

Sarah emerges. She leans against the doorframe.

Her hair’s long and wet like she just got out of the shower.She has on a BAGGY SWEATSHIRT (with large POCKETS) and SPACETIGHTS. It’s the polar opposite of her appearance to Sammyearlier that night. Comfort, not sex.

SARAHHey, you.

Oscar looks down at his clothes.

OSCARDid I overdress?

SARAHA little.

She waves a handful of DVDs. Romantic comedies. She giveshim a shy smile.

He walks up.

SARAHGotta admit though, I’m loving theeye patch.


Sarah’s prepared things. She was busy. Bowls of chips andpopcorn, soft drinks, comfortable blankets. The televisiondisplays a DVD player screensaver, bouncing around idly.

Sarah stands at the edge of the room while Oscar makeshimself comfortable. She watches his every movement. She’sworried he won’t like it.

SARAHNot what you were expecting?

Oscar sits down on the couch. He has good posture.

OSCARNot at all.

Sarah looks crestfallen ... at least until she sees his slysmirk.



24.

OSCARI’m more of a horror guy, myself.

CUT TO:

They cuddle on the couch together, wrapped in blankets. The

movie comes to an end off-screen.

Oscar picks up the remote and turns off the TV.

Sarah leans into him, closing her eyes. He runs his handthrough her hair.

SARAHI want to keep doing this. I’venever done this before. You know --

She moves her hand in a gesture of non-commitment.

SARAHMovie night. Lounging around.

Oscar repositions himself. Her head gracefully falls ontohis stomach, hair sprawling everywhere, looking up at himupside-down.

OSCARThat’s a weird thing to say. Causeit’s always the opposite.

SARAHReally?

OSCARMostly, yeah.

SARAHWhat happened to your eye?

OSCARI ... don’t really wanna talk aboutthat, sorry.

SARAHI don’t care. Tell me.

He looks away awkwardly. She presses her palm against hischeek and turns his head back towards her.

SARAHCome on.





26.

She talks as she moves to the front hall.

SARAHHe wasn’t supposed to be back untilthis weekend.

OSCAR

What? Who wasn’t?

INT. SUBURBAN FRONT HALL - NIGHT

Oscar grabs her by the shoulder.

OSCARWho’s not supposed to be here? Isit ... your husband? Is that whatthis is about?

SARAH

No no no, I don’t know himpersonally, not really. I found outhe was gonna be gone for a fewweeks, so I kinda took advantage.

OSCARWhat?!

She pulls his cane from under him. He collapses.

OSCARAhh! What the -- ?!

Sarah takes the cane over to the front door. She pressesherself flat against the wall.

SARAHSorry, I’m just gonna borrow thisfor a sec. I’ve got a hugeconfession I need to tell you.

Beat.

SARAHTwo confessions, actually. First:

this isn’t my house.

The door opens. A 70-year-old man walks in. This is EDWARD.

EDWARDWhat in god’s na--

CRACK. Sarah hits him in the head with the cane.



27.

OSCARJesus!

Edward goes down cold. Maybe dead.

Sarah tosses the cane back to Oscar. He catches it and hauls

himself back to his feet.

OSCARWhat are you doing?!

Sarah picks up the old man by his shoulders. His head lollsunder her grip. Her voice is very calm and measured.

SARAHCare to help me out? I mean, you’reclearly dealing with a psychopath.It’s best to keep me happy,wouldn’t you think?

INT. SUBURBAN BEDROOM - NIGHT

They dump Edward on the bed.

OSCAROh god.

SARAHDon’t worry, he’s alive. Do youknow how many times I’ve done this?

OSCARThat is not reassuring!

Sarah gently tucks Edward into the bed, like a child. Hiseyes flutter. She closes them for him and she hums him aSIREN’S SONG.

Oscar, for some reason, is immune to the song. Sarah snapsher fingers in front of his face.

SARAHYou ain’t tired? Not even after thesiren’s song? Weird.

Stoic silence.

SARAHOkay, good, that’s all dealt with.Second confession --



28.


It’s all serious now. Sober and drab. Moodily lit.

Sarah places Oscar on the couch. She sits beside him,sideways, on her knees. She clasps their hands together inearnesty.

She tries to say something, but she thinks better of it.

Oscar is scared out of his mind. He keeps silent.

Finally, Sarah speaks.

SARAHI said I wasn’t human. And, like,I’m not. Not at all. I’m a ravenousmonster from the depths of hell.

Deafening, shattering silence.

Oscar stares at her in disbelief. Sarah gives him a culpableexpression in kind.

SARAHLike, a succubus. Sex demon. Iseduce young men and I eat them.

Silence.

SARAHSo. You should be dead. That wholething between us, you should bedead because I was totally gonnadevour you. I was THIS close. Youwere gonna be victim numberninety-five, and yeah, I keepcount.

Silence.

SARAHAll I had to do was --

She gnashes her teeth.

SARAH-- but I couldn’t do it. And Idon’t know why I couldn’t do it ...and I’m scared. I think something’swrong with me and I don’t haveanyone else to talk to.

Silence.



29.

SARAHI don’t ... have ... anyone else.To talk to. Except for you. Oh god,that sounds so pathetic.

She reaches out to touch him and he scrambles off the couch.

OSCARDon’t touch me.

SARAHPlease. Please don’t say that.Look, if you don’t believe me, lookat me, look.

She slides off the couch onto her feet. Her eyes flash red.

She opens her mouth wide. Monstrous FANGS sprout from herlips, spraying BLOOD and BILE.

CLAWS curl from her fingertips.

SPINES emerge from her back, pressing the limits of thebulky sweatshirt.

OSCARFFFF -- FFFUCK!!

They stare at each other for a long time. Oscar can barelyhold himself upright. Sarah heaves in and out.

She speaks. Her voice hasn’t changed, surprisingly.

SARAHHelp me, Oscar.

She swings for his face with her massive claws. He slams hiseye shut.

Her claws hover an inch from his face. She can’t do it. Sheshakes with frustration and helplessness.

SARAHI -- can’t -- do it.

She slumps on the couch, on the verge of crying.

Another moment of silence. She finally breaks down intotears. She covers her face with her claws. Red light leaksthrough the gaps in her fingers.







32.

Oscar and Sarah (human again) watch as they load Edward intothe back of the ambulance. A third EMT approaches.

EMTHe’s got pretty severe head trauma.Do either of you know what

happened?

Sarah shakes her head emphatically. Oscar just glares ather.

EMTWhat’s your relation to EdwardBurben?

Oscar opens his mouth but Sarah interrupts him.

SARAHI’m his niece and this is my

boyfriend Stephen. We’re stayingover until I leave town next week.Is Uncle Eddy gonna be alright?

EMTHe should pull through, but we needto get him to the hospital quickly.

SARAHWhen you leave the neighbourhood,watch out for speedbumps. Did youknow they contribute to 85 deathsfor every life they save?

Oscar pulls Sarah aside.

OSCARYes, interesting. Speedbumps.Nature’s deadliest predator.

They huddle into the doorway, out of earshot of the EMTs.They speak in hushed tones.

OSCARNiece? Boyfriend? Who’s Stephen?

SARAHWe can’t give him our real names.

OSCARThis isn’t a police investigation.He could be dying and you’re makingup weird stories.



33.

SARAHIt’s true about the speedbumps.


It’s late enough that the whole club is packing up. There’sbarely anyone left, just the bartender cleaning up after hisshift. Sammy is trying to talk to him.

BARTENDERWe’re closing. Do you know whattime it is?

SAMMYNo, I don’t. My phone got stolen.

BARTENDERIt’s four in the morning.

SAMMYDo you remember a girl from earliertonight?

The bartender rolls his eyes as he wipes down the counters.

BARTENDERThere were a lotta girls, buddy.

SAMMYShe was ... well, you’d rememberher. I think she had a whiskey? No

ice? That’s what she was drinking.

The bartender pauses for a moment.

BARTENDERHuh.

SAMMYShe stole my phone.

BARTENDERI don’t think I can help with that,but I’ll keep an eye out.

SAMMYThanks.

BARTENDERIt’s closing time. You have toleave.



34.

SAMMYRight.


Right where we left off.

OSCARShut up about the speedbumps! Whyare we talking about speedbumps?Just give the guy our names andleave it at that.

SARAHSee, it’s gonna be a policeinvestigation as soon as they askEdward about his beloved niece andher boyfriend and he asks them,

"What in god’s name are you talkingabout?" In the meantime, we cleanup the house and pretend this partof our adventure never happened.

OSCARSee, I can’t -- I can’t do that.

SARAHYou’re gonna have to unless youwant the police banging down yourdoor asking what you were doing insome random geriatric’s house in

the middle of the night.

OSCARYou’re a psycho.

SARAH(raising voice)

I’m not a fucking psycho!

Oscar shushes her.

SARAH(quieter)

I’m practical, okay? I’m pragmatic.I see a solution to a problem and Itake it. And don’t start spoutingmoral codes at me cause I’ve seenthe system here and it’s got moredouble standards than a joust.



35.

OSCARWhat?

SARAHRather rot in Hell than plead inCourt, my dad always said.

OSCARWhat?

SARAHForget it.

The EMT walks up the patio and addresses them.

EMTAre you two gonna be alright?

SARAHWe’ll be fine. Please just let us

know if anything happens, okay?We’ll be waiting by the phone.

EMTI don’t think I can help with that,ma’am, but I’ll try my best.

SARAHThank you so much.

CUT TO:

The ambulance pulls away.


Time-lapse / montage. Sarah and Oscar pick up and wipe awayall of the evidence that they were here. Chips, blankets,fingerprints on the remote and the telephone, stains on thecouch, strands of hair caught between cushions, et cetera.

At some point, Oscar stops helping and disappears. Sarah isforced to finish up by herself.


Oscar waits by his car. Sarah comes out the front door.

SARAHOkay. Finished. No traces unlessthey’re really looking forsomething, which they won’t be.



36.

OSCARLook at my face.

She patronizes him.

OSCARHow many people wear an eyepatch?

Is this a face you’ll forget?

SARAHDon’t worry about that.

OSCARWhy the hell shouldn’t I worry?

SARAHSpeedbump.

OSCARWhat?

SARAHIt’s a code word for selectivememory erasure. They won’t recallour faces. I assumed you’d beimmune to it, and I was right.

OSCARI don’t understand any of that. You... wiped his memory?

SARAHI have a few tricks. I sang Edwardto sleep, and I erased the EMT’smemories of our faces, and I canspeak like --

(Oscar’s voice)-- anyone I want.

OSCARJesus, don’t do that. You’retreating this like ... it’sfacetious. You don’t understandanything and you’re just flyingaround like nothing can touch you.

Silence.

OSCARAnd ... I don’t think I want this.I don’t want to have to take careof you.

Sarah stares at her feet.



37.

SARAHYou’re immune to everything. It alljust bounces off you. And I thinkmaybe I’m dying? Maybe it’scatching up to me and I’m dying.

Oscar opens his car door.

OSCARI can’t think about this right now.Call me sometime tomorrow and we’llsort this out. Don’t kill anyone.Do you have my number?

Sarah nods.

SARAHIt’s on my cell.

Oscar pulls out of the driveway.

INT. SUBURBAN FRONT HALL - DAY

The sun rises. Sarah sits in the middle of the hall,motionless but awake.

She opens the front hall closet and pulls out some clothes:the dress from the nightclub, a pair of slim pink pajamas,jeans and a t-shirt, and Sammy’s jacket.

She reaches into the jacket pocket and pulls out her phone.

She feels something else in there.

She pulls out SAMMY’S CELL PHONE.

Three missed calls. Five text messages.

SARAHOhhh, god dammit.

She puts the phone away.

SARAHDon’t think about it. Just focus onOscar. Focus.



38.

INT. LIBRARY - DAY

An academic man in his thirties taps away on a LIBRARYCOMPUTER. Sarah nudges him lightly.

He’s stunned by her presence.

SARAHHey, you wouldn’t mind if I usedthat computer, would you?

Still stunned, he passes it over to her.

She opens up a browser and types something into a searchengine. We can’t see what it is.

PETERYou come here a lot?

SARAH

All the time. Hey, you ever been inan abusive relationship?

PETERErr ... what?

SARAHI’m just looking at the signs here.Like, emotional blackmail. Claimingownership. That sort of thing.

PETERAre you ... is someone hurting you?

She shakes her head.

SARAHNaw, I think it’s the other wayaround. Like I’m not physicallyhurting him, don’t get me wrong,but I think I’m still damaging him,get me?

PETERUm.


Oscar gets up and yawns. He reaches for his cane.

MONTAGE:

He showers.



39.

He brushes his teeth.

He checks the time: 3:30 pm.

He boils soup on a gas stove.

END MONTAGE:

His cane leans against the side of the table. He eats andchecks his phone at the same time. There’s a single missedcall, no voicemail.

He sends a text in reply: "I was asleep. Sorry."

He sends another text to an unknown number: "I need you overhere ASAP."

Once they’re sent, he digs into the rest of his soup,cleaning his bowl entirely.

His phone rings. He pauses, but picks it up.

His face is RELUCTANT and CONFLICTED.

SARAH (OS)Hey, Oscar.

INT. LIBRARY ARCHIVES - DAY

Sarah sits on the library floor with her phone. She’s in theback, in some obscure section of the archives. She puts on apair of SPECTACLES while she listens.

Her face is ANXIOUS, but HOPEFUL.

OSCAR (OS)Hi, Sarah.

SARAHYou told me to call you so we cansort this out.

OSCAR (OS)... Yeah.


OSCARYeah I did.

He puts her on speakerphone while he cleans up the dishes.



40.

OSCARSo, you haven’t ... eaten anyone,have you?

SARAH (OS)Not since last week. Hey,apparently I’m being kinda abusive?

Oscar laughs.

OSCARAre you, now.

SARAH (OS)Don’t you dare laugh at me! Ilooked up the signs on the web, andit totally fits. Like obviously notphysically hitting you, but, like,the threats of self-harm and the... emotional manipulation, that

sorta thing, I’m doing it right noweven.

OSCARWhatever it is, it’s not working.I’m fine.


SARAHDon’t tell me it’s not significant,cause it really is! I want to make

this work. Or at least, you know,long enough to figure out what’swrong with me.

Static.

SARAHLook, my first thought was, I’lltreat you to something nice, I’llmake it all up to you somehow. Butthat’s just another sign, thelittle stretches of good deeds asan attempt to make up for the bad,just proving to myself that it’sall fine, rather than a genuineeffort to repair things. Does thismake sense? So I can’t just, like,give you gifts or make promises oroffer blowjobs and steak every day,cause that doesn’t fix things.



41.

OSCARActually I love steak.

SARAHThat’s facetious! You told me notto be facetious, and that makes you

a hypocrite.

Static.

SARAHI’m not just gonna say I’m gonnachange. I’m gonna do it,meaningfully. I’m gonna have togive things up, and it’s gonna bereally difficult on my end, so Ireally need your support.


The doorbell rings.

OSCARHang on.

He puts his cell off speakerphone and holds it to his ear.

OSCARYou heard the doorbell. Gimme asec, it’s a solicitor or something.

It’s not a solicitor. It’s Robert the Priest.

Oscar holds a finger to his lips: "Shh." Robert nods.

The two of them sit at the kitchen table. Oscar puts thephone back on speakerphone.

OSCARHe’s gone. It was just ... somereligious nut.

Robert gives him a look. Oscar shrugs.

OSCARSo ... uh. Sarah. Does this mean... you’re not gonna eat anyoneelse? How many did you say you ...

SARAH (OS)Ninety-four.



42.

OSCARJesus.

SARAH (OS)C’mon, that’s been adding up sincethe seventies. I’m pretty tame,really. In comparison.

Oscar taps his hand nervously against the table.

SARAH (OS)Stop that. I can hear that.

He stops.

OSCARMaybe you’re right. Maybe we canwork something out. But I reallyhave no idea what I’m getting into,do I? I don’t know what you are and

I don’t know the rules.

SARAH (OS)You know what I am. I’m a succubus.

OSCARExplain how it works. From start tofinish. Please. I want to know.


Sarah stares through a stack of books. Peter peruses throughthe collection. He looks a little downtrodden.

SARAHIt’s not that complicated.

CUT TO:

The man looks over, as if he senses her, but she’s alreadydisappeared from view.

She slinks through the shelves. Silent as a cat. Her phoneis inexplicably missing.

SARAH (VO)I find a target, and I make thefirst move.

She subtly nudges a shelf. A BOOK falls over, tumblingthrough Peter’s hands. Sarah’s immediately beside him,insane reflexes. She catches the book. She smiles timidlyand looks away, feigning shyness.



43.

SARAH (VO)I don’t need any fancy tricks. Igot you under my spell that firstnight using nothing but the basics.Anyone can do the basics, no magicat all. It’s simple, really ...

Sarah laughs at an unheard joke from Peter. They discusssomething funny, M.O.S. Inaudible.

SARAH (VO)I find something missing.

Peter pulls out some notes scribbled on a piece of paper. Itlooks like poetry.

SARAH (VO)And I offer to replace it.

They sit on the floor together, reading it all out. M.O.S.

SARAH (VO)No tricks. Not until the end.

Her eyes turn red. Peter notices. He scrambles feebly away.

Sarah turns into a monster and rips him to shreds.

CUT TO:

We’re back to Sarah staring at Peter through the shelves ofbooks. She holds the phone to her ear. She bites her lip and

scowls in frustration. None of that actually happened.

Peter remains blissfully unaware of her existence (and, mostimportantly, alive).


Oscar hangs up.

OSCARHeard enough?

ROBERTYes.

CUT TO:

Oscar boils some water in a kettle.



44.

OSCARYou big on tea?

ROBERTI’m fine, but thank you.

CUT TO:

Oscar sips from his mug of tea while Robert speaks.

ROBERTShe’s psychotic, obviously.

Oscar swallows.

OSCARShe ain’t lying, though. I’ve seenher and I’ve seen what she can do.

ROBERTYou realize monsters don’t exist,right?

OSCARBible says there are monsters.Lived in the deserts outside ofEden. I think.

ROBERTThe bible says a lot of things.

OSCAR

And they got sent to hell, right?So what happens when they get out?

Robert sighs.

ROBERTI’m gonna sound like a terriblepriest, but ... I believe yourstory.

OSCARReally?

ROBERTI’ve ... I’ve come prepared. Thereare things I saw in Vietnam that Ishould’ve just ignored. Enoughblood and violence as it were.

He reaches into his coat and pulls out a CROSS.



45.

ROBERTIt was like a feast for them. Andnobody remembers but me, becausethat’s what they do. They get intoyour mind and they make you forget.

OSCARShe says her ... magic ... doesn’twork on me. Is that what happenedto you?

Robert grins. He reaches into his coat again.

ROBERTNo. I killed them all instead.

He pulls out a SILVER STILETTO. He places it on the table.

ROBERT

Silver blade, like this, straightthrough the heart. You only get theone chance.

Oscar presses his palm against the blade.

ROBERTYou like that? I bought it lastweek. The dealer assured me it wasreal silver.

OSCARSo that’s our plan.

ROBERTYes.

Oscar picks up the Stiletto, testing its weight.

OSCARWe’re gonna kill her.

Robert nods.

ROBERTStraight through the heart.

A little smile curls up Oscar’s cheek.

FADE TO:



46.

INT. SARAH’S CAR - DAY

It’s morning the next day. Sarah drives along a highway.She’s in a traffic jam. Her dashboard displays the time:8:30 am.

The radio blares. Something about a riot and a traffic jam.Sarah shuts it off.

She checks the display of Sammy’s phone. Her finger hoversover "return call." She speaks feverishly to herself.

SARAHOkay. What did he sound like? Whatdid he ...

(Sammy’s voice)... sound like, okay, got it.

She returns the call.

It buzzes for a while. Someone picks up.

It’s LEAH KATRINA, another succubus.

LEAH (OS)Saaaaammy, you wouldn’t pick up ...

SARAH(Sammy’s voice)

I lost my phone.

LEAH (OS)

Oh nooo! Who took it?

SARAH(Sammy’s voice)

I dunno, it was really late and --(her own voice)

Fuck it, Leah, it’s me. Iaccidentally took his phone.

Static.

LEAH (OS)You bitch.

SARAHIt was an accident. Where youstaying these days? I’ll pop by.

LEAH (OS)Don’t you dare --



47.

SARAHWhoops, turns out I already know.Just sit tight, I’m in a bit of atraffic jam here. We should catchup, don’t you think?

INT. LEAH’S APARTMENT - DAY

Leah Katrina looks like she’s in her late twenties. She hasthe vigor of a teenager and the cold, brutal intelligence ofa middle-aged politician. She’s dressed in a nightgown.

Her apartment is classy, high-end, huge and with a greatview of the city. It’s filled with expensive paintings andher own photography. Black and white nudes of former lovers.An expensive digital camera sits out in the open.

Sarah opens the door and walks in.

LEAHThat was supposed to be locked.

Sarah extends a single claw from her index finger.

SARAHYou oughtta get it fixed.

CUT TO:

The two of them sit on lounge chairs, sizing each other up.They don’t say a word, until Leah bolts upright with an

outburst.

LEAHWe had an agreement, signed invirgin’s blood, pig guts, the wholebloody ordeal --

SARAH(interrupting)

Yeah, sure, but it ain’t validhere, cause you gotta stick toyour, your --

She waves to the photographs on the walls. Muscley menposing seductively.

SARAH-- you know, and I get the littleshy-guys. We each got our types,don’t we? Why the hell were yougoin’ after scrawny l’il Sammy?



48.

Leah smiles.

LEAHHe got a rich family. How do youthink I afforded this place?

SARAHI kinda assumed you stole it.

Leah’s face immediately drops. She’s pissed.

LEAHGet out. Right now.

They stare at each other.

SARAHYou broke the --

LEAHGet the fuck out of my apartment!And don’t you dare go after any ofmy fucking targets again! Do youknow how many strings I pulled justto let you show your face in thiscity? Get out and don’t talk to me.You want me to get Cube on thefucking line? I’ll fucking do it!

Sarah pounds Sammy’s phone onto the coffee table.

SARAH

There. Give it back to him. Scrawnylittle shit.

LEAHWhat?

Awkward silence.

LEAHIs he still ALIVE? You didn’t eveneat him?

CUT TO:

Sarah slams the door.



49.

INT. COFFEE SHOP - DAY

Sarah’s still angry. She taps her foot impatiently while theperson in front of her orders.

She’s next in line. She presses a solid-black "KEEPCUP" into

the BARRISTA’s hand.

SARAHFill this with espresso.

BARRISTAUhh ... short black?

SARAHYou don’t understand. Fill theentire cup with espresso. Right tothe top, no milk, no sugar. Do it.

BARRISTAI don’t think we --

She throws a twenty-dollar bill at his face and sits down ina huff.

A DOUCHE approaches her, chugging a protein drink.

DOUCHEThis seat taken?

She bears her teeth at him like an animal. He gives her astrange look and moves on.

EXT. MANSION DRIVEWAY - DAY

Leah skids to a halt on her SCOOTER. She’s wearing a whiteHELMET and a long flowing white SCARF, both of which shetears off as soon as she kills the scooter’s engine.

The mansion is huge and elaborate. Unimaginable wealth.

She rings the doorbell. The door opens to MICHAEL STONE,Sammy’s older brother. Mike is about twenty-five, in thebest shape in his life.

He’s not happy to see her.

MIKEWhere’s my l’il bro?



50.

LEAHI was hoping he’d be here.

She waves Sammy’s phone.

LEAHAn acquaintance of mine found it

this morning, out in the back alleyof some nightclub.

MIKEHe called yesterday from a friend’shouse. He’ll be back thisafternoon.

LEAHOh god, I hope nothing ...

Michael strokes her arm affectionately.

MIKENothing happened to him. He’salright.

LEAHIs anyone else home?

MIKEJust me.

She leans into his chest. She whispers in his ear.

LEAHGood.

She wraps her scarf around his neck and pulls him closeenough to plant a kiss on his lips. He lets her.

They slip into the house.

INT. MANSION BEDROOM - DAY

Leah sits on the edge of the bed, naked, covered in blood.She has transformed into a monster and clearly has just

finished feeding.

Her monster form is similar to Sarah’s, with a few minoradjustments. She has a thin LIZARD’S TAIL, and she hasSHORTER CLAWS in comparison (although they’re still huge).

She licks the blood off her lips with a forked tongue. Shegrabs a knife and stabs the DECAPITATED BODY of Mike a fewtimes. She drags him over to the door, smearing blood.



51.

MONTAGE:

Leah smashes the SECURITY SYSTEM.

Leah breaks a WINDOW with a CHAIR.

Leah cleans JEWELERY out of a desk.

Leah tears a SAFE out of the wall, breaking open the lockwith her claws and stuffing stacks of CASH into a BACKPACK.

INT. HOTEL LOBBY - DAY

Leah checks into a HOTEL with a broad smile.

INT. HOTEL ROOM - DAY

Leah stuffs the vast majority of the jewelery into the BED

COVERS, but keeps a portion of it for herself.

EXT. CITY STREET - DAY

Leah dials a number into a public telephone.

LEAH(different voice)

Hello, cops police? I found allthis stuff stashed away in my hotelroom, and I think someone’s househas been robbed. There’s jewelery

and cash and blood all over.

END MONTAGE:

EXT. MANSION DRIVEWAY - DAY

A TAXI pulls up. Sammy pays the driver and gets out.

He sees the broken windows. The front door is ajar. As hegets closer, the smell hits him hard.

SAMMYOh my god --

Sitting on the front stoop, in plain view, is his PHONE.

He picks it up.

Leah clasps his shoulder. He jumps.



52.

LEAHWhy aren’t you dead?

SAMMYWhat ... ?

LEAH

Why didn’t she kill you? You havethirty seconds and then we’re done.

SAMMYWhat’s going on ... ?

She slams him to the ground. His head bashes against thestep. Blood drawn.

LEAHThe police are coming! I don’t havetime for this! Why didn’t shefucking kill you?!

SAMMYAaaagh -- !

(coughing)Who -- what are you talking about?!

LEAHSarah! She stole your phone, shewas gonna kill you, but she leftyou alone instead! Why did sheleave? Why didn’t she go throughwith it?

SAMMYYou -- she -- what --

LEAHFucking spit it out!

SAMMYShe said there was someone else,like, her boyfriend called and shecouldn’t --

LEAH

Stop. Thanks. I think I got it.Just listen to one more word: itwas WONDERFUL while it lasted.

He blinks and Leah’s features melt away until she’s ablurred-out blob. He’s FORGETTING HER FACE. Much more thanher face, too, although that’s not immediately obvious.

Leah gets on her scooter and putters away.







55.

SARAH (VO)Hey, you’ve reached Sarah Bell!Can’t reach the phone right now, sowould you mind leaving a message?Thanks so much!

CUT TO:

INT. CHURCH - DAY

Oscar sits in the front row of the pews. He talks on hisphone, M.O.S.

ROBERT (VO)Set up a meeting. Stick to thescript as best you can.

Oscar consults a PIECE OF PAPER with messy handwritten notes

scrawled over it.

CUT TO:

While Robert paints ancient pentagram-symbols in the centerof the church, right in front of the pulpit, Oscar unfurlsthe carpet. It’s got strange designs.

ROBERT (VO)We trap her again inside thechurch, right where we need her,and when she’s immobile, you stabthat silver dagger through her

heart. It’s up to you.

OSCARWhat do the patterns mean?

Robert looks up. He laughs at Oscar.

ROBERTNothin’. We’re just gonna use it tocover up the pentagram.

OSCARSeems a bit Satanic ... don’t youthink? Shouldn’t you be doing, like... priest things, angel things?

ROBERTSatan was an angel. Not a very goodone, but an angel nonetheless.



56.

OSCARRobert ...

Oscar is worried. He sits down on the carpet. He drapes hiscane across his lap.

ROBERTYeah?

OSCARAre you ...

He swallows nervously.

OSCARAre you a demon?

ROBERTWhat?!

OSCARI mean ... this can’t be acoincidence. You just happened tobe exactly the help I needed.

Robert places his PAINTBRUSH on the can. Red paint drips.

ROBERTWhy the fuck would I be a demon,then?

OSCAR

She said it herself. She ... findsa need. And she offers to fill it.

Robert shakes his head.

ROBERTI’m not a demon. But you’re right,this ain’t a coincidence.

Oscar holds his cane tightly.

ROBERTSuccubi have patterns. And Sarahgoes after guys like you. Brokenand timid and sad. And lonely.

Oscar angrily gets to his feet. But he doesn’t say anything.

ROBERTShe killed all of ’em but you. So Ithink it’s true, I think you’re

(MORE)



57.

ROBERT (cont’d)immune to whatever tricks she’s gotup her sleeve, and that may be theedge we need. Even if we pulleverything off perfectly, she’llstill have an edge against us,

because she doesn’t sleep, shedoesn’t feel pain, and she’ll beangrier than we can possiblyimagine. You know the expression.

Beat.

ROBERTHell hath no fury.

Oscar smirks.

INT. WITNESS QUESTIONING - DAY

A gruff POLICEMAN passes Sammy a cup of warm tea across themetal table. Sammy is pretty shaken up, as you’d expect.

POLICEMANYou found your phone on the frontstep. The same one that this womanstole from you.

Sammy slurps from the tea. He nods.

POLICEMAN

Do you remember her name?

It takes him a while to spit it out.

SAMMY... Sarah.

POLICEMANAnd you got her number, I take it.

SAMMYUhh.

He takes another slurp.

SAMMYNo ... I didn’t ...

The policeman holds up Sammy’s phone. He makes a show ofsliding through the contacts.



58.

He stops at one labelled "SARAH BELL". It’s marked with aclassy black-and-white photo of Sarah’s face. Professionallydone. Clearly Leah’s handiwork. Maybe there’s some sortastory behind it.

He recognizes the photo. He shows the contact info to Sammy.

POLICEMANThis her?

Sammy blinks in disbelief.

SAMMYYeah. It is. But I didn’t --

POLICEMANThank you.

The policeman gets out of his chair and leaves. He’s got all

he needs.

EXT. CITY STREET - DAY

Sarah walks alone. She’s wrapped herself up warm against thewind, including Sammy’s old jacket.

A GHOST POLICE-CAR pulls up beside her. The same policemanfrom last scene rolls down the window.

POLICEMANExcuse me, Ms. Bell.

Sarah leans in.

SARAHIs this about the tax audit? I wentto the hospital for a certificateof health, just like you asked.I’ve got all the paperwork ready.

POLICEMANJust get in the car.

FADE TO:

INT. POLICE CAR - DAY

Sarah sits in the back. She’s visibly annoyed.



59.

SARAHHow long’s this gonna take?

The policeman says nothing. Sarah crosses her armsimpatiently.

SARAH

Do you mind if I make a call?

INT. CHURCH - DAY

Robert and Oscar stare up a the ceiling of the church.

ROBERTWe’re gonna need a ladder.

Oscar’s phone rings. He picks it up.

OSCAR

Sarah?

SARAH (OS)I’m

INT. POLICE CAR - DAY

SARAH (CONT’D)gonna be late.

The car grinds to a halt. Outside, a crowds of young peoplewielding weapons and glass and stolen riot gear cross the

street, smashing buildings and windows. A pile of garbagecatches fire. It’s a riot.

The policeman puts the car into reverse and cranks thewheel. He’s not dealing with this.

POLICEMANJesus. They’ve been going at it fora week.

Sarah tears out the divider between the back and the frontwith her bare hands. The policeman jolts.

She extends one of her claws and holds it to his throat.

SARAHThis is a knife. Where are youtaking me?

He says nothing.



60.

SARAHThis isn’t about some tax thing, sowhat’s the deal here? Do you thinkI killed someone?

POLICEMANThere was ... a robbery. Someone

was murdered in the break-in.

SARAHWho? Whose house?

POLICEMANSammy and Michael Stone --

SARAHWhy me?

POLICEMANYour contact info, it was in

Sammy’s phone --

She tosses him out the side of the car.

The rioters descend on him. He pulls out his gun but it’stoo late. They beat him to death.

Sarah drives away.

INT. LEAH’S APARTMENT - DAY

A shirtless ADONIS lounges on the couch. Leah sets up hercamera on a tri-pod. A strong HALOGEN LIGHT illuminates thescene from the side.

Sarah bursts through the door. Wood splinters off in alldirections.

LEAHFor chrissake, I just got the lockfixed.

SARAHWhat the fuck, Leah!

ADONISVat is thees?

LEAHPut your shirt back on, we’re done.

As the Adonis packs up, Sarah drags Leah over to thekitchenette.





62.

Sarah raises her eyebrows in amusement.

SARAHReally? We’re doing this?

Beat.

SARAHI think you’ve been watching toomuch television.

Sarah pulls out a DESERT EAGLE PISTOL and blasts a holethrough Leah’s TV set ... and through the wall behind it,and presumably through several more walls after that. It’san earth-shattering explosion of energy.

The recoil should have knocked the gun out of Sarah’s hand,but her wrist barely flinches.

The Adonis bolts. Leah reaches the door first, slashing openhis throat. She catches him as he falls, lapping at theblood from his neck.

When she’s finished feeding she slowly looks up at Sarah.Her tail lashes back and forth. She drops the corpse. Shecrouches on the ground like a Xenomorph. Her tongue hangsout of her mouth lazily.

Sarah aims the gun at her.

SARAHAren’t these things cool? Remember

when you couldn’t use ’em to hitthe side of a church? I alwayspreferred cannons, myself, but Iguess this is close enough.

LEAHYou broke the rules.

SARAHFuck you, I didn’t break anything!I went after my profile like Ialways do. YOU broke the rules. Youwent against type.

LEAHIt was a long con, idiot! I wasafter his brother!

SARAHYou coulda fuckin’ told me!



63.

Leah leaps for her and Sarah fires. The bullet tears offLeah’s jaw in a fountain of blood and bone.

INT. LEAH’S BEDROOM - DAY

Sarah gently places Leah -- still conscious -- onto the LUSHKING-SIZE BED. Blood gets all over the nice sheets. Leah’seyes dart back and forth with fury.

SARAHYou’ll live. It’ll heal.

Sarah places the Desert Eagle on the NIGHTSTAND.

SARAHI’m gonna leave this here for you.Sort of an apology gift, I guess.

She slams her fists into the bed, jarring Leah painfully.

SARAHI’m not afraid of you! Think you’restronger ’cause you been around forso long but you’re useless andyou’re BORING! You wanna come afterme, go ahead, but remember --

She leans in close and practically spits her words ontoLeah’s malformed face.

SARAH

I have not gone soft.

CUT TO:

INT. FLOWER SHOP - DAY

Sarah sniffs a beautiful BOUQUET OF FLOWERS.

SARAHOh, they’re so pretty!

The FLORIST gives her a look.

FLORISTYou gonna buy those?

SARAHTell no one what you have seen.



64.

FLORISTUhh ... sure?


Sarah’s car pulls up. There aren’t many other cars in thelot. Oscar’s car is here, as well as Robert’s truck, and afew extra unoccupied cars to sell the illusion.

Oscar’s waiting at the entrance to the church when Sarahgets out. She holds something behind her back.

SARAHI don’t like churches.

OSCARYou’ll be fine.

SARAHWhere’s everyone else?

OSCARWe’re a bit early. Whatcha gotthere?

Sarah bites her lip.

SARAHI mighta broken my promise.

OSCAR

You didn’t ... kill anyone, didyou?

She laughs at the absurdity.

SARAHNo no no! I said I wouldn’t get yougifts and shit, but here I am.

She pulls out the bouquet of flowers.

OSCAROkay, well, that’s ... not reallywhat you’re supposed to give a man.But. Thank you anyway. I appreciateit. The gesture, I mean.

SARAHYou don’t like them.



65.

OSCARWell --

SARAHNo, it’s fine.

She places the flowers on the hood of her car.

SARAHLet’s meet your soldier buddies,shall we?

They walk into the church side by side.

INT. CHURCH - NIGHT

Sarah peers around.

SARAHI don’t like churches. I think Isaid that, didn’t I? Is this reallywhere you meet?

OSCARWell, yeah, in the basement.

SARAHThen why are we --

Her ears perk up. Her eyes flash red. She spins around.

Through the open door behind them, Robert completes thecircle of salt around the church. He drops the bag.

Robert waves.

Sarah’s already a monster by the time she leaps for him.


She slams into the INVISIBLE BARRIER dictated by the salt.Her claws rake through the air ineffectually. Her spineshave torn through the back of her shirt.

Robert examines her with curiosity.

She’s a flurry of fangs and claws and blood and bright redflashes. She sprays bile and spit.

Robert takes a step back while Sarah curls up in a ball andscreeches in frustration.



66.

She looks back into the church. Oscar’s gone.

INT. CHURCH - NIGHT

She cautiously walks between the pews, still as a monster.She’s not angry. She’s saddened -- BETRAYED.

She pushes aside a long LADDER.

SARAHOscar ... ?

He’s by the pulpit. He holds the Stiletto in one hand. He’sshaking a little bit. His heart beats almost visibly againsthis chest.

Sarah sees the elaborate carpet draped suspiciously in themiddle of the hall.

She stabs it with her claw and pulls it away. It fluttersthrough the air like a moth.

Underneath is a pentagram symbol, layered with eldritchlettering in an ancient language.

She tears the back off a pew and smashes it through thefloor, breaking the pentagram. She walks through it andcomes out the other side with no trouble.

Oscar backs away to the base of the cross. He holds out theStiletto defensively. His hands are shaking pretty badly.

Sarah steps up and approaches him. He waves the Stiletto inher face.

She clasps the blade in her claws and slowly pulls it fromhis grasp. She sets it on the ground.

She opens her mouth as if to eat him, but closes her jaw andinstead grabs him gently on the shoulder.

SARAHPlease don’t kill me.

OSCARWh ... why shouldn’t ...

SARAH(choking)

I don’t want to die ...

Oscar skitters out of her clutches. He grabs the Stilettoand puts a fair amount of distance between them.



67.

SARAHOscar ... it doesn’t have to belike this. I just wanna know what’shappening to me. I’m scared andyou’re all I’ve got.

She takes a few steps forward.

OSCARI’m sorry.

Sarah grinds to a halt, against her will. She pulls, butthere’s no give. She looks around frantically.

Down at the floor: no pentagram symbol.

Up at the ceiling.

SARAH

Oh.

The same symbol as before. Directly above her. Carefullypainted and dried onto the woodwork.

SARAHOh no, please.

She falls to her knees, still staring upwards at the base ofthe cross.

SARAHOh god, no ...

Beat.

SARAHPlease ...

She looks at Oscar. She paws at the air ineffectually. Hereyes well up.

FADE TO:

Robert and Oscar discuss something M.O.S. at the entrance tothe church, far away.

Sarah sits on her knees. She’s catatonic. She’s still amonster, but her eyes have turned white. They’re only redfrom crying.

She pulls her phone from her jacket pocket. In the process,her claws rip a hole in the fabric.





69.

SARAH (VO)I want you to know I tried to makethis work. I’ve never tried so hardfor anything in my life.

Robert nudges him. Oscar tears himself away from the phoneand nods. He takes the Stiletto up to the pulpit, one step

at a time. It’s slow enough to give Sarah time to finish herlittle speech.

SARAH (VO)It’s always come easily for me,living in a world where I can havewhatever I want whenever I decide,and I think I’ve gone complacent.Putting an actual effort into arelationship is strange territoryand I’m having to defend myintentions and restrain myself inways I’m not comfortable with. It’s

scary, and it’s weird, but I’mwilling to do it for you. Because Iwasn’t kidding when I said youcan’t be afraid of who you are -- Ijust meant it for the both of us.

He stands over her. She’s in monster form. She’s notspeaking -- this is still the text message in his phone.

SARAH (VO)I don’t know if you understand. Idon’t care. I just want you to --

She leaps to her feet, pressing herself against the sides ofher invisible prison. She’s no longer a monster. She’s abeautiful human woman in ripped clothes. She speaksdiegetically, seamless between the two lines of dialogue.

SARAH (CONT’D)(screaming)

-- HAVE MERCY ON ME!

Oscar pulls back.

EXT. ALLEYWAY - NIGHT

Leah strides down an alleyway, draped in a black trenchcoat.Her hair billows in the wind. Sharp noise -- the engine of amotorcycle. As it passes her, she casually pulls out theDesert Eagle and shoots the driver in the head. He falls.The motorcycle wobbles and crashes.

http://i.imgur.com/bx5PW6s.jpg



70.

Leah picks it up and drives it away.

INT. CHURCH - NIGHT

Robert shakes Oscar by the collar of his shirt.

ROBERTYou don’t wanna do this? Is thatit? She’s a monster!

Oscar shoves Robert away, propping himself up with his cane.He can barely stand.

OSCARNo, no, I’ll do it. She just caughtme off guard.

SARAH

Don’t talk about me like I’m nothere! Does it make it easier foryou? Do you even know what thislooks like? It looks like two guysmurdered a girl in a church!

They ignore her. Robert hands the Stiletto back to Oscar.

SARAH... When I met you, your hands wereshaking so hard you could barelyhold that cane. I was worried youwere gonna fall over.

Oscar’s not doing too well right now, either. He hobbles afew steps closer.

SARAHBut you remember that morning,don’t you? I said my powers don’twork on you, but I was wrong. Theyjust worked differently. I healedyou, didn’t I?

A few steps closer. He’s having trouble.

SARAHAnd ... it’s wearing off, isn’t it?

OSCARStop.



71.

SARAHI think you’re as scared as me.

OSCARYou’re scared?

SARAH

Of course I’m fucking scared! I’mterrified. I don’t ...

She swallows.

SARAHCan I just ...

Robert growls.

ROBERTShe’s manipulating you. Get it overwith or I’ll do it for you.

OSCARSarah.

SARAHYou got wounded. And you came home.

OSCARI did.

SARAHAnd you’re dependent, now. You’recrippled and you need help. You’re

reliant on so many people just tokeep you existing and there’s alittle fire in your stomach that Ibrought out, isn’t there? You don’tlike being dependent. And you’vebeen given an opportunity to strikeback against it all, maybesymbolically, maybe literally.You’re thinking, finally, you getto take charge.

OSCARWhat are you talking about?

SARAH(screaming)

But it’s not your decision, is it?It’s HIS!

She points at Robert. A claw sprouts from her finger.



72.

SARAHIf you just ... walk away, I’llfind a way out of this, but I won’tbother you anymore. You’ll neversee me again, I promise.

Robert strides over to Oscar with determination. He pries

the Stiletto out of Oscar’s grasp.

ROBERTLet me do it.

Robert bears down on her.

CRASH.

A motorcycle blasts through the church doors.

Leah leaps off and aims the Desert Eagle at the two men.She’s still covered in blood, and parts of her monster form

leak out of her. Her tail swishes. Her eyes glow red.

Oscar sees the gun and instinctively dives for cover behindthe pulpit.

Robert hides the Stiletto in his belt and raises his handsin surrender.

ROBERTState your name and creed, Demon.

She gives him a look: "don’t be a fucking idiot."

As she steps up towards Sarah she keeps the gun trained onhis head. Oscar moves to keep the pulpit between them at alltimes: terrible cover, but it’s the best he can do.

Leah bends down by Sarah.

LEAHSo you really have gone soft.

Sarah’s eyes flash red.

Leah licks her lips, but then shakes her head, no.

LEAHNo, it’s too easy. It’s too easy.

She shoots up at the ceiling, blowing a hole through thepentagram symbol.

Leah takes a step back. She waggles the gun between Robertand Sarah.



73.

LEAHYou two. Fight it out.

Robert is a little slow on the uptake. Sarah turns into amonster and slashes his chest. He goes down hard. His headbangs against the floor.

Sarah pries the Stiletto out of his grasp and runs herfinger along the blade. She draws blood, but the wound healsalmost immediately.

SARAHWhere did you get this?

Robert groans.

SARAHIt’s not silver. It’s fake.

She presses it against his throat.

SARAH(screaming)

It’s fucking fake! You went throughall this fucking trouble and it wasnever gonna work! You were gonnastab me through the heart with afucking fake!

Her eyes flash red with anger, but then they dim. She pullsaway. She takes a breath.

SARAHI’m not going to kill you.

BANG.

Leah shoots him in the face. His brains splatter across thefloor. Robert’s dead.

Out of instinct Sarah throws the Stiletto at Leah, perfectshot, straight through the heart. Blood splatters.

BANG BANG.

Leah shoots her in the leg and throat. Sarah stumbles back.

Leah hops on the motorcycle and drives away, spraying bloodall over the pews.

For a moment, there is only silence. We see the church,looking down, the inside ripped apart by violence. Robert’sbody lies dead by the pulpit. Shards of wood and metal lie



74.

scattered over the floor. Sarah coughs up blood. She triesto transform back human but can’t manage it. Her clawsrecede, shudder, and pop back out.

Oscar peers out from his hiding place. He sees Robert’s bodyand immediately turns away. He sits down, wide-eyed. His eyepatch slips down his face.

Sarah groans in pain and flops down to her side. She closesher eyes.

OSCARSarah ...

She opens her mouth to speak but all that comes out is ananimalistic wail. Her throat is a bloody mess.

OSCARI wasn’t gonna do it.

Her eyes dim to stark white out of affection.

OSCARMaybe ... maybe we need each other.

Sarah smiles, but her smile drops and she coughs up evenmore blood.

OSCARWhat are we ... what are we gonnado? This is ... oh god, the police.

Sarah types a message into her phone.

Oscar’s phone goes BLEEDLE DEET. He looks at the message: "iwill fix this."

A moment passes, then another message appears: "as long asyou help me."


It’s raining.

Sarah and Oscar both limp out of the church. Sarah hastransformed back into a human, and she leans on Oscar forsupport. A large swath of salt has already been swept awayby Leah.

Oscar’s car’s tires have been slashed. Sarah’s car is onfire. Robert’s truck is missing. All that’s left is thebeaten-up motorcycle, discarded on the ground, wheel stillspinning.



75.

Sarah pulls it upright. Oscar gets on the front. Sarah wrapsher arms around him. She leans into his shoulder, smearinglitres of blood all over his shirt.

She can only manage a hoarse whisper.

SARAHDo you know how to --

CUT TO:

EXT. CITY STREET - NIGHT

The motorcycle speeds down the road.

More rioters and looters spread like rats, smashing windowsand ganging up on anyone who tries to stop them.

Someone swings a baseball bat at Oscar, but Sarah reachesout a hand and snatches it away. She throws it to the sideas they pass by.

EXT. APARTMENT BUILDING ENTRANCE - NIGHT

They take shelter from the rain by the GLASS DOORS of anapartment building.

OSCARHey. You healed a bit.

Sarah’s throat has visibly healed, although it’s notperfect. Her voice is still hoarse.

SARAHYeah, but it was painful. Youcouldn’t hear the screaming, couldyou? Bike was too loud.

OSCARCan you get me in?

Sarah disappears around the corner, limping (her leg hasn’thealed yet, for one reason or another). She comes back witha trash can. Before Oscar can protest, she smashes the trashcan through the glass doors.

OSCARJesus!





77.

The window is partially covered by four paintings. Three areof succubi of unknown origin. Robert is present in all ofthese, lurking in the shadows with a silver sword. Paintingnumber four features him fighting a fourth succubus, theblade shattering into pieces as he strikes her down.

SARAHHe spent a lot of time on this. Itwas gonna me first, then Leah next.

OSCARShe’s the one who killed him.

SARAHYes ... I didn’t think she’d comeafter me. Not this fast.

Oscar is stoic.

SARAHWe had an argument. It got prettynasty. I wasn’t thinking straight.I thought I could intimidate herand I was wrong. She’s old, andshe’s dangerous.

Sarah pulls down a particular SKETCH. It’s of her andRobert. They’re having sex, and she is plunging her clawsthrough his chest, ripping out his heart.

SARAHHuh.

She meets Oscar’s gaze.

SARAHThis is fucking weird, right? I’mnot a good judge of these things,but I’m pretty sure this is weird.

OSCARI’m in a few photos.

Sarah puts down the sketch and leafs through an arcane book.Necronomicon knockoff.

SARAHOf course you are. He was stalkingme and you got caught up in it.

OSCARI’m alone in some of them. Likethis one.



78.

He tears a photo off the wall.

OSCARIt’s from before I met you.

The note reads "General Hospital appt. 2015-05-25, 6pm,

intercept SB."

OSCARHe knew I was gonna be at thehospital. He knew you were gonna bethere, too. He knew we’d meet.

SARAHAnd that’s why I can’t hurt you.

OSCARHmm?

She shows him a page in the book. It’s notated with stickynotes, numbered and dated.

SARAHIt’s magic. He cursed you and hecursed me. It was all part of hisplan. He protected you from me.

Silence.

OSCARSo there’s your answer.

SARAHYeah.

Oscar sits down on a chair and rubs his temple.

OSCARBrilliant.

SARAHI’m not dying. I’m not losingmyself. It was just a curse.

She flips the page.

SARAHThere’s a way to remove it.

OSCARPlease don’t.



79.

SARAHI don’t have to.

She throws the book in his lap. A sticky note reads:"Elapses upon death."

OSCARWhat does that mean?

We can’t see Sarah.

SARAH (OS)It means the curse goes away whenRobert dies.

The implications run through Oscar’s head. He -- slowly --looks up at her.

The monstrous Succubus drools back at him. Her eyes flash

red. She opens her mouth slightly, dripping bile.

Oscar bolts out of his chair.

INT. APARTMENT BUILDING HALLWAY - NIGHT

Oscar smashes out into the hallway, propelling himself alongwith his cane. He smashes the FIRE ALARM.

LOUD. The sprinklers explode everywhere. Nameless, facelesspeople dash out of their rooms.

INT. ROBERT’S STUDY - NIGHT

Sarah looks down at her claws.

SARAH... Dammit ...

INT. ANTIQUE WEAPON SHOP - NIGHT

Looters have already broken into the shop. The owner of theshop, the COLLECTOR. runs down the stairs wielding aSHOTGUN. He pumps it and aims, and the looters scatter. Allexcept for one.

Sarah limps out of the shadows, raising her hands insurrender. She’s human, and beautiful, even in shadow.



80.

SARAHI just wanna talk.

CUT TO:

The Collector is tied up to a chair, GAGGED. His eyes dart

wildly back and forth. Sarah tears through his shop,collecting various weapons she deems interesting.

SARAHYou’re a serious collector, aren’tyou? But you sold my friend a fake.You told him it was real silverwhen it wasn’t, and lemme tell you,he paid a hefty price for that. Andso did I. I need REAL silver.

She dumps a PILE OF DAGGERS at his feet.

SARAHLet’s make this quick. Which arereal are which are fake?

The collector nudges a HARMLESS DAGGER with his foot.

She picks it up and slices her finger. The wound healsalmost instantly.

SARAHWrong.

She breaks the blade against his shins. The dagger snaps in

half. The Collector screams against his gags.

When he stops screaming, he awkwardly nudges another blade.This is the SILVER DAGGER.

Sarah picks it up. She pricks her finger. She breathessharply and pulls her hand away in pain.

SARAHOuch. Good. This is good, I wantthis one. How much?

He looks at her: "you can’t be serious."

She writes him a CHECK for $1000.

SARAHI don’t know anything about theprice of stuff like this, so here’sa rough estimate. You can bill mefor the difference.



81.

She signs and places the check in his lap. She slices awayhis bonds with the Dagger.

SARAHPleasure doing business.


Sarah limps through the street. The riots have torn the cityhalf apart. There are fires everywhere that flickeratmospherically against her face.

She raises her phone to her ear.

SARAHLeah? I’m coming after you.

CUT TO:

Leah’s on another street. She holds the Desert Eagle toOscar’s head.

She’s still bleeding from her heart, but it looks likeshe’ll be fine.

LEAH(Oscar’s voice)

Oh no, Sarah. Big Bad Leah broke mycane. I am sad because my cane isbroken, because I am a coward.

(normal voice)

Let’s meet on the corner of Queenand Main, three minutes.

CUT TO:

Sarah stands at one end of the street. It’s empty. It’sraining almost imperceptibly, just a slight drizzle. A RUSTYSEDAN shrills out a CAR ALARM. It’s annoying.

Leah pushes Oscar out onto the road. He stumbles and falls.He’s lost his cane. Leah aims the gun at him at all times.

She says something, but the car alarm drowns out her words.

Sarah screams back.

SARAHWhat?

Leah sighs and shoots the rusty sedan.



82.

INT. RUSTY SEDAN - NIGHT

The bullet tears through the fuse. The alarm shuts off.


Now that the car alarm has quieted down, we can hear thesounds of rioting in the distance.

LEAHIt’s too bad, really.

Sarah steps closer. Leah aims the gun at her and Sarahraises her hands to show they’re empty.

LEAHI said to myself, she won’t causemuch trouble. It’ll be fine,

because we’ve got differentprofiles, different targets, we canhunt side-by-side without gettingin each others’ way. But thatdidn’t happen, did it? No, you hadto break the fucking rules.

SARAHI didn’t break anything! Is thatwhat this is about? I thought wefucking settled this.

LEAH

We haven’t settled SHIT!

SARAHThen pull the trigger!

LEAHIt’s not that simple! Youhumiliated me and I’m gonnahumiliate you in turn. I want youkneeling and begging for your life.

SARAHGet it over with!

Leah centres the gun on Sarah’s head.

Oscar leaps up. Leah catches the movement and with blindingspeed swings at him, but it’s too late for her. Withexpertise and practice he blocks her arm, twists, pries thegun out of her grip and aims it back at her. He kneels downfrom the pain of his leg, still pointing the gun at her.



83.

In the background, the sound of the riot escalates. They’regetting closer.

We see him and Leah silhouetted against the fires burning inthe background. Leah screams at him, morphing fully into hermonstrous form as she does so. Bile and spit spray in all

directions at once. Oscar pulls the trigger.

CLICK.

It’s out of ammo. It’s been fired seven times: .50 AEammunition. There’s nothing left in it.

Leah slashes Oscar’s arm. The gun goes flying.

Sarah -- full monster, fangs bared -- lunges for Leah,knocking her over, pinning her down -- the Silver Dagger isin her hand, striking down, but Leah grabs her hand, breaksher wrist in a swift motion, the Dagger falls, Leah moves

her head and it clatters against the asphalt --

-- Leah kicks Sarah off of her. She sprays a defensivebloody mist. Sarah recovers, leaps through the cloud ofblood, missing Leah entirely, but grabbing the Dagger,rolling, upright, Leah’s already down on her, raking herclaws across her back --

-- But Sarah swings the knife, hits Leah’s hand --

-- Leah shrieks in unimaginable pain --

-- Sarah jabs the blade into her leg, her thigh, her

stomach, in three quick movements, Leah falls down, Sarahclimbs on top, straddles her, raises the Dagger high --

-- Sarah stabs down. Straight through the heart. Leah’sstruggles cease. She pulls it out, blood splattering, andshe stabs it down again. And again and again and again.

Oscar stares in horror.

Sarah plunges the knife down over and over again, well afterLeah’s death. Both Sarah and the corpse are so smeared withblood they’re unrecognizable.

Eventually she stops. She pants.

She tosses the knife to the side, as if she’s used it up.

The rioting is visible in the background. A cloud ofblack-clad looters swarms down the street, breakingeverything they see.



84.

Oscar quietly drags himself away, never breaking his gazefrom the blood-soaked monstrosity in the street.

She catches the movement out of the corner of her eye. Shelooks at him. She tilts her head in curiosity, like a hunterexamining its prey.

In a flash she’s on top of him, drooling, eyes blazing. Sheopens her jaws wide.

Oscar puts his hand on her chest.

OSCARDon’t, don’t -- you wanna know whathappened to me?

She heaves in and out. She waits.

OSCARI ... told a lie, he didn’t shoot

me, my friend didn’t shoot me, Ijust made that up. That’s my story.That’s what they think happened.But truth is, he died right away, apiece of the jeep flew --

He quickly taps the side of his head.

OSCAR (CONT’D)-- right through his head, he wasdead instantly, and I was flownfree, I didn’t even get hurt. Maybea little scraped up, that was all.

Sarah de-tenses. She relaxes her jaw.

OSCARBut I wasn’t thinking straight. Ididn’t know what to do. I just knewI didn’t want to do it any longerso I ... I crawled under the wreckand I put his gun in his dead handsand -- bang --

He points finger-guns at his shin.

OSCAR (CONT’D)-- I put a bullet through my leg.And the kicker is, when I crawledback out, the whole wreck collapsedon me, scraped --

He drags his nails across his eye-patch.



85.

OSCAR (CONT’D)-- my eye straight off, and I guessI didn’t need that bullet in theend. They would’ve just sent mehome for losing my eye. I shotmyself for nothing.

He crawls out from under her and props himself up against anearby building.

OSCARSo I’m not noble. You were wrong.

She descends upon him. She shakes with anticipation.

OSCARThat’s all I wanted to say.

She puts her claws to his neck, pinning him against the

wall. She growls.

Oscar slams his eye shut.

She playfully taps her tongue against his nose. He opens hiseyes a little.

OSCARUh.

SARAHI’m not gonna kill you.

Her monstrous features melt away. She’s human again, withher perfect fingers wrapped neatly around his chin.

They both look like they’re going for the kiss ... butneither of them go through with it. Oscar turns his head andSarah pulls away.

Oscar takes a step forward but his leg gives out from underhim and he collapses. Sarah quickly picks him back up andsupports him.

Together, they hobble out to the middle of the street, whereLeah’s mutilated body lies.

SARAHYou know we can’t see each other.

OSCARI know.



86.

SARAHI haven’t eaten in a week. Twoweeks. I’m hungry. You know howmuch restraint it’s taking not totear your head off right now?

OSCAR

I have ... a pretty good idea.

They stare down at Leah.

The rioters are close, now. They’re loud and angry.

SARAHIt’s my town, now. I have freereign.

OSCARPlease don’t kill people.

SARAHI can’t stop. I’m sorry. If I stopI starve and I die. This was nevergonna be more than a one-timething, Oscar.

OSCARI know.

Oscar looks at the Silver Dagger on the street. He doesn’tgo for it. Instead, he breathes deeply and shakes his head.

The rioters bear down on them.

Sarah glares at the crowd, eyes blazing, spines and teethand claws erupting from her body, red light explodingoutwards. A few of them stop. Some of them are moreinvigorated and press on further.

She opens her mouth and a booming, masculine, eldritch voicefrom the very depths of Hell itself spews forth from herjaws.

SARAH(deepspeak)

Tell No One What You Have Seen.

The rioters stop.

As if in a trance, they place their makeshift weapons on theground.

The crowd disperses, flowing like a river around thebuildings and the street and even Sarah and Oscar.





88.

SARAHGood.

She drapes a blanket over him, like she’s tucking him in.She peels the eye patch off.

SARAHMind if I keep this?

He nods.

SARAHSo you do mind.

OSCARNo, go ahead.

CUT TO:

Sarah gently closes the door when she leaves.

Oscar stares at the wall. Numb. He leans his head back. Heforces himself to sleep.

INT. OSCAR’S APARTMENT - NIGHT

He’s asleep. He’s moved over to sleep on his side. Hedoesn’t quite fit on the couch.

Sarah’s on him, without warning, plunging her claws throughhis heart, ripping him to shreds, blood flying in all

directions, and he screams --

-- and jolts awake. Silence.

He sits up. He clutches at his heart. He looks around theapartment.

Lying on his COFFEE TABLE is a BRAND NEW CANE.

He swings his legs off the couch and picks it up.Beautifully-carved mahogany. There’s a little NOTE taped tothe side.

There are no words on the note. Only a symbol.

<3



89.


The Supervisor shakes Oscar at the water cooler. Oscarblinks and looks around. He’s got a NEW EYE PATCH.

SUPERVISOR

Hey, Oscar, how are you holding up?

OSCARHmm?

SUPERVISORYou were quiet today. Is everythingalright?

OSCARYeah, yeah. Everything’s fine.

SUPERVISOR

I saw you exchange numbers withRobert last week.

OSCARHe didn’t come today.

SUPERVISORNo. He doesn’t skip out much. Doyou know if --

MONTAGE:

INT. CHURCH - NIGHT

Sarah drags Robert’s body out of the church.


Sarah burns the body in a BONFIRE, as well as all of thesupplies and religious artifacts.

INT. CHURCH - NIGHT

Sarah scrubs the blood from the floor.

Sarah scrubs the blood from the walls.

Sarah cleans the paint from the ceiling.



90.

INT. CHURCH - DAY

Sarah finishes up repairing the floorboards where shesmashed them up.

Sarah lies back in a pile of NAILS and SCRAP WOOD and PAINT

and GARNISH and TOOLBOXES. She’s exhausted.

END MONTAGE:


Oscar looks up.

OSCARI don’t know.

Beat.

OSCARIt’s a mystery.

SUPERVISORWell, I hope he shows up soon.

OSCARI’m ... I don’t know if I’ll becoming anymore.

The Supervisor looks away, disappointed.

SUPERVISORWell, I hope you change your mind,but it’s your choice to make.

OSCARIt is.

INT. OSCAR’S CAR - NIGHT

Oscar drives home through the city.

There are police lights everywhere. Some of them wear riotgear. A RIOT COP signals for him to pull over. He does.

The Riot Cop shines a flashlight in his face. He squints.

RIOT COPJust a routine check. License andregistration, please.





92.

RIOT CAPGod bless America.

INT. UNDERGROUND PARKING LOT - NIGHT

Oscar parks his car and gets out.

He sits down on the concrete and leans against his tire. Heclutches his head.

He wails in frustration.

He pulls out his phone. He dials a number. It rings once.

SARAH (OS)You took your damn time.

INT. COFFEE SHOP - DAY

Oscar’s nursing his ENGLISH BREAKFAST TEA when Sarah walksin, beautiful and human.

He watches her order an entire KeepCup mug of espresso likethe last time she was here. She hands the barrista atwenty-dollar bill.

She sits down opposite from him and props her head up withher hands.

They stay silent for a moment, looking at each other.

OSCARI keep seeing your face.

SARAHAww.

OSCARNot this face. The other one.

She looks away.

SARAHI’m sorry to hear that.

OSCARI don’t know if I can spend therest of my life with this ...threat, if that makes sense. Thethreat of nightmares andhallucinations attacking me at

(MORE)



93.

OSCAR (cont’d)every turn. I wouldn’t mind them,but it’s the paranoia, too, thefeeling that at any moment theworld could hit me with monsters.

She bites her lip.

SARAHI don’t know if I can help withthat. I’m so sorry I’ve done thisto you.

OSCARIt’s better than killing me.

She chuckles.

SARAH

Yes, I suppose that would beeasier, wouldn’t it?

OSCARDon’t joke about that.

SARAHI know. I shouldn’t. But what elseam I supposed to do? I can’t just... make you forget ...

Beat.

They stare into each other’s eyes. They both lean forwardconspiratorially.

OSCARJust one little word.

SARAHAre you ... sure about this?

He nods.

SARAHIt ... might not work. You’llforget my face but maybe you won’tforget the ... the fear.

OSCARI don’t care.



94.

SARAHYou’ll never see me again. Oh god,we’ll never see each other. It’llbe like you never met me.

OSCAR

It’s the only way I can live. Ican’t ... do this anymore.

She looks like she’s about to well up. He puts his hands onher shoulders.

She moves her seat closer to him. She leans her head againsthis shoulder. Her hair brushes his lips. She slams her eyesshut. She struggles hold in the tears.

Oscar starts to well up, too, but he holds it in better.Other people in the cafe are watching them.

Sarah kisses his neck, then his lips. She opens her eyes,red from crying and red from demonic energy.

She whispers into his ear.

SARAHI don’t want you to forget.

The barrista pauses a few feet away with her coffee. Helooks confused.

Oscar kisses her again.

OSCARI’m sorry. I’m so sorry.

SARAHNo, it’s okay, it’s okay ...

She kisses him a third time.

SARAHIt’s okay. It’s gonna be okay. Youwon’t remember ... anything.

A fourth time.

When she pulls away, she’s a horrific monster again, shebites into his neck, blood splatters --

CUT TO:

Oscar sits alone. Sarah is long gone.



95.

The barrista shakes his shoulder. Oscar blinks and looks upat him.

BARRISTAHey. You’ve been here for twohours. I’m sorry about the breakup

but you gotta move on, dude.

OSCARWhat?

BARRISTAIt got pretty emotional.

OSCARWhat breakup --


Oscar hangs up his coat and hobbles to his couch. He sitsdown, dazed and confused.

The note from Sarah still sits on his coffee table: <3. Hepicks it up. He stares at it.

OSCARWhat ... is this?

He crumples it up.

FADE TO:

INT. OSCAR’S APARTMENT - NIGHT

Oscar finishes washing the dishes. He hobbles to hisbedroom.

He opens the door.

A monstrous Succubus leaps out, plunging her claws throughhis chest.

CUT TO:

Oscar jolts awake on his couch. He breathes heavily. Hiseyes are wide with fright and confusion. We can only see hisface.

He coughs.

He coughs again, and pukes up blood.



96.

He raises his hand to his face. It’s drenched red. He looksdown at his body. He’s been torn open.

Sarah the Monster stands over him, looking down. Her clawsand teeth drip with blood.

Oscar tries to speak but he can’t manage anything. He’sconfused. He doesn’t know who she is.

She morphs back into a human and kneels beside him. Shestares at her blood-soaked hands.

She clutches her head.

SARAHNooo ...

CUT TO BLACK:

END CREDITS.

Documents

Succubus Draft 1