Black Christmas

BI,ACK CHRISTMAS
by
Glen Morgan
Based on the film
"Bfack Christ
1!r!
ober t9, 2005

red Draft
1 EXT. HOUSE - NIGHT - (1970) 1
Falling snow drifts upon the Mansard rooftop of a large,
isolated, and decrepit New England colonial. Paned
windows in the gables are cracked and broken. Worn stone
steps lead to a rotting open porch. An equally ragged '48
Chevy Aerosedan sits in the driveway.
Behind the house lies a void of evergreen and leafless
birch. Far down the road, lies a lone neighborhood house.
There are only two houses on this street.
Here, Christmas lights are strung, but many of the fat
bulbs are burned out. The building appears like a
haunted house on Christmas Eve. The windows are dark,
except for a pale blue light in the living room...
2 INT. HOUSE - NIGHT - CLOSE - A TREE ORNAMENT 2

A reflection of a bassinet and an eerie blue light wraps
around a silver and gold glass bulb celebrating "Baby's
First Christmas - 1970."
A BASSINET
BILLY'S FATHER, early 20's, lights a cigarette while
hunched at the foot of a second hand bassinet, hooded by
worn blankets. A gooseneck office lamp, shining a
purplish light, arcs over the crib...
EXTREMELY CLOSE - ZIPPO LIGHTER
Across the lid of a well worn lighter: Khe Sanh '67-'68.
On the base: PVT. LENZ. FRANK is above a Marine Corp
Chesty Bulldog and an inscription: "Not afraid, just
lonely."
THE FATHER
Lifts his eyes, lined with dark circles, and reaches out
to peel back the edge of a blanket, checking inside the
bassinet.
CAMERA PUSHES PAST the FATHER to the bassinet, MOVING
INTO the opening of the blankets to REVEAL the eyes of a
newborn.
Although not demonic or supernatural, the eyes are
unsettling; inhuman. Yellowed with a chronic jaundice,
the eyes are much too focused and intense for a newborn.
BILLY'S MOTHER
slumps in the corner of the couch, back to father and
son, as if imagining herself as far from them as
possible. An empty bottle of Tanqueray sits on the coffee
table. She turns toward her husband and child looking at
them, blank.
2.
She stands, drunk, and moves toward the Evergleam pink

aluminum Christmas tree. The mother reaches out...
CHRISTMAS ORNAMENT
"Baby's First Christmas - 1970" is plucked off the
tree...
THE MOTHER
Eyes the father...
CLOSE - THE MOTHER'S HAND
Crushes the ornament; glass cutting her skin...
THE FATHER
Glares at his wife, then, turns his eyes down to the
floor...
THE HEARTH
Shards of the broken bulb are dotted with blood. Flames
from the fireplace are reflected in the shattered
glass...
FADE OUT:
FADE IN:
3 INT. LIVING ROOM - NIGHT - (1975) 3

A plate of cookies for Santa ENTERS FRAME...
WIDER - OVER THE MOTHER'S SHOULDER
Billy's mother sits in the corner of the couch, cigarette
in one hand, a Screwdriver in a highball glass in the
other. The room is lit only by the lights of the
Christmas tree.
In the b.g., the bassinet is long gone. Billy's father,
appearing haggard, helps his five year old son, BILLY,
place the plate beneath the pink aluminum Christmas tree.
Billy's back is to CAMERA and partially obscured by the
tree branches. He wears long sleeve pajamas.
REVERSE - BILLY'S MOTHER
CAMERA IS LOW MOVING TOWARD her as she glares at them
with disgust. She appears anxious; jittery. The years
have not been good to her, either...
BILLY'S MOTHER
Why you bothering putting with those
cookies? Santa ain't comin' to see you.
3.
THROUGH THE TREE BRANCHES

The young boy turns his head toward her, REVEALING the
yellowed irises, staring at her with icy lifelessness.
REVERSE - BILLY'S MOTHER
CAMERA CONTINUES as she smiles cruelly at her own joke...
BILLY'S MOTHER (CONT'D)
Russians shot his sleigh down. Santa...
Claus... is dead.
BILLY'S EYES
His lids subtly flinch as he holds his stare on his
mother.
BILLY'S FATHER
Glares at his wife as he lights a cigarette with the
Zippo lighter. He leans down to his son. CAMERA PUSHES IN
CLOSE to his lips and Billy's jaundiced ear. The father
WHISPERS...
BILLY'S EYES
Ease and quickly turn away...
STAIRWAY
CAMERA IS BEHIND THE BOY as he charges up the darkened
stairs.
THE MOTHER
as she brings the cigarette to her lips, she averts her
eyes.
4 INT. BILLY'S ROOM - NIGHT (1975) 4

The door swings open. Billy moves directly toward the
closet.
5 INT. CLOSET - NIGHT (1975) 5

A flashlight FLARES INTO CAMERA REVEALING the closet acts
as the boy's hidden "fort."
IN THE FLASHLIGHT BEAM
In the corner of the closet is a six inch triangular hole
where wood has rotted or been damaged by termites. A
space exits between the closet wall and the inner
exterior wall. The boy's hand reaches into the hole and
removes a gift enwrapped with cheap Christmas paper.
4.
CLOSE - A GIFT TAG

"To Billy. From Santa."
CLOSE - BILLY'S EYES
Subtly smile as, O.S., paper tears...
CLOSE - GIFT
An Aurora plastic model of the Apollo-Soyuz Mission. The
date is marked in the artwork. "July 17, 1975"
CLOSE - BILLY'S EYES
Well with tears as he looks down at the closet floor.
CLOSE - BILLY'S HANDS
chronically jaundiced, move past the model box and holds
the gift tag from Santa Claus whom he knows to be his
father.
6 INT. BILLY'S ROOM - NIGHT - (1975) 6

CAMERA IS LOW to the floor as it moves toward the closet
door, slightly ajar. Outside, a winter wind HOWLS
As CAMERA REACHES THE CLOSET the argument is broken by a
TOPPLING of a NIGHT STAND. Glass shatters. An adult male
MOANS; another. Then, abruptly... SILENCE.
In the darkness of the closet, Billy's yellow eyes
appear, looking out as if listening with his sense of
sight.
7 INT. UPSTAIRS HALLWAY - NIGHT - (1975) 7

CAMERA REMAINS LOW to the ground CREEPING DOWN THE
HALLWAY as Billy, thin and spidery, crawls cautiously
toward his parents' bedroom door.
Once there, he lowers his head and places his face flush
against the worn carpet to look beneath the door.
8 INT. PARENTS' BEDROOM - NIGHT - BASE OF THE BEDROOM DOOR 8

One of Billy's yellowed eyes peers into the room...
REVERSE - BILLY'S POV
His mother's bare feet stand on the carpet beside a blood
stained clawed hammer and a large green Hefty lawn trash
bag. His father's body lies dead on the floor.
5.
Another pair of male shoes, those of his mother's LOVER,

ENTER FRAME. The bag is picked up the bag. As it SNAPS
OPEN...
BASE OF THE BEDROOM DOOR
Billy's eyes vanish as he runs off...
9 INT. BILLY'S ROOM - NIGHT - (1975) 9

The closet door is closed. The room, silent.
10 INT. CLOSET - NIGHT 10

Total darkness for a beat... then a faint light appears
from the hole in the floor of the closet. Frightened,
Billy, his back against the far wall, looks to the hole.
Then... deep within the house... more clearly audible
from the hole in the closet... a RUSTLE... plastic
CRACKLES and DRAGS... strained BREATHS.
CAMERA PUSHES TO THE HOLE as Billy leans closer, listens.
After a beat, CAMERA ARCS until the HOLE FILLS FRAME.
Billy's hand reaches out and pulls at the wood, creating
a larger hole. As he tears at the wood...
CUT TO:
11 INT. BENEATH BILLY'S HOUSE - NIGHT - (1975) 11

Under the house, a flashlight shines REVEALING Billy's
mother and her LOVER, a fat hairy sweaty man digging a
hole in the ground.
INT. BENEATH BILLY'S HOUSE - NIGHT - (1975)
The flashlight beam rolls onto the bloodied face of
Billy's father, in the plastic bag which has torn from
being dragged. His skull has been crushed by a blunt
object across the eyes. His Vietnam Zippo lighter has
slipped out of his shirt pocket.
LOW ANGLE - BILLY'S MOTHER
blood soaked hair clings to her face as she pulls up
dirt. CAMERA PUSHES PAST her toward the base of the far
wall...
Exhales of human breath jet from the interior of the wall
and into the area beneath the house. Climbing down within
the wall... Billy's dark figure reaches the surface.
6.
BILLY'S MOTHER
Hearing the SOUND, she spins the flashlight beam
toward...
BILLY'S EYES - IN THE FLASHLIGHT BEAM
Her son's eyes; watching her. Witnessing.
BILLY'S MOTHER
CAMERA PUSHES IN as she starts toward him...
BILLY
flashlight beam whipping over him, moves back into the
wall...
INT. BENEATH BILLY'S HOUSE - NIGHT
The mother pauses... then races off...
12 INT. INTERIOR OF THE WALL - NIGHT 12

CAMERA LOOKS DOWN THE WALL as the boy begins to scale
upwards; awkward and strained, yet motivated by fear...
13 INT. LIVING ROOM - NIGHT 13

Billy's mother and lover, covered with wet mud and blood,
hustle into the living room. Within the walls...
MOVEMENT.
14 INT. ATTIC - BILLY'S HOUSE - NIGHT 14

A board is POUNDED, then CRACKS allowing the dark form of
the boy to appear over the lip of the floor and into the
attic...
15 EXT. UPSTAIRS HALLWAY - NIGHT - CLOSE - ATTIC DOOR 15

A combination lock SNAPS, imprisoning Billy inside the
attic.
HIGH ANGLE - BILLY'S MOTHER AND HER LOVER
primordial, breathing hard; eyes, locked on the attic
door.
FADE OUT:
CUT TO:
7.
16 INT. ATTIC - BILLY'S HOUSE - NIGHT - BILLY - (1982) 16

CAMERA MOVES ALONG the attic floor. Half of the area is
uncovered and beamed, filled with aging loose-fill rock
wool. The floor constructed of wood lathe and plaster.
Boxes and furniture have been stored precariously across
the beams. A path of wood planks leads to a ten foot area
of solid floor.
BILLY'S FORM ENTERS FRAME, older now; malnourished.
CAMERA PUSHES IN as he sits in a rocking chair at the
attic window. Older, now, twelve, or so... and, although,
seemingly lifeless, Billy is, in fact, a ticking bomb.
O.S., MUTED but discernible grotesque female GRUNTS and
SIGHS are HEARD THROUGH THE ATTIC DOOR...
17 INT. STAIRWAY - NIGHT 17

The area is dark and shadowy except for the spill of the
fireplace light in the living room below. Billy's Mother
is straddled over her heavy sweaty drunken lover who lies
on the first landing of the stairway. She is grinding,
but he is frustratingly unresponsive. Not dead, just
passed out.
After a moment, she stops; breathing HARD. She shakes her
lover but his response is... unresponsive. She looks at
him hatefully. O.S., in the attic... Billy's ROCKING
CHAIR CREAKS.
CAMERA PUSHES IN ON HIS MOTHER as her eyes turn upward...
ATTIC DOOR
initially, this appears to be the MOTHER'S POV, as the
door is partially visible in the dark shadows. CAMERA,
however, INCHES BACK just before Billy's mother,
bottomless, back to CAMERA, ENTERS FRAME and holds below
the door. She looks up.
As she moves toward the ladder leading to the attic...
FADE OUT:
In the darkness... a baby CRIES...
CUT TO:
18 INT. BEDROOM - DAY - A BASSINET - (1983) 18

A newborn pink baby, AGNES, lies swaddled in a white
wicker bassinet, sleeping beneath a soft amber night
light.
8.
LOW ANGLE - BILLY'S MOTHER & STEP FATHER

The couple peer over the crib INTO CAMERA...
BILLY'S MOTHER
She's my family, now.
O.S... above... FOOTSTEPS. Billy's mother pauses. With a
hard expression, her eyes turns up toward the ceiling. As
the cheap overhead chandelier begins to sway...
FADE OUT:
In the darkness, Tchaikovsky's "Arabian Dance" RISES...
CUT TO:
19 INT. ATTIC - BILLY'S HOUSE - NIGHT - (1991) - BILLY'S 19

EYES
FILL THE FRAME, slashed with noir shadows, only of color,
from a string of spare Christmas lights lining the attic
wall.
CAMERA PULLS BACK, LOW to the FLOOR, REVEALING the spiked
tipped legs of a cheap tripod. CAMERA RISES, REVEALING a
used Tasco telescope atop the unstable tripod; all in,
twenty- five bucks. A bow is stuck on the top along with
an envelope.

Billy's step-father and mother climb down the attic
ladder. She closes the door and secures the combination
lock...
21 INT. ATTIC - BILLY'S HOUSE - NIGHT - (1991) - AN ENVELOPE 21

tears open. A Rite-Aid calibre Christmas card displays
Santa checking an open scroll with graphics reading, "Be
good for goodness sake!" Signed; "Mommy & your step dad."
THE WINDOW
22 The telescope ENTERS FRAME and looks out over the 22
neighborhood. Only a few houses with large yards
decorated for Christmas populate the area.
REVERSE - END OF THE TELESCOPE
A house reflects over Billy's magnified eye...
9.
22PT EXT. NEIGHBORHOOD HOME - DUSK - TELESCOPE MATTE 22PT

A family gathers for Christmas appearing like a Norman
Rockwell painting. Americana. Warm. Filled with happiness
and love. A teenage girl opens a present and reacts,
overwhelmed. She moves to her mother and father and gives
them a hug.
TELESCOPE
CAMERA PUSHES DOWN THE BARREL TO BILLY'S CLOSED EYE.
Once IT FILLS FRAME, the lid opens exposing the yellowed
iris...

Lies passed out on the couch, two empty bottles of wine
on the floor; a bong on the table. Behind him, a console
radio plays, the source of "The Nutcracker"...
AGNES
eight years old, tears Christmas wrapping off a box
revealing a knock off Cabbage Patch doll.
BILLY'S MOTHER
Barefoot, in an worn nightgown, reacts with animated joy,
however, as if she has received a gift she's always
wanted. As her daughter doesn't match the enthusiasm,
however, the mother's expression turns hard.
O.S... UPSTAIRS... MOVEMENT. Agnes looks up, curious...
AGNES
'S that Santa's reindeer?
Her mother takes a drink from her highball glass while
gathering wrapping paper and stuffing it in a Hefty bag.
BILLY'S MOTHER
There's... nothing... up there.
She reaches back and grabs the pack of cigarettes, puts
one in her mouth, then feels blindly behind her. She
looks back, but cannot find a lighter for her cigarette.
Drunk, the mother leans into Agnes with a babying tone...
Want a Christmas cookie? You're my cookie
and I could eat you up.
10.
As the mother stands and moves off toward the kitchen,

CAMERA CREEPS IN on Agnes. O.S., an ORNAMENT TINKLES.
Agnes turns toward the tree...
AGNES' POV - CHRISTMAS TREE
CAMERA IS MOVING TOWARD a branch rhythmically trembling
which causes the ornaments to KNOCK together. CAMERA
CONTINUES... INTO THE TREE... TO FIND... behind the
tree... a pair of yellow eyes, looking at Agnes.
24 INT. KITCHEN - NIGHT - (1991) 24

The counter is littered with Christmas cookies baking
material and supplies; baking utensils, flour and
sprinkles. She tosses some cookies onto a plate for
Agnes, then moves to the stove, ignites a gas burner and
lights her cigarette.
The phone, a yellowed wall mounted princess phone...
RINGS. The mother reacts, curious as to who could be
calling. She picks up the phone and before she can
answer... a chilling voice emits from the tiny
speakers...
CALLER (V.O.)
She's my family, now.
The mother drops the phone. CAMERA LEADS HER OUT of the
kitchen as she races toward the living room...
25 INT. LIVING ROOM - NIGHT (1991) 25

Billy's mother approaches, pausing in the threshold of
the kitchen door. CAMERA PUSHES IN AS she takes an
anxious step...
BILLY'S MOTHER
Agnes?
BILLY'S MOTHER'S POV - THE FLOOR
Agnes is gone, as is the plastic Hefty bag. The wrapping
paper, removed and left on the floor.
BILLY'S MOTHER
looks to her husband...
BILLY'S MOTHER'S POV - THE COUCH
Billy's step-father awakens from his stoned sleep...
11.
LOWER ANGLE - BILLY'S MOTHER

Anxiously steps into the room and reacts to a sharp pain
under her foot. She looks down...
CLOSE - BILLY'S MOTHER'S FOOT
The ripped out eyes of the knock off cabbage patch doll
are stuck to the underneath of her foot...
BILLY'S MOTHER - LOWER ANGLE
CAMERA now SWEEPS INTO HER. Then, with the timbre heard
in the disturbing phone calls...
Bill-lly!

CAMERA IS LOW TO THE GROUND, MOVING RAPIDLY ALONG the
hallway as Billy's mother and step-father OUTRACE CAMERA
and ENTER FRAME. CAMERA CONTINUES as they run to the
attic ladder...
MOTHER
What have you done?!
As she climbs, the step-father pauses. Puzzled by...
STEP FATHER'S POV - THE COMBINATION LOCK
Remains locked from the outside. The mother's fingers,
agitated, frightened, and drunk, fumble with the lock...
STEP-FATHER (O.S.)
What your mother and I must know...
27 INT. ATTIC - BILLY'S HOUSE - NIGHT - (1991) - TRAP DOOR 27

BANGS open!
STEP-FATHER
Is Where did you put the baby?
Billy's mother rises into the attic....
BILLY'S MOTHER'S POV - THE ATTIC
Vacant. Billy is nowhere in sight.
BILLY'S MOTHER AND STEP FATHER
Are stunned. Then, O.S., downstairs, Agnes SCREAMS!
12.

CAMERA IS WIDE as the parents run toward the stairs...
29 INT. STAIRWELL - NIGHT - EXTREMELY LOW ANGLE - THE 29

PARENTS
bound down the stairs, CAMERA RISES to Billy's mother...
BILLY'S MOTHER
Billy!? What have you done?!

THE FAR WALL
Billy's shadow clutches Agnes's struggling, choking
silhouette; shifting and distorting with the blink of the
Christmas tree lights.
EXTREMELY CLOSE - A 10 FRAME CUT - BILLY'S EYES
turn toward his mother, exposing their yellow tint...
CLOSE - A 10 FRAME CUT - BILLY'S LEFT HAND
Holds a briloette ornament, blood dripping tip facing
out...
CLOSE - A 10 FRAME CUT - BILLY'S MOUTH
opens. An eyeball, iris bright blue, is placed inside...
BILLY'S MOTHER
SCREAMS!
BILLY'S STEP-FATHER
Charges Billy...
BILLY
Backlit against the Christmas lights, reaches out for
Agnes...
A 10 FRAME CUT - AGNES
CAMERA SWEEPS TOWARD HER struggling for life, the black
plastic Hefty bag over her head... one hole in the bag
over her right eye indicating Billy has removed one eye,
so far...
13.
CHRISTMAS TREE
The Step-father ENTERS FRAME, reaching for Agnes.
BILLY'S HAND
THRUSTS the tear shaped ornament outward.
REVERSE - STEP-FATHER
the back of his skull erupts. Dangling at the end of the
impaling ornament, with the consistency of an egg yolk,
the step father's eye; pushed through the skull. He
falls...
THE CHRISTMAS TREE
TOPPLES! CRASHES! covering Agnes and Billy's step-
father...
BILLY'S MOTHER
A string of Christmas tree lights quickly wrap around her
neck. Her hands whip to her throat, clutching the cord...
31 INT. KITCHEN - NIGHT - (1991) 31

Billy drags his struggling mother into the kitchen...
CLOSE - COUNTER
Billy grabs a rolling pin, coated with flour...
A PLATE OF CHRISTMAS COOKIES
CAMERA INCHES on a plate of freshly baked cookies while,
in the dark background, Billy raises the rolling pin
above his head. The cookies shake from the unseen impact.
CAMERA CONTINUES as the cookies tremble with each THUD...
ON THE COUNTER
Billy's hand finds an angel shaped cookie cutter...
BILLY'S MOTHER
The back of her lifeless head lies on the floor. The
angel shaped cutter ENTERS FRAME. As it presses to her
face...
CLOSE - OVEN
A silhouette against the glowing red coils inside the
oven, Billy ENTERS FRAME with a cookie sheet, dripping
blood...
14.
As the oven opens... the hollow radio plays the beautiful

flowing harp strings of "The Nutcracker's" "Intrada..."
CUT TO:

Silence. After a beat, the front door opens. POLICE
OFFICERS, BLUDWORTH and COLQUITT enter, weapons drawn,
alarmed, yet cautious. Colquitt moves directly toward the
fallen Christmas tree, attending to Agnes. Bludworth
continues to the kitchen.
Bludworth freezes, expression mortified. CAMERA PULLS
BACK REVEALING Billy sitting at the table in the dark;
drinking a glass of milk and eating... his Christmas
cookies, appearing like shapes of charred jerky with
frosting and sprinkles.
As Billy calmly finishes his snack, CAMERA CRANES DOWN
until the corpse of his mother ENTERS THE F.G...
CUT TO:
OVER BLACK... A TITLE CARD RISES... CENTER FRAME...
"BLACK CHRISTMAS"
Then... a stand up bass with harmonica accents begins a
bouncing ball tempo, introducing Mitch Miller and his
Orchestra's rendition of "I Saw Mommy Kissing Santa
Claus."
As the male chorus begins singing, the TITLE CARD
FADES...
CHORUS (V.O.)
I saw Mommy kissing Santa Claus...
SLOW FADE UP:
33 EXT. FRONT YARD - SORORITY HOUSE - NIGHT 33

CLOSE - A PAIR OF EYES - COMPOSED FAR LEFT OF FRAME
A pair of plastic female eyes on an internally
illuminated Nativity figure, presumably Mary, appears
afraid; trembling in the freezing wind of a Winter
storm...
CHORUS (V.O.)
... Underneath the mistletoe last
night...
15.
WIDER - A MANGER
Icy rain streaks past a Magus standing in the snow
amongst animals gazing upon a haloed baby in a straw crib
beneath His mother and an illuminated angel extending
above the tableau.
CHORUS (CONT'D, V.O.)
(CONT'D)
She didn't see me creep down the stairs
to have a peep...
CLOSE - A STRING OF OUTDOOR CHRISTMAS LIGHTS
Line the rain gutter of a sorority house. Green, red, and
white bulbs shudder and TINK in the storm.
(CONT'D)
She thought that I was tucked up in my
bedroom fast asleep...
Counter to the storm's threat, GIRLS can be heard, O.S.,
INSIDE, having a PARTY; warm, inviting, plenty of
laughter and CLINKING glasses...
EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT
The Nativity and the lights decorate the front yard of
the New England colonial that was once home to the Lenz
family.
ACROSS THE LOWER LEFT OF FRAME, A TITLE CARD INDICATES...
FIFTEEN YEARS LATER
The exterior of the house, including the gabled windows
and Mansard roof, has been significantly restored in the
last twenty-five years, reflecting the money and
privilege of the present day occupants.
Tonight, pools of color glow in the snow and reflect off
the ice from decorative Christmas lights. The interior
pulses with a warm amber glow from a fireplace while long
thick icicles hang like crystalline fangs from the lip of
the roof.
Then, I saw Mommy tickle Santa
Claus/Underneath his beard so snowy
white...
A '66 Pontiac Parisienne tuna boat is parked in the
driveway, just before the garage door. Above, gray smoke
floats out the chimney, to be whipped by an angry wind.
16.
CLOSER - BESIDE THE FRONT DOOR

Greek letters identify the Phi Kappa Sigma sorority.
33PT THE FRONT WINDOW 33PT
Inside, a silver and gold Victorian Christmas tree
glitters. Discernible behind the tree, a few sorority
sisters are drinking, gossiping, and celebrating the
Holidays.
Now... CAMERA MOVES... not a hand-held wide angle
subjective "killer's P.O.V.," but, rather, on TRACKS
along the front facade. The MOVEMENT'S texture remains
voyeuristic...
CAMERA eerily, unexpectedly, begins RISING... toward the
second story... REVEALING windows of individual bedrooms.
(CONT'D)
What a laugh it would have been/ if daddy
had only seen/Mommy kissing Santa Claus
last night!
CAMERA TRACKS parallel to the rooms, REVEALING a window
in which hangs a small holly wreath with white micro
lights.
MEGAN HELMS, 23, can be seen pacing angrily while on her
cell phone. Although furious with whomever is on the
receiving end, Megan is clearly trying to keep her voice
DOWN. She pulls the phone away and flips it off before
hanging up.
CAMERA MOVES PAST HER WINDOW just as Megan sits at her
desk before an open laptop and looks sickened, at the
monitor. The next room is dark, yet not vacant.
Attractive and urban, LAUREN HANNON, 21, leans out over
the sill of her open window smoking a cigarette. CAMERA
CONTINUES as she shudders at the mounting storm and
exhales, somewhat sad, before dropping the butt into a
beer bottle.
CAMERA CONTINUES TO the next room in which CLAIR CROSBY,
20, appears excited, yet anxious while pacing with a
sheet of high quality gift wrapping paper, cellophane
tape, ribbons and scissors. As she sits, Clair disappears
from view...
CAMERA BEGINS RISING... toward the third story, while
also PUSHING IN ON a gabled window framed with Christmas
lights on the top level of the house. Behind the
weathered mutins stands an illuminated plastic Santa
Claus.
The window is ajar; softly KNOCKING against the sill...
17.
From the dim spill of the decorative lights, it is

apparent the large area behind the window is not a living
space, but, rather, the attic which was once Billy Lenz's
room.
34 INT. ATTIC - SORORITY HOUSE - NIGHT 34

Cardboard cartons and furniture are stacked and dusty.
Behind these, appearing to rise from the floor and within
the wall, streams of strained breaths are visible in the
cold.
The breathing stops... beat... then... with a startling
SCREECH an old rocking chair is placed at the window and
released. The vacant chair gently rocks...
INT. ATTIC - SORORITY HOUSE - NIGHT - THE KILLER'S P.O.V.
WIDE ANGLE and HAND HELD, arrhythmic human breaths jet
from behind CAMERA as it CREEPS TOWARD a closed square
door in the floor, partially framed by faint light
seeping from below.
35 INT. UPSTAIRS HALLWAY - NIGHT - ATTIC TRAP DOOR 35

CAMERA MOVES THROUGH a corridor of dark wood walls and
hardwood floors lit with a string of Christmas lights.
The sconces are turned off. CAMERA PUSHES past Clair's
room and toward a corner of the ceiling at the shadowy
end of the hall, REVEALING an attic trap door.
The door lifts. CREAKS...
36 INT. CLAIR'S ROOM - NIGHT - CLOSE - A WINE CORK 36

Is PLUCKED from a bottle...
EXTREMELY CLOSE - A SMALL GIFT BOX
wrapped with tasteful paper and great care sits on the
floor amongst scraps of paper and ribbon. The wine cork
drops INTO FRAME followed by the CORKSCREW. At this IMAGE
SIZE, the corkscrew appears like a threatening auger bit.
Thick. Sharp.
CLAIR CROSBY
Unaware of the presence outside her door, Clair appears
mixed with dreaded apprehension and excited anticipation
as she opens a blank Christmas card and gathers her
thoughts. The first being, her thoughts could use some
wine. She pours the Pinot into a glass. OUTSIDE, the
storm is a CONSTANT presence.
18.
ON THE BED
a couple travel bags are packed, but open. CAMERA INCHES
TOWARD her cell phone; red power indicator light
blinking...
IN THE OPEN CLOSET
Hang two dry cleaned outfits, wrapped in clear plastic,
appearing like body bags in the closet shadows...
ON THE FLOOR
behind Clair; plastic shopping bags and a store wrapped
gift.
CLOSE - STORE WRAPPED GIFT
The tag reads "To: Lauren Fr: Secret Santa."
CLOSER - ANOTHER GIFT
Enwrapped with different paper; special. The tag reads...
"To: My big sister, Leigh. Fr: Her baby sister, Clair."
CLOSE - THE WINE BOTTLE
Is set down beside her, alongside a pair of open
scissors. Ominous; a potential tool of murder...
CLOSE - ON THE FLOOR - A FOUNTAIN PEN
The nub, sharp. Ink; blood red. It is picked up...
CLOSE - CLAIR
Considers...
CLOSE - BLANK CHRISTMAS CARD
She writes... "Leigh..."
CLAIR
SIGHS, then takes a long sip of wine...
THE FOUNTAIN PEN
Is returned to the floor...
CLOSE - CLAIR
the dry cleaning plastic RUSTLES. She turns, startles...
19.
CLAIR'S POV - THE DRY CLEANING PLASTIC BAGS

Flutter... the forms appearing like corpses in a
morgue...
CLAIR
Composes, smiles at her startle, then looks to...
CLAIR'S POV - BASE OF THE FLOOR
Air wisps through the heating vent...
CLAIR
takes another sip of wine before her expression conveys
she has caught hold of some words for which she has been
searching to express complex emotions. She quickly sets
down the wine glass and reaches back for the pen...
CLOSE - THE FLOOR
Clair reaches for the pen, but it is no longer there...
CLOSE - CLAIR
Puzzled, turns a quarter and looks to the floor...
CLAIR'S POV - THE FLOOR
The pen is gone. A shadow approaches...
CLAIR
As she turns to see which of her sorority sisters has
entered... a clear plastic bag whips over her head.
CLOSE - CLAIR'S MOUTH
Like a vacuum, the plastic CLASPS to her face; mouth wide
with horror and pain as she takes her last GASP...
CLOSE - THE FOUNTAIN PEN
Is THRUST through the bag and into her eye.
THE BED
As colored shadows struggle over the bed... CAMERA PUSHES
IN to REVEAL Clair's cell phone is gone...
OVERLAPPING...
MS. MAC (O.S.)
BILL-Y! BILL-Y!
CUT TO:
20.
37 INT. LIVING ROOM - NIGHT - UNDER THE TREE 37

Christmas gifts wrapped in holiday paper are rummaged by
a pair of female hands...
MS. MAC (O.S.)
I don't see Billy's present under the
tree, here.
WIDER
The Phi Kappa Sigma house mother, MRS. MacHENRY, late
fifties to early sixties, is on her knees wearing a Santa
Claus hat beneath the Christmas tree.
MS. MAC (CONT'D)
Can't start the secret Santa without
Billy's present.
Ms. Mac looks to the gathered sorority sisters...
REVERSE - PHI KAPPA SIGMA SISTER
Several hang out on sofas, in chairs, and on the floor.
Each with a glass of wine, beer, or a shooter. The
sisters are not as into this tradition as the house
mother.
The interior decor is tasteful and reflects the upper
economic class of its members. Comfortable and inviting,
the room is warmed by an amber glow from a fire in the
hearth. The house feels safe and Christmassy. CAMERA
BEGINS CREEPING... ARCING... while the girls LAUGH,
buzzed from the alcohol and holiday respite from college.
MS. MAC (CONT'D)
Who drew Billy's name?
HEATHER LEE, 20, a Charleston, South Carolina blonde, not
a hair out of place and a touch self righteous, appears
uncomfortable with Ms. Mac's search for Billie's
present...
MELISSA KITT, 20, Asian, sits with her feet propped on
the coffee table.
MELISSA
Um... dude... it's a secret Santa.
DANA MATHIS, 20, a daddy's girl ice princess, keeps her
eyes focused on painting her nails a tasteful Christmas
red...
DANA
Who cares about him? Can we just get on
with this?
(MORE)
21.
DANA (CONT'D)
I've got the red eye to JFK so I can get
home and party for a few days before
having to deal with family on Christmas.
MELISSA
Red eye? Dude, you ain't goin' anywhere.
Look outside. It's raining hail the size
of Yao Ming's testicles.
DANA
Really?
MELISSA
I know you never watch any news, so, just
look outside...
Dana sits up on the couch and stretches to look out while
KELLI PRESELY, the youngest member of the sorority who is
treated like everyone's little sister, pulls aside the
curtains for Dana to look outside.
DANA
Can't see.
MELISSA
Then, just listen.
They listen to the intense rhythmic thumping on the roof.
Melissa gestures as if, "well?"
DANA
It'll stop. The party gods won't allow me
to be here on Christmas break by myself.
Melissa laughs and shakes her head as she looks to
Kelli...
KELLI
I'll be here, Dana. They're making me
work next week.
DANA
Oh yeah, right. Hmmm... let's see... get
home and go to Ivanka Trump's Christmas
party... or... hang here with you and
your townie boyfriend, Kyle, and watch
"Monster Garage Christmas." Hmmm...
MELISSA
You have to work? Dude, that sucks.
Everyone should be home for Christmas.
KELLI
Yeah, well, kind of expensive to go home.
Just saw my mom and dad at Thanksgiving.
And, you know, I never had any sisters or
brothers to share Christmas with, so...
(to Dana)
I'll be your family, now...
22.
A touch tone house phone ENTERS FRAME... It RINGS;

AMPLIFIED to create a startle...
DANA
Want me to treat you like I do my sister?
(beat)
Get the phone.
Kelli moves to the phone and answers...
KELLI
Phi Kappa...
CAMERA CREEPS IN as she reacts, absently tilting her head
as if this will help her understand the caller...
KELLI (CONT'D)
What..? Who?
(beat)
Oh, hey, Darin... you kept breakin' up...
Storm's bad where you are, huh? Sorry,
she's gone home for Christmas break. Try
her cell... Merry Christmas.
As Kelli hangs up, a MUTED, RINGTONE plays "JINGLE
BELLS." MELISSA lifts her behind and removes a cell phone
from her back pocket...
MELISSA
Hello... Hey!
DANA
That is so gay.
Melissa throws Dana a "like I care what you think" shrug.
She believes the ringtone is cheesy cool. So does Kelli
who removes her phone...
KELLI
I have the same phone, but mine plays
"Dance of the Sugar Plum Fairy."
She hits a button and the ring tone begins the tinkling
introduction of "The Dance of the Sugar Plum Fairy" as
she heads back toward the stairs...
DANA
I'm so sad for you.
KELLI
Doesn't your phone do anything?
Dana holds up her Blackberry...
DANA
Validates me.
Ms. Mac moves away from the tree, flustered.
23.
MS. MAC
Who's not here?
KELLI
Like... everybody.
MS. MAC
Chelsea?
KELLI
Went home, this morning.
Melissa hangs up her call...
MS. MAC
Greer?
MELISSA
That was her on the phone. She and Erin
and Taylor are on that ski trip with with
all the A.D.G. guys next door.
MS. MAC
Didn't I see Clair, earlier?
KELLI
Isn't she upstairs writing a card to her
sister?
MELISSA
No, I think that, maybe, Clair's sister
might've already picked her up. Remember,
this is that... "occasion for Clair and
her sister and her mom to bury the
hatchet and rediscover each other."
DANA
I'd like to bury the hatchet with my
sister... right in her head.
CUT TO:

CAMERA LOOKS OUT THE ATTIC WINDOW. Suddenly! Clair's dead
body ROCKS INTO and FILLS FRAME. The clear plastic
shopping bag clings to her frozen bloody horrified
expression; skull- like as her eye sockets are empty.
As the chair slowly rocks... CREAK... CREAK... CREAK...
CUT TO:
24.

Ms. Mac sighs, considers, before she calls out to
Kelli...
MS. MAC
Kelli, can you run upstairs and bring
down whoever's up there? As Kelli hustles
off toward the stairs...
CUT TO:
40 INT. UPSTAIRS HALLWAY - NIGHT 40

CAMERA IS MOVING past the blinking Christmas lights in
the dark vacant hallway. Lauren exits and steps into the
dim hallway as Kelli bounds up the stairs...
KELLI
We're opening presents. Can you see if
Clair's in her room?
Lauren turns back down the hall toward Clair's room as
Kelli KNOCKS on Megan's door. The response is terse..
MEGAN (O.S.)
What?
Kelli appears concerned by Megan's tone...
KELLI
Megan... it's Kelli.
41 INT. MEGAN'S ROOM - NIGHT 41

Megan tenses with dread, mouthing "fuck!"
MEGAN
What?
KELLI
We're gonna open presents, downstairs.
Once again, Megan tenses...

Kelli listens by the door...
MEGAN (O.S.)
Start without me.
KELLI
But, you're going to come down, right?
25.
MEGAN (O.S.)
I don't know, Kelli! If I do, I do. Just
start without me.
Kelli looks up, down the hall toward Lauren.
LAUREN
Reacts incredulous and impatient with Megan's behavior...
LAUREN
I realize you're an only child, so let me
explain... Christmas is just Darwin. The
weak get eaten.
Lauren POUNDS on Clair's door. Then, like a Marine Corp
D.I.
LAUREN (CONT'D)
We're opening presents, NOW! If you're
not down there, your gifts will be mine.
Lauren walks away from Clair's door without awaiting a
response. She tosses to Kelli...
AT MEGAN'S DOOR
Kelli sighs with derision at Lauren's method as she
passes enroute to the stairway. Kelli TAPS politely on
Megan's door.
KELLI
Megan... you okay?
MEGAN (O.S.)
Yes... no... just... FUCK
CHRISTMAS! FUCK IT!
Kelli is taken aback. Concerned, she considers knocking
again, however, turns and moves off toward the stairs...
CUT TO:

Ms. Mac continues rummaging through the presents while
Heather remains anxious and somewhat guilty...
HEATHER
Ms. Mac, why don't you open the present
we got you?
MS. MAC
Billy always gets his present first.
Fifteen year Phi Kappa Sigma tradition.
26.
In the b.g., Lauren moves down the stairs into the living
room, followed by Kelli...
LAUREN
He's gonna be pih-issed, then come back
here and eat us.
Ms. Mac reacts to the residue smell of cigarettes left in
Lauren's wake.
MS. MAC
Not as pissed as I'm gonna be if you've
been smoking in your room.
Lauren shakes her head with feigned innocence as she
swipes someone's full glass of red wine and as she takes
a sip...
LAUREN
Must've been Billy's ghost.
MELISSA
Don't think he's dead. Is he?
HEATHER
Watches, then sighs, confessional...
HEATHER
Okay, look... I drew "that name."
LIVING ROOM
beneath the tree, Ms. Mac looks to Heather. Lauren pauses
mid sip of wine. Dana eyes Melissa, flashes a catty
grimace, and mouths "oops." Heather, sitting upright,
inches up on the edge of the sofa; posture defensive...
HEATHER (CONT'D)
Can I just say... I'm sorry, but, I am
very not okay with any of this. I mean,
buying a Christmas present for a serial
killer?
MELISSA
Serial killers murder repeatedly for
sexual thrill. Billy Lenz was a spree
killer. Dude just fuckin' lost it!
HEATHER
What-ever. I'm just offended by a...
pagan sacrifice... to ward off evil
spirits on Christmas.
Ms. Mac moves toward the fireplace and picks up a foot
and a half long, two pronged barbecue fork. As she sticks
a marshmallow on the end and places it over the fire...
27.
MS. MAC
Come on, Heather, it's just a bit of
fun...
Lauren cuts her off...
LAUREN
Christmas is more about warding off evil
spirits than Halloween.
WIDER - LIVING ROOM
At the top of the staircase, looking through the rails of
the dark wood banister. CAMERA is INCHING FORWARD, as if
the P.O.V. of an unidentified person... watching.
DANA
Let it go, Heather. Just be happy you had
to buy a present for a serial killer
instead of Lauren.
CLOSER - LIVING ROOM
Heather is rattled and not as good at rancorous debate as
Lauren, who knows it...
LAUREN
What Christmas shit in this room reflects
anything Christian? Huh?
The girls pause, then look about the room as Lauren
randomly points at various Christmas decorations...
LAUREN (CONT'D)
It's all neo-pagan magik. Christmas
tree's a magical rite ensuring the return
of the crops. Mistletoe is a conception
charm...
MELISSA
Then, get it away from me.
Kelli smiles. Lauren's momentum picks up...
LAUREN
Fifth century Christians jacked a Roman
winter festival. Twelve days in December
when the nights were long and the earth
was roamed by the demons of chaos.
MELISSA
I saw them, yesterday, at Wal-Mart.
28.
LAUREN
And fuckin' Santa Claus? This voyeur that
watches you all year and determines if
you've behaved to his standards of
decency before breaking into your house
in the middle of the night? And that's
different from what Billy did, how?
Ms. Mac smiles as she pulls a toasted marshmallow off the
fork and into her mouth as she returns to the tree...
MS. MAC
He didn't break in. Billy lived here.
THE HOUSE PHONE
Large in the f.g., RINGS! LOUD! Startling. Kelli knows
she will be called upon and moves toward the phone...
THE RECEIVER
CAMERA RISES with the receiver as Kelli lifts it to her
ear...
KELLI
Phi Kappa.
CAMERA CREEPS TOWARD HER...
KELLI (CONT'D)
Hello?
She listens, then smirks, bemused...
KELLI (CONT'D)
Need to work on it, Kyle.
Then quickly, Kelli grows alarmed. She pulls away from
the phone and turns to the other girls...
KELLI (CONT'D)
I think someone's in trouble...
She quickly presses the "hold" button, sets the receiver
in the cradle and hits the "speaker" button. CAMERA TILTS
DOWN to the PHONE which FILLS THE FRAME...
The SOUND emitting through the speaker is like the low
wailing of a wounded animal, yet with an edge of
unsettling perversity. Although not discernibly obscene,
it is quite sexually chilling.
LIVING ROOM
The SOUND freezes the girls with collective anxiety. They
are absently drawn together; listening...
29.
LAUREN
Yeah, he's in trouble. Dude's whackin'
off with egg nog lube.
Melissa GIGGLES and begins adding to the joke, until...
The PHONE ERUPTS with a nightmarish cacophony of VOICES;
women, men, a crying baby. INSANE and DEMONIC;
intertwined with one another. GROANS, DISTANT SHRIEKS,
CACKLES; it SOUNDS as if a Dore etching of Hell could
speak.
Meanwhile, Bing Crosby's rendition of "I'll Be Home For
Christmas" plays low on the living room C.D. Meant to be
comforting, it subliminally adds to the tension...
CAMERA SLOWLY CIRCLES the stunned Phi Kappa sisters'
FACES listening to the awful SOUNDS emitting from the
phone.
Then, cutting through the STATIC of eerie VOICES... yet
remaining distant... a VOICE... neither male or female,
yet an absolutely crone-like cackle...
CALLER (V.O.)
Bill-ly! What have you done?!
The girls are rattled. A MALE VOICE begs...
CALLER (V.O.) (CONT'D)
What your mother and I must know,
Billy... is what did you do with the
baby?
A COARSE, GRAVELLY male voice, intense, insanely
lascivious, and yet, mischievous, like an pre-pubescent
boy, JUMPS THROUGH the speakers...
Where is Agnes?
...She's our family, now.
An eerie, pathetic and sad child asks...
LAUREN
Hey, shouldn't you get goin'? Don't you
have lots of toys to deliver tonight to
good little boys and girls?
While Melissa LAUGHS, Dana and Ms. Mac gesture for Lauren
to hang up. Lauren gestures, as if, "don't worry."
The voice lowers an octave with insane intensity and,
most chilling, extremely matter of fact...
30.
CALLER (V.O.)
I'm going to kill you.
Heather quickly disconnects. The room turns deathly
SILENT. The girls look to one another, rattled...
HEATHER
Call the police.
LAUREN
Puh-lease. Police ain't gonna do shit
about one whack job phone call.
MELISSA
Campus security is down to, like, one guy
'til after Christmas.
LAUREN
Campus security? That's probably who just
called.
KELLI
That couldn't have been one person.
MELISSA
What was the caller I.D.? Was it on
campus?
KELLI
Sorry, didn't even look. My brain was on
Kyle...
DANA
Dial *69.
MELISSA
That just calls him back. Unless there's
something you need him to clarify...
AT THE TOP OF THE STAIRS
A figure steps INTO the F.G., remaining at the top of the
darkened stairwell... watching the others.
Melissa taps some buttons on the phone, Heather returns
to the gathered group of girls, remaining angry at
Lauren...
HEATHER
You shouldn't provoke someone like that.
MELISSA
reacts, puzzled, while looking at the phone.
MELISSA (CONT'D)
Call log says Clair's cell.
31.
WIDER
The information goes unregistered as everyone is focused
on the rising confrontation. Lauren glares at Heather...
LAUREN
What would you know about dealing with
anyone other than a NASCAR dad?
Heather's eyes flare with anger. She steps aggressively
toward Lauren. Kelli places a restraining hand on
Heather...
HEATHER
I'm going home.
Disgusted, Heather starts toward the stairs...
LAUREN
Yeah, yeah, run to daddy.
DANA
Is that a problem?
Heather stops, then turns, pointedly, at Lauren...
HEATHER
Least my family wants me to come home.
From Lauren's reaction, Heather has gone straight for the
heart and scored a bull's-eye. The other girls know it...
KELLI
Guys, c'mon... it's, like, Christmas
time.
Desperate to break the increasing tension, Ms. Mac
returns to the idea of Christmas cheer...
MS. MAC
Yeah. Heather, what about your present?
HEATHER
Give it to Billy.
The figure steps directly in front of Heather, who stops
cold.
LOWER ANGLE - EVE
In sorority terms, EVE GUARALDI, 23, is a "mistake." A
quiet girl whom events in her life could have caused her
either to blossom into a social butterfly or a sullen
creepy misfit. The latter is the case.
The lenses of her glasses are thick, suggesting a past
injury rather than merely vision dysfunction. Eve's
physical features could pass for an adult Agnes.
32.
Wearing a coat and duffel bag over her shoulder, Eve

appears ready to leave. She extends a present, wrapped in
newspaper, to Heather.
EVE
Merry Christmas, Heather.
As Eve looks up and smiles... CAMERA INCHES IN...
unnerving.
EVE (CONT'D)
Merry Christmas, everyone.
(beat)
You're all, like... my family, now.
KELLI & HEATHER
Heather looks to Kelli, acknowledging the similarity of
Eve's statement with the last comment made during the
phone call. Heather forces a smile and takes the present
without looking at Eve.
HEATHER
That's... so sweet, Eve.
CLOSE - GIFT
The newspaper tears away REVEALING a piece of bric-a-
brac; a glass unicorn. The horn is six inches long and
sharp.
THE GIRLS
Don't quite know what to make of Eve's tacky gift...
EVE
I know you like the Bible 'n' stuff.
The others exchange "she is so weird" glances. Ms. Mac
seizes upon the gift exchange goodwill, albeit a creepy
one, to get things back to a lighter mood...
MS. MAC
That's the Christmas spirit! Come on,
let's keep it rolling.
HEATHER AND EVE
Heather continues up the stairs while Eve starts down,
averting her eyes, as if sad and troubled as Heather
passes...
LIVING ROOM
Eve continues through the living room while Ms. Mac hands
out presents from under the tree...
33.
MS. MAC (CONT'D)

Melissa... Here, Dana. Is Megan coming
down? Let me find yours, Eve...
NEAR THE DOOR - EVE
CAMERA FOLLOWS EVE toward the front door. She pauses near
the tree. CAMERA INCHES IN ON EVE as she turns back one
quarter, ambiguous as to if she's interested in her
present or checking if anyone is watching her...
CUT TO:
44 INT. MEGAN'S ROOM - NIGHT - THE HOLLY WREATH 44

Megan sits at her desk, balled up; feet on the chair,
arms hugging her knees. Her eyes are red from crying as
she stares at her open laptop screen which is AWAY FROM
CAMERA; the specifics on the monitor cannot be seen.
45 INT. LIVING ROOM - NIGHT - MS. MAC AND THE GIRLS 45

The girls tear off the wrapping and react with proper
warm smiles and appreciation...
MS. MAC
I don't see one for Lauren.
DANA
Just give her a tequila shot, wish her
"Happy Holidays," and she's good to go.
Lauren smiles, agrees...
MS. MAC
Eve, is Lauren's present under the tree?
Ms. Mac turns to check Eve, then reacts, puzzled...
MRS. MAC'S POV - BY THE CHRISTMAS TREE
The area in which Eve paused at the tree, is vacant...
MS. MAC (CONT'D, O.S.)
(CONT'D)
What, did she leave, already? She just
kind of snuck out.
RETURN - MRS. MAC & THE GIRLS
The girls look around. Not spotting Eve on a perfunctory
glance, they shrug.
MELISSA
Did Eve have someplace to be?
34.
DANA
The Island of Misfit Toys.
MS. MAC
Her mother is a legacy.
DANA
And? Her mother's dead. She'd never know
if we threw her out. Father's...
wherever. No boyfriend. No family. Like,
where does she have to go?
CUT TO:
46 EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT 46

CAMERA IS IN MOTION... along the front of the house
through the freezing rain driven by howling winds. The
movement reflecting the P.O.V. of a hurried, intense,
individual.
CUT TO:

Melissa takes pity on Lauren who sits with a glass of
wine and no Christmas present...
MELISSA
Hey, I understand this is a "secret
Santa" thing, but, I know Clair drew your
name.
LAUREN
She get me anything good?
MELISSA
A music box.
Lauren winces...
MELISSA (CONT'D)
Kelli, can you go see if it's in her
room?
Kelli starts toward the stairs...
LAUREN
Hey, Mel... um... this music box deal? Is
there, like, a cigarette inside it, or
anything?
MELISSA
Plays "Dance of the Sugar Plum Fairy."
35.
LAUREN
Oh, hell no!
But Kelli starts up the stairs. Lauren sighs, drunken...
LAUREN (CONT'D)
I'm startin' to see sugar plum fairies, I
don't need to hear the little fuckers,
too.
CUT TO:

CAMERA MOVES ALONG the base of the house, then TILTS up
along a lattice, covered with bare Winter vines, running
the height of the house seemingly to Megan's second level
window with the small holly wreath and white micro
lights, yet, also, the plastic Santa stands entry just
above in the attic window.
A gloved hand reaches out and takes hold of the lattice.
CAMERA RISES, as the unseen figure begins to climb...
CUT TO:

49PT CAMERA IS LOW, near the floor and obliquely angled; 49PT
voyeuristic. The texture within THE FRAME is grainy and
coarse. A bed is in the b.g., the lighting is low.
Visible IN FRAME, a poster of "Alex de Large," Malcolm
McDowell in "Clockwork Orange," false eyelash
accentuating his maniacal eye, is set directly over the
bed with clear push pins.
Megan ENTERS FRAME and sits on the bed...
CAMERA BEGINS PULLING BACK REVEALING CAMERA has actually
been watching Megan's laptop monitor. An Quicktime file
plays beside a fileshare website entitled: EYEJACK. The
name of the file is... "CLEMENT UNIVERSITY BITCH IN
SORORITY ROOM."
CAMERA PANS OFF THE MONITOR just as a MALE FIGURE ENTERS
FRAME. Megan's VOICE emits from the speakers but it is
unintelligible. But, the male's response is clear...
MALE FIGURE (V.O.)
How's she ever gonna find out, 'less one
of us tells her?
CAMERA PANS ACROSS the dark room FINDING Megan at her
desk, crying, ashamed and angry.
36.
49PT MONITOR 49PT

The boy turns over onto his back REVEALING KYLE AUTRY,
mid twenties. As he begins unbuttoning his jeans...
MEGAN
Shuts her eyes, intense with regret. O.S., a subtle
THUMP; location, indiscernible. On reflex, Megan stops
the media player. She holds, listens; afraid of being
busted.
50 EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT - LATTICE 50

As the climber's foot steps on the lattice, the woods
BREAKS.

Megan reacts to the O.S. SOUND, stretching toward her
window to look out at the source... until FOOTSTEPS
APPROACH and she stops, turns looks toward her door...
MEGAN'S POV - BASE OF THE DOOR
Red and green light spills from the hall beneath the
closed doorway. The colors turn to shadows as feet
pass...
MEGAN
Holds, listens. O.S., a muted KNOCK. KNOCK. KNOCK.
KELLI (O.S.)
Clair?

Kelli knocks at a door two rooms down from Megan's...
KELLI
Clair?
She listens, then, as she cautiously turns the
doorknob...
CUT TO:
53 EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT - LATTICE 53

The gloved hand reaches INTO FRAME and grabs the wood...
CUT TO:
37.
54 INT. CLAIR'S ROOM - NIGHT 54

Kelli's darkened figure stands in the threshold.
KELLI
Clair? It's Kelli. You in here?

Megan listens to Kelli's MUTED VOICE. O.S., another
THUMP. O.S... the MUTED tinkle of a music box playing
"DANCE OF THE SUGAR PLUM FAIRY" begins.
Megan holds, listening to locate its origin. Then, as
suddenly as it began... the MUSIC stops.

Clair's door opens. Kelli exits, her figure dark in the
hallway. She turns and starts toward the stairs...
57 INT. MEGAN'S ROOM - NIGHT - BASE OF THE DOOR 57

Kelli's feet create shadows as they pass...
MEGAN
Waits for Kelli to move off, then returns to the
window...
The MUSIC starts, again. Puzzled, Megan listens. She
moves away from the window and toward the center of the
room. The ghostly SOUND seems to emanate from within the
wall.
The MUSIC begins travelling, up the wall and to the
ceiling.
OVERHEAD ANGLE
CAMERA LOOKS DIRECTLY DOWN on Megan following the MUSIC.
As she reaches her door and turns the knob...

Having steadied and composed, the climbing figure begins
ascending toward Megan's window...
38.

As Megan opens her door, the MUSIC turns silent. She
holds in the doorway, listening. Nothing. SILENCE.
Then, down the hall... "The Dance of the Sugar Plum
Fairy" begins, again. CAMERA PUSHES INTO MEGAN as she
turns toward...
MEGAN'S POV - CEILING
The MUSIC is behind the attic trap door...
MEGAN
Moves toward the dark end of the hallway...
CUT TO:
60 INT. HEATHER'S ROOM - NIGHT 60

A duffel bag sits on Heather's bed as she packs. Behind
her, the local news plays from an internet feed on her
laptop...
WEATHERMAN (V.O.)
Ice accumulations are expected to be
three to four inches in most areas.
Again... in most areas.

Kelli returns to the living room. She shrugs as she
sits...
KELLI
Couldn't find it.
LAUREN
Damn! If I don't hear "The Sugar Plum
Fairies," I'll just die!
OVERLAPPING... the afore-mentioned MUSIC begins...
CUT TO:
62 INT. UPSTAIRS HALLWAY - NIGHT - OVERHEAD 62

Megan steps INTO FRAME looking up...
MEGAN'S POV - TRAP DOOR
Lit only by Christmas lights at the opposite end of the
hall.
39.
MEGAN
not afraid, but quite curious. The crystalline MUSIC
continues. Megan reaches out and grasps a rung on the
wood ladder. She begins climbing...

The open window TAPS from the wind. Spill light from the
illuminated plastic Santa in the window brings a dim red
cast to the usually pitch black room.
The trap door opens. Megan rises into the attic, her
breath exhaust can be seen in the cold. The MUSIC BOX
sounds clean; definitely in this room.
MEGAN'S POV - IN THE SPILL LIGHT
A tiny ballerina twirls within an open box, reflecting
glass and rhinestone. DOWNSTAIRS, O.S., a RAUCOUS LAUGH
ERUPTS...
CUT TO:

Dana wiggles a Jeff Stryker silicon dildo. She eyes
Lauren...
DANA
Hmm. Wonder who drew my name?
As Lauren smirks and raises her glass in a toast...
CUT TO:
65 INT. ATTIC - SORORITY HOUSE - NIGHT - THE MUSIC BOX 65

"Dance of the Sugar Plum Fairy" warbles; SLOWING...
MEGAN'S EYES
turn from the figurine and into the red light tinted
room...
MEGAN
Alright... who's fucking with me?
O.S., CREAK... CREAK... CREAK. CAMERA PUSHES IN ON HER...
MEGAN'S POV - THE ROCKING CHAIR
A dark figure, silhouetted against the illuminated Santa
Claus, rocks in the creaking chair...
40.
MEGAN
remaining with only her head and shoulders through the
attic trapdoor, she absently leans closer for a better
look...
MEGAN (CONT'D)
Clair..? What are you doing?
From the darkness, a Hefty trash bag WHIPS over Megan's
head.
The FRAME TURNS BLACK, as if having CUT TO BLACK,
however, MEGAN'S HORRIFIED BREATHS remain amplified and
intensely PRESENT. Then, a sickening THRUST RIPS a hole
in the bag...
A tear erupts in the upper corner of FRAME, exposing the
back of the illuminated plastic Santa. ANOTHER THRUST!
RIP! A second tear slashes ACROSS FRAME...
THRASHING, CAMERA, through the two puncture holes,
CATCHES flashes of the killer's legs... macabre sparkles
of tinsel... the posed dead body of Clair placed in the
rocking chair...
The silhouetted killer reaches out as if holding Megan
still. The other arm cocks backward with a clawed hammer
and slings toward the bag...
THE ILLUMINATED SANTA CLAUS IN THE WINDOW
Is spackled with blood.
CUT TO:
66 INT. HEATHER'S ROOM - NIGHT - HEATHER 66

pauses, as if reacting to the subtle THUMP of the closing
attic door, however, she is actually considering the
news...
WEATHERMAN (V.O.)
Wireless services report several
microwave relay stations are off- line.
Now, a relay station sends calls out of
the area, so, that is why, your cell may
work on local calls, but not long
distance...
As she sighs, LAUGHTER ERUPTS from the living room...
41.

Ms. Mac sheepishly displays Victoria's Secret lingerie
against her body. The drunken girls APPLAUD and LAUGH
while Ms. Mac playfully looks inside the gift box...
MS. MAC
Does it come with a man to wear it for?
More LAUGHS, until Kelli, concerned Ms. Mac may think the
joke present is actually the Christmas gift, moves to the
tree and searches for another wrapped box.
KELLI
Here's our real present.
She grabs a professionally decorated present and as she
hands it to Ms. Mac... the house phone RINGS.
Everyone tenses. Melissa moves cautiously toward the
phone and checks the caller I.D...
MELISSA'S POV - CALLER I.D.
Megan Helms.
RETURN
Melissa smiles nervously and breathes a sigh of relief...
MELISSA
It's just Megan.
As she hits the speaker phone button...
MELISSA (CONT'D)
Where are you?
Her question is cut off by a horrific SCREAM above a
tormented cackle....
CALLER (V.O.)
Billl-ly!!
Everyone freezes. Shocked. Horrified.
CALLER (CONT'D, V.O.)
(CONT'D)
WHAT HAVE YOU DONE?!
Within the call, a heartbroken wail. Suddenly an older
male, voice coarse from cigarettes and whiskey, intensely
WHISPERS.
What I must know is... where did you put
the baby?
42.
Kelli looks to the others and mouths a sincere "Fu-hck!"

From the phone, a harsher, commanding tone...
Where did you put Agnes, Billy?
Then, present during the first call, but much more
pronounced... an eerie man-child voice...
CALLER (CONT'D)
They're my family, now.
Upon reflex, Melissa cuts off the call. The CRACKLE of
the FIRE is the only SOUND. Kelli breaks the SILENCE as
she starts toward the stairs...
KELLI
What is up Megan's butt, anyway?
Melissa and taps a speed dial button.
MELISSA
That was not Megan.
She sighs upon receiving a recording...
CAMPUS SECURITY (V.O.)
You have reached the main menu of Clement
University campus security. During the
Christmas break, our office will be
closed from six p.m. December 21st until
nine a.m. December 26...
68 INT. UPSTAIRS HALLWAY - NIGHT - LOW ANGLE - HEATHER 68

Exits her room, closes the door, and starts down the dark
hallway. CAMERA HOLDS on the attic door as she PASSES
FRAME...

Kelli hustles up the stairs...
KELLI
Megan?

Heather continues toward the stairway as Kelli passes...
KELLI
Megan in her room?
HEATHER
I don't know. I was packing.
43.
Kelli opens Megan's door and is startled by a dark

figure. Kelli and Heather SCREAM!

The SCREAMS can be HEARD downstairs. The girls and Ms.
Mac immediately race toward the stairs. Lauren stands,
but drunkenly swoons, before moving toward the stairs.

Stepping nervously out of the shadows and into the dim
hallway light, wearing the climber's gloves, is the boy
in the video with Megan KYLE AUTRY, mid twenties.
Although lacking the polish of a frat brother, Kyle is no
dope. He's bad boy handsome; blue collar smarts.
In the b.g., Megan's window is closed. Kelli reacts,
puzzled, while Heather catches her breath...
KELLI
Kyle? What are you doing in there?
He appears rattled, eyes Heather, then leans in and to
whispers rapidly to Kelli...
KYLE
I wanted to spend the night with you and
I knew that mama son and your "sisters"
would kick me out, so I was tryin' to
sneak into your room, but, the window
wasn't open. I saw Megan's was and it was
dark, so I figured she was gone and I
climbed up to get to your room.
Kelli smiles, touched and believing. Her sorority sisters
appear at the top of the stairs and take in the
situation...
HEATHER
Is Megan in there?
KYLE
I don't know.
As Kelli moves toward the doorknob, Kyle subtly blocks
her.
MS. MAC
You climbed up into in her room and you
don't know if she's in it?
KYLE
It's dark.
44.
LAUREN
You think we're fuckin' stupid? You were
in Megan's room. The call just came from
from Megan's cell.
Unaware of the recent phone calls, Kyle assumes this is
an accusation of infidelity and tenses, acts innocent...
KYLE
What call?
The girls remain suspicious. With Kyle distracted, Kelli
reaches out, turns the knob, and moves past Kyle. He
tenses, but realizes restraining her would look bad...

Megan's laptop sits on her desk in the f.g., turned
toward CAMERA and AWAY from the door. A paused image of
Megan and Kyle having sex is frozen on the website.
Kelli turns on a light. Megan is nowhere to be seen.
Kelli moves toward the open closet and peeks inside.
Filled with clothes, but no Megan...

Kyle keeps a cautious eye on Kelli inside the room while
Lauren keeps a suspicious eye on Kyle...
MELISSA
Can I just say, I'm sorry, but that call
was not Megan or Kyle. That was the
fucking devil. And they weren't talking
to us. They were talking to Billy.
A beat of tension, no one denies this...
KYLE
Billy? Billy Lenz, the guy that lived in
this house?
Melissa nods.
KYLE (CONT'D)
Well, then, you're definitely gettin'
punked, 'cause he's dead.
DANA
Creep-y. Creep-y. Creep-y!
45.
75 INT. MEGAN'S ROOM - NIGHT - MEGAN'S DESK 75

Kelli starts toward Megan's desk. Just as she reaches the
desk, the screensaver kicks in. The monitor turns black
while a winged eyeball flies around the screen.
Kelli searches the desk for Megan's cell, but it is not
in sight. She closes the open window, while looking
outside...
75PT EXT. SORORITY HOUSE - NIGHT - KELLI'S POV 75PT

HAIL and SLEET rain violently upon the house, shrouding
the Christmas lights and icicles, which have doubled in
size.
Accumulated ice causes a branch to SPLIT from the trunk
of an oak tree. It hangs precariously over the street...
INT. MEGAN'S ROOM - NIGHT - KELLI
As she twists the window lock...

Lauren's eyes burn a hole in Kyle. Her tone,
accusatory...
LAUREN
Where did you hear that he's dead?
KYLE
Where have you been that you didn't?
LAUREN
Oh, yeah, you're right. Billy Lenz is my
life.
Kyle eyes her with resentment and dislike...
KYLE
You spoiled bitches come here for a
couple of years, then leave, I grew up
here. I stay here. I played on this
street before they turned 'em into Frat
houses. This was the house that scared
the shit out of us...
(pointed to Lauren)
My whole life.
MS. MAC
What happened to him? How'd he die?
As CAMERA INCHES INTO KYLE... as he tells the following
as if around a campfire on Christmas Eve...
46.
KYLE
You mean, after he washed down his
Christmas cookies with a glass of milk?
CUT TO:
77 EXT. INSTITUTIONAL FACILITY - NIGHT - (1999) 77

CAMERA MOVES ALONG a decrepit institution....
KYLE (O.S.)
Billy was declared insane. Sent him away
to the Clark sanitarium.
DISSOLVE TO:
78 INT. INSTITUTIONAL HALLWAY - NIGHT - (1999) 78

CAMERA MATCHES THE SPEED OF THE PREVIOUS MOVE... then
TURNS into a doorway to find a figure sitting in a
rocking chair in the dark, presumably Billy...
KYLE (CONT'D, O.S.)
Paramedics saved his sister, Agnes, but
she lost her right eye. All scarred up,
her parents dead, brother a fucking
psycho, she was sent to an orphanage.
Like, what hope did she ever have that a
foster family would take her?
CAMERA PANS... REVEALING, however, AGNES in a rocking
chair. Sixteen years old, but appearing forty. Behind
thick black rimmed glasses, her prosthetic eye is cheap
and colorless and, therefore, eerie as it stares straight
ahead while the natural bright blue eye looks at an
object in her lap...
KYLE (CONT'D, O.S.)
(CONT'D)
They kicked her out when she turned
eighteen... No one's seen her since...
CAMERA TILTS to Agnes' lap, finding her lovingly stroking
the hair of the eye-less knock off Cabbage Patch doll.
DISSOLVE TO:
79 EXT. INSANE ASYLUM - NIGHT - (2005) 79

CAMERA MOVES ALONG a Hellish prison-like institution;
high walls encased by rusty razor wire, while snow falls
outside.
CAMERA CONTINUES until finding a room, set apart from the
others, outlined by a string of colored Christmas lights.
47.
Inside, a figure, Billy's silhouette, stands in the

window.
KYLE (CONT'D, O.S.)
Last Christmas Eve, Billy used cleaning
fluid and a string of Christmas lights,
decorating his cell... to set himself on
fire.
Suddenly, the lights turn off. Inside, the room erupts
with violent orange flame. The figure vanishes within the
fire...
KYLE (CONT'D, O.S.)
(CONT'D)
The fire was so hot, the attendants
couldn't open the cell. All that was
found of Billy, were ashes.
80 EXT. ASYLUM CEMETERY - NIGHT (2005) 80

CAMERA TRACKS ACROSS several unmarked gravestones until
STOPPING on one.
KYLE (CONT'D, O.S.)
And, now, that's his home. Where he'll be
spending the rest of his Christmases.
Alone, in an unmarked grave in the asylum
cemetery.
Snow falls gently on Billy's lonely tombstone. After a
beat... a form ENTERS and holds over the grave.
CUT TO:
81 EXT. SORORITY HOUSE - NIGHT - (PRESENT) 81

HAIL and SLEET rain violently upon the nativity figures
now encased with ice which causes their images to appear
out of focus. The gusting WIND blows a figure over...

The girls are unnerved by the story. Kyle eyes them,
aware of the effect. Outside, the STORM is strong.
MELISSA
They ever find out from him why... he
killed his family?
Kyle eyes them...
KYLE
It seemed to him... that's how his family
showed their love.
48.
83 EXT. SORORITY HOUSE - NIGHT - (PRESENT) - A TREE BRANCH 83

BREAKS and collapses... sounding exactly like a GUNSHOT!

The CRACKING SOUND OVERLAPS. The girls flinch,
increasingly anxious; growing afraid...
KYLE
Just a tree branch.
Dana removes a cell phone from her pocket and speed
dials...
DANA
Well, I have something in common with
Billy... I won't be home for Christmas,
either.
The line BEEP BEEP BEEPS, like a busy signal...
DANA (CONT'D)
Shit. Daddy is going to be so worried.
As she dials, again, downstairs, the front door CLOSES.
The girls look at one another as if, "who's that?" Ms.
Mac moves to the top of the stairs, followed by Dana
85 INT. LIVING ROOM - NIGHT - MRS. MAC'S POV - MOVING 85

The hallway wall acts as a WIPE as CAMERA APPROACHES the
top of the stairs... REVEALING... in the living room... a
mysterious figure; BACK to CAMERA, wearing a long dark
coat, gloves, and covered head, looking toward the
Christmas tree.
INT. TOP OF THE STAIRS - NIGHT
The girls tense at the sight of a stranger in the house.
With a cautious tone, Ms. Mac calls down the stairs...
MS. MAC
Can we help you?
INT. LIVING ROOM - NIGHT - CLOSE - THE FIGURE
CAMERA PUSHES IN ON the back of the figure's head as it
turns toward CAMERA and removes the hood REVEALING a
beautiful brunette woman in her early thirties; noir-dark
and with an edge of mystery. She is LEIGH CROSBY and
doesn't appear very enthused about being here. Her voice
is sensual and husky...
49.
LEIGH
She was supposed to call.
LOWER ANGLE - TOP OF THE STAIRS
The girls eye one another, uncertain. Suspicious.
RETURN - LEIGH
CAMERA STOPS as LEIGH is in CLOSE-UP...
LEIGH (CONT'D)
I'm Claire's sister.
(beat)
Where is she?
THE GIRLS AND MS. MAC
Their alarm heightens, as Clair is now officially
"missing."

Kyle steps halfway into the room, appearing impatient
with Kelli as she continues searching Megan's room...
KYLE
What're you doin'? I almost killed myself
trying to be with you. Let's go.
KELLI
I'm kinda worried about Megan.
KYLE
Who knows what her deal is? Can we just
go to my apartment?
KELLI
Well, she was kinda weird, before; she
was, like, a bitch to me, and that's
never happened. Then, we've been getting
these weird calls, one from her phone
and, now, her window's open, her car is
still here, but she's just gone in the
middle of this weather?
Kelli continues searching. Kyle tenses as he steps
further into Megan's room...

Leigh eyes the room with an expression of one returning
to a location purposefully blocked from memory. Melissa,
Heather, and Dana remain guarded.
50.
LEIGH
Never thought I'd be back here.
MS. MAC
You're a legacy? What year?
LEIGH
I don't know. '93? '94? I started
college, late. Quit it, early.
Ms. MacHenry reacts, suspicious...
MS. MAC
Really? 93's the year I started as house
mother, here. I don't remember...
LEIGH
I mean, this was suppose to be such a big
fucking weekend for her and I blew off a
trip to Vale with this Cardiologist and I
drive all the way over here in this
shitty weather? Now, where the fuck is
she?
The sisters look at one another, unable to answer.

Kelli is at Megan's closet while Kyle, cloaking his
anxiety, can't help but pace.
KYLE
What, exactly, are you looking for?
KELLI
Like, some note or something that says
she's okay. All her stuff is still there.
Her car is out there.
CAMERA FOLLOWS KELLI as she moves toward the desk and
sits in front of the laptop. The winged eyeball continues
flying across the dark screen...
KYLE
Call her cell.
CAMERA CONTINUES over Kelli's shoulder as she considers,
then removes her own cell phone from her back pocket.
CAMERA CONTINUES teasingly TOWARD the laptop... yet...
once at the computer, CAMERA unexpectedly CONTINUES
MOVING... veering toward the wall which RAKES ACROSS
FRAME...
KELLI (O.S.)
Voice mail...
51.
CAMERA CONTINUES, then SKEWS, TILTING to the ceiling.

CAMERA CROSSES THE CEILING, passing beneath the poster of
Malcolm McDowell in "Clockwork Orange" directly over
Megan's bed.
CAMERA PUSHES TO a clear push-pin tack in the poster's
upper left corner. As the pin FILLS FRAME...
KELLI (O.S.) (CONT'D)
Hey, Meg, it's Kell. Just wondering what
happened to you and if you're okay and
stuff. Call me. I'm on my cell. Bye.
Then, from a motionless state... subtly... slightly...
the tack begins to move; wiggles, as if being worked from
the other side of the ceiling.
Then... quietly... it falls.

Put upon, Leigh holds out a wallet toward Ms. Mac who
checks the driver's license...
MS. MAC
Clair's last name is Crosby. This says
Colvin.
LEIGH
Divorce'll be final in March.
No one responds. Leigh sighs...
LEIGH (CONT'D)
What else you need? Can't tell you any
secrets about my sister 'cause I don't
really know her. Don't know much else
about this place 'cause I fucking hated
it.
Leigh gestures beneath the tree.
LEIGH (CONT'D)
I see Billy still gets his Christmas
present.
Everyone looks at Heather who recoils, then shakes her
head. Ms. Mac appears puzzled as Leigh reaches down and
picks up a box wrapped in plain newspaper...
MS. MAC
That wasn't there, before.
LEIGH
This is new. It's not for Billy. It's for
Phi Kappa... from Billy.
52.
Leigh tears the paper to find an Apollo-Soyuz model box.

As she opens it, CAMERA PUSHES IN TO REVEAL its
contents... a knock off Cabbage Patch doll; eyes ripped
out.
CUT TO:
90 INT. MEGAN'S ROOM - NIGHT - COMPUTER MONITOR 90

The taunting eyeball screen saver flaps across the
monitor...
WIDER
Although she and Kyle are alone, Kelli lowers her
voice...
KELLI
What if there's something on her
computer, an e-mail, or something, that
says where she is?
Kyle takes an anxious, unconscious step toward her...
KYLE
You know, I don't feel comfortable...
um... whatever... invading... someone's
privacy, like that. Try the police again.
As she lifts her cell phone... O.S... a subtle THUMP;
outside the house... or... possibly... within the wall.
Kelli freezes and looks to Kyle...
KELLI
What was that?
O.S., the WIND and HAIL intensify, overwhelming the
ability to discern or locate any subtle sounds...
91 INT. LIVING ROOM - NIGHT - CLOSE - DOLL 91

Eye-less, macabre, and threatening, lies encased in
newspaper.
MS. MAC (O.S.)
How'd it get under the tree?
WIDER
The girls keep their distance from the doll. Each, too
anxious to sit. Except Lauren, whose eyes are red and
unfocused from drinking. She points to Leigh...
LAUREN
She must of put it there. She "found" it.
53.
LEIGH
You're giving me shit when none of you
can tell me where my sister is?
(beat)
Where's her room?
The girls eye one another until Melissa sighs and
gestures for Leigh to follow...
MELISSA
Upstairs...
As Leigh follows Melissa toward the stairs, Heather picks
up the newspaper that enwrapped Eve's gift to her...
HEATHER
Lookit, same paper as the present she
gave me.
Ms. Mac looks at both papers and immediately tenses as
she looks at the aged paper which wrapped the gift from
Billy.
MS. MAC
This newspaper is dated December 25...
1983.
She passes the paper off to Melissa who examines it...
HEATHER
Eve lives in Billy's room.
DANA
They kept him in the attic.
HEATHER
Before that. Remember? She wanted to move
in there. Maybe she's obsessed with him.
Melissa sighs, skeptical.
DANA
Eve was by the tree before she left. She
could've put it there.
MS. MAC
No, it wasn't there, even a half hour
ago. I'm positive.
Heather starts toward the stairs...
HEATHER
I'm going to see if there's any of that
old newspaper, or anything, in her room.
Heather starts up the stairs...
54.
DANA
The whole thing only freaks us out if we
know the Billy story. And none of us
really cared. Eve couldn't've known Kyle
was going to tell us all about Billy.
LAUREN
But... Kyle did.
Heather holds on the stairway as everyone considers...
CUT TO:

Kelli listens in the center of the room... while Kyle's
anxiety over being caught intensifies.
O.S., another THUMP. They both pause. She eyes him...
KYLE
You know what it is? The attic window is
open.
KELLI
What? Think she's up there?
93 INT. CLAIR'S ROOM - NIGHT - THE FLOOR 93

The light from the hallway stretches across the room upon
the wrapping paper and half empty glass of wine as the
door opens...
WIDER - MELISSA & LEIGH
Leigh's eyes take in the decor and Clair's personal
effects as if looking at the room of a stranger...
LEIGH
There a boyfriend, something, she could
have gone to?
Melissa shrugs, then shakes her head, "no."
MELISSA
Clair sticks to herself. It's like her to
leave and not tell anyone. But, she'll be
back.
Leigh picks up the gift, looking at it anxiously;
sadly...
INSERT - GIFT
"To: My big sister, Leigh. Fr: Her baby sister, Clair."
55.
MELISSA & LEIGH

Leigh's eyes remain on the gift...
LEIGH
You know her better than I do.
(beat)
I'm her half-sister. Twelve years older.
Clair was in second grade when I moved in
here. This room.
(beat)
Weird how, at this age, twelve years
seems like nothing. 'N fact, she seems
older. She was the one who wanted to
bridge that time... finally get to know
each other.
(softly)
While we could...
Leigh is unsettled by her choice of words...
LEIGH (CONT'D)
While we can.
(beat)
She must have had second thoughts and
bailed.
Leigh begins unwrapping the paper until Melissa stops
her...
MELISSA
No... wait 'til she gets back.
Leigh forces a cautious smile and places the gift in her
pocket...

Dana, Heather, Lauren and Ms. Mac weigh their suspicions
about Kyle...
LAUREN
Kyle was in Megan's room. That last call
came from Megan's cell. What more do you
want?
MS. MAC
Kyle... did... tell that story like we
were at a campfire.
DANA
And he grew up in town.
HEATHER
What's that got to do with it?
56.
DANA
He's not one of us.
Heather starts up the stairs, again...
HEATHER
Either is Eve.
Suddenly, Lauren VOMITS on the coffee table. As the girls
leap back...

While, the living room breaks into COMMOTION, Kelli, near
the desk, has the window open and is trying to look out
and up toward the attic. The weather impedes her view...
KELLI
Can't tell.
KYLE
I'm tellin' you, it's the window. Let's
go to the attic and I'll close it.
Heather passes Megan's open doorway enroute to Eve's
room. Then... suddenly... the power decreases fifty
percent; like a brown out. Kyle instinctively looks to
the lights...
KELLI
Pulls away from the window and turns toward the room. The
corner of her eye catches...
95PT COMPUTER MONITOR 95PT
The surge causes the computer to switch to battery power,
the screen saver vanishes REVEALING a frozen website
image of Kyle on Megan's bed having sex.
KELLI
As CAMERA SWEEPS IN on her reaction of shock and anger...
all the electrical power in the house goes out...

Dana and Ms. Mac help Lauren up the dark stairs. Orange
fireplace light creates long, wavering, macabre shadows.

Heather holds in the hallway just outside Eve's room. She
reaches into her pocket, removes her cell, and opens it.
57.
The light from the display acts as a make-shift

flashlight.
THE DOOR
What was once Billy's bedroom door is lit with the cold
bluish circle of light from Heather's cell. The door
opens.
98 INT. MEGAN'S ROOM - NIGHT - KELLI 98

Kyle appears guilty and, somewhat, relieved...
KYLE
I'm sorry. I'm really sorry, Kelli.
You're really different than these other
girls...
KELLI
I don't... what? Did Megan do this to
you?
Kelli's innocent confusion only makes Kyle feel worse...
KYLE
No. No, she just found out about this
being on the fileshare site, tonight.
Kelli considers, her realization is crushing...
KYLE (CONT'D)
Look, that was before you came here. I
didn't put it on the net. A guy at work
got pissed off at me and stole my
tapes...
KELLI
My... tapes?! How many are there? YOU
FUCKING LIAR! I can't believe this person
is you. I can't... compute... how you,
Kyle, could do such a thing. I never...
ever... saw this was in you. I saw you so
differently...
He averts his eyes, guiltily...
KYLE
No one is what other people think they
are..
CUT TO:
99 INT. EVE'S ROOM - NIGHT 99

Heather moves around Eve's dark room by the light of her
cell phone display. She opens some drawers in the bureau
and subtly rifles through some underwear and t-shirts.
58.
KELLI (O.S.)
GET OUT! GET OUT!
She moves toward Eve's desk, searches the surface, then
opens a drawer. As she rifles through the spiral
notebooks and loose papers...
CUT TO:

Melissa and Leigh exit Clair's room, reacting to Kelli's
screams while Ms. Mac and Dana hustle Lauren toward the
bathroom until blocked by Kelli and Kyle storming into
the hallway.
KELLI
AM I GOING TO SHOW UP ON THERE? Isn't sex
enough? You need a little visual trophy
to get your thrills?
Facing total humiliation before the outnumbering girls,
Kyle turns indignant and defensive. He steps toward her,
aggressively and violently; temples and eyes flaring,
frightening the others...
KYLE
SHUT THE FUCK UP! I'M SORRY! I'M
FUCKED UP. I GET IT!
Kelli begins crying. Ms. Mac moves to her while Melissa
holds onto Lauren, who RETCHES, but holds in from
puking...
MELISSA
I got her, Ms. Mac...
As Melissa moves Lauren past Leigh, Dana Kelli and Kyle
as Ms. Mac holds Kelli...
CUT TO:
101 INT. EVE'S ROOM - NIGHT - CLOSET 101

With a startle, the CLOSET DOOR slides open. The contents
inside are disheveled...
HEATHER
Shines her cell phone light on the mess and reacts with a
disgusted wince at the mess. She crouches and begins
rifling through the contents...
59.
HEATHER'S POV - BASE OF THE CLOSET

As she pushes aside some worn shoes and boxes, an
irregular hole is REVEALED in the closet wall. It is as
if the hole had once been repaired, yet, someone has
found its vulnerable area and once again pulled out the
wood. It is, perhaps, half a foot wide and so deep as to
see the rotted wood of the support beams on the outer
wall.
The corner of a box, hidden within the wall protrudes out
of the hole...
HEATHER
Reaches toward the hole...
HOLE IN THE CLOSET
By the light of her cell phone, Heather's hand reaches
into the hole. She pulls on the shoebox. It doesn't
remove easily. She pulls again. Again. Finally, the box
slides from the hiding place. Just at the moment, the box
is removed and Heather's dim blue light pans away from
the hole to the box... the light catches a teasing hint
of movement within the wall. As if a figure is rising up
to watch her...
HEATHER
Opens the box and removes computer print outs and
photocopied newspaper reports. She holds her cell to the
sheets of paper...
INSERT - PAPERS
eerie in the cold cell phone light, a collection of
reports regarding Billy's massacre twenty-five years ago.
HEATHER
Sickened, digs deeper into the box, removing some papers,
she slightly SCREAMS...
EXTREMELY CLOSE - INSIDE THE BOX
The detached eyes of a doll look up at her...
HEATHER
As CAMERA PUSHES IN to her reaction of shock, her
cellphone BEEPS, a warning that her battery is about to
die. As the cell light goes out and Heather is cast into
darkness...
CUT TO:
60.

Kyle takes a step toward the stairs to leave, then pauses
and eyes Kelli...
KYLE
I'm sorry, Kelli. I like you so much. I
don't blame you for hating my guts but...
I wasn't dealing or knocking over 7-11s.
I didn't hurt anybody.
DANA
I'll email you a Quicktime of her crying
herself to sleep.
KYLE
Fuck all you bitches.
MS. MAC
Leave, Kyle.
Kyle starts down the hall toward the stairs. He can't
move as fast as he'd like because of the darkness...
The house mother holds Kelli, comforting her, as do
Kelli's sorority sisters.
CUT TO:
103 INT. BATHROOM - NIGHT 103

The room is dark. The door opens, adding a bit of light.
Melissa guides Lauren to her knees over the toilet basin.
Lauren holds in that position as Melissa moves to the
counter, feels for some matches, and begins lighting
candles.
LAUREN
CAMERA IS BEHIND HER, ON the FLOOR as she vomits. An
amber glow fills the room. Lauren's vomiting is intense.
Her toes curl against the floor of old black and white
octagon tiles.
As her toe inadvertently flips one loose...
CUT TO:

While Ms. Mac and Dana comfort Kelli in the b.g. Leigh
looks out the window, puzzled. O.S., DOWNSTAIRS Kyle
marches across the living room and SLAMS the door.
61.
104PT1 EXT. FRONT YARD - NIGHT - HIGH ANGLE - LEIGH'S POV 104PT1
Kyle storms out of the house and into the storm, charging
across the front yard.
RETURN - LEIGH
Dana moves to the desk and looks at the laptop. She
closes the lid, disgusted with Kyle.
DANA
How fucked up was that?
Leigh gestures out the window...
LEIGH
How fucked up is it that the only other
house on this street has power... and
this one doesn't?
104PT2 REVERSE - OUT THE WINDOW 104PT2
Outside, the streetlights are on. The frat house down the
road, although for the most part, dark and vacant, indeed
displays functioning exterior Christmas lights.
DANA AND LEIGH
As they look to one another...
CUT TO:
105 INT. BATHROOM - NIGHT 105

Even in the candle light, Lauren is pale and clammy as
she sits back on her haunches and catches her breath.
LAUREN
Mel... you're a better sister to me than
my sister...
Aware Lauren's sentiments derive from intoxication,
Melissa smiles...
MELISSA
Dick fucking Cheney's a better sister to
you than your sister.
LAUREN
You know what I'm sayin'...
MELISSA
I feel the same way 'bout you, Lauren,
but... you reek, dude. You need a shower.
Can you handle it?
62.
Lauren nods. Melissa helps Lauren pull off her vomit

stained shirt and tosses it aside, then lifts Lauren to
her feet.
As they unfasten Lauren's jeans, Lauren wobbles, then
grimaces. Having stepped on something, Lauren looks to
the floor...
THE FLOOR
Lauren lifts her foot. She has stepped on the loose tile.
MELISSA
Squats and picks up the tile; tests several others. She
studies the bad condition of the floor, sighs, and
stands...
CLOSE - THE COUNTER
the tile CLACKS as Melissa tosses it on the counter...
LAUREN & MELISSA
Lauren removes her bra, then begins pulling down her
jeans...
MELISSA (CONT'D)
I'll go put a trash can next to your bed.
LAUREN'S FEET
She lifts a foot and pulls off her jeans, then the other
foot.
Lauren kicks off her pants and steps OUT OF FRAME toward
the shower... REVEALING... beneath the floor... in the
octagonal hole from the displaced tile... a yellow eye.
THE EYES' POV - LAUREN
Encircled by a dark frame, Lauren is partially obscured
as she head under the cold stream...
THE EYE
Recedes into the darkness beneath the floor...
THE FLOOR - WIDE
CAMERA IS JUST OUTSIDE THE SHOWER STALL, A FEW DEGREES
ABOVE the floor. After several beats... a tile... closer
to CAMERA and the shower... begins rising... slowly...
TAP TAP TAP, until the tile pops out of the floor...
THE EYES' POV - LAUREN
Unobstructed and unaware, stands nearly over CAMERA...
63.
THE EYES
As they watch her...
106 INT. BASEMENT - NIGHT 106

A circle of flashlight shines INTO CAMERA as Leigh and
Dana move down old stairs into the basement...
DANA
Megan and Clair were upstairs together. I
wonder if Megan, like, 'fessed up to
Clair and broke down and is hiding in one
of the rooms, so she doesn't have to face
Kelli. Or whatever.
LEIGH
I'll check the rooms after we get the
lights on. My first thought was Kyle
turned 'em off but, he was in the house
when they went out.
DANA
Eve wasn't.
Leigh finds the fuse box, opens the metal door and resets
a circuit breaker...
LEIGH & DANA
Are underlit by the flashlight. The power does not
return...
DANA (CONT'D)
Main breaker's under the house.
Leigh looks to Dana, uncertain. Dana reacts, defensive.
DANA (CONT'D)
You know, I'm not the totally hopeless
daddy's girl princess these bitches make
me out to be.
CUT TO:
107 INT. BATHROOM - NIGHT - A TOWEL 107

Is grabbed...
LAUREN
As she dries off, the bathroom door OPENS and Melissa
returns.
MELISSA
You okay?
64.
MELISSA'S FOOT
Stops before the hole. The eye retreats into the
darkness. CAMERA, however, DIVES TOWARD and ENTERS the
hole...
At floor level, the heavily MUTED voices of LEIGH and
DANA can be HEARD...
DANA (O.S.)
I'll go out. I know where it is. Then we
can, at least, turn the alarm on.
LEIGH (O.S.)
I'll go with you.
108 INT. BENEATH THE BATHROOM FLOOR - DAY 108

CAMERA CONTINUES through the hole and into an area under
the floor... until... HOLDING on a dim, nearly
indiscernible human outline, alarmingly skeletal; hair,
long and filthy with partial dreadlocks.
DANA (O.S.)
What for? It'll take two seconds. Why
should we both freeze our asses off? Go
check the rooms.
The height between floor and ceiling is, perhaps, twelve
inches. There is no room for the figure to maneuver from
its back to its stomach.
Like a macabre crab, the human form crawls on its back,
clearly adept at this unnerving quick arachnidan
movement.
109 INT. IN THE WALL - NIGHT 109

CAMERA IS IN THE WALL of the house LOOKING DOWN 25-30
feet as the form appears, limbs outstretched like a
spider descending the wall between the support studs and
rotted insulation toward the area beneath the house...
110 INT. BENEATH THE HOUSE - NIGHT 110

Plumbing pipes, rocks, sheets of screen, and discarded
rusted tools create a surreal and nightmarish
underground.
At the base of the wall... bare feet appear, crawling
down from within the wall. With no room to turn over, the
figure traverses on its back across the dirt base toward
the lattice along the porch area...
CUT TO:
65.
111 INT. LAUREN'S ROOM - NIGHT - HIGH ANGLE - BILLY'S POV 111
Melissa guides Lauren, dressed in t-shirt and thong
underwear, into her bed. Melissa pulls up the covers...
MELISSA
Dude... there's a trash can, just right
here, 'kay?
Lauren MOANS her understanding, then turns and curls into
a fetal position.
MELISSA (CONT'D)
Merry fucking Christmas.
CUT TO:
112 EXT. PORCH - PHI KAPPA HOUSE - NIGHT - A BUTANE LIGHTER 112
Ignites, but is whipped violently by the wind...
DANA
Sharp icicles cling to the porch overhang. The rain and
snow continue falling. As she raises the lighter to the
tip of her cigarette, beneath her... MOVEMENT. SCUTTLING.
EXTREMELY CLOSE - PORCH CEILING
A drop of water falls...
DANA
It hits her cigarette with a bull's-eye, extinguishing
it...
DANA
Of course.
She sighs then looks down, dropping the extinguished butt
into a knot hole...
113 INT. BENEATH THE PORCH - NIGHT 113

The form SHIFTS, evading the cigarette butt...
114 EXT. FRONT PORCH - NIGHT 114

Hearing the SHIFT, Dana aims the flashlight into the
hole...
66.
114PT DANA'S POV - THROUGH THE KNOT HOLE 114PT

A flash... a glint... of an eye... moving out of view.
DANA
considers, turns her flashlight on, then proceeds to the
porch steps...
CUT TO:
115 INT. DOWNSTAIRS HALLWAY - NIGHT 115

MATCHING MOVEMENT WITH Dana's flashlight, a beam cuts
ACROSS FRAME as Leigh turns exits a room and turns into
the hallway. She continues to the next door and KNOCKS...
LEIGH
Clair? Megan?
She opens the door and shines the light. As she CLOSES it
and moves on. As her light CROSSES FRAME, again...
CUT TO:
116 EXT. FRONT PORCH - NIGHT - FRONT PORCH STEPS 116

Dana moves down the steps. Slipping on the ice and frozen
snow, she proceeds toward the side of the porch, kneels
to the lattice, and aims her flashlight under the
house...
117 INT. BENEATH THE PORCH - NIGHT 117

The area is illuminated by the tube of light; nothing but
debris; rusted tools, discarded cans, and rotting boxes.
118 EXT. FRONT PORCH - NIGHT - ON THE SIDE OF THE PORCH 118
About to abandon the search... Dana holds. CAMERA INCHES
IN on her... squinting...
119 INT. BENEATH THE PORCH - NIGHT - DANA'S POV 119

To the side, under the house, rather than the porch...
breath exhaust... HUFFS... with a strained rhythm from an
unseen person just behind a wall.
67.
120 EXT. FRONT PORCH - NIGHT - SIDE OF THE PORCH - DANA 120
moves off toward the rear side of the house...
CUT TO:

Leigh moves up the stairs and into the dark hallway. She
moves to a door, KNOCKS, and opens it.
122 INT. BEDROOM - NIGHT 122

She is met by a form. Leigh startles, but the flashlight
REVEALS a large plastic Santa Claus head. Eerie in the
low angle flashlight.

As Leigh closes the door and moves on...
LEIGH
Fuck you, Santa Claus.
CUT TO:
124 EXT. SIDE OF THE HOUSE - NIGHT 124

Dana quickly scoots along the side of the house, pausing
before a trap door, leading under the house...
She tests the door, which pulls out. She crouches; eases
her head inside...
DANA
Eve, you crazy bitch, I see your breath.
WHACK! A 1" diameter lead pipe strikes across the bridge
of Dana's nose. Blood squirts. She crumbles.
CUT TO:

COVERING any SOUNDS below the house, Heather MARCHES down
the stairs into the living room. Kelli is on the couch,
crying, seated beside an increasingly anxious Ms. Mac.
Leigh pokes at the logs with an improvised tool, milking
all the light and heat out of the fire.
68.
Kelli takes a drink from any available alcohol on the

table as Heather moves to the headless imitation Cabbage
Patch doll wrapped in newspaper. She picks it up, then
displays Eve's photocopied news stories about Billy.
HEATHER
Found these.
(beat)
And this. In the wall of the closet.
The girls reacts with alarm as Heather opens her palms
and displays a pair of doll's eyes...
126 EXT. SIDE OF THE HOUSE - NIGHT - OVERHEAD 126

Dana's limp body extends from the trap door; her head,
just inside. Her body drags; stops. Drags; stops. It
finally disappears beneath the house.

A FAINT, MUTED, O.S., GROAN causes the girls to pause,
listen. They eye one another. Melissa sighs...
MELISSA
There goes Lauren, again.
128 INT. BENEATH THE HOUSE - NIGHT - DANA 128

Face soaked with blood, her eyes flutter; an animal
functioning on lizard brain defenses. She pushes her arm
forward with all her strength attempting to escape;
pulling her body forward with the strength in her arms,
as if swimming in a dirt lake.
THE FIGURE
Holding a rusted 1/2" thick wire support rod, the dark
form lays across Dana's legs.
CLOSE - DANA'S HANDS
Desperately pull along the dirt. CAMERA MOVES BACK,
REVEALING a rusted, pronged, hand cultivator. Dana inches
toward it.
THE FIGURE
Grips the rod, but, before it can swing it toward Dana,
she manages to grab the cultivator. She blindly swings
her hand backward...
69.
UNDER THE HOUSE

The tool plunges above the killer's knee. It reacts,
muffling a GROAN OF PAIN. It pulls the prongs from its
leg...
DANA
pulls her hand back and continues trying to get away...
CLOSE - DANA'S HANDS
Dig at the dirt, exposing several teeth of a mummified,
decomposed skull previously buried in a shallow grave.
THE FIGURE
Scuttles ahead of Dana and drives the cultivator into
Dana's skull. A prong breaks off from the impact. A sick
DULL CRACK and Dana's body turns motionless. Dead.
CAMERA INCHES BACK as Dana's murderer, blood stained,
exhausted, HUFFS like an animal. CAMERA PUSHES IN as the
form moves; left arm extends as the left leg bends, pulls
forward, then shifts as the right side repeats the move.
Lizard like, the form CLEARS FRAME...
As CAMERA TILTS to the ground... a skull FILLS FRAME. An
impact fracture splits the skull across the brow. Beside
the skull lies a Vietnam Zippo lighter with the name PVT.
LENZ. FRANK.
ACROSS THE AREA
The form reaches up through an open section at the base
of the floor and into a vertical space between the walls.
Squirming; pulling upward and disappearing OUT OF
FRAME...
CUT TO:
129 INT. LIVING ROOM - NIGHT - CLOSE - DOLL 129

Is pulled out of the box; fabric torn. Eyes, empty.
MELISSA (O.S.)
This doll is new.
WIDER
The fire is nearly dead. Outside, the freezing rain HOWLS
and intermittently, the roof is pelted with HAIL.
Melissa examines the discovered doll's eyes, then points
at the doll found tonight under the tree...
70.
MELISSA (CONT'D)
These eyes are aged. They're not from the
same doll.
130 INT. EVE'S ROOM - NIGHT 130

CAMERA is in Eve's room as the door opens and Leigh
enters. The girls muted VOICES are barely audible...
HEATHER (O.S.)
What if those are from Agnes' doll?
Twenty-five years ago? Eve could've found
them. She lives in Billy's old room.
The energy in the empty room is unsettling and haunting.
Leigh is quick to turn and leave. As she closes the
door...

Leigh is at the end of the hallway. She pauses, having
run out of rooms. HAIL begins to pummel the roof. Leigh
looks up toward the ceiling...
MS. MAC (O.S.)
'Lot of girls have lived in that room,
before Eve.
LEIGH'S POV - THE ATTIC DOOR
As CAMERA RISES UPWARD...

Outside, the STORM INTENSIFIES... HAIL RIDDLES the ROOF.
Heather, Ms. Mac, Melissa, and Kelli are in the dark
living room. Their anxiety, intensifying. Delivery,
faster, hurried and often whispered.
HEATHER
What if she's the first to get it in her
head that she's like him? Doesn't have a
family, just like him.
MELISSA
He had a family.
MS. MAC
It was pretty random when she said...
"we're her family."
CAMERA BEGINS TO CREEP... ARCING IN THE ROOM until the
house phone ENTERS FRAME...
71.

Leigh moves under the attic trap door, studying it. As
she takes a step onto the first rung...

CAMERA CONTINUES TO ARC... The house PHONE FILLS nearly
three quarters of THE FRAME. The girls hold, silhouettes
against the window...
MELISSA
Eve was here when we got the calls.
KELLI
The calls came from Clair and Megan's
cells. They're both missing.
HEATHER
She could have stolen Clair and Megan's
cell phones...
MS. MAC
But we didn't get a call from Eve.
MELISSA
She doesn't own a cell phone.
HEATHER
(accusatory)
And she didn't disappear. She left.
In the b.g., a cell RINGTONE goes off... "Dance of the
Sugar Plum Fairy."
THE WOMEN
Tense. Kelli eases, then uneasy...
KELLI
Must be Kyle...
She pulls out her cell and checks the caller I.D...
KELLI'S CELL PHONE DISPLAY - CALLER I.D.
DANA MATHIS CELL.
KELLI
A raw nerve, Kelli battles to maintain composure... she
nearly screams...
KELLI (CONT'D)
Oh my God... Dana!
72.

Leigh hears Kelli and the others' reaction. Leigh's head
turns toward the stairs...

Frightened... Kelli engages the "send" button.
KELLI
Dana?
A witch-like CRY blares from the phone; Billy's mother.
CALLER (V.O.)
BILL-LY!
Kelli pulls the phone away, breathing hard. Ms. Mac
SCREAMS...

Leigh steps off the ladder and hustles toward the
stairs...

The others crowd around, listening. Leigh appears in the
background moving down the stairs. What SOUNDS like
Billy's step father GROWLS...
CALLER (CONT'D, V.O.)
What did you do with the baby?
Kelli closes her eyes as if that could shut out the
sound. Leigh quickly approaches the others...
HEATHER
I KNOW IT'S YOU, EVE!
CALLER (V.O.)
The caller disconnects. No DIAL TONE. SILENCE, except for
the CRACKLE of the dying fire.
CAMERA PUSHES IN ON KELLI, realizing, then alarmed...
KELLI
Dana!
CUT TO:
73.

Crisscrossing flashlight beams backlight a falling sheet
of hail and ice as the storm intensifies. Kelli, Melissa,
Heather, and Leigh, hustle down the front steps.
MELISSA
Dana?! Dude, where you at?
Melissa slips and falls on the treacherous icy surface.
The others help her to her feet. Leigh looks over the
ground. The girls must shout in the storm...
KELLI
No footprints. Iced over.
LEIGH
She went around back to the control box.
As Melissa, flashlight in hand, and Kelli start off,
gingerly, but with haste... CAMERA INCHES INTO HEATHER,
flashlight in her hand, looking with suspicion, O.S.
HEATHER'S POV - UP THE STREET
An '89 Toyota Corolla with a replaced front end side
panel painted primer gray, is parked about fifty feet
down the street from the front of the sorority house...
HEATHER & LEIGH
Heather reacts, puzzled and incredulous...
HEATHER
Eve's car. She never left.
She moves off. Leigh steps INTO FRAME, annoyed with
Heather...
LEIGH
Find Dana, first.
Leigh checks Melissa and Kelli, who have advanced along
the side of the house. Not wanting anyone to be out here
alone, Leigh sighs and starts after Heather...

Kelli and Melissa proceed along the side of the house. In
fact, Melissa uses the wall for support...
MELISSA
Dude! Dude!
74.
Kelli slips, falling near the trap door in the side of

the house. Melissa moves to help, aiming the flashlight
on Kelli.
Kelli absently places her hand on the frame as a crutch,
then looks to Melissa, alarmed. Kelli points to the door.
CAMERA SWEEPS toward Kelli's finger pointing to the
doorframe marked with Christmas red nail polish
scratches...
141 EXT. STREET - NIGHT 141

The driver's side front end of Eve's car FILLS THE FRAME
as Heather approaches, followed by Leigh. Heather aims
her flashlight toward the Corolla's interior...

Kelli and Melissa are on their hands and knees trying to
open the trap door. Kelli quickly looks about the area.
KELLI
Point the light under the house...
143 EXT. STREET - NIGHT - EVE'S CAR 143

Heather's flashlight beam FLARES INTO CAMERA as she
APPROACHES the rear end of Eve's car. The back of a head
and shoulders can be seen resting against the driver's
window...
HEATHER & LEIGH
As they near the driver's side door...
HEATHER
What is she doing? Sleeping in her car!
It's, like, zero degrees...
Heather reaches out and pulls up on the doorhandle. Leigh
reaches GRABS her hand; a startle.
LEIGH
If she's asleep...
(beat)
Why aren't the windows fogged?
Heather releases the handle, steps back, but, the door
opens.
LOWER ANGLE - CAR DOOR
Eve's body, streaked with blood, tumbles TOWARD CAMERA...
75.
144 EXT. BENEATH THE HOUSE - NIGHT 144

Melissa's panning flashlight beam flares INTO CAMERA.
O.S., Heather SCREAMS. Kelli and Melissa tear off toward
the street.
145 EXT. STREET - NIGHT 145

Leigh hyperventilates beside the car while Heather has
moved away, CRYING. Kelli and Melissa approach and see
the corpse...
MELISSA
Holy FUCK!
EVE'S BODY
Lies half in and out of the car, her head on the ground
REVEALING both eyes have been removed.
KELLI
CAMERA PUSHES IN as she realizes...
KELLI
He's out here.
CUT TO:

The four women race into the living room and SLAM the
DOOR!
MRS. MAC
Startles; frightened.
KELLI, MELISSA, HEATHER & LEIGH
Heather bolts the door while Kelli marches directly to
the house phone and picks it up. It's dead.
Kelli removes her cell phone, while pacing, dials
"9,1,1."
MS. MAC
WHAT?! WHAT?!
KELLI
Damn it.
Kelli continues pacing as she hits re-dial; listens...
76.
KELLI (CONT'D)
Shit!
As Kelli tries re-dial, again...
MS. MAC
What is going on?!
Melissa, Heather, and Leigh hesitate, unsure of who
should tell Ms. Mac, as well as how to tell her...
KELLI
FUHHHHHCK!
Everyone turns toward Kelli as she hits re-dial, yet
again...
KELLI (CONT'D)
911 is experiencing heavy caller traffic
because of the storm...
All are rattled and anxious. Leigh looks out the front
window. Heather and Melissa move from window to window,
assuring they are secure.
MS. MAC
Why?! What?!
KELLI
Hello? Yeah... a girl is... dead...
outside. Yes, I know her... Eve
Guaraldi...
Ms. Mac reacts, horrified. She looks to the others...
KELLI (CONT'D)
We're positive she's been murdered...
MRS. MAC
As CAMERA PUSHES IN on her...
MS. MAC
Billy's home for Christmas.
WIDER
The girls shoot each other anxious glances...
MELISSA
No. No, Ms. Mac. Billy is dead.
KELLI
(into phone)
Three other girls...
Kelli looks carefully to Leigh, who, anticipating what
Kelli must report...
77.
LEIGH
Are missing... missing.
KELLI
Are missing... and... what? 566 Oakdale.
There's only two houses on the...
right... Phi Kappa sorority... Kelli
Presley... how long 'til... What?! No!
No...
She hesitates, reluctant to admit...
KELLI (CONT'D)
We think he's still outside... Would you
wait around that long after what I just
told you?
Upon hearing this, Ms. Mac marches across the room and
disappears into a small bedroom off the hallway while
Heather, Melissa, and Leigh tense, reacting with dread...
KELLI (CONT'D)
Please, isn't there any way..?
(beat)
YOU FUCKER!!
Kelli hits the "end" button; more afraid than angry...
KELLI (CONT'D)
The storm. Pile-ups all over 91.
Reservists can't make it in 'cause the
streets are all ice. Trees falling.
Power's out everywhere. They... maybe...
maybe... can be here... in two hours.
Ms. Mac returns wearing her winter coat, carrying her
purse and keys in hand...
MS. MAC
Well, we'll all be out of here in two
minutes. Get your things...
Heather approves of the idea and rushes off for her coat.
MELISSA
I'm not going outside. He's outside.
KELLI
What about Dana?
HEATHER
We'll only go up to the A.D.G. House. Get
help.
MELISSA
They've all gone home or skiing.
78.
KELLI
Whose family lives the closest? Call
them.
MELISSA
Lauren's. Her mother lives in Boston.
MS. MAC
Even if you could reach her on a cell
phone, it'd be at least four or five
hours 'til she got here.
MELISSA
And she's in Bermuda with some guy.
Melissa reacts, frightened as she suddenly recalls...
MELISSA (CONT'D)
Oh, shit! Lauren!
Melissa takes off, running for the stairs in the
darkness...
MS. MAC
Done. Case closed. Let's go!
KELLI
No! We stay together. We lock up the
house, everyone grabs a fireplace poker,
or ski pole, or some shit, and for the
next two hours, not let each other out of
our sights.
MS. MAC
No! We'll drive to the police.
KELLI
In this weather?
MS. MAC
Even if they can't do anything. We'll all
be safe, there.
KELLI
We're not all here. If we were, I'd go.
LEIGH
That's right... Unless I see otherwise...
I am believing Clair is... alive. And
when she comes back... it's not going to
be to an empty house.
As Leigh moves away, ending the discussion...
79.

CAMERA IS MOVING, LOW TO THE FLOOR as Melissa races up
the top of the stairs and down the hall.
148 INT. LAUREN'S ROOM - NIGHT 148

The door BURST open! Melissa tenses in the doorway, as
she looks O.S. CAMERA PULLS BACK, REVEALING a motionless
mass beneath comforter and sheets... Melissa steadies
herself, then inches toward the bed. With dread and fear,
she reaches out and grabs a piece of the comforter. She
whips off the covers...
MELISSA'S POV - BED
Lauren sleeps it off. Drool drips from the corner of her
mouth. As Lauren releases a teeth rattling SNORE...

Heather returns wearing her coat, moving directly to the
door. Kelli blocks her path, placing her hand on the
knob.
KELLI
Please! We're safer sticking together.
HEATHER
Alright.
(beat)
Then, get your coats.
(calls out)
MEL, WE'RE LEAVING! LET'S GO!
MELISSA (O.S.)
I'M NOT LEAVING LAUREN, YOU
KELLI
We're sisters. Act like it.
Heather knocks Kelli's hand away and opens the door. The
WIND SCREAMS, blowing hail into the entrance. She starts
off toward the driveway.
MS. MAC
We'll get the police here, fast as we
can.
Ms. Mac hugs Kelli, then moves off after Heather. CAMERA
PUSHES INTO KELLI watching them move toward the
driveway...
80.
150 EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT - KELLI'S POV
150
The porch and the front end of the garage obstructs the
view of Ms. Mac's car. Only the rear passenger side is in
view.

Kelli closes the door, bolts it, and moves toward the
stairs, while addressing Leigh...
KELLI
Can't see the driveway. Maybe from
Lauren's room...
As Leigh moves from the window, following Kelli...
152 EXT. DRIVEWAY - PHI KAPPA SIGMA HOUSE - NIGHT 152

CAMERA LEADS Ms. Mac and Heather, hustling to the car.
Their footsteps CLICK and CRUNCH on the icy surface until
Ms. Mac falls. Heather has difficulty with her own
footing while helping Ms. Mac to her feet.
They manage to proceed toward the driveway REVEALING a
dented and dinged '66 Pontiac Parisienne and not in
cherry condition. The wheel wells are rusted.
Much of this is difficult to discern as the Pontiac is
encrusted with ice and snow.
PASSENGER DOOR
Heather pulls on the door handle, ice CRACKS and STRAINS,
but the door is sealed shut by ice. She YANKS harder,
then looks around, seeing if anyone is approaching, then
YANKS again...
DRIVER'S SIDE
Likewise, Ms. Mac's door is frozen closed. She kicks at
the car with her heel. A sheet of ice CRACKS and falls
away from the metal. She rushes inside, climbing into the
driver's seat.
153 INT. PONTIAC PARISIENNE - NIGHT 153

Ms. Mac inserts the keys into the ignition. In the
passenger window, Heather is a silhouette, pulling on the
doorhandle, knocking on the window, trying to free the
car from ice...
The engine won't turn over. Ms. Mac pumps the gas pedal
and tries again. The ENGINE STRAINS...
81.
MS. MAC
C'mon, you piece-a-shit!
THE GAS PEDAL
THUMP... THUMP... THUMP!
THE IGNITION
key is cranked...
THE DASHBOARD
The RADIO COMES TO LIFE... Judy Garland's haunting "Have
Yourself a Merry Little Christmas."
154 EXT. DRIVEWAY - PHI KAPPA SIGMA HOUSE - NIGHT - TAILPIPE 154
The Pontiac STARTS. Exhaust BELCHES...

Ms. Mac CRANKS the heater and DEFROSTER...
156 EXT. DRIVEWAY - PHI KAPPA SIGMA HOUSE - NIGHT - HEATHER 156
CAMERA INCHES IN OVER Heather's shoulder as she
desperately tries opening the door. As she turns back...
HEATHER'S POV - EVE'S CAR
The door remains open. Eve's body; in the position it was
discovered...
HEATHER - LOW ANGLE
Reminded of Eve's fate, Heather pulls harder on the door.
At this angle, the attic window looms above. Unbeknownst
to Heather, Clair's body sits at the window in the
rocking chair.
OVER HEATHER'S SHOULDER
As Heather turns back around, CRACK! A pane of ice
SHATTERS! Heather SCREAMS! The door pops open REVEALING
Ms. Mac on her back, having kicked the passenger door
open with her feet.

Kelli and Leigh enter and move directly to the window.
Melissa crosses to the window, as well...
82.
157PT EXT. DRIVEWAY - NIGHT- KELLI'S POV - OUT WINDOW 157PT

From this vantage, also, only the rear of the Pontiac can
be seen. Exhaust pumps from the tail pipe.
INT. LAUREN'S ROOM - NIGHT

Kelli, Leigh, and Melissa eye one another, relieved...
KELLI
They got the car started.

Heather is now in the passenger seat. She locks the door.
HEATHER
Go! Go!
The front windshield appears opaque from the ice and
snow. Ms. Mac tries the wipers, but they strain against
the ice. The visibility out the window remains nil.
Ms. Mac turns and reaches over the back seat.
Incredulous, Heather turns toward the back seat, also...
HEATHER (CONT'D)
What are you doing?!
While their attention is away from the front of the
car... a shadowy form crosses the front end and
disappears.
Ms. Mac produces an ice scraper, then extends it to
Heather as if, "go scrape the ice."
HEATHER (CONT'D)
What is that thing?
Ms. Mac sighs, turns, and exits the car...
159 EXT. DRIVEWAY - PHI KAPPA SIGMA HOUSE - NIGHT 159

The driver's door remains open as CAMERA ARCS with Ms.
Mac around the front end to the windshield. She begins
SCRAPING the ice. It is thick and needs plenty of elbow
grease.
MS. MAC
(muttering)
Precious... frigid... princess...
southern... privileged... bitch!
83.
Suddenly... the vehicle rocks... lurches... just once.

Ms. Mac pauses, anxious, then continues scraping. Faster.
FRONT WINDOW
A piece of ice breaks away creating a three inch diameter
window into the front seat.
MOTION... a head turns... REVEALING... a yellow eye.
MRS. MAC
Tenses... frozen with fear...
OVER MS. MAC'S SHOULDER
From the interior, the frosted opaque window suddenly
splashes... erupts... with Heather's blood.
MRS. MAC
Leaping back, hyperventilating, backs into the closed
garage door with some force, causing, O.S., a LOUD CRACK!
MS. MAC'S POV - LIP OF THE ROOF
Several thick stalactite icicles BREAK OFF.
OVERHEAD ANGLE - MS. MAC
CAMERA RACES TOWARD HER as if a plummeting icicle...
MS. MAC - LOW ANGLE - LOOKING DIRECTLY UP
Upon reflex, backed against the garage, Ms. Mac raises
her arms shielding herself. It is futile.
As her head is impaled and split by the ice dagger...
CUT TO:
160PT INT. LAUREN'S ROOM - NIGHT - KELLI'S POV - DRIVEWAY 160PT

Outside, the car IDLES. Judy Garland SINGS...
160 WIDER 160

Kelli looks to Melissa and Leigh while Lauren remains
dead to the world on her bed...
KELLI
Should we go out and check on them?
MELISSA
Car's idling. Radio's on.
84.
Then... a CELL RINGTONE... "Dance of the Sugar Plum

Fairy." CAMERA PUSHES IN on Kelli and Leigh... scared.
MELISSA
Turns to them, afraid...
WIDER
As Kelli removes her phone and reads the caller I.D.
panel, she stifles a frightened WHIMPER...
CELL PHONE CALLER I.D. DISPLAY
BARBARA MacHENRY.
KELLI
Quickly answers. With desperate hope...
KELLI
Ms. Mac?
The eerie man-child voice declares...
CALLER (V.O.)
Kelli abruptly disconnects; tries to be strong, battling
frightened tears. Leigh looks at Melissa...
LEIGH
Stay with your friend.
Leigh takes Kelli by the arm. As they start out of the
room...
CUT TO:
161 INT. KITCHEN - NIGHT - LEIGH & KELLI 161

race into the kitchen and look out a side window.
161PT EXT. DRIVEWAY - NIGHT- KELLI'S POV - OUT KITCHEN WINDOW
161PT
This vantage is also partially obscured by the opposite
garage wall. The Pontiac driver's side door is open as
the vehicle continues IDLING...
INT. KITCHEN - NIGHT
Kelli and Leigh struggle to see the entire picture...
KELLI
Can't tell if they're out there.
85.
Kelli starts toward another door. CAMERA FOLLOWS as they

move to another door off the kitchen. Kelli aims the
flashlight at the doorknob and opens the door...
162 INT. GARAGE - NIGHT 162

The garage holds no vehicles but, rather, acts as a
storage area; cluttered and maze-like.
KELLI AND LEIGH
Stepping into the garage, Leigh looses her footing. Kelli
catches her, then shines the flashlight onto the floor.
IN THE FLASHLIGHT BEAM
A puddle of water, created by a leak from above...
KELLI (V.O.)
Careful. Roof's leaking.
KELLI AND LEIGH
Continue through the boxes, furniture, and old bicycles
toward the closed garage door. As they reach the door,
Kelli slips, falling to her knees.
THE FLASHLIGHT
Drops. Rolls; REVEALING not a puddle of water, but one of
blood, seeping in through the outside at the base of the
garage door...
KELLI AND LEIGH
Kelli SCREAMS!

Kelli's SCREAM is deep within the house, but is
nonetheless HEARD by Melissa looking out the window to
the driveway.

Kelli and Leigh try lifting the garage door...
165 EXT. DRIVEWAY - NIGHT 165

Ms. Mac's dead body lies slumped against the garage door
preventing it from opening.
Then... a form ENTERS FRAME... just a shoulder... and
HOLDS.
86.

Melissa moves to the door and opens it...

Melissa steps into the hallway, looking toward the
stairs.
MELISSA
KELLI?!
From the darkness behind her, a black plastic bag is
whipped over her head. She reaches for her throat,
struggles. The plastic vacuums to her face as she GASPS!

Kelli and Leigh desperately push against the garage
door...
LEIGH
Feels like... there might be a body
blocking it.
Then, OUTSIDE, O.S., the Pontiac ENGINE dies. The radio
Christmas MUSIC turns SILENT. Someone is out there.
CUT TO:

Darkness. O.S., the rhythmic CLICK... CLICK... CLICK...
of mechanized winding.
Clair's gift to Lauren, the music box, is SET INTO FRAME
by a hand with blood stained fingers. The doll turns as
"Dance of the Sugar Plum Fairy" begins...
LAUREN
Asleep. Her image is odd, distorted; light bending and
refracting colors...
A TOUCH WIDER
REVEALS CAMERA is looking at Lauren through Eve's gift to
Heather, the glass unicorn's horn.
WIDER
The ornament is clutched by a hand stained with sweat and
blood. After a beat... the ornament moves... toward
Lauren.
87.
CLOSER - MUSIC BOX

The ballerina twirls...
THROUGH THE GLASS ORNAMENT - LAUREN
Her image distorts as the horn approaches. Once over
her... the ornament pauses. Lauren's eyes open...
groggy... drunken. Then, as she looks up and see the
figure standing over her...
LAUREN
Hmm. Yeah. Merry Fucking Christmas.
Lauren's eyes suddenly flash with
horror...
CUT TO:

The fire is dead. The room, dark and icy blue. Blood
stained and perspiring, even in the cold house, Kelli and
Leigh run into the living room from the kitchen.
OUTSIDE, a THUMP, THUMP, like heavy footsteps. Kelli
looks toward the front window...
171 EXT. FRONT PORCH - NIGHT - KELLI'S POV 171

A dark figure crosses the porch toward the front door...

As they turn and hustle toward the staircase...
FRONT DOOR
RATTLES... BANG! BANG! BANG!
KELLI & LEIGH
Their urgency intensifies. Kelli bounds up the steps two
at a time. Leigh, however, hesitates and quickly reaches
out into the living room...
CLOSE - MS. MAC'S BBQ/MARSHMALLOW TOASTING FORK
Leigh's hand grabs it. As it's whisked OUT OF FRAME...

Kelli and Leigh tear down the hallway as the POUNDING
continues DOWN on the front door...
88.

CAMERA PULLS BACK from the threshold as Kelli and Leigh
enter REVEALING... Melissa is gone.
Lauren, however, remains in bed. One bare foot is out
over the side outside of the covers. She lies on her back
with her arm, the crook of her inner elbow, over her
eyes.
KELLI
Awww, fuck, no!
(calls out)
MELISSA?!
LEIGH
He'll hear you!
Leigh closes the door. She BOLTS the LOCK. Kelli tugs at
Lauren's foot, while whispering...
KELLI
Lauren, where's Mel?!
DOWNSTAIRS, a window SHATTERS! Kelli tugs on Lauren's
foot...
KELLI (CONT'D)
Where's Mel?!
Standing just off to the side of the door, Leigh looks at
Kelli. Then whispers, intensely...
LEIGH
Shut up!
Leigh clutches the barbecue fork with two hands, turns
toward the door and raises it over her head. Ready.
KELLI
Breathes hard; frightened. She reaches into her pocket
and pulls out her cell, fingers trembling as she text
messages...
INSERT - KELLI'S CELL PHONE DISPLAY
glows with bluish light. She types... "U@?!!" Then, speed
dials... MELISSA.
KELLI
Awaits a response. She kicks at Lauren's foot, waves the
flashlight beam across her face...
89.
LEIGH
O.S... FOOTSTEPS approach...
KELLI
looks to her phone...
INSERT - KELLI'S CELL PHONE DISPLAY
The illuminated display reads: U@?!!

CAMERA BEGINS MOVING DOWN THE HALL, as if a P.O.V.
Flashlight seeps from beneath the door inside Lauren's
room.
176 INT. LAUREN'S ROOM - NIGHT - LEIGH 176

Raises the prongs above her head, readies...
KELLI
Texts, again. This time... FAINT... MUTED... however, a
definitely audible... a cell ring tone can be
heard..."JINGLE BELLS." Kelli looks up. CAMERA PUSHES IN
as she spots...
KELLI'S POV - CEILING
From a tiny pinhole in the ceiling, a pale dim hint of
bluish light, as if from a cell phone display emits from
the hole...
KELLI
CAMERA CONTINUES IN, but just as she reacts...
LAUREN'S DOOR
BANGS open!
KELLI
Swings the light toward the door...
THE DOOR
A figure stands in the threshold...
LEIGH
WHISKS her weapon down...
90.
THE FIGURE
The light hits the figure REVEALING Kyle as he lurches
back, the fork tearing his jacket sleeve.
LEIGH & KYLE
Not knowing Kyle, Leigh continues her attack. Not knowing
Leigh, he counters, blocking her arm and shoving her
back...
LEIGH
Hits the bed, knocking Lauren whose arm slowly falls from
its position over her eyes.
Leigh looks up just as Lauren's arm clears her face,
REVEALING Lauren is, indeed, dead. Her eye sockets are
dark and empty; eyes having been removed.
KELLI
SCREAMS!
LEIGH
Is up on her feet away from the bed. She turns back
toward Kyle wielding her weapon.
KELLI
Moves toward her...
KELLI
NO! NO!
WIDER
Leigh hesitates, but remains alert and ready to attack.
Likewise, Kyle tenses eyes flashing from Kelli to Leigh.
The three stand triangulated; breathing hard,
frightened...
KYLE
There's two bodies in the driveway.
LEIGH
Maybe you did it.
He points to Lauren...
KYLE
Maybe you did that!
KELLI
No! It's not him!
Leigh's eyes dart to Kelli, as does Kyle's.
91.
LEIGH
How do you know?
Her back to the hole in the ceiling, assuming they are
being watched, Kelli blocks her gesture pointing to the
ceiling...
LEIGH & KYLE
Subtly look up...
LEIGH & KYLE'S POV - KELLI & THE CEILING
CAMERA MOVES PAST KELLI and RISES to the ceiling. The
faint light continues glowing from within the ceiling
pinhole...
KELLI
Her "The Dance of the Sugar Plum Fairy" ringtone SOUNDS.
CAMERA INCHES INTO Kelli as she raises the phone with
dread... and pushes the "send" button...
CALLER (V.O.)
Kelli battles tears, but with a strength derived from
anger, she asks in an accusatory whisper...
KELLI
What have you done... Billy?
The call abruptly disconnects. Kelli turns, looks to the
ceiling...
KELLI'S POV - THE CEILING
The light is out.
LEIGH & KYLE
Witness the seeping light go out. They look to Kelli...
KELLI
As CAMERA INCHES TO HER... she whispers.
KELLI (CONT'D)
He's in the attic.
CUT TO:

CAMERA IS CREEPING. In the darkness, barely visible...
awaits the trap door to the attic.
92.
KELLI, LEIGH & KYLE

CAMERA INCHES TOWARD Lauren's door as the three appear in
the threshold. Kyle steps out and moves toward the
stairs. The girls take a step toward the attic door.
Kyle turns to check they are following and sees they are
not. In a low scared whisper...
KYLE
No fucking way!
LEIGH
Clair might be alive. She might be up
there.
KYLE
Eve's not. Heather's not. Ms. Mac.
KELLI
They all left the house. He couldn't get
them in the attic.
LEIGH
I've searched the whole house.
KELLI
And I've seen under the house. Where else
could they be?
LEIGH
Until I see that they're dead... they are
alive.
He takes Kelli by the arm, for emphasis...
KYLE
They're not.
Kelli pulls her arm away. She gestures to the weapon in
Leigh's hand...
KELLI
There's three of us.
KYLE
(scoffs)
It's fucking Billy Lenz! He's probably
watching us, right now...
KELLI
(cuts him off)
If I was alive. I would expect my sister
to go up there...
Leigh eyes Kelli, impressed, and absently nods.
93.
KYLE
How would you know? You don't even have a
fuckin' sister.
LEIGH
Yeah, she does.
Leigh doesn't even check Kelli's reaction as she moves
past Kyle and Kelli and starts toward the attic trap
door, clutching her weapon. Kelli eyes Kyle...
KELLI
If you don't think you owe me... you
fucking owe Megan... at least, this.
He grabs the two of them and with emphasis...
KYLE
If we go up there... the second we see
they're dead... we turn and run the fuck
out of this house.
Leigh and Kelli consider, then nod. Kyle eyes them for a
beat as he reaches into his pocket and removes a
butterfly knife. As he flips it open...
HIGH ANGLE - FROM THE POSITION OF THE DOOR
FRAME IS EMPTY, seemingly dark, until Leigh steps
cautiously INTO FRAME, back against the farthest wall.
Only a faint rim of reflecting spill light delineates
Leigh, Kelli, and Kyle from the darkness.
ATTIC DOOR
CAMERA INCHES TOWARD the trap door...
HALLWAY
The three reach the area just beneath the attic door.
Leigh nods to Kelli, then takes a step toward the ladder.
Kelli's lifts the flashlight, preparing to turn it on...
Kyle suddenly reaches out and stops Leigh. She looks at
him and without acknowledging her, Kyle moves ahead of
her toward the base of the ladder.
He turns to Kelli, then mouths and gestures...
KYLE (CONT'D)
I open the door, you hit the light.
She nods...
LOW ANGLE - LOOKING DIRECTLY UP
The trap door awaits directly above as Kyle steps on the
first rung of the ladder...
94.
CLOSE - KYLE'S FOOT

CAMERA RISES with Kyle's foot as it steps on the next
rung...
THE FLASHLIGHT
Kelli raises it; thumb hovering over the "on" switch.
LEIGH
Grips the barbecue fork, readies...
OVERHEAD
Kyle rises toward CAMERA, reaching the door. He eyes the
girls, then holds out his hand and counts off with his
fingers... one... two... three!
LOW ANGLE
He KNOCKS open the door, then takes a defensive step
down. Kelli turns on the flashlight.
Beat... SILENCE... above Kyle, the flashlight is a tube
of illumination on the rafters. Small, one or two inch
icicles cling to the leaking ceiling...
Kyle turns around and reaches down, gesturing for Kelli's
flashlight...
Suddenly, a black plastic trash bag is whipped over
Kyle's head. His upper body is pulled into the attic...
KELLI & LEIGH
step forward, reach out, but cannot grab Kyle's legs.
THE FLASHLIGHT
knocked by Kyle's hand, spins rolls...
KELLI
Begins climbing the ladder, looks up...
THE ATTIC
The flashlight stops bouncing and spinning, its light
stops on... a pair of eyes... framed in a black hood. In
a mere glimpse, the most illuminated eye, the left
iris... is yellow.
KYLE
Struggling violently, stabs blindly with his knife as he
disappears into the darkness of the attic. The door
SLAMS!
95.
KELLI AND LEIGH

Rush toward the ladder...
178 INT. ATTIC - NIGHT 178

Extreme elongated shadows are created by the flashlight
struggle. The killer straddles Kyle's chest.
KYLE'S FEET
Struggling to escape, Kyle's feet are over the attic
door. Kicking; pressing against the floor for leverage.
His desperate actions prevent Kelli and Leigh from
entering...
179 INT. UPSTAIRS HALLWAY - NIGHT - KELLI & LEIGH 179

Push up against the door while it BANG BANG BANGS!
180 INT. ATTIC - NIGHT - KYLE 180

Blinded and choking from the plastic bag. His arms,
including the hand holding his butterfly knife, are
pinned down by the assailant straddling his chest.
LOW ANGLE - THE KILLER
Removes the glass unicorn from a pocket. Raises it...
THE GLASS UNICORN
The light glinting off the horn, is plunged OUT OF
FRAME...

O.S., KYLE SCREAMS! Kelli and Leigh intensify their
efforts...
182 INT. ATTIC - NIGHT - LOW ANGLE - KILLER 182

Again, plunges the glass dagger toward Kyle's head...
KYLE'S FEET
Reacting to the pain... PUSH AGAINST FLOOR and SCUTTLE
BACK.
LOW ANGLE - THE KILLER
Is bucked, but maintains the advantage...
96.
KYLE'S FEET
Move off of the door...
183 INT. UPSTAIRS HALLWAY - NIGHT - KELLI & LEIGH 183

Push! The door flies open! They hurry up the ladder. Once
inside, the attic door teeters, then SLAMS closed!
184 INT. ATTIC - NIGHT 184

Kelli and Leigh charge the figure, just as it plunges the
pointed horn into the plastic bag. Kyle's body goes limp.
They grab the killer, who rears, pushing them deep into
the attic.
LEIGH & KELLI
Fall against the base of a rocking chair, which lurches
forward, toward them. They look up...
LOW ANGLE - LOOKING UP - KELLI & LEIGH'S POV - CLAIR
The face of Leigh's sister remains frozen in horror,
wrapped in plastic. Eye sockets, empty. Seated in the
chair, the body nearly tips over on them...
LEIGH
FRAME IS EMPTY until she rears back, terrified...
LEIGH'S FOOT AND LEG
Slips off the plywood covered area and into the rock wool
insulation. Her foot CRASHES through the plaster...
LEIGH
One leg falls through the floor to her thigh...
KELLI
On the floor, scoots on her hands and behind, away from
Clair. Kelli looks to Leigh...
KELLI'S POV - LEIGH
struggling to pull herself out, yet the movements cause
her to slip further into the hole...
KELLI
Her eyes flash to Kyle...
97.
KELLI'S POV - KYLE & KILLER

The Killer straddles Kyle's motionless body. The Killer
rises. Nearly indiscernible in the flashlight, the killer
clenches several strands of extracolar muscles attached
to Kyle's removed eyeballs.
KILLER
He's my family, now.
The killer grabs Kyle's body by the legs and begins
dragging it across the room...
KELLI
Her eyes flash toward Leigh...
KELLI'S POV - LEIGH
Slips a few more inches into the floor. She looks to
Kelli...
LEIGH
GET OUT!! GO!!
KELLI
Kelli rises to her hands and knees, crawling, quickly,
but cautiously across the attic floor toward Leigh...
LEIGH
Tries pulling herself out of the floor. CRACK! She slips
further...
KELLI & LEIGH
As Kelli reaches Leigh and grabs her arms...
EXTREMELY CLOSE - A MATCH
Strikes.
KELLI & LEIGH
Turn toward the light...
EXTREMELY CLOSE - A CHRISTMAS CANDLE
Red and silvery; is lit...
KELLI & LEIGH
CAMERA INCHES IN ON THEM, reacting with horror...
98.
CLOSE - A FORM
A body, a silhouette in the darkness... until the candle
cast an amber glow... REVEALING... Melissa's dead body.
The eye sockets are empty and black. O.S., the HUMMING
continues...
KELLI & LEIGH
frightened. Sickened.
A SECOND CANDLE
Is lit...
LAUREN
The flickering light dances across her dead,
expressionless, face. Her eyes have been removed...
KELLI & LEIGH
CAMERA CONTINUES TOWARD THEM... both frozen and
mortified...
KELLI & LEIGH'S POV - ATTIC
In the corner... a display.
The sincere intent had been a Currier and Ives family at
Christmas print, however, it appears as if sculpted by an
insane Gothik/Punk artist.
The bodies of the murdered sorority sisters, Megan,
Clair, and Melissa are posed, as if exchanging presents,
beneath an Evergleam pink aluminum Christmas tree. Seven
pairs of actual human eyeballs ornament the tree.
A dozen candles illuminate the area. Placed on the floor
are sheets of crumpled wrapping paper, ribbon and bows,
as if presents have jest been opened.
Clair's music box is placed in Megan's hands.
THE KILLER
HUMMING Tchaikovsky, turns toward Kelli and Leigh. The
yellow, unblinking, unmoving eye, catches some spill
light.
Then with a tone heard in the phone calls, one that is
not not evil or crazed, but rather eerily pathetic with a
pleased, happy smile, spoken to Kelli and Leigh... and
quoting Melissa...
KILLER
Everyone should be home for Christmas.
99.
The figure starts toward them...

KELLI AND LEIGH
Trembling and rattled, try pulling Leigh from the floor
who grasps the wooden supports; strains...
CLOSE - LEIGH'S LEGS
Slips deeper through the plaster.
THE KILLER
Approaches...
KELLI & LEIGH
Suddenly... CRACK! The floor gives way. Collapses! Leigh
falls through the floor and into one of the girls's
bedroom.
Kelli turns, checks the killer's position...
THE KILLER
a step away...
KELLI
Tries to jump through the hole in the floor, but the
killer grabs her shoulders. A plastic bag begins whipping
over her head, but Kelli raises an arm and blocks it.
She lunges forward...
CLOSE - THE BBQ FORK
Kelli grabs it...
KELLI
Rolls, turns, then drives the weapon toward the killer...
THE KILLER'S EYES
The prongs plunge into the yellowed iris. The figure's
head is thrown back.
KELLI
Kelli rears, looking up to the figure...
THE FIGURE
The hooded head slowly levels. Oddly, the fork remains in
the eyeball with no release of blood or fluid. The fork
extends out, stuck in the eye.
100.
KELLI
Reacts, shocked, confused...
THE FIGURE
A first true look at the face of the figure, albeit in
the eerie flickering amber light, REVEALS an unnerving
androgyny. Although the face is large and, somewhat,
masculine, the lips and nose are feminine. The skin
texture appears shiny, plastic-like and sweaty.
Thick scar tissue encircles the neck.
With no reaction of pain or emotion, the figure reaches
up, grabs the fork handle, and with effort, twists the
fork and head until the prosthetic eye is pulled from the
socket.
CLOSE - THE PROSTHETIC EYE
remains on the tip of the fork. At this image size, it is
clear that the iris has been hand painted or tinted
yellow...
THE FIGURE
The empty socket is black with scar tissue. The head
turns, looking at the eye on the end of the fork and
REVEALING the surviving right eye is a brilliant bright
blue...
KELLI
CAMERA PUSHES IN, repulsed, frozen with fear and shock.
She whispers...
KELLI
They are not your family... Agnes.
AGNES
Indeed, the killer, Agnes Lenz, drops the fork...
KELLI
Although trembling with fear, addresses Agnes...
KELLI (CONT'D)
I am not your family. You're brother is
not here.
AGNES
reacts... doesn't understand. She considers... then, with
an eerie child-like smile...
101.
AGNES
But... my daddy is.
KELLI
Kelli doesn't understand. Then, suddenly... MUTED...
"Dance of the Sugar Plum Fairy" CHIMES from her back
pocket. Her expression flashes a hope of possibility...
as she hustles toward the attic door while removing her
cellphone from her back pocket. She is SCREAMING,
PLEADING for help before she manages to engage the
phone...
KELLI
HELP! HELP! I'M IN THE ATTIC OF
THE PHI KAPPA SIGMA SORORITY. 566
OAKDALE LANE...
Kelli reaches the door, however...
CLOSE - THE DOOR
A hatch lifting ring is inset and flush against the wood.
Kelli's trembling fingers struggle to lift the ring.
KELLI (CONT'D)
PLEASE! PLEASE! CALL 911! I NEED
HELP! 911!!
AGNES
Approaches...
KELLI
CAMERA SWEEPS IN AS FROM THE PHONE... the chilling, now
familiar voice calmly declares...
CALLER (V.O.)
You're... my family now.
Kelli reacts, stunned and puzzled. Behind her, Agnes
whisks a green Hefty trash bag whips over Kelli's head...
CLOSER - KELLI
GASPS! The plastic vacuums to her face. She stumbles to
the floor.
AGNES
straddles Kelli...
KELLI
Tears the plastic away...
102.
AGNES - LOW ANGLE

Raises the glass unicorn...
KELLI
Dekes her head. The glass spike catches a piece of her
earlobe as it drives into the floor and breaks off.
Kelli grabs Agnes' wrist...
AGNES - LOW ANGLE
looks at the ornament. Now, a block of glass...
KELLI
Quickly grabs for the broken glass spike. Grabs it. She
plunges her hand upward...
AGNES - LOW ANGLE
Brings the glass rock downwards, but Kelli's weapon makes
impact first, plunging just below the right eye socket.
As she rears back, Kelli grabs Agnes' arm with both
hands, trying to free the ornament from Agnes' hand.
KELLI
Knocks the ornament from Agnes' hand...
THE ORNAMENT
Knocks over a pair of candles...
KELLI AND AGNES
Agnes maintains a grasp on Kelli. They fall backwards...
A CANDLE
Lands atop a piece of wrapping paper on the ground. It
begins burning beneath the flammable tree...
KELLI AND AGNES
Stumble backward toward the wall and to fall into the
space between the walls.
185 INT. WITHIN THE WALLS - NIGHT - KELLI 185

Clutches grabs, trying to break her fall.
103.
AGNES
Tumbles grotesquely all the way to the basement...
KELLI
Manages to break and stop her fall at some point mid way
between the attic and the basement. She breathes hard...
KELLI
HELP! HELP ME!
BETWEEN THE WALLS - AT THE BASE OF THE WALL
Agnes, from the base of the house begins climbing toward
Kelli...
186 INT. BEDROOM - NIGHT - LEIGH 186

Lies on the floor, disoriented and stunned. She awakens
upon HEARING KELLI'S calls for help.
LEIGH
Kelli?
187 INT. WITHIN THE WALLS - NIGHT 187

Kelli KNOCKS on the wall, pushes against it.
KELLI
LEIGH?! LEIGH?! In the wall. I can't
move.

Initially, Leigh is confused. Kelli's CRIES, however, can
be heard within the wall. Leigh moves to the wall and
places her ear against the wood, trying to determine
Kelli's position.
KELLI (O.S.)
SHE'S IN HERE! HURRY!
Leigh turns and quickly tries to find a heavy object in
the darkness...
ON THE FLOOR
She stumbles upon a pair of ten pound aerobic
dumbbells...
189 INT. WITHIN THE WALLS - NIGHT 189

Kelli looks down...
104.
KELLI'S POV - AGNES

Is climbing toward her...
KELLI
Bangs on the wall... tries to push...
LEIGH (O.S.)
KELLI! KELLI! KNOCK ON THE WALL!
Hearing Leigh's voice, Kelli begins pounding on the
wall...
190 INT. BEDROOM - NIGHT 190

Leigh attempts to discern Kelli's position, listening to
the KNOCKING within the wall. Leigh places her ear to the
wall for one final check.
Leigh rears back with the dumbbell and smashes the
wall...
191 INT. ATTIC - NIGHT - THE BURNING CANDLE 191

On the floor, near the lip of the wall... rolls with the
concussion of the dumbbell impact.

SMASH! Again, until finally, a hole is created...

Looks up...
KELLI'S POV - UP THE WALL
The interior of the wall is very dark, except for the
faint amber glow of the candles high above in the attic.
A faint patch of light spills from the hole Leigh created
in the wall.
KELLI
Looks up...
KELLI
LEIGH! I'M DOWN HERE! BELOW YOU!
105.

Moves to the wall to look into the hole.
Suddenly a male arm flies out of the hole and grabs
Leigh, wrapping around her neck and pulling her to the
wall.
HOLE IN THE WALL
CAMERA SWEEPS IN TO REVEAL BILLY LENZ. His yellow eyes
intense as Leigh escaping his grasp.
LEIGH
the wall ERUPTS as Billy's other arm POUNDS through the
wall. His hand grab at Leigh's eyes, trying to pull them
out.
She struggles, battles, then manages to swing the
dumbbell up upon the clutching arm.
HOLE IN THE WALL - BILLY
YELPS!
LEIGH
In the momentary easing of his grasp, pulls away. Holding
the dumbbell, she tears out of the room.

Looks down...
KELLI'S POV - AGNES
Climbs up toward her...
KELLI
Looks up...
KELLI'S POV - UP THE WALL
Through the light in the wall, sees another form. It
turns within the wall with the ease of a cockroach. In
the dim light, Billy's face looks directly toward her...
KELLI
SCREAMS!
BILLY
As he starts toward her...
106.

Leigh bounds down the stairway and toward the hallway...

CAMERA LEADS Leigh as she opens a door...
LEIGH
KELLI!?
Within the walls, muted POUNDING! It appears to be in the
other room. Leigh moves on...
198 INT. WITHIN THE WALLS - NIGHT - LOW ANGLE 198

Agnes scales the wall, growing closer to Kelli, who tries
to move, but cannot.
HIGH ANGLE - BILLY
crawls toward Kelli, below him...

Leigh races to the next door. As she opens it, a form
appears to be waiting for her. Leigh SCREAMS!
It is the laundry room. Some clothes hang near the door.
Leigh brushes them aside and moves to the wall. Kelli's
SCREAMS seem to be directly on the other side.
KELLI (O.S.)
LEIGH! LEIGH! THEY'RE COMING!
Leigh realizes she does not know Kelli's exact location.
Leigh taps the wall, tries to locate Kelli's position...
KELLI (O.S.) (CONT'D)
HURRY!
On reflex, Leigh rears back and swings the dumbbell
toward the wall.

A foot from her head, the wall buckles. CRACKS.
107.
201 INT. ATTIC - NIGHT - THE CANDLE 201

Rocks... rolls toward the discarded wrapping paper. It
catches fire.

BAM! The wall buckles again!
KELLI'S FOOT
Agnes is close enough to reach for it.
BILLY
out of a nightmare... crab crawls toward her.
203 INT. LAUNDRY ROOM - NIGHT - LEIGH 203

BASHES THE WALL! She makes it through the wall. Her
intensity increasing, she wildly drives the dumbbell
through the wall, increasing the size of the hole.
204 INT. ATTIC - NIGHT - THE BURNING WRAPPING PAPER 204

Ignites the Christmas tree...

Tries to pull at the wood, tearing it away.
206 INT. LAUNDRY ROOM - NIGHT - LEIGH 206

Likewise, pulls at the wood, increasing the hole...
207 INT. WITHIN THE WALLS - NIGHT - AGNES 207

Grabs Kelli's foot...
KELLI
SCREAMS...
208 INT. LAUNDRY ROOM - NIGHT 208

Leigh reaches into the wall and grabs Kelli. Leigh starts
pulling her out...
108.
209 INT. WITHIN THE WALLS - NIGHT - BILLY 209

grabs Kelli's hair. He pulls upward...
210 INT. ATTIC - NIGHT - THE CHRISTMAS TREE 210

Aflame, wilts, melts under the heat. It topples... into
the space beneath the walls...
211 INT. WITHIN THE WALLS - NIGHT - LOW ANGLE 211

The tree falls toward CAMERA...
212 INT. LAUNDRY ROOM - NIGHT 212

With all her remaining strength, Leigh pulls Kelli from
the wall, just as Agnes appears from below and Billy,
upside down, from above... still within the wall. Billy
reaches to get out of the hole just as...
Leigh and Kelli fall to the laundry room floor and the
hole within the wall erupts with flame!
LEIGH AND KELLI
Race out of the room...
IN THE HOLE
A frame within the wall, is enveloped with flame. As
Billy and Agnes SCREAM...

Leigh and Kelli SLAM the door behind them. From the room
across the hall, they jamb a chair beneath the doorknob,
or obstruct the threshold with a bureau in the hallway.
In either case, Billy and Agnes are locked in the room.
As Leigh helps Kelli hustle off toward the living room...
214 INT. LAUNDRY ROOM - NIGHT - A CHRISTMAS ORNAMENT 214

From the fallen tree, lies on the floor, dotted with
blood and reflecting the angry flames within the wall.
As Billy and Agnes continue to SCREAM...
OVERLAPPING... a smooth country jazz guitar begins Eddie
Arnold's "Santa Claus is Coming to Town..."
109.
Through the DISSOLVE... what appear, initially to be

Christmas lights, are indeed stobbing red siren lights...
DISSOLVE TO:
215 EXT. HOSPITAL - NIGHT - EMERGENCY MEDICAL VEHICLES 215

The lights flash and spin, yellow, red and white, from
many types of emergency vehicles. Police cars...
216 INT. CORRIDOR - HOSPITAL - NIGHT - A CHRISTMAS TREE 216

Sits atop a nurses' station desk. "Santa Claus is Coming
to Town" plays from the intercom.
WIDER
CAMERA IS MOVING DOWN THE HALLWAY. The hospital is
chaotic due to events at Phi Kappa and the ice storm.
STAFF, NURSES, DOCTORS and E.M.T.S are crisscrossing the
FRAME...
A REVERSE
REVEALS Leigh moving down the hallway with a thousand
yard stare. Her face displays some small lacerations,
which appear to have been treated. She wears her coat and
holds an 8x10 manila envelope.
She looks up, checks a room number...
217 INT. HOSPITAL ROOM - NIGHT 217

This is a two bed hospital room. An ELDERLY MAN sits up
in bed as family members gather around the bed,
exchanging Christmas presents. The family appears happy
and are LAUGHING. In the b.g., the TELEVISION is on
LOW...
As Leigh enters, however, they turn respectfully quiet,
as if aware she was involved in the evening's horrific
events. Leigh eyes them, forces a smile and continues
across the room.
BEYOND THE CURTAINED DIVIDE
The foot of a bed is in the F.G. as Leigh appears from
the other side of the curtain and holds.
CAMERA PULLS BACK as she crosses and sits beside Kelli,
who is in the bed, ear is bandaged and appearing sedated.
110.
The women look to one another. Leigh lifts her hand,

moving it toward Kelli who reaches up and clenches
Leigh's hand. Leigh's tone is low as she places the
manila envelope on the night table beside Kelli's bed.
LEIGH
Your family will be here in a couple of
hours. They're bringing you some clothes.
Kelli nods.
LEIGH (CONT'D)
These are the things you had on you when
they took you to the emergency room.
Kelli nods, sighs, then looks to Leigh, who averts her
eyes and unconsciously shakes her head. Neither know how
to pose the question which, both understand, is
unanswerable.
KELLI
They must have been in the house since he
escaped.
LEIGH
We'll never know, Kelli. How could we
ever know, now?
Kelli averts her eyes. Leigh considers, shrugs.
LEIGH (CONT'D)
I think... maybe... they were doing the
same thing as me and Clair.
Kelli doesn't understand, reacting with denial...
LEIGH (CONT'D)
This Christmas... they came back home,
looking to find their family. But, you
don't need to find them... for the same
reason you can't escape them.
(without sentiment)
They're always there.
Kelli averts her eyes. O.S., in the adjacent cubicle, the
television interrupts for a news report about the events
at Phi Kappa Sigma, earlier this evening.
Kelli and Leigh tense. Leigh reaches into her coat and
removes Clair's wrapped present.
LEIGH (CONT'D)
I'll never be able to open this in front
of my sister. So... I'll open it in front
of you.
Kelli reaches out holds Leigh's forearm, comforting. As
Leigh tears open the present...
111.
TELEVISION (O.S., V.O.)

Fifteen years after William Edward Lenz's
Christmas massacre, horrific tragedy
strikes again at the same house.
Both appear to ignore the report; their focus on the
present.
TELEVISION (CONT'D, O.S.,
V.O) (CONT'D)
Details remain sketchy this evening, but
Grafton County officials have confirmed
that the remains of ten people, eight
female and two males, have been found
dead at the burned remains of the Phi
Kappa Sigma sorority near the campus of
Clement University.
(beat)
Details are sketchy... however, there
appears to be confusion in that one a
skeletal remains of a male appears to
have been buried beneath the house,
perhaps for some time...
Behind the curtain, the family must hear them crying as
they whisper...
HOSPITAL VISITOR (O.S.)
Turn that off. They don't want to hear
that.
The television turns off. The immediate room is silent.
In the hallway, Christmas MUSIC plays. It feels eerie.
Leigh's eyes fill with tears before the paper is removed
revealing a jewelry box. A beautiful watch is inside.
Leigh removes the watch, emotional. She turns it over...
CLOSE - BACK OF THE WATCH
An inscription... "Let's make up for lost time."
KELLI & LEIGH
Leigh begins crying. Kelli sits up and holds her.
Then... O.S... a cell ringtone... "Dance of the Sugar
Plum Fairy." It is coming from inside the manila
envelope.
CAMERA INCHES BACK... then holds as the TONE continues...
KELLI
Must be my parents.
Leigh hands Kelli the manila envelope. She opens it and
removes the phone. Kelli freezes as she looks at the
caller I.D. display.
112.
CAMERA SWEEPS IN TO the display... "KYLE AUTRY'S CELL."

RETURN
Kelli holds the phone in her hand as the "Sugar Plum
Fairy" continues RINGING. Leigh's eyes are locked on the
phone, also. Both women are so afraid as to appear
emotionless...
CAMERA PULLS BACK as the RINGTONE continues. There is not
a SOUND, except the "Dance of the Sugar Plum Fairy."
CAMERA CONTINUES PULLING BACK, then as if passing through
the glass of Kelli's hospital room... is outside, looking
into the room.
218 EXT. HOSPITAL - NIGHT 218

CAMERA is several stories high, looking through the
window, framed with Christmas lights. The phone continues
RINGING, HEARD at the volume inside the hospital room.
Once outside, the wind WHISTLES... the storm settling.
CAMERA now RISES, leaving Kelli and Leigh, still staring
at the phone. They CLEAR FRAME as CAMERA CONTINUES TO
RISE UP a brick wall until eight plastic illuminated
reindeer and a Santa Claus appear on the roof against the
dark snowy sky.
Seeing when you're sleeping. Knowing... when you're
awake.
FADE OUT:

Black Christmas

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BI,ACK CHRISTMAS

Based on the film

ober t9, 2005

2 INT. HOUSE - NIGHT - CLOSE - A TREE ORNAMENT 2

She stands, drunk, and moves toward the Evergleam pink

3 INT. LIVING ROOM - NIGHT - (1975) 3

THROUGH THE TREE BRANCHES

4 INT. BILLY'S ROOM - NIGHT (1975) 4

5 INT. CLOSET - NIGHT (1975) 5

CLOSE - A GIFT TAG

6 INT. BILLY'S ROOM - NIGHT - (1975) 6

7 INT. UPSTAIRS HALLWAY - NIGHT - (1975) 7

8 INT. PARENTS' BEDROOM - NIGHT - BASE OF THE BEDROOM DOOR 8

Another pair of male shoes, those of his mother's LOVER,

9 INT. BILLY'S ROOM - NIGHT - (1975) 9

10 INT. CLOSET - NIGHT 10

11 INT. BENEATH BILLY'S HOUSE - NIGHT - (1975) 11

12 INT. INTERIOR OF THE WALL - NIGHT 12

13 INT. LIVING ROOM - NIGHT 13

14 INT. ATTIC - BILLY'S HOUSE - NIGHT 14

15 EXT. UPSTAIRS HALLWAY - NIGHT - CLOSE - ATTIC DOOR 15

16 INT. ATTIC - BILLY'S HOUSE - NIGHT - BILLY - (1982) 16

17 INT. STAIRWAY - NIGHT 17

18 INT. BEDROOM - DAY - A BASSINET - (1983) 18

LOW ANGLE - BILLY'S MOTHER & STEP FATHER

19 INT. ATTIC - BILLY'S HOUSE - NIGHT - (1991) - BILLY'S 19

20 INT. UPSTAIRS HALLWAY - NIGHT - (1991) 20

21 INT. ATTIC - BILLY'S HOUSE - NIGHT - (1991) - AN ENVELOPE 21

22PT EXT. NEIGHBORHOOD HOME - DUSK - TELESCOPE MATTE 22PT

23 INT. LIVING ROOM - NIGHT - (1991) 23

As the mother stands and moves off toward the kitchen,

24 INT. KITCHEN - NIGHT - (1991) 24

25 INT. LIVING ROOM - NIGHT (1991) 25

LOWER ANGLE - BILLY'S MOTHER

26 INT. UPSTAIRS HALLWAY - NIGHT - (1991) 26

27 INT. ATTIC - BILLY'S HOUSE - NIGHT - (1991) - TRAP DOOR 27

28 INT. UPSTAIRS HALLWAY - NIGHT - (1991) 28

29 INT. STAIRWELL - NIGHT - EXTREMELY LOW ANGLE - THE 29

30 INT. LIVING ROOM - NIGHT 30

31 INT. KITCHEN - NIGHT - (1991) 31

As the oven opens... the hollow radio plays the beautiful

32 INT. LIVING ROOM - NIGHT - (1991) 32

33 EXT. FRONT YARD - SORORITY HOUSE - NIGHT 33

CLOSER - BESIDE THE FRONT DOOR

From the dim spill of the decorative lights, it is

34 INT. ATTIC - SORORITY HOUSE - NIGHT 34

35 INT. UPSTAIRS HALLWAY - NIGHT - ATTIC TRAP DOOR 35

36 INT. CLAIR'S ROOM - NIGHT - CLOSE - A WINE CORK 36

CLAIR'S POV - THE DRY CLEANING PLASTIC BAGS

37 INT. LIVING ROOM - NIGHT - UNDER THE TREE 37

A touch tone house phone ENTERS FRAME... It RINGS;

38 INT. ATTIC - SORORITY HOUSE - NIGHT 38

39 INT. LIVING ROOM - NIGHT 39

40 INT. UPSTAIRS HALLWAY - NIGHT 40

41 INT. MEGAN'S ROOM - NIGHT 41

42 INT. UPSTAIRS HALLWAY - NIGHT 42

43 INT. LIVING ROOM - NIGHT 43

Wearing a coat and duffel bag over her shoulder, Eve

MS. MAC (CONT'D)

44 INT. MEGAN'S ROOM - NIGHT - THE HOLLY WREATH 44