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by Brian Bara (Prospero761@gmail.com)

Rated:

Genre: Horror User Review:

The story of a very haunted house.

FADE IN:

INT. A PSYCHIATRIST'S OFFICE - DAY

A well-appointed and comfortable consulting room, with a
mahogany desk; three upholstered wingback chairs; a chaise;
bookcases and several tables, upon each of which sits a box
of tissues.

In one chair, sits DOCTOR MIA VARENS, an attractive woman in
her mid-30's. Seated across from her on the chaise, is
JANELLE MORGAN, 19.

JANELLE
Anyway, I went and did it. I had
the abortion.

MIA
You did? When?

JANELLE
That Thursday. When I knew
for sure. I cried for three days.

MIA
Why didn't you call me?

JANELLE
I dunno.

MIA
Have you told Billy?

JANELLE
(Angrily)
Billy Nolan is a worthless piece
of street trash! It's none of his
damned business!

MIA
He IS the baby's father, Janelle.
Don't you think you're being a
little unfair to him?

JANELLE
But I told you, he's NOT the ba-
by's father.

MIA
Janelle, we've talked about this.
There are no such things as mon-
sters.

JANELLE
There are. There are monsters
everywhere, just waiting to get
us. One got me once, but I won't
let him get me again.

MIA
Look, our time is up for now, but
I want to see you again tomorrow.

She writes out a prescription and hands it to Janelle.

MIA (cont'd)
And I want to you fill this on
your way home and start taking
them TONIGHT. And make sure you
tell Lois I'll be seeing you
tomorrow, so she can schedule an
appointment for you.

Janelle stares at the paper in her hand for moment and then
smiles, ironically.

JANELLE
Sure. Okay.

MIA
(Standing)
Alright then. I'll see you to-
morrow.

JANELLE
(Standing)
Okay. Sure.

Mia shows Janelle to the door. As Mia closes the door behind
her, Janelle crumples the prescription up and stuffs it her
jeans' pocket.

Mia goes to her desk and turns on a tape recorder.

MIA
(Into recorder)
Patient's delusions of being
raped by a monster persist, de-
spite her previous admission that
monsters do not exist. I have
prescribed quetiapine to suppress
these...

Suddenly, she is distracted by a commotion outside. She
stands and goes to the door. Opening it, she sees Janelle
standing in front of the receptionist's desk, holding a gun
to her temple.

MIA
Janelle! No!

Janelle turns to face Mia, smiling.

MIA (cont'd)
(Firmly)
Janelle! Give me that gun! Now!

Mia holds out here hand for the gun.

JANELLE
I won't let the monster get me a-
gain, Doctor Varens. Not again.

The action slows down as Mia lunges for Janelle; the re-
ceptionist dives behind her desk and a man in the waiting
room heads for the door.

CU on Janelle's finger as it squeezes the trigger.

BLACKOUT

There is a sound of gunfire and several screams.

FADE TO:

EXT. A COUNTRY ROAD - DAY

SUBTITLE: THREE MONTHS LATER...

A minivan comes into view.

INT. THE MINIVAN - DAY

The driver is PAUL VARENS; mid-to-late 30�s, handsome,
intelligent and athletic. In the passenger�s seat, is Paul�s
son, SETH, 16. Seth is sulking, his arms crossed; his eyes
down. The rest of the vehicle is loaded with boxes and
grocery bags.

            PAUL
      (In mid-sentence)
...I just think you should be able
to have a conversation with you
mother that doesn't end with the
two of you in a screaming match,
            (MORE)

PAUL (cont'd)
Seth. Is that too much to ask?

SETH
She�s... she�s...

PAUL
She�s what? A bitch? A nag? Un-
reasonable? Stupid?

Seth glances at his father, but doesn�t say a word.

PAUL (cont'd)
She�s your mother, Seth. She only
wants what�s best for you. She
gets frustrated, because you don�t
even try to listen to what she has
to say, anymore. And you know what
she�s been through, so lighten up.
Your mother�s a smart woman, son.
I wouldn�t have married her if she
wasn�t.

Seth stares at his shoes.

PAUL (cont'd)
Look, we�re in a brand new place,
with the entire summer ahead of
us. Let�s just try and enjoy it,
okay? Just try.

Seth grunts noncommittally and Paul shakes his head.

EXT. A RURAL ROAD � DAY

The minivan continues down the road.

EXT. A LAKEFRONT HOUSE - DAY

The front of a large, eclectic �Prairie� style home, sitting
on the banks of a resort lake, surrounded by forest and
mountains. The house is a wild tangle of geometric patterns,
with windowed towers and strange dormers in surprising
places, as though Frank Lloyd Wright had tried to design a
medieval castle under the direction of M.C. Escher.

On the lake behind the house, we can see various boaters and
water skiers near the distant shore.

The minivan pulls up in the drive and Seth and Paul get out,

opening the hatch to retrieve the items inside.

Each of them carry several boxes to the door and Paul rings
the bell with his knee.

From inside the house, we can hear a dog barking.

PAUL
You never told me what you thought
about the house.

SETH
It�s noisy.

PAUL
Noisy?

SETH
Lots of creaks and groans. And
what was that noise outside?

PAUL
Which? The crickets or the tree
frogs?

SETH
Whatever. I hardly got any sleep.

PAUL
You�ll get used to it. I find it
very soothing, myself. Where the
hell is your mother?

We can hear a dog barking as it moves from the back to the
front of the house.

The door is opened by CHLOE VARENS, 8. Chloe is a tow-headed
beauty, wise beyond her years. Beside her is Amadeus, the
family's shepherd/retriever mix. Amadeus wags his tail
happily at the return of his fellow pack members.

CHLOE
Oh. Hi Daddy.

She steps aside as Paul and Seth enter.

INT. A FOYER - DAY

There are many more boxes scattered about the foyer, hall
and adjoining rooms, all in various states of being
unpacked. A rather large pile of flattened boxes sits next
to the door.

PAUL
Hi Pumpkin! Where�s Mommy?

CHLOE
In the kitchen.

She points proudly to a pile of flattened boxes.

CHLOE (cont'd)
We've been putting away the
kitchen.

Paul and Seth set their boxes down.

PAUL
So I see.
(To Seth)
Seth, take this box up to your
sister�s room, please.

Seth lets out a heavy sigh of displeasure, picks up the box
Paul has indicated, and plods angrily up the stairs.

Paul picks up a box marked �Kitchen.�

PAUL
Come on, swee�pea. Let�s find
Mommy.

He and Chloe head down the hall, followed by Amadeus.

INT. THE KITCHEN - DAY

Paul and Chloe enter to find Mia at the sink, very annoyed.

Amadeus lies down on a rug in the corner.

MIA
I thought you said the inspector
okayed the plumbing?

PAUL
Well, hello to you, too, dear.

MIA
Sorry. I guess I�m a little tired.
We emptied a lot of boxes while
you two were at the grocery store.

Paul sets his box down on the table and walks up behind Mia,
enfolding her in his arms and kissing her on the side of her
neck.

PAUL
Mmm... Chloe showed me. Now what�s
with the plumbing?

MIA
Take a look at this.

She turns the tap on and instantly clean, clear water pours
from the spigot.

MIA (cont'd)
Oh, I don�t believe this!

PAUL
What�s wrong with that?

MIA
(Frustrated)
Nothing!

PAUL
Am I missing something, here?

MIA
You don�t understand. I must have
turned that tap twenty times and
got nothing but dust and noise.

PAUL
Noise?

MIA
Moaning and groaning and shaking
like the pipes were going to break
apart in a million pieces.

PAUL
It�s an old house with old plumb-
ing. There�s bound to be some
noise when you first turn it on.

MIA
I guess. If you say so. Still...

PAUL
Still, what?

MIA
It was just... creepy, I guess.

Paul hugs her, trying not to laugh.

PAUL
Aww, Honey. I�ll protect you.

MIA
From what?

PAUL
Muddy, moaning plumbing and any-
thing else that you think is
creepy.

CHLOE
I�m melting!

MIA
What?!?

CHLOE
The ice cream in this bag!

The doorbell rings and Amadeus stands, barking.

PAUL
I�ll get it. You two take care of
that ice cream.
(To the dog)
Stay, Amadeus. Good boy!

He leaves to answer the bell as Chloe and Mia put away
groceries and Amadeus settles back down on his rug.

INT. THE FOYER - DAY

Paul answers the door, to find JACQUI FELLOWES, a buxom
woman in her 50's who is trying very hard to look much
younger, standing outside, holding a covered basket.

PAUL
Can I help you?

JACQUI
You must be Paul Varens.

PAUL
Yes?

JACQUI
I�m your neighbor, Jacqui. Jacqui
Fellowes.

PAUL
Oh. Oh, of course. Hello. Won�t
you come in?

JACQUI
(Entering)
I can�t stay long. I just want-
ed to say �hello� and welcome you
to the lake. Oh, and to give you
this.

She hands him the basket.

JACQUI (cont'd)
It�s just some breads and muffins
I made. No big deal, really.

PAUL
Well that�s very nice of you.
Thank you, Jacqui. Please, come
meet my wife.

He leads her down the hall.

INT. THE KITCHEN - DAY

Paul and Jacqui enter as Chloe is unloading groceries onto
the kitchen table while Mia methodically puts them away in
the cabinets and refrigerator.

Amadeus stands, looking at Jacqui.

            PAUL
Mia, this is our neighbor, Jacqui
Fellowes.
      (To Jacqui)
Jacqui, my wife, Mia.
      (To Mia)
Jacqui made us some goodies.

Mia wipes her hands on a towel and extends one to Jacqui.

10.

MIA
(To Jacqui)
How lovely. Nice to meet you.

JACQUI
Same here, Mia.

MIA
You�re our neighbor?

JACQUI
Your only one, actually. My hus-
band, Elias and I live in the only
other house on this side of the
lake.

PAUL
Oh. That must have been quite a
hike.

JACQUI
I drove, actually. It�s more than
three miles, and in this heat...

CHLOE
(To Jacqui)
You live in the pink house?

JACQUI
(To Chloe)
Why yes, I do.

Jacqui leans down toward Chloe.

Amadeus barks once and then growls, ominously.

Paul, surprised by the dog's behavior, admonishes him.

PAUL
(To the dog)
Amadeus, no! Be nice. Go lay down!
Go on...

The dog slowly backs down, laying with his head on his
crossed paws; his eyes never leaving Jacqui.

            PAUL (cont'd)
      (To Jacqui,
       embarrassed)
I'm so sorry. He's never like
that. It's the stress of the move,
I think.

11.

JACQUI
Oh, don't worry about it. I was
never really much of a dog person,
anyway. I was attacked by a dog as
a child, and I'm actually quite a-
fraid of them. They always seem to
know it, too.

She returns her attention back to Chloe.

JACQUI (cont'd)
(To Chloe)
But I'm NEVER afraid of beautiful
children. Who is this GORGEOUS
little pumpkin?

            PAUL
      (Proudly)
This is our daughter, Chloe.
      (To Chloe)
Chloe, what do we say when we meet
people?

            CHLOE
      (To Jacqui,
       politely)
Pleased to meet you, Missus
Fellowes. I really like your
house.

Jacqui bends down to Chloe, conspiratorially.

JACQUI
Why thank you, Chloe. I like my
house, too. And please call me
Jacqui.

MIA
(To Jacqui)
Actually, we have a rule about
addressing grown-ups...

JACQUI
Rules...
(Winking at Chloe)
...are meant to be broken. I�m
Jacqui. Please.

Jacqui looks from a disapproving Mia to an embarrassed Paul.

12.

JACQUI (cont'd)
Oh, I�m so sorry. I didn�t mean
to undermine your authority...

PAUL
No, no. It�s quite alright.

JACQUI
I�m just uncomfortable with titles
and formality. I suppose it�s an
effect of living here at the lake.
One tends to be a bit lax about
such things out here in the middle
of nowhere.

CHLOE
(To Paul)
What does �lax� mean?

PAUL
It�s like �relaxed,� honey. It
means they don�t always follow
the rules.

JACQUI
Well, we do follow some of them,
Chloe. We don�t break the law.
And we don�t waste each other�s
valuable time.

Jacqui stands and makes to leave.

Amadeus stands, as well, growling and keeping a careful
watch on Jacqui.

MIA
(To Jacqui)
Oh, won�t you stay for coffee or
something?

JACQUI
No, really. I have to be going.
Elias will be wanting his lunch,
soon. Creatures of habit, you
know.

PAUL
Some other time, then?

JACQUI
Yes. Some other time.

13.

PAUL
And bring Elias with you. It'll
nice to know who I�ll be borrow-
ing tools from.

            JACQUI
      (Laughing,
       politely)
I�ll tell him, that. Listen, our
number�s on the card in the
basket if you need anything. Even
if you just want to talk. It�s
quiet on this side of the lake,
even during the summer. It was
nice meeting you all. And please,
don�t be strangers.

Paul begins to show her out, but she stops him.

JACQUI (cont'd)
I can find my way, thanks.

She leaves and Paul and Mia listen for the closing of the
front door.

Amadeus lays down again.

MIA
At least we know that we have one
nice neighbor...

Before Paul can respond, Seth enters the kitchen.

SETH
What do we have to eat? I�m
starving.

PAUL
Did you take that box up to your
sister�s room?

SETH
Yes.

MIA
Then take that box of tee shirts
up to your room and unpack them.
When you�re finished, get washed
for lunch.

14.

Seth sighs again and plods out of the room as Paul and Mia
share a concerned look.

INT. THE STAIRCASE - DAY

Seth tramps up the stairs, carrying a box marked �Seth�s
Tees.�

SETH
(To himself)
Unpack! Get washed! I hate it
here!

As he reaches the top of the stairs, he turns and heads for
his room. At the door, he balances the box on one knee as he
turns the knob.

INT. SETH�S ROOM

Seth enters and sets the box on the unmade bed. He removes a
box cutter from his back pocket and carefully slices through
the packing tape. Once the box is open, he begins to pull
out t-shirts, organizing them on the bed by color and
subject matter.

Behind him, the door slowly begins to swing closed.

INT. THE KITCHEN

Mia continues to put groceries away as Paul pulls tableware
out of a cupboard.

PAUL
Chloe, do you think you can set
the table for lunch?

CHLOE
Of course I can, Daddy! I�m eight
now!

PAUL
(In mock surprise)
Eight?!? Weren�t you just four on
your last birthday?

Chloe is gathering napkins and placemats to take to the
dining room.

CHLOE
Four?!? Get a grip, Dad!

15.

Chloe exits the kitchen with the linens, as Paul grins
broadly.

PAUL
�Get a grip?� Think that would
work with Seth?

MIA
(Putting food away)
I don�t know that electroshock
would work with Seth, these days.

INT. A DEN - DAY

ELIAS FELLOWES, early 50's, sits in a recliner, watching an
inane television show.

We hear the sound of a door opening. Keys are jangled as
they are set down on a counter. Footsteps approach.

Jacqui enters the room and sits in a nearly identical
recliner next to Elias. They both watch the TV, neither
looking at each other.

ELIAS
Well?

JACQUI
I want a drink.

ELIAS
Tell me, first.

JACQUI
There's not much to tell.

ELIAS
Than tell me what you can.

JACQUI
Elias...

ELIAS
Tell me.

JACQUI
(Sighing)
They're young. And gorgeous. I
didn't see the boy, but the girl
is beautiful.

16.

ELIAS
Will he covet them?

JACQUI
I don't... I don't know.

ELIAS
Don't lie to me, Missus Fellowes.

JACQUI
I suppose so, yes.

ELIAS
Good. What else?

JACQUI
I hate you.

ELIAS
(Insisting)
What else!?!

JACQUI
I was there less than ten minutes.

ELIAS
Find out more.

JACQUI
How?

PAUL
(Looking at her)
You're a smart girl, Missus
Fellowes. You'll figure it out.

INT. SETH'S ROOM - DAY

Seth continues to sort t-shirts.

Behind him, the door continues to swing shut.

Seth comes across a t-shirt for a heavy metal band and is
inspired to play �air-guitar.�

Just as he strikes a particularly strident chord, the door
slams violently.

Seth turns and runs to the door, trying the knob, which will
not turn, no matter how hard he tries.

17.

He slams his fist against the door.

SETH
Oh, very funny, Chloe! Open the
damned door!

There is a childish giggle from somewhere in the room and
Seth reels about to confront what he thinks is his sister,
only to find an empty room.

SETH (cont'd)
I know you�re in here, Chloe. This
isn�t funny!

The giggle sounds again and Seth is beginning to get scared.

SETH (cont'd)
I mean it, Chloe! Knock it off!

This time the giggle is more ominous and Seth is becomes
desperate.

He turns and pulls on the door, which doesn�t budge. He
begins to frantically twist the doorknob and pound on the
door.

SETH (cont'd)
(Terrified)
Open the goddamned door, you
little bitch!

The knob turns and Seth backs away anxiously as the door
opens to reveal Paul standing in the hall.

PAUL
Are you coming to lunch or not?

Seth stares at his father for a moment.

PAUL (cont'd)
Seth? I asked you a question.

SETH
(Coming out of it)
Oh. Yeah. Just... lemme wash up.

Seth follows his father into the hall, glancing back into
his bedroom, quite unsure of what has just happened.

18.

INT. THE DINING ROOM - DAY

Paul and Seth join Chloe at the far end of the enormous
table as Mia rolls in a serving cart.

PAUL
Mmm! Smells good!

MIA
It's canned vegetable soup and
deli-meat sandwiches. How good
could it smell?

PAUL
I guess everything smells good
when you're hungry.

Mia sets a tureen on the table and begins to fill their
bowls with soup.

MIA
(Apologetically)
We'll have a real dinner, I pro-
mise.

PAUL
What are you, crazy? This is a
perfect lunch.
(To Chloe and Seth)
Isn�t it, kids?

CHLOE
(To Mia)
Is there bologna?

            MIA
      (Handing out
       sandwiches)
Just for you. And turkey for me,
roast beef for Daddy and...
      (To Seth)
...a corned beef Reuben for Seth.

SETH
Really? Like REAL corned beef?

PAUL
The same brand as home. The grocer
special-ordered that for me.
There's enough for the whole
summer in the freezer.

Seth smiles for the first time all day.

19.

SETH
Thanks, Dad.

PAUL
Thank your mother. It was her
idea. I'd have made you eat
whatver the hell brand they
carried.

Seth turns to his mother, trying to maintain the smile.

SETH
(To Mia)
Thanks, Mom.

            MIA
      (Taking what she
       can get)
You're quite welcome, Seth. Enjoy
it.

Seth picks up the sandwich and takes a large bite out of it.

MIA (cont'd)
I hope you fucking choke on it,
you little shit!

There is a quick flash of bright light.

Seth picks up his unbitten sandwich and takes a large bite
out of it.

CU on Mia's suddenly distressed face.

Paul notices her expression.

PAUL
(Concerned)
Mia? Honey? Are you okay?

Mia looks up at the sound his voice, but she can't hear what
he says because of the pounding in her head.

Her eyes widen and then squeeze closed as she raises her
fists to her temples.

Paul leaps from his chair and grabs her just as she starts
to crumple. Everyone speaks at once.

PAUL
(Scared)
Mia! My God!

20.

CHLOE
(Scared)
Mommy!!

SETH
(Surprised)
Holy shit!

As Paul sets her in her chair, the color drains from her
face, her eyes roll back into her head and she hisses.

Paul dips a napkin into a water glass and begins to wipe her
face with it. Mia arches her back, her eyes flutter and she
collapses into the chair, convulsing.

Paul turns to Seth.

PAUL
Call nine-one-one! Now! Go!

MIA
(Confused)
What just happened?

All three look back at Mia, who is sitting up and looking
perfectly fine.

PAUL
Are you kidding me? Oh my God.
You don't remember any of that?

Mia looks at her family, still confused.

MIA
Any of what?

PAUL
You had some kind of... I don't
know... episode. A seizure or
something. It scared the hell out
of all of us.

MIA
Really? I feel fine, though.

PAUL
What DO you remember?

MIA
I was standing up, giving out
sandwiches... Seth took a bite
of his, and then... then I was
sitting in my chair and everyone
(MORE)

21.

MIA (cont'd)
else was standing.

PAUL
You feel okay now, though?

MIA
A little disoriented, I guess. I
really had a seizure?

SETH
You grabbed your head... I thought
you were having a stroke.

Mia looks at the three of them, worry filling their faces.

MIA
I promise you... ALL of you...
I am fine. I'm just a little tired
from the move, I guess.

They continue to look at her with concern.

MIA (cont'd)
Really. I feel fine. No headache,
no nausea, no nothing! I'M FINE...
Now eat your lunch before it gets
cold.

Seth and Chloe look to Paul, who never takes his eyes off of
Mia.

PAUL
(Watching Mia)
You heard your mother. Eat up.

Paul takes his seat and continues to watch Mia as she picks
up her sandwich and starts to eat.

INT. THE MASTER BATHROOM - NIGHT

An enormous bath, tiled in natural stone, with a full spa
tub; a separate walk-in shower/sauna; a full-length vanity
with his & hers basins; a chaise; a towel-warmer and an
eye-level mirror that runs across the entire length of the
vanity.

Paul stands in front of one basin, flossing, as Mia stands
in front of the other, moisturizing.

22.

MIA
God, I love this bathroom!

PAUL
Yeah, it's pretty good.

MIA
Pretty good!? Paul, this bath
is almost as big as our entire
living room in the city.

PAUL
(Worriedly)
Are you sure you're alright?

Mia turns to him, her face covered with a thick layer of
moisturizer cream.

MIA
You are such a worry-wort! I've
already told you, I'm fine.

PAUL
You sure didn't look fine this
afternoon.

Mia turns back to her mirror, smoothing the lotion into her
face and throat as she speaks.

MIA
I was exhausted. I had a little
spell of some kind. You and the
kids panicked prematurely. I am
perfectly fine. End of story.

Paul starts to speak, stops and then starts again.

PAUL
(Delicately)
You have to promise me that if
you have any more of these
'spells,' that you will let me
know...

Mia tries to cut him off, but he steps forward and she holds
her tongue.

PAUL (cont'd)
You WILL let me know AND you WILL
let me take you to the hospital.

23.

MIA
HOSPITAL?! No! You KNOW how I feel
about hospitals, Paul.

PAUL
The doctor, then.

She is about to protest again, but sees the look on his face
and relents.

MIA
Fine. Boy, I can't wait to see
what passes for medicine in this
part of the world.

Paul smiles and goes back to flossing.

PAUL
If he wears feathers and shakes a
rattle at you, I promise to take
you to a city doctor, instead.

MIA
(Smiling)
What if he wants to diagnose me
by reading chicken entrails?

PAUL
Then... we'll have chicken and
dumplings for dinner that night.

MIA
(Laughing)
THAT, doesn't even make sense.

PAUL
(Laughing)
I know!

Mia stops laughing and turns to Paul again.

MIA
Paul? Today, during... during
the... seizure. Did I... SAY any-
thing?

PAUL
What do you mean?

MIA
Well... I think I might have said
something terrible to Seth.

24.

PAUL
You just stood there with your
eyes rolled up in your head. You
didn�t -- you couldn�t -- say
anything.

Paul moves to her and takes her in his arms.

PAUL (cont'd)
Are you really sure you�re okay?

MIA
I�m fine. Thanks for worrying,
though.

PAUL
(Kissing her)
I love you.

MIA
I love you more...

He lifts her up and carries her into the bedroom, closing
the door behind him with his foot.

INT. THE SECOND FLOOR HALL - NIGHT

Amadeus restlessly paces up and down the corridor, panting
and sniffing at the closed bedroom doors.

FADE TO:

INT. AN INDUSTRIAL SPACE - NIGHT

A darkened, labyrinthine metal space, filled with
staircases; catwalks; machinery; chain-link fencing; freight
elevators; hanging chains; steaming pipes and sparking
electrical boxes. Inconsistent light randomly flickers from
an unseen source. Handrails are moist with steam and there
are bangs, squeals, squeaks and screams occasionally echoing
in the distance. The sound of dripping water is constant.

Mia stands on a catwalk, suspended halfway between the
unseen top and the unseen bottom. She wears a flowing red
peignoir set, in sharp contrast to the gray environment. She
looks up.

Mia's POV � The metal staircases and catwalks ascend until
they disappear, leading toward a very faint dot of light.

25.

Mia turns and looks below.

Mia's POV - The metal staircases and catwalks descend until
they disappear, leading toward ever increasing blackness.

Seth's voice drifts in from somewhere very far away.

SETH (O.S.)
Get out of here!

MIA
(Looking for him)
Seth? Seth, honey?

SETH (O.S.)
He'll hurt you, too!

MIA
What? Who... did someone hurt you,
Seth? Who hurt you?

Seth's voice begins to grow louder, as though he is getting
closer.

PAUL (O.S.)
He hurt ALL of them!

            MIA
      (Increasingly
       distressed)
Who, Seth? Where... where are you?

            SETH (O.S.)
      (Very loud; on top
       of her)
RUN!!!!!

Mia takes off, running up the stairs, screaming.

INT. A DARKENED ROOM - NIGHT

A dirty, impromptu autopsy room in what looks like a
dirt-walled room, lit by a single dingy bulb hanging from
the ceiling. A filthy, blood-stained sink sits against one
wall next to an old, white-enameled medicine cabinet. A
peg-board lines the opposite wall, filled with surgical
instruments; carpentry and gardening tools; various crafting
supplies and rack of pornographic magazines.

In the center of the room is a once-gleaming, steel autopsy
table; now mostly covered in dried blood and other bodily
fluid stains. Strapped to the table is a naked YOUNG MAN of

26.
about 25. There is a ball-gag in his mouth and he bears several bruises on his ribs and a shiner on his right eye. Paul stands at the end of the room, looking about in horrified fascination. He looks down and sees that he is wearing a heavy rubber butcher's apron and gloves.

INT. AN INDUSTRIAL SPACE � NIGHT Mia continues to make her way up. She crosses several catwalks and climbs various staircases. As she makes her way along, she catches glimpses of things she'd rather not see: A perversely grotesque, glistening and pustulant creature farts its way past her, leaving a noxious plume of greenish gas in its wake; inside a fenced room, an old man is being forced to sit in a rusty child's fire-engine -- she can hear the man's flesh tear as the jagged edges of the ancient toy rip into him; a dog stops to sniff her feet. It looks up at her with Paul's face on Amadeus' body and she kicks it off the catwalk. Paul's voice echoes back in a scream. Looking up, Mia sees a metal door marked "EXIT." She heads for it, scorching her hands as pushes on the metal bar.

INT. A DARKENED ROOM - NIGHT Paul moves to the wall of instruments as the Young Man continues to struggle on the table. Paul takes a gleaming bone saw off the peg board and places it on the instrument tray that now follows him. The Young Man's eyes grow wide with terror as Paul continues to pick items from the board: a hedge trimmer; a tree pruner; a jigsaw; an old-fashioned cranked hand-drill; several scalpels, forceps, rheostats and a retractor. Paul strokes each item lovingly before placing it on the tray, ever-so-gently.


INT. MIA'S OFFICE - DAY

Mia has passed through the door into her old office. She looks down to see that she no longer wears the peignoir, but a white blouse and cream pants. She sits in her chair and finds Janelle Morgan seated across from her. Janelle wears a black t-shirt with white Gothic lettering which reads: NO EXIT. She holds an outrageously over-sized

27.

pistol in one hand, while cradling a wriggling, bloodied
mass against her chest with the other.

JANELLE
(Gesturing w/gun)
You see? You see what happened?

MIA
(Calmly)
Janelle, this is no one's fault.

JANELLE
(Agitated)
The hell it isn't! This is MY
fault. It's ALL my fault. I can
see that, now.

Janelle stands and points the gun at Mia.

Mia slowly stands.

MIA
(Authoritatively)
Janelle! Put that gun down!

INT. A DARKENED ROOM - NIGHT

Paul approaches the autopsy table, and the instrument tray
follows him. He looks down at the Young Man, whose eyes are
now pleading for mercy.

Paul reaches out and runs his hand across the Young Man's
face, neck and chest. The Young Man now stares daggers at
him.

Paul looks at the instrument tray and picks up a
particularly nasty-looking curve-bladed instrument. He first
touches the glistening steel tip of the blade to his tongue
and then brings it down toward the Young Man's throat.

INT. MIA'S OFFICE - DAY

Janelle sneers at Mia.

            JANELLE
      (Calmly)
You stupid bitch. I'm not going to
kill YOU. Though I probably
should.
      (Screaming)
THIS IS ALL YOUR FAULT!!!

28.
Janelle throws the mass at Mia, but it misses her, and splatters on the wall behind her, where it slowly slides down to the floor with a wet PLOP! INT. THE UPSTAIRS CORRIDOR � NIGHT Amadeus sits outside the Master Bedroom door, panting and whining. Something catches his attention and he turns to look down the hall. INT. A DARKENED ROOM - NIGHT Paul begins to make a "Y" incision in the Young Man's chest, as the young man struggles beneath his restraints and tries to scream through the gag. INT. SETH'S BEDROOM � NIGHT Seth wakes up in the dark, gasping for air and clutching at his chest. INT. THE MASTER BEDROOM - NIGHT Paul sits up in the dark, gasping and covered in sweat as Mia sleeps beside him. He looks at his hands in horror. He carefully gets out of bed and pads off to the bathroom.

INT. THE UPSTAIRS CORRIDOR � NIGHT Amadeus pads down the hallway, snuffling. INT. MIA'S OFFICE � DAY Janelle turns the gun on herself and fires, spattering half of her head on the wall behind her. Mia watches as the splattered bloodstains transform into tiny dragons which flit off of the wall and into the air, before disappearing in puffs of fire and smoke. Demonic laughter rings out all around her. INT. SETH'S BEDROOM � NIGHT From somewhere in the room, comes a child's giggling. Seth gasps at the sound and quickly turns on the lamp on the nightstand beside him. INT. THE MASTER BEDROOM � NIGHT

29.

Mia sits up in bed, gasping and covered in sweat.

She looks and sees Paul in the bathroom, washing his face.
She then looks at the digital clock on her nightstand, which
reads: 3:17 AM.

She wipes her face with a corner of the sheet and lays back
down, pretending to be asleep as Paul turns out the bathroom
light and gently gets back into bed.

INT. CHLOE'S BEDROOM � NIGHT

The room is that of a typical eight year-old girl, filled
with toys, dolls, plush animals and assorted "girl stuff."

Chloe sleeps soundly in the middle of her bed.

Amadeus nudges the door open and enters the room. he looks
about, sniffing, and then hops onto the bed, settling at its
foot and watching the door, warily.

INT. SETH'S ROOM � NIGHT

Seth has drawn himself into a ball at the head of his bed,
gathering the bedclothes tightly around himself, so that
only his eyes and the topmost portion of his head can be
seen; his eyes dart wildly about the room as the giggling
continues.

INT. THE KITCHEN - DAY

Mia serves breakfast to her family. Chloe nibbles at tiny
forkfuls of pancakes while Paul pushes his eggs around his
plate in lazy figure-eights as he stares off into space.
Seth stares morosely at his food and makes a few listless
attempts at eating.

MIA
So, who has what planned today?

PAUL
I was hoping to install some new
locks today. These are at least
sixty years old. And I want to
finish unpacking the office so I
can get back to work.

MIA
Good. Seth?

30.

SETH
(Looking up)
What?

MIA
What do you have planned for
today?

SETH
Nothing, I guess.

MIA
Good. Then you can help your
father with the new locks.

Seth rolls his eyes and goes back to concentrating on his
breakfast.

MIA
(To Chloe)
And you, Miss?

Chloe drags a morsel of pancake through a lake of buttery
syrup.

CHLOE
(Nonchalantly)
Who�s in the cellar?

MIA
What?

CHLOE
I heard someone crying in the
cellar this morning.

PAUL
There�s nothing in the cellar
but some old junk and the boiler.
You must have heard it making hot
water.

CHLOE
Sounded like someone crying to me.

PAUL
It was the boiler. Had to be.

SETH
I told you this house is noisy.

31.

PAUL
And I told you, ALL old houses are
noisy. It's what they do.

MIA
(Changing subjects)
I thought I'd call Jacqui and see
if she wants to go into town with
me.

PAUL
Oh? I thought you said you had a
lot to do around here.

MIA
I have all summer to do things a-
round the house, Paul. You may be
working, but I'm on vacation.

PAUL
Okay. I guess we'll take Chloe
with us to the hardware store. Or
maybe we'll drive out to the big
home center in Chatsworth. We'll
get a play-set or something for
the back yard.

MIA
You could look for some soundproof
insulation for the boiler, while
you're there.

PAUL
I guess we can do that.

MIA
(Satisfied)
Good. Then it's all settled.

They continue to eat their breakfast.

INT. SETH'S ROOM - DAY

Seth sits on his bed, reading a graphic novel and
air-drumming as dark, violent Goth music leaks from his MP3
player's headphones. Amadeus lies alongside Seth's bed.

The door opens and Paul enters, without Seth noticing.

PAUL
Seth? Seth...

32.

When he gets no response, Paul reaches over and flashes the
light switch. Seth looks up and pulls off the headphones.

SETH
Sorry. What?

PAUL
Chloe and I are off to the home
center in Chatsworth. Do you want
to come with us?

SETH
Are you really asking, or do I
have to?

PAUL
(After a beat)
Yes, I'm really asking and no, you
don't have to.

SETH
Then I'd rather not, if it's all
the same to you. Hardware, lumber
and plumbing supplies just don't
do it for me, you know?

PAUL
Not that I thought they did, but
fine. I am trusting you to stay
out of trouble while we're gone.

SETH
What kind of trouble can I even
get into, around here?

PAUL
I'm sure you don't need any ideas
from me. Just don't burn the place
down, okay?

SETH
I haven't played with matches
since I was ten, Dad.

PAUL
Well, THAT'S comforting. We'll be
back in time for lunch.

SETH
Okay.

33.

EXT. DOWNTOWN MANNING - DAY

A sunny, pleasant day in the business district of a small,
tourist town. Main Street is lined with antique stores, gift
shops, artisans' galleries, cafes, restaurants and specialty
food stores. The sidewalks are crowded with summer tourists.

Mia and Jacqui stroll down the street, chatting and window
shopping.

JACQUI
I am so glad you called. I had
absolutely nothing to do today.
So, I've been dying to ask, but
afraid to insult him. Your husband
is THE Paul Varens, right? The
novelist?

MIA
Oh, I thought you knew. Yes, he
is. In fact, part of the reason
we're here is so he can write a
sequel to "The Whale Singers."

JACQUI
How very exciting! A best-selling
novelist, right in our midst!

MIA
(Proudly)
It is rather exciting, isn't it?

JACQUI
What happens in the sequel? Do you
know?

MIA
No, not at all. He never shows me
a project until it's finished. I
always get the first read, though.

They pass a boutique and Mia stops to admire a pair of boots
in the window.

MIA (cont'd)
Ooh, those are nice.

            JACQUI
      (Unimpressed)
They've been in that window for
four months. So, do you think he's
ever going to write anything that
            (MORE)

34.

JACQUI (cont'd)
isn't about ancient Eskimos?

MIA
Of course. He already has. "Whale
Singers" is his third novel.

JACQUI
Oh, I'm sorry. I didn't realize...

MIA
No one does. His first two books
were well-received by the critics,
but hardly made the Times' list.

JACQUI
What were they about?

MIA
"Cher Marie" was an historical
novel about a man who was the
secret lover of Marie Antoinette
and "Csardas with the Devil" was
about Vlad the Impaler.

JACQUI
Oh, cheery.

MIA
They're both terrific. You should
read them. I have several copies
of each, if you'd like.

JACQUI
I'd love to.

Jacqui spots a dress in a window and immediately goes t it.

JACQUI (cont'd)
Now THAT would look fabulous on
you. That dress requires a woman
with an air of intrigue and mys-
tique.

            MIA
      (Sarcastically)
Oh yeah, that's me, alright.
      (Changing subjects)
Jacqui... what do you know about
our house?

JACQUI
What do you want to know?

35.

MIA
The previous owners; the history
of the place. You must know some
of it.

JACQUI
Well, it was built by some filthy
rich coal and steel baron as a
family vacation home. When the old
man kicked in the sixties, his
wife never returned. The house was
maintained by their gardener,
Edgar Drake. When the wife finally
died, she left the house to Drake,
in thanks for his years of
faithful service.

MIA
That's it?

JACQUI
Yeah. Why?

MIA
No lurid stories? No sex scandals
or... murders?

JACQUI
(Laughing)
Oh, no. Nothing like that at all.
Well, at least nothing that I
KNOW of. Why would you ask that?

            MIA
      (Slightly
       embarrased)
Just... curious. There have been,
well... a few... incidents.

JACQUI
Incidents?

MIA
Oh, know I sound like some kind
of crackpot or something...

JACQUI
It�s just a weird old building,
Mia, that's all.

MIA
Now you sound like Paul.

36.

JACQUI
If it'll make you feel better, my
house is a hundred years older,
served as part of the underground
railroad and is supposed to be
haunted by at least four different
ghosts. But in over fifteen years
on the lake, I have never seen or
heard anything in my house that
could not be explained by simple,
logical reasoning.

MIA
I know that rationally, there is
nothing to be afraid of. But I
keep having these bad dreams...

JACQUI
Pish-posh and nonsense. A dream is
just that and nothing more.

MIA
I suppose you're right.

JACQUI
Of course, I'm right.

Jacqui spots a handbag in another window.

JACQUI (cont'd)
Oh my God, could you DIE for that
Fendi?

INT. THE BOATHOUSE - DAY

Seth is exploring the shadow-filled boat house, which is
filled with ropes and tackles; rods; reels; harpoons; nets;
oars; anchors; traps; gas cans; oil cans; tools and assorted
outboard motors. Two pairs of water skis hang along one
wall, with tow-ropes coiled above them. A canoe hangs from
the ceiling while a rotting motor boat sits in the slip. One
wall is taken up by a work-bench counter, above which hangs
an assortment of creels, hooks, lures and lines. Fly-making
materials line the counter itself. Everything is covered in
dust and cobwebs.

EXT. THE BOATHOUSE � DAY

Amadeus stands alert, watching the boathouse intently.

INT. THE BOATHOUSE - DAY

37.

Sunlight filters in through the rotted roof, shining down in
beams made even more visible by the dust Seth is kicking up.

Seth is examining the fly-making workbench, looking at an
intricately tied fly, when he catches movement out of the
corner of his eye. He turns toward it, but sees nothing. He
looks about the boathouse, but sees nothing out of place.

There is a sudden noise and Seth turns to see a set of
chains swaying from the rafters.

SETH
(Nervously)
Who... who's that?

He looks about and catches sight of something sliding into
the shadows of the far corner.

SETH (cont'd)
Chloe, I swear to God, I'm gonna
kill you!

Another noise and Seth turns to see one of the water skis
fly off the wall and crash through the motorboat's
windshield.

SETH (cont'd)
(Terrified)
Oh my God!

The noise of creaking and groaning wood is soon deafening as
everything in the boathouse seems to move at once.

Items swing madly from the rafters as lures buzz about
Seth's head like real flies. He swats at them and ends up
with several stuck in his hands.

SETH (cont'd)
(Screaming)
Help! HELP ME!! HELP!!

EXT. THE BOATHOUSE � DAY

Amadeus stands, barking angrily at the boathouse doors.

INT. THE BOATHOUSE - DAY

Seth tries to get out of the boathouse, but one of the
tow-ropes uncoils and wraps itself around his ankles,
pulling him toward the slip. He falls to the floor on his
face.

Seth manages to turn over and sit up in an effort to pull

38.

the rope off of his ankles.

A harpoon zips past his head and into the wall behind him.

He looks to where the tow-rope is disappearing into the
water and can see sevearl pairs of bloated, rotted,
green-black arms rising out of the water and pulling on the
tow-rope.

Now in complete panic mode, Seth continues to work at the
rope as a multitude of items fly at him. He is hit in the
back and shoulders several times, and narrowly misses being
clobbered by a mooring cleat, though a scaling knife opens a
cut in his scalp.

A propeller lands close enough to slice open the thigh of
his jeans and draw blood, "whanging" into the wooden floor,
while an anchor opens a hole in the floor along the other
side.

Soon, Seth's feet are at the edge of the slip. He digs his
heels into the rotted wooden floor and searches desperately
for a cutting tool, crying and screaming.

He sees an old hacksaw lying on the floor and reaches for
it, but as he does, it leaps into the air and heads straight
for his throat. He throws himself to the floor and the saw
sails past, nicking his ear.

He crashes to the floor, his eyes landing perilously close
to a nail-studded board.

Grabbing the board, he sits up and throws it at the arms,
but it passes right through them and splashes ineffectually
into the water.

Fighting for his life, Seth pulls at the tow-rope, yelling
at the water.

SETH (cont'd)
No! No! No, no, NO, NO!!!

The rope meets resistance at first, but eventually starts to
come up out of the water. Seth pulls harder and faster, now.

SETH (cont'd)
Ha! Take THAT, bee-otch!

The arms seem to give up, letting go of the rope and
slipping back into the water.

The tow-rope completely under his command, Seth untangles
his ankles and stands, turning to run out of the boathouse

39.

when everything comes to an abrupt and silent stop.

Seth stands panting, looking about the boathouse, which is
exactly the way it was when he first entered. He is
dumb-founded.

The only evidence of anything having happened at all, are
Seth's own bloody wounds.

Shaking his head is disbelief; Seth makes his way to the
door.

Just as he opens it, the water in the slip explodes into the
room, taking the form of a monstrous, demonic DRAGON.

Seth turns to look and becomes too scared to move as the
Dragon's massive head swings toward him and shrieks in a
horrible, watery voice.

DRAGON
MINE!!!!

The Dragon opens its mouth and makes to swallow Seth, but he
stumbles backward and crashes through the door and out of
the boathouse, which now sits silently, but for Seth's
sobbing.

EXT. THE BOATHOUSE � DAY

Amadeus barks once and runs to the boy, whining.

INT. A HOME IMPROVEMENT CENTER - DAY

Paul wheels an over-sized shopping cart through the aisles,
as Chloe explores the plethora of items for sale. In Paul's
cart are several locksets, a roll of water-heater
insulation, several bottles of liquid drain opener and two
cans of WD40.

CHLOE
Where are the play-sets, Daddy?

PAUL
In the garden center, Peapod.
We'll get there.

CHLOE
I want one with a fort and a
yellow curly-cue slide.

40.

PAUL
We'll have to see what they have,
first.

A faucet set catches Paul's eye and he stops to look at it.
He shakes his head at the price and prepares to move on, but
a man now stands in front of the cart, blocking his way.

PAUL (cont'd)
(To man)
Excuse me.

The man turns to reveal that it is Elias.

ELIAS
I'm sorry.

Elias steps out of the way and Paul moves on, but Elias
calls after him.

ELIAS (cont'd)
I'm sorry again, but... aren't you
Paul Varens, the author?

Paul, flattered to be recognized, stops.

PAUL
As a matter of fact, I am.

ELIAS
I'm a big fan. I've read all of
your books. "Whale Singers" was
excellent, but "Csardas with the
Devil" was my favorite.

PAUL
Mine too. Being part Hungarian,
Romanian and German, it has a
special place in my heart.

            ELIAS
      (Extending his
       hand)
I'm Elias Fellowes.

            PAUL
      (Shaking Elias'
       hand)
Not Jacqui's husband?

ELIAS
The very same. You must be the
Paul that moved into Edgar Drake's
house. Jacqui told me she had been
(MORE)

41.

ELIAS (cont'd)
to visit the new neighbors, but
she never said who they were.

PAUL
I believe our wives are shopping
together, as we speak.

ELIAS
Sometimes, I think my wife would
rather shop than do anything else.

PAUL
I understand, completely.

They both laugh.

INT. A BATHROOM - DAY

Seth sits on the commode, crying and wiping blood from the
multitude of wounds he received in the boathouse.

Amadeus stands in the bathroom door, watching him intently.

Seth stands, looks in the mirror, and using a wad of toilet
paper, he carefully dabs disinfectant on a wound around his
eye, wincing at the sting.

A shadow passes behind him in the mirror. He whips around,
but sees nothing. Amadeus barks once.

SETH
Leave me alone!

He looks about, seeing and hearing nothing.

He tosses the paper into the commode and flushes it.

Grabbing another wad of paper, he begins to apply
disinfectant to his thigh when he notices the toilet is
filling up and about to overflow.

Growling, Amadeus backs out into the hall, warily.

INT. A HOME IMPROVEMENT CENTER - DAY

Paul and Elias continue their conversation as they roam the
aisles with Chloe.

42.

ELIAS
So have you folks gotten settled
in, yet?

PAUL
Not quite. I never realized how
exhausting moving was. And we're
only here for the summer.

ELIAS
You should take a break; come over
for dinner tomorrow night.

PAUL
Oh, we wouldn't want to impose...

ELIAS
Stuff and nonsense! It's no im-
position at all. In fact, I in-
sist. I'll fire up the grill and
we'll have steaks for us and
burgers for the kids. You like
filet?

PAUL
Well...

ELIAS
Of course you do. Who doesn't?
We'll have some unblended scotch,
a couple of good cigars...

PAUL
I'd have to check with Mia, of
course.

Elias imitates the sound of a cracking whip.

PAUL (cont'd)
(Laughing)
No, it's not like that, at all. I
just want to make sure she's up to
it. She hasn't been feeling too
well, lately.

ELIAS
It's nothing serious, I hope?

43.

PAUL
No, no. I think the move has been
a bit more of a strain on her
than we anticipated.

ELIAS
Well then, let's say six, shall
we? Unless Mia's not feeling up
to it, of course.

PAUL
Alright.

Chloe comes running up to Paul.

CHLOE
Daddy, I asked the man and he
said the garden center is after
the next aisle!

PAUL
Okay, Swee'pea. To the garden
center we go.

Elias and Paul chuckle as Chloe runs ahead to lead the way.

INT. A BATHROOM - DAY

Seth is frantically plunging the toilet and jiggling the
handle as water flows out onto the floor.

SETH
Shit! Shit, shit, SHIT, SHIT!!!

He throws the plunger aside in anger and screams inco-
herently at the toilet.

Suddenly, a pillar of black water explodes upward out of the
toilet and spreads across the bathroom ceiling.

Seth watches in fascinated horror as all sorts of bizarre
items begins to fall out of the water. He looks closely and
sees that the items include jewelry; small toys; eye-
glasses; dental retainers; inhalers and prescription
bottles; buttons; scraps of fabric and even small shoes.

Seth screams in terror and runs out of the room and down the
hall, stopping dead in his tracks at the top of the
staircase.

INT. THE UPSTAIRS CORRIDOR - DAY

44.

Seth's POV. At the bottom of the staircase, Amadeus snarls
ominously, drooling and adopting an offensive posture.

Unsure what to do, Seth calls to the dog, trying to keep his
tone as soothing as possible.

SETH
Amadeus? Good boy! Good boy,
Amadeus. Good boy...

The dog snarls and barks once, sending drool flying out in
all directions.

Seth slowly backs away, watching the dog intently as it
slowly starts to climb the stairs.

Seth turns and bolts down the hall.

Amadeus almost sails up the stairs.

By the time the dog has reached the corridor, Seth is
standing at the far end of the hall, adopting a menacing
posture of his own.

SETH (cont'd)
Come and get me, you fuck!

The dog charges and just before it can reach Seth, he steps
aside and the dog leaps into the master bathroom, crashing
into the far wall and yelping in pain. Seth slams the door
shut and tears down the hall, down the stairs, through the
corridor and out the kitchen door.

EXT. A LAKEFRONT HOUSE - DAY

Mia and Jacqui are just pulling up to the house as Seth
comes tearing around the corner.

INT. MIA'S CAR � DAY

Slowing to a crawl, Mia peers out the window from the
driver's seat, as her soaking wet and bloodied son comes
running toward the car. She turns off the engine and starts
to get out of the car.

MIA
What the hell...?

EXT. A LAKEFRONT HOUSE � DAY

45.

Seth runs past the car as Jacqui starts to climb out of the
passenger's seat.

Mia and Jacqui chase after the screaming boy, finally
bringing him down on the lawn, Mia straddling his chest
while Jacqui attempts to hold his thrashing legs.

Amadeus comes bounding from the back of the house, barking
excitedly and acting much more like a family dog again.

MIA
Seth! SETH!!

She slaps him hard across the face, and he stops struggling.
He stares up at her in terror for a moment and then bursts
into sobbing tears.

JACQUI
We'd better get him inside, Mia.
I'll help you carry him in.

Together, the two women begin to half-carry, half-drag the
now completely limp Seth toward the front door as Amadeus
follows close behind, panting.

EXT. A GARDEN CENTER - DAY

Rows of play-sets of wood, plastic and aluminum, line the
exterior walls of the home improvement store's garden
center.

Chloe runs immediately to the largest and most expensive set
on display, which includes not only swings, 'monkey bars,' a
fort and a curly slide, but several plastic tubes running up
and down throughout the set, reminiscent of a pet rodent
enclosure.

Paul and Elias are close behind.

CHLOE
This one, Daddy! This is the one I
want.

            PAUL
      (Looking at price
       tag)
I don't know Swee'pea, this one
is a little more than I had plan-
ned on spending.

46.

CHLOE
(Pouting)
But I WANT THIS one!

PAUL
Would you at least look at the
other ones?

CHLOE
No! THIS is the one I WANT!

PAUL
Well, I'm sorry, Swee'pea, but
you can't have it. It's too much
money. Now go look at the other
ones, please.

ELIAS
Oh, stuff and nonsense! Children
are ours to spoil, Paul. Let her
have it, if she wants it.

PAUL
(Slightly annoyed)
I'm sorry, Elias, but she has to
learn that she can't always have
her way.

ELIAS
Children are a very special gift,
Paul. We only get so long to in-
dulge them, before they go away.

            PAUL
      (Unsure what to
       say)
Well... yes, but... they need to
learn how the real world works,
as well, Elias.

ELIAS
Oh, they learn that soon enough,
Paul. Trust me. Besides, if you
won't buy it for her, I will.

PAUL
(Almost outraged)
You'll do no such thing!

ELIAS
You're too polite to refuse me
a second time, so don't make me
offer again. It's done.

47.

PAUL
But...

Elias wags his finger, as though scolding a naughty child.

ELIAS
What did I just say?

PAUL
(Still annoyed)
And are going to put the damn
thing together, too?

ELIAS
Of course not. I'll pay them to do
it.

PAUL
Elias, really...

ELIAS
Not. Another. Word. Consider it
my... housewarming gift.

INT. THE VARENS' LIVING ROOM - DAY

Mia and Jacqui have gotten Seth to the sofa, where Mia
ministers to his wounds.

Amadeus squeezes between them and lies down along the sofa,
whining.

JACQUI
(To Mia)
Do you have any brandy?

MIA
What!?

JACQUI
Brandy. Or Schnapps.

MIA
I... I don't... I mean...

JACQUI
Oh hell!

She reaches into her purse and pulls out a silver flask.
Unscrewing the top, she presses the spout to Seth's lips and
pours some of the amber contents into his mouth. Seth chokes
and sputters, thrashing his head from side to side.

48.

MIA
What are you doing!?!

JACQUI
Relax, it's just a little South-
ern Comfort. It won't hurt him.
Get me a cool, damp cloth and some
rubbing alcohol. He doesn't look
like he's hurt badly. He's just in
shock. And take the dog out, too,
please.

Jacqui pulls a crocheted afghan off the back of the sofa
onto Seth, still ministering the alcohol and cooing to him.

Mia stands, staring and shaking. Jacqui snaps at her.

JACQUI (cont'd)
Mia, go! He'll be fine. Bring me
what I asked for!

MIA
(To the dog)
Come on, Amadeus.

Mia leads the dog out of the room and Jacqui whispers to
Seth.

JACQUI (cont'd)
Seth? Seth, can you hear me?

Seth lies writhing under the afghan, sweating and shivering
and teeth-chattering, his eyes rolled up into his head.

Jacqui places one hand on his forehead and one on his
stomach, closing her eyes and murmuring softly.

Almost instantly, Seth calms down.

JACQUI (cont'd)
(Soothingly)
Seth, you need to listen to me,
now. Okay? Just listen. What-
ever you saw or heard, it can't
hurt you. It wants to. It wants
to hurt everyone. But it can't.
Not anymore.

Seth mumbles incoherently.

JACQUI (cont'd)
Shh. Hush, now. It's all over.

49.

Mia reappears with a damp cloth, a bottle of rubbing alcohol
and a towel.

MIA
Is he alright?

JACQUI
He will be. He's burning up,
though. We have to get his fever
down.

Mia places the cloth on Seth's forehead as Jacqui pulls down
the afghan; tears open his shirt and pours the rubbing
alcohol into her hands before rubbing his chest, shoulders
and belly.

Seth opens his eyes and sees Mia.

SETH
Mom?

MIA
It's okay, Seth. You're going to
be fine.

SETH
Mom, don't let it get me! Don't
let it get me, Mom! Don't let
the dragon...

He lapses back into semi-consciousness.

INT. THE BASEMENT - DAY

Amadeus stands in the middle of the stairs, panting and
looking into the gloom. He whines and takes a step down.

Movement catches his eye and he turns to bark at it.

A child's laugh echoes from somewhere in the room and he
barks at that, backing up the stairs, whining and panting.

INT. A WAITING ROOM - DAY

Jacqui and Mia sit together, holding hands, vacantly
watching a game show on a television mounted in a corner
near the ceiling. Mia has obviously been crying, while
Jacqui wears an expression of earnest concern.

50.

The front door opens and Paul flies in, Chloe in tow. Mia
immediately leaps to her feet and runs to Paul, who takes
her in her arms. She cries again, though the worst of it
seems to be over.

Jacqui stands and calls to Chloe.

JACQUI
Chloe, sweetheart, why don't you
come and sit with Aunt Jacqui so
your Mommy and Daddy can talk?

CHLOE
You're not my aunt.

JACQUI
Not in the blood sense, no, you're
right. But come sit with me any-
way. Alright, darlin?

Jacqui sits, patting the seat next to her and smiling
sweetly. Chloe sits beside her and they begin to have a
quiet conversation.

PAUL
What happened? Is he okay?

MIA
I... I don't know what happened.
He ran out of the house just as we
pulled up. He was ranting and
screaming and covered in blood...

PAUL
Damnit! I KNEW I should have made
him come with me.

MIA
I guess I was in shock. I freaked
out a little. If it wasn't for
Jacqui...

She breaks into tears again, laying her head against Paul's
chest.

PAUL
Shh... It's alright. I'm sure he's
okay.

MIA
Paul, why did we come here?

51.

PAUL
You know why. So I could write
and you could...

MIA
No. I mean, why HERE? Why THIS
place? THIS house?

PAUL
I... I'm not sure what you want me
to say...

Chloe giggles at something Jacqui has said or done and they
both look to their daughter, before looking at each other
again.

The interior door opens and a pretty young NURSE steps into
the room.

NURSE
(To Mia)
Oh, good. This is Mister Varens?

MIA
(Wiping her eyes)
Yes. This is my husband, Paul.

NURSE
Doctor Hodges will see you now.
Fourth door on the left. Just
knock and go in.

The Nurse closes the door and then reappears through another
door in the receptionist's booth, immediately going to work
on her PC.

Paul and Mia open the door and step into:

INT. A CORRIDOR - DAY

The long hall extends much further than the tiny waiting
area might suggest, and more than a dozen doors on either
side of the corridor line the walls.

Reaching the fourth door on the left, Paul knocks once and
voice calls out from behind the door.

HODGES (O.S.)
(Through door)
Come!

52.

Paul opens the door and they step into:

INT. AN OFFICE � DAY

DUNCAN HODGES, mid-40's, sits behind a large oak desk in an
office lined with bookcases filled with medical journals.
The wall behind the desk is filled with diplomas,
certificates, awards and honoraria.

Hodges is leafing through an ominous-looking tome. An unlit
cigarette dangles from his lip and an ashtray filled with
crushed, unburned cigarettes sits on the desk; alongside a
rolodex and a "Word A Day" desk calendar. A PC is tucked
discretely in one corner, arranged so only Hodges can see
the monitor.

Hodges looks up, and stands.

HODGES
(Professionally)
Come in, please. Have a seat.

He indicates the two chairs facing his desk and then
realizes the cigarette is still in his mouth. He quickly
pulls it out and crushes it along with the others in the
ashtray, which he then dumps into a waste bin beside the
desk.

HODGES
I quit actually smoking them a
year ago. I'm trying to stop this,
as well.

MIA
Is Seth alright?

HODGES
(To Paul)
Please, sit, Mister Varens.

PAUL
I'd rather stand, thank you.

HODGES
Very well. I stitched up the gash
in your son's thigh and another
small wound in his scalp. I
managed to get his fever down,
which is good, though I don't know
what is causing the fever. The
delusions, I am certain, were a
direct result of the fever and
they should be over with. He is
resting, and seems to be stable,
(MORE)

53.

HODGES (cont'd)
for now. But I can't diagnose
him here. He needs lab work and
probably an MRI. I've made arrang-
ments for an ambulance to take him
to Saint Mark's Hospital in Johns-
town.

MIA
(Alarmed)
An ambulance?!

PAUL
Standard procedure. Let's not get
carried away, just yet. I've seen
this type of thing in young people
before and there can be any number
of explanations. Do you know if
Seth has been experimenting with
drugs?

MIA
(Indignant)
Of course not! How dare...?

PAUL
(Interrupting)
Not that we know of, no. Though
to be honest, it's something we've
talked about since he was three,
so I really don't see that as...

HODGES
Look, I don't mean to sound
accusitory, but Seth has been
through a major lifestyle change
recently. Events like a move can
trigger unusual and unexpected
behavior in the most well-adjusted
of kids.

MIA
(Adamant)
My son doesn't do drugs!

HODGES
Yes, well... we'll know more once
we get him to Saint Mark's and
they can...

He trails off, staring past the two of them.

54.

Paul and Mia both turn around to see Seth standing in the
doorway, naked but for a thin sheet wrapped around his
waist.

SETH
I'm cold. Can we go home, now?

INT. AN EXAMINATION ROOM - DAY

Seth, now wearing an exam gown, is seated on the examination
table, as Hodges checks him over, shining lights into his
eyes and ears; bouncing mallets off his knees; listening to
his heart and lungs.

Paul and Mia sit anxiously against the wall, watching as
Seth rolls his eyes through the exam.

Hodges holds his stethoscope against Seth's back.

            HODGES
Deep breath, please.
      (Seth complies)
And hold it... and... exhale.
      (Seth exhales)
You say you remember none of what
happened?

SETH
The wind was banging the boat-
house door. I went out to shut
it, because I was trying to read.
I went to look and make sure no
one was inside, and then I woke
up here.

HODGES
I still think you should go to
Saint Mark's and spend the night
under observation.

SETH
No!
(To Paul)
Dad, please don't make me!

PAUL
Son, if the doctor thinks you...

SETH
(To Mia)
Mom, please!

55.

MIA
(To Hodges)
Can't WE observe him?

HODGES
Would you know what to look for?

MIA
I AM a licensed psychiatrist, Doc-
tor Hodges. I hold an MD, the same
as you.

HODGES
But there they could be monitor
him electronically...

SETH
I am NOT spending the night hooked
up to wires and a bunch of beep-
ing monitors. I'll never get to
sleep.

MIA
(To Hodges)
I'll sit up with him all night,
if I have to. I promise, if there
is any change, the slightest thing
at all, I'll call for an ambulance
to take him to Saint Mark's
myself.

PAUL
Mia, are you sure...?

MIA
Seth wants to go home. And I think
home is the best place for him,
right now.
(To Hodges)
Thank you, Doctor Hodges. How much
do we owe you?

HODGES
(A bit flustered)
We'll take care of that later.
Doctor Varens...

MIA
Mia, please.

56.

HODGES
Mia, then. I urge you to recon-
sider.

MIA
No offense, Doctor Hodges, but
Seth has been your patient for an
hour. He's been my son for sixteen
years. I think I know how to care
for him, thank you very much.
(To Seth)
Come on, Seth. get dressed. We're
going home.

She stands and hands Seth his clothes as Paul apologetically
shakes Hodges' hand.

FADE TO

INT. SETH'S BEDROOM - NIGHT

Seth lies in bed as Mia fusses about, making sure he has a
pillow for his leg and the TV remote. Finally satisfied, she
starts to leave and Seth calls after her.

SETH
Mom?

Mia stops, but doesn't turn.

MIA
Yes, Seth?

SETH
Stay. Please?

Smiling broadly, she turns and sits on the edge of the bed,
and begins to stroke his hair.

MIA
You really had me scared, Son.
I... I don't know what I would do
if anything ever happened to you,
or your sister.

SETH
Mom, I lied.

MIA
What?

57.

SETH
I lied to Doctor Hodges. I DO re-
member what happened in the boat-
house. I just know he wouldn't
have believed me.

MIA
(Concerned)
Why, Seth? What really happened?

SETH
I hate it here. It doesn't matter
what really happened. The only
evidence of any of it are my in-
juries. Somehow, I don't think
you're gonna find damage in the
boathouse or baby bracelets in the
bathroom.

MIA
Baby bracelets? You're starting to
worry me a little, Seth. You're
not making any sense.

SETH
It doesn't matter what happened.
It's this place. This house.
It's... it's wrong...

MIA
Seth, things aren't wrong with
places. PLACES don't make people
act out bizarrely or have petit
mal seizures. Places are just that
and nothing more. Places can't
hurt you.

SETH
Don't psychobabble me, Mom. You
KNOW what I mean. And I know you
do, because you feel it, too. You
just can't admit that science
isn't always right.

Mia stares at her son, lovingly, and then smiles sadly.

MIA
We'll get past this, you know.
You and me. Your father and
sister. We'll all adjust. It's
stress...

58.

SETH
Stress my ass!

MIA
Seth! Language!

SETH
Don't change the subject.

MIA
Oh, Seth...

SETH
(Intensely serious)
There is something VERY wrong
here, and you know that. You KNOW
that. And I don't think I want to
stay to find out what it is.

Mia looks at him for a moment and seems about to speak, but
she pulls back and stands to leave.

MIA
Get some sleep, Honey. It's been
a long day.

SETH
Can you make sure that Amadeus
stays downstairs tonight?

MIA
But he always sleeps with you.

SETH
Please? Not tonight, okay?

MIA
(Kisses his head)
Okay. G'night. I love you.

SETH
I love you too, Mom.

She smiles and leaves the room, leaving the door slightly
ajar.

INT. THE DOWNSTAIRS CORRIDOR - NIGHT

Mia comes down the stairs as Chloe comes through the archway
from the kitchen.

59.

CHLOE
Is Seth gonna be okay?

Mia sits on the stairs and pulls Chloe to her, hugging her
tightly and stroking her hair.

MIA
I think so, baby.

CHLOE
I got scared when Daddy said
Seth got hurt.

MIA
Well, I was scared, too. But
it's okay to be afraid. Some-
times, being afraid is what keeps
us alive. It's called an "in-
stinct."

CHLOE
I KNOW what instincts are, Mom.
I had Life Sciences last year,
remember?

MIA
(Smiling)
I remember helping you with your
caveman project.

They sit quietly, having a mother/daughter moment.

CHLOE
Mommy?

MIA
What, Sweetie?

CHLOE
Where's Amadeus?

MIA
(Standing)
Oh, my goodness. The poor thing's
been locked in the basement all
afternoon! He's probably starving.

Chloe stands and follows Mia into the kitchen.

60.

INT. THE BASEMENT - NIGHT

Light pours down from the open doorway, which frames Mia's
silhouette.

MIA
Amadeus!

CHLOE (O.S.)
Do you see him?

MIA
Stay there, Chloe. I'll get him.

Mia begins to descend the wooden staircase.

MIA (CONT'D)
(To herself)
If you're dead, Amadeus, I'll kill
you! That is NOT what I need right
now.

At the bottom of the stairs, Mia peers into the room, but
the light from above doesn't illuminate much at all.

She flicks a light switch on the wall beside her, which
appears to do nothing. Sighing, she looks about, finds an
ancient camper's flashlight and is pleasantly surprised to
see that it works.

She steps down onto the floor and trains the flashlight's
beam about the vast room, illuminating parts of old
machinery; assorted garden and power tools; old tires;
boxes; crates; an old metal locker and assorted other items
one might find in a basement.

MIA (cont'd)
Amadeus, are you down here?

Something glimmers in a corner as the light passes over it.
Mia quickly swings the beam around again, but sees nothing.

MIA (cont'd)
Are you hungry? Do you want a
treat, boy?

She hears movement and points the light toward another
corner, where it is reflected back by a pair of yellow,
feral eyes.

MIA (cont'd)
Amadeus? Is that you?

61.

From the corner comes a deep growl and Mia takes a step back
toward the stairs, keeping the light trained on the yellow
eyes.

MIA (cont'd)
(Nervously)
Good boy, Amadeus. Stay, Amadeus,
stay.

As soon as Mia's foot touches the bottom step, the eyes move
out of the beam.

Mia frantically runs the light about the room, but the dog
is upon her before she even knows what hit her.

She screams and the flashlight goes flying out of her hand
and dies, leaving her to battle Amadeus in almost complete
darkness.

Upstairs, Chloe has come to the doorway, screaming herself.

CHLOE
Mommy! MOMMY!!!!!

            MIA
      (Panting in
       exhaustion)
Chloe... Get... help! Get... get
Daddy!

Chloe runs off, screaming.

CHLOE (O.S.)
DADDY!! HELP, HELP!!! DADDY!!!

Mia continues to struggle with the dog as they crash about
the basement. The dog snarls and drools as it tries to get
to Mia's face and throat. Mia grunts and pants, doing
everything she can to keep the dog from getting to anything
vulnerable.

Amadeus backs off to get a better grip and Mia seizes the
opportunity to stand.

The dog backs away, getting ready to charge.

Finding an old dress dummy, Mia throws it at the dog just as
he charges, knocking him down and letting her get further
away.

She is almost to the stairs when Amadeus grabs her calf in
his jaws with a decisive chomp. Mia screams and goes down.

62.

Immediately, Amadeus is on her back, snarling and snapping
at the back of her neck.

Mia swings wildly, knocking the dog in the head. She rolls
over and grabs the dog's throat in one hand, while groping
about the floor with the other.

INT. THE KITCHEN - NIGHT

Paul rushes in, frantically, followed by a terrified Chloe.
Hearing the commotion, Paul races to basement door.

INT. THE BASEMENT - NIGHT

As Paul pounds down the stairs, Mia continues to struggle
with the dog.

She holds Amadeus' throat above her, and her eyes widen in
terror to see the dog's head morph into that of a saurian
Dragon with yellow, reptilian eyes; massive fanged teeth and
a black, forked tongue.

The Dragon roars at her, spewing flames, and Mia screams.

DRAGON
(Booming)
They're MINE!!!

As soon as it came, the dragon is gone and Amadeus is just a
snarling dog again.

Finally, Mia's hand closes around the flashlight handle. She
grips it tightly and swings, hitting Amadeus squarely in the
head. The dog flies off of her with a yelp.

Mia is quickly on her knees, and begins pounding away at
Amadeus with the flashlight, not stopping until Paul grabs
her shoulders.

PAUL
Mia! Mia, hey! Hey, it's alright.
It's over. It's OVER...

Mia looks at her husband; the bloody flashlight in her hands
and finally, the dead dog, before she bursts into heaving,
hysterical sobs.

FADE TO:

63.

INT. THE MASTER BEDROOM - NIGHT

Mia, her head and hands bandaged, lies in the bed, dozing,
as Chloe sleeps alongside her. Paul sits in a chair reading
and watching over them.

Looking at his watch, Paul sets the book down and rises,
crossing to the bed, where he smoothes Chloe's hair and
kisses Mia's cheek.

He leaves the room but doesn't close the door.

INT. THE UPSTAIRS CORRIDOR � NIGHT

Paul makes his way down the hall to Seth's room.

INT. SETH'S ROOM � NIGHT

Paul stands in the doorway, watching Seth sleep.

Seth mumbles incoherently, a look of intense anger on his
face.

Unable to help himself, Paul gently strokes Seth's forehead.
Seth's eyes fly open immediately, terrified. They change as
Seth recognizes his father.

SETH
(Awake)
Dad? What's wrong?

PAUL
Shh. Nothing's wrong. I'm just
checking on you.

SETH
Where's Mom?

            PAUL
Mom's had a�...
      (Choosing his
       words)
...a long day, son. She's sleep-
ing.

SETH
(Looking around)
Where's Amadeus?

PAUL
He's... in the basement.

64.

SETH
Okay. Okay, good.

Seth closes his eyes and is back to sleep before he finish a
mumbled "goodnight."

Paul leaves going out to:

INT. THE UPSTAIRS CORRIDOR - NIGHT

As Paul makes his way down the hall, he hears a child's
giggle behind him. He spins around toward the sound.

PAUL
Chloe?

He peers down the darkened, empty hall, seeing nothing, but
hearing the giggle again.

Moving toward the sound, he stops and looks down the stairs,
where movement near the bottom catches the corner of his
eye.

After another giggle, Paul descends, calling out.

PAUL (cont'd)
Chloe? Chloe, what are you doing
out of bed?

He continues to follow the giggling into:

INT. THE KITCHEN - NIGHT

Paul enters to see the basement door swinging on its hinges.

He rushes to the top of the basement stairs and looks down
into the pitch black darkness below.

PAUL
Chloe?
(No answer)
Chloe! Are you down there?

After a beat or two, Paul turns to close the door and is hit
by a howling blast of cold air from the beasement. He
struggles to get the door closed. Once he has, he places his
back firmly against it and slides down to the floor, panting
and confused.

FADE TO:

65.
INT. AN INDUSTRIAL SPACE - NIGHT

Mia is climbing ladders and staircases, trying to get out. She wears a red evening gown with a very full skirt and an elegant train. Every so often, she reaches a dead-end and has to back down and find another way up. She stops a moment to catch her breath. A drooling blue monster leads a young man on a leash past her, heading down. The leash is attached to an intestine, which hangs from a ragged incision in the young man's belly. Turning away in revulsion, she spots a sign that says: THEATRE, with an arrow pointing toward an alcove.


INT. A DARKENED ROOM - NIGHT

Paul once again stands before the gore-encrusted autopsy table, a scalpel in his hand, the magical tool tray floating beside him. A sheet covers the writhing figure on the table, obscuring it from view.

INT. A WHITE THEATRE � NIGHT The brightly lit room contains several long rows of seats, facing a darkened window that runs the length of the room. Mia steps in and sits down, her red dress spreading out around her on the white seats and floor like a pool of blood. INT. A DARKENED ROOM � NIGHT Paul is about to reach for the sheet to pull it away, when a bright light suddenly appears above. He looks up. INT. A WHITE THEATRE � NIGHT Mia sits, staring down into the dirt-walled room, to see her husband, naked but for a surgical mask and gloves, standing before a sheeted figure on a table while he holds a scalpel in one hand and looks right at her.

INT. A DARKENED ROOM � NIGHT Paul nods curtly at his wife, acknowledging her presence, and then pulls the sheet away with a flourish. INT. A WHITE THEATRE � NIGHT

66.
The camera looks down on the room as blood begins to spill copiously from beneath Mia's dress, slowly covering the floor. Mia stands and moves to the glass, looking down on her husband, who is about to slice open Seth, who is strapped to the table with a ball-gag in his mouth. The blood ripples ss she walks through it. INT. A DARKENED ROOM � NIGHT Paul looks at Seth, his eyes ablaze with bloodlust.

INT. A WHITE THEATRE � NIGHT Mia licks the glass as the blood begins to fill the room. INT. THE DARKENED ROOM � NIGHT Paul makes the first incision in Seth's chest, laughing madly. INT. A WHITE THEATRE � NIGHT Standing in blood up to her waist, Mia presses her body against the glass, writhing in ecstasy. INT. THE DARKENED ROOM � NIGHT Reaching into the incision, Paul pulls out Seth's heart, showing it to both Seth and Mia as it pulsates in his hand. INT. THE MASTER BEDROOM � NIGHT Paul awakes in the chair, his hand clamped over his mouth. He rises and runs into the bathroom, where we can hear him retching.

INT. A WHITE THEATRE � NIGHT As the blood begins to rise above her chest, Mia looks through the glass to see the grinning head of Janelle Morgan bursting forth from the incision in Seth's chest.


INT. THE MASTER BEDROOM - NIGHT

Mia sits up straight, gasping for air. After a moment, she sighs in relief, realizing it was just a dream. She looks to find Paul's side of the bed empty.

67.

MIA
Paul? Paul, are you okay?

She gets out of bed, snapping on the reading lamp on her
nightstand. She heads for the master bath.

MIA (cont'd)
Paul, are you in there? I need
to use the...

The bathroom door flies open and Paul, a giant pair of red
leathery wings growing from his back, bursts into the
bedroom. He opens his mouth, revealing two vicious rows of
fangs, which he immediately sinks into Mia's throat.

QUICK CUT TO:

INT. THE MASTER BEDROOM - NIGHT

Mia bolts upright, clamping her hand over her mouth to
stifle the scream that's about to erupt. She looks down to
see Chloe sleeping peacefully beside her.

We can hear Paul retching in the background.

FADE TO:

INT. THE MASTER BEDROOM - DAY

Morning light pours through the windows and into the
bedroom.

Outside, there is a great commotion. We can hear the voices
of many men and the sound of engines and machinery.

Paul wakes up, shielding his eyes from the glare. He gets
out of bed and stumbles over the window.

From Paul's POV through the window, we can see a small crew
of six or eight men carrying various pieces of lumber and
plastic off of a truck which has been maneuvered into the
back yard.

Overseeing all of it, is Elias.

EXT. THE BACKYARD - DAY

Paul storms from the kitchen door, closing his robe with an
angry yank on the belt.

68.

Elias sees Paul approaching and waves, smiling broadly.

ELIAS
(Cheerfully)
Beautiful morning, isn't it?

PAUL
(Angry)
What the hell is going on here,
Elias?

ELIAS
I told you I was going to take
care of the installation, didn't
I?

PAUL
At seven A.M.?!

ELIAS
(Proudly)
I gave the guy an extra fifty to
be first on the list.

PAUL
(Exasperated)
Jesus Christ, Elias!

ELIAS
I'm sorry?

PAUL
How do you even know where I
wanted to put the damned thing?

ELIAS
(Pointing)
Facing that corner of the house,
of course. That way it can be
seen from the kitchen, the dining
room, the side porch AND the li-
brary. We don't want your little
angel getting hurt, with no one
to see it.

Paul looks to where Elias is pointing and then back at the
house, where everything Elias has said appears to be true.

            PAUL
      (Less angry)
Well... you could have warned me
that it was happening this morn-
            (MORE)

69.

PAUL (cont'd)
ing, at least.

ELIAS
Oh. Sorry. I thought I did.

PAUL
No, you didn't.

ELIAS
Well, no harm done.

PAUL
(Incredulous)
No harm done?!?

ELIAS
Exactly. Little Chloe will be
out here, swinging away, before
her lunch is ready.

Paul throws up his hands in frustration and storms back
toward the house.

INT. THE KITCHEN - DAY

Paul storms in, slamming the door behind him.

Mia is measuring coffee at the counter.

MIA
What is all that?

PAUL
(Aggravated)
Elias Fellowes!

MIA
Jacqui's husband? What does he
have to do with the construction
team in our yard?

PAUL
Oh God. I guess with all the ex-
citement, I forgot to tell you.

MIA
Tell me what?

70.

PAUL
I met him at the home store. He
insisted on buying a play-set for
Chloe � don't ask. Now he's here
to oversee the installation. What
are you doing out of bed, by the
way?

            MIA
      (Ignoring his last
       question)
Really? You met Elias? What's he
like?

PAUL
(Insistent)
What are you doing out of bed?

MIA
Paul, I'm not a porcelain doll. I
got a few scratches and bruises.
I'm not dying, for God's sake.
Now really, what's Elias Fellowes
like?

PAUL
(Singing)
Hello crazy, my old friend...

MIA
(Mock scolding)
Paul...

PAUL
No, really. They're a perfect
match. Do you know what he said
to me?

MIA
(Sarcastically)
Boogah-boogah?

PAUL
"Stuff and nonsense." That's what
he said. "Stuff and nonsense."
He's just as loony as she is.

MIA
Will you listen to yourself?

PAUL
Well, that's what he said, Mia.

71.

MIA
Do you want blueberry or choc-
olate chip pancakes for breakfast?

Seth limps into the kitchen.

PAUL
(To Seth)
What are YOU doing out of bed?

SETH
The noise woke me up and I was
hungry. I really didn't eat much,
yesterday.

MIA
(To Seth)
Honey, I was going to bring you
breakfast.

SETH
Well, now you don't have to.

MIA
Are you sure?

SETH
I'm already here. I'm not going
back upstairs so you can bring me
breakfast in bed.

Seth notices Mia's bandages.

SETH (cont'd)
What happened to you?

Before either Mia or Paul can answer, Chloe comes barreling
into the kitchen, excited.

CHLOE
(Bursting)
Did you see? Did you see?

PAUL
Oh yes, we saw.

MIA
And Her Highness is heard from.

SETH
What's going on out there, anyway?

72.

CHLOE
My new play-set! Mister Fellowes
bought it for me!

SETH
(Confused)
What?

PAUL
See what happens when you're not
paying attention?

SETH
I don't understand...

MIA
Never mind. It's breakfast. What
do you want in your pancakes?

SETH
Wow! Maybe I can get him to buy me
an ATV.

The camera dollies to and through the window to:

EXT. THE BACKYARD - DAY

A series of X-Faded, double-speed shots show the
construction of the play-set, which is actually even larger
and more elaborate than the one Chloe originally picked out.

Once the crew has gone, Paul, Mia and Chloe come out to look
at it, as Elias proudly stands beside the play-set.

Chloe immediately sets about playing on it.

ELIAS
(Charmingly)
You must be the lovely Mia.

MIA
(Charmed)
So they say. And you must be Elias
Fellowes.

She extends her hand and they shake.

73.

ELIAS
That I am. Sorry to hear about
your boy. Jacqui told me some of
what happened. Is he okay? And
what, may I ask, happened to you?

MIA
Oh, I'm alright. I had a... uh...
an unexpected encounter with
something down in the basement
last night. Seth will be fine,
thank you for asking. He'll be
sorry to have missed you.

ELIAS
He isn't well enough to come to-
night, then?

MIA
I'm sorry... tonight?

PAUL
Oh. See? Forgot that, too. We've
been invited to the Fellowes' for
a barbecue tonight.

MIA
Oh. How lovely.
(To Elias)
I don't know if either Seth or
myself are really up for going
anywhere tonight, Elias. But
thank you, very much.

ELIAS
Then we'll just have to bring the
barbecue here.

PAUL
What?

ELIAS
I'll toss the steaks and burgers
into a cooler and throw the grill
into the pickup. Jacqui's home
making potato salad and coleslaw
as we speak. And Jacqui's coleslaw
is a three time blue-ribbon
winner.

74.

PAUL & MIA
(Finishing w/him)
...blue-ribbon winner.

PAUL (cont'd)
Elias, really. It's too much.
Look, this isn't even the set you
were going to get.

ELIAS
I know. I asked for the full cata-
log after you left and changed the
order. Especially after I saw the
castle spire.
(To Chloe)
What do you think, Chloe?

Chloe pops her head out of the spire window.

CHLOE
I love it! Thank you, Mister
Fellowes!

ELIAS
(To Paul & Mia)
You see? She loves it. That's
all I needed to hear. So we'll
see you at six, then?

He turns and starts to go around to the front of the house.
Paul follows him.

PAUL
Elias, please...

ELIAS
(Not stopping)
Pish tosh! Not another word. Have
a LIGHT lunch! Bye!

Elias is around the corner and gone.

Paul turns back to Mia, his hands raised in a gesture of
hopeless frustration.

MIA
What just happened?

PAUL
You, my dear, have just met Elias
Fellowes. THAT'S what just happen-
ed.

75.

MIA
Wow!

They turn to watch Chloe as she plays on the play-set.

PAUL
Tell me about it.

They watch Chloe playing for a moment.

MIA
(Giggling)
He said "Pish tosh."

PAUL
(Grinning)
I heard him.

            MIA
      (Shrieking
       w/laughter)
"Pish... pish tosh!!"

Unable to help himself, Paul breaks down into gales of
hysterical laughter and chases Mia around the play-set as
Chloe joins in the chase, laughing heraelf.

Later.

Chloe plays on her new play-set, sliding down the gigantic
yellow cork-screw and running around to climb the ladder and
do it all over again.

INT. THE SIDE PORCH � DAY

Seth sits, stretched out on an upholstered chaise, reading
from "The Complete Works of William Shakespeare." Occasion-
ally, he glances up to see his sister playing.

INT. THE KITCHEN � DAY

Mia is getting ready to prepare a pasta salad. She gathers
ingrediants from the cupboard and sets a pot of water on to
boil. Occasionally, she glances up to look at Chloe playing.

EXT. THE BACKYARD � DAY

Chloe is now swinging on a recycled tire which has been
artfully carved into a winged unicorn.

INT. THE SIDE PORCH � DAY

Seth is concentrating on his book, frowning and yawning.

76.

INT. THE KITCHEN � DAY

Mia takes out a cutting board and a large chef's knife,
setting them on the counter.

EXT. THE BACKYARD � DAY

Chloe, on the unicorn swing, sings aloud to herself.

CHLOE
(Singing)
Down in a meadow, in an itty-
bitty pool, swam three little
fishies and a Mama fishy, too.
"Swim" said the Mama fishy, "swim
if you can." And they swam and
they swam right over the dam.

INT. THE SIDE PORCH � DAY

Seth continues to yawn as his eyes and head grow heavy.

INT. THE KITCHEN � DAY

Mia goes to the refrigerator to gather vegetables for the
salad. She opens the door and slides out the crisper, only
to find it full of rotten vegetables. Puzzled, she starts to
check other items in the fridge, most of which have gone
over. She smells the milk and nearly gags.

EXT. THE BACKYARD � DAY

Chloe notices another CHILD'S VOICE, singing along with
hers.

She drags her feet to stop swinging and listens as the
Child's Voice finishes the phrase.

CHILD'S VOICE (O.S.)
And they swam and they swam, right
over the dam...

Chloe dismounts the unicorn and heads toward where she
thought the voice was coming from.

CHLOE
Hello?

The Child's Voice stops singing.

77.

CHLOE (cont'd)
Don't stop! Where are you?

In the distance, we can hear a child crying.

CHLOE (cont'd)
Are you okay? Do you need to go to
the doctor?

INT. THE SIDE PORCH � DAY

Seth's head has begun to droop, and he awakes with a start.
Looking out the screened window, he sees the unicorn swing
empty, but still swaying.

INT. KITCHEN � DAY

Mia has started throwing the spoiled food into a large
plastic trashbag.

Paul enters the kitchen.

PAUL
What are you doing?

MIA
(Annoyed)
I think there's something wrong
with the fridge.

PAUL
What? It's brand new.

MIA
Well how else did two-day old
groceries go bad?

PAUL
Well, do you have it turned too
low?

MIA
(Very annoyed)
Don't be an ass! Of course not!

            PAUL
      (Trying to stay
       calm)
Alright, alright. Maybe the food
was on the edge of going over when
I bought it, then.

78.

MIA
ALL of it?

PAUL
Well, I don't know what's wrong.
But I'm guessing I'm off to town.
What do you need?

MIA
(Standing)
Red and green peppers, grape
tomatoes, celery, a Spanish
onion...

As she stands, Mia can see the empty swing through the
window.

MIA (cont'd)
Chloe?

EXT. THE BACKYARD - DAY

Chloe has located the source of the crying; it appears to be
coming from behind the cellar's red bulkhead. As Chloe
nears, the crying grows clearer and louder.

CHLOE
Hello? Are you hurt? Are you in
the basement?

A wind has begun to pick up, and leaves swirl about. The
crying continues.

Chloe reaches for the handles of the bulkhead doors.

INT. THE SIDE PORCH � DAY

Seth sets his book down and rises, moving to get a better
view of the yard as he searches for his sister.

EXT. THE BACKYARD � DAY

Chloe continues to reach for the bulkhead as the crying
grows even louder. She looks at the bulkhead and is puzzled
as the doors now appear to be liquid, swirling and sloshing
around the handles.

The crying continues, though now it is the sound of many
children crying.

The scene slows down as Seth approaches Chloe.

79.

SETH
(Distorted)
Chloe! No!

Chloe looks up at the sound of her brother's voice as the
bulkhead doors morph into a dragon's head.

She turns back to see the dragon as it opens its mouth and
speaks in its watery voice.

DRAGON
Yessss... yessss... Mine!

Chloe screams, falling back and the action speeds up again
as Seth reaches her, the bulkhead doors resume their normal
shape and the crying comes to an abrupt end.

Seth helps Chloe to her feet and she falls into his arms,
crying.

SETH
Shh. It's okay. You're alright.

CHLOE
(Crying)
I hate it here, Seth.

SETH
I know. I do, too. But I won't let
it hurt you. I promise.

Mia comes around from the side of the house.

MIA
Everything okay, guys?

SETH
We're fine, Mom!

From around front comes the sound of a novelty horn, tooting
"La Cucaracha."

All three turn toward the sound.

MIA
That's the Fellowes.

SETH
(Under his breath)
Shit!

80.

EXT. THE DRIVEWAY - DAY

Mia comes out of the house as Elias is pulling a charcoal
grill down from the bed of his pickup.

MIA
You're early. I thought you said
six o'clock?

Jacqui comes around from the passenger's side, balancing a
pie atop two large plastic containers.

JACQUI
Well, I know you kids must be
exhausted, and the last thing
you need is a couple of old
fogies like us, keeping you up
all hours of the night. So I
figured, the earlier we get here,
the earlier we can leave you
folks in peace.

MIA
My... how... thoughtful. Thank
you.

ELIAS
Where's that husband of yours?

JACQUI
And that adorable little pumpkin?

MIA
I sent Paul to town for some
groceries. There's something wrong
with our fridge. Chloe's around
somewhere, though.

ELIAS
(Indicating grill)
Now then, where should I set this
grill up? I have a couple of
steaks that are just dyin' to get
cooked up on this baby!

MIA
Um... around back, I guess.

ELIAS
Around back it is!

He proceeds to carry the grill into the backyard as Jacqui
and Mia head for the front door.

81.

JACQUI
I brought a blackberry pie, too,
for dessert. You'll DIE from it!
My blackberry pie is a five time
blue-ribbon champion!

FADE TO:

EXT. THE BACKYARD - NIGHT

Embers still glow redly in the grill as the two families sit
about, sated from their meal; the evidence of which lies
scattered about two picnic tables in piles of dirty paper
plates, plastic cups, utensils and napkins. A plate of
uneaten hamburgers sits on one table, next to a plate piled
with ribs and hotdogs. A lone, half-eaten steak sits on its
own plate, next the nearly empty coleslaw container.

Paul and Elias sit, smoking cigars and sipping brandy from
plastic cups.

Mia and Jacqui sit away from the men, sipping coffee, dosed
from Jacqui's flask.

Seth dozes in a webbed, folding chaise while Chloe chases
after the fireflies which have just begun to wink to one
another in the dusky light. Crickets and tree frogs chirrup
softly in the background.

ELIAS
(To Paul)
Man, just listen to the night
sounds. Mother Nature's symphony.
I never get tired of listening to
it.

PAUL
Yeah, it's nice.

JACQUI
(To Mia)
So, how are you adjusting to the
country life?

MIA
Not so well, I'm afraid.

JACQUI
Yes, well, it can take some time.
When I first moved here from the
city, it was months before I felt
comfortable.

82.

MIA
And when was that?

JACQUI
Gosh. We're going back more than
fifteen years, now. Let's see... I
married Elias two years after I
divorced my first husband, Karl...

MIA
Oh. I hadn't realized that you
were married before.

JACQUI
We both have been. I met Elias
when I was still acting. I was on
an episode of "Unsolved Myster-
ies." Elias' daughter was featur-
ed on that one, the poor thing. I
played his wife in the reenact-
ments.

MIA
His daughter?

JACQUI
From his first marriage. She was
eight when she disappeared. I
don't know if he ever had her
declared legally dead, but I
assume she must be. She was never
found.

MIA
Oh, how horrible for him.

JACQUI
It was. Joan, his first wife,
couldn't take it. She committed
suicide. Drowned herself in the
Pacific.

MIA
Oh my God! The poor man!

PAUL
(To Elias)
How long did it take you to get
used to it, out here?

ELIAS
Me? No time at all. I grew up in
a small, country town. Say, why
don't we install that insulation,
(MORE)

83.

ELIAS (cont'd)
while I'm here?

JACQUI
(To Mia)
He looked so sweet and vulnerable.
I was actually the one to ask HIM
out on our first date.

PAUL
Maybe tomorrow. I just... I
think... I... I think I need some
water.

Paul tries to stand, but finds himself unsteady.

PAUL
Whoa! Guess I had a few too
many...

JACQUI
Elias was convinced that Edgar
Drake had something to do with
Talia's disappearance.

MIA
(Slurring)
Oh my God. Why didn�t you tell me
this, before?

ELIAS
Steady there, Big Fella.

PAUL
(Slurring)
I only had two drinks...

JACQUI
No one believed Elias. Drake was
here. Talia disappeared in Cali-
fornia. It was a big story at
the time. They called in psychics
and everything.

Paul sits back down, steadying himself against the picnic
table.

PAUL
(Slurring)
I think... I think we should wait
on the insulation, Elias.

84.

In the chaise, Seth is fully asleep.

Chloe, who has been alternating between chasing fireflies
and playing on the play-set, gently sways on the unicorn,
yawning broadly.

MIA
(Yawning)
And this was when?

JACQUI
Oh, I think nineteen eighty-four
or five. We met in eighty-seven.

In the distance, we can hear the sound of a child crying.

MIA
(Perking up a bit)
What's that? Chloe?

PAUL
(Yawning)
Is that... Chloe?

Chloe tries to lift her head at the sound of her name, but
it is just too heavy and she slumps over on the swing.

The wind has begun to pick up, blowing hot embers out of the
grill and up into the night sky.

JACQUI
Chloe's just fine, darlin.

ELIAS
Chloe is fast asleep, Paul.

Mia's eyes have begun to close, though she fights to keep
them open.

MIA
Seth...?

JACQUI
Shh...

Paul's head droops, but he jerks it upright and calls out.

PAUL
Seth!

ELIAS
Hush...

85.

Thunder rumbles ominously in the background as Jacqui and
Elias look at each other, expressionlessly.

BLACKOUT

INT. AN INDUSTRIAL SPACE - NIGHT

A location similar to Mia's dream, but with finite
boundaries.

Sitting on the floor, back-to-back, Mia and Paul are tied
together. Paul is naked while Mia wears a red peignoir,
similar to, though not exactly like the one in her dream.

Around them, sits a piled assortment of rusted metal ride-on
toys; tricycles; bikes; roller-skates; scooters; wagons;
skateboards; fire trucks; racers; construction vehicles and
sleds.

Mia wakes up first and, seeing where they are, screams,
which awakens Paul.

PAUL
(Groggily)
What the hell...?

MIA
Paul? Paul, they have Seth and
Chloe!

PAUL
Where the hell are we?

MIA
Not far from the house. Maybe
even somewhere inside it, I think.

INT. A DARKENED ROOM - NIGHT

Though not quite as dim or dirty as in Paul's dream, the
room is pretty much as previously described. On the table,
bound and gagged, lies Seth; a sheet covering most of his
battered young body. He is unconscious, but writhes in
obvious distress.

INT. A PRINCESS' BEDROOM - NIGHT

Chloe awakes to find herself in a massive canopy bed, with
sparkly, white tulle and silk drapes and bedding. There is a
white and gold armoire, a vanity and stool and a child-sized

86.

full-length mirror. The walls are a trompe l'oil of a French
garden, complete with a painted waterfall which cleverly
leads into a real waterfall which in turn feeds a pool
filled with exotic fish.

She climbs out the tall bed with the help of a small set of
stairs, finding a pair of soft, warm slippers. She is
wearing a lacy, white night gown, and reaches for the
fur-trimmed white robe which lies at the foot of the bed.
She proceeds to the armoire, where she finds it filled with
beautiful party dresses and delicate shoes with the tiniest
hints of heels.

She goes to the vanity to find a gold hairbrush, comb and
hand mirror, as well as a jeweled tiara. She puts the tiara
on and examines herself in the hand mirror, admiringly.

INT. A BLACK ROOM - NIGHT

A black space with no definition. Dim lighting shines down
on cage which hangs in space. Curled up in a corner of the
cage, Chloe fitfully sleeps.

INT. AN INDUSTRIAL SPACE - NIGHT

Mia continues to cry, softly.

PAUL
Mia, baby, please don't... please
don't cry. We're going to get out
of this.

MIA
(Crying)
Why? Why are they doing this,
Paul?

PAUL
I don't know. I don't care. But
I'm not about to let them hurt any
of you. I'd die myself, first.

From above, a metal door opens with a screech and light
pours in. We hear the sound of boots stepping onto a metal
platform. The door closes again with a squeal and an
electric motor hums to life in the darkness, as an elevator
begins to descend.

87.
INT. A PRINCESS' BEDROOM - NIGHT

Chloe sits at the vanity, brushing the hair of an expensive porcelain doll and humming "Three Little Fishies." Bored, she sets the doll down and begins to explore the room. She stops at the pool and watches the fish. Three of them follow a fourth through and over a small waterfall. She re-examines the clothes in the armoire, and pulls a few dresses out, holding them up to her body and looking at herself in the mirror.

INT. A DARKENED ROOM � NIGHT CU on Seth as his eyes fly open. He immediately senses something is wrong and his eyes dart about. Upon seeing the tools along the wall, Seth begins to thrash about on the table, screaming against the ball-gag. INT. AN INDUSTRIAL SPACE � NIGHT The elevator clangs to a stop and a set of doors slide open in front of Paul and Mia. Jacqui steps off of the elevator, dangling a gigantic knife in her right hand. Paul's eyes widen and Mia gasps as Jacqui comes closer.

INT. A PRINCESS' ROOM � NIGHT Chloe has put on a very fancy evening dress, with lots of petticoats, bows, ruffles and rhinestones. She looks like Cinderella at the ball, even down to the delicate, blown-glass slippers on her feet. She twirls about, trying to catch glimpses of herself in the mirror, giggling with delight. INT. A DARKENED ROOM � NIGHT Seth has calmed enough to begin to examine his situation. He tests his bonds, one at a time, searching for a loose or weak spot. His left wrist seems to be bound looser than his right, so he begins to work it against the leather restraint, squeezing and relaxing his hand tight in an attempt to slip out of the cuff.

88.

INT. AN INDUSTRIAL SPACE - NIGHT

As before.

            PAUL
      (To Jacqui,
       defiantly)
Where are our children?

Jacqui leans down, holding the knife in front of Paul's
face. She suddenly begins to cut the rope that binds them
together.

JACQUI
I'm not sure. They could be a lot
of places. It's like a maze down
here.

Jacqui cuts through Mia's wrist bindings.

MIA
Oh, thank you Jacqui.

JACQUI
Don't thank me, yet. We're not
out of the woods, here. And I
think it's going to get a lot
weirder before it's over.

Paul and Mia are free. Paul starts to rise, but Jacqui stops
him.

JACQUI (cont'd)
Oh, wait a sec...

She reaches into the elevator and brings out a shopping bag,
from which she produces a set of sweats and a pair of
hard-soled slippers, handing them to Paul.

JACQUI (cont'd)
Almost forgot these...

PAUL
Thanks.

Jacqui turns to Mia as Paul dresses.

JACQUI
I... I tried to stop him. I al-
most thought I had.

MIA
Has he hurt them?

89.

JACQUI
No. And I don't think he will. But
he IS using them for bait.

PAUL
(Pulling on shirt)
BAIT!?! What the hell for?

JACQUI
His father, Edgar Drake.

Paul and Mia are stunned.

INT. AN EXAM ROOM - NIGHT

As a thunderstorm rages outside, Hodges is cleaning up,
getting ready to go home for the night. He picks up the
sheet from the exam table and gathers it up to go in the
hamper, when something in the corner of the floor catches
his eye.

He drops the sheet into the hamper and goes to pick up what
turns out to be a bloodied pillowcase.

HODGES
(To himself)
Damned cleaning service is getting
sloppy again!

He shakes out the pillowcase and notices the bloodstain on
it is unusual. He takes it over to the table and turns on
the exam light and the lighted magnifier to have better look
at it.

After adjusting the magnifier a few times, and turning the
cloth this way and that, the stain suddenly resolves into an
instantly recognizable dragon shape.

Puzzled, Hodges walks over to the intercom on the wall and
presses the TALK button.

HODGES (cont'd)
(Into intercom)
Caroline? Are you still here?

NURSE (O.S.)
(Through intercom)
Only just.

90.

HODGES
(Into intercom)
Did you send out the Varens boy's
samples?

NURSE (O.S.)
(Through intercom)
Yes, Doctor Hodges.

HODGES
(Into intercom)
The results aren't back yet, are
they?

NURSE (O.S.)
(Through intercom)
I think the Fed-Ex I just got
might be them.

HODGES
(Into intercom)
Would you bring them back to exam
three? I have something I want you
to look at, too.

NURSE (O.S.)
(Through intercom)
I'll be right there.

INT. A PRINCESS' BEDROOM - NIGHT

Chloe sits on a white fur rug on the floor, her feet tucked
up under her frilly dress, so that just the toes of her
glass shoes peek out.

An enormous book lies in front of her as she leans one hand
on the floor and turns the book's over-sized pages with the
other.

We can see that the book is filled with beautiful
illustrations. In one, a princess is trapped by an evil
wizard, confined to a door-less, window-less room. In the
next, the wizard summons a mighty beast from a fiery pit,
while the one after that features a young knight, bound in a
dungeon, struggling to get free.

INT. AN EXAM ROOM - NIGHT

Hodges sits at the small desk, reading the lab report while
the Nurse peers through the magnifier at the pillowcase.

91.

HODGES
(Reading)
This doesn't make sense.

NURSE
(Peering)
It's a coincidence, that's all.
I'm surprised that you, of all
pople, would think it was any-
thing else.

HODGES
(Still reading)
It's impossible!

NURSE
(Still peering)
Of course it's possible. It's
just a random blood stain that
happens to look like a dragon.
It's like... like cloud watching.

HODGES
(Still reading)
Rubbish!

The Nurse finally looks up, confused, only to realize that
they were not actually communicating, as she thought.

NURSE
Doctor Hodges?

HODGES
(Looking up)
What? Oh. Oh, yes. Well?

NURSE
It's a coincidence, that's all.

HODGES
Yes, but don't you remember what
his mother said about his rant-
ings?

NURSE
I don't think I was there for
that, or I just wasn't listening.

HODGES
The boy begged her to keep him
safe from a 'dragon.'

92.

The Nurse is slightly taken aback, but then she shakes it
off.

NURSE
It's a coincidence, plain and
simple.

HODGES
Then take a look at these...

He hands her the lab report he has been reading. She takes
it and begins to read.

NURSE
(Puzzled)
'Unknown substance, possibly...
REPTILE SALIVA!?'

HODGES
Oh, keep reading. It gets better.

NURSE
(Reading)
This can't be right.

HODGES
I'm going out there.

NURSE
What?

HODGES
I'm making a house call. There's
been something nagging at the back
of my skull ever since that boy
came in here.

NURSE
Do you think he's been abused?

HODGES
Maybe.

NURSE
Come on now! You don't really
think it could be anything to
do with that stupid bloodstain?

HODGES
I'll let you know tomorrow.

93.

INT. A SUBTERRANEAN ROOM - NIGHT

Elias, using a propane camp lantern for light, is furiously
digging into one of the dirt walls with a pickaxe. A shovel,
a broom and some soft brushes lie on the floor. Otherwise,
the room is empty.

He swings into a small opening, which leads to a large
section of earth giving way. A small, shriveled arm falls
out. Elias gingerly works the pick around the arm, removing
lesser amounts of dirt, but quickly uncovering the rest of
the body.

He pulls the shriveled corpse out of the wall and sets it on
the floor, gently. It is a boy, dressed in football uniform.

In the background, we hear the sound of a child crying and
Elias returns to digging into the wall.

INT. A FREIGHT ELEVATOR - NIGHT

Jacqui, Paul and Mia ride in the cab as it ascends.

JACQUI
Elias was adopted. His parents
were truly wonderful people, but
they were killed in a freak acci-
dent the day after Talia was born.
A year later, Elias started
looking for his birth parents. He
searched for over six years and
was about to give up when he found
Edgar Drake, living here, in
Manning.

MIA
Did they meet?

JACQUI
After corresponding for a few
months, Drake agreed to meet Elias
in Chicago.

EXT. THE HOTEL DUMONT � DAY

An upscale hotel in downtown Chicago.

INT. A HOTEL LOBBY � DAY

Elias paces about the lobby, checking his watch and looking
at the front doors.

94.

After a moment, DRAKE appears. He is a sad-looking man in
his 60's. Stoop-shouldered and pasty, he wears an
ill-fitting suit about 20 years out of style.

JACQUI (V.O.)
Drake was nothing like Elias had
Imagined, and Elias had a hard
time hiding his disappointment in
the shabby-looking man who met him
at the hotel.

Elias and Drake share an awkward embrace, and Elias leads
Drake to the hotel restaurant.

JACQUI (V.O. cont'd)
They shared pleasantries and Elias
told him about his life and his
family in California. Blake seemed
to show very little interest in
what Elias had to say, until Elias
showed him pictures of Talia.

INT. A HOTEL RESTAURANT � DAY

Elias and Drake sit opposite one another at a table, a
half-eaten meal before them. Elias eats heartily, while
Drake seems to push his food about his plate, morosely.

Elias takes out his wallet and shows Blake photos of his
daughter, a beautiful young girl of about 6. Blake's entire
demeanor seems to change, and he actively participates in
the conversation for the first time.

JACQUI (V.O. cont'd)
Blake told Elias that he made
hand-crafted toys as a hobby and
would love to make something
special for his granddaughter.

Blake ogles the photo of Talia and Elias grows visibly
uncomfortable.

JACQUI (V.O. cont'd)
Elias left the next day, skipping
his planned lunch with Blake. He
said that Blake had made him ner-
vous and he didn�t plan on meet-
ing with him again.

INT. A FRIEGHT ELEVATOR � NIGHT

As before.

95.

PAUL
And what does this have to do
with us and our children?

From the distance, the sound of screaming echoes;
immediately followed the sound of a child crying.

MIA
Oh my God! Chloe!

INT. A DARKENED ROOM - NIGHT

In the distance, the sound of many children crying and
screaming in pain can be heard.

Lubricated with a combination of blood and sweat, Seth has
managed to slip his left hand free and is unbuckling the
strap around his right wrist. As soon as that is free, he
undoes the ball gag and begins to unbuckle his right ankle.

He stops and stares at the strap for moment. Instead of
removing it, he loosens it by two notches and does the same
for the right. He replaces the ball gag and then loosens the
left manacle, gently slipping the raw flesh of his wrist
back inside it. He hides his right hand, pulling the right
manacle under the sheet with it.

He notices the instrument tray next to the table and reaches
up to take a very sharp-looking scalpel; then re-hides his
hand.

INT. A PRINCESS' BEDROOM - NIGHT

Chloe sits, engrossed in the book, as a seam begins to
appear in the wall behind her. Light filters through as it
travels up the wall, over and back down, in the shape of a
door which slowly begins to open, spilling more light into
the room.

The light moves toward her and hits her toes, sending a
prism of light dancing across the room.

Chloe turns to look at the source of the light and begins to
scream.

INT. A SUBTERRANEAN ROOM - NIGHT

Elias has unearthed dozens of corpse from the ground and
behind the walls. The sound of crying is almost deafening.

96.

Shrieks of pain; cries for mercy; hysterical sobbing and mad
laughter have joined the din.

Elias cries out.

ELIAS
Where is she, you fucking bas-
tard!?!

EXT. A RURAL ROAD - NIGHT

As rain pours down, lightning illuminates a pickup truck as
it races past the camera.

INT. A PICKUP TRUCK CAB � NIGHT

Hodges sits behind the wheel, a lit cigarette burning
between his lips. He leans forward to look through the
rain-soaked windshield.

Lightning flashes and Hodges reaches up to wipe fog from the
windshield.

Suddenly, the radio blares to life, playing a big-band
version of "Three Little Fishies." Hodges tries to turn it
off, but it won't stop playing

Another lightning bolt flashes, revealing an enormous dragon
in the middle of the road, just in front of him.

Hodges looks up to see the monster, gasps and yanks the
wheel to avoid it.

EXT. A RURAL ROAD � NIGHT

The pickup skids off the road and crashes through the trees
and into a deep ravine, where it lands upside-down, wheels
spinning.

INT. A PICKUP TRUCK CAB � NIGHT

Hodges lies in the cab, his head on the steering wheel,
blood leaking from his nose and mouth. From the angle of his
head, it obvious that his neck is broken.

INT. A BLACK SPACE � NIGHT

The cage hangs empty, the door swinging open and closed on
squeaking hinges.

97.

INT. A SUBTERRANEAN CORRIDOR - NIGHT

A set of doors open to reveal Jacqui, Paul and Mia in the
cab of a freight elevator. They step into the corridor and
continue their conversation as the doors close behind them.
The long dark corridor is lined with dozens of doorways and
branches.

JACQUI
Three weeks after Elias' trip
to Chicago, Talia was abducted.
Elias was almost certain that
Blake was the culprit, but he
had no proof and the case was
never solved.

MIA
How horrible!

JACQUI
It was five years before Elias
told me why we moved to Manning.
By then, it was too late and he
was completely consumed by his
obsession with Blake.

PAUL
I still don't see what any of
this has to do with my family.

JACQUI
After Blake died, Paul was con-
vinced that Blake's ghost was
trapped in this house, held pri-
soner by the spirits of his vic-
tims. Paul thought he could still
exact revenge on Blake's soul.

MIA
In other words, he was just as
insane as father.

JACQUI
I thought so, at first. But recent
events have led me to change my
mind.

INT. A DARKENED ROOM - NIGHT

Seth lies very still, intently listening for any sound. Soon
he hears footsteps and the sound of keys jangling.

98.

The footsteps stop outside the tiny wooden door, and Seth
closes his to feign sleep.

The screen goes black as we hear what Seth hears:

Keys turning in a rusty lock; the opening of the door,
scraping against the floor; a heavy sigh and then a grunt of
exertion; more footsteps followed by the sound of something
being set down; a soft moan; A STRANGE MAN�S VOICE in the
dark.

VOICE (O.S.)
So pretty. So, so pretty. Both
of you. I wish we had more time
to play. Sleep now. I'll be back.

We hear more footsteps, and then the sound of the door being
closed and re-locked.

Seth opens his eyes and from his POV we can see Chloe, lying
unconscious on the floor in the corner.

He waits until he is sure the man is gone, and then he
quickly slips out of the restraints and rushes to her side,
holding the sheet around his waist.

SETH
(Shaking Chloe)
Chloe! Chloe, wake up! Chloe!

Chloe moans again and opens her eyes.

CHLOE
Seth?

SETH
Are you okay?

CHLOE
I was having a wonderful dream,
Seth. I was a princess locked
in a beautiful room with pretty
clothes and even glass slippers.
But then... then...

SETH
Then what?

CHLOE
Then a monster came and pulled
me into...
(Looks around)
Where ARE we?

99.

SETH
I don't know. But I'm gonna try
and get us out of here.

He holds up the scalpel.

CHLOE
What's that for?

SETH
Mister Fellowes. He's the one
that put us here. I'm going to
have to kill him, I think.

CHLOE
(Eyes wide)
Really? Why?

SETH
'Cause I think he's... the dragon.

INT. A SUBTERRANEAN CORRIDOR - NIGHT

Jacqui, Mia and Paul continue to make their way down the
corridor.

JACQUI
It was obvious that your arrival
stirred things up, so to speak. He
wanted to exploit that and waited
until something major happened.
The attack on Seth in the boat-
house was all Elias needed to
be...

Jacqui trails off as they come upon a room in which the
floor has been almost completely dug up. A pile of badly
decomposed bodies litters the room.

MIA
(Horrified)
Oh, dear God in Heaven...

INT. A DARKENED ROOM - NIGHT

As before.

SETH
You have to pretend to be asleep,
Chloe. Think you can do that?

100.

CHLOE
Yeah.

SETH
Good. Just don't fall asleep for
real, okay?

CHLOE
I won't.

PAUL
I'm going back on the table, okay?

CHLOE
Don't leave me, Seth.

SETH
I won't. Ever. I promise.

Seth smoothes his sister's hair and kisses her forehead,
then climbs back onto the table, slips back into the
restraint and repositions the sheet.

INT. A DIRT-WALLED ROOM - NIGHT

In a different room, there is another pile of corpses,
slightly less decomposed than in the one before.

JACQUI
He's looking for Talia.

PAUL
Elias?

JACQUI
I had no idea... I thought... I
thought Elias was being paranoid.

Mia has begun to cry, silently.

PAUL
Jacqui, we have to find Chloe and
Seth. Now.

JACQUI
There are dozens of rooms down
here. It took me an over an hour
to find you two, and I had been
with Elias when he put you down
there.

101.

MIA
(Crying)
There are so many children...

Paul takes Mia in his arms.

PAUL
We can't do anything for them
now. Let's go and find our own
children, hmm?

He leads her back into the corridor. Jacqui follows them and
takes the lead again.

PAUL (cont'd)
(To Jacqui)
Where the hell did all these
tunnels and rooms come from? Who
built them? Blake?

JACQUI
This whole region was part of
the underground railway. Slaves
from the south stopped here on
their way to Lake Erie and then
on to Canada via Niagara Falls.
I think some of these tunnels
may lead all the way back to our
house. Blake may have added to
them, but I think most of them
have been here a long time.

They continue to make their way through the maze of
corridors, passing room after room of disinterred bodies.

PAUL
Elias must have been down here
digging for months.

JACQUI
Ever since Blake died, last year.

INT. A CORRIDOR � NIGHT

In another part of the labyrinth, Elias carries the skeletal
remains of a young girl in a tattered pink dress, cradled
gently in his arms. He is crying, silently.
He comes to a door and opens it, stepping into:

A DARKENED ROOM � NIGHT

As Elias enters, Chloe tries to make herself as small as
possible in the corner, drawing her knees up and hiding her

102.

head in her arms. Seth remains on the table, feigning
unconsciousness.

Elias moves to a small table under along one wall, setting
the corpse on it. He flips a switch, and an overhead light
illuminates the room.

As the crying continues to grow in volume, a greenish mist
begins to rise out of the floor and swirl about Elias' legs,
slowly making its way upwards.

Elias carefully arranges the desiccated corpse, speaking
gently to it.

ELIAS
It's okay, baby. Daddy's here now.
Daddy won't let the bad man hurt
you anymore.

The green mist has reached his waist, but Elias still hasn't
noticed.

ELIAS
I promise I won't you leave you
again, Talia.

Seth has slowly and carefully risen from the table,
clutching the scalpel in his raised hand.

The green mist continues to move upwards and now encircles
Elias' chest, as Seth approaches stealthily from behind.

In the corner, Chloe looks up to see the glowing,
translucent form a little girl. It is TALIA.

TALIA
We won't let him hurt you, Chloe.
Sing. Sing as loud as you can.

INT. A CORRIDOR � NIGHT

Jacqui, Paul and Mia continue to follow the trail of
unearthed corpses.

EXT. A LAKESIDE HOUSE � NIGHT

A storm rages. Thunder roars as lightning flashes illuminate
the lake and the house.

INT. A DARKENED ROOM � NIGHT

The green mist has moved up to encircle Elias' head, seeping
into his mouth, nose and eyes.

103.

Seth plunges the scalpel into Elias' back.

Elias turns, enraged. The whites of his eyes are now blood
red, the irises deep yellow and the pupils are black
vertical slits. His face is covered in greenish scales.

ELIAS
(Dragon's Voice)
Too late! You're mine!!!

The crying reaches a fevered pitch as Seth backs away from
the monster that Elias is becoming.

The door slams shut and Elias laughs monstrously as he
sprouts a pair of red leathery wings and his teeth elongate
into fangs.

Both Seth and Chloe scream in terror.

INT. A CORRIDOR � NIGHT

Jacqui, Paul and Mia run toward the sound of the slamming
door, covering their ears to block out the noise of the
crying.

INT. A DARKENED ROOM � NIGHT

Chloe has begun to sing as hundreds of white lights begin to
fill the room, rising up from the floor.

CHLOE
Down in the meadow, in an
itty-bitty pool...

Elias begins to grow, filling the room with his bulk. He
advances upon the retreating Seth. Reaching back and pulling
out the scalpel, he licks the blood from the blade with a
black, forked tongue, laughing all the while.

Seth's eyes grow wide in terror.

ELIAS
(Dragon's Voice)
So young! So pretty!

SETH
(Defiant)
Go back to hell!

            CHLOE
      (Singing)
...swam three little fishies and
the Momma fishy, too...
            (MORE)

104.

CHLOE (cont'd)

The white lights swirl about the room as the tools and
instruments on the wall begin to vibrate.

INT. A CORRODOR � NIGHT

Jacqui and Paul pound on the door to the darkened room, as
flashes of light leak out from beneath the door.

INT. A DRAKENED ROOM � NIGHT

The Elias/Dragon monster advances on Seth, who backs away,
terrified.

ELIAS
(Dragon's Voice)
MINE!

Chloe stands, singing at the top of her voice.

CHLOE
(Singing)
"Swim" said the Momma fishy,
"Swim if you can..."

Elias turns to look at her as Seth dives under the table.

SETH
(Screaming)
Chloe!

The instruments and tools have begun to fly off the wall and
swirl about the room in a maelstrom of light.

Chloe looks to where her brother has hidden himself and
sings out one last phrase.

CHLOE
(Singing)
...and they swam and they swam
right over the dam!

Chloe dives under the table, joining Seth as they huddle
together.

INT. A CORRIDOR � NIGHT

Jacqui and Paul have managed to open the door. Light and
noise pour forth as the three of them make their make their
way into the hellish room.

105.

INT. A DARKENED ROOM � NIGHT

The once dark room now glows with preternatural light. Tools
and instruments fly about in a maelstrom of light and
debris.

Elias is no longer recognizable, but has become a
full-fledged Dragon. The beast thrashes about the room,
lashing out at the lights swirling around it.

JACQUI
(Screaming)
ELIAS!!

The Dragon looks at Jacqui and smacks at her with the back
of an enormous claw, sending her flying out into the
corridor, where she lands in a crumpled pile against the far
wall.

DRAGON
(Laughing)
Bitch!

Seth sees his parents struggling to get through the door and
screams out, though he can barely be heard over the
monster's roars.

SETH
Mom! Dad! No!

The Dragon turns at the sound of Seth's voice, and pulls the
table from over the two children, who cower in terror.

MIA
NOOOOO!!!!

She tries to run to her children, but Paul holds her back.

The Dragon, laughing, starts to reach for Seth and Chloe,
but before it can they are surrounded by an exceptionally
bright light. Standing in front of them is the transparent
Talia.

The Dragon roars, enraged, as the lights begun to engulf its
form, leaving only its head and one fore-claw exposed.

TALIA
I love you, Daddy.

In the center of the dragon-shaped light, we can see Elias,
smiling lovingly at his daughter.

106.

ELIAS
And I love you, Baby.

Elias holds out his arms and Talia steps into the light,
where she is reunited with her father.

The Dragon roars and then implodes as the lights compress
inward. There is a sound of air being pulled from the room
at great speed and then an exceptionally bright beam of
light explodes upwards as the Dragon screams in agony. After
a moment, only a few bright spots of light remain, drifting
upwards and out of the room, leaving the room completely
empty except for Chloe and Seth, clinging to one another in
the center of the floor.

There is a brief moment of silence and then Paul and Mia
rush to their children, taking them in their arms as the
four of them cry.

FADE TO:

EXT. A PINK HOUSE - DAY

The Varens' SUV pulls up in front of the house, horn
beeping.

Jacqui, her arm in a sling and fading bruises on her face,
comes out to greet them. Her hair is down and going grey,
and her general appearance is softer and more grandmotherly.

Paul rolls down his window as she approaches the car. Mia
sits beside him; Seth and Chloe in the back. The cargo bay
is loaded with boxes and luggage fills the roof rack.

JACQUI
(Smiling)
Hey there! All ready to go home?

PAUL
More than ready.

JACQUI
Have you... have been back, since?

MIA
We tried to get our personal be-
longings, but they wouldn't let us
in.

PAUL
I think it will be quite some time
before the police are finished
there. Drake had over two hundred
(MORE)

107.

PAUL (cont'd)
bodies buried in and around the
place. They're still trying to
identify most of them. They said
some of them date back to the late
fifties.

JACQUI
Monster...
(Smiling to Chloe)
And how are you doing, Pumpkin?

CHLOE
Good. Now. I think.

JACQUI
And you, young man?

SETH
I'll be alright.

JACQUI
It'll take time, Seth. Remember
that.

SETH
I know.

PAUL
(To Jacqui)
How are YOU doing?

            JACQUI
Alright, I suppose.
      (Raises slinged
       arm)
I have another two weeks in the
cast. The house is going up for
sale next week.

MIA
Where are going to go?

JACQUI
My mother lives just outside
Tampa. She's seventy-four and can
use some help.

PAUL
If there's anything...

108.

JACQUI
There isn't, but thank you. I'm
just glad all of you are okay.

PAUL
Did they... did they find
anything?

JACQUI
No. And I doubt they will. It's
almost as if Elias never even
existed. Even now, I wonder if it
all wasn't just some perverse
nightmare.

MIA
I wish it were.

JACQUI
Me, too, Mia. Me, too.

The five of them share a moment, and then Jacqui pulls away.

JACQUI (cont'd)
Well, I should let you kids get
going. If you're ever in Tampa...

MIA
Thank you, Jacqui. For... for
everything.

JACQUI
You'd better get going before I
start to cry. I've done enough of
that these past few weeks, thank
you.
(To Seth and Chloe)
You two mind your mother, now.

SETH
We will.

JACQUI
Alrighty, then.

Jacqui steps away from the SUV as it pulls out of the
driveway and onto the road. She waves with her good arm.

The camera pulls out to show the house, the road and the
lake.

The SUV pulls out of frame as the scene slowly fades to

109.
black.

THE END

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From nick	Date 10/25/2006
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