Bad Boy
Executive Summary
Poster
![](/posters/poster1020a49b41b8d5180b49f12abfb8932fe1ef56ca254755a34a0f96fec1d6b6d0.png)
Overview
Genres: Thriller, Drama, Horror, Mystery, Comedy, Adventure
Setting: Contemporary, Indiana, USA
Overview: The script depicts the harrowing experience of Gary, a courageous dog, who finds himself caught in a cycle of trauma, companionship, and survival. After being involved in a tragic accident with his family, Gary is brought to an animal shelter, where he meets Cameron, a lonely man who forms a deep bond with him. Cameron takes Gary home, and while Gary initially finds solace in his new life, he soon realizes the sinister reality lurking beneath the surface. Cameron, driven by his own troubled past, turns out to be a dangerous captor who imprisons a woman, Kat, in his basement. Gary, torn between his loyalty to Cameron and his compassion for Kat, embarks on a perilous journey to save her. As the story unfolds, Gary's unwavering determination, resilience, and the power of companionship are put to the test, leading to a gripping and ultimately heartwarming tale of survival and redemption.
Themes: Survival, Companionship, Trauma and Healing, Isolation and Loneliness, Betrayal
Conflict and Stakes: The primary conflicts in this story revolve around Gary's struggle to survive and protect those he cares about, as well as the conflict between Cameron's violent tendencies and Gary's loyalty. The stakes are high as Gary and Kat's lives are in danger, and their actions could have a significant impact on their own safety and the safety of others.
Overall Mood: Suspenseful and somber
Mood/Tone at Key Scenes:
- Scene 1: The mood in this scene is lighthearted and playful as Gary focuses on playing fetch with a tennis ball.
Standout Features:
- Unique Hook: The unique hook of this screenplay is the perspective of the dog, Gary, as he navigates through various challenges and forms a bond with Kat.
- Major Twist: A major twist in the screenplay is the revelation of Cameron's violent tendencies and the danger he poses to Gary and Kat.
- Distinctive Setting: The distinctive setting of the cornfield and the farm adds to the suspense and creates a visually striking backdrop for the story.
Comparable Scripts:
Writing Style:
The writing style of the entire screenplay is characterized by its ability to create emotional connections, explore themes of love and belonging, and capture authentic emotions and realistic dialogue.
Style Similarities:
- John Green
- Greta Gerwig
Pass/Consider/Recommend
Recommend
Explanation: The screenplay for 'Bad Boy' showcases notable strengths in character development, plot, pacing, dialogue, and symbolism. However, it would benefit from addressing inconsistencies in pacing, providing clearer resolutions, developing Cameron's motivations more fully, exploring Kat's trauma and relationship with Gary in greater depth, and eliminating redundant dialogue. With these areas addressed, the screenplay has the potential to be a compelling and engaging feature film.
USP: This script offers a unique perspective by placing a dog, Gary, at the center of the story. Through Gary's eyes, the audience experiences a journey of resilience, loyalty, and the power of companionship. The script's originality is enhanced by its atmospheric and evocative writing style, which creates a sense of intimacy and emotional connection with the characters. This script stands out from others in its genre by exploring themes of isolation, redemption, and the dark side of human nature through the lens of a dog's perspective. It will captivate its target audience with its compelling storytelling, relatable characters, and the heartfelt bond between Gary and his owner, Cameron.
Market Analysis
Budget Estimate:$10-15 million
Target Audience Demographics: Adults aged 18-54, fans of suspenseful dramas and stories about the bond between humans and animals
Marketability: The screenplay has a compelling and unique premise that can attract a wide audience, and the themes of loyalty and survival resonate with viewers.
The screenplay explores dark and suspenseful themes, which can attract fans of psychological thrillers and dramas.
The screenplay has the potential to generate buzz and critical acclaim due to its unique blend of genres and exploration of the bond between humans and animals.
Profit Potential: Moderate to high, as the screenplay appeals to a wide adult audience and has the potential for strong word-of-mouth and critical acclaim.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice in this screenplay is characterized by its focus on solitude and isolation, emotional depth, and the power of companionship. The writing style is simple, yet evocative and atmospheric, drawing the reader into the characters' inner worlds.
Best representation: Scene 1 - A Glimmer of Hope. Scene 1 is the best representative of the writer's voice because it effectively combines simple, evocative language with a focus on solitude and isolation to create a powerful and atmospheric opening to the screenplay.
Memorable Lines:
- Cameron: I’m never gonna let them put us back in a cage. Ever. (Scene 29)
- Cameron: All I wanted was to be a good boy. (Scene 15)
- Cameron: Who am I? (Scene 11)
- Gary: Because, unlike Cameron, he’s a fucking good boy. (Scene 39)
- Cameron: I’m a good boy. A good boy. (Scene 40)
Characters
Gary:A loyal and intelligent dog who goes through various challenges and forms a bond with Kat
Cameron:A troubled and unpredictable man who becomes Gary's owner and is involved in dark and violent activities
Kat:A resilient and resourceful woman who is trapped by Cameron and forms a connection with Gary
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Tragic Accident in the Cornfield | Tense, Heartbreaking, Suspenseful | 9 | 8 | 9 | 7 | 8 | 7 | 8 | 6 | 9 | 7 | 10 | 9 | 8 | 10 | 7 | 9 | 9 | 9 | 8 | |
2 - A Glimmer of Hope | Terrified, Lonely, Hopeful | 8 | 7 | 7 | 7 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | |
3 - Hesitant Dog | Hopeful, Heartwarming, Melancholic | 8 | 7 | 7 | 5 | 8 | 7 | 8 | 7 | 5 | 7 | 6 | 7 | 6 | 9 | 7 | 7 | 8 | 9 | 9 | |
4 - Carrying Gary Home | Melancholic, Hopeful | 8 | 7 | 7 | 6 | 8 | 7 | 8 | 7 | 5 | 7 | 4 | 6 | 7 | 8 | 6 | 8 | 8 | 9 | 9 | |
5 - A Gentle Gesture | Overwhelmed, Frightened, Comforting, Hopeful | 9 | 8 | 7 | 6 | 9 | 7 | 8 | 7 | 4 | 6 | 5 | 6 | 7 | 9 | 6 | 9 | 8 | 9 | 8 | |
6 - Gary's Adventure in the Woods | Tentative, Curious, Caution, Excitement | 8 | 8 | 7 | 6 | 8 | 5 | 8 | 7 | 6 | 8 | 5 | 7 | 7 | 6 | 6 | 9 | 8 | 9 | 8 | |
7 - Gary's Surprise and Cameron's Care | Tense, Hopeful, Melancholic | 8 | 7 | 7 | 6 | 9 | 7 | 8 | 7 | 6 | 8 | 5 | 7 | 7 | 7 | 6 | 9 | 9 | 9 | 8 | |
8 - Comforting Dreams | Heartwarming, Melancholic, Hopeful | 9 | 8 | 8 | 3 | 9 | 7 | 8 | 6 | 6 | 7 | 6 | 8 | 4 | 9 | 7 | 7 | 9 | 9 | 8 | |
9 - A Trip to Lowe's | Heartwarming, Light-hearted, Melancholic | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 6 | 6 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | |
10 - Break-in and Suspicion | Suspenseful, Intense, Mysterious, Emotional | 9 | 8 | 8 | 3 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 6 | 9 | 7 | 7 | 8 | 9 | 8 | |
11 - A Disturbing Discovery | Suspenseful, Intense, Terrifying, Heartbreaking | 9 | 8 | 9 | 6 | 8 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 10 | 7 | 9 | 9 | 9 | 8 | |
12 - The Harvester's Encounter | Suspenseful, Intense, Dark | 9 | 8 | 9 | 6 | 8 | 7 | 7 | 8 | 9 | 6 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | |
13 - Suspicion and Tension | Suspenseful, Mysterious, Tense | 9 | 8 | 9 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | |
14 - Gary Discovers Something Sinister in the Basement | Suspenseful, Dark, Intense | 9 | 9 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 9 | 9 | |
15 - A Surprising Discovery | Suspenseful, Intense, Emotional | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 6 | 9 | 9 | 7 | 10 | 7 | 9 | 8 | 9 | 8 | |
16 - A Dog's Love for Plants | Suspenseful, Intense, Dark | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 5 | 9 | 9 | 6 | 9 | 8 | 9 | 8 | 9 | 8 | |
17 - Flirtatious Encounter at the Garden Center | Dark, Suspenseful, Intense | 9 | 8 | 9 | 4 | 9 | 9 | 8 | 7 | 9 | 6 | 10 | 8 | 7 | 10 | 7 | 6 | 9 | 9 | 8 | |
18 - Growing Suspicion | Suspenseful, Dark, Intense, Emotional | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 6 | 9 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
19 - Gary is Left Alone | Tense, Suspenseful, Dark | 9 | 8 | 9 | 3 | 8 | 8 | 8 | 7 | 9 | 4 | 9 | 9 | 5 | 8 | 7 | 7 | 9 | 9 | 8 | |
20 - Gary Discovers Kat's Predicament | Suspenseful, Intense, Dark | 9 | 8 | 9 | 6 | 8 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 9 | 7 | 8 | 9 | 9 | 9 | |
21 - Confrontation in the Basement | Tense, Suspenseful, Disturbing | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 9 | 10 | 9 | 8 | 10 | 7 | 9 | 9 | 9 | 8 | |
22 - Concern and Comfort | Suspenseful, Dark, Intense | 9 | 8 | 9 | 3 | 9 | 9 | 0 | 5 | 9 | 4 | 10 | 9 | 6 | 10 | 8 | 7 | 7 | 9 | 8 | |
23 - Desperate Escape | Suspenseful, Dark, Disturbing | 9 | 8 | 9 | 6 | 8 | 8 | 8 | 7 | 9 | 6 | 9 | 9 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | |
24 - Suspense and Frustration | Suspenseful, Dark, Disturbing | 9 | 8 | 9 | 5 | 8 | 7 | 7 | 6 | 9 | 8 | 9 | 8 | 7 | 9 | 7 | 8 | 9 | 9 | 8 | |
25 - Escape Attempt | Suspenseful, Dark, Disturbing | 9 | 8 | 9 | 4 | 9 | 8 | 8 | 7 | 9 | 6 | 10 | 9 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | |
26 - Desperate Escape | Suspenseful, Intense, Dark | 9 | 8 | 9 | 6 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | |
27 - A Tense Encounter | Suspenseful, Intense, Dark | 9 | 9 | 9 | 6 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | |
28 - A Horrifying Discovery | Suspenseful, Disturbing, Intense | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | |
29 - Comfort in the Closet | Tense, Suspenseful, Intense, Emotional | 9 | 9 | 8 | 7 | 9 | 7 | 8 | 6 | 8 | 3 | 9 | 8 | 5 | 9 | 7 | 9 | 8 | 9 | 9 | |
30 - Keeping Gary Safe | Suspenseful, Intense, Dark | 9 | 8 | 9 | 4 | 9 | 8 | 8 | 7 | 9 | 7 | 10 | 9 | 6 | 9 | 7 | 7 | 8 | 9 | 8 | |
31 - Salmon Training | Tense, Suspenseful, Dark | 9 | 9 | 8 | 6 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 9 | 7 | 8 | 9 | 9 | 9 | |
32 - Gary's Fascination with Cameron's Keys | Suspenseful, Intense, Dark | 9 | 8 | 9 | 3 | 9 | 8 | 8 | 6 | 9 | 7 | 10 | 9 | 6 | 9 | 7 | 7 | 9 | 9 | 8 | |
33 - Tense Confrontation in the Basement | Tense, Suspenseful, Dark | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | |
34 - Suspicion on the Porch | Suspenseful, Intense, Dark | 9 | 8 | 9 | 5 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 6 | 9 | 8 | 7 | 9 | 9 | 8 | |
35 - A Close Call | Suspenseful, Intense, Dark | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | |
36 - Escape Plan Revealed | Suspenseful, Intense, Dark | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | |
37 - Gary Protects Kat | Tense, Suspenseful, Dark | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 10 | 7 | 9 | 9 | 9 | 9 | |
38 - Sorrowful Confrontation | Suspenseful, Intense, Dark | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | |
39 - Desperate Escape | Intense, Suspenseful, Terrifying | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 9 | 10 | 8 | 10 | 9 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | |
40 - Escape and Rescue | Intense, Suspenseful, Dark | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 9 | 10 | 8 | 10 | 9 | 7 | 9 | 7 | 9 | 9 | 9 | 9 | |
41 - Isolation and Hope | Suspenseful, Intense, Dark, Terrifying | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 10 | 7 | 9 | 9 | 9 | 8 | |
42 - A Glimmer of Hope | Suspenseful, Intense, Dark | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 6 | 10 | 9 | 7 | 9 | 8 | 9 | 8 | 9 | 8 |
Scene 1 - Tragic Accident in the Cornfield
We’re floating over a field of Indiana corn. Swaying in the
breeze. But we don’t hear the rustling.
Don’t hear any other sounds.
Just panting.
Filling our ears. Rhythmic.
We float over more corn until we come to a TOYOTA RAV4
following a CROP TRACTOR along a two-lane highway.
We float through the windshield...
INT. TOYOTA RAV4 - NIGHT
...past JEANNIE (39) and VICTOR (38) in the front and ASHER
(12, Captain America shirt) in the backseat. We land on...
A DOG in the cargo area. Terrier mix. Black and tan wiry
coat. Chin resting on the seat back. Saliva drips from his
tongue.
Panting.
This is GARY (9, weathered nylon collar). 45lbs. The hero of
our movie.
His golden eyes are trained on a TENNIS BALL in Asher’s hand.
Jeannie and Victor are bickering, but we don’t hear it. Don’t
care about any of it.
We’re just focused on that ball.
Panting.
Asher tosses the ball into the back. Gary leaps for it.
Catches it in his mouth.
His panting replaced by the sounds inside the car... Country
radio. The whistle of the A/C vents. Our ears attuned to it
all.
JEANNIE
I’m telling you, I can make it.
2.
Jeannie cranes her neck, trying to see oncoming traffic
around the spiked wheels of the tractor’s cultivator.
VICTOR
Just wait.
JEANNIE
He’s going 28.
VICTOR
He’ll turn off before Shelbyville.
Gary drops the ball back in Asher’s hand. Asher gives him a
pat. Gary loves this game, almost as much as he loves Asher.
More panting.
Asher tosses the ball back to him. He leaps. Misses. Tumbles
into bags of groceri es.
Doesn’t care. Rummages for the ball.
VICTOR
Asher, careful with the dog.
ASHER
He likes it.
Gary brings the ball back to him. He certainly does.
More panting.
Jeannie steers towards the center lane.
VICTOR
Honey --
JEANNIE
I got it.
Jeannie commits. Pulls out. Right into an oncoming MINIVAN.
HONKKKKKKK.
VICTOR
JEANNIE!
Jeannie jerks the RAV4 back into the right lane. The minivan
whips past.
That was close.
JEA NNIE
Everyone okay?
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3.
They all nod.
Gary’s eyes are still fixed on the ball in Asher’s hand.
Panting.
Louder now. Really getting worked up.
Jeannie follows the tractor through a curve. The tractor
comes to a stop.
JEANNIE
Great. Now we’re going zero.
VICTOR
We’ll get home when we get home.
Jeannie nods. He’s right.
The DRIVER gets out of the tractor and heads to a gate. He
starts unlatching it.
Gary stares at the ball.
Panting.
PA NTING.
Suddenly...
He goes silent.
Ears rise. Hearing something. Something the others can’t. He
turns. Looks out the rear window...
Something on the other side of the curve. Impossible to see
around the corn. And then...
HEADLIGHTS burst into frame.
A TOW TRUCK going 60mph.
No time for the others to turn around.
THE TRUCK HITS US.
Black.
A long beat.
HISSING.
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4.
A SMOKING RADIATOR
Shredded apart by the cultivator’s wheels.
We pan across a graveyard of parts... A drive axle. A hood. A
splintered window.
A paw.
Stepping across broken glass.
Gary limps past the wreckage of the RAV4. Hurt, but somehow
alive.
He sniffs the air, searching for something. Suddenly turns.
Picking up a scent. There. Up ahead in the ditch...
That blue Captain America shirt peaking through the tall
grass.
Gary hobbles over to Asher. He’s lying face down. Gary nudges
him over with his nose. Asher’s face is scratched and dirty.
Gary li cks him.
He doesn’t move.
Gary barks.
No response.
He stares down at Asher.
A long beat.
Gary spots that tennis ball still clutched in his hand. He
grabs it in his mouth. Lies down next to him. Rests his chin
on the lifeless boy.
Pants.
Red and white light strobes across Gary’s face. An ambulance
approaching. But we don’t hear the siren. Just panting.
Cut to black.
Silence.
A beat.
Then...
Toenails clawing at linoleum.
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5.
Ratings
Scene 2 - A Glimmer of Hope
Gary is led down a hallway on a leash by a pair of KHAKI
PANTS. Gary limps on his front leg, which is now in a blue
CAST.
KHAKIS
C’mon, buddy. This way.
Khakis pulls him through a door into the
KENNEL AREA
BARKING! Everywhere. Pouring out of the cages around us. Gary
looks terrified.
KHAKIS
I know, I know. It’s okay. C’mon.
Khakis leads Gary into a bottom kennel. Shuts a nd latches the
gate behind him.
KHAKIS
Thatta pup.
Gary backs into a corner. Shaking. He watches as another pair
of legs appears next to khakis. These in jeans.
JEANS
Surrender?
KHAKIS
Crash. Near Deer Valley. Poor guy
lost his whole family.
JEANS
Name?
KHAKIS
They didn’t give me one.
JEANS
Age?
KHAKIS
Vet said eight, maybe nine. He’s
got a fracture in his front leg.
(beat)
What are his chances?
JEANS
We’ll do what we can.
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6.
Jeans hangs a clipboard on the cage and heads off with
khakis.
Gary listens to the cacophony of barks.
Trembles.
THE NEXT DAY
Gary hasn’t moved. A bowl of kibble sits in front of him.
He’s not hungry.
He watches pairs of legs pass his cage.
No one stops.
ANOTHER DAY
Gary paws at his cast, trying to pull it off.
A family leads a German shepherd past on a leash.
ANOTHER DAY
A pair of HANDS points an iPhone int o the cage at us.
HANDS
Smile.
Gary looks at the phone, scared.
HANDS
Just one good picture? Please?
ANOTHER DAY
Gary rests his chin on his paws, watching more legs pass by.
And then --
ASHER walks up to his cage in that Captain America shirt.
Asher?!
Excitement pours out of Gary. He leaps up, losing control of
his tail.
Asher wraps his fingers around the gate. Smiles in at Gary.
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7.
ASHER
What’s wrong with him?
Gary blinks.
It’s not Asher. It’s a PONYTAILED GIRL (11) in a blue shirt.
She stares at his leg.
PONYTAILED GIRL
Mom...what’s wrong with him?
A pair of yoga leggings appears next to her.
YOGA LEGGINGS
C’mon.
Yoga leggings ushers the girl off.
Gary watches them leave.
ANOTHER DAY
Gary stares at his food, still not interested.
A pitbull is led off on a leash.
ANOTHER DAY
Gary paws at his cast. God it’s itchy.
Jeans leads a pair of brown Carhartt work boots past his
cage.
JEANS
Just got him in. Husky, rotty mix.
Stunning blue eyes. Lucky you came
when you did, folks have been
calling about him all morning.
Jeans and boots disappear.
A beat.
The boots return, stopping in front of Gary’s crate. Then...
A FACE lowers down into view. Round and warm with a mustache.
This is CAMERON (44). Overweight. Buzz cut. Wire glasses that
magnify his lonely eyes.
He studies Gar y. Jeans appears next to him.
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8.
CAMERON
What happened to his leg?
JEANS
Car accident. He’s been through a
lot.
This seems to resonate with Cameron. He stares at Gary. Gary
stares back.
JEANS
You wanna see that husky?
Ratings
Scene 3 - Hesitant Dog
Sunlight blasts us in the eyes.
Gary limps out of the shelter. Squints. Seeing sun for the
first time in days.
Cameron leads him on a leash over to a red 2003 Chevy S-10
pickup. An Indianap olis Colts horseshoe on the rear window.
He opens the passenger door.
Gary steps back.
CAMERON
Come on, boy.
Cameron pats the passenger seat. Gary doesn’t move.
CAMERON
It’s okay. C’mon.
Cameron goes to pick up Gary. Gary takes another step back,
his eyes fixed on the truck.
CAMERON
The truck? Is that it? We don’t
like the truck?
Gary definitely doesn’t.
CAMERON
It’s like four miles to the house.
Gary stares u p at him.
Ratings
Scene 4 - Carrying Gary Home
Cameron carries Gary along the side of the highway.
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9.
FURTHER DOWN THE HIGHWAY
Gary stands in the ditch, watching Cameron catch his breath.
CAMERON
Okay, up we go.
Cameron picks Gary back up. He walks on.
CAMERON
I coulda had a husky with really
cool eyes, ya know? Probably
would’ve loved ridin’ in trucks.
EXT. CAMERON’S HOME - DAY
Cameron carries Gary up to a single-story with vinyl siding
and dented garage door. The only thing that’s been cared for
is the lawn, which is impeccable.
He sets Gary on the porch. Unclips a CARABINER OF KEYS from
his jeans. Flips through them to find his door key.
Gary watches wind chimes clink and clang. Then, something
else catches his attention. Past the chimes, in the window of
the house next door --
A PAIR OF EYES.
Staring directly at Gary through the blinds. Bloodshot.
Unblinking.
Gary doesn’t like them. He whimpers. Backs up.
Cameron opens the door.
CAMERON
C’mon, boy.
Gary looks back at the window. The eyes are gone.
Ratings
Scene 5 - A Gentle Gesture
Gary tentatively enters. Peers into the living room. Worn
hardwood floors. Popcorn ceiling stained from a leaking roof.
Dusty 37” Vizio. A red Lowe’s Home Improvem ent vest and
toolbelt hanging up in the hall.
He looks at it all, overwhelmed. Spots a
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10.
UTILITY CLOSET
Washer and dryer off to one side. Enough room for Gary on the
other.
Gary limps in and lies down next to the washer. Stares up at
Cameron. Starts shaking. Cameron watches the frightened pup.
CAMERON
We need dinner.
MOMENTS LATER
Gary hasn’t moved. He lies in the utility closet, pawing at
his cast.
Cameron sets a dog bowl down in front of him. The bowl reads
BOOMER. It’s full of shredded CH ICKEN.
CAMERON
Sorry ‘bout the bowl.
Gary ignores the food.
Cameron sits down next to him. Grabs some chicken. Holds it
out. As he does, we notice his pinky finger is missing.
Gary sniffs the chicken. It’s still a no.
CAMERON
I know. It’s been a lot, huh? Just
take as long as ya need.
Cameron leans against the wall, rests his hand on the floor
in front of Gary. Waits.
Gary stares up at him.
HOURS LATER
Camer on snores against the wall, that chicken still in his
hand.
Gary watches him in the darkness. His eyes shift from Cameron
to the chicken.
Cameron.
Chicken.
Cameron.
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11.
Chicken.
Gary licks his lips. Man that chicken smells good.
He inches towards it, keeping an eye on Cameron. Starts
eating the chicken. Cameron stirs. Smiles at Gary.
CAMERON
That’s a good boy.
Gary licks Cameron’s hand clean.
CAMERON
Rotisseries are two for one at
Kroger, so you eat as much as you
want, kay?
Cameron grabs more chicken. Hand-feeds Gary.
MORNING
Gary’s eyes flicker open in the morning sun. H e’s staring at
his bowl. It’s been refilled with kibble. A water bowl next
to it.
Blankets have been tucked in around him to form a makeshift
dog bed in the utility closet.
A CLUNK comes from across the hallway.
It’s Cameron tightening a LEAKING PIPE under the bathroom
sink. He turns on the sink. Checks the leak. Good enough.
He closes the cabinets. Shakes his head. Damn old house.
Sees Gary watching him.
CAMERON
Mornin’, boy.
Cameron flips off the light and approaches.
CAMERON
I gotta run an errand. You gonna be
okay here for a bit?
Cameron crouches down in front of Gary. Scratches behind his
ears. Gary’s eyes grow heavy. That feels good.
CAMERON
Keep an eye on the place, a’right?
You’re in charge.
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12.
Cameron kisses Gary on the top of the head. Leaves. Gary
listens to him lock the front door.
A silent beat.
Gary looks around the house.
Ratings
Scene 6 - Gary's Adventure in the Woods
Gary enters, tentative.
Sniffs.
His nose leads him to the breakfast nook.
He hops up onto the bench. Sniffs a plate of toast crust.
Eats the crust. Continues on...
Sniffs his way to a framed photo of a BORDER COLLIE on a
shelf. A faded leat her dog collar with “BOOMER” on the tag is
wrapped around the photo.
Gary intently sniffs the WHITE HAIRS on the collar. Learning
all about Boomer.
Gary looks down into the corner and spots a basket of dog
toys. A kong, a rope tug, tennis balls.
Next to it, there’s a DOGGY DOOR.
EXT. BACKYARD - DAY
Gary pushes through the doggy door. Steps out onto the porch.
Looks around the yard. Manicured grass. Met iculous
landscaping.
Limps over to a bush. Pees on it.
As he does, he sniffs the air.
Smelling something in the wind.
Something interesting.
Gary continues along the fence line, following the scent to a
WOODEN GATE at the back of the property. Paws have dug up the
soil underneath it. No doubt the work of Gary’s predecessor.
Gary sticks his nose under the gate. Sniffs. The scent is out
there.
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13.
He pushes his way under. Gets stuck on his shoulder blades.
Tries to free himself. Pulls the gate up in the process.
CLANG.
The latch unhooks. Gate creaks open.
Gary noses out to the
WOODS
Gary puts his nose down. Crunches his way through the leaves
behind Cameron’s house.
He follows the scent to a hickory tree. Sniffs it. Full of
smells. Not the one he’s tracking. Moves on.
Deeper into the woods...
Ther e. Under the leaves. He’s right on top of it now.
Gary digs.
The scent grows stronger. Feeds his excitement. Pulls up...
A TURD.
From a raccoon. Maybe a possum. He smells it. Nudges it
around with his paw. Then, yep, he eats it.
Dogs be dogs.
As Gary does his thing with the turd, we PULL BACK to see
that his digging has uncovered something else...
A single, rose-colored adidas woman’s sneaker.
That’s odd.
Gary spots it, too. He approaches, cautious. Sniffs. Paws at
it. It doesn’t seem like a threat. Actually seems kind of
interesting.
He grabs it in his mouth as a SHADOW falls over Gary. Gary
turns to see --
A towering bearded man in a trucker hat silhouetted against
the sun. This is RANDY (53). He stares down at Gary with
bloodshot eyes.
It’s the neighbor we saw earlier. Gary’s directly b ehind his
fence line.
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14.
RANDY
Drop it.
Randy takes a step forward. Gary backs up.
Another step.
Gary TAKES OFF with the shoe in his mouth.
Randy gives chase.
Gary sprints back through the gate. Doesn’t break stride.
Hits the doggy door at full speed.
Ratings
Scene 7 - Gary's Surprise and Cameron's Care
Gary’s toenails skid across the floor. He slams into the
cabinets.
Gary gets up. Shakes himself off.
The door handle RATTLES.
Rattle, rattle, rattle.
A silent beat.
The flap on the doggy door RISES. Randy stares in at Gary,
eyeing the shoe hanging from his mouth.
He reaches an arm through the doggy door. Then another.
Pulling himself towards Gary.
Gary backs up. Whines.
Randy squeezes and twists. An impossibly tight fit.
Determined to get in.
Determined to get that shoe back.
Closer and closer...
He just keeps coming.
Almost inside the house.
SLAM.
A truck door s huts, startling Gary.
He looks through the living room and out the far window to
see that Chevy S-10 back in the driveway.
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15.
Cameron’s home.
Gary turns back to the doggy door.
Randy is gone.
Gary sits there.
Panting.
Then, he turns and carries the shoe off. Back to the
UTILITY CLOSET
He drops it. It falls into the heap of blankets.
Cameron enters, fumbling to get his carabiner of keys out of
the door.
CAMERON
Hey buddy.
Cameron crouches in front of Gary with a shopping bag.
CAMERON
You do okay here by yourself?
He pets Gary, not not icing the shoe.
CAMERON
Picked something up for ya.
Cameron pulls a ventilated dog KNEE BRACE out of the bag.
Gary sniffs it.
Cameron heads into the hallway and grabs a pair of gardening
shears out of his toolbelt. He returns and cuts off Gary’s
cast. Peels the bandaging and plaster away.
CAMERON
Good riddance to that itchy thing.
He slides the new brace over Gary’s leg. Velcros it in place.
Gary looks at the brace. Moves his leg. It feels good.
Really good.
He looks up at Cameron, surprised. Cameron beams back.
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A TING TING TING sound echoes up from the A/C VENT next to
them. Gary startles. Cameron sighs...a common noise in this
old house.
CAMERON
It’s okay, boy. It’s just the water
heater.
Cameron grabs his toolbelt. He opens a warped hallway door.
Gary listens as he descends a set of stairs into the
basement.
Gary approaches the A/C vent. Cautiously noses up to the
brown grille.
Listens to that TING TING TIN G echo up from the basement.
Then, the noise stops.
A beat.
Footsteps come back up the stairs.
Cameron reappears with his toolbelt. But he’s brought
something else up from the basement, too. A vacuum-sealed
freezer bag of SALMON.
He holds it up.
CAMERON
You like fish?
Ratings
Scene 8 - Comforting Dreams
Gary devours a salmon fillet in his dog bowl. It’s the
greatest thing he’s ever tasted.
He licks his bowl clean . Looks up at Cameron who’s eating
salmon on the couch and watching the Colts game.
Gary hops up next to him. Stares at Cameron as he eats,
hoping he might drop some.
CAMERON
What? This is mine. You had yours
already.
Gary: So?
Cameron forks the last piece. Gives it to Gary. He scratches
behind his ears as he watches the Colts run the ball.
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CAMERON
(nods to TV)
See this kid? That’s J.T. Elliott.
He runs a four three. We like him
cuz he’s got two German Shepherds.
(adds)
And cuz he runs a four three.
Gary rests his head on Cameron’s lap. His eyes grow heavy as
Cameron scratches.
CAMERON
Maybe I call you Elliott?
He can call him whatever he likes, as long as he keeps
scratching.
Gary can’t hold his eyes open any longer. He closes them.
Black.
Sil ence.
A long beat.
A SHRIEK.
LATER
Gary opens his eyes. He’s still on the couch. The TV is on
but Cameron is gone.
Another SHRIEK. Followed by a CRASH. Coming from Cameron’s
bedroom.
Gary gets up. Passes the TV. A picture of a NURSE (32) is on
the local news. We catch the chyron --
SEARCH FOR SHELBYVILLE WOMAN CONTINUES
Gary crosses the hallway, heads into
CAMERON’S BEDROOM
A LAMP lies on the floor. COVERS pulled off the bed. PILLOWS
scattered everywhere.
And in the middle of the bed...Cameron. Covered in sweat.
Tossing and turning. He mumbles in his sleep --
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CAMERON
Please... Let me out... I’ll be
good this time... please!
He SHRIEKS.
Gary hops up onto the bed.
He stands there, watching Cameron have his nightmare. Seeing
someone who’s suffered trauma. Relating to the feeling.
Or maybe he’s just a dog.
Either way, Gary lies down. Rests his chin on Cameron’s
chest.
CAMERON
Please... please...
Cameron trails off. Begins to settle down. Gary’s presence
comforting.
Gary stares out the window. Watches a SQUIRREL scamper across
the fence. Right past --
RANDY.
Staring in at Gary from his kitchen window. Gary looks again.
He’s gone.
The squirrel runs back across the fence, but Gary pays it no
attention. His eyes trained on Randy’s window.
MORNING
Cameron groans, stirs awake. Cracks a sleepy eye. Spots Gary
lying on his chest.
A happy sight.
CAMERON
Hey buddy.
Cameron scratches behind his ears. Gary melts.
CAMERON
That’s the spot, huh?
It sure is.
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CAMERON
Whatta ya think...wanna come to
work with me today?
He’s not thinking about anything except how good those
scratches feel.
That TING TING TING of the water heater faintly fills the
room. Cameron groans: You gotta be kiddin’ me.
He wills himself out of bed. Grabs his toolbelt. Heads
downstairs.
Ratings
Scene 9 - A Trip to Lowe's
Cameron leads Gary down the driveway, zipping up his Lowe’s
vest.
Gary eyes Randy’s house. The shades are all drawn. Impossible
to see in. Then movement... One of the shades snapping
closed.
They were being watched.
Cameron doesn’t notice. He opens the passenger door of his
truck. Gary stops.
CAMERON
Still?
Gary looks up at Cameron. Still.
Cameron pulls a Ziploc of shredded salmon out of his pocket.
Pours it onto the passenger seat. He walks around the truck
and gets in the dri ver’s side.
Gary eyes the salmon.
INT. CAMERON’S TRUCK - DAY
Cameron starts the engine. Gary is now next to him on the
passenger seat, gobbling up the salmon.
CAMERON
(smiles)
Thatta boy.
Cameron scratches behind his ears. Reaches over, shuts the
door.
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INT. LOWE’S HOME IMPROVEMENT/GARDEN CENTER - DAY
Gary’s leash is tied to a shelf of pool supplies in the back.
He lies next to a water bowl, watching Cameron stack bags of
chlorine with a tattooed co-worker in a STRAW HAT (38).
STRAW HAT
You asked Debbie about this?
CAMERON
‘Course. She was cool with it.
STRAW HAT
Seems that way.
Straw Hat nods to the MANAGER near the registers, who looks
about as uncool as you can look about any situation.
CAMERON
What am I supposed to do, leave him
alone all day in a new house? No
way.
STRAW HAT
He’s got your other one to play
with.
Cameron clenches his jaw, uncomfortable. Straw Hat clocks
this.
STRAW HAT
No... What? What happened?
CAMERON
Cancer.
STRAW HAT
Fuck man. I’m so sorry. He was like
super young wasn’t he...
A CRUNCHING fills our ears, drowning out the conversation.
Gary turns to see a shopper eating a peanut butter wafer
energy bar as she studies a row of plants. This is KAT (28,
overalls, blonde bob).
Gary smells the peanut butter and gets up. He heads over, his
leash just long enough to reach her.
He sits next to her, pants.
KAT
Dude, seriously?
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More panting.
KAT
Beat it. Get outta here. Your
breath stinks.
Gary doesn’t move.
KAT
What?
She follows his gaze to the energy bar.
KAT
This is mine. Get lost, dude. Go.
He’s still not moving. Kat sighs. Pulls off a piece. Tosses
it over his head.
He turns around, gobbles it off the floor. How good is peanut
butter?
He comes right back. Sits next to her.
KAT
Really?
Cameron approaches, grabs Gary’s leash.
CAMERO N
Buddy, no. Leave her alone.
Cameron looks up at Kat. Smiles.
CAMERON
Sorry about him. He’s friendly if
you want to pet him.
KAT
Not a dog person.
CAMERON
You’re kidding.
She’s not.
CAMERON
Can I help you find anything?
KAT
(re: plants)
I need something bulletproof.
Completely unkillable.
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CAMERON
Chinese evergreen. They’re made for
folks like you. Aisle five. C’mon,
I’ll show ya.
As Cameron leads her off, he eyes her Waffle House name tag.
CAMERON
A Kat that hates dogs?
KAT
Don’t like cats either.
Gary watches Kat head off. Licks the crumbs off his lips.
Ratings
Scene 10 - Break-in and Suspicion
Cameron drives.
Gary has his head out the window, drinking in the scents from
the cornfield. Tongue flapping in the wind.
Being a dog again.
Happy again.
EXT. CAMERON’S HOUSE - EVENING
Gary still has his head out the window as Cameron pulls into
the driveway. Gary looks at the house.
The front door is open.
Cameron sees it, too. He looks concerned. Grabs his toolbelt
off the seat. Pulls out those shears.
INT. CAMERON’S HOUSE - MOMENTS LATER
Cameron enters, clutching the shears, trying to be brave.
Gary follows him in.
CAMERON
Hello?
The house has been rifled through -- drawers pulled out,
clothes strewn on the floor.
Someone was looking for something.
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23.
CAMERON
(to Gary)
Stay.
Cameron heads into the basement to check downstairs. Gary
doesn’t like any of this. Ducks into the
UTILITY CLOSET
Wedges himself in the corner. Tucks his tail between his
legs. Spots that WOMAN’S SNEAKER lying in the blankets.
He grabs it in his mouth. Comforting.
Cameron comes back upstairs. He closes the front door. Locks
it. Takes a breath.
CAMERON
It’s okay, boy. They’re gone. W e’re
okay.
Trying to convince himself as much as Gary.
His eyes land on that shoe in Gary’s mouth.
CAMERON
Where in the world did you find
that?
Cameron grabs it. Holds it up.
As Cameron studies the shoe, Gary’s focus shifts past it, out
the window to Randy’s house...
RANDY STARES THROUGH THE BLINDS.
Watching Cameron holding the shoe.
Gary barks.
Barks again.
Cameron follows Gary’s gaze out the window.
Randy ’s gone.
CAMERON
What’s wrong, boy?
Off Gary, watching the house next door, uneasy --
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Ratings
Scene 11 - A Disturbing Discovery
Gary lies on the bed. Cameron brushes his teeth in the
background.
But Gary’s focus isn’t on Cameron. It’s trained out the
window on Randy’s house. Looking for any movement.
Cameron spits. Turns off the bathroom light.
Climbs into bed.
He kisses Gary on the head. Kills the bedroom light.
Darkness.
All we see is Gary’s eyes.
Fixated next door.
LATER
Middle of the night. Gary’s fallen asl eep.
His ears suddenly perk up.
Hearing something. Something we didn’t. He looks out the
window. Scans Randy’s house for movement. Nothing.
A quiet beat. Then a
BANG.
Coming from inside the house. Inside Gary’s house.
He looks at the bed...
Cameron is gone.
Another beat. Then --
The sound of GLASS SHATTERING out in the hallway.
Gary leaps off the bed. Crosses to the closed bedroom door.
Paws at it, concerne d.
It’s not budging.
A CRASH comes from the other side of the door.
Gary puts his nose to the ground. Peers under the crack.
Catches a glimpse of
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25.
CAMERON BEING THROWN INTO THE WALL WITH A BLOODY FACE.
He tumbles out of view.
Someone’s beating the shit out of his owner!
Gary barks.
He paws the door. It doesn’t budge.
Another CRASH in the hallway.
Gary whines.
More pawing. This time, one of his paws slips down the door,
clipping the door handle.
Clang.
It moves, but not enough to unlatch.
He swipes his paw again.
Clang.
The latch clears the strike plat e this time, but then latches
again.
Oh to have opposable thumbs.
Gary swipes with both paws.
Clang.
This time his dewclaw CATCHES on the handle, pulling the door
with it.
It unlatches. CREAKS open.
Gary pushes his way into the
HALLWAY
It’s eerily quiet.
A picture frame lies shattered on the ground.
Beyond it, more picture frames smashed on the floor. The
console table lies on its side. A shattered lamp FL ICKERS.
Gary sniffs.
Smelling something. Ahead of him on the floor --
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26.
Drops of blood.
And then MUFFLED CRIES.
Coming up through the A/C vent.
Gary approaches the vent. Ears raised. Listens.
The cries are coming from Cameron. His owner is in trouble.
Gary pushes his snout against the brown grille covering the
vent. It’s loose. He pushes harder, pulling one end out of
the drywall. Manages to nose past the grille.
Pushes his head into
THE VENT
It’s dark in here. A sliver of l ight coming from below us.
Gary looks down towards the light.
He’s seeing through the A/C duct straight down into the
basement.
His view is obscured by another grille, but he can make out
the cracked concrete floor.
Cameron’s cries are louder down here.
Gary turns his head. Trying a new angle. Looking for Cameron.
Spots a chest freezer. Turns his head again. More concrete
floor.
And then finally --
CAMER ON.
There he is.
Sitting on a metal chair.
Scratches on his neck and face.
Sobbing.
Gary shifts around to get a better view, and that’s when
something odd comes into focus --
There’s something under Cameron on the chair.
No, someone.
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27.
He’s sitting on the lap of a WOMAN (37).
A gag tied around her mouth. Her face filled with cuts and
terror.
She holds Cameron as he sobs.
Cameron brushes her mussy blonde hair off her forehead.
Whispers...
CAMERON
Who am I?
Cameron gently pulls down her gag.
CAMERON
Who am I?
WOMAN
(terrified)
You’re a good boy. You’re a good
boy.
More tears run down Cameron’s face. Those words meaning
everything to him.
As th e woman holds Cameron, the tag on Gary’s collar CLANGS
against the side of the vent.
She looks up. Meets eyes with Gary through the slats.
She stares at Gary with pleading eyes: help me.
And then those SHEARS explode through her throat.
Cameron’s driven them into the back of her neck and out the
front.
She tries to scream, but can’t.
Cameron sits there on her lap, watching her squirm. Not with
pleasure, but with sorrow and disappointment.
She tumbles off the chair. Crawls away from Cameron. Towards
the corner. Grabbing a 2x4 piece of wood on her way. Bangs it
against a BRASS PIPE.
Ting. Ting. Ting.
This has been the source of the sou nd.
Her last futile pleas for help.
And then she goes still.
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We PUSH IN on Gary as he eyes Cameron. Impossible to tell if
Gary understands anything he’s seeing.
Or maybe he understands everything he’s seeing.
His tag hits the side of the vent again. Clang. Cameron looks
up.
Gary is gone.
Off Cameron, curious --
UTILITY CLOSET
Gary pulls his head out of the vent.
Listens to Cameron’s Carhartt boots making their way up
stairs.
They appear in front of Gary. Cameron lo oks down at him, then
over at the open bedroom door.
CAMERON
How’d you get out?
Cameron spots Gary’s tail tucked between his legs. He gives
Gary a warm smile.
CAMERON
It’s okay, bud.
He crouches down. Scratches behind his ears.
CAMERON
Everything’s okay.
Gary melts. His eyes grow heavy. Powerless to his spot.
CAMERON
Yeah. That’s a good boy.
His tail slowly starts to untuck.
Cameron stands. Reaches up to the t op shelf of the closet.
Pulls down one of those red Lowe’s shopping baskets full of
CLEANING SUPPLIES... bleach, plastic gloves, gardening tarp.
Ratings
Scene 12 - The Harvester's Encounter
Cameron cleans up broken glass and pieces of lamp.
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29.
Gary watches from the other end of the hall, still a little
uneasy. He’s next to a broken picture frame. The picture is
of a TEENAGE CAMERON. His FATHER (43, balding) and MOTHER
(39, petite, blonde pixie cut) have their arms around him in
front of a Christmas tree.
Cameron picks up the photo. A warm memory. He delicately
removes it from the broken glass. Precious to him.
INT. GARAGE - LATER THAT NIG HT
Gary watches Cameron load a human-shaped COCOON of gardening
tarp into the bed of his Chevy. Cameron crosses over to a
work bench. Grabs that rose-colored sneaker.
He tucks the sneaker inside the cocoon next to A SECOND ROSE-
COLORED SNEAKER. A complete pair.
Cameron opens the passenger door of the truck. Smiles at
Gary.
CAMERON
C’mon, we’re goin’ for a ride.
Gary brightens. He likes the truck.
INT. CA MERON’S TRUCK - NIGHT
Gary has his head out the window, tongue flapping in the
wind.
Cameron wipes blood from his face with his sleeve.
EXT. FARMHOUSE - NIGHT
Cameron pulls the truck up to an abandoned farmhouse with a
collapsed roof. A rotting BARN sits in the back.
Both buildings have been completely neglected. Oddly, the
landscaping has not. The grass, hedges, vegetable
garden...all carefully cared for.
Cameron gets out of the truck. Gary follows him. They walk
along the edge of a CORNFIELD.
Gary sniffs the air.
Something odd out here.
Gary follows Cameron to a ‘98 Case COMBINE HARVESTER. Cameron
gets in the cab. Pats his leg.
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CAMERON
Up we go.
Gary climbs up next to him.
HARVESTER
Cameron pulls out his carabiner of keys. Fishes for the right
one. Cranks the engine.
It hiccups and stalls.
Cranks the engine again.
VRRM! Diesel POURS from the smoke stacks.
CAMERON
Stay here.
Cameron gets out. Shuts the door.
Gary listens to the harvester idle.
He sniffs the cab. Follows his nose to the seat. Then, under
the seat.
Paws at something...
Wedged in the corner.
Hooks his claws on it.
Pulls out a DOGGY BONE. Half chewed.
Scoops it up into his mouth.
The door CLUNKS open. Cameron climbs back inside. He flips on
the overhead FLOODLIGHTS. Shifts the harvester into gear.
Drives it forward. Into the cornfield.
Cameron starts the header.
The BLADES of the header begin sucking up downed corn. The
harvester rattles and shakes as the corn is CHEWED UP and the
chaff is blown out the back.
Gary sits next to Cameron’s seat, bone in his mouth, taking
it all in.
He squints through the dusty window at the small patch of
light in front of them.
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Spots a BUNNY race past.
And then something else up ahead...
That HUMAN-SHAPED COCOON. Lying right in their path.
Cameron accelerates the header blades to full RPM.
They HIT the cocoon.
The harvester SHAKES and BUCKS. The GEARS SCREAM OUT.
Gary looks concerned, Cameron does not.
Routine for him.
He reaches a hand down. Strokes Gary’s head, comforting.
Out the rear window, a RED SLUDGE sprays into the cornf ield.
And then the harvester settles. The squealing ends. The spray
stops.
Cameron turns the harvester around. Drives back towards the
farmhouse.
Suddenly, the engine SEIZES and dies.
CAMERON
Goddamnit.
Cameron cranks the engine over. No response. Cranks again.
Nothing. He opens the door and climbs out.
CAMERON
(to Gary)
Let’s go, bud.
Gary climbs down after him. Cameron and Gary head back to the
truck, lea ving the harvester sitting in the field.
Leaving the dog bone lying in the cab.
We push in on the bone. Getting a close look at it.
Not like any doggy bone we’ve seen before.
Ratings
Scene 13 - Suspicion and Tension
Gary lies on the bed, watching Cameron’s bloody flannel
tumble around in the washer out in the hall.
Cameron enters, toweling off from a shower.
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CAMERON
G’night, boy.
He kisses Gary on the head like he always does, then crawls
into bed.
CLICK. The lights go out.
Gary watches Cameron’s bloody clothes circle. Listening to
the clink and clang of the buttons.
Processing.
He finally shuts his eyes, soothed by the sound.
EXT. BACKYARD - MORNING
Gary sniffs around a bush. Finds his spot. Lifts his leg.
Does his business. As he pees...
Creek!
The rear gate swings open.
That’s odd.
Gary lowers his leg. Approaches the gate, curious. Gazes out
at the woods.
HUSHED VOICE
Go on.
Gary looks up. Randy stares at him from his side of the
fence.
Gary BARKS.
Randy holds up his hands. He’s weathered but tough like his
Cummins trucker hat. He talks in hushed tones.
RANDY
Shhh. Easy. I’m not gonna hurt ya.
Gary cocks his head, curious.
RANDY
Go on now. Get.
Gary studies Rand y.
RANDY
You gotta go. Understand?
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Gary doesn’t.
RANDY
Get out of here. It’s not safe for
you to--
SLAM! A screen door slams shut behind them.
Cameron is on the back porch. He smiles at Randy.
CAMERON
Mornin’, Randy.
Randy gives him a polite nod but his eyes say something else:
I’m onto you.
RANDY
Mornin’.
CAMERON
Everything alright?
RANDY
Your gate was open.
Randy pulls it closed.
RANDY
Figured you wouldn’t want your dog
gettin’ out.
CAMERON
Must’v e blown open. I sure
appreciate that. C’mon boy.
Cameron pats his leg. Gary trots over to him. Cameron goes to
head inside. Stops.
CAMERON
By the way...had a break in
yesterday. Strangest thing. They
didn’t take a cent. You didn’t
happen to see anything did you?
Randy stares at Cameron, understanding the subtext: I’m onto
you, too.
CAMERON
Probably just kids. I’ll be sure to
take a look at that latch.
Ca meron heads inside. Randy watches, concerned, as Gary
follows him.
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34.
Ratings
Scene 14 - Gary Discovers Something Sinister in the Basement
Gary finishes a bowl of kibble. Looks up --
Cameron snores on the couch in front of SportsCenter.
Over in the hallway, the basement door is open. Our first
look at the back side of it. It’s no ordinary door. Three
inches thick and covered in soundproofing with a steel
deadbolt.
Gary’s eyes drift to the staircase beyond it.
INT. BASEMENT - MOMENTS LATER
Click. Clack. Click. Clack.
G ary descends the stairs. The walls are lined with SOUNDPROOF
INSULATION. Far newer than anything else in the house.
Gary stops on the last stair. He sniffs.
It smells weird.
He peers into the darkness. No windows. Just concrete walls,
all around us. Impossible to see anything down here.
At least for a moment. Gary’s eyes begin to adjust and so do
ours. Like someone raised the brightness 10%.
The power of the canine retina.
Gary moves forward. Past the chest freezer. Under the vent.
Comes to a patch of concrete stained red. A puddle of blood
was here.
He looks further into the basement --
Another red stain. And another. And another.
They’re all over the basement.
Gary spots something stuck in a crack in the concrete.
Approaches.
Paws at it. Pulls up a
FINGERNAIL.
Painted rose.
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35.
A HAND REACHES OUT AND GRABS GARY.
Gary jumps! Crashes into a stack of 2x4 boards in the corner.
Spins around.
Cameron approaches.
CAMERON
It’s me, buddy.
Gary looks up at Cameron, uneasy.
Cameron crouches down. Holds out his hand for Gary to sniff.
CAMERON
You’re not scared of me.
Cameron scratches behind his ears. Gary slowly begins to
soften.
CAMERON
Yeah, that’s a good pup.
We linger on Gary’s eyes, stud ying Cameron. Trying to piece
it all together...
Ratings
Scene 15 - A Surprising Discovery
Gary sits under the shade of the harvester, panting.
Cameron talks with a MECHANIC (55, overalls) near the engine
compartment.
MECHANIC
Never seen a cylinder head crack
like this. Whatta ya been chewin’
up, concrete?
CAMERON
Must’ve hit a rock.
MECHANIC
Big fuckin’ rock, tell ya that.
The wind shifts. Gary sniffs the air, smelling something.
So mething familiar.
It’s coming from the barn. He gets up. Follows his nose.
CAMERON
How long to get a new one?
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36.
MECHANIC
Hard to say. Probably a few weeks.
CAMERON
Weeks?
MECHANIC
What’s the rush? Don’t look like
you’ve harvested out here in a
decade.
CAMERON
It was my dad’s rig. He’d want it to
be...
The conversation fades away as Gary slips into
THE BARN
As abandoned as the rest of this farm. Gary sniffs past a
fallen beam, around pallets. Heads over to a row of GOAT
CAGES.
He enters one. Looks around the cage. A thin layer of hay on
the concrete. Markings etched in the wood on the far wall.
Stick figures.
As if carved by a child.
The rusted gate of the cage CLANGS behind him, startling him.
It’s Cameron.
CAMERON
Whatta ya doin’, bud?
Cameron looks around the cage, uneasy.
CAMERON
Spent a lot of time in here. Mom
said I was misbehavin’, but I
wasn’t tryin’ to. I really wasn’t.
He shakes his head.
CAMERON
All I wanted was to be a good boy.
He looks down at Gary, softens.
CAMERON
Just like you.
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37.
He crouches in front of Gary. Scratches behind his ears.
CAMERON
You’re a good boy. You know that?
Cameron stares intensely into Gary’s eyes.
CAMERON
I need you to know that.
All Gary knows is how good that feels. Cameron smiles at him.
CAMERON
C’mon, let’s get outta here.
Cameron stands. Gary follows him out of the cage. As they
make their way to the barn doors, Gary suddenly stops.
There’s that smell agai n.
He follows his nose over to an old HARVESTER HEADER. Sniffs
around the blades. Past dirt and leaves and small rocks...
And there.
Caught in one of the blades.
A clump of white fur.
Fur that Gary has seen before.
COLLIE FUR.
Cameron whistles from the barn doors.
CAMERON
C’mon Elliott! Time to go!
Gary looks at the fur, then to Cameron.
He follows Cameron out.
Ratings
Scene 16 - A Dog's Love for Plants
Gary’s back in his spot next to the pool supplies. His head
is on his paws, bored, as he watches pairs of legs cross in
front of him.
CAMERON (O.S.)
How much did you water them?
KAT (O.S.)
I didn’t.
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38.
He looks over to see Cameron approaching with Kat.
Holy shit it’s the peanut butter lady.
Gary perks up. His tail starts to wag.
CAMERON
At all?
Kat nods. Cameron tries to hide his horror.
CAMERON
Plants are like all living things.
They just want a little love.
That’s all they want.
KAT
I need something that doesn’t
require any love. Can barely take
care of myself.
Cameron nods.
CAMERON
I think we’re gonna ne ed to go
artificial. Wait here, I’ll see
what we’ve got in the back...
Cameron heads off. Kat looks down. Gary’s sitting next to her
side.
He pants.
KAT
Amazing. You again.
Gary stares up at her.
KAT
I don’t have any food for you.
Gary doesn’t believe her.
KAT
C’mon, man. Just leave me alone.
He cocks his head, doesn’t understand.
KAT
Go bother someone else.
But he likes her.
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39.
KAT
I’m just gonna ignore you.
That’s okay. He doesn’t mind. He sits there, smiling up at
her. Panting.
Kat rolls her eyes.
Cameron returns, clutching an artificial plant.
CAMERON
Good news, you can’t kill this
baby. Bad news, I’ve only got one
in stock.
Ratings
Scene 17 - Flirtatious Encounter at the Garden Center
Gary watches as Cameron rings Kat up at a register.
CAMERON
Warehouse has been kinda slow but
ya should have th e others next
week.
He bags up her plant. Hands it to her with a smile.
CAMERON
And try to take care of yourself
more than your plants? We all need
love.
Kat just needs her plant.
KAT
Thanks.
Cameron watches her head off. As she disappears, his
expression turns dark.
He hits a button on the register. Her information starts
printing:
Katherine Wilkins
718 North Willow Road
Hill Valley, Indiana 46217
317555874 0
He tears off the page and slips it into his pocket. Like he’s
done this before.
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40.
Ratings
Scene 18 - Growing Suspicion
VRRT. Gary lies on the bed, watching Cameron use a DRILL to
unscrew the bedroom door handle.
He digs around in a Lowe’s shopping bag. Pulls out a ROUND
DOOR HANDLE.
VRRT. VRRT. He mounts the new handle. Doggy proof.
He switches on the TV on the dresser. Turns up the volume.
Smiles at Gary.
CAMERON
Be good while I’m gone, ‘kay?
He kisses Gary on the top of the head.
Closes the door.
The latch CLICKS.
Gary climbs to the window. Peers out the blinds.
Cameron gets in his truck and drives off. Randy sits in the
dark next door with an old DSLR, snapping photos of Cameron.
Behind Gary, a picture of the woman in the basement appears
on the NEWS with the chyron:
MISSING WOMAN TAKEN FROM HOME
Her photo is added to a collage of other missing women. ALL
WITH SHORT BLONDE HAIR. ALL PETITE.
All re miniscent of Cameron’s mother in that photo.
Just like Kat.
MORNING
A chorus of robins wakes Gary at the foot of the bed. He
looks behind him.
Cameron is back. Asleep.
Ratings
Scene 19 - Gary is Left Alone
Gary eats a bowl of kibble. Cameron enters, zipping up his
Lowe’s vest. Crouches down in front of Gary.
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41.
CAMERON
Can’t take you with me today,
buddy. Debbie’s gonna write me up
if I bring you in one more time.
He pets Gary.
CAMERON
I know, she sucks. You’ll be
a’right here on your own, though.
I’ll be back before ya know it.
He kisses Gary on the top of the head. He snags his carabiner
of keys from a hook above the breakfast nook and heads off.
Gary watches him leave.
He stands there in the kitchen.
Alone.
Hi s eyes land on that basket of toys in the corner.
Ratings
Scene 20 - Gary Discovers Kat's Predicament
Silence. Then...
A TENNIS BALL bounces down the hallway. Gary bolts into
frame, chasing after it. His leg clearly feeling much better.
GARY PLAYS FETCH WITH HIMSELF
Catching the ball in his mouth, then flinging it free again.
--Sending couch cushions flying.
--Knocking pictures off the wall.
--Tipping lamps over.
We FIND HIM standing in the living room. Panting. Tennis ball
in his mouth. Furniture a mess.
He drops the ball on the floor.
Taps it with his paw. As if wanting it to do something on its
own. It doesn’t. He stares down at it, glumly.
It’s just not the same playing alone.
Bang.
Gary’s ears rise.
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42.
What was that?
He looks around, scanning the living room. Doesn’t see
anything.
He BARKS.
Nothing.
He listens. A long beat. Then --
CLANG!
The mailbox slot SLAMS OPEN and a handful of letters falls
in. The slot closes.
Gary relaxes.
Just the mailman.
LATER
Gary sleeps, curled up on a couch cushion he knocked off.
Bang.
Gary jerks awake. He could’ve been asleep five minutes or
five hours. Either way, there’s that sound again. Or was he
just dreaming it?
His ears rise. Listens.
Bang.
Definitely not dreaming it.
Bang.
Bang.
Gary gets to his feet, heads into
THE HALLWAY
Bang.
It’s coming from the basement door.
Gary approaches, sits down in front of the door. Stares at
it.
Bang.
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43.
Bang.
A long beat, then -- THE DOOR HANDLE RATTLES.
Gary cocks his head, studying the handle.
RattleRattleRattleRattleRattleRattle
Gary BARKS.
The rattling stops.
A long beat.
Gary BARKS.
No response.
Gary turns, heads into the utility closet. Sticks his head
past that grille into
THE VENT
Looks down into the basement at that cracked floor.
He BARKS.
A long beat.
Then FOOTSTEPS...coming down the stairs.
A FACE s teps into view below him --
ASHER.
His Asher. In that Captain America shirt. He stares up at
Gary through the vent.
ASHER
Help...
Gary blinks.
It’s not Asher. It’s Kat. The peanut butter lady. In a blue
hoodie streaked with dirt. A WELT below her left eye.
KAT
Help me.
Gary smiles at his friend.
KAT
Go get help. Help! You understand?
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Gary cocks his head. He doesn’t.
Kat looks around for something more useful than Gary.
She grabs that metal chair. THRASHES it against the concrete
wall. Hoping someone without a tail might hear.
KAT
HELP!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Loud on Gary’s ears but --
Ratings
Scene 21 - Confrontation in the Basement
-- barely audible out here. The insulated basement doing its
job.
The chirps from the robins are louder than Kat.
I NT. VENT - SAME TIME
Kat drops the chair. Collapses to the ground amongst the
blood stains.
Screams.
Frustration and helplessness and terror pouring out.
And then another sound. Behind Gary. Keys in the doorway.
Cameron returning home from work.
Gary pulls his head out of the vent.
UTILITY CLOSET
He turns around just as Cameron enters and takes in the mess
he made playing fetch.
CAMERON
What in the world? Buddy...! You
missed me that much?!
He crouches in front of Gary. Pets him.
CAMERON
Yeah, I missed you, too. Look what
I got...
Cameron reaches into a plastic bag. Pulls out a DOG BOWL with
ELLIOTT on the side. Gary sniffs it.
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A distant SCREAM echoes up from the A/C VENT next to them.
Cameron studies the vent, smile fading.
He gets up. Crosses to the basement door and unlocks it with
his carabiner of keys. He heads downstairs, shutting it
behind him.
Gary sticks his head back past that grille into
THE VENT
To see Cameron descend the stairs. He comes to a stop on the
final step. Looks down at Kat.
She stares back, trying to ge t a read on her captor.
Impossible to do.
A tense beat.
He moves towards her.
She backpedals into the corner. Grabs one of those boards.
Clutches it like a weapon.
Cameron passes her.
Grabs the chair instead. Places it in the center of the room.
Turns to Kat.
CAMERON
Have a seat.
Kat doesn’t move.
CAMERON
It’s okay.
He pats the chair. Kat stands. Eyes the staircase. Too far.
He’d get her before she reached i t.
She cautiously heads for the chair. Sits, her eyes glued on
Cameron.
He smiles at her. Gently takes the board from her hand and
puts it on the floor. Then, he sits on her lap. Wraps her
arms around him.
Kat sits there, holding Cameron, weirded the fuck out.
He whispers something in her ear that Gary can’t hear.
She mumbles something back.
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46.
CAMERON
Louder.
KAT
(wtf?)
You’re a good boy.
Cameron nods.
CAMERON
Again.
KAT
You’re a good boy.
Kat glances at that board next to the chair. She reaches
down, fingers dancing around over top of it. Just out of
reach.
CAMERON
Who am I?
KAT
You’re a good boy. You’re a good
boy.
Cameron’s eyes start to fill with tears as Kat’s fingers
connect with the board. She snatches it up and SWINGS.
BASHING it into the side of Cameron’s head.
Cameron tumbles off the chair.
Gary barks. Concerned for Cameron. Or Kat. Maybe both.
Kat doesn’t hesitate. She SPRINTS for the staircase. HURDLES
up the steps when --
CAMERON’S HAND LATCHES ONTO HER ANKLE.
She screams, trying to kick free, but Cameron’s too strong.
He DRAGS her back down the stairs. Pulls her into the
basement. She flails against his grip.
CAMERON
Stop it. STOP IT.
He strikes her across the face. Kat crumples to the floor.
Gary barks. This time, definitely for Kat.
Cameron stares down at her. Shakes his head.
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47.
CAMERON
I asked you to stop. I can’t be a
good boy if you’re causin’ trouble.
Cameron heads upstairs, rubbing the side of his head.
CAMERON
No dinner tonight.
Gary looks at Kat, concerned, then pulls his head out of the
vent.
UTILITY CLOSET
He turns around to see Cameron locking the basement door.
Cameron spots Gary, brightens.
CAMERON
You must be starving.
Ratings
Scene 22 - Concern and Comfort
Gary finishes eating in his ne w bowl. As he licks his lips,
he looks over at the basement door.
Studies it, concerned.
INT. LIVING ROOM - NIGHT
Cameron pets Gary while watching the Colts game and drinking
a PBR.
Just a man and his dog and the game and --
Ting. Ting. Ting.
That pipe banging.
Coming from downstairs.
Gary lifts his head up. Looks over at the basement door.
Cameron turns up the volume on the TV, drowning it out.
CAMERON
Her e we go, boy...fourth and goal.
Cameron scratches behind Gary’s ears, lulling him back down.
The Colts hike the ball.
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Ratings
Scene 23 - Desperate Escape
Gary sleeps at Cameron’s feet. Gary’s ears suddenly rise. He
lifts his head up.
Ting. Ting. Ting.
The faint sound of that pipe banging again.
He gets up.
Heads through the open bedroom door.
INT. VENT - MOMENTS LATER
Gary pushes his head into the vent. Peers down at --
Kat banging one of those 2x4s into that brass pipe. Not the
first person to try this. Maybe not even the second.
KAT
He lp!!! Somebody! Can’t you fucking
hear me?!?!
They can’t.
But Gary can.
He gives a soft bark.
Kat stops her banging and looks up. Meets eyes with Gary.
KAT
Great. You again. You gonna get me
outta here?
Gary studies her.
KAT
Go get help. HELP. HELP.
He cocks his head, trying to understand what she’s asking.
A long beat.
Then --
He pulls his head out of the vent.
Kat looks surprised.
We STAY ON Kat, listening to his toenails click clack on the
wood floor above her.
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49.
Gary going somewhere.
The toenails stop.
Kat listens.
No sound.
Then...the toenails start up again.
Coming closer. Coming back. Kat stares up at the vent as --
Gary pushes his head back through. He’s brought something
with him. Something in his mouth --
THAT TENNIS BALL.
Gary drops it through the vent.
Clang.
It hits the vent cover above Kat, and rolls into the corner.
Gary smiles, just trying to be a good boy and bring her what
she wants.
Which he’s pretty sure is a tennis ball.
KAT
That’s great. Fuckin’ great. He’s
gonna kill me. You understand
that?!
He doesn’t. Not yet, at least.
Kat slides down the wall and slumps onto the floor.
Ratings
Scene 24 - Suspense and Frustration
Cameron walks Gary. As Gary stops to sniff a bush, we see
A POLICE CAR
Approaching behind them.
Cameron sees it, too. He keeps his head down as the car pulls
up next to them and follows beside them for an uncomfortable
beat.
It drives on.
Up ahead, another cruiser idles down the street the other
way.
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50.
Searching the neighborhood.
Cameron tugs Gary’s leash.
CAMERON
Let’s go, boy.
They turn and head back to the house.
INT. LIVING ROOM - MORNING
Gary sits at the window, watching Cameron in his Lowe’s vest
get in his truck and head to work.
The house falls silent.
A beat. Then --
Rattlerattlerattle.
Gary turns.
The basement door handle is rattling around.
THE OTHER SIDE OF THE DOOR
Kat is crouched at the top of the stairwell, trying to pick
the lock with an EARRING. She gets the post wedged into the
lock. Grips the ring.
Turns.
The post SNAPS.
KAT
Fuck!
She punches the door.
INT. BASEMENT - DAY
Kat comes back down the stairs.
She hears a metal clang and looks up. Gary stares down at
her, his tag clanging against the vent.
Another tennis ball in his mouth.
KAT
Seriously, dude?
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51.
He drops it.
Clang.
It hits the vent cover and rolls into the corner next to the
other.
KAT
Is that all you do?
Gary whines: play with me.
KAT
Great job. Real helpful.
He stares at her. Waiting for her to throw it back. Finally
realizes she’s not going to. Pulls his head out of the vent.
We STAY ON Kat studying the tennis balls. Something striking
her.
Ratings
Scene 25 - Escape Attempt
Gary naps against th e washing machine.
Clang.
His ears perk up.
Clang.
It’s coming from the vent. He noses his head back into
THE VENT
He looks down at a pair of dirty Converse. Kat’s shoes. She’s
on her tippy toes on that metal chair.
The vent is rattling back and forth.
Clang. Clang. Clang.
The vent cover swings open. The tennis balls bounce to the
floor.
Kat’s head pokes into view. She peers up at Gary. He stares
down at he r. Getting a full look at each other’s faces for
the first time since Kat was taken.
If the vent were bigger, Kat could crawl right through it.
But it’s not.
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52.
She points a finger at him.
KAT
Stay.
Gary watches as Kat climbs off the chair.
She picks one of the tennis balls off the floor. Carries it
to the corner. Reaches under the water heater to a pile of
WET SOOT.
She drags her finger through the soot, then across the tennis
ball.
Writing a message:
help basement
Kat climbs back on the chair. Holds the ball up.
KAT
You want the ball?
Gary perks up. Very much so.
She lines it up. Throws it to Gary. It clangs against the
side of the vent. Way short.
Falls back down to her.
Gary keeps his eyes glued on the ball.
Kat gives it another toss. It clangs into the vent. Gary
snaps at it.
Short again.
Ratings
Scene 26 - Desperate Escape
The distant CLANG of that vent.
Clang.
Clang.
Clang.
INT. BASEMENT - SAME TIME
Kat throws the ball over and over again.
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53.
Short each time.
Saliva drips from Gary’s jowls. He whines. Adjusts his
position.
All he needs is a chance.
If Kat could just get closer to the vent. She looks around.
Spots those 2x4 pieces of wood.
She gets down. Grabs the boards. Stacks them onto the chair.
Four boards high. Looks unstable, but her only shot.
She climbs up. Steps onto the boards.
They shift beneath her.
She fights to gain her balance . Holds the ball up towards
Gary.
KAT
Watch.
Gary’s never watched anything more in his life.
KAT
One... two...
Gary tracks the ball as Kat moves it up and down to the
count.
KAT
...three!
She throws.
The boards give out.
Kat falls to the floor.
Her left ankle snaps as it his concrete.
She screams.
Clutches her foot, withering in pain. Grits her teeth.
Tries to breathe.
Doesn’t want to look, but she does. Her foot pointing out the
wrong way.
Fuckfuckfuck.
Knows what she has to do.
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54.
Sets it.
Shrieks.
But we don’t hear it. Don’t hear anything except a high-
pitched WHINE filling our ears.
Kat collapses to the ground. Head swimming. Stares up at a
blurry ceiling and blurry vent and blurry Gary...
Holding something in his mouth.
Something yellow.
Vision starting to clear. Sound coming back. Gary coming into
focus with the tennis ball in his mouth. Panting.
He caught it.
KAT
Go.
Gary stares down at Kat.
KAT
Go...get outta here.
Gary doesn’t move.
KAT
Go!
A long beat. Gary finally pulls his head out of the vent with
the ball.
Kat shuts her eyes, weathering another wave of pain.
Thunk. Thunk. Thunk.
She opens her eyes.
The tennis ball bounces on the floor beside her. She looks
up.
Gary is back.
KAT
No, no, no...
Gary: yes, yes, yes. He pants, excited. Just like how we met
him in the opening. Ready to play more fetch.
Certain he’s being a good boy by bringing the ball back.
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55.
The tennis ball rolls to a stop next to Kat. She lies there,
defeated.
Gary stares at her, ears up. Panting.
Throw it.
She doesn’t.
He finally lies down, resting his head on the vent.
It’s okay, he’ll wait.
LATER
A RUSTLING sound.
Gary’s eyes open. Below him, Kat rummages through that
freezer. Her weight on her good leg.
Digs past pie crusts, packs of AA batteries...
She pulls out a vacuum-sealed bag of sa lmon. Gary perks up.
She tosses it aside.
Finds a box of HOT POCKETS. Opens it up. Pulls one out.
Manages to bite off a piece.
Chews.
Like eating plywood. But at least it’s something.
She sits down with the box, cringes as she stretches her hurt
leg out in front of her.
She takes another bite of Hot Pocket. Chews. Stops.
Starts to cough.
A piece stuck in her throat. Coughs more, struggling to get
it ou t.
Gary gets to his feet.
He barks.
And barks and barks and barks.
Kat finally convulses forward, like she’s about to puke.
Coughs the piece up.
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She catches her breath. Looks up at Gary who continues to
bark above her. In a total frenzy.
On Kat, studying Gary. Learning something big.
She starts coughing again.
Gary continues to spiral above her.
Barking louder.
Kat coughs harder. Clutches her throat. Gary’s in a full
panic now. He pulls his head out of the vent.
Kat stops coughing. Stares up at the vent.
KAT
That’s it. C’mon...
Ratings
Scene 27 - A Tense Encounter
Gary barks into the empty living room. As if there’s someone
that could help.
But there isn’t.
He’s alone.
Or is he?
We RACK FOCUS past Gary, out the window to
RANDY.
Watching Gary through the blinds next door.
Gary sees him, too. Approaches the window. Continues to bark.
The blinds suddenly flip shut.
A beat. Then...
Gary spots Randy heading through his kitchen. Towards the
backyard.
Gary takes off through the house.
INT. BASEMENT - SAME TIME
Kat listens to Gary’s toenails racing across the floor.
C’mon... c’mon...
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57.
EXT. BACKYARD - SAME TIME
Gary bursts out of the doggy door. Stands on the patio.
Barks.
Randy appears in the yard next door.
RANDY
What’s wrong? Huh?
He unlatches Cameron’s gate. Cautiously enters the yard,
looking around for any sign of Cameron. Then turns his eyes
back to the distressed Gary.
RANDY
What happened? What is it?
Gary continues to bark.
Randy approaches the door.
RANDY
Someone in there?
More ba rking. Gary heads back inside through the doggy door.
Randy crouches down. Opens the flap. Peers inside.
RANDY
Hello...?
BASEMENT
Kat looks up at the vent. Did she just hear something?
She limps to the chair. Painfully pulls herself onto it.
Stands. Cranes her neck to the vent. Listens. Ever so
faintly, echoing across the sheet metal --
RANDY (O.S.)
Hello? Anyone in there?
Kat nearly falls off the chair.
KA T
Help! HELP ME!
She pounds on the side of the vent with her fist.
KAT
HELP!!!!!!!!
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BACKYARD
Randy can hear the faint sounds of Kat banging out here.
RANDY
Jesus christ. I knew it...
Randy pulls off his jacket.
KITCHEN
Gary watches as Randy pushes his head through the flap. Then
starts to squeeze his shoulders through. Just like before.
Kat continues to scream and bang downstairs.
RANDY
I hear ya. Keep yelling! Keep
yelling!
BASEMENT
Kat hears Randy’s words. Starts to cry. Relief washing ov er
her.
KAT
Down here! I’m down here!
Kat bangs on the vent.
KITCHEN
Randy grits his teeth, fights to squeeze through the doggy
door. Kat’s bangs driving him forward.
He gets one shoulder through.
Then the next.
Looks up at Gary.
Only something is wrong... His face is no longer determined.
It’s screwed up in pain.
His eyes filled with fear.
He opens his mouth to speak. But instead of words
Blood.
Trickles down his chin.
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The door swings open, revealing
THOSE SHEARS STICKING OUT OF RANDY’S BACK.
Cameron stands in the doorway behind him. Randy flails,
trying to reach the shears to pull them out, but he can’t.
The door is blocking his reach.
Randy tries to scream. Can’t do that either. Just silent
gasps as he kicks his legs.
Gary whimpers, ducks under the kitchen table. He doesn’t like
this at all.
Cameron stares at Randy stuck in the doggy door.
CAMERON
You shoulda stayed on your side.
He sadly watches as Randy bleeds out.
But Gary’s eyes aren’t on Randy. They’re trained on Cameron.
For the first time, looking at his owner not with love but
with fear.
Ratings
Scene 28 - A Horrifying Discovery
Kat stands on that chair, staring up at the vent.
KAT
Hello?!
A long, silent beat.
KAT
HELLO?!
Then --
CLUNK.
The basement door unlocks. Kat climbs down. Rushes to the
stairs. Almost forgets about her ankle. Adrenaline ta king
over.
Looks up at the door, hopeful, as
A human-shaped cocoon of gardening tarp TUMBLES TOWARDS HER.
She dives out of the way as the cocoon crashes into the far
wall. She looks over at the jumble of tarps... Randy’s DEAD
EYES peering out at her.
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She opens her mouth to scream, but nothing comes out.
The door upstairs shuts and locks. Those Carhartt boots
descend the staircase.
Cameron appears. Stares at Kat. Then his attention shifts
past her to the chest freezer.
VENT
Gary watches from above as Cameron empties the freezer.
Pulling out the salmon, the pie crusts, the batteries.
Stacks it all on the floor.
He grabs the corners of the cocoon. Hois ts Randy in. Pushes
him down. The lid won’t close. Tries another angle. Still not
going.
Cameron grabs Randy’s leg. BREAKS it. Grabs the other. BREAKS
that one, too. Heaves them down.
The lid closes. A temporary holding spot.
Cameron turns to see Kat looking at him, horrified.
CAMERON
No, no, it’s okay.
He sits down beside her on the floor.
CAMERON
I’m just tryin’ to make this work.
Thought it would last time. Really
did. It was so sad...what happened.
He rests his head on her shoulder. Grabs her hand and puts it
on his head.
CAMERON
You want this to work, right?
Kat nods, freaked the fuck out.
CAMERON
(softly)
Who am I?
Tears fill Kat’s eyes.
KAT
You’re a good boy.
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As she holds him, she eyes the CARABINER OF KEYS clipped to
his belt loop.
Ratings
Scene 29 - Comfort in the Closet
Gary lies next to the washing machine, watching Cameron get
ready for bed. Cameron peers out the bedroom door.
CAMERON
C’mon bud, bed time.
But Gary doesn’t move. His tail tucked between his legs.
CAMERON
Aww, buddy...
Cameron approaches. Squats down in front of Gary.
CAMERON
You didn’t like what happened
today, huh?
He definitely didn’t.
CAMERON
Yeah, me neither. But they’d have
come for us otherwise. Put both you
and I back in a cage. I had to
protect us. You understand?
Cameron reaches a hand out to Gary. Starts scratching behind
his ears.
CAMERON
I’m never gonna let them put us
back in a cage. Ever.
Gary’s eyes start to grow heavy, but we ANGLE ON his tail.
It stays tucked.
Ratings
Scene 30 - Keeping Gary Safe
Gary lies in the grass watching Cameron dig a small TRENCH
just beyond the fence line with a shovel.
Cameron finishes and pulls out a spool of ELECTRIC CABLE.
He starts lying it in the trench, covering it with dirt.
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INT. KITCHEN - DAY
Cameron sits on the floor next to Gary in his Lowe’s vest. He
holds an ELECTRIC COLLAR in his hand. Tests it by pressing a
button on an app on his phone.
VRRRT!!!
It shocks Cameron so much he drops the collar.
CAMERON
Shit.
He checks the intensity setting on the app: forty milliamps.
Dials it way back. Tests it again.
Vrrt.
Better.
He goes to fasten the ELECTRIC COLLAR onto Gary. Gary
re sists. Fidgets.
CAMERON
I know. I’m sorry, buddy. But that
gate was wide open.
He manages to get it on. Pets Gary lovingly.
CAMERON
I can’t lose you, too.
He kisses Gary on the head. Stands. Grabs his carabiner of
keys off that hook.
CAMERON
Be good, boy.
Gary watches Cameron leave.
Ratings
Scene 31 - Salmon Training
Gary peers down into the basement. Spots Kat slumped next to
the freezer. Cameron’s given her that BOOMER dog bowl with
leftover chicken Gary didn’t eat. She ignores it, staring at
the far wall.
Numb.
She hears Gary above her and looks up. Sees the red light on
his collar.
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63.
KAT
You’re stuck here now, too, huh?
Gary rests his chin on the vent. Kat eyes him.
KAT
Never understood it...why everyone
loves you guys. My neighbors had
this pitbull when I was growing up.
Big mother fucker. Twice the size
of you. Used to bark at me on the
way to school. Such an asshole.
Gary listens.
KAT
I was so scared of him I’d run past
his fence. ‘Till one day he got
out. Chased me down. Had to g et
twelve stitches in my hand.
Kat shakes her head.
KAT
I don’t care how cute any of you
are, I don’t trust you. No offense.
Gary stares at Kat, none taken.
KAT
I shouldn’t have to apologize for
that, right?
Gary can’t offer her an answer. Only compassionate eyes.
She sighs: I can’t believe I’m talking to a dog.
She looks around the basement.
KAT
I’m running out of time.
Talking to herself now more than Gary.
She peers up at Gary. The only friend she has in this place.
Her only chance out of it.
KAT
I need you to get me his keys. His
keys.
Gary cocks his head.
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KAT
I know. I know. You don’t
understand.
Kat looks over at the freezer. An idea forming...
She hobbles over. Opens the freezer. Reaches her hand past
those tarps.
Starts feeling around Randy’s body.
Pulls her hand back out. She’s holding Randy’s HOUSE KEYS.
She holds the keys up to the vent. JINGLES them back and
forth.
KAT
Keys. I need his keys.
Gary yawns. His eyes grow heavy. He couldn’t care less abo ut
the keys.
Kat jingles them harder.
KAT
Look at me. Keys! Keys!
Gary looks about ready to take a nap. Kat looks around. Needs
a new tactic.
She spots that pile of freezer food on the ground next to
her.
She grabs one of those bags of salmon. Rips it open. Gags at
the smell of warm fish.
Gary has the opposite reaction.
His eyes spring open. He licks his lips.
Kat limps to the chair. Pulls herself onto it. Holds the fish
up to the vent.
KAT
Is this what you want?
Gary can’t remember ever wanting anything more in his life.
KAT
Come on then. You gotta get closer.
Gary squeezes lower into the vent. Down...down...down.
As far as he can.
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65.
Kat pulls off a piece of salmon. She JINGLES the keys in
front of Gary, then throws the fish.
A short throw, but it doesn’t matter. No chance Gary’s
missing it.
He lunges forward. Snatches the salmon. Gobbles it up with
one bite.
KAT
Again.
Another jingle. Another piece of salmon.
Training Gary.
Ratings
Scene 32 - Gary's Fascination with Cameron's Keys
Gary sits behind Cameron as he makes spaghetti. But Gary’s
focus isn’t on the food.
It’s on that carabiner of keys jingling on Cameron’s belt
loop.
Jingle.
Jingle jingle.
Suddenly more interesting to Gary.
Cameron plates his spaghetti. He unclips his keys and hangs
them above the breakfast nook. Heads into the living room.
We STAY ON those keys. Jingling on their hook. Gary stares at
them. His ears raised.
He licks his lips. A Pavlovian response.
He hops up on the nook. Approaches the keys. Sn iffs them.
The keys stop jingling.
A long beat. Gary waits for them to do something.
They don’t.
He heads off. Down the hallway.
PRELAP: A DIESEL ENGINE cranks over.
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66.
Ratings
Scene 33 - Tense Confrontation in the Basement
Gary lies in the shade under Cameron’s truck, chewing on that
odd-looking bone.
Out in the cornfield, Cameron is trying to start the combine
with its fresh cylinder head. It won’t fire. The mechanic
waves him off.
MECHANIC
Wait. Wait. Hang on...
The mechanic leans his head into the engine compartment.
Makes an adjustment.
MECHANIC
A’right, try ‘er again.
Cameron cranks the ignition. This t ime the engine ROARS TO
LIFE. Exhaust pours from the smokestacks.
Cameron shifts the combine into reverse.
Backs up through the cornfield. Parks it next to the barn.
Ready for use.
INT. CAMERON’S TRUCK - NIGHT
Cameron and Gary ride back from the farm. “Bad Moon Rising”
by CCR plays on the radio.
Cameron drums his fingers on the steering wheel, in a good
mood. He lowers the window for Gary.
Gary doesn’t p ut his head out this time. He keeps his eyes on
Cameron instead.
LATER
Cameron turns onto his street. Gary perks up, curious. Seeing
something up ahead. Red and blue lights flickering across his
face. Rotate to reveal...
A POLICE CRUISER parked in front of Randy’s house. Two
OFFICERS peer through Randy’s windows.
Cameron sees them, too.
Shit shit shit.
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He hits the garage opener and pulls around the cruiser.
Drives into the garage.
Avoiding eye contact with the officers.
Cameron closes the garage door and leaps out of the truck,
snagging his TOOLBELT on the way.
Gary follows him into
THE HALLWAY
Cameron unclips his carabiner of keys. Unlocks the basement
door.
Storms downstairs.
BASEMENT
He finds Kat cowering in the corner. Stomps towards her.
She EXPLODE S upwards, SLASHING at his face with the BOTTLE
OPENER on Randy’s keys. A planned attack.
SLICES into his cheek.
Continues to slash. Desperate. Maybe now or never.
CAMERON
Goddammit. Stop! STOP!
He throws her into the far wall. The keys go flying. Her head
SMACKS the water heater. Stuns her.
CAMERON
I said stop!
A BARK comes from behind Cameron. Gary has come down the
steps and is not a fan of what’s happ ening to his friend Kat.
Cameron ignores him. More pressing things...
He pulls a roll of DUCT TAPE from his toolbelt. Tapes over
Kat’s mouth.
Grabs ZIP TIES. Ties her wrists to that brass pipe. As he
does, Kat looks around, dazed. Spots something next to the
freezer... A tennis ball.
That tennis ball.
With her message.
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The DOORBELL rings.
Cameron jabs a finger at Kat.
CAMERON
Not a sound.
Cameron heads back upstairs, wiping blood off his cheek.
CAMERON
C’mon, boy.
Gary watches Kat struggling against the zip ties. Trying to
reach that tennis ball with her foot.
She manages to kick it. It rolls over and comes to a stop in
front of Gary. She pleads through the duct tape: take it.
CAMERON
(calls down)
I said c’mon.
Gary looks u p at Cameron, then back to Kat.
Kat pleads again: take it.
Gary grabs the tennis ball in his mouth.
Carries it upstairs.
Ratings
Scene 34 - Suspicion on the Porch
An OFFICER (43, ex-military) waits on Cameron’s porch. Rings
the doorbell again.
OFFICER
(calls)
Greenwood PD.
Cameron opens the door. Smiles. Tries to hide the cut on his
cheek with his hand.
CAMERON
Evening officer.
OFFICER
Sorry to bother you. We’re doing a
welfare check on your neighbor, Mr.
Reeves, but he isn’t answering.
Gary appears next to Cameron with that tennis ball. Stares up
at the officer.
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We see help peeking out between Gary’s teeth.
Neither men notice.
OFFICER
Can you tell me the last time you
saw Mr. Reeves?
CAMERON
Not quite sure actually. He keeps
to himself.
OFFICER
Have you noticed anything unusual?
CAMERON
Next door? No. But, like I
said...don’t see much of him.
Should I be worried?
OFFICER
He didn’t show up for church. There
was some concern.
Gary drops the tennis ball.
We TRACK with t he ball as it rolls away... and away... and
away... down the hall and comes to a stop near the bathroom.
Impossible to see from the door.
OFFICER
Do you know if he had any health
issues?
Gary BARKS at the officer.
CAMERON
Shhh, boy.
But Gary doesn’t shh. He barks again and again. As if he
knows this officer can help. As if he knows the officer is
Kat’s only chance.
Or he’s just a dog who barks at people a t the door.
Either way, Gary’s gotten the officer’s attention.
CAMERON
Quit it.
The officer studies Gary, then the cut on Cameron’s face.
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70.
Something not feeling right.
The officer peers into the house.
OFFICER
Sir, are you alone in the house?
CAMERON
I am.
OFFICER
Do you mind if I take a quick look
around?
A long beat.
CAMERON
(smiles)
Of course.
Cameron pulls the door open. The officer clicks on his
flashlight. Enters.
Ratings
Scene 35 - A Close Call
The officer scans the living room with his flashlight.
CAMERON
Hope you can’t get arrested for a
dirty house, cuz I’ll be going to
jail.
The officer heads down the hallway. As he does, Cameron
reaches into his toolbelt.
Pulls out the shears.
We FLOAT DOWN to the officer’s boots making their way across
the wood floor, and then continue down THROUGH THE FLOOR
into
THE BASEMENT
Where Kat is ziptied to the pipe, listening to the CREEK of
the wood.
He’s directly over top of her.
She SCREAMS through the t ape and BEATS her hands against the
pipe.
Clang. Clang. Clang.
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HALLWAY
The officer shines his light into the kitchen. Impossible to
hear the clangs up here.
Or is it?
The officer turns around. Shines his light on the warped
basement door.
In the background, we notice Cameron is now standing a lot
closer to the officer than we last saw him.
The officer approaches the door. Crouches down in front of
it.
Cameron is closer again.
The officer leans forward. Brings his e ar to the handle.
Listens intently.
Cameron is right behind the officer.
Gary watches from the living room as Cameron draws the shears
from behind his back. Squeezes the handle. Goes to swing --
Bark!
The officer looks over at Gary panting in the living room.
Then his attention shifts to the hallway.
Cameron is back by the front door. The shears on the console
table.
The officer stands. Approaches Camero n.
OFFICER
Thanks for your time.
CAMERON
(smiles)
Always happy to help you boys in
blue.
OFFICER
If you see Mr. Reeves, have him
give us a call?
CAMERON
Absolutely.
The officer leans down. Picks something up.
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72.
THE TENNIS BALL.
OFFICER
Think I found what your dog wanted.
He holds it out for Gary. Cameron spots the letters written
on the ball.
He snatches it from the officer.
CAMERON
(explaining)
You don’t want to touch his toys.
So much slobber.
Cameron wipes his thumb across the ball. SMEARS THE MESSAGE.
The officer studies Cameron.
OFFICER
You should take a look at that
cheek.
The officer leaves. Cameron shuts the door. Looks down at the
smeared message on that tennis ball.
Ratings
Scene 36 - Escape Plan Revealed
Kat yanks against the zip ties with all her weight. They bite
into her wrists, but she keeps tugging until...
Snap.
The ties break. She rips the tape off her mouth. Pulls
herself to her feet. Turns around. Cameron is there at the
bottom of the stairs. Gary is next to him.
Cameron holds that tennis ball.
CAMERON
Do you kno w what they would’ve done
to me if they found this?
Cameron STRIKES her in a flash of rage. She collapses to the
ground.
Gary BARKS.
And barks.
And barks.
Cameron turns to him.
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73.
CAMERON
Shhhh, buddy. It’s okay.
Cameron approaches Gary. Gary takes a step back.
CAMERON
Hey. Hey. It’s alright.
He crouches down in front of Gary.
As he does, Kat looks at the CARABINER OF KEYS jingling from
his belt loop right in front of her. Then her eyes drift over
to the pouch of salmon near the freezer...an idea forming.
CAMERON
Everything’s okay.
Cameron scratches behind Gary’s ears. But this ti me, Gary’s
eyes don’t grow heavy. They stay wide open, focused on
Cameron. Distrusting.
CAMERON
You almost got us in big trouble
today. I love you but you gotta
listen to me, ‘kay?
Cameron stands and sees that Kat is now in the corner. What
he doesn’t see is her wiping salmon off her hand behind her
back.
He stares at her, no longer filled with hope but with
disappointment. Knowing what he has to do.
C AMERON
C’mon, boy.
Cameron heads for the staircase.
Gary glances at Kat, then dutifully follows Cameron. As they
head upstairs, we ANGLE ON: Cameron’s carabiner. It shimmers,
greasy.
Tiny pieces of salmon stuck in the keychain.
Ratings
Scene 37 - Gary Protects Kat
Gary sits next to the washer.
Cameron rummages around on the shelf above him. Pulls down
that Lowe’s SHOPPING BASKET filled with the bleach and the
gl oves and the tarp.
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74.
Cameron sets the basket by the locked basement door.
Preparing for what’s to come.
He heads over to the console table.
Grabs those shears.
A CAR DOOR SHUTS outside, catching his attention. He crosses
to the window.
OUTSIDE: That police cruiser is still parked in front of
Randy’s house. The lights are off. The officers are inside.
One talks on the radio.
Cameron sighs. Shit.
INT. KITCHEN - NIGHT
Cameron t osses the shears on the counter. Fishes a PBR out of
the fridge.
He hangs his carabiner on its hook.
INT. LIVING ROOM - NIGHT
Cameron sits on the couch, sipping his beer, glancing out the
window at that police cruiser.
Waiting.
Gary lies down in the utility closet. Rests his head on his
paws. Closes his eyes.
LATER
A car engine starts outside, waking Gary.
He crosses to the window. Watches the POLICE CRUI SER RACE OFF
towards some emergency, lights flashing.
Gary turns around.
Cameron didn’t hear. He’s asleep, snoring on the couch.
INT. KITCHEN - MOMENTS LATER
Gary laps at his water bowl. Finishes drinking. Sniffs the
air as he dribbles water onto the floor.
Something catching his attention.
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He follows his nose to the breakfast nook. Hops up on it.
Looks up at that
CARABINER OF KEYS.
The tiny bits of salmon tantalizing his nose.
He cranes his neck.
Starts licking.
The keys jingle as he licks them and licks them and licks
them and...
CLANG!
The keys fall to the floor.
Gary hops down. Continues licking. Making sure he gets it
all. As he does, we RACK FOCUS to that BOTTLE OPENER sawing a
NOTCH into the bottom the basement door.
Then a pair of EYES stare through the notch, watching Gary.
It’s Kat. Lying on her stomach, face on the floor.
She whispers to him.
KAT
Good dog.
Gary sees her. She points at the keys. Five feet away from
her. Devastatingly close.
KAT
The keys.
Gary cocks his head. Just stares at her. Kat pushes a piece
of salmon through the notch.
KAT
Just like before. Remember?
Gary makes a beeline for the fish and scarfs it up.
KAT
That’s it. Now the keys. The keys.
Remember?
She points furiously back at the keys. Her energy excites
Gary. He gives a little bark.
KAT
Shhh!
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She peers into the living room. Has just enough of an angle
to see Cameron’s feet. He continues to snore.
Kat turns back to Gary.
KAT
The keys.
More frantic pointing. Gary turns around. Heads for the keys.
KAT
Yes. That’s it!
...and straight past them. Disappearing around the corner.
Shit.
STAIRCASE
Kat lies there on her stomach. Looking around for Gary.
KAT
Hey.
She scans to the left, the right.
KAT
Hey!
But he’s gone.
She pulls herself up. Drops the salmon. Hopelessness washing
over her.
And then...
A jingle.
Kat looks back under the door. Sees --
HAL LWAY
A FURRY PAW batting around the keys.
Kat frantically rips off a piece of salmon.
KAT
Yes. Yes. Good dog!
She pushes it through the notch. Gary approaches. Eats the
fish.
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KAT
The keys...
Kat points at the keys, but she doesn’t have to. Gary’s
already heading that way, a connection formed in his brain
between the sound and the food.
Gary bats the keys with his paw. Jingle. They slide closer to
Kat.
Four feet away.
Gary goes to get his reward. Gobbles up the fish.
KAT
Again.
Gary paws at the keys.
Jingle.
Three feet.
Gary eats his fish.
Kat eyes Cameron in the living room. His feet are still
there. Still snoring.
Jingle.
Two feet.
Fish.
Kat stares at the keys. They’re so close.
KAT
C’mon... c’mon...
Jingle.
One foot.
Right in front of Kat now. As Gary eats his fish, she pushes
her finger through the notch. Straining. Her fingertip
dancing next to the keys.
Jingle.
Gary SLIDES them over. Paw and finger connected by the
carabiner for a moment.
He did it.
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But that happy sight is overshadowed by another sight...
Over in the living room, CAMERON’S LEGS ARE GONE.
Fuck. Fuckfuckfuckfuck.
Kat pulls the carabiner through the notch.
THE STAIRCASE
She sits bolt upright. Clutching the keys. Eyes wide. Heart
racing. Holding her breath as she listens to those Carhartt
boots approaching.
Creek. Creek. Creek.
Kat looks down. They’re right on the other side of the door.
CAMERON (O.S.)
(groggy)
Whatta ya been eatin’ boy?
The boots continue past the door. A BATHROOM FAN clicks on. A
TOILET SEAT clunks up. She listens as Cameron starts to pee.
Now or never.
She fumbles through the keys on the carabiner. Tries one. No
good. Another.
Click.
The deadbolt unlocks.
She turns the handle. The door CREAKS as she opens it.
HALLWAY
Gary looks surprised to see Kat surfacing from the basement.
She puts her finger to her mouth. Shhh.
He stares at her for a beat, then turns and heads into the
kitchen. As if saying
Follow me.
Or he’s just hungry.
Either way, Kat shuts the basement door and hobbles after
him.
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Passes the hall bath. On the other side of the cracked door,
we can hear Cameron finishing up.
Kat keeps moving. Into
THE KITCHEN
Gary waits for Kat. As soon as she enters, he turns and noses
through the doggy door.
Kat limps after him. Quietly opens the door. Slips out to --
THE BACKYARD
Latches the door behind her.
She limps across the backyard, gritting her teeth. Gary by
her side.
They get to the back gate. Kat unlatches it and swings it
open.
Greeted with a happy sight.
THE WOODS
Acres and acres of trees. As vast as the basement was
confined.
Freedom.
Kat runs for it. Her Converse tearing through the leaves.
Adrenaline masking the stabbing pain in her ankle.
Not wasting a second to look back.
BEEEEEP.
What was that? Doesn’t matter. She keeps moving.
BEEEEEP.
It’s coming from behind her. She glances ove r her shoulder.
And there’s Gary.
Standing just inside the gate. Just inside the visible fence.
He tries to pass it, but --
BEEEEEP.
His collar goes off, shocking him. Gary barks.
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He’s stuck there.
Shit.
She stares at Gary. Knows he’s just as much a captive as her.
But what does she care? He’s a dog. She doesn’t even like
dogs.
Leave him.
Everything in her body telling her to run.
But she doesn’t.
Continues to stare at Gary. He cocks his head. Stares back at
her in only the way a dog can.
Even Kat not immune to it.
KAT
Fuck.
She glances at the house. No sign of Cameron.
Limps back to Gary.
Crouches in front of him. Grabs his collar. Fights to
unfasten it. The metal buckle’s stuck.
She shoots a glance up at the house. Still no sign of
Cameron.
Recommits to the collar. Finally gets it loose.
Grabs it with both hands. Pulls it over Gary’s neck.
SCREAMS!!!
Falls to the ground. Her hands latched onto the metal
contacts.
BEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEP!
She tries to let go of the collar but her hands won’t open.
Current racing through her body.
The beep finally stops as those Carhartt boots LAND beside
her.
Cameron.
Staring down at her. That collar app open on his phone. He
shakes his head.
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CAMERON
(re: collar)
Can’t believe they let these go up
to eighty milliamps. I’d never put
that much into a dog.
He presses and holds a button on the app.
BEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE...
Kat SCREAMS!
Gary barks.
And barks.
And barks.
But Cameron doesn’t let up.
...EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE...
He watches, disappointed, as Kat thrashes on the ground.
Fighting to open her hands.
Kat’s eyes roll back in her head, then...
She goes still.
....EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEP.
He lets go of the button.
Kat lies there unconscious.
He studies her for a long beat. Then, something steals his
attention. A SOUND coming from behind him.
Low and deep and rhythmic.
Like a sickly outboard motor. Only it’s not a motor.
It’s Gary.
Head low. Eyes fixed on Cameron.
Growling.
A side of Gary we’ve never seen before. Taking Cameron by
surprise.
Cameron crouches in front of Gary. Reaches a hand out to
scratch behind his ears.
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CAMERON
It’s okay, boy.
But this time, it’s not okay. He messed with Kat, and Gary
didn’t like that.
His growling grows.
Cameron hovers his hand there, looking into Gary’s eyes. The
eyes of a dog he no longer has control of.
And it breaks Cameron’s heart.
CAMERON
(nods)
Okay. Okay.
He pulls his hand back. Reaches into his pocket and grabs a
DOGGY BISCUIT. Sets it on the ground in front of Gary.
Cameron pick s Kat up and carries her towards the house.
Gary watches them head off, his attention on Kat. Concerned
for his friend.
He follows them into the house. Snapping up that treat on his
way.
Can’t pass up food.
Ratings
Scene 38 - Sorrowful Confrontation
Gary follows Cameron down the hallway. Panting.
Panting quite a lot, actually.
His heart racing.
Gary’s POV: The overhead lights turn fuzzy.
He follows Cameron into
THE GARA GE
It’s not just the lights that are fuzzy in here. Everything
is.
Cameron puts Kat in the bed of his truck. Turns around to
face Gary. His face is blurry, but we can still make out the
tears in his eyes.
Gary loses his balance. His hind legs start to give out.
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He looks up at Cameron, confused.
CAMERON
I’m so sorry, boy. I hate that I
have to do this again.
Gary takes another step. And collapses. As he hits the
concrete, everything goes BLACK.
Blackness.
Silence.
A long beat.
Then...
A rustling sound.
CORN.
Swaying in the breeze.
The image we started with. Only now we’re seeing it from a
different angle.
We’re on the ground.
Ratings
Scene 39 - Desperate Escape
Gary lies in the di rt. His eyes flickering open. Unable to
move. Unable to do anything except watch that corn sway back
and forth.
Peaceful.
Until...
An ENGINE ROARS to life in the distance.
Gary strains. Turns his head towards the noise. Is greeted by
A ROTTING FACE RIGHT NEXT TO HIM.
Randy. His head peeking out of that cocoon of tarps.
Beyond Randy is Kat’s limp body, lying in the dirt.
And beyond that...
The HARVESTER.
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Sitting in the dark. Rumbling. An angry monster in the
shadows.
HARVESTER
Cameron sits in the cab. Gary’s collar on the dash. He’s
crying. This is killing him.
He wipes his eyes on his sleeve, steeling himself.
Flips on the overhead floodlights. Stares out at his three
incapacitated targets. Shifts into gear.
Drives forward.
CORNFIELD
Gary squints into the floodlights. Impossible to see. Doesn’t
need to. Knows he only has a few seconds.
So does Kat.
He tries to pull himself up, but his muscles don’t respond.
The sedative still coursing through his body.
WWWHHRRRRRRRR!!!
Those STEEL BLADES spin to life. Shredding apart downed corn
as they approach.
HARVESTER
Cameron accelerates the blades to full RPM.
Flips off the floodlights.
He can’t watch this time.
CORNFIELD
Gary whines. Continues fighting to move hi s legs. It’s no
use.
Rests his head back down in the dirt.
Looking at Kat in her blue hoodie. Only it’s not Kat that he
sees.
It’s a boy.
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His boy.
Asher. Lying there in his Captain America shirt. How Gary
found him the night of the crash.
He blinks and it’s Kat again. He stares at her. About to lose
another human he cares about.
Can’t let that happen.
Recommits. Somehow, impossibly, summons the strength to pull
himself up.
Stands.
WWWWWWWHHHRRRRRRRRRRRR!!!
Those steel blades are five feet away.
He grabs Kat’s hoodie in his mouth. Sinks his claws into th e
dirt. PULLS BACKWARDS.
In short bursts. Tugging Kat slowly across the field. Racing
those blades. So many of them.
Not going to make it.
Pulls faster.
Frantic.
HARVESTER
Cameron grips the wheel as the combine starts to SHAKE AND
BUCK. The gears SCREAM.
Out the rear window, RED SLUDGE sprays into the cornfield.
He doesn’t look. Can’t look.
Another best friend gone.
CORNFIELD
Only he isn’t.
Gary lets go of Ka t’s hoodie beside a row of corn. They made
it.
Gary did it.
Because, unlike Cameron, he’s a fucking good boy.
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He’s the best boy.
He licks her face. She doesn’t move.
Keeps licking.
Covering her face in slobber.
Her eyes flicker open. Confused and scared. She takes in her
surroundings...
Kat’s POV: The corn. The combine chewing Randy apart. A furry
snout staring down at her.
Gary BARKS. As if to say: we gotta go.
And he’s right.
That diesel engine throttles back.
HARVESTER
Cameron shuts the header off. Sits there i n his misery.
Listens to the engine idle.
Something catches his eye. Something in the rearview
mirror...
Movement.
Gary and Kat running off.
Shit.
Cameron leaps to his feet. Throws the door open. He skips the
steps. Jumps straight down into the --
CORNFIELD
Lands on the dirt. Pulls out those SHEARS.
Runs.
UP AHEAD: Kat grits her teeth, limping along on her ankle.
Gary barks at her, trying to get her to go f aster. Already at
full speed.
Cameron’s closing fast.
They’ll never make it in the open. Gary seems to know this.
Spots that BARN up ahead.
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He barks. Takes off for it, slipping through one of the
broken doors.
Kat limps in after him.
Ratings
Scene 40 - Escape and Rescue
Gary leads Kat past the pallets and the old header. Down that
row of animal cages.
Takes her into the far cage just as --
CLANG.
The barn doors swing open and Cameron steps inside. He scans
the barn, shears shimmering in the moonlight.
Whistles.
CAMERON
C’mon, boy. Where are ya?
Gary hunkers low with Kat in the far cage, ignoring Cameron.
Cameron moves deeper into the barn. Past the pallets. Comes
to the row of cages. Eyes them.
He approaches the first cage. Swings open the metal gate.
CLANG.
No Gary or Kat.
CAMERON
You remember what it was like, boy?
Seeing the world through a gate?
He moves to another cage. Swings open the gate. CLANG. Empty.
CAMERON
Wondering if you were ever gonna
get out? If anyone even remembered
you were there??
CLANG. Another cage. Getting closer.
CAMERON
Got so hungry I would’ve done
anything to break free...and I did.
Cameron traces the stump where his pinky finger used to be
across the latch of the next gate.
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CAMERON
All we wanted was love and they put
us in a cage.
CLANG.
CAMERON
I love you too much to let them do
that to you again.
Kat spots Cameron approaching the cage next to her. She looks
for Gary.
He’s gone.
WTF?
She scans the barn for him.
Spots a pair of eyes staring at her through a SMALL GAP under
the back wall.
It’s Gary standing OUTSIDE THE BARN. He’s crawled out through
the gap.
Big enough for Gar y, too small for her.
CLANG.
Cameron’s in the adjacent cage. Time’s up. No other option.
She BOLTS for that opening.
Cameron sees her. Gives chase. Ten feet behind. Closing.
Kat dives to the dirt. Claws her way under the wall.
OUTSIDE THE BARN
Gary barks as she pulls herself forward. The jagged wood of
the wall BITING into her back. Doesn’t care. Squeezing.
Kicking. Willing herself through. When --
She SC REAMS.
INSIDE THE BARN
Cameron’s SUNK THE SHEARS INTO HER CALF. Grabs her legs.
Kat kicks them free.
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OUTSIDE THE BARN
Pulls herself out. Struggles to her feet. Falls. Blinding
pain.
Two bad legs now.
Pulls herself up again. Pushes forward. Pure survival.
Hobbles after Gary.
Blood runs down her leg, staining her Converse. She doesn’t
look down. Doesn’t look back. Keeps her eyes forward.
On Gary.
Leading her into the
CORNFIELD
Twisting and turning through the rows.
Deeper and deeper.
Kat finally collapses. Ca n’t go anymore. Hiding the only
option now.
She checks her leg. It’s not good. Covered in blood and not
stopping. She pulls off her hoodie. Starts to tie it above
the wound.
Gary doubles back. Stands next to her.
Panting.
Kat grabs his muzzle.
KAT
Shhh.
Gary quiets.
A distant WHISTLE rings out.
CAMERON
Heads through the cornfield. Flashlight in one hand. Shears
in the other.
CAMERON
C’mon boy. Where’d ya go?
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90.
He whistles again.
GARY AND KAT
Gary’s ears rise, but he stays by Kat’s side. Not going
anywhere. Listening to Cameron whistle and whistle and
whistle. And then
Silence.
Gary and Kat sit there for a long beat. Listening to the
rustling of the corn in the breeze.
No other sounds.
Eerie.
And then...
SOMETHING EXPLODES OUT AT THEM.
Gary BARKS.
Just one of those BUNNIES racing through the cornfield.
But Gary’s b ark gave them away. A beam of light hits Kat in
the face.
Cameron’s found them.
Kat leaps to her feet, but it’s too late. He grabs her.
Throws her to the ground. Her head hits the dirt.
She looks up, dazed. Cameron is on top of her. Pinning her
down.
CAMERON
I’m a good boy. A good boy.
As he draws the shears, a low, guttural SOUND comes from
behind him.
Cameron turns to see
Gary.
Head low. Fangs bared.
Gr owling.
A growl we haven’t heard from him. Animalistic. Instinctual.
Something coded not just into Gary, but all Garys. A need to
protect their human.
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91.
Gary has to protect his human.
And his human is not Cameron. Has never been.
He EXPLODES forward. SINKS HIS FANGS into Cameron’s arm.
Cameron SCREAMS as Gary rips him to the ground.
Gary proceeds to maul Cameron. Systematically tearing him
apart. It’s the most horrific and cathartic mauling of a
serial-killing, dog-murdering asshole you’ve ever seen.
By the time Gary is done, Cameron is a blubbering, bloody
mess. Neck shredded. Face bitten apart. Missing an eye.
Gary backs up. No joy from that. Only duty.
He stands in front of Kat protectively. She looks shocked.
The weight of what Gary just did for her sinking in.
Cameron tries to speak to Gary, his neck gurgling and
bubbling. Can’t get any words out.
Kat crawls over to Cameron. Digs his phone ou t of his pocket.
Dials 911.
As she places the call, she turns back to Gary. Studies him.
His muzzle stained red. Concern filling her face.
KAT
You gotta go.
Gary doesn’t move.
KAT
Go. You can’t be here when they
show up. Go on! Get the hell outta
here!
He doesn’t move. Kat tosses a rock at him.
KAT
GO!!!
More rocks. Gary looks confused, but turns. Heads off into
the cornfield.
Kat watches him leave.
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Ratings
Scene 41 - Isolation and Hope
The barn is surrounded by POLICE CRUISERS and AMBULANCES.
Paramedics load Cameron into the back of an ambulance. Still
alive. Destined for another cage.
Beside him, Kat gets her leg attended to, surrounded by
concerned FAMILY.
We PULL BACK to find
Gary.
Watching the scene from under the harvester.
On his own again.
EXT. HIGHWAY - DAY
Gary noses around a ditch as cars whip past in the
bac kground.
He finds a beer bottle. A plastic bag. Suddenly perks up.
Sniffs the air.
Picking up the scent of something. Something really
interesting.
Follows his nose over to
A STYROFOAM BOX.
Long John Silver’s logo on the lid.
Jackpot.
He noses it open. Starts to lick up the scraps of fish.
Behind him, an ANIMAL CONTROL truck pulls to a stop.
PRELAP: Barking.
Ratings
Scene 42 - A Glimmer of Hope
Gary stares out at us from behind a gate.
He’s in the top kennel this time. Listening to the cacophony
of barks around him.
He watches a FAMILY walk past below him. They don’t stop.
It’s as if he’s not even there.
Different view, same life.
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93.
He rests his head on his paws. Closes his eyes. Tries to
sleep.
Clang.
Clang. Clang. Clang.
Gary opens his eyes. Someone’s fumbling with his latch. They
finally get it unlocked. Open the gate.
A long beat.
A WORKER (32) pokes his head up, holding an iPhone.
WORKER
Alright...picture time. Smile.
The worker sticks the phone in Gary’s face and snaps a few
photos.
He pulls the camera back down. As he does, we REVEAL --
KAT.
Standing at the other end of the hallway.
Holding a tennis ball.
Gary and her meet eyes.
As Gary starts to lose control of his tail...
BLACK.
END
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Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
gary | Gary's character arc in the screenplay begins with his initial hesitancy and fear due to his past trauma. As the story progresses, he gradually learns to trust and forms a strong bond with his owner, Cameron. Through their relationship, Gary experiences growth and development, becoming more brave, protective, and observant. He becomes a key player in helping the captive character escape and ultimately saves her from danger. Gary's arc showcases his resilience, intelligence, and unwavering loyalty. | The character arc for Gary is well-developed and effectively portrays his growth and transformation throughout the story. However, it would be beneficial to further explore Gary's internal struggles and emotions, particularly in relation to his past trauma. This would add depth and complexity to his character, allowing the audience to connect with him on a deeper level. | To improve the character arc for Gary, consider incorporating moments of introspection or reflection where he grapples with his past trauma and the challenges he faces in trusting others. This could be done through internal monologues or subtle visual cues that convey his inner thoughts and emotions. Additionally, consider exploring the impact of Gary's actions on the other characters and the overall plot, highlighting the significance of his bravery and loyalty. This will further emphasize his growth and the importance of his role in the story. |
cameron | Cameron's character arc in the screenplay is a feature involves a transformation from a seemingly caring and compassionate individual to a disturbed and dangerous antagonist. He starts off as a shelter worker who shows empathy towards animals and longs for companionship. However, as the scene progresses, his dark side is gradually revealed, and he becomes involved in violent and dangerous activities. Cameron's arc explores themes of violence, control, and the consequences of one's past actions. He struggles with his actions and desires redemption but ultimately succumbs to his dark nature. | The character arc for Cameron is well-developed and provides a compelling transformation from a seemingly normal individual to a disturbed antagonist. However, it would be beneficial to provide more specific details about his troubled past and the events that lead to his involvement in dangerous activities. This would help to further deepen his character and provide a clearer understanding of his motivations. Additionally, it would be helpful to explore the emotional journey of Cameron more explicitly, highlighting his internal struggle and the impact of his actions on his own psyche. | To improve the character arc for Cameron, consider incorporating flashbacks or additional scenes that delve into his troubled past and the events that shaped him. This would provide a clearer understanding of his motivations and add depth to his character. Additionally, explore the emotional journey of Cameron more explicitly, showing the internal struggle he faces as he grapples with his dark nature. This could be achieved through introspective moments or dialogue that reflects his conflicting emotions. Overall, aim to provide a more nuanced exploration of Cameron's transformation and the emotional toll it takes on him. |
kat | Kat's character arc in the screenplay begins with her as a desperate and traumatized captive, filled with fear and desperation. However, as the story progresses, she gradually finds resilience and determination within herself. Through her interactions with Gary, she learns to trust and rely on others, overcoming her initial distrust of dogs. This newfound connection and trust give her the strength to fight for her freedom and take risks. By the end of the screenplay, Kat has transformed into a courageous and resourceful woman who refuses to be a victim. | The character arc for Kat is well-developed and shows a clear progression from fear to resilience. However, it would be beneficial to further explore the emotional impact of her traumatic past experience with the pitbull. This could add depth to her initial distrust of dogs and enhance her transformation as she learns to trust Gary. Additionally, providing more specific details about the challenges she faces in the basement and the risks she takes to escape would further engage the audience and heighten the tension. | To improve the character arc, consider incorporating flashbacks or dialogue that delves deeper into Kat's traumatic past experience with the pitbull. This will allow the audience to empathize with her initial distrust of dogs and understand the emotional journey she undergoes as she learns to trust Gary. Additionally, consider adding specific obstacles and challenges in the basement that Kat must overcome, showcasing her resourcefulness and determination. This will create more tension and suspense, keeping the audience invested in her journey towards freedom. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Correlation between Emotional Impact and Overall Grade | There is a strong positive correlation between Emotional Impact and Overall Grade in this screenplay. Scenes with higher Emotional Impact tend to have higher Overall Grades. |
Correlation between Conflict and High Stakes | There is a moderate positive correlation between Conflict and High Stakes in this screenplay. Scenes with higher Conflict tend to have higher High Stakes. |
Correlation between Dialogue and Character Changes | There is a moderate positive correlation between Dialogue and Character Changes in this screenplay. Scenes with more Dialogue tend to have more Character Changes. |
Correlation between Tone and Emotional Impact | There is a weak positive correlation between Tone and Emotional Impact in this screenplay. Scenes with more positive or hopeful Tone tend to have higher Emotional Impact. |
Correlation between Tone and Conflict | There is a weak positive correlation between Tone and Conflict in this screenplay. Scenes with more positive or hopeful Tone tend to have higher Conflict. |
Correlation between Tone and High Stakes | There is a weak positive correlation between Tone and High Stakes in this screenplay. Scenes with more positive or hopeful Tone tend to have higher High Stakes. |
Correlation between Tone and Move Story Forward | There is a weak positive correlation between Tone and Move Story Forward in this screenplay. Scenes with more positive or hopeful Tone tend to move the story forward more. |
Writer's Craft Overall Analysis
The overall writing style of this screenplay is effective in creating tension, suspense, and emotional depth. The writer demonstrates a strong command of descriptive language, concise dialogue, and impactful narrative direction. The scenes analyzed showcase the writer's ability to engage the reader and create vivid and immersive atmospheres. However, there are areas for improvement in terms of character development, exploring different genres and tones, and further refining the writer's unique voice and style.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Save the Cat! Writes a Novel by Jessica Brody | This book provides insights and exercises for improving storytelling, character development, and plot structure, which can enhance the writer's overall craft. |
Course | Screenwriting Masterclass by Aaron Sorkin | This course offers valuable lessons and techniques from a renowned screenwriter, providing the writer with additional tools to enhance their screenwriting skills. |
Exercise | Write a scene with a different genre or tonePractice In SceneProv | Exploring different genres and tones can help the writer expand their storytelling abilities, experiment with different styles, and further develop their craft. |
Stories Similar to this one
Story | Explanation |
---|---|
A Dog's Purpose | This movie shares similarities with the screenplay in that it follows the journey of a dog, Gary, who goes through various owners and experiences different situations. Both stories explore the bond between humans and dogs and the emotional connection that can develop. |
Marley & Me | This movie also revolves around a dog, Marley, and his impact on the lives of his owners. Like the screenplay, it explores the ups and downs of pet ownership, including the challenges and joys that come with it. |
Homeward Bound: The Incredible Journey | This film follows the adventure of two dogs and a cat as they journey through the wilderness to find their owners. It shares similarities with the screenplay in terms of the animal characters' determination and loyalty to their human companions. |
Old Yeller | This classic film tells the story of a loyal dog named Old Yeller who protects his family from various dangers. It shares similarities with the screenplay in terms of the dog's protective nature and the emotional bond between the dog and his owners. |
Lassie | Lassie is a beloved character in books, movies, and TV shows, known for her loyalty and bravery. This story shares similarities with the screenplay in terms of the dog's determination to help and protect her owners, as well as the strong bond between the dog and her human family. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Car Accident | A serious accident occurs when a tow truck crashes into the family's car. | The car accident trope is a common plot device used to create tension and propel the story forward. It often serves as a catalyst for character development and plot twists. An example of this trope can be seen in the movie 'Crash' (2004), where multiple characters' lives intersect through a series of car accidents. |
Rescue Dog | Gary, the dog, is brought into the animal shelter and no one seems to want him until Cameron comes along. | The rescue dog trope is often used to create empathy for the character and highlight the importance of adoption and giving animals a second chance. It can be seen in movies like 'Homeward Bound: The Incredible Journey' (1993), where the main characters are rescue animals on a journey to find their owners. |
Reluctant Pet Adoption | Gary is hesitant to get into Cameron's truck and takes a step back when Cameron tries to pick him up. | The reluctant pet adoption trope is often used to show the initial resistance or hesitation of a character to take on the responsibility of caring for a pet. It can be seen in movies like 'Marley & Me' (2008), where the main character is initially reluctant to adopt a mischievous dog but eventually forms a deep bond with him. |
Neglected House | Cameron's house is described as having worn hardwood floors, stained ceiling, and a dusty TV. | The neglected house trope is often used to set a gloomy or desolate atmosphere and reflect the emotional state of the characters. It can be seen in movies like 'The Others' (2001), where a neglected house becomes the setting for supernatural events and psychological tension. |
Mysterious Discovery | Gary discovers a rose-colored adidas woman's sneaker in the woods. | The mysterious discovery trope is often used to introduce a plot twist or create intrigue. It can be seen in movies like 'Gone Girl' (2014), where the discovery of a mysterious object leads to a series of unexpected events and revelations. |
Nightmare Sequence | Cameron has a nightmare and screams, waking up Gary. | The nightmare sequence trope is often used to reveal a character's fears, traumas, or subconscious desires. It can be seen in movies like 'A Nightmare on Elm Street' (1984), where characters experience terrifying nightmares that become a central part of the plot. |
Comforting Animal | Gary lies down on Cameron's chest and comforts him after he has a nightmare. | The comforting animal trope is often used to show the emotional support and bond between a human and an animal. It can be seen in movies like 'The Secret Life of Pets' (2016), where a dog provides comfort and companionship to a character going through a difficult time. |
Break-In | Someone breaks into Cameron's house while they are out. | The break-in trope is often used to create suspense and introduce a threat or antagonist. It can be seen in movies like 'Panic Room' (2002), where a mother and daughter are trapped in their own home by intruders. |
Locked Door | Gary tries to open the locked door to reach Cameron in the basement. | The locked door trope is often used to create tension and prevent a character from reaching their goal or escaping a dangerous situation. It can be seen in movies like 'The Shining' (1980), where a character is trapped in a room with a locked door and no means of escape. |
Animal Intuition | Gary senses something is wrong and tries to alert Cameron by barking and pawing at the locked door. | The animal intuition trope is often used to show that animals have a heightened sense of danger or can sense supernatural phenomena. It can be seen in movies like 'Cujo' (1983), where a dog senses a threat and tries to protect its owner. |
Theme | Theme Details | Themee Explanation | ||
---|---|---|---|---|
Survival | The screenplay explores the theme of survival through the experiences of Gary, the dog, as he navigates various dangerous situations and tries to protect himself and others. | Survival is a prominent theme in the screenplay as it focuses on the characters' efforts to stay alive and overcome challenges. Gary's survival instincts are tested as he faces accidents, captivity, and dangerous encounters. The theme is also reflected in Cameron's actions as he resorts to extreme measures to ensure his own survival. | ||
Strengthening Survival:
| ||||
Companionship | The screenplay explores the theme of companionship through the bond between Gary and Cameron, as well as the relationships between other characters and their pets. | Companionship is a significant theme in the screenplay as it highlights the importance of human-animal relationships. Gary's connection with Cameron provides emotional support and comfort to both characters. The theme is also evident in the interactions between other characters and their pets, emphasizing the role of companionship in their lives. | ||
Trauma and Healing | The screenplay delves into the theme of trauma and healing through the experiences of Gary, Cameron, and Kat, who have all endured traumatic events and struggle to find healing and recovery. | Trauma and healing are explored in the screenplay as the characters grapple with the aftermath of accidents, abuse, and captivity. Gary, Cameron, and Kat all carry emotional scars and seek healing in different ways. The theme highlights the resilience of the characters and their journey towards finding solace and moving forward. | ||
Isolation and Loneliness | The screenplay touches on the theme of isolation and loneliness through the experiences of Gary, Cameron, and other characters who feel disconnected and yearn for connection. | Isolation and loneliness are present in the screenplay as characters like Gary, Cameron, and Kat struggle with feelings of being alone and disconnected from others. The theme explores the human need for connection and the emotional toll of isolation, highlighting the characters' longing for companionship and belonging. | ||
Betrayal | The screenplay explores the theme of betrayal through the actions of Cameron, who betrays the trust of others, including Gary and Kat. | Betrayal is a theme in the screenplay as Cameron's actions reveal his betrayal of trust towards Gary and Kat. The theme explores the consequences of betrayal and the impact it has on relationships and characters' lives. It also raises questions about loyalty and the boundaries of trust. |
Screenwriting Resources on Themes
Articles
Site | Description |
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Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
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Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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Summary: | The writer's voice in this screenplay is characterized by its focus on solitude and isolation, emotional depth, and the power of companionship. The writing style is simple, yet evocative and atmospheric, drawing the reader into the characters' inner worlds. |
Voice Contribution | The writer's voice contributes to the script by creating a sense of intimacy and emotional connection with the characters. The focus on solitude and isolation highlights the characters' longing for companionship and belonging, while the emotional depth provides a nuanced understanding of their struggles and resilience. |
Best Representation Scene | 1 - Tragic Accident in the Cornfield |
Best Scene Explanation | Scene 1 is the best representative of the writer's voice because it effectively combines simple, evocative language with a focus on solitude and isolation to create a powerful and atmospheric opening to the screenplay. |
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goals evolved throughout the script, reflecting their deeper needs for companionship, safety, security, stimulation, and a sense of purpose. |
External Goals | The protagonist's external goals evolved throughout the script, reflecting their immediate circumstances and challenges, such as finding shelter, obtaining food, investigating mysteries, and ensuring safety. |
Philosophical Conflict | The overarching philosophical conflict involves the clash between the protagonist's values of freedom, autonomy, and self-preservation and the antagonists' values of control, power, and abuse. This conflict intertwines with the protagonist's journey as they navigate their beliefs and values while facing and overcoming oppression. |
Character Development Contribution: The protagonist's internal goals and their journey to achieve those goals contribute to their character development by challenging and evolving their beliefs, values, and desires. Through their experiences, the protagonist develops resilience, trust, compassion, and a sense of agency.
Narrative Structure Contribution: The protagonist's internal and external goals provide a narrative structure that propels the story forward and creates tension and conflict. Their evolving goals shape the protagonist's actions, decisions, and relationships with other characters, driving the narrative and creating engaging plot developments.
Thematic Depth Contribution: The protagonist's goals and the overarching philosophical conflict deepen the screenplay's themes of companionship, trust, safety, freedom, and the search for meaning. These elements explore the complexities of human nature and the profound impact of relationships, power dynamics, and personal growth.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
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How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The physical environment in the screenplay includes various settings such as a rural cornfield, an animal shelter, a suburban neighborhood, a worn and neglected house, a well-maintained kitchen and backyard, a typical suburban home, a garden center, a bedroom and hallway, an abandoned farmhouse, a utility closet, a basement, a farm, a garden center checkout, a typical suburban neighborhood, a kitchen in the morning, a typical living room, a Lowe's Home Improvement/Garden Center, a suburban neighborhood at night, a kitchen and utility closet, a suburban neighborhood, a bedroom and a vent, a suburban neighborhood, a utility closet at night, a backyard and a kitchen, a typical suburban home with a unique basement, and a suburban neighborhood with a living room, backyard, and basement.
- Culture: The cultural elements in the screenplay include the characters' casual conversation, the presence of people surrendering and adopting animals at the animal shelter, the presence of a dog and the societal structure of neighbors living in close proximity in the suburban neighborhood, the presence of a dog and the societal structure of a close-knit community in the suburban neighborhood, and the idea of taking care of plants and the societal structure implied through the interaction between the characters at the garden center.
- Society: The societal structures in the screenplay are not explicitly mentioned or explored in most scenes. However, there are hints of a close-knit community in the suburban neighborhoods and the presence of animal control and paramedics in certain scenes.
- Technology: The technological aspects in the screenplay include the use of a radio, A/C vents, an iPhone, a 37” Vizio television, a doggy door, a carabiner of keys, a locked door, a flashlight, an electric collar, and a carabiner of keys with a built-in electric shock device.
- Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions in various ways. For example, the tranquility and normalcy of the rural cornfield scene contribute to the sudden tragedy that occurs. The presence of a dog and the societal structure of neighbors living in close proximity influence the interactions and relationships between characters in the suburban neighborhood scenes. The confinement and neglect of the worn and neglected house shape the behavior and emotions of the characters. The familiarity and domesticity of the well-maintained kitchen and backyard scene contrast with the potential danger in the woods, creating tension and mystery. The suspense and tension in the utility closet scene drive the actions of the characters. The close-knit community and the presence of a missing woman influence the atmosphere and actions in the suburban neighborhood scenes. The confinement and desperation of the basement scenes affect the characters' behavior and choices. The nostalgia and emotional connection to the farm shape the protagonist's actions and motivations. The care of plants and the societal structure of the garden center influence the characters' interactions and choices. The mundane and ordinary setting of the garden center checkout scene reflects the characters' everyday lives. The tension and unease in the suburban neighborhood scenes influence the characters' actions and decisions. The confinement and vulnerability of the utility closet scene affect the characters' emotions and interactions. The confined and oppressive space of the basement scenes shape the characters' behavior and choices. The isolation and vulnerability of the cornfield scene influence the characters' actions and emotions. The tension and danger in the barn and cornfield scenes drive the characters' actions and decisions. The urgency and danger in the farm scene affect the characters' behavior and choices. The confinement and longing for connection in the animal shelter scene shape the characters' emotions and interactions.
- Narrative contribution: The unique physical environment, culture, society, and technology contribute to the narrative of the screenplay by establishing the settings, creating atmosphere and tension, driving the characters' actions and decisions, and providing opportunities for conflict and resolution. The various world elements help to establish the tone and mood of each scene, create a sense of place and time, and enhance the overall storytelling.
- Thematic depth contribution: The world elements in the screenplay contribute to the thematic depth by exploring themes such as isolation, confinement, vulnerability, danger, community, domesticity, mystery, and the human-animal connection. The physical environments, cultural elements, societal structures, and technological aspects reflect and reinforce these thematic elements, adding depth and complexity to the story.
central conflict
The central conflict revolves around Cameron's dark secret and his struggle to maintain control over his actions and emotions.
primary motivations
The primary motivations include Cameron's desire for companionship and control, Gary's loyalty and need for love, and Kat's determination to escape and survive.
catalysts
The catalysts include the car accident that leads to Gary's injury and the subsequent adoption by Cameron, the break-in at Cameron's house that reveals his true nature, and the discovery of the captive women in the basement.
barriers
The major barriers include Cameron's violent and unpredictable behavior, Gary's fear and confusion, and the physical restraints and threats faced by Kat.
themes
The central themes include loyalty, survival, the bond between humans and animals, and the consequences of past trauma.
stakes
The stakes involve the lives and well-being of Gary, Kat, and the other captive women, as well as the potential for Cameron to continue his violent actions.
uniqueness factor
The uniqueness factor lies in the perspective of the story being told through the eyes of a dog, highlighting the bond between humans and animals and exploring themes of loyalty and companionship.
audience hook
The main audience hook is the suspense and tension created by the unpredictable and dangerous actions of Cameron, as well as the emotional connection between Gary and the other characters.
paradoxical engine or bisociation
The paradoxical engine in this story is the contrast between the innocence and loyalty of Gary, a dog, and the dark and violent actions of Cameron, a human. This contrast creates a tension and intrigue that keeps the audience engaged.
paradoxical engine or bisociation 2
Another option for the bisociation engine could be the exploration of the human-animal bond and the capacity for animals to provide comfort and support in times of trauma and distress.
Consider
Executive Summary
Bad Boy is a unique and suspenseful thriller told from a dog's perspective, offering a fresh and engaging approach to the genre. The screenplay has several strengths, including its captivating opening and ending, suspenseful atmosphere, and emotional connection between the dog and the victims. However, some areas could be improved, such as pacing, character motivations, and further exploration of the animal abuse theme. Overall, Bad Boy has the potential to be a compelling and thought-provoking film with a distinct voice and perspective.
- Unique perspective: The story is told from the dog's point of view, offering a fresh and engaging approach to a dark thriller. high
- Strong opening and ending: The screenplay begins with a captivating hook and concludes with a satisfying resolution that leaves a lasting impact. high ( Scene 1 Scene 39 )
- Suspenseful atmosphere: The screenplay effectively builds tension and suspense, keeping the audience on the edge of their seats. high
- Character development: Despite being told from the dog's perspective, the screenplay subtly reveals the complexities of Cameron's character and his troubled past. medium
- Emotional connection: The bond between Gary and the victims, particularly Kat, creates an emotional core that resonates with the audience. medium
- Pacing: Certain sections of the screenplay could be tightened to maintain a consistent and engaging pace. medium
- Character motivations: While Cameron's troubled past is hinted at, further exploration of his motivations would provide greater depth and understanding of his actions. medium
- Kat's backstory: Providing more insight into Kat's life and personality would strengthen the audience's connection to her character. low
- Exploration of animal abuse theme: The dog's perspective offers a unique opportunity to delve deeper into the theme of animal abuse and its impact on both animals and humans. medium