INT. HOTEL ROOM - NIGHTKirby lays in bed, headphones on. He presses play onMeyers's tape recorder.MEYERS (ON TAPE)So... Mr. Backovic... thisis your first feature film.A voice answers -- smooth, with a hard-to-place Europeanaccent, commanding. The same voice we heard at the verystart of the film.BACKOVIC (ONTAPE)I prefer not to categorizeany film. What differencedoes a running time make?The mechanics of film...the language...that is what matters.Kirby lays back, gets comfortable.MEYERS (ON TAPE)Your work so far has beenexperimental. You eschewconventional narrative.As Kirby listens, he stares at the ceiling.BACKOVIC (ONTAPE)Narrative is dead.Hollywood is shit. Film isnot entertainment. It ispower. If you understandthe potential of film, youcan reshape the world.MEYERS (ON TAPE)What was the origin of thisfilm?
BACKOVIC (ONTAPE)What is the origin of anywork of art? My films arenot about the text, butinstead are about the wayan edit affects ourexpectations. The politicsof the splice. Every frameis a square on a chessboard,an opportunity. Myproducers are... likemindedpeople.Suddenly there's a FLASH in front of Kirby, a ragged circlein the air, like a marker before a reel change.Then it's gone almost instantly.Kirby flinches, startled.KIRBYWhat the fuck?!Kirby takes off his headphones. There's a sound. Kirby stopsand listens. He realizes it's the water running in thebathroom... the sound of the bathtub filling.The lights in the bathroom are on. A shadow passes by at thebottom of the door.Kirby stands up, nervously walks across the room.He puts his hand on the door and gives it a gentle push.It's unlocked and opens a few inches.Through the opening he sees that someone is in the tub. It'sthe same tub we saw earlier in the brief flashback of Annie,somehow here in this hotel now.A woman's bloody arm dangles over the edge. One drop rollsoff her finger and hits the floor.In that moment, there's another FLASH, a flaming circle --And in the circle, a FACE, covered in blood, screaming.SHOCK CUT TO: