FADE IN:
INT/EXT. COREY’S HOME – DAY
We open on the bright sun seething through the camera lens,
blinding us.
As we move out of the sun’s glare, COREY, 27, a handsome and
youthful young man, is sleeping.
His alarm BLARES in his ear and he comedically jolts out of
bed. He composes himself, then turns to his wife, LEA, and
gives her a kiss on the forehead. He gets up out of bed,
stretches, and makes his way to the bathroom.
In the bathroom mirror, Corey’s swollen eyes and tired
expression take up the screen. He splashes water on his face
and brushes his teeth, played out through one, long,
drawn-out shot.
He steps in the shower and plays his morning song:
“MATRICULA” by Dei V. After showering, Corey goes through
his closet, picking out his work clothes and his FAVORITE
PAIR OF SHOES, perfectly unstained, without any marks. After
getting dressed, Corey leaves some food for his puppy,
FINNER.
Corey makes his way to the kitchen where Lea is making
herself some coffee.
LEA
Good morning.
COREY
How’d you get here before me?
I woke up earlier.
LEA
(joking)
You’re cute, but you’re slow.
Keep up.
COREY
(joking)
Always ahead of the game, huh?
LEA
I guess so.2.
COREY
(Under his breath,
joking)
All that talk and you still
can’t watch a scary movie…
LEA
What’s that?
Corey laughs and turns his back to her as we fixate on the
two of them. He starts to make himself some COFFEE.
LEA
(cont’d)
That’s not fair. You never
said it was going to be that
scary.
COREY
Well-
Corey finishes his coffee. He takes a small sip, the heat
causes his lip to twitch slightly.
COREY
(Cont’d)
-I don’t think a movie called
“Terrifier” would be about
sunshines and rainbows.
Lea laughs, with slight offense taken.
LEA
(Joking)
Yeah, Mr. Tough Guy? So manly
but still “sings” (she
gestures quotation marks) in
the shower.
COREY
You know I could be on “The
Voice”. Haters gonna hate.
Lea laughs at his comment. Corey’s eyes twinkle with
childlike innocence, his gaze completely entranced by Lea.
Joking around with her is the highlight of his day. The two
move closer to one another, the sheer weight of their bond
apparent as they begin to share the frame. They kiss.
The moment of intimacy is interrupted by the shrieking
laughs of ANTHONY, 9, and MAY, 7, watching SPONGEBOB.3.
COREY
(to Lea, looking at the
kids)
Every single morning. Don’t
they get bored?
LEA
They can’t get enough of it.
We follow Corey as he approaches his kids.
COREY
Kids, I’m leaving for work.
ANTHONY
(still watching the TV)
Bye Dad.
MAY
Yeah, bye.
The kid’s gaze on the TV never breaks.
COREY
You’re not gonna give your dad
a goodbye hug?
MAY
SpongeBob.
SpongeBob.
Corey laughs.
ANTHONY
COREY
Right. See you later, guys.
Corey fetches his coffee, slightly spilling it on the table.
He kisses his wife, picks up his BRIEFCASE, and steps out of
his house, KEYS in hand.
Corey takes a look at his home. Two stories, its blue/white
color scheme bringing life to an otherwise dull
neighborhood.
Corey notices the paint chipping on the roof. Initially, he
expresses a look of concern, but dismisses it and steps into
his car.
CUT TO:4.
EXT. CITY – DAY
Corey drives calmly to work. Like every other morning, Corey
passes by a man holding a political sign, a long line
outside of a donut place, and a billboard advertising his
favorite series.
COREY
(Re: the billboard)
Finally.
He begins to ramp up the speed as he enters the highway,
flying by the magnificent sights of the city in the morning.
Corey cues in his playlist to accompany his drive.
CUT TO:
INT/EXT. COREY’S WORK – DAY
Corey arrives at work and pulls into the driveway. He
fist-bumps the security guard on his way inside. He grabs
the handle, but pauses. Corey’s face holds many emotions,
none of which are clear to us.
Corey takes a deep breath before finally entering the
building.
He opens the door to a CASCADE OF BALLOONS AND CHEERING. The
office vibrant with life and color. He was expecting this,
but it doesn’t make it any less great.
As Corey triumphantly walks through the office, his
employees and co-workers celebrate around him, opening
bottles of champagne, throwing confetti, and eating cake.
Corey thanks his workers and we see their genuine admiration
for him.
But there’s always that one guy.
EMILIO, 25, stupidly-smug, far too overdressed for an
office, approaches Corey.
EMILIO
(smug, cartoonish evil)
Good job boss-man.
COREY
Well, thanks Emi-
EMILIO
(cutting Corey
off)
I hope you, unlike the
others, know who deserves
the credit for this
achievement.5.
COREY
I never took credit for
anything.
EMILIO
No, of course not. You’re just
basking in the spotlight,
eating your cake, drinking
your champagne.
COREY
It’s not my fault you didn’t
come into work for two weeks.
Maybe if you had, you would be
celebrating, too.
Beat.
Emilio’s face is shocked, full-stop. We MATCH CUT to Corey’s
expression, also shocked.
This was the first time he had ever stood up to him like
that.
EMILIO
Alright, hotshot. If you only
knew about every single…
Corey slowly backs away as Emilio continues ranting, his
petty complaints drowning out more and more as we pull
further back into the office crowd…
Within the crowd of people, Corey spots his best friend,
LUCAS, 28, and approaches him.
The two greet each-other with an oddly specific handshake,
the type only long-time friends would have.
COREY
(to Lucas)
So, I guess they’re all pretty
happy huh?
LUCAS
I mean, we all get a huge
raise. If they weren’t, I’d be
worried.
COREY
Makes sense. But we have an
unreal amount of work now.
They’re a huge client.6.
LUCAS
That’s tomorrow’s problem.
COREY
Well, for now, it’s mine.
An employee stands on a desk and pops open yet another
champagne bottle, spraying it everywhere.
CUT TO:
INT. COREY’S WORK – COREY’S OFFICE – DAY
Corey retreats to his office. The sound of joyous
celebration is muted as he shuts the door.
The camera pans all around the office, demonstrating Corey’s
diplomas, degrees, and awards. The camera then pans to a
picture of Corey’s family. The camera lingers on it.
Corey glances at the picture before opening his computer and
beginning his work.
CUT TO:
INT. COREY’S WORK – NIGHT
The camera pans around the office, looking more like a
nightclub than a 9-5. Most of the employee’s have left, but
there’s the odd bunch sleeping with cake on their faces and
bottles in their hands.
The remaining employees pass by Corey’s office to
congratulate him and call it a night. One in particular
stops by to drop off a file.
EMPLOYEE #1
Here’s the monthly report.
Corey grabs the file, his eyes fill with shock and awe as he
skims the paper.
COREY
(in disbelief)
Holy-
EMPLOYEE #1
I know. Wouldn’t have been
possible without you.7.
The camera tracks the employee leaving the office. The
lights shut off, the only one left being the glow of the
moon through Corey’s window and the beige-tinted haze of the
desk light, illuminating the file, or to Corey, the holy
grail.
We pull back to a wide shot of the dark office, where we see
Corey celebrate in his office, the sound dampened by his
door.
CUT TO:
EXT. COREY’S HOME – NIGHT
A wide shot of Corey’s home, now bathed in the moonlight.
Corey’s car pulls into the driveway. He steps out of the car
and makes his way to Lea and the kids. May and Anthony play
in the front yard as Lea watches over them.
COREY
(to the kids)
I’d love to know how you two
have so much energy this late.
MAY
You’re just old, daddy.
Lea snickers quietly.
COREY
(jokingly)
Old, huh? I guess I’ll just
put on the news instead of
Spongebob tomorrow. You know,
since I’m so OLD.
Anthony and May’s eyes shoot up to Corey. They sprint to him
and hug him.
ANTHONY
We love you.
The two siblings tighten their grip on their father. He
smiles.
COREY
I know you’re only doing this
so you can watch SpongeBob,
but I’ll take it.
The kids break their embrace. Anthony runs inside, but May
stops at the door and turns to Corey.8.
MAY
I love you with or without
SpongeBob, Dad.
Beat.
May runs inside. Corey smiles.
Corey sits next to Lea, currently lying in the grass, and
embraces her. The two stare at the night sky. Corey gazes at
the moon.
COREY
Does the moon look a little
weird to you?
Lea turns her head to Corey and laughs.
LEA
I think you’re finally going
crazy.
COREY
No no, that happened once I
married you.
LEA
Ha. ha.
COREY
I swear today wasn’t supposed
to be a full moon.
LEA
Since when did you become a
moon connoisseur?
Corey looks at Lea with oblivious innocence.
COREY
I thought it was normal to
know your moon cycles.
LEA
I don’t know about that,
honey.
The conversation is cut short when Lucas pulls into the
driveway with an abrupt stop to his car.
He sticks his head out the window, music blaring.9.
LUCAS
(yelling)
COREY! SCREW WORK! WE MADE A
HUGE SALE! LET’S GO CELEBRATE!
Lucas’ car light illuminates the house, replacing the
moonlight tint with a crimson red. Corey looks at Lea, his
eyes asking for approval. Lea. She laughs.
LEA
I’ll leave you two morons
alone. I’m going to put the
kids to bed.
Lea points to Corey.
LEA (CONT’D)
Don’t be home too late.
Lea kisses Corey before heading inside. Corey approaches
Lucas’ car. He stops by the window.
COREY
So, what do you have in mind?
LUCAS
Mickey’s.
Corey physically recoils from the shock.
COREY
Clubbing on a Monday? Are you
high?
LUCAS
Very.
Beat.
Corey attempts to deduce Lucas’ expression. He turns to face
his home.
COREY
(Under his breath)
This guy…
Corey turns back.10.
COREY
So, we just landed the biggest
deal in the company’s history.
The sheer amount of calls,
meetings, and paperwork we’re
gonna have tomorrow is
heinous. We’ll probably be
skipping vacations and working
overtime for months on end.
Lucas nods along, barely grasping what Corey’s saying.
COREY (CONT’D)
And your first thought is get
plastered?
Lucas’ look says it all.
SMASH CUT TO:
INT. MICKEY’S NIGHTCLUB – NIGHT
The two friends partying the night away. The lights of the
club being the only thing illuminating our character in the
dark, open space. The crowd rages, dances, drinks, throwing
their hands up in the air. Lucas grabs a champagne bottles,
pops the cap, and sprays it all over the crowd, Corey
included. We pull into a extreme close-up of Corey’s face,
his life at its peak. We move closer and closer until we…
SMASH CUT TO:
INT/EXT. COREY’S HOME – DAY
Corey’s eyes opening wide awake, this time at his home. He
blinks a few times before the camera begins to slowly move
out of the close-up, revealing his room.
Corey rubs his eyes and groans.
COREY
Honey, this is the last time I
let Lucas take me out on a
weekday.
No response.
COREY
Lea?
Corey turns to find the bed empty.11.
COREY
(To himself)
Why’s she always up so early?
In the bathroom mirror, Corey’s swollen eyes and tired
expression take up the screen. He splashes water on his face
and brushes his teeth, but this time, there’s no laughing.
His children aren’t playing and laughing in the next room,
as they usually are everyday. Maybe they already left for
school.
He steps in the shower and plays his morning song…”I’M
STILL STANDING”?! Corey halts his shower for a moment. He
turns off the running water and steps out. He reaches for
his phone and skips the song. “MATRÍCULA” is nowhere to be
found on his playlist.
COREY
(To himself)
Huh?
We cut to Corey getting dressed. He looks through his closet
and struggles to find his favorite suit. He settles for a
usual office attire, but not without a deserved confused
expression.
Corey grabs a bag of dogfood and pours some in the doggie
bowl.
His eyes wander off the bag to the name tag.
The dog’s nametag reads “KIKA”.
Corey completely freezes and spills the bag. The food stains
his shoes.
COREY
What the-
Corey drops everything and runs towards the kitchen.
The camera bolts towards the kitchen, following Corey’s
running. The score pumps and growls.
The kitchen is empty. So is the living room. Corey’s face
morphs into the definition and complete, total, and utter
FEAR.
No Lea. No kids. No SpongeBob.
Corey begins to panic, his breathing accelerating and his
heart beating through his chest. He turns to call 911, but
instead finds a FULLY GROWN GERMAN SHEPERD.12.
He passes out and hits his head on the floor.
Kika whines adorably.
CUT TO:
EXT. INSIDE CAR – SUBURBAN NEIGHBORHOOD – AFTERNOON
The camera is static in the back of a police car.
OFFICER JONES
You told her WHAT?
OFFICER BRADLEY
It was in the heat of the
moment. Plus, you know I was
right.
OFFICER JONES
If there’s anything I know
about being married for ten
years, it’s that you’re-
OFFICER BRADLEY
-“Never right and always
wrong”. I know.
OFFICER JONES
I don’t think you do.
OFFICER BRADLEY
You sound like my dad.
OFFICER JONES
You asked for my advice.
Beat.
OFFICER BRADLEY
Yeah, I guess you’re right.
OFFICER JONES
Always.
INT/EXT. COREY’S HOME – AFTERNOON
The cop car pulls into Corey’s driveway.
We cut to a knock on the door which breaks Corey out of his
distressed state.
He approaches the door and looks through the peephole.13.
On the other side, the door opens and the cops are greeted
by Corey.
OFFICER JONES
Good evening, we received a
call about a missing persons.
COREY
Yes, thank you for coming
officers, please come inside.
The two cops move into the house, their keys and gear
clunking with each step they take.
Kika runs toward one of the officers, licking their face.
OFFICER BRADLEY
Woah, she’s big.
Officer Bradley pets Kika.
OFFICER BRADLEY (CONT’D)
You got name for her?
COREY
Yeah so that’s the thing…
Corey clasps his palms.
COREY
(cont’d)
I’ve never seen this dog in my
entire life.
Beat.
The two officers look at each other in confusion and a
little bit of doubt.
OFFICER JONES
You’re gonna have to
elaborate, son.
COREY
I don’t know how else to
explain it.
OFFICER JONES
(doubtfully)
Right.
Corey notices the palpable doubt in the officer’s
expression.14.
COREY
Officers, my family is
missing. My kids, Anthony and
May, they’re gone. And my
wife…
OFFICER JONES
And your wife?
COREY
Lea. She’s gone too.
Bradley releases Kika from his embrace, and stands by Jones.
OFFICER JONES
I’ll tell you what…
COREY
Corey.
OFFICER JONES
Corey. Me and Officer Bradley
here are gonna see to it that
your family is found. In the
meantime, take a breather. I
don’t see any signs of a
breaking and entering so
chances are they might’ve left
the house for some activity.
Go about your usual routine
and we’ll give you a call when
we have an update.
A look of disappointed acceptance overtakes Corey’s face.
COREY
Well, alright.
OFFICER BRADLEY
Everything’s gonna be okay. If
you need anything, you know
where to find us.
The two officers open the front door. As they try to leave,
Kika runs out of the house and into the street.
OFFICER BRADLEY
Hey!
Bradley runs after her, barely saving her from an oncoming
vehicle.15.
OFFICER BRADLEY
(out of breath)
You’ve got a rowdy one here.
Jones steps out of the house. Corey stands by the front
door, waiting for Kika to return.
Jones stops and turns back to Corey for a moment.
OFFICER JONES
(pointing to the house)
By the way, love the paint
job.
Corey steps out of the house.
COREY
Oh, thank you. I painted it-
Corey turns and sees his BEIGE COLORED HOUSE.
COREY (CONT’D)
(in utter disbelief)
-myself…
Kika runs back into the house. Corey stays outside
pondering.
CUT TO:
EXT. MONTAGE – COREY’S HOME – CITY – OUTSIDE COREY’S WORK –
AFTERNOON
We begin a montage.
Corey starts his car. He drives off out of his neighborhood.
Corey takes his usual route to work.
He doesn’t find the man with the political sign, but rather
a Christian with a “JESUS LOVES YOU” sign.
Instead of the long line at the donut place, he finds people
camping outside of a movie theater, one he’s never seen
before.
Finally, the billboard is replaced with an advertisement for
a superhero movie.
Corey pulls into his office’s parking lot. He locks his car.
He approaches the door and tries to fist bump the door-man.
He ignores Corey.
CUT TO:16.
INT. COREY’S WORK – AFTERNOON
Corey runs frantically inside. His employees stare at him
with disdain.
COREY’S BOSS
You’re late.
COREY
Yeah, I’m sorry I just had
some family issues.
COREY’S BOSS
It’s the fifth time you’re
late this week.
COREY
What?
He disregards the comment and runs off to find Lucas.
Through a hazy DOLLY, we see sweat trickle down Corey’s
forehead. It drips down his eyebrow and into his eye. He
recoils from the stinging.
As more and more sweat invades his eyesight, his reasoning
likewise blurs. Corey becomes a rambling and sweaty mess as
he looks for his friend.
He finally spots Lucas by the fax machine.
COREY
Finally!
Corey runs over to Lucas.
COREY
Where’ve you been?
Lucas doesn’t respond. His back faces Corey.
COREY (CONT’D)
It’s a been a crazy day, man.
First, my playlist was all
messed up, then my clothes,
and now I have a German
Sheperd? Oh, and I can’t find
Lea or the kids, and the cops
don’t even know-
LUCAS
(Interrupting)
Could you just…please shut up?17.
Corey is startled by this.
COREY
W-what do you mean?
LUCAS
You’re just talking. Like a
lot.
COREY
Well yeah, I’m telling you
that I can’t find my family. I
would’ve thought my best
friend would care a little
more.
LUCAS
Your best friend-
Lucas presses buttons on the fax machine.
LUCAS (CONT’D)
-is that numbskull in HR.
One more DOLLY shows us the absolute horror, shock, and
agony in Corey’s face. He literally can’t believe it.
COREY
No…not-
A blurry figure emerges behind Corey. The camera pulls focus
to reveal-
EMILIO
Hey buddy!
Emilio gives Corey a big hug. Corey doesn’t reciprocate, but
rather stays stiff as a rock.
EMILIO (CONT’D)
How’s my best bud?
Corey runs away in pure horror. He sprints to the door, but
is cut short by the foot of a fellow employee. He trips and
falls flat on his face. The thud is accompanied by the
office’s bellowing laughter. After a beat, Corey weakly
stands up and runs out of the office.
Emilio and Lucas watch with confusion.
EMILIO
What’d you say to him?
Lucas looks at him.18.
LUCAS
Did I give you permission to
speak to me?
Emilio looks back.
The two stare each other down, a palpable hate between them.
CUT TO:
EXT. COREY’S WORK – EVENING
Corey solemnly exits the building to an orange evening sky.
He walks slowly with his head and shoulders down.
As he enters the parking lot, a car alarm begins to blare.
He perks up and begins tracing the source of the noise.
After a brief search, he finds it’s coming from his car. He
runs over to it…
The car doors. They’re open.
He scans the area, and searches his car for lost items.
COREY
Hello?
In a spinning tracking shot, Corey looks all around the
parking lot for the perpetrator, to no avail.
Until he spots it.
A shadowy figure in the background of the frame halts the
tracking shot. Corey squints, trying to make sense of what
he’s seeing.
COREY
What do you want?
The shadowy figure does not move.
Corey begins to run at it. He progressively moves faster and
faster, the soles of his shoes scraping the stomping the
cement ground, dirtying even more. As he moves closer to the
figure, Corey brings out his arms, propels himself forward,
and…
…the figure disappears.
He stops in his tracks, almost falling over from how fast he
was running. He stands there, completely bewildered at what
he’s seen.
CUT TO:19.
INT/EXT. COREY’S HOME – NIGHT
In a wide shot, we see Corey pull into the driveway of his
home. He exits the car and walks towards the entrance. As he
enters, the camera focuses on the chipping paint of the
front door.
Inside, Corey makes himself a cup of coffee. His hands
tremble with every movement. Barely holding himself
together, he gives Kika her food.
In a moment of intimacy (or perhaps acceptance), he pets
her. His hands seem to relax for a moment.
After, Corey sits on the couch, in front of the television.
He skips through the channels mindlessly. The flickering
lights illuminate his bloodshot, lifeless eyes. Audio
channels muffle and distort as Corey falls into a deep
trance.
The world around him begins to turn black, and Kika’s barks,
along with all other sounds, are drowned out.
Corey begins to black-out and wakes up in…
INT. THE VOID
Corey finds himself in a dark abyss. He looks above him:
dark. He looks to his sides: dark. He looks to whatever he’s
standing on: dark. Not a light in sight.
Strangely enough, Corey doesn’t call for help. Nor scream.
Instead, he just begins to walk.
Though his legs are moving, Corey appears to walk in place.
The pitch-black darkness around him hinders all sense of
depth perception and 3D.
Suddenly, a female voice is heard. Corey stops.
The voice returns, this time more intense.
Corey turns around and begins to walk towards it. With every
step, the voice grows louder and louder.
Slowly, the voice becomes more comprehensible.
COREY
Hello?
LEA
(O.S.)
Corey!20.
Corey’s face lights up. He begins running towards her voice.
COREY
Lea! Lea!
The score swells as Corey runs through the void. Corey sees
Lea materialize out in the distance.
COREY
I SEE YOU!!
LEA
(O.S.)
Corey!
COREY
I see you Lea, I see you!
Corey reaches his hand out. Lea, now visible, does the same.
Just as their hands are about to touch, Corey falls through
a hole. Lea disappears into the darkness.
We cut to Corey FALLING INTO A MULTI-COLORED ABYSS. His face
and body distorts as he flies by an array of swirling,
dizzying colors. He falls in and out of situations he has
not yet found himself in, each in a seemingly different
reality.
The overwhelming yells and cries of his family, friends, and
even enemies surround him. He tries to shut them out, but
fails.
Corey attempts to flee this never-ending nightmare, but is
stopped by a shadow figure diving after him. The two collide
and Corey…
CUT TO:
INT/EXT. COREY’S HOME – NIGHT
…wakes up.
His trance is broken by knocking on a door. The darkness
around Corey fades as his eyes return to their normal color.
He doesn’t appear to be aware of what he’s just experienced.
He shrugs it off.
We cut to the opening of the door. Corey is surprised to
find Officers Bradley and Jones on the other side.
COREY
Officers.21.
OFFICER JONES
Corey.
COREY
What brings you here so late?
OFFICER JONES
Well, we conducted our
investigation.
COREY
And?
Jones seems to hesitate.
OFFICER JONES
And there’s no easy way to say
this…
OFFICER BRADLEY
Your kids were never born.
Corey fills with anger and confusion.
COREY
What?!
OFFICER BRADLEY
There’s no trace of them in
our records, no birth
certificates, nothing.
COREY
Well, check again! You’re
gonna tell me I wouldn’t know
whether my kids were born or
not? I’ve spent almost a
decade raising them!!
OFFICER JONES
Now, now, Corey. Calm down.
Corey hesitantly composes himself.
OFFICER JONES (CONT’D)
We did. We checked far too
many times for our own sanity.
Ran it through every system.
You never had children.
COREY
(In shock)
I-I-This can’t-22.
Corey begins to lose composure.
COREY (CONT’D)
And my wife?
The two officers look at each other with a hint of concern.
Corey takes notice of this.
COREY
What, you gonna tell me she’s
not real either?
OFFICER JONES
No, she’s real.
COREY
(Slightly raised volume)
Well look who woke up! Thanks
for letting me know. Where is
she?
OFFICER BRADLEY
(Under his breath)
A google search would let you
know…
Corey hears this. He clutches his fist.
COREY
So this is funny to you two
now? My wife is missing and
you-
OFFICER BRADLEY
(Interrupting)
Your wife? Lea Cooper? Come
on, Corey.
COREY
I-
OFFICER JONES
I suggest you get a good
night’s rest and sort
everything out. There’s some
very good programs right here
in the city.
COREY
Do you think I’m crazy?
Corey’s face looks absolutely insane.23.
OFFICER JONES
No, of course not. I just
suggest you take a moment to
breathe.
COREY
(Yelling)
How am I supposed to just
relax when my entire family is
missing and the police
department is telling me they
never existed?!
OFFICER BRADLEY
(In a soft tone)
Because they never did, Corey.
Beat.
Corey’s clutched fist lunges at Officer Bradley, knocking
him to the ground.
Officer Jones quickly retaliates, tasing Corey and sending
him to the floor.
Officer Bradley stands back up holding his bloodied nose.
OFFICER BRADLEY
Psycho!
Officer Jones takes out his handcuffs as Officer Bradley
groans in pain.
CUT TO:
EXT. CITY – NIGHT
Corey is thrown into the back of the police car. He winces
in pain as the two officers enter the vehicle.
Officer Bradley scrambles for tissues.
Officer Jones starts up the car and drives away.
The city’s night lights illuminate Corey, who’s staring
mindlessly out the window.
OFFICER JONES
Your file showed no record of
mental illness.24.
OFFICER BRADLEY
(Nasally)
You’re welcome to check again.
OFFICER JONES
(Ignoring Bradley)
I don’t believe you’re crazy,
Corey. But I don’t know what’s
happening to you, or how to
help. I’d like to, but if you
continue to make it this
difficult I’ll have no choice
but to throw you in a cell.
Corey doesn’t react.
Officer Jones peers into the rear view mirror, awaiting a
response.
He sucks through his teeth in frustration.
OFFICER JONES
If you don’t talk to me,
this’ll only get worse.
Corey remains silent momentarily.
He gazes at the city. The dark metropolis bustling with
light, people, and activity. Despite the view, a tear drops
from Corey’s eye.
COREY
I just want to go home.
CUT TO:
EXT. POLICE STATION – NIGHT
The police car comes to a halt. In one, continuous take, the
officers step out and remove Corey from the backseat.
Outside of the vehicle, he closes his eyes and takes a deep
breath.
Officer Bradley looks at him with disdain.
COREY
Can you at least take these
cuffs off?
OFFICER BRADLEY
Can you promise not to sock me
in the face if I take them
off?25.
Corey nods.
Bradley looks at Jones, who nods as well.
Officer Bradley removes the cuffs from Corey’s wrists.
OFFICER BRADLEY
Don’t make me regret it.
The three approach the police station.
Bradley takes notice of a bright billboard across the
street.
OFFICER BRADLEY
(Re: the billboard)
Can’t believe that show’s
still running.
OFFICER JONES
Guess they can’t let a good
thing be, huh?
Corey’s head turns to face the billboard. His face slowly
morphs into one of absolute PANIC, DREAD, and all other
synonyms for HORROR.
The camera pans around Corey to reveal the billboard: an
advertisement for Season 16 of a series, with Lea’s face
PLASTERED ACROSS IT.
OFFICER BRADLEY
I wonder how much Lea Cooper
makes per episode. She’s been
the star for years.
Corey falls to his knees. His screams are drowned out by the
sound of a passing train.
We cut to black.
THE END
