A Darker Place

A DARKER PLACE
Written by
Andrew Rhodes & Robert Irvin

FADE IN:
EXT. CARNIVAL - NIGHT 2016
SUPER: 2016
Two twenty-something girlfriends are having a blast at a

county carnival.
Unwinding after work with cotton candy. Plush prizes.

Flashing lights.
One a diner waitress. GIRL 1 for now.
The other in business casual. GIRL 2 for now.
BELLA, 7, is dressed as a little princess and happily dances

past them.
GIRL 2
(RE: Little Princess)
Oh my God! Hey Bella.
Bella waves to them. Smiles sweetly.
GIRL 2 (CONT’D)
Had her in my class last year.
EXT. MEADOW - NIGHT
The lights and sounds of the carnival now far behind them,
those same two girls are walking somberly, but with purpose
through the sprawling meadow.
No clue where they could be heading.
Until we see a rusted, blue delivery truck parked on a lonely

hill.
Girl one opens the back of the truck.
INT. BACK OF DELIVERY TRUCK - NIGHT
As if they have no choice, they settle in at either wall.
They willfully wrap duct tape around their mouths.
Cuff themselves to the wall.
It’s an odd sight as the two girls are abducting themselves.

2.
And now we see why:
Standing on the outside of the truck doors is a large figure

wearing a dark, RED CLOAK and hood.
He’s got a vice-like grip on Bella’s arm. A scalpel in the

other hand.
Fully restrained and muffled, our girls plead for Red Cloak
to release little Bella.
CUT TO BLACK:
MATCH CUT TO:
INT. LIBBY’S CAR - NIGHT - 1992
SUPER: 1992
A tour through a modest sedan.
An early 90’s grunge classic blares from the radio.
Travel along the roof past the dome light to see coins, a
pen, and a jacket stuck to the ceiling as if they are glued.
The air freshener stands straight up. Keys too.
A woman’s reddish hair is draped on the ceiling.
Smoke. Then fire.
The car is upside down. LIBBY FORSYTH, mid-20’s fights with

all she has to kick out the rest of the glass.
Crawls through the tight opening.
She’s all dazed determination.
The fire fattens. Libby coughs a fit until she finally makes
it out.
EXT. COUNTRY ROAD - NIGHT - 1992
Libby’s car is upside down on the desolate road. The fire is

getting bigger and bigger.
A voice cries out. It’s coming from inside the car.
MALE VOICE (O.S.)

(coughing)
I’m stuck. I can’t... HELP!
3.
Libby keeps crawling. Even as the voice cries out.
Finally she stops and rolls on her back. Places her hand on
her stomach.
Her hand is burned.
CUT TO:
LATER
Red and blue lights cast a dizzying dread across the road and
trees.
Libby is lying on her back. Her hand still on her stomach.
LIBBY
Baby.
SHERIFF DAUGHERTY, 50’s, screams:
SHERIFF DAUGHERTY
OVER HERE!
Sheriff Daugherty kneels by Libby.
SHERIFF DAUGHERTY (CONT’D)

Sshh. Honey it’s okay.
LIBBY
Is she okay?
SHERIFF DAUGHERTY
Who honey?
LIBBY
My baby.
Sheriff Daugherty looks to the paramedics as they rush to her

side.
SHERIFF DAUGHERTY
Pregnant.
They nod.
Sheriff Daugherty puts a hand to Libby’s forehead. Tries to

keep the spirit light.

Fine time to tell me the good news!
Your baby will be fine, Libby.
4.
Sheriff Daugherty looks to the burning car with dismay. Heads

over to it.
The sheriff stares into the car -can hardly handle the sight.
Covers his handlebarred mouth with his leathery hand.

(to himself)
God almighty, Michael.
LIBBY
I didn’t have a choice...
INT. VERMEER BASEMENT - NIGHT 2016
A very intricate knot being tied.
A thin stream of blood drifts down pale skin toward the

coarse rope. But a gloved finger swipes it softly before it
touches.
EXT. CEMETERY - MORNING 1992
Michael’s funeral. A large framed photo of him stands next to

his grave.
Libby is a zombie to the world as an old lady next to her

rubs her back in a futile attempt at consoling.
Libby watches on as Michael’s casket is slid into the family

vault. Her eyes drift to the small bandage on her hand.
And the casket goes up in FLAMES.

Thuds and screams ring through the cemetery as Michael pounds
on the casket to get free.
The other funeral-goers are running in panic, some are trying

to help, but Libby just watches.
They scream to Libby:
FUNERAL GOERS
LET HIM OUT. DO SOMETHING.
It builds into a deafening jumble of pleas and chaos until:
Everything goes back to normal. All in Libby’s mind.
Libby shakes the vision from her mind.

5.
INT. LIBBY’S HOUSE, LIVING AREA - EVENING - 1992
A sewing needle goes to work on a small pink blanket. Libby

puts the finishing touches on the letter E, then starts at
work on a flower.
We can now make out a name sewn to perfection: CHARLOTTE and

a half-finished flower just below.
The “C” in Charlotte has a very noticeable flourish.
A knock at the front door. Libby struggles to her feet. It’s

then that we notice her pregnant belly. A few months have
clearly passed.
SHERIFF DAUGHERTY (O.S.)

Come on now. Maybe your phone’s
broke, but I know this door ain’t.
Libby opens the door to reveal, Sheriff Daugherty. An easy

patience that’s come with experience. He’d rather ask
questions first, and shoot later.

Brought you a sixer. One for each
month.
He presents her a six-pack... of cranberry juice.
Libby hesitates, but allows him in.

How you holding up? Hadn’t seen
hide nor hair--
Libby struggles to sit back on the sofa. Resumes sewing.

LIBBY
And now you get to see both.
Sheriff Daugherty spots the pink blanket.
SHERIFF DAUGHERTY
Well look at that. Real nice work.
He opens one of the bottles of juice and takes a sip.

Speakin’ of work... What’s this I
hear about you gettin’ back in the
saddle? I don’t remember you
okaying that with Dr. Sheriff
Daugherty.
6.
Sheriff Daugherty waits for a laugh he doesn’t get.
LIBBY
Don’t get all over protective
again. Please. Anyway, it’s about
time I get back to when I used to,
you know, actually help people who
were in trouble.
Libby’s sewing is getting faster. More angry.
SHERIFF DAUGHERTY
Guilt’s no reason to go back to
work.
LIBBY
You tell me the truth -did I say
his name once? Did I even say
Michael’s name as he was...
Through the emotion, Libby accidently pricks herself with the

sewing needle. Drops the needle, just holds the blanket
tightly.
The sheriff can’t find the right words.
SHERIFF DAUGHERTY
He was already... It was too late,
honey. Believe me. Please.
Libby struggles to her feet. Sheriff Daugherty rushes to help

her.
LIBBY
I better get to bed.
SHERIFF DAUGHERTY
Libby hold on now. I--
LIBBY
You can take your cranberry juice.
It was Michael’s favorite, but I
always found it too bitter.
Sheriff Daugherty realizes his error. Ashamed.
SHERIFF DAUGHERTY
Sorry bout that.
He puts his hat on and walks to the door. Pauses:

7.

You didn’t have say in the matter
ya know -only worrying about your
baby. Mother’s instinct is too
strong to fight.
LIBBY
From the man who hates excuses...
Goodnight, Earl.
SHERIFF DAUGHERTY
Alright then. If you need me...
He finishes the sentiment with a nod. Steps out.
BEDROOM - NIGHT - LATER
Libby’s standing in front of a full-size mirror. She lifts

her shirt to stare at her belly. Rubs it softly with her
scarred hand.
Her bedroom clock flips to 5:30AM sounding its alarm.
Because time just doesn’t stop.
EXT. VERMEER RESIDENCE - DAY
A small mansion. The stone mailbox reads “1692 Umber Way.” In

the perfectly manicured yard stands a “For Sale” sign with
“Call About Our Open House” in big bold letters.
The luxury home sits on several acres of vast, well-manicured

lawn.
Sitting on the Vermeer’s property about fifty yards from the
small mansion sits a meager:
VERMEER GUEST HOUSE - DAY
TANK, 30’s, black, emerges from the guest house. The man does
not betray the name - over 6 foot, and over 300 pounds.
A sweaty, intimidating presence, but a big teddy bear at

heart.
He’s the groundskeeper, and dressed for it. Calls out to:
ZACHARY VERMEER, 7, who’s playing in the yard. Free-spirited.

A large, surgical bandage on his nose.
8.
TANK
(calling out)
Hey, Zack-attack!
Tank motions for Zachary to come over.
Zachary hops on his little bike, and heads for Tank’s place.
Tank gives Zachary a gentle bear-hug.
TANK (CONT’D)
Hey, li’l man. Wuz up?
Zachary pulls his report card from his pocket. Hands it to

Tank.
ZACHARY
My grades!
Tank carefully peruses it. Smiles.
TANK
My man! Showed your folks yet?
ZACHARY
Yeah. I tried.
A troubled look overcomes Tank’s face. He quickly washes it

away with a smile. Invites Zachary inside.
TANK
I’m proud of ya. Calls for a
celebration.
INT. GUEST HOUSE - DAY - CONTINUOUS

Not much to look at. Small bed. Small table.
The opening credits of Unsolved Mysteries plays on a small

black and white TV.
Zachary notices birthday balloons. Spots a birthday cake

sitting on the table.
ZACHARY
Is it your birthday?
TANK
No my son’s. Alex. But he won’t
mind sharin’.
ZACHARY
Really?
9.
You’d think he just offered the boy wings to fly.
Tank cuts Zachary a hefty piece of birthday cake.
ZACHARY (CONT’D)
So where is he? We aren’t singing
him Happy Birthday?
TANK
With his mom.
Zachary stuffs his face with birthday cake.
ZACHARY
Are they gonna come over here
later?
TANK
No li’l man. I don’t expect they
will.
Tank cuts another piece of cake to misdirect. Gestures the

bandage on Zachary’s nose.
TANK (CONT’D)
Gettin’ better?
Zachary just shrugs. Eats his cake.
TANK (CONT’D)
Ya think your mom would like a
piece of cake?
ZACHARY
OK!
EXT. VERMEER RESIDENCE, BACKYARD - DAY
Weather’s getting bad. Dark clouds. Thunder’s rumbling.

Bright flashes in the sky. Doesn't matter to:
SAMANTHA VERMEER, 30’s, who’s sprawled out on a beach chair,

and relaxing by the pool.
An over-sized shirt covers her pale skin. We can just make

out the bikini underneath. Her Discman headset an attempted
escape.
She reaches for her Bloody Mary...

10.
ZACHARY
Brought you some cake! It’s Alex’s
birthday, but he’s with his mom.
She nearly spills her drink.
SAMANTHA
SSHH. Your dad is sleeping.
She removes her sunglasses to see that Zachary is looming

over her, and holding a plate of birthday cake.
SAMANTHA (CONT’D)
Just put it on the table.
He tries, but drops the cake in the process. Icing and crumbs
fill the tile and grout.
SAMANTHA (CONT’D)
Dammit, Zack!
He jumps.
ZACHARY
I just--
SAMANTHA
Get a towel. Quick. If your dad
sees this--
The doorbell rings.
And here comes the stress.
SAMANTHA (CONT’D)
Who the hell? Zachary Donald you
clean every damn piece you hear me?
And not a word to your father.
Samantha stomps to side door of the house. Whips a beachtowel

from the back of a chair and throws it at Zachary.
SAMANTHA (CONT’D)
Hurry. He’s no doubt awake now.
She enters the house.
But Zachary just stands there.
And it starts to rain.

11.
INT. VERMEER RESIDENCE, FOYER - DAY
The front door opens to reveal Libby. She’s caught off-guard

to see Samantha standing in front of her in a biniki.
Samantha’s tightly-wound. Jaws clenched. Bloody Mary in hand.
Eyes Libby head to toe as she passes.
SAMANTHA
From the looks of you I can only
assume you aren’t a prospective
buyer...
LIBBY
I’m afraid not. Libby Forsythe. I’m
with--
Libby reaches her hand out.
SAMANTHA
What is this about? My husband,
Donny usually handles everything.
LIBBY
Great. Is Mr. Vermeer here?
SAMANTHA
Sleeping. He works very hard. Don’t
want to wake him. Trust me.
Samantha steps aside, and invites Libby in.
LIVING ROOM - DAY

Upper crust. State of the art for ‘92. Crown molding. Vaulted
ceilings.
And a large portrait above the fireplace, but not of the

family of course:
It’s Donny. In his Doctor attire. Holding a shield featuring

the Caduceus medical symbol in one hand and a BLUE-HANDLED
SCALPEL in the other.
Libby readies her pen and clipboard to take notes.
Samantha whispers everything to keep from waking her husband.
SAMANTHA
(realizing)
Livingston High. Class of ‘81.
12.
LIBBY
Eons ago. I’m surprised you
remember me.
SAMANTHA
Yearbook committee right?
LIBBY
And anything else I could join.
SAMANTHA
Except cheerleaders.
LIBBY
Right of course. Thank you.
SAMANTHA
Missed out.
LIBBY
I’m sure. Never made the cut...
Awkward silence.
LIBBY (CONT’D)
Lovely home by the way.
SAMANTHA
You’ve come all this way for a tour
then?
LIBBY
Unfortunately no... Samantha I’m
here because... I’m uh. I’m with
CP... Child Protective Services.
Samantha starts to laugh out of nowhere.
LIBBY (CONT’D)
Something wrong?
SAMANTHA
Y’all had a thing didn’t you? You
and Donny. Little High School
romance. I almost forgot.
LIBBY
Maybe you didn’t hear me. It’s
about your son. Of course, I was
hoping to speak to you and your
husband.
13.
SAMANTHA
I told you. He’s sleeping. Donny is
a wonderful father.
Samantha finishes her Bloody Mary.
SAMANTHA (CONT’D)
I need to start freshening up for
tonight. Maybe try back another
time.
LIBBY
No. Sorry, but I really have to
insist--
SAMANTHA
Christ. Fine. I’ll get my makeup
bag. Gimme a minute.
The ominous clouds in the sky bring more rumblings of

thunder.
A greenish-blue lightning bolt crackles in front of the

house. Emits an un-Godly rumble of thunder.
INT. VERMEER BASEMENT - DAY 2016
The two captive girls jump, as the basement is rocked by what

seems like that same un-Godly rumble of thunder twenty-four
years ago.
INT. VERMEER RESIDENCE, LIVING ROOM - DAY 1992
The power goes out.
Libby grabs her stomach, surprised by the jolt of pain. Takes

a calming breath.
The power comes back on.
All that illuminates the room is a greenish-blue glow seeping

in through cracks of the basement door. It’s just enough for
our girls to see; however.
Girl 1 tries to free herself, to no avail. Looks to her

friend:
14.
GIRL 1
Is anybody there?
INT. VERMEER RESIDENCE, LIVING ROOM - DAY 1992
Libby jolts. She heard the voice call out. Quickly surveys
her surroundings. A baffled expression on her face.
The faint voice again.
GIRL 1 (O.S.)
Somebody help us please!
Libby walks towards the direction of the faint voice.
HALLWAY - CONTINUOUS
Libby carefully makes her way down the corridor.
Silence.
LIBBY
Hello?
The silence is slowly filled with a muffled, haunting crying

from our captive girls.
Libby increases her pace. Heads in the direction of a huge

oak door. Leans in to it. Listens. Knocks softly.
No reply.
A sharp pain in her stomach again.

Winces. Grabs her stomach.
Continues past a side-table featuring one of Donny’s

racquetball trophies.
LIBBY (CONT’D)
Hello? Anyone there?
What she doesn’t see is a little hand reaching out from under
a side-table. It grabs her ankle.
Libby jumps, dropping her clipboard.
She kneels. Slowly lifts up the table cloth to see a smiling

Zachary.
Libby’s still trying to catch her breath. But manages to

breathe a sigh of relief.
15.
LIBBY (CONT’D)
And you must be Zachary?
Zachary nods innocently.
LIBBY (CONT’D)
Sweetie, you almost gave me a
heartattack. You can’t do things
like that!
ZACHARY
I like your hair.
LIBBY
Well aren’t you a little sweet-
talker. Thank you very much, I like
your’s too.
Libby notices the large, surgical bandage on Zachary’s nose.
LIBBY (CONT’D)
My goodness. What happened to your
little nose?
SAMANTHA (O.S.)
I’ve asked you already to keep your
voice down. And Zachary...
Zachary gives a cryptic shake of his head to Libby.
SAMANTHA (CONT’D)
Where are you supposed to be?
ZACHARY
My room.
SAMANTHA
So...
Zachary does as told. Runs right for the stairs.
SAMANTHA (CONT’D)
Quiet. Please.
Stops.
ZACHARY
Can I go play with Tank?
SAMANTHA
Goodbye Zachary.
Defeated, he heads up stairs. Quietly.

16.
LIBBY
(confused)
Tank. Imaginary friend?
SAMANTHA
In a way... Groundskeeper.
Samantha motions to the window.
Libby turns to look. We see Tank getting his tools out of the
rain.
SAMANTHA (CONT’D)
Former gang-banger. Donny cut him a
break. Let him stay in our guest
house.
Libby spots the guest house. Concerned.
LIBBY
A convicted felon... Are he and
Zachary close?
SAMANTHA
Not like you’re hinting at.
Libby takes one more glance at Tank, who’s staring right back
at her. Quickly averts her eyes. Switches subjects, as she
inches closer to Samantha.
LIBBY
And Zachary’s nose--
SAMANTHA
Deviated septum. We took care of it
ourselves. Donny’s a plastic
surgeon, you know.
Samantha adjusts her posture to show off some of Donny’s

handiwork.
SAMANTHA (CONT’D)
Come to the living room. I need a
mirror.
Libby begins to follow. Stops. Turns and eyes that huge oak
door once more. No voices.
LIVING ROOM - DAY - CONTINUOUS
Samantha and Libby are sitting on the sofa.

17.
Samantha is slathering on her makeup for the night. Not a

pretty process.
SAMANTHA
Think I hear the shower. Donny must
be up, thank God. Tired of
whispering.
LIBBY
Saman-- Mrs. Vermeer, not to get
off subject... is anyone else here?
I could’ve sworn I heard a girl’s
voice.
SAMANTHA
Oh good Lord Libby. First I’m a bad
mother, now you’re saying I’m
hiding girls in my house.
LIBBY
No. I am most definitely not. But I
did hear something. Sounded like it
was coming from that door at the
end of the hallway. What room is
that?
Samantha just gives Libby a disapproving stare.
SAMANTHA
So you did want a tour.
STAIRWAY - DAY
Zachary lies on the second story peaking under the stairway

railing.
HALLWAY - DAY
Libby follows Samantha down the hallway towards that huge,

oak door, as they continue to chat.
LIBBY
A little unorthodox isn’t it? A
doctor performing surgery on his
own family?
SAMANTHA
He’s the best. Why wouldn’t he.
Plus once he gets something in that
head of his...
Libby jots a few things down.

18.
LIBBY
The school has concerns as well...
other potential indicators. Then
there’s the anonymous call.
SAMANTHA
Take it from me, you should head
out before Donny catches wind of
this.
LIBBY
Mrs. Vermeer, this isn’t exactly
his first bandage.
SAMANTHA
Just fair warning. He ain’t like he
used to be.
With that, Samantha turns the knob on the huge, oak door.
BASEMENT - DAY
Almost complete darkness until the door at the top of the

stairs opens to show Libby and Samantha.
Samantha flicks on the light and walks downstairs. Libby

follows.
The lightbulb hesitates for a second.
A full look at the basement:
A nerd’s paradise. All medieval themed: Pool table, VHS

collection, movie posters, framed comic books, and
bookshelves lined with toys and replicas including an ORNATE
DAGGER and a vintage HE-MAN LUNCHBOX.
Libby glances around for the origin of that faint, female

voice. Nothing.
LIBBY
Looks like the same Donny to me.
MALE VOICE (O.S.)

Welcome to my goddamn kingdom.
Libby looks up to see DONNY VERMEER, 29, as he glides down

the stairs. He’s wearing nothing but a towel, which is
straining to stay wrapped around his large frame.
He’s that nerd with money trying way too hard to be manly and
cool.
19.
DONNY
Libby fuckin’ Forsyth. How long has
it been?
LIBBY
High school.
DONNY
Probably don’t recognize me huh?
Raises his right hand to pledge:
DONNY (CONT’D)
My name is Donny Vermeer and I am a
gym addict.
(RE: Libby’s stomach)
And you! That fuckin’ belly. How
far along? Nine months?
LIBBY
Little over six.
He gives Libby a hug that overstays its welcome.
DONNY
Sorry to hear about Michael.
Burned. Fuckin’ brutal. Speaking of
brutal, Sam, Jesus you need to
finish that makeup job. Scaring our
guest and shit.
Samantha puts her hand to her face in a pointless attempt at

hiding her half done makeup.
SAMANTHA
Oh Donny.
Libby is more uncomfortable by the second, but stays on
target:
LIBBY
Donny I was just speaking with
Samantha--
SAMANTHA
Oh come on Lib! I’m sure we
straightened all that stuff out
right?
DONNY
Straightened all that what out? Sam
what’d I say about speaking in
riddles? What do you need, Libby?
Anything.
20.
Samantha shoots Libby a look to say “please don’t.”
His eyes still locked on Libby, Donny motions for Samantha to

hush.
LIBBY
I’m with Child Protective Services.
DONNY
Is that right? About Zack? Why?
LIBBY
The bruises. The bandages. The
stories... There was an anonymous
call to his school...
Intrigued, Donny inches closer to Libby.
DONNY
Anonymous call? By who?
Awkward silence.
DONNY (CONT’D)
About what? You talk in fuckin’
riddles like this one over here.
LIBBY
I think we should all sit down, and-
Donny’s pager goes off. Checks it. Glares at Libby:
DONNY
Look, love to keep shootin’ the
breeze, but we’ve got somewhere to
be.
(to Samantha)
Go finish that face of yours.
Samantha leaves.
DONNY (CONT’D)
Listen. That lil’ booger may be a
bit weird at times, but there’s
nothing wrong with his home-life.
Motions for Libby to leave.
DONNY (CONT’D)
Now, if you’ll excuse us.
Libby firmly stands her ground.

21.
LIBBY
Mr. Vermeer, I won’t let this go.
Trust me. By law I--
The power flickers.
A sharp pain fires through Libby’s stomach
LIBBY (CONT’D)
I am... within my rights to
investigate...
The power goes out. Darkness. Libby catches her breath, and
scans her surroundings with confusion.
That same greenish-blue light under the door casts on the

room.
Donny’s nowhere in sight.
A haunting medieval ballad is playing:
SONG
(singing)
Are you going to Scarborough
Fair...
Libby seems to be in a dilapidated version of the Vermeers’s

basement. It’s not the immaculate man-cave anymore.
SONG (CONT’D)
Parsley, sage, rosemary and thyme.
Gone are the big TV, VHS tapes, and pool table. This place
looks more like a dungeon.
Libby stumbles on a LOOSE FLOORBOARD, nearly falls.
Muffled whimpers from behind her. Libby turns around to see

our two captive girls, chained to a radiator pipe.
A noise from the stairway. Libby turns to see a sinister

FIGURE in silhouette standing at the top of the stairs. She
turns white.
She reaches for a light switch. Flips it. Nothing. Notices

just below the switch that one large spot of the sheetrock
has been PATCHED.
The power comes back on. Lights come up.

22.
Basement back to normal, Libby finds herself staring face to

face with a baffled Donny.
DONNY
You fuckin’ on something?
Libby’s totally confused.
LIBBY
You didn’t see that? The two girls?
The man standing up there?
Libby motions to the top of the stairs. She barely believes

herself.
DONNY
OK look. I’m sure letting your guy
get all charred up left you loopy,
I get it, but don’t bring that shit
into my house--
LIBBY
There were two girls chained up
right... Right here.
Donny grabs Libby’s arm.
DONNY
You’re just full of fuckin
allegations today huh? I got no
time for bat shit. Out ya go.
Libby yanks away. Stumbles back into some shelves.

Donny lunges to protect his precious toys, but slams into a
ladder. It falls against the wall.
Libby stares in wonder.
DONNY (CONT’D)
And you’re here investigating us?
Goddamn psycho.
But Libby’s eyes are trained on the wall where the ladder
hit.
She walks toward it slowly. The ladder has left a hole in the
wall just below the light switch. Just where she saw it
PATCHED in her vision.
She slowly runs her hand down the patch.

23.
Donny snatches her arm.
Donny escorts Libby to her car.
DONNY
Great catchin’ up. Now fuck off.
Libby’s still taken aback by what she’s just experienced. She

can do nothing else but get in her car.
INT. LIBBY’S CAR - DAY
As Libby’s leaving the Vermeers’s property, she spots Tank

sitting outside of the guest house.
He’s staring at her.
INT. VERMEER LIVING ROOM - NIGHT
Donny is dressed for a night out. Pacing.
Off-white, baggy suit, complimented by a navy blue

turtleneck. The gold herringbone around his neck accents his
bleached white teeth.
The worst of the mid 80’s alive and well in ‘92.
DONNY
Two minutes, Samantha, and I’ll
find me another date.
Sees Zachary standing in the hallway looking at him.
DONNY (CONT’D)
Don’t just stand there. You know
the drill. Into position. I won’t
ask twice.
INT. SHERIFF’S OFFICE, HOLDING CELL - EVENING
Al Green plays on an old radio.
Sheriff Daugherty is on his hands and knees in the holding

cell scrubbing the floor to the beat it seems or as close as
he can get.
24.
LIBBY (O.S.)
That cell hasn’t been used in
months -never pegged you as the
overkill type.
Sheriff Daugherty smiles without looking up.
SHERIFF DAUGHERTY
You know what they say about a
clean holding cell... It ain’t
dirty.
He drops the brush in the bucket. Stands with a grunting

struggle, and walks over to his desk.
LIBBY
Never pegged you as a computer type
either. Having a three quarter life
crisis?
SHERIFF DAUGHERTY
You know me and the damned
technology. It was a gift from my
annoyingly persistent secretary.
Haven’t even turned her on yet. The
computer I mean.
LIBBY
I know Earl. High tech though.
SHERIFF DAUGHERTY
Right. Next stop: 21st century.
LIBBY
She around? Kelly?
SHERIFF DAUGHERTY
Sick, so she says. I don’t buy it,
but what can ya do. And Gaines is
in Destin with that new girlfriend
of his. I have my doubts about her,
but what can ya do about that
either.
Libby places a bag on Sheriff Daugherty’s desk.

Hey. A bag of doughnuts from
Martha’s. Fresh too.
Sheriff Daugherty opens the bag.

25.

What’s the occasion? Apology for
kickin’ me out?
Libby places a cup of coffee next to the bag. Leans on

Sheriff Daugherty’s desk.
Sheriff Daugherty reaches into his bottom drawer. Retrieves a

bottle of Wild Turkey. But instead of pouring the whiskey in
the coffee he pours the coffee into the whiskey.
Takes a swig.
Libby eases into a chair.
LIBBY
The occasion is I think I’m losing
my mind.
SHERIFF DAUGHERTY
I’ll drink to that.
LIBBY
I’m serious, Earl. I’m seeing
things. Hearing things -strange
things. What if losing Michael did
something to me. My head. My
sanity. But it was so real and as
clear as your are right now.
Sheriff Daugherty scoffs.
SHERIFF DAUGHERTY
Hell you went through a lot, nobody
can deny that. Why you think I’m so
dern protective? Guess it’s only
natural to have something like that
effect you. Maybe you should go see
someone?
LIBBY
But this wasn’t like that. This
isn’t PTSD or some loony bin
hallucination. I’m telling you it
was real.
SHERIFF DAUGHERTY
Think it was some of them pregnancy
hormones?
Libby locks intense eyes with Sheriff Daugherty.

Aw hell. That was sexist wasn’t it.
26.
LIBBY
I forgive you.
SHERIFF DAUGHERTY
No, Kelly gave me this “Conduct in
the Workplace” pamphlet. Told her
that her dress was nice and next
thing she’s just-- Hell I was just
being nice. Dress wasn’t even that
great. Kinda boxy, this weird
hospital green color. Anyway point
is, it didn’t warrant a lecture...
Few years ago she woulda been
flattered. Crazy world.
LIBBY
Crazy world.
SHERIFF DAUGHERTY
Course, nothing wrong with
believing in something. More than I
can say for the rest of this new
generation. Gotta respect that I
guess right?
LIBBY
I don’t disagree.
He raises his cup to toast:
SHERIFF DAUGHERTY
To the 21st century.
Libby raises her cup as well.
Wheels turning.
INT. LIBBY’S CAR - NIGHT
Libby’s disturbed. She’s clearly fighting with herself.
Finally gives in. Makes a sharp u-turn.
EXT. RESIDENTIAL STREET - NIGHT
Libby’s car is parked on a side street. Close to the Vermeer

house.
INT. LIBBY’S CAR - NIGHT - CONTINUOUS
Libby’s keeping a close eye on the Vermeer house.

27.
Their car is gone.
Libby looks towards the guest house. The lights are on.
Tank’s nowhere to be seen.
Now’s her chance.
EXT. VERMEER RESIDENCE - NIGHT
Libby steps toward the front door. Nervously hopes for a

miracle, but no. It’s locked.
Looks around. Steps to the back of the house.
INT. VERMEER GUEST HOUSE - NIGHT
Tank looks out the window. Verifies the Vermeer car is gone.
Time to make his move.
EXT. VERMEER BACKYARD - NIGHT
Libby sneaks past the garden fountain and along the pool to
the backdoor towards the kitchen. Turns the knob.
Locked.
Snatches a place mat from the patio table. Wraps it around

her fist.
LIBBY
Time to believe in something.
Libby punches the backdoor window out.
Unlocks the door.
INT. VERMEER KITCHEN - NIGHT
Libby creeps through the lavish kitchen.
Listens for a voice. A whimper. Anything. Can’t believe what

she’s doing.
But she can’t stop. She has to know.
She heads straight for the basement. Until...
Cartoon noises play from the--

28.
LIVING ROOM - NIGHT
A flickering glow casts from the TV. Libby turns the corner.
Stops in her tracks at the sight.
Zachary is on the couch watching cartoons. Seven years old

and they left him. Alone.
His dinner lays out on the coffee table. Libby steps in

quietly.
The little guy is laughing at the hijinks on screen.

Blissfully unaware.
But the light of the TV glints off something else. The sight
draws Libby’s hand to her mouth. Anger in her eyes nearly
forms tears.
It’s an EYEBOLT screwed into the wall.
A CANVAS STRAP attached to it. The other end stretches toward

Zachary, and connects to a belt around his waist.
Not only is poor Zachary being restrained by this strap, he’s

wearing pull-up diapers.
Libby shakes her head in disgust:
LIBBY
(to herself)
Animals.
Zachary doesn’t notice her until she kneels and places her
hand on his.
He jumps, but his eyes light up to see her.

LIBBY (CONT’D)
It’s OK, Zachary. It’s me honey.
I’m gonna get you outta here.
ZACHARY
Want to watch cartoons with me?
Libby tries to reply, but hugs him instead.
Zachary nods assuredly. His attention right back to the show.
She scoops up the house phone.
Dials a 9 into the receiver. Then a 1...
But that familiar ghostly cry for help drifts from the
basement.
29.
GIRL’S VOICE (O.S.)

GET US OUT OF HERE. GOD PLEASE.
It strikes Libby hard. She has to do something.
Libby sees how embroiled Zachary is with his show. In his own
world.
So she slowly hangs up the phone.
Tank places two saucers and forks on the counter.
Opens the fridge and pulls out the rest of the birthday cake.
INT. VERMEER BASEMENT - NIGHT
The door opens to reveal Libby and the joyous sounds from
Zachary’s cartoons back in the living room.
The basement light is on.
Hand on the railing, she heads down the steps. Prepared for
the next onslaught of visions.
She walks to the radiator where the poor girls would be

chained.
Runs her hand along it.
Nothing.
LIBBY
Hello?
Walks the basement. Nervous.
LIBBY (CONT’D)
Hello? Can you hear me? My name’s
Libby. Talk to me. Tell me I’m not
crazy. Please.
Throws her hands up.
LIBBY (CONT’D)
I’m here! How do I--
She hears sporadic tapping above -a fly buzzing around the

glow of the lightbulb.
She glances to the light switch. Walks over.

30.
Prepares herself.
Then switches it off.
Darkness.
Lightning pulses outside.
INT. BASEMENT - NIGHT 2016
And there it is. That horrific dungeon of a basement.
That same song. It’s source:
A state of the art sound system high on a shelf. The digital

display reads “Oct 12, 2016.”
Libby looks at the date with disbelief.
But she’s even more shocked when she looks at the girls.
Still chained to the wall. Not moving much at all.
She steps toward the girls until she’s just inches from them,
Waves her hand in their faces, but they don’t see her.
LIBBY
Can you hear me at least? Hello?
Who’s doing this to you?
Nothing.
A noise rings out from upstairs. Their captor up to God knows

what.
Sounds like it’s getting closer.

Libby hides behind a cabinet. Petrified. When the noises
stop, she gathers herself.
More NOISES. They get louder.
Then they stop.
Libby lifts her head slowly to verify it’s all clear. Eyes
the radiator pipe the girls are chained to.
Things start to click in Libby’s head.
She knows what to do.

31.
INT. VERMEER GARAGE - NIGHT 1992
Libby combs Donny’s modest tool collection. Flinging drawers

open until she finds it.
A HACKSAW.
INT. VERMEER RESIDENCE, BASEMENT
Back in the basement, Libby flicks the light switch on.
Races to the radiator pipe. Uses the hacksaw to saw away at

it. Furiously. Manic even, knowing (thinking) this will set
the girls free.
Her hair is tousled. Sweat beads on her face.
The pipe starts to give way. She’s nearly smiling at her

victory.
Finally the pipe clangs to the floor.
She walks to the light switch.
Turns it off.
The basement goes dark.
And then...
It’s a dungeon once more.

Scarborough Fair still plays on a loop.
Libby is hopeful when she sees the girls are no longer

chained to the radiator. It’s now missing a pipe.
But before she can celebrate, Libby looks to see the girls
are now chained across the room, to a thick steel pipe
running over head.
A wire is looped around the pipe and around their necks.

Their hands are bound in front of them.
In other words, thanks to Libby, their situation is now

worse.
32.
EXT. VERMEER RESIDENCE - NIGHT 1992
Tank carefully holds two plates of cake as he heads toward

the side door of the Vermeer house.
Tank steps in. Watches Zachary before he realizes he’s there.

The restraints. The smile on his face.
But Tank pushes all that away and puts on a smile.
TANK
Zack-attack!
ZACHARY
Hey Tank.
TANK
Thought you might like some
dessert.
Tank places the plates of birthday cake on the coffee table.
Sits by Zachary.
TANK (CONT’D)
Don’t forget. This is our secret
right? Don’t you tell Daddy.
Zachary nods happily.
Then Tank reaches behind the little boy’s back.
Libby sees in the dim light that Girl 1 is wearing her filthy
work uniform. Diner waitress best she can tell.
Too dark in there to see much more.
GIRL 1
Hey you stay with me. If I could
get free, maybe I can get water
from this pipe.
CLANG. CLANG.
Girl 1 is sliding her noose along the overhead pipe, banging

it against the pipe support bolted to the ceiling.
33.
GIRL 2
(hoarse weak voice)
Stop... He’ll hear you.
GIRL 1
So he kills us quick instead of
letting us die of thirst.
No use anyway. The support won’t give.
But Libby eyes it. Another idea forms.
INT. VERMEER LIVING ROOM - NIGHT 1992
The cartoons are still playing.
Tank is sitting in a recliner. Getting a kick out of watching

Zachary, now free from his restraints, marching around the TV
while eating his cake.
TANK
You tell me if you see those car
lights OK?
ZACHARY
What about Libby?
Zachary points his spoon toward the basement.
Tank can’t believe the words. Stands.
TANK
What? She here?
Zachary nods happily.

TANK (CONT’D)
Stay put.
The large sinister silhouette lumbers down the steps.
The moonlight removes a few mysteries of his familiar

appearance.
Red Cloak.
He steps slowly toward the terrified girls. Reaches toward

Girl 1.
34.
Struggles against her wiggling and writhing to take her shirt

off.
Libby lunges at him.
LIBBY
Leave her alone!
Libby claws at Red Cloak, but her hands go straight through

him.
She tries again and again. No use.
She stands back. Eyes her useless hands.
Finally Red Cloak rips Girl 1’s uniform shirt off, leaving
her only in a white tank top. He tosses the shirt aside.
Pulls out a BLUE HANDLED SCALPEL. With it, he draws a

pentagram into Charlotte’s shoulder.
She screams in agony.
Natalie is next. She cries as the scalpel carves into her

skin.
But Libby’s eyes drift to the discarded uniform shirt. It

reads:
Porchlight Diner.
The uniform shirt’s stitched name tag is obscured by the

sinister figure’s large shadow until he stands and walks away
without a word.
In the last seconds of light, before it flickers back to the

present, Libby gets a full view of Girl 1. She has strawberry-
red hair.
Libby looks at her in a new light. The resemblance grows more

obvious to her by the second.
In horror, Libby looks back to the nametag on the discarded

shirt. She can finally see it: CHARLOTTE.
From here on we’ll refer to Girl 1 as Charlotte and Girl 2 as

Natalie.
BASEMENT - NIGHT 1992
The basement door flings open.
Another large silhouette stands at the top.

35.
Tank.
He flips on the light to find Libby standing in a daze. Eyes

rolled back.
TANK
You wanna explain what ya doin’
here?
The light snaps Libby out of it. She’s beside herself. Tries
to make sense of it all. Lowers herself to her knees.
LIBBY
(to herself)
No. God it can’t be.
Tank steps closer.
TANK
You good, Miss?
She can barely manage to shake her head.
TANK (CONT’D)
Look you best get out of here
before they get back. I ain’t even
supposed to be here.
LIBBY
My daughter.
TANK
Your baby? You need an ambulance,
say so.
LIBBY
No I-- You don’t see them either.
TANK
No they went out. Every time they
have a night on the town, I come
over here to give my li’l man some
much needed company. But if Mr.
Vermeer catches either of us here
there’ll be hell to pay.
But Libby is still reeling from it all. It dawns on her:
LIBBY
The scalpel. His build. Son-of-a-
bitch. It’s him -it’s Donny. But
why?
Tank tries to help her to her feet.

36.
TANK
You need to go. Now.
ZACHARY (O.S.)
Tank?
Tank looks up to the doorway to see Zachary standing there.
ZACHARY (CONT’D)
I see the lights.
Tank takes on a forboding look.
Headlights cast menacingly on the Vermeer house as their car

pulls in.
The car door opens to unleash Donny’s charm:
DONNY
(to Samantha)
Shut ya mouth. You ain’t making a
fuck bit of sense as usual.
Embarass me again. I fuckin’ dare
ya.
Donny slams the car door.
EXT. VERMEER LIVING ROOM - NIGHT
The front door flings open.
Donny looks to the couch...

Can’t believe what he sees.
Storms over to it...
Snatches the remote from Zachary.
DONNY
Told you not to watch this shit.
We’re relieved to see Zachary is just as they left him,

watching his cartoons.
Donny reaches behind the boy. Undoes his strap.

37.
DONNY (CONT’D)
Go to sleep. And change that diaper
before the whole house smells like
your shit.
Zachary runs upstairs.
Donny follows with a half-drunken stagger.
What Donny didn’t see was Tank sneaking outside the side
window.
But Samantha does.
She storms over. Opens the side door.
SAMANTHA
What do you think you’re doing?
Tank freezes.
SAMANTHA (CONT’D)
You have some business around my
house at this hour? What, are you
spying?
Samantha’s scans Tank in an accusing manner.
TANK
No ma’am. Heard a crash. Thought
I’d--
Samantha sees Tank glance at the patio table.
Tank is silent.
She walks over, stares at Tank before she lifts the
tablecloth to reveal:
Nothing. Standing corrected, she just straightens her dress

and her posture.
SAMANTHA
I don’t want you over here at
night.
Samantha heads back inside.
Relieved, Tank heads for the guest house.
The light is on.

38.
Libby is standing with her ear to the door. Listening hard as

the clicks of Samantha’s heels grows more and more faint.
Libby eases the basement door open. Tip toes out.
INT. LIBBY’S CAR - NIGHT
Libby sits in her car. Scared. Helpless. Confused -is she

losing her mind or her daughter?
She eyes the Vermeer house like some citadel. Hopeless.
Just then she spots her bag.
Thinks a bit. Pulls out the voice recorder.
Presses record.
LIBBY
My name is Libby Forsyth. What
you’re about to hear will sound
strange.
INT. LIBBY’S CAR - NIGHT - LATER
Libby presses stop on the voice recorder. Removes the tape.

Places it in an envelop.
Addresses it to the police station.
Then writes a note on the envelop:
“To be opened October, 2016.”

She seals the envelop. Walks to the Vermeer mailbox and
places it inside.
Up goes the red flag.
Tank straightens the photo of him with his wife and son.
In it, Tank looks almost like a different person. Harsher.

Careless.
A soft knock at the door.
Tank is startled. Opens the door. It’s Libby.

39.
TANK
You nuts? Thought I told you to
clear outta here.
LIBBY
You love that kid right? Then you
need to listen. Something very
strange is going on in that house.
Tank knows he shouldn’t, but...
TANK
Come in. Make it quick. Please.
INT. VERMEER BEDROOM - NIGHT
Donny and Samantha are in the throws of “passion”.
Well, Samantha is at least as she tries hard to please and

excite her husband, but he’s just staring coldly at her.
Tank puts his glass of milk down.
Stares silent for a while.
LIBBY
...so I can’t leave. I need to get
back in that house. He’s behind all
this, I know he is, but just not
yet. You understand right? Or you
just think I’m crazy.
TANK
Who am I to say? I can say this
ain’t the first I’ve heard of
something like this.
LIBBY
Really? What do you mean?
TANK
There was these hikers lost in the
woods. Came upon this old house.
Folks inside were dressed like
olden days, having a party. Invited
the lost hikers in. Had a ball.
Then when the party was over, they
gave the hikers directions back to
where they come from.
(MORE)
40.
TANK (CONT'D)
Next morning, hikers went back to
that cabin to say thank you, as you
do, but the old house was long
abandoned. Not a soul in sight.
Same place, but different time.
Drove one of them crazy, couldn’t
take it, so... tapped out ya know?
LIBBY
Jesus. But yeah that sounds kinda--
Do you know them? Maybe they can
help me--
TANK
No, no. This was on TV.
Libby is defeated.
TANK (CONT’D)
Tell you one thing though. If I
could step through time like that?
Do things different for my family?
You’d have a devil of a time
stopping me.
Libby smiles.
LIBBY
That’s what scares me. But you know
I can’t leave.
TANK
You were never here. But I tell ya,
you put that kid in harm’s way, you
will regret it.
LIBBY
I won’t. You have my word.
TANK
In that case, the key to the side
door is in the top level of the
fountain. You get yourself in
trouble and I’m on their side you
hear? Took a big enough risk
calling Zack’s school.
Libby nods knowingly.
LIBBY
Can’t say I’m surprised. But I’m
glad you did.
Tank winks.
41.
Donny and Samantha are passed out in bed.
In the doorway stands a figure. Watching them.
The lightning pulses outside, shining on Libby’s face as she

stares at Donny with utter contempt.
Donny stirs. Wakes.
Opens his eyes. Lifts his head toward the doorway.
Nothing there.
INT. VERMEER RESIDENCE, BASEMENT - NIGHT
Libby opens the vintage He-man lunchbox. Unscrews the

thermos. Pours her glass of water inside.
Kneels at the false floorboard. Places the thermos inside.

Along with something else:
The ORNATE DAGGER.
Replaces the floorboard.
Removes a framed and signed Monty Python and the Holy Grail
poster. Rips a square from it.
Frantically writes on the back:
“Charlotte- I’ll get you out of there. The man’s name is

Donny Vermeer. Loose floorboard under end of pipe --Mom.”
Grabs the hacksaw.
Climbs up on the pooltable.
Stretches with all she’s got to saw away at the metal pipe
support that’s bolted to the ceiling.
Her foot slips.
She manages to keep her balance.
The saw breaks through. Libby is careful to leave the support

still standing as is so it isn’t obvious.
Duct-tapes the note on the top side of the pipe. Out of

sight.
She goes to get down, but her foot kicks the hacksaw.
42.
It falls hard to the floor. And loud.
VERMEER BEDROOM - NIGHT
Donny is sleeping.
SAMANTHA
Donny. Donny I heard something.
Downstairs. I saw Tank sneaking
around earlier.
He opens his eyes.
DONNY
Shit. And now you fuckin’ tell me?
If he’s after my comics I’ll shoot
his black ass.
Opens his nightstand drawer...
VERMEER BASEMENT - NIGHT 2016
CHARLOTTE FORSYTH and NATALIE PAIGE can’t even muster a cry

anymore. Instead just a hoarse, shallow whimper.
Words leak from Charlotte’s cracked lips.
CHARLOTTE
Nat. You stay awake with me ok?
I’ll get us water.
Natalie can barely manage a nod.
Charlotte eyes the pipe again.

Natalie shakes her head.
NATALIE
He’ll hear you.
CHARLOTTE
Let him. Doesn’t really matter does
it.
Charlotte slides her noose along the pipe, banging it against

the pipe support again.
What she doesn’t see is the crack of light appear under the
basement door. She woke a sleeping dragon.
She bangs it again, the support breaks where Libby sawed it.
It pivots on the pipe bracket.
43.
CHARLOTTE (CONT’D)
Nat. I got it. It just broke.
Nat manages a weak nod.
Charlotte walks on her toes, sliding the wire around her

wrists along the pipe.
The wire knocks something from the pipe.
A piece of paper:
Libby’s note.
Charlotte fumbles at it with her toes. Picks it up. Strains

to lift her foot high enough and stretch her hand low enough
to grab the letter.
Winces, but grabs it.
It’s a note ...and it’s got my name
on it.
Natalie lifts her head to her.
(reading)
I’ll get you out of there. His name
is Donny Vermeer. Loose
floorboard...
The basement door opens.
NATALIE
He’s here. Hide it!
Charlotte shoves the letter in her underwear.
Red Cloak opens the door. Uses a remote to turn the looping
Scarborough Fair up louder.
He closes the door softly.
CHARLOTTE
Loose floor board?
She eyes the end of the pipe.
Let me know if you hear him coming.
I’ll be right back.
Natalie nods.
44.
NATALIE
Wait what?
Charlotte continues on her tiptoes, sliding the wire between

her bound hands along the pipe.
She reaches the end.
Taps her foot on the each board around her.
Thud. Thud. Thud.
Knock.
CHARLOTTE
This one. It’s hollow I think.
Charlotte pivots her foot into position.
Her toenails scratch at the edge of the floorboard.
Very delicate work. And most of all painful.
After what seems like an eternity, the board lifts a hair!
Then falls back.
Charlotte is nearly panting. Starts to lose patience. Fights

and claws at the ragged edge now.
Her little toes raw with blood.
But it’s then that a large splinter STABS itself UNDER her
TOENAIL.
Charlotte cries out. She’s shaking.

Natalie glances up to the basement door, then back to
Charlotte.
NATALIE
(whispers)
Quiet.
INT. VERMEER LIVING ROOM - NIGHT 1992
Gun in hand, Donny steps through his living room. Hears wind
whistling through the backdoor window.
Walks back there. Steps barefoot in the broken window glass

on the floor.
45.
DONNY
FUCK.
Charlotte is using her other foot to step on the splinter and

yank it free from under her toenail.
She pins the splinter... Readies herself...
CHARLOTTE
Oh God...
And yanks the splinter free. Biting her lips and squeezing
her eyes tight. TNT exploding in cement.
Back at it and with no time to spare, she tries again. The

edge of the floorboard is getting smeared with blood, but
she’s in full focus.
Finally the lip of the board begins to rise.
She gets her foot under it. Lifts it free revealing a false
bottom. And two items inside.
A dirty He-Man thermos.
And an ornate replica dagger.
Charlotte gives a genuine if confused smile. Worth the

effort.
She pinches her toes on the thermos handle to pull it from

the hole.
I’m gonna kick it to you.
Natalie nods. The chance at water giving her a boost of

energy and hope.
The thermos slides to her. She stops it with her foot.
Charlotte uses the same technique to pull the dagger from the
hole. This one she grabs with her hand and places in the back
waistband of her pants.
She slides back toward Natalie.
But nearly forgets to close the floorboard. Charlotte shakes

off the mistake. Slides back and pulls the floorboard back
into place.
46.
Makes her way back to Natalie.
With some effort, and keeping a watchful eye on the basement

door, the girls manage to pass the thermos from foot to hand.
NATALIE
This doesn’t make sense. I didn’t
see anyone come down here to hide
that.
CHARLOTTE
Drink first. Make sense of it
later. Like college all over again
huh?
Natalie smiles and Charlotte is glad to see it.
They unscrew the lid and each a take a long, thankful drink
of twenty-four year old water.
I’ll check the note again. Try to
figure this out. First we need to
hide the--
The BASEMENT DOORKNOB RATTLES.
The girls panic.
The door opens.
Charlotte replaces the lid. Kicks the thermos. It slides

under the shelving.
Each heavy footstep of Red Cloak causes the stairs to moan.

Closer and closer.
But the dagger is slipping from Charlotte’s waistband. She
backs against the wall to hide it best she can.
Red Cloak stands there. Watches them for an uncomfortable

eternity.
His own mouth breathing drowning out the nervous breaths of

the girls.
Red Cloak is holding his paints.
Approaches Natalie. Dips his brush into the paint and brings
it slowly to her face.
Charlotte watches on. Then slowly lowers one hand. She’s

gonna make a grab for the dagger...
47.
Red Cloak paints Natalie’s face green.
Then pulls out the scalpel.
Charlotte’s hand is drawing inches from the dagger. Her

fingers tickle its pommel.
Red Cloak brings the scalpel’s blade to his own palm. Cuts a
bloody line.
Natalie screams.
Charlotte’s fingers wrap around the dagger! She slowly pulls

it up from her waistband.
She’s got it. It’s almost free.
Looks up to see Red Cloak is staring right her.
She freezes.
Finally offers:
You’re name is Donny Vermeer.
Red Cloak just stands there, but the name seems to register.
My name is Charlotte. She’s
Natalie. See we know each other
now. You don’t want to do this.
Right?
But just like that he places the paint brush in his bloody
hand, soaking the bristles.
Raises the brush to Natalie’s face and paints blood red
details on his masterpiece.
Satisfied with his work, he leaves.
Natalie’s still crying.
NATALIE
It’s some kind of damn ritual. I
know it. He’s gonna kill me,
Charlotte.
CHARLOTTE
Don’t worry. Next time he comes
down those steps he’s dead. You
still with me?
48.
Natalie nods. Looks to Charlotte who draws back at the sight.
Natalie is painted and cut up to look like a monster.
It’s disturbing.
It’s OK. We’re gonna be fine, Nat.
I swear. I’m gonna check the note.
See if we can get more help.
Charlotte pulls the note from her pants. Strains to read it

in the dark. Mouths the words of the note:
Oh my God. It’s signed.
NATALIE
By who?
CHARLOTTE
Just says Mom.
NATALIE
Your mom?
CHARLOTTE
I mean the way she signed my
name... it’s her handwriting, but--
Libby is standing in the shadows watching. Listening.
It can’t be... She died when I was
born.
Libby is gut punched by the revelation. Her own death
foretold.
Loud banging on the door.
Libby is snapped back to 1992.
Donny is standing in the doorway, having just turned on the

light.
DONNY
What the fuckin’ fuck you doing
here?
Donny raises the gun to Libby.

49.
LIBBY
I know who you are, Donny. I’ve
seen what you’ll do. Why her? Why
my daughter? You... monster.
DONNY
You’re fuckin’ psycho and you’re an
intruder in my home. That means I
have the right to shoot the fuck
out of you.
LIBBY
She’s my little girl.
Donny cocks the gun.
DONNY
Up the steps. Now.
Libby stands her ground.
LIBBY
I won’t leave her. Not until she’s
OK.
Donny charges. Grabs her hair. Juts the gun into her neck.
Drags her up the steps.
Zachary runs in. Pulls at his dad’s leg.
ZACHARY
Daddy no! Leave her alone.
Donny couldn’t care less about Zachary. Fires a shot into the
floor beside Libby.
Samantha is frantic from the doorway as they’re nearing the
top step.
SAMANTHA
Donny stop! Our son!
Donny palms Samantha’s faces and shoves her head back into
the door frame.
LIBBY
Didn’t call the cops on me huh,
Donny. Too scared what they might
dig up?
DONNY
QUIET!
50.
LIBBY
Got some girls buried under the
hydrangeas? Children in the attic?
Libby makes a grab for the gun.
They struggle for it.
In the struggle, Zachary is slammed back.
Samantha reaches to grab him, but can’t. Helpless and

defeated.
Two more SHOTS fire. These right next to Donny’s ear.
Ear drum busted, he screams in pain. Puts a hand to his

bleeding ear. Disoriented.
Libby grabs for the gun, shoving him.
He staggers. Stumbles.
Then falls.
Quick. Brutal. Violent. Final.
Donny lies at the bottom of the steps. Motionless. Head

turned in a way nature never intended.
Zachary cries. Unsure what to do with himself.
Samantha screams in horror. Pushes past a dazed Libby. Races

down the steps and falls by Donny’s side, just looking for
sign of life.
SAMANTHA
Donny, Donny baby no.
Samantha rocks back and forth.
SAMANTHA (CONT’D)
CALL AN AMBULANCE.
Tank stands in the doorway, phone receiver to his ear.
His eyes drift to Libby and the gun.
LIBBY
Hang it up, Tank. Hang it up and
you and Zachary get in here.
Tank hesitates. He’s eyeing her up.

51.
LIBBY (CONT’D)
I’m sorry. But you know I have to.
Tank hangs up the call. Puts his hands up and guides Zachary
down the basement steps.
TANK
It’s OK li’l man. Come on.
ZACHARY
I thought she was our friend.
Libby hands the pooltable cover to Tank. Gestures to Donny’s

body.
LIBBY
Cover him up.
EXT. SHERIFF’S OFFICE - NIGHT
Sheriff Daugherty puts his hat on as he races to his police

car.
Climbs in. Cranks it. Sirens wale.
Libby finishes tying her captives hands with electrical

cords.
LIBBY
Precaution. Just so we can avoid
any more accidents. Okay?
She points to the far corner of the basement.
LIBBY (CONT’D)
Sit. Please. Over there.
They do.
LIBBY (CONT’D)
OK. Listen to me. Please. Two
minutes and I’ll leave and you’re
all free. Hear me? Alright Donny
was an accident. If we don’t all
get that straight up front, then
nothing I say will matter. Please
nod if you understand.
They nod, but doubtful they mean it.

52.
LIBBY (CONT’D)
Samantha, what I’m about to say
will sound crazy. I know that. At
the end of the day, it’s just about
a mother’s love for her child.
Samantha is crying.
Zachary starts rocking.
LIBBY (CONT’D)
I came here to check on Zachary.
Remember, Zachary, our little chat?
I was here making sure you were OK.
Then the lightning. Then I heard
something. A girl crying. I don’t
know. Next thing I know it’s dark
and... I don’t even believe in this
kinda thing.
Tank shoots daggers at Libby. His hand reaches behind him.
Libby has no clue.
LIBBY (CONT’D)
It’s dark and I see this vision.
More than a vision. I was actually
there.
TANK
Let the boy go, Libby.
LIBBY
I was here in this basement, but
years from now. And the crying -it
was two girls chained up. Held
hostage by some... monster. By him.
(gestures to Donny)
One of those girls was my daughter.
This girl right here inside me. So
what are my options? What would you
have done?
TANK
Let him go.
Tank’s hand inches even farther...
LIBBY
Look I know I sound crazy. I don’t
even expect you to believe a word
of it. If I could prove it... But
the fact is, it’s over now.
(MORE)
53.
LIBBY (CONT'D)
I’m sorry for your loss, but he was
not a good man. Samantha I know you
know that. Zachary... Tank, you
know it too. He’s gone now though.
It’s hard and that’s OK. But in
time, you’ll see that you are--
You’re free. And what does all this
mean then?
Libby juts the gun at Tank.
He puts his hands up.
It’s a stand off. Silent and tense until Zachary starts

screaming crying again.
Tank opens his hand.
Pack of cigarettes falls to floor.
TANK
Just my Newports.
Libby lowers the gun slowly.
Zachary’s cries are so loud we can barely hear:
LIBBY
Toss them here. Not good for the
baby.
Tank slides the pack to her.
She steps on them.
Samantha is secretly loosening her bindings. Eyes the exit.

SAMANTHA
What are your plans for us?
LIBBY
Nothing. No plans. I just wanted a
minute to explain. Explain I’m not
crazy. Explain that that was an
accident -nothing more. Explain
that it’s over now. All done. End
of the day, all I did was the one
thing a mother is put on Earth to
do. Provide a good future for her
child.
TANK
If it’s over, then let the boy go.
Please.
54.
The phone starts beeping. Left off the hook. Tank didn’t hang
up after all...
LIBBY
Damn you, Tank...
TANK
Cops are on their way, Libby. It’s
over. You daughter is safe. You
saved her life. Now why don’t you
just make it easy on yourself huh?
THUNDER RUMBLES.
The rain taps impatiently outside.
Samantha is silently staring at Donny’s body.
Libby notices:
LIBBY
He was a bad man. I know he hit
you. Zachary too right -you don’t
need to say it. All that’s over
now.
Samantha just looks away, but Tank leans over to her.
TANK
(whispers)
Keep her talking.
LIBBY
Tank. Quiet. Please.
But Samantha’s face fills with purpose off of Tank’s advice.

SAMANTHA
Donny had his reasons...
Libby is all ears.
Samantha almost has her hands free...
SAMANTHA (CONT’D)
I made a mistake seven years ago.
Donny just got worse after that.
Libby looks to Zachary.
LIBBY
He’s not Donny’s.
Samantha shakes her head in shame to agree.

55.
Zachary, the sweet kid, is just in his own world. His face
wet with sweat and tears. Enough so that the bandage on his
nose starts to peel off.
Libby eyes the bandage. The dots start connecting.
LIBBY (CONT’D)
My God. Zachary never even needed
the surgeries did he.
Samantha’s is shamed.
LIBBY (CONT’D)
Donny couldn’t handle the
resemblance. The reminder of what
you did -you’re sick. He’s just a
child.
Tank turns slowly to Samantha. Face full of enraged horror.
TANK
Tell me she’s lyin’.
Zachary is confused. Looks to his mother.
She can’t stand to look back.
SAMANTHA
I tried to stop him. I begged him.
What could I do?
LIBBY
Everything.
On that:
Lightning. The power flickers again.
The lights go out.
Total darkness.
LIBBY (CONT’D)
Hello?
She doesn’t hear or see anything. Relieved:
LIBBY (CONT’D)
(to herself)
Thank God.
56.
The darkness consumes and confuses Libby.
LIBBY
Hello? Tank? Samantha?
Strange noises surround her.
That familiar greenish-blue light seeps from under the door.
The familiar song.
Something behind her.
She turns:
RED CLOAK.
She’s bombarded with her surroundings:
The same dank dungeon.
Natalie’s sliced and bloodied face.
Charlotte still hanging from the pipe above.
DONNY’S DEATH SOLVED NOTHING.
Libby is frantic. Lost, hopeless. Gets in Red Cloak’s face:
LIBBY (CONT’D)
WHO THE FUCK ARE YOU?
But Charlotte makes a move.

Just when Red Cloak walks past, she juts forward and bites at
his face, SCREAMING with all she’s got.
Red Cloak back hands her, then KICKS her again and again and
again until Charlotte hangs limp.
LIBBY (CONT’D)
LEAVE HER ALONE!
Libby flails her arms at Red Cloak, but of course they pass
right through.
Then, as if from some INVISIBLE FORCE, Libby is DRAGGED

BACKWARD to the floor.
An odd sight.
57.
But that sight is explained when we see Tank dragging Libby,

having taken advantage of her absent consciousness.
Libby snaps into focus.
LIBBY
It wasn’t Donny...
Jams the gun at him.
TANK
The hell are you doing?
Cocks the gun.
LIBBY
It’s gotta be you.
TANK
It’s not. Got my word.
What Libby doesn’t see behind her back is that Samantha has
gotten loose from her bindings.
She’s sneaking away.
Tank puts his hands up. Backs up.
LIBBY
I’ll kill you, you bastard. How
could you?
TANK
Come on now. Please. You know it
could be anyone.
RED and BLUE LIGHTS sweep across the crack in the basement
door.

This is the Sheriff. Had a report
of shots fired. Open up.
Samantha sees her opportunity and dashes to the basement

door, leaving Zachary behind.
ZACHARY
Mommy! Mommy don’t leave me.
Libby freaks at it all falling apart around her.
Samantha is inches from the door.

58.
Libby snatches her by the hair and shoves her back to the
floor.
Grabs a tall table from the corner and jams it through the
stairway railing, barricading the door shut. Solid.
LIBBY
Back against the wall. Now.
SHERIFF DAUGHERTY
Libby? Good God tell me that’s not
you in there.
Just when she thought it was all over, it’s all falling apart
around her.
INT. VERMEER HALLWAY - NIGHT
Sheriff Daugherty stands back from the door in shock.
SHERIFF DAUGHERTY
Libby sweetie talk to me.
TANK
There’s a child in here too. And a
body. It’s Mr. Vermeer.
LIBBY
Earl, I just need you to believe
me. Please. I didn’t want this to
happen. But it’s my daughter. Tell
me you wouldn’t have done anything
it took to save your son.
SHERIFF DAUGHERTY
Libby what happened? What about
your daughter? Is the baby OK?
Libby walks to the wall where Charlotte will be twenty-four

years from now. Places her hand on it softly. Stares at it
lovingly.
LIBBY
I just need time, Earl. Time to get
my head right. Figure out a way to
save her. Is that OK? Thirty
minutes of quiet to think this
through? Can I have that? It’s
still me here. I just need to stop
him. Please believe me.
59.
Libby searches the room for answer, examining her options:
LIBBY (CONT’D)
(talking to herself)
I could cut the whole pipe down -no
it’ll be repaired by then or he’d
just tie them up somewhere else. I
could put the gun in the hole for
her ...no then I’d be defenseless
trying to help her.
SHERIFF DAUGHERTY
Libby, sweetheart. Talk to me.
LIBBY
Or I could always burn the whole
goddamn house down.
Lightning.
And every time the lightbulb flickers she gets a brief,

strobing glimpse of the horrors of 2016.
A brutal reminder that she can barely handle.
Libby stands in the dungeon before her daughter and Natalie.

Charlotte is reaching behind her back for the dagger.
Red Cloak pulls scissors from his belt. Walks over to

Natalie. Starts cutting her hair. Almost to the scalp.
Charlotte stares into Red Cloak’s vacant eyes.

Red Cloak walks away. Heads up the stairs.
Charlotte nods. Pulls the dagger from her waist band, starts
furiously sawing away at her bindings.
Natalie’s eyes go wide.
NATALIE
Jesus you’re gonna get us killed.
Libby looks up to see Red Cloak is returning.
Charlotte just continues to slice away at her bindings.
LIBBY
He’s coming.
Libby is beside herself. Helpless.

60.
NATALIE
God stop. Hide the knife.
Charlotte finally looks up to see Red Cloak drawing near. She

whips the dagger behind her back, but he speeds his pace.
He knows. And he’s coming right for her.
LIBBY
HE’S COMING.
Charlotte backs against the wall. Hiding the dagger and

praying Red Cloak doesn’t find it.
He stands before her. Leans in slowly.
Breath so heavy it strums her hair.
He cocks his head to the side.
Leans left to look behind her.
Then right.
He slowly reaches his hand out and places it on her elbow.
CHARLOTTE
You’re gonna rot in hell.
He smiles. Most of his teeth are gone.
She nervously smiles back.
Then his hand TIGHTENS like a talon around her arm.
Natalie is screaming.
I’m sorry.
Libby’s eyes fill with purpose.
Then she’s gone. Vanished.
With the light in the basement back on, Libby is back in

1992.
She eyes the loose floorboard.
Her only chance. Only seconds remain.

61.
But she’s tackled by Tank!
He’s on top of her. She’s crawling with all she has toward
that floorboard.
LIBBY
Please... Let me just...

What’s goin’ on in there? I’m
coming in!
Sheriff Daugherty starts slamming himself into the door.
SHERIFF DAUGHERTY (O.S.) (CONT’D)

I need back up at 1692 Umber Way.
Libby stretches her arm so hard toward the floorboard it

could break.
Digs her fingernails under the floorboard...
Reaches blindly inside. Removes the dagger.
Lights flicker again.
Charlotte is fighting as Red Cloak is pulling at her arm to

see what’s behind her back.
Finally she loses the fight.
He yanks both her arms into view and finds:

Nothing.
He locks eyes with Charlotte. Confused, but pleased.
Red Cloak walks away.
Libby is watching on. Cries with relief.
Red Cloak casually walks over to the hanging cabinet.
Unlocks the hardy padlock. Opens it to reveal a SWORD and

KNIGHT’S HELMET.
Takes a knee. Bows before it.
And speaks for the first time:

62.
RED CLOAK
These creatures have been a scourge
on our fair kingdom. By my sworn
oath, it is my duty to destroy
these monsters.
He stands.
Removes his the cloak’s hood revealing his face. Places the
helmet on his head, the nose guard slides along his nose and
Libby can’t believe what she sees:
A FAINT SCAR on his NOSE.
She’s in a daze as Red Cloak removes the sword from the

cabinet. Walks valiantly to Natalie.
NATALIE
I don’t want to die. Please.
Raises the sword then swings it down through Natalie’s body.
Charlotte screams with everything inside her. Starts to cry,

but passes out.
Libby just staggers back. In a sea of disgusting sounds.
RED CLOAK
It was my honor your highness. Long
live this Kingdom.
He replaces the wet sword. Then the helmet.
Grabs the paint and walks toward Charlotte.
Wasting no time, begins painting her.
Sheriff Daugherty slams into the door again. It’s starting to

give way.
Libby turns slowly to Zachary. His eyes. The sweat. The

tears.
Then she looks at the BANDAGE peeling from his nose...
The stitched wound in the exact same spot as Red Cloak’s

scar.
It all hits her. She knows what she must do.
But Tank still has her.

63.
She slashes the dagger at him. Breaks free.
Rushes toward Zachary, but Tank tackles her.
Looks Tank in his eyes as they go wide in shocked pain.
The ornate dagger sticking from his side.
Libby can’t believe it either.
She starts shaking.
LIBBY
Tank, I’m sorry. It just
...happened.
He glares at her. Betrayed.
He falls. Bleeding out.
Libby picks up the pistol.
Walks slowly to Zachary.
LIBBY (CONT’D)
It’s you.
Zachary calls to Samantha:
ZACHARY
Mommy.
Tank is wincing in pain. Fading fast.
TANK
(weak)
Stay away from him.
LIBBY
You become a monster. You’ll do
horrible things.
ZACHARY
Mommy?
TANK
Leave the kid alone. Samantha do
something!
But Samantha is frozen, unsure what to do.
LIBBY
Is it in you already? Look at me.
LOOK AT ME.
64.
He does.
Libby crouches before him. Stares deep into his eyes.
Zachary is petrified.
SAMANTHA
Let him go. Please.
LIBBY
There it is. That sickness. It’s
too late.
Libby can’t control herself. Can’t let her daughter die.
A blind rage takes over.
From now on Red Cloak will be referred to as ADULT ZACHARY
Charlotte fights best she can as Adult Zachary paints her,

preparing her for his sick game of make believe.
But something happens to him.
He staggers. Getting weaker by the second.
Libby is so close to Zachary’s face they are practically

touching.
LIBBY
I know you can’t understand this,
but you have to be stopped.
Zachary stares at her. Frozen with fear.
And it seems like he can’t breathe.
A weakened Adult Zachary drops his brush.
Charlotte sees her chance.
She wraps her bindings around his throat.
And squeezes.
65.
Adult Zachary claws at his throat.
Coughs violently.
Lightning puts on an amazing show in 1992 and 2016. And in

both timelines, Zachary, Young and old, is being held by
mother and daughter.
Suddenly both basements are filled with the eerie glow of

from the lightning.
THEN AS THOUGH ZACHARY’S LIFE CONNECTS THE TWO TIMELINES, THE

BARRIER OF DECADES BETWEEN THEM STARTS TO CRUMBLE. 1992 AND
2016 APPEAR SIMULTANEOUSLY.
Libby sees Adult Zachary fall limp from Charlotte’s grasp.
And he starts to slowly FADE AWAY from sight.
Charlotte turns, panting from the strain to look right into

her mother’s eyes for the first time.
CHARLOTTE
Mom.
LIBBY
Sweetie. Can you hear me?
Libby should be elated. Finally connecting with her daughter,

but Charlotte’s face is one of disgust and horror as she look
on her mother.
She looks at Libby the way she looks at Adult Zachary

himself.
Libby looks down. Can’t believe the sight:

Her hands are around Zachary’s neck. She’s choking him.
She releases him.
He scurries to Tank’s side. Hugs him.
Libby staggers back shocked by what she’s become.
Ashamed by her daughter’s first glimpse of her.
LIBBY (CONT’D)
No. Please Charlotte you don’t
understand. I didn’t know.
But the connection through time is fading.

66.
LIBBY (CONT’D)
I’m doing this all for you.
The last thing Libby sees is the look of horror that her
daughter has for her mother...
And then Adult Zachary. Rising to his feet.
Another booming thud. The door rattles and buckles free from
the hinges.
INT. VERMEER BASEMENT - 1992
Sheriff Daugherty barges in. Slams Libby against the wall.
LIBBY
NO! EARL HE’S GONNA KILL HER! YOU
HAVE TO BELIEVE ME.
He ignores her. Cuffs Libby.
Drags her away.
Turns to Tank on the way.
Hands him his handkerchief.
SHERIFF DAUGHERTY
Keep pressure on it. Paramedics on
the way. I’ll put her in the squad,
then be right back.
Zachary grabs the handkerchief and keeps pressure on Tank’s

wound.
Sheriff Daugherty drags Libby out.
With the sheriff gone, Tank pulls himself to his feet slowly.
He’s drained.
TANK
Stay here for me OK? Love you, Zack-
attack.
Takes all Tank has to get up the stairs.
HALLWAY - NIGHT
Tank is looking for something. Blood dripping, he staggers

down the hallway towards the--
67.
KITCHEN - NIGHT
Samantha’s heading for the door.
TANK (O.S.)
(angrily)
Where you headin’ Samantha?
Samantha whips around to see a wounded Tank limping towards

her. Death’s knocking on his door, but he’s too stubborn to
open it. Not before he speaks his peace.
TANK (CONT’D)
Leavin’ your boy to fend for
himself? That all you good for?
SAMANTHA
I ruined him.
Samantha’s eyes are watering.
Tank looses his balance. Falls to the ground. Tries to stand.

Too weak. Falls back down. This is it.
Samantha wants desperately to leave, but her eyes are locked

with Tanks.
TANK
And now that it’s all on you, you
need to ask yourself...
Tank’s life is slipping away.
TANK (CONT’D)
What would you do to save him?
Tank lays back. Peacefully fades away.
Samantha fights herself, but still walks toward the door to

leave.
ZACHARY (O.S.)
Tank?
Samantha opens the front door, but pauses. Turns.
Draws back to see Zachary at Tank’s side, running his finger

through Tank’s blood with a deep curiosity.
SAMANTHA
What are you doing? Zack. Leave him
alone. Go to your room okay?
Zachary runs away.

68.
Samantha’s hand lingers on the doorknob.
Adult Zachary paints a streak of green up Charlotte’s arm.
INT. SHERIFF DAUGHERTY’S COP CAR - NIGHT 1992
Libby is placed in the backseat.
LIBBY
Earl listen to me. I’m not crazy.
You know me. Time is running--
He slams the car door.
Libby starts throwing herself against door. Trying anything

to escape and get back to that basement.
Sheriff Daugherty is on his last nerve. A rage we hadn’t seen

‘til now.
He wants to say a lot of things. Smoldering with anger.
But he merely holds his pointer finger up.
SHERIFF DAUGHERTY
Not a word.
LIBBY
It’s Zachary. He’s the one. He’s
gonna kill my daughter. How can you
let him do that? Why won’t you
believe me? I’m not crazy!
She starts slamming into the door harder and harder until
blood appears on her forehead.
Out of options and patience, he opens the car door and soaks
her face in pepper spray.
She screams. Coughs, spits, vomits. All the while muttering

something no one but her can understand.
He slams the door again.
Heads back to the house.
Sheriff Daugherty is examining Donny’s body.

69.
Sees Zachary is lying at the railing upstairs. Scared.
Sheriff Daugherty walks up the stairs to Zachary.
HALLWAY - NIGHT
Sheriff Daugherty kneels by Zachary.
SHERIFF DAUGHERTY
Hey there bud.
ZACHARY
Hi.
SHERIFF DAUGHERTY
Look I know this night was rough.
Being scared is normal. But rest
easy -it’s all over alright?
Everything’s gonna be alright now.
ZACHARY
Is my mommy okay?
Sheriff Daugherty considers his response.
SHERIFF DAUGHERTY
You love your mommy huh?
What the sheriff doesn’t know is that Samantha is standing at

the base of the stairs listening.
ZACHARY (O.S.)
Yes sir. I love her very much.
She’s a good mommy.
Samantha breaks. It’s deep. It’s real. She’s shattered.
EXT. POLICE STATION - NIGHT
Wind and rain as Daugherty pulls Libby from the cop car.
She’s not fighting and screaming anymore. Just a hopeless,

lost look on her face.
SHERIFF DAUGHERTY
My God, Libby.
But the words are useless.
He walks her toward the door of the desolate police station.

70.
INT. SHERIFF’S OFFICE - NIGHT
Sheriff Daugherty flips on the light. Guides Libby into the

newly cleaned holding cell.
Usual toilet with no privacy, a bench, and a pay phone.
He locks the door.
LIBBY
You don’t believe a word of this do
you?
SHERIFF DAUGHERTY
I believe you went through a
traumtic--
LIBBY
Dammit, Earl. Spare me the--
SHERIFF DAUGHERTY
A traumatic experience that you’ve
not recovered from. We’ll get you
help. I promise ya that.
Gives a sad smile. Walks away.
LIBBY
You’ll know, Sheriff.
Daugherty stops.
LIBBY (CONT’D)
Twenty four years from now,
Sheriff. You’ll be retired. Fishing
with your grandkids on some
beautiful lake. Beer and rocking
chair at night. You’ll think life
couldn’t be more perfect. The news
will be on. Scores, weather, then a
breaking story. Two girls found
dead. One’s name was Charlotte. She
had reddish hair like her mother,
same heart. Same spirit. She was
held for days, tortured then killed
with a sword of all things. And
you’ll know, as your grandkids run
past laughing and unaware of the
horrors of the world you’ll thank
God they’ve been spared.
SHERIFF DAUGHERTY
Get some sleep.
71.
LIBBY
And you’ll know that the lady you
thought was crazy, the lady you
locked up and patronized, the one
you used to look out for like she
was your own daughter, was just a
mother trying to save her little
girl.
He pulls out the trusty Wild Turkey. But doesn’t drink it.
Sits at his desk and stares at the rain. Ponders.
Lights a cigarette.
Libby walks over to the phone in the cell.
Pulls the receiver from the wall.
Her eyes drift to the phone cord then to Sheriff Daugherty,

who’s sipping his whiskey.
SHERIFF DAUGHERTY
Would you just sit. Please.
LIBBY
Do I get a phone call?
SHERIFF DAUGHERTY
No.
Libby just stares at him.
Finally he digs in his pocket with a tired grunt. Pulls out a

quarter and rolls it perfectly toward her, under the bars.
LIBBY
Nice shot.
SHERIFF DAUGHERTY
Yeah? Remember that.
He goes back to his whiskey.
She stretches the phone cord to check its length.
Seems to approve.
Puts a hand on her stomach. In pain.
Stands there a while. Pondering a few things herself.

72.
Charlotte’s arms are painted now. Part of her face too.
Won’t be long.
Can see just enough to know Natalie’s body is still there.
Charlotte is turned from it. Eyes closed willing it all to go

away.
In that lonesome silence, she looks into the dark as if

looking for someone -and looking for the words:
CHARLOTTE
Mom? If somehow you’re here...
Please help me.
Of course she finds no reply.
Then accidently catches a glimpse of Natalie’s body. She

reels from the horror.
Trying to get as far from it as possible, she slides her

bindings along the pipe and in the process knocks the support
bracket.
She looks up to see it’s fallen and is filled with a new

energy and purpose.
She lines the frayed part of her binding up with the ragged
edge of the bracket and starts sawing away, finishing what
she started with the dagger.
The frantic smile that forms on her face speaks volumes.

She’s getting out of this horrific place very, very soon.
INT. SHERIFF’S OFFICE - NIGHT
Sheriff Daugherty is absorbed by his nicotine and whiskey. He

tries to fill out a report, but his head just isn’t in it. He
drops his pen. Stares. Solemn.
Libby watches him. All the while inching closer to the phone
cord.
Mouths to her unborn child:
LIBBY
I love you.
Slowly wraps the phone cord around her neck.

73.
Eyes on Sheriff Daugherty. Willing him to not turn her way.
She hooks the receiver under the cord to secure it.
It’s tight.
She positions herself under the phone just right.
SHERIFF DAUGHERTY
JESUS what’re you--
Libby locks eyes with him.
LIBBY
Can’t let her have that future.
She drops.
The cord cinches tight around her throat.
Sheriff Daugherty is over in a flash. Fumbles with his keys.
Furiously Charlotte works the bindings across the edge of the

bracket until...
Snap.
The binding breaks.
Her hands are free.
Charlotte tip toes over to the sword display. Tugs at the

latch. Locked tight.
She looks around for some other sort of weapon.
The loose floorboard. She heads over. Opens it. Hopeful.
It’s EMPTY.
Looks up to that basement door. Time to leave.
She puts her ear to the door. Listens hard.
Quiet.
Puts her hand to the knob. Winces as she turns it slowly.
Opens the door. Peeks.
Steps out.
74.
VERMEER HALLWAY - NIGHT
Charlotte slinks down the hall.
Faint music is playing.
She’s shaking. Senses peaked.
Each footstep threatening to betray her silence.
She turns the corner to the livingroom.
The source of the greenish-blue light revealed to be a

spinning toy lamp casting moving shadows of unicorns on the
wall.
But what she sees in the living room stops her in her tracks.
To hell with quiet. To hell with escape.
All she can do is stand frozen by the sight. And with pure
reflex the words tear from her mouth:
CHARLOTTE
Oh my God.
What she doesn’t see, in the faint light of the hallway, is a

black shape standing behind her.
Adult Zachary.
He’s watching her quietly.
Charlotte turns to see him.
He starts walking toward her.

She backs up from him. Turns to run, but starts to get weak.
Stumbles.
Adult Zachary is closing in fast.
Charlotte snatches Donny’s racquetball trophy from the side-

table and chucks it at Adult Zachary.
It slams into his forehead. He rips his mask off, blood

pouring down his cheek.
Charlotte buys herself time, but starts to slowly fade away.

75.
INT. SHERIFF’S OFFICE - NIGHT 1992
And we know why.
Libby’s is dying. Her face swollen and red as she accepts her
only option to spare her daughter the torturous future.
Her neck is bleeding. Her breathing faint and ragged.
Daugherty drops his keys.
SHERIFF DAUGHERTY
SHIT.
He scoops them up. Jabs the key into the lock. Dashes over to
Libby.
Picks her up. Rips the phone cord from her neck.
He sits against the wall. Holding her.
LIBBY
You bastard. You’re killing her.
Libby tries to talk again, but can’t muster the air.
Sheriff Daugherty pulls the cuffs from his belt.
Claps one side on her wrist.
Reaches for the other, but with surprise strength, Libby

whips her arm away and grabs for Daugherty’s .38 revolver.
His eyes go wide at the turn.
Libby whips the cuff across his face.

When his head turns back, he’s staring down the barrel.
SHERIFF DAUGHERTY
Libby... It’s me honey.
But she is resolute.
He puts his hands up. Stands slowly. Eyes trained on her

eyes.
He’s standing between her and the cell door.
She eyes the keys still hanging in the lock.

OK. OK. You’re in charge. Just
relax.
76.
LIBBY
I can’t. Now, step to the side.
He doesn’t move.
LIBBY (CONT’D)
SHE’S RUNNING OUT OF TIME. STEP TO
THE SIDE. Listen to me: Her entire
life depends on what you do right
now.
SHERIFF DAUGHERTY
I can’t let you go back there. How
many people have to die? And now a
child?
LIBBY
How many lives would you have taken
to save your son?
SHERIFF DAUGHERTY
I’d like to think none.
LIBBY
Then you’ll never understand.
She aims the pistol at him. Cocks it.
LIBBY (CONT’D)
Now MOVE.
The sheriff doesn’t budge.
SHERIFF DAUGHERTY
I’m sorry. Right now I’m saving
your life and your girl’s.
LIBBY
Always been stubborn.
SHERIFF DAUGHERTY
Always been lookin’ out for you.
With that, Libby runs with all she has toward the cell door.
Does her best to barrel through Sheriff Daugherty, but he
lunges at her.
They both hit the ground.
His FLASHLIGHT slides across the floor.
Wrestling. Fighting. Spitting. Cursing. Shoes squeaking on

the tile floor.
77.
He’s getting pissed.
But she’s an animal.
LIBBY
Get off me.
SHERIFF DAUGHERTY
I can’t.
She knees him in the crotch.
They fight for the gun.
It FIRES, sending shrapnel firing up just inches from Sheriff

Daugherty’s head.
It FIRES again and again.
Finally Sheriff Earl knocks the gun from Libby’s hands.
Libby eyes the edge of the metal bench. Throws all her weight
to the side, sending Sheriff Daugherty falling toward it.
The sound is chilling. A brutal THUD.
He looks at her shocked and ashamed as blood careens down his

temple onto Libby’s face.
LIBBY
Oh my God. Earl. I’m--
He falls to the side.
Lifeless.
LIBBY (CONT’D)
Earl? Earl wake up. Please I’m
sorry. Earl.
She shakes him. Pats his face.
No response.
She kisses his forehead. Tears pooling in her eyes.
Stands in a daze. Streaks her sleeve across the blood in her

eyes as if she didn’t know what else to do with herself.
She backs out of the cell.
Fumbles with the phone. Dials.

78.
LIBBY (CONT’D)
Need an ambulance at the police
station. Please hurry.
She barely gets the words out before she doubles over from
the pain in her stomach.
Drops the phone and heads for the door.
INT. SHERIFF DAUGHERTY’S COP CAR - NIGHT
Libby tears down the wet street.
Face covered in blood, save for her eyes.
They are crazed.
The last paramedic closes the ambulance door.
Drives away.
Meanwhile, Samantha is throwing clothes into a suitcase.
Zachary’s colorful and cheery suitcase is stuffed full beside

her’s.
Zachary tugs on her shirt.
She is too busy and determined to reply. Tries to zip up the

overstuffed luggage.
He tugs again.
She doesn’t loose her patience. Just looks at his sad little
eyes. He seems ashamed.
She looks down to see he’s wet himself.
She almost curses him, the mess and stench and laundry and
the yelling from Donny.
But she stops herself.
Puts her hand on his head and says:
SAMANTHA
Don’t worry about it.
79.
Looks at the red marks on his throat. The stitches on his

nose. Tank’s blood on his little hands.
She uses an old t-shirt and spit to clean them.
Smiles best she can.
SAMANTHA (CONT’D)
We’re going stay at a hotel
tonight. Does that sound fun?
Zachary shakes his head no.
Samantha is at a loss.
SAMANTHA (CONT’D)
It’s okay now. We’re gonna be fine.
The front door eases open.
Libby enters gun first.
Heads straight for the basement.
VERMEER BASEMENT - NIGHT
The basement door opens. Libby rushes in.
LIBBY
I’m coming sweetheart.
She shuts the door and the light outside.
Samantha finishes packing when she hears the THUD of a door

closing downstairs.
She freezes. Hears faint footsteps.
SAMANTHA
(whispers)
Shhh. Come on. Over here.
80.
VERMEER BASEMENT - NIGHT 2016
Back in the dungeon, Libby walks down the stairs, arching her
neck to try to see if her daughter is still there. Still
alive.
LIBBY
Charlotte?
She rounds the corner.
Charlotte is gone.
But so is Natalie’s body.
Libby doesn’t know if she should be relieved or horrified.
She searches for any sign. Any clue of Charlotte’s death or

escape.
There. Behind a newly crooked framed poster.
The breaker box.
Libby opens it. Reaches for the MAIN BREAKER.
INT. VERMEER BEDROOM CLOSET - NIGHT 1992
Samantha and Zachary are hiding behind Donny’s large hanging

shirts. A cruel reminder of a lot of things.
Samantha has her eyes trained on the crack of light under the
closet door.
Shushes Zachary’s cries so she can strain to hear Libby

coming.
The crack of light under the door vanishes as the entire

house is draped in DARKNESS.
INT. VERMEER BASEMENT - NIGHT 1992 AND 2016
Libby clicks on Sheriff Daugherty’s flashlight and the effect

can’t help but take her aback.
In the darkness, it is 2016.
But where ever in the flashlight’s beam, it’s still 1992.
Libby walks up the stairs, watching them age 24 years before

before her eyes.
81.
In 2016 she’s looking for Charlotte.
In 1992 she’s looking for young Zachary.
She opens the basement door.
VERMEER LIVING ROOM - NIGHT 1992 AND 2016
Libby shines the flashlight’s beam across the living room.

Watches as it goes from the happy facade of the 1992 to the
filthy squalor of 2016.
Scarborough Fair echoes hauntingly in the distance.
But something catches her eye most of all. The very thing
that shocked Charlotte moments ago.
There’s someone sitting on the couch.
Bella.
She’s still dressed like a princess and the greenish-blue

unicorn light cast it’s spinning shadows.
Adult Zachary has been raising a little girl?
She’s not chained up either. Seems happy even.
Out of habit, Libby shines the flashlight on the little girl

for a better look. But of course in the light the girl
vanishes in time and the couch suddenly looks like it did in
‘92.
Thinking better of it Libby hides the light. Approaches:

LIBBY
Little sweetie. Are you OK? Don’t
worry. I’ll get you out of here.
But of course the little princess can’t hear her. Has no idea
she’s even there.
INT. VERMEER BEDROOM CLOSET - NIGHT 1992
Samantha’s breath gets heavier and heavier.
SAMANTHA
(whispering)
You have to stay quiet. Please.
She’ll hear us.
82.
A distant voice getting closer as Libby’s footsteps head up

the stairs.
LIBBY (O.S.)
Samantha?
SAMANTHA
Oh my God.
LIBBY
Look I don’t want to hurt you. And
I don’t want to hurt sweet Zachary.
I just need his help.
But Samantha doesn’t buy it.
INT. VERMEER ATTIC - NIGHT 2016
Through the ceiling and through time we enter the attic.
The attic door drops open. The stairs slam down.
A frantic Charlotte dashes up the stairs and does her best to

close and bar the attic door.
INT. VERMEER LIVING ROOM - NIGHT 1992 AND 2016
Libby reaches the top of the steps calling out to Samantha:
LIBBY
Zachary’s got a little girl in the
future. Your granddaughter. She
looks like you. Don’t you want to
save her too? We can help each
other.
She pans the flashlight’s beam from the hallway, leaving it

in darkness, therefore allowing a noise to sound out from
above her in 2016.
From the:
INT. ATTIC - NIGHT 2016
The noise Libby was hearing is the attic door as it BANGS and
RATTLES. Adult Zachary is trying to get it open.
Charlotte spies a small window across the creepy attic.
She steps carefully along the attic rafters, dodging various

pipes and wires and rusted junk.
83.
The rattling and banging gets louder and even more furious.
She reaches a deadend of junk and rotted rafters.
Changes her course, but slips. Her leg falls through the damp
insulation and sheetrock. She struggles to pull it back
through.
Then she’s pulled down HARD.
Her ankle GRABBED by Adult Zachary’s meaty hand.
She’s pulled more and more off the rafter she’s barely
balanced on.
Finally pulls free. Gets to her feet.
But Adult Zachary’s hand plunges through the floor trying to

grab her.
She crawls back, nearly falling through again.
INT. VERMEER BEDROOM - NIGHT 1992 AND 2016
Libby runs in and in the darkness sees Adult Zachary standing

on a dirty bed trying to reach into the ceiling.
Libby is helplessly trying to attack him and throw things at

him, but the only things she can throw are those in the light
which vanish when she throws them into the darkness.
The lamp for instance which cracks the window.
Libby drops the flashlight. It’s beam shining on the closet.

LIBBY
LEAVE HER ALONE!
Adult Zachary throws a nightstand on the bed. Climbs on top.
Grabs a rafter and starts to pull himself up into the attic

after Charlotte.
Meanwhile in the beam of light stands young Zachary in 1992.
Samantha calls out to him in a loud whisper:
SAMANTHA
Zack no.
He runs off.
Samantha sees Libby’s back is to them. It’s her only chance.

84.
She tries to run too.
But Libby grabs her by the hair and smashes her head into the
window. Further breaking it.
Samantha falls. Blood snaking down her face.
She’s not moving.
A crazed Libby turns back to see that Zachary, both young and
old, is gone.
INT. VERMEER ATTIC - NIGHT 2016
Charlotte is frantically crawling along the attic rafters as

Adult Zachary pursues.
She reaches the window. Claws at its edge to open it, but
Adult Zachary is standing right behind her.
He punches her. Throws her.
She falls into the insulation. It’s barely holding.
He’s on her in an instant. Grabs her hair and slams her face
into the sheet rock.
Charlotte’s whole body falls through the ceiling.
Little Bella cries and screams in horror from below.
VERMEER LIVING ROOM - NIGHT
Bella is pinned back on the couch crying at the motionless

girl lying on the ground before her.
Adult Zachary rushes in.
Kneels by his little girl.
ADULT ZACHARY
Sh sh sh. It’s OK. It’s just
Daddy’s make believe sweetie.
He hugs her tight. Rocks her.
ADULT ZACHARY (CONT’D)

Nothing to be afraid of. Nothing to
be afraid of. Nothing to be afraid
of.
85.
Libby is standing in the hallway behind them watching on with

disgust and awe.

Daddy’s gonna get her out of here
for you OK?
Adult Zachary kisses the Bella on the lips.
Scoops up Charlotte’s body like it weighs nothing.
Walks straight for the basement.
Libby screams with all she’s got.
LIBBY
ZACHARY!
As she follows them back into the basement.
INT. VERMEER BASEMENT - NIGHT 1992 AND 2016
Libby races down the steps in pursuit, her flashlight casting

1992 while the rest is 2016.
She reaches the bottom and turns in time to see Adult Zachary
tying Charlotte back into place.
Libby screams, enraged... Then doubles over, holding her

stomach. Wales in pain.
Drops the flashlight which rolls the 1992 light beam at the
staircase.
She falls to a knee.

The pain eases enough for her to scream out. More desperate
than ever:
LIBBY
GOD DAMN YOU! HE’S KILLING HER!
ZACHARY PLEASE!
But she barely gets it out before she’s doubled over again.
Collapses.
Adult Zachary finishes tying Charlotte. Tied so tight this

time, she can’t move her hands an inch.
Adult Zachary backhands her.
Gut punches her.

86.
Charlotte’s face is swollen and bleeding to the point that

she looks like some sort of monster.
Libby screams like one:
LIBBY (CONT’D)
Zachary! Come here now or I kill
your mom! I’ll kill all of you!
Pain fires through Libby’s stomach again. Worst yet.
She starts crying a desperate and hopeless cry.
But she looks over to Adult Zachary and is overwhelmed with

the sight:
Adult Zachary finishes cutting Charlotte’s hair, then walks

over to the sword cabinet.
He unlocks the cabinet.
LIBBY (CONT’D)
No please. My baby girl. My sweet
sweet girl.
Adult Zachary kneels before it.
Almost out of time, Libby places her pistol to her temple.
He removes the knight’s helmet.
Pulls the hood from his head.
Libby cocks the pistol...
ZACHARY (O.S.)
I’m here. Don’t hurt my mommy.
Libby looks up to see little Zachary in the doorway. She’s

elated.
LIBBY
Oh. You sweet boy. Come here now. I
won’t hurt you.
Zachary walks down the staircase. Closer and closer to Libby.
Gun hidden at her side, Libby slowly pulls back the hammer.
LIBBY (CONT’D)
I’m sorry.
Adult Zachary places the helmet on his head.

87.
Zachary is just fifteen feet from Libby.
Adult Zachary removes the sword from the cabinet.
Libby knows what she has to do.
She raises the gun to Zachary.
Meanwhile adult Zachary walks toward Charlotte...
Then a pure, commanding voice echoes through the basement.
SAMANTHA (O.S.)
Leave my son alone.
Libby spies Samantha at the top of the stairs.
She struggles through the pain to keep the sights trained on

him.
But Samantha is there in a flash. She grabs her son and holds
him, hugs him tight as she can.
Adult Zachary raises the sword above his head...
SAMANTHA (CONT’D)
(to Zachary)
I’m so sorry.
LIBBY
I’m so sorry.
Libby FIRES.
Samantha cries out. Slowly lets go of Zachary.

Eases herself to the floor.
ZACHARY
Mommy?
LIBBY
NO!
Libby fires again. CLICK. Out of ammo. Convulses in pain.

Drops the empty gun.
SAMANTHA
Zack?
ZACHARY
I’m OK mommy.
Zachary lays by his mom’s side.

88.
Libby is breathing hard. Crying. The pain is tearing her up.
Her eyes close.
Samantha looks over to Libby. Sees she’s in early labor.

Knows what she must do.
Samantha pulls herself to her feet. Nearly stumbles. Tries to

limp toward the stairs. Can barely make it.
But Zachary walks up beside his mom. Holds her hand.
ZACHARY (CONT’D)
I can help.
She’s bleeding. She’s ghost white. But Samantha makes it

slowly up the stairs with the help of her son while Libby
wales behind them.
INT. VERMEER HALLWAY - DAWN 1992
Samantha holds the phone receiver to her ear. Looks down the
stairs to Libby.
SAMANTHA
We need paramedics at 1692 Umber
Way. Gunshot wound. And a woman in
labor.
Samantha drops the phone.
Falls to the floor.
FADE TO BLACK.
FADE IN:
INT. VERMEER BASEMENT - DAWN
Libby’s eyes open to reveal bright lights.
Zachary is standing beside his mom with his little hand on

her forehead.
Samantha smiles loving at her little boy.
FADE TO BLACK.
FADE IN:
89.
VERMEER BASEMENT - DAWN
Her eyes open again to see the paramedics hover around her.
They look extremely concerned.
In the distance, other PARAMEDICS are tending to Samantha.
But then they stop. Defeated.
She’s gone.
FADE TO BLACK.
FADE IN:
VERMEER BASEMENT - MORNING
Libby’s eyes open once more.
We don’t see it, but hear a BABY’S CRY.
Zachary watches on as a little Charlotte sees the world for

the first time.
He doesn’t take his eyes off the baby. But he’s completely
expressionless.
Libby is ghost white. Nearly gone.
Squints at the bright lights filling the basement:
LIBBY
Don’t turn out the lights.
The paramedics exchange a glance.
Libby fades away.
FADE TO BLACK.
FADE IN:
EXT. VERMEER RESIDENCE - DAY 2016
A car pulls up blaring a modern pop hit.
The door opens.
The telltale CLICK of a tape player.

90.
A man with a cane shuffles toward the house.
WHITE NOISE. Then:
LIBBY (V.O.)
(voice recording)
My name is Libby Forsyth. What
you’re about to hear will sound
strange.
Knocks on the door.
No answer.
It’s now we see the old man is Sheriff Daugherty, twenty-four

years aged.
He knocks again.
It opens.
SHERIFF DAUGHERTY
Hello sir. Name’s Earl Daugherty.
Used to be Sheriff around here a
century or so ago. Now this might
sound a bit on the odd side, but
would it be OK if I took a look
around? Nothing at all to be
alarmed at.
And it’s now we see who’s answered the door:
Adult Zachary.
But not like we remember. He’s clean cut. Well dressed. Happy
as a lark.
ADULT ZACHARY
Have to say, you weren’t lying.
That is an odd request. But always
happy to help law enforcement. Past
and present. Come on in, sir.
INT. VERMEER RESIDENCE, BASEMENT - DAY - 2016
Sheriff Daugherty stands at the top of the steps looking down

into the dark basement.
Adult Zachary stands behind him.
Daugherty slowly reaches for the light switch, ready to

reveal what secrets the basement holds.
91.
The lights flip on.
The basement is a playroom.
Sheriff Daugherty eases down the steps, slow but steady for
his age.
Scans the room. Clear. Joyful.
A voice from upstairs:
BELLA (O.S.)
Daddy! Let’s go!
The sheriff looks up to see a little girl dressed as a

princess. Excited as can be.
ADULT ZACHARY
Okay. Okay.
(to Sheriff Daugherty)
Sorry bout that. She’s gets a tad
excited.
The sheriff smiles.
SHERIFF DAUGHERTY
As kids should be.
(beat)
Well, don’t wanna keep ya. I’ll let
y’all get to your day. My
apologies.
INT. SHERIFF’S CAR - DAY
Sheriff Earl groans as he eases his old frame back into the
passenger seat.
FEMALE VOICE (O.S.)

Find what you needed, Dad?
Everything okay?
He smiles. Looks over to Charlotte in the driver’s seat.
SHERIFF DAUGHERTY
Well sweetie, that depends on how
you look at it.
Sheriff Earl spots Adult Zachary walking toward the guest

house.
They exchange a friendly smile.

92.

Plans tonight?
CHARLOTTE
Oh you know just work. Like always.
Natalie wants to go to the fair of
all things, but I might be too
pooped! You can come with us
though.
SHERIFF DAUGHERTY
Ha. Too much walkin’. Probably
shouldn’t be drivin’ anyway. But
y’all have fun. And be safe
alright?
CHARLOTTE
We will. Promise you’ll call if you
change your mind?
Adult Zachary waves and smiles as the Sheriff’s car drives

off.
He walks toward the guest house.
EXT. VERMEER RESIDENCE, GUEST HOUSE - DAY
Adult Zachary pulls keys from his pocket.
Unlocks two locks and opens the guest house door to reveal:
Blacked out windows.

Sound-proofed walls.
Chains and shackles.
And multiple lights built into the wall and protective by

plexi-glass.
LIBBY (V.O.)
(tape recording)
In October, 2016. At 1692 Umber
Way. Two girls will be held
captive. Please. I’m begging you.
Go there. Help those girls.
He double checks the locks, then shuts the door.

93.
BELLA (O.S.)
DAD!
He jumps. Slams the door and locks it in a panic.
BELLA (CONT’D)
Where are my pink shoes?
He smiles warmly at her. Kneels.
ADULT ZACHARY
Again, Bella? Where were they the
last three times you lost them?
BELLA
On my doll.
ADULT ZACHARY
Then I bet that’s just where
they’ll be.
He looms over her playfully scary:

Learn from the past or be doomed to
repeat it!
Gives her a silly evil laugh.
She laughs back. Runs toward the house to get her pink shoes.
EXT. CARNIVAL - NIGHT 2016
SUPER: 2016
A familiar sight:
Two twenty-something girlfriends are having a blast.
Charlotte dressed as a diner waitress.
Natalie in business casual.
Unwinding after work with cotton candy. Plush prizes.

Flashing lights.
A little princess named Bella happily dances past them.
NATALIE
(RE: Little Princess)
Oh my God! Hey Bella.
Bella waves to them. Smiles sweetly.

94.
NATALIE (CONT’D)
Had her in my class last year.
Bella runs toward the fair exit.
NATALIE (CONT’D)
Hey wait!
ADULT ZACHARY (O.S.)

Bella.
Adult Zachary, holding an arm full of plush animals is speed

walking after her.
NATALIE
I’ll grab that little sweetie. I
was her teacher last year.
Natalie jogs after her.
Bella is running through the parking lot toward the

surrounding field.
The others are following.
INT. SHERIFF DAUGHERTY’S HOUSE - NIGHT
Sheriff Daugherty is sitting on his front porch swing.
He’s holding an old tape player. It’s playing.
His eyes are trained on his car keys on the side table.
EXT. CARNINVAL - NIGHT

Adult Zachary looks over to Charlotte as they follow.
ADULT ZACHARY
She listens better at home. I
promise.
CHARLOTTE
Ha. She’s just spirited. My dad
says I was the exact same.
ADULT ZACHARY
Take after your mom then?
95.
LIBBY (V.O.)
(tape recording)
And if you would, tell the one
named Charlotte that her mom loves
her very much. And that she did
everything she could to save her.
All she needed was someone to
believe her.
Charlotte looks to Adult Zachary, puzzled by his comments and

suddenly it all seems quieter, more lonely outside the
carnival.
FADE OUT.
THE END

A Darker Place

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A Darker Place

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A DARKER PLACE

Andrew Rhodes & Robert Irvin

EXT. CARNIVAL - NIGHT 2016

Two twenty-something girlfriends are having a blast at a

Unwinding after work with cotton candy. Plush prizes.

One a diner waitress. GIRL 1 for now.

The other in business casual. GIRL 2 for now.

BELLA, 7, is dressed as a little princess and happily dances

Bella waves to them. Smiles sweetly.

EXT. MEADOW - NIGHT

Until we see a rusted, blue delivery truck parked on a lonely

Girl one opens the back of the truck.

INT. BACK OF DELIVERY TRUCK - NIGHT

As if they have no choice, they settle in at either wall.

They willfully wrap duct tape around their mouths.

Cuff themselves to the wall.

It’s an odd sight as the two girls are abducting themselves.

And now we see why:

Standing on the outside of the truck doors is a large figure

He’s got a vice-like grip on Bella’s arm. A scalpel in the

MATCH CUT TO:

INT. LIBBY’S CAR - NIGHT - 1992

A tour through a modest sedan.

An early 90’s grunge classic blares from the radio.

The air freshener stands straight up. Keys too.

A woman’s reddish hair is draped on the ceiling.

Smoke. Then fire.

The car is upside down. LIBBY FORSYTH, mid-20’s fights with

She’s all dazed determination.

EXT. COUNTRY ROAD - NIGHT - 1992

Libby’s car is upside down on the desolate road. The fire is

A voice cries out. It’s coming from inside the car.

MALE VOICE (O.S.)

Libby keeps crawling. Even as the voice cries out.

Her hand is burned.

Libby is lying on her back. Her hand still on her stomach.

SHERIFF DAUGHERTY, 50’s, screams:

Sheriff Daugherty kneels by Libby.

SHERIFF DAUGHERTY (CONT’D)

Sheriff Daugherty looks to the paramedics as they rush to her

Sheriff Daugherty puts a hand to Libby’s forehead. Tries to

SHERIFF DAUGHERTY (CONT’D)

Sheriff Daugherty looks to the burning car with dismay. Heads

SHERIFF DAUGHERTY (CONT’D)

INT. VERMEER BASEMENT - NIGHT 2016

A very intricate knot being tied.

A thin stream of blood drifts down pale skin toward the

EXT. CEMETERY - MORNING 1992

Michael’s funeral. A large framed photo of him stands next to

Libby is a zombie to the world as an old lady next to her

Libby watches on as Michael’s casket is slid into the family

And the casket goes up in FLAMES.

The other funeral-goers are running in panic, some are trying

They scream to Libby:

It builds into a deafening jumble of pleas and chaos until:

Everything goes back to normal. All in Libby’s mind.

Libby shakes the vision from her mind.

INT. LIBBY’S HOUSE, LIVING AREA - EVENING - 1992

A sewing needle goes to work on a small pink blanket. Libby

We can now make out a name sewn to perfection: CHARLOTTE and

The “C” in Charlotte has a very noticeable flourish.

A knock at the front door. Libby struggles to her feet. It’s

SHERIFF DAUGHERTY (O.S.)

Libby opens the door to reveal, Sheriff Daugherty. An easy