Cirque de Nocte: Circus of the Night - Complete Script
FADE IN:
EXT CARTWRIGHT HOME - ESTABLISHING
A stillness hangs in the air. The usually normal neighborhood goes silent. A large circular shadow passes over the houses.
INT PORTER HOME - BEDROOM - MORNING
SHANE PORTER (mid-twenties), rolls over restlessly. He moans in his disturbed sleep.
EXT CIRCUS (DREAM) - DAY
YOUNG SHANE (10 years old) stands outside a bustling circus. He looks in awe at the ferris wheel. Suddenly he's standing atop the ferris wheel. He reaches for the sky, as if to embrace the stars which have magically appeared.
A voice calls out to him.
MAN'S VOICE
Shane. Come down. Come back.
INT CIRCUS - BIG TOP (DREAM) - CONTINUING
Young Shane stands in the center ring. All around, excited whispers buzz through the air. A ring of fire rolls up behind him.
MAN'S VOICE
Jump, Shane. Through the ring. Jump.
Young Shane looks at the ring. The heat draws beads of sweat on his forehead. He looks at the shadow commanding him.
MAN'S VOICE
Jump.
YOUNG SHANE
I can't. It's fire.
A WHIP cracks out. Young Shane inches closer to the ring of fire.
MAN'S VOICE
Jump, or I'll whip her again!
The whip cracks out. A girl SCREAMS!
EXT CARTWRIGHT HOME - MORNING
REALITY
The air shatters as a child SCREAMS!
INT PORTER HOME - BEDROOM (REALITY) - SAME TIME
Shane jerks awake as the scream yanks him from his dream. The screams pierce his sleepy brain. He closes the open window and tries to shake the nightmare from his head.
INT CARTWRIGHT HOME - CONTINUING
The screaming continues from upstairs.
The phone RINGS. EVELYN CARTWRIGHT (mid thirties), jumps from the table and races up the stairs. On her way up, the phone gets knocked off the hook.
The female voice on the phone belongs to MARQUELLE EVANGELISTA.
MARQUELLE
(on the phone, sultry)
Hey Rocky. It's Marquelle. I want you-
Evelyn's son, FISCHER (8 yrs), picks up the phone from off the floor.
FISCHER
Hello?
MARQUELLE
(on phone, slightly surprised)
Hello, yourself. Who's this?
FISCHER
Fischer Alan Cartwright.
MARQUELLE
Fischer. Nice to meet you. How old are you, Fischer?
FISCHER
Eight.
MARQUELLE
Tell me about yourself.
INT CARTWRIGHT HOME - BEDROOM - CONTINUING
Evelyn holds her shaking daughter, ALI MICHELLE (6 yrs). Ali whimpers as her eyes slowly creep back to the corner.
EVELYN
It's all right honey. Mommy's here. Shh. It's all right.
From the corner, Ali's eyes travel to the partially open closet door.
A glimmer shines off something black, like a large eye. Ali's scream catches in her throat and she buries her face in her mom's chest. Her tortured sobs rack her entire frame. No sound emerges except muffled gasps of terror.
EVELYN
Ali? Are you all right?
Ali shakes her head vigorously.
EVELYN
What? What's the matter, sweetie?
Ali points to the closet. Something stirs inside.
Slowly, Evelyn gets up and crosses the floor to the closet. Ali watches from the bed, transfixed.
The hanging clothing swishes as something moves inside the closet. Evelyn reaches out and grabs for the open door. It flies open at her! Startled, She jumps and falls backward onto the floor.
Their cat, ELLIOT, races out of the closet and tears out of the room.
Evelyn laughs in relief.
EVELYN
It was just Elliot, sweetie. Just Elliot.
Ali shakes her head no.
INT CARTWRIGHT HOME - KITCHEN - CONTINUING
Fischer continues on the phone with Marquelle.
FISCHER
Ali's six. But she's a big scaredy baby. She has to have two night lights.
MARQUELLE
(on phone)
Really? But you're not afraid of anything, are you, Fischer?
FISCHER
No. Not even dragonflies. They have big eyes, you know.
MARQUELLE
(on phone)
Yes, I know all about the big scary eyes.
Fischer wraps himself in the long phone cord.
EVELYN (O.S.)
Fischer?
Marquelle hears Evelyn's voice.
MARQUELLE
(on phone)
Fischer, tell your father that Mr. Andros will contact him soon.
(click)
Fischer hangs up the phone.
EVELYN
What are you doing?
Fischer looks up innocently from his incriminating position.
FISCHER
Nothing.
CUT TO:
EXT CARTWRIGHT HOME - SAME TIME
ROCKY CARTWRIGHT (late 30's) jogs up to the house. Trim and athletic, he wears a confident smile. He smiles and nods at his pretty neighbor (and sister-in-law), SARAH PORTER (mid-20's).
Sarah has her hair pulled back in a ponytail as she digs at the weeds in her flower garden. She's on her hands and knees, and her bottom sticks up a little.
Rocky takes note of this and pauses for a brief look before speaking.
ROCKY
Morning, Sarah.
SARAH
Hi, Rock.
ROCKY
Looking good.
Sarah smiles at the compliment.
SARAH
Thanks. I just wish I could get rid of all these weeds.
ROCKY
I might just have to sneak over in the middle of the night sometime. You know that, don't you?
SARAH
Sure. My pruning shears are nice and sharp.
Sarah's front door opens. SHANE steps out. He shakes his head, still a little groggy.
SHANE
Morning, babe.
SARAH
Hey, sweetheart. What's the matter?
SHANE
I had a strange dream.
SARAH
Tell me about it.
Shane looks over and notices Rocky. He also notices Rocky looking at Sarah.
SHANE
There was this guy. And he was looking at you kind of like he was checking you out. And so I slapped him upside the head and flushed him down the toilet. Two flusher. He was a big piece of -
Shane stops as Sarah holds up her finger.
SARAH
No cussing. Funny how dreams are like that.
SHANE
Yeah. Good thing, too. Don't want anyone getting on my bad side. Subconscious violent tendencies and such.
ROCKY
Yep. Sometimes I get 'em, too. 'Cept mine usually have ... um.
Rocky fades off as his attention zooms in on Sarah standing and stretching. She kisses Shane good morning.
ROCKY
Well, I'd better be getting inside. Got my woman making breakfast.
SHANE
Wouldn't want that bacon to get cold.
(coughs)
Pig.
ROCKY
What was that?
SARAH
Pick.
SHANE
Yeah. Pick a flower on the way in.
(quieter)
Pig.
Rocky stops again, almost hearing this time.
ROCKY
I get it. I get it. You're trying to use suggestion on me to get me to pick a flower for Evelyn.
Shane and Sarah nod at each other and at Rocky.
SARAH
That's it.
SHANE
Yeah. No getting anything past you.
(quiet)
Pig.
Evelyn steps out on the porch. She looks over at Shane and Sarah.
SHANE
Morning, Sis.
EVELYN
Good morning.
(to Rocky)
We need to talk.
ROCKY
Okay.
He gives Shane a thumbs up as he picks a rose from his flower bed, but stabs his hand on the thorns, drawing blood.
Rocky goes inside his house.
SHANE
Idiot.
INT CARTWRIGHT HOME - KITCHEN - CONTINUING
Rocky tousles Fischer's hair and shoos him out. Evelyn leans back on the counter. Rocky looks around, but sees no breakfast.
ROCKY
Isn't something missing?
EVELYN
Like, "Good morning, dear?"
Rocky dives into the refrigerator, looking for breakfast. (The rose is still in his hand.)
ROCKY
Yeah, good morning, babe. What's up?
EVELYN
Ali is having nightmares again. She woke up screaming.
Rocky pulls out a piece of ham and shoves it in his mouth.
ROCKY
So, what? We take her to a shrink?
EVELYN
Rocky. This is not a joke. Something is going on inside her that is terrifying her. Rocky, she's scared. Our little girl. And where are you? Out jogging.
Rocky opens a bottle of orange juice and plops the rose in, stem first. He drops to a knee and presents it to Evelyn.
ROCKY
A rose by any other name would still not be as beautiful as you, Evie.
The stern look holds fast on Evie's face, but she takes the rose and gives the orange juice back to her husband.
EVELYN
Rocky, I'm serious.
ROCKY
So am I. You are absolutely the most beautiful creature. This rose; it's embarrassed to be next to you. Listen.
Rocky holds the rose up to Evelyn's ear. He gets really close and whispers.
ROCKY
Put me back outside, please. I can't feel beautiful in here.
Evelyn rolls her eyes, but Rocky sees his opening and continues.
ROCKY
What'dya want me to do? I got work.
She sets the rose down on the counter.
EVELYN
Could you just go talk to her? Please?
ROCKY
No sooner said, than I get it done.
Rocky wipes his hand on his shorts. A smear of BLOOD marks the evidence of his injury.
Evelyn takes the rose and plops it into the vase with all of the other roses from this week.
CUT TO:
INT PORTER HOME - SAME TIME
Shane's hair reaches out every which way, resisting Sarah's attempts to comb it.
SHANE
I was at a circus.
SARAH
That's the third time this week. Do you think it means anything? It has to mean something.
SHANE
I don't know. It was weird. Not like normal circuses. And ... it was like I'd been there before.
SARAH
Do you remember what this one was called?
Shane thinks back, but can't quite make it out.
SHANE
No. It's gone. There was a whip. And a girl.
Sarah's eyes widen a little at this. She puts a plate of toast in front of Shane.
SARAH
Shane, this is starting to worry me. You're not sleeping well. And you keep having these dreams.
SHANE
It's all so ... I don't know. It's like this has all happened before. And it's starting all over again.
SARAH
What do you mean?
SHANE
I don't know. Forget I said it. Mmm. Toast.
SARAH
Eat. I don't want your blood sugar low.
SHANE
You need to eat, too.
Sarah pulls a health shake from the fridge. She holds it up to prove that she's eating something.
SHANE
Those things'll rot your stomach.
SARAH
You like my flat tummy, so ... down the hatch.
She takes a swig of the canned shake.
Shane shoves the toast in his mouth and pulls a white shirt on.
Suddenly, a BRIGHT FLASH of light outside blinds them both.
SHANE
(with his mouth full)
CAMERA!
Sarah grabs the camera and they both run out to the street. Shane snatches the camera from her and takes pictures of the sky.
SARAH
Did you get it?
SHANE
I don't know. Maybe. I hope I did. Fox Mulder, eat your heart out.
Sarah looks up at the sky, then at her husband. She takes him by the shoulders and points him back toward the house.
SARAH
You'd better get your pants on.
INT CARTWRIGHT HOME - BEDROOM - CONTINUING
Ali lies curled up on her bed, her thumb in her mouth. Her eyes stay fixed on the closet door.
Rocky enters and sits on the foot of the bed. He sets his orange juice down on her little desk.
ROCKY
Hey angel, your mother says you've got a problem. You want to talk about it?
Ali pulls her thumb from her mouth and points to the closet.
Rocky looks in the closet.
ROCKY
There a monster in here?
He swishes the clothes around, then gets a startled look on his face. His arm disappears up to the shoulder into the closet.
ROCKY
It's got me!
Ali screams in absolute terror.
Rocky fights with his unseen assailant. Evelyn pushes her way into the room and pulls her daughter close.
Rocky braces himself and yanks out his adversary - a stuffed PANDA BEAR.
ROCKY
(continuing; laughing)
A ha! There's your problem, Ali. Panda Claus.
Ali breaks down in sobs. Evelyn glares at Rocky.
EVELYN
Don't you ever do that again.
CUT TO:
EXT THURGOOD'S - GROCERY STORE - MORNING
Shane pulls up on his bike. He walks his bike through the store to the back room.
SHANE
Morning, Oswald.
OSWALD MONACO (50's) looks up from the morning paper at his younger assistant.
OSWALD MONACO
Good morning, Shane. Read the paper?
SHANE
Only the obituaries. Didn't make it this week. Someday, though. They're going to say, "Shane Porter, now there was a man who had his head on straight-"
OSWALD MONACO
"And his pants on backwards."
(chuckles)
That gets better every time.
A headline on the bottom of the page catches Shane's attention. He stares at it. His bike falls down.
SHANE
"Flying Saucer sighting has residents puzzled." That's four this month.
Shane quickly scans the article.
SHANE
Did you see anything this morning?
OSWALD MONACO
A flying saucer? No. I keep the teacups and saucers locked safely away at my house.
Shane pulls on his tie.
SHANE
About twenty minutes ago.
OSWALD MONACO
Something rattled the windows. Sounded like a giant lawnmower. You know the ones they use on golf courses?
SHANE
I knew it! Yes. Oswald, you are the man.
Shane picks up his bike.
SHANE
I've gotta run to the photomat real quick. Be back in ten.
OSWALD MONACO
You'd better be. If those watermelons aren't out like the coupon says, there'll be hell to pay.
Oswald chuckles as Shane races out the door.
CUT TO:
INT CARTWRIGHT HOME - MASTER BEDROOM - MORNING
Rocky pulls on a shirt and tie. His cellular phone rings. He grabs it out of his sport jacket as he pulls it on.
ROCKY
Cartwright Construction. Rocky here.
MARQUELLE
(on phone)
Hello, Rock'em Sock'em. It's Markie.
ROCKY
Hello. How is the deal going? Are we almost ready?
MARQUELLE
(on phone)
Listen. I've got something for you.
ROCKY
I don't have time to talk right now. Little Ali -
MARQUELLE
(on phone)
Touching. Meet me at Granby's Diner in twenty minutes.
A smile crosses Rocky's face. It quickly disappears when Evelyn walks in.
ROCKY
I'll just have to call Mr. Andros later to discuss the contract.
MARQUELLE
(on phone)
Bye.
He puts his phone away.
EVELYN
Who was that?
ROCKY
Business. The Andros deal. I told you about that, didn't I? Big deal. Sixteen million dollars.
EVELYN
You really scared her.
ROCKY
Who?
EVELYN
Ali. Your daughter. You scared her half to death. What kind of father are you?
ROCKY
Hey, you're the one that wanted to get married. Don't blame me for any of this.
Evelyn slams the door so the kids won't hear.
EVELYN
(whispering harshly)
Me? You're the one who wanted the tax break. Big construction man ought to have a wife. You said. Well here I am. You got Dad's business on a silver platter. Now how about a little respect?
ROCKY
Don't even start Evie. We don't have the time.
EVELYN
Why? You have another big meeting to run off to?
ROCKY
As a matter of fact ...
Evelyn sits on the bed.
EVELYN
You've always got meetings. Everyone else gets Rocky Cartwright, except the Cartwrights.
(sigh)
Not even me ... I miss you.
Rocky picks up his briefcase.
ROCKY
I'm late. I'll bring you something pretty.
EVELYN
Don't bother. I don't want presents. I want you.
Rocky kisses her on the forehead.
ROCKY
So does everybody else. That's why I've gotta go.
EVELYN
Fine. I love you.
ROCKY
Right back atcha kid.
Rocky smiles winningly and exits.
EVELYN
I'll miss you.
Evelyn flops down on the bed. It crinkles as she falls back on an OPEN NEWSPAPER. She rolls over and picks up the paper.
On the bottom of the opposite page reads the article about the flying saucer.
EVELYN
(continuing; reading)
"Sold out circus draws rave reviews."
(sighs)
I like circuses.
CUT TO:
EXT PORTER HOME - BACKYARD - CONTINUING
Sarah sits on her back patio singing along to the radio. She casually flips through a gardening magazine.
She keeps humming, even though the song ended.
RADIO HOST
We're back now, and we just got a call from a listener who swears he just saw a UFO.
Fischer pushes his way through the hedge separating the two yards. He swings a stick lazily as he wanders over to the patio.
SARAH
Hi, Fischer.
FISCHER
Hi.
SARAH
Have you eaten?
FISCHER
Uh huh.
SARAH
Yeah? Still hungry?
FISCHER
Uh huh.
SARAH
Yeah? Here. There's some toast on the table.
Fischer goes through the open kitchen door and takes a piece of toast off the table. It falls on the floor, but he takes a bite anyway.
The radio host continues his monologue.
RADIO HOST
I mean, seriously, the probability of UFO's actually existing is, if you'll pardon the pun, astronomical. There's just no scientific evidence.
SARAH
(to radio)
Bull. There's plenty of evidence.
Fischer chews thoughtfully on his toast.
FISCHER
What's a UFO?
SARAH
An Unidentified Flying Object. Do you know what that is?
FISCHER
Uh unh.
Sarah turns down the radio.
SARAH
Just like there are people on our world, there are people that live on other planets, too.
FISCHER
Like the moon?
SARAH
Kind of like that.
Fischer cocks his head sideways as if hearing something.
FISCHER
What do they look like?
SARAH
People say a lot of different things about what they look like. Some think that they have really big eyes.
FISCHER
Like owls.
SARAH
Sometimes. But their eyes are more like a dragonfly. Big and black. At least some of them.
FISCHER
I don't like dragonflies.
Sarah pours Fischer a glass of orange juice.
SARAH
Are you afraid of them?
FISCHER
No! I'm not afraid of anything. But Ali is. She's just a big scaredy baby.
EVELYN (O.S.)
Fischer!
Evelyn walks around the hedge.
EVELYN
Sarah, have you seen ... oh there you are. It's time to get ready for school.
FISCHER
I don't wanna go.
EVELYN
I think you'd better.
FISCHER
I wanna stay here and talk about flying saucers.
Evelyn shoots Sarah a questioning glance.
SARAH
He heard it on the radio.
EVELYN
Come on, Fischer. There's no such thing as flying saucers, so you can just put that out of your head.
FISCHER
But Mom.
EVELYN
Say thank you to Sarah for the toast.
FISCHER
Thank you.
SARAH
You're welcome.
(to Evelyn)
I've got to run a few errands, but I'll be back by eleven.
EVELYN
I'll pick up lunch. Ali isn't doing well, so I'm going to keep her home. She'll be joining us.
SARAH
Sounds like fun. I'll get out my dolls.
Evelyn takes Fischer's hand and pulls him home.
SARAH
Bye, Fischer.
FISCHER
Bye.
SARAH
(very quietly)
They're for real. They're very real.
CUT TO:
EXT GRANBY'S DINER - MORNING
Rocky pulls into the parking lot. The diner sits in a nice part of town. Large business buildings tower over this historic restaurant.
Rocky sees Marquelle's company BMW in the parking lot. He smiles, straightens his tie, and walks in.
INT GRANBY'S DINER - CONTINUING
Rocky looks over the patrons. MARQUELLE waves to him from a corner booth. She wears a short necklace with a BLACK STONE.
Rocky joins her at the booth.
MARQUELLE
I ordered waffles for you.
She sips her coffee.
MARQUELLE
You have such good coffee here.
ROCKY
It's not bad. What are you having?
MARQUELLE
Oh, something terribly fattening and sinful.
The WAITRESS brings their order. Waffles and a bagel and a small bowl of fruit salad.
ROCKY
That's fattening?
MARQUELLE
Yes. Terribly.
ROCKY
What do you eat for dinner?
Rocky digs into his waffles.
MARQUELLE
Care to find out?
The fork stops halfway back to his mouth.
ROCKY
What?
MARQUELLE
Gotcha.
ROCKY
(chuckles)
You got me. For a minute, I thought that was an invitation.
MARQUELLE
Don't be silly. What could be more innocent than a gorgeous businesswoman and a married man eating breakfast together in a corner booth?
ROCKY
This is a business meeting.
Marquelle waves her spoon dismissively.
MARQUELLE
Whatever's best on your conscience, but we both want something.
ROCKY
Yeah. I want those contracts signed.
MARQUELLE
Testy, testy.
She reaches into her bag and pulls out some papers.
MARQUELLE
Here. I need your signature. There, there, and there.
ROCKY
What's this for?
MARQUELLE
Preliminary stuff. I've got to show Mr. Andros that I've talked to you about everything.
Rocky signs the papers.
ROCKY
Here.
Marquelle quickly stuffs the papers back into her bag.
MARQUELLE
I'll give these to Mr. Andros. He'll get the contracts ready for tonight.
ROCKY
'Bout time.
Rocky pours more strawberry syrup on his waffles.
MARQUELLE
You got some on your hand.
Rocky looks at his hand. The thorn pricks are still a little wet.
ROCKY
Not syrup. Blood.
Marquelle takes his hand and kisses it.
MARQUELLE
Poor thing. Was it worth it?
No response from Rocky. The silence grows uncomfortable.
MARQUELLE
So, how are your kids?
ROCKY
Fine. 'Cept Ali's having nightmares again.
MARQUELLE
Poor thing. I'll bet I could help her. Take her mind off all her worries.
ROCKY
(muttering)
More than Evelyn can do.
MARQUELLE
What would you do for me then? Hmm? Give me a thank you card? Handshake? Kiss on the cheek? Or maybe get a little down and dirty?
ROCKY
Just get the contracts. Then we'll talk.
MARQUELLE
I'm going to hold you to that.
Rocky shoves the last bite of waffle in his mouth. Marquelle waves down the waitress.
MARQUELLE
Can we get our check?
She hands a credit card to the Waitress.
ROCKY
I'll get it.
Marquelle puts her hand over his. The moment isn't lost on Rocky.
MARQUELLE
So chivalrous. But this is a new milennium. The rules have changed. Power is what we're all after. Emotions are power. Control emotion, and you have the power.
The Waitress comes back with the credit card and receipt. She sets it down on the corner of the table.
MARQUELLE
Excuse me.
Marquelle stands, "accidentally" knocking the credit card to the floor. She bends down to pick it up, giving Rocky quite a view of her figure.
MARQUELLE
(continuing; whispering)
Whoever has the power, makes the rules.
(standing up)
Gotcha.
Rocky finishes up his breakfast and stands up quickly. He hits his hip on the corner of the table. Wincing in pain, he stands to try to be a gentleman.
MARQUELLE
He'll give you the tip. See you tonight, Rocky.
Rocky fumbles in his wallet. He pulls out a ten dollar bill.
ROCKY
Keep it.
Rocky limps outside. Marquelle honks her horn as she drives away.
ROCKY
Hey! I want those contracts signed tonight!
Marquelle just waves out the window.
ROCKY
Women.
CUT TO:
INT THURGOOD'S - GROCERY STORE - MID MORNING
Shane stocks diapers on the shelf. A WOMAN looks over the baby foods nearby.
SHANE
Extra absorbent. Right. Best kept secret in advertising.
The WOMAN overhears him and approaches.
WOMAN
Do you have children?
SHANE
Not yet. But I did have a water balloon.
The woman gives him a quizzical look.
SHANE
In college. It was a project. I carried around a water balloon. To get the parental instincts flowing.
WOMAN
How long did you carry around your balloon?
SHANE
A week. Then there was just a magical something that happened. A week turned into the rest of the semester. I still have little Sebastian in a box in my dresser.
WOMAN
O-kay.
She walks quickly away.
SHANE
Wait - he had a brother.
(quieter)
Ichabod. That's how I know these diapers don't ... never mind.
Oswald comes over the loudspeaker.
OSWALD MONACO
(on intercom)
Shane, phone call, line two.
Shane sets the diapers on the shelf. He points at the package.
SHANE
Someday I'm going to expose your little conspiracy.
INT THURGOOD'S - GROCERY STORE - BACK ROOM - CONTINUING
Shane sits down at his desk and hits one side of the receiver to make it pop up into his hand. It doesn't and hits the floor.
Intercut as needed.
SHANE
Thurgood's, Shane Porter speaking.
SARAH
Hey, cutie.
SHANE
Hey, yourself, beautiful.
SARAH
Did you drop off the film?
SHANE
Yep. It should be done by now.
SARAH
You're going to pick it up, right?
Shane twirls a pencil in his fingers.
SHANE
Yep. Say, I was stocking the diapers just a minute ago-
SARAH
Shane, no, please. Don't start again.
SHANE
We're not getting any younger. I want a little redheaded terror going around sticking things up his nose.
SARAH
I can't talk about this right now. Please.
(sigh)
I was just calling to ask if you wanted to go out tonight.
Shane drops the pencil back onto his desk.
SHANE
Sure. Whatever.
SARAH
I don't want you to be mad.
SHANE
I'm not. See you tonight then.
SARAH
I love you.
SHANE
Yeah.
He slowly hangs up the phone. He wipes his hand over his face. He looks up to see the open newspaper on his desk. It's open to a page reading, "SOLD OUT CIRCUS DRAWS RAVE REVIEWS".
SHANE
I love circuses.
EXT CIRCUS (FLASHBACK) - SUNSET
Young Shane, ten years old, stands with an older woman outside the circus. Bright tents cast ominous shadows in the twilight glow.
The sign outside reads "DREAMLAND CIRCUS".
YOUNG SHANE
It looks dark.
The woman, AMANDA, looks down at him and smiles reassuringly. She wears a short necklace with a polished BLACK STONE.
AMANDA
We're going to have lots of fun. I'll let you get anything you want.
They walk towards the main tent. Suddenly everything silences. Young Shane looks around nervously.
CUT TO:
INT THURGOOD'S - GROCERY STORE (REALITY) - BACK ROOM - CONTINUING
Shane shakes his head. The memory disappears. But the traces around the edges of his mind cloud his emotions. The repressed memory flees back into the shadows of his mind.
SHANE
Weird.
CUT TO:
INT PORTER HOME - LIVING ROOM - CONTINUING
Sarah draws herself up into a ball on the sofa. Silent tears well behind her eyes, but don't quite fall.
SARAH
I don't want to have a baby yet.
The phone RINGS.
SARAH
Hello. Oh, hi Evelyn. All right. Yeah, sure, I'll watch her for a little while. No, I don't have to be in until one today. Just five hours. Okay. Mm-hmm. Bye.
Sarah puts down the phone. She wipes her eyes and straightens the cushions on the sofa.
SARAH
Better put something better on.
She walks back to her bedroom. On the way, she passes the GUEST ROOM. The door is slightly ajar.
INT PORTER HOME - GUEST ROOM - CONTINUING
A baby cradle and rocking chair are the only furniture in the room. The walls are bedecked with soothing colors and wallpaper in pastel colors. Inside the cradle, a life-sized baby doll lays quietly.
Sarah reaches in and strokes the doll's head. The emotions well inside her and she does her best to hold them back.
SARAH
I'm not ready! I'm just not ready.
The doorbell rings. Sarah blinks back the tears and wipes the remainder away with the heel of her hands. She quickly wipes her nose on her long sleeve and goes to the door.
INT PORTER HOME - LIVING ROOM - CONTINUING
The door opens. Ali stands there clutching her little purse and blanket. Evelyn gives her a little push to go inside.
EVELYN
I just need to go out for a little bit. I know you said you'd do it, but I'll pick up lunch for us.
She notices Sarah's eyes.
EVELYN
Are you all right?
Sarah nods mutely.
EVELYN
I'm serious. Are you okay?
SARAH
Yeah. Fine. Just a little emotional, you know, getting close to that time of the month.
EVELYN
All right.
(to Ali)
You be a good girl for Sarah. Mommy'll be back in a couple of hours with lunch. Kisses.
She leans down and kisses Ali.
EVELYN
(continuing; to Sarah)
She's had a rough morning. She might not be very talkative.
SARAH
She'll be fine.
Evelyn leaves. Sarah closes the door.
SARAH
How are you today, Ali?
Ali shrugs.
SARAH
I feel about the same. Want to listen to music? I've got Muppets.
Ali nods and smiles for the first time this morning. Sarah puts on a Muppets CD. Ali plops down on the sofa. Her little feet bounce in time to the music.
ALI
Where's your dolls?
SARAH
You want to play dolls?
ALI
Yeah.
SARAH
I'll go get them.
Sarah goes down the hall into the DEN.
INT PORTER HOME - DEN - CONTINUING
The walls and shelves are covered with UFO models, pictures, and every imaginable bit of extraterrestrial memorabilia. Standing in the eminent place of honor on Shane's desk is an 18-inch tall ALIEN FIGURE.
Sarah opens a closet and rummages through boxes, looking for her box of dolls.
INT PORTER HOME - GUEST ROOM - CONTINUING
Ali walks down the hall and pushes open the guest room door. She enters and smiles as she sees the soft colors and comforting pictures.
Like a magnet, she's drawn to the crib. She looks in at the doll. As she reaches her hand through the bars of the crib-
The DOLL rolls over! An ALIEN FACE looks back at her!
Ali screams and falls backwards. She curls into a ball on the floor and screams and kicks in terror.
Sarah throws the door open.
SARAH
Ali! What happened?
She picks up the terrified little girl. She whispers and soothes Ali as best she can. Ali quiets down a little and points to the crib.
Sarah sets Ali down in the rocking chair and looks in the crib.
The blanket covers the doll's face. She pulls it back. The ALIEN FIGURE from Shane's desk lies there.
Sarah picks up the figure.
SARAH
What?
She takes Ali's hand and walks back into the den. The Alien Figure is missing from the desk.
Ali stops at the doorway. She won't budge an inch further into the room. She just looks warily at the pictures on the walls.
SARAH
Ali? You don't like these pictures, do you?
Ali shakes her head.
SARAH
That's okay. Come on. I've got the dolls.
Sarah sets the Alien Figure on the desk and picks up the box of dolls.
CUT TO:
EXT CARTWRIGHT HOME - MID MORNING
MR. ANDROS, medium build, dark hair, and a bemused look in his eye, steps out of his dark car and walks to the door. He pulls an ENVELOPE from his suit pocket.
He KNOCKS on the door. No response. He looks around, seemingly amused by the neighborhood.
Still no answer at the door. He picks up a GARDEN GNOME from the flower bed. He sets the envelope in the door, halfway between the doorknob and the ground. He holds the Garden Gnome up and gives it strict instructions.
ANDROS
I'll only say this once: I'm trusting you. Keep this envelope safe. A lot depends on you doing your job.
He sets the Gnome down in front of the door.
Then Andros whirls around, his fingers pointing like a gun. He makes a shooting noise at the tree across the street. Birds scatter. He blows his finger and holsters his finger gun.
ANDROS
(continuing; to birds)
Now be quiet.
He laughs, but his eyes reflect no mirth.
CUT TO:
EXT ELEMENTARY SCHOOL - NOON
Marquelle pulls up in her car to the school. She walks inside the office.
INT ELEMENTARY SCHOOL - OFFICE - CONTINUING
Marquelle pulls a paper out of her bag.
The SECRETARY, MRS. AAMES, greets her.
MRS. AAMES
May I help you?
MARQUELLE
Yes. I'm a friend of the Cartwright family. I'm here to pick up their son, Fischer.
CUT TO:
EXT CARTWRIGHT CONSTRUCTION - NOON
Evelyn pulls up to the building. She parks her car out of sight of the windows. She looks around to make sure that no one saw her pull in. Then she goes to the door. She pulls out her cell phone and dials.
INT CARTWRIGHT CONSTRUCTION - CONTINUING
Rocky sits with his feet up on the secretary's desk. Her feet are crossed atop his legs. She blows bubbles as they sit there. Rocky thumbs through an architectural magazine.
The telephone rings. The secretary, BROOKE, answers.
BROOKE
Cartwright Construction. Brooke, speaking. May I help you?
EVELYN
Hello, Brooke. How did the cheerleading tryouts go?
BROOKE
Mrs. Cartwright.
(pushes MUTE on phone)
I heard they let you out of the pound.
(lets off MUTE)
What can I do for you?
EVELYN
I need to talk to my husband.
Brooke looks over at Rocky. He mouths the word, "MEETING".
BROOKE
I'm sorry. He's in a meeting right now.
EVELYN
When are you expecting him back?
Brooke looks to Rocky again. He shrugs.
BROOKE
I'm not sure. Probably around two.
Rocky nods approval.
EVELYN
All right. Just tell him I'll stop by sometime today.
BROOKE
I'll give him the message.
ROCKY
Well, that was exciting.
The door opens. Evelyn walks in. Rocky stands up quickly, dumping Brooke onto the floor.
ROCKY
Evie!
EVELYN
Am I interrupting your ... meeting?
ROCKY
No. No. Of course not. I was just making sure that Brooke's heel wasn't broken.
(to Brooke)
It's fine. No more twisted ankles for you. Good as new.
Brooke picks herself up off the ground, barely keeping herself modest in the process.
BROOKE
Hi.
EVELYN
Surprise.
Evelyn shoots a dirty look at Rocky. He doesn't miss the implication.
ROCKY
Evie, come in.
He points to his office.
ROCKY
Brooke, hold my calls. I'm not available for anyone.
BROOKE
Not even-
Rocky cuts her off before she can finish.
ROCKY
No one. Got it?
BROOKE
Yeah. Sure.
The door closes.
BROOKE
(continuing; toward Rocky's office)
Got a couch if you need it. And you probably will.
CUT TO:
INT ELEMENTARY SCHOOL - OFFICE - SAME TIME
Mrs. Aames looks at the signed note Marquelle gave her.
MRS. AAMES
And he authorized you to pick up Fischer today?
MARQUELLE
That's what it said. I talked with him this morning.
MRS. AAMES
This is not what we normally do. I'm going to have to call him.
MARQUELLE
He's at work right now. Do you have the number?
Mrs. Aames looks through her rolodex.
MRS. AAMES
No. I don't believe I do. Let me call their home number.
The phone rings, and the answering machine picks up. Mrs. Aames hangs up before leaving a message.
MRS. AAMES
What's Mr. Cartwright's work number?
INT CARTWRIGHT CONSTRUCTION - ROCKY'S OFFICE - CONTINUING
Evelyn sits down across the desk from Rocky. His eyes scan the desk guiltily. He spies a pair of earrings under some papers and quickly puts his hand atop them.
ROCKY
So, Evie, what's on your mind?
EVELYN
You.
ROCKY
This is quite a surprise.
EVELYN
Really.
Rocky sweeps the papers and the earrings off his desk with a sweep of his hand (made to look accidental).
ROCKY
Really. It is. I've been busy with so many things-
EVELYN
Meetings? Shoe repair? Or maybe you were looking for a run in her nylons?
ROCKY
She's not wearing - No ... Evie, it's not like that.
EVELYN
Then tell me. What is it like, Rocky? Why did she lie to me?
A KNOCK at the door. Brooke enters.
BROOKE
Rocky, line one.
ROCKY
(deep breath)
Brooke ... I'm in the middle of something. Take care of it. Whatever it is, it's fine.
BROOKE
O - kay.
She closes the door behind her.
BROOKE
It's your head.
CUT TO:
INT ELEMENTARY SCHOOL - OFFICE - SAME TIME
Mrs. Aames hangs up the phone. She looks surprised at the response to her call.
MRS. AAMES
Well, that was Mr. Cartwright's secretary.
MARQUELLE
That would be Brooke.
MRS. AAMES
Yes. She said that Mr. Cartwright was in a very important business meeting, and that he had authorized her to speak on his behalf. Your story checks out, so I don't see any reason why Fischer can't go with you.
MARQUELLE
Wonderful.
CUT TO:
INT CARTWRIGHT CONSTRUCTION - ROCKY'S OFFICE - NOON
Evelyn folds her hands in her lap, seemingly calm. But her knuckles grow white from the pressure. Rocky squirms under her constant penetrating gaze.
EVELYN
I thought I meant something to you.
ROCKY
You do.
EVELYN
Then why? Why are you doing this?
ROCKY
(apologetic)
Evelyn ... I'm sorry. What do you want me to do?
Evelyn softens a little bit.
EVELYN
Just come with me to lunch.
ROCKY
I thought you had a lunch date with Sarah.
EVELYN
Please.
ROCKY
All right. Let me just pull some papers together.
Evelyn squeezes his hand, then exits.
Rocky picks up the earrings off the floor and sticks them in an envelope. He looks around for any other incriminating evidence.
INT CARTWRIGHT CONSTRUCTION - CONTINUING
Evelyn picks up the phone and dials Sarah. She does her best to ignore Brooke. Brooke snaps her gum extra loud as she files her nails - just to annoy Evelyn.
BROOKE
He's not all bad, you know. Sometimes he just gets bored.
Evelyn slams down the receiver and glares at Brooke.
EVELYN
Bored? BORED? Listen you little wench. He's mine. He may be a jackass, but he's mine. Got it?
BROOKE
You're not as young as you used to be. If I had to look at your face everyday-
Evelyn slaps Brooke across the face.
EVELYN
Slut!
Brooke's stares unbelieving at Evelyn, then she bursts into tears. She pushes past Evelyn and locks herself in the bathroom.
Rocky emerges from his office. He holds the envelope in his hands. He looks around for Brooke.
ROCKY
Where's Brooke?
EVELYN
I slapped her.
Rocky laughs. Evelyn doesn't. His eyebrows furrow in distress.
EVELYN
Let's go.
Rocky drops the envelope on Brooke's desk. He opens the door for Evelyn. Then he glances back into the office with the unpleasant expression of a man going to his own execution.
CUT TO:
EXT ELEMENTARY SCHOOL - SAME TIME
Marquelle and Fischer walk out of the school toward her car.
MARQUELLE
So how has your day gone?
FISCHER
Fine.
MARQUELLE
Do you remember me? I talked to you on the telephone this morning.
FISCHER
Oh. Yeah. You're my dad's friend.
MARQUELLE
That's right.
She opens the door for him.
MARQUELLE
We're gonna have lots of fun today.
CUT TO:
INT RESTAURANT - AFTERNOON
Evelyn and Rocky sit in a corner booth. Rocky sweats under her watchful gaze.
ROCKY
I'll get a new secretary.
EVELYN
Sure. Just drive by the college. See who looks qualified.
ROCKY
Evie. That's not fair.
EVELYN
Why not?
ROCKY
It just isn't.
Evelyn tightens her grip on her steak knife and looks directly into his eyes.
EVELYN
Let me tell you what isn't fair. It's not fair to me to have you take over my father's business. Kick me out-
ROCKY
But you wanted to be home with the kids.
EVELYN
Kick me out. And do who-knows-what with that teenybopper you call a secretary.
ROCKY
She's not-
He thinks better of it and shuts up.
EVELYN
I want to see the contracts.
ROCKY
No.
EVELYN
Half of that business is mine. I want to see the contracts!
ROCKY
They've only got my name on them.
EVELYN
Doesn't matter. I want to see them. Where is all of the money going?
Rocky squirms desperately. No way out of this one.
CUT TO:
INT TOY STORE - SAME TIME
Marquelle lets Fischer run wild. She watches him with a smugly predatory look in her eye.
Fischer looks back at her and smiles.
FISCHER
This is the most fun I've had in my entire life!
MARQUELLE
Good. The fun's just getting started.
CUT TO:
INT PORTER HOME - LIVING ROOM - SAME TIME
Ali sits at the coffee table, eating a sandwich. Sarah paces back and forth.
The phone rings. Sarah jumps on it.
SARAH
Hello?
Shane's voice sounds on the other end.
SHANE
Hey babe. Where are you? Thought we were going to have lunch.
SARAH
Evelyn didn't show.
SHANE
So ... what?
SARAH
She left Ali here, and said she'd be back.
SHANE
I'm sure she's fine.
Ali holds the sandwich in front of her doll, to feed her.
SARAH
I hope so. She seemed a little bit ... I don't know, occupied.
SHANE
Occupied, like how?
SARAH
Like there was something big on her mind.
SHANE
I'm sure she'll be there anytime.
Sarah pours a glass of lemonade.
SARAH
If she doesn't, I'll have to call the library.
SHANE
If you do, let me know.
Sarah looks out the window to next door. Evelyn pulls into the driveway.
SARAH
She just pulled up.
Rocky screeches in right behind her. He jumps out of the truck and yells at her, gesturing wildly.
SARAH
Uh oh.
Evelyn picks up the garden gnome on the porch and threatens Rocky with it.
SARAH
I'm gonna have to call you back.
SHANE
What's wrong?
Sarah hangs up the phone.
SARAH
Ali, stay here. I'll be right back.
Sarah goes out the door.
EXT CARTWRIGHT HOME - CONTINUING
Sarah hurries over to the arguing couple.
EVELYN
That's my money, too.
ROCKY
I told you, it's all there.
Sarah interjects.
SARAH
Are you two okay?
EVELYN
Fine. How's Ali?
SARAH
I need to talk with you about her.
EVELYN
What happened?
Sarah notices the envelope in the door.
SARAH
What's that?
Evelyn picks up the envelope. She opens it. TICKETS to the Circus.
EVELYN
What's this?
ROCKY
What does it look like?
EVELYN
Tickets. To the Cirque de Nocte. That's been sold out for weeks!
ROCKY
Surprise.
Rocky holds his hands out innocently.
EVELYN
And this is supposed to make it all better?
Rocky opens his arms wide and smiles graciously.
ROCKY
Hey. Baby.
Evelyn pulls the tickets out.
EVELYN
Two family passes for tonight? Oh, I suppose you'll want to bring little Brooke along?
Rocky pulls the tickets from her hand and looks at them.
ROCKY
Two. Huh.
EVELYN
Yeah. Two. That means I get to take who I want. Sarah, want to go to the circus?
SARAH
Oh. Uh, sure. Okay. That'd be fun.
EVELYN
You are not out of the doghouse, mister. Not by any stretch of anybody's imagination.
Rocky reaches out and touches Evelyn's arm.
ROCKY
How about this? Dinner's on me.
EVELYN
No pizza. No burgers. And NO rollerskating waitresses.
ROCKY
Okay. Okay. How about ...
EVELYN
No. Not Hooters, either. Sarah?
SARAH
No. Absolutely not. Um ... how about The Tropics? I've heard that's good.
EVELYN
Yeah. And expensive. Sounds good to me.
Both women turn to Rocky. He smiles, almost.
EVELYN
And I hear they've got divers there.
ROCKY
(muttering)
Great.
CUT TO:
EXT NORDSTROMS - AFTERNOON
Evelyn walks inside. She whips out one of Rocky's credit cards.
INT NORDSTROMS - CONTINUING
Evelyn approaches a stunningly handsome salesman, HARRY (30's). He smiles broadly as she draws nearer.
HARRY
Evelyn, you look wonderful. Are you interested some new shoes today?
EVELYN
Yes I am. But that's just the beginning.
Evelyn takes Harry by the arm.
EVELYN
I'm in the mood for revenge. And I've got a big favor to ask you.
CUT TO:
INT PORTER HOME - AFTERNOON
Shane walks in. He tosses his tie over the back of his recliner and flops down on the sofa. He kicks off his shoes, narrowly missing the TV.
He pulls an envelope of DEVELOPED PHOTOS out of his bag and tosses them on the coffee table.
He grabs a bag of munchies and pops a handful in his mouth. To his surprise, it's tiny rice cakes. He spits out a little bit, but decides to eat them anyway.
Shane flips on the TV and changes to MTV. He closes his eyes and taps his feet to the music.
Ali sneaks out from the hallway and jumps on him.
ALI
Uncle Shane!
Shane nearly jumps out of his skin.
SHANE
Hey, Ali, I thought no one was home.
SARAH (O.S.)
She wanted to surprise you.
Sarah comes out into the living room, putting in earrings. She's more dressed up than before.
SHANE
You both surprised me.
(kisses Sarah)
Hey, babe. I thought you had work.
SARAH
They'll be all right. We've got tickets to the Circus. Rocky's taking us all to dinner at The Tropics.
Shane notices his wife's clothes.
SHANE
You're looking good.
SARAH
Thanks. We've got to get Ali dressed up, too.
SHANE
The Tropics, huh? Well, I'd better dig out my best Hawaiian shirt.
Ali sits down in front of the TV. Her little head bops back and forth to the music.
SARAH
You are not wearing that thing. It's hideous.
SHANE
Ouch. That's just spiteful. I look good in that shirt.
SARAH
I've already got your clothes picked out. They're on the bed.
Shane walks back to the bedroom. He looks into the den on his way. His Alien Figure is out of place.
SHANE
Whoa. Barnaby's moved. Who moved Barnaby?
Sarah quickly hurries down the hall. She motions for Shane to keep his voice down.
SARAH
Let me try to explain.
She closes the door behind them. In the living room, REM plays on MTV, "The End of The World."
SARAH
It somehow appeared in the cradle when Ali was in there. I was getting the box of dolls from the closet, and then I heard her scream. When I looked in the cradle, it was there.
SHANE
All by itself.
SARAH
I don't know how it got there.
Shane furrows his brow. Something seems to explode inside his mind.
SARAH
Are you okay?
INT BEDROOM (FLASHBACK) - NIGHT
Young Shane wakes up to the sound of scuttling feet. Dark shadows scurry around his bed. Now and then, a glint of light reflects off what appears to be large black eyes.
The shadowy figures run around moving all of his toys.
Young Shane gasps, and one of the figures stops and stares at him through unblinking eyes.
Young Shane's scream catches in his throat, and he dives under his covers.
INT PORTER HOME - BEDROOM (REALITY) - AFTERNOON
Shane's breathing quickens as the memory takes hold of him.
SARAH
Are you all right? Shane?
Shane sits slowly down on the bed.
SHANE
They moved my toys.
SARAH
Shane. What are you talking about?
He shakes his head, clearing it.
SHANE
Nothing.
(smiles)
Nothing. Just memories. Sorry. Nothing that'll get in the way of us having a good time tonight at the circus.
CUT TO:
EXT NEIGHBORHOOD - AFTERNOON
A school bus lets children off. Marquelle pulls her car off to the sidewalk. She lets Fischer out. He holds a brand new GI JOE figure and helicopter.
MARQUELLE
There you go, Fischer. I had fun today.
FISCHER
Me too.
MARQUELLE
Remember, this is our little secret. And what do you say if your mom asks where you got the toys?
FISCHER
My friend Markie gave them to me.
MARQUELLE
Good. I'll see you later, okay.
FISCHER
Bye.
Fischer climbs out of the car and starts walking toward his house. He waves to Marquelle as she drives away.
Fischer zooms the toys through the air as he walks through his front yard.
INT CARTWRIGHT HOME - CONTINUING
Fischer opens the door. He plops his backpack on the floor and opens the refrigerator. He sets his toys on the counter.
Rocky enters the kitchen. He's on his cell phone.
ROCKY
No, I can't help it that I have to take the rest of the day off. Just close up early, or something. No, you know how many clients we have. Fine. If you have to, just charge it to the expense account. Yeah, The Tropics.
He sees Fischer home.
ROCKY
Gotta go. See ya.
Rocky sits down at the table. He points the TV remote at the living room TV and flips it to MTV. A BRITNEY SPEARS video plays. Rocky's attention is mostly on the TV and not on Fischer.
ROCKY
Hey, Fischerman. How was your day?
FISCHER
Fine.
(sees TV)
Mom doesn't like Slutney Spears.
ROCKY
Your mother doesn't like a lot of things. And her name is Britney.
FISCHER
Mom says it's Slutney.
ROCKY
(muttering)
Probably just jealous.
Rocky notices Fischer's toys.
ROCKY
Cool toys. Did I get 'em for you?
Fischer shrugs. He stuffs his face with brownies.
ROCKY
All right. We're going to the circus tonight.
FISCHER
(with his mouth full)
Cool. When?
ROCKY
Seven. But we're going to eat first. We've got reservations at 5:30, so you've got an hour before we've got to leave.
Fischer grabs another brownie, picks up his toys with his elbow, and heads out the back door.
ROCKY
Don't go too far. Your mother's going to be home any time now.
He taps his fingers on the table. Then he looks back at the TV.
ROCKY
But until then ... Slutney, er, Britney, you're all mine.
CUT TO:
INT PORTER HOME - BEDROOM - AFTERNOON
Shane lays on the bed with his eyes closed.
Sarah lights a CANDLE and carries it into the bedroom. Shane's eyes peek open. He freaks out when she reaches over him to set the candle on the nightstand. He rolls out from under the candle.
SHANE
What are you doing?
SARAH
Relax. It's just a candle.
SHANE
You could have slipped. You know - I'm sorry. I'm sorry. Just please don't do it again.
SARAH
I just wanted the room to smell nice.
Shane pulls Sarah close and kisses her apologetically.
SHANE
I'm sorry. I just don't want to burn the place down.
SARAH
It's okay.
She blows out the candle.
SARAH
Come on. Time to get ready.
Shane picks up a shirt from the back of a chair.
SHANE
I'm sorry. It's just, you know how I get with fire.
SARAH
It's okay. My mistake.
She watches his eyes as he looks out the window.
SARAH
I worry about you.
SHANE
I know. Sometimes I get a little worried myself. But we're going to be okay.
SARAH
Promise?
SHANE
Promise.
INT PORTER HOME - LATE AFTERNOON
Shane and Sarah look around the living room. Shane pats his pockets to make sure he has everything.
He notices the PHOTO ENVELOPE, still unopened, on the coffee table.
SHANE
What about the photos? You see 'em yet?
SARAH
No. Leave them. We'll look at them later tonight. All right? Come on, we don't want to be late.
Shane locks the door behind him. A small shadow darts across the wall.
EXT PORTER HOME - CONTINUING
Shane and Sarah walk out to their car. They're both dressed in comfortable, nice clothes. Shane opens the door for Sarah.
Next door, the Cartwrights also load up their car.
EVELYN
We'll see you there.
SARAH
It's so nice of you to do this for us, Rocky.
Evelyn walks over to Shane. She motions him quickly.
ROCKY
Evie, the reservation says 5:30.
Evelyn wears a long overcoat to hide her new clothes.
EVELYN
(quietly to Shane)
I've got a favor to ask.
SHANE
Sure.
EVELYN
There's going to be some people there tonight. Just play along, all right?
SHANE
Okay. Anyone I know?
ROCKY (O.S.)
Evie!
EVELYN
I'm coming.
Sarah waves to Ali and Fischer. They wave back.
They all load up and pull their cars out of their respective driveways.
SARAH
Got everything?
Shane looks in his rearview mirror. He sees a bald, dark eyed being looking out his bedroom window at him.
Shane whirls around to see with his own eyes. Nothing!
SARAH
Shane!
He slams on the brakes, nearly rear ending the Cartwrights.
SARAH
What?
SHANE
I thought I saw something.
SARAH
Like what?
SHANE
I don't know. Probably just a reflection.
He reaches under his seat and pulls out a handgun.
SHANE
See if it's loaded.
Sarah checks the cartridge.
SARAH
Yeah. It is. Shane, what's going on?
SHANE
Nothing. You just never know what might be out there. Can't be too careful.
CUT TO:
INT THE TROPICS - EVENING
Evelyn takes her two children by the hand and leads them into the restaurant. Shane and Sarah follow closely behind. Rocky trails along, not looking very interested in anything.
The Tropics boasts a centrally located lagoon with cliff divers. Fire dancers stand on little islands in the lagoon. The entire atmosphere brings a smile to everyone's face.
Evelyn greets the HOST, THOMAS.
THOMAS
Good evening. Party of ... six?
EVELYN
Yes. Cartwright.
Thomas looks at his list.
THOMAS
Ah, yes. Cartwright. Here we are. Follow me, please.
He gives a sly smile as he looks at Rocky.
SARAH
This place is great.
SHANE
Sure nice of Rocky to bring us here.
Rocky rolls his eyes.
ROCKY
Please.
Thomas leads the party to a private island on the far side of the lagoon. Their table affords a view of the entire lagoon - cliffs, etc.
Standing at the their table, waiting for them is a very pretty waitress, AMBER (20's).
AMBER
How are you folks this evening? I'm Amber. I'll be your servant this evening.
Rocky perks up.
ROCKY
'Bout time something good happened.
EVELYN
Hi, Amber. I'm Evelyn. This is Fischer, Ali, Shane, Sarah, and my husband, Rocky.
AMBER
Hi, everyone.
She bends down to talk to Ali.
AMBER
You want a root beer float?
Ali looks at her mom, who smiles.
ALI
Yeah.
AMBER
And Fischer, what can I get for you?
FISCHER
Um. I think that I want grape.
AMBER
One grape soda. And the rest of you?
Everyone places their order. Amber goes to fetch them. Rocky watches her leave.
Shane pulls out Sarah's chair for her. Everyone sits down. Noticeably, Rocky doesn't pull out Evelyn's chair for her.
Evelyn takes off her overcoat and drapes it over the back of the chair.
ALI
Mommy, you look pretty.
Evelyn wears a tight shirt and leather pants. She smiles at Ali.
EVELYN
Thank you baby.
Rocky stares around the room, apparently bored.
FISCHER
Look!
A diver jumps off a far cliff, twisting and turning, finally knifing perfectly into the lagoon.
FISCHER
Woooooow.
Amber returns with their drinks. Rocky takes particular note of her.
ROCKY
So, you worked here long?
AMBER
A while.
ROCKY
How long is a while?
AMBER
Long enough to learn to look for rings.
Shane laughs. Sarah hides her laugh.
SHANE
Ouch. Strike one.
Amber passes around menus.
AMBER
I'll give you all a chance to look over the menu.
EVELYN
What do you recommend?
AMBER
Personally, I love the sweet and sour ribs. Our cooks are great.
ROCKY
Well, if the waitresses are any indication, they must be great.
AMBER
We do set a high standard.
Amber cuts short that line of conversation. Rocky takes the hint and looks over his menu.
ROCKY
Hmm, what looks good?
SHANE
Pig.
Ali makes a piggy noise. Evelyn's laugh escapes before she can stop it. Even Amber smiles.
ROCKY
That does look kind of good.
AMBER
Actually, the pig is a little old for my liking.
Evelyn catches Amber's eye. She signals to give some space.
AMBER
Oh ... if you'll excuse me, I've got to check on some of the other guests. I'll be back in a few minutes to take your order. Enjoy your drinks.
ROCKY
Well, she's a good one. I like her.
FISCHER
I want a cheeseburger.
Across the room, a stunningly handsome man, HARRY (the salesman from Nordstrom's), waves to Evelyn.
HARRY
Evie! What a surprise.
Harry comes over to their table. Evelyn stands up and gives Harry a hug.
HARRY
You look incredible. Have you been working out?
EVELYN
(blushing)
A little.
HARRY
Who are these fine looking people?
EVELYN
This is my brother, Shane. His wife, Sarah. My children, Fischer and Ali.
Harry leans down next to Ali.
HARRY
You've got a really pretty mommy.
ALI
I know.
Harry turns to Fischer.
HARRY
You're a fine looking young man. I'll bet all the girls just love you.
FISCHER
Eew.
EVELYN
And this is my husband, Rocky.
Harry sticks out his hand. Rocky ignores it.
HARRY
You're a lucky man. I'd hold on to this one if I were you.
(smiles)
I'd hold on to her myself, if only the past hadn't slipped away too quickly.
ROCKY
You know, you're getting real close to the line there, pal.
HARRY
At least one of us is.
Evelyn interjects.
EVELYN
So what are you doing here?
HARRY
I'm meeting a blind date. But after seeing you,
(looks at Sarah)
And your sister-in-law,
(winks)
I see I'll just have to settle for the third most beautiful woman in here.
Sarah and Evelyn both blush.
HARRY
(continuing; to Shane)
I hope you don't take offense.
SHANE
Not at all. You have good taste. But, you've got to see the ring, too.
Shane holds Sarah's left hand up to show her wedding ring.
HARRY
And it breaks my heart to see rings on the fingers of such beauties.
EVELYN
Oh, stop.
Ali holds up her finger. She's got a little plastic ring on.
ALI
I got one, too.
HARRY
What a beautiful diamond. Did your daddy get this for you?
ALI
Uh huh.
HARRY
You're a lucky man, Rocky. Don't mess it up.
EVELYN
It was great to see you again, Harry. We should get together sometime. All of us.
Rocky makes faces and mimics Evelyn.
HARRY
That'd be nice. I'd have to find a date, though. Single folks and married folks don't mix real well. Nice to meet you all.
Rocky looks off into the distance as Harry excuses himself.
SARAH
Who was that?
EVELYN
Old friend. Old flame.
SARAH
Wow. He's great. Likes kids, too.
ALI
I think he's handsome.
SHANE
Kid's got good taste.
Rocky sees BROOKE enter. He perks up.
ROCKY
I need to use the bathroom.
He gets up and leaves without another word.
Evelyn follows him with her eyes and sees Brooke. Her eyes smolder.
EVELYN
Sarah, order for the kids. I need to step out for a moment.
Rocky brushes past Brooke at the bar. She wears a stunning dress, obviously very new, and obviously very expensive.
ROCKY
Looking good.
BROOKE
Missed you today.
ROCKY
Sorry. Family stuff.
BROOKE
When are you gonna dump 'em?
ROCKY
Hey, this is my family you're talking about.
(pause)
I don't know.
Evelyn walks back toward the entrance. She waves down Thomas. He steps over to her. She slips a bill into his hand and whispers in his ear.
EVELYN
I need Amber to do a little more.
THOMAS
Evelyn, I can't. She could lose her job.
EVELYN
Please. Where is she?
CUT TO:
EXT DARKNESS - EVENING
Two voices, Andros and Marquelle, speak in hushed tones.
MARQUELLE
Is everything ready?
ANDROS
All is according to plan. When the darkness falls, so will they.
MARQUELLE
All of them?
ANDROS
Yes. And when they do ... showtime.
CUT TO:
INT THE TROPICS - LATER
Amber walks from the bar with a platter of drinks. Brooke stands up to walk over by the lagoon. Amber bumps into her, spilling drinks all down the front of her dress.
AMBER
I'm sorry. Here, let me help you.
BROOKE
Clumsy wench!
Amber tries to sop up some of the drink with a towel.
BROOKE
GET OFF OF ME! This was my brand new dress!
AMBER
I am so sorry. It's my fault.
BROOKE
Yeah. You're sorry. This dress cost me five hundred dollars!
Everyone turns to look at Brooke yelling.
Rocky's eyes widen.
ROCKY
(silently)
Five hundred dollars?
Amber picks up her spilled tray.
BROOKE
Who's the manager? I'm going to have you fired. You know that? I'm going to get you fired. You deserve to be fired. You spilled that all over me. Don't they teach you anything in waitress school?
Thomas hurries over.
THOMAS
Is there a problem?
He sees the problem.
THOMAS
Oh, I see. Well, let's get you cleaned up. Here, let me get you something to drink. On the house.
BROOKE
I want her fired. You can fire her, can't you?
THOMAS
I'll deal with her later. Here, let me give you our finest table. Are you waiting for anyone?
Amber smiles as cleans up her mess.
AMBER
Waitress school.
INT THE TROPICS - LATER
The group eats their meals. Rocky keeps mostly to himself, letting the others engage in conversation. He checks his watch constantly, wanting nothing more than to be out of there.
EVELYN
(to Rocky)
How's your food?
ROCKY
Fine. Yours?
EVELYN
It's great. Thanks.
SARAH
It's really nice of you to take us out to eat.
ROCKY
Sure.
ALI
I love you, daddy.
ROCKY
Yeah, pumpkin. Me too.
Fischer gets bored and pulls an action figure out of his pocket. It marches over his plate.
SHANE
Cool figure.
EVELYN
Fischer. What have I told you about playing at the table?
FISCHER
But Mom. We're not at home.
EVELYN
Put it away.
Fischer sucks the food off of the figure's feet, and glumly sticks it back into his pocket.
Amber appears next to their table.
AMBER
How's everything?
EVELYN
Great. Thank you so much.
AMBER
Is there anything else I can do for you?
EVELYN
No. I think -
ROCKY
Actually, yeah. That girl you dumped the drinks on earlier, where is she?
AMBER
I don't know.
ROCKY
You gonna get fired?
AMBER
I'm afraid I don't know.
EVELYN
Rocky.
Rocky holds up his hand.
ROCKY
I think you should.
On the other side of the lagoon, up one level, Brooke points out Amber to an older gentleman, MIGUEL. (Miguel owns The Tropics.)
BROOKE
That's her. Right there. She's the one that spilled all over my brand new dress.
Miguel looks out, squinting his eyes. He can't quite see who Brooke is pointing to.
BROOKE
There. The blonde one. She's the one you should fire.
MIGUEL
The one in the corner?
BROOKE
No. That one right there.
Brooke leans way over the edge, to point directly at Amber.
HARRY walks by. He follows Brooke's pointing finger. He makes eye contact with Evelyn.
MIGUEL
The one on the island?
BROOKE
Yes. That one.
Harry nudges Miguel to the side.
HARRY
Excuse me. Is that the one?
Harry points out at another waitress.
BROOKE
No. THAT one.
Harry sidles a little closer to Brooke.
HARRY
I'm a little near sighted. Which one?
Brooke leans WAY over the edge of the railing to point. The lagoon lies directly beneath her. Harry glances down, then glances at Evelyn. He gives a little smile.
When Brooke looks over at him, he rubs his eyes.
HARRY
Okay, one more time. Which one was it?
Brooke leans out to point.
BROOKE
THAT ONE!
Harry nudges Brooke, and she tumbles over the railing. She screams and splashes into the lagoon.
Everyone turns to stare. Brooke surfaces, sputtering and screaming.
HARRY
Oh. THAT one.
Harry waves to Evelyn and company, then disappears into the crowd.
Rocky rushes over to pull Brooke out of the lagoon.
ROCKY
Are you all right?
Evelyn's right on his heels.
BROOKE
(to Evelyn)
You. You did all this. You set me up.
EVELYN
Me?
BROOKE
You. And all your little friends. You did this to me.
(to Rocky)
You promised me. I got this dress, just for you.
EVELYN
Well. Soaking wet looks good on you. Oh, you poor dear. I think your mascara's running.
Evelyn pulls out a handkerchief to dab at Brooke's face. Brooke slaps her hand away.
An audible "OOH" comes from the gathered crowd.
EVELYN
You wanna play rough? Don't mess with momma bear.
Evelyn shoves Brooke back into the lagoon. Everybody cheers.
EVELYN
Go back to your dollhouse, little girl.
When Rocky tries to help Brooke out, he gets "BOO'D". He helps Brooke out, then collapses under the pressure of the crowd and walks away.
Brooke is left all alone, dripping wet. Angry sobs try to fight out of her throat, but she won't let them go.
BROOKE
(to everybody)
What're you looking at?
CUT TO:
EXT THE TROPICS - CONTINUING
Shane walks in back with the kids, a few paces behind Evelyn and Sarah. Rocky has already gone ahead to unlock the car.
SARAH
This is definitely your night, Evelyn.
EVELYN
Yeah. I feel pretty good.
SARAH
She'll think twice before talking to you again.
EVELYN
She'd better. I'm just getting warmed up.
Sarah pauses, searching for a nonthreatening way to say what's on her mind.
SARAH
So, are you and Rocky ... you know?
EVELYN
I don't know. If things don't change, probably.
SARAH
What if he tries to take the business?
EVELYN
Hell hath no fury like a woman scorned. He hasn't seen anything yet.
Shane tries to eavesdrop on the conversation, but only gets bits and pieces. He lifts Ali onto his back, trying to distract the kids from the serious talk a few steps ahead of them.
ALI
Horsey ride. Horsey ride. Mommy, look at me. Horsey ride.
EVELYN
I see.
Fischer plays with his action figure, flying it through the air.
FISCHER
Hey, Uncle Shane, what's a flying saucer?
SHANE
Why are you asking that?
FISCHER
I dunno. Just wondering.
SHANE
Where'd you hear about those?
FISCHER
Do people really live on other planets?
SHANE
'Course. Be a big wast of space if they didn't.
Fischer chews on this for a moment.
FISCHER
Have you ever seen one?
SHANE
(smiles)
That's best left for another time. Don't want anything to get in the way of this evening.
ALI
Giddyap, horsey. Take me to the circus.
SHANE
On to the circus.
CUT TO:
EXT GRAVEL ROAD - EVENING
The road leads out into the hills.
SARAH
Boy, this is a ways out here.
SHANE
It's where Rocky's leading us. He's got the map.
SARAH
But if he was lost, do you think he'd tell anyone?
SHANE
Good point.
Shane honks the horn and stops his car. Rocky stops the car up ahead. Shane pulls up to him.
SHANE
How much further?
Rocky rolls down his window.
ROCKY
It says six miles. We've only gone four and a half.
SARAH
But there's nothing out there but ...
ROCKY
Then it should be spooky, shouldn't it?
Rocky rolls up his window, ending the conversation. He spins his tires, kicking up dust as he pulls away.
Inside the Cartwright car, Evelyn casts a disapproving glance at Rocky.
EVELYN
Did you have to be rude?
ROCKY
I was just answering her question.
FISCHER
Are we there yet?
EVELYN
Not yet. Just be patient.
Fischer flies his new toys around.
EVELYN
Fischer, can you keep those quiet, please?
She notices the toys he's playing with.
EVELYN
Where did you get those?
FISCHER
They're new.
EVELYN
I can see that. Where did you get them?
FISCHER
My friend.
EVELYN
Which friend?
FISCHER
Markie.
EVELYN
Well, Markie's mother will probably be mad that he gave you his toys. You'll just have to give them back.
Fischer pouts.
FISCHER
But Markie said I could have them.
EVELYN
Little kids say a lot of things.
ROCKY
(muttering)
Gonna push him in the water, too?
Evelyn glares at Rocky. She folds her arms and sits back in her seat.
CUT TO:
EXT OUTER GATE - EVENING
The large outer gate looms up, ghostlike, as the round the corner. It proudly proclaims "CIRQUE DE NOCTE".
ROCKY
Well, there it is.
Shane stops the car a few lengths behind Rocky.
SHANE
I've got a funny feeling about all this.
SARAH
It'll be okay.
SHANE
I hope so.
They drive through the gate and down the road further.
Unseen to them, a gate swings shut behind them, pushed by short figures. Little shadows run toward the tents after the cars.
EXT CIRQUE DE NOCTE - CONTINUING
A large BLACK TENT awaits them. They park their cars and step out into the chill evening air.
Sarah shivers.
SARAH
Oh, I got the chills.
SHANE
Me too.
Evelyn looks around.
EVELYN
Where is everyone?
A robed figure, ANDROS, beckons them closer.
ANDROS
Come. Come. You'll miss the show.
ROCKY
See? There's someone now. Chickens.
SHANE
Pig.
ROCKY
Oink. Oink. Wanna roll in the mud now?
SARAH
Sorry. He's not nineteen and blonde. And his ring means something to him.
Rocky gives a dirty look, then heads into the tent. He hands the tickets to Andros. The tent flap closes behind him.
EVELYN
Take my hand, children.
(to Andros)
Good evening.
ANDROS
A good evening to you.
Shane holds Sarah back and whispers in her ear.
SHANE
I'm getting a really weird, wiggy feeling.
SARAH
It's your -
SHANE
No. I'm serious.
Sarah smiles reassuringly.
SARAH
Don't worry. It'll be fun.
ANDROS
Welcome to the greatest show on earth.
Shane and Sarah enter. The tent flap closes behind them. Andros smiles.
ANDROS
Turn your attention to the center ring. Rocky Cartwright. Womanizer. Pig.
CUT TO:
INT CENTER RING - NIGHT
Rocky puts out his hands, panicked. Suddenly a spotlight from above blinds him.
ROCKY
Who's there?
A familiar voice sounds from above.
MARQUELLE
Hello, Rock'em Sock'em.
ROCKY
Marquelle?
She appears behind him. She whispers in his ear.
MARQUELLE
In the flesh. Or at least a good representation of it.
She takes him and kisses him. He doesn't struggle at all, but gives in.
The scenery changes around him. He's surrounded by dark, hooded figures. Marquelle pushes him away.
ROCKY
Why?
MARQUELLE
Smile for me, Rock. I love your teeth.
One of the hooded beings runs their fingers along his shoulder and down his back. Rocky flinches.
ROCKY
Who are you? Get the hell off me!
Rocky whirls around and shoves at the hooded figure. It disappears, and he stumbles into the darkness.
CUT TO:
INT EMPTY TENT - NIGHT
Evelyn looks around and frowns.
EVELYN
Where is everybody?
Ali looks up in the bleachers and sees a shadow. Dim light reflects off large black eyes. She tugs on her mom's coat.
ALI
(whimpering)
Mommy.
EVELYN
What is it, baby?
ALI
Up there.
EVELYN
I don't see anything.
Fischer pulls out an action figure and walks over to a bleacher and sits down.
EVELYN
Don't go too far, Fischer.
Fischer ignores her and continues playing.
Ali watches the shadow. It seems to smile at her. She ducks behind Evelyn.
EVELYN
I don't see anything.
ALI
Up there. Big black eyes.
Evelyn sniffs the air.
EVELYN
Popcorn. Can't have a circus without popcorn, can you?
(to Fischer)
Come on. Want some popcorn?
She takes Ali by the hand and walks across the tent. Fischer follows several steps behind, completely oblivious to his surroundings.
Ali watches the shadow closely as they walk by.
EXT EMPTY TENT - CONTINUING
Fischer looks around. His mom and sister are gone.
FISCHER
Mom?
He runs back into the tent, but no one's there.
Whispers come all around him.
WHISPER ONE
He's coming closer.
WHISPER TWO
Good. I want to play.
WHISPER ONE
Hey, Fish, want to play?
WHISPER TWO
Come in here.
A smaller tent opens, revealing a huge pillow on the ground, with a video game playing on a huge screen. Two little boys sit there in the dark. They face him, but their heads are cloaked in shadow.
WHISPER ONE
Hurry up. It's your turn.
Fischer smiles and enters the tent.
CUT TO:
EXT EMPTY TENT - CONTINUING
Evelyn exits the tent. She walks a few steps before she realizes that Fischer isn't with them.
EVELYN
Fischer?
She throws open the tent flap and looks inside.
EVELYN
Fischer?
Panic starts when she can't find him anywhere.
EVELYN
Fischer!
Andros walks up behind her and whispers in her ear.
ANDROS
Missing someone?
Evelyn jumps involuntarily.
ANDROS
The show will start shortly. Please take your seat.
EVELYN
Where's my son?
Ali tugs on Evelyn's hand.
ALI
Mommy.
ANDROS
You have children?
EVELYN
Yes, I have children.
Andros smiles down at Ali. She cowers behind her mom.
ALI
(tugging harder)
Mommy.
ANDROS
Charming. How old are they?
EVELYN
Where is my son?
ANDROS
Let me help you find him.
Andros opens the tent flap. He shows Evelyn inside. Ali stays on the opposite side of her mother from Andros.
INT FUN HOUSE - CONTINUING
Lights flash and raucous noise blares at Evelyn and Ali. The startling effect momentarily stuns Evelyn.
Evelyn turns around to talk to Andros.
EVELYN
How is this - ?
But he's gone. There's no tent flap, either.
ALI
(pointing)
Look, mommy. A clown!
CUT TO:
INT CROWDED TENT - NIGHT
Shane and Sarah walk hand in hand beneath crowded bleachers.
SHANE
Looks like the show's already started.
SARAH
Where are the others?
SHANE
They probably already found their seat. Come on.
Shane pulls her along, eager to find an empty seat. He's driven by an urge he can't explain.
Excited buzzing and chatter reverberates above him, it becomes like a living, pulsating entity. Shane hurries closer and closer to the action.
Shane's hand slips from Sarah's. Shane finds an empty seat from below and peeks out. His eyes shine with excitement. He gestures back to Sarah.
SHANE
Babe, come on. Come see.
But Sarah is transfixed by her reflection in a mirror. She puts up her hair and looks at herself. She smiles, as if in a dream.
Shane turns back to peering out at the circus.
SARAH
Look at me. I'm an angel.
Andros picks up the mirror and turns it up to face him. Sarah's reflection still shines there.
ANDROS
Very beautiful.
Sarah smiles at him.
SARAH
I'm gonna be a rock star.
CUT TO:
INT CENTER RING - NIGHT
Rocky crashes into a hard wall. He lays there stunned for a moment.
ROCKY
Come out where I can see you! Cowards!
The word "COWARD" hisses out of the darkness surrounding Rocky.
ROCKY
Stop it! Marquelle! Where are you?
A black cloak appears in front of him. He swipes at it he throws it to the floor.
A solitary coat rack mocks him with its silence. He grabs the coat rack and swings it with all his might, hurling it into the blackness.
MARQUELLE (O.S.)
Afraid of a little darkness, Tough Guy?
Marquelle breezes past him, her fingers brush his hand. They're cold as ice. Rocky jerks his hand back.
MARQUELLE
Try looking inside some time.
Rocky grabs Marquelle, wincing as her cold wrist burns into his hand.
ROCKY
What are you doing here?
MARQUELLE
Same as you. I'm here for the show. Wanna see?
She points, and a dim light brightens the distant darkness.
Rocky looks. A large mirror spiderwebs with a hundred cracks. The coat rack lies at the base of the mirror.
Rocky slowly approaches the mirror. Scenes of several women, including Marquelle and Brooke, play before him in the mirror. He smiles as the memories unfold in front of him.
MARQUELLE
You've known lots of women.
The shadow passes over Marquelle's face, changing her to Evelyn.
MARQUELLE
(continuing; as Evelyn)
So what do you have to say for yourself?
Rocky stares in horror at the woman behind him.
CUT TO:
EXT FUN HOUSE - NIGHT
Ali tugs on Evelyn eagerly, pulling her to the nearby CLOWN. The Clown makes balloon animals, his back to them.
ALI
Mommy I want a balloon.
EVELYN
Ali, we've got to find Fischer.
The clown turns, a glowing smile on his face, but a dark shadow passes over the whites of his eyes.
CLOWN
Did I hear balloon?
He twists a balloon into a strange winged creature. He holds it out to Ali.
ALI
Eew. What is that?
He lifts the balloon creature closer to Ali's face.
CLOWN
(whispering)
It's a ... bat.
Suddenly, the balloon turns into a bat! It flies at Ali's, then Evelyn's, face. Then the bat shrieks and flies off into the night.
CLOWN
Sorry. Sometimes I get carried away.
He smiles, but not apologetically.
EVELYN
Thank you. But I think we need to find my son.
CLOWN
Little boy? About this high?
(points)
I saw him go in there.
The Clown points into the Fun House.
EVELYN
I ... don't follow us.
The Clown smiles as innocently as one with a painted face can.
CLOWN
The fun is just beginning.
Evelyn takes Ali's hand and enters the Fun House.
CUT TO:
INT FUN HOUSE - CONTINUING
Bizarre lights and sounds whirl around Evelyn and her daughter. A large figure stands in the shadow ahead. Its index finger gestures inside. Evelyn jumps in fright, but realizes it's just a wax mannequin.
ALI
It's not real, Mommy. See?
Ali tugs on the figure. Evelyn reaches up and runs her finger along the face. Small curls of wax come off in her fingernails.
EVELYN
Just a dummy. Let's go find Fischer.
They enter through the door. The WAX MAN steps off his pedestal and follows them.
CUT TO:
INT CROWDED TENT - BELOW BLEACHERS - NIGHT
Shane hears music from the center ring of the tent. He strains to see, but can't quite make it out. It's hauntingly familiar. Shane smiles as he hears a woman singing.
He pulls at the bleachers. They pull apart like clay in his hands.
As Shane breaks through the bleachers, he sees the center ring. It's surrounded by light. He sees a female figure at center stage, singing. Her features are indistinct in the bright bathing light.
SHANE
So beautiful. So incredibly beautiful.
CUT TO:
INT CROWDED TENT - BELOW BLEACHERS - CONTINUING
Sarah smiles as she looks in the mirror. She looks at Andros.
SARAH
That's me.
ANDROS
Yes. It is you.
In the mirror, Sarah sees herself singing on the stage. She's surrounded by white light.
SARAH
It's beautiful.
Andros raises his hand above her head. She turns up to face his hand. Sarah glows and rises off the ground toward his hand, almost like a fish on a line.
ANDROS
Go. Go live your dream.
Sarah looks down at the mirror. Her entire frame fuzzes and shoots into the mirror.
EXT CENTER STAGE - CONTINUING
Sarah jolts, as her soul joins with her body in this living dream. She smiles in jubilation, as she realizes that she's living her childhood dream.
She sings a song of torn dreams and unfulfilled aspirations.
The audience roars with applause. As Sarah looks out on them, beyond the cool light, she sees silhouettes of tall, wiry beings. Their limbs flow in time to the music.
That snaps her out of her trance. The roars of the crowd turn to strange, alien whisperings.
She looks out and sees her husband, SHANE, as he pushes his way through the crowd. Suddenly he's lifted above the crowd and bodysurfs over a sea of undulating limbs.
SARAH
Shane.
The background singers continue her song. The music takes on a surreal tone.
SARAH
Shane, up here.
SHANE
I'm floating!
SARAH
Shane, what are those?
She gestures out to the audience. The singers again mimic her.
As Shane comes to the end of the thronging crowd, he jumps to the ground. The way to the stage is open. He runs toward the stage.
SHANE
Sarah.
Out of nowhere, two bodyguards grab Shane and haul him away. He reaches out to Sarah.
SARAH
Shane!
SHANE
I love you.
One of the bodyguards turns to look at Sarah, showing huge ALIEN EYES.
CUT TO:
INT SMALL TENT - NIGHT
Fischer sits down the beanbag chair in front of the huge video game monitor. The TWO BOYS (THE WHISPERS) are in shadow. He can't see them. As he turns to look at them, they turn away.
WHISPER ONE
Fischer, it's your turn.
FISCHER
What are we playing?
WHISPER TWO
It's a fun game. You'll like it.
WHISPER ONE
He's scared.
FISCHER
Am not.
WHISPER TWO
Are too. You're just a big scaredy baby.
Fischer picks up the video game controller. The screen reads, "CIRQUE DE NOCTE - THE BUG HOUSE".
Dim light emanates from the screen. Fischer looks around. The walls appear to be moving. A clicking, hissing noise rises as Fischer pushes the controls to start the game.
WHISPER ONE
Go for it.
WHISPER TWO
Don't chicken out.
FISCHER
I'm not afraid.
The screen goes white, loading the next level. Fischer looks around and sees the walls of the tent crawling with insects.
WHISPER ONE
You will be.
WHISPER ONE turns to face Fischer. Fischer drops the controller in surprise as both boys turn to him - they have DRAGONFLY HEADS!
CUT TO:
INT CENTER RING - NIGHT
Rocky stares in horror at this woman with Evelyn's face.
MARQUELLE
(as Evelyn)
So what do you have to say for yourself, Rockford?
ROCKY
You ... you're not real. You're not Evelyn.
MARQUELLE
(as Evelyn)
I'm as real as you are. I'm as real as the darkness inside you. I am that little secret you've been hiding from everyone.
Rocky claps his hands over his ears.
ROCKY
Shut up! Shut up!
Marquelle's face changes back to normal.
MARQUELLE
You have no idea.
She ruffles his hair and walks into the darkness. She drops her cloak behind her.
MARQUELLE
We've got a great show, Rocky. You up to it?
Rocky gets up and dumbly follows Marquelle.
CUT TO:
INT SMALL TENT - SAME TIME
Fischer scrambles to get out the door. The TWO DRAGONFLY BOYS grab him and hold him down.
FISCHER
Let me go!
WHISPER ONE
Make me.
WHISPER TWO
Who's the scaredy baby now?
WHISPER ONE
Hey, Fischer, thirsty? Wanna drink?
They both pick up Fischer and drag him out of the tent into the dark shadows.
CUT TO:
INT FUN HOUSE HALL OF MIRRORS - SAME TIME
Evelyn looks at the glittering lights in the hall of mirrors. She squeezes Ali's hand to make sure she's still there.
ALI
Mommy, look. Hats.
A box of hats and a box of costumes appear on the floor in front of them.
Ali grabs a hat and tries it on. She admires her reflection in the mirror.
ALI
Look at me, mommy. I'm pretty. Just like you.
Evelyn sees her reflection. She brushes away a loose strand of hair from her face. She's transfixed by her reflection. She walks closer and closer to the mirror.
She hears Brooke's voice from before.
BROOKE (O.S.)
You're not as young as you used to be. If I had to look at your face everyday ...
SLAP! Evelyn reels from the stinging blow.
BROOKE (O.S.)
I'd start shopping for cyanide. You're ugly.
Evelyn rubs her stinging face. She turns to look at a distorted mirror. Her reflection is short and fat.
ROCKY (O.S.)
Why can't you be more like other women?
BROOKE (O.S.)
Yeah. More like everyone else. Pretty.
ROCKY (O.S.)
Pretty. Pretty, pretty girls. Then there's you, Evie.
Stark facts stare back at Evelyn from the mirror.
EVELYN
I'm ugly. I'm short and fat. I'm ugly.
The mirrors start twirling around her. They completely encircle her, trapping her inside her own reflections.
EVELYN
I'm hideous!
Evelyn whirls frantically. Everywhere she turns, mirrors. Ugly mirrors. Ugly reflections.
She collapses into a sobbing heap.
INT FUN HOUSE HALL OF MIRRORS - CONTINUING
Ali puts on hats and feather boas. She admires herself in the mirrors. She sees nothing in the reflection, but a shadow falls over her.
The WAX MAN reaches out to grab Ali.
ALI
(screams)
Mommy!
The fingers flex, ready to close around the little girl. A POP startles him, and he reflexively covers his ears.
CLOWN (O.S.)
No. NO! Bad Wax.
The Clown beats the Wax Man with a balloon bat. He cowers and retreats.
CLOWN
She's not yours to play with.
(to Ali)
Hello, little girl. Do you like to play?
Ali nods underneath her huge hat.
CLOWN
Good. I've got someone you should meet.
The Clown takes Ali by the hand. They walk toward a mirror. In the mirror stands a reflection of a door. The Clown turns the reflection doorknob and opens the mirror! They walk through.
EVELYN (O.S.)
(whispering hoarsely)
Ali. Ali. Please. Don't leave me.
CUT TO:
EXT CROWDED TENT - NIGHT
The two burly alien-faced guards dump Shane outside the tent.
SHANE
Hey. Thanks for the lift.
They close the tent flap behind them.
Shane shakes himself off and looks around. A TRAILER sits nearby with its door open.
A soft whisper calls to him from the trailer.
AMANDA (O.S.)
(whispering)
Shane. Help me.
INT TRAILER - CONTINUING
Shane peers inside the trailer. He steps inside. The door closes behind him.
A hauntingly familiar voice greets him.
AMANDA (O.S.)
Hello, Shane.
The shadows seem to form in around Shane, pushing him forward.
SHANE
Who are you?
Amanda stands with her back to Shane. She takes out her earrings and sets them on the table. She adjusts a wig on a stand next to her.
AMANDA
I've been called many names.
She turns around. Her face strikes some deep memory within Shane's subconscious.
AMANDA
Don't you remember? I brought you to the circus when you were ten.
Shane shakes his head, trying to deny this.
SHANE
No. It was just a dream.
AMANDA
Just a dream. It's all just a dream to you, isn't it, Shane? That's why you haven't gotten anywhere.
SHANE
What do you want with me?
She smiles. But her teeth are more pointed than normal. This gives her a fiercely predatory look.
AMANDA
What I've always wanted. You. I've wanted you since I first laid eyes on you. You were such a cute baby.
She steps closer to Shane. He backs up until he hits the wall. He notices several foam heads holding wigs all around the room. But they are in shadow, so he can't see more than silhouettes.
AMANDA
And when you were six, and you broke your arm on the monkey bars.
Amanda picks up a head from the table. She holds it out, revealing a loose mask with long hair.
The mask's face forms solid, and speaks in Amanda's voice.
AMANDA
(continuing; as mask)
I held you and comforted you until your mother came.
Shane stares aghast at the mask.
SHANE
Miss Allen?
He stares in horror at all of the masks around the room. Suddenly they seem to take on the features of important women in his life - teachers, friends, acquaintances.
SHANE
It was you.
Amanda picks up another mask and fits it over her face. It molds fluidly. Suddenly she becomes Marquelle.
AMANDA
(as Marquelle)
I've watched you forever, Shane. And now I have you.
Amanda/Marquelle moves toward Shane. Shane stumbles backwards over another foam head/mask.
Suddenly Amanda/Marquelle is gone!
Shane stares down at the head by his feet - Sarah's!
CUT TO:
INT CROWDED TENT - SAME TIME
Sarah watches the guards throw Shane out. She pulls the guitar from around her and throws it to the stage floor.
SARAH
No. Shane!
She jumps down off the stage.
Andros takes the microphone.
ANDROS
Now I direct your attention to stage right, where we see a worried girl searching desperately for her one true love. But will he love her again? Let's find out.
Sarah pushes through the crowd and runs outside.
EXT OPEN FIELD - CONTINUING
Sarah stops short. She's completely out in the open. She turns around, but the tent is at least two hundred yards behind her.
SARAH
Shane! Shane! Where are you?
A bright light rises from behind nearby trees. Searchlights probe in weaving patterns along the ground. They approach her.
SARAH
No.
She turns and runs. Not toward the main tent, just away from the approaching light.
CUT TO:
INT CENTER RING - NIGHT
Rocky looks out the tent door into the darkness. No stars shine. It's completely dark. A gray haze floats on the air.
ROCKY
What's out there?
He turns back to talk to Marquelle, but she's nowhere to be seen.
ROCKY
Markie?
A clear note gives a clarion call to Rocky from outside the tent. He looks and sees a luminous being in the distance. It beckons to him.
ROCKY
Yes.
His eyes glaze over. He hears a voice inside his head. He mumbles agreement to the voice.
ROCKY
(continuing; mumbling)
Yes. I know. They're not mine. They're the ones hurting me. Make the hurt go away. Yes. YES. YES!
A jolt runs through his body as a dark shadow passes over the whites of his eyes. He grins maliciously, as he takes off into the darkness.
CUT TO:
EXT OPEN FIELD - NIGHT
Sarah runs as fast as she can away from a rapidly approaching flying light. The probing searchlights weave no more than ten yards behind her.
Suddenly she's knocked from her feet. Panicked, she stares at her assailant. Rocky!
SARAH
Rocky?
He puts a hand over her mouth and looks up. The searchlights shut off. The glowing saucer flies over them and shoots off into the distance.
ROCKY
Shh. Don't talk. I know all about them. They're the ones hurting us.
SARAH
What are you talking about? Those things have Shane.
ROCKY
He's gone. You can't worry about him. You stay with me now. I'll take care of you.
Sarah pushes him away.
SARAH
No. Get off me.
Rocky's eyes harden.
ROCKY
You're with them. You almost had me, you wicked temptress. Bad girl. Do you know what happens to bad girls?
He raises his hand to strike Sarah. She snaps her foot out and kicks him in the crotch. Then she hammers him on the side of the head. Without looking back, she races toward the distant tents.
ROCKY
I'll kill you! You and all the rest of them!
CUT TO:
INT FUN HOUSE HALL OF MIRRORS - NIGHT
The lights dim. Evelyn looks up. Her tear streaked face stares around at all of her reflections. She pulls herself up onto her knees.
Evelyn remembers the compliments from earlier that night.
ALI (V.O.)
Mommy, you look pretty.
HARRY (V.O.)
You have a really pretty mommy.
ALI (V.O.)
I know.
Evelyn smiles. She narrows her eyes at the mirrors. Her reflections change back to normal.
EVELYN
I know what I am. I am beautiful. And you have my children. I'm going to get them back. Don't mess with momma bear.
Evelyn pushes aside a mirror on a hinge and plunges into the dark.
CUT TO:
INT KIDS PLAYROOM - NIGHT
Toys and pillows and all sorts of fun stuff fill the large room almost to overflowing.
Fun foods and delicious desserts line a bar on one wall. Ali sits in a corner, playing with some dolls.
The Clown picks up a piece of pizza. He sniffs it, and wrinkles his nose. He tosses the pizza on the ground and stomps on it. Cockroaches run out of the smashed pizza crust.
The Clown picks up a cockroach and opens his mouth -
MARQUELLE (O.S.)
You're forgetting we have guests.
The Clown frowns and bites the head off the cockroach, and offers the rest to Ali. She shakes her head and continues playing.
CLOWN
See?
He picks up the smashed pizza and shakes two more cockroaches out into his hand.
CLOWN
Stuffed crust.
Marquelle crosses the room to Ali. She kneels down by the little girl.
MARQUELLE
What are you playing?
ALI
Dollhouse.
MARQUELLE
I've got a big dollhouse. Wanna see?
ALI
Uh huh. What kind is it?
MARQUELLE
It's a big one. It has lots of rooms. And I'll even let you have your own room. Would you like that?
Ali nods. She takes Marquelle's hand and stands up.
A door opens in the ceiling. Fischer falls through, into a big beanbag, sending styrofoam beads flying everywhere.
The two Dragonfly Boys stare down at him.
WHISPER ONE
Two point landing.
WHISPER TWO
Yeah. One point for landing. One point for surviving.
MARQUELLE
Thank you, boys.
They close the door.
MARQUELLE
(continuing; to Fischer)
Hello, Fischer. Glad you could make it.
Fischer picks himself out of the pile of beads. He's covered from head to foot in white styrofoam.
ALI
Fischer!
Ali runs and hugs Fischer.
FISCHER
Hi. Hi, Markie.
MARQUELLE
We're going to play dollhouse. You don't have to play, but I've got a go kart you can drive around.
FISCHER
Cool. Where is it?
The Clown dips a cockroach in ice cream and pops it in his mouth.
MARQUELLE
(to Clown)
See that our guests are taken care of.
Marquelle takes the kids by the hands and walks to the corner of the room. A trap door opens and a slide appears.
MARQUELLE
Here we go.
All three jump down the slide.
INT SLIDE - CONTINUING
The kids squeal in delight. The ride seems to freeze in time, and their movement slows to almost imperceptible.
Marquelle breaks the stillness.
MARQUELLE
Andros, we're coming.
ANDROS
Are you finished?
MARQUELLE
I have what I came for.
CUT TO:
EXT TRAILER - NIGHT
Shane backs away from the trailer. Mixed emotions flood his face. He half walks, half stumbles toward the bigger tent.
He skirts the tent warily, and hurries around to the other side. There's his car. He unlocks the door and pulls the gun from under his seat.
SARAH (O.S.)
Shane?
Shane jumps, nearly falling down.
His hands shake, but he raises the gun to point at Sarah.
SHANE
Stay back. Stay right there, where I can see you.
Sarah raises her hands slowly and steps toward him.
SARAH
Shane, something's going on here.
SHANE
Stay back!
Tears of frustration and hurt and rage well in Shane's eyes.
SARAH
Shane, please. What's wrong?
SHANE
You lied to me. You've lied to me this whole time.
SARAH
What are you talking about? What do you mean, I lied to you?
SHANE
Don't try to con me. I saw it. I saw your face.
Sarah's face clearly registers confusion.
SARAH
I saw you too. In the crowd. They carried you away.
SHANE
You wanted them to.
SARAH
No. I wanted you to stay. Shane, really. I'm not going to hurt you. Put down the gun. Please.
Sarah's words echo in Shane's memory.
SARAH
I'm not going to hurt you.
INT BEDROOM (FLASHBACK) - NIGHT
Young Shane looks up at a tall woman - Amanda.
AMANDA
I'm not going to hurt you.
Quick flashes of memory race by. Bright lights. Alien eyes staring right in his face. A circus. Ferris wheel. Eerie clowns. Amanda. Shadows. The ring of fire. Hurt.
EXT CIRQUE DE NOCTE (REALITY) - CONTINUING
Sweat pours off Shane's face.
SHANE
You hurt me.
SARAH
I'm sorry. Shane, please. I love you. It's me, Sarah.
SHANE
That's not who you are. Take off your face. Take off your face!
Sarah starts crying. She doesn't understand.
SARAH
Shane, there's something weird going on here. I don't know who's doing this to you, but it has to stop. Please ...
Shane lowers the gun a little. Sarah puts out her hand.
SARAH
Give me the gun.
SHANE
I don't want you to hurt me.
SARAH
I'm not going to hurt you.
Sarah puts her hand over the gun as Shane collapses onto her shoulder.
SHANE
Why?
Sarah brushes the tears away from his eyes.
SARAH
I don't know why this is happening.
Shane puts her arm around his shoulder as she removes the gun from his hand.
SHANE
They want me back.
SARAH
Who?
SHANE
I won't go. They can't make me go.
SARAH
I'm going to protect you. No matter what.
Small shadows emerge from the darkness. A strange clicking/hissing sound approaches, seemingly echoing from the shadows.
Sarah steps in front of Shane. They back up against the car. The beings made of shadow gather around them, just outside of the light.
CUT TO:
INT FUN HOUSE - NIGHT
Evelyn pushes her way out of the Hall of Mirrors. She looks around, but nobody, not even the WAX MAN, is around.
EVELYN
Ali! Fischer!
No answer. She runs outside, searching. Frustrated tears roll down her cheeks.
ROCKY (O.S.)
Looking for something?
Evelyn whirls. Rocky stands behind her, smirking.
ROCKY
Not me, of course. You never went looking for me. It was always someone else.
He circles Evelyn, eyeing her coldly.
ROCKY
There was always someone else, wasn't there? All the business trips I went on. You couldn't wait to get me out the door.
EVELYN
No.
ROCKY
No, you couldn't wait? Or no, that's not true?
EVELYN
That's not true.
ROCKY
Isn't it? What about Harry? From the restaurant.
EVELYN
He's a friend. We -
Evelyn stops. Rocky's breathing down her neck from behind.
ROCKY
We what?
EVELYN
We ... I wanted to make you jealous.
Evelyn turns to face Rocky.
ROCKY
Jealous? JEALOUS? No. I'm not jealous. Not jealous at all.
Rocky points his finger and presses it to Evelyn's forehead.
ROCKY
You blew it, Evie. I wanted this marriage to work. But you've been sneaking around on me all this time.
EVELYN
Me? What about that slut Brooke?
ROCKY
NO! Don't even try to make this my fault.
Rocky pulls off his wedding band.
ROCKY
You blew it.
He drops it. Evelyn watches the ring slowly fall into the dirt. She bends down and picks it up.
EVELYN
(softly)
So it's over.
ROCKY
Hell yeah. Face it, Evelyn. You're just a cheap whore. You'll find someone else. You always do.
Evelyn slaps him across the face.
EVELYN
I loved you for all these years. I have tried to ignore all the phone calls. All your looking at other women.
She holds up the ring.
EVELYN
And you do this to me? What about your kids? Huh? What about them?
Rocky grabs Evelyn's wrists and gets right in her face.
ROCKY
No. No more using them as leverage. Who's are they? Harry's?
Evelyn doesn't even answer. She knows that Rocky's too far gone to hear her anyway. She pulls away from him.
ROCKY
What's the matter? Cat got your tongue? He was probably the next in line, huh?
Evelyn sucker punches Rocky in the nose. His nose crumples. He goes down.
EVELYN
I hate you.
She walks past him. Rocky's hand snakes out and grabs her leg!
Evelyn stumbles. She kicks out with her other foot and catches him in the face, smashing his broken nose again.
Evelyn gets up and runs without looking back.
ROCKY (O.S.)
Evelyn! You'll come crawling back! Then I'll kill you!
CUT TO:
INT CENTER RING - NIGHT
Darkness permeates the tent. A low light rises. Andros stands in the center of the darkness.
ANDROS
Through the deepest blackness, and the darkest night, always, always, our fears come crawling out of the ooze. Scratching, creeping, clawing their way into our minds. Fear. Every creature feels it. It grips every soul. No one escapes. Not even little children.
He raises his arms outward.
ANDROS
May I turn your attention to our final act.
CUT TO:
EXT CIRQUE DE NOCTE - NIGHT
Marquelle walks with Fischer and Ali out of the circus and toward a large dark object nearby. They can't make out any details - only that it is a large dark shape.
Ali clutches her little doll close to her.
FISCHER
What's that?
MARQUELLE
That's my home.
ALI
That's your dollhouse?
MARQUELLE
Yes. And yours now, too.
ALI
Wooow.
The DOOR opens on the dark shape, spilling white light onto the ground for about ten yards. Dark shapes scuttle just beyond the light.
FISCHER
What are those?
MARQUELLE
Don't worry about them. They can't hurt you as long as you stay in the light.
A familiar voice from behind them stops them. They stand in the middle of the light.
EVELYN (O.S.)
Fisher! Ali!
The kids turn around.
ALI
Mommy!
MARQUELLE
Ali. Don't. You come with me.
ALI
But I want mommy.
MARQUELLE
You don't need her. You have me now.
Evelyn reaches out her arms and runs toward them. She stops a few yards short of the light.
EVELYN
I'm here, kids. Mommy's here.
Fischer looks away. Then looks to Marquelle.
MARQUELLE
You belong with me now. She left you.
EVELYN
No. Kids, please. Come here.
MARQUELLE
She doesn't love you. She can't love you like I can. She can't give you what you want. She doesn't have toys like I have.
Fischer looks toward the light. He can't see inside. Then he looks out into the dark. He sees dark shapes moving out there.
MARQUELLE
There's bad things out there, Fischer. Very bad things. Things that will hurt you.
EVELYN
Fischer, I won't let anything happen to you. I promise.
MARQUELLE
Don't listen. Look for yourself.
Fischer looks out. The two Dragonfly Boys walk into view.
WHISPER ONE
Hey ya, Fischer. Wanna come out and play?
WHISPER TWO
We've got a cool game. It's called Smash the Bug.
Fischer shakes his head. He closes his eyes in terror.
MARQUELLE
That's right. You can't do it. Come inside.
Marquelle walks up a few steps into the doorway.
ALI
I want Mommy.
MARQUELLE
Look, Ali. Look at the eyes.
All around the barrier of light on the ground, dark beings with glittering black eyes stare up at Ali.
ALI
(screaming)
Mommy!
EVELYN
It's okay, baby. Come here.
Ali freezes in the middle of the light. She stares terrified at all the eyes looking at her.
EVELYN
(continuing; to Marquelle)
Let them go.
MARQUELLE
I'm not the one keeping them here. They stay by choice.
EVELYN
Liar!
Evelyn tries to approach, but she can't. An invisible barrier holds her back.
ALI
I want my mommy!
FISCHER
Me too. Make them go away.
MARQUELLE
Stay in the light, children. They can't come into the light.
The dark beings stay outside the light, according to Marquelle's word.
FISCHER
Mommy. I'm sorry.
EVELYN
Fischer. Don't be afraid. Come here.
Fischer looks at the Dragonfly Boys.
FISCHER
I can't.
WHISPER ONE
Fischer can't move.
WHISPER TWO
Scaredy baby. Scaredy baby.
FISCHER
Shut up.
EVELYN
Come on. They can't hurt you.
WHISPER ONE
Yes, we can. We can pull your arms off.
WHISPER TWO
One at a time.
Ali walks over to Fischer. She holds her doll tight with one hand and takes Fischer's hand with the other.
ALI
Just close your eyes.
Fischer closes his eyes. Ali leads him towards their mom.
Evelyn waits with open arms. Ali stays focused on her.
EVELYN
Come on, baby.
They reach the edge of the light. Ali and Fischer step across. Ali feels a tug under her arm. Something pulls her doll away.
EVELYN
Don't look back. Just keep moving.
FISCHER
Mom, I'm scared.
EVELYN
It's okay. Nothing's going to happen to either of you.
Behind them, dark shapes struggle over Ali's doll.
WHISPER ONE
Fischer, we're gonna get ya.
WHISPER TWO
Rip. Rip. Go the arms.
FISCHER
(whimpering)
Nooooo.
Only fifteen more feet to go.
ALI
It's okay. They can't get you.
Ten more feet.
MARQUELLE
NO! Stop right there.
The kids stop.
MARQUELLE
Get them!
All of the black eyes turn toward the kids. As one, they surge after the two children.
EVELYN
No! RUN!
Ali and Fischer run the final few feet into Evelyn's outstretched arms, bowling her over.
MARQUELLE
NOOOO!
She slams the door. Everything goes dark.
Silence.
ALI
(in the darkness)
Are we dead?
Above them, the stars come out, one by one, lighting the ground, if only dimly.
EVELYN
Oh no, Ali. We're not dead.
FISCHER
I'm sorry, mom.
EVELYN
Oh, Fischer, it's okay.
Evelyn pulls herself and her kids to their feet.
EVELYN
Let's go home.
They turn and walk toward the Cirque de Nocte.
CUT TO:
EXT CIRQUE DE NOCTE - SAME TIME
Shane and Sarah look out on the sea of glittering eyes.
Sarah points the gun at one of the creatures. It growls at her.
SARAH
Shane?
SHANE
They want me.
SARAH
Well they can't have you.
SHANE
If I go, they'll leave you alone.
Shane steps from behind Sarah. One of the creatures steps forward and takes him by the hand. It leads Shane into the tent.
Sarah moves to follow. Several of the creatures hold their hands up, restraining her. She struggles and screams. The angry tears flow down her cheeks, but she can't move. She tries to talk, but all that comes out is a hoarse whisper.
CUT TO:
EXT EMPTY TENT - SAME TIME
Evelyn leads her children back through the dark circus.
ROCKY (O.S.)
Evelyn! Where are you?! Get out here now!
ALI
That's Daddy.
EVELYN
Shh. Don't let him hear you.
Evelyn pulls the kids into the closest tent. She closes the flap.
ROCKY (O.S.)
Evelyn! I'll kill you. You and your kids!
FISCHER
Why is he mad at you?
EVELYN
Your father ... he's ... something happened, and he's ...
ALI
Is Daddy crazy?
EVELYN
Yes, dear. Daddy's crazy. And I don't want him to find us.
ALI
What if he does?
A dim glow shines from beyond an inner wall. Evelyn goes to investigate. Her kids follow.
INT EMPTY TENT - INNER ROOM - CONTINUING
A lighted mirror stands on a table. A high backed chair covers most of the person sitting. A CLOWN WIG sticks out, giving some hint to who is sitting in the chair.
Ali tugs on Evelyn.
ALI
Mommy, who's that?
EVELYN
Shh.
The chair turns a little. The person heard them.
CLOWN
(back to them)
Go home. The show's over. No more balloon animals. Go home.
Ali tugs more fiercely on Evelyn.
ALI
(scared)
Mommy.
Evelyn takes a step forward.
EVELYN
Excuse me.
Suddenly, the chair whirls around! The Clown holds a rag in his hand, wiping off his makeup. Half of it is gone, showing an ALIEN FACE!!!
CLOWN
I said GO HOME!
Evelyn stumbles backwards over the kids. They all fall to the floor.
CLOWN
GO!
They scramble out of the tent as fast as they can.
The Clown pulls the wig from his head.
CLOWN
Humph.
CUT TO:
INT CIRQUE DE NOCTE - MAIN TENT - SAME TIME
Shane enters, following the creature by the hand. He shakes his head as the memories haze his mind.
Sharp cracks, like a whip, echo in his memory. Equally sharp screams follow closely.
The lights dim. Excited murmuring ripples through the audience.
Andros stands in the very center of the ring. Shane approaches.
ANDROS
And now, the grand finale. The star of our show.
The creature lets go of Shane's hand and hurries to sit with the audience.
SHANE
Who are you?
ANDROS
I am Andros, the Ringmaster. Welcome.
SHANE
Why are you doing this to me?
ANDROS
To you? Aren't we the egocentric one?
Shane looks out toward the audience. Only small glints of light reflect back from the darkness.
SHANE
Then what. Why me?
ANDROS
Because out of the six billion beings on this earth, you were the only one with an open Friday night.
Eerie laughter from the audience.
SHANE
No. I don't buy that. You've been using me my whole life. Why? Why me? Why not some other schmuck?
Andros walks around Shane.
ANDROS
Because you're special. I like you. You put on one hell of a show. You'll love what we've got cooking next.
CUT TO:
EXT EMPTY TENT - SAME TIME
Evelyn and the kids race out of the tent. Rocky spots them from across the way. He holds a lighted torch in his hand. The tent behind Rocky goes up in flames.
ROCKY
Evelyn!
Rocky rushes after them, stopping only to light another tent on fire.
EVELYN
Run, kids! Run as fast as you can!
They run for their lives.
CUT TO:
INT CIRQUE DE NOCTE - MAIN TENT - SAME TIME
Shane stands in front of Andros. Memories cloud his vision.
ANDROS
Remember, Shane? You didn't do so well last time around. We'll see how you do this time.
He gestures, and a RING OF FIRE appears. Shane looks dumbly at it.
ANDROS
Jump through the hoop.
SHANE
No.
ANDROS
Still stubborn. Or could it just be your inexplicable fear of fire?
Andros gestures, and a wall of fire appears, surrounding him and Shane.
CUT TO:
EXT CIRQUE DE NOCTE - MAIN TENT - CONTINUING
Rocky lights the tent on fire. The kids scream as the flames crackle closer and closer.
Rocky laughs and lights another spot on the tent. The maniacal gleam in his eye glows with an intensity hotter than the fires he's lit.
INT CIRQUE DE NOCTE - MAIN TENT - CONTINUING
Shane sweats as the fire heats up.
ANDROS
Jump, Shane. The hoop is right there.
SHANE
I ... can't. I can't do it.
ANDROS
Maybe you need a little motivation. Eh?
Andros pulls a WHIP from behind him.
ANDROS
Remember this? You didn't like the whip, did you?
He CRACKS it once. Shane jumps. Again. Same thing.
ANDROS
Still nothing? We can fix that.
Several gray creatures pull Sarah in. She stands in front of Andros. Her back is to Shane.
SHANE
No. Don't you dare lay a finger on her.
Andros smiles and puts out one finger and lays it on Sarah's shoulder.
SHANE
Sarah, run.
SARAH
I won't leave you.
ANDROS
How touching. Here. Let me help you.
Andros straightens Sarah's collar. He pushes a BLACK NECKLACE down, out of view.
ANDROS
Have to look your best. It's your big moment.
Andros turns Sarah around to face Shane. Her hands are bound together.
SARAH
I'm sorry.
ANDROS
Now. Let's try this again. Jump.
He gestures to the ring of fire.
The heat intensifies. The sweat pours down Shane's face.
ANDROS
You're running out of time, Shane. Jump.
EXT CIRQUE DE NOCTE - MAIN TENT - CONTINUING
The entire tent crackles in flames. Evelyn, Fischer, and Ali run around from behind and hurry to the car.
The first light of dawn peeks over the horizon.
Evelyn rounds the car and stops short. She looks down in shock.
INT CIRQUE DE NOCTE - MAIN TENT - CONTINUING
Shane's eyes blur. The heat's getting to him.
ANDROS
Jump, Shane.
He CRACKS the whip. Sarah SCREAMS.
SHANE
NO!
ANDROS
Jump!
SHANE
I can't!
ANDROS
This is not time to be afraid. JUMP!
He cracks the whip again. Sarah screams and sobs.
SARAH
Shane, please.
SHANE
(to Andros)
I'll kill you.
Andros' voice takes on more of a GROWL.
ANDROS
JUMP!
He cracks the whip. Shane stumbles toward the ring of fire and leaps!
CUT TO:
EXT CIRQUE DE NOCTE - MAIN TENT - DAWN
Evelyn stares down at Sarah lying on the ground. Tears pour down Sarah's face as she struggles against the forces that pin her to the ground. Then, suddenly, she's released.
Evelyn helps her up. Sarah looks at the flaming tent and screams.
SARAH
SHANE!
EVELYN
Shane's in there? Oh no.
EXT CIRQUE DE NOCTE - MAIN TENT - OTHER SIDE - CONTINUING
Shane bursts out of the tent, through a ring of fire. He looks back inside the tent.
Through the haze, Shane sees Andros and "Sarah". "Sarah" pulls on the back of her head and pulls a MASK off. It's Amanda/Marquelle. They turn and disappear into shadow.
The tent collapses from the flames.
Shane picks himself up slowly.
Suddenly he's shoved from behind!
ROCKY (O.S.)
You did this! You did all of this. You and your tramp sister.
Rocky swings the torch at Shane. Shane ducks under it and swings up, hitting Rocky in the gut. He knocks the torch out of Rocky's hand and punches Rocky in the chin.
Rocky glares at Shane through crazed eyes. His blood smeared face twists in homicidal rage.
SHANE
What the hell's your problem?
ROCKY
You. You and your harlot sister. You did this to me.
Rocky looks around for something to use as a weapon against Shane.
Shane wastes no time, but rushes Rocky, shoving him to the ground.
On the far side of the tent, Fischer sees some movement beyond the flames.
FISCHER
I see something!
SIRENS wail in the background.
Sarah races around the tent to see Rocky throw Shane off and pull a knife from his pocket.
SARAH
Shane!
Shane glances over to see Sarah alive!
Rocky slashes at him, slicing Shane's shirt across his chest. He draws a line of blood.
SARAH
NO!
Shane grabs Rocky's arm and rushes him. The knife twists, but Shane grabs that wrist with his other hand. Shane pushes Rocky backwards. Rocky trips over one of the tent wires and falls on his back.
The knife buries itself in Rocky's side. He gasps as the blade pierces his flesh.
ROCKY
Evelyn. Evie! You did this to me!
Shane pulls himself up. He kicks Rocky's other side.
SHANE
No. This was all me.
(kick)
Pig.
Sarah runs to Shane. He almost collapses in her arms.
FIRETRUCKS and an AMBULANCE pull up. Firefighters jump out and unwind their hoses. They spray what's left of the burning circus.
CUT TO:
EXT CIRQUE DE NOCTE - MORNING
Everyone sits wrapped in blankets. The final ashes of the Cirque de Nocte crumble to the ground.
A FIREMAN walks up to the FIRE CHIEF.
FIREMAN
I couldn't find anyone else. I guess these six are all there were.
CHIEF
They've sworn there were at least six others.
The Fireman pulls the Chief to the side, out of hearing range.
FIREMAN
And they say there were a lot of little gray men, about this high. Frankly, Sir, I don't know what to believe.
CHIEF
Who started the fire?
FIREMAN
Rocky Cartwright, Sir.
CHIEF
And these others were out here ... stargazing?
FIREMAN
Uh ... yes, Sir.
The Chief gestures to the sky.
CHIEF
There's been a lot of shooting stars. A lot of activity in the sky.
A dark shadow passes over the whites of his eyes.
CHIEF
All shooting stars. Am I clear?
FIREMAN
Perfectly, Sir.
CHIEF
You will give me your official report when we get back to the station. Choose your words carefully.
FIREMAN
Yes, Sir.
The Chief walks over to Rocky, strapped down to a stretcher. His vitals are stabilized. The knife wound wasn't bad.
CHIEF
You've got quite a bit of explaining to do.
ROCKY
Go to hell. Those kids are spawns of the devil.
CHIEF
I see you've been a wonderful example to them.
(quietly)
Rock'em, Sock'em.
Shane and Sarah sit on the hood of their car.
SARAH
Well, I guess it's all over now.
SHANE
No. They'll come back again. They always have. They always will.
Shane fixes his gaze on a distant speck on the horizon. As he watches, it grows larger.
SARAH
What is it?
SHANE
Oh no.
A gentle breeze quickly turns into a furious gust. The ashes blow every which way. Everybody ducks, out of natural instinct.
The wind whips through the meadow, lifting the ashes into the sky.
As quickly as it appeared, the wind disappears. But the ashes are all gone, leaving only burned circles in the fields.
SHANE
Gone without a trace.
The firemen all stare in shock. They look at each other for explanation, but find none.
Ali leans into Evelyn. She pulls Ali and Fischer close.
ALI
I wanna go home.
EVELYN
All right. Let's go home.
CUT TO:
EXT CARTWRIGHT CONSTRUCTION - MONDAY MORNING
Brooke walks in, like usual. Late. The clock reads 8:10. She hangs her purse on a hook, and stops in shock.
Amber (the waitress from The Tropics) sits at her desk!
BROOKE
What ... get out! Get out now!
AMBER
Good morning. Welcome to Cartwright Construction. I'm Amber. Can I help you?
Brooke throws open the door to Rocky's office. She doesn't even notice that his placard is missing.
INT CARTWRIGHT CONSTRUCTION - ROCKY'S OFFICE - CONTINUING
The high-backed chair faces away from Brooke.
BROOKE
What is that ... that wench doing here?
The chair turns around. Evelyn smiles at Brooke. But her eyes show absolutely no mercy.
BROOKE
Evelyn!
EVELYN
Good morning, Brooke. There's been a little change of management.
BROOKE
Where's Rocky?
INT ALLEN SANITARIUM - SAME TIME
Rocky lays in a hospital bed, staring at the wall. An IV pumps a sedative into his arm.
EVELYN (V.O.)
The Allen Sanitarium. He got transferred there this morning. Probably won't get out anytime soon, seeing as he tried to kill all of us. But visiting hours are from 2:00 p.m. to 5:00 p.m. on weekdays. You can go visit the pig if you want.
Rocky snorts, making an unintentional pig noise.
EVELYN (V.O.)
Won't do you a bit of good, though. You've lost him.
INT CARTWRIGHT CONSTRUCTION - ROCKY'S OFFICE - CONTINUING
EVELYN
Here.
Evelyn hands an ENVELOPE to Brooke.
EVELYN
(continuing; explaining)
A bill for all of your purchases with the company card. I'll expect payment in full before the end of the year.
Evelyn pulls a paper bag from under the desk.
EVELYN
And some clothing you left here. Thought you could use it.
BROOKE
What are you saying?
EVELYN
Brooke, you're young, you're pretty, and you've got a lot of talent. Unfortunately, none of that matters to me. You're fired.
BROOKE
You can't do this.
Brooke throws the bag down on the floor. Its contents spill, showing all the clothing she's left at the office.
EVELYN
Rocky sure liked 'em dumb. Brooke, get out.
Brooke gathers up her spilled clothing, glares at Evelyn, and storms out.
INT CARTWRIGHT CONSTRUCTION - CONTINUING
Brooke breaks a heel as she stomps through the lobby.
Amber smiles at Brooke's misfortune.
BROOKE
What're you looking at?
AMBER
Nothing.
Brooke grabs the doorknob and breaks a nail.
AMBER
Oh. I almost forgot. If you're interested, I hear The Tropics is looking for a new waitress.
Brooke scowls and slams the door ... on her purse. She yanks her purse out and hobbles away.
She passes a BUSINESSWOMAN, SYLVIA. Sylvia wears a short necklace with a polished BLACK STONE.
AMBER
May I help you?
SYLVIA
Yes. My name is Sylvia. I work for Mr. Andros. He wanted me to bring some contracts over. Is Ms. Cartwright busy?
AMBER
No. She's right in there.
Amber shows Sylvia into the office.
INT CARTWRIGHT CONSTRUCTION - ROCKY'S OFFICE - CONTINUING
AMBER
Evelyn, this is Sylvia from Mr. Andros' company.
EVELYN
Oh. Hi. Come on in.
Sylvia spreads some documents on Evelyn's desk.
SYLVIA
We did a little bit of research, and we found out that Cartwright Construction originally belonged to your father, Ronald Smith, and he left it to you. By the way, we heard about your husband. I'm sorry.
EVELYN
It's all right. I should have dealt with it a long time ago.
SYLVIA
Mr. Andros asked me to bring by these contracts for you to sign.
Evelyn looks at the contracts.
EVELYN
Sixteen million dollars?
SYLVIA
We felt that was a fair price ... in advance.
EVELYN
That sounds wonderful.
Evelyn pauses. Something flashes in her mind.
EVELYN
Wait a minute. Who did you say you worked for?
SYLVIA
Mr. Andros.
EVELYN
That name sounds so familiar. I wonder why. Oh well. It's probably nothing.
SYLVIA
Funny how things like that happen. By the way, how was your weekend?
CUT TO:
INT PORTER HOME - MORNING
Shane looks over the newly developed photos. He shuffles through them, and then counts them.
SHANE
Nineteen, twenty ... twenty-one. Shoot! Three gone.
Shane looks around for the missing three photos. Then he looks in the envelope.
SHANE
Negatives, too.
He slumps in the couch.
SHANE
Darn.
INT PORTER HOME - GUEST ROOM - CONTINUING
Sarah smiles at the soft colors. She runs her fingers across the cradle. She puts her hand on her belly, and gets a quizzical look on her face.
SARAH
I'm late. I'm never late.
She walks into the BATHROOM. She opens a cupboard and pulls out a box of pregnancy tests.
INT PORTER HOME - LIVING ROOM - CONTINUING
A POSTCARD drops through the mail slot. Shane opens the door, but no one's in sight.
He picks up the card and reads the back.
SHANE
"Congratulations." Hmm.
He holds the postcard as he walks down the hall.
SHANE
Hey, Sarah.
Sarah comes out of the bathroom, holding the pregnancy test.
SARAH
Hey, Shane.
She hides the pregnancy test behind her back.
SARAH
I've got something to show you.
SHANE
Yeah, me too.
SARAH
Me first.
She holds out the pregnancy test. Positive.
SHANE
Really? This is great!
He's beside himself with excitement. So is Sarah.
SARAH
Yeah. I think I'm ready now.
SHANE
Really ... I love you. You're not yanking my chain? You really mean it?
(laughs)
You are the greatest, babe.
Shane looks into her eyes.
SHANE
I'm sorry about what happened the other night. I promise, nothing will ever, ever come between us again. I mean that.
Shane picks up Sarah in a big bear hug.
SARAH
Mmm. I love you too. What's that?
Shane holds out the postcard.
SARAH
"Congratulations." No name. Wonder who it's from.
She turns the postcard over. TWO DARK ALIEN EYES stare back at them.
FADE OUT: