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--Home Sweet Home DRAFT 2--
By Carnotaur3
HOME SWEET HOME
DRAFT 2
WRITTEN BY CHASE KUERTZ
OPEN ON:
EXT. HOUSE YARD - SUNSET
- An old, rotten CABIN sitting lonely in the FALL woods. In reality to our eyes, it seems normal. But, to our sixth sense, it’s not. It’s an oddity; an abomination. Something evil is hiding in it. It is, indeed, strange.
We pan back from the house and gain closer to a tree stump in the front yard of the house. Now, we move toward it, slowly, as if expecting something. At the right moment, an AXE wedges right in the middle of the stump of wood.
It, too, isn’t normal, because a gruesome sight of gore and blood is streaming down the metal tool, a frightening and startling sight. The hand, which is holding the axe, releases its grip from the handle.
The opposite hand throws down a shovel to the leafy ground.
A man stands behind the stump, gazing at the cabin with twitching eyes. Around his eyes are blood stains.
Now we get a full silhouette of this man. His shirt is torn to shreds in many places, and red blood marks imprinted all over his body and clothing.
To us, he’s insane. He looks like a man at the end of his rope, tired of life and what’s happened to him. But there’s something much deeper than that.
The house warps through his mind, and he mummers to himself.
MAN
(Muttering)
Failed – I’ve failed.
With the last effort in his body, he grabs the handle of the axe, lifting it out of the place it had been planted in the stump, and put the sharp end of it in front of his face.
MAN (cont’d)
(Gasping for air)
No – way – out.
To our surprise, he flings the axe straight into the center of his face. He falls to the ground, blood gushing between each grass blade.
We pan back to the cabin, slowly going forward into a central window.
OPENING CREDITS
CUT TO:
DARKNESS.
MIKE (V.O.) (cont’d)
They say time heals all things. I never believed it. They say we’re here on this Earth in a much bigger way than we think. But I’ve never foreseen it. They say there’s evil in this world. Now, that – I could believe.
FADE TO:
EXT. ROAD – COUNTRY – MORNING
Earthly tones of light reflect off the old truck passing by us on the road. It’s a paved road; very wide, and it overlooks a hill.
CUT TO:
INT. TRUCK – BRIGHT
MIKE HENDERSON is in the driver’s seat, dressed in a plaid shirt and a hat. The sleeves of the shirt are rolled up. He tries to pay more attention to the road, but sweat is streaming down onto his eyes. He wipes his face and brow with a handkerchief.
GABBY HENDERSON, his beautiful young wife, has her eyes gazing out of her side window, watching trees pass by in a fury of speed.
She turns to her husband.
GABBY
Are we almost there?
MIKE
Just a few more miles, I should say.
She sees his agony of heat.
GABBY
Oh, honey. We have water bottles back here.
MIKE
Yeah, I know.
(BEAT)
Ok, fetch me one.
Gabby bends down as much as she can to the COOLER sitting in the floorboard. She opens the top and grabs for a cold refreshing water bottle.
She looks at it, twists the top off, and hands it right over to Mike. He pours it down his face.
GABBY
What in the world are you doing?
MIKE
I didn’t say I was going to drink it.
He gives a little bit of a chuckle. GABBY is hesitant at first.
GABBY
After all I’ve heard you say, conserve this – conserve that…
MIKE
(GRINNING)
It’s not a total loss.
Slowly, Mike realizes something.
MIKE (cont’d)
Oh, shit.
GABBY
What?
MIKE
Missed the turn.
He stops the car, seeing as there are no other cars riding in his lane… or any other lane as a matter of fact. He makes a quick U-TURN.
CUT TO:
EXT. HOUSE YARD – MORNING
We pan from up high above the trees downward to the old truck coming up the dirt driveway. The sun hits the windshield, glaring at us.
The truck comes to a complete stop and parks.
From inside the truck bed, a GOLDEN RETRIEVER dog leaps up to greet his new surroundings. Gabby comes out of the truck and pets him.
GABBY
You like it, Trevor? Does it suit you?
TREVOR makes a yelp and leaps out from the bed as Mike descends from the nerf bar.
MIKE
(Refering to the yelp)
These days, you can’t tell what that means for him.
CUT TO:
INT. CABIN HOUSE – DIM
As the front door to the two story cabin opens, we notice how dark rooms are. A suitcase thumps on the hardwood floor.
We pan up to reveal GABBY.
GABBY
Home, sweet home.
Mike sets his luggage down next to hers.
MIKE
We need to check around and see if the movers got everything in here.
GABBY
Or if anything is damaged.
MIKE
Ain’t that the truth. Well –
(Checks his watch)
We have plenty of time to do that, I’d say breakfast would be nice.
Gabby and Mike embrace lovingly in each others arms.
GABBY
I would too – agree – Mr. Henderson.
He laughs.
MIKE
Does eggs sound good, Mrs. Henderson?
GABBY
Always.
They kiss passionately.
Suddenly, their suit cases fall to the floor and they jump up, startled.
They try to catch their breath and realize how far away they are from their luggage.
CUT TO:
INT. KITCHEN – BRIGHT
Turning on the heat from the stove, she places a pan on top and walks towards the refrigerator. She notices that the only things in there are eggs.
CUT TO:
INT. OFFICE ROOM – DIM
Mike is looking around the room, checking to make sure stuff is in order, and talking on his cell phone at the same time.
MIKE
I’m coming up with ideas with my pad sometime this morning.
We can hear the faint voice of a person talking to him.
MIKE (cont’d)
Yes, I have a pretty good idea of the concept.
CUT TO:
EXT. CALIFORNIA COAST – DAY
A man walks down the beach, he’s wearing a nice suit and tie, but he has no shoes or socks on his feet. He’s a big round man, with a tiny mustache. His name is MR. FLEMING, and he’s Mike’s boss.
MR. FLEMING
I’ve got publishers who say you are little behind on schedule.
MIKE (V.O.)
Look, I realize that, it’s not like all that I’m doing all day is thinking about ‘me’. I’ve been coming up with a good story. It’s, um, going to be really be scary, I believe.
MR. FLEMING
I sure hope so, Henderson. You’re last novel has not been favoring well on the shelves. Damn it, man, you are better than this.
CUT TO:
INT. OFFICE ROOM – DIM
Mike places his thumb and wipes away dust on one of his wooden desks.
MIKE
Well, Mr. Fleming, when you loose someone dear to you, you see how well you handle it.
Mr. Fleming pauses on the phone.
MR. FLEMING (V.O.)
I’m sorry, Mike. I’m being a little too selfish right now. I just want you to get back on the saddle, buddy. That’s why you moved up there, right?
Mike shows discomfort and nods.
MIKE
(Almost under his breath)
Right.
MR. FLEMING (V.O.)
Look, I’m not going to make any promises.
CUT TO:
EXT. CALIFORNIA COAST – DAY
Throwing a stick into the waves, Mr. Fleming shows contempt.
MR. FLEMING (V.O.)
But I’ll see what I can do. I’ll try to get more time for you. Relax a little while and just think through your story clearly. Then, tomorrow morning you can begin writing on the computer or something. I don’t want you beating yourself over the head. Take it slow. Ok?
CUT TO:
INT. OFFICE ROOM – DIM
Mike stares blankly ahead. He doesn’t blink.
MIKE
Ok.
MR. FLEMING (V.O.)
I’ll talk to you tomorrow. Bye.
Without any indication that he heard the ‘bye’, Mike hangs up the cell phone.
CUT TO:
INT. CORRIDOR – DARK
Upstairs in a corridor, Trevor barks and growls at the door at the end of the hall. We watch the space under the door as something passes by. Then, without warning, the door starts to impale abnormally in the shape of a hump. Trevor now barks ferociously.
CUT TO:
INT. KITCHEN – BRIGHT
The pan with the eggs sizzling inside it slides off of the burner. Gabby turns around sharply, feeling a vibration coming from all around her. The vibration increases.
CUT TO:
INT. FOYER – DIM
Being alert, Mike slowly walks to the bottom of the staircase and feels the floor quake beneath him. He hears his wife’s screams.
GABBY
Mike? What – is – this?
He runs to the kitchen.
CUT TO:
INT. KITCHEN – BRIGHT
Mike grabs her arm tightly.
MIKE
Stay where you are.
The violent shaking continues but declines in a matter of seconds. Mike and Gabby hear something shatter somewhere.
GABBY
Does Tennessee have earthquakes?
Mike pauses; looks out the window.
GABBY (cont’d)
Well, does it?
MIKE
(Certain)
No.
He walks over to the kitchen table and picks up broken glass. We can still hear their dog barking.
MIKE (cont’d)
But we can feel shakes of earthquakes that take place near the state.
GABBY
Oh.
CUT TO:
INT. FOYER - DIM
Trevor runs down the stairs and curls up onto the rug. Mike walks to him and rubs his belly. The dog makes scared yelps.
MIKE
What’s wrong, boy, afraid of the quake?
He pats TREVOR on the head. GABBY enters.
GABBY
He looks like he’s seen a ghost. Maybe you should go play fetch with him.
MIKE
What else am I going to do?
Mike takes up the dog’s leash.
GABBY
I’ll turn on the news; see if they say anything about the earthquake.
CUT TO:
EXT. BACKYARD – MORNING
A lonely stick on the wet dew grass lays waiting for a person to pick it up. And one does do that, and it’s Mike. He breaks it in half, shortening it up the right size.
Trevor looks straight ahead, barely moving. Mike waves the stick.
MIKE
Here we go. Want the stick, boy?
But the dog stays in the same position, then, kneels to the ground. Mike throws his hands to his hips.
MIKE (cont’d)
You dumb dog.
CUT TO:
INT. LIVING ROOM – DIM
The Television set is on the news, but as we see it, nothing of the quake is being mentioned. A table is to the side with a cup of coffee sitting on top of it. Gabby is sitting facing the windows which overlook the backyard. She sees Trevor’s abnormal behavior and shakes her head.
Behind her, the coffee cup slides by itself across the table. Gabby reaches back without looking and grabs the coffee cup. She sips it slowly, and blows into the steaming hot liquid.
CUT TO:
EXT. BACKYARD - MORNING
Immediately, TREVOR props back up in alarm.
MIKE (cont’d)
There we go.
Mike throws the stick into the woods. He hears how many trees it hits before landing into thick brush. The dog doesn’t chase after it, but turns his face towards it and barks loudly.
MIKE (cont’d)
Trev, what the hell are you doing? What?! Do you want me to get it for you?!
Mike sighs, and walks to the woods to retrieve the stick.
CUT TO:
EXT. WOODS – MORNING
He pushes back tree branches and leaves as he tries to make his way for the stick, which he can clearly see up ahead.
MIKE
You’re getting old you – old timer. Not seeing stuff, yet seeing stuff that are not there. I might as well just do you a favor and put you to sleep.
He gets to the stick and reaches down for it when we watch him freeze in position.
Camera pans fast to him in different directions. He feels watched. He leaves the stick and rises up, scanning the area, breathing in hard.
His heart starts to race and his eyes dilate back and forth. He shakes uncontrollably.
Fearing what is in the woods, Mike races back with terror, not even muttering a sound while doing so.
CUT TO:
EXT. BACKYARD – MORNING
Gabby opens the back door, seeing Trevor alone in the yard.
GABBY
Where’d Mike go, Trev?
But she speaks too soon, because MIKE is just now coming out from the woods. His face is white as a sheet.
GABBY (cont’d)
Mike? Honey, what’s wrong with you.
He doesn’t look at her, just simply passes by her. She turns around to face his back.
GABBY (cont’d)
Mike, what happened back there? You’re scaring me?
He stops in his tracks and turns his head back.
MIKE
I felt like I was being watched. So, I freaked. No big deal.
She shakes her head.
GABBY
Your face shows me it’s a big deal. Did you see anything?
Mike looks back towards the house.
MIKE
Um, I think I’m going to go rest.
He makes his way to the back door and swings it open. It shuts behind him.
Trevor gets up from the grass with a whimper and follows Mike into the house.
CUT TO:
INT. OFFICE ROOM – DIM
Mike stares blankly into his pad, skims what he has written… well, he hasn’t written anything. All he’s doing is gliding his eyes across each blue line, then, to the next row, and the row after that.
He makes no effort to grin.
MIKE (V.O.)
(Speaking in his mind)
You can do this. Just picture yourself in a room, writing. (Laughs)
No, no. Just think of the scariest thing you’ve always wanted to see.
Mike writes down ‘ghost’.
MIKE (cont’d) (V.O.)
(Speaking in his mind)
Ok, haunters or poltergeist?
He thinks. He writes ‘poltergeist’.
MIKE (cont’d) (V.O.)
Protagonist. Man or woman?
He thinks again. He writes ‘man’.
Mike smiles at his small feat.
CUT:
INT. FOYER – DIM
As Gabby passes by the door, a knocking is heard. She recoils back, unlocks it, and opens it to reveal a young man.
He’s dressed in slacks, and a nice collared shirt.
GABBY
(Surprised)
Can I help you?
The young man smiles.
YOUNG MAN
Miss, my name is Robert Hardy, I’m with the Green Hills Committee.
Robert Hardy puts out his hand. She shakes it.
GABBY
Oh yes, the neighborhood down the street.
ROBERT
Yes, maim. I just wanted to welcome you to Green Hills. Well, even though you aren’t really residing down there, but you know what I mean.
(Hands her a card)
If there’s anything I can do or help you with, just call me.
She looks at it. All there is is his name and phone number.
GABBY
Why – thank you, Robert, I’ll be sure to do that. Thank you for the welcome.
Robert smiles again.
ROBERT
It was a pleasure.
He retreats down the stairs of the porch as she closes the door.
Mike is standing directly behind her. She jumps up, startled, almost making a screeching sound.
GABBY
Mike, you scared me to death.
He grabs a hold of her gently.
MIKE
Not quite.
(Changes tone)
Are you ok?
Gabby warms up.
GABBY
Yeah, it’s just this guy that I just met at the door.
MIKE
Who?
GABBY
Someone from the Committee named Robert Hardy.
Mike looks out the window. Nothing is out there.
MIKE
What did he want?
GABBY
Just to welcome us here. That’s strange… nothing about the committee is on the card; just a name and phone number.
Mike turns back to Gabby.
MIKE
Well, it’s not like we’ll be seeing any of them anytime soon. I don’t want to make friends here. At least not now.
She nods.
GABBY
Yeah. But when he wasn’t smiling at me he kept eyeing me oddly. It was almost like he knew me or something.
Mike plays around with her, throwing his hands up and shaking them.
MIKE
(Jokingly)
Perhaps from a past life
FADE TO:
INT. OFFICE ROOM – DIM
We see a very enthusiastic Mike Henderson pacing back in forth, talking out loud. He’s looking at his notepad.
MIKE
(Acting out parts)
Jane, what I saw… what I felt… was real! I know it sounds, well, insane. But the hellish thing was bleeding. Its eyes were BLEEDING!
(He changes voices to Jane)
Honey, you need help… professional help. What you saw was a figment of your imagination.
(He changes back to the male voice)
What the hell are you doing? You think I’d make something up in your face? You’re my wife; you are supposed to trust me!
(To Trevor)
So… what do you think?
Trevor lowers his head and moans.
MIKE (cont’d)
That bad, huh?
Trevor licks his lips.
MIKE (cont’d)
Why am I asking you anyway? You are my harshest critic.
Mike continues writing in his notepad.
CUT TO:
INT. KITCHEN – BRIGHT
Beef is being patted together by Gabby’s hands. She turns on the stove to the right temperature then goes back to patting the meat.
As she works to prepare the food, she can’t help but notice, outside, as the sun is almost set, just behind the trees, a glow coming from the grass.
She freezes, stops her progress, and leans over the sink to get a better look. There is no glow, but the human form of Mike, standing and looking up at Gabby’s concerned face.
Mike’s eyes are blank. Actually, they are more like solid black, like gazing into a doll’s eye.
GABBY
Mike?
She can’t fathom exactly what is happening, she just knew that what she is looking at is NOT Mike Henderson.
Gabby walks sideways, keeping her eye on the outside of the windows.
CUT TO:
INT. LIVING ROOM – DIM
When she enters the lightly lit living room, looking into the windows, gazing at the same spot where she saw it, the entity is gone. She looks back into space, wondering.
Suddenly, she’s disturbed to hear the cry of her husband shrieking through the acoustics.
CUT TO:
INT. OFFICE ROOM – DIM
As soon as Gabby pushes the door open, she sees Mike in a corner, yelling at the top of his lungs.
MIKE
Christine! CHRISTINE!
He sobs like a baby. Gabby goes to console him. She tries to crouch down and embrace him, but he turns a tad hostile, pushing her away harshly.
She’s surprised.
GABBY
Mike, stop it. It’s over. She’s gone. She’s taken already; we can’t do this anymore to ourselves.
But she gets into the mood as well; she can’t help but let her emotions go. And as soon as this is seen by Mike, he lets her crouch down beside him and embrace him, both sobbing uncontrollably together.
Their pain is unbearable.
FADE TO:
INT. PSYCHIASTRIST’S OFFICE – DAY
Dr. Howard King, a psychiatrist, sits firmly in his chair, writing down notes in his pad. Mike and Gabby are relaxed in lounge chairs.
DR. KING
And is their guilt in yourself, Mike?
MIKE
I don’t know.
DR. KING
In instances like this, someone suffering as long and unbearable as you two have, there is some sort of guilt writhing in a person’s mind.
GABBY
What about shock? Could shock relate to that too?
DR. KING
That’s always possible… but…
MIKE
What if I am going crazy? What if it’s not guilt and I’m slowly unraveling. My mind can’t take a death so horrendous. Maybe one day I just crack.
DR. KING
Do you see things, Mike? Is there something you want to tell me?
MIKE
I don’t know.
DR. KING
Some people in your condition make it far enough that they do experience a different kind of psychosis. Their grief comes but does not go after a while and they start to search for their loved one. Some have dreams of them visiting their bed, kissing them, loving them. There’s also an array of hallucinations that they go through these people, such as familiar smells, sounds… sights. They might seem a bit unnerving, but it’s actually a way many people cope and start to adjust to the loss. In fact, it’s normal. Have you two had… a very strong emotional cry or episode together over this?
They shake their heads.
GABBY
We still don’t understand.
MIKE
I feel numb. I mean, I did go through a bunch of emotions that day, but not again afterward.
DR. KING
Realization of a death is what causes this… but it seems to me you two have not let it out fully from your systems.
FADE BACK TO:
INT. OFFICE ROOM – DIM
Mike and Gabby are both holding each other. Their cry is over. They rock back and forth on a rocking lounge chair.
FADE OUT:
FADE IN:
EXT. LIVING ROOM – NIGHT
The living room is dark except at a table which is covered with a cloth with two candles lit up in the center. The light bounces off the Champaign glasses and the faces of Mike and Gabby, staring at each other.
Gabby holds up her glass.
GABBY
To us - and the new house.
Mike holds up his and clashes it with hers.
MIKE
Ditto.
He takes a sip, but Gabby doesn’t, just simply setting the glass down on her napkin.
GABBY
You know… I invited Cheryl and George over for tomorrow night, didn’t you?
MIKE
(Sarcastic)
Cheryl and George. Thank you very, very much! They are just what I need. Cheryl and George.
GABBY
(Laughing)
What’s wrong with them?
MIKE
(Still sarcastic)
Oh nothing, it’s just that, Cheryl will give her husband a chance to be with me alone in a room and will talk and talk and talk until the rooster crows.
GABBY
(Laughing)
And what have you got better to do?
MIKE
(Smiling)
Well, giving my ears a rest for one. And occasionally, I’d like to keep my hearing free from clogging.
Gabby laughs excessively. He chuckles a little as well.
GABBY
How are you doing on your story?
MIKE
Swell.
GABBY
Do you know what it is about, yet?
MIKE
I don’t want to be giving you any spoilers, but, it’s about a… um… married couple who buy a house in the neighborhood… and… well… find out that the house is trying to… let’s say possess them to do horrible things to each other.
Putting her napkin on her knees, Gabby makes a smile.
GABBY
Sounds creepy. What kind of horrible things do they do to each other?
MIKE
(Being sarcastic again)
Well, things go bad, the husband tries to paint her body and the wife shoots him numerous times in the head with a water gun.
She laughs again, Mike is really happy tonight. Both of them are. It’s been so long since they had laughed together so hard.
GABBY
How’s the meal?
MIKE
Swell.
A short pause is brought.
GABBY
I love you, Mike.
Mike puts his hand up to her cheek.
MIKE
I love you too.
FADE TO:
INT. MASTER BEDROOM – DARK
The camera pans towards the bed of the house where Mike and Gabby are sleeping.
Mike’s face twitches in bed. He’s having a nightmare.
CUT TO:
EXT. DREAM SEQUENCE – WOODS – NIGHT
We see flashes of running bare feet. A tomahawk swings in the air, hits a man in the forehead. Another flash of shots appear, consisting of hands taking sharp objects and digging out flesh from crevices of bones. One shot has some of the meat cooking in a pot of a flame.
CUT BACK TO:
INT. MASTER BEDROOM - DARK
Now we’re on Gabby who’s having a horrible time sleeping as well. She’s tossing and turning. She groans in a bad manner, and slashes her arms in the air.
GABBY
(In her dream)
No. Christine, you are too close to the road. Mike get her! Mike! MIKE!
She awakens in her sleep and screams. She jumps up out of bed just as the house starts to shake harshly. Tables and chairs rattle. Glass breaks.
Mike jumps up out of bed, dazed and confused. He looks around.
MIKE
Stay calm!
He gets up out of bed just as the shaking ceases. Chairs stop rattling. Glass is piled broken all over the floor. Trevor starts to bark downstairs.
MIKE
Are you ok? Are you hurt?
Gabby looks to the bed almost in a trance.
MIKE (cont’d)
ARE YOU HURT?
GABBY
No!
CUT TO:
INT. OFFICE ROOM– MORNING
Mike is on the phone, speaking as calm as he can… which is not very calm at all. He stumbles on his words.
MIKE
(Pacing back and forth)
No, it happened for maybe ten to fifteen seconds. Yeah, it was pretty hard. It kn- knocked… I have no clue about seismology and how it’s leveled as, that’s why I called… Look, it happened yesterday during the day as well, it was smaller though and… it was smaller, yes. I know; nobody else felt it that time either… Christ, you people are all the same!
Mike hangs up the phone and turns to Gabby who is leaning against the threshold of the office.
GABBY
I take it we are the only ones.
MIKE
It doesn’t make any sense. It’s like we stepped right into the Twilight Zone.
GABBY
(Jokingly)
Oh, Mike, didn’t you know? That series was based off true events.
She grins. Mike loosens up a bit.
GABBY (cont’d)
Try not to worry about it. It will eat you up. I’m going out to get some breakfast, what do you want? Burger King? McDonald’s?
MIKE
Burger King sounds fine. Get me one of those bacon, egg, and cheese croissants. Those are really good.
GABBY
I think I’ll get me one too. I want to try one.
Mike leans in close and they peck each other on the lips, just a quick one. Gabby walks out of the office. Mike and Trevor exchange glances. Quite awkward for a dog to act so human like in its looks. Trevor moans.
MIKE
No. Not with you around. Pervert.
CUT TO:
EXT. FRONT YARD – BRIGHT MORNING
As Gabby gains closer to the truck, she looks ahead seeing storm clouds in the distance. She reaches the door and sticks the keys in the lock when –
BRUSTLING SOUND is heard in the bushes. Later, a tiny giggle emits from it.
Gabby walks away from the truck, keys still in hand.
LITTLE GIRL
(Faint)
Mommy…
Some more giggles echo and fade out. Gabby’s heart beats faster as she goes back to the truck, trying to forget about the incident.
CUT TO:
INT. OFFICE ROOM - DIM
Mike throws a tennis ball in the air in front of his lap top computer. His story is on the screen.
MIKE
(To himself)
Need a girl’s name. Any name.
He stops throwing the ball and types onto the keyboard.
SCREEN: C H R I S –
He stops what he’s writing and realizes what he’s doing. Was he still thinking about her? He holds his middle finger on the Delete (or Backspace) button.
MIKE
(To the dog)
Need a girl’s name.
CUT TO:
EXT. PORCH – MORNING
In the bright red rocking chair, Mike sits, not rocking, and is reading a book. The book is called The Paranormal: Complete Encyclopedia of True Events. In his other hand is a bacon, egg, and cheese croissant, half eaten.
Gabby walks out the front door and notices him.
GABBY
There you are. What are you doing?
MIKE
Reading.
GABBY
Reading what?
MIKE
Well, technically I’m researching for the novel. You know how I’m writing about a haunted house. Well I want it to be as realistic as possible.
GABBY
Don’t be ridiculous, Mike. Having no ghosts is being realistic as possible.
GABBY takes away the book from his hands.
MIKE
Stop teasing me.
He reaches for the book, but misses it when she swings it away from his grasps.
MIKE (cont’d)
Girl, you are going to get it.
She laughs and he runs after her into the house.
Lightning flashes and thunder crackles when we –
CUT TO:
INT. LIVING ROOM – DIM
Mike is drinking coffee in a mug, watching the rain pound the clear windows of the living room. The television is on a news station.
FORECASTER
Highs will be up to 86 degrees and lows will be at about 67 degrees. Light rain is expected to taper off towards evening giving us a chance of clear skies. That will give you a chance to watch the meteor shower tonight which takes place at around 2:30 A.M.
And here’s your weekly forecast…
Gabby throws down a magazine onto the couch she is sitting in.
GABBY
I totally forgot about tonight.
MIKE
What? Is it about Cheryl and George?
She nods.
MIKE (cont’d)
Hell, why did you have to remember?
GABBY
(Irritated)
Come on, Mike. Be nice to them. I’ll be right back. I’ve got to go prepare the food.
MIKE
This early?
GABBY
I’m working on a roast.
Gabby gets up from off the couch and walks into the kitchen. Mike groans and sips some more coffee. Thunder cracks again. He’s almost startled. Some of the coffee drips down the side of his mug, hitting the hard wood floor.
He sets the mug down on a table and takes some paper towels to wipe it up when –
CUT TO:
INT. FOYER – DIM
There’s five quick knocks on the door.
CUT TO:
INT. LIVING ROOM – DIM
Mike turns his head towards the knocking. He hears Gabby doing ‘kitchen stuff’.
GABBY
Could you get that, hon?
Mike looks back down to the floor. The spot is not there. He looks around.
CUT TO:
INT. FOYER – DIM
Close up of door swinging open to reveal Robert Hardy, the man we came to meet earlier. His hair is matted down from the rain, and his clothing is soaking wet. He stares with seriousness in his eyes. His expression is a little frightful.
MIKE
(A tad bit frightened)
Can – can I help you?
Robert steps forward once.
ROBERT
I’ve seen you.
MIKE
Excuse me?
ROBERT
…in my head… you and your wife.
MIKE
Who are you?
Robert steps forward again. Mike backs up a little.
ROBERT
I met your wife yesterday. I said I was with the Committee.
MIKE
Oh, Robert Hardy, right?
ROBERT
I lied to her yesterday and for that I’m sorry.
Mike grabs the door handle.
MIKE
That’s ok. So, you aren’t with the committee?
ROBERT
I’m with the Church down the street. I come with a warning.
ROBERT studies the house and closes his eyes.
ROBERT (cont’d)
(Whispering a secret)
Something’s wrong with your house.
MIKE
And what would that be?
ROBERT
They’ve been here for a while. It feels your presence. It wants you for something.
MIKE
Who?
ROBERT
The house.
Mike tries to shut the door, but Robert presses his hand against the door, blocking it.
MIKE
(Angry)
What the hell are you doing?
ROBERT
Find out what’s missing in both of your lives. Find out what to correct before it’s too late.
MIKE
Nothing in our lives is hurting us.
ROBERT
Yes there is… It’s your daughter!
Mike grabs a hold of the man by his collar and presses him up against the door.
MIKE
Say my daughter’s fucking name, you prick. Say it! She had a name! It was Christine! Say her fucking name!
ROBERT tries to back off.
ROBERT
(Afraid, backing up)
Please, don’t touch me. Don’t touch me!
Mike flings him back outside in the pouring rain.
MIKE
I don’t want to touch you. I don’t want to know you. Get off my property before I call the police.
ROBERT
God doesn’t want it to be this way.
MIKE
Oh, but I guess somehow… HE did!
Mike slams the door hard. Gabby is standing behind him, shocked. Mike stares at her.
MIKE (cont’d)
It was that fucking Committee man. Now I definitely don’t want to meet the people that live here.
He hits the wall with his fist.
GABBY
How did he know about her?
MIKE
What?
Gabby throws her hands in the air.
GABBY
HOW DID HE KNOW ABOUT CHRISTINE?!
Putting his forehead on the wall, he grunts.
MIKE
I don’t know. I don’t know anything anymore.
GABBY
He scares me, Mike.
MIKE
Gab, what do you want me to do? What do you want?
GABBY
I want you to find out what he wants.
Mike brushes his hair back.
MIKE
Shit. I’m not wasting my time with him. You won’t and I definitely won’t.
GABBY
Mike, he scares me because I think he has some answers.
MIKE
Oh, my God. Please don’t talk to me. I want to forget you just said that.
GABBY
It’s just…
Suddenly, all the lights that are on in the cabin switch off. Mike and Gabby look around, investigating.
MIKE
The breakers. Damn it, I’m going to kill the person who sold me this place!
CUT TO:
INT. BASEMENT STAIRWAY – DARK
The basement door swings open, Mike’s silhouette standing in the way of the light, flashlight in hand.
He begins to descend when he turns the flashlight on.
GABBY
Be careful going down there.
MIKE
The stairs are perfectly safe. Just go… go do something constructive.
Gabby feels shunned. She grunts with anger and goes away. Mike continues down the stairs, feeling the wooden rails with his left hand.
CUT TO
INT. BASEMENT STAIRWAY – CONTINUOUS
In the darkness, he places the light around the room.
Mike stops the flashlight on a box. THE BREAKERS.
He strolls over to it and unlocks the door, throwing it open.
Mike pushes all the switches over, but none of the lights come on. He pushes them back and forth again, randomly. Nothing. Pitch Black.
MIKE (cont’d)
(To himself)
Damn it.
He walks back toward the steps, but he sees something in the corner of his eye move quickly to the side. He turns around with the flashlight, moves it around the room, slowly this time. His hand starts to shake a bit.
The light bounces off an unexpected white BLANK face. It has no features but its shape is sure face-like. There are indentions where there could be eye sockets, but where its mouth is is blood. He’s startled, and drops the flashlight to the ground. He runs quickly away as the camera focuses on the flashlight.
Seconds later, something shocking brushes passed the light, making it spin around and around on the floor.
CUT TO:
INT. CORRIDOR – DIM
Mike shuts the door and locks all the locks. He pushes himself back, frightened of the unknown behind the door. On queue, the door knob begins to turn, then, the door bangs in it’s pace. Something was trying to get in.
But he feels better, the door is holding. Until –
The locks turn themselves back, unlocking the door. He jolts back again and yelps once, almost like a dog.
The door creaks open slowly, making known the dark space within. Then, the door slams back.
Mike turns around sharply and screams when he rams himself right into the arms of…
GABBY.
CUT TO:
INT. KITCHEN - DIM
Trevor, the dog, barks furiously at the basement door. He bites some wood, making his gums bleed. Gabby is holding him back with a leash. The dog is going insane.
GABBY
What did you see down there, Mike?
Mike stares at the wall. He’s actually sitting down at the table, emotionless from her question.
Gabby opens the pantry door and throws the dog in it, locking him up.
GABBY (cont’d)
What happened?
Mike looks back.
CUT TO:
INT. DINING ROOM – NIGHT
Laughing emits from the huge room where CHERYL, GEORGE, GABBY, and MIKE are eating dinner. Much of the laughing is coming from Cheryl and George, while Gabby smiles and Mike tries to look happy.
CHERYL
And Billy just doesn’t know how to catch the ball. George has worked with him for who knows how long. And still, Billy closes the glove before the ball even gets there.
They chuckle more.
GEORGE
I said, son… I said, “You’re thirteen years old and you can’t even grasp a baseball.” And then he said, “Don’t you love me?” But no, he’s a good kid. I guess he’s not really into sports like his father is.
GABBY
Well, I must admit that baseball is not a favorite of mine. I don’t think it is for Mike, is it, honey?
Mike wipes hamburger meat off his chin.
MIKE
No. Not really. It’s quite boring in fact.
GEORGE
That reminds me, Mike. This summer, I need my kid working. He’s not had the chance to earn anything and if it’s possible, once a week, I’d like him to cut your yard. And if you can pay him to do that it would be great.
Mike’s agitated by this rude offering, but he maintains his lovely attitude for the time being.
MIKE
Sure.
He takes a big sip of beer.
CHERYL
Gabby, I have to start a gossip again.
GABBY
What is it this time?
CHERYL
Dr. Peters… oh, sorry, guys, private. Um - to the kitchen, Gabby?
Cheryl points back.
GABBY
Oh, yes…
They walk to the kitchen together, talking up a storm.
Mike notices how alone with George he is. He squirms in his seat.
GEORGE
How are you doing, Mike?
MIKE
I don’t – I don’t know.
GEORGE
You know, I never got a chance at the funeral to say it, but, you’re a great friend. I mean it.
Mike’s kind of put off and surprised.
GEORGE (cont’d)
I know I haven’t been the best friend to you, but I know you have to me. And I know there are… ha, there are some things about me you can’t stand.
Mike’s eyes go wide.
GEORGE (cont’d)
Yes, I’ve noticed.
MIKE
Hey, everyone has their own ticks.
GEORGE
I’m so sorry about what happened.
Mike falls silent. His eyes get wet.
MIKE
It’s ok.
GEORGE
I could have saved her. She passed right by me.
Mike looks down at his food.
MIKE
A lot of things could have happened that day, George. It is best we not think back on it.
GEORGE
Ok.
George taps his fingers on the table, trying to think up something to change the subject.
MIKE
You like the house?
GEORGE
Oh, I like it. Matter of fact, I’ve heard about it before. It’s kind of, famous around here.
Mike laughs.
MIKE
What - is that supposed to be a joke?
GEORGE
I’m serious.
He looks at Mike awkwardly.
GEORGE (cont’d)
You really don’t know what happened here do you?
Mike looks at him with sincere eyes.
MIKE
No – what?
GEORGE
About three years ago, a man, his little girl, and adult daughter come up to the cabin, rented it out for the fall. This was after people were trying to sell the house. You know; the very same people who sold you this house. Well, they had already bought another home out in Georgia. So, they thought they’d let these people rent it out for a while, see if they’d like it enough to sell.
Mike’s into the story now.
GEORGE (cont’d)
Anyway, I was saying that there was a dad, younger daughter, and older daughter. No sign of violent behavior was ever reported from the dad. Though he lost his wife from cancer, he was in bad shape but never violent. Two months later, Sheriff’s office gets a call around 2:35 A.M. A sharp guttural voice is telling them, “He’s killed me. He’s killed me.” And the line hangs up. Sheriff goes to the house to investigate. Before he even makes it out of his car he notices the father on the ground with an axe in his face. Sheriff calls for back up. He enters the house, and in the foyer is dangling legs. He assumes somebody had been hanged… well, it is worse. The adult daughter’s body had been pulled apart by ropes. He dismembered the legs, arms, head, torso… you name it. The little daughter was found in the basement, chopped up limbs, but the rest of the body was never found. Never. They dug up the whole basement looking for it and didn’t find it. Today it still remains a mystery why he did what he did. The weirdest part of the story is that when they examined the bodies, they were dead at around 5:00 P.M. The Sheriff doesn’t know who made that call.
We feel the creepiness that Mike is feeling.
GEORGE (cont’d)
The story’s true. It checked out in the local newspaper I found in the library.
MIKE
It’s awful. I can’t imagine things like that. I can’t imagine hurting my wife.
GEORGE
Reminds you how life can be so damn bad.
MIKE
Whatever you do, don’t mention this to Gab.
GEORGE
I wouldn’t do that. I haven’t even mentioned it to my wife. She’d flip out more than Gabby.
Mike smiles.
MIKE
Thanks.
FADE TO:
INT. MASTER BEDROOM – NIGHT
In bed, Mike stares at the ceiling. He turns to Gabby who is about to fall asleep.
MIKE
I’m sorry about today.
GABBY
We’re both going through it, Mike. It’s nothing to be sorry about.
Gabby turns to him and kisses him on the forehead.
GABBY (cont’d)
I love you with all my heart, Mike. Don’t give up. Fight the feelings.
He breaks down in front of her. She sits up and holds him in her arms. He starts to shake in fright.
GABBY (cont’d)
Oh, Mike. Tell me what you really saw.
He shakes his head, turns his body from her.
GABBY (cont’d)
Mike… why don’t you ever touch me anymore?
He lays silent.
GABBY (cont’d)
Why don’t I ever touch you anymore?
MIKE
I don’t know, Gab, you tell me?
It’s a strange change of tone. She turns the other way. They fall asleep.
FADE TO:
INT. MASTER BEDROOM – HOURS LATER
The alarm clock turns to 2:46 in the morning. Camera pans over to Mike. He’s shaking in bed. He’s having the same nightmare.
CUT TO:
EXT. DREAM SEQUENCE – WOODS – NIGHT
Indians dance and chant over a large bon fire. They tear apart people, eating and cooking their flesh.
CUT TO:
INT. MASTER BEDROOM – MOMENTS LATER
Mike wakes up in a cold sweat. He sits up and arches his back over, staring down at the floor boards.
FADE TO:
EXT. FRONT PORCH – DAY
Swinging back and forth in the red rocking chair, Gabby holds her coffee mug firmly in both hands, sipping its wakening smoothness.
She pulls back, steam rolling up her face. She watches Mike in the front yard, throwing a ball in the air, letting their dog Trevor catch it with his teeth.
Mike laughs and gets down on his knees, acting like a canine himself. He hurls towards the dog, pushing it to the ground. Trevor retaliates by jumping onto his back. Mike laughs again, Trevor starts to bite softly onto his neck.
MIKE
Ok, ok. You win. You win, Trevor.
Mike gets up and Trevor releases his grip.
From the porch, Gabby gets up out of the rocking chair.
GABBY
(Yelling)
Mike, I’m going to the backyard to plant.
Mike throws his attention to her.
MIKE
Ok, honey. I’ll be back there in a minute.
Gabby exits into the house.
CUT TO:
EXT. FRONT YARD – DAY
Mike walks towards the old deteriorating shed next to the graveled driveway. His walking becomes more heavy with every step and he breaths harshly. He stops in his tracks, takes a deep breath, waits, and continues on to the door.
CUT TO:
INT. SHED – DIM
The door creaks open as if it would fall of its hinges at any given time… the sort of rusty sounds you’d hear at a condemned building.
Mike’s a bit creeped out by it, but he forgets it. He looks around the shed and starts noticing different objects, stuff he’s never put into the shed. He picks them up, studies them, and sets them back down.
MIKE
What the hell?
A strange sound is heard in the dark corner in the back. Mike directs his attention to it, walking forward with flashlight he had just picked up. He turns it on, shining it to the corner and there it is, leaning to the wall… a blood stained axe.
Mike’s hair stands on end and he runs out of the shed.
CUT TO:
EXT. OUTSIDE OF SHED – DAY
Mike leans over toward the grass as if he is going to vomit. He inhales deeply.
Gabby is seen waving her hand the in the air back in front of the house.
GABBY
Mike, are you getting the trowel?
Mike doesn’t say anything, he just keeps breathing harshly.
GABBY
Mike? Are you ok?
MIKE
Yes, I’m getting them, baby. I’m getting them.
He walks back into the shed, a little disturbed.
CUT TO:
EXT. BACKYARD GARDEN – DAY
Gabby is working steadily in her lush garden, planting Iris flowers across the mulch with her hands. She takes the trowel and digs out some more mulch, setting it onto a clump beside the hole. The breeze picks up, flowing through her hair. She looks to her side and sees a swing, blowing with the breeze. She closes her eyes, remembering something in the past.
CUT TO:
EXT. DREAM-LIKE MEMORIES
The blowing swing fades to a different type of swing in a different type of location. In the swing is her daughter, Christine, at age 5. She’s giggling with laughter and pulls her legs back harder, making it swing faster.
Gabby and Mike are watching her from the tree, their faces spread out with a gentle smile. It’s a very happy scene, something you’d see every time your life was going right for you.
Suddenly, Christine falls out of the swing. In slow motion, Mike and Gabby’s smiles fade, and they run to her aid. Her body is still falling, spinning…
Gabby screams… Mike pushes forward… but it’s like a dream, they can’t reach her fast enough…
The location around them changes. They are someplace else; a party is around them.
It’s in a park full of kids and relatives. It’s Christine’s birthday party. Somehow, she escapes the crowd and the vision of Gabby and Mike. They run faster, but still slow to us, pushing away people in the process.
George sees from the corner of his eye Christine running to the road, a car up the hill is speeding down toward her.
Mike screams.
CUT TO:
EXT. BACKYARD GARDEN – DAY
The breeze stops. Gabby’s eyes get red, on the verge of tears. And then, immediately following, the swing on the tree starts swinging… without the wind. It distorts in awkward positions and a giggling is echoing, like it is coming from the back of her mind.
A hand touches her shoulder. She jumps up and screams.
Mike stares down at her with a weird expression.
MIKE
What the hell is wrong with you?
Gabby gets up, wiping away some wetness from her cheeks.
GABBY
Nothing, just stay away from me!
She turns and walks to the stairs that go up to the deck of the cabin.
MIKE
(Sarcastically)
That’s right; I’m the cause of ill-will around here. I always have been!
He kneels down before the flowers and takes the trowel in his right hand.
Immediately, after a snapping of branches, Mike twists his body so fast that it seems almost cartoon-ish.
He focuses on those tree limbs moving in the clear blue sky. The tree tops do not seem right. Their movement looks as if they are moving against the breeze. Strangely swaying as if they were more than just alive… intelligent. But that’s crazy, even for a child.
Nevertheless, Mike wonders it. He sets the trowel to the grass, and gets up from his spot, moving into the woods.
Again, like the first time he was in there, he feels watched. The trees are two open for someone to conceal themselves from his sight, so it doesn’t make sense.
He notices, what looks like from his point of view, two stones sitting up from the ground. He wonders again, and continues toward them.
Finally, when he reaches them, he notices their shape. They’re graveyard stones. It is quite odd for them to be out here in the forest like this.
As he wipes away the grime and vines, he stumbles back, startled by a sight he didn’t think he would ever see. The names on the stones were Gabby Henderson and Mike Henderson. They can’t be there. He looks again, this time, being so frightened, he runs away.
As he heads back up the small hill toward the garden, a familiar figure appears. It is Robert Hardy, the strange man who appeared at the door yesterday.
ROBERT
What did you see? You saw the tomb stones didn’t you?
Mike sprints up to him in rage, takes him by his blue jean jacket, and lifts him up, pinning his back against a tree.
MIKE
You put that there you sick fuck? Are you some kind of murderous psychotic son of bitch?
Robert grunts.
ROBERT
(Sounding Patient)
I didn’t put them there. I saw them, but I didn’t put them there. Look, please… don’t touch me. Don’t make contact with me. I’m not here to harm you or your wife. I’m only here to help. I’m here to help.
Mike tries not to make a bigger scene, maybe Gabby would hear them. He slowly puts him down.
MIKE
I’ll give you five minutes to explain yourself and then, you’re gone.
Robert doesn’t really expect this change of tone, so he tries to remember what to say.
ROBERT
Ok – I have – lived in this part of town for years now. Years. I’ve witnessed stuff that I can’t explain. Not even scientifically. Well, sort of scientifically.
He pauses, his countenance changing, starting over his story.
ROBERT (cont’d) I’ll be perfectly frank with you. There’s something wrong with your house. There are spirits lingering there for a strange reason. Evil spirits and they feed on your angers. They feed on anything that is considered sin. They’ll try to rip the good out of you two. I’ve got this gift; I see things. I see things before they happen, I see things while they’re happening. It doesn’t matter which way; I know what’s going on in this town. I saw those stones before you saw them and I felt your wife’s recent grief before she felt it. I’ve watched, for years, as people went and did what they did before they did them. I’ve known about the deaths in this house. I knew about them before anyone. Even the last family that lived here, I knew their fate. And now I have regret because I didn’t think there was a chance I could stop what I see. But I want to try. I really want to try, Mike. If you just let me… I’ve seen something horrible that could happen you two. Something I don’t want happening. I want to stop it… because I know there’s a chance. There’s a chance to save you.
Mike’s anger has depressed and he begins to be open minded.
ROBERT (cont’d)
We’re both adults and we can discuss this in a very mature manner. Now, have you seen things?
Mike nods.
ROBERT (cont’d) Can they be explained?
Mike waits a while, straining to keep the answer from him. He’s afraid to believe but… he shakes his head.
MIKE
How do you know for sure that there are ghosts here?
ROBERT
I can’t convince you, Mike.
Mike nods again.
ROBERT (cont’d)
But I know people who can.
CUT TO:
EXT. NASHVILLE – OUTDOORS RESTAURANT – DAY
Sitting with Mike and Robert, at a table with an umbrella hovering over it, is a sharp dressed man who we’ll come to know by as NICK WILSON, head of the Paranormal Observing Investigators (P.O.I.). His leather jacket scrunches as he leans over to Mike.
NICK
The most common misconception to the public is the classes of ghosts. There’s the regular haunting where spirits are left in the location they died in. The second is poltergeist; spirits who bombard a house or location. They try to take over it. They’re extremely territorial ghosts. Then, the third and final ones are demons. They try to possess the body of a human.
Nick takes a sip of his drink and sets it back down on the plastic table.
NICK (cont’d)
What would you classify yours?
MIKE
I don’t… I don’t know exactly. I’ve researched quite a bit on the subject of ghosts, but it’s too random to tell. I do know that people have died tragically in the cabin.
Nick stares at Robert and then back to Mike.
NICK
Normally I don’t do this, but because Robert is a friend of mine, I’m willing to cut the price in half for you people. Robert has some kind of hunch, and we do try to take that seriously.
MIKE
I appreciate it. But, how exactly will you be doing this investigation.
NICK
Well, we operate on one night from ten o’ clock P.M. to six o’ clock A.M. We usually pack up everything at around five thirty. What we do as a group is we gather evidence from video cameras set up in each separate room you have, audio evidence which we usually pick up EVPs, and we take all that evidence and we look and listen to them the next day. All hours of it. We’ll come back and give you our conclusion.
MIKE
What are EVPs?
NICK
EVPs are Electronic Voice Phenomena. Some cases we’ve done we’ve actually picked up voices of the spirits. We can contact and listen to their responses. It’s normal if there’s a haunting, but I’m not saying just because we don’t have it doesn’t mean the place isn’t haunted. Sometimes they don’t answer at all. It’s all according to how aggressive they are, I guess.
MIKE
I want to know if I’m crazy or not as soon as possible.
NICK
Do you want it tonight? We’re not being booked yet. I doubt we will be booked anytime soon.
MIKE
I would like it. The problem is Gabby.
NICK
Gabby?
Robert finally gets in the conversation.
ROBERT
Gabby is his wife. She’s not as open minded as he is. She might cause some trouble for you guys.
NICK
I can understand where Gabby will come from.
(To Mike)
Do you think you could get her to go somewhere for the night?
MIKE
I have no clue. I can’t think of any place she would want to go at this late of a notice, except of course – her sister’s house.
NICK
Her sister lives in this area?
MIKE
Yeah. They’re very close. It’s one of the reasons she liked settling here in Tennessee. I can call her sister and arrange it.
NICK
If you can think up a reason, everything could go quite well.
Suddenly, Mike’s not so certain about this whole situation by the expression on his face. He gets up from his chair.
MIKE
You know…I don’t know now if I want to go through with this.
ROBERT
We can always cut right to the chase and try to get them out of the house.
MIKE
No, I’m not even sure if I have ghosts. It could all be in my head.
ROBERT
Mike, you’ve got to trust me on this.
Mike suddenly looses his temper.
MIKE
(Yelling)
Trust you, I don’t even know you!
A few restaurant attendees stare back and talk amongst themselves.
MIKE (cont’d)
I came with you because I thought I had a problem, and now I don’t think I do. I want to go home.
Robert hisses.
ROBERT
It’s already luring you back, isn’t it?
Mike throws down his napkin at the table.
MIKE
I want to go home.
He leaves out the door. Nick shrugs.
NICK
Can’t control what he wants, Robert.
ROBERT
This is dangerous. Very dangerous.
NICK
Would you like me to keep an eye out for him?
ROBERT
(Sighing)
Hmmm… No…
Robert stares out the window.
MR. FLEMMING (V.O.)
Son of a bitch, Mike. You were supposed to call me back three days ago. I left messages on the answering machine.
FADE TO:
INT. MIKE’S OFFICE – NOON
Beams of sunlight hit Mike’s face; the light is coming from the small spaces of the blinds on the window.
His eyes look tired, and his mind seems trapped.
MIKE
So much has been happening lately, I just forgot to call back.
MR. FLEMMING (V.O.)
You don’t do that to me, damn it!
Mike doesn’t react to the language, he’s too spaced out.
MR. FLEMMING (V.O.)
I’m sorry, Mike, I lost my temper. You just got to understand my feelings on this matter.
CUT TO:
INT. PENTHOUSE – SUNSET
Sitting in his lazy recliner, Mr. Flemming checks his watch.
MR. FLEMMING
I just haven’t got the time for you. Not as much as I used to have. Listen, I’ve got you until January of next year to finish the novel.
CUT TO:
INT. MIKE’S OFFICE – AFTERNOON
Mike jumps up with excitement.
MIKE
Yes!!! How’d you do it?
MR. FLEMMING (V.O.)
Some white lies did the trick. I really don’t know what to expect from your novel, but it better meet up with what I told them back there.
MIKE
Don’t worry about that, Mr. Flemming.
MR. FLEMMING (V.O.)
Don’t make me!
MIKE
Thank you for all your help. I really do appreciate it.
MR. FLEMMING (V.O.)
Just thank God you still have a job.
MIKE
Well, I’m God around here, so.
MR. FLEMMING (V.O.)
When you get half way through the story, you call me. I can’t hold them off much longer. I must have a layout of what you’re doing and they must be pleased.
Mike smiles enthusiastically.
MIKE
No problem.
MR. FLEMMING (V.O.)
Ok, see you then.
MIKE
Ditto.
Mike hangs up the phone.
CUT TO:
INT. MIKE’S OFFICE – AFTERNOON
The camera pans from the stairs to the desk where Mike is slumped over asleep.
The typewriter’s SPACE key presses down until the top part shifts over and rings.
Mike is suddenly thrown back to consciousness. He stares around, trying to remember where he is. A dark tall figure appears to the right of him, near a window. It does not move.
MIKE
Who are you? What are you?
Again, it stays in position.
MIKE (cont’d)
Come forward!
The figure begins to move toward him, the shadow dropping down to about two and a half feet. The figure is unveiled to the light: his five year old daughter Christine stares at him with cold completely black eyes.
Mike can’t believe his eyes.
Suddenly, Christine eye balls fall out and her face squishes in, forming a tire track, blood oozing out from the cracks.
He cries out.
MIKE
You MOTHER FUCKER!
His voice echoes out until we –
CROSS FADE TO:
INT. MASTER BEDROOM – NIGHT
Mike is sitting at the foot of his bed.
MIKE
I’m talking about something that’s been in the house for a long time, maybe in this area… far before the house was built. I’m talking about something not normal.
Gabby shakes her head.
MIKE (cont’d)
Ghosts, Gabby! I’m talking about ghosts!
Gabby stands back.
GABBY
Stop acting like a nut, Mike! You saw something, ok? But you saw it because…
She stops talking, looks down to the floor. He realizes.
MIKE
Oh. Uh huh! Say it! Say what you were just about to say. I saw it because of Christine. That’s what you were going to say, Gabby! I know that’s what you were going to say! I know because I’ve lived with you for eight fucking years!
GABBY
It’s so logical!
Mike gets up and paces back and forth from the bed to the drawers.
MIKE
I was scared shitless. The thought of my daughter had not crossed my damned mind until the incident.
GABBY
It’s not that easy, Mike. It’s psychological.
MIKE
Fuck the doctors. I know what I saw was real. And I know it wasn’t Christine.
GABBY
They said this would happen, Mike. They said it would be a matter of time.
Mike goes up to her, a little more personal. We can see their reflection in the mirror behind Gabby.
MIKE
They were wrong, Gab. You and I said that ourselves. Besides, you know just as well as I, that if it were to happen, it would happen to you too!
Suddenly, as Mike goes back to the bed. The reflection has him still standing there. Their reflections look at each other and then crack an evil smile towards the camera, before we pan to Gabby following Mike to the bed.
GABBY
You are writing a horror story. You are stressed. The result is you combining all these elements together and now you can’t distinguish what is real.
MIKE
Suppose you are right, Gab. Does that also explain to you the strange shit going on around here anyway? The earthquake… The other day when I was with Trevor…
GABBY
You never told me what happened.
MIKE
That’s because I was afraid you’d be doing the same damn thing you are doing now. And I didn’t want to believe it myself. Something’s brought us here. I don’t know why, but it has. And I feel like, every time I turn the corner, something’s watching me. Something’s waiting to kill me. And I can’t explain away those feelings and sightings other than bringing up the obvious conclusion.
Gabby sits down at the table. She sighs, takes a sip of water from a nearby glass container.
GABBY
You know I can’t believe that.
MIKE
And you know I won’t give in to your rationalizations.
Gabby sighs.
CUT TO:
INT. MASTER BEDROOM – HOURS LATER
Both Mike and Gabby are asleep. Their dog Tevor is awaken by a strange sound in the room.
Trevor moans. Shadows begin to move about the room in an unnatural manner. The dog gets up from his small bed and starts to growl.
Gabby wakes up slowly. She sets up in bed, hearing Trevor.
GABBY
What’s wrong, boy? You see something?
In an instant, the dog jumps up on the bed and attacks her. She’s totally caught off guard. Trevor wraps his mouth around her thigh and begins to bite down hard.
Mike falls out of bed from Gabby’s horrific screams. He gets up, his eyes adjusting to the darkness.
GABBY (cont’d)
MIKE, HELP ME!
Mike only sees a wild animal on her and takes out a gun from one of the drawers. He shoots the animal in the head. It drops dead.
He runs to turn the lights on. As soon as they come up, Mike and Gabby gasp. Blood is all over the bed sheets… and so is Trevor.
CUT TO:
INT. HOSPITAL – EARLY MORNING
The doctor stands over the bed, Gabby’s leg all wrapped up in white.
DOCTOR
She was very lucky. If that dog had anymore time, it would have ruptured your femoral artery and she would have bled to death.
MIKE
Thank you, doctor.
The doctor leaves the room. Mike is sitting in a chair next to her bed. He wipes his eyes.
GABBY
I’m ok, now, Mike.
Gabby holds his hand.
MIKE
Why’d he do it?
GABBY
Maybe he went rabid.
MIKE
He hadn’t foamed at the mouth.
GABBY
Well, I don’t know then.
Mike shakes his head.
MIKE
You could have died, Gabby.
GABBY
I know, baby, but I’m ok. See?
He closes his eyes.
GABBY (cont’d)
I’m more worried about you.
He’s startled.
MIKE
Why is that?
GABBY
(Changing her tone)
Why did you have a gun, Mike?
Mike sets up in his chair.
MIKE
What do you mean? Why wouldn’t I? If someone comes into our house -
GABBY
No, Mike. I’ve never known you to have a gun and if you did happen to get one why was I not instructed earlier about it?
MIKE
Do I have to tell you everything that I do every day?
GABBY
Why was there only one bullet in it?
He says nothing.
GABBY (cont’d)
I mean, if you’re going to load a gun, why load it with one?
Mike gets up from his seat, walks to the window as the rain outside begins to pour.
MIKE
(Sighing)
Are you sure you want to hear this?
(Beginning)
A month ago, I was really feeling it. She was in my mind twenty four/seven. You weren’t talking to me much. My book sales were at its lowest. I was feeling very alone…in this world.
(Looks back toward Gabby)
Needless to say, living didn’t seem worthwhile to me anymore. I got a gun from the pawn shop near us, bought one bullet, and set up the event of my lifetime in my car in the back of an alley.
(Goes back to the chair, stares down)
I was ready to not live anymore.
Gabby’s speechless.
MIKE (cont’d)
Anyway, my cell phone rang…
(Breaks down)
…And it was you! You were on the phone and you said we ought to… buy a house…
(Chuckles a little but is still crying)
…if it hadn’t have been for your call, I wouldn’t be alive today.
Gabby starts to cry.
GABBY
Come here, Mike. Come here.
Gabby consoles him.
GABBY (cont’d)
I love you. I love you so much.
He continues to cry.
FADE TO:
EXT. HOSPITAL PARKING LOT – DAY
Mike helps the handicapped Gabby to the truck. He takes her crutches and throws them in the truck bed. Shutting her door, he maneuvers to his.
CUT TO:
EXT. AERIAL VIEW – DAY
Their truck picks up speed on the road. The camera pans from them to the cabin up ahead as the truck heads into the long graveled driveway.
We see the house for what it truly is… EVIL
And the windows glow red as we –
FADE TO:
EXT. HOUSE YARD – DAY
Mike helps his wife out of the truck and gives her back the crutches. They kiss passionately. Finally, they depart to the house.
CUT TO:
EXT. PORCH – DAY
They pass by the red chairs and then through the door. Camera pans back to one of the red chairs and slowly goes forward.
Suddenly, the chair rocks back and forth.
QUICK CUT TO:
Two more red chairs on the other side start to rock furiously.
The door that Mike and Gabby just went through shuts itself and cracks down the middle. The sound of the shut echoes through the woods… sealing the fate that awaits the Hendersons.
FADE TO:
EXT. OUTSIDE OF HOUSE – RAIN
The rain pours down on the window that Mike is staring out of.
CUT TO:
INT. MASTER BEDROOM – RAIN
He turns to Gabby, who is sweating and coughing.
MIKE
Are you hurting?
She nods. He takes out the pills from his back pocket.
MIKE (cont’d)
I’m so sorry, hon.
He gives her the pills and a cup of water to sip on.
MIKE (cont’d)
Just lay back and call me if you need anything. Here…
He hands her a bell.
MIKE (cont’d)
Ring it. Ok?
She nods again. He leaves out the bedroom door.
CUT TO:
INT. OFFICE ROOM – RAINY
Mike tears off a paper from the typewriter and hurries to his computer. He skims over the work, smiles, and starts typing it up into the computer.
CUT TO:
INT. MASTER BEDROOM – CONTINUOUS
Gabby tosses in bed as much as she can with a bandaged leg. She tries to shut her eyes, but can’t get any rest. She then turns her head to the window and sees, to her surprise, Mike outside with black eyes. He’s emotionless and floating in the air.
She shuts her eyes again. Seconds later, she opens them back up to reveal nothing there.
CUT TO:
INT. OFFICE ROOM – CONTINUOUS
Mike throws the typewriter to the ground.
MIKE
Give me some fucking story!
He throws a wad of paper across the room.
CUT TO:
INT. MASTER BEDROOM – CONTINUOUS
Gabby’s frightfulness is taking over.
GABBY
(Whispering)
Mike… Mike… Mike…
CUT TO:
INT. OFFICE ROOM – CONTINUOUS
Mike paces back and forth.
MIKE
(Speaking of Gabby)
Why weren’t you there? You could have stopped her! She could be alive! Fucking bitch!
CUT TO:
INT. MASTER BEDROOM – CONTINUOUS
Gabby sets up out of bed.
GABBY
She passed right by you!
CUT TO:
INT. OFFICE ROOM - CONTINUOUS
Mike stomps on the floor.
MIKE
(Good coming out)
You lie!
He holds his hands over his ears.
MIKE (cont’d)
I’m not listening! Not to you! I can’t do it!
Suddenly, the small television in the room comes on. It’s all static at first as Mike slowly heads to the recliner as if mesmerized by the screen, but it then changes to a man with brown hair. He looks quite familiar to us; reminds us of the man in the beginning of the story.
His name is JEROLD FORD.
FORD
You’re wife thinks you did it. That you killed your own daughter. You must put her in her place, like I did my two daughters when they accused me of killing their mother. I didn’t want to do it, Mike. But the house… it knew what was best for me.
CUT TO:
INT. MASTER BEDROOM – CONTINUOUS
Gabby stares forward, her face blank. She’s envisioning Mike with black eyes putting the last patch of dirt over her daughter’s grave site. Mike throws a black rose on top and stares at her with a horrific grin. He laughs.
CUT TO:
INT. OFFICE ROOM – CONTINUOUS
Suddenly, Robert shows up on the screen. Mike is in shock about all of this.
ROBERT
I figured out what was missing in your life, Mike. It’s you! You’re wife’s controlling your life. She’s trying to turn you against yourself. There’s one thing you must do. Kill her!
CUT TO:
INT. MASTER BEDROOM – CONTINUOUS
The floor from the hallway begins to creak. She notices.
GABBY
Mike… Mike… Mike?
CUT TO:
INT. OFFICE SCENE – CONTINUOUS
Robert finishes.
ROBERT
It’s the only option. Listen to the house, Mike.
It knows what you need the most. It knows… what you want! You will soon see the monster she really is!
Mike gets to his knees on the floor. Spittle drops from his mouth. His eyes are blood shot. He covers his ears again.
CUT TO:
INT. MASTER BEDROOM – CONTINUOUS
A foot enters the door. Camera pans up to reveal Mike… but it’s not him. His black eyes turn to red embers. His mouth abnormally widens, blood gushing out from his gums.
MIKE GHOST
(Scary and deep voice)
No! NOT MIKE! NOT MIKE!
Gabby reaches for her crutches, but they fall to the floor when her fingers slip around them. She tries to scream, but nothing comes out. Just gasps.
CUT TO:
INT. OFFICE SCENE – CONTINUOUS
Mike bangs his head against the hard wood floor.
MIKE
You can’t make me! It’s not right!
He hears his wife’s screams. Mike rushes to her aid.
CUT TO:
INT. MASTER BEDROOM - CONTINUOUS
The ghostly hand cups over her mouth and begins to slowly tighten. Her screams become muffled noises.
Just then, Mike busts down the door and the MIKE GHOST disappears from sight in a green mist.
Gabby has cuts all over her face. They begin to bleed. Mike sits down on the bed and comforts her.
MIKE
Are you ok? Are you ok? Gab, answer me! Are you ok?
Her eyes are in a fixed position. She starts to shake uncontrollably.
CUT TO:
INT. FOYER – SUNSET
Mike carries Gabby down the stairs in his arms. He makes it to the door and pushes it open.
CUT TO:
EXT. PORCH – CONTINUOUS
They see the sun beginning to set behind the green leaves. But they are eventually shocked when trees with no vegetation begin to lower down over their truck.
The branches squeeze around the vehicle, one limb even goes through the two windows.
GABBY
No way this is happening.
MIKE
This is not good.
He backs up into the house with her.
CUT TO:
INT. CHURCH – SUNSET
Robert Hardy sits at a bench, waiting for someone to approach him. The preacher, Martin Gary, puts his hand on Robert’s shoulder.
MARTIN
What’s wrong, Robert?
He tenses up.
ROBERT
Please don’t touch my skin.
MARTIN
I’m not going to touch your skin. Now, what is troubling you?
ROBERT
There’s a married couple I know struggling with their past.
Martin nods.
MARTIN
Was it a tragedy?
ROBERT
Yes. There’s an anger deep down inside both of them. An anger that can not be contained without help.
MARTIN
Is their faith shaken?
ROBERT
I believe it’s been shaken their whole lives. But I can’t be certain. (Gets more serious)
They’re in a house where demons reside. They won’t be able to get out unless they believe they can.
MARTIN
You’re gift, Robert, shouldn’t be buried in the earth.
God gave it to you for a purpose.
Robert agrees with a sigh.
ROBERT
I’ve never been able to change the future.
MARTIN
Maybe the future isn’t supposed to be changed. Maybe it’s merely meant to be shown.
Robert looks at him with clarity.
CUT TO:
INT. DEN – NIGHT
Mike sets Gabby down onto the couch.
MIKE
I got to go.
He begins to move. She grabs his arm tightly.
GABBY
(Crying and Pleading)
Mike, don’t leave me! Please!
MIKE
I have to find out a way to stop this!
He pulls her arm away. She sobs.
GABBY
Mike, please… Come back!
CUT TO:
EXT. FRONT YARD – NIGHT
Mike walks across the yard coolly. He eyes the truck, the branches moving and following his direction. He heads toward the shed.
CUT TO:
EXT. OUTSIDE SHED – CONTINUOUS
Stopping right in front, Mike gets a glimpse of white light protruding from the gabs of the old rugged shed. The voices begin.
VOICES
(Multiple women)
Don’t come in here, Mikey! You will be damned! You will suffer!
They continue on as Mike sees the axe laying on the ground. He picks it up, stares at the shed, then, hacks away at the wood.
After he makes a gaping hole, he moves in without hesitation.
CUT TO:
INT. DEN – NIGHT
Gabby is going insane. Her eyes dart around the room, hearing footsteps and pounding above the ceiling.
She hears the front door burst open. She screams, thinking the house is coming to get her, but Mike shows up with a heavy shovel over his shoulder.
GABBY
Mike! Please, let’s go! Let’s take our chances!
He kneels down at her.
MIKE
We can’t! This is our house! They can’t take our house! I’m going to stop them…
GABBY
(Grabing at him again)
Mike… please!
He pulls away, heads to the corridor.
CUT TO:
INT. BASEMENT STAIRWAY – DIM
Mike switches on the lights. The stairs and room are dim down there, not exactly as bright has he hoped they would be. He gulps, descends to the basement.
CUT TO:
INT. BASMENT – DIM
Feeling the carpet floor with his hand, he suddenly takes a blade to it and rips it apart. He creates a cut out square and pulls the remaining carpet from the floor. Tossing it aside, he now feels what was underneath all this time: Hardwood Floor.
He throws the shovel straight down into it, created a small hole. He then takes his axe and hacks away again, enlarging the hole.
CUT TO:
EXT. AERIAL VIEW – NIGHT
Robert’s car is driving down the road. Camera pans from his car to the house up ahead, the windows glowing red and yellow.
CUT TO:
INT. ROBERT’S VEHICLE – CONTINUOUS
He’s nervous and paranoid as he taps on his steering wheel with his fingers.
ROBERT
(Trailing off)
Hang on, guys. I’m on my way… I’m on my way.
CUT TO:
EXT. DRIVEWAY – CONTINUOUS
The car hits gains speed, throwing gravel in the air. Suddenly, Jerold Ford appears in front of the car, wielding an axe and raising it in the air.
CUT TO:
INT. ROBERT’S VEHICLE – CONTINUOUS
Robert swerves the car off the road and into the woods.
CUT TO:
EXT. WOODS – CONTINUOUS
The vehicle slams into a large tree, throwing Robert completely out of the front windshield. He lands in a patch of grass, blood dripping off his forehead.
FADE OUT:
CUT TO:
INT. BASMENT – DIM
There are grunts coming from the bottom of the hole. A big pile of dirt is to the right, while the axe lay to the left. Mike is down below frantically digging. His eyes are bloodshot.
MIKE
My house… my house…
CUT TO:
EXT. WOODS – NIGHT
Robert awakens, dazed and confused on where he is. His surrounding is cold and dark. He shivers with fear. Something is watching him. He can’t explain it. Quickly, he gets up and runs through the forest.
He trips and falls into a small mud puddle. He gets up though, his shoes slipping on it. Running as fast as he can, he doesn’t look back – until…
He still feels watched. What is it? Where is it coming from? Why does it feel… it’s all around him!
He hears the crunching of branches. It starts at the tree tops and works its way down to the thick bases of the wood. Whispers, not from a wind, but from everywhere begin to sound off in his ears.
He knows what’s happening; he just doesn’t want to believe it.
Suddenly, roots from the trees begin to wiggle out of the dirt and grass. Robert is scared stiff, he can’t move. If he moves, it might mean certain death.
He watches in horror as the trees begin to move toward him. We can’t count how many, it’s so dark that it’s obscuring them a little. But they are moving. Some are slithering toward him like a snake very slowly on the ground. Others are either limply dragging from the base and roots, making a sound of thumps, or they just stand in position, tearing around the ground.
Robert makes a run for it. The branches up top start to bleed, dripping blood onto Robert like a rain storm.
He can make the whispers out now, just a little audible.
WHISPERS
Come back. Come back. Come back, Robert. We just want to play. We want to have you. We want to have you. We want to have you. We want to have you, Robert. Please come with us. Be our friend. Come back. Come Back.
The whispers repeat the same things, all in the same tones at the same time. Their chants crawl up Robert’s spine as he gains more speed through the woods.
One of the trees beside him completely falls forward, blocking his way. He turns back around, now with a full frightful view of the dozens of trees coming for him. The bark of their bases look like facial expressions made from hell.
He sees thousands of branches and roots crawling on the ground. They’re going fast and so he must do also. He continues to run again, passing the fallen tree. More blood drips down on him, some of it going into his mouth, but he doesn’t care. He’s keeps going.
Now the trees behind him are making small grunts. Robert can’t contain his fear any longer. He screams out, crying and pushing all the branches away from his face. One of the nearest tree limbs trips him and he falls into a ditch of roots.
WHISPERS
Come to us. Come to us. We… Want…
Robert’s legs and arms fling around. The trees stoop down and loom over him. Robert keeps kicking and screaming as they keep coming forward, never stopping, never ceasing.
VOICES
YOU!
FADE OUT:
CUT TO:
INT. BASMENT – DIM
The hole which Mike is digging is already five or six feet deep. He hits a hard object with his shovel. Pausing, Mike’s eyes glaze over. Is it the body he’s searching for? The dead girl that they never found?
He reaches down into the soft dirt with his right hand. It goes deep, penetrating to the point where the dirt comes up to his elbow.
We see his face change, indicating he has found something. As he pulls it out, we find out that it’s a human hand, fully fleshed, just dirty. He keeps pulling, the arm part now coming out.
Then something strange happens… as he keeps pulling, he wonders when he’s going to see the end of the arm… it just continues on. Mike starts to sob.
MIKE
What the fuck! What the fuck!
The arm starts to pull him back into the dirt. Its elasticity makes it seem like some long threatening snake.
Mike screams.
MIKE
Gabby! Help me! GABBY! GABBY!
He’s thrown into the dirt, almost going head first into the new hole he has created from the arm. Finally, he escapes the grasp. With anger, Mike takes the shovel and starts beating down upon the dirt.
CUT TO:
INT. DEN – NIGHT
Gabby’s body hits the floor, her hands trying to catch onto her crutch as it flies away from her. She cries. The crutch slides across the hardwood floor, to the corridor, and then turns the corner into the basement stairway.
She crawls on the floor as a blurred Indian slowly walks passed her from behind. She never even notices, too afraid of the many odd noises around her.
CUT TO:
INT. BASMENT – DIM
Mike stares at an object in the dirt. He can’t make it out, so he bends over closer, grabbing a hold of it with his right hand.
It’s a tomahawk. His eyes turn black.
CUT TO:
INT. KITCHEN - NIGHT
A hand grips the handle of a large cutting knife from the holder, slashes it out, and turns it forward. Gabby stares into it.
Her eyes turn black.
CUT TO:
INT. BASEMENT STAIRWAY – DARK
Gabby’s silhouette appears above the stairs. The knife glares from the light emitted from below in the basement. She descends slowly, gripping the bars for support. Her eyes aren’t black anymore, but are guilt ridden. Not for herself… but her husband.
CUT TO:
INT. BASMENT – CONTINUOUS
At the foot of the steps, she find her crutch and takes it up. She then stares to her side at the hole in the floor and the stillness of her husband standing in front of it, his back turned at her.
She approaches, pushing the knife forward.
GABBY
Mike? Mike?
Camera focuses on her then pans slowly over to the still and standing body. Moments later, it turns inhumanly, quickly around, as if the torso and legs had never twisted. And the face had a gaping hole in it from the forehead to the chin. The whole was curved inward at the top making it seem like some huge monstrous grin. The eyes were gone, and at the corners of the evil grin were small eyebrows. The whole thing was incomprehensible to detail, and too horrific to imagine to anyone aside from Gabby, who was witnessing it first hand.
Immediately after the sight, a strong wind picks up from behind the monster. Gabby’s crutch flies away again and she slips off the floor. She nearly cuts herself as the knife comes out of her hand and sticks to the carpet.
Monster Mike roars from the evil grin. It’s a horrendous screech. A scream so defining that Gabby covers her ears.
We then come into MIKE’S P.O.V. He’s seeing Gabby as a monster too, more into the Zombie vein. Her face is half melting off. She gets up and takes the knife into her hands.
Monster Gabby leaps forward and stabs Mike into the shoulder. Monster Mike retaliates and begins to swing the tomahawk at her neck, but the whole basement shakes and knocks Mike off his feet.
Mike stands back up.
MIKE
You killed her. YOU KILLED MY BABY GIRL!
Monster Gabby laughs exuberantly.
GABBY’S P.O.V.
MONSTER MIKE
(Scary rotten voice)
I killed your daughter! And she’s with me now! In torturous hell! She’s my little bitch!
Gabby’s screams, crawls away. Monster Mike approaches with the tomahawk, the basement still vibrating.
MIKE’S P.O.V.
He approaches, the tomahawk shaking in his hand. Anger in his eyes like a burning flame!
MONSTER GABBY
(Scary rotten voice)
She’s still in pain! I made sure of that!
MIKE
Nooooooooo!
GABBY’S P.O.V.
Monster Mike lunges forward with the tomahawk, harsh Indian chants are heard. Gabby kicks him away and starts to crawl quickly up the stairs.
INT. BASMENT STAIRWAY – CONTINUOUS
MIKE’S P.O.V.
The zombie crawls up the stairs and looks back, eyes glowing red. Mike’s anger bursts.
NO P.O.V.
He lunges again, and the tomahawk goes straight through Gabby’s cast. She cries out in extreme pain, hits him in the face with a huge swing her fist. He falls back, tumbles down the stairs.
Gabby pulls up on the banister, and with all her effort climbs up to the top of the staircase.
INT. CORRIDOR – CONTINUOUS
At the top of the staircase inside the threshold of the door, Gabby falls, hands flat onto the floor. Suddenly, Mike is on top of her back. Her arms give way and she’s pinned.
MIKE
You thought you could get away with it, Gabby! But I knew… oh I knew… you did it! I knew you had a hand!
GABBY
You’re a monster, Mike!
The house shakes again, more violently before. They roll away from each other. More Indian chants are heard and the images of their spirit appear around Mike and Gabby. We can’t understand them, but we can pretty much assume they are telling them to kill each other.
INT. KITCHEN - CONTINUOUS
Mike’s tomahawk slides away from him. He crawls over to it and firmly grasps it again into his hands.
INT. DEN – CONTINUOUS
Gabby gets up and stands as long as she can, sees a sickle hanging from the wall, and slides it off the nail. She drops to the couch, eyeing Mike in the kitchen.
Their faces scrunch up, fire in their eyes. The anger builds. The chants continue. The action commences.
Mike speeds toward her. Gabby raises the sickle into the air, eyes focused intensely on his very move.
The tomahawk comes up. The sickle comes down. He grabs a hold of her arm, the sickle missing his left shoulder by inches. He throws down the tomahawk, but she also grabs his arm. There seems to be a power struggle now; their strength equal to each other.
The chants increase, becoming harrowingly rough and hateful.
They push each other apart. Gabby looks to the LIVING ROOM, a man standing there, axe in face.
MAN
Kill him, Gabby. Kill him for me!
Mike sees a woman hanging, half her body pulls apart.
WOMAN
Mike, she did this to me too!
MIKE
(Whispering)
I’m going to make you pay!
GABBY
You’re going to die, you bastard!
They take action again. Mike swings the tomahawk onto her other foot, taking it completely off. Gabby screams and swings the sickle across his neck. It does not cut there, but gets him on the right shoulder, cutting off a chunk of meat. He hits the side of her head with the tip of the handle of the tomahawk. She drops her head to the hardwood floor, the sickle falling away from her hand. Mike crawls to her and bends over her, raising the tomahawk.
MIKE
No more pain… no more PAIN!
The chants are now coming to a climax. The room begins to take on a red-ish glow and tint; like something out of hell.
There is not fear of death in Gabby’s eyes, only hate; Mike is the same.
Suddenly, the body of Robert Hardy falls from the ceiling rafters; his hand now resting on Mike’s right leg. His body is covered in twigs and large scratch marks. Mike is surprised, but takes only a few seconds to notice it before turning his sights on Gabby again. The tomahawk is raised further. This is it. The moment.
The tomahawk comes down...
…and sinks right into the center of Gabby’s face. She doesn’t feel a thing. She’s completely dead. Blood gushes by the gallons it seems. Mike eyes glaze over. He’s in shock. He drops the tomahawk.
CUT TO:
INT. INTERROGATION ROOM - DARK
Mike’s head is pressed up against the table. Detective Harvey Griffin, middle aged with a bald head and hair around the sides, is sitting in front of him, cigarette in his mouth.
GRIFFIN
Did you realize what you had done afterward?
Mike raises his head.
MIKE
Immediately. It was like a veil lifted from my eyes. I knew then, that I was merely a pawn for the house.
GRIFFIN
You really expect me to believe this bull shit you just told me?
MIKE
I don’t expect you to believe anything. I want to be put away. Far away. I don’t want to live anymore.
Griffin rubs his chin. Finally, he gets up from his seat.
MIKE (cont’d)
Where are you going?
The detective coolly turns back around.
GRIFFIN
I’m going to your house. I’m going to check it out. See what sense I can make out of it.
And as he turns back to the door, Mike all of a sudden is holding an axe, the very same axe that the man in this story had embedded himself with.
MIKE
I can’t let you do that.
Griffin sees it in the reflection of the tint glass beside him. He still faces the door.
GRIFFIN
(Calmly)
Mr. Henderson, where, might I ask, did you get that thing?
MIKE
(Creepy like voice)
As I mentioned in my story, the house provided me with everything I needed to have.
GRIFFIN
(Reaching for his gun)
Did it?
He pulls out his pistol, fires… but nothing comes out. Griffin pulls the trigger three more times before he figure it out. This is real. It’s all real.
Griffin rushes to the door; pounds upon the glass.
GRIFFIN
(Yelling)
HELP! HELP! HELP! HEY!
MIKE
(Approaching him)
They can’t hear you, detective!
Mike throws the axe over like a baseball bat and swings hard. Griffin’s head spirals away from his neck and bounces off the wall. The body collapses in a jumbled heap.
Mike realizes again. An emotional weight is put on him. He crumbles to the floor, the sharp axe head lay vertically, pleading him to drop his head upon. Mike answers the call.
SUDDENLY WE
CUT BACK TO:
INT. DEN – NIGHT
The tomahawk is about to come down, but something has made Mike stop. He turns to Robert’s body, his hand still on his leg. Robert had never wanted anyone to touch him. And now, Mike knew why, and so did Gabby. They had both seen the vision. And they both realized now what exactly they were missing.
Love and compassion come back to them; we can see it in their eyes.
The house catches on fire around them, raising up to the ceiling. It sizzles across the walls and dances onto the furniture.
Yet, Mike and Gabby continue to gaze into each others eyes.
Their new power comes over them and Mike slips his right arm under her neck and his left under her legs. He pulls her up off the floor as the whole room becomes inflamed.
He walks slowly to the door. Gabby holds on tight, a tear rolling off her cheek.
The Indian chants turn into screams of extreme agony as if the spirits are burning with the house.
INT. FOYER – CONTINUOUS
Mike and Gabby make it to the front door. We’d expect it to be locked but it is not. It swings open just as easily. They exit the hell they were once in.
CUT TO:
EXT. FRONT YARD – MOMENTS LATER
Mike sets her down gently. They both stare at the cabin burning before them. Then, they look back at each other, bend down and kiss.
GABBY
It’s over.
MIKE
(Agreeing)
It’s over.
FADE TO:
EXT. CEMETARY – DAY
ONE YEAR LATER
Gabby steps back from putting flowers on the tombstone. She holds Mike’s hand.
MIKE
(With sincerity)
It’s hard to put words into how grateful we are for what you did. So… we wrote down… heh… a few things.
Gabby pulls out a slip of paper. She begins to read. Mike holds on tight.
GABBY
(To the tombstone)
You… turned us away from a life of sin… and depression. You gave us life to a dead soul. And we didn’t ask for anything. Everything that night happened for a reason. And we wouldn’t have known it, if it wasn’t for you.
She puts down the piece of paper and lowers her head onto Mike’s shoulder.
MIKE
Thank you, Robert. Thank you.
Camera focuses on Robert Hardy’s grave stone.
Mike and Gabby walk away toward a small church, the sign saying GREEN HILL’S CHURCH OF CHRIST. The bells start to ring. The people begin to arrive.
WE FADE OUT:
THE END
8/17/2005 12:55:26 AM
(Updated: 8/17/2005 6:04:58 PM)
(Updated: 8/17/2005 6:05:33 PM)
(Updated: 8/17/2005 6:11:28 PM)
(Updated: 8/18/2005 10:58:51 PM)
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