This action might not be possible to undo. Are you sure you want to continue?
CARRIE CRESCENT - NIGHT In a suburban neighborhood, under orange light, a creature crawls the streets in a FIRST PERSON view. It is creeping fast, going along the curb side, seemingly without aim.
EXT. 50 CARRIE CRESCENT - NIGHT But then it turns at a house, house "50," and goes into the grass. Through this unkempt lawn bugs and insects are seen. The creature goes up the side of this house and climbs through a broken window.
INT. 50 CARRIE CRESCENT, LIVING ROOM - NIGHT The creature, now bathed in moon light, goes up the nearest wall and nests in the corner so that it has a view over the (living) room ahead and the main foyer. Here it stays until NIGHT turns into DAY.
INT. 50 CARRIE CRESCENT, LIVING ROOM - DAY The creature watches the front door of the main foyer swing open. A single mother, in her twenties, blonde, fair, and pretty, enters the house with her son of about five. MICHELLE, who is carrying a large box, beckons MICHAEL to stay still. Michael spins and looks around. MICHAEL Oh boy! A new house! It's so big! MICHELLE (struggling with box) C'mon. Don't run off on me now. Michael heads into the living room, where he takes looks at the creature. The creature looks back. Michelle joins her son. MICHAEL Look... A spider! He lives here too! She winces when she spots the fat spider with its oversized web in the corner of the ceiling. MICHELLE (winces)
Ooh, yuck. Michelle puts down her box. MICHELLE (CONT'D) Stay here. I'm gonna get a newspaper or something. MICHAEL Don't kill it. It's an innocent creature. While the spider is crawling along its web a rolled up magazine suddenly smashes it into a pulp. MICHELLE Got it! Michelle falls to the ground after her jump and appears proud with the rolled up magazine in her hand. Michael however is awestruck. MICHAEL Oh no. Michelle puts a hand on Michael's shoulder. MICHELLE It's okay. He's in a better place. MICHAEL (looks up at Michelle) Heaven? MICHELLE Well, it does start with an "H."
EXT. 50 CARRIE CRESCENT - DAY From the back of a white van Michelle picks up her final box. She starts going up the walkway. As she does so she is stopped by her neighbor from house number 52. BETTY (O.S.) Hey, kid. MICHELLE Huh? Michelle turns her head to see who is talking. Across from her is Betty, a woman in her 40s that looks way older than she really is. Betty takes a long drag from her cigarette. She is quite off-putting. BETTY What're you doing? MICHELLE
Uh, I'm moving into my house. I'm your new neighbor. BETTY Is that so? Michael is heard in the nearby distance, running around, and giggling. Michelle puts down her box and extends her hand over to Betty. MICHELLE I'm Michelle. Betty doesn't shake Michelle's hand. Too busy smoking. BETTY You know the history of that house, right? MICHELLE What about it? BETTY Several people were murdered in there. Some say the place is haunted. Michelle is dumbfounded. BETTY (CONT'D) I'm just fucking with you. It's perfectly fine. MICHELLE Oh! Er, ha! Very funny! You have a good sense of humor. Michelle picks up her box again and goes into her house. BETTY If you need anything let me know.
INT. 50 CARRIE CRESCENT, MASTER BEDROOM - NIGHT Michelle and Michael are together in bed, on a cheap blowup mattress. They are under a thin blanket. Both are staring up at the textured ceiling. MICHAEL Mom? MICHELLE Yeah? MICHAEL How come I never get to see dad anymore?
MICHELLE Oh, Jesus... Uh, because we're separated. Divorced. MICHAEL Why? MICHELLE It's very complicated. MICHAEL Why? MICHELLE I don't know. It just is. MICHAEL Why? MICHELLE Because relationships are difficult. MICHAEL Why? MICHELLE Michael! Don't you have school tomorrow? You should be sleeping, not talking. MICHAEL I'm thirsty. MICHELLE Okay. I'll get you some water. Michelle gets out of bed and goes into the hallway.
INT. 50 CARRIE CRESCENT, KITCHEN - NIGHT Michelle, dragging her feet, enters the kitchen. She turns on the light to see a stack of cardboard boxes, all of which are labeled with marker. There is a box on the very bottom marked "cups." MICHELLE Damnit. Michelle takes down all the boxes on top and eventually gets to the box marked "cups." She pulls the flaps to open it and takes out a red plastic tumbler. She goes to the sink and starts filling it with water. As she is doing this she hears a KNOCK at the door. She looks at her watch. The time is 1:56 AM. She leaves the kitchen and walks to the main foyer, which isn't at all far. It's pretty much connected to the kitchen.
INT. 50 CARRIE CRESCENT, MAIN FOYER - NIGHT The knocking continues until Michelle gets to the FRONT ENTRANCE. She opens the door. She looks left and right. There is no one there. MICHELLE Goddamnit. She closes the door. As she is about to turn and leave more KNOCKING is suddenly heard. She slowly reverses and then quickly opens the door, trying to catch the alleged prankster.
EXT. 50 CARRIE CRESCENT - NIGHT Michelle's head is stuck out from the door. She pulls her neck forward and squints, trying to see who is bothering her. She looks aside and sees that there is a WOODPECKER, tapping on the nearby tree. Michelle picks up a stone from the ground and throws it. The bird is scared away. She seems quite satisfied.
INT. 50 CARRIE CRESCENT, MASTER BEDROOM - NIGHT Michelle goes through the door to return to her son. With her red tumbler in her hand, filled with water, she sits on the bedside to be by Michael. MICHELLE Michael... Michael! Michael turns and awakes. He rubs his eyes. MICHELLE (CONT'D) I got your water. Michael takes the tumbler -- and spills its contents. Water gets all over the bed. Michelle sighs. MICHELLE (CONT'D) I'll get a towel.
EXT. SAINT VITUS ELEMENTARY - DAY In front of the school, by the curb side, is an ugly car with its right door open. Michelle is standing there with an urgent look on her face. She is gesturing to Michael, who is still in his seat.
MICHELLE Come on you hafta get out. First day of school. It'll be very exciting. Michael looks nervous. MICHAEL I don't wanna go! I hate school! MICHELLE How can you know you hate something if you haven't even tried it, hmm? MICHAEL Instinct. MICHELLE Where did you learn that word? Michael folds his arms. MICHAEL I'm not going. MICHELLE Please. For the love of God. Just do me this favor? MICHAEL Will you come with me? I'm scared. MICHELLE I can't. I have to work. But someone will be there to show you around. And they'll be very nice, I promise. Michael starts crying. Very loudly. Michelle unbuckles him and takes him in her arms. She carries him through the school doors.
INT. 50 CARRIE CRESCENT, MAIN FOYER - DAY Michael has just finished his first day of school. He looks tired as he walks into the house with Michelle. His pants are not the same color as before. MICHELLE So, how was your first day of school? MICHAEL Bad. MICHELLE Bad? Bad how?
MICHAEL I peed my pants. MICHELLE Oh. MICHAEL And someone beat me up. MICHELLE What? MICHAEL Someone hit me. MICHELLE Who? Was it one of the black kids? MICHAEL That's racist. MICHELLE I was just joking. I have a dark sense of humor. Michelle lowers down to Michael's level. MICHELLE (CONT'D) Now, who is picking on you? MICHAEL I don't know. MICHELLE Well, how does he look? MICHAEL I don't know. MICHELLE Do you remember anything? Michael stares. Michelle stands and pats him on the back. MICHELLE (CONT'D) Go upstairs and play. I'm gonna call your teacher.
INT. 50 CARRIE CRESCENT, KITCHEN - DAY Michelle is angry and on the phone with MISS INGRAM. MICHELLE (PHONE) What do you mean you don't know? MISS INGRAM I'm sorry I never saw anything. And none of the children did either --
other than your son. MICHELLE So what? You think he's lying to me? MISS INGRAM It's not impossible. MICHELLE I have to go, Miss Ingram. Thank you for your time. Michelle leans on the counter and taps her fingers.
INT. 50 CARRIE CRESCENT, MAIN STAIRS - DAY Michelle walks fast and heavy up the stairs.
INT. 50 CARRIE CRESCENT, UPSTAIRS HALLWAY - DAY Michelle still walking at pace, stops in front of the master bedroom, where she finds a closed door. She reaches out to turn the doorknob and sees it is locked. She KNOCKS. Knock! Knock! MICHELLE Michael? Are you in there? We need to talk. No answer. MICHELLE (CONT'D) Michael? Michael's voice answers from within the room. MICHAEL (O.C.) Yes, mother. MICHELLE Could you open door, so I could see your face. Michelle waits for a response. MICHELLE (CONT'D) Michael, I'm speaking to you. She waits some more. MICHELLE (CONT'D) Michael. And a bit more.
MICHELLE (CONT'D) Open this door. Right now. You're very rude. Michael appears beside Michelle. MICHAEL Mom? Michelle looks at Michael and then to the door. MICHELLE Who -- ? MICHAEL Who are you talking to? MICHELLE You. MICHAEL Oh... Hello! What can I do for you? MICHELLE (baffled) But you, uh, uh, never mind. Must be my imagination.
INT. 50 CARRIE CRESCENT, KITCHEN - NIGHT Michael is sitting by a cheap IKEA-style table while Michelle stirs a pot of macaroni and cheese on a hot plate. It's soon done. She takes it the table and pours it into Michael's bowl, and then into hers. She sit down to eat. Michael takes his spoon and immediately puts it into his bowl. MICHAEL Oh, boy! I love mac 'n' cheese! MICHELLE Wait a minute. Haven't we forgotten something? MICHAEL Oh, yes. Michael clasps his hands together. MICHAEL (CONT'D) Thank You Lord for this food. For this bounty and for this harvest. Amen. Michael unclasps his hands. MICHELLE
I wasn't talking about grace. I was talking about ketchup. MICHAEL Right. I know that. Michael gets up and retrieves a bottle of ketchup from a mini fridge. He uncaps it and squeezes ketchup into Michelle's bowl. MICHELLE Thank you. Then he does his own. Michelle and Michael now enjoy their meal. Michelle stares at Michael, unsure what to say. MICHELLE (CONT'D) ...So, uh, how's Humphrey doing? MICHAEL Eh, he's good. MICHELLE Oh? MICHAEL Mhm. We went on an a'venture today. He got hurt but I fixed him up. MICHELLE And what did you do on your adventure? MICHAEL We fighted a monster. MICHELLE A monster, huh? Was he big? Was he mean? Did he have sharp teeth? How did he look? MICHAEL Looked like -- nothing. MICHELLE Nothing? MICHAEL Uh-huh. MICHELLE That's very unusual. I've never seen a monster that looks like nothing. MICHAEL It's more scary than you think.
INT. TESMART, PET FOOD AISLE - DAY Michelle is in a department store, sweeping dust in the pet food aisle. An elderly customer named EMMA approaches her. EMMA Excuse me. Michelle pauses and turns her head. EMMA (CONT'D) Hello! MICHELLE May I help you? EMMA Yes. MICHELLE Alright. What is it? EMMA I have something to report. MICHELLE Go on. EMMA Someone has made a mess in one of the change rooms. MICHELLE Oh. Is that so? Well, that's not really my department. EMMA You're a janitor, aren't you? MICHELLE No. EMMA Then why do you have a broom in your hand? Michelle sighs and puts her broom aside.
INT. TESMART, WOMEN'S CLOTHING - DAY Emma leads Michelle past some lingerie and to a changing room. EMMA (points) There it is. Michelle opens the door to the changing room and is
immediately disgusted. MICHELLE Oh, Jesus. Jesus Christ. EMMA There's no need for swearing. Michelle closes the door. EMMA (CONT'D) Aren't you going to do anything about this? MICHELLE Lady. I barely make above minimum wage. I'm a single mother and I might have restless leg syndrome. I am not going to clean up someone's droppings. EMMA Then I will have to report you. MICHELLE (worried) Oh, c'mon, please. I'm stressed out enough as it is. Emma starts walking away.
INT. TESMART, OFFICE - DAY Behind a plastic desk Michelle is sitting on a chair, being criticized by her manager named BOB. You can tell he's the boss because of his tie and greasy dark hair. BOB Every time there's a complaint about an employee it's about you. Now, why is this? MICHELLE Maybe it's because I'm an independent thinker. BOB Well, stop thinking independently then. MICHELLE I'm sorry. I can't help it. Bob gets in Michelle's face. BOB Gimme one good reason why I shouldn't fire you right now.
MICHELLE If you fire me I'll just go on welfare. But don't worry, Bob, I'm sure I'll enjoy myself while leeching off society. As Bob glares intensely at Michelle the door swings open. ROB, a slim looking fellow, bursts into the office. He is quite panicked. ROB You guys! Someone just dropped dead in the parking lot!
EXT. TESMART, PARKING LOT - DAY Bob, Rob, and Michelle, and some customers, are standing around Emma the old lady from earlier. She lying with arms spread out. Her eyes are open but not moving. BOB (disgusted) Ew, yuck. MICHELLE Have some respect. She's dead. BOB Which means she can't hear me. (to Emma's corpse) Can you? Bob taps Emma's corpse with his foot. MICHELLE (whispers) Stop that! ROB ...Hey, uh, did any of you guys call an ambulance? MICHELLE You didn't call -- oh, for the love of! Michelle runs off, heading for the store to make a call. BOB Don't forget! The number's 911! (to Rob) Sometimes you forget when you're in a stressed out situation. ROB I see.
EXT. 52 CARRIE CRESCENT - NIGHT It's early in the night. Michelle is still in her uniform. She's headed to her neighbor's home. She gets to the front and rings the doorbell several times. The door swings open. Betty appears with an unlit cigarette in her mouth. BETTY You're late. MICHELLE I'm so sorry. I... Something came up at work... Or down rather. BETTY Aah, save it. Betty turns her head to scream into the house. BETTY (CONT'D) MIKEY! Get your butt over here! Your mom's home! Little foot steps are heard. Michael appears beside Betty. He's rubbing his eyes, tired. BETTY (CONT'D) Come on. Let's go. Michael puts his arms out. MICHAEL Carry me? BETTY (to Michael) Something wrong with your legs? Michelle picks up Michael. MICHELLE Alright, I'll see you later then? BETTY Yeah. If I'm not dead. MICHELLE Uh. Heh. Right... Okay! I'll be going now, and thank you for taking care of my son. BETTY You wanna thank me? Don't mow the lawn at ten in the morning. That's when I get to bed. MICHELLE Sure.
Michelle walks off with Michael.
INT. THE BUS - DAY Michelle is sitting with Michael on the bus as the wheels go round and round. They are at the very front. MICHAEL I'm bored. MICHELLE Uh... Michelle finds a note pad and pen from her purse and gives it to Michael. MICHELLE (CONT'D) Here. Why don't you draw something? MICHAEL What should I draw? MICHELLE I don't know. Anything. Use your imagination. MICHAEL Alright. Michael starts drawing immediately. Michelle folds her hands in her lap and waits silent, waiting to be taken to her destination. As she is doing so the bus comes to a stop. A couple people get off. When it looks like no one is going to come inside, one person rushes in. A man named ROY. He is in a long coat despite the weather. He rushes past the bus drier, without paying, and goes to the back. The bus driver, Jill, follows him. Michelle watches. JILL Excuse me, sir, but I noticed you forgot to pay your fare. Roy is shivering. ROY Just start the goddamn bus already! JILL I'm sorry, sir, but you have to pay to ride the bus or at least have a ticket to ride. ROY
You're not listening. JILL I think I will ask you to leave now. Jill steps toward Roy. Roy opens his coat, revealing his bare chest that is full of hideous scars. ROY Look at what it did to me! Jill is dumbfounded. She starts backing away. Roy suddenly begins wildly swinging his arms and screaming. But someone from behind tackles him and holds him to the floor. GIGANTOR is flat on the crazy man. GIGANTOR I got him! ROY Yooou don't know what you're doing. Jill busts out her cell-phone and dials for the cops. JILL (ON PHONE) Hello? Police? Michelle stops watching the spectacle. She taps Michael, who looks up. MICHELLE Come on. We're going. MICHAEL Already? MICHELLE Yup. Screaming and struggling is heard from the back of the bus. Michael leaves his drawing on his seat, and then he and Michelle hold hands, and go outside. The drawing Michael's left behind is of a heavy dark stick figure with a blank globe-like head.
INT. 282 CORNFIELD AVENUE, LIVING ROOM - DAY Michelle is sat on a sofa with Michael. Across from her is her mother, OLIVIA. Olivia, the owner of this home, is wrapped in a shawl. On the coffee table ahead is an elaborate laying out of tea, biscuits, and sweets. OLIVIA So, you're not gonna have a house warming?
MICHELLE Ah, that seems like a lot of work. OLIVIA I could help out. MICHELLE Well, mom, that's real nice. But I don't think a house warming with four people would really be that great. OLIVIA Wait. Who's the fourth person? MICHELLE Uh, my chain smoking neighbor -who takes care of Michael when I'm at work. OLIVIA You let a stranger take care of your son? What about me? I can babysit. MICHELLE Nah, you're way too busy. Plus she does it for free. OLIVIA Why? Michael takes a cookie and munches on it. MICHELLE (whispers) She says Michael reminds her of dead son. MICHAEL I can hear you. OLIVIA Right. That's pretty weird. MICHELLE Weird but free. OLIVIA Alright, if that's what you want... Olivia sips some tea. OLIVIA (CONT'D) So, did you hear about what happened in the news? MICHELLE No. Why?
OLIVIA Another kid went missing. There is a carton of milk on the table. Michelle turns it around to face Olivia. There is a picture of a missing child. He is young ginger boy about 8 years old. MICHELLE Is this him? OLIVIA Mhm. MICHELLE That's creepy. OLIVIA You know what's even more creepy? The boy that was kidnapped goes to Michael's school -- and he was taken while playing hide and seek. The teachers didn't even know he was missing. MICHELLE Why are you telling me this? OLIVIA I just want you to keep an eye out on my grandson. These days you don't get a second chance. MICHELLE Do we have to talk about kidnapping in front of my kid? OLIVIA I think he should be aware. (to Michael) Michael. Michael looks right at Olivia. OLIVIA (CONT'D) What is the first rule of survival. MICHAEL Trust no one. MICHELLE Mom. Don't tell him that. I don't want him growing up, thinking that the world is an evil, heinous place. OLIVIA But it is. MICHELLE Still.
OLIVIA Oh, alright. As you please. Olivia takes a biscuit from the tray in front and then puts the whole thing in her mouth.
EXT. CARRIE CRESCENT - NIGHT Michelle and Michael walk the lonely street to get to their house.
EXT. 50 CARRIE CRESCENT - NIGHT They go up the driveway, and up the walk, and get to the door. Michelle lets go of Michael's hand to search her purse. As she gets her keys, in the darkness, they accidentally fall into the grass. MICHELLE Damnit. Michelle squints and looks around. MICHELLE (CONT'D) Michael, do you see my keys? Michael isn't paying attention. MICHAEL Huh? MICHELLE Never mind. Michelle bends over and sticks her nose in the long grass. As she is looking a shoe comes in front of her. She stands erect to find a visitor. It is her ex-husband GORDIE. Gordie is a bit older than Michelle. He has a nice face but a bit of a gut. He grins, holding his ex-wife's keys. GORDIE Looking for these? Before Michelle can respond Michael notices. Surprised he runs to Gordie and hugs him. MICHAEL Daddy! Gordie rubs Michael's head and caresses him in a fatherly way. Michael looks very comfortable. Michelle clenches her teeth. MICHELLE What are you doing here?
GORDIE What? I can't visit my own son? MICHELLE So, after one whole year you decide to visit? GORDIE It's been less than a year. Plus you were the one avoiding me. MICHELLE (to Michael) Go sit down while your dad and I have a chat. MICHAEL But -MICHELLE Go. Michael sits down on the steps that lead into the house. Michelle turns back to Michael and takes him aside. MICHELLE (CONT'D) Now as for you -GORDIE Look. Michelle. I know you're angry with me, but I'm telling you the truth. I'm a changed man. I've grown up and I'm ready to be a full time dad. MICHELLE Is that so? GORDIE Yep. I've been sober for... (counts) ...half a year now. MICHELLE And are you still a wife beater? Gordie struggles for a response. He is a bit annoyed and flustered. GORDIE I. Am. Not. A. Wife beater. I only put my hands on you that one time and that's because I was off my medication. MICHELLE You pushed me down the steps. GORDIE
...Haven't you heard the phrase "forgive and forget"? Michelle goes face to face with Gordie. MICHELLE I want you to listen to me carefully. Because I do not want you to confuse my message. I want this to be as clear and concise as possible. So, I am going to annunciate myself in words that cannot be misunderstood... (slowly, in low voice) ...STAY THE HELL AWAY FROM US. Gordie, you are not fit to be a father. You are irresponsible, irritable, verbally abusive, and you lack common sense. I want you to go back where you came from. Gordie for a moment stares intensely at Michelle. He raises his hand and makes a fist in a very suspicious manner. But then he slowly lowers it down. He becomes extremely calm -so calm as to be extremely unsettling. GORDIE Alright. I understand. That's perfectly acceptable. I see no problems in your request. Michelle folds her arms. MICHELLE Is that so? GORDIE (nods) Mhm. MICHELLE Well, then... Michelle points to the street. GORDIE Can I at least say goodbye to my son? Michelle looks at Michael who has his head rested in his hands. She looks back to Gordie. MICHELLE Alright, make it quick. Gordie goes over to Michael, who is sitting, and lowers down to his level. Michael perks up. GORDIE Michael -- daddy's leaving now. But
he wants you to know that he loves you very much and you're a very special boy. Don't let anyone tell you otherwise. MICHAEL Will I see you again? GORDIE Maybe. Gordie pinches Michael's cheek and stands. MICHELLE Okay, you've had your time. He turns to Michelle, who has her arms folded, with a sinister look in his eye. GORDIE Goodbye, Michelle. I wish you the best. I hope nothing bad ever happens to you. He leaves and disappears in the darkness. Michelle is glares while breathing heavily.
INT. 50 CARRIE CRESCENT, MASTER BEDROOM - NIGHT The master bedroom, while not the most furnished, looks like a comfortable and habitable area now. There is a real bed in which Michelle and Gordie sleeping. A black alarm clock with green lettering shows the time "3:32 AM." When it strikes "3:33 AM" the door opens wide on its own. The squeaking noise awakes Michelle. She rubs her eyes, sits up, and looks at the rectangular blackness. She gets to her feet and puts on a pair of fuzzy slippers. She groggily goes over to the door. She tries to swing it close to no avail. She does this several times only to find that it is well in place. Frustrated she grabs it by its edge with both hands and starts pulling. Her rear is facing the hallway. Success. The door starts slowly moving -- but when it is at a halfway point it suddenly becomes lose.
INT. 50 CARRIE CRESCENT, UPSTAIRS HALLWAY Michelle falls back, into the hallway, like when in a game of tug of war. She stands and finds, through an un-turnable doorknob, that she is now locked out of the master bedroom. She puts her hand up about to knock on the door, but then retracts.
MICHELLE Ah, forget it. I'll sleep somewhere else. Michelle walks down the hallway and goes to the door at the very end. As she is about to go into the bedroom she hears a whispering GHOSTLY VOICE. GHOSTLY VOICE (O.S.) Michelle. She turns around. Her eyes dart. GHOSTLY VOICE (CONT'D) Michelle! She goes to the top of the steps, following the voice. MICHELLE Hello? Michelle is confused, but she returns to where she was before.
INT. 50 CARRIE CRESCENT, THIRD BEDROOM - NIGHT She goes through the door of the third room without trouble. She flips the light switch. A red light come on. Standing in the middle of the room is Gordie with an evil grin on his face. He is holding a baseball bat. He swings it and declares... GORDIE Batter up! Michelle opens her mouth to scream, but nothing comes out. She reverses out of the room and closes the door.
INT. 50 CARRIE CRESCENT, UPSTAIRS HALLWAY - NIGHT The door starts splintering from Gordie hitting it with his bat. Soon a jagged hole is formed. Through it comes Gordie's arm. He reaches out, trying to grasp whatever he can. GORDIE Let's have a talk. MICHELLE Get away from me, you prick! Michelle runs to the door of the master bedroom.
INT. 50 CARRIE CRESCENT, MASTER BEDROOM - NIGHT
She rams through it and then immediately goes over to Michael, who is covered in a blanket. She shakes him. MICHELLE Michael! Wake up! The blanket comes off Michael. He turns around, revealing his face. His face is hideous and looks monstrous. MONSTER MICHAEL shows his yellow eyes and jagged teeth. MONSTER MICHAEL I hate you, mother. Michelle runs out of the master bedroom. INT. 50 CARRIE CRESCENT, UPSTAIRS HALLWAY She goes back into the hallway.
INT. 50 CARRIE CRESCENT, MAIN STAIRS - NIGHT She runs for the stairs and tumbles down the steps. She glances up and sees Michael sitting on Gordie's shoulders. She troubles herself to stand up.
INT. 50 CARRIE CRESCENT, MAIN FOYER - NIGHT Michelle tries opening the front door to leave, but it will not open. She runs for the kitchen.
INT. 50 CARRIE CRESCENT, KITCHEN - NIGHT She flips the light switch and only gets a dim amount of light. She stumbles through and goes to one of the drawers by the sink. She pulls it open. Inside the drawer is a big rat that leaps outside and onto the floor to make its escape. Michelle doesn't know what to do. Time is running out and footsteps from behind can be heard. She goes into the other drawers and finds nothing. As a last ditch-effort she goes into the fridge. The fridge, with its light, yields a shotgun. Michelle takes it and pump it. She points it opposite, by the archway, where her mutated son and ex-husband are. Gordie is tapping his bat in his hand while Gordie is just creepily staring. MICHELLE Don't come any closer.
GORDIE Shelly baby, come. Let's be a family again. Michelle squeezes the trigger on her shotgun. What comes out is a stream of blood, which sprays everywhere in the pristine white kitchen. Michelle turns to the kitchen window. When she opens to escape a lion's head comes through and roars. Now she is trapped between a bat-wielding husband and a lion. She crumbles to the floor and curls into a ball. Now her screams can be heard. MICHELLE YEAAAAAAAAAAAAAAAAAAAAAAAAAAAGH!
INT. 50 CARRIE CRESCENT, MASTER BEDROOM - NIGHT In bed Michelle wakes up from her NIGHTMARE. Her eyes are wide open. She is dripping with cold sweat. She turns and looks aside at Michael, who is completely normal, and sound asleep. She glances at the clock and sees that it's way past four in the morning. She stares up at the ceiling for a bit, and then closes her eyes while letting out a heavy breath.
EXT. 50 CARRIE CRESCENT - DAY Early morning. The sun has not yet fully risen. The door at the front of the house opens. Michelle, with half open eyes, comes outside with two trash bags in her hand. She walks down to the curb side and places them down. When she turns around she notices someone in her parked car. She goes over and looks through the window. She KNOCKS. A person comes up when the front seat reverses out of its reclined position. It is none other than GORDIE. He looks to his side and sees his scowling ex-wife. MICHELLE Gordie. What are you doing in my car? Gordie gestures, saying that he can't hear. MICHELLE (CONT'D) Roll down the window! The car window rolls down. GORDIE Hey, babe. MICHELLE Don't call me babe.
GORDIE It's a free country. I can do what I want. MICHELLE Well, you can't stay in my car. GORDIE Why not? Michelle reaches in the car and pulls up the lock, so she can open the door. But Gordie pushes it down and glares. GORDIE (CONT'D) Don't do that. MICHELLE That's it. I'm calling the cops. Michelle turns around. Gordie gets out of the car. GORDIE Get back here, you bitch! He grabs her from behind and throws her to the ground. As she tries to get up he then grabs her once more, from the front this time, and slams her against the car. He begins choking her with two hands. Michelle kicks and squirms, trying to break out of Gordie's front choke hold, but she is too weak, and knows little self defense. Her face is now starting to change color, from pink peach to dark blue. As she is about to pass out a voice is heard yelling. BETTY (O.S.) Get your goddamn dirty hands off my neighbor! When Gordie turns his head to see who is shouting obscenities at him a beer bottle smashes in his face. He stumbles back, freeing Michelle. Betty stands by Michelle to protect her. BETTY (CONT'D) You okay? Michelle rubs her neck and catches her breath. MICHELLE I think so. Gordie picks out a piece of glass from his forehead and throws it aside. He stares with wet hair, seething with anger. Betty holds the broken beer bottle in her handle. Foam from it is dripping to the ground. BETTY
Keep your distance. Gordie takes a step forward and then takes a step back. GORDIE I'll be back. BETTY Okay, terminator, we'll be waiting for you. Gordie goes onto the street and walks way, but not without hesitancy. He looks back several times.
INT. TESMART, CLEANING AISLE - DAY Michelle is at working, using a PHONE that is attached to a column. She is waiting for the cheesy music to stop playing. Some time later someone answers. It is officer CHAN. CHAN (PHONE) Hello. Officer Chan speaking. MICHELLE (PHONE) Um, hi. I'd like to file a police report. CHAN (PHONE) Your full name? MICHELLE (PHONE) Michelle Appleton. CHAN (PHONE) Ms. Appleton, what is the nature of your complaint? MICHELLE (PHONE) Assault. CHAN (PHONE) Could you be more specific? MICHELLE (PHONE) Yes. My ex-husband tried choking me to death. On my driveway. CHAN (PHONE) Have you sustained any permanent injuries? MICHELLE (PHONE) Ummm, other than a sore neck, I don't think so. CHAN (PHONE) And what is the name of your husband?
MICHELLE (PHONE) Ex-husband. CHAN (PHONE) Right. MICHELLE (PHONE) Gordie Appleton. CHAN (PHONE) Never changed your last name after the divorce, huh? MICHELLE (PHONE) When I -- if I get remarried. CHAN (PHONE) Gonna be a spinster for the rest of your life, hmm? MICHELLE (PHONE) Is this really relevant to the situation? CHAN (PHONE) Look, uh, I'll be on the level with you, Ms. Appleton. Not much is really gonna be done about your case. So, I'm gonna advise you. Change the locks on your doors, put bars on the windows, and get a weapon to protect yourself. MICHELLE (PHONE) So, let me get this straight. You're not going to arrest my ex husband? CHAN (PHONE) I'm sorry, but our hands are pretty much tied. I mean we don't even have the resources to do anything. The prisons and jails are overcrowded, and there's a crime wave going on. There is nowhere for him to go. MICHELLE (PHONE) Oh, well, thanks for nothing. Michelle looks like she's about to hang up the phone. CHAN (PHONE) Wait, wait a minute. I didn't say we wouldn't do anything. We will file a restraining order. We will give your ex-husband a visit, and I will personally send one of my boys around your street. How's that?
MICHELLE (PHONE) Okay, I -Rob suddenly appears and interrupts. ROB Hey, Michelle! He's holding a pen and folded piece of paper. Michelle covers the lower part of the phone receiver in her hand. MICHELLE I'm kinda busy here, Robert. ROB It'll just be a second. MICHELLE Alright. What is it? ROB Well, all the guys are doing a lottery pool, and we were wondering if you wanted to chip in. MICHELLE Um, how much? ROB Ten dollars. MICHELLE I can't. ROB Why? Don't wanna be a millionaire? Chan's voice can be heard on the phone going "Hello?" MICHELLE That would be nice -- buuut I need to save my money. You know, I don't even drive my car anymore. ROB Okay. What're you saving for? MICHELLE A toy. For Michael. ROB Oooh, what toy? MICHELLE Some kinda video game system. X-we something. ROB Sounds expensive.
Manager BOB appears in the distance. He looks peeved while watching Rob and Michelle talking. He approaches them and gets between their conversation. BOB Hey! What is going on here? (to Michelle) Are you talking on the phone during working hours? Michelle hangs up the phone. MICHELLE I'm sorry, I just -BOB That's it! You're fired. MICHELLE But! ROB (to Bob) C'mon, man. Don't you think you're being a little drastic? BOB (to Michelle) Fine. You're not fired. But I'm telling you, Michelle. This is your last warning. One more slip up and it's out the door. MICHELLE Yes, I understand. BOB Good. Bob leaves in a huff. ROB Christ, what an asshole.
INT. 50 CARRIE CRESCENT, LIVING ROOM - DAY The day is late and Michael is playing on a rug in the living room, which is nearly fully furnished. He is making engine noises with his mouth and smashing toy cars into one another. When one goes flying off, Michelle enters the room. She has a big box in her hands that is wrapped in newspaper comics. MICHELLE Michael, I have something for you. Michael looks up.
MICHELLE (CONT'D) Come on, get up, c'mere. Come to mama. Michael goes over to Michelle. He immediately looks at the wrapped box in her hands, which has his name in big letters. MICHAEL Oooh, what's this? MICHELLE It's a present. MICHAEL For me? MICHELLE Uh-huh. MICHAEL Oh boy! Michelle gives the box to Michael and he tears off the newspaper wrapping. He is very surprised to see a brand new video game system. MICHELLE Do you like it? Is it the right one? MICHAEL It's perfect. MICHELLE Do you wanna set it up now? MICHAEL (nods) Uh-huh. Yes, please. Michelle and Michael unpack the gaming system in front of the living room television, which is off. They plug in all the cords, cables, and wires, and get it 99% ready. MICHELLE Okay, here we go. Michelle turns on the TV. It's showing some show, but not the video game system. MICHELLE (CONT'D) Is this it? MICHAEL No. MICHELLE Know what, I think it's on the wrong channel.
Michelle presses the forward button on the TV, going though the numbers. She stops when something catches her interest. ON TV: Michelle's co-workers, Rob and Bob, and a bunch of others, are on screen, standing around a giant cheque, smiling. A newslady, named JANET, tells what is going on. JANET (TV) Seven lucky ducks from the local Tesmart department store celebrate their newfound fortune -- between them over sixty million dollars. The energy level here is amazing. ON TV: Janet goes over to Rob with her microphone. JANET (CONT'D) So, what's it like being rich? ROB (TV) It's great! JANET (TV) There you have it folks. It's great. Michelle TURNS OFF THE TV and is suddenly quiet. She is blank, staring at nothingness. Michael tugs on her sleeve. MICHAEL Mommy? You okay? Mommy? Michelle responds after a moment. MICHELLE Yeah. I'll be fine. Would you excuse me, please? She gets up and just walks away.
INT. 50 CARRIE CRESCENT, UPSTAIRS HALLWAY - DAY Michelle is lying in the middle of the hallway, face down. It looks like she's dead. Michael appears and stands before her head. MICHAEL Mom? Michelle simply groans. MICHAEL (CONT'D) What're you doing? MICHELLE Having regrets. MICHAEL
Regrets? What's that mean? MICHELLE A regret is when you look back on something and think, "Gee. Maybe I should've used protection." Michael looks dumbfounded for a moment. Then he continues on. MICHAEL Anyway, I wanted to show you something. MICHELLE Uh, can it wait? I'm kinda busy here. MICHAEL It's pretty urgent. MICHELLE Alright... Help me up.
EXT. 50 CARRIE CRESCENT - DAY Michelle and Michael are on the DRIVEWAY, staring. Michelle is far more aghast than her son. MICHELLE Who did this? On the garage door is a large message -- in neat lettering, spray painted in red -- that says "DEATH IS UPON YOU." As Michelle and Michael look on anxiously a large shadow of a man appears in front of them. (No, not me.) They quickly turn around. Standing at the end of the driveway, in front of a cruiser, is police officer PAUL. Paul adjusted his belt and goes over to Michelle and Michael. PAUL Are you Michelle? MICHELLE How did you know my -PAUL Captain Chan sent me. MICHELLE Oh. PAUL (points to Michael) Is this your son? MICHELLE
Yep. Say "hello," Michael. MICHAEL (waves) Hello! PAUL Cute kid. Paul walks over to the garage, and is followed by Michelle and Michael. He takes a look at the graffiti. PAUL (CONT'D) I'm guessing this isn't an art project. MICHELLE No, sir. PAUL Do you have any idea who did this? MICHELLE (whispers) I'm not sure, but I think it might be my husband. My ex-husband. PAUL Do you know where he is? MICHELLE Nope. PAUL That's a real shame. Welp, I guess it don't matter. Not like we could do much, away. MICHELLE With all due respect, Officer -PAUL Paul. MICHELLE What the hell is going with the police department? I know, cutbacks, right? But what's really going on? PAUL You just answered your own question. Michelle folds her arms. MICHELLE So let me get this straight. The city is willingly putting its citizens in danger, so that it can
save a few dollars? PAUL It's the new mayor. He's trying to fix the economy. MICHELLE How quaint. PAUL Hold on. I got something for you. Paul takes out a stun gun. He presses a button to make it spark. PAUL (CONT'D) This has 950,000 volts. Placed on the right part it can knock out a 200 pound man. He puts it in Michelle's hand. PAUL (CONT'D) Put it in your purse.
EXT. 50 CARRIE CRESCENT, MAIN FOYER - NIGHT Michelle is sitting on a wood stool with her stun gun in her hand. She is staring out the window as the day ends and turns into night. She looks incredibly tired, but she must keep watch. She perks up when she hears a NOISE from outside. It sounds like something being knocked over. Michelle gets off her stool and sets her stun gun to high. She warily goes out through the front door.
EXT. 50 CARRIE CRESCENT - NIGHT Michelle is holding her stun gun in a defensive position. She cautiously walks away from the front of her home. She sees a homeless man picking through the trash bins by the CURBSIDE. She cautiously approaches him. She clears her throat. Ahem! The homeless man, GUS, pauses and looks up. GUS What you want? MICHELLE You're picking through my trash. GUS It's trash. You threw it out. It ain't yours now. MICHELLE
But you're on my property. GUS You can't own the earth. MICHELLE I want you to leave. GUS Alright, but before I go, I'd like to introduce you to my friend. Gus reaches into his tattered jacket and takes out a knife. It flips out from its casing. Michelle activates her stun gun. GUS (CONT'D) Ooooh, fancy. MICHELLE I'm not going to let you scare me. Gus licks his chapped lips. GUS Is that so? Then he charges at Michelle. She uses her stun gun and stuns him in the face. He falls like a sack of potatoes. But Michelle isn't satisfied; while he is on the ground she stuns him some more, and then more, until the battery in her device runs out. She is sweating now and breathing heavily. MICHELLE I'm sorry I did that. But you gave me no choice. Gus isn't responding, not even a little bit. MICHELLE (CONT'D) Hey? Are you awake? Michelle taps Gus. Then she checks his pulse. She pulls back and silently gasps. She walks around in a circle, unsure what to do. MICHELLE (CONT'D) Oh God. They're gonna put me in the chair for murder. No! I can't let that happen! She looks up at a house across from hers and sees the light turn on. MICHELLE (CONT'D) Oh crap. She looks at Gus again, his now pale face.
INT. 50 CARRIE CRESCENT, BACKYARD - NIGHT Michelle is furiously digging a hole while the corpse of Gus lays to the side. She is sweating buckets, even more than before. Little progress is being made. The shovel she is using is maybe one size too small. She pauses to breathe. MICHELLE Shit. This looks so easy in the movies. She keeps digging and then pauses once more. She shakes her head. MICHELLE (CONT'D) No, I need a new plan. She looks around and stops her eyes at the shed , then the window well that is part of her home. She grabs Gus's body and drags it to the window well. She pushes it in. It crumples up and just about fits. She goes to the shed at back and takes out a bag of dirt.
EXT. TESMART - DAY Michelle is nervous. She swallows spit and looks up at the department store before her. The big blue and red sign that says "TESCO" flickers. She steps forward to go in, but finds that the door is locked. In fact all the doors are locked, she discovers. MICHELLE Son of a -- what the hell is going on? She kicks the door. When she does sees a car in the reflection of the glass. She turns around to see Bob and Rob in a 60s Mustang convertible with two promiscuous girls in the back. They all seem drunk or on drugs. Bob honks the horn several times. ROB 'Ey! Shelly! MICHELLE What are you guys doing? ROB You'll never guessss what happened to us! BOB We, we, we won the lottery! Yeagh he-he-he! MICHELLE ...I know.
ROB Wanna come to a party with us? The two girls in the back of the car go "wooo!" One throws up and then lifts her head and smiles, like nothing's happened. MICHELLE Sorry. I don't think there's any space in the car. Bob turns to the backseats of his car and pushes one of the girls on the shoulder. He grumbles to her. BOB Go on. Get out. DRUNK GIRL NUMBER ONE is not pleased. DRUNK GIRL NUMBER ONE But -Bob keeps pushing her on the shoulder. BOB Come on! DRUNK GIRL NUMBER ONE How am I gonna get home? BOB That ain't my problem! Bob points. DRUNK GIRL NUMBER ONE Okay. No need to be pushy. Drunk Girl Number One leaves the car. She stands to the side, looking sad. DRUNK GIRL NUMBER TWO don't give a fuck. She throws her arms in the airs. DRUNK GIRL NUMBER TWO Woo! Bob turns to Drunk Girl Number Two. BOB Actually, I'd like you to leave too. DRUNK GIRL NUMBER TWO Huh? BOB GIT OUT! Drunk Girl Number Two leaves the car and joins her friend. ROB
(to Michelle) Alright, hop on in! Michelle reluctantly gets into the back of the convertible. Rob and Bob put on sunglasses at the same time like they're cool. Bob puts both his hands on the wheel of his car. ROB (CONT'D) Have you ever been in a convertible before, Michelle? MICHELLE No. BOB Well, then hang on! Bob steps on the gas pedal of his convertible and leaves very slowly and cautiously.
EXT. WINTERMELON ROAD - DAY Bob, Rob, and Michelle are still in their convertible. They are driving along an empty, tree lined road. The wind is blowing in their faces. Bob is keeping a fast, steady pace; though he looks very zoned out, with his pasted grin on his face. Michelle, in the back, leans forward. She looks concerned. MICHELLE Where exactly are we going now? BOB I forgot. ROB A party, Michelle, we're going to a party. MICHELLE What kind of party? ROB Kind? Uuuh, a party for rich people. It's real -Bob suddenly swerves the convertible. Michelle and Rob get whipped to the side. MICHELLE Jesus! Where'd you learn to drive? Cooking school?! BOB My apologies. I thought I saw something on the road.
ROB (points) That dog? BOB Dog? Bob brings his eyes forward and sees a black dog on the road. He steps on his brakes to stop his car -- everyone reacts with a look of horror, but it is too late. The dog gets hit. His corpse though, at the moment, it nowhere to be found. All are looking about, wondering where it is. MICHELLE Where's that damn dog? ROB Maybe he went to heaven. All dogs go to heaven, right? The dog's corpse comes from the sky and lands onto the hood of the convertible. Everyone gives a scream. But they then calm down. BOB Um, what should we do? Michelle hears a voice in her head, which is just her own voice. MICHELLE (V.O.) Why don't you lend a hand, Michelle? You know how to get rid of cadavers. She screams. MICHELLE (CONT'D) NO! I DON'T! Bob and Rob look at Michelle. ROB You don't what? MICHELLE Never mind. BOB Let's get this dead dog off the car. ROB I'm not touching it. MICHELLE Me neither. BOB Well then! I guess it'll just stay
there. MICHELLE Fine with me. ROB Me too. BOB Agh, fine. I'll do it myself. Bob opens the door on his side and is about to step out.
EXT. BUBBA'S BARN - DAY A large red barn sits amidst a cornfield. Bob, Rob, and Michelle pull into an empty spot to park. The dead dog is still on the hood of their convertible. They get out to face the old timey structure before them. ROB Are you sure this the place? Bob looks at a piece of paper that says "yes" in bold letters. BOB Yes. ROB Alright then, let's get this party started. Rob rubs his hands together. Michelle looks uneasy.
INT. BUBBA'S BARN, MAIN AREA - DAY It's a big open space inside and people are scantily clad people are dancing under flashing lights of different colors. A lot of them are both imbibing and smoking. The music is crap and it sounds like this: "Wub-wub-wub-wub-wub-wub-wub!" Bob, Rob, and Michelle take in the atmosphere. MICHELLE What is this place? Then out from the cigarette smoke and artificial fog an over dressed man with a fancy snake-like cane appears. BUBBA greets Bob and Rob by tipping his unusually large hat. BUBBA Evening, gentlemen. BOB Are you, Bubba?
BUBBA Sure is. BOB Nice to meet you. BUBBA Would you like to come into my private room? MICHELLE Actually, I'm thinking of leaving. BUBBA Don't be silly. Bubba grabs Michelle by the hand and pulls her along. Bob and Rob follow.
INT. BUBBA'S BARN, PRIVATE ROOM - DAY This particular room, which is just as gaudy as the other parts of the barn, is shaped like the inside of a grain silo. It is filled with crack addicted strippers and random piles of blow. Bubba stands before it all and spreads out his arms. BUBBA Enjoy the feast! Rob and Bob smile, and run over to some strippers to get lap dances. Meanwhile Michelle stands still, not wanting to join the festivities. BUBBA (CONT'D) (to Michelle) Aren't you going to join your friends? MICHELLE I'd rather not. BUBBA Suit yourself. Bubba leaves the private room. Michelle sits down on seat, away from everyone else. She tries to ignore the bouncing strippers. She folds her hands in her lap. While waiting all of a sudden the lights go out. It's pitch black. Someone screams. Then another screams. Then another, and another, and soon it seems that everyone, except Michelle, is screaming. The lights come back on. Michelle stands up in horror.
MICHELLE Agh! Holy crap! Holy crap! HOLY CRAP! All the strippers, and Bob and Rob, have been savagely murdered. Or they are just bloodied and unconscious. MICHELLE (CONT'D) Okay. Calm down. Calm down, Michelle. This is probably just some sort of elaborate prank. I'm on a hidden camera show... (throws up arms) Okay! YOU GUYS CAN COME OUT NOW! COME ON, WHERE ARE YOU?! OLLIE, OLLIE, OXEN FREE! The only response is the sound of blood spilling out of some dead person's mouth. Michelle is now thoroughly spooked. She slowly inches her way to the door to leave, but when she is about to reach for the door knob, with her eyes still fixated on the gruesome scene, Bubba burst through with pistols blazing. His weapons are pointed away from the room, shooting something on the outside. He closes the door and collapses onto one knee. He breathes heavily. He is full of sweat and blood. MICHELLE (CONT'D) What is going on here? Bubba stands. He faces Michelle. His eyes are starting to space out. BUBBA There's something out there. He grabs an arm chair and moves it in front of the door. MICHELLE W-what's out there? He shakes slightly while holding his pistols. They are pointed to the door. BUBBA A monster. MICHELLE A monster? BUBBA Yes. A real genuine monster. MICHELLE You're joking. BUBBA THIS IS NO JOKE! MICHELLE
Well, then if that's true... Michelle waves her arm, pointing to all the bodies. MICHELLE (CONT'D) ...we have a problem. Bubba looks. BUBBA Oh Gawd! It was in here too! He circles around with his hands on his hand. BUBBA (CONT'D) We have to get out of here. MICHELLE How? BUBBA I have just the solution. Bubba steps around and then stops at a specific spot. He puts his finger in a depression and activates a mechanism, which reveals a trap door. BUBBA (CONT'D) (to self) Heh. And they called me crazy when I told them to install this. (waves to Michelle) Alright, ladies first! Michelle takes some steps ahead to see the trapdoor. It is dim in there. All she can see is the top part of a ladder. MICHELLE I'm not going in there. I don't know what's in there. Bubba stares at Michelle for a moment. She looks over her shoulder when she hears a loud banging noises. MICHELLE (CONT'D) Okay then -- ladies first. Michelle goes through the trapdoor and down the ladder.
EXT. BUBBA'S BARN - DAY Michelle and Bubba come crawling out through the hole of a large tree. They stand and each take in a big breath of fresh air. As Michelle clutches her chest, maybe she's having a heart attack, Bubba takes her by the hand and leads her along.
BUBBA Come on, lady. We ain't outta the forest yet. He hastily takes her through the corn and the two come upon a clearing, where there is an armoured vehicle awaiting: a black pimped up van that looks like it came from hell.
INT. BUBBA'S CAR - DAY Bubba is driving exceedingly fast. Michelle looks worried. MICHELLE I think you're driving too fast.
EXT. WINTERMELON ROAD - DAY Bubba's car is smoking and crashed into a tree. Michelle comes out from the passenger side while coughing. She bends slightly, and rests her hands on her knees. She looks over her shoulder, inside the wreckage, then throws up. She gestures with two hands as if pushing down more vomit that lays within. MICHELLE ...Okay. ...I need to get home. She looks left and right. MICHELLE (CONT'D) Maybe I can hitchhike. She walks along the road, to distance herself from the wreck, and then puts out her thumb. Only a moment goes by until someone appears. A Mennonite in a horse and buggy comes upon the horizon, then stops by Michelle. The two lock eyes. MICHELLE (CONT'D) Hello. KORBUS Are you in need of assistance, m'lady? MICHELLE I do need a ride actually. KORBUS What is your religion? MICHELLE Please, now is not the time -KORBUS What is it?
MICHELLE Uh... Roman Catholic. KORBUS Do you go to church every week? MICHELLE Uh... KORBUS The truth. MICHELLE No. KORBUS Welp, you're honest. That's for sure. I suppose I could help you out. Come on have a seat beside me. Michelle climbs into Korbus' horse and buggy. He whips the reins to get moving.
EXT. DURT ROAD - DAY Michelle is still with Korbus, in his buggy. MICHELLE Excuse me, but I think we're lost. KORBUS Oh no. I know we're I'm going. MICHELLE Take me home. KORBUS I'm afraid I can't do that. I have to save your soul. Save your soul first, then I take you home. MICHELLE (annoyed) I'm serious, old man. KORBUS Fine. You may leave if you please. Korbus stops the buggy. Michelle puts a foot down and then reverses back into her seat. The two start moving again. MICHELLE I have no idea where I am and you know that. KORBUS Look, I'm not here to harm you. If
that was my objective it would've happened already. MICHELLE You know, I have a son that needs me. KORBUS He's not young and all alone is he? MICHELLE No. I'm not stupid. He has a baby sitter. KORBUS Then he will be fine. MICHELLE Yeah, says you. Korbus ignores that "appropriate" attitude. KORBUS Welp, you're probably wondering what we're gonna do. MICHELLE Nope. KORBUS Welp, I'm gonna tell you. We are going to do a cleansing ritual that will get rid of the residue of sin. MICHELLE Will I get to go home after that? KORBUS Of course. I'm not kidnapping you. I'm doing a good deed, you see. MICHELLE Sure. KORBUS No, it's true. Society has been going downhill since I could remember. Before there wasn't much evil in the world. But now you have things like child murderers, serial killers, torturers and rapists -and tolerance of these acts. I'm trying my best to get rid of them. MICHELLE And you do that by picking up strangers -- for "cleansings"? Are you even a Mennonite? What are you? KORBUS
Uh! No time for chat now, we're coming up to the lot. The buggy turns.
EXT. MENNONITE COMPOUND - DAY The compound is a farming community, filled with trees, plants, crops, animals, and simple wood buildings. Korbus and Michelle, in their buggy, go through until they are stopped by a wooden barrier. KORBUS Ookay, we're here. Korbus and Michelle get down from the buggy. Korbus leaves the horse and leads Michelle onto a circular clearing with short grass and stones all around (in a circle). There is an altar made of rock in the middle of all this. KORBUS (CONT'D) Are you ready? MICHELLE No. KORBUS It doesn't matter. Korbus takes Michelle to the altar. He goes into his pocket and takes out a blind fold. MICHELLLE (looks at blindfold) What's that for? KORBUS I must place this around your eyes. MICHELLE I'm not doing that. KORBUS Please. MICHELLE Alright! Fine! I don't even know why I'm doing this. I must be going out of my mind. Korbus wraps the blindfold around Michelle's head. Then he guides her onto the altar. She lies down. KORBUS Relax now. I'm going to say a prayer. It'll be over very quickly.
MICHELLE Okay. KORBUS To the gods of the sky... MICHELLE (to self) Gods of the sky? KORBUS ...I ask for your blessings. And guidance, and wisdom, and help. Clean this sordid of her sins. Make it so that she never wrongs again in the universe. Mecca lecca hi, mecca hiney ho. Korbus takes out a dagger and holds it above Michelle. KORBUS (CONT'D) Guide my dagger, let it be so! He cuts his finger and drops some blood onto her forehead, and wipes it across. KORBUS (CONT'D) You may get up now. The ritual has finished. Michelle removes her blindfold and gets onto her feet. KORBUS (CONT'D) Now, with my blood, the blood of a virgin, you will be protected against all forms of evil. MICHELLE You're a virgin? KORBUS I have yet to find a suitable mate. MICHELLE So, you'll take me home now? KORBUS As I promised. But before you go I must show you something else. MICHELLE I'm not really in the mood for that. I've had a really long -strange day. KORBUS Anything new is strange. MICHELLE Okay. What is it?
Korbus goes into the backpocket of his overalls and takes out an antique pocket book. He hands it over to Michelle. Michelle looks at the title which says "The Great Book of Monsters" by "Russ Van Sant." MICHELLE (CONT'D) (reading) The Great Book of Monsters? (thumbing through pages) Is this for children? KORBUS It's non-fiction. MICHELLE Monsters don't exist. KORBUS And you say this after all that's happened to you? After seeing so many people die? MICHELLE How did you -KORBUS I know things, Michelle. I'm more wise than you believe.
INT. PSYCHIATRIST'S OFFICE - DAY Michelle is lying down on a therapy couch. She is being examined by Doctor WANG. WANG And why do you think you're going out of your mind? Michelle turns to Wang in a hostile manner. MICHELLE Every time I ask a question you just ask me more questions. I'm paying a lot of money for this -money I can't afford. Why don't you give me some answers instead? WANG Where is this hostility coming from? MICHELLE Ffforget this. I'm done. Michelle stands. WANG
Please. We aren't finished. I'm just in the process of getting to know you. I am required to do this if I am to solve your problems. Lie back down. She returns to her position. WANG (CONT'D) Now, why are you going out of your mind? What is your opinion on the situation? MICHELLE Doc, I've already explained everything to you. And none of it is fabricated. WANG Your are a single mother, working a minimum wage job, with a vicious ex husband. Do you not have a stressful life? MICHELLE I do. WANG Is it possible that your extreme stress is causing you to have -hallucinogenic episodes? MICHELLE I've never had hallucinations before. WANG Have you ever been in a room and felt it rapidly shrinking? Have you ever had distortions of size? Of yourself or your surroundings? MICHELLE Actually, I have. WANG That is a hallucination, which comes from something we call: "Alice in Wonderland Syndrome." It is caused by fever, brain damage, or brain tumors. Perhaps you have a tumor. MICHELLE It is not a tumor. Wang crosses her legs in a smug manner and glares at her patient.
EXT. SAINT VITUS ELEMENTARY - DAY Michelle walks along the sidewalk and then goes into the school.
INT. SAINT VITUS ELEMENTARY, HALLWAY - DAY Michelle passes a painted mural on a wall, which is of children holding hands under a shining sun. She turns a corner and goes straight. Then goes through a door and turns again. And again. She is lost, walking around in circles. She stop abruptly to think. MICHELLE Okay. I'm clearly lost. I need to find my son's classroom. Room 111. Where is that? Michelle does a three sixty. She looks down the hallway, which now seems incredibly narrow. MICHELLE (CONT'D) Know what? I'll just ask for directions. There's nothing wrong with asking for directions. I'm not a man. She heads over to the nearest door, room 123. She hesitantly knocks. KNOCK. KNOCK. There is no answer. She grabs the door knob and turns it. The door opens. In plain view are two teachers "going at it." MICHELLE (CONT'D) Excuse me, uh... They look at Michelle, they acknowledge her presence, but do not stop. MICHELLE (CONT'D) ...Uh, never mind. Michelle closes the door. She continues walking around, she goes past the mural again, and then finally finds room 111. She knocks on the door. Miss Ingram answers. Miss Ingram is a small Asian lady with glasses nearly as big as her head. MISS INGRAM May I help you? MICHELLE I'm here to pick up my son. MISS INGRAM You will have to be more specific.
MICHELLE Michael. MISS INGRAM We have three Michaels. MICHELLE Michael Appleton. MISS INGRAM Aaah, you must be Ms. Appleton. Miss Ingram shakes Michelle's hand. MISS INGRAM (CONT'D) It's nice to meet you -- under such tranquil circumstances. MICHELLE Likewise. Miss Ingram sticks her head into the classroom. MISS INGRAM Michael three! Your mother is here. Michael appears by the door. Michelle puts out her hand for him to take. MICHELLE Come on, let's go. Michael is reluctant. MICHAEL Do I hafta? MICHELLE Yes. We're going to a funeral. For someone very important. MICHAEL Okay. (to Miss Ingram) Bye-bye, Miss Ingram. MISS INGRAM Goodbye, Michael. Michael and Michelle hold hands and walk away.
EXT. 52 CARRIE CRESCENT, BACKYARD - DAY In light rain, Michelle and Michael (under an umbrella) watch Betty lower a large, but not too large, cardboard box into the ground. She starts covering it with the loose dirt that is aside.
MICHELLE I didn't even know you had a dog. BETTY Ye'. He wasn't real talkative. MICHELLE Regardless, he will be missed. BETTY Thanks. But save your words for when I'm done covering Rufus. Betty finishes throwing dirt over the cardboard box. She pats down the ground with her shovel. BETTY (CONT'D) Welp, that oughta keep him down there for a while. She puts it away by leaning against the fence. She turns to Michelle and Michael. She dusts off her hands. BETTY (CONT'D) Alright. Let's get this funeral started then? Betty takes out a pocket Bible and opens it to about the middle. She runs her finger along the page and loudly clears her throat. At this moment someone enters the backyard. It is Officer Paul. PAUL Excuse me, ladies. Everyone faces Paul. PAUL (CONT'D) I don't mean to bother anyone, but I'm here to ask a couple questions. Nothing too difficult. Just a few simple inquiries. BETTY Alright. Make it snappy. Paul takes out a note pad and pen. He immediately writes something down. PAUL Have any of you seen anything suspicious around the neighborhood? Anything at all? MICHELLE Uh. No. PAUL Are you sure? Because we've been getting a lot of reports about
missing people around here... Do any of you know who Gus is? MICHELLE Who? PAUL The homeless man. He sometimes picks through people's trash. MICHELLE N-n-n-no. PAUL Why did you stutter? MICHELLE The, the, the funeral. It's very emotional. Betty's dog died. Paul now notices the grave, the loose dirt. PAUL Rufus? BETTY Mhm. PAUL Oh, I'm so sorry. BETTY It's alright. You didn't do anything. PAUL Hey, if you need anything let me know. I mean I won't be here that much 'cause I'm kinda stretched thin right now. But if I am just let me know. BETTY Thank you. PAUL Okay. I have to go now. Stay safe, everyone, and keep an eye. Okay? BETTY Okay. MICHELLE Goodbye, officer. Paul waves goodbye, then leaves the backyard. Betty clears her throat and returns her attention to Michelle and Michael. BETTY Now, where were we?
INT. 50 CARRIE CRESCENT, BASEMENT - NIGHT The door to the basement slowly opens. By who it's unknown. The light switch is flipped. An old bulb, that's barely adequate turns on. Bare feet come down onto the wooden steps, and then carefully go down. Michelle is at the bottom holding a flashlight/torch. She shines it about while looking ahead. She hears a scuffling noise, which startles her, and makes her jump into a defensive pose. MICHELLE Who's there? She steps ahead a bit, and then points her flashlight to the dusty corner. She squints. There is big grey rat gnawing on a piece of bread. When it notices that it's been spotted it escapes into a hole that is in the wall. MICHELLE (CONT'D) Okay. Relax. It's just a rat. Rats are like really ugly dogs. Michelle takes in a breath and then walks ahead. Strange, creepy noises are abundant, from creaking to cracking, whipping rain and howling wind -- it is like a horror movie. Michelle gets to the back of the basement, where there sits a bare wall, with a spread garbage bag back at the very top. She reaches up and tears it off. MICHELLE (CONT'D) Where is it? The window well that is revealed no longer contains the corpse of Gus the garbage-picking homeless man. There is only a pocket of air underneath a mound of dirt. MICHELLE (CONT'D) Where's the body? Michelle feels a breath on her neck. She turns around. A half eaten corpse falls upon her. Its upper limbs drape her shoulders. She screams and pushes it back. It drops to the floor with a THUD. She shines her flashlight to examine it. She kicks it with her foot. When it doesn't react she gets frustrated and yells into the darkness. She spreads her arms while doing so. MICHELLE (CONT'D) Okay! You got me! I killed someone! Now come on out and let's talk about this!
There is no response. MICHELLE (CONT'D) Oh! So you're some sorta prankster, huh?! You like toying with people's emotions, hm?! Well, I have two choice words for you. FUCK. YOU. Michelle sticks up her middle finger. At this moment a mist appears and then a figure steps into the scant amount of available light. It is a man without a face...and without a head. The only thing rested on his shoulders is a large, blank, black circle. He is dressed in a red duffle coat, and has red trousers, red boots, a red shirt, and red gloves. None of his skin is showing. (So that his race is unknown.) With him is a dog, a Doberman Pinscher on a red leash. This figure/man in red is called DARKSPHERE. His companion is called DARKDOG. Darkdog barks. Michelle drops her middle finger. Then she turns around and runs. She runs up the STAIRS of the basement. But she finds that the door to leave is locked. She bangs and relentlessly tries to turn the knob. MICHELLE (CONT'D) For the love of God! Michael?! She looks behind and sees Darksphere and Darkdog. Darksphere is beckoning her with one finger. MICHELLE (CONT'D) MICHAEL?! Darksphere ties Darkdog's leash to the handrail, to go solo, and takes a step onto the stairs. He very slowly ascends. Michelle is in a panic. She presses her back against the door while covering her face and heaving. She's making an animal like noise that sounds something like a cat in pain. "Hreaaagh, hreaaagh!"
INT. 52 CARRIE CRESCENT, MAIN STAIRS - DAY Michael appears by the basement door, which is under the main stairs. He hears Michelle's crying and turn the doorknob. The door swing opens suddenly and Michelle comes out. She stands, barely, and closes the door. She takes on look at Michael, then grabs him into her arms, and runs off. MICHAEL Where's we going?
EXT. 282 CORNFIELD AVENUE - DAY
Olivia's house sits quietly in the calm weather.
INT. 282 CORNFIELD AVENUE, MICHELLE'S ROOM - DAY Michelle is in her childhood bedroom, which is pink, with posters of boy bands, and other sorts of girly stuff. She is in bed like she's got a fever. Her mother, Olivia, is sitting by her side while Michael plays toys on a rug nearby. MICHELLE Thanks for letting me stay here, mom. I really appreciate it. Olivia gently strokes Michelle's here. OLIVIA Remember: No matter how old I am, you will always be my child. MICHELLE But, you know, I still feel really embarrassed. I shouldn't be here. I'm a grown adult. OLIVIA What's the shame? You had a bit of a break down. You're sick. You need help. That's all. Olivia takes a glass of water from the night stand and a pill, and hands it to Michelle. OLIVIA (CONT'D) Now, take your medicine. Doctor says it'll help you with your episodes. MICHELLE Do I have to? OLIVIA That's the deal we came to. Michelle puts the pill (so it seems) and then swallows some water. OLIVIA (CONT'D) Open your mouth. MICHELLE What? OLIVIA Open your mouth, so I can check if you swallowed your medicine. Michelle opens her mouth.
OLIVIA (CONT'D) Lift your tongue. Michelle lifts her tongue. Olivia seems satisfied. OLIVIA (CONT'D) Okay. I'll see you at dinner time. MICHELLE Mhm. Olivia leaves. Michelle listens to her mom go downstairs, then she reveals in her palm the pill that she did not swallow. She throws it behind the headboard of her bed. She gets up and goes over to the window. She opens it. MICHELLE (CONT'D) Michael? Michael isn't paying attention. T-Rex is fighting a bear. MICHAEL Yep? MICHELLE I'm going to go out for a bit. MICHAEL Oh. Michelle puts a leg outside. MICHELLE So, don't tell grandma. Alright? Promise me! MICHAEL I promise. MICHELLE Alright. I'll see you later. Alligator.
EXT. 282 CORNFIELD AVENUE, BACKYARD - DAY Michelle carefully climbs down the trellis, underneath the window of her room, and gets to the ground.
EXT. 282 CORNFIELD AVENUE - DAY Michelle leaves the DRIVEWAY on a pink bicycle that has a basket and tassels. Her old car, for fear that she might be caught, is left behind to sit.
EXT. CORNFIELD AVENUE - DAY Michelle pumps the pedals of her pink bicycle and gets a good speed going.
EXT. COMMUNITY CENTER - DAY Michelle rides her bicycle up to the community center and takes it inside (since she has no lock).
INT. COMMUNITY CENTER, LOBBY - DAY With her bicycle, Michelle enters the community center. But before she can go any further in this sterile environment a man comes up to her. He has large beard and perfectly round glasses. He looks like a professor of some sort. His name is Marcus GRAY. GRAY Excuse me. Michelle stops, standing by her bicycle. GRAY (CONT'D) (pointing to bicycle) You can't bring that in here. MICHELLE Well, I don't really have a bike lock, you see, sooo -GRAY Please. Take it outside. MICHELLE No... It's gonna get stolen. GRAY By whom? A thieving homosexual? MICHELLE Oh, shut up. You're not even clever. GRAY Fine. You wench. Do as you please. I have better things to do. MICHELLE Okay, professor GRAY Hmph.
Gray spins on his heels, and goes through the lobby, and then disappears. Michelle continues along at a slow pace, looking around the community center. She stops by a room marked "CONFERENCE." She rests her bike against the nearest wall and lets herself in.
INT. COMMUNITY CENTER, CONFERENCE ROOM - DAY The conference room is a big rectangular room -- but it feels smaller because of all the windows that are covered. Michelle closes the door behind her and finds herself before a circle of six (seated) individuals. Amidst them is the man from before named Gray. He and the others look at Michelle. MICHELLE Hellooo... Is this the paranormal and occult meet and greet? GRAY Yes, it is. Would you care to have a seat? We are about to begin. Michelle looks a bit embarassed, and sits down to join the circle. Gray clears his throat. GRAY (CONT'D) Welcome, everyone, and thank you for coming to this week's meeting. I know you are all eager to discuss recent matters. But before we get into it, we should introduce ourselves to our newest member. MICHELLE Actually, I don't really know if I want to be a member of your, huh, prestigious organization. GRAY NONSENSE MICHELLE Okay then. GRAY I am Marcus Gray -- simply known as Gray -- a professor of psychology and paranormal activity at the University of Boxbridge. I am the president of this organization. I am also a clairvoyant and a psychic. Besides Michelle and Gray are five more people. One woman and four men. They ready to introduce themselves per Gray's instruction. Gray subtly nods to the person to his right,
cuing him to go. ALLAN clears his throat and says his name and what he does. ALLAN I'm Allan. I'm a construction worker. The others follow. JANET I'm Janet. I'm a masseuse. BART Am Bart. Am a retired football player. PAUL I am Paul. (waves to Michelle) And I am a police officer. In my spare time I design webpages and do computer troubleshooting. My website is: WWW.BULLETSORJUSTICE.COM. HENRY (clears throat) I'm Henry. I collect road kill and from it I make pelts and various clothing. Michelle has a disgusted look on her face. GRAY Is that at all lucrative? HENRY Actually, it is. I make more than six figures. You'd be surprised at the fur market. GRAY Right... So, who'd like to go first? Has anyone recently seen anything strange or paranormal, this week, or about last week? HENRY I saw a UFO. GRAY Describe it. HENRY Well, it was shaped like a frisbee and -GRAY It was probably a frisbee.
HENRY Oh. Okay. After Gray scans the room with his eyes, Janet raises her hand. JANET Last night I was attacked. PAUL Did you report it to the police. JANET No, because you guys are on a budget crunch. And my attacker was - indescribable. PAUL What do you mean indescribable? JANET Well, my attacker had no face. Everyone except Gray looks shocked. JANET (CONT'D) No head really. Just a big black circle. BART Wait a minute. I was attacked by him too. Was he dressed in red? Did he have a red jacket? JANET Yes. He did. GRAY The both of you saw the same thing. This is confirmation for something. ALLAN This has to be a joke. I saw that...thing too. I was on a construction site and he put the sharp end of a claw hammer into my backside. Allan turns around and lifts his shirt to reveal a sizeable wound. HENRY Dang! That guy's everywhere. He cut me with a knife while I was trying to peel a raccoon from the roadside. I only got away because a car came by and accidentally hit him. He got up, then chased after it.
PAUL A car? Was it white with blue stripes? HENRY Yuh-huh. PAUL A cop car. That was me. HENRY Small world. GRAY Michelle, do you have any similar stories? MICHELLE Yes. I do. I was in my basement and it came after me with a dog. GRAY And you are the only one that has seen it with a dog? MICHELLE I guess. Unless someone can say otherwise. Michelle looks at the others, who have nothing to say at the moment. GRAY Well then! Isn't this just grand. I'm the only that hasn't seen this thing -- this monster! PAUL Why would you want to see a monster? BART Ye, that's just dumb. GRAY Well, I feel left out now. MICHELLE Hold on a second... I have something. Michelle reaches into her back pocket and takes out a book -the book that was given to her by Korbus. "The Great Book of Monsters" by "Russ Van Sant." She thumbs through the pages and stops on page 115. She shows it to everyone. MICHELLE (CONT'D) Is this the monster everyone's seen?
On the page is a detailed drawing of the monsters: DARKSPHERE and DARKDOG. Everyone is agape at the site. Gray reaches over to Michelle and takes the book to inspect. GRAY According to this book the monster is called Darksphere and his dog -Darkdog. (to Michelle) Where did you get this from? The book gets passed around. MICHELLE I don't remember his name, but I think he was Amish? GRAY We should try and meet this man. He probably knows more about this than we do. MICHELLE That would be a good idea, if I knew his name and where he lived. BART Maybe that Amish fellow is the monster. Going against something you do is a great way to fool everybody. JANET We need to do something about this before it strikes again. HENRY We need to destroy the monster before it destroys us. PAUL Hey, hey, hey. Let's get back down to earth, alright. Why do we keep calling "it" a monster? It's obviously just a person. Right? Some psychopath in a mask. ALLAN I doubt it was a mask. MICHELLE It wasn't a mask. PAUL Okay. Let's assume it wasn't a mask. This "Darksphere" character is some sort of monster. What kind? And so what? We can't do anything
about it. GRAY Of all people I'd think that you would try to nip this in the bud. PAUL Alright, well, what would we do? What's the plan? GRAY Find it. Kill it. PAUL Even if we could find it, what are the odds we could kill it? Cause according to everyone here it's some sort of mythical, magical creature. GRAY Why don't we put it to a vote? Who here wants to hunt and destroy this monster? Gray looks about. Nobody raises their hand. GRAY (CONT'D) So no one cares to protect their loved ones? MICHELLE What are you talking about? GRAY Did anyone here give your book more than a cursory look? The page behind the page you showed us. You should read it aloud. Michelle gets her book and opens it to the spot described. MICHELLE (reading from book) The Darksphere is a relentless creature. Created by the evils of the world, it must satisfy its craving for destruction. If it cannot destroy its mark, it will pursue an analogue. I.e. a loved one or blood relative. GRAY Continue. MICHELLE Darksphere has few weaknesses, and is difficult to destroy, since it can only be seen by its victims. However, it may be vanquished
through proper methods. GRAY Now, what does everyone think? Who is willing to join forces to stop this? Raise your hand. Everyone except Bart raises his hand. MICHELLE You don't have any loved ones? BART Nope. When I hit it big I cut everyone off. JANET Why? BART Duh. They wanted my money. ALLAN So, you're not going to help? BART Hell no. I'm not risking my life -for strangers. ALLAN Maybe you should leave. BART Maybe I should? HENRY C'mon, you guys. Team work. Let's not antagonize with a potential team member. BART I'm sorry. I'm not going to part of anyone's team, unless it's for football. Excuse me. I have to go. Bart stands. BART (CONT'D) I'll share my science fiction stories with another group of nut jobs. He leaves through the door.
INT. 282 CORNFIELD AVENUE, LIVING ROOM - DAY It is late in the day, past the afternoon. The sun is going down. An orange-ish light illuminates the gathering, which
consists of: Michelle, Gray, Paul, Janet, Allan, and Henry. They're having another meeting. They are seated on the available sofas. There are some biscuits and glasses of water and other things on the coffee table. MICHELLE We can't delay this anymore. The monster killed Bart. JANET And my cats. HENRY Did you save their carcasses? JANET Oh, screw off, creep. PAUL Now, now, let's not argue. ALLAN (to Gray) Did you find out anything more about the monster? GRAY Yes. I looked on the internet. It seems that the monster targets those who are very vulnerable. MICHELLE Right. GRAY So, we must set a trap. With proper bait. One of us will need to play that role. HENRY And who do you suppose is the most vulnerable? ALLAN One of the women. JANET Hey, that's sexist. ALLAN It's the truth. JANET I'm not putting myself up for bait. ALLAN Come on. Be a sport, would yah? JANET I may be a masseuse but I can kick
your ass. PAUL Hey, relax. Janet shoots daggers at Allan with her eyes. MICHELLE I know. Why don't we pick names out of a hat? GRAY An excellent idea. Michelle, do you have the materials? MICHELLE Yeah... MOM! Olivia appears. OLIVIA Yes, dear? What can I do for you and your friends? MICHELLE We need a hat. OLIVIA Is it for a game? MICHELLE (lying) Uh, yes. Olivia turns to leave. MICHELLE (CONT'D) And paper and pencils! She leaves and returns, and gives Michelle a child's baseball cap, a pencil, and a sheet of lined paper. OLIVIA Voila! MICHELLE Thank you. Olivia leaves. Michelle writes down everyone's name, then tears the paper appropriately. She folds the pieces and puts them all in the hat. She shakes it around to mix up the contents. MICHELLE (CONT'D) Would anyone like to do the honours? JANET I think someone trustworthy should do this -- a woman.
MICHELLE Does anyone mind? No answer. Michelle passes the hat to Janet. Janet stirs her finger in the paper and then picks a slip of paper. She unfolds it. GRAY And the results? JANET Michelle. MICHELLE Aw, crap.
EXT. PARK, BASEBALL DIAMOND - NIGHT Michelle is in the middle of a baseball diamond, which is in the middle of the public park, which is adjacent to Saint Vitus Elementary School, a church, and a daycare. She is helpless and tied to a chair -- and has a noticeable silver locket around her neck. Also noticeable: The concrete block in the nearby distance that is actually a public washroom. The artificial lights from above shine harshly into Michelle's eyes. She squints and looks into the nearby distance, where there is a bushy tree rustling. She starts to sweat and breathe heavy. Then Gray comes out. He walks toward Michelle and stands in front of her. MICHELLE Oh, hi, come to take my place? GRAY Actually, we've decided that we should cancel this scheme. Do you have any questions? MICHELLE No. Get me out of here. Gray takes out a pocket knife and flips out the blade. He goes behind Michelle and starts sawing at her ropes. MICHELLE (CONT'D) You do know what you're doing, right? GRAY Yes. I used to camping a lot. MICHELLE
I find that people who camp like animals. You like animals? GRAY I once kicked a hedgehog, because I thought it was a football. MICHELLE (confused) Alright then. Michelle looks bored while Gray is sawing at her ropes. He is having a difficult time. MICHELLE (CONT'D) Uh, how much longer is this gonna take? GRAY Patience is a virtue, my child. Michelle exhales deeply, clearly growing impatient. She tries passing the time with idle conversation. MICHELLE So! You know, uh, I was looking up information on Darksphere. And I met this guy. Online. And he said that Darksphere can be defeated with -- get this -- love. GRAY Yes. That's the power of love -- I mean no, that's stupid. Gray gets frustrated. He's only halfway through the rope. GRAY (CONT'D) Agh! Bloody hell! This is going to forever! I need new knife. (to Michelle) Stay here. MICHELLE Okay. If you insist. Gray leaves and disappears behind the washroom (concrete block).
INT. BASEBALL DIAMOND WASHROOM - NIGHT Gray lets himself inside the washroom, where there is: Paul, Janet, Allan, and Henry. The rest of the gang. They are gathered by the metal shutters, looking through at the baseball diamond.
EXT. BASEBALL DIAMOND - NIGHT Michelle is awaiting for Gray's return. Her eyes are wandering -- and so is her mind. She starts whistling. Then amidst this tune suddenly the field lights go out. It is nearly pitch black. But illumination returns. And with it Darksphere and Darkdog. They are in the distance, slowly approaching Michelle. She starts struggling, trying to free herself from her chair. MICHELLE? Oh, shiiit! All seems lost until Darksphere -- who is halfway up the baseball diamond -- pauses and looks over his shoulder. INT. BASEBALL DIAMOND WASHROOM - NIGHT Gray and the others come away from the shutters. GRAY Okay, everyone. It's time we take action. Paul pulls back the slide on his gun. Janet , Allan, and Henry go into a duffle bag. Janet takes a baseball bat, Allan a crowbar, and Henry a chainsaw. ALLAN Let's go kick some ass! Henry opens the door. But no one can leave. Darkdog charges inside with red eyes and starts barking at everyone, with intent to bite.
EXT. BASEBALL DIAMOND - NIGHT Michelle falls over in her chair. Darksphere, who is alone, is only feet away from her. Rescue comes when Paul, who has blood all over him, appears behind. He points his gun. PAUL HEY! Darksphere turns around and heads for Paul. Paul starts shooting his gun. Bullets fly through the air. The ones that hit Darksphere's head have no effect, but the ones to his chest are effective. Darksphere is gunned down and falls onto his back, to the ground. Paul runs to Michelle and pulls off her ropes. He helps her up. PAUL (CONT'D) Are you okay? MICHELLE
Yeah. I think so. Paul tries to pull Michelle. PAUL Let's get out of here. MICHELLE Wait. PAUL For what? Michelle glances at Darksphere. MICHELLE Let's go take a look. PAUL No way. Are you nuts? MICHELLE We have to make sure it's dead. PAUL Fine. Michelle and Paul walk over to Darksphere in a cautious manner. They gather around him and look. PAUL (CONT'D) This is creepy. MICHELLE What's his head made out of? Michelle bends, about to touch Darksphere's head, but Paul puts his arm in front her to stop her. PAUL Stop. Are you crazy? Get a stick or something. Michelle runs over to a tree, breaks off a branch, and returns where Paul is. MICHELLE Okay... She hesitantly pokes Darksphere in the head. It immediately absorbs the branch. PAUL Holy Christ. It's like a black hole or something. Maybe we should -MICHELLE (interrupting) Just finish him off already!
PAUL Right. He still might be alive. Paul changes the magazine in his gun. He lowers his stance and points it at Darksphere's chest -- the heart area. He sweats and trembles. Then he shoots once. Then twice. Then thrice. BANG! BANG! BANG! Paul stands with Michelle. She pats him on the shoulder. MICHELLE Good job. A black liquid, that's like ink, sprays up onto the both of them. It is coming from the wound of Darksphere's chest. They both go, "Eeyuck!"
INT. WAREHOUSE - DAY Michelle, Officer Paul, and Officer CHAN are standing around an open crate that contains the body of Darksphere. Chan pushes up the front of his hat. CHAN I swear. I would've never believed you if you never showed me this. PAUL It's like something out of the Twilight Zone. MICHELLE You know, part of me thinks we should study this monster for science. CHAN Well, it's too late now. Chan turns his head to someone and waves. CHAN (CONT'D) Pour it on! A cement truck reverses and stops at the open crate, and then starts dumping cement onto Darksphere. Michelle turns to Paul. Nervously. MICHELLE Sooo, what an adventure we've been through, huh!? PAUL Adventure? It was horrible. So many people died. MICHELLE But...
Chan whispers into Paul's ear. Paul makes an "oh!" face and then turns back to Michelle. PAUL Uh, are you trying to flirt with me? MICHELLE Coffee? PAUL Actually, I have a girlfriend. MICHELLE Oh. I knew that. Chan shakes his head.
EXT. DAYCARE CENTRE - DAY The "HAPPY FACES" daycare centre sign is bright yellow.
INT. DAYCARE CENTRE, LOBBY - DAY As kids goes by Michelle has a chat with her son Michael. He is wearing a bright backpack and looking up sadly. MICHELLE I know you prefer Betty taking care of you -- but believe me. This is a really nice place. And it's subsidized by the government. Michael is breathing heavy. Looks like he's going to cry. MICHAEL What about dad? MICHELLE Sorry. No can do. He hit road. MICHAEL Hit the road? MICHELLE He's gone. MICHAEL Oh. Michelle wets her finger and preens Michael's hair. MICHELLE Now. Be a good boy and I'll get you a treat from work.
MICHAEL Candy? MICHELLE Maybe. MICHAEL Alriiight. MICHELLE Go on. Michelle waves goodbye and watches Michael go down the hallway. He knocks on a door and is let inside a room.
EXT. DAYCARE CENTRE - DAY The "HAPPY FACES" daycare centre sign is dark yellow. The sun isn't out and is covered by clouds. Michelle, leaving the daycare centre, looks up. MICHELLE Sunny weather my ass, Mr. Weatherman. She walks ahead, along the sidewalk.
EXT. DAYCARE CENTRE, SIDEWALK - DAY Michelle continues walking until she gets to her car, which is parked just before the street corner. She takes out her keys and goes into her crappy CAR. She puts the keys into the ignition cylinder. She turns it. The car sounds like a sick person going "cough-cough-cough." MICHELLE Aw, c'mon. Gimme a break. For once give me a break! Then it starts. MICHELLE (CONT'D) Finally. The car drives off and takes a turn to the left.
EXT. KOMSEH ROAD - DAY Michelle's car is driving under dark rolling clouds, though it has yet to rain. She turns on her headlights and drives straight as possible. She starts tapping on the steering wheel with her fingers. She is bored.
MICHELLE I need some music. She turns on the radio and sifts through the stations until she finds something she likes. A really cool-hip-trendy song starts playing. MICHELLE (CONT'D) Yeah! Michelle bounces her head, moving to the rhythm, and starts singing a lot. It sounds like a cat is drowning in porridge. MICHELLE (CONT'D) (singing) LIFE IS A HIGHWAY! I WANNA RIDE IT! ALL NIGHT LONG! IF YOU'RE GOIN' MAH WAY! DERPY-DERPITY-DOO! At this point she reaches a red light. When she brakes a squashing sound is heard. She gets a funny look on her face. She stops singing and turns off the radio. She looks down. Her feet are surrounded in wet, runny cement. MICHELLE (CONT'D) What the... Suddenly the whole car starts filling with cement. The source is unknown. Michelle is up to her chest in the liquid construction material. She tries opening the car to no avail. She tries opening the windows, but the mechanisms fail. She starts panicking. She punches at the glass to her side. The first few fail, then the last, a real knuckle buster, causes it to give and shatter. She climbs outside and falls onto her hands and knees. Oof! She stands and steps back to look at her car. She scratches her head, confused, and a little scared. She steps back some more and becomes startled when she bumps into someone's arms. She turns around. Gordie, her ex-hus, is staring her in the eyes. GORDIE Michelle. What's going on? MICHELLE You did this! You did it! I know you did! GORDIE What? That's crazy. MICHELLE You liar! You sick liar! Don't come near me. Michelle pushes away and starts walking off, walking to where she was before. Gordie follows. GORDIE
Wait. I wanna talk to you. We have things to discuss. MICHELLE As far as I'm concerned, you're dead to me. GORDIE Look. I'm sorry what I did to you. I've been going through therapy recently -- through a competent doctor, and I've made a real break through in my life. MICHELLE I don't care. GORDIE I know you don't care. I know you don't believe me. I know I don't deserve your forgiveness. But I've genuinely changed. MICHELLE That's what you always say. So please do me a favor and piss off while I go and find a towel. GORDIE Please, Michelle. I want to be in my son's life. One more time, just give me one more chance. That's it. Michelle pauses in walking, but does not turn around to look at Gordie. MICHELLE You stay away from Michael. He doesn't need or want you. Got that? GORDIE Are you sure? MICHELLE One hundred percent. GORDIE (angrily) You... You... You... MICHELLE Bitch? Whore? Slut? What name do you want to call me? Hmm? No answer. MICHELLE (CONT'D) Well?! WELL?! Michelle turns around (again). Darksphere is standing before,
holding a dead Gordie by the back of the neck. Darksphere speaks for the first time. His voice is cold and stiff, almost electronic. DARKSPHERE Where? Is? Michael? MICHELLE You can talk? Darksphere throws Gordie's corpse aside like a doll, and then swipes at Michelle. Michelle starts running. She glances over her shoulder. Darksphere is pursuing. As per usual he is going slowly, only walking. Michelle trips on a rock while running and falls to the ground. Her head smashes on pavement. She is knocked the fuck out.
EXT. SPACE AND BEYOND - ? Michelle opens her eyes. Where is she? She is suspended in darkness, with all her limbs stretched. No. She is between the stars. Before she can comprehend what is happening she is instantly transported to dozens of exotic, non-earth locations. Each time this happens there is a flash and a sharp noise. The last stop is...
INT. TRES BELLE RESTAURANT - DAY Michelle lands in a beautiful French restaurant. On a chair she looks at herself and finds that her clothes are different. She looks up at the waiter named PIERRE. PIERRE Bonjour, Mademoiselle. Que voulez vous? MICHELLE Quoi? PIERRE What can I get you? MICHELLE Uuuuh... I need some more time. PIERRE Okay. I will return. Pierre leaves. Michelle eyes wander. She looks to her right squints, and rubs her eyes. By the window is Michelle and Gordie. Well, it's them, but it isn't them. These are clones
(or something similar). MICHELLE 2 lovingly gazes into GORDIE 2's eyes. GORDIE 2 I love you, Michelle. heard that a millions but I just can't help love you, I love you, love you, I love you, love you! I know you've time before, myself. I I love you, I I love you, I
Michelle 2 pinches Gordie 2's cheek. MICHELLE 2 Ooh, you're so cute. Gordie 2 gives a goofy grin. Michelle gets up from her table and goes to approach her "clones." She stares at them and they stare back. But then suddenly she is taken away by the unknown force.
EXT. SWIMMING POOL - DAY All that is seen is a spot of dark blue liquid. Then from it arises Michelle. She opens her mouth and takes a deep breath. She screams silently when she sees what surrounds her -dead, bloated, floating corpses. Everywhere in the water. She looks behind and sees Darksphere at the end of the pool. He starts wading toward her. Michelle pushes past the cadavers in an attempt to escape. When she gets a hand onto ground, so that she lift herself out, she is transported away once again.
INT. SAINT VITUS ELEMENTARY, HALLWAYS - DAY The hallways on FLOOR ONE appear dark and narrow. Little light is coming in through the windows, because of the cloudy sky, and many of the fluorescent bulbs above are burnt out. Michelle, who looks tired as hell, goes ahead and goes to turn at the corner. But Darksphere appear and grabs her by the shoulders. He throws her down. She gets up, and is thrown down again, and again. She is slapped around, and tossed about, and slammed into the walls. Michelle has blood running down the side of her mouth. She is on the floor, crawling to get away. She somehow gets the energy to spring up and starts running to the best of her abilities (after all she is injured). She stops and gets to a door that leads to a stairwell.
INT. SAINT VITUS ELEMENTARY, STAIRWELL - DAY Michelle trips on the first step of the stairs. She bumps her chin. But she continues on. She uses the available handrail to pull herself up. She glances behind and sees Darksphere. She gets to the top of the stairs and goes through door that connects to the second floor hallway.
INT. SAINT VITUS ELEMENTARY, SECOND HALLWAY - DAY Michelle closes the door behind her. She pushes against it with her shoulder, trying to keep it shut. But it is of no use. Darksphere swings the doors open and pushes her out of the way. She gets up once again. She runs to the doors that line the hallway, looking for a room in which she can hide. She goes to the first, second, third, fourth, and fifth, and finds they're all the same: locked. She turns into the next section of the hallway and becomes suddenly desperate, and overly panicked, and starts randomly banging her fists on any door she finds. MICHELLE Help me! Someone help me! For the love of God! A door opens at random, and then a hand grabs her, and brings her into the room.
INT. SAINT VITUS ELEMENTARY, ROOM 211 - DAY Miss Ingram puts a hand over Michelle's mouth. Michelle's eyes dart and sees children, including her son, lying on the floor, trying to hide. Miss Ingram puts a finger on her nose to say "shhh" and then she mouths the words "get down on the floor." Michelle gets down and crawls to the back, where Michael is. Michelle holds his hand, but still has a guilty look on her face, a look that says, "What have I done?" Miss Ingram lays down and holds a meter/yard stick in her hand, staying on guard. Outside echoing footsteps are heard. They are getting closer and closer. Then they stop. A pained scream is heard outside. Blood comes under the bottom crack of the door and starts flowing toward the children, who begin squirming. Miss Ingram is gesturing to them, telling them to be quiet. But one of the girls, when she touches the blood, jumps up and screams. "AAAAAAAAAAAAAGH!" Suddenly the door of the classroom explodes as do the windows that are surrounding. Darksphere comes in. Michelle and the
children get off their tummies and shriek. They all bunch to the back, packing in like sardines. Miss Ingram stands with her meter stick. MISS INGRAM Stay back! You fiend! She swings it like a bat at Darksphere's head. But Darksphere grabs it with his hand and snaps it in two. He throws it down in annoyance. Though his face is expressionless, somehow the anger in him can be seen. Maybe through his body gestures. Miss Ingram steps back and takes out a pocket bible. She holds it in front of her as if it were a shield. MISS INGRAM (CONT'D) In the name of the Father, and the Son, and the Holy Ghost! By God, by the will of the spirit, let not the forces of evil trespass unto our lives! Banish these forces that lay within! Oh! Heavenly Father make all the wrongs right and guide us into thy light! Darksphere swats away the bible. He takes Miss Ingram by her upper arm and wrenches it up, causing her excruciating pain. She yelps. He pulls her in and the puts his free hand atop her head. He squeezes it and turns it so that her nose points in the direction of her back. CRACK! The children scream when Miss Ingram's body hits the floor. Darksphere is not deterred by their sounds, and walks toward them, slowly, confidently. He cracks his knuckles. Michelle stands and spreads out her arms. MICHELLE Stay where you are! Darksphere pauses, which seems longer than it really is. He turns around. A pointed stick drives into his gut and he is pushed back -- by JERRY the janitor. JERRY (to Darksphere) You bastard! (to Michelle) Go on! Get out of here! Michelle looks aside at the row of windows and sees that, beside the classroom outside, there is a roof with a ladder. She turns to the children. MICHELLE Alright, children -- we're going on a little field trip!
EXT. SAINT VITUS ELEMENTARY, ROOFTOP "211" - DAY The children are gathered on the rooftop that is beside room 211. The only person not there is Michelle, but shortly she appears when she hastily climbs out the through a window. She gently but urgently pushes the children in front of her, telling them to go. MICHELLE Keep moving, keep moving. She jogs beside them and gets ahead, so that she can lead. Everyone starts moving forward to the ladder, situated slightly off centre on the roof's edge, in a hurried and anxious manner. However, they must stop when their way is blocked. Darksphere comes up the ladder, their means of escape, and stands in front. He positions himself evenly (so that left and right are equidistant). They all reel back. Michelle looks behind and sees inside the classroom. Darkdog is chewing on the arm of Jerry, who is impaled with his own stick. The children huddle together, looking to one another for comfort. Darksphere spreads out his arms and the wind around him blows. Then a portal, a red whirling vortex, about the size of two Cadillacs, appears behind. Leaves, and debris, and rock, and miscellany immediately get sucked in. DARKSPHERE Eeuuuuuuuuuuagh... MICHELLE Why are you doing this to us?! Who are you?! DARKSPHERE I. Am. From. You. MICHELLE What? DARKSPHERE Come! To! Me! The suction of the vortex is getting stronger. So strong that the children must lower themselves to stay in spot. Michelle holds Michael, comforting him as tears stream down his face. She glances at Darksphere, who revels in his villainy. She kisses her son on the cheek.
MICHELLE (to Michael) I love you, Michael. She looks ahead again, but this time with a face of resolution. Then she lets go off Michael and runs toward Darksphere with the intent to stop him. She yells like a warrior. She and Darksphere are about to collide. No dice. Darksphere catches her in his arms, very easily. He has her seized. He starts laughing. It is a horrific laugh that is something out of a nightmare. As Michelle stares at Darksphere, her eyes go wide in an almost hypnotic manner, and vivid imagery of mankind's evil washes over her face. She sees acts of religious persecution, war crimes, murder, domestic abuse, and any heinous any crime you can think of. But then shakes her head and snaps out of it. MICHELLE (CONT'D) NOOOO! Suddenly a wave of positive energy overcomes Michelle, and she gathers all her strength, breaks away from Darksphere, and pushes him back -- so hard that he flips and falls into his own portal. It looks like he is going to disappear, but then he reaches out an arm, and a tentacle-like extension, which looks like a shadow, comes out from his hand. It seizes Michelle around the waist. She falls onto her belly and is about to be dragged off, but last second grabs onto the ladder beside. It's hard to hold on; blood courses through the veins of her ten strained fingers. She briefly looks up at the scared children, who are desperately hanging onto each other, trying not to get sucked away. At this moment Michelle's face becomes calm, and her eyes cold, and then she says her last words. MICHELLE (CONT'D) (whispering) Goodbye. She unravels her fingers to let go, and she and Darksphere are pulled into the vortex portal. Just like that. All three disappear. And the ladder, which peels off the wall, and falls down. Now there are no threats to the children. They lift their heads, reluctantly, and look around. They stand up, feeling no danger. Michael turns in bewilderment. MICHAEL Mom??? He wanders to the edge and gazes below. Red and blue light
splash onto his face. Police cars are gathered around on ground level.
INT. 25 PHILSBURY STREET, DINING ROOM - DAY On a table is a birthday cake with fifteen candles and a message that says: "Happy Birthday Michael." [Sic.] The candles suddenly get blown out. As smoke arises Michael is applauded by his surrounding friends and family. Jessie, a cute girl with braces, smiles. JESSIE Sooo, what did you wish for? A fatherly looking fellow named Jack replies. JACK You know he can't tell you that. JESSIE Just a clue! Michael shakes his head in a friendly manner. MICHAEL Maybe next year, Jess. JESSIE Aw, man. MICHAEL Come on. Let's cut the cake. A woman, that looks a bit like Michelle, hands Michael a rounded knife (for cake cutting).
EXT. PHILSBURY CEMETERY - DAY It is late in the day in a beautiful cemetery. The sun is going down. A hand places down a piece of cake in front of a headstone. Michael gets off his knee and stands. MICHAEL Now, I know you can't eat that, because you're not here -- below or otherwise. But I can't shake the feeling that you might return. He looks like he's about to tear, but doesn't. MICHAEL (CONT'D) Strangers thing have happened, right? Anyway, I miss you, mom, and I love you. See you next year?
There is a moment of silence. Then Michael puts his fingers into his mouth and whistles. A Doberman Pinscher comes out from behind a tree and joins him. The two walk off into the light. Behind their long shadows are seen, which look eerily similar to Darksphere and Darkdog. FADE OUT:
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue reading from where you left off, or restart the preview.