This document is a screenplay that follows Henry, a man struggling with mental health issues and unhealthy relationships. He attends therapy sessions where he is evasive. He has an online sexual encounter and goes on a tense date with his girlfriend Jill, where signs of his delusions intensify. They have a fight after she discovers he was texting another woman, Becky. His mental state continues to deteriorate as he experiences disturbing visions and phone calls from Becky.

1. Silo
by
Zan
Vic Necciai
4130 Miracle Ridge Rd.
Monongahela, PA 15063
(412)584-6500
zanobscure@yahoo.com

2. FADE IN:
INT. STAIRCASE - NIGHT
We see the legs and belly of a young woman who appears to be
about seven months pregnant, laying on a bathroom floor.
No sound can be heard.
There is a large amount of blood surrounding her, and her
stomach seems to have been crucially sliced open.
Paramedics enter and place the corpse in a body bag, then
hoist it onto a stretcher, and leave the area.
The screen distorts and turns black and white, appearing
almost as if we are looking at everything is being seen on
an ultrasound.
A light moan is heard.
FADE TO BLACK
DR. GARLAND (O.S.)
Have you been getting much sleep?
HENRY (O.S.)
A little.
INT. DR. GARLAND'S OFFICE - DAY
Cut to Dr. Garland sitting across from Henry.
Henry has his head slightly facing down, not looking entirely
at Dr. Garland.
He has a look about him, as if he really does not want to be
where he is.
DR. GARLAND
Is that the truth?
Henry does not respond and begins to pick at his finger nails.
DR. GARLAND (CONT'D)
Henry? You've got to start taking
better care of yourself. And you
make it all the more difficult when
you're not being open with me.
Henry stops playing with hands and looks Dr. Garland directly
in the eye.

3. 2.
HENRY
Has it ever occurred to you that are
just some things I'm not ready to
discuss?
Dr. Garland leans back and crosses his arms.
Henry says nothing, and looks back down at his hands.
Dr. Garland leans back and stretches, lacing his hands behind
his head.
DR. GARLAND
Last time you were here, I believe
we were discussing your relationship
struggles. Is that something you'd
like expand on?
Henry does not respond and rubs the side of his face.
HENRY
It's going all right.
DR. GARLAND
Is that all?
Henry picks his head up.
HENRY
I just don't want to talk about it.
Henry glances over Dr. Garland's shoulder, as if something
has caught his attention.
Dr. Garland curiously looks behind himself.
Henry looks back down at his hands.
Dr. Garland turns his attention back to Henry, and looks at
him with a slight sternness.
DR. GARLAND
How have been dealing your urges?
HENRY
I feel I'm in more control.
INT. HENRY'S APARTMENT - AFTERNOON
We see a computer screen showing pornography.
Cut to Henry sitting in front of the computer.
We can only see him from the waste up and can't see his hands,
but it is clear he is furiously masturbating.

4. 3.
The look on his face makes it seem as if this enjoyable act
is more like a burden he just needs to desperately get out
of his system.
As he climaxes, he tightly shuts his eyes, and we see a white
flash.
After the flash, we see Henry in Dr. Garland's office, from
earlier.
Everything appears to be as it was before, but there is now
an extra entity in the room.
A WHITE FIGURE stands behind Dr. Garland.
It has no facial features of any kind, and makes no movement.
The White Figure, even though eyeless, somehow manages to
still stare down at Henry.
Henry has his head down, not entirely looking at the doctor,
as if he is trying his best not to look at the thing.
Dr. Garland seems to be oblivious of the White Figure's
presence.
We come back to Henry at his computer.
He shakes his head to collect himself, then examines the
mess on his hand in mild disgust.
INT. BATHROOM - NIGHT
Henry is washing his hands off in the sink, then proceeds to
splash water on his face.
He turns off the faucet, and places his hand on sides of the
basin, looking in the mirror.
From the living room, a phone rings.
Henry rushes out of the bathroom and grabs up a pair of jeans
that lay fumbled on the floor, near the computer.
He fishes out his phone, looks at the caller ID, then answers
it.
HENRY
Jill?
EXT. JILL'S HOUSE - NIGHT
A door opens in front of Henry, and he is greeted by JILL.

5. 4.
She is of a model-like build, and has her hair tied in a
loose pony tail.
She smiles radiantly
The two embrace each other and kiss.
After they separate, Henry bows.
HENRY
Good evening, madam!
Jill giggles as Henry regains his posture.
The two lock arms and make their way off of the porch and
down the sidewalk.
JILL
So, what do you want to do, first?
HENRY
I was thinking we could get something
to eat, but that's too cliche.
JILL
Awe. But it's nice to eat out.
HENRY
I can make us dinner?
JILL
Okay. Yeah, that would be a nice
change.
(beat)
So, then what do suggest?
HENRY
Go see a movie, I suppose?
Jill rolls her eyes.
JILL
No. Not cliche at all!
Henry shrugs his shoulders.
HENRY
Eh. So, I'm a hypocrite.
JILL
Well, I heard some good things about
this one movie-
Jill goes blank while she tries to remember the name of the
movie.

6. 5.
JILL (CONT'D)
...Inner Vacancy. I think that's
what it's called.
HENRY
Yeah, I've heard of it. Sounds like
one of those snooty arthouse movies.
Jill sharply looks up at Henry.
Henry looks back, suppressing a giggle as he speaks.
HENRY (CONT'D)
What?
JILL
Hypocrite!
She gives him a quick peck on the cheek.
INT. MOVIE THEATER - NIGHT
We see a theater screen, and the film that is playing is the
modern mellow drama "Inner Vacancy".
The characters, "Rob and Dave", are sitting across from each
other in a living room, having what appears to be a heated
conversation.
ROB
Don't let it get to you, man.
Dave puts his hands on his forehead.
DAVE
You don't get it. I feel like
everything within me that keeps me
alive has been ripped out and
destroyed.
ROB
I know it's tough. Going through a
break up isn't anything new. You're
not the only one who's suffering.
Dave waves a hand at Rob.
ROB (CONT'D)
See? You don't get it! It wasn't
just a break up!
Rob stands up, and rubs his face.

7. 6.
ROB (CONT'D)
I caught her in my apartment! In my
bed where we slept! Sucking his
dick! In my fucking bed!
We now see Henry and Jill sitting in the theater, looking
slightly nonplussed.
A buzzing is heard.
It is ignored, momentarily, until it catches Jill's attention.
JILL
You gonna get that?
Henry reaches into his pocket, and pulls out the phone.
He looks at the screen and sees it's a text form BECKY.
The text includes a picture of Becky dressed very sensually,
and only showing her torso, from the neck down.
She is wearing tight shorts and a revealing spaghetti string
tank top.
The text reads: "Hi!...and dry lol xoxo. Come over!! I'm
lonely :( Be waiting for you baby ;) <3 <3".
Jill looks over suspiciously at Henry.
He puts the phone away and continues to watch the movie.
A few seats, further down, a young woman with pig tails,
wearing a tight cutoff t-shirt and jean shorts stands up and
walks up the aisle in Henry's direction.
When she gets closer, Henry notices it's Becky; who's face
consists of eye shadow, dark lipstick and a ring in the middle
of her bottom lip.
She passes by Henry, while stroking one of her pigtails and
giving him a sensuous look.
Henry focuses on the movie, trying to not acknowledge her.
Becky holds her glance on him, until she leaves the theater.
We again see the movie screen and the actors continue with
their performance.
ROB
I don't know what else to do for
you, but to tell you that you need
to get over it.
(MORE)

8. 7.
ROB (CONT'D)
All you're going to do is torture
yourself. Just remember; she's the
one who's wrong, here. It's no loss
to you.
Dave bows his head.
DAVE
I just feel so goddam empty!
Rob reaches over and puts a hand on Dave's shoulder.
As soon as his hand makes contact, the screen freezes.
The audience begins to get rowdy and some obscenities can be
heard.
HENRY
What happened?
JILL
Not sure. Hope they fix it soon.
HENRY
Well, it's not like I'm in total
suspense, anyway.
Jill reaches over and pinches Henry on the cheek.
HENRY (CONT'D)
Ow! Hey, cut it out!
Jill pulls her hand back and laughs.
JILL
Can you hand me the popcorn?
Henry reaches down and brings up a bucket of popcorn.
He hands it to Jill.
JILL (CONT'D)
Thank you.
She reaches in and eats a small handful.
Henry reaches over and does the same.
After eating his share, he reaches in the bucket for some
more.
He gets his hand half way to his mouth, but freezes, once he
faces the screen.

9. 8.
It appears something upsetting has caught his eye.
On the screen, we see the actors still in their frozen
position.
Everything seems fine, except there's something different in
the background.
On a staircase, behind the actors is the white figure.
He is crouched on the steps, peeking through the banister
railing.
A high pitched sound, followed by a rhythmic beating can be
heard.
Henry's face begins to contort, and he rubs his forehead, as
if he has a massive headache.
He looks over at Jill, who seems to be very content.
HENRY
Can you not hear that?
She does not reply.
He looks back at the screen, and the White Figure continues
to stare.
Then he looks back over at Jill, and is met with a horrifying
image.
Jill has taken the form of a withered corpse, and she is
slumped back, over her seat, facing up in the air.
Henry looks at her in shock.
Upon further inspection, he sees her lap is covered in various
chunks of fresh meat and her stomach is hollowed out.
Henry is in too much shock to do anything, and his attention
is drawn back to the screen.
Then the noise abruptly stops and the movie begins to play
again.
JILL
Henry!
Henry jolts upward and looks at Jill.
JILL (CONT'D)
Are you okay?

10. 9.
HENRY
Ah...yeah.
Henry nods his head affirmatively.
Jill does not respond and continues to watch the movie.
The actors of the film continue their performance.
Dave shoves Rob's hand off of his shoulder.
DAVE
Fuck everything!
ROB
Dave. What you're feeling is only
temporary. There's nothing you can
do to undo what happened.
(beat)
There are just some things you can't
escape.
INT. HENRY'S KITCHEN - NIGHT
We see Henry at the stove, cooking what appears to be angel
hair.
Next to the boiling pot of noodles is another pot of Alfredo
sauce, and next to that, a skillet of chicken strips.
Jill is sitting at the table, reading a magazine.
On each side of the table are two glasses. One filled with
wine and one filled with water. The wine bottle being in
the center.
JILL
That smells so good, my stomach won't
let me read.
HENRY
Well, you know we can do things like
this more often?
JILL
Then I'll cook next time. I deserve
a turn to poison you.
Henry looks at Jill over his shoulder.
HENRY
I'll hold you to it.
Jill smirks at him and continues to read.

11. 10.
HENRY (CONT'D)
And this looks to be about done.
Cut to Henry laying a plate of dinner down in front of Jill.
JILL
Thank you.
Henry sits on his side of the table in front of his meal.
Jill picks up her glass of wine and raises it in front of
Henry.
JILL (CONT'D)
Here's to a better start.
Henry picks up his glass.
HENRY
Indeed.
They clink their glasses together and drink.
Henry picks up his fork.
HENRY (CONT'D)
Whelp. Dig in!
Right after taking the first bite, he drops the fork and
waves his hands around in a panic.
He takes a drink of water.
HENRY (CONT'D)
Hot! Not good!
Jill laughs.
HENRY (CONT'D)
I guess this still needs to cool
down. I got to use the rest room,
anyway. Excuse me.
JILL
By all means.
INT. BATHROOM - NIGHT
We see Henry flush the toilet and go over to the sink to
wash his hands.
As he is on his way out the door, the sound of trickling
water can be heard from the bath tub.
Henry walks over to the tub, and looks around the curtain.

12. 11.
All that can be seen is running water. Nothing else out of
the ordinary.
He reaches for the faucet and attempts to shut the water
off, but a scorching sound is heard and Henry pulls back his
hand, groaning in pain.
He goes to the sink and attempts to run cold water on his
hand, but comes to a halt, as he places his hand on the
faucet.
In the sink is a bloody embryo, twitching sporadically.
He jerks backward and looks in the mirror, and sees behind
him, the White Figure.
Henry, too frightened to move, just stares into the mirror.
The White Figure slowly brings his arms up; reaching its
hands out towards Henry.
Henry bolts out of the bathroom, slams the door shut and
collapses in the hall.
He props himself up against the wall and his phone rings.
He pulls it out of his pocket, and the caller ID reads
"Becky".
Henry answers the phone.
HENRY
What the hell do you want?
BECKY (O.S.)
Hey baby!
HENRY
Stop this. I'm warning you, stop it
right now!
BECKY
So, what are you up to?
Henry's face tightens into a grimace of anger.
HENRY
Knock it off! Why do you keep doing
this?
No answer.
HENRY (CONT'D)
Hello?

13. 12.
No response.
HENRY (CONT'D)
Becky? Becky?!
Henry hangs up and puts the phone back in his pocket.
When he stands up and faces down the hall, he is confronted
with Jill.
JILL
What the hell's going on?
HENRY
No. Don't get the wrong idea.
JILL
Who's Becky?
HENRY
No one important.
A realizations dawns on Jill's face, and she points a finger
at Henry.
JILL
Is that who you were texting in the
theater?
HENRY
Jill. Please!
JILL
When the hell will I learn?
Jill raises her hands in disgust and walks away.
HENRY
Jill. Wait!
Jill turns sharply and points a finger at Henry.
JILL
No!
Henry struggles for words, but they won't come.
JILL (CONT'D)
I'm not exactly sure what that was
all about, but I know well enough it
wasn't someone just saying "Hello".
Please don't contact me. I need to
calm down, before I can give this
any serious thought.

14. 13.
Jill turns away and walks to the door.
Henry pursues her.
HENRY
Please! Jill, please! Just listen?
She does not respond and walks out the door, slamming it
behind her.
Henry gazes at the door, dumbfounded.
He rubs his face and walks to the kitchen.
The lonesome wine bottle catches his attention and he brings
it into the living room, taking a swig on the way there.
INT. HENRY'S DREAM
We see Henry sitting on a couch with CLAUDIA, a woman who
strongly resembles Jill.
She seems to be very excited about something.
CLAUDIA
I have something for you.
HENRY
Oh really?
Claudia reaches under the couch and brings out a gift wrapped
box.
HENRY (CONT'D)
Well, what's this, now?
CLAUDIA
Open it and find out.
Henry eagerly tears off the paper and opens the box.
Inside is a pregnancy test with a blue plus sign.
HENRY
Wait. What?
Jill smiles and embraces Henry.
JILL
We did it!
HENRY
Oh my god! Yes!

15. 14.
The two pull back from each other and Henry looks back down
at the pregnancy test.
A look of confusion dawns on his face.
HENRY (CONT'D)
What the hell?
The pregnancy test is now a shriveled umbilical cord.
Henry looks up at Claudia, who's looks have now drastically
changed.
She is now just a rotting corpse. Her hair his stringy and
brittle, skin grey and eyes are completely vacant of color
and emotion.
She is no longer animated, and is slumped on the back of the
couch, facing Henry, with her mouth agape.
INT. HENRY'S APARTMENT - NIGHT
We cut to Henry who is in his bed and is starting to go into
convulsions.
The White Figure stands at the bedside.
Henry begins to moan and thrusts himself out of bed.
He gets on his knees and begins to pound away at the floor.
HENRY
No! Dammit!
He begins to sob and crawls over to a wall, where he begins
to beat his head against it.
Henry screams in anguish.
EXT. PARK - DAY
We see an empty bench. Moments later, Dr. Garland approaches
and sits down.
He crosses his legs and arms, and just takes in the scenery.
Off to his left, he catches site of someone going for a walk.
It's Henry.
Dr. Garland waves a hand in the air.
DR. GARLAND
Hello there!

16. 15.
Henry raises his head and looks in the doctor's direction.
He waves and walks over to the bench.
DR. GARLAND (CONT'D)
Please. Have a seat.
Henry sits next to Garland.
HENRY
What's up doc.
Dr. Garland snorts out laughter.
DR. GARLAND
So what brings you here?
Henry shrugs his shoulders.
HENRY
Just needed to get some fresh air.
DR. GARLAND
Yeah. It's amazing how much wonders
simple nature can do for the mind.
(beat)
I don't mean to give free service,
but how have you been?
Henry laughs.
HENRY
Fair.
DR. GARLAND
Fair? Yeah, I'll take it. Better
than your usual responses. Or lack
thereof.
HENRY
And what brings you here? Just wanted
to listen to the birds?
DR. GARLAND
Uh...yeah. Something like that.
The two go silent for a moment, and just look over the park.
DR. GARLAND (CONT'D)
Henry?
HENRY
Yeah?

17. 16.
DR. GARLAND
Have I ever explained to you what
insanity is?
HENRY
I'm afraid I don't follow.
DR. GARLAND
Well, I'll put it to you this way:
You see fire. What thought goes
through your head, first?
Henry furrows his brow; thinking.
HENRY
It's hot.
DR. GARLAND
Yes. It's hot. So what does that
mean?
HENRY
I'm sorry?
CUT TO
In an alleyway, we see what appears to be a woman struggling
against a man, but it's hard to tell because the image is
blurred.
BACK TO SCENE
DR. GARLAND
Fire is hot, so therefore?
HENRY
It burns?
CUT TO
The woman continues to struggle against the man, and lets
out a scream.
BACK TO SCENE
DR. GARLAND
Exactly. So, with that being said,
what is the last thing you'd want to
do?
CUT TO
The man drags the woman into the back of his car.

18. 17.
A thump is heard, which is complimented with a pronounced
yelp.
HENRY (O.S.)
Touch it.
BACK TO SCENE
DR. GARLAND
Well, of course. But let's say you've
never seen fire before, nor heard of
it. Now it's attractive to the eye,
because of it's color and mesmerizing
movement, so it really looks like
something that should be harmless.
CUT TO
All is quiet, except for heavy breathing and the soft
squeaking of the car rocking back and forth.
HENRY (O.S.)
I think I see where you're going.
DR. GARLAND (O.S.)
Right. Right. But, now that being
said, the fire should invoke no fear.
BACK TO SCENE
DR. GARLAND (CONT'D)
So naturally, you may be a little
curious and inclined to touch it.
Henry sighs through his nose.
HENRY
And then I get burned.
DR. GARLAND
Right. So now that's happened, what
do you know not to do?
CUT TO
In the alley, the girl is there, but the man and the car
absent.
The girl sits against a wall, crying.
BACK TO SCENE
HENRY
Touch it again?
(MORE)

19. 18.
HENRY (CONT'D)
(beat)
I'm sorry doctor, but where are you
going with this?
DR. GARLAND
Isn't it obvious?
Henry just looks at the doctor, not answering.
DR. GARLAND (CONT'D)
You'd be crazy to touch it again.
Right? And even more so, if you
expect something different.
HENRY
So, what you're saying is?
DR. GARLAND
Insanity is repetition. Doing the
same thing again and again, expecting
a different outcome. No matter how
evil or disgusting it makes us feel.
Dr. Garland leans back and rubs his mouth with his hand.
DR. GARLAND (CONT'D)
Repetition. Repetition. An endless
cycle of doom.
INT. HENRY'S APARTMENT - NIGHT
Henry is sitting on his couch, and is on his phone.
We can hear a ring on the other end, followed by Jill's voice
message.
JILL (O.S.)
Hi. You know what to do.
A beep follows.
HENRY
Jill. I uh...I'm sorry, I need to
talk to you. Just please, let us
talk? That's all I want. I miss
you. Just...
His voice trails off and he hangs up the phone.
A moment later, his phone rings, and he hurriedly answers
it.
HENRY (CONT'D)
Jill?

20. 19.
BECKY
Hey baby.
Henry rolls his eyes.
HENRY
What do you want?
BECKY
You don't sound very happy.
HENRY
No shit! Why don't you just leave
me alone? Haven't you already done
enough damage?
Becky laughs.
BECKY
Poor baby.
HENRY
Just leave me alone.
No response.
HENRY (CONT'D)
Becky?
No response.
HENRY (CONT'D)
Hello?
He turns off the phone, with a look of disgust.
A moment later, his phone rings again and answers it even
faster.
HENRY (CONT'D)
Knock it off, already!
JILL (O.S.)
What?
Henry gets a look of shock on his face.
HENRY
Oh my god. No! Nonono! Jill, I
didn't know it was you.
JILL (O.S.)
Who did you think it was?

21. 20.
HENRY
No. Look...dammit!
JILL (O.S.)
What do you want, Henry?
HENRY
I just want to talk. I feel like
I'm losing my mind.
Jill then responds in a good nature voice.
JILL (O.S.)
You're kidding.
Henry gets a more relaxed look on his face.
HENRY
Heh. Looks like you got your sense
of humor back.
JILL (O.S.)
I'm sorry I made you wait so long.
I just don't know what I want to do,
yet.
HENRY
Well, don't stress over it. Let's
just start again, but take it slow.
Let the cement settle.
JILL (O.S.)
Okay. We can do that.
Henry has a look of triumph on his face.
HENRY
Great!
(beat)
So, what do we do from here?
JILL (O.S.)
A friend of mine is having a wedding
shower, and I was going to go out
tomorrow to find a dress.
HENRY
Shopping? Sure, why not? Taking it
slow.
JILL (O.S.)
Charming. Okay. Bye, for now.
HENRY
Yeah. Good night.

22. 21.
Henry shuts off his phone and puts it beside him on the couch.
He punches the air, in a gesture of victory.
INT. DEPARTMENT STORE - DAY
In the women's section, amongst the in-season clothing and
posing mannequins, Jill selects a blue dress hanging on a
wall.
Jill turns to Henry, holding the dress against herself.
JILL
What do you think?
Henry tilts his head sideways, like a confused dog, taking
time to think.
HENRY
Doesn't look too bad. Hard to tell
for sure, if you're not actually
wearing it.
JILL
I don't know. I think the color may
be a little average.
HENRY
Maybe find something in a red?
Jill looks down at the dress and smooths it out with her
hand.
JILL
I don't know. I have to see myself
wearing it. Can you wait here, while
I'm in the dressing room?
HENRY
Here?
Henry looks around.
HENRY (CONT'D)
Ain't a little out of place?
JILL
I'll only be a minute.
Henry rubs the back of his neck.
HENRY
I'll know where to find you.
Jill feigns defeat.

23. 22.
JILL
Alright. Be back here in five
minutes.
HENRY
And in woman language, that's how
long?
Jill gives Henry a look of fake exasperation and walks to
the dressing room.
Henry makes his way out of the women's clothing section.
As he exits, he takes notice of the books and magazine section
nearby.
He goes into the aisle and begins scanning the various
literature.
He picks up a magazine and leafs through it.
For a moment, all is content, until the lights in the building
flicker and then completely go out.
Henry looks up from the magazine and gazes around at the
darkness.
He replaces the magazine and walks out of the literary
section.
It doesn't take long for something alarming to become
noticeable.
Not one person is in the store.
Henry, alone in the darkness, starts walking around the store,
scanning the various aisles for at least one live entity.
He searches for a moment longer, and then something catches
his eye.
Down in the same area of the store, in the women's section
where Henry last saw Jill, is a dull red light coming up
from the floor.
As he makes his way to the light, he notices something else
is out of the ordinary. The mannequins are no longer in
their original positions, but are formed in a circle around
the red light.
A grotesque thumping noise can be heard.
When Henry returns to the area, he is greeted with the site
of what appears to be a humanoid, headless and limbless,
mannequin torso.

24. 23.
Upon inspection, the torso's stomach slightly protrudes, as
if pregnant.
It makes sickening sounds as it twitches, the red light
illuminating its features.
Henry, too revolted by the sight, stares at the torso in
disgust.
The torso continues it's convulsions, gradually twitching
faster and faster, and then comes to a dead stop, laying
flat on its back.
Henry takes a moment to consider his next move, then attempts
to approach the torso.
He stops when a grumbling sound can be heard coming from the
creature, as if it is very hungry.
Blood spurts out of the torso's vagina and onto Henry's shoe.
He leaps back and looks down at his struck foot.
On the floor, there is what appears to be an embryo twitching
in much of the same fashion as the torso.
It makes a light and wet jittering sound, as it proceeds
with it's epileptic fit.
Henry gasps and backs away, losing his balance.
He falls backwards into a wrack of clothes.
To distraught to get to his feet and run, he sits in a fetal
position, and hides his face in the crooks of his arms.
We momentarily see blackness, until a voice is heard.
VOICE
Sir?
Henry does not respond.
VOICE (CONT'D)
Sir!
The blackness dissipates and henry looks up at the store
clerk standing above him.
The building is once again active, and the lights have
returned.
The Clerk speaks in a slightly harsh tone.

25. 24.
CLERK
May I assist you with anything?
Henry stares blankly, then answers.
HENRY
No. I'm fine.
JILL (O.S.)
Henry?
Henry turns and looks at Jill.
HENRY
Jill? How long were you standing
there?
Jill gives Henry a look of concern.
JILL
I saw you fall and just ran straight
over. You okay?
Henry doesn't acknowledge the question.
He nods his head at the dress Jill is holding.
HENRY
So, are you getting that?
Jill looks unsatisfied by Henry's discourtesy, but answers
the question, anyway.
JILL
Um...yeah. This will work.
Henry walks over and holds the price tag of the dress in his
hand.
He looks at Jill.
HENRY
Let's go. I got this.
He takes the dress from her and walks away.
For a moment, Jill just watches him, slightly dumbfounded,
then follows in his wake.
INT. DR. GARLAND'S OFFICE - DAY
Henry is sitting across from Dr. Garland.
DR. GARLAND
You seem in a better mood than normal.

26. 25.
Henry nods with assurance.
HENRY
I am.
DR. GARLAND
Anything you'd like to discuss?
HENRY
Well...
DR. GARLAND
What is it?
HENRY
Do you ever have the feeling that
things aren't how you perceive them?
DR. GARLAND
Like how?
HENRY
It's just...
(beat)
Well it's just that-
Henry struggles for the right words.
HENRY (CONT'D)
Alright. I'll put it this way: Do
you know how they say that if you
think you're crazy, then that means
you're sane? But those who think
it's okay to do crazy things, and
not knowing it's crazy, are the real
lunatics?
DR. GARLAND
In some cases. But then there are
people who know they're crazy, and
just don't care.
(beat)
Why do you ask?
HENRY
Well, I've been seeing things.
DR. GARLAND
Seeing things?
HENRY
Yeah.
DR. GARLAND
You mean like hallucinations?

27. 26.
HENRY
That's the problem. I thought that's
what it might have been, due to the
stress, but lately, I don't know
anymore.
DR. GARLAND
So what you're saying is that what
you see is actually there, but only
visible to you?
HENRY
Yeah! That's it!
DR. GARLAND
Well, let's say this is the case?
Think of it this way: are you familiar
with Aldous Huxley?
HENRY
Yeah. He was a writer.
DR. GARLAND
Well, he had this philosophy that
only a small percentage of our brains
are put to use. According to his
research with hallucinogenic drugs,
he concluded that there are doors in
our minds that are closed off to
protect us from seeing things that
we may find repulsive.
HENRY
I think I understand what you're
saying.
DR. GARLAND
Let me put it a little more
differently. Think of your brain as
an iceberg. And what do we know
about icebergs? Why are they
deceiving?
Henry takes a moment to think.
HENRY
We can only see the top part?
DR. GARLAND
Exactly. So what our minds let us
see is only what's above the surface
of the water.
(MORE)

28. 27.
DR. GARLAND (CONT'D)
(beat)
But on the other hand, there are
records that prove some of us are
able to see further into the ocean.
But only so much.
Henry nods his head.
HENRY
But that still doesn't explain why I
keep seeing these...things.
DR. GARLAND
The mind is a confusing piece of
hardware, and sometimes the screws
need tightened.
HENRY
So you're saying I could just be
cracking up?
DR. GARLAND
I wouldn't put it that way. A lot
of times these kinds of phenomena
can be logically explained. In most
cases situations like yours are nine
out of ten times, triggered by a
particular event in your life.
Henry looks at the doctor, contemplating.
DR. GARLAND (CONT'D)
Or sometimes, we may have done
something we regret and can only
suppress the guilt for so long.
HENRY
Is there anything I can do to make
all this stop?
DR. GARLAND
Well, that's why I'm here to help
you. To help take the big step
forward to resolving your issues.
Henry glances at the doctor, and does not respond.
INT. HENRY'S APARTMENT - NIGHT
The kitchen has two plates set on either end, with napkins
placed at the side.
Henry is in his living room, reading, when there's a knock
at the door.

29. 28.
A look of mild excitement appears on his face.
He gets up and walks to the door, and upon opening it he is
greeted with the presence of Becky.
BECKY
Hey, stranger!
Anger splashes across Henry's face.
He points a finger into the hall.
HENRY
Get the hell out now!
Becky tilts her head flirtatiously, and smiles.
BECKY
So, are we just going to stand here
all night?
Henry does not respond and just stares down at Becky.
She slightly nudges him aside and lets herself in.
BECKY (CONT'D)
You know what I find funny?
HENRY
Did you not hear what I said?
Becky ignores him and continues talking.
BECKY
It's how inescapable some things
are.
HENRY
What the hell are you talking about?
Becky walks up to Henry, cradles the back of his head with
her hand, and gets her face close to his.
BECKY
A running little piggy may be hard
to catch, but that doesn't make him
inescapable.
Henry roughly brushes her hand aside.
HENRY
Just get the hell out already!
Becky looks into the kitchen and sees how the table is set
up.

30. 29.
She goes over to the couch and sits down, spreading her legs
wide open.
BECKY
Give me a good reason.
HENRY
I think you know the reason.
Becky does not respond and rubs her hand between her thighs.
She closes her eyes, tilts her head back and crosses her
legs over her hand, while letting out a soft moan.
Henry points at her, authoritatively.
HENRY (CONT'D)
Look! This is your last chance. If
you don't leave now, then I'll grab
you by your goddam throat and help
you find your way-
A knock at the door.
Becky comes out of her perverted daze and feigns excitement
on her face.
Henry looks absolutely baffled and turns to the door.
HENRY (CONT'D)
Who is it?
JILL (O.S.)
It's me.
Henry puts his hands on his head.
HENRY
Hold on. Be right there.
He turns back and sees Becky entering his bedroom.
Henry appears to be so angry, he can't even form words.
Becky puts a finger to her lips, backs into the room and
closes the door.
JILL (O.S.)
You get lost in there?
HENRY
Sorry! Hold on.
Henry opens the door, and lets Jill in.

31. 30.
HENRY (CONT'D)
Sorry about that.
JILL
Did I hear you yelling at someone?
Henry fumbles for an answer.
HENRY
Uh...oh that? I just got off the
phone. There's this telemarketer
who won't stop calling me, so I had
to put him in his place.
JILL
That's always fun. Kind of makes
you wish they'd keep calling, just
for the amusement.
HENRY
I guess you can look at it that way?
JILL
Do I smell chicken?
HENRY
Yeah. And fries. Classy, I know.
It's almost ready, if you want to
have a seat in the kitchen.
Jill goes to the kitchen and sits at her usual place at the
table.
Henry goes up to the stove and opens the oven.
The sound of the sizzling food is very pronounced.
HENRY (CONT'D)
Seems to be done.
He grabs an oven mit, takes out the baking sheet of food and
places it on the stove.
On the sheet is a variety of chicken parts with fries taking
up one half of the space.
JILL
Yummy!
HENRY
What parts do you like?
JILL
Excuse me?

32. 31.
HENRY
What part of the chicken do you
prefer?
JILL
It all tastes like chicken. Doesn't
matter.
Henry gets out a pair of tongs and sets two pieces of chicken
on Jill's plate.
HENRY
More?
JILL
That's good.
He then gets a bundle of fries and sets them next to the
chicken, on her plate.
He doesn't say anything and just raises his eyebrows.
JILL (CONT'D)
That's enough.
He proceeds to serve himself, and takes his seat.
JILL (CONT'D)
Can I get a drink?
HENRY
Aw shit! How did I forget that?
Jill laughs.
JILL
It's okay. You just need to slow
down a bit.
Henry goes to the fridge and turns to Jill.
HENRY
Lemon aide or tea?
JILL
Can you mix both?
Henry taps the fridge door.
HENRY
Now you see why I need you around?
Jill laughs.

33. 32.
Henry takes a pitcher filled with each beverage out of the
fridge and sets them on the table.
He goes to the cabinet to get glasses.
Once he turns back, he freezes and drops the glasses.
JILL
Henry?
Henry does not respond.
The bedroom door is ajar and Becky is laying on the bed.
Her body that was moments ago, alive and seductive is now a
grey hollow corpse, with tight skin and sunken eyes that
stare emotionless.
Standing beside the bed, looking down on her is the White
Figure.
Henry collapses to the floor, grabbing the edge of the table,
barely supporting himself.
CUT TO
Becky is sleeping in her bed, and a masked man is sitting
beside her, with a pillow raised over her head.
BACK TO SCENE
Henry struggles to breath, and he puts a hand to his forehead,
as if he is trying suppress a crimson explosion.
CUT TO
The masked man now has the pillow on Becky's face and she is
struggling; beating on his back and flailing her arms in the
air.
BACK TO SCENE
Henry can faintly hear Jill call out to him.
She calls him again, and this time Henry snaps out of his
stupor.
JILL (CONT'D)
Henry!
He looks up at Jill, with sweat beading on his brow.
JILL (CONT'D)
Just what the hell are you doing?

34. 33.
Henry stands up, with a dumb look on his face.
He looks into the bedroom and sees the white figure, and
Becky, are no longer there.
JILL (CONT'D)
Can you even hear me?
Henry points a shaking, accusatory finger at Jill.
HENRY
Just wait a damn minute. It's been
you two the whole time, hasn't it?
JILL
What the hell are you talking about?
HENRY
Don't bullshit me! It seems any
time something happens, it's whenever
you or her are around!
JILL
Who?
HENRY
You know who! Becky, the damn whore!
Jill rises out of her seat as a look of shocked fury crosses
her face.
JILL
Becky?!
HENRY
And just what in the fuck is that
goddam white-
Henry is momentarily at a loss for words.
HENRY (CONT'D)
...thing?
Jill is astonishingly mad.
She raises her hands in the air, speechless, then speaks
through gritted teeth, in whispering rage.
JILL
Fuck you.
She walks to the door.

35. 34.
HENRY
Yeah! Now that you're caught, run
away with your tail up your ass!
Jill turns on a dime and vehemently glares at Henry.
She loses control of her emotions and shouts at the top of
her lungs.
JILL
Don't you every fucking talk to me
again!
She continues to scream, through her clenched throat and has
tears brimming in her eyes.
JILL (CONT'D)
Stay away form me! Stay out of my
life! I never want to see you again,
you piece of shit! Fuck you!
HENRY
Oh, very mature!
Jill turns and scrambles out of the apartment, slamming the
door behind her.
Henry has a tense look on his face.
He turns and walks to the table, then proceeds to abruptly
beat on it with his fist and throwing anything he can get
his hands on, across the room.
He stops and takes a moment to compose himself.
After doing so, he makes his way to the bathroom.
As he turns the corner, he sees there is something long and
thin leading out from under the bathroom door and almost
extending long enough to reach him.
He stands there and examines it.
It seems to share a striking resemblance of an umbilical
cord.
From behind, the bedroom door slams shut and Henry snaps his
head in that direction.
The umbilical cord springs forward and wraps around his leg,
pulling him to the floor.
Henry lets out a shocked yelp.
The bathroom door opens and the cord begins to drag him.

36. 35.
HENRY (CONT'D)
No!
He turns on his stomach and tries desperately to grab onto
anything he can use for leverage to free himself.
The cord continues to pull him, and Henry flips over on his
back.
He is nearing the bathroom, and continues to scream.
As the cord drags him through the door, he see's it's coming
from the tub, and it is overflowing with a red liquid.
The cord continues to pull him.
He latches onto the sink, as he passes it, but it is too
broad and smooth, and he quickly loses his grip.
He looks over at the tub and continues to scream.
HENRY (CONT'D)
Please! No!
The cord pulls him into the tub and his screams are instantly
cut off.
FADE IN:
Henry is floating in what appears to be a body of red water.
His eyes are closed and he just idly bobs around in limbo.
After a moment, his eyes open and he examines the area.
It doesn't take him long to realize his predicament, and he
begins to frantically swim upward.
He struggles fruitlessly until he realizes there is no surface
to break.
When it appears as if he's given up hope, something below
catches his attention.
Beneath him is the white figure.
It just stands there, as if on dry land, defying the laws of
physics.
The White figure looks up at Henry and raises its hands in
the air, as if it were a child wanting to be carried by it's
parent.
Henry closes his eyes.

37. 36.
FADE TO BLACK
INT. HOUSE - DAY
All is black and quiet.
Then we hear Henry screaming in anger.
HENRY (O.S.)
When?! When did you plan on telling
me?
CLAUDIA (O.S.)
Please don't yell.
Claudia struggles to talk, as she is crying.
The blackness cuts out and we see Henry and a pregnant Claudia
standing in their kitchen.
HENRY
Do you have any idea how fucked up
this is?! What were you thinking?
CLAUDIA
I didn't know what else to do. We
need the money.
HENRY
So you sell yourself?!
CUT TO
We see the alley from earlier, except this time the image is
clear, and Claudia is talking to Dr. Garland.
CLAUDIA
So you want me to struggle?
DR. GARLAND
Yes. The more real you make it, the
better for both of us.
BACK TO SCENE
Henry looks at Claudia, astonishingly dumbfounded.
Claudia lowers her head, in shame.
CUT TO
Dr. Garland and Claudia are role playing, but things start
to get a little too real.

38. 37.
Claudia begins to become defensive when Dr. Garland starts
choking her.
She flails her hands at him, and when he lets go, he bear
hugs her and tosses her in the back seat.
Claudia lets out a scream as Dr. Garland hovers over her.
Her screams are cut off when Dr. Garland brings down his
head on her nose, drawing blood.
The scene flashes and we see Claudia sitting against a wall,
crying.
HENRY (O.S.)
I can't deal with this. I don't
even know what to say.
BACK TO SCENE
Claudia sniffles, with her head still lowered.
HENRY (CONT'D)
You know what you're going have to
do, now?
Claudia looks up at Henry, and places a hand on her stomach.
CLAUDIA
What?
HENRY
Oh, come on! Don't tell me you
actually want to keep it? Do realize
how crazy that is?
Claudia says nothing and walks out of the room.
Henry runs his hands through his hair, in exasperation.
He turns quickly and kicks over a chair.
INT. BAR - NIGHT
Becky sits at the bar, messing around with her cell phone,
and has a drink in front of her.
She takes a couple swipes at the screen and accidentally
knocks her drink over.
BECKY
Oh shit!
She frantically grabs some napkins at hand, and begins
cleaning.

39. 38.
A bartender comes up with a hand towel.
BARTENDER
Allow me.
As the bartender cleans, Henry takes one odd seat over from
Becky.
The bartender finishes cleaning, and after tossing the towel
aside, goes up to Henry.
BARTENDER (CONT'D)
What can I do for you, sir?
Henry looks over at Becky and cocks a thumb.
HENRY
Two of whatever she almost had.
BARTENDER
Right away, sir.
After a moment, the bartender comes back with the drinks and
places them in front of Henry.
He takes a sip of one, and looks over at Becky.
BECKY
Would you like some help?
INT. BECKY'S APARTMENT - NIGHT
We immediately cut to some clothes piled on the floor.
We then see Henry and Becky thrusting around, in the bed,
nearby.
CLAUDIA (O.S.)
Who the hell's Becky?
INT. HOUSE- DAY
Henry looks at Claudia with little compassion.
HENRY
What do you mean?
CLAUDIA
Your left your phone sitting out,
and as I was cleaning, I noticed you
got a text from someone named Becky,
asking about her sugar.
HENRY
What of it?

40. 39.
Claudia grits her teeth.
CLAUDIA
Fuck you!
She walks away and trumps up the stairs.
Henry goes to the kitchen and takes out a bottle of whiskey
from a bottom cabinet.
He pours himself a glass and drinks it all down at once.
After some time, he goes upstairs.
HENRY
Claudia?
He looks in the bedroom, but she is not there.
HENRY (CONT'D)
Where the hell did you go?
He looks for a moment longer, but then sees the bathroom
door is ajar.
Henry goes into the bathroom and finds Claudia laying in the
tub, with blood dripping from her wrists.
Upon further inspection, it appears as if she has also cut
her stomach open.
Blood and various bits of innards decorate the inside of the
tub, and lying between Claudia's legs is what appears to be
a fishing knife.
All Henry can do is just stand there frozen, taking in the
scenery.
CUT TO
A masked man is creeping trough someone's apartment.
It is night, and there is no light in the place.
He scans the vicinity, until his eyes fall upon a pillow
resting on a chair.
BACK TO SCENE
Henry continues to gaze at his dead wife.
CUT TO
The masked man is suffocating Becky, and she is struggling,
but to no avail.

41. 40.
The masked man speaks, and we hear Henry's voice.
HENRY (CONT'D)
It's all your fault!
Becky struggles a moment longer, but her arms become limp
and fall to the mattress.
Henry takes off his mask and just sits on the edge of the
bed.
He begins to cry.
BACK TO SCENE
Henry pulls his wife out of the tub.
He collapses to the floor, cradles her in his arms and cries
uncontrollably.
He hugs her close to his body, and buries his face into her
shoulder.
Henry continues to cry.
THE END