1. MAURIO COLES’
NEW NIGHTMARE IN THE HOOD
WRITTEN BY
MAURIO COLES
MAURIO COLES
MAURIOCOLES@YAHOO.COM

2. 1.
FADE IN:
EXT. ROCKWELL REDEVELOPMENT AND HOUSING AUTHORITY-DAY
We pop open the beginning scene from a black screen. At a VERY
WIDE ANGLE, WE SEE cars parked, and a building. A person exits
the building. He or she walking towards us...
CUT TO BLACK:
WE SEE only the black screen. Gun SHOTS—are heard twice.
EXTREME CLOSE-UP: A GUN
Smoke comes from the muzzle. We...
CUT TO BLACK:
WE HEAR another gun SHOT.
INT. HOUSE-BEDROOM-NIGHT
We’re now on ANGLE of pretty feet. The person’s hands have nail
posh and the brush in their hand painting their toes. “Is this a
she or a he? Obviously, we would think it’s a she, or maybe a
he, who’s gay?”
But no, it’s MINNIE BELA FORTE—the survivor from (A Nightmare on
Friday the 13th). She appears to be beautifully normal after all
that far as we can tell? WE SEE her cleavage in the night shirt.
She has nice size breast. Her hair is naturally in a ponytail.
ON THE TELEVISION
The movie “Why Did I Get Married?” is playing on the television.

3. 2.
WE SEE just the scene where Shelia finds out that Mike has been
cheating on her...
MINNIE
Mike, you’re a prime example of what a woman doesn’t need in her
life. Troy, you’re a prime example of what a woman needs in her
life. (Sighs)
EXT. MOSELY COURT-APARTMENT-SAME NIGHT
We’re just outside the front door of a brick apartment.
INT. APARTMENT-SAME NIGHT
30-some DEUCALION M. SHALOM, arresting-looking as he could be—
especially to the ladies, stand in front of TEENA SHALOM—his
sister.
She is sitting on the couch looking sad and depressed.
DEUCALION
Okay, you called me, so you’re going to just sit there looking
lost?
TEENA
You know why I called you.
DEUCALION
Look, Teena, I want to help, but you shouldn’t be here.

4. (MORE) 3.
TEENA
I know I’m not supposed to be here. I didn’t want this.
DEUCALION
You put yourself in this situation.
TEENA
Why are you always being so hard? (Sobs) Just like dad. I want
you to be an understanding, big brother. I know what I did.
She curls her legs up on the couch. Deucalion sits down by her
on the couch.
DEUCALION
Yeah, I know, too. What happen again in this Lakeview?
TEENA
I don’t want to talk about that shit. I just want to get out
this ratchet ass subsidized apartment.
DEUCALION
All right, Teena. Kenna is with mom—so you have time to look for
a new place even though you just moved in. I will help get out
this vicious place.

5. 4.
Teena hugs her brother. He consoles her tightly.
CLOSE-UP: TEENA
She weeps.
FADE TO BLACK
INT. MINNIE’S HOUSE-BEDROOM-SAME NIGT
Minnie is asleep in her bed. She breathes in peace, and her eyes
twitch like she’s dreaming? AS WE PAN-DOWN her pretty face, she
sleeps on top of the covers. She has on her bra and panties.
CLOSE-UP: MINNIE’S FACE
She’s sleeping like a beauty.
WE PAN-UP: There is a dream catcher hold up on the wall by a
nail.
AT AN ANGEL: WE’RE watching Minnie asleep...CREAKING
AN ANGLE: THE WALL ABOVE HER
WE PAN-UP. The plaster bulges out slowly elastic, taking the
shape of the SOMETHING pressing from the inside. This THING has
a shape of a FACE. The Face opens its’ mouth so wide, that it
could swallow her whole. Not to mention it’s looking down her
like some kind of boogieman.

6. 5.
AN ANGLE: DOWN ON MINNIE
Her chest heaves deep breathing. Her expression frowns as if her
good dream is turning a bad nightmare?
AN ANGLE: WE ONLY SEE four huge tips of blades point into our
VIEW. They move like figures. We don’t see the rest of this
suspense behind this eerie thing.
CLOSE-UP: MINNIE
Her disturbed expression is calming.
ANOTHER ANGLE: ON MINNIE
The blades cast a shadow over Minnie’s face.
They Stop.
AN ANGLE: The tipping blades make their way down her sexy and
mouthwatering body...and it...stop...again...ON HER, waist....WE
SEE her fitted stomach inhaling and exhaling. They move,
wiggling up out of OUR VIEW.
CLOSE-UP: MINNIE’S FACE
She has returned sleeping calmly.
AN ANGLE: HER WAIST
The blades suddenly come down like something has dropped them
freely, and it disserves her waist—
CUT TO:

7. 6.
AN ANGEL: UNDER THE BED
The huge blade tips have thrust through the bed, pierced to the
floor.
TOP ANGLE: Minnie’s eyes are flat closed. Blood dribble from
each side of her mouth.
WE PAN DOWN THE TOP ANGLE: Minnie has been split in two....her
inside intestines lie there in gore. The bed gets bloody and
bloody, dripping off the bed...
CUT TO:
INT. TEENA’S APARTMENT-BEDROOM-SAME NIGHT
Teena pops up like she has had a really bad nightmare. She
SCREAMS LOUDLY.
CUT TO TITLE:
NIGHTMARE MUSIC THEME
TITLE SEQUENCE: MAURIO COLES’ NEW NIGHTMARE IN THE HOOD
EXT. WOODCROFT VILLAGE-DAY
Now AN ANGLE on a downhill street, a teenager on a bike is
riding out of control. WE FOLLOW him all the way down at AN WIDE
ANGLE. As we grow anxious for his life, he CRASHES into the
sidewalk as he and the bike fly forward on the grass of
somebody’s backyard.
A very handsome young Dominican man name TREV SMOLLETT, 20-some,
witnesses the unbelievable occurrence with a WOW gaze.
TREV
Dame! That’s not something you see every day.

8. 7.
He tosses trash into the dumpster.
EXT. OPEN FIELD-SAME DAY
Now an unidentified park, three little dogs hilariously have a
threesome.
INT. VIRGINIA CREDIT UNION-SAME DAY
A black male, RAQUAN RUSH, 30-some, is being assisted by a
teller representative.
RAQUAN
(New Jersey accent)
It’s been awhile since I deposited. I think I did this right.
He gives her the deposit slip...
TELLER REPRESENTATIVE
You just wanted to deposit 25 in your savings and 50 in your
checking account, right?
RAQUAN
Yeah.

9. 8.
TELLER REPRESENTATIVE
(Typing on computer)
What’s your address, Mr. Rush?
RAQUAN
2302 Conrad Street.
TELLER REPRESENTATIVE
Thank you.
As the Representative gets Raquan straight, the peace and quiet
in the building become a bit disturbed by a young black bearded
man in his 30s—CRAIG WHITAKER, who has his cell phone playing
RAP MUSIC not too loud, but loud enough to catch the eyesight of
the representative peaceful attention a bit.
But she focuses back on Raquan’s transaction.
Craig looks at Raquan as he stops by a nearby teller.
CRAIG
QUAN, WASSUP, BRUH?
Raquan looks at him and answers:
RAQUAN
WASSUP, C? I’m just depositing some bread.

10. 9.
CRAIG
(Chuckles)
I hear that. I’m about to do the same thing, YO.
EXT. ROCKWELL-DOWNTOWN-DAY
WE ANGLE THE CAMERA TO FOLLOW a man in a wheelchair. He has no
legs. He wears a white shirt with a white long-sleeved
underneath. “It’s just a guess of what happened to him?”
However, he rolls himself with his hands and arms while a man in
a blue shirt pace with him down the street.
As they stroll down the street, WE PAN RIGHT, and good-looking
29-year-old JESSY MCCOLLUM looks at them. He glances at us then
looks to his left.
INT. ROCKWELL PUBLIC LIBRARY-SAME DAY
Now WE ARE CLOSE-UP ON an Extreme Pizza team member application.
AN ANGLE: JESSY
He’s looking down at the application in thought.
JESSY
All I want is an equal opportunity again.
INT. 24 CRESTWOOD BUS-SAME DAY-TRAVELING
Jessy gets on the bus and pays his fare. He haves a seat.
Jessy’s POV shows us a little over dozen Chinese passengers that
look like students. Jessy finds it interesting to see. He looks
at one of them who have on of JORDANS.

11. 10.
INT. CHRISTEN TABERNACLE CHURCH SOUTH-SAME DAY-NIGHT
Now we’re in a church. People have scattered around. Most of
them are members; others are visitors and visitors from another
church
WE HAVE THE CAMERA ON 25-year-old TAKA HARDEN. She’s a
prepossessing thick little chocolate drop with a pretty smile
that you can look at daydreaming. She wears a black dress and is
testing a microphone.
AN ANGLE: Two ladies hug each other in glory. An usher walks
passes the CAMERA.
LADY #1
It’s so nice to see you.
LADY #2
It’s so nice to see you too.
OUR SCREEN GOES BLACK. IT READS—TWO WEEKS LATER.
EXT. MOUNT CALVARY CEMETERY-DAY
WE’RE AT AN ANGLE of the cemetery, and WE SEE the cemetery sign
and the church nearby.
CUT TO:

12. 11.
EXT. MOUNT CALVARY CEMETERY-SAME DAY-CONTINUING
WE ANGLE a SHOT of a sculptured man leaning over. Deucalion
walks by the sculpture. He’s dressed up in a black coat, pants,
tie and a white shirt.
ANOTHER ANGLE: He’s walking towards the way that WE CAN SEE
someone ahead.
AN ANGLE: It is Teena wearing a black dressed like some she has
attended a funeral? She’s looking very sad at someone’s
gravesite unrevealed.
Her brother stands by her. Then he supports her with an arm
around her shoulder.
TEENA
I can believe it.
DEUCALION
Don’t you mean you “can’t”?
TEENA
She was there for me after what we been through.
DEUCALION
You still didn’t tell me what happen?
TEENA
What difference doesn’t it make now?

13. 12.
Teena removes his arm and walks away. He looks at her then grabs
her by her upper arms from behind.
DEUCALION
Stop it! Okay, now, just—let’s get this over with.
TEENA
NAW!
She jerks his grip off her and then turns and faces him.
TEENA
Do you want to know? I will tell you if you say over tonight.
DEUCALION
Okay.
He turns and looks back over the gravesite.
DEUCALION
I didn’t know her family owned this cemetery.

14. 13.
TEENA
Her grandfather did. It is a passed down ownership. I think I
had a nightmare about what could have killed her.
EXT/INT. WAWA-SAME DAY
TOI PINKETT, 30, a lovely woman with short box braids enters the
store as she kindly holds the door for leaving customers.
She goes to the kiosk and begins to place her order. Her cell
phone RINGS a rings tone that plays the song PHONE DOWN BY
ERYKAH BADU. She looks at it with a smile then answers.
TOI
(Into phone)
Yeah, baby, what’s up?
JESSY (VO)
Hey, baby, what are you doing?
TOI
I’m about to get some to eat at WAWA. You want something?
JESSY (VO)
Yeah. You—with everything on it, baby.

15. (MORE) 14.
TOI
(Smiling)
Oh, yeah? You sure, baby? I’m getting mayo on it this time.
JESSY (VO)
EWW! No!
TOI
I’m not talking about that mayo.
JESSY (VO)
You are naughty you know that.
TOI
You made me this way. How’s your job search going?
Toi steps aside from the kiosk to let a customer use it while
she chat with Jessy.
JESSY (VO)
I applied to few more jobs—like Extreme pizza and that McDonalds
you told me about on Chamberlin.

16. (MORE) 15.
TOI
Okay, baby. Good. I know it isn’t the best of jobs, but it’s a
start back for you. You know I got you and support you 100 in
the career you want.
JESSY (VO)
I know, baby. My dreams are still obtainable. Listen, baby, I’m
going out with Trev to this block party tonight. Is that okay?
TOI
Who am I your mother? As long as you will be responsible, Jessy,
you hear me?
JESSY (VO)
You already know.
TOI
I love you.
JESSY (VO)
I love you more.
TOI
(Smiles)
Okay, bye.

17. 16.
She ends the call.
INT. TREV’S APARTMENT-SAME DAY-EVENING
Trev is sitting on his couch in the living room. He has a tablet
in front of him tapping on it.
TREV
What lesson has your work life taught you? (Tapping) “It has
taught me that jobs are an evaluator to your career.” Comments—
the worst disability is a life is a bad attitude. I may
struggle, and it may take some time, but I will make my dreams a
reality. When you close your eyes what do you dream of? “I dream
of my career choice, house, cars and a lot of money in the
bank.”
Interrupted, a cell phone RINGS an electronic tone. It’s his
cell phone. He picks it up, looks at it and then answers.
TREV (Into phone, CONT’D)
Jessy, what’s up, homeboy?
JESSY (VO)
What’s up, Trev, we still down for the party 2nite?
TREV
Yeah, man. My home girl Rochelle is still having it.

18. (MORE) 17.
JESSY (VO)
Okay, Kool.
TREV
Yeah, man, I am looking forward to smashing her friend Molina.
She likes to smoke weed and shit.
JESSY (VO)
Ha-ha! You sure you want to go there, youngster?
TREV
She’s 28, no kids—it’s getting no better than that.
JESSY (VO)
She sounds dateable.
TREV
I think she is, though.
JESSY (VO)
Are you coming to scoop me up, BRUH?
TREV
Yeah, I got you as long as you got 10 for my whip’s gas?

19. (MORE) 18.
JESSY (VO)
HA-HA-HA! C’MON, Really, though?
TREV
Nah! I got you around 8ish.
JESSY (VO)
AIGHT! Gone!
They disconnect the chitchat.
INT. TEENA’S APARTMENT-BEDROOM-SAME DAY-NIGT
In Teena’s dim bedroom, Deucalion is lying on his back looking
up at the ceiling. Teena lies against the wall sitting on her
pillow eating fruit out a bowl.
TEENA
So that’s the story with Carnell and what happened in the
beginning, middle and near the end of the incident. It gets
worse when I saw them all dead and bloody. I and Minnie were
about to leave, but there he was...that killer with the hockey
mask...
Deucalion looks at her.

20. 19.
TEENA
...Jaxon Volker...my Klazomina all poured out. I usually used it
to hurt him. Then I felt unconscious and Minnie finished him off
by slashing his head off with his machete.
DEUCALION
So, why you two didn’t tell the police or anything?
TEENA
We were scared beyond reason. It was a no trespassing zone.
Minnie led us into the lair of that corpse-like place. Even if
we would have, we would have been charged probably or it would
have been an unbelievable discretion. But now I have this
presentiment in my dreams and nightmare because of that.
He just blinks at her then looks back up the ceiling.
DEUCALION
You think somebody connected to this Jaxon Volker killed Minnie?
TEENA
I don’t know. Sometimes that’s the case. But we will let her
parents handle that since they don’t us to be involved.

21. 20.
INT. ROCHELLE’S APARTMENT-SAME DAY-NIGHT
The block party is in full swing. WE HEAR the song “WAKE UP” by
BOOSIE BADAZZ. WE HAVE THE CAMERA ON a young attention-grabbing
woman in her late 20s. This is the luscious MOLINA NEGRON. She
has herself on a recording video from her phone. She tries to
keep it steady while she is feeling herself “looking sexy”
tonight. She ANGLES the phone down her thigh split dress showing
her LICKABLE legs that WE CAN also see some of her booty
cheek(s).
She then motions the phone CLOSE-UP ON her big breasted chest
while looking down at us and the recording phone. After a few
more seconds recording herself, she ANGLES the phone in the—
KITCHEN
There are five people in there.
MOLINA
Nico, turn up!
NICO
Turn up! My NIGGA!
MONILA
(Laughing)
CUT TO:

22. 21.
EXT. MOSELY COURT-SAME DAY-NIGHT-MORE
A sweet red car with big rims backs into a parking space, and
the engine goes off.
Trev and Jessy gets out the car and closes the door and walks
towards the apartment their going to where WE CAN HEAR the music
blasting.
TREV
You ready to turn up, BRA!
JESSY
Yeah, BRUH, but not too much, I have to get home to my lady
before 12 or 1am.
TREV
You on some sentiment shit.
INT. ROCHELLE’S APARTMENT-KITCHEN-CONTINUING
The BEYONCE-SORRY song is playing. Now WE SEE 26-year-old
ROCHELLE GREGORY. Her hair is freshly braided. She’s organizing
the food. A black dude next to her with a white shirt on that
reads—TURNT UP is drinking some out a red cup.
LIVING ROOM
As a new song RIHANNA-WORK is playing...some sexy ass black
women twerk on some dudes that the women probably like enough to
do such a nasty THANG on.

23. 22.
CLOSE UP: SEXY BLACK WOMAN #1
Her ass so fat that she’s twerking him back against the wall.
AN ANGLE: SEXY BLACK WOMAN #2
She is down on the floor twerking her little fat ass so hard,
that dudes are highly amazed. One dude passes a blunt to another
dude as he throws money down at her like a stripper...
BLACK DUDE #1
She bad, CUZO, you heard me?!
BLACK DUDE #2
The SHYYT just got real, DAWG!
CUT TO:
INT. TEENA’S APARTMENT-BEDROOM-SAME DAY-NIGHT-MORE
Teena is asleep, but not Deucalion. They both are still on the
bed. Teena lies on her side with the covers over her. Deucalion
sits on the edge. The bedroom light is off. The only light WE
SEE is the light coming from the low volume television that he
is watching boringly.
WE CAN STILL HEAR THE MUSIC PLAYING INDISTINCTLY.
Deucalion gets up and goes to peep out the curtain.
DEUCALION’S POV-He sees Rochelle’s guests SHOUTING and talking
shit playfully to one another outside of the apartment porch.

24. 23.
INT. ROCHELLE’S APARTMENT-LIVING ROOM-SAME DAY-NIGHT
MEEK MILL Featuring NICKI MINAJ AND CHRIS BROWN-ALL EYES ON YOU
song is playing. Rochelle is chilling on the couch with Craig
smoking a blunt.
CRAIG
You got a NIGGA high AF! (Laughing, COUGHS)
ROCHELLE
Don’t be a weak AZZ boy.
AN ANGLE: JESSY AND A SEXY BLACK GIRL #3
Both of them are sitting down. The woman’s booty shorts show her
booty cheeks and WE CAN SEE her mouthwatering cleavage from open
chest shirt that she has on.
SEXY BLACK GIRL #3
I AIN’T no THOT, so why can’t you?
JESSY
It’s BCUZ I have a girl.

25. 24.
INT. TREV’S CAR-SAME DAY-NIGHT
THE WEEKEND-AQUAINTED song is playing on low volume on car
stereo.
In the back seat, Trev and Molina are making out without so much
as a surprise. She has her arms wrapped around his head licking
his ear as he is sucking and kissing on her neck.
AN ANGLE: TREV’S RIGHT HAND
He is touching and rubbing her smooth-looking legs that are
leading to 3rd base...her pussy.
MEDIUM CLOSE-UP: TREV AND MOLINA
MOLINA
(MOANING)
You bad—fuck MANE! For a young NIGGA!
TREV
Shit like OMG, HUH? Huh? You make me WANNA starfish sex that
PUSSY.
She stops him from kissing and licking on her. She takes his
hands and puts them underneath her skirt-like shirt. They both
BREATHE HEAVY for sex or fucking.
MOLINA
They feel BUM don’t it?

26. 25.
AN ANGLE ON TREV: His forehead gleams with perspiration.
TREV
(Feeling on her breasts)
Fuck, yeah.
She takes his hands down. She then leans and kisses him nastily
with some tongue action. Her braids get in his face. She waves
out of his face and then caresses the side of his cheek.
Kissing him down, she is going to level one...oral sex
obviously.
TREV (CONT’D)
You suck dick too? (Leans head back) I’m going to LUV the way
you fellatio DAT JANK.
MOLINA
(Moaning)
...Only for you...if fuck with me...BOO.
TREV
Oh, shit! I—I (stuttering) I do, BOO.
AN ANGLE: MOLINA’s HEAD
She’s SLURPING him up and down by giving him head makes him
grabs and grips her braids.

27. 26.
AN ANGLE/PAN-UP: TREV
He has his head leaned back.
TREV (CONT’D)
(Moaning hard)
Just like that—that dickhead, baby.
MOLINA
You WANNA fuck me?
TREV
Uh-huh. Oh, hell yeah.
MOLINA
Oh, tell me?
INT/EXT. ROCHELLE’S APARTMENT PORCH-SAME DAY-NIGHT
Jessy comes outside where three black dudes are TALKING. One of
them is Raquan.
RAQUAN
(A bit drunk)
Jessy, WHUT-UP, MANE

28. 27.
JESSY
You got it. Aw, man, YALL, drunk already, THO?
INT. TREV’S CAR-SAME DAY-NIGHT
Molina is RIDING Trev roughly and nasty in a circular motion.
They both MOAN with ever stroke in motion. Molina grabs and
pulls Trev’s hair as she bites her lip gazing into his eyes...
INT. ROCHELLE’S APARTMENT-SAME DAY-NIGHT
Craig has passed out asleep on the couch.
The sexy black woman smokes with other sexy black woman.
KITCHEN
Rochelle is throwing paper plates away in the trash.
EXT. MOSELY COURT-STREET-SAME DAY-NIGHT
Jessy walk across the street and Trev’s car is gone.
JESSY
What the fuck?
He looks around in a wide-eyed gaze [thinking that Trev has left
him and drove off with Molina without him knowing.]

29. 28.
JESSY (CONT’D)
Trev, you son of a bitch!
INT. TEENA’S APARTMENT-BEDROOM-SAME DAY-NIGHT
It’s dark in the bedroom still with the television light
playing. Deucalion isn’t in there with her? Teena rolls over in
her bed.
AN ANGLE: The curtain where the window is.
CLOSE-UP: TEENA’S FACE
She’s sleeping in peace just like Minnie did the night she died.
AN ANGLE: The window underneath the curtain begins to rise like
to someone is breaking in. The CREAKING Of the window coming
partway doesn’t seem to awaken Teena.
CLOSE-UP TEENA’S EYES
Her closed eyes are still.
VO
Teena...
Hearing this voice Teena opens her eyes.

30. 29.
AN ANGLE: CURTAINS
The cool wind blows from the curtains as it waves in and out.
Lying on her arm, Teena sits up. She wears a black long shirt
that reads—I NEED COFFEE. She looks around like she’s looking
for her brother that we don’t know where he is? She gets out the
bed and steps to the window. Still sleepy and wondering how the
window got up, but probably thinking her brother did it? She
puts it back down and she shivers like it is cold on supposed
warm night.
TEENA
Deucalion?
AN ANGLE: THE TELEVISION
An old black and white movie is playing. Besides that, it’s
peacefully, but strangely quiet in the bedroom. The television
is on mute or the volume is turned down? Teena walks by the
television leaving the room.
EXT. CAR-NEIGHBORHOOD-SAME DAY-NIGHT
WE SEE several cars travel, but we’re focused on one specific
car that rides turning a corner
JESSY
You sure you’re not going to get a DUI?

31. 30.
RAQUAN
NAH, I’m KOOL.
INT. RAQUAN’S CAR-SAME DAY-NIGHT-TRAVELING
Raquan, saying that [he’s KOOL] is doing the driving normally
with some alcohol in his system. Jessy is sitting in the
passenger seat mad as hell about what Trev did to him.
JESSY
I can’t believe Trev would do this to me. I called him and his
answer machine goes straight to voicemail.
RAQUAN
That’s why it always good to have your own shit. I’m speaking in
general because motherfuckers always do some for some wet pussy.
JESSY
Yep, pretty fucking much—shit!
INT. TEENA’S APARTMENT-KITCHEN-SAME DAY-NIGHT
Teena turns on the light to the kitchen as she walks in. The
backdoor is open. “This is heart pounding to see.”
AN ANGLE: Teen stands there looking scared.

32. 31.
TEENA
Deucalion?
And WE HEAR:
DEUCALION (OS)
Yeah, Teena, I’m out here smoking a cig.
Feeling safe now, she walks that way and...
WIDEN ANGLE: Teena stops at the doorway.
TEENA’S POV-Deucalion is neither on the back porch nor nowhere
to be found and seen. “This is definitely getting peculiar.”
AN ANGLE: Teena looks uneasy, but she steps outside.
TEENA
Deucalion, stop playing.
WOMAN (garbled, OS)
Who said I was playing?
CLOSE-UP: A grimy work glove with knives for fingers scrapes a
metal pole—SCREECHING.

33. 32.
AN ANGLE: Teena hears this, and she’s breathing scared. The back
door shuts closed behind her as she turns quickly to open it but
can’t seem too.
CUT-IN: TEENA’S HANDS
Having a tight grip to try getting door to open, WE RISE UP ON
her gritting and frighten expression
WOMAN (OS)
Teena...
Teena turns her head left.
WE’RE MEDIUM CLOSE-UP ON racked waving sheets....standing there
behind the sheet, WE SEE an odd silhouette FIGURE.
CLOSE-UP: TEENA
TEENA
(Whimper)
Please, God.
AN ANGLE: The figure raises their scary glove, spreading the
blades.

34. 33.
FIGURE
(Unrevealed, Woman’s voice)
This... (Showing the steel fingernails to her)...Is your God,
Teena. (Chuckles)
Shaking uncontrollably, Teena runs for her life in the opposite
direction to her right.
WIDER ANGLE: BEHIND THE APARTMENTS
Teena SCREAMS then turn that into SCREAMING. WE’RE CHASING after
her like the pursuer is chasing after her as she’s running
barefooted across the paddles of other the neighbor’s backyard.
She’s swinging her arm because she’s terrified...
ANOTHER ANGLE: Teena runs around the corner and runs into what
appears to be a person with a black hat and has dreadlocks. We
can’t see their face because it’s too dark.
UNREVEALED PERSON
(Garbled woman’s voice)
I got you!
The unrevealed person that has been sounding like a woman
clutches Teena with their arms. Teena SCREAMS.

35. 34.
INT. TEENA’S APARTMENT-BEDROOM-SAME DAY-NIGHT
Deucalion lurches up into CLOSE-UP from the television light
shining in his awakening face. He was sitting on the floor
leaning against the edge of the bed. He’s now half-awakened by
the tremendous struggle of his sister SCREAMING.
He gets up seeing her uncontrollably flailing of her arms, head
and whole body like she’s fighting for her life. Confused and
scared for her, he quickly hops on top of her:
DEUCALION
(Trying to wake her up)
Teena! Wake-up! Teena!
CLOSE-UP: Her hand is bleeding. That bleeding hand punches
Deucalion off her and off the bed.
He hits hard rock floor. Shaking it off, he gets to his feet.
AN ANGLE: Teena flailing is being pinned down.
CLOSE-UP ANGLE: Deucalion gazes petrified. Sweat pours from his
head.
CLOSER-UP ANGLE: TEENA’S SHIRT
In an instant, her shirt is ripped off her and four long gashes
are SCRAPED down her breast and chest.

36. 35.
DEUCALION
Teena!!!
CLOSER-UP ANGLE: Teen’s four incisions bleed without the chance
to stop the bleeding—flooding the bed bloody red.
AN ANGLE: Deucalion gapes his mouth wide-open.
AN ANGLE: Teena is pulled into the air like a gravity pull has
been activated on her.
AN ANGLE: Deucalion can’t move. Teena is wielded across him
swiftly with an impact knocking him into the brick wall.
AN ANGLE: Still SCREAMING and “PLEADING” for God to help her,
Teena is hurled against the side of the wall. Her blood
splatters everywhere.
AN ANGLE: Strong Deucalion struggles to gets up a bit, but
doesn’t.
FROM AN HIGH ANGLE AND LOW ANGLE: Deucalion’s POV is witnessing
his sister being dragged across the bloody wall up to the
ceiling.
DEUCALION
Teena! Teena! Teena! Teena!

37. 36.
AN ANGLE: Deucalion is paralyzed by terror reaching for his
sister but can’t reach her from the other side of the room.
AN ANGLE: Teena is stopped at the middle top of the ceiling. Her
blood has smeared a path of blood.
TEENA
(SCREAMING)
Deucalion!!! Help me!
CLOSE-UP: DEUCALION
DEUCALION
Teena!!!
Choking off her own blood, she gives up and drops dead from the
ceiling on the devastated bloody bed that splashes all over and
all over Deucalion.
HIGH ANGLE: WE’RE OVER Teena’s bloody naked dead body. She lies
there lifeless like her soul has been taken and everything else.
AN ANGLE: Deucalion staggers up not knowing what to do except
shake in horror. He stares at Teena’s dead body like he has
never seen death before. “But this isn’t any ordinary death,
this is his sister too.”

38. 37.
DEUCALION
Oh, my, fucking God! (Echoes)
CUT TO:
INT. TREV’S CAR-SAME DAY-NIGHT
“It’s got to be almost midnight?” Trev is sitting in the
driver’s seat with Molina on his lap. The seat has been pushed
back enough for her to sit in his lap. She’s caressing his face
while gazing affectionately into his eyes.
TREV
I shouldn’t have left my homeboy like that. He’s going to be
fucking pissed.
MOLINA
Um, he would get over it.
TREV
Yeah, I hope so. I know he probably got a ride from one of
Rochelle’s homeboys.
He looks up into her eyes, embraces his arms around her waist as
she continues to caress his face.
TREV (CONT’D)
Are you in your feelings for me?

39. (MORE) 38.
MOLINA
What’s your first full name?
TREV
Trevino.
MOLINA
Trevino...YEA, like, I am in my feelings for you.
He leans up and smooches her.
TREV
Why? I thought you just wanted to do me and that’s it.
MOLINA
NAW, that’s the old me. I wanted you in that way but also wanted
you in this way too.
She leans down and kisses him.
TREV
Oh...yeah?

40. (MORE) 39.
MOLINA
YEA...my...boo thing. (Kisses him some more)
INT. LINCOLN MEWS APARTMENTS-TOI’S APARTMENT-MIDNIGHT
WE’RE MEDIUM CLOSE-UP ON Toi in bed sleeping. She wears a purple
silk nightgown. WE HEAR a door opening from downstairs.
CUT TO:
DOWNSTAIRS-LIVINGROOM
It’s Jessy and not a break-in intruder. He looks tired. At AN
MEDIUM CLOSE-UP, he gently tosses the house key on a table and
then goes upstairs.
BATHROOM-SHOWER
Jessy is now taking a shower. He washes his body with men’s body
wash.
BEDROOM
Toi lies on her side with her back facing the CAMERA. Jessy
enters the bedroom wearing boxer shorts. A nightlight shines
from somewhere in the room. Jessy crawls into bed with Toi
without disturbing her much. She wakes up a little and leans an
arm across his muscular chest. He smooches her forehead.
JESSY
(Softly)
I’m sorry, baby, for coming home late. Trev was a little drunk.

41. 40.
TOI
(Sleepily)
It is okay, baby. (She falls back to sleep)
Jessy places his hand on her arm and then closes his eyes.
FADE TO BLACK:
INT. HOSPITAL ROOM-NIGHT (DREAM SEQUENCE)
MEDIUM ANGLE: Jessy lies on a hospital bed, eyes closed and arms
flat. The room is dark but WE CAN SEE just light in the middle
of the unknown dark space of the room
We also SEE an otoscope and ophthalmoscope placed on the wall.
A dark figure of a person steps into the frame and stands in
front of Jessy....This figure puts up their right hand slowly as
WE CAN SEE that is the killer with work glove for bladed claws
that killed Teena.
CUT TO:
INT. TOI’S APARTMENT-BEDROOM-DAY
Toi’s eyes pop open. It’s morning time. She moves her eyes up
and...
Jessy is standing by the window naked. We only see him from
behind. He’s looking out the window.
Toi moves a little while still having her head on the pillow.
TOI
Good morning, sweetheart?

42. 41.
CLOSE-UP: Jessy turns his head to her.
JESSY
(Smiles)
Good morning, sweetheart?
AN ANGLE: BETWEEN JESSY AND TOI
TOI
How are you this morning?
JESSY
I’m still a little mad after last night.
TOI
Trev got a little drunk so what? I’m glad you made it home.
JESSY
Yeah, I am too. (Exhales)
He’s not telling exactly what happen, looks back outside.
JESSY
I got hot and had a dream that seemed like a nightmare.

43. (MORE) 42.
TOI
Tell me about it?
JESSY
(Doesn’t want to)
No.
He turns and hops on top of her as she rolls over. She lies on
her back.
CLOSE-UP: TOI AND JESSY
JESSY
What I want to tell you is that I love you.
TOI
I know. I love you, too.
She caresses his eyebrows as they both gazes into each other’s
eyes.
JESSY
You didn’t get me anything from WAWA yesterday?

44. (MORE) 43.
TOI
Yeah, I know, baby, you didn’t tell me what you actually wanted.
JESSY
Yeah, I sure didn’t.
TOI
But I can make it up to you?
JESSY
Yes, you can.
CLOSE-UP/OVER-THE SHOULDER-ANGLE: TOI AND JESSY
TOI
I would be who I am if wasn’t for you—In spite of our past. You
mean so much to me. I love you, Jessy.
JESSY
I love you, Toi.
And they hold each other, kissing passionately.
The next thing WE HEAR is the beginning song of RIHANNA-KISS IT
BETTER playing.

45. 44.
INT. BEDROOM-SERIES OF SHOTS
As HEAR the song, Jessy and Toi are making passionate love.
CLOSE-UP ANGLE: Toi and Jessy kissing, holding the kiss....
CLOSE-UP ANGLE: Jessy’s hand caressing down her nightgown....
CLOSE-UP ANGLE: Toi licks his ear....
CLOSE-UP ANGEL: She claws his muscular back....
CLOSE-UP ANGLE: Jessy is slowly pulling her panties from
underneath her gown.
CLOSE-UP ANGEL: They’re in a SEXY STACK position....
CLOSE-UP ANGEL: They kiss while frowning passionately....
TOP ANGLE: Toi, eyes closed, mouth open, leans her head back.
Jessy is kissing her neck....
END SERIES OF SHOTS
The song is fading away as we:
CUT TO:
EXT. MAIN STREET-SAME DAY
An eye-catching black woman in a blue split chested dress pace
up the street. WE PAN-UP on an apartment building.
INT. TABACCO APARTMENTS-SAME DAY
Taka, that has crochet braids now, knocks on an apartment door.
Without someone asking who she is, the door opens.
OVER-THE-SHOULDER ANGLE: EVONNE WIMBUSH, in her early 40s, wears
a black kitty shirt.

46. 45.
EVONNE
Hey, girl, come on in.
TAKA
Hey, what you doing?
Taka steps in. Evonne closes the door and locks it.
EVONNE
I’m just CHILLIN with STELLA.
LIVINGROOM
STELLA CURRY, early 40s too, a bright light-skinned big woman is
sitting on the couch on her cell phone. She has on sleeveless
jean coat and dress.
Taka approaches her with a hug.
TAKA
Hey, Ms. Curry.
STELLA
Girl, I am not that old. You can call me Stella. You know DAT.

47. 46.
KITCHEN
Evonne is cooking on the stove.
EVONNE
I told her the same thing.
TAKA
(Laughs)
I got YALL.
Taka sits down by Stella.
TAKA
(To Stella)
I’m glad you’re here. There was a killing last night in Mosely.
STELLA
I saw the police and ambulance this morning on Carmine Street.
EVONNE
Who was it?
TAKA
The girl name was Teena Shalom. She just moved around there.

48. (MORE) 47.
EVONNE
Oh, shit. That’s FUK up.
TAKA
Yeah, I know. She haves a brother that the police are searching
for questioning.
STELLA
Shaking my head—it’s always some in the projects. I saw these
dudes that just got out of jail doing the same old drug shit
again, and they so clever, they do it at pathway near the
basketball court where I think somebody got shot at months ago.
TAKA
The guy name was Dylan Kemp. I went to school with him.
EVONNE
It’s bad out here.
Evonne comes into the Livingroom.
INSERT-MALA BEADS
Is on the table....

49. (MORE) 48.
EVONNE
All we can do is pray if we can’t take in the direct action.
Shit, the police is being lazy I think too. I think Mosely is
going to get worse than Fairfield and Cranston’s Court combined.
TAKA
(Looks anxious, but hopeful)
I have to go check on Rochelle.
STELLA
Is she at home?
TAKA
I don’t know. I have to call her. I thought you called your
goddaughter?
STELLA
I did. She didn’t pick up. She was having a block party before
that incident happened last night.
TAKA
She probably got drunk. That’s venial.

50. 49.
STELLA
She can handle her own. I am going to be glad when my voucher
approval comes back so I can move out of Mosely. I live there
since birth. Your mama and I grew up there. One day—I’m GONNA to
going to make it out the hood life.
Taka gazes sniffles.
INT. PORTSMOUTH APARTMENTS-SAME DAY
We are in the “dirty south” of Rockwell. A young black man,
DEVONTE BLOUNT, 20-some is sitting at a kitchen table counting a
lot of money. He wears a purple shirt and Christ neck around his
neck. “You think of him as Kane from Menace II Society.”
His cell phone rings 50 CENT FEATURING CHRIS BROWN-NO ROMEO, NO
JULIET.
He stops counting, looks at his big cell phone, answers.
DEVONTE
(Into Phone)
YO, WHUT UP?
MAN (VO)
BRUH, U not going to believe WHUT I saw last night.
DEVONTE
(Resumes counting money)
What, BRUH?

51. (MORE) 50.
MAN (VO)
Your old SHAWTY Molina got home late last night with some pretty
Ricky-looking motherfucker.
DEVONTE
Oh, 4 REAL, He had a WHIP?
MAN (VO)
Yea, stunning and shit. They were kissing and shit.
DEVONTE
(Stops counting, looking straight faced)
YO, you know what exactly his whip look like? I want that
motherfucker detail explained to me.
MAN (VO)
It was red with some big ass rim like 24s.
DEVONTE
THANKZ, I told that BIHH if we EVA broke up that she better not
fuck with nobody else. She may be single, but she mines no
matter fuckin what.
MAN (VO)
ITE, this NIGGA, don’t know what he DONT fuck with.

52. (MORE) 51.
DEVONTE
He GONNA find out soon enough. I will hit you back.
MAN (VO)
ITE, DEE!
Ends call....He picks up GLOCK 17 9mm pistol and cocks it.
DEVONTE
I kill motherfuckers carelessly if fuck me...and my property.
(Laughing, echoes)
EXT. MOSELY COURT-SAME DAY
WE SEE the Police line at Teena’s front door apartment.
AN ANGLE: STREET
Two police cars are parked. Taka walks into the entranceway.
AN ANGLE: ROCHELLE’S APARTMENT
Taka opens the screen door and knocks. The door opens and it’s
Rochelle looking tired.
TAKA
Thank God you up and safe.

53. (MORE) 52.
ROCHELLE
(Tiredly, rubs her eyes)
Why—why you say that?
TAKA
Let me in and I will tell you.
Rochelle steps back as Taka enters. The door closes.
INT. TREV’S APARTMENT-BATHROOM-SAME DAY
Trev sits on the toilet on his cell phone.
TREV
(Into phone)
Yeah, you right. My bad, though. I promise it won’t happen
again, bro. So, what can I do physically to apologize for last
night?
He widens his eyes.
TREV
Ok, that what it will do. Okay. Okay. Bye, bro. I GOT CHU.
He ends the call.

54. 53.
CLOSE UP: TREV’S CELL PHONE
A text message from Molina reads: “I want to give you Boob Sex.”
CLOSE-UP: TREV
He smiles.
CLOSE-UP: CELL PHONE
He types a reply message that reads: “I never had that before.
Your tits feel good! “
Molina reply reads: “And your DICK feel GUD, DIDDY. Tell me WHUT
U want me 2 do 2 U? ”
As he types a reply, the message reads: “I want you to lick the
sweat off my dick as the sweat drip down your fucking mouth and
big AZZ TITTIES. Then as I am FUCKIN CUMMING all over your
pretty ass face, I want you to suck my balls and swallow them
with your fucking tongue.”
Molina reply reads: “UR a nasty motherfucker! LLS! Do you want
to treat me like a fucking porn star? My Ex did me like that.”
CLOSE-UP: TREV’S FACE
He frowns, and then straightens his gaze.
CLOSE-UP: CELL PHONE
His reply reads: “Tell me about him?”

55. 54.
INT. ROCHELLE APARTMENT-SAME DAY
Rochelle and Taka sit by each other on the couch. The television
is playing a movie.
ROCHELLE
That’s crazy.
TAKA
Yeah. The news stated she have a 4-year old daughter who is with
the mother.
ROCHELLE
How was she killed?
TAKA
They said it was indescribable.
Rochelle can’t believe it. She YAWNS.
ROCHELLE
That’s really sad. A lot is going on. I don’t feel so good after
last night. (Rubs her belly under her shirt)
TAKA
You need to stop drinking.

56. (MORE) 55.
ROCHELLE
Don’t tell me what to do. I like to drink. I don’t drink like
everybody else. Especially not like my dad.
TAKA
That’s not what I meant.
Rochelle gets up and goes into the kitchen. Taka gets up and
goes in the kitchen as well.
TAKA
All I am saying is we miss you in the church.
Rochelle opens the refrigerator.
ROCHELLE
My belief in God has faded since my mother’s (long pause) death.
You know that.
TAKA
We prayed for her powerfully.
ROCHELLE
It wasn’t enough. (Closes fridge)

57. (MORE) 56.
ROCHELLE (CONT’D)
I thank you for checking on me, Taka. I am sorry about that
woman. I’m fine really.
TAKA
I’m glad you are. I was thinking about getting together with Toi
and going out.
ROCHELLE
Forget it. Toi wants nothing to do with us ghettos since she
moved out the ghetto.
Taka glances her eyes down then looks back at Rochelle
TAKA
She’s not like that, but okay. I will see you later.
Taka steps out the picture. Rochelle just stares at her, looks
down at the floor, then up at us.
DISSOLVE TO:
ROCHELLE’S BEDROOM
Rochelle lies on her back in her bed. She has her cell phone in
hand talking to someone without to her ear.
CLOSE-UP: ROCHELLE’S CELL PHONE

58. 57.
She’s on a video call with a handsome curly gentleman name
KENDALL HILL.
ROCHELLE
I miss you
KENDALL
(On video)
I miss you too. (Smiles)
ROCHELLE
How’s school down in Florida?
KENDALL
It’s great. It’s more than what I thought. It’s the best.
ROCHELLE
Oh, that’s good.
KENDALL
Yeah. What’s bothering you?
ROCHELLE
Taka wants me, her and Toi to get together.

59. (MORE) 58.
KENDALL
Well, get together and chill. Let the past be the past. Have you
seen Freda?
CLOSE-UP: ROCHELLE’S FACE
She twitches her mouth, rolls her eyes right and left.
ROCHELLE
(Exhales)
EXT. CLUB 534-SAME DAY-NIGHT
At AN ANGLE on the building, the night is young with young folks
scattered around, some are in standing in line in front of the
club.
Taka and Toi arrive at the club. Taka wears a red dress. Toi
wears a plus size summer dress. A big black man with ball head
and gold tooth approach them.
BIG BLACK MAN
YO-YO, what’s up ladies?
TOI
Hey, OLE-GEE? You already know we’re on the V.I.P.
OLE-GEE
I got you.

60. 59.
INT. CLUB 534-SAME DAY NIGHT
DESIIGNER-TIMMY TURNER song is on full blast. The women in their
nightclub party dress are TURNT. The men in their swag gear are
turning up with them.
Taka sticks close with Taka as they enter the—
LOUNGE
There is few men and woman talk while sipping on their drinks.
EXT. STREET-SAME DAY-NIGHT
A van parks on the side of the street.
INT. VAN-SAME DAY-NIGHT
Rochelle is dressed in a black dress. She looks out her window.
INT. CLUB 534-SAME DAY-NIGHT
Toi and Taka sway to the song by BEYONCE-FORMATION.
Lights are flashing and a WOMAN in a navy blue dress is grinning
at us with her gap showing. She has a necklace around her neck.
OVER-SHOULDER-ANGLE/TWO-ANGLE: Taka is looking at the woman
familiarly. Toi has her eyes closed still swaying to the music.
Taka bumps her and she opens her eyes.

61. 60.
TOI
(To Taka)
What?
TAKA
There’s Freda.
This is FREDA AKERS, mid-30s, plus size.
FREDA
Yep! It’s me, baby! (Approaches them with a hug)This is one
dream come true.
Freda haves a seat in the middle of them.
FREDA (CONT’D)
Oh, my God, you two look fabulous!
Taka and Toi blush.
TOI
Thank you, Freda. You look brand new.

62. (MORE) 61.
FREDA
Girl, yes! I tell you what God has done for me, it is a real
breakthrough!
TAKA
Well, amen!
Taka holds up a glass of wine for a toast to that. Freda doesn’t
have a glass.
FREDA
Oh, hold that toast. I will be right back.
She stands up, pulls down and straightens her dress then leaves.
TAKA
(To Toi)
Well, what do you think?
TOI
I think she might be better now.
TAKA
Yeah, I hope so. With all that insomnia problems that turn into
parasomnia problems, she must have spent a fortunate on doctors.

63. (MORE) 62.
TOI
The issue was a nightmare problem, right?
TAKA
Yeah, and she has to take some call HYPNOCIL
TOI
What kind of drug is that?
TAKA
It’s an experimental drug for people to help them for them to
stop having dreams and nightmares.
CLOSE-UP: Toi looks around slowly in thought after Taka tells
her that.
EXT. WOODCROFT VILLAGE-SAME DAY-NIGHT
Jessy is standing alongside with Trev behind a difference
section of the apartment complex.
JESSY
Man, Toi if found out about this, she would be my ass.

64. (MORE) 63.
TREV
I told you just don’t tell her, Jessy. Man, just because you
can’t get a job, doesn’t mean you can’t get a job. The law knows
when people try to do the right thing there’s always some wrong
shit to get in DA WAY.
JESSY
I feel what you saying, but I did this shit before. I hate to
ask you to do this for me again.
TREV
Don’t worry. I got you. Craig will send us the good clientele.
People love those pills. Then after we make TIS money, I am
going to see my girl.
JESSY
You really falling for her, huh?
TREV
Yeah, she told me about her ex and I told her about mines. We
settle on old feelings. So, we are feeling each other. I know we
just met, but it’s like that love at first sight shit. (Laughs)
JESSY
(Laughs, pounds Trev’s fist)

65. 64.
INT. CLUB 534-SAME DAY-NIGHT
The club has slowed down and the people are dancing slowly
together on the dance floor. Some of them could be couples. RO
JAMES-PERMISSION is playing for them.
BAR
Toi is with Rochelle and Taka staring at everybody dance.
TOI
(Sighs)
I wish my BAE was here.
TAKA
Why didn’t he come?
TOI
Because, Taka, it’s girls night out. Where UR BAE at?
TAKA
I don’t know until the Lord brings him my way. I want a platonic
man.
ROCHELLE
Maybe it’s time I got myself a BAE.

66. (MORE) 65.
TAKA
What about Kendall?
ROCHELLE
(Blush, sips her drink)
TAKA
Oh, I thought you liked him.
ROCHELLE
It was after what I been through. He was always there when every
other guy turned their back me.
TOI
I feel you. A good man is hard to find.
FREDA (OS)
Un-huh, question: What keeps you awake at night, your bill,
worrisome? Sleep. Sleep...
Freda steps into the frame by Toi.
FREDA
That’s what my shrink use to ask me. (Laughs)

67. (MORE) 66.
ROCHELLE
It is good to see you again, Free.
FREDA
Likewise, Ro. You have always been the most—what should I say—
uplifting one. Taka, you are the same in a way. You just got
religious. And Toi, you are just as sagacious.
CLOSE-UP: TOI
TOI
(Smiles)
Thank you.
FREDA
You’re welcome. (To Rochelle and Taka) And you’re welcome, Taka
Rochelle. I’m OUTTA here. I got work tomorrow.
She puts down her empty glass and then leaves smiling at them.
TAKA
Is it me, or has it been reuniting with her been a little
eldritch?

68. (MORE) 67.
ROCHELLE
What does that mean?
TOI
It means weird to put it in a simple term.
ROCHELLE
Oh.
TOI
It was a little weird. She didn’t even exchange numbers with us,
but she was so happy to see us. (She brings her glass of wine up
to her mouth)
INT. MOLINA’S APARTMENT-BEDROOM-SAME DAY-NIGHT
The bedroom is lit blue. At a TILT ANGLE, Molina lies into the
bed gazing at something or someone naked and glistening with
sweat. Trev lays on top of her, kisses her as she runs her
fingers through his hair, gripping it. He’s sweaty and naked
too. WE CAN SEE he has two 2 tattoo wings on his back.
NEW ANGLE: On this hotbed of lust, Trev is stroking Molina in
doggy-style.
ANOTHER ANGLE: He caresses her sweaty back with his hand as she
is stroking him back.

69. 68.
AN ANGLE: Trev expression is deep in the pleasure. He gazes down
at her. Sweat is dripping from chin and body onto her back and
booty.
NEW ANGLE: Trev continues to stroke Molina in doggy style.
Suddenly, a monstrous shadow cast over above him.
CUT TO:
INT. MOLINA’S APARTMENT-BEDROOM-DAY
Trev pops his eyes open breathing a little heavy. “He was
dreaming, or was he?” But he lies in her bed. Molina slightly
lies on him with her arm across his chest asleep. He looks at
her. As WE PAN BACK, WE SEE the covers and sheets over their
body.
INT. ROCHELLE’S APARTMENT-LIVING ROOM-NIGHT
Rochelle is eating junk food while watches TV. She props her
feet on her table. She picks up her cell phone.
AN ANGLE: CELL PHONE
She taps into her e-mail and screen reads—“Thank you, Rochelle,
for applying for HCR MEDICAL CARE. I would like to interview
Monday at 9:00a.m.”
ROCHELLE
Oh, thank God.
DISSOLVE TO:
Rochelle is asleep on her couch. WE PAN DOWN...there’s a bottle
of liquor on the table. It reads—KINKY.

70. 69.
CLOSE-UP: Rochelle asleep.
CUT-IN: The razor sharp knives cling into the picture. This is
the unknown killer. The killer creeps towards Rochelle asleep.
CLOSE-UP: Rochelle snores. Our CAMERA goes fuzzy.
EXT. MOSELY COURT-NIGHT
A younger Rochelle is with a younger Taka in their early 20s on
the porch looking sadly at something in front of them.
SUPER: “MOSELY COURT, 2011.”
25-year-old Toi is talking to Freda in her early 30s looking
stressed out...
TOI
We can’t help you. We are sorry.
FREDA
(Scoff)
I have a problem and you bitches want to turn your back on me.
TOI
No. That’s not it. We are just struggling with our own shit
right now. And what you are dealing with is too much and
abnormal.

71. (MORE) 70.
FREDA
I can’t believe you will fucking say that to me. We all are
going through FUCKING nightmare problems! We are live in the
fucking projects where there is killing, rape, and ratchet
fucking shit! (Throws her middle finger in her face) Fuck you,
Toi! (Then point’s middle finger to Rochelle and Taka) Fuck you,
Ro and fuck you, Taka! WIT YALL YOUNG ASSES!
Hot and angry, Freda turns swiftly away from Toi and stomps
away.
BACK TO SCENE:
INT. ROCHELLE’S APARTMENT-SAME DAY-NIGHT
Rochelle opens her eyes, looks up, scared look.
AN ANGLE: A black sleeved left arm with the gloved razors
SLASHES Rochelle across her face, making deep cuts on her face.
AN ANGLE: Her blood splatters across the floor as she hits
against the inside arm of the couch.
WE CAN SEE the killer’s waistline on down, donned in an old-
fashion black trenched coat. The killer takes the razors and
slashes, Rochelle, again.
CUT TO BLACK:
(CHUCKLING)

72. 71.
EXT. MONTROSE HIGHS-DAY
Wearing an ocean blue tank top, shorts and a pair of Patrick
Ewing kicks, Trev sits on the park bench of the basketball court
on his cell phone to his ear.
TREV
(Into phone)
What’s the good news?
MOLINA (VO)
I’m pregnant, BAE.
Trev smiles happily.
TREV
YAY! Don’t worry. I’m going to take good care of you. You hear
me?
MOLINA (VO)
You hear you, DIDDY. I love you.
TREV
I love you, too, MOMMI.

73. (MORE) 72.
MOLINA (VO)
(Light laugh) Call me later, baby.
TREV
I’m coming to see you later, baby.
MOLINA
Okay, love.
TREV
(Kisses her through the phone)
Ends call.
AN ANGLE: CELL PHONE
There’s a text message from Molina that reads-“That pussy is so
fucking wet. Suck my fucking pussy juice and chew my
motherfucking clit. I want you to eat the shit out my ass.”
He shakes his head and smiles. He then jumps up, picks up his
basketball and bounces it.
AN ANGLE: He bounces it to the three-point line and then shoots.
CLOSE-UP: The shot goes in. “Nothing but net.”

74. 73.
AN ANGLE: A nice ride pulls up on the side of the street.
Devonte gets out the driver side, Craig gets out the passenger
side and big dude gets out the back. They all walk towards the
court.
Trev shoots a free-throw and misses it.
DEVONTE
(To Trev)
Every shot counts, BRUH!
Trev picks up his ball and looks at them.
TREV
Hey, what’s up? Craig, you come to ball?
CRAIG
NAH!
Devonte keeps walking to Trev. Craig and the big dude chill on
the bench.
Devonte stops in front of Trev.

75. 74.
DEVONTE
You Trev, right?
TREV
Yeah, who are you?
DEVONTE
I’m Molina’s NIGGA.
Devonte’s quickly draws his weapon from behind his back and HITS
Trev in the face with it. He goes down, dropping his ball.
TREV
(Groan)
What the fuck!
DEVONTE
(Cocks his gun and aim it at him)
Now, we in broad daylight and get can go down, BRUH—BRUH.
Trev COUGHS and spits out blood. His eyebrow bleeds.

76. 75.
DEVONTE (CONT’D)
--But I GONNA go old school on your ass and let you break up
with her.
Trev looks up at him frowning.
DEVONTE (CONT’D)
(Frowns back)
Who you looking at like that? BOY, I will blow your pretty face
into a deformity if you don’t tighten up.
TREV
AIGHT, I will do it.
DEVONTE
My NIGGA—I’m glad I can do business with you. (Puts his gun back
in his holster under his shirt)
CRAIG (OS)
It’s never personal, always business.
DEVONTE
AWE, YOU GOT ME FUCK UP!
He leaves with his homeboys.

77. 77.
Trev, heated, frowns harder.
Music BLAST—FUTURE FEATURING YOUNG THUG-WHO
EXT/INT. LINCOLN MEWS APARTMENTS-TOI’S APARTMENT-SAME DAY
Jessy enters. Toi, wearing a BETT BOOP scrub, is pouting at him
with her arm folded. He closes the door slowly, locks it.
JESSY
Baby, what’s wrong
TOI
Have you been selling drugs?
JESSY
(Lying)
No, Toi.
TOI
Jessy, don’t’ lie to me.
JESSY
Okay, I won’t. (Long pause) I have been just for a while.

78. (MORE) 78.
TOI
(Unfolds her arms)
Get out my house.
He frowns at her.
JESSY
Just let me explain more why. (Step to her)
She steps back
TOI
Get away from me, Jessy, or I will call the police.
He just gazes her ashamedly.
CLOSE-UP: TOI
Her eyes glisten teary but she sucks it up pouting.
The door opens and then closes.

79. 79.
EXT. ASHTON SQUARE APARTMENTS-MOLINA’S APARTMENT-SAME DAY-
EVENING
Molina steps outside. Trev is there.
MOLINA
Trev, what happen?
TREV
Your Ex is what happen, MO.
MOLINA
Why?
TREV
--Because I’m with you.
MOLINA
That doesn’t matter.
She about to touch his wound on his eyebrow but he stops her.
MOLINA (CONT’D)
Oh, it’s like that?

80. (MORE) 80.
TREV
I don’t know what say—except—I can see or be with you NOMO.
AN ANGLE: She straightens her face seriously.
MOLINA
DA Fuck you mean?
TREV
For the sake of myself and the baby, I can’t be with you
anymore. That’s all.
MOLINA
NAW, that’s not what fucking that all, NIGGA! You GONNA PLAY
THIS PUSSY THEN GO! WHY?!
TREV
(Confused)
Why what?
MOLINA
Why did you lie to me, BITCH?! (SHOUTING, in his face,)DON’T
fucking lie to me! I will cut your—oh, my GOD—I cut your fucking
dick off!!!

81. 81.
Confused at her craziness, he walks away from her.
She moves quickly around him cutting him off, gesticulating in
front of him.
MOLINA (CONT’D)
Come here, motherfucker! Don’t turn the fuck away from me!
He puts his hands up to touch her, but she swings them out the
way.
MOLINA (CONT’D)
Get your—don’t FUCKIN touch me!!!
She knees him in his balls and he GROANS down to the ground
holding his private part.
TREV
(GROANING)
Why did you do that?!
MOLINA
Fuck you! You little dick bitch! WACK ASS!
She walks back to her apartment, goes inside and SLAMS the door.

82. 82.
EXT. MOSELY COURT-STELLA’S APARTMENT-SAME DAY
Taka BANGS on the apartment’s screen door. The door unlocks and
Stella steps out. Taka’s crying.
STELLA
Taka, what’s wrong?
TAKA
Rochelle was killed last night.
EXT. LINCOLN MEWS APARTMENTS-PLAYGROUND-SAME DAY
Jessy sits on the swing with his head down, looking regretfully
at the sand.
AN ANGLE: A little girl is playing on the jungle gym.
LITTLE GIRL
(Singing)
1, 2, she is coming for you. 3, 4, better lock your door—
(continuing)
Jessy hears the little girl sing this song and he lifts his
head.
AN ANGLE: THE LITTLE GIRL

83. 83.
LITTLE GIRL
5, 6, grab a crucifix. 7, 8, better stay up late. 9, 10, never
sleep again.
CLOSE-UP: Jessy just gazes at the girl. A burnt hand touches his
right shoulder. He jerks, looking over his shoulder. It’s nobody
but Toi. She’s gazing at him with feeling eyes.
JESSY
I ask for forgiveness.
TOI
I know. Let’s talk.
EXT. ASHTON SQUARE APARTMENTS-MOLINA’S APARTMENT-SAME DAY
Trev knocks the door. No answers. He knocks again. No answer. He
knocks and knocks. No answers.
TREV
Mo. Molina, please open the door. Please. I love you and I know
you love me. I forgive you.
DAVONTE (OS)
You AINT GONE yet, BRUH.

84. 84.
Devonte stands there behind him. Trev turns around slowly,
facing him.
TREV
NAW, BRUH. (Boldly) I’m not going anywhere.
Davonte LAUGHS. The door opens and Molina stands by the doorway.
MOLINA
Trev—(Glances to Davonte) go, MANE.
TREV
NAW! Fuck that! Fuck him! You are my girl now!
AN ANGLE: IN SLOW MOTION, Davonte draws his GLOCK 17 9mm pistol,
with a silencer on it and points it at Trev. He FIRES without
anything else to say.
AN ANGLE: The bullet hits Trev in his chest; another bullet hits
his face. Molina jumps back, gasped.
AN ANGLE: Davonte removes the silencer. He FIRES two shots. The
muzzle of the gun smokes.
AN ANGLE: Trev is on the ground bleeding. From the FOREGROUND
ANGLE, Davonte fires again. Trev’s body twitches….

85. 85.
AN ANGLE: Molina covers her mouth. Suddenly, Davonte grabs her
and pushes inside her apartment. Davonte grabs Trev’s dead body
and drags him inside and slams the door close.
EXT. LINCOLN MEWS APARTMENTS-TOI’S APARTMENT-BACK PADDLE-SAME
DAY NIGHT
It’s cool night and Jessy is sitting with Toi.
JESSY
I didn’t want to ask you for a job where you work. I wanted to
do my own thing and I messed up.
Toi is gazing at him with open ears.
JESSY (CONT’D)
I love you and the last thing I want to do is hurt you and
disappoint you.
TOI
When I first met you—you were flamboyant. I have watched you
grow. Trev hasn’t grown much. He may be doing positive things,
but not positive enough. Doing the illegal stuff is not the way
handle a problem.
JESSY
You’re right.

86. 86.
Jessy leans in to kiss her but she leans back, gazing into his
eyes. He gazes into hers with an apologetically and
affectionately.
JESSY
I promise I will do the right thing.
TOI
You better.
She caresses his face, gazes in his eyes, and smooches on the
lips.
INT. ASHTON SQUARE APARTMENTS-MOLINA’S APARTMENT-SAME DAY-NIGHT
Devonte peeps out blinds. His POINT-OF-VIEW shows us police
vehicles surveying the area.
He backs away from the curtains.
Molina sits on the couch shocked. Devonte stands in front of
her.
DEVONTE
Baby, wouldn’t tighten up. You know this isn’t the first time I
took a life you haven’t seen.
MOLINA
You know I know that. But did you have to kill him?

87. 87.
DEVONTE
What DA fuck U mean? He was a weak AZZ FUCKERY boy.
She rolls her eyes at him looking to her left.
DEVONTE (CONT’D)
Way a minute—you fucked him that much that you’re pregnant by
him?
She sucks her teeth.
DEVONTE (CONT’D)
DON’T YOU FUCKIN—(backhand smack her) dis me!
She cries out.
INT. LINCOLN MEWS APARTMENTS-TOI’S APARTMENT-SAME DAY-NIGHT
Toi lies on the couch with her eyes closed, maybe asleep. Jessy
kisses her forehead.
There’s KNOCK on the door. Jessy goes to the front door, peeps
out the peephole and then opens the door. It’s Craig.
JESSY
Craig, what the hell are you doing here?

88. 88.
Craig looks real serious.
CRAIG
I need the money for the lost heroin.
JESSY
You come to my girlfriend’s place for this, man. Why didn’t you
call me?
CRAIG
It’s never personal, BRUH—always business.
CUT-IN: Craig has a gun in his hand; point it at Jessy’s
stomach.
Jessy looks at the gun and then looks back at Craig.
JESSY
Are you treating me?
CRAIG
Give me the money, Jessy.
JESSY
I can’t give you what I don’t have.

89. 89.
Craig frowns.
CLOSE-UP: CRAIG’S STOMACH
In the moment between life and death, four razors pierce through
Craig’s gut.
CLOSE-UP: Craig’s face
He gapes his head back
CLOSE-UP: JESSY
He gapes.
CLOSE-UP: CRAIG’S STOMACH
The razor rips and climbs up his torso.
CLOSE-UP: Jessy steps back.
CLOSE-UP: CRAIG
Craig is gasping on up blood. The killer leans over his
shoulder, REVEALING their self as...Freda! Half of her face is
burnt. She has on a black hat. She grins evilly looking at
Jessy.
EXTREME CLOSE-UP: CRAIG’S CHEST
She aggressively bends the blades inward, breaks his chest.

90. 90.
CLOSE-UP JESSY
He slams the door close on them.
He turns and Freda is there in his face. He backs up, but she
grabs him by his shirt, pulls him to her and then puts the
razors in his face.
FREDA (CONT’D)
I bet you didn’t see this coming, Jessy.
She lifts two of the blades up to his hairline. He gazes at her
in sort of a spellbind way.
FREDA (CONT’D)
I was just about to invade Toi’s dreams when I saw this coming.
(Turns, looks at Toi)
AN ANGLE: Toi is asleep.
FREDA (CONT’D)
(To Jessy)
In your dreams, I know you were watching me. How lecherous your
eyes were.
Suddenly, the apartment darkens blue light.

91. 91.
EXTREME CLOSE-UP: FREDA’S EYES
Her eyes are evil-looking and yellow.
FREDA (CONT’D)
You need me, Jessy. I can make all your dreams come true.
INT. TAKA’S CAR-SAME DAY-NIGHT-TRAVELING
Taka is driving. She picks up her cell phone, dials some numbers
and then puts the phone to her ear.
INT. TOI’S APARTMENT-BEDROOM-SAME DAY-NIGHT
Toi’s cell phone VIBRATES on her bed.
CUT TO BLACK:
INT. RESTURANT-DAY (DREAM SEQUENCE)
In a classy restaurant, Jessy wears bowtie and black suit
sitting at a piano playing a soft tone.
AN ANGLE: Toi is wearing a trim detail long dress. She is
sitting at the round restaurant table smiling at Jessy play.
CLOSE-UP: Jessy is focused on the music.
JESSY
You see, I am not a stereotype.

92. 92.
INT. ASHTON SQUARE APARTMENTS-MOLINA’S APARTMENT-SAME DAY-NIGHT
Devonte points his gun at Molina. She glowers at him.
DEVONTE
U...is going...to get an abortion.
MOLINA
I don’t care how DEAD serious you are. I am not GOIN 2 do DAT.
Angering him, he grits his teeth, ready to pull the trigger on
her.
DEVONTE
Molina, don’t do it. Say you are going to get an abortion.
She slightly smiles, rolls her eyes, turns her head away from
him.
AN ANGLE: DAVONTE
DEVONTE
Okay. You’re not having that fucking baby. That’s dead. And
you’re...

93. 93.
AN ANGLE: MOLINA
She looks up at him, yawns.
AN ANGLE: DEVONTE
DEVONTE
(Steps to her with gun aimed at her head)
...Dead.
Abruptly, Freda rises up behind him.
CLOSE-UP: MOLINA
He has the gun on pointed to her forehead. She shifts her eyes
surprised.
AN ANGLE: Freda grins at her.
CLOSE-UP: MOLINA
MOLINA
Devonte, there’s someone behind you.

94. 94.
CLOSE-UP: DEVONTE
He looks over his shoulder and there’s nothing there. He looks
back at Molina
DEVONTE
What the fuck you talking about.
CLOSE-UP: Gapping, she looks at him then...
TWO-ANGLE: FREDA AND DEVONTE
Her POINT-OF-VIEW sees Freda gritting her expression behind
Devonte.
CLOSE-UP: MOLINA
MOLINA
No!
TWO-ANGLE: FREDA AND DEVONTE
She raises her glove with the deadly blades spread and SLASHES
him down. He drops down out the picture as...
CLOSE-UP: MOLINA
She’s gaped. His blood spits on her face.

95. 95.
FREDA (OS)
(To Devonte)
Hit a real woman
WE HEAR chopping SOUNDS.
CLOSE-UP: Freda’s right hand has Devonte’s head gripped.
FREDA
(Distorted, to Molina)
How’s that for a decapitation?
CLOSE-UP: MOLINA
She SCREAMS.
CLOSE-UP: FREDA
She swings, slashes at the CAMERA, bloody red...
CUT TO:
INT. TAKA’S CAR-SAME DAY-NIGHT
Taka is stuck in traffic. She rubs her eyes like she’s tired.’
TAKA
Oh, God, come on.

96. 96.
She wearily blinks her eyes closed.
CUT TO:
EXT. IN THE HOOD-NIGHT
Taka wakes up in the middle of a gang war. This is the Bloods
versus the Crips. SERIES OF SHOTS: One blood shoots a Crip in
the head. A Crip punches a Blood in the stomach. Two Bloods
drive a metal pole into a Crip on the ground bleeding to death.
Taka gazes around horrified. Many Crips are firing their Uzi 9
millimeters at the Crips raising baseball bats in their hands to
strike them.
WE SEE a SHOT of dead bodies.
DOLLY IN SHOT: Taka SCREAMS covering her ears.
CUT TO:
EXT. HOUSE-NIGHT (WIDER ANGLE)
The house is white and it looks in good shape as we can tell.
It’s the inside we’re wondering about The other houses around
the area are broken and abandon.
EXTREME CLOSE-UP ANGLE: The house number is 1428.
AN ANGLE: ELM STREET
AN ANGLE: Taka stares at the house. She walks towards it.

97. 97.
INT. WHITE HOUSE-NIGHT
Stella is snorting coke with Evonne in a nasty and filthy living
room.
AN ANGLE: TAKA
TAKA
(To Stella and Evonne)
What are you doing?
With their eyes dilated, they’re not paying Taka any attention.
TAKA (CONT’D)
Stop it!
The living room shapeshifts into a—
INT. HALLWAY-NIGHT
WE SEE a nightmarish scary monster at one end of the hallway. It
LAUGHS EVILLY. Taka stares at it afraid. The CAMERA PANS to her
right.
Freda is standing at the other end in the dimly lit shadows. Her
eyes glow scary red.

98. 98.
FREDA
(Various voices)
Oh, Taka, Taka, Taka.
Startled, Taka turns around that way.
AN ANGLE: WE SEE Rochelle is covered in a thick plastic body bag
stain with coagulated blood.
ROCHELLE
(Softly)
Taka...
INT. HOSPITAL ROOM-NIGHT
Like before, Jessy lies on the hospital bed with his eyes closed
in dark room.
AN ANGLE: Toi steps in the frame out of the darkness. She steps
toward Jessy.
TOI
Jessy—
The wall by Jessy cave-in

99. 99.
DEEP RAGGED VOICE (VO)
There is no Jessy.
AN ANGLE: Through the broken wall, WE SEE Taka looking at us.
CLOSE-UP: Toi is looking at her.
AN ANGLE: Jessy rises up like he’s waking up from the dead.
TOI
Jessy—
Unexpectedly, Jessy left hand is gloved with the razor blades
and he slashes his’s body like a banana peel and Freda appears.
She has on a red and black stripe sweater.
FREDA
(Chuckles)
Toi expresses a shocked gaze.
FREDA (CONT’D)
I know I am not as fear-provoking as Freddie.

100. 100.
TOI
Freda? No.
FREDA
(Grinning)
Yeah, it is me.
The hospital room magically turns into a red lighted Boiler
Factory.
INT. BOILER FACTORY
Freda walks slowly towards Toi as Toi is walking slowly
backward. WE SEE AND HEAR hissing stream pipes. It is hot as
hell in there.
FREDA (CONT’D)
You see, I had to kill Rochelle first after revenging Freddie’s
stepbrother’s death—Jaxon Volker. Now, I am just having a little
nightmare fun with you and Taka.
(SCREAMING)
Sweating and breathing heavy, Toi looks around. Suddenly, a body
falls in front of her on the ground. She looks down.
AN ANGLE: It’s Deucalion—lying on his face, his bones twisted
and broken.

101. 101.
TOI
Oh, my God.
(Looks back at Freda)
FREDA
The police couldn’t get him so I did. RAW!
Freda darts at Toi with her razor blades ready to strike her.
Toi runs up a flight of steel steps.
INT. HALLWAY-HOSPITAL ROOM
Taka steps through the portal of the broken wall.
TAKA
This isn’t real. God, I know it’s not real.
Toi SCREAMS in distantly.
INT. BOILER FACTORY-5TH FLOOR
Freda wallops Toi with her right hand. Toi crashes into some
scrap metal.
Freda towers over the top of her.

102. 102
FREDA
I killed your boyfriend’s friend murderer. He’s going to adore
me for that.
CLOSE-UP: ON TOI
Toi’s eye is bruised and her left arm is bleeds as she turns
around and faces Freda.
TOI
Why do you want him?
FREDA
Because I met him first and you took him from me. (Grins)
Freddie will understand.
TOI
Who is Freddie?
TAKA (OS)
Freddie Kroger.
OVER-THE-SHOULDER ANGLE: Freda turns her swiftly to the CAMERA.
Toi just lies their particularly injured.
AN ANGLE: TAKA

103. 103.
TAKA
My stepsister—Alexis Baylor documented the story the media tried
to cover up.
AN ANGLE: FREDA
FREDA
How would you know that at all?
AN ANGLE: TAKA
TAKA
God...God showed me
AN ANGLE: BETWEEN FREDA AND TAKA
Freda wiggles the blades.
FREDA
Well, Freddie—who is now my Dream Demon—showed me a lot too.
CLOSE-UP: FREDA
FREDA (CONT’D)
You see this burned scar on my face? It played with fire and got
burned—all because of you, Toi and Rochelle couldn’t feed my
comforting water.

104. 104.
A SHOT: Toi still lies there on the scrap metal holding her
wound looking up at Freda.
AN ANGLE: Freda
FREDA (CONT’D)
Freddie may be in hell literally, but he came back as a Dream
Demon. Sure you know about them from the bible?
AN ANGLE: TAKA
TAKA
I forgot the verse.
AN ANGLE: FREDA
FREDA
It’s whatever. It was Sleep Paralysis. That’s when I knew he was
back. It was an odd phenomenon.
AN ANGLE: TAKA
TAKA
You let him take over you.

105. (MORE) 105.
FREDA
I knew him. I was a 14-year-old girl. He was in his early 20s
and he was infatuated with me. He didn’t want to commit
statutory rape, but I just talked to him on live Live-Link and
Skype.
AM ANGLE: TAKA
TAKA
Wow...you are a bitch who wanted dick.
AN ANGLE: Freda gets angry and attacks Taka with gloved razor
blades raised and spread open.
Taka turns and runs to her left. She keeps running straight
forward. Freda is hot on her tail.
Taka runs up to 6TH FLOOR
INT. BOILER FACTORY-6TH FLOOR
Taka trip and falls forward into a pile of knives. She cuts her
hands and slightly her face.
TAKA
(GROANS)
AN ANGLE: METAL STEPS
Freda is tramps up the steps.

106. 106.
FREDA
1, 2, Freda is coming for you. Ha-Ha-Ha-Ha!
AN ANGLE: Taka backpedals with her hands and feet
HIGH ANGLE: Freda saunters towards her while slowly raising her
razor blades to strike her, when...
TOI (OS)
Freda!
AN ANGLE: Freda swiftly turns her head down the metal staircase.
AN ANGLE: Toi holds a flamethrower in her hands aiming it at
Freda.
AN ANGLE: ON FREDA LOOKING AT TOI
FREDA
Bitch, please. What are you going to do with that?
AN ANGLE: TOI

107. 107.
TOI
Let me show you, bitch.
Toi fires the flamethrower and the fire shoots out like a direct
beam. Before Freda can react to defend herself from it, she’s on
fire, ablaze.
FREDA
(SCREAMS)
Toi!!!
Flailing in flames, Freda bangs into a rail and falls forward
over the rail all the way down.
INT. BOILER FACTORY-1ST FLOOR
She LANDS heavily on the ground burning like a burnt piece of
meat.
INT. BOILER Factory-6th floor
Even though Toi is injured, she helps injured Taka to her feet.
(Wailing)
TWO-SHOT ANGLE: Toi and Taka gape at something in front of them.
AN ANGLE: A ghostly figure of FREDDIE KROGER appears and then
disappears as his WAILING ECHO fades.

108. 108.
CUT TO:
INT. LINCOLN MEWS APARTMENTS-TOI’S APARTMENT-SAME DAY-NIGHT
Suddenly Toi is back in her apartment and she wakes up on her
couch she was sleeping on. She still has a bruised eye and cuts
on her arm. She looks to her right.
AN ANGLE: Jessy lies back against the wall on the ground asleep
or unconscious?
INT. TAKA’S CAR-SAME DAY-NIGHT
Now Taka awakens with a shocked expression look. She calms the
shock expression as she heaves steady breaths.
DISSOLVE TO BLACK:
EXT. OAKWOOD CEMETERY-DAY (VERY WIDE ANGLE)
Now two people wearing black dresses stand in front of a grave.
From this angle, WE SEE other gravestones and MWEREBI trees.
MEDIUM CLOSE-UP: The two people are Toi and Taka. They both wear
black sunglasses. They’re looking at a gravestone completely
still.
MEDIUM CLOSE-UP: The gravestone reads-
ROCHELLE GREGORY
JULY 4TH, 1990-AUGUST 13, 2016 “REST IN PEACE”

109. 109.
TWO-SHOY ANGLE: TAKA AND TOI
TAKA
Now she can be with her mother.
TOI
Yeah.
TAKA
What are you and Jessy going to do?
TOI
Move I guess.
TAKA
I think I will too.
TOI
Stella is moving in the same apartment complex as Evonne.
TAKA
Yeah, I know. She told me.

110. (MORE) 110.
TOI
Sometimes life can be a nightmare—sometimes a dream. Freda did
teach us that.
TAKA
(Sighs)
Yeah...I would go with that one.
AN ANGLE: WE MOVE THE CAMERA FROM BEHIND THEM AS A SOFT SOOTHING
THEME PLAYS. WE THEN TILT THE CAMERA DOWN BY A GRAVESTONE. A
BLACK WORK BOOT STEP INTO THE FRAME OF THE CAMERA
CUT TO BLACK:
FADE OUT.
THE END

123. /