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Patty Cake (Short)
by Duane Howell (duane@warmyourchiliproductions.com)

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

A man regains his sanity only to reveal the horror his insane world created.


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.



FADE IN:

EXT. DOWNTOWN - NIGHT
                                                            
Faint sounds of WHITE NOISE.

BLACKNESS. SUPERIMPOSE: "I like the look of agony because I
know it's true." - Emily Dickinson

The sound of WHITE NOISE becomes stronger and stronger as
the screen goes black.
                                                            
TITLE: PATTY CAKE
                                                            
 
EXT. DOWNTOWN - NIGHT
                                                            
A SERIES OF SHOTS:

-- Deafening silence and overwhelming emptiness of the
Warehouse District after-hours.

-- Freshly dampened streets rittled with puddles

-- STEAM rises from manholes strategically placed along an
ALLEY way.

-- CONCRETE, STEEL BEAMS and large GLASS windows of the
buildings that loom and tower over the streets below.

A young and beautiful BARMAID and a male companion exit the
back door of UGLY PUPPY'S JAZZ CAFE.

THE TWO WAVE AT EACH OTHER AS THEY GO IN SEPARATE
DIRECTIONS.

STRANGERS POV: Hidden, we see the barmaid glance over in a
slight panic as she hears something in a darkened BREEZEWAY.

She pulls her keys from her pocket and begins to move
quicker as she notices her car is the only one left in the
dimly lit vacant lot marked EMPLOYEE PARKING.
                                                            
 

2.

EXT. RESTUARANT - NIGHT
                                                            
A young and beautiful BARMAID, early 20'S and a MALE
CO-WORKER, learly 20's, exit the back door of UGLY PUPPY'S
JAZZ CAFE.

THE TWO WAVE AT EACH OTHER AS THEY GO IN SEPARATE
DIRECTIONS.

STRANGERS POV: Hidden, we see the barmaid glance over in a
slight panic as she hears something in a darkened BREEZEWAY.

She pulls her keys from her pocket and begins to move
quicker as she notices her car is the only one left in the
dimly lit vacant lot marked EMPLOYEE PARKING.
                                                            
 
EXT. VACANT LOT - MOMENTS LATER
                                                            
Her STRIDES become longer as she breaks off into a small
TROT.

Her hands shaking, she struggles to place her keys in the
door as she begins to mumble to herself.
                                                            
                       BARMAID
      (sarcastic)
No...I don't need you to walk me
to my car. I'll be fine
(beat)
Walking me to my car is not an
invitation for sex. I am such an
idiot.
                                                            
CRASH --

She turns quickly to investigate the sound from behind her
car.
                                                            
                       BARMAID
      (scared)
Is someone there?
(beat)
Hello!
                                                            

3.

A BEER BOTTLE begins to ROLL as a dog starts BARKING. Her
eyes widen as she turns back toward her door.

She collides with something or someone.

A MAN - WHO IS HE?

A DIM street lamp distorts his features from above. Unable
to get a good glimpse of his face, we see his body is STOUT,
his HEIGHT is AVERAGE.

She gasps as she takes a step backwards. The man follows her
with each step.
                                                            
                       BARMAID
      (Shaking)
Sir...I have 37 dollars in my
apron and you can have my purse
to. I just need to get home.
                                                            
The man pauses for a second then pushes away her purse and
apron, continueing to match her every step.

Following her with a sense of determination, she falls
pressed against the back tire.
                                                            
                       BARMAID
      (crying)
Please...Please, I just want to go
home. I need to get home to my
baby.
                                                            
She attempts to crawl to her feet and run away as the man
grabs her right shoulder and shoves her back to the ground.

Seeing a POSSIBLE ESCAPE, She begins to slither under the
car.

He grabs her feet and proceeds to drag her to a the dark
soaked corner of the lot.
                                                            
                       BARMAID
      (screaming /
       crying)
MY BABY....I HAVE GOT TO GET HOME
TO MY BABY!
(whimpering)
            (MORE)

4.

                       BARMAID (cont'd)
I want to see my baby.
                                                            
ARMS STRETCHED OUT - FINGERS BENT CLINGING TO WHAT THEY MAY

C.U. on her face as is pulled into blackness.
                                                            
 
EXT. NEIGHBORHOOD - DAY
                                                            
The SUN begins to mark a new day as it slowly creeps up over
ROOFTOPS of a small suburban neighborhood.

HIP, GABLE and SALTBOX roof tops innertwine along STREETS
and CULTISACS of the neighborhood. No different from any you
have ever seen.

The HEAT begins burning off the morning FOG as the SUN rises
higher.

Not due to any particular reason, we pan down to a single
rooftop.
                                                            
                                         CUT TO:
                                                            
 
INT. KITCHEN - DAY
                                                            
Cleaner BOTTLES are arranged neatly along the kitchen
countertop. Through GLASS cabinet DOORS we see can goods,
dinner ware and condiments placed as if on display.

The sound of WATER DRIPPING from the rag hanging on the
faucet echoes throughout the house.

A MAN sits at his KITCHEN TABLE.

His back to us, we can see he is a SOLID man and by his
freshly starched clothes, he is a very NEAT man. He sits
cutting wrapping PAPER and a BOW.

Pulling out two severed HANDS from a box, he begins to clap
them together as if to play a childhood game. Stopping
abruptly, he continues to arranges them together then TIES
the bow around them placing them back.


5.

He finishes wrapping the box and pushes the package to the
edge of the table as he leans back and sits motionless.

With his back still to us, the mans looks up and immediately
turns toward the door.

WE MAY HEAR A PLAPPING SOUND. It becomes louder and louder.
                                                            
 
EXT. SIDEWALK - DAY
                                                            
A vintage bicycle.

WHEEL SPOKES clatter from playing card attached to them by
CLOTHES PINS.

A young PAPER BOY methodically flings newspaper at
approaching porches.

C.U. on his hand as it grasps his last paper. We follow it
as it TWIRLS through the air landing at the BASE of a bright
red DOOR.
                                                            
 
INT. HOME - ENTRY - DAY
                                                            
C.U. on the man's left EYE. Illuminated by the light from
the front door PEEP HOLE, he looks for his morning paper.

We see through the peep hole as the paper rests at the base
of the door.
                                                            
 
EXT. PORCH - DAY
                                                            
From the edge of the PORCH we see the front door open.

An arm reaches out quickly and retrieves the paper only to
retreat right back in.
                                                            
 
INT. LIVING ROOM - DAY
                                                            
We follow behind him as he walks toward the kitchen. Almost
robotic steps. One placed after another.


6.

FLAT painted wall with little-to-no decor, we are in a
scarcely FURNISHED, COMPULSIVELY CLEAN home.

With his right index finger he grips the RUBBER BAND
surrounding the paper. Just to the right of his left thumb
we know his name is TOM LASALLE.

Rolling the RUBBER BAND off the end, he places it onto it's
proper color coded peg on the wall.
                                                            
 
INT. KITCHEN - CONTINUOUS
                                                            
Upon entering the kitchen Tom turns on a small television
set on the counter then sits back down at the table.

A stray gleam of light dances along the table top next to
his right hand. He chases it with his right index finger. We
follow the light back to a TEAR in the ALUMINUM FOIL covered
windows along the west dining room wall.

Below the window rests a set of shelves with 9 wrapped
boxes. Identical to the box on the kitchen table. In front
of each box is an article describing the DEATH of a young
woman.

THERE IS ONE SHELF LEFT EMPTY.

HE ROLLS OPEN THE NEWSPAPER.

C.U. on ARTICLE.

BODY OF YOUNG FEMALE FOUND IN DOWNTOWN PARKING LOT.

C.U. as his right index finger begins to slowly browses
through the article. Halfway through the article his left
hand starts to tighten, and tears the paper in anger.
                                                            
                       LEFT HAND
      (STRONG DRAWL)
Why is it that you get to be so
close to our work!
(BEAT)
Why do you get all of the glory? I
hold em down fer you and you ain't
never let me touch their faces!
(softly)
            (MORE)

7.

                       LEFT HAND (cont'd)
So soft, and gentle.
WHY!
                                                            
                       RIGHT HAND
      (Sarcastic)
Here we go.
(BEAT)
All you do is hold them down. I
feel the last beat of their hearts
as I grip their throat tighter and
tighter.
(beat)
You wouldn't feel any joy if it
weren't for me. Without me the
only joy you'd feel is not
breaking through the toilet paper.
                                                            
ARE HIS HANDS TALKING TO ONE ANOTHER?
                                                            
                       LEFT HAND
      (Matter of Fact)
You best think about the thangs
yer sayin. I tawk to him ever
night. I mention it to him and I
could be wrapping you up in a
pretty box.
                                                            
                       RIGHT HAND
      (ANGRY)
WHAT!
(beat)
You gonna threaten me!
                                                            
The knuckles on his right hand begins to whiten as they
clinch tighter.
                                                            
                       RIGHT HAND (COND)
This freakin meat sack can't even
walk without us telling him which
foot to put forward. What makes
you think that you two, much less
him by himself, are smart enough
to cut me loose.
                                                            

8.

His right hand grabs a pair of SCISSORS from the table and
places them to his THROAT.
                                                            
                       RIGHT HAND
      (Eerily Cheerful)
Now, tell him to go to the
continuation on 3a or I'll plant
these blades through his jugular.
                                                            
Tom's right hand places the scissors on the table and holds
the paper as his left hand slowly fumbles through to 3a.
                                                            
The murmur of the television is interupted as we hear a
jingle announcing a local news break.
                                                            
                       NEWS ANCHOR (O.S.)
We interrupt this program to bring
you breaking news.
(beat)
A body of a young woman, believed
to be connected to 10 other
unsolved murders, was found in an
alley of the Downtown Warehouse
District. For more on this
breaking story we go Natalie Gains
who is on location. Natalie....
                                                            
                       NATALIE (O.S.)
Mike The body, who's identity is
unknown at this time, was found in
an alley adjacent to this parking
lot behind me. She was neatly
arranged with arms across her
chest, and hands severed. Right
now we have little information,
but we will bring it to you live
as soon as more comes in, Mike....
                                                            
                       NEWS ANCHOR (O.S.)
Thanks Natalie. Stay tuned to news
7 and we will keep you up to date.
                                                            
TOM'S POV: Tom begins to cough and eyes go in and out of
focus.

C.U. on his eyes. We slowly pull back finally revealing his

9.

face.

EYES FULL OF SADDNESS AND A FACE UNLIKE A CHILD.

He eyes cannot look around fast enough. Trying to see what
he may have done. His eyes tell the story as they go dull
with ignorance then quickly to concern and empathy.

Tom, fearing what he may see, grabs the box on the table and
begins to SHRED the paper off. He opens the lid and turns up
the box to see it's contents.

To his disgust, he SHOVES the box to the floor and begins to
breathe heavily.

SEVERED HANDS. CURLED. COVERED IN DRIED BLOOD ROLL OUT AND
STOP. STUCK TO THE BOXES WRAPPING PAPER.

Starring at the floor, he begins to turn toward the dining
room wall already knowing the horror he will come across. He
spins around and begins to SOB.

Tom reaches across the table grabbing the phone book. As he
is flipping through the index, his hands begin to shake and
wrinch as if trying to take back over.

C.U. on his right hand.
                                                            
                       RIGHT HAND
He stops me midway through my
story only to throw a fit, cry
like a woman and now has me thumb
through the phone book.
(Screaming)
WHAT THE HELL IS HE DOING!
                                                            
A tear slowly rolls down Tom's face hitting the phone book
below. He stops as he comes to KNIGHT COUNTY EMERGENCY
NUMBERS page and scrolls down to the Knight County Police
department.
                                                            
                       LEFT HAND
      (Panicking)
What's he goan do?
(beat)
HEY, WHAT'S HE GOAN DO?
                                                            

10.

                       RIGHT HAND
      (Calm)
Calm down then talk to him. Get
him thinking straight again.
                                                            
From his seat at the table he reaches over and picks up the
phone. Becoming more and more clear in his thinking, he
begins to dial.
                                                            
                       RIGHT HAND
      (Livid)
Oh, this is not how this is going
to end. You worthless meat sack,
you will pay for this.
                                                            
                       LEFT HAND
      (Panicking)
WHAT DO YOU THANK I SHOULD DO?
                                                            
                       EMERGENCY OPERATOR
Knight County Police Department,
What is you emergency?
                                                            
We hear Tom begin to mumble into the phone
                                                            
                       LEFT HAND
      (Panicking)
WHAT DO YOU THANK I SHOULD DO?
                                                            
                       RIGHT HAND
      (Rage)
KILL HIM!
                                                            
Without hesitation the receiver falls to the ground as his
left hand grabs his hair and his right hand squeezes his
throat.

Reacting to the attack, Tom lunges backwards knocking over
the table. As he stumbles back, he falls over his chair
sending him crashing to the tile floor below.
                                                            
                       RIGHT HAND
      (Angrily Shaking)
You can't win. And there's another
little story behind that. You
won't win.
                                                            

11.

Gasping for air, Tom lay dying on the cold clean tile floor.
His eyes going in and out of focus.
                                                            
 
INT. LIVINGROOM - DAY
                                                            
From the living room we she his feet violently kicking as
sounds of choking fill the house.

We begin to hear the faint sound of sirens.
                                                            
 
INT. KITCHEN - DAY
                                                            
C.U. on Tom's cold dead face as we slowly pull back.

From above Tom we see as officers storm into the room with
guns drawn securing the room and Tom.
                                                            


THE END


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