Nightmare Cinema (2018) Movie Script
(METAL SQUEAKS)
(ELECTRICITY HUMMING)
(METAL CLANKING)
(ELECTRICITY FIZZLING)
(GENERATOR WHIRRING)
(SILENCE)
(WIND WHISTLING)
(CONTEMPLATIVE PIANO MUSIC)
(LETTERS CLICKING)
(INSECTS CHIRPING)
(SAMANTHA SOBS)
(PHONE TAPPING)
JASON: If this isn't
Samantha, leave a message.
Fuck you, Jason!
I don't need any
more of your shit!
And don't call me back.
(CAT YOWLS)
(BOTTLE CLATTERS)
(OMINOUS ORCHESTRAL MUSIC)
(DRAMATIC PIANO AND SYNTH MUSIC)
(DISPENSER WHIRS)
(BELL DINGS)
(DRAMATIC PIANO AND SYNTH MUSIC)
(DOORS CREAKING)
(DOORS SLAM)
Hello?
(MYSTERIOUS ORCHESTRAL MUSIC)
(LIGHT CLANKS)
(EERIE STRING MUSIC)
(YELPS) What the fuck?
(MYSTERIOUS ORCHESTRAL MUSIC)
(PROJECTOR WHIRRING)
(PEACEFUL ORCHESTRAL MUSIC)
(BIRDS CHIRPING)
(SAMANTHA PANTING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(BODY SQUELCHING)
(SAMANTHA WHIMPERING)
(STICK CRACKS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(METAL CLANGING)
(SAMANTHA PANTING)
- (SUSPENSEFUL ORCHESTRAL MUSIC)
- Quiet.
Did you see him?
What about the others?
He killed them.
He killed them all.
Don't worry.
We're gonna make it.
I'll protect you.
(STICK CRACKS)
(PANTS) Run!
(SUSPENSEFUL ORCHESTRAL MUSIC)
(WOLF HOWLS)
Now what?
Do you want to walk back to town
in the middle of the night
with that psycho outside?
We don't have to walk.
Hey!
(SIREN WAILING)
Come on, not him.
(ENGINE RUMBLING)
(DRAMATIC ORCHESTRAL MUSIC)
TOM: Hands where
I can see 'em.
Tom.
Stay where you are
and put your hands
where I can see them.
Tom, you're making
a big mistake.
It's Officer Carter to
you, you piece of shit.
What happened to you?
Are you hurt?
Did he do something to you?
It wasn't him.
It's someone else.
He's hunting us.
Hunting?
You have to get
us out of here.
Tom, please, you
need to trust us.
Please.
All right, all
right, all right,
but you're both
riding in the back
until we can clear all this up.
Thanks, man.
I'm sorry if I ever...
Don't.
We were kids back then.
Besides, you're not
off the hook yet.
(SUSPENSEFUL ORCHESTRAL MUSIC)
(DOOR SLAMS)
Oh my god, it's him again!
What the hell is this?
Tom?
Tom, take us back to town!
Please, Tom, get in the car
and let's get out of here.
Drop your weapons
and raise your hands.
I said drop your weapons!
(GUN FIRES)
(METAL CLANGS)
(SAMANTHA YELPS)
(GUN FIRING)
(TOM SHOUTING)
Is he dead?
Something's not right.
No.
No.
No, no, no, no, no, no, no,
what kind of a sick joke...
(GUN FIRES)
(SAMANTHA YELPS)
Damn it, Tom, I
told you to drive!
What are we gonna do?
(BOTH PANTING)
We're gonna get out of here.
Be careful of the glass.
(WINDOW BANGS)
(JASON GROANS)
(WINDOW SHATTERS)
(SAMANTHA SHOUTS)
No, Jason, what
are you gonna do?
I'm gonna go get the keys.
(SUSPENSEFUL ORCHESTRAL MUSIC)
He's still alive!
(KICK THWACKS)
JASON: Come on,
come on, let's go!
We gotta get to the house!
(BOTH PANTING)
(LIQUID PINGING)
Shit.
SAMANTHA: God.
(DOOR BANGING)
Let us in!
Open the door!
JASON: Open the goddamn door!
What the fuck?
Whoa, whoa, whoa,
what is going on?
Where is everybody?
They're gone, Mike.
They're all gone.
Gone?
What do you mean gone?
What the hell happened to you?
Are you hurt?
It's not my blood.
It's, it's Lizzie's, Maggie's,
Tony's, Carl's, Jamie's,
Ron's, Stephanie's.
What the hell are
you talking about?
He killed them.
He killed them all.
Killed them?
Who?
The welder.
Who the fuck is the welder?
(SUSPENSEFUL ORCHESTRAL MUSIC)
It's, it's him! (SQUEALS)
What the hell?
Oh, fuck.
(MIKE GRUNTS)
(SAMANTHA SCREAMS)
(DOOR SLAMS)
(ROARS) I think
he broke my ribs!
He's gonna do a lot more
if he catches us! (GRUNTS)
(DOOR CREAKING)
It won't hold long!
SAMANTHA: What
are we gonna do?
Hold this for me.
On the count of three, open
the door and let him in.
Are you out of
your mind? (PANTS)
I'm gonna blow his
fucking head off!
Wait.
(GUN CLACKS)
(DOOR BANGING)
You're not blowing
anybody's fucking head off.
That son of a bitch
broke my ribs!
I'm the one shooting
fucking heads here.
And I'm gonna teach him
not to mess with me.
And when that motherfucker
shows his face,
I'm gonna be the last thing
he sees before I send him...
(TOOL SQUELCHES)
(MIKE GROANING)
(SAMANTHA SCREAMING)
(GUN FIRING)
(MIKE GROANING)
(GUN CLACKS)
(GUN FIRING)
(SAMANTHA SCREAMING)
(DRAMATIC ORCHESTRAL MUSIC)
(GUN FIRES)
(HEAD SQUELCHES)
(SAMANTHA WHIMPERS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(JASON GRUNTING)
(BLOWS THUDDING)
(DISHES CLATTERING)
(THERMOS CLATTERS)
(HEAD BANGING)
(COUNTER SQUEAKS)
(SAMANTHA WHIMPERS)
(BLOWS THUDDING)
(JASON GRUNTING)
(WOOD CREAKS)
(OMINOUS ORCHESTRAL MUSIC)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(SAMANTHA SHRIEKING)
(SAMANTHA CRYING)
(JASON GROANING)
(BLOWS THUDDING)
(KNIFE CLANGS)
Die, you son of a bitch!
(METAL CLANGS)
(DRAMATIC ORCHESTRAL MUSIC)
(KNIFE SQUELCHES)
(JASON GROANING)
(KNIFE SQUELCHES)
(JASON GROANING)
(JASON COUGHS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(JASON GROANS)
(KNIFE SQUELCHES)
(JASON ROARS)
(JASON GRUNTING)
(KNIFE SQUELCHES)
(JASON ROARS)
(BONES CRUNCHING)
(JASON GROANING)
(KNIFE SQUELCHES)
(JASON ROARS)
(JASON GROANING)
(KNIFE SQUELCHES)
What are you waiting for?
Finish it.
(TORCH HISSES)
(JASON SCREAMING)
(SAMANTHA GRUNTING)
(DRAMATIC ORCHESTRAL MUSIC)
Hey!
You want me?
Come and get me, bitch!
(SUSPENSEFUL ORCHESTRAL MUSIC)
(METAL CLANGING)
(SAMANTHA GRUNTING)
(SAMANTHA ROARS)
(CHAIN CLINKING)
(SAMANTHA GRUNTING)
(TOOL CLATTERS)
(SAMANTHA GASPING)
(HAMMER CRUNCHES)
(SAMANTHA GRUNTS)
(METAL CLANGS)
Wait, wait, wait, Sammy!
Please, don't kill me!
Sam, it's me, Fred!
Fred?
Yes, Fred, do you remember me?
Fred, your neighbor.
We've known each other
since we were kids.
We used to play
together, remember?
You were the princess?
I was your servant.
I would carry stuff for you.
(DRAMATIC ORCHESTRAL MUSIC)
Please, Sammy, please.
You have to believe me.
We came here together
to spend the weekend.
And my parents let
us use their cabin
so we could have one last
vacation before school.
(SAMANTHA LAUGHS)
(PEACEFUL ORCHESTRAL MUSIC)
(PEOPLE CHATTERING)
- Hey.
- Hey.
MAN: We're here
for two weeks.
WOMAN: Two weeks, oh my god!
See ya later.
(DRAMATIC ORCHESTRAL MUSIC)
WOMAN: Oh, right. (laughs)
("SUNSHINE EARTHQUAKE" BY
FRANKIE AND THE WITCH FINGERS)
Who's there down
by the riverside
Two went, two from the cacti
Spirits all in your rainbow
Freeze-dried, down
to the skin and bones
Sunshine earthquake,
I'm gonna lift you up
I'm gonna make
music, all right
Hey, god.
(BOTTLE HISSES)
We were having a nice weekend
until something
fell from the sky.
(AIR WHOOSHING)
MAN: Oh my god!
Hey, did you see that?
(METEORITE CRASHES)
Hey, guys, let's go
check that shit out!
- No!
- Come on!
I wanted to leave.
The rest were curious.
We went to see what it was.
(MUD BUBBLING)
I tried to convince
them we should leave.
This could be dangerous,
and we should leave
it to scientists.
"Fuck science," he said, and
did the most stupid thing.
(BUG GROWLS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(BUGS CHIRPING)
- Run!
- Run, run!
(PEOPLE SCREAMING)
(JASON WAILING)
(SAMANTHA GRUNTING)
(BUGS CHIRPING)
(FRED GRUNTING)
(DOOR SLAMS)
No, no, shit, shit!
(GRILL CRASHES)
(FRED GRUNTING)
(DOOR SLAMS)
(FRED PANTING)
(OMINOUS ORCHESTRAL MUSIC)
(WOOD TAPPING)
No, no! (SCREAMS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
Oh, no! (SCREAMS)
(HAMMER THUDS)
(FRED GRUNTS)
(BUG SQUELCHES)
I managed to escape.
I knew what I had to do.
(DRAMATIC ORCHESTRAL MUSIC)
(METAL CLANKING)
(TORCH HISSES)
(INHALER HISSES)
(METAL CLANGS)
(MAN SCREAMING)
(TORCH HISSES)
(FIRE ROARING)
Those weren't my
friends anymore.
I had to hunt them down
and I had to kill them.
I had to stop them before
they got out to civilization
and infected every
single one of us.
No.
If there's any
human left inside you.
(SAMANTHA GRUNTING)
No!
(SKULL CRACKING)
(FRED WAILING)
(BUGS CHIRPING)
(SKULL CREAKING)
(SAMANTHA GASPS)
(SAMANTHA GROANING)
Kill me! (CRIES)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(INSECTS CHIRPING)
(FRED CRYING)
(OMINOUS ORCHESTRAL MUSIC)
(LEGS CRACKLING)
(METAL CLANKS)
(FRED GRUNTING)
(BUGS CRUNCHING)
(DRAMATIC ORCHESTRAL MUSIC)
(BIRDS CHIRPING)
(DOOR SLAMS)
(BUG CRUNCHES)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(BUGS CHIRPING)
(OMINOUS ORCHESTRAL MUSIC)
(DRAMATIC ORCHESTRAL MUSIC)
(BOTH SMOOCHING)
Hey, that door's open.
You ever done it in a balcony?
No, of course not.
Come on, you want to?
No, David, someone
could see us.
Come on.
It'll be fun.
Come on.
Come on.
(ANNA LAUGHING)
(ANNA LAUGHING)
(BOTH SMOOCHING)
(PROJECTOR WHIRRING)
(DRAMATIC ORCHESTRAL MUSIC)
(DOOR CREAKS)
Uh-huh, yeah.
(DAVID LAUGHS)
Oh, I thought I lost you.
(CHUCKLES) I'll
talk to you later.
You too.
My mother, you're
gonna love her.
(MELLOW PIANO MUSIC)
(PEOPLE CHATTERING)
Champagne.
Mm-hm.
I'm moving up in the world.
Oh, the world is just
catching up with you.
To us.
(GLASSES CLANG)
(ANNA CHUCKLES)
What?
Nothing.
You were looking
in the mirror.
We should order
dessert, celebrate.
You have to stop this, Anna.
Let's talk about
something else.
Okay, it's time to
let this obsession go.
(SIGHS) I'm not
the prettiest girl
you were ever with,
David, not with...
I don't think like that.
(SCOFFS) Everyone thinks
like that, trust me.
Come on, at least let
me savor the injustice.
Looks are overrated.
You know, your imagination is
not always your friend, Anna.
I just want you to be
as happy as you make me.
(SENTIMENTAL ORCHESTRAL MUSIC)
Making things
official between us
is the best thing that's
ever happened to me.
(BOTH SMOOCHING)
Me too.
(BOTH LAUGHING)
You know, when I was
talking to my mother,
she said if you
ever want to discuss
anything with her
plastic surgeon.
You talked about my
face with your mother?
I'm, I'm sorry.
I just...
My mother has had
work done, Anna,
and she understands
these things.
But you're so handsome.
She must have always
been beautiful.
Well, she is now.
She's extraordinary.
Life is too short to worry
about what you look like.
I will pay for everything.
(ANNA SCOFFS)
You'll feel better
about yourself.
Anna, Dr. Leneer
will see you now.
Come on back.
I think we can make
you very happy, Anna.
Oh, I don't expect miracles.
I'm getting married.
I just want to look...
Fabulous for the photos,
I hear that every day.
I've worked on David's
wonderful mother.
Have you met?
Not yet.
Hm, nothing can prepare
you for how stunning
she looks, if I
do say so myself.
Oh, he's doing modest.
She's a masterpiece.
DR. MIRARI: So what happened?
Car accident.
I was two.
I don't remember anything,
other than people
staring at me my whole life.
You never considered
plastic surgery?
It was financial.
Oh.
Well, I'm confident we
can eliminate 95% of it.
You're serious?
Yes, you'll hardly
know it was there.
And, if you're willing,
since you'll be under,
I could make some other
adjustments while we're at it.
What woman
doesn't have a list?
Well, I want to look
beautiful for David.
I would suggest
we narrow the nose
and give you a bit more chin
and cheekbones, of
course, for balance.
Really?
It's all about where to
put the dermal fillers.
I like to inject near
the back of the cheek.
Gives us volume, not puffiness.
You'll love it.
I would suggest something
more proportional.
So I can see it exactly, Anna.
You game?
Well, when would we do it?
We're here to make
dreams come true.
Uh, how does next Monday sound?
Soon.
Why wait?
We can start the pre-op
tests right away.
Well, which hospital?
You're in it.
Our surgery and recovery
is all done right here.
Mm, yes?
(LAUGHS) Good, good.
Now, any really tough questions?
Well, other than the scar,
am I doing the right thing?
Am I being vain?
Am I...
You worry a lot, don't you?
Well, not a lot.
Too much.
Yes, you are doing
the right thing.
And, no, you're not being vain.
What about pain?
Well, we'll give you something
to keep you comfortable.
I guess change always hurts
a little one way or another.
A philosopher.
(ANNA LAUGHS)
I think we're gonna be friends.
I'll look...
Anna, you will never
dread the mirror again.
And David will be the
luckiest guy in town.
(DRAMATIC ORCHESTRAL MUSIC)
(MONITORS BEEPING)
You'll have a nice sleep.
We'll take care of everything.
SIMONE: Your handsome
fianc is in the waiting room.
DANIELLA: Wish
I had one of those.
SIMONE: Count
backwards from 10, honey.
10, nine, eight, seven...
(SERIOUS ORCHESTRAL MUSIC)
DR. MIRARI: Scalpel.
("AVE MARIA")
(EERIE ORCHESTRAL MUSIC)
How's our favorite patient?
Hi.
Dr. Leneer has
given instructions
to change the drains
every couple hours.
Keep you on something for pain.
I just put some in your IV.
You let us know, okay?
Call button is right
there next to the bed.
Things went so well,
Anna. (CHUCKLES)
I'm gonna give you two
lovebirds some privacy.
Doctor will be in to see
you in a few minutes, okay?
Oh, and try not to
talk, honey, stitches.
Hey.
Oh, hey, the villa in St. Barts?
It's ours, with our
own personal chef.
(ANNA MUTTERS)
Oh, no, don't talk, sweetie.
I love you.
I dreamed about us. (MOANS)
(MYSTERIOUS ORCHESTRAL MUSIC)
(CAMERA CLICKING)
(KEYBOARD TAPPING)
(SENT TEXT BEEPS)
(DRAMATIC ORCHESTRAL MUSIC)
(PHONE RINGING)
Yes.
No, I agree.
I will speak with him.
Hey, we did the best
we could (MUMBLES).
(PEOPLE MUTTERING)
All right.
Anna, I'm very pleased.
Everything went well, but
we have one small concern.
Your oxygen levels, you're
not getting quite enough.
Happens sometimes
with nasal procedures.
So, why don't we
do the smart thing
and fix it all tomorrow morning?
Get you in and out
in no time, hm?
It's all quite common.
Nurse Simone will
be here all night.
(MONITOR BEEPING)
Give you something for pain.
And I'm scheduled now
for another surgery,
but she'll call me
if anything comes up.
You're in good hands.
I...
I had a beautiful dream,
but then it got strange.
You were there.
Well, when you go under,
the mind plays tricks, Anna.
When I had my first
plastic surgery,
I thought I died and met God.
I asked him how he got my job.
(BOTH CHUCKLING)
So, I'll see you in the morning.
Sleep, and no worrying.
Promise?
Mm-hm.
(CLOCK TICKING)
(OMINOUS ORCHESTRAL MUSIC)
(ANNA GROANS)
(BUTTON CLICKS)
SIMONE: Yes, Anna?
I need to make a call.
SIMONE: Doctor says
no talking for tonight.
Phone's off, anything else?
A mirror?
Tomorrow, try to rest.
(EERIE ORCHESTRAL MUSIC)
(ARM SQUELCHES)
(ANNA GROANS)
(ANNA PANTING)
(HANDLE RATTLING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(KEYBOARD CLACKING)
(PHONE RINGING)
Mirari Clinic, this
is Nurse Simone.
Be right down.
(PHONE CLATTERS)
(SCANNER BEEPS)
"Looks are overrated."
(ELEVATOR DINGS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(ANNA GRUNTING)
(WOMAN GROANING)
(INTENSE ORCHESTRAL MUSIC)
Help me!
Help me, please!
Help me!
Please, please, help me!
Help me.
(CART RATTLING)
Anna, what are you
doing out of your room?
(ANNA ROARS)
(GLASS CRASHES)
(BOTH GRUNTING)
(PUNCH THUDS)
(SIMONE YELPS)
(BOTH GRUNTING)
(GAUZE SCRATCHES)
(PUNCH BANGS)
(SIMONE THUDS)
(ANNA PANTING)
(SCANNER BEEPS)
(BUTTON CLACKING)
(BUTTONS CLACKING)
(BUTTONS CLACKING)
Hello, Anna.
Nurse Simone tells me
you've been a naughty girl.
- No.
- Hm?
No, leave me alone! (GROANS)
(GASPS) No, no, please! (CRIES)
Just relax.
Everything's gonna be fine.
More anesthesia, Nurse.
No, no, please, no! (WHIMPERS)
(DAVID SIGHS)
(OMINOUS ORCHESTRAL MUSIC)
(ANNA WHIMPERING)
Anna, hey, Anna, okay, sh.
You lied to me.
You wanted more.
It was, it was your idea.
Anna, just rest, okay?
My mother came to see you.
I'm gonna go get her.
Okay?
(ANNA WHIMPERING)
(VELCRO SCRATCHES)
What have they done to me?
I'm a fucking freak! (CRIES)
(HEELS CLACKING)
(NADIA SIGHS)
Anna.
Oh, I am Nadia.
Mother of David.
Aw, welcome to the
family, darling.
Oh, she's lovely. (CHUCKLES)
She's just wonderful.
(ANNA SCREAMS)
(PROJECTOR WHIRS)
David?
(SPOOKY ORCHESTRAL MUSIC)
David, where are you?
(DOOR BANGS)
Where's David?
(REEL CLICKING)
Hello, I'm talking to you.
(DOOR SLAMS)
(ANNA YELPS)
Who are you?
I'm the Projectionist,
sweetie pie.
I'm the curator of a
hundred years of nightmares,
trapped in a silver
screen that never forgets.
ANNA: What do
you want from me?
You might call me
a death collector,
and I'm gonna love
watching yours. (LAUGHS)
(ANNA SCREAMING)
(SPOOKY ORCHESTRAL MUSIC)
(INSECTS CHIRPING)
(ELECTRICITY HUMMING)
(HAUNTING CHORAL SYMPHONY MUSIC)
(DOORS CREAKING)
(DOORS SLAM)
Anybody here?
(VOICE HISSING)
(METAL SQUEAKING)
Sit.
Who are you?
I'm the Projectionist.
Welcome to my nightmare.
(METAL SQUEAKING)
(GIRL SCREAMING)
(GIRLS SCREAMING AND GASPING)
(PETER SCREECHES)
Stay, stay back!
Peter!
Oh my god, oh my god.
(SUSPENSEFUL ORCHESTRAL MUSIC)
BENEDICT: No.
Peter, don't do it!
(GIRL GASPS)
(SHOES CLOMPING)
Stay back.
(PETER CACKLING)
(PETER GROWLING)
Peter, Peter!
What are you doing?
You're going to fall.
Come with me, please.
(PETER GROWLING)
With me, you're okay.
(PETER GROWLING)
Help me.
I'm scared.
I'm here.
PETER: Okay.
(BONE CRUNCHES)
(PETER SCREAMS)
(PETER SCREAMING)
(GIRLS SCREAMING)
(PETER THUDS)
(INTENSE ORCHESTRAL MUSIC)
(HAUNTING SYNTH MUSIC)
(DRAMATIC ORCHESTRAL MUSIC)
(DRAMATIC ROCK MUSIC)
I know you loved him,
baby, but don't be scared.
You're safe here.
Come on, take this.
You really need
to get some sleep.
Come on.
Good.
Remember, I'm always with you.
Okay?
(OMINOUS ORCHESTRAL MUSIC)
Come on.
Let's go to your room.
Can I please sleep with you?
I have work to do.
But I will see you
tomorrow in class, okay?
Hey, you know I love you, right?
DANI: Yeah.
(VOICE WHISPERING)
(WOOD CREAKING)
(CROSS CRASHES)
(GLASS CLINKS)
(CINDY GASPS)
(VOICE HISSES)
(DOOR RATTLES)
(EERIE SYNTH MUSIC)
(DANI CRYING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(AIR WHOOSHES)
(SISTER PATRICIA MOANING)
(DOOR BANGS)
(CHILD LAUGHS)
Who's there?
I'm worried about Dani.
Peter's suicide was so horrible.
I'm frightened.
Do you think...
Sister, stop.
They're kids.
Kids are strong.
Hey.
We can fight this together.
(OMINOUS ORCHESTRAL MUSIC)
(DOOR BANGS)
(CHILD LAUGHS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(WOMAN SCREAMS)
(HAUNTING CHOIR MUSIC)
(PEOPLE SCREAMING)
(DRAMATIC ROCK MUSIC)
(PEOPLE SCREAMING)
(SPOOKY SYNTH MUSIC)
(KICK THUDS)
Oh, Dani, so sad,
so sad. (CHUCKLES)
Stop it.
- Stop it!
- What are you gonna do?
Tell your mommy?
Not again, please, Tania.
Stop, please, I'm
Mommy's little baby.
Hey, come back here!
(AIR WHOOSHES)
(BONES CRUNCH)
(TANIA RETCHING)
(TANIA COUGHING)
(TANIA SCREAMING)
(PANTS) Help!
SISTER PATRICIA:
Calm down, sweetheart.
No, no, no, get
away, get away!
- That's enough.
- No, no!
Don't talk.
That's enough, that's enough.
(TANIA SCREAMING)
(DEVIL GROWLING)
Honey, I'm here.
I'm here, okay, sweetie.
(VOICES WHISPERING)
(HAUNTING ORCHESTRAL MUSIC)
(DEMON GROWLS)
Abaddon, the destroyer.
Abraxas, the door
between two worlds.
Mashit.
Mashit.
An infernal entity in
charge of punishing
those who commit
lust and incest.
Its mission is
torturing children
and leading them to suicide.
What are you doing
in here so late?
(GASPS) Father.
It is Mashit.
No.
It is Mashit.
He's torturing Dani
and the other children.
Why them, why now?
I don't know.
They're in danger.
Please.
It is Mashit?
(SUSPENSEFUL ORCHESTRAL MUSIC)
(ELECTRICITY FIZZLING)
(BONES CRUNCHING)
(PETER GROWLING)
Peter?
Is that you?
Sister.
I miss you.
I missed you too, Father, and
the things we used to do here.
Together.
(DRAMATIC CHORAL SYMPHONY MUSIC)
(PETER GROWLS)
(SISTER PATRICIA GASPS)
(PETER CACKLES)
Before the cross of our Lord,
all enemy forces,
get away from here.
I declare you anathema.
Satan, depart from
this servant, Peter.
Depart!
(PETER LAUGHING)
Depart!
(SUSPENSEFUL ORCHESTRAL MUSIC)
He's inside of her.
You must kill her
before it's too late.
Just kill her.
Did you call for me, Father?
Come here, Dani.
(OMINOUS ORCHESTRAL MUSIC)
He who dwells in the
shelter of the Most High
shall abide under the
shadow of the Almighty.
(WATER SPLASHES)
What are you doing?
BENEDICT: Get out!
DANI: (wails)
What are you doing?
BENEDICT: (grunts) Get out!
Stop!
What are you doing?
Show yourself, demon!
Why are you trying to hurt me?
Get out!
Demon, show yourself!
CINDY: What are you doing?
Don't interrupt!
The demon is within her!
Are you kidding?
An exorcism?
Are you out of your mind?
This is my daughter!
Are you okay?
(BOTH WHIMPERING)
Pack your things, sweetie.
(DRAMATIC CHORAL SYMPHONY MUSIC)
(CINDY HISSES)
(SISTER PATRICIA GASPS)
(DEMON GROWLS)
It's not Dani, Father.
She's not the source.
(DEMON HISSES)
(DRAMATIC ROCK MUSIC)
(DEMON HISSES)
Mom?
Mom?
(DEMON GROWLING)
It's you.
(DEMON GROWLS)
(DANI GASPS)
(WAILS) Mom!
(SQUEALS) Help me!
Wake up!
(DEMON SHOUTS IN
FOREIGN LANGUAGE)
(DEMON HISSES)
(DANI WAILING)
Suffer the little
children unto death!
They shall be the eyes and
the ears of the Dark Lord,
and through me,
thy will be done.
(WAILS) Help me!
Please, God!
(MATCH SCRATCHES)
(MYSTERIOUS ORCHESTRAL MUSIC)
(SISTER PATRICIA GASPS)
(DRAMATIC ROCK MUSIC)
(GIRL GROWLING)
(SISTER PATRICIA SCREAMS)
Get off!
(BENEDICT GRUNTS)
(GIRL GROWLS)
(DRAMATIC CHOIR MUSIC)
What are we gonna do?
Something's wrong.
(DOORS BANG)
(INTENSE CHORAL SYMPHONY MUSIC)
(SWORD CLANGS)
What am I gonna do with this?
Fight the goddamn Devil.
(SUSPENSEFUL ORCHESTRAL MUSIC)
(GIRLS ROARING)
(GIRLS SHRIEKING)
(DRAMATIC ROCK MUSIC)
(SWORD CLANGING)
(BENEDICT GRUNTING)
(SISTER MOANS)
(BENEDICT GRUNTING)
(SISTER PATRICIA GROANING)
(BLADE SCRATCHES)
(SISTER PATRICIA YELPS)
(BLADE SQUELCHES)
(SISTER PATRICIA ROARS)
(BLADE SQUELCHES)
(SISTER PATRICIA GRUNTS)
(GIRL GROWLS)
No! (ROARS)
(BLADE SQUELCHES)
(GIRL GASPING)
(BODY THUDS)
(SISTER PATRICIA PANTING)
(SISTER PATRICIA ROARING)
(BENEDICT GRUNTING)
(DAGGER SQUELCHING)
(BOY ROARING)
(HEADS THWACKING)
(DEMON ROARS)
(SWORD SQUELCHES)
(DEMON GROWLS)
(BENEDICT ROARS)
Cindy!
(DRAMATIC ORCHESTRAL MUSIC)
Fight it!
Fight him!
Cast him out!
(SOBS) I didn't want to.
He did it.
He did it.
(METAL CLANGS)
Help us, please, please.
Yes.
I'll help you.
Yes, I'll help you.
Please.
(CINDY SHRIEKS)
(DRAMATIC ROCK MUSIC)
(DEMON GROWLS)
(SISTER PATRICIA WHIMPERS)
(BOY ROARS)
(SWORD SQUELCHING)
(BENEDICT GRUNTING)
(BLADES SQUELCHING)
(BENEDICT ROARS)
(BLADES SQUELCHING)
(BENEDICT GRUNTING)
(BENEDICT ROARS)
(SISTER PATRICIA GASPS)
Suffer unto death!
(SISTER PATRICIA WHIMPERS)
(GIRL SHRIEKS)
(BENEDICT ROARS)
(DRAMATIC ORGAN AND CHOIR MUSIC)
Though I walk through the
valley of the shadow of death,
I fear no evil for
thou are with me.
(KNIFE SQUELCHES)
(CHILDREN GROWLING)
(BODY SQUELCHES)
(GIRL ROARING)
(BENEDICT MOANING)
(SISTER PATRICIA YELPS)
(DEMON SNARLS)
(SISTER PATRICIA SCREAMS)
(AIR WHISTLING)
(BODIES THUD)
(SISTER PATRICIA COUGHS)
(DRAMATIC ROCK MUSIC)
(VOICE HISSING)
(SISTER PATRICIA GROANING)
Goodnight, children.
Dawn brings a new day.
Bless me, Father,
for I have sinned.
And that's why we're here.
(INTENSE ORCHESTRAL MUSIC)
(INSECTS CHIRPING)
(VOICE HISSING)
(OMINOUS ORCHESTRAL MUSIC)
(DOORS CREAKING)
(DOORS SLAM)
(PHONE RINGING)
Excuse me?
(PROJECTOR WHIRRING)
(KEYBOARD CLACKING)
Excuse me?
Excuse me?
Excuse me?
My appointment was for 3:00.
Sorry, Dr. Salvador
is running late.
(KEYBOARD CLACKING)
(HELEN SIGHS)
What'd she say, Mom?
A few more minutes.
Yeah, sure, she told
you that an hour ago.
Yeah, an hour ago.
HELEN: Just a
few more minutes.
I'm starving.
ERIC: Looks like
they forgot about you.
Don't be silly, honey.
I just talked to the woman.
She said a few more minutes.
ERIC: Yeah, sure.
You shouldn't talk back, Eric.
What, all I said
was, yeah, sure.
You shouldn't say it.
It's disrespectful.
Yeah, sure.
(EERIE SYNTH MUSIC)
HELEN: I hate to be a
pest, but my children are...
Try being patient.
(AIR WHOOSHES)
(HELEN CLEARS THROAT)
What is it now?
I was just thinking that
maybe if it's a busy time...
It's not.
You're the only one here.
Besides, the appointment
book's already closed.
I can't cross you off now.
We did you a favor
by squeezing you in.
You did say it was an
emergency, didn't you?
HELEN: Yes.
Then why would you
cancel the appointment?
Sorry.
Mom, I gotta take a shit!
Don't say that word.
Mom, I gotta go poop.
I'll take him.
No, no, no one goes
anywhere without me.
ERIC: What, not
even the men's room?
HELEN: No, not even.
Why?
Because I don't
like the look of it.
Yeah, sure.
(COMPUTER BEEPS)
The doctor will see you now.
Cut it out, Ma.
Please hurry.
He's waiting.
Come in!
(EERIE SYNTH MUSIC)
Sit down.
When you called, you mentioned
something about being afraid.
Yes.
DR. SALVADOR:
Why are you afraid?
Things keep changing.
DR. SALVADOR: Changing how?
Getting different.
Different how?
When did you first
notice these changes?
Yesterday morning.
Things were bad yesterday
morning, but then they got better,
and now they're
getting worse again.
DR. SALVADOR: And
have you mentioned
these changes to your husband?
I don't have a husband.
I, I, I...
I mean, I had a husband, but he
left two days ago.
My husband has nothing
to do with the problem.
Do people around you
seem to be changing?
Answer the question.
Are people around
you turning ugly?
Yes.
DR. SALVADOR: You hesitated.
Aren't you sure?
No, I'm sure.
How do you know?
Do you see it, too?
Tell me about your children.
Have you noticed similar
deformities in them?
Oh, no, not in my children.
They look as normal as
I do, as normal as you.
They brought me here, you know.
DR. SALVADOR:
How old are they.
Nine and 11.
DR. SALVADOR: And
they brought you here?
Yes.
There have been moments
in the past few days
where they seem very mature.
DR. SALVADOR: Mature?
Yes.
This morning, after I found...
(HAUNTING SYNTH MUSIC)
DR. SALVADOR: Go on.
It was Eric who
found the, your number.
He, he made me call you.
And this sudden maturity is
the only change you've
noticed in them?
Yes.
It doesn't last.
Usually they act like kids.
DR. SALVADOR: And
what about everyone else?
People other than
you and the kids?
Is everyone else
strangely deformed?
Yes.
DR. SALVADOR: And
have these changes
accelerated since four o'clock?
Yes.
And do you consider
yourself suicidal?
(PHONE RINGS)
What is it?
RECEPTIONIST: Your
colleagues are waiting.
Thank you.
I have a meeting with
some field workers,
but I'd like to see
you again tomorrow.
Tomorrow?
We open at 9:00, but
I want you here at 8:30.
Tomorrow, 8:30.
There's something else.
You asked if I
considered myself...
We can discuss that tomorrow.
HELEN: Why won't
you help me now?
Thank you.
Tell me!
(INTENSE SYNTH MUSIC)
If I'm crazy, just tell me!
It'd be so much easier
if someone would just...
Eric?
Eric!
Chris, honey.
(ELEVATOR DINGS)
Hey.
Hey, hey, wait a minute, please.
Wait, please.
(BUTTON CLACKS)
(ELEVATOR DINGS)
(HELEN GASPS)
RECEPTIONIST: What now?
Have you seen my children?
What children?
My children.
Sorry, honey.
I haven't seen any children.
(DOORS CLANKING)
(SPOOKY SYNTH MUSIC)
(TOILET FLUSHES)
Eric?
Chris?
Eric, Chris, stop that!
(PLUNGER SUCKING)
Hey.
(JANITOR GROWLS)
(PLUNGER SUCKING)
My children.
(JANITOR GROWLS)
I'm looking for my children.
(PLUNGER SUCKING)
Have they been in here?
I'm asking you a question.
Why are you ignoring me?
(HAUNTING STRING MUSIC)
(GUN CLICKS)
(JANITOR ROARS)
Hey!
Look at me!
Damn you!
I have a gun.
Look at me!
(DOOR BANGS)
(SWEEPER WHIRRING)
Hey!
(SPOOKY SYNTH MUSIC)
Hey, have you seen two boys?
I'm looking for two boys.
Have you seen my children?
Children?
What children?
(MOP CLACKS)
(MOP CLACKS)
(DIAL TONE BEEPS)
(COIN CLINKS)
(BUTTONS CLACKING)
(PHONE BEEPING)
(PHONE RINGING)
Eric, pick up.
I know you're there.
Hello, Eric?
ERIC SR.: Hey, this is Eric.
I'm not able to take
your call right now.
Leave a message.
I'll get back to you.
(VOICEMAIL BEEPS)
Eric, I know you're there.
I can't, can't do this.
I'm sorry.
I, we need to try again.
Maybe, we need to make...
ERIC SR.: Helen.
Eric, thank god.
(MOP CLACKS)
I have to talk to you.
I'm, I can't...
ERIC SR.: Helen,
what are you doing?
You know...
It's over, Helen.
WOMAN: Is that her?
(HELEN WHIMPERS)
Ah, ah, please, Eric, please.
I'm, what about the children?
ERIC SR.: What children?
(LINE BEEPING)
(PHONE CLATTERS)
(EERIE SYNTH MUSIC)
ERIC: Yes sir,
yes sir, yes sir.
(LINE BEEPING)
(HELEN SOBBING)
DR. SALVADOR: Do
you think she'll do it?
ERIC: Yes, we haven't
left her much choice.
CHRIS: I think so too.
I only wish we'd given her
poison instead of a gun.
ERIC: She won't take poison.
She needs to do
something aggressive.
DR. SALVADOR: How many
bullets were there in the gun?
ERIC: One, that's
all she'll need,
provided she doesn't miss.
CHRIS: And provided
she uses it on herself.
You know, in a way,
I feel sorry for her.
It's not her fault
she descended.
DR. SALVADOR:
It's no one's fault.
Descent from the
higher realities
is neither fair nor unfair.
It's a fact.
It happens.
It's up to us to deal with
it, not pass judgment.
ERIC: Do you think her
husband deserting her caused it?
DR. SALVADOR: It's possible.
Have you read Dr. Pico's
study on traumatic descent?
- No.
- Do so.
If you're gonna make
field work a career,
you'd be wise to keep
up on the literature.
CHRIS: I just keep thinking
it'd be so much better
if we could just
elevate her back.
ERIC: Yeah, sure,
how are we gonna do that
if we don't even know which
reality she came from?
CHRIS: We might be
able to figure it out.
We know she had a family.
We know she had two
boys, Eric and Chris.
We knew she loved them.
ERIC: You don't know that.
CHRIS: We can infer it.
Haven't you seen the
way she looks at us?
It's not the way she
looks at other things.
She's seeing the
children she left behind.
DR. SALVADOR: She told me
about that when we talked.
She told me that
I looked normal.
I believe that she only heard
some of what I said to her.
She's having auditory as well
as visual hallucinations.
CHRIS: Are you sure that
suicide is the only option?
DR. SALVADOR: It's
the only practical one.
There's a slight chance,
a theoretical chance
that she could return
the way she descended.
It has happened,
but it would take
a resilience she doesn't have.
ERIC: So we have to kill her.
DR. SALVADOR: No,
she has to kill herself.
We're physicians, not murderers.
CHRIS: Well,
where is she now?
DR. SALVADOR:
Right outside the door
in the hallway, listening.
ERIC: You're kidding.
DR. SALVADOR: Open the
door, see for yourself.
I heard her moving out there.
(HELEN ROARS)
(SUSPENSEFUL STRING MUSIC)
(GUN FIRES)
Shit!
(GUN CLATTERS)
Who said that?
ERIC: Chris.
I warned you, Chris.
I warned you about
that kinda talk.
Come on.
(BOYS WHIMPERING)
(WIND WHISTLING)
Mom!
Mom, where are we going?
Home.
(VOICE HISSING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(INSECTS CHIRPING)
(GUN FIRES)
(LIVELY CLASSICAL PIANO MUSIC)
(OMINOUS ORCHESTRAL MUSIC)
(SIGN HUMMING)
(DOORS CREAKING)
(DOORS SLAM)
("TOCCATA AND FUGUE IN D MINOR"
BY JOHANN SEBASTIAN BACH)
(LIVELY PIANO MUSIC)
You almost missed him.
But I didn't.
(AUDIENCE APPLAUDING)
You were absolutely
wonderful tonight, honey.
Great, son, I mean,
just great, best by far.
It's not a competition, Dad.
Don't kid yourself.
Life is a competition,
and don't you forget that.
(BOTH CHUCKLING)
So who was that composer?
New guy or old guy?
Um, new guy.
(CHARITY CHUCKLES)
European?
American.
I wrote it, Dad.
- Yeah.
- Wait, you wrote that?
Yeah.
(CHUCKLES) Wow,
it's pretty good,
for an American. (LAUGHS)
I'm glad you
could make it, Dad.
I wouldn't have missed
it for the world, son.
- (SUSPENSEFUL ORCHESTRAL MUSIC)
- Get out of the car!
- Whoa, whoa!
- Don't fucking look at me!
- Okay, okay!
- Just get out of the car!
(CHARITY SCOFFS)
- (GUN THWACKS)
- Hey!
All right, just,
everybody calm down, okay?
- Get out of the car.
- Okay, okay.
Get out of the car.
Please don't hurt my son!
Get out!
Back up, back up!
- Don't look at me!
- Okay!
JENKINS: Get on the ground!
(CHARITY MOANS)
(BODY THUDS)
Take what you want!
(GUN THWACKS)
(JENKINS GRUNTS)
Get on the floor,
don't look at me.
Come here, Riley.
Please don't hurt
us, don't hurt us!
(BOTH GRUNTING)
(CAR BANGING)
(JARED GROANS)
(GUN FIRES)
(HEAD SQUELCHES)
- Dad, Dad!
- Oh my god, oh my god!
(BOTH GRUNTING)
Stop! (GRUNTS)
(GUN FIRES)
(CAR CLANGS)
(JENKINS GROANS)
- Fuck!
- Run!
(JENKINS GRUNTS)
(GUN THWACKS)
You fucking bitch!
(GUN FIRING)
(JENKINS PANTING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(HEART BEATING)
(RILEY PANTING)
(GUN FIRES)
(RILEY GASPS)
(DRAMATIC ORCHESTRAL MUSIC)
SURGEON: Scalpel.
Spread 'em.
Swab!
(MONITOR BEEPING)
We got a heartbeat!
(VENTILATOR HISSING)
(MACHINERY BEEPING)
It's okay, sweetheart.
I'm with you.
(VOICE HISSING)
Well, look who's awake.
Can you hear me, son?
Just nod your head if you can.
All right.
Where's my mom?
Is she still here?
No, no, your
mother's not here.
Did she go home?
You know, son,
you need to rest.
We'll talk later, okay?
I'm just glad
she's still alive.
Okay.
My dad?
He's, he's dead, isn't he?
(DRAMATIC ORCHESTRAL MUSIC)
Not now, Riley.
Because I was afraid that
he killed both of them.
Just rest, son.
We'll talk later.
Just go ahead, close
your eyes and rest.
That's what you need to do now.
(VENTILATOR HISSING)
(MACHINERY BEEPING)
(OMINOUS ORCHESTRAL MUSIC)
(CUP CLATTERS)
(WATER SPLASHES)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(MR. STITCHES GASPING)
(RILEY GASPS)
(MR. STITCHES MOANING)
(DOOR TAPPING)
Maybe you should go
back to bed, mister.
(DOOR BANGING)
You're gonna hurt yourself.
What are you doin' out here?
You should be in bed.
That man, the one with, the
one with all the stitches.
A lot of stitches
in this place,
but I don't know what
you're talking about.
He was right there.
Those meds make you dream.
Let's get that little
butt back in bed, mister.
Oh.
(RILEY GASPS)
- I'm sorry.
- I don't need no sorry.
What I need is for
you to stay put.
You are lucky to
be alive, mister.
Go back to bed, Casey.
There is nothing
for you to see here.
Come on.
Oh, Jesus, come on.
Come on.
(MONITOR BEEPING)
It's all right.
Come on, come on, come here.
It's okay.
- How'd he get here?
- Sh.
Okay.
Oh.
(CURTAINS SCRAPING)
(CLOCK TICKING)
(MONITOR BEEPING)
Riley.
Riley.
(SENTIMENTAL ORCHESTRAL MUSIC)
Riley.
Mom?
I, I thought he killed you.
I'm right here, sweetheart.
It hurts, Mom.
Oh, baby, I know.
I know.
But it doesn't have to.
My boy, my beautiful,
talented boy.
I love you, my
little pile of Riley.
I love you too, Mom.
(WOMAN SINGING)
So come be with me.
Just let go.
Rest.
Go to sleep.
Be with me.
Forever.
(HEART BEATING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
Forever?
That's it, baby.
(HEART BEATING)
Come home.
(SUSPENSEFUL SYNTH MUSIC)
(BEDPAN CLANGS)
(MONITOR BEEPING)
It's that time,
hon, moving day.
Time for you to go
to a regular room.
This is ICU, young man,
not the Ritz-Carlton.
(CHUCKLES) And you're
getting better.
Gotta make room for
the people in need.
You're lucky to be
alive, you know?
You were dead on
that operating table
'til they brought you back.
I was dead?
Your heart stopped
for a full 17 minutes.
Did you hear the choir?
Did you see the white lights?
But you're alive now.
Somebody upstairs likes you.
- Thank you.
- You're welcome.
Dad?
My dad's dead, isn't he?
Not now, hon.
I saw that guy shoot him.
He's dead, isn't he?
I'm not a baby.
I saw his brains.
He's dead, isn't he?
Stop it, son.
That talk ain't
doing nobody no good.
Where's my mom?
That's enough, son.
Calm down.
(EERIE ORCHESTRAL MUSIC)
(PHONE RINGING)
Here we go.
(CURTAINS SCRAPING)
Hey, you sleeping, kid?
(SUSPENSEFUL ORCHESTRAL MUSIC)
I got flowers and shit.
(CURTAINS SCRAPING)
Uh-uh, no sir!
You cannot have flowers in here.
Are you family?
I'm a family friend.
Immediate family
only after 7:00.
This boy's got a lot
of healing to do,
and those daffodils
ain't gonna help.
Go on home, come
back in the morning
and leave the flowers there.
It's okay, hon.
Go back to sleep.
(PEOPLE MOANING)
(RILEY GROANS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(RILEY COUGHS)
Hey.
You see 'em too, don't you?
The dead guys.
You can see them?
Oh yeah.
What's your name?
Riley Everson.
I'm Casey.
So how long were you dead?
Um, 17 minutes.
How'd you know?
It takes one to know one.
I was only gone for six.
You were dead too?
All the best people have
been dead and back, right?
You look like you
need to sit down.
(RILEY COUGHING)
So, how did you die?
I got shot.
Jesus.
Who would want to shoot a kid?
He killed my dad
and maybe my mom.
I think I was the only
person that lived.
Oh, shit, that's fucked up.
(DRAMATIC ORCHESTRAL MUSIC)
So, um, how did you...
How did I die?
(CASEY GROANS)
You tried to kill yourself?
No, well, for six
minutes I did kill myself.
Why?
Because everybody lies.
People only tell
you they love you
when they want
something from you.
So, uh, why do you
think we can see them?
The dead guys.
I've been thinking
about that a lot.
So I think that they're lost,
like in between where you
live and where you die.
Maybe we can see them
because we were there too.
I think they know
where we've been,
and they want to get
some of what we got.
I don't even think
they know they're dead.
I saw my mom.
Really?
When she touched
me, I could feel it.
It was really cold.
Did she talk to you?
Mm-hm.
She told me that she loved me
and that she wanted
me to be with her.
If she's like
dead, I don't think
that's such a good thing.
Maybe she's not dead.
Maybe.
I think you should sleep.
You look like shit.
But if you get lonely
or scared or something,
just come over to
Casa Casey, okay?
Really?
Us living dead, we
gotta stick together.
- Right.
- Night, Riley.
RILEY: Night, Casey.
(CURTAINS SCRAPING)
(SENTIMENTAL ORCHESTRAL MUSIC)
Hi, Riles.
Hi, Mom.
I miss you, honey.
But you're dead.
Shh, shh.
Everything is okay, sweetheart.
I promise.
I want you to close your
eyes, relax, go to sleep.
(HEART BEATING)
I'm so tired.
Come on, baby.
I need you to come be with me.
There won't be any pain anymore.
Just relax, let go.
No more pain.
Leave him alone!
Riley, wake up!
She wants you dead!
(RILEY COUGHING)
She wants you to
be dead with her!
Don't let her take you.
Wake up, sleepyhead.
Time for breakfast.
Casey, leave the boy alone.
Go on back and have
your breakfast.
Go on now.
Leave the boy be
and let him heal.
I'll see you
later, Riley, okay?
That girl is
trouble, little mister,
and I suggest you
keep your distance.
I think she's nice.
Mm-hm.
(SUSPENSEFUL ORCHESTRAL MUSIC)
(DOOR SLAMS)
(CASEY SCREAMS)
(OMINOUS ORCHESTRAL MUSIC)
(PEOPLE MUTTERING)
Looks like she
finished the job.
(RILEY MOANS)
(RILEY COUGHS)
(RILEY GRUNTING)
(RILEY COUGHS)
(LIQUID SPLASHING)
(TOILET FLUSHES)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(DOOR BANGING)
(RILEY GROANING)
I told you not to look
at me, you little shit!
(RILEY GRUNTS)
(BONES CRUNCH)
(JENKINS SCREAMS)
(RILEY GROANS)
(BOTH GRUNTING)
(JENKINS ROARS)
(WALL BANGS)
Should have never
looked at me, kid.
I would have let you go.
(RILEY GRUNTS)
(JENKINS GROANS)
(BOTH GRUNTING)
No, please, I'm sorry!
(BEDPAN BANGING)
(JENKINS GROANING)
(JENKINS CRASHES)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(RILEY COUGHS)
(RILEY GROANING)
(ACTORS SPEAKING IN
FOREIGN LANGUAGE)
Nurse, nurse.
Help.
(BLOOD SPLASHING)
(RILEY GASPS)
(RILEY COUGHING)
Casey.
(DOOR BANGS)
(JENKINS GROANS)
You're not in
here, are ya, kid?
(JENKINS CHUCKLES)
(DOOR BANGING)
(CART RATTLING)
(CART RATTLING)
(DOOR SLAMS)
(EERIE STRING MUSIC)
Fuck this shit.
(RILEY MOANS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(RILEY PANTING)
(DOOR BANGS)
(DOOR SLAMS)
(CART BANGS)
No, no, I'm sorry!
(BOTH GRUNTING)
(SHELVES BANGING)
Thought you could get away
from me, huh, you little shit?
(BOTH GRUNTING)
(RILEY GASPING)
Yeah.
(BOTH GASPING AND GRUNTING)
(GUN FIRES)
(HEAD SQUELCHES)
(BOTH GASPING AND GRUNTING)
(GUN FIRING)
(BOTH GASPING AND GRUNTING)
Die!
(HAUNTING SYNTH MUSIC)
Don't fight it, sweetheart.
(RILEY GASPING)
(JENKINS GRUNTING)
You can do this.
Go to sleep, baby.
(RILEY GASPING)
(JENKINS GRUNTING)
Just let it go.
(RILEY GASPING)
(JENKINS GRUNTING)
Riley, no!
(RILEY GASPS)
Don't listen to her.
(RILEY GASPING)
(JENKINS GRUNTING)
Don't let her
let you die, Riley!
(RILEY GASPS)
But you're a part of me.
I can't go to the next
place without you.
(RILEY GASPING)
(JENKINS GRUNTING)
Live, Riley, live!
(SUSPENSEFUL ORCHESTRAL MUSIC)
(BOTH GRUNTING)
(WOOD CRUNCHES)
(RILEY GASPING)
JENKINS: That's it.
(STICK SQUELCHES)
(JENKINS GURGLES)
(SHELVES BANG)
(DRAMATIC ORCHESTRAL MUSIC)
(JENKINS GURGLING)
(DOOR BANGS)
Here he is!
Oh, sweet Jesus.
(RILEY COUGHING)
Oh my god!
The boy's alive!
Somebody get a
wheelchair in here!
(SENTIMENTAL ORCHESTRAL MUSIC)
We got you, young
man, we got you.
No, no, no, no, you relax.
(WHEELCHAIR SQUEAKING)
(RILEY SOBS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(RILEY PANTING)
Sweet dreams, kid.
(CAT HISSES)
(METAL SQUEAKING)
What's going on?
Am I dead?
Dead?
Kid, you ain't never
been more alive.
But them...
(HAUNTING SYNTH MUSIC)
Yeah, they're all dead.
(OMINOUS ORCHESTRAL MUSIC)
I want to get out of here.
Do you think you
can escape the future
that's already being told?
Then you run, Riley.
You run, boy, now!
Run!
Go, you little motherfucker!
(LIVELY ORCHESTRAL MUSIC)
(THE PROJECTIONIST LAUGHS)
(REELS WHIRRING)
(REELS SQUEAKING)
(METAL CLANKING)
(MARKER SCRATCHES)
(METAL CLANKING)
(METAL SQUEAKING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(LIGHT CLICKS)
(VOICE HISSING)
(DRAMATIC SYNTH MUSIC)
(OMINOUS ORCHESTRAL MUSIC)
(HAUNTING CHORAL SYMPHONY MUSIC)
(ELECTRICITY HUMMING)
(METAL CLANKING)
(ELECTRICITY FIZZLING)
(GENERATOR WHIRRING)
(SILENCE)
(WIND WHISTLING)
(CONTEMPLATIVE PIANO MUSIC)
(LETTERS CLICKING)
(INSECTS CHIRPING)
(SAMANTHA SOBS)
(PHONE TAPPING)
JASON: If this isn't
Samantha, leave a message.
Fuck you, Jason!
I don't need any
more of your shit!
And don't call me back.
(CAT YOWLS)
(BOTTLE CLATTERS)
(OMINOUS ORCHESTRAL MUSIC)
(DRAMATIC PIANO AND SYNTH MUSIC)
(DISPENSER WHIRS)
(BELL DINGS)
(DRAMATIC PIANO AND SYNTH MUSIC)
(DOORS CREAKING)
(DOORS SLAM)
Hello?
(MYSTERIOUS ORCHESTRAL MUSIC)
(LIGHT CLANKS)
(EERIE STRING MUSIC)
(YELPS) What the fuck?
(MYSTERIOUS ORCHESTRAL MUSIC)
(PROJECTOR WHIRRING)
(PEACEFUL ORCHESTRAL MUSIC)
(BIRDS CHIRPING)
(SAMANTHA PANTING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(BODY SQUELCHING)
(SAMANTHA WHIMPERING)
(STICK CRACKS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(METAL CLANGING)
(SAMANTHA PANTING)
- (SUSPENSEFUL ORCHESTRAL MUSIC)
- Quiet.
Did you see him?
What about the others?
He killed them.
He killed them all.
Don't worry.
We're gonna make it.
I'll protect you.
(STICK CRACKS)
(PANTS) Run!
(SUSPENSEFUL ORCHESTRAL MUSIC)
(WOLF HOWLS)
Now what?
Do you want to walk back to town
in the middle of the night
with that psycho outside?
We don't have to walk.
Hey!
(SIREN WAILING)
Come on, not him.
(ENGINE RUMBLING)
(DRAMATIC ORCHESTRAL MUSIC)
TOM: Hands where
I can see 'em.
Tom.
Stay where you are
and put your hands
where I can see them.
Tom, you're making
a big mistake.
It's Officer Carter to
you, you piece of shit.
What happened to you?
Are you hurt?
Did he do something to you?
It wasn't him.
It's someone else.
He's hunting us.
Hunting?
You have to get
us out of here.
Tom, please, you
need to trust us.
Please.
All right, all
right, all right,
but you're both
riding in the back
until we can clear all this up.
Thanks, man.
I'm sorry if I ever...
Don't.
We were kids back then.
Besides, you're not
off the hook yet.
(SUSPENSEFUL ORCHESTRAL MUSIC)
(DOOR SLAMS)
Oh my god, it's him again!
What the hell is this?
Tom?
Tom, take us back to town!
Please, Tom, get in the car
and let's get out of here.
Drop your weapons
and raise your hands.
I said drop your weapons!
(GUN FIRES)
(METAL CLANGS)
(SAMANTHA YELPS)
(GUN FIRING)
(TOM SHOUTING)
Is he dead?
Something's not right.
No.
No.
No, no, no, no, no, no, no,
what kind of a sick joke...
(GUN FIRES)
(SAMANTHA YELPS)
Damn it, Tom, I
told you to drive!
What are we gonna do?
(BOTH PANTING)
We're gonna get out of here.
Be careful of the glass.
(WINDOW BANGS)
(JASON GROANS)
(WINDOW SHATTERS)
(SAMANTHA SHOUTS)
No, Jason, what
are you gonna do?
I'm gonna go get the keys.
(SUSPENSEFUL ORCHESTRAL MUSIC)
He's still alive!
(KICK THWACKS)
JASON: Come on,
come on, let's go!
We gotta get to the house!
(BOTH PANTING)
(LIQUID PINGING)
Shit.
SAMANTHA: God.
(DOOR BANGING)
Let us in!
Open the door!
JASON: Open the goddamn door!
What the fuck?
Whoa, whoa, whoa,
what is going on?
Where is everybody?
They're gone, Mike.
They're all gone.
Gone?
What do you mean gone?
What the hell happened to you?
Are you hurt?
It's not my blood.
It's, it's Lizzie's, Maggie's,
Tony's, Carl's, Jamie's,
Ron's, Stephanie's.
What the hell are
you talking about?
He killed them.
He killed them all.
Killed them?
Who?
The welder.
Who the fuck is the welder?
(SUSPENSEFUL ORCHESTRAL MUSIC)
It's, it's him! (SQUEALS)
What the hell?
Oh, fuck.
(MIKE GRUNTS)
(SAMANTHA SCREAMS)
(DOOR SLAMS)
(ROARS) I think
he broke my ribs!
He's gonna do a lot more
if he catches us! (GRUNTS)
(DOOR CREAKING)
It won't hold long!
SAMANTHA: What
are we gonna do?
Hold this for me.
On the count of three, open
the door and let him in.
Are you out of
your mind? (PANTS)
I'm gonna blow his
fucking head off!
Wait.
(GUN CLACKS)
(DOOR BANGING)
You're not blowing
anybody's fucking head off.
That son of a bitch
broke my ribs!
I'm the one shooting
fucking heads here.
And I'm gonna teach him
not to mess with me.
And when that motherfucker
shows his face,
I'm gonna be the last thing
he sees before I send him...
(TOOL SQUELCHES)
(MIKE GROANING)
(SAMANTHA SCREAMING)
(GUN FIRING)
(MIKE GROANING)
(GUN CLACKS)
(GUN FIRING)
(SAMANTHA SCREAMING)
(DRAMATIC ORCHESTRAL MUSIC)
(GUN FIRES)
(HEAD SQUELCHES)
(SAMANTHA WHIMPERS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(JASON GRUNTING)
(BLOWS THUDDING)
(DISHES CLATTERING)
(THERMOS CLATTERS)
(HEAD BANGING)
(COUNTER SQUEAKS)
(SAMANTHA WHIMPERS)
(BLOWS THUDDING)
(JASON GRUNTING)
(WOOD CREAKS)
(OMINOUS ORCHESTRAL MUSIC)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(SAMANTHA SHRIEKING)
(SAMANTHA CRYING)
(JASON GROANING)
(BLOWS THUDDING)
(KNIFE CLANGS)
Die, you son of a bitch!
(METAL CLANGS)
(DRAMATIC ORCHESTRAL MUSIC)
(KNIFE SQUELCHES)
(JASON GROANING)
(KNIFE SQUELCHES)
(JASON GROANING)
(JASON COUGHS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(JASON GROANS)
(KNIFE SQUELCHES)
(JASON ROARS)
(JASON GRUNTING)
(KNIFE SQUELCHES)
(JASON ROARS)
(BONES CRUNCHING)
(JASON GROANING)
(KNIFE SQUELCHES)
(JASON ROARS)
(JASON GROANING)
(KNIFE SQUELCHES)
What are you waiting for?
Finish it.
(TORCH HISSES)
(JASON SCREAMING)
(SAMANTHA GRUNTING)
(DRAMATIC ORCHESTRAL MUSIC)
Hey!
You want me?
Come and get me, bitch!
(SUSPENSEFUL ORCHESTRAL MUSIC)
(METAL CLANGING)
(SAMANTHA GRUNTING)
(SAMANTHA ROARS)
(CHAIN CLINKING)
(SAMANTHA GRUNTING)
(TOOL CLATTERS)
(SAMANTHA GASPING)
(HAMMER CRUNCHES)
(SAMANTHA GRUNTS)
(METAL CLANGS)
Wait, wait, wait, Sammy!
Please, don't kill me!
Sam, it's me, Fred!
Fred?
Yes, Fred, do you remember me?
Fred, your neighbor.
We've known each other
since we were kids.
We used to play
together, remember?
You were the princess?
I was your servant.
I would carry stuff for you.
(DRAMATIC ORCHESTRAL MUSIC)
Please, Sammy, please.
You have to believe me.
We came here together
to spend the weekend.
And my parents let
us use their cabin
so we could have one last
vacation before school.
(SAMANTHA LAUGHS)
(PEACEFUL ORCHESTRAL MUSIC)
(PEOPLE CHATTERING)
- Hey.
- Hey.
MAN: We're here
for two weeks.
WOMAN: Two weeks, oh my god!
See ya later.
(DRAMATIC ORCHESTRAL MUSIC)
WOMAN: Oh, right. (laughs)
("SUNSHINE EARTHQUAKE" BY
FRANKIE AND THE WITCH FINGERS)
Who's there down
by the riverside
Two went, two from the cacti
Spirits all in your rainbow
Freeze-dried, down
to the skin and bones
Sunshine earthquake,
I'm gonna lift you up
I'm gonna make
music, all right
Hey, god.
(BOTTLE HISSES)
We were having a nice weekend
until something
fell from the sky.
(AIR WHOOSHING)
MAN: Oh my god!
Hey, did you see that?
(METEORITE CRASHES)
Hey, guys, let's go
check that shit out!
- No!
- Come on!
I wanted to leave.
The rest were curious.
We went to see what it was.
(MUD BUBBLING)
I tried to convince
them we should leave.
This could be dangerous,
and we should leave
it to scientists.
"Fuck science," he said, and
did the most stupid thing.
(BUG GROWLS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(BUGS CHIRPING)
- Run!
- Run, run!
(PEOPLE SCREAMING)
(JASON WAILING)
(SAMANTHA GRUNTING)
(BUGS CHIRPING)
(FRED GRUNTING)
(DOOR SLAMS)
No, no, shit, shit!
(GRILL CRASHES)
(FRED GRUNTING)
(DOOR SLAMS)
(FRED PANTING)
(OMINOUS ORCHESTRAL MUSIC)
(WOOD TAPPING)
No, no! (SCREAMS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
Oh, no! (SCREAMS)
(HAMMER THUDS)
(FRED GRUNTS)
(BUG SQUELCHES)
I managed to escape.
I knew what I had to do.
(DRAMATIC ORCHESTRAL MUSIC)
(METAL CLANKING)
(TORCH HISSES)
(INHALER HISSES)
(METAL CLANGS)
(MAN SCREAMING)
(TORCH HISSES)
(FIRE ROARING)
Those weren't my
friends anymore.
I had to hunt them down
and I had to kill them.
I had to stop them before
they got out to civilization
and infected every
single one of us.
No.
If there's any
human left inside you.
(SAMANTHA GRUNTING)
No!
(SKULL CRACKING)
(FRED WAILING)
(BUGS CHIRPING)
(SKULL CREAKING)
(SAMANTHA GASPS)
(SAMANTHA GROANING)
Kill me! (CRIES)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(INSECTS CHIRPING)
(FRED CRYING)
(OMINOUS ORCHESTRAL MUSIC)
(LEGS CRACKLING)
(METAL CLANKS)
(FRED GRUNTING)
(BUGS CRUNCHING)
(DRAMATIC ORCHESTRAL MUSIC)
(BIRDS CHIRPING)
(DOOR SLAMS)
(BUG CRUNCHES)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(BUGS CHIRPING)
(OMINOUS ORCHESTRAL MUSIC)
(DRAMATIC ORCHESTRAL MUSIC)
(BOTH SMOOCHING)
Hey, that door's open.
You ever done it in a balcony?
No, of course not.
Come on, you want to?
No, David, someone
could see us.
Come on.
It'll be fun.
Come on.
Come on.
(ANNA LAUGHING)
(ANNA LAUGHING)
(BOTH SMOOCHING)
(PROJECTOR WHIRRING)
(DRAMATIC ORCHESTRAL MUSIC)
(DOOR CREAKS)
Uh-huh, yeah.
(DAVID LAUGHS)
Oh, I thought I lost you.
(CHUCKLES) I'll
talk to you later.
You too.
My mother, you're
gonna love her.
(MELLOW PIANO MUSIC)
(PEOPLE CHATTERING)
Champagne.
Mm-hm.
I'm moving up in the world.
Oh, the world is just
catching up with you.
To us.
(GLASSES CLANG)
(ANNA CHUCKLES)
What?
Nothing.
You were looking
in the mirror.
We should order
dessert, celebrate.
You have to stop this, Anna.
Let's talk about
something else.
Okay, it's time to
let this obsession go.
(SIGHS) I'm not
the prettiest girl
you were ever with,
David, not with...
I don't think like that.
(SCOFFS) Everyone thinks
like that, trust me.
Come on, at least let
me savor the injustice.
Looks are overrated.
You know, your imagination is
not always your friend, Anna.
I just want you to be
as happy as you make me.
(SENTIMENTAL ORCHESTRAL MUSIC)
Making things
official between us
is the best thing that's
ever happened to me.
(BOTH SMOOCHING)
Me too.
(BOTH LAUGHING)
You know, when I was
talking to my mother,
she said if you
ever want to discuss
anything with her
plastic surgeon.
You talked about my
face with your mother?
I'm, I'm sorry.
I just...
My mother has had
work done, Anna,
and she understands
these things.
But you're so handsome.
She must have always
been beautiful.
Well, she is now.
She's extraordinary.
Life is too short to worry
about what you look like.
I will pay for everything.
(ANNA SCOFFS)
You'll feel better
about yourself.
Anna, Dr. Leneer
will see you now.
Come on back.
I think we can make
you very happy, Anna.
Oh, I don't expect miracles.
I'm getting married.
I just want to look...
Fabulous for the photos,
I hear that every day.
I've worked on David's
wonderful mother.
Have you met?
Not yet.
Hm, nothing can prepare
you for how stunning
she looks, if I
do say so myself.
Oh, he's doing modest.
She's a masterpiece.
DR. MIRARI: So what happened?
Car accident.
I was two.
I don't remember anything,
other than people
staring at me my whole life.
You never considered
plastic surgery?
It was financial.
Oh.
Well, I'm confident we
can eliminate 95% of it.
You're serious?
Yes, you'll hardly
know it was there.
And, if you're willing,
since you'll be under,
I could make some other
adjustments while we're at it.
What woman
doesn't have a list?
Well, I want to look
beautiful for David.
I would suggest
we narrow the nose
and give you a bit more chin
and cheekbones, of
course, for balance.
Really?
It's all about where to
put the dermal fillers.
I like to inject near
the back of the cheek.
Gives us volume, not puffiness.
You'll love it.
I would suggest something
more proportional.
So I can see it exactly, Anna.
You game?
Well, when would we do it?
We're here to make
dreams come true.
Uh, how does next Monday sound?
Soon.
Why wait?
We can start the pre-op
tests right away.
Well, which hospital?
You're in it.
Our surgery and recovery
is all done right here.
Mm, yes?
(LAUGHS) Good, good.
Now, any really tough questions?
Well, other than the scar,
am I doing the right thing?
Am I being vain?
Am I...
You worry a lot, don't you?
Well, not a lot.
Too much.
Yes, you are doing
the right thing.
And, no, you're not being vain.
What about pain?
Well, we'll give you something
to keep you comfortable.
I guess change always hurts
a little one way or another.
A philosopher.
(ANNA LAUGHS)
I think we're gonna be friends.
I'll look...
Anna, you will never
dread the mirror again.
And David will be the
luckiest guy in town.
(DRAMATIC ORCHESTRAL MUSIC)
(MONITORS BEEPING)
You'll have a nice sleep.
We'll take care of everything.
SIMONE: Your handsome
fianc is in the waiting room.
DANIELLA: Wish
I had one of those.
SIMONE: Count
backwards from 10, honey.
10, nine, eight, seven...
(SERIOUS ORCHESTRAL MUSIC)
DR. MIRARI: Scalpel.
("AVE MARIA")
(EERIE ORCHESTRAL MUSIC)
How's our favorite patient?
Hi.
Dr. Leneer has
given instructions
to change the drains
every couple hours.
Keep you on something for pain.
I just put some in your IV.
You let us know, okay?
Call button is right
there next to the bed.
Things went so well,
Anna. (CHUCKLES)
I'm gonna give you two
lovebirds some privacy.
Doctor will be in to see
you in a few minutes, okay?
Oh, and try not to
talk, honey, stitches.
Hey.
Oh, hey, the villa in St. Barts?
It's ours, with our
own personal chef.
(ANNA MUTTERS)
Oh, no, don't talk, sweetie.
I love you.
I dreamed about us. (MOANS)
(MYSTERIOUS ORCHESTRAL MUSIC)
(CAMERA CLICKING)
(KEYBOARD TAPPING)
(SENT TEXT BEEPS)
(DRAMATIC ORCHESTRAL MUSIC)
(PHONE RINGING)
Yes.
No, I agree.
I will speak with him.
Hey, we did the best
we could (MUMBLES).
(PEOPLE MUTTERING)
All right.
Anna, I'm very pleased.
Everything went well, but
we have one small concern.
Your oxygen levels, you're
not getting quite enough.
Happens sometimes
with nasal procedures.
So, why don't we
do the smart thing
and fix it all tomorrow morning?
Get you in and out
in no time, hm?
It's all quite common.
Nurse Simone will
be here all night.
(MONITOR BEEPING)
Give you something for pain.
And I'm scheduled now
for another surgery,
but she'll call me
if anything comes up.
You're in good hands.
I...
I had a beautiful dream,
but then it got strange.
You were there.
Well, when you go under,
the mind plays tricks, Anna.
When I had my first
plastic surgery,
I thought I died and met God.
I asked him how he got my job.
(BOTH CHUCKLING)
So, I'll see you in the morning.
Sleep, and no worrying.
Promise?
Mm-hm.
(CLOCK TICKING)
(OMINOUS ORCHESTRAL MUSIC)
(ANNA GROANS)
(BUTTON CLICKS)
SIMONE: Yes, Anna?
I need to make a call.
SIMONE: Doctor says
no talking for tonight.
Phone's off, anything else?
A mirror?
Tomorrow, try to rest.
(EERIE ORCHESTRAL MUSIC)
(ARM SQUELCHES)
(ANNA GROANS)
(ANNA PANTING)
(HANDLE RATTLING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(KEYBOARD CLACKING)
(PHONE RINGING)
Mirari Clinic, this
is Nurse Simone.
Be right down.
(PHONE CLATTERS)
(SCANNER BEEPS)
"Looks are overrated."
(ELEVATOR DINGS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(ANNA GRUNTING)
(WOMAN GROANING)
(INTENSE ORCHESTRAL MUSIC)
Help me!
Help me, please!
Help me!
Please, please, help me!
Help me.
(CART RATTLING)
Anna, what are you
doing out of your room?
(ANNA ROARS)
(GLASS CRASHES)
(BOTH GRUNTING)
(PUNCH THUDS)
(SIMONE YELPS)
(BOTH GRUNTING)
(GAUZE SCRATCHES)
(PUNCH BANGS)
(SIMONE THUDS)
(ANNA PANTING)
(SCANNER BEEPS)
(BUTTON CLACKING)
(BUTTONS CLACKING)
(BUTTONS CLACKING)
Hello, Anna.
Nurse Simone tells me
you've been a naughty girl.
- No.
- Hm?
No, leave me alone! (GROANS)
(GASPS) No, no, please! (CRIES)
Just relax.
Everything's gonna be fine.
More anesthesia, Nurse.
No, no, please, no! (WHIMPERS)
(DAVID SIGHS)
(OMINOUS ORCHESTRAL MUSIC)
(ANNA WHIMPERING)
Anna, hey, Anna, okay, sh.
You lied to me.
You wanted more.
It was, it was your idea.
Anna, just rest, okay?
My mother came to see you.
I'm gonna go get her.
Okay?
(ANNA WHIMPERING)
(VELCRO SCRATCHES)
What have they done to me?
I'm a fucking freak! (CRIES)
(HEELS CLACKING)
(NADIA SIGHS)
Anna.
Oh, I am Nadia.
Mother of David.
Aw, welcome to the
family, darling.
Oh, she's lovely. (CHUCKLES)
She's just wonderful.
(ANNA SCREAMS)
(PROJECTOR WHIRS)
David?
(SPOOKY ORCHESTRAL MUSIC)
David, where are you?
(DOOR BANGS)
Where's David?
(REEL CLICKING)
Hello, I'm talking to you.
(DOOR SLAMS)
(ANNA YELPS)
Who are you?
I'm the Projectionist,
sweetie pie.
I'm the curator of a
hundred years of nightmares,
trapped in a silver
screen that never forgets.
ANNA: What do
you want from me?
You might call me
a death collector,
and I'm gonna love
watching yours. (LAUGHS)
(ANNA SCREAMING)
(SPOOKY ORCHESTRAL MUSIC)
(INSECTS CHIRPING)
(ELECTRICITY HUMMING)
(HAUNTING CHORAL SYMPHONY MUSIC)
(DOORS CREAKING)
(DOORS SLAM)
Anybody here?
(VOICE HISSING)
(METAL SQUEAKING)
Sit.
Who are you?
I'm the Projectionist.
Welcome to my nightmare.
(METAL SQUEAKING)
(GIRL SCREAMING)
(GIRLS SCREAMING AND GASPING)
(PETER SCREECHES)
Stay, stay back!
Peter!
Oh my god, oh my god.
(SUSPENSEFUL ORCHESTRAL MUSIC)
BENEDICT: No.
Peter, don't do it!
(GIRL GASPS)
(SHOES CLOMPING)
Stay back.
(PETER CACKLING)
(PETER GROWLING)
Peter, Peter!
What are you doing?
You're going to fall.
Come with me, please.
(PETER GROWLING)
With me, you're okay.
(PETER GROWLING)
Help me.
I'm scared.
I'm here.
PETER: Okay.
(BONE CRUNCHES)
(PETER SCREAMS)
(PETER SCREAMING)
(GIRLS SCREAMING)
(PETER THUDS)
(INTENSE ORCHESTRAL MUSIC)
(HAUNTING SYNTH MUSIC)
(DRAMATIC ORCHESTRAL MUSIC)
(DRAMATIC ROCK MUSIC)
I know you loved him,
baby, but don't be scared.
You're safe here.
Come on, take this.
You really need
to get some sleep.
Come on.
Good.
Remember, I'm always with you.
Okay?
(OMINOUS ORCHESTRAL MUSIC)
Come on.
Let's go to your room.
Can I please sleep with you?
I have work to do.
But I will see you
tomorrow in class, okay?
Hey, you know I love you, right?
DANI: Yeah.
(VOICE WHISPERING)
(WOOD CREAKING)
(CROSS CRASHES)
(GLASS CLINKS)
(CINDY GASPS)
(VOICE HISSES)
(DOOR RATTLES)
(EERIE SYNTH MUSIC)
(DANI CRYING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(AIR WHOOSHES)
(SISTER PATRICIA MOANING)
(DOOR BANGS)
(CHILD LAUGHS)
Who's there?
I'm worried about Dani.
Peter's suicide was so horrible.
I'm frightened.
Do you think...
Sister, stop.
They're kids.
Kids are strong.
Hey.
We can fight this together.
(OMINOUS ORCHESTRAL MUSIC)
(DOOR BANGS)
(CHILD LAUGHS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(WOMAN SCREAMS)
(HAUNTING CHOIR MUSIC)
(PEOPLE SCREAMING)
(DRAMATIC ROCK MUSIC)
(PEOPLE SCREAMING)
(SPOOKY SYNTH MUSIC)
(KICK THUDS)
Oh, Dani, so sad,
so sad. (CHUCKLES)
Stop it.
- Stop it!
- What are you gonna do?
Tell your mommy?
Not again, please, Tania.
Stop, please, I'm
Mommy's little baby.
Hey, come back here!
(AIR WHOOSHES)
(BONES CRUNCH)
(TANIA RETCHING)
(TANIA COUGHING)
(TANIA SCREAMING)
(PANTS) Help!
SISTER PATRICIA:
Calm down, sweetheart.
No, no, no, get
away, get away!
- That's enough.
- No, no!
Don't talk.
That's enough, that's enough.
(TANIA SCREAMING)
(DEVIL GROWLING)
Honey, I'm here.
I'm here, okay, sweetie.
(VOICES WHISPERING)
(HAUNTING ORCHESTRAL MUSIC)
(DEMON GROWLS)
Abaddon, the destroyer.
Abraxas, the door
between two worlds.
Mashit.
Mashit.
An infernal entity in
charge of punishing
those who commit
lust and incest.
Its mission is
torturing children
and leading them to suicide.
What are you doing
in here so late?
(GASPS) Father.
It is Mashit.
No.
It is Mashit.
He's torturing Dani
and the other children.
Why them, why now?
I don't know.
They're in danger.
Please.
It is Mashit?
(SUSPENSEFUL ORCHESTRAL MUSIC)
(ELECTRICITY FIZZLING)
(BONES CRUNCHING)
(PETER GROWLING)
Peter?
Is that you?
Sister.
I miss you.
I missed you too, Father, and
the things we used to do here.
Together.
(DRAMATIC CHORAL SYMPHONY MUSIC)
(PETER GROWLS)
(SISTER PATRICIA GASPS)
(PETER CACKLES)
Before the cross of our Lord,
all enemy forces,
get away from here.
I declare you anathema.
Satan, depart from
this servant, Peter.
Depart!
(PETER LAUGHING)
Depart!
(SUSPENSEFUL ORCHESTRAL MUSIC)
He's inside of her.
You must kill her
before it's too late.
Just kill her.
Did you call for me, Father?
Come here, Dani.
(OMINOUS ORCHESTRAL MUSIC)
He who dwells in the
shelter of the Most High
shall abide under the
shadow of the Almighty.
(WATER SPLASHES)
What are you doing?
BENEDICT: Get out!
DANI: (wails)
What are you doing?
BENEDICT: (grunts) Get out!
Stop!
What are you doing?
Show yourself, demon!
Why are you trying to hurt me?
Get out!
Demon, show yourself!
CINDY: What are you doing?
Don't interrupt!
The demon is within her!
Are you kidding?
An exorcism?
Are you out of your mind?
This is my daughter!
Are you okay?
(BOTH WHIMPERING)
Pack your things, sweetie.
(DRAMATIC CHORAL SYMPHONY MUSIC)
(CINDY HISSES)
(SISTER PATRICIA GASPS)
(DEMON GROWLS)
It's not Dani, Father.
She's not the source.
(DEMON HISSES)
(DRAMATIC ROCK MUSIC)
(DEMON HISSES)
Mom?
Mom?
(DEMON GROWLING)
It's you.
(DEMON GROWLS)
(DANI GASPS)
(WAILS) Mom!
(SQUEALS) Help me!
Wake up!
(DEMON SHOUTS IN
FOREIGN LANGUAGE)
(DEMON HISSES)
(DANI WAILING)
Suffer the little
children unto death!
They shall be the eyes and
the ears of the Dark Lord,
and through me,
thy will be done.
(WAILS) Help me!
Please, God!
(MATCH SCRATCHES)
(MYSTERIOUS ORCHESTRAL MUSIC)
(SISTER PATRICIA GASPS)
(DRAMATIC ROCK MUSIC)
(GIRL GROWLING)
(SISTER PATRICIA SCREAMS)
Get off!
(BENEDICT GRUNTS)
(GIRL GROWLS)
(DRAMATIC CHOIR MUSIC)
What are we gonna do?
Something's wrong.
(DOORS BANG)
(INTENSE CHORAL SYMPHONY MUSIC)
(SWORD CLANGS)
What am I gonna do with this?
Fight the goddamn Devil.
(SUSPENSEFUL ORCHESTRAL MUSIC)
(GIRLS ROARING)
(GIRLS SHRIEKING)
(DRAMATIC ROCK MUSIC)
(SWORD CLANGING)
(BENEDICT GRUNTING)
(SISTER MOANS)
(BENEDICT GRUNTING)
(SISTER PATRICIA GROANING)
(BLADE SCRATCHES)
(SISTER PATRICIA YELPS)
(BLADE SQUELCHES)
(SISTER PATRICIA ROARS)
(BLADE SQUELCHES)
(SISTER PATRICIA GRUNTS)
(GIRL GROWLS)
No! (ROARS)
(BLADE SQUELCHES)
(GIRL GASPING)
(BODY THUDS)
(SISTER PATRICIA PANTING)
(SISTER PATRICIA ROARING)
(BENEDICT GRUNTING)
(DAGGER SQUELCHING)
(BOY ROARING)
(HEADS THWACKING)
(DEMON ROARS)
(SWORD SQUELCHES)
(DEMON GROWLS)
(BENEDICT ROARS)
Cindy!
(DRAMATIC ORCHESTRAL MUSIC)
Fight it!
Fight him!
Cast him out!
(SOBS) I didn't want to.
He did it.
He did it.
(METAL CLANGS)
Help us, please, please.
Yes.
I'll help you.
Yes, I'll help you.
Please.
(CINDY SHRIEKS)
(DRAMATIC ROCK MUSIC)
(DEMON GROWLS)
(SISTER PATRICIA WHIMPERS)
(BOY ROARS)
(SWORD SQUELCHING)
(BENEDICT GRUNTING)
(BLADES SQUELCHING)
(BENEDICT ROARS)
(BLADES SQUELCHING)
(BENEDICT GRUNTING)
(BENEDICT ROARS)
(SISTER PATRICIA GASPS)
Suffer unto death!
(SISTER PATRICIA WHIMPERS)
(GIRL SHRIEKS)
(BENEDICT ROARS)
(DRAMATIC ORGAN AND CHOIR MUSIC)
Though I walk through the
valley of the shadow of death,
I fear no evil for
thou are with me.
(KNIFE SQUELCHES)
(CHILDREN GROWLING)
(BODY SQUELCHES)
(GIRL ROARING)
(BENEDICT MOANING)
(SISTER PATRICIA YELPS)
(DEMON SNARLS)
(SISTER PATRICIA SCREAMS)
(AIR WHISTLING)
(BODIES THUD)
(SISTER PATRICIA COUGHS)
(DRAMATIC ROCK MUSIC)
(VOICE HISSING)
(SISTER PATRICIA GROANING)
Goodnight, children.
Dawn brings a new day.
Bless me, Father,
for I have sinned.
And that's why we're here.
(INTENSE ORCHESTRAL MUSIC)
(INSECTS CHIRPING)
(VOICE HISSING)
(OMINOUS ORCHESTRAL MUSIC)
(DOORS CREAKING)
(DOORS SLAM)
(PHONE RINGING)
Excuse me?
(PROJECTOR WHIRRING)
(KEYBOARD CLACKING)
Excuse me?
Excuse me?
Excuse me?
My appointment was for 3:00.
Sorry, Dr. Salvador
is running late.
(KEYBOARD CLACKING)
(HELEN SIGHS)
What'd she say, Mom?
A few more minutes.
Yeah, sure, she told
you that an hour ago.
Yeah, an hour ago.
HELEN: Just a
few more minutes.
I'm starving.
ERIC: Looks like
they forgot about you.
Don't be silly, honey.
I just talked to the woman.
She said a few more minutes.
ERIC: Yeah, sure.
You shouldn't talk back, Eric.
What, all I said
was, yeah, sure.
You shouldn't say it.
It's disrespectful.
Yeah, sure.
(EERIE SYNTH MUSIC)
HELEN: I hate to be a
pest, but my children are...
Try being patient.
(AIR WHOOSHES)
(HELEN CLEARS THROAT)
What is it now?
I was just thinking that
maybe if it's a busy time...
It's not.
You're the only one here.
Besides, the appointment
book's already closed.
I can't cross you off now.
We did you a favor
by squeezing you in.
You did say it was an
emergency, didn't you?
HELEN: Yes.
Then why would you
cancel the appointment?
Sorry.
Mom, I gotta take a shit!
Don't say that word.
Mom, I gotta go poop.
I'll take him.
No, no, no one goes
anywhere without me.
ERIC: What, not
even the men's room?
HELEN: No, not even.
Why?
Because I don't
like the look of it.
Yeah, sure.
(COMPUTER BEEPS)
The doctor will see you now.
Cut it out, Ma.
Please hurry.
He's waiting.
Come in!
(EERIE SYNTH MUSIC)
Sit down.
When you called, you mentioned
something about being afraid.
Yes.
DR. SALVADOR:
Why are you afraid?
Things keep changing.
DR. SALVADOR: Changing how?
Getting different.
Different how?
When did you first
notice these changes?
Yesterday morning.
Things were bad yesterday
morning, but then they got better,
and now they're
getting worse again.
DR. SALVADOR: And
have you mentioned
these changes to your husband?
I don't have a husband.
I, I, I...
I mean, I had a husband, but he
left two days ago.
My husband has nothing
to do with the problem.
Do people around you
seem to be changing?
Answer the question.
Are people around
you turning ugly?
Yes.
DR. SALVADOR: You hesitated.
Aren't you sure?
No, I'm sure.
How do you know?
Do you see it, too?
Tell me about your children.
Have you noticed similar
deformities in them?
Oh, no, not in my children.
They look as normal as
I do, as normal as you.
They brought me here, you know.
DR. SALVADOR:
How old are they.
Nine and 11.
DR. SALVADOR: And
they brought you here?
Yes.
There have been moments
in the past few days
where they seem very mature.
DR. SALVADOR: Mature?
Yes.
This morning, after I found...
(HAUNTING SYNTH MUSIC)
DR. SALVADOR: Go on.
It was Eric who
found the, your number.
He, he made me call you.
And this sudden maturity is
the only change you've
noticed in them?
Yes.
It doesn't last.
Usually they act like kids.
DR. SALVADOR: And
what about everyone else?
People other than
you and the kids?
Is everyone else
strangely deformed?
Yes.
DR. SALVADOR: And
have these changes
accelerated since four o'clock?
Yes.
And do you consider
yourself suicidal?
(PHONE RINGS)
What is it?
RECEPTIONIST: Your
colleagues are waiting.
Thank you.
I have a meeting with
some field workers,
but I'd like to see
you again tomorrow.
Tomorrow?
We open at 9:00, but
I want you here at 8:30.
Tomorrow, 8:30.
There's something else.
You asked if I
considered myself...
We can discuss that tomorrow.
HELEN: Why won't
you help me now?
Thank you.
Tell me!
(INTENSE SYNTH MUSIC)
If I'm crazy, just tell me!
It'd be so much easier
if someone would just...
Eric?
Eric!
Chris, honey.
(ELEVATOR DINGS)
Hey.
Hey, hey, wait a minute, please.
Wait, please.
(BUTTON CLACKS)
(ELEVATOR DINGS)
(HELEN GASPS)
RECEPTIONIST: What now?
Have you seen my children?
What children?
My children.
Sorry, honey.
I haven't seen any children.
(DOORS CLANKING)
(SPOOKY SYNTH MUSIC)
(TOILET FLUSHES)
Eric?
Chris?
Eric, Chris, stop that!
(PLUNGER SUCKING)
Hey.
(JANITOR GROWLS)
(PLUNGER SUCKING)
My children.
(JANITOR GROWLS)
I'm looking for my children.
(PLUNGER SUCKING)
Have they been in here?
I'm asking you a question.
Why are you ignoring me?
(HAUNTING STRING MUSIC)
(GUN CLICKS)
(JANITOR ROARS)
Hey!
Look at me!
Damn you!
I have a gun.
Look at me!
(DOOR BANGS)
(SWEEPER WHIRRING)
Hey!
(SPOOKY SYNTH MUSIC)
Hey, have you seen two boys?
I'm looking for two boys.
Have you seen my children?
Children?
What children?
(MOP CLACKS)
(MOP CLACKS)
(DIAL TONE BEEPS)
(COIN CLINKS)
(BUTTONS CLACKING)
(PHONE BEEPING)
(PHONE RINGING)
Eric, pick up.
I know you're there.
Hello, Eric?
ERIC SR.: Hey, this is Eric.
I'm not able to take
your call right now.
Leave a message.
I'll get back to you.
(VOICEMAIL BEEPS)
Eric, I know you're there.
I can't, can't do this.
I'm sorry.
I, we need to try again.
Maybe, we need to make...
ERIC SR.: Helen.
Eric, thank god.
(MOP CLACKS)
I have to talk to you.
I'm, I can't...
ERIC SR.: Helen,
what are you doing?
You know...
It's over, Helen.
WOMAN: Is that her?
(HELEN WHIMPERS)
Ah, ah, please, Eric, please.
I'm, what about the children?
ERIC SR.: What children?
(LINE BEEPING)
(PHONE CLATTERS)
(EERIE SYNTH MUSIC)
ERIC: Yes sir,
yes sir, yes sir.
(LINE BEEPING)
(HELEN SOBBING)
DR. SALVADOR: Do
you think she'll do it?
ERIC: Yes, we haven't
left her much choice.
CHRIS: I think so too.
I only wish we'd given her
poison instead of a gun.
ERIC: She won't take poison.
She needs to do
something aggressive.
DR. SALVADOR: How many
bullets were there in the gun?
ERIC: One, that's
all she'll need,
provided she doesn't miss.
CHRIS: And provided
she uses it on herself.
You know, in a way,
I feel sorry for her.
It's not her fault
she descended.
DR. SALVADOR:
It's no one's fault.
Descent from the
higher realities
is neither fair nor unfair.
It's a fact.
It happens.
It's up to us to deal with
it, not pass judgment.
ERIC: Do you think her
husband deserting her caused it?
DR. SALVADOR: It's possible.
Have you read Dr. Pico's
study on traumatic descent?
- No.
- Do so.
If you're gonna make
field work a career,
you'd be wise to keep
up on the literature.
CHRIS: I just keep thinking
it'd be so much better
if we could just
elevate her back.
ERIC: Yeah, sure,
how are we gonna do that
if we don't even know which
reality she came from?
CHRIS: We might be
able to figure it out.
We know she had a family.
We know she had two
boys, Eric and Chris.
We knew she loved them.
ERIC: You don't know that.
CHRIS: We can infer it.
Haven't you seen the
way she looks at us?
It's not the way she
looks at other things.
She's seeing the
children she left behind.
DR. SALVADOR: She told me
about that when we talked.
She told me that
I looked normal.
I believe that she only heard
some of what I said to her.
She's having auditory as well
as visual hallucinations.
CHRIS: Are you sure that
suicide is the only option?
DR. SALVADOR: It's
the only practical one.
There's a slight chance,
a theoretical chance
that she could return
the way she descended.
It has happened,
but it would take
a resilience she doesn't have.
ERIC: So we have to kill her.
DR. SALVADOR: No,
she has to kill herself.
We're physicians, not murderers.
CHRIS: Well,
where is she now?
DR. SALVADOR:
Right outside the door
in the hallway, listening.
ERIC: You're kidding.
DR. SALVADOR: Open the
door, see for yourself.
I heard her moving out there.
(HELEN ROARS)
(SUSPENSEFUL STRING MUSIC)
(GUN FIRES)
Shit!
(GUN CLATTERS)
Who said that?
ERIC: Chris.
I warned you, Chris.
I warned you about
that kinda talk.
Come on.
(BOYS WHIMPERING)
(WIND WHISTLING)
Mom!
Mom, where are we going?
Home.
(VOICE HISSING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(INSECTS CHIRPING)
(GUN FIRES)
(LIVELY CLASSICAL PIANO MUSIC)
(OMINOUS ORCHESTRAL MUSIC)
(SIGN HUMMING)
(DOORS CREAKING)
(DOORS SLAM)
("TOCCATA AND FUGUE IN D MINOR"
BY JOHANN SEBASTIAN BACH)
(LIVELY PIANO MUSIC)
You almost missed him.
But I didn't.
(AUDIENCE APPLAUDING)
You were absolutely
wonderful tonight, honey.
Great, son, I mean,
just great, best by far.
It's not a competition, Dad.
Don't kid yourself.
Life is a competition,
and don't you forget that.
(BOTH CHUCKLING)
So who was that composer?
New guy or old guy?
Um, new guy.
(CHARITY CHUCKLES)
European?
American.
I wrote it, Dad.
- Yeah.
- Wait, you wrote that?
Yeah.
(CHUCKLES) Wow,
it's pretty good,
for an American. (LAUGHS)
I'm glad you
could make it, Dad.
I wouldn't have missed
it for the world, son.
- (SUSPENSEFUL ORCHESTRAL MUSIC)
- Get out of the car!
- Whoa, whoa!
- Don't fucking look at me!
- Okay, okay!
- Just get out of the car!
(CHARITY SCOFFS)
- (GUN THWACKS)
- Hey!
All right, just,
everybody calm down, okay?
- Get out of the car.
- Okay, okay.
Get out of the car.
Please don't hurt my son!
Get out!
Back up, back up!
- Don't look at me!
- Okay!
JENKINS: Get on the ground!
(CHARITY MOANS)
(BODY THUDS)
Take what you want!
(GUN THWACKS)
(JENKINS GRUNTS)
Get on the floor,
don't look at me.
Come here, Riley.
Please don't hurt
us, don't hurt us!
(BOTH GRUNTING)
(CAR BANGING)
(JARED GROANS)
(GUN FIRES)
(HEAD SQUELCHES)
- Dad, Dad!
- Oh my god, oh my god!
(BOTH GRUNTING)
Stop! (GRUNTS)
(GUN FIRES)
(CAR CLANGS)
(JENKINS GROANS)
- Fuck!
- Run!
(JENKINS GRUNTS)
(GUN THWACKS)
You fucking bitch!
(GUN FIRING)
(JENKINS PANTING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(HEART BEATING)
(RILEY PANTING)
(GUN FIRES)
(RILEY GASPS)
(DRAMATIC ORCHESTRAL MUSIC)
SURGEON: Scalpel.
Spread 'em.
Swab!
(MONITOR BEEPING)
We got a heartbeat!
(VENTILATOR HISSING)
(MACHINERY BEEPING)
It's okay, sweetheart.
I'm with you.
(VOICE HISSING)
Well, look who's awake.
Can you hear me, son?
Just nod your head if you can.
All right.
Where's my mom?
Is she still here?
No, no, your
mother's not here.
Did she go home?
You know, son,
you need to rest.
We'll talk later, okay?
I'm just glad
she's still alive.
Okay.
My dad?
He's, he's dead, isn't he?
(DRAMATIC ORCHESTRAL MUSIC)
Not now, Riley.
Because I was afraid that
he killed both of them.
Just rest, son.
We'll talk later.
Just go ahead, close
your eyes and rest.
That's what you need to do now.
(VENTILATOR HISSING)
(MACHINERY BEEPING)
(OMINOUS ORCHESTRAL MUSIC)
(CUP CLATTERS)
(WATER SPLASHES)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(MR. STITCHES GASPING)
(RILEY GASPS)
(MR. STITCHES MOANING)
(DOOR TAPPING)
Maybe you should go
back to bed, mister.
(DOOR BANGING)
You're gonna hurt yourself.
What are you doin' out here?
You should be in bed.
That man, the one with, the
one with all the stitches.
A lot of stitches
in this place,
but I don't know what
you're talking about.
He was right there.
Those meds make you dream.
Let's get that little
butt back in bed, mister.
Oh.
(RILEY GASPS)
- I'm sorry.
- I don't need no sorry.
What I need is for
you to stay put.
You are lucky to
be alive, mister.
Go back to bed, Casey.
There is nothing
for you to see here.
Come on.
Oh, Jesus, come on.
Come on.
(MONITOR BEEPING)
It's all right.
Come on, come on, come here.
It's okay.
- How'd he get here?
- Sh.
Okay.
Oh.
(CURTAINS SCRAPING)
(CLOCK TICKING)
(MONITOR BEEPING)
Riley.
Riley.
(SENTIMENTAL ORCHESTRAL MUSIC)
Riley.
Mom?
I, I thought he killed you.
I'm right here, sweetheart.
It hurts, Mom.
Oh, baby, I know.
I know.
But it doesn't have to.
My boy, my beautiful,
talented boy.
I love you, my
little pile of Riley.
I love you too, Mom.
(WOMAN SINGING)
So come be with me.
Just let go.
Rest.
Go to sleep.
Be with me.
Forever.
(HEART BEATING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
Forever?
That's it, baby.
(HEART BEATING)
Come home.
(SUSPENSEFUL SYNTH MUSIC)
(BEDPAN CLANGS)
(MONITOR BEEPING)
It's that time,
hon, moving day.
Time for you to go
to a regular room.
This is ICU, young man,
not the Ritz-Carlton.
(CHUCKLES) And you're
getting better.
Gotta make room for
the people in need.
You're lucky to be
alive, you know?
You were dead on
that operating table
'til they brought you back.
I was dead?
Your heart stopped
for a full 17 minutes.
Did you hear the choir?
Did you see the white lights?
But you're alive now.
Somebody upstairs likes you.
- Thank you.
- You're welcome.
Dad?
My dad's dead, isn't he?
Not now, hon.
I saw that guy shoot him.
He's dead, isn't he?
I'm not a baby.
I saw his brains.
He's dead, isn't he?
Stop it, son.
That talk ain't
doing nobody no good.
Where's my mom?
That's enough, son.
Calm down.
(EERIE ORCHESTRAL MUSIC)
(PHONE RINGING)
Here we go.
(CURTAINS SCRAPING)
Hey, you sleeping, kid?
(SUSPENSEFUL ORCHESTRAL MUSIC)
I got flowers and shit.
(CURTAINS SCRAPING)
Uh-uh, no sir!
You cannot have flowers in here.
Are you family?
I'm a family friend.
Immediate family
only after 7:00.
This boy's got a lot
of healing to do,
and those daffodils
ain't gonna help.
Go on home, come
back in the morning
and leave the flowers there.
It's okay, hon.
Go back to sleep.
(PEOPLE MOANING)
(RILEY GROANS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(RILEY COUGHS)
Hey.
You see 'em too, don't you?
The dead guys.
You can see them?
Oh yeah.
What's your name?
Riley Everson.
I'm Casey.
So how long were you dead?
Um, 17 minutes.
How'd you know?
It takes one to know one.
I was only gone for six.
You were dead too?
All the best people have
been dead and back, right?
You look like you
need to sit down.
(RILEY COUGHING)
So, how did you die?
I got shot.
Jesus.
Who would want to shoot a kid?
He killed my dad
and maybe my mom.
I think I was the only
person that lived.
Oh, shit, that's fucked up.
(DRAMATIC ORCHESTRAL MUSIC)
So, um, how did you...
How did I die?
(CASEY GROANS)
You tried to kill yourself?
No, well, for six
minutes I did kill myself.
Why?
Because everybody lies.
People only tell
you they love you
when they want
something from you.
So, uh, why do you
think we can see them?
The dead guys.
I've been thinking
about that a lot.
So I think that they're lost,
like in between where you
live and where you die.
Maybe we can see them
because we were there too.
I think they know
where we've been,
and they want to get
some of what we got.
I don't even think
they know they're dead.
I saw my mom.
Really?
When she touched
me, I could feel it.
It was really cold.
Did she talk to you?
Mm-hm.
She told me that she loved me
and that she wanted
me to be with her.
If she's like
dead, I don't think
that's such a good thing.
Maybe she's not dead.
Maybe.
I think you should sleep.
You look like shit.
But if you get lonely
or scared or something,
just come over to
Casa Casey, okay?
Really?
Us living dead, we
gotta stick together.
- Right.
- Night, Riley.
RILEY: Night, Casey.
(CURTAINS SCRAPING)
(SENTIMENTAL ORCHESTRAL MUSIC)
Hi, Riles.
Hi, Mom.
I miss you, honey.
But you're dead.
Shh, shh.
Everything is okay, sweetheart.
I promise.
I want you to close your
eyes, relax, go to sleep.
(HEART BEATING)
I'm so tired.
Come on, baby.
I need you to come be with me.
There won't be any pain anymore.
Just relax, let go.
No more pain.
Leave him alone!
Riley, wake up!
She wants you dead!
(RILEY COUGHING)
She wants you to
be dead with her!
Don't let her take you.
Wake up, sleepyhead.
Time for breakfast.
Casey, leave the boy alone.
Go on back and have
your breakfast.
Go on now.
Leave the boy be
and let him heal.
I'll see you
later, Riley, okay?
That girl is
trouble, little mister,
and I suggest you
keep your distance.
I think she's nice.
Mm-hm.
(SUSPENSEFUL ORCHESTRAL MUSIC)
(DOOR SLAMS)
(CASEY SCREAMS)
(OMINOUS ORCHESTRAL MUSIC)
(PEOPLE MUTTERING)
Looks like she
finished the job.
(RILEY MOANS)
(RILEY COUGHS)
(RILEY GRUNTING)
(RILEY COUGHS)
(LIQUID SPLASHING)
(TOILET FLUSHES)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(DOOR BANGING)
(RILEY GROANING)
I told you not to look
at me, you little shit!
(RILEY GRUNTS)
(BONES CRUNCH)
(JENKINS SCREAMS)
(RILEY GROANS)
(BOTH GRUNTING)
(JENKINS ROARS)
(WALL BANGS)
Should have never
looked at me, kid.
I would have let you go.
(RILEY GRUNTS)
(JENKINS GROANS)
(BOTH GRUNTING)
No, please, I'm sorry!
(BEDPAN BANGING)
(JENKINS GROANING)
(JENKINS CRASHES)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(RILEY COUGHS)
(RILEY GROANING)
(ACTORS SPEAKING IN
FOREIGN LANGUAGE)
Nurse, nurse.
Help.
(BLOOD SPLASHING)
(RILEY GASPS)
(RILEY COUGHING)
Casey.
(DOOR BANGS)
(JENKINS GROANS)
You're not in
here, are ya, kid?
(JENKINS CHUCKLES)
(DOOR BANGING)
(CART RATTLING)
(CART RATTLING)
(DOOR SLAMS)
(EERIE STRING MUSIC)
Fuck this shit.
(RILEY MOANS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(RILEY PANTING)
(DOOR BANGS)
(DOOR SLAMS)
(CART BANGS)
No, no, I'm sorry!
(BOTH GRUNTING)
(SHELVES BANGING)
Thought you could get away
from me, huh, you little shit?
(BOTH GRUNTING)
(RILEY GASPING)
Yeah.
(BOTH GASPING AND GRUNTING)
(GUN FIRES)
(HEAD SQUELCHES)
(BOTH GASPING AND GRUNTING)
(GUN FIRING)
(BOTH GASPING AND GRUNTING)
Die!
(HAUNTING SYNTH MUSIC)
Don't fight it, sweetheart.
(RILEY GASPING)
(JENKINS GRUNTING)
You can do this.
Go to sleep, baby.
(RILEY GASPING)
(JENKINS GRUNTING)
Just let it go.
(RILEY GASPING)
(JENKINS GRUNTING)
Riley, no!
(RILEY GASPS)
Don't listen to her.
(RILEY GASPING)
(JENKINS GRUNTING)
Don't let her
let you die, Riley!
(RILEY GASPS)
But you're a part of me.
I can't go to the next
place without you.
(RILEY GASPING)
(JENKINS GRUNTING)
Live, Riley, live!
(SUSPENSEFUL ORCHESTRAL MUSIC)
(BOTH GRUNTING)
(WOOD CRUNCHES)
(RILEY GASPING)
JENKINS: That's it.
(STICK SQUELCHES)
(JENKINS GURGLES)
(SHELVES BANG)
(DRAMATIC ORCHESTRAL MUSIC)
(JENKINS GURGLING)
(DOOR BANGS)
Here he is!
Oh, sweet Jesus.
(RILEY COUGHING)
Oh my god!
The boy's alive!
Somebody get a
wheelchair in here!
(SENTIMENTAL ORCHESTRAL MUSIC)
We got you, young
man, we got you.
No, no, no, no, you relax.
(WHEELCHAIR SQUEAKING)
(RILEY SOBS)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(RILEY PANTING)
Sweet dreams, kid.
(CAT HISSES)
(METAL SQUEAKING)
What's going on?
Am I dead?
Dead?
Kid, you ain't never
been more alive.
But them...
(HAUNTING SYNTH MUSIC)
Yeah, they're all dead.
(OMINOUS ORCHESTRAL MUSIC)
I want to get out of here.
Do you think you
can escape the future
that's already being told?
Then you run, Riley.
You run, boy, now!
Run!
Go, you little motherfucker!
(LIVELY ORCHESTRAL MUSIC)
(THE PROJECTIONIST LAUGHS)
(REELS WHIRRING)
(REELS SQUEAKING)
(METAL CLANKING)
(MARKER SCRATCHES)
(METAL CLANKING)
(METAL SQUEAKING)
(SUSPENSEFUL ORCHESTRAL MUSIC)
(LIGHT CLICKS)
(VOICE HISSING)
(DRAMATIC SYNTH MUSIC)
(OMINOUS ORCHESTRAL MUSIC)
(HAUNTING CHORAL SYMPHONY MUSIC)