INT. LOGAN'S ROOM - MORNING
A huge room filled with several things a rich teenaged boy would get. A king sized bed, a widescreen tv, pin-up girl posters, videogame consoles... you name it.
Caption: "SUNDAY: Day Four"
Althouh the clock on the wall clearly reads 2:13 PM, Logan is still in a t-shirt and boxers, sitting cross legged on the floor, manically drawing circles onto an Entertainment Weekly cover. WIDER revealing several other magazine covers have dark circles drawn into them, as well.
ON LOGAN'S FACE straining with effort. He stares down at his whirling hand as if it were an entity all on its own.
CLOSE UP: The sharpee marker as Logan forces it around and around Jennifer Connelly's face. His hand suddenly picks up speed.
CUT TO
INT. ANDREW'S LIVING ROOM - SAME
Andrew enters frame with a jar of room temperature water. He walks over to the bay window ledge, and waters the four remaining potted plants. Andrew looks over his shoulder, feeling a sudden chill.
CLOSE UP: The tv. Its blank, reflective screen staring back at us.
He takes a moment, then lets it go. Andrew sits on the couch in front of the tv, and grabs a portable phone and a piece of paper from a side table. Looking at the paper, he punches in a phone number, then holds the reciever to his ear. A couple beats.
WOMAN
(from phone)
Hello?
ANDREW
Hi, yes, I'd like to speak with Diane
Dark. She's staying at suite 77.
Silence. Andrew taps his fingers on his lap.
ANDREW
(louder)
I'd like to speak with Diane Dark.
I'm her son. She's staying at suite-
WOMAN
(from phone)
Hello? Hello?
He frowns, and then squints hard at the little piece of paper.
ANDREW
Is this the Hilton? 555-7843?
WOMAN
(from phone)
Who is this?
Andrew lets out an exasperated breath, but his eyes catch the tv screen. He tenses, nearly screams.
ANGLE: The TV screen. It's displaying ANNA MORGAN, in her odd 18th century garb, standing in front of that familiar oval mirror. The screen is tinted in that same grainy quality that's on the cursed video. Anna's speaking into a phone. To Andrew.
ANNA
I told you never to call again!
Leave us alone!
She SLAMS the phone down, shuddering as anger and fear overcome her. RICHARD MORGAN joins her side, putting a comforting hand on her shoulder.
ANDREW stares at the tv, mouth wide open. What the fucking fuck?
ANNA
It was those terrible school
children... they just won't leave
her alone...
RICHARD
I told you to ignore them.
ANNA
They're calling almost every day!
Richard, suddenly infuriated, TIPS THE TABLE OVER, crashing the phone onto the ground. He overreactingly grabs Anna by the shoulders - hard enough to hurt her.
RICHARD
YOU WANTED HER IN SCHOOL!
YOU WANTED HER OUT OF THE
GOD DAMN HOUSE!
Anna freezes in terror.
ON ANDREW, holding the phone so tightly, it starts to slip from his hand sweat.
Richard lets her go, realizing. Anna gingerly touches her shoulder, eyes watering.
RICHARD
(softer)
It'll stop soon enough, Anna.
SAMARA (O.S.)
It doesn't... stop.
The both of them react as if they just heard a bomb was about to drop over them. Samara is standing across the room, looking up at them coldly.
SAMARA
It never stops.
Richard immediately charges at her. Samara backs away in horror.
RICHARD
I told you to stay in the barn,
girl.
She backs away until she hits a corner of the room. Slowly, she sinks down to the floor. As Richard approaches closer, Samara looks up... RIGHT AT ANDREW.
SAMARA
After Logan...
ON ANDREW. His heart skips a beat.
SAMARA (CONTD)
...I won't need a tape anymore.
RICHARD finally reaches his daughter and grabs her roughly by the shoulder. The screen suddenly reverts back to cold, harsh STATIC.
Andrew sits, frozen for a couple of seconds, until a voice emerges from the phone, still clutched tightly in his right hand.
WOMAN
(from phone)
Hello? Sir?
He brings it to his ear, terrified.
WOMAN
This is Mina Perry, Hilton Chicago
manager. Ms. Dark isn't in her suite,
right now, would you like me to take
a message?
Andrew's too shaken to answer. Over his shoulder, we see the remaining potted plants on the window ledge slowly dry up, blackening in the process.
SMASH TO
INT. LOGAN'S ROOM - LATE AFTERNOON
The clock clearly reads "5:23 PM" and Logan's still huddled in here, dressed as lazily as he was in his previous scene. He's in the corner, hugging his bare legs up to his chest. There's a KNOCK KNOCK at the door.
LOGAN
It's never locked.
There's some hesitation, and the door opens. It's Zelda, and she's carrying a cardboard box marked "Sir Asshole". She looks rather pensive, closing the door.
ZELDA
Hey, uh... I realized during my daily
rummaging that I still had some of
your stuff.
She sets the box on his bed, and eyes Logan a bit curiously.
ZELDA
Why aren't you wearing any pants?
He only looks at her for a second, and then at the ground. Zelda shakes it off and begins taking stuff out of the box.
ZELDA
Some of your CDs... DVDs... your
Fubu jacket... and what I think
was supposed to be your project
for Computer Engineering.
She takes out a tangle of wires and construction paper. Logan continues being inert and quiet... and Zelda becomes increasingly bothered by this.
ZELDA
You're disturbingly Zen for somebody
who thinks he's gonna die in three
days.
Never taking his eyes off his knees, Logan's mouth twists into a quiet smile.
LOGAN
You've been keeping count.
ZELDA
Not in a... sad "omigodhesgonnadie"
kinda way. More like a "yawn,areyou
deadyet?" kinda way.
LOGAN
You don't mean that.
ZELDA
Fuck, man, you're always-
Zelda stops when the posters adorning Logan's walls catch her attention.
The CAMERA drifts from wall to wall. On every single one of Logan's pin-up girl posters (and there are dozens of them), black marker has been furiously drawn over each of the models' faces in long, broad strokes, to simulate long black hair.
Logan gets to his feet, looking totally lost. Zelda becomes more unnerved, seeing the sadness in his eyes.
ZELDA
(ghostly quiet)
There really is a videotape.
He runs his hand down the drawn-in hair of one of the poster girls.
LOGAN
Not anymore.
Zelda swallows something rising in her throat as she moves closer to him.
ZELDA
Logan, you can't spend the rest of
your days cooped in here. We have
to find a way.
LOGAN
There IS no way. I burned the tape.
Copying it was the only cure.
ZELDA
(refusing to believe it)
Something else, then. That message
on Mrs. Cromwell's dress-
Logan spins around to face her, nearly exploding.
LOGAN
It didn't mean anything!! It was
Samara just being a spazzed out
freak!
ZELDA
But Andrew said-
LOGAN
(mimicking her)
"But Andrew said-"... Fuck him!
Zelda slaps him, HARD. The tension between them spikes.
ZELDA
(through gritted teeth)
He's trying to save you.
Logan grabs Zelda by the shoulders (in, alarmingly, the same manner that Richard did to Anna in the previous scene) and SHOVES her hard against the nearest wall. She lets out a pained, shocked gasp.
LOGAN
I don't want to be saved.
Zelda can only stare at him , befuddled. Logan lets go, but doesn't appear apologetic.
LOGAN
With me, this curse dies. That's the
way I want it to be.
FADE TO
EXT. ROAD - NIGHT
CLOSE UP of the full moon, burning brightly in the darkened sky. The CAMERA lowers revealing this barren road situated in the middle of nowhere. ANDREW walks down the middle of the road, his unease growing by the second.
He looks down and sees a bloody message scrawled across the road before him.
"GETOUTGETOUT U CANT BE IN HERE"
Andrew's brow furrows in confusion, as a shadow falls across the wording. He spins around, seeing nothing but the darkness ahead.
ANDREW
Hello?
He seems almost surprised at the sound of his voice. Andrew continues forward.
ANOTHER CLOSE UP of the full moon, as it suddenly turns a deep, bloody RED.
Andrew stops when he realises that there's an object in the distance. He squints to try and see it, as the crimson light floods over his face. Andrew breaks into a run.
ANDREW
Hello?? Is someone-
He stops as soon as the object becomes clear to him. It's nothing but an old looking CHAIR sitting serenely in the center of the road. A music-box rythym suddenly fills the air, both beautiful and strangely unsettling at the same time.
CLOSE UP on Andrew's fingers as they brush past the top rim of the chair.
ANDREW
This isn't supposed to be here...
AIDAN (O.S.)
Haven't you seen her yet?
Andrew looks up and is very startled to see AIDAN standing behind the chair. There's a small handprint BURNT onto his face.
AIDAN (contd)
She'll be here soon. She needs two
more days.
ANDREW
Aidan, WHAT does Samara want?
AIDAN
You're not supposed to find out from
me.
ANDREW
Then from who?! No offence kid, but
you're really starting to piss me off.
AIDAN
You don't understand.
ANDREW
Then help me. How do I appease her
spirit? How do I stop Logan from dying?
Aidan looks down at his feet, almost guiltily. The handprint on his face seems to grow.
ANDREW
Aidan...?
AIDAN
(with a start)
Eola.
ANDREW
What?
AIDAN
You'll find out there.
The sound of GALLOPING HORSES fills Andrew's ears. He looks behind him, to the side of him, but sees nothing. He looks back to Aidan, only to discover he and chair have vanished.
Beat. The galloping becomes increasingly louder. ANDREW'S POV: He can barely make out the outline of SEVERAL HORSES charging right at him. Panicking, Andrew turns around and runs as fast as his legs can carry him.
ON THE HORSES, a large herd of them, racing towards Andrew. They look petrified.
Andrew runs and runs and runs, but he screeches to a halt once he sees that just several feet before him is the EDGE OF A CLIFF. He peers down, shaking, to see a terrifying 20-foot drop into hard ocean waves crashing into jagged rocks.
He turns around to see the horses are showing no signs of slowing down. Andrew grimaces and hits the ground, hands over his head. One by one the horses LEAP OVER HIM and off the cliff.
As soon as the last horse takes the suicidal dive, Andrew covers his ears. The air fills with the unnerving sound of the horses shrieking with pain, and much splattering.
SMASH TO
ANDREW'S SWEATING, TERRIFIED FACE as he awakens with a start.
Beat. He looks around, seeing the familiar confines of his room. After a couple of early-morning yawns, stretches and groans, Andrew starts to get out bed, when he realises his sheets are partially covered in blood.
HIS POV: Every single one of his fingernails are BLEEDING.
Caption: "MONDAY: Day Five"
INT. REVERE HIGH LIBRARY - MORNING
Our three shaken heroes have gathered, over a table, looking over past documents and discussing heavily.
ZELDA
A little boy told you to go to Eola?
ANDREW
Yes.
ZELDA
In your dream?
ANDREW
Yes.
Beat.
ZELDA
(unsurely)
Alright.
ANDREW
Eola County Psychiatric Hospital.
It makes sense. Samara and her
mother were admitted there.
LOGAN
So what's your plan?
ANDREW
I think I should go. To Eola.
LOGAN
Just you?
ZELDA
I'd say that borders on selfish.
ANDREW
I think you need to be somewhere
else. In that dream... there were
horses. And they were chasing me
away. And being the amazingly
smart guy that I am, I think that's
symbolic of something.
Zelda holds up a paper.
ZELDA
They did keep horses at their Ranch...
ANDREW
On Moesko Island.
(then)
That's it. Logan, you need to go to
their ranch on Moesko.
LOGAN
What would that accomplish?
ANDREW
Samara's appeasement. A lot of her
pain was there in that Ranch... and
her room was in the barn... you could
sorta, like, seek out her spirit.
ZELDA
Am I the only here who thinks this is
one chaotically bad idea?
ANDREW
Maybe you guys go to The Morgan
Ranch the same time I drop a visit
to Eola, Samara will realise we're just
trying to help her.
LOGAN
"You guys"?
ANDREW
You and Zelda.
Beat. She and Logan glance at each other. There's still bad air about them.
ANDREW
Do you guys have any other ideas?
They really don't.
ANDREW
And I hope I don't have to explain
the importance of teamwork? I mean,
we're all adults here.
They both glare at him. He smiles back a little.
CUT TO
INT. HALLWAY - REVERE HIGH - AFTERNOON
Zelda and Andrew walk through the sparse, locker-clad hall.
ANDREW
It just feels weird, you know? Like,
school doesn't really matter anymore.
ZELDA
You're not the one in danger of dying.
ANDREW
That doesn't matter. Logan's still my-
ZELDA
Friend?
She stops him.
ZELDA
You hated him as much as I did before
this shit started happening. And now,
all of the sudden, you guys are BFFs?
ANDREW
Boyfriendfriends?
ZELDA
Best friends forever.
ANDREW
I liked mine better.
ZELDA
You're not getting my point.
ANDREW
I am. But you know what they say...
you don't know what you got till it's
gone. Logan's not a bad guy.
ZELDA
You don't know jack-shit about him.
ANDREW
I've known him since we were both in
diapers!
ZELDA
You don't UNDERSTAND, do you?
Andrew looks at her, hurt and confused.
ZELDA
(harshly)
Samara's doing the world a favour.
She walks away, leaving Andrew in the cold emptiness of the corridor.
A huge room filled with several things a rich teenaged boy would get. A king sized bed, a widescreen tv, pin-up girl posters, videogame consoles... you name it.
Caption: "SUNDAY: Day Four"
Althouh the clock on the wall clearly reads 2:13 PM, Logan is still in a t-shirt and boxers, sitting cross legged on the floor, manically drawing circles onto an Entertainment Weekly cover. WIDER revealing several other magazine covers have dark circles drawn into them, as well.
ON LOGAN'S FACE straining with effort. He stares down at his whirling hand as if it were an entity all on its own.
CLOSE UP: The sharpee marker as Logan forces it around and around Jennifer Connelly's face. His hand suddenly picks up speed.
CUT TO
INT. ANDREW'S LIVING ROOM - SAME
Andrew enters frame with a jar of room temperature water. He walks over to the bay window ledge, and waters the four remaining potted plants. Andrew looks over his shoulder, feeling a sudden chill.
CLOSE UP: The tv. Its blank, reflective screen staring back at us.
He takes a moment, then lets it go. Andrew sits on the couch in front of the tv, and grabs a portable phone and a piece of paper from a side table. Looking at the paper, he punches in a phone number, then holds the reciever to his ear. A couple beats.
WOMAN
(from phone)
Hello?
ANDREW
Hi, yes, I'd like to speak with Diane
Dark. She's staying at suite 77.
Silence. Andrew taps his fingers on his lap.
ANDREW
(louder)
I'd like to speak with Diane Dark.
I'm her son. She's staying at suite-
WOMAN
(from phone)
Hello? Hello?
He frowns, and then squints hard at the little piece of paper.
ANDREW
Is this the Hilton? 555-7843?
WOMAN
(from phone)
Who is this?
Andrew lets out an exasperated breath, but his eyes catch the tv screen. He tenses, nearly screams.
ANGLE: The TV screen. It's displaying ANNA MORGAN, in her odd 18th century garb, standing in front of that familiar oval mirror. The screen is tinted in that same grainy quality that's on the cursed video. Anna's speaking into a phone. To Andrew.
ANNA
I told you never to call again!
Leave us alone!
She SLAMS the phone down, shuddering as anger and fear overcome her. RICHARD MORGAN joins her side, putting a comforting hand on her shoulder.
ANDREW stares at the tv, mouth wide open. What the fucking fuck?
ANNA
It was those terrible school
children... they just won't leave
her alone...
RICHARD
I told you to ignore them.
ANNA
They're calling almost every day!
Richard, suddenly infuriated, TIPS THE TABLE OVER, crashing the phone onto the ground. He overreactingly grabs Anna by the shoulders - hard enough to hurt her.
RICHARD
YOU WANTED HER IN SCHOOL!
YOU WANTED HER OUT OF THE
GOD DAMN HOUSE!
Anna freezes in terror.
ON ANDREW, holding the phone so tightly, it starts to slip from his hand sweat.
Richard lets her go, realizing. Anna gingerly touches her shoulder, eyes watering.
RICHARD
(softer)
It'll stop soon enough, Anna.
SAMARA (O.S.)
It doesn't... stop.
The both of them react as if they just heard a bomb was about to drop over them. Samara is standing across the room, looking up at them coldly.
SAMARA
It never stops.
Richard immediately charges at her. Samara backs away in horror.
RICHARD
I told you to stay in the barn,
girl.
She backs away until she hits a corner of the room. Slowly, she sinks down to the floor. As Richard approaches closer, Samara looks up... RIGHT AT ANDREW.
SAMARA
After Logan...
ON ANDREW. His heart skips a beat.
SAMARA (CONTD)
...I won't need a tape anymore.
RICHARD finally reaches his daughter and grabs her roughly by the shoulder. The screen suddenly reverts back to cold, harsh STATIC.
Andrew sits, frozen for a couple of seconds, until a voice emerges from the phone, still clutched tightly in his right hand.
WOMAN
(from phone)
Hello? Sir?
He brings it to his ear, terrified.
WOMAN
This is Mina Perry, Hilton Chicago
manager. Ms. Dark isn't in her suite,
right now, would you like me to take
a message?
Andrew's too shaken to answer. Over his shoulder, we see the remaining potted plants on the window ledge slowly dry up, blackening in the process.
SMASH TO
INT. LOGAN'S ROOM - LATE AFTERNOON
The clock clearly reads "5:23 PM" and Logan's still huddled in here, dressed as lazily as he was in his previous scene. He's in the corner, hugging his bare legs up to his chest. There's a KNOCK KNOCK at the door.
LOGAN
It's never locked.
There's some hesitation, and the door opens. It's Zelda, and she's carrying a cardboard box marked "Sir Asshole". She looks rather pensive, closing the door.
ZELDA
Hey, uh... I realized during my daily
rummaging that I still had some of
your stuff.
She sets the box on his bed, and eyes Logan a bit curiously.
ZELDA
Why aren't you wearing any pants?
He only looks at her for a second, and then at the ground. Zelda shakes it off and begins taking stuff out of the box.
ZELDA
Some of your CDs... DVDs... your
Fubu jacket... and what I think
was supposed to be your project
for Computer Engineering.
She takes out a tangle of wires and construction paper. Logan continues being inert and quiet... and Zelda becomes increasingly bothered by this.
ZELDA
You're disturbingly Zen for somebody
who thinks he's gonna die in three
days.
Never taking his eyes off his knees, Logan's mouth twists into a quiet smile.
LOGAN
You've been keeping count.
ZELDA
Not in a... sad "omigodhesgonnadie"
kinda way. More like a "yawn,areyou
deadyet?" kinda way.
LOGAN
You don't mean that.
ZELDA
Fuck, man, you're always-
Zelda stops when the posters adorning Logan's walls catch her attention.
The CAMERA drifts from wall to wall. On every single one of Logan's pin-up girl posters (and there are dozens of them), black marker has been furiously drawn over each of the models' faces in long, broad strokes, to simulate long black hair.
Logan gets to his feet, looking totally lost. Zelda becomes more unnerved, seeing the sadness in his eyes.
ZELDA
(ghostly quiet)
There really is a videotape.
He runs his hand down the drawn-in hair of one of the poster girls.
LOGAN
Not anymore.
Zelda swallows something rising in her throat as she moves closer to him.
ZELDA
Logan, you can't spend the rest of
your days cooped in here. We have
to find a way.
LOGAN
There IS no way. I burned the tape.
Copying it was the only cure.
ZELDA
(refusing to believe it)
Something else, then. That message
on Mrs. Cromwell's dress-
Logan spins around to face her, nearly exploding.
LOGAN
It didn't mean anything!! It was
Samara just being a spazzed out
freak!
ZELDA
But Andrew said-
LOGAN
(mimicking her)
"But Andrew said-"... Fuck him!
Zelda slaps him, HARD. The tension between them spikes.
ZELDA
(through gritted teeth)
He's trying to save you.
Logan grabs Zelda by the shoulders (in, alarmingly, the same manner that Richard did to Anna in the previous scene) and SHOVES her hard against the nearest wall. She lets out a pained, shocked gasp.
LOGAN
I don't want to be saved.
Zelda can only stare at him , befuddled. Logan lets go, but doesn't appear apologetic.
LOGAN
With me, this curse dies. That's the
way I want it to be.
FADE TO
EXT. ROAD - NIGHT
CLOSE UP of the full moon, burning brightly in the darkened sky. The CAMERA lowers revealing this barren road situated in the middle of nowhere. ANDREW walks down the middle of the road, his unease growing by the second.
He looks down and sees a bloody message scrawled across the road before him.
"GETOUTGETOUT U CANT BE IN HERE"
Andrew's brow furrows in confusion, as a shadow falls across the wording. He spins around, seeing nothing but the darkness ahead.
ANDREW
Hello?
He seems almost surprised at the sound of his voice. Andrew continues forward.
ANOTHER CLOSE UP of the full moon, as it suddenly turns a deep, bloody RED.
Andrew stops when he realises that there's an object in the distance. He squints to try and see it, as the crimson light floods over his face. Andrew breaks into a run.
ANDREW
Hello?? Is someone-
He stops as soon as the object becomes clear to him. It's nothing but an old looking CHAIR sitting serenely in the center of the road. A music-box rythym suddenly fills the air, both beautiful and strangely unsettling at the same time.
CLOSE UP on Andrew's fingers as they brush past the top rim of the chair.
ANDREW
This isn't supposed to be here...
AIDAN (O.S.)
Haven't you seen her yet?
Andrew looks up and is very startled to see AIDAN standing behind the chair. There's a small handprint BURNT onto his face.
AIDAN (contd)
She'll be here soon. She needs two
more days.
ANDREW
Aidan, WHAT does Samara want?
AIDAN
You're not supposed to find out from
me.
ANDREW
Then from who?! No offence kid, but
you're really starting to piss me off.
AIDAN
You don't understand.
ANDREW
Then help me. How do I appease her
spirit? How do I stop Logan from dying?
Aidan looks down at his feet, almost guiltily. The handprint on his face seems to grow.
ANDREW
Aidan...?
AIDAN
(with a start)
Eola.
ANDREW
What?
AIDAN
You'll find out there.
The sound of GALLOPING HORSES fills Andrew's ears. He looks behind him, to the side of him, but sees nothing. He looks back to Aidan, only to discover he and chair have vanished.
Beat. The galloping becomes increasingly louder. ANDREW'S POV: He can barely make out the outline of SEVERAL HORSES charging right at him. Panicking, Andrew turns around and runs as fast as his legs can carry him.
ON THE HORSES, a large herd of them, racing towards Andrew. They look petrified.
Andrew runs and runs and runs, but he screeches to a halt once he sees that just several feet before him is the EDGE OF A CLIFF. He peers down, shaking, to see a terrifying 20-foot drop into hard ocean waves crashing into jagged rocks.
He turns around to see the horses are showing no signs of slowing down. Andrew grimaces and hits the ground, hands over his head. One by one the horses LEAP OVER HIM and off the cliff.
As soon as the last horse takes the suicidal dive, Andrew covers his ears. The air fills with the unnerving sound of the horses shrieking with pain, and much splattering.
SMASH TO
ANDREW'S SWEATING, TERRIFIED FACE as he awakens with a start.
Beat. He looks around, seeing the familiar confines of his room. After a couple of early-morning yawns, stretches and groans, Andrew starts to get out bed, when he realises his sheets are partially covered in blood.
HIS POV: Every single one of his fingernails are BLEEDING.
Caption: "MONDAY: Day Five"
INT. REVERE HIGH LIBRARY - MORNING
Our three shaken heroes have gathered, over a table, looking over past documents and discussing heavily.
ZELDA
A little boy told you to go to Eola?
ANDREW
Yes.
ZELDA
In your dream?
ANDREW
Yes.
Beat.
ZELDA
(unsurely)
Alright.
ANDREW
Eola County Psychiatric Hospital.
It makes sense. Samara and her
mother were admitted there.
LOGAN
So what's your plan?
ANDREW
I think I should go. To Eola.
LOGAN
Just you?
ZELDA
I'd say that borders on selfish.
ANDREW
I think you need to be somewhere
else. In that dream... there were
horses. And they were chasing me
away. And being the amazingly
smart guy that I am, I think that's
symbolic of something.
Zelda holds up a paper.
ZELDA
They did keep horses at their Ranch...
ANDREW
On Moesko Island.
(then)
That's it. Logan, you need to go to
their ranch on Moesko.
LOGAN
What would that accomplish?
ANDREW
Samara's appeasement. A lot of her
pain was there in that Ranch... and
her room was in the barn... you could
sorta, like, seek out her spirit.
ZELDA
Am I the only here who thinks this is
one chaotically bad idea?
ANDREW
Maybe you guys go to The Morgan
Ranch the same time I drop a visit
to Eola, Samara will realise we're just
trying to help her.
LOGAN
"You guys"?
ANDREW
You and Zelda.
Beat. She and Logan glance at each other. There's still bad air about them.
ANDREW
Do you guys have any other ideas?
They really don't.
ANDREW
And I hope I don't have to explain
the importance of teamwork? I mean,
we're all adults here.
They both glare at him. He smiles back a little.
CUT TO
INT. HALLWAY - REVERE HIGH - AFTERNOON
Zelda and Andrew walk through the sparse, locker-clad hall.
ANDREW
It just feels weird, you know? Like,
school doesn't really matter anymore.
ZELDA
You're not the one in danger of dying.
ANDREW
That doesn't matter. Logan's still my-
ZELDA
Friend?
She stops him.
ZELDA
You hated him as much as I did before
this shit started happening. And now,
all of the sudden, you guys are BFFs?
ANDREW
Boyfriendfriends?
ZELDA
Best friends forever.
ANDREW
I liked mine better.
ZELDA
You're not getting my point.
ANDREW
I am. But you know what they say...
you don't know what you got till it's
gone. Logan's not a bad guy.
ZELDA
You don't know jack-shit about him.
ANDREW
I've known him since we were both in
diapers!
ZELDA
You don't UNDERSTAND, do you?
Andrew looks at her, hurt and confused.
ZELDA
(harshly)
Samara's doing the world a favour.
She walks away, leaving Andrew in the cold emptiness of the corridor.