UNPLEASANT DREAMS
by
Lanny Maude
FADE IN:
EXT. CAMPSITE - NIGHT
It's a beautiful winter evening in Joshua Tree National Park.
The sun is just setting, creating streamers of color across the
sky. A few patches of snow dot the ground.
There are six campers in one of the sites: BOBBY and JULIA, PAUL
and DARLEEN, TONY and MICHELLE. They are young adults just out
for a weekend of fun.
Currently, the men are trying to get the campfire going while
the women look on in amusement. It's cold, so the women are
bunched together.
Bobby hurries to put a log in the fire ring.
BOBBY
Just put 'em in and light it. I'm freezing.
Paul reaches in and removes the log.
PAUL
You can't do it that way. They won't light.
BOBBY
Okay, smart guy, how do you build a fire?
TONY
Knock it off. Bobby, start with the smaller
pieces.
Bobby looks at the wood they brought. He collects the smaller
pieces while Tony goes through the gear.
Bobby returns to the ring with the wood.
PAUL
Now we build a log cabin.
Bobby and Paul quickly assemble a log cabin. Tony returns with
a sheet of newspaper. He crumples it up and hands it to Paul.
TONY
Here, put this inside.
Paul puts the newspaper in the cabin. Bobby puts some pieces of
wood across the top of the cabin.
PAUL
Now you can put that log on top.
Bobby retrieves the first log and carefully lays it across the
top of the cabin.
BOBBY
Seems like a lot of work just to build a
fire.
TONY
Yes, but it's now a one-match fire.
BOBBY
One-match fire?
Tony elaborately extracts one wooden match from a waterproof
container. He holds it up for all to see.
TONY
One match...
WOMEN
(together)
Oooo...
TONY
(light-hearted)
Shut up.
The women giggle.
Tony kneels in front of the fire. He looks it over, judging the
best place to light it. He strikes the match, carefully
protecting the flame with a cupped hand as he applies the match
to the paper.
Silence.
Everyone is watching, waiting to see if it will catch.
There is finally a round of applause for Tony when the fire is
assured. Tony takes a bow.
MICHELLE
(melodramatically)
You're my hero.
Tony gives Michelle a quick kiss on the lips.
DARLEEN
Okay, everyone around the fire.
JULIA
Yeah... it's time for ghost stories.
The couples pair off and settle in around the fire.
It is an eerie scene. The wavering light from the fire casting
moving shadows on the massive rock formations behind the fire.
The fire CRACKLES quietly.
TONY
Who's first?
BOBBY
It sounded to me like you just volunteered.
Everyone looks at Tony.
TONY
Okay. I'll start.
He settles into story-telling mode.
TONY
It all began in northern Wisconsin about a
hundred years ago...
FADE OUT:
FADE IN:
EXT. WOODS - DAY
A winter day in the Wisconsin woods in the late 19th century.
Everything looks so quiet, the blanket of snow virtually
untouched.
TONY (V.O.)
...There was this wolf. A white wolf...
From behind some of the brush, a WOLF pokes out its nose. It is
white with startling blue eyes. It looks intelligent.
SERIES OF SHOTS - THE WOLF WANDERS THROUGH THE WOODS
A. It wanders between the low brush, leaving its tracks in the
snow.
B. It wanders down a road. The only indication that it's a
road is the slight depression in the snow.
C. A horse-drawn sleigh glides by, the wolf hiding but watching
carefully.
D. The wolf is back on the road, continuing its journey.
E. It cuts cross-country, heading for some unknown destination.
It comes across a pair of HUNTERS. The hunters are carefully
scanning the area.
The wolf quietly sneaks by the hunters and continues its trek.
A voice in the distance...
HUNTER #1 (O.S.)
There it is!
ON THE HUNTERS
Hunter #1 quickly raises his shotgun to his shoulder. The
shotgun BOOMS and--
ON THE WOLF
--the snow near the wolf flies into the air.
The wolf takes off running.
ON THE HUNTERS
HUNTER #2
Stop it! It's getting away!
The shotgun BOOMS again,--
ON THE WOLF
--misses the target again.
The wolf continues to run.
EXT. HOUSE - DAY
A two-story house nestled among the trees in the woods.
It's a cold day, but at least the snow has stopped falling.
ON ANDREW
Richard's servant, ANDREW, is splitting wood in the front yard.
He swings the axe into the end of a log. THWACK! Plumes of
vapor are produced by Andrew's heavy breathing.
ON THE BACK DOOR
The back door of the house opens and out steps RICHARD. He's a
big man in his fifties, dressed against the cold.
THWACK! The sound can be heard from the front of the house.
He looks up at the sky as he closes the back door then steps
into the snow. He walks a short distance from the house,
stopping at a headstone.
He slowly drops to his knees and proceeds to brush the snow
clear of the headstone. The headstone reads,
VICTORIA
Beloved Wife and Mother
1841-1887
Richard's fingers come to rest on the name.
THWACK!
INT. HOUSE, EDWARD'S BEDROOM - CONTINUOUS
This is a typical bedroom for a family that is wealthy. The
room is dim as it's lit only by the winter light coming through
the window.
MARGARET stands at the window, looking down at Richard. She's
in her late teens. She's also completely naked, holding one arm
across her breasts and one hand on the window frame.
MARGARET
He really misses her.
EDWARD (O.S.)
We all do...
EDWARD is sitting up in the bed. He's in his early twenties.
He's naked as well, but he has the sheet pulled up to his waist.
EDWARD
...but Father can't let her go.
MARGARET
He goes out there almost every day. He's
been doing it for years.
Edward gets off the bed and walks to the window where he wraps
his arms around Margaret from behind. She closes her eyes and
leans her head back against Edward.
He slides his hands up to cup her breasts. He kisses her neck.
She reaches up and behind so she can interlock her fingers
behind his neck.
She GASPS as he pinches her nipples.
EDWARD
(whispering)
I love the way you feel.
Margaret lets out a slight MOAN as Edward's fingers work.
MARGARET
I love the way you handle me.
She unclasps her fingers, drops her arms, and puts her hands on
the lower frame of the window. She arches her back so she can
rub her ass against his crotch.
He slides his hands down her sides until they come to a rest at
her waist.
She stretches out again, grabbing the top frame of the window
with both hands.
EXT. HOUSE, EDWARD'S BEDROOM WINDOW - CONTINUOUS
Margaret's breasts are smashed up against the cold glass.
ON RICHARD
A faint THWACK! In the background.
Richard is still kneeling in front of his late wife's headstone.
He lightly traces the words with his fingers.
ON ANDREW
The axe swings. THWACK! Andrew sets up, swings, THWACK!
INT. HOUSE, EDWARD'S BEDROOM - DAY
Margaret is on the bed underneath Edward. They are lost in
passion, MOANING and GROANING.
Their love-making reaches an orgasmic peak... then tapers off.
He rolls off of her.
MARGARET
(playfully)
Was that to your satisfaction, sir?
EDWARD
(plays along)
Yes, I enjoyed that...
He props himself up on one elbow so he can see her better. He
traces a circle around one of her nipples.
EDWARD
...But you better get back to work cleaning
my room.
Margaret reels back in mock indignation and hits him. He laughs
and pulls her on top of himself for a kiss.
He kisses her lightly, playfully on the lips.
He kisses her on the tip of her nose, following quickly with a
little nip. She giggles.
He kisses her very softly on both eyelids, lingering, not
rushing the moment.
He returns to her lips where she can no longer restrain herself.
She kisses him back with such passion it's almost startling.
As they kiss, she slides off until she's lying up against his
side.
Her hand works along under the sheet until she comes to his
semi-hard cock. She starts to rub.
MARGARET
Maybe I'll start by licking this clean.
EXT. HOUSE, EDWARD'S BEDROOM WINDOW - CONTINUOUS
The faint sound of Andrew's chopping carries in the still air.
THWACK!
THWACK!
INT. HOUSE, DINING ROOM - NIGHT
The room is lit entirely by candlelight.
Richard is seated at the head of the table. His sons JOHN and
Edward are seated to his right. His daughters MARY and
ELIZABETH are seated to his left. Victoria's chair at the other
end of the table is empty.
They are all engaged in insignificant dinner conversation.
Margaret enters the room wearing her usual maid's uniform and
starts removing some of the tableware.
As she leans between John and Edward, Edward quickly runs a hand
up and down one of her legs.
INT. HOUSE, EDWARD'S BEDROOM - NIGHT
Margaret is sitting astride Edward in bed.
She has undressed except for her undergarments. She is
unbuttoning his shirt.
Unknown to the couple on the bed, the door to Edward's bedroom
slowly, quietly opens a crack.
IN THE HALLWAY - CONTINUOUS
Richard carefully peeks in on his son and maid. His rage builds
until--
IN EDWARD'S BEDROOM - CONTINUOUS
The door flies open.
Richard points at Margaret who jumps off of Edward to grab her
dress to cover herself.
RICHARD
YOU!
Margaret gets her dress. Edward rises from the bed.
RICHARD
GET OUT OF MY HOUSE!
MARGARET
What?
RICHARD
OUT OF MY HOUSE!
MARGARET
(simultaneous)
But I have nowhere to go.
EDWARD
(simultaneous)
Father, you can't be serious.
RICHARD
I will not have you in my house corrupting
my sons!
EDWARD
Father, it's my fault! Don't do this!
Richard ignores his son.
RICHARD
You will go to your room, get your things
together, and leave!
Margaret runs out of the room crying.
EDWARD
Father, it's not her fault. I asked her to
my room.
Richard refuses to listen.
RICHARD
Shut up!
He leaves Edward's room and slams the door shut. Edward quickly
puts the rest of his clothes back on.
INT. HOUSE, ENTRY - NIGHT
Margaret is standing at the door. She has a bag in her hand and
she is in tears.
Richard is standing in front of her and his children and butler
are watching.
MARGARET
(crying)
But where will I go? It's dark and snowing.
My parents live more than five miles away.
RICHARD
You should have thought of that before
seducing my son, you whore.
He opens the front door.
RICHARD
Now get out!
He pushes Margaret out into the night.
The kids and butler all chime in with their arguments, but
Richard is a stubborn man.
Margaret just looks at him. She can't believe this is
happening.
Richard SLAMS the door in her face. He turns to face the crowd
behind him.
RICHARD
All of you go to your rooms!
EDWARD
But father--
RICHARD
YOU HEARD ME! GO!
The crowd disperses to go to their rooms.
Richard heads for the sitting room.
INT. HOUSE, SITTING ROOM - SAME
Richard enters and goes straight for the liquor. He's always
had a temper, but this is one of the most extreme things he's
ever done.
He pours himself a drink before sitting in his chair facing the
fireplace. He stares into the flames for a moment then starts
in on his drink.
EXT. HOUSE - CONTINUOUS
Margaret steps off of the porch and into the snow. It's dark
and it's snowing lightly.
She is crying softly to herself. She walks away from the house.
INT. HOUSE, SITTING ROOM - NIGHT
Richard gets up from his chair to pour himself another drink.
He is about to take a sip when he notices his reflection in a
mirror over the liquor cabinet. He just holds his glass close
to his mouth, looking at himself in the mirror.
Finally, he turns his back to the mirror and takes a drink.
EXT. WOODS - CONTINUOUS
Margaret is not properly dressed for a trek in the snow. The
weather quickly takes its toll.
She manages to make it to the base of a huge tree where she
huddles up next to the tree to protect herself from the snow.
She is shivering and crying.
She doesn't notice the white wolf that pokes its head out of the
brush.
The wolf looks around to see if there are any others in the
area. Satisfied that Margaret is alone, the wolf transforms
into man-shape.
He is tall and slender. He sports a bit more hair than the
average man and his hair is white. He has the same blue eyes as
the wolf. He is wearing no clothing, yet he is unaffected by
the cold.
He is in fact a VAMPIRE. He advances on Margaret.
When he speaks, his voice is soothing.
VAMPIRE
What's wrong, child?
Margaret looks up. If she is surprised to see a naked man in
the snow, she doesn't show it.
MARGARET
My master threw me out. I'll never make it
home.
VAMPIRE
You're freezing.
He kneels down fluidly next to Margaret.
VAMPIRE
Let me comfort you.
He holds and comforts Margaret for a little while before baring
his fangs and sinking them into Margaret's neck.
INT. HOUSE, SITTING ROOM - NIGHT
Richard is standing in front of the fireplace. He is holding a
half-full glass.
RICHARD
DAMMIT!
He throws his glass into the fireplace.
RICHARD
ANDREW!
Andrew enters the room immediately. He knows what his master is
like, so he was waiting outside the door.
ANDREW
Yes sir?
RICHARD
Go get the boys. We're going after her.
ANDREW
Yes sir.
He quickly leaves the room.
EXT. HOUSE - NIGHT
Richard, Edward, John, and Andrew are all on the front porch
dressed for cold weather exploration.
The drifting snow has covered Margaret's tracks.
Richard and John are carrying rifles. Edward and Andrew are
carrying lanterns.
Richard addresses his sons quickly.
RICHARD
You boys head south-west. Stay together.
Andrew and I will head west. Fire two quick
shots if you find her, three shots if you
run into trouble. Questions?
JOHN
(simultaneous)
No, sir.
EDWARD
(simultaneous)
No, sir.
RICHARD
Then go!
The four split up to try to find Margaret.
EXT. WOODS - NIGHT
John and Edward are searching. Edward holds the light high,
trying to see as much as he can.
He's agitated because of his emotional connection to Margaret.
EDWARD
MARGARET!
(waits listening)
MARGARET!
John points between a couple of trees.
JOHN
Let's try over that way.
The two head off between the trees.
EDWARD
MARGARET!
ON RICHARD AND ANDREW
It's almost a duplicate of the scene with John and Edward, but
Andrew's calls don't have the same intensity as Edward's did.
ANDREW
MARGARET!
(beat)
MARGARET!
Richard is constantly scanning. It's extremely difficult to
see. The dark and snow not only cut visibility, but distort it
as well.
Richard thinks he sees something.
RICHARD
What's that?
Andrew reacts. He lifts the lantern as high as possible and
moves next to Richard.
ANDREW
Where?
Richard points into the darkness.
RICHARD
There.
Movement in the distance.
ANDREW
Looks like a wolf.
RICHARD
Whatever it was, it's gone now. Keep
looking.
The pair continues their search.
ANDREW
MARGARET!
EXT. HOUSE - NIGHT
Mary and Elizabeth look through the window, waiting for someone
to return. They can see a light coming toward the house.
Richard and Andrew come up to the house. They are defeated.
The front door opens. Mary and Elizabeth emerge onto the porch.
MARY
(simultaneous)
What's happening?!
ELIZABETH
(simultaneous)
Did you find her?!
MARY
Where--
Richard puts his hand up to stop his daughters.
RICHARD
Go to your rooms.
MARY
(simultaneous)
Why did--
ELIZABETH
(simultaneous)
But what--
RICHARD
PLEASE!
(quietly)
Go to your rooms.
His daughters are obedient. They hesitate only a moment before
complying.
He sits on the porch, setting his rifle down. He lowers his
head into one of his hands.
Andrew stands by quietly like a good servant.
Off in the distance a light advances on the house. Andrew sees
it.
ANDREW
Sir.
Richard looks up and sees the light. Soon John and Edward are
visible. Edward's head and lantern are low.
Richard stands, anxious.
John and Edward come to the porch.
RICHARD
Son...
EDWARD
Get away from me!
He continues past the others, entering the house and closing the
door.
John and Andrew look to Richard for what's next.
RICHARD
We'll search again in the morning.
JOHN
Father, why did--
RICHARD
Let's just get some sleep. We'll continue
in the morning.
Richard picks up his rifle and the three enter the house.
EXT. WOODS - DAY
Margaret is frozen beneath the tree.
EDWARD (O.S.)
MARGARET!
He spots Margaret. He stops, not wanting to believe.
EDWARD
No.
(beat)
NO!
He breaks into a run, dropping to his knees when he gets to
Margaret. He touches her frozen features lightly with his
fingertips.
EDWARD
...no...
John catches up to him. John stops and stares. He doesn't know
what to say.
Edward gently puts his arms around Margaret and hugs her. Her
body is stiff with cold and death.
Richard and Andrew join them.
RICHARD
Edward...
Edward looks up at his father, the cause of all of this pain.
He lets go of Margaret and leaps toward John where he grabs the
rifle out of John's hands. He swings the rifle up and points it
directly at his father's face.
Silence. Literally, a frozen tableau.
EDWARD
I should kill you.
No one dares move.
Finally, Edward relaxes. He lowers the rifle and then lets it
drop from his hand into the snow. He returns to Margaret.
Richard turns to Andrew.
RICHARD
Bring a hand-cart.
ANDREW
Yes, sir.
Andrew hurries off.
Richard and John watch the sad scene in the snow. John
retrieves his forgotten rifle.
Edward is in his own world, mourning his loss.
INT. HOUSE, DINING ROOM - NIGHT
The family is once again at the dinner table. Edward, however,
is absent.
The diners eat in silence.
EXT. WOODS - DAY
The ground is still covered with snow, but it is no longer
snowing.
Edward is slowly walking through the woods. He comes to the
tree where Margaret was found.
He touches the tree, thinking of Margaret not as he last saw
her, but when they were happy. He lowers his head in sorrow.
INT. HOUSE, DINING ROOM - CONTINUOUS
Richard looks out through the French windows.
EXT. WOODS - DAY
The snow-covered tableau looks so quiet and peaceful.
DISSOLVE TO:
EXT. WOODS - DAY
The warm summer sun has long since melted the snow.
EXT. GRAVEYARD - DAY
Edward arrives at the graveyard carrying a bouquet of wild
flowers. He reverently walks to a grave with a small marker.
He kneels and places the flowers in front of the marker.
He kneels there in silence for a little while before leaving.
DISSOLVE TO:
EXT. GRAVEYARD - DAY
The graveyard is covered in snow. Margaret's small marker is
completely buried.
EXT. HOUSE - NIGHT
Richard's house. Unchanged after a year.
It's snowing and the snow is drifting.
INT. HOUSE, SITTING ROOM - CONTINUOUS
Richard is sitting by the fire, enjoying a drink. The CRACKLING
of the fire is soothing.
He takes a sip. The glass is almost empty. He sets it on the
table next to his chair and sits back.
His eyes drift closed briefly. After a moment, his eyes close
again. He fights them open.
That's enough. Time for bed. He stands and leaves.
IN THE DINING ROOM - CONTINUOUS
Richard enters and walks to the French windows. He notices the
curtains were left open so he reaches to draw them.
He pauses, looks out the window. There's something moving off
in the distance. He rubs his eyes before looking again.
There's a ghostly image dancing in the drifting snow. Richard
strains to focus.
EXT. WOODS - CONTINUOUS
Margaret is dancing in the snow. She's very pale, almost as
white as her flowing dress.
INT. HOUSE, DINING ROOM - CONTINUOUS
Richard recognizes her. He can't believe it.
RICHARD
(to himself)
It's her.
He stares a moment longer.
RICHARD
It's her!
He sprints toward to door.
EXT. HOUSE - CONTINUOUS
The front door bursts open. Richard pauses in the doorway,
looking at the image.
EXT. WOODS - CONTINUOUS
Margaret continues her dance.
EXT. HOUSE - CONTINUOUS
RICHARD
Margaret!
He runs after her even though he's not dressed for the cold.
She retreats as he advances.
Andrew had heard the commotion. He comes to the front door. He
doesn't see Margaret. All he sees is Richard running out into
the snow.
ANDREW
Sir! Stop!
EXT. WOODS - CONTINUOUS
Richard keeps chasing after something only he sees.
EXT. HOUSE - CONTINUOUS
Andrew disappears from the doorway. He returns shortly, putting
on a winter coat. He runs out after Richard.
ANDREW
Sir!
EXT. WOODS - CONTINUOUS
Margaret is weaving between the trees, moving deeper and deeper
into the woods.
Richard can't seem to catch up with her. He's breathing heavily
now.
Andrew attempts to catch up, but loses Richard in the drifting
snow.
Margaret suddenly stops, allowing Richard to get within range.
He is panting, out of breath.
RICHARD
Margaret...
She gives a little curtsy.
MARGARET
Good evening, sir.
RICHARD
How can this be? You're...
He can't continue. The guilt still weighs heavily on him.
MARGARET
I'm what, sir?
He replies quietly, as if telling a secret.
RICHARD
You're dead.
MARGARET
How can that be, sir? I'm standing right
here.
He pauses. His brain can't put it all together.
She slowly advances on him, holding out one hand.
MARGARET
Come... touch me... I'm right here.
She stops right in front of him. He slowly reaches out and
touches her hand.
Solid.
RICHARD
(confused)
I don't understand. We buried you last
summer.
MARGARET
Don't worry about that now, sir.
She steps in close and reaches up to cradle his face in her
hands.
MARGARET
No need to worry anymore.
She stretches up and kisses him on the lips, then looks into his
eyes.
MARGARET
Hold me. It's cold out here.
He slowly, almost mechanically, puts his arms around her. She
embraces him back.
After a moment, she brings one arm back around. She grabs hold
of his shirt and rips it open.
Margaret bares her fangs and sinks them into Richard's chest.
He just stands there, seemingly unaware of what's happening.
EXT. HOUSE - NIGHT
Andrew returns to the house to find Richard's children all
waiting at the door.
JOHN
What's happening, Andrew? Where's Father?
ANDREW
I'm not sure. I lost him.
Before anyone can get out the questions they want to ask, Andrew
continues.
ANDREW
Let's go inside. I'll tell you what I know.
INT. HOUSE, DINING ROOM - NIGHT
Richard's children and Andrew are seated at the dinner table.
MARY
Tell us what happened.
The other children all agree with Mary.
Andrew puts a hand up to stop the questions.
ANDREW
I'm not sure what happened. I heard your
father yell, but by the time I got to the
door, he was all the way to the tree line.
ELIZABETH
Why did he go out there?
ANDREW
I don't know. It seemed as if he was
chasing someone or something.
(beat)
The last thing I heard him say was...
(looks at Edward)
...Margaret...
Edward's heart is clenched by an unseen hand. He has not
forgiven Richard for Margaret's death.
EXT. HOUSE - NIGHT
The lights are burning in the house as plans are made.
DISSOLVE TO:
EXT. HOUSE - DAY
Silence. Peaceful, calm silence--
Suddenly broken by Andrew, John, and Edward crashing out of the
house wearing their warmest clothes, carrying rifles. They're
off to find Richard.
They go in three different directions.
EXT. WOODS - DAY
John searches for his father. He comes across a track in the
snow where something had been dragged.
He follows the track to see Richard propped up against the base
of a tree.
It's the same tree where Margaret was found, but that fact
escapes John at the moment.
JOHN
Father!
He runs to Richard, looks for signs of life. He hangs his head
when he finds Richard is dead.
He mourns briefly before standing and FIRING two shots into the
air.
INT. HOUSE, DINING ROOM - NIGHT
Richard's children are gathered around the table.
JOHN
One of the things I don't understand is the
track. He was dragged for over two hundred
yards to that tree. We followed the track
all of the way.
Edward knows what John is going to say.
EDWARD
Yes... and there were no footprints.
JOHN
Right. Whoever dragged him to the tree left
no footprints.
MARY
That's not possible.
JOHN
Possible or not, that's what happened.
EXT. HOUSE - DAY
Snow covers the ground. Victoria's headstone sits all alone,
soon to be joined by--
DISSOLVE TO:
EXT. HOUSE - DAY
Richard's headstone sitting next to Victoria's on a beautiful
summer day. There are flowers in front of both headstones.
DISSOLVE TO:
EXT. HOUSE - DAY
Both headstones are now poking up through the snow that blankets
everything.
INT. HOUSE, DINING ROOM - NIGHT
The children are relaxing at the table at the conclusion of
their meal.
Elizabeth glances to the French windows.
P.O.V. ELIZABETH
There are two faint shapes moving in the drifting snow out on
the west slope.
BACK TO SCENE
Elizabeth jumps up.
ELIZABETH
There's someone out there.
They all rise and move to the French windows where they see two
figures: one large, one small.
Edward suddenly cries out.
EDWARD
It's Margaret!
Edward bolts for the door, rips it open.
MARY
John! Stop him!
EXT. HOUSE - CONTINUOUS
Edward leaves the house running with John close behind. John is
a little older and a little faster.
John tackles Edward into the snow.
EDWARD
Let me go! It's Margaret!
JOHN
No it isn't. Margaret's dead.
EDWARD
But look...
John ignores him, picks him up out of the snow, and drags him
back to the house where the girls and Andrew are waiting.
Andrew rushes out to help John. Edward just continues looking
at Margaret dancing in the drifting snow.
ELIZABETH
Look... it is Margaret.
(beat)
And Father!
They all stand by the front door looking at the images.
JOHN
It's not really them. They must be ghosts.
That must be what happened to Father. He saw Margaret's ghost
and ran after, just like Edward.
EDWARD
Why are they here? Why don't they come any
closer?
ANDREW
Let's all go in the house. We'll discuss it
inside.
They all move into the house and close the door.
INT. HOUSE, DINING ROOM - CONTINUOUS
They file around the table and sit down.
MARY
What are we going to do?
JOHN
I don't know if there's anything we can do.
ELIZABETH
They don't seem to be getting any closer.
Edward gets up. Everyone watches as he goes to the French
windows. He stares out at the figures.
ANDREW
(whispering)
I think we should keep the curtains drawn on
the west windows.
The others at the table nod their agreement.
ON MARY
AUNT MARY (V.O.)
That was when we decided to keep the
curtains closed on the west windows.
EXT. HOUSE - CONTINUOUS
The figures move in the distance.
AUNT MARY (V.O.)
Not all the time, you see. Only on winter
nights. That's the only time we saw them.
EXT. WOODS - CONTINUOUS
Margaret dances and Richard tries to entice those in the house
to join them.
AUNT MARY (V.O.)
We didn't have to do it all winter, but we
did it anyway. They would actually only
come out when the snow was drifting.
FADE TO BLACK.
FADE IN:
INT. HOUSE, DINING ROOM - NIGHT
The room is lit by electricity now. John's son ERNEST and
Ernest's wife CLARISSA are sitting at the table which has been
set for dinner.
AUNT MARY (O.S.)
Who opened the curtains from the west
windows?
CLARISSA
(embarrassed)
I did, Aunt. I'm sorry. I forgot about
your not wanting them open.
Aunt Mary looks at the French windows. She makes an almost
imperceptible movement and LISA, her maid, comes out of the
shadows of the hall.
Lisa goes to the French windows and draws the curtains.
Aunt Mary slowly takes her place at the head of the table,
setting her cane against the side of the chair.
She fixes a gaze on Clarissa for a moment, then does the same to
Ernest. She moves her gaze to the empty chair at the foot of
the table.
AUNT MARY
I told both of you that the curtains over
the west windows are not to be opened after
sundown.
She looks back and forth between Ernest and Clarissa before
continuing.
AUNT MARY
You must have noticed that none of those
windows has been left uncovered at night.
She returns her gaze to the empty chair.
AUNT MARY
I took extra care to put you in rooms facing
east, and the sitting room is also in the
east.
ERNEST
I'm sure Clarissa didn't mean to go against
your wishes, Aunt Mary.
CLARISSA
No, of course not, Aunt.
Aunt Mary continues impassively.
AUNT MARY
I didn't think it wise to explain why I made
such a request. I'm not going to explain.
She looks at Ernest, still addressing both of them.
AUNT MARY
But I do want to say that there is a very
definite danger in opening the curtains.
She looks back over to Clarissa.
AUNT MARY
Ernest has heard that before, but you,
Clarissa, have not.
Clarissa shoots a startled glance at Ernest. Aunt Mary sees it.
AUNT MARY
It's all very well to believe that my mind's
wandering or that I'm getting eccentric, but
I shouldn't advise you to be satisfied with
that.
Edward's son HENRY bursts into the room and flies into the chair
at the foot of the table.
AUNT MARY
Late again, Henry.
HENRY
(mumbling)
Sorry...
He begins to eat. Aunt Mary SIGHS and begins to eat as well.
Ernest and Clarissa decide it's safe to eat now that Aunt Mary
isn't chastising them.
INT. HOUSE, DINING ROOM - LATER
Dinner is almost finished. Clarissa tries to lighten the mood
with some conversation.
CLARISSA
You aren't as isolated as I thought you
might be up here, Aunt Mary.
AUNT MARY
We aren't, my dear, what with telephones and
cars and all. Years ago it was quite a
different thing, I can tell you.
She smiles reminiscently and looks at Ernest.
AUNT MARY
When your grandfather was living, many's the
time he was snowbound with no way to let
anybody know.
CLARISSA
Down in Chicago when they speak of 'up
north' or the 'Wisconsin woods' it seems
very far away.
HENRY
Well it is far away. And, Aunt Mary, I hope
you've made some provisions in case we're
locked in here for a day or two. It looks
like snow outside, and the radio says a
blizzard's coming.
AUNT MARY
You're overly concerned, it seems to me. I
think you've been regretting this trip ever
since you set foot in my house.
She looks at the curtains covering the west windows.
AUNT MARY
If you're worrying about a snowstorm, I can
have Sam drive you to Wausau, and you can be
in Chicago tomorrow.
HENRY
Of course not.
Silence.
AUNT MARY
(gently)
Lisa...
Lisa once more appears out of the shadows to help Aunt Mary with
her chair.
AUNT MARY
I'm afraid I'm a bit worn out. Please
excuse me. I'll see you in the morning.
Without waiting for any replies, she and Lisa disappear down the
hallway.
Clarissa looks nervously at Ernest. Henry vocalizes her
feelings.
HENRY
(matter-of-factly)
I think she's losing her mind.
Clarissa is about to defend Aunt Mary even though she was
thinking the same thing, but he gets up and heads off for the
sitting room.
She fingers her spoon idly.
CLARISSA
I do think she is a little strange, Ernest.
ERNEST
(smiling)
No, I don't think so. I've an idea why she
keeps the windows covered.
CLARISSA
Why?
ERNEST
My grandfather died out there. He was
overcome by the cold one night, and froze on
the slope of the hill.
CLARISSA
That's terrible.
ERNEST
I don't know how it happened. I suppose she
doesn't like to be reminded of it.
CLARISSA
But where's the danger she spoke of, then?
ERNEST
Perhaps it lies in her. She might be
affected and affect us in turn.
He thinks about it a moment.
ERNEST
I suppose she does seem a little strange to
you, but she was like that as long as I can
remember; next time you come, you'll be used
to it.
Now it's Clarissa turn to think a moment.
CLARISSA
I don't think I like the house, Ernest.
ERNEST
Oh, nonsense, darling.
He starts to rise but she stops him.
CLARISSA
Listen, Ernest. I remember perfectly well
Aunt Mary's not wanting those curtains drawn
away, but I just felt I had to do it. I
didn't want to, but...
(unsteady)
Something made me do it.
ERNEST
Why, Clarissa... why didn't you tell me
before?
CLARISSA
(shrugging)
Aunt Mary might have thought I'd gone wool-
gathering.
ERNEST
Well, it nothing serious, but you've let it
bother you a little and that isn't good for
you.
He decides a course of action.
ERNEST
Forget it; think of something else.
(stands)
Let's listen to the radio.
Clarissa rises and they leave.
IN THE SITTING ROOM - CONTINUOUS
Henry is sitting down, listening to the radio. Ernest and
Clarissa enter. Henry looks up at them.
HENRY
I might have known we'd be marooned up here.
CLARISSA
But what about--
HENRY
We're going to be all right.
Henry stands and moves to the door.
HENRY
There's a wind coming up and it's beginning
to snow, and I know what that means.
He leaves the sitting room and--
INT. HOUSE, DINING ROOM - CONTINUOUS
He enters the dining room, pausing to look at the empty table.
He continues on to the French windows, from which he draws away
the curtains.
He peers into the darkness.
ERNEST (O.S.)
Aunt Mary doesn't like those windows
uncovered, Henry.
Henry half-turns to see Ernest standing in the doorway.
HENRY
Well, she may think it's dangerous, but I
can risk it.
Clarissa peeks out from behind Ernest.
CLARISSA
Why, there's someone out there!
Henry quickly turns back to the window, looks through the glass.
HENRY
No, that's the snow; it's coming down
heavily, and the wind's drifting it this way
and that.
He drops the curtains and moves away from the windows.
CLARISSA
(uncertain)
Why, I could have sworn I saw someone out
there.
HENRY
I suppose it does look that way from here.
He moves to the door, past Ernest and Clarissa.
IN THE SITTING ROOM - CONTINUOUS
Henry enters, followed closely by the others.
HENRY
I think you've let Aunt Mary's
eccentricities impress you too much.
He sits by the radio, tuning the dial through the STATIC.
Ernest decides to look on the shelves for a good book to read.
Clarissa sits for a moment, thinking, then leaves the room.
IN AUNT MARY'S BEDROOM - CONTINUOUS
Aunt Mary is sitting at her dressing table looking at herself in
the mirror. She's wearing her dressing robe.
There is a quiet TAPPING at her door.
AUNT MARY
Come in...
The door opens and Clarissa steps into the room. She looks at
Aunt Mary, frail and helpless.
AUNT MARY
Thought I was an ogre in disguise, didn't
you?
She softens and smiles.
AUNT MARY
I'm really not, you see. But I am a sort of
beast about the west windows, as you have
seen.
CLARISSA
I wanted to tell you something about those
windows, Aunt Mary--
She stops suddenly. Aunt Mary's expression turns to something
like fear.
AUNT MARY
(shortly)
What?
CLARISSA
I was looking out, just for a moment or so,
and I thought I saw someone out there.
AUNT MARY
Of course you didn't, Clarissa. Your
imagination, perhaps, or the drifting snow.
CLARISSA
My imagination? Maybe. But there was no
wind to drift the snow, although one has
come up since.
AUNT MARY
I've often been fooled that way, my dear.
Sometimes I've gone out in the morning to
look for footprints, but there weren't any
ever.
She looks at Clarissa, trying to judge the impact of her story.
AUNT MARY
We're pretty far away from civilization in a
snowstorm, despite our telephones and
radios. Our nearest neighbor is at the foot
of the long, sloping rise.
She's not sure if Clarissa realizes the distance.
AUNT MARY
It's over three miles away, and all wooded
land between. There's no highway nearer
than that.
CLARISSA
It was so clear, I could have sworn to it.
AUNT MARY
Do you want to go out in the morning and
look?
CLARISSA
Of course not.
AUNT MARY
(question and demand)
Then you didn't see anything?
CLARISSA
Oh, Aunt Mary, you're making an issue of it
now.
AUNT MARY
Did you or didn't you in your own mind see
anything, Clarissa?
CLARISSA
I guess I didn't, Aunt Mary.
AUNT MARY
Very well. And now do you think we might
talk about something more pleasant?
CLARISSA
Why, I'm sure... I'm sorry, Aunt. I didn't
know that Ernest's grandfather had died out
there.
AUNT MARY
He's told you that, has he? Well?
CLARISSA
Yes, he said that was why you didn't like
the slope after sunset, that you didn't like
to be reminded of his death.
Aunt Mary looks at Clarissa impassively.
AUNT MARY
Perhaps he'll never know how near right he
was.
CLARISSA
What do you mean, Aunt Mary?
AUNT MARY
Nothing for you to know, my dear.
(smiles)
And now I think you better go, Clarissa; I'm
tired.
Clarissa heads for the door, but is stopped by Aunt Mary.
AUNT MARY
How's the weather?
CLARISSA
It's snowing... hard, Henry says... and
blowing.
Aunt Mary is displeased to hear that. She momentarily forgets
that Clarissa is still there.
AUNT MARY
I don't like to hear that, not at all.
Suppose someone should look down that slope
tonight?
She looks up and is almost startled to see Clarissa.
AUNT MARY
But you don't know, Clarissa. Goodnight.
CLARISSA
Goodnight, Aunt Mary.
She leaves and closes the door.
IN THE HALL - CONTINUOUS
Clarissa stands there with her back against the door, trying to
figure out what Aunt Mary was talking about.
Ernest comes around the corner and sees her.
ERNEST
Oh, there you are. I wondered where you had
gone.
CLARISSA
I was talking a bit with Aunt Mary.
ERNEST
Henry's been at the west windows again. Now
he thinks there's someone out there.
CLARISSA
Does he really think so?
Ernest nods his response.
ERNEST
But the snow's drifting frightfully, and I
can imagine how that suggestion of yours
worked on his mind.
CLARISSA
I'm going to tell Aunt Mary.
ERNEST
Wait--
Too late. Clarissa is already TAPPING on the door.
She doesn't wait for a response, but opens the door and enters.
IN AUNT MARY'S BEDROOM - CONTINUOUS
Aunt Mary is still at her dressing table. She looks up at
Clarissa.
CLARISSA
Aunt Mary, I didn't want to disturb you
again, but Henry's been at the French
windows in the dinning room, and he says
he's seen someone out there.
The effect on Aunt Mary is magical.
AUNT MARY
(excited)
He's seen them!
She gets up, advances to Clarissa.
AUNT MARY
How long ago?
She grabs Clarissa by the arms.
AUNT MARY
Tell me, quickly. How long ago did he see
them?
Clarissa is silent with amazement. Finally...
CLARISSA
It was some time ago, Aunt Mary, after
supper.
Aunt Mary relaxes her grip.
AUNT MARY
Oh...
She returns to her dressing table, taking her cane from where
she left it.
CLARISSA
Then there is someone out there?
The two women stare at each other for a short time.
Aunt Mary's gaze drops. She nods gently.
AUNT MARY
(barely audible)
...yes...
CLARISSA
Then we had better take them in, Aunt Mary.
Aunt Mary looks at her for a moment before focusing on a point
on the wall behind her.
AUNT MARY
We can't take them in, Clarissa, because
they're not alive.
CLARISSA
You can't--
AUNT MARY
I'm afraid I'm not mad, my dear. I hoped at
first I might be, but I wasn't. I'm not
now. There was only one of them out there
at first... Margaret; Father is the other.
CLARISSA
What?
AUNT MARY
When I was young, my father did something
which he regretted all his days. He had a
very strong temper, and it maddened him.
She looks at her curtained window, lost in the recollection.
AUNT MARY
One night he found out that one of my
brothers... Henry's father, Edward... had
been very familiar with one of the servants,
a very pretty girl named Margaret.
She looks off in the distance, seeing only what's in her mind.
DISSOLVE TO:
LATER
AUNT MARY
Later, she returned with the snow... and she
brought Father. They stay until the last
snow, always trying to lure someone out
there.
She looks at Clarissa. Ernest suddenly pokes his head in the
door.
ERNEST
Come on, you two. There are people out on
the west slope, a girl and an old man, and
Henry's gone out to get them.
He disappears as quickly as he appeared. Aunt Mary and Clarissa
rush out of the room.
IN THE DINING ROOM - CONTINUOUS
The French windows are wide open. Aunt Mary and Clarissa pass
through the dinning room, straight out onto the terrace.
EXT. TERRACE - CONTINUOUS
Ernest is standing in the snow, calling to his cousin. He's
wearing his overcoat.
ERNEST
Henry!
The women join him in the snow. He looks at them.
ERNEST
Aunt Mary, you'll catch your death of cold.
AUNT MARY
I'm all right. Where's Sam. He can help
you look for Henry, but I'm afraid you won't
find him.
ERNEST
He can't be far; he just now went out.
AUNT MARY
He went before you saw where; he's far
enough gone.
SAM joins them on the terrace. He's wearing an overcoat and
muffler.
SAM
Have they come again, Ma'am?
AUNT MARY
(nodding)
You'll have to look for Henry. Ernest will
help you. And remember, don't separate.
And don't go far from the house.
Sam and Ernest strike out into the storm. Aunt Mary and
Clarissa return to the house.
INT. HOUSE, DINING ROOM - CONTINUOUS
They close the French windows then move to the table and sit.
AUNT MARY
Now there will be three of them out there.
She looks to the windows.
AUNT MARY
(excited)
There they are!
She flies to the French windows, opening them for the men.
Ernest and Sam enter dragging Henry between them.
ERNEST
The cold's hit him pretty hard.
They get Henry into a chair and wrap a blanket around him.
There are two small puncture marks on his neck.
ERNEST
I saw those people out there. We have to
find them.
AUNT MARY
No, Ernest. You can't go out there again.
There's no one there.
ERNEST
(opening the windows)
Coming, Sam?
SAM
What do you mean?
ERNEST
The others. We've got to get them.
SAM
Oh, them. They're dead.
ERNEST
Then I'll go out alone.
Henry suddenly comes to his feet. The others all watch him as
he slowly moves to the window. He looks out into the storm.
HENRY
Of course.
It's as of he's having a conversation with someone.
HENRY
Yes. Come and join us. Come sit by the
fire.
EXT. HOUSE - NIGHT
The storm continues as two ghostly figures advance on the house.
TONY (V.O.)
And that's all it took. Once the invitation
was made, they were able to leave the slope
and enter the house.
FADE OUT:
FADE IN:
EXT. CAMPSITE - NIGHT
TONY
The end.
A moment of silence while the story sinks in.
BOBBY
Not bad... not bad.
JULIA
Yeah. It was pretty creepy.
Paul gets up.
PAUL
Don't start the next one yet.
(walks off)
I gotta take a leak.
He disappears into the darkness.
MICHELLE
That was a pretty good story. If it snows
tonight, I'm going to have a hard time
sleeping.
DARLEEN
Hey, you guys want to make smores while we
wait for Paul.
TONY
Sure.
He gets up and retrieves the fixings for the smores. They pass
out the fixings.
Paul returns just as they're getting ready.
DARLEEN
You're just in time for smores.
TONY
No, he doesn't get one now. He'll be too busy telling his
story.
PAUL
Okay...
(dramatically)
...prepare for terror.
BOBBY
After that lead-in, it better be good.
Paul gives him a look before starting.
PAUL
Don't worry. It is. This story's a little
more modern, though.
FADE OUT:
FADE IN:
INT. HOTEL, ROOM - DAY
An average hotel room. Standard hotel decor. It's day, but the
curtains are drawn so the room swims in darkness.
In the darkness is motion. A constant up-down motion
accompanied by the rhythmic SQUEAK of bedsprings.
IN THE HALL - CONTINUOUS
ANDREA, a beautiful woman, passes a rolled up wad of bills to a
MAID. The maid starts to unlock one of the room doors. Andrea
signals her to be quiet. The maid pushes the door open a crack.
ANDREA
(whispering)
Gracias.
The maid gives her a thank-you bow and hurries off down the
hallway. Andrea proceeds into the room very slowly and very
quietly.
IN THE ROOM - CONTINUOUS
The SQUEAKING continues. Andrea closes the door and engages the
security lock mechanism with a SNICK. She freezes, the lock
sounding as loud as a gunshot to her.
SQUEAK, SQUEAK, SQUEAK...
Andrea decides she's still safe so she moves into the main room.
She reaches into her purse while moving. She can now see the
motion. She watches until--
She can't take it anymore. She flips the lights on. The
resulting activity reminds her of roaches fleeing when the
lights go on.
Andrea's husband HERBERT flies off of MIMI, his secretary. This
dislodges the sheet they were under, so Mimi is briefly revealed
before she can snatch the sheet back over herself.
Herbert quickly realizes what's just happened. He's been
caught. Uh, oh...
HERBERT
Sweetheart...
Andrea pulls a gun from her purse, aims it at Herbert. Mimi
SCREAMS.
Her scream is cut short as Andrea re-aims at Mimi and BANG! The
bullet tears through her throat. Mimi is done for. The
arterial blood pumps dramatically. Andrea's aim tracks back to
Herbert. He's speechless.
ANDREA
You stupid bastard. What made you think I
wouldn't find out?
Herbert can only stammer, his jaw wagging. Just indeterminate
sounds.
ANDREA
You spend so much time thinking with 'little
Herbie' you can't see anything else.
Herbert is scared...really scared.
HERBERT
Andy...listen to me! You don't know what
you're doing!
ANDREA
I'm just doing what I should've done a long
time ago.
(beat)
Why don't you try to imagine what life would
be like without 'little Herbie.'
Herbert stares at her blankly. Andrea gives him a short time to
think before moving her aim point down. His look of terror is
almost comical. She FIRES, giving him a .38 caliber castration.
He immediately crumples, clutching his aching groin. The blood
stain spreads across the sheet. He GROANS in agony.
ANDREA
Is it like you imagined it?
Herbert looks up at her, tears streaming down his face. He
strains to speak.
HERBERT
Andy...
ANDREA
(cold)
'Bye, asshole.
Without hesitation, BANG! Andrea finishes him with a bullet in
the head.
INT. COURTROOM - DAY
A typical courtroom; JUDGE EULER, attorneys, a few spectators.
Andrea is standing, facing the judge.
ANDREA
Of course I killed him! He was fucking that
bitch secretary of his!
EULER
Are you finished?
ANDREA
...yes...
Euler signals Andrea's lawyer to stand. He does so.
EULER
It's cases like yours that make me wish the
death penalty still existed. At least some
good will come of this deplorable act. I'm
sentencing you to donation.
(waves dismissively)
Take her away.
The bailiff takes Andrea and leads her to the side door. He
pushes the door open.
MATCH CUT:
INT. DONOR CENTER - DAY
The door opens as Andrea is wheeled in on a table being pushed
by MONIQUE. Andrea is covered by a sheet except for her face.
There is an IV bag containing a sedative/nutrient solution. Her
ID card is sitting on the sheet. It's attached to a cord around
her neck.
The donor center is located in a hospital basement. It's
sterile. A lot of stainless steel. There are rows of morgue-
like storage; half-alive bodies stored in lockers.
Monique pushes Andrea to the admitting desk where BERT is
sitting, cruising pornographic sites on the internet. He's so
into it he doesn't notice Monique.
MONIQUE
New donor.
Bert looks up, startled. He quickly closes the web browser.
BERT
Just a minute...
He finally manages to get the admission software running.
Monique smiles to herself.
BERT
...Okay, ready.
Monique unclips Andrea's ID card and hands it to Bert who scans
it into the computer. He gives back the card.
BERT
Donor is Andrea Lynne Kompowski McConnell;
donation sentence for double homicide.
Monique begins the inspection. She looks at Andrea's hair line
and behind the ears.
MONIQUE
Face lift: negative.
BERT
(entering data)
Negative...
She opens Andrea's mouth and peers in.
MONIQUE
Couple of gold crowns in the back. Schedule
for extraction.
BERT
Extract gold crowns...
She pulls the sheet down to Andrea's stomach. She inspects
Andrea's breasts one at a time, squeezing and looking for scars.
He looks at Andrea's body, licking his lips without realizing
it.
MONIQUE
Both breasts real.
He tears his attention back to the computer.
BERT
Real breasts...
She pulls the sheet down more. There's an obvious scar low on
Andrea's abdomen.
MONIQUE
Abdominal scar, probably appendix.
He's staring now. There are a few pubic hairs peeking past the
edge of the sheet. Monique whips the sheet back up to cover
Andrea's body. He reacts almost like he was slapped. His
concentration broken, he looks at Monique.
MONIQUE
Get a full scan. We'll need an organ
inventory. Make sure it's only an appendix.
BERT
Yes, Doctor.
She leaves. He wheels Andrea to the scanning machine. The
table locks into the machine and he adjusts the scan arm. He
takes the ID card and reads it into the scanning machine. This
also starts the cycle.
The machine comes to life with a HUM that starts low and
increases in pitch and intensity. The arm homes and the scan
beams come on with a WHOOSH.
The beams make a criss-cross pattern that reads Andrea's organ
data as it moves from head to toe. As is scans, a graphic
builds on the machine's read-out showing Andrea's body and all
of her organs.
SCAN MACHINE
(mechanical)
Add organs to database?
BERT
No, not yet. Waiting for doctor's review.
He re-attaches Andrea's ID card to the cord around her neck and
unlocks the table from the machine. He pushes Andrea to a
locker. Before storing her, he looks around to make sure nobody
is there.
Confident with his solitude, he lifts the sheet to take another
look at Andrea. He reaches a hand toward her breast, stopping
just short. His hand shakes a bit as he pulls it back.
He drops the sheet back into place, opens a locker, and wheels
Andrea into the locker. He flips a switch on the back of the
door so when he closes it, the screen on the door says 'HOLD.'
He returns to his desk, looking around before bringing up the
web browser again.
INT. BERT'S APARTMENT, LIVING ROOM - NIGHT
A small, unremarkable apartment. Bert keeps it pretty neat.
He's sitting on the sofa watching a monster movie. A DING from
the kitchen. He pulls up the remote and pauses the video.
IN THE KITCHEN - CONTINUOUS
Bert goes for the microwave oven. He pulls his nuclear meal
out, grabs a soda from the fridge, and leaves.
IN THE LIVING ROOM - CONTINUOUS
Bert returns to the sofa. He unpauses his movie and eats his
typical meal with only the TV for company.
EXT. PARK - DAY
Bert is sitting on a park bench, reading a book. He
occasionally looks at the people, especially the women. AMY is
jogging through the park. She notices Bert as she goes by. She
stops and returns to where he's sitting.
AMY
Hi, Bert.
He looks up at her, nervous.
BERT
Hi, Amy.
AMY
Good book?
BERT
'S okay.
Enough small talk. She gets right to the point.
AMY
You free for dinner tonight?
BERT
(evasive)
Sorry, I already have plans.
She's a little let down.
AMY
Okay. Well, catch you later.
BERT
Bye.
She jogs off. He watches her as she goes, admiring the jiggle
of her butt.
INT. BERT'S APARTMENT, LIVING ROOM - NIGHT
Bert is sitting there, watching another monster movie, eating
another TV dinner. These are his other plans.
EXT. HOSPITAL - NIGHT
Bert is going to work. He's carrying a sack lunch.
INT. HOSPITAL - CONTINUOUS
He gets to the elevator where he pushes the down button. The
elevator DINGS and the doors WHOOSH open. He enters the
elevator and the doors WHOOSH shut.
INT. DONOR CENTER - CONTINUOUS
He arrives at his desk. CHARLIE is sitting there studying a
medical textbook.
BERT
Evening, Charlie.
Charlie looks up from his studies.
CHARLIE
Hey, Bert.
He picks up his stuff, shoves it into a knapsack.
BERT
Anything happen today?
CHARLIE
Left arm and lung for an accident victim,
breast for a mastectomy patient.
He grabs a clipboard off of the desk and looks at it.
CHARLIE
We also had a heart today, so I added him to
the purge list.
He hands the clipboard to Bert who looks at it.
CHARLIE
Don't forget to do the purge tonight.
BERT
No problem. I got it.
CHARLIE
See ya.
BERT
Later.
Charlie leaves. Bert puts his lunch on the desk and sits. He
reads over the purge list.
LATER
He approaches a locker on which the display reads 'PURGE.' He
opens it and extracts the table. The donor is completely
covered by the sheet. Bert flips a switch on the back of the
door. When he closes the door, the display reads 'VACANT.'
He pushes the table to his desk where he pulls the sheet back to
reveal the face of a teen-aged gangster who was convicted of a
drive-by shooting. Bert takes the gangster's ID card and scans
it into the computer. When the data comes up, he selects the
delete function.
COMPUTER
(mechanical)
Confirm deletion.
BERT
Deletion confirmed.
COMPUTER
Deletion completed.
He throws the ID card away and wheels the gangster to a door
under a sign that says 'PURGE.'
IN THE PURGE ROOM - CONTINUOUS
He positions the table next to a conveyor. He locks the table
in place and removes the sheet, tossing it into a hamper. He
also disconnects the IV. There is a huge incision down the
gangster's chest that was very crudely sutured.
Bert triggers the mechanism and the table top hinges up so the
gangster's body rolls onto the conveyor. The conveyor starts, a
door slides open, and the gangster is transported into the
incinerator.
When the body is completely in the incinerator, Bert triggers
another mechanism and the door slides shut as the table top
lowers back to its normal position. He unlatches the table and
pushes it through a table-size opening in one wall.
IN THE DONOR CENTER - LATER
He's at his desk with another donor to be purged.
COMPUTER
Confirm deletion.
BERT
Deletion confirmed.
COMPUTER
Deletion complete.
IN THE PURGE ROOM - LATER
He watches as the body of a used-up woman slides into the
incinerator. The body has some large scars and is missing some
appendages.
IN THE DONOR CENTER - LATER
Bert is standing by another locker. He already has the table
out. He flips a switch and closes the door that now reads
'VACANT.'
IN THE PURGE ROOM - LATER
He pushes an empty table through the hole in the wall. The
hamper is now full of sheets.
IN THE DONOR CENTER - LATER
Bert is standing by a closed locker that reads 'HOLD.' He looks
around nervously before opening the door and wheeling out
Andrea. He peers down at her face. She looks so peaceful.
He knows he's alone, but he looks around again. He peeks under
Andrea's sheet. He puts the sheet back in place, smoothing it
out, purposely running his hands over her breasts as he does it.
He seals Andrea back up and returns to his desk.
INT. HOSPITAL, HALLWAY - NIGHT
DING. The elevator doors slide open. Bert walks out slowly,
looking around. He spies what he wants: a supply closet. He
opens the door, darts inside, and closes the door.
IN THE SUPPLY CLOSET - CONTINUOUS
It's pitch black until CLICK, the lights come on. Bert releases
the light switch and scans the shelves. He quickly locates
hospital gowns. He selects a gown and also a blanket before he
returns to the door. He puts his ear against the door,
listening.
IN THE HALLWAY - CONTINUOUS
Bert slides back into the hallway. He has his prizes tucked
under one arm. He looks at the nurse station further down the
hall before heading in that direction.
He gets to the station and luck is still with him...there's
nobody at the station. He drops the gown and blanket onto one
of the wheelchairs that is parked there, then pushes the
wheelchair back to the elevator.
INT. DONOR CENTER - NIGHT
Bert works to get the hospital gown on Andrea. She's still
connected to the IV so he starts by feeding the IV bag through
one of the gown's armholes. He spreads the gown over her body,
tucking what he can underneath her.
He carefully turns her over so he can tie the gown together in
back. He pauses to admire her bare butt with a gentle caress
before finishes and turns her back over.
He brings the wheelchair close to the table and gently transfers
her to the chair. He sets the IV bag in her lap and drapes the
blanket over her. He sets the switch on the door before he
closes it so now it reads 'VACANT.'
He pushes her over to his desk where he uses her ID card to
bring up her records on the computer. He selects 'DELETE.'
COMPUTER
Confirm deletion.
BERT
Deletion confirmed.
COMPUTER
Deletion completed.
He throws away her ID card. He thinks a moment before he
retrieves the ID card and tucks it away in his wallet. He
wheels her to the elevator where he pushes the button. After a
brief wait, the elevator DINGS and--
MATCH CUT:
INT. HOSPITAL, HALLWAY - NIGHT
The elevator doors slide open. Bert pushes Andrea out of the
elevator and down the hallway. He tries his best not to look
nervous, especially as he passes the nurse station. The nurse
is there this time, but she doesn't even look up from her
paperwork.
EXT. HOSPITAL - NIGHT
Bert wheels Andrea across the parking lot to his car. He
manages to get her in the passenger seat with only minor
difficulty. He reclines the seat and spreads the blanket over
her.
He starts to shut the door then remembers something. He pulls
back the blanket and pulls out the IV bag. He balances it up
next to her head so it's higher than the insertion point. He
pulls the blanket back over her, locks her in the car, and
returns to work with the wheelchair.
INT. DONOR CENTER - DAY
Bert is sitting at the desk, reading a book, waiting for shift
change. He looks up when he hears the elevator DING. The doors
open and out comes Charlie. Bert tosses his book into a desk
drawer and stands.
BERT
Hey, Charlie.
CHARLIE
Morning, Bert. Anything happen?
BERT
Just did the purges. No donations.
He heads for the elevator.
CHARLIE
You got something going on?
Bert freezes in his tracks.
BERT
What?
CHARLIE
You got plans? You seem to be in a hurry to
leave.
Bert relaxes a little. He hasn't been caught.
BERT
No, I'm just tired. I want to go home and
get some rest.
CHARLIE
Okay. See you tonight.
BERT
Yeah. Later.
He makes his departure.
EXT. HOSPITAL - DAY
Bert approaches his car.
BERT (V.O.)
I can't believe I'm getting away with this.
A police car suddenly pulls into the parking lot, SCREECHING to
a stop in front of Bert. Bert is paralyzed, wondering what's
going to happen to him now. The POLICE OFFICER looks at Bert
through the cruiser's open window.
POLICE OFFICER
Did you see an ambulance just pull in here?
Bert is stunned. He can't speak.
POLICE OFFICER
(aggravated)
Did an ambulance just come in here?!
Bert's reply, when it finally comes, is weak.
BERT
...no...
POLICE OFFICER
Dammit!
He grabs the radio microphone as he speeds off. Bert just
stares as the cop leaves. Once the cop is gone, he looks around
the parking lot. No other people, just cars. He looks down at
the wet spot on the front of his pants.
BERT
Aw, shit!
He quickly goes to his car and gets in. He checks Andrea, who
is still safely unconscious. He takes a few deep breaths to
calm down before he starts his car and leaves.
EXT. BERT'S APARTMENT - DAY
Bert drives into the parking lot, puts his car in the
appropriate spot. He gets out of the car and goes around to the
passenger side. He looks around nervously before extracting
Andrea from the car.
He makes it to his apartment without being noticed. He unlocks
his door and pushes it open just as the door across from his
opens. GLADYS stands in the doorway. She's the type of person
who has to know what is going on with everyone else at all
times.
GLADYS
Hi, Bert.
Bert cringes internally. He hesitates a moment before turning
to face her.
BERT
(nodding)
...Glad...
GLADYS
What're you doing?
She advances toward him. He takes a step back, into hisdoorway.
BERT
(quietly)
Can't talk now. Just bringing my cousin
home from the hospital. I don't want to
wake her.
GLADYS
Oh...okay.
BERT
I gotta put her to bed. She you later.
He closes his door.
GLADYS
...later...
She is unfulfilled. She was cut off in mid snoop. She returns
to her apartment, starts closing the door.
INT. BERT'S APARTMENT, LIVING ROOM - CONTINUOUS
Bert is leaning against the door. He has his head turned so one
ear is against the door. He hears the faint THUNK as Gladys'
door closes. He lets out a sigh of relief.
IN THE BEDROOM - CONTINUOUS
There is nothing unusual about the bedroom, but it does have a
heavy shade that can be drawn over the window. This is so Bert
can sleep during the day.
Bert struggles into the room carrying his load. He's tired so
he just sort of dumps Andrea on the bed. He pulls the IV bag
out and puts it up on the headboard. He lies down on the bed to
rest a bit.
BERT (V.O.)
I can't believe it. I got away with it.
(looks at Andrea)
She's beautiful...
He sits up next to her, touches her face, touches her hair. He
works the blanket off of her. Her hospital gown has bunched up
at the top of her thighs. He straightens the gown and looks at
her for a moment, thinking. He gets up off of the bed. Through
a series of maneuvers, he removes her gown and gets her under
the covers.
IN THE BATHROOM - CONTINUOUS
Bert enters and turns on the water to take a shower.
IN THE BEDROOM - DAY
Bert returns. He as a towel wrapped around his waist. He
closes the door then goes to the window where he pulls the
black-out shade down. The room is now very dark. He drops his
towel and climbs into the bed. He snuggles next to Andrea.
BERT
Oh, baby... I've been looking forward to
this.
He climbs on top of her and starts kissing her. It's 8:35am.
BERT (O.S.)
Oh...oh...oh...ah...ah...AH!
It's still 8:35am.
BERT (O.S.)
That was better than I thought it would be.
LATER
The clock reads 3:59pm. It advances to 4:00pm and the alarm
goes off. Bert silences the alarm. He stretches before he sits
up and swings his legs off of the bed. He bends down, grabs his
towel, and puts the towel around his waist as he stands.
He goes to the window where he raises the shade, flooding the
room with afternoon sunlight. He looks at Andrea. He pulls the
covers down enough to expose her breasts. He rubs his hands
across her breasts, pinches her nipples.
BERT
I think we'll try something new.
He rolls her onto her stomach, exposing her butt. He rubs up
and down the length of her body, then concentrates his attention
on her ass.
BERT
Don't worry, Sweetheart. This won't hurt a
bit.
He drops his towel and climbs on the bed.
EXT. BERT'S APARTMENT - CONTINUOUS
Gladys is looking through her window, making sure she doesn't
miss anything. There's nothing to see from her vantage point
right now, but she doesn't want to chance it.
INT. DONOR CENTER - NIGHT
DING. The elevator doors open and out steps Bert. He has a
knapsack slung over one shoulder. Charlie looks up from his
studies.
BERT
Hey, Charlie. How's it going?
CHARLIE
Not bad. What's with the book bag?
Bert unslings the knapsack.
BERT
Just some fresh reading material.
CHARLIE
Anything interesting?
BERT
I think so, but you probably wouldn't. It's
what you refer to as trashy science fiction.
CHARLIE
(nods acknowledgement)
Hm...
He closes up his stuff and vacates the desk, making room for
Bert.
CHARLIE
Well, if your night is anything like my day,
you'll be able to catch up on a lot of
reading. See you tomorrow.
He heads for the elevator.
BERT
See you...
Charlie presses the elevator button and DING, the doors open.
He enters and the doors close behind him. Bert opens his
knapsack. He takes out a few paperbacks and stuffs them in one
of the desk drawers. He takes his knapsack to a supply cabinet
where he pulls out some IV bags of sedative/nutrient solution
and crams them in his knapsack.
INT. BERT'S APARTMENT, BEDROOM - DAY
Andrea is on the bed amidst the crumbled covers. WHAM, a door
closes.
BERT (O.S.)
Honey, I'm home. I've got something for
you.
He enters the bedroom.
BERT
I've got some fresh sleepy juice for you.
He pulls one IV bag out of his knapsack and tosses the knapsack
on the bed.
BERT
No need for you to wake up now. It would
probably just upset you anyway.
He disconnects Andrea's IV bag and drops it beside the bed. He
attaches the new one in its place.
BERT
There you go.
(starts undressing)
I hope you're in the mood for some lovin'.
I know I am. That cute little mouth of
yours is looking pretty inviting.
ON THE EMPTY IV BAG
LATER
Now there are two bags.
LATER
Make that three bags.
LATER
Now it's half-a-dozen bags. Bert hasn't decided what to do with
the empties. He doesn't want to just dump them in the trash for
fear someone might discover what he's doing.
EXT. BERT'S APARTMENT - DAY
It's late afternoon, the sun hangs low in the sky.
INT. BERT'S APARTMENT, BEDROOM - CONTINUOUS
It's quite dark with the black out shade down. Bert rolls over,
looks at the clock. He suddenly bolts up.
BERT
Oh, shit! I forgot to turn on the alarm.
He dresses very quickly, runs out of the room, and shortly...
WHAM, the front door closes. What Bert didn't realize is that
Andrea's IV bag is empty. Andrea stirs a little bit.
INT. DONOR CENTER - NIGHT
Bert is sitting at the desk, reading a book. The intercom
CRACKLES to life.
NURSE (filtered)
Donor center...
Bert sets his book on the desk and grabs a notepad.
BERT
Go ahead.
NURSE (filtered)
Deliver donor number 1 7 A 3 9 5 2 to O R 3.
Bert writes the information down as it's being delivered.
BERT
Confirm donor 1 7 A 3 9 5 2 to O R 3.
NURSE (filtered)
Correct.
BERT
On my way.
He enters the donor number into the computer to get the
corresponding drawer number. He writes it down on the notepad.
He gets the requested donor and wheels him to the desk where he
scans in the donor's ID card and punches a few buttons on the
computer. He heads for the elevator.
INT. BERT'S APARTMENT, BEDROOM - NIGHT
Andrea stirs. She moves her head side to side a little. She
raises one hand to rub her face. She opens her eyes. She looks
around trying to make sense of things. She's completely
disoriented. She doesn't recognize anything. She sits up in
bed, looks around. She notices the IV in her arm and pulls it
out.
ANDREA (V.O.)
Where am I?
She gets out of bed. She realizes she's naked so she looks
around for something with which to cover herself. She ends up
using the blanket from the bed. She peeks out of the bedroom
before she leaves.
EXT. HOSPITAL - DAY
Bert gets in his car and drives off.
INT. BERT'S APARTMENT, LIVING ROOM - DAY
The front door opens and Bert enters. He closes the door.
BERT
Honey, I'm home.
IN THE BEDROOM - CONTINUOUS
BERT (O.S.)
Since we missed our session before work, I'm
gonna have to do you twice to make up for
it.
He flips on the bedroom light and is shocked to see the bed
empty. He spins around to find Andrea standing there. She is
wearing some of his clothes. It's all she could find. She is
pissed.
ANDREA
Keep your pants on, Romeo.
Bert unconsciously retreats into the bedroom. Andrea follows.
ANDREA
You're not going to do anything except die.
BERT
Wha...wha...wha...wha...
ANDREA
What's the matter? Don't like fucking live
girls?
Bert still can't find his voice.
ANDREA
Well, fuck you, asshole.
She whips out the knife that she was hiding behind her back and
stabs Bert. He falls back onto the bed SCREAMING with the knife
sticking out of his left eye socket. He doesn't SCREAM for
long. She digs through his pockets, pulls out his wallet and
keys. She looks down on him with contempt.
ANDREA
I should've cut off your dick before killing
you.
She spits on him then leaves.
EXT. BERT'S APARTMENT - CONTINUOUS
Andrea exits the apartment. Gladys, ever vigilant, notices and
moves to intercept. She comes out of her apartment as Andrea is
walking away.
GLADYS
Hello. You must be Bert's cousin.
Andrea stops, turns around.
ANDREA
What?
GLADYS
You're Bert's cousin, right? I saw him
bring you home from the hospital a couple
months ago.
Andrea is unsure.
GLADYS
Why were you in the hospital?
Andrea notices that she and Gladys are about the same size. She
gestures toward Gladys' apartment.
ANDREA
Let's go inside and sit down. I'll tell you
all about it.
GLADYS
Come on in.
The two enter the apartment and the door closes.
DISSOLVE TO:
EXT. BERT'S APARTMENT - NIGHT
It's dark. It's late. The windows are dark in Gladys'
apartment.
INT. GLADYS' APARTMENT, DINING AREA - CONTINUOUS
The remains of a meal sit on the table. It looks like a meal
for one.
IN THE BEDROOM - CONTINUOUS
Andrea is sleeping peacefully on the bed. It's her first
natural sleep since being sentenced to donation.
IN THE BATHROOM - CONTINUOUS
The bloody body of Gladys lays crumpled in the bathtub.
EXT. COURTHOUSE - DAY
Andrea is sitting in Bert's car in the parking lot. She's
wearing some of Gladys' clothes now. They look a little better
on her than Bert's clothes did. Judge Euler exits the
courthouse, gets in his car, and drives off. Andrea follows.
EXT. EULER'S HOUSE - DAY
Euler pulls into his driveway. He gets out of the car and
enters his house. Andrea glides Bert's car to a stop in front
of the next-door neighbor's house.
EXT. EULER'S HOUSE - NIGHT
It's late. There's no activity in the street. A dog BARKS
briefly in the distance. Andrea returns, parking in front of
the neighbor's house again. She gets out of the car and closes
the door, being careful to make no noise. She is wearing dark
clothing.
She looks up and down the street. Nothing. She walks to
Euler's house and sneaks around the side of the house to the
back yard. She moves slowly and carefully. It's dark and she
doesn't want to trip over something and make a lot of noise.
She peers in through each window she passes. She looks in
through the screen covering the kitchen window to find that the
window is open a crack. She quietly teases the screen out of
the window frame. With the screen out of the way, she is able
to open the window enough to climb in.
INT. EULER'S HOUSE, KITCHEN - CONTINUOUS
Andrea climbs into the kitchen through the window. She manages
to get in safely without making too much noise.
IN THE BEDROOM - CONTINUOUS
Euler and his wife, NORMA, are in bed. Euler is watching TV,
Norma is reading a book. They are unaware of what is happening
in the kitchen.
IN THE KITCHEN - CONTINUOUS
Andrea stops and looks around. In the darkness she spies a
wooden knife rack. She selects the biggest knife in the rack.
As she's leaving, she accidentally kicks one of the kitchen
chairs. It SQUEAKS a few inches across the floor. She freezes.
INT. EULER'S HOUSE, BEDROOM - CONTINUOUS
Norma and Euler look at each other.
NORMA
What was that?
EULER
I don't know.
He opens his nightstand drawer and pulls out a gun. It has a
trigger lock on it. He sets the gun on the nightstand and
starts rooting through the drawer for the key.
EULER
Where's that damned key?
NORMA
Are you sure it's in there?
She puts her book down on her nightstand. He is agitated now.
EULER
Of course I'm sure. Where else would I put
it?
He gets out of bed and pulls the drawer completely out of the
nightstand. He dumps the contents on the bed. A few small
items bounce off of the bed, including the key. Euler doesn't
notice. He just roots through the pile of drawer junk. He
finds another key.
EULER
Here it is!
He grabs the gun and tries the key in the lock. No good.
NORMA
What's wrong.
He throws the key down and sets the gun back on the nightstand.
EULER
It's the wrong damn key!
She gets out of bed to help him.
NORMA
You should keep your drawer cleaner.
He stares daggers at her.
EULER
Shut up Norma. Now's not the time.
They continue the search for the key. Andrea appears in the
doorway. Euler and Norma are too wrapped up in what they're
doing to notice. Andrea looks down and sees the trigger lock
key on the carpet. She picks it up and pockets it.
She sneaks up right behind Norma and grabs her around the neck,
then she backs up and holds the knife to Norma's face. Norma
SCREAMS.
ANDREA
Hold it!
Euler turns around and freezes. He takes in the situation.
EULER
Don't hurt her. What do you want?
A strange, silent moment in time. Norma is quietly crying.
Tears run down her face. Andrea is waiting for Euler to
recognize her, but it's not going to happen.
ANDREA
Don't you recognize me?
EULER
Why? Should I?
ANDREA
I was in your courtroom once.
EULER
I handle a lot of cases.
(beat)
I can't possibly remember everyone who comes
through.
ANDREA
So, we're just cattle...parading through
your courtroom.
Euler has no response for that.
ANDREA
Get on the bed.
He sits on the edge of the bed.
ANDREA
Now swing your legs up and put them straight
out in front of you.
He slowly does as he's told.
ANDREA
Okay...sit on your hands.
He slides is hands under his butt. She moves over next to him,
dragging Norma along. She takes the knife away from Norma's
face and points it at Euler's throat. She releases Norma...
pushes her away.
ANDREA
(to Norma)
Get on the other side of the bed.
Norma heads for the other side.
NORMA
Okay, just don't hurt him.
She sits on the edge of the bed.
ANDREA
Same position. Come on.
Norma maneuvers into the same position as Euler. Andrea snags
the gun off of the nightstand and quickly moves away from the
bed. She looks at the gun.
ANDREA
Trigger lock, huh?
(turns gun over)
Is it loaded?
EULER
(quietly)
...yes...
Andrea bends down at the knees until she can set the knife on
the floor. She stands back up, never taking her eyes from the
couple on the bed.
ANDREA
Don't do anything stupid. I can grab that
knife before you can reach me.
She slides a hand into her pocket. She pulls out the key and
quickly unlocks the trigger lock. The looks of anger and defeat
are obvious on Euler's and Norma's faces. Andrea retrieves the
knife.
EULER
What now?
Andrea strolls to Norma's side of the bed.
ANDREA
You and I are going to have a little chat,
Judge.
She SMACKS Norma in the side of the head with the gun. Norma
tumbles off of the bed, her pillow following. She hits her
nightstand on the way down and knocks the phone off.
EULER
NO!
He starts to rise. Andrea points the gun in his face.
ANDREA
Don't do it!
EULER
Why did you do that? You didn't need to.
ANDREA
I want to talk to you alone.
(beat)
Now put your hands back.
He sits there. She cocks the hammer on the gun. He sits on his
hands again, defeated.
ANDREA
That's better.
She releases the hammer back to its safe position.
EULER
What now?
She walks around to his side of the bed.
ANDREA
Now I explain to you the importance of
remembering the people you deal with.
She lifts the knife up and displays it in front of Euler's face.
He lets out a MOAN of despair.
ON NORMA
Norma is bleeding from the side of her head where she was hit
with the gun. She stirs. She looks around disoriented. She
sees the phone. She dials 911 and puts the pillow over the
phone to muffle any sounds that Andrea might be able to hear.
Euler lets out a SCREAM. Norma gets up.
NORMA
JIMMY!
Andrea SHOOTS her in the chest. Norma goes down with a GRUNT.
She's still. Euler is sitting there with his hands covering his
face. There is blood oozing between his fingers.
ANDREA
Put your hands back down!
He makes no move. She drops the knife on the floor and slaps
him in the side of the head.
ANDREA
Put 'em down!
He slowly complies. The tip of his nose is gone, replaced by a
red, raw wound.
ANDREA
That's better.
She gets the knife from the floor again. She starts to advance
on him but stops when she hears the muffled SCREECH of tires
from outside. She goes to the window and looks out.
EXT. EULER'S HOUSE - CONTINUOUS
Two police cars are sitting out front. Four officers are
scattering toward the house.
INT. EULER'S HOUSE, BEDROOM - CONTINUOUS
ANDREA
Shit!
She returns to Euler.
ANDREA
Gotta go. Hold this for me, will you?
She slices the knife into his throat. The blood sprays. From
another part of the house comes the CRUNCH of a door being
forced. She looks around in a panic. She runs to the window
and looks out. She can't see anyone.
She backs up and steadies herself before making a desperate run
at the window. She CRASHES through the glass.
THROUGH THE WINDOW
Andrea is lying on the front lawn. She doesn't move. A police
officer carefully closes on her with his gun drawn. Another
police car SCREECHES to a stop at the curb.
INT. COURTROOM - DAY
JUDGE BARKSTEIN is presiding over Andrea's second murder trial.
It's not really a trail, though...just a formality. Andrea is
standing before the judge. She has been bandaged up after her
window dive.
BARKSTEIN
There's no need to judge or sentence you
again. You will be taken immediately to the
donor center to complete your previous
sentence.
(waves dismissively)
Take her away.
The bailiff takes Andrea and leads her to the side door. He
pushes the door open.
MATCH CUT:
INT. DONOR CENTER - DAY
The door opens as Andrea is wheeled in on a table being pushed
by Monique. (Deja vu) She pushes Andrea to the admitting desk
where a MAN is sitting, reading a book. He's so into it he
doesn't notice her.
MONIQUE
New donor.
The man looks up, startled. It's Bert. He has a patch over one
eye socket.
FADE OUT:
FADE IN:
EXT. CAMPSITE - NIGHT
PAUL
The end.
BOBBY
That's pretty good...
PAUL
Thanks.
BOBBY
...for a first try.
Paul throws a marshmallow at him.
DARLEEN
Don't listen to him. It was a great story.
She gives Paul a peck on the cheek.
MICHELLE
I thought it was kind of creepy. I mean
that's only one step up from necrophilia.
JULIA
Yeah, and how come you guys have all that
sex in your stories?
PAUL
Just trying to put you in the mood, baby.
(to Bobby)
Okay, hot shit. Let's hear your story.
BOBBY
Okay... It starts in this titty bar--
JULIA
Bobby!
BOBBY
Alright. Here's the real story. We saved
the best for last.
Julia hits him on the arm.
TONY
Just tell your story. We'll be the judges
of it.
BOBBY
Imagine New England in the fall...
FADE OUT:
FADE IN:
EXT. ARKHAM - DAY
Akham is a picture-perfect little Massachusetts town that is
ablaze in autumn colors.
BOBBY (O.S.)
It takes place in Arkham, Massachusetts.
The semester had recently started at
Miskatonic University.
An old school, established in the 18th century. Lots of stone
walls, columns, and ivy.
Students are scattered all over the place. Some are studying,
some are walking to or from class.
VINCENT PLUMMER and OLIVER ST. JOHN walk out of the Orne
Library. They are conversing, but are too far away to hear.
As they come closer, their conversation can be picked up.
VINCENT
...yes it was wrong, but his last lecture
was so boring. How are we supposed to pay
attention to that drivel?
OLIVER
I'm not arguing that point. I just think you
should've picked a better place to nod off.
VINCENT
I'm beginning to think I should've picked a
better place to go to school.
OLIVER
Don't be absurd. Miskatonic is one of the
finest universities in the country.
VINCENT
Well, if they want to stay one of the
finest, they need to improve their teaching
staff.
OLIVER
Come on... don't you think we've had some
good professors here?
Vincent thinks about this one for a moment.
VINCENT
Alright, they're not all total asses.
(beat)
But some of them really try to be.
They both get a brief chuckle out of that.
They continue walking, their conversation becoming lost in the
distance.
OLIVER
I plan to do a little more research next
term. I'm going to check out the professors
as well as the classes. That way I won't
get stuck like this again...
FADE OUT.
FADE IN:
INT. VINCENT'S APARTMENT - DAY
It's a standard student apartment. Small, but relatively neat.
Oliver is standing at the window, looking outside.
Vincent is lying on the couch. He has one forearm across his
eyes.
VINCENT
Bored, boreder, boredest...
OLIVER
I don't know what to do. I'm going to end
up failing due to lack of interest.
Vincent sits up and uses his best radio-announcer voice.
VINCENT
And today's mot du jour is ennui.
The doorbell RINGS.
Oliver turns away from the window to see who it is.
Vincent goes to the door and opens it.
A MESSENGER is standing at the door.
MESSENGER
Vincent Plummer?
VINCENT
Yes...
The messenger holds out an envelope.
MESSENGER
Telegram.
Vincent takes the envelope.
VINCENT
Thanks.
The messenger turns and leaves.
Vincent closes the door.
Oliver watches with mild interest as Vincent attacks the
envelope.
Vincent gets the telegram out and drops the envelope on the
floor. He reads for a short time before he sits down on the
couch.
OLIVER
What is it?
VINCENT
You remember my great-uncle Howard?
OLIVER
Yeah... he's the one with the big mansion on
the edge of town.
VINCENT
He died yesterday.
OLIVER
No. What happened?
VINCENT
It doesn't say. My guess is old age.
(beat)
He was moving pretty slow the last time we
were out there for dinner.
He stands and passes Oliver as he walks to the window. He peers
out of the window in much the same way that Oliver was before
the telegram came.
Oliver turns to watch him.
VINCENT
Mom and Dad are flying in for the funeral
tomorrow.
OLIVER
D'you want me to go with you?
A beat.
VINCENT
Yeah... Thanks...
EXT. CEMETERY - DAY
It's overcast, but still a nice day. Uncle Howard's graveside
services are being held in one of the oldest sections of the
cemetery.
Vincent and Oliver are there as well as Vincent's PARENTS and a
few people from the town.
A PRIEST is reading some remarks to the gathering.
PRIEST
...and even though Howard was not often seen
at services, he was generous in his other
contributions.
The people listen politely as the priest continues.
Vincent looks around. He notices Uncle Howard's house at the
far edge of this section of the cemetery.
INT. VINCENT'S APARTMENT - DAY
Vincent enters followed by his parents and finally Oliver.
VINCENT
Have a seat. You want something to drink?
MOM
No, Honey. We can't stay. Your father has
to prepare for a board meeting in the
morning.
Vincent's father pulls a fat envelope out of a pocket.
DAD
We wanted to make sure you got this.
He holds out the envelope to Vincent who takes it.
VINCENT
What is it?
DAD
You know Uncle Howard thought the world of
you. His only child died young.
He puts his arm around his wife's waist.
DAD
You're our only child. I think Howard
looked at you as a son. He was thrilled
when you decided to move to Arkham.
(points at envelope)
He wanted to give you some things.
Vincent opens the envelope. He unfolds the papers and looks at
them briefly.
VINCENT
Looks like a bunch of legal documents.
What's it all mean?
DAD
It means you now own his house.
Vincent and Oliver stare and Vincent's father, dumbfounded.
DAD
He also left you a generous trust fund.
VINCENT
How generous?
MOM
Well... you'll be able to pay for the rest
of school instead of your father, and that
will hardly dent it.
DAD
Howard also set up funding so the property
taxes will be taken care of for you.
VINCENT
I... I don't know what to say.
DAD
I probably wouldn't in your situation
either. You're a lucky young man.
Vincent's mother rummages through her purse and pulls out a key.
She holds it out to Vincent.
MOM
You can move in anytime.
Vincent takes the key, stares at it in disbelief.
EXT. MANSION - DAY
An old mansion. The cemetery is in the background. The two
were probably built around the same time.
A small moving van pulls into the driveway.
Vincent and Oliver hop out of the van.
Oliver stares at the mansion.
OLIVER
I can't believe this is all yours.
VINCENT
I can't either.
He pulls the key out if his pocket.
VINCENT
Let's go check it out.
They walk up to the front door.
Vincent unlocks the door and gives it a push.
INT. MANSION, ENTRY - CONTINUOUS
The door swings open as Vincent and Oliver look inside. They
step inside.
Vincent shakes his head.
VINCENT
I never imagined that Uncle Howard would
leave this to me.
OLIVER
It's kind of big for just the two of us. We
don't own that much stuff.
VINCENT
I'm sure we'll be able to get used to it.
He closes the door.
INT. MANSION, DRAWING ROOM - DAY
Comfortable chairs, a big fireplace, a few bottles of liquor and
glasses, a few books,...
And a very large cabinet of some kind.
Vincent and Oliver enter.
OLIVER
I've never seen so many rooms. Your uncle
never gave me a tour.
VINCENT
This is great. It'll give us a chance to
try new things. We should be able to
overcome our boredom now.
He goes to the cabinet.
VINCENT
We can start by celebrating.
He opens the cabinet. There are numerous bottles inside.
OLIVER
Wow...
Vincent pulls a bottle out and passes it to Oliver.
VINCENT
Here.
Oliver takes the bottle and looks at it. He reads the label.
OLIVER
Absinthe?
VINCENT
It's Uncle Howard's special stash. It's
deadly stuff.
He closes the cabinet and gets a couple of glasses.
Oliver uncorks the bottle. He holds the bottle up to take a
sniff.
He jerks his head away.
OLIVER
Yow!
Vincent laughs.
VINCENT
I said it's deadly. It's 140 proof and
contains extract from wormwood plants. It's
supposed to be a bit hallucinogenic.
He holds the glasses out.
Oliver pours a couple fingers into each glass then sets the
bottle down. The liquid is bright green... almost fluorescent.
Oliver takes a glass from Vincent.
They CLINK glasses.
VINCENT
To the end of boredom.
OLIVER
The end of boredom.
They drink.
OLIVER
(breathlessly)
This stuff can't be legal.
VINCENT
It isn't. Hasn't been since World War Two.
He tips his glass to Oliver before he takes another sip.
EXT. MANSION - NIGHT
The only light is coming from the drawing room windows.
DISSOLVE TO:
EXT. MANSION - DAY
Nothing is happening outside the house.
INT. MANSION, DRAWING ROOM - CONTINUOUS
Not much is happening inside the house, either.
Vincent and Oliver are at least sitting up. They are slowly
recovering from last night's binge.
OLIVER
You alive?
VINCENT
Yeah.
(beat)
I may not look like it, but I finally feel
like I've got something to live for.
OLIVER
You know what you have to do now.
VINCENT
What?
OLIVER
House-warming party. What else?
EXT. MANSION - NIGHT
There are cars all around. The entire house is lit up. Loud
MUSIC pounds from the house.
INT. MANSION - CONTINUOUS
The house is full of people: people dancing, people eating,
people drinking, people talking.
IN THE DRAWING ROOM - CONTINUOUS
This room, like most of the others, is populated with partiers.
Vincent is standing by the fireplace talking to SONIA, a
delicious-looking young lady.
Oliver is slow-dancing with TRISHA.
IN OLIVER'S ROOM - NIGHT
The room is empty, and the door hangs open a bit.
The MUSIC can be heard from downstairs.
Oliver and Trisha enter the room.
He closes the door then faces her.
She looks back at him.
They just stare at each other for a brief moment before they
burst into a flurry of activity. They undress like it's a race.
Once the clothes are out of the way, they embrace and kiss.
They do this tenderly.
They stop and look into each other's eyes.
He sweeps her up into his arms and tosses her onto the bed. He
follows with a flying leap onto the bed as well.
They continue their amorous endeavors.
IN VINCENT'S ROOM - NIGHT
Like Oliver's room, the MUSIC is still evident.
Vincent and Sonia are standing next to the big four-poster bed
kissing.
She lets go and stretches her arms above her head and grabs the
post she's leaning against.
He continues to lavish attention on her.
She whispers in his ear.
SONIA
Tie my hands up here.
He looks at her.
She looks back at him and looks up.
He follows her eyes until he sees where she's holding the bed
post.
SONIA
(whispering)
Tie me up...
He looks around for something to use. He finally grabs a pillow
and strips the pillowcase off of it.
He ties her hands to the bed post with the pillowcase.
She lets out a slight MOAN while he's ties her up.
He kisses her then slowly unbuttons her blouse. He massages her
breasts and pinches her nipples through her bra.
She lets out little SOUNDS of pleasure.
He kneels down in front of her and starts to rub her legs. He
works his way up until his hands slide under her miniskirt.
He looks up at her.
VINCENT
No panties.
SONIA
(breathless)
Uh, huh.
VINCENT
I like it.
SONIA
Me too.
He gets up and starts to undress.
EXT. MANSION - NIGHT
The party continues.
INT. MANSION, DRAWING ROOM - DAY
Oliver is sitting, reading a book.
Vincent bursts in the room. He has a mini cam-corder in one
hand.
Oliver looks up from his book.
VINCENT
Oliver... I need your help.
OLIVER
Sure.
VINCENT
Sonia's coming over today.
He holds out the cam-corder.
VINCENT
I want you to tape us.
OLIVER
What?
VINCENT
I want you to secretly video tape us. She's
really kinky... she wants to do it in the
basement.
Oliver rises.
OLIVER
Why?
VINCENT
She says she wants it to be like a dungeon.
Oliver just looks at him.
VINCENT
So I want you to hide down there and tape
us.
OLIVER
You're getting weird, man.
Vincent shrugs his shoulders.
IN THE BASEMENT - DAY
It's pitch black.
A door opens and light spills in from above.
Vincent CLICKS on the light switch. The stairwell illuminates.
He and Oliver start down the stairs.
OLIVER
Talk about creepy.
VINCENT
Well, we had to explore it one of these
days.
They get to the basement and turn on the lights down there.
It's a good-size basement. There's a workbench with some tools
and a lot of shelves with odds and ends.
Vincent moves to the workbench and sets the cam-corder down.
VINCENT
We'll be here by the bench.
He looks around.
VINCENT
(points)
You can hide behind those shelves.
They go to the shelves and check out the space behind.
OLIVER
You're one sick fucker, you know.
VINCENT
But I'm good at it.
(beat)
At least we're not dying of boredom anymore.
OLIVER
Okay... I'll do it.
VINCENT
Good. Now you can help me prepare.
LATER
The basement is now lit by numerous candles. There are some
chains and ropes suspended from the exposed plumbing. There's a
leather cat-o'-nine-tails and handcuffs on the bench.
They hear a faint DOORBELL.
VINCENT
She's here! Get ready!
He runs up the stairs.
Oliver picks the cam-corder off of the bench. He notices an
envelope on the bench. It's addressed to Vincent.
He sets the cam-corder back down, picks up the envelope, and
turns it over. It's sealed.
He hears FOOTSTEPS overhead so he stuffs the envelope in his
pocket, grabs the cam-corder, and hides behind the shelves.
POV OLIVER as he prepares to video tape Vincent and Sonia.
SONIA (O.S.)
It looks icky.
VINCENT (O.S.)
You've been a bad girl. It's what you deserve.
They enter Oliver's field of view.
Sonia is wearing a light one-piece dress.
They stop in front of the workbench.
Vincent grabs the bottom of her dress and removes it over her
head in one fluid motion.
She reaches up to undo her bra, but he slaps her hand out of the
way.
VINCENT
I didn't say you could do that.
SONIA
Sorry, Master.
He unclasps her bra and tosses it on top of her dress.
He picks up the handcuffs.
VINCENT
Hold 'em out.
She holds her wrists out.
He snaps the cuffs down on one wrist. He holds that arm up and
feeds the cuffs through a loop in an overhead rope.
She raises her other arm and he snaps the cuffs down on that
wrist as well.
SONIA
I'm yours to do as you please now.
He grabs an unlit taper from the bench. He lights it from
another candle.
He holds the lit taper in front of her face.
VINCENT
Let's try a little hot-wax torture.
She closes her eyes.
SONIA
Do your worst.
CUT TO:
IN THE TV ROOM - DAY
Vincent and Oliver are watching the TV. They're playing the
tape from yesterday's "dungeon" encounter.
On the TV, Vincent is dribbling melted wax onto Sonia's breasts.
She lets out SQUEALS of pleasure and pain.
OLIVER
Are you going to show her this?
VINCENT
Are you fucking crazy? She'd kill me.
OLIVER
I don't know. With her tastes, she may get
off on it.
VINCENT
You might be right.
Oliver suddenly remembers the envelope. He pulls it out of his
pocket.
OLIVER
I forgot to tell you last night.
He holds out the envelope.
OLIVER
Did you leave this in the basement?
Vincent takes the envelope and looks at it.
VINCENT
I've never seen this before.
He opens the envelope. Inside there's a letter that he unfolds
and starts to read.
He looks up at Oliver.
VINCENT
(surprised)
It's from Uncle Howard.
OLIVER
A chill just ran down my back.
Vincent reads.
VINCENT
He says he's been a "Collector of the
Curious" all of his life and his "museum" is
located in the house.
OLIVER
Where? I didn't see anything unusual.
VINCENT
He says it's accessed through the basement.
IN THE BASEMENT - DAY
Vincent and Oliver are behind the shelves.
Vincent is looking at the letter which he holds in one hand
while the other hand is fumbling in the darkness above the wood
paneling on the wall.
CLICK... a section of the paneling SLIDES out of the way. The
short hallway that is exposed is barely lit by the basement
lights.
Oliver sees a light switch and FLICKS it.
The museum on the other end of the hallway lights up.
The two slowly enter the hallway.
IN THE MUSEUM - CONTINUOUS
They exit the hallway and look at the museum.
The room is not unusually wide, but it is surprisingly deep.
There are alcoves lining both walls... dozens of them. There is
a large empty acrylic box in the center of the room.
They look at the displays. The alcoves hold bookshelves,
strange artifacts, even bodies and body parts.
OLIVER
Wow! Sickness runs in your family.
Vincent either ignores him or didn't hear him. He comes to the
acrylic box.
There's another envelope addressed to Vincent on the box.
He extracts the letter from the envelope and reads while Oliver
looks at the displays.
He walks to where Oliver is looking at a collection of human
heads of various ages, in various stages of decay.
VINCENT
Uncle Howard wants me to be the curator of
his museum.
OLIVER
What's that mean?
VINCENT
Take care of it. Even add to it if
possible.
He looks at the letter again.
VINCENT
He makes two specific requests: if I don't
want the job, I'm to donate the books to
Orne Library at Miskatonic U. and burn
everything else.
OLIVER
What's the other request?
VINCENT
If I want the job, my first duty will be to
"recover" Uncle Howard and put him in his
museum.
OLIVER
Is that what the big empty case is for?
VINCENT
Yeah...
A beat.
OLIVER
What're you going to do?
Vincent looks around.
VINCENT
How handy are you with a shovel?
OLIVER
But how are we supposed to get him? We'd
get caught if we tried to dig him up.
VINCENT
Check this out.
He hands the letter to Oliver.
VINCENT
There are access tunnels underneath the
cemetery from here. Uncle Howard left a
map.
Oliver looks at the letter.
VINCENT
We don't dig him up. We get him from below.
LATER
Vincent and Oliver come out of a tunnel in the back of the
museum. They are filthy. The are carrying Howard on a
stretcher.
They set the stretcher down beside the acrylic box.
OLIVER
I think my arms are couple inches longer
now.
VINCENT
Come on. We're almost done.
They lift the acrylic cover off of the base and set it on the
floor.
They carefully transfer Howard onto the base. They take a
little time to straighten him and his clothes before they
replace the cover.
Oliver looks at Vincent, then at himself.
OLIVER
Whew... time for a shower.
VINCENT
You can go first. I still need to fill out
the journal.
OLIVER
What journal?
VINCENT
It said in the letter that every item in
here is cataloged in a journal that's
located by the entry.
They walk to the entry where there's a small niche on either
side. The one on the right side has a leather-bound book and a
glass pen and inkwell. The one on the left is empty.
Vincent grabs the book. He opens it to look briefly inside.
Oliver picks up the pen and looks at it.
OLIVER
I've heard of glass pens before, but I've
never actually seen one.
VINCENT
Let's take this stuff upstairs. I'll fill
it out while you shower.
OLIVER
Alright.
He picks up the inkwell and the two of them leave the museum.
They turn out the light and the museum is plunged into darkness.
INT. MANSION, KITCHEN - NIGHT
Vincent is sitting at the kitchen table, reading Howard's museum
journal.
Oliver enters. He is wearing only shorts. He has a towel over
his shoulders and his hair is still wet.
OLIVER
Your turn.
Vincent puts down the journal.
VINCENT
Okay. Y'know it's later than I thought.
He stands.
OLIVER
Yeah. I lost track of time down there
myself.
Vincent snags the journal and holds it out Oliver.
VINCENT
You should read this. Some interesting
things in here.
Oliver takes the book.
OLIVER
I'll meet you in the drawing room after your
shower. We still have to celebrate your new
job as the curator of Uncle Howard's museum.
VINCENT
Good idea. I'll be down in a few.
He leaves.
Oliver sits at the table and starts to read passages in the
journal.
INT. MANSION, DRAWING ROOM - NIGHT
Oliver is dressed now. He's still perusing the journal. He has
already set out a bottle of Howard's special stash and two
glasses.
Vincent enters, hair still slightly damp.
VINCENT
Ah, I see you've made preparations.
He opens the bottle and pours. He hands a glass to Oliver.
OLIVER
Thanks.
Vincent holds out his glass.
VINCENT
To Uncle Howard's museum.
Oliver holds out his glass as well.
OLIVER
Uncle Howard's museum.
They drink.
VINCENT
What'd you think of the journal.
OLIVER
It's fascinating. The one thing I really
wonder about is this amulet he occasionally
mentions.
VINCENT
I was thinking the same thing. Apparently
he's been searching for it for a long time.
Oliver flips to the front of the journal.
OLIVER
It's been on his mind from the start. He
mentions that empty niche by the entry is
reserved for the amulet.
VINCENT
I think we need to find that amulet.
OLIVER
I know just where to start. He says the
first mention of it is in a book called
Cultes des Goules.
He hands the journal to Vincent who scans the page.
VINCENT
The only copy he knows of is in Orne Library
in the restricted section.
He looks up at Oliver.
VINCENT
You ever hear of a restricted section in the
library?
OLIVER
No, but I haven't spent much time in the
library either.
INT. ORNE LIBRARY - DAY
Vincent and Oliver enter the library.
It's a typical large campus library. Two floors of books and
more books. Students are scattered about.
They go to the card catalog.
VINCENT
Okay, where's "C?"
OLIVER
C'mon. It's over here.
He opens a drawer and starts flipping through the cards. He
can't find Cultes des Goules.
OLIVER
It's not here.
VINCENT
Try Unaussprechlichen Kulten. Uncle Howard
said it was in there, too.
They move to the U section. Oliver searches.
No luck.
OLIVER
It's not here either.
Vincent looks around.
VINCENT
Maybe we should ask someone.
OLIVER
I don't think this is the kind of thing we
should be talking to people about.
A beat.
VINCENT
Yeah, you're right.
OLIVER
Let's just looks around.
They wander around downstairs, but don't notice anything that
looks like what they want.
They climb up to the second floor and look around there as well.
They eventually find in an out-of-the-way place, a door with a
combination lock on the handle. The sign over the door says,
"Authorized Personnel Only."
VINCENT
This might be it.
He tries the handle. It's locked.
They look around. There's a table a short distance away.
OLIVER
Over there.
They sit at the table.
OLIVER
I didn't see any mention of a combination.
Did you?
VINCENT
No. I didn't read the whole thing, but I
didn't notice anything.
A man carrying an old-looking, leather-bound volume passes the
table heading in the direction of the door.
OLIVER
Wait a minute.
They watch as the man punches the combo lock and opens the door.
He enters and the door closes behind him.
Vincent and Oliver watch the look as if something were going to
happen.
The door opens and the man exits empty-handed. The door swings
shut on its own as he leaves.
VINCENT
Maybe one of us could stand by the door.
When someone comes out, just block the door.
OLIVER
No, we might get caught.
(beat)
I have an idea. Let's go.
They leave.
EXT. ORNE LIBRARY - NIGHT
It may be night, but a student's work is never done.
INT. ORNE LIBRARY - NIGHT
Vincent and Oliver are sitting at the table upstairs across from
the locked door. They are reading. There's a book bag on the
table.
A woman walks by the table on her way to the door. She unlocks
it and goes inside.
Oliver springs into action. He grabs some stuff from the book
bag and goes to the door.
He tapes a piece of cardstock to the doorframe then returns to
the table.
OLIVER
Now we wait.
The woman exits the room.
As the door closes, it closes with the cardstock over the strike
plate.
The woman leaves, not noticing that the door didn't latch.
Vincent and Oliver look around carefully before they grab their
stuff and head for the door.
They open the door and slip inside, taking the cardstock off of
the doorframe.
IN THE RESTRICTED ROOM - CONTINUOUS
The room is not too large... three walls full of drawers with
labels.
The two look over the drawers.
Vincent puts a hand on one drawer.
VINCENT
Here's Unaussprechlichen Kulten.
OLIVER
This is the right place.
Vincent looks at another drawer. He opens it and pulls out a
book.
VINCENT
Look, here's the English translation.
Oliver opens a drawer where he's looking.
OLIVER
And here's Cultes des Goules.
He looks back at the drawers.
OLIVER
But we're going to have to slog through this
one in French.
VINCENT
Let's get out of here before someone catches
us.
OLIVER
Good idea.
They stuff the books into their book bag.
IN THE LIBRARY - CONTINUOUS
They exit the room, trying not to look too suspicious.
Nobody says anything, nobody stops them.
They quickly leave the library.
INT. MANSION, DINING ROOM - DAY
There are papers scattered all over the huge dining room table.
Oliver is hard at work decoding the information contained in
Howard's notes and the books they stole from the library.
Vincent enters carrying a newspaper.
VINCENT
You ever think about adding to Uncle
Howard's collection?
OLIVER
What d'you think I'm doing here? I've just
about got the location of that damned amulet
worked out.
VINCENT
I mean besides that.
OLIVER
Like what?
Vincent hands him the newspaper.
VINCENT
Take a look at this.
Oliver looks.
VINCENT
There... where I circled it.
Oliver looks up at him.
OLIVER
You mean that girl in the accident?
Vincent points at the paper.
VINCENT
Read that part.
OLIVER
(reads)
Tamara Jean Whately is best known for her
eyes; they have confounded her doctors since
her birth. She has a double pupil in each
eye.
VINCENT
I want that for the museum.
OLIVER
What? Tamara?
VINCENT
No. Just her eyes.
Oliver thinks about it.
VINCENT
You need to take a break, anyway.
OLIVER
Okay. It'll be interesting.
IN THE MUSEUM - NIGHT
Vincent sets a small jar on a shelf. It contains two eyeballs
floating in formaldehyde.
OLIVER
Where'd you get the formaldehyde?
VINCENT
(gestures)
There's a small drum of it in the back of
the basement.
OLIVER
Well, now that we've had our little
diversion, it's time to get back to my
research.
VINCENT
You go ahead. I'm going to stay down here a
little longer.
OLIVER
Okay.
He leaves.
Vincent goes over to Howard, puts a hand on the acrylic coffin,
looks at his face.
VINCENT
I hope you're proud of me.
While looking in on Howard, he notices something that he didn't
see before.
There are some papers in Howard's inside coat pocket. Looking
from an angle, Vincent can just see the edge of the papers.
He carefully tilts the cover up just enough to get the papers
from Howard and sets the cover back in place.
He unfolds the papers. The first thing he notices is a drawing
of an amulet.
He takes off running.
VINCENT
Oliver!
IN THE BASEMENT - CONTINUOUS
He comes through and hits the stairs running.
VINCENT
Oliver!
IN THE DINING ROOM - NIGHT
Oliver is deep in research.
Vincent rushes into the room.
VINCENT
Oliver! Check this out!
He hands the papers to Oliver.
Oliver's face transforms.
OLIVER
Where'd you get this?
VINCENT
It was in Uncle Howard's suit.
OLIVER
This may be it.
He spreads the papers on the table and starts cross referencing.
He scribbles down notes, moves back and forth between books and
papers.
VINCENT
Will this do it?
OLIVER
I think I know where it might be.
VINCENT
Where?
OLIVER
In France.
VINCENT
Where in France?
OLIVER
I don't know yet, but I think I can pin it
down now.
VINCENT
What do you mean?
Oliver gestures to the stack of research.
OLIVER
I found numerous references to a French
count being buried with an "artifact."
He picks up the paper with the amulet drawing.
OLIVER
These papers link Balfour to the amulet.
VINCENT
Who?
OLIVER
François-Honoré Balfour, Comte d'Erlette.
All we have to do is find where he was
buried.
EXT. CHATEAU DES FAUSSES FLAMES - NIGHT
A small burial ground located next to a ruined manor in the
woods of Averoigne.
Luminous insects dance from place to place, their purpose known
only to themselves. The moon is full and visible through the
trees except when flocks of bats occasionally obscure it.
Vincent and Oliver stand in front of a headstone. They are
holding shovels.
VINCENT
Why wasn't he buried in the family crypt in
Paris?
OLIVER
He specifically requested to be buried here.
(beat)
The original owners of the chateau were
suspected of being witches.
Vincent CHUNKS his shovel into the ground.
From far away comes the sound of an animal HOWLING. It's a
mournful sound that chills the pair of grave robbers.
VINCENT
(looks around)
What the hell was that?
OLIVER
I hope we don't find out.
Vincent turns his attention to the task at hand.
VINCENT
Let's find out if your research was
accurate.
They both start digging.
A huge bat suddenly swoops down on them.
They both YELL in surprise and duck and try to watch where it
flies. While they're not looking, another big bat flies down
and perches on the headstone.
They turn around to resume digging and the bat on the headstone
hisses at them and flaps its wings.
Oliver knocks the bat from the headstone with a swipe of his
shovel.
The bat flops on the ground SQUEALING.
Oliver finishes it off with his shovel.
VINCENT
Wow, I've never seen you move so fast.
OLIVER
I don't like bats.
They resume digging.
LATER
A shovel CLUNKS into wood.
The HOWL in the background sounds a little closer and louder.
They stop digging and look at each other, then simultaneously
drop to their knees to start clearing the dirt by hand.
They get the top of the coffin uncovered.
Vincent climbs out of the hole.
VINCENT
You figured it out... you should have the
honors.
A brief FLASH of lightning illuminates their world.
They look up into the sky.
OLIVER
Good timing.
VINCENT
Come on. Get with it.
Oliver reaches down and finds purchase on the edge of the lid.
He lifts. It CREAKS open a crack.
The HOWL sounds like it's on top of them. They try to see where
it's coming from.
OLIVER
You see anything?
VINCENT
No.
(beat)
It's weird.
Oliver returns to the casket. He throws the lid back revealing
the contents:
A skeleton. The teeth are a little longer than normal and
pointed.
A jade amulet is clutched in skeletal fingers.
OLIVER
YEAH!
VINCENT
Alright! You did it!
Another FLASH of lightning.
VINCENT
Grab it and let's get out of here.
Oliver works the amulet and its chain out of Balfour's hand. He
SLAMS the coffin and climbs out of the grave.
He hands the amulet to Vincent.
OLIVER
Sometimes I even surprise myself.
VINCENT
I still don't believe it.
He just stares at the amulet.
Oliver grabs a shovel.
OLIVER
Come on. Let's fill this in.
Vincent reluctantly stuffs the amulet in a pocket. He grabs his
shovel.
The two quickly fill in the grave. The bats fly around.
Lightning FLASHES occasionally. The HOWL fades back into the
distance.
INT. MANSION, MUSEUM - DAY
Vincent sets the jade amulet on a piece of deep crimson velvet
that sits in the no-longer-empty niche.
VINCENT
It's beautiful.
OLIVER
It's supposed to be a powerful talisman.
VINCENT
Well, its power is ours now.
They just stand there and admire the amulet.
EXT. MANSION - NIGHT
A horrible BAYING drifts from the cemetery next door.
INT. MANSION, OLIVER'S ROOM - CONTINUOUS
The BAYING startles Oliver from sleep. He sits up and looks to
the window.
Another HOWL.
He gets up, opens the window, and peers out. He can't see
anything so he just closes the window.
There's a TAPPING at the door so he turns to face the door.
OLIVER
Yeah.
The door opens and Vincent enters.
VINCENT
You hear it?
OLIVER
Uh huh. Sounds like the graveyard in
France.
VINCENT
I'm glad to hear you say that. I thought I
was losing it.
OLIVER
Not unless your dementia is contagious.
VINCENT
Do you think it has something to do with
that amulet?
OLIVER
It wouldn't surprise me. I'll do some more
research in the morning... see if I can find
something.
VINCENT
Alright. See you in the morning.
OLIVER
'Night.
Vincent leaves, closes the door.
Oliver turns back to the window. He peers out into the
darkness.
The next HOWL prompts him to draw the curtains.
INT. MANSION, DINING ROOM - DAY
Oliver still has all of his research materials spread across the
table. He is wrapped up in it.
There's a SCRATCHING at the window.
He goes to investigate. He looks out through the window.
Nothing.
He returns to the table. Before long, he hears the SCRATCHING
again. He investigates but again... nothing.
He leaves the room.
No motion anywhere until Oliver appears on the other side of the
window.
EXT. MANSION - CONTINUOUS
He looks around, searching for the cause of the noise but sees
nothing obvious. He looks underneath the window and sees what
looks like paw prints in the dirt.
He looks around again, trying to find the source of the noise
and the prints.
All's quiet.
INT. MANSION, DRAWING ROOM - NIGHT
Vincent and Oliver are drinking and smoking cigars. Vincent is
reading a book. Oliver is just staring into the fire in the
fireplace.
There's a sudden FLUTTERING at the window.
They both look at the window, then at each other.
Vincent finally puts his book down and goes to the window. He
looks out.
OLIVER
(nervous)
See anything?
VINCENT
Yeah, it looks like bats.
He turns to Oliver.
VINCENT
I've never seen bats around here before.
OLIVER
I... I gotta go...
He hurries out of the room.
VINCENT
Where're you going?
No answer.
VINCENT
Oliver!
He leaves at a slower pace, not hurried like Oliver.
IN THE MUSEUM - NIGHT
Oliver is lighting incense. Vincent enters.
VINCENT
What's wrong with you?
OLIVER
I need to relax. I feel calmer down here.
A beat.
OLIVER
Burn some incense, study the displays,...
VINCENT
You're losing it, man.
OLIVER
(quietly)
You're probably right.
They look at each other in silence.
From the basement, a CREAK.
They look at each other wide eyed.
VINCENT
(whispering)
There's someone on the stairs.
He points toward the tunnel in the back of the museum. They go
there and get a couple of shovels.
Another CREAK.
They start toward the basement, shovels raised. They stop when
they hear a raspy VOICE from the basement.
VOICE (O.S.)
Je suis presque assez fort. Vous mourrez
des morts violentes.
OLIVER
What the hell was that?
VINCENT
I don't know. It sounded like French.
They hear a raspy CHUCKLE from the basement.
OLIVER
Let's go.
Vincent nods his assent.
They charge into the basement YELLING, but
IN THE BASEMENT - CONTINUOUS
Nobody's there.
They look around confused, then they hear the same raspy CHUCKLE
from up the stairs. They run to the stairs and look up.
Nothing.
They hear the voice again.
VOICE (O.S.)
Vous ne savez pas que vous faites. Vous
êtes morts.
VINCENT
That was definitely French.
OLIVER
Could you tell what it said?
VINCENT
I caught the last phrase...
(beat)
"You are dead."
Oliver looks up the stairs again.
OLIVER
(yells)
Fuck you!
Silence.
More silence.
VINCENT
Come on, man. Let's finish that bottle and
try to get some sleep.
Oliver hesitates, think what to do.
OLIVER
Okay...
They head up the stairs.
IN VINCENT'S ROOM - NIGHT
Vincent is sound asleep, but is startled awake by a
bloodcurdling SCREAM. He sits up in bed, not sure if he dreamed
it.
The SCREAM repeats and continues.
He practically flies out of the room.
VINCENT
Oliver!
IN THE HALLWAY - CONTINUOUS
Vincent stops briefly at the door to Oliver's room. He hears a
CRASH of breaking glass and the SCREAMS fade away.
He bursts into the room.
IN OLIVER'S ROOM - CONTINUOUS
It's a total wreck.
VINCENT
Oliver!
He looks around... the window is broken. He goes to the window
and looks out. In the cemetery he can see Oliver being attacked
by what looks like a shadow.
VINCENT
Oliver!
He dashes out of the room.
EXT. MANSION - NIGHT
Vincent flies out of the front door.
Oliver is no longer screaming.
Vincent runs into the cemetery toward Oliver. He gets close
enough to see a little detail. Oliver looks awfully damaged.
Vincent walks a little... unsure. He finally runs the rest of
the way to Oliver's side. He hears the distant WHIR of wings
and looks up in time to see a vague black shadowy thing against
the moon.
He looks back to Oliver who has been torn to ribbons. Oliver
stares blankly.
VINCENT
Oh, Oliver...
Oliver blinks his eyes.
VINCENT
Oliver! What happened?
Oliver strains to speak. When it comes it's only a whisper.
OLIVER
The amulet...
(beat)
That damned thing...
His eyes close as he exhales his last breath.
INT. MANSION, MUSEUM - NIGHT
Vincent is standing in front of the amulet. Oliver's remains
are propped underneath the niche.
Vincent just stares at the amulet. He finally turns around and
surveys the rest of the museum. His eyes come to rest on
Howard. He walks to Howard and places his hands on the acrylic.
VINCENT
I hope you won't be upset... but I have to
do this
(beat)
I don't want to end up like Oliver.
He stands there a moment longer before he grabs the amulet. He
wraps it up in its velvet cloth, stuffs it in his coat pocket,
and leaves.
He soon returns with a gas can. He sloshes gasoline around the
whole museum. He ends up back at Howard's resting place.
VINCENT
I'm glad you isolated the museum from the
house with plenty of dirt and stone. At
least the house will survive.
(beat)
I'm sorry Uncle Howard.
He pours the last of the gasoline over Howard's casket. He
leaves the room and tosses in a lit match. WHOOSH, the gasoline
ignites and the museum is totally destroyed.
INT. HOTEL, LOBBY - DAY
Vincent is filling out a registration card. A MAN comes to the
counter and bumps into him.
MAN
Pardonez-moi, monsieur.
The man grabs a tour brochure from the counter and leaves. As
he leaves, he throws away the brochure and extracts a small
velvet-wrapped bundle from his pocket. He opens the bundle.
It's the amulet. The man's eyes grow wide.
MAN
C'est incroyable!
He wraps the amulet back up then rushes out of the lobby.
IN VINCENT'S ROOM - DAY
The door is opened by a BELLBOY who stands back and allows
Vincent to enter. The bellboy grabs Vincent's bags and follows.
He sets the bags down in the room. Vincent hands him some
coins.
BELLBOY
Merci.
VINCENT
De rein.
The bellboy leaves, closing the door on his way out. Vincent
walks to the desk and starts to empty his pockets. He tosses
the various items on the desk. He reaches into his coat pocket
to get the amulet.
Nothing. The shock is evident in his face.
He frantically searches all of his pockets. No luck. He looks
around the room, thinking. It comes to him.
IN THE LOBBY - FLASHBACK
Vincent is filling out a registration card. A man comes to the
counter and bumps into him.
MAN
Pardonez-moi, monsieur.
IN VINCENT'S ROOM - BACK TO PRESENT
VINCENT
Oh, shit!
He goes to the window and looks out.
LATER
It's night and Vincent is in bed. The all too familiar BAYING
is keeping him awake. He tries burying his head under the
pillow.
LATER
Daylight fills the room.
Vincent pushes the pillow off. He slowly drags himself out of
bed. He wanders to the door, opens it, and retrieves the
newspaper from the hallway.
He sits in a chair and proceeds to scan the paper.
He comes across an article headlined "MEURTRES DANS LA RUE
MORGUE." SUPER the translation: Murders on Pride Street.
He throws the newspaper down.
VINCENT (V.O.)
What am I going to do now?
EXT. CHATEAU DES FAUSSES FLAMES - NIGHT
Vincent has returned to the scene of the crime.
VINCENT (V.O.)
What am I supposed to do now?
Everything looks the same as before. That is until he comes to
Balfour's grave. It looks like it's been dug up again. Vincent
stops short.
VINCENT
What the hell...
He decides he's got nothing to lose now. He pries the coffin
lid open. A BOLT of lightning illuminates the scene.
The amulet is back in Balfour's skeletal hand. There is what
looks like fresh blood on the skeleton's teeth and hands.
Vincent SCREAMS. His scream is cut short by a load HOWL. He
spins around to try to locate the source of the howl. There's
nothing there.
He runs. The lightning FLASHES again.
EXT. MANSION - NIGHT
The lightning FLASHES, lighting the house and cemetery.
The HOWL, when it comes, is very loud this time.
INT. MANSION, DRAWING ROOM - CONTINUOUS
Vincent is kneeling in the dark. He's holding a pistol. He
pops the cylinder open and puts one bullet in. He carefully
snaps the cylinder closed.
He points the gun at his forehead, holds the position.
He re-aims the gun at his temple, holds the position.
He re-aims the gun in his mouth, holds the position.
He can't do it. He drops the gun to the carpet. He hangs his
head and starts to cry.
A large shadow rises up behind him.
CUT TO BLACK:
A beat.
Vincent's final SCREAM is truly blood-curdling.
EXT. CAMPSITE - NIGHT
BOBBY
The end.
JULIA
Wow, that was creepy.
PAUL
Yeah, I gotta admit. It was pretty good.
They all sit looking at the fire for a bit.
TONY
You guys ready to turn in?
MICHELLE
I am kind of tired.
DARLEEN
(to Paul)
Put out the fire, honey.
They all share their goodnights while Paul uses a spade to throw
some dirt on the fire to smother it. They all go to their
tents.
They settle in and turn of their flashlights.
Everything is quiet.
Everything is still.
Suddenly, there's a loud HOWL.
Julia, Michelle, and Darleen all SCREAM.
CUT TO BLACK.
The End
Unpleasant Dreams is © 1998 Lanny Maude