SUICIDE DOT COM EPISODE 1: "THEY'RE DYING TO BE IN IT"
ACT I
EXT. ALLEY - NIGHT
DECEMBER
Emily Anne Peters, a frail woman in her late twenties, is
covered in blood. She is speaking into a camera.
EMILY
If you find this tape without me
please know I did not kill those
people. You saw her kill herself.
But I didn't... I couldn't kill
those children.
Emily puts the camera down and throws up.
FADE TO BLACK.
EXT. WAREHOUSE - NIGHT
SEPTEMBER
Emily is packing up a van with lighting and video
equipment with two men, Darren and Jay.
DARREN
Hey Emily.
EMILY
Yeah?
DARREN
Want to hang out with us a bit?
EMILY
Nah, I'm kinda beat. Got to get
home.
Jay watches from the driver's seat.
JAY
Come on! She ain't going out with
you.
DARREN
Come on man! Sorry about Jay.
EMILY
It's cool.
DARREN
Do you want a ride somewhere?
EMILY
Actually I'm gonna walk it. I
think Jay is getting jealous
anyway.
DARREN
Yeah, well... I'll see you next
shoot.
EMILY
Yeah. Thanks OK.
DARREN
No problem.
JAY
I told you she was a frigid freak.
DARREN
Yeah, you're right.
Darren gets in the van and it drives off as Emily walks
the late night, West side streets of Manhattan.
EXT. SUBWAY STATION - NIGHT
Emily goes down into the empty station.
INT. SUBWAY STATION - NIGHT
Emily is spacing out on the platform until she realizes
that a man is exposing himself on the platform across
from her. He gets off more once she sees him until he
realizes she doesn't care and is not scared.
CUT TO:
EXT. EMILY'S FAMILY HOME (FLASHBACK) - NIGHT
She gets a quick flash of an older man (Fred Hamilton)
caressing her young body.
CUT TO:
EXT. SUBWAY STATION - NIGHT
The homeless man gets frustrated and begins to throw
things at Emily from across the platform.
HOMELESS MAN
Hey you white girl! Looky, looky
what I got here!
When nothing he throws reaches her he gets up.
HOMELESS MAN (CONT'D)
You think I won't come over there?
I will you hear me white girl? You
hear me! You think I won't touch
you over there. I'll show you what
I'll do to you girl.
He then runs upstairs.
Emily begins to get nervous as the man is gone for
longer. She begins to look around and sees she is the
only person there. She watches the stairs for the man and
can see that a train is nearing but so is the homeless
man.
HOMELESS MAN (CONT'D)
I told you white girl! I told you!
Emily grabs her bags and holds them close as the man
rushes towards her screaming obscenities.
INT. TRAIN CAR - NIGHT
The train doors open and Emily gets on the train but so
does the homeless man. Emily runs from car to car and
jumps out right before the door closes, trapping the
homeless man inside the train car.
Emily stands and watches as the train car leaves the
station.
FADE TO BLACK.
ROLL CREDITS
Act II
INT. EMILY'S APARTMENT - NIGHT
Emily gets home and undresses then goes over to her
computer. The screen shows that her webcam is filming her
live. She receives an IM from her friend Sandra. Emily
clicks the link and Sandra's face pops up on the screen.
SANDRA
Hey sugar. Hot date?
EMILY
He couldn't wait to get his hands
on me.
SANDRA
Really?
EMILY
No, I was attacked by a homeless
man. The fucking luck I got. The
first guy to show me his dick in a
year wants to skull fuck me.
SANDRA
Potty mouth Em!
Just then a woman walks past Sandra. She smack the
woman's ass on the way out of the room.
EMILY
I offended you? You slut.
SANDRA
Well you know.
EMILY
Do I?
SANDRA
You auditioning?
EMILY
Ew! You wish.
SANDRA
Yeah, I know.
EMILY
Listen I had this idea I wanted to
run by you.
SANDRA
Shoot.
EMILY
I want to make a website called
death dot com.
SANDRA
Morbid, but more interesting than
your porno movies, continue.
EMILY
They are not porn they are fetish
films and I figure I get people to
send me footage they get of people
dying or getting killed.
SANDRA
Why?
EMILY
People would pay shit loads to see
shit like this.
SANDRA
You are gonna get wakcos
kidnapping people and filming it
so they can get famous on your
website. You my girl are going to
give birth to hundreds of little
cyber serial killers. Otherwise I
think you are gonna get rich.
EMILY
That's what I thought. Aside from
the wacko cyber killers I
definitely think it's a money
maker.
SANDRA
Maybe just suicides?
EMILY
Why?
SANDRA
Well I think if you post and make
money off of people killing other
people you will go to jail.
EMILY
Oh.
SANDRA
But I think if you don't help the
suicides and call the cops you may
not get in trouble.
EMILY
Hmm. Maybe suicide dot com?
SANDRA
Catchy. Now you just need money.
EMILY
Yeah, I know. I think I have a
lead on an investor.
SANDRA
You don't sound happy about that?
You peddling ass?
EMILY
Not yet.
The woman comes back into frame with a drink in her hand.
She strokes Sandra's ear.
SANDRA
Hey hun I guess I got to go.
EMILY
Round two huh?
SANDRA
Please. Round two was at the club.
EMILY
You beast. Love ya.
SANDRA
Love ya more.
Emily goes to make some food. She toasts an English
muffin and then goes to her computer again.
EMILY
OK, good bye obscurity.
She puts an ad online for people who are looking to kill
themselves.
EMILY (V.O.) (CONT'D)
Young documentary filmmaker
looking for suicidal subjects that
want to be filmed in their final
moments. Please contact me at
Emily@cypherproductions.com
She sits back looks over the ad then hits the post
button.
INT. EMILY'S APARTMENT - NIGHT
Emily wakes up to a half eaten English muffin and her e
mail alert going off.
EMILY
Hello. Wow I was tired. What's
this?
One e-mail asks her to go into a private chat. Emily does
so.
EMILY (CONT'D)
Hello?
KIP SINGER
Hey...I've been waiting awhile.
Your pretty. It's nice that your
pretty.
EMILY
Who are you?
KIP SINGER
Do you care? Really?
EMILY
Yes.
Emily hits record on her computer.
EMILY (CONT'D)
Please tell me who you are.
KIP SINGER
Who are you?
EMILY
I'm Emily.
KIP SINGER
Nice to meet you Emily. I'm Kip
Singer.
EMILY
Nice to meet you Kip. You scared
me. I wasn't sure about the ad and
just kinda posted it. I didn't
think someone would answer so
soon.
KIP SINGER
They will.
EMILY
It's dumb huh. You are gonna make
fun of me now right.
KIP SINGER
Nah. People will watch.
EMILY
I thought so but who's gonna have
the sense to think let me e-mail
this girl before I...
Kip picks up a pistol and puts it into his mouth then
shoots out the back of his head. His body falls lifeless
in the chair. Emily is frozen in shock.
MRS. SINGER
Kip!
MR. SINGER
Son! Open this door.
Emily is sitting with her hand covering her mouth. Mr.
Singer breaks down the door. They rush to their son. Mrs.
Singer screams and tries to put her son's brains back in
his head.
MRS. SINGER
No! No Kip no! Not my baby!
Emily is tearing up watching these parents grieve until
Mr. Singer realizes the video phone is on.
MR. SINGER
Are you live? Are you watching us!
MRS. SINGER
Who! Oh my god! Is she there?
MR. SINGER
Did you make him do this? Who are
you? Why did you let this happen!
MRS. SINGER
No! Why!
MR. SINGER
What kind of person are you?
Emily closes the window on her screen and stops the
recording. She then saves it Suicide 1 Kip.
FADE TO BLACK.
INT. DINER IN BROOKLYN - MORNING
Sandra and Emily are eating.
SANDRA
You are out of your fucking mind.
EMILY
I know.
SANDRA
I know, You know because I told
you. Before and now I tell you. I
don't believe you.
EMILY
Do you think I should post it?
SANDRA
I can't even handle you. Who the
hell are you this morning? I told
you to take down the ad much less
post the kid.
EMILY
Shh.
SANDRA
Shh my ass you want to put it on
the internet.
EMILY
I guess you're right.
SANDRA
What do you think people aren't
gonna say, "there goes that hottie
walking with lady death dot com"?
Of course they are. I don't know
If I can handle this.
EMILY
I'm gonna make the site.
SANDRA
What?
EMILY
There are a lot more people who
want me to film them. Some of them
even want to pay for me to do it.
SANDRA
Really? You think someone may
leave you their estate or
something like that?
EMILY
Maybe?
SANDRA
Ew, I can't take you. Eat your
breakfast. Let's go.
INT. EMILY'S APARTMENT - AFTERNOON
Emily walks into the building and sees her super changing
a light bulb. She tries to pass her landlord to get into
her apartment.
SUPER
You know I do see you there.
EMILY
I'm so sorry but I'm having a
woman thing and I am about to have
it on your steps.
SUPER
Go fine go. But I told you I could
only hold them back so long.
Once she gets to her door she sees a late notice. She
makes a face and takes it off her door.
Emily begins to set up a subway map with push pins in it
for every location she will shoot in.
EMILY
I'm gonna need a metro pass.
The phone rings.
EMILY (CONT'D)
Hello?
FRED
Will you be coming soon?
EMILY
What gave you that idea?
FRED
You haven't been here in awhile.
EMILY
I despise you Fred.
FRED
And I you Emily. With all my
heart.
EMILY
I am coming.
FRED
May I ask why?
EMILY
I have this film I want to make.
CUT TO:
INT. SUPERMARKET - DAY
NOVEMBER
Sandra and Emily are shopping in a supermarket.
SANDRA
Since when do you like mushy
cheese?
EMILY
It's Brie.
SANDRA
I know what it is. Are you saying
it's not mushy cheese?
EMILY
It is.
SANDRA
So when did you start liking mushy
cheese.
EMILY
When I could finally afford it.
SANDRA
So I guess your not gonna stop it?
EMILY
Got a new sponsor today.
SANDRA
Who?
EMILY
The death meter dot com. You put
in your personal info and it tells
you when you are gonna die.
SANDRA
Does it say "upon meeting Emily
Anne Peters" on everyone's screen?
EMILY
Why do you still hang out with me?
SANDRA
What do you mean?
EMILY
You hate what I do and you have
made it pretty clear.
SANDRA
So, I still love you even though
you're famous for watching people
die.
Two teens watching in the background finally realize it's
Emily.
EMILY
I'm not famous.
SANDRA
No... so those two degenerates are
just staring at my tits?
EMILY
Where?
She turns around to see the teens.
TEEN 1
Hi, are you Emily?
SANDRA
Sorry, no blood in the produce
isle.
TEEN 2
Oh no we just wanted to take our
picture with her.
EMILY
It's OK.
Emily poses and the two pose with death faces as Sandra
takes their pictures.
TEEN 2
Thank you.
TEEN 1
Your site rocks.
EMILY
Ah, thank you.
SANDRA
...and there goes the next two
that are going to tie you up and
hide you in their bong closet.
EMILY
No one is tying me up. Those two
where harmless.
SANDRA
Yeah, what about Mary Marshall and
her bunch?
EMILY
They're loud but they won't do
anything.
SANDRA
What if they do Em? You're going
to some weirdo places these days.
Now that they know who you are
people aren't going to be as
receptive to you.
EMILY
You know...I thought this would
let me make real movies but people
only want to pay me for the
suicides.
SANDRA
It's your call hun.
EMILY
What am I supposed to do? I got
paid shit to shoot porn or get
paid amazing to shoot people
shooting themselves.
SANDRA
Freaks are gonna get off on it
anyway. Not much difference to me.
EMILY
Seems like it makes a lot of
difference to you.
SANDRA
I'm just saying be careful. Not
everyone wants Brie and an
autograph.
EXT. SUPERMARKET - DAY
A woman, Mrs. Doris singer is standing in front of the
supermarket window, in sunglasses, looking in at Sandra
and Emily.
FADE TO BLACK.
ACT III
INT. THE SET OF THE JERRY CLEVELAND SHOW - DAY
APRIL
Jerry Cleveland is a late night political and pop culture
cable talk show host. His guest Mary Marshall is very
middle America.
JERRY CLEVELAND
Emily Anne Peters, on the outside
America's sweetheart but in
reality a internet pariah worse
than identity thieves, hackers or
even pedophiles. This former
pornographer turned her back on
the sex industry to...get this
America...to film your children
committing suicide. That's right
and people are paying her for it.
Paying her to not only see it but
to film it. Tonight's guests are
tired of this woman getting away
with this. Please welcome Mary
Marshall to the Jerry Cleveland
show. Thank you for being here
Mary.
MARY MARSHALL
Thank you for having me Jerry.
JERRY CLEVELAND
It's my pleasure. Now how is it
that this woman isn't in jail for
assisting suicides, like a Dr.
Kevorkian?
MARY MARSHALL
Jerry I am saddened to say that
people like this are protected by
the bureaucrats in Washington. As
long as she isn't helping them she
isn't technically doing anything
wrong.
But I tell you Jerry, God isn't
gonna want to hear technicalities
when her day comes. And believe me
Jerry... Not all God's angel's
sing. Some carry swords.
JERRY CLEVELAND
Now, now Mary. I have watched
these tapes, Mary, and I have to
ask. People are going to say,
"it's her right to film it, why
shouldn't she get paid for it?"
What do you say to those people?
MARY MARSHALL
Those people should ask
themselves... Do the rights of man
hold more weight than the laws of
God? Ms. Emily Anne Peters, you
better ask yourself that question.
FADE TO BLACK.
THE END
SUICIDE DOT COM EPISODE 2: PILOT PART II
ACT I
RECAP OF LAST EPISODE
INT. EMILY'S APARTMENT - NIGHT
NOVEMBER
Emily is laying on the couch with Dale Webber.
DALE
You're making it hard for me to
want to kill myself.
EMILY
Oh no, you're my most famous
subject. Whatever shall I do with
out you?
DALE
Looks like your doing fine with
out me.
EMILY
I need you.
DALE
Do you? Why don't you let me come
with you. This isn't as simple
anymore. People know you.
EMILY
I couldn't film it with you there.
Besides, this woman sounds like a
Jesus freak. I doubt she'll let a
strange boy into her house.
DALE
They're gonna off themselves if
you bring me or not.
EMILY
I couldn't keep filming if you
were watching me. I'm not filming
you anymore Dale.
DALE
Why not. I won't follow you. I was
just asking.
EMILY
I don't want you to try to die
anymore.
Dale says nothing.
EMILY (CONT'D)
I don't want to end up alone. I
need you. All these people film.
They're alone. No one understands
them.
CUT TO:
INT. MARIA CRUZ' APARTMENT - NIGHT
DECEMBER
Maria has two children and lives overwhelmed in a small
cramped one bedroom apartment.
MARIA
You got that fucking thing on
right.
EMILY
Yes.
MARIA
Don't be turning it off on me or
you gonna be part of our little
flick blondie.
EMILY
I'm not turning it off but could
you please put the children to
bed.
MARIA
You fucking telling me what to do?
EMILY
No, not at all I just can't film
your intro with them in the
background.
MARIA
Shut the fuck up you two fucked up
little demons! If I hear one
fucking word I am gonna skin one
of you alive.
The children stop in their tracks in the background of
the shot and don't move at all.
EMILY
OK, so please tell me your name.
MARIA
I'm Maria Cruz and welcome to my
fucked up life.
EMILY
Alrighty then.
CUT TO:
ROLL CREDITS
ACT II
EXT. VERRAZANO BRIDGE - NIGHT
OCTOBER
Tony Fiasco meets Emily under a street lamp in Bay Ridge,
Brooklyn.
TONY
What the fuck you got a camera out
for? You want to attract
attention? What's the matter with
you kid?
EMILY
I'm sorry but I thought...
TONY
Just come with me. Jesus.
Tony pulls Emily off the street and off into the trees.
He lights a cigarette. Emily coughs a bit.
EMILY
I'm sorry I was a little nervous.
TONY
You? Every wise guy in Brooklyn is
looking for me.
EMILY
Why?
TONY
What are you a fucking Fed?
EMILY
No I'm a filmmaker.
TONY
Yeah, I guess there's no point in
hiding shit. I'm about to tell you
everything anyways...fuck it.
Sometimes kid, people do wrong and
other people send a person like me
to make things right. You got me.
EMILY
Should I?
TONY
Just follow kid. So when a guy
like me does wrong...you got to
find a bigger, badder guy to makes
things right.
EMILY
I can see that.
TONY
But if the bigger, badder guy
doesn't fix the problem...you got
a bigger problem.
EMILY
Do you think you could tell us who
you are?
TONY
What do I bore you? Tony...Tony
Fiasco kiddo. You get to spend my
last night on earth with me. Who's
there!
Tony stands up and points a gun towards Emily.
TONY (CONT'D)
Get behind me kid. Now!
CUT TO:
INT. DR. CLAUDIA DONALDSON'S HOME OFFICE - NIGHT
MAY
Emily is in a doctor's office trying not to get caught
filming. Dr. Claudia Donaldson, a forty year old woman,
meets with Emily after her last patient leaves.
EMILY
Hello Dr. Donaldson?
CLAUDIA
Yes, you must be Emily. I'm
Claudia. Very nice to meet you.
I'll have to ask you not to smoke.
I'm hyper sensitive now.
EMILY
I'm sorry. I just started over the
last few months.
CLAUDIA
I could understand given the
nature of your work. You are
younger than I expected given the
subject matter.
EMILY
I'm beginning to think I was a
little too young myself.
CLAUDIA
Still have a sense of humor. You
are an interesting young girl. How
long have you been at this?
EMILY
I'd say about nine months now. I
don't know if I can make the whole
year. I'm thinking of selling the
idea and getting out.
CLAUDIA
You should follow your heart
Emily. Time passes you before you
know it and then you are looking
at how your hands have changed...
EMILY
Claudia, not to be rude. But I was
wondering if I could set my stuff
down somewhere?
CLAUDIA
You can go into the back office
and wait for me there. I have a
few more odds and ends to take
care of here.
EMILY
I understand take your time, OK.
Emily turns the camera from the doctor and walks down a
dark hallway.
FADE TO:
EXT. BALTIMORE STREET NIGHT
MARCH
Emily is walking down the block looking for an address.
When she gets to the building it is boarded up.
EMILY
Fuck. I knew she was lying to me.
A man walks around the corner and stops after he sees
Emily. He stand there for a moment. Emily turns around
and begins walking. The man watches her for a moment then
follows her.
Emily picks up her pace as the man picks up his. She
turns the corner and begins to run.
The man also runs, which causes Emily to scream.
EMILY (CONT'D)
Help!
She runs past residences screaming. People look out there
windows but do not help her. Emily sees a diner with a
car in the lot up ahead.
INT. OVERLEA DINER - NIGHT
She gets into the diner and sees no one behind her.
CHLOE
Hey girlie? Got a smoke?
EMILY
Sorry. I may start though.
CHLOE
Not with out a cigarette. What you
filming with that camera over
there?
Emily picks up her camera and turns it to Chloe, a
junkie.
EMILY
I film people who want to kill
themselves on camera. What do you
think about that.
CHLOE
I think that your kinky lady but
more interesting than anything
I'll pick up here tonight. You
should film me. I die at least
once a year out here. You may be
lucky.
EMILY
I can feel the luck already.
CHLOE
Don't be a bitch. I'm the only
fuck that's gonna talk to your
prissy ass tonight.
EMILY
I'm sorry.
CHLOE
Fuck it. Life's short.
EMILY
I've been noticing that recently.
CUT TO:
INT. RITA DOBSON'S KITCHEN - DAY
NOVEMBER
Rita is trying to act natural in front of the camera but
is stiff as a board.
RITA
Is this OK?
EMILY
It's fine Rita. Now just like we
practiced.
RITA
Hello I'm Rita Dobson and I am
going to kill myself.
EMILY
Don't tell them that yet.
RITA
But don't they know that already?
EMILY
Yes but you might not do it.
RITA
Oh I'm gonna do it.
EMILY
Just say your name.
RITA
Rita Dobson.
Rita says nothing else.
EMILY
No, I mean say hi, my name is Rita
Dobson. That's it.
RITA
Hi, my name is Rita Dobson, that's
it. How was that.
Rita tries to look at Emily behind the camera with out
moving her head.
EMILY
That's fine.
RITA
It's hard being an actress huh?
Her awkwardness is painful.
FADE TO BLACK.
INT. FRED HAMILTON'S MANSION - NIGHT
SEPTEMBER
Fred sits behind a desk with a gun in his hand. Emily is
crying behind the camera.
FRED
Hello, I am Fred Hamilton, the
financial benefactor of this film
series you have been watching. I
have lead a very exciting and full
life. I have many regrets in it
but many achievements that make me
proud. Now at the end of my life I
think I am the most proud of
trying to correct my biggest
mistake. Emily, tonight we make
everything right.
EMILY
I don't want to do this. Please
Fred. Please.
Emily's tears are heard over the darkness.
FADE TO BLACK.
EXT. DALE WEBBER'S APARTMENT - DAY
Emily has her camera set up on a quiet city street. In
the distance is Dale on a skate board. He speeds towards
the camera.
DALE
Hey! This is Dale Webber! Coolest
Ever!
Dale tries to impress Emily by jumping the skateboard
into a garbage truck as it is compacting.
EMILY
Oh my god no!
FADE TO:
EXT. VIRGINIA STAPLETON'S HOUSE - DAY
JULY
Virginia is sitting in a chair on her porch speaking to
Emily behind the camera.
VIRGINIA
I'd be happy to young lady. My
name is Virginia Stapleton. I am
Eighty two years old and I am the
mother of five children and twelve
grandchildren.
EMILY
Thank you.
VIRGINIA
No child thank you for coming all
the way down here.
EMILY
Let me get another battery. I
filmed a lot on the way here.
VIRGINIA
Go right ahead dear.
The camera turns up to Emily and then turns off.
FADE IN:
ACT III
INT. DARK STONE COTTAGE - NIGHT
JULY
Emily wakes up on a cold cement floor. Her vision is
blurred and she is groggy. Emily tries to get up and
realizes her arms are tied up.
She struggles over to the wall and rubs the rope on the
walls until she frees herself.
Emily slowly makes her way to the door and listens.
She can hear the muffled sound of two people arguing. A
man and a woman.
Emily slowly opens the door into a hallway. At the end of
the hallway she can see the front door.
Slowly as not to make any noise Emily walks towards the
door until she realizes that the two voices are coming
from that direction.
Suddenly a tall figure appears from the room and moves
towards Emily quickly.
EMILY
No!
Emily runs towards the back of the house in hopes of an
escape route.
Emily runs through the house until a woman jumps in front
of her and swings a bat that hits Emily's pursuer.
Emily gets out through the back.
EXT. DARK STONE COTTAGE - NIGHT
JULY
Emily is screaming and running down the track on the
woods with her camera in her hand.
EMILY
Help me! Someone! Help!
A door opens from the cottage behind Emily. A dark figure
come through the door and starts running very quickly.
EMILY (CONT'D)
Oh God. Oh god.
Emily takes off into the woods in hopes of hiding.
CUT TO:
INT. DALE WEBBER'S APARTMENT - NIGHT
FEBRUARY
Dale is upset and standing over Emily who is frightened
on the couch.
DALE
You're not fucking leaving! I've
had enough of this.
EMILY
Then you are breaking up with me.
DALE
That's not fair. You can't turn
that around on me. I'm not one of
your fucking subjects anymore!
Remember!
EMILY
I'm out of here.
Emily gets up to pass him and he pushes her to the couch.
DALE
You ain't going and coming back
here fucked up or beat up or
whatever anymore. That's it Em.
That's it. You leave you leave for
good.
EMILY
That's on you. Not my choice.
DALE
You bitch. You're gonna walk out
thinking I broke up with you. How
dare you? You leave me no choice.
If I can't help, you can't expect
me to sit here and suffer.
EMILY
That's exactly what I expect.
DALE
Then I can't do this anymore.
Emily passes Dale and walks out of the apartment.
FADE TO BLACK.
INT. DARK STONE ROOM - NIGHT
JULY
Emily is taped to a chair alone in a room with her camera
on a tripod. She screams for help but no one answers her.
EMILY
Please! Just tell me what you
want! Please. Just talk to me.
Suddenly the camera light turns on. Emily is terrified.
From in the Darkness, televisions with each suicide she
taped turns on. The deaths are played on a loop. Emily
realizes she is in trouble.
EMILY (CONT'D)
Oh no. No please. I just taped
them. I tried to stop them. Please
you have to believe me.
She begs for her life but no one answers her. Emily is
forced to focus on the people who's death's she taped and
became an internet star from.
EMILY (CONT'D)
I have money. I will give it to
you. All of it. I don't want it.
I'm sorry. I don't want to do it
anymore. You can have it all.
After her voice has gone dead, an eerie electronic voice
is heard through out the room.
ELECTRONIC VOICE
You have helped to take life from
this world and now you must give
back what you have taken.
EMILY
I don't understand.
ELECTRONIC VOICE
You will give your life in return
for all the lives you have taken
for profit.
EMILY
I didn't kill them.
ELECTRONIC VOICE
I won't kill you.
EMILY
They had a choice.
ELECTRONIC VOICE
You do not.
As suddenly as they came on, the TV's go off. Emily
realizes that the light on the camera is still on. Emily
is left in the room in silence.
Then the lights go out. Leaving her whimpering in the
dark staring at the red glow of a camera record light.
EMILY
Please, I'm sorry.
FADE TO BLACK.
THE END
SUICIDE DOT COM EPISODE 3: DYING TO LOVE
ACT I
RECAP OF LAST EPISODE
INT. FRED HAMILTON'S MANSION - NIGHT
SEPTEMBER
Emily Anne Peters is filming herself. Tears are falling
down her face and her attention is off camera.
EMILY
This won't change anything.
They're all dead! Please! Don't
you see. You just keep hurting me.
FRED
You see, you think so honey. But
you will understand when you're
older...this is the only way. I
must repent in order to find God.
Now say that lovely introduction
we worked on before.
EMILY
Please Fred.
FRED
Emily, I have failed everyone I
loved. Especially you. You will do
this. One way or another.
EMILY
This is Emily Anne Peters from
inside the mansion of Fred
Hamilton...I can't Fred.
FRED
Emily, now!
EMILY
The mansion of Fred Hamilton, my
father's best friend, my God
father, the man who raped me my
entire life.
Emily turns the camera away from her to reveal that Fred
sits behind a desk with a gun in his hand. Emily is
crying behind the camera.
FRED
Hello, I am Fred Hamilton, the
financial benefactor of this film
series you have been watching. I
have lead a very exciting and full
life. I have many regrets in it
but many achievements that make me
proud. Now at the end of my life I
think I am the most proud of
trying to correct my biggest
mistake. Emily, tonight we make
everything right.
EMILY
I don't want to do this. Please
Fred. Please.
Emily's tears are heard over the darkness.
FRED
It's already done Emily. The tape
will be given to my butler and the
appropriate measures to create
your website will be arranged,
providing this content never be
removed. Now, let's gets started.
CUT TO:
ROLL CREDITS
ACT II
INT. DALE WEBBER'S APARTMENT - DAY
OCTOBER
Dale is coming from outside with a skate board and
breakfast. He smiles as Emily walks out only in Dale's
baggy underwear.
DALE
Take off my clothes.
Emily does so and kisses Dale.
DALE (CONT'D)
What did I do?
EMILY
You agreed to stop trying to kill
yourself last night.
DALE
For your movies.
EMILY
Liar.
Emily walks away to put on clothes.
DALE
I said if you stop filming
suicides I'd stop trying to kill
myself.
EMILY
That's not what you said.
DALE
That so is what I said and if it
isn't it's what I meant.
EMILY
And how am I supposed to make a
living.
DALE
You where making a living before
this.
EMILY
Not this kind of living.
DALE
I'm rich. When I die you'll have
all my money. There you go. You'll
be filthy rich then. Suicides for
everyone!
EMILY
That's not funny.
DALE
Seriously I have an idea.
EMILY
No.
DALE
Film skate videos for me.
EMILY
What do I know about that?
DALE
What the fuck do you know about
death?
CUT TO:
INT. SANDRA'S APARTMENT - DAY
SEPTEMBER
Sandra and Emily are making mojitos.
SANDRA
What the fuck do you know about
death?
EMILY
You said it was a good idea.
SANDRA
That's before I watched that kid
blow his head off. He thought you
were cute though.
EMILY
Ew. You see you watched it though.
SANDRA
I'm not saying you're not gonna
get traffic. I'm just saying what
kind of traffic do you want?
EMILY
The money spending kind.
SANDRA
It's your life.
EMILY
It's never been my life.
SANDRA
What? You live alone and don't
date. Who are you living for?
EMILY
I don't know. Listen I have to go
upstate tomorrow. Do you want to
come with me?
SANDRA
Hell no. That old guy is creepy.
EMILY
You don't know the half.
SANDRA
At least he'll leave you all his
cash when he croaks.
EMILY
I doubt it.
FADE TO:
EXT. FRED HAMILTON'S MANSION - DAY
Emily is in a limousine that is pulling up to a beautiful
Westchester mansion. She gets out and a butler opens the
door.
EMILY
Hello.
BUTLER
Mr. Hamilton is waiting for you on
the patio. I'll get your bags.
EMILY
Thank you but I have none.
BUTLER
Oh, either way, Lunch will be
ready shortly.
EMILY
Oh don't...
The butler walks into the house.
EMILY (CONT'D)
Bother.
INT. FRED HAMILTON'S MANSION - DAY
Emily comes in to see the butler walking away leaving
Emily in a giant foyer.
EMILY
Hello?
FRED
I'm out here!
EMILY
Wonderful.
She walks through the room and through to the patio to
find Fred.
FRED
My do you look beautiful.
EMILY
Let's not start off with lies.
FRED
There were never lies between us.
EMILY
Only lies we shared. Right Fred?
FRED
Correct child. It is nice to see
you again. Allow an old man his
moments.
EMILY
This is the last time you will see
me Fred.
FRED
I suspect it will be. You seem
determined this time. That's good.
Tell me about your film.
EMILY
I told you already.
FRED
Humor me.
EMILY
I want to film people who want to
kill themselves.
FRED
Do you think this would make your
parents proud.
EMILY
Don't Fred.
FRED
Sorry. Why do you want to film
these people?
EMILY
Because people will watch.
FRED
So you don't really want to film
these people.
EMILY
I'm not sure.
FRED
Have you?
EMILY
I haven't filmed one but some kid
killed himself in a chat room and
I recorded it into my computer.
FRED
Technology is wonderful. I regret
that I won't be around long enough
to see the things you will.
EMILY
I'm not going to sleep with you
for the money Fred. I mean I want
to make this movie. I'm not just
fucking around but I am not
fucking you anymore.
FRED
Oh dear. You will get the money
you seek but you do have to do
something for me.
Emily is taken back to being a child, with out control.
EXT. EMILY'S FAMILY HOME (FLASHBACK) - DAY
Emily is a sixteen year old girl swimming in her family's
swimming pool. Fred Hamilton is already an older man and
his celebrating the fourth of July with his wife, Camilla
and Emily's Parents Patti and Henry Peters.
Emily watches every move Fred makes and he notices. When
no one is looking Fred leers at Emily who becomes aroused
and immediately uncomfortable.
She climbs out of the pool but adjusts her suit enough to
expose the crack of her ass for a moment.
EMILY
I'll see you guys later on
tonight.
HENRY PETERS
Where you off to young lady?
EMILY
Going to hang out with the girl's
and watch the fireworks by the
lake.
HENRY PETERS
Really? And you where planning to
tell us when?
EMILY
I thought I did.
FRED
Henry, she's not a baby anymore.
Don't be a square. Besides, who
wants kids around anyway?
PATTI PETERS
Oh Fred, behave. You girls can
stay here if you want.
CAMILLA
But don't on our account.
FRED
Who wants a Margarita?
HENRY PETERS
Have fun kiddo. One over here
buddy.
FRED
Got ya!
Fred goes inside.
HENRY PETERS
Now don't come in here screaming
tonight. The Hamilton's are
spending the night.
EMILY
OK daddy. Thank you.
Emily goes inside but goes into the kitchen where Fred is
making drinks.
FRED
You getting a furlough?
EMILY
Thanks Fred. He totally tried to
be cool in front of you.
FRED
I know your dad. You have to know
how to play people's strengths and
weaknesses in life. Your dad's a
show off.
EMILY
And you Fred...what are you?
Emily bends into the fridge and gets a bottle of water.
Fred notices that she is visibly colder.
FRED
I think that's enough for today's
lessons.
EMILY
Oh Fred are you blushing?
FRED
I know you are.
Emily realizes she is not ready for this game and shies
away.
EMILY
I have to go get ready.
As a last attempt to one up Fred, Emily takes her top off
as she walks to the stairs.
EMILY (CONT'D)
See ya tonight.
Fred shakes his head and takes the drinks outside.
FRED
Who wanted a Margarita?
CUT TO:
EXT. FRED HAMILTON'S MANSION - DAY
The butler comes through the door with a picture of iced
tea.
FRED
Thank you. Emily this is my
Butler. Butler this is Emily. Be
sure she makes it home alright
later.
BUTLER
Certainly sir.
EMILY
It's been nice reliving old
memories but I have to go.
FRED
Go where Emily? You are going to
be evicted and have nothing. They
didn't leave you anything in the
will did they? Me neither. I
expected as much. I planned to
leave them everything for the
record.
EMILY
I'm sure they would have burned
it.
FRED
You made sure of that.
EMILY
You made sure of that.
FRED
Do you tell yourself that? Do you
say that mean man Fred killed my
parents.
EMILY
Fuck you Fred.
FRED
That offer took my life Emily!
Fred starts coughing uncontrollably. Emily eventually
tries to help.
FRED (CONT'D)
Get away.
EMILY
Fine. Why am I here Fred. Why are
we doing this? Are you fucking
dying?
FRED
You killed them Emily and if you
tell yourself any different it
will haunt you.
EMILY
You told them.
FRED
You made me. You took Camilla from
me.
EMILY
No I didn't.
FRED
She went driving that night
looking for you. She wanted to
know why. She found your letters.
Your blackmail letters.
Emily realizes.
FRED (CONT'D)
She died because she wanted you to
tell her it wasn't true. That her
husband wasn't a monster.
EMILY
You shouldn't have told my father.
FRED
You should have told your father.
He wouldn't have died.
CUT TO:
INT. EMILY'S FAMILY HOME - NIGHT
Emily's father is attacking Fred who is trying not to
hurt Henry.
Emily walks into the fight and sees her mother's face.
She connects eyes with her father and then Fred who looks
down.
When she looks back at her father he is clutching his
chest on the floor.
Emily tries to rush towards him but her mother pushes her
aside.
As her father dies, Emily and Fred are standing across
from each other.
FADE TO:
EXT. FRED HAMILTON'S MANSION - DAY
Emily and Richard are across the table from each other.
EMILY
It's in the past now. I need help
Fred.
FRED
So do I.
EMILY
What do you need my help for?
FRED
I need to be your first subject.
You should call them subjects so
that people view you as a
professional and not a thrill
seeker.
EMILY
No Fred.
FRED
No really they will take you more
seriously.
EMILY
I'm not doing it.
FRED
Yes you are Emily.
EMILY
Fred I am not.
FRED
The food is poisoned and the
Butler will not give you the
antidote until I am dead.
EMILY
Don't mess around Fred.
FRED
I'm not. Tonight we right the
wrongs that were done by us.
Emily gets drowsy and passes out.
FRED (CONT'D)
Butler! I think you used too much.
INT. DALE WEBBER'S APARTMENT - DAY
SEPTEMBER
Dale is showing Emily around his spacious apartment. She
is taping him.
EMILY
So you plan to do anymore stunts
like that?
DALE
Well not like that.
EMILY
Keeping it fresh?
DALE
Well I got a rep to think about
here. Got to go out with a bang.
EMILY
I think you need a butler.
DALE
I like to see my stuff.
EMILY
All of it?
DALE
It's all I got.
EMILY
What do you do?
DALE
A bit of this a bit of that.
EMILY
You won these trophies?
DALE
Yep. Dale Webber coolest ever.
EMILY
Nice, so you skate, surf?
DALE
Ski, Motocross, BMX, I do a little
bit of it all. I just always did
it in front of the camera.
EMILY
Movies?
DALE
Mostly, some TV, lots of
commercials. Yeah I do some
choreography too.
EMILY
So...ah. Dale? Why would you want
to kill yourself.
DALE
That's not part of our interview.
EMILY
That's our whole interview. What
else is there.
DALE
How about who I am. How I lived.
What I learned. I don't think you
are very good at this.
EMILY
You're my first.
DALE
Ah...
EMILY
It really would lower my opinion
of you if you made the joke.
DALE
It can't fall any lower.
EMILY
Actually jumping into the garbage
truck took some talent.
DALE
I know I hade to time out the
lever to crush time. Figure in
their responses, which by the way
I was so off about.
EMILY
Well it's better off. The camera
wasn't rolling.
DALE
What?
EMILY
Just kidding.
Emily back up on to a skateboard and falls backwards,
hitting her head. The camera lands in Dale's hand.
DALE
Oh shit.
CUT TO:
INT. FRED HAMILTON'S MANSION - NIGHT
Emily wakes up groggy and finds herself in Fred's study.
She tries to get up but can barely move.
FRED
Don't worry. Butler put too much
in your food. I wanted to scare
you a little. I guess it worked
too well.
EMILY
I'm scared.
FRED
I'm dying Emily. You're right and
I'm glad. Since Camilla left this
house is filled with shame and
guilt and ghosts. They haunt me
Emily. All of them. They wont let
me be.
EMILY
I have to go Fred.
FRED
You will I promise. I just need
you to set up your camera now.
It's time.
EMILY
I can't.
Fred pulls out a gun.
FRED
You can.
Emily staggers up and sets up the camera as Fred hand
cuffs one of hit arms to his wheel chair.
EMILY
What now Fred? Are you going to
shoot yourself? Then me?
FRED
No I told you. Tonight I die but
you must do it. Turn on the camera
and remember you get nothing if
this content doesn't exist.
EMILY
I know. I am not killing you Fred.
This will not help anything.
FRED
Dear, look in my top draw, you
will find a piece of paper with an
intro I thought would be fitting.
Let me hear you repeat it.
Emily reads the letter to herself.
EMILY
Fred no!
FRED
It's the only way. It's time to
come clean. You'll be a star to
women around the world. The Helen
Keller of Lolitas who call
themselves molested. This is what
will happen Emily. Read it. Read
it into the camera.
EMILY
This is Emily Anne Peters from
inside the mansion of Fred
Hamilton...I can't Fred.
FRED
Emily, now!
EMILY
The mansion of Fred Hamilton, my
father's best friend, my God
father, the man who raped me my
entire life.
CUT TO:
EXT. COFFEE SHOP - DAY
OCTOBER
Sandra and Emily are watching the Fred Hamilton video on
a computer in the shop.
SANDRA
I can't believe you said that on
the Internet.
EMILY
Well maybe if you came with me...
SANDRA
There would be two dead people up
in that mansion. That old man had
a plan and I was not part of it.
You got to take that shit off the
web.
EMILY
If I do I loose all the money.
SANDRA
So you get poisoned, kill this old
fuck, the butler named Butler
takes you home, pays you and the
website shows up the next day?
EMILY
Pretty much.
SANDRA
Why are you still alive?
ACT III
INT. FRED HAMILTON'S MANSION - NIGHT
SEPTEMBER
EMILY
Fred you have to give me the
antidote for this. I feel like I'm
dying.
FRED
Oh I assure you, you will be fine
until morning but If I shoot
you...
Fred shoots off a round in the room. Butler comes to the
door.
FRED (CONT'D)
We're fine Butler.
BUTLER
Very well sir.
EMILY
Please help me.
BUTLER
At the end of the night ma'am.
Please let me know when you have
killed Mr. Hamilton. I'll be out
here.
Emily looks back at Fred with contempt and disbelief.
FRED
Please you know that it is time.
Take this bag put it over my head
and tape the bag around my head.
Then hand cuff my other arm. Do
you understand?
EMILY
Yes.
Emily gives up and Fred lowers the gun. Emily approaches
Fred but picks up the gun.
EMILY (CONT'D)
I'm leaving now!
FRED
No you're not Emily. You will die.
EMILY
Get me to the fucking hospital
Jeeves!
FRED
He will not do that Emily.
Emily presses the trigger but the gun is empty.
FRED (CONT'D)
Now Emily. Please. This is not how
I envisioned this. Finish this.
Emily cries then throws the gun at Butler. She closes the
door and walks over to Fred.
EMILY
Good bye Fred.
FRED
I'm sorry Emily.
EMILY
I am too Fred.
She places the bag over Fred's head. She then tapes the
bag and backs away.
EMILY (CONT'D)
Fred please.
Fred is gasping for air. He begins to shake in his chair
trying to suck in the plastic. Finally he dies.
The monitor goes off and Butler opens the door wearing a
stethoscope.
He checks Fred Hamilton's heart then injects Emily in the
arm with a needle.
BUTLER
The car will be ready in ten
minutes.
EMILY
OK.
INT. LIMOUSINE - NIGHT
Emily has the camera on herself.
EMILY
So, now I'm in the back of a
limousine with a check for a lot
of money. Fred is dead and I've
wanted him dead for awhile. I've
finally gotten everything I ever
wanted. In one night. The worst
night of my life. Tune in next
time. I'm Emily Anne Peters for
Suicide dot com.
FADE TO BLACK.
THE END
SUICIDE DOT COM EPISODE 4: OF SOUND MIND AND BODY
ACT I
EXT. VIRGINIA STAPLESON'S HOME WHITESBURG, GA - DAY
JULY
Emily is sitting on a fence looking at the countryside
through the camera. The world looks golden and crisp. The
sky is a pale blue and Emily catches a butterfly on the
camera. She follows it to a flower. Virginia comes out
and watches Emily play.
VIRGINIA
Lunch will be ready in about seven
minutes Emily!
EMILY
Thank you Virginia.
VIRGINIA
It's sure is a beautiful day out
there today!
EMILY
The most beautiful I have ever
seen. Mrs. Stapleson, I don't
think I want to do this anymore.
You're a very sweet woman and this
place is beautiful. Honestly, I
just don't have the stomach for it
anymore.
VIRGINIA
We'll talk about all that at
lunch. You just keep enjoying this
day. You'll never have it again.
EMILY
Thank you.
VIRGINIA
You come on in when you're ready
Stacy. That child's always playing
with those bugs. Gone catch some
kind a pox.
Virginia slowly goes inside. Emily watches her the whole
way and then looks at a butterfly on her knee. She brings
her face to the butterfly.
EMILY
Hello.
It's wings flap but it doesn't leave. Emily watches, with
her face inches away from it.
She gets her camera ready and the butterfly stays in
place.
EMILY (CONT'D)
You're not shy at all.
She turns on the camera and the butterfly flies away.
EMILY (CONT'D)
Damn. Well...
She turns the camera around to herself.
EMILY (CONT'D)
I'm Emily Anne Peters you know,
Lady death, suicide Sally, bloody
Beth, and Mary Marshall's favorite
dinner guest. By the way she's
been protesting in the same town
I'm shooting in right now.
Coincidence, hmmm. Well I can't
prove she's sending people after
me yet but if any off you out
there can. Drop me a line. Anyway,
screw the old cunt. I'm in the
middle of the most beautiful
country side I have ever been in.
I can't imagine why anyone would
want to leave this place but as
you folks know...this is where the
intro goes. I must say I'm sorry
to say this but stay tuned for our
next guests final moments.
CUT TO:
EXT. VIRGINIA STAPLETON'S HOUSE - DAY
JULY
Virginia is sitting in a chair on her porch speaking to
Emily behind the camera.
VIRGINIA
My name is Virginia Stapleton. I
am Eighty two years old and I am
the mother of five children and
twelve grandchildren.
EMILY
Thank you.
VIRGINIA
No child thank you for coming all
the way down here.
EMILY
Let me get another battery. I
filmed a lot on the way here.
VIRGINIA
Go right ahead dear.
The camera turns up to Emily and then turns off.
EMILY
You know why don't we go eat first
anyway.
VIRGINIA
Oh yes. I hope I turned that stove
off. I've just been forgetting
everything these days.
Emily and Virginia go inside.
FADE TO BLACK.
INT. DR. CLAUDIA DONALDSON'S HOME OFFICE - NIGHT
MAY
Emily is in the waiting room with the doctor.
CLAUDIA
You should follow your heart
Emily. Time passes you before you
know it and then you are looking
at how your hands have changed...
EMILY
Claudia, not to be rude. But I was
wondering if I could set my stuff
down somewhere?
CLAUDIA
You can go into the back office
and wait for me there. I have a
few more ups and ends to take care
of here.
EMILY
I understand take your time, OK.
Emily turns the camera from the doctor and walks down a
dark hallway. When she looks up from the camera, the
hallway is filled with her subjects.
Emily screams.
CLAUDIA
Are you alright!
Emily looks through the camera and sees no one.
EMILY
I'm sorry. I tripped. I thought I
was going to break the camera.
It's the only one I have.
CLAUDIA
Oh, you sounded like something
horrible happened.
EMILY
No really I'm fine.
Emily looks back down the hallway then back to the
doctor.
ROLL CREDITS.
ACT II
INT. DALE WEBBER'S APARTMENT - DAY
SEPTEMBER
Emily is touching a bump on the back of her head.
EMILY
Ouch.
DALE
Sorry about that.
EMILY
What happened?
DALE
You tripped over my skateboard.
EMILY
Really?
DALE
Yeah. My mom warned me that pretty
young girls would leave me if I
didn't clean up after myself.
EMILY
Did she say you might kill them?
DALE
No, really I'm sorry. Put this on
your head.
He gives her an ice pack.
EMILY
I expected a steak.
DALE
Vegetarian ten years now. And I
get hurt a lot in my line of work.
EMILY
What did you do again?
DALE
Really?
He looks around the apartment that is covered in trophies
and extreme posters.
DALE (CONT'D)
Are you OK?
EMILY
I'm just messing with you I'm
fine. Just a bump on the head.
Emily goes to get up and is woozy.
DALE
Hey now. Why don't you just sit
here for a second.
EMILY
Yeah, maybe I should.
DALE
Do you want to go to the doctor? I
know some great ones. My treat.
EMILY
No I hate doctors. I'll be OK.
DALE
OK so let's get to keeping you
awake. I know, you can watch the
Dale Webber box set. Do a little
research.
EMILY
You sure you're not trying to put
me to sleep.
DALE
What would you like to do?
EMILY
You could tell me why you want to
die.
Emily turns on her camera.
DALE
I think we'll have sometime to get
back to that. Let's try to stand
you up again. OK here we go.
EMILY
Why are you avoiding answering me?
DALE
Why do you want to tape me dying?
For real though?
EMILY
To make money.
DALE
Bull shit.
EMILY
Why then?
DALE
Because you want to see what comes
next. You want to try it yourself.
Don't you?
EMILY
No.
DALE
I do. I want to know.
EMILY
What if there isn't anything?
DALE
Then I have nothing to worry
about.
EMILY
Don't you want to be you? Keep
your memories? Your dreams?
DALE
Yeah of course but I also want to
see it. To get there while I'm
prime.
EMILY
But maybe you'll learn more here?
DALE
More then I would there? Believe
Em, I've done more than most.
EMILY
You shouldn't call me Em.
DALE
I guess you're feeling better. I
like calling you Em.
EMILY
Why?
DALE
Because you don't let anyone call
you Em.
EMILY
Who told you that?
DALE
Just guessing. Like how I know
anything about you?
EMILY
I want to see life escape. That
moment where you're not you
anymore but then find you. You
know?
DALE
You wanna know where you're going
before you get there.
EMILY
I wanna know I can get there.
DALE
We're not that different. You want
to see it, I want to be seen but
what if you see it. Will you try
it?
EMILY
I don't know. I haven't planned my
life out like that.
INT. DR. CLAUDIA DONALDSON'S HOME OFFICE - NIGHT
Claudia is sitting up on an examination table, talking
towards the screen.
CLAUDIA
You know. Tying up your life is a
strange concept.
EMILY
What do you mean?
CLAUDIA
Today I saw my last patient. Paid
my last bill. Closed my last
account. All the letters and
numbers of me are shut down. My
drivers license even expired
yesterday.
EMILY
Was that a coincidence?
CLAUDIA
No I figured today was a better
day than my birthday or a holiday.
No one in my family has a birthday
on anniversary today. I didn't
want to make them sad every year.
I didn't want them to remember
today.
EMILY
They are going to remember the day
they find you.
CLAUDIA
They will find me tomorrow. My
parents open up the place in the
morning. They like to answer the
phones and chat with the patients.
It's like a social club out there.
EMILY
Do you really want your parents to
find you this way?
CLAUDIA
I don't want them to watch me die.
Emily, I use to weight 190 pounds.
Can you believe it?
EMILY
No, not at all.
CLAUDIA
I know. I'm a walking stick now.
They laugh uncomfortably.
CLAUDIA (CONT'D)
I thought about watching the
sunset but I decided to watch the
evening news. It's more of what I
would have done anyway. It's just
strange you know.
EMILY
Why do you want to go?
CLAUDIA
Oh, I don't want to go at all. I
just know very well what my final
days are going to be like. I've
helped people along myself. For
years. I just don't want that for
me... I just came back from
Barbados.
EMILY
How was it?
CLAUDIA
Hot. Hotter than I expected. I
loved it though. I jumped off the
Jolly Rodger.
EMILY
What's that?
CLAUDIA
It's an old pirate boat that they
take out into the ocean and let
you walk the plank. Kind of silly
but it really prepared me for
this.
EMILY
How so?
CLAUDIA
Well I felt like I stood there on
the edge of that plank, with my
eyes closed and listened to
everything.
The doctor's office fades away and Claudia is surrounded
by blue skies.
EXT. BARBADOS OCEAN - DAY
CLAUDIA
I heard the wind. I heard the
birds. The rolling waves under the
ship...then there was no ship. I
was just there standing in the
air. Air rushed up against me and
then the cold water holding every
part of me.
Claudia begins to disrobe.
CLAUDIA (CONT'D)
I felt the water taking me back to
where I started and ended so many
times before. When my lungs
couldn't take it anymore I let my
body raise out into the warm
light. I could feel it through my
eyelids, warming my soul. Waiting
for me to open my eyes.
Claudia has gone through a double mastectomy and is
standing naked.
INT. DAY SPA - DAY
JANUARY
Sandra and Emily are laying on massage tables wearing
avocado masks.
SANDRA
You see! If you just took that
nice boy of yours to my Christmas
party none of this would have
happened. That man is going to
find you and kill you. No make up
in the world is going to cover up
that eye.
EMILY
I don't want to talk about it
here.
SANDRA
But you can post it online? Don't
tell me what to say.
EMILY
Why did you have a Christmas party
anyway? You're Jewish and I'm not
sure If I am going to post this
one.
SANDRA
Not sure? You are an idiot. You
need a lawyer. Right now. You are
going to have angry people, with
guns, machetes and anything else
those crazy carry and kill you and
everyone else around you. And if
the don't the police are gonna put
you under the jail. I tell you.
Two kids and a mother. I can't
believe you.
EMILY
I didn't even know. Why do I tell
you anything?
SANDRA
Didn't it get very quiet in there?
EMILY
She was supposed to put them to
sleep. Now stop talking. You are
ruining this.
The Masseurs get very uncomfortable.
SANDRA
Who told you to stop rubbing?
Harder!
She looks over at Emily.
SANDRA (CONT'D)
What? For these prices they should
be naked and giving happy endings.
EMILY
Oh my God.
Emily buries her head into the massage table.
CUT TO:
INT. DR. CLAUDIA DONALDSON'S HOME OFFICE
Emily hasn't said a word.
CLAUDIA
They took my body and left the
poison in me. I had a man you
know.
EMILY
I wasn't going to ask.
CLAUDIA
He left. I mean I shouldn't say
that. I left him but he left way
before.
EMILY
Did he cheat on you?
CLAUDIA
No, I really don't think so. I
mean he was a really good man but
I was killing him. He stayed
through both Cancers and the
double mastectomy. He would tell
me I was still beautiful. He would
look at this mangled body and tell
me I was the most beautiful woman
on earth. Inside though. He was
dying. Faster than me. He learned
to stop wanting.
EMILY
What do mean?
INT. VIRGINIA STAPLESON'S HOME WHITESBURG, GA - EVENING
Virginia and Emily are finishing up another meal.
VIRGINIA
I'm so glad you came to visit me
Stacy. I never have anyone here to
cook for anymore.
EMILY
I'm Emily, Mrs. Stapleson.
VIRGINIA
Oh, how silly of me of course you
are dear. You see that's what I'm
talking about. I can't be out here
like this and when my children
find out they are going to have to
ship me off. You ever seen those
places.
EMILY
Not yet but I am sure I will soon.
VIRGINIA
I pray you never see a place like
that. People just waiting to die.
The living just walking blind to
ya. Or treating you like an
ordeal.
There's no dignity in aging dear.
Don't get old Stacy. Don't let it
catch you.
EMILY
I'll try.
VIRGINIA
You're not here to put me in that
home are you Stacy? Please don't.
This is my home. This is where I
belong. Please Stacy I'll try to
remember. I won't use the stove
anymore.
EMILY
Virginia, I'm Emily. Emily Anne
Peters. Do you remember me?
VIRGINIA
No, do I know you.
EMILY
Yes, we met today. We were going
to make a movie.
VIRGINIA
Oh yes dear forgive me. You just
remind me so much of my Stacy. She
doesn't come around so often
anymore. She got married not two
years back. I'm OK now sweetheart,
Ms. Emily Anne Peters.
EMILY
Virginia, I really think we
shouldn't do this film.
VIRGINIA
Darling I'm going to tell you the
truth. If you and these cameras
where not there I am still going
to carry out my plans. So if you
want to pack up in the morning
that would be OK by me. You are
welcome to spend the night.
EMILY
I'm sorry Virginia. I have a
friend waiting at the hotel.
VIRGINIA
Well I guess this is it then. If I
want to get my time in the movies.
EMILY
I don't think you should.
VIRGINIA
Are those cameras on?
EMILY
Yes, Mrs. Stapleton. They are.
VIRGINIA
Well thank you Stacy. I think you
should set that Camera down and
walk outside.
EMILY
Why?
VIRGINIA
I figure I have spent my life in
this kitchen cooking for old Mr.
Stapleson. This is where I want to
do it. I think I am going to let
the gas out and lay by the stove
tonight. You come back in an hour.
EMILY
I think you should call your
children.
VIRGINIA
Honey, I may be senile but I ain't
a child. Do your job and I'll do
mine.
EMILY
I'm sorry Virginia.
VIRGINIA
It's OK Emily. It was a pleasure
meeting you.
EMILY
You too.
VIRGINIA
Please lock the door when you pack
up.
EMILY
I will. I'm sorry.
VIRGINIA
Don't be.
Emily sets up the camera and walks out the kitchen into
the back.
Virginia, wipes her tears and gathers pictures from
around her empty house.
VIRGINIA (CONT'D)
This will be one heck of a yard
sale.
She lays the pictures out around the stove and places a
pillow on the floor.
She opens the broiler and blows out the pilot light then
lays down looking at the pictures of her family she set
up.
Slowly her eyes grow heavy as the pictures blur.
VIRGINIA (CONT'D)
Good night Mr. Stapleson.
Virginia closes her eyes.
EXT. VIRGINIA STAPLESON'S HOME WHITESBURG, GA - NIGHT
Emily is sitting watching the moon with tear falling down
her face. She hears a person in the bushes behind her.
EMILY
Who's there?
The person continues closer.
EMILY (CONT'D)
Who's there!
From behind Emily a man grabs her and covers her mouth. A
woman silhouette steps out from the bushes. Emily sees
her face and is filled with horror. A rag is placed over
her mouth and nose and Emily passes out.
FADE TO BLACK.
INT. DR. CLAUDIA DONALDSON'S HOME OFFICE - NIGHT
Claudia has prepared a needle and is getting ready to
inject herself.
CLAUDIA
Don't worry. I won't jerk or foam
or anything. I should just fall
asleep. If everything works right.
EMILY
I'm just here to document it. If
you want to not do this please
don't.
CLAUDIA
I'm ready Emily. I have fought
this life as hard as I can and all
I can do to fight it now is to
kill it. This is what I want.
EMILY
Do you have anything you want to
say?
CLAUDIA
No but I want too play something.
EMILY
Please.
Claudia puts a tape of the ocean into a player. She then
injects herself in the arm.
CLAUDIA
Thank you Emily. I want people to
know why I am doing this. I want
them to understand. I want them to
know me.
Claudia lays down and closes her eyes. Emily cries as
Claudia passes.
FADE TO BLACK.
THE END
SUICIDE DOT COM EPISODE 5: "NICE GUYS FINISH LAST"
ACT 1
EXT. VERRAZANO BRIDGE - NIGHT
SEPTEMBER
Emily is hiding behind a dumpster with a gun wielding,
Tony Fiasco over her shoulder.
TONY
Get down!
EMILY
Hi, this is Emily Anne Peters. I'm
hiding behind a Dumpster in
Brooklyn and I think someone is
trying to kill us. You want to
stay tuned because I think this
might be my final moment.
TONY
It ain't gonna be your final
moment. Just be quiet, and put
away that camera.
EMILY
What's going on? Who's chasing
you?
TONY
You remember those guys I told you
wanted some fixing done?
EMILY
Yeah.
TONY
They may still want some fixing
done.
EMILY
Well you got to make your intro.
TONY
What are you fucking nuts?
EMILY
No, I'm here. I may be dying. I
made my intro now you make yours.
TONY
What do you want me to say?
EMILY
You're name, where you're from
that whole thing.
Tony turns and fixes his hair then turns back to the
camera with a smile.
TONY
Hello out there in Cyber Space.
I'm Tony Fiasco, Brooklyn's best.
Brooklyn's best what, is another
story. A story, unfortunately we
do not have time for.
Anyway welcome to my world. Is
that it kid?
EMILY
Yeah. Is someone shooting at us?
TONY
I think so kid. I think so. Go
that way.
Emily and the camera run low and awkwardly. Tony takes
another look and runs after her.
TONY (CONT'D)
Welcome to Brooklyn Kiddo.
EMILY
I was born here. Nice intro. Get
me out of here.
CUT TO:
ROLL CREDITS
ACT II
INT. RITA DOBSON'S KITCHEN - DAY
NOVEMBER
Rita is trying to act natural in front of the camera but
is stiff as a board.
RITA
Is this OK?
EMILY
It's fine Rita. Now just like we
practiced.
RITA
Hello I'm Rita Dobson and I am
going to kill myself.
EMILY
Don't tell them that yet.
RITA
But don't they know that already?
EMILY
Yes but you might not do it.
RITA
Oh I'm gonna do it.
EMILY
Just say your name.
RITA
Rita Dobson.
Rita says nothing else.
EMILY
No, I mean say hi, my name is Rita
Dobson. That's it.
RITA
Hi, my name is Rita Dobson, that's
it. How was that?
Rita tries to look at Emily behind the camera with out
moving her head.
EMILY
That's fine.
RITA
It's hard being an actress huh?
Her awkwardness is painful.
EMILY
Yeah, it really is.
RITA
Have you ever acted before Emily
Anne?
EMILY
No, no I haven't.
RITA
Then how do you know it's hard?
EMILY
Well...I guess, because you just
said it was hard. It looked hard
and so I figured it was hard.
RITA
You must be smart...
EMILY
Thank you.
RITA
Most people can't think of a lie
quick enough to cover up their
disregard for you. You're a
natural. You're real sweet most
people don't care enough to lie to
me.
EMILY
No I didn't mean it like that.
RITA
It's OK. I know I'm a boring
person I just said that stuff
about acting so you would be
interested in me.
EMILY
I am interested in you. I'm in
Pennsylvania. Pennsylvania is not
a fun place Rita.
RITA
We love our Steelers though.
EMILY
Are you a football fan?
RITA
Oh no but my Husband, Mr. Dobson
is a Steelers fan.
EMILY
But you said we.
RITA
Well, Mr. Dobson and I.
EMILY
Have you spoke to Mr. Dobson about
this?
RITA
Oh no. He'd stop me for sure. He's
a really religious man. He'd want
us to be together forever.
EMILY
And you?
RITA
I do not want to be anywhere near
that man anymore.
EMILY
Why don't you just get a divorce.
RITA
Oh no. My parents couldn't handle
that. It would kill them.
EMILY
Your parents are still alive?
RITA
Why yes they are.
EMILY
And they wouldn't be upset if you
committed suicide.
RITA
Maybe a bit sad but not as mad as
they'd be if I got a divorce. They
expected me to kill myself a long
time ago. What they didn't expect
is that I'd get married. I showed
them.
EMILY
Couldn't you just leave?
RITA
And go where? I didn't finish high
school and I can't keep a job. I'm
not really much good for anything
really.
EMILY
But why do you want to kill
yourself?
RITA
Because Mr. Dobson won't get any
insurance money.
Emily looks up from the camera screen.
CUT TO:
EXT. VERRAZANO BRIDGE - NIGHT
Emily and Tony are creeping behind a truck. Tony open the
truck but the remote beeps.
TONY
Fuck. Get in!
They get in and speed off.
EXT. BELT PARKWAY - DAY
Tony pulls his truck over and rests his head on the
steering wheel.
TONY
You know how to draw a crowd lady.
EMILY
I didn't see who was after us.
How'd they know I was meeting you?
TONY
These people make it their
business to know things. We're
lucky we got away.
EMILY
Maybe we should part company and
call it a day.
TONY
You don't want to film me anymore?
EMILY
I couldn't show the tape anywhere.
What would happen to me?
TONY
Nothing, you'll be fine. It's OK.
Let's just finish this.
EMILY
I don't know Tony. I'm taking a
big chance doing this as it is. I
can't have the Feds after me too.
TONY
Fuck the fucking Feds. What the
fuck? Are they gonna think you're
fucking me? That I'm telling you
secrets?
EMILY
I'm sorry Tony. If you could drop
me at a train station, I will find
my way home.
TONY
Forget about it. We started this
and we are finishing this.
EMILY
I can't post it Tony.
TONY
You do what you want in this. You
just tape and I'll put on the
show. You know. I really wanted to
be and actor when I was younger. I
always felt like I had a face for
the movies. What do you think kid?
EMILY
You would have been a great actor.
You have charisma.
TONY
You think so kiddo? Thanks.
EMILY
Tony?
TONY
Yes?
EMILY
No one is chasing us are they?
TONY
What makes you say that?
EMILY
You're a great actor but a
terrible writer.
TONY
What? Stop fucking around kid.
EMILY
I know you're not a gangster.
TONY
How you come to figure that?
EMILY
Well for one...we didn't go very
far and you haven't looked in the
mirror once since we got here.
TONY
I got eyes in the back of my head
kid.
EMILY
Well then there's the Play Bills
in the back.
TONY
What I can't like theatre?
EMILY
Yeah, I gave you that but
then...and I mean no disrespect
but you don't seem like you're a
married man.
Tony holds up his ring.
TONY
Seven years.
EMILY
Are you lying to me Tony?
TONY
Yeah, How long did I had ya.
EMILY
Pretty much until the car alarm.
TONY
Yeah, I thought so.
INT. RITA DOBSON'S KITCHEN - AFTERNOON
Emily is filming Rita as she makes her husbands dinner.
EMILY
So what are you doing?
RITA
Oh I'm making Mr. Dobson a weeks
worth of food. Things are going to
be too hectic for him around here
after we're done. He won't eat if
I don't cook.
EMILY
Do you love Mr. Dobson?
RITA
Oh yes.
EMILY
Why do you call him Mr. Dobson?
RITA
Well...that's his name.
EMILY
Does he have a first name.
RITA
Oh of course don't be silly.
EMILY
Will you tell me it.
RITA
Oh no. Mr. Dobson would really not
like that. At all. He's really not
nice when he is angry.
EMILY
Rita, do you want me to take you
out of here?
RITA
To where?
EMILY
Anywhere. Start over. No, I'm
finished.
RITA
You see Emily. I'm not a
brainwashed or stupid woman. This
is my only out. I can't live this
life anymore. What we do. What he
does. I can't be a part of this.
EMILY
What is this?
Emily walks Rita into a cellar. When she opens the door
Emily backs up and tries to get out of the house.
EMILY (CONT'D)
Open the fucking door. Let me out
of here. Please.
Emily turns around and sees Rita as sweet as can be.
RITA
I'm sorry Emily Anne but I need
you to film this. We have a lot to
talk about before I let you out.
Listen well because if we run out
of time Mr. Dobson will kill us
both.
EMILY
No, please. I just want to go. I
won't tell anyone. I'll just go.
RITA
Emily get up and walk over here.
Only little piggies squeal on the
floor. Little piggies get the
poker.
EMILY
I'm sorry. I'm coming.
RITA
Keep the camera on. You need to
tape this.
Emily comes to the door again and tries to focus the
camera on the cellar. When it comes into focus it is
filled with dead bodies.
RITA (CONT'D)
We have to hurry. Mr. Dobson can't
know you've been here. He will be
back by five.
RITA (CONT'D)
Rita it's 4:15! Why didn't you
tell me at 1:00.
RITA (CONT'D)
Do you want me to explain that or
should I move on with this?
EMILY
You ain't fucking sweet are you?
RITA
You're in a room of dead women.
EMILY
Did Mr. Dobson do this all?
RITA
Yes.
EMILY
What did you do?
RITA
I wash them. He saves them.
EMILY
He saves them how?
RITA
He takes the devil out of them. It
hides inside them. It makes them
do the devil's work.
EMILY
Rita. I don't want to die.
RITA
No silly. You are taping me today.
Aren't you precious. You don't
have the devil inside you.
EMILY
OK Rita maybe we should go back
upstairs. OK.
RITA
Sure.
CUT TO:
INT. DALE WEBBER'S APARTMENT- DAY
SEPTEMBER
Dale and Emily siting on the couch watching a video of
Dale's skiing
DALE
I was officially dead that time
for 20 minutes. I figure it was
more because it took them awhile
to dig me out. I woke up with the
sheet on me and everything.
EMILY
Do you ever remember anything?
DALE
Only the first time. It was the
whole routine, the light my fam.
You know. The other couple times
nothing though.
EMILY
Why in such a rush to get back to
nothing?
DALE
To see something.
EMILY
Do you really want to die or just
take little peeks?
DALE
Not sure.
EMILY
You see I think you love it here.
You just aren't satisfied. You got
a taste it should be enough.
DALE
Who tastes?
EMILY
I taste.
DALE
No you don't.
EMILY
I taste?
DALE
When you eat.
EMILY
Not true.
DALE
What was the last thing you
tasted.
EMILY
I had on chocolate covered peanut
at the grocery.
DALE
You ate it.
EMILY
No I tasted one.
DALE
You ate one peanut with chocolate
on it. If you tasted on you would
have licked the outside and put it
back or even split it in half and
bite a piece of a half.
EMILY
A piece of a half is a taste?
DALE
Not all the time. Just with
chocolate covered peanuts.
EMILY
Well you got a taste.
DALE
You want one?
EMILY
I guess I do want to know what
death is like but I don't think I
am going to try it.
DALE
Even if you catch a spirit
leaving?
EMILY
Yeah, even if. Especially if, I
think? Then I know something is
going to happen when it happens.
DALE
But what if it only happens once?
EMILY
I'm not planning on dying too many
times.
DALE
Well keep stealing things and
someone's gonna shoot you.
EMILY
Stealing what?
DALE
You bought one peanut with
chocolate to taste?
EMILY
You shouldn't be asking me
questions?
CUT TO:
INT. SPINNING CLASS - DAY
OCTOBER
Sandra and Emily are sitting next to each other at a
spinning class.
SANDRA
You know if you'd answer me at
home I wouldn't have to keep
asking you shit in public. I have
to shame the answers out of you.
EMILY
I'm gonna have to cut you off
first when I am rich.
SANDRA
I thought you were rich.
EMILY
Not yet. Fred left all these
clauses in this will to control
me.
SANDRA
What a sick bastard.
EMILY
Tell me about it. Just like the
man who invented these death
machines.
SANDRA
So I know you're with someone. I
don't know why your hiding it, but
you are a terrible Liar lady.
EMILY
I'm not lying nothing happened
yet. I'm actually going over to
tape him after this.
SANDRA
He's one of them?
EMILY
You see I don't want to talk about
it.
SANDRA
You're out of your god damn mind
if you think you're hinting at
that.
EMILY
Well let's go to the juice bar.
SANDRA
Hell no. You're bony butt don't
need this but this next twenty
minutes, is all that is keeping
this fine ass in check.
EMILY
OK twenty minutes and I'll show
you his tape.
SANDRA
Deal.
Sandra and Emily spin away furiously.
CUT TO:
INT. RITA DOBSON'S KITCHEN - AFTERNOON
Emily is terrified but trying to appease Rita.
RITA
OK why don't we sit in the living
room.
EMILY
OK I'll follow you...for the shot.
Don't look back OK.
RITA
OK, should I talk.
EMILY
Ah. No. Just maybe walk. Then find
a nice seat. Yeah. A seat.
RITA
Then what?
EMILY
I'll tell you after.
RITA
You can tell me now. I'm tired of
being told what to do. Not today.
Not anymore.
EMILY
I'm sorry Rita. I can do what ever
you want.
RITA
I want to die. Tape me.
EMILY
What? No please. Rita I don't know
enough yet. Please just tell me
How did you meet Mr. Dobson?
RITA
No.
Rita takes a knife out of the drawer.
EMILY
Rita no.
Rita cuts into her arm.
RITA
He raised me. My parents died and
Mr. Dobson. Kept me. They were bad
people. They put the Devil in me.
EMILY
Do you remember them?
RITA
No.
She cuts into the other arm.
EMILY
Rita. Let me help you.
RITA
I told you.
Rita raises the knife to Emily.
EMILY
It's OK. Rita tell me about
yourself.
RITA
You don't give a shit Emily! You
just want to know if I killed
those girls!
EMILY
I didn't know about those girls.
RITA
You probably did. Why would you
come here? I don't know why they
came in.
EMILY
Can I get out Rita? Could you let
me out?
RITA
You do have the devil in ya. Mr.
Dobson's gonna save you.
EMILY
It's OK. I'm sorry. I just don't
want you to die.
RITA
You just want to know where the
key is.
EMILY
Rita. Where is the key?
Rita doesn't answer.
EMILY (CONT'D)
Is there a key here?
RITA
No, there isn't.
EMILY
Rita, stay with me. Rita, don't
let me die here.
RITA
It's upstairs.
EMILY
Rita wake up.
Emily runs upstairs.
INT. RITA DOBSON'S BEDROOM - AFTERNOON
Emily is tearing the house apart. She can not find the
keys and is crying.
Emily hears a car door slam and looks at the time. It is
ten to five.
INT. RITA DOBSON'S KITCHEN - AFTERNOON
Debbie runs downstairs and shakes Rita.
EMILY
Where are the fucking keys.
She turns her head and sees her camera bag sitting in
front of the front door. Emily lets go of Rita, who
slumps to the floor with a thud.
Emily runs through the living room and grabs the camera
bag from in front of the front door, just as the door is
opening.
Mr. Dobson comes in and sees Rita's legs on the kitchen
floor in a pool of blood. He walks over to her.
Emily is stuck behind the door that is slowly closing
behind Mr. Dobson.
As he walks towards Rita, Emily stops the door. As she
turns her body around to get out, Mr. Dobson realizes the
door didn't automatically close.
He listens, then turns to see Emily running. As he
approaches the door it closes.
Mr. Dobson searches his pockets for his keys. When he
gets the door open, Emily is gone. Mr. Dobson sees a
neighbor, waves, then goes back inside.
Mr. Dobson slowly walks up the stairs and sees the mess
Emily made. Calmly he turns around and goes back
downstairs.
INT. RITA DOBSON'S KITCHEN - EVENING
Rita is barely hanging on to life in the kitchen.
MR. DOBSON
What have you done to us Rita?
RITA
I cleaned you.
MR. DOBSON
Rita, what did you do?
Mr. Dobson notices the door to the cellar is open.
MR. DOBSON (CONT'D)
Rita. Did that girl go downstairs?
RITA
She is going to tell the world Mr.
Dobson. She is going to show them
I was sorry.
Mr. Dobson picks Rita up by the neck. Blood drips from
her arms and back as he raises her. All the while digging
his fingers into her neck.
MR. DOBSON
Rita...you are going to hell.
Her face shows terror. Weak and frail but terrified. Mr.
Dobson throws Rita down into the cellar and slams the
door.
FADE TO BLACK.
ACT III
INT. BUS BATHROOM - NIGHT
Emily Anne Peters, a twenty five year old woman, is
speaking into the camera trying to look like she is not
crying.
EMILY
Hello, this is Emily Anne for
Suicide dot com...broadcasting
from a smelly fucking bathroom on
a bus going to some other part of
this terrible country. This is
getting harder and harder and I
don't know if I want to keep
making these movies for you fucks.
I don't even know why you keep
watching.
She breaks down.
EMILY (CONT'D)
You people know the drill stay
tuned for our next guest's final
moments.
CUT TO:
INT. RITA DOBSON'S BASEMENT - NIGHT
Mr. Dobson is on his knees in a dingy bathroom, next to a
filthy bathtub. Around him are tubs of acid, a bone saw
and a pile of bodies and body parts. The closest to him
is Rita Dobson.
Further into the basement is computer with suicide dot
com on the screen.
THE END
SUICIDE DOT COM EPISODE 6: "NOT ALWAYS CHILDREN AND
FOOLS"
ACT I
INT. TONY FIASCO'S TRUCK - NIGHT
SEPTEMBER
Emily is driving Tony's truck is and is crying. She has
her camera on the other seat and it is rolling.
EMILY
This is Emily Anne Peter's. You
heard Tony say I could drive this
home.
Next to Emily is Tony's gun. She picks it up and puts it
into the glove compartment.
EMILY (CONT'D)
So I am. I don't know how I feel
about all this. I didn't really
know Tony, yet I feel like know
one knew him better. But we're in
it together now guys. Just me and
you all out there.
Emily pulls off the highway and into a diner parking lot.
EMILY (CONT'D)
Well, I think I'm just going to
pull over a bit and cry, maybe get
a milk shake and disco fries.
Let's see if I do this again. I'm
Emily Anne Peters for Suicide Dot
Com.
FADE TO BLACK.
EXT. VERRAZANO BRIDGE - NIGHT
Emily and Tony are walking under the bridge.
EMILY
So who are you Tony?
TONY
Tony Fiascio. I'm an Actor. Fiasco
was my stage name.
EMILY
Not a big difference and honestly
not a great acting name.
TONY
Well I'm a store clerk but I like
to call myself an actor.
EMILY
You were terrific. I was really
scared.
TONY
No you weren't.
EMILY
No really. I almost pissed myself.
TONY
Aw, thank you Emily.
EMILY
I didn't think you knew my name.
TONY
Hey I saw your profiles online. I
had to see who was going to be my
last date.
EMILY
Are you really married Tony?
TONY
I'm far from it.
EMILY
Anyone at home.
TONY
My pop.
EMILY
There's someone else though.
TONY
Nah. Just pop.
EMILY
Why do you want to kill yourself?
TONY
It's a long story.
EMILY
Four hour battery.
TONY
You see, my father doesn't say
much you know. After my mom died
at least. We never really knew
each other. Never really said
anything to each other. I always
wanted a "dad", dad you know?
EMILY
I could talk your ear off about
father problems.
TONY
Sorry lady, final showing. Tonight
only, meet Tony the father killer.
EMILY
I thought your father was home. Is
he dead at home?
TONY
No, no, thank God. He's OK now but
I gave him a stroke.
EMILY
You can't give someone a stroke.
TONY
Oh, I can give someone a stroke.
You almost had a coronary tonight.
EMILY
What happened?
Tony sits back and pulls out his gun.
EMILY (CONT'D)
Please don't do this. No.
TONY
Don't tell me you had a change of
heart kid. Relax, I got a story
for ya. You don't got the stomach
for this line of work kiddo.
CUT TO:
INT. MARIA CRUZ' APARTMENT - NIGHT
DECEMBER
Emily is throwing up in a small dirty bathroom that has
clothes lines running through it. Her fingers are
clutching at the toilet.
She looks over timidly and sees a child's lifeless arm in
a bathtub.
EMILY
God no.
She slowly walks over to see Maria's son lying under the
water.
Emily covers her mouth to hold her scream in. She rushes
out of the bathroom.
When she gets to the foyer the door behind her begins to
knock.
RAMONE
Maria! Maria open this door! I'm
here for the kids!
Emily is hysterical. She runs to the table that has her
camera that is covered in Maria's brains. Maria headless
body is slumped over the table.
The door is knocking profusely. Emily's world is closing
in on her as the sound of the door knocking and the death
all around her swell to a chaotic breaking point.
Suddenly she sees the window. As she is going for it the
door is kicked in and Ramone is holding a gun on Emily
who is frozen in fear.
CUT TO:
EXT. VERRAZANO BRIDGE - NIGHT
SEPTEMBER
Tony is looking into the barrel of the gun.
EMILY
Please don't. I don't know if I am
ready.
TONY
You don't know?
EMILY
Please. How did you give you're
father a stroke?
TONY
I told you. I was an actor.
EMILY
He had a stroke because you were
acting. Did he want you to run the
family business?
TONY
Well, yeah.
EMILY
Don't say he was a bookie.
TONY
No he owned a hardware store.
There are some basic needs that
are not mafia related in Bay Ridge
you know.
EMILY
I'm sorry I know.
TONY
What are you anyway?
EMILY
I'm French and Irish.
TONY
Family is funny. I think if I was
French and Irish, I'd be OK. You
know. My father would be in a
different situation.
EMILY
How so?
TONY
Well, he'd have different values.
You French don't give two shits
bout anything really.
EMILY
Well not exactly. I don't really
know much about my history. I'm
really just American.
TONY
Well, you ain't a gay, Italian,
actor, who almost killed his dad
and have him later disown you.
EMILY
I'm disowned. Dad and Mom.
TONY
Oh, what you do?
EMILY
Fucked my Dad's best friend since
I was sixteen. My Dad found out
and had a heart attack. Then
Fred's wife got into a car
accident, looking for me no less.
Did I mention she was my Mom's
best friend in the world.
TONY
Wow. Here kid.
EMILY
I'm not killing myself.
TONY
No I want you to keep it. There's
a lot of memories in that piece.
EMILY
I think I should leave it where it
lays afterwards.
TONY
Nah, kid. I'm jumping. Saturday
Night Fever style. I ain't
shooting up this pretty face?
EMILY
Oh.
TONY
Listen, doing what you do. You are
going to need a piece. Please, I'd
rest easy knowing you had it.
Emily takes the gun.
INT. MARIA CRUZ' APARTMENT - NIGHT
Ramone is standing in the foyer. His eyes scan the room.
He sees Maria, Emily he goes back to Maria and pulls out
his gun.
RAMONE
Angel! Sabina! Muchachos! You get
the fuck in here.
He clears the space between them with surprising speed,
grabbing Emily and throwing her to the floor.
RAMONE'D)
One time. Where are my children?
EMILY
Sleeping. I begged her to put them
to sleep first. I begged her.
RAMONE
Did you do this.
EMILY
No, please. I didn't. She did.
RAMONE
Go get my kids.
Ramone starts to kick Emily.
EMILY
OK. OK. I'm going.
Emily is backing towards the room.
EMILY (CONT'D)
Sabina, please. Sanbina, please
wake up for daddy!
RAMONE
Go go inside.
Emily reaches the bedroom door, which is directly across
from the bathroom. Emily,, knowing that Angel is dead in
the tub opens the door.
EMILY
She was tired.
Ramone notices Angel's arm and moves closers to the
bathroom.
RAMONE
Angel?
Emily rushes into the room and shoves the dresser in
front of it.
Ramone walks into the bathroom and cries when he sees his
son's body underwater.
RAMONE (CONT'D)
Give me my daughter!
Ramone smashes into the door but did not break it.
EMILY
I didn't do this! Maria did!
Ramone tries to break the door down and is closer to his
goal.
EMILY (CONT'D)
I didn't even know them. I have a
tape I will show you but if you
don't stop I will hurt Sabina. I
will kill her. I swear.
RAMONE
Please. Don't.
EMILY
Listen. In the living room there
is a tape. In the camera. Please
watch it. It explains what
happened. I won't do anything I
swear.
RAMONE
Let me talk to Sabina.
EMILY
Watch the fucking tape.
RAMONE
Now cunt! She's dead.
Ramone breaks through the door. Emily shoots him. Ramone
files back and loses his gun, his leg and right arm
functions.
RAMONE (CONT'D)
You killed my family.
EMILY
Please. I don't want to kill you.
Please. I can't imagine what is
happening to you right now. I
swear I can't but please, man, I
beg you. Listen.
RAMONE
Just kill me already.
EMILY
Please.
RAMONE
Fine.
EMILY
Maria wanted me to film her. I
make documentaries. Just keep it
together for five minutes man.
Please. I didn't do this and I can
go right now but I think you need
to know. You have to know.
RAMONE
Do what you gonna do. I can't do
anything.
Emily slowly backs out of the room, the gun fixated on
Ramone.
When she gets into the living room. Maria, Fred and his
wife, her parents, Tony Fiasco and Rita Dobson are all
standing motionless. Still except for eyes that move with
Emily's movements. She walks past and gets the camera.
They all watch the camera and then Emily's eyes.
Emily returns to Ramone crying over his daughter.
RAMONE (CONT'D)
I'm so sorry.
Emily can not say anything.
RAMONE (CONT'D)
I said I'm sorry for trying to
kill you. I know Maria did this. I
had to leave them with her for
three days. My father was in the
hospital in Florida. I had no one
else.
EMILY
I'm sorry.
RAMONE
Please go.
EMILY
Thank you.
Ramone holds his daughter to his chest and sings to her.
The door closes as Emily leaves.
RAMONE
I'll fucking kill you cunt.
Ramone drags himself to his gun and the to the window.
From out the window he sees Emily leaving.
He fires at her but misses and she runs.
RAMONE (CONT'D)
I'll kill you bitch. You should
have killed me! I'll find you! You
killed my children! I'll find you!
CUT TO:
INT. DALE WEBBER'S APARTMENT
Dale opens the door to see Emily standing there crying.
DALE
Come in. Come in.
Emily comes in and curls into a ball on the couch. Dale
sits next to her. He takes the camera bag and starts to
watch the tape.
Dale sees Maria and the children alive on the screen.
DALE (CONT'D)
Where are the kids Em?
Emily beings to sob.
DALE (CONT'D)
Em, no.
She wails.
He begins to approach her and she clings to him. Her grip
is hurting Dale. Her legs are wrapped around him.
DALE (CONT'D)
No, Em, My hip.
She refuses to let go. His face is wincing. Finally he
grabs her hair and forces her to release some pressure.
The two stare.
Then kiss passionately.
The tape stops. Then a blue screen on the television
tints the room a cool blue. The two make love in the
living room.
FADE TO:
EXT. VERRAZANO BRIDGE - NIGHT
The sky is clear and it's a bright moon. Tony is staring
up at it.
TONY
I thought about day or night a
lot. For some reason I kept
thinking I'd regret doing it
during the day.
EMILY
Tony, do you want to think about
this?
TONY
What you think I came about his
decision light hearted. Nah, this
is my final swan song. Singing
fatties coming my way.
EMILY
I don't want you to do this. There
are a lot of people like you.
TONY
Are you are counselor? Is this an
intervention?
EMILY
No not at all. I just don't think
this is a good idea.
TONY
Thanks for caring kiddo. I hope
you can catch me in the lights.
Tony starts to make his way to the edge.
EMILY
Please don't Tony.
TONY
Lens caps on?
EMILY
What?
When Emily looks up. Tony is gone. She looks around then
hears the hit. Her eyes widen. Then she turns and gets
into the truck and drives away.
ACT III
INT. THE SET OF THE JERRY CLEVELAND SHOW - DAY
APRIL
Jerry Cleveland is interviewing Mary Marshall.
JERRY CLEVELAND
So Mary. What can people at home
do to try and combat these
internet pariahs?
MARY MARSHALL
Unfortunately, these people are
well funded. The only way to hurt
them, is to protest the companies
that support them. For example we
are organizing a major rally for
this July in Whitesburg, Georgia.
Digital dominion is the company
that hosts the worst of these
videos. If we cannot appeal to the
filmmakers, if you can call them
that, you must pressure their
sponsors.
JERRY CLEVELAND
Have you petitioned these
filmmakers?
MARY MARSHALL
Yes, In fact we suggested it to
our congregation and the
congregations of the surrounding
Neighborhoods.
JERRY CLEVELAND
Where can people who want to help
send these letters. '
MARY MARSHALL
Please send your letters to the
Mary Marshall fellowship. We'll
forward the letters to Ms. Emily
Anne Peters. Their rich lawyers
will shut us down if we gave her
address out on television.
JERRY CLEVELAND
Funny, they can broadcast suicides
but you can't broadcast their e
mail. Makes you wonder who the
constitution is protecting?
MARY MARSHALL
I wonder every day Jerry.
CUT TO:
INT. RITA DOBSON'S LIVINGROOM - NIGHT
A microwave alarm goes off. Mr. Dobson walks in with a TV
dinner. He is watching the airing of the Jerry Cleveland
show.
JERRY CLEVELAND
Well our next guest wondered that
same question when Emily Anne
Peters took not only her son but
later her husband took his own
life. I understand you reached out
to her and have been helping her
along.
MARY MARSHALL
Why yes Jerry, Dois is a wonderful
woman.
JERRY CLEVELAND
Please welcome, Dois Singer.
Mrs. Singer walks out and sits next to Mary.
JERRY CLEVELAND (CONT'D)
Thank you for coming Mary.
MRS. SINGER
Thank you for having me Jerry.
JERRY CLEVELAND
Why are you here tonight.
MRS. SINGER
Well, Ms. Marshal thought it would
be helpful for me and for other
like me to be warned about the
dangers of suicide dot com. It
makes stars out of these kids that
will give up their lives to be
famous.
MARY MARSHALL
Jerry do you know we found kids
who are getting personal going
away, sex parties.
JERRY CLEVELAND
What!
MARY MARSHALL
They get together all the girls,
and pleasure the boy who is going
to kill himself. They are making
money on these suicide/sex tapes.
MRS. SINGER
It's just not right Jerry.
JERRY CLEVELAND
Am I am to understand that you had
a successful injunction of your
son's Kip's suicide?
MRS. SINGER
Yes, after many months but the
video is all over the Internet
now. So essentially I can't do
anything.
Mrs. Singer is crying into the camera.
Mr. Dobson is also crying but he doesn't stop eating his
dinner.
FADE TO BLACK.
INT. MOTEL ROOM, WHITESBURG GEORGIA - DAY
Dale is going crazy in the room waiting for Emily. He
picks up the phone.
DALE
Hi, I need a rental car.
CUT TO:
EXT. VIRGINIA STAPLESON'S HOME WHITESBURG, GA - AFTERNOON
Dale gets out of the car. He walks up the drive way and
up to the house.
DARREN
Hello? Anyone home?
INT. VIRGINIA STAPLESON'S HOME WHITESBURG, GA - AFTERNOON
Dale walks into the house and smells the gas. He see
Emily's Camera equipment on the kitchen table.
Dale goes into the kitchen and sees Virginia laying on
the floor. The back door is open. He takes Emily's stuff.
He stops by the oven but pauses before he turns off the
oven.
EXT. VIRGINIA STAPLESON'S HOME WHITESBURG, GA - AFTERNOON
He leaves and goes out the car. Dale begins to watch the
tape. He sees Virginia die then he fast forwards to the
end of the tape. Virginia is still until the legs of two
people, a man and a woman, drag Emily into the cameras
frame.
EMILY
No! Don't Let me go!
They hold Emily's head into the oven.
EMILY (CONT'D)
No!
Emily starts choking. They pull her out and hold her over
Virginia's head. They pry Emily's eyes open.
EMILY (CONT'D)
Please. Help!
A woman kicks Emily in the stomach. She collapses on
Virginia, then is dragged away.
Dale is left in the car alone and crying, on a dirt road
in Georgia.
EMILY (CONT'D)
Em, what did you do?
THE END
SUICIDE DOT COM EPISODE 7:"DALE AND EMILY"
ACT I
EXT. MARINE PARKWAY-GIL HODGES MEMORIAL BRIDGE - DAY
OCTOBER
Dale is on the edge of the bridge screaming and waving at
Emily. He has tied a rope around his waist and has the
other end tied to a gigantic trophy filled with cement.
EMILY
Not yet!
DALE
What?
EMILY
This is Emily Anne Peterson. You
know Dale Webber over there. I
think this is his fifth attempt to
kill himself. Between me and you
I'm just trying to stall him long
enough for the cops to get him
down. Those waters are freezing
and I doubt he wants to be in
them.
DALE
You ready? It's cold up here!
EMILY
I can't hear you!
DALE
I love you!
EMILY
What! What did you say. Get down
Dale!
Parks officials pull up to the bridge.
DALE
This is it Em!
PARK WORKER
Sir don't move please.
PARK WORKER 2
Oh lord. I knew I shouldn't have
came up in here today.
PARK WORKER
Hush. You're not helping anything.
Sir, could you just look at me
please.
DALE
Sorry, If I turn around I'm
probably gonna take a tumble.
PARK WORKER
Yes, that is precisely why it's
important to get you down from
there.
DALE
Sorry man. I got a trip to take.
EMILY
No!
Dale jumps off the edge of the Bridge.
EMILY (CONT'D)
Holy shit. He did it.
ROLL CREDITS
INT. GYM JUICE BAR - DAY
OCTOBER
Sandra and Emily are sitting drinking exotic smoothies.
SANDRA
Don't you worry about him dying?
EMILY
I think that's the thing. He could
be gone anytime.
SANDRA
You're a sicko. I don't know how
you could tape him.
EMILY
I'm not sure I'll be able to for
long.
SANDRA
You like him?
EMILY
Yeah, I think I do.
SANDRA
How's he in bed?
EMILY
We haven't.
SANDRA
What?
EMILY
We haven't even kissed yet. But
we've been naked together.
SANDRA
Wow. How'd you manage that?
EMILY
I'll show you the tape.
SANDRA
Well you better hurry up. Seems
like he's a limited engagement.
You're running out of time.
EMILY
Well here's the other thing.
Because he fails every time he
tries, people are watching his
videos more than any other. He
keeps them coming back.
SANDRA
What are you going do?
EMILY
Well when I go over tonight. I am
going to try and get him to stop.
If he does, well...
SANDRA
Well...
EMILY
Well maybe I'll be taping
something else.
SANDRA
What does he do?
EMILY
Extreme sports.
SANDRA
Oh, dumb and pretty. Just how I
like em.
EMILY
That he is. He said he loved me.
Sandra stopped mid drink.
CUT TO:
EXT. MARINE PARKWAY-GIL HODGES MEMORIAL BRIDGE - DAY
OCTOBER
Emily is looking for Dale with the camera.
PARK WORKER
You there! Stop!
Emily takes off running.
PARK WORKER 2
Fuck that shit. I aint chasing her
ass. She ain't push him. In fact
if your ass didn't make us come
over here, everyone would be fine
just now. Wouldn't they?
PARK WORKER
Go call this in.
They get back in the car and drive off.
Emily is running along the shore looking for Dale. She
suddenly sees his cement filled trophy being carried
along by the currents. The rope is trailing behind it.
EMILY
Dale!
She begins to run. She can hear sirens in the distance.
CUT TO:
INT. DALE WEBBER'S APARTMENT ROOF - DAY
SEPTEMBER
Dale and Emily are on the roof.
EMILY
Are you going to jump?
DALE
What am I that boring?
EMILY
Well I was thinking I may jump if
you don't start saying something
interesting.
Dale jumps on to the edge but doesn't go over. He is
balancing dangerously.
EMILY (CONT'D)
I was kidding stop.
DALE
Isn't this what is supposed to
happening?
EMILY
I don't want you to accidently
fall of the roof.
DALE
So if I jumped it's OK but if I
fall it's a tragedy.
EMILY
I'm not saying it's OK. Actually I
hope you don't jump. But I didn't
make the rules. Suicide,
fucked...Accident sad as hell.
That's how it works Dale.
DALE
So maybe I should have an
accident?
EMILY
Why does it matter? If you want to
find the other side what
difference does it make how you
get there.
DALE
Well I have spent my life building
a reputation. I don't want to look
like a coward.
EMILY
You'd rather look clumsy or
ungrateful.
DALE
You think I am ungrateful?
Dale comes down.
EMILY
Yeah.
DALE
Why?
EMILY
You got this great life. All this
money and you want to throw it
away because you can't wait to see
what happens next? I think you're
a bored rich kid that wants to be
a legend.
DALE
Live fast and leave a good looking
corpse.
Dale turns and jumps off the roof. Em is in shock.
INT. DALE WEBBER'S APARTMENT BUILDING LOWER APARTMENT 1 -
DAY
An old lady is watering a plant, Dale flies past her
window .
INT. DALE WEBBER'S APARTMENT BUILDING LOWER APARTMENT 2 -
DAY
A couple is having sex and the woman who is on top sees
Dale falling.
NAKED WOMAN
Holy shit.
NAKED MAN
That's right.
EXT. DALE WEBBER'S APARTMENT ROOF - DAY
DALE
Ouch!
Emily rushes to the edge of the building and starts
laughing. She films over the edge and sees that Dale's
sweat shirt got caught on the last fire escape and
tangled him in it.
DALE (CONT'D)
Hi, I guess that legend idea is
out the window huh?
EMILY
Pretty much!
DALE
How much do I have to pay you to
erase that?
EMILY
You don't get it.
DALE
I'm pretty rich you know?
EMILY
Yeah, not this rich.
Dale looks at himself and laughs.
DALE
Well I'm stuck. Come in through my
apartment and let me in.
EMILY
OK. Be right there. Don't go
anywhere.
Just then Dale's shirt rips and he falls the last story.
DALE
Forget it. I'm down.
Dale just lays his head down on the ground.
CUT TO:
EXT. MARINE PARKWAY-GIL HODGES MEMORIAL BRIDGE - DAY
OCTOBER
Emily is panicking and trying to use her camera to scan
for Dale anywhere. Finally she sees him on a beach.
EMILY
Dale!
Dale is motionless.
EMILY (CONT'D)
Oh please don't die.
Emily rushes back to the car and drives to where Dale
was. She can see the emergency vehicles starting to near
the bridge.
She parks and gets out of the car, running to Dale. She
gets to him and sees that he is alive but cut up.
EMILY (CONT'D)
We have to get up Dale. I can't
lift you.
She tries to drag him as close to the car as she can but
can not do much.
EMILY (CONT'D)
Dale! Get up the police are
coming! Help me man!
Emily runs back to the car and grabs a blanket. She lays
it on the floor next to Dale. She then runs back to him
and rolls him over on to the sheet.
EMILY (CONT'D)
I hope I don't kill you now.
Emily drags the blanket. Which moves Dale out of the side
of the crews on the bridge and behind his car.
She props him up on the tired then opens the door but
hits Dale in the head with it.
EMILY (CONT'D)
Oh.
She tries to raise him up but cannot so has to get into
the truck to try and drag him in.
She gets Dale partially in but then is pinned under him.
Emily squirms out and goes back outside. She takes his
feet and pushes.
Dale starts to slip into the back seat but Emily slips
and falls face first into his crotch. Causing Dale to
wake up, coughing up water and screaming in pain.
DALE
Ah! What are you doing!
EMILY
Good now get in the back. The cops
are coming!
DALE
I think I'm broken.
EMILY
Get in the fucking car.
She slams the door and it hits his leg.
DALE
Ah!
Emily gets into the car and speeds off.
EMILY
No more Dale. I'm not dealing with
this anymore.
She sees Dale smiling in the back seat at her.
EMILY (CONT'D)
What the fuck are you smiling at?
DALE
You saved me.
EMILY
Because I didn't want to go to
jail.
DALE
No, you didn't want me to go to
jail. You like me.
EMILY
We have a professional interest
here Dale.
DALE
Well one of us does.
EMILY
Hey.
DALE
Do you think you could turn up the
heat.
EMILY
No!
DALE
You see. You like me.
CUT TO:
EXT. TRAIN STATION - DAY
SEPTEMBER
Emily and Dale are sitting on a bench waiting for the
train.
DALE
I ate way too much.
EMILY
Me too.
DALE
I love Thai food. It's like they
don't want to wait for dessert
during dinner. Hmmm, Pineapple.
EMILY
Thank god the train is coming.
Dale looks at the train coming.
DALE
Quick turn on your camera. This
was my last meal.
He gets ready to jump in front of the train, as Emily is
desperately trying to get ready.
Dale runs to the edge but turns around at the last
minute.
DALE (CONT'D)
Wow that was going really fast.
EMILY
You dick head.
DALE
Yeah I know I got to thinking
about the casket an all.
EMILY
What casket? You'd be in my hair
and clothes.
DALE
Yeah that's why I stopped. I
figured I still want a good
looking corpse. Come on, let's get
on the train that didn't kill me.
They get on before the doors close.
EXT. DALE WEBBER'S APARTMENT - DAY
Dale and Emily are walking down the block and into the
house.
DALE
I bet you're starting to regret
this huh?
EMILY
No, the train thing made my
stomach upset. That's all.
DALE
I'll figure out a better plan next
time. I just got the feeling last
time.
EMILY
You're a strange boy Dale.
They go inside.
INT. DALE WEBBER'S APARTMENT - DAY
They walk in and Emily sits the camera on the TV. She
takes off her jacket and sits down.
DALE
I'm going to the bathroom.
EMILY
OK, How do you turn on this TV?
DALE
Don't. I want you to tape.
EMILY
Ah, don't do anything crazy OK. I
need a rest.
DALE
Too late.
He is holding two empty bottles of pills.
EMILY
Dude!
DALE
I think today is a great day to be
my last...Woah. I think I ate too
much Thai food.
EMILY
Sit down. This was a bad idea. I
don't want you to die.
DALE
Why? I thought you were ready to
do this with me. You need to
document this or it will be just
another suicide. Go get the
camera.
EMILY
No I'm calling the 911.
DALE
No they'll put me in jail. No,
never call the cops.
EMILY
Please.
Dale looks dizzy and green.
EMILY (CONT'D)
Dale?
Dale throws up all over Emily who is covered in two
bottles of pills and Thai.
DALE
Oh. I guess next time before
lunch?
Emily says nothing.
CUT TO:
INT. DALE WEBBER'S APARTMENT BASEMENT - DAY
OCTOBER
Dale has set up Emily's camera and a noose attached to
his ceiling. He presses record.
DALE
OK, so I know said I wasn't going
to mess with your camera, while
you were at the gym but I lied. So
here we go kids at home. Dale
Webber...coolest ever. Getting
ready for the great trip beyond.
Dale climbs up on the chair and puts the noose around his
neck.
Emily comes in and startles Dale which knocks him off the
chair.
EMILY
Oh, Dale!
She runs and lifts his legs up, using her body to keep
him off the ground.
EMILY (CONT'D)
Untie it! Untie it.
Dale looks at her like she is crazy. Emily is trying to
reach the chair with a leg but every time she moves
Dale's noose gets tighter.
EMILY (CONT'D)
I can't hold you anymore Dale!
Emily slips. Dale falls and the Beam holding the noose
cracks, burying them under sheetrock and plaster.
After a moment the pile starts to stir. Dale's arm
reaches out and he begins to emerge. Under him is an
angry Emily who is just glaring at him.
DALE
You said you'd be back at five.
EMILY
You're clocks are slow. I'm late.
DALE
Sorry.
A piece of sheetrock falls with a loud crash behind Emily
who jumps over to Dale. Dale shields her with his body.
When the dust settles, Dale kisses Emily who kisses him
back.
EMILY
I think we need to reevaluate our
working relationship.
CUT TO:
EXT. A FEW MILES AWAY FROM THE MARINE PARKWAY-GIL HODGES
MEMORIAL BRIDGE - DAY
OCTOBER
Dale is turning blue in the back and Emily hasn't
realized.
DALE
I think I'm dying. You might want
to pull over.
EMILY
Stop. I don't want to shoot you
anymore.
Emily looks in the back seat and sees Dale.
EMILY (CONT'D)
Holy shit!
She swerves the car off the road.
EMILY (CONT'D)
We have to get you to the
hospital.
DALE
No, I can't go to Jail.
EMILY
You're gonna die.
DALE
I asked for heat.
EMILY
Oh my God.
She turns around and puts on the heat.
DALE
There's blankets in the trunk.
EMILY
OK.
She races to the trunk and pulls out a sleeping bag and
some blankets.
EMILY (CONT'D)
Take off your clothes.
Emily gets in the back seat too. She starts taking off
her clothes.
Dale stops and stares.
EMILY (CONT'D)
You got to be kidding me!
They continue and zip themselves into the sleeping bag.
EMILY (CONT'D)
OK now let's try to wrap these
around us.
Emily is squirming around in the bag trying to wrap them
in the blankets.
DALE
I think this is doing just fine.
Emily feels Dale and is a bit shocked.
EMILY
Oh. I guess you're not loosing
that.
DALE
This is awkward.
EMILY
A little stranger than taping you
trying to die.
DALE
Yeah huh? Should we kiss?
EMILY
Dale you look like Grimace.
DALE
Ah.
CUT TO:
INT. MOTEL ROOM, WHITESBURG GEORGIA - NIGHT
JULY
Dale and Emily are naked in a hot hotel room.
EMILY
I can't have you come tomorrow.
DALE
I can stay outside. It's not safe
now.
EMILY
It's not right Dale. You wouldn't
have wanted it on your journey.
DALE
Em, people are wild about you.
It's a frenzy. Even in this hick
town. If anyone finds out your
here. I couldn't imagine what
would happen.
EMILY
Nothing is going to happen. Now
kiss me and stop worrying.
Emily and Dale work themselves up until Emily sees all
her subjects in the room with them.
DALE
What's wrong?
EMILY
Dale turn around slowly.
Dale whips around but doesn't see the people.
DALE
What.
EMILY
I'm seeing them. All of them. The
subjects.
DALE
Here right now.
EMILY
Yes!
DALE
I got you. No one's going to hurt
you.
EMILY
There staring at me Dale.
Emily peeks out from under Dale's arm and sees no one.
Suddenly Maria's son is there staring at her.
Emily jumps back in terror.
DALE
Em.
She looks up and the room is empty.
EMILY
They won't go away. They won't
leave me alone. Leave me alone!
FADE TO BLACK.
FADE IN:
INT. DARK STONE ROOM - NIGHT
Emily is growing weaker and more dehydrated in the
Georgia summer. Emily's voice is dry and gravely.
EMILY
Please. Anyone.
CUT TO:
EXT. MILES FROM MARINE PARKWAY-GIL HODGES MEMORIAL BRIDGE
- DAY
OCTOBER
Dale and Emily are in the car warming up.
EMILY
Dale?
DALE
Yes.
EMILY
You're sweating.
DALE
It's good for the hypothermia.
EMILY
I don't think you have
hypothermia.
DALE
And it's a miracle isn't it.
EMILY
Actually it is. Dale...no cameras,
no recorders. Why do you want to
die.
DALE
Honestly Em. I do just want to
see.
EMILY
But why not wait?
Dale thinks for a moment.
DALE
You ever met a Celebrity and their
head shot doesn't look like them
anymore? I want this to be what
they remember. I want this to be
what I remember. Do you have any
idea what lies ahead for me?
EMILY
No.
DALE
Shit man. Neither do I but It
couldn't be as good as my past.
EMILY
So you're just done?
DALE
No, just want to start to next
part.
EMILY
Because this part isn't as much
fun?
DALE
Well...this part is pretty good
right now.
EMILY
Come on let's get back to one of
our places.
DALE
Oh I paid your rent off for
awhile.
EMILY
Thank you. Too bad I live at your
house now.
DALE
Funny how that happened huh?
EMILY
Yeah. Dale, let's take November
off. I don't this I want to tape
you next month.
DALE
Why?
EMILY
I was thinking...we could date.
DALE
A month.
EMILY
A month.
THE END
SUICIDE DOT COM EPISODE 8: "DEATH...IT'S THE NEW THING"
ACT I
INT. BUS BATHROOM - NIGHT
DECEMBER
INT. ALLEY - NIGHT
Emily Anne Peters, a frail woman in her late twenties, is
covered in blood. She is speaking into a camera.
EMILY
If you find this tape with out me
please know I did not kill those
people. You saw her kill herself.
But I didn't... I couldn't kill
those children.
CUT TO:
INT. FRED HAMILTON'S MANSION - NIGHT
EMILY
This is Emily Anne Peters from
inside the mansion of Fred
Hamilton...I can't Fred.
CUT TO:
EXT. VIRGINIA STAPLESON'S HOME WHITESBURG, GA
She turns the camera around to herself.
EMILY
I'm Emily Anne Peters you know,
Lady death, suicide Sally, bloody
Beth, and Mary Marshall's favorite
dinner guest.
CUT TO:
INT. TV STUDIO - DAY
JULY
Sierra Taylor is doing a story on Emily.
SIERRA TAYLOR
And this is Emily Anne Peters now.
On the screen is the live internet feed showing Emily
wasting away.
SIERRA TAYLOR (CONT'D)
Emily Anne Peter's brought the
death of so many, mostly young
people to the Internet and
now...she herself is fighting for
her life. All live via Internet.
CUT TO:
ROLL CREDITS
ACT II
CUT TO:
EXT. JAPAN - DAY
Rows of Japanese teenagers in uniform are lying in a
school yard dead.
SIERRA TAYLOR
In Japan twenty four children lay
dead in their school yard before
class...one child video tapes and
wonders...why am I left behind.
How long until these pictures are
on U.S. soil? We may already be
too late.
INT. TV STUDIO
Sierra Taylor is now at her set.
SIERRA TAYLOR
Why would a seemly normal young
woman, want to enter such a
depraved and Mccabe world? That is
what we will be discussing
tonight. I am Sierra Taylor for
Brooklyn Nights.
CUT TO:
INT. EMILY'S APARTMENT - DAY
Sandra is watching Emily water plants.
SANDRA
You got to stop taking submissions
you didn't shoot.
EMILY
Why?
SANDRA
Because you are getting mass
murder videos, bitch.
EMILY
Mass suicide. Do you know how many
times a day I hear about the site
on the regular news now.
Mainstream advertisers want to
jump on board now.
SANDRA
Like who?
EMILY
Like the Palm Woods Cemetery. Now
pay attention to this one. The
fucking ficus' leaves fall off if
you breathe to close. Be real
careful with her.
SANDRA
And I need to watch this why?
EMILY
Because I want to return to a
tranquil, urban oasis. Not a
petrified forest.
SANDRA
I have plants.
EMILY
You have a bean.
SANDRA
It's a stalk.
EMILY
But you planted one bean?
SANDRA
But now I have twelve pods, who
knows how many beans. Either
fucking way, I have to knowledge
to touch for dry.
EMILY
Have you been listening to me?
They each need different things.
SANDRA
Then why don't you just write it
down. Where the fuck you going
anyway?
EMILY
Georgia.
SANDRA
For the fourth of July? What's
wrong with you?
EMILY
I'm working.
SANDRA
Isn't that woman going to be
there? That Marshall Mathers god
lady?
EMILY
Mary Marshal will be there. Funny
huh. I heard it on the news. Won't
it just burn her up to find out we
filmed while she was there. I may
even go on the Jerry Cleveland
show and talk about that.
SANDRA
You know they called me to go on
the show.
EMILY
Why'd they call you?
SANDRA
I'm your only friend. And I am
popular.
EMILY
Are you going to do it?
SANDRA
I don't know?
EMILY
Are you asking me to do it?
SANDRA
Kinda.
EMILY
You want to be on that show?
They'll eat you up.
SANDRA
I so want to be on TV.
EMILY
Go ahead but don't say anything
about Dale. You hear me Sandra.
SANDRA
Yeah.
EMILY
No, really. Nothing about Dale.
SANDRA
I got ya.
EMILY
So I got something for ya.
SANDRA
What?
EMILY
So these kids in the Midwest got
this thing going. It's called send
off parties.
SANDRA
What's that?
EMILY
So the kid that's gonna die. All
his friends get all the people
they can to fuck that kid then the
kid party's all night the at sun
rise...pop. It's the sickest shit
I ever saw but kind of beautiful.
They all where talking about how
much they loved this kid and they
were laughing and crying and after
the sex they all watched him march
out to the field.
SANDRA
What the fuck has happened to you?
You have no idea who Emily is. Do
you? Do you hear any remorse in
your voice? At all? Do you care?
EMILY
Do you want to see it?
SANDRA
Well...yeah but you've changed.
They're over 18 right?
EMILY
Yeah, college.
SANDRA
Hot.
CUT TO:
INT. TV STUDIO - DAY
JULY
Sierra Taylor is standing in front of an image of , naked
college students, with blurred faces and genitals.
SIERRA TAYLOR
Too late indeed for Spencer Coots
of Omaha, Nebraska. The following
is footage of Spencer's last night
on earth.
CUT TO:
INT. SPENCER COOTS HOUSE - NIGHT
JULY
Spencer is being taped by his fiends, John and Trip.
JOHN
This is it buddy! Woo Hoo!
TRIP
You getting bitches tonight bro!
JOHN
Woo! Let's do this.
He holds up a gun to the screen.
CUT TO:
INT. SPENCER COOTS HOUSE - NIGHT
JULY
The camera goes to the door and John opens the door.
Tiffany, Kim, and Janet are there.
JANET
Who wants to party.
She holds up a bag with bottles of alcohol.
TRIP
Yeah baby.
SPENCER
You got's to wait bitch it's my
night.
KIM
Party boy first.
They start to disrobe and straddle Spencer. Trip turns
the camera on to himself and makes a face in the camera.
TRIP
Yeah!
CUT TO:
INT. SPENCER COOTS HOUSE - NIGHT
JULY
John is in the toilet throwing up.
TRIP
Keep it together John. You got a
long night ahead brother.
SPENCER
No passing out tonight man.
TRIP
You still want to do this.
SPENCER
Hell yeah! Fuck it! Who the fuck
wants to grow old.
TRIP
You the man John.
SPENCER
Nah you the man!
CUT TO:
INT. JOHN'S CAR - NIGHT
JULY
John is driving as Spencer, Janet and Kim are in the back
in various stages of undress.
TIFFANY
I'll suck you off while you do it.
KIM
Ew, you whore.
TIFFANY
How many people you think ever did
that.
TRIP
That's a deadly blow job.
TIFFANY
Wanna taste.
TRIP
Not tonight honey. Get back there.
Tiffany leans into the back seat to service Spencer. Trip
smacks her on the ass.
JOHN
You know I don't think we should
do this.
TRIP
Don't kill his buzz dude.
JOHN
I don't know.
JANET
I think it's sexy.
John looks in the rear view watching Spencer.
CUT TO:
EXT. FIELD - EARLY MORNING
JULY
John, Trip, Janet and Kim are all leaning on the car as
Tiffany and Spencer walk into the distance.
JOHN
This is fucked man. We should stop
him.
TRIP
He ain't gonna do it. He's totally
fucking with her.
KIM
What!
TRIP
Shhhh. Leave it alone. He never
gets laid. Let him have a night.
KIM
So this whole thing was to get him
laid. I thought he was killing
himself. You two better just bring
us home. You're lame. I thought
this was going on suicide dot com.
Tiffany is on her knees and Spencer is watching the sun
rise behind her.
KIM (CONT'D)
Come on Tiff! We're going home.
Spencer begins to cum, then takes the gun out and shoots
himself in the head.
Tracey swallows then begins to scream.
CUT TO:
INT. TV STUDIO - DAY
JULY
Sierra Taylor is now sitting with a picture of Emily on
the screen.
SIERRA TAYLOR
Too late for Spencer Ryans but not
for your children. Please
America...keep your Children safe.
This is Sierra Taylor here for
Brooklyn Nights. Join me next week
when we find out the outcome of
"The search for Emily Anne
Peters".
FADE TO BLACK.
INT. EMILY'S APARTMENT - DAY
JULY
Sandra and Emily just finished watching Trip's tape.
SANDRA
OK, so besides the fact that you
don't know if they are under age,
and that it's sad and depraved as
hell...the video is hot and people
are going to go crazy for it.
EMILY
I know. That's what I thought. The
viewer vids are getting crazier
than anything I could shoot. What
if I start just hosting these.
SANDRA
Well, you know it's really not
that different than doing porn. In
fact then the sex and blood were
fake at least. This video is going
to make people go crazy. I think
this one is going to be the one
that shuts you down.
EMILY
If they haven't done it yet they
can't but this may be it. I can
stop doing the videos for you and
Dale and still make shit loads of
money and still be famous.
SANDRA
You don't get it. This one goes
too far. The sex and the parties.
It's like you want the kids to do
it.
EMILY
I do. Did you see the video from
Japan? The other day in Norway a
teacher said her entire class
started to drop one by one. They
poisoned themselves at lunch.
SANDRA
Emily that's crazy. Don't you see
it's because of you.
EMILY
No, it's because no one pays
attention to them. Now they will.
SANDRA
Now they're dead.
EMILY
No, the others. Their parents are
so afraid to ignore them that they
won't anymore. I'm helping them.
SANDRA
You're parents are dead.
EMILY
What.
SANDRA
You can't punish them anymore.
EMILY
I'm not trying too.
SANDRA
You see. I think you are. Everyone
knows who you are Emily. You made
the movies. You have the money.
Just quit hun. I miss you. I'm
afraid for you.
EMILY
Listen, we'll talk about this more
when I get back.
SANDRA
Emily, don't go to Georgia with
those protestors down there.
EMILY
They won't even know I'm there.
CUT TO:
EXT. CHURCH STEPS WHITESBURG, GA - DAY
JULY
There are a number of protestors outside the church
listening to Mary Marshall.
MARY MARSHALL
These children are dying to be
famous! And do you know it's our
fault as parents. We have let them
emulate stars instead of Jesus. We
let them have teen pop idols
instead of teaching them God's
eternal love! Those children laid
in the ground by Emily Anne Peters
died by our hands.
CROWD
Amen!
MARY MARSHALL
Now! It is up to us to show these
children the love and discipline
needed so they don't need to be
the next Viral video!
A group of teens walk to the front and applaud. Mary
notices them.
MARY MARSHALL (CONT'D)
Come up and tell America what you
feel. Come up and talk to your
young brothers and sisters.
The kids all come up next to Mary. Mary gives the bull
horn to the first teen and stands next to him.
TEEN 3
Our world is messed up and no one
cares. We feel alone and no one
cares. You tell me God cares but
God let this happen.
Each teen pulls out a gun and shoots themselves in the
head.
Mary Marshall is covered in blood as her supporters try
to carry her away.
Mary can not look away from the sight of the headless
children on the church steps.
MARY MARSHALL
God save us all.
FADE TO BLACK.
ACT III
INT. MOTEL ROOM, WHITESBURG GEORGIA
JULY
Dale returns to the room with Emily's camera equipment.
He is visually disturbed but shocked when he looks into
the room.
Sitting on the bed in front of him is Ramone. Dale
recognizes him but can not do anything because Ramone
already has a gun pointed at him.
RAMONE
Do you know what it is to loose
anyone.
DALE
I am hoping I still don't.
RAMONE
Don't be cute.
DALE
Please. I'll give you whatever you
want. Just please give me back Em.
RAMONE
Loss is a strange thing.
DALE
Please.
RAMONE
You want the pain to go away but
when it leave you are guilty and
have a worse pain. I am guilty
that I want to live. Even when my
wife killed my children for your
girlfriend...I still want to live.
DALE
She didn't want it.
RAMONE
I'm sure she didn't. That's why
she stayed. That's why she didn't
call the fucking cops when my girl
said she was going to kill
herself. That's why she shot me.
DALE
I'm sorry about your family. I am.
But Emily didn't want it. I saw
the tape man. She tried to save
your kids. I can show you the
tape. Just please. Where's my
girl?
RAMONE
I've seen the countdown.
DALE
What count down?
RAMONE
Have you turned on a TV. There's
your girl.
DALE
What.
He turns on the TV and the first news station he sees has
Emily on it.
DALE (CONT'D)
Oh my God.
RAMONE
It started today.
DALE
Where is she!
Dale lunges but stops when he remembers the gun.
RAMONE
I could kill you with out thinking
about you again. It's what happens
when a woman takes your life away.
DALE
It wasn't Emily. You have to
believe me man.
RAMONE
She may not have pulled the
trigger but she sure as hell gave
her a shove.
DALE
I'm not saying Emily is innocent.
But please don't do this to her.
The cops will find you man.
RAMONE
I don't got your bitch.
DALE
What are you doing here?
RAMONE
I know where she is. I want to
help.
Dale is surprised by this and more surprised when Ramone
lowers the gun.
DALE
Tell me what you know.
FADE TO BLACK.
THE END
SUICIDE DOT COM EPISODE 9: "MISERY LOVES COMPANY"
ACT I
INT. EMILY'S HOTEL ROOM BALTIMORE - NIGHT
MARCH
Emily comes back to her apartment with Chloe.
EMILY
Hi guys, it's Emily. I got shafted
this time. I guess we need a
better screening process.
I'm out in Baltimore, we had a
phony address and I haven't seen
John Waters. I have however met
Chloe. Say hello to Chole.
Emily turns the camera to Chloe.
CHLOE
It's extra if you want to tape it.
EMILY
I don't want it. Any of it. On
tape or not.
CHLOE
Then why'd you tell me I could
come over?
EMILY
I thought you needed a place to
crash for the night.
CHLOE
Ah fuck. Gimme a cig.
EMILY
This is Emily Anne Peters for
suicide dot com.
CHLOE
Who you talking to?
EMILY
You know, I'm not sure.
CHLOE
You run a pretty rinky dink
operation huh?
EMILY
I think I'm doing a little better
than you right now.
CHLOE
Well at least I know who I am
talking to when I am talking.
EMILY
So, Chloe what makes you want to
suck dick for money?
Chole gets up and fixes herself to fight Emily. She
rushes the camera.
CUT TO:
ROLL CREDITS
ACT II
INT. BALTIMORE HOTEL - NIGHT
Chloe and Emily are brawling and Emily has a lot of pent
up aggression that Chloe didn't expect.
CHLOE
OK. You're not a pussy. I get it.
Sorry.
EMILY
Just get out.
CHLOE
You were right. I got no place to
stay tonight. My ole man threw me
to the curb. You see kid. I don't
produce the same way.
EMILY
Yeah, Neither do I.
CHLOE
You've worked the streets?
EMILY
Not the streets, but I paid my
rent on my back for awhile. You
don't really seem to care too much
though. You seem to have come to
terms.
CHLOE
I have a life time of regrets
kiddo.
EMILY
I keep making more.
CHLOE
Fix it. They'll haunt kid. Your
past will catch you.
CUT TO:
INT. EMILY'S APARTMENT - NIGHT
JANUARY
Dale is asleep in bed with Emily who gets up to go to the
bathroom. Rita Dobson is standing behind her. Emily turns
to see no one.
When she returns she see her "subjects" standing around
Dale but staring at Emily.
Emily rubs her eyes and tries to focus Dale is once again
laying down. Emily walks to the bed but doesn't turn off
the light.
DALE
Is everything OK?
EMILY
I'm having trouble sleeping. I
keep thinking about them. I think
I need a break.
DALE
I think that's a great idea. It'll
give us some time to be with each
other. Want to go away?
EMILY
I don't know if that would help.
She is looking at Maria Cruz.
CUT TO:
INT. EMILY'S APARTMENT - DAY
Emily is getting ready to make tea but runs out of milk.
EMILY
I'll be right back. I'm going to
the bodega.
DALE
Cool. Pick up some pasta sauce.
EMILY
OK.
Emily leaves and Dale comes out to see her half made tea.
DALE
Aw.
The phone rings. Dale lets the answering machine pick up.
MRS. SINGER
Hello my name is Sara...I want to
end my life and I was hoping you
could tape me. I have...
Dale picks up the phone.
DALE
I'm sorry but Emily doesn't do
this anymore. Try to find help
Sara. Don't call here anymore.
He hangs up and erases the message.
CUT TO:
INT. HOTEL - DAY
Mary Marshall and Doris Singer are in a hotel room.
MRS. SINGER
He said she isn't doing it
anymore.
MARY MARSHALL
We'll see. Right Ramone?
RAMONE
Yes ma'am, Mrs. Marshall
She looks over at Ramone.
MARY MARSHALL
Go back and see what she's up too.
Don't let her out of your site.
RAMONE
That won't be a problem.
MARY MARSHALL
We'll stay here. Something tells
me she isn't retired yet.
CUT TO:
EXT. BROOKLYN STREET - NIGHT
NOVEMBER
Sandra and Emily walk out of a small restaurant and are
heading to the train station.
EMILY
I'm so full.
SANDRA
Back to the gym again.
EMILY
I'm going to Pennsylvania for two
days.
SANDRA
You not gonna quit huh?
EMILY
Not yet. I think there's a reason
for a this.
SANDRA
Yeah, to make you rich and famous
for something you don't want to be
rich and famous for.
EMILY
Hey, at least I'm rich and famous.
A man is watching then walk.
SANDRA
OK. Kid text me when you get in.
EMILY
OK. Talk to you in a bit.
Emily goes into the train station. Sandra walks down the
block. The man is following on the other side of the
street.
Sandra pulls out her keys and is ready to go into her
apartment when the man grabs her from behind. He drags
her to an Alley and hits her repeatedly.
When Sandra stops moving she feels a camera light on her.
MAN
I bet she'll like this video. You
think she'll post it.
Sandra passes out.
CUT TO:
INT. HOSPITAL ROOM - DAY
Sandra opens her eyes to see Emily and Dale.
EMILY
Don't try to speak.
DALE
Hi, I'm Dale. I'll leave you two
alone.
Sandra is badly beaten.
EMILY
I'm so sorry. It's my fault. The
cops caught him with the tape.
Sandra is crying.
EMILY (CONT'D)
Don't worry. That's it. I'm not
doing this anymore.
Sandra squeezes Emily's hand.
CUT TO:
INT. MOTEL ROOM, WHITESBURG GEORGIA
Ramone has a gun at his side as, Dale is slowly pacing
the room.
DALE
Where's Emily?
RAMONE
She's not far from here. I need
your help because I am not sure I
won't kill her.
DALE
You have to watch the tape.
RAMONE
You want me to watch a tape of my
wife killing my children!
DALE
That's just it. You can see that
Emily didn't know. Maria lied to
her. We need to save Emily.
Please, let's call the police.
RAMONE
He'll kill her if they find him.
He has a lot of bodies under his
belt. A basement full to give you
an idea.
DALE
What do we do?
Ramone gives Dale a gun.
RAMONE
I'll show you where she is but
you're on your own.
DALE
How do I know you're not working
with them.
RAMONE
I am. Mary Marshall pays us all.
DALE
How many of you are they?
RAMONE
I think I'm the third. The other
is a woman.
DALE
The woman on the phone. In
Baltimore.
RAMONE
Yes. Emily killed her son.
DALE
Emily never killed anyone.
RAMONE
Except Fred Hamilton.
DALE
She had no choice.
RAMONE
She seems to have less choice but
more freedom than anyone I have
ever met. Either way, we have to
get going. I'll drive.
CUT TO:
INT. OFFICE - DAY
OCTOBER
Mary Marshal is sitting with Doris Singer.
MARY MARSHALL
I am to understand that Emily took
both your son and husband.
MRS. SINGER
Not literally but it was her
presence that took my entire
family from me in a month.
MARY MARSHALL
What happened?
MRS. SINGER
One night when Mr. Singer and I
where watching TV. We heard a loud
pop. When we went into Kips room.
It was too late. He had gotten
Larry's gun and used it.
MARY MARSHALL
I'm so sorry.
MRS. SINGER
She was on his computer. Just
watching us. Watching me loose my
son. Larry couldn't take the
guilt.
CUT TO:
INT. GARAGE - DAY
Larry Singer is in his car dead. The exhaust fumes have
taken him.
Doris comes home and open the garage with a bag of
groceries in her hand. She screams and drops them.
CUT TO:
INT. OFFICE - DAY
Mary is riveted by her story.
MARY MARSHALL
I will be looking into
this...Emily Anne Peters for you.
Until then please contact me for
anything you may need in the
future.
MRS. SINGER
Oh, that's why I am here. I want
to kill Emily Anne Peters.
Mary is taken aback.
MRS. SINGER (CONT'D)
Or pay someone to. Which ever is
more effective for killing.
MARY MARSHALL
Maybe we'll just have one of our
private investigators see if there
is something we can do about this,
legally.
MRS. SINGER
Well that's mighty Godly of you
Mrs. Marshall but if it's alright
with you I'd really rather her
dead.
MARY MARSHALL
We're gonna have you talk to one
of our grief counselors. In the
meantime I will look into this
woman but for now. Try to refrain
from the killing. OK Doris.
MRS. SINGER
OK Mrs. Marshall.
Doris gets up when two women come to the office door.
MARY MARSHALL
Please go with them and tell them
the story you just told me.
MRS. SINGER
Oh OK. Thank you.
MARY MARSHALL
You're welcome dear.
Mary picks up the phone and dials.
MARY MARSHALL (CONT'D)
Hello, Ramone. I have a case I
want you to look into when you get
back from Florida. Nothing to rush
back about. But it may be
interesting.
Mary Hangs up the phone and types up Suicide dot com on
the computer.
MARY MARSHALL (CONT'D)
You are gonna make me a star.
FADE TO BLACK.
INT. BALTIMORE HOTEL - NIGHT
Emily and Chloe are talking.
EMILY
I've been dealing with a lot of my
demons this year. Well, actually
my demon.
CHLOE
Your man?
EMILY
My benefactor.
CHLOE
You running away? I noticed you've
been expecting someone. Is that
why you wanted me here?
EMILY
Yeah.
CHLOE
You think he's coming here?
EMILY
Nah.
CHLOE
How are you so sure?
EMILY
I killed him.
CHLOE
Oh.
EMILY
Yeah. I think someone is setting
me up though.
CHLOE
Who?
EMILY
It's a long story.
CHLOE
Well I got something to help pass
the time.
Chloe pulls out a joint.
EMILY
Is that just a joint?
CHLOE
Yeah, it's just a joint. I ain't
sharing my good stuff.
EMILY
Yeah, sounds good. Thank you.
CHLOE
So who's after ya kiddo.
EMILY
Well, there's this guys who thinks
I killed his wife and kids or this
crazy religious freak who has her
followers stalking me or a bunch
of Internet junkies who want to
kill themselves with me.
CHLOE
Who are you?
EMILY
I run this website that shows
people killing themselves on it.
CHLOE
People pay you for that?
EMILY
Yeah, so far so good.
CHLOE
Why aren't you taping me?
EMILY
You're not trying to kill
yourself.
CHLOE
Well that's relative kid. I've
been trying to kill myself for
thirty years. I just take my time.
EMILY
Why do you still do this?
CHLOE
There isn't a strong job market
for forty year old hookers.
Besides I've gotten use to this
shit. I don't think I could live
in the other world anyway now.
EMILY
Is it bad.
CHLOE
It ain't good.
EMILY
Don't be offended but I haven't
talk to anyone with out a camera
for a long time. Do you think we
could just talk? I have some
money. Maybe we can get some more
weed?
CHLOE
OK.
Chole looks out the window.
CHLOE
OK, come here. You see that guy
over there?
EMILY
Yeah.
CHLOE
One of us has to go to him with
the money. You can watch me from
here.
EMILY
I really couldn't do anything from
here.
CHLOE
Yeah, life's a gamble.
EMILY
OK here's fifty bucks.
CHLOE
Hey big spender. We gonna have a
party tonight.
EMILY
OK. Well be careful.
CHLOE
You're funny kiddo.
Chloe leaves and Emily tapes her from the window making
the pick up. Chloe looks up at Emily and smiles when she
sees the camera.
Chloe comes back inside.
EMILY
I wasn't sure that you would come
back upstairs.
CHLOE
Hey I'm a gal of my word.
Chloe drops a bag of weed on Emily then sets up her
needle works at the table.
CHLOE (CONT'D)
I'm gonna set myself up.
EMILY
Oh, I thought we were smoking.
CHLOE
Hey, when someone else's buying I
taking full advantage.
EMILY
You mind if I tape this. I've
never seen it.
CHLOE
Shoot away.
Emily is watching Chole set herself up. Emily has a tight
shot on the spoon and candle. Then watched the needle
take in the liquid.
She watches the needle pierce her veins and release her
blood into the syringe.
Chloe sits back.
EMILY
How does it feel?
CHLOE
Like God remembers me.
EMILY
Do you think I'd like it.
CHLOE
Yes, too much. Smoke your pot.
Emily is already smoking.
CHLOE (CONT'D)
I'd like it if you taped me. Makes
me feel like I'm not important
when you put it down.
EMILY
I'll tape you.
CHLOE
So what do you usually ask?
EMILY
Well usually it's why do you want
to kill yourself.
CHLOE
Well I can tell you that. Because
I have no dreams anymore.
EMILY
What do you mean?
CHLOE
When I was younger I thought I'd
be a star, so this was just to pay
the bills instead of being a
waitress. Then It was to save up
for a ticket to L.A. Then it was
to pay back the dealer on the
corner. Then it was just to score
a little. Now, I think it's just
because I want someone to like me
and now I have nothing left to
dream of. I'm just a whore who
doesn't want to be anything else
but not alive before I can't feed
myself. Let me tell ya, I didn't
eat well last week.
EMILY
Are you OK?
Chloe starts to roll.
CHLOE
Oh I'm fine lady.
Chloe lays her head against the wall.
CHLOE (CONT'D)
Just fine...You see. I realized
when I saw you.
Chloe's arms drop.
CHLOE
You where here to bring me back to
the light. You and your camera are
going to make me a star.
Chloe falls asleep.
EMILY
Yeah, it's not too late for you
Chloe.
Chloe says nothing.
Emily notices the bag is empty.
EMILY (CONT'D)
Chloe?
Chloe doesn't move. Emily shakes her and she falls to the
floor.
EMILY (CONT'D)
Oh no. You can't die here.
Emily puts down the camera and tries to give her mouth to
mouth.
FADE TO BLACK.
ACT III
INT. BALTIMORE HOTEL - NIGHT
Emily finishes wiping down the room and picks up her
bags. She uses a cloth to open the door and takes one
last look at Chloe before she walks out of the room.
EMILY
I'm sorry.
Chloe and all the other "subjects" are staring back at
Emily.
EMILY (CONT'D)
I'm sorry.
She turns around to see Ramone at the end of the hallway
showing her picture to a cleaning lady. She takes off
running.
EXT. BALTIMORE HOTEL - NIGHT
Emily runs out of the Hotel and down the block.
EXT. BALTIMORE BUS STATION - NIGHT
Emily is sweaty and disheveled when she buys the ticket.
INT. BUS SEAT - NIGHT
Emily gets on the bus and is shrinking in her seat. As
she starts to settle down she notices, Mr. Dobson
standing on the side walk watching her. She turns away
to hide her face then goes back to look and doesn't see
him. Emily is terrified as the bus takes off.
FADE TO BLACK.
THE END
SUICIDE DOT COM EPISODE 10: "DEATH COMES IN THREES"
ACT I
INT. DARK STONE ROOM - DAY
Emily is sitting in the room still tied to the chair. She
is covered in sores and filth. He lips are cracked and
dried.
EMILY
Please.
ELECTRONIC VOICE
You will not make it another
night. Why don't you end it now?
EMILY
No. I want to live.
Emily is staring at all her "subjects".
EMILY (CONT'D)
I want to live.
CUT TO:
ROLL CREDITS
CUT TO:
INT. THE SET OF THE JERRY CLEVELAND SHOW - DAY
Sandra is being fitted for a microphone and is getting
final make up done.
JERRY CLEVELAND
Don't worry you do fine.
SANDRA
I'm not worried. Thank you for
getting the word out about Emily.
JERRY CLEVELAND
America is interested.
CUT TO:
INT. OUTSIDE THE DARK STONE ROOM - DAY
Doris Singer and Mr. Dobson are watching Emily thru a
hole in the wall.
MRS. SINGER
We should let her go and just
leave. She doesn't know who we
are. She's on the TV now. Are you
listening to me.
MR. DOBSON
We stays till she dies or we kill
her and leave.
MRS. SINGER
I don't think this is a good idea.
They have all these fancy computer
people tracking us. It's a matter
of time. We have to go.
MR. DOBSON
Are you afraid?
MRS. SINGER
Yes, I am. I am very afraid.
MR. DOBSON
You asked me to help you. You came
to me when my wife killed all
those people.
MRS. SINGER
Yes, we can understand and we made
her understand. Now we need to
leave.
MR. DOBSON
You are going to turn us in.
MRS. SINGER
We don't have to. If we leave now
they will never know who did this.
MR. DOBSON
They will never know.
Mr. Dobson covers Doris' mouth and cuts her throat. He
kisses his hand, over her lips.
MR. DOBSON (CONT'D)
You where never strong enough.
Doris Singer closes her eyes and dies. Mr. Dobson lays
her body on the floor. He stands over her and begins to
cut her head off.
FADE TO BLACK.
INT. THE SET OF THE JERRY CLEVELAND SHOW - DAY
Sandra is getting excited.
SANDRA
Oh this is so exciting. Maybe
someone can find her.
JERRY CLEVELAND
Well all of America is watching
right now.
The stage music starts and the lights are set for the
beginning of the show
JERRY CLEVELAND (CONT'D)
Hello, and welcome to the Jerry
Cleveland show. Tonight we have a
very special guest, the best
friend of Emily Anne
Peters...Sandra Bookman. Sandra
welcome to the Jerry Cleveland
Show.
SANDRA
Thank you Jerry.
JERRY CLEVELAND
So Sandra, please tell America why
they should want to help a woman
who profited off of the pain and
suffering of so many.
Sandra is angry and trying to remain calm.
SANDRA
What did you say.
JERRY CLEVELAND
Well, I don't know if you are
aware but the amount of viewers
watching Emily's kidnapping has
double the views of her website.
Do you think that the people of
this country want to help find
your friend?
A screen with Emily's countdown is shown on the screen
behind Sandra.
SANDRA
Let me tell you something...
Sandra gets up to tell off Jerry but notices the screen.
JERRY CLEVELAND
Hold on something is coming
through right now.
Emily is freaking out on the screen and is looking off
screen.
SANDRA
Oh Emily.
INT. OUTSIDE THE DARK STONE ROOM - DAY
Mr. Dobson carries the bleeding severed head into Emily's
room.
MR. DOBSON
You want to know who makes you
suffer?
He puts her head on the table in front of Emily, who
screams as much as she physically can.
MR. DOBSON (CONT'D)
You have until sun down and then I
repay you for Rita's Death...yes.
Now you remember. That was the
late Doris Singer. You killed her
family.
EMILY
No.
MR. DOBSON
Oh yes, her son so unimportant to
you. He husband who could not live
with the loss. Her, who was
corrupted by your evil. She lost
her light trying to put out yours.
EMILY
I didn't kill these people.
Mr. Dobson grabs her head back and hold the knife to her
neck. Emily squeaks and then stays as still as she can.
MR. DOBSON
You and you alone facilitated
their deaths. Do you see them
Emily. The faces of your dead.
They stay with you. For always
they stay with you. Watching you.
Do you see them Emily. You will
see them.
Emily sees her "subjects" behind the head of Doris.
MR. DOBSON (CONT'D)
Sun down. You will begin watching
me.
Emily is crying knowing she has no chance of escape.
FADE TO BLACK.
INT. THE SET OF THE JERRY CLEVELAND SHOW - DAY
Everyone is quiet on set. Sandra is crying as she watches
Emily watch the severed head.
JERRY CLEVELAND
America it looks like we may be
approaching Emily Anne Peters'
Final hours. Stay tuned for
uninterupted coverage of whatever
unfolds.
Sandra turns and swings at Jerry Cleveland, dropping him
out of his seat. She then jumps the desk and starts
kicking him.
SANDRA
You fucking tabloid parasite! I
hope your cock shrivels up and
falls off!
CUT TO:
INT. OFFICE - DAY
Mary Marshall and a few aids are watching the program.
MARY MARSHALL
Pause it there. There.
AID 1
It's her ma'am.
MARY MARSHALL
I know it's her.
AID 1
We should get you out of here.
They will trace her to you in
moments ma'am.
MARY MARSHALL
I know. I'm not going anywhere.
Call the D.A. and tell him we
think that one of our followers
have taken matters into their own
hands.
AID 1
What If Mr. Cruz says different.
MARY MARSHALL
Find Mr. Cruz and make sure he
doesn't.
AID 1
I understand.
CUT TO:
EXT. DIRT ROAD, WHITESBURG GEORGIA - DAY
Dale is staring out the window as Ramone drives them to
Emily. He looks down at the gun in his lap.
DALE
Why are you helping me?
RAMONE
I don't want you to feel what I
feel. Her dead doesn't bring my
children back. I don't forgive her
but I don't want this on my
conscious.
DALE
Thank you.
RAMONE
Thank me when we are drivng back
North.
DALE
Yeah, I think this is my last time
in the South.
RAMONE
I know it's mine.
They pull over on the side of the road.
RAMONE (CONT'D)
OK. We walk from here.
DALE
OK.
CUT TO:
INT. DARK STONE COTTAGE - DAY
They two walk towards and old stone cottage in the woods.
RAMONE
She's in there. Good luck.
DALE
I can't go in there alone.
RAMONE
I'll wait for you here but I'm not
going in. I can't promise I won't
shoot her myself. You're better
off on your own.
DALE
Will you wait?
RAMONE
I'll wait till sundown.
DALE
Please.
RAMONE
You better get going.
Dale slowly approaches the house. He turns to see Ramone
leaving to go back to the car.
CUT TO:
INT. DARK STONE COTTAGE - DAY
Mr. Dobson is watching Dale approach. He closes the
window shade and picks up his knife. Dale continues his
slow pace towards the house while Mr. Dobson leaves the
house.
CUT TO:
EXT. DARK STONE COTTAGE - DAY
Ramone is stepping out of the woods to go back to the
car, when he is dragged back into the woods from behind.
Mr. Dobson cuts Ramone's throat and throws him to the
floor.
As he studies Ramone's face, Ramone pulls out his gun and
shoots Mr. Dobson.
Dale hears the gun shot and turns back.
Mr. Dobson stumbles back but throws his knife, which
sticks into the chest of Ramone.
Dale returns to see Ramone on the ground, dead by
himself. He turns around, panicked not knowing what to
do.
He then pulls out his gun and runs towards the house.
INT. DARK STONE COTTAGE - DAY
Dale kicks in the door and is hit with a flying knife
that enters his stomach. He shoots wildly, emptying his
gun, before he falls.
DALE
Emily!
Dale looks over to see Mr. Dobson walking towards him
with another knife in his hand.
EMILY
Dale. Dale watch out!
DALE
I'm sorry Em.
When Mr. Dobson comes into the light he is riddled with
bullets. He raises the knife over his head to plunge it
into Dale but drops it.
He falls to his knees but not before he pushes the knife
further into Dale's stomach, pinning him to the floor.
DALE (CONT'D)
Ah!
EMILY
Dale! Dale are you there!
Dale rolls Mr. Dobson off of him.
EMILY (CONT'D)
Dale can you hear me?
DALE
Em...can you move?
EMILY
No, I'm back here.
DALE
I can't hun. I can't move.
EMILY
Dale no.
DALE
He's dead Em. You're safe.
EMILY
Dale no. Please Dale. Just let me
see you.
DALE
I can't honey. I just can't.
He looks down at his stomach and tries to pull the knife
out.
DALE (CONT'D)
Ah! I can't. That's it kiddo.
Looks like I'm taking that trip
Em.
EMILY
No, Dale. No.
Emily stops and gathers herself.
DALE
Emily...
EMILY
Yes Dale?
DALE
I love you Emily.
EMILY
I love you so much Dale. Please.
Please live.
CUT TO:
INT. OFFICE - DAY
Mary Marshall watching Emily cry on screen. Outside her
office and aid brings two police officers to her office.
AID 1
Mrs. Marshall.
MARY MARSHALL
Yes.
Mary Marshall turns around to see the officers.
MARY MARSHALL (CONT'D)
Give me a moment please.
Mary Marshall looks at the screen then ready's herself
and gets up to follow the officers out.
OFFICER
Mrs. Marshall we have some
questions to ask you.
MARY MARSHALL
I understand.
OFFICER
Please come with us.
Mary Marshall walks out of the office with the officers.
CUT TO:
INT. DARK STONE COTTAGE
Dale is alive but bleeding badly and is pinned to the
ground.
DALE
So, I kinda of saved you huh.
Emily is just out of sight of Dale. She is laughing
through the tears.
EMILY
Yeah, you almost made it but
you've been saving me for a long
time.
DALE
Me too Em, me too. You know. This
really hurts.
EMILY
I'm hungry.
Dale laughs.
DALE
Ah. Don't make me laugh. Em, I
don't want to go. I want to finish
this ride, here with you. Ah.
EMILY
You will Dale, Just sit still.
They'll find us soon.
DALE
They're not coming. No one is
looking for us.
EMILY
Sandra is looking for us.
DALE
I hope she finds you. You have to
hang in alright Em. You got to
hold on.
Dale closes his eyes and doesn't speak anymore.
EMILY
Dale! Dale don't die on me Dale. I
told you. Please Dale. Don't leave
me alone...Dale!
Just then the back door slams open and the house is
filled with federal agents.
They free Emily who drags herself to Dale. Agents pull
her away as they try to attend to Dale.
FADE TO BLACK.
FADE IN:
INT. EMILY'S APARTMENT - DAY
Emily is sleeping in her bed. She has bandages on her
face.
SANDRA
Time to wake up sleepy heads.
We pull out to see Dale waking up next to Emily.
DALE
How long will she be taking care
of us.
SANDRA
Until your both up and ready to
buy me a vacation to get away from
the two of you.
DALE
Get me my check book.
SANDRA
Don't be an ass. I'm not above
punching you in the gut.
DALE
OK, I'm sorry.
EMILY
Thank you Sandra.
DALE
Thank you Sandra.
SANDRA
No problem. Just no more suicides.
EMILY
I've had quite enough death thank
you. I guess I'll it's back to
porn for me.
SANDRA
Oh I forgot to tell you someone
called to buy the rights to your
story. I'm holding out for two
point five million but they
already are offering a million
five. I told them,as your agent,
we won't negotiate for anything
less.
DALE
Our agent.
SANDRA
Oh yeah. You two have a great
career ahead of you. You got two
get better heal quick. We have one
hell of a press tour set up.
DALE
Wonderful.
EMILY
I think we're gonna need a few
weeks off.
SANDRA
What are you a wimp. There's money
to be made out there.
DALE
Suddenly I'm missing my journey to
the other world.
EMILY
I may be joining you.
They smile at each other as Sandra goes over their
itinerary.
FADE TO BLACK.
THE END
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