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Black Cat Moon 1st 31 pages
Script created with Final Draft by Final Draft, Inc.


               FADE IN:



               EXT. STATE UNIVERSITY - DAY

               A modern sprawling complex. Men and women of various ages
               meander in and out of the double glass doors.



               INT. STATE UNIVERSITY, PROFESSOR'S STUDY ROOM - CONTINUOUS

               Modern small library size room. Thick vinyl padded chairs.
               Mahoney tables and desk.

               A distinguished man, PROFESSOR JOHNS, late fifties, wears
               wire rim eye glasses, stands and stares at one of the ceiling
               high book shelves. The Professor pulls a book from the shelf.

               The title of the book reads,'DWELLING WITH THE SUPERNATURAL'

               KNOCK AT DOOR

                                   PROFESSOR JOHNS
                         Please enter.

               An appealing, youthful woman, CONNIE MAR, late twenties,
               wears fashionable eye glasses, enters the room.

                                   CONNIE MAR
                         Professor?

                                   PROFESSOR JOHNS
                         Miss Mar. It's a pleasure.

               Professor Johns thoughtfully motions to a vinyl padded chair.

                                   PROFESSOR JOHNS (CONT'D)
                         Please sit down. I am anxious to
                         hear about your experience.

               Connie sits on the vinyl padded chair.

               Professor Johns reclines behind his desk and places the book
               down in plain view. Connie peers curious at the cover of the
               book.

                                   PROFESSOR JOHNS
                         I have been waiting in anticipation
                         of your arrival, since our last
                         phone conversation. How long have
                         you been attending our university?

               Connie pulls her attention away from the book and at the
               Professor.

                                   CONNIE MAR
                         Two years since that amazing
                         encounter.

                                   PROFESSOR JOHNS
                         Wonderful. You have told no one?

                                   CONNIE MAR
                         You are the first.

                                   PROFESSOR JOHNS
                         Wonderful. Would you like something
                         to drink before we get started?

                                   CONNIE MAR
                         No thank you Professor. I'm quite
                         anxious to get this all out.

                                   PROFESSOR JOHNS
                         Wonderful. Than by all means lets
                         begin.

                                   CONNIE MAR
                         It all began more than two years
                         ago.

               The Professor eyes Connie with engaged anticipation.

                                                         FADE TO BLACK:

                                                               FADE TO:



               EXT. COLONIAL HOME/RAY CORNELL'S HOUSE - NIGHT

               A small car rolls into the driveway. SHANE DUGAN, early
               thirties, likeable, rugged built man, wears denim overalls,
               slips out of the car holding an envelope with a handwritten
               word that reads, RENT. Shane strolls to the front porch. 

               Murmurs carry from the backyard. Shane sneaks to the side of
               the house, behind a large white beat up van and views,



               BACK YARD

               The full moon illuminates the ground, a 5 foot high wood
               fence runs across the back yard and a well kept hulking
               jagged CRENATE ROCK juts out of the ground close to, 

               RAY CORNELL, late fifties, short potbellied man wears hand-me
               down shirt and slacks, stands to the side of, 

               Ray Cornell's son, BARRY CORNELL, mid thirties, tall slender
               man wears shirt and denims. Ray and Barry look on tense as, 

               Another man, EPA MAN, late forties, shines a flashlight on
               the ground. The EPA Man stops abruptly, his flashlight
               reveals, an OILY SUBSTANCE pools on the dirt. 

               The EPA Man stoops down. He squeezes strands of wet dirt
               between his fingers and sniffs it. The EPA Man straightens up
               and turns to Ray.

                                   EPA MAN 
                         You've been warned Cornell. I'll
                         have to turn you in. 

               Barry defensively strides up to the EPA Man.

                                   BARRY CORNELL  
                         Sir, can't you let this go? We'll
                         have it cleaned up in no time. 

                        (MORE

                                   BARRY CORNELL (CONT'D)
                         My father is a church elder. We
                         can't afford this kind of
                         publicity.

               The EPA Man sneers at Barry unconcerned.

                                   EPA MAN 
                         I've warned your father long
                         enough. The neighbors are
                         suspicious of my indifference. I
                         could give a hoot about your
                         church. This is plain hypocrisy.

               Barry's eyes narrow. He perches his lips.

                                   BARRY CORNELL
                         How dare you talk about the church
                         in that manner.

                                   EPA MAN
                         You holier than thou people try to
                         get away with murder.

               The EPA Man points to the oil soaked ground.

                                   EPA MAN (CONT'D)
                         This is what your church teaches?

               Barry tenses. His fists clinch.

                                   BARRY CORNELL
                         That has nothing to do with it.
                         Just an oversight of my father's.

               The EPA Man smiles with contempt at Barry and steps a few
               feet in front of the CRENATE ROCK. He turns back to Barry.

                                   EPA MAN
                         Oversight? Not likely. Some church.
                         Filled with the likes of your
                         father.

               Ray watches Barry's mounting temper with concern and steps
               closer to Barry.

                                   RAY CORNELL
                         I promise. I'll take care of it.

               It's too late. Barry steps toward the EPA Man with inflamed
               eyes. 

               The EPA man steps back too close to the rock and stumbles.
               His head strikes the large jagged CRENATE ROCK.  

                                   RAY CORNELL (CONT'D)
                         Damn you Barry. Look what you did.

                                   BARRY CORNELL
                         I'm sorry dad. He mocked the
                         church. You know how that makes me
                         feel.

               Ray stoops down and checks the EPA Man's motionless body. Ray
               stands up. He shoots Barry a stern gaze. 

                                   RAY CORNELL
                         I've got enough troubles. Now this.

               Ray shakes his head and lumbers to the beat up white van.



               FRONT YARD

               Shane backs out of the driveway in his car and motors away.



               EXT. FIELD - NIGHT - HOURS LATER

               The moon brightens a small field surrounded by dense forest.  

               After Ray and Barry finish digging a casket size hole, they
               plant an elongated wrapped object in the hole. Ray looks
               around stressed while catching his breath with heavy huffs.

               Barry shovels dirt into the hole. His face wet with
               perspiration. Barry stops, stretches his tired back. He peers
               up at the Moon.

               MOON

               Dark clouds drift past the face of the moon.

               FOREST EDGE

               Shane watches from a massive oak tree. He clutches a special
               night camera and snaps pictures of Ray and Barry's activity.



               EXT. FIELD - DAY - NEXT DAY

               Several police vehicles dot the field. Lights flash from atop
               of the patrol cars. Police officers swarm the grounds. They
               enter and exit the forest.

               HOLE IN GROUND

               The EPA Man's upper, pale body is partially unwrapped. 

               Detective RYKER (40's) a tall, tough wiry man stoops over the
               lifeless body. He scrutinizes a strip of cloth that appears
               to be a piece of clothing.  

               A POLICE OFFICER stands to Ryker's side. He stares down at
               the shallow hole. 

                                   RYKER
                             (stares at cloth)
                         The man's identity?

                                   POLICE OFFICER
                         One of the Environmental Agencies. 

               Ryker stands up and circles the hole in the ground.

                                   RYKER
                         Any record of his destination?

               The Police Officer lifts his head and stares at Ryker.

                                   POLICE OFFICER
                         Apparently he told no one.

                                   RYKER
                         How far away is Ray Cornell's
                         house?

               The Police Officer strides closer to Ryker.



               EXT. RANCHER - EVENING

               Small rancher house sits on a sizable lot in a quiet suburban
               development. Shane Dugan's car is parked in the driveway. 



               FRONT OF HOUSE

               A large SLEEK BLACK CAT eats from a bowl by the front door.



               INT. RANCHER, LIVING ROOM - NIGHT

               Modest, clean, and orderly room.

               Ceiling high bookshelf covers the back wall, filled with book
               titles on history, science, paranormal and the supernatural.



               SIDE WALL - MANTEL

               Brochures lay on top from the University, of study courses on
               history and science scholarships. Next to the brochures, two
               framed photos, one of a very young Shane Dugan with a slim
               pretty WOMAN in her late twenties. 

               The other photo is a more recent one of Shane Dugan and
               another pretty WOMAN about the same age as Shane, both
               dressed in work overalls.

               Shane Dugan sits at an oak desk against the opposite wall,
               busy writing on a tablet. Photos lay on the desk reveal, 

               Ray and Barry digging a hole in the small field. Something
               the size of a man lays wrapped next to the hole. 

               A CEDAR CHEST with pad lock, sits on the floor beside the
               desk. The SLEEK BLACK CAT lays by Shane's chair.  

               Shane stuffs the photos and paper in an envelope and seals
               it. He places the envelope inside, shuts the chest and snaps
               the pad lock. 

               Shane grabs a small MEDICINE bottle from the desk, opens it
               and pulls a tiny pill out, than swallows it. He reaches down
               and pets the cat. 

                                   SHANE DUGAN
                         MISS BLACKY, whatever happens to
                         me, watch over this chest.

               Miss Blacky replies with a soft MEOW. Shane stands up and
               looks around the quiet room. He stares deep in thought at the
               cedar chest.

                                                               FADE TO:



               EXT. SMALL CEMETERY - DAY - FLASHBACK

               Bleak overcast sky. Leaves fall from trees like soft falling
               snow flakes.

               DANA DUGAN, the woman in the first photo on Shane Dugan's
               mantel, stands holding the hand of a child, the boy in the
               same photo, SHANE DUGAN at age 6, a wiry boy with sad eyes.
               They both stare ahead at, 

               A wooden casket lowers into an oblong hole. A grave stone
               lays to the side. The etched words read, 

               IN LOVING MEMORY OF DARREN DUGAN

               Another woman, CAROL CORNELL, early thirties, lumbers over to
               Dana Dugan. A younger, slightly slimmer RAY CORNELL (30's)
               trails warily behind Carol. 

               Carol places her arm around Dana in a comforting embrace.
               Dana weeps.

               Shane peers down in the hole. His eyes shift to his mother
               Dana and Carol, then curiously over at Ray.

                                                               FADE TO:



               EXT. RAY CORNELL'S HOUSE - DAY - PRESENT TIME



               FRONT YARD VIEWED FROM STREET

               The house sits in a state of disrepair. Home building
               materials clutter the left side yard. 

               The old beat up white van sits on the right side of the
               house. A metal BARREL stands partially blocked by the van. 



               INT. RAY CORNELL'S HOUSE, MAIN ROOM - CONTINUOUS

               In state of disrepair. Papers and tools litter the room. 
               Shane Dugan stands with eyes suspiciously studying, 

               Ray Cornell and Ray's son Barry who now wears a black shirt
               and the collar of a Pastor, both stand tense facing Shane.  

               Shane hands Ray the RENT envelope. Ray takes the envelope
               from Shane a bit edgy.

                                   RAY CORNELL
                         Thank you Shane. It's a pleasure to
                         have you as my renter.

               Barry stares with eyes of compassion at Shane.

                                   BARRY CORNELL
                         It's sad what happened to your
                         family. We're all praying for you.

               Ray gives Barry an anxious glance.

                                   RAY CORNELL
                         Barry. You were going to ask Shane
                         about church.

                                   BARRY CORNELL
                         Shane we would like to see you in
                         church again.

               Shane gives Ray a quick glance than shifts his eyes back to
               Barry.

                                   SHANE DUGAN
                         Maybe.

               Ray shoots Barry another rigid stare and nods his head.

                                   RAY CORNELL
                         I know Shane you're interested in
                         the university.
                         I have a few connections and Barry
                         knows people from the church that
                         can help you.

                                   SHANE DUGAN
                         I'll keep that in mind.

               Shane lumbers to the door. He turns and gives Ray a curious
               glimpse then walks out the door.

Script created with Final Draft by Final Draft, Inc.