CW for blood, violence, profanity.
INT. MADIGAN BOARDING HOUSE (CHICAGO) - LIVING ROOM
VIEW OF THE FRONT DOOR - OPENING, CASTING A SILHOUETTE FROM THE PORCH LIGHTS.
The silhouette steps inside and shuts the door, and fumbles around for the first light switch, lamp, anything. Even through the dark, their step is uneasy - as their foot slips on a rug.
JAMES
You’ve gotta be -- fucking kidding
me--
He reaches a switch on the wall, and the room is slowly illuminated. We’re greeted with the sight of a somewhat ragged looking young man - college-age at most, an underclassman. This is JAMES MADIGAN.
He slowly steps away from the wall and looks about - with wide eyes, dilated pupils. All of his features read that he’s perhaps - a bit too drunk, he doesn’t quite know how to handle it. He pats down his pockets for everything--
JAMES (CONT'D)
Keys. Where the hell are my--
He looks down in his left hand.
JAMES (CONT'D)
Right. Got it.
Something in the old house creaks, and he looks up. He takes more uneasy steps forward.
WIDE SHOT OF JAMES CROSSING THE ROOM, SURVEYING THE LIVING ROOM. ANTIQUATED, FILLED WITH KNICK KNACKS, FURNITURE THAT’S LIKELY BEEN THERE FOR A VERY LONG TIME. IT LOOKS LIKE IT’S BEEN RANSACKED - BUT JAMES TAKES NO NOTICE OF IT.
There are picture frames of the family seen in flashes - through a myriad of generations, standing in front of the continually evolving house. Always well-dressed, always official.
JAMES (CONT'D)
Hazel? Haze, you home?
(pause)
I’m an idiot. That’s how I get
killed. I’ll never -- make it as a
Final Girl--
2.
2.
There’s a thud that comes from offshot. He flinches back with wide eyes, and pulls out his phone -- but looks around, perhaps for something in defense.
FADE IN: MUSIC,
THINK LIKE
SOMETHING FROM
THE KNIVES OUT
SOUNDTRACK, AS
HE--
INT. BOARDING HOUSE - KITCHEN
JAMES enters and looks about the space - it looks normal for the most part, but he scrunches his nose. Something doesn’t smell right. Eyes continue to dart around. Steps become more cautious, prepared, almost like he’s sobering himself up as he goes. (Or well, he’s trying to.)
He walks to the fridge, and opens it -- nothing looks wrong, except for a few extra beers missing from the opened box. And the fact that it’s almost entirely empty. But he shrugs, and closes it. He opens the microwave - nothing. He opens up the oven - nothing.
He moves to the sink --
OVERHEAD SHOT OF THE SINK -- SPLATTERED WITH STAINS OF RED, AND A DAMP RAG SITTING OVER THE DRAIN. AND SUDDENLY -- A NEW PAIR OF HANDS REACHES INTO THE SINK
PAN BACK UP, AND JAMES JOLTS BACK -- AS A NEW PRESENCE STANDS BESIDE HIM, BUT NOT ONE THAT’S UNFAMILIAR.
The young woman glances over at him with a heavy breath. She looks similar to JAMES, if not a bit older. She’s in pajamas of some sort - an old band shirt and mismatched pajama pants. This is HAZEL MADIGAN, JAMES’ sister.
JAMES clutches his chest and breathes in relief.
JAMES
Please never sneak up on me like
that -- ever again--
HAZEL
I thought you weren’t coming home.
She turns on the faucet again, and shifts it about, perhaps in hopes of washing off the stains more. He briefly looks down, then shakes his head and looks back.
3.
3.
JAMES
I couldn’t be out forever--
HAZEL
Please tell me you didn’t drive.
JAMES
No-- no, I didn’t-- my car’s still
at --
HAZEL
Good. Mom and Dad would kill me if
they knew I let you run off like
that, just to have you get an
underage DUI.
JAMES
-- that’s not the real problem
here, and you know it.
He gestures down to the sink.
JAMES (CONT'D)
Wanna tell me what’s going on?
HAZEL doesn’t respond for a moment. He furrows his brows.
JAMES (CONT'D)
That was a rhetorical--
HAZEL
Can you shut up for a second?
Seriously. This has been a fucking
awful night -- and I just need a
second.
She flicks off the faucet, and leans her head on the counter, with a soft, defeated groan. He looks in the sink, as the bloodied water continues to sink through. He looks back, off towards the rest of the house.
HAZEL (CONT'D)
I’m going to show you something.
And you’re going to either think
I’m lying, or -- actually, I don’t
know what else you’ll think--
JAMES
Did you kill someone?
HAZEL What? No--
4.
4.
JAMES
Because if you did-- I-- would
rather you tell me now, so we can
get rid of the--
HAZEL
I didn’t kill anyone!
JAMES
Then what’s in the sink? Sure as
fuck isn’t pasta sauce, Hazel.
HAZEL looks up and crosses her arms over her chest.
HAZEL
-- come on.
She nods with her head, and turns on her heel out of the kitchen. JAMES blinks, but follows in suit--
CUT TO:
INT. BOARDING HOUSE - STAIRCASE
JAMES follows in HAZEL’s steps, one by one. He nearly slips on another one, and she turns back with wide eyes, briefly stopping halfway between one step and the next.
HAZEL
You’re drunk.
JAMES
I am.
HAZEL Pull it together for five seconds,
alright? Pretty sure he can smell
fear, or something-- even while
he’s asleep.
JAMES
He--? Hazel, what the--?
A creak comes from upstairs again, and she holds her hand to his mouth. She shakes her head, and drops it, before turning back up the stairs. He takes a heavy breath and looks back down the stairwell, considering taking off from all of this --
But he keeps going anyway.
CUT TO:
5.
5.
INT. BOARDING HOUSE - UPSTAIRS HALLWAY
THE HALLS ARE LINED WITH MORE PICTURES, AND DOORS, LEADING INTO VARIOUS ROOMS THAT WERE ONCE RESIDED IN BY GUESTS. THERE ARE FLOWERS MOUNTED ON THE WALL. THERE’S A FLEETING SHOT OF JAMES AND HAZEL IN A SOCCER UNIFORM AND RUNNER’S GEAR.
HAZEL takes slow deep breaths. She clenches and unclenches her hands. JAMES partially notices this, but doesn’t say anything. He looks over her shoulder as they traverse to the tail end of the path -- below the string hanging out of the ceiling that leads to the attic.
JAMES
(whispering)
You’ve really got to be fucking
with me now.
HAZEL
(whispering)
What did I say about being quiet??
JAMES
You didn’t say it! You--
HAZEL
This is the last day of the year
you want to mess with me, Jamie,
I’m serious.
They both glance upwards, as HAZEL pulls on the string that slowly pulls on the separation, which allows the ceiling to open, where a wooden ladder sticks out. She hops and reaches for its tail end -- like she’s done this plenty of times -- and pulls it down to meet them.
There’s heavy breathing coming from inside the attic. JAMES bites his tongue from saying anything, but the “what the fuck?” is still written all over his features.
HAZEL goes first up the ladder, step by step until she disappears out of shot.
JAMES lingers at the bottom, pressing a hand against the step, and shutting his eyes for a moment.
JAMES
This isn’t real. This-- isn’t--
The affirmation falls short as he takes his first step up the ladder. Goes slower than HAZEL does, and looks a bit dizzy while doing so. But slowly he arrives in--
6.
6.
INT. BOARDING HOUSE - THE ATTIC
-- his head pops up from beneath to find a disturbing view. It’s HAZEL, and a man tied to the wooden framework protruding from the wall. He’s bloodied and presently asleep.
JAMES
-- you said you didn’t kill anyone.
HAZEL
He’s not dead.
JAMES
You’re insane. I’m leaving.
HAZEL
What happened to helping me hide
the body, huh?
JAMES
It’s a metaphor, Hazel!
HAZEL
And you’re just a coward!
JAMES
You take that back right now.
HAZEL
Not until you get all the way up
here.
JAMES narrows his eyes, but slowly makes his way up onto the wooden floor of the attic. He makes only a marginal step towards HAZEL.
JAMES
Happy now?
HAZEL
I’m not happy about any of this.
JAMES
What-- is all this?
HAZEL
-- He’s after Mom and Dad.
JAMES
What??
HAZEL There’s something they weren’t telling us.
(MORE)
(MORE)
7.
7.
HAZEL (CONT'D)
HAZEL (CONT'D)
Specifically, something they
weren’t telling you. I don’t blame
‘em to be honest.
The man stirs a bit, but does not open his eyes. They pause and watch him, before he falls still again.
HAZEL (CONT'D)
You’re not going to believe me.
JAMES
None of this makes sense anyway.
HAZEL
-- the Madigans are a mafia family.
And -- have been for a long time.
JAMES
-- sorry, what did you just say to
me?
HAZEL
And you’re supposed to take over.
JAMES
This isn’t happening. I’m drunk.
You’re asleep in bed. That guy
isn’t over there, bleeding in our
attic. Cool? Great.
HAZEL
I don’t like it either. For
starters, I’m offended that it’s
you.
JAMES
In a hypothetical world where this
makes sense, I’d agree with you.
But this doesn’t, so neither of us
are doing jackshit.
HAZEL
We’re out of options, James.
JAMES
Or what?
The man stirs again, and his glance lingers upwards.
MAN
Or they’ll kill you if you let me
go.
8.
8.
JAMES and HAZEL glance longways at him. JAMES steps back; HAZEL doesn’t. Accustomed to this by now.
JAMES
They?
HAZEL Him. And whoever sent him here, I’m guessing.
MAN
Roger and Diane have a lot to pay up.
JAMES
For what??
MAN For the house. If they’re trying to scram, it’s not theirs anymore. Either they pay up or die, pretty simple shit.
JAMES
Hazel, listen to him. This isn’t the fucking Godfather.
HAZEL
They were a lot smarter.
MAN
Fuck off.
HAZEL
You first.
MAN When I get outta here, the first
thing I’m gonna do is--
HAZEL kicks him in the stomach, and he sputters -- coughing up more blood.
HAZEL
Wanna finish that one more time?
JAMES
... are you sure you don’t want to
lead the hypothetical mafia?
HAZEL
Well--
CUT TO:
9.
9.
EXT. BOARDING HOUSE
A car pulls up in the long driveway of the house. It putters out and makes a startling noise before it’s turned off. A figure, mostly unknown to the lens, steps out.
CUT TO:
INT. BOARDING HOUSE - THE ATTIC
HAZEL is retrieving a gun from a bag - which the MAN watches curiously. She brings it over to him and holds it out.
HAZEL
Well. It’s your call.
JAMES
You’re just accepting all this???
HAZEL
No of course I’m not! But I don’t
wanna die, alright?
MAN
You’re gonna, anyway--
HAZEL holds a hand out in his direction, and points the gun at him with the other.
HAZEL
Take the gun. Please.
JAMES
I-- I’m--
HAZEL Jamie, we’re running out of time.
JAMES
Haze, this is insane.
HAZEL
I know.
CUT TO:
INT. BOARDING HOUSE - LIVING ROOM
10.
10.
The figure enters the house, seamlessly, as JAMES forgot to lock it -- and begins heading up the stairs.
CUT TO:
INT. BOARDING HOUSE - THE ATTIC
JAMES
... I--
HAZEL Well?
The steps can be heard.
JAMES
-- there’s someone else in here.
Fuck.
HAZEL
HAZEL takes a deep breath, and cocks the gun -- points it right at the MAN’s face, and fires before JAMES even has half the chance to hold her back. The impact happens off-screen; she recoils at the shot.
JAMES shuts his eyes and inhales sharply.
More rustling comes from beneath - closer and closer.
HAZEL (CONT'D)
Take the gun. You killed him.
JAMES
What?
HAZEL
Trust me.
JAMES
I--
HAZEL sticks the gun in his hand and wraps his fingers around the handle. She steps back, visibly shaking a bit.
HAZEL
Next one’s all you.
JAMES’ breathing comes heavier. His eyes tense, blur over as the steps get closer-- and closer-- coming up the steps of the ladder--
CUT TO BLACK.
11.
11.
A gunshot goes off in the dark, and there’s a scream. There’s a sound of something heavy hitting the ground.
CUT TO:
SHOT OF A MADIGAN FAMILY PORTRAIT. IT’S OF HAZEL, JAMES, THEIR PARENTS - AND TWO MEN (INCLUDING THE MAN FROM THE ATTIC) FLANKED ON EITHER SIDE OF THEIR PARENTS. A HAND SMEARS BLOOD OVER THEIR FACES.
JAMES
(from off-screen)
You know somethin’? I never liked
them.
HAZEL
Neither did I, kid. Neither did I.
CUT TO BLACK.
END.