One Scene: Script Preview
(Sorry about the formatting, Trelby does not copy-and-paste very well).
INT. KYLE’S ROOM — MIDDAY
The single, bare desk light looming over the computer on his desk. The door shut, like always. Posters of action heroes on his door and walls with the blinded window flush to the right, beside the bed, and the dresser to the left of the door.
ANGLED ON KYLE’S FINGERS as he robotically types away on the keyboard (SFX clicking on every tap). The wires of Kyle’s earbuds dangle IN FRAME with the white light of the digital screen causing Kyle to glow in the dark. Leaning on the corner of the wooden shield overhanging the screen in the B.G. is a red book cover with black text “THE LAWS OF POWER”.
ON KYLE’S EYES, Kyle blinks; the multiple tabs and black text filling the search bars reflects in his black sclera and gray irises. SFX of his nearby phone vibrating on wood. The clicking stops as Kyle’s eyes jerk to the right.
Kyle reaches for his phone, then stops, hovering above the screen with his fingers arched. After a moment’s pause, he fluidly slides his fingers under the phone and brings it up to his ear as he leans back in his chair.
ALLEN’S VIEW MERGES IN FROM THE RIGHT, SPLITTING THE SCREEN. Allen in a designer jacket with the hood up. The dark of Allen’s room and him having his hood up completely enshrouds him, except for his model outline. The screen light keeps Kyle visible.
ALLEN (Light, but audible huffing)
The creases below Kyle’s lower eyelids deepen alongside his narrowing gaze.
ALLEN (softly) Come to my house.
Kyle drops the phone away while rolling his eyes and neck. He comes back to his normal position.
ALLEN It was my fault…at school. I got carried away — I thought…I thought…
ALLEN (audible swallow)
Allen readjusts himself, leaning forward. The scant sunlight filtering through the cracks of his blinded window in the B.G., defining his rounded cheeks and pointed nose.
ALLEN (cont.) Please, just come…
Allen’s half leaves FRAME as Kyle lowers his phone.
OVER KYLE’S SHOULDER, ZOOM IN on the lower-right corner of Kyle’s computer, displaying “4:22pm”. PULL BACK OVER HIS SHOULDER. Except for Kyle, the rest of the world fades into the pitch-black. Floating in the void near his right is a translucent white ball with fire-like flickering emanating off its top half.
KYLE MIKA’s in her room. That’s right, Dad doesn’t have a soul so I can’t check on him.
The view returns to KYLE’S ROOM.
CLOSE ON Kyle’s face as he props up his chin on his open palm.
JOSEPH LAURIET [O.S.] (FLASHBACK; echoing) …Be wary of friends the most…
With confirmation, Kyle decides.
KYLE I won’t go…
EXT. DELPHYS STREET — EVENING/NIGHT
ESTABLISHING rise over a small intersection of low, two-story building with the lower-half of the sun dangling in the B.G. TIME LAPSE of the sun gradually drifting down below the coast of highrises in the distance, the sky casually darkening, and red and white streaks of cars crossing the intersection.
WIDE ON a decrepit, desolate street as the streetlights of both sides of the street flicker on. Kyle — (although too faraway to properly recognize) — ENTERS FRAME from around the street corner and walks down. PAN down-left onto Kyle as he gets closer.
The tip of his hood lay on his back, bobbing with each step. Kyle’s flat, low-cut chrome-like hair temporarily glistens under each streetlight.
FULL SHOT ON Kyle, under a streetlight, stopping in front of an alley just before a three-floor apartment complex. PAN UP the complex to the lit third window. The streetlight flickers a bit.
KYLE [V.O.] Allen’s still my ONLY friend — the only guy I trust.
KYLE (drawing his phone) Where is he? I told him to meet me outside his place at 9:20.
FROM THE ALLEY, a trash-bag gently falls onto the ground as Kyle in the B.G. jerks his head towards the commotion.
Shortly into the alley leads to complete darkness until a manic demon with red eyes that leave vapor trails with every head twitch (Allen) charges out of the alley, wildly flailing a glinting knife under the light.
CLOSE ON Kyle’s feet as he takes two steps back, fumbling over his own feet.
ON KYLE as he falls backwards with (Allen) above, falling on top of him with the knife pointed down.
The light flickers off.
SFX: thud of two bodies colliding, impalement
CLOSE ON Kyle’s face, he looks down, realizing it’s Allen.
PULL BACK as Kyle slides out from under Allen, slamming his back against the street-pole. Allen, wide-eyed with blood smattering his normally white teeth, looks up at Kyle then suddenly down. PAN down to his lower rib where the knife is lodged with blood pouring out.
KYLE (lurching forward to grab Allen) We gotta get you to the hospital!
ALLEN (shoving Kyle off)
EXTREME CLOSE ON the flow of blood dribbling over the edge of the curb into the metal drainage grate.
ALLEN (cont.) I’ll bleed out before we get there.
It flicks back on.
BEHIND THE POLE, ROTATING AROUND UNTIL ON KYLE & ALLEN
All else has become black with only Kyle and Allen being lit by the light.
KYLE Why? I looked up to you.
ALLEN You made me look better. You always needed me for everything — confidence, peace, even thoughts. (gargles blood, smirks). Then suddenly you grew a spine, then suddenly you grew some muscles…(his face inches closer to the ground)…then suddenly you were saving me.
Allen’s chin gently rests on the concrete with blood dripping from the corner of his mouth.
ALLEN (cont.; weakly) Suddenly…you didn’t need me… You didn’t…
Allen dies, the life leaving his teary eyes, with a smile on his face. Kyle looks up at the streetlight. ZOOM INTO the light.
EXT. SAINT HELENA — MORNING
Thick fog grays the scene over the green grass and rough, crumbling tombstones. PAN ONTO the washed gray stone of the holy cathedral and it’s supplementary buttresses. At the tip, a beckoning crucifix extends into the sky.
INT. SAINT HELENA — CONTINUOUS
WIDER ON THE INTERIOR
The central blood-red carpet leads from the atrium into the main hall where the space expands into the two halves of pews, decorative windows, and eight large stone nuns (four on each side) with their hands clasped together in prayer. The PREACHER, on the black granite stage behind a wooden lectern, continues his remarks while SFX: sniffing takes place.
PANNING OVER THE CROWD
PREACHER [O.S.] It is with heavy hearts we say our final goodbyes to Allen Thursby as he departs from this side. Hoping, praying, he has found peace in the afterlife.
Translucent black draperies hang over the brim of women’s black hats as they wipe tears with tissues and console one another. Schoolmates — even bullies Kyle thought would never attend were also in the fold — look solemn and spiffy in black and white dress. STOP PAN JUST OVER Kyle.
A blonde, older woman to kyle’s left, ALLEN’S MOM, hangs on Kyle, cupping the black, leather glove of her right hand to the right side of his face.
ALLEN’S MOTHER (silent weeping)
To Kyle’s immediate right is Mika, his sister, and his dad.
PREACHER [O.S.] Now, for final words, I invite Allen’s best friend Kyle Barnum to the stand.
ANGLE ON KYLE as he solemnly rises, breaking away from Allen’s mom. He shuffles out of his pew, onto the right aisle, and head up.
At the front, KYLE’S POV of Allen’s serene upper-half gently laying in the wood-polish and gold-trim coffin. A little white, synthetic rose rests on the end of it. The coffin turns, drifting offscreen as Kyle huffs up four quick steps.
BACK TO KYLE & PREACHER, on the black granite they firmly shake hands behind the lectern and the Preacher steps down. Kyle grips both sides of the lectern.
OVER KYLE’S SHOULDER, WIDER ON THE CROWD
The attendees barely fill half of all the pews.
CLOSE ON Kyle’s adam’s apple as it bulges up then back down, signifying him swallowing.
BACK LOOKING UP AT KYLE
He adjusts the mic to his mouth.