"PET SEMATARY II"


FADE IN:

INT.  LEMARCHE CASTLE, TOMB - NIGHT (1865)

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

TOMB STAIRWAY -

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

GENVIEVE LEMARCHE

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

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

WINDOW

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

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

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

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

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

THUNDER and LIGHTNING reach a crescendo as...

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

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

Genvieve starts to laugh hysterically.

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

GENVIEVE
I’m sorry...

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

WE PULL BACK, REVEALING -

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

INT.  SOUNDSTAGE, LEMARCHE CASTLE TOMB SET -

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

The FIRST A.D. moves in.

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

Crewmembers move towards the set.

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

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

GENVIEVE/THE ACTRESS

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

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

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

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

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

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

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

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

RENEE
How long have you been here?

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

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

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

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

RENEE
I miss him too...

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

Her voice trails off.

GEOFF
I know, Mom.

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

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

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

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

GEOFF
Guess it’s showtime.

RENEE
Yep.

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

The director turns back toward Renee.

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

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

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

UNDER THE SET -

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

The director nods to the camera operator.

OPERATOR
Rolling. Speed...

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

The slate comes down.

DIRECTOR
Action!

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

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

GEOFF

He grins as he watches the scene unfold.

ON THE SET

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

UNDER THE SET -

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

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

ABOVE -

Renee/Genvieve grabs the iron railing with both hands.

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

UNDER THE SET -

The electrician drags the puppeteer back. Sparks fly.

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

ABOVE -

Crewmembers SCREAM and scramble back...

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

RENEE

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

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

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

ON GEOFF

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

GEOFF
Mom!!!!

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

CUT TO:

OMITTED (SCENES 2 THRU 2J)

INT.  OPERATING ROOM - DAY

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

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

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

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

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

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

INT.  SOUNDSTAGE, LEMARCHE CASTLE TOMB SET -

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

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

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

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

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

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

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

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

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

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

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

PARAMEDIC #2 (O.S.)
She’s in V-fib.

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

--Defibrillator paddles are pressed to her chest.

Geoff looks to the monitor as...

--It goes to flatline.

PARAMEDIC (O.S.)
Clear.

GEOFF
No...

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

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

GEOFF
You have to bring her back...

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

CHASE
Oh Jesus...

Chase’s gaze connects with his son.

GEOFF
(helpless)
Dad...

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

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

Darkness everywhere and we

5    OMITTED
THRU
9G   OMITTED

EXT.  A DREAMLIKE FOG

A form drifts forward, materializing out of the fog.

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

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

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

HANDLER #2
Yeah. Over in Ludlow.

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

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

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

DISSOLVE TO:

EXT.  PLEASANTVILLE CEMETERY - DAY

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

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

CLOSER -

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

RENEE HALLOW MATTHEWS
1955-1991

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

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

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

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

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

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

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

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

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

GUS
Hey! What did I just say?

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

REPORTER
Ass-hole...

The reporter backs off.

BACK AT THE GRAVESIDE -

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

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

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

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

FOLLOWING THE CEREMONY

The crowd has dispersed.

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

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

Gus quietly moves in at Chase’s side.

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

CHASE
Pretty much so.

Gus glances at Geoff.

GUS
I hear you moved into town.

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

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

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

Chase forces a smile.

CHASE
That’s Renee alright.

GUS
I suppose so.

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

CUT TO:

12    OMITTED
THRU
15    OMITTED

EXT.  HOUSE - DAY

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

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

INT.  DOWNSTAIRS HALLWAY

Moving boxes clutter the downstairs.

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

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

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

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

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

Geoff shakes his head, firm and deliberate denial.

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

Chase weakens, giving in.

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

Marjorie KNOCKS on the open frame of the front door.

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

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

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

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

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

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

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

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

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

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

Chase smiles. Marjorie’s enthusiasm is endearing.

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

MARJORIE
Oh. I’ll get that...

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

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

Geoff moves forward, acting overly defensive.

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

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

Chase catches her eye, shrugging apologetically.

17    OMITTED
THRU
19    OMITTED

EXT.  DRIVEWAY - DAY

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

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

EXT.  TOWN - DAY

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

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

EXT.  VETERINARY OFFICE - DAY

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

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

Geoff is first out of the van.

INT.  EXAMINATION ROOM - DAY

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

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

CHASE
This doesn’t look so bad...

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

GEOFF
How long ago did this guy retire?

CHASE
It’s been a few years.

Geoff takes a look around, growing uncomfortable.

GEOFF
(skeptical)
A few?

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

INT.  BOARDING AREA - DAY

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

Over to the right, Geoff hears a RUSTLING.

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

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

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

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

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

Geoff sighs just as Chase rushes into the room.

CHASE
What’s wrong?!

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

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

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

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

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

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

GEOFF
She looks like a tiger.

Chase spies an old broom resting in the corner.

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

Geoff nods and Chase moves back out into the hallway.

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

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

INT.  EXAMINATION ROOM

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

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

INT.  WAITING AREA

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

The door swings open...

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

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

Zowie’s BARK sends Tiger scrambling.

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

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

INT.  EXAMINATION ROOM

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

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

Geoff rushes in from the boarding area.

Tiger ducks beneath the back of a surgical gurney.

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

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

Geoff rescues Tiger from beneath the gurney.

Drew shrugs sheepishly.

DREW
Sorry. He gets kinda hyper...

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

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

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

GEOFF
He’s a cool lookin’ dog.

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

GEOFF
What’s his name?

DREW
Zowie.

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

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

DREW
Is he gonna be okay?

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

CHASE
Let’s have him hop up here.

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

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

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

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

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

GUS
Not our home.

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

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

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

Chase turns to Drew and continues...

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

Drew nods, casting a glance aside at Gus.

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

CHASE
How’d you know that?

Gus gives Chase a knowing grin.

GUS
It’s a small town, Chase.

Gus laughs and claps Chase on the shoulder.

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

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

GEOFF
Really?

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

EXT.  SCHOOL - DAY

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

INT.  VAN - DAY

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

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

GEOFF
(unenthused)
Sure.

Chase looks at his son.

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

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

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

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

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

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

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

GEOFF
That’s what my bike’s for...

Before Chase can say another word, Geoff is gone.

EXT.  VAN - DAY

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

PRICELESS KITTENS
FREE TO A GOOD HOME

EXT.  SCHOOL - DAY

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

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

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

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

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

Among the boys, Drew is the reluctant participant.

INT.  CLASSROOM - DAY

MRS. GORDON is addressing a room of SEVENTH GRADERS.

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

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

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

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

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

GEOFF
(annoyed)
No.

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

A girl with braces, SUSAN, continues the interrogation.

SUSAN
What about Julia Roberts?

MRS. GORDON
Susan! That’ll be enough.

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

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

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

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

INT.  HALLWAY - DAY

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

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

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

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

DISPLAY

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

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

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

CLYDE
So, what are you hiding there?

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

Geoff’s arm tightens protectively around Tiger.

GEOFF
Her name’s Tiger.

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

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

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

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

GEOFF
I’ve seen her run around the
house.

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

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

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

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

GEOFF
Shit...

Geoff runs off in pursuit of them.

EXT.  SCHOOL - DAY

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

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

Geoff runs for the bike racks.

EXT.  ROAD - DAY

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

Clyde glances back toward the center of town.

Geoff is so far behind he’s barely visible.

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

CLYDE
Having fun yet?

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

WITH GEOFF

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

35    OMITTED

FURTHER ALONG

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

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

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

Geoff whips by in a blur, still in pursuit.

EXT.  COUNTRYSIDE - DAY

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

38    OMITTED

EXT.  PET SEMATARY PATH - DAY

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

GEOFF
Just give me the cat, all right?

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

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

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

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

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

Clyde punches Drew in the arm. Drew shrinks back.

Geoff flashes a hateful stare at Clyde.

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

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

He motions to the path behind him.

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

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

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

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

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

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

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

Clyde’s grin falters a moment.

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

Clyde pokes Geoff in the shoulder.

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

This time Clyde shoves Geoff back even harder.

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

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

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

Clyde LUNGES. He hammers Geoff with blows.

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

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

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

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

CLYDE
Fuckin’ ass-hole.

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

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

CLYDE
This way, fat-boy.

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

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

EXT.  PET SEMATARY - DAY

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

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

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

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

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

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

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

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

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

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

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

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

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

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

40    OMITTED

EXT.  PET SEMATARY PATH - DAY

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

DREW
I’ve never seen anybody punch
Clyde before.

GEOFF
(shrugs)
He pissed me off.

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

He grimaces at the thought.

GEOFF
My dad’s not so bad.

Drew glances around at all the makeshift grave markers.

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

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

DREW
Stepdad. Gus is my stepdad.

Geoff nods knowingly.

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

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

They head off, full of childhood.

INT.  KITCHEN - DUSK

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

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

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

GEOFF
(over his shoulder)
It sucked.

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

Geoff stops for a moment, turns...

GEOFF
You’re not my mother.

...and exits through the opposite door.

Chase looks to Marjorie and offers a sympathetic shrug.

CHASE
Sorry.

EXT.  DREW’S HOUSE - DUSK

CRUDE CAGES HOUSE DOZENS OF RABBITS. Situated alongside the
garage. A sign above the cages reads: PET RABBITS - .00. Bells
positioned along the roof threaten to reveal foul play.

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

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

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

One of the cages starts to vibrate.

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

Gus gets a chuckle out of the sight.

GUS
Way to go, Romeo...

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

INT.  KITCHEN - NIGHT

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

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

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

DREW
Just until he heals up?

Gus is waggling his thumb toward the back door.

Drew slumps in defeat.

Gus reaches into the cabinet and pours himself a Bourbon.

EXT.  DREW’S HOUSE - NIGHT

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

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

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

INT.  DREW’S KITCHEN - NIGHT

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

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

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

AMANDA
Gus, please...

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

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

GUS
God damn, you’re good.

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

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

GUS
You’re breaking the law here,
Drew.

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

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

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

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

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

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

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

AMANDA
Knock it off, guys...

Gus throws back a sip of Bourbon.

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

46    OMITTED

EXT.  ZOWIE’S DOG RUN - NIGHT

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

EXT.  RABBIT CAGES - NIGHT

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

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

INT.  GUS’ ROOM - NIGHT

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

GUS
Damn it, Drew. That dog is
history!

Amanda stirs, groggily focusing on Gus’ departing figure.

INT.  DREW’S ROOM - NIGHT

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

EXT.  RABBIT CAGES - NIGHT

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

Gus swings the gun up and fires off a SHOT.

Zowie bolts for the shadows of the hillside.

Drew rushes in and deflects the aim of the rifle.

DREW
Don’t shoot him!

Gus’ eyes are wild with anger.

GUS
What, Drew? What did you say?!

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

He squeezes off one more SHOT...

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

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

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

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

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

AMANDA
Jesus, Gus, what have you done?

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

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

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

EXT.  WOODS - NIGHT

Drew pauses long enough to listen for Zowie...

Nothing until a FAINT CRY drifts back at him.

DEEPER IN THE WOODS

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

DREW

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

Drew hesitantly approaches the crest of the knoll.

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

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

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

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

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

FROM A DISTANCE

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

DISSOLVE TO:

53    OMITTED

EXT.  GEOFF’S HOUSE - MORNING

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

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

Geoff circles around and doubles back.

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

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

DREW
Zowie’s dead.

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

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

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

EXT.  PET SEMATARY - DAY

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

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

GEOFF
Is this a good spot?

DREW
I’m not burying him here...

GEOFF
Why not?

DREW
There’s a better place...

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

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

Drew continues up the deadfall, disappearing over the crest.

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

GEOFF
Hey, wait up!

EXT.  THE BOG - DAY

Geoff climbs over the peak of the deadfall...

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

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

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

GEOFF
(uneasy)
Drew, where are we going?

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

FURTHER ALONG - DAY

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

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

GEOFF
What did?

DREW
The old Indian burial ground.

Geoff’s eyes move to the stairway of stones.

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

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

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

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

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

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

EXT.  MICMAC BURIAL GROUND - DAY

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

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

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

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

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

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

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

GEOFF
You want me to help?

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

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

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

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

59    OMITTED

LATER -

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

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

DREW
What if he really does come back?

Geoff shrugs, pondering such a thought.

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

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

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

GEOFF
(quietly)
You never get over it.

EXT.  COUNTRYSIDE - AFTERNOON

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

EXT.  MICMAC BURIAL GROUND - DUSK

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

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

DREW
(disappointed)
Yeah...

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

DREW
So long, Zowie...

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

EXT.  ROAD - NIGHT

Drew is walking home along the road, alone.

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

GUS
Get in.

Drew takes a step back, shaking his head.

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

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

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

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

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

64    OMITTED

EXT.  RABBIT CAGE - NIGHT

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

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

We see ZOWIE’S PAW scratching at the door.

INT.  AMANDA AND GUS’ BEDROOM - NIGHT

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

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

EXT.  BACK PORCH - NIGHT

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

AMANDA
Zowie?

Amanda looks down and SCREAMS.

INT.  DREW’S ROOM - NIGHT

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

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

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

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

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

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

DREW
What did I do now?

AMANDA
Open the door, Drew.

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

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

Drew backs into the bed, taking a seat.

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

ZOWIE

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

Drew’s eyes widen in astonishment.

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

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

DREW
(a whisper)
Zowie...

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

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

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

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

INT.  GEOFF’S HOUSE, LIVING ROOM - NIGHT

Chase enters and stops in the doorway.

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

ON THE SCREEN

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

CHASE
(gently)
Geoff...

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

Chase moves into the room.

CHASE
Geoff!

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

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

GEOFF
What?

CHASE
You alright?

Geoff’s face softens. He nods.

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

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

CHASE
I think so.

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

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

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

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

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

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

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

GEOFF
I’m going with you.

Chase nods and exits to get his coat.

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

Renee staring at us from beyond the grave.

EXT.  DREW’S HOUSE - NIGHT

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

EXT./INT.  CHASE’S VAN - NIGHT

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

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

CHASE
How’d it happen?

Gus casts a threatening glance in Drew’s direction.

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

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

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

AMANDA
Fine.

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

CHASE
Sure...

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

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

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

DREW
He was dead. You know he was.

Geoff returns his stare to Zowie.

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

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

69    OMITTED
THRU
75    OMITTED

INT.  GEOFF’S BEDROOM - NIGHT

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

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

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

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

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

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

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

Geoff raises his hand, reaching out for her.

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

But suddenly, THE ROOM BEGINS TO STRETCH.

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

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

GEOFF
Mom!!!

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

GEOFF

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

...the steady CREAK of the rocking chair.

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

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

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

Geoff stares at the rocking chair, petrified.

INT.  CHASE’S OFFICE - DAY

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

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

DREW
What’s the deal?

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

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

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

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

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

UNIVERSITY OF MAINE
School of Veterinary Medicine
Lab Samples Enclosed

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

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

78A   OMITTED

INT.  BOARDING AREA - DUSK

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

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

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

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

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

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

GEOFF
How can he not have a heartbeat?

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

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

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

CUT TO:

EXT.  TOWN, CHASE’S OFFICE - NIGHT

A SNARLING WEREWOLF rushing at us.

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

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

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

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

INT.  GEOFF’S HOUSE - NIGHT

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

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

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

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

GEOFF
I’m going as Jason.

MARJORIE
Jason? Who’s he play for?

GEOFF
He doesn’t. He hacks people up.

Geoff checks his watch.

GEOFF
I’m late.

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

CHASE
Hey! Where’re you off to?

GEOFF
I’m going out, Dad!

Geoff ducks out the door. Chase turns to Marjorie.

CHASE
Out?

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

CHASE
What do they do up there?

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

INT.  DREW’S HOUSE - NIGHT

Drew is at the bathroom mirror.

AMANDA
Hold still. Hold still.

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

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

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

Amanda looks Drew straight in the eyes.

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

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

83    OMITTED

EXT.  PET SEMATARY - NIGHT

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

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

They pass beneath the archway, entering the clearing.

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

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

Geoff freezes in his tracks, awestruck as...

A WOMAN’S BODY

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

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

Geoff swallows the lump in his throat.

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

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

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

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

Now he hears wild, mischievous LAUGHTER.

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

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

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

Clyde drops the dummy and saunters forward.

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

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

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

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

GEOFF
Fuck off.

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

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

EXT.  DREW’S HOUSE - NIGHT

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

INT.  DREW’S HOUSE - NIGHT

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

AMANDA
You’re home early.

GUS
Nope. Just ran out of smokes.

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

GUS
Where’s the boy?

Amanda squirms.

AMANDA
Uh... in his room...

Gus tightens his brow, casting a suspicious eye.

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

GUS (O.S.)
DREW!

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

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

Gus stops before Amanda.

GUS
Where is he?

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

GUS
WHERE IS YOUR SON!?

Amanda sighs in quiet defeat.

AMANDA
The Pet Sematary.

Gus turns away and heads out the door.

EXT.  DREW’S HOUSE - NIGHT

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

EXT.  PET SEMATARY - NIGHT

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

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

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

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

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

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

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

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

Suddenly Clyde drops his jaw in exaggerated horror.

CLYDE
Oh my Goddd!!!

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

CLYDE
It’s... It’s...

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

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

A FIGURE

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

But then Clyde realizes who it is.

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

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

89    OMITTED
THRU
91    OMITTED

EXT.  PET SEMATARY - NIGHT

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

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

Drew and Geoff run for it.

EXT.  PATH, ARCHWAY - NIGHT

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

GUS
You boys better not be drinking!

EXT.  PET SEMATARY - NIGHT

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

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

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

CLYDE
Thanks for fucking up our
Halloween, dumbshit!

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

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

Geoff pulls Drew to his feet.

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

The flashlight sweeps toward Drew.

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

GUS
Get out here, Joker.

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

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

GUS
You out here making a fool of me?

Drew shakes his head in instant denial.

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

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

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

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

GUS
You little shit!

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

GEOFF

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

DREW

cowers on the ground, trying to scramble away.

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

Gus is beyond furious. LIGHTNING flashes again.

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

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

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

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

Gus freezes, studying Zowie.

Zowie inches forward, poised for the attack.

GUS
Call off your dog, Drew.

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

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

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

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

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

GUS
(terrified)
Drew, call him off!

All Drew can manage is a faint appeal.

DREW
Zowie...

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

GUS
DREW!

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

AN ERUPTION OF BLOOD showers the closest headstone.

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

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

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

DREW
Oh, God. Oh, God...

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

GEOFF
(a whisper)
Is he dead?

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

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

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

GEOFF
Is he breathing? Can you hear him
breathing?

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

GUS’ FINGERS TWITCH

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

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

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

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

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

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

GEOFF
We could bring him back.

Drew’s eyes widen at the suggestion.

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

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

CUT TO:

95    OMITTED

EXT.  MICMAC BURIAL GROUND - NIGHT

Three quick shots:

A SHOVEL sinking into the earth.

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

SOIL covering Gus’ lifeless face.

EXT.  DREW’S HOUSE - NIGHT

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

Drew appears from the darkness of the woods.

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

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

Drew moves on past her into the house.

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

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

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

INT.  GEOFF’S HOUSE - NIGHT

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

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

CHASE
Were you drinking?

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

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

Geoff shrugs, trying to mask his uneasiness.

GEOFF
Just out.

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

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

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

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

Geoff nods and heads for the stairs.

INT.  GEOFF’S ROOM - NIGHT

THE CLOCK is creeping up on 2AM...

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

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

In a flash of LIGHTNING--

GUS’ FACE

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

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

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

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

EXT.  DREW’S HOUSE - NIGHT

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

INT.  DREW’S ROOM - NIGHT

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

GUS (O.S.)
Drew!

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

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

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

INT.  KITCHEN - NIGHT

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

DREW
(scared shitless)
Gus?

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

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

Drew stiffens, backing into the wall.

DREW
H-how’d you get in?

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

GUS
Found ’em.

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

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

Gus turns without another word and heads for the stairs.

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

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

103   OMITTED

AT THE MIRROR - NIGHT

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

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

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

INT.  AMANDA AND GUS’ BEDROOM - NIGHT

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

Amanda stirs, sleepy eyes focusing on him.

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

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

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

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

AMANDA
My God, Gus, what happened?

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

Amanda tries to twist away.

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

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

AMANDA
Gus!!!

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

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

EXT.  ROAD - DAY

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

WITH THE BOYS - RIDING

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

GEOFF
Well?

Drew nods. Geoff’s eyes widen in disbelief.

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

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

DREW
It’s weird...

GEOFF
What do you mean?

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

They share a chuckle that ends in silent uneasiness.

INT.  CHASE’S OFFICE - DAY

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

The current caller sounds a little annoyed...

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

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

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

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

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

Chase studies them. They look like decent people.

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

Chase turns away as his phone call is answered.

CHASE
Elliot, it’s Chase...

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

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

CHASE
I didn’t get that...

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

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

The comment hits Chase out of left field.

CHASE
What?

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

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

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

Chase is baffled, speechless.

RUDMAN
You took over for Doctor Yolander?

CHASE
Yes... why?

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

110   OMITTED
THRU
112   OMITTED

INT.  BOARDING AREA - DAY

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

The DRIP of a faucet reverberates from the far corner.

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

TODDLER
Where are the kitties?

INT.  CHASE’S OFFICE - DAY

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

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

INT.  BOARDING AREA - DAY

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

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

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

Zowie’s cage is empty.

Chase shifts his troubled gaze to the...

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

Chase raises his eyes...

THE KITTENS’ KENNEL -

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

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

CHASE
Jesus...

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

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

EXT.  SCHOOL, STREET - DAY

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

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

CLYDE
Hey!

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

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

DREW
Saved by the bell...

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

GEOFF
Can I sleep over at Drew’s
tonight?

Chase is preoccupied with other concerns.

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

Geoff and Drew exchange concerned looks.

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

The boys nod their heads.

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

INT.  CHASE’S VAN - MOVING

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

CHASE
Can I have the address for Quentin
Yolander?

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

EXT.  YOLANDER’S CABIN - DAY

A remote, rustic dwelling nestled into the desolate backwoods.

INT.  YOLANDER’S CABIN - DAY

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Yolander rises from his seat and swings open the door.

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

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

CHASE
I... um...

Chase glances to the right and steps back...

A BOBCAT

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

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

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

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

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

Quentin Yolander laughs. It’s disconcerting.

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

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

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

CHASE