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FADE IN:
EXT. CORN FIELD AT THE COMMUNE - WOODSTON, NH - DAY
The wind rustles the late summer cornstalks as commune
workers fill a pallet box with newly-picked corn. All of the
workers are young women, dressed in contemporary styles.
The workers move in such a way that one does not catch a
glimpse of their faces, only their wind-blown hair and
youthful form.
The pallet box, sitting on a flatbed farm trailer and now
filled with corn, begins to move as it is pulled by an
ancient tractor.
A faded sign on the side of the tractor says, "Kankoa Farm -
A Commune of Hope - Woodston, NH"
One of the young workers begins to "go berserk", swinging her
arms at the cornstalks and screaming.
YOUNG WOMAN
I want to go home! I want to go
home! I want to go home...!
She has a distinctive red hair-clasp that flashes as the sun
hits it.
The driver of the tractor, a LARGE WOMAN (mid 50s), stops the
tractor and runs over to the young woman, shakes her and
silences her sobs by wrapping her arms around her.
LARGE WOMAN
Settle down, girl. This is your
home now.
The young woman stiffens, gathering all the strength in her
small frame, and pushes away from the large woman causing her
to stumble backwards and fall. The young woman sprints off
through the corn stalks toward the edge of the field.
The large woman, still lying on the ground, grabs her whistle
and sounds the alarm.
LARGE WOMAN
Get that little bitch!
EXT. EDGE OF CORN FIELD - CONTINUOUS
The young woman bursts out of the corn field, crosses a small
swath of rough grass, and enters the surrounding woods. She
can hear pursuers crashing through the stalks behind her.
EXT. THE WOODS - CONTINUOUS
Running headlong, tripping over roots, heedless of the
branches tearing at her clothes and skin, the young woman
slows down as she comes to a 20-foot high chain-link fence
topped with barbed and razor wire.
Four male pursuers converge on her as she looks to freedom
beyond.
EXT. BOUNDARY FENCE - CONTINUOUS
One of the pursuers aims a stun gun at the back of the young
woman. As she stares through the links, she brushes her hair
back and reveals...THE FACE OF AN ELDERLY WOMAN.
The stun gun fires and it sounds like...
INT. LANDRY'S QUIK MART - TOWN OF CHERRY, NEW YORK - DAY
...an explosion emanating from the classic video game
DEFENDER. GOOGE (17) plays the game while SHAWN (17)
watches. Typical teen guys: T-shirts, baggy shorts, and long
sideburns.
Less typical is HARVEY LOMAX (17), Googe and Shawn's friend,
who grabs three bottles of soda pop and heads to the checkout
counter. Tall and big-boned, wearing an oxford shirt and
thin wool pants, Harvey looks older than he is. He hates
shorts.
He carries a bookbag over one shoulder.
GOOGE
Harv, when you gonna pay us?
He nudges Shawn.
HARVEY
Did you rebuild that server?
GOOGE
Yep. Sort of. It's fifty percent
operational.
SHAWN
Let's say it's in a better state.
HARVEY
(speaking slowly)
But not quite.
GOOGE
Just give us the money or we're
going on strike.
HARVEY
Would I notice?
Harvey pulls a small wad of bills out of his pocket, shaves
off a couple of bills, and gives them to the cashier MR.
LANDRY (50s).
HARVEY
Drinks all around.
Shawn and Googe grab their pops and leave. Mr. Landry grabs
Harvey's arm.
MR. LANDRY
You there tonight?
HARVEY
Wouldn't miss it, sir.
EXT. LANDRY'S QUIK MART - MOMENTS LATER
Harvey, Googe, and Shawn walk out behind the store and down
the path leading to the small town's only soccer field. As
they get closer to the field, the sound of the high school
girl's soccer practice reaches them.
EXT. EDGE OF SOCCER FIELD - MOMENTS LATER
Crouched in the bushes at the edge of the field, Harvey opens
his knapsack and takes out something that looks like a camera
with a long lens.
HARVEY
Check this out.
Harvey plugs a wire from the "camera" to a small box with
headphones attached to it.
SHAWN
No way. You got it working?
HARVEY
Yeah. Headphones and then aim by
looking through -
Googe has already figured it out. He points the camera at...
EXT. SOCCER FIELD PENALTY BOX - CONTINUOUS
...high school girls lined up in front of the goal practicing
penalty kicks. One of the girls, HEATHER, is bitching and
moaning to the friend next to her.
HEATHER
God, I hate her more than the
fucking Curse.
FRIEND
Kick it in her face.
HEATHER
She'd have to pay me for the
improvement.
EXT. EDGE OF SOCCER FIELD - CONTINUOUS
Googe rips off his headphones, laughing loudly.
GOOGE
Rocks. Carol better watch out.
EXT. SOCCER FIELD PENALTY BOX - SOCCER FIELD - CONTINUOUS
Harvey's girlfriend, CAROL KOENIG (17), hears Googe laughing
and turns around from her position as goal keeper to check it
out. The "It" girl of Cherry, New York, Carol looks good
enough to make most guys envy her boyfriend.
Without warning, Carol is hit in the back by a soccer ball.
She makes an involuntary GRUNT and turns around with fire in
her eyes.
EXT. EDGE OF SOCCER FIELD - CONTINUOUS
Harvey walks out of the bushes onto the field alone.
Googe calls out to him.
GOOGE
Coming over to play some Xbox?
HARVEY
I'd rather live it than watch it.
(under his breath)
Hate TV.
EXT. RURAL MAKEOUT SPOT - CHERRY, NY - NIGHT
A classic blue '71 Chevy Impala with dark tinted windows
nestles in an isolated spot next to the trees bordering a
dirt road.
Carol and Harvey lounge together on the expansive front seat
and listen to music and talk about all-important matters.
INT. BLUE IMPALA - CONTINUOUS
CAROL
You've GOT to be kidding me.
HARVEY
Thirty is ancient, Carol. Thirty
is minivans and double martinis
before bedtime.
CAROL
Thirty seems about right.
HARVEY
But the timing is perfect. We
graduate next spring and get
married.
CAROL
You're freaking me out, Harv. By
thirty, I've got a teen-aged
daughter and you're ditching
alimony and child support.
HARVEY
Now you sound like your mom.
CAROL
The one thing she's right about.
(beat)
What's gotten into you? I mean,
you look normal but you're acting
really strange.
HARVEY
I don't know. I just - I've got my
own business. And...
(beat)
...we'll be eighteen in a couple
months.
CAROL
Wow. Eighteen.
HARVEY
Carol, I want to take care of you.
CAROL
I can take care of myself-
SMASH! Without warning, the driver's side window is
shattered by a softball bat.
Carol and Harvey duck and SCREAM.
Through the opening where the window used to be, a hand
reaches in and unlocks the door as an angry female voice
bellows out:
FEMALE VOICE (O.C.)
Carol Anne Koenig! Get your butt
out of HIS car.
EXT. BLUE IMPALA - NIGHT
The voice belongs to Carol's mom, JACKIE, early 30s, who
looks at boyfriend's head as if it's a softball in the middle
of the strike zone.
Jackie's car idles nearby. Lights off.
JACKIE
Has nothing I told you made it into
that thick skull? I will NOT have
you make the same mistakes I did.
Carol gets out, looks at her mom, more wounded than angry.
But she IS angry.
CAROL
Mom, you've lost it! You've - I -
You've gone - completely BONKERS!
JACKIE
Honey, I'm sorry you feel that way -
CAROL
At what point during Parenting 101
did they teach you to brandish a
baseball bat?
JACKIE
Honey, I'm sorry. Get in the car
and we'll talk about it.
Carol, stunned and mortified, walks to her mother's car.
CAROL
(to boyfriend)
I'll give you a call as soon as
she's sedated.
Her boyfriend looks at his shattered window.
HARVEY
Hey! What about the -
JACKIE
(sarcastic)
So sorry - send me the bill, rich
boy.
As she gets in her car, she looks over at Carol's boyfriend,
and glares.
JACKIE
And stay away from my daughter.
INT. BARN - CHERRY, NEW YORK - NIGHT
A dozen members of the local militia sit around on bales of
hay and rusty farm equipment. Harvey leans back comfortably
and chews on a piece of straw.
Mr. Landry, the convenience store owner, presides over the
meeting.
MR. LANDRY
And if anyone can come up with a
proposal to convince Councilman
Snodgrass to vote for the zoning
restrictions so that we can keep
developers from turning this place
into an Ambercrombie[sic] and Fitch
commercial, please let me know.
(beat)
Final order of business tonight:
the vote on adding young Harvey
Lomax here to the muster roll.
AD LIBS of good-natured ribbing from the older men cause
Harvey to smile self-consciously.
MR. LANDRY
All right. All right. Those for
him say "Aye".
A friendly CHORUS OF "AYES" rings out.
MR. LANDRY
Those opposed: same sign.
A VOICE
AYE!
All present turn to look at CECIL SHULER (early 60s) as he
glares at Harvey.
CECIL
That's right. You heard me. AYE!
MR. LANDRY
Cecil, you're outnumbered. The
boy's in. But you're entitled to
your piece. Say it.
CECIL
He needs a little time to develop.
Got no parents to speak of. His
dad jets around the world, leaving
him alone for weeks at a time. His
mom -
Harvey jumps up.
MR. LANDRY
Easy, son.
CECIL
See what I'm saying? Hotheaded -
HARVEY
Nobody bad-mouths my parents. Sir.
CECIL
Meant no offense by it. Everybody
knows you practically raised
yourself. But I've seen you
snooping around town, doing God
knows-what, and I don't like it.
Cecil looks around at the other men.
CECIL
I'm telling you what I think -
MR. LANDRY
All right. Thanks, Cecil, now
shake the boy's hand.
Cecil hesitates then walks over to Harvey and holds out his
hand. Harvey grabs it and they shake.
CECIL
I'll be watching.
EXT. RURAL ROAD - NIGHT
Harvey zooms past on a Japanese sportbike.
EXT. HARVEY'S HOUSE - NIGHT
Harvey pulls up to a large modern house. The garage door
opens automatically, and Harvey scoots in, leaning on the
brake at the last moment.
INT. BASEMENT - HARVEY'S HOUSE - MOMENTS LATER
Harvey stands in front of a triptych of large flat screen
computer monitors and studies the image in front of him.
INSERT IMAGE OF MIDDLE FLAT SCREEN MONITOR SHOWING MAP OF THE
TOWN OF CHERRY, NEW YORK WITH TWO DOZEN OR SO BLUE POINTS OF
LIGHT SCATTERED AROUND THE MAP.
HARVEY (O.S.)
(talking to himself)
Snodgrass.
As he types, all of the points of lights disappear except one
labelled "SNODGRASS".
HARVEY (O.S.)
Home for the evening.
(beat)
Now to find out where you've been.
Harvey types some more and a solid blue line forms on the
monitor showing a time-lapsed history of Snodgrass's
whereabouts over the last few days.
HARVEY (O.S.)
What's this?
He clicks on an area of the map and zooms in until an address
"39 Highland" appears where the blue line creates a bright
spot due to the amount of time Snodgrass stopped there.
EXT. DRIVEWAY - 39 HIGHLAND ST - DAY - FLASHBACK
A brown Buick turns onto the driveway and pauses while the
driver, MR. SNODGRASS (mid 30s), looks around to see if he is
being watched.
HARVEY (V.O.)
(talking to himself)
Reverse lookup. Who lives at 39
Highland?
Snodgrass eases his car into the garage as the garage door
closes quickly behind him.
INT. GARAGE - 39 HIGHLAND ST - MOMENTS LATER - FLASHBACK
Snodgrass's car sits empty. All is quiet including THE
TRACKING DEVICE that Harvey has attached to bottom of the
car.
HARVEY (V.O.)
Ms. Funk? Gotcha.
INT. BASEMENT - HARVEY'S HOUSE - BACK TO PRESENT
Harvey makes a call with his mobile phone.
HARVEY
(into phone)
Hello, Mrs. Snodgrass. I need to
talk to Mr. Snodgrass about the
zoning thing.
EXT. SMALL TOWN CONVENIENCE STORE/BUS STOP - DAY
Carol and her best friend, OPAL BLAIR (17), sit next to an
ice machine, partially hidden from the road. A stuffed
knapsack leans next to Carol.
OPAL
How's Jacko?
CAROL
Just another beautiful day in her
bitchosphere.
OPAL
She's gonna be pretty upset.
CAROL
Her fault, Opal. Trying to ruin my
life like she ruined hers.
OPAL
I mean, it's not like she's a
bright shining example of virtuous
living whatever that is. Don't get
me wrong. I like your Mom, but
sometimes she can be scary.
Opal gestures at her head. The looney gesture.
OPAL
You know, acting psycho.
CAROL
OK. OK. Don't make me defend her.
They both are silent for a moment.
OPAL
Living like Leo.
CAROL/OPAL
(unison)
"When you got nothing, you got
nothing to lose."
A charter bus headed for New York City pulls up in front of
the store and the driver gets out. He adjusts his pants and
lights up a cigarette before he realizes he is being observed
by Carol and Opal. He looks away, exhales smoke, and makes
his way toward the entrance to the store.
OPAL
Not too late to change your mind.
CAROL
It's just a couple days. No big
deal.
OPAL
At that place you found on the
internet?
Carol nods.
OPAL
And Harv?
CAROL
Becoming a little freaky. I told
you what he said.
OPAL
So, you could marry him, then
divorce him BEFORE you have kids.
CAROL
He's rich -
OPAL
Check.
CAROL
- and cute
Opal shrugs.
CAROL
- but lately I think he's acting a
little psycho.
OPAL
Considering his history, I'm not
surprised.
(beat)
The guy doesn't swear, drink, do
anything. It's like he's holding
his breath waiting for his mom to
come back.
CAROL
Well, he and my mom should go to
therapy together.
OPAL
You think too much. You're gonna
die of depression.
One of Opal's pet phrases. Carol absorbs it.
OPAL
Just tell me that you KNOW this is
a long shot.
CAROL
Look at this face. Wouldn't people
pay millions to have a face like
this?
Carol is pretty enough to make the answer close.
The bus driver comes back over, crushes his cigarette with
his boot, and climbs into the bus. He looks over at the
girls. Time to go.
Carol picks up her knapsack. Opal is frightened but she
tries not to show it.
CAROL
I'll probably chicken out.
OPAL
Be careful. Call me.
CAROL
Promise you won't tell anybody.
Carol climbs up the stairs into the bowels of the bus.
INT. CAROL'S HOME - KITCHEN - MORNING
Jackie, Carol's mom, watches one of the nationally-broadcast
morning news show.
INSERT TV SCREEN
The pleasant face of superstar news anchor ANGIE GORMAN (40s)
beams out as the show draws to a close. Seated next to her
is her male cohost JERRY.
ANGIE
Thanks for watching this morning.
Rita Franek will be filling in for
me as I take my first vacation in
years.
COHOST JERRY
(winks at camera)
Angie, would you like to leave your
mobile number in case we need to
reach you?
ANGIE
Thanks, Jerry, but as the U.N.
Secretary General once said, "Hell,
no".
COHOST JERRY
Whoa...well, I'm sure I speak for
all the viewers out there when I
say "Have fun and hurry back."
INT. WGRT-TV STUDIO - NEW YORK CITY - CONTINUOUS
Angie rips out her earphone and rushes off the set before LEW
(35), the producer, can complain. He follows her into..
INT. HALLWAY - WGRT-TV STUDIO - CONTINUOUS
...the hallway.
LEW
Nice improv.
ANGIE
What? H - E - double toothpick?
LEW
Come on, Ang. You've been doing
this long enough to know better.
ANGIE
I thought it was funny. "Hell, no"
(laughs)
Besides, hell is just an imaginary
place where I happen to live.
LEW
Ang, I'm your biggest fan. You are
the reason we are number one in all
the demographic groups that count.
(under his breath)
Except male 18-to-34.
Angie hears him.
ANGIE
Where we are second and dropping.
Believe me, I'm aware that my so
called sex appeal is not where it
once was -
LEW
So you've decided to throw a few
expletives around and bring back
the skateboarders?
ANGIE
18-to-34 Male is gone for good.
The only thing slower than network
news, for them, is trying to grasp
the inherent value of our human
interest stories. Like today's
"Cucumber vs. zucchini" bit.
LEW
Okay, you got me. Sometimes we run
low on ideas.
ANGIE
They're gourds, Lew. Not ideas.
Can you see Mr. Channelsurfer
pausing his game to learn that
zucchini has more fiber?
LEW
That's funny stuff. You gathering
material?
(beat)
Anyway, I didn't come over to
berate you - back there was
nothing. Not to a talent like
Angie Gorham. Just want to wish
you well on your vacation. And the
secret destination. The whole
place is buzzing with speculation.
ANGIE
I'm going to get LOTS of rest and
catch up with a younger woman who
used to grace my mirror.
LEW
Good, good. Take care, Ang.
EXT. STREET OUTSIDE WGRT-TV STUDIO - MOMENTS LATER
Angie frowns at the white morning as she exits the studio
building. She stops in the middle of the sidewalk to light a
cigarette. A homeless gent approaches her.
HOMELESS GENT
Bum a cigarette?
ANGIE
Sure.
HOMELESS GENT
You got menthols?
ANGIE
Sorry.
She hands him the pack.
HOMELESS GENT
That's okay. Menthols'll kill ya.
ANGIE
No worries, these are good for you.
The homeless gent chuckles, appraises her as she walks over
to a waiting limo.
The chauffeur opens the door for her and she ducks inside...
INT. LIMOUSINE - CONTINUOUS
...to find her agent, MORRIS WATSON (55), waiting for her.
ANGIE
Morning, Morris.
MORRIS
Hope you don't mind. Wanted to
catch you before you disappear.
ANGIE
Not at all. Have a drink with me.
Morris waves her off.
MORRIS
Won't that affect the procedure?
ANGIE
I'll handle the doctor. It's just
a little cheat. I'm going cold
turkey.
Morris finds her enigmatic comment humorous.
MORRIS
That's one way of looking at it.
Before I wire the five million, are
you sure you trust - ?
ANGIE
I don't have a choice. Contract's
up in three months and I need to
think long-term. There are a
hundred wrinkle-free Rita Franeks
out there.
MORRIS
I know I can get you 10 million -
ANGIE
I'm thinking along the lines of 25
million. For 10 years.
MORRIS
Of course, you deserve it. But you
know that's challenging the market-
ANGIE
Then challenge the son of a bitch.
I'll do my part.
MORRIS
Have you talked to anyone?
ANGIE
Only you.
Beat.
MORRIS
Have I tried to talk you out of
this?
ANGIE
No, Morris, you've been very
supportive.
MORRIS
Well, listen up, baby, 'cause here
it comes.
(beat)
I don't think you should do it.
I'll help you get the best contract
that you - the real you - can get,
you won't be hurting for money (you
aren't now) and you can begin to
adjust your focus for the future.
ANGIE
Focus on what? There isn't
anything else.
MORRIS
I'm talking gradually. You start
to take some eggs here and shift
them over to there.
ANGIE
Why? You still haven't told me.
Thousands of women have gotten face
lifts and continued on.
MORRIS
I don't like this outfit. All the
secrecy. All the nondisclosures.
It doesn't sit right. They've
admitted that this procedure is
experimental and not likely to be
federally approved for years -
ANGIE
Which explains the price tag.
MORRIS
The money CAN be hid the way they
set it up, but what if something
changes? I can be disbarred if
we're found out.
ANGIE
And that is the one thing that I
will never let happen. When people
ask me about my new face, I'll deny
it. "What work? I've had no work
done, thank you."
MORRIS
What if it doesn't go well?
ANGIE
Don't wire the second half until
you hear from me.
(beat)
I've met one of their former
patients, anonymously of course,
and she had the skin of a twenty
year-old. It was amazing. She was
over fifty and her skin had been
completely rejuvenated. No
comparison.
(beat)
The times are different.
Technology. Options. I am
choosing to remain young. Because
I have been blessed with the means
to do so. If it turns out bad, I
harm only myself.
Morris has not taken his eyes off Angie during her whole
speech. It is obvious that he cares about her, perhaps more
than even he knows.
EXT. NEW YORK CITY BUS STATION - DAY
Carol walks out of the station and looks around. After a
moment, she notices a deli a couple doors down and heads for
it.
INT. DELI - MOMENTS LATER
The deli is packed and Carol finds herself sandwiched between
other eaters, situated on a stool at a long counter.
As she picks at the insides of her vegetarian hoagie, she
notices one of the servers behind the counter watching her.
He comes over to her.
SERVER
How's your sandwich?
Carol gestures that it's OK.
SERVER
Just get in?
CAROL
I'm visiting family for a few days.
SERVER
Ah. I saw the knapsack and....
(beat)
Listen, I've worked here for over
twenty years. Near the largest
pipeline of natural resources into
this city.
Every day, dozens of girls like
yourself come out those doors
dreaming big.
Carol starts to get up sensing a lecture coming on.
The server leans closer to her and lowers his voice.
SERVER
But the city don't want your
dreams. You've only got one thing
the city wants.
Standing, Carol pulls some wadded bills out of her pocket.
She hands a couple to the server.
The server looks at the money, starts to reach for it with
one hand while his other hand whips out a cell phone.
SERVER
Listen, make one call. On me. To
anyone you like.
Carol shows him her own phone.
CAROL
Small town don't want my dreams
either.
INT. GESKAQ'S MODEL AGENCY - NEW YORK CITY - DAY
Carol and several young women listen to the marketing pitch
of a Geskaq AGENT, a well-groomed balding man in his 40s.
BALD AGENT
Thanks to a particularly famous
supermodel, we have thousands of
girls who come through expecting us
to consider the mole on the end of
their nose a beauty mark. Don't
get me wrong, it IS a beauty mark.
You're all beautiful. You wouldn't
be here if you weren't.
Geskaq's is situated in a high-ceilinged building that was
once a warehouse. In one corner of the large room, a dozen
or so couches and divans face an informal stage. The space
is lit artistically with flattering low-level track lights.
Sitting next to Carol, TINA (late teens) focuses on the
agent's every word. She leans over to whisper something to
Carol.
TINA
Everyone's so positive. I love
that.
Carol nods.
The agent walks over to a table covered with picked over
vegetable and fruit trays and bottled water. At one end of
the table is a mound of donuts arranged on a platter.
BALD AGENT
Not only are you beautiful, but
you're an intelligent bunch.
He grabs a celery stick and dips it in a bowl of ranch
dressing and takes a lip-smacking bite. His shirt microphone
amplifies the crunching sound making some in the audience
snicker.
BALD AGENT
This was your first test. This big
plate of donuts?
Using the remainder of his celery stick as a poker, he stabs
one of the donuts and brings it up in front of his face.
BALD AGENT
This'll go straight to the thighs.
More laughter.
BALD AGENT
(feigns shock)
Oh, no. One's missing. Funny how
junk food just flies off the plate.
The agent flings the donut up and over his shoulder. It
lands close to a waste bin behind him.
Carol looks down at the half-eaten donut in her hand and
stuffs it in between the cushions of the couch.
BALD AGENT
Eating one of these would be a bad
idea for two reasons. One, they're
stale. There may actually be a
donut down in the bottom there that
is older than some of you. Two, if
you want to make it in this
business, you need willpower. I
didn't make the rules; like I said
earlier, you can be super...
The agent points to the cover photo of a model on a popular
magazine.
BALD AGENT
...but this woman, I guarantee you,
has an ultra low body fat ratio.
She does not do donuts.
Sensing that she is being watched, Carol looks around the
room and notices a group of people watching from the shadows.
BALD AGENT
Geskaq's breaks all the rules of
modeling but we get results. We DO
charge a fee to join IF we decide
to sign you as talent. And we do
charge you for modeling classes.
If you don't like it, figure out
whether you'd prefer to be working
and learning with us or sitting
around NOT working for one of the
"free" agencies.
(pause)
One last thing: we specialize in
glamour so if you need a glamour
portfolio we have pros on hand to
get you set up before the end of
the day. Feel free to wander
around and meet the rest of the
crew. Many of our clients are on
hand as well.
Someone starts bringing the lights up throughout the large
room, and as the young women get up and start moving around,
Carol is surprised to see how many potential clients have
dropped by to meet them.
BALD AGENT
Oh, and don't forget to sign your
"over 18" disclosures.
INT. GESKAQ'S MODEL AGENCY - LATER
Carol poses while a man with a bright yellow tie takes her
picture.
INT. GESKAQ'S MODEL AGENCY - LATER
Carol and Tina have become quick friends. They're standing
by the punch bowl among other girls, agents, and staff. The
room is noisy and alive with conversation and music.
TINA
Do you have a place to stay?
CAROL
No. I mean, yes. Sort of.
Someone bumps into Carol and she feels a stab of pain on the
back of her arm.
CAROL
Ouch! Someone jabbed me.
TINA
Let me see. Same thing happened to
me the other day.
Tina examines Carol's arm.
TINA
There it is. A small prick.
Somebody must've missed a stick pin
in their shirt.
CAROL
It's okay now.
TINA
So I know this cool girl who's
letting some of us stay with her.
INT. HOTEL LOBBY - NEW YORK CITY - NIGHT
Tina peers out of a stairwell door, waiting for a hotel
security guard to leave the lobby or at least turn away from
the front entrance.
Just then, a group of six or seven hotel guests enter the
lobby from the street. Among them is Carol trying to sneak
in.
As the group moves toward the bank of elevators, Tina keeps
an eye on the guard and then signals for Carol to run over
the second he turns away.
INT. HOTEL STAIRWELL - CONTINUOUS
Carol and Tina laugh like a couple of lunatics as they climb
the stairs to the ninth floor.
INT. HOTEL ROOM - LATER
Carol and Tina lounge around in sweatpants and T-shirts,
looking out a window at the city street below.
Behind them, in the large suite, three other girls and a guy
goof around while watching TV. Three boxes of half-eaten
pizza lay scattered on a low table.
CAROL
If my mom could see me now, she'd
be swinging for the fences.
TINA
As crazy as this sounds, I'm right
where I want to be. Right in the
middle of it all.
Carol takes a bite of her pizza as the guy, BENEDICT GRAHAM
(early 20s), comes walking over.
TINA
Benny, this is Carol.
BENEDICT
Hey.
CAROL
Hey.
TINA
Benny's the best.
BENEDICT
It's no big thing. Just sharing
the wealth. You guys remember ole
Benny when you make it big.
CAROL
You an agent?
BENEDICT
No, I'm -
TINA
Claire's brother.
BENEDICT
- on a mission of high security.
Protecting tomorrow's supermodels
today.
TINA
You're the best.
CAROL
Must be tough following your sister
around?
BENEDICT
Who knows? A grateful girl might
try to thank me any number of ways.
TINA
Benny!
Carol can flirt.
CAROL
So who's sharing the wealth? For a
couple hundred lousy bucks a night -
BENEDICT
Try four.
CAROL
- you extort favors from
unfortunate girls?
Tina misreads Carol.
TINA
He's kidding.
Benedict ignores Tina.
BENEDICT
You don't look "unfortunate".
CAROL
Just here for a couple days. I can
pay my own way.
BENEDICT
Well, Carol, for you I'll make an
exception. You can stay and I
promise: no favors.
Benedict flashes his best Casanova grin.
BENEDICT
Unless the gratitude just wells up.
CAROL
I'll think it over.
BENEDICT
Come on! I'm kidding. Do I look
like a guy who has to pay for sex?
CAROL
What you look like and what you do
are part of who you have to live
with.
BENEDICT
Deep. Meaning?
CAROL
Meaning: offer accepted. No
strings attached.
BENEDICT
Cool. Very cool. Later.
Benny grins and leaves Tina and Carol alone.
CAROL
Is he for real?
INT. HOTEL ROOM - MOMENTS LATER
Carol picks up her cell phone that is set up for voice
activated dialing. She looks at it, fighting an internal
struggle of whether to call or not.
CAROL
(into phone)
Call Mom.
PHONE'S AUTOMATED RESPONSE
"Calling Mom now."
INT. CAROL'S HOME - CONTINUOUS
The telephone rings.
An answering machine clicks on.
ANSWERING MACHINE
(Carol's voice being
recorded)
"Mom? I'm OK. Don't worry."
INT. HOTEL ROOM - NIGHT
The girls are scattered around the room doing things like
putting polish on their nails, talking dreams, and watching
TV. Benedict leans against the wall, balanced on the back
two legs of a hotel chair.
Every once in a while, Benedict grabs a pillow and throws it
at one of the girls. This time he happens to knock a bottle
of nail polish out of his sister CLAIRE's hand.
CLAIRE
Stop being a dick, Benedict!
BENEDICT
Come on. We've got a party to go
to.
Benedict throws another pillow and somehow succeeds in
tripping Tina who was walking across the room. She falls and
bangs her forehead on one of the bedside tables.
Benny runs over to help her.
CLAIRE
Shithead.
INT. HOTEL ROOM - BATHROOM - MOMENTS LATER
Benedict helps support Tina as she dabs a cool washcloth
against the knot on her forehead.
BENEDICT
A bad bruise but it shouldn't leave
a scar.
Tina tries not to cry.
TINA
I'll be okay. Just leave.
INT. MEDICAL ROOM - UNDISCLOSED LOCATION - DAY
Superstar news anchor Angie Gorham lies on a bed under heavy
sedation in a room that looks like a well-equipped operating
room.
A hand begins to make marks on her face with a surgical skin
marker.
INT. GESKAQ'S MODEL AGENCY - DAY
Another seminar on modeling wraps up and Carol looks around
the warehouse-like interior.
She's wearing heels and a chic dress that she was able to get
an iron on at the hotel. Her knapsack rests at her feet.
She walks over to the food table and grabs a donut. As she
turns, she runs into the agent with the YELLOW TIE that had
taken her picture yesterday.
YELLOW TIE
Carol, isn't it? So nice to see
you. I'm Frank Dowd.
CAROL
Hi.
YELLOW TIE FRANK
How would you like to do some work?
Modeling. Right now. Today.
CAROL
I'm - uh - I don't know what to
say.
YELLOW TIE FRANK
I know it's a little sudden, but
you'd be perfect and, truth be
told, we're in a little bind
because the girl we wanted came in
this morning with a bad bruise on
her forehead.
CAROL
Tina?
YELLOW TIE FRANK
Yes. Know her?
CAROL
(suspicious)
Yeah, and she never mentioned it.
YELLOW TIE FRANK
It's the nondisclosure she signed.
We're very selective. We prefer to
make the first approach.
CAROL
I don't know. I guess I thought it
would go differently.
YELLOW TIE FRANK
You're a beautiful young woman at a
modeling agency known for its
ability to attract new talent.
I've got a client that needs a
model. That client WILL be
provided for one way or another.
The only question is whether it
will be you...or someone else.
CAROL
I need to think.
YELLOW TIE FRANK
Sure. I'll give you twenty. Talk
to the staff. Or. I thought I saw
one of the girls here that we've
used in the past.
Frank looks around the room. Sees someone.
YELLOW TIE FRANK
Ah. Liza Westgate. In the
turtleneck.
He waves. A young woman with deep-set eyes smiles and waves
back.
YELLOW TIE FRANK
I'll leave you alone.
INT. GESKAQ'S MODEL AGENCY - MOMENTS LATER
Carol walks away from Liza looking convinced that she should
take the job. She catches Frank's eye across the room, nods,
and points to her phone.
He gives her a thumb's up.
Carol calls her mom.
CAROL
(into phone)
Call Mom.
PHONE'S AUTOMATED RESPONSE
"Calling Mom now."
CAROL
(on phone)
Mom? Hellllooooo? I guess it's
too late to catch you. Don't flip
out - I'm okay.
(beat)
I had something important but -
(beat)
See ya soon.
EXT. GESKAQ'S MODEL AGENCY - MOMENTS LATER
Carol walks outside with Frank.
CAROL
I'm so nervous.
YELLOW TIE FRANK
Nervous is alright. You'll be
okay.
EXT. THE COMMUNE - WOODSTON, NH - EVENING
Carol's blood-soaked body is dumped onto the dirt road in
front of one of the commune buildings. The car speeds off,
leaving a cloud of dust to settle in the starlight.
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