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MATTHEW CHISHOLM AND ALEX COOPER PRESENT "An Anthology of Short Stories" Part I by: Matthew Chisholm and Alex Cooper TABLE OF CONTENTS: PART I. . . . . . . . . . . . . MOBILE PHONE PART II. . . . . . . . . . . . THE CURIOUS CASE OF IAN MCGRAW PART III. . . . . . . . . . . . SNOW GLOBE PART IV. . . . . . . . . . . . THE HOLIDAY PART V. . . . . . . . . . . . . KATHY KEYBOARDS PART VI. . . . . . . . . . . . THE DREAM DISEASE ALEX COOPER'S M O B I L E P H O N E - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - FADE IN: INT. BEDROOM - NIGHT The moon glows through the open bedroom window illuminating a man in his bed. The wind blows lightly at the curtains covering the window. The man is still lying on his back and the sheet is laying perfectly over him. When we take a closer look it seems as though heís not breathing. That is until his phone beside him rings. The phones ring gets louder as it cover the camera view. It consumes all other sounds and soon enough it wakes the man, he looks over to the phone. MAN Shut up. The phone continues to ring. MAN Shut Up! The phone suddenly stops ringing. The man looks extremely satisfied and closes his eyes to go back to sleep. The phone louder than ever rings again. The man opens his eyes and looks to the phone. EXT. ROAD SIDE PATH - NIGHT A hobo walks down the road with a trolley full of cans and his belongings. The clattering of the trolleys contents awakes people in the houses he walks by and angry shouts come from them. CUT TO: A car is driving down the road with two teenage occupants, they are laughing and joking around till one of them spot the hobo pushing along his trolley. He taps his friend on the shoulder and points to the hobo, the other boy smiles. BOY 1 Lets swerve him, man. BOY 2 Lets. The boy pushes down the accelerator a touch and the car speeds up, he then aligns his steering wheel. The car gets closer and to the hobo until heís on feet away. The boy is just about to swerve out of the way of the hobo when something smashes into the windshield. The boy lets go of the wheel and shields his face. The car stays on course and the hobo sees the car coming for him. Itís to late to get out of the way. The car smashes into the hobo. The hobo gets pushed forward into his trolley, the weak trolley wheels buckle as it hits a wall. CUT TO: The man from before stands at his window, he stares down at the crash in shock. He doesnít move till he hears a familiar sound. A ringing sound shouts out from the crash. The phone lays on one of the unconscious boys sitting in the car. The man runs from his window and heads for the door. He crashes out of his door and into the hallway. He gets back on his feet and runs to the elevator. He presses the button waits for a few moments then presses it again, again and again. He kicks the elevator door and runs for the stairs. Once the man is out of view the elevator door opens. The man runs down the steps missing every few steps, every time he time he gets down a flight he smashes into the wall. He runs down his final steps and runs out into the foyer. The man smashes through the front doors and runs to the crash site. The mobile phone sound isnít audible. There are a few people surrounding the crash. The man goes from running to walking in seconds and approaches the crash site casually. MAN What happened? A couple turns to the man. WOMAN We heard the hobo come down the street, my husband was yelling at him when this car came out of no where and hit him. HUSBAND Thereís two punk kids in the car, the bastards must have been targeting him. The man puts on a shocked face and feels he should ask more questions. MAN Are the kids still alive? The woman shrugs. WOMAN We donít know, we called the ambulance. Theyíll be here in a few minutes. Do you know them? MAN Who? WOMAN The kids in the car. The man looks at the unconscious kids in the car and looks back to the lady, shakes his head, meaning no. The sound of sirens can be heard in the distance. CUT TO: The front seat of an ambulance. The driver roughly cuts street corners to get to the site. After a few sharp turns and screeches of the ambulance wheels the crash comes to view. AMBO 1 Jeez. The ambulance stops suddenly and the amboís run of the car and to the crash. One of the amboís is holding a safety kit ready to get to business. One heads for the hobo at the front of the car and the other for the two boys in the car. The ambo checks the hobo for a pulse. AMBO 1 He has no pulse. How are they? The other ambo checking the boys get interrupted by a very familiar sound. The phone rings. The phone on the boys lap ring again and again. The crowd surrounding the crash are all quite. The ambo picks up the phone and looks to his workmate. He pushes the button and holds it to his ear. AMBO 2 Hello? (beat) Who are you looking for? There is a long pause as the ambo listens to the caller on the mobile phone. Eventually he holds the phone to his chest covering the receiver. AMBO 2 Is there a GRETCH present? GRETCH holds his breath, the couple stare at him, at his pajamas, written is bold letters on his breast pocket is: GRETCH ABRAMS. FADE OUT: THE END. MATTHEW CHISHOLM'S T H E C U R I O U S C A S E O F I A N M C G R A W - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - FADE IN: EXT. BORDERVILLE - DESERT - DAY Craning high and wide over a small town in the middle of the desert. The sun beams down, heat rippling on the horizon. SUPER: BORDERVILLE, TEXAS 1872 CUT TO: INT. BORDERVILLE BARBER SHOP - DAY IAN MCGRAW leant back in a barber's chair, being shaved by LESTER OSSANA, an elderly man. IAN is a strong man, well-built with smarts and deep green eyes. There are a few other people in the barber shop, none of whom are important. IAN I don't know what's happening to this place, Lester. We got the blacks in here, we got the Jews up our asses. Heard this happened two towns over, everyone was murdered in a week. How bout that, huh? LESTER Nasty business to be sure, Mr McGraw. IAN Should not have gotten out of bed this morning, Lester. LESTER finishes shaving IAN, and he gets up. IAN Well, well, well, what'll it be this time, Lester? LESTER Now, now, Mr McGraw, I told you, your money's no good here. IAN smiles and walks out. CUT TO: EXT. BORDERVILLE BARBER SHOP - SAME IAN walks out, puts on his hat, stares disapprovingly as two African-American men walk past, nod respectfully to him. He does not return the gesture. IAN lights up a cigar, takes in a huge drag and closes his eyes. He steps out into the street, nods as an old-timer walks past and continues on down the street. He stops in the middle of the road and stares down at his feet. An African-American woman walks past. P.O.V. FALLING OBJECT We come rocketing downwards from the heavens, towards the ground and land right at IAN's feet. EXT. BORDERVILLE - STREET Something large and rounds plummets down from the sky and lands inches in front of IAN, who jumps back, stumbles and falls down onto his back. People swarm, gathering around the small crater now formed in the middle of the street. IAN leans in over the crater, reaches in and pulls out. . . A SPACE HELMET Very modern, lens cracked in several places and some fresh blood smeared along the collar. CLOSE SHOT - IAN As he studies it with absolute bewilderment. IAN What in the Holy fuck. . .? CUT TO: INT. BORDERVILLE SHERIFF'S OFFICE - LATER SHERIFF BILLY CROWE turns the space helmet over in his hands, then gently places it down in front of IAN. CROWE I honestly don't know what to tell you, Mr McGraw. I have never seen anything like this in my whole life but it sure as shit is strange. IAN This thing could have killed me, Sheriff. It was inches away from my goddamn face. I could have died. CROWE What do you expect me to do, huh? I can't arrest an inanimate object, now can I? IAN I want something done. CROWE Go home, Mr McGraw. Go and see your wife. Get some sleep. You look tired. IAN regards him curiously for a moment; then leaves. CUT TO: INT. MCGRAW HOUSE - KITCHEN - LATER Where MORGAN MCGRAW, IAN's moderately attractive wife, is doing the dishes. IAN enters through the backdoor. MORGAN drops everything, tears up and leaps into his arms, kissing him feverishly. MORGAN Oh my Dear Lord. . . I heard what happened, Ian. I thought. . . She starts kissing him more and more passionately. MORGAN I could have lost you. He pushes her violently up against the wall, rips open her blouse and pushes her dress up. She moans as she struggles to undo his belt buckle, her feet push his pants down to around his ankles. IAN positions himself, attaches his lips firmly to hers and pushes himself inside her. The first thrust, the overwhelming pleasure of his entrance, makes her gasp, her back arches, head slamming against the wall. He groans, hips gyrating as he winces and gasps. MORGAN's legs wrap around his pelvis and he swings around, throwing her down onto the wooden dinner table. She groans, head tilted back - he's sweating now. He pushes hard up against her, becoming more and more vocal and forceful until. . . IAN cums. MORGAN cums. IAN collapses onto her, chest heaving up and down, completely exhausted, still inside of her. HOLD ON THIS. FADE TO BLACK: EXT. BORDERVILLE - NIGHT The town is illuminated in the night, lights shining brightly in places. CUT TO: INT. MCGRAW HOUSE - BEDROOM IAN and MORGAN, wrapped in each other's arms, still sleeping after their intense lovemaking. CUT TO: INT. CROWE HOUSE - BEDROOM SHERIFF CROWE sound asleep with his young mistress. CUT TO: INT. OSSANA HOUSE - BEDROOM LESTER asleep peacefully, his wife rolled over on her front next to him. CUT TO: INT. MCGRAW HOUSE - BEDROOM Suddenly, out of nowhere, a huge, limp object hurtles through their roof and lands with a thump on the floor. MORGAN screams. IAN leaps up out of bed, surveys the damage. He looks over at the object that fell. CLOSE SHOT - THE ASTRONAUT Still in his silver spacesuit, blood all over his face, limp and dead, limbs bent at odd angles. Suddenly, there is a huge crash from outside. IAN races for the door. IAN Stay there! He races outside. CUT TO: EXT. MCGRAW HOUSE - NIGHT IAN comes bursting out of the house to find that another astronaut has fallen through the porch roof and onto the deck where he lies, dead and horribly disfigured. A huge WHUMP from behind him, IAN spins around. A third astronaut, this time a woman, has fallen from the sky and landed hard on the ground. Two more land on the ground behind him and soon, there is a shower of dead bodies. IT'S RAINING ASTRONAUTS. MORGAN joins IAN out on the street, frantic and crying. MOGRAN What's happening, Ian? He can't answer. More and more people have gathered, and the astronauts are falling in their dozens now. LESTER pushes his way through the crowds and joins IAN and MORGAN. They are joined by CROWE now, who all look on bewildered. CUT TO: FALLING OBJECT'S P.O.V. Another astronaut comes falling, twisting and tumbling through the air before landing on the ground in front of IAN. He swings around, frantic now. He doesn't know what to do. WOMAN (O.S.) Look out! Everyone looks skywards as AN ENORMOUS SHUTTLE comes rocketing downwards, hits the ground, taking many people with it, bounces along, demolishing buildings and finally comes to a rest with its tail pointed in the air. The townspeople gather around flabbergasted. No one says anything for the longest time, until. . . IAN I told you I shouldn't have gotten out of bed. . . They stand in silence. We PULL BACK across the streaked and starry sky as the rain of astronauts continues around us. FADE OUT: THE END. ALEX COOPER'S S N O W G L O B E - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - FADE IN: INT. LIVING ROOM - DAWN The living room is decorated with Christmas decorations; there is tinsel holding up cards around the walls and a huge Christmas tree showcased in the middle of the room. A boy is at his knees in front of the Christmas tree, he picks up his presents and looks at them but he makes no attempt to open them. He looks over his shoulder to the staircase for a moment but then averts his attention back to his presents. He sees one present sticking out from all others so he picks it up. He puts it in front of him and stares at it for a few moments with a Ďshould I open ití expression on his face. He peels on piece of sticky tape off of the presents wrapping, then another and then another. The present stares up at him, he is amazed to find that the present is a snow globe. He picks up the globe and shakes it a few times to watch the snow fall over the globes items. Eventually he gets bored of his present and looks up at the hall tree. Looking down from above the tree the kid looks small and insignificant. The boy sees a candy cane on the tree, he puts down the snow globe and reaches for it, its just out of his reach, he tries again standing on his tip toes and just touches the end with the tip of his fingers. He tries again on his tiptoes and as he does he looks over his shoulders to the stairs. He stops reaching for the candy cane, picks up his now globe and walks to the bottom of the stairs; he stops and stares up into the darkness of the second floor of the house. Very slowly and carefully he walks up the stairs making sure heís holding on to the stair banister very tightly. When he gets to the top he walks over to a door thatís slightly ajar. He uses one hand to push it open. From the view of the bed thatís facing the door we see light enter the room as the kid opens the door. A foot is seen above the covers of the bed sheets. The boy stands at the entrance of the room, the foot goes out of focus and the boy goes in focus. KID (murmurs) Dad... Focus goes back onto the man, there is no movement accept a twitch of the foot. Focus on boy. The boy takes a small step forward. KID (louder) Dad... Focus on foot. Nothing happens, not even a twitch. Focus on the boy. He takes a bigger step forward. KID (normal talking volume) Daddd... Focus on man. The foot doesnít move but a small snore is heard. Focus on boy. The boy takes a wide step forward and is now standing at the end of the bed, right next to the toe. He cups his hands around his mouth and takes in a big breath. KID (yells) Dad! VIEW ON MAN, he wakes up with a fright and looks around the room, no one is there. He notices light coming from down stairs and decides to go investigate. Heís strong built and only wearing boxer shorts. He scratches his head as he leaves his room. He stops and looks down the hall to the stairs. He doesnít notice the snow globe sitting by the edge of the stairs top. He walks towards the stairs but doesnít walk down them. Instead he bends down and looks around the first floor. Nothing is there so he turns back to his room. As he turn the boy, now screaming, runs at him and pushes him with all force. The man balances on the stairs edge for a moment but then loses balance and falls down the stair. Every hit a crack is heard. The man tumbles down the stairs the most painful way possible. The man finally reaches the floor, he hits it with a thud and lies there breathing heavily and awkwardly. The boy watches from the top of the stairs, holding the snow globe, he begins to walk down. The camera follows him as he does. When the boy gets to the bottom of the stair he puts the snow globe by the man and walk back to the tree. The man coughs and opens his eyes slightly, directly across from his chest is a snow globe he looks at it confused. He hears the crushing of paper and looks to the tree and sees a boy opening a present. The boy looks at him smiling as the man blacks out. FADE OUT: THE END. MATTHEW CHISHOLM'S T H E H O L I D A Y - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - FADE IN: BLACK FRAME. COMPLETE SILENCE. TITLE CARD: DAY ONE CUT TO: EXTREME CLOSE SHOT - SUNGLASSES A perfect pair of black sunglasses with a white Mickey Mouse insignia in the upper corner of the left lens. Everything else in the background is completely out of focus. Then, a distant, high-pitched squeaking is audible, becoming stronger and stronger until. . . JILL CRAWFORD wheels into frame. She is an elderly woman, possibly in her sixties with a healthy crop of greying hair and a thin build. She looks old, frail. She has a portable phone attached to her ear. JILL Yes, I realise that, Caroline. I know. That's what I told him. But you know Harry, never bloody listens to a word anyone says. (pause) Ah-huh, my plane leaves in a few hours. I'm all packed and ready for three amazing weeks in Florida. I was thinking I should check out a few of the homes up there. See if the nurses make enough money for them not to steal from me. (pause) Well I have to go in sooner or later, Caroline. I can't live on my own forever and ever. Not with my paralysis reaching these levels. (pause) That reminds me, I haven't packed my pills. They're still in the bathroom. And before you ask, no I haven't forgotten my sunglasses, I'm looking right at them. They're on top of the TV. (pause) Yes, I'll have to let you go now. I need to pack my pills before they slip my mind again. All right, ta. She hangs up the phone, wheels across the lounge room and puts them down on the glass coffee table. Then, she begins wheeling herself back over to the television, which rests upon a rather tall credenza that has videos and other such paraphernalia contained inside. The top of the TV is too tall for JILL to reach on her own. She reaches up, her fingers falling too short, so she strains and struggles to reach, but still her fingers are too short to make the distance. JILL collapses in her chair. Frustrated, she reaches down the side of her chair and flicks the safety release, which locks the wheels in place. Shakily, JILL stands on the metal foot platforms at the base of her chair. She grips both sides of the television and uses them as leverage to pull herself up level with the top of the television. She stops here for a moment, allows herself to catch her breath. She's exhausted already. Then she reaches out, groping for the sunglasses. CLOSE SHOT - THE WHEELCHAIR As it moves ever so slightly under her weight. CLOSE SHOT - THE SUNGLASSES JILL's fingers wrap around them tightly. CLOSE SHOT - THE WHEELCHAIR As it SUDDENLY TIPS to its side. MEDIUM SHOT - JILL As she tumbles backwards, hits the ground, the wheelchair tips as well and lands on top of her, pinning her onto the floor of her lounge room, face-down and helpless. JILL Ahhh. She winces through the pain, attempts to pull herself up. Finds she can't. JILL attempts to roll over onto her stomach. Finds she can't. She attempts to reach around and push the chair clear. Finds she can't. Eventually, she slumps forwards and breaths out. She looks around. JILL'S P.O.V. She looks from the ground, up to the telephone, then down to the Mickey Mouse sunglasses still in her hand. INT. JILL'S LOUNGE ROOM She begins getting worried; frantic. JILL Hello? Can anybody hear me? I need help! Can somebody help me? She's frantic now, yelling and screaming, kicking, trying to do something, anything. And then, she gives up and cries. BLACKOUT: WE HEAR A PHONE RING. TITLE CARD: DAY TWO CUT TO: INT. JILL'S LOUNGE ROOM - DAY Her phone is ringing. JILL looks up in hope. The phone rings out, then the beep of the machine. JILL'S VOICE Hi, you've reached the home of Jill Crawford. I am sorry that I'm not here to take your call, but if you would leave your contact details I will get back to you as soon as I possibly can. Thank you and have a nice day. The beep. Immediately, JILL starts yelling. CLOSE SHOT - THE MACHINE Resting on the kitchen counter. JILL is in the background, out of focus. JILL Hey! Hey! Can you hear me? Help me! Help me! Throughout the following, JILL will continue yell and scream in this manner. WOMAN'S VOICE Hey, Jill, it's Marie, your stylist and I know you're off on your big holiday in Florida, you lucky bitch but I was just calling to say. . . (MORE) . . . that our rescheduled time on Tuesday the eight is not going to work for me, so I'm afraid we'll have to push it back to the tenth. I'm sorry, but I'm afraid I've double booked a couple of slots. You had better be having up there in the States. I'll see you when you get back, bye. The beep as MARIE hangs up. CLOSE SHOT - JILL JILL is crying, desperately reaching out for the phone. JILL NOOOO! PLEASE! NOOOO! BLACKOUT: TITLE CARD: DAY THREE CUT TO: INT. JILL'S LOUNGE ROOM JILL, on the floor, pinned under the wheelchair. Her skin is grey and pale, her lips are cracked and she is dehydrated. Badly. Suddenly, she begins shaking, sweating and hyperventilating. She looks more scared than ever as she utters two words: JILL Oh no. . . We SWING IN FAST and nail JILL with an ENORMOUS CLOSE UP. CLOSE SHOT - THE PILLS Sitting in the bathroom cabinet. Although we cannot see the exact prescription or condition what we can see is the label: DIGITALIS. BLACKOUT: TITLE CARD: EIGHTEEN DAYS LATER CLOSE SHOT - TELEVISION SCREEN So close it has no boundaries. On the screen, the opening credits of the Channel Ten news are playing. Then, a MEDIUM shot of KELLY NESTER, the attractive news anchor. NESTER In tragic news tonight, a sixty-six year old woman is found dead in her home after being pinned under her wheelchair for three weeks. The shot cuts to the exterior of JILL's home as her body is wheeled out on a gurney. NESTER (V.O.) Jill Crawford was packed and ready for her dream trip to the U.S. A trip she would never get to make. A medium shot of a woman, elderly, crying. At the bottom of the screen appears a presentation banner identifying the woman as CAROLINE MURPHY - BEST FRIEND. CAROLINE I talked to her, only a few hours before her plane left. She sounded fine, she was excited about the holiday. . . A cut to the interior of her home. NESTER (V.O.) It is believed that Jill lived for three to four days pinned under her chair before suffering a heart attack as a result of missing her daily dosses of digitalis. A cut to a close shot of the bottle of digitalis. NESTER (V.O.) This terrible tragedy has brought out many tears in the community. A medium shot of MARIE, Aboriginal, also elderly and crying. MARIE God I called her the day after her plane left. I put a message on Jill's machine. And to think she was there, on the floor while I was leaving that message. . . She breaks down into tears and burrows herself into a friend's shoulder and weeps. NESTER (V.O.) The funeral will be held at the Adelaide Royal Cemetery on Tuesday. Kelly Nester, Ten News. DISSOLVE TO: JILL'S BODY BAG As it is loaded onto the ambulance, which then pulls away from the house and down the street. CLOSE ON THE MICKEY MOUSE SUNGLASSES The pair of sunglasses that ended a life, on the floor, staring directly at us, almost mockingly. FADE OUT: ROLL END CREDITS. ALEX COOPER'S K A T H Y K E Y B O A R D S - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - FADE IN: CARL, a man dressed in black pants and a plain shirt walks KATHY, a twenty year old blonde down the isle of a storage room. The camera is walking with them, except in the next isle so every few seconds a block of shelves block the view. CARL Okay, Kathy today is your first day so I will be showing you how everything works. KATHY struggles to keep up with CARLíS power walking. KATHY Great, I actually have a question. CARL Well thatís what Iím here for, what is your question? KATHY What is... This room called? CARL This is the storage room. KATHY Okay and why is it called that? CARL stops in his tracks and looks at KATHY with a pessimistic frown. He then uses his hand to show KATHY her working space. CARL Here is... your working space! In front of CARL and KATHY is a small desk with only a computer and a telephone sitting on it. KATHY Right, do your and I share a work space? CARL What? This is YOUR work space. KATHY Oh! So just hers, whereís mine? Again CARL just frowns and her, she smiles back with her eyebrows raised metres above her brow. He walks to the desk and pulls out the seat. CARL Take a seat. KATHY Will Your mind? CARL Sit down! The yell from CARL scares KATHY, and she jumps, but soon recovers and walks over to the seat and sits in it. CARL then directs her attention to the contents of the desk. CARL This is your phone, and this is your computer. KATHY Wow, she really owns a lot of stuff. CARL cracks and closes his eyes. He finds his centre and is ready to continue. CARL This is yo- KATHY Is this her keyboard to? CARL Thatís it. CARL grabs the keyboard. CARL Yes this is her keyboard, and if youíll look at the back of it. KATHY moves her head closer to the keyboard and CARL swings it into her face. She falls of her seat and behind the desk. We slowly drift backwards down the hall watching CARL beat KATHY who is unseen behind the desk. Screams of primal fury come from CARL. CUT TO: Close up on CARL, holding the blood cover keyboard over his head, he is out of breath. His eyes are wide open as he stares down. YOUR (O.S.) Uh, Carl. What are you doing? YOUR, a tall brunette stands metres away from the desk. CARL lowers the keyboard, looks at it, then hides it behind his back. CARL Oh Your, hi, um howís it going? BLACKOUT: THE END. MATTHEW CHISHOLM'S T H E D R E A M D I S E A S E - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - FADE IN: INT. LESTER'S BEDROOM - NIGHT We OPEN ON an extremely close shot of a small DEVIL DOLL, his pitchfork held aloft in triumph, fangs beared and tail slithering around his leg. DOCTOR (O.S.) I'm afraid that what we're dealing with here is an extremely aggressive string of fever. The Dream Disease some people call it. Basically, your son will have some pretty intense dreams tonight, it would be best not to move him. Continue pan down along a shelf, where there are computer games and DVD's stacked up in a row, there are some figurines of dragons, wizards and other paraphernalia. Swing across to a medium shot of LESTER BARRINGER, fourteen years old, asleep on his bed, sweating and shaking. Every now and then he lets out a fearful moan. His fists clench the bed sheets into a bunched up ball. DOCTOR (O.S.) Unfortunately, there have only been a few substantiated cases of this in the United States since 1940, which means that we don't have a clue what causes it exactly. PAN away from LESTER, over to the doorway, where the DOCTOR and LORRAINE, LESTER's mother, speak quietly, both only ever seen in dark silhouette. LORRAINE Well, is he, er. . . is he in any danger or something? DOCTOR Honestly, Mrs Barringer, we don't Know. These dreams, triggered by the fever can be psychologically tense. Even mentally disturbing. One of the victims diagnosed, a twenty year old woman, was admitted to a psychiatric institution for nine months. There was a case where a young boy from South East Asia had dreams so scary he stayed awake for three days. Then one night his parents slipped him a sleeping pill and sent him to bed. He seemed peaceful for several hours until sometime in the middle of the night when the parents were awoken by their son's terrified screams. They ran into his bedroom, where he was found, thrashing and kicking on his bed, still asleep. (MORE) DOCTOR (CONT'D) He was screaming. They tried to wake him and, when they did, he slumped onto the bed. He was just dead. That was all there was to it. LORRAINE Oh my God. . . CLOSE SHOT - LESTER As he tosses and turns, sweating in his sleep. CUT TO: EXT. CITY - DAY (DREAM) The huge city skyscrapers reach up into the sky. The streets are not bitumen, but a gently flowing river of water. LESTER comes walking down the middle of one of the deep rivers, apparently unconcerned that he is walking on water. The bright sun blares down on him. He is wearing black with a red PITCHFORK insignia on the shirt. He looks up ahead and sees a bright red door sitting in the middle of the river, water gently lapping against the base of the frame. LESTER approaches guardedly. Suddenly, he hears a croak and looks down. Siting at his feet is a multi-coloured frog, whose skin changes colour as it moves. LESTER smiles down at it. FROG 'Allo. The French accent is very strong. LESTER Hi. FROG You are being followed, no? LESTER Yeah. It's coming for me. FROG Beware ze pitchfork, huh? LESTER What do you mean? FROG You must go zrough ze door. LESTER I'm scared. FROG You should be. LESTER apprehensively pushes the door open. Beyond the opening, he can see his own bedroom, dark figures moving about everywhere. He looks down at the frog, gives a weak smile. LESTER Wish me luck. FROG You really don't want me to. You know why you are 'ere. LESTER slowly steps through the door, it slams closed behind him. He steps into his bedroom, sees LORRAINE and the DOCTOR bent over his bed, where there is another LESTER. DOCTOR Lester? Lester can you hear me? LESTER Yes. The LESTER on the bed opens his eyes. DOCTOR ignores this, starts giving him CPR, pounding on his chest. BED LESTER Hey, Lester. LESTER Er. . . hello. BED LESTER You shouldn't be here. LESTER I know. BED LESTER This is a bad place. LESTER I know. BED LESTER RUUUUUUUUUUUN!!! Suddenly, the door is blasted open and a huge SHADOW, wreathed in fire, explodes into the room with a mighty roar. LESTER screams and runs. We STEADICAM with him as he dives out of his room, into the corridor, flies down the stairs, the entire house behind him is bursting into flames. He reaches the front door, flings it open and steps out into. . . CUT TO: EXT. DESERT - DAY LESTER looks around, there are rolling hills of blindingly white sand in every direction. The wind gently caresses his hair. Suddenly, footsteps behind him. LESTER spins around and sees a MAN dressed in a tuxedo coming towards him. LESTER Do you know- MAN Where you are? The same FRENCH voice. LESTER Aren't you the frog? MAN Aren't you? LESTER pauses. MAN You're in ze wrong place. You're running, running from what you've no possible chance of escaping. Beware ze pitchfork. Over there, that is where you must go. He points to a large hill behind him. LESTER turns to look at it for a moment, then turns back. When he does, the MAN is completely naked with a multi-coloured frog sitting on top of his head. He smiles at LESTER and then, in an American woman's voice, says: MAN Have a nice day. Both he and the frog melt into a puddle of multi-coloured, phosphorous goo. Suddenly, a wave of BLACKNESS begins passing over the sand, turning every grain black, until it reaches LESTER's feet. He turns to run as the entire SANDFIELD shoots an enormous wave of thick RED BLOOD into the air. LESTER runs, pounding the sand with everything he has until he reaches the base of the enormous sand dune. He looks back, as the wave of blood hurtles towards him at an amazing speed. He screams and falls to his knees, looks behind him and makes his decision. LESTER begins climbing the enormous sand dune. DISSOLVE TO: A MONTAGE OF LESTER Climbing, clawing, struggling, rising. EXT. SAND DUNE - DAY LESTER appears over the sand dune, looks over the crest of the hill and sees nothing but more desert, rolling on. He collapses onto the ground in a heap. CLOSE SHOT - LESTER As his head hits a solid patch of GREEN GRASS. He looks around, now completely un-exhausted, and rises, revealing that he is standing in the middle of an enormous field of green grass. Footsteps from behind him. LESTER spins around to see that THE DEVIL is moving towards him. He looks exactly like the old figurine seen in LESTER's bedroom. LESTER looks extremely confused. LESTER Dad? THE DEVIL Yes. And no. LESTER Who are you? THE DEVIL I'm the devil. LESTER Beware the pitchfork. THE DEVIL There's nothing to be afraid of. LESTER looks behind him. He sees LORRAINE and DOCTOR bent over his bed, watching over him fearfully. THE DEVIL They can never know, Lester. What it is like to be who you are. LESTER They'll never know? THE DEVIL Never. Do you know why I have to do this to you? LESTER Yes. I'm scared. THE DEVIL Fear is what lets you know you are still alive. Let it go. You think you know, why you're here? What is coming next? Your journey is only just beginning, Lester. THE DEVIL approaches him, raises his pitchfork. LESTER Will it hurt? THE DEVIL You already know. He plunges the pitchfork deep inside LESTER. CUT TO: INT. LESTER'S BEDROOM - NIGHT - END DREAM LESTER suddenly wakes up for a moment, chokes for air, begins convulsing and drops back onto his bed. All sound is lost as his eyes roll back in his head. DOCTOR drops onto his knees besides the bed, attempts to revive LESTER. LORRAINE stands in the doorway, completely horrified, she's crying uncontrollably. CLOSE SHOT - LESTER Pale. Motionless. Silent. DISSOLVE TO: CLOSE SHOT - LESTER'S TOMBSTONE The sun shining down on LESTER's tombstone, which reads "LESTER GORDON BARRINGER. 1992 - 2006." BLACKOUT: ROLL END CREDITS.
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