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1 Park Avenue
by Duane Howell (luscioushippie@gmail.com)

Rated: PG-13   Genre: Horror   User Review:
NOT YET
RATED

Some doors should be left unopened.


This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.



1 PARK AVENUE

EXT. PARK AVENUE STREET - NIGHT
                                                            
THE DARK OF NIGHT - DEAD SILENCE - NO SIGNS OF LIFE

A FLASHING STREET LIGHT marking the corner of 1st Street and
Broadway. NO TRESPASSING signs and cemented DEBRIS cling to
the CHAIN LINK fences that surround the brick veneer of the
SKIRVIN HOTEL.

CLASSIC REVIVAL ARCHITECTURE

On the west side of the hotel a lone light illuminates the
far west room of the 10th floor.

The light begins to FLICKER, then suddenly STOPS.
                                                            
 
INT. HOTEL - LOBBY - NIGHT
                                                            
The silence is shattered by the UNINTELLIGIBLE, MAUNDER of
human VOICES.

TITLES BEGIN as we draw close to GOLDEN FACES OF DEMONS atop
the 20 foot pillars aligning the main foyer.
                                                            
 
INT. HOTEL - LOBBY - CONTINUOUS
                                                            
From the center of the room, the crystal CHANDELIER SWINGS
violently as cobwebs and dust fall from it's grasp.

CHAIRS TOPPLED. PAPER, DIRT AND CRUMBLED SHEETROCK CARPETS
THE LOBBY FLOOR.

The LIGHTS FLICKER across the lobby's crippled GRAND PIANO
FALLBOARD reflecting from the Mezzanine floor.
                                                            
 
INT. HOTEL - BALLROOM - NIGHT
                                                            
THIS WAS ONCE A BEAUTIFUL PLACE -- ONCE

CATHEDRAL CEILINGS show their original beauty through CHIPS

2.

in the cheap imitation overcoating. PARQUET WOOD FLOORING
buckled and shifted from years of neglect.

Windows surrounded by antique WROUGHT IRON grates, covered
in dirt and years of decay, BEGIN TO BANG open and shut.

The voices become DISTURBING as they become louder & louder.
SCRATCHING. BANGING. SCREAMS accompany the voices with a
sense of truculent restraint.

The noises seem to peak, and immediately begins to MORPH
into sounds of CARS and PATRONS from the STREET outside of
the hotel.

MAIN TITLE - "1 PARK AVENUE"
                                                            
                                         CUT TO:
                                                            
 
EXT. HOTEL - EVENING
                                                            
TITLE: OKLAHOMA CITY 1913

Amongst the solicitous PATRONS and refined BUSINESSMEN a
1913 CADILLAC IMPERIAL arrives at the hotel entry.

The ebullient concierge approaches the car, opening the rear
door.

A slightly STOUT. PRISTINE. businessman exits. He cinches
his FROCK coat and adjusts his FELT HOMBURG. One by one
businessmen, indistinguishable from another, join him at his
side.
                                                            
                       DOORMAN #1 (O.S.)
Good evening gentlemen and welcome
to the Skirvin Hotel.
                                                            
Each man smiles politely as they enter.
                                                            
 
INT. HOTEL - LOBBY - EVENING
                                                            
Large FLORAL ARRANGEMENTS and eager STAFF welcome guests as
they enter. NAUTILE carved walnut armchairs and DIRECTOIRE
FURNITURE sets are filled with local SOCIALITES awaiting the

3.

beginning of the night.

Every piece of woodwork and decor within the hotel is
carved, fiigreed in a baroque sense of fashion

WE PAN UP TO THE MEZZANINE FLOOR

Hands placed firmly along the wrought iron BALCONY of the
MEZZANINE floor, FRED SCHERUBEL, 40's, flawlessly groomed
Hotel manager watches patiently as the lobby fills.
                                                            
 
INT. HOTEL - MEZZANINE FLOOR - EVENING
                                                            
The front doors open as the businessman and his ENTOURAGE
enter the center of the lobby's 20 foot pillars. INTRIGUE
covers their faces as they braille the rooms beauty with
their eyes.

In the b.g. the concierge SIGNALS to Mr. Scherubel.

Fred nods as he adjourns west along the balcony.
                                                            
 
INT. HOTEL - OFFICE - EVENING
                                                            
Solid oak PANELS and OIL PAINTINGS cover the walls. Wooden
file cabinet meticulously labeled and arranged.

Task driven, the mid 30's, assistant to the hotel owner,
MABLE LUTY punches away at her Meteor typewriter.

A half smile covers her face as Mr Scherubel enters the
room. Immediately Mable stops and places her hands across
her lap in anticipation.
                                                            
                       MS. LUTY
Why good evening Mr. Scherubel.
                                                            
                       FRED
      (Politely Nodding)
Ms. Luty.
                                                            
Fred MOTIONS toward the door marked PRIVATE.
                                                            

4.

                       MS. LUTY
By all means....Please.
                                                            
Fred grabs the handles to the large double doors and quietly
begins to pry them open.
                                                            
 
INT. W.B.'S OFFICE - EVENING
                                                            
We see past Mr. Scherubel into a large scarcely-furnished
room. In the b.g. stands a young,shapely CHAMBER MAID who
immediately jumps up and adjusts her petticoat.
                                                            
                       MAID #1
      (Shaking)
Mr....Mr. Scherubel.
                                                            
Fred politely NODS as he awkwardly stands in the doorway.

A leather HIGH-BACK MADISON chair slowly begins to swivel
around. Nestled in it's comfort sits W.B. SKIRVIN, early
40's, SHARP, OUTGOING. yet introverted OWNER.OPERATOR. of
the Skirvin hotel.
                                                            
                       W.B.
      (perturbed)
Why Mr. Scherubel, how nice of you
to stop by.
                                                            
Mr Scherubel begins to speak as W.B. raises his hand to
pause him.
                                                            
                       W.B.
Run along dear, and remember....
                                                            
W.B. smiles, winks and places his FINGER to his lips.
                                                            
                       W.B.
Shhhhhh....
                                                            
 
INT. W.B.'S OFFICE - CONTINUOUS
                                                            
Mr Scherubel steps into the office giving way to the gently
sobbing maid.
                                                            

5.

                       W.B.
I think it is their innocence that
intrigues me the most.
                                                            
                       W.B. (COND)
I'm sorry Fred....How may I assist
you this fine evening?
                                                            
                       FRED
Your guest and his associates have
arrived.
                                                            
W.B. rises from his chair quickly and approaches Mr
Scherubel as he straightens his bow tie.
                                                            
                       W.B.
Well Fred, we mustn't keep them
waiting.
                                                            
W.B. pats him on the chest as he walks away.
                                                            
 
INT. HOTEL - OFFICE - EVENING
                                                            
W.B. PULLS a rose from Ms. Luty's desk. SNAPS the bud from
the stem and places it in his coat as he exits to the
mezzanine floor.

Mr. Scherubel follow closely behind.
                                                            
                       MS. LUTY
May I have a word with you Mr.
Schuebel?
                                                            
A SINISTER smile covers her face. She leans forward ARMS
CROSSED.
                                                            
                       MS. LUTY
The front desk called for
you....Something about a problem
on the 10th floor.
                                                            
                       FRED
      (Choked Up)
I....
(beat)
I will look into that at once.
            (MORE)

6.

                       FRED (cont'd)
Thank you.
                                                            
Mr. Scherubel turns and reaches for the door knob.
                                                            
                       MS. LUTY
      (Stern)
You shouldn't have ever hid her
from me.
                                                            
Mr. Scherubel hesitates then exits to the mezzanine floor
FIRMLY shutting the door behind him.
                                                            
 
INT. HOTEL - ROOM 1025 - EVENING
                                                            
Suitcases are packed and placed by the front door.

A small VICTROLA plays. (circa early 1900's BIG BAND)

EFFIE WOLFE, a young and beautiful 20 something chamber
maid, tries to comfort her baby in a small white BASSINET.

The sound of keys is heard in the hallway as Fred enters the
room through an exterior dead bolted door.
                                                            
                       FRED
      (pleasant)
Good evening Ms. Wolf....How may I
help you.
                                                            
                       EFFIE
      (Excited-Nervous)
Mr. Scherubel, I just want to go
and see my family.
(beat)
It's been over a year and I have
yet to tell them of my baby.
                                                            
Avoiding eye contact, Fred watches the Victrola spin.
                                                            
                       EFFIE
It's the only song that seems to
sooth him.
(beat)
It's not working very well tonight
            (MORE)

7.

                       EFFIE (cont'd)
though.
                                                            
                       EFFIE (COND)
      (looking at her
       baby)
They say that an infant can feel
it's mother's emtions.
                                                            
She begins to walk toward Fred and reaches for his hand.
                                                            
                       EFFIE
      (sultry)
I would do anything to go home Mr.
Scherubel
(beat)
ANYTHING.
                                                            
Fred, denying Effie's advances, pushes her hand away and
turns toward the door,
                                                            
                       FRED
      (Bluntly)
Isn't that how you got into this
perdicament.
                                                            
Effie smiles as a TEAR runs down her cheek. Knowing he has
struck a nerve, Fred turns toward her.
                                                            
                       FRED
I will talk with him and see what
I can do.
                                                            
                       EFFIE
Thank you Mr. Scherubel....Thank
you.
                                                            
He reaches for the door and exits the room, locking it from
the outside.
                                                            
 
INT. HOTEL - BANQUET ROOM - EVENING
                                                            
BIG BAND PLAYS

Tuxedos and smiles from the band seated behind elegantly

8.

decorated MUSIC STANDS. CLARINETS, TRUMPETS, TROMBONES, and
a OBOE fill their hands. in the b.g. a small TRAP SET and
STAND-UP BASS.

FRESH FLOWERS and FINE CHINA adorning tables only enhance
the elegant atmosphere.

W.B. walks the room exchanging pleasantries with guests of
the hotel ending up at the entrance where he is greeted by
Fred.
                                                            
                       FRED
Sir, may I have a word with you?
                                                            
W.B. turns with hands out and faces the room.
                                                            
                       W.B.
Fred...the evening could not be
more perfect. The people are
beutiful and the band....
                                                            
C.U. on W.B.'s face as Fred leans in to him.
                                                            
                       FRED
      (whispering)
Ms. Wolf desperately wants to go
home.
                                                            
W.B.'s face quickly turns to disgust as he pivots to Fred.
                                                            
                       W.B.
YOU COME TO ME WITH THIS. YOU KNOW
WHAT WE ARE PREPAIRING FOR.
                                                            
                       FRED
I know, but....
                                                            
                       W.B.
      (Through his teeth)
But what Fred....I am a local
millionaire, a business leader and
owner in the community, and
lastly....Woodrow Wilson, the man
who could be our next President,
will be here in this very room
tomorrow evening.
(beat)
            (MORE)

9.

                       W.B. (cont'd)
So, I should let it out that I
have a BASTARD son with a chamber
maid that I have locked up in an
upstairs suite.
                                                            
                       FRED
DAMNIT BILL....It's been a year.
                                                            
W.B. turns to face the room and smiles while he adjusts his
Swarovski Crystal CUFF-LINKS.
                                                            
                       W.B.
She gets out and I,m ruined.
(beat)
And Fred, don't ever bring this up
to me again.
                                                            
                       FRED
Yes Sir.
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
The elevator door opens as Mr. Scherubel exits.

He makes his way down the long hallway to Ms. Wolf's room
and pulls out a large set of keys.
                                                            
 
INT. HOTEL - ROOM 1025 - NIGHT
                                                            
The VICTROLA continues to play as Mr Scherubel enters.

Effie, attempting to console her agitated child, turns with
an eager grin toward him only to see his blank face.

SHE STANDS TO RECEIVE HER ANSWER.
                                                            
                       FRED
I,m sorry Ms. Wolf.
                                                            
Her smile is quickly swept away and her bottom lip begins to
quiver.
                                                            

10.

She turns away and walks toward the window as a tear begins
to fall down her cheek.
                                                            
                       EFFIE
      (looking out the
       window)
Thank You Mr.Scherubel
(beat)
For everything.
                                                            
sounds of keys RATTLE in the door as Fred exits the room.
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
Fred removes his keys from the door and makes his way down
the LONG, NARROW hallway. as Effie's last comments resonate
through his head.

He frantically turns around. ANIMUS. Furrowed BROW and eyes
SQUINTED he soaks in the long empty hallway.
                                                            
                       EFFIE (V.O.)
Thank You Mr.Scherubel
(beat)
For everything.
                                                            
 
INT. HOTEL - ROOM 1025 - NIGHT
                                                            
NEEDLE STATIC from the finished record fills the room.

Mr. Schurebel opens the door and enters. Effie, adorning her
chamber maid uniform, riffles through cleaning items in a
basket.

She is stone faced as she makes her way to the Victrola
raising the STYLUS.

He pans the room as he hears nothing but silence.

The WINDOW IS OPEN, it's CURTAINS BLOWING from the wind.
Fred quickly approaches the window and looks down.

Through the window we rise over Fred and pan down to the
dimly lit bodies of Effie and her child on the street below.

11.



BODIES BROKEN - TWISTED - THEIR BLOOD FOLLOWING THE JOINTS
IN THE COBBLESTONE ROAD.

Fred steps back to collect his thoughts and turns to an
empty room as he falls SLACK against the wall.

C.U. on Fred's face as he slumps to the floor. The haunting
sounds of a maids cart rolling and unintelligible voices
fills the room.

The STYLUS on the VICTROLA falls as the record begins to
slowly turn.
                                                            
 
INT. MR. SCHERUBEL'S SUITE - NIGHT
                                                            
A hotel room as any we have seen before.

LAMPS, CHAIRS and BIBLE placed with purpose. On the coffee
table sets a bottle of Usher's Scotch Whiskey, a glass and a
small Victrola.

C.U. of shaking hands as they grab the bottle and pours a
small shot in the glass.

FRED EMPTIES THE GLASS IN ONE GULP.

The glass in his hand, he wipes a small drip from his chin
and sits staring blankly at the VICTROLA.
(beat)
He leans forward and places the glass back on the table.
                                                            
 
INT. MR.SCHERUBEL'S SUITE - MOMENTS LATER
                                                            
C.U. of HANDS as They unlock the clasp to a wooden case and
opens the lid revealing a large caliber pistol.

C.U. of his left hand he LOWERS the stylus on the VICTROLA
as it begins to play slowly.

C.U. of the shiny barrel of a PISTOL.

C.U. of the BLANK look covering his face.

12.


C.U. on Fred's EYES as they slowly tightens tighten to
BLACK.

LOUD BANG.
                                                            
                                         TIME CUT:
                                                            
 
EXT. PARKING LOT - NIGHT
                                                            
APARTMENT BUILDINGS PLACED ONE AFTER ANOTHER

TITLE: OKLAHOMA CITY 1992

SHANE STURGIS, a FIT. CONFIDENT. Mid 20's coed, Climbs from
his SUV and walks the heather concrete path to his apartment
door. He stops in the breezeway as he HEARS his neighbors in
the THROES OF PASSION.

Knowing he shouldn't -- he stops to listen, pulling his
jacket up around his neck. Under the florescent light GLOW
He smiles as he turns to his door.
                                                            
                       SHANE
      (Shouting)
Hey Curtis...Hey Patti.
                                                            
                       NEIGHBORS
      (Giggling)
SHANE!
                                                            
 
INT. SHANE'S APARTMENT - NIGHT
                                                            
The door opens to every MALE APARTMENT you have ever seen.
BEER CAN SCULPTURES, STATEMENT POSTERS and NEON SIGNS litter
the walls.

Shane enters to see CHARLIE BRIGHT, his FIT and extremely
THIN mid 20's roommate, nestled within an aging high-back
chair. Two attractive women in their early 20's, sit
carefully atop a soiled couch covered in mismatched
cushions.
                                                            

13.

                       CHARLIE
      (Smiling)
There he is. I told you he would
be here soon.
                                                            
                       CHARLIE (cont'd)
Sup STURGE?
                                                            
                       SHANE
      (confused)
Not much..
(beat)
Umm I'm going to put my stuff in
my room and I'll be right back.
                                                            
Shane begins to walk toward his room then stops and turns
back.
                                                            
                       SHANE
Charlie can you help me.
                                                            
 
INT. SHANE'S ROOM - NIGHT
                                                            
ACOUSTIC GUITARS in their wall mounts and PILES of LAUNDRY.

Shane sits on the bed sloshing to - and - fro.

THIS IS A WATERBED

with bags still in hand he turns as Charlie walks in
smiling.
                                                            
                       CHARLIE
So...?
                                                            
                       SHANE
Who is that hot plate of breakfast
on the couch?
                                                            
                       CHARLIE
The one on the right is the girl I
have been telling you about. You
know Christy Rae.
                                                            

14.

                       SHANE
Ahh yes..And her companion?
                                                            
                       CHARLIE
Uhh..I think it is something
Garvey.
                                                            
                       SHANE
Dude, her name could be Ebola and
it wouldn't make a difference.
                                                            
Shane's smile quickly turns to a FROWN.
                                                            
                       SHANE (cont'd)
So what's wrong with her.
                                                            
                       CHARLIE
Why does there have to be
something wrong with her.
                                                            
                       SHANE
Because there always is.
                                                            
                       CHARLIE
OKAY....okay
(beat)
Her boyfriend just dumped her and
Christie is just trying to get her
out to meet people.
                                                            
                       SHANE
I'm the first person aren't I.
                                                            
Charlie smiles and starts dancing as he backs out of Shane's
room.

(beat)

Shane SMILES then drops his things and checks himself in the
mirror.
                                                            
                       CHARLIE
      (O.S.)
May I fix you Ladies a drink?
                                                            

15.

                       SHANE
Here we go again.
                                                            
 
INT. SHANE'S LIVING ROOM - NIGHT
                                                            
Charlie and the girls talk as Shane gets up grabbing empty
bottles and walks into the kitchen.
                                                            
                       SHANE
Can I get anyone anything while
I'm up?
                                                            
                       CHARLIE
I think we're fine. I was just
getting ready to give Christie a
tour of the apartment.
                                                            
Shane shakes his head as he throws away the bottles.

Charlie helps Christie off the couch and exits to his room
closing the door.

Shane scrounges through their deficiently stocked fridge. A
single PICKLE floats along the bottom of a GALLON jug of
green juice. Shane begins to speak as he seems hypnotised by
the last slice.
                                                            
                       SHANE
      (To the Pickle)
Look..The only T.V. that works is
in my room. You are more than
welcome to come hang out and watch
it. I am getting a little tired
and was going to lie down for a
minute.
                                                            
                       COLLEGE GIRL #1
      (matter of fact)
Let's get this straight right now.
(beat)
Nothing is going to happen. I came
here for Christie, THAT'S IT!
                                                            
He POPS his head from behind the fridge door.
                                                            

16.

                       SHANE
Woa..Woa..I was just giving you an
option.
                                                            
                       SHANE (COND)
It has been a long day and I'm
tired. You are more than welcome
to come hang out while "I"
(beat)
more than likely
(beat)
sleep.
                                                            
Shane turns and walks toward his room as we hear giggles and
the PULSE of industrial music pounding for behind Charlie's
bedroom door.
                                                            
 
INT. SHANE'S BEDROOM - NIGHT
                                                            
We see Shane lying on the far side of his bed as the girl
enters.
                                                            
                       COLLEGE GIRL #1
I'm sorry. I just went through a
bad breakup.
                                                            
                       SHANE
Don't worry about it. Just come in
and watch what you want to. I'll
try not to snore too loud.
                                                            
She smiles and sits on the edge of Shane's bed and turns on
the T.V..
                                                            
WE FOCUS ON SHANE AS HE STARTS TO FALL ASLEEP.

DREAM SEQUENCE:

The only sound we hear is that of a finished record.

There are four doors in front of him. Three are opening and
closing rapidly. Shane enters the door that remains open. We
enter into a large abandoned sanctuary. The floor is covered
with old HYMNAL PAGES, ANIMAL CARCASES AND DECAYING
VEGETATION.

17.


As Shane walks through the sanctuary we come to one of many
large windows overlooking the adjoining cemetery. We see the
figure of a FRAIL. YOUNG. GIRL. in a house coat walking
through the cemetery grounds.

THE STATIC GROWS LOUDER AND MORE DEMENTED.

DO WE KNOW HER?

M.O.S. Shane runs to the window screaming "MEGAN!" The girl
continues to walk through the cemetery toward a small dug
GRAVE. There we see two extremely ELDERLY, CATATONIC men
wearing hospital gowns holding shovels.

As she comes to the grave, the men take hold of her hands as
she looks toward Shane. There we see Shane screaming "I'M
SORRY!" The girl turns back and begins her descent into the
grave as the men begin to throw shovels full of dirt onto
her.

We see Shane looking for a way out of the Church as he runs
toward the double doors at the sanctuary's entrance.

As he reaches for the knobs the doors fly open and he is
thrown back by a large gust of wind.

As Shane falls to the ground we see the doors as they slam
shut and the silence is broken by the sound of a girl
screaming.
                                                            
                       COLLEGE GIRL #1 (O.S.)
      (screaming)
WE ARE LEAVING!
                                                            
 
INT. SHANE'S BEDROOM - MOMENTS LATER
                                                            
Shane wakes up and is sprawled on his bedroom floor. Sounds
of commotion are coming from the living room.

From across the hall, Charlie is putting his clothes back on
as he stops to see Shane on the floor. He shakes his head in
disgust then tries to console the upset women.
                                                            

18.

                       COLLEGE GIRL #1 (O. S.)
      (crying)
I said we are leaving.
                                                            
Shane slowly set up only to lean on the edge of his bed.
                                                            
                       COLLEGE GIRL #2 (O.S.)
Let me get my purse.
                                                            
                       CHARLIE (O.S.)
      (Whispering)
His sister just died.
(beat)
He has nightmares.
(beat)
Come on just stay. At least let me
take you all home.
                                                            
C.U. on the overwhelming sadness that covers Shane's face.
His eyes blink shut slowly as we hear the front door slam.

Charlie enters the room and walks to the window to listen to
the high pitch of the girls conversation as they enter their
cab.
                                                            
                       CHARLIE
      (Looking out the
       window)
You have got to let this go man.
It wasn't your fault.
                                                            
Shane looks in Charlie's direction as he sighs.
                                                            
                       CHARLIE
Sigh all you want, but you need to
get...
                                                            
                       SHANE
SOME HELP!
                                                            
Shane quickly stands up.
                                                            
                       SHANE
I need to get some help?
                                                            

19.

Shane walks to his dresser and pulls out a picture of a
frail young girl in her early teens and places it in front
of Charlie's face.
                                                            
                       SHANE
Look at her Charlie.
                                                            
Charlie looks at the picture then turns away from Shane and
walks toward the door.
                                                            
                       SHANE
I should have been there.
                                                            
                       CHARLIE
      (to himself)
Here we go...
                                                            
Charlie stops, lowers his head and turns toward Shane.
                                                            
                       CHARLIE
You being there would not have
kept her from dying.
(beat)
And you torturing yourself
everyday isn't going to bring her
back.
                                                            
Shane, leaning on his bed, places his head in his hands.
                                                            
                       SHANE
I promised her I would be there.
Monday night was our night to just
hang out. Be stupid. I didn't even
call, I just didn't show up.
                                                            
Charlie slides down the wall and sits in the floor with
Shane.
                                                            
                       SHANE
Did I tell you where I was that
night?
(beat)
When they paged me 10 times, did I
tell you where I was?
                                                            

20.

                       CHARLIE
So you went to have a drink. So
what.
                                                            
Shane uncovers his face and begins to chuckle.
                                                            
                       SHANE
Yeah I had a drink. And another,
And another, And another, And
another.
                                                            
                       SHANE (cond)
I met some friends at the Hog
House for Monday Night Football
and free beer. They brought a
friend for me, we floated the free
beer and started shots. The last
thing I remember is we are making
out like prom dates. I wake the
next morning in a strange
apartment full of people I don't
even know and a cat's tail in my
mouth. I reached for my things and
I see I have 10 missed pages on my
pager.
                                                            
Charlie looks up at Shane. His eyes wide soaking in what he
has just heard.
                                                            
                       SHANE
I miss her.
                                                            
                       CHARLIE
I know you do.
                                                            
Shane looks up and stares at Megan's picture on the dresser.
                                                            
                       SHANE
You haven't lost anyone, so you
may not know how I feel.
                                                            
Charlie shakes his head and begins to laugh.
                                                            

21.

                       CHARLIE
      (Shaking his head)
Shane....
(beat)
I have spent the last 2 years of
my life, seven days a week I might
add, at your families house for
practice, birthdays, holidays,
meals....Shall I go on?
                                                            
                       CHARLIE (cond)
They are as much my family as my
own.
(beat)
I miss her everyday.
                                                            
Shane shakes his head in appreciation.
                                                            
                       SHANE
Man...I...I didn't mean it like
that.
                                                            
                       CHARLIE
Hey...I know.
                                                            
Charlie gets up and stops at the doorway.
                                                            
                       CHARLIE
I got something that just might
cheer you up. We have just enough
money after rent to buy a brand
new jar of....BEST MAID PICKLES.
(beat)
You in?
                                                            
                       SHANE
Next time. I'm going to sleep and
I'm going to try to forget about
this evening.
                                                            
Charlie smiles and turns and walks toward the kitchen.
                                                            
                       CHARLIE (O.S.)
      (laughing)
You grabbed her ankles.
                                                            

22.

Shane gets up and once again looks deeply at his picture of
Megan on his dresser as he starts to think back.

Megan is in loose fitting pajamas accompanied by her I.V.
stand and medicine tray, while Shane is wearing a worn ball
cap, flannel shirt and loose jeans.
                                                            
FLASHBACK VISION:

Shane and Megan are in front of the television set playing
PlayStation as Shane throws down his controller.
                                                            
                       MEGAN
      (laughing)
You suck. What is that 7 in a row?
                                                            
                       SHANE
I might be able to win if I got to
practice all day.
                                                            
                       MEGAN
One more game you big baby. I'll
go easy.
(beat)
I promise.
                                                            
 
INT. SHANE'S BEDROOM - MOMENTS LATER
                                                            
Shane smiles as he turns from the picture and crawls into
bed.
                                                            
 
EXT. HOTEL - NIGHT
                                                            
FRONT ENTRANCE OF THE SKIRVIN PLAZA HOTEL.

Under the far east canopy we see an ELDERLY male TRANSIENT
and his mange covered DOG sitting on a large canvas bag.

He SPITS in his hands, scrubbing his face as he rocks back
and forth.
                                                            
                       TRANSIENT
      (strong southern
       draw)
OOOOOh no Pat...Oh Pat...Oh
            (MORE)

23.

                       TRANSIENT (cont'd)
Pat...Nooo, no, no...Vanna don't
like no dirty boys. No sure don't.
Nope.
                                                            
He continues to WASH himself as he is DISTRACTED by
something in the front Fourier of the Hotel.

(BEAT) He slowly rises from the bag and moves toward the
front door as his dog, haunches raised and askew, begins to
growl.

OBJECTS POV: Exiting the main entrance.

The transient continues still not sure what he sees.
                                                            
                       TRANSIENT
      (confused)
Maam....
(beat)
Can I hepp yee?
                                                            
FEAR COVERS HIS FACE.

C.U. His eyes grow larger and more afraid as the object
moves closer.

The transients mouth opens as he quickly back peddles
falling over his bag. The dogs growl turns to a whimper as
he begins to PEE on HIMSELF.

They both jump and begins to run toward the parking garage
never turning back.
                                                            
                       TRANSIENT
      (screaming)
NOOOOO....GO OWN NOW...GO OWN!
LEAVE ME LONE!
                                                            
 
INT. HOTEL - LOBBY - NIGHT
                                                            
A shadow moves along the EAST wall vanishing within the OAK
CARVED entrance of the dinning room.
                                                            
 

24.

INT. HOTEL - MEZZANINE FLOOR - NIGHT
                                                            
From between the wrought iron railing rests a PIGEON NEST.
Resting atop her eggs, the pigeon's head lurches back and
forth. In the b.g. a red glow of the street light outside
shines across the entry tiles.
                                                            
 
INT. HOTEL - BANQUET ROOM - NIGHT
                                                            
COBWEBS, almost too heavy to stay attached, sway from the
multiple light fixtures.
                                                            
 
INT. HOTEL BALLROOM - NIGHT
                                                            
MOONLIGHT, almost blinding as it shines in from the
surrounding windows.
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
A LONG HALLWAY - IS THERE AN END.

From the black of the room in front of us, sits a single
CHAIR awry.

UNSETTLING. INCONGRUOUS.

In a swift moment, the chair straightens toward us.

DO WE SEE THIS?
                                                            
 
INT. SHANE'S ROOM - MORNING
                                                            
Shane's alarm CLOCK on his headboard is FLASHING 11:00 a.m.
as it sounds.
                                                            
                       CHARLIE (o.s.)
Dude?
(beat)
You know I sleep in the nude
right?
                                                            

25.

                       SHANE
      (mumbling)
Uhhhh...Yeah
                                                            
                       CHARLIE
It's pre-noon, you don't turn that
off I'm coming to get in bed with
you.
                                                            
Without looking Shane punches the alarm clock & knocks it
into the trash can next to his bed.
                                                            
                       SHANE
Hey.
                                                            
                       CHARLIE
What?
                                                            
                       SHANE
Tell me something.
(beat)
Did last night really happen?
                                                            
                       CHARLIE
      (laughing)
I would like to be able to say no,
but....sorry.
                                                            
                       SHANE
I had a hold of her leg and was
screaming?
                                                            
                       CHARLIE
Hey can you do me a favor? Since I
am too tired to do it right now,
and since you just cost me
ohhh...two months of sex, could
you flip yourself off for me?
                                                            
We see Shane still in bed as he lifts his hand and flips
himself off.
                                                            
The phone rings and we hear Charlie's voice enjoying what he
is hearing.

Shane moves to the edge of the bed and begins to stretch.
                                                            
 

26.

INT. SHANE'S LIVING ROOM - MORNING
                                                            
Shane sits on the couch eating a large bowl of fruity cereal
as Charlie walks in the room.
                                                            
                       CHARLIE
That was Matt on the phone. He has
found two new places we can try to
shoot. One of them is downtown at
the Sante Fe Plaza. He said he
thought it would have a good
backdrop.
                                                            
                       SHANE
Man...I don't know.
                                                            
                       CHARLIE
Listen to me. We have got to get
you off of your dead ASS before
you start getting bed sores. You
are such a food baby.
                                                            
                       SHANE
      (proud)
Ahhh the poop list.
(beat)
You've been studying.
                                                            
                       CHARLIE
Yep...I have plenty.
                                                            
                       SHANE
Look, we are going to spend half
the night trying to find the right
spot, Then Kevin is going to piss
off Matt, He will start bitching
how he always has to be the leader
and then will start second
guessing the location. This all
leads up to us as we then start
talking about how we can see his
woman like nipples through his
shirt. He gets mad and wants to
fight us to our deaths, and
somehow we end up at Jimmy's
Round-up at 2:00 in the morning
making bets on how many drunks end
            (MORE)

27.

                       SHANE (cont'd)
up pissing themselves.
                                                            
                       CHARLIE
How beautiful. Your words have
moved me. I want to touch you
right now.
                                                            
Charlie begins to remove his shirt as he reaches for Shane.

Shane smiles PUSHING him away.
                                                            
                       CHARLIE
      (mocking)
PLEASE HOLD ME!
                                                            
Charlie back-hands Shane in the nuts as he runs away from
him.
                                                            
                       CHARLIE (cont'd)
Quit your bitching, you're going!
                                                            
 
INT. VAN - NIGHT
                                                            
85 CRAPPY FOREIGN VAN

Headliner pinned up and headrests broken and partially
missing. GUITAR and MANDOLIN cases sit upright along the
DUCTAPE coated rear doors.

A CLAD GROUP OF NE'ER DO WELLS.

LONG LOCKS and partial FACIAL HAIR we see MATT, early 20's,
slightly overweight, his girlfriend CLAIRE, mid 20's, KEVIN,
male coed mid 20's, Shane and Charlie.
                                                            
                       CAR VOICE
      (Asian Tones)
Fuel level is low.
(beat)
Fuel level is low.
                                                            
                       CHARLIE
Do you ever put gas in this heap?
I am starting to dream about Asian
women. I can't go past a nail
            (MORE)

28.

                       CHARLIE (cont'd)
salon without getting an erection.
                                                            
The group tries not to LAUGH as Matt tries not to REACT.
                                                            
 
EXT. PARKING GARAGE - NIGHT
                                                            
The car enters the garage and ASCENDS up the CIRCULAR
entrance.

Rows of empty concrete floors pass as the group exits to the
top floor.
                                                            
 
EXT. PARKING GARAGE - TOP FLOOR - NIGHT
                                                            
From the top floor we see the northeast TOWER of the Skirvin
Hotel.

Their van pulls to the top and proceeds past a glass room
marked "ELEVATOR" to the furthest west parking spot.

As it stops, the car quickly empties.

CONCRETE DEADMAN BLOCKS AND A WASTE WALL LINE THE TOP FLOOR.

As the guys exit they walk to the EDGE to look over as
Claire pulls out her camera, tri-pod and lenses out of the
trunk.

All of the guys climb atop of the parking garage west wall
LEDGE.
                                                            
                       CLAIRE
That will make a great shot.
(beat)
Right there.
                                                            
Everyone begins to pose as Charlie leans back too far and
begins to fall.

As they reach for him his grip is lost and he falls from
sight.

The guys look down then quickly rush toward the elevators.

29.

Screaming, Claire runs toward the ledge and slowly starts to
look over. We pan over the top of Claire to see Charlie
planked atop the ledge mimicking the backstroke.
                                                            
                       CLAIRE
      (ANGRY)
You guys suck!
                                                            
Everyone begins to laugh as Charlie pulls his pants up.
                                                            
                       CHARLIE
      (smiling)
I need some help up please.
                                                            
                       MATT
Alright, that's enough. Let's get
back so we do not miss the shot.
                                                            
Claire's frown quickly turns to a smile as she turns to
Shane.
                                                            
                       CLAIRE
It is nice to finally see a
genuine smile again.
                                                            
                       SHANE
I thought I had forgotten how.
                                                            
Shane reaches to Charlie as he tries to helps him to climb
back over.
                                                            
 
EXT. PARKING GARAGE - TOP FLOOR - NIGHT
                                                            
Charlie stands up and begins to wipe himself off.

Suddenly, as if sensing that someone is watching him,
Charlie turns to look behind him.

The seventh floor of the adjacent hotel is quiet and dark. A
light flicks on as a silhouette of a women stands in the
window. Charlie is not sure what he sees.
                                                            
                       KEVIN
Climb you butt back over.
                                                            

30.

Charlie turns to see Kevin reaching over to help him. He
quickly turns back to see that all the lights are off.

WE DIDN'T SEE ANYTHING....
                                                            
                       CHARLIE
Pull you big pussy.
                                                            
Charlie struggles as Kevin pulls him to the top of the
ledge.

As he pulls free and reaches the top he glances back to the
Hotel once more.

He smiles and shakes his head as he convinces himself that
nothing was there.

The group collects themselves as they all notice a LARGE MAN
walking from the shadows toward them.

MID 50'S. BADGE SHINNING. NAME PLATE WITH "BOB" ENGRAVED.
                                                            
                       BOB
      (matter of fact)
What are you kids doing up here?
                                                            
                       CHARLIE
Everybody run!
                                                            
Charlie MIMES as if he is running.
                                                            
                       BOB
      (angry)
I asked you all a question!
                                                            
The group all looks to one another waiting for someone to
speak as they are all still laughing.
                                                            
                       SHANE
      (questioning)
We're attempting to shot a
documentary on the developing
music scene in Oklahoma City.
                                                            
Bob, looking curious, walks to there VAN and peeks inside.
                                                            

31.

                       SHANE
We are a group.
(beat)
A band. Kind of Eagles meets Bill
Monroe.
                                                            
Bob, not impressed by this, continues to look upon the group
and their van.
                                                            
                       CLAIRE
Hey, why don't you all do
something for him.
                                                            
The guys gather together at the van as Charlie opens the
door and pulls out his mandolin. Bob watches on as they
begin to preform.
                                                            
                       GROUP
      (SINGING)
It's five o'clock in the morning
And I'm just gettin in
(beat)
I knock on wood
And a voice sweet and low says
Who is it
She opens up the door and
Let me in
Never once does she say
where have you been
(beat)
She says....fellas
Are you hungry
Are you hungry honey
Did you eat....YEAH
It's a thin line
between love and hate
It's a thin line
between love and hate
                                                            
Bob GRINS as they finish
                                                            
                       BOB
Wow....That was....Wow!
                                                            
The guys all pat each other and turn to Bob.
                                                            

32.

                       BOB (cont'd)
I am sorry that I rushed up on you
like that. We've had kids get up
here and throw things down on cars
and through windows.
                                                            
                       KEVIN
No problem.
                                                            
                       BOB
You guys sound great. What brings
you out here?
                                                            
                       MATT
We want to utilize iconic places
in the city.
(beat)
What better backdrop.
                                                            
                       BOB
You guys like the Skirvin huh?
                                                            
                       SHANE
What's not to like....Look at her.
                                                            
                       BOB
I bet there would be some good
backdrops inside.
                                                            
Bob pulls out a large keyring from his jacket and singles
out one shiny silver key.
                                                            
                       BOB
What do you say we go in and see.
                                                            
                       CHARLIE
You betcha....
                                                            
The group reacts as they pick up there equipment and head
toward the Sante Fe Plaza elevator.
                                                            
 
EXT. PARKING GARAGE- FIRST FLOOR - NIGHT
                                                            
The elevator doors open as the group exits onto the street.
and continue to the entrance of the Skirvin.
                                                            
 

33.

EXT. HOTEL - NIGHT
                                                            
BRICK ARCHES and years of DIRT surround the windows of the
Hotel lobby. As they reach the front doors they immediately
turn to a noise to their right.

A TRANSIENT and his DOG approach the group.
                                                            
                       TRANSIENT
Ya'll ott not be round here. Them
there doors ain't ment to be
opened. They don't want ya'll
here.
                                                            
He stops and slowly SWIVELS, looking directly at Shane.
                                                            
                       TRANSIENT (cont'd)
cept you. They got som'n spacial
fer you.
                                                            
                       CHARLIE
Oh, please let it be a puppy.
                                                            
                       BOB
How many times do I have to run
you off?
                                                            
Shane stares, confused yet completely intrigued by the
hotel. Unable to turn away. He is drawn to it.

Bob begins to walk toward them as the dog pees and they both
quickly walk back toward the east alley.
                                                            
                       TRANSIENT
Just member I warnt cha.
(beat)
Night.
                                                            
Looking over his shoulder at Shane, he smiles and begins to
whistle CAMPBELL and BURR'S "After You're Gone."
                                                            
 
INT. HOTEL - LOBBY - NIGHT
                                                            
THEY ALL STAND IN AMAZEMENT.


34.

Midst the FILTH and ABANDONMENT, the Lobby's beauty can be
felt throughout.

Doors and passageways leading to unknown destinations
                                                            
                       CHARLIE
This place is incredible.
                                                            
                       KEVIN
Oh Hell No!....Devil faces, little
scary ass men hanging on the
walls. No thank you.
                                                            
                       SHANE
I forgot how cool this place was.
                                                            
                       MATT
You've been in here before?
                                                            
                       SHANE
Yah....The Oklahoma Music Educator
Association concert in 88.
(To Bob)
That's the year it closed right.
                                                            
                       CHARLIE
Ah 88....The year the rest of us
were having sex, choir boy was
entertaining the masses.
                                                            
                       SHANE
Hey, I had some A-Listers on my
resume back then.
                                                            
The group, all but Shane, look at one another and shake
their heads and laugh.

Turning to Shane, Charlie wrenches his hands while he stems
with excitement.
                                                            
                       CHARLIE
You know I have to, right?
                                                            
                       CHARLIE (cont'd)
Bob, let me tell you a story. One
of a man, a sub-par woman and the
ugliest set of breasts ever
            (MORE)

35.

                       CHARLIE (cont'd)
fondled.
                                                            
                       SHANE
Ah Ha....We are going to go there
aren't we.
(BEAT)
Hey Bob, you have a man, a party
and a compromising situation.
unbeknown-st to this man is a
group of women who have decided to
attend. Oh, did I say women? I
meant a group of men dressed as
women, a flirtatious group I might
add.
                                                            
                       CHARLIE
I am fine with my sexuality
                                                            
                       SHANE
I seem to remember there were
allot of man weiners involved.
                                                            
                       CHARLIE
No....No....There were no man
weiners.
                                                            
                       SHANE
I'm sorry, in my newly revised
version there will be.
                                                            
                       CHARLIE
Well played my good sir.
                                                            
Even with the group, THE LOBBY IS VERY EMPTY.

Shane wanders away from everyone and sits down at the piano
as he plays a haunting score.

A rapidly moving WHITE FIGURE goes unseen as the group is
looking over the front desk.

EVERYONE is drawn to the balcony as we hear a door slam
shut.

36.


C.U. on the frightened faces of everyone as they look up.
                                                            
                       BOB
Clockwork.
                                                            
                       MATT
By clockwork I hope you mean your
replacement is on time.
                                                            
                       BOB
      (Poetic)
"A house is never still in
darkness to those who listen
intently; there is a whispering in
distant chambers, an unearthly
hand presses the snib of the
window, the latch rises.
(beat)
Ghosts were created when the first
man awoke in the night."
                                                            
Bob walks toward the lobby's center, HUMMING a haunting
little jingle. The group, all but Matt, continues to stare
at the balcony.
                                                            
                       MATT
      (Hopeful)
Okay, tell me you are a literature
professor.
                                                            
Bob, smiling, walks to the STAIRCASE and stops at the first
step.
                                                            
                       BOB
You all want to hear a story?
                                                            
                       MATT
Does it have something to do with
the noise above us please?
                                                            
Bob begins to ascend up the stairs toward the second floor.
                                                            

37.

                       BOB
"Red serpents, fiery forms, and
yelling hags, Fit company for mad
adventurers." Don't you think?
                                                            
                       MATT
Stop that!
(toward the group)
Okay as the leader of this group,
I say we run for the door and....
                                                            
                       CLAIRE
(pointing toward the stairs)
Shut up Matt and grow a pair.
                                                            
                       BOB
Come on.
                                                            
The lobby EMPTIES as one by one the group follows Bob up the
stairs.
                                                            
                       KEVIN
(To Charlie)
Let me see if I get this....We
meet this crazy ass security man,
follow him into an abandoned hotel
and now we are going up a dark
flight of stairs to investigate
strange noises.
                                                            
                       CHARLIE
      (excited)
Isn't it awesome!
                                                            
Shane is the last to follow and stops at the staircase as he
feels something WATCHING him.

SHANE pans the lobby as he ascends up the stairs BACKWARDS
until he is gone from sight.

We hear unintelligible human voices as we see a full shot of
the lobby.

The sounds of the group fade, we hear a faint VICTROLA
playing which becomes louder as the DOORS of the lobby, one
by one, begin to CLOSE.
                                                            

38.

                                         TIME CUT:
                                                            
 
INT. HOTEL - MEZZANINE FLOOR - AFTERNOON
                                                            
DAYLIGHT and the MUTTERING of guests fills the Mezzanine
floor.

GARGOYLES look down on Effie as she straightens the floral
arrangements atop small tables lining the balcony.

Effie STOPS and TURNS as she feels someone is watching her.

In the b.g. we see W.B. Skirvin standing at the threshold of
his office admiring Ms. Wolfe. In embarrassment, Ms. Wolfe
turns SMILING as she ascends up the stairwell.

W.B. smiles curiously as he watches Ms. Wolfe walk from
sight. He turns and enters the office as the door closes
slowly behind him.
                                                            
                                         DISSOLVE TO:
                                                            
 
INT. HOTEL - MEZZANINE FLOOR - NIGHT
                                                            
MOONLIGHT and the flickering of temporary lights STAPLED to
the ceiling.

Bob and the group enter the floor and come to the balcony
railing and stop.
                                                            
                       BOB
Amazing isn't it?
(beat)
Just think, in 1909 this was just
one man's dream.
                                                            
                       CHARLIE
The woodwork. The statues. All
this?
                                                            
                       BOB
Oh Yeah....W.B. Skirvin and his
close friend Soloman Layton, the
architect of the building, went to
great lengths to make the Skirvin
            (MORE)

39.

                       BOB (cont'd)
the most unique Oklahoma City had
ever seen. The Malakoff brick on
the exterior, the ornate marble on
the lobby floors and all of the
rare wood carvings . Everything.
                                                            
                       SHANE
Wow. Being up here reminds me of
the last time I was here. This was
the spot we would troll for
ladies.
                                                            
                       CHARLIE
I remember now.
(beat)
You told me that you would
challenge the soprano's to see if
you could sing higher.
(to the group)
He hadn't fully developed yet.
Late bloomer. And his voice was
eerily high for someone with
testicles.
(To Shane)
Dude, have you checked yourself?
Do you have a vagina?
                                                            
                       SHANE
Dude. Play. Seriously. I got chics
in high school. Ask around. Ask
anyone.
(beat)
JUST ASK! Daaaaahhhhh!
                                                            
Shane walks off behind Bob as the rest of the group follows.
                                                            
                       SHANE
      (quietly muttering)
I made forty dollars that night.
                                                            
 
INT. HOTEL - BANQUET ROOM - NIGHT
                                                            
BOB ESCORTS THE GROUP INTO THE GRAND ROOM.


40.

Along the walls are TABLES and LOUNGE CHAIRS from the guest
rooms.

Hundreds of the hotel's MATTRESSES and BOX SPRINGS stacked 6
high fill the center of the room.
                                                            
                       BOB
This room has seen many important
events from Presidential
Conventions to Movie Premiers. You
all may not have known this, but
Oklahoma City had a film exchange
district. It was home to such
companies as Paramount, Warner
Brothers, Fox and Columbia
Pictures. Most of which had there
movie premiers right here. The
Skirvin quickly became known as
the Queen of Oklahoma City.
                                                            
Shane looks to Charlie nodding his heads as Charlie nods in
agreeance.

The two slip away as the group continues to walk the room.
The two see their opportunity and race to the TOP of the
pile of mattresses.
                                                            
                       MATT
      (in disgust)
I was counting the minutes.
                                                            
Jumping from stack to stack, Shane and Charlie giggle as the
group walks out.
                                                            
 
INT. HOTEL - PINSTRIPE BAR - NIGHT
                                                            
The group align the bar ATOP it's STOOLS as Bob stands as
it's TENDER looking toward Claire as she sets up her CAMERA.
                                                            
                       CLAIRE
Alright smile pretty.
                                                            
Claire moves in to focus through the view finder as she sees
a MALE SHADOW FIGURE standing at the edge of the bar, almost
a part of it's thick darkness.

41.


She quickly backs up and looks deep into the bar.

A look of RELIEF then DISAPPOINTMENT covers her face as she
leans back in looking through the view finder. She backs out
and looks once more.

IF IN DEED HE WAS EVER THERE - HE IS NOW GONE

She smiles as she moves in and takes the picture.
                                                            
                       BOB
Originally the hotel was only to
be 6 stories, but his friend Mr.
Layton, with help from some liquid
spirits of the night convinced him
that the growth of Oklahoma City
justified a much larger hotel. So,
on September 26, 1911 the 10 story
Skirvin Hotel was opened for
public inspection.
                                                            
                       KEVIN
How is it you know so much?
                                                            
                       BOB
The Oklahoman business section. It
used to be Bob Blackburn, now it's
Steve Lackmeyer. What can I say.
They make me want to learn.
                                                            
                       MATT
      (agitated)
So what's up with the noises
up-stairs? The History?
                                                            
                       BOB
Did you know that the Skirvin was
one of the first buildings in
Oklahoma to have heated and cooled
rooms and an elevator.
                                                            
The group stands and continues to follow Bob.
                                                            
                                         TIME CUT TO:
                                                            
 

42.

INT. HOTEL - 3RD FLOOR - NIGHT
                                                            
DIM LAMPS illuminate the floor as we see Effie pushing her
CART toward the west end of the hall.

From the EAST end, Mr. Scherubel and W.B. approach the
ELEVATOR. W.B. hesitates to enter as he glares seductively
at Effie.

Fred clears his throat as W.B. steps in SMILING.
                                                            
                                         DISSOLVE TO:
                                                            
 
INT. HOTEL - 3RD FLOOR HALLWAY - EVENING
                                                            
The group EMERGES and makes their way toward the floor
stairwell.
                                                            
                       BOB
Did you know that every hour 6000
people enter into eternity....I
wonder how many of those come back
to visit us as apparitions, ghosts
or even a poltergiest.
                                                            
Bob begins to walk up the stair as the group follows. He
TURNS. STOPS. and faces the group.
                                                            
                       BOB
Funny word poltergeist.
(beat)
It comes from an old German
phrase.
(turning up the stairs)
The word "polter" meaning "noisy"
and the word "geist" meaning
"ghost".
                                                            
Like SHEEP, the group slowly follows.
                                                            
                       KEVIN
      (pointing to the
       group)
I hate every one of you.
                                                            
 

43.

INT. HOTEL - WEST BALLROOM - NIGHT
                                                            
The group enters the large wood floored room. Ceiling TIN
and WOOD CARVED ACCENTS draw you into it's AGED beauty.
                                                            
                       BOB
      (enthusiastic)
Ladies & Gentlemen. On behalf of
W.B. Skirvin & the Skirvin Hotel,
we proudly welcome you to
(beat)
The Venetian Room.
                                                            
Bob breaks out in his best IMPERSONATION of a BIG BAND
LEADER as he prances around the room.
                                                            
                       KEVIN
      (To The Group)
You all happy now. This fool has
done gone nuts and brought us
right along with him in the middle
of crazy time.
                                                            
                       BOB
Just picture it. On April 23, 1930
the Venetian Room and floors 11
through 14 were opened. Mr.
Skirvin would stand here in the
doorway greeting Politicians, Oil
Tycoons, Presidential Candidates.
                                                            
Seeming to be caught in the moment, Bob walks to the middle
of the room as he motions to the West wall.
                                                            
                       BOB (cont'd)
The band would play all night. WKY
Radio set-up right over there and
would broadcast live from 11:00 to
midnight every night.
                                                            
Bob, acting as W.B., walks the room GREETING each table. The
GROUP, CONFUSED, turn to one another for answers.
                                                            
                       MATT
Is there any truth to the stories
of Effie?
                                                            

44.

The group JUMPS as a window shatters, throwing shards of
BROKEN GLASS into Matt's FACE knocking him to the ground. As
Matt wipes his face a small trickle of blood runs down his
cheek.

The group look to the broken window noticing a dying pigeon
flapping at Bob's feet. Without a thought Bob stomps on the
pigeon ending it's struggle.
                                                            
The group, STUNNED looking at the pigeons dead carcass,
turns to Bob for an answer.

HE REMAINS WITH HIS BACK TO THEM STARRING OUT THE BROKEN
WINDOW.

Shane's head slowly turns looking down the 14th floor
hallway. His attention is drawn to the far EAST DOORWAY as a
shadowy figure APPEARS then quickly DISAPPEARS.
                                                            
                       BOB
Funny thing about pigeons. A
pigeons feathers are actually
heavier than it's bones.
                                                            
Unnoticed, Shane exits to the hallway.
                                                            
 
INT. HOTEL - 14TH FLOOR HALLWAY - NIGHT
                                                            
Curiosity fills Shane as he SLOWLY makes his way toward the
EAST Banquet Room.

Faint sounds of a PIANO and unintelligible VOICES begin to
ECHO throughout the hall. SHADOWS DANCE in and out of the
doorway and sounds become louder and louder as Shane gets
closer.
                                                            
 
EXT. HOTEL - TOWER - NIGHT
                                                            
In the f.g. we see through the window as Shane seems
dilatory in his approach to the east end of the floor.
                                                            
 

45.

INT. HOTEL - EAST BALLROOM - NIGHT
                                                            
As Shane steps into the doorway he is greeted by the rooms
emptiness and deafening silence. In f.g. we see the far
South East corner of the room stands a BABY GRAND piano
illuminated by moonlight from the BALCONY windows.

(Beat)

Shane enters the room then quickly takes a defensive STANCE
as the sound of FOOTSTEPS race across the room toward the
BALCONY.

UNSEEN, the faint figure of a young girl runs along the
circular balcony quickly vanishing.
                                                            
 
INT. HOTEL - BALLROOM - NIGHT
                                                            
Bob begins to PACE the room looking out the windows
purposely not to make EYE CONTACT with the group.
                                                            
                       BOB
The year was 1912 and the hotel
had just been opened 7 years when
W.B. began a playful relationship
with a young chambermaid named
Effie Wolfe. The relationship,
fueled by passion, quickly turned
into an aliased affair.
                                                            
Bob walks closer to the broken window and begins to STROKE
the shards of glass.
                                                            
                       BOB (cont'd)
Ms. Wolfe was said to be a woman
of desire and loose morals so it
wasn't long after the relationship
started, she was with child.
                                                            
THE DOORS SLAM SHUT.

The group turns to the blank face of Shane.

ATTENTION is quickly drawn back to Bob as he continues.
                                                            

46.

                       BOB
Upon the news , W.B. had Ms. Wolfe
confined to a room on the 10th
floor as to conceal his situation.
She was to be closely monitored by
Fredrick Scherubel, the hotel's
first manager. After a year and
multiple requests to leave, Ms.
Wolfe began to loose touch with
reality. With her final request
being denied, Ms. Wolfe had only
one answer to her problem.
(beat)
Mr. Scherubel , fulfilling his
nightly rounds entered Ms. Wolfe's
room to find it empty and the
window open. Upon inspection Mr
Scherubel found the bodies of Ms.
Wolfe and her infant child
lifeless. Straddling the sidewalk
of what is now N. Broadway Avenue.
                                                            
The group, continuing to look on with increasing intensity,
holding on to Bob's every word.
                                                            
                       BOB
The next morning Mr.Scherubel
wasn't present to instruct the
hotel staff on the days events as
he had done every morning prior.
He was later found with a single
gunshot wound to the temple. Some
say self inflicted. Others say
not.
                                                            
Exhausted from BOB'S recap of the Hotel's tainted history,
the group glances around amazed by it's beauty and terrified
of it's past.
                                                            
                       BOB
      (excited)
Okay.
(beat)
Story-time is over. I've got some
rounds to make so....You guys have
fun.
                                                            

47.

                       MATT
Wait a minute, so what's causing
the noises we've been hearing up
here?
                                                            
                       BOB
Your's is a question with many
possible answers.
                                                            
Bob turns from the door to address the entire group.
                                                            
                       BOB (cont'd)
It could be one of many things.
The transient I ran off this
evening, the secret sex parties,
the constant thrill seekers who
break-in and leave behind their so
called art of men's genitalia,
(pointing down to the dead bird)
Pigeons or the spirit of a dead
chamber maid and her infant child.
                                                            
In an attempt to SACHE, Bob spins over to the dead pigeon.
                                                            
                       BOB (cont'd)
Pigeons or the spirit of a dead
chamber maid and her infant child.
(beat)
Have fun all.
                                                            
Bob quickly exits toward the stairwell as the group stands
confused by the information attacking their brains.
                                                            
                       CHARLIE
Did the man just say secret sex
parties?
                                                            
                       MATT
You are such a whore.
                                                            
                       CLAIRE
You guys think there is any truth
behind any of that?
                                                            

48.

                       SHANE
      (Distant)
I don't know, maybe, but it's
going too make our trip down even
more interesting.
                                                            
Shane turns and looks out the TOWER WINDOWS hoping to get
another glance of anything.
                                                            
                       KEVIN
Well let's get something straight
right now. I ain't goin first and
I ain't goin last.
                                                            
                       CHARLIE
Don't worry, I'll hold you close
and tight.
                                                            
Charlie reaches out as Kevin pushes away his hands flipping
him off.
                                                            
                       KEVIN
When I get home I am gonna slap my
mother for moving me next door to
you.
                                                            
In a MANIC state, Kevin storms into the stairwell.
                                                            
                       KEVIN (O.S.)
      (mocking)
"I know the other kids don't play
with that ugly little boy, but
you're gonna be , or else...."
                                                            
The group, laughing, begins to descend down the 14th floor
stairwell.
                                                            
 
INT. HOTEL - STAIRWELL - NIGHT
                                                            
The group stands close taking step all but in unison.
                                                            
                       CLAIRE
      (Laughing)
Did you used to be an ugly little
boy?
                                                            

49.

                       CHARLIE
I'll just say this. I can
distinctly remember my parents,
thinking they could make a quick
buck, would charge our neighbors
to get a peek at me.
(beat)
But now look, I am so pretty.
                                                            
                       CLAIRE
I feel so sorry for the poor girl
you con into a relationship.
                                                            
                       CHARLIE
What patience she will need.
                                                            
 
INT. HOTEL - 12TH FLOOR - NIGHT
                                                            
Surrounded by the DARK ACOUSTICS of the DRIPPING WATER, the
group files out of the stairwell on to the 12th floor.
                                                            
                       CLAIRE
Oh....it smells even worse on the
way down.
                                                            
 
INT. HOTEL - ROOM 1205 - NIGHT
                                                            
STRANGER'S POV - Through a crack in the door the group can
be seen CLINGING together as they investigate the long
hallway.

IS SOMEONE THERE?

The blur of a shadowy figure pushes open the door stepping
into the deep darkness quietly latching it behind.
                                                            
 
INT. HOTEL - 12TH FLOOR - NIGHT
                                                            
The group draws closer to one another as they curiously look
down the hall.
                                                            

50.

                       KEVIN
Is there any chance you all didn't
see that?
                                                            
                       SHANE
      (barbed)
Since Matt has self proclaimed
himself as leader of this group, I
feel it his duty to investigate
any potential dangers to the group
and or himself.
                                                            
The group, careful not to take their eyes off of the door,
nod in agreeance as they walk closer.
                                                            
                       MATT
We all know not to count on you
Shane, Hell your family and dying
sister couldn't count on you.
                                                            
                       CLAIRE
Mathew Graham!
                                                            
Matt's face quickly turns from ELATION to DISAPPOINTMENT and
DISGUST knowing he has struck a nerve .

The group stops and watches as Shane walks ahead then turns
rushing to Matt, pinning him to the wall.

FOREARM ACROSS HIS THROAT - EYES MATCHED
                                                            
                       SHANE
You have no idea my inability to
make sane, rational descisions.
                                                            
The group watches on unable to move.

TEARS begin to fall from Matt's eyes as his face turns a
bright RED. Shane releases Matt from his hold and continues
down the hall.

MATT GASPS FOR AIR.
                                                            

51.

                       CHARLIE
      (To Matt)
Man you really know how to show
your ass don't you.
                                                            
Charlie rushes ahead to console Shane as they all continue
toward the door.
                                                            
                       CHARLIE
You doin all right?
                                                            
                       SHANE
Vintage Matt....
                                                            
                       CHARLIE
Say the word and I go for the
nipples. I'll have him ready to
fight in no time. Or, I could just
punch him in his junk.
                                                            
The group stops, speechless they reach the door to room
1205. Shane reaches down and attempts to open the door.

UNABLE TO MOVE THE KNOB, he then begins to THRUST himself
toward the door. We begin to hear unintelligible voices as
Shane begins to thrust toward the door once more.

THE VOICES STOP AS THE DOOR SLOWLY ROLLS OPEN.

Light from the hallway pierces the thick darkness. The group
looks on as Shane and Charlie walk inside.
                                                            
 
INT. HOTEL - ROOM 1225 - NIGHT
                                                            
Filled with overwhelming emptiness, the room is given the
once-over by Shane and Charlie.
                                                            
                       CHARLIE
Hello.
                                                            
 
INT. HOTEL - 12TH FLOOR - NIGHT
                                                            
The rest of the group anxiously waits starring in the
cracked doorway.
                                                            

52.

                       KEVIN
You know I would'a kicked your ass
right?
                                                            
                       MATT
Man, I know what I said was....
                                                            
Kevin holds his hand up to Matt's face then points at him.
                                                            
                       KEVIN
There's something wrong with you.
                                                            
                       CLAIRE
Ya'll both shut-up.
                                                            
                       MATT
      (To Claire)
You know I didn't....
                                                            
                       CLAIRE
Seriously. Shut-up.
                                                            
Matt mumbles to himself in a desperate plea for someone to
listen.

We start to realise that Matt's ranting has mutated into the
faint sounds of a BABY'S CRYING.
                                                            
                       CLAIRE
Do either of you hear a baby
crying?
                                                            
Claire pans the hallway as the sounds slowly fade.
                                                            
 
INT. HOTEL - ROOM 1225 - NIGHT
                                                            
Charlie & Shane stand SILENT. WATCHING. LISTENING.

A LONE AR-MOIRE RESTS ALONG THE WEST WALL.

The handles begin to SHAKE violently. SCRATCHING and CLAWING
come from inside as Charlie moves closer.

He reaches out to grasp the handles then slowly looks to
Shane. With an encouraging NOD, Shane motions for Charlie to

53.

continue.

TAKING A DEEP BREATH, Charlie grabs the handles. With one
swift move Charlie opens the doors.

SUDDENLY, the doors FLING open. The figure of a young woman
lurches out toward Charlie as he falls to the ground below.

Back stepping toward the wall, Shane looks on confused as we
realize Charlie is clinging tight to a female MANNEQUIN.

Wings flapping and scratching, a pigeon flies off of the
interior handle, landing and top of the mannequin - this is
the noise he heard before.
                                                            
                       CHARLIE
      (Scared)
MOTHER BITCH!
                                                            
Charlie holds up the mannequin starring into its eyes.
Realizing it poses no threat he rests it back onto his
chest, closes his eyes letting out a sigh of relief.
                                                            
                       SHANE
This is why I want to be you. You
haven't even known her for five
minutes and already she is on top
of you.
                                                            
                       CHARLIE
Dude, this is the closest I have
ever come to shitting my pants.
                                                            
 
INT. HOTEL - 12TH FLOOR - NIGHT
                                                            
The group takes a few steps back as Shane and Charlie,
holding a mannequin, exits the room unconsciously walking
toward the stairwell.
                                                            
                       MATT
Hey, what happened?
(beat)
Guys, Hey?
                                                            

54.

                       CLAIRE
Charlie, she's cute.
                                                            
The group, following Shane and Charlie, begins to file down
the stairwell.

The SILHOUETTE of a frail woman appears from within the
darkness of the room.
                                                            
 
EXT. ALLEY - NIGHT
                                                            
EMPTY and DAMP.

The transient and his dog are asleep at the east end.

The dog shoots up. ARCHED BACK, COWERING, the dog looks into
the hotel as he begins to growl.
                                                            
 
INT. HOTEL - LOBBY - NIGHT
                                                            
C.U. hauntingly beautiful WOOD WORK of the lobby. A FOX and
PHEASANT inner-twined beneath GRAPEVINE.

We begin to hear the slight echo of the group.

The open doors of the lobby begin to slowly close.
                                                            
 
INT. HOTEL - 12TH FLOOR STAIRWELL - NIGHT
                                                            
Shane and Charlie rest on the STAIRS as the the group
approaches. Claire sits down with Shane as the rest continue
into the hallway.
                                                            
                       CLAIRE
Look Shane, he's a moron.
                                                            
                       SHANE
No, he's not.
                                                            
                       CLAIRE
Seriously, You know he didn't mean
any of it.
                                                            

55.

                       SHANE
I am not mad at Matt. Hell he
didn't say anything I haven't
thought myself.

(beat)

You know I haven't shed a single
tear since Megan has been gone.
The moment I feel anything I drop
my pants and show someone some
brain or dry hump their leg. I
have a gift for controlling my
inner demons with humor or Crown
Royal.
                                                            
                       CLAIRE
Why the hell couldn't I be dating
someone with normal friends.
                                                            
Claire leans over and rests her head on Shane's shoulder and
pats his back.
                                                            
                       SHANE
      (SMILING)
You know the only way this night
will get any better is if we end
up at the Round-Up. That is
barring that it's better than last
time. I mean come on, it was so
tight and thin. His nipples were
jumping right out of that T-shirt.
                                                            
                                         DISSOLVE TO:
                                                            
 
INT. RESTAURANT - NIGHT
                                                            
SHANE, CHARLIE, MATT and KEVIN lean back as their 40
SOMETHING waitress AUCTIONS off their plates.

Shane places his knife at the nose of their drunk, mid 20's
friend BILLY, lying in a pool of his own drool.
                                                            
                       SHANE
We've got fog.
                                                            

56.

Shane moves Billy's head over as the waitress looks on
emotionless then sets his plate down. Shane places his index
finger on Billy's BOTTOM LIP as if to make him SPEAK.
                                                            
                       SHANE
      (as Billy)
Why thank you little lady.
                                                            
                       WAITRESS
Amuzing.
                                                            
Snickers break into laughter as the waitress STORMS OFF. One
by one the laughter quiets as they all begin to tear into
their plates.
                                                            
                       CHARLIE
Well the question still remains to
be unanswered. What are they going
to school for and where?
                                                            
                       MATT
Who?
                                                            
                       CHARLIE
When asked about their profession,
a stripper will commonly answer by
saying, "I am just doing this to
get through school."
                                                            
                       KEVIN
Man, I don't even want to think
about any of the girls in my Comp
or my Chemistry class dancing much
less topless for any kind of
financial support.
                                                            
                       MATT
What the hell brought up this
stupid topic.
                                                            
                       CHARLIE
I don't know. It might be that
when I look at you across the
table smuggling buggles in your
little sisters T-shirt I get a
little turned on.
                                                            

57.

Food sprays from Shane's mouth as he tries to conceal his
laughter. Matt stands up and flings his chair back under the
table.
                                                            
                       MATT
To Hell with all of you. I am
going to the car with the keys.
Charlie, I will see you in the
parking lot. Don't eat too much.
                                                            
Matt violently rips off his shirt as he makes his way to the
exit.
                                                            
                       SHANE
Hey Matt, come back and sit down.
You're upsetting Billy.
                                                            
The guys continue to laugh as Shane uses Billy's ARM to
MOTION Matt back.
                                                            
                       CHARLIE
      (Feeling his chest)
Seriously....Am I the only one
that wants to feel those things?
                                                            
                       KEVIN
I don't care about his man
nipples, but I am calling dibs on
his biscuits.
                                                            
                                         CUT TO:
                                                            
 
INT. HOTEL - 11TH FLOOR HALLWAY - NIGHT
                                                            
From the stairwell we see the 11th floor room number PLAQUES
indicating the EAST and WEST rooms.

Shane and Charlie, looking QUIZZICALLY, walk to investigate
the east end.
                                                            
                       CHARLIE
      (Mundane)
Okay serious question. You're
responsible for the next Crayola
color. What would that color be
            (MORE)

58.

                       CHARLIE (cont'd)
and why?
                                                            
 
INT. HOTEL - ROOM 1120 - NIGHT
                                                            
UNSEEN, a SHADOWED FIGURE, clothes tattered and torn, stands
looking out of the room as the group passes.

IS SOMETHING THERE.
                                                            
 
INT. HOTEL - 11TH FLOOR HALLWAY - NIGHT
                                                            
SPIRITS P.O.V. - From pitch BLACK we watch as the group
continues down the hall.


Walking from an empty room, we see the distorted LEGS and
ARMS of a figure escape into an adjacent room and VANISH.

Matt, sensing something behind him, cautiously GLANCES over
his shoulder.
                                                            
                       CHARLIE
Okay, I'll go first.
(beat)
Muffler stain. Is it black, is it
brown. What is it?
(beat)
A financial savings is what it is.
Not to mention a space saver. Two
colors in one crayon. I am
a cooperate wizard.
                                                            
                       SHANE
      (monotone)
I marvel at your brillance.
                                                            
                       CHARLIE
I am....Something.
(beat)
Well, as my new Vice President in
charge of operations, I give you
the same task.
                                                            

59.

Shane walks on peering deeper into the darkness of each room
with a sense of purpose.
                                                            
                       CHARLIE
Come on....
                                                            
                       SHANE
      (playing along)
Fine, Mine is in the same vane.
Urine. Is it yellow? Orange?
                                                            
                       CLAIRE
I believe I am a little dumber for
having heard all of that.
                                                            
                       MATT (O.S.)
Is anyone going to talk about what
just happened.
                                                            
knowing the debate has just started, everyone turns to face
Matt.
                                                            
                       SHANE
What Matt. What just happened?
                                                            
                       MATT
Something is going on. How do you
explain that door opening.
                                                            
                       SHANE
      (Not Sure)
Come on. You heard Bob. There are
pigeons, transients, runaways.
Hell, there are all kinds of
things that could account for what
we just saw.
                                                            
                       KEVIN
Man, shut your mouth. I don't
usually do this, but I am going
with Matt on this one. The door
just came open then latched itself
shut. You had to slam into it
twice. Then the damn thing just
creeked open.
                                                            

60.

                       CHARLIE
Come on girls, we have ten floors
left. Lets play nice.
                                                            
The group meet together at the stairwell then start their
descent.
                                                            
                       KEVIN
You can shove nice up your ass.
                                                            
 
INT. HOTEL STAIRWELL - NIGHT
                                                            
As they round the corner they are startled by a large
SHADOW.

The SHADOW, noticing the group, begins to SCREAM and RUSHES
toward them. Kevin unleashes a HORROR FILLED feminine scream
that ECHOES through the halls.

Fearing eminent danger, the group tramples one another as
they CLIMB back onto the floor.
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
Reaching the floor, the group turns to face their AGGRESSOR
as Bob appears holding himself in laughter.
                                                            
                       BOB
      (laughing)
I couldn't help it. I heard you
all talking and seized the moment.
(beat)
I was just coming to tell you guys
that I have to finish my rounds
and will be locking the front
door. When you all are done I'll
meet you in the lobby.
                                                            
Still laughing, Bob trots down the stairwell until he is OUT
of SIGHT.
                                                            
                       BOB (O.S.)
Just remember, don't look into her
eyes.
                                                            

61.

                       KEVIN
That shit ain't funny
(beat)
Not even a little.
                                                            
                       CHARLIE
Man, I don't care what you'all
say, I like him.
                                                            
                       CLAIRE
Why wouldn't you.
(beat)
He's you. In twenty years.
                                                            
                       CHARLIE
      (To Kevin)
Well sweet heart did you wet
yourself after that screamfest.
                                                            
                       KEVIN
Man....Shut the hell up.
                                                            
 
INT. HOTEL LOBBY - NIGHT
                                                            
Still giggling, Bob exits the stairwell walking toward the
Lobby exit.

Passing through the GIANT PILLARS, Bob stops at the exit to
look back.
                                                            
                       BOB
BOO.
                                                            
Bob begins to laugh again as he exits.

He pulls the doors tight behind him as we hear their LOUD
CLICK.

The lobby QUICKLY goes silent.

Through the REFLECTION of the interior windows, we see as
PATRONS begin to fill the lobby walking freely about.
                                                            
 

62.

INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
The group follows one another as they begin to file down the
stairwell until the 10th floor becomes empty.

The lights begin to flicker as we begin to hear the ETHEREAL
sounds of a young woman's voice.

The hall lights become dim as we are drawn to the west wing.

A west hall light begins to shine brightly as it's door
CREEPS open slowly.
                                                            
 
INT. HOTEL - ROOM 925 - NIGHT
                                                            
The MOONLIT night sky fills room 925.

Shane walks to the WEST TOWER window then steps back in
ALARM of what he is seeing. LEANING CLOSER, Surprise and
confusion cover his face as he looks down to the street
below.

DIRT and BRICK paved road riddled with MODEL T's, CADILLACS
and COUPLES clam-mering together making their way to the
hotel's entrance.

Shane continues to watch as - all at once - PATRONS below
stop and look to the WEST. Some stand COVERING their eyes,
while others rush toward a commotion.

WHAT IS HAPPENING - WHERE ARE THEY GOING

Shane PRESSES against the window trying to see what is going
on as he notices each person turn and stand facing UPWARD in
his direction.

BLACK EYES - STARRING AT HIM - ALMOST THROUGH HIM.
                                                            
SPIRIT POV: From behind Shane we draw closer.

A ROTTING, DECAYED hand rises REACHING out toward him.

NAILS missing and BONES protruding from the skin as the HAND
clinches tight to Shane's shoulder.
                                                            

63.

Shane screams and lunges straight back into the window.
COWERING, he raises his head to see Charlie looking back at
him.

Studying him.
                                                            
                       CHARLIE
Dude, somethings eating at your
brain?
(beat)
Shane?
                                                            
Shane quickly turns hoping to catch a glimpse of what's
happening down below.

NORMALCY HAS BEEN RESTORED.

Looking down in desperation he is overcome with confusion as
we see ATM'S , flashing STREET LIGHTS and a street
maintenance VEHICLE fulfilling its nightly duty.

As real as the moment, Shane pans the room before quickly
turning back to the window.

DID HE SEE THIS?
                                                            
                       SHANE
      (Softly Muttering)
Did you see....
(beat)
Anyone?
                                                            
                       CHARLIE
Anyone. What?
                                                            
                       SHANE
      (whispering)
It's like this place is trying to
communicate with me.
                                                            
                       CHARLIE
What the hell are you talking
about. You're not making any
sence.
                                                            

64.

                       SHANE
Never-mind, you just scared me.
That's all.
                                                            
Looking away from Charlie, Shane continues to pan the room
becoming more withdrawn with each passing moment.
                                                            
                       CHARLIE
Where were you?
                                                            
                       SHANE
I've been right here.
                                                            
                       CHARLIE
NO WAY! The look on your face. You
were nowhere near here.
                                                            
Charlie steps to the window and looks along the CITY SKYLINE
as Shane walks through panning the room.
                                                            
                       CHARLIE
      (Looking out the
       window)
Hey man, I didn't mean to scare
you like that.
(beat)
Shane?
                                                            
Charlie turns and watches as Shane walks out of the room
into the HALLWAY.
                                                            
                       CHARLIE
Dude.
(beat)
Did a little pee come out?
                                                            
Charlie smiles as he turns back to look out of the window.

Bob, twirling his flashlight and talking to himself,
continues walking the GROUNDS.
                                                            
                       CHARLIE
Why hello Bob, you scary ass nut
job.
(beat)
We are a rare bread.
                                                            
 

65.

INT. HOTEL - 9TH FLOOR HALLWAY - NIGHT
                                                            
At the far east end of the hall, the group EXITS and ENTERS
rooms as Shane walks toward them. Coming to the stairwell he
glances up then continues down the hall as we begin to hear
unintelligible VOICES.
                                                            
                       GIRL
      (Whispering)
Shane.
                                                            
SHANE'S HEAD SPINS AROUND AS HIS BODY FOLLOWS - EYES WIDE.

He stops and watches as a small SHADOW advances up the
stairs. Shane quickly follows then stops at the base of the
stairs.

(Beat)

We hear a YOUNG GIRL as she is running up the stairs.
GIGGLING. TAUNTING.

ENTRANCED. CATATONIC. Shane SCALES each stair as if being
magnetized. Charlie walks to the base of the stairwell
WATCHING as Shane vanishes from sight.
                                                            
                       CHARLIE
Shane. Don't be mad. Come back
here.
(beat)
I'm not coming to find you if you
get lost.
(beat)
Shane? Butthole.
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
Shane rushes from the top of the last stair into the 10th
floor hallway and is STARTLED.

An eerie SILENCE fills the air as Shane observes PATRONS,
dressed in early 1900's clothing interacting along the
hallway.

A feeling of SLOW MOTION surrounds the patrons as it seems a

66.

CELEBRATION of sorts is taking place.

Half NAKED couples bump into Shane as they chase each other
down the hall.

All begins to return to REAL time as we begin to hear
LAUGHTER and MUSIC.

THE SAME MUSIC WE HEARD BEFORE IN EFFIE'S ROOM (circa early
1900's BIG BAND)
                                                            
 
INT. HOTEL - 9TH FLOOR HALLWAY - NIGHT
                                                            
AGITATED, Matt paces the floor as the rest of the group
watches him.
                                                            
                       MATT
Look....Shane has taken off and is
God knows where and with all that
is going on around this place. I
just don't feel it is a good idea
for us to seperate.
                                                            
                       CHARLIE
Let me put it to you this way. I
have got to piss, and unless you
all want to watch as I take out my
cash and prizes, we are going to
have to seperate.
                                                            
                       MATT
      (Agreeing)
Yeah, go ahead and pee.
                                                            
 
INT. SUITE - BATHROOM - NIGHT
                                                            
We see Charlie, eyes CLOSED and head LEANING back as he
RELIEVES himself. He sigh, then shivers off a pee CHILL.

We begin to hear LONG, EERIE, BREATHES almost like MUSIC
notes as we notice SHADOWS emerge from the dark corners of
the shower.

From the shadows a hand reaches out. NAILS MISSING AND BONES

67.

PROTRUDING FROM THE SKIN.

The hand caressing but does not touch Charlie's face then
vanishes into the shadows as Charlie is STARTLED.

The room door unlatches and opens.
                                                            
                       CHARLIE
      (agitated)
Just a second man!
                                                            
Through the REFLECTION in the mirror, Charlie sees an
EXTREMELY ATTRACTIVE FEMALE in her early 20's as she SLIDES
off her GOWN and walks into the darkness.

Charlie quickly shakes himself off then looks himself over
in the mirror.
                                                            
                       CHARLIE
What's not to like....
(to his penis)
This is the shit I,ve been
dreaming about. LOOK ALIVE!
                                                            
 
INT. SUITE - LIVING ROOM - NIGHT
                                                            
Charlie walks to the bedroom door. HESITATES. Then enters.
                                                            
 
INT. SUITE - MASTER BEDROOM - NIGHT
                                                            
Charlie stands just inside the bedroom door with his HANDS
inside his pockets.
                                                            
                       CHARLIE
Hello young lady. Can I help you
with anything?
                                                            
Charlie walks out of the DOOR LIGHT and into the dark SOAKED
room. He walks over to the side of the bed and notices the
blankets RAPIDLY moving with the faint sounds of sex.

SMILING, Charlie sits on the edge of the bed and pulls back
the covers revealing a pile of PIGEON CARCASES on top of
mold and water stained sheets.

68.


ALARMED, he slides off of the bed and on to the floor.

MAGGOTS and WORMS crawl in and out of the pile. SQUISHING.
CRACKLING.

Rushing to get away, he slips on the floor screaming like a
YOUNG GIRL as his feet are tangle in the bedspread. HANDS
from beneath the sheets GRAB and TEAR at Charlie's feet
trying to pull him back into the room.

Reaching the doorway, he stands and looks back into the
room. HOLDING his stomach, he is overcome with confusion as
he see the bed.

NEATLY PRESSED WITH BROCHURE ON THE PILLOW.

Charlie turns and rushes out of the room.

A FIGURE RISES beneath the sheets HOVERING, looking toward
the master door.

A faint circle of BLOOD soaks through the sheet,
encompassing it's mouth.
                                                            
 
INT. HOTEL - 9TH FLOOR HALLWAY - NIGHT
                                                            
Charlie rushes out of the room and CRASHES into the adjacent
wall, breathing heavily as he slumps to the floor.
                                                            
                       CHARLIE
      (looking to the
       floor)
You'all didn't happen to see a
young lady enter the room with me
did you?
                                                            
                       KEVIN
No. Why?
                                                            
                       CHARLIE
      (panting heavily)
Ahhhhh. No reason.
                                                            
                                         TIME CUT:
                                                            
 

69.

INT. HOTEL - ROOM 925 - DAY
                                                            
BLINDING sunlight fills the window as we see Effie step into
it's RAYS.

Smiling,she glances down at the EMERGING city below as we
see a hand SOFTLY graze her hair and run down her cheek.

Reacting, she quickly turns to come FACE TO FACE with W.B.

He draws closer as she is pressed against the wall and her
lips begin to quiver.

He lifts his hand and runs his FINGERS down her lips.
                                                            
                       EFFIE
      (Sultry)
I have been waiting here almost an
hour.
(beat)
I almost gave up on you.
                                                            
W.B. STARES blankly into her eyes then grabs her by the
THROAT, THRUSTING in to kiss her as she tugs HARD on his
bottom lip.

Painfully he reacts as he THROWS her to the wall and kisses
her once more.

From the closet, a cloaked figures eyes fix on the couple
with contempt.
                                                            
                                         CUT TO:
                                                            
 
INT. HOTEL - 9TH FLOOR HALLWAY - NIGHT
                                                            
As the group remains SCATTERED along the hallway floor we
see a light MATERIALIZE engulfing room 925's door.

We watch as a SHADOW moves from LEFT to RIGHT. The door
HANDLE JIGGLES then stops as the light begins to EVANESCE.

THE GROUP WATCHES IN SILENCE.
                                                            

70.

                       CLAIRE
      (looking to the
       door)
Did anyone just see that?
                                                            
                       KEVIN
Man....Ya'll need to quit jackin
around. I want to go.
                                                            
Kevin becomes irate as he notices no one is listening.
                                                            
                       KEVIN
I want to go NOW!
                                                            
                       CLAIRE
      (Agitated)
A light just came on and I saw a
shadow move across the door.
                                                            
                       MATT
      (Terrified)
Where the hell is Shane?
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
CONFUSED. SCARED. SHANE BEGINS TO MAKE HIS WAY DOWN THE
HALL.

As he begins to walk to the EAST he feels the GRASP of a
small hand redirecting him to the WEST.

IT IS A YOUNG GIRL.

Unable to see the face of the YOUNG GIRL, Shane is weaved
through the patrons quickly.

As the record come to an END, the patrons all stop and look
in FEAR to the west.

The sound of the finished record becomes louder.

Shane feels the GRASP of the girl slip away as she vanishes
into the darkness of the WEST hall.


71.

The GUEST'S turn their STARES toward Shane before they all
retire to their rooms.
                                                            
                       SHANE
Hello. HELLO.
(beat)
EXCUSE ME.
                                                            
Unmoved by Shane's cries for answers one by one the doors
all close leaving the hallway BLACK and EMPTY.

The sound of the record is now to the point of MADNESS.
Searching for the origin of the noise, Shane watches as a
stream of light appears from the far west hallway.
                                                            
 
INT. HOTEL - 9TH FLOOR HALLWAY - NIGHT
                                                            
Standing directly outside of room 925, the group hesitates.

SHOULD THEY GO INSIDE -- IS ANYONE THERE.

Claire stands starring at the door handle. She reaches out.
                                                            
                       MATT
      (Slapping her Hand)
What the hell are you trying to
prove?
                                                            
                       CLAIRE
Nothing. I'm just curious.
                                                            
                       MATT
Curious about what? You know Bob
is sitting on the other side in a
bed sheet waiting to say BOO. Or
better yet, a naked ass transient
with his pecker in his hand....
                                                            
                       CHARLIE
      (mocking)
Waiting to say boo.
                                                            

72.

Everyone continues to look at the door knob as Claire begins
to hear the faint sound of an INFANTS cry.

THE SAME AS WE HEARD BEFORE.
                                                            
                       CLAIRE
      (concerned)
Do you hear that?
(beat)
I hear a baby....crying.
                                                            
                       MATT
I am past the having fun stage. I
am ready to get Shane, get to the
lobby and get the hell out of
here.
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
Shane stands at the far WEST hall. FEAR and DETERMINATION
cover his face as he tries to LOOK into room 1025.
                                                            
                       SHANE
Hello.
                                                            
Listening intently, Shane ascends down the SHORT hallway.

As he approaches the room door he reaches out and pushes it
open. BLINDING, the light fills the hallway. Full of
intrigue he crosses the THRESHOLD into the room.

C.U. as Shane COVERS his face.
                                                            
                                         MATCH CUT TO:
                                                            
 
EXT. ABANDONED STREET - AFTERNOON
                                                            
C.U. as Shane pulls his hands from his face.

Trying to adjust to the light, Shane rubs his eyes as he
tries to focus. SURPRISE covers his face as his surrounding
SLOWLY come into view.

ROTTED CANOPIES. BRICK WALLS. BOARDED UP STORE FRONTS.

73.


A SPECTRAL scene as it seems that no one has lived here for
years

SPINNING IN CIRCLES, Shane tries to figure where he is and
how he got here. Reacting to movement, Shane JUMPS at
curtains blowing in glassless windows -- dismembered
mannequins with small tufts of hair.
                                                            
                       SHANE
HELLO!
                                                            
The REVERBERATIONS of the finished record quickly morphs
into the MURMUR of car tires along the COBBLESTONE road.

Face full of fear, he watches as multiple 1944 BLACK
UN-MANNED vehicles pass by. EACH BUMPER TOUCHING THE NEXT.

Drops of RAIN shoot from the vehicles up into the BUBBLING,
GRAY cumulonimbus CLOUDS above.

From across the road, the YOUNG GIRL stands at the edge of
the street with her back to us.
                                                            
                       SHANE
Will you talk to me?
                                                            
THE GIRL STANDS MOTIONLESS.
                                                            
Looking for a way to cross, Shane notices the LAST CAR.

A WHITE CAR.

As it approaches he leans down to look inside.

An ELDERLY MAN in a white suit and cane SMILES
inappropriately as he looks forward. Shane follows the car
as he stands up.

He turns toward the girl still standing on the edge of the
street corner.
                                                            
                       SHANE
MEGAN!
                                                            

74.

THE GIRL GIGGLES --

CRASH....the FLURRY of startled birds and the twist of car
metal fills the air.

Shane looks to his right to see that the cars have VANISHED
and the OLD MAN is standing in the middle of a CROSS ROADS.

BLOOD covers his face SLOWLY trickling onto his suit.

The BUBBLING CLOUDS begins to approach quickly UNEARTHING
everything in their path.

Unable to speak, Shane watches as the old man is violently
CONSUMED by the convergent DARK MASS.

As he turns to cross the street the girl is gone. Shane
rushes to find her as NUMEROUS people emerge from within the
DOORS and WINDOWS of the abandoned buildings.

Looking back at the dark mass, they scream in complete
horror as they rush toward an adjacent ALLEY.

Shane follows the assemblage of people only to stop at the
alley's entrance.

EVERYONE IS GONE -- WAS SHE WITH THEM.
                                                            
 
INT. HOTEL - 9TH FLOOR HALLWAY - NIGHT
                                                            
Claire stands EAGER as she faces the door. Kevin, Matt &
Charlie stand behind her.

Kevin begins to shake as he has reached his FEAR THRESHOLD.
                                                            
                       KEVIN
JUST DO IT SO WE CAN GO!
                                                            
                       CLAIRE
Calm down. I'm going in.
                                                            
Claire reaches down and gently opens the rooms door. She
reaches in and feels along the interior wall turning on the
room fixture,


75.

ONE DIM BULB illuminates the SEEMINGLY EMPTY room.

From the hallway we continue to watch as Claire walks in.
                                                            
                       CLAIRE
The bathroom is empty except for
some end tables and chairs.
                                                            
In the f.g. we see Claire as she walks to the CENTER of the
room and TURNS to the group.
                                                            
                       CLAIRE
      (Confused)
Nothing....
(beat)
There's nothing in here.
                                                            
Claire pans the room as she turns and walks toward the
window. The men draw closer to the entrance of the room and
PEEK inside.

Claire walks out of sight.

From NOWHERE, a CLOAKED FIGURE, ARMS STRETCHED OUT,
aggressively rushes toward her.

FRIGHTENED, the men jump back and watch helpless as the door
SLAMS shut.

Matt collects himself and frantically rushes to the door
attempting to open it.
                                                            
                       MATT
CLAIRE!
                                                            
As Matt SLAMS against the door we hear MUFFLED whimpers and
screams from INSIDE the room.

Still in SHOCK, Kevin and Charlie stand MOTIONLESS.
                                                            
                       MATT
      (To Kevin)
HELP ME DAMMIT!
                                                            

76.

                       KEVIN
Let's just go man. Come on....MAN
LET'S GO NOW!
                                                            
                       MATT
That's Claire in there. I'm not
leaving her.
(beat)
Please help me.
                                                            
 
EXT. STREET - NIGHT
                                                            
We see Bob as he walks the street across from the Skirvin.
He TWIRLS his FLASHLIGHT and places it back into his
HOLSTER.
                                                            
                       BOB
We got to get ready Bob. The
Clinton's are trying to take back
the White house and bring with
them their Radical Middle
Political Philosophy. Hillary with
her secret society. Killing all of
those who stand in their way.
                                                            
Bob stops and looks across the street toward the Skirvin.

In the f.g. LIGHTS flicker off and on at the far WEST end of
the 9th floor.
                                                            
                       BOB
What the hell.
(beat)
I believe it's time to say good
night boys and girls.
                                                            
Bob continues his rounds as he make his way toward the HOTEL
ENTRANCE.
                                                            
 
INT. AUTOMOBILE - NIGHT
                                                            
We see inside of a late model SEDAN as four 20 somethings
ride inside. The driver is singing along with the radio.
(circa 1980's retro tune)
                                                            

77.

                       DRIVER
      (looking to his
       female passenger)
"I want to sex you up!"
                                                            
                       FEMALE PASSENGER
You sound good baby. So much
better than that Brian guy.
                                                            
The driver smiles and nods in agreeance as we hear snickers
from the back seat.

(Beat)The driver turns to ARGUE with his BUDDIES in the back
as the female passenger SCREAMS pointing to an OBJECT in
front of them. As the driver turns around he sees a striking
FEMALE in a WHITE DRESS, holding a BABY.

As he swerves to miss her, he rides over the curb hitting
and critically injuring Bob as he attempts to cross the
street. Bob's limp body flies through the air and lands
motionless on the opposite sidewalk.
                                                            
 
INT. HOTEL - 9TH FLOOR HALLWAY - NIGHT
                                                            
Matt, Kevin and Charlie THRUST their bodies against the door
of room 925.

DESPERATION and FRUSTRATION cover their faces as Matt FALLS
to his knees holding back tears.
                                                            
                       MATT
CLAIRE!
                                                            
As Matt sits in exhaustion the door FLIES open pulling loose
from it's HINGES and CRASHES against the west wall. The
group is overcome by sheer TERROR as they glare into the
room.
                                                            
 
INT. HOTEL - ROOM 925 - CONTINUOUS
                                                            
The emptiness of the room is thick by the OVERPOWERING site
and position of Claire.

DANGLING above the floor, Claire SLAMS against the wall.

78.


Imprints of FINGERS from unseen hands SURROUND her WRISTS
and ANKLES.

We watch as the hands run down her face and into her mouth.
TEARS flow from her eyes as the hands PAW and TUG at her
from INSIDE her clothes.
                                                            
SPIRITS POV - CLOSELY we start at Claire's feet and slowly
rise along her body until we are looking directly into her
eyes.

A EUPHORIC state of FEAR is seen in Claire's eyes.

Matt, Kevin and Charlie walk just inside the room and stop.
                                                            
                       MATT
      (Docile)
Claire....Baby.
                                                            
SPIRITS POV - QUICKLY TURNING.LOOKING directly at the men.

A LARGE GROWL, low and monotone fills the room as the men
hold their ears.

We look back at Claire as we hear an even louder GROWL.

Intercutting, we see Matt, Kevin and Charlie react in
horror...then the SPIRIT exits above the men and into the
hall.
                                                            
Matt rushes to Claire as her LIMP body drops to the floor.
She coughs and begins to DRY HEAVE as she slowly regains
consciousness.
                                                            
                       MATT
Come on Baby. Wake up.
                                                            
                       KEVIN
Man, this shit is jacked up. We
got to go. MAN, YA'LL COME ON!
                                                            
                       MATT
SHUT THE HELL UP! Shut up! At
least let her get on her feet.
                                                            

79.

                       CHARLIE
All of you shut up!
(beat)
Kevin, help Matt get her down to
the lobby.
                                                            
                       KEVIN
Where the hell you think your
goin?
                                                            
                       CHARLIE
I'm going to find Shane.
                                                            
                                         CUT TO:
                                                            
 
EXT. ALLEY - AFTERNOON
                                                            
Shane frantically CIRCLES as we can still hear their
screams. Without thought Shane charges into the alley's
darkness with extreme haste.

THE SUN - CONSUMED BY THE APPROACHING MASS - IS NOW GONE.

Looking for an escape he rushes toward a small LIGHT
breaking through the BUILDINGS.
                                                            
 
EXT. FIELD - NIGHT
                                                            
Shane breaks through the alley's dark grasp into a MOONLIT
clearing.

TURNING he looks back to find THE MASS IS GONE.

ALL IS QUIET AS HE STANDS ATOP A HILL LOOKING AT THE TOWN
BELOW.

The faint sound of laughter and voices becomes louder as
Shane turns to find a DRIVE leading to a FARMHOUSE in the
CLEARING.

A wrap-around porch encompasses a large white homestead.
Multiple turned wood columns support the hip roofing
over-hang.


80.

PRANCING along the front porch a young girl enters the front
door.
                                                            
 
EXT. FARMHOUSE - PORCH - MOMENTS LATER
                                                            
Loud clanging of glasses and laughter is pouring out of the
front door. Shane places his right foot on the first step as
he peers into the door crack.

Sensing no fear, he advances up the stairs to the front
door.

(beat)

Hesitant, he reaches for the doorknob as squeaking on the
front porch accompanies an evil CACKLE.

A FRAIL ELDERLY WOMAN. Her hair long. stringy. gray.

LOOKING up at us, we see she is toothless with her eyes
missing.

Awkwardly positioned, she sits stroking her dead cat.
                                                            
                       OLD WOMAN
      (laughing)
El muerto al hoyo y le vivo al
bollo. (Dead men have no friends.)
                                                            
The woman begins to rock back and forth as Shane watches
with a look of complete PUZZLEMENT. The door opens as Shane
turns to enter.

The rocking speeds up to a point of DELIRIUM as her cackle
becomes MADDENING.
                                                            
 
INT. FARMHOUSE - FOYER - NIGHT
                                                            
COVERED in an abundance of FLYING INSECTS, the bright
entryway light FLICKERS.

The farmhouse MOANS and CREAKS. Sounds of COCTAIL noise and
LAUGHTER have Shane firmly positioned in place.


81.

Unhurried Shane begins to creep deeper inside, body PRONE
almost stuck to the ground.

WHY HAVE WE BEEN BROUGHT HERE?

The laughter and conversation becomes louder as he turns to
look in the living area. ROWS of TATTERED LIFE-SIZE DOLLS
arranged throughout the room. Seated as if they are
gathering.

POTATO SACK HEADS - YARN MOUTHS - MISMATCHED BUTTON EYES.
                                                            
 
INT. FARMHOUSE - LIVING ROOM - NIGHT
                                                            
DRIVEN only by fear, Shane walks to the center of the room.

REACHING down to touch one of the DOLLS, he looks up
noticing the sound crackling from a RUSTED out SPEAKER
positioned in the ceiling.

DESPAIR fills his eyes as he sees a group of SHADOW FIGURES
loom menacingly toward him.

SHANE WORKS TO CATCH HIS BREATH AS THE DOLLS HAVE NOW
CIRCLED AROUND HIM. MOUTHS RIPPED OPEN. STUFFING EXPOSED.

Studying their expressionless faces, a SMALL SHAPE FLASHES
behind him, UNSEEN. The DULCET giggle over his right
shoulder consorting with footsteps rush up the staircase.

Shane fights his way through the ASSEMBLAGE OF SEWN ARMS.
                                                            
 
INT. FARMHOUSE - STAIRCASE - NIGHT
                                                            
Empty face, Shane conquers each step as he pans the balcony
railing. Atop the stairs we hear a SUPERNAL MOAN.

SHANE STOPS. He's never heard a sound such as this. Choosing
to ignore his fear, he presses on.

A single light PEAKS from the west hall as Shane stands
secure atop the LAST step.
                                                            
 

82.

INT. HALLWAY - NIGHT
                                                            
A CONVERSANT LOOK. Following west along the dim lit path.

WHY IS THIS FAMILIAR - HOW DO WE KNOW THIS PLACE?

A dust covered PLAQUE hangs loosely attached to the wall. He
reaches up,BRUSHING his hand across it.

"SKIRVIN HOTEL - 10TH FLOOR"

Frantic, he runs the hall to the doorway of room 1025. He
hesitates, then thrusts the door open.
                                                            
 
INT. HOTEL - STAIRWELL - NIGHT
                                                            
Matt, Kevin help Claire make their way down the stairwell.
Shadows from the wall move as HANDS emerge TUGGING violently
at Claire's legs and clothing.

Unable to scream, tears fill her eyes as Matt drags her
forcibly from their grasp.

Kevin, now CRYING, MUMBLES unintelligibly as they continue
downward.
                                                            
 
INT. HOTEL - ROOM 1025 - NIGHT
                                                            
Shane, not noticing anyone, walks to the VICTROLA and lifts
the stylus off of the record.

We hear the muffled whimpers of a young woman kneeling on
the floor as she tries to console her infant child. The
child's cry begins to ESCALATE.

SHANE WALKS CLOSER.
                                                            
                       SHANE
      (Shaking)
Maam, can I help you?
                                                            
Shane is deafened by the lack of response and reaches out
toward the woman gently touching her. As he feels the icy
chill of the woman she lets out an EVIL MOAN.

83.


The stylus drops on the record player as it begins to play
at an extreme rate of speed. The woman begins to shake
violently.

We hear the sounds of bones cracking as the woman slowly
rises.

BLOOD BEGINS TO SEEP THROUGH HER CLOTHING DRIPPING TO THE
FLOOR.

RICH DARK blood fills the floor. Shane watches as the puddle
grows, touching the tips of his shoes.
                                                            
                       EFFIE
      (SOBBING)
We just wanted to be loved.
(beat)
To be cared about.
                                                            
Slowly she begins to turn toward Shane as the lights RAPIDLY
BRIGHTEN then BURST into PITCH BLACK.

The record player STOPS.

M.O.S. - We sit in DARKNESS.

TIME SEEMS TO STAND STILL.

Slowly we hear the sound of wet footsteps and the PANTING
breathes of Shane.

The room SOAKED in deep black, we hear the sounds of clawing
and scratching. A bright STROBE of white light FLASHES
throughout the room.

DISMORPHIC, HEAD DOWN, the woman is now facing Shane.

A second FLASH of light reveals the woman is MISSING. Wet
footsteps persist as once more the blackness is interrupted
by a strobe of light BURSTING.

E.C.U. The woman's face of DECAY and SADNESS directly in
front of Shane.
                                                            

84.

                       EFFIE
      (SCREECHING)
LOVE ME!
                                                            
Raising her head, she RUSHES toward him as she
dematerializes into a BLAST of DUST and AIR.
                                                            
Shane quickly covers his face as he continues to stand
surrounded by black.
                                                            
                                         MATCH CUT TO:
                                                            
 
INT. LIVING ROOM - NIGHT
                                                            
Shane slowly lowers his HANDS. A loud HISS and the flashes
of white lights fade in and out.

TELEVISION STATIC illuminate the room.

SHANE KNOWS THIS ROOM.

In confusion and recognition, he realizes he is standing in
a familiar place. He picks up a picture of he and Megan and
grips it tight as we hear voices.

Shane watches in disbelief as his mother BARBARA, a small
framed woman,50's and his dad JACK, tall, 50's, walk into
the room and walk to the couch where we see Megan lie
motionless.
                                                            
                       SHANE
      (Pleading)
Mom...Dad
                                                            
His pleading address goes unheard.
                                                            
                       BARBARA
She stayed up as long as she
could. She never did get in touch
with Shane.
                                                            
                       JACK
I'm going to carry her to bed.
                                                            

85.

Jack leans down to pick up Megan and kisses her forehead.
Feeling how cold she is, Jack DROPS to the floor and
frantically tries to wake her.
                                                            
                       JACK
Come on Megan wake up. BABY GIRL!
                                                            
                       BARBARA
JACK! no Jack.
(beat)
NOT MY BABY!
                                                            
Sobbing uncontrollably, Shane watches as Jack lifts Megan's
LIMP body and begins to rock her. Holding her close to him.

Megan's head falls back as Shane looks into her cold WHITE
eyes.
                                                            
                       SHANE
      (Crying)
Megan, I am so sorry.
(beat)
I am so sorry.
                                                            
                       MEGAN
      (Eerily
       Sympathetic)
Why hello big brother. Oh, but why
are you crying?
                                                            
Shane watches in fear as Megan's head begins to RISE,
looking directly at him. An evil smile and COLD DEAD eyes
shroud her face as Shane stands PETRIFIED by fear.
                                                            
                       SHANE
I should have been there. I should
have....
                                                            
                       MEGAN
YES YOU SHOULD HAVE! ARE YOU
HAPPY...LOOK WHAT YOU HAVE DONE TO
ME!
                                                            
                       SHANE
I miss you so much.
                                                            

86.

                       MEGAN
OH! Stop your crying.
                                                            
                       MEGAN (cont'd)
      (Distorted)
YOU DID THIS! YOU DID THIS TO ME!
                                                            
Shane grips his PICTURE tighter as he closes his eyes and
DROPS to his knees.
                                                            
                       SHANE
THIS ISN'T REAL! YOU'RE NOT REAL!
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
SHANE'S VOICE ECHOES FROM EVERY WALL.

Charlie rushes down the hallway looking both directions
trying to find him. He starts West as a figure appears
behind him.

Feeling WATCHED. Charlie looks to see a figure turn and walk
into the DARKNESS of the East hallway.

IS THIS SHANE -- WHAT IS HE DOING

As he walks toward the east hallway a FIGURE flashes through
the room to his right. Charlie stops and is quickly
surrounded by Shane's enigmatical voice. He begins to BACK
PETAL against the wall as he pans the hallway.

Shadow figures peek in and out of the open doors.
                                                            
                       CHARLIE
      (SHOUTING)
Hey man.
(beat)
I know this is fun and all but we
need to go.
                                                            
HESITANT TO CONTINUE. Charlie clings onto the wall peeking
into the dark CONFINES of the East hallway.
                                                            

87.

                       CHARLIE
      (into the darkness)
Man, there's some creepy shit
going on downstairs and we need to
go.
                                                            
SOBBING. PLEADING. echoes come from the west hall as he
slowly turns to determine their origin.
                                                            
 
INT. HOTEL - ROOM 1025 - NIGHT
                                                            
Charlie enters the empty room and watches as Shane SWAYS in
all directions, screaming to it's EMPTY darkness.
                                                            
                       SHANE
YOU ARE NOT REAL!
                                                            
                       CHARLIE
      (Pleading)
Hey brother, we have got to get
out of here.
(beat)
Right now.
                                                            
As Charlie approaches Shane to help him up, Shane opens his
death soaked eyes and releases a scream of the utmost
TERROR. With arms stretched out, he places his picture in
Charlie's hands.

Confused, Charlie looks at the picture then turns it back
toward Shane.

Shane's body SLUMPS over limp as he realizes the picture is
a dated POSTCARD of the ORIGINAL Skirvin.

Shane cries uncontrollably at the EMPTY room. DECAY and
WATER stained walls.

Weak, he reaches out for Charlie.

CRASH!

WINDOWS and MIRRORS in the room IMPLODE flinging shards of
glass toward them.
                                                            

88.

                       CHARLIE
WHAT IS HAPPENING!
                                                            
Charlie reaches back and grabs the STUNNED Shane and makes
his way out of the room.
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
The doors along the hall SLAM OPEN and SHUT as Charlie and
Shane fight their way to the stairwell.

In the b.g. an antique maid's cart rushes toward them as
they enter into the stairwell. The cart crashes into the
stairwell wall as they fall downward.
                                                            
 
EXT. STREET - NIGHT
                                                            
The darkness begins to BREAK as we see an AMBULANCE,
FIRETRUCK and multiple POLICE cars working the scene of the
ACCIDENT.

Emergency personnel rush to perform CPR on the injured
security guard while the involved occupants sit along the
curbside being questioned.
                                                            
                       DRIVER
      (Shaking)
When I turned around there was a
woman holding a baby in the middle
of the road.
                                                            
                       OFFICER #1
And then she was just gone. Right?
                                                            
                       DRIVER
Yes.
                                                            
                       OFFICER #1
Sir, I am going to need you to do
a series of test for me. You say
you only had one beer tonight
correct?
                                                            

89.

A SECOND officer walks along the scene SURVEYING the area.
He notices a shiny object along the sidewalk and walks over
to investigate.

A LARGE RING OF KEYS.

As he pilfers through them one key STANDS out. He grabs the
large key and lets the rest drop. CARVED upon the key is a
large "S" and the address "1 PARK AVE."

As the officer places an evidence card beside the keys,
something draws his attention to the Hotel entrance.

In the b.g. is the main entrance to the Skirvin hotel. The
OUTLINES of people STANDING. BANGING go unnoticed by the
officer.

Covered by curiosity, the officer slowly rises to his feet.
                                                            
                       OFFICER #2
Hey....
(beat)
I've got something going on over
here. I'll be back in a minute.
                                                            
                       OFFICER #1 (O.S.)
All right man.
                                                            
 
EXT. HOTEL - NIGHT
                                                            
Age old DIRT and GRAFFITI cover the windows of the hotel
entrance even THICKER now. From behind silhouettes dance in
a sickening motion.

DO WE SEE THEM - CAN WE SEE THEM.

The transient SMILES as he looks toward the approaching
officer.

He slowly turns back looking in at the group. FACES pressed
against the glass, he DRAGS his HAND along the exterior
windows of the Hotel.
                                                            
                       TRANSIENT
I told you not to go inside.
                                                            

90.

Head down, he vanishes into the THICK darkness of the East
alley.
                                                            
 
INT. HOTEL - LOBBY - NIGHT
                                                            
Matt comforts Claire as she sits in a chair in the center of
the foyer. He and Kevin rush to the ENTRANCE door and
continue their attempt to open it.

Claire CURLS up in the FETAL position and begins to shake.

In the b.g. a figure drags closer to Claire.

CLAIRE'S POV - her fingers loosely cover her eyes as she
feels someone is near. She pulls her hands back to reveal an
extremely ELDERLY man.

HIS BROKEN BODY EERILY FAMILIAR - WE KNOW HIM.

Holding his slippers, he slowly leans closer.

THIS IS AN AGING W.B. SKIRVIN.
                                                            
                       W.B.
Mabel, I would like to go to my
room now.
                                                            
Fear pouring from her trembling lips, Claire opens her mouth
to a silent scream. She flinches as the man reaches out
towards her.
                                                            
                       W.B.
I am tired.
(beat)
I would like to go and lie down
for a spell.
                                                            
In the b.g. Matt turns to check on Claire. He is held down
by exhaustion as he sees the man turn and begin to walk to
the stairwell.

Claire climbs over the back of the chair and quickly crawls
toward Matt.


91.

W.B. begins up the stairs then looks to his left as if to
greet someone.
                                                            
                       W.B.
Why thank you dear.
                                                            
He raises his left arm as he is ASSISTED up the stairwell.
The group watches him vanish around the corner into the
darkness.
                                                            
 
INT. HOTEL - MEZZANINE FLOOR - NIGHT
                                                            
We look down on Matt, Claire and Kevin as they look toward
the stairwell in shock. All at once the three turn and
continue to BANG and JERK on the entry doors.

Through the dirt and filth, they see a figure walking
closer.
                                                            
                       MATT
      (panicked)
Do you think he sees us?
(beat)
HELP US!
                                                            
Matt and Kevin pant heavily as they shake and thrust against
the entrance door.
                                                            
 
INT. HOTEL - LOBBY - NIGHT
                                                            
Claire drops to the floor as Matt and Kevin begin to swing a
small metal chair against the entry door.

With each STRIKE the webbed glass seems to repairs itself.

In the b.g. Charlie and Shane FALL down the stairs.
Completely DRAINED they fight to get up and rush to meet the
rest of the group at the entry door.
                                                            
                       CLAIRE
Matt? MATT!
(beat)
I don't know what it is, but I'm
freezing cold.
                                                            

92.

The groups breath begins to fog up.

Each sweeps the area looking for a logical reason why. They
ALL continue to sift the lobby, then STOP as they get to the
STAIRWELL.

A light fog covers the stairs SEEPING into the lobby as we
begin to hear unintelligible voices.

The light bulbs begin to FLICKER as the chandelier begins to
SWAY. A CHAIR in the foyer flies through the air, smashing
across the front desk.

Taken by what she is looking at, Claire SCOOTS backwards
across the floor and PRESSES her back against the entry door
and begins to bang her fist.
                                                            
                       CLAIRE
      (Crying)
OPEN THE DOOR!
(beat)
OPEN THE DOOR!
                                                            
 
EXT. STREET - NIGHT
                                                            
Unaware of the events inside, the officer slowly makes his
way toward the entry door.

As he draws closer, we hear faint screams from the ensuing
CHAOS.

DOES HE HEAR THEM.
                                                            
 
INT. HOTEL - LOBBY - NIGHT
                                                            
FROST covers the lobby doors as the group presses up against
them.

EFFIE'S POV - HOVERING UNSEEN over the room WEAVING in and
out of the PILLARS.

C.U on the groups faces as they try to grasp what could
possibly be there.
Glaring into their eyes, Effie whispers to each man.
                                                            

93.

                       EFFIE
      (Eerie Whisper)
Do you think I am beautiful?
                                                            
Matt CLINCHES his ears and frantically looks the room over
as the voices become louder and more pronounced
                                                            
                       EFFIE
      (Eerie Whisper)
I am so lonely.
                                                            
Effie becomes more desperate and irate as the men
continually ignore her. She draws in close to Charlie
brushing back his hair.
                                                            
                       EFFIE
      (Eerie Whisper)
Please hold me, PLEASE.
                                                            
The groups looks on in fear and through tears clinging to
one another. They look up to the MEZZANINE floor by the
sounds of KEYS. SHUFFLING.

A FIGURE APPEARS FROM THE DARKNESS.

FRED SCHERUBEL stands along the railing RIFFLING through his
coat pocket pulling out a large KEY RING. Something is
DIFFERENT with him.

METHODICALLY SELECTIVE, he pulls out a SINGLE KEY.

EFFIE'S POV: Quickly turning up to the Mezzanine floor and
looking directly at Mr. Scherubel.

The agitated cry of an INFANT begins to echo through the
Hotel.

Effie releases an evil deafening SCREAM lifting from the
lobby and rising up the stairwell swallowing every sound
throughout the hotel.
                                                            
 
INT. HOTEL - LOBBY - CONTINUOUS
                                                            
In the b.g., the faces of the group disappear as her SPIRIT
ascends rounding the stairwell corner.
                                                            
 

94.

INT. HOTEL = MEZZANINE FLOOR - NIGHT
                                                            
Fred looks down into the lobby.

C.U. on the group clinging in fear before he turns and walks
toward the stairwell.

As he turns we notice a LARGE BLOODY HOLE through his
TEMPLE.
                                                            
 
INT. HOTEL - STAIRWELL - NIGHT
                                                            
FOLLOWING EFFIE'S SPIRIT --

Rapidly ascending up the SPIRAL STAIRWELL and exiting to the
10th floor.
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
Rushing down the hall to the WEST CORRIDOR.

The door of room 1025 VIOLENTLY shuts as the dense fog
SUCKED in at it's base.

C.U. A pair of Italian leather SHOES step in as sounds of
the door's dead bolt LOCK and LATCH in place.
                                                            
 
INT. HOTEL ROOM 1025 - NIGHT
                                                            
Effie reaches down to comfort her CHILD. Picking him up, she
walks to the WINDOW. As she talks to her child she opens the
window and glances over the activity below.

With her ATTENTION on her child a SHADOW covers the wall
next to her. With one swift move Effie and her child VANISH
from sight.

WHO IS THIS.

Unable to see their face, a BLACK CLOAKED figure turns
quickly from the window and walks through the room.

Passing the Victrola they reach for the stylus then turn

95.

toward the door as we hear the sound of keys entering the
lock.

The figure rushes quickly into the entry closet.
                                                            
 
INT. HOTEL - ROOM 1025 - CLOSET - NIGHT
                                                            
STRANGER'S POV - hands pulls the closet door closed as we
look through their fingers....

through the crack, Fred Scherubel comes to the WINDOW.
                                                            
 
INT. HOTEL - ROOM 1025 - MOMENTS LATER
                                                            
Fred pulls himself up from the floor, face full of PAIN and
SADNESS. He walks to the door and pans the room in confusion
then exits leaving the door open.

The closet opens as the stranger RUSHES TO THE DOOR waiting
for their moment to exit.
                                                            
 
INT. SCHERUBEL'S LIVING ROOM - NIGHT
                                                            
Fred leans back awkwardly on the couch. Hands SHAKING as he
places a glass of scotch to his lips.

In the b.g. we see the entry door open slowly. A cloaked
figure leaches into the door, closing it behind them.
                                                            
 
INT. SCHERUBEL'S ENTRY - NIGHT
                                                            
STRANGER'S POV - C.U. on a latched decorative box. Slowly
the latch is slid and the top is OPENED revealing a large
caliber, pearl handled PISTOL.
                                                            
 
INT. SCHERUBEL'S LIVING ROOM - NIGHT
                                                            
Fred places the glass firmly onto the coffee table beside
the Victrola then fills a DRAM of scotch.

Startled by a SHADOWED FLASH, Fred spins toward the entry.

96.


He quickly stands.

A swift swing sends Fred to the floor as he is STRUCK in the
CHEEK by a large blunt object sending his barreling onto the
bathroom floor.

He gently rubs his jaw as he pulls himself back to the
couch. He rubs his face as he looks to the bottom of his
glass.
                                                            
                       FRED
Good evening Ms. Luty.
                                                            
                       MS. LUTY (O.S.)
Mr. Scherubel.
                                                            
Mabel pulls down her hood as she draws closer.
                                                            
                       FRED
I guess I should have expected
this.
                                                            
                       MS. LUTY
I am here to protect him, nothing
more.
(beat)
You and I both know that hiding
her wasn't in his best interest.
                                                            
Fred lifts his arm and STARES deeply into his glass.
                                                            
                       FRED
You know, for this to be called
pure Scotch Whiskey it must be
matured in Scotland in oak casks
for no less than three years and
one day.
(beat)
Funny, today I have been with Bill
for exactly three years and one
day.
                                                            
                       MS. LUTY
Seems to be a fitting end for you
Mr. Scherubel.
                                                            

97.

                       MS. LUTY (COND)
Loose ends are unacceptable.
                                                            
Her eyes fill with DETERMINATION and jaw CLINCHES as she
swiftly walks toward Fred and FIRES A SINGLE SHOT.

SMOKE from the BLAST of the pistol fills the room.

Fred's hand VIOLENTLY TIGHTENS shattering the tumbler.

Ms. Luty gently wipes the pistol and places it onto the
floor.
                                                            
 
INT. HOTEL - 10TH FLOOR HALLWAY - NIGHT
                                                            
Mabel follows the hall to the ELEVATOR as the doors open.
The cables REFLECT from the MOONLIGHT.

THERE IS NO CAR.

She enters as the doors quickly appear closing the DARKNESS
around her.
                                                            
 
EXT. PARK AVENUE - NIGHT
                                                            
The Police Officer starts to walk quicker as his curiosity
begins to consume him.

His hands reach out toward the door handles.
                                                            
 
INT. HOTEL - LOBBY - NIGHT
                                                            
As the lobby grows EERILY quiet the group seems to become
CALM. Finally noticing the officer at the door, Matt,
exhausted, slides to the ground bracing himself with his
left arm so not to fall.

Everyone sweeps the room breathing a little easier and
feeling safer by the minute. The group all jump and press
against the door as the ELEVATOR doors slide open.

The room remains calm as they all look straight into the
elevator. Suddenly Shane is pulled flat to the floor and

98.

FLIPPED over on his back.

He begins to scream as he is flung across the floor.

WHO IS DOING THIS - WHAT IS DOING THIS
                                                            
SPIRIT POV - looking directly over Shane as his EXTREMITIES
are pulled in all directions. Looking back toward the group
we draw closer then swoop back and forth over Shane.

With each pull it becomes more and more VIOLENT.
                                                            
                       KEVIN
OPEN THE DAMN DOOR.
                                                            
 
EXT. PARK AVENUE - NIGHT
                                                            
The officer pulls his nightstick and tries to wedge the door
open.
                                                            
                       OFFICER #2
HELLO....Is anyone in there?
This is the police department.
(beat)
You are not allowed to be in
there.
                                                            
The officer gets ANGRY as he continues to hear faint noises
from inside.
                                                            
                       KEVIN
IT'S NOT MOVING!
                                                            
 
INT. HOTEL - LOBBY - NIGHT
                                                            
The group pulls in tight together as they watch Shane scream
in terror, his body STREAKING blood across the lobby floor.

Kevin and Charlie struggle to try pull off the chain.
                                                            
                       KEVIN
      (Hysterical)
MAN, THIS THING AIN'T MOVIN! WHY
ISN'T IT MOVIN!
                                                            

99.

COARSE, CRACKING AND BREAKING SOUNDS.

Shane is thrown into the back wall. As he is drug toward
them, Kevin, Charlie and Matt reach out and grab Matt
hovering over his BLOOD soaked body in defense as they pan
the room.

An evil ROAR becomes louder and louder as a FIERCE wind
blows through the lobby.
                                                            
 
EXT. PARK AVENUE - NIGHT
                                                            
C.U. on hands as they grab the door handles and tug.
                                                            
                                         MATCH CUT TO:
                                                            
 
INT. HOTEL - LOBBY - NIGHT
                                                            
C.U. on hands as the doors swing open to the Lobby. The
SLEEK, PRISTINE, new GENERAL MANAGER of the Skirvin Hotel
enters to address the Hotel staff.

NEWLY REMODELED, THE LOBBY IS INFUSED IN DEEP BURGUNDY,
PURPLE AND RICH RED.

Leather HIGH-BACK chairs blanket the lobby and adjoining
PIANO BAR.
                                                            
TITLE: SKIRVIN HILTON HOTEL GRAND RE-OPENING PRESENT DAY
                                                            
New hotel STEWARDS, BELLHOPS and general employees gather
around the Hotel entrance.
                                                            
                       HOTEL MANAGER
      (Excited)
Can I get everyone's attention
please?
(beat)
I know I've said this a thousand
times this week, but....I just
want to say thank you to everyone.
We all know the importance of
today and the effort you all put
forth was second to none.
                                                            
 

100.

EXT. PARK AVENUE - DAY
                                                            
Early 1900's clad PAPERBOYS hand out PAPERS to passing
PATRONS
                                                            
                       PAPER BOY
EXTRA EXTRA READ ALL ABOUT IT!
OKLAHOMA CITY'S QUEEN RE-OPENS!
                                                            
An eager DOORMAN opens the entry as PEOPLE file in.

CUSTOMERS POV - We exit the vehicle and walk toward the
entry door as we are GREETED by the doorman.
                                                            
                       DOORMAN #2
Hello and welcome to the Skirvin
Hotel.
                                                            
 
INT. HOTEL - LOBBY - DAY
                                                            
Excited and curious GUESTS and ONLOOKERS criss-cross through
the lobby.

A local news crew begins it's LIVE news feed from the piano
bar.
                                                            
                       NEWS ANCHOR
This is Taylor Schwartz coming to
you live from the Skirvin Hilton
Hotel as this beautiful building
once again comes back to life.
Crowds have been waiting all day.
This is a treasure chest of
memories just waiting to be
re-opened. We are giving you a
front row seat to this wonderful
and historic day. This grand old
building has such a storied past.
Everything from Presidents to
movie premiers to weddings and
proms. We even have an Elvis
Presley story you'll have to hear
to believe.
(beat)
The Skirvin Hotel, the heart of
Oklahoma City for all of it's
            (MORE)

101.

                       NEWS ANCHOR (cont'd)
elegant events of the past,
present and now the future.
                                                            
We pan the lobby to the front desk as MR. and MRS. WILLIAMS,
EARLY 40'S, checks in.
                                                            
                       DESK MANAGER
Mr and Mrs. Williams, here is your
room key.
(beat)
Once again, we would like to thank
you for choosing the Skirvin
Hilton and hope you have a
pleasant stay.
                                                            
They smiles as he slides his pass from the desk and he and
his wife walk toward the elevator.

They look DEEP into the eyes of one another, waiting for the
doors to open.

As they enter we are drawn to the memorabilia wall.

The muttering of the guest becomes louder and
unintelligible.
                                                            
 
INT. HOTEL - LOBBY - WEST WALL - CONTINUOUS
                                                            
Wall covered with framed pieces of the Hotel's historical
beginning. NEWSPAPER article, POSTCARDS and ARTIFACTS
throughout.

WE FOCUS ON ONE.

A FRAMED RANDOM ROOM KEY -- 1025
                                                            
 
INT. HOTEL - ELEVATOR - DAY
                                                            
Mr. and Mrs. Williams look at each other and SMILE.
                                                            
                       MRS. WILLIAMS
It is just as beautiful as I
remembered.
                                                            
 

102.

INT. HOTEL LOBBY - WEST WALL - DAY
                                                            
FRAMED PICTURE of the Hotel's storied past. CELEBRITIES and
important historical FIGURES all pictured ENJOYING the
Hotel's amenities.
                                                            
 
INT. HOTEL - 10TH FLOOR - DAY
                                                            
ANTIQUATED furnishings RESTORED to their original beauty.
Bright floorings and coordinating wall coverings bring the
floor to life.

As they walk to their room, Mr. Williams glances at his ROOM
PASS.
                                                            
 
INT. HOTEL - LOBBY - WEST WALL - DAY
                                                            
In the center of the wall we see a VINTAGE BELL-HOP uniform.

SHADOWS of PASSERBYS cover the wall.

REFLECTIONS COME INTO VIEW - WE KNOW THEM.

The SCARED faces of the SHANE, CHARLIE, MATT, CLAIRE and
KEVIN reflect along the glass as the sounds of the EVENING
begin to MUFFLE into DEAFENING SILENCE.
                                                            
SERIES OF SHOTS:

-- The dying carcass of a pigeon on the Ballroom floor.

-- Roaches and maggots dance in and out of a rotting and
stained mattress littering the Banquet Room floor.

-- The dark emptiness through the Lobby pillars.

-- The tenth floor full of ageless decay and spoil.

-- An open doorway, dimly lit by a lone flickering hallway
lamp. A woman, in a white tattered dress, stands with her
back to us. Hands begin to surround her as she is sucked
into the rooms deep darkness.
                                                            
 

103.

INT. HOTEL ROOM - DAY
                                                            
Mr. Williams sets down his last bag.
                                                            
EMBRACING in a KISS, they pull away and are taken by the
BEAUTY of the room.
                                                            
Mr. Williams SMILES then turns to shut the door. The KNOB is
RIPPED from his hand as it SLAMS showing us the room number.

ROOM #1025.
                                                            
 
INT. HOTEL - LOBBY - WEST WALL - DAY
                                                            
M.O.S. We draw closer to a large glass case along the
MEMORABILIA wall.

A LARGE ANTIQUE VICTROLA

The STYLUS falls upon the record as it begins to slowly
play.
                                                            


THE END


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