Loglines & Screenplays by laureano bonett

GENRES: Thriller

“THE CORNER” Written by Laureano Bonett Llach 1-Description of the project: “The corner” is a story to make a film of 90 minutes of duration. The genre is Mystery and suspense. The story occurs in Miami, USA. 2-Synopsis: Jenny has an accident when she is cleaning the window on the stepladder at the same time, she sees a little girl called Whitney when runs across the street. A car crashes against her little body in the corner of her house. Jenny was pregnant and loses her baby. Her husband Michael is a dentist and becomes so kind with her. Suddenly, Whitney comes to life again and escapes to the hospital then appears in the park where Jenny and Jane, mom of Michael, are taking a walk. Jenny sees her and finding her there, she invites Whitney to eat in her home so the accidents of death start. A friend of Jenny, Alexa dies after getting out Jenny’s house, driving her car then a friend of Michael, Ron, dies too in the bathroom. Later, Jane has an accident too with the flames of the stove and Whitney makes her to fall down the stairs too, then she tells to Jenny that Michael is having a relationship with his secretary so Jenny and Michael break their relations and Jane is pushed through the window of the second floor Tina’s House, Michael’s secretary. An old woman tells to Michael the truth. The little girl had a car accident thirty years ago in that corner of his house and she always appears to kill all the people who live there. Michael takes Jenny to the Aunt of Whitney, so that she could believe the truth. In home, they fight each other. Whitney gets inside in the body of Jenny and shoots the gun to Tina and hurts the arm of FBI detective. Finally, she returns to the corner into Jenny’s body to have a car accident again but she fights inside so Whitney goes out from her body to cross the street and dies crashed with a car. They can’t find her body on the street so, Michael, Jenny and Jane move to another house. 3- Principals personages: 1- Jenny Jennings: Latin girl, 25 years old and she is so kind. She lets Whitney change her feelings and mind about her husband Michael with lies. She has black eyes. 2- Michael Jennings: He is latin too and a dentist; he has a Clinic. He is white, tall and so faithful with her wife. He is so incredulous with spirituals themes. Finally, he has to believe to save the life of his wife. He has thirty two years old. 3- Jane: She is the mother of Michael; married with American man. She has 50 years old, has a white skin and looks so elegant and well-shaped. She is so nervous and fearful. 4- Whitney: She has a long and blond hair with blue eyes. She has ten years and looks like an innocent girl, a good girl. Suddenly, she will get out all her angry and the bad side. “The Corner”. Screenplay by Laureano Bonett Llach Scene 1: Day.exterior.house of Jenny.street. Jenny opens the door and walks outside with his husband Michael. He kisses her lips and puts his ear on her big stomach so she is pregnant, almost seven months. Michael: Julio is moving dear. He is making a little noise inside. Jenny: Maybe he will be a musician. Michael: Oh no. I desire he could be a dentist like his father. (Michael gets into the van, the he turns on the engine). Jenny: Nobody can impose him to be like you are. Michael: I will see it. Take care so much. (He kisses her lips and goes away, driving his van. She smiles and say bye with her hand, then she gets into the house, has second floor, and closes the door). Cut to: Scene 2: Day.interior.living room.window.house of Jenny. Jenny opens the curtain and puts the metallic stair, stepladder, and gets up with a clean liquid in her hand but she sees, through the glass of the window, a little girl called Whitney in the corner. She smiles and Jenny does too while she walks to cross the street, Jenny tries to notice a car is approaching so speed. It crashes against her in the street. Jenny loses the breath for the physical effect then falls down on the floor. Jane gets into the living room and shouts the name “JENNY” with so afraid to see her on the floor. The music of this scene is suspense. Cut to: Scene 3: Day.interior.dentist clinic. Michael has a white wrapper and he is in the chair making a tooth clean in the mouth of his patient then his cell phone rings. He takes it from his pocket. Michael: Hello. (Michael changes his happy face to tragedy to hear a bad new). Cut to: Scene 4: Day.exterior.streets.city. Two ambulances run away for the entire street with the sound of their foghorn. Dramatic music. Cut to: Scene 5: Day.exterior.streets.near the shore. Michael worried, is driving his car for the entire street so speed near the shore. He doesn’t stop at the semaphore in the corner so two cars break in a collision. Dramatic music. Cut to: Scene 6: Day.exterior.house of Jenny. Two ambulances arrive at Jenny’s house. Dramatic music ends in this scene. Cut to: Scene 7: Day.exterior.streets.city. Michael drives so worried and desperate. He arrives in a file with so many cars. He takes a pipe of his car with so angry. Cut to: Scene 8: Day.interior.entrance.hospital. The nurses come in with two stretchers. Jenny is lay down on the first. Whitney is on the second. She has blood on her dress and her face too. The nurses carry them in an emergency room then close the door. Cut to: Scene 9: Day.interior.urgency room.hospital. The doctor and three nurses try to save the life of Jenny. She is in the bed then Michael comes in so desperate and the nurse gets out him. Michael: Jenny. How is she? Nurse 1: You should wait outside. I am sorry. Michael: Jenny. There’s something I can do?. Nurse 1: We will call you. Please, stay quiet outside. Calm down. Michael gets out and the nurse closes the door. Cut to: Scene 10: Day.interior.urgency room 2.hospital. Another doctor and two nurses try to save the life of Whitney. She is on the bed with blood in her cloth. Doctor 2: ( He feels her pulse) I don’t feel her pulse. The nurses see each other so surprised then the doctor puts his hands on her heart and gives her the massage, oppressing it to return to life but after three times, he doesn’t see any result. Cut to: Scene 11: Day.interior.wait room.hospital. Michael and Jane wait on the sofa. They are worried. Mother: You must have faith so much. God, only can save the life of your wife and your little baby. Michael: Mom, the doctor had told her to care so much. She had problems to get pregnant. Mother: I know Michael. She desired to get a baby. She dreamed with this moment but nobody knows when the bad situations will come. (The nurse 1 and the doctor 1 approach to them so worried). Nurse 1: Mister Jennings. Michael: (gets up) Yes. Doctor 1: Your wife is ok. (Michael and Jane take a breath and smile). Michael: And the baby?. Doctor 1: I am sorry. We made all to save his life. (Michael becomes so sad and Jane holds him). Cut to: Scene 12: Day.interior.urgency room 2.hospital. Whitney is on the bed alone. Suddenly, opens her eyes and stands up. She opens the door and gets out. Suspense music. Dissolve to: Scene 13: Night.interior.bedroom.house of Jenny. Michael opens the door and approaches to Jenny in her bed. She feels him and opens her eyes. Michael smiles her. Jenny: Michael. How is the little girl?. Michael. She died. Jenny: (sad) Like my baby. Why?. I had been waiting to get a child to hold to love so strong. Michael: You will have a baby. I am sure the next time. Now you must have to rest. Jenny: I can’t rest without my baby. (Michael sits on bed next to her). Michael: First, you have to recover, later we would make a plan to get a baby again. It’s so easy. We are young and God will give us an opportunity to have one like you and I dreamed. Jenny: (kisses him) I love you Michael. I love you. (She closes slowly her eyes and Michael is standing up while she is sleeping). Cut to: Scene 14: Night.interior.living room.house of Jenny. Jane approaches to Michael and sits next to him in a leather sofa. He is so worried. Jane: She asked again for the girl?. Michael: Yeah. Maybe feels a fault to see her dies. Jane: (she is thoughtful). Son, I heard in this corner, a car always gets a collision with a little girl. Michael: We are living here almost three years. Jane: Yeah, three years ago, a girl died too in the same conditions but her body disappeared. Michael: Tomorrow I will call to the hospital to ask for the girl. (Jane smiles him). Cut to: Scene 15: Night.exterior.house of Jenny. Whitney walks and stops in front of Jenny’s house. The lights turn off. It is so mystery. Suspense music. Cut to: Scene 16: Day.exterior.corner.house of Jenny.dream. Whitney smiles and watches Jenny through the window. She smiles too in the top of the stepladder. The car approaches and crashes with her. Suspense music. Cut to: Scene 17: Night.interior.bedroom.house of Jenny. Jenny wakes up so nervous and her husband Michael wakes up too. Michael: What’s up?. Honey. Jenny: It’s nothing important. I can’t resist she is died. Michael: Who died?. (With somnolence). Jenny: Ignore me. You have to work so early. (Jenny and Michael try to sleep again). Cut to: Scene 18: Day.interior.kitchen.house of Jenny. Michael comes in and takes a cup of tea on the table; his mother approaches and helps him to put the neck-tie. Michael: Don’t let her to lift up from bed. Jane: I have the list of the medical treatment. Don’t worried about her. I will take care of her while you are working. Let the problems outside your mind. Jenny: (appears and they are surprised). This is a great day and I don’t think to stay in bed for the rest of this week. Michael: Honey, it’s for your health. Jenny: I am ok. Don’t worry. I like to say good bye and desiring to get so lucky to my husband. (She kisses him). Michael: I love you. (Jane opens the door and Jenny and Michael get outside). Jenny: Bye dear. Have a good day. Michael: Don’t forget you should have to rest. Don’t do the things doctor said. Jenny: Ok. I am going to see the TV all the day if you prefer. I promise. It’s boring to do nothing in bed. Michael: I know. (He gets into the Van). Be care of you. I’ll call you later. Jenny: I love you. (Michael drives away his car). Cut to: Scene 19: Day.interior.bedroom.house of Jenny. Jenny is sitting in the bed, watching TV screen. Jane comes into the room. Jane: Jenny, do you have some cookies with a cup of coffee?. Jenny: No, Jane. I don’t want anything. (She stands up) I want to walk. Jane: But the doctor said. Jenny: I know the doctor said. Could you accompany me for a walk?. Jane: (smiles). It’s ok, but only for a few minutes. (Jenny takes her arms and both get out the room. The TV screen is on). Cut to: Scene 20: Day.exterior.park. Two children, 5 years old, are playing in the park near the house of Jenny. They run back of a little dog. Jenny and Jane approach near the shadow of a big tree. They see them and smile. Jenny tries to go next to the kids but sees Whitney smiling. She is surprised, and then gets away from Jane. She follows her and Jane is worried when doesn’t see her. Jenny calls her little girl and Jane seeks her. Jenny: Hey girl. Stop please. (Whitney stops and turns to Jenny). Whitney: Hi. Jenny: How are you?. Whitney: Fine. Jenny: Do you remember me?. Whitney: The lady from the window. Jenny: Yes. But you are alive. My husband told me.(Stops her words). Whitney: I’m fine. I’m going to turn over my home. Jenny: Do you live near here? Whitney: Yeah. Bye. (Whitney gets away from Jenny. She is so thoughtful and Jane appears back). Jane: (surprised) Oh God. Finally I found you. Jenny: I said Jane I was going to walk. (Jenny walks and Jane takes air). Cut to: Scene 21: Day.interior.bedroom.house of Jenny. The phone rings and Jane takes it. She answers. Jenny: Hello. Hi honey. I am so fine. Yeah. I was walking and surprised me to see her, the little girl, you know. She had an accident with the car here in the corner of the house. She is ok and she is not died like you told me. Ok Bye. She hangs the phone. Cut to: Scene 22: Day.interior.consulting room.dentist clinic. Tina, Michael’s secretary, approaches to him, using his white wrapper. She gives him a little paper. Tina: This is the phone number of the hospital you asked me Michael. Michael: Thanks. There’s one thing I have to know. He takes her cell phone, dials it and talks with the nurse of the hospital. Michael: Good day, I need some information about the girl that died with a car accident, yesterday. I’m the husband of Jenny, Michael Jennings. It happened in the corner of my house. (Waits the answer). What!. (Surprised). Cut to: Scene 23: Night.interior.living room.house of Jenny. Jenny and Jane are sitting in the sofa. Michael is standing in front of them. Jenny is surprised. Jenny: It’s impossible. I saw her. I’m not crazy Michael. Michael: I’m not a liar. The nurse told me she disappeared when the doctor tried to return to life. Jane: Maybe, they are wrong or have confused her name. Michael: (He says with angry). She hasn’t a name, neither a clinic history. Jane: It’s so strange. Jenny: A miracle. God can do it. I think so. Jane and Michael see each other surprised for the words of Jenny. Cut to: Scene 24: Night.interior.bedroom.house of Jenny. Jenny, using the dress of sleeping, approaches to Michael, is in the bed. He smiles and touches her body with his finger. Michael: Honey, this is a special night we can share together to make another baby. Jenny: (serious). It’s too late Michael. You’d better rest all night. Michael: But I don’t understand you ( He says with angry). We need a baby in home you know to laugh. Jenny: To love yeah but there isn’t a moment. I have passed with a horrible experience in my life, so my faith will go on into my heart. Don’t make me lose the control. Michael: (serious). You always got the right. We can wait. It is ok. Michael turns to her so angry. Cut to: Scene 25: Night.interior.kitchen.house of Jenny. Jane comes in and approaches to the refrigerator in the dark. She opens the door and its light illuminates the kitchen. She is afraid to see a little figure of the girl then she shouts. Jenny and Michael get in and turn on the lights. They have clothes of sleeping. Michael: What happened mom?. Jane: (afraid). I, I see ( She takes breath). I see a figure of the girl. Jenny: (interested). Who?. Could you describe her?. Jane: No, but he has a long hair. Michael sees Jenny with so incredulity. Michael: Come on. Let outside of our minds the storm of that girl. She died and this is all I know. Both of you. Don’t talk to me about her anymore. Jenny: Michael, maybe was a ghost. Michael: (angry). I don’t believe in spiritual appearances. Come on, forget this moment and return to our rooms. You saw that kind of figures in the dark because you eat cookies in the night. Jane: Some cookies son. It’s the first time I see a thing like that or it’s probably I confused the figure. Could have been a cat?. Jenny and Michael: A cat?. Michael: We don’t have any cat Mom. Jane: Our neighbors have one. Jenny: I hate the cats. Jane: Ok. I didn’t see anything. Maybe I’m crazy too. Jane gets away so angry. Jenny and Michael see each other. Cut to: Scene 26: Night.interior.bedroom.house of Jenny. Michael sleeps but Jenny wakes up to hear a voice of a little girl in the air. Suspense music until scene 28. Voice of Whitney: La,la,la,la,la,la,la (laughs). Jenny sees her husband and gets up, then comes out of the bedroom. She uses a cloth of sleeping. Cut to: Scene 27: Night.interior.living room.house of Jenny. Jenny comes to the living room to hear the voice of the little girl in the air. Voice of Whitney: La,la,la,la,la,la (laughs). Jenny is so worried and opens the door to see outside. She uses a cloth of sleeping. Cut to: Scene 28: Night.exterior.house of Jenny. Jenny uses a cloth of sleeping, sees all around, then walks away from the door but she doesn’t hear the voice of Whitney. Dissolve to: Scene 29: Day.interior.supermarket. The boy cashier passes the bar codes of the butter, snickers, marmalade and tin can of sardine. When he finishes, Jenny gives him her credit card with a smile in her face. Cut to: Scene 30: Day.exterior.the corner of Jenny’s house. A car runs away so speed in the corner of the house. Jenny has a bag from the supermarket and holds it with her arm. She is so afraid to remember the accident of Whitney and she approaches to the corner. Jenny stops and laughs when sees her in the corner of the house. Jenny: Hello. I am glad to see you again Whitney: Hi. I am going to cross the street. Jenny: What do you say if I Invite you to eat?. Whitney: I like the chocolates. Jenny: I like too. (Smiling). Jenny keeps walking and Whitney is back, then Jenny opens the door of her house and they come in and the door is closed. Cut to: Scene 31: Day.interior.kitchen.house of Jenny. Jenny puts the bag from the supermarket on the table. She takes out the snickers and gives it to Whitney. Jane approaches to them. Jane: Ah (surprised) We have a little visit. Jenny: Yes, she is. Whitney: Whitney. Jenny: Yes, This is her name. Jane: You have a beautiful face and (thinking) a long hair. By chance, I saw last night a little girl like you here. Jenny: It is impossible Jane. Jane: Where are you living?. Whitney. Whitney: (Eats the snickers). Near here. Jane: Oh it’s a good luck to get you here. You are the only child in this neighborhood. Jenny: Yeah. She is a blessing to get you. Jenny smiles and Whitney finishes eating snickers. Her mouth and lips are dirty of chocolate. Whitney: Have you got a baby here?. Jenny: (sees to Jane). No. I lost it in a terrible accident. Jane: But you could watch the TV in Jenny’s bedroom. Jenny: If you like it. Whitney smiles. Cut to: Scene 32: Day.interior.bedroom.house of Jenny. The TV is on by the remote control in the hand of Jenny. She changes the channels to cartoon networks. Whitney is sitting in the bed. Jenny: Do you like this channel?. Whitney: Anything (serious) I like to see all the TV channels. Jenny sits next to her. Jenny: (touches her body) Are you sure?. Eh. You don’t have a broken bone or something like that. I saw your accident. Whitney: I saw your accident too. (Touches the stomach of Jenny). It’s pity you lost your baby. Jenny: It hurts me so much. My baby was going to birth seven month. Whitney: He could be my brother. I don’t have one. I am so lonely. Jenny: You are not alone. Your father and mother?. Whitney: They died in an accident. Jenny: Do you have any parents?. Whitney: An aunt. She is so angry, so bitter like the lemon. Jenny: I see. You can go to my home all the times you want. I will love you like my daughter. Whitney smiles her and Jenny holds her. Jane comes in with Alexa, Latin girl 25 years old, a friend of Jenny. Jane: (she is happy) Jenny, I have a big surprise. Alexa: How are you my friend?. Jenny gets up happy and kisses her, fat check. Jenny: I thought you were lost in this world. Alexa: No. Don’t think I’ve forgotten you. Always remember my friends and I am sorry (serious) I knew you lost your baby. Jenny: Yeah. It was hard but the life goes on. Alexa: With a new friend in home. I see. Who is the beautiful girl watching TV?. Whitney sees Alexa with so envy. Jane: Do you like cookies?. Jenny: No, Jane. Thanks and you Alexa?.. Alexa: No, I am getting a diet but your little friend doesn’t have a tongue. Maybe a mouse cut her mouth. Jenny: (smiles) She is Whitney. Alexa: (approaches to her) You have a beautiful face and a precious long hair. Do you like to be a model?. I like the colors of your eyes. Jenny: Let her in peace. Come on outside. Alexa: A girl like you always should be smiling. Don’t imitate a bitter lemon. Whitney turns to Alexa so serious with angry. Whitney: Don’t bother me. Alexa: Ah (offended) She is a rude girl. I retreat my words. You are a bad girl I’ve ever seen in my life. How could be your friend Jenny?. Jenny: Let’s go Alexa. Please. She had been in troubles. Alexa comes out of the bedroom with Jenny. Whitney sees her so angry. Cut to: Scene 33: Day.exterior.house of Jenny. Jenny and Alexa talk outside. Alexa: It was a pleasure to see you again but that girl is so displeasing. Jenny: Come on Alexa. You have to understand when you were a child. Alexa: Don’t remember me. Actually, I am very young to have a child. First, I have to live my life so wonderful. I knew a man Ah, so big, so amazing, ah! so handsome. Jenny: Don’t loose you from this earth. You have to talk to me so carefully. Alexa kisses her and gets into her old car and drives away. Alexa: Bye. Will see you. You are always on my mind. Every second. Jenny: Take care. Will be in touch. Jenny smiles and Whitney sees her through the window of Jenny’s room, second floor. Cut to: Scene 34: Day.interior and exterior.car of Alexa.streets.mear the shore. Alexa drives her old car but suddenly loses the control of the volant. It moves alone from side to side, hurting and crashing against other cars in the street near the shore. She is so frightening. Suspense music. Alexa: Help me, help me Ah, ah, ah, ah (shouts), help me. She shouts to see a big truck and crushes with it. Her car is broken in two. Cut to: Scene 35: Night.interior.bedroom.house of Jenny. Whitney has a TV control in her hand and changes all the channels until the News Channel “Wntv”. On live, she shows the accident of Alexa with the truck. Her car is completely destroyed. Jenny comes in. Jenny: Whitney. What do you want to eat?. Oh, there is an accident. Whitney: Yeah. It’s so terrible. Jenny sees the name of her friend on TV screen: Alexa Quintero and her body died. She is amazing and surprised. Jenny: Alexa, No. (Runs away of the room). Whitney smiles, sitting on bed. Cut to: Scene 36: Night.exterior.garage of Jenny’s house. Michael comes to the house in his Van and gets into the garage. Ron, a friend 30 years, is next to him. Michael: Come on Ron, Jenny will be happy to see you. This time, she needs to be with all friends around her. (Both get out from the car and he closes the door). Ron: She must be so sad. And her parents?. Michael: They are in Colombia. They are living there. Ron: Well, a trip far away may be it could bring her a new fresh air and changes the way of living. Michael: (both come into the house). You should to talk to her. Maybe, you can convince her. Ron: Yeah. No problem. I am the master to convince.. Michael closes the door of his house. Cut to: Scene 37: Night.interior.living room.house of Jenny. Michael and Ron are surprised to see Jenny crying, sitting in the sofa at the living room. Jane is standing next to her. Michael: What happened?. Jane: Her friend Alexa is died. It was a terrible accident too. Ron: There’s so much accident lately. Jenny: I can’t believe, she was talking to me here in a few minutes. She can’t die, she can’t die Michael. Michael holds her. Cut to: Scene 38: Night.interior.bedroom.house of Jenny. Michael takes her wife to the bedroom. He is surprised to see Whitney in the bed watching TV. Michael: Where is she?. Jenny: She (thinks). She is a new friend. Ron: She needs the bed to rest. Michael: I obey you Doctor Howard. Please Jenny. Don’t think about Alexa. It was an accident. Jane: (takes the arm of Whitney to get her out of the bedroom) Excuse me. This is time to go to your home. Jenny: Michael, she can sleep here. Her aunt is so bad. Michael: You have to forget all the things and rest. Maybe, in another chance. Whitney: Well, bye Jenny. Jenny: Tomorrow you can come again. Whitney: Ok. I understand. Have a sweat dreams. Whitney gets out but turns to Michael, Ron and Jane. She sees them with hate. Cut to: Scene 39: Night.exterior.house of Jenny. Whitney opens the door and gets outside then closes it. She walks away. Michael sees her through the window of the room, second floor. Cut to: Scene 40: Night.interior.bedroom.house of Jenny. Jenny is in the bed and Ron is getting her pulse on her arm. He is sitting in the bed next to her. Jane is standing and Michael sees through the window. Michael: She is so rare. Ron: Who?. Michael: The little girl. (turns to Jenny) How is she?. Ron: Jenny is so good. Thanks to God. Only you should have to get away from hard emotions. Maybe a trip far away from here could be an opportunity to forget the bad moments in your life. Michael: What do you say honey?. Jane: I like the trips (happy). Jenny doesn’t say a word. Michael sees to Ron. Cut to: Scene 41: Night.exterior.house of Jenny.Garage.Van. Michael and Ron get into the van. Ron: You should give her a chance to think what she wants. She has to decide herself. Michael: But there’s something I could do?. She is not the same. Ron: You have to understand. Take a time Michael. Take a time. Michael drives away from house. Cut to: Scene 42: Night.interior.bedroom.house of Jenny. Jane covers Jane with the sheets in the bed. Then she gets out and closes the door. Jenny has her eyes closed. Cut to: Scene 43: Night.exterior.house of Ron. Michael comes to the house in his van. He stops it and Ron gets out and closes the door. Ron: Thanks Michael. You have my cell number if you have any problem with Jenny. Michael: I appreciate your help. Take care of you. Ron: (Shake their hands) Good night. Michael drives away and Ron gets into his house. Cut to: Scene 44: Night.exterior and interior.Van.Streets. Michael drives his van in the street. Suddenly, the tire exploits. The van turns around the street. Two car crash into collision to elude him. Suspense music. Cut to: Scene 45: Night.interior.bedroom.house of Jenny. Jenny gets up to the bed and opens her eyes with so afraid and shouts. Jenny: Michael, no Michael. Jane runs to the bedroom and opens the door. Jane: What happened Jenny?. Cut to: Scene 46: Night.exterior.streets. Michael helps one man driver to gets out from his car and puts him away, and then he helps to another man driver who got collision with the other car. Both cars exploit and the ambulances approach so quickly. Cut to: Scene 47: Night.interior.bedroom and bathroom.house of Ron. The wife of Ron, 30 years, goes out of the bathroom and Ron takes off his shirt. Wife of Ron: I prepared your bathing-tub dear. The water is hot like you want to. Ron kisses her. Ron: Thanks honey. You always know what I like. Wife of Ron: How is Jenny?. Ron: I saw her not too bad. Physically is ok but emotionally she is so doubtful without a capacity to take a decision. I am worried for her. His wife takes a massage on his shoulders. Wife of Run: You can do something for her?. It’s a difficult area of feelings. A Psychology can help her. Ron: Ah ah ah (Feels so good with the massage) I am only a doctor. You have mighty fingers. Wife of Ron: It’d be better you go to your bathing-tub. The water will cool. Ron kisses her and goes to the bathroom. In the way, he takes off his clothes then introduces into the bath-tub, fills of hot water. He rests and enjoys it. Then an arm of a little girl into the water takes his leg and dives him with so strong. He can’t take air so he died drowned slowly after to have fought. He couldn’t reach the surface. His wife comes in with a towel in her hands when she sees his body, shouts. Suspense music. Cut to: Scene 48: Night.exterior.place of accident.streets. The paramedics get up a man that got collision with a car in the street. Another paramedic gets up the second man and take him to the second ambulance. The third paramedic talks near the third ambulance with Michael. Michael: I am ok. Paramedic: You should come with us. The police will put in order all to refer of the accident. Michael: But my car?. Paramedic: One of them, will advice you about it. Don’t worry. Come with us. Michael: (Gets into the ambulance with the paramedic). You aren’t going to believe me. Since yesterday, I have bad moments that never attended in my life. (Closes the door and the ambulances run away. The police cars are in the place of the accident. Two cars crashed and exploited). Dissolve to: Scene 49: Dawn.exterior.door.garage.house of Jenny. Michael drives his van and comes to the garage then he gets out and closes the door. He looks so fatigued for the accident. He approaches to the door and with his key open it. Cut to: Scene 50: Dawn.interior.door.kitchen.house of Jenny. Michael closes the door and Jane approaches him so worried. Jane: Michael. Where have you been?, at this hour. Jenny was desperate all night. I gave her a sedative to make her sleeps. Michael: (fatigued). I was in a car accident. It will have an answer to all that happened?. Jane: I would like to be God to answer all the questions and knowing the mysteries of our lives. Would you like a cup of coffee?. Michael: Yeah. It would make me pass all the bad taste in my tongue. Jane gives him a cup of coffee and he sits in the chair. Then his cell phone rings. He answers it. Jane: Who could be?. It’s so early. Michael: Hello, I ‘m Michael Jennings,(He listens) yeah. But, How?. (worried and surprised. He hangs off the cell phone and gets up so quickly). Jane: What’s up?. Bad news?. Michael: (sad) I would like to know what is happening. Ron was ok here and now he is died. Today, I am not going to work. He opens the door and gets outside the house. Jane sees him to get into his van and drives away then she closes the door worried. Suddenly, the button of the stove moves slowly to open. She takes the tea pot and a big flame appears that burns her arms. The tea pot falls down on the floor and she shouts. Jenny appears so worried, wets a cloth in the dish-washer so that she can extinguish the flame on Jane’s arm. Suspense music. Cut to: Scene 51: Day.exterior.house of Ron. There are many policemen outside and Michael talks with FBI detective. Michael: I am living the worst moment of my life. My wife lost her baby in an accident, her best friend died in a car accident and my best friend died too in unexplainable events. Detective: Mister Jennings, when did the unexplainable events occur?. Michael: Since Yesterday. Detective: I would like to talk with your wife. Michael: Yeah. It’s not a problem. Maybe you can find an answer to all that is happening. It is making me crazy. I don’t believe in the spiritual things or something like that. I am a dentist so I believe in what I see. Detective: You can be so sure we are going to find the key of all the mystery of deaths. The cell phone of Michael rings. Michael: I don’t wait more bad notices. Hello (answer the cell phone). Jenny. How is my mom?. (Worried and hangs off) It happened again. Cut to: Scene 52: Day.interior.emergency.hospital. Jenny is sitting in the sofa and Michael with the detective of FBI approach her. Michael:(Worried ) Where is Mom?. Jenny: (gets up) Come on with me. Who is he?. Michael. Michael: (walks next to Jenny). He wants to talk to you. Jenny, Michael and the FBI detective come into the room. Cut to: Scene 53: Day.interior.room of rest.hospital. Jane is in the bed, her arms are bandaged. Michael, Jenny and FBI detective approach to her. Jane: Michael. Michael: Mom. Are you ok?. Jane: Well. It’s so hurt me. Michael: But what really happens?. You never had an accident in home. Jane: I don’t know. It was so hurry. Only I saw my arms burning with the flames. Jenny: She has burns of first grade. The doctor said he is going to let her goes to home this evening. Michael: Oh I forgot. He is from FBI and would like to make some questions about the strange things are involving to us. Detective: This is not the right moment but I want to help you to find the answers for all the situations you are living now. Jane: Maybe the key could be found in home. It has a story you Michael don’t know at all. Cut to: Scene 54: Day.interior.door.living room.kitchen.house of Jenny. The door is open and Michael helps to come into home to your mom. The detective and Jenny come in too. Jane has a bandaged in her arms. Michael and Mom get up the stairs. Jenny talks with the detective in the living room. Jenny: Michael sold this house three years ago to a strange family. I said that because they gave it to us with a low price. They seemed to me with so hurry to go away from here. Detective: I don’t believe like your husband in spiritual movements but someone or something is making all the accidents happened here. I know here is the center of the problem. Jenny: I don’t see anymore or anybody to do all the sinister. We don’t have any enemy. I think so. Detective: Your husband told me you had an accident. It occurred the same time while you were watching through the window. Jenny: Yeah. It was in the corner of this house. Do you like to drink anything?. Detective: No. I wouldn’t desire to happen anything to hurt you. We can see first the stove?. Jenny: Yeah, we can go outside later. Detective: I would like to stay there, in the corner. Michael and detective walk to the kitchen. He sees the stove and the buttons. Jenny: (Approaches to them).It’s all right. I didn’t see anything wrong. Cut to: Scene 55: Day.interior.bedroom of Jane.house of Jenny. Jane is in the bed with her arms are bandaged. She is so sad and Michael is sitting in the bed next to her. Jane: Michael, It’s better to sell this house and go away from here. Michael: Why?. I don’t feel nothing bad in this house when you saw it you loved it, Jenny too. Jane: Really, this entire storm is beginning here. I feel it Michael, I feel it. Cut to: Scene 56: Day.exterior.corner.house of Jenny. Jenny and detective are in the corner of the house. Jenny: This is the place. She was going to cross the street and the car got the collision with her. It’s like unreal to know she is alive without any hurt in her body. Detective: Do you know her name?. Jenny: Whitney. It’s all I know. Detective: If you know anymore or have any problem, please you have my phone number, call me immediately as soon as you can. Jenny: I promise. Thank you. Jenny follows him to his car. He gets in the car and drives away. Detective: Watchword from all to get an accident. Jenny: Ok. I will open my eyes. Suddenly, she sees Whitney in the corner and approaches to her. The detective sees her on the mirror of his car. Whitney sees him and talks with Jenny. Whitney: Hi. Jenny: You have to take care to cross the street. Why you don’t come to my home?. We could play in my bedroom. Whitney: (smiles) I like your idea. Jenny: (smiles and takes her hand to go into home). Let’s go. Michael sees them to the window of Jane’s bedroom, second floor. Cut to: Scene 57: Day.interior.bedroom of Jane.house of Jenny. Michael sees through the window and Jane is on bed with her arms bandaged. Michael: When did Jenny meet the little girl?. Jane: Whitney. Yesterday. She appears like a ghost when we weren’t waited. Michael: She comes again. Jane: Well, Jenny enjoys being next to her. She is so strong to have lost her baby. The girl is inoffensive, Michael. Michael goes out of the bedroom. Cut to: Scene 58: Day.interior.bedroom of Jenny.house of Jenny. Jenny plays Nintendo on TV screen with Whitney. They are happy. Michael gets into to see her. Suddenly, the door rings. Jenny wants to get up. Michael: I can go to open the door. (Jenny smiles him). Whitney: (sees Jenny) He is your husband?. Jenny: Yeah. He is so handsome, isn’t?. Whitney: I don’t like him. He is not what you think. He lies you with his secretary. Jenny: (Stops and sees her) Why do you say so?. You don’t know him. (worried). Whitney: He is down the stairs with her. (serious). Cut to: Scene 59: Day.interior.next to the stairs.house of Jenny. Michael talks with his secretary. Tina: Several patients have been offended because you haven’t gone to their appointments. I told them you are in big problems. They could claim to you and your clinic. Michael: I don’t have a mind to think in others things. My life is throwing down. She holds him and Jenny approaches to the stairs and gets down so angry. Jenny: Oh. It’s a beautiful paint both of you. Tina gets away from Michael. He is surprised. Michael: What are you talking Jenny?. You know Tina. Jenny: Now. I am Jenny and she is your bitch. Tell me the truth. Michael is perplexed and the secretary is so nervous. Michael: Are you crazy?. Honey, I love you. Jenny: I don’t want to see you anymore. Get away from my side. Michael: Honey, you are wrong. She is my secretary. It is not what you are thinking. We must to talk about it. Jenny: What?. The way you lie to me when I suppose you are working. It’s clear you got sex in your office with your sweetheart. Let’s go bitch. Get out. I don’t want to see you again. She pushes them and opens the door. Michael: (obfuscated). You are going to repent. I swear. Jenny closes with angry the door and starts to cry. Whitney sees her at the top of the stairs so serious. Cut to: Scene 60: Day.interior.bedroom of Jane. Stairs.house of Jenny. Jane gets up from the bed and approaches to the window and sees her son Michael with Tina, get into the van and drives away. She gets out of the bedroom with her arms bandaged. Jane: Jenny. What’s up down?. She sees Whitney next to the stairs down. Jane: Where is Jenny?. Do you understand me Whitney?. What’s happening in home?. (She asks with angry). Where is Michael?. (worried). Whitney: He goes far away. Jane: Why?. Whitney doesn’t say a word, so serious. Jane: Come on Whitney. I need Jenny that helps me to crape my arms. Whitney sees her with hate. Jane: What are you looking girl?. Do you understand me?. (obfuscated). Jenny, Jenny.(shouts). You are a bad girl. Whitney sees her eyes and Jane starts to walk slowly moving her foot to the stairs so she falls down and shouts. Whitney smiles when sees her on the floor. Jenny approaches to Jane with nervous. Jenny: Jane. What happened Whitney?. Whitney: I don’t know. Jenny: I am going to call to the hospital. Jenny runs to take the phone and Whitney sees Jane on the floor without sense. Cut to: Scene 61: Night.exterior.house of Jenny. The neighbor, and old woman, 60 years old, looks through the window of her house that two paramedics get out with Jane on the stretcher. They get her into in the ambulance. Jenny holds the hand of Whitney and gets into the ambulance too. The old woman gets down the silk stuff. Cut to: Scene 62: Night.interior.living room.house of Tina. Tina, Michael`s secretary, approaches to him and takes a cup of coffee. He sits on the sofa to rest, so he is so exhausted. Michael: I need a hot, black coffee. Tina: In this place you can rest and sleep. Tomorrow, waits for you the responsibility of your patients. I am sure this confused events are going to be solved. Michael: Yeah. I must to forget all the problems in mind. (Drinks coffee and his cell phone rings. It is on the table of the living room. Tina takes it and answers). Tina: Don’t move. Hello. I am his secretary. Oh, I see. (hangs off). Michael: Bad news?. Tina: Yeah. It’s your mom. Michael: Oh no, again!. (worried). Tina: It’s so urgent. Cut to: Scene 63: Night.interior.bedroom.hospital. Jane is bandaged her arms and has an orthopedic neck. Michael gets in and approaches to her in a bed. Michael: (worried) Mom. Jane: Michael. The little girl!. Michael: What happened with her?. Jane: She is an evil. She tried to kill me. Michael: (incredulous). Mon, come on. It’s a little girl. Jane: Believe me. She is so bad. I don’t want to go there again. Michael is so worried and thinking about it. Cut to: Scene 64: Night.exterior.hospital. The door opens and Michael gets out with Jane in a wheel chair. He pushes it back her. Jenny and Whitney are outside. Jane feels afraid to see Whitney and doesn’t look her anymore. Jenny: Where do you take her?. Michael: She desires to go away from home. Jenny: What?. Jane, it was an accident. (Michael sees Whitney). Michael: She said, It wasn’t an accident. Jenny: Jane, you can’t leave me alone. Jane. Jane: (Jenny approaches to her. Jane talks so softly in her ear). Get away from her. She is an evil.(Jane see Whitney with so afraid). Jenny sees Whitney so strange and she looks like an innocent girl. Michael gets away to his van with his mom. Cut to: Scene 65: Night.exterior and interior.van of Michael..streets.near the shore. Michael drives his van an Jane is sitting next to him. She has an orthopedic neck and her arms are bandaged. Jane: You have to stop that little girl, Michael. She could kill your wife. She is on risk and I am so worried about her. Michael: What can I do?. We don’t know anything about her. Jane: In the neighborhood you can obtain the truth. Michael drives away in the street. Cut to: Scene 66: Night.interior.bedroom and living room.Tina. Michael helps Jane to sit in the bed. Tina is next to the door. Michael: We can stay in Tina’s home while our problems are resolute. Jane: Thanks Tina, here I feel safer. Tina: Both of you can stay here all the time you need. Now I am not feeling so alone. Jane: Oh, you are a kind woman with a big heart. I told that Michael when I saw her in your clinic but (thinks). Don’t tell me Jenny was jealous for you. Michael: She thinks we have an Idyll of passion. Tina: She told me bitch. Jane: (surprised). Ah!. I don’t believe. Jenny became so crazy. Michael you have to help her. The little girl is an evil. The messenger of Satan. She could get the control of her mind and all the emotions. Promise me Michael you are going to do all what I told you. Michael: It’s too late mom. You have to sleep now. He helps to rest in the bed. She closes her eyes. Michael and Tina go to the living room. Tina: I don’t understand what’s wrong or has done that little girl in your lives. Michael: I don’t know. All the things are going to make me crazy too. Cut to: Scene 67: Night.interior.kitchen.house of Jenny. Whitney is sitting and eating some cookies. Jenny is sitting next to her so pensive. Whitney: Are you sad?. Jenny: I am so alone in home. Whitney: You got me. Don’t forget it. I need a mom like you. Jenny: (smiles). I love you as my daughter. You can sleep here with me so I can’t feel so alone. Whitney: (serious) I don’t know. Could I think it?. (Smiles). Yeah, I accept your invite. My aunt won’t miss me tonight. Jenny: (smiles) But we can call her, asking for a permission to stay here with me. Whitney: No.(serious) She doesn’t care where I am or what I do. I am a girl died for her. Jenny: (gets up and holds her). Don’t say that. Whitney, she is your aunt. Maybe, she has a big problem in her mind to solve. Whitney: Yeah and she doesn’t have a little time for me. (She talks with angry). Don’t justify her. (Jenny gets away from her. Whitney gets up) Do you hear me?. Jenny. If you want to be my mom. Don’t make me anger. Whitney runs and gets up the stairs so angry. Jenny thinks for all her words. Cut to: Scene 68: Night.interior.living room.house of Tina. Michael sleeps in the sofa with a sheet on his body. Suddenly, Tina, using night clothes, sees him so strange with a desire in her eyes. She takes off his night clothes and kisses him. She talks with a man strong voice. Michael: (awakes and puts her away). What are you doing?. Tina: (strong voice). I want to make the sex with you, Michael. I am burning like a flame or you prefer to hurt you like your mom. Michael: (He is so afraid). Who are you?. Tina: (laughs) Ja, ja, ja, ja. You can’t stop me Michael. Nobody can’t resist the evil got in me. I have come to kill you, to destroy you, to steal your home. Jenny is mine and I will do with her what I want. Ja, ja,ja, ja.(laughs). Michael is so angry, gives her a beat with his right hand. She falls down to the floor then she gets up so normal and so confused. Tina: (surprised) Ah, what I am doing here?. Michael: I asked you the same question. (He talks with calm). Cut to: Scene 69: Night.interior.bedroom.house of Tina. Jane is sleeping in the bed with an orthopedic neck and her arms bandaged. Suddenly, so mystery, the window opens and the wind comes in so strong to her. She awakes and gets up with so afraid and shouts. Suspense music. Jane: Michael helps me Michael. Hurry, Michael. Michael and Tina come into the room so confused. Michael: What happened?. Jane: I feel her. She is here. Michael, she wants to kill me. You should have to do something. I don’t want to die. Michael: Who wants to kill you?. Jane: Whitney. She is coming to kill us. It is the truth. Michael sees Tina. Both are wearing night clothes. Cut to: Scene 70: Day.interior.bedroom.house of Jenny. Whitney is sleeping in the bed. She turns and opens her eyes. Jenny is standing next to the door. Both are wearing night clothes. Jenny: Good morning. Do you want something special to eat or do you prefer to go with me to take a shower?. Whitney: (serious) Never take a shower with someone. Jenny: You have to understand (approaches to her smiling). Always we got a first time in our lives. Jenny takes her hand and Whitney smiles. Whitney: Ok. It would be so funny, la,la,la,la,la (sings). Jenny and Whitney hold their hands to go to the bathroom. Cut to: Scene 71: Day.exterior.house of Tina. Michael talks outside with Tina. He gets into his van. Michael: Please, call to my patients and tell them anything. I can’t go this morning to the clinic. Maybe more later. Tina: And your mom?. Michael: She will be all right. Don’t worry. Tina: Michael. Michael: What?. Tina: Take care of you. Michael: (smiles) Yeah. See you later. He drives away the house and Tina gets into home and closes the door. Cut to: Scene 72: Day.exterior.house of Jenny. Michael comes to the house in his van. He sees the corner and the neighbor, an old woman through the window. He gets out from his car and approaches to the neighbor’s house and knocks the door. An old woman opens it. Michael: I want to ask you some questions that I know you can answer me. Old woman: Come in. I was waiting for you. She closes the door. Cut to: Scene 73: Day.interior.living room.house of old woman. Michael and the old woman are sitting in the sofa. There is some mystery in her voice. Old woman: I have been living here all my life and all the accidents occurred thirty years ago in 1972. When a little girl was trampled for an imprudent driver in this corner. She died and now appears to kill. Michael: I don’t understand. She is died. How could appear?. Old woman: Yes, she appears to all the people who have lived in your house because she lived there with her parents. They didn’t care her. We always heard fights, shouts and words of hates. I born in this neighborhood. Michael: But, who is she?. Old woman: She is called Whitney. Michael: No. (He is so worried). Old woman: Yes, Mister Jennings. She is in your home with your wife. She never surrenders until to destroy all the humans there, in this house. Michael: How could believe in your words. It’s impossible. Old woman: She is an evil and you have to get a help to destroy her before she kills your wife.. Michael: (smiles). A spirit doesn’t die?. Old woman: Look\ for Tom Mathews at Baptist Church. He is going to tell you how to stop her. Cut to: Scene 74: Day.exterior.Baptist Church. Many people go out from the Church and the reverend Tom Mathews, 50 years, is next to the door. Michael approaches him. Michael: Mister Mathews. Tom Mathews. Tom: Yes. Michael: I need to talk with you so urgent. Cut to: Scene 75: Day.interior and exterior.bedroom.window.house of Tina. Jane approaches to the window of the second floor. She has an orthopedic neck and her arms are bandaged. Suddenly, she hears a voice of Whitney in all the room. Voice of Whitney: Jump, Jump. Jane: Get away from me bad girl. Get away (She is so afraid). Voice of Whitney: Jump Jane or you prefer to die in my hands. Jane: (shouts) Michael, Tina, Help me. Voice of Whitney: Nobody can help you. Jump Jane, jump through the window. Jane: No, no, no ah ah ah. Jane is controlled with a powerful strength. She shouts when falls down to outside of the house from the second floor through the window. Suspense music. Cut to: Scene 76: Day.interior.Baptist Church. Michael and Tom are sitting. Michael: Do you remember a little girl called Whitney?. Tom: (surprised) Whitney Chapman. She has come again, hasn’t it?. Michael: My wife is in risk. Tom: (wondering) I lived in your neighborhood 30 years ago. I saw her to die and It was hard to me. Michael: What can I do?. Tom: You have to understand she is not human. When she died, her spirit and soul went up to heaven. There are spirits that lives in some human bodies for many reasons . They were angels who served and were created by God. The leader of them was called the morning star, beautiful, perfect, and he was filled with music to exalt the mighty and the splendor of Creator. But he wanted like God and corrupted many angels, so they were fallen down of heaven. Here, they’ve taken the control of this world since the snake deceived Eve and Adam in Eden. Michael: Why I have to know about it?. I don’t see the meaning. Tom: The enemy is so astute, smart and so liar. He has power but Jesus came to flatten him at the Calvary. When you got her in front of you. Don’t hear your words. Remember, Jesus and his blood is so much power than her. Michael: You have to help me, please. It’s difficult to me to believe. Tom: (sees him) Let away the fear and believe. Cut to: Scene 77: Day.interior.bedroom.house of Jenny. Whitney watches the TV screen. She is sitting on the bed and feels something. She gets up and approaches to the window on second floor and sees Michael comes, driving his van. Tom is next to him. Suspense music. Cut to: Scene 78: Day.exterior.house of Jenny. Michael stops the car in front of the house and talks with Tom. Tom: You should have to get out your wife from that home. I wait for you here praying God saves from the devil. Michael: Yeah. I will do the dirty work while you pray. She can kill me. Michael takes a breath and lets away the fear. He goes to the door and knocks. Cut to: Scene 79: Day.interior and exterior.house of Jenny. Jenny opens the door and talks with Michael. Michael: Hi. Jenny: (serious) What are you doing here?. Michael: I am looking for you. There’s something I want you know it. Jenny: I am so busy. Whitney is here. Michael: (He is so afraid, and takes her arm). Let’s go Jenny. Jenny: Whitney, Whitney. I don’t wan to go. Whitney gets up so quickly the stairs so angry. Michael closes the door but an evil power pulls out the door. Jenny is obliged to get into the van. Michael: Come on Jenny. Be quiet. I am saving your life. Jenny: Let me out. Who are you?.( She looks Tom) Tom: A servant of God. Michael drives so fast away. Whitney sees them so angry. Cut to: Scene 80: Day.exterior.house of Whitney’s aunt. Michael knocks the door and the aunt, 50years old, opens it. Michael: (holds the arm of Jenny. Tom is back) Here, the aunt of Whitney lives. Jenny: (surprised). I don’t want to talk to her. She is so bad. Michael: You are the aunt of Whitney Chapman?. Aunt: Yes. (Smiles). Michael: Could we talk with you?. Aunt: Come in. They come into the house and she closes the door. Cut to: Scene 81: Day.interior.living room.house of Whitney’s aunt. Michael, Jenny, Tom and the aunt is sitting in the sofa. Aunt: Where did you know Whitney?. Michael: We are living in the same house, she lived. She had an accident 30 years ago. Jenny: (surprised to hear him). Thirty years ago?. Aunt: Yes. She lived there with her parents. Jenny: And she didn’t live here with you?. Aunt: No. Sometimes, she went here when her parents were fighting. She needed someone who loves her. Tom: Do you have any picture?. She takes a portrait. It has an old picture of Whitney. Tom gives to Jenny. Jenny: No.(shouts and lets to fall the portrait on the floor. It breaks into pieces). Cut to: Scene 82: Day.interior.door.living room.house of Jenny. Whitney is next to the stairs so serious. Whitney: They are coming. She gets up so quickly the stairs. Michael, Jenny and Tom are approaching. They see the door is pulled out, and then they come in until the stairs. Jenny: I am so afraid. Who is she?. Michael: Whitney. Michael and Jenny are here. We are a gift for you. Tom: (so calm).(With a bible on his hand). She will appear when you don’t think. Jenny: Whitney, come on baby, get down. Voice of Whitney: They want to hurt me. You are so bad. Jenny: No baby. We want to talk to you. Why you told me you were living in your aunt’s house, baby. The girls can’t say a lie. Whitney appears back to them. They are so scare. Whitney: I am not a liar. Don’t offend me. What did you think?. I haven’t finished with my revenge. This is my house and I give orders. You have to die. All of you. Tom: You are not Whitney. She is died. You are a devil with the face and the figure of Whitney 30 years ago. Whitney: (smiles) Oh. Tom. I see you again. Don’t believe in the words of this man. He is only a fool and the slave of God. Tel me what did you receive from him?. He couldn’t save my life in the corner. He lets the car takes out my soul. He gave me a mom and a dad that hurt me and made me cry a lot. They never loved me. Only take care of their money and funny every weekend outside with their friends. Tell me now Jenny, if you are happy with Michael. Jenny: I am happy with my husband. I love you so much. Whitney: (surprised) You are so fool. He is having sex with his secretary. Michael: You are a liar. You are so wrong. Whitney: Nobody is perfect. Dear. Don’t forget it. Jenny: I believe in one is perfect, created you and created me. Whitney: (shouts so strong) Ah Ah Ah. Ah ah . Jenny, Michael and Tom cover their ears with their hands. Whitney changes your little voice to a man strong voice. Whitney: This is the time you should die here. (laughs) Ja,ja,ja,ja. Tom: Jesus is here with us and you can’t touch our bodies. Tina is surprised to see the door pulled out and she gets inside. Whitney turns to her and runs and jumps into the body of Tina. Tina: (changes to man strong voice) I am so exhausted and I would like to kill them with my hands. She runs to the kitchen and takes a big knife to kill them. They elude her. Suddenly, appears the FBI Detective with a gun in his hand. He shoots to Tina in her arm. The knife falls down to the floor and Whitney gets out from her body to gets into the body of Jenny. She gets the knife on the floor and lances it to the arm of detective. The gun falls down to the floor and Michael gets the gun and aims to Jenny. Michael: Get out from the body of my wife. Jenny: (changes to man strong voice) You are not able to shoot this gun neither to kill your wife. You are a coward man. Detective: What’s happening here?. Why is she talking that?. Jenny: (jumps to detective and with her hands, tries to kill him taking his neck). Jenny wants to kill you detective. Tom: She is not Jenny. She is not Whitney. In the name of Jesus, get out of here. Jenny: No. I don’t want to. (Man strong voice). Tina: (crying) I don’t want to stay here. When Tina is getting outside, Jenny takes the gun in the hand of Michael and shoots to Tina. Jenny: Where are you going bitch?. Tina falls down to the floor outside. The detective kicks her hands and the gun falls down on the floor. Tom takes the right arm of Jenny and Michael takes the other arm. Detective: What kind of ugly thing you are?. Jenny: (spits on detective face) Are you going to have sex with me?. (laughs) ja,ja,ja. Tom: The blood of Jesus has power. Whitney jumps on the body of Michael to control himself so he beats the face of detective and Tom too. Jenny runs outside but Whitney gets out from Michael’s body and gets into the body of Jenny. She laughs and runs to the corner. Michael, Tom and The FBI detective get outside. Michael: Don’t, don’t Jenny do. I love you honey. Don’t do it. A car is approaching so quickly to the corner. Tom: You can fight Jenny. You can win. We can win. Jenny: (with her voice) Get away from me. (shouts). (She falls down on the floor and Whitney gets out from her body and runs to the street. The car crashes or tramples with her. The FBI Detective, Tom, Michael and Jenny look for the body of Whitney but they don’t find her in the street. Suspense music then changes to dramatic). Dissolve to: Scene 83: Day.interior.room.hospital. Jane is on bed with her eyes closed. Her arms bandaged and she has an orthopedic neck. Michael: She is in coma and the doctor doesn’t know how much time she is going to be that. Jenny: If you believe Michael. God can do a miracle. He really doesn’t the fault of all the misfortune of our lives. He is the light of the whole world and I know he is making something to your mom. Michael: It’s hard to trust in someone you can’t see but if you are so sure, I have to do an effort to believe. Jenny: Tina is alright and the detective too. We are lucky to get join together. Michael: (holds her with a smile and kisses her) I love you honey. Jane: (opens her eyes) I love you too Michael. Michael and Jenny surprised, smile. Michael: Mom. You are ok. Jane: Like a new woman so young. Jenny: (smiles) What was I told you?. Baby. Michael: I believe. (kisses her mom). Cut to: Scene 84: Day.exterior.house of Jenny. A truck is outside and three men get out the sofa and all the things to get into the truck. An old woman is watching outside her house. Michael and Jenny are outside too. Jane has an orthopedic neck without bandage on her arms. Also, She has a dish of cookies on her hands so happy. Jane: Would you like some cookies?. Michael and Jenny: No. Jane: Mrs. Lewis. Would you like it?. They approach to her. Old woman: I am going to miss you. (takes a cookie and eats them). Jenny: We are going to miss you too. Michael: A new fresh air in our life we need. Jane: I need too. That child makes me so hurt. Thanks to God I am living. It’s a fortune to be alive. Old woman: She won’t come again anymore. I am sure of that. Jenny: I hope so, but I prefer to live far away from the bad remembrance. Michael: Would you like to know our new house?. Jane and Jenny: I like that. Jane and Jenny get into the van and Michael drives the van. In the corner, they can see a little girl like Whitney. Michael stops his van and they wait she gets up her face. They take a breathe so deep to see she is not the bad girl. He drives away from house. The music is dramatic with suspense. THE END. THE CORNER Written by: Laureano Bonett Llach Cra. 73-81-118 Barranquilla,Colombia. laureanob12@yahoo.com cell: 575-300-8038449

GENRES: Action

"THE WATSON CASE". Written by Laureano Bonett Llach 1- Description of the project: "The Watson case", is a story to make a film about 90 minutes of duration. Genres: Action. The place of the story is L.A. in USA. 2- Synopsis: It's the story of Mirna Sanchez, a Latin journalist of Telenoticias Channel. She convinces to Bill Watson to get her an interview in the Jail but the father of the three guys, who Watson killed them while they were abusing him when he got 12 years old, Bob Raines with two mercenary men and a black woman kidnap Watson to judgment in the same house where he lived and obliged to remember the sexual game that kids played with him but, Mirna and Alberto, her camera man, rescue and carrying him to a motel. Peter and Danny got them there too. They are two crazy fugitives from justice who escaped from jail. Now, they want to kill Watson in that room after to burn black woman, into the car of Bob Raines, then Peter shoots to Bob with his gun while he gets Watson in his hand. Alberto gets the gun of Bob Raines and shoots to Peter on his arm. The police cars arrive there so they capture two fugitive men with Bob Raines. Later, Watson gets out from the jail, three years after, falling in love with Mirna. 3- Principals personages: 1- Mirna Sanchez: She has 30 years old. She is a beautiful latin and so smart woman. Also, she can do all the things to get her purposes. 2- Alberto Perez: He is tall with muscles. He is the camera man and Latin too. Also, He supports the ideas of Mirna. He has 25 years old and so smart too. 3- Billy Watson: He has 30 years old. He is so timid and so friendly. Also, he is regretted to have killed three young men. 4- Claudio Molina: He is the TV editor. Sometimes, he is so cowardly in difficult times. He likes to be in the place of the action. Also, He is so friendly with Mirna and Alberto. He has 25 years. 5- Juan Ortiz: He has 50 years old. He is the director of Telenoticias Channel and he looks like so elegant but, he is so cowardly too and doesn't like to be in the place of action. Also, he likes to impose his thought and authority. 6- Bob Raines: He is the father of three kids that Billy killed. He his tall, strong because he worked in the army of USA. He breaths hate in all his body and nothing can't stop him to kill Billy Watson. He gets two mercenary men and a black woman to accomplish his revenge. SCREENPLAY "THE WATSON CASE" BY LAUREANO BONETT LLACH Scene 1: Day.interior and exterior. Helicopter to jail. A helicopter is approaching to jail so up in the air. The sound of its screw propeller we can hear. Cut to: Scene 2: Day.exterior.backyard.jail. The prisoners see the helicopter on the air flying over the place. Cut to: Scene 3: Day.exterior.platform of a building.jail. So up the helicopter arrives and gets down to the platform of the building. Mirna gets out and the Director of the Jail, 50 years old, receives her with two guards. They have rifles in their hands. The Director smiles to Mirna and he guides her inside. Cut to: Scene 4: Day.exterior.backyard.jail. The prisoners with their uniform, orange color, see the helicopter on the platform of the building. Peter and Danny look each other then to the guards all around of the backyard. Cut to: Scene 5: Day.interior.hall.building of the jail. Mirna walks with the Director of the Jail and two guards who get guns in their hands. Director of the Jail: (Smiles) It's a pleasure to meet the most outstanding woman of Latin Journalism in America. You are welcome to my Jail. Mirna: (Serious). You are so kind but I need all the things to talk with your prisoner. Watson. Billy Watson. Director of the Jail: (He stops to walk and sees her). Mrs. Sanchez, are you sure?. He is so dangerous. A man who killed three men and cut their penis with his teeth. Mirna: Could I call to the Mayor of L.A. to do that? If that's a problem, I am not afraid from him Mr. Grant. What do you say? Director of the Jail: (Serious). If you want that Mrs. Sanchez, follow me. You can't threaten me with the Mayor. You want the fire. I advised you. I don't want to see your skin burned with that fire. Mirna: You are so kind Mr. Grant. I won't forget your advice. (Mirna sees him so serious, then she smiles and walks back him. The guard opens the grates and closes with the keys after Mirna and The Director of the Jail get into the place). Cut to: Scene 6: Day.interior.cell of Watson.jail. The guard opens the grates with his keys and Billy is sitting in the bed reading the Bible. He takes off the lens and gets up. Mirna sees him and smiles. Director of the Jail: (Serious). Mr. Watson. This is Billy: (Interrupts him) I know. She is Mrs. Sanchez. Mirna Sanchez. I am so glad to meet you. Mirna: I see; you know me so well. I am here to meet you and ask you a favor. Billy: A favor?. I can get all the favors that a pretty woman wants to give her. Mirna: (Smiles) I know you can do it. I would like to talk to you alone. Director of the Jail: (Mirna and Billy see him. He gets a bad face). But Mrs. Sanchez. I can't let you alone with this man here. You can talk to him with my company. Mirna: (Approaches him so serious) You have to let me here with Mr. Watson. I need to talk to him and I am not afraid of him. (The guard aims him with his gun). Director of the Jail: You should do. You are my responsibility. Billy: Come on Mr. Grant. I can't break her neck in front of you. (He is so serious then smiles with Mirna). Director of the Jail: (Tells to the guard). We can wait outside. (The guard closes the grates of the cell). Mirna: (Smiles and sits in the bed near Billy). Now, we can talk. I am going to purpose to make a TV program here with you, telling the truth to all the people. I want to hear the truth too. Face to face with a TV camera in front of us. Billy: (Thinks) You need a TV show with me. I can understand. Mirna: I am interesting in your story for the absolution you received it from the Mayor of L.A. Specially, the change in your personality. Billy: (Thinks. She gets up from bed). My life was so hard and It wouldn't justify that I did. I am regretted. Mirna: I can see it in your eyes, so I need you can tell that on TV. Billy: I can tell that God preserved me from death. This is not a problem to me. If you need more rating with your TV show you can bring the TV camera here. Mirna: (Jumps so happy) You make me so happy and I am sure you are not going to repent to give me the exclusive. (Mirna gets out of the cell and the guard closes the grates then he sees Watson reading the Bible sitting in the bed). Cut to: Scene 7: Day.interior.office of Director.jail. Mirna is standing in front of the Director of the Jail. He is sitting in a chair. Director of the Jail: (He is so nervous and gets up of the chair). You are making me crazy with your stupid TV show. This is a jail, don't forget this. You can't do all you want and break all the security system in this place. Mirna: I need you move all your men in this jail. Tonight, I am going to make a show with Billy Watson and nobody, listen so clear, nobody can't stop me with stupid excuses. I don't know anything about how you manage this place. Don't bother me with the things I want to do if you don't want have any problem with the Mayor. Director of the Jail: (Shouts) Don't threaten me with the Mayor. You can't tell me the things I must to do. Don't cry anymore if you want to get a show here. Do it. I am warning you and you don't want to hear me. Mirna: I'd appreciate to let me work so free. Thanks. (She gets out of the room and the Director of the Jail breaks a pencil so angry). Cut to: Scene 8: Day.exterior.platform of the building.jail. The pilot of the helicopter turns on it and Mirna approaches and gets in next to him. The helicopter gets up and gets away. In the yard, the prisoners see it, especially Peter and Danny. They are 30 years old. Peter: Did you see that? Danny: I saw it Peter and I know that you are thinking. I like your idea. I taste it and I like it. (Peter smiles). Cut to: Scene 9: Day.interior.room of edition.Telenoticias Channel. There are many TV screens and the control of edition. In each TV screens, the face of Mirna says in Spanish words about the interview with the images of Billy Watson in prison. Voice and image of Mirna on TV screen: No se pierda esta noche la historia de Billy Watson, el hombre que fue perdonado por el alcalde de Los ￁ngeles de ir a la c￡mara de gas por haber asesinado a tres hombres y haberles cortado con sus dientes sus miembros viriles. Solo por Telenoticias Channel. Las noticias de Am￩rica y todo el mundo en espa￱ol. Mirna: (She sees her images on TV screens and smiles). Yeah. It's ok. I like it Claudio. Claudio: (He is sitting in a chair in front of TV screens). If you want any change, you know I can do all the things you want Mirna. Mirna: No. (She kisses his head) You are so wonderful. You are a genius of the image. You know I like to work with you. Our Latin people in America are putting their eyes and ears with this great story. So, I need to see Alberto. Claudio: Alberto is in the office of Mr. Ortiz. You missed the meeting. Mirna: (Worried).Ah, I forgot it. Our Chief must be so angry like a hungry lion. I need to get an excuse. Claudio: (Mirna is getting out of the room). It's easy for you to get it. Conquer him with a kiss. Mirna: It's a great idea. (Claudio smiles and searches images with the control of edition). Cut to: Scene 10: Day.interior.hall.door.office of the Chief Telenoticias Channel. Alberto gets out of his chief's office and stumbles with Mirna. The door has a notice: "Management, Telenoticias Channel". Alberto: (Surprised). Mirna!. Where were you?. The Chief is annoying. Mirna: Excuse me. I forget it and you know I don't want to give excuses. Alberto: The other channel is showing the protest about the indult of Watson case. Mirna: (Surprised then she smiles). You can run with your camera. I was in the jail and I got the exclusive. The story of Billy Watson and I can use the protest outside to make a big and a great story. Alberto: (Smiles). It's so great. Well, this could change the face of the Chief. I hope that. Mirna: Claudio made the TV commercial. You can go there to record some images from the protest and I can talk with our Chief, taking a deep breath. Alberto: Yeah, see you later. Mirna: Tonight is the show. Don't forget it. Alberto: Ok. Good Luck. (He gets away and she opens the door of the office and gets in, then closes the door). Cut to: Scene 11: Day.exterior.gates of the jail. The people with bill-board say: "Kill to Billy". Another: "Don't indult the Assassin". Other: "Cut his head with teeth" and "Watson is dead". People say so angry: Kill the Assassin. Billy Watson should die too soon. Then a car exploits and burns two people with flames. They shout and two men help them with their jackets to extinguish the fire on their bodies. Alberto arrives there in a taxicab. He records the images with his TV camera. Cut to: Scene 12: Day.interior.office of the chief. Telenoticias Channel. Mirna is sitting in front of the desk, looking her chief. He is sitting too so serious with angry in his face. Juan: Mirna, you can't do all alone. Don't forget, I decide the contained of the news. I know you are my best journalist but you are not indispensable. Mirna: Yeah, I know but I told you I was going to get the story of Billy Watson. Juan: And I know you got it. Smile please. There is nothing to stop when you desire something. I support you and I really know you are going to get a success with that interview. I hope so. Only I ask you to get inquire in Watson personality to show the truth. Mirna: Yeah. He looks like another man with other heart and mind. Juan: Don't forget dear Mirna, this kind of people usually lie or have two faces. Don't let you deceive. He is so smart and our mission is taking off the mask. The question is when he gets out of the jail could kill again. Mirna: I am going to get a support of psychologists tonight. Juan: Well, you have so much work to get all ready. (She smiles). Good luck. Mirna: (She gets up and smiles). Thanks. Mister Ortiz. No lo voy a defraudar. (She gets out of his office and he turns on TV with its control. He watches the protest in front of the jail and the images of the car exploited. Also, sees the name on the screen: "Telenoticias Channel"). Voice of a journalist man: Aun siguen las protestas frente a las instalaciones de la c￡rcel municipal en Los ￁ngeles por el caso Watson. Un carro exploto y dejo heridos a dos manifestantes. Cut to: Scene 13: Day.interior.cells.jail. Peter is in his cell, in front of the Billy's cell. Danny is in the next cell to Watson. Peter: (He talks with envy). Come on Watson. The Mayor saved your life and now a journalist woman is looking for to show your story on TV. What are you going to tell her? Are you going to make all the people cry in front of TV screen?. (He cries to make fun of Watson). I am so sad to all that I did. I am not the man that I was. I swear. (Laughs). Danny: Watson is going to go from here a few years. You can help us to get out from this hell. We are innocent like you are. We are a victim of our passions. This world waits us to share the happiness and the freedom. Come on Watson. You can't talk any damned word. (He is so angry). Billy: (He reads the Bible sitting in the bed). Don't be jealous friends. (He gets up and approaches to the grates). Jesus can change all your life when you learn to bend your knee. Don't pay to be so bad only to be so good, so you can go to heaven with the angels. Peter: Be quiet Watson. Don't say stupid things in our ears. We don't believe the words you say. I hate your face Watson so, you can't get away from here without taste a beat of my strong hand. Danny: Come on Peter. I want to see how break the bones of his stupid face. Nobody can save you anymore Watson, any Angel from heaven, any devil from hell. Come on, you can suck my long penis or seize it with your teeth. (He laughs with Peter). Peter: Come on Danny. I want to see how you do it Watson. (Laughs). Come on guards. Open this cage. Watson got a need to supply. Guard: Shut up. (He beats the bars of the grate with his lace-bobbin). Both of you. Danny: You are going to protect him too?. Peter: He is a garbage. Now he thinks he is a star because a journalist woman is going to get an interview on TV. Danny: We can be a star too Peter. We can tell our stories to show on TV like Watson. You are so smart, eh so, you can get out of here so quickly when you want. Guard: Don't bother anymore to Watson. (Billy sits again in the bed to read the book) He is a new man, isn't?. Billy: Some people didn't believe in what they saw but only they will do when they learn these words. (Showing the Bible). I pray for your souls everyday to get escape from hell and the fire that never extinguish. Peter: You are a crazy man. Later, we can watch you on TV telling stupid things that nobody can understand. Danny: Yeah. He always says stupid things. (The guard beats again the cell with his stick of wood). Cut to: Scene 14: Day.interior.room of edition.Telenoticias Channel Alberto gets into the room carrying the video cassette in his hand, and then he takes it to Mirna. Alberto: I am ready. All the equipment is in the van. Mirna OK. We need to go before the dawn to get the connection. I am ready too. (He smiles). Cut to: Scene 15: Day.exterior.TV channel.street. The van arrives to the principal door of Telenoticias Channel and Mirna with Alberto get out from that building and get into the van. Claudio drives the van so gets away of that place. The music of the scene is pop and continues to scene 16. Cut to: Scene 16: Day.interior and exterior.van.street. Claudio drives the van. Mirna and Alberto are in the back seat so serious. They put in their pocket the ID from Telenoticias Channel. The van gets away in the streets. Cut to: Scene 17: Night.interior.room of meeting in the jail. Alberto puts the camera on the tripod in front of two chairs, behind there is a flag of USA, then he puts a tripod with a spot light near of the chairs. Mirna: (She gets in). We are ready. The guards are going to bring Mr. Watson here. Alberto: Yeah, it's ok. We start in five minutes. Don't forget it. (He sees his wrist-watch). Cut to: Scene 18: Night.exterior.house.street. Bob gets into the black large van with Brandon, Devin and Jodi. Two men with the girl got 30 years. She is black with short hair. Bob drives it away so fast. The music is dramatic to scene 21. Cut to: Scene 19: Night.interior.cell.jail. The guard opens the cell and Billy gets out so the guard closes the cell then both walk through the hall. Peter and Danny see him to get away of the hall. They have a bad face of envy. Cut to: Scene 20: Night.exterior and interior.black van.street. Bob drives the black van, next to him, Jodi. Brandon and Devin are in the back seat. They get in their hands guns 38 mm and machine-guns. Cut to: Scene 21: Night.interior.room of meeting.jail. The guard walks near of Billy, both get into the room of meeting. Mirna smiles him when he sees the lights and the chairs in front of TV camera. Alberto smiles him too and moving his hand to salute. The guard stands on the open door. Cut to: Scene 22: Night.exterior.jail. The black van arrives to the jail. Bob stops it then Brandon, Devin and Jodi get out so armed with long and short guns. Bob: (He sees the jail so rude). I am ready. Jodi: Come on guys. The show waits for us. Brandon: I want to be there to start the show. Devin: This is a great surprise to that man. Cut to: Scene 23: Night.interior.room of meeting.jail. Mirna is sitting in a chair next to Billy too. Alberto is next to the TV camera on tripod and a big TV screen. The guard armed is next to the open door. Mirna: Welcome Mr. Watson to our meeting. Now, we are in a special room in the jail of L.A. to cover all the story of Billy Watson. Billy: It's the first time to be in front of TV camera to tell that I was wrong. (Nervous). Mirna: It is ok I understand. First, you can tell us how did they hurt you?, about the Raines Family. Why did you kill Bob's Kids?. Billy: Mister Bob Raines was a father to me when he adopted me as a son. I got twelve years when I lost my parents in a car accident. Their sons: Michael, Steven and John had 14, 15 and 16 years old. FLASH BACK TO THE PAST. (Michael, 14 years, closes the door of the bedroom then Steven and John approach him. Billy, 12 years, next to them with so afraid). Steven: We are going to play with Billy to be a doctor. John: And you Billy, you are the patient. (Michael pushes Billy to the bed and takes off Billy's clothes). Michael: Come on, Billy. Don't be afraid. It's only a play like the video tapes of Dad. (Steven, John and Michael take off their clothes). Billy: No (Afraid), No Michael. Don't do it. No please. (He shouts). END OF THE FLASH BACK Mirna: How many times did they abuse you?. Billy: (With cries in his eyes). Until I got 16 years. (Alberto sees him through the TV screen). Cut to: Scene 24: Night.interior.principal gate.jail. Bob with Jodi, Brandon and Devin shoot against the guards of the jail. They died to try to kill them and their bodies, almost 30 guards, fall down on the floor. The music of this scene is dramatic and continues to scene 27. Cut to: Scene 25: Night.exterior.platform of the building.jail. The helicopter arrives to the platform of the building and the Director of the Telenoticias Channel gets out of the helicopter to get into the jail. Cut to: Scene 26: Night.interior.cells.jail. Peter has a little hook in his hand and tries to open with it the lock of his cell but the guard walks through the hall. Peter stops to work in it and hides the hook. Cut to: Scene 27: Night.interior.Director's office.jail. The alarm of the jail sounds and the Director gets up of his desk with so afraid. He was watching the interview with Billy on TV. Bob and Jodi, Brandon with Devin get into the office and aim him with their guns. Director of the jail: What's happening here?. Who are you?. Bob: Do you remember me?. Director of the jail: (He thinks). Ah!, you are. Bob: Mr. Bob Raines and I am here to visit Mr. Watson. He is still here, isn't?. (They watch on TV the image of Billy and Mirna). Image and voice of Mirna on TV screen: Nobody can't help you?. Could you tell this to Mr. Raines, Bob Raines?. Billy: I can't. They threatened with death if I told something to somebody. (Bob is so angry then shoots to the TV screen. It exploits and the Director of the jail gets so afraid). Cut to: Scene 28: Night.interior.cells.jail. The guard 2, walks through the hall when the alarm sounds to all the jail. He is scared when sees Peter's body suspended by the sheets in his cell. The guard opens it so quickly with nervous but Peter jumps over him, then takes his gun and shoots to the heart of the guard. He takes the keys when gets out of his cell and helps Danny, open his cell with the keys. Danny smiles and kisses him so Peter pushes him away. Peter: (He is so angry). Ah, don't fill me with your spittle. Danny: I knew, you didn't go away from this hell without your friend. You are so kind, Peter. (The other prisoners shout). Prisoners: Hey, open my cell, please. Peter doesn't be so bad. Open it. Peter: (He is so angry). Shut up all of you. Don't bother me again stupid prisoners. Danny: Yeah, corrupt you in the hell. We are going to the paradise again. How do you see it?. We are free again. Prisoners: Both of you are damned. (Danny laughs then walks back to Peter). Danny: Don't be so hurry Peter. How do you suppose we can get out of here?. Peter: Use your imagination Danny. Your mind. Danny: What?. (He is so confused). Cut to: Scene 29: Night.interior.room of meeting.jail. The alarm of the jail continues sound. Mirna talks sitting in a chair next to Billy. The Director of Telenoticias Channel gets into the room and the guard aims him with his gun. Billy: They hurt me so much so I was growing with hates in my heart. Juan: I am her Chief. (He says it to the guard). (Mirna moves her hand to the guard so he puts down the gun). Cut to: Scene 30: Night.interior.room of edition.Telenoticias Channel. Claudio is sitting in front of edition control. There are many TV screens with the images of Mirna and Billy. Images and voice of Mirna on TV screen: I know you were unhappy living there but you didn't try to run away?. Did you think that possibility?. Images and voice of Billy on TV screen: I thought it sometimes but they advised me not to do it, because they were looking for me to hurt. Images and voice of Mirna on TV screen: But, if you had told that problem to Mr. Raines, he could had done something. Images and voice of Billy on TV screen: I don't think so. He couldn't have done something for me because he never believed in my story. Cut to: Scene 31: Night.interior.room of meeting.jail. Mirna and Billy talk sitting in the chairs. Alberto is next to the TV camera on tripod. The alarm of the jail sounds then Bob shoots to the guard next to the door of the room and Billy sees Bob with so afraid. Mirna loses her control. Bob: I don't believe in your story Billy Watson. You killed my three Childs so you have to die for your crime. It's the Justice and I am the Judge here. (Bob, Jodi, Brandon and Devin aim him with their guns. Mirna can't understand like Alberto). Mirna: Please, we are on air. You have to respect the testimony of my interviewer. Mister Watson is only the victim like many young people and children in the whole world are suffering and living this same case. (She gets up to tell it. Her chief is so afraid of them). Bob: You can't tell me anything about this problem. Now, we are here to make you pay for all your sins Mr. Watson. He wants to be like a little sheep. Billy: Mr. Raines. (He gets up but Bob pushes him to sit down) I didn't want to do it. Bob: Oh no!. Who told you can kill them?. The devil inside in your mind or your black conscience?. Mirna: Come on Mr. Raines. Who are the killer?. You killed the guard right now in front of TV camera and many men to stay here. (She gets up from chair). Bob: Be quiet lady. You must to stay in silence to hear the true story of Mr. Watson. Why did you wait so much time to kill my sons Mr. Watson?. Come on, could you explain us?. You can tell us. Billy: (He takes a breath). I moved to an apartment of a friend when I was 20 but they followed me to that place and tried to do it again but I was filled with angry. FLASH BACK. Michael: (22 years old). Hi Billy. We are going to play the game. The same play again with you. Do you remember?. Billy: (20 years). Get out of here. (He is so angry, takes a clasp-knife but it falls down on the floor). Steven: (23 years). You can't run away Billy. Enjoy it with us. John: (24Years). Now you are living with a man here. It proves you like to do it. You must to get the play with us too. (John pushes Billy to bed so he gets up so fast and cut the penis of John with his teeth then the neck of Michael with the knife. Steven beats his face and John tries to open the door of the bedroom but he can't because feels so nervous without strength. Billy cuts Steven's heart with the knife and runs to push the knife into the John's stomach). John: (He shouts). No Billy. Don't do it, no please. (He falls on the floor died and Billy sees his hands with blood, his mouth and lips are dirty with blood too.). END OF THE FLASH BACK. Present time. (Bob aims the head of Billy with his gun. Jodi aims to the Director of the jail. Devin aims to the Director of Telenoticias channel and Brandon tries to abuse of Mirna). Bob: (He is so angry). You lie, damned dog. Do you know a pray to tell it in front of millions people that are watching you on TV?. Brandon: Chief. You can give me, like a gift, this pretty woman to make the love with her. Mirna: Let me alone, dirty man. No te me acerques ni me toques. Alberto: (He runs to Mirna so angry to defend her). Get away from her; o te quieres morir ya mismo. Brandon: What do you say?, indio latino. (He beats Alberto's face with so angry then Alberto beats his face. Brandon aims Alberto's head with his gun and Mirna hugs Alberto). Mirna: Don't shoot him, please. We can do all you want. (Alberto sees him with hate. Brandon smiles). Brandon: I know you will do what I want. I know. Cut to: Scene 32: Night.exterior.platform of the building.jail. Peter and Danny look out their heads next to the door and see the helicopter. They laugh and get out, shooting to the pilot. The alarm of the jail sounds. Cut to: Scene 33: Night.interior.room of meeting.jail. Jodi and Devin get the arms of Alberto while Brandon beats Mirna's face. He takes off her blouse and kisses her teats. The Director of the jail and the Director of Telenoticias channel see each other. Bob aims to Billy with his gun. Jodi and Devin laugh and Mirna shouts. Mirna: No please, get away from me, animal estupido. Degenerado. No mas. Billy: Let her alone, please. You come here for me. Bob: Have you seen a play with a man over the body of a woman?.. No, only you like to play with men. Billy: (He is so angry). You don't know anything about me. Sometimes, I think you knew always your sons were treating me. Would you enjoy to see them to play against with me?. Bob: (He beats Billy's face). You can't say any word assassin. Today is your last day. (Billy gets up and approaches to Mirna so quickly to help her. He beats Brandon's face then his stomach too. Brandon with angry shoots and Billy evades the bullet. The Director of the jail receives the shoot in his arm. It hurts him and gets down on the floor. The Director of Telenoticias Channel helps him). Juan: Please, stop this war here. You have damaged all the TV transmission and all the police are waiting for you outside. Bob: You are wrong man. We are several tickets to get out from here. You and your beauty Mrs. Sanchez. I am so smart little man. Could you pay for your life right now?. (He aims to Juan with the gun). Alberto: You can't get outside alive. Lo comprendes cabron?. Bob: You will see it. Peace of shit. Cut to: Scene 34: Night.exterior and interior.platform of the building.jail. Peter and Danny are in the helicopter but they are worried. The alarm of the jail sounds. Peter: Damned. You don't know how to fly. Danny: No, I thought you were the master man. You can tell me how to move this shit Peter. Peter: Someone is approaching Danny. Shut up idiot. (They hide to the back side of the helicopter. Bob aims to Billy with his gun, also Jodi with Mirna, Brandon with Alberto, who takes his TV camera, and Devin with the Director of Telenoticias Channel. They approach to the helicopter and Bob wants to be a pilot. All get into the helicopter, so they discover Peter with Danny. They aim with their guns. Jodi is next to Bob). Brandon: Bob, here there are two vagrants. Come on boys, I want to see your hands. Come on, don't be so afraid. Bob: Get out of here right now. I am sorry guys. This matter is personal. The time is so short to the judgment. (Brandon and Devin push out Peter with Danny from the helicopter. They shout when the helicopter starts to rise from the ground). Peter: Hey. Don't be so selfish. We can run away together. I hate those men. Danny: (He is so sad). I don't want to stay here in this hell anymore. I don't belong to this place. (Peter holds on the base of the helicopter and Danny makes the same and laughs). Peter: Hold on so hard Danny. Danny: Ja, ja, ja. We are free Peter. We are free. (The helicopter flies away from jail). Cut to: Scene 35: Night.exterior.jail. The police cars arrive to the jail and they approach to the door with their guns and get into the place while the helicopter flies away. Peter and Danny hold on the base of the helicopter. Cut to: Scene 36: Night.interior.helicopter.air. Bob is the pilot and Jodi is next to him and kisses him so happy. Brandon and Devin aim with their guns to Mirna, Billy, Alberto and Juan. Mirna: Where are we going to?. Bob: In a place far away from the police. There, we can keep talking the same thing. Jodi: I'd like to hear the judgment of Billy Watson. Dear, I hope a long sentence to the killer. (She laughs. Bob smiles). Bob: I hope so darling. I hope so. (The helicopter flies away on the air). Cut to: Scene 37: Night.exterior.Building.Telenoticias Channel. Claudio gets out from the building and gets into his car with a TV camera. It's an old Porsche. He puts his TV camera back so he can drive away from that place. Cut to: Scene 38: Night.exterior.abandoned factory. Outside the city. The helicopter arrives near the factory. Peter and Danny jump before it takes the ground and run away, then they hide in a building near the factory. Bob with Jodi and Brandon, Devin, Mirna, Alberto, Juan, Billy get out of the helicopter. Alberto takes his TV camera. Bob: Get them into the factory. We are going to play this game until the dawn. Brandon: Yeah. I like it Bob but Mrs. Sanchez is mine before the dawn. (He smiles her and Mirna is so afraid). Come on. Move!. Move!. Jodi: (Outside with Bob). We are going to kill them here?. Dear!. Bob: (He kisses her). After the judgment. Nobody can stay alive. Cut to: Scene 39: Night.interior.abandoned factory. Billy and Mirna are worried with Alberto when see two chairs in front of a tripod and a big screen. Alberto takes his TV camera on his hands. Brandon sits Mirna in a chair and Devin sits Billy too next to her. The Director of Telenoticias Channel is so afraid while Brandon and Devin aim to them with their guns. Bob and Jodi get into the old factory smiling. Brandon: You can put your TV camera on the tripod. Stupid Latin. (Alberto obeys him). Bob: Yes, Sirs and Madam. We are going to record all the Watson case in this place with TV camera to get all the Latin and American audience in their sits watching the public death of Billy Watson. (Mirna sees Billy with so afraid. He keeps the calm). Cut to: Scene 40: Night.exterior.abandoned factory. Peter and Danny talk so hide. Peter: This is our opportunity to exploit this place. Danny: Yeah. I want to see Watson dies in the flames. We can loose it. Peter: This is our revenge. I always hate his face. Danny: Wait Peter. How could we exploit this place?. We are here like a desert. This is a Sahara. Peter: Use your imagination Danny. Start to search anything. Danny: Anything?. Are you crazy?. You are insane man. The desert is making you an insane. We can do magic in this place. (They try to search anything in all the place ). Cut to: Scene 41: Night.interior.abandoned factory. Mirna and Billy are sitting in the chairs in front of TV camera. Bob, Jodi, Brandon and Devin listen next to the Director of Telenoticias Channel. Billy: You have to go away them. I want to get a deal with you if you let them away. After the judgment you can kill me here but you must to promise me you let them go away. Mirna: (Bob smiles). You are so insane Mr. Raines. You don't have a justice in your hands. Do you want to become a rude criminal?. Do you want to pass all your life in the jail or to give a sentence of death?. Alberto: That man doesn't have a brain. His heart is like a rock so hard that couldn't see the reality. You know you can die here when the police come to this place. All of you won't go to escape from here. Bob: Shut up son of a bitch. Now, starts the judgment. Juan: Come on Mr. Raines. It's ridiculous. You are a smart man. Jodi: (She aims to Juan with the gun in his mouth). You want to die right now old man. (Juan shivers and cries). Here, both of you can do all that Bob wants to. Nobody can help you or can hear you. (She smiles). Brandon: Come on Bob. I am so sleepy and in my dreams I see Mrs. Sanchez without clothes waiting for me in a large bed. (He smiles her but Mirna is so angry). Do you like to be alone with me pretty woman?. We can dance Salsa or cha cha cha under the white and smoothly moon. What do you prefer?. Eh!. Devin: She doesn't want to speak any word to you Brandon. She hates you, I see it in her eyes. Don't waste your time for a stupid Latin girl. Maybe she is so high for you. Only we can see on TV always at night speaking stupid and foolish words we can not understand. Alberto: (He moves his head to Juan). We are an impediment for all you desire to do here. Come on, you are so smart Mr. Raines. Juan: Yeah. We can't talk about your plans if you let us free. The problem is only with Mr. Watson. He is here in front of your eyes and you can do all you want to him. Please, let us to tell him goodbye. It was a pleasure to meet him. Yo quiero seguir viviendo. (He is crying). Tengo familia e hijos que alimentar, por favor. I want to live. Mirna: (She gets up). Yeah. You win Mr. Raines and you got what you have been looking for. Please, we can give you so much time to run away for another country or move until the moon if you want but please, let us free. Far away from the dreams of your man. (She sees Brandon). Brandon: What happened with my dreams?. Bitch!. You don't like it?. Finally, you have to accept my proposal. Alberto: Eh!, (He sees Mirna). She is joking, a little joking. Playing a game. Ya tu sabes. Brandon: I would like to play the game with you, Mrs. Sanchez. (He takes her arm so hard. She hurts him). Bob can't do all you want. We come here for a purpose to kill Mr. Watson with all the witness and I see three. Devin: Don't forget the TV camera. Now, we have four. Jodi: I am so boring to see this stupid picture dear. (She aims to them with her gun). Who is going to be the first to kill?. The time is running and I can't wait anymore. (Alberto, Mirna and Juan see each other with so afraid). Bob: I am thinking. Who do you choose?. Jodi: (She thinks moving her gun). I like, (She thinks) the old man. (She aims to the Director of Telenoticias Channel). Because, he has a stupid face and soon or later he should die so he has many years on his skin. (She approaches to him) Do you want to be first, old man?. Or be the last one. Juan: (He is so afraid with sorrow). Please, I have three sons and a daughter. A young wife is waiting for me at home. Don't kill me. I didn't make you anything too bad. I am so innocent (On knee), please for God. I got so many responsibilities and so much time to live. I would like to see my grandsons to grow next to me. Don't break my heart of pain. (Jodi beats his face with her gun and breaks Juan's lips. He sees blood on lips with his finger). Jodi: I don't like men without brave. You are a stupid man, chicken man. Brandon: (He sees his watch on pulse). It's going to be the dawn in a few minutes. Don't think so much Bob. Remember, I like the woman. My penis is so excited for her. Mirna: I got some loathsomeness nightmares in my life and you are the one. Brandon: I take that as a accomplished. I understand like you meant to say. Mirna: Thanks to God. I thought you didn't have a brain. Alberto: Shut up Mirna. They can kill us immediately. We want to live not die. Mirna: I can't shut up my mouth. He is so dirty and I don't support this anymore. I'd prefer to die before to make the love with the beast. Devin: Ah, I heard. (Surprised). Kill all the people Bob. (He is so angry). They are playing with us. Don't have mercy, don't have it. (He aims to them with his gun). Cut to: Scene 42: Dawn.exterior.factory. Peter is holding with Danny a plastic tank filled with gas oil. They are approaching to the door of the factory. Peter: What did I tell you?. Danny: You have a big imagination. We are lucky to search in this desert a tank filled with gas oil. Peter: It will be so funny to see how they burn inside. Danny: Yeah, it will be a great show to record. It's a crime not to have a video camera. Peter: It is not a problem. The images will be record in our brains. I am sure of that. Danny: Wait Peter. Do you hear that?. The police!. Peter: (He stops to walk). No. The police is so far away from here. (Several police's cars are coming to that place and they are shivering with so afraid. They let the tank to fall down on the ground and the gas oil is running next to the door of the factory when they are walking so fast away to hide. The police helicopter flies over the factory with a spot light). Cut to: Scene 43: Dawn.interior.factory. Mirna is standing on feet with Alberto. Billy is sitting in the chair and the Director of Telenoticias Channel has a lip broken with blood. Devin, Brandon and Jodi aim to them with their guns. Devin: Did you hear something outside?. Jodi?. We are alone Devin. You must be so sleepy. Brandon: I smell the police here. I can feel them. Bob: Nobody can find us. It is a hidden place. We are save here. Voice of a police man outside: We are the police. Get out of here with the hands on the air. Come on, move!. Devin: (With so calm) What did I tell you?. Brandon: I knew it. I can feel them on the air. Jodi: Bob. What are we going to do?. This place doesn't have a back door. Bob: Breath some air and shut up. They can't do anything to hurt us. (He thinks) Devin, get out and talk with the police. We need to go outside or tell them we can kill the people inside. Come on Billy, be next to me. (Billy gets up and approaches to him). Jodi: Wait Watson. Where are you going?. Stop Devin. Do you have a plan?. Bob, you know this man can't think something different to women. I can talk outside and get all we need with those police men. Bob: Jodi, you are smarter than Devin I know that but he can negotiate with them. I'd prefer to go outside Devin. Later, you must to understand. Devin: I want to see how smart you are Jodi without the sheets of your bed. (He is so angry). Would you like to get all I have between my legs?. Jodi: Stupid man. You want to die right now. (Aims to him with her gun). Bob: Stop fighting. Devin, go outside. Jodi: Let me go outside Bob. (He obeys Bob. Jodi sets fire to a cigarette and puts it on her lips. Mirna sees to Alberto). Cut to: Scene 44: Day.exterior.factory. Police cars are around of the factory and the police men have a gun in their hands aim to the factory. Devin gets out with their arms so high then Jodi gets out too, smoking. Devin: We need to talk.(He doesn't like to see her). Jodi: Don't shoot. Devin: Don't kill us. We have four hostages inside. I am the man so I can talk to them. I don't need your help Jodi. Jodi: Shut up. We need two cars and a new cell phone to contact the Mayor. If you let us get away to another country we won't kill anybody. Chief of the police: (He takes the cigarette on Jodi's lips). Come on, extinguish the smoke. I want to talk with a man. (Devin sees Jodi with a smile in his face). Jodi: (She talks with angry). Do you have anything wrong with women?. Are you a gay man?. Chief of the police: (He talks with angry). Don't offend me. I represent the law. You must have to respect me. (The chief of the police throws the cigarette so the fire starts near the door for the gas oil on the ground. Jodi runs away and gets inside to the factory but Devin is standing, seeing the Chief of the police runs with his men away until the flames touch the tank of gasoline then it exploits in front of the factory' door and all the police cars exploit too. The Chief of the police with his men are throwing on air for the outburst. Peter and Danny see each other amazing while they are hidden. The body of Devin burns of fire. He shouts of pain). Cut to: Scene 45: Day.interior.factory. Jodi is on the floor for the outburst. Mirna is so afraid next to Alberto. He holds her. Billy is next to Bob with The Director of Telenoticias Channel. Brandon: (He helps Jodi). You are ok?. Jodi: Let me alone. He is a stupid police man. (She is so angry). Brandon: (He is so sad). Devin died in the flame. I am going to miss him. Bob: Jodi, I told you that later you will understand. (She can't understand). This is the time to get outside. Jodi, get a car with Brandon. You can kill Mrs. Sanchez with her camera man and The Director of Telenoticias Channel too. We will get in touch. Jodi: It's a pleasure to me. Now, I have the power of their lives. I like this power. Brandon: Don't forget Jodi. She is mine. Mrs. Sanchez is mine. Could you understand? I'll kill her with my hands no matter with Bob's order. (Bob gets outside with Billy. He aims his head with his gun). Cut to: Scene 46: Day.exterior.factory. Some police cars are burning and Bob walks and aim with his gun the head of Billy. They get inside of the helicopter. It didn't burn. Peter and Danny see them while they are hidden. Jodi and Brandon aim with their guns to Mirna, Alberto and Juan. Jodi: I need a big car. Where is the Chief of the police?. (The Chief of the police with his men are on the ground so dirty for the burst and see each other while the helicopter flies away. Bob is the pilot and Billy is sitting next to him). Cut to: Scene 47: Day.interior and exterior.helicopter.air. Bob is the pilot and Billy is next to him. Billy: Where are we going?. Bob: (He is so serious). A place you don't want to visit. Billy: You are doing all wrong Mr. Haines. You are remembering the days you serve in the army. Your hate is closing your eyes and your mind. Bob: Maybe. I am sure; you broke in pieces all my heart. Nobody can give the life to my three kids again. Nobody, either you. (The helicopter flies away on air). Cut to: Scene 48: Day.exterior.factory. Claudio comes to the factory with his car and gets out with his TV camera. Jodi aims him with her gun when she approaches to him. Jodi: I want your car. Give me the keys or you die. (Claudio shivers. Mirna kicks the knee of Brandon. He shouts of pain and Alberto beats on his face and take his gun in his hand. Alberto aims to Jodi but Claudio beats her face so she falls down to the ground so he takes her gun. The three friends are happy and get into the car. Juan runs to get into the car too. Claudio drives away so fast and the Chief of the police with his men get Jodi and Brandon). Director of the police: Don't move any bone both of you. Cut to: Scene 49: Day.exterior.car.street. Claudio drives his car in the street. Mirna is next to him and in the back seat, Juan and Alberto with the TV camera, recording the helicopter on air after Claudio moved the roof of his car. Alberto: You are a genius Claudio to get a TV camera. Mirna: We can cover the entire story. Don't loose it on the air. Claudio: Would you prefer to go first at the hospital? Mirna: We can loose the story. We are fine Claudio. Don't worry. Juan: I don't think so. It could be so dangerous to our life. Stop the car Claudio. I have to live for my family. My wife is waiting for me and my job. (Claudio stops the car and Juan gets out then he drives away. Juan cleans his suit of the dust and smoke). Cut to: Scene 50: Day.exterior.street away the city. Peter and Danny walk on the street. They keep using jail uniforms. Danny: We have a face of prisoners. Peter It's your idea. This is a disguise we used yesterday in a party. Danny: In this desert?. I am so hot. The sun is so bursting on my skin. It sounds unbelievable. Peter: Shut up Danny. Use your imagination to get a pretty woman in a pretty car to fresh our lives. (A car is approaching and Danny is amazing. Peter is so serious). Danny: Peter. You have a great imagination. Peter: You must have to use it. Danny: A woman, a pretty woman drives the car. (They are happy). (The car stops when Peter moves his arm. She gets down the glass of car's window). Woman: Are you lost in this desert?. Peter: Yeah. We had a party last night and suddenly we woke up here in the middle of nothing. Woman: You have a pretty disguise. I like the uniform of prisoners. It sounds so dangerous. Danny: Oh, I see you like the risk moments. I like it too. (He sees her mouth and smiles her). You are like a candy. Peter: (He beats his head). The pretty girl has a lot of thing to do. We can keep our way. Woman: Oh no!. (She opens the car's door). Come on. Get into my car both of you. I'll drive the entire city. Maybe we get a party tonight. Peter: Yeah. Tonight we must have to enjoy the party. Danny: (Peter gets into the car and sits next to her. Danny is sitting back). All right. We got lucky Peter. What's your name pretty lady?. (She laughs and drives away so fast.). Cut to: Scene 51: Day.exterior.helicopter.air. Bob is the pilot and surprises when the police helicopter approaches to him. They tell, in front of him, with a loud-speaker. Voice of police man with loud-speaker: Stop. We are the L.A. police. Bob: (He is so angry). Get out of my way. (He shoots them with his gun. Billy tries to take his gun but Bob beats his face). Don't do it anymore, Billy Watson. Don't do it. Voice of police with loud-speaker: Bob Raines, stop and get down. (Bob shoots again and the bullet gets into the tank of gas oil so the police helicopter exploits on air. Billy covers his face with his hand. Bob smiles and keeps his way. Claudio follows him in the street, driving his car. Mirna is next to him. Alberto is back recording the helicopter with TV camera). Cut to: Scene 52: Day.interior.office.Telenoticias Channel. The Director of Telenoticias Channel gets into his office so happy. Juan: I am again here alive. (He sits in front of his desk and takes the phone). Thanks God for helping me. (He presses the button of the phone). Mrs. Rodriguez, please contact the police. I want to talk to them. Voice of his secretary: Yes sir, right now. (He feels the pleasure to be free and then he takes TV control and turns on. He watches Telenoticias Channel and the images of Alberto follows, in Claudio's car with TV camera, the helicopter which Bob is the pilot. Juan is surprised). Voice of a Journalist man: Estas son las imagines del secuestrador. El se￱or Raines tiene en el helic￳ptero al se￱or Watson y piensa acabar con su vida en algn lugar del pa￭s. Nuestro camar￳grafo, Alberto P￩rez nos esta enviando estas im￡genes que vemos en la pantalla del televisor. A su lado esta la periodista Mirna S￡nchez y nuestro editor Claudio Molina en su auto los van siguiendo. Esta exclusividad es de este canal, telenoticias channel. Cut to: Scene 53: Day.exterior.Claudio's car.outside the city.streets. Claudio drives his car and Mirna sees her face on the mirror of the car then takes a microphone that is connected in the TV camera. Alberto is back holding it on his arm. The car doesn't have the roof. Alberto: We are on air Mirna. Mirna: Ok, thanks. El Se￱or Raines acaba de hacer explotar un helic￳ptero de la polic￭a de Los Angeles y dos oficiales murieron en ese hecho. Billy Watson sigue all￭ en el helic￳ptero raptado por Bob Raines, el padre de los tres j￳venes, quienes fueron asesinados cruelmente por el se￱or Watson.. Despu￩s de 7 anos de haber estado en la c￡rcel, el alcalde de esta ciudad le perdono la vida al se￱or Watson, ya que hab￭a sido sentenciado a morir en la c￡mara de gas; mientras nos conced￭a un amplio reportaje sobre su historia el se￱or Raines prorrumpi￳ con sus hombres armados en el lugar. Gracias a Dios estamos con vida cubriendo este impactante suceso, sigui￩ndoles desde un auto. All￡ arriba van ellos y el fin del se￱or Watson se acerca. (Alberto moves the TV camera to the helicopter on air). Cut to: Scene 54: Day.exterior.gas oil station. A young man fills the tank of the car with gas and the woman, who drives it, gets out with Peter and Danny. Woman: I am going to the bathroom. Both of you can wait for me here. Don't forget we have a party tonight. (She smiles and gets into the bathroom). Peter: This is our opportunity Danny. Get inside. Danny: And our party tonight?. Peter: Forget it. We have to do a lot of things before noon. Later, we can fun with women. (He gets into the car and drives it away. The gas oil wastes on the ground and the young man shouts with angry). Young man: Hey. Who do you pay me?. Woman: (She gets out from bathroom and shouts). Hey. Where are you going?. This is my car. He stole my car. Oh God, I can't believe it. Young man: You can pay me?. Woman: (She sees him with angry). Call the police, little boy!. Cut to: Scene 55: Day.exterior.house.outside the city. In a distance, there is the helicopter and Bob aims to Billy with his gun. They approach to the big house with has second floor then they stop next to the door. Bob: Do you remember this house?, Billy!. Billy: (He thinks worried and so sad). I remember clearly. FLASH BACK. Billy, 12 years old, gets out of this house with Michael, 14 years, Steven, 15 years, and John, 16. They are running away from house then Bob gets out and sees them next to the door smiling. Michael: (He shouts) Wait Billy, wait. END OF FLASH BACK. Cut to: Scene 56: Day.interior.house.outside the city. The door is open and Billy with Bob go inside. He aims to Billy with his gun. Bob: (He is so sad). This was the home of Raines Family until you destroyed it. Why Billy?. I was a father for you. Nothing left to you when I was living here with us. My wife died after you kill my sons and my life has been a misery. Billy: Don't take me to the bedroom, please. I don't want to, I don't want to remember that day. I don't want to. (He is shivering). Bob: Come on. Get up and be quiet. You must have to do what I want to. Billy: Please, no, take mercy of me. FLASH BACK. Michael, 14 years old, John, 16, and Steven 15, get up the stairs so quickly and invite Billy, 12 years, to do the same. Michael: Come on Billy. We can play in my bedroom. Steven: Get up Billy. Get up with us. Come on. John: I got a new play to show you. It will like you. Billy: (He thinks then smiles. He gets up so quickly). Wait for me. I can play that game. (They get in the bedroom and John closes the door). END OF THE FLASH BACK. Bob: What's happening Billy?. You can see the faces of Michael, Steven and John?. Billy: I can't support to go up. (Nervous) I left all my pains in the past. Please, the images are still in my brain and I don't want to remember. Bob: (He aims him with his gun so angry). Don't make me to shoot in your head right now. Do what I tell you if you want to keep alive. FLASH BACK. Michael, 14 years old, Steven 15 and Billy, 12, are in front of TV screen on the floor. Then John, 16, introduces a video cassette in the vcd. They watch pictures that a man with a woman are in the bed, taking off their clothes to make sexual relations. END OF FLASH BACK. Bob: You should obey all that I want to. If you don't I can kill here right now. (He aims to him with his gun so angry. Billy is shivering then starts to gets up the stairs with Bob). Cut to: Scene 57: Day.exterior.home.outside the city. Claudio comes in his car near the house. Mirna is next to him and Alberto is back with a video camera. Claudio: This is the house. Mirna: I know this house. Billy was living here with the Raines family. Alberto: Mr. Raines would kill him here. This is a perfect place, where occurred the crime. We should to call the police. Mirna: No, no yet, please Alberto. We can avoid a crime here. The life of Billy Watson is in danger. (They get out of the car). Claudio: I got a gun. Alberto: Let me that gun. We can save the life of Billy Watson. Mirna: Claudio, wait here please. Alberto is coming with me. (Mirna gets into the house with Alberto. The door is open. He uses his TV camera). Claudio: (He feels so emotion). Take care of you, both of you. Don't forget the man is so crazy. I don't want to stay in your foot. I don't want to live in that mission, no, no. (He takes his cell phone and talks with his chief after dialing the phone number). Claudio: Chief. Are you watching the images on TV?. We are in the house of the madness, that insane who wants to kill Billy Watson. Que?. No escucho bien. I can't hear you. What?. Cut to: Scene 58: Day.interior.house.outside the city.bedroom second floor. Alberto is next to the stairs and Mirna approaches him. He has a TV camera on his arm. Mirna: (She talks in a low voice). They should be in the second floor. Step with care. Alberto: We are in the scene of sin. Mr. Raines is so romantic. Mirna: He is a pathetic man. He should be torturing him. He is filling of hate. Alberto: What should we do?. Get up the stairs?. Mirna: Nobody is here Alberto. We are a unique media to cover the real story so we can't stay here on first floor while Mr. Raines kills Mr. Watson on second floor. Alberto: Yeah. I got the gun with me if our lives are in danger. Mirna: I am ready, come on. You go first. (Alberto gets up and Mirna is back to him. They walk so slowly. Bob is in the bedroom with Billy. He aims to him with a gun. Billy remembers). Bob: Tell me Billy. What are you seeing?. (He feels afraid, showing it in his eyes). FLASH BACK. Michael, 14 years, takes off the clothes of Billy and pushes him to the bed. Billy: What is the game?. Michael: I am the doctor. Steven: (15 years old). I am the surgeon Michael. John: (16 years). And I am the nurse man like a video Dad got in his bedroom. Billy: (12 years). And who am I?. Come on, this is a bored game. Michael: The game is starting. You must to wait Billy. You are the victim who has some much pain. (They take off their clothes with a big smile in their faces). Billy: (Worried) What are you doing?. You don't like to be a doctor. Wait guys, I don't like this game. (He gets up of the bed and John pushes him to bed). Come on, I don't like it. Michael: It will like it Billy. Enjoy it. You can close your eyes. Billy: (Shouts). No. Mr. Raines. They are going to hurt me. No Michael. Mr. Raines. Can you hear me?. Mr. Raines!. END OF FLASH BACK. Billy: (He shouts) No, no!. Bob: (He aims with his gun). You should feel the pain that I got in my heart. There were my kids Billy. (Alberto is next to the door and records the scene with his TV camera. Mirna is back to him with a microphone in her hand. She has nervous). Billy: I don't want to be here. I feel so cold. Bob: (Sad) Yeah. I feel the same inside. You kill my happiness. You always were a bad boy. Tell me the truth. They never hurt you. It was a story you imagined. Billy: They made all they wanted in my body because they learned from you. They saw every pornographic video you got in your bedroom; that was the lesson they performed here in this place with me. Bob: (He beats him in his face). You lie man. This is a story you lived in your dirty mind. Their sin were to live like true men and do like men do. You never accept them because you were not a man. (He sees Alberto next to the door and shouts him). What are you doing here?. (He aims to him with his gun). Alberto: We are not afraid of you Mr. Raines. You are on air and millions of people are watching you on their TV screens. Tell us, Why did you bring him at this house you lived?. Explain us. Bob: Stop to ask for the things I do. He is a dammed dog and the Mayor didn't should forgive his life. He should die like my kids died. (Billy is so desperate so gets out of the room so quickly. Mr. Raines tries to shoot but Alberto beats him with his TV camera. Bob fails the shoot to another place of the bedroom. Mirna is so afraid and Billy takes her hand. They get down the stairs so fast. Bob beats the face of Alberto and aims to him with his gun then moves quickly with Alberto and shoot so Billy and Mirna stop to walk in the first floor). Bob: Don't move them or kill her camera man. Cut to: Scene 59: Day.exterior.house. Claudio is talking with his chief by cell phone. Claudio: (He is so afraid). Chief. I heard two shoots into the house. Tell me what is happening. Mr. Raines killed Mirna and Alberto too?. What should I do?. Cut to: Scene 60: Day.exterior.streets. Jodi is in the back seat of the police car. A police man drives and the other police man is next to him. She has handcuffs so slips her hands so slowly to beat the face of the police man then she takes his gun and kills the police driver. Cut to: Scene 61: Day.exterior.streets.outside the city. Peter drives the car and Danny is next to him. Danny: We should to move to another city. The cops must be following our steps. Peter: They are busy to catch Billy Watson. (Danny sees Jodi drives police car). Danny: Uh, uh a police car. I know that woman. Did you see her Peter? She is the black girl. (Peter stops the car and turns to another road back to her). Peter: Now, I am sure she can carry us to the place Watson is. Danny: (He smiles). We are going to give him a big surprise. You are a genius Peter. (Peter drives away back to Jodi). Cut to: Scene 62: Day.exterior.house. Claudio approaches to the door with so afraid. Claudio: Mirna, Alberto. Are you OK?. (He dials the cell number). Chief, they don't answer me. Yeah. I got a gun in my car. Oh no. Alberto has that gun. (He sees police car approaches to the house and breaths deeply). Chief. All is in control. The police car is here. Bye. (Claudio changes his smile when sees Jodi drives that car and approaches to him. Peter and Danny come to that place too in a car, waiting in a distance). Jodi: (She aims to him with the gun). Do you like to insist on?. Claudio: I am a foolish man. I am so sorry. I didn't want to follow Mr. Raines here. (He is crying). Jodi: I can shoot you now but I must have to do better things. Get out of my sight. (Claudio takes her gun and beats her face. He aims to her). Jodi: (She smiles). You are a baby. What do you know about guns?. (She tries to take his gun but he shoots to her. The bullet makes a hole in the door). Peter: How bad is that boy. Danny: You must have to learn how to shoot. Peter: We need that gun. (Jodi beats the face and the stomach of Claudio, who falls down on the ground). Cut to: Scene 63: Day.interior.living room.house. Alberto is recording with a TV camera and Mirna is next to Billy. Bob aims to them with his gun. Bob: Come on Billy. We can finish with all you start it. Mirna: (She is so brave). You are not God to get the judgment in your hands. You got to learn and respect the order of LA Mayor. (Billy gets the gun and beats the face of Bob. In the fight, the gun falls down on the floor and Bob beats him so rude his face and his stomach. Mirna takes the gun on the floor. Alberto takes his gun too in his pants so Bob takes the Billy's neck with their hands to kill him). Mirna: Get away from him. Mr. Raines you are killing him. Alberto: (He aims to him with the gun. Mirna does the same). Stop Mr. Raines. It's over now. Cut to: Scene 64: Day.interior and exterior.living room.house. Jodi approaches to the door and comes into the house with the gun in her hand. Bob has his hands on the neck of Billy but he beats Bob's penis. Alberto and Mirna aim to him with their guns. Mirna helps Billy to keep standing. When they are trying to escape Jodi waits them so brave and rude next to the door. She aims to them with her gun. Jodi: Where are you going?. Will you invite me?. Mirna: You, bitch, again!. (Mirna beats her face so Jodi falls down on the ground. Mirna hurts her hand. Alberto and Billy is surprised). Alberto: You are a bad girl. Take this. (He beats her face. Jodi moves her leg to make fall Alberto down on the floor. Billy runs away from house. Jodi shoots him but fails and Claudio hides behind his car. Mirna gets Jodi's gun and shoots her leg outside). Jodi: Stupid bitch. You have to pay for this. (Jodi takes Alberto's gun on floor so tries to shoot Mirna but Claudio takes her gun with is hands when beats her face. Jodi falls down on the ground. He hurts his hand). Mirna: That's what I want to see you bitch!. Claudio: The police are coming here. Alberto: How did you learn to shoot that Mirna?. (He aims to Bob and Jodi with the gun). Mirna: It was the adrenaline. Billy: I think so too. Girl, you are my heroine. Mirna: Come on Billy. You can't come again to the jail. You owe me the last part of your story. Claudio: Come on get away from here. (The police cars are coming. Claudio drives his car away. Mirna is next to him. Billy and Alberto with his TV camera are in the back seat. Peter and Danny follow them in a car. Bob helps to get up Jodi from the ground then stops a driver in the street. He gets out and beats him. The driver falls down on the ground. Bob helps Jodi to get into the car. He drives so fast before the police car arrives to the house. The music of the scene is pop until scene 65). Cut to: Scene 65: Night.exterior and interior.motel. Claudio and Alberto get down the stairs of the second floor in a motel then they get into the car. Claudio drives away his car, Alberto is next to him. Cut to: Scene 66: Night.interior.room of the motel.second floor. Mirna talks on bed with Billy. He still uses the uniform of the jail. Mirna: You can rest in peace here. Billy: Yeah. Thanks, I can breathe a peace in this place. You are so kind with me exposing your life with that monster. Mirna: (She smiles him). I am ok, thanks to God. I have been in danger several times. You know, this is a pri