Feminism In Elie Wiesel's 'Night'

13. EXT. JAVIER'S LOFT - MOMENTS LATER (10:10-10:56)

On their way back to the car, Liv and Clive discuss the case after he questions Liv about her behavior towards Tasha. Clive does not believe that Lola didn't care about her husband's affair, and insists that it is always the spouse.

Clive then receives an email from Ravi, explaining that the angle of the paintbrush suggests that the assailant was at least 6 feet 2. Liv then goes on to tease Clive about his spouse theory as Lola is a petite woman, just like her.

14. INT. MORGUE - DAY (10:57-11:29)

Liv enters the morgue to find Ravi sitting with JIMMY, a police sketch artist. Ravi told Jimmy that Liv was looking for a man she has a crush on, and Jimmy agrees to help them, after revealing an uncomfortable

anecdote about himself.

15. INT. MORGUE - MOMENTS LATER (11:30-12:23)

Jimmy is sketching Blaine's features, following Liv's instructions, which are full of poetry, art and contradictions. She uses terms such as a historic chin or alert nose, much to Jimmy and Ravi's surprise and confusion.

When Jimmy exits the morgue, frustrated, a thrilled Ravi hands Liv a pencil, assuming she just acquired a new skill.

(Hero Committed)

16. INT. SEATTLE P.D. INTERROGATION ROOM - DAY (12:24-13:49)

Clive interrogates Artie concerning his and Lola's alibi, and wondering if he wasn't having an affair with her. Artie seems shocked at the suggestion, affirming that Lola was completely devoted to Javier, and even though Javier was one of his closest friends and an amazing artist, he was a terrible husband, sleeping with every model he met.

Artie suggests that the police turn to the jilted boyfriends of Javier's mistresses before revealing he is 6'2

17. INT. MORGUE - DAY (13:50-13:58)

Liv has taken over for Jimmy, sketching Blaine herself. She has incredible talent.

18. INT. LIV & PEYTON'S APARTMENT/LIVING ROOM - DAY (13:59-14:45)

Peyton sits in an armchair, wearing yoga pants and working on her computer. In the middle of the room, Liv examines a painting on the wall above their couch. She believes it is awful, but Peyton tells her that it matches the pillows and that they never were into art anyway.

QUICK CUTS: Bags of art supplies, paintbrushes being laid out, an easel, a canvas being propped up on the easel.

Liv reveals that for the six months she has been eating brains, she inherited personality traits and skills that made her paranoia, fear or kleptomania. But for the first time, she is able to see, feel and paint the beauty of the world.

Liv holds a paintbrush in her hand, looking at the canvas with wondering eyes. She dips the brush in paint, and starts drawing.

15. INT. MORGUE - DAY (14:46-15:07)

Liv puts on her lab coat, and walks into the morgue. Behind her, a body is laid out on the table, but as she walks away, the corpse rises.

It's Blaine.

TITLE CARD - "TWO ZOMBIES WALK INTO A MORGUE" (15:08)

16. INT. MORGUE - CONTINUOUS (15:09-17:37)

Blaine quickly gets confirmation that Liv's physical appearance isn't a style choice, and pulls out a screenshot of a Facebook page, with Liv's sketch posted on it, wondering why she is looking for him. Liv recounts that a body turned up in the morgue, and when she ate his brains, she had a vision of Blaine chasing the victim.

Both Blaine and Liv believed to be the only zombie alive…or rather undead.

Blaine reveals that he has been surviving by grave robbing.

He also tries to reassure Liv by explaining that the man Blaine was chasing was trying to mug him when he "ragged out," or as Liv calls it, "full-on zombie mode."

Blaine and Liv go on to share a bit of their personal experiences with death and its downsides such as the solitude, the unfortunate taste of brains, and the lack of taste in anything else.

Suddenly, Ravi walks in. Not scared, not panicked or even surprised. Just impressed that Liv was able to capture Blaine's historic chin in her sketch. And then asks Blaine for his urine.

17. INT. MORGUE - MOMENTS LATER (17:38-18:35)

As a dead woman lies on an autopsy table, Blaine sits on another as Ravi checks every inch of his body. Blaine agrees, hoping it will help Ravi find a cure.

Blaine goes on to explain that he was turned during the boat party, and, unaware he is responsible for Liv's transformation, asks how it happened for her. Liv tells him, and Blaine seems to feel awful, offering to throw himself in front of a bus if only he wasn't sure he would survive it.

Blaine then accidentally knocks down a tray, triggering…

ZOOM IN on Liv's eye.

18. INT. JAVIER'S LOFT - MEMORY

(18:36-18:47)

JAVIER'S POV.

TITO, Tasha's boyfriend, is smashing Javier's sculptures and paintings. He is mad that Javier slept with his girlfriend and vows to ruin something he loves.

ZOOM OUT of Liv's eye.

19. INT. MORGUE - CONTINUOUS (18:48-19:20)

Blaine notices that Liv had a vision and wonders where she went. She tells him that she had to deal with something and that he should go. Ravi wants him to stay so he can finish his check-up, but Liv insists. Blaine understands that she is afraid he will hurt Ravi, and, disappointed, leaves the morgue.

Ravi expresses his doubts about the way Liv dealt with the situation and Liv agrees with him.

20. INT. SEATTLE P.D. BULLPEN - NIGHT (19:21-19:48)

Liv rushes into the station, trying to catch Clive. She explains that Lola wasn't the one who walked into the room in her first vision, but Tasha's boyfriend, Tito.

Clive tells Liv that they have a group of suspects waiting, all ex-boyfriends of Javier's mistresses. Liv tries to describe him in incredible and confusing details. She ends by saying her wears a cerulean shirt, bewildering Clive.

21. INT. SEATTLE P.D. INTERROGATION ROOM - NIGHT (19:49-20:53)

Clive and Tito sit on each side of a table, and Liv stands behind Clive, her eyes riveted on Tito.

As Clive interrogates Tito about his alibi and possible motive, Liv flirts with him. Tito explains that he doesn't care about Tasha anymore, and that he got his revenge when Javier left her for Artie's 18-year-old daughter, Becca.

22. INT. UPSCALE BAR - NIGHT (20:54-22:22)

Blaine sits at a table, alone and drinking a tasteless Scotch. He looks over to the bar to see a beautiful woman in her 40s, JACKIE, nursing her Cosmopolitan. He joins her, offers her a drink, and starts to flirt.

Jackie flirts back, but mentions the age difference, which does not seem to scare Blaine, as he is lonely and does not want to spend his evening with an insipid 25 year-old. Jackie seems charmed.

23. INT. JACKIE'S PENTHOUSE - NIGHT (22:23-22:46)

Blaine and Jackie stumble into the apartment. They are passionately kissing, and start to undress each other as they go from one room to the next.

As Jackie kisses Blaine's bare torso, Blaine's eyes turn red, signaling that he is going into full-on zombie mode.

TITLE CARD - "HOME IS WHERE THE ART IS" (22:47)

24. INT. LIV & PEYTON'S APARTMENT - DAY (22:48-24:27)

Liv is still painting, listening to some smooth jazz.

Somebody knocks on the door and Liv instructs them to come on in. The door opens and Major walks in, carrying the juicer. Liv does not move and Major, surprised to see her painting, goes into the kitchen to drop the box.

He tries to get her attention, calling her a pod person, and insisting that painting is not like her, that she has loathed hobbies for many years and that he would be less surprised to find her building a rocket ship. He is even shocked to hear that she is listening to Chet Baker even though he has tried for years to get her to listen to jazz, but still offers to share a few of his records with her. Liv thanks him, kissing him on the cheek.

Major leaves the apartment, baffled. All in all, he does not recognize her.

(Hero Succeeds… Almost)

25. INT. MORGUE - DAY (24:28-26:20)

TOP SHOT of Liv rolling a body into a refrigerated drawer.

Blaine surprises Liv, teasing her, and maybe scaring her a bit also.

Blaine asks after Ravi, and assures that he would not have eaten him, but seems to understand why Liv could be worried, and why she is not ready to be friends yet.

Blaine goes on to explain that he used to be a terrible person, but since he became a zombie, he cut out all the poisonous people from his life, and is now all alone. He asks for Liv's help in getting brains since she has such easy access to them, so that he does have to dig up graves anymore.

Liv agrees to give him some brains, but she will have to meet up with him later, at the Mutt Bowl Surfers.

(Emotional Squeeze)

26. EXT. ALLEY BEHIND THE MUTT BOWL SURFERS - DAY (26:21-28:45)

A casually clothed Blaine is tapping on his phone when a car arrives behind him. The car honks La Cucaracha.

Blaine immediately recognizes the sound and sighs. He knows the two men, HUTCH and DOUGIE. They work for his former employer, a drug dealer. Dougie insists that Blaine gets in the car so they can go meet their boss, but Blaine is waiting for Liv and her brains, and wants to get rid of them. He offers them some money and promises to meet them the next day.

And that's when Liv decides to show up. She sees the scene, understands that Blaine lied about quitting his job as a dealer, and about separating himself from the bad people in his life. She walks away, with the brains still in her little brown bag.

Blaine doesn't see her, and as Dougie insists on them leaving, he gets in the car. Dougie mentions the boat party and what happened, suggesting that it was Blaine's fault for cutting the drugs with something toxic.

Blaine tells them that he will soon run the city. And he ferociously kills them.