EXT. COUNTRY ROAD – NIGHT
Rainy, lonely, ONE WAY road. The sky is a gray, fluffy mass. Lush trees and healthy, green grasses and weeds enclose alongside the road, hiding it. The road itself is elevated, built on top of a hill, with a steel fence to offer some weak form of protection. A silver ’77 Chevy Nova BARRELS down it, eating up the road like spaghetti.
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The car’s front license plate. It’s obviously a vanity plate. It reads “U SCREAM”.
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A rear bumper sticker. It reads: “Your Child is an Honor Student…Whoopty-damn-doo".
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The interior of the car. Angel is at the wheel, hands at 9 and 3, Demonica is in the passenger's seat drawing on a map, and some ‘60’s light pop song is provides a soothing serenade through the car’s audio system. They’re already engaged in conversation.
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The Gecko Household - Dining room. Everyone’s enjoying the Christmas spread, produced by Mama Gecko, and participating in their side conversations. REESE is packing his jaws to bursting. MAMA GECKO sits next to him, with subtle motherisms.
He takes a drink.
A beat.
Reese nearly spits back into his glass.
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Angel and Demonica.
A moment. Demonica’s eyes widen with realization.
It’s quiet for awhile. Angel’s driving and thinking and Demonica’s gone back to her drawing. After a few beats, Angel looks over at Demonica and then back to the road.
Demonica starts tuning radio stations.
This starts a slap fight. Angel’s still looking at the road, but as she gets into it, she starts to pay more attention to the fight. Demonica looks up, down again and then promptly back up.
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A white van SWERVING SEVERELY on the road, coming in the OPPOSITE direction. It stops swerving, but doesn’t decrease in velocity.
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The van, a hulking beast, steadily advancing their car, a sheep before the butcher. Suddenly, just before impact, the van veers off, through the fence barrier, TOPPLING over the side of the hill. Angel stops the car and they both get out of the car to watch it as it rolls, non stop.
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The truck, rolling, rolling, rolling.
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The truck loses momentum and slows to a stop, RIGHT SIDE UP.
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The van EXPLODES into a brilliant show of fire and wreckage.
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Angel and Demonica, standing aghast. Angel holds up a finger as if to say something, but Demonica just grabs her and HALF-DRAGS her back to the car.
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Demonica opening the driver’s side door and SHOVING her sis into the passenger’s seat. After she makes it in, Demonica rushes in, slams the door, pulls out a cigarette, lights it and starts the car’s ignition, all in one fluid motion. After the car’s resurrection, it takes off for all it’s worth.
They’re quiet for a long time; an old country song leaves them to their thoughts. Angel reaches back for her designated seat belt and clicks it in without looking. She taps Demonica and points to her seat belt, she does the same.
After the song goes off, Angel switches the radio off before the DJ can cue the next one. They both seem to have a thousand-yard stare fixed forward. Without warning, Demonica erupts.
There’s an old, ragged moon in the sky, acting as spotlight. It’s a clear night. Angel and Demonica walk down the sidewalk, so that street lights act as flashlights. Angel's at least a two feet or less in front of Demonica. Angel's got her hands in her hoodie pockets, Demonica's arms are crossed and she's smoking. They approach a building with a gentleman standing near the entrance of it. He’s lit only by a street light overhead. He calls out to Angel as they approach.
Angel doesn't even flinch. She continues walking. He watches her walk off, but doesn't notice Demonica, who's approaching him.
Quickly, she extends an arm, SNATCHES his face and SHOVES him, HURLING him, head first into the brick wall of the building.
EXT. SARAH’S HOUSE – NIGHT
Modestly majestic suburban home with a façade of cheery, bright and blinking Christmas decorations. Snow blankets the roof, as well as the lawn. Despite the veneer of warm, inviting togetherness, as with all of Suburbia, there’s always something far darker bubbling under the surface.
INT. SARAH’S HOUSE – NIGHT
If the exterior would be any indicator, looks are deceiving, for the interior is awfully wide and equally as grandiose. The living room acts as a dance floor, crowded with movers, shakers and berserkers. Wallflowers are in full bloom, standing around out of boredom or just plain shyness; others stand around talking and nursing drinks. The living room is encased by stair cases on both sides, leading to the bathrooms and bedrooms.
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But, I love gatherings. Isn’t it ironic?
Angel and MIA walk down a corridor. Mia is a young woman, in her early to mid twenties, dressed in the height of the fashion of our day, would be a Plain Jane if not so trendy. They’re in the middle of a conversation with Mia manning the helm. Angel listens as they walk, but looks around, often distracted. She nods and gestures at the appropriate times.
Angel rolls her eyes, but Mia doesn’t notice.
CUT TO: Demonica, holding a red, plastic cup on the dance floor looking at everyone. A guy holding a digital, hand-held camera approaches her from behind. This is GEORGE and he’s zeroing in.
She sees it’s him.
Demonica takes a sip of her drink and comes up with a grimace.
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Angel leaning over the banister of the upstairs, looking down at all the mayhem and merrymakers.
Angel jumps.
A young man slinks out from behind a door, like a vampire. He’s tall, weird hair, glasses. He voice is low and heavy, yet sophisticated; often disenchanted and nonchalant.
He comes over to the banister and looks down.
He sighs.
He sighs.
He extends for her to shake, which she does.
The ensuing silence is filled only by the end of a song. Another one starts, Donovan sighs heavily.
Silence.
Soundtrack:
“Sunshine, Lollipops, Rainbows” – Leslie Gore
“So Wrong” – Patsy Cline
“Bezerker” – Love Among Freaks
“Glamour Is A Rocky Road” – My Life With The Thrill Kill Kult
“Champagne Supernova” – Oasis
“This Love” – Maroon 5
“Auld Lang Syne” – Robert Burns