Such A Pretty Girl

By Adamski Fleetwood

Gant

My Balls

Slut dropping is sin Sniff me

1 SCENE 1 - HEARTBROKEN - INT KITCHEN - DAYTIME 1
EST. KALLIES HOUSE.

Int.
all is dark. The fridge door opens to reveal Kallie. She
reaches in and retrieves a can of cola. The fridge door
shuts once more, plunging us into darkness.

At the kitchen table she pops the cap on her cola, takes a
brief sip and places it down. She lights a cigarette,
looking contemplative. Her mobile phone rings and she
checks to see who it is. Her phones display reads Hayley
J and with a look of relief she answers.

KALLIE
Hey hon, whats up?
She slides an ashtray towards herself and taps the ash
from the tip of her cigarette.

HAYLEY
You know whats up. Come on, how
are you? You keeping it together?
KALLIE
I guess so, just keeping busy,
you know?
HAYLEY
Come on Kallie, Im not falling
for it.

KALLIE
Okay fine, Im in pieces, Im
hurt and more than anything Im
angry...

She nervously fidgets with some papers on the kitchen

table, fraying the edge a little.
HAYLEY
Im not surprised! Cheating after
two years... I cant believe
Casey!
KALLIE
Neither can I...
They take a pause.

HAYLEY
What about that other thing? The
photography, what was that again?

(CONTINUED)
CONTINUED: (2) 2.

KALLIE
Oh yeah, that. Im not so sure
about it, they want two thousand
words on how tough it is to
become a photographer basically.
Id like to do it but Ive got so
much going on with my
dissertation. Where the hell am I
gonna find the time?

Kallie picks up a copy of the nature magazine and leaves

through, looking at the nature photos.
KALLIE
I suppose I could get some
pictures for the article, maybe.

HAYLEY
Well thats perfect if you think
about it! You could go camp out
for a couple of days, Ive got a
tent you can borrow, get some
space away from here and grab
some pictures!
KALLIE
And maybe get some perspective on
all this crap with Casey.
HAYLEY
That too. Its about time you cut
back for a couple of days.

KALLIE
Yeah, youre right.
HAYLEYT
Always am baby!

KALLIE
Ive gotta go hon, but Ill call
you in a day or two.
HAYLEY
Sure babe, see you soon.

KALLIE
Yeah, see you.
Kallie hangs up the phone and stubs out her cigarette in
the ashtray in front of her. She looks out of the window
as a faint smile plays on her lips. Maybe theres hope
yet.
 3.

2 EXT. KALLIES HOUSE - DAYTIME 2

The house is still for a moment. The front door opens and
Kallie exits carrying a rucksack, tripod and rolled up
tent. She walks to her car and unlocks it, dumping her
things in the boot. She then walks around to the drivers
side door, gets in and starts the car up.
Checking her phone, she sees multiple missed calls and
texts from Casey and deletes them. She looks at herself in
the rear view mirror, her eyes tearing up a little. She
sighs, wipes them and pulls away.
She drives along country roads, eventually arriving at the
forest.

Int. Car boot - Kallie opens the boot, retrieves her

camping gear and shuts the boot again. She walks into the
forest to find a place to camp.
Upon finding a suitable area, she leaves her things behind
a bush. She takes a polaroid photo out of her pocket, an
image of her and Casey in happier times. She stares at it
for a moment then stuffs it into her rucksack and sets off
into the trees.
3 SCENE 2 - INTO THE WOODS - EXT FOREST - LATE AFTERNOON 3

Kallie wanders the forest taking pictures of leaves and

trees. She comes to a shallow brook and dips her fingers
in, feeling the current go by. She smiles, staring up into
the trees and experiencing the beauty of the forest and
the sunlight coming through the trees.

Lots of mood shots intercut with her reactions.

Following a vague path through the trees along the bank of
the brook she comes to an area with a makeshift camp which
seems to be abandoned. The camp is constructed of twigs,
branches and burnt tyres. She grabs a few shots, her
expression a little puzzled until something catches her
eye.
A few feet away, something pink is sticking up out of the
dirt. She approaches it slowly and crouches down to take a
closer look. She begins to sift the soil off of it,
digging it out with her fingers.
KALLIE
What the hell?

It is a barbie doll, buried in the ground. Its face has

been disfigured, the eye sockets melted and scratched. In
other areas on the dolls body there are clear burns and
abrasions. As she looks up slowly she notices a number
more which have been buried up to their necks, six in
total, their faces all pointing her way, in the same state
 4.

as the one she has just dug up. She takes a quick photo
and then sheepishly gets out of there in a hurry.
4 SCENE 3 - WATCHED - EXT CORN FIELD - LATE AFTERNOON 4

Kallie climbs a small but steep incline and emerges out

onto a cornfield. The ground is still fairly easy to
traverse so she walks a little way in to get a photo of
the field and surrounding trees.

She lifts the camera to her eye, choosing to use the

viewfinder rather than the foldout screen to take her
picture. Suddenly she takes her eye away from the camera,
her mouth hanging open in worry. Somebody is stood a
little distance away, watching her from the treeline. The
figure turns and disappears into the trees.

Kallie, visibly a little shaken, hastily packs away her

camera and leaves the cornfield, going back the way she
came.
5 EXT. NIGHT - CAMPSITE 5

Kallie is sat in the entranceway to her tent, her only

light a small fire pit which she has created for herself
and a halogen camping lamp. She takes a drag on her
cigarette and then rummages in her rucksack, producing the
polaroid photo she looked at earlier.
After a contemplative moment she casts it onto the fire
where it blackens, crumples and bubbles. As it burns away
to nothing she watches, looking mournful yet stronger,
letting go of the past.

A branch cracks in the trees to her right, she whips her

head around to look for the source of the noise.
(Insert. POV. Someone watches her from the treeline.)

After a few moments scanning the treeline she decides that

it is nothing and goes to bed. She pulls her covers inside
and finds a comfortable position. Placing her camera down
next to her, she reaches for the camping light (light and
hand in focus). She switches the light off. Cut to black.

6 SCENE 4 - SUCH A PRETTY GIRL - INT TENT - MORNING 6

Kallie is asleep, somewhat feverish. In ECU we see her eye
open and look around, a little confused. She sits up, rubs
her eyes to wake herself up and begins to roll a
cigarette. Once rolled, she moves to sit in the doorway of
the tent.
She reaches back and grabs her camera (camera and hand in
focus) and begins to look through the pictures. She nods
and smiles at some of the nature shots and then...

(CONTINUED)
 CONTINUED: (2) 5.

The last four pictures on the camera are of her, asleep in

the tent. She reacts in terror, sets the camera down and
leaves the tent.

Through the cameras foldout screen we see her exit the

tent, look around, scanning the environment for her
pursuer. Suddenly she is grabbed from behind by a dark
figure and with a scream is dragged our of shot.
The camera viewfinder is left recording and lonely for
around ten seconds.
7 CUT TO BLACK - SUSTAIN SHOT 7
All is black. We hear heavy, claustrophobic breathing
gradually turning to panic and hysteria. We hear echoless
thuds as her hands and other extremities bump on what we
assume is a wooden box.
KALLIE
Please dont do this! Please! Im
sorry, Ill do whatever you want,
anything just please dont do
this! Ill be your wife, Ill do
anything! Please!
We begin to hear the scrape of a shovel on soil.

KALLIE (FRANTIC)
Please, please! Dont do this!
No!
The crunch as soil begins to be shovelled onto the top of
her coffin.
KALLIE
No, no, no! Please!
As Kallie screams and the soil continues to be shovelled
on, sealing her fate, she screams. Her haunting scream
fades into a further ten second period of blackness.
8 SCENE 5 - CREDITS 8
Silence and darkness. We hear a phone ring twice before it
is picked up.
Casey - Oli White
Kallie - Chelsea Carter

POLICE LINE OPERATOR

Hello, how can I help you?
CASEY
Im calling about my ex
girlfriend. Ive been trying to
(MORE)
(CONTINUED)
 CONTINUED: (2) 6.

CASEY (contd)
get in touch but her phone keeps
going to voicemail.

Hayley -
CASEY
I know she went camping on her
own, something to do with a
project she had going on but that
was two weeks ago...
Directed by Adamski Fleetwood
AF Productions

9 THE END 9
10 POST-CREDITS - EXT. DAYTIME - DOLL GARDEN. 10
The camera moves slowly through the doll garden,
eventually revealing that there is now one more doll
buried...
Ext lal locks up, walks to car pan across
In car lal checks phone

OSs Casey on phone

In car lal react, states engine, pulls away
Ext car drives away from house