ACT I

INT. BASEMENT - ALTOONA, PENNSYLVANIA - 1966 - NIGHT

The Statler Brothers' song "Flowers on the Wall" plays. A MAN carefully steps down the wooden steps to the dank basement. MUFFLED NOISES can he heard coming from the comer. The man gives no notice.

A horizontal freezer can be seen. He opens the lid of the large white freezer.

CLOSER.

We peer in to the open freezer to see flanks of red meat, wrapped in translucent plastic sheeting. He roots around in the icebox. He moves the flanks to the side and reveals a frozen arm among the meat and a container labeled "INNARDS" in thick permanent marker. The man grabs the container and holds it up to the light.

Under the word "INNARDS" we see small writing that says "JUNE 00 / 18 Y.O. FEMALE." He CHUCKLES softly. With the container under his arm, he shuts the lid to the icebox and goes back up the steps.

Draw back to reveal cages in the corners of the basement. Figures can be seen. Some move while others remain still.

CUT TO:

INT. KITCHEN - LATER.

A heart and a liver fry in a pan of grease on a gas burner. The counters ground the stovetop are horribly cluttered and filthy. A portrait of Jesus can be seen on the wall next to the refrigerator. The same man turns and flips the organs as they brown in the pan. Steam swirls up to the celling.

We draw back to see a WOMAN slumped at the dinner table. There is tape over her mouth. Her hair is a stringy blonde. She wears a men's dirty button-up business shirt and cotton white underwear. Her feet are bare, but dirty.

MAN

Alright sleeping beauty.

Rise and shine.

BEAT.

The woman does not respond.

MAN (CONT'D)

Are you played out already?

The fun's just starting!

The man lifts up his shirt to reveal a short revolver strapped to his torso. He takes it out and lays it on the counter, loudly.

MAN (CONT'D)

Well, food's done.

He scoops the organs on to a plate. He walks over to the table. He lays down the plate, then returns to the counter to grab the pistol. He pokes the woman with the barrel of the pistol. He caresses her cheek and slowly lifts up her greasy hair. He leans over, and licks her ear with his stubby tongue. The girl whimpers.

MAN (CONT'D)

Oh, you like that honey?

She shakes her head slowly and whimpers again, weakly.

MAN (CONT'D)

Look up.

BEAT.

I said look up you little whore!

She lifts her head as she trembles. As she sits up we can see her hands are behind her back, apparently bound to the wooden chair. Her eyes are red, puffy and wet.

The man takes a bite of the heart, slowly. He savors its flavor.

MAN (CONT'D)

I'm sharing something real

special with you tonight.

See, I don't have much time.

Everything's got to be on schedule.

There is a KNOCK heard from outside of the room.

MAN (CONT'D)

You see? Everyone's trying to

get in on this. This is my work.

And I'll be damned if I'll let them

take the glory. Ain't no way.

BEAT.

The man grabs the pistol and holds it to his sweaty temple.

MAN (CONT'D)

I have to stay on schedule.

BEAT.

No, first you go.

He moves the gun to the woman's breasts. He toys around with her chest for a long minute and then sharply jerks the gun up to her throat.

The woman wails as loud as she can through her nose.

BEAT.

There is a CLICK and the trigger is pulled. There is a loud BANG. Gun smoke swirls, mimicking the steam from the pan. Blood flies back on to the wall and on his face with a SPLAT. The woman's head falls back. The tendons and ligaments of her neck are visible, but everything is coated in thick, red blood. Little bits spurt out until her heart beat slows to a stop.

MAN (CONT'D)

Gun's nearly ruined.

He pulls the back to his temple. He changes his mind. A ring of blood is left on his skin. He wipes off the barrel with a hanky he pulls out from his denim pocket. He cocks it and then places it in his mouth.

FADE TO BLACK.

FADE TO:

EXT. OUTSIDE OF THE HOUSE - DAY

A fuzzy news clip and crime scene montage. POLICE are seen gathered around the door of the house and PARAMEDICS carry a covered BODY on a stretcher back to an ambulance. More paramedics emerge with another BODY.

A male reporter stands further out.

REPORTER

...As many as forty victims police

predict suffered a horrible fate in

this very house. Police aren't

releasing the details of what went

on in that house, but neighbors say

John Boyd was a very private man...

Pan out to focus on the house.

REPORTER ONE (CONT'D) (V.O.)

...Some residents say they can't believe

this would happen in their community.

Pan out to reveal another reporter.

REPORTER TWO

...Suspected rapist, murderer, cannibal,

and necrophiliac... Police are saying most

of the bodies are those of teenage girls...

CUT TO:

INT. HOUSE - BASEMENT - DAY

A COP in a brown uniform guides a shaky CAMERA MAN around the basement. He holds a microphone and the box it is wired to.

POLICEMAN

We are now in the basement of

the house, it's May 7th, 1966.

The cameraman coughs. He is not seen.

POLICEMAN (CONT'D)

As you can see behind me, there are

many strange homemade torture devices

lined up all along the walls. Just gruesome.

He walks over toward the white freezer.

POLICEMAN (CONT'D)

This freezer, a GE model to be specific, is

where the suspect kept the body parts and

sometimes whole corpses of human beings.

CLOSE IN ON FREEZER.

MOVE OUT.

POLICEMAN (CONT'D)

Just stomach turning...

Pan out. The opening of Kiss's "God of Thunder" can be heard and we draw back further and further. Fades out.

ROLL OPENING CREDITS. Fuzzy crime scene snapshots are shown as the credits roll.