-
TOYS IN THE ATTIC
Someone is cleaning out the toys in your attic

an original screenplay by

KEITH H. PINER

TOYS IN THE ATTIC

FADE IN: 

INT.  DIM LIT ROOM - NIGHT 	

SONG: AYearbook@ by Hanson (background music)

TIGHT VIEW ON DESK TOP

A gloved HAND retrieves a hardcover book, situated on a desktop.  A dim table lamp flashes light over the cover which reads AMARSHALL HEIGHTS HIGH SCHOOL YEARBOOK@. 

Anticipated BREATHING fills the room.  	

The gloved hand slowly opens the yearbook, flipping
feverously through the pages.  The index finger moves 
up and down through a list of pictures, pausing by that 
of a young girl.  Blond curly hair cascades across her 
olive face.  Next to the picture reads the name 
SARAH GASPARD.  

Breathing intensifies.    

A small, rectangular label is neatly taped over the 
girl’s picture.  In blood red letters reads the words 
"PHOTO UNAVAILABLE@.

Identical labels are placed over the pictures of 
DENNIS EVERLY, BEN O=MERA, KELLY WOMACK, and finally, 
BRENDA SPANN.  

The hands move effortlessly through several more pages, stopping on the picture of a very attractive brunette.
The hand slowly strokes the picture of ERIN KELLERMAN.

Breathing intensifies.    

FADE OUT:

FADE IN:

EXT.  OUTSKIRTS OF SMALL TOWN - NIGHT 

WELCOME SIGN 

reads  AWELCOME TO MARSHALL, OREGON - POPULATION 5567"

INSERT -- TITLE - OPENING CREDITS

SONG: “Toys in the Attic” by Aerosmith (background music)

Marshall, Oregon.  A quiet suburb located sixty miles 
south of Portland.   

CUT TO:

EXT.  BLUE, SINGLE STORY RAISED HOUSE - NIGHT

Autumn leaves SKIM across the front lawn of an old, 
remodeled house.  Neatly planted shrubs sway against 
the raised foundation.  A swing WHIPS back and forth 
on the front porch, as the wind HOWLS in the distance.  
A small hall lamp shines a ray of light onto the dark, 
front porch.  

Above the porch sits a small, square ATTIC WINDOW, in 
which a dim LIGHT shines out on the tin roof of the house.  The light abruptly FADES. 

CUT TO:				
EXT.  WHITE, TWO STORY HOUSE - NIGHT

A light shines brightly from a second story bedroom window.  
CUT TO:

INT.  TEENAGE GIRLS BEDROOM – NIGHT 

A young girl is stretched out on a bed.  Brown 
shoulder-length hair cascades across her face.  
ERIN KELLERMAN, a 17 year old high school senior, stares diligently through the pages of a thick, textbook, as she repeatedly twirls a corner of her dark locks.  A faded sweat shirt devours the girl’s small frame.  

Notes are scattered out across the bed.  Several textbooks 
are laid out on the floor.  Kitten posters adorn the pink walls of the bedroom.  

Suddenly, the door abruptly swings open.  

CAROL KELLERMAN, late 30’s, pokes her head into the room.  Dressed in a white T-shirt and black shorts, she could pass for Erin=s older sister, instead of her mother.  

		CAROL
Honey, how=s it going?

ERIN
(hesitates)
It=s, it=s going.

CAROL
Finals starting to get to you?

		ERIN
Only Geometry. 

		CAROL
Yea..well..believe it or not, 
I sucked in Geometry too. 
	(ponders) 
Math was always your father’s 
strong suit.  

Erin quickly snaps back.

				ERIN
		I guess marriage wasn’t!  

				CAROL
		Honey!

				ERIN
		I’m sorry.  That was out of
		line.				
			(beat)
I’ll just be glad when finals 
are over.  At least Geometry.

CAROL
I know you will.  But just 
remember, you’ll look back on 
high school as one of the best 
times of your life. 
	(pauses) 
Even Geometry.

		ERIN
I’ll get back to you on that 
in a few years.

		CAROL
We=ll, if there=s anything that 
I can help you with?  
(laughs)
Other than Geometry.	

ERIN
Thanks mom, but I=m fine.

Nodding, her mother closes the door behind her.  

With a big sigh, Erin retrieves a stack of college acceptance forms.

ERIN
(to herself)
Gee Dad, thanks for being 
here to help me with one 
of the biggest decision=s 
of my life! 
  
THE TELEPHONE RINGS.

Startled, Erin quickly struggles for the receiver.    

GIRL’S VOICE  
(into the receiver)
Bitch, you owe me, big time.  
I should be out with Dennis, 
but nooo....here I sit babysitting.  
Doing you a favor.  

ERIN
(Apologetically)
Sarah, I promise you, I=ll return
the favor.  I’ll baby sit your
little brother.  

		SARAH
Yea right!  I never watch that 
little perv.  And you think 
that I’d ever put you through 
that?  He’d probably try to hump
your leg.

		ERIN
Gross.  
	(beat) 
Well, I’ll think of something.
I’ve got to make an A in Geometry 
to have any chance of getting 
into an Ivy league college. 

SARAH 
(sighs)
Yea, you=ll go off to college,
and I=ll work in a fast food 
restaurant.  
	(beat)
So, would you like a hot apple 
pie with that?

ERIN
(laughs)
You do that so well.

SARAH
On a Friday night, I=m baby sitting 
and you=re studying.  Erin, we really 
need to get a life.

ERIN
(sighs)
I totally agree.  

SARAH
And to make matters worse, 
Dennis went out with Ben.  
So, I know he=s probably 
drunk by now.  Speaking of 
drinking, I could really use 
a beer.  The strongest thing 
that the Cleavers= have in this 
house is apple juice.

ERIN
(laughs)
Weavers.  No wonder you’re flunking, 
you can=t even remember names?

SARAH
Whatever mom....Ward and June Cleaver,
Weaver, Beaver.  Don=t these people 
drink?  With little monsters like these 
two, I=d be an alcoholic.  Well, the 
least you could do is bring me a beer.

ERIN
We=ll I=ll...

BOOM!

A NOISE abruptly rings out into the receiver.  

ERIN
(startled)
What the Hell was that?

SARAH
(anxious)
Look, Erin, I=ve got to go.  
One of these pyromaniacs is 
probably blowing up the 
house!
	(beat)
Gee, thanks again.

Erin returns the phone to the receiver, staring blindly 
at the textbook.

CUT TO:

EXT.  BLUE, SINGLE STORY RAISED HOUSE – NIGHT 

INT.  FAMILY ROOM – NIGHT 

SARAH GASPARD, 17, abruptly enters the family room.  
Dressed in jeans and a mock turtle neck, she has 
naturally curly, blond hair with a models figure. 

JESSICA, 8, and JASON WEAVER, 12, are attentively glued to the television set.  

SARAH
What was that noise?

JASON 
(puzzled)
What noise?

Sarah suspiciously scans the room, but to her amazement, nothing seems to be out of order.  

SARAH
(confused) 
Never mind. 

Jason and Jessica are watching a rather spicy episode of JERRY SPRINGER, Akinky sex with farm animals.@ 

SARAH 				
You know that stuff is gonna fry 
your brains.  

JESSICA
(shoots back)
Well, we have to learn the facts 
of life somehow.

SARAH
And your parents let you watch 
this crap?   

JASON
Yea, every night.  So they can 
have some quality time together.  

		JESSICA
But we know better.  

		JASON
It=s so we won=t bother them while 
they=re bumpin= bones.

Sarah looks at the boy dumbfounded.  

SARAH
Bumping bones?

JASON
You know...doing the big nasty, 
ridin= the flag pole, taking the 
log ride...

SARAH
(interrupts)
Ok, ok.  I get it.  How old did 
you say that you were?

JASON
(winks)
Twelve, but I am very big for my 
age...if you know what I mean.

Sarah shakes her head in amazement.

SARAH				
Thanks for the warning.

Looking down the dark foyer, Sarah observes the sheer curtains swaying against the front door window.   

A dark shadow APPEARS to loom outside the front door.  

CUT TO:

INT.  FOYER – NIGHT 

Entering the foyer, Sarah slowly approaches the front door. Swinging back lace curtains, she stares out into the darkness of the night.  

The shadow is no longer present.  	

CLICK! 

Sarah repeatedly flips the switch to the porch light, but nothing happens.  

SARAH 
(to herself)
Great!

With the lace curtains pulled up over the curtain rod, a ray of light from a hall lamp shines dimly out onto the front steps of the house.  

Sarah hesitantly opens the front door, then slowly proceeds onto the porch.  

CUT TO:

EXT.  FRONT PORCH – NIGHT 

The sound of the wind CRACKS through the chilly, night air. 

BANG! 

The porch swing suddenly SLAMS into the side of the house.  

Sarah stumbles back.   

SARAH 
(to herself)
Holy shit!

As the wind continues to HOWL, 

BOOM!

The front door abruptly slams shut.  As the lace curtains retract from the rod, darkness settles onto the porch. 

CUT TO:

EXT.  WEAVER HOUSE – NIGHT 

Unseen presence observes Sarah from the darkness.

CUT TO:

EXT.  FRONT PORCH – NIGHT 

Staring out into the darkness of the night, a cold, uncomfortable, CHILL runs through her.

Quickly retreating to the front door, Sarah struggles with the doorknob.  The door is locked.

SARAH 
(to herself)
Dammit!

Unseen presence slowly approaches house.

Sarah repeatedly beats on the front door.

THE TELEVISION IS BLARING FROM WITHIN THE HOUSE.

SARAH 
(yells)
Jason, Jessica, let me in!
	(to herself)
Little shits.

Leaning into the door, it suddenly swings open, causing
Sarah to fall forward into the foyer. 

CUT TO:

INT.  FOYER – NIGHT 

Jessica Weaver is standing on the inside of the door.
Sarah quickly picks herself up off the ground, closing
and locking the front door. 

CUT TO:

EXT.  WEAVER HOUSE – NIGHT 

Unseen presence abruptly approaches front porch. 

CUT TO:

INT.  FOYER – NIGHT 

				JESSICA
		What were you doing out there?

				SARAH
		I though that I’d heard something
outside.  
			(embarrassed)
		I-I guess locked myself out.		

				JESSICA
			(rolls her eyes)
		What an idiot!	

Jessica quickly walks away.  

				SARAH
			(to herself)
		What a brat!	

CUT TO:

INT.  FAMILY ROOM – NIGHT 

Returning to the family room, Sarah finds Jessica and Jason back glued to the television set.  A fist fight is taking place between a couple. 

CUT TO:

EXT.  WEAVER HOUSE – NIGHT 

As a tree branch bounces against the roof, the attic window slowly closes.  Suddenly, a dim light appears in the window.

CUT TO:

INT.  FAMILY ROOM – NIGHT 

Leaning against the wall, Sarah finds herself transfixed to the television show.  

BOOM!

The entire wall rattles, as a loud noise burst out from within the house.  Sarah shudders. The kids do not even wince, as they attentively continue watching the program.  

Sarah looks down a dark hallway, leading to the back of the house.  

CUT TO:

INT.  HALLWAY – NIGHT 

As Sarah nervously proceeds down the hallway, the old wooden floor CREAKS with her every move.  

Reaching the center of the hallway, she notices a dim light shining above her head.  

THE ATTIC-TRAPPED DOOR.  

A small, white pull cord DANGLES down.    

Sarah stares up at the attic door, then back toward the family room.  After a slight hesitation, she attempts to retrieve the cord, which swings just beyond her reach.  

She suddenly notices a light switch on the wall is flipped on.  

CLICK!  

Turning the switch off, the attic light slowly fades.

Sarah proceeds back toward the family room.

CLICK!

Slowly turning around, she finds the attic light is back on.  

SARAH 
Ok!
(whispers)
Jason?  Jessica? 

SILENCE! 

The television is blaring in the family room, and the two kids can be heard laughing at the program.

Nervously returning to the center of the hallway, Sarah observes that the switch is still turned off.    

After several unsuccessful attempts to reach the cord, Sarah finally grasps the tip.  

CUT TO:

INT.  ATTIC OPENING – NIGHT  	

Extending the CREAKING door open several inches, the bright attic light SHINES blindly into Sarah’s eyes. 

BOOM! 

Suddenly losing her grip, the attic door abruptly slams shut.  As the light suddenly fades, darkness falls upon the hallway.  

CUT TO:

INT.  HALLWAY – NIGHT  

Sarah pauses.  The kids can still be heard in the family room.

SARAH 
(in disbelief)
These kids amaze me.....a tornado
wouldn=t disturb them.	

She clicks the attic light switch up and down.  

NOTHING HAPPENS.  

After a slight hesitation, Sarah swings open a bathroom door.

As light from the bathroom spills out into the hallway, 
she again attempts to retrieve the pull cord.  

SLAM!

The bathroom door abruptly SLAMS shut.  The hall fades to dark.  

SARAH				
Great.  What else can happen?

Sarah again opens the bathroom door, propping a small garbage can against it.

Finally retrieving the cord, she swings the attic door halfway open.  

BOOM!

The folded steps tumble down, knocking her to the floor. 

SARAH 
(dazed)
Damn.  Damn.  

Quickly getting up, she proceeds to the foot of the steps, hesitates, then climbs up the ladder.  

CRACK!  

A wooden step breaks causing her to stumble down several feet.

SARAH
(to herself)
Erin, if it=s the last thing that 
I do, I=ll get your ass for this.  

Once securely on the ladder, she approaches the dark opening of the attic.  

CUT TO:

INT. ATTIC – NIGHT 	

LIGHT EMERGES FROM BELOW.

Reaching the top of the stairs, Sarah looks into the dark, dusty attic.  

A FIGURE springs into view.  

Sarah GASPS.

SARAH 
(screams)
Oh God!  Help! 

She suddenly realizes the figure to be an upper torso used for sewing clothes. 

Sarah catches her breath.  

The light from the bathroom suddenly dims.  

JASON WEAVER 					
What are you doing up there?   

Sarah SCREAMS! 

SARAH 
(yells)
You little shit!  You almost 
scared me to death 

Sarah squats down on the ladder.

As Jason ABRUPTLY returns to the family room, light from the bathroom returns to the hallway.

SARAH
	Come back here!

No Response.   

THE SHADOW OF AN AXE FLATS JUST ABOVE SARAH’S HEAD 

CUT TO:

INT. HALLWAY – NIGHT 

Sarah rises back into the attic opening.

CLOSE UP ON SARAH

SARAH
		Who-who are you?							

The trash can suddenly tips over, causing the bathroom door to abruptly swing shut.   

SLAM!  

Sarah violently disappears into the darkness of the attic.  

BOOM!

Stairs retracting, the attic door swings shut.  

CUT TO:

EXT.  WEAVER HOUSE – NIGHT 

A dim light suddenly SHINES in the attic window.

CUT TO:

INT.  ERIN’S BEDROOM – NIGHT  

The bedroom door SWINGS open. Erin gasps.  

CAROL 
(apologetically)
Oh honey, I=m so sorry.  
I didn=t mean to startle you.  
(pauses)
I promise that I=ll won’t 
bother you again.

ERIN				
That=s ok.  I guess I was 
just too wrapped up into 
all of this studying.

CAROL
I’m taking a quick run to 
the store. You need a break?  
The ride might do you good. 

Erin examines her large stack of papers.  

ERIN				
Thanks mom, but I still have 
three more chapters to get 
through. 

CAROL				
Honey, I know that this 
has really been hard on 
you.....with your father 
leaving and all.  But you 
have your whole future to 
look forward to.

ERIN
(somber)
I know.  But Mom, what about 
you?  I can=t just go off to 
college and leave you here, 
all alone!  It=s not fair.  
	(beat)
Twenty years of your life, 
and he comes home one day, 
and says it=s over. Like we
didn’t even matter. 

Carol approaches the bed, and warmly hugs her daughter.

CAROL
Honey, people split up every 
day.  That=s just a fact.  But 
you can=t blame your father.  
It=ll only make you bitter.  
 (beat)
As for me, I=ll be fine.  My job 
is going great.  You=re getting 
ready to go off to college.  
I couldn=t be more proud.  Life 
is good, and I=m happy.  I=m 
really happy.

ERIN
Thanks Mom.  I don=t know 
what I=d do without you.  
I love you.

Carol RISES from the bed.	

CAROL				
I love you too, honey.  
(pauses)
Now, that we=ve gotten that 
straight.  You need anything 
while I=m out?  Ice Cream?

Erin pats her butt.

ERIN				
I feel like I’ve already 
gained 12 pounds of stress.  
Ah, no thanks.

Carol looks at her own butt.  

CAROL				
Honey, I wish that I had your 
weight problems.  Ok.  Well, 
I=ll be back in a few.  

Carol exits the room, closing the bedroom door behind her.  

Hearing the front door SLAM shut, Erin proceeds to the open bedroom window.  

Entering the car, Carol waves up to Erin.  

CUT TO:
 
EXT.  KELLERMAN HOUSE – NIGHT 

As Erin watches her mother exit the driveway, the car’s headlights quickly flash across some shrubs in the yard.

A dark FIGURE, looming in the shrubs, catches Erin’s attention.  Erin quickly SCANS the yard, but the FIGURE 
is suddenly gone. 

CUT TO:

INT.  ERIN’S BEDROOM – NIGHT 	

Erin quickly lowers and locks the window.  Slowly backing away from the window, she stumbles into a wooden hat rack.  

SCREAMS.

				ERIN
		Shit!

Catching her breath, she CRASHES back onto the bed, retrieving the Geometry textbook.  

SUBTLE SQUEAKING NOISE 

The bedroom door slowly CRACKS open.

ERIN
He-hello.  Mom, you forget 
something?

CUT TO:

INT.  DARK HALLWAY - NIGHT 

SILENCE. 

CUT TO:	
INT.  ERIN’S BEDROOM – NIGHT  

Erin returns to the window. The car is still gone.  

Nervously approaching the bedroom door, Erin swings it  
open, looking out into the dark hallway. 

CUT TO:

INT.  LONG HALLWAY – NIGHT 

VIEW FROM FAR SIDE OF HALLWAY AS IF SOMEONE LINGERS IN THE DARKNESS

ERIN 
(to herself)
Erin, you=re now getting 
paranoid!

CUT TO:

INT.  ERIN’S BEDROOM – NIGHT  

Erin quickly SLAMS the bedroom door shut, returns to the bed. PAUSING, she looks back toward the door.  

CUT TO:

INT.  HALLWAY – NIGHT 

ANGLE - CAMERA RAPIDLY APPROACHES BEDROOM DOOR

CUT TO:

INT.  ERIN’S BEDROOM – NIGHT 

CLICK!

Returning to the door, Erin quickly depresses the lock.  

CUT TO:

INT.  DARK HALLWAY – NIGHT 

ANGLE - CAMERA ABRUPTLY PAUSES AT LOCKED BEDROOM DOOR

CUT TO:

INT.  ERIN’S BEDROOM – NIGHT 

Suddenly, the sounds of approaching SIRENS echo from outside the bedroom window.

FLASHING RED AND BLUE LIGHTS 

illuminate through the window. 

Erin returns to window, just as a POLICE CAR and AMBULANCE race by at a high rate of speed.  

Quickly retrieving her shoes, Erin RUSHES to the bedroom door.  After struggling to open the locked door, she CLICKS the lock, swinging the door open.

She proceeds along the dark hallway and down the stairs.

CUT TO:

EXT.  KELLERMAN HOUSE

Erin rushes out of the front door, on to the lawn.  NEIGHBORS congregate on the street.  

Oblivious to Erin, a dim light suddenly APPEARS in the attic window behind her.

NEIGHBOR NO. 1				
What happened? 

NEIGHBOR NO. 2 
I don=t know... We were watching 
televison when.... 

Conversation FADES to a mumble.  The sirens abruptly stop, as the red and blue lights continue to FLASH in the distance.  

As the CROWD moves down the street, toward the commotion, 
Erin curiously follows.  

CUT TO:

EXT.  KELLERMAN HOUSE – NIGHT  
          
The attic light suddenly FADES in the background.  

CUT TO:

EXT.  STREET – NIGHT 

As she approaches the scene, Erin realizes that it is the Weaver house.  In a panic, she begins to RUN.

ERIN 
(to herself)
Sarah!  Oh God, Sarah!  

CUT TO:

EXT.  WEAVER HOUSE – NIGHT 

As Erin reaches the Weaver’s driveway, the crowd is being HELD back by several POLICE OFFICERS.  

A young officer is wrapping yellow crime scene tape around the parameter of the house.  Flashlight beams shimmer from inside the attic window of the house.  

A DETECTIVE is talking to a dazed MR. AND MRS. WEAVER.  Muffled conversions can be heard throughout the area.

Suddenly, the attic window swings open, as a pale-faced police officer VOMITS on to the rooftop.

Feeling claustrophobic in the crowd, Erin slowly STUMBLES back away from the commotion.  A DEFORMED hand suddenly GRABS her shoulder.  Gasping, she swings around.    

ROBERT LARSON, 18, thin, lanky, is dressed in a knee-length black duster jacket and dirty black, knit cap.  His face is very DISFIGURED.  He has what appears to be major burn marks over his entire face and hands. 

ROBERT 
(stutters)
E-Erin, w-what is h-happening?

Looking into the boy=s blood shot eyes, Erin doesn’t respond.  

A heavy-set girl, jet black hair, black lip stick and nail polish, dressed in all black suddenly plucks Erin from the boy’s dazed stare. 

GIRL 
(yells)
Get away, freak. 

BRENDA SPANN, 16, escorts Erin to a nearby curb, as the deformed boy STARES blankly at her.  

BRENDA
(angrily)
What=s up with that dildo?	

ERIN				
I-I don=t know.  

Shaking off the eerie stare, Erin focuses her attention to Brenda. 

ERIN 
(continues)
Listen, Brenda.....Sarah was 
in the house baby sitting.

BRENDA
I know, I know.  I talked to 
her earlier. 

A blue HONDA ACCORD comes to a SCREECHING halt just behind the convoy of police cars.  Two teenage guys and a girl   ABRUPTLY exit the car.  

DENNIS EVERLY races up to the front of the crowd.  Dennis, 18, blond hair, athletic build, a pretty boy, has been dating Sarah Gaspard since the eighth grade.    

BEN O=MERA and KELLY WOMACK approach the two girls.  Ben, 17, brown hair, stocky.  Kelly, 16, red head, freckles, a model=s figure.

While these kids do not fit the normal CLICK mode, it is apparent that they are very tight knit group, who have been
friends for years. 

KELLY 
(nervously)	
What the Hell happened?  
Where=s Sarah?

BRENDA 
I-I don=t know.  We just got 
here.

In the distance, Dennis STRUGGLES with police officers.

BEN				
Let me get Dennis before his 
dumb ass ends up in jail. 

As the girls observe from the curb, two police officers lead the two guys over to them.  Pushing Dennis to the ground, an officer directs his attention to the girls.

OFFICER
Do me a favor....keep an eye 
on him before he gets into 
trouble.  I smell alcohol on 
his breath, and could run his
ass in right now.  But as you 
can see, we=re sort of busy at 
the moment. So, I’d suggest 
that you all keep out of the 
way....like good little kids.

DENNIS
(yells)
Where’s my girlfriend, you 
bastard! 

Waving the boy off, the officers return to the crime scene. 

Erin drops to the curb, placing her arm around Dennis’
shoulder.    

Three black body bags are suddenly carried out of the house. As Mrs. Weaver collapses to the ground, her husband and an officer rush to her aid. 

Dennis slowly rises.  Erin stumbles to her feet.       

DENNIS
(dazed)
What the fuck?

The bags are placed in a white van, labeled CORONER. 

BRENDA				
We don=t know yet...

ERIN
(tears in her eyes)
Oh God....What is happening?	

Dennis stumbles back to the curb, staring blankly at the ground.  Erin drops back down by his side. 

The once huge crowd begins to dissipate.  

A DETECTIVE, neatly dressed, approaches the kids.  DETECTIVE MICHAEL PETERSON, mid-40’s, tall, well-fit man, slightly graying around the temples. 

Dennis abruptly RISES, approaches the detective.

DENNIS
(yells)
So, you gonna tell us what 
the fuck is going on here?

PETERSON				
Look, Dennis...there=s not 
really a lot of information
that I can give you right 
now.  

BRENDA
Detective, 
(hesitates)
w-what about Sarah?

PETERSON
(hesitates)
Guys...I=m sorry, but...

Peterson does not need to say anything else.  His expression confirms that Sarah was in one of the body bags.

BAM!

Dennis drives his fist into a lamp post.  As BLOOD streams down his hand, a teary-eyed Brenda rushes to his aid. 

PETERSON 
(continues)
We have a crime scene here.  
An ongoing investigation, 
as we speak.  Therefore, 
maybe you guys can be of
some help to me.  
(beat)
Erin, I understand that Sarah 
was baby sitting for you?

Erin looks up at the detective.    

ERIN
(defensively)
Yes, she was.  But I-I don=t 
know anything about this..

BEN
(yells)
You think that one of us had 
something to do with murdering 
Sarah?  

Two OFFICERS approach the group.  Peterson quickly waves them off.  

PETERSON					
Look, I know that you guys had 
nothing to do with this?  But I 
think that you can help us find 
out who did?  
(pauses)
Guys, I know that you all cared for 
Sarah.  So, I=m not gonna sugar coat 
this thing.  Whoever, did this was 
a sick, deranged fuck.  And the sooner 
we get them...him, off the streets, 
the better.
 (beat)				
Now, I know this is a tough time, but 
I=d like you all to come with me to the 
station. Whatever information you can 
give me would sure be helpful. 

CUT TO:

EXT.  MARSHALL POLICE DEPARTMENT - NIGHT 

CUT TO:

INT.  PETERSON=S OFFICE – NIGHT 

ERIN
(in mid-conversation)	
She=s seemed to be fine.  
I’d guess we talked just a 
few minutes.  But, she was 
joking.
	(somber)
Just being Sarah...

BRENDA
(interjects)
And I spoke to Sarah around 
6:00.  She sounded ok.  Typical 
Sarah.  Maybe a little agitated 
because she was baby sitting on 
a Friday night, but...

ERIN
(interrupts)
She was doing me a favor.  
I-I had to study for exams.

		PETERSON
Sarah didn’t have any exams.

		ERIN
	(stutters)
Yea, but she...

		BRENDA
	(interjects)
You don’t understand.  Erin 
begins studying for exams 
three weeks before the test.  
Sarah...  

		KELLY
	(interrupts)
Three hours before the test.  

PETERSON
Ok Guys, thanks for your help.  

DENNIS 
(frustrated) 				
Ok...ok...so, what now...where 
do we go from here?  Shouldn=t 
you be out there looking for 
this fuck?

PETERSON
We have officers on this as we 
speak.  I promise you that we=ll 
catch this son of a bitch.  
(beat)
Now, if you remember anything 
else, no matter how insignificant 
it may seem, please give me a call.

An officer enters Peterson’s office, placing a large FILE 
FOLDER on the desk.

				OFFICER
		Sorry to interrupt.  You 
wanted these as soon as they 
were developed.

		PETERSON
Thanks Ed.  
 
Remembering the officer from his confrontation at the Weaver house, Dennis rises defensively.

The officer pauses, gives Dennis a glaring stare, then exits the room.  

Ben shoves Dennis toward the door.  

BEN 
(to Dennis)
Come on, let=s get out of 
here.

As the girls follow, Erin suddenly PAUSES.

ERIN				
Wait!  Wait a minute!  There 
was this, this noise when I 
was on the phone with Sarah. 

Peterson looks up from his desk. 

PETERSON				
I=m sorry...a noise.  Erin, 
what kind of noise?

ERIN
			It was a-a banging sound.  Sarah 
thought that it was just one of 
the Weaver kids.  I really didn=t 
think anything of it at the time.  
	(frustrated)
I don=t know, maybe it was nothing!

PETERSON
No. No.  We=ll check it out.  
Ok, thanks guys.  
(pauses)
Oh, Erin, just one more thing.  
Who else knew Sarah was sitting 
for you?

ERIN	
(puzzled)
I-I don=t know.  I=d just asked 
her about it only yesterday.  
(ponders)
Kelly and Brenda knew.  And Dennis.  
W-why do you ask?	  

PETERSON
Just wondering.  
	(beat)
Look, I think that this was a 
random act. Meaning that if the 
Weavers had been home, we’d be 
investigating their murders. 
However, let’s just suppose that 
someone thought that you were 
sitting! 

ERIN
(nervously)
W-what are you saying?  
You don=t think..

PETERSON 
Well, if I were a betting man, 
I put money down that this guy 
is probably a drifter.  Stumbled
into town, and hit the Weaver 
house.  
	(beat) 
However, when Sarah=s name makes 
the news..well, just make sure 
that you don’t wander off by 
yourself.  Just until, until we 
get this bastard.  
(pauses)
Just do me this favor.

A chill RUNS down Erin=s spine.

Kelly places her arm around Erin.

KELLY				
Don=t worry, we=ll keep an eye 
on her.

Peterson stares at the thick, tan folder on the desk.  Slowly, he opens it, removing the contents.  A packet of PICTURES containing the tattered corpses of the Weaver kids.  
He then reviews the decapitated torso of Sarah Gaspard.   Reaching into a trash can, his shaking hand retrieves an unopened pack of CIGARETTES.    

PETERSON
(to himself)
Tomorrow.  I=ll quit tomorrow. 

CUT TO:

INT.  POLICE STATION LOBBY – NIGHT 

Carol Kellerman is sitting on a tattered, wooden bench.  
She slowly raises her head, as the group exits a hallway.  Looking into the teary eyes of her daughter, Carol approaches Erin, tightly hugging the frail girl.

CAROL
(voice trembling)
Honey, I am so-so sorry.  	

ERIN				
Yea, me too.  

The group huddles motionless in the lobby. 

CUT TO:

EXT.  KELLERMAN HOUSE – NIGHT 

Carol and Erin enter the drive in front of the house.  Sitting numbly in the car, Carol retrieves her daughter’s hand.

CAROL				
You know, your father was 
always better at dealing 
with situations.

ERIN
Yea, well, you=re here.....
he=s 1000 miles away.   

CAROL
I could call him for you, if 
you’d like?     	

ERIN
No, Mom that=s alright.  You=re 
doing just fine.  
	(beat)
I-I don=t know?  Maybe all of 
this is happening for a reason.  
Maybe I=m not ready to move away.  
Maybe....

CAROL
(interrupts)
Now, you listen to me young lady...
I am so sorry about what happened 
to Sarah.  But none of this was 
your fault.

ERIN
(stares blankly ahead)
Detective Peterson thinks that 
maybe the..the sicko who did 
this may have been after me.  
Maybe it should have been me!

CAROL				
Honey, this was a horrible, 
horrible thing, but this 
maniac was looking to kill. 
Somebody!  Anybody!  The 
police will catch him.  
I know in my heart of heats 
that they will.  
	(beat)
No one your age should ever 
have to lose a friend.  But I 
promise you this..it will get 
easier over time.  And maybe 
if you are away at school, it 
will keep you busy.  Keep your 
mind off this nightmare. 
pauses)
I-I know that Sarah would have 
wanted that for you. 

Erin nods. 

CUT TO:

INT.  FOYER – NIGHT 

Hugging Erin, an exhausted Carol proceeds upstairs.

Erin quickly locks the front door, then fumbles with the keypad on the seldom-used ALARM SYSTEM.  After several unsuccessful attempts, the STAY light prominently displays.

CUT TO:

INT.  ERIN’S BEDROOM – NIGHT 

Turning off the bedside lamp, Erin quickly falls fast asleep.  

Suddenly, a DEFORMED hand appears from under the bed.  
Erin is violently pulled under the bed kicking and screaming.  

Abruptly startled awake, Erin finds herself back in bed. 
A nightmare?  A bad dream?  

Slowly, she looks over the side of the bed.  Taking a deep breath, Erin swings up the comforter. 

CUT TO:

INT.  UNDER BED – NIGHT 

An old rag doll lies limply on the otherwise empty floor.  
Erin hesitantly retrieves the doll, pulling it close to her side, then quickly drifts off to sleep. 

CUT TO: 

EXT.  FUNERAL HOME - AFTERNOON

CUT TO:

INT.  FUNERAL HOME FOYER – AFTERNOON 

Erin grasps her mother’s hand, takes a deep breath, then enters the viewing room.   

As Carol Kellerman approaches Mr. and Mrs. Gaspard, Erin enters a pew alongside of Brenda and Kelly. 

BRENDA
How you doing, girl?

ERIN				
Numb.

A shiny, white casket is prominently on display in front of the room, covered by a huge bouquet of red roses.  

KELLY
(somber)	
Roses are Sarah=s favorite.
I mean were..

BRENDA
(attempts a smile)
Yea, she always said that 
Dennis was too much of a 
cheap ass to buy her any. 

ERIN 	
(whispers)			
Why do you think it=s a 
closed casket?

BRENDA
I don=t know....I hate 
to think.

A funeral home employee erects a stand next to the casket,  then prominently displays a huge glossy of Sarah=s senior picture.  White cap and gown, sporting a huge smile.  	

Dennis and Ben stumble into the room, taking their places
along side of Erin.  

BEN				
Sorry we=re late.  Neither of
us knew how to tie a tie.  

Dennis’ crumbled tie dangles below his crotch.  Ben=s tie 
hangs in a meticulously neat manner.

BRENDA
			(to Ben)
		So, how’d you get yours
		tied right?

				DENNIS
	Like this!

Dennis abruptly detaches the clip on tie from Ben’s shirt.

BEN
(loudly)
Hey. Stop that.  

Ben quickly clips the tie back on his shirt.  

As more people crowd into the packed room, a minister slowly approaches the podium.  

SLAM!

The back door of the room abruptly swings open, as a dazed Robert Larson staggers into the room.  

Whispers echo throughout the crowd.

Sporting his trademark black duster and hat, Robert stumbles to the front of the room.  Pausing next to the casket, he stares fixated at Sarah=s picture. 

DENNIS
(frustrated)
What the Hell is he doing 
here?  

BEN
I don=t know, but I=ll take 
care of it!

KELLY
(nervously)
Please, don=t cause any problems.  
Not here.  Not today. 

Robert stands before the uneasy crowd, his gaze revolves between the casket and Sarah=s picture. 

FLASHBACK - 10 YEARS EARLIER  

CUT TO:

EXT.  WOODED AREA - AFTERNOON 

The SOUNDS of CHILDREN can be heard playing in a nearby park.

THUD!

In a heavily-wooded area adjacent to the park, a young boy 
stumbles to the ground.  A thick pair of prescription glasses falls from his dirty face.  His exposed arms are very deformed.

Robert Larson, AGE 8, blindly searches for the glasses.

Quickly placing them back on his face, his blurry vision returns.

Two boys are now looming over Robert.  

As Robert attempts to seek refuse under the thick foliage, 
Dennis Everly, AGE 8, and Ben O=Mera, AGE 7, drags him back into the opening.

As BLOOD seeps through burnt layers of skin, Robert screams out in pain.  

CUT TO:

EXT.  PARK - AFTERNOON

SCREAMS IN THE DISTANCE

Playing CHILDREN stop in their tracks, PAUSE.  The screams taper off.

CUT TO:

EXT.  WOODED AREA – AFTERNOON 

Sarah Gaspard, AGE 7, and Kelly Womack, AGE 6, approach the boys.  Sarah extends her hand out to Robert.

As Robert cautiously grasps her hand, Kelly abruptly retrieves his glasses.  

Robert stumbles back to the ground.  

YOUNG KELLY
Can=t you see weenie boy?  

YOUNG DENNIS
Well....freak boy...if you 
could see what we see, you=d 
be damned glad that you couldn=t.  
You make me want to puke.

Dennis spits on the boy.

A pudgy girl, gasping for breath, stumbles upon the group.  
Erin Kellerman, AGE 7, pushes her way through the crowd.

She reaches for the trembling boy=s deformed hand.  After a slight hesitation, he reaches out.  Once on his feet, Robert quickly staggers away.  

YOUNG BEN
Freak, come back....we were 
only playing.

YOUNG DENNIS
(Frustrated)
Gee, thanks, Erin.  Don=t you 
know how to have any fun? 

Erin shoves Dennis to the ground.  

ERIN				
Can=t you just leave him alone....  
what=d he ever do to you?  	

As an embarrassed Dennis quickly gets to his feet, Erin 
hastily stammers off.      

DENNIS
(yells)
Come on Erin.  What=s the matter?  
He your boyfriend or something!  

Erin pauses, extends her middle finger, then LEAVES.

Dennis retrieves the abandoned glasses, crushing them into the dirt.	

DENNIS
(mutters)
Who needs her anyway?

CUT TO:

EXT.  OLD, WHITE HOUSE - AFTERNOON 

Blindly feeling his way into a backyard, Robert cautiously enters the house.

CUT TO:

INT.  ROBERT’S BEDROOM

Robert quickly attempts to change his tattered and torn clothes.  

BOOM! 

The bedroom door abruptly SWINGS open.

A large shadow hovers over the doorframe. Standing before Robert is an elderly woman, graying hair, leather skin.  
Smoke fills the room, as a cigarette looms from the corner of her mouth.  

OLD LADY LARSON, 56, looks twenty years older than she is.  
	
OLD LADY LARSON
(yells)
What the Hell happened to you boy?

YOUNG ROBERT
(trembling)
Nothing, Maw Maw....n-nothing.
I-I just got my clothes dirty.

OLD LADY LARSON
Don=t you lie to me, you little 
bastard.  You get into another 
fight?

ROBERT
No, I-I fell down....

OLD LADY LARSON			
Can=t you even stand up for 
yourself, you little wimp.  
No wonder your God damn, 
good for nothin= mother left.  
She was a coward.  And now, 
you’re a coward, too.  
(beat)
Boy, where are your glasses?

YOUNG ROBERT
(stutters)
I-I don’t know.  I think that 
I lost them.   

OLD LADY LARSON
(anger)
You lost them!  What do you
mean you lost them!

		ROBERT
I’m sorry.  

		OLD LADY LARSON
You’re gonna be sorry alright!
And look at you, you=re bleeding.    
Boy, why must you always do this 
to me?  You know you can’t get 
that skin infected.

Old lady Larson looks back toward the bathroom door.  Tears well up in Robert=s eyes.  He quickly attempts to rub the dirt off of his arm.  

ROBERT 				
Look, I can wipe it off with 
soap and a wet rag.  

OLD LADY LARSON
Come on, get into that bathroom 
now!!

YOUNG ROBERT
(crying)
No, no. Please.  I=ll do anything....

Grasping the boy by his bloody arm, she drags him from the bedroom.  

The bathroom door abruptly slams shut behind them.	

As the sound of running water looms, steam flows from under the closed bathroom door.  

Robert’s terrifying SCREAMS echoes throughout the house.  

FADE OUT:

CUT TO:

INT.  FUNERAL HOME VIEWING ROOM – AFTERNOON (PRESENT DAY)  

As Robert stands in front of the room, the crowd becomes noticeably more UNCOMFORTABLE.  

Robert suddenly retrieves the framed picture of Sarah Gaspard, prompting Dennis and Ben to abruptly approach him.  

DENNIS
(loudly)
Just in case you don=t already 
know it, you=re not welcome here.

BEN
Come on dick, it=s time to 
leave.  

Robert stares BLANKLY at the picture, as Ben attempts to retrieve it from his trembling hands.  

Suddenly, Robert releases the picture from his grasp.  

CRACK!

As if in slow motion, the frame bounces off the side of the coffin, shattering to the floor.  

SCREAMS!

Mr. and Mrs. Gaspard rush to the front of the room to retrieve the tattered picture.

Dennis and Ben abruptly lead Robert away.  

As Robert stumbles past Erin, he gives her a cold, dead stare.  A chill runs down her spine.

His DAZED stare remains fixed on Erin as Dennis and Ben push him out the back door.  Erin shutters. 

CUT TO:

INT.  ERIN=S BEDROOM  -  NIGHT 

Erin, still dressed in black from the funeral, tumbles onto her bed, almost immediately dosing off.  

Suddenly, a DEFORMED hand appears from under the bed pulling her under kicking and screaming.  

SCREAMS!

Abruptly startled awake, Erin finds herself back on the bed where she had fallen asleep.  

Slowly, she leans over the side of the bed, abruptly swinging up the comforter.  

CUT TO:

INT.  UNDER BED  –  Night 

The rag doll is back on the empty floor.  Erin quickly retrieves the doll. 

CUT TO:

EXT.  SCHOOL - MORNING

CLOSE ON SIGN

AMARSHALL HEIGHTS HIGH SCHOOL@

STUDENTS, books in tow, arrive for Monday morning class.  PATROL CARS cruise the campus. 
								
CUT TO:	

EXT.  FRONT PARKING LOT – MORNING 

A CAR slowly enters the circular driveway of the parking lot.  
								
CUT TO:

INT.  INSIDE OF CAR – MORNING 

Carol Kellerman, her hands gripping the wheel, stares blankly ahead.  Erin stumbles for her books.    

CAROL
Honey, we can go back 
home....if you need more time.  
It may be too soon?

ERIN
(assuring)
Mom, I=ll be ok.  Besides, you 
don=t get paid if you don=t work.  
So, much for mandated child 
support.  Thanks anyway.

Mrs. Kellerman hugs her daughter.  

CAROL				
Just call me at work, if.....

ERIN
(interrupts)
I will.  I promise.

CUT TO:
									
EXT.  PICNIC TABLE – MORNING 

As Erin approaches an old wooden picnic table, Brenda and Kelly are in deep conversation.  

BRENDA				
Hey Erin, how it=s going?

ERIN
I-I don=t know.  Yesterday 
seemed like such a long day.

KELLY				
Yea, the next time that I 
attend a funeral, I want 
it to be my own.

BRENDA				
Kelly!

KELLY				
You know what I mean.  When I=m 
like 95, and can=t remember my 
name......or at least no longer 
enjoy sex.

BRENDA
(laughs)
You don’t enjoy sex now!

		KELLY
Why should I......a vibrator does 
such a great job.  And it lasts
longer than two seconds.	

Erin and Kelly LAUGH, then quickly PAUSE.

				ERIN
			(serious)
		It almost seems wrong to 
laugh.  You know like we’re 
being disrespectful to Sarah’s 
memory.

KELLY
		You know how Sarah was.  
She’d be pissed if we sat here 
crying like babies.  

CUT TO:

EXT.  SCHOOL PARKING LOT – MORNING 

A shiny, black CAR slowly enters parking lot.  A well dressed MAN and WOMAN, exit the car, gather boxes from the trunk, and proceed toward the building.      

CUT TO:

EXT.  PICNIC TABLE – MORNING 

ERIN
(curious)  
Who=s that?

BRENDA
That my dear Erin is therapy 
for the Twenty First century.

KELLY
(confused)
What do you mean?

BRENDA
Grief counselors....they’re  
supposed to help us to deal 
with our loss.  I heard that 
five of them will be on campus  
today.

ERIN
Really.  
(beat) 
Maybe I should meet with one?

Dennis and Ben sneak up on the group.  

				BEN
		Boo!	

SCREAMS!

Brenda punches Ben in the arm.

				BRENDA
		Dammit!  Asshole, you almost 
scared us to death.

		BEN
Sorry, Bren.  
	
		DENNIS
Meet with who?
		
KELLY
Erin wants to meet with a grief 
counselor.	

DENNIS
A counselor!  Erin, those assholes
are a bunch of high paid nuts who 
just want to find out which parent 
sexually abused you?...when?....how 
many times?....and how’d you enjoy 
it?	
				(pauses)
Now Ben here, on the other hand.  
He slept in his mother’s bed until 
he was twelve.  A counselor just 
might do him some good. 

Ben shoves Dennis into the table.  

				BEN
		Fuck you!	

BRENDA
Erin, Dennis is right.  
These guys get off on this 
kind of shit.  They just 
like to get inside your head.  
They don=t give a damn about 
your feelings. 

KELLY				
I heard that they had a hey 
day at Columbine.

Tears fill up in Erin’s eyes. 

ERIN			
I-I don=t know.  I feel like 
I need to talk to someone.  
I=m just very confused.  
Sarah would be here right 
now, if, if....

Brenda places an arm around Erin’s shoulder.

BRENDA
(interrupts)
Erin, you can=t blame yourself. 
It could have happened to any 
one of us.  

		BEN
Not me!  I would have kicked his 
Ass.

Making a karate move, Ben swings his foot into the air.
Dennis abruptly catches the foot in his hand, knocking Ben to the ground.

				DENNIS
			(sarcastic)
		Like that?

KELLY
No one in this town could be 
capable of doing something this 
sick.  My mom said that Detective
Peterson was probably right in the
fact that this guy was probably a 
transient.

DENNIS
You mean like a cross-dresser?

BRENDA
Duh....a transient, you dumb 
ass, not a transsexual.

Dennis shrugs his shoulders. 

BEN
It had to be some sick fuck.
Some maniac.... 

Crowds of students descend upon the campus.

THE CROWD PARTS AS A DARK FIGURE APPEARS INTO VIEW

Robert Larson, black duster and hat, slowly approaches 
the campus, catching Ben’s attention.    

BEN
(continues)
Someone like him!

BRENDA
(yells)
Hey, nerd, where were you Friday
night.

KELLY 
Brenda, shut up....that ass hole 
scares me.

		DENNIS
Fuck him!				

BEN	
I still don=t know why that 
bastard was at the funeral 
yesterday?  He knows that 
we all hate his guts.  

DENNIS
(anger)
I say that we should have brought 
His ass behind the funeral home, 
and beat the shit out of him.

A BELL RINGS.	

Students quickly enter the building.  

Ben tosses his book sack over his shoulder.

				BEN
		Well, I’m outta here.  Old man 
Hillman said that if I’m late 
for his class one more time, 
I’ll be here on Saturday. 

DENNIS
			(yells)				
		Pussy!

Ben abruptly extends his middle finger back to Dennis.

				DENNIS
		Later guys.  I already have 
Saturday detention.  

Dennis quickly heads toward the building.

				KELLY
			(yells)
		Pussy!

Dennis flips Kelly off.  

				KELLY
		I’m outta here, too.  See you 
later.

BRENDA
		Bye Kelly!  	

Brenda and Erin gather books from the picnic table, and proceed toward the building.    	

As lagging students quickly descend into the building, the front door to the school closes.  Standing behind the door is Robert Larson, his DAZED stare fixed on Erin.

The two girls freeze in their tracks.  

After a slight pause, Robert slowly enters the building.  

BRENDA
That=s one sick, deranged bastard.

ERIN 
Brenda, I=ve been thinking about 
what Detective Peterson said...You 
know about the killer thinking it 
was me in that house.  

BRENDA
Erin, that wasn=t what he said.

ERIN
Just hear me out.
	(beat)
You know how we=ve all treated 
Robert so badly...since second 
grade.  Do you think that you 
can ever push someone too far?

BRENDA
Erin, don’t tell me that you 
think freak boy killed Sarah.  
He=s a wimp who=s scared of his 
own shadow.    

ERIN
That=s what I=m talking about.  
Can you call someone a freak 
so many times that they actually 
become one.  
	(pauses)
Don=t you remember, Robert was 
there.

BRENDA
(confused)				
Where?

ERIN
In front of the Weaver house the 
other night.  The night..

BRENDA
Erin, where are you going with 
this?

ERIN
Look, I live two blocks from the 
Weavers.  Robert lives on the 
other end of Addison street. 

BRENDA
So?	

ERIN
He was at the Weaver house before 
I got there.  How=d he find out 
so soon?...How=d he get there 
so fast?  And don=t you remember 
the look on his face...when he 
saw me.  It was like he had seen 
a ghost.  Don=t you see, that 
would make sense if he thought 
that he had killed me, instead 
of Sarah.

A SECOND BELL RINGS. 

Brenda observes her watch.  

BRENDA
Come on Erin, unless we want 
to be here on Saturday with
Dennis, we’d better get to 
class.
	(beat)  
But I still say that you=re 
wrong.  Besides, why you?  
God knows that you were the 
only one who ever defended 
that weirdo.  

FLASHBACK - 7 YEARS EARLIER 

CUT TO:

EXT.  WOODED AREA – EARLY EVENING  

Robert Larson, Age 11, rushes through the woods.  Faint VOICES can be heard in the distance.   

DISTANT VOICE				
Freak boy, we=re coming for you.  
You can=t hide.  Come out, come 
out....where ever you are.

The terrified boy ducks into thorn-filled shrubs.  

Cupping his hands over his mouth, Robert’s muffled moans of pain stream through his lips.  Blood trickles down his scrapped arms.   

The VOICES fade in the distance.

Tears stream down his face, as Robert gasps to catch his breath.   

BOOM!

Robert is violently dragged from his hiding place.  
Dennis Everly, AGE 11, and Ben O=Mera, AGE 10, linger  
over him.  

YOUNG DENNIS
			(yells)
		Hey guys, guess what we’ve 
Found?  

The sounds of approaching footsteps ring out.

Kelly Womack, AGE 9, Sarah Gaspard, AGE 10, and Brenda Spann, AGE 9, quickly catch up to the boys.

Holding Robert by his bloody arm, Ben violently lifts the frightened boy off the ground.  A huge wet spot saturates the front of Robert’s pants.  

YOUNG BEN
(laughs)
Hey guys, look....weenie boy 
pissed on himself. 

YOUNG BRENDA 
(sarcastically)
What=s wrong cry baby?

YOUNG SARAH
Old Lady Larson is gonna be 
very upset that you ruined 
your clothes.

YOUNG DENNIS				
It=s ok, Robert.  We=ll keep you
out of trouble. Right guys!		

Ben and Dennis abruptly push Robert to the ground, as the girls rip his clothes off.  

The group suddenly stumbles back.  

GASPS!

Robert’s upper and lower body is covered with dark, patchy blotches.  Burn marks cover his entire torso.

As the girl’s turn away in disgust, Ben and Dennis stare at the disfigured boy.  Robert quickly stumbles away.  

Erin Kellerman, staggers up to group.  Dark, black pig tales, pudgy, Erin gives the others a frustrated, disapproving stare.  

CUT TO:

EXT.  NEARBY PARK – EARLY EVENING  

As the naked, disfigured boy rushes through the park, parents shield their terrified kids from sight. 

CUT TO:

EXT. LARSON HOUSE – EARLY EVENING  

Robert staggers through patches of weeds leading up to the backdoor of the house.  

CUT TO:

INT.  ROBERT’S BEDROOM – EARLY EVENING 

Safely in his bedroom, Robert quickly retrieves a change of clothes.  

BOOM!

The bedroom door violently swings open.  Old Lady Larson enters the room, a cigarette hanging from her mouth.   

OLD LADY LARSON
(screams)
What are you doing, you little 
bastard?

YOUNG ROBERT
(stutters)
Nothing.  Nothing.  I-I..

OLD LADY LARSON
(screams)	
Where are your clothes?

YOUNG ROBERT
I-I...

With the look of fire in her eyes, she slowly raises her hand.

OLD LADY LARSON
Boy, have you been in here 
doing something dirty?

SLAP!

The old lady violently SLAPS the trembling boy across 
the face.  He falls back on to the dirty, wooden floor. 

Tears stream down his face.   

OLD LADY LARSON
Your maw was useless whore.  
And I guess you=re trying to 
follow in her footsteps.

Violently jerking the naked boy off the floor, she drags 
him into the hallway.

YOUNG ROBERT
(pleads)
No, please.  Not there.  
I-I’ll b-be g-good.

CUT TO:

INT.  HALLWAY – EARLY EVENING 

Pushing him to the floor, the old lady retracts the 
attic door above her head.

THUD!

The steps drop down to the hall floor.  Kicking the boy in  the ribs, the old lady extends her arm toward the attic.  

OLD LADY LARSON
I can=t even stand to look 
at you.  The sight of you 
makes me sick.  
(beat)
Get up there, now!  Don=t make 
me tell you again.  

CUT TO:

INT.  ATTIC – EVENING 

The naked boy staggers up into the dark, dusty attic, and crawls on to an old, tattered mattress. 

A shimmer of light from the hallway shines into his dark, dead eyes.  

BAM!

The attic door springs shut, as the dim light fades to black. 

CUT TO:

INT.  SCHOOL HALLWAY (PRESENT DAY) – MORNING 

A BELL RINGS.   

STUDENTS crowd the hallway in between classes.  Erin and Brenda approach a group of lockers, as Ben and Dennis 
unload books.  

BRENDA
Erin thinks that Robert may 
have been the one who killed 
Sarah.

ERIN
(defensive)
Brenda, that was not exactly 
what I said. 

BEN
Freakboy!  That douchbag couldn=t 
kill time, much less kill Sarah 
and those kids.

		BRENDA
I don’t know!  Old lady Larson 
seems crazy enough to kill.  
Maybe it runs in the family!

KELLY
My Mom told me that his mother 
was really nuts, too.  She’s the 
reason that he looks that way.

		ERIN
	(curious)
Really!  So, what happened? 

		KELLY
Well, mom went to high school 
with her.    

		BEN
	(sarcastic)
Damn, she must old by now!

		KELLY
Screw you smart ass.
	(beat)
Anyway, his mother stayed late 
after School one day.  And this 
psycho janitor pulls her into a 
broom closet.  Nine months later, 
freak boy blows out.

BRENDA
Damn.  

KELLY
Mom said the police was ready 
hang the janitor.  But before 
they could arrest him, he just 
splits town.  Never to be heard 
from again.  

BRENDA
(interjects)
Typical male.

KELLY
Robert’s mom couldn’t handle the 
shame.  So, she douses him in 
gasoline. Poof.  Extra crispy.  
	(beat)
But, When he doesn=t die, she 
splits town.  Never to be 
heard from again. 

BEN
(interjects)
Typical Female.

KELLY
(continues)	
Old lady Larson raised weenie 
boy ever since.   

DENNIS
That story is a bunch of bull 
Shit!

KELLY
No, I swear.  My Mom just told 
me about it last night.
	(beat)
After Robert made such a scene 
at the funeral, she said he was 
as nuts as his mother.

DENNIS
Kelly, isn=t your mom also 
a screen play writer.

KELLY
(puzzled)
Yea, so what?	

As STUDENTS gather books from lockers, MICHAEL JOHNSON, 
15, a lanky red headed, freckle faced freshman, approaches the group.  

MICHAEL	 
Hey guys, what=s up?

KELLY 
What part of we don=t like you 
can=t you understand?

MICHAEL				
Kelly, I know that you=re crazy 
about me.  You=re just suppressing 
your true feelings.
(beat)  
Anyway, I just wanted to tell you 
what I=d heard about Sarah.

BRENDA
No one cares, nerd!  Just leave.

MICHAEL
Weren’t you the least bit curious 
as to why she had a closed casket?

Ben, fist clinched, descends upon Michael.  

BEN
Johnson, you wanna leave now?

Michael stumbles back.  

MICHAEL				
My uncle=s an embalmer.

BRENDA
What the hell is that?

MICHAEL
He preps dead bodies. 

BEN
(anger)
Ok dumbass, are you going 
somewhere with this?

MICHAEL
I thought that might peak your 
interest.  
	(beat)
Anyway, my uncle said that when 
they brought Sarah in, she had 
been decapitated.  The cops 
couldn’t find her head.  

CRASH!

Ben hurls Michael into a row of lockers, knocking him to the ground.  Dennis dives on top of the stunned boy, fist flying.
  
DENNIS
(yells)
You=re a liar....you=re a 
fucking liar.

A large crowd emerges, as several teachers struggle to break up the commotion.  

Erin, gasping for air, frantically retreats down the hall.  

BOOM!

THE LIGHT BLURS, THEN FADES TO BLACK.  

CUT TO:

INT.  SCHOOL CORRIDOR – MORNING 	

A BELL RINGS.

With BOOKS scattered about, Erin is lying flat on the hallway floor.  

CUT TO:

INT.  SCHOOL CORRIDOR CEILING – MORNING 

A bright ceiling light shines into Erin’s blurry eyes.  
The light suddenly dims, as a SHADOW appears overhead.  Robert Larson leans over the dazed girl.  

PANIC!

CUT TO:

INT.  SCHOOL CORRIDOR – MORNING 

Hastily gathering her BOOKS from the floor, Erin rushes down 
the hall.  Robert=s blank stare follows.

With the ringing of a final bell, the hallway is now empty.       
CUT TO:

INT.  SCHOOL HALLWAY – MORNING 

Pausing around a corner, Erin finds herself in front of the principal=s office.  	

She looks back down the long, empty corridor.  Robert is gone.  As she turns back toward the office, she runs smack into--	

PRINCIPAL SKINNER  

Erin SCREAMS.

Skinner, late fifties, balding, with black, lifeless eyes.  
At 6 foot 2, he looms over the shaken girl.    

PRINCIPAL SKINNER		
Miss. Kellerman...I may be wrong, 
but I think that the last bell 
just rang! 

ERIN				
Principal Skinner....I-I was 
just going into the office.  
To-to meet with a counselor.  

PRINCIPAL SKINNER
Ah, yes.  You and Ms. Gaspard 
were very close.  I was so sorry 
to hear about her fate.  Pity. 
So young, so attractive.

ERIN
Well, thank...thanks for your 
concern.  I-I guess I=d better 
go...

As Erin nervously fumbles with the office door, Skinner stare remains fixed on the girl.    

CUT TO:	

INT.  PRINCIPALS= OFFICE – MORNING 

Erin quickly approaches the front desk. An ASSISTANT, blonde, early 20’s, filing her nails, is oblivious to Erin=s presence.  

Frustrated, Erin clears her throat.  The assistant pauses, looks up, then continues filing her nails.   	

ASSISTANT				
Yea, can I help you?  

ERIN
I-I would like to schedule an 
appointment to meet with a 
counselor.  

ASSISTANT
No need to!

ERIN
(confused)
Excuse me?

ASSISTANT
You can go right in.  You=re the 
first visitor today.  

The assistant points the nail file over her shoulder. 

ASSISTANT 
(continues)	
Down that hall, second door on 
the left.

ERIN
(sarcastically)
Thanks for all of your help.

The assistant quickly returns to filing her nails.

ASSISTANT				
Yea, yea.  Anytime.

CUT TO:	

INT.  LONG DIM HALLWAY – MORNING 

Erin slowly proceeds down the small narrow hallway. 
After a slight hesitation, she lightly knocks on the 
thin, wooden door.  

CREAK!

The door slowly cracks open.  
	
CUT TO:	

INT.  HALLWAY VIEW FROM INSIDE OF OFFICE	

Standing before Erin is a dark figure, wearing a black
jacket and a dark kit cap.  

Erin STOPS dead in her tracks.  

Robert Larson!
 
She quickly stumbles back down the hall.

Entering the light of the hallway, an elderly man emerges, 
looking very confused.  He is wearing the black jacket and knit cap. 

COUNSELOR 	
Miss, can I help you?  Miss?

Erin abruptly exits the office.  

The assistant pauses, looks down the hall at the confused man, shrugs, then returns to her nails.  

CUT TO:

INT.  CLASSROOM  - AFTERNOON 

As Erin quietly enters the back door of the classroom, the class is in deep discussion on the War of 1812.

Erin takes her seat next to Brenda.

FART!

Laughter breaks out in the room.

Turning three shades of red, Erin retrieves the rubber whoopee cushion from under her seat.

ERIN
(apologetically)
Sorry..

The history discussion slowly resumes in the room.

BRENDA
(whispers)
	I swear I had nothing to 
do with that!
	(beat)
So, where have you been?  
We couldn=t find you anywhere 
after that incident with that 
dumbass Michael.

The red slowly fades from Erin’s face. 

ERIN
(whispers)	
Long story!  
	(beat)
But I did try to meet with
a counselor.

BRENDA
(whispers)	
Yea.  So, how’d it go?

ERIN 
(whispers)	
Not good.  I thought I saw 
a ghost.

BRENDA 
(whispers)
What?

TEACHER 
(interrupts)
Miss. Kellerman!  Miss Spann!
I am quite sure that your 
discussion is probably more 
interesting than the War of
1812.  So, why don’t you share 
it with the rest of the class. 

LAUGHTER spills into the room.

ERIN 
(embarrassed)
Sorry.  

BRENDA
(smiling)
Please continue Mrs. Bowers.

As the teacher resumes the discussion, Erin fumbles for her History book.  Suddenly, a puzzled look comes across her face.  A copy of the AMARSHALL HEIGHTS HIGH SCHOOL YEARBOOK@ 
is on top of her books. 

CUT TO:

INT.  CLOSEUP - ERIN  

Erin curiously opens the yearbook.  Flipping through 
the pictures, a nostalgic smile comes across her face.    

ON THE YEARBOOK 								

Continuing to flip through the pages, she happens upon 
student pictures from her junior class.    

CUT TO:

INT.  CLOSEUP - ERIN  	

Erin=s heart stops. 

CUT TO:

INT.  CLOSEUP - YEARBOOK  	

A small label, reading APHOTO UNAVAILABLE@, covers Sarah Gaspard=s picture.  

Erin NERVOUSLY flips through the pages.  

Dennis Everly - APHOTO UNAVAILABLE@  
Ben O=Mera - APHOTO UNAVAILABLE@ 
Brenda  Spann - APHOTO UNAVAILABLE@
Kelly Womack - APHOTO UNAVAILABLE@ 

CUT TO:

INT.  CLOSEUP - ERIN  

HEART POUNDING!

As her mind races, Erin rapidly searches for her picture.

CUT TO:

INT.  CLOSEUP - YEARBOOK  	

Scanning the list of names, she stops on ERIN KELLERMAN.  After a slight hesitation, she looks at the picture. 

Her picture is predominantly displayed.    

CUT TO:

INT.  WIDE VIEW OF CLASSROOM 

HYPERVENTILATES!

Erin abruptly exits the classroom.  

TEACHER
Erin, where are you going?  
Erin, get back here! Erin?

STUDENTS giggle at the situation.

A BELL RINGS.

Brenda quickly leaves the room.

CUT TO:

EXT.  SCHOOL - AFTERNOON

Brenda finds a distraught Erin sitting on the old wooden picnic table.  

BRENDA
(heavy breathing)
What, what the Hell was that 
all about?  

Kelly approaches the two girls.

KELLY
Hey guys, was this the longest 
day or what?

Kelly suddenly notices the look on Erin’s face.

				KELLY
What is it?  What’s wrong?

BRENDA
I don=t know!  She just bailed  
out of class before the bell 
rang.  
	(beat)
I thought Mrs. Bowers was gonna 
have a freakin’ cow.

STARING blankly ahead, Erin hands the yearbook to Brenda.

BRENDA
(confused)
Ok, last years yearbook....so?    

ERIN	
(voice shakes)			
Go to our class pictures.   

Brenda and Kelly quickly flip through the pages of the book. 

KELLY 
I-I don=t get it.  Photo unavailable!
What does that mean?  Why did you 
do that to your yearbook?  

ERIN
(defensive)
That=s not my yearbook.

BRENDA
Ok, so, where did you get it?

ERIN
(confused)
I-I don=t know.  It was mixed in 
with my other books.  	

KELLY
Wait a second!  Erin, how come 
your picture is not covered..

ERIN
(defensive)
What are you saying?  You think 
that I had something to do with 
that?

Brenda gives Kelly a disapproving stare.  

BRENDA
No honey, of course we don=t.  
This whole thing has all of 
us just a little crazy.

KELLY
I=m sorry Erin.  I-I didn’t mean 
anything by that.

Dennis and Ben sneak upon the group.

				BEN
		Boo!

SCREAMS!

Brenda punches Ben right in the arm.

				BEN
			(rubs his arm)
		Ouch!  Shit that hurt.

				BRENDA
		Good.  I hope I broke your arm
		dick head.  			

DENNIS 
What=s up guys?

BEN
(still rubbing his arm)
Man, I thought that this fucking 
day would never end.  All anyone 
wanted to talk about was Sarah=s 
death.  They should have just 
given us a holiday....

Dennis suddenly notices the troubled looks on the girl’s faces.

DENNIS
(interrupts)
What=s wrong.

BEN
Yea, you guys look like you lost 
your best friend.  I mean...

WHAM!

Dennis hits Ben in the bruised arm.  

DENNIS			  	
Do you ever think before you speak?
	
Brenda tosses the yearbook to Dennis.  

DENNIS
What=s this all about?  

KAREN 
(interjects)
Erin found it. 

Ben and Dennis quickly scan the yearbook.

BEN
Hey, wait a minute!  Erin, how 
come your picture is not covered?

BRENDA
(frustrated)
We=ve already been through that.  
But, that=s not the point.  Is 
someone trying to tell us something?  
First Sarah.  Does this mean we’re 
next?			

Erin is in deep thought.  

ERIN
Wait...wait.  I ran into 
Robert Larson in the Hallway.
	(pauses)  
Literally.  Anyway, the yearbook 
must have been his.  That=s the 
only thing that makes any sense.

DENNIS
(pissed)
That=s it...I=m going to beat the 
shit out of that fuckin= freak.  

KAREN
Wait a second!  Ok, so, what if 
it is his yearbook.  Does that 
make him a killer?  Come on guys, 
we need to think about this.

DENNIS 
Screw thinking.  You might think 
it=s a coincidence that he has a 
yearbook with Sarah=s picture 
blacked out.  Well, I fucking 
don=t!

BRENDA 
Karen=s right...what does that 
yearbook prove.  First, who=s to 
say for sure, it belongs to the 
freak.  Secondly, that alone 
doesn=t prove that he had anything 
to do with Sarah’s death.

		BEN
It’s enough for me.

ERIN
Guys..Guys..Think about it.  
What if Robert really did 
kill Sarah.  Detective Peterson 
said to let him know if we had 
any information.  
	(pause)
I think that we need to go to
him with this.

Dennis ponders the situation.

DENNIS				
Ok, ok...I tell you what...Ben 
and I will just take a trip over 
to Larson=s house tonight.  Have 
a little look around.  

BEN
(timid)
We will?

DENNIS
Yea pussy, we will.

BRENDA
(confused)
Look for what?

DENNIS 
I don=t know?  Just call it 
a feeling.

KELLY
So, what are you gonna do, 
just break into freak boy’s 
house?

BEN
Well, we could knock.  Maybe, he=d 
invite us in.

ERIN
(interrupts)
Listen, I still think that we 
need go to Detective Peterson.  

DENNIS				
And tell him what, Erin?  We have 
nothing on that dick.  Look, Ben 
and I will check out his house.  
(angry)
But I promise you this... if I find 
anything that remotely ties that 
mother fucker to Sarah’s murder, 
he=s all mine.

ERIN
(snaps back)
And if you don=t?

Dennis gives Erin a frustrated stare, then abruptly walks away.

CUT TO:

EXT.  KELLERMAN HOUSE - EARLY EVENING

With the sun setting in the distance, Carol Kellerman enters the driveway.  

Her hands full of paper work, she struggles with the front door. 

A dim light SUDDENLY flickers in the slightly opened attic widow of the house.

A SHADOW SLOWLY PASSES THE ATTIC WINDOW.  

CUT TO:

INT.  FOYER – EVENING   

CAROL
Erin?  Erin? 

SILENCE.

Dropping the paper work on a desktop, Carol depresses the alarm keypad.  Error code A216" flashes across the keypad.  

CAROL
(puzzled)
What the...Erin, are you home?		

SILENCE.

She traces the error code to a list on the keypad cover.  

216 - ATTIC WINDOW.

CAROL
Shit!

Retrieving a FLASHLIGHT from the desk drawer, Carol proceeds up the stairs.  

CUT TO:

INT.  HALLWAY – EVENING 

Slowly, she RETRACTS the extended stairs to the attic door.  

CUT TO:

INT.  ATTIC – EVENING  

With a slight pause, Carol climbs up the stairs.  

CREAKS!

Standing on the edge of the attic opening, she shines 
the flashlight into the dark room.  

SCANS THE ROOM 

The night breeze streams in through the slightly opened window.  Carol hesitantly climbs into the attic.    

CRACKING GLASS.

Glass from a broken light bulb crumbles at her feet.  
The jagged end of the bulb dangles from the ceiling outlet. 

Carol proceeds to the open window.  

SPRING!

The window shade suddenly swings up.  Carol stumbles back.  

SCREAMS! 

CAROL
(gasps)
Holy Shit.  

As Carol quickly lowers the window, a FIGURE appears in the reflection behind her.

CUT TO:

EXT.  KELLERMAN HOUSE – EVENING 

THE SHADOW OF AN AXE FLATS ACROSS THE ATTIC WINDOW

CUT TO:

INT.  JEEP CHEROKEE - NIGHT

Brenda is driving Erin home.    

ERIN
(in mid-conversation)
Bren, I don=t know.  I still 
think we need to call 
Detective Peterson. 

BRENDA				
Lets wait and see what Dennis 
and Ben find out. 

ERIN
Do you think going over there 
is such a good idea?  What if 
they do find something? 

BRENDA
God, can you imagine.  I really
think that Dennis would kill 
freak boy.

	(beat)
Anyway, Ben said he=d call me 
as soon as he gets home. 

CUT TO:

EXT.  KELLERMAN HOUSE - NIGHT 

As the Jeep Cherokee comes to a screeching halt, Brenda gives Erin a hug.  

BRENDA				
Want me to come in? 

ERIN
No, that=s ok.  

Erin observes her mothers car parked in the driveway.

ERIN
(continues)
Besides, my Mom=s home.

BRENDA
Ok, so, I=ll call you as soon 
as I hear from Ben.

ERIN				
Thanks.  See you later.

As Brenda exits the driveway, she observes Erin retreat into the house.  

A SHIMMER OF LIGHT FLASHES FROM THE ATTIC WINDOW

Brenda abruptly stops the vehicle.  

THE LIGHT FADES  

BRENDA
(to herself )
Erin, now you have me seeing 
things.  

After the car quickly disappears in the distance, the flicker of light again appears in the attic window.  

CUT TO:

INT.  FOYER – NIGHT 

After locking the front door, Erin depresses the alarm.  

216 FLASHES ACROSS SCREEN

CUT TO:

EXT.  KELLERMAN HOUSE – NIGHT 

The attic window slowly closes.  The shimmer of light fades. 

CUT TO:

INT.  FOYER – NIGHT 

After a second attempt, STAY suddenly appears on the alarm screen.

ERIN
(to herself)
Finally.  
	(beat)
What was that number..21..21

Erin scans the list of error codes on the keypad.  Number 216 denotes the attic window.

Erin shrugs, then closes the alarm cover.  

ERIN
(yells)
Mom, I’m home.  Mother?

Noticing the pile of paperwork on the hall table, Erin shakes her head in frustration.   

ERIN
(to herself)
Oh Mom!  That damn job is 
gonna kill you.

CUT TO:

INT.  CAROL KELLERMAN=S BEDROOM - NIGHT

Proceeding upstairs, Erin quietly checks in on her mom.    Carol is quietly sleeping, covers pulled up over her head.  

A small nightlight shines in the room.  

Erin approaches the bed, retrieving a medicine bottle from the nightstand.  The label reads AProzac.@  Tears well up
in her eyes. 

ERIN
(whispers)
Pleasant Dreams.

Erin proceeds down the hall to her bedroom, closes and locks the door behind her.    

CLICK! 

CUT TO:

EXT.  LARSON HOUSE - NIGHT

Dennis and Ben, dressed in all black, move along untrimmed shrubs by the side of the house.  

CUT TO:

INT.  ROBERT’S BEDROOM – NIGHT  

Peering into a bedroom window, they find Robert Larson 
sitting on the edge of a bed.  Suddenly, he turns toward 
the window.

Dennis abruptly pushes Ben to the ground. 

DENNIS				
Shit!  Get down!
	
After a slight hesitation, the two boys cautiously rise up to the window, just as Robert is exiting the room.  

Sprinting along the side of the house, Dennis and Ben peer into the next window.  Robert passes in the hall. 

As they approach the last window, a dim light from the living room shines onto the shrubs.  

DENNIS 
On the count of 3.
1...2...3...

Looking into the living room window, they find Robert searching a closet.

SQUEAL!

A BLACK CAT suddenly darts from under the raised house.  

DENNIS
(yells)
Shit! 

The two boys quickly dive under the house.  

A SHADOW FLATS OVER THE SHRUBS

DENNIS
(whispers)
Shit! What the fuck was that?

BEN
(sarcastically)
A God damn black cat.  Gee, that=s 
sure a good sign.  Maybe we can 
dart under a ladder next?  

DENNIS
	(whispers)
Shut the fuck up.	

THE SHADOW SLOWLY RETREATS	

The living room light suddenly fades over the shrubs. 

DENNIS
Come on!  

They cautiously retreat from under the house.  Peering into the living room window, the room is completely dark and EMPTY.  

CLICK!	

Just as they reach the front edge of the house, Robert  locks the front door.  

CUT TO:

EXT.  LARSON HOUSE – NIGHT   	

Dennis and Ben peer up from the raised shrubs, as Robert  staggers to his bicycle, then rides away.    

Ben abruptly rises from the edge of the house.  Robert suddenly stops the bike, looking back toward the house.  

Diving on top of Ben, Dennis pushes him to the ground. 

After a slight hesitation, Robert rides away.

BEN
Think he saw us?

DENNIS
Us!  Us! Maybe you, you dumb 
fuck.  Come on, let=s get this 
shit over with.

Dennis and Ben retreat back to the side of the house.
Quickly opening the living room window, they crawl side.

CUT TO:

INT.  LIVING ROOM – NIGHT 

DENNIS 
(whispers)
Man, this place is fucking creepy.

BEN
Reminds me of Michael Myers house. 

DENNIS
Where do you think old lady 
Larson is?

BEN				
I don’t know.  Maybe he killed 
her!  
	(beat)
So, exactly what the Hell are 
we looking for, anyway?

DENNIS				
How do I know! 

Dennis directs Ben toward the back of the house. 

DENNIS				
You check out the back of 
the house.  I=ll look up here.

BEN
(concerned)
What, and split up?

DENNIS
What pussy, are you scared?  
Besides, if freak boy comes 
back, just kick his ass, like 
the good old days.  Now hurry 
up so we can get the fuck out 
of this rat=s nest.

BEN
(voice quivers)
Y-You don=t think that ass hole 
Johnson knew what he was talking 
about....you know, about Sarah=s 
head not being found.

Dennis shoves Ben into the hallway.

DENNIS				
Let=s just hurry.  

CUT TO:

INT.  HALLWAY

As Ben proceeds down the hallway, a ray of light suddenly appears from the attic door above.

BEN 
(whispers)
Dennis?  Dennis?

NO RESPONSE.

The light abruptly fades.  

Retrieving the hanging, string cord, Ben retracts the folding stairs.  Slowly, he climbs up to the attic.  

CREAK!

CUT TO:

INT.  ATTIC – NIGHT 

DIM LIGHT APPEARS IN WINDOW FROM FULL MOON

Climbing into the attic, Ben scans the dust-filled room.    

An old tattered mattress lies on the floor of the room.  
An outline looms from under faded sheets on the mattress.  

With a slight hesitation, Ben nervously approaches the mattress, tossing the sheet to the floor.

GASPS! 

He stumbles back in horror.  

BEN
(whispers)
Dennis!  Fuck man.

BOOM! 

The attic door abruptly shuts.  

THE SHADOW OF AN AXE FLATS THROUGH THE AIR    

CUT TO:

INT.  LIVING ROOM – NIGHT 

THUD!

DENNIS
Ben?  Ben?  

After a pause, Dennis continues his search.  

CUT TO:

EXT.  LARSON HOUSE – NIGHT   

DIM LIGHT SUDDENLY APPEARS FROM ATTIC WINDOW

CUT TO:

INT.  LIVING ROOM – NIGHT 

CLICK!

Dennis freezes in his tracks.  The front door lock suddenly turns.    

As the door slowly cracks open, Dennis abruptly races down the dark hallway.  

CUT TO:

INT.  HALLWAY 

DENNIS
Shit!  Ben? Ben, where the 
fuck are you?  Somebody=s home.  
Ben?

Quickly entering a bedroom, Dennis hurdles under a bed.  

CUT TO:

INT.  BEDROOM (UNDER BED) – NIGHT  	

As he lies quietly on the floor, footsteps approach the bedroom.  

A SHADOW LOOMS FROM UNDER THE DOOR

HEARTBEAT 

The doorknob slowly turns, then suddenly stops.

THE SHADOW FADES FROM UNDER THE DOOR

His heart pounding, Dennis SIGHS.   

DENNIS
Fuck!

Crawling out from under the bed, Dennis leans his ear against the bedroom door.

SILENCE!

He slowly turns the doorknob, retracting the squeaking door.
After taking a deep breath, Dennis looks out into the dark hallway.  It is empty. 

DENNIS 
(to himself)					
On the count of 3.
1...2...3...

Retreating from the bedroom, he slowly proceeds down the hallway.      

CUT TO:

INT.  HALLWAY – NIGHT 

CREAK!

Dennis pauses.  

The attic door slowly retracts just above his head.  A light shines down into the dark hallway.  

Dennis slowly steps back, looking up into the entrance to the attic.  The blinding light shines down into his eyes.    

DENNIS
(whispers)
Ben, is that you?

A ROPE suddenly drops from the attic.  As the noose tightens around his neck, Dennis violently disappears into the attic. 

BOOM!

The attic door swings shut.  

CUT TO:

INT.  ERIN’S BEDROOM – LATE NIGHT 

A sleeping Erin tosses in her bed.  Suddenly, a hand 
retracts from under the bed pulling her under kicking and screaming.  

Startled awake, Erin finds herself on the bed.  The sound of a faint ringing echoes throughout the room.  

RING!  RING!

Realizing that the phone is ringing, Erin struggles for the receiver.   

ERIN	
H-hello! Hello!   

BRENDA
(concern in her voice)
What took you so long?  
The phone must have rang 
100 times.

ERIN
I=m sorry.  I must have dozed 
off.  

BRENDA
Did I wake your mom?

ERIN
No, I don=t think so.  She takes 
so much medication at night, 
nothing would wake her.
(beat)
Brenda, what=s wrong? 	

BRENDA
Ben never did call me, 
and it=s getting late.

Erin abruptly rises in the bed.  

ERIN				
W-what time is it?

BRENDA 
Almost 2:30. 

ERIN
(angrily)
Dammit, Brenda!  I knew that 
we should=ve called Peterson 
last night.  I=m calling him 
right now.  

BRENDA
Wait Erin!  What are you gonna 
tell him?  Ben and Dennis decided 
to break into this freak’s house 
because they thought he might 
have killed Sarah.  That’d go 
over really well.    

ERIN
(sarcastic)
So, what do you suggest?

BRENDA
Look, let=s go over to Robert’s 
house, and see if Ben and Dennis
are still there.  

ERIN
(yells)
Are you crazy?

BRENDA
Come on Erin.  Who knows..maybe 
they bonded with weenie boy, 
and are getting drunk together.

ERIN
Yea, right!  

BRENDA 
Listen, if we don’t see any 
signs of them, then I promise 
that we’ll call Peterson right 
away. 
(begs)
Pleeeease. 

ERIN
(hesitates)
Brenda, why do I let you talk 
me into this shit.

BRENDA
Thanks.  I=m leaving now.  
Just meet me in front of 
freak boy’s house.

ERIN
But, Brenda wait...Brenda...

The receiver goes dead.  

				ERIN
(to herself)
Dammit!

Returning the phone to the receiver, Erin leans over the side of the bed.  

Slowly, retracting the comforter, she finds the rag doll back under the bed.  

Quickly retrieving the doll, Erin places it on the pillow. 

CUT TO:

EXT.  LARSON HOUSE – LATE NIGHT 

Erin stumbles along row of shrubs in front of the Larson 
house.  The house is very dark, very quiet.  A dim street lamp shines over her shoulder. 

ERIN
(whispers)
Brenda!  Brenda!  

Silence.

				ERIN
			(whispers)
Brenda, where are you?
Brenda....
(pauses)
Damn you!

CUT TO:

EXT.  LARSON HOUSE – LATE NIGHT 

Approaching the house, Erin enters the creaking porch.  Upon reaching the front door, she nervously reaches for the doorbell.  

Suddenly, a hand grabs Erin=s shoulder.  

SCREAMS!

As Erin stumbles back into the front door, Kelly Womack gasps.

ERIN			
Shit, Kelly....you scared the 
Hell of me.  
	(beat)
W-what are you doing here?

KELLY
(apologetically)
Oh God.  Erin, I=m sorry.  
I=m sorry.  Brenda said to 
meet you guys over here.  
(looks around)
Where is she?

ERIN				
I don=t know.  I can’t find 
Her.  
	(beat)
Listen Kelly, I need you  
call Detective Peterson.

KELLY
(nervously)
No...no Erin....I=m not gonna 
leave you.

ERIN
(interrupts)
Look, I don=t know what=s happening. 
Dennis and Ben are missing.  Please 
Kelly...just get Peterson over here.  
I=ll..I=ll look for Brenda.

KELLY				
Ok Erin...I’ll go...if you promise
to just wait right here, until I
get back.    

Erin nods.  Kelly quickly staggers away.  

CREAK!

The front door suddenly cracks open.  

ERIN
H-hello!  Ben?..Dennis?..R-Robert?
(mumbles)
Shit, what the Hell am I=m doing 
here? 

Hesitatingly reaching for the door, Erin’s hand slips across the wet doorknob.  She slowly raises her hand back toward the streetlight.  

BLOOD drips from her trembling fingers.  

Erin abruptly stumbles away from the house, then suddenly pauses.  

As if something has taken her over, Erin returns to porch.
With a quick sigh, she abruptly pushes the front door open.  
BOOM!

The house rattles, as the door bounces against the living room wall.  Erin peers into the dark room.  

CLICK!  

Flipping the light switch, nothing is working.

CUT TO:

INT.  LIVING ROOM – LATE NIGHT 

As Erin nervously enters the living room, a faint noise echoes from within the house.  

				ERIN
		Hello!  Hello!  Anyone home?

NO answer.

CUT TO:

INT.  HALLWAY – LATE NIGHT 

Erin cautiously proceeds down the hallway.  The noise appears closer.  

DRIP! DRIP!

A pool of BLOOD lies on the hallway floor.  Looking above her head, Erin finds traces of blood trickling down from the corners of the closed attic door.  

Erin turns back toward the front of the house, then suddenly hesitates.   

ERIN				
Shit!  Shit!

Cautiously, she grasps the attic door string, retracting the folding stairs.  

THUD!

As the attic door abruptly falls open, a limp BODY suddenly dangles down.  The feet of the blood soaked body are tied to the swinging attic door.  The arms drag across the hallway floor.  

SCREAMS!

A hysterical Erin stumbles against a door, falling backwards into a bedroom.  
 
CUT TO:	

INT.  BEDROOM – LATE NIGHT 

Erin rushes to the bedroom window, struggling with the lock. The window is sealed shut.  After a slight hesitation, she returns to the hallway.

CUT TO:	

INT.  HALLWAY – LATE NIGHT 

The lifeless body separates Erin from the front of the house.  

After taking a deep breath, She cautiously approaches the limp figure.  Lowering herself to get past the swinging attic door, Erin is face to face with the figure.  

Once past, Erin rushes toward the living room, then pauses. 
She looks back at the limp figure, hesitates, then slowly approaches it.  

As she gets closer, she suddenly realizes it is 

ROBERT LARSON. 

ERIN
(cries out)
Oh my God.  Robert?

Her mind is racing.  She was wrong about Robert, and now
he was dead.  Where was Brenda?  Where was Ben?  Dennis?  
And where was the person who did this?

A SHADOW SUDDENLY APPROACHES ERIN FROM BEHIND

Erin quickly turns to find Kelly Womack.

KELLY 
(gasps)
Peterson=s on his way.
(pauses)
Erin, Oh God, who...who=s that?  

ERIN
It=s Robert Larson.  

		KELLY
Robert!  What the Hell happened 
to him?

		ERIN
I-I don’t know, but we need to get 
out of....

CLOSEUP 

ROBERT LARSON’S EYES SUDDENLY OPEN WIDELY

Kelly stumbles back.

SCREAMS!

KELLY				
Erin!  Erin!  

Robert violently lifts Erin off the floor, up into the attic.   

SLAM!

The attic door swiftly swings shut.  

FADE TO BLACK. 

CUT TO:

INT.  ATTIC – LATE NIGHT 

Slowly opening her eyes, a dazed Erin finds herself looking up at the exposed beams of the attic ceiling.

A huge bruise throbs above her left eye.  The sound of Kelly’s muffled pleas echo from the floor below.  

KELLY
(screams)
Erin!  Erin, are you ok?  
Robert, you son of bitch, 
don=t you touch her.

Robert appears from the shadows of the attic, dangling a large axe in his bloody hand. 

Kelly=s voice waivers off in the distance.

KELLY
(faint)
Erin, I=m going for help.
I-I=ll be right back 	

ERIN
(cries)
Kelly, God dammit, don=t you
leave me!  

ROBERT
(snickers)
Awe!  Too late......she=s gone.

		ERIN
But!  I-I don’t understand.  Where
did all that blood come from?

Smiling, Robert wipes a streak of blood from his arms.
He slowly approaches the tattered mattress.  Four outlines now appear under the bloody sheet.  

Robert abruptly whips up the sheet, exposing four bodies, one decomposed and three mutilated.  

Realizing that the mutilated bodies are those of Dennis, Ben, and Brenda, Erin stumbles back.  

THUD!

A small object topples to the ground next to Erin.

SARAH GASPARD’S DECAPITATED HEAD

Her dead piercing eyes stare up at Erin.  

ERIN
(gasps)
Oh God!  Oh God!

Erin begins to sob hysterically.  

				ROBERT
		Oh, poor baby!

Wiping the tears from her eyes, Erin pulls herself together.  

ERIN
R-Robert, why?  What have you 
done?

He shoots her an evil stare.  

ROBERT				
Shut up, bitch.  Just shut 
the fuck up!

ERIN				
But it, it didn=t have to be 
like this.  It....

ROBERT
(interrupts)
How in the fuck do you know 
what it did or didn’t have 
to be like?

Erin’s mind is racing.  

ERIN
(interjects)
Robert, I can help you.

Robert directs his attention to the corpses.

ROBERT
(screams)
Help me!  Help me!  Like you 
helped me when they used to 
beat my ass?  Good old Erin 
to the rescue.

ERIN
But Robert, I truly tried..

ROBERT
(yells)
NO!  NO!  NO!  They’d beat my 
ass.  Then I would come home 
and that bitch would beat my 
ass.

He directs his attention to the decomposed body.  Erin suddenly realizes it is the remains of Old lady Larson.

ROBERT 
(continues)
Help me!  Fuck, there=s not a 
shrink in the world that can 
help me.  Believe me, they=ve 
tried.  
	(beat)
You have no fucking idea what I 
have gone through.  I had 25 
surgeries by the time I was 7.  
Do you know what it feels like 
to have skin pealed from your 
body?  Just to try to look normal.  
Shit, I can’t even remember what 
normal looks like.

Robert stumbles past Erin, retrieves Sarah’s head, calmly tosses it onto the mattress next to the others. 

ROBERT
(continues)
In your perfect world, you never 
had to worry about being accepted.
You don=t know rejection.  Did your 
mother ever try to kill you, then 
abandon you?  Did your grandmother 
ever lock you in this fuckin’ hole
every night because she didn’t want 
to look at your disgusting body?
Yea, I didn’t think so.

ERIN
(pleads)
Robert, please.  I can help you.  
I can tell the police how you 
were picked on, how badly you 
were treated...	

ROBERT
(interrupts)
I said shut the fuck up.  
You=ve already done enough.  
(beat)
Don=t you get it.  I spent 
many nights in this room.  
Thinking!  Thinking of things 
that I wanted to do.... 

He directs his attention toward the bodies on the mattress, then back to Erin. 

ROBERT
(continues)	
to him, to him, to her....
	(smiles)
to you.  

Erin slowly backs toward the attic entrance.

ROBERT
Don=t you get it?  People like me 
live to prove ourselves to your 
kind.  To one day be accepted.  
Then, realize that day will never 
come.  We’re always gonna be treated 
like, like freaks.  So, instead of 
playing by your rules, we make up 
our own.  That way, we can decide 
how the game will end.  The ending 
we would like to see.  To go out 
with a bang, not a whimper.

Robert calmly retrieves a gasoline can, pouring gas on to the wooden floor. 

ERIN
(fearful)
Robert, w-what are you doing?

He pauses, glares at the bodies on the mattress.

ROBERT				
I want them to feel my pain.  
(smiles)
I want you to feel my pain.	

ERIN
Kelly will be back here with 
the police any minute now.  

ROBERT
It=ll be too late.  
	(beat)
Kelly!  I wished that I=d been 
able to kill that bitch too.  
But, I guess someone has to live 
to tell the story.  Or else it=d 
just turn into another urban 
legend.   

Tossing the empty gasoline can against the wall, Robert retrieves a pack of matches from his pocket.  

Striking the entire match pack against the axe handle, Robert displays the flame in his upraised hand.

With an evil look in his eyes, Robert tosses the flame onto the mattress.  

POOF!   

The mattress quickly ignites into flames.

				ROBERT
		Now, it’s only a matter of time
		before we enter the gates of Hell.      

Quickly and without hesitation, Erin abruptly rushes Robert.    
BOOM!

The axe slides across the room, coming to rest on top of the closed attic door.  

Rolling on top of Erin, Robert slams the girl’s head into the floor.  

With what little strength that she has left, Erin abruptly knees Robert in the crouch.  He tumbles on top of the attic door.  

With a crazed smile on his face, Robert retrieves the axe from under him.  

As he pulls himself up, the attic door abruptly swings open.  
CRASH! 

Robert crashes down into the hallway below, causing the entire house to rattle.  

Startled and dazed, Erin crawls over to the exposed opening of the attic.  

Robert’s limb body lies on top of the shattered staircase below.  

Suddenly, Kelly stumbles into the hallway.

ERIN				
They=re all dead.  They=re dead.

KELLY
(anxious)
Erin, please hurry down.  
The house is on fire.  
We need to get the Hell out 
of here. 

The attic is engulfed flames.  

Sirens echo in the distance.  

KELLY
Hurry!  Hang down.  I=ll help 
you.

Erin quickly lowers herself from the attic opening, 
as hands grasp her feet.  Releasing her grip, she tumbles down into the hallway.  

CUT TO:

INT.  HALLWAY – LATE NIGHT 

A hand reaches out to Erin.  

A SCARRED, BURNT HAND.  

Standing before her, is Robert Larson. Kelly Womack’s body dangles from the wall, the axe buried in her head.  

Erin stumbles into the corner of the hallway.  

ROBERT
Oh well.  I guess we’ll have to 
settle for that urban legend 
theory after all.  Besides, who 
would have believed it anyway.  	

Retrieving the axe from Kelly’s head, Robert moves toward Erin.

ROBERT
Now, where did we leave off?

ERIN
You sick, deranged son of a bit.....

CRASH!  

The ceiling suddenly spills down on top of Robert, as the torched corpses fall from the attic=s opening.  

Sarah Gaspard=s head, engulfed in flames, tumbles by Erin=s feet.  She screams at the horrifying sight.   

With Robert trapped underneath the rubble, flames consume the hallway.  

ERIN
(tears in her eyes)
Rot in Hell, you God damn freak!

CUT TO:

INT.  BEDROOM – LATE NIGHT 

Retreating into a back bedroom, Erin abruptly tosses a chair through the window.  Glass shatters into the darkness of the night.

A HAND suddenly reaches into the window, grasping Erin by the arm.  

Erin SCREAMS, as she attempts to back into the burning house.

DET. PETERSON				
It=s ok.  I=ve got you.

Helping the girl from the burning house, Peterson leads Erin from the danger.  

Flames surge from the attic window, as fire crews struggle to retain the fire.  

CUT TO:

EXT.  LARSON HOUSE – EARLY MORNING

With the smoldering house in the background, fire fighters load items on fire trucks.

Smoke continues to linger from the water-drenched house.  

Peterson escorts Erin to his car.  

CUT TO:

EXT.  KELLERMAN HOUSE – EARLY MORNING 

SUN SLOWLY RISING 	

Peterson escorts Erin to the front door.  

DET. PETERSON				
You sure you don=t need to go 
to the hospital?

ERIN				
No thanks, I=m ok. 

DET. PETERSON
Do you want me to come in?  
Talk with your mother?

ERIN
I=ll be fine.
(voice cracks)
Besides, he dead.  They=re all 
dead.  There=s no one left to 
fear. 

CUT TO:

INT.  FOYER – EARLY MORNING 

Stumbling into the house, Erin bolts the locks to the 
front door.  After attempting to set the house alarm, 
error code 216 flashes on the alarm system.  On her second attempt, the alarm successfully sets.  

CUT TO:

INT.  HALLWAY – EARLY MORNING 

Erin staggers upstairs to her bedroom.  Closing the door, she depresses the lock.	

As the light from under her bedroom door dims, a sudden gleam of light protrudes from the four corners of the 
attic door.	

SONG: “Toys in the Attic” by Aerosmith (background music)

FADE OUT.

THE END