HIDER IN THE HOUSE
an original screenplay
by
Lem Dobbs
September 9, 1987
EXT. RESIDENTIAL STREET - DAY
On a very lovely street in a very nice neighborhood, Tom
Sykes, THE HIDER, is out for a walk. The Hider is a man
who blends in well with his surroundings. A good-looking
man in his thirties. To look at him, you wouldn't know
there was anything wrong...
The Hider walks with such strange grace that he could be
on a conveyor belt, a variety of neighborhood houses
passing him by, one style after another.
Sunlight and shadow play over the Hider's face as he walks,
filtered through the lush trees and greenery all around.
Then the hedge he's walking past ends and the next house
makes him stop. Because it isn't a house yet. It's a
half-house. A house under reconstruction. Part built,
part torn down, part finished, part matchstick frame. An
evolving house, with a swarm of workmen all over it,
hammering, sawing, drilling.
The Hider stands and watches awhile.
CUT TO:
EXT. THE HOUSE - EVENING
The workmen have gone. The Hider enters the house from the
back where it's all completely open without doors or
windows.
INT. THE HOUSE
The Hider explores in the waning light. There are building
materials about. He runs his hand over a pile of bricks.
He looks at some wooden boards and planks leaning against
a wall. WIND HOWLS through the dark house.
He tries the tap on a newly installed sink. Water gushes
out.
Where the main stairway will be is now only a ladder. The
Hider climbs it to the next floor. There are a number of
rooms; a hallway to more rooms. On a worktable are some
plans and blueprints. The Hider looks at them.
Behind a door is a narrow little stairway. The Hider goes
up it to --
THE ATTIC
A fairly large attic, with a small window at one end. The
attic is a part of the house that has remained pretty much
untouched.
The Hider looks up.
EXT. THE ROOF
A trap door is opened. The Hider climbs out from the
attic. He surveys the scene from up here. Below in the
backyard there's an empty swimming pool, a partially
completed patio, piles of dirt.
Because the house itself has many curves and corners and
levels, so does the roof. The Hider jumps down to another
section and teeters for a moment where there's a gaping
hole (where the skylight will be). He catches himself.
The hole goes right through the house all the way to the
ground floor.
INT. THE ATTIC
The Hider drops back in from the roof. He goes to the
small window and looks out over the front street and
neighborhood. The Hider feels tired. He lies down on the
attic floor and curls up.
MAIN TITLES BEGIN.
CUT TO:
MONTAGE - EXT./INT. MAIN TITLE SEQUENCE
In which we SEE the gradual progress of the house as it
grows toward completion -- juxtaposed with the activities
of the Hider as he follows his own secret agenda:
We SEE builders carefully fit a big skylight into place
over that hole in the roof.
We SEE how the Hider spends his days -- in a library,
studying diagrams in a book on Home Improvements.
We SEE him in the house at night, up in the attic, working
on the floor in some way, hunched so we can't see. He's
draped a black cloth over the attic window and is
surrounded by candles.
We SEE the house taking shape. Carpenters finishing a
staircase.
We SEE the Hider eating alone in a simple cafeteria.
We SEE the back of the house at night. The Hider appears
over the edge of the roof, rappelling down on a rope,
making little toeholds in the wall as he goes. CHINK-CHINK
with a small hammer, the SOUND MUFFLED by cloth. The house
is quite private from the view of its neighbors, and the
section of wall the Hider has chosen for his secret ladder
is further shadowed by being an indented corner.
We SEE plumbers at work and painters arrive.
We SEE the Hider cashing his disability insurance check at
a check-cashing place.
We SEE the house further along. Painters painting.
Electricians wiring. Landscape gardeners planting.
We SEE the Hider returning to the house at night, emerging
out of shadows. He goes to his special corner, looking
around -- and starts climbing. His hands and shoes finding
the chinks in the wall only he knows are there. In LONG
SHOT, if we see the figure climbing fly-like up the side
of the house at all, it's only because we know he's there.
We SEE locksmiths installing locks on doors. Not that it
will do any good now.
We SEE the Hider drop silently to the ground at night.
Newly planted vines help hide his descent even more and
cause natural shadows to move on the side of the house in
the breeze of the night. The Hider walks down into the
empty pool. He stands in the middle of it. There's a full
moon. The Hider spreads his arms as if to float backwards.
SPLASH! We SEE the Hider backstroking off one end of a
long swimming pool. He rolls in the water and swims to the
other end where he climbs out. The Hider is strong and
powerfully built. He retrieves a towel from a bench. The
towel says "YMCA."
We SEE the Hider at his YMCA locker, after having a shower.
Inside is everything he owns in the world. The locker is
packed with stuff.
We SEE the house nearing completion. Two men with
clipboards walk around, checking final details.
They go up to the attic. Everything looks fine. They go
back down, closing the attic stairway door.
We SEE the Hider at a booth in a coffee shop, sketching a
diagram in a notebook while he eats.
We SEE the house is done. And here the MAIN TITLES PAUSE.
Because we are almost at the end of our set-up now. Just
one more important job to be taken care of.
EXT. THE HOUSE - DAY
It's RAINING. The house is all finished. There are no
more trucks parked on the street. No more rubble in the
driveway. Nothing abnormal to set the house apart from any
others on the street. The house is still and peaceful in
the rain and part of the neighborhood.
EXT. BACKYARD
The swimming pool has now been filled with water. And
RAINDROPS pound into it.
INT. THE HOUSE
The rooms are stark and empty. White walls. Shiny wood
floors. Light reflected off their smooth surfaces. Coming
through the bare windowpanes.
RECEPTION HALL
Here by the solid front door, the house is an invitation.
The hallway leading deeper in. Doors to rooms. The
stairway to the next landing. The skylight over all, RAIN
spattering up there on the thick glass.
The only other NOISE, indistinct, is coming from the attic.
THE ATTIC
The Hider has the house to himself now. He's finishing his
wall -- a false wall at the far end of the attic. The real
wall goes straight for a while then juts off at an angle
to form a sort of alcove. The Hider has bricked off this
alcove, giving the illusion of one straight wall running
the length of the attic.
THE ATTIC - LATER
The rain has stopped. Now the Hider is plastering his
wall.
THE ATTIC - LATE AFTERNOON
The Hider is taking a breather. He stands looking out of
the small attic window as he eats a sandwich. To the
right, he sees a NASTY NEIGHBOR yell at some Kids who've
come to retrieve their ball from his property. The Nasty
Neighbor kicks the ball away as hard as he can. On the
left, a car pulls into the driveway of the other
neighboring house. A mother (the NICE NEIGHBOR) bringing
her kids home from school -- a Boy and a Girl. Another boy
comes by on a bike, pausing to talk to the first Boy. At
a house across the street, the Hider hears a DOOR SHUT and
sees a Cleaning Woman in a white uniform walk away along
a path.
THE ATTIC - NIGHT
The Hider stands back to look over his handiwork. The
false wall is now indistinguishable from the real wall.
Such a good job that one wonders why the Hider built it,
why he's cut off the extra space behind it, apparently
without access...
... but wait. He's made a secret panel in the floor. By
pushing down in a certain way then sliding away a section
of floorboard, a hole is revealed, cut large enough to fit
him like a coffin. He lies in it, covering himself up with
the sliding floorboard again, which CLICKS neatly back into
place, and --
BEHIND THE FALSE WALL
-- as he rolls under the wall, coming up out of a similar
trap on the other side. He slides a floorboard cover into
place over it. He pulls down a foam mattress that he's cut
to size and blankets from where they've been hooked up.
He props up two pillows in place and sits against the front
wall beyond which is the street. He looks over his
shoulder, pulling the lever of a second vent he's installed
in this wall for air and to enable him to look out over the
street. Across the way, a mailman delivers mail to houses.
A woman walking her dog says hello to the mailman. The
Hider looks forward again. He's made a shelf or two for
himself. There are a few books, some snacks, a Thermos and
plastic bottles of water. He has a few other things. He
has a lantern and a flashlight.
The space here is big enough for him to lie down with his
arms at his sides, or to stand comfortably. Like a monk
in his cell, it's a room of his own.
THE ATTIC - DAY
Silent. Empty. The Hider behind the wall.
EXT. THE HOUSE - DAY
Oh, and one last thing... a "FOR SALE" sign out in front.
MAIN TITLES END.
CUT TO:
EXT. A KEY - DAY
Turning in the front door.
INT. THE HOUSE
A REAL-ESTATE LADY comes in with a Yuppie Couple.
REAL-ESTATE LADY
-- and it's been done up so
beautifully, you're lucky to be
the first people to look at it.
It's my personal favorite of all
of our homes.
They step into the light of the reception area, their heads
turning up instinctively to the skylight.
INT. HIDER'S SECRET ROOM
The Hider looks tense. And displeased. His privacy has
been disturbed. There are strangers in his house.
INT. KITCHEN - DAY
FOOTSTEPS approaching.
WOMAN'S VOICE
-- then there's the kitchen, which
has been entirely remodelled.
She comes in and we SEE that it's a SECOND REAL-ESTATE
LADY -- with an Older Couple this time.
The wife goes to the sink and turns the tap. She jumps
back in fright as it SPITS violently and no water comes
out.
SECOND REAL-ESTATE LADY
(going over)
That's strange. I what
could be wrong here.
INT. BATHROOM - DAY
Another Couple have tried a tap, and this time the faucet
has burst -- exploding water at them.
INT. THE HOUSE - DAY
Ouch! A Single Man scratches his arm on a nasty splinter
as he goes through a doorway.
EXT. PATIO - DAY
As he comes out, the door now comes unhinged, falling on
him.
INT. MAIN STAIRWAY - DAY
Two Men are led upstairs. Along the way, one of them
notices a large patch of dampness on the wall and brings
it to the attention of his friend.
EXT. THE ROOF
Spreadeagled on the roof as he peeks down through the
skylight... the Hider.
INT. HALLWAY - DAY
A Black Couple are being taken through the house. Suddenly
the wife notices something on the floor as they pass -- a
"Roach Motel." She and her husband look at each other
distastefully.
INT. SUPERMARKET - DAY
The Hider looks over a display of meat. He selects a
steak.
INT. THE HOUSE - DAY
The Hider puts the steak away -- underneath the floor of
a room.
INT. HALLWAY - DAY
A Fat Couple are sniffing the air as they follow a
REAL-ESTATE MAN. The Real-Estate Man opens the door to a
room -- and a cascade of flies swarms out.
EXT. THE HOUSE - DAY
The Fat Couple hurry out, handkerchiefs over their noses,
chased by the upset Real-Estate Man.
REAL-ESTATE MAN
-- in all new houses there are
certain kinks to be ironed out.
CRANE UP to that vent in the wall at the very top of the
house.
INT. HIDER'S SECRET ROOM
He watches the Fat Couple leaving. His expression says:
"Yeah, that's it, go away, go away, you awful people."
CUT TO:
EXT. THE STREET - DAY
A car approaches the house.
INT. AN UPSTAIRS ROOM
The Hider is lying on the floor in a patch of sunlight.
When he hears the CAR PARK and DOORS OPEN, he stands up in
one quick movement and goes to the side of the window.
EXT. HOUSE
The original Real-Estate Lady has come out of the car.
While from the other side of the car emerges --
JULIE DREYER
A beautiful woman. She gets out of the car with an
extraordinary grace.
She smooths her skirt with one light brush of her hand.
She turns to look at the house, afternoon sunlight falling
on one side of her face.
THE HIDER
His face moving closer to the window, though keeping to the
side in shadow.
THE HIDER'S FACE
A look we haven't seen before. A look of fascination.
He's smitten.
JULIE DREYER
Walking toward the house now, glancing gently from side to
side, almost gliding.
THE HIDER
steps back from the window, instinctively neatening his
hair.
INT. DOWNSTAIRS
The front door opens and the Real-Estate Lady and Julie
come in.
JULIE
It's been on the market a while,
hasn't it?
REAL-ESTATE LADY
Not very long. There have been
a couple of bids already.
JULIE
Because it caught my eye when it
was in a higher price bracket in
the listings.
REAL-ESTATE LADY
Oh, yes, well, you know, when
developers remodel a house they
often overestimate their costs at
first. It's not like it's been
marked down or anything.
JULIE
(a sly look)
Just reduced.
REAL-ESTATE LADY
(concedes with a
shrug)
Sometimes they prefer a quicker
return on their investment.
JULIE
This is a terrific entrance hall,
What a welcoming feeling.
REAL-ESTATE LADY
Isn't it?
Julie steps on a floorboard that CREAKS, but it doesn't
seem to bother her. It's clear her first impressions of
the house are very good.
INT. UPSTAIRS - DAY
Julie and the Real-Estate Lady come up.
REAL-ESTATE LADY
You'll see that there's really
much more space than the average
three bedroom.
JULIE
Oh, space! -- You said the right
thing.
REAL-ESTATE LADY
How large is your brood?
JULIE
Two -- three if you count the
husband.
REAL-ESTATE LADY
We must always count the husband.
By my count there've been... four.
But I still live in hope.
Julie is looking around, still liking what she sees. She
goes into the room the Hider was in.
INT. ROOM
Of course he's not here now. Julie walks around the
room.
JULIE
Well, Phil wasn't sure he wanted
us to be this far outside the
city. But we have friends around
here and something told me I
should take a look at this house.
I want to be somewhere surrounded
by green.
The window the Hider was at has been opened, the
branch of a tree swaying outside it, and Julie takes a
breath, the air fresh and sweet.
JULIE
(continuing)
... I just had a feeling.
She walks around the room, almost a waltz in beauty. She
comes to the closet. She opens the door and looks in, left
and right. It's quite empty.
INT. HIDER'S SECRET ROOM
Above the front bedroom that Julie is in. The Hider is
crouched on the floor, a look of contentment on his face.
his cheek against the wood like a caress.
CUT TO:
INT. THERAPIST'S OFFICE - DAY
The Hider is sitting in a chair.
THERAPIST
How's the new place?
HIDER
It's great. It's clean and airy
and quiet -- there are trees and
flowers. There's still some
fixing up I have to do, but it's
coming along.
THERAPIST
And the rent is okay?
HIDER
Oh, it's nothing. No problem.
I was really lucky to find this
place.
THERAPIST
All right then. That's important,
isn't it? -- For you to be in an
"up" environment. I'm saying you
should literally take that as your
base, do you know what I mean?
It's something positive that
you've accomplished -- even if you
were forced by circumstance --
something for you to build upon.
HIDER
(nodding)
Right.
THERAPIST
And what about work? Have you had
any more thoughts about what you'd
like to be doing now?
HIDER
Well, I've been doing a little
independent contracting, some
carpentry here and there, y'know,
do-it-yourself-type stuff. I
still find it very soothing.
THERAPIST
I'm happy that you're working
again. As long as it comes
naturally, that's terrific.
You've always liked working with
your hands, haven't you?
HIDER
Yeah, since I was a kid. I had
a woodwork class once when I
was... in school that time. Then
I learned a lot more when I was
in the --
THERAPIST
-- hospital.
HIDER
-- institution.
THERAPIST
Right.
(shuffles paper)
So, you have a new place, you've
started working a bit -- I'm sure
you'll be meeting some new people.
HIDER
Actually, I have met someone.
There's a woman I think I like.
THERAPIST
Oh, good -- well, I hope you'll
have more to tell me next time.
CUT TO:
INT. ATTIC STAIRWAY - DAY
A twelve-year-old boy, NEIL DREYER, rushes up the steps to
the attic.
INT. HIDER'S SECRET ROOM
The Hider watches through the vent as Neil runs around the
attic in a circle then runs out again.
DOWNSTAIRS
Neil runs down the stairs and past Julie, who's with the
Real-Estate Lady, and past --
PHIL DREYER
Husband and father, who turns around as Neil zooms past.
PHIL
Neil, calm down.
JULIE
Neil, don't leave the back doors
open -- I don't want Holly near
the pool.
PHIL
We'd have to get one of those
sliding covers for the pool.
The Real-Estate Lady glances with a smile at HOLLY DREYER,
five years old, wandering around in the next room.
REAL-ESTATE LADY
Yes -- they're quite inexpensive
and easy to install.
PHIL
(taking Julie aside,
to Real-Estate Lady)
Do you mind if we --
REAL-ESTATE LADY
Please -- take as much time as you
want.
The Real-Estate Lady goes to be with Holly while Phil leads
Julie into the living room. On the way, Julie happens to
notice that the creaking floorboard doesn't anymore.
LIVING ROOM
Phil paces around.
PHIL
Julie, I just don't think we can
afford this house.
ZOOM to an air-conditioning vent in a wall behind them.
INT. HIDER'S SECRET ROOM
The Hider is listening on an intercom he's obviously set
up.
HIDER
(mouths the word to
himself)
... "Julie"...
INT. LIVING ROOM
Julie remains still and calm as she watches her husband
walk nervously around her.
JULIE
I hear what you're saying, but I
know what you're thinking.
PHIL
What?
JULIE
You're thinking exactly what I
thought when I first saw this
house,
PHIL
What's that?
JULIE
This -- is -- the -- one -- for
-- us.
PHIL
Stop knowing me so well.
JULIE
I know it's at the high end of our
range --
PHIL
High end? Honey, it's a whole new
budget.
JULIE
But it's what we want.
PHIL
You wanted furniture too, didn't
you?
JULIE
They don't expect to get what
they're asking. Let's make an
offer.
PHIL
You want me to bargain at the high
end of our range? -- I'll have
a stroke. I've got to save all
my sweat for my meeting in three
weeks.
JULIE
You could have a pool to cool off
in.
PHIL
(looks out at pool,
nodding)
It's a nice pool, isn't it?
JULIE
And it's a shorter commute.
PHIL
It'll be even shorter if I get
that new job. Come on.
Phil takes her hand and walk out of the room.
EXT. POOL - DAY
Neil kneels by the pool, splashing his hand in the water.
JULIE AND PHIL
Standing back further in the garden, regarding the house
from this viewpoint. Little Holly plays on the grass near
them.
JULIE
Let's do it. Take a
breath and -- and if we're
over our heads, well, we'll
sell it. Philip, this is our
house. You know it is. It's our
house.
Phil is nodding to himself now, her enthusiasm turning him
on. Finally he gives in.
PHIL
All right, but look, we can't say
anything to this shark lady now,
okay? We have to play it real
cool.
OTHER SIDE OF FENCE
The Nasty Neighbor, watering his yard, notices them,
particularly Julie, and stares.
JULIE AND PHIL
Starting back to the house.
JULIE
What if someone else buys it in
the meantime?
PHIL
Honey, nobody buys a house
overnight -- if someone else comes
back at them, well, we might have
to make a counter offer. But we
can't look too eager or we'll get
screwed.
THE POOL
The Real-Estate Lady stands by Neil.
REAL-ESTATE LADY
So you've seen a lot of houses
then?
NEIL
Yeah, a bunch, but my mom really
likes this one. She was all
excited when she saw it and got
my dad all excited when she told
him about it. He's sick of
looking already.
JULIE AND PHIL
Strolling back, trying to look cool.
NEIL
Are we gonna buy this house?
PHIL
Do you have enough money?
JULIE
(to the Real-Estate
Lady)
We're going to think about it.
PHIL
It's very nice, but it's still a
little pricey for us.
REAL-ESTATE LADY
(as they go back
inside)
Well, Mr. Dreyer, I don't have to
tell you what an important
investment a house is.
PHIL
Actually, I never recommend
property to my clients as merely
a good investment. There are
bonds that can serve just as well.
A house for me is a place I want
to live and raise my family in.
INT. DOWNSTAIRS ROOM
There's something shiny on the floor. We HEAR them COMING
BACK in. Holly appears, notices the shiny thing, comes to
pick it up.
INT. HALLWAY
Holly comes running out of the room.
HOLLY
Mommy, Mommy, Mommy!
Julie sweeps her daughter up in her arms.
HOLLY
(continuing)
I found a cent!
JULIE
"Find a penny, pick it up, all day
long you'll have good luck!"
INT. HIDER'S SECRET ROOM
Straining to hear the SOFTLY CRACKLING VOICES on his
intercom, he's thrilled that she got the point and shares
common folklore with him. He goes "Yeah!" to himself.
INT. DOWNSTAIRS
Holly shows the Real-Estate Lady the penny.
HOLLY
Look at my coin!
REAL-ESTATE LADY
Must be a good omen, sugar.
As if on cue, some birds alight on a sunny windowsill
nearby and start chirping. Julie is delighted, turning
Holly to show her.
JULIE
Must be.
NEIL
tugs his father's arm.
NEIL
Dad, we can't decide unless Rudolf
gets to look too!
PHIL
(to Real-Estate Lady)
Would you mind if Rudolf had a
look too?
REAL-ESTATE LADY
By all means, let's Rudolf's
opinion.
Neil flings open the front door -- and Rudolf comes
charging in -- barking!
INT. HIDER'S SECRET ROOM
The Hider's eyes go wide in alarm.
INT. HOUSE
Rudolf races right up the stairs!
UPSTAIRS HALLWAY
Rudolf rushes toward the attic doorway, his paws sliding
on the new floor. He barks.
DOWNSTAIRS
Phil shouts upstairs:
PHIL
Rudolf, get down here!
WOOF-WOOF! Rudolf reappears. comes charging downstairs,
goes running right through the house and --
EXT. BACK PATIO
The stupid dog runs right outside and jumps straight in the
pool.
HOLLY
Oh, gross!
NEIL
It's okay -- Rudolf likes the
house!
PHIL
Hey, c'mon now, get him out of
there! -- This isn't our house
yet.
EXT. FRONT OF HOUSE - DAY
The family is leaving. Phil whispering an aside to Julie.
PHIL
How were we -- were we cool?
JULIE
Paul Newman in "The Hustler."
PHIL
Good -- that's what I was trying
to project.
JULIE
takes a last look over her shoulder, noticing more birds
at another window. A lyrical scene that charms her.
INT. HIDER'S SECRET ROOM
Lying looking out his vent at her, the Hider bites his hand
with glee.
CAMERA PANS BACK from him to his shelf... where sits a
packet of bird seed.
CUT TO:
EXT. THE HOUSE - EVENING
The Hider, walking by again, sees that a "SOLD" sticker has
been plastered onto the "FOR SALE" sign.
CUT TO:
INT. APPLIANCE STORE - DAY
The Hider is looking at telephones. He chooses one to buy.
CUT TO:
INT. THE HOUSE - UPSTAIRS BEDROOM - NIGHT
The Hider is in the house. Doing something at a telephone
jack. Then we SEE him unreeling a length of wire into the
closet, and we HEAR a DRILL.
INT. HIDER'S SECRET ROOM - NIGHT
He's run a wire up here and is now connecting it to the
phone he bought.
INT. HIDER'S SECRET ROOM - LATER THAT NIGHT
Now the Hider is relaxing on his mattress, his phone to his
ear. His call is answered.
ANSWER SERVICE
Dial Answer Service?
HIDER
Hi, this is Tom Sykes.
ANSWER SERVICE
Mr. Sykes? Let me see... there
were two calls for you today. One
from Dr. Levine at three o'clock
-- he'd like to reschedule next
week's appointment, if possible.
And the dry cleaners called and
said your jacket is ready.
HIDER
Oh, yeah, I forgot about that.
I've been real busy. I just got
a new phone installed, so I
thought I'd test it. Okay,
Claire, thanks a lot, talk to you
again.
ANSWER SERVICE
Goodbye, Mr. Sykes.
The Hider disconnects his phone.
CUT TO:
INT. HIDER'S SEORET ROOM - LATER THAT NIGHT
He's DRILLING again. Stopping, he blows away the dust and
presses his face down to the tiny hole he's made, squinting
to see if he can see anything through it. He sits up
again, wiping his brow,
INT. HIDER'S SECRET ROOM - DAY
He's asleep. Breeze enters through the outside wall vent,
rustling his hair. He's awakened by the SOUND of a CAR
parking in the driveway. He rolls over and pulls the lever
of his vent for a view outside.
EXT. THE HOUSE
Phil gets out of his car, smiling, holding his hand out.
PHIL
Come on, honey -- let's go play
in the new house.
INT. HIDER'S SECRET ROOM
He's all excited to see Julie again -- but then his face
drops.
EXT. THE HOUSE
Another woman has emerged from the car, taking Phil's hand
as he leads her to the front door. A very attractive,
toothy young woman. His SECRETARY.
INT. ENTRANCE HALL
They come in. The Secretary looking around. She has a
certain air of sophistication that makes Phil want to
swoon.
SECRETARY
Ooh, I like.
Phil starts hugging her. They both giggle.
INT. UPSTAIRS BEDROOM - DAY
They come in.
PHIL
And this -- is the master bedroom.
SECRETARY
Oh yeah? Where's the bed?
PHIL
Right over here.
The room is still completely empty, but he goes and
outlines where the bed will be.
SECRETARY
Is it a king or a queen?
PHIL
It's a double.
SECRETARY
Even better.
PHIL
(starting to nibble
her neck)
Even cosier.
SECRETARY
That's right -- you got the bill
this morning. I put it on your
desk.
PHIL
Thank you -- how efficient of you.
INT. HIDER'S SECRET ROOM
His face is to the floor, looking through the peephole he
made.
THROUGH THE PEEPHOLE
He sees the two of them dropping to the floor, Phil's hand
going up under his Secretary's skirt, helping her tug down
her pantyhose.
INT. HIDER'S SECRET ROOM
He recoils. He's disgusted by this. But more than that,
he's angry -- angry for Julie. She's married to this
bastard. The Hider gets more and more incensed as he
thinks about it.
INT. MASTER BEDROOM - LATER
Phil is on his feet again, buckling his pants. His
Secretary is pulling her pantyhose back on.
INT. ENTRANCE HALL - LATER
Phil and his Secretary on their way out, Phil pausing to
punch in the code on the security box.
PHIL
When we move in, everyone's going
to have to learn to work this
complicated security system.
EXT. THE HOUSE
Phil and his Secretary come out. Phil double-locks the
front door, proudly showing his Secretary the key to his
new house. His face flushed with contentment.
INT. HIDER'S SECRET ROOM
The Hider watches them leave. His face flushed with anger
and hatred.
CUT TO:
MONTAGE - INT/EXT. THE HOUSE - DAY
Moving day as the Dreyers move into their new house.
CUT TO:
INT. THE HOUSE - NIGHT
There are boxes and things in the entrance hall, and VOICES
coming from the living room.
INT. LIVING ROOM
The family cheers as a clear picture appears on a big color
TV and Phil emerges from behind it.
PHIL
Okay! We have TV! We can all get
stupid again!
NEIL
What about cable?
PHIL
We'll get cable when the cable
company is good and ready -- you
think you can survive till then?
NEIL
No.
JULIE
Gimme a break, Neil -- your father
just spent three hours connecting
the VCR.
Neil pushes a button to play a tape -- and we SEE Steve
McQueen in solitary confinement in "Papillion" or "The
Great Escape."
PHIL
All right, that's enough for one
day -- I want everyone up at the
crack of dawn. We have the whole
weekend to get this place in
shape.
Everyone moans, too excited to go to bed, as he turns off
the VCR and the TV and everyone upstairs.
CUT TO:
INT. NEIL'S ROOM - NIGHT
He dumps out of a box more cars, guns, soldiers and robots
than we've ever seen.
INT. MASTER BEDROOM
Phil looks out the window over his new street before
hanging up a sheet as a temporary curtain. It falls down.
INT. HOLLY'S ROOM
Julie sits on the bed, reading Holly a bedtime story.
JULIE
'"... or I'll huff and I'll puff
and I'll blow your house down!"
And inside their new house, the
three little pigs just laughed -- '
HOLLY
'Who's afraid of the Big Bad Wolf,
the Big Bad Wolf...'
INT. UPSTAIRS HALLWAY
Rudolf the dog sniffs at the closed attic door.
EXT. THE HOUSE - NIGHT
The "FOR SALE" sign is gone, of course. The Dreyers' two
cars are in the driveway. There are lights on in the
house. One by one they go out. And then... up in what
seems to be the attic... a single light... comes on.
CUT TO:
INT. DEPARTMENT STORE - DAY
The Hider is at a perfume counter.
SALESGIRL
Are you being helped, sir?
HIDER
I'm looking for some perfume.
SALESGIRL
Any particular brand?
HIDER
Well, it's for a woman.
SALESGIRL
(laughs, although the
Hider wasn't being
humorous)
Wife, girlfriend or mother?
HIDER
Oh -- uh -- girlfriend.
CUT TO:
INT. KITCHEN - DAY
Julie turns to her kids, who are finishing breakfast.
JULIE
C'mon, kids, let's go.
NEIL
(sarcastic)
"We don't want to be late for our
first day of school."
PHIL
(looking in
refrigerator)
All right, who ate the last piece
of cheesecake?
NEIL
I didn't.
He jabs his little sister in the ribs.
JULIE
Now, Neil. Stop teasing your
sister.
PHIL
(slams refrigerator
door)
Damn.
Holly turns her head, deadpan, as she watches her Dad walk
out of the kitchen.
EXT. DRIVEWAY - DAY
Phil walks from the house toward his car -- when he sees
the Nasty Neighbor kick a paper cup from his drive onto
Phil's.
PHIL
Hey -- uh, excuse me.
He goes over. The Nasty Neighbor turns around and stares
at him.
PHIL
(continuing)
I didn't kick this onto your
property.
Phil tosses it into a nearby brand-new garbage can on his
side of their common border.
PHIL
(continuing; holds out
his hand)
Phil Dreyer -- we just moved in
over here.
The Nasty Neighbor stares at him.
NASTY NEIGHBOR
I see you have kids -- and a dog.
PHIL
That's right.
NASTY NEIGHBOR
Just keep 'em quiet and away from
my property.
He walks away, muttering something under his breath. Phil
is stunned by this impoliteness -- as Julie comes out with
the kids and the dog, ushering them into her car, then
coming over to Phil.
PHIL
Did you hear that?
JULIE
What?
PHIL
Did you hear what he said?
JULIE
What?
PHIL
He made, you know, a remark.
JULIE
Honey, are you okay?
PHIL
-- And keep my kids away from his
property -- who the hell does he
think he is? Some nice
neighborhood.
JULIE
Honey, the meeting today is going
to be fine. Don't get in an
uproar.
PHIL
I know. It's just having to pass
muster with these juniors before
the senior partner even agrees to
see me.
JULIE
It's just a dumb game they play.
You want to be at a bigger firm,
get used to the politics.
NEIL AND HOLLY
(in b.g.)
MOM!
Julie gives Phil a hug.
JULIE
Kill 'em.
HIGH ANGLE
A VIEW DOWN on the driveway from, say, the attic of the
house. We SEE Phil give Julie a perfunctory kiss. He
waves to the kids as he goes to his car but first turns
to the garbage can, picks out the paper cup, and tosses it
over the Nasty Neighbor's fence.
CUT TO:
INT. JULIE'S CAR - DAY
She parks the car -- and turns to Neil.
JULIE
Good luck, kid,
Neil doesn't find that particular amusing. He looks with
a frown at where they've arrived -- his new school. He
reluctantly gets out of the car.
JULIE
(continuing)
Hey.
(leans for a kiss)
Have a nice time -- it's a good
school.
HOLLY
Bye, Neil!
NEIL
As Julie drives away, he turns around to see --
-- a terrifying, brutish kid staring malevolently at him
and making kissing sounds. This is the BULLY.
BULLY
(mimicking
sarcastically)
"Bye, Mom -- Bye, Mommy."
The Bully has two Goons flanking him, also making kissing
noises, and giggling at Neil's expense.
Neil just thinks to himself, "Oh, Christ."
CUT TO:
INT. THE HOUSE - UPSTAIRS HALLWAY - DAY
Alone in the house now, the Hider descends from the attic,
coming cautiously out of the attic doorway.
INT. MASTER BEDROOM - DAY
The Hider, listening for sounds from the driveway outside,
pulls a shirt of Phil's from a laundry basket. He starts
pouring perfume on it.
CUT TO:
EXT. PLAYGROUP SCHOOL - DAY
Julie takes Holly inside with other small children
and their parents.
CUT TO:
EXT. PLAYGROUND - DAY
Neil leans against a wall, frown on his face, hands in his
pockets. Watching a game of kickball he hasn't been
invited to join in. Suddenly, the Bully and his Goons are
standing in front of him.
BULLY
So, Neil. How's it goin'?
NEIL
Okay.
BULLY
I'm Bernard, by the way. Those
are cool Reeboks, Neil. They're
real new, aren't they?
The Bully scuffs Neil's new Reeboks with his own shoe.
NEIL
Hey, c'mon.
BULLY
They're really white.
The Bully's two Goons join in, all smearing their shoes on
Neil's.
NEIL
Hey, c'mon, you guys, lay off.
He tries to move forward, but the Bully pushes him back
against the wall and holds him there while the two Goons
continue messing up Neil's shoes.
BULLY
We gotta break 'em in for you.
You don't wanna go 'round lookin'
like a new dil-wad, do ya?
He points to something on Neil's shirt. Neil looks down
and the Bully slaps his face. The Bully walks away, giving
Neil a shove. His Goons do the same. Presently, two
FRIENDLY BOYS come up to Neil (one is the boy who lives
next door to Neil).
FRIENDLY BOY
You met Bernard. Nice guy, huh?
CUT TO:
EXT. THE HOUSE - DAY
Julie's car comes back. She gets out with the dog. She's
juggling two bags of groceries. She drops one of them and
after bending over to pick it up hears a NOISE, turns to
see the Nasty Neighbor leering at her. She goes inside.
INT. THE HOUSE - ENTRANCE HALL
Putting the bags down, Julie peeks past the blind at the
window next to the door, watching the Nasty Neighbor go
back to his house. She sees the Nasty Neighbor's Wife
there, giving the Nasty Neighbor a hard time. The Nasty
Neighbor ignores his wife, walking past her into their
house.
CUT TO:
INT. LAUNDRY ROOM - DAY
Julie is putting laundry into the washer. We HEAR a SMALL
NOISE in the house that she doesn't seem to notice. She
sorts out some clothes. Then pauses, pilling out a shirt
of her husband's. She holds the collar up to her nose.
Something bothers her. She smells the collar again.
CUT TO:
INT. THERAPIST'S OFFICE - DAY
The Hider looks pensive.
HIDER
Yeah, things are moving along, but
she's still involved with this
other guy and it's a little
tricky.
THERAPIST
Listen, no one ever said
expressing yourself to the
opposite sex is easy, but when the
time comes, you have to do it and
you hope the outcome will be good
for both of you.
You come out of solitary and you
rejoin the human race, as
difficult as that sometimes can
be.
HIDER
When I was a child... I got used
to the closets. The boxes. The
cabinet under the kitchen sink...
with that persistent drip. I
used to the smell of the boxes.
Wood. Cardboard. I got so I was
comfortable there in the dark.
Even... even that old refrigerator
in the yard. That smelled like
rust and decay.
(pause)
It was safe in the boxes. It was
when they took me out --
You don't want to know what his parents did to him when
they took him out of the boxes.
THERAPIST
In the institution... when you
were violent... did you want them
to put you in solitary
confinement?
He watches the Hider.
HIDER
I guess so. I mean, I know I'm
responsible for my own actions.
It was never because I was angry
with anyone. I didn't mean to
hurt anyone ever.
THERAPIST
You're responsible for your own
actions and you don't mean to hurt
anyone. In other words, you've
done your best. I'm saying don't
carry the burden of other people's
actions on your shoulders, because
they're beyond your control.
The Hider nods in agreement. There's a pause.
THERAPIST
(continuing; softer)
Are you still afraid of your
parents? Of them finding you?
The Hider shifts uncomfortably in his chair.
HIDER
That was years and years ago.
They must be very old now, if
they're still alive.
He puts on a brave face.
HIDER
(continuing)
No, my parents don't worry me
anymore. I mean, that's why I was
ultimately released, wasn't it?
I mean, even with the state
closing down the hospital and all.
Because I'm able to be on my own
at last.
(smiles)
I'm cured.
CUT TO:
INT. THE HOUSE - NIGHT
Family life. Holly is playing with toys in the living room
with the dog. Neil trails after his mother, who's moving
back and forth from the kitchen to the dining room.
NEIL
Why can't you just drive me to my
old school every morning?
JULIE
Because you'd have to get up at
five a.m., would you like that?
NEIL
I could take a cab on the way
home.
JULIE
Here, take this out to the table.
NEIL
But there's this psycho. Really.
Mom, there's a psycho I have to
deal with every day. I don't know
why they let a psycho even go to
school!
She pushes him out of the room. She looks at Phil, who's
tossing a salad.
JULIE
How was lunch?
PHIL
Huh?
JULIE
How was your lunch with Charlie?
PHIL
Oh -- great.
JULIE
Well, did he hear anything about
your prospects for the new job?
PHIL
No. If I hear anything you'll be
the first to know, all right?
JULIE
watches him take the salad out to the dining room. We HEAR
HIS VOICE from out there, saying the typical kind of thing
a parent says in a child-filled house when he's trying to
clear the table for dinner:
PHIL (O.S.)
Whose is this? Who left this
here?
CUT TO:
INT. NEIL'S ROOM - NIGHT
He's fast asleep. So is the dog on the floor. A mask of
a bearded man hangs from a chair.
INT. HOLLY'S ROOM - NIGHT
She's fast asleep. A Disney mobile twirls gently in the
air overhead.
INT. MASTER BEDROOM - NIGHT
Julie and Phil fast asleep. She's turned toward him. He's
turned away from her.
INT. UPSTAIRS HALLWAY - NIGHT
The dog scratches again at the attic door... which slowly
starts to open.
CUT TO:
INT. THE HOUSE - ENTRANCE HALL - DAY
A Sunday-lunch housewarming party is in progress. Julie
is greeting Phil's friend, CHARLIE, who's just arrived with
his wife.
CHARLIE
(handing over a
present)
-- A little something for the new
house.
JULIE
Oh, thank you, Charlie.
Other guests are in the living room.
EXT. THE POOL - DAY
Some cute teenage girls in bikinis are lounging around the
pool. They're giggling as they pass a cigarette of some
kind between them, checking over their shoulders that there
are no adults around.
AT THE BACK OF THE GARDEN
Neil and his two Friends from his new school are spying on
the girls. Behind them, a rope ladder dangles from a
treehouse under construction.
NEIL
God, your sister's really hot.
NEIL'S FRIEND #1
Shut up.
NEIL'S FRIEND #2
She is.
NEIL'S FRIEND #1
Don't look at her. Look at the
other ones.
INT. THE HOUSE - DINING ROOM - DAY
The guests are eating now.
JULIE
Well, the neighbors are a little
weird -- other than that...
Another couple, the Nice Neighbors, laugh at that. (The
woman is the mother next door who the Hider saw come home
that day.)
NICE MAN
Thanks a lot.
PHIL
Present company excepted -- it's
the neighbors out there to the
right who are a bit strange.
JULIE
Yeah, I caught him looking at me
the other day.
NICE WOMAN
In all the years we've lived here,
I don't think we've spoken a word
to them, have we, hon?
NICE MAN
Sometimes when I go to the
hospital early in the morning,
I've seen him coming home. Maybe
he works at night.
NICE WOMAN
You'll probably see the wife once
in a while at the supermarket.
Truly one of the walking dead.
More easy laughter. A very sensual woman, RITA, smokes a
cigarette and gives Julie a wink. Julie smiles back.
Clearly they're best friends.
CHARLIE
Sounds like your normal upper-
middle-class neighborhood to me.
EXT. THE POOL - DAY
The girls go away. The boys emerge from their hiding
place.
NEIL
Let's follow 'em.
NEIL'S FRIEND #1
What for, dickweed?
NEIL
It's fun.
NEIL'S FRIEND #1
Grow up, Dreyer.
INT. KITCHEN - DAY
Julie is making coffee in here with Rita.
RITA
You've done a really great job
with the house. It's great!
JULIE
Yeah. There's still a lot I want
to do. It's not quite... the kids
aren't really settled in yet.
Even the dog has been terribly
high-strung and whines a lot since
we've been here. Look, he hasn't
even come in for his food today.
RITA
So you don't have anything
concrete?
JULIE
No, I told you. A whiff of
perfume on his shirt.
RITA
Have you just plain asked him?
JULIE
I've asked him what's wrong.
RITA
And?
JULIE
The same thing -- his business
pressures, the whole move and
everything. He's frantic about
nailing this new job, worried
about screwing over his present
boss.
RITA
I'm sure that's all it is, honey.
Maybe you both just need a
vacation.
JULIE
I've tried to get him to agree to
one. I just -- I don't know...
I'm getting such weird vibes
lately.
RITA
Don't drive yourself crazy. It's
probably nothing.
The boys come in from the backyard.
RITA
(continuing; flirting
shamelessly)
Hi, Neil.
NEIL
Hi. We're going to the mall.
He and his friends go out.
JULIE
Rita, he's only twelve years old,
RITA
(raising her drink)
He'll never appreciate it more.
CUT TO:
INT. DINING ROOM - DAY
Julie lifts Holly up into her lap, then engrossed in
conversation doesn't pay attention when Holly climbs back
down.
NICE WOMAN
... No, not really. We do hear
of break-ins now and again, but
it's generally a real low-crime
area. We've never had any
trouble.
JULIE
Is there any kind of Neighborhood
Watch or --
NICE MAN
(puts arm around his
wife)
You're talking to her.
His wife laughs and gives him a playful slap on the arm.
Phil seems to be flirting with Rita. Holly walks out of
the room.
INT. DOWNSTAIRS HALL
Holly comes out from the room.
She starts along toward... the door out to the pool
that's been left wide open.
EXT. THE POOL
Holly comes out. She walks to the pool. She walks to the
edge and looks over the water, walks further on --
toward the deep end. She crouches the there. She
picks up a leaf and tosses it in the pool and watches it
float. She reaches to bring it back but it's already
floated too far out. She reaches further, leaning over the
deep water and -- SUDDENLY two big hands lunge at her back
-- as if to push her in -- but they grab her to stop her
falling in, and lift her up in the air, running back to the
house with her, pushing her inside and shutting the door
with a definite CLICK behind her,
CUT TO:
INT. LIVING ROOM - NIGHT
Julie and Phil are cleaning up after their housewarming.
Julie is looking at a very pretty green vase among other
presents.
JULIE
Do you remember who gave us this?
PHIL
No.
JULIE
There's no card or anything.
CUT TO:
INT. MASTER BEDROOM - NIGHT
Julie and Phil in bed.
JULIE
I hear things in this house,
PHIL
All new houses have noises.
JULIE
How long does it have to be a new
house?
PHIL
One day before we know it it'll
be an old house and we'll be old
in it -- and I'll still be paying
for it.
JULIE
Neil's still having a bad time at
school. I feel terrible seeing
him so upset all the time.
PHIL
He's made some friends, hasn't he?
Julie is starting to give Phil little nibbles on his neck.
PHIL
(continuing)
I mean, he's a smart kid, he'll
get by -- he takes after me.
You're too sensitive.
JULIE
(seductively)
I know someone else who's
sensitive.
She's rubbing him under the covers.
PHIL
(had enough of this)
Honey, I have a lot of meetings
in the morning.
He turns away.
PHIL
(continuing)
You never know when, do you.
CUT TO:
EXT. THE HOUSE - NIGHT
All quiet.
INT. HIDER'S SECRET ROOM
He wakes up. He's restless. He's hot. He reaches for one
of his water bottles, but it's empty. He licks his lips.
Now that he's thought about having a drink, he can't get
the idea out of his mind. He lies down again, but soon
sits up. He's starting to feel a little trapped.
INT. THE ATTIC - NIGHT
The Hider emerges out of his secret panel in the floor.
He's holding an water bottle.
INT. UPSTAIRS HALLWAY
The door from the attic stairway slowly opens. The Hider
carefully steps out. He looks one way -- all clear --
looks the other -- and stops dead in his tracks.
Holly is standing at the other end of the hall looking at
him. She rubs her eyes sleepily. When she looks again,
the Hider is gone.
Holly turns around and walks to her parents' door where she
knocks.
Julie opens the door, looking down at Holly.
JULIE
Baby, what is it?
HOLLY
I'm thirsty.
JULIE
Aw, okay.
She starts to lead Holly down the main stairs.
INT. HIDER'S SECRET ROOM
He's back in hiding, and hitting himself for his
carelessness, sweating more than ever, desperately afraid
that he almost blew the whole deal.
INT. MAIN STAIRS
Julie holds Holly's hand as they descend the dark stairs.
JULIE
It's the middle of the night,
sweetie.
HOLLY
A man scared me.
JULIE
A man? Was it a dream?
HOLLY
Uh huh.
CUT TO:
INT. DINING ROOM - MORNING
The family have breakfast. Phil reads the "Wall Street
Journal," not even looking at his toast as he lifts it to
his mouth. Julie feels ignored.
NEIL
(looking around)
Has anyone seen Rudolf? I don't
think he came in last night.
JULIE
No, honey, I haven't seen him.
Didn't you feed him this morning?
NEIL
(screams)
RUDOLF!
PHIL
Neil, do you mind?
NEIL
(softer)
Rudolf? C'mere, Rudolf!
Holly is drawing a picture.
HOLLY'S PICTURE
A dark silhouette of a man's shape.
NEIL (O.S.)
Rudolf!
CUT TO:
INT. THE HOUSE - LIVING ROOM - NIGHT
Phil cradles Holly on the couch. She's crying. The family
watch TV.
PHIL
Don't cry, honey, Rudolf knows how
to take care of himself. I'm sure
he's okay. Maybe he just went on
a trip.
HOLLY
Like our vacation? Are we still
going?
Phil looks at Julie.
PHIL
Yeah, I guess it would be
good for us to get away for a
while. Maybe Rudolf got the same
idea. Dogs need a change of
scene, too, from time to time.
JULIE
(strokes Holly's hair)
Someone nice will find him if he
gets lost.
Neil gets up to leave.
NEIL
I hate it here! I hate it!
He runs out and upstairs. Julie and Phil look at each
other.
CUT TO:
INT. COFFEE SHOP RESTAURANT - NIGHT
The Hider sits at the counter, eating a simple meal. It's
late. There are a few other lonely people at the counter
or in booths. A faded WAITRESS. It's an American scene.
WAITRESS
(flirting slightly)
You didn't finish your greens, but
I'll let you have some dessert.
HIDER
(picking up check)
No, thank you.
WAITRESS
Come on, you know you want some.
HIDER
No, not tonight, I have to be
getting on home.
He leaves enough money on the counter and turns away. The
Waitress's hopes go with him.
CUT TO:
EXT. THE HOUSE - NIGHT
The Hider, like the human fly, crawls up the side of the
house using his toeholds, shielded by the vines and
shadows.
CUT TO:
INT. THE HOUSE - ENTRANCE HALL - DAY
Neil is walking away from his dad.
NEIL
All right then, if I have to go
to school then I'd better go.
PHIL
Why? I just read your report
card. What's the point? Stay
home, watch some television, we'll
get "Mad" magazine delivered.
(waves report card)
What kind of report card do you
call this?!
NEIL
I've been going through a lot of
personal crap, all right?
PHIL
Oh really? You've been going
through a lot of personal crap.
You, Princess Di and Madonna?
Neil coughs.
PHIL
(continuing)
If you want that baseball jacket
for your birthday, Neil, learn to
cough a little more realistically.
NEIL
I have a cold.
PHIL
What did the thermometer say?
NEIL
The thermometer's broken.
JULIE
He doesn't have a temperature.
NEIL
I can't help it if my homework is
torn to shreds three times a week
by someone much bigger than me.
PHIL
Y'know what? I'm ready to cancel
our trip. I really am. I've had
it.
NEIL
And I can't help having a cold.
PHIL
What d'you want me to do, Neil?
I've told you we'll get another
dog. What does EVERYONE want me
to do? You want to move back?
Huh? Would you like that? Should
we all just pack up again and MOVE
BACK?!
This yell resounds throughout the entire house.
CUT TO:
EXT. A STREET - DAY
Neil is walking home from school. He HEARS something and
looks back nervously. Suddenly, the Bully and his Goons
come out of some trees, surrounding Neil.
Immediately they start shoving him around a bit, taking his
bag.
NEIL
Give it here, Bernard.
BULLY
Whoa, check it out.
A new fountain-pen set he finds in Neil's bag.
NEIL.
Put it back!
BULLY
Nice pen, Neil.
He shakes it at Neil, spraying ink all over the new
baseball jacket he's wearing -- then stabs the nib into a
tree.
NEIL
Fucker!
The Goons hold Neil back. The Bully hits Neil.
BULLY
Don't call me a fucker, you little
asshole.
He yanks a pocket of Neil's jacket until it tears. Neil
tries to get him again but one of the Goons trips him.
BULLY
(continuing)
Hey, you're really clumsy, Neil.
Look at the mess you made.
He dumps the rest of the contents of Neil's bag over Neil's
head and walks away laughing cruelly with his Goons. Neil
looks at his jacket and calls after them.
NEIL
FUCKERS!
CUT TO:
EXT. ANOTHER STREET - DAY
Now the Bully is walking home. Alone. Suddenly he stops.
There's a dollar on the ground in front of him. He bends
to pick it up -- and a hand CLAMPS over his face and pulls
him into some bushes.
IN THE BUSHES
The Bully is dragged deeper in. He struggles in sheer
panic. He's twisted around momentarily. His face is
filled with fear as he glimpses his attacker.
BULLY
Please -- please --
The Hider's big hand muffles him again.
CUT TO:
INT. THE HOUSE - LAUNDRY ROOM - NIGHT
Julie flattens the baseball jacket out to have a look with
Neil. It looks all right. We HEAR a PHONE RING and PHIL
ANSWER it.
NEIL
Thank God.
JULIE
I think we got it just in time
before the ink dried.
NEIL
Whew.
JULIE
The pocket's a cinch -- I'll sew
it up for you after dinner, okay?
NEIL
Thanks, Mom.
INT. KITCHEN
Phil is about to hang up. Holly sits at the kitchen table.
PHIL
(into phone)
Oh, gee, well, thanks for letting
us know. Goodbye.
(there's a double
click)
Hello?
He hangs up. Julie and Neil come in.
PHIL
(continuing)
Oh boy, I just heard something
horrible. That was Audrey next
door. Neil, do you know a boy
named Bernard Gunther?
Neil looks up in alarm.
PHIL
(continuing)
He lives on the other side of the
hill, I guess, so don't get too
scared, but it looks like he was
just, I don't know, attacked on
his way home from school. Audrey
heard that he was...
(catches himself with
a sigh)
... well, apparently he's in the
hospital now. One of his legs
was... They don't know if he'll
ever walk properly again.
In the silence and dread that follow, no one notices the
great big beaming smile of sheer God-given good fortune
that breaks out on Neil's face.
CUT TO:
INT. RESTAURANT - DAY
Phil has a grin on his face.
PHIL
Really?
Across the table from him is his Secretary.
SECRETARY
Really.
Under the table she's slipped off a shoe and is running her
stockinged foot up his thigh.
PHIL
Promise?
SECRETARY
Promise.
In the b.g. the Hider sits at another table alone.
PHIL
I'd like that.
SECRETARY
Would you?
PHIL
Uh huh.
The Hider takes a book of matches from the ashtray on his
table and plays with it.
SECRETARY
Really?
PHIL
Really.
CUT TO:
INT. THE HOUSE - UPSTAIRS HALLWAY - EVENING
Phil comes upstairs looking for something. Neil walks by
wearing his bearded-man mask and goes downstairs.
PHIL
Honey! Was the paper delivered
today?
INT. MASTER BEDROOM
Julie is for their trip.
JULIE
I think so! Didn't you take it
in?
INT. HIDER'S SECRET ROOM
The Hider isn't here. But more stuff is. A cork bulletin
board has been put up. On the bulletin board are all sorts
of pictures, clippings, bits and pieces. Things that
interest the Hider. There's a calendar with "VACATION!"
marked prominently. And underneath on his mattress lies
the newspaper. Folded to the movie-listings page.
INT. WALK-IN CLOSET - MASTER BEDROOM
Julie takes one of Phil's jackets and something falls out
of the pocket. She bends to pick up whatever it is.
INT. LIVING ROOM
Neil, wearing his bearded-man mask, joins his sister on the
couch to watch TV. She pays no attention to him.
INT. MASTER BEDROOM
Phil is trying to look stunned.
PHIL
The old incriminating matchbook!
Are you kidding me?! The oldest
cliche in the world!
Julie is looking mad.
JULIE
No, I'm not kidding you, Philip.
PHIL
What next?! -- A strange bra
under my pillow!
INT. MOVIE THEATRE - EVENING
The Hider munches popcorn slowly as he watches a romantic
scene. He's quite swept up by it.
INT. THE HOUSE - MASTER BEDROOM - EVENING
Phil tosses the incriminating matchbook onto the bed.
JULIE
I remember what day you wore that
jacket. It was Monday. The day
you were all day in meetings
again? And had to send out for
sandwiches?
PHIL
Honey, you know what I've been
like lately... I've been a total
zombie. I have no idea what that
was doing in my pocket.
JULIE
Well, what about these?
(taking something else
out)
Do you usually put your carbons
in your pocket, too?!
Her wild card. She flings them in his face and storms into
the adjoining bathroom. Phil stares at the torn-in-half
carbons. He can't believe it. Didn't he leave them in the
restaurant? Is he getting absent-minded?
INT. BATHROOM
Julie packs more things as Phil comes in.
PHIL
Sweetheart, this is a very risky
time for me right now. Maybe you
don't appreciate that.
JULIE
I don't care, Philip. You want
to go chasing Barbara Zelman, go
ahead. Just watch out for those
buck teeth.
PHIL
Barbara Zelman? I don't believe
this!
JULIE
Do you usually pay for Charlie?
At "Trattoria Valentino"?
PHIL
Honey, I can't track of all
the meals Charlie and I have been
having. This is a delicate time.
If it leaks out that I'm jumping
ship before I'm set up someplace
else I could be out on my ear
before I'm ready with nothing.
With nothing.
JULIE
(going back to the
bedroom)
There are people who do things
because they want to get caught.
INT. MASTER BEDROOM
Phil comes out of the bathroom.
PHIL
Who told you that -- someone on
the radio?
JULIE
Fuck you, Philip.
CUT TO:
EXT. A LIVELY STREET - NIGHT
The Hider strolls along, drinking a soft drink through a
straw. He passes a flower stand and pauses to look at the
arrangements. He turns a reel of seed packets, and pulls
one of the packets out to look at. Just then he hears a
NOISE and turns to witness --
A MINOR ACCIDENT
A car cuts off a bicyclist. The bicyclist falls off his
bike -- scraping his knee quite severely. Other onlookers
go to his aid. We SEE where his trouser leg was torn and
the bloody kneecap.
THE HIDER
thinks it's funny. The Hider laughs.
CUT TO:
INT. THE HOUSE - KITCHEN - NIGHT
Julie is crying softly in the aftermath of the argument,
pouring herself a cup of tea. Phil is consoling her.
JULIE
I thought we'd be happy here.
PHIL
(holds her)
Honey, I'm sorry, I think the
vacation will be a good break for
both of us. You'll see.
She nods, taking her tea, and they go out. Phil shuts the
light as they leave -- and we SEE the Hider's face at the
window.
CUT TO:
INT. THE HOUSE - DAY
Vacation time. Phil tries rounding everyone up.
PHIL
The cab's waiting!
JULIE
Where should I hide the car keys?
PHIL
I don't know -- put 'em in the
drawer with all the Chinese take-
away menus.
JULIE
(goes to do so)
Did you lock the garage door?
Neil thinks he's taking along a gigantic plastic Rambo
machine gun. Phil discourages him by grabbing it out of
his hands and putting it somewhere.
EXT. THE HOUSE - DAY
Phil makes sure the front door is double-locked, then joins
the others in the cab.
The cab doors SLAM. The cab drives away.
PHIL (O.S.)
Did you set the timer switches for
the lights?
The house stands alone.
CUT TO:
INT. THE HOUSE - LIVING ROOM - EVENING
Room in shadow. Then CLICK -- a lamp comes on.
Illuminating the Hider sitting on the couch. Here in the
silent house.
INT. KITCHEN - MORNING
Whistling, the Hider strolls in, opens a cabinet, takes out
a box of Raisin Bran, then finds a bowl for himself.
INT. LIVING ROOM - DAY
The Hider watches a sporting event on TELEVISION, keeping
the SOUND LOW.
INT. NEIL'S ROOM - DAY
The Hider plays with Neil's train set.
EXT. ROOF - DAY
The Hider peers through the skylight. We HEAR the SOUND
of a VACUUM CLEANER.
INT. ENTRANCE HALL
A Cleaning Woman goes through the house.
INT. DINING ROOM - DAY
Mail has been neatly put on the table. Out in the entrance
hall, we SEE the Cleaning Woman leave, locking the front
door after her. The Hider steps INTO VIEW from the
kitchen. He sits at the table to go through the mail. He
opens a letter that's addressed to "OCCUPANT."
EXT. GARDEN - DAY
He plants some flower seeds using a gardening trowel.
INT. BATHROOM - EVENING
The Hider has a bath. He smells a bar of soap,
INT. MASTER BEDROOM - NIGHT
The Hider gets into the bed. He strokes her pillow. He
smells it. He puts his head gently on it. He's happy.
CUT TO:
INT. THERAPIST'S OFFICE - DAY
The Hider looks quite content today.
THERAPIST
And how are things with your lady
friend, if I may call her that?
HIDER
Oh, fine. She's gone away for a
little while and when she comes
back I've sort of resolved to
really tell her how much I care
for her.
THERAPIST
That's terrific. Don't be afraid
to be demonstrative. You're
sounding a lot more confident than
when we last spoke.
HIDER
I am. I'm really feeling pretty
good. I have a much stronger
sense of how far I've come.
THERAPIST
As long as you keep remembering
why.
HIDER
Well, we talked about the whole
disapproval thing.
THERAPIST
(nodding)
The whole disapproval thing. If
you allow yourself to get into a
situation where someone else's
potential disapproval becomes the
focal point of your life -- then
you're back to a life of fear,
aren't you? -- You're a prisoner
to that again, and that isn't much
of a life.
HIDER
I understand that.
THERAPIST
And please, don't for God's sake
misinterpret that as being the
voice of discouragement in any
way --
HIDER
No, no, no, no.
THERAPIST
On the contrary -- this is
tremendous. I mean, we're all
frightened to death of disapproval
and we're constantly hiding behind
these layers we manufacture for
ourselves -- and I'm not saying
we should, you know, declare
ourselves unhesitatingly to our
fellow human beings in the
interests of total openness and
honesty --
HIDER
That would be stupid.
THERAPIST
That would be monumentally stupid.
All I'm saying is --
HIDER
-- a sense of proportion.
THERAPIST
(nods emphatically)
A sense of proportion.
CUT TO:
INT. THE HOUSE - BY THE PATIO DOORS - NIGHT
A SCRATCHING at the glass. Then a TAP. And a CLINK. And
a CLICK. And the curtain stirs -- and a Burglar slips in.
He crouches by the floor a moment, listening and getting
accustomed to the dark.
INT. DINING ROOM - NIGHT
The Burglar opens the drawers of some cabinets in here.
Looking for loot. It's after midnight and the lights are
out.
INT. LIVING ROOM - NIGHT
The Burglar comes in. He goes over to the TV and crouches
down to look at the VCR in the trolley underneath. He runs
his hand over its smooth surface, then suddenly leans
forward to unscrew cables at the back. This abrupt
movement probably extends his life by a few minutes --
because when a hammer comes down on his head, the blow is
only a glancing one.
The Burglar groans and turns -- the Hider was thrown off-
balance by his miss -- and the Burglar has enough time to
put an arm up for protection -- the second blow shattering
his elbow. He cries out in pain, but he's a strong man
himself. He's a match for the Hider! He manages to grab
the Hider's ankle at the same time and pull him completely
off-balance -- the Hider throwing his arm out to stop
himself falling, knocking to the floor the vase he bought
for Julie -- landing on the floor himself as it SMASHES
alongside him -- and with a great gasp the Burglar pushes
the big television off the trolley onto the Hider.
The Hider has the wind knocked out of him as the big TV
lands heavily onto his chest, nearly squashing him like a
bug. The Burglar is already running away, clutching his
broken elbow -- but the Hider's powerful arm shoots out to
catch his leg, pulling the Burglar back, while with an
almost superhuman effort the Hider heaves the TV off his
chest.
The Burglar struggles with all his might. The two men
wrestle on the living room floor. The Burglar tries to
gouge out the Hider's eyes. Craning his face out of the
reach of the Burglar's flailing, frenzied fingers, the
Hider tries to get a firm grasp on him. He grabs wildly
at the Burglar's hair, finally getting a good hold. He
smashes the Burglar's head onto the glass-topped coffee
table. BANG, BANG, BANG -- the glass cracks -- BANG, BANG,
BANG, the Burglar's face into the glass until the
glass breaks completely.
The Burglar won't give up. He's beyond pain. He's only
trying to survive. His hand is at the Hider's throat,
squeezing. They throttle each ether. The Burglar is on
his back, his legs kicking at the Hider. His shoe catches
the Hider a kick to the ear. They both cough and gasp as
a release is forced, both struggling for a better position,
the Burglar trying to slide out from under again, the Hider
keeping him down -- and now the Hider is able to seize the
Burglar's arm again and jam the fingers in a door jamb and
pull the door back. We don't hear the Burglar scream
because the Hider's other hand is in his mouth, but the
Burglar bites down so hard on it the Hider is the one who
lets out a roar of animal agony and the Burglar's good hand
punches at his face, the Burglar somehow on his feet again,
trying to make it to the dining room.
The Hider catches hold of the Burglar's shirt, tearing it.
but pulling the Burglar back to the floor -- and the
Hider's foot slips in some blood and he lands hard on his
back, hitting his head, the Burglar's torn shirt in his
hand. The Burglar is crawling on all fours to get away,
but his knees slip in the blood, too, and the Hider's legs
grapple him like a pair of pythons, pulling him back, and
the two of them struggle on the slippery floor, out of
breath, near exhaustion.
There's a tall plant in the hall. The Hider stuffs the
Burglar's face in the pot, suffocating him in the soggy
earth. The Burglar's body twists and turns and kicks as
he's smothered in the damp dirt, the tall plant shaking
above the two of them, casting horrible shadows around the
entrance hall in the moonlight cast from the skylight.
The Hider can barely hold the Burglar's head in place,
every muscle tensing as the Burglar's body shudders in
rebellion -- and then the tremendous surge as the Burglar's
body breaks free! -- Tall plant tipping as the Burglar
pushes back against the Hider with unbelievable strength
-- tall plant falling -- the Burglar knocking the Hider
back flat on the floor, the Burglar on top, but the Hider
still hugging him in a death grip, then getting a
full-nelson hold on the Burglar's shoulders and neck, the
two of them struggling to a standing position again, the
Hider again smacking the Burglar's head again and again and
again, into the front door this time, the Burglar sinking
back to the floor, still resisting, still breathing, his
good hand still madly feeling for a grip on the Hider, but
this time the Hider's hold is too strong and when he's got
the Burglar on the floor again, he's able to get a knee
into the small of the Burglar's back and with the knee as
leverage and the full nelson on the Burglar's neck, the
Hider pulls back with every last ounce of strength,
pulling, pulling, moaning with the sheer effort of it until
-- the Burglar's neck BREAKS.
The Hider rolls off, gasping for breath. He pulls himself
to a sitting position against the front door. He sits
here in the entrance hall under the moonlit skylight with
the shadows and the dead Burglar and the blood and the
earth all over the floor and he breathes air into his lungs
as if he'll never get enough.
CUT TO:
INT. GARAGE OF THE HOUSE - NIGHT
The Hider enters, carrying over his shoulder a giant-sized
black Hefty trash bag with the body of the Burglar in it.
From his pocket he takes -- the keys to Phil's car. He
lays the body bag on the floor in the back and gets in the
front. He adjusts the driver's seat to suit him.
CUT TO:
EXT. DINGY DOWNTOWN STREET - NIGHT
The Hider, driving Phil's car, turns into a filthy alley.
Halfway along it he parks, gets out, pulls the body bag
out, dumps it callously on the ground, and drives away.
CUT TO:
INT. DESIGNER STORE - DAY
The Hider buys a green vase identical to the one that
smashed in his burglar fight.
STORE MAN
(wrapping vase)
I knew you'd be back for another
one of these.
CUT TO:
EXT. GRASS LAWN - DAY
The Hider walks along a path with a man named BERT.
HIDER
You test each one thoroughly?
BERT
You better believe it, buddy.
Your average Rolls Royce doesn't
have to pass as many tests. You
want consistency? You want
dependability? You want safety?
HIDER
Safety?
BERT
Listen, you can kick 'em, hit 'em,
pour water all over 'em --
nothing. I'm telling you, under
ordinary conditions they're quiet,
they're nice to have around,
they're completely harmless -- but
when you blow this whistle...
(holds up a whistle)
... then look out.
A VICIOUS, SAVAGE KILLER DOG
LUNGING directly AT THE CAMERA! Snarling fiercely.
This is the "product" under discussion -- attacking a Man
who's wearing considerable protective, padded clothing.
It's a simulated "mugging" demonstration. The Man in the
clothing and face mask is playing the part of the mugger,
while a Woman Dog Trainer is the victim -- with a whistle
in her mouth.
BERT
Look at that. You can't buy
better protection than that. That
there is your Man's Best Friend.
HIDER
How are they with kids?
BERT
They're great with kids. They
love 'em. They eat 'em up.
(gives the Hider a
friendly slap)
I'm kidding.
HIDER
(looking at whistle)
So this really does the trick, eh?
BERT
Friend, that animal will go after
whoever's approaching the sound
of that whistle. And God help
whoever it is. Because that dog
will not let up until there's dead
meat on the ground. Put your
faith in that, pal.
The padded Man is indeed on the ground, the Killer Dog
attacking him viciously.
CUT TO:
INT. THE HOUSE - EVENING
The family comes back in. The kids immediately dropping
their bags and rushing upstairs.
PHIL
Kids, don't leave your bags in the
hall -- take them upstairs.
He and Julie have a look round. Everything looks fine.
PHIL
(continuing)
Did the cleaning woman come?
JULIE
(in the living room)
Yeah -- she did a good job. This
glass looks brand-new.
(And the green vase is back in place on the mantelpiece.)
PHIL
The floor has a nice shine to it.
(going into kitchen)
Oh God -- we have twenty-two
messages on the machine.
JULIE
(coming from living
room)
Did she water this plant? It
looks a little bent out of shape.
The kids come rushing in excitedly from the back.
NEIL AND HOLLY
Mom! Dad! Mom! Dad! Come look,
come and look, come and look!
Julie and Phil are dragged outside.
EXT. BACKYARD
The kids pull Julie and Phil out the back door.
PHIL
All right, all right -- what?
HOLLY
Look!
They look. The savage Killer Dog is sitting here --
looking like the friendliest, cuddliest lost thing you ever
saw, tongue hanging out, the sweetest Disney image of
doghood imaginable.
HOLLY
(continuing)
He was lying asleep at the back
of the yard like it was home!
NEIL
-- And there's no collar or tags
on him or nothin'!
HOLLY
Can we keep him, Mom, oh, can we?
Can we keep him?
Julie and Phil laugh. They crouch down with the kids to
pet the Killer Dog, too. The Killer Dog is happy.
PHIL
Hiya, sport. Where'd you come
from, huh?
NEIL
Can we keep him?
The Killer Dog licks Phil's face.
CUT TO:
INT. THE HOUSE - EVENING
The kids are watching MTV in the living room. The Killer
Dog strolls out, wearing a collar. In the dining room Phil
is pacing nervously as he talks on the kitchen phone,
stretched in here on the super-long flex cord.
PHIL
Sensational. Wednesday is fine,
no problemo. One o'clock at the
Somerset Grill -- yes, I know it
well. Okay then -- looking
forward to it. Ciao.
(again a double click)
Hello? Hello?
He goes into the kitchen to hang up, punching the air
triumphantly.
INT. KITCHEN
Julie is preparing dinner. The Killer Dog walks to the dog
bowl to munch his chow.
PHIL
He wants to see me!
JULIE
Philip! The senior partner?
PHIL
His secretary just confirmed.
JULIE
Oh baby.
She hugs him, giving him a kiss.
INT. HIDER'S SECRET ROOM
He presses the redial button on his phone extension.
HIDER
Oh, hi, this is Phil Dreyer again.
Stupidly, I just looked at my
calendar and I'm going to have to
cancel Wednesday. Please
apologize to him for me and I'll
call back to reschedule -- is that
all right? No problemo?
Sensational. Thanks -- I'm really
sorry. Ciao.
INT. KITCHEN
Julie and Phil hugging and kissing. The MUSIC coming from
the liVing room. Julie starts dancing slowly with Phil --
but he wants to break it up now.
PHIL
What -- what are you doing?
JULIE
I think you should feel like
dancing at a time like this.
PHIL
(trying to break away)
C'mon.
Julie lets him go, pissed off now.
JULIE
You can never bring yourself to
do anything spontaneous or
romantic, can you?
Now Phil is pissed off that she's pissed off.
PHIL
I bought the house, dear heart --
we took the vacation. I deliver
your dreams from time to time.
He starts walking out.
JULIE
A dance is for free.
He's gone. With a sigh she turns back to her cooking.
CUT TO;
INT. HIDER'S SECRET ROOM - DAY
He wakes up suddenly from sleep. He hears something. He
smells something. He sniffs. He crawls over to look
through the vent in the false wall.
INT. THE ATTIC
Neil and his friends are here. The attic is full of all
kinds of junk. Neil and his friends are playing with
matches -- melting a naked "G.I. Joe."
NEIL'S FRIEND #1
Oooh, look at him burn.
INT. HIDER'S SECRET ROOM
The Hider is appalled by this sadistic game. Suddenly, he
almost hits the ceiling -- as his PHONE RINGS! He
instantly disconnects it, and waits with horror to see if
it's given him away.
INT. THE ATTIC
The PHONES are still RINGING in the rest of the house.
NEIL'S FRIEND #2
You guys have a loud phone.
INT. DINING ROOM
Julie answers it.
JULIE
Hello? Hi, Rita.
INT. HIDER'S SECRET ROOM
He finishes writing a note to himself and posts it on his
bulletin board: "ALWAYS REMEMBER TO UNPLUG THE PHONE!!!"
Then he turns over the phone to turn the "ring" dial to
low.
INT. DINING ROOM
Julie on the phone with her friend.
JULIE
Uh huh... uh huh... You didn't
even have dinner with him first?
INT. HIDER'S SECRET ROOM
Keeping one eye on the antics of the kids in the attic, the
Hider reconnects his phone so he can listen in on Julie's
conversation, holding a cloth over the mouthpiece.
INT. DINING ROOM
Julie hears PHIL COMING HOME. CAR DOOR SLAMMING.
JULIE
Uh huh... uh huh... Well, Rita,
if he's that big a slob, why are
you even bothering?
Phil comes in, head down, goes straight upstairs.
JULIE
(continuing)
Rita, I'm going to have to call
you back.
INT. THE ATTIC
Suddenly Neil or one of his idiot friends drops a match and
accidentally sets on fire a roll of carpet lying against
the Hider's wall. The roll of carpet is wrapped in brown
paper.
NEIL
Shit!
NEIL'S FRIEND #1
Put it out, man!
The boys frantically try to put out the fire.
INT. HIDER'S SECRET ROOM
Oh Christ, Oh God, Oh Jesus, Oh Christ, Oh God -- the Hider
puts the phone down and pulls the ventilator lever shut and
backs off as far as his terribly limited space allows.
INT. MASTER BEDROOM
Phil is lying on the bed as Julie comes in.
JULIE
Honey? How did it go? You didn't
call me.
PHIL
He wasn't there.
JULIE
What?
She comes to sit on the bed. She tries putting a hand on
him, but it's like putting a hand on a corpse.
PHIL
I get to the restaurant and he's
not there. I waited for forty-
five minutes. When I called his
office, his secretary said they
thought I had cancelled. I had
cancelled! Then I get back to my
office and Aranson is waiting for
me and he knows everything.
JULIE
Oh, honey.
PHIL
Everything -- that I've been
talking to other people behind his
back -- that's what he called me
-- a back-stabber and a deceiver.
To him and to the company.
He called me a traitor in front
of everybody and told me if I
wanted to be a VP over at
Lowenthal I might as well pack up
and go -- only Lowenthal never
showed up for our lunch! It's
like everybody got an anonymous
poison-pen letter or some --
(sits up)
Do you smell smoke?
INT. THE ATTIC
Phil comes running up as Neil was rushing down.
NEIL
Dad! Dad!
The carpet is blazing! Noxious smoke pouring off it!
INT. HIDER'S SECRET ROOM
He can't stop the smoke coming through his vent. His
little cell is quickly flooding with smoke. Choking,
gasping, he throws himself down on his mattress, sticking
his face to the second vent in the street wall, sucking the
real air from out there.
INT. THE ATTIC
Phil slaps at the fire with another rug.
PHIL
Neil, go get some water! Now!
EXT. THE HOUSE
That small vent up by the attic -- smoke coming from it.
UP CLOSE, a man's hideously distorted and desperate face
pressed against it.
INT. HIDER'S SECRET ROOM
He lies there gasping for air, more smoke filling his small
space.
INT. THE ATTIC
Neil and Julie rush back up with buckets of water. After
a lot more screaming and yelling and exertion, the flames
are put out.
CUT TO:
INT. ENTRANCE HALL DOWNSTAIRS - DAY
Phil shouts at Neil and his friends.
PHIL
What the fuck did you guys think
you were doing?!
They all have their heads down. Phil opens the front door
to get rid of Neil's friends.
PHIL
(continuing)
You two get out of here, go on.
Your parents are going to be
hearing from me.
He slams the door. Neil glances embarrassedly at his
little sister, who's crying fearfully in the next room.
NEIL
A man started the fire.
PHIL
(hits Neil)
Neil, goddamn it, you're not five
years old!
JULIE
Neil, you could have burned the
house down!
NEIL
I don't know how it started!
PHIL
You knew a second ago. Who
started it?
NEIL
-- A man.
WHAM! He gets hit again. Hard. He holds his arm and
looks about to cry.
PHIL
A man started it? Oh really? You
wanna show me, Neil? Right, okay,
here we go, Neil's gonna show me
the man.
He grabs Neil's arm roughly and starts pulling him toward
the stairs.
INT. THE ATTIC
The Hider emerges with a cloud of smoke from under his
secret panel in the floor. He lies here, gasping
desperately for air.
INT. MAIN STAIRWAY
Phil dragging Neil up.
PHIL
We're going to go see the man.
Here we go, Neil's gonna show his
dad the man. Come on, let's go
see the man.
INT. THE ATTIC
The Hider has practically passed out from his ordeal. But
then he hears them coming back up.
ATTIC STAIRWAY
Phil drags Neil up, pushes him forward into the attic.
THE HIDER
Standing stiff in the shadows behind some old bookcases.
He didn't have time to go back under his false wall. He's
here in the attic with them!
PHIL
spins Neil around the center of the floor a few times.
PHIL
Do you see a man?
NEIL
No.
PHIL
No man!
(WHAM!)
Go to your room.
He pushes Neil back downstairs and turns with a sigh to
look at the charred mess up here. He goes closer to the
burnt carpet and bends over it.
THE HIDER
Alone with the person he hates most in life. His fists
start to clench.
PHIL
gingerly touches bits of the carpet, making sure the fire
is completely out. SUDDENLY, he jumps -- the attic door
has swung shut. He turns toward it -- and a shadow moves
somewhere behind him. He opens the door again -- and
there's a little CREAK. He bends over again, putting
something at the bottom of the door to keep it open. Then
he thinks he hears something -- turns around again -- but
JULIE distracts him, CALLING from downstairs:
JULIE (O.S.)
Honey -- I can't find those large-
size Hefty trash bags!
PHIL
(goes downstairs)
There might be some extras in the
garage.
INT. THE ATTIC - LATER
Neil is pushed back in, followed by his parents.
NEIL
I thought I was supposed to stay
in my room.
PHIL
(pushing him)
Get on the other side of that.
Holly comes up to watch, too.
INT. HIDER'S SECRET ROOM
Hider has made it back in here. As the last vestiges
of smoke clear, he lies back on his mattress, breathing
slowly.
INT. THE ATTIC
They're cleaning up the mess, trying to put trash bags over
the burnt carpet roll.
JULIE
Neil, lift up your end.
INT. HIDER'S SECRET ROOM
Here on the other side of the false wall. Lying on his
mattress.
CUT TO:
EXT. THE POOL - EVENING
Phil is sitting in a deck chair, looking shell-shocked.
Julie is still trying to comfort him.
JULIE
Honey, it's not the end of the
world. You'll call Lowenthal
tomorrow and find out it was just
a mix-up. And if he's not
interested anymore, then you'll
find another company to go to
maybe even your own. You are free
now, you are independent.
PHIL
I'm fired. I'm unemployed. Is
that your idea of negotiating from
a position of strength? Clearly
any potential employers have been
warned to back off!
JULIE
That's not the case.
PHIL
(head down again)
Someone blew the whistle. Someone
hates me.
CUT TO:
EXT. THE ROOF - DAWN
The Hider looks at the sky, daylight about to break. He
goes aver the top.
EXT. BACK OF THE HOUSE
Nearing the bottom, he slips and falls the rest of the way,
hurting himself as he scrapes his hands and legs. He picks
himself up off the ground, brushing himself off, stumbling
slightly again. Looking around, worried in case his fall
was heard, he sneaks away around the corner of the house...
... leaving behind the dog whistle that's fallen out of his
pocket, that he accidentally stepped on and kicked to one
side. Dented slightly, but shining temptingly in the
grass.
CUT TO:
INT. THERAPIST'S OFFICE - DAY
The Hider looks intense.
HIDER
Things are beginning to come to
a head. I can feel it. And I
want everything to be perfect.
THERAPIST
Who doesn't?
HIDER
I've cultivated her interests so
that now we have even more in
common than ever.
THERAPIST
Well, now, don't go creating some
artificial environment for
yourself.
HIDER
Oh no -- I mean, she's genuinely
made me more fulfilled in many
ways -- and I hope eventually to
be able to teach her a few things,
too. What I mean is, I guess I'm
still waiting for just that right
-- synthesis between us -- where
everything will be understood
between us without even the need
for words.
THERAPIST
It's not going to happen unless
you make it happen, my friend.
You're going to have to assert
yourself a little bit more. Show
your affection.
HIDER
Yeah, maybe you're right.
Everything else is just an excuse.
I'm treating the situation with
kid gloves because I'm afraid of
losing her.
THERAPIST
Ask her how she feels.
HIDER
I should.
THERAPIST
You have to put yourself out there
a bit more.
HIDER
Right.
THERAPIST
Because life isn't about playing
it safe. Life is about taking
risks.
CUT TO:
INT. THE HOUSE - MASTER BEDROOM - NIGHT
Phil is packing a suitcase. Julie has her arms folded and
is looking grim.
JULIE
Boy, you really buckle under a
little pressure, don't you?
PHIL
This is for the best, you know it
is.
(slams a drawer)
Why do my socks keep disappearing!
JULIE
(mimicking him)
"Honey, I'm a zombie, I don't know
whether I'm coming or going."
CUT TO:
EXT. DRIVEWAY - NIGHT
Phil comes out of the house, followed by Julie. He stuffs
his suitcase in his car.
JULIE
You're even sadder and more burnt-
out than I thought.
PHIL
I am so sick to death of hearing
your opinion of my state of mind,
what you think is for my own good.
Without me you'd still be twirling
a baton at U.C. Santa Barbara.
You're the final straw on this
back, baby!
As he gets into his car he has a little fit, readjusting
the seat.
PHIL
(continuing)
Why the hell is this seat never
right!
INT. THE HOUSE - MAIN STAIRWAY
POV of someone coming down the stairs slowly, toward the
front door that stands half open, the SOUND of Phil's CAR
DOOR SLAMMING out there.
It's Neil. Looking unhappy as children do at such moments.
He glances into the living room where Holly, too young to
understand, is watching TV with the Killer Dog. Neil looks
forward again as he hears his DAD'S CAR DRIVING AWAY -- and
his mother comes back inside. She puts an arm around him.
CUT TO:
INT. DINING ROOM - MORNING
Julie has breakfast with her children.
JULIE
Your daddy and I are kind of mad
at each other right now, so we
have to spend some time apart.
HOLLY
Why are you mad at each other?
JULIE
You know how sometimes Neil bugs
you and you just get up and walk
away from him?
HOLLY
Uh huh.
JULIE
Well, that's what happens with
grownups, too.
HOLLY
Did Daddy tease you?
JULIE
Yes, he did, and I don't like it
any more than you do.
NEIL
Where'd he go?
JULIE
(sighs)
He's staying with a friend.
(stands)
Hurry up now, you'll be late for
school.
EXT. DRIVEWAY - MORNING
The kids get in the back of Julie's car. She helps Holly
with her seatbelt, then shuts the door and goes to the
front. As she's about to get in, a CLANKING NOISE makes
her jump. She turns -- seeing the garbage cans of the
Nasty Neighbor's house -- and then the Nasty Neighbor
himself, standing up from behind one of them. He looks at
her. She instantly looks away, getting into her oar.
INT. ENTRANCE HALL - MORNING
As we HEAR Julie's CAR DRIVING AWAY outside... The Hider
appears at the top of the stairs. He strolls down as if
he owns the place. The Killer comes wandering in. The
Hider crouches down to pet him. The Hider looks around his
house, and starts to laugh.
INT. MASTER BEDROOM - MORNING
The Hider comes in. His euphoria is building. He opens
a drawer -- to check that Phil has cleared his stuff out
and really gone.
INT. BATHROOM - MORNING
The Hider opens the medicine cabinet to see that there's
no shaving gear. He notes an empty towel rack -- and sees
that there's only one toothbrush now.
INT. JULIE'S CAR - MORNING
Driving away from the house -- when suddenly Holly bursts
out crying.
HOLLY
Daddy's gone where Rudolf went and
isn't coming back!
JULIE
Holly -- that's not so.
Holly has a plastic container of orange juice with a spill-
proof lid. In her hysteria she flings it, the lid coming
off, juice splashing all over Julie.
JULIE
(continuing)
Oh, Holly!
INT. MASTER BEDROOM - MORNING
The Hider falls onto the bed, laughing, rolling over,
pulling the comforter around him like a shroud. It's all
his now, he's the man. He sits up with a start when he
hears SOMEONE COMING up the stairs.
INT. MAIN STAIRWAY
Julie runs up and goes into her bedroom.
INT. MASTER BEDROOM
She hurries in and immediately starts to take off her
orange-juice-stained dress.
INT. WALK-IN CLOSET
The Hider is hiding in here. Peeking out at her. Watching
her undress.
INT. MASTER BEDROOM
Julie goes into the adjoining bathroom, washing out the
orange juice. She comes out of the bathroom and goes to
the closet. She takes out another dress and starts to put
it on.
INT. DOWNSTAIRS - MORNING
Julie comes back down to where her kids are waiting. Holly
isn't crying anymore, but looks sulky.
JULIE
All right, now come on,
everything's going to be just
fine.
CUT TO:
EXT. SCHOOL PLAYGROUND - DAY
Neil is sitting at an outdoor table, reading a comic book,
when he hears an OMINOUS SOUND -- a kind of limping SHUFFLE
coming toward him. He dare not turn around, but he doesn't
have to, because the Bully, walking with the help at a
crutch, appears and sits down next to Neil.
BULLY
(very matter of fact)
My friends have been expelled.
(pokes Neil)
You're gonna be my friend now.
The Bully gets up awkwardly and we HEAR his limping SHUFFLE
moving away. Neil just sits here and wonders why God
despises him.
CUT TO:
EXT. THE HOUSE - BACKYARD - DAY
Julie is watering plants. Moving deeper into the garden,
reaching to spray water at out-of-the-way bushes, she comes
upon a little hidden patch of flowerbed that she certainly
never noticed before -- because now it boasts a lovely
group of roses that have only recently bloomed.
INT. THE HOUSE - LAUNDRY ROOM - DAY
The washing machine is going. Julie is folding clothes
that are already done. Abruptly the washing machine stops
with a GRINDING CLANK.
Julie looks at it. She tries pushing its buttons and making
sure that the door is properly closed, but it seems to be
broken.
INT. DINING ROOM - DAY
Julie looks sad. She doesn't know what to do with herself.
She pets the Killer Dog. She hears a COMMOTION outside and
goes to look out the window.
JULIE'S POV
She sees the Nasty Neighbor and his Wife shouting at each
other -- and the Nasty Neighbor's Wife getting into a car
with another man and driving off. The Nasty Neighbor just
makes some crude gesture at the departing car and goes back
into his house.
BACK TO SCENE
JULIE
(to Killer Dog)
Must be something in the air.
INT. LIVING ROOM - DAY
Julie, alone, on the phone.
JULIE
No, Rita. No. No, I don't want
to meet him. No, Rita. Yes, I'm
fine. No, I don't want to meet
him, either. Absolutely not,
Rita,
INT. KITCHEN - AFTERNOON
Julie opens the refrigerator, but the light doesn't come
on. She checks the plug. The refrigerator is broken now,
too. She can't stand it. She slams the door, having a
fit, starting to cry,
INT, UPSTAIRS HALLWAY - AFTERNOON
Julie puts away some boxes of Kleenex in a linen closet.
The front DOORBELL RINGS. Julie turns to go downstairs.
MAIN STAIRWAY
Julie comes down the stairs to the front door. The Killer
Dog joins her. She opens the door. Standing outside is --
THE HIDER!!
SEE the handyman's clothes he's wearing. SEE the
handyman's business card he's holding out. SEE the
pleasant smile on his face.
HIDER
Hello, my name is Thomas Sykes,
I'm a handyman. If there's any
work you need done, please give
me a call,
JULIE
She looks at his card.
JULIE
Oh, well, do you fix
refrigerators?
HIDER
Sure.
JULIE
Well, can I make an appointment?
HIDER
(looks at his watch)
Maybe I could take a look at it
now.
CUT TO:
INT. KITCHEN - DAY
BLINK! The refrigerator light pops on and the whole thing
starts HUMMING again.
JULIE
Oh, great.
HIDER
Yeah, that was easy.
JULIE
Do you do washing machines, too?
HIDER
Just show me the way.
She takes him into the --
LAUNDRY ROOM
The Hider, with his toolbox, starts investigating the
broken washer. Julie watches him.
JULIE
Everything breaks at once.
HIDER
Isn't that always the way?
JULIE
So, you're just kind of a roving --
HIDER
-- General handyman, yeah. I do
carpentry, too, painting, almost
any odd job around the house. I
do housesitting while the owners
are away. In fact, that's why
I've been in the area. I've been
living very close by.
(he stands up)
Here's the part that's giving you
trouble, but I won't be able to
get a replacement till the stores
open tomorrow morning.
JULIE
Oh, that's fine.
The Hider puts the part in his toolbox.
HIDER
I'll call you when I have the
part.
CUT TO:
EXT. BACK PATIO - NIGHT
Holly is playing with the Killer Dog. Julie is reclining
in a deck chair, talking to Rita on the phone.
JULIE
Well, of course I'm upset, Rita.
No, I don't want to go out.
Neil climbs out of the swimming pool, notices something
glistening in the grass not far away. He goes toward it.
Holly giggles as she twists the Killer Dog's face into
various grotesque expressions.
HOLLY
Look, Mommy, look at Edgar.
Neil picks up -- the whistle.
Holly pulls the Killer Dog's gums apart.
HOLLY
(doing dog voice)
"Hi. I'm Mr. Edgar!"
(turns to Julie)
Look, Mommy, it doesn't even hurt
him.
JULIE
(on phone)
Well, what do you want me to do,
Rita -- I can't just forget
fifteen years of marriage. Well,
of course I know you can. No,
Rita, I -- what was that? -- oh,
I thought I heard something on the
line.
Neil starts cleaning the whistle on his towel.
NEIL
Look what I found.
He puts it to his mouth. Holly is spreading the Killer
Dog's jaws playfully. Neil's cheeks start to puff out as
he blows. Holly giggles. Neil blows the whistle with all
his might -- but nothing comes out but PHFFT. The dent in
it has ruined it. Neil throws the whistle back down on the
ground and goes to play with the dog, too.
CUT TO:
EXT. BACK OF THE HOUSE - LATER THAT NIGHT
The Hider returns home. He notices the whistle on the
ground. He picks it up and looks at it, alarmed at himself
for being so careless. He puts it back in his pocket.
CUT TO:
INT. THE HOUSE - LIVING ROOM - DAY
Julie is showing the Hider a section of the floor that
seems to be damaged.
HIDER
Well, I'll tell you -- the only
way of making sure this doesn't
spread is to double-coat it with
sealant before putting the varnish
on top.
CUT TO:
INT. KITCHEN - DAY
Humming to himself, the Hider washes some rags in the sink.
He rinses them and walks breezily out of the kitchen,
bumping smack into --
THE BULLY!
Who's coming in with Neil. The Bully almost loses his
balance but the Hider catches him.
HIDER
Excuse me.
THE HIDER
Walking past -- his face suddenly covered with a film of
sweat. Jesus, that kid is the one person who's seen him
before.
THE BULLY
continues into the kitchen with Neil.
BULLY
Was that your dad?
NEIL
Nah, that's some guy fixing the
living room floor.
Something nags at the Bully. He looks over his shoulder.
EXT. FRONT DRIVEWAY
Julie is pruning some hedges. She's startled by the
appearance of the Nasty Neighbor, carrying some flowers to
present to her.
NASTY NEIGHBOR
Hello there.
JULIE
Oh -- hi.
NASTY NEIGHBOR
(handing her flowers)
I've been cleaning up my yard, too
-- I noticed you do some
gardening. Thought you might like
these.
(The flowers are not very nice.)
JULIE
Oh -- well -- thank you, Mr.
Stone.
INT. LIVING ROOM
The Hider works on the floor.
INT. ENTRANCE HALL
Julie comes in, followed by the Nasty Neighbor.
NASTY NEIGHBOR
Yeah, I've been meaning to drop
by -- just in case you needed
anything.
INT. LIVING ROOM
The Hider looks over his shoulder at the Nasty Neighbor.
The Hider seethes with territorial jealousy.
INT. DINING ROOM
Julie reaches for a tall glass container on a high shelf.
NASTY NEIGHBOR
Here, lemme get that.
Damn it, thinks the Hider in the b.g., he's acting like a
man.
NASTY NEIGHBOR
(continuing)
Because, you know, I couldn't help
noticing that we have a lot in
common.
He's leaning in the kitchen doorway while she fills the
container with water.
NASTY NEIGHBOR
(continuing)
Yeah, y'know, both of us with
recent spousal disappearance.
JULIE
(how can she get rid
of this guy?)
Ah.
INT. LIVING ROOM
The Hider turns away and hunches over the floor as he sees
Neil and the Bully come back out of the kitchen, walking
this way. A chill runs through the Hider.
BULLY
So where are all your toys?
NEIL
Let's watch some TV.
BULLY
Where are these toys of yours?
NEIL
A lot of my stuff hasn't been
unpacked yet. Here's the TV.
BULLY
What toys do you have?
The Hider has to turn away even more. The Bully keeps
looking over at him.
NEIL
(turning on TV)
Hey, look -- the new Pretenders
video.
The Bully glances over at the Hider. Something preying on
the Bully's mind. He tries to get a better look. The
Hider tries to hunch out of the way even more, sweat
breaking out again on his forehead.
He feels the eyes of the Bully on his back. Now it's his
turn to be scared -- of this kid. Also, he's anxious to
keep track of what his rival from next door is doing with
Julie. It's a horrible situation from any angle.
INT. ENTRANCE HALL
Julie tries to show the Nasty Neighbor to the door.
JULIE
Well, thanks again.
But the Nasty Neighbor steps into the living room.
NASTY NEIGHBOR
Say, this is a nice den.
Without looking, he backs into the Hider's work area by the
doorway, accidentally kicking the Hider.
NASTY NEIGHBOR
(continuing)
Whoops. Excuse me, pal.
The Hider might as well be invisible. He doesn't notice
the Hider's look of hatred.
NASTY NEIGHBOR
(continuing; coming
out to entrance hall
again)
Okay then, you have my number,
gimme me a call sometime.
JULIE
Yeah, right.
She closes the door on him, sighs, and goes off into the
kitchen.
INT. LIVING ROOM
The Bully, with his crutch, is struggling closer to the
Hider.
BULLY
I don't wanna watch TV.
He's trying to see the Hider's face.
NEIL
Hey, look what's on cable,
Bernard!
The Bully turns to see a woman undress on TV. This
interests him. The Hider, drenched in sweat, seizes the
moment and stands up to walk out.
INT. ENTRANCE HALL
The Hider comes out of the living room breathing a sigh of
relief. He keeps his back turned as Neil and the Bully now
come out.
BULLY
Show me your room now.
They go upstairs. But now the Hider is scared by the front
door suddenly opening! Phil has come back.
PHIL
Oh, uh -- hi... I --
The Hider just gestures Phil in and escapes through the
dining room to the kitchen -- passing Julie, who's coming
out again. She's expecting to see the Nasty Neighbor
again, doesn't know whether she's relieved to see her
husband instead.
PHIL
Who was that?
JULIE
I'm having the floor fixed,
PHIL
And what was that neighbor guy
doing here?
JULIE
Philip, what are you doing here?
PHIL
Look, I think we should work
things out.
INT. KITCHEN
Hider has his back against a wall, breathing hard. He
can hear them.
INT. ENTRANCE HALL
Julie folds her arms as she listens.
PHIL
I was having a bad day -- I lost
that job, I was dependent on other
people, I was let down --
JULIE
There's always an excuse, isn't
there?
PHIL
I think it's time I came home now.
JULIE
That's not a decision for you to
make on your own.
INT. KITCHEN
Yes! Overhearing that brightens the Hider's spirits. He
hugs the Killer Dog. Everything's going to be okay, after
all.
INT. ENTRANCE HALL
Phil pretends to be shocked.
PHIL
What?
JULIE
No, Philip, I don't want you
coming back here. And if you want
to talk to me -- call.
PHIL
(storms out angrily)
This is my house.
INT. KITCHEN
As he hears the DOOR SLAM, the Hider leans back against the
wall with a happy sigh.
CUT TO:
INT. LIVING ROOM - DAY
Julie watches the Hider work.
JULIE
I apologize for that scene with
my husband. You must have
overheard.
HIDER
An occupational hazard, I'm
afraid.
JULIE
I bet. Going into people's homes.
HIDER
It's a living.
Julie tilts her head slightly, studying him. There's
certainly something compelling about this quiet man. He's
leaning forward, muscles rippling in his strong arm.
JULIE
Do you have a family?
HIDER
Uh, no -- I've never really found
the time to settle down.
JULIE
You must value your independence.
HIDER
Yeah, I've always been able to
make my way in the world. I don't
like having to rely on other
people.
JULIE
It's nice that you can make that
choice.
HIDER
I was alone a lot as a child. No
one to compete with. My parents
ensured that I found happiness in
the smallest things. When you're
all alone it's your own world, you
don't have to take orders from
anybody. You don't necessarily
believe the stories people tell
you.
JULIE
(laughs)
Not me, I fell for it right
down the line. Be a good girl and
believe all the fairy tales.
(faraway look out the
window)
He married me because I was
pretty.
HIDER
Because you were pretty?
She looks back at him. Smiles at the compliment. He looks
back at her again and could almost die from the pleasure of
her smile.
CUT TO:
INT. THERAPIST'S OFFICE - DAY
The Therapist looks happy for the Hider.
THERAPIST
Well, these are good signs --
she's broken up with him and the
two of you seem to be developing
quite a rapport.
HIDER
I know. I just feel that the
relationship has reached that
delicate stage where the slightest
little thing could wreck the
careful groundwork I've laid up
till now.
THERAPIST
I can't help you if you don't help
yourself. It's really up to you.
Brooding endlessly isn't going to
help matters any.
HIDER
There's so much I want to say to
her, it's all jumbled up in my
mind, and I don't want her to
misunderstand --
THERAPIST
Well, you'll just have to make her
understand.
CUT TO:
EXT. THE HOUSE - NIGHT
Lights off. Street quiet.
INT. MASTER BEDROOM - NIGHT
Julie is asleep. Alone in her bed. In the dark room.
EXT. BACK OF THE HOUSE - NIGHT
The Hider approaches his special part of the wall. In the
shadows, his face is intense. This is it. He knows what
he has to do. He starts climbing the wall. He's halfway
up it -- when a FLASHLIGHT BEAM hits his face!!
VOICE
Come down here.
The Hider climbs back down, shielding his eyes against the
flashlight. The voice laughs, the beam lowering. It's the
Nasty Neighbor.
NASTY NEIGHBOR
Well now, what do we have here?
(chuckles nastily,
glancing up wall)
You got a pretty good deal goin'
here, buddy.
The Hider is looking more desperate by the second.
NASTY NEIGHBOR
(continuing)
I believe I've seen you hanging
around here before, haven't I?
Correct me if I'm wrong.
(suddenly his eyes
bulge)
OHHHHHHHHHHHHHHHHH!
And the Hider's face is wild with madness -- as he jams
something against the Nasty Neighbor's stomach -- again and
again and again -- stab after stab -- the strength of the
Hider's arm lifting the Nasty Neighbor up off his feet --
as the Hider eviscerates him with -- a steel gardening
trowel, the sharp point ripping the Nasty Neighbor's guts
open, tearing upwards; the Nasty Neighbor's mouth gaping
with the shock of it.
CUT TO:
INT. MASTER BEDROOM - NIGHT
The Hider stands over Julie's bed. Watching her sleep.
His eyes are completely crazy now, completely obsessed.
His clothes are splattered with blood. He's snapped and
their time together has come.
And yet, for a moment, something still holds him back.
She's so beautiful. Tears come once more to the Hider's
eyes. We SEE that he's building to a kind of crescendo of
emotion. It's now or never. He begins to breathe quicker,
he begins to move, to reach for her -- but suddenly the
bedroom door is pushed all the way open -- the Hider
managing to dart behind it just in time -- as Neil comes
rushing into his mother's bedside.
NEIL
Mom, Mom, wake up, Mom --
Julie wakes up. Neil is holding a baseball bat,
JULIE
Neil -- what --
NEIL
Mom, there's somebody in the
house!
JULIE
(sitting up)
Honey --
NEIL
Mom, I heard someone downstairs!
Julie quickly gets out of bed, reaching for the bedside
phone and the emergency pad she keeps there.
BLOODY HIDER BEHIND THE DOOR
Horrified. Frozen. Not daring to breathe.
JULIE
speaks softly into the phone.
JULIE
Hello -- can you please help me
-- I think there's an intruder in
my house. Yes, we heard someone
moving downstairs. I live on
Coral Avenue -- number five
eleven.
BLOODY HIDER BEHIND THE DOOR
OhmyGod, OhmyGod, OhmyGod -- he tries to melt even more
into the wall as he hears Julie HANG UP and grab Neil and
move out of the room.
INT. UPSTAIRS HALLWAY
Julie and Neil go into Holly's room -- and the Hider darts
out -- and into Neil's room as he hears JULIE COMING OUT
again.
JULIE
(quietly)
Edgar! Edgar!
INT. NEIL'S ROOM
Edgar, the Killer Dog, moves placidly past the Hider in
answer to Julie's call. The Hider, desperate, is scared
by his own reflection in Neil's mirror. He brings a hand
to his face, realizing -- Jesus, if she sees it's me! He
looks around -- and sees Neil's full-head mask of a bearded
man.
INT. HOLLY'S ROOM
Holly sits up in bed. Neil shushes her, staying by her
side protectively with his baseball bat. Julie ushers the
Killer Dog into the room with them and shuts the door,
though not all the way so she can still watch and listen.
JULIE
(holding Killer Dog)
You stay with us, Edgar.
INT. UPSTAIRS HALLWAY
The Hider has the bearded-man mask stretched grotesquely
over his head. He peeks first, then darts out of Neil's
room and straight downstairs.
INT. HOLLY'S ROOM
Julie couldn't see him from here, but she does hear the
CREAKS on the stairs.
INT. DOWNSTAIRS
The Hider pauses at the bottom of the stairs, looking back
up, then turns in the darkness toward the front door and
-- HOLY SHIT! -- runs smack into Phil! Phil was the
intruder downstairs! And he's just as shocked to run into
the Hider. Immediately, the Hider clamps a hand over
Phil's mouth -- and Phil starts fighting for his life.
INT. HOLLY'S ROOM
Julie and the kids hear the COMMOTION downstairs, sounds
that are all the more frightening because they don't know
what they are. For all they know it's one maniac down
there destroying the house. Then they hear a CRY in the
night:
VOICE
Get out of my house!
But is it the husband or the Hider? The Killer Dog barks.
INT. LIVING ROOM
CRASH! -- the two men come tumbling in here -- and in the
air above them, gripped by both of them in their struggle
-- the shiny gardening trowel. Phil's eyes are wild with
fear as he battles his unknown assailant, the hideous
expressionless bearded-man mask looming above him.
INT. HOLLY'S ROOM
The SAVAGE NOISES from downstairs continue. Holly starts
crying, Neil comforting her.
HOLLY
Mommy!
JULIE
(joins them in a
scared huddle)
It's okay, baby, the police are
coming.
EXT. THE STREET
Distant SIRENS pierce the quiet of the neighborhood.
INT. THE HOUSE - LIVING ROOM
The Hider's fingers lose the gardening trowel. Phil
manages to keep hold of it, ramming it against the Hider's
rib cage. The Hider shrieks in pain -- then slams his fist
across Phil's head. The gardening trowel goes skittling
across the floor. The Hider is out of control, on the
rampage, insane with fury -- he punches off the mantelpiece
the second green vase, SMASHING it into a million pieces.
INT. HOLLY'S ROOM
Julie and the kids jump at the scary NOISE from downstairs.
INT. LIVING ROOM
The Hider advances on Phil, who's groggily trying to get
up, shaking his head.
EXT. THE STREET
The police car comes around the corner.
INT. THE HOUSE - LIVING ROOM
The Hider is kicking Phil. The gardening trowel is on the
floor near Phil's hand. The Hider looks up as the FLASHING
RED LIGHT of the police car starts swirling around the room
from the street outside, and he hears the STATIC CRACKLE
of the POLICE RADIO.
Phil grabs the trowel and slams it into the Hider's leg,
With a groan muffled by his mask, the Hider staggers out
of the living room.
INT. ENTRANCE HALL
Limping, the Hider stumbles through to the dining room.
Phil comes after him, throwing open the front door and
punching the appropriate button on the security box that
sets off the ALARM BELL!
INT. HOLLY'S ROOM
Julie shoots to her feet at the SOUND of this.
INT. KITCHEN
The Hider runs in, heading for the laundry room and the
back door there. He's the intruder trying to escape now,
Suddenly, he's hit on the head from behind. He falls.
It's Phil trying to stop him, clubbing him again with the
phone. The Hider wrestles it away from him, wrapping the
super-long flex cord around Phil's neck, strangling him,
wrapping it tighter, pull it harder, and Phil is choking
and the masked Hider is out of his mind -- and then the
SOUND of POLICE RADIOS -- and the Hider has to run again.
Phil still trying to hold onto him, but the Hider gets hold
of the phone and beats Phil's head with it. Then the Hider
escapes outside, still staggering.
INT. ENTRANCE HALL
TWO COPS come in, guns drawn, looking around -- hearing the
NOISE from the kitchen, running that way.
INT. KITCHEN
Getting rid of the cord around his neck, Phil stumbles
onward in the darkness toward the back door -- as the Cops
appear behind him, pointing their guns.
COP #1
Hold it!
PHIL
(turning)
I'm the owner, I'm the owner!
(pointing outside)
He's out there -- he's out there!
Cop #1 keeps his gun on Phil as his partner goes out. Phil
is shaking with fear and exhaustion. He manages to extract
his wallet from his pocket to show the Cop his ID.
PHIL
(continuing)
Look -- I live here -- I live
here.
COP #2 (O.S.)
Frank!
Cop #1 and Phil go out.
EXT. BACK PATIO
Cop #2 is standing over the pool. The body of the man in
the bearded-man mask floats in the pool.
PHIL
(sinks to his knees)
I got the son of a bitch.
(calls out)
JULIE!
CUT TO:
EXT. THE HOUSE - NIGHT
Neighborhood people have come out of their homes to see
what the trouble is. There is more than one police car
outside the house now -- and an ambulance.
EXT. BACK OF THE HOUSE - NIGHT
While the body in the pool is being fished in and pulled
out, Phil and Julie talk with the police officers. One of
the police officers holds up the gardening trowel. Phil
is being tended to Paramedics.
PHIL
Yes, I used that first of all --
then I just kept hitting him.
COP #1
And you were upstairs the whole
time, ma'am?
JULIE
Yes -- I didn't know what was
going on.
She looks at Phil. He looks back at her with a little
pleading look of understanding in his eyes.
PHIL
Yeah, we were upstairs when we
heard the intruder. My wife
called the police and I went
downstairs.
THE BODY IN THE POOL
is now laid dripping on the ground. Someone starts to peel
off the mask.
JULIE AND PHIL
don't really want to look, but have to.
JULIE
Oh God.
PHIL
Yeah -- we know him. He's been
hanging around the house.
THE BODY
It's the Nasty Neighbor, his face still looking shocked as
it was when the Hider first killed him.
CUT TO:
INT. HIDER'S SECRET ROOM - NIGHT
He splashes water on his face. He rips his sheet to
bandage his hurt leg. He flings clothes around, finding
new ones to change into. He's acting like a crazed,
cornered animal -- he's acting like there'll be no need to
come back to this room.
CUT TO:
INT. THE HOUSE - HOLLY'S ROOM - NIGHT
The Nice Neighbor Woman is comforting the kids.
EXT. THE HOUSE - FRONT STREET
A COP is getting rid of the neighborhood onlookers.
COP
All right, people, there's nothing
to see here. Let's go back to bed
now, shall we?
INT. ENTRANCE HALL
Phil is about to go off with the Paramedics and the Cops.
COP #1
We can get the rest of the
details at the hospital, Mr.
Dreyer.
JULIE
Philip, I'll be fine, really.
PHIL
(privately to Julie)
Should I come home when I'm
finished there?
JULIE
(nodding)
We'll talk in the morning.
EXT. THE HOUSE - FRONT STREET
Phil goes into the ambulance. It drives away, The crowd
has dispersed
INT. ENTRANCE HALL
The last of the police leave.
VOICE
Julie?
Julie turns around. It's the Hider.
HIDER
(breathless)
I was driving by -- I saw all the
cars. Are you all right?
JULIE
Yeah, I'm okay -- it's been a long
night.
HIDER
(seeing all the mess)
What happened?
JULIE
Can I tell you tomorrow? I think
I...
She suddenly puts a trembling hand to her head. The Hider
grips her arms reassuringly.
HIDER
Look, you don't have to say
another word... You should have
some tea, it'll make you feel
better. And I'll clean up a bit.
She nods -- as the Nice Neighbor Woman comes down the
stairs with Neil. Neil still holds his baseball bat. He's
clearly being the little man of the house.
NICE WOMAN
Holly is asleep.
JULIE
Oh, Audrey, thank you.
Neil glances in the living room where the Hider is
neatening up.
NEIL
Hi, Mr. Sykes.
HIDER
Hi, Neil -- you've had quite a
night.
NEIL
Yeah, but I'm okay.
JULIE
Honey, do you want some hot
chocolate?
NEIL
No, thanks, Mom -- I'll go up to
bed now.
JULIE
Do you want me to come up and tuck
you in?
NEIL
(brave)
That's okay, Mom.
Julie realizes how protective Neil is being, gives him a
hug and a kiss.
JULIE
You were very brave tonight.
Neil, cool, turns to go back upstairs.
NEIL
'Night, Mr. Sykes.
HIDER
Goodbye, Neil.
Julie shows the Nice Neighbor Woman to the door.
JULIE
Audrey...
(gives her a hug)
... you've been wonderful. Good
night.
She leaves and Julie shuts the front door.
CUT TO:
INT. KITCHEN
Julie and the Hider are here. Julie puts the kettle on.
Then she gives the Killer Dog some food.
HIDER
I was thinking about our
conversation the other day -- what
you said about choices.
JULIE
(preoccupied)
Uh huh.
HIDER
Yeah, you know, that in life you
really have to choose what you
want to do.
JULIE
(sensing a big
discussion)
Listen, I'm sorry, but it's really
late -- you don't have to come
tomorrow to work on the floor.
HIDER
It is tomorrow.
The kettle is starting to percolate.
JULIE
Yeah, right -- I really have to
go to bed.
HIDER
I think we should talk first.
The water is starting to boil. The cap of the kettle gives
a little BLOW. The jaws of the Killer Dog savagely munch
his food.
JULIE
About what?
HIDER
About us.
JULIE
Mr. Sykes, I think you should go
home.
The Hider gives a little smile, but doesn't move.
JULIE
(continuing)
I think you should leave.
The Hider tenses. Julie sees that he's had two totally
different reactions to what she thought was the same
statement in each case.
JULIE
(continuing)
Don't you understand?
The Hider moves a step closer.
HIDER
(gently)
Yes, I do understand...
(beginning to repeat
himself)
... I was thinking about our
conversation the other day -- what
you said about choices.
The kettle begins a LOW WHISTLE. The Killer Dog's ears
perk up. He's been activated.
HIDER
(continuing)
You decided that Philip should
stay away. You made your choice.
Julie, sensing real danger now, glances at the kettle of
boiling water. The WHISTLE continues to get HIGHER IN
PITCH.
HIDER
(continuing; carried
away by his own
internal logic)
Now things are the way they're
supposed to be. I fixed things
in this house.
As the WHISTLE BUILDS the Killer Dog turns. Nobody is
approaching the kettle at the moment, so the Killer Dog
doesn't know what to do.
JULIE
I don't know what's going on with
you --
Now she notices -- blood starting to seep through his
trouser leg.
JULIE
(continuing)
-- I don't know who you are, I
don't know anything about you.
She measures the distance between her and the WHISTLING
KETTLE. The Killer Dog goes into a crouch.
HIDER
I have to show my feelings. I
have to take action.
THE KETTLE
The WHISTLE reaches its HIGHEST PITCH.
JULIE
rushes toward it.
THE KILLER DOG
springs at Julie!
THE HIDER
throws himself in front of the Killer Dog. As the dog
starts to tear him apart --
HIDER
-- Julie --
JULIE
drops the kettle, starts backing out of the kitchen in
terror.
INT. DINING ROOM
Julie comes backing out from the kitchen, the kitchen door
swinging closed after her. She keeps backing away, her
hand to her mouth in horror as we HEAR the HORRIFIC
MAULING, SNARLING, GROWLING from the kitchen.
INT. ENTRANCE HALL
The AWFUL SOUNDS continue as Julie in a daze keeps backing
further and further away.
EXT. THE HOUSE
The street is empty, the neighborhood quiet -- except for
the SOUNDS we HEAR of the Hider in the house being torn to
bits.
And the CAMERA STARTS CRANING UP once more... up to the top
of the house, moving in on that small vent up there.
INT. HIDER'S SECRET ROOM
All his stuff still here. And his PHONE... which starts
to RING.
INT. KITCHEN
The PHONE RINGING in here, too, and OVER the savage MAULING
SOUNDS the ANSWER MACHINE CLICKS on.
INT. ENTRANCE HALL
Julie backing away.
JULIE (V.O.)
(on machine)
Hi, we can't come to the phone
right now -- please leave your
message after the beep.
BEEP.
INT. KITCHEN
There's blood splashed on the walls. The SNARLING is
starting to subside, CHEWING SOUNDS continuing.
PHIL (V.O.)
(on machine)
Hi, hon, I'm still at the
hospital, but everything's fine.
INT. HIDER'S SECRET ROOM
We PAN around the Hider's belongings, his shelf, his
bulletin board...
PHIL (V.O.)
... I really do think it's time
for me to come home.
... his sign that says: "ALWAYS REMEMBER TO UNPLUG THE
PHONE!!!"
PHIL (V.O.)
You and the kids should have a man
around the house.
GROWL.
FADE OUT.
THE END