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Version 2.0
July 1998
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Part XII
The following is part twelve of a thirteen part serialization for the screenplay Blinded, written by Robert Sterling. It is suggested for mature audiences only. Though it is copyrighted, feel free to forward it to others, or to put it on your website.
Sit back, turn down the lights, microwave a bag of popcorn, and enjoy the show.
INT. FORD BRONCO - MORNING
Evelyn is in the car, looking sicker. Carl brings the last suitcase to the car, hobbling from his injured left foot. He puts the suitcase in, then sits down.
CARL
Call them.
Sadly, she takes out the car phone, turns on the speakerphone, and dials, waiting a moment.
MR. NICHOLAS
(o.s)
The Hood residence.
EVELYN
(hysterically)
God, Mr. Nicholas. It's me,
Evelyn.
MR. NICHOLAS
(o-s)
Hello, Mrs. Hood.
EVELYN
Oh God. Carl, he, he went crazy.
He killed Charles and blew up the
boat they were in. I think...
MR. NICHOLAS
(o-s)
I see.
EVELYN
(confused)
Mr. Nicholas, is something the
matter? You don't sound right?
MR. NICHOLAS
(o-s)
Well... Yes. There is.
EVELYN
Wh-what is it?
MR. NICHOLAS
(pause, o-s)
I may die telling you this, but
you're in trouble. Those two men
found out about Carl. They
stopped by yesterday to ask where
you three are. The phones are
bugged and the house is under
surveillance. I think they want
you dead. (beat) Master Carl was
involved in something big, and
they think we know too much.
EVELYN
(closing eyes)
What about Sigmund?
MR. NICHOLAS
(o-s)
He's fine. Leave him and go. If
you don't, I'm afraid you'll...
Silence comes from the other side of the phone
EVELYN
Mr. Nicholas? (beat, no answer)
Mr. Nicholas? Hello?
A dial tone comes from the other side. She hangs up
and re-dials. There is no answer. She and Carl stare
at each other.
EVELYN
Wh- what do we do?
CARL
Do what he said. Take off. Hide.
EVELYN
Carl, I need you.
CARL
I can't.
EVELYN
I... I need Sigmund.
CARL
You'll see him later.
EVELYN
I need him now.
CARL
(stares at her)
Alright. We'll stay at a hotel
near your place tonight. I'll
sneak in and get him. Then you
two can take off.
EVELYN
How... How are you going to get
him?
CARL
I'll think of something.
Evelyn looks sick as she stares at him.
EXT. MOTEL - NIGHT
Shot revealing a motel moves in closer to room 13.
INT. MOTEL ROOM 13 - CONT.
it's dark and murky inside, like a confession booth.
Carl's dressed in black clothing. He holds Mr. Hood's
gun, and puts it in a shoulder holster he has under the
jacket. He puts a flashlight underneath as well.
Evelyn is on the bed, looking sicker and delirious.
Carl stares at her.
CARL
I'm going.
EVELYN
Wait. (beat) I... I want to
tell you something. Sit down.
He sits on the bed next to her as she closes her eyes.
EVELYN
I... It's how I met Charles.
(breathes deeply) I was in
graduate school, paying my own
way. My father, he... we didn't
get along. I needed a job, and
there weren't many that could
support me, even with student
loans. So I, I, I...
CARL
It's okay. Lip it.
He holds her hand as she begins crying.
EVELYN
I... became an "escort". It paid
well. But it was... disgusting.
I felt sick.
Carl caresses her softly.
EVELYN
I had a job at a nice hotel. It
was Charles, and he had lots of
cash. I showed up in a Victorian
dress. He gave me the money and
opened a suitcase, and I saw a
large dress in it. It was the
kind little girls wear. He looked
at me, and, and, he said, "I want
to be your little girl." (beat)
So I shaved off his body hair,
plucked his eyebrows, then made up
his face. Then I dressed him up,
and when I was through, I looked
at him. He was a sweet little
girl. Then he spoke in a little
girl's voice, and he said, "I've
been a bad girl. I need a
spanking." And I did. When I was
done, he was in love with me.
(beat) And, I, I have to admit, I
cared about him. He was the first
customer who wasn't out to just
have sex. He kept seeing me,
every other day, and I'd dress him
up like my little girl. And we,
we, we fell in love.
CARL
Forget about it.
EVELYN
You don't understand. It was
still in him. I could see it, it
just came out less and less.
It... it was when Sigmund was born
when he began changing. He was
angrier. More violent. I... I
think it's my fault he changed. I
was too worried about Sigmund to
pay any attention to him.
She stares at Carl.
EVELYN
I killed him, Carl. I killed him.
CARL
No. I did. It was all me.
EVELYN
But...
CARL
Shhh. Get some sleep. I'll pick
up Sigmund, and I'll stay with you
until you're better. I won't
leave until you're up for flying.
EVELYN
Carl? Do you really love me?
CARL
Of course I do. (smile, beat)
Rest. I'll be back by morning.
He kisses her cheek, then hobbles out the room.
EXT. FRONT OF MANSION GROUNDS - CONT.
Shot of car with two government guys in it. Both have
nodded off. The radio plays, as a RADIO HOST and a
FEMALE AUTHOR TALK.
RADIO HOST
Now, in your new book, "Lilith
Unbound", you argue that the
managerial qualities of a modern
corporation are on the whole very
feminine in nature.
FEMALE AUTHOR
Yes. Very much so. The modern
manager must be more sensitive
than the old-style industrial CEO.
Workers just won't go for that.
RADIO HOST
Now, what does this mean for the
women's movement, and the future
of women in this country?
FEMALE AUTHOR
It's very good news. Sometime the
next thirty years, it is likely
that more women will occupy the
hierarchy of our business than
men.
The sound fades out as the shot pulls back to the
mansion grounds.
EXT. MANSION GROUNDS - CONT.
Carl sneaks across the grounds, sliding on his belly.
He gets to the house and looks up. From the camera
angle, the house looks taller and thinner. He moves to
a window, then looks around and opens it. He looks
around again, then sneaks in.
INT. MANSION FIRST FLOOR - CONT.
There are no lights on. Carl crawls on hands and
knees, and bumps into something. He grunts in pain.
He pulls out the flashlight, turning it on. He crawls
forward on the floor, to the stairs. He gets up, and
begins walking up the stairs in a hobble, shining light
in front of him.
INT. MANSION SECOND FLOOR - CONT.
He gets to the top, then hobbles to Sigmund's room, no
lighting besides his flashlight, no noise besides his
steps. He walks into Sigmund's room and stares at him.
He sleeps like a little angel. Suddenly, there is a
thudding sound heard from outside the room. Carl turns
around.
CARL
Mr. Nick? Lilian?
He leaves the baby in the room, and hobbles out to the
hall. He flashes the light both ways, and no one is
seen. He begins hobbling left. He stands before a
door. Pausing, he opens it, shining light in front of
him. Mr. Nicholas' face is revealed, and he stands up
next to the door, a mad look on his face. Reaction
shot of Carl. Mr. Nicholas crumbles forward at Carl,
being dead and bloodied. In shock, Carl drops the
flashlight as he lets out a muffled sound, and it
lands, revealing a bloodied chainsaw on the ground in
the room Mr. Nicholas was in. Pushing Mr. Nicholas
away, he picks up the flashlight in panic. A sound is
heard of a door opening. Carl spins and flashes it
down the hall, revealing Evelyn's bedroom door opened.
He looks around, pulls out his pistol, and hobbles to
the door. He enters the room.
INT. EVELYN'S BEDROOM - CONT.
No lights are on, so he flashes his around. He sees no
one. The bedroom closet is opened. He hobbles to it,
and slowly enters it, pushing the clothes out of the
way, and he is at the back of the closet, furs
everywhere. He flashes the light around and sees a box
in the back with the top slightly off. Cautiously, he
bends over and opens it, looking in. There is a
confused look on his face. He slowly lifts something
out. It is part of the headpiece for the Shaman
Killer. He flashes light in the box, rifling through
it. The box is revealed to be filled with the Shaman's
clothes. Right then, the back door to the closet slams
open, smashing into Carl painfully. He falls down,
then someone enters, who smashes him in the left side
of his back with a bat. He collapses toward the closet
door, and points the light where it came. Lilian is
revealed holding a bat. She kicks him, and he groans
in pain as a wicked version of The Sound of Music's "My
Favorite Things" plays as the background music. He
aims the gun at her, but she kicks at it, knocking it
out of his hands. It fires as it flies out, blowing
into the clothes on the hangers, and the furs and
feathers fly everywhere. She kicks at him again, and
he screams in pain, as he starts crawling for the
closet door.
LILIAN
YOU KILLED HIM! DIDN'T YOU?!
She kicks at him and swings the bat at him, as he
crawls to the door some more. She does it again and
again.
LILIAN
YOU WERE ALL TRYING TO STOP HIM!
YOU, MR. NICK, AND THAT BAD GIRL!!
YOU KILLED HIM BEFORE HE FINISHED
THE JOB! HE WOULD'VE TAKEN CARE
OF ALL THE BAD GIRLS! THEY
WOULD'VE ALL GONE AWAY!!!
He stumbles out the closet and falls flat on the
ground. She turns on the closet light, then comes out
behind him, laughing madly, the room lit slightly from
the closet. She pulls out a huge knife. He kicks
upward with his right foot, trying to knock it out of
her hands, but only cuts his foot as she slices it. He
screams and rolls on his back. She smiles, and raises
her arm to stab him. She brings it down to him, but he
turns his torso and blocks it, then pulls her forward,
making her fall on him, the knife falling out of her
hands. He begins knocking her, punching her again and
again, bloodying her. Her wig falls off, revealing
gray, shortly cropped hair. He jumps on top of her,
and begins choking her. She lets out a deep muffled
scream. He begins laughing, looking down at her
choking. There is a look of realization in his face.
He looks at himself, what he's doing. He lets go of
her, and gets up, hobbling. She lies on the ground,
gasping for air. He looks down at her.
CARL
It's over. The killings, they're
fucking over. I'm no murderer.
Not anymore. I won't kill you.
You can't me a fucking killer.
There's a noise from outside the room. The two
government guys come to the door, guns pointed at Carl.
GUY # 1
Put your hands up.
He lifts them. They turn on the light and walk to him.
The first guy cuffs him as the second fills a
hypodermic needle, as Carl stares.
CARL
What's that?
GUY # 2
Something to make you more docile.
He injects Carl, and the screen goes spacey, like
someone near death. The three begin walking out the
room, Carl hobbling and stumbling.
INT. CAR - NIGHT
Carl lays on the back seats of the car, looking dazed
upwards. The camera view and angles are still strange.
They pull up to a warehouse.
