Kismet Sample

7/23/2019 Kismet Sample

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KISMET

FIRST DRAFT

Written by

Ryan P. Stark

1405 Scarlet WayLexington, KY 40514(606)[email protected]



EXT. ARCHEOLOGICAL DIG SITE - DAY

SUPER: IRAQ - 1984

A half emerged city protrudes from the earth. The setting sungleams across the sparse debris, making the buildings look as

if they were made of gold. Ancient columns and half destroyed walls scatter the area.

In the center of town stands a building completely excavated.It remains largely intact. Hieroglyphics and ancient textadorn the walls.

Several tents are set up around it, housing the expeditionteam and their research.

INT. TENT

A small, dusty tent, filled with tools, books, and otherarcheological equipment.

CHARLES BRITTEN, 6 years old, a very smart boy who idolizeshis father, sits at a small table drawing the types of shapesand symbols displayed all around the tent. Despite theexcitement of traveling around the world, he seeks only hisfather’s attention.

His father, ROBERT BRITTEN, 40’s, with a dusty face andglasses, sits at another table across the room studying anartifact intently. An honest and dedicated man. He immerseshimself in his work, rarely able to manage time between hisprofession, and his family.

Light fills the tent as the flap opens and another manenters. DR. CLAUS FÄRBER, late 20’S, a German scientist andDr. Britten’s protégé. Young, ambitious, with delusions ofgrandeur. He seeks otherworldly knowledge that no man shouldpossess.

He pats Charles’ head with his dusty hand as he passes.

DR. FÄRBERWe’ve found another one.

Dr. Färber sets down an artifact on his table. A cylindricalobject with cuneiform writing on all sides.

Dr. Britten takes the object and looks at it carefully.

DR. BRITTENAstonishing. These two symbols areconnected. Look.



Charles runs up to his father holding his drawing for him tosee.

CHARLESDaddy, look!

Dr. Britten ignores Charles as he studies the artifacts moreclosely.

DR. BRITTENHere. This suggests there may be more artifacts out there. Do yourealize what these mean, Claus? We might have actually stumbled uponthe Tablet of Destiny.

Charles persists in getting in the way, simply wantingacknowledgment from his father.

CHARLESDaddy!

DR. FÄRBERThen you believe the legends?

DR. BRITTENIt’s hard to ignore after all this.

Charles reaches on the table and knocks over one of theartifacts.

DR. BRITTEN (CONT’D)Charles! This is important work!Marie! Where is your mother?

MARIE BRITTEN, 30’s, enters the tent. A housewife, but much more than that. She acts as Dr. Britten’s muse, Charles’adoring mother, and often the head of the household when Dr.Britten is absent from family matters. Strong, willful, atowering presence.

MARIEWhat? What happened?

Dr. Britten moves to the back of the tent to lecture his wife. Charles stands silently next to the table with theartifacts, ready to be scolded.

DR. BRITTEN(barely audible)

How many times have I told you tokeep an eye on him? I’m trying to work in here!

2.



Dr. Färber moves closer to the artifacts, almost drawn tothem.

DR. FÄRBERAll that power in the hands of one man. There would be nothing beyond

reach.

Dr. Färber turns to see Dr. Britten and his wife stillarguing. He looks back at the artifacts surreptitiously.

Suddenly, the tent flap flies open, a LABORER bursts in.

LABORERDoctors, come quick! We’ve foundsomething!

EXT. ARCHEOLOGICAL DIG SITE - DAY

The Laborer runs wildly across the sand, Dr. Britten and Dr.Färber follow.

INT. TEMPLE

The inside of the temple is lined with artificial lights, asthe sunlight seems to stop at the door, unable to penetratethe temple’s depths. Even with the artificial lighting, thelight is scarce, unable to venture far.

Inaudible voices in a foreign language exclaim in excitement.

Several Laborers drop their tools and dig furiously withtheir hands, shouting as they do.

The Laborers all cry out in terror. Dr. Britten and Dr.Färber push their way through them as they stumble backwards,trying to escape whatever lies in the center of their circle.

The lights in the temple flicker then go out. Torchlightremains the only illumination.

They reach the center to discover a DEAD LABORER, lying on

his stomach with a STONE TABLET clutched firmly in his hand.Dr. Britten motions to some of the remaining workers to pickup the tablet, but they all refuse, escaping into the safetyof the outside light.

Dr. Britten turns over the body of the Dead Laborer to reveala ghastly sight.

3.



The Laborer’s face seems twisted by fear. The life hasdrained out of it, leaving grey hair spreading out from hisroots like uncontrollable weeds. The veins on his dark skinglow a bright, boiling red, and spread up his neck like aspiders web.

Dr. Britten lifts one of his eyelids to see his eye hasturned a solid gold color.

Dr. Britten is taken aback.

Dr. Färber does not seem to care, his interest lies solely with the tablet. A sly grin widens on his face.

DR. FÄRBERAt last!

DR. BRITTENCareful, Claus.

Dr. Britten grabs an empty crate from a pile of tools andequipment. He carefully scoops up the tablet, not letting ittouch him.

The stone tablet is inscribed with cuneiform writing.Hieroglyphics at the bottom seem to tell some kind of story.

DR. BRITTEN (CONT’D)The Tablet of Destiny!

We see the tablet more closely, specifically thehieroglyphics at the bottom.

A menacing figure stands prominently in the middle of two more figures. Rays of light shine outward, blinding the otherfigures, causing them to avert their eyes.

Closer still on the face of the middle figure.

The eyes. A solid shape, much like that of the Dead Laborer,stare right at us.

Dr. Färber’s eyes wide as well, staring at the Tablet, stillgrinning.

INT. TENT - NIGHT

Charles sits at his usual table drawing.

Marie enters, angrily grabbing a bag and stuffs it withpersonal items.

4.



MARIEGet your stuff together, Charlie.We’re leaving.

Charles upset at the news.

MARIE (CONT’D)Your father is sending us away.

Charles runs out of the tent...

INT. RESEARCH TENT - NIGHT

...and into the tent with his father and Dr. Färber.

Tears swell in Charles’ eyes. He doesn’t want to leave.

DR. BRITTENCharles...

Dr. Britten hesitates.

DR. BRITTEN (CONT’D)You have to go with your mother.

Charles crying now.

DR. BRITTEN (CONT’D)Leave!

EXT. ARCHEOLOGICAL DIG SITE - NIGHT

Charles jumps into the arms of Marie who has been running tofind him. She holds him tight and rocks him back and forth.

EXT. SMALL AIRPORT - DAY

Marie and Charles board and airplane bound for America. Dustand sand blow furiously as Charles looks back one last timeto the place he is leaving.

INT. BRITTEN HOUSEHOLD - KITCHEN

A couple months later.

Charles stands timidly in the doorway to the kitchen watchinghis mother cry. She holds a letter in her hand and buries herface in the dusty paper.

5.



On the table sits several crates with shipping labels fromdifferent countries, they have traveled a long way.

Marie sees Charles hiding behind the door frame.

MARIE

Come here, baby.

Charles runs to her without hesitation, leaping in her arms.She rocks him back and forth, kissing his head, still crying.

MARIE (CONT’D)(whispering)

It’s just you and me now, sweetie.

EXT. APARTMENT COMPLEX COURTYARD - DAY

SUPER: PRESENT DAY

This multi-storied apartment complex has seen decades of wear with only faint signs of upkeep. The grey, discolored wallscould speak volumes of the families that have lived and diedhere. Designed decades ago, this massive labyrinth holdshundreds of tenants. The bars on the windows and doors speakto the average type of person that lives here.

Charles Britten, now in his 30’s, stands on a ladder with ascrewdriver in hand, attempting to fix a door. Sombre,disconnected, the recent death of his wife has left himdesolated.

The land lady, MRS. BARNES, 66 with solid white hair and ahunched back, smiles approvingly as Charles works.

CHARLESAlmost got it, I think.

Charles struggles with the screwdriver as it slips out of thescrew and disrupts his work.

Samantha (Sam) Buchanan, late 20’s, strikingly beautiful withlong brown hair and wearing scrubs, approaches Mrs. Barnesand Charles from the entrance to the courtyard. She is good

natured, strong, independent, and cares a great deal aboutCharles, more than he is aware, or capable of returning inhis current state.

SAMNever a dull moment.

Charles continues working, tightening the screw the last fewturns.

6.



CHARLESNot around here.

Mrs. Barnes smiles at the two.

MRS. BARNES

He’s so handy! I don’t know how I’dever survive without him.

Charles looks down from the ladder. The distance to theground seems much further than it really is. He closes hiseyes and hesitates before stepping down-- obviously in fear.He misses the last step and stumbles backwards, into Sam’sunsuspecting arms.

SAMMe neither.

Sam’s tone changes, almost saying this to herself. The two

lock eyes momentarily until Charles stands back up andregains his senses.

SAM (CONT’D)You okay?

CHARLESYeah. I looked down.

SAMAn architect with a fear ofheights. Sounds like a joke.

CHARLESEx-architect- and I never designedtall buildings. Just ones that werenice and safe on the ground level.

Sam laughs.

SAMAre you heading up?

CHARLESYeah, all done here.

Charles and Sam walk down a path, up a staircase, and toapartment #409. Sam stops in front of the door while Charlescontinues.

SAMWant to come in?

Charles stops in front of #410, putting the key in the door,unlocking it.

7.



CHARLESI’ve got to shower, and Donna isdropping off Maria later.

The door to #411 opens. L.B. TELLER, 29, good looking andknows it, very self centered, sarcastic and not too bright.

He pops his head outside, hearing the voices, greets them with his best Mr. Rogers impression.

L.B.Howdy neighbors!

Charles and Sam turn to L.B.

L.B. (CONT’D)Are you still coming over tonight,beautiful?

SAM

Yep, I’ll be there.

L.B.Sweet. What about you, bro? Youknow I have money riding on thisgame.

Sam looks over to Charles, eagerly awaiting his answer.

SAMCome on, Charlie, I’ve got RollingRock!

CHARLESWe’ll see.

Charles enters his apartment.

INT. CHARLES’ LIVING ROOM

A very small, plain apartment. It’s very neat, void of a woman’s touch. Architectural drawings hang all over the wallsin no obvious order. Several stacks of boxes, papers, andcrates sit in a corner, out of place.

Charles picks up a PHOTOGRAPH of him, another woman, L.B. andSam at the beach, all standing on a large rock with wavescrashing behind them. A perfect moment in time for him. Helooks at the picture and smiles.

8.



INT. CHARLES’ APARTMENT - BATHROOM

The water runs in the shower. Steam rises, filling the entirebathroom.

A loud knock comes from the front door. Charles hears it but

pays no attention. Another loud knock. This person isn’tgoing away.

Charles turns off the water and steps out to quickly dryhimself. A glare toward the front door and the unhappy lookon his face suggest he is not happy about his visitor.

Charles walks to the door in a T-shirt and jeans. Behind thedoor stands FATHER JAMESON, 50’s, a devout Catholic and a manof the Church. He talks with a thick Irish accent.

FATHER JAMESONHello Charlie, forget our usual

time?

Charles stands at the door, not letting him in yet, his hairstill wet.

CHARLESHow could I? You’re like clockworkevery week. I actually set my watchby you a couple weeks ago.

Father Jameson grins.

FATHER JAMESONDo I have to part the seas for youto let me in, lad?

Charles reluctantly opens the door wider, allowing him accessto his home.

CHARLESSorry. Come on in.

Father Jameson puts his bag on the kitchen counter and seatshimself on the couch. Charles slowly follows, dreading thislike a school boy having to talk to the teacher after class.

Charles takes a seat across from Father Jameson. The twostare at each other in silence for a few moments.

CHARLES (CONT’D)Well? You usually start.

FATHER JAMESONI’ll let you start this time.

9.



CHARLESI don’t really have anything tosay. Nothing has changed. It hasn’tgotten any easier.

FATHER JAMESON

Do you know what today is?

Charles puts his head in his hands.

CHARLESOf course I do.

FATHER JAMESONThree years to the day of herpassing.

Charles looks up, annoyed.

CHARLESShe died of cancer. She didn’t pass. I hate the word pass. It makes it sound as if she was overin the next room.

FATHER JAMESONWhen we say ‘pass’, we mean she’spassed on into heaven to be withGod. You know Him, lad. He willtake care of her.

Charles stands up and paces back and forth.

CHARLESI don’t know any God who putssomeone through that much pain. Wholets her get a disease that eatsher away from the inside. No, Idon’t know God, Father.

FATHER JAMESONYou must have faith, lad. He worksin mysterious ways that you nor Ican presume to understand.

CHARLESThere’s nothing mysterious aboutit. My wife is dead, that’s a fact.

FATHER JAMESONWe’ve been meeting a long time,Charlie. You’re doing no good toyourself or Maria sitting up hereall alone. She needs you.

10.



Father Jameson stands and walks to the wall, looking at thedifferent architectural designs.

FATHER JAMESON (CONT’D)You need to get back to yourpassions. This was a part of you,

you need it to be again. It willhelp you on your journey to become whole.

CHARLESI can’t. Not anymore. My interestin architecture died the day shedid. It was something we bothloved. I - I can’t even bring myself to think about it.

Father Jameson picks up the PHOTOGRAPH and studies it.

FATHER JAMESONShe was quite the beauty. I’m surethe angels were quite jealous whenHe brought her back to serve Him.

Charles snaps the PHOTOGRAPH away from Father Jameson, almosttrying to protect it.

Father Jameson notices the boxes.

FATHER JAMESON (CONT’D)What’s all this?

CHARLESJunk my Dad left to me in his will.Why he would want an eight year oldto have all this is beyond me.(beat)I’ve never looked through it. Nevercared to.

Charles snaps out of his reflection.

CHARLES (CONT’D)I’m sorry, Father. I’ve got things

to do.Charles walks to the door and opens it, letting FatherJameson know he wants him to leave, cutting their sessionshort.

Father Jameson sighs and reluctantly collects his things.

11.



FATHER JAMESONYou’ll see her again, Charlie.Trust in that. Charlotte would wantyou to move on.

CHARLES

Thank you, Father. I’ll see younext week.

EXT. OUTSIDE CHARLES’ APARTMENT

Father Jameson pats Charles on the shoulder and walks out thedoor, almost bumping into CARMEN, 40’s, Mexican with a thickaccent, Charles’ cleaning lady.

CARMENExcuse me, padre.

Father Jameson nods to Carmen and passes her.

INT. CHARLES’ APARTMENT - LIVING ROOM

Carmen steps in to see Charles pacing back and forth.

CARMENYou okay Señor Britten?

CHARLESI’m fine, Carmen. Could you takethis stuff out to the dumpster?That’s all I need for today.

CARMENSi, Señor Britten.

Carmen inspects the boxes while Charles carefully puts thePICTURE back on the table.

Charles notices the light on his answering machine blinking.Reluctantly he walks over to it and presses the messagebutton.

VOICE ON ANSWERING MACHINEHey Charlie, it’s me. There’sreally no easy way to say this,but...we aren’t going to be needingyou anymore. Things just haven’tbeen working out. It wasn’t mycall, I’m sorry.

Charles silently furious.

12.



The front door opens. MARIA BRITTEN, 8, Charles’ daughter, with a mind of her own and troubled since her mother’s death,stomps in and flings her backpack on the table and proceedsimmediately to the couch and turns on the television.

DONNA, Charles’ sister-in-law, follows through the door,

allowing Carmen to pass by her with several boxes in herhands.

Charles sits at the kitchen table and buries his face in hishands.

DONNA Charlie?

Charles slowly looks up, void of emotion.

CHARLESYeah?

Donna lowers her voice in front of Maria.

DONNA She’s slowly doing worse and worsein school, Charlie.

Charles lowers his head once more.

DONNA (CONT’D)Her teacher thinks she needs totalk to a counselor.

CHARLES(laughing)

That’s all she needs. Moreconfusion. They don’t help, Donna.

DONNA Then maybe you should talk to her.

Charles looks at Maria through his buried hands.

CHARLESThank you, Donna.

Donna shakes her head, kisses Maria on her head and walksout. Charles and Maria sit in silence in their respectivecorners of the apartment.

Carmen enters to take more boxes down to the trash. As shepicks up a large, wooden crate, it slips out of her hands andcrashes to the floor. She hurriedly picks it up.

13.



CARMENAy Dios mio, lo siento SeñorBritten.

CHARLESDon’t worry about it, Carmen. It’s

all junk.

SAM(O.S.)

Finally getting rid of it?

Sam walks into the apartment, attentive to pile of boxes inthe corner. Charles forces a smile. He’s not thrilled aboutall these visitors.

CHARLESYeah. It’s just been taking upspace wherever I go.

SAMHow are you doing, Charlie?

CHARLESI’ve been better.

SAMIf you need to talk to anyonebesides Father Whiskey, I’m here. Iknow what today is.

Charles smiles, his first real smile of the day.

Sam walks over to Maria, still glued to the television.

SAM (CONT’D)I just thought I’d come over beforethe game and see if anyone aroundhere wanted to get some ice cream.

Maria doesn’t answer. Sam tries another tactic.

SAM (CONT’D)What are you watching?

MARIA Clive the Cat and the BarkerBrothers. It’s my favorite movie.

SAMCan I watch it with you?

Maria shrugs indifferently.

14.



On the television, a small, adorable kitten runs in the field with two equally cute puppies.

EXT. APARTMENT COMPLEX - DUMPSTER

Carmen drops the remains of the splintered crate on theground in front of the dumpster.

The top pops open. The Tablet of Destiny, just as we saw itall those years ago.

Carmen bends down to get a better look at it.

A hieroglyphic at the bottom depicts a frightening figure, with that of a lion’s head, and the body of an eagle. The wings spread wide open, with what appear to be storms and massive gusts of wind caused by their powerful flapping.

She blows on the tablet, specifically the hieroglyphicitself, to clear the dust.

Something happens. It’s not dust that rises up from thetablet.

A wisp of air-- seeming to sparkle as it rises from thetablet, emerges like smoke into Carmen’s face.

She reacts strongly, making a sour face as the foul stenchfills her nostrils. The wisp enters her body as she inhalesdeeply.

Shaking it off, Carmen coughs a few times, then stands to goback inside.

She takes a few steps-- PAIN-- she hunches over-- wincing.

She rises back up-- slowly-- trying to walk.

One more step-- A pain more extreme than anything she hasever felt blankets her like a thousand knives entering herbody.

Her body is thrown upright.

Her shoulders-- two large bones rupture her skin and growupward-- screaming in agony-- blood erupts from her body andblankets the concrete around her.

Large, dark feathers expand from the wounds. The featherstear the flesh as they continue to expand down her arm towardher hands.

15.



Her fingers break in several places before tearing off andfalling to the floor. Sharp, talon-like claws stretch open,given new life.

Her stomach expands-- intestines and organs from her torsospill out from multiple places.

A large, feathery chest inhales deeply, pushing away theremaining flesh and bone.

Her legs SNAP in two-- a terrible CRACK-- shin bones protrudefrom her skin.

Her weight shifts, making her posture more bird-like.

More feathers expand from ripped flesh-- blood pours out, muscles from her legs tear and fall to the ground in a pile--razor sharp talons tear her feet apart as they curl, graspingthe ground.

Her jaw breaks, opening wider than any mouth should. One sideof her head balloons out, tearing her nose and facediagonally. Terrible, deep yellow eyes emerge as the bloodand flesh melt off her face.

Her eyes and brain spill down the front of her ripped face asno semblance of human form can be seen.

From the remaining strips of flesh and pieces of skull thatcontinue falling off all around, a cat-like head ROARS aTERRIBLE ROAR. It’s mouth opens wide, a disgusting filmcovers it’s face like a placenta. It raises it’s head,catching pieces of brain and flesh in it’s mouth-- hungrilychewing.

It stands up straight on it’s hind legs. A full view revealsa beast about eight feet tall, long dark feathers on it’sbody, with the head of a lion. Terrifying yellow eyes lookaround as it’s wings expand fully to an impressive fifteenfoot wingspan. It rears it’s head and lets out a piercingscreech that shakes the very foundation. It flaps it’spowerful wings that blow the dumpsters away as if they were made of paper.

This is Anzu.

INT. CHARLES’ APARTMENT - KITCHEN

CHARLESDo you want something to eat,honey?

16.



Charles opens several cabinets in the kitchen, searching highand low for something to eat. Most of the cabinets are empty.Maria ignores him.

A LOUD BOOM shakes the foundation of the apartment. A singleTHUD like someone slamming a massive sledgehammer on the

ground.

The PHOTOGRAPH falls to the ground and shatters. The lightsflicker and go out. All electronic equipment loses power.

Maria is worried. Tears swell in her eyes and she looks toher father for an explanation.

Sam puts her arms around her to console her. She looks toCharles for an explanation as well.

CHARLES (CONT’D)That sounded like an explosion.

SAMI’m going down.. People could behurt.

CHARLESStay here, Maria.

EXT. OUTSIDE CHARLES’ APARTMENT

Charles emerges from his apartment in a panic. L.B. rushesout of his apartment as well.

L.B.What the fuck was that? Anearthquake?

CHARLESI don’t know. It was too short tobe an earthquake.

L.B. checks his phone.

L.B.

What the hell? Do your phones work?Charles and Sam check their phones as well.

CHARLESNo. Dead.

SAMMine too.

17.



CHARLESLet’s head down and take a look.

The three rush down the stairs into the courtyard.

EXT. APARTMENT COMPLEX COURTYARD

Several other TENANTS wander around the courtyard curious ofthe source of the noise.

Charles, Sam, and L.B. wade through the crowd.

L.B.Dude, check it out.

L.B. points toward the entrance to the apartment complex,blocked by crumbling walls and debris. The gaping hole in the wall leads to Mrs. Barnes’ apartment.

SAMMaybe it was an earthquake?

Everyone moves closer to the apartment. The door to Mrs.Barnes’ apartment lies splintered on the ground, blown offit’s hinges.

L.B.Dude, weren’t you supposed to fixthat today?

SAMKnock it off, L.B., Mrs. Barnescould be hurt.

CHARLESI don’t see any flames, do youthink it’s safe to go in?

Charles looks to the others to see Sam already heading towardMrs. Barnes’ apartment. He runs after her.

CHARLES (CONT’D)Hold up, Sam! You don’t know what

happened in there, but it was loudenough to shake the entire complex.

Sam ignores his concerns and slowly walks to the doorway.

SAMMrs. Barnes? Are you okay?

Movement inside the apartment. Something shuffling around,knocking things over to the ground. Sam listens intently.

18.



SAM (CONT’D)She’s hurt!

Sam starts to walk through the doorway but is stopped byCharles’ grip on her shoulder.

Charles listens to the sounds more closely, they seem tochange to a growling-like animal noise.

CHARLESI don’t think that’s Mrs. Barnes.

Sam listens as well and hears the terrible noises.

L.B. finally joins them next to the doorway.

L.B.Something reeks!

Charles and Sam sniff the air and notice it too. A foul waveof death washes over them, overwhelming their senses.

SAMWhat is that?!

The sounds get louder.

CHARLESI think we need to leave.

The others look into the doorway toward the sound and nod.

Another wall of the apartment crumbles to the ground with athundering BOOM, the same sound they heard earlier.

Anzu walks out of the debris on all fours, staring at thecrowd that has gathered, growling menacingly.

Tenants SCREAM in fear and run in every direction at thesight of this ghastly beast.

EXT. APARTMENT COMPLEX - DEAD END ALLEY

Charles, Sam, and L.B. take off in another direction, runningbehind a corner leading to a dead end alley for refuge.

EXT. APARTMENT COMPLEX - COURTYARD

Anzu rears up on his hind legs and flaps his powerful wings.A gust of wind rushes forward-- blowing potted plants, lawnfurniture, and several Tenants off the ground and into theair.

19.



Anzu sprints toward the fallen Tenants and attacks.

He pins one Tenant to the ground, impaling him with his sharptalons.

Another Tenant tries to crawl away-- Anzu snatches him with

his other hand and tears off his leg . Anzu lets out aPIERCING SCREECH at his victims-- ripping their bodies apart with his teeth.


Charles, Sam and L.B. stop short of the dead end, trying tocatch their breath.

L.B.What the FUCK is that thing?!

SAMOh my God! Oh my God!

CHARLESIt don’t think it saw us go backhere. Just stay out of sight.

EXT. APARTMENT COMPLEX - ENTRANCE

Several Tenants try to escape through the front entrance.Blocked by debris, they furiously move pieces of concreterubble out of the way to try and squeeze through.

Anzu notices their futile attempt and charges at them. TheTenants scream in terror.

Anzu grabs one Tenant by the throat-- pulls him closer, his massive hands envelop him.

Growling/snarling-- Anzu’s talon-like claws thrust outward inbetween his digits like a cat. The razor sharp claws piercethe Tenant’s head in several places, quickly moving throughhis skull on one side, and protruding from the other side.

Anzu quickly retracts his claws and lets go of the tenant--his body falling lifelessly to the ground.

The other Tenant tries to run past Anzu-- one swipe from hisclaws tears the Tenant’s body apart diagonally from shoulderto waist.

Another PIERCING HOWL of victory.

20.




L.B.Jesus! He tore that girl apart!

Charles suddenly remembers his daughter.

CHARLESMaria!

L.B. stops Charles before he can run out into the courtyard.

L.B.Wait, dude! You’re going to getyourself and us killed!

L.B. peeks around the corner.


Rivers of blood flow over the courtyard lawn, once green withlife, now a field of death. Eviscerated bodies lay all overthe ground in piles. Anzu feasts upon the lifeless corpses.

Anzu stops eating and lifts his head toward L.B.’s direction.


L.B. quickly ducks back behind the corner.

L.B.Shit! I think it saw me!

SAMThere’s nowhere to run back here!What do we do?

CHARLESI’ve got to get Maria.

Charles slowly peeks around the corner. Anzu still eating.

CHARLES (CONT’D)You guys stay here. I think I can make it to the stairs before itsees me.

SAMCharlie!

Sam grabs Charles’ arm in protest.

21.



CHARLESStay here Sam, I’ll be okay. I’vegot to get Maria.

L.B. puts his arm around her to try and console her. Sheshrugs it off as tears swell.

CHARLES (CONT’D)If you see a chance to get away,take it. We’ll catch up.

A few quick kneels up and down as Charles readies himself torun. He holds on the edge to pull himself forward. Lastchance. One...two...three!


Charles darts across the courtyard lawn, behind Anzu.

Anzu hears this-- turns and ROARS at Charles as he passes--taking off on all fours right behind him-- snarling, teethbaring.

Charles runs in between two maintenance buildings that standalone in the middle of the complex. The narrow passage toosmall for Anzu to pass through.

Charles emerges on the other side, looking behind him for hispursuer.

CRASH!-- Anzu BURSTS through the wall of one building--sparks fly as electrical equipment inside the buildingcatches fire.

He sees Charles-- ROARS again at him.

Charles takes off quickly to his left-- underneath the walkway of the second story.

Anzu follows-- BOOM BOOM BOOM BOOM!-- each running stepsounds like thunder as he gets closer and closer.

A RUNNER hops casually down the stairs with his headphones

on, oblivious to the chaos before him. He gets to the groundlevel and looks up to see Charles running straight for him.

Charles runs past him, waving his arms, pointing the oppositedirection. The Runner pays it no mind.

Anzu runs right for the Runner. The Runner looks up just intime to see Anzu’s massive jaws closing in on him. Anzudoesn’t even slow down as his jagged teeth tear the Runner’sbody in half in one motion. Still chasing Charles.

22.



EXT. APARTMENT COMPLEX - SECOND FLOOR WALKWAY

Charles runs up the stairs to the outside walkway of thesecond floor. Anzu follows adjacent to him on the groundlevel, roaring at him.

Weaving in and out of pillars, dodging trash cans and otherdebris, Charles does the best he can to stay ahead.

Charles looks to his right-- no sign of Anzu.

Suddenly, the walkway in front of him disappears. Anzu BURSTSthrough the concrete with thunderous vigor.

Charles stumbles to a stop right before reaching the ledge.

Anzu swipes one hand at Charles, the other grips theconcrete, his talons easily penetrating it’s surface.

Miss. Charles jumps to the side and into a uncovered window.

INT. DESERTED APARTMENT

Charles bounces off a couch that breaks his fall, and landson the coffee table.

The wall behind him EXPLODES as Anzu crashes right throughit.

Charles quickly gets to his feet and runs down the hall. Anzufollows, too big for the hallway, the walls crumble aroundhim as he pursues Charles.


A WINDOW SHATTERS!-- Charles tumbles out the window of theapartment back onto the walkway.

Slightly dazed, Charles stumbles as he continues down the walkway.

Anzu follows-- not through the window, but through the wall,

easily tearing it to pieces.Charles turns a corner-- CRASH!-- Anzu breaks out of theapartment full force.

A quick breather. Charles leans on the wall, out of breathand desperate for air.

Slowly, he peeks around the corner in the direction he came.

23.



Again - no sign of Anzu.

He doesn’t wait around for him to pop out again.

INT. CHARLES’ APARTMENT

Maria still sitting on the couch obeying her father.

She looks restless-- looking around the room aimlessly-- thetelevision off-- no source of entertainment.

Finally she’s had enough-- she gets up and tromps toward thedoor and goes out.

EXT. APARTMENT COMPLEX - CONTINUOUS

Charles weaves in and out of hallways, he takes a back way

toward his apartment.


Charles emerges on the opposite side of the courtyard.Although it is quite a distance away, the massacre is stillclearly visible.

The coast is clear. Charles walks along the walkway when hesees something down on the courtyard.

CHARLESNo!


Maria stands at the bottom of the stairs, motionless,speechless, staring right into Anzu’s eyes.


CHARLES

Maria!Charles runs as fast as he can down the stairs and into thecourtyard.


Anzu sniffs Maria-- growling. Maria cringes helplessly,scared to death.

24.



Anzu grabs her with his talons, in his other hand he holdsthe Tablet. He crouches down, and jumps into the air. His wings spread open, blotting out the sunlight with it’s massive span. They flap several times to get stability,sending a massive shock wave that causes a wall on theadjacent side of the complex to crumble. He lifts off further

upward, and flies to the top floor of the apartment complex,crashing through a wall.

CHARLESMaria!

Charles drops to his knees in the middle of the carnage that was the courtyard.

INT. DR. FARBER’S APARTMENT

A dark apartment filled with artifacts from all over the

globe. Bookcase after bookcase line the walls.

Dr. Färber, now in his 50’s, sits watching a news broadcast.

Close on the TELEVISION as a NEWS REPORTER brings us abreaking story.

NEWS REPORTERBreaking news this evening as thisstartling footage was just sent inby one of our viewers.

A blurry videos plays on the screen. The apartment complexfrom the other side of the street. A dark figure flashesacross the entrance right before it collapses.

NEWS REPORTER (CONT’D)Take a look at the footage again as we slow it down.

The video replays from the beginning, frame by frame. Itstops on the dark figure and highlights it.

NEWS REPORTER (CONT’D)Officials haven’t been able to

contact anyone in the complex, oridentify the figure.

Dr. Färber jumps to his feet, stuffing things into a bag.

Close on the figure in the video.

25.

Documents

Kismet Sample