Elle Page #14

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MICHELLE:

The “Summoning” cut-scene needs to

come later.

(cutting him off)

(MORE)

75.

MICHELLE (CONT'D)

We don’t have time to argue. The

player needs to encounter Kira in her

repressed, schoolteacher persona

before her Dark Rebirth, otherwise

there’s nothing titillating about her

transformation.

Kurt clearly wants to debate but Michelle moves on. She’swaved over by Kevin in the doorway of the “Tech” room which

is watched over by an imposing rubber ROBOT SENTRY.

KEVIN:

Got a minute?

92 INT. AV OFFICES - TECH ROOM -- DAY 92

Michelle sits beside Kevin at his computer.

KEVIN:

I found this on Kurt’s private

server. It looks like he’s into

crushing.

MICHELLE:

What’s “crushing?”

KEVIN:

What it sounds like. As you see...

MICHELLE:

(reading off screen)

“Sammantha gardens?”

A video plays:
an overly made-up woman, wielding a wateringcan in an evening gown keeps “accidentally” stepping on bugs,

wrangled at her feet.

MICHELLE (CONT’D)

It’s disturbing. Not exactly a

smoking gun, though.

KEVIN:

I guess not.

Michelle looks at Kevin. She’s struck by something. Something

in the way he looks at her.

MICHELLE:

Good work. Keep on it.

76.

93 INT. ANNA’S OFFICE - MOMENTS LATER 93

Anna looks up Michelle enters, moving swiftly.

MICHELLE:

I’d like a consultation.

Michelle goes straight to Anna’s Mac, calls up thatpornographic animation. Anna looks confused by this.

MICHELLE (CONT’D)

The creature sodomizing me...

doesn’t he look like Kevin, a

little?

She brings up an employee portrait of Kevin for comparison.

ANNA:

A little around the eyes... Yes.

Michelle nods, feeling a surge of vindication.

94 INT. MICHELLE’S OFFICE -- NIGHT 94

Most of the lights in the suite are off. Michelle sits at herdesk, antsy, fiddling with an e-cigarette as she watches aMAINTENANCE GUY empty a trash can. When he moves off, thelast lights go out.

95 INT. AV OFFICES - TECH ROOM -- CONTINUOUS 95

Michelle leaves the lights off as she crosses directly toKevin’s work station. She moves collectible action figurines

out of the way so she can access his keyboard. She pushes amaster power button and immediately a LOUD HUM comes out ofhis speakers.

She quickly turns the volume down. Looks around to make sureno one’s been drawn by the sound. She hears nothing.

The laptop takes forever to boot up. When it finally does,

Michelle enters a password. Another screen comes up. Sheclicks on a list of files. Scanning them, one nameimmediately jumps out at her: Ash.girl.mvk.

Michelle hesitates almost fearfully before she clicks on it.

The news photo of her as a child is the first that comes upbut there others, some we saw in that TV broadcast. There are

several photos of her father too. One where he’s posed with agun. Another click and she sees the original sketch version

of that animation of her being raped by the creature.

77.

The LIGHTS COME ON. Michelle starts like a cat burglar caughtin the act. It’s Kevin in the door.

KEVIN:

Oh, I didn’t know it was you.

She holds her breath as he comes toward her. He sees what

she’s looking at.

KEVIN (CONT’D)

You’re probably mad.

MICHELLE:

At this moment, I’m mostly curious.

KEVIN:

I guess I have to tell you.

MICHELLE:

Yes, you do.

KEVIN:

I was never going to show it to

anyone. Phillip Kwan ripped the

animation off my computer,

converted it to an .MVK and sent it

to everyone in the office.

MICHELLE:

But you created it?

KEVIN:

Yes.

MICHELLE:

Why?

KEVIN:

(devastated)

Personal amusement... It started

out as an idea for a game that

incorporated true crime footage...

then it got weird. But nobody would

have seen it if it wasn’t for

f***ing Phillip Kwan- who deserves

to be fired, if I’m getting fired.

Michelle looks at Kevin. Sizing him up.

MICHELLE:

Take out your penis.

He thinks she’s joking.

78.

MICHELLE (CONT’D)

Show me your penis and I might nor

fire you.

He’s abashed but he sees no choice. He unzips. Displays.

MICHELLE (CONT’D)

I thought you were Jewish.

KEVIN:

Well no.

MICHELLE:

Put it away. The man I’m looking

for doesn’t have a foreskin.

Kevin is confused but happily puts his penis away.

KEVIN:

Am I fired?

MICHELLE:

I want every bit of this destroyed

and you’re going to sign a non

disclosure agreement that I’ll

draft for you. Then we’ll see.

96 EXT. MICHELLE’S HOUSE -- TWILIGHT 96

Michelle gets out of her car. She’s surprised to see aPACKAGE on her porch. She approaches it as if it weresomething ominous but shows relief as she looks at the label.

97 INT. MICHELLE’S HOUSE -- NIGHT 97

Michelle uses scissors to open the package. She pulls out anINFANT CAR SEAT. Rests it on the table. Looks at it with a

certain melancholy, thinking of Vincent and his baby.

She suddenly becomes aware she’s not alone...

She’s just turning around when a GLOVED HAND closes over hermouth. The Intruder, wearing the same ski mask, throws her tothe ground. On her way down, she tips the table, sending allkinds of things clattering. The scissors fall open on thefloor. The lamp winds up on its side, casting a weird,

noirish light over the struggle now taking place...

Michelle tries to twist around to see her attacker. He hits

her right in the jaw, climbs on top of her. He tears herblouse, her bra. She screams to raise the dead.

79.

He’s working on getting his pants down as Michelle’sdesperately reaching hand brings a bookcase down on both ofthem.

The Intruder gets the worst of it. Michelle scrambles freebut she doesn’t get far. He grabs her ankle, reels her in. Helifts her skirt. Tears her panties. Michelle kicks at him,

blindly. He starts slapping her hard about the face as ifpunishing her for making this hard for him.

Michelle’s hand closes around the open scissors. She bringsthem up, just as the Intruder’s hand is coming down. The handabruptly stops in mid-air - pierced clean through by one ofthe scissors’ blades. Now it’s his turn to scream.

Michelle seizes the moment to grip her attacker’s mask by theeyeholes and yank it off his face.

Patrick’s eyes are filled with tears of pain. Michelle raisesup on her haunches, levelling the bloodied scissors at him.

MICHELLE:

Get out of my house!

Patrick backs away in panic, holding his injured hand.

MICHELLE (CONT’D)

Out! Get out!

Patrick looks, for just a second as if he wanted to saysomething. Instead, he just bolts for the door. Quaking,

Michelle takes a moment to compose herself.

She moves to the window just in time to witness Patrick,

running back across the icy street toward his house, slippingand taking a nasty fall. Michelle feels an absurd momentaryreflex to go see if he’s okay.

98 INT. MICHELLE’S HOUSE - LATER 98

Michelle walks through the room, cleaning up the debris ofthe struggle. Her legs suddenly seem to go wobbly and shesinks to the floor. She sits there.

99 EXT. MICHELLE’S HOUSE -- MORNING 99

Michelle comes out to retrieve her newspaper from thedriveway. She stops, seeing Patrick, like any suburbanneighbor, comes out of his house with a thermos of coffee.

She notes his bandaged hand. He sees her.

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