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ILLINOIS' MISSING SCRIPT

add text, images, video, widgets, etcAndy Ray Patton
andrewpattonshorror@hotmail.com
andyfightsforanimals@yahoo.com
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FADE IN:


INT. WALLMART -- DAY


A young, thin, poverish-looking white mother pushes her little
five-year-old daughter in the shopping cart through the busy
retail store. The little girl is wearing pink shorts and shirt.

The mother is busy looking over at the pharmacy at a loud, angry
customer while she is browsing cold medicine.


    ANGRY CUSTOMER
   I don't care! I don't need a card, it should
   be in your stupid computer! That's what
   they're for aren't they?


    DAUGHTER (O.S.)
   Mommy? When are we stopping to get french
   fries?

The mother's attention is still on the customer and the pharmacist.


    MOTHER
       (angry)
   For the millionth time Roxanne, soon..soon!


The mother finally turns and looks at her daughter. The little girl
is looking up at her sad with pouty lips about to cry.


   I'm sorry honey, we're going right after
   I get milk and some underwear for daddy.


The mother looks again at the scene by the pharmacy.


    DAUGHTER (O.S.)
   You're buying Daddy underpants?


The mother laughs bringing her attention back to her daughter's face.


   Why are you laughing mommy? Did daddy
   wet his pants?


The mother laughs even harder with her head now resting on the handle
of the cart. The little girl starts rubbing her mother's hair,
playing with it like a dolls.


   Mommy, your hairy is really shiny.


The mother lifts her head up and looks face to face with her daughter
realizing how cute kids can be. The little girl now says something
'role playing' how her mother speaks to her sometimes.


   Your hair is just like a Princess's.


Now the mother laughs again, this time uncontrollable.


    ANGRY CUSTOMER
   Screw you! Screw this place!


The mother looks over at the pharmacy and sees the customer leaving
upset. He bumps into an old lady knocking her over. The man leaves
not noticing the old woman, and the pharmacist had left without
seeing her either.


    MOTHER
       (to daughter)
   I'll be right back.


The mother runs twenty feet to the old woman helping her up.


    MOTHER
       (to old woman)
   Are you okay?


    OLD WOMAN
   Yes...Jesus...thank you. One minute I
   walk up to the pharmacy, the next minute
   I'm on the floor...imagine that. At least
   I didn't bust my hip. Jerk. If I wasn't so
   clumsy, I woulda' popped'em one.


    MOTHER
   I'm sure you would have.


The mother helps the old woman to her feet and hands her her cane.
She then looks over at the cart and sees her daughter missing. The
mother looks really angry.


    OLD WOMAN
   Thank you dear.


    MOTHER
   You're welcome, I have to get back to my
   daughter before she roams the store.


The mother goes back to the cart, and looks to her left and right,
but doesn't see the little girl.


   Roxanne.


She walks ten feet in every direction looking for her.


   Roxanne?


She looks again then says her name louder.


   Roxanne! Roxanne....where are you?


She now notices Roxanne's lolipop shattered beneath the wheel of
the cart. Without thinking, and intuition of knowing something is
wrong, she runs to a cashier- an overweight black woman with her
hair did.


The mother cuts in front of ancy customers.


    MOTHER
   My daughter's missing.


    CASHIER
   You gotta go to regista' foe and dey'  
   page her fo'ya.


    MOTHER
   No!


    CASHIER
   No? Whatchoo mean no?


    MOTHER
   She's missing. Something's wrong!
   Somebody took her!


The cashier immediately grabs the phone and speaks onto the
intercom for all to hear throughout the store.


    CASHIER (V.O.)
   Attention Wallmart customers, we have
   a lost little girl in the store...missing..
   kidnapped little girl.


The cashier puts her hand over the phone and speaks to the mother.


   What color ha'hair?


    MOTHER
   Long brown. She's wearing pink shorts
   and a pink shirt.


    CASHIER (V.O.)
   She has long brown hair, pink shorts, and
   a pink shirt.


The mother puts her hand over her mouth, and her eyes begin to tear.
The cashier looks at the mother, then talks on the phone again.


   Nobody leave the store. All Wallmart
   employees to the front and check everyone
   that leave this sto'. The mother say her
   daughta was kidnapped.


Everyone in the store cooperates. Everyone looks around. The
manager goes to the cashier.


    MANAGER
   Le'monjello? What are you doing?


    CASHIER 'LE'MONJELLO'
   Look at her? A little girl's missin'.


The manager, Le'monjello, and a few other customers including
strapping men, walk with the mother to look for the girl. The
manager gets on a walkie talkie that is connected to the overhead
speakers of the store.


    MANAGER (V.O.)
   George, make sure nobody leaves the store.
                        Can everyone please look for a long haired
                        brunette girl in pink.


        CUT TO:


INT. WALLMART -- LATER


The manager and many customers are at the front doors to the store.
Le'monjello, the old woman, and two others are comforting the mother
who is sitting in a chair crying.


    MOTHER
       (crying)
   Where is she? Who took her? Who took her?


    LE'MONJELLO
   She has to be here in the store. Has ta be.


A big, strong black man comes running to the mother out of breath.


    STRONG BLACK MAN
   Still nothin'. I'll keep lookin'.


The man runs off. Other customers are seen throughout the store
looking. There is an inconsiderate white man holding one bag and
anxious to leave the store, but is blocked by three women employees
and the manager.


    WHITE MAN
   I have to be somewhere. This is illegal.
   I don't know anything about the girl, just
   let me go.


    EMPLOYEE WOMAN #1
   You ain't goin' nowhere til' she find that
   baby.


    WHITE MAN
   I'm late. Please step aside.


    EMPLOYEE WOMAN #2
   Just hold your britches little man- Damn!


    MANAGER
   Nobody is leaving here until the police
   arrive.


Two police officers walk through the door.


    DISPATCH ON COP'S TALKIE (V.O.)
   ...possible one fourteen in progress...
   standby.


    WHITE MAN
   There. Now I'm leaving.


The white man attempts to walk out, but the cops push him back.


    COP #1
   No, you're not. Lock these doors.


    COP #2
   Where's the mother?


    LE'MONJELLO
   She right here.


    COP #1
   When was the last you seen her? What was
   she doing?


    MOTHER
   I looked away for a second. I went to help
   up this woman and when I turned around she
   was gone.


    LE'MONJELLO
   This was bout twenty five minutes ago...
   y'all slow.


    MOTHER
   She couldn't have gotten out of the store.
   We all looked...well they all looked...I
   wanted to be by the doors to make sure
   she couldn't get out.


    COP #1
   What about the garden area?


    MANAGER
   Locked and guarded.


    COP #1
   Back doors...any?


    MANAGER
   A couple, but they're always locked and
   I have the only keys.


    COP #2
   What about the bathrooms?


Everyone looks at each other like they had forgotten about the
bathrooms. The cops, mother, Le'monjello, and a few others start
walking to the bathrooms. The manager sees the big, strong black
man still looking on the other side of the store. He speaks to
the black man on the talkie.


    MANAGER (V.O.)
   Bathrooms. Check the bathrooms.


        CUT TO:


INT. WOMAN'S BATHROOM -- DAY


The strong, black man runs in the woman's bathroom and sees nothing
after pushing open all the stalls.


        CUT TO:


INT. MEN'S BATHROOM -- DAY


The strong, black man runs in the men's bathroom and pushes open most
stalls.

The last stall he pushes open there is a little brunette boy, with a
crew cut, and in a pair of blue jeans with a white t-shirt on,
sitting on the toilet crying. The boy sits surrounded by locks of
cut off hair, and pink clothes strewn. The little girl had her hair
cut off and clothes changed to look like a little boy.


    STRONG BLACK MAN
   God damn.

The strong black customer stands in shock, but shows a sigh of relief.
He puts his hand on his head realizing what horrible event had taken
place. The man picks up the little girl. She whines and tries to
fight him.


   It's okay honey...I'm a good guy.


        CUT TO:


INT. WALLMART -- DAY


The strong, black customer walks out of the bathroom as everyone
approaches. Everyone stops. They all stood is complete shock and
horror. It takes the mother a few seconds to realize what she saw.
The mother then screams.


    MOTHER
   Oh my God!


The mother runs to her little girl and the man hands her over.


   Oh baby...I'm sorry...I'm sorry.


The mother hugs the man with her other hand and begs showing her
thankfullness.

   My god thank you.


The mother goes to all the other people including the cops, the
manager, and Le'monjello, hugging them all with tears in her eyes.


   I can never thank you all. You saved my
   baby's life. (crying overemotionally).


    LE'MONJELLO
       (to cops)
   Ya'll gotta take her home.


FADE TO BLACK:
   
   

 


TEXT READS: THIS WAS A TRUE STORY. THERE ARE OVER 100,000 PEOPLE THAT
     GO MISSING IN THE UNITED STATES EVERY YEAR.


  
     THE FOLLOWING STORY IS ALSO TRUE, WITH NAMES AND FEW PARTS
     FICTIONALIZED TO TELL THE STORY.

            THE STORY ITSELF MAY NOT SEEM REAL.

            THIS IS BECAUSE THE FOLLOWING ACCOUNTS WERE WRITTEN ON
            NOTES HIDDEN IN BOOKS BY A MISSING PERSON, AND FOUND IN A
            THRIFT SHOP IN SOME DIFFERENT STATE. THE NOTES WERE
            OBSERVED BY FORENSICS TEAMS TO VERIFY THEIR AUTHENTICITY.

            WHAT YOU ARE ABOUT TO SEE IS WHAT SOMEONE IS TRYING TO TELL
            US 'DURING' THEIR DISAPPEARANCE.


        CUT TO:


EXT. COLLEGE BUILDING -- NIGHT


The windows of the building are dark except for one with a desk lamp
on inside. Fall leaves are blown by the wind as they scrape across
the ground of the parking lot with only one car parked in it.

 

          DISSOLVE TO:

 

INT. DARK OFFICE -- NIGHT


A GENTLEMAN sits in his chair at his desk wearing a black suit. The
desk lamp only lights half of his office. A large, shiny black ring
is seen on his finger while his hands shuffle papers.


NOTE: This gentleman's face is not seen until halfway through story.


On a stand next to him is a VENUS FLYTRAP inside a pot. A fly makes
it's dizzy path and lands on the lip of the flytrap. The soft lip of
the flytrap slowly surrounds the fly making nowhere for it to go and
then the fly is crushed.


        CUT TO:

 

EXT. PARKING LOT -- NIGHT


The gentleman from the office walks to his car. Everthing is quiet
except for the tumbling blown leaves.


A DRUNK appears from behind the side of the building and starts making
his dizzy path towards the gentleman. The drunk stumbles around every
which way much like the fly did to get to the flytrap.


The gentleman does not see the drunk until he slams up against the
gentleman's passenger side door.


    DRUNK
   Hey you sunafabich give me a ride...or I'll
   kill ya. I've got a knife and I'll kill ya.


The drunk grabs his coat, which is hiding his weapon just as an armed
robber does holding up a bank with a water pistol. The gentleman's
P.O.V can clearly see the weapon peeking out of the jacket is just a
tin whiskey bottle.


    GENTLEMAN (O.S.)
       (unafraid, calm)
   Sure, get in.


    DRUNK
       (mumbling)
   I..I'm gonna need a few dollars too..
   maybe eben a thousand bottl..dollars..
   do you hear me?


The Gentleman slowly closes the car door for the drunk.

 


        CUT TO:

 


EXT. COUNTRY, GENTLEMAN'S HOUSE -- NIGHT


The gentleman pulls up in the front of a house out in the the middle
of nowhere in the country. The driveway is wide and bricked.


    DRUNK
   Hey man, this isn't the liquor store, ya
   prick.


    GENTLEMAN (O.S.)
   I know- the store is probably closed, but I
   have plenty of liquor inside that you could
   have.

 

The drunk pulls out his concealed whiskey bottle, looks at it in an
unsure drunken vision and moves it to the gentleman's throat.


    GENTLEMAN (CONT'D, O.S.)
       (playing along)
   Only if you promise to leave afterwards.


The drunk turns around in his seat and faces the gentleman in an
angry lecturing stare.


    DRUNK
   Hey..you..fucking..you don't..fucking
   ..tell me orders..I tell you orders.


The drunk shuts his eyes then opens them back quickly and tries to
focus his drunken stare on the gentleman.


   I do..what the fuck..I do..when the fuck..I
   fuckin..do it. Do you umberstan me....damit?


The gentleman is quiet. The drunk turns away from him and now
sits in his seat properly looking ahead out the windshield.


   Well, I just might, afta I take
   evre'thing I want. If you don't have
   nuftin den I'll keol you.


    GENTLEMAN (O.S.)
   Let's go inside.


The gentleman gets out of the car. The drunk fidgits with his door,
grabbing everything from the window seal to the paneling thinking
the gentleman is escaping.


The gentleman finally opens the door from the outside for the drunk.
The drunk gets inches away from the gentleman threatening him.


    DRUNK
   You ever try and escape on me boy,
   I'll cut you, hear?


The drunk then looks down at the gentleman's suit.


   Fuckin..how could ya ford a house
   after paying fer that suit?

 

The gentleman walks to his house and the drunk follows.

 

        CUT TO:

 

INT. LOBBY -- LATER

 

    GENTLEMAN (O.S.)
   I'll be back. Liquor is in that cabinet over
   there. Make yourself at home.


The drunk opens the tall wooden cabinet like a treasure chest. Many
expensive bottles are scrolled upon by his alcohol-saturated
eyeballs. He puts bottles of wine in his jacket pockets and holds
four bottles under one arm as if someone were going to take them from
him. He walks around looking at paintings on the walls.


The drunk takes a swig of wine from his other hand.


WE SEE A SHADOW OF A MAN COMING FROM BEHIND THE DRUNK. THERE IS A
SHADOW OF SOME EXTREMELY LARGE HAMMER THAT IS HELD BY THE MAN.


The drunk turns around slowly. His P.O.V. looks at a COWKNOCKER that
is now slowly risen upwards.


    DRUNK
   Whaten the fucker yadoin?


The drunk's P.O.V. sees a large, shiny, black ring on the
gentleman's finger. The drunk's head is smashed from the side
knocking him quickly to the floor.

 

 

BLACKOUT:


The opening credits appear. The title and names disappear one at a
time into the series of shots of the country side and it's large
areas of nothing but fields, farms and roads along with eerie music.

 


        CUT TO:

 


EXT. CHARLIE'S HOUSE -- DAY


NOTE: Most of the story is from Charlie's P.O.V.


CHARLIE NORRIS is a brown-haired, average, eleven-year-old boy. He
is outside kicking a dodgeball against the siding to his house out
in the country during the 90's.


Charlie is called inside from an opened window.


    MRS. NORRIS (O.S.)
   Charrllieee! Come here!


Charlie kicks the ball away and walks in the house.

 


        CUT TO:

 

INT. PARENTS BEDROOM -- DAY


Charlie opens the door to his parents' room and talks to his mother
who lay in bed with his father.


    CHARLIE
   What?


    MRS. NORRIS
   Charlie what are you doing?


    CHARLIE
   Nothing.

 

    MRS. NORRIS
   What ever it is..you have to stop. We have
   to get up in a few hours and work on the
   field.


    CHARLIE
   Mom?


    MRS. NORRIS
   What Charlie?


    CHARLIE
   I hate it here, why'd we have to move?

 

    MRS. NORRIS
   We had to Charlie. Now we already talked about
   this- it's gonna be ruff for a while because
   we both quit our jobs to run our own farm.


Charlie sees his dad turn to his mom, but Charlie cannot hear what his
dad is whispering


    MR. NORRIS
        (indistinctive)


    MRS. NORRIS
   Charlie, go to the park or something.


    CHARLIE
   Park? What park?


    MR. NORRIS
           (indistinctive)


    MRS. NORRIS
       (tired)
   Go past the field...then past the woods.


    CHARLIE
   I didn't know there was a park.


    MRS. NORRIS
       (tired)
   Just be careful.


        CUT TO:


EXT. CHARLIE'S HOUSE -- DAY -- CONTINUOUS


Charlie runs excited out the door.


EXT. FIELD -- CONTINUOUS


He runs across the field.


EXT. FOREST -- CONTINUOUS


And into the forest.


        CUT TO:


EXT. FOREST -- DAY


Charlie walks out from the other side of the forest and sees a park
in the distance.


        CUT TO:


EXT. PARK -- DAY


Charlie swings on monkey bars. Charlie makes his way across monkey
bars and lands. He sees a kid his age now making his way across
towards him. The kid looks as if he was competing with Charlie. The
kid lands next to Charlie.


    COLBY
   Hey, you're pretty fast, but I'm better.


    CHARLIE
   Let's see.


Charlie jumps on the bars and Colby follows. They make their way
across and land at about the same time.


    CHARLIE
   Man, you're pretty fast.


    COLBY
   I always practice in on'em, that's why.


COLBY is an eleven year old, handsome kid with thick brown, bouncy
hair and tattered clothes. A quiet, six year old boy wearing dirty
jeans walks by Colby.

   This is my brother Jeth.


Another kid comes by Colby seeming to be another brother. PAN is a
ten year old, big fat bully who walks right up to Charlie putting his
finger to Charlie's chest.

    PAN
   Get outta here kid!


    COLBY
   Shut up Pan!


Pan runs away chasing younger kids. Charlie watches Pan go and sit
on a kid half his size bouncing his fat butt off of the boys chest
over and over again.


    KID
       (coughing)
   Owwwww! Stop it, I can't breathe.


Colby now notices.

    COLBY
   Pan, leave that kid alone, now!


Pan took his body off of the crying boy then kicked dirt and rock in
his face as he walked away.


    COLBY
   My brother Pan is really mean. I have
   another brother, his name is Pepper.


    CHARLIE
   Why do you guys have such weird names?


    COLBY
   My daddy says if he's stranded in a desert
   and he could wish for three things they would
   be a chunk of Colby cheese, some pepper and a
   frying pan, cause my daddy says he can make the
   meanest Colby cheese omelet you've ever seen.


    CHARLIE
   Wouldn't you need eggs too?


Colby stands confused and quiet.


   What about Jeth?


    COLBY
   My daddy said he named him Jeth, cause of his
   favorite tv show and he didn't like the name
   so he took off letters until he started liking it.


They all go walk to the sandbox where the little brother Pepper is.


A man with dark sunglasses with a large, shiny black ring on his finger
sits on a bench by the sandbox with a pink baby stroller by his side.


The man just sits watching the kids at the park through his hidden
eyes. Charlie sees the man doesn't care that Pan had just come running
by using vulgar profanity as he chases younger kids. This is why
Charlie looks at the man, because the man is supposed to be an adult
but he doesn't restrict Pan from cursing or throwing rocks. Charlie
points to a white kid in the sandbox.

 

    CHARLIE
   Is that your brother?


    PAN
   No, that little butthole isn't my
   brother.


Pan now comes by and pushes the kid Charlie pointed to face first in
the sand. The infant starts crying, Pan then goes and grabs the only
black child in the sandbox and starts hugging him.

 

   This is my brother, and he's black
   and that's why I love em.


Pan hugs his smiling happy three-year-old brother.


    COLBY
   Come on Pan, grab Pepper and let's go.

 

While leaving with his new friends Charlie looks at the man on the
bench who now picks up his baby from the carriage.


One of the babies' legs pops out of the blanket, the leg has blue
veins all over it.


The man quickly tucks the leg back into the blanket and looks at
Charlie. Charlie just walks away with his new friends.

 

    COLBY
   Hey, what's your name anyways?


    CHARLIE
   It's Charlie.


    PAN
   Charlie?


    CHARLIE
   Yeah.


    PAN
   Charlie what?

 

    CHARLIE
   Charlie Norris.


    PAN
   You mean you're name's Chuck Norris?


    CHARLIE
   Yeah, I guess.


    PAN
   That's awesome! That's a cool name, man.

 


        CUT TO:

 

EXT. COLBY'S HOUSE -- DAY -- LATER


Charlie first sees their house, which is wooden like a log cabin. He
then sees bent metal stairs against the front porch.

 

    CHARLIE
   Why do you guys have bent metal stairs?


    COLBY
   That's Pan's work, first he was playing
   with matches and burnt the stairs down
   then my daddy bought these metal stairs.
   Pan jumped on the middle of them until
   they bent little by little all the way
   down to the ground.


At that moment Pan smiles with only two teeth in his mouth at Charlie.
Pan was waiting to get a look back from Charlie as if he were proud
for bending his parents' stairs.

 


        CUT TO:


INT. LIVING ROOM -- DAY


Charlie walks inside and sees a family picture covering an entire wall.
The picture shows the four brothers, their hillbilly buck-toothed
father with a chef's hat on holding his prize recipe Colby cheese
omelette in an iron pan. The mother is a black woman with large opened
eyes as if she were proud of getting the family together to take this
picture. Pepper sits on her lap smiling. Colby and Jeth stand next to
their mom calm and smiling. Pan stands next to his dad angry and being
pulled by his sleeve with his father's other hand.


Charlie sees that the living room, kitchen and bathroom is just one
big space with no doors dividing the rooms. Pepper and Jeth go to the
fridge and find a sandwich wrapped in a plastic bag. They fight over
the sandwich like it was the only food in the house. Pan goes by them
talking like he was the king's royal servant.


    PAN
   Heryee, heryee..give me this sandwich
   so I can settle this dispute.


They hand over the torn apart sandwich to Pan.


    PAN
   Since you are both peasants, you shant
   not eat this sandwich!

 

Pan immediately shoves the sandwich in his mouth as the two young
brothers watch helplessly. They then start punching Pan.


    JETH
   Give me the sandwich Pan!


    PEPPER
      (crying)
   Waaaaaaaaaaaaa!


Colby notices them and yells at Pan.


    COLBY
   Pan!


Pan now runs from Jeth and Peper around the kitchen holding their
prize in his mouth. Pan suddenly stops and gets a disgusted look on
his face then spits their sandwich out all over the floor. Pepper
immediately starts crying again at the top of his lungs.


    PAN
   This fuckin' shit is moldy!


    PEPPER
       (crying loud)
   Waaaaaaaaaaaa!


    COLBY (O.S.)
   Godammit Pan! Would you stop it already!


Charlie just watches as Pan repeatedly spits and hocks spit on the
kitchen floor. Pepper still cries making everyone's ears hurt. Colby
doesn't see what's going on, he just thinks Pan is still tormenting
his brothers.

 

    COLBY
   Pan! Stop it!


Charlie watches all this like some sort of sideshow. He then goes
and sits on the couch as they all get louder.


       
        CUT TO:


EXT. YARD -- EVENING


Pan and Charlie are on a team versus Colby, Jeth and Pepper.


Pan cheats and throws a mudball at Pepper's face before the battle
starts. Pepper is crying and Pan doesn't apologize. Charlie's ears
went from hearing piercing crying indoors and now he has to hear it
outside too.


    COLBY (O.S.)
   Dammitt Pan, why did you have to throw
   it so hard?


    PEPPER (O.S.)
       (crying)
   Waaaaaaaaaaaaa!


    PAN
   That's war, tough shit! There's always
   casualties.


Pan and Charlie are taking cover behind some junk appliances in the
yard. Pan smiles at Charlie again as if he were proud of being such an
asshole. Pan waits for Charlie's response and Charlie just gives him a
soft smile back so he would quit looking at him with his fat bully
face with snot drizzling down his lip.

 

    PAN
   Man, I really got that sucker!


    PAN
       (yelling)
   Do you fuckers give up yet? Ha,ha,ha.


At that moment Charlie decides to become a traitor to his teammate Pan.
Pan waits for Charlie's go ahead to stand up and start throwing.
Charlie times it so Pan stands right when mudballs are thrown so Pan
gets nailed in the face. Pan starts crying then walks away from the
fray upset.


    PAN (O.S.)
       (crying)
   Waaaaa, you fucking dicks!..You
   fuckers!..I fucking hate you.


    COLBY/JETH/PEPPER
       (shouting in victory)
   Yeah!

 

        CUT TO:

 

INT. CHARLIE'S BEDROOM -- NIGHT


Charlie lies awake in his bed smiling. He laughs thinking aobut all
the fun he had.

 


        CUT TO:


EXT. COLBY'S HOUSE -- DAY


Charlie walks up to their door and knocks. Charlie hears screaming and
crying inside. He waits until Colby finally opens the door. Charlie
could now see that Pan was fighting with Jeth and Pepper again on the
couch.

 

    COLBY
   Hey, come in.


    CHARLIE
   What's going on?


    COLBY
   Whenever Pepper and Jeth find something
   to eat in the cabinets Pan always tricks
   them and ends up eating the food by
   himself.


    CHARLIE
   Doesn't your mom and dad buy any food?


    COLBY
   Once in a while they do, but we don't
   have any now because Pan eats too much.


    CHARLIE
   Man, Pan's fat! Oh, here's some popcorn.
   We're gonna watch a movie right?


    COLBY
   Yeah, we always watch movies.


Colby takes the plastic bag from Charlie, which has three
microwaveable popcorn bags inside. Colby takes them out and
immediately runs to the microwave and puts the popcorn in and turns
the power on. Pan, Jeth and Pepper stop fighting and gaze at the
microwave as if there were gold in it.

 

    PAN
   What did you put in the microwave?


    COLBY
   Charlie brought some popcorn.


    PEPPER/JETH
   Yeah!


    PAN
   Chuck Norris, you're a fuckin' lifesaver!


Pan runs over and puts a tape in the vcr. Jeth and Pepper run and
sit on the couch.


        CUT TO:


INT. LIVING ROOM -- DAY


Charlie hangs out at their house watching movies and eating popcorn.
They only have a tv and vcr, but no antannae so all they have to watch
are tapes with stuff they recorded when they did have an antannae.


Charlie sees each tape has their names on them along with shiny star
stickers. Each tape has clips from different recorded movies and
cartoons from their television.


They watch one of the tapes for hours. On their tv screen is a while
of one movie then a different movie is seen that had been recorded over
the other one. The entire tape is in a certain order of the same three
action movies along with cartoons.

 


        CUT TO:

 

INT. LIVING ROOM -- DAY -- LATER


They still watch movies, they watch the same tapes over and over again.
Pan occassionally puts his smelly feet in Pepper's face. Jeth watches
the screen in excitement and Colby and Charlie just sit at each end of
the couch watching quietly.

 

 
        CUT TO:

 

INT. BASEMENT -- DAY -- LATER


Colby and Charlie are hopping and leaping down the cluttered stairs
like an obstacle course.


Colby opens the freezer door and Charlie has a happy look on his face
as he sees a box of ice cream bars. Colby and Charlie started eating
them from hunger.


    COLBY
   We aren't supposed to be in the freezer,
   that's why Pan and them aren't coming down
   here. I'm the only one that is allowed to
   look in here only for emergencies, so I'll
   take up a few to them since this is an
   emergency.


Charlie and Colby eat ice cream bars as they both stand in
the freezer with the door wide open.


    CHARLIE
   Man, these are good.


    COLBY
   Yeah, they're nice and soft.


    CHARLIE
   I'm on my third one already.

 

Colby stops eating thinking about what Charlie just said. He looks in
the box and they both realize they had eaten all of the ice cream bars.


Colby and Charlie start hearing the kids yell from the top of the
stairs.


    PAN (O.S.)
   Hey! What are you two boners doing down
   there?


    JETH (O.S.)
   Yeah, you boners.


    PEPPER (O.S.)
   Bonaaaash.


Pan was being a smart alec and his little brothers grasped each side of
the frame of the door going along with their big brother. Jeth repeats
everything Pan says and Pepper cannot talk yet but tries to mimic them.


    PAN (O.S.)
   Hey, you two buttholes!


    JETH (O.S.)
   Yeah, you buttholes!


    PEPPER (O.S.)
   buuhoooollllls!

 

    COLBY
   Shut up Pan!


    CHARLIE
   Yeah, just hold on, we'll be there in a sec.


    PAN
   Hey! Pillowfuckers!

 

Jeth and Pepper are heard laughing hysterically.

 

        CUT TO:


INT. KITCHEN -- EVENING


Colby and Charlie are rummaging through the kitchen searching for
food for the starving brothers. Charlie looks through the cabinets
and the fridge and saw that there was nothing at all to eat.

 

    COLBY
   We've gotta find something.


    CHARLIE
   Man, you guys don't have anything.

 

Colby is now looking through the freezer and stumbles upon something.

 

    COLBY
   Yes!


    CHARLIE
   What is it?

 

Colby slams a hard foil covered frozen circle on the table.


    CHARLIE
   What's that? A brick?


    COLBY
   Nope.


    CHARLIE
   A rock?


    COLBY
   Nope.

    
    CHARLIE
   A robot?


    COLBY
   Nope, it's the best eatin there is.


Charlie just looks confused.


   It's Colby cheese.


Charlie watches Colby thaw the cheese in the microwave.  Colby hands
Charlie a bread bag with five pieces of moldy bread that he got out
of a drawer.

 

    COLBY
   Here, pick off the green stuff.


    CHARLIE
   Is this going to work?


    COLBY
   If there's one thing ma daddy taught me..it's
   to make the best damn Colby cheese sandwiches,
   no matter what the situation.


Colby goes and grabs a frying pan while Charlie cuts away mold from
the bread.

 

        CUT TO:

 

INT. LIVING ROOM -- EVENING


Colby and Charlie sit by the others on the long couch and hand them a
plate of sandwiches that actually didn't look too bad. Pan's face gets
happy as any fat kid would. They all eat their sandwiches. Colby grabs
a different tape and puts it in the vcr.


They watch one of the tapes again, getting the familiar order of one
action movie after another ingrained into their memories forever.

 

        CUT TO:

 

INT. LIVING ROOM EVENING -- LATER


Pan is on the second floor. He comes to the wooden railing and shouts
at the rest of the kids who still watch tapes on the couch. Pan holds
a large plastic circle over his head.


    PAN
   Look what I found!


    COLBY
   Yes!


The kids get off the couch and run to the stairs.


    CHARLIE
   What is that?


    COLBY
   It's a snowsled! We couldn't find it
   for a long time.


Charlie follows Colby, Jeth and Pepper to the landing of the stairs.
Charlie sees they are all very happy and excited. Charlie doesn't know
what's going on, but he stands with them at the bottom of the stairs.


Pan then gets on the sled and slides down the carpeted twenty stairs
and crashes into them while making a noise that sort of sounds like
the noise a punch makes in an action movie.


    PAN
   Puuuusshh!


They all laugh hysterically almost wetting themselves as theY lay atop
each other at the foot of the stairs.


Charlie grabs the sled and runs up the stairs without hesitation,
everyone stands up and anticipates the fun like waiting for a wave at
the wave pool at a water park. Charlie slides down and imitates the
noise Pan did as he crashes into them like bowling pins.


    CHARLIE
   Puuuuuuuuush!


They all laugh and take turns going back and forth. Finally Pepper has
a chance to do it. He tries running up the stairs with the sled that
is heavier than his body. He only makes it up halfway and starts
panting from being out of breath.

He slides down not with enough force, but all the brothers fall over
anyways one at a time like they had really been knocked down by him.


    PEPPER
   Puuuuush!

 

They all laugh the hardest they had ever laughed.

 

    PAN
   I'm gonna..piss..my..pantssss!

 


        CUT TO:


INT. LIVING ROOM -- NIGHT


They all sit and watch tapes some more. They had taken a break because
they were tired from sleding all day. Charlie realizes its dark
outside.

 

    CHARLIE
   Shit, what time is it?


    COLBY
   It's like eight o' clock.


    CHARLIE
   My parents are up, I gotta go.


As Charlie gets off the couch Pan teases him and his little brothers
laugh as usual.

 

    PAN (O.S.)
   Yeah Chucky, you better get home
   before you get your butt spanked.


    JETH/PEPPER
       (laughing)

 
    CHARLIE
   Shut up Pan.


    PAN
   Charlie's gonna get his little but
   spanked.


    JETH
   You're gonna get your butt spanked.


    PEPPER
   Buhshpank.

 

They tease Charlie as if it was uncool to get yelled at by parents.

 


        CUT TO:

 

EXT. FIELD -- NIGHT


Charlie's mother is driving some machine on the field. Charlie jumps
on the back and suprises her.

 


    CHARLIE
   Hey mom.

    MRS. NORRIS
   Charlie, where have you been?


    CHARLIE
   At Colby's house, we had alot of fun.


    MRS. NORRIS
   Get to bed, in the morning we have
   to go to town for some stuff.


    CHARLIE
   Alright.


Charlie runs in the house and goes to bed.

 

        CUT TO:

 

INT. CAR -- FOLLOWING NIGHT


Charlie and his parents are coming back from the town grocery store.

 


    CHARLIE 
   Can my friends come to dinner?


    MRS. NORRIS
   Charlie, their parents probably already
   made them dinner.


    CHARLIE
       (making it up)
   No, they're parents are going to the
                        movies and my friends are going to
   have to stay home alone.

    MRS. NORRIS
   Where do they live?


Charlie has hidden the fact that their parents are never home. This is
a secret that Charlie keeps from his parents, which isn't hard to keep
since his friends don't have a phone in their house.

 

 

        CUT TO:

 

EXT. COLBY'S HOUSE -- NIGHT -- LATER


Charlie and his parents are parked in front of Colby's house. It is
now raining furiously. The car wipers are on full speed and it is
still hard to see out the window. They beep the horn and flash the
lights towards their large living room window. The brothers finally
come one by one to peek out of the window unsure who is outside.

 


    MRS. NORRIS
   Charlie, I don't think they know who we are.


    CHARLIE
   Hold on, I'll go get em.


Charlie runs through the rain and up to their porch pounding on the
door.

 


        CUT TO:

INT. COLBY'S HOUSE -- NIGHT
 

They are all happy to see Charlie as he walks in from the rain.


    COLBY
   What are you doing here?


    PAN
   Who is that outside?


    CHARLIE
   That's my mom and dad, I convinced
   them to let you guys come over tonight.


    COLBY
   Really?


    CHARLIE
   Yeah, we're gonna eat mostacolli and
   I rented Super Soldier 4.

 
    PAN
   That's awesome!

 
    COLBY
   Jeth and Pepper let's go!


    CHARLIE
   Hold on a second, we can't go out in
   the rain without a raincoat!


Charlie runs up to the second floor out of sight. All the brothers are
curious and excited what he's up to. He comes back down the stairs
holding a bunch of shower curtains still wrapped in plastic.


   Men- put these on.


Charlie and all the brothers open the curtains and fasten them on each
other. They fasten them like ponchos, but they are clearly seen as
shower curtains. Before leaving, Charlie leans back against the door
to give them a speech before they run outside.

 

   Hold on, now we've gotta form a strategy.
   Colby and Pan you jump on the hood to
   distract their leader.


Charlie now puts his hands on Pepper's shoulders.

 
   Jeth and Pepper, you men are with me. We
   must infiltrate the tank and take out the
   soldiers..ready!


    ALL
   Ready!!!


Charlie is the last one out of the house. He leaves the living room
light on.
   

 

        CUT TO:


EXT. COLBY'S FRONTYARD -- NIGHT

 

    ALL
   Attackkkk!!!!!!!!

 

They all run towards Charlie's car full speed through the rain.
Charlie's parents see the kids all wearing shower curtains and they
start laughing to themselves.


    MR. NORRIS
   What are those?


    MRS. NORRIS
   They're wearing shower curtains.

 

    MR.NORRIS/MRS.NORRIS
       (laughing)

 

Pan and Colby run and jump on the hood. Charlie's parents don't
get angry, they cannot stop laughing.

 

Charlie and Pepper open the door to the passenger side were his mom
sits and they start pretending to attack her while she laughs aloud.

 

Jeth is on the other driver's side actually punching Charlie's dad.
Mr. Norris playfully cries out because he is really getting hit.

 

    MR. NORRIS
   Owwwwwwwww! Charlie????

 

    CHARLIE
   Alright, we won, let's go to their
   fortress.


    ALL BROTHERS
   Yeah!!!!!!


        CUT TO:


INT. CAR -- NIGHT


Once inside the car, more hilarious antics took place. The brothers
all did something different and consistant. Colby and Charlie agreed
to stare like robots the entire time while looking at Mrs. Norris
whenever she turned around. Pan decided to silently make fart noises
as if he was really doing it and was really embarassed. Jeth and
Pepper sang "figero" at the top of their lungs.


Everytime Mrs. Norris turned to look she would die laughing. Her and
the rear-view-mirror viewing Mr. Norris had laughed nonstop all the
way home.

 


        CUT TO:


INT. CHARLIE'S HOUSE -- NIGHT -- LATER


Charlie's mom called the boys down from his room to eat. While
sitting at the table all of Charlie's friends seemed grateful and
were very quiet. Everyone ate salad but Pan and no one but Pan ate
dessert. Pan was on his third piece of cheesecake, he started
laughing to himself before letting out loud flatulence as if he knew
it would happen.

 

    PAN
       (laughing)
   Who cut the cheese....cake?


    ALL
       (laughing)


Charlies parents get up to clean up the dishes. They laugh
restrictively. Charlie goes to help his parents then walks by Pan
and whispers in his ear.

 

    CHARLIE
   You fat ass!


Pan now laughs so hard it looks like he's going to have a heart
attack.

 

          DISSOLVE TO:

 

 

INT. COLBY'S HOUSE -- NIGHT -- LATER


Charlie and his parents drop off his friends. Jeth and Pepper run out
of the car towards their house, which now has no light on in the
living room. Charlie grabs Pan and Colby before they leave.


    CHARLIE
   Let's sychronize our watches.


    PAN
   Alright, go.


           CHARLIE
   Don't forget to bring one of the tapes too.


    COLBY
   What time do we come over?


    CHARLIE
   My mom said around six- she's making
   a suprise dinner.


    PAN
   Man I'm still stuffed.


    CHARLIE
   Me too.


    JETH
        (yelling from porch)
   Thank's for letting us watch Super Soldier 4.


    PEPPER
       (yelling from porch)
   Yank you!

 


Charlie waves to Jeth and Pepper.

 

    CHARLIE
   Don't forget Pan, bring all the tapes too,
   so we could watch'em with my mom and dad.


    PAN
   I'll just bring'em all. I won't forget
   either, I'll put them all in a bag as soon
   as I get in.


   
    COLBY
   See ya tomorrow Charlie, bye Mr. and Mrs.
   Norris.


    MR. NORRIS
   See ya later Colby.


    MRS. NORRIS
   Bye Colby, don't forget to make sure and tell
   your mom you're coming over tommorrow.


    COLBY
   I won't.

   
    CHARLIE
   See ya guys.

 

Charlie goes back into the backseat of the car and watches from the
back car window as Pan and Colby run to their brothers at the front
door then vanish into the darkness of the house. Nobody even notices
the lights being off.

 


        CUT TO:


INT. CHARLIE'S HOUSE -- KITCHEN -- DAY


Charlie had just woke up and stands in the doorway of the kitchen. He
sees his dad on his back under the sink and his mom moping the
kitchen. She inches the mop closer and closer to his crotch trying to
get every inch of the floor Finally his jeans by his crotch turn from
light blue to saturated dark blue. He now sees his dad stand up angry.

 

    MR. NORRIS
   Godamitt Francis! What the hell are you
   doing?


    MRS. NORRIS
   I'm sorry.

   
    MR. NORRIS
   Are you nuts?


    MRS. NORRIS
   I'm sorry, just go and change your jeans.


    MR. NORRIS
   Now why should I have to do that? I was just
   fine a minute ago. Can't you see I'm working
   here?


Charlie goes in the living room and starts watching Saturday morning
cartoons.

 

        CUT TO:

 

 


INT. COLBY'S HOUSE -- LIVING ROOM -- EVENING


Colby walks over to the window during a commercial, but doesn't see
any of his friends coming.


    CHARLIE
   Looks like I have to go get them.

 

 

        CUT TO:

 


EXT. COLBY'S HOUSE -- LATE EVENING


Charlie walks into Colby's house without knocking.


    CHARLIE
   Hey guys, are you here?


Charlie looks around the quiet house.

 

        CUT TO:


EXT. WOODS -- NIGHT


Charlie is walking through the dark woods stopping ocassinally to
turn around from hearing all the strange noises of wildlife.


        CUT TO:


INT. CHARLIE'S HOUSE, KITCHN -- NIGHT -- LATER


Charlie walks into the kitchen and sees his mom making some coffee.


    CHARLIE
   Mom, did they call?

 
    MRS. NORRIS
   No Charlie, maybe they had to go with their
   parents somewhere. We'll do it another time,
   it's too late anyways, we've got to get to
   work.


        CUT TO:


INT. CHARLIE'S ROOM -- NIGHT


Charlie lies in his bed looking up at the ceiling and wondering.

 

BLACKOUT:


Charlie is having a nightmare. He is walking through the woods after
he left his friends' house looking for them. It is much darker in
the woods in his dream, and the noises are alot stranger and scarier.
He turns several times seeing what the noises are behind him, the last
time he turns he sees a silhouette of a large man standing in the
distance by a tree holding something large in both hands. The
silhouette had looked like it was holding two dangling children by
their clothes in each of his hands. Just when Charlie squeezes his
eyes together to get a better look, but the silhouette moves quickly
out of sight. Charlie just tries to run through the woods as quickly
as he can now becoming creeped out.


        CUT TO:


INT. CHARLIE'S HOUSE -- MORNING

 

Charlie walks with really messy hair after just waking up. The phone
rings. Charlie picks it up and talks to an unfamiliar, scratchy,
tobacco chewing voice.


    CHARLIE
   Hello.


    MR. RYELSON
   Hey there, is this Chucky?


    CHARLIE
   Grandpa?


    MR. RYELSON
   Who? No this is Bobby.


    CHARLIE
   Who?

 
    MR. RYELSON
   Bobby, I'm Colby's dad.


    CHARLIE
   Oh hi, I thought you guys didn't have a phone?


    MR. RYELSON
   We don't. I'm callin from a pay phone,
   I was calling to ask if the boys wanted to go
   get some ice cream, you could come to if ya'd
   like, but ya gotta bring some money.


    CHARLIE
   They never came over last night Mr. Ryselson.


    MR. RYELSON
   Well, I thought they were supposed to go over
   yer house for dinner or somethin, that's what
   this note says.


    CHARLIE
   No, that was the night before when we had
   dinner. They were supposed to spend the night
   here yesterday, but they never showed up. I
   had Pan write you guys a note to tell you
   where they'd be. I went to your house
   yesterday- nobody was home. I thought maybe
   they were with you?


    MR. RYELSON
   Well the note says something about spending
   the night, but you say they never came over
   huh, that's weird. Well I'll call you later,
   bye.


        CUT TO:

 

INT. CHARLIE'S HOUSE -- FOLLOWING DAY


Charlie wakes up and hears conversation at his front door. He walks by
his dad who is standing and talking through the screen door. Charlie's
dad puts an arm around Charlie while Charlie listens. Charlie sees a
sheriff, Mr. and Mrs. Ryelson, three other deputies, and some
neighbors all outside talking.


    SHERIFF
       (to Mr. Norris)
   Yep, Mr. Ryelson over there said the kids
   wrote him a note saying they were supposed to
   come over here for some slumber party a few
   days ago.

 

Mr. and Mrs. Ryelson now walk up the stairs to the conversation
Charlie's parents are having with the sheriff.


    MR. RYELSON
       (scared, to Mr.Norris)
   Yeah, I looked at the park,umm shit..something
   happend, I just know it. We waited two days,
   but they never showed and I don't know what's
   going on?


    MR. NORRIS
   Well, they were supposed to come over for
   dinner and spend the night a few days ago.

 
    CHARLIE
   No daddy, we were gonna watch a movie too. We
   wanted to show you one of their movies they
   taped.


    MR. RYELSON
   You mean those movie tapes with all the shiny
   junk on em?


    CHARLIE
   Yeah, Pan said he was gonna bring all of them.

  
    MR. RYELSON
   Hmm, I didn't see them tapes anywhere, they're
   usually by the tv set.

 

The sheriff presses his walkie talkie to talk to a deputy on the other
end who is at Colby's house searching for clues.


    SHERIFF
   Hey, check on some video tapes that should be
   on the coffee table right next to the tv. If
   they aren't there look around for them.


Everyone stands in silence waiting for a response from the deputy on
the other end of the walkie talkie.


    DEPUTY (V.O)
   No, there aren't any tapes in the house.


    SHERIFF
   Are you sure? They have alot of shiny glittery
   stuff all over them.


    DEPUTY (V.O)
   No, I don't see any kind of tapes here.


    SHERIFF
   Keep me posted.


    MR. NORRIS
       (to Mr. Ryelson)
   Hold on, I'll help you guys look for them,
   let me grab my jacket.

 


        CUT TO:

 


INT. CHARLIE'S BEDROOM -- NIGHT

 

Charlie is in his bed having another nightmare. He firmly grasps his
bed sheet like he was ringing out a sponge. Charlie's eyes twitch.

 


NIGHTMARE:


Charlie feels as if he is in his friend Colby's body. He cannot see
behind or around him only straight ahead. He seems to be tied to a
chair. The room is dark and he now sees the bottom half of a man
approach him. He sees the man has a large, shiny, black ring on his
finger.


    CHARLIE AS COLBY (V.O)
   What's he doing?


He sees the man with the ring walk up to him, then the man pulls
something away from Charlie's face, it seems to be his jaw with
tendons pulled taught from the face like a piece of cheesy pizza.


   What is this? Help! Help! I can't move.


Charlie sees blurred images of Mr. and Mrs. Norris coming into view,
but he still can't wake up.

 

BACK TO SCENE:


INT. CHARLIE'S BEDROOM -- NIGHT


Charlie's parents are standing over him trying to wake him up by
shaking him.


    MR. NORRIS
   Calm down, calm down, I'm here Charlie, just
   take a deep breath.


    MRS. NORRIS
   Charlie, breathe deep Charlie, breathe in,
   breathe out, in and out.


    MR. NORRIS
   Why does he always sweat? The bed is soaked
   again.


    MRS. NORRIS
   Go call the doctor, he won't wake this time.

 

        CUT TO:


INT. CHARLIE'S HOUSE -- KITCHEN -- DAY


Charlie walks into the kitchen and stands in the doorway. His parents
sit at the kitchen table talking to DR. WARTSBAUGH.


    MRS. NORRIS
   Charlie, are you feeling alright?


    CHARLIE
   Yeah, this time it was about Colby. I tried to
   wake up, but couldn't.


    DR. WARTSBAUGH
   Another nightmare, huh Charlie?


    CHARLIE
       (leaving)
   Yeah, I'm alright, I'm gonna go watch tv.


    DR. WARTSBAUGH
       (to parents)
   We're going to try something different, it
   seems the nightmares are getting worse. Have
   him take these right before bed.


The doctor removes a silver pill bottle from his bag.


    MRS. NORRIS
   How long will these go on, doctor?


    DR. WARTSBAUGH
   I'm not sure, it's hard to tell. It's terrible.
   How long have those boys been missing? Couple
   weeks now, huh? Terrible, terrible, but I
   think Charlie's nightmares may pass after a
   month or so. Just keep him on the medication.


Dr. Wartsbaugh leans forward in his chair and whispers to Mr. and Mrs.
Norris.

   After this is over encourage him to make new
   friends. Help him to be involved in outdoor
   activities or join a club. Well, I'm off.


Dr. Wartsbaugh leaves through the kitchen door.


   Goodbye.


    MRS. NORRIS
   Bye, Dr. Wartsbaugh.

 

        CUT TO:

 


INT. CHARLIE'S JOB, CUBICLE -- EVENING


SCREEN READS: 25 YEARS LATER.


Charlie is now 23 years old.


SPENCE is a short puerto rican gay man with a joyous view on life.


GREG is a 6'4, bald headed white guy with tattos.


    CHARLIE (V.O.)
   I moved to the city with my grandmother when I
   was nineteen. I had gotten in an arguement
   with my parents, and needed to get away. After
   two weeks of meeting new people at school I
   was going to in the city, my mom called me on
   the phone apologizing. I just blew her off
   saying I was busy. Why did I do that? Two
   weeks later they died in a winter car
   accident. A year ago, my grandmother died..I
   stay in her apartment alone..trying to work
   and pay the rent. My girlfriend just broke up
   with me...why does my life suck so bad?

 

BRYAN the supervisor stops by the doorway to Charlie's cubicle. Bryan
is the same age as Charlie, but hates him for some unknown reason.
Bryan sees a candy bar and coffee sitting on Charlie's desk.


    BRYAN
   Mr. Norris, don't you know that you're not
   supposed to have anything to eat here?


Greg thinks fast and reaches over and grabs Charlie's coffee.

 

    GREG
   Oh, sorry about that Bryano, this is my
   steaming cup of coffee, won't happen again bro.


Now Spence reaches over and grabs Charlie's candy bar.

 

    SPENCE
   And this here is my steaming taste of tasty,
   yummy, brown chocolate.


Greg looks at his buddy Spence in disgust while Spence licks the candy
bar, then bites it. Bryan looks at them as if he knew they were
sticking up for Charlie.


    BRYAN
   Well then you two are getting write ups.


Bryan hands Charlie a letter then walks away.


    SPENCE
       (to Bryan, not meant to hear)
   Fucking asshole!


    GREG
       (to Bryan, meant to hear)
   Fucking faggot!


    GREG
        (to Spence)
   Sorry dude.


Charlie reads the letter then Spence snatches it from him and starts
reading it.

    SPENCE
   Charlie my boy, you have just been invited to
   a party thrown by one of our company's top
   contributors. This invitation is from Mr.
   Harper himself. At the bottom it says 'be
   there. Signed Mr. Harper. Dress to impress'.


    GREG
   Hey man, now is your chance to suck up and be
   a supervisor. Now you could send us on a break
   once in a while.


    SPENCE
   Yeah, we won't have to sneak to the lunchroom
   any more.


Charlie snatches the letter from Spence and reads it.


    CHARLIE
   Hey, this is close to where I lived as a kid.
   Dress to impress. I guess I have to go though,
   just to make Mr. Harper happy. Are we going
   out tonight?


    SPENCE
        (excited)
   You better believe it.


    GREG
        (hesitant)
   Yeah, I guess man.


        CUT TO:

 

INT. GAYBAR -- NIGHT


Spence, Charlie, and Greg are just now entering the gaybar. Spence
takes off his shirt and hands it to Greg. Spence flees to the
dancefloor while Greg and Charlie go to the bathroom.


    GREG
       (to Charlie)
   That's it man, I'm fed up with this shit, I'm
   going to petition to the fucking mayor that we
   have gotta get another bar in this area. Man,
   this shit is killing me.

    CHARLIE
   You mean you're still not used to this place
   yet? Get over it already, we're here every
   Friday.


Greg turns his head and sees a gay man running past in a thong that is
wedged up his butt crack and another man in pink chasing him and
slapping his butt cheeks. Greg looks to be checking the guy out, but
isn't, he is merely trying to make a statement to Charlie of what he
always sees when he comes to this place.


    CHARLIE
   I know man. What can we do?


    GREG
   Thing is- Spence is gay right? I don't
   give a shit about that, but herds of em',
   man you have no idea how hard it is for me
   to come here- it's like a warzone in here.


        CUT TO:

 


INT. BATHROOM -- NIGHT


Greg and Charlie stand next to each other at urinals. Charlie notices
a short man half Greg's size walk in and notice Greg. The bald
little gay man now stands behind Greg groping himself waiting for Greg
to finish pissing. Charlie decides to play a joke on Greg by leaving.


    CHARLIE
   I'll be by the bar, Greg.


    GREG
   Hey, wait man, hold on a second, don't leave
   me man.


Greg turns around and is forced backwards into the urinal by the
controlling gay man half Greg's size. The man trails his finger slowly
down Greg's chest saying something.


    GAY MAN
      (whispers)
   I'm shy.


    GREG
      (tries leaving)
   Sorry dude, I don't fly south for the winter.


    GAY MAN
   C'mon, what's your name, honey?


Greg finally gets away and washes his hands at the sink. Greg gets
angry by the gay man's persistance.


    GREG
   Seriously honey- leave me alone.


    GAY MAN
       (heartbroken)
   Oh, I'm sorry.


    GREG
   No, but really man. I like women, okay, no
   offense, you're a pretty handsome guy, it's
   just that cornholin ain't my thing.


        CUT TO:

 


INT. BARSTOOLS -- LATER


Greg joins Charlie at the bar. He sees Charlie laughing with the gay
bartender.

    GREG
       (revengeful)
   Dude, you're an asshole, you knew that guy
   was waiting for me didn't you? That's the
   third time you did that shit to me- one of
   these days I'm gonna get you back.


    CHARLIE
   Jeff, give me a cold one.


    GREG
      (to Jeff)
   Yeah, me too honey!


JEFF is the gaybartender who only wears underpants. He hands them their
beers. Charlie and Greg are regulars and talk to Jeff often. Greg taps
Charlie on the arm and points towards Spence dancing.


    CHARLIE
   At least Spence always has a good time when we
   come here.


    GREG
       (sarcastic)
   Yep, he's fucking gay alright!


Charlie notices Jeff looking towards Spence on the dancefloor. Jeff
looks sad like he misses those days of being young and out of control.


    CHARLIE
   Jeff, what's wrong?


    JEFF
   Well, Charles you see, I can't do
   stuff like that anymore, and it all
   brings back memories for me, you know?


    CHARLIE
   I thought you were married Jeff?


    JEFF
   I am sillyhead, that is where I met my
   husband of three years, on that very
   slippery floor. I guess you could say
   we kind of slipped into each other.


    CHARLIE
   Three years isn't a long time man,
   you're acting like you're fifty years
   old.


    JEFF
   Well, three years isn't a long time,
   but it sure does fly when you aren't
   able to go out with guys and dance and
   stuff. Don't get me wrong because I
   love Ricky with all my heart, it's just
   ..I don't know, maybe I'm having a
   breakdown.


    CHARLIE
   Jeff, you're in perfect shape, this job
   is pretty decent and you have someone
   that loves you, I wish I could say that,
   I'm the one having a breakdown. My
   girlfriend left me last week. I knew she
   was going to, she only used me for sex.
   She has no emotions man, she didn't even
   show for my grandma's funeral, I was
   there by myself.


    JEFF
   Maybe she forgot, because when I forgot Ricky's
   birthday once...it was horrible. I got no dick
   for a month.

 

Greg turned his head and looked at Jeff disgusted. Jeff blows a kiss at
him, then Greg turns away again shaking away the disgusting thought.


   What was her excuse?


    CHARLIE
   She was getting her nails done.

    JEFF
       (interupting)
   That bitch!


    CHARLIE
   Yeah, she had some kind of coupon that was
   only good for that day. When I was telling her
   that this funeral was more important than her
   nails, she got all defensive and ran out the
   door as if she was waiting for the tiniest
   arguement to leave me. As she was leaving I
   called her a 'fucking bitch'.


    JEFF
        (mumbling)
   You fucking bitch!


    CHARLIE
   You know, I didn't care that she never wanted
   to committ, but the least she could do in
   exchange for the sex is just show up at one  
   funeral, that's all I ask. We never even went
   out to dinner or the movies, she only came over
   to bone me.


    JEFF
   What a bitch! Now you know why I love men.
   Just forget about her okay, go and find
   someone new.

 

Jeff had his arm on Charlie's shoulder. Charlie then puts his hand
on Jeff's hand, which was on his shoulder. Greg looked over at that
moment.

    GREG
        (to Charlie)
   Dude, are you a fucking faggot?

 

Greg now laughs to himself in a hickish laughter pretending there were
a bunch of other hillbillies around laughing with him.


    JEFF
   Greg, don't be jealous just because Charlie
                        can spill some emotions to me. If you want me
   to listen to one of your stories, just ask big
   fella.


Jeff now wraps his arms around Greg's chest, bear hugging him. Jeff
then rubbed both of his pechs in a circular sensual motion.


    GREG
       (disgusted)
   Awww! quit that shit, Jeff!


Greg throws a twenty dollar bill on the bar for Jeff. Charlie and Greg
now leave.


    GREG (O.S.)
   It's getting to damned hot in here for me.

 


        CUT TO:

 


INT. LIMOUSUINE -- DAY


Charlie had shown up at work like it said on the invitation. He was now
in a limo with his boss and ten other employees on the way to the
party. Charlie wasn't even noticed, he had just been there to fill in
a spot. Charlie gazes out the window watching images of familar country
scenery.

 


        CUT TO:

 


EXT. COUNTRY HOUSE -- DAY

 

The limo pulled up in a large brick driveway. Everyone stepped out of
the limo gazing at the fall leaves. There were many cars in the
driveway.

 


        CUT TO:

 


INT. COUNTRY HOUSE -- LOBBY -- DAY


Everyone was now inside the large home. They all mingled until the
host was found. Charlie is the last to shake hands with the host.


DR. MATCHUM was tall and fit with gray and black hair. He looks around
50 years old. Charlie notices a large, shiny, black ring on his finger
as they shake hands.


DEJA VU:


We see brief, unlear images from Charlie's mind as he looks at the
ring.


BACK TO SCENE:


Dr. Matchum's hand leaves the closet and he is heard leaving.


        CUT TO:


INT. KITCHEN -- DAY


Charlie wandered the house looking at many old paintings. Charlie now
enters the kitchen and sees a few people standing around and talking.
Charlie steps on a man who is under the sink.

THE PLUMBER is a good old fashioned american, almost sixty years old,
squinty eyed, and jokes alot to pass the day by.

 

    PLUMBER
   Ow, God damned mother-fucker!


The plumber slides from under the sink and sits up. Charlie notices he
wears a ponytail and a 'buy american' cap on, the plumber speaks in a
scratchy voice.


   What the hell's wrong with you boy? Didn't
   your mother ever tell you not to step on
   people?


    CHARLIE
   Oh, sorry about that man, I didn't see you.

 

The plumber massages his ankle and looks at Charlie as if he had
forgiven him. Charlie then tried to be nice and start up some mild
conversation.


   It's crowded in here.


    PLUMBER
   You're God damn right it's crowded, I've never
   seen so many God damned yuppies gathered in
   one spot. Say, do you know the owner of this
   place?


    CHARLIE
   No, not really.


    PLUMBER
   I'm glad for you, because that son of a bitch
   is one cocky, rich asshole.


    BOTH
       (laughing)


    PLUMBER
   That asshole always comes up to me bossin me
   around, this is my fourth time here this week
   for the same pipe. And I'll be here again 
   getting paid for the same problem, I just
   ain't gonna fix this thing, I'll keep this
   pipe fucked up until he learns some manners.


    BOTH
       (laughing)


    CHARLIE
   Hey, did you see that blonde that just left
   here?


    PLUMBER
   Are you kidding me, that's when I decided to
   take my break.


    PLUMBER
   Shit, as soon as I saw her, I acted like I was
   working. I got under the sink and I could see
   her wet little camel toe sticking out from her
   panties underneath her skirt.


    BOTH
       (laughing)


    CHARLIE
   She's built like a brick shithouse.


    PLUMBER
   Shit, she's built like the fucking petagon boy,
   I swear ta God, I was just about to beat her
   over the head with this wrench so I could oil         
   up them legs, then I would drag her around
   this place by her hair like I was a caveman
   and she was my bitch. Her fucking ass is so
   nice, I'd eat a hot steak dinner off of it
   (pauses)....say, you ain't inta fat chicks
   are ya?


    CHARLIE
   No, why?

 

The plumber looks towards a fifty year old woman who is at least
four hundred pounds. The plumber stares at her sexually.

 

    PLUMBER
   Now that's a woman boy, you shack up with
   that, you'll never get in any fights.


    CHARLIE
       (hesitant)
   Yeah?


    PLUMBER
       (serious)
   Are you fucking insane boy? I'm too damned
   gorgeous to even be looking at something
   like that.


The plumber points to Charlie before retreating under the sink.


   That's for you!


Charlie laughs and so does the plumber, but it looked like he needed to
get back to work. Charlie just walked away.

 


        CUT TO:


INT. HALLWAY -- EVENING


Charlie leaves the plumber to do his work and wanders into a hallway.
He sees a large staircase leading upstairs. There is a room across
from the staircase. Charlie sees teenagers hanging out in this
hallway smoking and talking.


        CUT TO:


INT. GUESTROOM -- EVENING -- CONTINUOUS


Charlie enters the guest room seeing kids jumping on furniture
unwatched by parents. Charlie lies on the floor and turns on a
television, he shuffles through dozens of video tapes in a black
cabinet that have been left there for entertainment.


Charlie puts on a boring, French sub titled movie then tries another.
Some movies don't have any labels on them. Charlie grabs an older
tape that has dry powerded glue from torn off stickers all over it.
The tape plays and Charlie sees a glimpse of an action movie.


A loud father enters the room and calls one of his children to leave.
The father was angry and yelling at his wife. Charlie looked away from
the televison at the man and back to the tv again not wanting to be
nosey.


Charlie had seen something extrordinary, he had seen one action movie
cut to another, then onto a cartoon, then onto another action movie,
all in a familair order to him. Charlie's eyes had been glued to the
television. After a minute of watching the tape he realized that this
very tape belonged to his friends. He stood up and tried to remain
calm.


    CHARLIE (V.O.)
   Holy shit!

 

Charlie looks around at the children bouncing around on the furniture.
Everything seemed slow motion to him. He seems to be having an
anxiety attack.


   Okay, calm down, First I have to be sure. I
   have to find something, a clue, anything.


Charlie leaves the room of noisy kids.


INT. STAIRCASE -- CONTINUOUS


Charlie looks over at the party and sees nobody noticing, so he runs
up the stairs.

 

        CUT TO:


INT. UPSTAIRS -- CONTINUOUS


Charlie starts snooping around looking through rooms.


Charlie checked almost every room but, found nothing. He now hears
Dr. Matchum's voice coming up the stairs.


    DR. MATCHUM (O.S.)
       (indistinctive)


INT. DR. MATCHUM'S ROOM -- CONTINUOUS


Charlie runs and hides in a closet.

 

    CHARLIE (V.O.)
   Shit!

 

Charlie hears noises of dresser drawers opening and closing.
Charlie hears footsteps coming by him then a hand with a large, shiny
black ring reaches into the closet grabbing an article of clothing.

 


FLASHBACK:


Charlie stares at the large, black, shiny ring.


WE SEE QUICK IMAGES OF ALL THE TIMES CHARLIE HAS SEEN THE RING.


BACK TO SCENE:


Charlie hears Dr. Matchum in the room changing clothes. Charlie then
finally hears him leaving the room.

 

 

        CUT TO:

 

INT. STAIRCASE -- NIGHT


Charlie walks down the staircase acting normal. He recites a line
he'll use in case he gets caught.


    CHARLIE
   I was looking for a bathroom. Someone's been
   in the downstairs bathroom for over an hour.

 

        CUT TO:

 

INT. KITCHEN -- NIGHT


Charlie walked back to the kitchen to talk to the plumber who had
already left. There were still alot of people in the kitchen. Charlie
just walked to the basement door and opened it then went down, he
closed the door behind him without anyone noticing.

 

        CUT TO:


INT. BASEMENT -- NIGHT


Charlie walks down the stairs and starts looking around. A dim night
light shines giving enough light to see. Charlie sees the large
basement is tiled and has multiple rugs laid everywhere over areas of
the tiled floor. Many boxes scatter the basement, and there are
clothes racks everywhere. Charlie snoops around for twenty minutes
seeing nothing but clothes in boxes. He sees some tools and tile mix
under the stairs and goes to rummage through them.


WE HEAR THE UPSTAIRS DOOR OPENING.


    DR. MATCHUM (O.S.)
   Well, when will they be ready?


Charie stays in his spot until the basement light is turned on.


   Hurry up and get them ready, another group is
   coming soon.


Charlie runs and hides behind boxes that are hidden by a large clothes
rack in a corner. Dr. Matchum ended the conversation and started
walking down the stairs. Charlie sits comfortably and well camoflauged
by the boxes and the clothes rack. Charlie sees him washing something
in the washing machine on the other side of the basement by the stairs.
Dr. Matchum starts to walk up the stairs, but stops while noticing
something. Charlie gets nervous about what the doctor had noticed.
Charlie left the toolbox open. Dr. Matchum turns his head and looks
throughout the room as if looking for Charlie .

 

    DR. MATCHUM
   Arturo!


    ARTURO (O.S.)
   Yes Mr. Matchum.


    DR. MATCHUM
   Arturo, have you been down here today?


Arturo moves to the opening of the door and looks down.


    ARTURO
   Yes sir, I was looking for some pliers
   to wrap this wire around the meatloaf.


    DR. MATCHUM
        (angry tone, about to fire Arturo)
   Arturo, you do not come down here ever
   again, do you understand? Comprende?


    ARTURO
   Yes, Mr. Matchum, thank you sir.


    DR. MATCHUM
   Arturo turn off the lights and close the door.


Charlie sighs in relief. Dr. Matchum stands in the darkened basement,
he now walks over to the night light in the middle of the room and
turns it off. It is now pitch black in the basement.

 

    CHARLIE (V.O.)
   What the hell is he doing?

 

Charlie is still hiding behind the boxes. He quietly lies down on his
stomach on the rug. His arm is against the cold brick of the wall.


    DR. MATCHUM (O.S.)
       (indistinctive)


Now noises are heard as if Dr. Matchum was punching something.
Finally Dr. Matchum is heard to be calming down. Charlie stares at
the dark ground in silence. Charlie focuses his eyes on something.


WE SEE A MIST COMING FROM A CRACK FROM BETWEEN SOME RUG PIECES ABOUT
TWO FEET IN FRONT OF CHARLIE.


It is a very fine mist which would only be visible to somone in the
position Charlie was in now. Charlie touches the mist.


Charlie still stares at the mist before the night light was turned
back on by Matchum. Matchum leaves and closes the basement door.


        CUT TO:


INT. BASEMENT -- NIGHT -- CONTINUOUS


Charlie went to the top of the stairs listening to see when it was
clear to leave.


    HUGO THE CHEF (O.S.)
   Arturo you stupid idiot what the fuck
   are you thinking? You know Dr. Matchum
   doesn't want anyone roaming around his
   house, this is the last time we are
   probably going to get a job over here.


    ARTURO (O.S.)
   I'm sorry, but I needed pliers for that meat,
   what was I supposed to do? If it didn't come
   out right, he would be just as angry.


    HUGO THE CHEF (O.S.)
   No he wouldn't of, he goes nuts if
   we're away from the kitchen, just
   don't do it again.


    ARTUTRO (O.S.)
   Okay, next time I'll just go to the
   hardware store.


    HUGO THE CHEF (O.S.)
   Aye! Chi-chone! Pinche hoto!

 

Charlie peeks out of the door and sees all the chefs are attacking
Arturo with light playful punches. Charlie now walks out and closes
the door.

 


        CUT TO:

 

INT. LOBBY -- CONTINUOUS


Charlie finds his group and walks up to his boss as his boss opens his
welcoming drunk arms to Charlie.


    MR. HARPER
       (drunk, joyous)
   There he is, where the sam hell have you been
   boy?


    CHARLIE
   I met a girl. She said she is going to take me
   home.


    MR. HARPER
   Well, congratulations Charlie!


Mr. Harper gets closer to Charlie with his drunk smelling breath. Mr.
Harper had changed from an obnoxious drunk to a concerned drunk.


   What's her name?

 

Charlie looked around and saw Dr. Matchum standing and socializing
with others.


    CHARLIE
   Uh, Maryann.


    MR. HARPER
   Well, what's her last name, or is she one of
   Gilligan's girls?


Charlie once again blurts out a name, a name this time that just came
to him.

 

    CHARLIE
   Umm, Childers, Maryann childers (cuts
   conversation short) See ya later Mr. Harper.


    MR. HARPER
   Go get er boy!

 

        CUT TO:

 

INT. HALLWAY -- CONTINUOUS


Charlie walked through the hall by the room where he had found the
tape.


INT. KITCHEN -- CONTINUOUS


Charlie slips past the Chef's once more and closes the door to the
basement.


INT. BASEMENT -- CONTINUOUS


Charlie finds his way through the dimly lit basement to the toolbox.
He grabs a long screwdriver then heads to his hiding spot and waits.

 


        CUT TO:

 


INT. BASEMENT -- FOLLOWING MORNING


Charlie wakes. A far window with a slight leak of sunshine shows him
its daytime.


    CHARLIE
   No nightmares this time, weird?


Suddenly the upstairs basement door opens and Charlie tightens up.
The lights go on then Dr. Matchum starts walking down the stairs
dragging a white bag down each step. The bag has the shape of a body,
and if that's true then the head is being smacked on each step as the
bag is pulled down.


Charlie has a curious, shocked expression.


Dr. Matchum got to the bottom of the stairs and rested the bag. He
then walked over to the sewers by the laundry tub, bent over and
lifted the sewer lid then got on one knee and reached into the
water and pulled out a slimy brick. He then started moving his hand
from left to right as it he was twisting something loose. The sound of
released water falls and now he pulls out some other kind of lid, he
then wipes his hand on a rag from his back pocket.


He drags the bag over to the sewer and lifts it upright and drops it
down into the sewer. Charlie doesn't know what was happening, but he
kept watching with a movie theatre view of everything.


Dr. Matchum now went down on his knee again and put the other lid back
into the sewer. He leans more into the sewer and puts his weight on
the lid. He then puts the brick inside, reaches up and turns a lever.
The sound of pouring water starts. He then turns it off and puts the
sewer lid back on. He leaves the basement and turns the lights off.
Charlie lies on his back again and closes his eyes.

 


NIGHTMARE:


Charlie hears a noise and opens his eyes. The lights are back on and
Dr. Matchum stands over him with bloody eye sockets dripping to the
floor. Before Charlie can yell Dr. Matchum shoves a rusty pitchfork
towards his face.


BACK TO SCENE:

 

    CHARLIE
   Jesus fucking christ.


Once Charlie realizes it was just a nightmare he closes his eyes
again.


        CUT TO:

 

INT. BASEMENT -- DAY -- LATER


Charlie awakes from the basement door being opened. Charlie sits up
and sees Dr. Matchum coming down the steps very loud. Dr. Matchum
stands in the middle of the basement and looks to the floor.


    CHARLIE (V.O.)
   Oh shit! Did I leave a footprint or
   something?


Dr. Matchum reaches in his back pocket and pulls out a screwdriver. He
moves a rug away then goes on one knee and pries up a tile. He grabs
onto some handle and lifts up a trap door which is perfectly in line
with the rest of the tile on the floor.


Charlie watches in amazement.


    CHARLIE
   What the fuck?


Charlie would have never known there was a door on the ground; it
was hidden flawlessly like Jewish hiding spots in furniture during
the holocaust. Dr. Matchum walks down unseen stairs into the dark
below and disappears while Charlie waits.

 


        CUT TO:

 

INT. BASEMENT -- DAY -- LATER


Dr. Matchum now comes up the stairs. Charlie lies comfortably
watching behind the boxes. The doctor goes and fills a bucket of water
and grabs tile mix and some tools. He tiled the tile back on quickly
from obvious practice, then he moves the rug back over it then went
upstairs again and turned the light off. Dr. Matchum stands and talks
on his phone.

 
    DR. MATCHUM
       (on cell phone)
   Yes, I told you I would be there on time.
   Just make sure everyone will be ready.
   This meeting should only be a few hours.
   Yeah, okay..I'm leaving tonight and I'm
   going to catch the seven o' clock flight
   to L.A...uh huh.yeah.


        CUT TO:

 


INT. BASEMENT -- EVENING -- LATER


Dr. Matchum had come down the stairs again. Charlie lays very
comfortably and turns his head towards the doctor. The doctor was in
a mild rush to get his clothes ironed. Charlie looks at the far window
and the sun isn't as bright from before. The doctor then goes upstairs
and leaves Charlie in the dark again. Charlie listens to the noises of
the floorboards carefully to see when he leaves. Charlie keeps
listening then falls asleep.

 

        CUT TO:

 


INT. BASEMENT -- LATE EVENING


Charlie stands up and listens not hearing anything. Charlie quietly
walks upstairs and enters the kitchen.

 

        CUT TO:


INT. KITCHEN -- NIGHT -- CONTINUOUS


Charlie walks into the kitchen and looks out the window.


INT. ROOMS -- CONTINUOUS


Charlie checks various rooms to make sure the doctor isn't home.


INT. KITCHEN -- CONTINUOUS


Charlie comes back to the kitchen and grabs an appetizer from the
refridgerator.

 

        CUT TO:

 

INT. BASEMENT -- NIGHT


Charlie stands in the middle of the basement wanting badly to remove
the tile, but instead moves over to the sewer. He bends down and takes
off the lid then reaches down and removes the brick. He feels around
in the mirky water feeling on the sandy bottom until eventually he
feels a handle. He twists the handle to the left and right as he saw
Dr. Matchum do it; then he hears water fall.


Charlie lifts the lid out of the sewer, it is very light and all the
way around there is rubber which is probably to make a strong suction
seal. Charlie looks down, but cannot see or hear anything so he places
the lid that has sand on it back into the sewer and just shoves down
on it until it feels really tight. Charlie looks up and sees a lever
Dr. Matchum had turned. Charlie turns it and water starts pouring
into the sewer filling it again from some unseen pipe. The clear water
mixes with the dirty sand and it looked just how it did before.


Charlie now walks over to the middle of the room with his screwdriver.
He guesses the wrong tile and four tiles later he found it. He sees a
handle and lifts it. The heavy trap door is opened and is held back
with a thick chain. Charlie slowly enters below.

 

        CUT TO:

 


INT. UNDERGROUND ENTRANCE -- NIGHT


There is comfortable head room. The ground is hardened dirt. The
ceiling is reinforced with wood and is six feet high. Charlie didn't
go forward, he went behind the stairs where the mist was coming from.
Some twenty paces in the dark a spider web wipes across Charlie's face
and he freaks out trying to get it off.


    CHARLIE
   Ah, shit!


The light comes on and he is blinded breifly. The spider web was a
rope to a light bulb, which he turned on from his scared hand
brushing off his face. The light showed a white metal door before
him; it was a cold freezer room door.


        CUT TO:

 


INT. UNDERGROUND FREEZER -- NIGHT -- CONTINUOUS


Charlie opens the door and cold misty air blows out at him.


EFFECTS: HE WALKS IN AND SEES OVER FORTY BODIES HANGING FROM MEAT
HOOKS MOST OF THEM WRAPPED IN PLASTIC.


    CHARLIE
   Jesus!


Charlie stops and freaks out, and rests his hands on his knees.
Charlie looks at all the bodies, some young, some old, women, men,
even a few teenagers.


    CHARLIE
       (very cold)
   Well guys..I don't see you in here, but I
   promise I'll find you.


Charlie sees another door on the other side of the large freezer room
so he scales the wall to look inside.


INT. UNDERGROUND FREEZER, ENGINE ROOM -- CONTINUOUS


There is nothing in there, but a running engine and some tools.
Charlie now leaves the freezer making sure everything is the way it
was found.

 

        CUT TO:

 

INT. UNDERGROUND WALKWAY -- NIGHT


Charlie left the freezer, he walks past the light, and now past the
stairs into the solid darkness. He leans against one wall to better
guide himself, he then feels upon a bumpy railing and holds onto it
while venturing in the dark. Nothing is seen ahead but black, he
keeps walking another twenty yards and feels another web against his
face, he grabs the web and sure enough it is another string to a
light.


EFFECTS: THE LIGHT COMES ON AND CHARLIE SEES THE HANDRAIL HE WAS
HOLDING ONTO WAS A RAIL MADE OF HUMAN HANDS. CHARLIE FREASK OUT AND
WIPES HIS HAND ON HIS SHIRT. AFTER CALMING DOWN CHARLIE OBSERVES
THE RAIL. ALL THE HANDS HOLD ONTO ONE ANOTHER, AND THEY ARE ALL
THE LEFT HAND OF THE BODY.


Charlie sees they go as far as the light does. There are some
pipes at the bottom of the wall leading into the darkness as well.
Charlie keeps walking and finds another light and pulls the string.
He sees the rail and the pipes still going on further and further.


    CHARLIE
   There has to be hundreds of them- all the
   left hand.

 
Charlie has walked the length of at least eight hundred hands. He had
only found one more light and he has been walking in the dark again
with the light behind him from the last bulb. He sees a light ahead
that seems to be coming from a doorway.

 

        CUT TO:


INT. UNDERGROUND WORKSHOP -- NIGHT -- CONTINUOUS


Charlie walks into a room to the left that has lights on. He walks
inside and sees wooden work tables stained red with blood with metal
tools underneath and large vices attached.


Charlie sees that across the tables is a wall. Behind the wall is
crawlspace with an opening at the end blocked only by a few shovels.
Charlie peeks behind the wall.


    CHARLIE
   This would be a good hiding spot.


Charlie keeps walking past the tables. There is a tiled shower room
ahead.


INT. UNDERGROUND SHOWER -- CONTINUOUS


Charlie sees the sewer opening on the ceilng. Below the opening is a
bathtub with a metal screen covering it. On the screen is the white
plastic bag which was dropped down. There was a drain on the tiled
ground and a wheel barrow. Charlie steps close to the bathtub and
looks through the holes of the metal grate covering it. He sees the
bathtub filled with a clear liquid inside probably what was used to
harden the hands on the rail.


Charlie got closer to the white bag which had a few slices in it from
its trip down. Charlie could see skin through the slices.


EFFECTS: THE BAG SUDDENLY TWITCHES TOWARDS CHARLIE. CHARLIE IS
STARTLED AND JUMPS BACK. THE BAG LANDS ON THE FLOOR WITH A MAN'S HEAD
STICKING OUT OF THE BAG. THE MAN IS STILL ALIVE. HIS BRAINS OOZE OUT
OF A HOLE IN HIS HEAD ONTO THE TITLED FLOOR.


Charlie gets over his disgust, and waits for the man to stop moving.
Charlie then lifts the bag back up on the bathtub and uses the shower
head to wash away all the blood on the ground. Charlie then has to
pick up brain pieces by the drain. He puts them back in the bag.
Charlie positioned the body how it looked before.


INT. UNDERGROUND WORKSHOP -- CONTINUOUS


Charlie walks back into the workshop and then out to the hall.


INT. UNDERGROUND WALKWAY -- CONTINUOUS


Charlie walks out into the walkway again. He continues walking in the
dark ready to see what else is down here. Another dim light is seen
ahead.


INT. UNDERGROUND HALL OF DOORS -- DAY -- CONTINUOUS


Charlie walks up a ramp, and into a wide hallway with black astroturf
on the ground and a single dim bulb on the ceiling. The ceiling was
much higher, and there were two large castle-like doors to the left of
the wall, and two more to the right. The doors were hand carved with
scary figures. The doors were all different and unique and stained
with different tints of dark red. Charlie opens the first door on the
left.


        CUT TO:


INT. UNDERGROUND DOOR #1, GREEK GODS ROOM -- DAY


Charlie turns on a switch in a dark room and the lights come on.
Charlie starts walking down a ramp and onto a red carpet.


EFFECTS: IN THE ROOM HUNDREDS OF PEOPLE ARE LOOKING AT CHARLIE.
CHARLIE FIRST WALKS PAST PEOPLE WHO STAND TO EACH SIDE OF THE
CARPET, EACH IS DRESSED AS GREEK GODS WATCHING WHOMEVER PASSES.
THE GREEK GODS ARE REAL MEN AND WOMEN ALL WITH STRONG BODIES AND
SHINY SURFACES.


EFFECTS CONT'D: CHARLIE WALKS UP TO A MAN IN A HELMET HOLDING A
FLAMING SWORD TO THE SKY. CHARLIE TOUCHES IT'S HARD, SLICK SURFACE.
CHARLIE SEES AN OLDER MAN'S HEAD WAS SEWN ON A YOUNG PERSON'S BODY;
HE WIELDS A THUNDERBOLT. WHATEVER SCARS WERE MADE BY THE HEAD AS IT
WAS SEWN ONTO THE DIFFERENT BODY, WAS HIDDEN BY A GOLD NECKBRACE.
MOST OF THE MEN HAD WEAPONS AND MOST OF THE WOMEN HAD CROWNS OR
HEADDRESSES EXCEPT FOR MEDUSA. MEDUSA STANDS SCREAMING AT CHARLIE
WITH REAL STIFFENED, SHINY SNAKES FOR HERE HAIR. HER BODY LOOKED
TO BE OF A BLACK WOMAN, BUT WITH GREEN PAINT AND FISH SCALES SEWN
IN VARIOUS SECTIONS OF HER SKIN.


    CHARLIE
   They're all real- and perserved.


EFFECTS CONT'D: CHARLIE WALKS PAST THE CARPET OF THE GODS AND SEES
A FOUR HEADED MONSTER TO ONE SIDE OF THE ROOM. THERE WERE
FLAWLESSLY SEWN ANIMALS HEADS ONTO A MUCH LARGER ANIMAL'S BODY.

EFFECTS CONT'D: CHARLIE KEEPS WALKING AND SEES MORE PEOPLE IN
GREEK MYTHOLOGIC POSES AND SCENERIOS. ONE VERY MUSCULAR MAN IS
HOLDING A THINNER MAN WITH A SNAKE'S HEAD ABOVE HIM ABOUT TO
TOSS HIM. ANOTHER GROUP OF PEOPLE WERE GATHERED AROUND A MAN POURING
A BOTTLE OF WINE. CHARLIE BUMPS INTO A BEAUTIFUL WOMAN STANDING WITH
GLORIOUS RED LIPS. MEN LAY AT HER FEET LOOKING UP TO HER. THE MEN
LOOK TO HAVE KISSED HER, AND NOW THEIR BODIES ARE STARTING TO TURN
THE COLOR GRAY. IT SEEMS AS IF DR. MATCHUM HAD LET THEIR BODIES
DECOMPOSE FOR A WHILE BEFORE PETRIFYING THEM. CHARLIE STARES INTO
THE SEDUCTRESS' EYES AND REALIZES SHE IS STILL BEAUTIFUL.


        CUT TO:


INT. UNDERGROUND DOOR #2, EXPERIMENT ROOM -- DAY


Charlie is in another room. He feels for a light switch, but there
isn't one. He walks down another ramp. There is a wall to the right
were a dim light creeps around the corner. Charlie sees a furnace in
the room with ash, buckets, and shovels by it.


Charlie now walks to the other side of the wall where the light is
shining from. He sees the back view of a man sitting in a chair.
Charlie gets closer.


EFFECTS: HE SEES THE MAN IS TORN APART PIECE BY PEICE. THE MAN
PROBABLY WEIGHTS A TOTAL OF TWENTY POUNDS WITH ONLY HIS BRAIN, EYES,
AND ORGANS LEFT. DR. MATCHUM HAD TAKEN EVERYTHING ELSE FROM HIS BODY.
THE MAN WAS CONSCIOUS, AND THERE WAS A SMALL TV SET LEVEL TO HIS
EYES. THE TV SHOWED HIM CALM IMAGES OF NATURE AND BEAUTY. THE MAN
HAD NO IDEA WHAT WAS GOING ON, HE WAS LIVING IN HIS OWN LITTLE
FANTASY WORLD. TUBES WERE EVERYWHERE COMING FROM HIS BODY AND INTO
MACHINES KEEPING HIS FLUIDS RUNNING AND KEEPING HIM DRUGGED.


There was a surgical table with tools nearby. Charlie now walks
right up to the man and tries looking at him from the side.


THE MAN'S EYES TURN TO THEIR FURTHEST EXTENT WIDENING AND STARTLED.


    CHARLIE
   Jesus Christ!


CHARLIE JUMPS BACK OUT OF HIS VIEW AND THE MAN STOPS SQUIRMING AND
BECOMES NORMAL AGAIN.


   How could someone do this?


Charlie leaves.


        CUT TO:


INT. UNDERGROUND HALL OF DOORS -- DAY

 

Charlie has left the room and is leaning back against the wall trying
to get a grip on his emotions before he enters the next room. Before
entering another room, Charlie walks to the end of the room and sees
a spiraling staircase leading down with candles lit up at the bottom.


Charlie leaves the spiraling staircase and decides to finish looking
in all the doors first. He enters another door.


        CUT TO:


INT. UNDERGROUND DOORS #3,4, ART ROOM -- DAY


Charlie is in a small hallway that circles around to the other door
he hadn't entered yet. Both doors lead to the same place. There is
a much larger door with a human head as an ornament petrified and
changed to look like a demon. There are angels painted on one side
of the hall and demons painted on the other side.


Charlie enters the large door.

        CUT TO:


INT. UNDERGROUND ART ROOM -- DAY


Charlie is in the room walking down a ramp. At the bottom of the
ramp there are rows of lit up, plastic cubes as a section of flooring.
Charlie walks onto the cubes.


EFFECTS: INSIDE THE CUBES ARE BALD HUMAN HEADS PROPPED UP HOVERING
ABOVE A POOL OF SETTLED BLOOD. THERE ARE ABOUT FIFTY HEADS WITH BLACK
EYES, ALL OF MEN, AND ALL LOOKING IDENTICALLY SHAVED AND PAINTED WHITE.


EFFECTS CONT'D: CHARLIE WALKED FURTHER INTO THE ROOM AND SEES
HUNDREDS OF HUMANS AS ART PIECES AND FORMATIONS. ONE COUPLE IS
VERTICALLY HOVERING FROM A POLE DOING THE '69' POSITION, BUT THEIR
BODIES ARE SEWN TOGETHER MAKING THEM ONE. ANOTHER OBJECT IS A MAN AS
THE HUMAN PRETZEL. HIS BODY AND ALL HIS LIMBS ARE TWISTED IN MANY
UNBELIEVABLE DIRECTIONS, BUT NO BONES STICK OUT IN ANY PLACE. ANOTHER
LARGE OVERWEIGHT MAN STANDS WITH HIS HANDS OUT TO HIS SIDES. THE
ENTIRE BODY IS HIS EXCEPT FOR THE STERNUM UP. A WOMAN COMES FROM
HIS CHEST, IT LOOKS LIKE HER BODY WAS ACTUALLY PUT INSIDE OF HIM AND
SHE NOW STANDS IN HIS BODY. THE MAN'S HEAD AND NECK JUST HANG LOOSELY
WITHOUT BONE ON HIS CHEST. A VAGINA IS SHOWING THROUGH THE RIPPED OUT
SECTION OF WHERE THE MAN'S PENIS SHOULD HAVE BEEN. FROM THE MAN'S
HAND ARE WIRES GOING UP WITH REAL INSECTS IMPALED ON THEM SHOWING
THE EVOLUTION OF A BUTTERFLY. THE EVOLUTION FROM ONE PALM OF HIS
HAND WAS AN UGLY CATERPILLAR CHANGING TO A BEATIFUL BUTTERFLY,
WHICH IS AT THE TOP OF THE WIRE IN THE AIR. ON THE PALM OF THE
OTHER HAND IS A BEAUTIFUL CATERPILLAR CHANGING INTO AN UGLY,
SCARY LOOKING BUTTERFLY. EACH IMPALED LARVAE STAGES ARE REAL
INSECTS.


EFFECTS: CHARLIE WALKS SOME MORE LOOKING IN AWE AT ALL THAT'S IN
THIS ROOM. HE COMES ACROSS A BILLIARDS GAME. THE BALLS ON THE TABLE
WERE HEADS OF HUMANS THAT WERE PERFECT HARDENED SPHERES. THEY WERE
ALL PAINTED THE COLORS OF POOL BALLS EXCEPT FOR THE CUE BALL, WHICH
WAS AN ALBINO MAN'S HEAD. THE POCKETS OF THE TABLE WERE STRETCHED
OUT HUMAN MOUTHS, AND THE TABLE LEGS WERE THE BODIES TO THE MOUTHS.


Charlie bumped against the table and a ball rolled into the mouth
and down the man's throat onto a carpet. Charlie puts the ball
back where it was found. Charlie leaves the table.


EFFECTS: CHARLIE COMES ACROSS THE DEVIL. HE STEPS CLOSER TO LOOK
AT IT. IT WAS A VERY TALL, VERY THIN, SICKLY MAN'S BODY PAINTED
DARK RED. THICK, BLACK ANIMAL'S HAIR CAME FROM IT'S BODY. IT HAD
HOOVES OF A GOAT AND HORNS. IT HELD A WELDED, BLACK, IRON PITCHFORK.
THE EYES LOOK TO BE OF A LIZARDS WITH THE SCLERA BLACK AND A THIN
GREEN LINE DOWN THE MIDDLE.


Charlie looks across the room and sees a small door. He walks to it.


        CUT TO:


INT. UNDERGROUND ANTIQUE ROOM -- DAY


Charlie is in another average sized room with antique objects and
furniture. There is a large, brown painting covering an entire wall.
Charlie walks around the room looking at everything. He now takes a
closer look at the painting on the wall.


EFFECTS: CHARLIE LOOKS REALLY CLOSE AND NOTICES THE PAINTING ARE THE
LEFT SIDES OF PEOPLE'S FACES JAMMED UP AGAINST ONE ANOTHER.


    CHARLIE
   There's hundreds- there has to be at least a
   thousand people in this one painting.
   Everything else I can believe...but this...
   it can't be real.


EFFECTS: CHARLIE PICKS AT ONE OF THE FACES AND REVEALS THE UNDERSIDE,
WHICH LOOKS REAL.

 

        CUT TO:


INT. CANDLE LIT STAIRCASE -- DAY -- CONTINOUS


Charlie walks down the dark staircase. He comes to the bottom of the
steps.


INT. POOL ROOM -- CONTINUOUS


Charlie walks into a large cathedral like room maybe an old train
station. There are large yellow jugs underneath a rock crumbling
ledge to his right. In the middle of the room is a large metal
rectangle on the floor.


CHARLIE HEARS A NOISE COMING FROM METAL DOORS ON THE OTHER SIDE OF
THE ROOM.


Charlie walks over to the doors and puts his head to them listening,
but he doesn't hear anything else. He looks over by the yellow jugs
in the direction he hasn't gone and sees another door.


He walks over to the other door. It has different colors of crayon
letters reading 'Nursery'. Charlie enters.


        CUT TO:


INT. HALL OF NURSERY -- EVENING


Charlie finds a switch on a wall. As the lights came on so did a
television and vcr set up on a stand in the middle of this hall, and
so did more lights in another larger room ahead.

By the time Charlie walks by the tv screen the vcr plays a tape. The
screen looks like it is footage from the sixties. A one-year-old child
stands in its crib. A man's hand moves past the camera dropping a
match and the crib lights up. The child lights up in flames in mere
seconds and falls over. The sound has been removed. The tape plays
over and over again.

        CUT TO:


INT. NURSERY -- EVENING


Charlie walks into another very large room with all children and
teenagers. Charlie is holding his hands over his eyes. This room was
too much to bear.


EFFECTS: WHAT HE DID SEE PAST HIS FINGERS WERE NEWBORNS STILL
ATTACHED TO THEIR UMBILICALS ATTACHED TO EACH FAN BLADE AS THE FAN
SPUN THEM AROUND. THERE WERE KIDS CHARLIE'S AGE. THERE WAS A JACKET
IN A SPOTLIGHT, THE JACKET HAD LARGE FISH HOOKS SEWN IN WITH FETUS'
HANGING FROM THEM. THERE WAS A CHRISTMAS TREE, FETUS ORNAMENTS, AND
A MOCK NATIVITY SCENE NEARBY WITH A CHARRED BABY JESUS. HE SAW
GLIMPSES OF PREGNANT WOMAN TOO. ALL REAL DEAD PEOPLE.


    CHARLIE
   I can't look at this shit.


Charlie leaves the room disgusted.


        CUT TO:


INT. BASEMENT -- NIGHT


Charlie closes the trap door, grabs the tile mix, and retiles the six
missing tiles on the floor.


    CHARLIE
   You've gotten away with this shit your whole
   life- not any longer you fuck. Not any longer.


Charlie stands and thinks. He then throws up on the ground. He then
cleans it up. Charlie fixes the rugs and then heads upstairs.


        CUT TO:


EXT. BACK PORCH -- NIGHT


Charlie stands outside on the porch wanting to leave. But the silent
winds and the darkness of the surrounding woods makes him go back
inside frightened and neurotic.


        CUT TO:


INT. KITCHEN -- NIGHT


Charlie shuffles through a drawer and finds a pen and some post-it
notes. He writes on some papers.


    CHARLIE
   Just in case I get hit by a car before I
   tell someone..

Charlie folds one of the three notes in half then gets underneath the
sink and wedges it between some pipes. Charlie gets a large drop of
water from one of the pipes in his eye.


   Ow fuck! (laughs) Looks like you got
   him again.


        CUT TO:


INT. LOBBY -- NIGHT


Charlie walks into the empty lobby where everyone had mingled. He
opens a large cabinet with a television inside. He slides one of the
two notes in the front grill of the tv.


He thinks for a moment then grabs the screwdriver from his back pocket
and starts unscrewing the screws. He now smashes the underside of a
volume button then screws the grill back on, turns the tv on, and
presses the other volume button turning the volume up as high as it
goes.


Charlie holds his ears. He now presses the other volume button, which
he smashed, but it doesn't work. He smiles.

 

        CUT TO:


INT. BASEMENT -- NIGHT


Charlie had closed the door to the basement and was looking for some
place to hide the last note. Charlie stood in the middle of the
basement looking around helplessly. He eventually puts it between
some clothes in a box.


CHARLIE NOW RUNS HALFWAY UP THE STAIRS ABOUT TO LEAVE WHEN HE HEARS
THE KITCHEN SCREEN DOOR OPENING.


Charlie pauses from fright because the doctor was home. Charlie waits
on the stairs as the screen door is heard closing again. Charlie runs
to his hiding spot. The screen door is heard opening again and then
the basement door opens.


A black plastic bag is thrown down the stairs. The screen door opens
again and there is silence then the screen door opens again and
another bag is thrown down the stairs. The shape of the bags were
more bodies.


Charlie watches as seven bags are thrown one at a time down on top
of each other as if the doctor were removing them from his trunk.


Charlie sees that one bag is moving.


Charlie hears the screen door open again and hears the doctor
struggling. Now the kitchen door is heard closing; this was the
last bag. Dr. Matchum is angry with the bag he is struggling with.

 

    DR. MATCHUM (O.S.)
   You fucking...fat..fucking.


Suddenly loud noises are heard as a large, three-hundred pound man
wrapped in plastic is thrown in anger down the steps. The bag is
pratically thrown straight to the bottom and there is a loud smack
from the skull hitting the floor. Part of the large mans torso
landed on the bag that was moving and there was a slight moan.

 

    MOVING BAG
   Uhhhhhhhhh


The moans stopped as the doctor came down and kicked the plastic
with the large man inside. He then went to the trap door and pulled
up the tile that Charlie flawlessly fixed for him. Dr. Matchum
walks down below, but heard a phone ring upstairs.

 

    PHONE (O.S.)
   Brrrrrrrrnnnnnngggggg.


He ran upstairs to get the phone. Charlie's curiosity and his sudden
allowed window of time made him leave his hiding spot and go
underground.

 

        CUT TO:


INT. UNDERGROUND WORKSHOP -- NIGHT


Charlie had hid inside the crawlspace he had seen in the workshop
room. He sits behind the wall and just waits.


        CUT TO:


INT. UNDERGROUND WORKSHOP -- NIGHT -- LATER


Charlie now sees the doctor walking in the room with a bag over his
shoulder. The doctor slams the body down on a table directly in
view with Charlie.


EFFECTS: CHARLIE SEES THE MAN IS STILL ALIVE AND MAKING EYE CONTACT
WITH CHARLIE; THE MAN LOOKS TO HAVE BEEN HIT BY A MACK TRUCK.


Dr. Matchum leaves without noticing the man is still alive. Dr.
Matchum comes back with three more bodies of black men in a
wheelbarrow. He wheels them back towards the shower room.


Now the man twitches some more and starts to move. Charlie sees the
man through a very small slit of spaced wooden lathe.  The man sees
Charlie through the crawlspace since he is facing right at him.
Charlie moves his eyes from the opening.

 

    CHARLIE (V.O.)
   Don't tell me you fucking saw me.


Charlie looks back out and the man wasn't fooled he knew Charlie was
there. The man tries his hardest to call to Charlie, the man moans
repeatedly like he had some chance of survival.

 

    MAN FROM BAG
   Heoolllllllllllllllll.


The man keeps moaning over and over. Charlie begins to panic and
grips his screwdriver tight.


    CHARLIE
       (whispers)
   Shut up! Shut the fuck up!


Dr. Matchum comes into Charlie's view quickly. The man's entire body
was bloody and bruised except for his eyes. The man looks away from
Charlie and slowly up to Dr. Matchum. Tears came from the man's eyes.


    DR. MATCHUM
   You're still alive? You're crying...tears...
   I'll show you tears!


Dr. Matchum blocks Charlie's view as he steps in front of the man.
The doctor pulls out a large knife and starts stabbing the
man repeatedly. Charlie sees the man's body twisting out of control.
It looks as if he was being stabbed in the eye, but Charlie couldn't
see. Charlie sees Dr. Matchum as if he unzipped his pants.


Dr. Matchum then started moving in furious sexual thrusts until
coming to a halt. The body had stopped twitching from a horrendous
death.


Dr. Matchum leaves towards the shower room. Charlie sees the
eyeball is one big fleshy hole that Dr. Matchum had violated
sexually. Charlie looks away from disgust.


    CHARLIE (V.O.)
       (crying)
   I'm sorry..there was nothing I could have
   done..I'm sorry..Jesus. I'm sorry I wished
   you dead- I couldn't help it, he would have
   killed us both.


DAYDREAM:


Charlie pictures himself silently leaving the crawlspace while Dr.
Matchum is working on the bodies in the shower room. Charlie is at
the edge of the crawlspace, but a shoelace had gotten stuck.
Charlie hears the water stop running. Charlie is standing out of
the crawlspace vulnerable. Dr. Matchum comes from the corner and
just stares at Charlie as they both stand facing each other.


EFFECTS: DR. MATCHUM IS HOLDING A DECAPITATED HEAD.


DR. MATCHUM THEN SEES CHARLIE AND RUNS AT HIM IN AN EAR WRENCHING
HOWL.

 

    DR. MATCHUM
   Ahhhhhhhhhhhhhhh!

 

        CUT TO:


INT. UNDERGROUND WORKSHOP -- EVENING -- CONTINUOUS


Charlie snaps out of his daydream. He quietly leaves behind the
crawlspace while Matchum is heard in the shower room.


INT. UNDERGROUND HALL OF DOORS -- CONTINUOUS


Charlie was running down the hallway, but had realized he was going
the wrong way when he got to the room with the four doors.


    CHARLIE
   Fuck!


Charlie turns around, but Dr. Matchum is now heard coming towards him.
Charlie runs quietly down the candle lit path to hide.


INT. UNDERGROUND POOL ROOM -- CONTINUOUS


Charlie is now at the bottom of the steps in the large room with the
rectangle covering the floor. Charlie hid behind the many yellow jugs
under the slanted wall in the dark. He sees Dr. Matchum walk in with
blood by his groin area. Dr. Matchum walks towards the locked metal
doors.


He disappears inside for a while.


EFFECTS: DR. MATCHUM NOW COMES OUT WITH TWO PETS ON LEASHES. THEY
WODDLED STRANGLY OUT OF THE DARK SHADOWS. CHARLIE SEES TWO FEMALE
HUMANS WITH THEIR LEGS SAWED OFF AT THE KNEES, AND THEIR ARMS SAWED
OFF AT THE FOREARMS. THEY WERE IN BLACK LEATHER, CUSTOM CUT,
OUTFITS THAT WERE COVERING EVERY PART OF THEIR BODIES EXCEPT FOR
THE MOUTH, VAGINA, AND REAR END. DR. MATCHUM WALKS THEM TO HOOKS ON
THE WALL, WHICH HE FASTENS THE LEASHES TO.


Matchum goes back in the room. He now comes out with two bowls of
food and places it before them as they start eating in hunger. They
look tame and pleased they are being fed. Dr. Matchum goes in the
room.


A LOUD NOISE IS HEARD BY THE RECTANGLE ON THE FLOOR. THE METAL
RECTANGLE WAS RETRACTING, REVEALING A CLEAR AIRTIGHT COVER THAT WAS
NOW RETRACTING TOO. CHARLIE SEES A PROFESSIONAL SIZED SWIMMING POOL
FILLED WITH BLOOD.

 

        CUT TO:


INT. UNDERGROUND POOL ROOM -- EVENING -- LATER


Dr. Matchum walks out of the room in a yellow swimsuit covering his
entire body. He was wearing a small oxygen tank and equipment
covering his face as well.


Charlie watches Dr. Matchum do slow backstrokes up and down the
length of the pool. There are also some body parts surfacing in the
thick blood. Heads, arms, even some torsos tumble slowly in the thick
red blood. Matchum swims past rubbing against them as if they were
just fish.


    CHARLIE (V.O.)
   This guy is fucking disturbed. What the hell
   could have made someone like this?

 

        CUT TO:


INT. UNDERGROUND POOL ROOM -- EVENING -- LATER


Charlie watches Matchum get out of the pool and go back in the room.
Running water is heard.


Dr. Matchum comes out of the room and grabs his pets then puts his
pets away. He brings out two different mop buckets and cleans up the
floor.


He goes into the room again. The pool covers are heard closing. He
comes back out of the room and leaves. Charlie stays put.


A distant slam is heard of the trap door closing to the underground
basement. Charlie leaves his spot to walk around since he is now
trapped below.

 

        CUT TO:

 

INT. UNDERGROUND WORKSHOP -- NIGHT

 

Charlie walked back to the workshop to hide behind the crawlspace
again. The raped dead body had been moved. Charlie lies down
comfortably behind the wall and just waits.

 

NIGHTMARE:


Charlie has a dream of him and his friends playing out in their yard.
The dream was very joyous like nothing ever happend. Suddenly a dark
cloud came over them making a loud scream.


EFFECTS: A MOUTH AND TEETH FORMED FROM THE CLOUDS, AND WAS GETTING
CLOSER TO ALL OF THEM. IT MADE A LOUD SCREECHING SOUND AND MOVED
CLOSER TO HIS FRIENDS.


Their smiles turned to saddened faces.


        CUT TO:


INT. UNDERGROUND WORKSHOP -- NIGHT


Charlie awakes and still hears the screeching sound. Charlie sits up
behind the wall quietly and looks through the wood of the crawlspace
and sees that the sound is a saw that Dr. Matchum was using on a body
as he sat at a table across from the crawlspace. Charlie notices a
small circle mirror hanging on a nail in front of the doctor. Dr.
Matchum was putting blood on his face. He stopped sawing and removed
some white bone dust from a body he was sawing and puts the white
bone dust on top of a blood smear on his face. He slowly smeared
blood in designs on his face like some strange ritual. Charlie looked
down at him sawing the body once more, Charlie was staring at the
body wondering what he was going to smear on himself next.


Suddenly he noticed the doctor's finger stop the saw for a few
seconds then his finger pulled back once more and began sawing
again.


Dr. Matchum continues smearing blood on his face.


CHARLIE LOOKS AT THE MIRROR AND SEES THE DOCTOR STARING RIGHT BACK
AT HIM AS IF HE SAW HIM THROUGH THE CRAWLSPACE. CHARLIE'S EYES WIDEN
AND HE MOVES OUT OF SIGHT HOPING HE WAS NOT SEEN.


    CHARLIE (V.O.)
   Please say he didn't see me...please.


Charlie looks back out, but sees Dr. Matchum gone. Now the lights go
out in the room. Charlie starts to panic.

 

    CHARLIE
       (whining quietly)
   Oh no- No, God, please.

 

A hand firmly grasps Charlie's shoulder. Charlie wanted to jump from
the sudden shock, but was too stiff to make any movement.


    DR. MATCHUM
       (whispering to Charlie's ear softly)
   What..are..you..doing..down..here?

 

Charlie doesn't move in those brief seconds. Charlie is now in pain
and cries. There is a sound that is the knife entering through
Charlie's back.

 

        CUT TO:

 

INT. DR. MATCHUM'S HOME -- LOBBY -- NIGHT

 

SCREEN READS: ONE WEEK LATER

 

Dr. Matchum is throwing another party with just as many people. He is
stopped by a few of his old buddies.


CLYDE is a black man with pot marks on his face and a scratchy voice.
JOSEPH is a physically fit body builder. CLIVE is a average sized man
with an english accent.


    CLYDE
   So, how was business in L.A?


    DR. JONATHAN MATCHUM
   Nothing really- just another speech
   at a medical college.


    CLIVE
   Get any pussy?


Dr. Matchum just nods his head smiling.


    CLYDE
   Remember the old days Jonathan?


    JOSEPH
   Fuck yeah he remembers. Man, we did some
   crazy shit.


    CLIVE
   Hey do you guys remember Bree?


    CLYDE
   Bree?


    JOSEPH
   Holy shit I remember man, I forgot all
   about that shit. Remember John?


Dr. Jonathan Matchum thinks to himself trying to remember what they
are talking about.


    CLIVE
   Come on Jonathan you have to remember...
   she was drunk... we coaxed her back to my
   place.

 
    JOSEPH
   Yeah and then we held her down and screwed
   her- she was enjoying that shit, but then
   she sobbered up and said she was going to
   call the cops on us.


    CLYDE
   I remember now. She fucking flipped out on
   us...claming she would ruin us.


    CLIVE
   Yeah, Jonathan you went after her and tried
   talking to her. What did you say to her that
   made her change her mind?


    DR. JONATHAN MATCHUM 
   If I remember I gave her twenty bucks then
   apologized- she never again came back to our
   college. I think she went to Hollywood or
   something.


    JOSEPH
   She's probably sucking dick out there too.


    CLIVE
   She's probably dead.


    DR. JONATHAN MATCHUM
       (looks at Clive)
   Well, I've gotta go check on the kitchen.

 

        CUT TO:


INT. KITCHEN -- EVENING


Dr. Matchum walks by the kitchen door and sees the knob moving to the
outside door. He opens the door and sees the pluber standing outside
with his toolbox.

    PLUMBER
       (with a polite greeting)
   Oh, hey!


    DR. JONATHAN MATCHUM
       (sarcastic)
   You're late.


    PLUMBER
        (sarcastic)
   Oh sorry, I was caught in traffic- in your
   driveway.


The plumber walks in past Dr. Matchum not impressed by his larger
size. Dr. Matchum walks away angry.

 

    PLUMBER
        (to Dr. Matchum after he left)
   Stupido friceta culo!

 

The two Spanish Chef's laugh out loud understanding what the
plumber had said. The plumber looks at them proudly as if he enjoyed
entertaining people then he just added more comments to the absent
doctor.


    SPANISH CHEF'S
       (laughing)


    PLUMBER
       (shouting)
   Ahhh- Pinche loco!


    SPANISH CHEF'S
       (laughing)
   Si, si.


The plumber grabbed a wrench from his toolbox and moved it up and down
motioning it in the direction that the doctor had left.


    PLUMBER
   Culo- right up your pinche culo!


The plumber then waves his hand away towards the Chef's as if he was
done entertaining for now.

 

   Eh, you fucking lettuce pickers are alright.
   I gotta get to work.

 

The plumber slides under the sink while the Chef's still laugh. The
plumber now goes into a role playing act as if he was mocking
himself as a plumber.


   Let's see what the problem is.


The plumber breaks a pipe free very easily with his hand.


   Oh, well here's what's wrong. Who could've
   done this? That's what this stupid asshole
   deserves, always to busy with these fucking
   shindigs to be polite to somebody.


The plumber takes out his gum and puts in around the edge of the pipe,
then grabs his chewing tobacco from his flannel shirt and dips some
chaw.

   This should fix it- for a few days.

 

The plumber notices something under the sink.


   What the fuck is this shit?


The plumber opens it up and sees a note. He crawls out of the dark
and sits up so he could read it. After reading it, he doesn't get
frightened, he gets an angry smile on his face.


   Well, I'll be a sonofabitch.

 

The plumber now stands.


   I knew there was something rotten about
   this shit breathed, rich asshole.


The plumber looks at the note once more with his squinty tough eyes.


   This better not be no fucking joke.


Dr. Matchum walks in the kitchen at that moment.


    DR. JONATHAN MATCHUM
       (bossy)
   How are things going?


    PLUMBER
   Things are going straight down the
   shitter at the moment pal.


    DR. JONATHAN MATCHUM
   What's that?


The plumber waves the note past Dr. Matchum's face in a teasing
manner.


    PLUMBER
      (waving note past Matchum's face)
   This little piece of paper here...ya
   see it? This is your fucking will,
   asshole.


Dr. Matchum looks confused.


   It says you've got a whole mess of
   bodies under this shit hole and that
   you are one crazy fuck who likes raping
   men and then killing them. It has all your
   routines. I'm not even going to check it
   out for myself- cause I believe every
   word of it.


Dr. Matchum looks shocked and looks to be thinking of a way out of
this. The plumber steps really close to him reading it exaggertaing
what the note said.


   It says you've got a bunch of faggot
   shit down there..and that you're always
   jerking off.


The plumber looks back at Dr. Matchum.


   Is this true doc? Are you a rich little
   faggot?

 

The plumber gets face to face with him now as if a they were a
couple ready to kiss. The plumber now lowers his voice a little in
a teasing, sarcastic tone.


   Do you like looking at me when I get under
   that sink? You like looking at me- don't ya?

 

The plumber now jumps away from Dr. Matchum in an overdramatic jolt
of energy.


   Well sorry, but ya ain't corn-holin me..you
   god damned pansy.

 

Now the plumber walks back and forth in front of the doctor listing
each step of a fake scenerio about the doctor. The entire time the
Chef's watch their conversation, but don't really understand
anything.

   I bet you like taking young kids down
   in your basement- you like taking them
   down there- offering them some candy..
   offering them some gumdrops....and then-
   and then....you start touchin'
   yourself...you make them touch you....
   then you stick your finger up your ass-
          that turns you on- after that you
   probably starting jerkin off- don't ya?


Dr. Matchum was taking the verbal abuse, but now he tries to control
things and puts his hand on the plumber's shoulder.


    DR. JONATHAN MATCHUM
   Let's talk downstairs, you're getting a bit
   loud.


    PLUMBER
       (loud)
   Get your Goddamn hands off me psycho. You're
   god damned right I'm getting loud, you killed
   my buddy didn't cha? And dudes that kill my
   buddies get the living shit kicked out of
   them.


The plumber starts rolling up his sleeves as if ready to fight.


   No, I'll tell ya what, I'm going in that
   little fancy dining hall of yours with all
   those caviar sucking panzies and I'm gonna
   show as many of those fucks as I can- this
   letter. Then they could all watch me do
   something I've always wanted to do- kick
   the living shit outta you.


The plumber then puts his fists in the air.


   I just hate beatin' on someone without an
   audience.


    DR. JONATHAN MATCHUM
   Do you really want to fight me? Let's go
   downstairs, so I could explain what's
   going on.


    PLUMBER
   Hey, let me tell you what- do you have a
   hearing aid shoved up your ass or somethin'-
   cause you ain't listenin' to me. I wouldn't
   go anywhere with you even if you gave me
   all the tea in China. I ain't no little
   baby you can coax down there with a lolipop
   you damned fudge stick.


The plumber points to the door leading to the dining area.


   Now I told you that I'm going to show all
   those people this note, you know the ones
   ..(points to them)..all those assholes
   from the firm.


    DR. JONATHAN MATCHUM
   We're not lawyers.


    PLUMBER
   Lawyers, Doctors- same shit. Regardless
   they're gonna get an earful.


The plumber walks past Dr. Matchum with a nudge of the shoulder. The
plumber gets by the basement door and Dr. Matchum steps in front of
him and opens the door to the basement quickly. Dr. Matchum points
down into the basement distracting the plumber.


    DR. JONATHAN MATCHUM
   Look!


    PLUMBER
   I already fucking told you...

 

The plumber gets his head whacked with a wrench that was on the
counter. The plumber is pushed down the stairs unconcious by the
doctor.


In the same five seconds of doing this Dr. Matchum runs over to the
two Chefs standing in shock of what happend. They hadn't even had time
to think what Matchum was doing, but Matchum knew exactly what he was
doing and he used his time wisely.

 

The younger Chef jettisons to the staircase door while the older Chef
just stands in awe. The older Chef raises his hand over his
face waiting to get hit. Dr. Matchum smashes him so hard in the face
that his hand is bent backwards. Dr. Matchum grabs the other Chef by
his clothes before he makes it all th way out of the kitchen.


        CUT TO:


INT. HALLWAY -- EVENING


An older woman stands out in the hall by the staircase. The woman's
P.O.V. sees a young Mexican man step into the hallway then get pulled
back by some magical gust of wind.


She lights up a cigarette before walking to the kitchen to see what's
going on.


        CUT TO:


INT. KITCHEN -- EVENING


Dr. Matchum is almost to the stairs pulling the two bodies towards
the basement. The mingling crowd is heard on the other side of the
opened basement door. The bodies leave a trail of blood on the
floor.


Just as he throws the bodies down into the basement, the woman comes
into the kitchen and notices the blood.


    WOMAN
   Jonathan, what's going on? What's all this?


    DR. JONATHAN MATCHUM
   It's rasberry jelly.


He then slowly walks towards her with a rag wiping off his fingers.
She starts looking at him with a strange look. He now lunges at her
and shoves the rag in her mouth to stop her from screaming.


    DR. JONATHAN MATCHUM (CONT'D)
       (in rage)
   You nosy bitch!


Dr. Matchum puts his hand all the way in her mouth on top of the rag
and busts her jaw with a quick tug; he almost twists her head off
with his other hand. He looks out into the hall by the stairs and
doesn't see anyone. He dangles the woman by her hair as he closes the
door to the hallway. He then drags her body to the basement while the
basement door was still opened blocking the view of the party. He
throws her down in anger like a rag doll. Dr. Matchum wiped the rest
of the blood up with one quick wipe then pulled out some pans from
the oven without them burning. He then locked the basement door and
joined the party.

 

        CUT TO:


INT. DR. MATCHUM'S HOME, BASEMENT -- DAY

 

SCREEN READS: THIRTY YEARS LATER.

 

Dr. Matchum is an eighty year old man in a wheelchair. His underground
museum has been retired. Everyday life is relied on by prescriptions
and at-home nurses.


NATE LEFROSE is a blond-haired, twenty eight year old nurse who looks
like a surfer. Nate was downstairs fixing a glass of ice water for
Dr. Matchum. Dr. Matchum yells to Nate from his bed upstairs.


    DR. MATCHUM (O.S.)
   Nurse!!!!


    NATE
   Coming!


        CUT TO:


INT. BEDROOM -- DAY


Nate walked into a room with a hospital bed, which Dr. Matchum was
lying on. Nate places the glass on a stand next to the doctor.


    NATE
   Here you are Dr. Matchum. Is everything all
   right?


    DR. MATCHUM
   No it's not all right- I've been waiting for
   my oatmeal for over an hour.


    NATE
   Well sorry about that dude. I must not have
   heard you- I'll go get it right now.


Nate now walks away while Dr. Matchum sarcastically mumbles aloud.


    DR. MATCHUM
   Yeah, you seem to not hear alot of things
   dude.

 


        CUT TO:


INT. LOBBY -- EVENING -- CONTINUOUS


Nate sits in the bare lobby at the dining room table in the lobby
doing his homework. Nate puts down a pen exhausted from writing.


    NATE
   I can't believe I finished. I guess I should
   be thankful its so fucking boring here.


Nate leans back in the wooden chair. He tilts back in his chair
looking around the empty lobby.


NATE FALLS BACK IN THE CHAIR MAKING A LOUD NOISE.


    NATE
   Oh shit!


    DR. MATCHUM (O.S.)
   What the fuck are you doing down there?


    NATE
   Nothing dude! Go back to sleep!


Nate gets up and starts walking around the house being bored again.


INT. KITCHEN -- EVENING -- CONTINUOUS


Nate goes through the fridge and grabs some snacks. He curiously
snoops through cabinets looking for some food.


A LARGE PAN FALLS OUT AND RATTLES ON THE FLOOR MAKING ANOTHER LOUD
NOISE.


Nate cringes from the noise.


    DR. MATCHUM (O.S.)
   God dammitt..what are you doing?


    NATE
   Sorry about that dude! Go back to bed!


INT. LOBBY -- CONTINUOUS


Nate comes back in the lobby, opens the doors on the large wine
cabinet, and sees a large dusty tv set inside.


    NATE
   Thank god.


Nate wipes his finger across the top, which has an inch thick of
dust.

   Man, this dude is fucking old fashioned.


Nate plugs the tv set into the wall and turns it on.


ANOTHER EAR PIERCING SOUND OF A WEATHER MAN IS HEARD.


    DR. MATCHUM (O.S.)
       (indistinctive yelling)


Nate tries to lower the tv, but the button isn't working.


    NATE
   Shit!


Nate gives up and unplugs the tv.

 

    DR. MATCHUM (O.S.)
   What the hell are you doing down there?


    NATE
   Sorry! Go back to sleep dude!


Nate pulls the television out, turns it around, and looks at the
back of it wanting to fix it.


INT. KITCHEN -- EVENING -- CONTINUOUS


Nate looks through a tool drawer and grabs a few screwdrivers.

 

    NATE
   I have got to have something
   to do.


        CUT TO:


INT. LOBBY -- LATE EVENING


Nate is working on the tv set. He removes the large back cover. He
looks inside, sees something, and reaches inside.


It is a folded piece of paper. Nate opens it and starts reading it
aloud to himself.

    NATE
   My name is Charlie Norris...below Dr.
   Matchum's house are many bodies.


Nate now looks concerned.


   This is not a joke and if you are reading
   this then I'm dead. Go to the police. If you
   think this is a joke..go down to the sewer..
   lift the brick and feel inside for a handle.
   Twist it until a cover breaks free. This is
   how bodies are sent below. Underneath the
   tiling is where a trap door is hidden.
   My address is..


Nate has a shocked, but unsure look upon his face.


    NATE
   No fuckin' way...I don't know- this guy is
   a real dickwod.

 

        CUT TO:


INT. BASEMENT -- LATE EVENING


Nate kneels by the sewer. He has removed the lid, which sits next to
him.


    NATE
   I can't believe this.


Nate glances at the note once more in a now serious look.


   Thousands of people though...there can't
   be that many- this dude's exaggerating,
   but I bet there's a body or two down there.
   This is some freaky shit man.

 

        CUT TO:


INT. BEDROOM -- LATE EVENING -- LATER


Nate has stormed into Dr. Matchum's room. Dr. Matchum is not in his
bed, he is sitting in his wheelchair facing the door as Nate comes
in. Dr. Matchum looks like he knows what was going on, he just stares
at Nate like he wanted to kill him. Nate looks at Dr. Matchum
confused.

    DR. MATCHUM
   What were you doing downstairs Nathan?


    NATE
   How'd you get out of your bed?


    DR. MATCHUM
   Never mind that. What were you doing down
   there Nathan?


    NATE
       (hesitant)
   I found this note and it says you have killed
   people. I didn't believe it at first, but
   then I went and saw your little sewer set up.


    DR. MATCHUM
   What are you talking about?


Nate looks creeped out by the way Dr. Matchum stares at him. Nate
doesn't seem to be scared of the old man. The doctor wheels closer
to Nate and starts to creep Nate out even more.


    NATE
   I don't know what your story is dude. Or
   how the hell you got out of your bed, but
   we have to get all this checked out before
   I can continue working at this freakshow.
   I don't wanna be in the middle of some
   weird cult shit man.


Dr. Matchum just stares at Nate, Nate walks carefully around Dr.
Matchum to wheel him out of the room.


        CUT TO:


INT. STAIRCASE -- LATE EVENING


Nate wheels Dr. Matchum to an elevator door right next to the stairs.
As he wheeled him closer by the stairs Dr. Matchum acted like his
feet were getting bent underneath the wheelchair.

 

    DR. MATCHUM
   Ooh..ooohh.my feet..my feet.


Nate stops and bends down in front of the wheelchair to assist him.

 

    NATE
   I told you before dude, put your feet up on
   the trays.

 

Nate goes to fold down the trays, but they aren't there.


NATE GETS A HEAVY BLOW TO THE HEAD WITH THE METAL FOOT TRAY THAT
DR. MATCHUM HOLDS WITH BOTH HANDS.


Nate stands and looks at the doctor in shock and pain. Nate now
collapses in front of Dr. Matchum with blood pouring out of his head.
Dr. Matchum reaches down and grabs the yellow note from his hand. He
then kicks Nate down the stairs. Nate lands at the bottom.


Dr. Matchum hears the door opening. It was a female nurse from another
shift. Dr. Matchum looks at the scene he had left and thought quickly,
he then started yelling for the nurse.


    DR. MATCHUM
   Help...help!


He now starts chewing on the note and smiles as if he had beaten all
odds.


The nurse checks Nate briefly and runs up to help Dr. Matchum. The
nurse's P.O.V. sees the doctor is having trouble breathing. The nurse
tries helping him while calling for help at the same time on her
cellphone.


    NURSE
   Hold on Dr. Matchum an ambulance is
   on it's way, you need to control your
   breathing..I'll run to the car and
   get some oxygen.


The nurse runs downstairs.


    NURSE (O.S.) (CONT'D)
   Yes..I think he has something caught in his
   windpipe, but I can't get it out.

 

        CUT TO:


INT. TRAUMA ROOM -- NIGHT -- LATER


Dr. Matchum is on the table motionless. The ER doctor pulls a long
tool out of the his throat, and at the end is a crumbled yellow
paper. The doctor hands it to a nurse.


The nurse walks away and reads the note.


    ER NURSE (O.S.)
   Doctor..I think you should see this.


The nurse comes back and shows the doctor the note. The doctor looks
at Dr. Matchum concerned.


    ER DOCTOR
   Go show this to the officer in the hall.

 


        CUT TO:


INT. MATCHUM'S HOME -- DAY -- CONTINUOUS


The inside of the house is empty and now a S.W.A.T team comes through
the door.


END SEQUENCE: MUSIC FROM SOPOR AETERNUS' "THE HOUSE IS EMPTY" STARTS
OFF REALLY LOW AND RISES IN VOLUME UNTIL THE END.


The nurse comes in with a detective and points to the top of the
steps as if explaining what happend. More agents run in.


    CHARLIE (V.O.)
   I wish I would have had a different fate.


INT. BASEMENT -- CONTINUOUS


Some agents observe the sewer. Others have long tools and are removing
the tiling on the floor.


Now the detectives and the nurse come downstairs.


    CHARLIE (V.O.)
   Not just for me, but my friends too. Why did
   we have to die so horribly? At least nobody
   else will get hurt by this man.


One agent finds the handle to the trap door and lifts it.


INT. UNDERGROUND.


The agents are swarming below. Flashlight beams shine and scatter
showing the handrail.


They enter the freezer room, but it is empty and powerless.


The detectives are now seen lowering their heads down past the trap
door.


INT. UNDERGROUND DOOR #1, GREEK GODS ROOM -- CONTINUOUS


The agents enter the room slowly.


EFFECTS: CHARLIE'S BODY STANDS AT THE END OF THE GREEK STATUES
WITH HIS INTESTINES FALLING FROM HIS BODY. THE INTESTINES ARE
BRAIDED AND BLENDED WITH MORE INTESTINES MAKING ONE BIG, LONG,
BRAIDED INTERWOVEN CARPET OF INTESTINES LEADING ALL THE WAY TO THE
DOOR WHERE THE AGENTS STAND IN HORROR.


One agent takes his helmet off and starts throwing up. The other
agents flick the switch on the wall and cautiously walk around the
room.


    CHARLIE (V.O.)
   At least I'm with my family again.


A brief image is seen of Charlie playing with his friends again
in heaven.


    CHARLIE (CONT'D, V.O.)
   At least I'm with my friends once
   more.


FADE TO BLACK:


TEXT READS:      THIS IS ONE OF THE FEW PARTS FICTIONALIZED FOR
   THE STORY- THE ACTUAL LOCATION, WHICH WAS NEVER
   KNOWN.

 


                    FADE OUT:...