--
TOYS IN THE ATTIC 2
(NEW TOYS IN THE ATTIC)

Someone is cleaning out the toys in your attic……again!

an original screenplay by

KEITH H. PINER

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 the name 
of SARAH GASPARD.  A label marked “PHOTO UNAVAILABLE” obstructs Sarah’s picture.

Breathing intensifies.    

The hand continues to flip through the yearbook.  Next to the name DENNIS EVERLY, “PHOTO UNAVAILABLE” obstructs the picture.  The same label covers the picture of BEN O’MERA, KELLY WOMACK, and BRENDA SPANN.

The hand pauses, then flips back several pages.  The index finger moves down to the name of ERIN KELLERMAN.  The picture displays the face of a beauty, with brown shoulder 
Length hair.  The hand strokes the picture of the young girl.

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

Breathing intensifies.    

FADE OUT:

FADE IN:

EXT.  OUTSKIRTS OF SMALL TOWN - NIGHT 

WELCOME SIGN 

reads  AWELCOME TO MARSHALL, OREGON - POPULATION 5567"
(slash painted across 5567, and sprayed with 5560)

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.  FRONT OF TWO-STORY OFFICE BUILDING - AFTERNOON

CUT TO:	

INT.  DOCTORS OFFICE - AFTERNOON

ERIN KELLERMAN, 18, brown shoulder length hair, stretched out on a couch, is staring at the ceiling of the room.  
To her side, sits Dr. ERIC GRAYSON, PSYCHIATRIST.  
Dr. Grayson, middle-aged, graying at the temples, is quietly taking notes. 

GRAYSON
So, tell me, what exactly are 
you thinking now?

		ERIN
	(stares off into space)
I’m thinking about how that bastard 
ripped my life apart. 
Sarah wasn’t enough!  Ben and Dennis 
wasn’t enough.  Brenda and Kelly wasn’t 
enough!  M-my own mother wasn’t enough!

Erin closes her eyes, her hands wrapped around her shoulders.  Tears flow down the girl’s face.

ERIN	
(continues)			
I-I can see myself in the 
hallway of the Larson house....
I’m so scared....

CUT TO:

FLASHBACK - ONE YEAR EARLIER  

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’s demeanor suddenly 
changes.  

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
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.	

CUT TO:

INT.  BEDROOM – EARLY MORNING 

ANGLE - BED VIEW FROM ABOVE 

Suddenly, a GLOVED hand appears from under the bed pulling Erin under kicking and screaming.  

CUT TO:

INT.  DOCTORS’ OFFICE – AFTERNOON (PRESENT DAY)

SCREAMS!

Erin abruptly rises, screaming.  Looking around, she realizes that she is in Dr. Grayson’S office. 

GRAYSON				
Erin..Erin, are you ok?

ERIN
W-what happened?

GRAYSON				
You nodded off.  You were 
having some kind of a nightmare.  
Are...are you ok?

Erin slowly massages the pounding headache that has suddenly evolved.  

ERIN
Yes...yes, I’m fine.

GRAYSON
Very well.  You know that 
you’ve been coming to see me 
going on almost a year now.  
And I think that we’ve really 
made good progress over the last 
few months.

ERIN
(hesitates)
Yea, I-I guess so.  

GRAYSON
So, I think that this may be a 
good time to cut back on our 
visits.  To try things on your 
own for a while.   

ERIN
(quickly replying)
I-I don’t know.  It may be too 
soon.

Dr. Grayson proceeds to the office door, opening it.

GRAYSON				
Nonsense.  You’ll be fine.  
You need to get on with your 
life.  It’s been a year since 
your mother....your friends
(pauses)
Well, I really do think that 
you are ready to make that next 
big step.

Erin hesitantly proceeds toward the door.  Dr. Grayson directs his attention to a receptionist in the waiting area.   

GRAYSON	
Mrs. Chambon, can you please 
schedule a follow up visit with 
Miss. Kellerman in..let’s say...
about six months.

CUT TO:

INT.  LOBBY - AFTERNOON 	

The receptionist nods.  

ERIN				
Six months?  But....

GRAYSON
I promise you my dear, you’ll 
do fine.  In the mean time, if 
you need anything, do not 
hesitate to call me.
(pauses)
Erin, I know that you’ll do 
just fine.    

Erin pauses, as Dr. Grayson abruptly closes his office door behind her. 

She hesitantly retrieves the appointment card from the receptionist, then proceeds toward the exit.

CUT TO:

EXT.  BOARDED UP LARSON HOUSE - AFTERNOON

Erin approaches the old rustic house.  Black soot covers the once white trim.  Remnants of faded police tape hangs from the side of the house.  Plywood covers the windows.   
“DANGER - KEEP OUT” hangs from an old faded sign near the front porch.  	

CUT TO:

INT.  LARSON HOUSE - AFTERNOON

INSIDE VIEW OF ERIN IN FRONT OF HOUSE 

CUT TO:

EXT.  LARSON HOUSE – AFTERNOON 

As Erin stares ahead at the remains of the Larson house, a hand suddenly reaches for her shoulder.  

SCREAMS!

She stumbles back in fear.  

Standing behind her is Detective MICHAEL PETERSON. Peterson was the lead detective working on the Larson case.  Ever since Peterson helped Erin from the burning house last year, there has been an awkward chemistry between the two, in spite of the age difference. 

PETERSON
(apologetically)
I’m sorry.  I didn’t mean to 
startle you.

		ERIN
I-I just didn’t hear you 
walk up.  

The detective looks over Erin’s shoulder toward the old house.

PETERSON				
So, what are you doing here?

ERIN				
Well I...I.  You know that it’s 
been almost a year, and I needed 
to come back one last time.  
I guess it’s my way of trying to 
let go.  
(beat)
And you?

PETERSON	
I’m not really quite sure....maybe 
closure.  Maybe the fact that it’s 
been a year.  Maybe the fact that 
bastard ruined so many lives.
I could probably go on and on...  
Anyway...so, tell me, how have you 
been?

ERIN
Good...good.  I’m living with my dad.  
He moved back after mom...Yea, I’m 
doing good.  You know I’ll finally 
be starting college in the spring.

PETERSON
That’s great. I’m sure some big 
ivy league school.

ERIN	
(apologetically)			
No, not exactly.  
	(hesitates)
I’ll being going to Eastbrook 
here in town.  But, I do plan 
on transferring after a year 
or so.  I-I just wanted to stay 
close for now.

PETERSON
That’s great.  I’m really happy 
for you...
(looks at his watch)
Well, I guess I’d better get going. 

ERIN
(blushes)
It was really good seeing you again.  

DET. PETERSON
Yea.. You too.
(pauses)
Erin, if there is ever anything that 
I can do....

ERIN
(interrupts)
Thanks.  Thank you.

Peterson slowly approaches his police car.  

DET. PETERSON
I meant what I said.  

ERIN
Yes, I know.  Thanks again.

Erin waives the detective off, as he slowly drives away.  

After a final glance back at the house, Erin proceeds to her car.  

Something on the curb suddenly catches her attention.  Against the curb lies an old tattered black knit cap.  Erin remembers the cap belonging to Robert Larson, but he was wearing it when he died.  

A chill SUDDENLY comes over her.  Erin quickly retreats into the car, locks the door, then drives away.

CUT TO:

INT.  INSIDE OF LARSON HOUSE – AFTERNOON 

ANGLE - VIEW OF FRONT YARD FROM INSIDE LARSON HOUSE

THE SHADOW OF A FIGURE DRESSED IN BLACK STARES OUT THE FRONT WINDOW OF HOUSE

CUT TO:	

EXT.  MARSHALL CEMETERY - AFTERNOON

ROLLS OF TOMB STONES SPREAD ACROSS ROLLING HILLS 

As the wind whisks in the distance, a light rain falls on the ground.  

Erin slowly approaches a grave site, placing flowers in front of the stone.  The tomb reads “CAROL KELLERMAN, BELOVED MOTHER AND FRIEND”.

ERIN		
(somber)		
Mom, I-I’m sorry that I haven’t 
been back sooner.  It’s been 
really hard without you.  But 
since Dad moved back, he has 
really helped me get through 
all of this.  I-I just wished 
that he had never left...maybe 
you would be here...well..
	(beat)

ERIN		
	(continues)
Dr. Grayson seems to think that 
I’m ready to get on with my life.  
So, I guess that’s part of why I’m 
here.
(sighs)  
It has gotten a little easier, but 
that doesn’t mean that I miss you 
any less.  I... 

THUD!

A sudden noise echos in the distance.  As Erin quickly turns around, a dark figure abruptly disappears over a 
hilltop.  
ERIN
H-Hello?  Hello?

Slowly approaching the hilltop, Erin can hear faint voices that appear to get closer.  

THUD!

Two figures suddenly rush Erin, knocking her to the ground.  As Erin quickly attempts to get up, she can see two young boys rushing out of the cemetery gates. 

ERIN  
Hey, come back here you 
little bastards!

A can of spray paint lies on the ground in front of Erin.
As she retrieves the paint can, black paint drips down her shaking hand.  

Suddenly, a faded gravestone GRABS her attention.

PANIC!

THE PAINT CAN SLOWLY FALLS FROM ERIN’S HAND.

VIEW FROM BEHIND ERIN FLATS TO THE GRAVE STONE

Engraved on the small gravestone reads the name “ROBERT LARSON”.  Sprayed across it in black paint “HAPPY ANNIVERSARY!  I’M BACK”.  A cold chill runs up and down Erin’s spine.

ERIN				
Sick bastards!
(beat)
So, this is where they buried 
you, you sorry son of a bitch.  
I truly hope you’re rotting in 
hell!

As rain begins to fall, Erin quickly returns to her car.  

DARK FIGURE WEARING LONG BLACK JACKET APPROACHES LARSON GRAVE SITE

GLOVED HANDS OF FIGURE HOLDING A BLACK KNIT CAP 

The stranger continues to watch from the hilltop, as Erin exits the cemetery.

CUT TO:

EXT.  OUTSKIRTS OF MARSHALL CEMETERY - AFTERNOON  

Once Erin’s car fades in the distance, two young boys rush from a thick wooded area on the edge of the cemetery.  

DANIEL DAVIS, age 13, tall, lanky, blond headed, and 
PARKER JACOBS, age 12, short, freckles, carrot top.  The two boys crash to the ground next to a gated fence, along the side of the cemetery.  

DANIEL
Who was that bitch?

PARKER 
(nervous)
Man, I know we shouldn’t be 
doing this.  That bitch was 
my step sister.

DANIEL
Your step sister!  What was she 
doing here?

PARKER
Her mom’s buried here.  She was 
killed by Robert Larson.

DANIEL
No shit!....whoa, Erin Kellerman 
is your sister.   

PARKER				
No, she’s my step sister!

DANIEL 
Whatever....step sister.  
Man, she’s like a cult hero.  
You know that she was the 
only survivor of the Larson 
massacre.

PARKER
Yea, so I’ve heard.

DANIEL
I bet she’s told you some really 
cool stories about that night.  

PARKER
No, not really.  She doesn’t 
talk much about it...well, maybe 
to her shrink. 

DANIEL
Man, that’s really fucked up.  
So, you’re Erin Kellerman’s 
brother.

PARKER
Step brother.  

DANIEL
Whatever....So, what’s your story?  
You know, I mean I really don’t 
know anything about you.	

PARKER
You know all that you need to know.  

DANIEL
No, I’m serious.  I know that you’re 
from Illinois, but that’s it.  You 
haven’t told me anything else.

PARKER	
Because it’s boring.  My mom 
married her old man.  Then when 
his ex was killed, he wanted to 
move back to Marshall to take 
care of his daughter.  My old 
lady didn’t.  So, one day, she 
just split town.  The courts said 
I could live with him or a foster 
family.  Some God damn choice!  

DANIEL
What about your real dad?

PARKER
Never met him!  My old lady said 
he was a real loser.  Anyway, now 
that you know my life history, 
can we change the subject?

DANIEL				
So, Erin Kellerman is your sister.

PARKER
Step sister!  

DANIEL
Whatever!

PARKER
Man, you don’t think that she 
recognized us?  She really hates me, 
and would do anything to get her old 
man on my ass.

DANIEL
Who gives a shit!  Besides, what’s 
he gonna do, spank you.  Whoa.

Parker suddenly rises.  

PARKER
Come on, let’s get out the Hell 
out of here. 

DANIEL
(smiles)
Not yet....we’re not finished 
with the Larson grave.

PARKER
(frustrated)				
Come on, Daniel.  We’ve done enough.

ERIC				
Man, what a pussy...then just wait 
here.  I’ll be right back.

Grabbing Parker’s paint can, Daniel quickly disappears back into the cemetery.  Parker drops back to wet ground, skimming rocks across the wet gravel road.

THUD!

A noise breaks out from an opening in the woods behind Parker.  He quickly rises, approaches the wooded opening.  

PARKER				
Daniel, is that you?  Come on, 
dumb ass, you don’t scare me.  
Daniel?

Parker quickly rushes into the small opening of the thick woods.  

SQUEAL!

A flock of birds scream into the dreary evening sky.  Startled, Parker stumbles back, falling to the wet ground. 

PARKER
Shit!

CUT TO:

EXT.  LARSON GRAVE SITE – AFTERNOON 

Just as Daniel reaches the top of the hill, the flock of birds stammer overhead.  He nervously pauses.    

DANIEL
Parker?  Parker?

NO RESPONSE!

Shaking the paint can, Daniel approaches the Larson grave.  As he begins to spray the gravestone, he suddenly notices that something isn’t right.  The graffiti that Parker and he had previously painted on the gravestone was gone.  Daniel slowly backs away from the stone.

DANIEL
Parker, how’d you beat me here? 
Parker?

Startled, Daniel quickly turns away from the grave.  

THUD!

As if he just hit a brick wall, Daniel stumbles onto the ground.  There before him, stands a dark figure, dressed in a black knit cap and long black jacket.  Daniel looks up at the looming figure.    

DANIEL
(shaking)
W-who the fuck are you?

THE SHADOW OF AN AXE FLATS THROUGH THE AIR.  

CUT TO:

EXT.  OUTSKIRTS OF MARSHALL CEMETERY – AFTERNOON 

PARKER
(yells)
Daniel, where the hell are you?  
This isn’t funny anymore.  
(pauses)
Dude, I’m leaving!  

After a slight hesitation, Parker reluctantly enters the cemetery.  As he stammers past rolls of grave stones, Parker proceeds through the cemetery.  

Once on top of the hillside, Parker finds his friend crouched over the Larson gravesite, paint can in hand.  

PARKER
Why didn’t you answer me.  
This is enough fun for one 
day....Man, I’m out of here.  
(pauses)
Are you coming?

NO RESPONSE!

PARKER
(frustrated)
Ok fine, you can stay....
Later dude!

Parker turns away, but Daniel still does not move.  

PARKER
Bye....I hope you have fun 
by yourself.

After a slight hesitation, Parker slowly approaches Daniel,
reaching out for the kneeling boy’s shoulder. 

PARKER				
Come on, ass...

THUD!

Daniel’s body falls back against the cold, wet ground.  His head is decapitated.  Parker stumbles back, gagging.  

PANIC!  

PARKER				
Oh shit!  Shit!

Parker quickly rushes through the cemetery.  

BOOM!

His feet abruptly give out from under him.

CUT TO:

INT.  BOTTOM OF DEEPLY DUG GRAVE – AFTERNOON   

Massaging his bruised head, Parker finds himself surrounded by dirt walls.  He has fallen into the bottom of a newly dug grave.  

A dim light from the gray afternoon sky shines through two swaying straps above him.  A metal rectangular tube looms over the four corners of the grave.  

Parker slowly rises.  The afternoon rain has caused the dirt walls of the grave to turn to mud.  He cautiously straddles the walls of the grave, as he pulls himself up toward the opening.  

Just as he pushes his head up through the straps, Parker loses his footing, falling back to the bottom of the grave.

PANIC!

Next to Parker in the muddy bottom of the grave, lies the decapitated head of Daniel Davis.  

PARKER
(screams)
Help me?  Someone please help 
me?	

Parker violently claws his way up the walls of the grave.  Grasping the metal piping, he pushes himself up through the two large straps.  

								CUT TO:

EXT.  GRAVE SITE – AFTERNOON

Parker breaths a sigh of relief as the cloudy, evening ski descends down upon the horizon.  

Darkness suddenly cast as shadow, as a figure, dressed in a black cap and jacket, looms over Parker. 

PARKER
Mister, please get me out 
of this thing?  Something 
happened to my friend.
Mister.  Mister.

NO RESPONSE!

The figure slowly approaches the trembling boy.  

Parker can see a funeral precession slowly approaching in the distance.    

PARKER
(screams)			
Someone, p-please help me!

Parker is suddenly lifted up out of the grave by his throat.  Gasping for air, he quickly loses consciousness.  

CUT TO:

EXT.  BOTTOM OF GRAVE – AFTERNOON  

Parker suddenly jolts awake.  Surrounded by dirt walls, 
he quickly realizes that he is back at the bottom of the grave.  His hands are now tied behind his back and his mouth is gagged.  

A dim shadow of light shines from above, as the two straps sway.  

THUD!

The light suddenly fades, as a large object is placed over the straps.  

CRANK!

A mechanical noise begins to echo from above.

Suddenly, Parker realizes that a casket is slowly being lowered into the grave.  

PANIC!

As the coffin slowly approaches him, Parker struggles with his ropes.  His muffled screams are drowned out by the gag.

Sweat beads down the boy’s face, as the casket continues to descend down on top of him.  In his despair, Parker tightly closes his eyes.  

CLICK!

The mechanical noise abruptly stops.  Parker slowly opens his eyes.  The casket has come to rest within inches of his body.  He takes a deep breath.

THUD!

Loose dirt begins falling around Parker.  He suddenly realizes that the grave is being filled in. 

Parker violently struggles with the ropes, as everything starts to go dark.  With all that he has, the boy echoes out one last panic-filled scream.  

FADE TO BLACK.

CUT TO:

EXT.  MARSHALL MEMORIAL HOSPITAL – EARLY EVENING 

CUT TO:
INT.  HOSPITAL ROOM - EARLY EVENING

A shimmer of light begins to focus into the room.  A young boy is tossing and turning in a bed.  Parker Jacobs violently jumps up in the bed.

PARKER
(screams)
Help me!  Somebody help me!

A nurse and doctor rush over to the boy’s side, trying to stabilize him.  

DR. JOHN GUPTA, late fifties, gray hair, stocky, strong foreign accent.  NURSE DOROTHY CARSON, late forties, large frame, scary looks.   

Clutching the sides of the bed, the frightened boy stares out into space.   

As Nurse Carson tends to the boy, the doctor approaches a gentleman, seated in the corner of the room.  Detective Michael Peterson has been waiting to speak with the boy regarding the events that got him into the hospital.    

GUPTA 				
Look...ah, Detective...this may 
have to wait until tomorrow.  
He seems to be having a tough 
time right now.  
(pauses)
You realize that young man is 
very lucky to be alive.  If those 
caretakers had not heard his 
screams, well..

Peterson hands the doctor a business card.  

PETERSON
I would really like to talk to 
the boy.  If he settles down 
later, can you please call me.

Suddenly, Parker pulls himself up in the bed.

PARKER
It’s ok.... I-I’m ok..  Please..
I wanna talk to him.  

CARSON
(outspoken)
Doctor, I really don’t thinks 
that’s a good idea right now.  

Dr. Gupta looks into the boy’s glazed eyes, then back to the detective.  The doctor ponders.   	

GUPTA 
Ok.  You’ve got 15 minutes.  
That’s all.  He needs his rest.  
(pauses)
I’ll  see if we’ve had any 
luck with contacting his family.  

Noting her disapproval, Nurse Carson abruptly exits the room.  

Peterson nods his appreciation to the doctor. 
 
PETERSON
Thank you.

GUPTA
15 minutes.

Pulling up a chair, Peterson sits next to Parker’s bed, flipping open a black note pad. 

				PARKER
		Did you say you were a detective?

				PETERSON
		That’s correct.  Detective Michael 
		Peterson.  
			(beat)
		Hey, ah...Parker.  How’s it going 
buddy?

PARKER
Ok.  I-I think?  But what am I 
doing here?  I mean how did....
did I get here?

PETERSON
Well, it seems that a crew 
found you in the bottom of a 
grave at Marshall cemetery.  
You know that you were almost 
buried alive.  Someone had tied 
you up.  Do you remember how you 
got there?

The boy’s memory comes exploding back!  

PARKER
(excited)
I was with Daniel.  Did you find 
him? 

PETERSON
(puzzled)
Daniel, Daniel who?

PARKER 
Davis, Daniel Davis.  He was with 
me in the cemetery.
 (yells)
Daniel!  Oh God!  They killed him!  
They cut off his head!  

Peterson attempts to restrain the hysterical boy.  

PETERSON				
Calm down!  Calm down!  You were the 
only person we found out there.  
We didn’t see anyone else.

PARKER
(excited)
No.  No.  This guy was at the 
cemetery.  He was the one who 
tied me up.  He-he put me in 
the grave, and tried to kill 
me.... He killed Daniel.

PETERSON
A guy? 

PARKER
(ponders)
Yes, he was dressed in all 
black....He was wearing this 
black cap.    

A vision of Robert Larson burst into Peterson’s mind.    

PETERSON
Please slow down.  This is very 
important.  Do you remember what 
he looked like?  Can you remember 
what his face looked like?

Peterson takes in a deep breath.  Parker struggles to remember.

PARKER
(frustrated)
I don’t know....I-I couldn’t see 
his face.  

Peterson SIGHS.

PETERSON				
What about his hands!....Did you 
see his hands?

PARKER
(puzzled)
I-I’m sorry.  I can’t remember.  
He-he may have been wearing gloves.  
Please, you have to go out there 
and look for Daniel.   

PETERSON						
Ok, Parker,  I promise that I’ll 
check on your friend.  
(pauses)
You don’t think that, ah, Daniel 
had anything to do with any of this?  
That he may have tied you up?  You 
know, some sort of a sick, twisted 
joke that got out of hand. 

PARKER
No, no, he...he wouldn’t do that.  
And what about his head in that 
grave.  I know that it was him.  
	(pleads)
Someone killed him.  You’ve got 
to believe me.

PETERSON
Ok. Ok.  I promise that I’ll check 
it out.  In the mean time, what 
about your family? 	Your Parents?  

Dr. Gupta and Nurse Carson return to the room.

CARSON
(abruptly)
Ok...ok....times up.  

GUPTA 
(apologetically)
I’m, I’m sorry detective....He really 
does need to get some rest.  And we 
finally contacted his father.  

PARKER 
(frustrated)
Gee thanks.  

Dr. Gupta directs his attention toward Parker.

GUPTA 				
Parker, he and your sister are here.

PARKER				
Step...step father and step sister.

GUPTA 
Well, I’ll let them in.  

THOMAS KELLERMAN, quickly enters the room, followed closely by Erin.  Kellerman, late thirties, thin build, light brown hair, rushes to Parker’s side.

TOM
Son, are you ok?

PARKER
Yea, yea, I’m fine...but, I’m not 
your son.

Tom shows his frustration.  

PETERSON
Tom!  Erin!  How’s it going?  
I-I would have called you earlier 
if I had known that Parker was your..

TOM
Yea, Parker here is my stepson.  
(frustrated)
Frankly, Mike, I’m surprised Parker 
hasn’t made a visit to your office 
by now.  He’s pretty high maintenance. 

Parker rolls his eyes.  

TOM
(continues)			
So, what the Hell happened?

GUPTA 
Come on Mr. Kellerman, the detective 
and I can get you updated outside.

PETERSON				
Parker, I’ll check on your friend.  
But, I’m sure that he’s fine.
Probably home by now.

Parker gives the detective a partial smile.  Tom directs his attention to Erin.  

TOM				
I’ll be right back.	

Erin sits in the chair along the side of the boy.

ERIN
Hey, so, how’s it going?

NO RESPONSE!

Parker stares blankly at the wall.

ERIN
You want to tell me what happened?

PARKER
(frustrated)				
No, not really.

ERIN
You know, it would be a lot 
easier if we were able to get 
along.  
(beat)  
We do have a lot in common.  
I mean that I lost my mom, and..

PARKER					
(interrupts)
Yea....and your dad drove mine away.  

Erin takes notice of the black and blue bruise on his  forehead.  

ERIN				
So, how’s your head?

PARKER						
It’s ok.  It’s still attached, 
isn’t it.  That’s more than 
I can say for Daniel.

ERIN
Daniel!  You mean Daniel Davis?  
What does that thug have to do 
with any of this?				

PARKER
(frustrated)
See...I knew that you wouldn’t 
understand.  Just get the Hell 
out of here.

ERIN 					
I’m sorry.  Ok, so what really 
happened?  	

PARKER
(sarcastic)				
I fell while playing.  Ok.  
Is that good enough for you?   

ERIN
I’m only trying to help.

PARKER
Don’t act like you give a shit.  
Why don’t you just leave me alone!  

Erin approaches a window, staring out into the gray evening sky.

ERIN				
Look, I know we got off to a 
bad start, but can we just start 
over again.

PARKER
(hesitates)
I-I was at the cemetery today....
Ok...Daniel and me.

CUT TO:

EXT.  HOSPITAL PARKING LOT – EARLY EVENING  

A DARK FIGURE STANDS BETWEEN TWO CARS STARING UP AT ERIN 

Erin catches the FIGURE out of the corner of her eye.  The figure is dressed in a long black jacket, wearing a black knit cap.  

Realizing what Parker has just said about being at the cemetery, Erin abruptly turns back toward the boy.    

ERIN				
You were where?

PARKER
(hesitates)
Marshall Cemetery.

Erin then quickly looks back out the window, scanning the parking lot.

CUT TO:

EXT.  HOSPITAL PARKING LOT – EARLY EVENING

DARK FIGURE IS GONE  

Erin quickly turns back toward the boy. 

ERIN
(raises her voice)
That was you out there today?

PARKER
Yea, so what?

ERIN
Don’t you realize that you nearly 
scared the Hell out of me.  What 
were you doing out there, anyway?

PARKER				
Daniel wanted to see Robert Larson’s 
grave.

ERIN
(loudly)
That was stupid....stupid.  Don’t 
you realize what that..that freak.  
He killed my mother, my friends...
and he almost killed me.

PARKER
Almost!  Besides, he’s dead 
now.  So, what’s the big deal.

Erin stares out at the empty parking lot. 

PARKER 
(somber)
Listen....didn’t you say something 
about starting over.  

Erin slowly approaches the boy, sitting back down in the chair.  

ERIN
Ok.  Ok.  But, Parker, just tell
me why would you even want to go 
out there.  I-I just don’t 
understand.

PARKER
Daniel wanted to paint crap on 
his grave.  He thought it would 
be kinda cool.  I-I guess I did, 
too.  
(pauses)
Anyway, when we saw you, I wanted 
to leave.  But Daniel, he went back 
into the cemetery.  When I went to 
go look for him, this guy tied me 
up and threw me in the bottom of 
this grave.  Erin, he, he tried to 
kill me. 	

ERIN
Do you know who was it?				

PARKER
No.  Some guy dressed in all black.  

ERIN 
Dressed in black?

PARKER	
Yea, he was wearing this black 
cap and jacket.  

The thought of Robert Larson comes rushing back to Erin.  

ERIN
Parker, did-did you see what 
he looked like?

PARKER 
No!  Detective Peterson asked 
me the same thing.  
(hesitates)				
Erin, I think that guy killed 
Daniel.  He-he cut off his head.

Erin remembers how the body of Sarah Gaspard had been discovered last year.  She had been decapitated.     

PARKER	
(continues)
The detective said they didn’t 
find anyone but me.  He said 
Daniel may have been playing a 
joke on me...I don’t know.....
maybe he was right!

Erin quickly rushes toward the exit.

ERIN				
I’ll be back.

PARKER 
Erin, wait.....where are you going?

CUT TO:

INT.  HOSPITAL HALLWAY – EARLY EVENING 

Erin rushes past Detective Peterson and Tom Kellerman.

ERIN				
I’ll be right back.  

The two men watch as Erin rushes down the hallway.

CUT TO:

EXT.  LARSON HOUSE – EARLY EVENING

The car comes to a screeching halt in front of the boarded up house.  Quickly getting out of the car, Erin scans the curb.
ERIN				
It’s not here....dammit, 
It’s not here.    

The tattered black knit CAP that she had found on the curb earlier in the day was now gone.  Her mind racing, Erin quickly retreats back to the car, and drives away.

CUT TO:

EXT.  MARSHALL MEMORIAL HOSPITAL – NIGHT 

CUT TO:

INT.  HOSPITAL ROOM – NIGHT   

Dr. Gupta and Tom Kellerman are gathered around Parker’s bed.  Nurse Carson is taking Parker’s temperature.   

GUPTA 
I’d like to keep him overnight 
strictly for observation.

Parker abruptly rises in the bed.

PARKER
(mumbles)
I’m ok...really.  I-I just want 
to go home.

The nurse removes the thermometer from the boy’s mouth.

CARSON
He’s still running a slight 
temperature.  

The frustrated boy glares at the large woman.  

PARKER 
Did anyone ask you?

TOM
Hey..hey.  What’d I tell you about 
having some respect.

CARSON
(smirk)
That’s ok.  I can handle just about 
anyone.  So, I’ll take real good 
care of the little Feller.  

TOM
Son, you’ve been through a lot today.  
(pauses)
Maybe the doctors’ right.

PARKER
But...but

TOM
(interrupts)
Just for tonight.

Catching her breath, Erin abruptly enters the room.

ERIN
I’ll stay with him.

Nurse Carson gives Erin an unapproving nod.  

PARKER
(frustrated)
Great!  Just great!  Between 
Nurse Kevorcian and her, I’ll 
never get out of here alive. 

	GUPTA 
Well, then, it’s settled.

Tom gives Erin a kiss and hug, then approaches Parker.  After a slight hesitation, he gives the boy an 
uncomfortable pat on the forehead.

TOM
I’ll be back first thing in the 
morning.  Erin will take good 
care of you tonight.  Besides, 
I think it’ll do you both good.  
	(beat)
You guys need anything before 
I leave?

ERIN
No thanks dad....we’ll be fine.

Nurse Carson slides a tray of food in front of the disgruntled boy.  

PARKER
Speak for yourself.

TOM
If either of you need anything, 
just give me a call.

Parker stares at the tray of processed food.

PARKER 
How about a large pizza?
Extra pepperoni! 

Tom waves the boy off as he exits the room.  Nurse Carson places a cup of pills in front of Parker.

CARSON
Here..take these.

PARKER
What are they?

NURSE CARSON
(smirks)
They’ll help you sleep.  We 
wouldn’t want you wandering the 
halls tonight, now would we?  
	(stern voice)
Now, take them!

Parker reluctantly consumes the pills.

CUT TO:

INT.  HOSPITAL ROOM - NIGHT 

DIM LIT ROOM

Erin tosses and turns on the uncomfortable sofa, as Parker snores loudly in the bed. 

Suddenly, a shadow of light looms into the room, as the door is slowly opened.  A dark figure quietly approaches the boy.  Erin, her face to the wall, startles awake.  

As Erin turns toward the bed, the figure is leaning over the medicated boy.  Parker begins to groan.  

PARKER
			(dazed)
		No!  No!  Leave me alone!

Erin slowly approaches the figure, jumping on his back.  

CRASH! 

The food tray spills to the floor.  

Light abruptly replaces darkness, as the door swings open.  

CARSON
(loudly)
What’s going on in here?

Erin and the figure quickly pause, as Parker struggles to stay awake.  Erin looks into the eyes of Orderly MARCUS HUNTER.  Hunter, early twenties, brown hair, ocean blue eyes, thin build.  

MARCUS 
Ms. Carson...his chart noted  
to take his temperature every 
four hours.

Feeling foolish, Erin quickly helps the orderly off the floor.

ERIN
Oh God, I-I’m sorry...I didn’t 
know who he was.  I thought..
I’m so sorry.

CARSON
(frustrated)					
Mr. Hunter, you’re already on 
probation.. How’d you like to 
be out of a job?  Now take the 
boy’s vitals and get out.  

MARCUS
Yes Mam, I’ll get on it right 
away.  

As Marcus attempts to obtain Parker’s temperature, the boy struggles to keep his eyes open.  

CUT TO:

INT.  HOSPITAL CAFETERIA – LATE NIGHT         

Erin and Marcus sit at a table in the near empty room.  

ERIN
I feel so responsible for all 
of that back there.  Would it 
help if I speak to Nurse Carson?

MARCUS
Na.  She’s been on my ass since 
I started working here.  If it 
weren’t that, she’d find something 
else to nail me on.

ERIN
So, why do you still work here?

MARCUS
I don’t know if you noticed, 
but there aren’t too many jobs 
in this one horse town.  Since 
my ole’ man cut me off last 
semester, I now have to pay my 
own tuition.  One lousy semester, 
and he cuts me off.  What about 
the seven years that I made 
excellent grades.  

ERIN
Seven years?

MARCUS
So, maybe I changed my major a few 
times.  Who doesn’t? 

ERIN
So, you’re a student at Eastbrook?

MARCUS
(defensive)
Not you too.  Look, I know that 
Eastbrook is a junior college, 
but did you ever think it may be 
all that some people can afford.

ERIN
No, that’s not it.  Actually, 
I’ll be going to Eastbrook in the 
spring.

MARCUS
Really!  That’s great.  
(beat)
Well, I guess now I’m sorry.  
I mean when I usually mention 
that I attend Eastbrook, people 
look at me like I joined a 
ministry.  You know it’s really 
a great school.  At least the 
professors will actually take 
time to talk to you.	

ERIN
I’m looking forward to it.

MARCUS
(bashful)
I-I could show you around campus.

ERIN
(smiles)
I’d like that.  Besides, after 
seven years, I’m sure you know 
everything about Eastbrook.  

MARCUS
Hey now!  
(serious)
Can, can I ask you something?

ERIN
I guess so.

MARCUS
Well, they were talking about 
you in the nurses station.  
You know that you the one...
I mean the survivor in the 
Larson murders.

ERIN
(uncomfortable)
Yea, that’s me.  I’ll guess that 
I’ll live by that label.

MARCUS
I’m sorry.  I-I didn’t mean 
anything by it.

ERIN
Thats ok.  I’m just don’t like 
talking about it.  Actually, 
I’d like to forget that it ever 
happened.  

MARCUS
I can’t believe that old house is 
still standing.  It should have 
been torn down months ago.

Erin stares off into space.  

ERIN
Yea...well, maybe they left it to 
be a reminder as to what true evil 
looks like.				

MARCUS
Listen, let me show you around 
campus.  I promise.  Nothing about 
the Larson case.  Just dorms, frats, 
and food.  

Erin blushes.

ERIN
That’d really be a nice change.

CUT TO:

INT.  PARKER’S HOSPITAL ROOM – LATE NIGHT 

DIM LIT ROOM

A shadow of light enters the room, as the door slowly opens.  A dark figure, black jacket and knit cap, approaches the bed.

The figure slowly retrieves an AXE from under an black jacket.  After a slight hesitation, the figure raises the axe, then repeatedly strikes the body.  

BLOOD splatters the walls of the room.

Placing the axe back under the jacket, the figure calmly exits the room.

The bathroom door suddenly swings open.  Parker staggers out to his bed.

BLOOD COVERS LIFELESS BODY IN BED NEXT TO PARKER. 
 
CUT TO:

INT.  HOSPITAL HALLWAY – MORNING

POLICE OFFICERS converge in the hallway of the hospital.  
Yellow police tape covers a hospital room door. 

News crews are being held back by police officers.

Detective Peterson is speaking to Dr. Gupta and Nurse Carson.    

PETERSON
So, what time was Mr. Toro placed 
in the Jacobs’ boy’s room?

GUPTA 
He was rushed into emergency 
around 11:30 last night....
complaining of chest pains.  

		CARSON
Once the night staff stabilized the 
man, he was placed in the room with 
the boy around two this morning.  
We discovered him on our four o’clock 
rounds.

CUT TO:

INT.  HOSPITAL ROOM – MORNING 

Erin and Parker have been moved into another room in the hospital.  An armed officer stands guard by the front door.

An frazzled Tom Kellerman abruptly rushes past the officer into the room.

				OFFICER
		Hey, you.  You can’t go in there.

Detective Peterson follows Kellerman into the room.

				PETERSON
			(to the officer)
		It’s ok.  He’s with them.

TOM
(concern)
Are you guys ok?  

PARKER
Well, we’re still alive...is that 
good enough?

ERIN
Yea Dad, we’re fine.  But the 
Police have refused to tell us
anything.  

KELLERMAN
Mike, what the hell is going 
on here?  Are you trying to get 
both of my kids killed?

PETERSON
Tom, for all we know, that man in 
the other bed was the intended 
victim of this person.  

Kellerman escorts the detective to the corner of the room.

KELLERMAN
(frustrated)
Listen, my ex-wife was killed last 
year.  My daughter was almost killed, 
and now my step son last night.  
Don’t you think that’s too much 
of a coincidence?  

PETERSON
Look, I have all of our resources 
working on this right now.  I’ll 
let you know when we find something.

Peterson looks back at the kids, fear in their eyes.

PETERSON
			I promise you that!  

CUT TO:

EXT.  WHITE, TWO STORY HOUSE – EARLY EVENING    	

A car slowly enters the driveway of an old, remodeled, white house.  Neatly rowed shrubs layer the front lawn.  

A thin, light haired women exits the car, proceeds to the front door of the dimly lit house.  ANNIE DAVIS, aged 39, enters the dark house, closing the front door behind her.

CUT TO:

INT.  FOYER – EARLY EVENING         

ANNIE 
Ray!  Danny!  Anyone home?  

NO RESPONSE!

As she places a stack of papers on small hall table, a shadow slowly approaches the woman from behind.  

The woman abruptly turns away from the table.  

SCREAMS!

A large St. Bernard dogs lingers in front of the woman.

				ANNIE
		God dammit Rocky.  You nearly 
		scared the shit out of me!

Annie quickly rubs the large dog on his head.  

ANNIE 	
I’m sorry. I’m sorry. Forgive
me?       
	(beat)
Well, Rocky, it looks like just 
you and me for supper...  Again.

Turning on a small, table lamp, Annie proceeds to the kitchen.  The dog staggers into the family room.  

CUT TO:

INT.  KITCHEN – EARLY EVENING      

Annie opens the refrigerator door, which cast a dim light into the dark kitchen.  

A DARK FIGURE FLATS INTO VIEW BEHIND THE WOMAN

Retrieving two pizza boxes, Annie closes the refrigerator door behind her.  She then flips on a kitchen light switch above the sink.  

THE FIGURE IS GONE
 
ANNIE
(yells)						
Rocky, what’ll it be?  Left over 
pizza from last night or 
	(sighs)
left over pizza from the night 
before?

MOAN!

The dog expels a strange whine from the other room.  

ANNIE				
Jeez, don’t get so exited.  
(yells)
Rocky, you know what your problem 
is?  Danny has spoiled your ass.  

BOOM!

A loud noise echoes from within the house. 

ANNIE
Shit Rocky, What’d you do now?  
(pauses)
Rocky?

NOTHING!

Annie quickly proceeds through the house.  

CUT TO:

INT.  HALLWAY – EARLY EVENING        

ANNIE
Ray?  Danny is that you?    
(pauses)
Danny, you’d better not be 
playing around.  Daniel Patrick 
Davis, I know that report cards 
were due today. 

NO RESPONSE!

A faint whine echoes from down a long, dark hallway.  Annie slowly proceeds down the hall.  

THUD!

Falling over the large dog, Annie finds herself flat on the floor.

ANNIE
Rocky, what the Hell is wrong with 
you tonight!   

The dog suddenly howls up toward the attic-trapped door.
The swinging cord dangles above Annie’s head.  

ANNIE
What is it?  What’s wrong boy?

Hesitantly, she retracts the extended stairs to the attic door.  

BOOM!

A box abruptly tumbles down the flight of stairs.  Annie falls back over the whimpering dog. 

ANNIE
Shit!  Shit!

Magazines are scattered across the hall floor.  Annie quickly collects the magazines, flipping through them.  

ANNIE				
Playboy! Penthouse! Hustler!  
			Yea Ray, you got rid of these
			alright.  No wonder Danny is 
			always cleaning out the attic.  

With the box in hand, Annie slowly proceeds up the creaking stairs.  The dog continues to whine from below.    

CUT TO:
INT.  ATTIC – EARLY EVENING    

Climbing into the attic, she places the box on top of a dusty wooden table.  

With a last whine, Rocky suddenly becomes silent.  Annie looks back down into the hallway below.    

ANNIE				
Rocky, are you ok boy?  

The dog does not respond. 

Annie cautiously looks around the dark, dusty attic. 	

SLAM!

The attic door abruptly swings shut behind her.  Annie stops in her tracks.

				ANNIE
			(whispers)
		Ray!  Daniel!  This isn’t 
		funny anymore.

NO RESPONSE!

Stumbling back to the closed, attic door, Annie attempts to swing the door open, but it abruptly swings back shut.  

A flicker of light suddenly shines through the small attic window.  Tripping over boxes, Annie rushes toward the light.  

RAYMOND DAVIS, early 40’s, stocky build, exits a car in the driveway below.  Annie struggles to open the tightly shut window, but it does not budge.    

ANNIE
(yells)	
Ray, get me out of here...Raymond.  
Ray?
(pauses)
Shit.    

CUT TO:

EXT.  DAVIS HOUSE – EARLY EVENING    

As Annie beats on the glass of the attic window, a dark figure suddenly appears behind her. 

Glancing at the evening paper in his hand, Ray Davis proceeds up the walk toward the house.   

THE SHADOW OF AN AXE FLATS ACROSS THE ATTIC WINDOW

The detached head of Annie Davis, SHATTERS through the attic window, ripping through the newspaper that Ray Davis had once held in his hands.  

CUT TO:

EXT.  DAVIS HOUSE – NIGHT

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 crowd is being held back by several police officers.  

Detective Peterson approaches a DETECTIVE who is speaking to a traumatized Ray Davis.  After the dazed man is led away by medical staff, the two detectives proceed to the  front of the house.  

DETECTIVE MARIO SANCHEZ, age 32, Hispanic, dark skin and hair, joined the department late last year.  

PETERSON
Well Mario, what’ll we have here?

SANCHEZ
White female, aged 39....Ann Davis. 			
(somber)
Mike, she was decapitated.

PETERSON
Decapitated?

SANCHEZ
Yea....the wound appears to be 
consistent with that of an axe 
wound.			

Peterson looks over Sanchez’ shoulder toward the house.  

SANCHEZ
(continues)
The family dog was also killed!

PETERSON
(confused)
Dog?

SANCHEZ
We found him in the hallway.  
His throat had been cut.  			

PETERSON				
Woman married?

SANCHEZ
Yea, that was the husband that
the EMT’s just led away.

		PETERSON
Does he check out?

SANCHEZ
Yea, seems to.  However, we did 
send an escort with him to hospital.  
Officer Sims.
	(beat)
Husband says he was working late.  
We’re checking that out now.  
Said that he had spoken with his 
wife earlier in the day.  He comes 
home around 8.  Her car was parked 
there in the drive.  He was the one 
who found her....sort of?

PETERSON
(confused)
What’ll you mean?

The detectives proceed up the walkway toward the house.

SANCHEZ
(continues)
Mr. Davis said that he proceeded 
up the walk here, and his wife’s 
head busted out of that attic 
window, landing in front of him 
on the side walk over there.

A white chalk line forms a round circle on the sidewalk.

PETERSON
Did the husband enter the house?

SANCHEZ
Fuck no!  He was scared shitless.  
He did a 360 to the neighbor’s 
house.  They said he could barely 
talk.  The neighbor called 911, 
and we were here within five minutes. 
(pauses)
We found the rest of the woman’s 
body in the attic. 

PETERSON
Forced entry?

SANCHEZ
No, nothing.  All the doors and 
windows were locked.
	(beat)
Oh yea, they do have a 13-year old 
son.  But we haven’t been able to 
locate him.  

PETERSON			  	
A son!  You got a name?

Sanchez looks down at a notepad.  

				SANCHEZ
		Here it is.  Daniel or Danny.		

Peterson pauses.

				PETERSON
He was involved in some sort of an
incident at the cemetery yesterday.

		SANCHES
Neighbor says that the boy was 
somewhat of a trouble maker.  
But nothing along the lines of this.  
You think he could be involved?

PETERSON
No.  No, I don’t.  But I do 
want this kid found as soon as 
possible.

SANCHEZ
Ok...ok.....got it.
(pauses)
Mike, I know this may sound crazy, 
but you don’t think Robert Lawson?  
Well..
I mean she was in the attic, and..

PETERSON
I-I was there.  He died in that 
house.  I saw them bury that 
son of a bitch.  
(hesitates)
Mario, get someone working on 
finding this Danny kid.  Then, 
call Judge Johnson...I want a 
warrant to exhume the Larson 
grave site.  And, I want it dug 
up tonight.  
	(beat)
And Mario, take a couple of 
officers with you out there.  
  
RING!

The chiming ring of a cell phone echoes out in the distance.  Several officers reach into their pockets, retrieving cell phones.

PETERSON
Damn, thats me.  

Peterson rushes to his car to retrieve the cell phone from the front seat.  

PETERSON
(yells)
Mario, get started on that, 
and we’ll take it from there.		

Sanchez retrieves his cell phone from his jacket pocket.  

SANCHEZ				
I’ll get on it now. 

CUT TO:

INT.  FORD EXPLORER – NIGHT

Returning from the hospital, Tom Kellerman slowly approaches the Davis’ house.  Erin leans forward in the front seat.  Parker moves up attentively from the back seat.  	

KELLERMAN
What the hell happened here?

PARKER
That’s Daniel’s house...stop!

As they approach the house, Kellerman lowers the car window.  Clicking off his cell phone, Peterson proceeds to the car.

KELLERMAN 
Mike!  

PETERSON
Tom!

ERIN
Detective, what’s going on?

PETERSON
(hesitates)
We’ve had some sort of incident 
here.  We’re, ah, we’re still 
working it.

PARKER
That’s Daniel’s house.  
Did you find him?

Peterson leans into the back driver side window of the vehicle.  

PETERSON				
No, we haven’t found him yet, 
but we’re working on it.  
I’m sure that he’ll show up.  
(pauses)	
I’m glad to see that they 
released you from the hospital. 

Parker stares transfixed ahead, just as a black body bag is carried out of the house.  

KELLERMAN 				
Yea, maybe I can keep a better 
eye on him than the hospital did.  

PETERSON
We’ll, I’ve got to get back.  
Drive safely.

Looking out the car window, Parker watches Detective Peterson push his way through the gathered crowd.  

With his back to the crowd, a dark FIGURE stares at Parker.    
Making eye contact with the stranger, the boy abruptly yells back at Tom Peterson.

PARKER				
Stop!  Stop the car!  That’s him.

With the car coming to a screeching halt, Parker turns back toward the crowd.  The figure is gone. 

ERIN
What.....that’s who?

Parker scans the crowd, unsuccessful in his attempt to find the dark figure.

TOM
Son, what is it?

PARKER	
(frustrated)			
Nothing!  Nothing!  Let’s just go.

As Peterson slowly drives away, Parker continues to search for the figure to no avail.  

CUT TO:

EXT.  MARSHALL CEMETERY - NIGHT

Detective Sanchez slowly approaches the cemetery.  Retrieving a cell phone, he places a call.

				PETERSON
			(into receiver)
		This is Detective Michael Peterson....

				SANCHEZ
		Yea Mike, I....

				PETERSON
			(continues)
		I’m unable to take your call right 
		Now, but you can....
			(voice fades)

				SANCHES
		Shit!  Yea Mike, it’s Mario....I’ve 
		got the order.  Judge Johnson was not
		to happy about me getting him up out 
		of bed.  He said that you were fuckin’ 
		crazy.  

Sanchez looks around the dark cemetery.

SANCHEZ
(continues)
Maybe he’s right.  Maybe we’re both 
fuckin’ crazy.
(beat)
Anyway, I’m at the cemetery now....
Couldn’t get any help.  That bastard 
Mathers said he had all of his 
officers working with you at the 
crime scene.  If I see any ghost, 
I’ll call you.  Later.

Placing the cell phone into his jacket pocket, Sanchez  retrieves a flashlight and shovel from the trunk of the 
car. 

								CUT TO: 

EXT.  MARSHALL CEMETERY – NIGHT

Shining the flashlight down on a map, Sanchez proceeds through rolls of gravestones.  

THUD!

Suddenly, Sanchez drops into a pit of darkness.  The flashlight tumbles from his hand.

Quickly retrieving the flashlight, Sanchez finds himself six feet under on top of a faded casket.  He slowly shines the flashlight up toward the stone above his head.  In huge letters reads the name “ROBERT LARSON”.  

Shining the flashlight around the enclosed area, Sanchez finds the shovel buried in mud.  

Sanchez butts the handle of the shovel against the opening of the casket.  After a few unsuccessful attempts, the shovel breaks against the edge of the coffin.  The flashlight stumbles from his arm.

CREAK!

Quickly retrieving the flashlight, Sanchez shines the light back toward to top of the coffin.  The lid has sprung up several inches.  Cautiously, Sanchez swings open the casket door.  

ROBERT LARSON’S CASKET IS EMPTY.  

Climbing along the dirt walls, Sanchez abruptly pulls himself up out of the grave.

Abruptly retrieving his cell phone, Sanchez hits the redial button.    

THE SHADOW OF AN AXE FLATS THROUGH THE AIR.  

THUD!

The cell phone tumbles down into the open coffin, as a voice echoes out on the other end.  

ON THE CELL PHONE 

CUT TO:

EXT.  DAVIS HOUSE – NIGHT  

PETERSON
Hello?  Hello?  

Peterson looks at the number in the phone window.  

PETERSON
(continues)
Sanchez, what’s wrong?  Mario?  
Mario?

SQUEAK!

PETERSON
(voice echoes)
Sanchez?  Are you there?

Peterson rushes to his car, peeling away from the house.  

								CUT TO:

EXT.  KELLERMAN HOUSE – NIGHT

CUT TO:
INT.  ERIN’S BEDROOM – NIGHT 

KNOCK! KNOCK!

Lying in bed, Erin looks up toward the closed door.

ERIN
Come in....it’s open.

Tom Kellerman pokes his head into the bedroom.

ERIN
(disappointed)
Oh Dad, it’s you!

KELLERMAN
Well, don’t sound so excited. 				

ERIN
(apologetically)
No...no....I didn’t mean it like 
that.  I-I had just thought that 
maybe...well I thought that it 
might have been Parker.

WALKS over to the bed, Peterson hugs his daughter.

KELLERMAN
Honey, I know that you are 
putting forth an effort 
with Parker.  And don’t think
for a minute that I don’t 
appreciate that.  I think that  
in time, he’ll come around....

ERIN
Yea right!  Maybe when he’s 
forty.  

Tom laughs as he rises from the bed.

KELLERMAN
Thirty five tops!  Mark my word.
(pauses)
I love you honey.

ERIN
I love you too, dad.

CUT TO:

INT.  HALLWAY – NIGHT 

Closing the bedroom door, Peterson proceeds down the dark hallway.  Quietly, he opens a bedroom door, finding Parker sleeping on top of a wrinkled comforter.

KELLERMAN 
(whisper)
Parker!  Parker!

NO RESPONSE.

Peterson slowly closes the door behind him.

CUT TO:

INT.  BOY’S BEDROOM – NIGHT 

Parker suddenly opens his eyes, looking back at the closed bedroom door.

CUT TO:

EXT.  MARSHALL CEMETERY – LATE NIGHT

Detective Peterson comes to a screeching halt in front of the cemetery.  Sanchez’ police car is parked nearby.  With a drawn gun in one hand and a flashlight in the other, Peterson rushes through the cemetery.  

PETERSON				
Mario!  Mario, where are you?  

Stumbling on top of a hillside, Peterson finds the dug up grave of Robert Larson.  As he proceeds toward the exposed opening, he can see a slightly closed casket at the bottom.  

PETERSON			
Sanchez?  Sanchez, are you 
around here?  	

Reaching for his cell phone, Peterson places a call.  

MUFFLED RING!

Slowly Peterson walks toward the grave opening.  The ring is getting louder.  Sanchez’ voice mail suddenly picks up.  

PETERSON
Sanchez, you down there?  Sanchez!
(beat)
God dammit!

After a slight hesitation, Peterson jumps down on top of the casket.  

THUD!

With his gun raised in his hand, Peterson swings the casket open.  He stumbles against the back of the dirt wall.  

The grisly body of MARIO SANCHEZ lies in the casket.  His  decapitated head by his side.

Pulling himself up from the grave, Peterson quickly reaches for his cell phone.

CUT TO:

EXT.  KELLERMAN HOUSE – LATE NIGHT

CUT TO:
INT.  FOYER – LATE NIGHT  

Approaching the front door of the house, Parker quietly turns the doorknob.  Suddenly a hand reaches for the boy’s shoulder.  Parker stumbles back.  

YELLS!

ERIN
Where do you think you’re going?

PARKER
N-nowhere.  Just go back to bed.

ERIN
(raises her voice)
Dad, Parker is running away!

PARKER
Shut up....ok...ok.  Look, I need 
to find out what happened to 
Daniel.....I just need to know.

ERIN
No....you need to wait and see 
what the police find out.

PARKER
The kids treated me like shit 
when I moved here.  Like I had
the plague or something.  Daniel 
was the only person who made an 
effort to be my friend.  You don’t 
know what it’s like not having any 
friends?

ERIN
No, you’re wrong!  I lost all of 
my friends in one God forsaken 
night.  

PARKER
Well, then maybe you do know what 
it’s like.  So tell me, what if 
one of your friends were missing?  
Wouldn’t you’d be looking for them?  
Wouldn’t you?

ERIN
(hesitates)
Ok, come on...I’m going with you.  
But if dad finds out, this was 
all your idea.

PARKER
Deal....and Erin...thanks.

ERIN
Come on!  You can thank me 
later.  

Retrieving a flashlight from the hall desk drawer, Erin pushes Parker out the front door.

CUT TO:

EXT.  DAVIS HOUSE – LATE NIGHT 

As Parker and Erin approach the Davis house, two police cars, lights flashing, race from the house.

PARKER
Where do you think they’re 
going so fast?

ERIN
I don’t know....Ok, so, what 
do we do now?

PARKER
Come on, let’s see if the house 
is open.

Erin grabs Parker by the shoulder.  

ERIN				
Wait a second....we can’t go 
in there.  It’s a crime scene.

Parker frees from her grasp, and proceeds toward the house.

PARKER
(sarcastically)
Not anymore....the police have 
left.

CUT TO:

INT.  FOYER – LATE EVENING 

Finding the front door open, Parker slowly enters the dark house.  Erin quickly follows.  

PARKER
(whispers)
Daniel!  Mr. Davis!  Mrs. Davis!

NOTHING!

ERIN
Come on Parker, let’s get the 
Hell out of here.  What if the 
police come back?

Parker proceeds down the dark hallway.  

PARKER				
I’m just gonna check out Daniel’s 
room.

THUD!

Parker stumbles to the ground.  

PARKER				
Shit...that hurt.

Erin rushes down the hall, shining the flashlight toward Parker.  She abruptly stumbles back, as Parker retreats against the hall wall.  

Lying before them is the decapitated dog.

ERIN
(startled)				
Oh my God!  

PARKER
Shit....that’s Rocky....er, 
that was Rocky.  What do you 
think happened?

ERIN
I-I don’t know, but we need to 
get the Hell out of here.  Now!

Parker scans the parameter of the long hallway.  		

PARKER				
Where do you think his head is?

ERIN
(yells)
We need to go now...Come on Parker.
Can you walk?

His hand massaging his sprang leg, Parker stumbles over the dog’s body. 

PARKER
Yea, I think so.  

CUT TO:

INT.  KELLERMAN HOUSE – LATE NIGHT 

Tom Kellerman approaches Erin’s bedroom, lightly knocking on the door.

TOM
Erin?  Erin?

Slowly, he opens the bedroom door.  

TOM
Do you know where Parker is?
He’s not in his.....					

Turning on the light switch, Kellerman discovers that Erin is gone.  

TOM
Dammit, Erin.

He rushes down the hall toward the stairs.

CUT TO:

INT.  FOYER – LATE NIGHT 

Kellerman notices that the flashlight is missing from the desk drawer.  

				KELLEMAN			
		God dammit, what are they thinking?

Kellerman quickly retreats from the house.  

CUT TO:

EXT.  LARSON HOUSE – LATE EVENING 

As Kellerman drives past the condemned remains of the Larson house, a flash of light shines from inside the house.  

Abruptly stopping the car, he quickly approaches the house.  Climbing under the faded remains of police tape, he slowly proceeds up to the front porch of the house.

CUT TO:

EXT. FRONT PORCH – LATE NIGHT 

Swinging open the front door of the abandoned house, Kellerman enters the house.    

Black soot covers the burnt walls and floors of the house,
creating a picture straight out of hell.  

KELLERMAN 
Erin...Parker, are you in here?

SILENCE!

The light luminates down the hallway of the house.  Pushing soot-covered furniture out of the way, Tom cautiously proceeds down the hall. 

Pieces of charred ceiling cover the hall floor.  A small metal ladder is perched up against the remains of the attic opening.  The dim light shines down from the attic opening.  

KELLERMAN
Erin, Parker, you up there?

Nothing!

Kellerman slowly proceeds up the shaky metal ladder.  As he reaches the attic opening, the light shines brightly into his eyes.  

CUT TO:

INT.  ATTIC – LATE NIGHT 

KELLERMAN 
Who’s there!  Who is that?

NO RESPONSE!

As Kellerman climbs into the unstable attic, a figure evolves from the shadows of the room.  Dressed in a black knit cap and jacket, the figure slowly raises the light up to their face. 

KELLERMAN 
(shocked)
W-what are you doing here?  
I-I thought you were...

SHADOW OF AXE FLATS THROUGH AIR, JUST MISSING KELLERMAN.  

A portion of the attic floor suddenly gives way, causing Kellerman to crash down into the hallway below.  

As pieces of the ceiling tumble down on top of the unconscious man, the entire house rattles.  

The figure peers down from the attic opening.    

CUT TO:

EXT.  LARSON HOUSE – LATE NIGHT 

Making their way back home, Erin and Parker approach the 
Larson house.  The Ford Explorer still parked in front of the house.  

PARKER
What’s your Dad’s car doing here?

ERIN
I-I don’t know.  Come on! 

CUT TO:

EXT.  LARSON HOUSE – LATE NIGHT 

Rushing up the unstable porch, Erin and Parker look into the opened door of the house.  

Erin grasps Parker by the hand.  

ERIN				
Look, I need you to do something 
for me?

		PARKER 
Depends!....What is it?

ERIN
Run back to the house, and call 
Detective Peterson!  Let him 
know that we need him over here
immediately.  

PARKER
(pleads)
No, no, I’m not leaving you.

ERIN
Listen....last year at almost 
exactly this time, I was in 
this same spot.  When I left 
this place, my mother was dead.  
My friends were dead.  And now
I don’t know where dad is.			
(pauses)
Right now, y-you all I’ve got, 
and I-I don’t want to lose you 
too.	

Parker hesitates, then looks directly into Erin’s teary eyes.

PARKER
I’ll be right back with 
Detective Peterson.  
(pauses)
You’ll be ok?

ERIN
Yea.  I’ll be ok.

Rushing from the house, Parker disappears into the dark night.  Erin turns back toward the swaying front door. 

MUFFLED CRIES FOR HELP!

CUT TO:

INT.  LIVING ROOM – LATE NIGHT 

As the familiar moan echoes from within the house, Erin quickly enters the living room.  

ERIN
(hesitantly)
Dad, is that you?

Erin slowly proceeds down the hall, through the maze of fallen ceiling.  

CUT TO:

INT.  HALLWAY – LATE NIGHT 

Suddenly, a hand grabs Erin by the leg.  

SCREAMS!

As Erin stumbles back against the wall, the hand suddenly goes limb.  

Cautiously approaching the figure, Erin holds the flashlight in her upraised hand.  

Suddenly, a rope abruptly drops from the attic.  As the  noose tightens around Erin’s neck, she is violently lifted up into the attic. 

FADE TO BLACK.

CUT TO:

INT.  ATTIC – LATE NIGHT 

Erin finds herself handcuffed to a wooden post on the 
soot-covered floor of the attic.  

A shadow looms behind the bright beam of a flashlight. 

ERIN
Who...who’s there?

Marcus Hunter suddenly comes into view.  

ERIN
W-what are you doing here?

MARCUS
Hel..hel..help!

Blood dripping down from his mouth, Marcus suddenly falls forward.  	

Erin SCREAMS.

ERIN
Marcus...Marcus!

NO RESPONSE!	

Behind the shimmer of light, a second figure comes into view.  Dressed in a black cap and jacket, the figure 
holds a flashlight in one hand and an AXE in the other.

ERIN				
R-Robert?  Robert Larson? 

FEMALE VOICE				
Thought I was dead?  

Removing the knit cap, the figure shines the flashlight up toward her face.  Standing before Erin is a gaunt looking middle-aged woman, dark hair, with cold, black, familiar  eyes.  

The woman stumbles over Marcus’ body, kicking him out of the way.

WOMAN 
So much for your knight in 
shining amour.

ERIN			
(stutters)
W-who a-are you?

WOMAN
My dear friend, how rude of 
me.  We haven’t been properly 
introduced.  My name is Cindy... 
Cindy Larson.  I think you know 
my son, Robert.
(raises her voice)
YOU KILLED MY SON, YOU BITCH!

The woman flails her hands wildly toward Erin.

ERIN				
No...no....you don’t understand, 
I-I...

CINDY
(interrupts)
SHUT UP!  SHUT THE FUCK UP!				
You killed Robert, and I-I 
came back to kill you.  
(sighs)
That only seems fair!

ERIN
But..he....your son killed my 
friends.  He killed my mother.

CINDY
Your perfect mother.  I should 
have killed that bitch years 
ago.

ERIN
What, what are you talking about?

CINDY
Let me tell you about your dear 
sweet mother.  
	(beat)
I went to high school with your 
parents.  Your dear sweet father 
and I were even once an item.  
That’s right, he wanted me, and 
I wanted him.  But, I guess that 
I came from the wrong side of the 
tracks.  
  
ERIN
But...

CINDY
(interrupts)
Shut up God dammit! Now, it’s 
my turn to talk.  
(continues)
Your father was too good to be 
seen with me, but he, he sure 
wasn’t too good to screw me.  
	(beat)
Don’t you get it?  Robert was 
his son.  And your half brother.

Erin shakes her head repeatedly in disbelief.  	

ERIN				
No. No, you’re lying, you...you 
bitch.

Erin struggles with the handcuffs to no avail. 

CINDY
The truth hurts, doesn’t it? 
	(beat) 
So, your father gets me pregnant
and I envisioned this great life 
together. Happily ever after. 
Then along comes your mother, 
Ms. fuckin’ Perfect.  She gets 
her rich daddy to pay me off.  
To deny that Robert belonged to 
your father.  	 

ERIN
No, that can’t be true.  You..you 
were raped by some janitor.

CINDY
Yea, wasn’t that dumb.  
	(beat)
You can’t imagine the power of 
money to someone who’s never 
had any.  I was poor and dumb..
and your grandfather flashed 
money, and I fell hook, line, 
and fucking sinker.  Sold my 
soul to the devil for $500.
(pauses)
It was even your grandfather’s 
idea to say poor Mr. Joiner 
raped me.  He assured me that 
old janitor would just leave 
town, and that would be the 
end of it.  But you know what 
happened?  

CINDY
				(continues)
DO YOU?  DO YOU?  The great people 
of this town killed that poor bastard 
before he could even leave.  Before 
I could tell them the truth, he was 
dead.
	(beat)
I hated myself for what I’d done.
And like the coward that I was,
I even tried to kill my own son.
Hell, I couldn’t even succeed at 
that.

Tears stream down Erin’s face, as she shakes her head in disbelief.

				CINDY
		And then we fast-forward eighteen 
		years.  Who do you think your 
		fathers’ been living with since 
		he moved out?

ERIN				
I don’t believe you, you fuckin’ 
bitch.  

CINDY
(claps her hands)
I’m impressed.  You have your 
mothers’ foul mouth.

Cindy looks down at Erin, hatred in her deep, dark eyes. 

CINDY
Maybe he moved in with me out of 
guilt.  Maybe it was out of love.  
Who knows?  But, I thought finally
we’d have that perfect life that 
I’d always dreamed of.  Happily 
ever after.
(voice quivers)
But, nooo, he still couldn’t let 
go of you and your mother.  So, 
what was a girl to do?  
	(continues)
Then I thought maybe, just maybe 
if your mother was dead, we could 
get on with our lives.  Get Robert 
out of this place and give him the 
life that he never had.  Convincing 
Robert to kill that bitch was the 
easy part.  So far, so good!  
(yells)
But then you killed my son....
You killed my future.

ERIN
No.  I didn’t mean to...  

A FIGURE abruptly enters the attic opening.  Cindy quickly shines the flashlight up toward the shadow.  

PARKER is perched on the attic stairs. 

ERIN
(yells)
Parker, get the hell out of 
here! 

Parker looks at Erin, then glares over at Cindy Larson.

PARKER
(confused)
M-mom?

ERIN
(gasps)
What....What’d you say?

Parker reluctantly climbs into the attic, proceeds to his mother’s side.

CINDY
Yes, my friend.  Parker here is 
your half brother.  Your father 
has really been a busy man.

PARKER
Mom, what are you doing here?
I-I thought that you’d took 
off!

CINDY
Honey, I have some unfinished 
business here.
(yells)
You see, this bitch killed your 
brother.

PARKER
(confused)
W-what brother?

ERIN 
(Interrupting)
No Parker, he killed my mother, he.... 

Cindy abruptly approaches Erin, slapping her across the face.

CINDY
(screams)
Shut up, you bitch.

Cindy raises her hand again toward the handcuffed girl.

PARKER
No Mom....leave her alone.

Cindy stares back at the trembling boy.  

CINDY
(lowers tone)			
Honey, we have something to do.  
Then it will just be the two of 
us. 	Just like it was before.
Now, please get that axe for 
mommy.

Parker freezes in his tracks.

CINDY
(raises her voice)
Now!  Parker, get it NOW!

Slowly, he retrieves the axe into his trembling hand.

				CINDY
That’s a good boy.  
(pauses)
Now  honey, I want you to walk 
over to her, and KILL THE BITCH!

As Parker slowly approaches Erin, Cindy retrieves a gasoline can from the corner of the attic.  With an evil look in her eyes, she douses gasoline over the attic floor.

ERIN	
(pleads)			
Parker, you don’t have to do this.  
I know that you’re not like her.  

CINDY
(yells)
I said shut up bitch. Honey, come on.  
You can finish what your brother was 
not able to.  	 

ERIN
Parker, don’t you see, she’s the 
one that tried to kill you at the 
cemetery.  And she’s never gonna 
let you leave here alive.  

Tossing the empty gasoline can onto the floor, Cindy approaches Parker. 

		CINDY 
Honey, do what mommy says.  Kill her!

Tears in his eyes, Parker slowly raises the axe in his trembling hand.  Erin lowers her head in desperation.  

The sounds of SIRENS ring out in the distance.  

Cindy lights a match, tossing it into a corner of the attic.  Suddenly, the entire corner goes up in flames.  

CINDY 
Ok Parker, now we don’t have much 
time. 
(yells)			
 DO IT, GOD DAMMIT.  DO IT NOW!

Parker stares up toward the attic ceiling.  

PARKER				
Forgive me, God!

With the raised axe in his hand, Parker violently swings it around, striking his mother across the neck.  

As the woman’s decapitated head sails into the fire, her  lower body stumbles onto the ground.        

THUD! 	

Parker quickly rushes to Erin’s side, hugging her.  Tears flowing down the shocked girl’s face.  

ERIN				
A-are y-you ok?

PARKER				
Yea, I’m fine.

Parker stares back at the headless body.

PARKER
(continues)
 I never trusted that crazy bitch, 
anyway.

The corner of the attic is almost entirely engulfed in flames.  Erin unsuccessfully struggles with the handcuffs.  Blood drips from her bruised wrists. 

ERIN
(screams)
Parker, you have to get out of 
here....just leave.

PARKER
No, I’m not leaving without you.  
You’re all I’ve got.

Erin struggles with the handcuffs.  

ERIN
She probably has the keys on her.

Parker rushes to the dead woman’s side, flames shooting from her upper torso.  With a slight hesitation, he reaches into the pockets of the limb woman.  

Frustrated, Parker looks back toward Erin.  

PARKER
They’re not here...what now?

The woman’s body abruptly lunges up toward Parker, her hands grasping the terrified boy’s neck.  Suddenly, the body limply falls back into the flames. 

THUD!

Parker, gasping for air, stumbles back away from the body.  

PARKER
(gasps)	
Shit!  Shit!

ERIN
Are you ok?

PARKER
Yea, yea, I’m fine.  

Parker stumbles back to Erin’s side.  

ERIN
(yells)
Parker, just get out of here!  
Get out now!

The boy violently kicks the attic post, swaying it back and forth.  

As smokes bellows throughout the attic, flames consume the room.  

ERIN
Please Parker, you don’t have 
much time.  Get the Hell out of 
here.

PARKER				
No, no, it’s-it’s starting to give.

CRASH!

The post finally gives way, allowing Erin to free herself.  She abruptly rushes over to Marcus, cradling him in her lap.  

Marcus looks into her teary eyes, as he gasps for a breath.

ERIN
You’re gonna be ok.  Just hold on.

MARCUS
No.  J..just let me go.  

ERIN
Not without you.

MARCUS
(gasps)
I-I came to burn down this place.  
I-I thought that-that if it was 
gone, then...then you’d be able 
to get on with your life.  You 
were right when you said this is 
what true evil looks like. 
(gasps)
Erin, I-I lov....

His eyes suddenly roll back, as his head slumps into Erin’s lap.

ERIN
(cries)
No..not him too.

PARKER
Erin, there’s nothing that we can 
do for him.  We’ve got to go.

Lowering Marcus back to the floor, Erin turns toward Cindy Larson’s inflamed body.   

ERIN
I hope you rot in Hell, you bitch.
(gestures to Parker) 
Come on, lets get out of here.

The pair rush toward the attic opening.  Quickly, Parker slides down the metal ladder.  As she stands on the edge of the steps, Erin looks back at Marcus’ limp body.

CUT TO:

INT.  HALLWAY – LATE NIGHT 

 					PARKER
Erin, please....please hurry. 

After a slight hesitation, Erin rushes down the stairs.  Flames shoot out of the attic opening.  Once in the hallway, Erin hugs Parker.

ERIN
Thank you. 

PARKER
You can thank me when we’re out 
of this Hell hole.  

Grabbing Parker by the hand, Erin pulls him toward the front of the house.  Suddenly, the boy stumbles to the ground.  Parker yells in fear, as he falls back away from 
Erin. 

A hand, buried in the rubble, is wrapped around the terrified boy’s leg.

				PARKER
		Erin, someone has my leg! 	

TOM KELLERMAN				
Help me!  Pl-please help me. 

Kellerman is trapped under plaster in the hallway.  

Sirens come to a halt in front of the flame engulfed house.

FLASHING RED AND BLUE LIGHTS 

illuminate through the front window. 

Erin and Parker struggle to release Kellerman from under the fallen ceiling.  Flames from the attic spray down onto the hallway.    

KELLERMAN
Please Erin, Just get your brother 
out of here.  Save yourself...

PARKER
(tears in his eyes)
No Dad ,we not leaving you.	

ERIN
He’s right.  This place has already 
taken too much.  

Detective Peterson yells from the front of the house.

PETERSON				
Anyone in there?

PARKER
(yells)
Yes, we’re back here.  Our dad 
is trapped.

Peterson quickly helps Erin and Parker remove a huge piece of debris off the trapped man.  

PETERSON
Go kids, we’ll be right behind you.

Placing the injured man’s arm around his shoulder, Peterson proceeds down the hallway. 

CRASH!

Just as they reach the living room, the entire attic floor collapses into the hallway.  

Once on the street in front of the house, Tom hugs the two kids.  Looking at her brother, Erin hugs him, as tears stream down her face.

With the entire house is now engulfed in flames, the attic drops to the floor below.  

Kellerman turns back toward Erin and Parker.

TOM
Didn’t I tell you both to get 
out of there..
	(somber)
But thank you, thank you both. 
(beat)
I-I guess that I have a lot of 
explaining to do. 			

Suddenly, the house collapses behind them.

Erin approaches Detective Peterson.

ERIN
Well, once again, I owe you...

PETERSON	
(interrupts her)
That’s, that’s ok.  But, we really			
do need to stop meeting like this.

ERIN				
You got it.  There won’t be a part 3.

		PETERSON
I’d appreciate that.

Giving the detective a hug, Erin returns to Kellerman and Parker.  As the group walks away, the sun rises in the horizon.     

CUT TO:

EXT.  MARSHALL CEMETERY – EARLY MORNING 

CUT TO:

EXT.  ROBERT LARSON GRAVE SITE – EARLY MORNING 

CUT TO:

INT.  COFFIN 

A dark figure lies motionless in a coffin. 

CUT TO:

INT.  CLOSEUP OF FACE 

Eyes suddenly open.

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

FADE OUT.

THE END