ii. tomorrow

7/4.

Transcript

PART 3: THE NEXT DAY

37 INT. ANOTHER LIVING ROOM - DAY

An interview setup like from an old VH1 show, interspersed with behind the scenes pictures.

OLDER BELLE

...and Jeremy was always a delight on set. I always thought the Beast costume was more cute than it was scary. Which is a good thing since he was supposed to be the romantic lead!

INTERVIEWER

What about the house? I mean the setting is as much a part of why this adaptation endures, don’t you think?

OLDER BELLE

Oh, yes. It was lovely of course. I think it had been an old frat house, y’know, back in the 20s or something. I remember the director was always trying to, scare us with old ghost stories. Apparently something dreadful happened to one of the boys, I don’t remember. All I know is-

INTERVIEWER

Is, what?

OLDER BELLE

Well, I never liked being alone in the old place. You always felt like you were being watched. Even before I learned what he had been doing... I- Can we take a break?

NARRATOR (V.O.)

It wouldn’t be years until the whole truth surfaced, after it was already far too late.

38 INT. MOTEL ROOM - DAY

The interview is playing out on a TV screen in a motel room. The gang of revolutionaries are draped in various states of wakefulness. SOMEBODY changes the channel. It’s the news.

39 EXT. THE HOUSE - DAY

A journalist stands in front of the house. Police tape encircles the yard and house.

JOURNALIST

…in what experts are referring to as the Red Ash Effect, the attendees at this Independence Day party disappeared apparently into thin air last night, leaving behind the red haze which first responders on the scene encountered. While the residue…

38 CON. INT. MOTEL ROOM - DAY

GIRL has sat up in bed.

SOMEBODY

Ugh, no thank you.

She goes to change the channel.

GIRL

No, wait wait wait.

SOMEBODY

What?

GIRL

That’s my house…

SOMEBODY

What?!

39 CON. EXT. THE HOUSE - DAY

JOURNALIST

…is thought to be organic in nature, officials have warned off anyone from approaching the house citing eyewitness accounts that indicate there may be extreme danger. Police have not yet breached the home and so far, only one survivor has left the premises. Police are not releasing her name, commenting that the investigation is ongoing.

Insert shot of MOTHER being walked out of the front door, a blanket draped over her, and a makeshift, blood-soaked bandage tied over her eyes.

Back to you, 

38 CON. INT. MOTEL ROOM - DAY

SOMEBODY turns off the television, turns to look at GIRL, mouth slightly  agape.

SOMEBODY

Uh,

GIRL

(Almost crying.)

That was my mom… my mom’s okay…

SOMEBODY

Oh. Good.

BADGER

(Rousing)

What’s going on?

GIRL

I have to go back.

SOMEBODY

Okay. I don’t know if that’s the best idea…

GIRL

I have to.

BADGER

What are we talking about?

SOMEBODY

You heard them, it’s supposed to be crazy dangerous.

GIRL

I have to.

BADGER

Seriously, is anybody going to fill me in or-

SOMEBODY

(Sighs)

Let’s go, gang.

BADGER

It’s early. Go where?

GIRL

A haunted house.

BADGER

Oh. Cool!

40 INT./EXT. BEATER CAR - DAY

The DETECTIVE flies down the road, blasting his music. He turns onto the street with the house. Instinctually reaches out and turns the music off. The car pulls up outside of the house. He stops the engine, dials his phone, puts it to his ear.

DETECTIVE

Alright. I’m here.

Yeah, I will be.

He hangs up. Steps out of the car, looks up at the house.

41 INT./EXT. FRONT HALL - DAY

The DETECTIVE rings the doorbell, waits patiently. Checks his watch then knocks. Still receiving no response, he peers into the gloom of the house. 

Reverse shot of his face against the glass. POV of the FATHER staring out at him from the darkness. DETECTIVE knocks again.

DETECTIVE

Hello? Anybody home?

Still peering through the glass he thinks he sees a dark shape waiting there for him, but he’s not sure.

DETECTIVE

Hello!

No response. The DETECTIVE tests the front door, locked. He takes out a lock picking kit, begins to fiddle with the front door. Suddenly, FATHER, the figure within scurries forward, rises to his full height, unlocks the door and swings it open.

FATHER

What are you doing?

DETECTIVE

Oh!

He puts away his lock-picking kit, takes out a notebook, glances down at it.

You gave me a fright! Mister…

FATHER

Yes.

DETECTIVE

Hi. :) I’m a detective.

FATHER tries to civilize himself slightly.

FATHER

Ah, at last. How can I help you?

DETECTIVE

I understand there have been a number of happenings at this 

address in the last 48 hours.

FATHER

What kind of happenings, officer?

DETECTIVE

Uh, violent happenings.

FATHER

Oh, yes.

DETECTIVE

Do you mind if I come inside?

FATHER

I don’t think you should.

DETECTIVE

Why is that?

FATHER

Violent happenings.

DETECTIVE

You can’t frighten me off. No, sir. I can’t be rattled. It’s why I got into this line of work.

FATHER

This is different.

DETECTIVE

All the more reason I think you should let me inside.

FATHER

…by all means.

DETECTIVE

Thanks.

Beautiful home.

FATHER

Thank you. Built in 1885.

DETECTIVE

Really? Incredible. History.

FATHER

Hm, yes.

DETECTIVE

You know, I think I’ve read about this place.

FATHER

Is that right?

DETECTIVE

Yes, that’s right. It was a fraternity once, wasn’t it?

FATHER

Was it?

DETECTIVE

Yeah, I think it was. I think I read that in the paper.

FATHER

I must have missed that.

DETECTIVE

Matter of fact I think that was mentioned in that informative tri-fold your wife put together for the uh historical homes tour.

ALT: Ah, well. Don’t worry about it.

Y’know though, I seem to recall a, uh, movie was shot here too, isn’t that right? Back in the 50s or something?

INSERT: A young man’s face getting smashed in by a wrapped fist.

INSERT: A kid glued to the screen.

FATHER

No, I can’t recall, sir.

DETECTIVE

Not a problem, not a problem. Could I trouble you for a glass of water?

FATHER

I, of course. With ice, officer?

DETECTIVE

Nope, don’t go out of your way, really.

42 INT. KITCHEN - DAY

The kitchen windows are draped with cloth, anything to cut down the light. It gives the room a soft glow. FATHER fills a glass from the tap, sets it down in front of the DETECTIVE.

FATHER

So-

DETECTIVE

So. :) 

FATHER

What, exactly, can I do for you.

DETECTIVE

My employer would like to know what happened here.

FATHER

Your employer? You aren’t a cop?

DETECTIVE

Never said I was.

FATHER

You really shouldn’t be here.

DETECTIVE

I understand the police haven’t had the best luck figuring out what’s been going on.

FATHER

The first couple died, same as all the rest.

DETECTIVE

Died? Weren’t killed?

FATHER

By what?

DETECTIVE

Not who?

FATHER

No, not who.

DETECTIVE takes a long sip of his water.

DETECTIVE

That’s intriguing. You must know that you’re the prime 

suspect.

FATHER

Sure, I know.

A long beat. FATHER looks down, no longer making eye contact with the DETECTIVE.

I think it came from the basement.

DETECTIVE

Let’s start there, then.

43 INT. BASEMENT - DAY

FATHER and DETECTIVE walk down the creaky stairs, descending into the basement. FATHER carries a candle in front of him.

FATHER

Don’t touch the lightswitch.

DETECTIVE

Little dark though, don’t you think?

FATHER

Yes, exactly.

DETECTIVE pokes and prods at the room, taking everything in.

DETECTIVE

So what makes you think it started down here?

FATHER

Just a feeling. Doesn’t it always? This way.

The light of FATHER’s candle disappears into the next room. DETECTIVE turns back towards the camera one last time, then follows hastily.

In the next room is a woodworking table, tools, and in the far corner the boiler.

DETECTIVE

You don’t have a very rare cask of Amontillado down here, 

do you?

FATHER

Not exactly. Take a look at that.

FATHER points towards the boiler. DETECTIVE looks between FATHER and the boiler.

DETECTIVE

Sure. Why not?

DETECTIVE leans down to take a closer look. 

Now, what exactly am I looking for?

As he says this, FATHER grabs a two by four from the workbench.

FATHER

You’ll know it when you see it.

FATHER whacks the back of DETECTIVE’s head with a two by four.

DETECTIVE

Ow! What the hell?

He touches the back of his head, looks at his hand. It’s covered in blood.

FATHER

Oh, fuck. That always works in movies.

DETECTIVE

What was your plan, man?

FATHER

This.

FATHER swings the two by four down, aiming for the DETECTIVE’s forehead. The DETECTIVE raises his arms above his head, catches the two by four, wrenches it from FATHER’s hands, and throws it. It skitters across the floor. DETECTIVE starts to appear woozy.

DETECTIVE

Let’s just talk this out.

FATHER

Right.

FATHER lunges for DETECTIVE’s middle, trying to bear hug him. DETECTIVE is pushed against the wall.

DETECTIVE

Why do we have to fight?

FATHER

I’m not leaving my house. I can’t. You won’t make me.

DETECTIVE pushes FATHER off of him, and FATHER stumbles back. He falls to the floor. DETECTIVE approaches. Handcuffs at his side glint at FATHER’s eye level.

DETECTIVE

I don’t want to take you in, man. I legitimately thought we 

were trying to solve this thing. Shit.

DETECTIVE turns away, places a hand on his forehead. Remembers he’s still bleeding. FATHER is eyeing the handcuffs, begins to inch closer.

DETECTIVE

I gotta sit down. You know, now I’m starting to think you 

really did kill all those people.

FATHER

I didn’t.

DETECTIVE

Yeah, well -

FATHER grabs the handcuffs off DETECTIVE’s waist, cuffs one of his wrists, and attaches the other to a pipe.

DETECTIVE

Oh, come on.

FATHER

Sorry.

DETECTIVE

See, I don’t know that you are.

FATHER turns his back, leaving DETECTIVE cuffed in the basement. DETECTIVE slumps down to the floor.

DETECTIVE

Could you at least bring me some bandages?

Hello?

Hey!

44 EXT. THE HOUSE - DAY

The gang of punks pulls up behind the DETECTIVE’s car. GIRL gets out, followed by SOMEBODY and BADGER.

GIRL

Okay. Right. Here I go.

She doesn’t move.

SOMEBODY

Do you want us to come in with you?

GIRL

...No, I should do this alone.

SOMEBODY

Okay, I didn’t really mean it as a question. We’re definitely coming in with you.

GIRL

It… I think it might be really dangerous.

BADGER

Why, uh, would it be any different for you?

GIRL

I don’t know. Just a feeling. I think I’m expected.

SOMEBODY

Alright, suit yourself.

GIRL takes a deep breath, begins the long walk to the front door. Behind her, SOMEBODY nods to BADGER, they follow without any other members of the gang.

GIRL reaches the front door, tests it. It creaks slowly open. Light spills into the darkened front hall.

SOMEBODY

Alright gang, let’s not split up.

This causes GIRL to jump.

GIRL

I thought I told you to stay behind.

SOMEBODY

That was never gonna happen. Sorry!

GIRL grimaces, quickly hugs SOMEBODY, braces themself, steps inside.

45 INT. LIVING ROOM - DAY

The living room is pretty much blacked out, aluminum foil covering each window.

On the ground are drops of blood and ash spilt from the fireplace.

BADGER

Kinda dark in here.

GIRL nods solemnly. 

SOMEBODY

I wonder why.

SOMEBODY goes to the center window. Takes out a pocket knife, stabs a tiny hole into it. This turns the entire room into a camera obscura, projecting the upside down image of the chaotic scene of the potluck from outside. 

GIRL

Oh, no.

46 INT. HALLWAY - DAY

FATHER stalks through the hallway, slithers to the door to the living room, stops there, listening, bandages in hand.

SOMEBODY (V.O.)

What does something like this?

BADGER

The red mist?

FATHER moves on.

45 CON. INT. LIVING ROOM - DAY

GIRL turns in time to see the dark shape of her FATHER move past the door and disappear. She shudders. Whispers to the others.

GIRL

We’re not alone.

47 INT. BASEMENT - DAY

DETECTIVE is Blinksing his eyes, woozily. He does not feel good. However, he rises unsteadily to his feet, trippingly. He spots a saw on the workbench, and begins to stretch out for it. It’s just out of reach. He rattles the handcuffs, stretches his fingers, moves the saw just barely, almost imperceptibly. Does so again, managing to knock the saw in such a way that it tumbles off of the table, clatters to the floor. Reaching with his foot, he drags it towards him.

SFX: Somebody walking down the basement steps. DETECTIVE grabs the saw, then shoves it behind him. He sits back down, slumps and closes his eyes.

Around the corner appears FATHER, carrying bandages.

DETECTIVE flutters his eyes open.

DETECTIVE

Oh, you actually listened to me. Just in time too.

FATHER leans down behind DETECTIVE, begins to wrap his head.

DETECTIVE

So, you gotta fill me in, what’s the plan here? Cause I am so not interested in a Buffalo Bill situation. I just gotta let you know.

FATHER continues his work. Finishes up. It’s an okay job. He’s not much of a caretaker, in case that wasn’t clear already.

DETECTIVE

Right. You don’t have one. Listen, I’ve seen the tapes, alright? I know you didn’t do this. Can I prove it in a court of law? No… but, I believe/ you

FATHER

Tapes? What are you talking about?

DETECTIVE

Alright, not tapes exactly. It’s a lot to unpack but, there’s that app you like to look at, right? Blinks. It lets some people, my employer, see what any of its users are doing. I can’t explain it all, its proprietary and I don’t get it myself but, it gets in your head.

FATHER

What?!

DETECTIVE

I’ve said too much.

FATHER

You haven’t said enough. Did you do this?

DETECTIVE

I am a PI, sir, I didn’t do anything.

FATHER

Who’d you bring with you?

DETECTIVE

Nobody.

Nobody! Swear! Ah, jeez, you’re not supposed to take ibuprofen for head wounds right? Yeah, that’s right.

Who’s here?

FATHER rises to his full height, starts for the door.

FATHER

That’s what I’m asking you. Stay quiet down here.

DETECTIVE

Or what? I just told you, I know you didn’t kill anyone.

FATHER

…almost. Nobody.

8 CON. INT. ATTIC ROOM - MORNING

The same scene as before with the open box containing the needle from the previous scenes with SHAGGY and GLASSES. This time, however, GLASSES kneels beside SHAGGY’s lifeless on the floor. GLASSES off, head in hands.

47 CON. INT. BASEMENT - DAY

FATHER disappears around the corner.

DETECTIVE

Yeah, probably a no on ibuprofen. Booze neither, same problem, I’m pretty sure. Heck, I don’t even drink.

When DETECTIVE is sure FATHER is gone, he retrieves the saw and goes to work on the cuffs.

DETECTIVE

Not my first time, won’t be the last.

48 INT. MASTER BEDROOM - DAY

Phone flashlights appear in the doorway, turning this way and that.

Glass on the bed glints in the light. GIRL sees FATHER’s screenplay on the bedside table. She picks it up, and begins flipping through the pages.

GIRL

What. No. No. No. This is my life. This is my life. What the fuck, dad.

SOMEBODY turns their light towards the Gone with the Wind poster. Written on it in bright red - lipstick? blood? - are the words;

“They Kill by Light”

SOMEBODY

No way.

This causes SOMEBODY to immediately flick off their light.

GIRL

Hey, can I get that light back.

SFX: Steps on the stairs. Slow, methodical. SOMEBODY puts a hand over their own mouth. GIRL closes her eyes, opens them. Whispers:

GIRL

Stay here. Stay quiet.

49 INT. LANDING - DAY

They step out of the room, close the door behind them, just as FATHER rounds the corner. He stops in his tracks. He had been holding a hammer.

FATHER

Wh-

GIRL

Hi dad.

FATHER

I- I thought you were dead.

GIRL

Did you check?

Silence.

FATHER

I’m so happy to see you. My daughter’s alive. I-

GIRL

I’m not sure that’s what I am anymore.

FATHER

What are you talking about?

GIRL

What happened here?

FATHER

I don’t know. I don’t know.

But you need to leave. Get out of here.

GIRL

Why haven’t you left yet?

FATHER

It doesn’t want me. Or it wants me too much. I don’t know why. I can’t leave. It’s all I have- all I had left.

GIRL

But now?

FATHER

They want to take me in. They think I did this. I didn’t! I didn’t. You believe me.

GIRL

I think so.

FATHER

Did you bring them here?

GIRL

What? No.

FATHER starts towards the closed door to the bedroom.

Dad! What’s, your script, about?

FATHER

...you’re taking an interest now?

GIRL

Just... why did you write that. You never even asked. You didn’t even come to the memorial service.

FATHER

It’s my work, dear. I, based it on the fraternity, you know that. Mom used to talk about it all the time- the history of the place.

GIRL

No, you didn’t. You’re lying.

FATHER

That’s rich.

GIRL

What?

FATHER

Nothing. Coming from you. Queen of sneaking out and lying to her parents.

GIRL

This is so so different from that.

FATHER

Where do you even go?

GIRL

That’s, not your business.

FATHER

It is my business. I’m your father.

GIRL

The cemetery, dad! I go to see him at the cemetery!

A creak from the bedroom.

FATHER

You did bring them here.

They’re circling each other. GIRL doesn’t want to let him by but there is real fear here and she sidesteps, switching positions.

GIRL

No! Dad, what’s going on?

FATHER

I heard them. Who’s here? Your Blinks-y friends? Here to finish the job? What do they want? The house? Do they think we know too much?

GIRL

They hate that shit, dad. It’s not like that.

He turns on her, ignoring the door for the moment.

FATHER

Truth comes out! You did bring them here. You liar! Always with the lies. The sneaking-out! Never appreciating everything we gave you! And that godforsaken app - 

GIRL

Dad…

He takes a step towards them.

FATHER

you had it first! You brought it into this house. 

GIRL

Dad, you’re scaring me.

The bedroom door cracks ajar. 

FATHER

And now, now your brother’s dead! Your mother’s dead! 

GIRL

Mom’s alive! I saw her on the news!

FATHER

I thought that too but, it’s just more lies. That’s you. That’s all you…

The hammer is still in his hands. He can feel its weight there. 

FATHER

Maybe, when we’re all finished, it’ll be satisfied. Maybe, then, it’ll be over.

GIRL

DAD!

The hammer raises just a touch. The bedroom door swings open and BADGER brings down the heaviest book they could find down on his head. He collapses, knocked out cold.

BADGER

I so did not think that was going to work.

SOMEBODY rushes to GIRL, embraces her.

SOMEBODY

You okay?

They stare at their dad’s unconscious body.

GIRL

Yeah. Fine.

BADGER

Dude, fuck your dad.

GIRL

Yeah…

Yeah.

Unsettled, they all turn away and walk down the stairs. On the way down, GIRL tears some makeshift fabric down from the window.

The light from outside spills onto FATHER’s resting face. He’s at peace for the first time in days.

50 INT. KITCHEN - DAY

They continue tearing down the makeshift fabric which was dimming this room too. SOMEBODY fills glasses of water.

SOMEBODY

So, is this, like, your house now?

GIRL

Uh, no. I gotta go find mom.

BADGER

Hospital probably, right?

GIRL

Yeah.

I hope she sells the place.

I hope they tear it down.

Heavy breathing and heavy steps come from down in the basement.

GIRL

No…

SOMEBODY

Oh, c’mon. I thought we got ‘em. How is it not over?

BADGER opens a drawer, removes a butcher’s knife, readies themself.

Turning the corner appears the very haggard and injured DETECTIVE, his handcuffs cut in two, chains dangling at his side.

DETECTIVE

Well, hello there. I’m a detective. You all know where you are?

GIRL

Yeah. It’s my house.

DETECTIVE

Then I am so sorry. And what about-

BADGER

We got him.

DETECTIVE

Good. Good. Then all that’s left is to collect your phone.

GIRL

My- what? Why?

DETECTIVE

Big cover up. It’s like a whole conspiracy. Trust me, you’ll be better off putting this all behind you.

SOMEBODY

Fat chance of that.

DETECTIVE

Yeah, same. Still, my employer would insist. Actually, we’ll need any other video you’ve got too.

BADGER

We’re not giving you any-

GIRL

Okay.

SOMEBODY

Okay?!

GIRL

Yeah. I want it all gone. He’ll take it away.

SOMEBODY

And let.. whoever, get away with.. Whatever.

GIRL

I guess so. Da- He’s gonna take the fall anyways.

DETECTIVE

Do you think that’s fair?

GIRL

No. I don’t know. I don’t think any of this is fair. It’s not fair that my brother died

…and I didn’t, a thought unsaid

or any of those people.

But I’ve been scared a really, really long time. I think I inherited it. And right now, I’m not. I’m tired, but I’m not scared. Without that, whatever that is, has nothing on me. I’m free. And that’s sort of a new thing for me, so why not erase it all.

DETECTIVE

We could… we can, erase more. My employer can… influence perception.

GIRL looks up.

51 EXT. THE HOUSE - SUNSET

GIRL hands DETECTIVE her phone. SOMEBODY reluctantly hands over tapes and cameras. They turn to look at the house one last time in the diminishing daylight.

SOMEBODY

You really want to do this.

GIRL

I really do.

SOMEBODY

I wouldn’t.

DETECTIVE

Ready?

GIRL nods. The house - all the lights off.

DETECTIVE turns away, dials a number.

DETECTIVE

Alright. We’re good to go.

52 INT. BLUE-LIT OFFICE - EVENING

WATCHER types away on the keyboard.

WATCHER

Goodbye and good riddance.

You lucky fuck.

On a screen, GIRL’s perspective of the house.

On another, a cursor drags an icon of the house to the trash bin, deposits it there.

51 CON. EXT. THE HOUSE - SUNSET

GIRL closes her eyes.

52 CON. INT. BLUE-LIT OFFICE - EVENING

On a screen, the view of the house goes dark.

53 EXT. AN EMPTY LOT, ALL GRASS ON A CREST - DAY

GIRL opens her eyes. In front of her is an empty lot, all grass and dandelions on a crest. Trees in the distance. GIRL climbs the hill, and steps into the bright light of the sun.

54 EXT. THE HOUSE - DAY

A hammer comes down on a signpost. The house is, once more, for sale.

Ominous music.

ROLL CREDITS

Alt: 54 EXT. THE HOUSE - DAY

A hammer comes down on a signpost. The house is, once more, for sale.

Upbeat music.

ROLL CREDITS