Cigarette Burns - Zen134237.zen.co.uk

MASTERS OF HORROREpisode #6 - "Cigarette Burns"An Original Screenplay ByDrew McWeeny & Scott Swan

IN BLACK, A MAN'S VOICE, INSINUATING, LOW, VAGUELY EUROPEAN.BACKOVIC (V.O.)Film is magic. And, in theright hands... a weapon.The unmistakable sound of a 35mm projector starts up, and aSINGLE BEAM of light splits the darkness. Then another beamof light appears beside the first one, as --EXT. DRIVEWAY - NIGHT-- an early-90’s Sentra pulls up and stops at a largesecurity gate. The driver rolls the window down.KIRBY SWEETMAN. Late-20’s, scruffy, with tired eyes and theghost of a smile.KIRBYHi. You called me? From TheVogue?The gate swings open wide in response.EXT. BELLINGER’S HOUSE – NIGHTHuge, beautiful, secluded, the property completelysurrounded by trees and high walls. Kirby climbs out of hiscar.FUNG steps out of the front door to greet Kirby, a thin,impeccably dressed Chinese man in his late-50's.INT. STUDY – NIGHTFUNGYou're late. Mr. Bellingeris waiting.Kirby follows Fung into this large, lushly-appointed study.The walls are covered in movie posters, framed photographs,movie memorabilia dating back to the silent era.WOLF BELLINGER rises to greet Kirby. He's in his 70's,elegant, very old world European. Tall. Still powerful.KIRBYYou have an incrediblecollection.

BELLINGERYes, I know. I'm sure youhave some rare pieces ofyour own.Kirby moves through the study, fascinated by everything.KIRBYNot really. Can't affordit.BELLINGERIt must be torture, huntingdown pieces for others. Tohave something in yourhands, only to give it upimmediately.KIRBYThere are perks. When Itrack down a rare print, Ialso get to screen it...quality assurance purposes,of course.BELLINGEROf course.Kirby stops in front of one particular poster, a giant foursheetfrom 1971. A kaleidoscope of images, hard to digest atfirst glance. Kirby runs his fingers over the title.KIRBYLA FIN ABSOLUE DU MONDE.BELLINGERWhat do you know about it?KIRBYThe film played once. Theclosing night premiere atthe Festival Internacionalde Cinema Fantastic deSitges.Kirby considers the poster again before continuing.Something hypnotic about the tapestry of suggestive imagesand half-glimpsed horrors.

KIRBYViolence erupted in thetheater. When the director,Hans Backovic, tried to getthe film out of thecountry, the governmentseized and destroyed it.They didn’t realize it wasa work-in-progress... hisonly copy. He quit thebusiness, and the film hasnever been seen by anyoneexcept that one audience.BELLINGERThe government didn’tdestroy it.Kirby walks over to the opposite wall, where a pair ofwings, seven feet from tip to tip, have been mounted andframed.KIRBYWhat are these?BELLINGERA prop... from the film.I'm a bit obsessive aboutLA FIN ABSOLUE DU MONDE,you see.KIRBYWhy this particular film?BELLINGERIt's the ultimate dare.Survive this and one cansurvive anything. I'd givealmost anything to see it.KIRBYI showed a double-featureof NEKROMANTIC and IN MYSKIN at The Vogue and atleast a dozen peoplefainted or threw up.

BELLINGERI have a collection of over8,000 films. The mostextreme images created bysome of the most obscurefilmmakers to ever pick upa camera. I’m not about todrag you up here in themiddle of the night forsomething that made aschoolgirl dizzy. I’mtalking about real power.KIRBYWere you at the festivalwhen it played?BELLINGERYes. I even had tickets forthe screening. But I’d seenBackovic’s previous worksand wasn’t impressed. Iwent to see THE ABOMINABLEDR. PHIBES instead, hopingto meet Vincent Price.Bellinger reaches into one of his desk drawers and takes outa folder full of documents.BELLINGERIn '83, the Rotterdam FilmFestival announced ascreening. By the time I'dflown there, they hadalready cancelled it,saying it was an error. Thefact that the venue burneddown might have hadsomething to do with it.Bellinger tosses the folder to Kirby.BELLINGEREvery mention of the filmsince 1971, every rumorabout undergroundscreenings, the officialreport from Sitges...KIRBYWhy are you giving me allthis?

BELLINGERIsn't it obvious? I wantyou to locate the print forme.KIRBYTracking down rare printscan be costly under thebest of circumstances. LAFIN ABSOLUE DU MONDE isinfamous. Beyond rare. Theydestroyed the movie. If itwas still out there, Iwould have heard of it.BELLINGERIt's out there. I assureyou. My source isunimpeachable.KIRBYHow can you be sure?Bellinger fixes Kirby with a frightening smile.INT. ATRIUM - NIGHTThe door opens and Kirby steps into this atrium and stops,not quite sure what he's looking at.In the center of the room, a tall WILLOWY BEING standschained at the wrists and the ankles. White as chalk,completely androgynous, bruised from a fresh beating.The Being turns to Kirby, mouth open, and makes a terriblysad sound, anguish and pain.As it turns away, Kirby gets a good look at the Being'sback. Two long ragged wounds run the full length of itsback, unmistakably the stumps of wings, partially healed.They twitch, as if still trying to fly.As Kirby backs away, horrified, he runs into Bellinger.KIRBYWhat the hell is this?

BELLINGERAs you can see, I collectmore than movies, Mr.Sweetman. Meet one of thestars of LA FIN ABSOLUE DUMONDE.Bellinger fishes an ice cube out of his drink and tosses it,bouncing it off the Being's head.BELLINGERTell Mr. Sweetman what youtold me.The Being speaks, its voice as ambiguous as its appearance.WILLOWY BEINGWe are part of the movie,bound to the negative, likesoul to flesh. If it hadbeen destroyed... we wouldknow.Bellinger fixes Kirby with a cold, emotionless stare.BELLINGERI've done terrible thingsin my life. I know fullwell what will happen tothis desiccated cobweb Icall a soul. Call mecrazy... but I wanted atleast a taste of Heavenbefore an eternity of Hell.Kirby can't take it. He opens the door, ready to leave.BELLINGERMoney is no object. I’llpay every expense youincur, and I'll pay you$100,000 on top of it.Kirby stops, stunned by the offer.$100,000?KIRBY

BELLINGERI’m not a well man, andmore than anything else, Iam afraid that I am goingto shuffle off this mortalcoil without ever havingseen this film.Why me?KIRBYBELLINGERYou've got great taste as aprogrammer, but yourtheater is a shitbox. Youhave 800 seats, but you'relucky to sell 50tickets a night. Find thisprint, and after I've seenit, you can have it for atwo-week run. I promisenever to give it to anothertheater. You need this.KIRBY(a little shaky)$200,000.Kirby waits for a reaction as Bellinger puts on his bestpoker face. It's hard to tell who is more desperate.Finally, Bellinger breaks the spell with a smile. He's not abit happy, though.BELLINGERFine. Two hundred.Deal.KIRBYEXT. BELLINGER'S HOUSE - NIGHTKirby walks out, dazed. Fung closes the front door as Kirbystops by his car. He looks back up at the house.KIRBYWhat the fuck did I justdo?

EXT. THE VOGUE – NIGHTDowntown Los Angeles. The worst part of town. Skid Row wouldbe a step up. In the middle of the block, a huge oncebeautifulmovie palace stands, lit up, faded and run-down.On the marquee: PROFONDO ROSSO and CAT O' NINE TAILS.Kirby's car heads down the alley beside the theater.INT. THE VOGUE / PROJECTION BOOTH - NIGHTExtreme CLOSE-UPS. Quick cuts. The room is dark.We hear a projector, but don't see it. Although we onlyglimpse parts of this room, it's obvious we're in aprojection booth.TIMPSON, the projectionist, sits at a splicing table,breaking down a print.We see only his hands, not his face. He winds the reel allthe way to the end and holds the tail up to a light. Hescans several frames until he finds what he's looking for --The frame with the "bug" or "cigarette burn" in the topright corner that indicates a reel change.TIMPSONThere you are, yousonofabitch.He places the frame in his splicer and cuts it out.INT. THE VOGUE / OFFICE - NIGHTMovie posters from every era line the walls. Kirby dropsinto his chair behind his desk. He glances at a framed photoof a beautiful girl in her 20's. ANNIE MATTHEWS.ANNIE (V.O.)(whispers in a sing-song)Kirby Sweetman... is mysweeeet man...Kirby can't take his eyes off the photo.

FLASHBACKAn extreme CLOSE-UP of Kirby and Annie in bed, wrapped ineach others arms. She whispers, breathy and ethereal.FLASHBACKANNIEAre you my sweet man,Kirby?CLOSE-UPS. Disorienting. It's hard to tell where we are.Kirby holds a piece of foil and a lighter, cooks some heroinfor Annie to inhale the smoke.ANNIE (V.O.)(in that same whisper)Will you take care of me...always?SHOCK CUT TO:INT. THE VOGUE / OFFICE – LATERBOOM! Timpson, the projectionist, sets two film cans down,jarring Kirby out of his reverie. Kirby checks the clock.Kirby nods at the cans.KIRBYHey, Timpson. What's up?TIMPSONLast show'll be over inabout fifteen minutes.PROFONDO ROSSO, ready togo.KIRBYDid you take your souvenir?TIMPSONDude, it's Argento. Had todo it.Timpson slips the frame into a notebook binder he takes downfrom a shelf with hundreds of other cut frames, all labeled.He quickly writes a new label: "ARGENTO, PROFONDO ROSSO,1975."

KIRBYWhat's with you andcigarette burns?TIMPSONWhen you're watching a filmand one of those bugsappears, it lets youknow... something's aboutto happen... hold on...here it comes. You takethem out, and all of asudden, it's anarchy.KIRBYAlright, well, try not toblow anything up while I'mgone, Mr. Anarchy.TIMPSONOh, did you get a newclient?KIRBYYep. It's an incredibleoffer, but the guy gives methe creeps.TIMPSONWhat film is it this time?KIRBYLA FIN ABSOLUE DU MONDE.Timpson considers Kirby for a moment, expecting a punchline.No shit?No shit.TIMPSONKIRBYINT. THE VOGUE / OFFICE - LATERKirby scans a tall bookshelf, pulling titles while hiscomputer warms up. A fairly impressive collection of filmcriticism from all over the world.A computer on a desk, open to a web browser. Kirby collapseson the couch, smoking, making notes on a stack of pages.

ANNIE (V.O.)Kirby knows absolutelyeverything about movies,and the theater isbeautiful.INT. THE VOGUE / THEATER AUDITORIUM - DAY - FLASHBACKKirby and Annie stand together, both wired, blotchy, holloweyed.Obviously wrestling with addiction. No furniturehere. The place looks like it should be condemned.WALTER MATTHEWS stands across from them. Annie's father.Stern, poised, wearing a $5000 suit, grey at the temples.As Walter looks at the two of them and looks around thisdirty, depressing theater, Annie talks a mile a minute.ANNIEIt just needs a littlework. We can do itourselves. Think of it as awedding present.WALTER(measured)This all sounds good,sweetheart. Why don't youwait in the car while Kirbyand I work out the details?Walter's not asking. She kisses her father on the cheek,gives Kirby's hand a "good luck" squeeze, then goes. Walternever takes his eyes off Kirby.She leaves the two of them alone. Walter just stares atKirby, sizing him up. Kirby squirms a bit.Finally, Walter scowls as he takes out his check ledger.WALTERThis is not a gift. It's aloan.Walter writes a check and hands it over to Kirby.WALTERGet your shit together. Gether shit together. Don'tmake me sorry.FLASH CUT TO:

INT. BATHROOM – DAYAnnie in a tub in XCU, blood in the water around her.FLASH CUT TO:INT. THE VOGUE / OFFICE – NIGHTKirby shakes his head, as if trying to shake the memories.DISSOLVE TO:EXT. THE VOGUE - MORNINGTimpson puts up FUNNY GAMES and IRREVERSIBLE on the marquee.Parked across the street, someone we don't get a good lookat sits his car, hat down over his face. When he seesTimpson finish, he sits up, suddenly alert. He reaches overand opens his glove compartment.Inside, there's a gun.INT. THE VOGUE / LOBBY - MORNINGAs Timpson enters from outside, carrying the letter he tookdown, someone slips in after him.TIMPSONExcuse me, sir, but we'renot open yet.The person removes his hat, revealing that he is WalterMatthews. A few years have made all the difference. Helooks terrible, like sleep is a distant memory.TIMPSONOh... Mr. Matthews. Listen,Kirby's not here. I cantell him you came by...Too late. Kirby emerges from the back of the theater, andboth Timpson and Walter see him.TIMPSONOh, wow. Look at that.

Timpson gets out of the way, leaving Walter and Kirby faceto-face.WALTERYou're a hard man to gethold of. Almost like you'reavoiding me.KIRBYAvoid you? But it's alwayssuch a pleasure when youstop by.They bristle at each other, barely retaining all thehostility and pain between them.WALTERWe need to talk.KIRBYI don't have time rightnow.WALTERThen how about a check for$200,000? Do you have thatright now?KIRBYI'll have the money.When?Soon.WALTERKIRBYWALTERWhy should I believe that?Why should I believeanything you say?KIRBYI know you're not going togo away until I pay you,but every time you come inhere or call, I feel likeI'm being cut open. I seeAnnie's face all day, everyday. You have no idea whatI'm putting myself throughto guarantee that you'll beout of my life for good.

Walter practically trembles. He's so angry, he aches to lashout at Kirby. But he doesn't. He holds himself in check.WALTERYou've got one week. If youdon't come up with themoney, then I will takegreat delight in cominghere and tearing thisshithole down.Walter turns and storms out. Kirby exhales slowly, shaky,adrenaline still pumping.INT. THE VOGUE / OFFICE - MORNINGKirby sits at his desk, on the phone as Timpson puts awaythe letters he took down.Timpson breaks out a joint, which he lights and passes toKirby as he looks over his shoulder at everything laid outon his desk. He picks up a book: CONTACT HIGH.TIMPSONAK Meyers. I've read allthis guy's shit. Goodcritic.KIRBYBig fan of the esoteric.Out of all of Kael'sdisciples, he was the mostoriginal thinker.Timpson opens the book and flips to a page Kirby has foldedover. He's marked a paragraph with a yellow highlighter.TIMPSON"In order to fullyappreciate LA FIN ABSOLUEDU MONDE, one must understandthe context in whichit premiered. The SitgesFestival is still young,but there is a boldness totheir programming thatmakes this an essentialstop for any fan of whatare typically thought of aslesser genres... sciencefiction, fantasy, orhorror..."(pause) (MORE)

TIMPSON(CONT'D)What's he up to these days?KIRBYHe lives in New York...kind of a recluse. I'lltell you when I get back.DISSOLVE TO:EXT. MEYERS HOUSE - DAYKirby climbs out of a rental car in front of a rustic houseon an isolated lot. Tall trees surround the entire property.SUPERIMPOSE: UPSTATE NEW YORK CITYKirby heads up the front steps and knocks on the door. Hewaits for a long moment. He looks at the yard, the house,both in an advanced sense of disrepair.He knocks again.KIRBYMr. Meyers...?(beat)Mr. Meyers? Sir?Kirby knocks again. A slight shuffling sound in response.The door opens.KIRBYMr. Meyers, I'd like totalk to you. It'simportant. Please.From the other side of the door, inches away, as ifsomeone's crouched there, comes a diseased, leatherywhisper.Go away.MEYERS (O.S.)KIRBYSir, I just need a momentor two...MEYERS (O.S.)Who sent you?

KIRBYNo one sent me. I camebecause of something youwrote. A review.MEYERS (O.S.)I'm done with all of that.I won't discuss any...KIRBYIt's about LA FIN ABSOLUEDU MONDE.Silence.Then Kirby reaches out and opens the door with a push.INT. MEYERS'S ROOM - DAYAs Kirby steps in, he gets hit in the face with a wall ofstink. He gags, stops just inside the door.The room is dark. Stacks of paper are piled to the ceiling.Trash is everywhere.KIRBYMr. Meyers, did they handout press notes at theSitges screening?Meyers's voice comes from somewhere deeper in the room,behind all the papers. Meyers's nowhere in sight.They did.MEYERS (O.S.)KIRBYYou didn't save them... didyou?(pleased)I did.MEYERS (O.S.)Kirby looks around, trying to figure out if there's anyrhyme or reason to all the papers.KIRBYI'd love to see them... andanything else you've got onLA FIN ABSOLUE DU MONDE...

MEYERS (O.S.)Dangerous. Backovic said,"Film, in the right hands,is a weapon." He was right.As Meyers talks, Kirby picks up a random stack of paper andflips open to a random page.KIRBY"If LA FIN ABSOLUE DU MONDEis not a movie, but morelike a bullet fireddirectly into thecollective brain pan ofall those assembled, thenthe only rational responseis violence."Kirby looks around at the mountains of books and paper, atthe mysterious dark stains in the corners.MEYERS (O.S.)We trust filmmakers. We sitin the dark, daring them toaffect us, secure in theknowledge they won't go toofar.Holding his hand over his mouth and nose, Kirby headsfurther into the study.KIRBYI read your review twice onthe plane, but I'm stillnot even sure what the filmwas about.MEYERS (O.S.)Hans Backovic was aterrorist. He abused thattrust we place infilmmakers. He didn't wantto hurt his audience. Hewanted to destroy themcompletely.KIRBYI've seen extreme gore, andit didn't make me crazy orviolent. What made LA FINABSOLUE DU MONDE...

Kirby steps around a corner and stops, confronted with thereality of AK MEYERS.KIRBY... so dangerous?Meyers's as thin a Holocaust survivor, dressed in filthy,stained pajamas, fingernails and hair like crazy HowardHughes. He sits huddled over his typewriter, his back toKirby, typing as they talk.MEYERSBackovic was brilliant.KIRBYBut all the violence in thetheater was anexaggeration... right?MEYERSIf anything, the incidentwas downplayed. I watchedfour people die. It smelledlike a slaughterhouse. Thecenter aisle was slick withblood.Kirby picks up another stack of pages to flip through. Moreof that same dense text about LA FIN ABSOLUE DU MONDE.MEYERSBackovic knew what he wasdoing. When Stravinski's"Rites Of Spring" premieredto riots, it was anaccident. LA FINABSOLUE DU MONDE was noaccident. He told me so.KIRBYYou spoke to Backovic?When?MEYERSAt the start of thefestival. He told meexactly what was going tohappen. I recorded thewhole interview.Kirby downplays his excitement. He didn't expect this.

KIRBYCan I listen to that tape?MEYERSPeople weren't ready. Theystill aren't. That review Ipublished is a joke. Itdoesn't begin to describethe film. I was given theopportunity to be themessenger, and I failed.But you'll see... peoplewill understand... as soonas I finish my newreview...Meyers removes the page he just typed and puts it on theclosest stack, where Kirby can see it. That same dense textabout LA FIN ABSOLUE DU MONDE.KIRBYYour... new review?Kirby looks around at the thousands of stacked sheets allover the office, starting to make sense of things.KIRBYIs this... all... onereview?Meyers looks up at Kirby, disconcertingly close to him. He'sgot wide, dilated pupils, like he's tripping.MEYERSAlmost finished now.KIRBYThere's a chance a printstill exists. I've beenhired to find it.MEYERSTo what purpose?KIRBYTo show it, of course.Meyers fights a smile. His mouth is a foul hole, most of histeeth missing. He starts to cackle, a horrible, mirthlesssound.

MEYERSYou should know what you'regetting into.Meyers jumps up and darts over to a stack of boxes. Hestarts going through them, tossing the contents everywhere.MEYERSYou're right. The film isstill alive. Even if theytried to destroy it, theycouldn't. Some films aremeant to beseen.Finally, Meyers comes up with a bundle of audio tapes, oldreel-to-reels, held together by rubber bands. He also handsKirby a small player.MEYERSThese will change yourlife.As Kirby takes the tapes, Meyers grabs his wrist withsurprising strength.MEYERSBut promise me... promiseme... When you find thefilm... let me see itagain. I've dreamed aboutit every night forthirty years. Laying eyeson it again.Kirby pulls his wrist free and backs away. Meyers doesn'teven notice. He's lost in his memory now.MEYERSOnce you start this, youcan't shake it off and walkaway. It gets inside you.DISSOLVE TO:EXT. HOTEL - NIGHTA nice hotel, but nothing extravagant.SUPERIMPOSE: PARIS, FRANCE

INT. HOTEL ROOM - NIGHTKirby lays in bed, headphones on. He presses play onMeyers's tape recorder.MEYERS (ON TAPE)So... Mr. Backovic... thisis your first feature film.A voice answers -- smooth, with a hard-to-place Europeanaccent, commanding. The same voice we heard at the verystart of the film.BACKOVIC (ONTAPE)I prefer not to categorizeany film. What differencedoes a running time make?The mechanics of film...the language...that is what matters.Kirby lays back, gets comfortable.MEYERS (ON TAPE)Your work so far has beenexperimental. You eschewconventional narrative.As Kirby listens, he stares at the ceiling.BACKOVIC (ONTAPE)Narrative is dead.Hollywood is shit. Film isnot entertainment. It ispower. If you understandthe potential of film, youcan reshape the world.MEYERS (ON TAPE)What was the origin of thisfilm?

BACKOVIC (ONTAPE)What is the origin of anywork of art? My films arenot about the text, butinstead are about the wayan edit affects ourexpectations. The politicsof the splice. Every frameis a square on a chessboard,an opportunity. Myproducers are... likemindedpeople.Suddenly there's a FLASH in front of Kirby, a ragged circlein the air, like a marker before a reel change.Then it's gone almost instantly.Kirby flinches, startled.KIRBYWhat the fuck?!Kirby takes off his headphones. There's a sound. Kirby stopsand listens. He realizes it's the water running in thebathroom... the sound of the bathtub filling.The lights in the bathroom are on. A shadow passes by at thebottom of the door.Kirby stands up, nervously walks across the room.He puts his hand on the door and gives it a gentle push.It's unlocked and opens a few inches.Through the opening he sees that someone is in the tub. It'sthe same tub we saw earlier in the brief flashback of Annie,somehow here in this hotel now.A woman's bloody arm dangles over the edge. One drop rollsoff her finger and hits the floor.In that moment, there's another FLASH, a flaming circle --And in the circle, a FACE, covered in blood, screaming.SHOCK CUT TO:

INT. HOTEL ROOM - MORNINGKirby wakes up suddenly, heart racing, in bed. The phone isringing. Meyers's recorder beside him is still running, thetape long since finished.Kirby takes a moment to get his bearings and calm down. Hepicks up the phone. The voice on the other end is cheery.Kirby hangs up, still shaky.VOICE (ON PHONE)(in French)Good morning! This is yourwake-up call!Fuck.KIRBYINT. CINEMATHEQUE - HENRI'S OFFICE - DAYHENRI COTILLARD, Chief Archivist, French Cinematheque. Hisname and title on the door. The office is packed with stacksof boxes, over-stuffed, so there's barely any room to walk.Henri's whip-thin, early 30's. The entire time they talk,Henri keeps his left hand tucked in his pocket.HENRISo you are on the huntagain, Kirby?KIRBYYeah, but this isn't likethe other times. I'mlooking for something thatmay not even exist anymore.HENRIYou chose an inopportunetime, I am afraid. We arereorganizing the archives.Everything's in boxes, asyou can see. If you give methe title...KIRBYLA FIN ABSOLUE DU MONDE.Henri reacts, but covers it well.

HENRI(French; subtitled)Vous êtes fou. (You are afool.)KIRBYMaybe I need to brush up onmy French, but it soundedlike you said...HENRIWho asked you to do this?KIRBYPrivate collector.HENRIThen he is the fool. Don'thelp him.KIRBYI don't have a lot ofoptions, Henri. I'm in debtup to my neck, and this onejob could turn that around.HENRIDon't do it for money,Kirby. It's not worth it.KIRBYThis guy came to me becausehe heard I could findanything. There's a part ofme that wants to prove he'sright. Beyond that... I'lladmit it... I'm curious tosee the film.HENRIHow much do you know aboutLA FIN ABSOLUE DU MONDE andHans Backovic?KIRBYNot enough. I talked to AKMeyers.HENRI(surprised)Nice choice. Most peoplestart with Sitges and tryto track it that way.

KIRBYMost people?HENRIYou don't think you are thefirst to try and find thefilm, do you?KIRBYWell... if you know so muchabout it, then you can helpme find it.Henri points at some boxes on top of a stack in the corner.INT. OFFICE - DAYHENRIYou can use my assistant'soffice next door. But it'snot in there. You have toearn this movie.Kirby sits in an office identical to Henri's, surrounded byresearch materials, including the press notes that Meyersgave him. As Kirby looks over all the paper laid out infront of him, we see INSERTS of particular pages:From the press notes, an abbreviated crew list.Cinematography, art direction, editor, sound. All of themain departments. Oddly, no producer is listed.Next to each name, Kirby makes notes. "DEAD" next to everyname except two: Patton League and Hans Backovic.Next to League, Kirby writes, "Motion Picture Fund Home,LA -- will he talk?"INT. HENRI'S OFFICE – DAYKirby walks in, startling Henri in the middle ofsomething.Henri pushes some film cans to the side of hisdesk.KIRBYWhat do you know aboutPatton League?HENRIThe cinematographer?KIRBY

INT. HALLWAY - DAYYeah. Think he'd be able tohelp me?HENRITragic story, that. He wentblind after they made themovie. As I understand hewill not even speakBackovic's name. Lastperson to ask him about LAFINABSOLUE DU MONDE neededsix stitches from whereLeague smacked him with hiscane.KIRBYWhy all the mystery?There's a wall of silencearound this film... aroundBackovic's whole life. If Icould just talk to him...HENRIHe's dead.KIRBYYour records don't showanything about his death.HENRITrust me. Backovic is quitedead.KIRBYDid you hear that from hisfamily? His friends? Anyoneyou can introduce me to?HENRI(hesitates)I'm sorry. I can tell youno more.Kirby walks out of Henri's office, starts down the hall.He hears Henri pick up his phone and quickly dial a number,though, and he stops.

INT. HENRI'S OFFICE - DAYHenri looks down at the open Backovic file, at the titles ofthe short films before LA FIN ABSOLUE DU MONDE.INT. HALLWAY - DAYHENRI(French; subtitled)Allo. C'est Henri.Ecoutez...Quel qu'un estvenu ici se renseigner surLA FIN ABSOLUE DU MONDE.(Hello. It's Henri.Listen... someone was hereabout LA FIN ABSOLUE DUMONDE today.)Kirby can't help himself. He creeps back down the hall so hecan hear better.HENRI(French; subtitled)Non, je n'ai rien dis maisil a quelques bon tuyaux.(No, I didn't tell himanything. He's got somegood leads, though.)(pause)C'est une coincidence. J'ensuis sur. C'est toujoursd'accord pour ce soir. Adix heure. Oui j'ai lespellicules. (I'm sure it'sa coincidence. We're stillon for tonight. I'll bethere by 10:00. Yes, I'vegot the prints.)Henri turns the stack of film cans on his desk so he can seethe sides. The titles are the same as in the Backovic file,all five of the short films.HENRI(French; subtitled)Le nom de la veuve Backovicn'est mentione nul part.Tout ira bien. (There's nomention of Backovic's widowin the file. She'll befine.)Henri hears something, looks sharply over at the door.

HENRI(French; subtitled)Attendez une minute. (Holdon a minute.)Henri rises, walks over to his office door --INT. HALLWAY – DAY-- and looks out into an empty hallway.INT. HENRI'S OFFICE – NIGHTHenri finishes straightening his desk. He checks his clock.9:40.Henri gathers the film cans on his desk and stands up. Whenhe turns to his office door, he jumps ---- and Kirby steps in, shaking his head.KIRBYHenri, you disappoint me.HENRIYou should not be here.KIRBYI thought we were friends.You know more than you'retelling me. That filmyou're holding... it's oneof Backovic's shortfilms, right?HENRIPlease... you do notunderstand.KIRBYYou're right. I don'tunderstand what's happeningto me. Last night, I sawsomething...HENRIA circle, right? Like thereel change of a movie.

Exactly.KIRBYHENRIThen it has started. You'realready in it. It will onlyget worse from here.KIRBYWhat is? What's happeningto me?HENRIThe more you look for thisfilm, the more you will seethose burns. You're goingto pay for every stepcloser you take. Iam trying to do you afavor. I'm telling you towalk away because I likeyou, Kirby. I've been whereyou are right now. I'vefelt that same buildingcuriosity, like anunscratchable itch. I hadto know. I had to see it.Henri finally removes his left hand from his pocket andholds it up.The skin is scarred, as if terribly burnt, and three of thefingers are fused together.HENRII was the projectionistthat night. The faces inthe room... famous andbeautiful people from allover Europe. When Ithreaded the film into theprojector, I saw those samedots you described. When Iactually started itrunning, I... Ilooked away. I lost mynerve. It was playing rightthere, right in front ofme... and I was toofrightened to watch.Kirby studies the hand nervously.

HENRIWhen the screaming started,and the smell of blood hitme, I tried to stop thefilm. The projectorwouldn't shut off,and I grabbed the film torip it out. And then I sawthose same circles, and...(shakes his head)I don't know. I must haveblacked out. Time seemed todrop away. When I came to,the film was over, and myhand...KIRBYI appreciate you trying toprotect me. But I needthis. I won't watch themovie. I won't show themovie at my theater. I'lljust give it to thiscollector and walk away. Ipromise.Henri thinks about it. He can see how desperate Kirby is.He reaches into his wallet and takes out a card.HENRIIf I were you, I would notcall this number. This manhas an excellentcollection, but he'sdangerous.Kirby examines the card. There's a name: DALIBOR HUPTMANN.KIRBYDoes he have the film?HENRINo, but he does have itemsgiven to him by theBackovic estate. God knowswhy. He can get in touchwith them.EXT. 2ND ARRONDISSEMENT - AFTERNOONKirby's in a cab, drives slowly past a few garment factoryshops, then stops in front of a very old warehouse building.Kirby climbs out, looks up and down the street, sees no one.

He knocks hard on the oversized metal door.Two guys walk out the front door, thick-necked, ruddy men intheir 40's, KASPAR and HORST.Kirby looks back over at the cab. The CAB DRIVER, a tiredlookingFrench woman in her 30's, has her window down.INT. WAREHOUSE - AFTERNOONKIRBY(in French; subtitled)Je serai de retour dans 20minutes. (I'll be out intwenty minutes.)There's nothing in this room. It looks like this placehasn't been used in quite a while. Horst motions for Kirbyto wait. Horst and Kaspar vanish into a different room,leaving Kirby alone.Muffled voices from the next room. Coarse laughter. Kirbysteels his nerve as DALIBOR HUPTMANN emerges.Tall, powerfully-built, shirtless, with a tattoo running upboth arms that connects around his neck, a strip of filmcomplete with sprockets.Dalibor sets down the only thing he carries, a crate withthe label, "LA FIN ABSOLUE DU MONDE" on the side.KIRBYIt's not for me. It's for aclient.DALIBORBut you're curious, aren'tyou? If Henri sent you tome, then you've had yourfirst glimpses.KIRBYGlimpses of what?DALIBORIt's different foreveryone. What you seeisn't the important part.It's the way you change...it's what the film does toyou that matters.

Kirby pokes through the contents of the crate. He brings outa sheath of publicity stills.KIRBYHave you seen the film?No.DALIBORKIRBYWould you watch it if youhad the chance?DALIBOROf course.Kirby flips through the photos. Each still has the title atthe bottom of the image, with the director's credit.The first image is strikingly composed, a stern, grizzledman in his 40's, the PROTAGONIST of the film. He stands inthe center of a field, shaking his fist at the sky andbellowing.KIRBYIs it true you're in touchwith the Backovic estate?DALIBORI've got a number I'vecalled a few times. I'vemanaged to pry a few itemsloose. Backovic's widow canbe difficultto deal with.The second image shows the Protagonist again, running alonga country road. The image looks like it's been hand-paintedwith a blood-red sky. Kirby looks closely at theProtagonist's face, distorted by fear.DALIBOR(smiles)I admire a man likeBackovic. Unafraid totransgress... in life andin art.As Kirby sets the still down and looks at the next one,Dalibor glances over at the door to the back room.

Horst opens the door slightly and peeks out, quietly, soKirby doesn't notice.DALIBORI've always wanted to makemy own films, but I detestthe falseness of Hollywood.I would rather die thanmake something false. Don'tyou agree?KIRBYYeah, sure.The next still shows a WINGED MAN being chased by a group ofCHILDREN. The Willowy Being from Bellinger's house, itswings spread out, in terrible pain!Jesus...KIRBYHe looks up at Dalibor and suddenly realizes Horst andKaspar are right there, right on top of him.They grab his arms, and Kirby struggles to pull free.Dalibor pulls out a syringe. When Kirby sees it, he goescrazy, but Horst and Kaspar hold him tight.DALIBORDon't leave, Mr. Sweetman.There's so much more totalk about.Dalibor sticks Kirby in the arm.DALIBORWhat is it you Americanssay? "Relax. Chill out."Before Kirby can respond, he sags, and everything goes --BLACKIn the darkness, Annie can be heard, crying out in pain.Kirby runs through the darkness towards the sound.INT. BATHROOM - DAY - FLASHBACKThe same bathroom we've seen twice before now. Kirby nearlytakes the door off the hinges as he bursts in.

Annie lies in the bathtub, naked. The tub spills over withbloody water. She's as pale as a corpse, no heavier thaneighty pounds.He stops cold when he takes in the sight.Annie reaches out to Kirby. Blood pumps from her slashedwrist, spraying Kirby's shirt and face!SHOCK CUT TO:INT. WAREHOUSE - NIGHTKirby comes back to consciousness with a jump. He's tied toa chair, hands behind him. He's not the only one tied up.The Cab Driver struggles in another chair, tied and gagged.A 16mm camera focused on her. Horst stands behind it.Dalibor steps into the room, transformed. He wears a leatherhood to completely cover his face, and holds a machete.When the Cab Driver sees Dalibor, she goes crazy, strugglingto slip free of her restraints. He takes his time walkingout in front of the camera.He swings the blade several times right above her, testingit, enjoying the sound as it cuts through the air. Swoosh.Swoosh. Swoosh. And he keeps getting closer.DALIBORThe blade of a splicingtable can be used to createa lie, or to tell thetruth. It all depends whosehand it's in.SWOOSH! SWOOSH! He stops, looking down at her, and by now,she's not struggling. All her attention is focused on thatblade. She's even forgotten the camera.DALIBORThis may be larger than anactual splicing blade, butyou get the point.He swings the blade again, but this time, he brings it downhard, burying it in the Cab Driver's neck!There's no blood. Not at first. Not until he pulls the bladeloose. There's a sudden pulse, a hot arterial spray.

She tries to scream, but the sound is strangled, weak.Before she can scream again, Dalibor swings the blade, hardenough to make it almost all the way through her neck. Herhead falls sideways, so Kirby is looking directly into hereyes as she dies.DALIBORI believe in truth.Finally, Kirby finds his voice, not even managing to get outa word. It's just a sound of horror and fear.Kirby struggles to get free, to no avail, going crazy.Dalibor chops savagely at her neck, over and over, until hemanages to cut her head off completely. Kirby closes hiseyes to avoid seeing any more.Dalibor picks her head up by the hair and walks towardKirby.Horst pans the camera, following the action.DALIBOROne take. One uninterruptedshot. The only cut was toher. This is truth.KIRBY"Truth"? What the fuck areyou talking about? You justkilled someone.DALIBORNo, I didn't. I turned herinto art. Something happenswhen you point the cameraat something terrible...the resulting film takes onpower.KIRBYNo. It doesn't. Snuff isn'tpowerful. It doesn't revealsome greater truth.SWOOSH! SWOOSH! Dalibor swings the machete, uncomfortablyclose to Kirby's face.KIRBYIT'S JUST MURDER!

DALIBORYou are not listening, myfriend. You come all thisway, then you don't listen.You want to understand whyLA FIN ABSOLUE DU MONDEtore through audiences?Dalibor steps up close to Kirby and raises his blade. Kirbydoesn't flinch away, like he's daring Dalibor to do it.DALIBORBackovic was an exceptionaleditor. He understood thevalue of a cut...Dalibor brings the blade down ---- and tosses it aside!DALIBOR... but there was more toit.Dalibor sits down on Kirby's lap, facing him. Kirby can't doanything to stop him.INSERTDALIBORThey say the movie workssubliminally while you'rewatching, but the thingthat made the film aweapon... blood. Spilledblood.KIRBYLA FIN ABSOLUE DU MONDE isa snuff movie?DALIBORWhat if you got hold of anangel? A Divine Being withthe blood of God flowingthrough its veins? And whatif you sacrificed it... oncamera?For just a moment, Kirby sees the Willowy Being inBellinger's atrium, sorrow like a shroud.

BACK TO SCENEDalibor puts his hands around Kirby's throat. Kirby bucks,trying to pull free.DALIBORSomething that profound...that personal... it changeseveryone who was part ofputting it on film andeveryone who sees it. Thecloser you get to the film,the more you'll be changed,too.Dalibor begins to squeeze, cutting off Kirby's air.DALIBORThis was Backovic's secret,you know?Kirby bucks as hard as he can, but there's no way out.Dalibor tightens his grip, squeezing as hard now.DALIBOR"Film is magic," he said,and he was right.Kirby's eyes roll and he looks around for any escape.On the far end of the room, against the empty wall, there'sa FLASH -- three seconds or so -- of a flaming circle.During the three seconds the flash is visible, Kirby gets abetter look at the face in the center of the cirle.Screaming. Covered in blood. Annie.Kirby flinches back from the sight, and Dalibor notices.Dalibor glances back at the wall, sees nothing.DALIBORWhat is it you see?Dalibor releases his grip, just a bit.DALIBORWho is it who haunts you?Kirby can't answer. He just gasps, drawing as much air as hecan.

DALIBORWill they be waiting foryou on the other side?Dalibor squeezes harder, and Kirby starts to black out.POV - KirbyAs the whole world swims out of focus, Dalibor in close andleering, there's another flash, another circle, so closethis time that everything goes dark.FADE IN ON:INT. WAREHOUSE – LATERThe 16mm camera lies on the floor, smashed and smoking.Horst's body lies next to it, his head missing.Kirby stands in the center of the room, spattered in gore,but apparently unharmed. He holds the knife that Dalibor wasusing, not sure what happened, dizzy.He fights back his revulsion as he steps over all the gore,slipping in it a bit as he makes his way to the door.He stops at a sound... a wheezing rattle.Dalibor. Alive.Kirby walks over, knife still in hand, and looks down atDalibor. Dalibor bleeds from a ragged slash across hiswindpipe, gasps to try and catch his breath.Kirby has to lean in closer to hear what Dalibor's saying,over and over.DALIBOR... fu... fuck... fuckyou...Gripped by sudden fury, Kirby tosses the knife aside anddrops in close, so he and Dalibor are face-to-face.KIRBYFuck me? Fuck ME?!He punches Dalibor, as hard as he can, right in the throat.

KIRBYFuck you, psycho.Dalibor begins to cry, bleeding even more now.KIRBYTell me where the film is.Dalibor can't catch his breath. As he tries harder, thesound is awful, and he begins to shake, desperate.KIRBYTell me who I have to talkto.He raises his hand to punch Dalibor again. Dalibor shakeshis head, manages one word very clearly:NO!DALIBORKirby hesitates, and Dalibor takes a moment, holding histhroat, trying to get his breath as he points at the crateagain.KIRBYWhat? You have the film?Dalibor shakes his head again.DALIBOR... Katja.Dalibor stops moving, and a moment later, that rattlingwheeze stops, too. He's dead.Kirby walks over and picks up the crate. He roots around init and finally comes up with an oversized envelope. Thereturn address is for "Katja Backovic."The address is in Vancouver.INT. HOTEL ROOM - MORNINGKirby bursts into the room and begins to pack as quickly ashe can, freaked out, panicked. As he reaches to open anotherdrawer, he catches sight of blood on his sleeve.And then, all at once, it's like the last twelve hourscatches up, and he just crumbles, weeping.

But not for long. He regains his composure as best as hecan, and he picks up the phone, dials the front desk.As he waits for the response --KIRBYBonjour. Can you connect meto Air France, s'il vousplaît?DISSOLVE TO:EXT. VANCOUVER SKYLINE – DAYDowntown Vancouver. Tall apartment buildings.SUPERIMPOSE: VANCOUVER, BRITISH COLUMBIAEXT. APARTMENT BUILDING - DAYKirby steps up to the front of one particular building andchecks the security panel. He finds one name in particular:"PENTHOUSE -- BAKOVIC"Kirby hits the button next to the name and waits for a longmoment. He's about to buzz again when the speaker cracklesto life.Yes?KATJA (ONINTERCOM)KIRBYMrs. Backovic?No response.KIRBYMrs. Backovic, I've come along way to see you.Please.After another long pause, there's a buzz and a clicking, andthe front door opens.

INT. ELEVATOR – DAYKirby presses the button for the penthouse and stands backas the doors close. He's nervous, the anxiety building asthe elevator starts to rise.Several floors go by with no incident, but then the lightsoverhead start to flicker.KIRBY...oh, shit...BOOM! Something hits the top of the elevator, hard.STOP IT!KIRBYBOOM! Something hits it again.Kirby desperately punches the penthouse button, like that'sgoing to somehow speed the elevator up.Suddenly, all the lights in the elevator go out except forthe single penthouse button.And in the darkness...a voice...ANNIE (O.S.)Sweeeeetman... KirbySweeeeeeetman...Kirby makes a noise, sad and afraid.ANNIE (O.S.)... are you my sweet man,Kirby?Kirby stays close to that button, close to that one littlebit of light.As a result, he doesn't see Annie loom up out of the shadowsbehind him. She's obviously dead, waterlogged, eyes likepools of black.She leans in close enough to whisper right in his ear.ANNIE (O.S.)Will you take care of me...always?

Kirby screams, just as the door starts to open, and hethrows himself through so fast that he slams his head andgashes it, not caring, just manic to escape.INT. PENTOUSE - DAYHe scrambles to his feet, shaken, the fresh cut on hisforehead starting to bleed. He looks back. No sign ofAnnie. The lights are back on in the elevator as the doorsclose.Kirby suddenly realizes where he is and turns around.Backovic's home is warm, beautiful, tastefully appointed.Lots of photos of Backovic.Kirby steps closer and examines a large portrait ofBackovic.He's not intimidating, not any sort of overt figure of evilor menace. In most pictures, he's just an ordinary Europeanguy between 20 and 40 years old.KATJA (O.S.)You saw something thatupset you... in theelevator.Kirby looks over to see someone walking towards him.KATJA BACKOVIC. Half-Indian, half-English. Tall, exotic,beautiful, mid-40's. Gender ambiguous.KIRBYYou could say that.KATJAYet now you are here. Youmust want this very badly.You're the first one toever make it this far.KIRBYI'm surprised to find youhere. I expected you to bein Europe somewhere.

KATJAThis is still very much hishouse. He's in every room.Hans moved us here becausehe thought it would becomea place to make films moreaffordably than Hollywoodcould. Twenty years later,he's right.KIRBYI have so many questions.KATJAI'm not sure I have theanswers you're lookingfor... but we'll see.First, though, let's takeof your forehead.Kirby reaches up and realizes his forehead is bleeding.KIRBYI didn't even realize.TIME CUT:INT. PENTHOUSE - DAYKirby sits on a plush couch as Katja cleans and bandages hisvarious cuts and contusions.KIRBYDo you have a print of LAFIN ABSOLUE DU MONDE?KATJAThat's not what you want toknow. You want to know ifthe stories about the filmare true.Are they?KIRBYKATJAYes. Unfortunately. Why areyou looking for the film?KIRBYBecause I'm being paid.

KATJAThat's an excuse. Ifsomeone paid you to kill aman, would you?KIRBYNo. Of course not.KATJABut you've been warnedabout this. LA FIN ABSOLUEDU MONDE is no ordinaryfilm.KIRBYY'know what? Everyone'ssaid that to me, likethat's going to convince meto back off. I don't wantan ordinary film. Iwant to see somethingextraordinary.KATJAYou sound exactly likeHans. He was willing to doanything to make his filmsstand out.KIRBYWho produced the movie?KATJAYou're very direct.KIRBYI want to hear somebody sayit. I'm tired ofsuggestions and hints. Whoproduced the film?KATJAI asked Hans that samequestion... many times."The Producers of this filmhave produced many things.Chaos. Sorrow. Suffering.Famine."KIRBYWhat does that mean? TheDevil?KATJA

Hans never put a name onit. "Evil is evil," hewould say. "Does a namereally matter?"Katja steps back, checks the fresh bandage on his head.INT. PENTHOUSE - STUDIO - DAYKATJALooks like you'll live.Come with me. I havesomething to show you.Kirby follows Katja into a room that's been converted intoan editing studio. An old fashioned KEM flatbed editingtable sits dormant.KIRBYThis is nice.KATJAHe kept it all state-ofthe-artuntil the year hedied.KIRBYHow did he die? There wasnever an official obituary.KATJAHans became obsessed withLA FIN ABSOLUE DU MONDE.During the last year of hislife, all he did is watchit. Like a punishment.INT. PENTHOUSE - STUDIO - NIGHT - FLASHBACKHANS BACKOVIC sits at the sound mixing console, watchesimages on a screen we can't see. Backovic slows everythingdown, backs it up.KATJA (V.O.)In the end, he got tooclose to the fire. The filmwas too effective.Backovic stops for a moment, peers into the deep shadows atthe corners of the room, cocks his head, listens:A low hiss, a whisper, a name... "Backovic."

Backovic looks back at his screen. All we see is the lightas it plays across his face.KATJA (V.O.)It got inside him. It madehim crazy.Backovic shakes, like he's having a seizure, then suddenlystops. His face goes slack, as he stands up and heads forthe door.INT. PENTHOUSE - STUDIO - DAYEmotion stops Katja for a moment. She blinks back tears.KATJAHe stopped in the kitchenbefore he came to find mein the bedroom.She opens her shirt at the throat, just a bit, enough toexpose an awful white scar.KATJAHe meant to kill us both,but when Hans cut mythroat, he only disfiguredme. When he cut his ownthroat, he died. I'm notsure I got the better deal.She covers her throat again, can barely look at Kirby, thepain still fresh even this many years later.KATJAI was left to take care ofLA FIN ABSOLUE DU MONDE. Ihate the film, and Iunderstand the power of it.I wish it had never beenmade.(pause)Do you understand whatthat's like, Kirby? Wantingto do penance forsomething, but knowing it'stoo late?INT. BATHROOM - DAY - FLASHBACKKirby pulls Annie out of the tub, tries to hold her slashedwrists closed.

He pulls her close, wails, the entire flashback silent.INT. PENTHOUSE - STUDIO - DAYKirby tries to hold back sudden, unexpected tears.KIRBYYeah. I do.KATJAPeople said terrible thingsabout Hans. Some peoplesaid he deserved his death.Maybe he did. But I misshim terribly.KIRBYMrs. Backovic...Katja.KATJAKIRBYKatja. Can I see the print?Please.Katja thinks about it for a long moment, until Kirby openshis mouth to say something.Before he can, she stands up and walks over to the corner,where she clears away a few boxes.Two films cans rest on the heating vent.KATJAI put it there half-hopingit would get ruinedsomehow. Hasn't worked yet.I hate even having it inthe house.Kirby walks over and turns the cans around.Written on the side of each: LA FIN ABSOLUE DU MONDE.KIRBYEver since I started tryingto track it down, I've beenseeing flashes. Circles inthe air, with somethinginside.

KATJAThe cigarette burns.KIRBYRight. Exactly. And everytime I do...KATJATerrible things happen.(Kirby nods)When did they start?KIRBYI heard a tape of aninterview with Hans. Assoon as I heard hisvoice...KATJA... you were marked. That'show potent LA FIN ABSOLUEDU MONDE is. It doesn'tjust affect you when youwatch it. As soon as youstart getting close to it,it rubs off on you, likeyou stepped in quicksand.So go ahead... take thefilm.Kirby picks the cans up as Katja watches sadly.KATJAIt's already too late.EXT. BELLINGER'S HOUSE - NIGHTKirby's car pulls up to Bellinger's gate. The gate swingsopen and Kirby heads up toward the house.Bellinger walks out his front door as Kirby walks around tohis trunk to open it. He stands back so Bellinger can seethe two film cans.Bellinger's so excited he's almost dancing, dressed likehe's going out for an evening of theater.He hands Kirby a check for $200,000.BELLINGERWorth every penny.

Bellinger reaches into the trunk and lays his hand on thefilm cans, as if he doesn't believe they're real. He looksover at Kirby and smiles.BELLINGERI can feel it.He lifts the film cans out of the trunk.INTERCUT - KIRBY'S CAR / BELLINGER'S SCREENING ROOM – NIGHTKirby heads back out onto Mulholland. As Kirby drives, wekeep him in extreme CLOSE-UP. We only get the impression ofpassing headlights and street lights.Bellinger sets the cans down next to his projector and opensthem. He runs his hands over the actual print and shivers.He threads up the print, handling it gently, like he'scaressing a lover.Kirby gets out onto the freeway and floors it, the windblowing through his hair, eager to put it all behind him.Still, we stay tight on him, and we can see the toll thishas taken on him. He's shaky, worn out.Bellinger starts the projector, heads down into hisscreening room. Fung stays to make sure everything runsokay.Kirby retrieves a bottle of whiskey from the back seat,cracks the seal, and takes a big pull off of it, all withouttaking his eyes off the road.As the lights in the screening room dim, Bellinger settlesinto his seat and pops the cork on champagne, grinning likeit's Christmas morning.EXT. THE VOGUE - NIGHTThe entire theater is dark. Kirby parks in front and climbsout, mystified.KIRBYWhat the fuck?He checks his watch as he walks up to the front doors. Heavychains have been strung across the doors.NO!KIRBY

Furious, Kirby throws his bottle at the front doors,shatters it. Kirby pulls out his phone, stabs in a number.KIRBYTimpson... yeah, I just gotback. I'm standing in frontof the theater right now.Where the hell are you?!(pause)You were there! He said Ihad a fucking week! Whendid he come back and putthe chains on?The answer just makes Kirby angrier and he kicks the frontgate, hard.KIRBY(pause)Goddamn fucking stupid...Okay, listen, man, I'lltake care of this. I've gotthe money. We'll be openagain bytomorrow.(pause)Yeah, I'm pissed, but notat you.(pause)Alright. Talk to you in themorning.Kirby hangs up, his anger deflating. Before he can pocketthe phone, it rings again.INT. WALTER'S CAR – NIGHTKIRBYHello?(pause)Bellinger? What's wrong?What's..?Walter sits across the street again, watching Kirby. Kirbyfinishes the call, runs over, jumps back into his car. As hepulls away, Walter starts his car and follows.EXT. BELLINGER'S HOUSE - NIGHTKirby pulls up and climbs out, weary, nerves jangling. Thefront door of the house stands ominously open. Kirbycautiously heads inside.

A moment later, Walter's car pulls up and stops.INT. BELLINGER'S HOUSE – NIGHTThe house is dead quiet. Kirby walks in, peeking into rooms.KIRBYMr. Bellinger?Fung lurches out of one of the rooms, stripped to the waist,cuts all over his chest, bleeding freely. But what concernsKirby most is the knife in Fung's hand.KIRBYHey... Bellinger called me.FUNGYou brought that film inthis house.Fung steps closer and Kirby keeps his eyes on the knife.KIRBYI don't want any trouble.FUNGBut you brought troubleinto this house, didn'tyou? And now you're back.Well, I know what you want.You want to see the movie.KIRBYNo. I don't.FUNGYes, you do. And I hope youget what you want. What youdeserve.Fung swings the knife up and Kirby flinches back ---- as Fung stabs out his own eyes with sharp, suddenmotions!Fung collapses as he laughs, an awful, mirthless sound.INT. BELLINGER'S SCREENING ROOM – NIGHTKirby steps in. Onscreen, closing credits are rolling.

KIRBYBellinger?No answer. Kirby waits for his eyes to adjust to thedarkness, looking up at the screen as he does.Just then, the film runs out, and the theater is floodedwith white light as the projector continues to play.Kirby looks up toward the projection booth and glimpsesBellinger moving around the back of one of the projectors.INT. BELLINGER'S PROJECTION ROOM – NIGHTKirby walks up the stairs into the booth. He can't quite seeBellinger as he moves around one of the two projectors.There's blood on the floor, on the projector.BELLINGER (O.S.)You missed the good part.Kirby climbs the last few stairs and steps into the room sohe can see better. He finally sees what Bellinger holds inone hand. A long gleaming straight razor.KIRBYWhat's going on?Bellinger looks down, sees the razor, reacts like hesuddenly remembered it was in his hand.BELLINGEROh, don't worry.Everything's fine.Bellinger lays the razor on top of the projector.KIRBYYou sure about that? MaybeI should call a doctoror...Bellinger smiles sadly. It's odd seeing a man like this lookso vulnerable, shaky.

BELLINGERI've done terrible thingsin my life. You don't makeas much money as I havewithout burying a fewbodies. You can sleep atnight just as long as theystay buried. Trouble is...they never do.KIRBYYou watched LA FIN ABSOLUEDU MONDE.Bellinger nods.And..?KIRBYBELLINGERI... highly recommend it.It's not a movie, however.It's a preview. It's thecoming attractions of thesoul. And, in my case, it'sa hell of an ending.KIRBYOn the phone... you saidyou needed help.BELLINGERI was going to ask you tofind another movie for me.After all... you did such agood job with this one. ButI don't need it now. I'vebeen inspired. I made myown movie.As Bellinger starts the second projector running, Kirbytakes a few more steps towards him, and now he can see whatBellinger's doing, can see what's about to happen --KIRBYOH, GOD, NO!Bellinger has slit his stomach open, and he has managed tothread the end of his small intestine into the projector!As soon as he starts it running, it pulls and begins tounspool him into the machine!

INT. BELLINGER'S SCREENING ROOM - NIGHTKirby practically falls down the steps in his haste toscramble away from Bellinger and his screams of agony.He turns to run ---- and comes face to face with Walter Matthews, holding asmall gun on him!KIRBYJesus... Walter... what areyou..?WALTERWhat's going on in here?What kind of... filthy...fucking...Walter looks up at the screen, at the psychedelic rainbow ofgore coming from the projector.WALTER... WHAT IS THIS?!?Kirby takes a step towards Walter.BLAM! Walter squeezes off a shot, a nervous twitch more thananything. He misses Kirby, but just barely. Kirby freezes.KIRBYWalter, we shouldn't behere.WALTERYou're right. But latelyI've been spending a lot oftime doing things Iwouldn't have expected.Like sitting outside yourtheater for days at a timewith a loaded gun. Likeletting my business go tohell while I figure outways to ruin your life.KIRBYI tried to save Annie.Shut up.WALTER

KIRBYI tried. I know I screwedup. I know it's my faultshe ever tried heroin.WALTERYOU'RE GODDAMN RIGHT ITIS!!He hits Kirby with the gun, across the face.KIRBYYou want to do this, let'sgo somewhere else. But nothere. Not now.WALTERI've been waiting to dothis... fantasizing aboutit, really. But I never hadan opportunity. I didn'twant to throw my lifeaway... and now... if youget shot here... what doesit matter? Who's going tonotice? Just one morefreak on the stack ofbodies tomorrow.KIRBYYOU DON'T WANT TO DO THIS!WALTERYES! I DO!From the projection booth comes the sound of one projectorshutting down, plunging the screening room into darkness.Kirby jumps forward and grabs Walter's gun hand.As they struggle, Kirby looks up at the screen. He seesanother of those flashes -- a cigarette burn that hangs infront of the screen for a few seconds.The second projector starts, and Kirby finds himself lookingup at the opening titles, in French, for LA FIN ABSOLUE DUMONDE.KIRBYWALTER! PLEASE! WE HAVE TOLEAVE!

There's a second cigarette burn that appears in front of thescreen and the whole world FADES TO WHITE --INT. BELLINGER'S SCREENING ROOM - LATER-- and when Kirby comes to, he's sitting in the screeningroom, right in the middle.There is blood on his hands. Blood up to his wrists. Bloodon his shirt, on his face. But none of it is his.Walter sits on the floor in front of the screen, crying.There's blood on his shirt, too, but it's his own. His gunlays on the floor.In front of them --WALTER... crazy fucker... crazyfuck...ONSCREENLA FIN ABSOLUE DU MONDE. Blown-out 16mm handheld. ThePROTAGONIST we saw in the stills, on that desolate countryroad. Above him, the hand-colored sky throbs a menacing red.There are several QUICK CUTS in the film. Flashes of things,subliminal almost. A mouth clamped around bleeding flesh.Hands clawing at a wall, fingernails crumbling. A manstanding silhouetted in a doorway with a long knife in hand.INT. BELLINGER'S SCREENING ROOM – NIGHTKirby tries to stand up. But he's too weak.ONSCREENA group of CHILDREN surround the wounded Angel, the WillowyBeing with its wings intact, attacking it with sticks androcks, laughing the entire time.There's a "bug" in the corner of the screen as the reelends.INT. BELLINGER'S SCREENING ROOM - NIGHTKirby coughs as if punched, spraying a burst of blood.

He wipes his mouth, shocked.ONSCREENThe Angel and the Protagonist struggle as the Protagonistuses a straight razor to saw at one of the Angel's wings.The Angel makes a horrible, anguished sound.Another cigarette burn, but this one hovers in front of thescreen, and it doesn't disappear as the reel changes. Ithangs there, like a window, with flames visible behind it.Suddenly, a face slams into view, screaming, twisted inanguish and horror. Annie's face.INT. BELLINGER'S SCREENING ROOM - NIGHTKirby recoils, his nose bleeding now. He rubs his eyesfuriously, trying to make the image disappear.INT. ATRIUM - SAME TIMEFung crawls into the atrium, slowly, in obvious pain, hisruined eye sockets still bleeding.He crawls across the floor, out to where the Willowy Beingis still chained in place. Fung feels the leg of the WillowyBeing and stops crawling.With great effort, Fung reaches into his pocket and producesa small key which he holds up.The Willowy Being reaches down and pets Fung like you woulda dog who just fetched you the paper.Even though he's still in unholy pain, Fung manages ahorrible smile.INT. BELLINGER'S SCREENING ROOM - SAME TIMESitting there in front of the screen, Walter looks up,dumbfounded. He sees Annie, too.

ONSCREENAs the film continues to play, Annie presses against thecigarette burn from the inside. It's like a window thatbulges for a moment, then tears --INT. BELLINGER'S SCREENING ROOM - NIGHT-- spilling Annie out, nude and covered in blood, into thefront of the auditorium, onto Walter!Walter freaks out, and Kirby sees now that Walter's missingthe hand where he was holding the gun. It's just gone.Ripped clean off. Bleeding profusely.WALTERAnnie?! Baby?!Kirby looks up at the screen. The cigarette burn is gone,the screen intact once again, the movie playing again now,the Protaganist digging a hole in a field, covered in dirtand blood.Kirby stands and steps toward them, but Walter looks up athim, tears streaming down his cheeks.WALTERSTAY BACK!(sobs)You already killed heronce.Kirby watches the screen, trying to make sense of it.Walter puts his jacket around Annie and tries to wipe awayall the blood from her face.WALTERShhh... Daddy's here. It'sgonna be fine, baby. It'sgonna be fine.For a moment, Annie seems to focus on Walter, and she stopsscreaming.ANNIE... d-daddy?As Kirby stares up at the screen, he begins to shake, hiseyes rolling back into his head.

WALTERI'm right here, Annie.ANNIEI'm so... cold...WALTERI'm going to get you out ofhere.Daddy...ANNIEWALTERI'm sorry, baby. It's okaynow.ANNIE... I'm hungry.She attacks Walter, tearing at his throat with her teeth!At the same moment, Kirby stops convulsing. His face goesslack, the same way Backovic's did in the flashback.He stands, walks down to where Walter lies on the floor,wrestling with thin air. No sign of Annie at all.Walter stops and looks up.KIRBYI see now. I understand.Annie?WALTERHe reaches up, touches his neck. No bite.WALTERWhat's happening? She wasjust here.KIRBYOf course she was. Becauseyou won't let her go.WALTERI loved her.KIRBYI LOVED HER, TOO!

Kirby falls on Walter, who tries to fend him off. Kirbyfights with an unnatural calm, slapping Walter's arms away.KIRBYBut I see now. As long aswe can't let her go... it'slike we're killing her overand over.He grabs Walter's head and starts pounding it against thecement floor, driving his thumbs into Walter's eye sockets!KIRBYAnd we'll never let her go!Not until we're both dead!Walter claws at Kirby, but Kirby pounds him with an animalfury. Each time he slams Walter's head, blood fountains.Kirby continues hammering until Walter's clearly dead!Kirby takes out Bellinger's check and crams it deep intoWalter's mouth.KIRBYTHERE'S YOUR FUCKING MONEY!Kirby picks up Walter's gun and walks over to the front row.He sits down and looks up at the screen where the cigaretteburn still hangs in place.Annie can be seen on the other side, but she's not screamingnow. She smiles out at Kirby.Tears on his cheeks, he smiles back.KIRBYI love you. I'm so sorry.He brings the gun up to his temple.INT. BELLINGER'S PROJECTION ROOM - NIGHTAt the sound of a single gunshot, the film runs out, and wefollow it around, out of the project, onto the platter,where the entire print spins, spins, spins ---- until a hand reaches in and shuts it off.The Willowy Being picks up the entire print off the platter.

INT. BELLINGER'S SCREENING ROOM – NIGHTThe Willowy Being carries the print out of the projectionroom, into the screening room, and pauses to look down atKirby's body, head splashed open on the carpet.WILLOWY BEINGThank you... for this.The Willowy Being takes the print and leaves, and as thedoor swings closed, the lights go out, sealing Kirby andWalter and Bellinger in together inBLACK