The Buried
Marcy Green
4/9/2017
EXT. ROAD, YEARS BEFORE PRESENT - NIGHT
Swiftly and smoothly, a 1975 Mercedes makes its way down the
road.
INT. 1975 MERCEDES - NIGHT
MALLOCH UNDERKOFFLER drives. He is a stately 44. Sharply
dressed in a tux and well accustomed to the elegance.
In the passenger seat is PIETRA UNDERKOFFLER, an elegant 44.
She wears a formal evening gown accented with diamonds. They
both have brilliant blond hair and sparkling blue eyes.
But, the mood is dark, in a subtle way. Not the kind of
surface heaviness brought on by a recent argument. Something
serious has been eating away at them for a while now.
MALLOCH
We don't have to go.
PIETRA
I know.
The comments fall with a familiar weary apathy.
EXT. MCKENNA MANSION - NIGHT
An opulent, manicured estate. The Mercedes pulls up and
stops. Two sharply dressed valets, TOM and BILL, exchange
glances when they recognize the car's occupants.
Tom opens the passenger door for Pietra and Bill goes around
to the driver's side.
Malloch gets out, hands the keys to Bill, who trades for a
plastic token.
MALLOCH
How's it going, Billy?
BILL
(ill at ease)
I'm fine, sir.
MALLOCH
Say hello to your dad for me.
BILL
I will.
Put off by Bill's performance, Malloch takes Pietra's arm.
With a bit too much show of dignity, they make their way up
the stairs, past the fountain, to the mansion.
TOM
What are they doing here?
Bill shrugs, gets in the car, and drives away.
INT. MANSION ENTRANCE - NIGHT
TOM WILLIAMS, bored from having attended too many of these,
greets guests. The warmth drains from his face when he sees
Malloch and Pietra. He quickly recovers:
TOM
Malloch! Pietra!
MALLOCH
Tom. How are you doing?
TOM
Fine. Good to see you. Pietra,
you look wonderful.
PIETRA
Thank you.
Big, sincere looking smiles all around.
THOMAS
Good to see you, both.
They pause. It's all been very natural up to now, but there
isn't anything else to say. After a few moments staring, Tom
gestures for them to enter.
THOMAS
Well... I'll catch up with you.
Malloch and Pietra pause a moment, smile clumsily, then go
in, and stroll casually down the hall. Tom motions to
Robert, a nearby waiter. He comes over. Tom whispers to
him, then sends him away. Robert hurries up a hallway.
INT. FOYER, COAT CHECK - NIGHT
Malloch hands over their coats and pockets a ticket.
HALLWAY
Malloch and Pietra are near the entrance of the ballroom,
next to a sign which reads: FORTY-SECOND ANNUAL MCKENNA
FOUNDATION FUND RAISER AND GRAND BALL
Robert and an elderly man, RICHARD LEWISTON, stride down the
hall. Richard recognizes Malloch and Pietra, gestures to
them.
Richard says something quickly to Robert, and dismisses him.
RICHARD
Malloch.
(comes over, too friendly)
Good to see you.
MALLOCH
Richard. How are you?
They shake.
RICHARD
Just fine. Pietra, you look
lovely.
PIETRA
Evening, Richard. Everything looks
wonderful.
MALLOCH
You did a great job. As usual.
RICHARD
Well. It should be fun.
(to Malloch)
Could I have a word?
Malloch was afraid this might happen, but he keeps up
appearances. Pietra is not as successful.
MALLOCH
Sure.
(to Pietra)
I'll just be a minute.
She nods and watches the men step into:
SIDE ROOM
Malloch squares off at Richard, who is relaxed but not
casual.
RICHARD
I'm surprised to see you.
Malloch waits, not wanting to commit to a response.
RICHARD
Malloch. It's a small town.
Everybody knows.
MALLOCH
Richard. Is this necessary?
RICHARD
(pause, searches)
As far as I'm concerned, no. But,
this is a high profile event.
MALLOCH
I see.
RICHARD
I don't have a choice. If this
were a big city, hell, who'd care?
This is a small town. Conservative
town.
MALLOCH
I've been a member of this
foundation for years. Do you know
how much money I've given--
RICHARD
--None of that matters, now. The
decision's been made. You're out.
To Malloch, this was inevitable but it still stings.
RICHARD
I pled your case. I did. I have
my bosses.
(deep sigh)
The members of the board that
aren't young and stupid rich are
old geezers. They're stupid, too.
And, they're old geezer wives are
stupid.
(embarrassed)
I've been out-voted. There's
nothing I can do.
(off Malloch stalling)
I wish there was.
(beat)
Your last donation will be
returned.
With this, the full impact of the situation hits Malloch.
RICHARD
I hope there's a way we can remain
friends.
Malloch appreciates the gesture, but realizes it also means
Richard is serious. This is over.
RICHARD
I'm sorry.
HALLWAY
Malloch exits the side room. He freezes at the sight of:
BALLROOM
There is a string quartet playing. Waiters serve drinks and
food. However, the mood is odd. Everyone is ill at ease.
They shift and glance at the floor.
Young couples, old couples, everyone is in on it. And, now
and then, a few look. Quick glances, then away, back to
their loved ones, to whisper:
WOMAN 1
What is she doing here?
YOUNG MAN 1
Is that her?
Two teenage girls giggle. Some feel bad for her, others are
embarrassed to be in the same room. They are looking at
Pietra:
She stands there with an odd off-balance posture. She sees
old friends look away, young children of friends staring
openly.
Malloch comes up quickly.
MALLOCH
Let's go.
PIETRA
They're staring at us.
He pulls her away.
MALLOCH
We're going.
Now, that they have their backs turned, everyone stares.
They're almost out when she whirls around.
PIETRA
What are you staring at!
Her voice reverberates in the large space. The quartet stops
playing.
Malloch grasps her arm.
MALLOCH
(whispers)
Pietra!
PIETRA
How can you stare at me like that?!
Everyone in the cavernous ballroom is staring at Pietra and
Malloch. He pulls her away. They pass an old friend of
Pietra's, who flinches. Pietra is horrified by the response.
PIETRA
How can they just stare?
They get into the hallway. Richard is there.
RICHARD
I'll walk you out.
MALLOCH
That's okay.
Richard stops and watches helplessly as Malloch and Pietra
make their way, watched by everyone.
They get to coat check where Robert has their coats. Malloch
takes them and leaves.
EXT. MCKENNA MANSION - NIGHT
Malloch drapes Pietra's coat over her shoulders and they make
their way down the steps. When they get to the driveway,
Thomas has their car waiting. He opens the passenger door.
Pietra looks at him for support and Thomas is as kind as he
can be, but doesn't know what to say. She gets in and
Malloch closes the door.
THOMAS
I couldn't do anything.
Malloch nods his appreciation and takes the keys from Thomas.
MALLOCH
I know. Good night, Thomas.
Malloch goes around and gets in. He starts the car and
drives away. Pained, Thomas watches.
EXT. TUDOR MANSION - NIGHT
This grand house sits next to a lake. In the backyard, there
is a greenhouse. A short pier juts into the lake. There are
no neighbors.
The Mercedes pulls into the driveway. Pietra gets out and
goes into the house. Malloch drives the car to the garage.
I/E. GARAGE - NIGHT
The door rises. Malloch pulls the car into the garage, parks
it, shuts it off, gets out, exits via a side door. The
garage door automatically closes, and the lights turn off.
INT. FOYER - NIGHT
Deeply burnished oak floors, antique etched cabinets, genuine
Persian carpet, molded cornices, engraved teak molding, heavy
curtains. Luxury and taste in equal parts. There is a grand
spiral staircase. Halfway up, there is an arched floor to
ceiling window which looks out over the backyard. Visible on
the second floor are the doors of two rooms. There is a
TICKING SOUND.
Pietra stands in the entry way in the dark. She looks around
the room, studying the objects. She looks up at the doors
visible on the second floor.
She stares at one of the doors, and is stung by regret.
She goes to the library, which is on the far side of the
foyer.
INT. LIBRARY - NIGHT
Pietra enters, turns on the light and closes the door. It's
another finely appointed room. There are book shelves filled
with expensive volumes. There is a Grandfather clock. It
TICKS - TOCK, TICK, TOCK.
EXT. BACKYARD - NIGHT
Malloch stands next to the lake. He pulls a flask from his
coat and downs a good swig. He stares vacantly at the water.
A heavy fog is forming over the lake. He has another drink.
INT. LIBRARY - NIGHT
Pietra takes a leather-bound book off the shelf. She regards
it with tender familiarity, drawing her hand across its
cover.
MOMENTS LATER
She sits in a stuffed mohair chair, and sets the book on the
desk. She stares at the desktop. She is contemplating
something grave and final. She opens a drawer, and takes a
piece of paper and a fountain pen. She writes. The CLOCK
STOPS TICKING.
EXT. BACKYARD - NIGHT
Malloch stares at the wall of fog which has settled over the
lake. He grins, quick and sharp, just for a second.
MALLOCH
Idiots!
He lifts the flask for a drink but it's empty. He walks back
to the house.
EXT. BACKYARD, NEXT TO HOUSE - NIGHT
Through the curtains of the library window, Malloch sees
Pietra writing at the desk. She is engrossed and very
somber. He is concerned and curious. He reaches for the
knob on the library's exterior door, but stops.
He walks up to another door and enters:
INT. PARLOR - NIGHT
Decorated in a dark masculine way with earth tones and heavy
leather furniture.
Malloch closes the door behind him. He turns on a small desk
lamp. There is a chessboard on a large cluttered oak desk.
He goes to a cabinet and pours a shot of Scotch from an
almost new bottle.
Then, bottle in hand, to a turntable where he lowers the
stylus. The record plays - Beethoven's Pastoral.
He takes the bottle to his desk and studies a chess game from
a book and drinks. He moves a piece and thinks.
EXT. TUDOR MANSION - NIGHT
The fog envelopes the house.
INT. PARLOR - NIGHT
Malloch has had it with chess...as well as the world. The
bottle is half empty now. He turns off the desk lamp.
INT. LIBRARY - NIGHT
Malloch stands in the doorway staring, his expression
noncommittal. What he stares at can't be seen. With unsure
steps, he walks into the room, never taking his eyes off the
object.
MOMENTS LATER
He is at the desk where Pietra was writing. He moves the
fountain pen off the paper. He picks up the letter and
reads. To him, its content is both tragic and expected.
He puts the letter down and, again, looks at the object,
casting his eyes upward now. Pain and regret fill his eyes.
He leaves.
INT. GARAGE - NIGHT
Dark. Malloch enters via the side door. He gets in the
Mercedes and starts it up. The diesel engine chugs heavily.
He lights a cigarette. He stares through the windshield,
looking into his past. He rolls the window down a couple
inches, leans back, takes a draw, exhales, and waits.
INT. CHERAMIE'S ROOM - NIGHT
Dark. CHERAMIE UNDERKOFFLER wakes, and gets out of bed.
FOYER
Dark. The door on the right, opens and Cheramie comes out.
She is seven. She has blonde hair and blue eyes.
She closes the door quietly and tries to sense what is going
on in the house.
She comes down the spiral stairs, stopping halfway to look
out the arched window. She can't see anything. A thick grey
fog presses against the glass.
She comes down the stairs, passes the parlor, continues to
the library. She stands in the doorway staring, her jaw
slack, her eyes wide. She enters, and makes her way across
the room, keeping her eyes fixed. She goes around the desk
and comes to:
Pietra's feet, suspended three feet above the overturned
mohair chair. Cheramie touches the feet.
Pietra is hanged by the neck from a cord tied around a
ceiling light fixture. Her eyes are wide, her deep purple
tongue protrudes, the cord digs deep into her neck. She
rotates slowly.
CHERAMIE
Mom?
There is no response.
CHERAMIE
Mom?
Cheramie lets go of Pietra's feet and watches her rotate.
She is not sad, confused, or horror stricken. She is
focused.
Cheramie pulls the feet toward her and lets them go --
causing the body to swing back an forth. The swinging is
accompanied by SQUEAKS from the rope. As the feet approach
there is a SQUEAK -- as they move away the rope SQUEAKS.
INT. GARAGE - NIGHT
The Mercedes' engine chugs. The air is heavy and grey.
Inside the car is Malloch. His staring eyes are covered with
a thick film, his skin is pallid and looks like plastic.
FADE TO BLACK.
TITLE: TEN YEARS LATER
INT. CHERAMIE'S ROOM - NIGHT
Dark. Cheramie is in bed. She wakes and sits up.
She is now a solemn, delicate, sharp-eyed girl of seventeen,
conventionally beautiful -- except for the eyes. They have
the world weariness of someone much older. There is also
worry in the eyes, as if the house might be on fire.
Outside the window is an old oak tree. Its bare branches
crooked like gnarled fingers, tap the window quietly.
She turns on the bedside lamp and gets up.
MOMENTS LATER
She is sitting on the floor wrapped in a quilt.
It's a stark room. On the wall are several excellent
drawings. One is: a woman pushes a little girl in a swing
while a dog barks at them. Another: parents sit on a blanket
with a little girl having a picnic. They all have similar,
simple family themes, and are impeccably drawn.
She admires an elegant doll house. It's a copy of the Tudor
mansion - a fine, architecturally correct replica.
She grasps the outside of the house, pulls it free and sets
it aside. The inside of the house is detailed to an
astonishing degree. This 'toy' would be a luxury for any
child, even the most affluent.
Cheramie leans in close to inspect the exposed interior. She
brightens and smiles as she adjusts a perfect miniature
cabinet, one of the stained and lacquered chairs around the
hardwood dining table, and the curtains of the arched window
halfway up the 'grand' spiral staircase.
At the top of this staircase is small female doll that has
blond hair. Cheramie picks it up and blows on it so that its
hair moves a bit. With a soft smile, she replaces it at the
top of the staircase.
Her eyes flash to a heating vent on the floor. It's covered
with a heavy wrought-iron grate. She crawls to the vent and
puts her ear close to the grate.
CHERAMIE
Mom? Dad?
She listens but, as always, there is no response. She sits
up. She can't hide her disappointment.
MOMENTS LATER
Cheramie turns her nite lite on - a yellow duck. She gets in
bed and turns the lamp off. It's dark except for the nite
lite. She looks at the corner where the light doesn't reach.
There is the silhouette of a MAN WEARING A HEAVY COAT
standing in the corner. He is motionless, facing Cheramie.
Cheramie pokes her arm out from under the blanket. Keeping
her eyes on the Man in The Corner, she turns on the lamp.
There is no one in the corner. This doesn't surprise her -
in fact, she smirks. With her eyes on the corner, she turns
the lamp off. The Man reappears. Still. Quiet. Watching.
She turns the lamp on. He is gone.
Cheramie looks at a framed picture on the table. It's
Malloch and Pietra. They are about forty, happy, and well
dressed in an old-fashioned way. Their blue eyes are
piercing and cold, and their blond hair shimmers brilliantly
in the sun. They are holding an infant with blond hair.
For a moment, Cheramie's expression warms.
CHERAMIE
I miss you. Good night.
She turns the lamp off. The Man instantly reappears.
CHERAMIE
(annoyed yet affectionate)
Go away! I'm trying to sleep.
Cheramie turns on her side and tries to sleep.
The Man watches her. Completely still, he might as well be a
cardboard cutout.
INT. KITCHEN - NIGHT
MATILDA JOHANNSON, fifty-four, wipes down a clean counter
with a clean cloth. She wears a maid's uniform with pride.
There is a snap to her movements that comes from working hard
all her life. She is not the type that longs for retirement.
Ceiling racks are filled with expensive cookware. No sticky
notes allowed on the commercial stainless fridge. There is a
large wood table with six chairs.
On the floor is a very large drain covered by a heavy grate.
The drain GURGLES: low and ugly. Matilda clicks her tongue.
MATILDA
Oh!
She carefully surveys the immaculate kitchen. Finally
satisfied, she turns the light off, and leaves.
FOYER
Matilda strides through the arched entry way and passes a
grand spiral staircase.
Matilda gets her coat from the closet, puts it on, leaves.
EXT. TUDOR MANSION - NIGHT
Matilda exits. Next to the door is a brass plaque with THE
UNDERKOFFLERS etched into it. Matilda notices a smudge on
the plaque and cleans it with deep respect.
MATILDA
(German accent)
Oh, I do miss you! We all do.
Well, not all of us. You know what
I mean.
She gets into a modest, beige Honda, and drives away.
INT. THE LIBRARY - NIGHT
SECRIST PERLMANN is a proper woman.
She sits bolt upright in a high-backed engraved wooden chair
with mohair upholstery amidst the shelves and stacks of
leather-bound tomes wearing an archaic evening gown buttoned
to her neck.
At fifty-four, she still cuts a fine figure. Her black hair
and calculating black eyes are her most distinctive features.
Especially the eyes - held wide open and narrowed at the same
time - a direct challenge.
They follow the fine print not for pleasure but for self
edification, as if it was her duty to sit in this stuffy room
reading this obscure volume. She concentrates despite the
classical music from the next room.
A grandfather clock marks time - TICK, TOCK, TICK, TOCK.
She shivers, looking up from her book. Her harsh features
become even more creased. She is looking at:
A PAINTING -
- of Malloch and Pietra Underkoffler. Looking old and weary,
as if they never had a joyful day in their lives. The plaque
under the painting reads:
MALLOCH AND PIETRA UNDERKOFFLER IN WEDDED BLISS
SECRIST
It's cold! I'm cold! Stuller?!
Turn the heat up!
(to herself)
And turn that execrable music down.
She looks back at the portrait and her eyes narrow.
Malloch and Pietra's icy blue eyes glare back, their blond
hair a shimmering halo around contemptuous expressions. She
sneers back at them. She sneers, then sneers again.
INT. THE PARLOR - CONTINUOUS
STULLER UNDERKOFFLER, fifty-four, is trying to enjoy the
music, Tchaikovsky's 'Pathetique', but she would have more
heat! He drags his eyes from the chess position he studies,
and with a pained expression, appeals to the Gods for relief.
How can he be bothered? He is clearly refined, with his silk
robe, classical music - a vinyl LP, thank you - not one of
those Cee-Dees. A fine cigar, snifter of Cognac, his dark
eyes held carefully to communicate adroit charm. Even at
this hour, his thick black hair perfectly combed and oiled.
FOYER
Secrist storms out of the library. As she passes the parlor:
SECRIST
Now! It's freezing! Stul-ler?!
She tromps up the stairs.
PARLOR
STULLER
All right!
(sotto)
Bitch.
He hauls himself up, goes to the turntable, conducts the end
of the first movement, lifts the gold stylus. He polishes
off the Cognac and enjoys the buzz.
BASEMENT - MOMENTS LATER
Dark. The door opens, Stuller steps into the rectangle of
light at the top of the stairs and relights his cigar. He
flips the light switch. A single light bulb lights. He
ambles down the creaking wooden staircase.
He passes an old furnace. It's a beast. Rusty iron,
dormant, coal burning, as big as a car, a heavy door covers
an opening large enough for a person to crawl into.
Stuller adjusts the thermostat on the wall next to the new
gas furnace. The flame ignites with a whoosh.
STULLER
Why the hell is it down here?
MALLOCH (O.S.)
(whispers)
Stuller!
Stuller whirls and looks at the space behind the old furnace
then up to the door. There is nobody there.
STULLER
(loud, to Secrist)
I turned it up!
(sotto)
Impatient bitch!
He trudges up the stairs, turns the light off and closes the
door. The gas flame casts dancing blue shadows on the wall.
CHERAMIE'S ROOM - NIGHT
Cheramie is asleep. The nite lite only lights the area
around the bed.
The branches of the old tree tap the window. Then, they
scrape the glass, like fingers, slow and purposeful. Unmoving
and quiet, the Man watches Cheramie sleep.
EXT. UNDERKOFFLER HOUSE - NIGHT
Matilda parks her car, goes into house with a grocery bag.
INT. KITCHEN - NIGHT
Matilda finishes putting the groceries away. She takes a
container of yogurt and leaves.
She goes down a short hallway near the front door.
MATILDA'S ROOM - NIGHT
Much more modest. There is a small bed, desk with a radio on
it, a chair in front of a small TV. Matilda enters, closes
the door, turns on the TV, sits in the chair, kicks off her
shoes, and eats yogurt while massaging her foot.
FOYER - NIGHT
Dark. Still, quiet as a tomb. Except for the ticking. The
grandfather clock in the library - TICK, TOCK. TICK, TOCK.
Secrist stands at the top of the grand spiral staircase. She
comes down the stairs, stopping at the large arched window.
Her face is vacant, colorless in moonlight. She is
sleepwalking. She looks out the window at the backyard.
It's a large, well-kept yard. The lake shimmers in the
moonlight. Next to the lake is a squat building. This is
what Secrist stares at.
Her eyes fill with longing and pain.
EXT. BACKYARD - NIGHT
The building is made of granite, with thick walls and a
sturdy iron gate with thick bars. Above the gate are the
names carved in the stone: MALLOCH AND PIETRA UNDERKOFFLER
The building is a mausoleum.
INT. LIBRARY - CONTINUOUS
It's dark. Secrist wanders in, emotionless. It's so quiet
her naked footfalls on the hardwood floor can be heard pit
patting. She walks across the room, passing the ticking
grandfather clock.
TICK, TOCK, TICK, TOCK... The clock stops ticking.
Secrist turns, facing the wall, head cast upward, her eyes
riveted to something. She stops. What she is looking at is
hidden in shadow. She turns her head a bit to the left.
SECRIST
Malloch?
She turns to the right.
SECRIST
Pietra?
(listens, waits)
Answer me! Why don't you answer
me?!
(jerks head right)
No! It was him! I didn't want to!
Pietra! You're my sister! I
couldn't hurt you!
(jerks head left)
It's the truth! You know it! I
was young! I didn't know...
(right)
But, you were sick! Always so
sick! Malloch wanted me! He was a
healthy man.
(guilty, childlike)
He needed me.
CLICK. The lights come on. Secrist has been speaking to the
wedding portrait: Pietra, on the right, and Malloch on the
left, glare down at her.
By the door, his hand on the light switch, is Stuller.
He watches Secrist with dull eyes. This isn't new to him.
He approaches carefully.
Secrist doesn't notice him. She mumbles denials at the
painting, her eyes filled with pain.
Stuller touches her shoulders, and gently massages.
STULLER
Shh. Come on.
Secrist wakes, but not completely.
SECRIST
Hmm? Where am I?
STULLER
Let's go. You've been out for a
walk, that's all.
He leads her gently out of the room and turns the light off.
The clock starts ticking. TICK, TOCK, TICK, TOCK, TICK
INT. FOYER, TWENTY YEARS EARLIER - DAY
The house, brilliantly lit by sunlight, is warm and inviting.
The door opens and Secrist enters with a suitcase. She is
young and vibrant with warm, hopeful eyes. There is a cab
outside and she waves to the driver, who drives away.
She surveys the house with a deep breath, and is filled with
enthusiastic anticipation. She closes the door and puts down
her case.
SECRIST
Hello?
With a bounce in her step, Pietra comes out of the library in
a lovely dress. She smiles at seeing Secrist, and goes to
her. They hug.
PIETRA
I didn't hear you come in. How was
the ride from the airport?
SECRIST
It was fine.
PIETRA
Well.
(grand gesture)
This is the house!
SECRIST
It's wonderful!
Secrist assesses the house with deep appreciation.
SECRIST
Just wonderful.
PIETRA
Thank you. I'm glad you like it.
It's the largest house on the lake!
SECRIST
I can't believe you.
PIETRA
What?
SECRIST
Getting married behind my back.
PIETRA
Please!
SECRIST
I go to Europe for two years to
learn how to paint and my sister
marries the richest man in town!
PIETRA
Come in. Matilda, our maid, is
making tea.
SECRIST
That's not going to do. I'm not
letting you off that easy.
PIETRA
I couldn't help it. He's very
charming.
SECRIST
He's a disgusting pig.
(off Pietra's gawk)
He's going to have an affair with
me.
(Pietra's stare)
He's going to fuck my brains out.
Secrist smiles like a lizard, big eyes and lots of teeth.
INT. SECRIST'S ROOM - MORNING - PRESENT DAY
Secrist wakes with a start and gasps.
SECRIST
God damn it!
INT. KITCHEN - MORNING
Matilda makes breakfast. Just as she has six days a week for
the last twenty years, moving with the ease and confidence.
Her face is honest and her movements flowing. She hides no
agendas. As always, her uniform is crisp.
Stuller comes in wincing, hung over.
STULLER
Did you get cream?
MATILDA
Having breakfast?
Stuller snicks. He prepares tea in a teapot. Despite his
condition, his movements are elegant; a well-practised
affectation.
He pats Matilda's butt. She doesn't bother to be offended -
it's such a tired, old gesture.
MATILDA
Don't start. You should eat
something.
STULLER
I should drink something.
He flashes a greasy smile. She ignores it effortlessly.
STULLER
Secrist will be late.
MATILDA
Is madame all right?
STULLER
'Madame' was out for a walk last
night.
MATILDA
(sincere, worried)
Again?
Stuller groans, and takes his tea to the table where the
newspaper is waiting. Cheramie comes in.
MATILDA
Good morning, Cheramie!
CHERAMIE
(with love)
Morning, Matty.
Stuller watches expectantly. Cheramie senses it - as usual,
she does not address him. He is amused by the game.
STULLER
(loaded)
Morning, Cheramie.
CHERAMIE
(purposefully stilted)
Uncle Stuller.
He can't suppress a grin. Matilda waits for what follows:
STULLER
(too loud, to Matilda)
You'd think her father's brother
would get more respect.
MATILDA
You'd think...
Stuller lets that roll off his shoulders.
Cheramie gets orange juice. Secrist stalks in, everyone
turns slightly away. She heads for coffee.
SECRIST
Matilda. Did you remember to get
cream?
Secrist pours herself coffee.
SECRIST
(to Cheramie, saccharin)
Good morning, dear.
CHERAMIE
(again, stilted)
Good morning, aunt Secrist.
Delighted by the exchange, Stuller opens the paper with a
pop. Secrist spills some cream. She wipes it up.
SECRIST
(re: cream)
Damn it!
(to Cheramie)
Don't call me that! I've told you!
You can call me Secrist, or...
Her eyes soften, and as if to a baby deer:
SECRIST
You can call me 'mom'.
Matilda clicks her tongue and serves Cheramie breakfast.
CHERAMIE
Except you're not. But, thanks for
creeping me out.
MATILDA
There you are, dear.
CHERAMIE
(warm, sweet)
Thanks, Matty
MATILDA
(eyes Secrist sidelong)
You're welcome, sweetheart.
Matilda and Cheramie share a warm smile - realizing this gets
to Secrist, who watches every move. It all delights Stuller.
SECRIST
Did you hear me?
Cheramie eats in a hurry.
MATILDA
Did you finish your homework?
SECRIST
Cheramie!
CHERAMIE
Yeah, it's done.
(bored with the game)
Yes, ma'am.
MATILDA
That's good.
Matilda is satisfied and beams pride. This exchange only
ticks Secrist off more.
SECRIST
Yes! That is good. Very good.
Good job on the homework.
STULLER
Let it go.
Secrist continues glaring as she takes her first sip of
coffee - and burns herself.
SECRIST
Damn it!
(to Stuller)
Don't forget to turn the heat down!
It's hotter than hell!
SOUND OF THE FRONT DOOR OPENING/CLOSING
Secrist let's it all go - she now has a new annoyance to
attend to: Cheramie's friend Jane.
JANE REFERSNAPH ambles into the room: athletic, jeans that
are snug but not tight, leather jacket, short black hair,
can-do attitude: natural power, yet smooth and graceful.
Stuller looks up from his paper and smiles, watching her
cross the room. Secrist stares into her coffee, already
looking forward to Jane leaving.
Matilda smiles at her. Stuller scopes her ass.
JANE
(huge, natural smile)
Morning, everybody!
STULLER
Good morning, Jane.
Secrist flashes him a sarcastic squint.
CHERAMIE
Hey.
Jane has made a beeline for the coffee. She slides her
shoulder bag off onto the counter and fills her thermal cup.
Stuller's eyes continue roaming.
STULLER
How are we, today?
Secrist mocks Stuller; mouthing 'How are we, today?'
JANE
(to Cheramie)
We're going to be late.
Cheramie is already up. She polishes off her breakfast on
the way to the sink.
MATILDA
Finish your breakfast.
CHERAMIE
I'm done.
Matilda takes the plate and puts it in the sink.
JANE
Let's go.
MATILDA
Don't forget your bag.
CHERAMIE
I won't.
SECRIST
Nice talking to you.
The girls ignore Secrist and leave.
SECRIST
I don't want Jane driving the car!
Cheramie?! Do you hear me?!
Matilda beams pride and joy as she watches the girls go. She
looks at Secrist and Stuller and immediately regrets doing so
- her smile slowly deflates. She clicks her tongue quietly,
turns and does the dishes.
STULLER
Jane. So full of life.
SECRIST
Oh, go jerk off.
STULLER
(reading)
In a minute.
Full of self-pity, Secrist stares at the table and stirs her
coffee. Stuller engrosses himself in the paper.
FOYER - CONTINUOUS
Jane watches as Cheramie finishes putting on her coat.
CHERAMIE
(whispers)
Every fucking morning.
Cheramie grabs her shoulder bag and they leave.
EXT. TUDOR MANSION - DAY
Cheramie and Jane exit and walk toward a 1975 Mercedes parked
in the semi-circle driveway.
Cheramie tosses the keys to Jane, who adroitly catches them.
INT. 1975 MERCEDES FOUR-DOOR - DAY
Jane drives. Cheramie draws: an excellent pencil drawing of
a man and woman with a child in front of a pleasant, modest
home. The radio is playing.
JANE
I hate this song.
Jane reaches for the radio to change the station. She hits a
preset and a Swing Era song plays.
Cheramie looks up from her drawing:
Jane's hand has become a man's hand. Cheramie's eyes flash
up the arm to:
Malloch is at the wheel. He wears a a tuxedo with the tie
undone. His blue eyes have a grey film, his face is ashen,
plastic-looking. Smoke comes out of his mouth. It isn't
blown like a cigarette smoker would, it just leaks, feeling
its way up past his nose and dull eyes.
Cheramie jumps and:
RETURN TO SCENE. Everything is back to normal.
JANE
What's wrong?
Cheramie blinks and makes sure it's really Jane.
JANE
Cheramie?
CHERAMIE
Nothing.
Jane checks herself in the rear-view.
JANE
Do I have a zit?!
Jane lets it go and looks at the drawing.
JANE
Nice. Mom and dad?
CHERAMIE
This is as close to a normal family
as I'll ever get. Drawings.
JANE
See any ghosts last night?
At this, Cheramie stops drawing.
CHERAMIE
It's getting to where I can't tell
the difference, anymore.
JANE
The difference between what?
CHERAMIE
The difference between when I'm
dreaming and when I'm awake.
Jane takes this seriously. Cheramie resumes her drawing.
EXT. PARKING LOT - DAY
Jane and Cheramie have just gotten out of the car. Jane
tosses the keys to Cheramie, who bobbles them. They pass a
sign which reads: CARPULENT HIGH SCHOOL
JANE
Another day at 'Crapulent' high
school.
They shuffle along toward the building.
INT. KITCHEN - DAY
Matilda turns the hot water on. It runs a deep burgundy,
then rust red, then brown, then clear. She waits, bored,
until the water steams, then turns on the cold water until
it's just right and scrubs a broiling pan.
INT. GREENHOUSE - DAY
It's a fine, large old greenhouse. The glass is covered with
the patina of age. There are only four plants - a mini
euonymus, two ivy, and a palm.
Outside, Stuller approaches, stubs out his cigar, pockets the
butt, enters, and closes the door. He is wearing a silk robe
over pajamas, and slippers. He carries a bottle of water.
He approaches the plants and, for the first time, his
countenance brightens. It's honest, happy, and childlike.
STULLER
(as if to puppies)
Well! How are we, today?
He unscrews the water, takes a swig, and examines the first
ivy, touching its leaves.
STULLER
Hmm! You're getting big!
He pours some water onto the plant.
STULLER
Yes, you are! Yes, you are!
INT. CARPULENT HIGH SCHOOL, CLASSROOM - DAY
The teacher lectures. The students listen best they can. In
the back is Cheramie. She sketches: A MENACING MAN STANDING
IN THE CORNER OF A ROOM WATCHING A SLEEPING GIRL. It's an
excellent drawing. She makes no effort to hide what she is
doing. The teacher sees her and ignores it.
EXT. BACKYARD, NEXT TO THE LAKE - DAY
Waves lap the shore. A few feet from the water's edge is the
mausoleum.
Dead, overgrown vines encase the building and almost hide the
engraved superscript: UNDERKOFFLER. Its heavy rusted gate
hasn't been opened in years.
Inside, barely visible, are two granite sarcophagi.
INT. CHERAMIE'S ROOM - NIGHT
Cheramie is sitting on the floor staring blankly at her doll
house. She maneuvers a blond doll (girl) down the staircase,
moving it gracefully -- like it's floating.
She blows lightly on the doll, moving its hair a bit.
SOUND OF VOICES from the heating vent. She cocks her head.
LIBRARY - CONTINUOUS
Stuller and Secrist. Stuller, looped on cognac, smells a
cigar, preparing to light it. The door is closed.
SECRIST
I deserve it!
(reconsiders her choice of
words)
We deserve it.
The money is right there. All that
money! And, all we get from the
estate is...
(indignant pause)
An allowance!?
Stuller agrees -- the thought of an allowance is off-putting.
SECRIST
Why should we--
CHERAMIE'S ROOM - CONTINUOUS
Cheramie has her ear to the heating vent and hears:
SECRIST (O.S.)
--be cut out? Stuller? We've been
taking care of her for years.
Cheramie's eyes narrow, she presses her ear to the vent.
LIBRARY - CONTINUOUS
SECRIST
She turns eighteen in a few months.
When she does, she gets the estate.
Stuller finishes lighting his cigar and blows smoke.
STULLER
Secrist. We get our share.
SECRIST
The estate is worth twenty million
dollars. We get a half-million.
Split between us? How long will
that last? The way you live? I
don't think she's going to ask us
to stay here.
This cuts through his stupor: Secrist twitches a smile.
SECRIST
Now, let's be honest. You're far
too soft a man to start working.
You've never even had a real job.
Imagine it. Nine to five.
(beat)
Monday through Friday. Holding on
until the next three-day weekend.
She smiles as Stuller mulls over such a fate.
SECRIST
And, I'm too much of a holier-than
thou bitch to work in an...
(chokes, indignant)
Office. Surrounded by bitches.
He is lost in thought. His cigar has gone out.
STULLER
Not to state the obvious, but the
accounts are controlled.
Monitored. Every penny.
She was ready for this.
SECRIST
But, under certain conditions, the
money becomes ours.
STULLER
You've lost your mind.
SECRIST
You putz! I'm not talking about
killing anyone! The will clearly
states that if the heir, Cheramie,
should die--
He flares. She motions for him to wait.
SECRIST
-- or, become mentally unstable, or
otherwise unfit to see to her
affairs, the cashola becomes the
sole property of her guardians.
Us.
He chews on it.
SECRIST
We're already there.
STULLER
What do you mean?
SECRIST
Her grades. Her 'visions'. She
hallucinates. Sees ghosts.
She's seeing a psychiatrist. All
we need is for him to say
she's...disturbed. And, honestly
she is disturbed. I could talk to
him. Give him a nudge.
He is incredulous.
SECRIST
She still plays with toys!
(beat)
Even if it only buys us a few
years... That's a lot of money!
This makes sense to him. But, he is still not convinced.
SECRIST
She could get worse. Start seeing
flying elephants.
STULLER
Flying pigs. Pink elephants.
SECRIST
Could you stay focused?
STULLER
Don't you think there's enough bad
blood in this family?
Without thinking, she looks at the painting of Malloch and
Pietra. Stuller follows her gaze, his expression sours.
SECRIST
They set it up so we would raise
their kid, then cut us loose with
nothing.
(waits for this to sink
in)
Stuller... We've already done the
dirty work. The only thing we
haven't done is gotten paid for it.
He considers the cigar, thinking. For several seconds:
STULLER
What would you say? To her doctor?
SECRIST
You don't need to worry about that.
If she were committed, we would
remain as executors of the estate,
even after she turned eighteen.
STULLER
For how long?
SECRIST
For as long as she was...ill.
STULLER
And, how long would that be?
SECRIST
Who knows? Mental institutions are
stressful. And, she's a delicate
girl.
She finishes the thought with her eyes. To him, this
actually sounds logical - and he likes it.
STULLER
You think it would work?
She leans back, confident.
He relights the cigar and glances at her. Then, glances at
her again. After several seconds staring at the floor
puffing and thinking, he nods, small and quick. Then, he
nods again to confirm, and without looking at her again,
opens the door and ambles out in a cloud of smoke.
Her smile is a long thin gesture. She looks at the portrait.
Malloch and Pietra glare back at her with deep, cool anger.
INT. CHERAMIE'S ROOM - CONTINUOUS
Cheramie still has her ear to the heating vent. She sits up.
Her eyes narrow with anger and determination. But, not what
you would expect from a teenager. It's a mature, cool anger.
INT. FOYER - NIGHT
Dark. Cheramie is halfway down the spiral staircase. She
looks out the arched window at the mausoleum. Her eyes are
serious and longing. She continues down the stairs.
She stops at the parlor door and watches Stuller, who is
going through his nightly routine of chess, Tchaikovsky, and
cognac. She moves on to the library door and watches Secrist-
-who has a contented smirk, which fades as she turns to the
heavy book in her lap and forces herself to concentrate.
KITCHEN - MOMENTS LATER
Cheramie gets a creme brulee from the fridge.
BASEMENT - NIGHT
Silhouetted against a rectangle of light, Cheramie stands in
the doorway at the top of the stairs. She closes the door,
lights a yellow ducky flashlight, and goes down the stairs.
She shines the ducky lite at the old furnace, and goes behind
it. There is a four foot space between the furnace and the
wall. There is a box to sit on and a blanket.
On the wall are four heating ducts covered by heavy, hinged
iron doors. On the old furnace, there is a large duct across
from the four ducts on the wall, but no connecting piping.
Cheramie sits on the box and wraps the blanket around her.
She pushes the spoon through the toasted surface of the
brulee. There is a rat trap. It's been there for years -
the cheese has turned to a black lump.
BASEMENT - NIGHT, LATER
Cheramie - bored but attentive, sits on the box wrapped in
the blanket, the empty dessert cup at her feet. The new
furnace fires up with a whoosh, its gas flames casting a cold
blue light, and dancing shadows.
She stands and points her light at the iron grate covering a
duct. She works the latch. It's rusted. She bangs the
latch with the flashlight. Third time, it opens.
She lifts the grate, loosing a cascade of rust.
She points the flashlight into the duct: dust and grit as far
as the light reaches.
CHERAMIE
(whispers)
Mom? Dad? I'm here.
She listens. Nothing but her echo.
CHERAMIE
Secrist is being a bitch.
(beat)
Again.
(waits for response)
Creme brulee, tonight. It's good.
Matty desserts are the best.
(pause, considers the
gravity of what she is
about to say)
Secrist and Stuller are trying to
take my money.
(beat)
The money you left for me. I heard
them talking.
She listens, hopeful, but there is no response.
CHERAMIE
They're ruining everything! They
want to take the house, too!
SOUND OF A THUMP from within the vent. There is a puff of
air from the vent and Cheramie's hair moves a little.
This fills her with joy. Then, she becomes serious.
CHERAMIE
Will you help me? I can't stop
them by myself.
She waits, but there is no response. She leaves.
INT. DOCTOR PALLEGRI'S OFFICE - DAY
Finely decorated. Doctor Thomas Pallegri, sixty-five,
intelligent, sensitive, sits behind his desk. Across from
him sits Cheramie. He waits. She simply tolerates, staring
at the floor.
He looks at a digital timer on his desk. It shows four
minutes and is counting the seconds backward.
DOCTOR PALLEGRI
Time's almost up.
(she stares at floor)
Are you still having trouble
sleeping?
(nothing. then a slight
nod)
Cheramie. You may not feel you
have a family you can turn--
CHERAMIE
--I don't have any family.
DOCTOR PALLEGRI
You know, you can trust me.
Obstinate, she doesn't want to show trust.
DOCTOR PALLEGRI
We're kind of stuck.
(waits)
This doesn't help.
There's a lot we should talk about.
(calculated pause)
Your parents' suicide.
CHERAMIE
Do you have to say that?
DOCTOR PALLEGRI
Cheramie, you've been coming to me
for several weeks. I understand it
takes time. But, by now you know
what the carpet looks like.
She stares at the floor for a long moment, then draws her
eyes up to him.
CHERAMIE
I think...
(hesitates)
My aunt and uncle are...
He waits.
CHERAMIE
They want to hurt me.
DOCTOR PALLEGRI
That's fine.
CHERAMIE
(suspicious)
It is?
DOCTOR PALLEGRI
Sure. That's a good first step.
CHERAMIE
Don't you think I'm being paranoid?
Or, whatever you call it?
His open smile comforts her.
DOCTOR PALLEGRI
Believe me. People come in here
with feelings of persecution--
(off her suspicion)
Or, whatever you call it-- All the
time. Except they think the
refrigerator and stove are
conspiring against them.
She snickers.
DOCTOR PALLEGRI
If you feel a tension between you
and your guardians, that's normal.
They're not your parents.
CHERAMIE
(wanting to tell
everything)
--It's Secrist, mostly.
He nods benevolently, jots down a note.
DOCTOR PALLEGRI
Good.
He checks the timer - 25 seconds. She sees this.
DOCTOR PALLEGRI
Sorry, but I have another--
CHERAMIE
I know. That little boy. He's
pretty messed up, huh?
Now, he is the one that's embarrassed - looks at the floor.
DOCTOR PALLEGRI
That's a good start.
They look shyly to each other for support.
DOCTOR PALLEGRI
Can we start there next week?
She shrugs and suppresses a grin, and lowers her eyes. He
grins big.
MOMENTS LATER
He opens the door. Standing there is Secrist dressed in an
old-fashioned jacket and skirt. Dr. Pallegri smiles warmly
at Cheramie, but the warmth fades when he sees Secrist.
DOCTOR PALLEGRI
(to Cheramie)
We'll just be a couple minutes.
Cheramie nods and slides past Secrist. Dr. Pallegri invites
Secrist in and closes the door.
MOMENTS LATER
They are seated.
SECRIST
Well?
DOCTOR PALLEGRI
We've made some progress.
(off Secrist's impatience)
There are some feeling of...
SECRIST
She hates me!
DOCTOR PALLEGRI
It's normal to go through a period
of adjustment after what Cheramie
has been through.
SECRIST
Her parents killed themselves ten
years ago.
DOCTOR PALLEGRI
A child's pain takes a long time to
heal. I'm know you understand
that.
She flinches, then:
SECRIST
So, you agree. She's sick. She
should be committed.
He chuckles.
SECRIST
I guess that's not the right word.
DOCTOR PALLEGRI
I've thought about your suggestion.
She brightens.
DOCTOR PALLEGRI
There's an excellent
facility...Willow Creek, about
thirty miles--
SECRIST
--Yes, I've heard of it!
(quells her enthusiasm)
On the internet. I looked it up.
DOCTOR PALLEGRI
Uh-hmm. It might do her some good.
To get away. I know a lot of the
people there. The counselors.
It's a good environment.
She smiles like a little girl.
SECRIST
Oh! You're right! Of course! I
could take her--
DOCTOR PALLEGRI
--Let's just keep it in mind.
(off her disappointment)
For now.
SECRIST
Well. Whatever you think is best.
(quickly thinks)
If Cheramie is ill...if she needs
to be hospitalized. Well, wouldn't
it be in her best interest to start
the treatment as soon as possible?
DOCTOR PALLEGRI
If it becomes necessary.
(writes)
Yes.
(she savors it)
Cheramie mentioned she's having
some trouble sleeping. That's not
good. This should help.
He passes the script; she takes it like it was candy. She
reads it and is disappointed.
DOCTOR PALLEGRI
It's mild.
SECRIST
It's a start.
He finds her comment off putting.
DOCTOR PALLEGRI
I'm glad we had this time.
Secrist holds her nose high.
INT. KITCHEN - NIGHT
Dressed in night clothes, Matilda finishes fixing a snack.
Cheramie enters, depressed. Matilda is concerned.
MATILDA
How was your visit?
Cheramie gets a bottle of water from the fridge.
CHERAMIE
Okay.
MATILDA
Cheramie! Give it time.
Matilda finishes up and puts the food back in the fridge.
CHERAMIE
Will you tell me about my parents?
This stops her.
MATILDA
You think you're ready?
Cheramie shrugs, not sure. Matilda goes to her.
MATILDA
I've wanted to tell you. It's time
you knew the truth. You've been
hiding from it.
(Cheramie admits it's
true)
Well, that's okay. We all have
things in our past we'd rather not
face.
(pause)
I'm going to my sister's house.
Tomorrow. For the holidays. Like
always.
(beat)
When I get back, we can talk. It's
too much to start tonight. Okay?
CHERAMIE
That's fine.
MATILDA
I'm just sorry you have to hear
about it from me. I'm just the
maid.
CHERAMIE
You're the only family I have left.
MATILDA
What about your aunt and uncle?
CHERAMIE
They suck.
They giggle, both knowing it's true.
MATILDA
Oh! And, you're mine! You're my
only family, too.
(they hug)
Except for my sister. She cooks so
much food this time of year and we
eat until we're ready to bust.
We're just two fat old ladies alone
in the world.
(pause)
Well...
Matilda gets her snack before the moment gets saccharin.
MATILDA
I'm going to eat this and watch TV
and get fatter.
(heavy pause)
I'm glad.
CHERAMIE
I'm not a little girl any more.
It's time.
They beam at each other.
MATILDA
Good night.
CHERAMIE
Night.
Matilda takes her snack and leaves. Cheramie gets a cookie,
takes her bottle of water, and leaves.
FOYER - CONTINUOUS
Cheramie heads for the stairs. She sees Matilda disappear
into the hall near the front door.
Cheramie climbs the stairs. At the top, she turns the lights
off and goes into her room.
A figure emerges from behind the kitchen door. It's Secrist -
her eyes narrow, her mind working.
CHERAMIE'S ROOM - NIGHT
Cheramie stares at a bottle of prescription medicine, not
wanting to take them. She sighs, pops the top and takes two,
chasing them with a hit from her bottle of water. She goes
to bed and turns off the light.
SECRIST'S ROOM - NIGHT
Secrist is sitting on the bed. She is dressed in an old
fashioned gown buttoned to the neck. Her brow furrowed with
calculation.
After a moment she pops two pills from a prescription bottle,
tucks herself in, and turns the light off.
PARLOR - NIGHT
Stuller pops two white pills and gulps them down with cognac.
He lifts the bottle to pour more, but it's empty.
BASEMENT - NIGHT
Stuller comes in, turns light on, goes down stairs.
Next to the new heater, he turns the thermostat up.
He goes to the far side of the old furnace, comes to:
The wine rack - where he gets another bottle of Cognac.
SOUND OF RUSTED HINGES WORKING from behind the old furnace.
Stuller hears it and, holding the cognac, goes to look behind
the furnace.
There's nothing there. He lets it go and climbs the stairs.
Now at the top of stairs, he leaves and closes the door.
After a second, the door opens, Stuller pops back in.
STULLER
Damn it...
He palms the light switch, and glances into the basement. He
sees Malloch standing in the space behind the old furnace,
wearing his tuxedo, leering at him, just for the split second
before the light goes out.
Stunned, Stuller flips the lights back on - there is nothing
there. He attributes the vision to the booze and pills.
Silly me! Then, still staring at the spot where Malloch was,
Stuller becomes serious and very sober.
STULLER
Sorry, old man.
He turns the light off and closes the door.
PARLOR - NIGHT
Stuller enters, starts a record (Mahler's first), sits at the
table to drink and diddle with chess.
SECRIST'S ROOM - NIGHT
Dark. Secrist in bed. She opens her eyes and sits up.
GRAND SPIRAL STAIRCASE - NIGHT
Dark. Quiet. Secrist at the top of the stairs.
She goes down the stairs, mechanical, staring, her face
blank. She passes Stuller in the parlor - he doesn't notice
her. She walks into the kitchen.
BASEMENT - CONTINUOUS
Dark. The door opens and Secrist is there, silhouetted in
the dimly lit rectangle at the top of the stairs.
Robotic, she walks down the stairs and wanders past the new
heater to the thermostat. She turns it up - the gas flame
ignites casting its dancing blue light.
She is now standing in front of the old furnace, staring at
it. The gas flame's light makes the giant iron furnace look
almost alive - like a face that stares back at her.
In a trance, she shuffles to the back of the old furnace.
She runs her finger along its side. Rust falls to the floor.
She turns to the vent - the same one Cheramie opened.
SECRIST
Pietra? I can't hear you.
She leans close, then, lifts the grate and looks in the vent.
SECRIST
I'm here...
Several moments go by. Then, Secrist's hair flies wildly,
straight back, in a wind that comes out of the vent. She
reels backward, dropping the heavy door. WHAM!
She bats her eyes, conscious for the first time of where she
is. She gets her bearings and is immediately afraid.
SECRIST
What...
PIETRA
(from vent, whispers)
Secrist...
Secrist backs into the furnace and whirls around. She
quickly turns back to the vent unable to understand.
PIETRA
I've waited a long time.
SECRIST
Who...What's going on?!
The door at the top of the stairs closes slowly. It creaks.
The line between light and dark makes its way across the
floor to: Secrist -- the darkness advances across her
shoulder, then her face, then the other shoulder.
PIETRA
You never visit.
The door closes. It's pitch black except for the dancing
blue gaslight from the new furnace.
SECRIST
Who are you?
PIETRA
You've been naughty, Secrist.
SECRIST
What?
PIETRA
It's time.
SECRIST
What do you mean? Time for what?!
What is it time for?!
(long pause, no response)
Answer me! WHAT IS IT TIME FOR?!
Secrist waits, mouth open, eyes wide, surrounded by wild
dancing shadows. SOUND OF A SNAP! Secrist screams.
INT. LIBRARY - NIGHT
Cheramie prepares to remove the ancient rat trap from the big
toe on Secrist's right foot.
SECRIST
Be careful!
Cheramie smirks to herself. Behind her is Stuller with a
fresh glass, doing his best to hide his delight. Matilda is
both amused and suspicious.
SECRIST
Ow! Watch it, you idiot!
CHERAMIE
(keeping a straight face)
Sorry.
MATILDA
What happened?
SECRIST
How dare you!
Matilda balks. Cheramie eyes Secrist and removes the rat
trap. Secrist howls.
STULLER
She was strolling in the basement
and stepped on a trap.
SECRIST
She left it there!
MATILDA
I haven't set a trap for years.
SECRIST
Oh!
Secrist gingerly massages the offended toe.
STULLER
(baiting)
Is it broken?
SECRIST
Fuck off!
CHERAMIE
Why were you in the basement?
SECRIST
I was turning the heat up!
STULLER
Here we go.
SECRIST
Well! It's freezing! It's winter,
you know!
Now bored and tired, Stuller pours more cognac.
CHERAMIE
There's no trap near the furnace.
SECRIST
I don't know why the damn thermos
thing is down there, anyway!
Matilda and Stuller get Cheramie's point.
STULLER
Where were you--
SECRIST
--I don't...know. Behind the old
furnace.
Everyone exchanges loaded glances.
STULLER
Well. Not to be obvious, but what--
SECRIST
--I don't remember!
STULLER
Do you want to see a doct--
SECRIST
--Oh, shut up! I'm fine!
Unsteady, Secrist gets up and hobbles out, struggling to
maintain her dignity despite being watched by everyone.
Cheramie forces a straight face as she helps her out.
SECRIST
Leave me alone! I can manage.
CHERAMIE
(taking her arm)
No, you can't! I'll help you with
the stairs.
STULLER
Secrist. Let her help--
SECRIST
--SHUT UP! Drunk idiot.
Stuller let's it go. Grudgingly, Secrist accepts the help.
FOYER
Secrist and Cheramie climb the stairs carefully.
Matilda and Stuller come out of the library and watch for a
few seconds, then Matilda heads for her room, Stuller eying
her ass.
STULLER
Night cap, Matty?
MATILDA
Piss off. Good night, Cheramie.
STULLER
All righty, then.
Stuller heads for the parlor.
CHERAMIE
Night, Matty.
SECRIST
(mocking)
Good niiiight, Maaattty!
CHERAMIE'S ROOM - NIGHT
Cheramie opens the window. Jane is outside on a ladder,
grinning ear to ear. She climbs in, clunking her boots.
CHERAMIE
Shh!
JANE
It's cold as bitch's tit.
CHERAMIE
Witch's tit.
JANE
Shut up.
Jane checks the ladder then closes the window.
STAIRCASE TO ATTIC - NIGHT
Cheramie and Jane tiptoe up the narrow, steep staircase.
Jane yucks huge, silent laughs. They come to the attic door.
CHERAMIE
She was sleepwalking.
JANE
Your family is so fucked up.
CHERAMIE
(bad Vincent Price)
They're not my family.
(gestures to attic door)
This is where the ghost lives!
Cheramie opens the door. It creaks.
CHERAMIE
Wait.
She picks up the kerosene lantern sitting next to the door.
JANE
You got to be kidding.
CHERAMIE
It's an old house. There's no
lights up here.
(strikes match)
No wiring.
She lights the lantern, blows out the match and they go into:
ATTIC
The room is filled with trunks, boxes, old furniture - all
covered with sheets.
JANE
Jeez.
CHERAMIE
I know...
Cheramie goes to a trunk, sets the lantern on a table, and
opens the trunk. She looks back at Jane.
CHERAMIE
Get in here chicken shit.
Embarrassed, Jane comes in. Cheramie pulls a wedding dress
out of the trunk.
JANE
Wow. Beautiful.
CHERAMIE
(hands it to her)
My mom's wedding dress.
Jane holds it up to her body, checks the fit.
Cheramie takes a tuxedo jacket out of the trunk.
CHERAMIE
Who gets to be the man?
After a second they realize who should be whom. Jane hands
the dress to Cheramie. Cheramie gives the jacket to Jane.
MOMENTS LATER
Cheramie is adjusting the dress, Jane has the tux on.
Jane goes to a full-length mirror covered with a sheet, whips
the sheet off, adjusts the mirror, checks herself out.
JANE
Cool!
(in low pitch voice)
Oh, dang woman! I feels like a
secret agent in this here fancy
jacket.
(half turn)
I is one good-looking man. You is
lucky to have me.
Cheramie adjusts the dress and comes over.
CHERAMIE
(rube drawl)
I'm as homely as a possum.
JANE
Naw, baby. That ain't true. I
loves you.
Jane slips her arm around Cheramie's waist and pulls her
close. Cheramie pushes her away.
CHERAMIE
Dork!
JANE
Aw, now baby! Don't be like that!
CHERAMIE
Asshole.
Cheramie turns the mirror so that she can see her reflection.
When she does, Pietra appears behind her. She admires
Cheramie and smiles.
PIETRA
It looks good on you.
Jane turns the mirror back to her (Pietra's reflection
disappears).
JANE
Hey! I'm not through checking me
out!
CHERAMIE
(turning mirror back,
Pietra's reflection
appears)
God damn it!
Pietra's smile fades. She leans close to Cheramie - when she
speaks, Cheramie's hair is tossed a bit.
PIETRA
She's in danger here.
Jane moves over next to Cheramie.
JANE
I thought I was the man.
Just to irk Cheramie, Jane angles the mirror a tad - this
cuts Pietra's reflection out again.
CHERAMIE
You are. Shut up.
JANE
We're so married.
LIBRARY - CONTINUOUS
Wearing a robe over her night gown, Secrist is sitting in her
chair, reading a book.
ATTIC - CONTINUOUS
CHERAMIE
(to mirror)
I do! Oh, I do! Till death do us
part.
JANE
Honey, I promise I won't drink more
than a six pack a night. And, I
will never beat you. I swear!
CHERAMIE
I won't cut your dick off while
you're asleep.
PARLOR - CONTINUOUS
Stuller has managed to get the turntable working. He tosses
back half a glass of cognac to celebrate.
LIBRARY - CONTINUOUS
Secrist is sitting in her chair with a book on her lap, but
she isn't reading. She stares at the doorway, suspicious.
She stands, puts the book down, and walks to the door.
STAIRCASE FROM ATTIC - CONTINUOUS
Jane and Cheramie tiptoe down still wearing the wedding
clothes. Cheramie looks to see if the coast is clear,
signals Jane and they sprint on tiptoe to Cheramie's room, go
in, and close the door behind them.
FOYER - CONTINUOUS
Secrist is looking out the window next to the front door.
Her eyes narrow with suspicion, irritation, and confusion.
She is looking at:
EXT. FRONT OF HOUSE, SEMI-CIRCLE DRIVEWAY - NIGHT
Matilda's Honda is parked in the driveway.
FOYER - NIGHT
Vexed, Secrist hobbles to the short hallway near the front
door and comes to: Matilda's door. She enters without
knocking. She goes straight for a porcelain bowl on the
dresser and gets some keys, then leaves.
SECRIST
Stupid bitch!
EXT. BACKYARD - NIGHT
Stuller stands in the yard still dressed in the robe and
pajamas. He's buzzing pretty good and doesn't feel the cold.
He takes a swig straight from his bottle, and swaggers out.
EXT. FRONT OF HOUSE, SEMI-CIRCLE DRIVEWAY - NIGHT
Secrist gets into the Honda, starts it, and pulls away.
INT. CHERAMIE'S ROOM - NIGHT
Jane and Cheramie on the bed watching an old horror movie on
a small black and white TV which is also on the bed, propped
up on a stack of CD's. They each have half a beer.
JANE
Married to me--
(burps)
You'll always have beer.
CHERAMIE
Better...
(burps)
I/E GARAGE - NIGHT
Secrist drives the Honda into the garage, parks it next to
the 1975 Mercedes, gets out, storms out of the garage, and
closes the garage door.
EXT. LAKESIDE - NIGHT
Stuller pulls his foot from his slipper and pushes his toe
through the thin ice. The sensation raises a dull grin.
STULLER
Woo! 'Cold'.
INT. MATILDA'S ROOM - CONTINUOUS
Secrist replaces the keys in the porcelain bowl and leaves.
SECRIST
Dumb, lazy bitch!
INT. LIBRARY - CONTINUOUS
The grandfather clock stops ticking.
INT. FOYER - CONTINUOUS
Secrist comes out of the hall near the front door and heads
for the stairs. On the way she passes the parlor - where
Stuller's turntable slows down until the music becomes a low
growl and seems to speak demonically. Then, it stops.
Secrist doesn't notice and climbs the stairs. She looks out
the arched window and sees Stuller in the backyard.
SECRIST
Oh! Idiot!
(continues up stairs)
Freeze to death! Drunk. Fool!
EXT. BACKYARD, LAKESIDE - NIGHT
Stuller selects a flat stone from the beach. He feels its
weight and tosses it across the ice the way you do when you
skip a stone on water.
The stone bounces on the ice making a QUEER PINGING SOUND
every time it hits the ice, before hitting the slush where
the lake has not yet frozen. Amused, he tosses another
stone. It makes the same strange musical sound - PING,
TWING, PWANG. He grins and turns around. His face is lit by
a strange green-white light. His jaw drops.
EXT. BACKYARD, SPRING - DAY
Stuller and Pietra (years earlier), are in each other's arms.
PIETRA
You're so naughty!
STULLER
When did he leave?
PIETRA
Early. He'll be in Chicago this
afternoon.
STULLER
I wonder where I'll be this
afternoon.
They kiss, deep and passionate. With a twinkle in their eyes
they run to the house, hand-in-hand.
RETURN TO SCENE
Stuller grins, lavishing the memory. Then, he is shocked by:
RETURN TO VISION:
Malloch emerges from the bushes (where the mausoleum is to
be) and watches Stuller and Pietra trot to the house. He is
devastated and furious. He turns and faces Stuller (in
present). As he does, his face turns to a sour mask. The
flesh rots and his face becomes a slimy skull.
MALLOCH
It's time, old man!
The vision fades - the bushes are replaced by the mausoleum,
and the green light fades.
RETURN TO SCENE
Stuller reels back stepping into the lake, breaking the ice,
and soaking his foot.
STULLER
Son of a bitch!
He shakes the water off his foot.
STULLER
Goddammit! Son of a...
He picks up his soaked slipper and wrings it out. He
giggles, embarrassed. He holds the bottle up and:
STULLER
Maybe I've had enough. Hmm? What
do you think?
He puts the slipper in his robe's pocket and meanders,
finding himself in front of the mausoleum.
His robe flutters in the wind. He squares off at the gate
and raises his bottle to the building.
STULLER
Here's to the 'Underkof'...
He happens upon two small white pills in his pocket.
STULLER
...'Underkofflers'! A sick, sick
clan if ever there was!
He pops the pills like they were candy and swigs them down.
STULLER
I'm proud to be member in good
standing...swaying.
(grand sweeping gesture)
Look! Look at what's mine! Will
be mine!
(lurches to gate)
Will be mine, Malloch! Malloch?
(sticks face in bars)
Can you hear me in there?
He turns, faces the property, leans back against the gate.
STULLER
Try to cut me out. Both of us!
I'm your brother! Who do you think
raised your daughter? Us. Not
you. You weren't...around. You
saw to that, didn't you? Prick.
He swills Cognac like beer, turns back to the mausoleum and
peers through the bars of the gate into blackness.
STULLER
What did you do? Kill yourself.
Coward!
MALLOCH (O.S.)
Yes. That was a mistake.
STULLER
(giggling, looped)
Well... I guess under the
circumstances... I'd do the same.
Stuller continues giggling and mumbling to himself as:
Malloch emerges from the shadows and comes to the gate.
STULLER
Malloch! Old man! There you are!
MALLOCH
How have you been?
Stuller shivers.
MALLOCH
It's cold. Come in.
The gate swings open. Stuller enters. Inside, shielded from
the wind, it's quiet.
STULLER
It is cold...
Malloch sits on his granite tomb, hands crossed elegantly in
his lap. With a graceful gesture he invites Stuller to sit
on Pietra's tomb.
MALLOCH
Please.
Stuller shakes his head and shuffles to warm up.
MALLOCH
That was silly. Wasn't it? My
killing myself.
STULLER
Silly?! You made a damn fool of
yourself. The papers had a field
day! We were important! Damned
important in this town!
MALLOCH
I apologize, Stuller. I
embarrassed you and the family. It
was selfish. I was selfish.
STULLER
Well...that's okay.
(stoned pause)
It's just so embarrassing. People
still remember, you know. Can't go
anywhere. The guy I buy cigars
from...
(searches for and finds a
cigar)
He remembers. You should see how
he watches me.
(lights cigar)
Asshole. I'm not going there
anymore...
MALLOCH
I'm sure he'll miss your business.
STULLER
(puffing cigar to life)
You bet he will. These are
expensive.
MALLOCH
Now, however, we have this other
matter.
Stuller can't hide his shame.
STULLER
You mean Cheramie's...
(chokes)
MALLOCH
Yes, that. The inheritance. Her
inheritance. The money, Stuller.
Stuller toes the dirt, unable to look Malloch in the eye.
STULLER
Well...
MALLOCH
I know you feel you deserve some
reward. You don't. You never
provided for her. You couldn't
have--
STULLER
--I sacrificed! I'm not a young
man, anymore. I deserve--
BAM. The gate closes. Stuller jumps, but doesn't understand
the implication. Malloch stands.
STULLER
I deserve something!
Malloch steps closer. Stuller backs into the gate.
STULLER
Malloch... What you did was wrong.
But, you were going through a rough
patch. I... We forgive you.
MALLOCH
You've been a weak man all your
life. It won't do, anymore. Your
excuses. I'm afraid...it's time.
STULLER
Wait... Malloch! I don't... I'm
sorry! Really!
MALLOCH
You'll like it here.
(gestures)
There's a space. For you.
STULLER
What? No, Malloch... It's not too
late! We can still--
MALLOCH
(over)
--Stuller.
(motions for him to calm
down)
Listen.
(waits)
Are you listening?
(off Stuller's nod)
I've been dead for a long time.
Malloch waits for this to sink in. Stuller drops the cigar
and struggles to understand. Malloch savors it. Stuller's
lips quiver, his eyes plead, and he shivers uncontrollably.
MALLOCH
You understand?
Totally stoned, Stuller nods.
MALLOCH
Do you know what I am?
Stuller twitches and mewls softly. Malloch grins.
MALLOCH
You've picked up a new habit.
STULLER
What...what do you mean?
Malloch reaches out - Stuller flinches, banging his head
against the bars - hard - he feels no pain.
MALLOCH
You're quite the junkie.
This embarrasses Stuller. Malloch strokes Stuller's face
with the back of his finger tips -- where Malloch's fingers
touch Stuller the surface of Stuller's face is removed - in
thin, elegant strips. Stuller doesn't react.
STULLER
What do you want?
MALLOCH
I've always been impressed how a
junkie's mind will fade. Rot away.
Stuller examines his face with his hand. His fingers touch
the wet tissue. He looks at his red fingertips and tries to
comprehend.
STULLER
Wha... It's... Did I...
MALLOCH
You were a lazy man, but you had a
sharp mind... At one time.
Malloch strokes Stuller again. This time he slides the palm
of his hand over the side of Stuller's head, shearing the
hair and ear away. Stuller doesn't feel the pain.
MALLOCH
What you and Secrist are trying to
do is wrong, and I have to stop
you.
Stuller tries to blink away the stupor, but can't.
STULLER
It was my fault! I know that, now.
MALLOCH
The only good thing I ever did was
to have Cheramie. I'm not going to
let you hurt her.
Stuller touches the side of his face. It's a red pulp. He
looks at his hands and is shocked by the blood there.
STULLER
What?! What are you... Malloch!
It won't happen again! I swear!
Stuller pats the side of his head, feeling for his hair and
missing ear.
STULLER
I can't feel... My face. Malloch,
I think I'm bleeding.
(shows his hand)
I think that's blood.
MALLOCH
You're the one that brought shame
to this family--
STULLER
(overlap)
--No! I, we...didn't mean--
MALLOCH
Stuller. I'm your brother. She
was my wife!
STULLER
I'm sorry! I know that! I knew
that! I'm very sorry!
Malloch runs both hands over Stuller's face and head leaving
it denuded, the bone showing through in spots.
Stuller screams but makes no effort to move or defend
himself.
Malloch pushes his hands slowly, up to the wrists, into
Stuller's abdomen.
Stuller watches with his wild, bald eyes.
STULLER
OH, GOD! PLEASE! I DIDN'T MEAN
IT! I'M SO SORRY! I loved her!
Malloch's glare softens, and he inches forward.
MALLOCH
So did I.
Malloch pushes his hands deep, up to the elbow. They emerge
from Stuller's back and grip the bars of the gate.
MALLOCH
Sorry, old man.
Stuller howls and grimaces, wriggling pathetically.
POV: Looking into the mausoleum from the yard. STULLER'S
SCREAMS ARE MUTED, ALMOST INAUDIBLE. RETURN TO SCENE:
Malloch pulls his body close to Stuller.
MALLOCH
Checkmate, old boy.
STULLER
Malloch! No!
Malloch pulls his body into Stuller's. As his body touches
Stuller's, it peels back skin and muscle, revealing bone.
Stuller's innards can be seen through Malloch's ghostly body.
He screams as his flesh is stripped from his skeleton.
INT. LIBRARY - NIGHT
Sitting in her chair with an open book on her lap, Secrist
stares at the portrait and rubs her hands together. Her face
is a jangle of stress, foreboding, and guilt.
SECRIST
What have I done? What did I do?
I don't think so. No! No! I'm
sure of it... I couldn't have!
I'm sure/I'm sure of it.
The clock stops ticking. Secrist doesn't notice and
continues her confused mumbling.
Outside, it looks like dawn. The light grows - too fast,
much too fast. Secrist notices, perplexed. It seems to have
become day in just a few seconds. She goes to the door -
it's made of glass in a heavy wood frame - and parts the
curtains and is shocked to see:
The yard is bathed in daylight. Secrist is horrified to see
Malloch and Pietra ambling toward the house. They are young
and healthy.
BACKYARD - DAY
MALLOCH
It's a lovely day.
Pleasantly, Pietra nods agreement.
PIETRA
Nice to be out again.
They chuckle. They walk through the greenhouse door (without
opening it).
LIBRARY
Secrist watches in horror. Have I lost my mind?
BACKYARD
Malloch and Pietra exit the greenhouse (without opening the
door) and walk toward the house.
MALLOCH
Pietra. I apologize.
PIETRA
Malloch. We're both at fault. We
can put it behind us, now.
He agrees.
PIETRA
There's this new thing to deal
with, now.
They walk past Secrist - who has appeared from nowhere,
sitting in the middle of the lawn in her favorite mohair
chair from the library. Looking stricken, she is naked and
presses a leather book to her chest and another to her lap.
LIBRARY
Shocked, Secrist looks at herself sitting in the backyard.
BACKYARD
MALLOCH
The things people will do.
(off Pietra's smile, grand
gesture)
After you.
With exaggerated politeness, she nods and enters the house,
walking through the door (without opening it).
Malloch looks back at Secrist (naked in the chair) and
chuckles. She gawks back at him, embarrassed.
MALLOCH
You look silly.
Malloch turns and goes through the door.
INT. LIBRARY - DAY
Secrist reels back from the door. Pietra emerges through the
door and does not seem to see Secrist standing there. She
walks through the right side of Secrist's body - shearing
away the flesh down to the bone. Secrist gapes in comic
horror at her bony bloody right side. Malloch enters and
(without noticing Secrist) walks through the left side of her
body, shearing away the flesh from that side.
Now a pulpy skeleton, Secrist rolls her denuded eyes, opens
her bony jaws wide, and screams.
INT. LIBRARY - DAY
Secrist awakens with a start, a dew of perspiration on her
face, a large leather-bound book clenched to her stomach.
She looks around, gets her bearings, realizes it was a dream
and, relieved, leans back and catches her breath. She laughs
at herself, embarrassed.
The clock starts ticking. Secrist doesn't notice. She gets
up, puts the book on the table.
She takes the portrait of Malloch and Pietra down off the
wall and leans it against the wall with the canvas facing the
wall - the back of the painting faces the room.
FOYER - DAY
Secrist limps upstairs. She gets to the arched window and
does a double-take. Concerned, she scrutinizes the yard.
She sees: green-gray grass. There is no snow. There is,
however, a path. About three feet wide, composed of a white
powder.
It goes from the mausoleum to the greenhouse, and continues
from the other end of the greenhouse to the back door of the
main house, where the library is.
EXT. BACKYARD - DAY
Secrist gawks at the path as she walks to the greenhouse.
She opens the door and enters:
INT. GREENHOUSE - DAY
Stuller's plants are dead. Slack-jawed, Secrist examines
them -- the leaves are brown. She plucks a leaf off the stem
- it's crunchy. It looks as if it were baked in an oven.
She takes a closer look - the soil is white. Carefully, she
prods the dirt - it's a fluffy powder.
Befuddled, tilts the pot and is surprised when the powder
pours out, raising a cloud of dust as it lands on the floor.
EXT. GREENHOUSE (OTHER SIDE) - DAY
Secrist exits. She is now on the side of the greenhouse
which faces the mausoleum. The path goes from the door of
the greenhouse to the gate of the mausoleum.
She walks toward the mausoleum. She is horrified by the
sight of:
INT. MAUSOLEUM - DAY
Stuller lies on the floor inside. There are no injuries to
his body or face. He looks completely normal except:
His pallid face has a horrible expression and he lies in a
pool of frozen urine. Secrist sees the empty, overturned
bottle of cognac.
SECRIST
Stuller! You idiot!
She stalks back to the house.
SECRIST
Un-freaking believable! Drunk
idiot!
She notices something in the path: two sets of shallow
footprints, a man's and a woman's, in the white ash, headed
to the house.
She follows the prints to the greenhouse. She enters the
greenhouse. The footprints don't show on the concrete floor.
She goes to where she dumped the ash onto the floor - the
footprints are highlighted in the dust, like fingerprints on
glass. She follows them to the main house. She scans the
house, frightened. She opens the back door and enters:
INT. LIBRARY - DAY
She closes the door behind her, quickly locking it. She
turns leans against the door and catches her breath.
INT. CARPULENT HIGH SCHOOL, BATHROOM - DAY
Cheramie enters, looking haggard. She goes into a stall.
Tentatively, she drops her pants, and, after a moment, sits.
She thinks she hears something from the next stall and looks
under the wall, but sees nothing.
SOUND OF A CLUNK from the stall on the other side. She
whirls and looks under that wall - again nothing.
She decides to just hold it, stands and fastens her pants.
She unlocks the door - but it won't open.
A tree branch (with a hand of twigs) comes under the door and
takes a swipe at Cheramie.
She reels. Another branch arm comes over a wall and grabs
her. She struggles but can't get free. Another branch arm
grabs her. She breaks off one of its fingers - it screams
and bleeds.
Several more branch arms grab her. Slimy seaweed vines rise
from the toilet and wrap themselves between her legs and
around her waist. Cheramie screams.
INT. LIBRARY - DAY
Secrist parts the curtains and looks at:
EMT's take Stuller's covered body away on a gurney. There is
a knock at the door.
Secrist opens the door - just a bit. There is a COP.
COP
Miss Perlmann?
SECRIST
Yes?
COP
I just wanted to give you my
report.
He passes a piece of paper through the space between the door
and the jamb. Secrist snatches it.
COP
Looks like an accident, ma'am.
SECRIST
Okay.
COP
The medical examiner says he died
last night. Hypothermia.
SECRIST
Okay.
COP
I'm sorry.
SECRIST
Okay.
She closes the door and looks at the report.
SECRIST
Idiot.
INT. CARPULENT HIGH SCHOOL, PRINCIPAL'S OFFICE - DAY
Jane enters, worried. A secretary casually points to
Cheramie, who is sits nearby looking dejected.
JANE
Cheramie!
She goes to Cheramie and comforts her.
JANE
Cheramie!
CHERAMIE
(staring at floor)
I'm okay.
JANE
What happened?
CHERAMIE
What do you think?
Jane sighs, concerned but relieved.
CHERAMIE
They're everywhere.
JANE
Come on.
Jane takes Cheramie out.
INT. LIBRARY - DAY
Jane and Cheramie stare at each other, numb and serious.
Secrist appears in the door. She is wearing an old-fashioned
black dress, long black gloves, and black shoes. She has an
old-fashioned hat with a veil. Her chin is held high.
The girls look her up and down and force themselves to keep
straight faces.
She comes in and sits in the mohair chair.
SECRIST
Well. This has affected all of us.
Including you, Jane. Stuller
was...coarse, but he was a good
man. We will all miss him.
Jane stifles a chuckle. Secrist eyes flash.
JANE
Sorry. I really didn't know him.
It's a terrible loss.
CHERAMIE
He was a drunk.
SECRIST
Could you behave like an adult?
Secrist waits for both girls to settle.
SECRIST
After a proper period of mourning,
we'll make a fresh start. We'll be
a family, again.
Jane and Cheramie flash a look to each other and cover their
smirks best they can. Secrist notices none of this as she is
calculating her next statement:
SECRIST
To that end, I've decided to move
the mausoleum.
CHERAMIE
What?!
Jane's jaw drops.
SECRIST
I've given it a lot of thought.
It's for the best. In order for us
to be a normal family, we have to
put the past behind us.
They stare. After a long pause:
SECRIST
THEY'RE IN THE GOD DAMNED BACKYARD!
The girls flinch. Secrist forces herself to calm down.
SECRIST
How can we have a normal home with
them buried in the God damned
backyard?! And, now... Stuller
died in that place! I want it off
the property.
CHERAMIE
(still, calm)
You can't do that.
SECRIST
I only have your best interest in
mind.
CHERAMIE
Then, don't move them.
SECRIST
What difference does it make?
CHERAMIE
They like it here.
Secrist barely tolerates this last comment.
SECRIST
They'll be moved to a cemetery.
I've already talked to some people.
They have ways. They can move the
whole...thing. You can visit them
any time you--
CHERAMIE
--They won't let you do that.
SECRIST
--The court has no say in this! As
the executor of the estate, I have
the right--
CHERAMIE
--I'm not talking about the court.
SECRIST
Oh, my God! You really need help.
Jane has watched this like it was a ping pong match. She
attempts a joke to lighten the mood.
JANE
Isn't it bad luck?
(off Secrist's stare)
I mean, moving the dead.
SECRIST
You really don't need to chime in.
CHERAMIE
Don't talk to her like that!
SECRIST
Could we skip this, PLEASE?!
(immediately calm)
It's upsetting, I know. But, it's
for the best. I don't want
reminders of...
Secrist glances at the portrait on the wall - and is shocked
when she realizes it's back: on the wall.
SECRIST
Who put that back?
Jane and Cheramie exchange glances.
SECRIST
I took that down!
(waits for answer)
Who put the God damned painting
back on the fucking wall?!
CHERAMIE
I didn't touch it. Neither one of
us did?
They remain in this stalemate for long moments - each trying
to figure who's playing who. Secrist decides to be as cool
as possible, realizing she is at a disadvantage.
SECRIST
I see.
Secrist gets up, takes the painting back down, and replaces
it on the floor, canvas toward the wall. She sees faint
footprints in the carpet - they are outlined in white powder.
She gasps. Her hat falls off. She snatches it back and
replaces it on her head, and forces herself to be calm.
SECRIST
I took this down for a reason.
This house will be decorated as I
see fit.
The girls would laugh but it's too sad.
Secrist adjusts her clothes.
SECRIST
(quick, robotic, with
stiff gestures)
There. As I was saying, we don't
need reminders of the past/I know
you'll understand/someday, enough
bad things have happened/it's for
the best.
Jane finds this delivery queer. Cheramie storms to the door.
SECRIST
I'm not finished!
Cheramie turns back, glaring.
SECRIST
A little decorum is in order.
(off Cheramie's glare)
Could we have some respect for the
dead?
CHERAMIE
I can't believe you.
She leaves. Jane levels a cold look at Secrist, then heads
for the door.
SECRIST
Jane.
Jane freezes, doesn't look back.
JANE
Yes, ma'am.
SECRIST
Perhaps, you should go home.
Jane whirls to Secrist, who is lazily confident.
JANE
I know what you're trying to do.
(this shakes Secrist, Jane
enjoys it)
I hope you burn.
Jane is surprised when Secrist's confidence returns - this
time cold and focused. Secrist's eyes almost twinkle as:
SECRIST
Good night, Jane.
Jane tries to claim victory but, really, she can't. She
pivots and leaves.
FOYER
Jane heads for the front door looking at Cheramie, who is
halfway up the stairs watching.
JANE
(without speaking)
I'll come by later.
Cheramie nods and continues up the stairs.
LIBRARY
Still as stone, Secrist stares at the back of the painting.
SOUND OF FRONT DOOR OPENING/CLOSING
CHERAMIE'S ROOM - NIGHT
Cheramie stares at a bottle of prescription medication. She
pops the top, dumps two in her palm, downs them with water.
LIBRARY - NIGHT
Secrist turns the lights off and heads upstairs. At the top
of the stairs she sees Cheramie's light on under her door.
SECRIST
Bed time!
Secrist goes into her room, closing the door.
SECRIST'S ROOM - NIGHT
Secrist takes two pills with water, gets in bed, pulls the
covers up to her chin, and turns the lights off.
FOYER - NIGHT
Dark. Still. A FLASH OF LIGHTENING, but no thunder.
HALLWAY, OUTSIDE CHERAMIE'S ROOM - NIGHT
Dark. The door opens a crack. Cheramie peeks out into the
shadowy house. The clock ticks. Cheramie sneaks down the
hall past Secrist's room and down the stairs. She is halfway
down the stairs, in a beam of moonlight coming through the
arched window, when Secrist appears; silhouetted in the
kitchen entrance.
SECRIST
Where are you going?
Cheramie stops.
SECRIST
It's past your bedtime.
(beat)
You know that? You do know that?
(no response)
Do you know that it's past your
bedtime?
CHERAMIE
I'm seventeen years old.
She doesn't answer so Cheramie rolls with it:
CHERAMIE
Yes. I know it's past my bedtime.
SECRIST
Then, why are you out of bed?
CHERAMIE
I don't know.
SECRIST
You don't know? Was it because
you're hungry? Did you come down
to get something to eat?
After a long pause, Cheramie nods, almost imperceptibly.
SECRIST
Well. It's too late to eat. You
won't be able to sleep.
A long moment passes. Neither of them move, then:
Secrist limps forward quickly, emerging from the shadows -
cold, colorless moonlight slams across her harsh features.
SECRIST
(striding)
I don't think you should get
something to eat. I think you
should go back to bed!
Cheramie doesn't move. Secrist stops at the base of the
stairs and glowers up at her.
SECRIST
What are you doing?! Go to your
room!
Cheramie: slack-jawed, horrified at what Secrist has become.
SECRIST
GO!
Calmly, Cheramie turns and walks up the stairs.
SECRIST
RUN! RUN, RUN, RUN! GO TO YOUR
ROOM AND DON'T COME OUT!
Cheramie's face is pinched with shame and resentment. She
walks up the stairs slowly. At the top, she looks back.
Secrist: saucer-eyed, with a bulldog's smile, is panting.
Cheramie stares back, her expression blank. She goes to her
room and quietly closes the door.
CHERAMIE'S ROOM - CONTINUOUS
She is in bed. She turns the light off.
CHERAMIE
(to the Man in the Corner)
Why don't you do something?
He stares back at her, unmoving as always.
FOYER - NIGHT
Dark, empty. The clock's TICKS. The TICKING stops. POV
floats up the stairs, pause at Secrist's door, turns, goes
down the hall, and goes through Cheramie's door.
CHERAMIE'S ROOM - CONTINUOUS
Cheramie sleeps in the yellow nite lite's glow.
The Man In The Corner stands still. LIGHTENING FLASHES.
Cheramie, upset - having a nightmare.
The old tree scratches the window insistently. It taps
harder. Suddenly, the branch comes through the window, but
doesn't break the glass. The end of the branch is set on the
floor and the finger-like twigs take root in the floor.
The branch grows into a spindly woman and, with a silent
scream, breaks free from the rest of the tree. She looks
like Secrist - her skin is like bark, her limbs are tree
branches, her fingers are spindly twigs.
The Tree Woman takes a deep breath and smiles, glad to be
alive. She looks at Cheramie and the smile turns to a scowl.
She steps forward carefully, eyes on the girl. She raises
her branch arms high and attacks Cheramie viciously, slashing
her with sharp twig fingers, hissing like tearing paper.
With each blow, Cheramie, still asleep, is tossed from side
to side. Her comforter, pajamas, and pillow are slashed, but
her body isn't injured. She stays asleep.
The Man in the Corner springs forward. When he does, he
morphs into a horrendous monster. The monster grasps the
Tree Woman and flings her into the corner where she screams
and shatters into splinters before disappearing.
The monster looks at Cheramie. She morphs into Pietra
Underkoffler, young and beautiful, bathed in green light.
Pietra's eyes are filled with a mother's love. She sits on
the bed, and folds her hands in her lap.
PIETRA
Cheramie! My little girl! I've
missed you so much!
Cheramie sleeps easier. This pleases Pietra.
PIETRA
I left you. I know. I was
confused. I've caused so much
pain. Made so many mistakes. Can
you forgive me?
(pause)
I'll always be your mother. I'll
always be with you. I'll always
love you.
Pietra stands and backs toward the corner, her eyes never
leaving Cheramie.
When she gets to the edge of the nite lite's illumination,
her face loses its features, becoming flat black.
Then, she becomes a solid silhouette. She backs into the
corner and becomes The Man in the Corner. Still, quiet,
watching.
Cheramie wakes. Her eyes automatically go to the Man. She
turns the light on and the Man disappears. She sees that her
bed clothes are slashed. It doesn't surprise her.
CHERAMIE'S ROOM - MOMENTS LATER
Cheramie finishes putting on new pajamas. She inspects the
old pajamas - they are slashed to ribbons - slashed all the
way through, front and back.
She pulls her sleeve up and inspects her arm - normal,
uninjured. She looks inside at her chest - normal. She puts
the old pajamas, comforter, and pillow case in a garbage bag.
SOUND OF TAPPING AT THE WINDOW. Cheramie freezes. The
tapping becomes more insistent. She whirls around and is
scared out of her wits at the sight of:
Jane, smiling ear to ear, outside the window tapping on the
glass. She pushes the old tree's branches away and motions
for Cheramie to open the window. Cheramie sighs, annoyed and
relieved, goes to the window, and opens it.
JANE
It's freezing!
Jane climbs in, Cheramie looks down - there is a ladder
beneath the window.
Jane closes the window a little too hard.
CHERAMIE
Shh!
Jane pulls a six pack from her shoulder bag.
JANE
Brought supplies.
Cheramie smiles.
MOMENTS LATER
Jane and Cheramie on the bed. Jane pops a brew and hands it
to Cheramie, then opens another.
JANE
Secrist lost her fucking mind.
CHERAMIE
She lost it a long time ago.
Tonight was psycho de jour.
JANE
Sorry, dude.
CHERAMIE
What are you gonna do? Born into a
freak show, you're stuck with it.
This is the family that happened to
me.
(pause, absently)
I think Secrist wants to hurt me.
JANE
What?
Cheramie snaps out of it.
CHERAMIE
Nothing.
JANE
Cherie! Whatever it is I can help
you.
CHERAMIE
I was kidding. I'm just angry.
Jane doesn't buy it.
JANE
If that bitch lays a hand on you--
CHERAMIE
--It's just fucked up... I didn't
mean anything.
Jane decides not to pursue it, but can't let it go.
CHERAMIE
'We're so pathetic'.
This Call and Response is a defense mechanism. Cheramie
waits. Jane does her best but it's half-hearted.
JANE
Yeah, I feel sorry for us.
It comes off pretty fake, but Jane let's it go. Cheramie
takes refuge in her beer, Jane joins her to be polite.
Jane polishes off her brew and puts the empty bottle with the
others. She checks the clock - 1:45.
JANE
Better get home.
They get out of bed.
CHERAMIE
Thanks.
JANE
He keeps a month's supply in the
basement. He'll never notice.
CHERAMIE
Not for the beer.
Jane can't hide how much their friendship means. They hug.
JANE
I love you.
CHERAMIE
You too.
JANE
You'd do the same.
Jane shoulders her bag. Cheramie opens the window.
CHERAMIE
Yeah. But, I'd use the front door.
The joke raises a beautiful smile from Jane. Then, it fades
as her thoughts become dark.
JANE
You'd tell me. Right?
JANE
Don't be stupid.
This reassures Jane. Jane looks out the window not wanting
to leave. Cheramie knows.
CHERAMIE
You want to stay?
JANE
He checks my room every night. If
I'm not there he'll call the cops.
He comes home so drunk he forgets
to take his shoes off, but he
doesn't forget to see if I'm in my
room.
Her last comment strikes Jane as idiotic. She buckles.
JANE
I'm such a freak! Whose father
checks their fucking room every
night?!
Jane is overcome by the rush of emotions. Cheramie comforts
her best she can. Jane quickly regains some control.
JANE
This is the family that happened to
me.
Cheramie doesn't know what to do so she kisses Jane. They've
been friends for a long time and are used to these episodes.
They always use the same joke to get over it. This time the
Call and Response is heartfelt and sarcastic to the core:
JANE
We're so pathetic!
CHERAMIE
Yeah. I feel so sorry for us.
Jane cracks up, Cheramie joins her. Tears mix with drunk
laughs. Jane regains her gung-ho front.
JANE
Okay. This is stupid. I gotta
pee.
CHERAMIE
Do it outside, bitch.
JANE
Good idea.
Jane climbs out, careful of the old tree's branches.
CHERAMIE
Be quiet.
Jane climbs down the ladder.
JANE
Roger that.
Jane flashes her trademark grin. Cheramie closes the window.
Now at the bottom, Jane pulls the ladder away from the wall
and expertly walks it down until she can carry it balanced on
her shoulder. One last wave and she is gone.
Cheramie waves and closes the curtains.
HALLWAY OUTSIDE CHERAMIE'S ROOM - NIGHT
Dark. Secrist is there, listening. Her expression is hollow
and serious. She goes to her room and closes the door.
EXT. SIDE OF GARAGE - NIGHT
Jane comes around the corner and quietly places the ladder
against the garage.
EXT. FRONT OF HOUSE - NIGHT
Jane walks away, disappearing into a heavy fog.
INT. HALLWAY, UPSTAIRS - NIGHT
Cheramie sneaks to Secrist's door and listens - snoring.
Cheramie creeps down the stairs carrying a bundle. She stops
in the moonlight coming through the window. The light
reveals she is wearing a heavy coat.
BASEMENT - MOMENTS LATER
Cheramie puts the ducky flashlight on a table, pointing it at
the old furnace. She inspects the torn pajama top. The
sleeve has slashes, like a bear or tiger might make.
She opens the old furnace doors, and puts the shredded
pajamas, pillow case, and comforter in the furnace.
She lights a wood match, tosses it in the furnace, and
watches the clothes burn for a few moments before closing the
furnace doors. The fire shines through the slats in the
doors making it look like the furnace has eyes.
She gets a bundle from behind the furnace.
EXT. BACKYARD - NIGHT
Cheramie crosses the yard carrying the bundle. She goes to
the mausoleum and unties the bundle - which unrolls - it's a
sleeping bag.
She peers into the dark building. The gate is locked with a
chain and padlock.
CHERAMIE
It's me.
She squeezes through the bars of the gate.
INT. MAUSOLEUM - CONTINUOUS
Cheramie lights the ducky flashlight and looks around at:
Two sarcophagi: one has Malloch's name over it, the other has
Pietra's. She reaches through the bars and pulls the
sleeping bag into the mausoleum.
CHERAMIE
Can I sleep with you tonight?
She puts the bag between the sarcophagi.
CHERAMIE
I don't want to sleep in the same
house with Secrist.
She gets into the sleeping bag and zips it up.
CHERAMIE
Too creepy.
(beat)
I love you.
(long pause)
Good night.
She closes her eyes.
EXT. MAUSOLEUM - CONTINUOUS
Above the gate is the superscript: UNDERKOFFLER. CRACK! A
crack appears in the letter O, splitting it in half.
INT. GARAGE - DAY
The diesel engine chugs along. There is a heavy haze.
INT. 1975 MERCEDES - CONTINUOUS
Malloch stares at the windshield. His blue eyes are covered
in a thick grey film and his face is ashen. Motionless, he
seems dead. He doesn't move for several seconds, then:
Stiffly, he raises his hand to his mouth. He is holding a
cigarette. He takes a long, luxurious draw, inhaling deeply,
but his eyes show no pleasure, in fact they show nothing and
don't blink or flinch from the smoke. Mechanically, he
lowers his hand to its resting place on his leg.
His eyes lose more color and expression. Smoke crawls from
his mouth. Not like when a smoker exhales - it just creeps
slowly and pointlessly, curling across his face, feeling its
way like a sea creature's tentacles.
INT. MAUSOLEUM - NIGHT
Cheramie, suddenly awake, searches for the flashlight, finds
it and turns it on. She is relieved to still be in the
mausoleum between the two sarcophagi - it was just a dream.
She clicks off the light and goes back to sleep.
INT. KITCHEN - NIGHT
Thick black muck rises up through the grate in the floor.
INT. FOYER - NIGHT
Secrist is at the top of the stairs dressed in a nightgown
buttoned to the neck. She stares at a strange light coming
from the library.
She walks down the stairs to the library entrance.
SECRIST'S POV: Pietra is hanged by the neck from a cord tied
to the light fixture in the ceiling.
Secrist does not react. She watches calmly as Pietra rotates
around and faces her. Pietra's eyes open and:
PIETRA
Did you think I didn't know?
Pietra grins and winks at Secrist.
INT. SECRIST'S ROOM - NIGHT
Dark. Secrist wakes with a start and sits up, clutching her
chest and gasping.
SECRIST
God damn it!
She turns the bedside lamp on. Although shocking, it's a
routine nightmare and she quickly gathers her wits.
SECRIST
Damn it!
She waits for her breathing to slow. After a few moments she
wraps her arms around herself against the cold.
SECRIST
God dammmit.
She gets up and heads for the closet.
SECRIST
Fucking cold as hell.
She opens the door and pulls a robe from the closet and puts
it on. She looks at something on the floor. She gasps and
reels backward.
In the closet, on the floor, is Matilda - sitting there
staring up at Secrist. Slowly, Matilda falls over.
SECRIST
Oh, my God! What... What is...
She covers her mouth and sobs. Matilda lies there dead, her
filmy eyes staring at the pattern on the carpet.
SECRIST
Oh! No! No. It can't be! I
didn't...
She turns as if addressing someone in the room.
SECRIST
I didn't kill her!
She turns to some other imagined person.
SECRIST
I didn't! I swear! How?! It's
impossible!
She stares at Matilda, her sanity tipping.
Then, still staring at Matilda, Secrist's jaw drops. Her
eyes widen. She inhales sharply and covers her mouth.
INT. MATILDA'S ROOM, DAYS EARLIER - NIGHT
Dark. Matilda is sitting on the bed. Behind her the curtains
part and, in the moonlight, a silhouetted figure approaches.
Matilda turns to see what made the noise but it's too late -
the figure loops a length of cord around Matilda's neck and
pulls her backward off the bed.
Then, the killer speaks. Her voice is as calm as could be.
KILLER
You won't come between me and
Cheramie anymore.
Matilda scratches at the cord but it's hopeless. The killer
yanks the cord tight. Matilda flails but is already losing
consciousness.
Matilda's struggles slow, then stop. A beam of moonlight
slices the killer's face - it's Secrist.
SECRIST'S ROOM, PRESENT - NIGHT
Slack-jawed and horrified, Secrist stares at Matilda's body.
SECRIST
No!
FOYER, DAYS EARLIER - NIGHT
Secrist pulls Matilda's body up the steps, seemingly without
effort. FLASH OF LIGHTENING, but no thunder.
SECRIST'S ROOM, DAYS EARLIER - NIGHT
Secrist drags Matilda's body across the floor, places it in
the closet, closes the door. Still in a trance, she gets
into bed, turns the lights off, goes to sleep.
SECRIST'S ROOM, PRESENT - NIGHT
Secrist stares into space. The shock and realization of what
she did is gradually replaced by defiance. That, in turn, is
replaced by sly resolve. She looks at Matilda and grins.
INT. MAUSOLEUM - NIGHT
Cheramie is asleep. She exhales pulses of frozen breath with
even rhythm. Outside, there is movement. A hulking shadow:
It's Secrist. She drags Matilda's body. Limping badly, she
winces and hisses with each step.
SECRIST
Fat bitch!
She drags the body past the mausoleum and is gone. Cheramie
doesn't wake up.
EXT. PIER - NIGHT
Next to the pier is a large rowboat tied to a stanchion.
Secrist is wearing a puffy jacket, oversized galoshes, and a
hat with ear flaps. She has Matilda's body on the pier next
to the boat. Her emotions are now under control and she
works like a professional killer disposing of evidence. She
checks her position and rolls the body off the pier - it
falls four feet landing in the boat.
When the body hits the boat, the impact breaks the thin layer
of ice which had encapsuled the hull.
EXT. MIDDLE OF LAKE - NIGHT
Secrist rows out. Matilda sits in the other end of the boat
staring at Secrist. There is no ice here.
SECRIST
You think I didn't know? I knew.
You filled Cheramie's head with
lies. 'Oh! You're special!
Sensitive'! What a load of crap.
You came between Pietra and me,
too! Oh, you were busy.
Manipulating people. I knew. I
knew the whole time.
She stops rowing and catches her breath while the boat slows.
She looks at Matilda. After a few moments, she sneers - a
quick, ugly flash of the teeth. She sneers again.
MOMENTS LATER
Secrist ties one end of a length of rope to Matilda's ankle.
She's a pro with knots and secures the other end of the line
to a cinder block.
SECRIST
But... It's over, now. You won't
be interfering anymore. Cheramie
and I will have a nice normal
family. Nice a quiet. Nobody to
bother us.
Secrist carefully stands and positions herself over the body.
SECRIST
Goodbye, Matty. You were a good
maid. You're fired.
She rolls the body into the water - so expertly compensating
for the shift of weight that the boat hardly rocks.
Matilda falls into the water face down, but rolls over.
Secrist can't believe her rotten luck.
SECRIST
Great.
Secrist chucks the cinder block into the water.
SECRIST
I'm so sick of your stupid face.
The line tugs at Matilda's leg and her feet go under.
The clouds break and a full moon illuminates the scene.
Secrist watches as Matilda's body slowly rotates to an
upright position. Now, she is vertical and only her head is
above water. The water creeps up her face to just below her
eyes - and she stops sinking.
Secrist watches, impatiently.
SECRIST
Well! Go down, bitch!
Matilda's arms rise up from her sides until they extend
straight out, perpendicular to her body.
SECRIST
Sink, you stupid bitch!
Secrist leans out over the water and pushes Matilda's head
down. Her body sinks.
Secrist puts her face close to the water and watches as
Matilda's body sinks deeper, until it disappears.
SECRIST
Have a good trip.
She smiles and sits back in the boat. She takes a deep
breath and exhales a huge plume of frosty air.
SECRIST
Lovely night.
She giggles - quiet yet enthusiastic. A heavy fog settles
in. She pulls out a flask and has a toot.
EXT. BACKYARD - DAWN
Cheramie squeezes through the bars of the mausoleum, picks up
her sleeping bag, then crosses the yard. She hears GIGGLING
and stops, looking at the lake. She can't see through the
fog and lets it go, continuing to the house.
INT. FOYER - DAWN
Cheramie goes up the stairs. The clock ticks.
INT. KITCHEN - MORNING
Looking haggard, Secrist pours coffee. She spills some on
the counter.
SECRIST
Oh! God damn it!
Furiously, she wipes it up. She keeps wiping long after the
mess has been cleaned up - her eyes burrowing into the back
of her hand going round and round.
MOMENTS LATER
Secrist gets a pint of cream from the fridge. She pours some
cream into her coffee -- except it's not cream that comes out
of the spout - it's a dry white powder.
Secrist gasps and drops the container on the counter - more
powder spills. She stares at it - a fury building within
her. After a long moment she whirls around, and:
SECRIST
THIS IS MY HOUSE!
She speaks as if to a room full of people - one at a time:
SECRIST
It's mine! Mine! Mine, not yours!
It's mine! Go away! GET OUT OF MY
HOUSE! I WANT YOU OUT! ALL OF
YOU! GET OUT!
CHERAMIE'S ROOM - NIGHT
Cheramie stares at the doll house. She is intensely sullen.
She hears the doorbell downstairs.
FRONT DOOR - CONTINUOUS
Secrist takes a pizza from a delivery guy, pays him, and
closes the door. She takes the pizza into the:
KITCHEN - CONTINUOUS
With total apathy, she tosses the pizza on the table like you
would yesterday's newspaper.
SECRIST
Cherie! Dinner!
No response. She goes to the kitchen door and crows:
SECRIST
Cheramie! Get your ass down here!
CHERAMIE'S ROOM - CONTINUOUS
Cheramie smirks at a female doll with dark hair.
CHERAMIE
(mocking)
Cheramie...dinner's ready...
She stands the doll at the top of doll house staircase and
pushes the doll down the stairs. It tumbles head over heels
until it comes to rest at the base of the stairs.
The doll's black eyes stare at the doll house ceiling.
GRAND SPIRAL STAIRCASE - NIGHT
Cheramie goes down the stairs. She gets to the large arched
window and is shocked to see:
Heavy earth-moving equipment parked in the backyard next to
the mausoleum.
DINING ROOM - NIGHT
Cheramie enters. Secrist slurps coffee, burning her lips.
SECRIST
Damn it!
(beat)
I got us pizza. I know you don't
like my...I know I can't cook.
(off Cheramie's look)
What's wrong?
CHERAMIE
What are you doing?
SECRIST
It's good.
(off Cheramie's stare)
We talked about this.
(no response)
I told you I would have it... Have
your parents moved.
Cheramie stares.
SECRIST
Sit down.
Nothing.
SECRIST
It's time. Your mother and father
belong in a cemetery.
CHERAMIE
I'm not going to let you do that.
You can't move them. This is their
home.
SECRIST
This is my house, now.
CHERAMIE
It'll never be your--
SECRIST
--Okay. Little girl. Listen
carefully. I don't give a rat's
ass what you want. Okay? Got it?
Now, sit down and eat.
Secrist pours a glass of red wine and drinks half of it. Her
speech is flat, and doesn't match the sentiment:
SECRIST
It's just us, now.
(broken pleading smile)
You and me... We have to try to be
a family.
CHERAMIE
Are you kidding?
Secrist downs the rest of the wine, pours another and swirls
it. She makes a show of how bored she is with the exchange.
CHERAMIE
I heard you and Stuller. That
night. In the library. Through
the heating vent.
Secrist's apathy is replaced with veiled concern.
SECRIST
That's a very serious accusation.
CHERAMIE
I didn't accuse you of anything.
(off Secrist's surprise)
I just said I heard you.
Secrist puts the wine glass on the counter and assesses
Cheramie with renewed respect.
SECRIST
It was in your tone.
(beat)
You were hearing things. Remember?
You hear things. I would never--
CHERAMIE
--You and Stuller were planning a
way to keep me from getting my
inheritance. You planned to have
doctor Pallegri say I was crazy.
Cheramie stares at her with rock-solid confidence.
SECRIST
You heard no such thing. This is a
big house. How can you be sure
what you heard?
(off Cheramie's stare)
It echoes.
(tries to let it go)
Have something to eat. It's good.
Cheramie's stare is dead flat. It's so calmly intense it
takes Secrist's breath.
SECRIST
That's enough! Look at me like
that...
Cheramie doesn't flinch.
SECRIST
Young lady... I'm tired. Let's
play this game another time.
That's a ridiculous notion. Do you
know what that sounds like?
Slowly, Cheramie's stare turns to a triumphant sneer.
SECRIST
How dare you! You did not hear...
We never said anything like that!
Cheramie doesn't give an inch. Secrist can't hold her ground
- her forehead glistens with sweat, her eyes flicker about.
SECRIST
Stop.
(off Cheramie)
Stop looking at me like that. It's
rude.
(long pause)
STOP STARING AT ME!
Secrist is immediately embarrassed and humiliated. To be put
on the spot by a damn little girl - it's an outrage! She
affects a condescending calm.
SECRIST
I can't be responsible for what you
think you hear. You're just a
crazy little bitch! You should
know that!
Cheramie makes a sandwich with two slices of pizza, turns and
leaves - quiet, unpretentious, calm.
Secrist stares after her - angry, humiliated, and afraid.
FOYER - CONTINUOUS
Cheramie stalks toward the stairs. Behind her, Secrist
lurches out of the kitchen, hobbling quickly to catch up.
Cheramie gets to the stairs and turns around. She gasps when
she sees Secrist bearing down on her, snarling. Snarling and
lurching like an injured animal.
Panicked, Cheramie rushes up and the stairs but falls after
two steps. Growling, Secrist grabs her, turns her around.
SECRIST
You! Little! Bitch!
CHERAMIE
Let me go, you sick bitch!
She slaps Cheramie's face and hauls her down the stairs.
Cheramie throws the pizza in Secrist's face, splattering it
with sauce -- a piece of pepperoni sticks to her face.
Despite it all Cheramie has to suppress a giggle. Secrist
smiles sarcastically, wiping the pepperoni off.
SECRIST
I'll teach you the meaning of
respect.
Secrist drags Cheramie across the foyer, stopping at a table.
Cheramie struggles but Secrist's grip is like steel. Secrist
opens a drawer and grabs an old-fashioned skeleton key, then
drags Cheramie to the closet next to the front door.
SECRIST
You don't want to eat dinner with
me? You don't like me? You think
I'm crazy?
Secrist opens the closet.
SECRIST
We'll see who's crazy.
CHERAMIE
No!
Secrist turns her around, eye to eye.
SECRIST
Don't you ever talk like that to me
again!
(slaps her)
How dare you accuse me of stealing
your goddam money!
(slaps her)
Who do you think you are?! Why
would I care?
(slap)
I have plenty. I don't need yours.
With each slap Cheramie has become more passive.
CHERAMIE
Let me go!
SECRIST
(slaps her)
Who do you think you're talking to?
Cheramie shrinks. Secrist's eyes go wild.
SECRIST
Who do you think you're talking to!
CHERAMIE
Let go!
Secrist draws her hand well back, high above her head. Her
eyes burn. She strikes Cheramie. Cheramie screams.
CHERAMIE
MOM!
At this, Secrist freezes, hand held high, eyes wild.
SECRIST
What? What did you say?
Cheramie blinks away the tears, hesitating before:
CHERAMIE
I love you. Please stop hitting
me. I'm sorry. I'll be good.
(calculated pause)
'Mom'.
Secrist's eyes soften and she lowers her hand to caress
Cheramie's face.
SECRIST
Oh! Sweetheart. I love you, too!
I do! That's all I ever wanted.
My own little girl.
Secrist is a bad soap opera actor conveying the deepest love.
SECRIST
You can be my little girl.
Cheramie can't keep up the charade. She recoils from
Secrist's touch and winces - 'you're totally crazy'.
Secrist picks it up and the moment is over -- that she has
allowed Cheramie to fool her enrages Secrist in a quiet way.
She grips Cheramie's shoulders and pushes her toward the
closet. Cheramie breaks free and squares off.
CHERAMIE
I'm not going in there again! I'm
not a child anymore!
Secrist chuckles, very relaxed:
SECRIST
Is that so?
Secrist grabs Cheramie and they struggle, clothes and hair
gripped between fingers, spit flying, snarling, scratching.
Cheramie stomps Secrist's bad toe. Secrist howls, and,
strengthened by rage, punches Cheramie in the face. Cheramie
goes limp, barely able to stand.
Secrist throws Cheramie into the closet where she falls on
some shoes and boxes.
Dazed, Cheramie watches as Secrist swings the door closed and
locks it with the skeleton key.
SECRIST (O.S.)
You'll learn.
CLOSET
Pitch black -- except for the key-hole shaped point of light.
SOUNDS OF CHERAMIE SHUFFLING, MOANING. Cheramie falls against
the door and looks through the key hole.
CHERAMIE'S POV THROUGH KEY-HOLE: Secrist stands a few feet
from the door holding the key. She leaves.
SECRIST
(fading)
You can stay in there until you
learn. Until you learn.
CHERAMIE
Wait! Secrist! Come back! I hate
the dark! You know that! Secrist!
Please! You don't have to lock me
in here! DON'T LEAVE ME IN HERE!
PLEASE! DON'T LEAVE ME! I'M
SORRY! I'LL BE GOOD!
(weakens, sobs)
Let me out! Please... Don't leave
me in here. It's dark. You know I
hate the dark. SECRIST!
The light from the key hole falls on Cheramie's eye, giving
it a panicked, animal look. Her breaths are ragged.
Her raspy breaths stop. She is listening.
CHERAMIE
Someone's in here! There's
something in here!
Cheramie screams, inhales deeply and screams and screams.
LIBRARY - LATER - NIGHT
TICK, TOCK, TICK, TOCK. Secrist sits in the mohair chair.
She slumps, looking like a teenager copping an attitude. Her
face is ashen and there are dark circles under her eyes.
The clock STOPS TICKING. It's absolutely silent.
She jumps at the SOUND OF A THUD. She whirls and sees:
The portrait lying on its back on the floor. It fell over.
Malloch and Pietra stare at Secrist from the painting.
SECRIST
Stupid!
MOMENTS LATER
Secrist starts the pendulum swinging and then closes the
clock's door. She leaves.
STAIRWELL LEADING TO ATTIC - NIGHT
Ill at ease, Secrist stares at the attic door. She climbs
the steps, opens the door and enters the attic:
ATTIC - NIGHT
Dark. She picks up the lantern, and lights it. She holds it
up, squinting to see. She takes a deep breath and enters,
quickly crossing the room.
She comes to a large chest and sets the lantern down next to
it. She looks around - strange shapes, shadows, and beyond
that, blackness. She tries to open the latches but they're
clamped tight. She finally manages to open one - SNAP. She
opens the other latch, hefts the lid up and lets it go. It
swings open and CRASHES against the back of the chest.
SECRIST
Oh! Damn it!
She clasps her chest and catches her breath, looking around
as if she might have wakened a monster.
She carefully reaches into the chest as if it were full of
snakes, and:
She whips back a cloth that is covering --
A plastic Christmas tree. She holds it up and admires it.
CLOSET
Pitch black except for the keyhole-shaped light. SHUFFLING
SOUNDS. A flashlight is turned on.
Cheramie flashes the light around. It's a walk-in closet
filled with years worth of old clothes, shoes, hats, boxes.
FOYER - NIGHT
Secrist struggles to secure the wobbly tree in its stand.
FOYER - MOMENTS LATER
Secrist places ornaments on the Christmas tree at random,
with no consideration of aesthetics. TICK, TOCK, TICK, TOCK.
SECRIST
Talk to me like that. Oh, no you
don't!
She seems on the verge of tears and about to scream in anger
at the same time.
SECRIST
I'm your mommy, now. Why not? I'm
as good as Pietra. I'm as good as
her! I am!
She turns as if addressing a room full of people.
SECRIST
I'm as good as Pietra! She's not
better than me! Just because she
dresses pretty, and all the boys
like her! Just because she can
dance and speak French! I'm
learning, too!
(turns)
Mom! Dad!
(points)
Tell them! Tell them I'm as good
as my sister! PIETRA'S NOT BETTER
THAN ME! TELL THEM!
Wide-eyed and slobbering, Secrist suddenly snaps out of the
hallucination. She looks around the house realizing where
she is. She fights for control of her breath and wipes her
face.
SECRIST
It's okay. I'm okay.
She goes back to decorating the tree.
SECRIST
(sing song)
I'm alllriiight. Just go back to
what you were doing, and leave me
alooone. It's okay. She just had
an episode. This happens
occasionally. It's over, now...
Just go back...
She engrosses herself in the decorating. The clocks stops
TICKING. Within seconds she is lost in memory and fantasy
again. She laughs: a bitter, sarcastic jeer.
SECRIST
I'm your mommy, now.
SOUND OF A SHARP CRACK
Secrist jumps, and looks at the floor.
There is a crack in the floor at the foot of the stairs.
It's a foot long and an inch wide at its base.
She stares in disbelief.
CLOSET
Cheramie shines the light on a large leather book entitled:
UNDERKOFFLER FAMILY MEMORIES.
She flips to a random page. There are photos:
A young Pietra and Malloch posing uncomfortably for the
camera.
Malloch and Pietra with a newborn baby with blond hair.
Malloch and Pietra with Cheramie at age six, looking happy.
Stuller and Secrist watch from a distance, looking dejected.
KITCHEN - NIGHT
Secrist screams. She is at the sink with a tea kettle.
Blood flows from the faucet. The blood thins to rusty water,
then clears.
Secrist realizes there was never any blood, the water always
runs rusty. Calmer now, and a little embarrassed, and still
unsure, she giggles at her silliness and fills the kettle.
The drain in the floor gurgles and a black muck rises up
through its grate and spreads across the floor.
CLOSET
Cheramie flips to the back of the album:
There is a clipping from a newspaper. The headline:
PROMINENT LOCAL BUSINESS MAN, MALLOCH UNDERKOFFLER, INVOLVED
IN SCANDAL
Snippets of text:
WIFE ACCUSING HIM OF HAVING AN AFFAIR WITH HER SISTER...
WIFE'S SISTER, SECRIST PERLMANN, DENIES...
Cheramie roots through the clippings and finds another:
IN A BIZARRE TWIST OF EVENTS, STULLER UNDERKOFFLER, BROTHER
OF MALLOCH UNDERKOFFLER, HAS ADMITTED TO HAVING AN AFFAIR
WITH HIS BROTHER'S WIFE...
ALL FOUR, MR. AND MRS. UNDERKOFFLER AND THEIR BROTHER AND
SISTER, LIVE TOGETHER IN A MANSION ON THE EDGE...
RUMORS ABOUND...
KITCHEN
Secrist is at the stove holding the tea kettle. She turns
the flame on high and is about to put the kettle on when she
hears a bump. Her eyes narrow and she places the kettle on
an unlit eye. The flame of the other eye is left burning.
EXT. HOUSE, OUTSIDE CHERAMIE'S WINDOW - NIGHT
Jane climbs up the ladder she has placed under Cheramie's
window.
JANE
(whispers)
Cheramie! It's me! Open the
fucking window! It's freezing!
She cups her hands and tries to see inside.
JANE
Cheramie!
(beat)
Godammit, wake up!
She taps the glass again.
JANE
Cher-a-meee. It's Miller time.
Jane waits another few seconds, then gives up.
EXT. SIDE OF HOUSE, NEXT TO GARAGE - NIGHT
Jane places the ladder next to the garage and looks around to
make sure she hasn't been seen. She walks away, getting two
steps before:
From between two large bushes Secrist emerges in front of
Jane. Jane stops, shocked.
JANE
Hi, Secrist...misses
Underkoffler... I was...
SECRIST
It's Perlmann. My last name.
Perlmann.
(Jane's stare)
My sister's name is Underkoffler.
Was Underkoffler. She was the one
that got married.
(Jane's stare)
I know what you were doing.
She advances on Jane, who steps back.
SECRIST
You're interfering.
JANE
Uh...no ma'am.
SECRIST
You're coming between us.
JANE
I wouldn't--
Secrist raises her arm - she holds a tire iron.
JANE
No!
Secrist strikes Jane on the head. Jane falls.
INT. 1976 MERCEDES, IN THE GARAGE - NIGHT
Jane moans and squints her eyes open. Secrist is duct taping
Jane's right hand to the steering wheel.
Jane's left hand is encased inside a giant ball of tape on
the steering wheel. There is a wide band of tape around her
torso. Her ankles are taped to the seat.
Jane's eye flare with horror.
JANE
You've lost your mind!
Secrist giggles. She winds the last of the tape around
Jane's hand, leaving nothing but the cardboard core.
JANE
What are you doing?!
SECRIST
Well. That'll have to do.
Secrist tosses the core of the duct tape in the back and
cranks the Mercedes. It chugs along unevenly.
Jane's eyes flare as it dawns on her what Secrist intends.
JANE
Oh, my God!
SECRIST
Needs a tune up. Shouldn't take
long.
JANE
Secrist. Stop. Please, stop this.
It's not too late.
Secrist gets out, closes the door, looks at the set-up.
Secrist's expression changes to silly embarrassment and she
opens the door and rolls the window down a couple inches.
JANE
You bitch. You fucking sick bitch.
SECRIST
Well... I'm not going to argue
with that.
The eye contact is searing. Secrist becomes very honest.
SECRIST
It's a family thing.
She closes the door and heads for the garage exit. She turns
back and puts her index finger to her lips in a 'shh' sign.
She turns the lights off and leaves, closing the door.
Jane waits a few seconds, then:
JANE
HELP! HELP! HELLL--
EXT. GARAGE - NIGHT
Jane's screams cannot be heard. Secrist goes into the house.
CLOSET
Cheramie looks another newspaper clipping:
MALLOCH UNDERKOFFLER FOUND DEAD IN HIS GARAGE...
IN HIS CAR... ENGINE RUNNING... BELIEVED TO BE SUICIDE...
HIS BROTHER, STULLER UNDERKOFFLER, ADMITS HAVING AN AFFAIR
WITH WIFE...
INT. PARLOR - NIGHT
Amused, Secrist checks out Stuller's collection of vinyl
albums. Having no clue, she selects one and puts it on the
turntable and plays it. It's a Shostakovich symphony - dark
and intense. She shrugs, turns it up.
INT. GARAGE - NIGHT
Jane's eyes are wide with panic. She hyperventilates. She
tugs violently against the restraints but it's no use.
JANE
Help!
(sobs)
Help!
INT. PARLOR - NIGHT
Secrist sits in Stuller's favorite chair, and opens a box and
selects a cigar. She lights it, chokes on the smoke. She
pours a snifter of brandy and studies the chess position set
up on the board. She tosses back the brandy and, after a few
seconds study, executes a complex four-move combination.
SECRIST
Stupid game.
GARAGE - CONTINUOUS
There is a blue-gray haze. Jane chokes and gasps. She
vomits.
PARLOR - CONTINUOUS
The music slows. Secrist looks at the turntable, surprised.
The music becomes a low, frightening growl, and stops.
SECRIST
Piece of shit.
She pours more cognac, leans back and takes a big hit off the
stogie and chases it with booze.
INT. GARAGE - NIGHT
The bluish haze is much heavier. Jane's face has turned
milky pale, her eyes drooping, breath rapid and shallow. Her
head descends in a jerky motion toward her chest, and her
eyes close, and her breathing stops.
MALLOCH
Mind if I smoke?
Jane gasps, lifts her head and looks at Malloch. He sits in
the front passenger seat wearing a pinstripe suit and lilac
tie. He looks to be in glowing health. He lights up.
Jane finds his presence both comforting and queer.
JANE
Who are you?
MALLOCH
Malloch Underkoffler. I'm buried
in the backyard. Me and my
wife...Pietra.
She smiles, a sick yet charming gesture. He smiles back with
a winning charm any woman would fall for.
MALLOCH
Charming family. She, Secrist, was
my wife's sister. Well, still is,
I suppose.
JANE
Bitch...
MALLOCH
Oh! I know.
He laughs. Jane smiles.
PARLOR - NIGHT
Secrist's face is a blend of calculation, denial, and
insanity. Staring into the past, she lifts her glass but
it's empty. The record on the turntable rotates once and the
speakers emit a low hissing growl.
PIETRA (O.S.)
Secrist...
SECRIST
Hmm?
(remembers something)
Oh...yes.
Secrist rises, a bit unsteady, and hobbles out carrying the
empty glass.
GARAGE - CONTINUOUS
MALLOCH
Believe me, she's responsible for
the worst things.
Jane chuckles. The whiteness of her teeth makes her purple
lips look black, creating a jangle of a smile. Her eyes have
heavy dark circles around them which set them in sharp
contrast against her chalk white face.
MALLOCH
I'm afraid I'm responsible for
this. Your being here. Partially.
He looks deep into her eyes.
MALLOCH
I am very sorry.
JANE
People make mistakes.
She smiles and he is completely disarmed.
MALLOCH
I won't let her get away with this.
JANE
Can you get me loose?
MALLOCH
No, dear. I can't.
Jane smiles anyway. Then, her head droops again. She closes
her eyes. Her smile fades -- but not all of it. Malloch
turns away to give her privacy.
CLOSET
Cheramie looks at another newspaper clipping:
IN WHAT HAS BECOME A LOCAL NIGHTMARE...
PIETRA UNDERKOFFLER FOUND HANGED BY THE NECK...
THREE YEARS AGO THE FAMILY WAS FORCED TO DEAL WITH
ACCUSATIONS THAT MALLOCH UNDERKOFFLER HAD AN AFFAIR WITH
PIETRA'S UNDERKOFFLER SISTER, SECRIST PERLMANN...
IN AN ALMOST UNBELIEVABLE TWIST...
...PIETRA UNDERKOFFLER IS ACCUSED OF HAVING AN AFFAIR WITH
HER HUSBAND'S BROTHER
Cheramie can hardly believe what she has read.
GARAGE
The door opens, Secrist runs in, face pinched against the
hazy air. She opens the driver's door, leans past Jane and
turns off the engine. She lifts the main door and steps out,
filling her lungs with deep breaths.
KITCHEN
Thick black muck rises through the grate in the floor.
CLOSET
Dark, except for the keyhole-shaped spot of light.
MALLOCH
Cheramie. The time has come.
Cheramie gasps. There is a frantic rustle then the
flashlight turns on. The closet is normal. She has put the
photo album away and has been sitting on the floor waiting.
She flashes the light around and sees the heating vent. She
leans close to it and turns to hear.
PIETRA
It's time.
LOUD CLUNK, the door opens -- it's Secrist. She glowers down
at Cheramie.
Cheramie flashes the light in Secrist's face. Lit from
below, Secrist looks ghastly. She is more drawn with dark
circles under hollow eyes.
Cheramie turns the flashlight off, stands and calmly leaves
the closet. They square off at each other.
CHERAMIE
I know what you did.
Secrist doesn't react.
Cheramie leaves. The clock ticks.
Secrist stares at the spot where Cheramie was standing. She
swings the closet door closed - without moving her eyes.
FOYER, STAIRCASE - NIGHT
Secrist limps up the stairs.
She stops, at the large arched window, and looks out at the
mausoleum. It's a stormy night. Frozen rain slashes the
window. A flash of lightening highlights her ashen face.
Looking at the mausoleum, she narrows her eyes. Another
flash of lightening reveals Malloch and Pietra in the
backyard looking up at her.
Secrist gasps and reels backward, catching the handrail in
the small of her back. The rail CRACKS. Secrist cries out.
Another flash of lightening - there's nobody there. Feeling
silly, Secrist gathers her composure and hobbles up the
stairs holding her back. At the top of the stairs she turns
the lights off and stands in the dark overlooking the place.
SECRIST
This is my house, now!
She raises her nose, pivots on her heel, goes in her room.
SECRIST'S ROOM - NIGHT
Secrist pops a couple prescription pills and goes to bed.
CHERAMIE'S ROOM - NIGHT
Cheramie, asleep in bed, bathed in the glow from the yellow
nite lite. The wind howls. The tree scrapes its twiggy
fingers against the window. TAP, TAP, TIPPITY, TAP.
She wakes suddenly, her eyes flash to the corner - to the
silhouette of The Man - it's not there. Cheramie turns just
in time to catch a glimpse of a shadow passing through the
door, leaving.
OUTSIDE SECRIST'S DOOR - NIGHT
Pietra walks past, her fingers gliding over the wall and
door. Her skin against the wall sounds like a twig against
granite.
GRAND SPIRAL STAIRCASE - NIGHT
Pietra emerges from the shadows at the top of the stairs.
She glides down the stairs, and stops at the arched window.
She glances out at her mausoleum, a sad look on her face.
Pietra turns to face the upstairs as:
Cheramie leaves her room and tiptoes past Secrist's room and
down the stairs. Pietra's eyes fill with joy.
Cheramie comes down the stairs and walks through the
apparition of Pietra - when she does her hair is tossed a bit
as if by a breeze and she senses a presence. Pietra
disappears. Cheramie continues down the stairs.
Cheramie gets to the base of the stairs and stops. SOUND OF
A GROAN as the Christmas tree falls on her.
She does battle with the tree as if it were alive, but she is
the only one who provides it with animation.
She gets out from under the tree. She props it against the
wall. It slides down, she catches it and rights it.
KITCHEN - MOMENTS LATER - NIGHT
Cheramie is eating a slice of cold pizza.
Secrist enters. She looks more drawn and her eyes are sunken
with darker circles.
SECRIST
You're up early?
Cheramie ignores her.
SECRIST
I'm sorry. But, you can't behave
that way. We have to have
boundaries.
Cheramie eats as if alone.
SECRIST
I'm doing the best I can. It's
Christmas. Maybe, we should do
some shopping.
She stares at Cheramie. After a long moment:
CHERAMIE
Can you tell?
Secrist tries to understand.
CHERAMIE
When someone goes crazy...can they
tell?
Secrist chuckles.
SECRIST
If you're trying to upset me it's
not going to work.
Secrist tries to let it go. She fills the tea kettle with
water and puts it on the stove, turning the flame up high.
Secrist slices a lemon with a large chef's knife.
SECRIST
I know you're upset. I suppose you
have a right to be. But, how else
am I going to--
CHERAMIE
--This house is mine.
At this, Secrist stops and puts the knife down. She turns
and looks at Cheramie.
SECRIST
Really?
CHERAMIE
When I turn eighteen, I'm kicking
you out.
Secrist becomes deadly serious. Cheramie reads it and puts
the pizza down.
Secrist inches toward Cheramie, circling the table.
SECRIST
Now... That's no way to talk.
Cheramie gets up and keeps the table between them.
SECRIST
What are you doing?
Secrist keeps advancing, Cheramie keeps the distance.
SECRIST
What if I put you back in the
closet? Would you like that?
They stop. Secrist takes a step, Cheramie takes a step.
SECRIST
Who's going to stop me?
(smirks)
Stuller?
(beat)
Mommy? Daddy?
(beat)
There's nobody here. We're all
alone.
Cheramie is now next to the counter where the knife and the
sliced lemon are. Her fingers slide over the knife's blade
and handle. She takes the knife and backs into the:
FOYER
Secrist limps from the kitchen.
SECRIST
Be careful. That's sharp.
(beat)
What do you think you're doing?
Come here.
Cheramie brings the knife up, pointing it at her.
The tea kettle WHISTLES. Its pitch rises until it SHRIEKS.
The CLOCK STOPS TICKING. The picture of insanity, Secrist
advances on Cheramie, hobbling like an old cart.
SECRIST
Give me the knife. I need it. I'm
slicing lemons. Would you like a
cup of tea?
Outside the window is the first light of day. Sleet slaps
the glass - TICK, TICK, TICKITY-TICK.
Secrist advances, wide-eyed and determined. Her hobbling
gait and sickly features create a hideous, comic picture.
SECRIST
Just put it down and come here.
Then, we'll go to bed. Everything
will be all right. Everything will
be fine.
Cheramie backs up the stairs. The wind howls.
Secrist giggles, dry and insane. A FLASH OF LIGHTENING.
SECRIST
You've been so much trouble.
Secrist is on the first step. Cheramie is a few steps
higher.
SECRIST
How much I had to sacrifice. Keep
my mouth shut. Stay out of the way
so Malloch and Pietra could enjoy
their precious little Cheramie.
Secrist swipes at Cheramie. She lashes with the knife,
cutting Secrist's hand.
Secrist doesn't cry out. She looks at the wound with a
detached curiosity. She smiles at the sight of her blood
dripping onto the steps.
SECRIST
Pietra was so weak. She was always
so sick. We had to protect her.
Malloch would have kicked me out,
if I said anything.
Cheramie backs up another step. Secrist stands where she is,
lost in memories of the distant, painful past.
SECRIST
You know what the funny thing is?
I got used to it. I got used to
them hating me. Your mother and
father. Then, they kill themselves
and I end up having to raise you.
(pause)
Can you imagine that? Raising the
child of people who hated you. Can
you?
CHERAMIE
I know what you did. I know about
you and my father. And, Stuller
too.
SECRIST
That's right. Stuller fucked your
mother. I fucked your father.
It's a dirty little world, isn't
it? What adults will do...
Secrist advances a step. FLASH OF LIGHTENING
SECRIST
But, you wouldn't know. You
wouldn't know about pain.
Desperation. You've always had
everything. They gave you
everything. You were an only
child. You were only one Pietra
ever managed to squeeze out.
CHERAMIE
Shut up!
The storm builds. A bolt of lightening and the lights go
out. They are in the pale light coming through the window.
SECRIST
Oh! She got knocked up. Both by
Malloch and Stuller. But, you were
the only one...they could keep.
Cheramie follows Secrist's gaze to the mausoleum.
SECRIST
I loved Malloch. But, after you
came along he wouldn't touch me.
He said it was over. I threatened
to tell. He said he would kill me
if I caused any trouble.
(sly giggle)
Well. I did cause some trouble. I
went to the newspapers. They loved
it. I told them everything. But,
I'm still here. He didn't kill me.
He's the one that's dead.
Cheramie's eyes fill with pity.
SECRIST
I was even on TV!
Hail pelts the window: TICKITY TICK TACK TACK TACK. The
wind and tea pot howl.
SECRIST
I loved you, too! Even though you
were theirs.
(pleading expression)
I did! I did!
Secrist takes the next step quickly. Cheramie backs up just
as quickly, keeping their distance even. Secrist's
expression doesn't change during this fencing match - she
pleads for forgiveness with her eyes, then:
SECRIST
Now, there's just us. We could
still be a family. Can't you
forgive me?
Cheramie lowers the knife and stares at her in disbelief.
CHERAMIE
My mom and dad are dead because of
you.
Now, Secrist flares with anger and she takes the next step.
SECRIST
We're all guilty! What we did...
We did it because we wanted to!
Your father wanted to be with me!
And, what about your mother? Hmm?
Her and Stuller? I'm sorry. But,
your parents liked to have fun.
(pause)
So, don't blame me for what
happened! You can't blame me!
CHERAMIE
Stuller's already dead.
Secrist stands tall. With this last statement, she knows the
games are over. Her face drains of emotion.
SECRIST
I see.
Secrist flings herself up and grabs Cheramie's wrist and
twists it viciously. The knife falls to the steps.
Cheramie screams and fights but is no match.
Triumphantly, Secrist picks up the knife and points it at
Cheramie - all while holding Cheramie's wrist.
A LIGHTENING FLASH illuminates Secrist's strange toothy
smile. Her leering face green-white, her wild eyes locked.
SECRIST
How dare you! How dare you, you
little shit! Attack me in my home.
Now, what are you going to do?
Hmm?
Cheramie pulls with all her weight and twists her wrist free.
She can't stop her momentum and falls.
Secrist lunges at her but the girl is too quick, escaping to
the side and scrambling up the stairs, clawing and slipping.
Secrist pursues, snorting and grunting, swinging the knife
wildly back and forth.
They both fall as they scramble up the remaining steps.
Secrist stabs at Cheramie, missing her foot by inches and
burying the knife's tip in the hardwood step. She lets go of
the knife and lunges at the girl and misses, catching her
weight on her left hand. The wrist SNAPS and Secrist howls.
Cheramie scrambles to the top of the stairs and turns as
Secrist rises and stares at her. She must go down the stairs
to escape and they both know it. Secrist is triumphant,
Cheramie is terrified.
SECRIST
Where are you going? There's no
way out... Except past me.
Cheramie looks at her room down the hall. She is about to
run for it, when:
PIETRA (O.S.)
(whispers)
It's time!
Cheramie understands and doesn't run. Instead, she waits at
the top of the stairs, scared but resolved to end this.
Secrist feels she has won. Taking Cheramie's hesitation for
surrender, she wrenches the knife out of the step, breaking
the tip of the blade off with a SNAP.
She hobbles up the stairs cradling her left hand. LIGHTENING
FLASHES, highlighting the slick black blood on the knife, the
sweat on her brow, the confident grimace, the narrow eyes.
SECRIST
That's a good girl.
Secrist limps up slowly, her left arm limp.
SECRIST
That's a good girl.
(sing-song)
Don't move. Mom-my's com-ing.
Cheramie stands her ground, horrified but also disgusted.
Secrist is now two steps from the top. She raises the knife
and smiles as she wags it back and forth.
SECRIST
Stay there. Naughty, naughty.
She takes another step. Her smile drops and her eyes narrow.
In a flash, she closes the remaining distance and places the
knife blade against Cheramie's throat - she doesn't flinch.
SECRIST
After you're gone, I'll have the
place to myself. Who knows?
Maybe, I'll run around naked.
She rotates the knife until the blade is perpendicular to
Cheramie's throat - with the tip of the blade missing it
appears that the blade has penetrated Cheramie's neck.
Secrist caresses Cheramie's face with her crippled left hand.
Macabre, with all the warmth of a vulture's beak.
She draws the blade's broken tip across Cheramie's neck,
scratching it bad enough to draw blood. Cheramie winces and
sobs in pain, but doesn't pull away.
SECRIST
Goodbye, Cheramie.
FLASH OF LIGHTENING, BOLT OF THUNDER
In the flash of light, behind Cheramie, appear Malloch,
Stuller, and Pietra. They are dressed in casual summer
clothes and enjoy drinks. They talk amiably and disappear as
the flash ends.
Secrist gasps, her eyes riveted on the apparition. She
withdraws the knife - it hangs limp at her side. Cheramie
doesn't look behind her to see what's there - she keeps her
eyes on Secrist.
LIGHTENING, THUNDER
Malloch, Stuller, and Pietra appear for another instant.
This time, although still dressed the same and holding the
drinks, they aren't looking at each other. Instead, they
stare flatly at Secrist. Lit by more lightening, they say:
MALLOCH, STULLER, PIETRA
Secrist! It's time!
Cheramie's hair is tossed wildly as if by a gale. She is
back-lit by a strange green-white light.
In the following barrage of lightening and thunder, the trio
appear as increasingly decomposed, living corpses, who stare
and grin at Secrist.
Horrified, Secrist takes a half-step down, her foot landing
awkwardly - she almost loses her balance.
LIGHTENING, THUNDER
The three ghosts are horrid visions of decay. They glare at
Secrist.
MALLOCH, STULLER, PIETRA
It's time...
Secrist's has lost her hold on sanity. She stares at the
visions, horrified and silly at the same time.
Cheramie draws her fist well back and punches Secrist in the
face.
Secrist reels. She struggles for balance. She grips the
rail but, as she is holding the knife, can't get a grip - the
knife's slimy handle clicks and clacks on the wood rail.
Secrist loses her balance and teeters back. She extends her
gnarled left hand to Cheramie.
SECRIST
Help me!
In a slow-motion ballet, Cheramie reaches to help, but
decides not to and pulls her hand back. At this, the
silly/crazy look drains from Secrist's face and is replaced
with pure, calculated hatred.
Secrist quick-steps backward down the steps, actually
managing them for several steps. The knife goes flying.
Secrist can't keep up the backward running and a missteps,
her foot landing at a sharp angle. Her ankle CRACKS.
Secrist crashes down the stairs, rolling head over heels.
As she passes the large arched window halfway down, she looks
out at the mausoleum - its gates stand wide open. Malloch,
Stuller, and Pietra, looking healthy and happy, and dressed
for a summer's day out, stroll toward the mausoleum. They
are protected from the rain and walk in a small circle of
sunlight.
Secrist continues tumbling down the stairs, grunting as her
bones SNAP, SNAP, SNAP.
She lands in a heap at the foot of the grand spiral
staircase. She looks up and sees:
Cheramie looking down at her with a flat expression.
Cheramie comes down the stairs. She reaches the bottom and
looks at Secrist, who lies on her back, her limbs in a
hodgepodge.
The knife isn't to be seen - perhaps Secrist is on top of it.
CHERAMIE
I'll call for help.
SECRIST
No! Don't leave me!
Cheramie goes into the kitchen. The tea kettle's whistle
stops. She picks up the wall phone and dials three numbers.
Secrist can hear Cheramie talking. The rain and wind stop.
The CLOCK STARTS TICKING. It's a piercing sound now that the
storm is over and the teapot isn't whistling.
CHERAMIE
(into phone)
Someone fell down the stairs.
Secrist's breath comes in halting rasps as she listens:
TICK, TOCK, TICK, TOCK. Her eyes roll, searching.
Cheramie returns.
CHERAMIE
I'm going outside. To wait for the
ambulance.
They look at each other, neither one showing emotion.
SECRIST
You bitch.
CHERAMIE
You shouldn't take what doesn't
belong to you.
Even in her state, Secrist manages a defiant glare.
Cheramie leaves, closing the door behind her.
TICK-TOCK, TICK-TOCK, TICK-TOCK.
The lights come back on.
Secrist is a horrid sight. A rivulet of blood flows from
under her head into the crack in the floor at the base of the
stairs.
She stares at the door then turns and looks at the ceiling.
Her expression softens just a bit -- defiance is replaced
with regret, which becomes a child's shame. It's not clear
whether she is dead or alive.
TICK, TOCK, TICK, TOCK
SECRIST
It's cold. I'm cold.
Her eyes become vacant. She looks dead. She must be dead.
SECRIST
(whispers)
Cold...
Her eyes lose their defiance and fill with the deepest, most
biting regret. She closes her eyes.
EXT. LAKE - DAWN
Cheramie stands at the edge of the lake, wrapped in a coat.
Her eyes are weary and hardened. She takes a deep breath and
exhales a plume of frosty air.
In the distance is the SOUND OF APPROACHING SIRENS.
A bit more relaxed now, she picks up a flat stone, judges its
weight and skips it across the frozen lake.
Every time it lands on the ice, it makes a queer pinging
sound. She throws another flat stone - it bounces along the
ice. PWING, PWONG, PWING, PWANG
Cheramie smiles.
