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Главная>Киносценарии>Кладбище домашних животных II/ Pet Sematary II

Фильм Кладбище домашних животных II/ Pet Sematary II. Сценарий на английском языке бесплатно.

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Кладбище домашних животных II/ 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.

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Фильм Кладбище домашних животных II/ Pet Sematary II. Сценарий на английском языке бесплатно
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