PET SEMATARY II






			PET SEMATARY II

	An Original screenplay by Richard Outten

		Revised by David S. Goyer



Based upon characters created by Stephen King 




THIRD DRAFT

Revised 1/6/91




"PET SEMATARY II"


FADE IN:

INT.  LEMARCHE CASTLE, TOMB - NIGHT (1865)

A storm is raging outside. We hear the clap and roll of THUNDER.

TOMB STAIRWAY -

RATS scurry away down the scum-covered steps as the GLOW OF A 
LANTERN and FOOTSTEPS herald someone's arrival...

GENVIEVE LEMARCHE

emerges around the bend. Mid-30s. Cultured beauty. Her dress and 
face are smeared with grime and... is that blood we see too? God 
only knows what's happened to her.

Genvieve ducks under a monstrous cobweb as she passes an open 
window.

WINDOW

LIGHTNING streaks across the night sky outside. We catch a glimpse 
of the MOON disappearing behind the clouds.

Genvieve reaches the bottom of the stairs. The tomb itself.

Water trickles in through cracks in the lichen-covered walls, 
pooling on the tomb floor.

Genvieve moves forward, her lantern throwing distorted shadows 
over everything...

In front of her is Anton LeMarche's stone sarcophagus.
Genvieve kneels in the water, one hand resting on the spiked iron 
railing which surrounds the tomb. She reaches the other hand 
towards a scum-covered plaque, brushing the grime away...

THUNDER and LIGHTNING reach a crescendo as...

A SKELETAL HAND rises out of the water, reaching for her.

Genvieve SCREAMS. The lantern falls from her grasp, sputtering 
out. The hand reaches for her arm and inadvertently clutches her 
breast instead...

Genvieve starts to laugh hysterically.

				DIRECTOR (O.S.)
			(exasperated)
		Cut! Thank you, Renee. Can we
		throw some light on the set?

				GENVIEVE
		I'm sorry...

Suddenly it is lighter. Genvieve can't stop laughing. The groping 
monster hand disappears back beneath the water.

WE PULL BACK, REVEALING -

It's not 1865. The LeMarche Castle tomb is in fact, a 90s movie 
set. We are inside a soundstage, on a raised set, so the slugline 
should really read...

INT.  SOUNDSTAGE, LEMARCHE CASTLE TOMB SET -

A FILM CREW scurries about. Everyone is LAUGHING now. The DIRECTOR 
sits to the right. He and the DP are already huddled over the 
video-assist monitor. We see the previous scene rewinding at high-
speed.

The FIRST A.D. moves in.

				FIRST A.D.
		Water in the pool's running low,
		fill her up!

Crewmembers move towards the set.

An SFX PUPPETEER (i.e., the skeletal arm) crawls out from under, 
followed by an ELECTRICIAN.

				PUPPETEER
		I can't see shit down there! I'm
		working blind!

GENVIEVE/THE ACTRESS

rises out of the water. Her name is actually RENEE HALLOW and her 
beauty is undeniable, even in such a disheveled state.

				RENEE
		This is great, I could've spent
		four months on a romantic comedy
		with Warren Beatty, and instead,
		I've got a horny zombie trying to
		cop a feel!

The crew members LAUGH. She's well-liked on the set. Renee grins. 
Wardrobe and make-up personnel move in to adjust Renee's 
appearance.

				RENEE
		Uhgh, there's water everywhere...
			(beat)
		Can I get a cigarette?

The MAKE-UP GIRL pulls a pack of cigarettes from her fanny-pack 
and offers Renee one. In a flash, a P.A. appears with a lighter. 
Renee mumbles "thanks" as she fires up. She squints her eyes, 
trying to see past the set lights.

				RENEE
			(calling out)
		Geoff?
			(beat)
		Anybody see my boy?

				GEOFF (O.S.)
		Right here, Mom...

GEOFF MATTHEWS, Renee's 12 year-old son steps into view. Renee's 
face lights up when she sees him.

				RENEE
		How long have you been here?

				GEOFF
		Couple minutes. I saw the last
		shot. That was pretty cool.

Renee grimaces as the make-up girl spritzes her face with a spray-
bottle.

				RENEE
			(casually)
		How did it go with your father
		last night?

				GEOFF
		Good. He said he'd be over for
		dinner at eight...
			(awkward)
		I mean... he misses you, Mom...

				RENEE
		I miss him too...

				RENEE
			(continuing)
		I just don't want you to get your
		hopes up, okay? We're trying to
		work things out, but...

Her voice trails off.

				GEOFF
		I know, Mom.

				RENEE
			(affectionate)
		You know everything, don't you?

Renee and Geoff are interrupted by a CREWMEMBER who's spraying 
"atmosphere" about the set with a hand-held smoke machine. Renee 
coughs.

Off-set, the FIRST A.D. is trying to get the show on the road.

				FIRST A.D.
		Okay, people! Quiet! We're going
		to try this another time!

				GEOFF
		Guess it's showtime.

				RENEE
		Yep.

Renee kisses Geoff on the forehead. He takes the cigarette from 
her and moves off the set, standing near the camera.

The director turns back toward Renee.

				DIRECTOR
		Alright, Renee. Last time. I
		promise. We nail this and you
		won't have to do this ever again.

				RENEE
		That's what you said the first
		time...

Renee turns and heads back toward the stairs. A P.A. hands her a 
new lantern. As she reaches the stairs, the house lights dim, 
creating the proper atmosphere once again.

UNDER THE SET -

The puppeteer gets ready. It's cramped. The electrician checks a 
power box connection.

The director nods to the camera operator.

				OPERATOR
		Rolling. Speed...

				SLATE BOY
		"Castle of Terror." Scene 69A.
		Take thirteen.

The slate comes down.

				DIRECTOR
		Action!

The scene replays itself as before, only now we're watching the 
action from multiple viewpoints.

We start on the video assist monitor, then move up to...

GEOFF

He grins as he watches the scene unfold.

ON THE SET

Renee has reached the sarcophagus. LIGHTNING flashes. The skeleton 
hand bursts up, grabbing Renee's arm. The scene continues past the 
original point of interruption.

UNDER THE SET -

We see an undetected LEAK. Water drips down. The puppeteer shifts 
position, struggling, and...

...knocks over the power box which SPARKS just as...

ABOVE -

Renee/Genvieve grabs the iron railing with both hands.

Electricity surges through Renee. Her body jerks and writhes like 
some nightmarish marionette.

UNDER THE SET -

The electrician drags the puppeteer back. Sparks fly.

				ELECTRICIAN
		Jesus! We've crossed over into
		220! Shut down the generator!

ABOVE -

Crewmembers SCREAM and scramble back...

All the circuits are blowing, lights EXPLODING and showering 
sparks over the whole set. This is not part of the movie.

RENEE

It's awful. She shakes, her SMOKING HANDS frozen to the iron 
railing by the electricity running through her...

Suddenly, Renee falls forward against the iron. Her face begins to 
SMOKE AND SINGE...

The lights CONTINUE TO BLOW, casting a strobic effect over the 
soundstage, adding to the chaos.

ON GEOFF

As he witnesses the whole event. He tries to rush forward, but 
someone restrains him...

				GEOFF
		Mom!!!!

Suddenly all the circuits in the stage are blown and the LIGHTS GO 
OUT. Renee slumps back into the water, smoke trailing up from her 
still form. And we...

								CUT TO:

OMITTED (SCENES 2 THRU 2J)

INT.  OPERATING ROOM - DAY

An aged GOLDEN RETRIEVER is on the surgical table. CHASE MATTHEWS, 
D.V.M., gently strokes the dog's fur. He's good with the dog. He's 
kind. The retriever's owners: a MOTHER and her SON, look on.

				CHASE
		I think this is probably for the
		best. He's a very old dog. He
		has arthritis. He has cataracts
		in his eyes...

Chase looks at the mother. He's always hated this part.

				CHASE
		He's had a good life...
			(to dog)
		...haven't you, boy?

				INTERCOM
		Doctor Matthews, your son is on
		line one. He says it's an
		emergency...

Chase breaks concentration, pulling his eyes away from the mother 
and son.

INT.  SOUNDSTAGE, LEMARCHE CASTLE TOMB SET -

A blur of activity converges on the movie set. A TRIO OF 
PARAMEDICS. A FIRE OFFICIAL. A POLICE OFFICER. Medical equipment. 
Horrified crewmembers watch on, helpless.

WE STAY ON Geoff, momentarily blocked out and then revealed again 
and again, amidst the commotion of paramedics scrambling to save 
Renee. The director has his hand on Geoff's shoulder.

Geoff's eyes dart about, taking it all in. Things are happening 
very fast:

--Renee's hand is lifted. Someone checking her pulse. --Her 
eyelids parted. A pen light flashing at her fixed pupils.

				PARAMEDIC #1 (O.S.)
		Run me down a line of normal
		saline.

--An I.V. needle plunges into the inside of Renee's elbow. --A 
syringe injects into the I.V. post.

--Hands hook up a life-pack monitor. Renee's dress is torn away. 
Electrodes press to bare skin. --The monitor screen blinks to 
life.

				PARAMEDIC (O.S.)
		We have a bradycardic rhythm at
		30.

--Another PARAMEDIC dials out on a cellular phone, to the 
consulting physician.

				PARAMEDIC #3 (O.S.)
		White female. Approximately
		thirty five years old.
		Electrocution...

--A clear tube is inserted down her throat. --The monitor shows 
erratic heartbeat.

				PARAMEDIC #2 (O.S.)
		She's in V-fib.

--There's a renewed urgency even amidst their rush.

--Defibrillator paddles are pressed to her chest.

Geoff looks to the monitor as...

--It goes to flatline.

				PARAMEDIC (O.S.)
		Clear.

				GEOFF
		No...

Geoff moves forward, pulling away from the director. The police 
officer moves in and intercepts Geoff, turning the boy away.

Geoff's eyes fix on the monitor. An unbending flatline...

				GEOFF
		You have to bring her back...

Chase rushes onto the set, pushing past crewmembers. He freezes at 
the sight of the horrific commotion around Renee's still form.

				CHASE
		Oh Jesus...

Chase's gaze connects with his son.

				GEOFF
			(helpless)
		Dad...

We pull back from Geoff, Chase, and the commotion around Renee. 
Farther and farther as the darkness around the set begins to close 
in...

				PARAMEDIC #1 (O.S.)
			(urgent)
		We're losing her...

Darkness everywhere and we

5    OMITTED
THRU
9G   OMITTED

EXT.  A DREAMLIKE FOG

A form drifts forward, materializing out of the fog.

It's a CASKET. Appearing as if it's floating among the clouds. 
PULLING BACK, WE SEE that it's moving along A CONVEYOR. AND NOW, 
WE CAN make out the faint form of A PLANE as the conveyor descends 
from the cargo compartment.

The casket reaches the end of the conveyor. A tag marks its final 
destination: Bangor, Maine. HANDS reach in and lift the casket. 
FOUR BAGGAGE HANDLERS hoist the casket up onto their shoulders and 
carry it off.

				HANDLER #1
		Is it true she grew up around
		here?

				HANDLER #2
		Yeah. Over in Ludlow.

				HANDLER #1
		Huh. Never met a movie star
		before.

				HANDLER #3
		Well you're a little late for an
		autograph.

The baggage handlers laugh as they walk off into the distance. The 
fog closes around them and we...

								DISSOLVE TO:

EXT.  PLEASANTVILLE CEMETERY - DAY

We drift down from the gray sky to the somber scene below. Off in 
the distance, a crowd of MOURNERS are gathered around a grave.

				PRIEST (V.O.)
		...I am the resurrection and the
		life, saith the Lord...

CLOSER -

THE HEADSTONE is adorned with an iron plaque. It reads, simply:

			RENEE HALLOW MATTHEWS
				1955-1991

				PRIEST (V.O.)
		...She that believeth in me,
		though she were dead, yet shall
		she live; and whosoever liveth and
		believeth in me, shall never
		die...

THE CASKET is slowly lowered into the open grave. As it descends, 
WE SEE Geoff and his father, Chase, standing at the forefront of 
the crowd. Renee's grave is next to those of her parents.

Among the mourners is MARJORIE HARGROVE, an attractive local girl 
in her early twenties.

Further down the hillside, a wall of NEWS REPORTERS are gathered 
behind a roped-off media boundary. There is a blinding flurry of 
PHOTO FLASHES as the press records the scene before them.

A SHERIFF'S DEPARTMENT PATROL CAR cruises up the cemetery drive, 
pulling to a stop near the mob of reporters.

Out of the car steps GUS GILBERT. Gus is nearly forty, with a 
Sheriff's uniform fitted to his solid, ageless frame. Gruff, maybe 
a little self-important: Gus likes being a big fish in a small 
pond.

				GUS
			(drawing near)
		Let's keep it back, folks.
		Try to show her a little
		respect...

A REPORTER ducks under the media boundary, moving in for a closer 
shot.

He doesn't make it two steps before he's intercepted by Gus. Gus 
grabs the reporter and shoves him back.

				GUS
		Hey! What did I just say?

Gus means business. One look into his eyes reveals his intense, no 
nonsense approach.

				REPORTER
		Ass-hole...

The reporter backs off.

BACK AT THE GRAVESIDE -

Beneath the gloomy, ominous skies, the lines on Chase's face shade 
him as a decade older than his thirty-five years. Chase gently 
places a comforting hand on Geoff's shoulder.

Geoff inches forward, pulling free of Chase's touch. Drawn to his 
mother, drawn from his father. The only blemishes on his youthful, 
rosy cheeks are the tears, the endless tears.

				PRIEST (V.O.)
		I know that my redeemer liveth,
		and that he shall stand at the
		latter day upon the earth.

Geoff looks upon the casket, gazing into the abyss of despair.

FOLLOWING THE CEREMONY

The crowd has dispersed.

Geoff is standing at the base of Renee's grave. His eyes fixed. 
Unmoving. Unaccepting.

Chase is nearby, watching, not wanting to intrude on Geoff's 
private moment.

Gus quietly moves in at Chase's side.

				GUS
		Did she always have reporters
		following her around like this?

				CHASE
		Pretty much so.

Gus glances at Geoff.

				GUS
		I hear you moved into town.

				CHASE
		I wanted to get Geoff out of
		L.A. Just start things over, you
		know?

Gus nods. Now his eyes fall on Renee's headstone.

				GUS
		I remember when Renee left. She
		couldn't wait to get out of
		Ludlow. She used to say that
		life moved too slow here...

Chase forces a smile.

				CHASE
		That's Renee alright.

				GUS
		I suppose so.

The sky above seems heavy with imminent rain and we...

								CUT TO:

12    OMITTED
THRU
15    OMITTED

EXT.  HOUSE - DAY

Lazy oaks embrace a vintage, two-story Victorian home in the rural 
neighborhood of Ludlow, Maine. A commercial MOVING VAN is parked 
out front.

Marjorie, the girl we saw at Renee's funeral, is coming down the 
sidewalk. She checks the address on the front of the house, then 
heads up the driveway.

INT.  DOWNSTAIRS HALLWAY

Moving boxes clutter the downstairs.

Chase is weaving through the maze, doing an inventory on the 
boxes.

A sweaty PAIR OF MOVERS are climbing up the stairs. Each is 
hunched  over, with a garment box balanced on his back. The side 
of each carton is boldly labeled: RENEE - ATTIC.

				MOVER (O.S.)
		We've got six more of these. You
		sure you want them all in the
		attic?

Chase is contemplating a compromise when Geoff appears from the 
kitchen doorway.

				CHASE
		...Geoff, what if we just give
		the clothes to Goodwill? We'll
		keep the rest. Just the clothes.

Geoff shakes his head, firm and deliberate denial.

				GEOFF
		You're the one who wanted to move.
		Nobody would've touched them if
		you didn't want to move here...

Chase weakens, giving in.

				CHASE
		All the 'Renee' boxes go in the
		attic. Sorry.

Marjorie KNOCKS on the open frame of the front door.

Geoff recognizes her from his mother's funeral. She flashes him a 
warm smile.

				MARJORIE
		Hi. I'm Marjorie Hargrove. Your
		new housekeeper.

Marjorie has a naive, friendly quality about her. She's also 
blessed with eye-popping genetics. Standing there outside the 
door, looking more than a little nervous... we can't help but like 
her. Needless to say, she doesn't look like your typical 
housekeeper.

				MARJORIE
			(re: Chase's reaction)
		Is something wrong?

				CHASE
		Uh... no. You just... look
		different than you sounded on the
		phone. Please, come in.

Marjorie enters. She grins at Geoff again. Yep. She's nervous 
alright.

				MARJORIE
		I'm real excited about working
		for you Mr. Matthews...

				CHASE
		Well we're glad to have you,
		Marjorie. You can call me Chase,
		by the way.

Marjorie passes her curious eyes over one of Renee's garment 
containers.

				MARJORIE
		I've always admired Ms. Hallow.
		That scene she did in Blue
		Midnight, where her lover meets
		her at the train station...
			(she sighs)
		I must've watched that movie four
		times.

Chase smiles. Marjorie's enthusiasm is endearing.

Just then, one of the movers loses his grip. A garment box bounces 
down the slope of the stairs. When it reaches the bottom, dresses 
spill over the floor.

				MARJORIE
		Oh. I'll get that...

Marjorie moves for the spill. The first dress she touches is a 
beaded peach evening gown. Her fingers linger on the fabric.

				MARJORIE
		This is gorgeous. She wore this
		at the Emmys, didn't she?

Geoff moves forward, acting overly defensive.

				GEOFF
		Hey, don't touch her stuff. It
		made her crazy when people touched
		her stuff.

Marjorie is taken aback by the oddity of Geoff's statement.

Chase catches her eye, shrugging apologetically.

17    OMITTED
THRU
19    OMITTED

EXT.  DRIVEWAY - DAY

A VAN is parked outside. The rear side panel is masked off with 
tape and a stencil. Chase grabs the corner of the tape and 
carefully peels it back, revealing a crisp, new business logo:

		ROUND THE CLOCK ANIMAL DOC
		MOBILE VETERINARY SERVICE
		CHASE MATTHEWS, D.V.M.
		Serving Aroostook County

EXT.  TOWN - DAY

ESTABLISHING. Shops and businesses situated around a lazy town 
square. QUiet. Relaxed. As rural as they come.

WE pick up Chase's van as it cruises by.

EXT.  VETERINARY OFFICE - DAY

Chase pulls the van in front of an unassuming veterinary office.

On the door is Chase's nameplate. And on the weathered wall is an 
outline of letters where the name and title "Quentin Yolander, 
Doctor of Veterinary Medicine" once was.

Geoff is first out of the van.

INT.  EXAMINATION ROOM - DAY

Geoff and Chase move inside. The offices look like they were built 
in the 40s. A dark corridor stretches down the center of the 
suite. Faded green walls are solid, with few exteriors. It's 
creepy in here.

Heavy, grey plastic curtains absorb much of the light which does 
find its way in. Nothing looks like it's been updated in the past 
fifty years.

				CHASE
		This doesn't look so bad...

Chase sweeps a curtain aside, revealing the interior to Geoff. 
Dust swirls in the air.

				GEOFF
		How long ago did this guy retire?

				CHASE
		It's been a few years.

Geoff takes a look around, growing uncomfortable.

				GEOFF
			(skeptical)
		A few?

Geoff moves on down the central corridor which seems to grow 
darker and more dismal with every step. He moves on into the 
boarding room...

INT.  BOARDING AREA - DAY

Rows of kennels are stacked along the walls, smothered with 
cobwebs. Ancient, rusted surgical equipment is scattered 
everywhere. The place is a mess. Windows are boarded up and 
shadows cloak the room.

Over to the right, Geoff hears a RUSTLING.

A CARDBOARD BOX on one of the shelves jiggles. Something is moving 
around inside it.

Geoff's eyes widen. Still, morbid curiosity propels him forward.

The box rustles again. He reaches for it and...

A CREATURE LEAPS out at him, HOWLING. Geoff SCREAMS and jumps 
back. The box tumbles over and...

A CAT crawls out. Behind the protective mother, are four of the 
cutest kittens we've ever seen, MEWING away.

Geoff sighs just as Chase rushes into the room.

				CHASE
		What's wrong?!

				GEOFF
			(embarrassed)
		Nothing. I just got spooked by a
		bunch of furballs.

Inside the box is a note. Chase reaches for it. It reads: "And a 
warm welcome to you."

				CHASE
		Great, now I've opened an
		orphanage too.

One of the kittens pads out of the box and looks up at Geoff with 
sleepy eyes. Her fur is striped.

				GEOFF
		Well, I'll take one. If it's
		okay...

Geoff lifts the fragile creature, cradling it in his arms.

				GEOFF
		She looks like a tiger.

Chase spies an old broom resting in the corner.

				CHASE
		Tell you what, you do some
		sweeping up here, and she's yours.

Geoff nods and Chase moves back out into the hallway.

Geoff sets the box back upright and lowers Tiger in with the other 
kittens. He reaches for the broom and goes to work sweeping away 
the cobwebs.

Just as soon as he turns his back, Tiger climbs the side of the 
box, spilling over onto the floor.

INT.  EXAMINATION ROOM

Chase is unpacking a shipment of medical supplies. When he places 
them in the cabinet, he stirs up a layer of dust.

Tiger scampers by as Chase coughs his way out of the cloud of 
dust.

INT.  WAITING AREA

Tiger sees the front door ajar. And as she approaches to explore 
what lies beyond--

The door swings open...

ZOWIE, A SIBERIAN HUSKY is staring back at her. He's black and 
white with blue eyes, with a mask that is at once menacing and 
majestic.

A pudgy thirteen year old boy, DREW, has a hold of the dog's 
collar.

Zowie's BARK sends Tiger scrambling.

Drew loses his grip as Zowie yanks free. A strong, paternal 
command calls after Drew from outside.

				VOICE (O.S.)
		Drew, you get a handle on that
		dog, now!

INT.  EXAMINATION ROOM

Chase spins around at the commotion as Tiger darts across the 
floor with the barking dog in pursuit.

Mayhem ensues as Zowie's big paws slip on the slick tile.

Geoff rushes in from the boarding area.

Tiger ducks beneath the back of a surgical gurney.

Zowie's snoot wedges beneath the base, inches from Tiger's tiny, 
striking paw.

Drew slides in on his knees, renewing his hold on Zowie's collar. 
He pulls the dog back.

Geoff rescues Tiger from beneath the gurney.

Drew shrugs sheepishly.

				DREW
		Sorry. He gets kinda hyper...

Drew's stepfather, Gus Gilbert, enters. The dreaded, domineering 
voice of authority in Drew's life. WE know him as the sheriff at 
Renee's funeral.

				GUS
		Hell, he thought it was lunch.
		How ya doin', Chase?
			(a handshake)
		You haven't met my boy.
			(aside)
		Drew, where the hell are your
		manners.

Drew steps forward and awkwardly offers his hand to Chase. Then 
Geoff. The boys shake.

				GEOFF
		He's a cool lookin' dog.

Zowie lurches forward, eager to shower affection on Geoff. Geoff 
strokes the dog's soft mane.

				GEOFF
		What's his name?

				DREW
		Zowie.

Drew puts his palm under Zowie's chin and turns him for Chase to 
see. There are several scabbed-over gashes on his left cheek.

				GUS
		Damn dog stuck his nose in on my
		rabbits and they ganged up on him.
		I swear that dog's an idiot.

				DREW
		Is he gonna be okay?

With one eye on Zowie, Chase sprays some antiseptic on the 
examination table and wipes it clean.

				CHASE
		Let's have him hop up here.

Drew prods Zowie. Zowie jumps up onto the table. Chase looks over 
the facial lacerations, then turns on a penlight and examines the 
dog's eyes.

Gus passes a lingering look over Tiger. He reaches in to pet her, 
making sure it meets with Geoff's approval.

				GUS
		When I was young I thought cats
		were the girls and dogs were the
		boys.

				CHASE
		There are three more girls where
		that one came from looking for
		homes.

Drew perks up at the thought, but Gus shoots it down.

				GUS
		Not our home.

Chase takes the light out of Zowie's eyes. He looks to Gus.

				CHASE
		Thee facial lacerations should heal
		up pretty quickly. I'll give you
		som antibiotic cream--

				GUS
		--Drew, he's your dog. Are you
		listening to this?

Chase turns to Drew and continues...

				CHASE
		His left eye is scratched, corneal
		abrasion. Eyedrops will help, but
		it's going to take som time. Try
		to keep him away from those
		rabbits, huh?

Drew nods, casting a glance aside at Gus.

				GUS
			(to Chase)
		I hear you've got Marjorie
		Hargrove working for you now.

				CHASE
		How'd you know that?

Gus gives Chase a knowing grin.

				GUS
		It's a small town, Chase.

Gus laughs and claps Chase on the shoulder.

				GUS
		Hey Geoff, did you know your
		mother and I used to be high-
		school sweethearts?

Geoff is surprised at this. Surprised and annoyed. Tact isn't a 
quality that Gus possesses in abundance.

				GEOFF
		Really?

				GUS
			(nodding)
		Homecoming. Prom. Whole nine
		yards.
			(to Chase)
		Course that was a lifetime ago.

EXT.  SCHOOL - DAY

JUNIOR HIGH SCHOOL KIDS are converging en masse for classes. 
Chase's van pulls up front.

INT.  VAN - DAY

Chase digs some cash out of his wallet. Geoff stares out at the 
school. He's dreading this.

				CHASE
		What's a lunch cost these days?
		You want ten?

				GEOFF
			(unenthused)
		Sure.

Chase looks at his son.

				CHASE
		You nervous? New town, new
		school. I know it must be pretty
		hard for you...

				GEOFF
			(cutting him off)
		I'll be fine, Dad.

Geoff reaches for the door, but Chase stops him. He's trying to 
reach his son. He really is.

				CHASE
			(awkward)
		Geoff... you have to help me out
		here a little...

"MEOW!" Chase drops his eyes to the bulge squirming around in 
Geoff's jacket. He can't help but smile.

				CHASE
		Are you sure you don't want me to
		pick you up. It's a long ride.

Geoff opens the side panel of the van and slips out his MOUNTAIN 
BIKE.

				GEOFF
		That's what my bike's for...

Before Chase can say another word, Geoff is gone.

EXT.  VAN - DAY

As Chase pulls away, WE SEE the handmade sign taped in the back 
window:

				PRICELESS KITTENS
				FREE TO A GOOD HOME

EXT.  SCHOOL - DAY

Drew is among a small circle of BOYS. He recognizes Geoff walking 
his bike from the van. The largest of the boys, CLYDE, takes 
notice of the unfamiliar face.

Clyde is fifteen, going on twenty. You know the type: local bully, 
held back a year or two.

				CLYDE
		Check it out. That's the new kid.
		The son of that movie star.

Mischief gleams in Clyde's eyes as he watches Geoff's every move. 
The other boys follow suit. Clyde always takes the lead.

Geoff fields their penetrating stares. For a second his eyes 
connect with Clyde's, then he moves on into the building.

Among the boys, Drew is the reluctant participant.

INT.  CLASSROOM - DAY

MRS. GORDON is addressing a room of SEVENTH GRADERS.

Geoff is doodling in his notebook, feeling acutely out of place as 
he tries to avoid the curious glances the rest of his new 
classmates are giving him.

				MRS. GORDON
		People, this is Geoff Matthews.
		He'll be joining our class for the
		rest of the school year...

As Mrs. Gordon points to him, Geoff drops his face even lower. 
This is the worst embarrassment a boy could ever suffer. He'd like 
to throttle Mrs. Gordon.

A freckle-faced boy, DOUG, fires off a question.

				DOUG
		Hey, what's Hollywood like? Do
		you know Eddie Murphy?

				GEOFF
			(annoyed)
		No.

				MRS. GORDON
		Why don't we save that for later,
		Doug?

A girl with braces, SUSAN, continues the interrogation.

				SUSAN
		What about Julia Roberts?

				MRS. GORDON
		Susan! That'll be enough.

Susan shuts up. Geoff sinks even lower in his seat.

The kids turn their eyes back to the front of the room.

But one classmate's eyes are still on Geoff. It's Clyde.

Clyde shifts his stare to the squirming lump in Geoff's jacket. He
catches a glimpse of Tiger's bobbing nose popping out.

INT.  HALLWAY - DAY

Geoff joins the stampede of kids as the BELL releases them for the 
day. Almost immediately, Clyde and his cronies, STEVIE AND BRAD, 
fall in step behind him. Drew hangs slightly off to the side, not 
really wanting to be a part of the intimidation.

				CLYDE
		What's the hurry, Junior? Where
		you off to?

Clyde quickens his pace, pulling ahead of Geoff and stopping in 
front of him. Stevie and Brad move in on either side. Surrounded 
by peers, it's apparent how small Geoff is for his age.

On the wall next to them is a bulletin board display. Clyde 
glances at it. Geoff follows his gaze.

DISPLAY

It's one of those corny school affairs with construction paper 
letters spelling out: "WE REMEMBER RENEE HALLOW." Beneath that are 
pictures of Renee clipped from various magazines. Cloyingly 
tasteless.

				CLYDE
			(feigning remorse)
		Too bad about your Mom. Papers
		said it was pretty gross, getting
		fried like that. Guess you saw
		it, huh?

Geoff nods. Clyde raises his eyebrows, pulling Geoff's jacket 
open.

				CLYDE
		So, what are you hiding there?

				STEVIE
		When you bring a friend to school
		you're supposed to introduce him.

Geoff's arm tightens protectively around Tiger.

				GEOFF
		Her name's Tiger.

				CLYDE
		Tiger? Don't you think that's
		kind of a pussy name?
			(reaching out)
		Can I hold her? I promise I'll be
		real careful.

Clyde has a convincing way about him. Geoff reluctantly hands the 
kitten over. Clyde is so gentle with the creature that one would 
never question his sincerity.

Geoff is just beginning to feel at ease when something changes in 
Clyde's tone, something sinister.

				CLYDE
		Hey, Geoff. You ever seen a
		kitten run?

				GEOFF
		I've seen her run around the
		house.

Clyde's eyes narrow. He takes a couple of steps back. Geoff's 
heart starts to sink.

				CLYDE
		No, I mean really run...
			(beat)
		Like this!

Clyde backsteps and bolts off down the hallway with Tiger. Brad 
and Stevie fall in behind him, laughing.

Drew shrugs apologetically. He's torn, but he tears off after them 
nonetheless.

				GEOFF
		Shit...

Geoff runs off in pursuit of them.

EXT.  SCHOOL - DAY

Geoff rushes from the building, searching the dispersing crowd. 
There they are, tearing from the bike racks, pedaling for the 
street.

Clyde sees Geoff and mockingly holds the kitten out for display as 
they ride by.

Geoff runs for the bike racks.

EXT.  ROAD - DAY

Clyde and his cohorts break from the outskirts of town, riding out 
onto the open road.

Clyde glances back toward the center of town.

Geoff is so far behind he's barely visible.

Clyde returns his eyes to the road ahead, raising Tiger nose to 
nose with him.

				CLYDE
		Having fun yet?

Clyde and his smirking buddies ride on, OUT OF FRAME.

WITH GEOFF

giving the pedals all he can, struggling to keep pace with the 
boys.

35    OMITTED

FURTHER ALONG

Scattered houses sprinkle the landscape ahead. Cochran Lake 
stretches into the distance beyond the housing.

Clyde's clan cuts from the road and blazes a trail across a 
residential property. The two-story house is weathered and boarded 
up. It looks vaguely familiar. Creepy.

And when WE FIND the mailbox post, we know why. The name is faded, 
but there's no question who once lived there. Five bold letters: 
"CREED."

Geoff whips by in a blur, still in pursuit.

EXT.  COUNTRYSIDE - DAY

Clyde and his friends have abandoned their bikes. They've taken 
position on top of the slope of the hill, standing at the foot of 
THE PATH TO THE PET SEMATARY.

38    OMITTED

EXT.  PET SEMATARY PATH - DAY

Geoff pulls his bike to a stop short of the boys. He dismounts and 
leans it up against a tree.

				GEOFF
		Just give me the cat, all right?

A devilish grin creeps over Clyde. He strolls down the path toward 
Geoff. Clyde grabs Geoff's handlebars and, backing up, pulls Geoff 
and the bike with him.

				CLYDE
		I would but... there was a little
		accident...
			(feeding off Geoff's
			alarm)
		She was trying to get away. You
		know, running down my leg... and
		her head got too close to the 
		spokes. Pretty gross. What's
		left of her is up in the Pet
		Sematary. A zip-lock bag might
		help...
			(shrugs)
		...but I happen to be out of them
		at the moment.

Drew shakes his head, disgusted he has to put up with Clyde's 
antics.

				DREW
		Come on, Clyde, just tell him
		where the cat is...

				CLYDE
			(turning on Drew)
		...I TOLD HIM where the cat is!
		Now shut up, fuck-face!

Clyde punches Drew in the arm. Drew shrinks back.

Geoff flashes a hateful stare at Clyde.

All of the boys but Clyde are uncomfortably silent. There's 
something frightening about Clyde... something that extends beyond 
the standard bully antics. We begin to get the feeling that this 
kid is genuinely deranged.

				CLYDE
			(relishing the
			moment)
		You heard about the Creed murders
		yet? And the place where the dead
		come back to life?

He motions to the path behind him.

				CLYDE
			(continuing)
		It's just back there. Just down
		that path...

				DREW
			(meekly)
		Clyde... it's not funny anymore.

				CLYDE
		Oh? So you got a problem?
		What're you gonna do, fat-ass? You
		gonna sic big, bad, old Gus after
		me?

Drew shuts up. Clyde turns back to Geoff, drawing closer.

				CLYDE
		What do you think, Geoff? Maybe
		you could dig up your Mom and take
		her back there. Maybe if you pray
		real hard, she'll come back.

With this last remark Clyde has pushed too far. Geoff's face is 
red with anger.

				GEOFF
			(quietly)
		Just give me the cat, ass-hole.

Clyde's grin falters a moment.

				CLYDE
		Excuse me, maybe I'm a little hard
		of hearing... but did you just call
		me an ass-hole?

Clyde pokes Geoff in the shoulder.

				CLYDE
		You mad, Geoff? Cause if you are,
		you should take a shot at me...

This time Clyde shoves Geoff back even harder.

				CLYDE
		Come on, you pussy! What's the
		matter with you?

Clyde moves forward again and Geoff suddenly LASHES OUT, catching 
everyone off guard.

For an instant, Drew marvels at Geoff's tenacity.

Clyde LUNGES. He hammers Geoff with blows.

Outsizing him by forty pounds, Clyde tosses Geoff to the ground. 
Geoff struggles, but Clyde's grip proves arresting.

Clyde throws Geoff onto his stomach, forcing his face into the 
dirt. It looks as if he's ready to smother his opponent.

Drew is the first to rush in. Brad and Stevie quickly follow. It 
takes all three of them to peel Clyde off Geoff.

Clyde gets to his feet and backs away. There's great pleasure in 
his crazed eyes as he watches Geoff coughing and gasping.

				CLYDE
		Fuckin' ass-hole.

Satisfied he's handed out enough ill will for the day, Clyde turns 
away.

Drew's attentions remain on Geoff. As Clyde strolls by, he grabs 
Drew's arm and swings him around.

				CLYDE
		This way, fat-boy.

Stevie and Brad follow. As the group passes Geoff's bike, Clyde 
gives it a kick, knocking it over. Then they're gone.

Geoff pulls himself to his feet. Brushing off the mess, he heads 
up the path in search of Tiger.

EXT.  PET SEMATARY - DAY

The woods here have grown long with shadows. The air is still and 
the sound of birds is conspicuously absent.

A WOODEN ARCHWAY frames the entrance to the primitive graveyard. 
Scrawled across the weatherstained boards is a child's barely 
legible attempt at "PET SEMATARY."

Geoff trepidatiously enters the clearing of crude, crowded graves. 
Collars, leashes, bird cages and other accessories adorn the 
makeshift crosses and headstones.

Geoff moves along the outer circle of markers, each crafted by a 
child's caring hands.

As he searches, he can't help but notice the heartfelt epitaphs. 
On the outer circle, he sees a crate-board marker memorializing: 
SMUCKY THE CAT... HE WAS OBEDIANT.

MOVING INWARD, the markers are older. The ones he can still read 
convey a sense of the perpetual cycle of life and death.

Here is a wide, flat, upright board planted deep in the earth: "In 
Memory of MARTA our Pet Rabit Dyed March 1 1965."

The next three rows are illegible, the inscriptions are weathered 
beyond recognition... And then, chiseled into sandstone: HANNAH 
THE BEST DOG THAT EVER LIVED 1929-1939.

And now... "MEOW." Faint. But very much alive.

Geoff picks up his pace, weaving quickly toward the center.

There, he finds Tiger. Trapped in a rusted old birdcage, its base 
swallowed by the grave.

Geoff opens the door and frees Tiger, stroking the trembling 
kitten.

Geoff's eyes are drawn to the far perimeter... to the deadfall...

THE DEADFALL looms on the outskirts of the clearing like a pile of 
skeletal remains. An abstract stairway to things beyond. A wind 
picks up just then, sending leaves skittering in waves across the 
ground.

40    OMITTED

EXT.  PET SEMATARY PATH - DAY

When Geoff turns around, he finds Drew waiting for him under the 
archway. Drew smiles, full of respect for Geoff.

				DREW
		I've never seen anybody punch
		Clyde before.

				GEOFF
			(shrugs)
		He pissed me off.

				DREW
			(his smile fading)
		Sorry about your mom.
			(beat)
		I couldn't handle not having my
		mom around. Just having Gus...

He grimaces at the thought.

				GEOFF
		My dad's not so bad.

Drew glances around at all the makeshift grave markers.

				DREW
		I swear, sometimes I wish Gus was
		dead...

				GEOFF
			(serious)
		You shouldn't ever say that about
		your parents, not even your Dad.

				DREW
		Stepdad. Gus is my stepdad.

Geoff nods knowingly.

				GEOFF
		What was all that stuff about dead
		people coming back to life?

				DREW
		Nothing. It's just an old ghost
		story. Let's get out of here...

They head off, full of childhood.

INT.  KITCHEN - DUSK

Marjorie is at the stove, fixing up dinner, while Chase scans the 
newspaper at the table.

Geoff enters through the kitchen door. He moves past them without 
a word.

				CHASE
			(calling after him)
		Hey! How was your first day at
		school?

				GEOFF
			(over his shoulder)
		It sucked.

				MARJORIE
		Now is that any way to talk to
		your father?

Geoff stops for a moment, turns...

				GEOFF
		You're not my mother.

...and exits through the opposite door.

Chase looks to Marjorie and offers a sympathetic shrug.

				CHASE
		Sorry.

EXT.  DREW'S HOUSE - DUSK

CRUDE CAGES HOUSE DOZENS OF RABBITS. Situated alongside the 
garage. A sign above the cages reads: PET RABBITS - $10.00. Bells 
positioned along the roof threaten to reveal foul play.

Gus is rigging a wire along the base of the cage.

Finishing it off, he hangs the plug next to an outside socket. 
Moving onto the next chore, he pours pressed alfalfa pellets into 
feeding slots for the hungry rabbits.

Setting the feed aside, he takes a seat. Opening one of the cages, 
he grabs a rabbit and sets it on his lap, gently petting its soft 
fur.

One of the cages starts to vibrate.

Gus gives it a look: A PAIR OF RABBITS aren't interested in 
eating, they're joined in fast and furious passion.

Gus gets a chuckle out of the sight.

				GUS
		Way to go, Romeo...

Gus replaces the rabbit in the hutch. And before he goes, HE SINKS 
THE PLUG INTO THE SOCKET. An ELECTRICAL CHARGE dances along the 
base of the cage, a deterrent for intruders.

INT.  KITCHEN - NIGHT

Drew's mother, AMANDA, withdraws a roast from the oven.

Gus is at the sink, washing his hands. He turns to see Zowie 
laying at Drew's feet in the living room. Drew is watching a MUSIC 
VIDEO on TV.

				GUS
		Drew, I don't remember inviting
		Zowie in for dinner.

				DREW
		Just until he heals up?

Gus is waggling his thumb toward the back door.

Drew slumps in defeat.

Gus reaches into the cabinet and pours himself a Bourbon.

EXT.  DREW'S HOUSE - NIGHT

Drew walks Zowie from the house with a dish of dog food. As they 
pass the rabbit dens, Zowie alters his path. Drew gets a handful 
of his collar and pulls him back.

Across the yard is an enclosed dog run. Twenty feet long by ten 
feet wide. Drew puts Zowie inside with the dog food.

Drew strokes Zowie's mane affectionately, then backs away, closing 
the wood-framed door to the dog run.

INT.  DREW'S KITCHEN - NIGHT

Amanda's about to put the roast on the table when Gus nuzzles up 
behind her, breathing down her backside. With his drink in hand, 
he sweeps her hair aside and zeros in for a kiss on the back of 
the neck.

Gus eases his free hand around between Amanda and the counter and 
presses his palm firmly into her crotch, drawing her body tight to 
him.

She stiffens at his intimate hold, uncomfortable with his timing.

				AMANDA
		Gus, please...

At the back door, Drew is watching from beyond the screen, 
disgusted by the sight of Gus pawing his mother. Drew swings the 
door open as loud as he can to signal his return.

Gus plants a last kiss on the back of Amanda's neck and backs off. 
But before he goes, he snatches a chunk of meat from the serving 
platter. Leveling his leering eyes at Amanda, he stuffs it into 
his mouth suggestively.

				GUS
		God damn, you're good.

Drew rolls his eyes and takes his seat at the table, returning his 
attention to the TV, where another MUSIC VIDEO is on.

Gus glances at the TV, annoyed by the MUSIC. He drops into his 
spot at the head of the table, blocking Drew's view. Drew leans to 
the side for a better look. Gus takes notice and leans to the same 
side to obstruct his view.

				GUS
		You're breaking the law here,
		Drew.

				AMANDA
		Really, Gus. It won't bother me.

Gus ignores her, inching forward with a confidential, harsh 
whisper.

				GUS
		Your mom's spent the last hour
		cooking. Stop being a little jerk
		and show her some appreciation.

Drew aims the remote control at Gus, as if to shut him up, and 
silences the TV.

Amanda approaches with the roast. The moment it's on the table, 
Drew starts dishing up a hefty serving. Gus spears Drew's fork 
with the serving fork.

				GUS
		Not that much appreciation. I
		thought we were gonna tone down
		that flabby ass.

				DREW
		Hey, I'm so sorry I'm not the stud
		that you are.

				AMANDA
		Knock it off, guys...

Gus throws back a sip of Bourbon.

				GUS
			(to Drew, quietly)
		You watch that mouth of yours,
		Drew buddy.

46    OMITTED

EXT.  ZOWIE'S DOG RUN - NIGHT

MOVING THROUGH Zowie's enclosed pen, WE SEE no sign of the dog. 
REACHING the door, WE FIND that the wood around the bottom hinge 
has been chewed through. The base of the door is ajar, just enough 
for a dog to have slipped through.

EXT.  RABBIT CAGES - NIGHT

In the still of the night, Gus' rabbit pens sit unattended. And 
then WE HEAR the tinkling of dog tags. Snoozing rabbits awaken as 
Zowie lumbers INTO FRAME.

Zowie rises on his hind legs, pressing his paws to a cage. Blue 
sparks fly as Zowie is jolted with the electrical charge.

INT.  GUS' ROOM - NIGHT

The ELECTRICAL ZING. The dog's whimpering CRY. And the RINGING OF 
BELLS reach Gus in rapid succession, rousting him from his sleep. 
He rolls out of bed and grabs his robe.

				GUS
		Damn it, Drew. That dog is
		history!

Amanda stirs, groggily focusing on Gus' departing figure.

INT.  DREW'S ROOM - NIGHT

Drew swings open the door to the hallway as Gus marches by, 
stuffing shells into a shotgun. Panicked, Drew takes off after 
him.

EXT.  RABBIT CAGES - NIGHT

Zowie swings his head in the direction of the house as Gus bursts 
through the back door. Drew is one step behind.

Gus swings the gun up and fires off a SHOT.

Zowie bolts for the shadows of the hillside.

Drew rushes in and deflects the aim of the rifle.

				DREW
		Don't shoot him!

Gus' eyes are wild with anger.

				GUS
		What, Drew? What did you say?!

Gus throws Drew aside, brings the rifle back up and FIRES another 
random shot after the fleeing dog. All the while, his eyes remain 
on Drew, as if this were the boy's lesson to be learned.

He squeezes off one more SHOT...

A PAINED YELP echoes from the hillside. Zowie's yelp.

Drew whips his head aside in sickened shock. Even Gus is sobered 
by the unexpected hit.

All they can hear now are Zowie's WHIMPERING CRIES diminishing in 
the night.

Drew shoots Gus a look of such unbridled hatred that Gus is 
speechless. He backs away from Gus and darts off toward the dark 
hillside.

When Gus turns back for the house, Amanda is standing there.

				AMANDA
		Jesus, Gus, what have you done?

				GUS
		Ah, come on, Amanda, stop looking
		at me like that. He's had ample
		warning about that dog.

Amanda glares at him, an outpouring of pent-up strain.

Gus defiantly marches past Amanda, entering the house without ever 
meeting eyes with her.

EXT.  WOODS - NIGHT

Drew pauses long enough to listen for Zowie...

Nothing until a FAINT CRY drifts back at him.

DEEPER IN THE WOODS

Zowie limps INTO FRAME. Blood is flowing from the bullet wound in 
his left hindquarter, trailing from his suspended leg. Every step 
is a strain.

DREW

comes upon a break in the trees. The hanging moon outlines the 
knoll stretching beyond. And then, the strained breathing, the 
hushed WHIMPER.

Drew hesitantly approaches the crest of the knoll.

Zowie is just beyond, lying on his side at the end of the bloody 
trail. His chest rises and falls almost imperceptibly with every 
effort to survive.

Drew drops to his knees at Zowie's side and cradles the dog in his 
lap, shaking his head in denial.

Zowie's weak eyes shift, gazing longingly at Drew.

Drew strokes the fur under Zowie's chin, hardly able to see the 
dog through his glaze of tears.

Zowie's eyes drift off. His chest falls and doesn't rise again. He 
falls limp in Drew's arms. Drew hugs Zowie even tighter and he 
begins to weep.

FROM A DISTANCE

WE SEE the image of Drew with the dog cradled in his arms, 
silhouetted against the moonlit horizon.

								DISSOLVE TO:

53    OMITTED

EXT.  GEOFF'S HOUSE - MORNING

Geoff appears from the garage with his bike and takes off for the 
road. A WHISTLE catches his ear.

Drew is at the edge of the woods, beckoning for Geoff.

Geoff circles around and doubles back.

				GEOFF
		I was just going by your house.
		Where's your bike?

The closer Geoff gets, the more he sees of Drew's despair. Then he 
sees the dried blood staining Drew's clothes.

				DREW
		Zowie's dead.

Geoff's heart sinks. An unspoken moment of sympathy passes between 
the boys. Fighting the emotions, Drew finally speaks.

				DREW
		I have to bury him. I don't want
		to go out there alone.

There's such grief in Drew's words that Geoff can't resist. He 
glances toward his house to make sure he hasn't been seen, then 
blends into the woods.

EXT.  PET SEMATARY - DAY

Drew carries Zowie's relaxed form in his arms. Geoff is following, 
balancing a pickaxe and shovel.

Arriving at the graveyard, Geoff searches the outer perimeter for 
a vacant stretch of soil. Finding one, he lets the heavy tools 
fall to the ground.

				GEOFF
		Is this a good spot?

				DREW
		I'm not burying him here...

				GEOFF
		Why not?

				DREW
		There's a better place...

Drew heads for the base of the deadfall, with Zowie in his arms.

				DREW
		It's back here somewhere, through
		the Indian woods. I know we can
		find it...

Drew continues up the deadfall, disappearing over the crest.

Geoff gathers up the shovel and pickaxe and follows after him.

				GEOFF
		Hey, wait up!

EXT.  THE BOG - DAY

Geoff climbs over the peak of the deadfall...

Beyond is a dark swamp, A BOG, looking unlike anything one would 
expect in Maine. Tendrils of ground fog swirl about vegetation 
that looks almost prehistoric. Gnarled trees rise up from the 
murky earth, blocking the sun from view.

Geoff hurries down the other side of the deadfall to catch up with 
Drew. Somewhere off in the distance we hear an UNEARTHLY SOUND. 
Not a bird. Not any animal known to man.

Spectral shapes flicker at the edge of Geoff's vision, sinking 
back into the shadows as Geoff tries to focus on them.

				GEOFF
			(uneasy)
		Drew, where are we going?

Drew doesn't respond. He continues on without another word, hell-
bent on finding this "better place."

FURTHER ALONG - DAY

At the boundary of the bog, A STAIRWAY OF HUGE, WIDE STONES rises 
from the blanket of ground fog. Bordered by fir trees. Leading up 
the hillside. The final leg of Drew and Geoff's journey.

				DREW
		This is it... I wasn't sure if it
		even really existed.

				GEOFF
		What did?

				DREW
		The old Indian burial ground.

Geoff's eyes move to the stairway of stones.

				GEOFF
		Come on, that's just a bullshit
		story. You said so yourself...

				DREW
		What if it's not bullshit? If I
		bury Zowie there, and it works...
			(beat)
		...he'll come back alive.

				GEOFF
		Drew, I know your dog died, but...
		get a grip, man, you're freaking
		me out.

				DREW
		Look, if there was even one chance
		in a million it'd work, wouldn't
		you want to try?

Geoff feels for Drew. It's pointless to reason.

Drew starts up the stone steps. Geoff has no choice but to follow.

EXT.  MICMAC BURIAL GROUND - DAY

Even in broad daylight, the flat-topped mesa has a sense of 
foreboding isolation. There's an almost palpable sense of 
"wrongness" about this place. As if the darkness of a dying black 
hole was seeping out of the ground and spreading across the earth.

Drew and Geoff approach the circle of rocky soil. They stand at 
the border, looking it over in eerie silence.

Somewhere off in the distance we hear the unearthly SOUND again, 
only this time, it's closer.

				GEOFF
		Look, let's just get this over
		with.

Even Drew seems to have awakened from the haze he had fallen into. 
He gently sets Zowie's body on the ground.

				DREW
		If this doesn't work... don't ever
		tell anyone I did this, okay? You
		gotta promise...

Geoff nods and hands over the digging tools. Drew swings the 
pickaxe, sinking it into the ground.

				GEOFF
		You want me to help?

				DREW
		You have to bury your own. That's
		the way the Indians did it. It's
		like a rule...

Backing away from the burial ground, Geoff takes a seat on a rock 
at the border of the forest. From there, he watches.

Drew alternates the pickaxe and shovel as he clears a hole in the 
rocky ground.

WE MOVE IN ON GEOFF, who's looking on with skeptical intrigue as 
the rhythmic SOUND of the tools continues.

59    OMITTED

LATER -

A cairn is complete: a conical pile of rocks over Zowie's grave.

Drew is now sitting on the rock next to Geoff. Together, they 
stare at the cairn as if Zowie might climb from beneath at any 
moment.

				DREW
		What if he really does come back?

Geoff shrugs, pondering such a thought.

Geoff digs into his pocket and produces a pack of gum, offering 
one to Drew. With only a quick glance away from the grave, Drew 
snatches a piece and he stuffs it into his mouth. Geoff does the 
same.

They sit together in silence. Nervously chewing their gum. 
Watching the grave.

				DREW
		I've never had anyone die
		before...
			(beat)
		...but I guess you get over it. I
		mean, eventually...

				GEOFF
			(quietly)
		You never get over it.

EXT.  COUNTRYSIDE - AFTERNOON

The sun dips over the horizon, giving way to dusk.

EXT.  MICMAC BURIAL GROUND - DUSK

Geoff's eyes shift from the grave to the darkening sky.

				GEOFF
		It's getting pretty late. We
		better go.

				DREW
			(disappointed)
		Yeah...

They rise, leaving the burial ground. En route, Drew pauses for a 
last look at the grave.

				DREW
		So long, Zowie...

Geoff follows, glancing back at the burial ground. It looks 
magical in the twilight, not quite so sinister now.

EXT.  ROAD - NIGHT

Drew is walking home along the road, alone.

Headlights blind him as a car approaches. It slows and pulls a U-
turn, stopping at Drew's side. It's Gus' squad car. He pushes open 
the passenger door.

				GUS
		Get in.

Drew takes a step back, shaking his head.

				GUS
		Your momma's worried sick over
		you. You take off in the middle
		of the night, you don't show up
		for school. What're you trying to
		prove?

				DREW
		I'm not trying to prove anything.
			(beat)
		I was burying my dog.

Gus turns his eyes away, focusing on the dark road ahead.

				GUS
		Life is full of lessons. No one's
		above it. Not you. Not me...
		Now get in the car.

After a moment, Drew approaches the car. Without another word, Gus 
drives off.

64    OMITTED

EXT.  RABBIT CAGE - NIGHT

It's quiet now. And out of the silence comes the JINGLING of 
Zowie's dog tags. Zowie's LONG SHADOW creeps over the cage, 
distorted to monstrous proportion by the flickering light.

We move past the cages to the back porch...

We see ZOWIE'S PAW scratching at the door.

INT.  AMANDA AND GUS' BEDROOM - NIGHT

Amanda wakens with a start. She rises, eyes focusing on the dark 
bedroom. Gus is sound asleep next to her. Then, from outside, we 
faintly hear ZOWIE'S SCRATCHING.

Slowly, Amanda rises from bed, pulling on a bathrobe as she heads 
for the door.

EXT.  BACK PORCH - NIGHT

Amanda appears at the door. She unlatches it, stepping outside.

				AMANDA
		Zowie?

Amanda looks down and SCREAMS.

INT.  DREW'S ROOM - NIGHT

Photos of Drew with Zowie are tacked on the wall above the bed. 
The one photo of Drew, Amanda and Gus has been altered with a cut-
out head of Zowie's pasted on Gus' shoulders.

WE FIND Drew below. He's fallen asleep with his Walkman on. Even 
with his ears covered, the POUNDING at the door jolts him awake. 
Half asleep, Drew peels off the headphones.

				GUS (O.S.)
		Drew, you unlock this door! Right
		now!

				AMANDA (O.S.)
		Unlock it, Drew!

The anger in his mother's voice brings him off the bed. Gus' 
POUNDING continues.

Drew moves to the door. The inside is secured by a double dead 
bolt. Instead of unlocking them, he opens a tiny, customized 
window which gives him a view of the hall.

				DREW
		What did I do now?

				AMANDA
		Open the door, Drew.

Drew unlatches the deadbolts and steps back as Gus bursts through 
the door.

				GUS
		Where do you come off lying like
		that? "I'm burying my dog." You
		think a lie like that's never
		gonna catch up to you?

Drew backs into the bed, taking a seat.

Amanda comes through the door, and behind her is...

ZOWIE

This is our first glimpse of the resurrected dog. Fur shiny and 
wet, the gaping gunshot wound in his rear. Zowie's head hangs low, 
his eyes GLEAMING RED. The husky is covered with dirt from head to 
toe.

Drew's eyes widen in astonishment.

Zowie staggers across the room towards Drew, nails clicking on the 
floorboards. Drew shrinks back in uncertain horror as the dog 
moves closer.

Zowie absently throws his arms up onto the bed, across Drew's lap. 
And slowly, perfunctory, his tongue licks Drew's cheek. This last 
action of Zowie displaces Drew's fear. Tears well up in the boy's 
eyes.

				DREW
			(a whisper)
		Zowie...

				GUS
		Say your goodbyes. Zowie's going
		outside. You're grounded, buddy.
		That's the new law.

Drew lifts his hand from stroking Zowie's fur. His palm is covered 
with muddy blood.

				AMANDA
		I never knew an open wound could
		smell so bad...
			(beat)
		Honey, he should have been looked
		at this morning. I don't know
		what you were thinking. It's a
		wonder he's still alive.

Drew gazes into the dog's vacant eyes. It truly is a wonder.

INT.  GEOFF'S HOUSE, LIVING ROOM - NIGHT

Chase enters and stops in the doorway.

Geoff sits in front of the television with a pile of videotapes 
next to him. He's scanning through Renee's old movies with the 
remote. The sound has been turned down and the effect is a little 
eerie.

ON THE SCREEN

We see RENEE move through a scene. Geoff hits the slo-mo button 
and the image winds down. Renee's face. HER EYES stare out at us 
from the alien universe of the past.

				CHASE
			(gently)
		Geoff...

Geoff doesn't respond. He's captivated by Renee.

Chase moves into the room.

				CHASE
		Geoff!

Geoff PAUSES the tape. Renee freezes, the image flickering ever so 
slightly. For an instant, we think we see a FLASH OF Renee being 
electrocuted. But it's only an instant.

Finally, Geoff tears his eyes away from the screen, resenting his 
father's intrusion.

				GEOFF
		What?

				CHASE
		You alright?

Geoff's face softens. He nods.

				GEOFF
		Dad... do you think...
			(beat)
		...you think you and Mom would've
		gotten back together?

Chase draws closer. He takes a seat next to Geoff. The pain in his 
son's eyes is almost more than he can stand.

				CHASE
		I think so.

				CHASE
			(continuing)
		Your Mom and I loved each other,
		Geoff. Don't ever think that we
		didn't.

				GEOFF
		I still can't believe she's
		dead...

Chase moves to reach for his son, and suddenly the phone RINGS, 
shattering the moment.

Chase hesitates, but finally he rises and answers the phone.

After a moment, he returns.
				GEOFF
		Who was that?

				CHASE
		Remember Zowie, Drew's dog? He
		got hurt again. I'm going over to
		take a look at him.

Geoff's eyes widen. He looks like a ghost walked over his grave.

				GEOFF
		I'm going with you.

Chase nods and exits to get his coat.

Geoff looks back at the TV once more. The image paused.

Renee staring at us from beyond the grave.

EXT.  DREW'S HOUSE - NIGHT

Gus, Amanda, Drew and Geoff are gathered around Chase's van.

EXT./INT.  CHASE'S VAN - NIGHT

Chase lays Zowie on his side on an examining table and shines an 
overhead light onto the wound.

Geoff is looking in from outside, utterly bewildered by the 
living, breathing dog.

				CHASE
		How'd it happen?

Gus casts a threatening glance in Drew's direction.

				DREW
			(glaring at Gus)
		Some psycho hunter probably got
		trigger happy...

Chase is too busy preparing a syringe to notice the nonverbal 
exchange.

				CHASE
		I'm going to give Zowie a local
		anaesthetic so I can clean up the
		wound. I'd like to take him home
		tonight for observation.

				AMANDA
		Fine.

				DREW
		Can you keep him at your place
		until he gets better?

				CHASE
		Sure...

Drew tenderly strokes Zowie's mane as Chase administers the 
injection. Zowie stares up at Geoff with dull, blank eyes.

Drew reads Geoff's bewilderment and joins him outside the van. 
Their words are clear, but whispered.

				GEOFF
		Maybe he wasn't dead when we
		buried him.

				DREW
		He was dead. You know he was.

Geoff returns his stare to Zowie.

				DREW
		You can't tell anyone, Geoff.
		Ever.

Geoff looks into Drew's eyes and nods in understanding.

69    OMITTED
THRU
75    OMITTED

INT.  GEOFF'S BEDROOM - NIGHT

Tiger is curled up at the foot of Geoff's bed. Geoff climbs in, 
careful not to disturb the kitten. As he lays his head back on the 
pillow...

				VOICE (O.S.)
		Sleep tight, darling. I'll be
		with you soon.

It's a woman's VOICE. A familiar one. Now we hear the rhythmic 
CREAK of a rocking chair. And with it comes the voice again, 
humming a HAUNTING LULLABY.

Wide-eyed, Geoff turns his head toward the source...

A WOMAN'S NONDESCRIPT FORM is seated in the rocking chair across 
the room. Rocking forward, her face passes into a swath of 
moonlight...

It's Renee. With the rock of the chair, her face recedes back into 
the shadows. Her soothing HUM remains.

And again, her face passes into the swath of light. And again it 
retreats.

Geoff raises his hand, reaching out for her.

Renee's hand rises from the shadows, reaching for him.

But suddenly, THE ROOM BEGINS TO STRETCH.

The rocking chair and the bed seem distanced like polar extremes, 
mother and son hopelessly separated by forces beyond their 
control.

LIGHTNING FLASHES in the bedside window. Renee is falling farther 
and farther away.

				GEOFF
		Mom!!!

Geoff leaps from his bed as the darkness closes in and...

GEOFF

bolts up from his pillow. Awake now, face wet with perspiration. 
It was a nightmare. Except, if it was a nightmare, why do we still 
hear...

...the steady CREAK of the rocking chair.

Geoff slowly turns his head once again, repeating the actions of 
his dreams.

In the shadows, the chair is still rocking. As it comes forward 
into the moonlight, we see ZOWIE, curled up asleep on the seat of 
the chair.

Tiger is not on the bed anymore. She's up on top of the bookcase 
now, wide awake, eyes fixed on the dog. She HISSES.

Geoff stares at the rocking chair, petrified.

INT.  CHASE'S OFFICE - DAY

Chase strips off the bandage over Zowie's rear end. The wound is 
gooey and open.

Geoff reads the concern in Chase's expression. Drew is right there 
at Geoff's side, looking on.

				DREW
		What's the deal?

				CHASE
		I don't know. He's had three
		days. His immune system should've
		responded by now...

Chase puts on his stethoscope and checks under the dog's rib-cage 
for a pulse. He checks a number of places, then shakes his head, 
totally confused.

				CHASE
		I can't seem to find a pulse... it
		must be so weak, it's not
		registering...

Geoff and Drew share conspiratorial glances as Chase sets the 
stethoscope aside and extracts a blood sample.

Chase labels the capped vial of blood "ZOWIE" and carefully places 
it into a packing container. When he closes the lid, we see the 
preaddressed label:

			UNIVERSITY OF MAINE
		School of Veterinary Medicine
			Lab Samples Enclosed

Uncomfortable with Chase's investigation, Geoff reaches for Zowie.

				GEOFF
		We'll take him back to the
		kennels, Dad.

78A   OMITTED

INT.  BOARDING AREA - DUSK

THE KITTENS ARE HISSING, shrinking to the back of their kennel.

Zowie stands motionless before their cage, gazing in at them.

Geoff and Drew are nearby, putting the finishing touches on the 
bedding inside a larger boarding kennel.

				GEOFF
		You think my Dad'll figure out why
		he's not getting better?

				DREW
		You think he'd believe it if he
		did?

One of the kittens SPATS fearfully at Zowie. Geoff turns to stare 
at Zowie.

				GEOFF
		How can he not have a heartbeat?

				DREW
			(worried)
		Maybe it takes a while...

Drew lifts Zowie into the kennel. Geoff secures the door, 
something that clearly must be done from the outside.

Zowie immediately begins to pace back and forth inside the cage. 
He turns towards us and we...

								CUT TO:

EXT.  TOWN, CHASE'S OFFICE - NIGHT

A SNARLING WEREWOLF rushing at us.

Chase jumps back, frightened out of his wits and we realize...

The werewolf is part of a group of COSTUMED KIDS out trick-or-
treating. The kids LAUGH at Chase's reaction and hurry on, 
dragging their candy loot bags behind them.

Chase sighs and turns to lock the office door. He's closing up for 
the night.

He climbs into his Mobile Vet Van. We HOLD ON the new sign in the 
back window: "A HALLOWEEN TREAT. FREE KITTENS." Beneath that is a 
pencil-sketch of a black arched-back kitten.

INT.  GEOFF'S HOUSE - NIGHT

Marjorie and Geoff are at the kitchen table with the remnants of 
dinner. Geoff is doing last-minute touches on his costume.

Marjorie looks over his costume. He's got a hockey mask pushed 
back onto the top of his head.

				MARJORIE
		So who're you going as, Wayne
		Gretzky?

For effect, Geoff slips the hockey mask down over his face before 
answering.

				GEOFF
		I'm going as Jason.

				MARJORIE
		Jason? Who's he play for?

				GEOFF
		He doesn't. He hacks people up.

Geoff checks his watch.

				GEOFF
		I'm late.

As Geoff heads for the door, Chase is just coming in for the 
evening.

				CHASE
		Hey! Where're you off to?

				GEOFF
		I'm going out, Dad!

Geoff ducks out the door. Chase turns to Marjorie.

				CHASE
		Out?

				MARJORIE
		He's probably going up to the Pet
		Sematary. Kids've been going out
		there on Halloween night for
		years.

				CHASE
		What do they do up there?

				MARJORIE
		Oh, you know... drink beer, tell
		ghost stories. They try and spook
		each other out, talking about
		zombies and things...
			(she shrugs)
		It's no big deal, Chase. I did it
		when I was young.

INT.  DREW'S HOUSE - NIGHT

Drew is at the bathroom mirror.

				AMANDA
		Hold still. Hold still.

Amanda puts the finishing touches of color on Drew's lips. She's 
done an alarmingly good job of turning Drew into THE JOKER.

				AMANDA
		You make sure you're home by ten.
		If Gus finds out I let you go...

				DREW
			(sighs)
		I'll be home, Mom. Don't worry.
		I won't let Gus blow up again...

Amanda looks Drew straight in the eyes.

				AMANDA
		Drew, I know Gus isn't your
		father, but you never even knew
		your real father. He walked out
		on the both of us, and you
		remember that.
			(beat)
		Gus isn't that way. He has it in
		him to love us both. You just
		have to give him a chance...

Drew nods respectfully. Amanda gives him a kiss. Drawing back, she 
rubs out the lipmarks she's left on his made-up cheek.

83    OMITTED

EXT.  PET SEMATARY - NIGHT

Dark clouds paint the foreboding sky. A broken pulse of lightning 
streaks through the dense haze.

Abandoning their bikes next to the path, Drew and Geoff approach 
the archway. The graveyard beyond is deathly silent.

They pass beneath the archway, entering the clearing.

And now, a soft, chilling VOICE drifts over the graves.

				VOICE (O.S.)
		Geoff, honey. Mommy's here...

Geoff freezes in his tracks, awestruck as...

A WOMAN'S BODY

swoops down from the darkness above, materializing out of nowhere. 
A fluttering negligee. Flowing blonde hair.

RENEE'S FACE appears out of the shadows, masked with sadness.

Geoff swallows the lump in his throat.

Renee's form keeps coming. But even as she approaches, her visage 
grows less distinguishable. Just a phantom countenance now. A 
shadow framed by golden hair, resting atop a veiled body...

She's coming so fast that she's upon Geoff in no time. He fumbles 
back, startled out of his wits...

THE BODY is upon him now, flailing wildly. Geoff thrashes and 
struggles, screaming bloody murder.

Gradually, he realizes the body isn't fighting back. Geoff eases 
his struggle, lets his scream fall off.

Now he hears wild, mischievous LAUGHTER.

Drew pulls the body away. It's just a heavy wad of stuffed 
clothing: A DUMMY dressed in a negligee, capped by a blonde wig. 
It dangles near the end of a slanted wire.

Clyde, Stevie, Brad, and a half dozen other costumed KIDS appear 
from the nearby cover of bushes, doubled over in laughter.

Clyde tugs at a piece of twine that's connected to the back of the 
dummy's head and makes spooky sounds. The dummy jumps around on 
the slanted wire.

Clyde drops the dummy and saunters forward.

				CLYDE
		Look at this, Junior here
		practically shit his pants.

Clyde drops down, nose to nose with Geoff, who's still recovering.

				CLYDE
		Maybe you're too chicken to hang
		out with the rest of the boys.
		You gonna run home to Daddy now?

Geoff brushes himself off and rises to his feet. He stares into 
Clyde's eyes.

				GEOFF
		Fuck off.

Geoff pushes past Clyde and moves on into the graveyard, somehow 
managing to keep his dignity intact.

Drew follows, then the rest of the boys, leaving Clyde staring 
after them, standing alone with the dummy.

EXT.  DREW'S HOUSE - NIGHT

Gus' squad car slows to a stop outside. Gus swings open the door 
and ambles toward the porch.

INT.  DREW'S HOUSE - NIGHT

Amanda draws back from the window, mortified. She nervously 
crosses to the refrigerator and grabs a beer, turning as Gus 
enters.

				AMANDA
		You're home early.

				GUS
		Nope. Just ran out of smokes.

Gus opens a kitchen drawer and fishes for a pack of cigarettes. He 
fires one up.

				GUS
		Where's the boy?

Amanda squirms.

				AMANDA
		Uh... in his room...

Gus tightens his brow, casting a suspicious eye.

A sickened look flushes through Amanda as Gus pulls his eyes away 
from her and marches upstairs.

				GUS (O.S.)
		DREW!

His feet POUND down the hallway. Silence for an instant. Then the 
powerful swing of Drew's door. Followed by Gus' hastened return 
down the hallway. And as he hustles down the stairs...

				GUS
		God damn it, Amanda! You want me
		to be a father to the boy, and as
		soon as I lay down the law, you
		let him break it!

Gus stops before Amanda.

				GUS
		Where is he?

One step away from terror, Amanda shakes her head. Gus loses his 
patience. He rips the can of beer from her grip and sends it 
flying across the room.

				GUS
		WHERE IS YOUR SON!?

Amanda sighs in quiet defeat.

				AMANDA
		The Pet Sematary.

Gus turns away and heads out the door.

EXT.  DREW'S HOUSE - NIGHT

Wheels spin as Gus' squad car streaks off into the night. The 
cherry top glows to life, bombarding the countryside.

EXT.  PET SEMATARY - NIGHT

By now, nearly TWO DOZEN COSTUMED KIDS have gathered at the Pet 
Sematary. In the midst of the graves, a small story-telling 
campfire burns. A number of the boys sip beer, trying to pretend 
that the bitter after-taste doesn't bother them.

Clyde sits up front. At fourteen, he's the elder statesmen of the 
group. With a beer in one hand, and a cigarette in the other, 
Clyde is just finishing up a spooky yarn.

				CLYDE
		...yeah, that old Louis was one
		sick fuck... digging up little Gage
		like so, maggots pouring out of
		that kid's eyes...

Clyde whistles. He drags on his cigarette and puffs out a smoke 
ring. Sees he still has an audience.

				CLYDE
		Ellie was the only Creed that
		lived. Then one night a few
		months later, Ellie freaks out,
		and she hacks up her grandparents
		with an axe!
			(beat)
		Police found her licking their
		brains off the blade... They
		locked her up in a psycho ward and
		all she said were two words: 'Pet
		Sematary. Pet Sematary.'

Clyde stares at the wide-eyed kids. He grins, takes a swig of 
beer, and moves in for the kicker.

				CLYDE
		Oh yeah! Almost forgot! Here's
		the best part. Two nights ago she
		escapes. Word is, she was heading
		for Maine. Man I hope she doesn't
		show up out here.
			(feigning concern)
		Shit, we wouldn't even notice her,
		not if she's wearing a costume.
		She could be one of us...

Clyde casts a suspicious eye on the group. The kids uneasily look 
at each other, making sure they know who's behind each and every 
costume.

Suddenly Clyde drops his jaw in exaggerated horror.

				CLYDE
		Oh my Goddd!!!

Clyde lifts a trembling finger, pointing beyond the group of 
spellbound listeners.

				CLYDE
		It's... It's...

The kids are afraid to turn around, assuming Clyde's rigged up 
some unspeakable terror...

And for an instant, a look of real horror washes over Clyde's 
face...

A FIGURE

Is coming up the path beneath the archway, rising out of the 
swirling mist. A frightening silhouette, backlit by the moon.

But then Clyde realizes who it is.

				CLYDE
		Shit! It's Drew's Dad. It's
		fuckin' Gus!

Drew and the others quickly turn around, realizing it's not part 
of the punch-line scare.

89    OMITTED
THRU
91    OMITTED

EXT.  PET SEMATARY - NIGHT

The kids quickly scramble for hiding places in the bordering 
brush, dropping their beer cans as fast as they can.

As Drew leaps to his feet, he upsets the fire, knocking one of the 
logs. A FLAMING EMBER rolls to the base of one of the brittle old 
crosses.

Drew and Geoff run for it.

EXT.  PATH, ARCHWAY - NIGHT

Gus moves quickly up the meandering path, sending the blinding 
beam of his flashlight over the graves.

				GUS
		You boys better not be drinking!

EXT.  PET SEMATARY - NIGHT

Through the thick woods, Drew is flanked by Geoff and Clyde.

				DREW
		Oh man, he's gonna kick my ass...

Drew starts to take off. Clyde trips him on his first stride. Drew 
hits the dirt.

				CLYDE
		Thanks for fucking up our
		Halloween, dumbshit!

Clyde recedes into the woods as Gus approaches the campfire. He 
scans the area with his flashlight, illuminating the various beer 
cans.

				GUS
		Drew, you get your ass out here!
		Front and center!

Geoff pulls Drew to his feet.

Gus passes the flashlight over the woods. Kids duck away, 
retreating from their hiding places...

The flashlight sweeps toward Drew.

Drew freezes, spotlighted by Gus' beam. A burst of LIGHTNING 
floods Drew's horrified face.

				GUS
		Get out here, Joker.

Geoff remains frozen in the woods nearby, out of Gus' light.

Behind Gus, the wooden cross is completely on fire now.

				GUS
		You out here making a fool of me?

Drew shakes his head in instant denial.

				GUS
		I'm warning you, buddy! You don't
		play by the rules, I'm gonna
		shadow your ass for eternity!

Drew makes a break from his spot in the woods. He weaves through 
the markers, arcing around the outer perimeter to avoid Gus...

...but Gus is quicker. He zigzags through the crosses and 
headstones to intercept Drew.

Gus gets a handful of Drew's collar and yanks him in.

				GUS
		You little shit!

Gus draws his free arm back and smacks Drew across the face. Drew 
goes down.

GEOFF

is looking on from the woods, horrified. Torn...

DREW

cowers on the ground, trying to scramble away.

Geoff bolts out into the firelight, staring defiantly at Gus in 
silent accusation.

Gus is beyond furious. LIGHTNING flashes again.

				GUS
		You get out of here, Geoff
		Matthews! This is between me and
		my boy!

Geoff doesn't move. Gus starts to advance forward...

...but the GROWL emanating from the woods gives him pause. 
Everyone turns...

A RUSTLING is heard in the bushes, and Zowie emerges into the 
building firelight, flashing his fangs at Gus. His eyes GLOW RED.

Gus freezes, studying Zowie.

Zowie inches forward, poised for the attack.

				GUS
		Call off your dog, Drew.

Drew shifts his eyes from Zowie to Gus, too terrified to heed such 
a command.

Zowie brushes past Drew and Geoff, moving in on Gus.

Gus' eyes shift to burning cross at his side. With a swift boot, 
he kicks over the cross and presses it into his grip.

Swinging the cross like a primitive weapon, Gus connects with the 
side of Zowie's head.

Zowie spins a full circle from the impact. But he lands on all 
fours. Unphased. Taking the next step toward Gus. There's 
something clearly not of this world in Zowie's vicious stare.

				GUS
			(terrified)
		Drew, call him off!

All Drew can manage is a faint appeal.

				DREW
		Zowie...

Zowie goes for Gus, launching into the air...

				GUS
		DREW!

...and sinking his glistening fangs into Gus' neck.

AN ERUPTION OF BLOOD showers the closest headstone.

Gus comes helplessly tumbling down with the weight of the dog. His 
SCREAMS are suddenly cut short as Zowie rips out his throat. His 
arms flail weakly at his sides, then grow still.

Drew and Geoff stare at the scene, wide-eyed with shock.

Zowie looks up from Gus' neck with dripping, red fangs. For a 
moment, his eyes settle on Drew. Then Zowie bolts off, 
disappearing into the night.

				DREW
		Oh, God. Oh, God...

Drew's eyes shift to Geoff, whose face is flushed with sickened 
fear.

				GEOFF
			(a whisper)
		Is he dead?

In dazed shock, Drew moves in for a closer look at the body.

Gus' eyes are wide open. Blood is still pumping in rhythm from his 
jugular with each weakening beat of his heart. It's a gruesome 
image against the roaring fire.

Drew kneels at Gus' side. He wants to touch him. To shake him 
awake, but with every attempt, he draws his hand back.

				GEOFF
		Is he breathing? Can you hear him
		breathing?

Drew leans forward, turning his ear toward Gus' gaping mouth. And 
as he inches closer...

GUS' FINGERS TWITCH

His hand jerks up and closes around Drew's neck. Gus stares up at 
him with his crazed menace.

Drew SCREAMS. His fingers claw at Gus' hand, desperate to pry it 
loose...

...but then, Gus' hand relaxes as his last, dying ounce of 
strength fades away.

Drew shrinks back, crouching over the lifeless body as the blazing 
firelight dances over it. He turns his tear-filled gaze to Geoff.

				DREW
		Oh man, Geoff... we killed him...
		we killed him...
			(beat)
		What're we gonna do?

Geoff draws closer and looks down into the dead man's face.

				GEOFF
		We could bring him back.

Drew's eyes widen at the suggestion.

And now, GAZING DOWN on Gus' body, and on the boys, WE PULL UP 
INTO A SLOW SPIRAL...

We move ever higher, until we are LOOKING DOWN UPON THE ENTIRE PET 
SEMATARY. At the SOUND of a shovel cutting into rocky soil, we...

								CUT TO:

95    OMITTED

EXT.  MICMAC BURIAL GROUND - NIGHT

Three quick shots:

A SHOVEL sinking into the earth.

GUS falling head down into the grave, landing with a heavy THUD.

SOIL covering Gus' lifeless face.

EXT.  DREW'S HOUSE - NIGHT

Amanda is pacing back and forth on the porch, checking her watch 
every few steps. She sighs with relief as...

Drew appears from the darkness of the woods.

Drew dismounts his bike and carries it up the front porch steps, 
strangely silent. His clothes and face are caked with dirt.

				AMANDA
		Jesus, Drew, do you know what time
		it is? Did Gus ever find you?

Drew moves on past her into the house.

				AMANDA
			(calling after him)
		Drew? Drew, what happened?

				DREW
			(trying not to lose
			it)
		Nothing happened, Mom. We just
		ditched Gus, that's all...

Drew pauses and stares out into the unknown darkness of the night.

INT.  GEOFF'S HOUSE - NIGHT

Chase is in the study, perusing some files. He looks into the 
hallway as Geoff arrives home, then glances at the clock. It's 
late. Very late.

Chase rises. He's both angry and relieved. Right now, though, the 
anger's winning out.

				CHASE
		Were you drinking?

Geoff absently shakes his head. He slumps back against the wall, 
drained from the night's horrors.

				CHASE
		Drew's Mom called hours ago, the
		rest of the kids were back by ten.
		Where the hell were you boys?

Geoff shrugs, trying to mask his uneasiness.

				GEOFF
		Just out.

				CHASE
		"Out." Well that's great, Geoff.
			(beat)
		Look, I've been letting you get
		away with a lot these past few
		weeks, but I'm not going to stand
		for crap like this. I don't care
		if it's Halloween... it's a school
		night, and if you do this again...

				GEOFF
			(cutting him off)
		I'm really tired, Dad... can I just
		go to sleep?

Chase stops and looks at his son. Geoff's exhaustion is self-
evident.

				CHASE
			(sighing)
		Go on... we'll talk about this in
		the morning.

Geoff nods and heads for the stairs.

INT.  GEOFF'S ROOM - NIGHT

THE CLOCK is creeping up on 2AM...

THUNDER rumbles outside in the distance and rain starts to spatter 
the window panes.

Geoff's eyelids fall beneath unbearable weight and he nods off to 
sleep. Tiger is sprawled out on the blanket against his chest. 
Slowly, we move back towards the window...

In a flash of LIGHTNING--

GUS' FACE

APPEARS OUTSIDE. Washed in the haunting white glow. Streaked with 
mud. Caked with blood. Staring in at Geoff.

Geoff is jolted awake by the delayed clap of THUNDER and whips his 
gaze to the window. Before he can focus...

...the pulse of lightning fades away. And with it, Gus' face. Only 
darkness remains beyond the window pane.

Geoff returns his gaze to the bedroom, unaware of Gus' appearance. 
He sinks back to his pillow, already hurtling towards sleep once 
more.

EXT.  DREW'S HOUSE - NIGHT

MOVING IN ON the house, WE SINGLE OUT a rain-obscured window on 
the ground floor, the window to Drew's bedroom.

INT.  DREW'S ROOM - NIGHT

Drew is sound asleep, curled up under the sheets. He clutches his 
pillow like a life preserver.

				GUS (O.S.)
		Drew!

Drew's eyes flutter open. He turns towards the window. Now, he 
hears some activity outside. And then Gus' hushed voice.

				GUS (O.S.)
		Drew, buddy. I lost my keys.

Drew goes saucer-eyed. He swallows the swelling lump in his throat 
and rises from his bed.

INT.  KITCHEN - NIGHT

Drew steadies his quivering fingers just enough to sink the key 
into the deadbolt on the back door. Drawing the CREAKING door 
open, he gazes out back.

				DREW
			(scared shitless)
		Gus?

Nothing moves outside. The longer Drew watches, the more eerie 
each shadow becomes. Spooked, Drew steps back inside, quickly 
closing the door. He locks it back up again.

When he turns around, he's face to face with GUS.

Drew stiffens, backing into the wall.

				DREW
		H-how'd you get in?

Gus offers a nightmarish grin and raises his hand, dangling his 
keys.

				GUS
		Found 'em.

Drew's eyes follow a flow of blood from Gus' neck to the floor. 
Gus looks down at his dirty, bloody footprints. He's tracked blood 
all over the linoleum.

				GUS
		I'm makin' a mess of your mother's
		kitchen floor...
			(beat)
		I need a shower...

Gus turns without another word and heads for the stairs.

Drew's mouth drops in utter astonishment as he watches Gus 
clumsily climbing the stairs.

After a moment, he returns his attention to the bloody kitchen 
floor. Tearing off a wad of paper towels, he wets them and begins 
to mop up Gus' tracks.

103   OMITTED

AT THE MIRROR - NIGHT

Gazing vacantly at his reflection, Gus covers his ravaged throat 
with a gauze strip, wrapping it around the circumference of his 
neck again and again and again.

Behind him, the shower is running, filling up the bathroom with 
steam.

Finishing the dressing off with a sloppy tape job, Gus reaches for 
the pajamas hanging nearby. He lazily buttons the buttons, failing 
to notice their alignment is off. He never did bother to shower. 
He's still covered with mud.

INT.  AMANDA AND GUS' BEDROOM - NIGHT

Gus enters from the steamy bathroom. The shower is still running.

Amanda stirs, sleepy eyes focusing on him.

				AMANDA
		Gus, hon. I'm sorry about
		tonight. You coming to bed?

Gus lifts the covers and climbs in. With him comes the chill of 
death. Gus presses up behind her. His hand moves beneath the 
sheets, finding its way over the curve of her waist, caressing. 
Amanda shivers.

				AMANDA
		God, you're ice cold...
			(turning)
		...and you smell! Lord, what did
		you get yourself into?

It's then that Amanda sees the bandage around Gus' neck. Blood is 
seeping through the gauze.

				AMANDA
		My God, Gus, what happened?

Amanda reaches out to touch him, but Gus stops her hand short of 
the bandage. Instead, he leans forward and clutches one of her 
breasts.

Amanda tries to twist away.

				AMANDA
		Gus... stop it! What's wrong with
		you?!

But Gus doesn't stop. He throws himself on top of Amanda, roughly 
forcing her back onto the bed.

				AMANDA
		Gus!!!

Amanda's hands beat at Gus' face and back, to no apparent effect. 
With one arm forced against Amanda's throat, he rips open her 
nightgown with the other.

We pull away from Amanda's struggles, back to the bathroom. The 
shower running on and on, cloaking the bedroom in steam.

EXT.  ROAD - DAY

Geoff is riding along the highway, his backpack full of school 
books. Drew is waiting on the shoulder ahead. When Geoff 
approaches, Drew hops on his bike, getting up to speed.

WITH THE BOYS - RIDING

Geoff keeps glancing at Drew, waiting for him to say something. 
Drew maintains his enigmatic expression.

				GEOFF
		Well?

Drew nods. Geoff's eyes widen in disbelief.

				DREW
		Picture this... Gus comes down to
		breakfast and he doesn't say a
		word. He even kind of smiles,
		like he forgot he hates me. And
		then you know what he does? He
		serves me an extra helping of
		pancakes...
			(beat)
		I asked him if I was still
		grounded... "no." I asked him if
		you could spend the night, and he
		nods. It's like we're a family.
		A real family.

The words have their own meaning for Geoff, who stares to the road 
ahead in deep thought.

				DREW
		It's weird...

				GEOFF
		What do you mean?

				DREW
		It's like he's not Gus anymore.
		He's different. You know, like
		Zowie...

They share a chuckle that ends in silent uneasiness.

INT.  CHASE'S OFFICE - DAY

Chase enters with a stack of files tucked under his arm. As he 
organizes them in the large filing cabinet with the others, he 
listens to his messages on the answering machine.

The current caller sounds a little annoyed...

				MESSAGE MACHINE
		...Doctor Matthews, this is
		Elliot Rudman at the university.
		I've looked over the blood
		specimen you sent us on canine
		Zowie...

Chase abandons the filing and immediately returns the call. While 
it RINGS...

				VOICE (O.S.)
		Knock, Knock, Doc.

A MOTHER and TWO TODDLERS are standing in the doorway to Chase's 
office, trying not to intrude on his call.

				MOTHER
			(quiet whisper)
		We saw your sign. Are there any
		kitties left?

Chase studies them. They look like decent people.

				CHASE
		Take your pick. They're in the
		boarding area. You can go on
		back.

Chase turns away as his phone call is answered.

				CHASE
		Elliot, it's Chase...

INT.  LAB/INT.  CHASE'S OFFICE (INTERCUT) - DAY

ELLIOT RUDMAN has the phone tucked under his chin, in the midst of 
an autopsy. The WHIRR of the saw drowns out his words as he shaves 
the dome off a dog's skull.

				CHASE
		I didn't get that...

The pathologist turns off the saw. His words become audible.

				RUDMAN
		...I said next time it might help
		if you took the blood sample while
		the animal was still alive...

The comment hits Chase out of left field.

				CHASE
		What?

				RUDMAN
		I don't know what you expected to
		find, Matthews. There's nothing
		wrong with the antigens, nothing
		to indicate an unusual death...

				CHASE
		Wait, there must be some mix-up.
		He was... the dog is alive.

				RUDMAN
		Not this dog. There wasn't enough
		oxygen in those red cells to pump
		life into a flea.

Chase is baffled, speechless.

				RUDMAN
		You took over for Doctor Yolander?

				CHASE
		Yes... why?

				RUDMAN
		Because the last person that sent
		me blood from a dead animal was
		Yolander...

110   OMITTED
THRU
112   OMITTED

INT.  BOARDING AREA - DAY

The kennels have been cleaned up, but the room retains its eerie, 
dimly lit quality.

The DRIP of a faucet reverberates from the far corner.

The mother enters with a toddler clinging to each hand. Their 
smiles fade at the unsettling surroundings. Slowly, they move down 
the row of kennels.

				TODDLER
		Where are the kitties?

INT.  CHASE'S OFFICE - DAY

				CHASE
			(into the phone)
		Look, this is ridiculous...

Suddenly, BLOOD-CURDLING SCREAMS pierce the air. Chase drops the 
phone and rushes out of the office...

INT.  BOARDING AREA - DAY

The toddlers are screaming at the top of their lungs. Mom is 
burying their heads in her dress.

Chase bursts in as the mother hastily retreats for the exit. Her 
horrified eyes flash by Chase. In an instant, she and the toddlers 
are gone.

Chase remains alone, moving down the long row of kennels with 
mounting trepidation...

Zowie's cage is empty.

Chase shifts his troubled gaze to the...

DRIP DRIP DRIP... as a PUDDLE OF BLOOD forms on the floor.

Chase raises his eyes...

THE KITTENS' KENNEL -

Nothing but bloody ribbons of torn flesh are left of the kittens, 
dangling from the grid gate. DRIPPING.

Chase looks away as a new level of fear runs through him.

				CHASE
		Jesus...

It's too gruesome even for a man of Chase's background. Fighting 
the gag reflex, he searches the room for the missing dog...

...and then he spots the broken glass window vent along the floor. 
And the pile of blood-spattered shards laying on the tile.

EXT.  SCHOOL, STREET - DAY

Clyde, Stevie, and Brad are loitering near the front bike racks. 
Clyde's smoking away.

As Geoff and Drew come out of the school, the trio moves to 
intercept them.

				CLYDE
		Hey!

Just then, Chase's van pulls at the curb, interrupting whatever 
trouble was about to happen.

Clyde looks from the van to Geoff, and falls back.

				DREW
		Saved by the bell...

Chase hurriedly rolls down the passenger window as Geoff and Drew 
approach.

				GEOFF
		Can I sleep over at Drew's
		tonight?

Chase is preoccupied with other concerns.

				CHASE
		Yeah... that's fine...
			(beat)
		Listen, Drew, I got the tests back
		on Zowie. He's not well. Don't
		ask me how, but he got out this
		afternoon...

Geoff and Drew exchange concerned looks.

				CHASE
		If he finds his way home, call me,
		no matter what the hour, okay? And
		don't try to approach him.
		Whatever he's got might be 
		infectious. Understand?

The boys nod their heads.

Chase masks his anxiety with a weary smile. With a wave, he speeds 
up, leaving the boys.

INT.  CHASE'S VAN - MOVING

A MAP of Maine is unfolded on the passenger seat. Chase is on the 
car phone.

				CHASE
		Can I have the address for Quentin
		Yolander?

Chase jots an address down on the map. He turns the van up a 
mountain road, winding through the towering pines.

EXT.  YOLANDER'S CABIN - DAY

A remote, rustic dwelling nestled into the desolate backwoods.

INT.  YOLANDER'S CABIN - DAY

QUENTIN YOLANDER rocks back in his thick hide chair. His world is 
closed off from daylight by the extensive blinds.

He's holding a SMALL POODLE in his lap. Its big brown eyes are 
staring back at him.

				YOLANDER
		You'd be so much more interesting
		with blue eyes...

And now, ONE OF THE POODLE'S EYES POPS OUT. Yolander's finger 
comes through from beneath the eye socket.

On closer examination, WE REALIZE that the dog is not alive at 
all. Yolander has his hand inside the hollowed-out carcass.

He carefully looks over a container of glass eyes on his desk and 
selects the right shade of blue. A shot of whiskey rests nearby.

Yolander reaches up into the poodle's belly and fits the blue eyes 
securely into place.

There's a KNOCK at the door. Yolander ignores it. Maybe he's deaf. 
Another KNOCK. Yolander turns towards the door, annoyed at the 
intrusion. And behind that annoyance, there's a touch of madness.

PULLING BACK, we see the rest of the room. Stuffed animals are 
crowded from floor to ceiling. A product of Yolander's obsession 
with TAXIDERMY.

				YOLANDER
		I'm immortalizing a poodle. State
		your business!

Yolander presses some stuffing into the poodle's gut and begins to 
sew up the stomach.

				CHASE (O.S.)
		Doctor Yolander. This is Chase
		Matthews. I've moved into your
		offices in Ludlow...

Yolander's attention remains on the needle as he meticulously 
stitches the belly.

				CHASE (O.S.)
			(continuing)
		...I sent a blood sample out for
		analysis. They tell me I sent
		them the blood of a dead animal...

At this, Yolander breaks his concentration. The needle pricks his 
hand. Blood oozes from the puncture, dripping onto the dog's 
stomach.

				CHASE (O.S.)
		...a dog...

Yolander rises from his seat and swings open the door.

Chase stands in the doorway, startled. It doesn't take a genius to 
figure out that the good Doctor is drunk.

				YOLANDER
			(glaring)
		Why are you bothering me about
		this? Can't you leave it be?

				CHASE
		I... um...

Chase glances to the right and steps back...

A BOBCAT

is perched nearby, frozen in mid-pounce. It takes a second for 
Chase to register that the bobcat has been stuffed.

Now Chase sees the rest of the room... a whole zoo of stuffed 
animals, looking like a rural version of the Bates Motel.

				CHASE
			(momentarily thrown)
		...the pathologist... he said that
		you had reported a similar 
		incident... with a cat...

				YOLANDER
		The Creed cat, that's right.
		Bastard's name was "Church".
			(grins)
		Let me guess. Your dog's tissue
		isn't healing, pupils aren't
		dilating... maybe you can't find a
		heartbeat?

				CHASE
		Exactly! I thought it might be
		some sort of blood condition...
		immune deficiency or...

Quentin Yolander laughs. It's disconcerting.

				YOLANDER
		There's no "blood condition." The
		dog isn't sick, it's dead.
			(drawing closer)
		And so was Creed's cat. And so
		was his wife the night she was
		killed for the second time...

As Yolander moves forward, Chase backs up. He bumps into a whole 
shelf of stuffed creatures. To his right, A RAVEN sits frozen on 
its perch. Chase regards Yolander as being completely insane.

				YOLANDER
			(menacing)
		You want some advice, friend? You
		get in your car, you pick up your
		family... and you get the hell out
		of that town.

				CHASE
		Well... uh... thanks...

Chase continues to back out of the door. On his way out, he bumps 
into the stuffed raven's perch...

...only this raven isn't stuffed. It spreads its wings and 
SCREECHES.

Chase just about jumps out of his skin, tripping out of the 
doorway.

116D  OMITTED
THRU
116F  OMITTED

EXT.  DREW'S HOUSE - NIGHT

Gus reaches into the cage and grabs a rabbit by the ears. He 
casually snaps the neck. Laying the limp carcass on a stump 
cutting board, he quickly skins it.

Hanging above the cages, there is now a line of furry pelts. Half 
a dozen.

Drew and Geoff are on the porch, looking on.

				DREW
		I guess we're having rabbit for
		dinner.

Gus hangs the freshly skinned fur to dry and violently snatches 
another hare from the cage.

INT.  DREW'S HOUSE - NIGHT

The dinner from Hell. Geoff splats a helping of mashed potatoes 
onto his plate, all the while keeping a wary eye on Gus...

Gus is serving himself a chunk of rabbit. It hits the edge of the 
plate, teetering on the rim. He passes the dish on.

Gus meets Geoff's gaze. For a moment, there's a deadened, vacant 
look in Gus' eyes. Then slowly, a limp smile creeps over him, 
sending a chill up Geoff's spine.

Geoff averts Gus' stare. Gus helps himself to potatoes and passes 
the plate on. He lets go of it short of reaching Drew. Only Drew's 
quick hands save it from hitting the table.

Amanda comes to the table with a dish of LIMA BEANS. She casts Gus 
a cold, hateful stare and sets the limas down. She's still angry 
over last night.

Gus dishes a sloppy scoop and passes it toward Drew. Like before, 
he lets it drop too early. This time Drew doesn't save it. The 
lima beans shower the floor.

				AMANDA
		God damnit, Gus! This isn't
		funny!

Amanda fetches a dishtowel and kneels to clean up the mess.

Geoff and Drew exchange quick glances. As Geoff reaches for the 
salt...

...Gus intercepts his wrist. Geoff gulps.

Gus drops his jaw, revealing a gooey mass of food. But the frozen 
smile and the look in his eyes convey dementia rather than 
playfulness.

Geoff and Drew can't believe their eyes. They laugh uncomfortably. 
There's no other response.

Gus LAUGHS too... awkward, terrible laughter. Spitting out food 
over his shirt and plate as he does so.

The boys stop laughing, but Gus just keeps on going.

Amanda stares at Gus and carries the mess out of the room.

Through his laughter, Gus' bandage has slipped down, exposing part 
of his ragged wound. The wound glistens, oozing CLOTTED BLOOD and 
GOOEY PUS.

Drew hesitantly reaches for Gus' neck, readjusting the bandage.

Grossed out, Geoff averts his eyes and sets his fork aside.

INT.  DREW'S ROOM - LATER

Geoff and Drew enter. Drew swiftly secures the deadbolts on his 
door.

				GEOFF
		What was that all about? You
		think he's trying to scare us?

				DREW
		I don't know but I'm not taking
		any chances...

Drew opens the chest at the foot of his bed and produces a 
SHOTGUN. A box full of shells spill as he withdraws the gun. 
Cracking open the chamber, Drew loads two shells into the chamber.

EXT.  COUNTRYSIDE - NIGHT

A moonlit horizon. Unmoving. Silent. The kind of silence that 
pulls at the darkest recesses of imagination.

And now, A LONE FIGURE appears on the horizon. It's Zowie, moving 
at a deliberate pace.

ATOP A KNOLL

Zowie takes pause. The TINKLING of his collar tags resumes as he 
drops over the horizon line, cutting down the hill.

INT.  CHASE'S HOUSE - NIGHT

Chase sits in the den, looking exhausted and disheveled. In front 
of him, the t.v. is on. RENEE'S FACE stares out at us. Chase hits 
the remote and rises, moving to the back door.

He checks the deadbolt, then secures the chain link as a backup. 
From somewhere outside, we hear a DOG HOWL.

Chase's eyes drop to the DOGGY DOOR, a holdover from the previous 
owner. Chase bends down and latches the door.

Now he pauses at his desk... considers... then pulls something out 
of the bottom drawer. It's a gun.

INT.  HALLWAY - NIGHT

Chase moves to the front of the house, securing that door. 
Satisfied, he turns off the light and heads upstairs...

WE STAY AT THE FOOT OF THE STAIRS -

MOVING INTO DARKNESS, shadow and form begin to take shape. We hear 
a low GROWL and see a flash of RED EYES. It's Zowie. Already in 
the house.

123   OMITTED

INT.  CHASE'S BEDROOM - NIGHT

Coming through the door from the downstairs, Chase stops cold.

RENEE is on the bed. Clothed in a negligee. Lying across a blanket 
of rose petals. Her eyes meet his with powerful longing.

				RENEE
		Chase. I miss you so much...

				CHASE
			(dry-mouthed)
		Renee...

Chase approaches. Slowly. Fearful that this is all a dream.

Renee reaches out her hand. They touch. This is not a dream.

				CHASE
		Oh God...

Chase absently sets his gun on the bedside table as Renee draws 
his body to hers.

They kiss. Once. Twice. Not a dream.

Renee rolls Chase over, forcefully climbing on top. Chase sinks 
down into the center of the bed as Renee straddles him.

Slowly, Renee slips off the top of her negligee...

				RENEE
			(a whisper)
		I can come back, Chase...

...and sinks down on top of him, kissing him hungrily.

Her nipples graze his chest, then her breasts flatten as she 
grinds her hips against his.

Almost instantly, the weight of her grows unbearable. Chase fights 
to pull his mouth from hers, to breathe...

				CHASE
		No... Too heavy.

There is no pleasure in his words, just unmitigated horror as 
Renee's body comes down on him harder.

				CHASE
		...can't breathe... I can't...

CHASE'S EYES

pop open, frenzied, AS HE COMES OUT OF HIS DREAM.

Chase is alone on the bed, but he's still feeling the weight 
pressing down on him...

ZOWIE

is laying on his chest, staring back at him, rearing his teeth in 
a growl...

Zowie LUNGES forward, jaws flashing, and Chase twists sideways...

GNASHING TEETH connect with Chase's shoulder, then with the 
pillows where Chase's head used to be. A BLIZZARD OF DOWN FEATHERS 
ERUPTS...

Chase scrambles out of bed, flailing for the gun on the bedside 
table...

THE GUN spins out of reach and across the floor...

Chase DIVES for the gun and reaches it just as Zowie leaps to the 
floor. In a panic, Chase FIRES WILD...

Zowie abruptly turns and SMASHES through the bedroom window, 
sending glass flying.

EXT.  HOUSE - NIGHT

Zowie slides down the room and leaps to the ground below, 
disappearing into the night.

INT.  CHASE'S BEDROOM - NIGHT

Chase looks on in terror. Finally he pulls his eyes away from the 
shattered window...

...and catches a glimpse of something in the dresser mirror. 
Something that sends a chill up his spine.

The flurry of down feathers is floating to the mattress. But 
intermingling with the feathers are a handful of ROSE PETALS, 
slowly settling to the bed.

INT.  BATHROOM - MORNING

Chase is bare-chested at the mirror, applying a dressing to the 
dog bite on his shoulder.

Marjorie appears in the doorway with a basket of laundry. She 
stops short at the sight of Chase standing there in his boxers.

Chase catches her reflection in the mirror and is startled.

				MARJORIE
		I didn't mean to... I was going to
		empty the hamper...

Chase turns, shaking off the scare.

				CHASE
		It's okay.

Marjorie's eyes can't help but fix on the dog bites scattered over 
Chase's chest and arms.

				MARJORIE
		What happened to you?

				CHASE
		I had a little run-in with Zowie.

				MARJORIE
		You sure did...

Marjorie sets the laundry aside.

				MARJORIE
		Here, let me do that...

Marjorie looks over the antiseptics Chase has laid out on the 
sink. Saturating a wad of gauze with hydrogen peroxide, she gently 
cleanses the gashes on his arms.

There's nothing overtly sexual in her actions, but the gentleness 
of her touch doesn't go unnoticed by Chase.

				MARJORIE
		I hope he doesn't have rabies.

				CHASE
		He doesn't. I don't know what he
		has, but I'm hoping to God it's
		not infectious...

Chase stops and looks at Marjorie's reflection in the mirror.

				CHASE
		Marjorie... what do you know about
		the Creed murders?

Marjorie stiffens for a moment. Obviously the Creeds are a sore 
spot for the people in this town.

				MARJORIE
		Did you ever play that game where
		you pass a story down a row of
		people and see how screwed up it
		gets by the time it's done?
		People say Louis Creed's son came
		back from the dead and it drove
		him crazy...
			(she rolls her eyes)
		He killed his wife and himself,
		and that's the end of story.
		Anything else belongs in the
		National Enquirer.

Marjorie tapes the bandage over Chase's shoulder too tight. 
Chase's groan snaps her back to the reality at hand.

				MARJORIE
		Sorry. Now tell me what that has
		to do with Zowie?

Chase closes his eyes, shutting out the pain.

				CHASE
		I wish I knew.

INT.  LIBRARY - DAY

Chase approaches the counter, looking to the ELDERLY LIBRARIAN for 
assistance.

				LIBRARIAN
		What are you looking for, Hon.

				CHASE
		Do you have anything on the Creed
		murders? I can't find the 
		microfilm from that period...

The librarian's smile vanishes. She lowers her voice, focusing her 
attention on some paperwork.

				LIBRARIAN
		We don't keep anything on file
		from that far back.

				CHASE
		But you've got files from the
		previous years...

				LIBRARIAN
		We have nothing on the Creed
		murders, sir. Can I get you
		something else?

Chase looks around and realizes that a dozen hostile eyes are on 
him. TOWNSPEOPLE withholding a dark secret.

Chase slowly backs away, eager to escape the field of hostile 
stares.

127   OMITTED
THRU
129   OMITTED

EXT.  HIGHWAY, COUNTRY BRIDGE - DAY

Geoff and Drew have parked their bikes beneath the bridge. They 
sit on the bank of the creek below, watching the water run past. 
Geoff is lost in thought.

				GEOFF
		Do you think everyone that came
		back would be like Gus?

				DREW
		I don't know...
			(thinking)
		...maybe it depends on what you
		were like before you...

				GEOFF
			(finishing)
		Dies?

Drew nods. He tosses a stone into the creek, then looks up at the 
sun and sighs.

				DREW
		I gotta go back and do my
		chores...

				GEOFF
		Go later...

Drew shakes his head.

				DREW
		I can't. Gus'd kill me if I
		showed up late.

The boys reluctantly rise and move to their bikes, walking them up 
the steep grade to the highway.

				DREW
		See you at school Monday?

Geoff nods. He looks at Drew. The boy is genuinely frightened. But 
there's nothing either of them can do. They're trapped in their 
roles as kids.

Both boys mount their bikes. Drew turns...

				DREW
		You ever think about running away?

				GEOFF
		All the time.

Drew smiles at this. He waves to Geoff and pedals off.

				DREW
			(calling back)
		See ya!

Geoff waves and heads off in the opposite direction.

WE STAY ON DREW -

As he moves down the road. Up ahead, we hear the approaching WHINE 
of a motorcycle...

CLYDE

rips by on an old junkyard fixer-up MOTORCYCLE, and he's heading 
in Geoff's direction.

Seeing him, Drew brakes and pulls his bike into a U-turn, pumping 
furiously to catch up with Geoff.

ON GEOFF -

Now Geoff hears the WHINE of Clyde's motorcycle. He glances 
back...

Clyde's spotted him, REVVING the engine.

Geoff pedals like mad, but it's no use. Clyde is closing in on 
him, grinning sadistically.

Clyde sweeps in next to him, calling out over the ENGINE.

				CLYDE
		Well look who's here!

Clyde veers right, forcing Geoff towards the shoulder of the 
road...

131   OMITTED

132   OMITTED

EXT.  COUNTRYSIDE - DAY

The ground ahead drops toward a ravine. Geoff has nowhere to go 
but down the slope. Clyde is right there beside him...

Laughing, Clyde reaches over and grabs ahold of Geoff's handlebar. 
He jerks it sideways...

				CLYDE
		Oops!

Geoff's front wheel turns perpendicular. The bike pitches forward, 
THROWING Geoff into the dirt ahead...

Clyde broadies his bike to a stop. With the engine idling, he hops 
off.

Before Geoff can get to his feet, Clyde has picked up Geoff's bike 
and planted it upside down in the dirt.

				CLYDE
		Guess your Dad's not here to save
		you now, is he?

Clyde gets a handful of Geoff's collar and drags him over toward 
the bike. With his free hand, Clyde cranks the pedal.

The back wheel spins. Faster and faster.

				CLYDE
		You ever seen a tire take off a
		nose?

Through the blur of the spokes, WE SEE Geoff, eyes widening 
fearfully.

				CLYDE
		Neither have I.

Clyde forces Geoff's face toward the spinning tread.

				CLYDE
		Might even kill ya. Wheel might
		chew right into your brains. You
		could visit your mom.

Geoff tries to get a hold on the frame of the bike for leverage, 
but his arms don't reach beyond the spinning wheel.

Clyde is full of deranged glee, fueled by Geoff's fear.

But now, A HAND grabs the wool scarf streaming from the back of 
Clyde's neck and yanks him off of Geoff.

Clyde reels, finding...

GUS standing there behind him. He looks bad. Real bad. His 
bandages are unwound and his ruined neck is still seeping. His 
face is unearthly pale. He's deteriorated considerably since 
yesterday.

				CLYDE
			(startled)
		Jesus Christ, Gus!

Gus levels a threatening gaze at Geoff.

				GUS
		Go home.

But Geoff remains frozen. Gus fixes him with a stare that could 
turn flesh to stone.

				GUS
		I said... GO HOME!!

Geoff snaps out of it and flips his bike over. He gets a running 
start, making a beeline for the highway without ever looking back.

ON THE KNOLL NEARBY

Drew stops short of the ravine, watching from afar as Gus steps 
toward Clyde.

BELOW -

Clyde throws up his hands. He's frightened, but he tries to muster 
up a cocky front.

				CLYDE
		Come on, Gus, I was just fucking
		with him...
			(nervous laughter)
		What're you gonna do? Give me a
		ticket? I mean, shit, Gus...

Clyde grows increasingly wary of Gus' evil stare. Gus steps 
closer.

				CLYDE
		You can't lay a finger on me...

Wrong. Gus lashes out, backhanding Clyde across the face.

Clyde falls to the ground, flat on his back, with his nose gushing 
blood. Terrified.

Gus turns around and lifts the idling motorcycle. With one hand 
under the back of the seat, and the other working the accelerator 
handlebar, Gus advances toward Clyde.

Gus kicks the bike into gear and REVS the accelerator.

THE REAR WHEEL SPINS. On the pavement it would be moving forty 
miles an hour.

Clyde can't believe his eyes. Pleading.

				CLYDE
		Gus... what are you doing?

				GUS
		I'm just fucking with you...

Gus plants his foot against Clyde's chest, pinning him, and lowers 
the spinning rear wheel TOWARD CLYDE'S NECK. The wheel WHINES like 
a circular saw.

Gus lowers the wheel. Then jerks it away, flashing a sadistic 
smile.

Just when Clyde thinks Gus is backing off, the wheel comes down 
again...

				CLYDE
			(wailing)
		Stop it, man! Stop it!!!

Gus gets into the rhythm as he lowers and retracts the spinning 
wheel at the terrified bully.

But this time, as the wheel comes down...

CLYDE'S WOOL SCARF, defying gravity, gets swept up, swallowed into 
the GEARS.

And along with the scarf, here comes Clyde's SCREAMING face. We 
can only imagine the gruesome instant that follows.

BLOOD sprays up over Gus' arms and chest. And then we hear the 
sound of CRUNCHING BONES jamming the motorcycle's gears.

				GUS
			(dead-pan)
		Whoops.

He bares his teeth in a death's head grin.

ON THE KNOLL

Drew has witnessed the killing. He's mortified.

BELOW -

Gus tosses the bloody motorcycle aside, slowly raising his eyes up 
to where Drew stands. His eyes meet Drew's.

Drew hastily jerks his bike around and takes off.

Gus starts after him on foot.

INT.  DREW'S HOUSE - DAY

Drew rushes through the front door, SLAMMING it behind him and 
throwing the deadbolt.

INT.  BEDROOM - DAY

Drew climbs onto his bed and grabs his shotgun from the gun rack. 
His fingers shake as he flips off the safety.

				DREW
		Oh man...

Just then we hear the CRACKLE of a POLICE P.A. and Gus' amplified 
VOICE coming from the yard outside.

				GUS (V.O.)
			(mocking)
		This is the Police, come out of
		the house with your hands up!

Gus finishes his words with a burst of FEEDBACK and then amplified 
MANIACAL LAUGHTER.

Drew's eyes go wide with terror. He creeps out into the hall, 
clutching the gun.

INT.  HALLWAY - DAY

Drew tries to look out the window. Then we hear a low, guttural 
GROWL. Drew slowly turns...

Zowie is standing down the hall, leveling a dead stare. Zowie 
takes the first step forward.

				DREW
			(horrified)
		No, Zowie! It's me!

Pleading, Drew slowly retreats down the hallway.

Along the way, he backs right into...

GUS, grinning from ear to ear.

Drew recoils against the wall, swinging up his shotgun.

				DREW
		Stay back!

But Gus just keeps on grinning. He takes a step forward...

Drew pulls the trigger...

And CLICK! Nothing happens. The chambers are empty.

				GUS
		Forget something, Drew buddy?

Gus raises his hand. He's holding the shotgun shells. He lets them 
fall to the floor.

Suddenly Gus wrenches the gun from Drew's hands. He swings it 
and...

...Drew SCREAMS and ducks beneath the blow, as the shotgun butt 
SMASHES a hole in the wall above his head. Gus flings the shotgun 
aside and LUNGES for Drew...

Drew races down the hallway to the back door. He turns the latch. 
The deadbolt has been locked from the inside.

Drew's eyes whip to the keyholder on the wall. All the keyhooks 
are empty.

Here comes the JINGLING of keys in Gus' pockets as he comes down 
the hall...

Drew dashes away from the back door.

Gus' eyes shift from Drew's fleeing form to A BOX OF TOOLS in the 
service closet.

AT THE FRONT DOOR

Drew jimmies the knob. Again, the deadbolt is locked from the 
inside. Tears are streaming down Drew's face now.

FOOTSTEPS approach. Drew spins around...

Gus is advancing, WITH A HAMMER tight in his grip.

				GUS
			(crazed)
		You have the right to remain
		silent...

WHAM! Gus SMASHES the hammer into the wall to punctuate his words. 
Plaster goes flying.

				GUS
			(continuing)
		...while I bash your fucking head
		in!

Drew's eyes dart frantically, looking for a way out. The closest 
route of escape is UP THE STAIRS.

Down the hallway, Zowie starts running forward. Drew's caught 
between a rock and a hard place...

				GUS
		You have the right to a lawyer,
		but you won't need one...

He runs for it. Gus charges to intercept him...

Drew gets to the stairs first.

				GUS
		...cause you'll be dead!

WHAM! Gus brings the hammer down with the claw end leading. It 
sinks into the stair below Drew's feet...

Zowie LEAPS past Gus, tearing up the stairs as Gus wrenches the 
hammer free...

UPSTAIRS

Drew makes it to the top of the stairs with Zowie right on his 
heels.

Drew DIVES into Amanda and Gus' bedroom as...

Zowie springs from the floor. Drew SLAMS the door shut, SMACKING  
Zowie. Zowie collapses to the floor, dazed.

INT.  BEDROOM - DAY

Drew throws the latch on the door. Almost immediately, Gus is 
outside, POUNDING at the door with the claw end of the hammer. 
Wood splinters fly as the hammer claw sinks through...

Drew SCREAMS and goes for one of the dormer windows. It's stuck; 
he can't get it open.

From the hallway, Gus violently SMASHES the door again and again. 
The door is splintering apart. WE SEE glimpses of Gus through the 
ragged holes.

				GUS (O.S.)
		Do you understand these rights,
		Drew buddy?!

Drew grabs a chair and HEAVES it through the window...

				GUS (O.S.)
		...OR ARE YOU JUST TOO FUCKING
		STUPID?!

The bedroom door EXPLODES INWARD and Gus claws his way into the 
room...

Wasting no time, Drew climbs through the broken window...

EXT.  DREW'S HOUSE - DAY

Drew slides down the slant of the roof. He hits the lattice and 
takes it to the ground with him.

Untangling himself, he gets to his feet...

...and here comes Amanda, ARRIVING HOME.

Drew runs for her car, waving his hands, throwing himself into her 
path so she'll go no further. She SLAMS on the brakes.

Drew pulls open the passenger door and dives inside...

				DREW
		Gus killed Clyde, Mom! He's
		trying to kill me!

Just then, the BACK DOOR flies open. Gus steps out.

				GUS
		Drew, buddy! Daddy's not done
		yet!

Amanda spots the hammer hanging from his grip. Gus cracks a sick 
smile and FLINGS THE HAMMER at the car...

CRACK! The hammer bounces off the windshield, causing it to 
spiderweb.

				DREW
		Go Mom! Go!!!

That's all the convincing Amanda needs. She puts the car into 
reverse and stomps on the gas...

INT.  CAR - DAY

Speeding down the highway. Drew and Amanda are mortified.

Suddenly, we hear the WAIL of Gus' patrol car coming up from 
behind. Amanda looks to the rear-view mirror...

EXT.  HIGHWAY - DAY

Approaching from the road ahead is a POTATO TRUCK.

INT.  AMANDA'S CAR - DAY

Amanda hips her head back in front of them. The potato truck is 
blaring its HORN.

Gus' car swerves out onto the shoulder, speeding up to match her 
pace.

				DREW
		Mom!!!

Gus cranks the wheel, jumping back onto the road, forcing Amanda's 
car into the path of the oncoming truck.

INT.  POTATO TRUCK - DAY

THE DRIVER stands on the BRAKES.

EXT.  HIGHWAY - DAY

THE POTATO TRUCK COLLIDES WITH AMANDA'S CAR. HEAD ON.

Thousands of potatoes explode from the rear of the truck, 
obscuring our view.

WE HEAR THE HORRIFYING SOUNDS OF CRUNCHING METAL. CRUNCHING BONES. 
AND SILENCED CRIES.

Gus' vehicle speeds past. WE HOLD on the mess of twisted steel. 
Clearly there are no survivors.

INT.  GEOFF'S HOUSE - DUSK

Geoff enters first. Wearing a dark suit. Looking pale and empty 
inside. Chase follows, dressed in black. It's obvious they've been 
to a funeral.

Without a word, Geoff heads up the stairs. Chase watches on, 
feeling utterly helpless.

INT.  UPSTAIRS HALLWAY - DAY

Chase exits from his bedroom, pulling a sweater over a more casual 
change of clothes. He cocks his head at the SOUNDS of Geoff moving 
about in the attic above.

The door atop the attic stairway is barely ajar.

Chase wrinkles his brow, concerned. Turning away, he heads 
downstairs.

INT.  KITCHEN - DAY

Marjorie is preparing dinner. Across the room, the kitchen TV is 
playing...

ON TELEVISION is the evening news. A photo of Drew and Amanda 
appears above the NEWSCASTER.

				NEWSCASTER
		... Friends and neighbors came to
		pay respects for Drew and Amanda
		Gilbert, who died in a head-on
		collision Saturday...

Chase enters the kitchen, eyes moving to the TV.

				MARJORIE
		Those poor people. I saw Gus this
		morning... he looked terrible.

Chase pulls his eyes away from the broadcast as Marjorie sets 
dinner on the table. Chase yells upstairs.

				CHASE
		Geoff, dinner's ready!
			(after no reply)
		Geoff?!

				GEOFF (O.S.)
		I'm not hungry.

Chase gives Marjorie an apologetic look and rises from the table.

Meanwhile, the news broadcast continues. A photo of Clyde appears 
on the screen.

				NEWSCASTER
		...in other news, the
		disappearance of a Ludlow youth
		remains a mystery. Clyde Parker
		was last seen on Saturday
		afternoon. His motorcycle was
		found off Highway 62...

150   OMITTED

INT.  ATTIC - NIGHT

Chase pushes open the door. A spring coil pulls the CREAKING door 
closed behind him. One look at the attic and Chase turns pale...

A huge window at the far end of the room allows the moonlight to 
reach all corners of the spacious old attic...

All of Renee's belongings have been unpacked. The entire attic has 
been converted into a museum-like room, down to the last 
meticulous detail. A room in preparation for Renee's return.

Gauzy curtains billow out from some unseen draft. Pictures of 
Renee rest everywhere. Awards. Memorabilia...

GEOFF is seated before the brightly lit, three-way theatrical 
mirror, casually setting out Renee's make-up.

				CHASE
		Geoff... what are you doing?

There's an obsessive dementia in Geoff's gaze.

				GEOFF
		I'm getting things ready for Mom.

Chase sighs. Obviously the strain of Drew's funeral has proven too 
much for Geoff. He moves closer.

				CHASE
			(gently)
		Mom is dead, Geoff. You know
		that...

A creepy smile flickers across Geoff's face.

				GEOFF
		She doesn't have to be.

Chase freezes as a chill runs up his spine.

				CHASE
		What are you talking about?

				GEOFF
		I can bring her back. The same
		way Drew and me brought Zowie
		back...

At this, Chase is positively spooked.

				CHASE
		Geoff, this is crazy. Zowie
		didn't die.

				GEOFF
		He did. We buried him.
			(intense)
		There's a place out in the
		woods... if you bury something
		there, it comes back alive.

Chase stares at his son. This is insane. It must be.

Just then, the PHONE RINGS downstairs. Geoff continues to stare at 
his father.

				GEOFF
		We tried it on Zowie first. And
		then we did it again, when Zowie
		killed Gus. Drew didn't want Gus
		to be dead, so we brought him
		back, too...

It's too much for Chase. His mouth is hanging agape.

				MARJORIE (O.S.)
			(outside the attic
			door)
		Doctor Matthews, you've got a
		call. It's the caretaker at the
		funeral home. Something about
		your wife's grave...

Chase nods in private acknowledgement. He stares at Geoff as he 
backs away.

				CHASE
		Look, Geoff. Just... just relax,
		okay. I'm going to take this call
		and I'll be right back. Okay?

Geoff doesn't respond. Chase pulls open the door and leaves.

INT.  KITCHEN - NIGHT

Chase is on the phone. The CALLER'S WORDS bring grave concern to 
Chase.

				CHASE
		What?! Christ, I'll be right
		there...

Chase hangs up, stunned. He turns to Marjorie, who's watching him 
with a concerned gaze.

				CHASE
			(hurried)
		Marjorie, I need you to stay late.
		Geoff is really upset and I have
		to take care of this. Don't let
		him leave the house, alright?

Chase is out the door before she has a chance to respond.

151B  OMITTED
THRU
151F  OMITTED

INT.  ATTIC - NIGHT

Geoff is laying on his mother's bed, weeping. Tiger sits at the 
foot of the bed. Suddenly she wakens and HISSES.

From out of the darkness...

RENEE'S HAND

ENTERS FRAME, gently touching Geoff's side. And with its arrival, 
so comes her eerie LULLABY.

				RENEE
			(a whisper)
		I need you, Geoff...

GEOFF

slowly raises his head, bewildered. Renee's hand withdraws into 
the darkness. He reaches out for her, but she's gone. The LULLABY 
remains, beckoning from down the attic stairs.

The attic door slowly swings open of its own accord.

Geoff rises from the bed and follows.

INT.  DOWNSTAIRS FOYER - NIGHT

Geoff looks into the living room as he passes. Marjorie has fallen 
asleep on the sofa with the TV on.

155   OMITTED

EXT.  PET SEMATARY - NIGHT

The lullaby drifts from beyond the deadfall. The fog rolls inward, 
towards the distant burial ground. As Geoff moves towards the 
deadfall, the fog converges around him.

157   OMITTED

EXT.  THE BOG - NIGHT

The lure of Renee's lullaby pulls Geoff deeper into the woods. We 
hear the unearthly ANIMAL HOWL once more.

159   OMITTED
THRU
167   OMITTED

EXT.  PLEASANTVILLE CEMETERY - NIGHT

Chase's van pulls to a stop behind a maintenance vehicle.

Chase is greeted by the limping CARETAKER, who quickly leads him 
off across the rolling hillside.

				CARETAKER
		...sorry to disturb you, Doctor
		Matthews, but I thought you'd want
		to come have a look for yourself.
		It's the damndest thing...

AT RENEE'S GRAVE -

Chase stops cold, gazing at the ground before him in disbelief...

The grave is a gaping cavity. The casket has been unearthed. 
Renee's body is missing.

				CHASE
		Jesus...
			(uncomprehending)
		Gus did this?!

				CARETAKER
			(nodding)
		He stuck around after the funeral.
		Told me he had an order to exhume
		your wife. I didn't think much of
		it until I saw him drag the body
		out of the coffin...
			(shakes his head)
		He put your wife in his truck and
		drove off right through Amanda and
		Drew's headstones...

The caretaker points across the hillside...

TIRE TRACKS cut through the manicured grass, cutting a path of 
destruction right through the field of headstones and on through 
the fence.

				CARETAKER
		I swear, nothing this weird has
		happened since Louis Creed dug up
		his boy...
			(beat)
		You want me to notify the
		authorities?

Chase doesn't answer, he just storms past the caretaker.

INT.  VAN - NIGHT

The van is speeding down the dark, open highway. Chase is on the 
car phone, frantic, waiting as it RINGS. There's finally an 
answer...

				CHASE
		Doctor Yolander, this is Chase
		Matthews, we spoke the other
		day...

Yolander cuts him off.

				YOLANDER'S VOICE
			(bitter)
		You didn't leave town, did you.

INT.  YOLANDER'S HOUSE (INTERCUT)

Yolander sits in the darkness, a bottle of whiskey and a tumbler 
at his side. His "creatures" are all around him, eyes glowing with 
reflected moonlight. His voice is slurred. The voice of someone 
who's already damned.

				YOLANDER
		You sorry bastard. You stayed. I
		have nothing more to say to you,
		Matthews...

				CHASE'S VOICE
			(desperate)
		Look, just tell me one thing. Did
		I treat an animal that had been
		brought back to life? Did I?!

				YOLANDER
		What do you think?

INT.  CHASE'S VAN - NIGHT

Chase grips the carphone tightly, his knuckles white.

				YOLANDER (V.O.)
		Believe what you saw, Matthews.
		The dog was dead.

				CHASE
		My God...
			(mounting horror)
		...how is that possible? You have
		to help me, Doctor Yolander. I
		don't know what I'm dealing with
		here! They've dug up my wife...

				YOLANDER'S VOICE
			(cutting him off)
		I'm retired from my practice,
		Matthews. It's your practice now,
		and it's your problem.
			(beat)
		God help you...

				CHASE
			(screaming)
		Wait! Don't hang up!

But Yolander does. And now we hear the DIAL TONE.

				CHASE
		Shit!

Chase flings the carphone down, looking up as...

An approaching potato truck ZOOMS by. Blinding headlights. A 
BLARING HORN. Chase barely swerves out of the way.

Recovering from the scare, Chase reaches over and opens the glove 
compartment. He pulls out his gun and sets it on the seat next to 
him.

EXT.  MICMAC BURIAL GROUND

Geoff climbs the stone steps, reaching the flattop meas. He stops 
short, looking over the clearing...

GUS

is standing in the center of the burial ground. He's HUMMING, 
mimicking Renee's feminine tone. Now he stops and slowly turns, 
regarding Geoff with dead eyes. He's holding a pickaxe and shovel 
at his side.

Gus looks to the ground at his side. Geoff follows his gaze...

A VISION OF RENEE'S GRAVE APPEARS -

Headstone. Manicured grass. Thriving flowers. As if it had been 
uprooted from her resting place at Pleasantville and set down 
right in the middle of the Micmac ground.

And now, the vision of Renee's grave fades away. In its place is a 
bundle of white: RENEE'S SHROUDED BODY.

Gus raises the pickaxe, offering it to Geoff.

				GUS
		You bury your own, Geoff.

Geoff slowly nods and approaches, seduced beyond reason.

169   OMITTED
THRU
177   OMITTED

INT.  GEOFF'S HOUSE, LIVING ROOM - NIGHT

Marjorie stirs on the couch, blinking her eyes open at the SOUND 
of a THUD upstairs. Otherwise, the house is dark and silent.

				MARJORIE
		Geoff?

INT.  HALLWAY - NIGHT

Marjorie starts up the long, dark flight of stairs to the attic. 
The thin night-shirt she's wearing does little to protect her from 
the sudden cold. She clutches herself, shivering.

				MARJORIE
		Geoff? You okay up there?

INT.  ATTIC - NIGHT

Marjorie cautiously pushes open the door. Her concern for Geoff is 
forgotten as she beholds the Renee Hallow memorabilia.

She moves about Renee's unpacked belongings in bewildered 
reverence.

The gauzy curtains billow about Marjorie like ghosts. And then she 
glimpses something beyond the curtains...

A FIGURE

stands in the shadows, wearing the BEADED PEACH DRESS that 
Marjorie had admired earlier. For a moment we think it's Renee, 
but as Marjorie draws closer, we see that the dress has been 
fitted onto a dressmaker's model.

Marjorie lays a hand on the fabric, feeling the contours of the 
design.

EEXT.  GUS' HOUSE - NIGHT

Chase's headlights sweep across the front of the dark house. 
Pulling to a stop, Chase opens the van's door...

ZOWIE

LEAPS out of the darkness, sinking his teeth into Chase's 
shoulder.

Chase is thrown back over the car seat, grappling with the 
nightmare dog as it tears into him again and again...

Chase SCREAMS, reaching back for the gun. He grabs hold of it and 
swings it around... FIRES...

Zowie is BLOWN backwards, clear out of the car, spraying CHASE 
with BLOOD...

Zowie lands outside on his feet, looking stunned. His chest is a 
ruined mess. Zowie WHIMPERS and drags himself weakly towards the 
front porch.

Chase stumbles out of the van, clutching the gun. He's bleeding 
profusely.

179   OMITTED

EXT.  PORCH - NIGHT

An old saw is laying in a pile of sawdust next to a square hole 
that's been cut in the base of the front door.

Chase gives it a look as he tries the door. It's unlocked. Chase 
enters, bringing with him an illuminating swath from his 
headlights.

INT.  GUS' HOUSE - NIGHT

Chase's headlights stream through the windows, distorting the 
interior. The house looks like it's been through a tornado. A 
trail of BLOODY PAW PRINTS leads into the kitchen. The stench is 
repulsive. Grimacing, Chase has to keep himself from gagging.

				CHASE
		Jesus...

As Chase moves forward, he catches sight of...

GUS

standing in a swath of light. At Gus' feet is Zowie, tongue 
lolling out of his mouth. Dead for the second time. Scattered 
around the dog are various tools.

Propped against the wall is the cut out square of wood. It's 
fitted with hinges at the top.

				CHASE
		Gus, what are you doing?!

Gus glances down at the dead dog.

				GUS
			(dead-pan)
		I was building a doggy door.

				CHASE
		God damn it Gus, you dug up my
		wife! What the fuck is going on
		around here?!

Gus brings a cordless electric drill up from his side, pointing it 
at Chase in a threatening manner.

				GUS
			(grins)
		A little drilling. A little
		killing.

As Gus moves forward, Chase gets a good look at him for the first 
time. He doesn't look even remotely alive.

				CHASE
		Holy shit!

Chase levels his gun with a trembling hand.

Gus stabs the air with the drill, feeding on Chase's horror.

Chase pulls the trigger. A bullet pounds Gus' chest. A SPRAY OF 
FLESH explodes from his back.

Unphased, Gus regains his balance.

				GUS
		God I hate when that happens...

Before Chase can squeeze off the next round, Gus rips the gun from 
his grip...

				GUS
		You got a permit for that?

Opening the chamber, Gus empties the remaining bullets and tosses 
the gun aside.

				GUS
		Didn't think so.

Gus fires up the drill. The bit spinZZZZZZ. He DIVES at Chase, 
knocking him back against the counter. The drill bit SINKS INTO 
CHASE'S ARM...

Chase SCREAMS as Gus withdraws it. Now, he presses it into Chase's 
shoulder. Chase is on the verge of blacking out now. The pain is 
unbearable...

Gus withdraws the drill once again, aiming now for Chase's eye.

				GUS
			(maniacal)
		No brain, no pain, Chase. Think
		about it...

The whirling drill bit is millimeters away from Chase's eye. He 
clutches Gus' arm, trying to force the drill aside...

At the last second, adrenaline kicks in and Chase diverts the 
drill. It SINKS INTO the counter-top nearby... STUCK.

Gus ROARS, lashing out, but Chase manages to duck away...

Chase catches sight of HIS GUN on the floor. He scrambles for it, 
scooping it up...

BULLETS are rolling across the floor every which way. Chase slaps 
his palm down on one and desperately fumbles with the chamber...

Gus' hands CLAMP DOWN around Chase's neck. He swings Chase around 
and SLAMS him against the wall, lifting him off his feet...

Chase GASPS as the life is literally crushed out of him...

He brings the gun up beneath Gus' chin and jams it into his ruined 
throat. Gus just keeps on throttling him...

				GUS
			(insane)
		Just remember, Chase... I had Renee
		first... and now I'm gonna have her
		last...

BLAM! The top of Gus' head BLOWS off. His BODY is thrown back by 
the incredible force, tumbling him to the kitchen floor with a 
HEAVY THUD.

Chase sucks in precious air, then his head snaps up.

				CHASE
		Geoff!

EXT.  GUS' HOUSE - NIGHT

Chase stumbles from the house. It's a wonder he's even conscious. 
He swings open the van door and throws himself inside, sinking the 
key into the ignition.

INT.  ATTIC - NIGHT

Marjorie is now seated before Renee's theatrical make-up mirror, 
entranced. She's wearing the beaded peach dress.

With the help of Renee's vast array of cosmetics, Marjorie has 
turned herself into a stunning beauty.

The lipstick isn't quite right. Turning to the countertop 
magnifying mirror, she carefully touches up her ruby red lips. Her 
face fills nearly the entire mirror...

...except for one rim, which reflects the dark, shadowy attic 
behind her.

A HUGE EYE joins her reflection in the distorting mirror. Marjorie 
nearly jumps out of her skin. She spins around...

				MARJORIE
		Jesus, Geoff! Don't sneak up on
		me like that!

...but no one is there.

THE MAKE-UP MIRROR catches another glimpse. Renee's RED LIPS, 
magnified tenfold. The lips begin to move...

				RENEE
			(a whisper)
		Did you really think you could be
		like me?

Renee's fist swings in, SMASHING a panel of the mirror...

Marjorie raises her hands to protect herself against the flying 
glass. And as her hands come down, she finds...

Renee standing before her. Her ghostly form silhouetted by 
moonlight. Curtains billowing around her. We never fully see her.

Marjorie's face goes white with fear.

				RENEE
		Such a young face... but you've got
		potential...

Renee grabs a fistful of Marjorie's hair, viciously YANKING her 
head back...

				RENEE
		We'll do the eyes first. You
		always start with the eyes...

Renee lashes out, SLASHING a mirror shard across the skin beneath 
Marjorie's right eye. Marjorie SCREAMS.

INT.  GEOFF'S ROOM - NIGHT

Geoff awakens at the commotion upstairs. He rocks forward, rising 
from his bed.

185   OMITTED

INT.  HALLWAY - NIGHT

Geoff pauses at the base of the attic stairway, looking up at the 
open door. All he hears are the faint SOUNDS of movement.

				GEOFF
		Marjorie? You know you're not
		supposed to be in the attic.

Geoff starts up the stairs.

INT.  ATTIC - NIGHT

Geoff trepidatiously enters. He weaves through the maze of gauzy 
curtains. And then he sees her...

Renee is standing in the midst of the attic. She's perfectly made 
up. Gorgeous. Just as she was on the day she died. She smiles 
warmly.

				GEOFF
		Mom...

				RENEE
		I came back for you, Geoff. We're
		going to be together again.

Renee raises her outstretched arms to receive him. Through the 
haze of his tears, Geoff doesn't see the sinister, vacant gleam in 
her eyes.

INT.  CHASE'S VAN - NIGHT

Reaching the house, Chase SKIDS to a stop across the lawn.

188B  OMITTED

INT.  ATTIC - NIGHT

Chase cautiously enters with the gun in his grasp. The spring coil 
swings the CREAKING door shut behind him.

From Chase's vantage point, he can't see them yet. He makes his 
way around the stripped dressmaker's model, past an upright 
dressing mirror. And then he sees...

MARJORIE

Slumped against Renee's bed like a ragdoll. We can only see half 
of her face. It looks untouched. Chase reaches for her...

				CHASE
		Marjorie?

Marjorie's head rolls sideways, exposing the other half of her 
face. The skin has been stripped from her skull and peeled back...

Chase turns his head away. And that's when he sees them...

RENEE AND GEOFF

Holding each other tightly. Geoff has his head buried in Renee's 
breast. Renee looks up from her son, meeting Chase's gaze. Her 
voice is both seductive and terrifying.

				RENEE
		Hello, Chase.

Chase gasps. The word "horror" doesn't do the moment justice.

				CHASE
		Oh my God...

				RENEE
		We can try again, Chase. We can
		make it work this time.

Chase sinks back against the wall. He's lost a lot of blood and 
his strength is leaving him.

				CHASE
			(shaking his head)
		No...

				RENEE
		Don't you love me anymore, Chase?

				CHASE
		You're not Renee... Renee's dead...
			(screaming)
		Geoff! Get over here now!

But Geoff just holds his mother tighter. A hint of annoyance 
flickers through Renee's eyes. She strokes Geoff's hair.

				RENEE
			(looking at Chase)
		Geoff, honey, why don't you go
		downstairs. Your father and I
		need a moment alone. Do it for
		me?

Geoff looks up at his mother, mesmerized. She releases him from 
the embrace. He brushes past Chase without a glance and heads for 
the attic door.

				RENEE
		Geoff...

Geoff pauses at the door, looking back. Renee's words have a 
hauntingly familiar ring...

				RENEE
		I love you.

Geoff smiles. Turning away, he opens the door and...

CLYDE

is standing there, an AXE perched on his shoulder. His face is 
torn to shit, bones and brain matter exposed. He's covered from 
head to toe in dirt and clotted blood. He looks worse than any of 
the undead we've seen. A total walking nightmare.

				CLYDE
			(grinning)
		Hey, Junior. Wanna play?

WHOOSH! Clyde swings the axe, sinking it into the wall just in 
front of Geoff's face...

Geoff tumbles back onto the floor, snapping out of his trance.

Clyde brings the axe down...

...and Geoff rolls to the side, barely avoiding decapitation.

				CHASE
		Geoff!

Chase stumbles forward to rescue his son. As he does so, Clyde 
brings the axe back up, SMASHING Chase in the head with the blunt 
end...

Chase goes down. Unconscious.

				CLYDE
		Oops! Looks like Daddy got a boo-
		boo...

Clyde turns his gaze back on Geoff.

				CLYDE
		Now, where were we?

Geoff shuffles backwards across the floor as Clyde moves into the 
room.

Renee passes behind Clyde. She SLAMS the attic door shut and snaps 
off the knob with a jerk of the wrist, locking them all inside.

Scared out of his wits, Geoff makes it to his feet. Clyde swings 
again and misses...

Geoff grabs hold of the axe handle, struggling, and the two boys 
go down...

RENEE

Moves to the vanity. She sweeps a hand across it, sending 
everything crashing to the ground. Crystal perfume bottles 
SHATTER, spilling their contents over the floor.

Renee reaches for a lighter and flicks it on. She touches the 
flame to the perfume-soaked floor...

FLAMES roar into existence, racing across the floorboards, 
igniting the curtains...

We see the flames reflected in Renee's soulless eyes.

ON GEOFF AND CLYDE

As they wrestle with one another across the floor. Bloody spittle 
drips from Clyde's face. He flashes a feral snarl.

Clyde LUNGES forward and tears into Geoff's shoulder with his 
teeth...

Geoff SCREAMS. His hands grope blindly for a weapon and close on a 
mirror shard. He JABS it up and into Clyde's eye...

Somehow, Geoff manages to roll out from under Clyde. He rises to 
his feet...

Clyde lets loose a DEMONIC ROAR. He charges, SLASHING the axe 
wildly, knocking aside curtains and dressing models alike. 
Nothing's going to stop him. Nothing.

Flames are consuming the attic, licking the rafters, igniting the 
canopy drapings... devouring everything. SMOKE is rolling across 
the floor...

Geoff reaches a far wall. He's trapped in a corner. There's 
nowhere else to go. Behind Geoff is a CIRCUIT BOX. INSULATED 
CABLES run from the box down through the attic floor. Geoff 
turns...

And here comes Clyde...

				CLYDE
		Here it comes, buddy! HERE IT
		FUCKING COMES!!!

Clyde swings. Geoff ducks. The axe hits the circuit box behind 
him, severing the insulated cables...

As Clyde rips the axe out of the wall for another try, Geoff 
reaches for one of the SPARKING CABLES.

Clyde raises the axe above his head...

				CLYDE
		Eat it, ass-hole...

				GEOFF
		EAT THIS!!!

...and Geoff shoves the live cable into Clyde's mouth!

SPARKS shoot out of Clyde's eyes and ears. He jerks back and 
forth, writhing in a horrific replay of Renee's electrocution.

Then Clyde's face BLOWS APART in a gout of ruined flesh and BLUE 
FLAME. The circuit is blown and the SMOKING BODY falls...

Geoff drops the cable. The blazing inferno is closing in. He runs 
to Chase...

Chase is barely conscious. Geoff drops to his knees and pulls his 
father to his feet...

				RENEE (O.S.)
		Don't leave me again, Geoff!

Geoff turns...

RENEE

is standing in the midst of the FLAMES, reaching out. The make-up 
and mortician's wax she wears fall victim to the heat and her 
"face" begins to MELT AWAY...

				RENEE
		Don't leave me alone!

Geoff turns away, horrified. With Chase on his shoulder, he 
reaches the door. Locked. Geoff sets Chase against the wall.

He spots the AXE, still clutched in Clyde's hand. Geoff drags the 
axe free from the dead boy's grasp and goes to work on the door...

Ignoring Renee's CRIES, Geoff swings the axe again and again, 
chopping the door apart. He coughs through the smoke. The flames 
are almost upon them...

Finally, the wood splinters apart. Geoff reaches through and 
grasps the outside handle, pulling the door open. Then he turns 
and lifts Chase up once more...

At the door, Geoff pauses for one final, tearful look back. Then 
his face hardens and he turns away, pulling Chase to safety.

				RENEE
		NO, GEOFF! NO!!!

ON RENEE

Alone in the fiery storm, SCREAMING. Flames devour her flowing 
white dress. Her face doesn't even look remotely human anymore.

And as the inferno slowly closes in, we...

								DISSOLVE TO:

EXT.  VETERINARY OFFICE - DAY

We PULL OUT from a sign on the door that says "CLOSED".

Chase is just now locking up the door. He's bandaged up, looking a 
little worse for the wear, but happy to be alive. He turns, 
grinning...

GEOFF

stands near the van, holding Tiger in his arms.

				GEOFF
		All set?

				CHASE
		All set.

Chase joins Geoff at the van and together they climb inside. Chase 
starts the engine, pulling away from the office.

WE STAY ON THE VAN -

As it moves off down the street, passing the familiar landmarks of 
sleepy Ludlow.

RISING UP -

We follow the van as it sweeps out of town. Ludlow looks picture-
perfect from our bird's eye vantage point. Charming and quiet.

				CHASE (V.O.)
		So where're we going?

				GEOFF
		Anywhere but here.

We continue rising up into the brilliant blue sky, losing the van 
amidst the rolling Maine countryside and we

								DISSOLVE TO:

EXT.  MICMAC FOREST - DAY

RUSHING over the woods, just above the tree tops. It's an ocean of 
swaying green beneath us. A forest as ancient and mysterious as 
anything on the Earth.

AND SUDDENLY -

The endless trees fall out from under us. We find ourselves above 
the flattop mesa of the Micmac burial ground, swooping downward...

The ground surges towards us. We see Renee's OPEN GRAVE.

The quality of light is different now. We hear the wail of the 
LONESOME WIND, and perhaps, the WHISPER of something altogether 
alien.

And on the unsettling note, we...

								FADE TO BLACK.


THE ENDPET SEMATARY II

	An Original screenplay by Richard Outten

		Revised by David S. Goyer



Based upon characters created by Stephen King 




THIRD DRAFT

Revised 1/6/91




"PET SEMATARY II"


FADE IN:

INT.  LEMARCHE CASTLE, TOMB - NIGHT (1865)

A storm is raging outside. We hear the clap and roll of THUNDER.

TOMB STAIRWAY -

RATS scurry away down the scum-covered steps as the GLOW OF A 
LANTERN and FOOTSTEPS herald someone's arrival...

GENVIEVE LEMARCHE

emerges around the bend. Mid-30s. Cultured beauty. Her dress and 
face are smeared with grime and... is that blood we see too? God 
only knows what's happened to her.

Genvieve ducks under a monstrous cobweb as she passes an open 
window.

WINDOW

LIGHTNING streaks across the night sky outside. We catch a glimpse 
of the MOON disappearing behind the clouds.

Genvieve reaches the bottom of the stairs. The tomb itself.

Water trickles in through cracks in the lichen-covered walls, 
pooling on the tomb floor.

Genvieve moves forward, her lantern throwing distorted shadows 
over everything...

In front of her is Anton LeMarche's stone sarcophagus.
Genvieve kneels in the water, one hand resting on the spiked iron 
railing which surrounds the tomb. She reaches the other hand 
towards a scum-covered plaque, brushing the grime away...

THUNDER and LIGHTNING reach a crescendo as...

A SKELETAL HAND rises out of the water, reaching for her.

Genvieve SCREAMS. The lantern falls from her grasp, sputtering 
out. The hand reaches for her arm and inadvertently clutches her 
breast instead...

Genvieve starts to laugh hysterically.

				DIRECTOR (O.S.)
			(exasperated)
		Cut! Thank you, Renee. Can we
		throw some light on the set?

				GENVIEVE
		I'm sorry...

Suddenly it is lighter. Genvieve can't stop laughing. The groping 
monster hand disappears back beneath the water.

WE PULL BACK, REVEALING -

It's not 1865. The LeMarche Castle tomb is in fact, a 90s movie 
set. We are inside a soundstage, on a raised set, so the slugline 
should really read...

INT.  SOUNDSTAGE, LEMARCHE CASTLE TOMB SET -

A FILM CREW scurries about. Everyone is LAUGHING now. The DIRECTOR 
sits to the right. He and the DP are already huddled over the 
video-assist monitor. We see the previous scene rewinding at high-
speed.

The FIRST A.D. moves in.

				FIRST A.D.
		Water in the pool's running low,
		fill her up!

Crewmembers move towards the set.

An SFX PUPPETEER (i.e., the skeletal arm) crawls out from under, 
followed by an ELECTRICIAN.

				PUPPETEER
		I can't see shit down there! I'm
		working blind!

GENVIEVE/THE ACTRESS

rises out of the water. Her name is actually RENEE HALLOW and her 
beauty is undeniable, even in such a disheveled state.

				RENEE
		This is great, I could've spent
		four months on a romantic comedy
		with Warren Beatty, and instead,
		I've got a horny zombie trying to
		cop a feel!

The crew members LAUGH. She's well-liked on the set. Renee grins. 
Wardrobe and make-up personnel move in to adjust Renee's 
appearance.

				RENEE
		Uhgh, there's water everywhere...
			(beat)
		Can I get a cigarette?

The MAKE-UP GIRL pulls a pack of cigarettes from her fanny-pack 
and offers Renee one. In a flash, a P.A. appears with a lighter. 
Renee mumbles "thanks" as she fires up. She squints her eyes, 
trying to see past the set lights.

				RENEE
			(calling out)
		Geoff?
			(beat)
		Anybody see my boy?

				GEOFF (O.S.)
		Right here, Mom...

GEOFF MATTHEWS, Renee's 12 year-old son steps into view. Renee's 
face lights up when she sees him.

				RENEE
		How long have you been here?

				GEOFF
		Couple minutes. I saw the last
		shot. That was pretty cool.

Renee grimaces as the make-up girl spritzes her face with a spray-
bottle.

				RENEE
			(casually)
		How did it go with your father
		last night?

				GEOFF
		Good. He said he'd be over for
		dinner at eight...
			(awkward)
		I mean... he misses you, Mom...

				RENEE
		I miss him too...

				RENEE
			(continuing)
		I just don't want you to get your
		hopes up, okay? We're trying to
		work things out, but...

Her voice trails off.

				GEOFF
		I know, Mom.

				RENEE
			(affectionate)
		You know everything, don't you?

Renee and Geoff are interrupted by a CREWMEMBER who's spraying 
"atmosphere" about the set with a hand-held smoke machine. Renee 
coughs.

Off-set, the FIRST A.D. is trying to get the show on the road.

				FIRST A.D.
		Okay, people! Quiet! We're going
		to try this another time!

				GEOFF
		Guess it's showtime.

				RENEE
		Yep.

Renee kisses Geoff on the forehead. He takes the cigarette from 
her and moves off the set, standing near the camera.

The director turns back toward Renee.

				DIRECTOR
		Alright, Renee. Last time. I
		promise. We nail this and you
		won't have to do this ever again.

				RENEE
		That's what you said the first
		time...

Renee turns and heads back toward the stairs. A P.A. hands her a 
new lantern. As she reaches the stairs, the house lights dim, 
creating the proper atmosphere once again.

UNDER THE SET -

The puppeteer gets ready. It's cramped. The electrician checks a 
power box connection.

The director nods to the camera operator.

				OPERATOR
		Rolling. Speed...

				SLATE BOY
		"Castle of Terror." Scene 69A.
		Take thirteen.

The slate comes down.

				DIRECTOR
		Action!

The scene replays itself as before, only now we're watching the 
action from multiple viewpoints.

We start on the video assist monitor, then move up to...

GEOFF

He grins as he watches the scene unfold.

ON THE SET

Renee has reached the sarcophagus. LIGHTNING flashes. The skeleton 
hand bursts up, grabbing Renee's arm. The scene continues past the 
original point of interruption.

UNDER THE SET -

We see an undetected LEAK. Water drips down. The puppeteer shifts 
position, struggling, and...

...knocks over the power box which SPARKS just as...

ABOVE -

Renee/Genvieve grabs the iron railing with both hands.

Electricity surges through Renee. Her body jerks and writhes like 
some nightmarish marionette.

UNDER THE SET -

The electrician drags the puppeteer back. Sparks fly.

				ELECTRICIAN
		Jesus! We've crossed over into
		220! Shut down the generator!

ABOVE -

Crewmembers SCREAM and scramble back...

All the circuits are blowing, lights EXPLODING and showering 
sparks over the whole set. This is not part of the movie.

RENEE

It's awful. She shakes, her SMOKING HANDS frozen to the iron 
railing by the electricity running through her...

Suddenly, Renee falls forward against the iron. Her face begins to 
SMOKE AND SINGE...

The lights CONTINUE TO BLOW, casting a strobic effect over the 
soundstage, adding to the chaos.

ON GEOFF

As he witnesses the whole event. He tries to rush forward, but 
someone restrains him...

				GEOFF
		Mom!!!!

Suddenly all the circuits in the stage are blown and the LIGHTS GO 
OUT. Renee slumps back into the water, smoke trailing up from her 
still form. And we...

								CUT TO:

OMITTED (SCENES 2 THRU 2J)

INT.  OPERATING ROOM - DAY

An aged GOLDEN RETRIEVER is on the surgical table. CHASE MATTHEWS, 
D.V.M., gently strokes the dog's fur. He's good with the dog. He's 
kind. The retriever's owners: a MOTHER and her SON, look on.

				CHASE
		I think this is probably for the
		best. He's a very old dog. He
		has arthritis. He has cataracts
		in his eyes...

Chase looks at the mother. He's always hated this part.

				CHASE
		He's had a good life...
			(to dog)
		...haven't you, boy?

				INTERCOM
		Doctor Matthews, your son is on
		line one. He says it's an
		emergency...

Chase breaks concentration, pulling his eyes away from the mother 
and son.

INT.  SOUNDSTAGE, LEMARCHE CASTLE TOMB SET -

A blur of activity converges on the movie set. A TRIO OF 
PARAMEDICS. A FIRE OFFICIAL. A POLICE OFFICER. Medical equipment. 
Horrified crewmembers watch on, helpless.

WE STAY ON Geoff, momentarily blocked out and then revealed again 
and again, amidst the commotion of paramedics scrambling to save 
Renee. The director has his hand on Geoff's shoulder.

Geoff's eyes dart about, taking it all in. Things are happening 
very fast:

--Renee's hand is lifted. Someone checking her pulse. --Her 
eyelids parted. A pen light flashing at her fixed pupils.

				PARAMEDIC #1 (O.S.)
		Run me down a line of normal
		saline.

--An I.V. needle plunges into the inside of Renee's elbow. --A 
syringe injects into the I.V. post.

--Hands hook up a life-pack monitor. Renee's dress is torn away. 
Electrodes press to bare skin. --The monitor screen blinks to 
life.

				PARAMEDIC (O.S.)
		We have a bradycardic rhythm at
		30.

--Another PARAMEDIC dials out on a cellular phone, to the 
consulting physician.

				PARAMEDIC #3 (O.S.)
		White female. Approximately
		thirty five years old.
		Electrocution...

--A clear tube is inserted down her throat. --The monitor shows 
erratic heartbeat.

				PARAMEDIC #2 (O.S.)
		She's in V-fib.

--There's a renewed urgency even amidst their rush.

--Defibrillator paddles are pressed to her chest.

Geoff looks to the monitor as...

--It goes to flatline.

				PARAMEDIC (O.S.)
		Clear.

				GEOFF
		No...

Geoff moves forward, pulling away from the director. The police 
officer moves in and intercepts Geoff, turning the boy away.

Geoff's eyes fix on the monitor. An unbending flatline...

				GEOFF
		You have to bring her back...

Chase rushes onto the set, pushing past crewmembers. He freezes at 
the sight of the horrific commotion around Renee's still form.

				CHASE
		Oh Jesus...

Chase's gaze connects with his son.

				GEOFF
			(helpless)
		Dad...

We pull back from Geoff, Chase, and the commotion around Renee. 
Farther and farther as the darkness around the set begins to close 
in...

				PARAMEDIC #1 (O.S.)
			(urgent)
		We're losing her...

Darkness everywhere and we

5    OMITTED
THRU
9G   OMITTED

EXT.  A DREAMLIKE FOG

A form drifts forward, materializing out of the fog.

It's a CASKET. Appearing as if it's floating among the clouds. 
PULLING BACK, WE SEE that it's moving along A CONVEYOR. AND NOW, 
WE CAN make out the faint form of A PLANE as the conveyor descends 
from the cargo compartment.

The casket reaches the end of the conveyor. A tag marks its final 
destination: Bangor, Maine. HANDS reach in and lift the casket. 
FOUR BAGGAGE HANDLERS hoist the casket up onto their shoulders and 
carry it off.

				HANDLER #1
		Is it true she grew up around
		here?

				HANDLER #2
		Yeah. Over in Ludlow.

				HANDLER #1
		Huh. Never met a movie star
		before.

				HANDLER #3
		Well you're a little late for an
		autograph.

The baggage handlers laugh as they walk off into the distance. The 
fog closes around them and we...

								DISSOLVE TO:

EXT.  PLEASANTVILLE CEMETERY - DAY

We drift down from the gray sky to the somber scene below. Off in 
the distance, a crowd of MOURNERS are gathered around a grave.

				PRIEST (V.O.)
		...I am the resurrection and the
		life, saith the Lord...

CLOSER -

THE HEADSTONE is adorned with an iron plaque. It reads, simply:

			RENEE HALLOW MATTHEWS
				1955-1991

				PRIEST (V.O.)
		...She that believeth in me,
		though she were dead, yet shall
		she live; and whosoever liveth and
		believeth in me, shall never
		die...

THE CASKET is slowly lowered into the open grave. As it descends, 
WE SEE Geoff and his father, Chase, standing at the forefront of 
the crowd. Renee's grave is next to those of her parents.

Among the mourners is MARJORIE HARGROVE, an attractive local girl 
in her early twenties.

Further down the hillside, a wall of NEWS REPORTERS are gathered 
behind a roped-off media boundary. There is a blinding flurry of 
PHOTO FLASHES as the press records the scene before them.

A SHERIFF'S DEPARTMENT PATROL CAR cruises up the cemetery drive, 
pulling to a stop near the mob of reporters.

Out of the car steps GUS GILBERT. Gus is nearly forty, with a 
Sheriff's uniform fitted to his solid, ageless frame. Gruff, maybe 
a little self-important: Gus likes being a big fish in a small 
pond.

				GUS
			(drawing near)
		Let's keep it back, folks.
		Try to show her a little
		respect...

A REPORTER ducks under the media boundary, moving in for a closer 
shot.

He doesn't make it two steps before he's intercepted by Gus. Gus 
grabs the reporter and shoves him back.

				GUS
		Hey! What did I just say?

Gus means business. One look into his eyes reveals his intense, no 
nonsense approach.

				REPORTER
		Ass-hole...

The reporter backs off.

BACK AT THE GRAVESIDE -

Beneath the gloomy, ominous skies, the lines on Chase's face shade 
him as a decade older than his thirty-five years. Chase gently 
places a comforting hand on Geoff's shoulder.

Geoff inches forward, pulling free of Chase's touch. Drawn to his 
mother, drawn from his father. The only blemishes on his youthful, 
rosy cheeks are the tears, the endless tears.

				PRIEST (V.O.)
		I know that my redeemer liveth,
		and that he shall stand at the
		latter day upon the earth.

Geoff looks upon the casket, gazing into the abyss of despair.

FOLLOWING THE CEREMONY

The crowd has dispersed.

Geoff is standing at the base of Renee's grave. His eyes fixed. 
Unmoving. Unaccepting.

Chase is nearby, watching, not wanting to intrude on Geoff's 
private moment.

Gus quietly moves in at Chase's side.

				GUS
		Did she always have reporters
		following her around like this?

				CHASE
		Pretty much so.

Gus glances at Geoff.

				GUS
		I hear you moved into town.

				CHASE
		I wanted to get Geoff out of
		L.A. Just start things over, you
		know?

Gus nods. Now his eyes fall on Renee's headstone.

				GUS
		I remember when Renee left. She
		couldn't wait to get out of
		Ludlow. She used to say that
		life moved too slow here...

Chase forces a smile.

				CHASE
		That's Renee alright.

				GUS
		I suppose so.

The sky above seems heavy with imminent rain and we...

								CUT TO:

12    OMITTED
THRU
15    OMITTED

EXT.  HOUSE - DAY

Lazy oaks embrace a vintage, two-story Victorian home in the rural 
neighborhood of Ludlow, Maine. A commercial MOVING VAN is parked 
out front.

Marjorie, the girl we saw at Renee's funeral, is coming down the 
sidewalk. She checks the address on the front of the house, then 
heads up the driveway.

INT.  DOWNSTAIRS HALLWAY

Moving boxes clutter the downstairs.

Chase is weaving through the maze, doing an inventory on the 
boxes.

A sweaty PAIR OF MOVERS are climbing up the stairs. Each is 
hunched  over, with a garment box balanced on his back. The side 
of each carton is boldly labeled: RENEE - ATTIC.

				MOVER (O.S.)
		We've got six more of these. You
		sure you want them all in the
		attic?

Chase is contemplating a compromise when Geoff appears from the 
kitchen doorway.

				CHASE
		...Geoff, what if we just give
		the clothes to Goodwill? We'll
		keep the rest. Just the clothes.

Geoff shakes his head, firm and deliberate denial.

				GEOFF
		You're the one who wanted to move.
		Nobody would've touched them if
		you didn't want to move here...

Chase weakens, giving in.

				CHASE
		All the 'Renee' boxes go in the
		attic. Sorry.

Marjorie KNOCKS on the open frame of the front door.

Geoff recognizes her from his mother's funeral. She flashes him a 
warm smile.

				MARJORIE
		Hi. I'm Marjorie Hargrove. Your
		new housekeeper.

Marjorie has a naive, friendly quality about her. She's also 
blessed with eye-popping genetics. Standing there outside the 
door, looking more than a little nervous... we can't help but like 
her. Needless to say, she doesn't look like your typical 
housekeeper.

				MARJORIE
			(re: Chase's reaction)
		Is something wrong?

				CHASE
		Uh... no. You just... look
		different than you sounded on the
		phone. Please, come in.

Marjorie enters. She grins at Geoff again. Yep. She's nervous 
alright.

				MARJORIE
		I'm real excited about working
		for you Mr. Matthews...

				CHASE
		Well we're glad to have you,
		Marjorie. You can call me Chase,
		by the way.

Marjorie passes her curious eyes over one of Renee's garment 
containers.

				MARJORIE
		I've always admired Ms. Hallow.
		That scene she did in Blue
		Midnight, where her lover meets
		her at the train station...
			(she sighs)
		I must've watched that movie four
		times.

Chase smiles. Marjorie's enthusiasm is endearing.

Just then, one of the movers loses his grip. A garment box bounces 
down the slope of the stairs. When it reaches the bottom, dresses 
spill over the floor.

				MARJORIE
		Oh. I'll get that...

Marjorie moves for the spill. The first dress she touches is a 
beaded peach evening gown. Her fingers linger on the fabric.

				MARJORIE
		This is gorgeous. She wore this
		at the Emmys, didn't she?

Geoff moves forward, acting overly defensive.

				GEOFF
		Hey, don't touch her stuff. It
		made her crazy when people touched
		her stuff.

Marjorie is taken aback by the oddity of Geoff's statement.

Chase catches her eye, shrugging apologetically.

17    OMITTED
THRU
19    OMITTED

EXT.  DRIVEWAY - DAY

A VAN is parked outside. The rear side panel is masked off with 
tape and a stencil. Chase grabs the corner of the tape and 
carefully peels it back, revealing a crisp, new business logo:

		ROUND THE CLOCK ANIMAL DOC
		MOBILE VETERINARY SERVICE
		CHASE MATTHEWS, D.V.M.
		Serving Aroostook County

EXT.  TOWN - DAY

ESTABLISHING. Shops and businesses situated around a lazy town 
square. QUiet. Relaxed. As rural as they come.

WE pick up Chase's van as it cruises by.

EXT.  VETERINARY OFFICE - DAY

Chase pulls the van in front of an unassuming veterinary office.

On the door is Chase's nameplate. And on the weathered wall is an 
outline of letters where the name and title "Quentin Yolander, 
Doctor of Veterinary Medicine" once was.

Geoff is first out of the van.

INT.  EXAMINATION ROOM - DAY

Geoff and Chase move inside. The offices look like they were built 
in the 40s. A dark corridor stretches down the center of the 
suite. Faded green walls are solid, with few exteriors. It's 
creepy in here.

Heavy, grey plastic curtains absorb much of the light which does 
find its way in. Nothing looks like it's been updated in the past 
fifty years.

				CHASE
		This doesn't look so bad...

Chase sweeps a curtain aside, revealing the interior to Geoff. 
Dust swirls in the air.

				GEOFF
		How long ago did this guy retire?

				CHASE
		It's been a few years.

Geoff takes a look around, growing uncomfortable.

				GEOFF
			(skeptical)
		A few?

Geoff moves on down the central corridor which seems to grow 
darker and more dismal with every step. He moves on into the 
boarding room...

INT.  BOARDING AREA - DAY

Rows of kennels are stacked along the walls, smothered with 
cobwebs. Ancient, rusted surgical equipment is scattered 
everywhere. The place is a mess. Windows are boarded up and 
shadows cloak the room.

Over to the right, Geoff hears a RUSTLING.

A CARDBOARD BOX on one of the shelves jiggles. Something is moving 
around inside it.

Geoff's eyes widen. Still, morbid curiosity propels him forward.

The box rustles again. He reaches for it and...

A CREATURE LEAPS out at him, HOWLING. Geoff SCREAMS and jumps 
back. The box tumbles over and...

A CAT crawls out. Behind the protective mother, are four of the 
cutest kittens we've ever seen, MEWING away.

Geoff sighs just as Chase rushes into the room.

				CHASE
		What's wrong?!

				GEOFF
			(embarrassed)
		Nothing. I just got spooked by a
		bunch of furballs.

Inside the box is a note. Chase reaches for it. It reads: "And a 
warm welcome to you."

				CHASE
		Great, now I've opened an
		orphanage too.

One of the kittens pads out of the box and looks up at Geoff with 
sleepy eyes. Her fur is striped.

				GEOFF
		Well, I'll take one. If it's
		okay...

Geoff lifts the fragile creature, cradling it in his arms.

				GEOFF
		She looks like a tiger.

Chase spies an old broom resting in the corner.

				CHASE
		Tell you what, you do some
		sweeping up here, and she's yours.

Geoff nods and Chase moves back out into the hallway.

Geoff sets the box back upright and lowers Tiger in with the other 
kittens. He reaches for the broom and goes to work sweeping away 
the cobwebs.

Just as soon as he turns his back, Tiger climbs the side of the 
box, spilling over onto the floor.

INT.  EXAMINATION ROOM

Chase is unpacking a shipment of medical supplies. When he places 
them in the cabinet, he stirs up a layer of dust.

Tiger scampers by as Chase coughs his way out of the cloud of 
dust.

INT.  WAITING AREA

Tiger sees the front door ajar. And as she approaches to explore 
what lies beyond--

The door swings open...

ZOWIE, A SIBERIAN HUSKY is staring back at her. He's black and 
white with blue eyes, with a mask that is at once menacing and 
majestic.

A pudgy thirteen year old boy, DREW, has a hold of the dog's 
collar.

Zowie's BARK sends Tiger scrambling.

Drew loses his grip as Zowie yanks free. A strong, paternal 
command calls after Drew from outside.

				VOICE (O.S.)
		Drew, you get a handle on that
		dog, now!

INT.  EXAMINATION ROOM

Chase spins around at the commotion as Tiger darts across the 
floor with the barking dog in pursuit.

Mayhem ensues as Zowie's big paws slip on the slick tile.

Geoff rushes in from the boarding area.

Tiger ducks beneath the back of a surgical gurney.

Zowie's snoot wedges beneath the base, inches from Tiger's tiny, 
striking paw.

Drew slides in on his knees, renewing his hold on Zowie's collar. 
He pulls the dog back.

Geoff rescues Tiger from beneath the gurney.

Drew shrugs sheepishly.

				DREW
		Sorry. He gets kinda hyper...

Drew's stepfather, Gus Gilbert, enters. The dreaded, domineering 
voice of authority in Drew's life. WE know him as the sheriff at 
Renee's funeral.

				GUS
		Hell, he thought it was lunch.
		How ya doin', Chase?
			(a handshake)
		You haven't met my boy.
			(aside)
		Drew, where the hell are your
		manners.

Drew steps forward and awkwardly offers his hand to Chase. Then 
Geoff. The boys shake.

				GEOFF
		He's a cool lookin' dog.

Zowie lurches forward, eager to shower affection on Geoff. Geoff 
strokes the dog's soft mane.

				GEOFF
		What's his name?

				DREW
		Zowie.

Drew puts his palm under Zowie's chin and turns him for Chase to 
see. There are several scabbed-over gashes on his left cheek.

				GUS
		Damn dog stuck his nose in on my
		rabbits and they ganged up on him.
		I swear that dog's an idiot.

				DREW
		Is he gonna be okay?

With one eye on Zowie, Chase sprays some antiseptic on the 
examination table and wipes it clean.

				CHASE
		Let's have him hop up here.

Drew prods Zowie. Zowie jumps up onto the table. Chase looks over 
the facial lacerations, then turns on a penlight and examines the 
dog's eyes.

Gus passes a lingering look over Tiger. He reaches in to pet her, 
making sure it meets with Geoff's approval.

				GUS
		When I was young I thought cats
		were the girls and dogs were the
		boys.

				CHASE
		There are three more girls where
		that one came from looking for
		homes.

Drew perks up at the thought, but Gus shoots it down.

				GUS
		Not our home.

Chase takes the light out of Zowie's eyes. He looks to Gus.

				CHASE
		Thee facial lacerations should heal
		up pretty quickly. I'll give you
		som antibiotic cream--

				GUS
		--Drew, he's your dog. Are you
		listening to this?

Chase turns to Drew and continues...

				CHASE
		His left eye is scratched, corneal
		abrasion. Eyedrops will help, but
		it's going to take som time. Try
		to keep him away from those
		rabbits, huh?

Drew nods, casting a glance aside at Gus.

				GUS
			(to Chase)
		I hear you've got Marjorie
		Hargrove working for you now.

				CHASE
		How'd you know that?

Gus gives Chase a knowing grin.

				GUS
		It's a small town, Chase.

Gus laughs and claps Chase on the shoulder.

				GUS
		Hey Geoff, did you know your
		mother and I used to be high-
		school sweethearts?

Geoff is surprised at this. Surprised and annoyed. Tact isn't a 
quality that Gus possesses in abundance.

				GEOFF
		Really?

				GUS
			(nodding)
		Homecoming. Prom. Whole nine
		yards.
			(to Chase)
		Course that was a lifetime ago.

EXT.  SCHOOL - DAY

JUNIOR HIGH SCHOOL KIDS are converging en masse for classes. 
Chase's van pulls up front.

INT.  VAN - DAY

Chase digs some cash out of his wallet. Geoff stares out at the 
school. He's dreading this.

				CHASE
		What's a lunch cost these days?
		You want ten?

				GEOFF
			(unenthused)
		Sure.

Chase looks at his son.

				CHASE
		You nervous? New town, new
		school. I know it must be pretty
		hard for you...

				GEOFF
			(cutting him off)
		I'll be fine, Dad.

Geoff reaches for the door, but Chase stops him. He's trying to 
reach his son. He really is.

				CHASE
			(awkward)
		Geoff... you have to help me out
		here a little...

"MEOW!" Chase drops his eyes to the bulge squirming around in 
Geoff's jacket. He can't help but smile.

				CHASE
		Are you sure you don't want me to
		pick you up. It's a long ride.

Geoff opens the side panel of the van and slips out his MOUNTAIN 
BIKE.

				GEOFF
		That's what my bike's for...

Before Chase can say another word, Geoff is gone.

EXT.  VAN - DAY

As Chase pulls away, WE SEE the handmade sign taped in the back 
window:

				PRICELESS KITTENS
				FREE TO A GOOD HOME

EXT.  SCHOOL - DAY

Drew is among a small circle of BOYS. He recognizes Geoff walking 
his bike from the van. The largest of the boys, CLYDE, takes 
notice of the unfamiliar face.

Clyde is fifteen, going on twenty. You know the type: local bully, 
held back a year or two.

				CLYDE
		Check it out. That's the new kid.
		The son of that movie star.

Mischief gleams in Clyde's eyes as he watches Geoff's every move. 
The other boys follow suit. Clyde always takes the lead.

Geoff fields their penetrating stares. For a second his eyes 
connect with Clyde's, then he moves on into the building.

Among the boys, Drew is the reluctant participant.

INT.  CLASSROOM - DAY

MRS. GORDON is addressing a room of SEVENTH GRADERS.

Geoff is doodling in his notebook, feeling acutely out of place as 
he tries to avoid the curious glances the rest of his new 
classmates are giving him.

				MRS. GORDON
		People, this is Geoff Matthews.
		He'll be joining our class for the
		rest of the school year...

As Mrs. Gordon points to him, Geoff drops his face even lower. 
This is the worst embarrassment a boy could ever suffer. He'd like 
to throttle Mrs. Gordon.

A freckle-faced boy, DOUG, fires off a question.

				DOUG
		Hey, what's Hollywood like? Do
		you know Eddie Murphy?

				GEOFF
			(annoyed)
		No.

				MRS. GORDON
		Why don't we save that for later,
		Doug?

A girl with braces, SUSAN, continues the interrogation.

				SUSAN
		What about Julia Roberts?

				MRS. GORDON
		Susan! That'll be enough.

Susan shuts up. Geoff sinks even lower in his seat.

The kids turn their eyes back to the front of the room.

But one classmate's eyes are still on Geoff. It's Clyde.

Clyde shifts his stare to the squirming lump in Geoff's jacket. He
catches a glimpse of Tiger's bobbing nose popping out.

INT.  HALLWAY - DAY

Geoff joins the stampede of kids as the BELL releases them for the 
day. Almost immediately, Clyde and his cronies, STEVIE AND BRAD, 
fall in step behind him. Drew hangs slightly off to the side, not 
really wanting to be a part of the intimidation.

				CLYDE
		What's the hurry, Junior? Where
		you off to?

Clyde quickens his pace, pulling ahead of Geoff and stopping in 
front of him. Stevie and Brad move in on either side. Surrounded 
by peers, it's apparent how small Geoff is for his age.

On the wall next to them is a bulletin board display. Clyde 
glances at it. Geoff follows his gaze.

DISPLAY

It's one of those corny school affairs with construction paper 
letters spelling out: "WE REMEMBER RENEE HALLOW." Beneath that are 
pictures of Renee clipped from various magazines. Cloyingly 
tasteless.

				CLYDE
			(feigning remorse)
		Too bad about your Mom. Papers
		said it was pretty gross, getting
		fried like that. Guess you saw
		it, huh?

Geoff nods. Clyde raises his eyebrows, pulling Geoff's jacket 
open.

				CLYDE
		So, what are you hiding there?

				STEVIE
		When you bring a friend to school
		you're supposed to introduce him.

Geoff's arm tightens protectively around Tiger.

				GEOFF
		Her name's Tiger.

				CLYDE
		Tiger? Don't you think that's
		kind of a pussy name?
			(reaching out)
		Can I hold her? I promise I'll be
		real careful.

Clyde has a convincing way about him. Geoff reluctantly hands the 
kitten over. Clyde is so gentle with the creature that one would 
never question his sincerity.

Geoff is just beginning to feel at ease when something changes in 
Clyde's tone, something sinister.

				CLYDE
		Hey, Geoff. You ever seen a
		kitten run?

				GEOFF
		I've seen her run around the
		house.

Clyde's eyes narrow. He takes a couple of steps back. Geoff's 
heart starts to sink.

				CLYDE
		No, I mean really run...
			(beat)
		Like this!

Clyde backsteps and bolts off down the hallway with Tiger. Brad 
and Stevie fall in behind him, laughing.

Drew shrugs apologetically. He's torn, but he tears off after them 
nonetheless.

				GEOFF
		Shit...

Geoff runs off in pursuit of them.

EXT.  SCHOOL - DAY

Geoff rushes from the building, searching the dispersing crowd. 
There they are, tearing from the bike racks, pedaling for the 
street.

Clyde sees Geoff and mockingly holds the kitten out for display as 
they ride by.

Geoff runs for the bike racks.

EXT.  ROAD - DAY

Clyde and his cohorts break from the outskirts of town, riding out 
onto the open road.

Clyde glances back toward the center of town.

Geoff is so far behind he's barely visible.

Clyde returns his eyes to the road ahead, raising Tiger nose to 
nose with him.

				CLYDE
		Having fun yet?

Clyde and his smirking buddies ride on, OUT OF FRAME.

WITH GEOFF

giving the pedals all he can, struggling to keep pace with the 
boys.

35    OMITTED

FURTHER ALONG

Scattered houses sprinkle the landscape ahead. Cochran Lake 
stretches into the distance beyond the housing.

Clyde's clan cuts from the road and blazes a trail across a 
residential property. The two-story house is weathered and boarded 
up. It looks vaguely familiar. Creepy.

And when WE FIND the mailbox post, we know why. The name is faded, 
but there's no question who once lived there. Five bold letters: 
"CREED."

Geoff whips by in a blur, still in pursuit.

EXT.  COUNTRYSIDE - DAY

Clyde and his friends have abandoned their bikes. They've taken 
position on top of the slope of the hill, standing at the foot of 
THE PATH TO THE PET SEMATARY.

38    OMITTED

EXT.  PET SEMATARY PATH - DAY

Geoff pulls his bike to a stop short of the boys. He dismounts and 
leans it up against a tree.

				GEOFF
		Just give me the cat, all right?

A devilish grin creeps over Clyde. He strolls down the path toward 
Geoff. Clyde grabs Geoff's handlebars and, backing up, pulls Geoff 
and the bike with him.

				CLYDE
		I would but... there was a little
		accident...
			(feeding off Geoff's
			alarm)
		She was trying to get away. You
		know, running down my leg... and
		her head got too close to the 
		spokes. Pretty gross. What's
		left of her is up in the Pet
		Sematary. A zip-lock bag might
		help...
			(shrugs)
		...but I happen to be out of them
		at the moment.

Drew shakes his head, disgusted he has to put up with Clyde's 
antics.

				DREW
		Come on, Clyde, just tell him
		where the cat is...

				CLYDE
			(turning on Drew)
		...I TOLD HIM where the cat is!
		Now shut up, fuck-face!

Clyde punches Drew in the arm. Drew shrinks back.

Geoff flashes a hateful stare at Clyde.

All of the boys but Clyde are uncomfortably silent. There's 
something frightening about Clyde... something that extends beyond 
the standard bully antics. We begin to get the feeling that this 
kid is genuinely deranged.

				CLYDE
			(relishing the
			moment)
		You heard about the Creed murders
		yet? And the place where the dead
		come back to life?

He motions to the path behind him.

				CLYDE
			(continuing)
		It's just back there. Just down
		that path...

				DREW
			(meekly)
		Clyde... it's not funny anymore.

				CLYDE
		Oh? So you got a problem?
		What're you gonna do, fat-ass? You
		gonna sic big, bad, old Gus after
		me?

Drew shuts up. Clyde turns back to Geoff, drawing closer.

				CLYDE
		What do you think, Geoff? Maybe
		you could dig up your Mom and take
		her back there. Maybe if you pray
		real hard, she'll come back.

With this last remark Clyde has pushed too far. Geoff's face is 
red with anger.

				GEOFF
			(quietly)
		Just give me the cat, ass-hole.

Clyde's grin falters a moment.

				CLYDE
		Excuse me, maybe I'm a little hard
		of hearing... but did you just call
		me an ass-hole?

Clyde pokes Geoff in the shoulder.

				CLYDE
		You mad, Geoff? Cause if you are,
		you should take a shot at me...

This time Clyde shoves Geoff back even harder.

				CLYDE
		Come on, you pussy! What's the
		matter with you?

Clyde moves forward again and Geoff suddenly LASHES OUT, catching 
everyone off guard.

For an instant, Drew marvels at Geoff's tenacity.

Clyde LUNGES. He hammers Geoff with blows.

Outsizing him by forty pounds, Clyde tosses Geoff to the ground. 
Geoff struggles, but Clyde's grip proves arresting.

Clyde throws Geoff onto his stomach, forcing his face into the 
dirt. It looks as if he's ready to smother his opponent.

Drew is the first to rush in. Brad and Stevie quickly follow. It 
takes all three of them to peel Clyde off Geoff.

Clyde gets to his feet and backs away. There's great pleasure in 
his crazed eyes as he watches Geoff coughing and gasping.

				CLYDE
		Fuckin' ass-hole.

Satisfied he's handed out enough ill will for the day, Clyde turns 
away.

Drew's attentions remain on Geoff. As Clyde strolls by, he grabs 
Drew's arm and swings him around.

				CLYDE
		This way, fat-boy.

Stevie and Brad follow. As the group passes Geoff's bike, Clyde 
gives it a kick, knocking it over. Then they're gone.

Geoff pulls himself to his feet. Brushing off the mess, he heads 
up the path in search of Tiger.

EXT.  PET SEMATARY - DAY

The woods here have grown long with shadows. The air is still and 
the sound of birds is conspicuously absent.

A WOODEN ARCHWAY frames the entrance to the primitive graveyard. 
Scrawled across the weatherstained boards is a child's barely 
legible attempt at "PET SEMATARY."

Geoff trepidatiously enters the clearing of crude, crowded graves. 
Collars, leashes, bird cages and other accessories adorn the 
makeshift crosses and headstones.

Geoff moves along the outer circle of markers, each crafted by a 
child's caring hands.

As he searches, he can't help but notice the heartfelt epitaphs. 
On the outer circle, he sees a crate-board marker memorializing: 
SMUCKY THE CAT... HE WAS OBEDIANT.

MOVING INWARD, the markers are older. The ones he can still read 
convey a sense of the perpetual cycle of life and death.

Here is a wide, flat, upright board planted deep in the earth: "In 
Memory of MARTA our Pet Rabit Dyed March 1 1965."

The next three rows are illegible, the inscriptions are weathered 
beyond recognition... And then, chiseled into sandstone: HANNAH 
THE BEST DOG THAT EVER LIVED 1929-1939.

And now... "MEOW." Faint. But very much alive.

Geoff picks up his pace, weaving quickly toward the center.

There, he finds Tiger. Trapped in a rusted old birdcage, its base 
swallowed by the grave.

Geoff opens the door and frees Tiger, stroking the trembling 
kitten.

Geoff's eyes are drawn to the far perimeter... to the deadfall...

THE DEADFALL looms on the outskirts of the clearing like a pile of 
skeletal remains. An abstract stairway to things beyond. A wind 
picks up just then, sending leaves skittering in waves across the 
ground.

40    OMITTED

EXT.  PET SEMATARY PATH - DAY

When Geoff turns around, he finds Drew waiting for him under the 
archway. Drew smiles, full of respect for Geoff.

				DREW
		I've never seen anybody punch
		Clyde before.

				GEOFF
			(shrugs)
		He pissed me off.

				DREW
			(his smile fading)
		Sorry about your mom.
			(beat)
		I couldn't handle not having my
		mom around. Just having Gus...

He grimaces at the thought.

				GEOFF
		My dad's not so bad.

Drew glances around at all the makeshift grave markers.

				DREW
		I swear, sometimes I wish Gus was
		dead...

				GEOFF
			(serious)
		You shouldn't ever say that about
		your parents, not even your Dad.

				DREW
		Stepdad. Gus is my stepdad.

Geoff nods knowingly.

				GEOFF
		What was all that stuff about dead
		people coming back to life?

				DREW
		Nothing. It's just an old ghost
		story. Let's get out of here...

They head off, full of childhood.

INT.  KITCHEN - DUSK

Marjorie is at the stove, fixing up dinner, while Chase scans the 
newspaper at the table.

Geoff enters through the kitchen door. He moves past them without 
a word.

				CHASE
			(calling after him)
		Hey! How was your first day at
		school?

				GEOFF
			(over his shoulder)
		It sucked.

				MARJORIE
		Now is that any way to talk to
		your father?

Geoff stops for a moment, turns...

				GEOFF
		You're not my mother.

...and exits through the opposite door.

Chase looks to Marjorie and offers a sympathetic shrug.

				CHASE
		Sorry.

EXT.  DREW'S HOUSE - DUSK

CRUDE CAGES HOUSE DOZENS OF RABBITS. Situated alongside the 
garage. A sign above the cages reads: PET RABBITS - $10.00. Bells 
positioned along the roof threaten to reveal foul play.

Gus is rigging a wire along the base of the cage.

Finishing it off, he hangs the plug next to an outside socket. 
Moving onto the next chore, he pours pressed alfalfa pellets into 
feeding slots for the hungry rabbits.

Setting the feed aside, he takes a seat. Opening one of the cages, 
he grabs a rabbit and sets it on his lap, gently petting its soft 
fur.

One of the cages starts to vibrate.

Gus gives it a look: A PAIR OF RABBITS aren't interested in 
eating, they're joined in fast and furious passion.

Gus gets a chuckle out of the sight.

				GUS
		Way to go, Romeo...

Gus replaces the rabbit in the hutch. And before he goes, HE SINKS 
THE PLUG INTO THE SOCKET. An ELECTRICAL CHARGE dances along the 
base of the cage, a deterrent for intruders.

INT.  KITCHEN - NIGHT

Drew's mother, AMANDA, withdraws a roast from the oven.

Gus is at the sink, washing his hands. He turns to see Zowie 
laying at Drew's feet in the living room. Drew is watching a MUSIC 
VIDEO on TV.

				GUS
		Drew, I don't remember inviting
		Zowie in for dinner.

				DREW
		Just until he heals up?

Gus is waggling his thumb toward the back door.

Drew slumps in defeat.

Gus reaches into the cabinet and pours himself a Bourbon.

EXT.  DREW'S HOUSE - NIGHT

Drew walks Zowie from the house with a dish of dog food. As they 
pass the rabbit dens, Zowie alters his path. Drew gets a handful 
of his collar and pulls him back.

Across the yard is an enclosed dog run. Twenty feet long by ten 
feet wide. Drew puts Zowie inside with the dog food.

Drew strokes Zowie's mane affectionately, then backs away, closing 
the wood-framed door to the dog run.

INT.  DREW'S KITCHEN - NIGHT

Amanda's about to put the roast on the table when Gus nuzzles up 
behind her, breathing down her backside. With his drink in hand, 
he sweeps her hair aside and zeros in for a kiss on the back of 
the neck.

Gus eases his free hand around between Amanda and the counter and 
presses his palm firmly into her crotch, drawing her body tight to 
him.

She stiffens at his intimate hold, uncomfortable with his timing.

				AMANDA
		Gus, please...

At the back door, Drew is watching from beyond the screen, 
disgusted by the sight of Gus pawing his mother. Drew swings the 
door open as loud as he can to signal his return.

Gus plants a last kiss on the back of Amanda's neck and backs off. 
But before he goes, he snatches a chunk of meat from the serving 
platter. Leveling his leering eyes at Amanda, he stuffs it into 
his mouth suggestively.

				GUS
		God damn, you're good.

Drew rolls his eyes and takes his seat at the table, returning his 
attention to the TV, where another MUSIC VIDEO is on.

Gus glances at the TV, annoyed by the MUSIC. He drops into his 
spot at the head of the table, blocking Drew's view. Drew leans to 
the side for a better look. Gus takes notice and leans to the same 
side to obstruct his view.

				GUS
		You're breaking the law here,
		Drew.

				AMANDA
		Really, Gus. It won't bother me.

Gus ignores her, inching forward with a confidential, harsh 
whisper.

				GUS
		Your mom's spent the last hour
		cooking. Stop being a little jerk
		and show her some appreciation.

Drew aims the remote control at Gus, as if to shut him up, and 
silences the TV.

Amanda approaches with the roast. The moment it's on the table, 
Drew starts dishing up a hefty serving. Gus spears Drew's fork 
with the serving fork.

				GUS
		Not that much appreciation. I
		thought we were gonna tone down
		that flabby ass.

				DREW
		Hey, I'm so sorry I'm not the stud
		that you are.

				AMANDA
		Knock it off, guys...

Gus throws back a sip of Bourbon.

				GUS
			(to Drew, quietly)
		You watch that mouth of yours,
		Drew buddy.

46    OMITTED

EXT.  ZOWIE'S DOG RUN - NIGHT

MOVING THROUGH Zowie's enclosed pen, WE SEE no sign of the dog. 
REACHING the door, WE FIND that the wood around the bottom hinge 
has been chewed through. The base of the door is ajar, just enough 
for a dog to have slipped through.

EXT.  RABBIT CAGES - NIGHT

In the still of the night, Gus' rabbit pens sit unattended. And 
then WE HEAR the tinkling of dog tags. Snoozing rabbits awaken as 
Zowie lumbers INTO FRAME.

Zowie rises on his hind legs, pressing his paws to a cage. Blue 
sparks fly as Zowie is jolted with the electrical charge.

INT.  GUS' ROOM - NIGHT

The ELECTRICAL ZING. The dog's whimpering CRY. And the RINGING OF 
BELLS reach Gus in rapid succession, rousting him from his sleep. 
He rolls out of bed and grabs his robe.

				GUS
		Damn it, Drew. That dog is
		history!

Amanda stirs, groggily focusing on Gus' departing figure.

INT.  DREW'S ROOM - NIGHT

Drew swings open the door to the hallway as Gus marches by, 
stuffing shells into a shotgun. Panicked, Drew takes off after 
him.

EXT.  RABBIT CAGES - NIGHT

Zowie swings his head in the direction of the house as Gus bursts 
through the back door. Drew is one step behind.

Gus swings the gun up and fires off a SHOT.

Zowie bolts for the shadows of the hillside.

Drew rushes in and deflects the aim of the rifle.

				DREW
		Don't shoot him!

Gus' eyes are wild with anger.

				GUS
		What, Drew? What did you say?!

Gus throws Drew aside, brings the rifle back up and FIRES another 
random shot after the fleeing dog. All the while, his eyes remain 
on Drew, as if this were the boy's lesson to be learned.

He squeezes off one more SHOT...

A PAINED YELP echoes from the hillside. Zowie's yelp.

Drew whips his head aside in sickened shock. Even Gus is sobered 
by the unexpected hit.

All they can hear now are Zowie's WHIMPERING CRIES diminishing in 
the night.

Drew shoots Gus a look of such unbridled hatred that Gus is 
speechless. He backs away from Gus and darts off toward the dark 
hillside.

When Gus turns back for the house, Amanda is standing there.

				AMANDA
		Jesus, Gus, what have you done?

				GUS
		Ah, come on, Amanda, stop looking
		at me like that. He's had ample
		warning about that dog.

Amanda glares at him, an outpouring of pent-up strain.

Gus defiantly marches past Amanda, entering the house without ever 
meeting eyes with her.

EXT.  WOODS - NIGHT

Drew pauses long enough to listen for Zowie...

Nothing until a FAINT CRY drifts back at him.

DEEPER IN THE WOODS

Zowie limps INTO FRAME. Blood is flowing from the bullet wound in 
his left hindquarter, trailing from his suspended leg. Every step 
is a strain.

DREW

comes upon a break in the trees. The hanging moon outlines the 
knoll stretching beyond. And then, the strained breathing, the 
hushed WHIMPER.

Drew hesitantly approaches the crest of the knoll.

Zowie is just beyond, lying on his side at the end of the bloody 
trail. His chest rises and falls almost imperceptibly with every 
effort to survive.

Drew drops to his knees at Zowie's side and cradles the dog in his 
lap, shaking his head in denial.

Zowie's weak eyes shift, gazing longingly at Drew.

Drew strokes the fur under Zowie's chin, hardly able to see the 
dog through his glaze of tears.

Zowie's eyes drift off. His chest falls and doesn't rise again. He 
falls limp in Drew's arms. Drew hugs Zowie even tighter and he 
begins to weep.

FROM A DISTANCE

WE SEE the image of Drew with the dog cradled in his arms, 
silhouetted against the moonlit horizon.

								DISSOLVE TO:

53    OMITTED

EXT.  GEOFF'S HOUSE - MORNING

Geoff appears from the garage with his bike and takes off for the 
road. A WHISTLE catches his ear.

Drew is at the edge of the woods, beckoning for Geoff.

Geoff circles around and doubles back.

				GEOFF
		I was just going by your house.
		Where's your bike?

The closer Geoff gets, the more he sees of Drew's despair. Then he 
sees the dried blood staining Drew's clothes.

				DREW
		Zowie's dead.

Geoff's heart sinks. An unspoken moment of sympathy passes between 
the boys. Fighting the emotions, Drew finally speaks.

				DREW
		I have to bury him. I don't want
		to go out there alone.

There's such grief in Drew's words that Geoff can't resist. He 
glances toward his house to make sure he hasn't been seen, then 
blends into the woods.

EXT.  PET SEMATARY - DAY

Drew carries Zowie's relaxed form in his arms. Geoff is following, 
balancing a pickaxe and shovel.

Arriving at the graveyard, Geoff searches the outer perimeter for 
a vacant stretch of soil. Finding one, he lets the heavy tools 
fall to the ground.

				GEOFF
		Is this a good spot?

				DREW
		I'm not burying him here...

				GEOFF
		Why not?

				DREW
		There's a better place...

Drew heads for the base of the deadfall, with Zowie in his arms.

				DREW
		It's back here somewhere, through
		the Indian woods. I know we can
		find it...

Drew continues up the deadfall, disappearing over the crest.

Geoff gathers up the shovel and pickaxe and follows after him.

				GEOFF
		Hey, wait up!

EXT.  THE BOG - DAY

Geoff climbs over the peak of the deadfall...

Beyond is a dark swamp, A BOG, looking unlike anything one would 
expect in Maine. Tendrils of ground fog swirl about vegetation 
that looks almost prehistoric. Gnarled trees rise up from the 
murky earth, blocking the sun from view.

Geoff hurries down the other side of the deadfall to catch up with 
Drew. Somewhere off in the distance we hear an UNEARTHLY SOUND. 
Not a bird. Not any animal known to man.

Spectral shapes flicker at the edge of Geoff's vision, sinking 
back into the shadows as Geoff tries to focus on them.

				GEOFF
			(uneasy)
		Drew, where are we going?

Drew doesn't respond. He continues on without another word, hell-
bent on finding this "better place."

FURTHER ALONG - DAY

At the boundary of the bog, A STAIRWAY OF HUGE, WIDE STONES rises 
from the blanket of ground fog. Bordered by fir trees. Leading up 
the hillside. The final leg of Drew and Geoff's journey.

				DREW
		This is it... I wasn't sure if it
		even really existed.

				GEOFF
		What did?

				DREW
		The old Indian burial ground.

Geoff's eyes move to the stairway of stones.

				GEOFF
		Come on, that's just a bullshit
		story. You said so yourself...

				DREW
		What if it's not bullshit? If I
		bury Zowie there, and it works...
			(beat)
		...he'll come back alive.

				GEOFF
		Drew, I know your dog died, but...
		get a grip, man, you're freaking
		me out.

				DREW
		Look, if there was even one chance
		in a million it'd work, wouldn't
		you want to try?

Geoff feels for Drew. It's pointless to reason.

Drew starts up the stone steps. Geoff has no choice but to follow.

EXT.  MICMAC BURIAL GROUND - DAY

Even in broad daylight, the flat-topped mesa has a sense of 
foreboding isolation. There's an almost palpable sense of 
"wrongness" about this place. As if the darkness of a dying black 
hole was seeping out of the ground and spreading across the earth.

Drew and Geoff approach the circle of rocky soil. They stand at 
the border, looking it over in eerie silence.

Somewhere off in the distance we hear the unearthly SOUND again, 
only this time, it's closer.

				GEOFF
		Look, let's just get this over
		with.

Even Drew seems to have awakened from the haze he had fallen into. 
He gently sets Zowie's body on the ground.

				DREW
		If this doesn't work... don't ever
		tell anyone I did this, okay? You
		gotta promise...

Geoff nods and hands over the digging tools. Drew swings the 
pickaxe, sinking it into the ground.

				GEOFF
		You want me to help?

				DREW
		You have to bury your own. That's
		the way the Indians did it. It's
		like a rule...

Backing away from the burial ground, Geoff takes a seat on a rock 
at the border of the forest. From there, he watches.

Drew alternates the pickaxe and shovel as he clears a hole in the 
rocky ground.

WE MOVE IN ON GEOFF, who's looking on with skeptical intrigue as 
the rhythmic SOUND of the tools continues.

59    OMITTED

LATER -

A cairn is complete: a conical pile of rocks over Zowie's grave.

Drew is now sitting on the rock next to Geoff. Together, they 
stare at the cairn as if Zowie might climb from beneath at any 
moment.

				DREW
		What if he really does come back?

Geoff shrugs, pondering such a thought.

Geoff digs into his pocket and produces a pack of gum, offering 
one to Drew. With only a quick glance away from the grave, Drew 
snatches a piece and he stuffs it into his mouth. Geoff does the 
same.

They sit together in silence. Nervously chewing their gum. 
Watching the grave.

				DREW
		I've never had anyone die
		before...
			(beat)
		...but I guess you get over it. I
		mean, eventually...

				GEOFF
			(quietly)
		You never get over it.

EXT.  COUNTRYSIDE - AFTERNOON

The sun dips over the horizon, giving way to dusk.

EXT.  MICMAC BURIAL GROUND - DUSK

Geoff's eyes shift from the grave to the darkening sky.

				GEOFF
		It's getting pretty late. We
		better go.

				DREW
			(disappointed)
		Yeah...

They rise, leaving the burial ground. En route, Drew pauses for a 
last look at the grave.

				DREW
		So long, Zowie...

Geoff follows, glancing back at the burial ground. It looks 
magical in the twilight, not quite so sinister now.

EXT.  ROAD - NIGHT

Drew is walking home along the road, alone.

Headlights blind him as a car approaches. It slows and pulls a U-
turn, stopping at Drew's side. It's Gus' squad car. He pushes open 
the passenger door.

				GUS
		Get in.

Drew takes a step back, shaking his head.

				GUS
		Your momma's worried sick over
		you. You take off in the middle
		of the night, you don't show up
		for school. What're you trying to
		prove?

				DREW
		I'm not trying to prove anything.
			(beat)
		I was burying my dog.

Gus turns his eyes away, focusing on the dark road ahead.

				GUS
		Life is full of lessons. No one's
		above it. Not you. Not me...
		Now get in the car.

After a moment, Drew approaches the car. Without another word, Gus 
drives off.

64    OMITTED

EXT.  RABBIT CAGE - NIGHT

It's quiet now. And out of the silence comes the JINGLING of 
Zowie's dog tags. Zowie's LONG SHADOW creeps over the cage, 
distorted to monstrous proportion by the flickering light.

We move past the cages to the back porch...

We see ZOWIE'S PAW scratching at the door.

INT.  AMANDA AND GUS' BEDROOM - NIGHT

Amanda wakens with a start. She rises, eyes focusing on the dark 
bedroom. Gus is sound asleep next to her. Then, from outside, we 
faintly hear ZOWIE'S SCRATCHING.

Slowly, Amanda rises from bed, pulling on a bathrobe as she heads 
for the door.

EXT.  BACK PORCH - NIGHT

Amanda appears at the door. She unlatches it, stepping outside.

				AMANDA
		Zowie?

Amanda looks down and SCREAMS.

INT.  DREW'S ROOM - NIGHT

Photos of Drew with Zowie are tacked on the wall above the bed. 
The one photo of Drew, Amanda and Gus has been altered with a cut-
out head of Zowie's pasted on Gus' shoulders.

WE FIND Drew below. He's fallen asleep with his Walkman on. Even 
with his ears covered, the POUNDING at the door jolts him awake. 
Half asleep, Drew peels off the headphones.

				GUS (O.S.)
		Drew, you unlock this door! Right
		now!

				AMANDA (O.S.)
		Unlock it, Drew!

The anger in his mother's voice brings him off the bed. Gus' 
POUNDING continues.

Drew moves to the door. The inside is secured by a double dead 
bolt. Instead of unlocking them, he opens a tiny, customized 
window which gives him a view of the hall.

				DREW
		What did I do now?

				AMANDA
		Open the door, Drew.

Drew unlatches the deadbolts and steps back as Gus bursts through 
the door.

				GUS
		Where do you come off lying like
		that? "I'm burying my dog." You
		think a lie like that's never
		gonna catch up to you?

Drew backs into the bed, taking a seat.

Amanda comes through the door, and behind her is...

ZOWIE

This is our first glimpse of the resurrected dog. Fur shiny and 
wet, the gaping gunshot wound in his rear. Zowie's head hangs low, 
his eyes GLEAMING RED. The husky is covered with dirt from head to 
toe.

Drew's eyes widen in astonishment.

Zowie staggers across the room towards Drew, nails clicking on the 
floorboards. Drew shrinks back in uncertain horror as the dog 
moves closer.

Zowie absently throws his arms up onto the bed, across Drew's lap. 
And slowly, perfunctory, his tongue licks Drew's cheek. This last 
action of Zowie displaces Drew's fear. Tears well up in the boy's 
eyes.

				DREW
			(a whisper)
		Zowie...

				GUS
		Say your goodbyes. Zowie's going
		outside. You're grounded, buddy.
		That's the new law.

Drew lifts his hand from stroking Zowie's fur. His palm is covered 
with muddy blood.

				AMANDA
		I never knew an open wound could
		smell so bad...
			(beat)
		Honey, he should have been looked
		at this morning. I don't know
		what you were thinking. It's a
		wonder he's still alive.

Drew gazes into the dog's vacant eyes. It truly is a wonder.

INT.  GEOFF'S HOUSE, LIVING ROOM - NIGHT

Chase enters and stops in the doorway.

Geoff sits in front of the television with a pile of videotapes 
next to him. He's scanning through Renee's old movies with the 
remote. The sound has been turned down and the effect is a little 
eerie.

ON THE SCREEN

We see RENEE move through a scene. Geoff hits the slo-mo button 
and the image winds down. Renee's face. HER EYES stare out at us 
from the alien universe of the past.

				CHASE
			(gently)
		Geoff...

Geoff doesn't respond. He's captivated by Renee.

Chase moves into the room.

				CHASE
		Geoff!

Geoff PAUSES the tape. Renee freezes, the image flickering ever so 
slightly. For an instant, we think we see a FLASH OF Renee being 
electrocuted. But it's only an instant.

Finally, Geoff tears his eyes away from the screen, resenting his 
father's intrusion.

				GEOFF
		What?

				CHASE
		You alright?

Geoff's face softens. He nods.

				GEOFF
		Dad... do you think...
			(beat)
		...you think you and Mom would've
		gotten back together?

Chase draws closer. He takes a seat next to Geoff. The pain in his 
son's eyes is almost more than he can stand.

				CHASE
		I think so.

				CHASE
			(continuing)
		Your Mom and I loved each other,
		Geoff. Don't ever think that we
		didn't.

				GEOFF
		I still can't believe she's
		dead...

Chase moves to reach for his son, and suddenly the phone RINGS, 
shattering the moment.

Chase hesitates, but finally he rises and answers the phone.

After a moment, he returns.
				GEOFF
		Who was that?

				CHASE
		Remember Zowie, Drew's dog? He
		got hurt again. I'm going over to
		take a look at him.

Geoff's eyes widen. He looks like a ghost walked over his grave.

				GEOFF
		I'm going with you.

Chase nods and exits to get his coat.

Geoff looks back at the TV once more. The image paused.

Renee staring at us from beyond the grave.

EXT.  DREW'S HOUSE - NIGHT

Gus, Amanda, Drew and Geoff are gathered around Chase's van.

EXT./INT.  CHASE'S VAN - NIGHT

Chase lays Zowie on his side on an examining table and shines an 
overhead light onto the wound.

Geoff is looking in from outside, utterly bewildered by the 
living, breathing dog.

				CHASE
		How'd it happen?

Gus casts a threatening glance in Drew's direction.

				DREW
			(glaring at Gus)
		Some psycho hunter probably got
		trigger happy...

Chase is too busy preparing a syringe to notice the nonverbal 
exchange.

				CHASE
		I'm going to give Zowie a local
		anaesthetic so I can clean up the
		wound. I'd like to take him home
		tonight for observation.

				AMANDA
		Fine.

				DREW
		Can you keep him at your place
		until he gets better?

				CHASE
		Sure...

Drew tenderly strokes Zowie's mane as Chase administers the 
injection. Zowie stares up at Geoff with dull, blank eyes.

Drew reads Geoff's bewilderment and joins him outside the van. 
Their words are clear, but whispered.

				GEOFF
		Maybe he wasn't dead when we
		buried him.

				DREW
		He was dead. You know he was.

Geoff returns his stare to Zowie.

				DREW
		You can't tell anyone, Geoff.
		Ever.

Geoff looks into Drew's eyes and nods in understanding.

69    OMITTED
THRU
75    OMITTED

INT.  GEOFF'S BEDROOM - NIGHT

Tiger is curled up at the foot of Geoff's bed. Geoff climbs in, 
careful not to disturb the kitten. As he lays his head back on the 
pillow...

				VOICE (O.S.)
		Sleep tight, darling. I'll be
		with you soon.

It's a woman's VOICE. A familiar one. Now we hear the rhythmic 
CREAK of a rocking chair. And with it comes the voice again, 
humming a HAUNTING LULLABY.

Wide-eyed, Geoff turns his head toward the source...

A WOMAN'S NONDESCRIPT FORM is seated in the rocking chair across 
the room. Rocking forward, her face passes into a swath of 
moonlight...

It's Renee. With the rock of the chair, her face recedes back into 
the shadows. Her soothing HUM remains.

And again, her face passes into the swath of light. And again it 
retreats.

Geoff raises his hand, reaching out for her.

Renee's hand rises from the shadows, reaching for him.

But suddenly, THE ROOM BEGINS TO STRETCH.

The rocking chair and the bed seem distanced like polar extremes, 
mother and son hopelessly separated by forces beyond their 
control.

LIGHTNING FLASHES in the bedside window. Renee is falling farther 
and farther away.

				GEOFF
		Mom!!!

Geoff leaps from his bed as the darkness closes in and...

GEOFF

bolts up from his pillow. Awake now, face wet with perspiration. 
It was a nightmare. Except, if it was a nightmare, why do we still 
hear...

...the steady CREAK of the rocking chair.

Geoff slowly turns his head once again, repeating the actions of 
his dreams.

In the shadows, the chair is still rocking. As it comes forward 
into the moonlight, we see ZOWIE, curled up asleep on the seat of 
the chair.

Tiger is not on the bed anymore. She's up on top of the bookcase 
now, wide awake, eyes fixed on the dog. She HISSES.

Geoff stares at the rocking chair, petrified.

INT.  CHASE'S OFFICE - DAY

Chase strips off the bandage over Zowie's rear end. The wound is 
gooey and open.

Geoff reads the concern in Chase's expression. Drew is right there 
at Geoff's side, looking on.

				DREW
		What's the deal?

				CHASE
		I don't know. He's had three
		days. His immune system should've
		responded by now...

Chase puts on his stethoscope and checks under the dog's rib-cage 
for a pulse. He checks a number of places, then shakes his head, 
totally confused.

				CHASE
		I can't seem to find a pulse... it
		must be so weak, it's not
		registering...

Geoff and Drew share conspiratorial glances as Chase sets the 
stethoscope aside and extracts a blood sample.

Chase labels the capped vial of blood "ZOWIE" and carefully places 
it into a packing container. When he closes the lid, we see the 
preaddressed label:

			UNIVERSITY OF MAINE
		School of Veterinary Medicine
			Lab Samples Enclosed

Uncomfortable with Chase's investigation, Geoff reaches for Zowie.

				GEOFF
		We'll take him back to the
		kennels, Dad.

78A   OMITTED

INT.  BOARDING AREA - DUSK

THE KITTENS ARE HISSING, shrinking to the back of their kennel.

Zowie stands motionless before their cage, gazing in at them.

Geoff and Drew are nearby, putting the finishing touches on the 
bedding inside a larger boarding kennel.

				GEOFF
		You think my Dad'll figure out why
		he's not getting better?

				DREW
		You think he'd believe it if he
		did?

One of the kittens SPATS fearfully at Zowie. Geoff turns to stare 
at Zowie.

				GEOFF
		How can he not have a heartbeat?

				DREW
			(worried)
		Maybe it takes a while...

Drew lifts Zowie into the kennel. Geoff secures the door, 
something that clearly must be done from the outside.

Zowie immediately begins to pace back and forth inside the cage. 
He turns towards us and we...

								CUT TO:

EXT.  TOWN, CHASE'S OFFICE - NIGHT

A SNARLING WEREWOLF rushing at us.

Chase jumps back, frightened out of his wits and we realize...

The werewolf is part of a group of COSTUMED KIDS out trick-or-
treating. The kids LAUGH at Chase's reaction and hurry on, 
dragging their candy loot bags behind them.

Chase sighs and turns to lock the office door. He's closing up for 
the night.

He climbs into his Mobile Vet Van. We HOLD ON the new sign in the 
back window: "A HALLOWEEN TREAT. FREE KITTENS." Beneath that is a 
pencil-sketch of a black arched-back kitten.

INT.  GEOFF'S HOUSE - NIGHT

Marjorie and Geoff are at the kitchen table with the remnants of 
dinner. Geoff is doing last-minute touches on his costume.

Marjorie looks over his costume. He's got a hockey mask pushed 
back onto the top of his head.

				MARJORIE
		So who're you going as, Wayne
		Gretzky?

For effect, Geoff slips the hockey mask down over his face before 
answering.

				GEOFF
		I'm going as Jason.

				MARJORIE
		Jason? Who's he play for?

				GEOFF
		He doesn't. He hacks people up.

Geoff checks his watch.

				GEOFF
		I'm late.

As Geoff heads for the door, Chase is just coming in for the 
evening.

				CHASE
		Hey! Where're you off to?

				GEOFF
		I'm going out, Dad!

Geoff ducks out the door. Chase turns to Marjorie.

				CHASE
		Out?

				MARJORIE
		He's probably going up to the Pet
		Sematary. Kids've been going out
		there on Halloween night for
		years.

				CHASE
		What do they do up there?

				MARJORIE
		Oh, you know... drink beer, tell
		ghost stories. They try and spook
		each other out, talking about
		zombies and things...
			(she shrugs)
		It's no big deal, Chase. I did it
		when I was young.

INT.  DREW'S HOUSE - NIGHT

Drew is at the bathroom mirror.

				AMANDA
		Hold still. Hold still.

Amanda puts the finishing touches of color on Drew's lips. She's 
done an alarmingly good job of turning Drew into THE JOKER.

				AMANDA
		You make sure you're home by ten.
		If Gus finds out I let you go...

				DREW
			(sighs)
		I'll be home, Mom. Don't worry.
		I won't let Gus blow up again...

Amanda looks Drew straight in the eyes.

				AMANDA
		Drew, I know Gus isn't your
		father, but you never even knew
		your real father. He walked out
		on the both of us, and you
		remember that.
			(beat)
		Gus isn't that way. He has it in
		him to love us both. You just
		have to give him a chance...

Drew nods respectfully. Amanda gives him a kiss. Drawing back, she 
rubs out the lipmarks she's left on his made-up cheek.

83    OMITTED

EXT.  PET SEMATARY - NIGHT

Dark clouds paint the foreboding sky. A broken pulse of lightning 
streaks through the dense haze.

Abandoning their bikes next to the path, Drew and Geoff approach 
the archway. The graveyard beyond is deathly silent.

They pass beneath the archway, entering the clearing.

And now, a soft, chilling VOICE drifts over the graves.

				VOICE (O.S.)
		Geoff, honey. Mommy's here...

Geoff freezes in his tracks, awestruck as...

A WOMAN'S BODY

swoops down from the darkness above, materializing out of nowhere. 
A fluttering negligee. Flowing blonde hair.

RENEE'S FACE appears out of the shadows, masked with sadness.

Geoff swallows the lump in his throat.

Renee's form keeps coming. But even as she approaches, her visage 
grows less distinguishable. Just a phantom countenance now. A 
shadow framed by golden hair, resting atop a veiled body...

She's coming so fast that she's upon Geoff in no time. He fumbles 
back, startled out of his wits...

THE BODY is upon him now, flailing wildly. Geoff thrashes and 
struggles, screaming bloody murder.

Gradually, he realizes the body isn't fighting back. Geoff eases 
his struggle, lets his scream fall off.

Now he hears wild, mischievous LAUGHTER.

Drew pulls the body away. It's just a heavy wad of stuffed 
clothing: A DUMMY dressed in a negligee, capped by a blonde wig. 
It dangles near the end of a slanted wire.

Clyde, Stevie, Brad, and a half dozen other costumed KIDS appear 
from the nearby cover of bushes, doubled over in laughter.

Clyde tugs at a piece of twine that's connected to the back of the 
dummy's head and makes spooky sounds. The dummy jumps around on 
the slanted wire.

Clyde drops the dummy and saunters forward.

				CLYDE
		Look at this, Junior here
		practically shit his pants.

Clyde drops down, nose to nose with Geoff, who's still recovering.

				CLYDE
		Maybe you're too chicken to hang
		out with the rest of the boys.
		You gonna run home to Daddy now?

Geoff brushes himself off and rises to his feet. He stares into 
Clyde's eyes.

				GEOFF
		Fuck off.

Geoff pushes past Clyde and moves on into the graveyard, somehow 
managing to keep his dignity intact.

Drew follows, then the rest of the boys, leaving Clyde staring 
after them, standing alone with the dummy.

EXT.  DREW'S HOUSE - NIGHT

Gus' squad car slows to a stop outside. Gus swings open the door 
and ambles toward the porch.

INT.  DREW'S HOUSE - NIGHT

Amanda draws back from the window, mortified. She nervously 
crosses to the refrigerator and grabs a beer, turning as Gus 
enters.

				AMANDA
		You're home early.

				GUS
		Nope. Just ran out of smokes.

Gus opens a kitchen drawer and fishes for a pack of cigarettes. He 
fires one up.

				GUS
		Where's the boy?

Amanda squirms.

				AMANDA
		Uh... in his room...

Gus tightens his brow, casting a suspicious eye.

A sickened look flushes through Amanda as Gus pulls his eyes away 
from her and marches upstairs.

				GUS (O.S.)
		DREW!

His feet POUND down the hallway. Silence for an instant. Then the 
powerful swing of Drew's door. Followed by Gus' hastened return 
down the hallway. And as he hustles down the stairs...

				GUS
		God damn it, Amanda! You want me
		to be a father to the boy, and as
		soon as I lay down the law, you
		let him break it!

Gus stops before Amanda.

				GUS
		Where is he?

One step away from terror, Amanda shakes her head. Gus loses his 
patience. He rips the can of beer from her grip and sends it 
flying across the room.

				GUS
		WHERE IS YOUR SON!?

Amanda sighs in quiet defeat.

				AMANDA
		The Pet Sematary.

Gus turns away and heads out the door.

EXT.  DREW'S HOUSE - NIGHT

Wheels spin as Gus' squad car streaks off into the night. The 
cherry top glows to life, bombarding the countryside.

EXT.  PET SEMATARY - NIGHT

By now, nearly TWO DOZEN COSTUMED KIDS have gathered at the Pet 
Sematary. In the midst of the graves, a small story-telling 
campfire burns. A number of the boys sip beer, trying to pretend 
that the bitter after-taste doesn't bother them.

Clyde sits up front. At fourteen, he's the elder statesmen of the 
group. With a beer in one hand, and a cigarette in the other, 
Clyde is just finishing up a spooky yarn.

				CLYDE
		...yeah, that old Louis was one
		sick fuck... digging up little Gage
		like so, maggots pouring out of
		that kid's eyes...

Clyde whistles. He drags on his cigarette and puffs out a smoke 
ring. Sees he still has an audience.

				CLYDE
		Ellie was the only Creed that
		lived. Then one night a few
		months later, Ellie freaks out,
		and she hacks up her grandparents
		with an axe!
			(beat)
		Police found her licking their
		brains off the blade... They
		locked her up in a psycho ward and
		all she said were two words: 'Pet
		Sematary. Pet Sematary.'

Clyde stares at the wide-eyed kids. He grins, takes a swig of 
beer, and moves in for the kicker.

				CLYDE
		Oh yeah! Almost forgot! Here's
		the best part. Two nights ago she
		escapes. Word is, she was heading
		for Maine. Man I hope she doesn't
		show up out here.
			(feigning concern)
		Shit, we wouldn't even notice her,
		not if she's wearing a costume.
		She could be one of us...

Clyde casts a suspicious eye on the group. The kids uneasily look 
at each other, making sure they know who's behind each and every 
costume.

Suddenly Clyde drops his jaw in exaggerated horror.

				CLYDE
		Oh my Goddd!!!

Clyde lifts a trembling finger, pointing beyond the group of 
spellbound listeners.

				CLYDE
		It's... It's...

The kids are afraid to turn around, assuming Clyde's rigged up 
some unspeakable terror...

And for an instant, a look of real horror washes over Clyde's 
face...

A FIGURE

Is coming up the path beneath the archway, rising out of the 
swirling mist. A frightening silhouette, backlit by the moon.

But then Clyde realizes who it is.

				CLYDE
		Shit! It's Drew's Dad. It's
		fuckin' Gus!

Drew and the others quickly turn around, realizing it's not part 
of the punch-line scare.

89    OMITTED
THRU
91    OMITTED

EXT.  PET SEMATARY - NIGHT

The kids quickly scramble for hiding places in the bordering 
brush, dropping their beer cans as fast as they can.

As Drew leaps to his feet, he upsets the fire, knocking one of the 
logs. A FLAMING EMBER rolls to the base of one of the brittle old 
crosses.

Drew and Geoff run for it.

EXT.  PATH, ARCHWAY - NIGHT

Gus moves quickly up the meandering path, sending the blinding 
beam of his flashlight over the graves.

				GUS
		You boys better not be drinking!

EXT.  PET SEMATARY - NIGHT

Through the thick woods, Drew is flanked by Geoff and Clyde.

				DREW
		Oh man, he's gonna kick my ass...

Drew starts to take off. Clyde trips him on his first stride. Drew 
hits the dirt.

				CLYDE
		Thanks for fucking up our
		Halloween, dumbshit!

Clyde recedes into the woods as Gus approaches the campfire. He 
scans the area with his flashlight, illuminating the various beer 
cans.

				GUS
		Drew, you get your ass out here!
		Front and center!

Geoff pulls Drew to his feet.

Gus passes the flashlight over the woods. Kids duck away, 
retreating from their hiding places...

The flashlight sweeps toward Drew.

Drew freezes, spotlighted by Gus' beam. A burst of LIGHTNING 
floods Drew's horrified face.

				GUS
		Get out here, Joker.

Geoff remains frozen in the woods nearby, out of Gus' light.

Behind Gus, the wooden cross is completely on fire now.

				GUS
		You out here making a fool of me?

Drew shakes his head in instant denial.

				GUS
		I'm warning you, buddy! You don't
		play by the rules, I'm gonna
		shadow your ass for eternity!

Drew makes a break from his spot in the woods. He weaves through 
the markers, arcing around the outer perimeter to avoid Gus...

...but Gus is quicker. He zigzags through the crosses and 
headstones to intercept Drew.

Gus gets a handful of Drew's collar and yanks him in.

				GUS
		You little shit!

Gus draws his free arm back and smacks Drew across the face. Drew 
goes down.

GEOFF

is looking on from the woods, horrified. Torn...

DREW

cowers on the ground, trying to scramble away.

Geoff bolts out into the firelight, staring defiantly at Gus in 
silent accusation.

Gus is beyond furious. LIGHTNING flashes again.

				GUS
		You get out of here, Geoff
		Matthews! This is between me and
		my boy!

Geoff doesn't move. Gus starts to advance forward...

...but the GROWL emanating from the woods gives him pause. 
Everyone turns...

A RUSTLING is heard in the bushes, and Zowie emerges into the 
building firelight, flashing his fangs at Gus. His eyes GLOW RED.

Gus freezes, studying Zowie.

Zowie inches forward, poised for the attack.

				GUS
		Call off your dog, Drew.

Drew shifts his eyes from Zowie to Gus, too terrified to heed such 
a command.

Zowie brushes past Drew and Geoff, moving in on Gus.

Gus' eyes shift to burning cross at his side. With a swift boot, 
he kicks over the cross and presses it into his grip.

Swinging the cross like a primitive weapon, Gus connects with the 
side of Zowie's head.

Zowie spins a full circle from the impact. But he lands on all 
fours. Unphased. Taking the next step toward Gus. There's 
something clearly not of this world in Zowie's vicious stare.

				GUS
			(terrified)
		Drew, call him off!

All Drew can manage is a faint appeal.

				DREW
		Zowie...

Zowie goes for Gus, launching into the air...

				GUS
		DREW!

...and sinking his glistening fangs into Gus' neck.

AN ERUPTION OF BLOOD showers the closest headstone.

Gus comes helplessly tumbling down with the weight of the dog. His 
SCREAMS are suddenly cut short as Zowie rips out his throat. His 
arms flail weakly at his sides, then grow still.

Drew and Geoff stare at the scene, wide-eyed with shock.

Zowie looks up from Gus' neck with dripping, red fangs. For a 
moment, his eyes settle on Drew. Then Zowie bolts off, 
disappearing into the night.

				DREW
		Oh, God. Oh, God...

Drew's eyes shift to Geoff, whose face is flushed with sickened 
fear.

				GEOFF
			(a whisper)
		Is he dead?

In dazed shock, Drew moves in for a closer look at the body.

Gus' eyes are wide open. Blood is still pumping in rhythm from his 
jugular with each weakening beat of his heart. It's a gruesome 
image against the roaring fire.

Drew kneels at Gus' side. He wants to touch him. To shake him 
awake, but with every attempt, he draws his hand back.

				GEOFF
		Is he breathing? Can you hear him
		breathing?

Drew leans forward, turning his ear toward Gus' gaping mouth. And 
as he inches closer...

GUS' FINGERS TWITCH

His hand jerks up and closes around Drew's neck. Gus stares up at 
him with his crazed menace.

Drew SCREAMS. His fingers claw at Gus' hand, desperate to pry it 
loose...

...but then, Gus' hand relaxes as his last, dying ounce of 
strength fades away.

Drew shrinks back, crouching over the lifeless body as the blazing 
firelight dances over it. He turns his tear-filled gaze to Geoff.

				DREW
		Oh man, Geoff... we killed him...
		we killed him...
			(beat)
		What're we gonna do?

Geoff draws closer and looks down into the dead man's face.

				GEOFF
		We could bring him back.

Drew's eyes widen at the suggestion.

And now, GAZING DOWN on Gus' body, and on the boys, WE PULL UP 
INTO A SLOW SPIRAL...

We move ever higher, until we are LOOKING DOWN UPON THE ENTIRE PET 
SEMATARY. At the SOUND of a shovel cutting into rocky soil, we...

								CUT TO:

95    OMITTED

EXT.  MICMAC BURIAL GROUND - NIGHT

Three quick shots:

A SHOVEL sinking into the earth.

GUS falling head down into the grave, landing with a heavy THUD.

SOIL covering Gus' lifeless face.

EXT.  DREW'S HOUSE - NIGHT

Amanda is pacing back and forth on the porch, checking her watch 
every few steps. She sighs with relief as...

Drew appears from the darkness of the woods.

Drew dismounts his bike and carries it up the front porch steps, 
strangely silent. His clothes and face are caked with dirt.

				AMANDA
		Jesus, Drew, do you know what time
		it is? Did Gus ever find you?

Drew moves on past her into the house.

				AMANDA
			(calling after him)
		Drew? Drew, what happened?

				DREW
			(trying not to lose
			it)
		Nothing happened, Mom. We just
		ditched Gus, that's all...

Drew pauses and stares out into the unknown darkness of the night.

INT.  GEOFF'S HOUSE - NIGHT

Chase is in the study, perusing some files. He looks into the 
hallway as Geoff arrives home, then glances at the clock. It's 
late. Very late.

Chase rises. He's both angry and relieved. Right now, though, the 
anger's winning out.

				CHASE
		Were you drinking?

Geoff absently shakes his head. He slumps back against the wall, 
drained from the night's horrors.

				CHASE
		Drew's Mom called hours ago, the
		rest of the kids were back by ten.
		Where the hell were you boys?

Geoff shrugs, trying to mask his uneasiness.

				GEOFF
		Just out.

				CHASE
		"Out." Well that's great, Geoff.
			(beat)
		Look, I've been letting you get
		away with a lot these past few
		weeks, but I'm not going to stand
		for crap like this. I don't care
		if it's Halloween... it's a school
		night, and if you do this again...

				GEOFF
			(cutting him off)
		I'm really tired, Dad... can I just
		go to sleep?

Chase stops and looks at his son. Geoff's exhaustion is self-
evident.

				CHASE
			(sighing)
		Go on... we'll talk about this in
		the morning.

Geoff nods and heads for the stairs.

INT.  GEOFF'S ROOM - NIGHT

THE CLOCK is creeping up on 2AM...

THUNDER rumbles outside in the distance and rain starts to spatter 
the window panes.

Geoff's eyelids fall beneath unbearable weight and he nods off to 
sleep. Tiger is sprawled out on the blanket against his chest. 
Slowly, we move back towards the window...

In a flash of LIGHTNING--

GUS' FACE

APPEARS OUTSIDE. Washed in the haunting white glow. Streaked with 
mud. Caked with blood. Staring in at Geoff.

Geoff is jolted awake by the delayed clap of THUNDER and whips his 
gaze to the window. Before he can focus...

...the pulse of lightning fades away. And with it, Gus' face. Only 
darkness remains beyond the window pane.

Geoff returns his gaze to the bedroom, unaware of Gus' appearance. 
He sinks back to his pillow, already hurtling towards sleep once 
more.

EXT.  DREW'S HOUSE - NIGHT

MOVING IN ON the house, WE SINGLE OUT a rain-obscured window on 
the ground floor, the window to Drew's bedroom.

INT.  DREW'S ROOM - NIGHT

Drew is sound asleep, curled up under the sheets. He clutches his 
pillow like a life preserver.

				GUS (O.S.)
		Drew!

Drew's eyes flutter open. He turns towards the window. Now, he 
hears some activity outside. And then Gus' hushed voice.

				GUS (O.S.)
		Drew, buddy. I lost my keys.

Drew goes saucer-eyed. He swallows the swelling lump in his throat 
and rises from his bed.

INT.  KITCHEN - NIGHT

Drew steadies his quivering fingers just enough to sink the key 
into the deadbolt on the back door. Drawing the CREAKING door 
open, he gazes out back.

				DREW
			(scared shitless)
		Gus?

Nothing moves outside. The longer Drew watches, the more eerie 
each shadow becomes. Spooked, Drew steps back inside, quickly 
closing the door. He locks it back up again.

When he turns around, he's face to face with GUS.

Drew stiffens, backing into the wall.

				DREW
		H-how'd you get in?

Gus offers a nightmarish grin and raises his hand, dangling his 
keys.

				GUS
		Found 'em.

Drew's eyes follow a flow of blood from Gus' neck to the floor. 
Gus looks down at his dirty, bloody footprints. He's tracked blood 
all over the linoleum.

				GUS
		I'm makin' a mess of your mother's
		kitchen floor...
			(beat)
		I need a shower...

Gus turns without another word and heads for the stairs.

Drew's mouth drops in utter astonishment as he watches Gus 
clumsily climbing the stairs.

After a moment, he returns his attention to the bloody kitchen 
floor. Tearing off a wad of paper towels, he wets them and begins 
to mop up Gus' tracks.

103   OMITTED

AT THE MIRROR - NIGHT

Gazing vacantly at his reflection, Gus covers his ravaged throat 
with a gauze strip, wrapping it around the circumference of his 
neck again and again and again.

Behind him, the shower is running, filling up the bathroom with 
steam.

Finishing the dressing off with a sloppy tape job, Gus reaches for 
the pajamas hanging nearby. He lazily buttons the buttons, failing 
to notice their alignment is off. He never did bother to shower. 
He's still covered with mud.

INT.  AMANDA AND GUS' BEDROOM - NIGHT

Gus enters from the steamy bathroom. The shower is still running.

Amanda stirs, sleepy eyes focusing on him.

				AMANDA
		Gus, hon. I'm sorry about
		tonight. You coming to bed?

Gus lifts the covers and climbs in. With him comes the chill of 
death. Gus presses up behind her. His hand moves beneath the 
sheets, finding its way over the curve of her waist, caressing. 
Amanda shivers.

				AMANDA
		God, you're ice cold...
			(turning)
		...and you smell! Lord, what did
		you get yourself into?

It's then that Amanda sees the bandage around Gus' neck. Blood is 
seeping through the gauze.

				AMANDA
		My God, Gus, what happened?

Amanda reaches out to touch him, but Gus stops her hand short of 
the bandage. Instead, he leans forward and clutches one of her 
breasts.

Amanda tries to twist away.

				AMANDA
		Gus... stop it! What's wrong with
		you?!

But Gus doesn't stop. He throws himself on top of Amanda, roughly 
forcing her back onto the bed.

				AMANDA
		Gus!!!

Amanda's hands beat at Gus' face and back, to no apparent effect. 
With one arm forced against Amanda's throat, he rips open her 
nightgown with the other.

We pull away from Amanda's struggles, back to the bathroom. The 
shower running on and on, cloaking the bedroom in steam.

EXT.  ROAD - DAY

Geoff is riding along the highway, his backpack full of school 
books. Drew is waiting on the shoulder ahead. When Geoff 
approaches, Drew hops on his bike, getting up to speed.

WITH THE BOYS - RIDING

Geoff keeps glancing at Drew, waiting for him to say something. 
Drew maintains his enigmatic expression.

				GEOFF
		Well?

Drew nods. Geoff's eyes widen in disbelief.

				DREW
		Picture this... Gus comes down to
		breakfast and he doesn't say a
		word. He even kind of smiles,
		like he forgot he hates me. And
		then you know what he does? He
		serves me an extra helping of
		pancakes...
			(beat)
		I asked him if I was still
		grounded... "no." I asked him if
		you could spend the night, and he
		nods. It's like we're a family.
		A real family.

The words have their own meaning for Geoff, who stares to the road 
ahead in deep thought.

				DREW
		It's weird...

				GEOFF
		What do you mean?

				DREW
		It's like he's not Gus anymore.
		He's different. You know, like
		Zowie...

They share a chuckle that ends in silent uneasiness.

INT.  CHASE'S OFFICE - DAY

Chase enters with a stack of files tucked under his arm. As he 
organizes them in the large filing cabinet with the others, he 
listens to his messages on the answering machine.

The current caller sounds a little annoyed...

				MESSAGE MACHINE
		...Doctor Matthews, this is
		Elliot Rudman at the university.
		I've looked over the blood
		specimen you sent us on canine
		Zowie...

Chase abandons the filing and immediately returns the call. While 
it RINGS...

				VOICE (O.S.)
		Knock, Knock, Doc.

A MOTHER and TWO TODDLERS are standing in the doorway to Chase's 
office, trying not to intrude on his call.

				MOTHER
			(quiet whisper)
		We saw your sign. Are there any
		kitties left?

Chase studies them. They look like decent people.

				CHASE
		Take your pick. They're in the
		boarding area. You can go on
		back.

Chase turns away as his phone call is answered.

				CHASE
		Elliot, it's Chase...

INT.  LAB/INT.  CHASE'S OFFICE (INTERCUT) - DAY

ELLIOT RUDMAN has the phone tucked under his chin, in the midst of 
an autopsy. The WHIRR of the saw drowns out his words as he shaves 
the dome off a dog's skull.

				CHASE
		I didn't get that...

The pathologist turns off the saw. His words become audible.

				RUDMAN
		...I said next time it might help
		if you took the blood sample while
		the animal was still alive...

The comment hits Chase out of left field.

				CHASE
		What?

				RUDMAN
		I don't know what you expected to
		find, Matthews. There's nothing
		wrong with the antigens, nothing
		to indicate an unusual death...

				CHASE
		Wait, there must be some mix-up.
		He was... the dog is alive.

				RUDMAN
		Not this dog. There wasn't enough
		oxygen in those red cells to pump
		life into a flea.

Chase is baffled, speechless.

				RUDMAN
		You took over for Doctor Yolander?

				CHASE
		Yes... why?

				RUDMAN
		Because the last person that sent
		me blood from a dead animal was
		Yolander...

110   OMITTED
THRU
112   OMITTED

INT.  BOARDING AREA - DAY

The kennels have been cleaned up, but the room retains its eerie, 
dimly lit quality.

The DRIP of a faucet reverberates from the far corner.

The mother enters with a toddler clinging to each hand. Their 
smiles fade at the unsettling surroundings. Slowly, they move down 
the row of kennels.

				TODDLER
		Where are the kitties?

INT.  CHASE'S OFFICE - DAY

				CHASE
			(into the phone)
		Look, this is ridiculous...

Suddenly, BLOOD-CURDLING SCREAMS pierce the air. Chase drops the 
phone and rushes out of the office...

INT.  BOARDING AREA - DAY

The toddlers are screaming at the top of their lungs. Mom is 
burying their heads in her dress.

Chase bursts in as the mother hastily retreats for the exit. Her 
horrified eyes flash by Chase. In an instant, she and the toddlers 
are gone.

Chase remains alone, moving down the long row of kennels with 
mounting trepidation...

Zowie's cage is empty.

Chase shifts his troubled gaze to the...

DRIP DRIP DRIP... as a PUDDLE OF BLOOD forms on the floor.

Chase raises his eyes...

THE KITTENS' KENNEL -

Nothing but bloody ribbons of torn flesh are left of the kittens, 
dangling from the grid gate. DRIPPING.

Chase looks away as a new level of fear runs through him.

				CHASE
		Jesus...

It's too gruesome even for a man of Chase's background. Fighting 
the gag reflex, he searches the room for the missing dog...

...and then he spots the broken glass window vent along the floor. 
And the pile of blood-spattered shards laying on the tile.

EXT.  SCHOOL, STREET - DAY

Clyde, Stevie, and Brad are loitering near the front bike racks. 
Clyde's smoking away.

As Geoff and Drew come out of the school, the trio moves to 
intercept them.

				CLYDE
		Hey!

Just then, Chase's van pulls at the curb, interrupting whatever 
trouble was about to happen.

Clyde looks from the van to Geoff, and falls back.

				DREW
		Saved by the bell...

Chase hurriedly rolls down the passenger window as Geoff and Drew 
approach.

				GEOFF
		Can I sleep over at Drew's
		tonight?

Chase is preoccupied with other concerns.

				CHASE
		Yeah... that's fine...
			(beat)
		Listen, Drew, I got the tests back
		on Zowie. He's not well. Don't
		ask me how, but he got out this
		afternoon...

Geoff and Drew exchange concerned looks.

				CHASE
		If he finds his way home, call me,
		no matter what the hour, okay? And
		don't try to approach him.
		Whatever he's got might be 
		infectious. Understand?

The boys nod their heads.

Chase masks his anxiety with a weary smile. With a wave, he speeds 
up, leaving the boys.

INT.  CHASE'S VAN - MOVING

A MAP of Maine is unfolded on the passenger seat. Chase is on the 
car phone.

				CHASE
		Can I have the address for Quentin
		Yolander?

Chase jots an address down on the map. He turns the van up a 
mountain road, winding through the towering pines.

EXT.  YOLANDER'S CABIN - DAY

A remote, rustic dwelling nestled into the desolate backwoods.

INT.  YOLANDER'S CABIN - DAY

QUENTIN YOLANDER rocks back in his thick hide chair. His world is 
closed off from daylight by the extensive blinds.

He's holding a SMALL POODLE in his lap. Its big brown eyes are 
staring back at him.

				YOLANDER
		You'd be so much more interesting
		with blue eyes...

And now, ONE OF THE POODLE'S EYES POPS OUT. Yolander's finger 
comes through from beneath the eye socket.

On closer examination, WE REALIZE that the dog is not alive at 
all. Yolander has his hand inside the hollowed-out carcass.

He carefully looks over a container of glass eyes on his desk and 
selects the right shade of blue. A shot of whiskey rests nearby.

Yolander reaches up into the poodle's belly and fits the blue eyes 
securely into place.

There's a KNOCK at the door. Yolander ignores it. Maybe he's deaf. 
Another KNOCK. Yolander turns towards the door, annoyed at the 
intrusion. And behind that annoyance, there's a touch of madness.

PULLING BACK, we see the rest of the room. Stuffed animals are 
crowded from floor to ceiling. A product of Yolander's obsession 
with TAXIDERMY.

				YOLANDER
		I'm immortalizing a poodle. State
		your business!

Yolander presses some stuffing into the poodle's gut and begins to 
sew up the stomach.

				CHASE (O.S.)
		Doctor Yolander. This is Chase
		Matthews. I've moved into your
		offices in Ludlow...

Yolander's attention remains on the needle as he meticulously 
stitches the belly.

				CHASE (O.S.)
			(continuing)
		...I sent a blood sample out for
		analysis. They tell me I sent
		them the blood of a dead animal...

At this, Yolander breaks his concentration. The needle pricks his 
hand. Blood oozes from the puncture, dripping onto the dog's 
stomach.

				CHASE (O.S.)
		...a dog...

Yolander rises from his seat and swings open the door.

Chase stands in the doorway, startled. It doesn't take a genius to 
figure out that the good Doctor is drunk.

				YOLANDER
			(glaring)
		Why are you bothering me about
		this? Can't you leave it be?

				CHASE
		I... um...

Chase glances to the right and steps back...

A BOBCAT

is perched nearby, frozen in mid-pounce. It takes a second for 
Chase to register that the bobcat has been stuffed.

Now Chase sees the rest of the room... a whole zoo of stuffed 
animals, looking like a rural version of the Bates Motel.

				CHASE
			(momentarily thrown)
		...the pathologist... he said that
		you had reported a similar 
		incident... with a cat...

				YOLANDER
		The Creed cat, that's right.
		Bastard's name was "Church".
			(grins)
		Let me guess. Your dog's tissue
		isn't healing, pupils aren't
		dilating... maybe you can't find a
		heartbeat?

				CHASE
		Exactly! I thought it might be
		some sort of blood condition...
		immune deficiency or...

Quentin Yolander laughs. It's disconcerting.

				YOLANDER
		There's no "blood condition." The
		dog isn't sick, it's dead.
			(drawing closer)
		And so was Creed's cat. And so
		was his wife the night she was
		killed for the second time...

As Yolander moves forward, Chase backs up. He bumps into a whole 
shelf of stuffed creatures. To his right, A RAVEN sits frozen on 
its perch. Chase regards Yolander as being completely insane.

				YOLANDER
			(menacing)
		You want some advice, friend? You
		get in your car, you pick up your
		family... and you get the hell out
		of that town.

				CHASE
		Well... uh... thanks...

Chase continues to back out of the door. On his way out, he bumps 
into the stuffed raven's perch...

...only this raven isn't stuffed. It spreads its wings and 
SCREECHES.

Chase just about jumps out of his skin, tripping out of the 
doorway.

116D  OMITTED
THRU
116F  OMITTED

EXT.  DREW'S HOUSE - NIGHT

Gus reaches into the cage and grabs a rabbit by the ears. He 
casually snaps the neck. Laying the limp carcass on a stump 
cutting board, he quickly skins it.

Hanging above the cages, there is now a line of furry pelts. Half 
a dozen.

Drew and Geoff are on the porch, looking on.

				DREW
		I guess we're having rabbit for
		dinner.

Gus hangs the freshly skinned fur to dry and violently snatches 
another hare from the cage.

INT.  DREW'S HOUSE - NIGHT

The dinner from Hell. Geoff splats a helping of mashed potatoes 
onto his plate, all the while keeping a wary eye on Gus...

Gus is serving himself a chunk of rabbit. It hits the edge of the 
plate, teetering on the rim. He passes the dish on.

Gus meets Geoff's gaze. For a moment, there's a deadened, vacant 
look in Gus' eyes. Then slowly, a limp smile creeps over him, 
sending a chill up Geoff's spine.

Geoff averts Gus' stare. Gus helps himself to potatoes and passes 
the plate on. He lets go of it short of reaching Drew. Only Drew's 
quick hands save it from hitting the table.

Amanda comes to the table with a dish of LIMA BEANS. She casts Gus 
a cold, hateful stare and sets the limas down. She's still angry 
over last night.

Gus dishes a sloppy scoop and passes it toward Drew. Like before, 
he lets it drop too early. This time Drew doesn't save it. The 
lima beans shower the floor.

				AMANDA
		God damnit, Gus! This isn't
		funny!

Amanda fetches a dishtowel and kneels to clean up the mess.

Geoff and Drew exchange quick glances. As Geoff reaches for the 
salt...

...Gus intercepts his wrist. Geoff gulps.

Gus drops his jaw, revealing a gooey mass of food. But the frozen 
smile and the look in his eyes convey dementia rather than 
playfulness.

Geoff and Drew can't believe their eyes. They laugh uncomfortably. 
There's no other response.

Gus LAUGHS too... awkward, terrible laughter. Spitting out food 
over his shirt and plate as he does so.

The boys stop laughing, but Gus just keeps on going.

Amanda stares at Gus and carries the mess out of the room.

Through his laughter, Gus' bandage has slipped down, exposing part 
of his ragged wound. The wound glistens, oozing CLOTTED BLOOD and 
GOOEY PUS.

Drew hesitantly reaches for Gus' neck, readjusting the bandage.

Grossed out, Geoff averts his eyes and sets his fork aside.

INT.  DREW'S ROOM - LATER

Geoff and Drew enter. Drew swiftly secures the deadbolts on his 
door.

				GEOFF
		What was that all about? You
		think he's trying to scare us?

				DREW
		I don't know but I'm not taking
		any chances...

Drew opens the chest at the foot of his bed and produces a 
SHOTGUN. A box full of shells spill as he withdraws the gun. 
Cracking open the chamber, Drew loads two shells into the chamber.

EXT.  COUNTRYSIDE - NIGHT

A moonlit horizon. Unmoving. Silent. The kind of silence that 
pulls at the darkest recesses of imagination.

And now, A LONE FIGURE appears on the horizon. It's Zowie, moving 
at a deliberate pace.

ATOP A KNOLL

Zowie takes pause. The TINKLING of his collar tags resumes as he 
drops over the horizon line, cutting down the hill.

INT.  CHASE'S HOUSE - NIGHT

Chase sits in the den, looking exhausted and disheveled. In front 
of him, the t.v. is on. RENEE'S FACE stares out at us. Chase hits 
the remote and rises, moving to the back door.

He checks the deadbolt, then secures the chain link as a backup. 
From somewhere outside, we hear a DOG HOWL.

Chase's eyes drop to the DOGGY DOOR, a holdover from the previous 
owner. Chase bends down and latches the door.

Now he pauses at his desk... considers... then pulls something out 
of the bottom drawer. It's a gun.

INT.  HALLWAY - NIGHT

Chase moves to the front of the house, securing that door. 
Satisfied, he turns off the light and heads upstairs...

WE STAY AT THE FOOT OF THE STAIRS -

MOVING INTO DARKNESS, shadow and form begin to take shape. We hear 
a low GROWL and see a flash of RED EYES. It's Zowie. Already in 
the house.

123   OMITTED

INT.  CHASE'S BEDROOM - NIGHT

Coming through the door from the downstairs, Chase stops cold.

RENEE is on the bed. Clothed in a negligee. Lying across a blanket 
of rose petals. Her eyes meet his with powerful longing.

				RENEE
		Chase. I miss you so much...

				CHASE
			(dry-mouthed)
		Renee...

Chase approaches. Slowly. Fearful that this is all a dream.

Renee reaches out her hand. They touch. This is not a dream.

				CHASE
		Oh God...

Chase absently sets his gun on the bedside table as Renee draws 
his body to hers.

They kiss. Once. Twice. Not a dream.

Renee rolls Chase over, forcefully climbing on top. Chase sinks 
down into the center of the bed as Renee straddles him.

Slowly, Renee slips off the top of her negligee...

				RENEE
			(a whisper)
		I can come back, Chase...

...and sinks down on top of him, kissing him hungrily.

Her nipples graze his chest, then her breasts flatten as she 
grinds her hips against his.

Almost instantly, the weight of her grows unbearable. Chase fights 
to pull his mouth from hers, to breathe...

				CHASE
		No... Too heavy.

There is no pleasure in his words, just unmitigated horror as 
Renee's body comes down on him harder.

				CHASE
		...can't breathe... I can't...

CHASE'S EYES

pop open, frenzied, AS HE COMES OUT OF HIS DREAM.

Chase is alone on the bed, but he's still feeling the weight 
pressing down on him...

ZOWIE

is laying on his chest, staring back at him, rearing his teeth in 
a growl...

Zowie LUNGES forward, jaws flashing, and Chase twists sideways...

GNASHING TEETH connect with Chase's shoulder, then with the 
pillows where Chase's head used to be. A BLIZZARD OF DOWN FEATHERS 
ERUPTS...

Chase scrambles out of bed, flailing for the gun on the bedside 
table...

THE GUN spins out of reach and across the floor...

Chase DIVES for the gun and reaches it just as Zowie leaps to the 
floor. In a panic, Chase FIRES WILD...

Zowie abruptly turns and SMASHES through the bedroom window, 
sending glass flying.

EXT.  HOUSE - NIGHT

Zowie slides down the room and leaps to the ground below, 
disappearing into the night.

INT.  CHASE'S BEDROOM - NIGHT

Chase looks on in terror. Finally he pulls his eyes away from the 
shattered window...

...and catches a glimpse of something in the dresser mirror. 
Something that sends a chill up his spine.

The flurry of down feathers is floating to the mattress. But 
intermingling with the feathers are a handful of ROSE PETALS, 
slowly settling to the bed.

INT.  BATHROOM - MORNING

Chase is bare-chested at the mirror, applying a dressing to the 
dog bite on his shoulder.

Marjorie appears in the doorway with a basket of laundry. She 
stops short at the sight of Chase standing there in his boxers.

Chase catches her reflection in the mirror and is startled.

				MARJORIE
		I didn't mean to... I was going to
		empty the hamper...

Chase turns, shaking off the scare.

				CHASE
		It's okay.

Marjorie's eyes can't help but fix on the dog bites scattered over 
Chase's chest and arms.

				MARJORIE
		What happened to you?

				CHASE
		I had a little run-in with Zowie.

				MARJORIE
		You sure did...

Marjorie sets the laundry aside.

				MARJORIE
		Here, let me do that...

Marjorie looks over the antiseptics Chase has laid out on the 
sink. Saturating a wad of gauze with hydrogen peroxide, she gently 
cleanses the gashes on his arms.

There's nothing overtly sexual in her actions, but the gentleness 
of her touch doesn't go unnoticed by Chase.

				MARJORIE
		I hope he doesn't have rabies.

				CHASE
		He doesn't. I don't know what he
		has, but I'm hoping to God it's
		not infectious...

Chase stops and looks at Marjorie's reflection in the mirror.

				CHASE
		Marjorie... what do you know about
		the Creed murders?

Marjorie stiffens for a moment. Obviously the Creeds are a sore 
spot for the people in this town.

				MARJORIE
		Did you ever play that game where
		you pass a story down a row of
		people and see how screwed up it
		gets by the time it's done?
		People say Louis Creed's son came
		back from the dead and it drove
		him crazy...
			(she rolls her eyes)
		He killed his wife and himself,
		and that's the end of story.
		Anything else belongs in the
		National Enquirer.

Marjorie tapes the bandage over Chase's shoulder too tight. 
Chase's groan snaps her back to the reality at hand.

				MARJORIE
		Sorry. Now tell me what that has
		to do with Zowie?

Chase closes his eyes, shutting out the pain.

				CHASE
		I wish I knew.

INT.  LIBRARY - DAY

Chase approaches the counter, looking to the ELDERLY LIBRARIAN for 
assistance.

				LIBRARIAN
		What are you looking for, Hon.

				CHASE
		Do you have anything on the Creed
		murders? I can't find the 
		microfilm from that period...

The librarian's smile vanishes. She lowers her voice, focusing her 
attention on some paperwork.

				LIBRARIAN
		We don't keep anything on file
		from that far back.

				CHASE
		But you've got files from the
		previous years...

				LIBRARIAN
		We have nothing on the Creed
		murders, sir. Can I get you
		something else?

Chase looks around and realizes that a dozen hostile eyes are on 
him. TOWNSPEOPLE withholding a dark secret.

Chase slowly backs away, eager to escape the field of hostile 
stares.

127   OMITTED
THRU
129   OMITTED

EXT.  HIGHWAY, COUNTRY BRIDGE - DAY

Geoff and Drew have parked their bikes beneath the bridge. They 
sit on the bank of the creek below, watching the water run past. 
Geoff is lost in thought.

				GEOFF
		Do you think everyone that came
		back would be like Gus?

				DREW
		I don't know...
			(thinking)
		...maybe it depends on what you
		were like before you...

				GEOFF
			(finishing)
		Dies?

Drew nods. He tosses a stone into the creek, then looks up at the 
sun and sighs.

				DREW
		I gotta go back and do my
		chores...

				GEOFF
		Go later...

Drew shakes his head.

				DREW
		I can't. Gus'd kill me if I
		showed up late.

The boys reluctantly rise and move to their bikes, walking them up 
the steep grade to the highway.

				DREW
		See you at school Monday?

Geoff nods. He looks at Drew. The boy is genuinely frightened. But 
there's nothing either of them can do. They're trapped in their 
roles as kids.

Both boys mount their bikes. Drew turns...

				DREW
		You ever think about running away?

				GEOFF
		All the time.

Drew smiles at this. He waves to Geoff and pedals off.

				DREW
			(calling back)
		See ya!

Geoff waves and heads off in the opposite direction.

WE STAY ON DREW -

As he moves down the road. Up ahead, we hear the approaching WHINE 
of a motorcycle...

CLYDE

rips by on an old junkyard fixer-up MOTORCYCLE, and he's heading 
in Geoff's direction.

Seeing him, Drew brakes and pulls his bike into a U-turn, pumping 
furiously to catch up with Geoff.

ON GEOFF -

Now Geoff hears the WHINE of Clyde's motorcycle. He glances 
back...

Clyde's spotted him, REVVING the engine.

Geoff pedals like mad, but it's no use. Clyde is closing in on 
him, grinning sadistically.

Clyde sweeps in next to him, calling out over the ENGINE.

				CLYDE
		Well look who's here!

Clyde veers right, forcing Geoff towards the shoulder of the 
road...

131   OMITTED

132   OMITTED

EXT.  COUNTRYSIDE - DAY

The ground ahead drops toward a ravine. Geoff has nowhere to go 
but down the slope. Clyde is right there beside him...

Laughing, Clyde reaches over and grabs ahold of Geoff's handlebar. 
He jerks it sideways...

				CLYDE
		Oops!

Geoff's front wheel turns perpendicular. The bike pitches forward, 
THROWING Geoff into the dirt ahead...

Clyde broadies his bike to a stop. With the engine idling, he hops 
off.

Before Geoff can get to his feet, Clyde has picked up Geoff's bike 
and planted it upside down in the dirt.

				CLYDE
		Guess your Dad's not here to save
		you now, is he?

Clyde gets a handful of Geoff's collar and drags him over toward 
the bike. With his free hand, Clyde cranks the pedal.

The back wheel spins. Faster and faster.

				CLYDE
		You ever seen a tire take off a
		nose?

Through the blur of the spokes, WE SEE Geoff, eyes widening 
fearfully.

				CLYDE
		Neither have I.

Clyde forces Geoff's face toward the spinning tread.

				CLYDE
		Might even kill ya. Wheel might
		chew right into your brains. You
		could visit your mom.

Geoff tries to get a hold on the frame of the bike for leverage, 
but his arms don't reach beyond the spinning wheel.

Clyde is full of deranged glee, fueled by Geoff's fear.

But now, A HAND grabs the wool scarf streaming from the back of 
Clyde's neck and yanks him off of Geoff.

Clyde reels, finding...

GUS standing there behind him. He looks bad. Real bad. His 
bandages are unwound and his ruined neck is still seeping. His 
face is unearthly pale. He's deteriorated considerably since 
yesterday.

				CLYDE
			(startled)
		Jesus Christ, Gus!

Gus levels a threatening gaze at Geoff.

				GUS
		Go home.

But Geoff remains frozen. Gus fixes him with a stare that could 
turn flesh to stone.

				GUS
		I said... GO HOME!!

Geoff snaps out of it and flips his bike over. He gets a running 
start, making a beeline for the highway without ever looking back.

ON THE KNOLL NEARBY

Drew stops short of the ravine, watching from afar as Gus steps 
toward Clyde.

BELOW -

Clyde throws up his hands. He's frightened, but he tries to muster 
up a cocky front.

				CLYDE
		Come on, Gus, I was just fucking
		with him...
			(nervous laughter)
		What're you gonna do? Give me a
		ticket? I mean, shit, Gus...

Clyde grows increasingly wary of Gus' evil stare. Gus steps 
closer.

				CLYDE
		You can't lay a finger on me...

Wrong. Gus lashes out, backhanding Clyde across the face.

Clyde falls to the ground, flat on his back, with his nose gushing 
blood. Terrified.

Gus turns around and lifts the idling motorcycle. With one hand 
under the back of the seat, and the other working the accelerator 
handlebar, Gus advances toward Clyde.

Gus kicks the bike into gear and REVS the accelerator.

THE REAR WHEEL SPINS. On the pavement it would be moving forty 
miles an hour.

Clyde can't believe his eyes. Pleading.

				CLYDE
		Gus... what are you doing?

				GUS
		I'm just fucking with you...

Gus plants his foot against Clyde's chest, pinning him, and lowers 
the spinning rear wheel TOWARD CLYDE'S NECK. The wheel WHINES like 
a circular saw.

Gus lowers the wheel. Then jerks it away, flashing a sadistic 
smile.

Just when Clyde thinks Gus is backing off, the wheel comes down 
again...

				CLYDE
			(wailing)
		Stop it, man! Stop it!!!

Gus gets into the rhythm as he lowers and retracts the spinning 
wheel at the terrified bully.

But this time, as the wheel comes down...

CLYDE'S WOOL SCARF, defying gravity, gets swept up, swallowed into 
the GEARS.

And along with the scarf, here comes Clyde's SCREAMING face. We 
can only imagine the gruesome instant that follows.

BLOOD sprays up over Gus' arms and chest. And then we hear the 
sound of CRUNCHING BONES jamming the motorcycle's gears.

				GUS
			(dead-pan)
		Whoops.

He bares his teeth in a death's head grin.

ON THE KNOLL

Drew has witnessed the killing. He's mortified.

BELOW -

Gus tosses the bloody motorcycle aside, slowly raising his eyes up 
to where Drew stands. His eyes meet Drew's.

Drew hastily jerks his bike around and takes off.

Gus starts after him on foot.

INT.  DREW'S HOUSE - DAY

Drew rushes through the front door, SLAMMING it behind him and 
throwing the deadbolt.

INT.  BEDROOM - DAY

Drew climbs onto his bed and grabs his shotgun from the gun rack. 
His fingers shake as he flips off the safety.

				DREW
		Oh man...

Just then we hear the CRACKLE of a POLICE P.A. and Gus' amplified 
VOICE coming from the yard outside.

				GUS (V.O.)
			(mocking)
		This is the Police, come out of
		the house with your hands up!

Gus finishes his words with a burst of FEEDBACK and then amplified 
MANIACAL LAUGHTER.

Drew's eyes go wide with terror. He creeps out into the hall, 
clutching the gun.

INT.  HALLWAY - DAY

Drew tries to look out the window. Then we hear a low, guttural 
GROWL. Drew slowly turns...

Zowie is standing down the hall, leveling a dead stare. Zowie 
takes the first step forward.

				DREW
			(horrified)
		No, Zowie! It's me!

Pleading, Drew slowly retreats down the hallway.

Along the way, he backs right into...

GUS, grinning from ear to ear.

Drew recoils against the wall, swinging up his shotgun.

				DREW
		Stay back!

But Gus just keeps on grinning. He takes a step forward...

Drew pulls the trigger...

And CLICK! Nothing happens. The chambers are empty.

				GUS
		Forget something, Drew buddy?

Gus raises his hand. He's holding the shotgun shells. He lets them 
fall to the floor.

Suddenly Gus wrenches the gun from Drew's hands. He swings it 
and...

...Drew SCREAMS and ducks beneath the blow, as the shotgun butt 
SMASHES a hole in the wall above his head. Gus flings the shotgun 
aside and LUNGES for Drew...

Drew races down the hallway to the back door. He turns the latch. 
The deadbolt has been locked from the inside.

Drew's eyes whip to the keyholder on the wall. All the keyhooks 
are empty.

Here comes the JINGLING of keys in Gus' pockets as he comes down 
the hall...

Drew dashes away from the back door.

Gus' eyes shift from Drew's fleeing form to A BOX OF TOOLS in the 
service closet.

AT THE FRONT DOOR

Drew jimmies the knob. Again, the deadbolt is locked from the 
inside. Tears are streaming down Drew's face now.

FOOTSTEPS approach. Drew spins around...

Gus is advancing, WITH A HAMMER tight in his grip.

				GUS
			(crazed)
		You have the right to remain
		silent...

WHAM! Gus SMASHES the hammer into the wall to punctuate his words. 
Plaster goes flying.

				GUS
			(continuing)
		...while I bash your fucking head
		in!

Drew's eyes dart frantically, looking for a way out. The closest 
route of escape is UP THE STAIRS.

Down the hallway, Zowie starts running forward. Drew's caught 
between a rock and a hard place...

				GUS
		You have the right to a lawyer,
		but you won't need one...

He runs for it. Gus charges to intercept him...

Drew gets to the stairs first.

				GUS
		...cause you'll be dead!

WHAM! Gus brings the hammer down with the claw end leading. It 
sinks into the stair below Drew's feet...

Zowie LEAPS past Gus, tearing up the stairs as Gus wrenches the 
hammer free...

UPSTAIRS

Drew makes it to the top of the stairs with Zowie right on his 
heels.

Drew DIVES into Amanda and Gus' bedroom as...

Zowie springs from the floor. Drew SLAMS the door shut, SMACKING  
Zowie. Zowie collapses to the floor, dazed.

INT.  BEDROOM - DAY

Drew throws the latch on the door. Almost immediately, Gus is 
outside, POUNDING at the door with the claw end of the hammer. 
Wood splinters fly as the hammer claw sinks through...

Drew SCREAMS and goes for one of the dormer windows. It's stuck; 
he can't get it open.

From the hallway, Gus violently SMASHES the door again and again. 
The door is splintering apart. WE SEE glimpses of Gus through the 
ragged holes.

				GUS (O.S.)
		Do you understand these rights,
		Drew buddy?!

Drew grabs a chair and HEAVES it through the window...

				GUS (O.S.)
		...OR ARE YOU JUST TOO FUCKING
		STUPID?!

The bedroom door EXPLODES INWARD and Gus claws his way into the 
room...

Wasting no time, Drew climbs through the broken window...

EXT.  DREW'S HOUSE - DAY

Drew slides down the slant of the roof. He hits the lattice and 
takes it to the ground with him.

Untangling himself, he gets to his feet...

...and here comes Amanda, ARRIVING HOME.

Drew runs for her car, waving his hands, throwing himself into her 
path so she'll go no further. She SLAMS on the brakes.

Drew pulls open the passenger door and dives inside...

				DREW
		Gus killed Clyde, Mom! He's
		trying to kill me!

Just then, the BACK DOOR flies open. Gus steps out.

				GUS
		Drew, buddy! Daddy's not done
		yet!

Amanda spots the hammer hanging from his grip. Gus cracks a sick 
smile and FLINGS THE HAMMER at the car...

CRACK! The hammer bounces off the windshield, causing it to 
spiderweb.

				DREW
		Go Mom! Go!!!

That's all the convincing Amanda needs. She puts the car into 
reverse and stomps on the gas...

INT.  CAR - DAY

Speeding down the highway. Drew and Amanda are mortified.

Suddenly, we hear the WAIL of Gus' patrol car coming up from 
behind. Amanda looks to the rear-view mirror...

EXT.  HIGHWAY - DAY

Approaching from the road ahead is a POTATO TRUCK.

INT.  AMANDA'S CAR - DAY

Amanda hips her head back in front of them. The potato truck is 
blaring its HORN.

Gus' car swerves out onto the shoulder, speeding up to match her 
pace.

				DREW
		Mom!!!

Gus cranks the wheel, jumping back onto the road, forcing Amanda's 
car into the path of the oncoming truck.

INT.  POTATO TRUCK - DAY

THE DRIVER stands on the BRAKES.

EXT.  HIGHWAY - DAY

THE POTATO TRUCK COLLIDES WITH AMANDA'S CAR. HEAD ON.

Thousands of potatoes explode from the rear of the truck, 
obscuring our view.

WE HEAR THE HORRIFYING SOUNDS OF CRUNCHING METAL. CRUNCHING BONES. 
AND SILENCED CRIES.

Gus' vehicle speeds past. WE HOLD on the mess of twisted steel. 
Clearly there are no survivors.

INT.  GEOFF'S HOUSE - DUSK

Geoff enters first. Wearing a dark suit. Looking pale and empty 
inside. Chase follows, dressed in black. It's obvious they've been 
to a funeral.

Without a word, Geoff heads up the stairs. Chase watches on, 
feeling utterly helpless.

INT.  UPSTAIRS HALLWAY - DAY

Chase exits from his bedroom, pulling a sweater over a more casual 
change of clothes. He cocks his head at the SOUNDS of Geoff moving 
about in the attic above.

The door atop the attic stairway is barely ajar.

Chase wrinkles his brow, concerned. Turning away, he heads 
downstairs.

INT.  KITCHEN - DAY

Marjorie is preparing dinner. Across the room, the kitchen TV is 
playing...

ON TELEVISION is the evening news. A photo of Drew and Amanda 
appears above the NEWSCASTER.

				NEWSCASTER
		... Friends and neighbors came to
		pay respects for Drew and Amanda
		Gilbert, who died in a head-on
		collision Saturday...

Chase enters the kitchen, eyes moving to the TV.

				MARJORIE
		Those poor people. I saw Gus this
		morning... he looked terrible.

Chase pulls his eyes away from the broadcast as Marjorie sets 
dinner on the table. Chase yells upstairs.

				CHASE
		Geoff, dinner's ready!
			(after no reply)
		Geoff?!

				GEOFF (O.S.)
		I'm not hungry.

Chase gives Marjorie an apologetic look and rises from the table.

Meanwhile, the news broadcast continues. A photo of Clyde appears 
on the screen.

				NEWSCASTER
		...in other news, the
		disappearance of a Ludlow youth
		remains a mystery. Clyde Parker
		was last seen on Saturday
		afternoon. His motorcycle was
		found off Highway 62...

150   OMITTED

INT.  ATTIC - NIGHT

Chase pushes open the door. A spring coil pulls the CREAKING door 
closed behind him. One look at the attic and Chase turns pale...

A huge window at the far end of the room allows the moonlight to 
reach all corners of the spacious old attic...

All of Renee's belongings have been unpacked. The entire attic has 
been converted into a museum-like room, down to the last 
meticulous detail. A room in preparation for Renee's return.

Gauzy curtains billow out from some unseen draft. Pictures of 
Renee rest everywhere. Awards. Memorabilia...

GEOFF is seated before the brightly lit, three-way theatrical 
mirror, casually setting out Renee's make-up.

				CHASE
		Geoff... what are you doing?

There's an obsessive dementia in Geoff's gaze.

				GEOFF
		I'm getting things ready for Mom.

Chase sighs. Obviously the strain of Drew's funeral has proven too 
much for Geoff. He moves closer.

				CHASE
			(gently)
		Mom is dead, Geoff. You know
		that...

A creepy smile flickers across Geoff's face.

				GEOFF
		She doesn't have to be.

Chase freezes as a chill runs up his spine.

				CHASE
		What are you talking about?

				GEOFF
		I can bring her back. The same
		way Drew and me brought Zowie
		back...

At this, Chase is positively spooked.

				CHASE
		Geoff, this is crazy. Zowie
		didn't die.

				GEOFF
		He did. We buried him.
			(intense)
		There's a place out in the
		woods... if you bury something
		there, it comes back alive.

Chase stares at his son. This is insane. It must be.

Just then, the PHONE RINGS downstairs. Geoff continues to stare at 
his father.

				GEOFF
		We tried it on Zowie first. And
		then we did it again, when Zowie
		killed Gus. Drew didn't want Gus
		to be dead, so we brought him
		back, too...

It's too much for Chase. His mouth is hanging agape.

				MARJORIE (O.S.)
			(outside the attic
			door)
		Doctor Matthews, you've got a
		call. It's the caretaker at the
		funeral home. Something about
		your wife's grave...

Chase nods in private acknowledgement. He stares at Geoff as he 
backs away.

				CHASE
		Look, Geoff. Just... just relax,
		okay. I'm going to take this call
		and I'll be right back. Okay?

Geoff doesn't respond. Chase pulls open the door and leaves.

INT.  KITCHEN - NIGHT

Chase is on the phone. The CALLER'S WORDS bring grave concern to 
Chase.

				CHASE
		What?! Christ, I'll be right
		there...

Chase hangs up, stunned. He turns to Marjorie, who's watching him 
with a concerned gaze.

				CHASE
			(hurried)
		Marjorie, I need you to stay late.
		Geoff is really upset and I have
		to take care of this. Don't let
		him leave the house, alright?

Chase is out the door before she has a chance to respond.

151B  OMITTED
THRU
151F  OMITTED

INT.  ATTIC - NIGHT

Geoff is laying on his mother's bed, weeping. Tiger sits at the 
foot of the bed. Suddenly she wakens and HISSES.

From out of the darkness...

RENEE'S HAND

ENTERS FRAME, gently touching Geoff's side. And with its arrival, 
so comes her eerie LULLABY.

				RENEE
			(a whisper)
		I need you, Geoff...

GEOFF

slowly raises his head, bewildered. Renee's hand withdraws into 
the darkness. He reaches out for her, but she's gone. The LULLABY 
remains, beckoning from down the attic stairs.

The attic door slowly swings open of its own accord.

Geoff rises from the bed and follows.

INT.  DOWNSTAIRS FOYER - NIGHT

Geoff looks into the living room as he passes. Marjorie has fallen 
asleep on the sofa with the TV on.

155   OMITTED

EXT.  PET SEMATARY - NIGHT

The lullaby drifts from beyond the deadfall. The fog rolls inward, 
towards the distant burial ground. As Geoff moves towards the 
deadfall, the fog converges around him.

157   OMITTED

EXT.  THE BOG - NIGHT

The lure of Renee's lullaby pulls Geoff deeper into the woods. We 
hear the unearthly ANIMAL HOWL once more.

159   OMITTED
THRU
167   OMITTED

EXT.  PLEASANTVILLE CEMETERY - NIGHT

Chase's van pulls to a stop behind a maintenance vehicle.

Chase is greeted by the limping CARETAKER, who quickly leads him 
off across the rolling hillside.

				CARETAKER
		...sorry to disturb you, Doctor
		Matthews, but I thought you'd want
		to come have a look for yourself.
		It's the damndest thing...

AT RENEE'S GRAVE -

Chase stops cold, gazing at the ground before him in disbelief...

The grave is a gaping cavity. The casket has been unearthed. 
Renee's body is missing.

				CHASE
		Jesus...
			(uncomprehending)
		Gus did this?!

				CARETAKER
			(nodding)
		He stuck around after the funeral.
		Told me he had an order to exhume
		your wife. I didn't think much of
		it until I saw him drag the body
		out of the coffin...
			(shakes his head)
		He put your wife in his truck and
		drove off right through Amanda and
		Drew's headstones...

The caretaker points across the hillside...

TIRE TRACKS cut through the manicured grass, cutting a path of 
destruction right through the field of headstones and on through 
the fence.

				CARETAKER
		I swear, nothing this weird has
		happened since Louis Creed dug up
		his boy...
			(beat)
		You want me to notify the
		authorities?

Chase doesn't answer, he just storms past the caretaker.

INT.  VAN - NIGHT

The van is speeding down the dark, open highway. Chase is on the 
car phone, frantic, waiting as it RINGS. There's finally an 
answer...

				CHASE
		Doctor Yolander, this is Chase
		Matthews, we spoke the other
		day...

Yolander cuts him off.

				YOLANDER'S VOICE
			(bitter)
		You didn't leave town, did you.

INT.  YOLANDER'S HOUSE (INTERCUT)

Yolander sits in the darkness, a bottle of whiskey and a tumbler 
at his side. His "creatures" are all around him, eyes glowing with 
reflected moonlight. His voice is slurred. The voice of someone 
who's already damned.

				YOLANDER
		You sorry bastard. You stayed. I
		have nothing more to say to you,
		Matthews...

				CHASE'S VOICE
			(desperate)
		Look, just tell me one thing. Did
		I treat an animal that had been
		brought back to life? Did I?!

				YOLANDER
		What do you think?

INT.  CHASE'S VAN - NIGHT

Chase grips the carphone tightly, his knuckles white.

				YOLANDER (V.O.)
		Believe what you saw, Matthews.
		The dog was dead.

				CHASE
		My God...
			(mounting horror)
		...how is that possible? You have
		to help me, Doctor Yolander. I
		don't know what I'm dealing with
		here! They've dug up my wife...

				YOLANDER'S VOICE
			(cutting him off)
		I'm retired from my practice,
		Matthews. It's your practice now,
		and it's your problem.
			(beat)
		God help you...

				CHASE
			(screaming)
		Wait! Don't hang up!

But Yolander does. And now we hear the DIAL TONE.

				CHASE
		Shit!

Chase flings the carphone down, looking up as...

An approaching potato truck ZOOMS by. Blinding headlights. A 
BLARING HORN. Chase barely swerves out of the way.

Recovering from the scare, Chase reaches over and opens the glove 
compartment. He pulls out his gun and sets it on the seat next to 
him.

EXT.  MICMAC BURIAL GROUND

Geoff climbs the stone steps, reaching the flattop meas. He stops 
short, looking over the clearing...

GUS

is standing in the center of the burial ground. He's HUMMING, 
mimicking Renee's feminine tone. Now he stops and slowly turns, 
regarding Geoff with dead eyes. He's holding a pickaxe and shovel 
at his side.

Gus looks to the ground at his side. Geoff follows his gaze...

A VISION OF RENEE'S GRAVE APPEARS -

Headstone. Manicured grass. Thriving flowers. As if it had been 
uprooted from her resting place at Pleasantville and set down 
right in the middle of the Micmac ground.

And now, the vision of Renee's grave fades away. In its place is a 
bundle of white: RENEE'S SHROUDED BODY.

Gus raises the pickaxe, offering it to Geoff.

				GUS
		You bury your own, Geoff.

Geoff slowly nods and approaches, seduced beyond reason.

169   OMITTED
THRU
177   OMITTED

INT.  GEOFF'S HOUSE, LIVING ROOM - NIGHT

Marjorie stirs on the couch, blinking her eyes open at the SOUND 
of a THUD upstairs. Otherwise, the house is dark and silent.

				MARJORIE
		Geoff?

INT.  HALLWAY - NIGHT

Marjorie starts up the long, dark flight of stairs to the attic. 
The thin night-shirt she's wearing does little to protect her from 
the sudden cold. She clutches herself, shivering.

				MARJORIE
		Geoff? You okay up there?

INT.  ATTIC - NIGHT

Marjorie cautiously pushes open the door. Her concern for Geoff is 
forgotten as she beholds the Renee Hallow memorabilia.

She moves about Renee's unpacked belongings in bewildered 
reverence.

The gauzy curtains billow about Marjorie like ghosts. And then she 
glimpses something beyond the curtains...

A FIGURE

stands in the shadows, wearing the BEADED PEACH DRESS that 
Marjorie had admired earlier. For a moment we think it's Renee, 
but as Marjorie draws closer, we see that the dress has been 
fitted onto a dressmaker's model.

Marjorie lays a hand on the fabric, feeling the contours of the 
design.

EEXT.  GUS' HOUSE - NIGHT

Chase's headlights sweep across the front of the dark house. 
Pulling to a stop, Chase opens the van's door...

ZOWIE

LEAPS out of the darkness, sinking his teeth into Chase's 
shoulder.

Chase is thrown back over the car seat, grappling with the 
nightmare dog as it tears into him again and again...

Chase SCREAMS, reaching back for the gun. He grabs hold of it and 
swings it around... FIRES...

Zowie is BLOWN backwards, clear out of the car, spraying CHASE 
with BLOOD...

Zowie lands outside on his feet, looking stunned. His chest is a 
ruined mess. Zowie WHIMPERS and drags himself weakly towards the 
front porch.

Chase stumbles out of the van, clutching the gun. He's bleeding 
profusely.

179   OMITTED

EXT.  PORCH - NIGHT

An old saw is laying in a pile of sawdust next to a square hole 
that's been cut in the base of the front door.

Chase gives it a look as he tries the door. It's unlocked. Chase 
enters, bringing with him an illuminating swath from his 
headlights.

INT.  GUS' HOUSE - NIGHT

Chase's headlights stream through the windows, distorting the 
interior. The house looks like it's been through a tornado. A 
trail of BLOODY PAW PRINTS leads into the kitchen. The stench is 
repulsive. Grimacing, Chase has to keep himself from gagging.

				CHASE
		Jesus...

As Chase moves forward, he catches sight of...

GUS

standing in a swath of light. At Gus' feet is Zowie, tongue 
lolling out of his mouth. Dead for the second time. Scattered 
around the dog are various tools.

Propped against the wall is the cut out square of wood. It's 
fitted with hinges at the top.

				CHASE
		Gus, what are you doing?!

Gus glances down at the dead dog.

				GUS
			(dead-pan)
		I was building a doggy door.

				CHASE
		God damn it Gus, you dug up my
		wife! What the fuck is going on
		around here?!

Gus brings a cordless electric drill up from his side, pointing it 
at Chase in a threatening manner.

				GUS
			(grins)
		A little drilling. A little
		killing.

As Gus moves forward, Chase gets a good look at him for the first 
time. He doesn't look even remotely alive.

				CHASE
		Holy shit!

Chase levels his gun with a trembling hand.

Gus stabs the air with the drill, feeding on Chase's horror.

Chase pulls the trigger. A bullet pounds Gus' chest. A SPRAY OF 
FLESH explodes from his back.

Unphased, Gus regains his balance.

				GUS
		God I hate when that happens...

Before Chase can squeeze off the next round, Gus rips the gun from 
his grip...

				GUS
		You got a permit for that?

Opening the chamber, Gus empties the remaining bullets and tosses 
the gun aside.

				GUS
		Didn't think so.

Gus fires up the drill. The bit spinZZZZZZ. He DIVES at Chase, 
knocking him back against the counter. The drill bit SINKS INTO 
CHASE'S ARM...

Chase SCREAMS as Gus withdraws it. Now, he presses it into Chase's 
shoulder. Chase is on the verge of blacking out now. The pain is 
unbearable...

Gus withdraws the drill once again, aiming now for Chase's eye.

				GUS
			(maniacal)
		No brain, no pain, Chase. Think
		about it...

The whirling drill bit is millimeters away from Chase's eye. He 
clutches Gus' arm, trying to force the drill aside...

At the last second, adrenaline kicks in and Chase diverts the 
drill. It SINKS INTO the counter-top nearby... STUCK.

Gus ROARS, lashing out, but Chase manages to duck away...

Chase catches sight of HIS GUN on the floor. He scrambles for it, 
scooping it up...

BULLETS are rolling across the floor every which way. Chase slaps 
his palm down on one and desperately fumbles with the chamber...

Gus' hands CLAMP DOWN around Chase's neck. He swings Chase around 
and SLAMS him against the wall, lifting him off his feet...

Chase GASPS as the life is literally crushed out of him...

He brings the gun up beneath Gus' chin and jams it into his ruined 
throat. Gus just keeps on throttling him...

				GUS
			(insane)
		Just remember, Chase... I had Renee
		first... and now I'm gonna have her
		last...

BLAM! The top of Gus' head BLOWS off. His BODY is thrown back by 
the incredible force, tumbling him to the kitchen floor with a 
HEAVY THUD.

Chase sucks in precious air, then his head snaps up.

				CHASE
		Geoff!

EXT.  GUS' HOUSE - NIGHT

Chase stumbles from the house. It's a wonder he's even conscious. 
He swings open the van door and throws himself inside, sinking the 
key into the ignition.

INT.  ATTIC - NIGHT

Marjorie is now seated before Renee's theatrical make-up mirror, 
entranced. She's wearing the beaded peach dress.

With the help of Renee's vast array of cosmetics, Marjorie has 
turned herself into a stunning beauty.

The lipstick isn't quite right. Turning to the countertop 
magnifying mirror, she carefully touches up her ruby red lips. Her 
face fills nearly the entire mirror...

...except for one rim, which reflects the dark, shadowy attic 
behind her.

A HUGE EYE joins her reflection in the distorting mirror. Marjorie 
nearly jumps out of her skin. She spins around...

				MARJORIE
		Jesus, Geoff! Don't sneak up on
		me like that!

...but no one is there.

THE MAKE-UP MIRROR catches another glimpse. Renee's RED LIPS, 
magnified tenfold. The lips begin to move...

				RENEE
			(a whisper)
		Did you really think you could be
		like me?

Renee's fist swings in, SMASHING a panel of the mirror...

Marjorie raises her hands to protect herself against the flying 
glass. And as her hands come down, she finds...

Renee standing before her. Her ghostly form silhouetted by 
moonlight. Curtains billowing around her. We never fully see her.

Marjorie's face goes white with fear.

				RENEE
		Such a young face... but you've got
		potential...

Renee grabs a fistful of Marjorie's hair, viciously YANKING her 
head back...

				RENEE
		We'll do the eyes first. You
		always start with the eyes...

Renee lashes out, SLASHING a mirror shard across the skin beneath 
Marjorie's right eye. Marjorie SCREAMS.

INT.  GEOFF'S ROOM - NIGHT

Geoff awakens at the commotion upstairs. He rocks forward, rising 
from his bed.

185   OMITTED

INT.  HALLWAY - NIGHT

Geoff pauses at the base of the attic stairway, looking up at the 
open door. All he hears are the faint SOUNDS of movement.

				GEOFF
		Marjorie? You know you're not
		supposed to be in the attic.

Geoff starts up the stairs.

INT.  ATTIC - NIGHT

Geoff trepidatiously enters. He weaves through the maze of gauzy 
curtains. And then he sees her...

Renee is standing in the midst of the attic. She's perfectly made 
up. Gorgeous. Just as she was on the day she died. She smiles 
warmly.

				GEOFF
		Mom...

				RENEE
		I came back for you, Geoff. We're
		going to be together again.

Renee raises her outstretched arms to receive him. Through the 
haze of his tears, Geoff doesn't see the sinister, vacant gleam in 
her eyes.

INT.  CHASE'S VAN - NIGHT

Reaching the house, Chase SKIDS to a stop across the lawn.

188B  OMITTED

INT.  ATTIC - NIGHT

Chase cautiously enters with the gun in his grasp. The spring coil 
swings the CREAKING door shut behind him.

From Chase's vantage point, he can't see them yet. He makes his 
way around the stripped dressmaker's model, past an upright 
dressing mirror. And then he sees...

MARJORIE

Slumped against Renee's bed like a ragdoll. We can only see half 
of her face. It looks untouched. Chase reaches for her...

				CHASE
		Marjorie?

Marjorie's head rolls sideways, exposing the other half of her 
face. The skin has been stripped from her skull and peeled back...

Chase turns his head away. And that's when he sees them...

RENEE AND GEOFF

Holding each other tightly. Geoff has his head buried in Renee's 
breast. Renee looks up from her son, meeting Chase's gaze. Her 
voice is both seductive and terrifying.

				RENEE
		Hello, Chase.

Chase gasps. The word "horror" doesn't do the moment justice.

				CHASE
		Oh my God...

				RENEE
		We can try again, Chase. We can
		make it work this time.

Chase sinks back against the wall. He's lost a lot of blood and 
his strength is leaving him.

				CHASE
			(shaking his head)
		No...

				RENEE
		Don't you love me anymore, Chase?

				CHASE
		You're not Renee... Renee's dead...
			(screaming)
		Geoff! Get over here now!

But Geoff just holds his mother tighter. A hint of annoyance 
flickers through Renee's eyes. She strokes Geoff's hair.

				RENEE
			(looking at Chase)
		Geoff, honey, why don't you go
		downstairs. Your father and I
		need a moment alone. Do it for
		me?

Geoff looks up at his mother, mesmerized. She releases him from 
the embrace. He brushes past Chase without a glance and heads for 
the attic door.

				RENEE
		Geoff...

Geoff pauses at the door, looking back. Renee's words have a 
hauntingly familiar ring...

				RENEE
		I love you.

Geoff smiles. Turning away, he opens the door and...

CLYDE

is standing there, an AXE perched on his shoulder. His face is 
torn to shit, bones and brain matter exposed. He's covered from 
head to toe in dirt and clotted blood. He looks worse than any of 
the undead we've seen. A total walking nightmare.

				CLYDE
			(grinning)
		Hey, Junior. Wanna play?

WHOOSH! Clyde swings the axe, sinking it into the wall just in 
front of Geoff's face...

Geoff tumbles back onto the floor, snapping out of his trance.

Clyde brings the axe down...

...and Geoff rolls to the side, barely avoiding decapitation.

				CHASE
		Geoff!

Chase stumbles forward to rescue his son. As he does so, Clyde 
brings the axe back up, SMASHING Chase in the head with the blunt 
end...

Chase goes down. Unconscious.

				CLYDE
		Oops! Looks like Daddy got a boo-
		boo...

Clyde turns his gaze back on Geoff.

				CLYDE
		Now, where were we?

Geoff shuffles backwards across the floor as Clyde moves into the 
room.

Renee passes behind Clyde. She SLAMS the attic door shut and snaps 
off the knob with a jerk of the wrist, locking them all inside.

Scared out of his wits, Geoff makes it to his feet. Clyde swings 
again and misses...

Geoff grabs hold of the axe handle, struggling, and the two boys 
go down...

RENEE

Moves to the vanity. She sweeps a hand across it, sending 
everything crashing to the ground. Crystal perfume bottles 
SHATTER, spilling their contents over the floor.

Renee reaches for a lighter and flicks it on. She touches the 
flame to the perfume-soaked floor...

FLAMES roar into existence, racing across the floorboards, 
igniting the curtains...

We see the flames reflected in Renee's soulless eyes.

ON GEOFF AND CLYDE

As they wrestle with one another across the floor. Bloody spittle 
drips from Clyde's face. He flashes a feral snarl.

Clyde LUNGES forward and tears into Geoff's shoulder with his 
teeth...

Geoff SCREAMS. His hands grope blindly for a weapon and close on a 
mirror shard. He JABS it up and into Clyde's eye...

Somehow, Geoff manages to roll out from under Clyde. He rises to 
his feet...

Clyde lets loose a DEMONIC ROAR. He charges, SLASHING the axe 
wildly, knocking aside curtains and dressing models alike. 
Nothing's going to stop him. Nothing.

Flames are consuming the attic, licking the rafters, igniting the 
canopy drapings... devouring everything. SMOKE is rolling across 
the floor...

Geoff reaches a far wall. He's trapped in a corner. There's 
nowhere else to go. Behind Geoff is a CIRCUIT BOX. INSULATED 
CABLES run from the box down through the attic floor. Geoff 
turns...

And here comes Clyde...

				CLYDE
		Here it comes, buddy! HERE IT
		FUCKING COMES!!!

Clyde swings. Geoff ducks. The axe hits the circuit box behind 
him, severing the insulated cables...

As Clyde rips the axe out of the wall for another try, Geoff 
reaches for one of the SPARKING CABLES.

Clyde raises the axe above his head...

				CLYDE
		Eat it, ass-hole...

				GEOFF
		EAT THIS!!!

...and Geoff shoves the live cable into Clyde's mouth!

SPARKS shoot out of Clyde's eyes and ears. He jerks back and 
forth, writhing in a horrific replay of Renee's electrocution.

Then Clyde's face BLOWS APART in a gout of ruined flesh and BLUE 
FLAME. The circuit is blown and the SMOKING BODY falls...

Geoff drops the cable. The blazing inferno is closing in. He runs 
to Chase...

Chase is barely conscious. Geoff drops to his knees and pulls his 
father to his feet...

				RENEE (O.S.)
		Don't leave me again, Geoff!

Geoff turns...

RENEE

is standing in the midst of the FLAMES, reaching out. The make-up 
and mortician's wax she wears fall victim to the heat and her 
"face" begins to MELT AWAY...

				RENEE
		Don't leave me alone!

Geoff turns away, horrified. With Chase on his shoulder, he 
reaches the door. Locked. Geoff sets Chase against the wall.

He spots the AXE, still clutched in Clyde's hand. Geoff drags the 
axe free from the dead boy's grasp and goes to work on the door...

Ignoring Renee's CRIES, Geoff swings the axe again and again, 
chopping the door apart. He coughs through the smoke. The flames 
are almost upon them...

Finally, the wood splinters apart. Geoff reaches through and 
grasps the outside handle, pulling the door open. Then he turns 
and lifts Chase up once more...

At the door, Geoff pauses for one final, tearful look back. Then 
his face hardens and he turns away, pulling Chase to safety.

				RENEE
		NO, GEOFF! NO!!!

ON RENEE

Alone in the fiery storm, SCREAMING. Flames devour her flowing 
white dress. Her face doesn't even look remotely human anymore.

And as the inferno slowly closes in, we...

								DISSOLVE TO:

EXT.  VETERINARY OFFICE - DAY

We PULL OUT from a sign on the door that says "CLOSED".

Chase is just now locking up the door. He's bandaged up, looking a 
little worse for the wear, but happy to be alive. He turns, 
grinning...

GEOFF

stands near the van, holding Tiger in his arms.

				GEOFF
		All set?

				CHASE
		All set.

Chase joins Geoff at the van and together they climb inside. Chase 
starts the engine, pulling away from the office.

WE STAY ON THE VAN -

As it moves off down the street, passing the familiar landmarks of 
sleepy Ludlow.

RISING UP -

We follow the van as it sweeps out of town. Ludlow looks picture-
perfect from our bird's eye vantage point. Charming and quiet.

				CHASE (V.O.)
		So where're we going?

				GEOFF
		Anywhere but here.

We continue rising up into the brilliant blue sky, losing the van 
amidst the rolling Maine countryside and we

								DISSOLVE TO:

EXT.  MICMAC FOREST - DAY

RUSHING over the woods, just above the tree tops. It's an ocean of 
swaying green beneath us. A forest as ancient and mysterious as 
anything on the Earth.

AND SUDDENLY -

The endless trees fall out from under us. We find ourselves above 
the flattop mesa of the Micmac burial ground, swooping downward...

The ground surges towards us. We see Renee's OPEN GRAVE.

The quality of light is different now. We hear the wail of the 
LONESOME WIND, and perhaps, the WHISPER of something altogether 
alien.

And on the unsettling note, we...

								FADE TO BLACK.


THE END