No One Lives by David Coenб September 11, 2009
Безжалостные преступники спрятали в заброшенном доме двух заложников, юношу и девушку. Однако через некоторое время головорезы находят заложницу мертвой и неожиданно понимают, что юноша не так прост, как казался на первый взгляд. И теперь это он на них охотится.
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EXT. MEADOW - NIGHT
Moonlight drips off dewy weeds like diamonds.
Heavy BREATHING suggests climax.
CLOSE ON - a girl’s lips, wet with exhaustion. Hair in her
eyes, sticking to her forehead. She wipes strands away with
cracked, bloody nails.
Blood smears her rouged cheeks. Moonlight reflects in her
eyes. Blinks. Enough time has passed. She flips over...
She’s 18, with a natural beauty punctuated by fierce
determination. The look in her eyes is not yet that of fear,
but rather, hatred.
She focuses on the perimeter of the field where -
The foot tall grass meets a wall of dense forest. Nothing
alive in there. Nothing moving.
She holds steady. Staring. Counts in nervous rasps...
One, two, three, four, five, six,
seven, eight, nine, ten.
No movement. Nothing.
Come on, bitch. You can do it.
She can’t move. Frozen in place, when -
A FIGURE, a man, steps out of the forest into the meadow’s
edge. We can’t see his face, but she knows...
He’s staring right at her.
She drops into the grass. Eyes flitting at the massive open
night sky above her. Too many stars. No focus. Fuck. Fuck.
Fuck. She RUNS.
Wearing only panties and a guinea T, she bolts on strong
legs. The dew causing the dirt to smear along her thighs like
so much mascara. She runs for the far edge of the meadow
where the great lawn meets an intimidating thick of trees.
As she closes in on the forest...
The Man STEPS from the woods, into the meadow. The very grass
seems to wither under his weight. Faceless, cloaked in
shadow, he breaks into a steady run.
The Girl hits the woods in a full panicked run.
EXT. WOODS - SAME
Bramble and twigs meet her exposed flesh and tear at her. She
ignores the pain. Runs on bare feet over decades of
desiccated foliage. The sloughing of nature.
Trees seem to grope for her. Out the corner of her eye she
sees a SILVER BOX.
A WIRE glitters.
She jumps the wire. Runs on.
Slides down a ravine, kicking away sharp branches, reaching
the bottom. She looks UP...
The Figure approaches the edge.
He begins to slide down the ravine. She runs.
Beelines straight through a wall of bramble.
EXT. CREEK - NIGHT
Moonlight ripples through the overhang of leaves onto a slow
creek. She doesn’t slow down and splashes through four inches
ON HER BARE FEET - slicing through the creek...and then into
the water, over the creek bed that’s lined with BROKEN GLASS.
She runs, missing the shards of glass and then CATCHES ONE.
GLASS TEARS INTO THE SIDE OF HER FOOT.
The Girl holds her hand to her mouth to stop from screaming.
She stops in the middle of the creek and looks around...
BROKEN SHARDS OF GLASS surround her. Tears explode.
Hyperventilating, she eases her way to the other side of the
Inspects her foot. Rips out a three inch piece of GLASS.
Takes off her T-shirt and ties it around the gash. Ties it
tight. Runs, holding the glass tight in her hand.
She runs through the woods.
EXT. CREEK - NIGHT
The FIGURE splashes through the creek. Glass means nothing to
his heavy boots.
He reaches the far side. The woods echo silence. He bends
down and dips his fingers in a PUDDLE OF BLOOD. Catches the
MOON GLITTER WHITE off a second shimmering puddle.
EXT. WOODS - NIGHT
The Girl can HEAR THE ROAD ahead.
Through the trees she can see cars. The roar of eighteen
wheelers. She pounds over the terrain, running for the road,
but before she can react to the -
She trips a wire and...
THREE THICK NYLON CABLES triangulate and catch her at the
knees. She’s hauled off her feet, SMACKING HER HEAD ON THE
GROUND and then pulled up...
...and off the ground. Swinging. Blood from her head
dripping, peppering the forest floor with an all too real
She REACHES OUT. GRABS hold of a nearby Alder tree on her
pendulous arc. Holds herself there and uses the shard of
glass in her hand to CARVE...
EXT. WOODS - SAME
The Figure stops dead. He directs his attention toward the
Slowly, methodically he breaks off a HEAVY BRANCH and heads
toward the sound of the road.
EXT. WOODS - NIGHT
The Girl painstakingly carves her message into the tree, the
glass cutting into her palm. Blood peppering the forest
floor. She finishes and we read her handiwork...
EMMA WARD IS ALIVE
EMMA lets go of the tree. Swings.
EXT. WOODS - NIGHT
From the depths of the woods, the Figure draws closer.
EXT. WOODS - SAME
Emma’s POV - The FIGURE enters her periphery.
Oh, please, no...
Emma holds the SHARD OF GLASS in her hand like a knife. As if
it will help.
He approaches, swinging the HEAVY BRANCH at his side, Emma
stabs futilely at the space between them.
Stay away. Stay away. Please...
He takes a running start and swings the branch at her head -
ALL GOES BLACK.
EXT. HIGHWAY - DAY
Washington State Route 90. The road itself cuts a swath
through a dense sea of forest.
A BLACK 7 SERIES BMW pulling a small U-Haul trailer blazes
We stay on the car as it travels from the semi-populated,
what could be said, suburban part of the state to the sparse,
off the grid, no man’s land...
INT. BMW - DAY
A dark beauty, in a pretty flowered dress, stares out the
passenger window at the blur of trees.
In her late 20’s, BETTY flirts with melancholia. She’s lost
something in her life, but knows that happiness is within her
I don’t know, it’s just not going
to be the same.
The DRIVER, 38, handsome with piercing eyes, an inner
strength to match his muscular prowess, smiles at her.
Trust me. It’ll be the same.
I’m going to miss everyone.
Driver ruminates on that one. He’ll miss them as well.
It’s life, Betty. Sometimes it’s
necessary to relocate.
Don’t make it seem like it’s not
Out of every bad situation comes
something good. Don’t you agree?
You have a truly demented way of
looking at things.
And if I didn’t, I don’t think
you’d be so in love with me.
Don’t flatter yourself. Everything
gets warped in definition.
We’re splitting hairs here. You
know that, don’t you?
She continues to stare out the window. Silence. Driver can’t
handle the cold shoulder.
Hey, why don’t we do a little
I’m sure there’s something to look
at besides all these trees, right?
EXT. GLACIER NATIONAL PARK - DAY
Driver and Betty gaze out from an outcropping at...
ACRES OF BURNED FOREST.
Apparently sixteen firefighters
were killed during the blaze.
Eleven in a firestorm. Five from
Their ghosts are down there.
If you believe that sort of thing.
No. I don’t believe in ghosts.
No. I don’t imagine you would.
Driver puts his arm around Betty. She lays her head on his
shoulder. Together they look at the blackened landscape like
lovers standing on the beach.
EXT. RURAL ROAD - DAY
The BMW navigates the winding road. Up ahead is a small
motel, The Highwayman, with a vacancy sign.
Adjacent to the motel, a rotary is under construction.
INT. MOTEL - OFFICE - DAY
The BELL over the door rings when it opens. Driver enters.
The owner of the motel, HARRIS, 50, enters from the back
Please don’t say you’re here for
directions. I’ve got fifteen rooms,
all with your name on it.
The good news is I know exactly
where I’m going. The bad news is I
only need one room.
I’ll take what I can get.
Harris clicks the computer off of sleep. Sits in front of it.
Let me ask you. What would you do
if the county tells you they’re
going to tear up half your property
to build a goddamn rotary? No one
asks. They just tell.
I don’t know. I guess I’d make
Damn straight. Stinking
I just need a credit card.
As Driver goes for his wallet.
You solo? Not that it matters. All
the rooms have two queens.
Travelling with my girlfriend.
Is it serious?
Serious as a heart attack.
That’s what I like to hear.
Harris looks over Driver’s shoulder. Spots Betty in the car.
Exactly the way I like them.
Driver hands over his credit card.
Good for you. Good for you. Me? I
been married to the same woman for
thirty two years. Since we were
eighteen. The only part of her that
works the same is her mouth.
Well, that might not be such a bad
Ha. I just got that. That’s funny.
But not what I meant,
Harris looks at the card.
What an unusual name.
My father had an unforgiving
commitment to historical reference.
Well, let’s get you set up here,
huh? How’s the number eight sound
Infinity. I like it.
INT. MOTEL - ROOM 8 - DAY
It’s the top of the hour. Driver lays on the bed watching the
Betty comes out of the bathroom, fresh from a shower. She’s
wrapped up in a towel. Her damp hair only makes her sexier.
Driver holds up his hand.
Here it is again.
ON THE NEWS - Forensic teams are searching a wooded area.
Lots of police tape.
Local law enforcement and the
F.B.I. are scouring the area north
of Spokane for any evidence that
can lead them to missing heiress
A local SHERIFF talks to the media.
CLOSE UP SHOT OF - the carving that reads EMMA WARD IS ALIVE.
From what we can tell, the carving
is about six months old. It’s
impossible to get an accurate date,
but tree growth on that particular
Alder indicates about half a year.
Probably done in the spring right
around, well, after her abduction.
Driver turns down the TV. Betty looks at him.
You think they’ll ever find her?
Doubtful suggests there’s a chance.
There’s always a chance. But you
know how these things turn out.
Driver gets off the bed. Turns the TV off. He stands in front
of Betty. She smiles at him.
Take off the towel.
Betty undoes the towel. It drops to the floor, leaving her
naked, vulnerable. He drops to his knees. Buries his face
into her belly. His fingers caressing a TWO INCH SCAR THAT
CREASES HER PELVIS.
I’m sorry. I’m sorry about
The man who lacks emotion is sorry?
I don’t believe it.
I don’t lack emotion, I just
process it differently.
Must everything about you be
different? I’d like normal, just
(she motions “between the
two of them)
...a little normal.
I would change it if I could, but I
can’t. I just can’t.
What doesn’t kill us makes us
Just tell me you don’t love her
more than me.
Betty shuts her eyes. Waiting for his answer.
But I need to hear it.
I don’t love her more than you. I
never did. It was just...different.
Betty pulls him up. Face to face. She begins to unbutton his
shirt. His pants.
Clothes fall to the carpet.
Their naked bodies meet on the bed. Writhing flesh. A
symphony of forgiveness met with explosive love making.
EXT. HOUSE - ESTABLISHING - DAY
Two MOTORCYCLES, a DODGE PICK-UP and a WHITE WORK VAN are
parked outside this quaint, off the road, vacation home.
As we get closer to the house we can HEAR the dull thump of
INT. HOUSE - DAY
The dull bass morphs into SCREAMING DEATH METAL as...
A YUPPIE DAD, 35ish, stumbles out of a bedroom, blood
streaming down his face from an open gash across his
OFF CAMERA - A woman SCREAMS.
Yuppie Dad falls to his knees, furtive glance behind him,
reaches into his pocket and retrieves his cell phone.
Hands shaking he tries to dial a number.
CLOSE ON - The PHONE, fingers punching out...9...1...
BAM!!! Shotgun blast and the PHONE AND FOUR FINGERS
disintegrate in a spray of blood and cheap plastic.
Yuppie Dad stares where his fingers used to be. Sprays spit
as he begs the figure looming behind him...
ELLIOT HOAG, 38, hardened and unforgiving, pumps the gun
Yuppie Dad crawl on his knees and elbows. Hoag follows
casually behind him.
Yuppie Dad reaches a door. Turns the knob with his good
INT. HOUSE - KID’S ROOM - DAY
Yuppie Dad crawls to the RACECAR BED in the middle of the
room. Leans up against it. His helpless plea’s lost under the
BAM...Hoag ends Yuppie Dad right there.
Hoag just stands there. Savoring the silence. And then from
the other room, another GUN SHOT.
Hoag turns to face...
Дарио Ардженто. Фильмография (благодарности)
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