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WGAe # I214509
2 NIGHT VISIONS
FADE IN INT. HOTEL ROOM – NIGHT Small hotel room, one window with curtain drawn. A demonic CINDY NICHOLS, long red hair arching in waves, is having wild sex with BOBBY “MAC” MCCLEARY. A blank staring Mac, pale with dark circles around his eyes, is on his back on the floor in the middle of the room, Cindy straddling him. At climax, triumphant and howling, Cindy plunges her clawed hand into Mac’s chest, rips his heart out, and crushes it as she holds it up, wringing blood from it like water from a sponge. TIME FADE – IN HOTEL BATHROOM as drop dead gorgeous Cindy, now done with shower and dressed in sandals, tight jeans, and black bikini top, stands in front of the mirror, slowly brushing her long red hair. She’s grinning and softly humming some song. Done with her hair, she places the brush in her purse, smiles at herself in the mirror, and leaves the bathroom. IN HOTEL ROOM As Cindy crosses the room toward the door. She steps over Mac’s dead body lying in the middle of the floor. At the door she pauses, glances back at dead Mac with a grin.
3 CINDY (chuckling) It was fun while it lasted. She leaves the room, closing the door. EXT. HOTEL – DAY AT THE ENTRANCE as Cindy comes out, wearing sunglasses, purse slung over her shoulder, and walks away down the sidewalk, looking drop dead gorgeous in her long flowing bright orange-red hair, tight jeans, and black bikini top. She passes the end of the building by the parking lot where someone has spray painted the words Hotel Hell on the side brick wall. HOLD ON brick wall with the spray painted words Horror Hotel. FADE TO BLACK
4 ACT ONE FADE IN EXT. MAIN STREET INTERSECTION, SMALL TOWN – NIGHT It’s a warm summer’s night as a car with two young men inside pulls up to a red light. Driving the car is CLAY WILSON, his passenger STUART LOWRY. Next to them on the passenger’s side is another car driven by a nice looking young woman, RACHEL MCCLEARY. INT. CLAY’S CAR – NIGHT Clay and Stu sit in the car, waiting out light. Stu glances at Rachel and smiles. EXT. CLAY’S CAR – NIGHT Stu hangs out passenger’s side window, wagging his tongue, making lewd gestures, at Rachel in the car next to them. She shakes her head in disgust and flips him the bird. INT. CLAY’S CAR – NIGHT The light changes and they continue on. Stu sighs and laughs about Rachel. STU (chuckling) What a babe! (shaking his head) Man, I need to get laid! EXT. TOWN STREET – NIGHT Clay drives down the street past a pale and disheveled dead Mac who stops and watches. HOLD ON Mac as he watches the car go by.
5 EXT. MAIN STREET – NIGHT It’s the dark end of Main Street with few businesses except for Perry’s Tavern. Cindy walks down the street, approaching Perry’s. A car suddenly appears and slows down, Rachel’s car. She notices Cindy, pulls over, and parks (opposite side of the street) as Cindy suddenly enters Perry’s Tavern. Rachel shuts off the car and waits. INT. CLAY’S CAR – NIGHT Clay and Stu in car, Stu brooding, staring out passenger’s window. STU Man, this town is dead. CLAY Perry’s? A pause. STU (soft) Yeah. INT. RACHEL’S CAR IN FRONT OF PERRY’S TAVERN – NIGHT Rachel still waits and watches as a pair of headlights approach from the opposite direction. The car pulls over to the curb a few car lengths shy of the tavern (opposite side of road from Rachel). She watches as Clay and Stu get out of the car and start for the tavern, recognizing them and the car from the traffic light earlier.
6 RACHEL (angrily, under her breath) Fuckers. INT. PERRY’S TAVERN – NIGHT It’s a dim, smoky, typical tavern with bar, barstools, a few tables and chairs, booths, pinball machine, and a single pool table. A television mounted in a corner near the ceiling rattles in the background. Rather dead this night, only a couple older men at the bar and Cindy playing pool alone at the pool table. Her game just begun, there are a lot of balls still on the table. CLOSE ON CINDY as she leans over the pool table, just about to fall out of her bikini top, and makes a shot. Still leaning, she looks up as she hears the door. Clay and Stu enter. Stu sees Cindy and grins ear to ear. The two friends sit at the bar near the pool table. Clay faces the bar; Stu faces the pool table, watching the gorgeous redhead. The BARTENDER approaches. BARTENDER The usual? CLAY Yeah. Stu, distracted, glances back and forth between the Bartender and Cindy. STU Yeah...yeah, the usual.
7 Cindy walks around the pool table on the side closest to Stu, leans over to make another shot, purposely pointing her ass straight at him. His eyes widen. TIME FADE – Less balls on the table. Cindy walks around the table to make her next shot. She glances at Stu, grins, and then slowly licks the cue stick, running the tip of her tongue a short distance up the cue stick shaft. STU (through clinched teeth) Ooooh man... Cindy smiles at Stu seductively. The Bartender sets two drafts on the bar. INT. RACHEL’S CAR – NIGHT Still in her car watching and waiting, Rachel turns on the radio, turns dial, scanning channels. She holds on a local newscast in progress. RADIO NEWSMAN (o.f.) ...found dead in a local hotel this morning. The investigation is ongoing... Angered, Rachel turns off the radio and slams a clinched fist on the steering wheel. INT. PERRY’S TAVERN – NIGHT Cindy’s still playing pool, less balls on the table. Clay’s nearly finished with his draft; Stu, eyes on Cindy, is half finished with his draft. CLAY (bored) Kinda dead in here, lets go.
8 STU (grins) You go ahead, man. I’m gonna hang here a while. Clay glances at Cindy, and then smiles at Stu. CLAY Not a chance, dude. You’ll never get in her pants. STU I’m gonna try. Clay chuckles and slaps Stu on the shoulder as he slides off the barstool. CLAY Okay, I’ll see you at work tomorrow. STU Okay, bro. See you tomorrow. Clay leaves. Cindy leans against the pool table and smiles at Stu as he turns his attention back to her. EXT. PERRY’S TAVERN – NIGHT Mac slowly walks down the street in front of Perry’s. Clay comes out of the tavern and nearly walks right into Mac. He reaches out defensively, touches Mac, and then backs off a couple steps. CLAY Sorry buddy. Mac just stops and stares. Clay looks at his hands, something strange about his touch. Cold.
9 INT. RACHEL’S CAR – NIGHT Rachel watches Clay back away as if he was confronted by someone, but Rachel sees no one but Clay on the sidewalk. She continues to watch as Clay turns and heads toward his car. He gets in, starts it, and drives away. INT. PERRY’S TAVERN – NIGHT Cindy slides onto the barstool next to Stu. He looks at her and smiles. She smiles as she leans toward him, and lightly runs fingers down his cheek. CINDY (soft, sensuous, alluring) Hello. She rises from the barstool and wraps herself around Stu for a long passionate kiss, nearly pushing him off his barstool in the process. Breaking the kiss momentarily... CINDY Let’s go find ourselves... (kiss) ...a nice... (kiss) ...quiet... (kiss) ...private... (kiss) ...place... (kiss, then whispers in ear) ...where I can fuck your brains out. STU (a whisper) Whatever you say, baby. They slide off the barstools and leave the tavern, the Bartender watching them go.
10 EXT. PERRY’S TAVERN – NIGHT Cindy and Stu come out of the tavern and disappear down the street into the dark. PAN ACROSS THE STREET – RACHEL in her car asleep behind the wheel. END ACT ONE FADE TO BLACK
11 ACT TWO FADE IN EXT. TOWN STREET INTERSECTION – NIGHT Cindy and Stu stop at the intersection. Under a street light Cindy suddenly wraps herself around Stu, giving him a kiss. INSERT – Cindy’s fingers playing into Stu’s hair, long talon-like claws suddenly extend from her fingertips, and then return to normal. BACK TO SCENE They break the kiss. STU (expectant) Your place or mine Cindy smiles. CINDY Mine. They cross the street, disappearing into the shadows. INT. RACHEL’S CAR – NIGHT Rachel still asleep. A red glowing mist begins to churn from the back seat. Suddenly, a demonic Cindy pops up in the back seat. She snarls, grabs Rachel around the neck and pulls her head back, awakening Rachel. Rearing back with a taloned hand, demonic Cindy plunges the talons deep into Rachel’s chest as Rachel screams and... ...suddenly awakens from the nightmare, gasping, catching her breath. Wide-eyed, she glances around inside the car, and then at the tavern, finding it dark and closed for the night.
12 EXT. COUNTRYSIDE OUTSIDE OF TOWN – NIGHT AT A RANCH HOUSE – The countryside is bathed in the moon glow of a nearly full moon. There’s a slight breeze, trees gently swaying around a small single level ranch house. One window is aglow with a light within. Out of the shadows steps Mac. He stands and stares at the house. INT. RANCH HOUSE – NIGHT IN THE KITCHEN as Stu sits on a kitchen chair that’s pulled away from the table, Cindy on her knees before him, performing oral sex on him. Stu moans, his shirt unbuttoned, his head leaned back and eyes closed. He reaches orgasm and sucks in his breath. STU Shit! Cindy chuckles as she climbs into his lap, straddling and facing him. She smiles, tilts her head to one side, and runs her fingers down his bare chest. STU (grins) So tell me, do you always pick up strangers in a bar, bring them home, and give them blow jobs? Cindy chuckles. CINDY You complaining?
13 STU (shakes head) Oh no no. Not at all. A foxy looking chick like you...you just don’t seem the type... CINDY (interrupts) ...to pick up strangers in a bar and bring them home for a blow job. Stu smiles. STU Yeah. CINDY I wasn’t... (a pausing grin) ...the type. I hate the hoots, the catcalls, the whistles. The lewd gestures. Horny men telling me how they’ll show me a good time. STU Then why... Cindy’s smile widens. CINDY (interrupts) I died...an accident. And the devil punished me. Made me what I hated. A succubus. And I screw men for their souls. STU Yeah, right. CINDY (chuckles) You don’t believe me? STU No, I don’t.
14 CINDY Well, let’s just say I saw the light. The firelight. She leans forward, wraps her arms around Stu’s neck, and lip locks him in a long passionate kiss. They break the kiss, their lips are still brushing. STU (soft, lips brushing) You can screw me any time for my soul. A quick kiss. CINDY (soft, lips brushing) I’m going to screw you to death. A quick kiss. STU (soft, lips brushing) Please do. Cindy chuckles. CINDY (sofy, lips brushing) I will. TIME FADE TO – Stu and Cindy in bed. Stu’s on the bottom, Cindy on top. Amidst gasps and moans, they are having sex. Their writhing shadows play on the walls of the room. END ACT TWO FADE TO BLACK
15 ACT THREE FADE IN INT. CHEVY DEALER SERVICE DEPARTMENT – DAY Clay’s working on a car as his BOSS approaches. BOSS Where’s your buddy? He never called in. CLAY I don’t know where he is. Haven’t seen him since last night. CLOSE ON shop clock; it reads 9:20 AM MATCH CUT: INT. RANCH HOUSE – DAY IN THE BEDROOM CLOSE ON bedroom clock; it reads 9:20 AM TRUCK BACK TO REVEAL Stu and Cindy in bed side by side. STU What time is it? (glances at clock) Oh man, I gotta be at work! Seemingly supernatural, Cindy jumps up and straddles Stu, holding him down. She grins mischievously. CINDY At work or in bed with me, where would you rather be?
16 STU Yeah, but... CINDY (interrupts) Shhhhhhhhh... She places a finger to his lips. CINDY (soft) I’m not finished with you yet. EXT. HORROR HOTEL – DAY Rachel sits in her car in the hotel parking lot next to the spray painted Horror Hotel. She’s watching the two police cars parked outside the entrance. Finally, she sighs, starts the car, pulls out of the parking lot, and drives off down the street. INT. RANCH HOUSE – DAY IN THE BEDROOM as Cindy lies atop Stu in bed, the two engaged in heavy passionate kissing. They break the kiss. Stu grins as he looks up at Cindy hovering above him. STU (winded) Wow, for a babe who hates catcalls and sex, you have one huge sexual appetite. CINDY I already told you why.
17 STU Told me what? CINDY (soft, smiling) I was punished by the devil, and I’m going to screw you until your will is gone, and then I’m going to kill you. He laughs. She smiles. INT. CHEVY DEALER SERVICE DEPARTMENT – DAY Quitting time. Clay’s cleaning up, getting ready to leave. The Boss approaches. BOSS You going by Stu’s place? CLAY Yeah, I’m heading over there as soon as I leave here. BOSS You let him know that he’d better get his ass in here on time tomorrow or he’s fired. INSERT – shop clock; it reads 5:05 PM. EXT. STU’S MOBILE HOME – DAY An older mobile home with dirt/gravel driveway. Clay appears in his car, pulls into the driveway. He shuts the car off, gets out, goes to the door, and knocks. And knocks. No answer.
18 CLAY (shouts) Stu! (a pause) Stu?! Hey man, you home?! He knocks again. No answer. Shaking his head, he walks to the curtained living room window, tries to see in. It’s dark. Clay returns to his car, opens the driver’s side door, and pauses as he glances across the street. Mac stands there on the sidewalk, staring back at him. Clay slowly climbs into the car, starts it up, and backs out onto the street. He pauses again as he looks at Mac, and then drives away. HOLD ON MAC as he watches Clay drive away. EXT. PERRY’S TAVERN – DAY Clay pulls up behind Rachel’s car, climbs out of his car, and enters Perry’s. INT. PERRY’S TAVERN – DAY Early yet, only one other patron in the tavern as Clay enters. That’s Rachel. The Bartender approaches as Clay steps up to the bar. BARTENDER What brings you here so early? CLAY Stu. He never showed up for work today. You seen him? The Bartender sighs.
19 BARTENDER Not since last night. (shakes head) You’re the second person to ask about someone. CLAY Oh? The Bartender nods to Rachel seated at the opposite end of the bar. BARTENDER She did too. About the red head bombshell that you’re buddy left here with last night. And haven’t seen either of ‘em since. (nods toward Rachel again) You might want to have a talk with her. CLAY Thanks. The Bartender nods as Clay slides off the barstool and heads toward Rachel. HOLD ON THE BARTENDER as he watches Clay walk to the end of the bar and join Rachel after an exchange of greetings. ELSEWHERE IN THE TAVERN at the end of the bar with Rachel and Clay. RACHEL You’re worried about your friend. CLAY Yeah. RACHEL You should be.
20 CLAY Why? RACHEL (staring at bar top) That red headed bitch killed my brother. Wide eyed with surprise, Clay turns a swift head to her. CLAY She what? RACHEL She killed my brother, Robby. CLAY You know that for certain? RACHEL (eyes on bar top) I didn’t see it happen, but I know she did. (turns to face Clay) I met her a couple of times. There’s something about her. Something evil. I can feel it. Clay turns his eyes away, lost in thought, raps his knuckles on the bar top. He shakes his head. CLAY (soft) Well, I gotta go. Rachel remains silent as Clay slides off the barstool and starts toward the door. CLAY (to Bartender with a wave) See ya later. The Bartender nods.
21 EXT. PERRY’S TAVERN – DAY Clay exits the tavern, jumps into his car, and starts it. Mac is suddenly at the driver’s side window as if he appeared out of thin air, startling Clay. CLAY You! Who...what do you want? Who are...? Clay falls silent as Mac leans close. Clay shrinks back. MAC (a whisper) The succubus... CLAY Get out of my way. Mac slowly backs away from the car as Clay places it in reverse and backs up. He glances toward the tavern to see Rachel standing just outside the tavern door, watching him. After a brief pause, Clay drives away. AT TAVERN ENTRANCE as Rachel watches Clay leave. She sees no one else about. Hurrying to her car, she jumps in, and follows Clay. INT. CLAY’S CAR – DAY Clay stares absently at the road ahead. MAC (v.o.) The succubus... CLAY (thinking aloud, softly) The succubus.
22 EXT. RANCH HOUSE – DAY All is quiet. No sign of anyone about. INT. RANCH HOUSE – DAY IN THE KITCHEN Stu, in his briefs, leans against the kitchen counter. He’s pale, dark circles beginning to form around his eyes. Cindy, naked except for wearing Stu’s shirt, steps up to him, laying her hands on his shoulders. STU (winded, tired) Look, I gotta go. I’m in a world of shit for missing work, and I gotta meet Clay... Cindy pressed her body against his and begins to kiss down his body as she slowly sinks to her knees. Stu leans back, rolls his head and eyes toward the ceiling, and grips the counter edge for support with both hands splayed out to his sides. INT. TOWN LIBRARY – DAY Clay sits at a table, reading a book on Succubi. CLAY (reading softly aloud) “...a female demon that comes to men in their dreams, seducing them and having sexual intercourse with them, drawing energy to sustain themselves, often resulting in the death of their victims. A succubus can appear as a beautiful woman or a demonic female hybrid.” He sits back and sighs.
23 CLAY (thinking aloud) A succubus? I must be fucking nuts. This is crazy. RACHEL (soft) A what? Clay looks up, sees Rachel stands a few feet away. MAC (o.c.) (soft, raspy) A succubus. Surprised, Rachel and Clay look as Mac steps out the shadows between book cases. CLAY (angered) Look, I don’t know who you are, but... RACHEL (soft, amazed) Bobby. Clay glances at Rachel. CLAY Your brother? That one that... His voice trails off. MAC You will find her... There’s a brief pause as Mac slowly turns his head to Clay. MAC ...and your friend at the ranch house just south of town. Clay glances at Rachel as she speaks.
24 RACHEL I know the place he means. Rachel and Clay turn their attention back to Mac. He’s gone. CLAY Well, I’m gonna go check it out. He starts to rise from the table. RACHEL I’m going with you. CLAY No... RACHEL (stern) Look, that bitch killed my brother. I’m going. EXT. TOWN LIBRARY – EVENING AT THE ENTRANCE as Clay comes out and hurries down the steps toward the parking lot, Rachel on his heels. Clay glances up, sees gathering clouds, dark and ominous. CLAY Looks like it’s going to rain. In the parking lot, they climb in Clay’s car and drive away. EXT. RANCH HOUSE – NIGHT A stormy night, lightning and thunder. The ranch house is dark, no lights, Clay’s car parked nearby. Rain beats down.
25 INT. CLAY’S CAR – NIGHT Clay and Rachel sit in the shadows, watching the house. RACHEL What do you think? CLAY Doesn’t look like anyone’s there. INT. RANCH HOUSE – NIGHT IN THE BEDROOM Stu lies in bed, in the dark, staring at the ceiling. He’s pale, listless, dark circles around his eyes. Cindy stands at the window, looking out through a slit in the curtain at Clay’s parked car. INT. CLAY’S CAR – NIGHT Clay and Rachel staring at the house. CLAY (staring at house) I’m gonna go check it out, see if anyone’s there. RACHEL (soft) Be careful. Clay swings the door open. EXT. RANCH HOUSE – NIGHT CLAY’S CAR as Clay climbs out and closes the door. He hurries through the rain to the door of the ranch house and knocks. No answer.
26 INT. RANCH HOUSE – NIGHT IN THE BEDROOM with Cindy still at the window. There’s thunder; lightning casts shadows on the walls. Clay’s knocking echoes in the house. Cindy glances back at Stu, smiles, and then turns her attention back to the window and outside. Again Clay’s knocking echoes in the house. CINDY (mumbles angrily) I will teach you not to interfere. She suddenly ducks out of the window. EXT. RANCH HOUSE – NIGHT Clay runs through the driving rain to the nearest window and tries to see in. He can’t, hurries back to the car, and climbs in. INT. CLAY’S CAR – NIGHT Clay slams the door closed. RACHEL Well? CLAY Nothing. They drive away. END ACT THREE FADE TO BLACK
27 ACT FOUR FADE IN EXT. VILLAGE STREET/RACHEL MCCLEARY’S HOUSE – NIGHT It’s still storming as Clay pulls up to the curb in front of Rachel’s house and stops. INT. CLAY’S CAR – NIGHT Clay and Rachel with parting words. They exchange phone #s they write on pieces of paper. Just in case. Clay takes a Chevy Dealer business card from the glove box, writes his phone number on it, and hands it to Rachel. CLAY Just in case you hear something... Rachel takes the card, puts it in her purse, and gives Clay her number written on a piece of paper. They sit in silence for a couple of seconds, and then... RACHEL I think someone was there. Just a feeling. Looking at her, Clay remains silent. She opens the car door. EXT. VILLAGE STREET/RACHEL MCCLEARY’S HOUSE – NIGHT Rachel climbs out of the car and hurries up the sidewalk through the rain to the front porch of her home. Clay pulls away from the curb. FRONT PORCH as Rachel pauses and watches the tail lights of Clay’s car disappear down the street, and then enters the house.
28 INT. CLAY’S BEDROOM – NIGHT Clay stands at a window, looking out on the thunder, lightning, and rain. He sighs, then lies down on his bed, fully clothed, and stares at the ceiling. He begins to drift off to sleep. TIME FADE – Clay sleeping, naked, claws suddenly rake across his shoulder, drawing blood. He cries out, awakens, finds demonic Cindy straddling him at the waist, glaring and snarling down at him. CINDY (snarls) Stay...away. Or you’ll die. Demonic Cindy begins to howl with laughter, red mist swirling about, and then... Clay awakens, sits up in bed, still clothed. No demonic Cindy, no red mist. He feels a pained shoulder, and opening his shirt, he finds scratches where the demonic Cindy had raked him with her claws. INT. RACHEL’S HOUSE – NIGHT Holding the business card with Clay’s phone number, Rachel picks up the phone, pauses, and then sets the receiver back down. Grabbing her car keys, she heads out the door. INT. RANCH HOUSE – NIGHT IN THE LIVING ROOM as Cindy sits cross legged on floor, calling for a demonic incubus to appear.
29 It appears in a swirl of mist, a hulking demonic thing with horns, long fingers, and claws. It steps forward from the mist, stands before Cindy, and clamps a clawed hand down on top of her head. Cindy strains her head to look up at the incubus. CINDY I have someone in mind for you. INT. CLAY’S BEDROOM – NIGHT Clay rises from the bed, goes to window, and looks out on the stormy night. He falls asleep, sitting at the window. EXT. RANCH HOUSE – NIGHT Rachel pulls her car to a stop just before arriving at the ranch house. She gets out, runs through the rain to the door, and bangs on it. RACHEL I know you’re there! Open this door! She runs around to a couple of the windows. Looks in. Dark. She returns to her car. Angered, she leaves. INT. RACHEL’S HOUSE – NIGHT Rachel enters her house to find the incubus waiting for her. The incubus surprises Rachel, and before she can react, it passes a hand over her face, mesmerizing her. Rachel stands entranced, staring straight ahead as the incubus begins to shred her blouse from her body with its claws.
30 TIME FADE – The incubus has Rachel in bed. We see their writhing shadows on the bedroom wall as the incubus has sex with Rachel. PAN IN CLOSE ON RACHEL as she stares blankly over the thing’s shoulder and at the ceiling. Outside the thunder rolls and lightning flashes through the bedroom window. INT. RANCH HOUSE – NIGHT Cindy’s sitting up in bed, cackling maniacally, a blank faced Stu leaning back against her. She cradles him against her breast, her hands draped around his neck. Stu’s very pale, black circles around his eyes, listless. Outside, the storm rages on. END ACT FOUR FADE TO BLACK
31 ACT FIVE FADE IN INT. CLAY’S HOUSE – DAY IN THE BEDROOM Clay awakens and stares out the window for a moment. The storm is over, blues skies, partly cloudy. He heads out of the bedroom. IN THE KITCHEN as Clay enters, grabs Rachel’s phone number, picks up the phone, and dials. It rings...and rings...and rings. INT. RACHEL’S HOUSE – DAY The phone’s ringing. No answer. PAN THROUGH HOUSE Dim, gloomy, no lights. The place is empty, the bed disheveled. The phone finally stops ringing. EXT. CLAY’S HOUSE – DAY Clay exits, jumps in his car, and drives away. EXT. RACHEL’S HOUSE – DAY Clay pulls up behind Rachel’s car parked along the curb. He gets out, glances at her car, and then the house. He walks to her car, looks in, and then starts toward the house. On the front porch, he finds the door ajar. He pauses, looking through the open door.
32 CLAY Rachel? Slowly, cautiously, he pushes the door open. CLAY Rachel? Hesitantly he enters her house. CLAY Rachel? INT. RACHEL’S HOUSE – DAY IN THE ENTRANCE HALL as Clay pauses, glancing around. CLAY Rachel? Are you here? IN THE BEDROOM as Clay appears at the door and looks in...seeing a disheveled bed and an empty room. CLAY Rachel? IN THE DINING ROOM as Clay appears at the door. IN THE KITCHEN as Clay appears at the door. IN THE LIVING ROOM as Clay enters.
33 CLAY Rachel? IN THE ENTRANCE HALL as Clay returns to the front door. He pauses at the door, glances back into the house, and sighs, shaking his head. CLAY (thinking aloud softly) Man, I hope you haven’t gone back to that house. He turns to the door. EXT. RACHEL’S HOUSE – DAY Clay hurries out of the house and to his car. He jumps in the car and drives away. PAN IN ON FRONT PORCH Mac’s ghost stands there, watching Clay leave. EXT. RANCH HOUSE – DAY Dark clouds in the distance are rolling in. Clay arrives at the house, screeching to a stop. He jumps out of the car, hurries to the door, and bangs on it. No answer. CLAY Rachel? Bangs again. Harder. Still no answer. CLAY Rachel? Stu?
34 Bangs again. No answer. Clay tries the door. It’s unlocked and opens. He slowly swings it open, and after a short hesitant pause, he enters the house. INT. RANCH HOUSE – DAY INSIDE THE FRONT DOOR The place is dark, gloomy, dusty, looks like no one has lived there in months. Clay notices a soft red glow coming from a room down a hall. He slowly approaches. IN A BEDROOM as Stu lies listless and spaced out on a bed, white faced with black circles around his eyes. Cindy straddles him, having sex, grinning triumphantly, her eyes glittering. She builds to a frenzy and begins to transform into the demonic Cindy, cackling maniacally as she bucks savagely against Stu. INSERT MONTAGE 1. Wild-eyed cackling and transforming Cindy atop Stu. 2. Pale, naked, listless Rachel lying face down on another bed, the incubus straddling her waist, holding her head up with a handful of her hair, and cackling madly as it strokes her face with its free hand. 3. Wild-eyed cackling and transforming Cindy atop Stu, her frenzy growing. 4. The incubus cackling madly as it strokes Rachel’s face with its free hand. 5. Wild-eyed cackling and transforming Cindy atop Stu, her frenzy still growing.
35 6. The incubus cackling madly as it strokes Rachel’s face with its free hand. 7. Wild-eyed cackling demonic Cindy atop Stu, the demonic Cindy howling in victory and orgasm. 8. The incubus cackling madly as it strokes Rachel’s face with its free hand. BACK TO SCENE The demonic Cindy explodes in howling orgasm. She tenses her muscles, throws her head back, and howls insanely. As Clay appears at the bedroom door, howling demonic Cindy plunges her clawed hand into Stu’s chest, and rips his heart out. She holds it up, still howling victory, and crushes it in her grip while darting a lightning hateful glance at Clay. HALL OUTSIDE BEDROOM as Clay staggers back, out of the doorway, backing into another door just behind him. The other door pops open; another bedroom. Clay turns and stares wide-eyed at the scene in that room. A naked, pale, and listless Rachel lies on her stomach on a bed, the incubus straddling her waist, wrenching Rachel’s head up by a handful of hair, the demon stroking her face with his free hand. The incubus lets out an unearthly howl. Clay turns and runs for his life. EXT. RANCH HOUSE – DAY Dark clouds are gathering above. Clay runs out of the house and straight to his car. He whips the door open and jumps into the car, not realizing the ghost of Mac sits in the passenger’s seat.
36 MAC (a whisper) She’s in there. Rachel. Wide-eyed, Clay glances at Mac, whips the door open, and jumps back out. The door left open, Clay backs away from the car while staring at Mac. CLAY Get out of my car! A howling demonic Cindy appears at the front door of the house. Clay glances at Cindy. CLAY Shit! Clay jumps back into the car despite Mac being there. He starts the car and steps on it, fishtailing out of there. EXT. COUNTRY ROAD – DAY Dark clouds gathering above, Clay’s car races down the road. INT. CLAY’S CAR – DAY White knuckled steering, Clay stares at the road ahead. Mac still sits in the passenger’s seat. We hear an ethereal whispering of voices, layered female voices, voices speaking to Clay. He begins to nod off, but has enough sense to pull off along the side of the road. The voices still whispering, Clay falls asleep, entranced, resting his head against the steering wheel. END ACT FIVE FADE TO BLACK
37 FADE IN INT. CLAY’S CAR – DAY Dark clouds are still gathering above. Clay wakes up in car, alone. Mac’s ghost is gone. In shirt, jeans, and bare feet, Stu stands in the middle of the road twenty yards beyond the car, his back to the car. Clay sees him and hesitantly gets out of the car. EXT. COUNTRY ROAD – DAY Clay slowly walks out into the road. CLAY Stu? Stu? Stu slowly turns where he stands. He’s still deathly white with black circles around his eyes. His shirt’s unbuttoned and his chest is a mass of dried blood where Cindy had ripped his heart out. CLAY You’re...you’re dead. I saw you... STU (nods slowly, soft monotone voice) Yes, I’m dead. (a pause) And so are you. The sneering demonic Cindy suddenly rears up behind Clay and immediately plunges her clawed hand into Clay’s back, snapping bones. Clay’s eyes go wide. Blood bubbles out of his mouth and down his chin.
38 CINDY (snarls) I warned you to stay away. She rips Clay’s heart out. He collapses face down in the middle of the road as the demonic Cindy howls victory. She holds the heart up high and crushes it in her hand. TIME FADE – CLOSE ON CLAY lying dead, face down, in the middle of the road. We see a pair a shoes appearing next to him as someone walks into the frame. TRUCK BACK TO REVEAL Mac standing there, looking down at Clay’s body. Clay’s ghost joins Mac. They stand there, side by side, exchanging glances. Clay looks down at his dead body. MAC (softly) Rachel’s still back there. Some one has to save her. Clay looks up at the rapidly darkening sky. CLAY It’s going to rain. THE END FADE TO BLACK
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