MOTEL MACABRE: The Submissions

[Adam Isaac]

TRIXY (Part 1 of 2)
written by: ezread

FADE IN:

INT. HOTEL HALLWAY - DAY

An ink black, featureless SHADOW DEMON lurks through the
hallways. It stops in front of room 202.

The Demon hovers in front of the door for a moment.
Then fazes through it.

INT. HOTEL ROOM - DAY

The Demon watches a girl, JENNY, 5, curly blond hair, run
up to her mother, LACY, 30s, dark circles under her bloodshot
eyes.

JENNY
Where's Trixy?

LACY
I'm not sure honey. You check the backpack?

Jenny looks around.

JENNY
Backpack! My gosh she'll suffocate.

Jenny bolts off. The Demon follows her.

The Demon watches Jenny dig through the backpack and
pull out a fluffy white teddy bear, TRIXY.

JENNY
There you are, you trying to hide from me?

Jenny rubs the teddy bears fur.

JENNY
You're a mess. Hope mom remembered
your comb.

Jenny digs through the backpack.

The Demon floats next to Jenny. Reaches its bony black hand
over the teddy bear, wiggles its fingers. A thin black string
oozes from each of the Demons fingers.

The strings snake down towards the teddy bear. One string
connects to the head, both arms, and both legs.

The Demon jerks the teddy bear into a standing position and
manipulates it like a puppet.

Jenny turns from the bag, comb in hand. Her eyes widen.

Trixy stands on the chair, waves at Jenny.

JENNY
Wow, when'd you learn to do that?

Trixy does a little dance for Jenny.

JENNY
I got to show mom.

Trixy puts its puffy paw against its mouth as if to say "SHHH".

Jenny looks at her mom who is across the room with her
back to Jenny talking on the phone.

Jenny winks at Trixy and nods in agreement.

Trixy waves at Jenny to "come on", then jumps of the chair
and runs to the door.

JENNY
(whispering)
Wait, where you goin?

The door creeks open. Trixy runs through it.

INT. HALLWAY - DAY

Trixy runs down the hallway. Jenny follows.

INT. STAIRWELL - DAY

Trixy leaps down the stairs. Jenny follows.

EXT. COURTYARD - DAY

A pile of brown leaves CRUNCH beneath Jenny's feet. Her
hurried breath hangs in the chilled air.

JENNY
Trixy, what on earth, it's freezing.

Trixy waddles up to a locked gate. CLINK. The gate unlocks
and swings open.

Jenny chases her teddy bear through the gate.

JENNY
Stop this, you'll freeze to death in there.

Trixy stops, turns around, waves at Jenny to "come on".

Trixy jumps from the pavement onto a heavy black tarp. Takes
a few steps on the tarp then jumps up and down as if to
say "see, it's fine".

Jenny trembles, kneels next to the tarp, pokes it. The tarp
sloshes beneath her fingers.

[Adam Isaac]

TRIXY (Part 2 of 2)
written by: ezread
INT. HOTEL ROOM - DAY

Lacy talks on the phone.

LACY
(into phone)
..the interview is tomorrow.. yeah.. I'm fine..

Lacy gazes out the window.. Sees Jenny kneeling next to
the tarp covered pool. The phone falls from her hand.

LACY
Oh my god.
EXT. EDGE OF POOL - DAY

Jenny is on her knees. She reaches out to her teddy bear.

JENNY
Come here you.

Trixy backs up, just out of the reach of Jenny. Jenny
stretches a little more.. Almost there..

She slips and falls face first into the pool. The
tarp slowly closes around her.

LACY(O.S.)
Jenny!

Lacy jumps into the pool. Digs through the tarp. The
tarp slowly but surely surrounds Lacy, and pulls her
down into the icy water.

The Demon watches. It's inky black skin quivers
with excitement at the faint screams of the mother
and daughter.

A STRANGER, a man with long flowing hair and deep
blue eyes calmly walks to the edge of the pool. He
grabs the tarp and drags it out of the pool along
with Lacy and Jenny.

The Demon stops quivering. Instead it expands and
shrinks like giant lung.. a giant angry lung.

Lacy gags and coughs as she struggles to find her
way out of the tarp.

The Stranger gently unwraps the tarp from around Jenny.
Puts his hand on the blue skinned and unresponsive
girls forehead.

The color quickly returns to Jenny's face. She coughs.
Sits up. Blinks her eyes. Looks at the Stranger.

JENNY
Is Trixy okay?

The Stranger smiles. Reaches behind his back. Pulls
out the teddy bear. Hands it to her. Jenny smiles.

LACY(O.S.)
Jenny!

Jenny rushes to help her mother.

The Stranger stands up. Turns. Looks directly at
the Demon. Shakes his head back and forth.

INT. STUDY - DAY

COLIN STAAN, 40s, perfect hair, perfect face, sits
behind a desk. His dark suit and red tie compliment
the anger in his eyes.

The Shadow Demon fazes through the door. Floats up
to the desk. Watches Colin for a moment. Then sits
down in a chair across from Colin.

The Demon morphs, and in an instant it turns into
JAMES, a balding man in his mid fifties.

Colin is not scared or shocked he just:

COLIN
What happened?

JAMES
He was there.

Colin's eyes narrow. His face turns red. His eyes glaze
over. His jaw protrudes like a wolfs. Horns grow
from his head.

COLIN
HIM!

Colin, now in the form of Satan himself, takes a
deep breath then morphs back into a man.

JAMES
I thought he couldn't interfere?


COLIN
Only if we use our supernatural powers.

James scowls.

JAMES
So what now? The old fashioned way?

COLIN
No, to obvious.

Colin looks into James eyes.

COLIN
We'll just go ahead with the Alpha
project a little earlier then I'd
like.

James smiles.

JAMES
Really?

Colin nods.

JAMES
Finally.

A red light flashes on Colin's phone. He hits a
button. Over the phones intercom:

SECRETARY(0.S.)
Mr. President, they're ready for you.

COLIN
Thanks. Send them in.

Colin and James stand up, walk out of the study and
into the..

OVAL OFFICE

INT. PRIVATE RESIDENCE - NIGHT

Colin and James watch a news report on T.V.

On the T.V.:

-A Man sits dead on the sidewalk. His body terribly
bloated. His skin a pale green. Blood pours from
his eyes.

-A wider shot of the city. Cars stopped in the middle
of the street. Bodies litter the sidewalks in the same
bloated condition.

A REPORTER chimes in:

REPORTER
..over a half million reported dead
so far including Presidential
candidate Rod Turner..

JAMES
I didn't know Mr. Turner was going
to be there.

COLIN
Added bonus.

REPORTER
..President Staan has declared marshal
law and will remain in power till
this catastrophe has been resolved.

James chuckles.

JAMES
Resolved, yeah.

Colin looks at James, smiles.

COLIN
Guess nobody's going to care about
that whore and her little black
book now huh.

JAMES
Maybe next time you'll keep it in
your pants.

COLIN
Yeah, well.. I was getting tired of
your sister.

James raises an eyebrow.

JAMES
Me too.

They both break out in laughter.

FADE OUT

[Adam Isaac]

HELLA'WEEN (Part 1 of 2)

FADE IN:

INT. COLLEGETOWN, USA - TAVERN – HALLOWEEN NIGHT

The jukebox blares Marilyn Manson’s “This is Halloween”.

Voices shout at each other over the voices shouting at each other. The bar is packed with costumed young adults... a high ball of pop culture hobgoblins and in-jokes.

Dressed in all black with no holiday bling, LIBBY eyes the crowd from behind black bangs. Her lip curls.

Across the table from her, Alice in Wonderland seems to be doing her best Paris Hilton... LACEY has the drunken lazy eye action down.

Sporting pirate drag, LARRY breaks through the crowd with his best swashbuckler moves, three glasses of amber ale trapped between his fingers.

The beer slops as he drops the glasses to the table, slides one each before the girls. He polishes off half of his as he slides up a chair.

LARRY
Aaar... good for what ales ya'.

LIBBY
Wasn't funny the first five
times, Larry.

LARRY
Libby? Dear? Light of my
life? Pull the stick out of
your ass. It's Halloween...
lighten up.

LACEY
If Libby tried to lighten up,
she'd burst into flames.

Lacey’s butt shifts and Larry’s eyes go wide as her foot caresses the back of his leg. He blinks. Libby’s eyes narrow.

LIBBY
This is my costume. I am...
The Night.

Lacey's good eye looks over Libby's shoulder and makes the wrong eye contact...

LACEY
Oh, f*ckin' A. It’s Good
Dog Carl.

... as CARL surfs the crowd towards the table. Slack jawed and squint-eyed, he swaggers up to the table and strikes an Ash pose, eyes Lacey.

CARL
"Give me some sugar, baby."

Lacey takes in Carl’s costume: hand buried in the butt of a plastic chainsaw, bloody gauze wrapped around the base.

She glances back at her friends, rolls her eyes.

LACEY
F*ck off and die, *sshole.

Carl's brow knits, the wheels turning...

LARRY
It's not a line from a movie,
you dork. Keep moving.

Head bobbing like a chicken, Carl keeps moving. He careens off of a dude dressed as a giant bloody TAMPON, spilling its drink.

TAMPON DUDE
Watch it, *sshole!

They watch the Tampon Dude try to renegotiate the crowd to take a second run at the bar. The crowd ain't havin' it.

LARRY
Amateur... never dress up in
a costume that restricts your
access to the bar.

Heads turn towards a commotion at the entrence of the tavern, as the crowd flows out into the street. Larry looks back at Libby and Lacey...

LARRY
What the...?

EXT. MAIN STREET – NIGHT

The full moon rises over the skyline, an angry blood red.

LARRY
Is it supposed to do that?

Libby glances down Main Street as revelers spill from the bars, looking up to take in the phenomenon. A sudden breeze tosses discarded newsprint as murmured rhubarb fills the air.

LIBBY
No, Larry. It most definitely is
not supposed to do that... this
is some seriously whack juju.

LARRY
Holy sh*t.

LIBBY
What?

He holds up a tooth.

LARRY
This just fell out of my mouth.

He spits, and another tooth hits the sidewalk. Down the street, a girl begins to SCREAM.

Larry doesn't look too good, and is beginning to look even worse... his eyes and cheeks are sinking in, his pallor bodes of scurvy.

[Adam Isaac]

HELLA'WEEN (Part 2 of 2)

More screams begin to fill the night, and behind them a chainsaw ROARS to life.

The snarling beast at the end of Carl's wrist cocks him to the side as it grows some heft. Eyes gone wide, Carl swings it up for a look-see... and the momentum keeps it going, cleaving his skull in half.

Blood and brains shower the street as Carl corkscrews to the ground. Grey matter is actually pink when liberally applied to the white blouse of a Catholic School Girl Gone Bad.

She SHRIEKS and everyone else takes up with their own version of blind panic.

As the stampeding crowd rushes around him, The Tampon Dude's wails grow higher-pitched as he dwindles to the sidewalk, shrinking, shrinking as feet slam down around him.

A boot lands squarely on the tampon and blood spurts from beneath the sole.

LARRY (O.S.)
(growling)
Aye... I spy me some booty!

Libby and Lacey stare as the crapulous pirate swaggers towards them, eyes narrowed with ill intent.

Without a pause, Libby spins on the toe of one Doc Marten to plant the sole of the other in his face. What remains of his rotten teeth fly as he hits the pavement. Out cold.

LACEY
Hey...

LIBBY
Let's get the f*ck out of here.
I think someone... some thing
is taking Halloween back.

EXT. ALLEYWAY – NIGHT

Libby and Lacey pause for breath as a maelstrom of mayhem swirls past the mouth of the alley. Victims-to-be and villains-made-flesh fall into their new roles.

A choir of chainsaws HOWL as a handful of Ashes try to figure out whose side they’re on.

The two girls consider each other with wordlessly, then look to the darkness as a snarling voice explodes from the opposite end of the alley:

QUEEN OF HEARTS (O.S.)
Off with their heads!

A very pissed-off Queen of Hearts is pounding towards them, sword aloft... and it's already a very bloody sword.

Alice nee: Lacey whirls to see if her friend has her back... in time to see Libby become one with The Night.

Libby’s wide eyes hang in the air, and with a smile, disappears.

ALICE
Oh, dear.

She turns back to deal with the furious Queen of Hearts...

EXT. MAIN STREET – DAWN

Libby shakes off The Night and steps back on Main Street, an avenue of broken bodies. WAILS echo off of the storefronts and SOBS punctuate the morning as a scant few survivors revert to pre-nightmare form.

She steps around the crushed body of The Tampon Dude, an enormous bloody bootprint smeared large across his torso.

She turns at the GRIND of a manhole cover. It's Lacey... her Alice costume tattered and spattered crimson, face streaked with grime as she climbs out of the sewer. She catches Libby's eye:

LACEY
How was The Night?

LIBBY
Amazing what I saw. Although I
missed how it turned out between
you and the Red Queen.

LACEY
Queen of Hearts... and I got all
method on her ass.

She surveys the damage. Gutters still running with blood, drying viscera caked on sidewalks. Ambulances WAIL in the distance, the sound of sirens building.

LACEY
I suppose it's safe for them to
start cleaning up now. Good thing
no one dressed up as Godzilla, though.

LIBBY
Steve Goodman did... but he got
smacked down pretty fast by Mike
Kroger.

LACEY
Kroger?

LIBBY
King Kong. Last I saw him, he was
loping off with Shelley Torrance in
his paw.

Libby’s eyes narrow:

LIBBY
Now... about last night? You
and Larry...

LARRY (O.S.)
Yo.

Larry waddles from an alley, wincing as he favors his wounded booty. His pained gait is more John Wayne than pirate. Libby runs to him, checks his teeth before laying a big kiss on him. Her eyebrow arches knowingly:

LIBBY
How'd it go for you, bitch?

He smiles ruefully, his restored teeth flashing.

LARRY
One thing I know for sure... a pirate's life is not for me.

FADE OUT

[Adam Isaac]

DANCE WITH THE DEVIL (Part 1 of 2)

FADE IN:

INT. BEDROOM – DARK

The door CREAKS open, letting some light in.

MUM enters. She’s 50ish, buxom, big-bummed and bubbly.

She opens one set of heavy drapes. Sunlight floods in. This is the room of a teenage boy.

MUM
Rise and shine Mister.

Mum opens another set of drapes. More light.

MUM
Come on. Up and at ‘em!
Let’s have a look at ya.

Mum pulls back the bed covers and...

With an IN-YA-FACE SUDDENNESS and a BLOOD-CURDLING SCREAM that would scare the crap outta even the most hardened horror fan, up jumps...

The SCARIEST VAMPIRE, 16.

Mum is not moved. She gives Vamp a short, sharp slap on top of his head.

MUM
Stop that!

The Vamp, in pyjamas, YELPS and recoils from the sunlight.

MUM
You’ll never get a girlfriend
if you do that.
(sigh)
Where did I go wrong?

Vamp whimpers. Mum puts her hand on his shoulder.

MUM
There-there. You just lie
back down and I’ll...

Mum pushes Vamp down and pulls the covers back over him.

MUM
I’ll... Well, I’ll think of something.

Mum goes to one window and pulls the drapes closed. She goes to the other window and looks out to see...

PRETTY GIRL next door, 16, long blonde hair, getting a newspaper from the lawn.

EXT. NEXT DOOR

Pretty Girl looks up and sees Mum up in the second storey window. They smile and wave to each other.

INT. BEDROOM

Mum watches Pretty Girl walk out of sight. Her smile disappears. She pulls the drapes closed and is sad for a longish moment.

She perks herself up and looks back at the bed.

MUM
I’ll fix it. I promise.

Mum leaves and closes the door. It’s dark again.

LATER...

As before, the door opens and lets some light in. Mum goes through the same routine with the drapes.

MUM
Rise and shine. Up and at ‘em.

She pulls back the bed covers and sees...

A ZOMBIE, 16, with pasty face, lifeless eyes in dark sockets and scabby skin peeling off.

Zomb raises his arms slowly and GROANS.

Mum rolls her eyes, shakes her head and puts the covers back over Zomb. She pushes his arms down.

MUM
Try again.

She draws the drapes closed and leaves.

INT. OUTSIDE BEDROOM DOOR

Mum walks down the hall and down the stairs and into...

INT. DEN - CANDLELIGHT

Mum’s den is filled with burning candles, signs, posters, artifacts and books on WITCHCRAFT and the SUPERNATURAL.

On a table is a small gas burner. Something is brewing in a small covered crock.

Mum lifts the lid and inspects inside then replaces the lid.

She sits and reads from a large book, open on the table.

After a moment...

MUM
Pubic!
(slaps forehead)
Of course! How could I be so stupid?
Pubic hair of virgin!

She picks up a strand of long blonde hair from the table, shakes her head and tosses it away.

EXT. NEXT DOOR

Pretty Girl wheels her bicycle out of the garage.

In the background, Mum slinks towards the rear of Pretty Girl’s house.

Pretty Girl gets on her bike and rides off. She glances briefly back up at the draped windows.

INT. DEN

Mum enters gleefully. She lift’s the lid off the crock and drops in some pubic hairs then replaces the lid.

MUM
Yes! Yes! Yes! That should do it.

Mum takes a long black gown from a coat rack and puts it on. She pulls a hood over her head.

She holds her hands over the crock and CHANTS in some unintelligible tongue.

INT. BEDROOM

Mum’s chant continues in voiceover.

There is some movement under the bed covers.

LATER...

EXT. NEXT DOOR

Pretty Girl rides back into her yard. She looks up to the window.

The drapes are pulled back and the windows are open.

She seems pleased.

INT. BEDROOM

Mum sits on the bed. She is not too happy but not too sad.

MUM
I know it’s not exactly
what you wanted but...
Well, I did my best.

She drops her head a bit then...

MUM
Maybe I used too much
of something.

She stands up.

MUM
I’ll go and... get a razor.

Sitting up in bed is... a hairy-faced WOLFBOY, 16, with big sad droopy eyes.

Wolfy YOWLS.

MUM
Ok. I’ll try again.

Mum leaves. Wolfy goes to the window and looks out. He yowls again.

INT. PRETTY GIRL’S BEDROOM

Pretty Girl sits at her dressing table preparing to apply makeup.

On the table is a big crooked fake nose with a hairy wart. A desk calendar shows OCTOBER 31.

On the bed is a long grey wig, a ratty old witches hat flopped over at the tip, a long black dress and...

A flyer for... The DANCE WITH THE DEVIL Fun Night.

[Adam Isaac]

DANCE WITH THE DEVIL (Part 2 of 2)

EXT. MUM’S FRONT DOOR - NIGHT

A finger presses a button and a doorbell CHIMES.

The door is opened by a GHOST, 16, in a full length white sheet with two holes cut for the eyes.

GHOST
Wow! You look great!

Pretty Girl’s costume and makeup are excellent. She’s a REALLY UGLY OLD HAG.

HAG
(crackly voice)
Well, thank you Sonny.
He-he-he!

Hag leans around Ghost and waves to Mum.

INT. LIVING ROOM

Mum, sitting on a sofa, smiles nervously.

Ghost waves.

GHOST
Night Mum.

Mum waves nervously. The door closes. Mum’s eyes move downward and almost pop out of her head.

She raises her hands to her gaping mouth and there is this godawful SCREEEEEAM... From outside.

Then more rapid SCREAMS which fade with distance.

Mum sees...

Down at the bottom of the closed door is...

The corner of the sheet.

EXT. STREET

Hag, running FAST MOTION, SCREAMS in horror. Even her makeup looks scared.

Neighborhood TRICK O’TREATERS scramble out of her way.

INT. LIVING ROOM

Mum holds her head in her hands. She looks up.

The door opens slightly and the corner of the sheet is pulled through.

A moment later the door opens fully and...

From the waist up, bare-chested, is a really handsome TEEN-HEARTTHROB KID, 16.

He glares furiously at Mum.

MUM
I’m sorry. I’m sorry.
I’ll fix it. I promise.
I’ll fix it. I‘m sorry.

KID
Just don’t call me
a kid anymore! Ok?

REVEAL...

From the waist down, Kid is a young GOAT. Hooves, hair, the works.

It runs quickly, awkwardly, cutely towards Mum. Its little tail flicks around.

KID
Ok??!!

MUM
Ok.

Kid twitches and jerks and jerks and twitches.

Mum recoils in horror as...

Kid spasmodically morphs into THE MOST DEMONIC TEN FOOT HIGH RAGING RED DEVIL with the DEEPEST GRAVELLIEST VOICE.

DEVIL
Well Mother? Maybe you
wanna dance with the devil.
Huh? Ha! Ha! Ha! Ha! Ha!

Mum SCREAMS and is off like a rocket, leaving her outline smashed through the closed door.

EXT. INTERSTATE HIGHWAY – NIGHT

The Devil’s LAUGHTER continues in voiceover.

Hag is running and SCREAMING and overtaking traffic.

Mum, more scared than I care to describe, overtakes her and they run’n’scream down the highway.

Into view comes the sporadically flickering neon sign of...

MOTEL MACABRE.

The Devil’s LAUGHTER intensifies.

FADE OUT:

[Adam Isaac]

CAUSE & EFFECT (Part 1 of 2)

FADE IN:

EXT. BUS STOP - NIGHT

A bus pulls away. The exhaust fumes clear to reveal KATEE,
a waif-like young woman with weary eyes. She wears a plain
dress and cheap shoes. She carries a battered leather
suitcase.

Across the road, the cheapest, crappiest broken-down motel
ever built. A neon VACAN_IES sign flickers in the office
window, the second C unlit.

Katee looks up and down the road, as if considering her other
options. She crosses to the motel, lugging the suitcase
after her.


INT. MOTEL OFFICE - NIGHT

The dirty old letch CLERK ogles Katee through his grimy
spectacles. He likes what he sees.

CLERK
One night?

Katee nods yes. She slides a crumpled bill across the
counter. The Clerk holds it up to the light, nods OK.
He slides a key across the counter, Katee picks it up.

CLERK (CONT'D)
Hot water's extra.

Katee ignores him and exits, dragging her suitcase.

CLERK (CONT'D)
Young couple, next door to you, got
my best room. You got second best.
Need a hand with your case?

Katee doesn't answer, the door shuts behind her.

CLERK (CONT'D)
You little whore, bustin' out that
tight little dress, tempting a man.

He slips his hand down inside his pants and grins.


INT. KATEE'S MOTEL ROOM - NIGHT

Katee opens the door, fumbles for a light switch. A bare
bulb brightens to reveal a bed with a big dent in the middle,
as if an elephant just slept there. Peeling walls. Cockroach
paradise.

Katee kicks the door closed, dumps her suitcase and flops on
the edge of the bed, exhausted. She throws an arm over her
eyes.


EXT. KATEE'S MOTEL ROOM - NIGHT

The Clerk sneaks up to the window. There's a gap in the
curtains that lets him see Katee lying on the bed, asleep.

His hand slips down inside his pants again and he grins.


INT. KATEE'S MOTEL ROOM - NIGHT

Katie moans in her sleep as if she's having bad dreams.


EXT. KATEE'S MOTEL ROOM - NIGHT

The Clerk is distracted by noises coming from the room next
door. Rhythmic banging, a woman's lustful cries. Someone's
doing the dirty and enjoying it.

The Clerk sneaks over to that other window and peeks inside.
His hand slips down into his pants again and he grins.


INT. KATEE'S MOTEL ROOM - NIGHT

Katie uncovers her face as the banging and yelping noises
reach her.

She slowly sits up, swings her legs off the bed, all the
while watching the wall that divides the two rooms.

Katee creeps over and presses her head against the wall.
The woman's lustful cries become louder. And now the man
cries out too, his voice deeper, matching the banging noises.

Katie's concern grows. She squeezes her eyes tight shut.


EXT. MOTEL ROOMS - NIGHT

The Clerk groans in ecstasy and falls to his knees, his hand
still stuck down inside his pants.

CLERK
Ooh mama, that's good, that's good--

Katee wrenches her door open and looks at him. He falls
forward so he's on his hands and knees.

CLERK (CONT'D)
Looking for my keys.

Katee stares at the next door along.

The Clerk pushes himself up, he quickly wipes his hand on
the back of his pants, then brushes dirt off his knees.

CLERK (CONT'D)
I was just wondering, you know, if
you're hungry, I can make you a
sandwich, or something. No charge.
Won't charge you a penny. Got some
fresh coffee, too.

KATEE
You have to call the police.

CLERK
Whoa now, no need for that, I was
just--

KATEE
Something terrible's going to happen.
Call the police before it's too late.
Please.

Katee retreats inside and slams her door shut.

The Clerk shakes his head and goes back to his office,
mumbling.


INT. KATEE'S MOTEL ROOM - NIGHT

Katee leans back against the door and takes deep breaths.

A high-pitched SCREAM from next door. Katie covers her ears,
screws up her eyes. Another SCREAM, even louder.

Katee slides down the door and keels over onto her side,
curling into fetal position.

The SCREAMS grow louder, punctuated by THUMPING and CRASHING
noises.

The noise abruptly stops... no sound at all from next door.

Katee lies there sobbing.


EXT. MOTEL ROOMS - NIGHT

Strobing red lights illuminate all the doors and windows.

A handcuffed WOMAN, sobbing and shaking, her face and coat
spattered with blood, is pushed into the back seat of a sedan
by a uniformed COP.

[Adam Isaac]

CAUSE & EFFECT (Part 2 of 2)

INT. MOTEL ROOM NEXT DOOR - NIGHT

Standing in the doorway, the Clerk speaks with a stone-faced
DETECTIVE wearing a slouch hat and trenchcoat.

CLERK
We had this guy, back in sixty-four,
he cut up a couple of hookers, but
nothing like this.

Gradually the room is revealed... Christ Almighty it's a
slaughterhouse, blood spatter and handprints on the walls,
the ceiling, the floor.

Lying naked and thankfully face-down on the bed, a MAN. Or
what's left of him. Blood pools around his crotch.

DETECTIVE
So what about the other girl, next
door?

CLERK
She took off before you guys got
here.

The Clerk shakes his head, puzzled.

CLERK (CONT'D)
Something she said... didn't make
no sense.

The Cop comes up behind them.

COP
Meat wagon's here.

DETECTIVE
Tell him he's gotta wait for the
crime scene guys. They're gonna
jerk off when they see this mess.
(to Clerk)
What didn't make sense?

CLERK
She said people get angry when she's
around. Everywhere she goes, they
get angry.

The Detective lights a cigarette and gestures at the mess.

DETECTIVE
Someone got angry, all right.


EXT. BUS STOP - DAY

A bus pulls in and stops for a moment then pulls away. The
exhaust fumes clear to reveal Katee and her suitcase. She's
looking more tired than ever.

Across the road, another motel, VACANCIES in the window.

Katee looks up and down the road, as if pondering her other
options. She crosses to the motel, lugging the suitcase
after her.

Katee doesn't look back and notice a severe-looking building,
surrounded by a high link fence with a sign that says:

SWEET MEADOWS - ASYLUM FOR THE CRIMINALLY INSANE.

A tortured MOAN comes from somewhere inside the building.

FADE OUT:

[Adam Isaac]

METHODE HUMANE (Part 1 of 2)

EXT. PARIS -- DAY

Late autumn. Brittle leaves crackle and flutter across a cobbled walk.

A YOUNG COUPLE cherrily walk their little DOG along a row of deluxe, albeit brooding townhouses.

The dog BARKS as a BIRD in its path skips across the walk in a wobbly attempt to take flight.

FEMALE OF COUPLE
Vivi!

She loses her grip on the leash as the dog rushes the bird, pokes it with its muzzle and in a quick SNAP, buries it in its jaw.

INT. THE DECOSTE TOWNHOUSE -- DAY

A darkened bedroom. A persistent beeping.
A female hand reaches for a lamp. Light illuminates on a sidetable a half-smoked joint and a bottle of Scotch.

MARIE DECOSTE pushes herself up from a cradle of pillows. She's a ravishing young woman who'll need something else to sleep in time.

MARIE
Mama? Papa?

She jumps out of bed to slip on a robe.

INT. THE DECOSTE TOWNHOUSE HALL -- DAY

Marie charges through a set of doors and down a quiet hall adorned with fine Audubon prints on either side.

INT. THE DECOSTE STUDY -- DAY

Marie comes upon a printer, the source of the beeping.
A HOUSEKEEPER, a glazed look in her eyes, dusts nearby.

HOUSEKEEPER
Out of paper again, Mademoiselle.

Marie holds up one of the sheets being printed. Her handsome parents stare back at her from a Missing Persons flyer.

HOUSEKEEPER
Victor's out hunting for more, but--

EXT. PARIS STREET WALK -- DAY

Marie exits the townhouse, a stack of flyers tucked under her arm.
An OLDER COUPLE with that same glazed over look as the housekeeper cross her path.

OLDER WOMAN
Bonjour dear, have you news?

MARIE
Nothing. It's like they disappeared from
the face of the earth. Who would benefit
from that?

OLDER MAN
Marie, the men at the club want to
know if there's anything--

She hands him a small stack of flyers.

MARIE
I must have hope, can't believe it's
too late.


EXT. PARIS STREET -- DAY

Marie crosses a street to a large wooded park.

As she does she has not noticed in the background, the young couple from earlier. The woman now in tears as the man cradles their dog; now a ragdoll in death.

EXT. PARK -- DAY

Marie replaces a weathered flyer on a pole with a fresh one. She notices an older woman with a pair
of bird -watching binoculars across the way.

MARIE
Madame Gullert!

MADAME GULLERT steps briskly away as though to evade her.

MARIE
Madame Gullert!

Marie catches up with the old woman.

MARIE
Where have you been? The police, they
had questions.

MADAME GULLERT
I haven't been coming to the park.
I was afraid. I decided to stay with
my sister in Budapest but I couldn't
arrange a flight out.

The two settle on a park bench.

MADAME GULLERT
Your parents were quiet lately.
Something quite heavy on their minds,
I could see. They had spoken
to the park's caretaker. They wanted me
to go along for another visit with him, but it was chilly and my arthritis was digging at my heel.
I'd left my painkillers at home.

MARIE
This caretaker.

MADAME GULLERT
He has a little cottage in a wood
beyond the Pont Visse.

EXT. PARK -- DAY

Marie makes her way through a wood, finds the cottage and taps at the door. No answer. She jiggles the knob to find the door open.

INT. COTTAGE -- DAY

A cluttered space. A large desk with books, a chemistry set, a microscope. Two large freezers against a wall and a small bed as an afterthought.

Marie is forced to step over books on the floor to pick up a photograph: In a snowy region, a group of men pose by a wolf they've trapped.

The sound of flushing of a toilet behind a door.

The door opens. HENRI, handsome middle-aged man enters. He spots her.

HENRI
My mother always said she could
never imagine me sharing my world
with a woman. I never left room for them
to step.

[Adam Isaac]

METHODE HUMANE (Part 2 of 2)

INT. COTTAGE -- DAY (CONTINUED)

Henri notices the photograph Marie has viewed.

HENRI
I worked a summer in Canada
trapping wolves for relocation.

Marie places the photograph down noticing a glass of wine on the desk.

MARIE
You're familiar with the park
regulars, the birdwatchers, my--

HENRI
You're another one of those. Let
me show you something.

He lifts a cover on the desk and flicks on a lighted magnifying glass.

Marie covers her mouth in revulsion.
A bird sliced open, its anatomy a slimy melange.
Henri takes some tweezers and plucks something
from inside.

HENRI
A half-digested lolly berry. Not
something any sane bird would eat.
The berries ripen quickly on the vine
and ferment like a grape. The alcohol
content is enough to make the bird
drunker than the winos in the park.
It's all they're eating now. But that
didn't explain why other animals were
behaving strangely and dying.

He takes the lid off a petrie dish.

HENRI
Bird droppings. The lolly berry it
seems once through the bird's
digestive system has its own effect.

He opens one of the freezers. Marie reacts as she sees animals in bags. Their eyes stare grotesquely through the plastic.

HENRI
I've taken tissue samples from
squirrels, rabbits, the stray cats.
It confirmed it.

He slams the freezer door which causes a sleeping
cat on the bed to meow and stretch.

HENRI
Whiskers there seems immune.
I believe it's the worm medication
he's been on somehow counteracts
the exposure. The question is how
are we being affected?

MARIE
We?

HENRI
Humans. In Paris, I dare say you're
never more than a french loave's length
away from bird sh*t.

MARIE
Did you notify the city?

HENRI
It is like trying to wake a
sleeping child to take their cough
medicine. I needed to know before
it was too-- the two of them were
gracious beyond measure-- to volunteer
-- such a difficult sacrifice.

He opens the other freezer. A cloud of mist bellows out and when it is clear enough to see, Marie opens her mouth in a frightening scream.

Her parents stare back at her in their frozen repose.

She drops her flyers and runs out.
Henri retrieves one from the floor and recognizes the couple on the flyer and in his freezer are the same. He takes after her.

EXT. PARK -- DAY

Marie makes it to an open meadow. Henri catches up to her, grabbing her to stop.

HENRI
In Canada it was a sedative
we used to calm them. But the
sedative was not always to move
them to a place they could be free in.
Sometimes it was a zoo. Sometimes
it was to calm them because our intent
was unfortunately to destroy them.
Your parents were wise. They could
see the signs. They wanted a future
for you. A day you could look up to see
a bird above, a plane. When was the last
time you've seen one of those? Look up
Mademoiselle Decoste.

She shakes her head, tears streaming down her cheeks.

MARIE
No.

He shakes her arm. She reluctantly follows his gaze upwards.

FROM HER POV

The sky is crossed by a hopscotch design of fuzzy material held together by string and countless discarded plastic bags anchored by the Eiffel Tower.

Now up above the two and the city in its covering to the outskirts where clouds of smoke billow from collapsed residential areas surrounded by burrowed earth.

Herds of animals and flocks of birds roam free where humans once crafted their nests oblivious to the sedation ahead of them.

A scratchy soundtrack of "I Love Paris in the Springtime" is drowned out by song birds.

and we sedately

FADE TO BLACK

[Adam Isaac]

HENRY THE ANGEL

FADE IN:


DARKNESS
a small speck of light. Grows, reveals, life at the center of a giant luminous orb.
A spherical vision of clouds and mist. Time slows, a pause-- the orb walls begin to spin,
faster... faster... inside becomes the outside of--
a raindrop,
races madly, joins others, speeds for earth, faster...
SPLAT!

EXT. SUBWAY STATION ONE - NIGHT
A soft explosion hits his velvet cowboy hat, JANUS JORDAN (30) looks up at the
sky in disgust...

JANUS
You've got to be kidding me.

Tightens the collar of his worn trenchcoat, shivers.
Looks down--
at his coat pocket. He appears to consider carefully, then gently closes the flap.
A mysterious BLUE LIGHT appears briefly from his closed pocket, then dark.
Accustomed to the strange light, Janus smiles.

We pull back, he is alone on the platform of a subway station.

(OS) a subway car approaches--

INT. SUBWAY TRAIN - NIGHT
Janus drops his token, takes a seat in the back. Only a few passengers this late.
He notes CURIOUS BOY (8) staring at him, the boys mother is asleep in her seat.

JANUS
What? You never seen a cowboy hat?

The boy shakes his head no.

JANUS
Well you won't this time either. Mind your own business and turn around.

The BLUE LIGHT shines from inside Janus' coat pocket.

JANUS
(to his pocket creature)
Cut it out, I'm tired and he's not hurt. Besides, kids have to learn sooner or later.

The boy stares a moment longer, intense, oddly ancient, knowing.

EXT. SUBWAY STATION TWO - NIGHT
The subway car arrives at a new empty platform. Janus gets off. The BLUE LIGHT in his pocket flashes
wildly. He opens the pocket--

JANUS
What is your problem?

The BLUE LIGHT spills out... takes form, reveals HENRY THE ANGEL (50) in ripped robes and
dirty white wings.

HENRY THE ANGEL
Are you crazy?

JANUS
Not the last time I checked. I'll be even better once I get rid of you.

HENRY THE ANGEL
I fell. I can't go until I've redeemed your soul. That's the rules, period.

(OS) the distant sound of RUSHING WINGS.

JANUS
Well what are you waiting for? Start redeeming and we can part our merry ways.

HENRY THE ANGEL
You don't understand. The boy on the train, he's the fallen.

JANUS
Another one fell? I'm gonna have two of you ruining my good times?

HENRY THE ANGEL
I fell, he's The Fallen. Oh, this could be bad.

Hundreds of WINGED DEMONS approach in the sky.

JANUS
What do you mean?

HENRY THE ANGEL
Hell has swift wings my friend. Stop asking stupid questions. RUN!

Janus takes off running through the terminal, dodging obstacles, panting, terror...

JANUS
(to God)
I'm sorry! I know it was wrong to steal a car, and I never should've done that other stuff too. I'm turning
my life around Lord, please!?

BACK TO:

SUBWAY STATION TWO
The Winged Demons touch down on the deck. A sinfully beautiful fallen angel, KRISTOFF (30) steps forward..

KRISTOFF
Henry? It's been awhile. And, you're a mess. Did you try to fall?

HENRY THE ANGEL
Hell wouldn't be that lucky Kristoff.

KRISTOFF
I smell human all over you. Where is he?

HENRY THE ANGEL
You can't have him.

KRISTOFF
You're alone in our playground.

HENRY THE ANGEL
Did I mention I saw your boss tonight?

KRISTOFF
Lucifer? Was here?

The Winged Demons start to fidget, nervous.

HENRY THE ANGEL
Yep, in all his prepubescent glory. He left the human alone. Are you going to challenge Satan's wish? Spend eternity as a speck
of pig****? Sounds pretty lousy to me.

Kristoff growls in rage. He shoots skyward, the Winged Demons follow after him.

HENRY THE ANGEL
(to himself)
Now, where did that annoying human go?

Henry extends his wings, regal, proud. He rustles the dusty feathers and launches into the sky.


FADE OUT

[Adam Isaac]

LUCID (Part 1 of 2)

FADE IN:

EXT. NEW YORK CITY – NIGHT

We soar above Second Avenue, one yellow cab below prowls for a three a.m. fare. Suddenly –

A WHITE HAWK swoops into view and pumps its wings. We follow it as it glides down a side street and sets down upon –

A SECOND FLOOR WINDOW LEDGE.

The Hawk stares into the apartment window, ruffles its feathers, anxious, agitated, then raises a talon against the glass –

TAP. TAP. TAP.


INT. APARTMENT – BEDROOM

MARISA (35) dozes sprawled in the center of her queen-size bed, wearing her oldest, faded blue tee-shirt. These are the habits of a woman accustomed to sleeping alone.

TAP. TAP. TAP.

She rouses, rolls onto her side, pulls the pillow over her head. The slight rise of her belly reveals Marisa is four months pregnant.

TAP. TAP. TAP.

She tosses the pillow ...

MARISA
What the hell?!

... and looks to the window – nothing there.

TAP. TAP. TAP.

But now the sound echoes from behind her closed bedroom door.

TAP. TAP. TAP.

Fear sets in but she swings out of bed anyway.

TAP. TAP. TAP.

She goes to the door and pauses, hand on the doorknob.

TAP. TAP. TAP.
She opens the door and almost tumbles into –

A DEEP PIT.

Down below, hundreds of rotting human wretches pace.

Some howl in utter rage. Others claw their way up the mud-coated sides only to slide back down again.

Steam rises toward Marisa, she fights the urge to vomit and attempts to step back but she’s unable to move her legs.

Down below, the most ancient of them all stands motionless among these restless beings. Skeletal, gray hair hanging to its ankles, its hollowed eyes gaze upward -

ANCIENT WRETCH
Behold the Queen of whores!

And in an instant it scurries up the side with rodent-like ease.

MARISA
Wake up wake up wake up!

Its spiny hand grabs her ankle, she kicks, kicks harder, reaches for the doorknob ...

MARISA
Wake! Up!

... and slams the door closed.


IN THE BED,

Marisa bolts upright, gasps for breath. Her hand goes to her belly, her eyes search the moonlit bedroom. All seems normal.

She swings out of bed, goes to the door and pauses to listen.
Silence. She pulls the door open revealing -

Her living room, just as it should be.


IN THE KITCHEN, MOMENTS LATER.

Marisa sets an orange on the cutting board and slides a large knife from the countertop rack –

TAP. TAP. TAP.

Her head snaps toward the kitchen window – nothing.
She goes back to her task, cuts the orange in half -

- its bloody, pulpy core spills out and shudders in a final death rattle.

Marisa stumbles to the sink, attempts to throw down the bloodied knife but her right hand now has a will of its own.

An evil will. It turns the blade toward her face.

She grabs her right wrist with her left hand but the murderous arm is stronger –

- the knife points downward, toward her belly, she struggles to keep it away but -

- the blade still edges closer to the fabric of her tee-shirt.

MARISA
Our father who art in heaven,
hallowed be thy name.

TAP. TAP. TAP.

MARISA
Thy kingdom come, thy will be done -

A blinding flash of light and ...

[Adam Isaac]

LUCID (Part 2 of 2)

EXT. CROWDED SIDEWALK CAFÉ – DAY

... Marisa talks with her friend JILL (Asian, 30s) over coffee.

MARISA
I know dreams, Jill. I know
nightmares – these were neither.
I felt if I had allowed myself to
die there I would. Die.

JILL
I don’t want to go all Oprah
here but it sounds like major
Catholic guilt to me –

MARISA
Don’t knock it – it’s effective.

JILL
Marisa, a one-night stand? And
you make a lifetime commitment
to do this alone? It’s crazy.

MARISA
For the first time, in a very
long time, I don’t feel alone.

TAP. TAP. TAP.

Marisa realizes all of the surrounding tables are suddenly empty.

MARISA
Oh. God – no.

JOY
What?

MARISA
This – you -

TAP. TAP. TAP.

Marisa’s body levitates and soars high above the city, she hovers a moment then -

- falls like a stone, faster, faster, the city rising up in stark clarity. She sees Jill at the table chatting at an empty chair.

TAP. TAP. TAP. Marisa screams.


INT. APARTMENT – BEDROOM - DAY

Marisa sits upright in bed, her tee-shirt damp with sweat.
She looks to the window and sees –

The White Hawk on the ledge, its eyes locked on hers.

She goes to the window, slides it open and dares to stroke its feathers – once, twice - it spreads its wings and flies off.


INT. DOCTOR’S EXAMINING ROOM – NEXT DAY

Marisa is in the midst of a sonogram. She watches the monitor screen amazed by the tiny being alive within her.

The DOCTOR (50s, balding) moves the sensor across her belly.

DOCTOR
Hormone shifts can disrupt
sleep patterns. Vivid dreams,
nightmares. Quite normal.

She remains skeptical.

DOCTOR
You’re doing fine, Marisa.
I’d put your due date in
late December.

MARISA
A Christmas baby?

DOCTOR
Nice present huh?

Doctor presses a button, the machine prints out the image.

DOCTOR
What I’m about to say – no
judgment, just science. If
you can find out the paternal
history, family health conditions.

MARISA
Doctor, like I told you – -

DOCTOR
Yes, and that’s why I’d bet the
father won’t want to be involved –
just ask for his medical background -

MARISA
I lied. About the one-night stand.
I don’t do one-night stands.
I mean, I must have slept with
someone but - when, who -
I don’t remember.

He hands her the sonogram photo, she studies it with misty eyes.

DOCTOR
Try to. For your daughter’s sake -

MARISA
It’s a girl?


EXT. CORNER OF LEXINGTON AND 53rd – LATER

Marisa waits for the avenue light to change. A young Mom and her little boy step up beside her. The kid points skyward -

LITTLE BOY
Mommy look!
The White Hawk circles above, snowy white, majestic.

Amazed, Marisa watches it swoop and glide. Others crowd behind her, everyone awed by the bird’s magnificence, everyone except –

- the STREET PERSON who sidles up beside Marisa. Cloaked and hooded in rags, neither male nor female.

A BUS barrels down Lexington toward the 53rd Street intersection.

Steam rises from the Street Person’s rags, Marisa recognizes the stench too late. She’s shoved into the path of the bus but -

- A MAN snatches her back to the safety of the sidewalk as the bus rumbles by.

JOE (40) holds her steady.

JOE
Easy, now. Are you okay?

MARISA
Did you see? Someone pushed me.

She looks around, the Street Person is gone. She looks back to Joe and manages a shaky smile.

MARISA
I can’t stand clichés but
you saved my life. Thank you.
I’m Marisa by the way.

He’s drawn to her, this pregnant woman, and the feeling surprises him.

JOE
Joe. How’s this for a cliché:
Have we met before? Wait, don’t
answer. Way too lame. Have lunch
with me instead. I hate eating
alone.

MARISA
I understand. Totally.
There’s a place on Third.

He offers his arm, she takes it, and as they cross Lexington -

- the Hawk spirals toward the sun and dissolves into the light.

FADE OUT.

[Adam Isaac]

HELL ON EARTH... GOODBYE TO MAN (Part 1 of 2)


FADE IN:


EXT: UKRAINE - DAY

The winter wind moans across the snowy plain...

... through the abandoned city of Pripyat...

... whistling through the rusted links of cyclone fence that surrounds the desolate nuclear power plant.

Almost invisible against the snow, technicians in white protective suits jab at buttons, eye monitors. The semi-circle of equipment perches at the edge of a gigantic concrete-rimmed hole in the ground...

... a hole that once was a nuclear reactor.

Cables of various gauges snake from the equipment across the tundra and down into the mouth of the pit.

Network News Reporter TRACI ALBRIGHT isn't wearing the clunky gear as she sets up to interview DR. CARLTON, head of the research team.

The wind is blowing hard, and she is obviously chilled to the bone in her New York designer outfit.

Her legs look great, though.

JACK - her Union cameraman - wears the protection.

DR. CARLTON
Really, Ms. Albright. Although the
ambient levels of radiation aren't
all that high right now-

ALBRIGHT
Screw that. I’d might as well just
bare my throat for The Suits to go
at like jackals. No way I'm going
back to the Britney Meltdown beat.

DR. CARLTON
Aren't you cold?

ALBRIGHT
Freezin' my t*ts off. Let's
hurry this up.

She wraps the cord of the microphone around her wrist.

ALBRIGHT
Roll tape, Jack!


THE BROADCAST:

SUPER: CHERNOBYL

Healthy NYSE numbers crawl across the bottom of the screen.

ALBRIGHT
This is Traci Albright, live on
scene of history's most notorious
nuclear reactor disaster. We're
here with Dr. Luther Carlton of
the Nuclear Research and Regulatory
Commission. Doctor, what exactly
are you monitoring here?

She turns the mike to the doctor:

DR. CARLTON
Well, as you know, the Soviets were
not exactly forthcoming about the
meltdown when it occurred.

ALBRIGHT
Excuse me, Doctor... did you say
meltdown? Like the China Syndrome?

DR. CARLTON
Yes... I would have thought that
this was common knowledge by now.

He blinks, frowns at her.

DR. CARLTON
Don't you people pay attention? All
of these years the reactor has been
steadily burning its way down to the
center of the Earth-

Albright reconsiders the protective suit.

A TWO-HEADED DOG wanders by in the background.

DR. CARLTON (CONT'D)
-and by our calculations, it should
meet the core of the Earth at any
moment.

ALBRIGHT
And then what?

DR. CARLTON
(shrugs)
No one knows. That is why we're
here-

They stagger as the earth RUMBLES briefly, then settles.

Dr. Carlton forgets the interview, hurrying over to the monitors as they start to chatter and beep excitedly.

Albright follows.

ALBRIGHT
(wide-eyed)
Was that it?

Carlton doesn’t look at her, eyes focused on the data scrawling across the screen:

DR. CARLTON
Do you mean that, was that the
event happening... or whether
that would be all that happens?

ALBRIGHT
(nods)
Yes.

DR. CARLTON
By all indications, I'd say yes
to the former. As for the latter...
I seriously doubt it.

ALBRIGHT
What do you expect-

Dr. Carlton holds up a finger, cocking his head as he listens.

Silence, underlined by a soft sound like the Earth itself sighing...

... then from the pit comes an almost indescribable CACOPHANY building: not unlike a swarm of bees, but at the same time higher-pitched and more guttural.

The sound builds to the volume of a fleet of jets taking off, released as...

... the pit vomits out a seemingly non-exhaustible eruption of winged forms of every imaginable shape and size...

Mouth agape, Albright’s eyes blink rapidly. Urine stains the snow.

... spiraling upwards like a reverse tornado of flesh, a sentient thunderhead spreading across the sky.

She recovers:

ALBRIGHT
(to Jack)
Are you getting this?

Jack is stone cold frightened, but still a trooper... he has obviously forgotten that he's Union.

JACK
Yeah.

ALBRIGHT
(turns to the doctor)
What-

Dr. Carlton is halfway to his van as he struggles out of his suit.


INT: THE VAN

Carlton opens the door, jumps in, locks it. He grabs the keys and fires up the engine.


EXT. THE PIT

SCREAMS as technicians fall beneath the wave of daemons.

JACK
Um, shouldn't we be following
him?

Albright’s attention has returned to the pit, as the hopping, crawling denizens follow on the heels of the flying ones.

At the sound of the engine, she looks back as a colossal winged beast swoops down from the sky and flies back up, the van clenched in its claws.

A muffled SHRIEK trails after.

ALBRIGHT
Are we still rolling?

JACK
Yeah.

ALBRIGHT
Put me back on.

[Adam Isaac]

HELL ON EARTH...GOODBYE TO MAN (Part 2 of 2)

THE BROADCAST:

The NYSE numbers freeze, then start to plummet.

ALBRIGHT
Time is short, so all I can say
is, as you can see, it appears
that virtual Hell on Earth has
been unleashed. God save us all...

She hiccups, blinks against tears.

ALBRIGHT (CONT’D)
And Mom... Dad? I love you. I‘m
sorry about the-

She disappears from the frame with a SCREAM.


EXT. THE PIT

The camera is almost jerked from Jack’s grasp as the microphone cord snaps taut, unjacks...

Jack keeps his grip on the camera, looks up to see her in the claws of another winged daemon, her screams fading off in the distance.

... as the mike cord trails after them like a snapping tail.

He looks down as the sea of corrupt flesh is about to roll over him.

JACK
Jesusohmanomanomanomanono...

He crosses himself, then focuses his camera once again on the malevolent tide.


THE BROADCAST:

NO AUDIO:

The NYSE numbers are in the negatives and sinking faster.

The daemons waddle, hop, leap towards the camera... fill the frame...

... which cuts to snow.


INT. NEW YORK - NEWS DESK

The network ANCHOR looks about nervously, trying to cover the abrupt programming change.

ANCHOR
We seem to be experiencing
technical difficulties...

The lights flicker... die.


FADE OUT

[Adam Isaac]

T (Part 1 of 2)


EXT. BANK -- NIGHT

On an outside ATM screen for a beat. A message across it reads, " Do you want to make another choice?"

The screen reverts to "Welcome" as an ATM card is sucked into a slot with a whirr and a click.

Now down below the ATM. Rain beats on the pavement. A head, eyes wide open in shock look up. Hair soaks in the falling rain. This is LAWRENCE, a young man in his late twenties, his back against the cold ground.

LAWRENCE (V.O)
Under these conditions and at this
late hour, I'm surprised you've come
along.

His hand moves from his chest and falls at his side. Rain splatters blood from his hand and sends it in spidery rivelets across the pavement.

Again on his eyes.

LAWRENCE (V.O)
I see fear in your eyes.
Can you see what this feels like?
There is something dark, a drain,
a hole I can't climb out of. I'd close my eyes
so you won't be afraid but where does
that leave me?

His chest a bloody puddle heaves through his shirt.
We follow his arm to a wallet. Its contents
scattered nearby. We focus on a business card.

LAWRENCE (V.O)
Let this be a warning to you.

INT. COFFEE SHOP -- DAY

COPS at tables lift their cups like barbells.

Lawrence before a counter. He carries a canvas bag.

A COUNTER GIRL serves him a coffee.

Lawrence holds out the business card.

LAWRENCE
St. Peters Church, I think
I'm lost.

COUNTER GIRL
Right around the corner on
Fifth but you can just cut through
the cemetery.

She points out the window beyond some police
cars. An old cemetery is situated across the street.


LAWRENCE
I guess with the police
coming here all the time you
feel reassured.

COUNTER GIRL
Actually, it just reminds me
of the darkness out there.

EXT. CEMETARY -- DAY

Lawrence makes his way through the cemetery.

He comes across on the other side through a gate. A construction job scars the street. A deep hole surrounded by caution tape and a light, flashing yellow presents an obstacle.

He looks up to see the church on the other side. A cross adorns the church steeple.

He makes his way down the sidewalk to a place he can cross all the while looking at monuments to the dead on the other side of a wrought iron fence.
One catches his eye enough to make him stop.

A cement block that obviously at one time was a cross laid across someone's grave. The surface weathered away so the grave now remains nameless.
The top part of the cross is broken off so now it only appears as a "T"
Lawrence looks about but doesn't spot the missing piece.

INT. CEMETERY -- DAY

Lawrence reaches into his pocket and pulls out his wallet. He bends down and places the wallet
against the top of the "T". The wallet is the width
of the missing top piece.

INT. CHURCH -- DAY

Lawrence with a PRIEST before a delicate statue with a missing hand.
Lawrence motions with a portfolio the priest's options for restoration.

LAWRENCE (V.O)
I think you understand how
I need to restore things. How I need
to see them made whole. Especially
those things that represent someone's
life or some vision of a better, more
perfect world.

INT. WORKSHOP -- NIGHT

Lawrence opens a cement cast.

LAWRENCE (V.O)
You keep telling me I'll be OK;
you've called for help. Your
kindness means the world to me.

Lawrence holds an oblong piece up in the moonlight lent from a nearby window.

EXT. CEMETERY -- DAY

Lawrence takes the piece from his canvas bag and with some caulking material fits it on top of
the "T" .

He looks down at his work with some satisfaction.
A forgotten grave, its cross restored.

[Adam Isaac]

T (Part 2 of 2)


INT. COFFEE SHOP -- DAY

The usual cops. A few civilian PATRONS.

Lawrence at a table with coffee and some sketches.

An elderly patron at a table stares out the window across to the cemetery. He mumbles something.
Quickly he reaches for the holstered gun of a nearby cop and manages to slip it out.
The patron jumps up, aiming the gun at the window.
The cops react.

COP
What the fu*k, Ramsey!
Give me the gun.

The elderly patron stares with fright.

OLD PATRON
It's Thomas Paddock.
He's come for me.

The cops draw their guns.

COP
Come now, everythings
going to be all right. Just
hand it --

They rush him as he backs away to a wall,
screaming at the top of his lungs.
He takes the gun and
BLAM!
puts a bullet to his own head.

Lawrence hands tremble as they grip his table.

INT. LAWRENCE'S HOME -- NIGHT

Lawrence before a computer.

He scans news accounts.

Flashes of copy:

"Retired Policeofficer kills self"

"Officer Ramsey was known for his
taking down the Satanic Night Murderer"

"He was the devil, neighbors describe Paddock"

EXT. CEMETERY -- DAY

Rain falls. Lawrence with an umbrella before
the restored grave marker.

He bends down and clears away dead grass from
an adjacent stone.

"Esther Paddock, beloved mother of Tommy"

LAWRENCE (V.O)
You ask me if I have family.
No, don't kneel next to me.
As little of this night you take
home with you the better.

EXT. BANK -- NIGHT

On Lawrence's face. He swallows and closes his eyes for a moment.

FLASHBACK to earlier.

He approaches the ATM machine and slips his card in. Retrieves some cash.

A THUG comes up to him and grabs him, shouts something to him.

The thug pulls out a knife and pushes his whole
body into Lawrences.

Lawrence's face across the thug's shoulder.
He can see the thug's reflection in the glass
of the ATM screen.
A tattoo adorns the thug's back framed by
a white muscle t-shirt.

"T"

FLASHBACK ends.

On Lawrence's face. Rain has abetted now.
Drops glisten on his eyelashes.

LAWRENCE (V.O)
Don't be hard on yourself that you
were not able to do anything.

He coughs up blood.

His eyes convey a tender understanding.

LAWRENCE (V.O)
There are some things , honestly,
that just spell bad.

A light goes out in his eyes. The stare now
like certain death.



FADE TO BLACK.

[Adam Isaac]

DIVA (Part 1 of 2)

FADE IN:

INT. MOTEL ROOM - NIGHT

The cheapest furniture and decor. A tiny TV set.

The door's kicked open and BLAYNE a tough unshaven PI type
enters with his gun drawn. He swings left and right, just
like they do on cop shows. He opens the closet. Checks out
the bathroom.

BLAYNE
Clear!

A man and woman enter. She takes off her sunglasses, whips
off her head scarf. KAYEESHA, 30s, is beautiful and angry.
CARTER, 40s, closes the door and turns on the lights.

KAYEESHA
Hey, Wyatt Earp! Lose the hardware.
Nobody's here 'cept us.

CARTER
Would you be so kind as to bring in
the bags?

Blayne slides his gun into his underarm rig and exits outside.

KAYEESHA
Can't believe you talked me into
this.

CARTER
Now Kayeesha, you have to trust me.
Every hotel in town is surrounded by
media armies, all looking for you.

KAYEESHA
Since when were you shy of publicity?

CARTER
Until your role is officially
announced, I don't want anyone asking
you questions. The wrong answer
could prove catastrophic.

KAYEESHA
This dump stinks.

CARTER
It's only for one night. Tomorrow
we meet with the lawyers and sign
the contract. Then we'll call a
press conference. Right after that,
we'll move you into the penthouse
suite at the Marriott.

Kayeesha sits on the bed, bounces to test the mattress.

KAYEESHA
Got it all figured out.

CARTER
Ten. Million. Dollars.

KAYEESHA
Fifteen percent of which is yours.

CARTER
You grudge me my fee for re-launching
your career?

KAYEESHA
My career was doing just fine.

CARTER
I forget the name of your last
blockbuster. Remind me? Oh yes,
"The Octopus From Beyond Space."
That talented Russian director. He
kept calling you his little Milla
Jojovich. Remember how he laughed
when you picked up the pulse rifle
and keeled over with the weight?

Kayeesha glares, if hate could kill Carter would be dead.

Blayne enters carrying designer suitcases and a hold-all.
He dumps them behind the door.

BLAYNE
Need anything else?

KAYEESHA
I could do with a foot rub.

CARTER
We're okay, thanks.

Blayne exits, closing the door.

KAYEESHA
Is the man deaf? I said I wanted a
foot rub.

CARTER
He isn't here to rub your feet, he's
here to protect you.

KAYEESHA
Can't he do both?

Carter unzips the hold-all, takes out a thermos flask,
sandwiches in plastic packets. Kayeesha watches, curious.

KAYEESHA (CONT'D)
I'm sorry, what--?

CARTER
In case you get hungry.

KAYEESHA
You have got to be kidding me. And
where will you be?

CARTER
I have a couple of telephone
conferences scheduled. Then possibly
dinner.

KAYEESHA
Son of a bitch, you're sleeping in a
hotel, aren't you?

CARTER
It's just for tonight. Blayne will
be outside, no one will get by him.

KAYEESHA
So I'm supposed to...?

CARTER
Relax. Watch TV. I had your maid
pick a selection of clothing from
your hangar-size wardrobe. Perhaps
you could look something out for
tomorrow's meeting?

KAYEESHA
Well... I suppose I could.

CARTER
I need you ready to roll for nine-
thirty. Meeting's at ten. Do-able?

KAYEESHA
I'm not a child.

CARTER
It's going to be great. You're going
to be right up there with the big
hitters. Twenty, twenty-five million
a picture after this, no problem.
Hold that thought. See you tomorrow.

Carter exits leaving Kayeesha alone.

Kayeesha lies down on the bed, but can't get comfortable.

She sits up and points the remote at the TV. She stabs
several buttons but the TV doesn't come on. She throws the
remote on the bed.

She tries to open a sandwich packet but breaks a fingernail.
Enraged, she throws the packet on the floor and jumps up and
down on it.

Blayne opens the door and peeks in.

BLAYNE
Everything okay?

KAYEESHA
Who are you, my chaparone? Get out!

The room telephone RINGS startling them. Blayne signals to
Kayeesha, don't answer, but Kayeesha lifts the receiver.

KAYEESHA (CONT'D)
Yes?

MALE VOICE (V.O.)
It's you, isn't it? I know it's
you. You're her.

KAYEESHA
Who is this?

Blayne snatches the receiver and listens. He hangs up.

BLAYNE
Did you recognize the voice?

KAYEESHA
No. Maybe it was the manager. Maybe
he just wanted to--

BLAYNE
He was paid plenty to leave you alone.
Did you tell anyone you were coming
here?

KAYEESHA
How could I? Carter didn't even
tell me where we were--

BLAYNE
Someone must have recognized you.
They followed us here without me
seeing them. That means they're
professionals. You could be in
danger.

Blayne left the door open -- Kayeesha sees something outside --
she gasps in horror, points...

[Adam Isaac]

DIVA (Part 2 of 2)

Blayne spins round, draws his gun, takes aim at a limping
figure approaching the motel room. Too dark to make out
features. Kayeesha cowers behind Blayne, terrified.

BLAYNE (CONT'D)
Stop or I will shoot!

The figure keeps coming. BLAM! The figure staggers but
keeps coming. BLAM! The figure staggers again but keeps
coming, like some nightmare out of a horror movie.

BLAYNE (CONT'D)
Why won't he die? WHY WON'T YOU
DIE?! DIE, MONSTER, DIE!

BLAM! BLAM! BLAM! etc. until Blayne's gun clicks empty.

The figure makes it to the door -- soaked in blood, face
screwed up in agony, a GEEKY TEEN wearing glasses and
a baseball cap, and clutching a blood-spattered manuscript.
He sees Kayeesha. He smiles through the blood.

GEEKY TEEN (FORMERLY MALE VOICE)
It is you! I knew it...

He slowly slumps to the floor, falls into the room, his dead
arm extended, as if offering the manuscript to Kayeesha.

Blayne gives the body a cautious kick. He picks up the
manuscript, examines it.

"TEH OCTOPUS FROM BEYOND SPACE II
WRITTED BY
KAYEESHA'S #1 FAN !!!"

Kayeesha rushes into Blayne's arms.

KAYEESHA
You saved my life! Thank you, thank
you. Who was that crazy person?

BLAYNE
Just some wannabe.

Blayne kisses her hard. They fall onto the bed together.

FADE OUT

[Adam Isaac]

WAITING FOR ROSEMARY (Part 1 of 2)

FADE IN:

EXT. THE COMMON - COUNTRY LANE - DAY

DEBBIE, a young girl in her teens, treks along a country lane, takes a short-cut on a path across some common land.

Debbie nears the edge of the lane when she notices a dark shadow which idles lazily under the shade of some large trees.

It is a shadow of a MAN who appears to be waiting for somebody, he shuffles his feet, peers eagerly towards a large sandstone house, The Old Hall, in the distance.

As Debbie approaches the Man, she turns, catches a better glimpse of him.

The Man stands there at the end of the lane.

He is in his 20s, dressed in old fashioned clothes, baggy trousers with turn-ups, a Fair-Isled patterned woolly jumper without any sleeves and a flat-cap on his head.

Debbie continues along the footpath, turns a second time, peeks at the strange looking man.

The Man stands there, nervously repositions his hat, waits patiently under the trees.

Debbie resumes her steps along the footpath.

EXT. THE COMMON - THE OLD HALL - DAY

The Old Hall stands proudly at the top of the Common, a sandstone building with small glass windows, ornate with a slated roof and large chimney pots, a white painted gate and flowers in the garden.

Debbie lifts the latch, opens the gate and strides down the path which leads to the front door.

Debbie's MUM, a woman in her late 40's, dark hair, slightly plump with a roundish face, cleans the windows then notices her daughter. she waves "hello" to Debbie.

A large wooden door creaks opens and Debbie enters the Hall.

INT. THE OLD HALL - HALLWAY - DAY

Debbie's Mum dusts and spring-cleans around the house.

DEBBIE
You look busy.

MUM
Yes. It's a lot of work now that Grandma can't do it.

DEBBIE
Where is she?

MUM
Upstairs having a little rest.

Debbie quietly steps down a large Hallway.

She climbs the stairs, past the large bay windows, sunlight streams in onto the old wooden stairs, shadows dance in the light.

INT. THE OLD HALL - BEDROOM - DAY

GRANDMA lays on top of the bed, propped up with a soft pillow and covered by a warm red tartan blanket.

Debbie sits down on the edge of the bed, leans over to her Grandma, gently brushes her silvery-grey hair across her brow.

Grandma awakes, her eyes sparkles when she sees Debbie.

GRANDMA
What a lovely surprise. Did you walk across the common?

DEBBIE
Yes, and I saw the oddest thing. A Man waiting there by some trees.

GRANDMA
Did he have blue eyes?

Grandma pulls herself up a little closer to Debbie.

GRANDMA
A real, bright, clear-blue?

DEBBIE
I don't know, Grandma? I wasn't close enough to see. Why do you know him?

Grandma slowly sinks back into her soft pillow.

GRANDMA
I did once...

Grandma fumbles with an old gold locket which hangs around her neck.

GRANDMA
There's a photo over there. Would you bring it to me, sweetheart?

DEBBIE
The photo on the cabinet over there?

GRANDMA
Yes, that's the one.

Debbie rises from the bed, steps to the other side of the bedroom towards the dressing table and the large photograph in a shiny frame.

She picks-up the frame, looks at the photograph.

DEBBIE
That's weird, it looks like him. But it can't be?

Grandma leans back in the soft pillow, a dreamy look in her eyes.

GRANDMA
We used to meet up there. The Common was much bigger then and I'd rush down there as soon as I could get away.

Debbie clutches the photograph, sits down on the edge of the bed.

GRANDMA
Howard would be waiting under the trees at the end of the lane, looking for me.

DEBBIE
What a lovely thing to remember.

GRANDMA
Memories are like flowers that grow in spring...

Grandma lies on the bed, a contented look on her face. Debbie places the photograph on the bedside cabinet.

DEBBIE
Maybe I could pick some flowers for you?

GRANDMA
Wild flowers... near the large trees...

Grandma leans her weary head against the pillow, falls asleep.

Debbie rises up from the bed, tip-toes quietly out through the bedroom door.

[Adam Isaac]

WAITING FOR ROSEMARY (Part 2 of 2)

INT. THE OLD HALL - HALLWAY - DAY

Debbie climbs down the old staircase, past the large bay-windows, where the sunlight fades now into a warm orange glow.

Debbie's Mum meets Debbie at the bottom of the stairs.

MUM
Memories are like flowers that grow in spring...

Debbie turns to her Mum.

DEBBIE
That's what Grandma said. Think I'll go pick some of those flowers she's so fond of.

MUM
She'll like that.

Debbie gives her Mum a big hug.

EXT. THE OLD HALL - THE COMMON - DAY

Debbie tramps down the path, through the white painted gate and on to the common.

Further on down the path, near the edge of the lane, as she approaches the trees Debbie notices something in the corner of her eye.

The Man she saw earlier, he looks impatient, as if he is waiting for somebody.

At the edge of the Common, where the wild flowers grow, clumps of yellow blossoms softly swings and then sways in the wind.

Debbie bends down, picks some flowers.

Debbie, with a bunch of flowers in her hand, rises from the long grass, turns and treks back along the path.

In the distance the Man emerges from behind the trees.

Even from a distance there's joy on the man's face as he rushes towards a YOUNG GIRL.

In the near distance a young girl runs like the wind, her long-dark hair streams in the breeze.

The two lovers meet, embrace in each others arms and then they kiss, a long romantic kiss.

Debbie watches the two young lovers, a smile appears on her face.

The young Man and Woman descend up the hill then slowly fade away into the distance.

INT. THE OLD HALL - HALLWAY - DAY

Debbie enters the Hallway and towards the old staircase then begins to climb the stairs.

Past the bay-windows, where the light has begun to fade into an evening light and shadows dance on the walls.

Debbie is met by her Mum at the top of the stairs.

She rushes into Debbie's arms, tears begin to trickle down her cheeks.

MUM
Oh, Debbie, she's gone.

DEBBIE
I know...

EXT. THE COMMON - DAY (FLASHBACK)

The Man with the joy on his face steps closer towards a young girl.

The young girl runs, her long, dark hair, flows in the light breeze and she she rushes into his open arms.

DEBBIE(V.O)
...But I also know, somewhere two young lovers are walking hand-in hand, and for one man there's no more waiting for Rosemary...

The Man holds the girl in his arms for an instant and together they disappear, their outlines silhouette into the horizon then suddenly the two young lovers are gone, they disappear, their images no more than a trick of the light.

END FLASHBACK

FADE OUT:

THE END

[Adam Isaac]

HALLOWEEN (1 of 3)

FADE IN:

EXT. DIRT ROAD- DENSE WOODS - NIGHT

Montage:
- Faint car lights visible coming up a dirt road.
- Two story decrepit Motel, down side road 50 metres away.
- Car nears at a slow pace, its lights intermittently switching on and off
- Car approaches the side road of the Motel.
- Steam emits from under the hood; it stalls.
- Driver door opens.
End Montage.

A man PETER, 30, steps out of the car furious, slams the door.

PETER
God damn piece of s**t.

The passenger door opens and MARIA, a 27 year old brunette steps out in frustration.

MARIA
I suppose you’re going to blame me for that too?!

PETER
I hate going to your parents!

MARIA
I’ve spent Halloween with my parents all my life! You don’t think I’m going to break the tradition because we’re now married!

Maria crosses he arms in anger, turns her back on Peter then notices the Motel and the sign on the side of the road.
It reads: M.CA..E H.TEL. - Letters warn away, remaining ones are faint.

Peter kicks the front tire in frustration then hits the bonnet.

MARIA (CONT'D)
Peter look! I think that’s a Motel.

PETER
Can’t be! There’s nothing around for another 120 miles!

Peter looks anyway.
Branches break (o.s)

Maria, startled, runs to Peter’s side.

MARIA
Hear that?

PETER
What? All I ever hear is your mouth reeling off.

She whacks him on the arm, pissed off.
Branch breaks (o.s).

Maria grabs Peter’s arm in fright.

PETER (CONT'D)
(whispers)
Yeah, yeah I heard it.

Both look towards the Motel then to his watch, it reads: 9.05.

PETER (CONT'D)
It’s still early. Lets get some help. Don’t feel like being stuck here all night.

They cautiously head towards the Motel.

[Adam Isaac]

HALLOWEEN (Part 2 of 3)

INT. MACABRE MOTEL - NIGHT

A dingy looking foyer, decorated for Halloween.

Jack O'Lanterns surround the room, provides light.

Real Cobwebs in all corners of the room and on pillars supporting the wooden ceiling.

SHARON, an old and ugly looking desk clerk, is daydreaming as she dusts the old worn out wooden counter, dressed in a witches outfit, her hunched back severely noticeable.
Behind her, a wall displays a dozen mounted axes.

TOMMY, 33, a three and half foot dwarf, mops blood off the tiled floor, dressed in goblin clothing.

TOMMY
Damn this ****. I am not going through this again next year. No siree! I am not!

SHARON
Whatever, Tommy! Ya say that every year at Halloween.

The solid timbered front door creaks open.

Both Tommy and Sharon eye the opening doors, with anticipation.
Peter and Maria enter.

SHARON (CONT'D)
Welcome to Macabre Motel!

Maria pulls a disgusted face as she looks to Peter.

MARIA
Macabre?

SHARON
Yeah! I know! Strange name but it’s pretty dead out here.

Tommy emits a sarcastic chuckle.

Peter and Maria turn around noticing Tommy for the first time.

TOMMY
Sharon means dead quiet.

He chuckles again as he keeps mopping.

MARIA
Is that blood?

SHARON
Nuh, just spilt some paint. Tommy’s a bit clumsy.

Tommy chuckles again.

Peter moves up to the counter, Maria hangs on tight as she looks to Tommy.
Tommy winks, she quickly stares away.

PETER
Our car broke down, wondered if we could use the phone.

Tommy chuckles.

TOMMY
Phone?
(chuckle)
Phone?

SHARON
Nope, sorry, phone’s dead.

Tommy chuckles even louder. Maria tugs Peter and whispers.

MARIA
This place gives me the creeps, let’s go.

SHARON
Wrecking Charlie comes ‘round every morning with his truck. He’ll help ya. Not much else ya can do but bunk here tonight.

[Adam Isaac]

HALLOWEEN (Part 3 of 3)

Peter looks to his watch, it reads 11.58; surprised, he taps it.

MARIA
I’m not staying here tonight.

PETER
Don’t have a choice do we?

TOMMY
Nope, sure don’t.

Tommy chuckles as he walks out into a dark corridor, bucket and mop in hand.

A Large clock near the entrance of the corridor, loudly gongs, it reveals 12.00.

Heavy metallic sliding sound. (o.s)

A series of loud thuds.(o.s)

Maria and Peter turn to face the windows placed near the front door; metal sheets now cover their pane.

A large panel of steel lowers itself over the front door.

Heavy metallic sliding (o.s)

Maria looks to the now deserted counter.

MARIA
What’s going on?

Thud(o.s). Door panel shuts.

Maria frantically looks around, so does Peter then to each other.

MARIA (CONT'D)
Where did she go?

The Jack O’Lanterns float around the room emitting evil laughs.

Maria and Peter lose their balance. Both look to their feet.
The tiles have softened and form ripples like small waves. Peter and Maria’s feet become engulfed up to their ankles.

Maria screams as she loses her balance, falls backwards. Her body is slowly engulfed by the molten tiles.

MARIA (CONT'D)
Help me Peter! It’s sucking me in!

Peter is now sunken knee deep and cannot move.

He outstretches his arm to reach for Maria’s, who’s now sucked up to her torso.
She shrieks in horror. Peter is pulled in even further.
The more he struggles the further he sinks.

MARIA (CONT'D)
Peter!

PETER
Maria!

Maria is swallowed whole. Peter soon follows.

The room stops rippling and the tiles return to normal; all falls quiet for an instant as the Jack O’Lantern re-settle on the floor.

Where they both stood the tiles start to lift and stretch forming two bubbles the size of a basketball.

They grow until they look ready to burst.

They burst, spewing out blood like two small volcanoes all over the floors.

Two large burps emit from the volcanoes as the tiles reshape themselves; the floor returns to normal but drenched in blood.

The door and window shutters slowly slide up.

Sharon re-appears dusting behind the counter.

Tommy re-appears with mop and bucket, starts to clean the floor.

Clock reads 11.55.

TOMMY
Damn this ****. I am not going through this again. No siree! I am not!

SHARON
Whatever, Tommy! Ya say that every Halloween.

The solid timbered front door creaks open.

Both Tommy and Sharon eye the opening doors, with anticipation.

FADE OUT:

THE END.

[Adam Isaac]

1408 REFURBISHED (Part 1 of 3)

INT. HOTEL LOBBY - NIGHT

It's lavish, four stars. A work crew is remodeling a corner of the lobby.

JACK, 30's, clean cut, strolls in, looks up at the scaffolding. A construction worker drops a brick. It falls straight toward Jack's head.

Jack jumps backward. The brick misses his head by inches.

JACK
Whew, that was close.

Out of nowhere a sweet young girl in a Yankees baseball cap walks up. Throws a baseball at Jack. SMACK, right in the head. She runs away.

Jack crumbles to the floor.

JACK
What the..

INT. FRONT DESK - NIGHT

The front desk CLERK works on his computer. Jack walks up rubbing the knot on his head.

JACK
Room... FOURTEEN O EIGHT please.

CLERK
What! Are you crazy?

JACK
No, not really. I just..

CLERK
How in the hell did she get knocked up?

Jack looks around confused.

CLERK
Yeah, talk to you later.

The Clerk takes a tiny phone out of his ear, looks up at Jack.

CLERK
Sorry sir. How can I help you?

JACK
Room... FOURTEEN O EIGHT please.

CLERK
What! Are you crazy?

JACK
Are you talkin to me?

CLERK
I'll have to get the manager.

INT. MANAGERS OFFICE - NIGHT

The MANAGER is on his knees at Jack's feet.

MANAGER
Please, please for the love of god don't go in that room. Pleaaaase.

JACK
Sorry, but my minds made up. There is no way I'm not staying in that..

Jack looks up.

JACK
..Ohh, is that a two liter of New Coke?

The manager wipes the tears from his eyes, stands up.

MANAGER
Sure is. Why, you want it?

Jack licks his lips.

MANAGER
It's all your's if you promise not to stay in the room.

Jack shakes his head up and down excitedly. The manager smiles, grabs the pristine two liter of New Coke off the shelf.

The bottle slips out of the managers hands. Shatters on the floor. Jack frowns.

MANAGER
Damnit. I'll get the keys.

INT. ELEVATOR

Jack sways to the elevator music. A ghoulish, hunchbacked, cross eyed little man, the BELL BOY, stands next to him.

BELL BOY
FOURTEEN O EIGHT! Are you crazy?

JACK
Starting to think so.

BELL BOY
You know I used to be in movies. Could of been a star. Until I went in room... FOURTEEN O EIGHT!.. and my worst fears came to life.

Jack raises an eyebrow at him.

DING. The elevator doors slide open. Jack walks into the

HALLWAY

The bell boy follows.

VOICE(O.S.)
Lookout! Runaway cart!

A cleaning cart darts toward Jack. Jack backs up against the wall. The cart THUDS into the wall between Jacks legs, just missing his dangly's.

JACK
Whew, that was close.

The young girl in the Yankee's cap runs around the corner. Kicks Jack in the nads. Runs away.

Jack crumbles to the floor.

JACK
What the.. Who is that!?

[Adam Isaac]

1408 REFURBISHED (2 of 3)

INT. HOTEL ROOM - NIGHT

Jack drags his suitcase into the room. The bellboy stands by the door.

BELL BOY
Good luck.

He slams the door shut. Jack looks around the cozy room.

JACK
Not so bad.

Jack hears the faucet turn on in the bathroom. Steam rises from beneath the door. Jack tip toes. Gently grabs the door handle. Pulls the door open.

A ghoulish, green faced, toothless monster stares Jack in the face.

JACK
Ahhhhh!

MONSTER
Ahhhhhh!


Jack grabs a conveniently placed CANE hanging from the towel rack. Smacks the monster over the head. The monster runs. Jack chases.

SMACK SMACK SMACK

The monster loses balance. Falls out of an open window. Jack inches toward the open window. Looks out. Nothing.

JACK
Horrific.

A knock on the door. Jack opens it. It's the bell boy.

BELL BOY
Uhh, this is kinda embarrassing but this is the wrong room.

Jack's eyes narrow.

BELL BOY
This is room seventeen o eight. My vision ain't to good.

JACK
Who's staying here?

BELL BOY
Some old lady.

Jack's eyes widen. He grabs his suitcase, hurries out the room.

INT. HALLWAY - NIGHT

Jack whistles nervously.

BELL BOY
kinda strange you didn't notice we were three floors off.

JACK
Well in my defense I did just get kicked in the balls.

The bell boy nods.

INT. ROOM 1408 - NIGHT

Jack examines the room.

JACK
Not so bad.

Jack watches some television. Takes a shower. Shaves. Brushes his teeth. Knits a quilt. Nothing bad happens.

He climbs into bed. His eyes slowly adjust to the dark. A shadowy figure appears on the far side of the room.

Jack darts up.

JACK
Who is that?

The figure moves closer. It's a drop dead gorgeous woman, SOPHIA. Jack's jaw drops. Sophia struts closer, phases through the bed. Jack's eyes widen.

JACK
Are you a..

SOPHIA
Ghost.

She rips her shirt off.

SOPHIA
Tell me Jack, does it matter?

Jack shakes his head back a forth. Sophia climbs on top of him.

THE NEXT MORNING

Jack wakes up. Sophia is gone.

JACK
Worst nightmare my ass.

Jack climbs out of bed. Sophia runs out of the bathroom, a little white stick in her hand, big smile on her face.

SOPHIA
It's blue, It's blue.

JACK
What are you talking about?

SOPHIA
It's blue. We're gonna have a baby.

Jack's eyes narrow. Sophia's smile fades.

SOPHIA
What? You don't look excited. I'm not good enough to have your baby?

JACK
You're a freekin ghost.

Tears flow from Sophia's eyes. She runs into the bathroom. Jack runs around the room throwing his stuff into his suitcase.

He hears baby cries coming from the bathroom. He can't help himself, he has to look. He opens the bathroom door.

Sophia, four hundred pounds heavier, sits on the toilet. Six monstrous babies claw their way up her fat belly to feed from her six teets. The babies turn to Jack.

BABIES
Daddy!

Jack's face twists in horror. He runs to the front door. Throws it open.

The girl in the Yankees baseball cap stands on the other side. She punches him in the gut. Pushes him back into the room. Slams the door shut.

[Adam Isaac]

1408 REFURBISHED (Part 3 of 3)

Sophia oozes out of the bathroom. She seems to be gaining mass by the second.

Jack slumps to the floor. The babies scamper toward him. Sophia's all consuming mass engulfs him.

JACK
NOOOOO!

INT. HALLWAY - DAY

Jack lays on a stretcher, dead. His face forever frozen in a grisly scream of death.

A CORONER and a COP examine his body.

COP
My god. What happened in there?

CORONER
Don't know. Must of been pretty horrible though.

The girl in the Yankees cap watches from a distance.

VOICE(O.S.)
Destiny, time to go.

GIRL/DESTINY
Coming mother.

FADE OUT.

[Adam Isaac]

I FEAR NOTHING (Part 1 of 3)

FADE IN:

INT. DEATH ROW -- CELL

Eight feet by eight feet. White and windowless.

LEANDER ROWE (38), a 250 pound neo-Nazi sits on his bunk
struggling to read the tiny print of a pocket-sized bible.

A shadow falls across him. He looks up. A GUARD stands outside
his cell, arms crossed.

GUARD
Leander --

Leander holds up his hand for silence, reads:

LEANDER
"Be strong and of a good courage,
fear not, nor be afraid, for the
Lord thy God, he it is that doth go
with thee; he will not fail thee,
nor forsake thee..." Why does everyone
in this book talk like a f@ggot?

GUARD
Leander, I'm here to see what you
want fixed for your last meal.

Leander throws the book through the steel bars at the Guard.

LEANDER
Give that back to the Priest. Tell
him it ain't the page turner he
promised. As for my last meal, unless
you got something slant-eyed and
underage, I ain't hungry.

Leander lays back on his bunk, stares at the white ceiling.

He blinks -- He now stares up at a green ceiling.

REVEAL:

INT. LETHAL INJECTION CHAMBER

Sterile walls painted an ugly shade of green.

Leander, strapped down tight to the gurney. Two NURSES place
the IV's in his arms then connect them to the tubes threaded
through a small hole in the wall.

LEANDER
How long's this gonna take? I'm a
busy man.

The nurses ignore him. Leave. The WARDEN (50's) appears
dressed in a suit.

LEANDER
Well hey there dapper-dan, you get
all garbed up just for me?

WARDEN
I'm a chaperone at the school prom
later tonight. If you have any last
words, now would be the time.

LEANDER
Choke on sh1t. Drown in urine.

WARDEN
Terrific.

The Warden nods to the small one-sided window in the wall.
Behind him, curtains pull back to reveal the viewing chamber,
where somber faced people sit in cheap collapsible chairs.

Leander looks at them, spits. Turns and watches the deadly
fluids rush down the IV into his arm.

His BREATHING becomes heavier, louder, his back arches, the
leather straps SQUEAKING with strain as he thrashes --

A few of the viewers have to look away, cover their eyes.

Leander lays still, unseeing eyes staring up.

Suddenly, the room twists into itself, walls and people
circling some cosmic drain, blending, becoming darker until
darkness is all that remains.

INT. HOTEL -- ROOM

Leander sits up, GASPING FOR AIR. He looks around, sees walls
decorated with Hieronymus Bosch paintings, a dresser, a
mirror, a closet, A TV, A liquor cabinet --

LEANDER
Where am I?

OLD MAN (O.S.)
Room Five hundred and three at the
Motel Macabre.

Leander turns to see an impossibly OLD MAN wearing a dark
toga, out of style for countless centuries.

LEANDER
If this is hell it sure as hell ain't
what I expected.

[Adam Isaac]

I FEAR NOTHING (Part 2 of 3)

OLD MAN
Lets take a walk.

Leander stands up, looks down, sees that he's buck-naked.

LEANDER
What happened to my clothes? More
importantly what happened to my tats?

The Old Man opens the door, steps aside to allow Leander
through.

OLD MAN
I'm afraid, both are adornments for
the living. Please, this way.

INT. HOTEL -- HALLWAY

Leander and the robed Old Man walk down the hallway side by
side. A strange pair.

LEANDER
You the devil then?

OLD MAN
Oh no. Just another employee. I am
your facilitator, here to determine
your eternal sentence. Hell, you
see, is not just a place. It is an
organism. And like any organism, it
needs energy. This energy is derived
from the psychological and physical
anguish of the condemned. It is my
job to construct for you a scenario
that will maximize your energy output.

They round a corner, coming upon --

INT. HOTEL -- HALL OF DOORS

An infinitely long hall with thousands of doors on either
side stretching off into the horizon.

The Old Man stops, faces Leander.

OLD MAN
I would appreciate it if you saved
me the time and just told me what
your greatest fear is. Believe me,
there is no way to hide it. I will
find out.

Leander mulls that over. Looks Old Man dead in the eye.

LEANDER
I fear nothing.

OLD MAN
Very well. The hard way it is --

The Old Man motions, one of the doors down the hall opens
inward, sucking AIR like a blown hatch.

Leander hits the ground and slides helplessly down the hall
and right out the door.

He falls through space and time, finally landing upon a sea
of writhing movement. Snakes. Cobras, constrictors, rattlers,
thousands of cold bodies slide across his naked skin --

Up above the sea, through the darkness, light from the hallway
pours in through the door, silhouetting the Old Man leaning
against the frame.

OLD MAN
In your culture, snakes are the most
common phobia.

At once, the snakes bare their dripping fangs and strike,
teeth piercing every inch of Leander's body. His SCREAM is
primordial, animalistic, pure agony.

OLD MAN
Your body here is a thousand times
more hypersensitive to pain than it
was in life. It is also resilient to
any long term damage, regeneration
is for the most part, instant. There
is no reprieve, no hope for death.

Even through the pain, Leander fights back, twisting the
snakes into knots, biting into them --

OLD MAN
This is not your scenario.

The Old Man claps his hands.

INT. HOTEL -- HALL OF DOORS

Leander reappears beside the Old Man, SOBBING, breathing
hard, but showing no wounds.

OLD MAN
Do not test me, what is your greatest
fear?

LEANDER
I fear nothing!

Another door opens, sucking Leander out --

EXT. FROZEN LAKE -- NIGHT

The Old Man walks across a frozen lake. Underneath him,
Leander pounds against the ceiling of ice, drowning.

OLD MAN
You will drown forever, your body in
a constant state of panic --

The Old Man looks down, sees Leander finish writing something
in the ice with his finger -- "FCUK YOU".

[Adam Isaac]

I FEAR NOTHING (Part 3 of 3)

OLD MAN
This is not your scenario.

INT. HOTEL -- ROOM OF DOORS

They reappear. Another door opens, Leander is sucked out.

INT. BOTTOM OF WELL -- NIGHT

Leander falls down, hundreds of feet, landing violently,
shattering every bone in his body, pretzeled on top of himself
until -- the bones POP back into place.

He stands just in time to watch millions of CHITTERING spiders
flood the hole, billions of eyes staring as fangs sink deep.
Leander SCREAMS, but continues to fight back, ripping hairy
legs from hairier bodies.

OLD MAN (O.S.)
This is not your scenario.

SERIES OF SHOTS:

Leander being sucked out a door --

Leander being swarmed by hornets and bees, wasps and
mosquitoes. He takes big mouthfuls, chews, spits --

"THIS IS NOT YOUR SCENARIO"

Leander being sucked out a door --

Landing on a mountain of needles and nails and pins, rolling
down, a diabolic snowball effect taking place. When he finally
stops sliding he lays on his back and proceeds to make a
"needle angel" --

"THIS IS NOT YOUR SCENARIO"

Leander being sucked out a door --

Splashing down in a pile of warm, steaming feces of every
color and texture. He bends down and proceeds to fashion
sh!t-balls and launch them in every direction --

"THIS IS NOT YOUR SCENARIO"

EXT. HOTEL -- HALL OF DOORS

Old Man and Leander stare at each other.

LEANDER
That last one wasn't that bad at
all!

OLD MAN
This next one is the most notorious
of all. Are you ready to tell me
your greatest fear?

LEANDER
I. Fear. NOTHING!

The open door sucks him off his feet --

EXT. LAKE OF FIRE

A limitless Inferno. A world on fire. Crackling flames send
ashes a mile high.

Leander burns. His skin blisters, cracks and splits, boiling
fat bubbles out -- The fire abates. His skin regenerates,
takes on a healthy shade -- the fire returns! Leander bends
over, lets out a monster FART which instantly ignites into a
big burst of flame. He LAUGHS --

OLD MAN
This is not your scenario.

INT. HOTEL -- ROOM OF DOORS

The Old Man's eyes darken as he HISSES at Leander, his flesh
changing, becoming almost reptilian, a view of his true form.

OLD MAN
I've never seen such impudence! I
will go through every possible
scenario, it doesn't matter if you
don't tell me, it doesn't --

LEANDER
I've been telling you. Right from
the very beginning. My greatest fear
is nothing. Nothingness. Now hurry
the hell up...I'm a busy man.

The Old Man nods, almost in gratitude, a door opens miles
and miles down the infinite hall, sucking Leander down, down,
down, and finally out into a --

LIMITLESS VOID

Pure darkness surrounds the tiny little naked man. He looks
around, standing on nothing, looking at nothing, surrounded
by nothing --

He begins to run. Nothing changes. There is no sense of
movement. It's as if he's running place.

He continues to run -- LAUGHING now, like a child at the
height of summer, without a care in the world --

finally, he stops. Sit down. The laughing becomes SOBBING as
he reaches up, digs his fingers into his eye sockets and
tears out the gelatinous orbs. New eyes regenerate almost
immediately and just as immediately he pulls them out again,
only to be replaced and pulled and replaced and pulled and
replaced and pulled and replaced and pulled and --

FADE OUT

[Adam Isaac]

FROM APPLE TREE TO APPLE TREE (Part 1 of 3)

FADE IN:

EXT. HIGHWAY -- NIGHT

Countless cars sit abandoned. Nothing moves. A soft rain
drums a beat over the rusted hulks as clouds, barely visible,
crawl across the night sky.

EXT. HIGHWAY RESTSTOP -- NIGHT

A ubiquitous American staple, shrouded in shadow, surrounded
by a vista of skeletal trees and brown grass. All dead.

Lightning flashes, and for a half-second every drop of rain
is revealed for what it truly is -- blood.

The sky is raining blood.

Thunder --

INT. HIGHWAY RESTSTOP -- LADIES BATHROOM -- NIGHT

GROWLS loud enough to shake the building.

In the darkness, shapes stir. A few glow sticks CRACK to
life, the faint green light illuminating --

Ten refugees.

Obviously starving, not a pound of extra fat between them,
all armed with shotguns and rifles, pistols and spears
fashioned from broom handles and knives --

AYLA(22)a natural beauty marred by what appears to be a barely
scabbed-over claw mark across her face -- sits up.

AYLA
I hear something.

A man mutters from the darkness:

MAN
Just the storm.

Ayla listens.

AYLA
No.

She cautiously raises her head to peer out the slated windows
above the sinks.

VOICE (O.S.)
JESUS I AM YOUR DISCIPLE!

Everyone moves to look out the windows. They see --

A PRIEST wearing a tattered cassock. Armed with nothing but
his faith. Stumbling through the rainy night, his hands
outstretched to the bleeding sky.

PRIEST
I HAVE FORSAKEN ALL SIN. MY SOUL IS
SAVED. I AM SAVED!

An OLD LADY(70's), her wrinkled face visible in the light of
the window, whispers:

OLD LADY
We are we going to do? We can't do
nothing.

AYLA
Nothing is exactly what we're going
to do. Something's on him.

Sure enough, something moves stealthily through the shadows
behind him, fluid in its pursuit, hunched over, predatory.

PRIEST
LORD IF THIS IS THE JUDGEMENT WHY
HAVEN'T I RISEN? LORD JESUS WHY
HAVEN'T YOU TAKEN ME?

The Priest falls to his knees, SOBBING.

AYLA
Oh God, I think it's a shambler.
Where there's one there's --

A lightning flash reflects off the leathery skin of TWO DOZEN
SHAMBLERS, large jelly-fish like creatures that seem to glide
across the ground atop their undulating tentacles which now --

Lash out and wrap around the Priest from all sides --

PRIEST
JESUS SAVE ME!

And yank! Ripping him apart from a every direction.

AYLA
(quietly)
Down.

The refugees slip down from the windows. Resume their
positions against the walls.

Outside, the shamblers CHITTER at each other like cicadas.
The noise seeming to come from every direction.

Ayla notices the Old Woman shaking her head back and forth,
back and forth, then lift the butt of her sawed-off shotgun
under her chin --

Ayla's eyes go wide.

OLD LADY
It just ain't right...

BOOM!

The shotgun blast lights up the small interior.

The refugees scramble into position as the Old Woman's brains
rain down around them, guns pivot up toward the door as it --

SLAMS in!

Shamblers pour through, quick as quicksilver, tentacles
everywhere -- people being pulled out through the door, torn
apart --

Guns BLAST, darkness, muzzle flash, darkness, muzzle flash,
darkness, muzzle flash --

[Adam Isaac]

FROM APPLE TREE TO APPLE TREE (Part 2 of 3)

Hearts POUND. Lungs BREATH, only three guns barrels remain
poised because -- only three people survived the fight. Ayla,
a TEENAGE GIRL (13) and a YOUNG BOY(9).

Ayla listens. Hears nothing but the rain outside. Stands.

AYLA
Grab as many guns as you can. We're
leaving.

The kids stare, gore-struck at the amount of dripping carnage
around them.

TEENAGE GIRL
They're all dead...

Ayla rummages around in every blood soaked bag she can lay
her hands on, pulling out boxes of ammo, extra pistols --

AYLA
Move! Quicker goddamnit. We just
alerted everything in the area. We
have to go now. NOW! GO GO GO!

EXT. HIGHWAY RESTSTOP -- NIGHT

Ayla and the two children, weapons and bags slung over their
shoulders exit the building, guns aloft, scanning the
surrounding darkness on their way toward the highway.

EXT. HIGHWAY -- NIGHT

Ayla smashes in the window of a mini-van with her rifle,
opens the door and gets in.

AYLA
Make sure nothing sneaks up.

She expertly hotwires the car. The engine COUGHS, BELCHES,
finally turns over.

Ayla runs to the back of the vehicle and fills it with gas
from an old milk jug. GLUG GLUG GLUG --

An otherworldly SCREECH echoes through the darkness. Ayla
drops the jug, gets in and slams the door.

LATER

Ayla drives, weaving in between the stationary vehicles,
using the shoulder and the median when needed.

The children sit in the backseat, silent, motionless.

In the dead forests to either side of the highway, LUNA MEN
become visible in the trees as their bodies start to glow
with the arrival of the passing car.

AYLA
Sh!t.

Brilliantly colored wings unfold from their backs, they take
flight, chasing after the speeding mini-van like a swarm of
locusts.

Ayla steps on the gas.

AYLA
Don't fire. Do not shoot at them.

The car thuds as the luna-men slam into it, clinging to every
surface, jostling for purchase --

YOUNG BOY
What do they want? What do they want?

AYLA
They just like the light. I'm going
to slow down, turn off the headlights.

She does. The luna-men linger, glowing eye-less faces staring
in through all the windows, eventually they all take wing
and disappear back to the forest.

LATER

The sun rises on the horizon.

Ayla looks in the rear-view mirror. The siblings sleep,
huddled close and shivering like lambs in the abattoir.

VOICE (O.S.)
You could kill them. Cut them up.

Ayla glances to the passenger seat, where something almost
indescribable now sits: It's shaped like a human toddler,
inside the shape, swirl galaxies and cosmos, nebulas and
stars. It is a INFERNAL SCOUT.

It looks up at Ayla. Waiting for an answer.

AYLA
Haven't seen you in a while.

INFERNAL SCOUT
You are not my only prospect. Just
my best one. Where are you going?

AYLA
Anywhere. Shelter. Maybe find a tree
on the way.

INFERNAL SCOUT
Apple trees are few and far between.

AYLA
I know that.

INFERNAL SCOUT
I could guide you to the nearest
one. All you have to do is --

AYLA
Kill them.

INFERNAL SCOUT
It's not so hard.

AYLA
Fcuk off.

[Adam Isaac]

FROM APPLE TREE TO APPLE TREE (Part 3 of 3)

INFERNAL SCOUT
The Maker has abandoned you. You are
a failed experiment unfit for heaven.
Only one human has ever ascended.
That was a long time ago. Don't count
on it happening again. The world has
been given over to us to cleanse so
that The Maker may try again. You
see this as a living nightmare. It's
not. It's a proving ground. It is
here that you decide your place in
the next life, in The Circles. Do
you want to be a slave or a master?
Do you want to feel the whip or wield
it? I offer you the only salvation
there is.

Ayla turns on the radio which HISSES STATIC. The Infernal
Scout disappears. The siblings wake.

YOUNG BOY
What are you do...WATCH OUT!

Ayla hits the brakes. The windshield shatters. Tiny stones
bounce and BANG around the cabin like angry wasps.

The mini-van skids to a halt. Ayla and the children step
out, look behind them where --

An incalculably long line of FLOATING STONES flows across
the road like a planetary asteroid belt --

YOUNG GIRL
I've never seen one so long.

YOUNG BOY
I bet it's a million miles --

Ayla, exhausted, motions for the kids to get back in the
car.

LATER

The mini van pulls into another highway rest stop.

YOUNG BOY
I don't want to stay at one of these
again.

AYLA
We don't have anyplace else, honey.

INT. HIGHWAY REST STOP -- MEN'S BATHROOM -- NIGHT

Darkness. Silence. Ayla leans against the wall while the
children sleep.

A sound. faraway. Like the thundering FOOTSTEPS of a giant --

The Infernal Scout phases in, crawls over on its hands and
knees.

INFERNAL SCOUT
You are starving. Tomorrow you could
be eating apples. I will show you
the way. You won't find it without
me.

AYLA
I can't.

INFERNAL SCOUT
Oh you can. You can. It's my job to
see the potential in people. What
you can't do is run forever, hide
forever, cower forever. One day you
will be killed, and you will wake up
in The Circles. What I'm trying to
get through to you is this: Only the
weak should fear the fire. Only the
weak.

Ayla stares at the floor, hating herself for even
contemplating it. A tear sparkles at the corner of her eye,
finally falls, cutting a path down through the dried blood
and grime on her cheek.

EXT. HILLS -- DAY

Ayla's mini van ascends a brown hill, over which a gloriously
fertile APPLE TREE becomes visible, limbs laden with shiny
fruit.

The van stops. The door opens.

Only Ayla steps out.

FADE TO BLACK

[Adam Isaac]

YOUTH (Part 1 of 3)

FADE IN:

EXT. SIDE STREET – NIGHT

SIMON (19) is walking down a narrow, gravel road in the middle of the woods.

He has his hoodie pulled up over his head and is walking at a crisp speed. There are buttons from various punk bands all over the front of his sweatshirt and his shoes are falling apart.

The road is flanked by two drainage ditches and the trees on either side of the road have merged above his head in a canopy. The crickets are pulsing at an overwhelming rhythm.

He walks with his head down, determined.

EXT. SHACK – NIGHT

Simon sees a one room, wooden shack at the end of the path and stops.

He frowns to himself in shame but swallows it and walks forward. His face is covered in piercings and his eyes are red from crying.

The laughter of bad sitcoms is coming from the shack and yellow light is pouring through the poorly constructed wooden panels.

At the door, Simon exhales strongly and knocks.

There is rustling inside and the TV is turned off. Finally, TOM (25) answers the door. He is dressed sharply in a pressed black suit and his hair is slicked back. On his lapel, he wears a pentagram pin.

He is taken back by Tom’s presence but transitions into a big grin.

TOM
Simon?

He looks for a long minute confused. Simon won’t make eye contact with him.

SIMON
Can I come in?

TOM
Of course!

Tom moves out of the way so that Simon can come in. Then he pokes his head out of the door. He takes a long look left and a long look right. He closes the door.

[Adam Isaac]

YOUTH (Part 2 of 3)

INT. THE SHACK – NIGHT

Simon is sitting at a very small table in the corner of a one room shack. Every bit of the small space is a clutter.

There is an old TV with rabbit ears in the corner that is stacked up on a stack of rotting phone books.

There is another large pentagram drawn in blood on the wall behind Simon. Another wall is covered with hieroglyphs.

Tom is making a pot of hot water on a hot plate.

TOM
Didn’t expect to see you again so soon

SIMON
Yeah, well. The song didn’t work.

TOM
It didn’t work?

Tom turns around, shocked.

SIMON
Well, I mean. It worked. She liked the song, but she didn’t fall in love with me.

Tom pulls a couple of tea bags out of a drawer. By the tea, we see several jars with severed hands. Tom quickly shuts the drawer and turns around.

TOM
Ugh. I told you not to low ball your contract.

Tom puts the bags in the tea

TOM
What was the offer?

SIMON
It was three years breaking rocks on the fields of Dis in exchange for an angel written love song.

TOM
Eeeesh, Dis is terrible. That wasn’t a very good deal at all.

SIMON
You brokered it!

TOM
You asked for it

SIMON
I know

Tom sits down at the table with the tea. He presents it to Simon

SIMON
I need another contract.

Tom looks up whimsically and puts his head in his hand.

TOM
Oh, young love.

Simon gets up from the table and turns his back to Tom.

SIMON
It’s not just young love, man

TOM
I didn’t mean that in a negative way, but it is love

SIMON
Your point?

TOM
And you are young, right?

Simon turns back around. He is resigned.

SIMON
Right

TOM
So, I call it young love.

SIMON
Whatever, man. What do you have for me?

[Adam Isaac]

YOUTH (Part 3 of 3)

Simon sits back down and Tom gets up and removes an old parchment from a black leather folder. It has nine rings drawn on it. In the middle of the rings is a winged demon scooping handfuls of naked people into his mouth. It is an aged parchment and a medieval looking drawing.

TOM
Leeeeeet’s see.

Simon leans in. Tom points to one of the rings.

TOM
I can do a flower woven of children’s dreams for seven years in the boiling oil pits of ring three.

Simon looks up offended.

SIMON
A flower?

TOM
Ew-kay.

Tom points at another part of the map

TOM
How about a pendant made of the tears of Saint Elmo that will illuminate you with a halo of influence in anything that you do. I can do that for five years of drowning in the filth swamps of ring four.

SIMON
Gross.

TOM
It’s a good pendant!

SIMON
But still, drowning in filth?

Tom shrugs his shoulders

TOM
Eh...Or...I could give you an elixir that will make her fall in love with you and stay devoted for the rest of the time that both of you have on Earth...for.

Tom points at the maw of the demon drawing

TOM
The whole deal.

Simon pushes back from the table.

SIMON
Man, I don’t know. Is it?
(beat)

TOM
Eternity?

SIMON
Yeah.

TOM
It is...but I think we both know this girl is worth it.

Tom takes out a necklace that has a crystal elixir holder on it. It is full of red liquid and very ornate.

He dangles it in front of Simon.

Simon snatches it out of his hands.

TOM
You made the right decision, son.

SIMON
I’m out of here

Simon walks out the front door in a hurry. Tom watches him go out the door and then stands up. He walks slowly to the door frame and leans against it, shaking his head in disgust.

TOM
Kids

FADE OUT

[Adam Isaac]

EXTERMINATION (Part 1 of 3)

FADE IN:

EXT. DESERT - DAY

The sun hovers over the magnificent rock formations in the horizon casting a golden hue over the scorched landscape.

A low end motel with a flickering neon sign at the entrance that reads “Motel Macabre” sits alone by the two lane road.

A small commercial pick-up truck with print on the side that reads “Curtis Brown Pest control” is parked up front.

The entry door opens. CURTIS BROWN (50) with a rotund body squeezed into a uniform a few sizes too small and matching cap steps out. He carries a pesticide sprayer in his hand.

BARTON WEST (40) tall, scrawny and haggard looking follows in Curtis’s wake.

Curtis puts the sprayer in the back of the pick-up. He gazes at the sun, wipes his sweaty face with a handkerchief.

BARTON
Sure appreciate you comin’ out on such short notice.

CURTIS
My pleasure Barton. You know my motto...”If you got pests, big or small, call Curtis Brown he’ll kill them all”.

He chuckles, opens up a cooler in the back of the truck, pulls out a six-pack of bottled beer from the ice filled container.

BARTON
That’s the only thing I miss about Canada. Not a lot of critters or bugs...at least not like here.

CURTIS
I guess we ain’t the only ones liking warmer weather.

He puts the cold beer bottle against his forehead for a moment then drains half the bottle in one swig.

BARTON
Thank God for men like you Curtis.

A big smile is hung between Curtis’s ears.

CURTIS
What you mean Barton?

BARTON
Not many men around that can charm the rattles off a Diamondback like you.

Curtis beams with pride, reaches into the cooler and hands Barton a cold one.

Barton accepts it with a big appreciative grin on his face.

EXT. DESERT ROAD - DAY

Desolate rocky landscape with long shadows as the sun struggles to stay above the horizon.

Curtis’s pick-up barrels down the empty two lane road. The windows are down, music blares, Curtis sings along while nursing another bottle.

A thin layer of sand covers the road.

A large rattle snake warms its body on the pavement.

EXT/INT. TRUCK - DAY

In a well practiced move, Curtis lobs the empty bottle out the window. It lands in the back of the load bed.

He smiles, leans over to the floor on the passenger side and fumbles for another bottle.

The truck hits the snake in the road. The car jerks.

Curtis grabs the steering wheel with both hands, tries to keep the truck steady.

The truck slips on the sand, starts to fishtail, each swerve bigger than the last.

He struggles with both hands tight on the steering wheel.

CURTIS
Oh sh*t!

[Adam Isaac]

EXTERMINATION (Part 2 of 3)

The rear tire slides off the pavement.

He jerks the steering wheel, tries to get the rear back up on the road. No luck. The truck, now sideways on the road violently flips and somersaults into the air.

EXT. DESERT - DAY

Buzzards circle in the clear blue sky. The sun’s busy baking everything in sight.

Curtis lies on the ground with his eyes shut, blood and dirt on his face. His eyes flutter open. He stares up at the buzzards. He grimaces in pain as he lifts his head a few inches.

He looks down at his legs, his eyes widen. The legs are bent in grotesque angles and his right side femur proudly juts out through his pant leg.

With horror on his face he lays his head back down.

Slowly he turns his head to the side. His right arm is twisted like a corkscrew.

The truck lies upside down in the distance.

He turns, looks to the other side where his arm, flat as a pancake rests next to the pesticide sprayer.

CURTIS
Oh God... Help! Heeelp! Can anyone hear me?

He stares up at the buzzards gracefully riding the thermals.

CURTIS
Oh ****...

He struggles with the pain, his breaths short and forced. His eyes roll back into his head. He’s out.

LATER

The afternoon sun sears the barren landscape.

Curtis’s eyes suddenly pop open, the whites of his eyes in clear contrast to his severely sunburnt face.

CURTIS
What was that?

He’s alert, eyes wide.

CURTIS
Anyone there?

He tries to look around.

CURTIS
Who’s there? I can hear you!

A SPIDER crawls out of his ear.

Curtis shakes his head trying to shake the spider off.

The spider casually crawls up his cheek on towards his nose.
Curtis looks cross-eyed as he follows the spider’s move. He blows air out, but the spider holds on, then disappears into his nostril.

Curtis snorts hard several times to no avail.

CURTIS
Ahhh! Get out! Leave me alone!

A neat line of marching ants lead up his pant leg and ends at the bloody buffet surrounding his compound fracture.

CURTIS
Please! Is there anyone out there? Heeeelp!

He frantically turns his head, looks around. He lifts his head, peeks down as a big Rattler slithers towards his crotch between his legs.

His eyes bug out at the sight of the snake. He quietly lays his head back down, shuts his eyes tight, holds his breath.

The snake slides up over Curtis’s crotch, its tongue tastes the air, cold yellow eyes stares at nothing.

The thick long snake glides across Curtis’s chest. For a moment they are face to face, then it slips down over Curtis’s shoulder and continues on.

Curtis stares in horror as the rattle adorn tail smoothly moves past his eyes.

He breathes out a sigh of relief.

The buzzards circle lower in the sky.

Curtis wiggles his nose, snorts, tries to get the spider out.

[Adam Isaac]

EXTERMINATION (Part 3 of 3)

One of the buzzards descends in a circular pattern. When closer to the ground it flaps its wings and lands only a few feet away from Curtis.

The big ugly bird tilts its head, studies Curtis with one eye.
Another buzzard flutters to the ground, lands next to the first one. Two more birds follow.

Curtis stares at the vultures.

CURTIS
Hey! Leave me the **** alone. I ain’t dead yet.

They all hop closer. Closer to his injured leg.

CURTIS
Hey! Didn’t you hear me?

He spits at them. They don’t care.

Curtis looks at the pesticide sprayer right next to his hand. He grimaces as he tries to move his hand. There’s only a slight movement in his pinky.

He yells out in frustration.

CURTIS
Leave me alone!

The big birds huddle next to his leg, one jumps up on top of his thigh, peers at the ant infested bloody flesh, leans in and takes a bite.

The other birds follow his lead, sharp beaks pull and tear.
Curtis screams.

Two Coyotes trot up to the scene. They excitedly sniff their dinner to be. One licks Curtis’s face.

Curtis sputters.

CURTIS
****! Just wait til I get back on my feet I’ll kill you all!
All the animals tug and pull in frenzy.

Suddenly they all stop. Look around, listen.

Nervously they all back away.

There’s sound of movement behind Curtis.

CURTIS
(smug)
Ha, you bastards.

He tries to turn his head.

CURTIS
Who’s there? I’m over here. Help! Over here!...This way.

The sound of a deep growl.

The animals scatter.

Curtis eyes bug out in fear.

An eight foot Mountain Lion strolls up, mouth open, long sharp fangs exposed.

Curtis breathes in short hard breaths, his dark red face covered in sweat.

He hisses in fear.

CURTIS
Go away! Leave me alone...please.

The big cat crouches, bright green eyes fixed on his, tail twitches back and forth.

CURTIS
No...no, please, no.

The cat pounces, claws extended, mouth wide open, sharp teeth digs into the neck of exterminator Curtis Brown.

FADE OUT:

[Adam Isaac]

DON'T GO IN THE BATHROOM (Part 1 of 3)

FADE IN:

INT. HOUSE: BATHROOM - DAY - TWO MONTHS AGO

LOU(20s), a tough bloke, shirtless, in front of the
bathroom mirror, shaves his face with a ladies pink razor.

Hot water steams up the mirror, his muscles flex showing
off the parallel scratches on his arm as he clears the
condensed fog with a sweep of his big hand.

A CLUCK as he pulls his tongue away from the roof of his
mouth, then he brings the razor up to his neck. He leans a
bit closer to the mirror then

BOOM! Splinters of bathroom door fly from the gunshot's
origin.

OUTSIDE BATHROOM DOOR

ANNE HARMON(20s), naked, frail and bruised, issues a
stuttered cry as shlets the rifle barrel fall to the
ground. She looks like she might fall with it.

BANG! The door bursts open. Lou stands in the frame huffing
and puffing like an angry beast, blood spills from his
side.

LOU
You BITCH!

Anne steps back, tremulous. Lou raises his fist like a
hammer about to sink a nail.

Anne lifts the rifle. She shakily points it at him.

ANNE
You hurt me bad, Lou!

LOU
Ain't nothin' compared t'wat I'm
gonna do.

Anne shoots. The rifle blast blooms red in the middle of
Lou's chest. He is knocked back against the toilet. His
open eyes stare accusingly at Anne. She drops the rifle.

BATHROOM

Motionless, Lou is oddly sprawled backward against the
toilet. Rivulets of blood drip down the toilet tank and
basin forming a crimson pool on the floor.

EXT. HOUSE - PRESENT

MARGARET WILLIAMS(40s), prim, proud, and professional
stands outside a battered wooden door. A thin brief case
held tightly in one hand.

The front door opens but stops at the command of a chain
lock. A shadowed face peers from the crack.

MARGARET
Anne Harmon?

ANNE
Who's askin'?

MARGARET
My name is Margaret Williams, I'm
a case worker --

ANNE
Go 'way.

Margaret sticks her brief case in the crack before the door
closes. Anne slams the door against it repeatedly.

MARGARET
I'm sorry Ms. Harmon but if you
don't let me in then you WILL
lose your benefits.

The door stops moving. Margaret smiles.

ANNE
The chain.

Margaret removes her briefcase from the door crack.

INT. HOUSE

Anne, looks less bruised but she is greasy and ungroomed.
She closes the door then nervously undoes the chain. She
opens the door and steps back, her head bowed.

ANNE
Come in.

MARGARET
Thank you.

Margaret steps into the darkened interior. A grimace on
her face as if reacting to a sharp smell. Pity and disgust
line her face as she examines Anne.

MARGARET
When was the last time you
washed?

Anne doesn't answer.

MARGARET
WHEN!?

Anne lifts her head, fear in her eyes.

ANNE
Since it happened.

MARGARET
Well, we can't have that, can we?

Let's get you washed up. Where's
the bathroom?

Anne shakes her head.

MARGARET
If you want your benefits --

Anne raises her arm and points toward a doorway, but she
looks away. Margaret nods then heads through the door.

MARGARET (O.S.)
OH MY GOD!

LIVING ROOM

Margaret gags, about to vomit, the room is full of neatly
stacked jars and tupperware containing either yellow fluid
or brown paste.

MARGARET
You filthy disgusting girl. (gag)
Oh GOD!

Anne bows her head even further.

MARGARET
What ever could posses? -- Why
didn't you use the toilet? -- Is
it broken?

Anne shakes her head.

MARGARET
Where is it? Let me see it.

Anne lifts her arm and points to a doorway. Margaret
follows her finger.

HALLWAY

Margaret walks down the hallway and stops at a door with a
square plywood patch. A soft CLUCK come from behind the
door, Margaret listens closely.

ANNE
Hear 'im?

Margaret jumps back, startled. CLUCK.

ANNE
He's in there.

[Adam Isaac]

DONT GO IN THE BATHROOM (Part 2 of 3)

Anne backs away in fear. Confused, Margaret stares at
Anne, then at the door, then at Anne again, this time full
of compassion.

MARGARET
Is that why? --

She steps toward Anne.

MARGARET
Honey, the man who hurt you is
dead.

Margaret wraps her arms around Anne, who resists.

MARGARET
He isn't going to harm you ever
again.

Anne caves, letting loose a flood of tears on Margaret's
shoulder.

--She stands, pulling up Anne who seems a bit like a limp rag
doll.

MARGARET
We're ending this now!

She drags Anne toward the bathroom door. Anne's eyes open
wide with fear, she struggles to pull away.

ANNE
He's gonna hurt me!

Margaret opens the bathroom door. She turns on the light
and stares inside.

MARGARET
No one is in there.

BATHROOM

Margaret steps inside. She tugs Anne's hand, pulling her
into the doorway, but Anne plants herself against the frame
outside of the door.

ANNE (O.S.)
No! No! No!

MARGARET
There's no one in here!

She yanks Anne into the room. Anne covers her head with
her free arm and ducks. But nothing happens.

Anne slowly stands up straight and uncovers her head.

MARGARET
See?

ANNE
I -- I

Anne seems about to cry. Margaret gives her a gentle hug.

MARGARET
Anyone might have had the same
reaction. Even --

CLUCK!
It echoes loudly and they both jump. Anne tries to pull
away but Margaret holds her tightly.

MARGRET
Wait -- WAIT!

Anne, edgy, waits. Margaret listens, showing an upwardly
pointing index finger to Anne.

CLUCK!
Anne ducks and covers. Margaret stares at the toilet,
listening.

CLUCK!
Margaret jiggles the toilet flusher as Anne watches
askance.

A moment of silence is followed by tense listening.

MARGARET
I've always hated that design.

Anne gawks at her, full on, and laughs. Margaret joins
her.

She pushes a few strands of hair out of Anne's face.

MARGRET
Now, let's get you washed up.

KITCHEN - LATER

Anne and Margaret sit at the kitchen table having a cup of
tea. Anne looks much cleaner and happier.

ANNE
It's amazin' that all this time I
been so scared and I could a just
called a plumber.

MARGARET
But that would have cost a bit
more.

They share another laugh.

ANNE
I can't thank ya enough Misses
Williams.

MARGARET
Meg. Call me Meg.

Anne nods. Margaret glances at the clock, 3:15.

MARGARET
Oh. Look at the time. I've got to
go.

Anne frowns. Margaret reaches across the table and takes
her hand.

MARGARET
Don't worry. I'll come back and
check on you. I'll give you my
card. You can call me anytime.

She hands Anne a card. Anne smiles again.

MARGARET
But first I have a small matter
to attend too. That tea must
have went straight through me.

Anne blushes and nods. Margaret hurriedly exits.

Anne stares at the card. She touches the printing.

Time passes. The clock says 3:20.

Anne plays with a used tea bag. Worried, she looks toward
the hallway.

Time passes. The clock says 3:25.

Anne stands at the entrance to the hallway.

ANNE
Meg? You ok? Misses Williams?

She turns, looking fretful and paces toward the sink.

Time passes. The clock says 3:30.

At the end of her current pace, Anne exits.

[Adam Isaac]

DON'T GO IN THE BATHROOM (Part 3 of 3)

HALLWAY

Anne knocks on the bathroom door.

ANNE
Misses Williams?

She opens the door. The light is on. She looks around,
perplexed. She steps inside.


BATHROOM
The bathroom is empty.

ANNE
Misses William? Where you gone?
CLUCK!

Anne turns to look at the toilet. And sees bloodied Lou
smiling evilly back at her.

The light goes out.

Anne SCREAMS.

FADE OUT.

[Adam Isaac]

THE CHATTERING (Part 1 of 2)

FADE IN:

EXT. VICTORIAN CITY - STREET - DUSK

A crowded street, Victorian in essence. Tenements line the avenue, grim and silent as a firing squad.

The day winds to a close. Vendors break down stalls and men amble home in muddy boots.

Housewives reel in clotheslines, shutter windows, YELL for children to come inside.

A coach lurches along, its DRIVER hunched over the reins.

Its lone passenger is MORGAN (40’s). Dour, humble. Out of place in the city with his country garb and farmer’s hat.

MORGAN (V.O.)
Magic ain’t pretty. Forget all that bull about unicorns and sleeping beauties and crystal balls.

The carriage comes to a stop.

MORGAN
Can you wait? Just a few...

The Driver GRUNTS, nods. Morgan steps off the carriage and into the street.

He ducks into an alley. A stray cat runs underfoot, hisses.

MORGAN (V.O.)
Magic’s ugly. Blood, sh1t, fear... heartache.

He comes to a nondescript doorway, slips inside.

INT. TENEMENT - HALL - CONTINUOUS

Peeling wallpaper, cracked walls, rotting banisters on the stairs. Thick with the BUZZING of flies.

MORGAN (V.O.)
Above all, it’s about sacrifice.

He begins to climb the CREAKING, claustrophobic stairs. Stepping over bodies - sleeping or dead, hard to tell.

MORGAN (V.O.)
If ever there was a man who served as a warning to steer clear of all things magic, it was Gus.

Morgan stops at a door at the top of the stairs.

MORGAN (V.O.)
But when the time came for me to seek out the Chattering, Gus was the one I called on.

Morgan KNOCKS.

From the other side, a painful COUGH, a muffled VOICE:

GUS (O.S.)
Come in.

INT. TENEMENT - GUS’ ROOM - CONTINUOUS

Morgan steps into the tiny apartment, takes off his hat.

The room is in the same sad state as the hall outside. A worn CLOSET DOOR in one of the walls, covered in weird, scratchy SYMBOLS.

The only furniture in the place are a CHAIR and a piss-stained MATTRESS. Lying on the bed is GUS (50’s), a giant bloated man covered in sores and dirt.

MORGAN
You ready?

GUS
I never should have told you about them, Morgan. I was weak... it was a whiskey moment. I should have never let out a word.

MORGAN
I’m paying a rattling man to wait on me out there, Gus. Let’s go.

GUS
Hope you appreciate what I'm doing, here.

Gus nervously looks over at the closet. Morgan takes notice.

MORGAN (V.O.)
Something about Gus’ closet was bothering him, and I had an idea what it was. I had a closet, too...

MORGAN
Appreciate? You’re getting yours.

Gus forgets the closet. His eyes light up with greed.

GUS
You got it?

Morgan nods, stands. Puts his hat back on.

EXT. MORGAN’S FARMHOUSE - NIGHT

The carriage pulls near a small farmhouse on the edge of a pathetic wheat field. A lone pear TREE stands in the yard.

Gus and Morgan step down off the coach. Morgan hands the Driver a few tarnished COINS.

The Driver nods and jerks his reigns. The carriage pulls away as the two men make their way toward the house.

MORGAN (V.O.)
I walked in silence, listening to Gus' labored breath, his hoarse coughs, his lurching footsteps. I wanted to be done with the whole thing as soon as possible. I wanted him gone.
(beat)
Good. It would make it easier that way.

MORGAN
Wait here a minute.

INT. MORGAN’S FARMHOUSE - MOMENTS LATER

Morgan walks into the tiny structure. Lights a lantern and carries it into the back of the room.

Nearby, a CLOSET DOOR. Carved into it, spidery RUNES.

MORGAN (V.O.)
Every time I crossed through that door, fear would clutch at my heart like a witch. The fear that I'd find Liza cold and still.

There, sleeping on a bed, is his wife LIZA (30’s). She’s a frail, sickly thing.

[Adam Isaac]

THE CHATTERING (Part 2 of 2)

MORGAN (V.O.)
I swore, come that day, I wouldn't follow the custom of these hard times and sell her corpse to the resurrection men. Stiff-pickers paid well for such morbid fare but I couldn't let that happen to her.

Morgan lovingly brushes a strand of hair from Liza’s face.

MORGAN (V.O.)
Hell, no. I'd bury her in the yard and lay with her, humming my songs through the dirt and telling her of the day.

Morgan kisses Liza’s brow. Sets the lantern down on a nightstand. Looks over at a BUNDLE of towels on the dresser.

MORGAN (V.O.
But she wasn't dead. The Chattering had a promise to keep. And so did I.

MORGAN
(yelling)
Come on in, Gus!

Gus’ silhouette appears in the doorway.

MORGAN
(still looking at Liza)
It’s on the dresser.

Gus walks over to the dresser, stops. Stares at the bundle.

GUS
Weird. Afraid to look. Why didn’t you ever ask why I wanted this?

MORGAN
Because I don’t care.

Morgan checks to make sure Gus isn’t looking.

Then he reaches under the bed and pulls out a SICKLE, heavy and sinister.

GUS
Well, it ain’t for nothing sick, all right? I ain't like that, cove. It’s for Mona. I let the Chattering take our baby. I’m ****, man.

Gus picks the bundle up and holds it close. Loves it.

GUS
But this’ll make things... better.

Gus brushes the towel aside, looks. His face turns white.

GUS
The ****?

He drops the bundle to the floor. Out rolls a baby DOLL.

Gus whirls around, furious. Then his eyes fall on the sickle raised in Morgan’s hand.

MORGAN (V.O.)
He knew. I could tell. He knew what we had in store.
(beat)
I struck before I couldn't dare.

Morgan brings the sickle down on Gus. A fan of BLOOD sprays into the air. Morgan swings the blade again and again as Gus collapses to the floor, SCREAMING...

MORGAN (V.O.)
I closed my eyes and told myself it was just another day in the field. That I was only cutting chaff from the wheat. But the sick wet spray of flesh and Gus' sweaty screams said otherwise.

INT. MORGAN’S FARMHOUSE - LATER

Morgan sits on the bed next to Liza’s sleeping body. The bloody sickle at his feet.

A fiendish, inhuman voice issues from the closet door. Meet THE CHATTERING.

THE CHATTERING
Is it done?

MORGAN
It’s done.

The Chattering LAUGHS. A wicked sound.

THE CHATTERING
Welcome to sin, friend.

MORGAN (V.O.)
The Chattering. The thing’s voice reminded me of rustling leaves and slaughterhouses.

MORGAN
Ain’t no stranger to it.
(beat)
Now what of your promise, devil?

THE CHATTERING
You made the sacrifice we asked of you. Our end of the bargain is done. Liza is freed of her pain.
Morgan sits up, spins around. Looks down at his beloved Liza.

She’s silent, still at rest in the bed.

Morgan holds her in his arms. A soft breath issues from he mouth.

MORGAN (V.O.)
I knew that the moment I saw her, the way her chest lowered and didn't rise again.
(beat)
I was a fool to think they'd do it true.

EXT. MORGAN’S FARMHOUSE - DAWN

Morgan silhouetted against the morning sun. Digging with a SHOVEL next to the tree in his yard.

MORGAN (V.O.)
I put Liza into the earth under the pear tree outside, sold Gus off to the resurrection men for all the booze his meat was worth.
(beat)
As for me... now that my chicken-scratch confessions are done, I'm gonna dig myself a hole right next to Liza's and lie in it, hum my songs through the dirt and tell her of the day.

FADE OUT.

THE END

[Adam Isaac]

EVE OF SAMHAIN (Part 1 of 4)


FADE IN:

INT. MINI-MART - DAY

HALLOWEEN DECORATIONS glitter brightly throughout the store,
where SHOPPERS rush around as they grab last minute items.

ANNOUNCER (V.O.)
The thirty-first of October. Known
to some as All Hallows Eve, and
to others, All Saints Eve.
(beat)
But to the ancient Celtics, it is
the Eve of Samhain.

The cashier, EVE, her goth-like attire not necessarily a
halloween costume, frantically tries to keep up with the
influx of CUSTOMERS.

ANNOUNCER (V.O.)
Believing on this day, the walking
dead to be visible to the human eye.

A GHOULISH MASK is slammed on the counter by a CUSTOMER...

ANNOUNCER (V.O.)
And it is only when they are in
this visible state, that they
possess enough power to be able
to inflict physical harm upon the
living.

A LETHAL-LOOKING KNIFE, an amazing plastic replica, is the
next item...

ANNOUNCER (V.O.)
And so to protect ourselves, we
wear masks.
(Beat)
Masks meant to confuse the walking
dead.

IN THE BACK AISLE

HALLOWEEN MASKS hang on the wall, above the display of
COSTUMES, as excited CHILDREN rifle through them.

ANNOUNCER (V.O.)
That being said, does it not,
then, beg the question...


A BLACK-CLOAKED FIGURE, stands off to the side, nonchalantly
perusing the masks.

ANNOUNCER (V.O.)
If we wear masks to confuse the
walking dead, how can we be sure...

EXT. STREET - DAY

where CHILDREN, some already in their COSTUMES, rush about,
chattering excitedly, as they hurry home.

ANNOUNCER (V.O.)
... that the walking dead don't
wear masks to confuse us?

A HAPPY CLOWN MASK covers the face of the black-cloaked
figure as he eases up the street.

[Adam Isaac]

EVE OF SAMHAIN (Part 2 of 4)



EXT. STREET - DUSK

FROM BEHIND A TREE, the black-cloaked figure watches the
front of the Mini-Mart, where an exhausted EVE locks up for
the night, and heads home...

ACROSS THE STREET

A LITTLE BOY, in street clothes, a direct contrast to the
other COSTUME-CLAD CHILDREN, stands alone. Spying Eve, he
heads in her direction...

THE ROAR OF TIRES as a CAR careens around the corner, just
as the little boy steps into the road... Eve looks up...

EVE
Watch out!

She darts into the street, and just manages to push the
little boy out of the way, but it is too late for her, as
the car is upon her...

SCREECH as the car slams to a halt, literally centimeters
from Eve, who remains FROZEN, her EYES LOCKED on the WOMAN
who drives the car...

WOMAN
Hey! Get out of the road, you idiot!

Coming to, Eve manages to stutter out...

EVE
I'm sorry... the boy...

3.


WOMAN
Are you deaf? Get out of the
f*cking road!

Taking offense, Eve marches over to the driver.

EVE
Me? You're the one driving so
f*cking fast!

WOMAN
(looks down to the
COFFEE on her blouse)
****! Look at my blouse. Thanks a
lot!

EVE
Are you serious? You almost hit a
little boy, and you're worried
about your shirt?

SPLASH as the woman tosses the rest of her COFFEE at Eve,
which soaks her.

WOMAN
How do you like it?

LAUGHTER from the woman as she hits the gas and the car
screeches away. Eve looks over... the little boy just stands
there, EYES WIDE.

EVE
Are you okay?

A BLANK STARE is all she receives.

EVE
I'm Eve. Are you alone? Where are
your parents?

THUNDER RUMBLES overhead, as a storm brews...

ACROSS THE STREET

The black-cloaked figure, remains INTENTLY FOCUSED ON EVE.

[Adam Isaac]

EVE OF SAMHAIN (Part 3 of 4)



INT. EVE'S LIVING ROOM - NIGHT

as the boy just STARES at Eve, who sits beside him on the
couch.

EVE
Can you not talk, is that it?



A NOD from the boy, before HIS HAND REACHES OUT to finger
the COFFEE STAIN on Eve's shirt, inadvertently exposing the
BLACK INK on Eve's arm in the process... Intrigued, he pushes
up her sleeve to reveal:

A CELTIC CROSS tattooed on Eve's arm.

EVE
My Celtic background. We wear a
Cross for protection.

The boy STROKES HIS FINGERS over the mark, absolutely
MESMERIZED.

EVE
It's permanent. Why don't you
watch some TV, while I make you a
snack, and then we can figure out
who you belong to.

INT. KITCHEN

where Eve prepares a sandwich for the boy. Reaching over,
she grabs a SHARP SILVER KNIFE from the knife block.

BOOM as THUNDER rumbles the house... the POWER suddenly shuts
off, leaving all in PITCH BLACK...

A BRIGHT FLASH OF LIGHTENING, illuminates the kitchen... Eve
looks up...

IN THE DOORWAY

THE PALE FACE of the boy, as he stands there... A TERRIFIED
GASP, as the SCREEN BLACK'S OUT.

INT. HOUSE

The SOUND of HEAVY FOOTSTEPS as they charge through the
house... over FRANTIC MUTTERINGS.

A BRIGHT FLASH as LIGHTENING floodlights the house,
reflecting the SILVER GLINT of the KNIFE on its downward arc...

DARK RED ARTERIAL BLOOD as it sprays across a wall... A DEEP
SHRIEK as the SCREEN BLACK'S OUT.

INT. BATHROOM

The MUFFLED SOUND of GASPS, over FOOTSTEPS... a DOOR SLAMS
SHUT... QUIET BREATHS, as they try to slow down...

THUNDER RUMBLES the house... BRIGHT LIGHT as the power flicks
back on, flooding the bathroom...


THE DOORKNOB RATTLES, as someone on the outside tries to get
in..

MORPHING THROUGH THE CLOSED DOOR like an apparition, the BOY
APPEARS, A SNEER contorting his face...

The KNIFE in his hand makes one last menacing DOWNWARD
PLUNGE... A SHRILL SCREAM, as the SCREEN BLACK'S OUT.

[Adam Isaac]

EVE OF SAMHAIN (Part 4 of 4)

INT. EVE'S LIVING ROOM - DAWN

A SHRIEK as Eve bolts upright, from where she lay on her
couch. HARD BREATHS, as she struggles for a moment... looks
frantically around.

Everything appears to be normal... Was it a dream?... Still
in a state of confusion, she picks up the remote, FLICKS ON
the TELEVISION to:

A BREAKING NEWS REPORT in progress, as a WOMAN REPORTER
speaks with excitement... EVE SITS UP... recognizing the
reporter as the driver from the previous day.

WOMAN (O.S.)
... where the scene of a grisly
murder took place last night.
Police are not confirming, but
according to insiders, the victim
appears to be the "black-cloaked
rapist", who has been targeting
area women for the last two months.

Eve FROWNS, leans closer to the television...

WOMAN (0.S.)
The victim appears to have been
stabbed multiple times, in what
police are referring to as an
absolute "blood-bath".

The reference to "stabbed" causes Eve's frown to deepen...
she glances into the kitchen...

A GASP, as she sees the EMPTY SLOT in the knife block...

EXT. CRIME SCENE - DAWN

as the woman reporter SMILES for the camera.

WOMAN
This is Samantha Hain reporting
live, for City TV.



As soon as the camera shuts off, the reporter's happy smile,
fades to her usual SNEER.

WOMAN
Goddamned rapist. He deserved
whatever he got.

Without so much as a "good-bye" to her CAMERA CREW, she turns
away...

CAMERAMAN
Hey, Sam. Want to grab a bite to
eat?

Turns back, gives the CAMERAMAN the once over, then DISGUST
flashes in her eyes.

WOMAN
With you? Not likely, fat ass.

A MOVEMENT in the bushes outside of the CRIME SCENE TAPE,
catches her attention. Intrigued, she heads over...

IN THE BUSHES

THE PALE FACE OF A LITTLE BOY, stares out at her... she
reaches out, parting the leaves... A HALLOWEEN COSTUME, a
perfect replica of a LITTLE BOY, lay in the bush...

ANNOUNCER (V.O.)
And what if you came face to face
with the walking dead, and managed
to unmask them? How would you know?

A RUSTLE from behind her... she turns...

ANNOUNCER(V.O.)
How do you recognize the face of
evil under the mask, without ever
having witnessed what the evil
looks like?
(Beat)
For all anyone knows, it could
even be disguised as a little boy...

DEEP FEAR crosses her face as she SCREAMS...

FADE OUT.

[Adam Isaac]

DENTISTS ARE PEOPLE TOO(Part 1 of 3)

INT. DENTAL SURGERY WAITING ROOM - DAY

Clean and pristine, leather sofas and potted plants.
Dental hygiene posters from the 1980s on the walls.

A SECRETARY, 20s, smoking hot, she's too pretty to be
working in this place, but someone forgot to tell her.

Sat on the sofa, anxiously flicking through a magazine is
WADE RIGGLES. He's late 20s, a geeky, bespectacled IT guy
who even the nerds beat up for his lunch money.

He squirms as the high-pitched whine of a dentist drill
grinding into some poor sap's teeth cuts through the air.

He rubs sweat from his brow, tosses the magazine and stands
up. He grabs his jacket and heads for the door--

SECRETARY
I'm sure Doctor Metzger won't be
much longer.

He stops, turns back towards her, she flashes him her best
condescending "I feel your pain" smile.

WADE
It's not hurting as much as I
thought. My tooth. So I'm
gonna...

She continues to smile. It's almost mesmerising.

SECRETARY
It won't be much longer.

WADE
I know, it's just... it's not
hurting as much as I thought...

Wade winces in pain, massages his jaw.

SECRETARY
Think of it like a band-aid,
better to just pull it off all in
one go. In an hour's time you'll
wonder what all the fuss was
about.

WADE
I know, but I should just...

Wade gestures to the door, takes half a step towards it.

SECRETARY
Look at this...

Wade turns back and the Secretary points to one of the
posters on the wall. She reads the quote...

SECRETARY
If you look after your teeth your
teeth will look after you.

She flashes him her most charming smile. Wade smiles
weakly, but he holds firm, doesn't retreat an inch.

SECRETARY
If I tell you a secret will you
promise not to tell on me?

WADE
Uh, yeah. Okay.

SECRETARY
I used to hate coming to the
dentist too.

WADE
Really?

Wade moves a step back towards the sofa.

SECRETARY
I used to hate everything. The
sound of the drill, the smell,
someone poking and prodding
around in your mouth--

WADE
I hate that too--

SECRETARY
Right, and the suction thingy. I
used to hate everything.

Wade sits on the arm of the sofa.

WADE
But, then how can you work...

SECRETARY
It was Doctor Metzger. He's like
a magician or something. I
didn't feel anything. No pain,
no discomfort, nothing. It was
amazing.

WADE
Really? He's that good?

SECRETARY
Hand on my heart, when you walk
out of this place you won't even
remember what your problem was in
the first place.

Wade smiles and nods. He throws his jacket back down and
picks up a magazine. He might even read it this time--

--A blood curdling scream comes from the dental surgery.

Wade looks at the Secretary, drops the magazine, grabs his
jacket and hurries towards the door. She's quicker than
him, manages to block his escape route.

SECRETARY
There's nothing to worry about,
that's perfectly normal.

WADE
No-no-no, I know normal and
that's not it.

He reaches past her for the handle, but she holds him back.

SECRETARY
Mister Riggles, please, if you
look after your teeth, your teeth
will--

WADE
It's not hurting as bad as I
thought. I'm sorry, you're very
nice, but--

The door to the Surgery Room opens. They both stop and
look.

A PATIENT, 40s, steps out, a big smile plastered on his
face, behind him is DOCTOR METZGER, 50s, a kind face.

The Secretary hurries back to her place behind the desk.

Metzger turns to Wade, who's still hovering at the door.

METZGER
Mister Riggles, we finally meet.

He gestures towards the surgery. Wade, like a man walking
towards the gallows, lumbers his way inside.

[Adam Isaac]

DENTISTS ARE PEOPLE TOO (Part 2 of 3)

INT. DENTAL SURGERY - DAY

An old dentist chair sits in the middle, the big crane
light above it. Cupboards and shelves line the walls.

A DENTAL ASSISTANT, 20s, somehow even prettier than the
secretary, smiles at Wade as he enters.

METZGER
Take a seat, Mister Riggles.

Wade swallows nervously, swipes at his sweaty brow.

METZGER
Come now, sit-sit.

Wade sits down, lays back in the chair. The Assistant
swoops in, efficiently clips a paper bib around his neck.

Metzger sits down on his little stool and grabs his tools.

METZGER
Now open wide, please.

Wade tentatively opens his mouth and Metzger leans in--

--Wade shies away as Metzger gets closer, till finally he
slides off the chair.

WADE
I'm sorry, it's just, I really
hate dentists. No offense...

METZGER
None taken, Mister Riggles. I am
used to it by now. But, please
bear in mind, dentists are people
too, you know.

WADE
I know. I'm sorry. It's just, I
get really nervous.

Metzger stares at him shrewdly for a moment.

METZGER
Would you like something a little
less conventional, Mister
Riggles? To help calm you down?

Wade nods. Metzger smiles.

METZGER
Hop back in the chair and we will
see what we can do for you.

Wade slides back onto the chair. The assistant hands
Metzger a fat needle full of a milky-white solution.

METZGER
This has proved to be quite
successful. It will dull your
senses and I promise you won't
feel us rummaging around. Does
that sound good to you?

Wade nods. Metzger prepares the needle.

METZGER
A colleague of mine discovered it
last year in South America. It
is very exciting for us, we are
one of only four surgeries in the
entire country trialing it. He
extracts it from a creature that
uses it to paralyze its victims.
Once I tried it for myself I knew
that my patients would love it.

Metzger injects the solution into Wade's arm.

METZGER
And let me tell you, since we
started, my business has tripled.

Metzger hands the needle off to the Assistant.

METZGER
First you'll feel a tingling
sensation in your arm that will
quickly move through your body.

Wade nods.

METZGER
Good. Then your body will begin
to go numb and you will not be
able to move. Do not panic, this
is completely normal. Now I want
you to keep your mouth open as
wide as you can.

Wade strains to open his mouth as wide as he can.

METZGER
You will still have control of
your eyes, so blink once for yes
and twice for no, understood?

Wade blinks once.

METZGER
Excellent.

Wade listens as a fridge door closes and a cannister lid is
popped open. Wade strains to see, but his vision is too
narrow.

Metzger leans over Wade's face, smiles, then retreats.

Wade's eyes dart around trying to catch a glimpse, until--

--A long, black, slimy, chitinous looking bug with a fat
head and too many legs, appears over Wade's face.
Wade's eyes open wide in horror as it dangles above his
mouth, held daintily by its tail between Metzger's thumb
and forefinger.

METZGER
Come now, my pretty, wakey-wakey.

Metzger lovingly rubs the creature's stomach with a
knuckle, then leans over to Wade.

METZGER
He's a shy one I think.

The creature twitches, gradually wakes up and starts to
thrash about. Wade blinks rapidly, his breathing erratic.

METZGER
Relax and take deep breaths.

Metzger sees Wade's hand twitch.

METZGER
Miss Sutton, the patient is
regaining control of his body a
little earlier than we'd hoped.

Miss Sutton holds Wade's arm down.

[Adam Isaac]

DENTISTS ARE PEOPLE TOO (Part 3 of 3)

Metzger slowly lowers the thrashing creature down into
Wade's mouth. Wade screws his eyes tightly shut as the
creature disappears down his throat.

Wade's back arches off the chair as his muscles spasm.

Metzger and the assistant try to hold him down, but he
throws them off with his one good arm.

Wade dry retches. He lifts himself off the chair, his legs
uncertain as he stumbles towards the door.

He coughs and splutters, doubles over and vomits blood.

He wipes the blood from his lips, then staggers for the
door again. He twists the handle, but it doesn't open.

He clings to it for a beat. Exhausted, he lets go of the
handle.

He takes off the glasses, tosses them to the floor.

METZGER
How do you feel?

WADE
Free.

[Adam Isaac]

DONUT BREAK OF THE DEAD (Part 1 of 2)

INT. POLICE CRUISER - NIGHT

POV SINGLE HAND-HELD CAMERA (SHOT LIKE AN EPISODE OF COPS).

OFFICER HENRY BIBLE, 30, a stocky white guy with a crew cut
you could set your watch to, talks to us as he concentrates
on driving the cruiser.

BIBLE
I been a deputy going on 'bout
nine years now, got into it after
I got out the Marine Corps. It's
good, feel like I'm helping the
community, helping to make the
streets safer. I enjoy it too
though, you know? It's
unpredictable, never know what
you're gonna get.

CUT TO:



INT. POLICE CRUISER - NIGHT

Camera focuses on the street ahead, turns back to focus on
Bible.

BIBLE
Okay, we got a call for backup,
uh, right around the corner up
here. It's a domestic dispute.

We slow down as we approach the Deakin's residence. It's a
quaint little house with a white picket fence and a
perfectly manicured lawn. Another Police Cruiser sits in
the driveway.

BIBLE
Here we go.



INT. POLICE CRUISER - NIGHT

The cruiser stops. Bible grabs his night stick and gets
out. We get out our side, then focus back on Bible.



EXT. DEAKIN'S RESIDENCE - NIGHT

DEPUTY LEE JACKSON, 30s, walks towards Bible.

JACKSON
Hey Hank. Busy night?

BIBLE
Been quiet up 'till now. What
you got?

They head towards the front of the house. Sat on the porch
are GLENDA DEAKINS, 40s, ex-prom queen, now soccer mom, and
DARYL DEAKINS, 40s, high school football coach. Both have
their hands cuffed behind their backs. Glenda's face is
streaked with mascara.

JACKSON
I showed up, husband and wife
were feudin' on the front lawn.
She was hittin' him, so i cuffed
her. He keeps trying to get back
in the house, so I cuffed him
too. They both been hollerin' at
each other, neither makin' a lick
of sense.

BIBLE
'kay, how you wanna play it?

JACKSON
There's some kinda noise coming
from the basement. Husband don't
seem to want me goin' inside.

BIBLE
You want me to check it out?

JACKSON
I'm thinkin' you take the wife,
see if you can find out what her
problem is, and I'll take the
husband downstairs.

BIBLE
Okay.

Jackson picks up the husband and leads him inside. Bible
approaches Glenda.

BIBLE
What's your name, ma'am?

GLENDA
Glenda.

BIBLE
Glenda, my name's Deputy Bible,
you wanna go ahead and tell me
real quick what's been going on
here tonight?

GLENDA
He's been seeing his whore again,
and I caught him at it.

BIBLE
And that's what lead to the fight
between you two?

Glenda nods.

BIBLE
This ain't the first time we've
been out to see you two lately
now is it?

Glenda shakes her head.

GLENDA
I thought it woulda been all over
once she was dead, but then he
got all mad at me and went and
did what he did.

BIBLE
What'd you to make him so mad?

GLENDA
Well, I mean, I know I killed her
and everything, but that don't
mean he has to go and raise her
from the freakin' dead!

BIBLE
He raised her from the...
Glenda, you wanna back up and
explain this to me from the
beginning?

GLENDA
I found them goin' at it in our
bed, so I stabbed that stupid
bitch right through the heart.
He said he was gonna get rid of
the body, but then tonight I went
downstairs to do a load of his
laundry and I found her chained
up in the basement. And that's
what we been arguing about.

Bible appraises her with a steely look.

BIBLE
Glenda, I'm gonna ask you this
once and I expect you to be
truthful with me, okay? Have you
consumed any alcohol or illicit
substances tonight?

GLENDA
No, sir, hand on my heart--

[Adam Isaac]

DONUT BREAK OF THE DEAD (Part 2 of 2)

BANG-BANG! Two shots come from inside the house. Bible
reaches for his radio.

BIBLE
(into radio)
Base, One-Adam-Twelve, shots
fired my location.

RADIO (V.O.)
One-Adam-Twelve, copy, shots
fired your location. Backup en
route.

He draws his service weapon, turns to Glenda.

BIBLE
Wait here.

Bible moves into the house and we follow right behind him.



INT. LIVING ROOM - HOUSE - NIGHT

It's like a photo from this month's InStyle magazine.

Bible moves quickly through. He hesitates, sees the
kitchen and enters.



INT. KITCHEN - HOUSE - NIGHT

The door to the basement is wide open.

BIBLE
Lee? You okay down there, Lee?

Bible pulls the flashlight off his belt, flicks it on and
aims it down the stairs into the darkened basement.

He flicks the basement light switch on and off, but it
doesn't work.

He descends into the basement and we follow...



INT. BASEMENT - HOUSE - NIGHT

The only light comes from the top of the stairs.

Bible scans the flashlight across the near side of the
room. There's a strange sound coming from the far corner
of the room, like pigs feeding at a trough.

The flashlight illuminates two spent casings on the floor.

BIBLE
Lee?

The flashlight continues on its path and we see Officer
Jackson lying on his back on the floor. His throat torn
out, the front of his shirt drenched in blood.

Bible reaches for his radio.

BIBLE
(into radio)
Base, One-Adam-Twelve, officer
down my location, repeat, officer
down my location.

Bible leans in close to Officer Jackson and checks for a
pulse, but Jackson's eyes stare blankly at the ceiling.

BIBLE
(into radio)
Base, One-Adam-Twelve, how copy?

Bible waits a beat, but there's no response.

He shines the light at the noise in the far corner--

--Daryl sits in the corner, his back against the wall, his
legs splayed out in front of him. His stomach is a massive
open wound, and a WOMAN, 20s, blood smeared across her
naked body, gnaws hungrily on his intestines.

DARYL
Don't hurt her... please.

BIBLE
Miss, I want you to slowly move
away from him.

DARYL
Please... it's not her fault.

BIBLE
Miss, back away from him now!

Daryl's head lolls forward onto his chest as he dies.

The Woman stops feeding, turns towards Bible--

--Her eyes are milky white, her face etched in a
preternatural snarl. She sneers at Bible.

Bible takes a step back.

BIBLE
Miss--

--The Woman launches herself towards Bible, her hands
raised, reaching for his throat--

BANG-BANG! Bible fires twice, hits her both times in the
chest. She staggers a step, then collapses to the ground.

Bible keeps the gun trained on her. Movement to the right,
we turn towards it--

--Officer Jackson sits bolt upright, turns towards us, his
eyes milky white, just like the girl's.

BIBLE
Lee... You just lay back down
there now and we'll get you some
help, okay?

The girl twitches, her head lifts up and she focuses on
Bible again.

Bible looks at us.

BIBLE
Head back up the stairs. Go.

The camera swings towards the stairs. The girl screeches
behind us as we run quickly up the stairs.

BIBLE
Move-move-move.



INT. KITCHEN - HOUSE - CONTINUOUS

We run towards the lounge room.

A screech comes from behind, the camera spins to see--

--Bible knocked off his feet. He screams as the Woman
bites savagely into his neck and Officer Jackson sinks his
teeth into Bible's leg.



INT. LIVING ROOM - HOUSE - CONTINUOUS

The Cameraman reaches the front door, he turns the lock and
pulls, but it doesn't budge. He hears something behind him
and spins--

--Daryl, his intestines trailing behind him, is only a few
feet away--

--He whacks the camera and our view tumbles to the ground,
lands upside down and facing the CAMERAMAN, 20s, a nice
enough looking kid who deserves better that what's about to
happen.

Daryl grins with delight as he chomps into the doughy flesh
of the Cameraman's neck.

[Adam Isaac]

THE UNSPEAKABLE (Part 1 of 2)

EXT. ABANDONED STATE HOSPITAL - NIGHT

Cold moonlight outlines a rusty skeleton of fence surrounding a run-of-the-mill, piss-your-pants-scary abandoned lunatic asylum.

INT. ABANDONED STATE HOSPITAL - MESS HALL

More than a match for the exterior- a cavernous, rubble-strewn disaster area with tables and chairs piled in corners.

Something CREEAAKS.

COSMO
Oh yeah, heh, all about the ambience.

Jolt-fueled COSMO QUINCY (17) relishes the SQUEAK as he cracks open a pop-top tin of pork 'n beans. He sits cross-legged in the grime, surrounded by electronics equipment.

COSMO (CONT'D)
Oh that was me, for the record- diligent observer Cosmo Quincy on night six... seven? -whatever, at the State Lunatic Hospital. State-run is the way to go. Private homes have nothing on the good old-fashioned tile, padded cell, straightjacketed locales. It's aesthetics. What's a little electro-shock between friends? I hate it's getting phased out; it leaves so much residual psychic energy.

He thoughtfully digs into dinner. Frowns.

COSMO (CONT'D)
Ugh, cold beans. You could save me some trouble and get this over with. Doesn't have to be kinetics- I'd be happy with some orbs! I'm sick of cold beans. What about you? You like beans?

Rolling to his feet, he crosses to a battered DAT recorder, fiddles with some of the levels and checks the needle on one meter.

COSMO (CONT'D)
Yeah, me neither. So what did they serve you guys here? Oatmeal? Pudding?

The needle drops to '0' as his voice stops.

COSMO (CONT'D)
(annoyed)
Lithium?

Cosmo leaves the recorder and crosses to the INFRARED display-- everything appears orange and toasty. Setting the beans aside, he lifts one of the SLRs around his neck, snapping a few shots off, shutter WHIRRING.

COSMO (CONT'D)
So, I didn't catch your name, but I'm deaf in one ear, hence the equipment. No need to be shy. Is it cold in here to you? I'm pretty damn cold. Too much to hope you guys could hang out in Hawaii.

And still no one answers. Cosmo lowers his camera.

COSMO (CONT'D)
Should have brought some beer.

Cosmo plops back down in the middle of the electronics array, and pulls out a transistor radio. He switches the device on, rolls the turner-

RADIO ANNOUNCER (O.S.)
-fantastic play by Patterson brings the Sox up at the top of the 8th. The Cubs are still alive-

COSMO
Hey, at least someone's having some luck. Go Cubs.

BEEP BEEP BEEP BEEP- Cosmo's head jerks up as an ALARM from one of his monitoring devices goes off. He peers at the device, and then looks around suspiciously.

COSMO (CONT'D)
The Chicago Cubs?

BEEP BEEP BEEP BEEP- the device really starts jumping. Cosmo lurches to his feet.

COSMO (CONT'D)
(awed)
You like baseball? You like baseball!

Another meter chirps in and the incessant BEEPING answers in the affirmative. Cosmo runs to the Infrared, where the oranges have faded to yellow and green in a few spots.

COSMO (CONT'D)
Cubs, right? The White Sox? Pittsburgh? Detroit? Uh, The Braves you like the Braves?

The BEEPING gets happier and happier. Cosmo jumps around snapping pictures and checking meters.

COSMO (CONT'D)
Dodgers? How 'bout the Orioles? Hah! This is great!

Cosmo laughs as all his equipment flashes and CHIRPS.

COSMO (CONT'D)
I can't believe this, baseball! I been out here nine nights in a row and you like baseball! Hell. Well as long as you aren't a Yankees fan, but nobody like that group of overpaid divas. This is unbelievable!

Gradually the BEEPING starts to fade.

COSMO (CONT'D)
Talk about overrated, who cares if they had Ruth and Mantle. I mean the Giants before they moved west- that's a team. Ruth's lifetime records are full of holes and no self respecting player today would be caught dead in the shape he was in-

Cosmo doesn't notice but the alarms have completely silenced. The only noise comes from the baseball game and Cosmo's camera as he continues shooting film.

COSMO (CONT'D)
-I mean given if 'the Babe' played now, please- BALCO? And everyone knew-

Suddenly from the far side of the Mess hall, something CRASHES to the floor. This catches Cosmo's attention, he frowns, breath coming out in clouds of condensation.

COSMO (CONT'D)
...he corked his bat.

BEEPBEEPBEEPBEEP- The alarms screech, only this time far more menacing. The INFRARED is nearly all blues now.

COSMO (CONT'D)
I mean... you know-

BANG! One of Cosmo's devices explodes in a shower of sparks.

[Adam Isaac]

THE UNSPEAKABLE (Part 2 of 2)

COSMO (CONT'D)
Come on! You don't seriously like the Yankees?!

The answer comes in the form of ALL of his equipment and lighting SHUTTING OFF. The radio SQUAWKS horrendously and dies.

COSMO (CONT'D)
Okay. You're right, I'm sorry.

WHAM! Cosmo jumps as something SMASHES to the floor on his left. He looks at his camera and then around the dark room, snaps a few shots before reaching for a backpack.
Around him CHAIRS begin flying towards him, colliding, hurtling into the walls, raining to the floor in pieces.

COSMO (CONT'D)
Okay, ****!

He haphazardly shoves gear in a pack, but the radio EXPLODES in his hands.

COSMO (CONT'D)
****!

He drops the pack and moves for the exit doors as they swing shut and are instantly blocked by two large TABLES.

COSMO (CONT'D)
Oh ****!

Cosmo spins and spots the Kitchen entrance. He runs.

INT. KITCHEN - NIGHT

Cosmo plows through the ancient swinging door and collapses against a rusty service cart, panting.

Inside the kitchen is deathly quiet. Cabinets and filthy preparation tables line the perimeter. An industrial Fridge stands next to an empty space where stove once was. A few large pipes and wires protrude from the wall.

Across all the obstacles is freedom- an EXIT that shines in the pale moonlight.

COSMO
Holy ****.

Cosmo swipes at his forehead. As soon as his eyes fall away from his surroundings the menacing SHADOWS MOVE.

When Cosmo looks back up everything's back to normal. He starts towards the exit, FOOTSTEPS echoing.

Across the room, unseen, a drawer slides open slowly, SQUEAKING, in time with his footsteps. Cosmo stops, the drawer stops. He starts again, slowly until the first drawer SQUEAK reaches him, and he speeds up, until he's dashing toward the door. He's almost there-

--SHHHHNK! A terrifyingly rusty BUTCHER'S KNIFE embeds itself in the wall beside Cosmo's head.

COSMO (CONT'D)
****!

He backpedals, reversing and running toward the Refrigerator until it TOPPLES toward him.

Cosmo dives, sliding under the possessed fridge, narrowly avoiding being crushed.
He gapes at the fridge, scampers to his feet when--

--A FIREBALL EXPLODES next to him from the old stove hookups. Cosmo dodges, leaping over the fallen fridge and staggers toward the EXIT.

Behind him the SHADOWS squirm and lurch as he reaches the door, throwing his shoulder into it--

--but it doesn't move! He tries again with all his weight, but it won't give. Looking down Cosmo spots an ancient rusty padlock and absurdly large chain holding the door securely in place. Cosmo spins--

To where the shadows are getting closer. To the left- to the right they close in...

Cosmo clutches at his camera, raising it to protect himself, but he cringes, knowing the gesture is useless. His finger trembles over the trigger, the FLASH EXPLODES--

INT. HOSPITAL WARD - DAY
Cosmo jerks awake.

NURSE
Is something wrong, Mr. Quincy?

COSMO
My cameras- where are- wait...

NURSE
If you're done with dinner?

Cosmo looks down at a plate of half-eaten beans.

COSMO
(confused)
I hate beans.

NURSE
Very well. Let's move along then, I believe some of the other patients have your sporting event tuned on the wireless in the sunroom.

COSMO
My...?
He double-takes as the Nurse carries his plate away.

INT. SUNROOM - DAY
Cosmo plops down next to a radio, disturbed by the PAJAMA'D PATIENTS around him, but not sure why.

RADIO
...fine day at Ebbetts field as the Dodgers hope to hold off the Yanks just one more game...

The pajama patrol BOO and HISS, cheering the Yankees. Cosmo frowns, spots a wall calendar for OCTOBER 1949.

FADE TO BLACK.

SUPER: "The New York Yankees won the world series five consecutive times beginning in 1949."

(Cue the WILHELM SCREAM.)

[Adam Isaac]

Alright guys and gals,

I'm dipping out for a little while to go visit a....well, female companion, SO JUDGES....give me a little while to post the rest of the entries(if there are anymore entries)posted in a bit.

I'll be back, well......I'll be back as soon as I can.

[Fortean]

'Fess up, Adam, you've abandoned your post to go trick-or-treating, with the rest of the neighbourhood kids!

The ferrets sent over a couple of their feline friends to toilet-paper your place (http://youtube.com/watch?v=VCjuU_-0DEk), but....

Never send any cats to do a ferret's job!!!

[dpaterso]

Trivial admin, all the non-submission comments (except Adam's last plus Fortean's essential kitty video link) have been stripped out of this thread and moved into the discussion thread,

2007 MOTEL MACABRE: The Fear & Supernatural Pages
http://messageboard.donedealpro.com/boards/showthread.php?t=31980

...leaving just the entries to date:

TRIXY
HELLA'WEEN
DANCE WITH THE DEVIL
CAUSE & EFFECT
METHODE HUMANE
HENRY THE ANGEL
LUCID
HELL ON EARTH... GOODBYE TO MAN
T
DIVA
WAITING FOR ROSEMARY
HALLOWEEN
1408 REFURBISHED
I FEAR NOTHING
FROM APPLE TREE TO APPLE TREE
YOUTH
EXTERMINATION
DON'T GO IN THE BATHROOM
THE CHATTERING
EVE OF SAMHAIN
DENTISTS ARE PEOPLE TOO
DONUT BREAK OF THE DEAD
THE UNSPEAKABLE

-Derek