PROLOGUE - Diner

A small roadside diner, nestled amongst tall, ancient redwood trees. The parking lot out front is illuminated only by the fluorescent light coming from within. A battered old estate car and two pristine, heavy goods vehicles sit in the lot. The pale moon is blanketed by dark, ominous clouds. Where there are gaps between trees there is only the darkness of the night.

A tired looking sign above the entrance reads: "Diner". A wild dog, or maybe it's a wolf or coyote, scavenges for food scraps around the large metal bins.

PROLOGUE - Jukebox

Inside, business is slow. Two children (1st graders) push quarters into the coin slot of a large, cabinet-sized jukebox. A waitress carries a pot of coffee towards two flannel shirted men sat at the bar.

The two young children, boy and girl, push their noses against the glass of the jukebox.

Inside the jukebox, a mechanical arm retrieves a small vinyl disc. The disc is but one of hundreds, lined up neatly along an interior shelf.

The disc is lowered onto the revolving turntable.

The disc spins and wobbles.

The needle falls into place with a soft thud followed by a warm, soothing crackle.

PROLOGUE - Waitress

The waitress pours coffee into the mugs of the two truckers. Her name badge reads "Jean". A small tower of blond hair sits neatly atop her head, held together by a clasp.

JUKEBOX

Are you lonesome tonight? Do you miss me tonight? Are you sorry we drifted apart?

The bearded truckers seem oblivious of each other, and stare blankly at the TV raised high up on the wall above the sparsely-stocked bar.

JUKEBOX

Does your memory stray to a brighter sunny day? When I kissed you and called you sweetheart?

CNN is broadcasting live coverage of the Gulf War. SCUD missiles soar across the Iraqi desert.

JUKEBOX

Do the chairs in your parlor seem empty and bare? Do you gaze at your doorstep and picture me there?

As the waitress walks away, fixing a stray blond hair as she goes, the truckers swivel their heads to admire her shapely figure.

JUKEBOX

Is your heart filled with pain?

She now sits in a table booth by the window, loose hair firmly back in place. Pages of financial accounts lie scattered across the table. Pencil, notepad and calculator are close at hand. The front of the notebook is engraved in small letters with the name "Kathy". She seems to consider opening it for a second.

JUKEBOX

Shall I come back again?

She now looks wistfully out of the window, but sees nothing but her own, glum reflection.

JUKEBOX

Tell me dear, are you lonesome tonight?

PROLOGUE - Highway

Birds-eye view of the winding mountain road.

I wonder if you're lonesome tonight...

A battered, flatbed truck careers wildly along the highway, its headlights on full beam.

You know someone said that the world's a stage and each must play a part...

The truck overtakes a car at high speed on a narrow bend. The driver of the car has to swerve dangerously towards the side of the road, sounding his horn and raising his fist in annoyance at the reckless truck driver.  

Fate had me playing in love with you as my sweet heart...

Inside the truck, the driver pays no heed to the irate motorist. This man's face is filled with his own silent rage. His bleary eyes strain to focus on the white lines of the road ahead.

Act one was when we met, I loved you at first glance...

He takes a long swig from a liquor bottle.

PROLOGUE - Polaroid

Closeup of truck driver's free hand on the wheel. On the dashboard is a photograph of a strikingly beautiful woman. Her face angelic and coy and surrounded by locks of glorious blond hair.

You read your line so cleverly and never missed a cue...

Closeup of his face - still strained and tormented as before. His eyes now fixed downwards on the photograph.

Then came act two, you seemed to change, you acted strange...

He now holds both the whiskey and the photograph in his left hand, perilously close to the open driver side window.

And why? I've never known...

From outside we see the photograph being tossed out of the window. The wind eagerly snatches it away and up into the night.

Honey, you lied when you said you loved me...

The truck careers wildly on down the highway, becomes a speck in the distance, as the photograph continues its wild, airborne dance. In a lay-by sits a parked highway patrol car, its exterior lights off.

And I had no cause to doubt you...

PROLOGUE - Kamikaze

The waitress sits in the booth by the window with her accounts, pencil and calculator in hand. She rubs her forehead in consternation. 

JUKEBOX

Now the stage is bare and I'm standing there with emptiness all around...

One of the old truckers becomes agitated, and points in the direction of the window.

JUKEBOX

And if you won't come back to me...

The waitress looks up, she has to shield her eyes with her hands from the sudden glare of headlights from outside.

JUKEBOX

Then they can bring the curtain down.

Her face is now a picture of almost quizzical terror as she stumbles backwards away from the window. Behind her, still by the jukebox, the children remain rooted to the spot.

JUKEBOX

Is your heart filled with pain? Shall I come back again?

The driver is now hunched over the wheel, his eyes narrow and bleary.

JUKEBOX

Tell me dear, are you lonesome tonight?

His eyes suddenly come alive - wide open now, wild & confused. 

SFX

SCREEEEEEECHHHHHH! CRAAAAAAASHHHHH!

HIGHWAY PATROL - Stick

View from police patrol car dashboard closing in behind Martin on his bike.

Martin slows his speed and pulls over to the side of the road.

The police car and bike are now at a halt in a roadside lay-by. Through the windscreen, we see that it is Kurt and Melissa in the car.

Inside the patrol car, Kurt turns to Melissa, one hand on the door handle.

KURT

Stay here.

Kurt strides purposefully towards Martin, who is sitting down - head in his hands.

Closeup of Kurt's mouth as he sneers. Spit and saliva form in the corner of his mouth.

Closeup of Kurt's hand flexing on his baton/stick. He looks filled with violent intent.

HIGHWAY PATROL - King Kurt

Martin looks up, and a flicker of recognition crosses his face.

KURT

Just what in the hell are you making with a stunt like that?

Martin raises himself up off the ground. His despair now turned to relief.

MARTIN

Hey! Uncle Kurt!!?? I haven't seen you since...

KURT

(grimacing)

Martin? Sheisse! Aren't you very old for this 'uncle' crap now?

Martin looks embarrassed

MARTIN

I... ugh...uhmmm. Sorry. Listen I was going too fast. I... ugh... gotta get home for an assignment... and I've got a gig. And uhm I gotta work tonight too.

KURT

What in the hell is wrong with you? Is this your death wish, boy?

Martin doesn't know what to say. He scratches the back of his head nervously.

After pausing for thought, Kurt continues.

KURT

Listen. I let you go with warning this time, because we both know your *real* uncle will be breaking my balls if I don't.

MARTIN

You still see him then?

KURT

Ha! I don't need to see him for him to be breaking my balls. Nobody needs to see him for this.

MARTIN

I don't know what...

KURT

Go. Get outta here. Don't let me be catching you again.

As Kurt returns towards the police car, the passenger side door opens and an enraged Melissa jumps out.

HIGHWAY PATROL - Hitchhiker

Melissa raises her arms, yelling at Kurt.

MELISSA

Well!? Is that it!?

KURT

Get back in the car.

MELISSA

You need to ticket this punk! And what about his friends!? You're just going to let them go too!?

KURT

I am in charge here. Get back in the car.

Kurt opens the driver side door. Martin watches the proceedings with interest. His eyes drawn to Melissa.

Kurt is now already back in the driver's seat. The door close, his window open. Melissa stands, hands on hips, exasperated.

KURT

Get in.

MELISSA

No way! Not until...

With that the highway patrol car spins its wheels on the loose dirt, before speeding off and leaving Melissa behind.

KURT

Dummkopf.

Melissa is dumbstruck.

MESLISSA

Really!? Arghh! You are such an asshole.

Martin coughs.

MARTIN

Ahem. Need a ride?

BIG SUR - Hot Tub Good-Time Machine

Tommy is leaning back in the hot tub, eyes-closed, arms stretched out either side. His face has a serene quality about it. GLORIA sits opposite him. She is naked from the waist up. She appears to be studying her watch intently. The radio station plays "Rock Lobster" by the B-52s.

Gloria clenches her teeth, anxiously.

GLORIA

(anxiously)

15...16...17...

Tommy's eyebrows twitch and a faint murmur escapes his lips.

The shrill sound of a telephone ring cuts in.

SFX

BEEP-BEEP.  BEEP-BEEP.

A second woman surfaces from beneath the bubbling water, gasping for breath. She is also naked from the waist up.

Gloria looks happy.

GLORIA

17 seconds!

TOMMY

So close... so close *sigh*

Tommy sighs and reaches for the phone. It is one of those old, large clunky handsets with an aerial. IVY's face is red, she splutters, still gasping for air.

IVY

That wasn't fair! The telephone...

GLORIA

Oh shut it...

TOMMY

Both of you shut it!

Tommy clambers out of the hot tub with the phone in his hand. We now see that he is still out on the open sea on his yacht. He is still in his garish yellow trunks.

TOMMY

Yes, speaking. Who is this?

BIG SUR - Hoist Anchor

In some office, far away from this ocean scene, a hand twists the wires of a telephone cable nervously. The white sleeves of his coat suggesting some kind of doctor or physician

DOC

It's me.

Tommy paces across the yacht floor, phone held to his ear. Something visibly troubling him.

TOMMY

What's up doc?

He walks towards the two thugs. Vadym is holding up a telescope to his eye looking out to sea. The other man, MATTHIAS, holds a rifle - as if about to take aim at something in the direction of the pointed telescope. Matthias has closely-cropped dark hair and a light goatee beard. His hairline is receding. His eyes are dull and lifeless- hinting at a lifetime of substance abuse. He could be anywhere between late twenties and early forties.

TOMMY

I see...

Tommy makes a silent "let's go" gesture to Matthias, whilst still intently listening to the caller on the phone.

MATTHIAS

But, what about Jack?

Closeup as Tommy glares daggers at Matthias, giving him no doubt about obeying his order.

View through a telescope. We see Jack Crane perched on his small rock.

Out on the ocean, sat on his small rock, Jack Crane watches the yacht slip away with despair. We see the fin of a shark circling the rock.

POLICE DEPT. - Martin & Melissa

View through a window. There is a hand on the window blinds, parting them slightly. Through the gap in the blinds, we see Martin driving up to the nearby curb, Melissa holding onto him tightly on the back of the bike.

Outside the police station, Martin is on his bike parked outside. Melissa wears a helmet. Martin does not. Melissa is clambering off the back of the bike. A large concrete slab on the lawn proclaims: "Santa Cruz Police Department".

Melissa is now off the bike, the helmet in her hands, and looking at Martin.

MELISSA

Thanks for the ride.

MARTIN

Don't mention it. I can't believe Kurt...

MELISSA

Yeah. He's a real charmer alright.

Martin checks his watch.

MARTIN

Ah crap. I'm late for work my uncle will kill me.

MELISSA

I guess our date is over then...

MARTIN

Huh?

MELISSA

Kidding. Just kidding.

Martin scratches his head. Melissa continues to tease him.

MELISSA

So who are those friends of yours?

MARTIN

We're in a band. The Lost Boys. We're playing the Blue Lagoon tonight!

Martin smiles proudly and puffs out his chest.

MELISSA

Wow!...that's a terrible name!

Martin now frowns, his ego completely deflated.

Melissa tosses the helmet. Martin catches it.

MELISSA

Oh, and thanks for this. You drive safely now, lost boy!

Back inside the office, the window blinds remain parted, and the onlooker still there. Melissa walks towards camera (unaware of onlooker), a wry smile on her face. Martin in the background.

VALET PARKING - The Note

Daytime. Wide, establishing shot of casino.

Martin is standing outside the casino entrance, working the valet. He is dressed smartly in shirt and tie. He is deep in concentration and appears to be writing some kind of essay.

Closeup of Martin's face, eyes intently focused on the words in front of him

A car horn sounds. Martin jumps out of his skin, scattering papers everywhere.

SFX

BEEEEEEP! BEEEEEEEP!

We move to a side view of Martin's position. We see the front of the car. Behind the wheel is a young man with red hair. It's Colin, dressed in similar attire as Martin. He is grinning widely, his hand still honking the horn. Sheets of papers still float around in the air.

SFX

BEEEEP! BEEEEP! BEEEEP!

MARTIN

Cut it out, you idiot!

Colin jumps out of the car and begins picking up the pieces of paper.

COLIN

Ha! You should have seen your face!

Colin now holds a piece of pink paper in his hand.

COLIN

Hey, what's this?

MARTIN

Hmm?

COLIN

It's from Ramona!

MARTIN

Give it here!

VALET PARKING - Gotta Run!

Colin mocks an effeminate face and pose while reading the note, much to Martin's annoyance.

COLIN

"Dear Martin, coffee and cake at The Perg? 8pm? I'll be waiting for you." - Ramona

"p.s. I wont be wearing any underwear"

Closeup of Martin's stunned face.

Colin can't contain himself and bursts out laughing. Martin grabs the note.

COLIN

"Ah-ha-ha, you should see your face! You'll just have to settle for cake, Marty boy."

MARTIN

Gimme that here!

Martin reads the note and sighs.

MARTIN

Seriously don't have the time for this. I need to clone myself today.

COLIN

Hey, if they can clone pigs, I don't see why...

MARTIN

(ignoring Colin's jibe)

Can you cover for me for my last hour?

COLIN

Woahhhhh! Hold on a sec.

Martin looks desperate.

MARTIN

I'll make it worth your while.

COLIN

Hey, you know I'm not that kind of guy.

MARTIN

Very funny.

COLIN

Okay, okay. But you owe Marty, boy. You owe me!

Martin is already on the move, removing his tie and waistcoat in a hurry as he goes.

COLIN

(in background)

Hey Mr Clark Kent, no telephone boxes round here!

HOSPITAL - Unusual activity

A bored looking receptionist sits behind her desk, filing her nails almost absent-mindedly. We can now see her name badge, it reads "Carol".

Emily casually strolls up to the desk, holding a paper cup of coffee.

CAROL

Is she still in there?

EMILY

M-hm. That's been 2 hours now.

Emily sets down her cup of coffee, her hand still resting on it.

CAROL

Want me to kick her out?

EMILY

Nah. What's the point? Not like the poor kid needs any sleep.

Suddenly, an alarm rings out from the wall of monitors behind the reception area. Carol swivels in her chair. Emily spills her coffee over the desk.

SFX

BLEEP. BLEEP. BLEEP.

EMILY

Shit.

Carol looks back at Emily, but she is already on the move down the hallway.

CAROL

Room 3. That's her. Our sleeping beauty!

EMILY

On my way!

Emily pushes open Elizabeth's door.

EMILY

Excuse me, madam. But can you please...

Emily stands just inside the doorway.

EMILY

...leave?

Elizabeth is unmoved, but Kathy is nowhere to be seen. A small transistor radio sits on the seat.

Closeup of radio. Only interference and static.

RADIO

BZZZZZZZZZZZZZZZZZZZZZZZZ.

THE BLUE LAGOON - Waiting for the man

Establishing shot of a grimy, divy bar exterior, punctuated only by the fizzling neon lights that proclaim it to be 'The Blue Lagoon'. A bored looking doorman uses a small flashlight to check the driver licenses and student ids of the young looking crowd who queue to get in.

Inside, Brian, Alex and Lee are on stage, plugging in equipment, checking mic levels etc. They look like they are playing for time, and the crowd grows restless.

Brian looks anxiously at his large wrap-around wrist watch.

BRIAN

Where is he for christ's sake? It's 9pm already.

The old hippy guy behind the sound desk glares at Brian impatiently.

Brian holds out his arms and shrugs apologetically.

PA SYSTEM

You got two minutes, buddy

Over by the wall, two members of the Butchers (the headline act) stand against the wall, arms folded across their chest, faces grim. Clearly they are not impressed. The pressure mounts on Brian.

From behind the drum kit, Lee tries to lighten the mood.

LEE

We can do an instrumental set!

ALEX

(gruffly)

I aint playing any surf music.

Lee sticks her tongue out.

LEE

Snob!

Brian looks stressed, his heads in his hands, as the heckling begins from the crowd.

BRIAN

This is a disaster.

VOICE IN CROWD

You suck.

THE PERG - Muffin

Establishing shot. We see an outdoor beer garden with benches and chairs. The place is half full. Mostly youths, sipping coffee and beer whilst chatting or reading a book to themselves in the dimming light.

Closeup of a half-eaten muffin sitting on table. We see Ramona's elbow resting on the table.

View from behind Ramona, who is leaning over the table. Her short, ragged shirt riding up her back. Her face is almost touching Martin's.

Closeup of Martin. Ramona delicately works a fine brush around his eye. Martin's eye's look downward.

RAMONA

Almost done...

Closeup from Martin's POV, looking directly down Ramona's vest top.

RAMONA

And quit looking down my top, you pervert.

MARTIN

I... I...

THE PERG - Makeup

Ramona now sits back to admire her work.

RAMONA

There! Wow. You look awesome, if I do say so myself.

We now see Martin. He now looks like the Martian love-child of David Bowie and Blondie. His cheeks are still flushed red with embarrassment.

MARTIN

I was just looking at your... your shoes.

RAMONA

Oh really? Well, what color are they? *Without* looking.

Martin gulps.

MARTIN

Black.

Ramona looks surprised.

RAMONA

Lucky guess! Anyway, we'd better get going. It's 9pm already.

Martin jumps up from the table.

MARTIN

Whaaaat!? Why didn't you tell me!?

RAMONA

Calm. Down. It's just round the corner!

MARTIN

Brian is gonna be pissed...

THE BLUE LAGOON - A star is born

Brian is still pacing mournfully around the stage.

Out of the crowd, Martin climbs up onto the stage. Brian does not immediately recognize him.

BRIAN

Hey lady, you can't come up here!

Martin grabs the mic stand and winks at Lee.

Lee grins and takes the cue, beginning an earth-shaking beat on the kick-drum.

Alex, who looks completely stoned, quickly picks up the rhythm, his long, spindly fingers creating bass notes that fill the spaces between Lee's beats.

Brian stands there dumbstruck.

BRIAN

Dude. What's with the outfit?

Brian shrugs his shoulders with an air of resignation and begins plucking the spiky lead guitar line.

Martin brings the mic to his mouth.

THE BLUE LAGOON - Mosh pit

Martin yells out the opening line.

MARTIN

The drums kick and the drums spit!

Closeup of mosh pit. It seethes and writhes as one. They cheer and go wild in response.

MARTIN

I see the vodka and the stain on your lips!

Martin throws himself down onto his knees in front of the crowd and lets loose a blood curdling scream. The crowd go insane.

MARTIN

Aaaaaaaaaaarggghhhhhhhhhhhhhh! The lights reflect those eyes...

Over by the wall, the two members of the Butchers turn their heads and look at each other wide-eyed in unison. The legs of crowd surfers, above heads, can be seen in the foreground.

HOSPITAL - The Vanishing

Emily, Carol and a middle-aged male doctor stand by Elizabeth's bedside. The doctor appears flustered, his face red and flushed. His name badge reads, "Dr. J Bartlett". Kathy's coat and handbag are still where she left them.

DR J. BARTLETT

What do you mean, you didn't see her leave?

EMILY

Carol was at her desk the whole time. Nobody walked past. Ain't that right, Carol?

CAROL

That's right. Nothing. I checked the bathrooms too. She just vanished.

DR J. BARTLETT

People don't just vanish.

Carol looks concerned.

CAROL

Is... is Elizabeth going to be okay? I've never seen her like this. Her brain is going haywire. Poor thing.

They all turn and focus their full attention on the stricken young woman

DR J. BARTLETT

Carol, did you inform the next of kin?

CAROL

Yes, yes. He is on his way. He sounded...

Carol pauses. She realises she might have said too much. The doctor urges her on.

DR J. BARTLETT

Yes..? Go on.

Hospital - Next of kin

Carol adopts a cynical tone.

CAROL

Oh, it's probably nothing. But he sounded a bit "off".

DR J. BARTLETT

Well, that's hardly a surprise. I mean, she's gone ten years and nothing. Nothing at all. He'd probably given up hope.

Emily, the young nurse, chimes in.

EMILY

Forgotten her, more like.

The doctor adjust his glasses on the bridge of his nose.

DR J. BARTLETT

What do you mean? Have you got something you'd like to share with us Emily?

Emily looks nervous. Wishing she'd never spoke.

EMILY

Well he...

CAROL

Husssshh!

The door swings open. In steps a middle aged man, well dressed in Armani suit and black leather shoes. His hair is slicked back, and large opaque polaroids cover his eyes.

TOMMY

I hope I'm not disturbing you. Now, I'd like to see my niece...

THE BLUE LAGOON - Groupies

A sea of faces in a crowd

MARTIN

"The angle of your spine aligns perfectly with mine"

We zoom in close to a familiar face amongst the heaving, sweaty throng of people. It's Melissa.

MARTIN

"But the markings on your skin, make me think again..."

We see Martin sink to the stage, naked from the waist up and dripping with sweat.

MARTIN

"... about love!"

View from behind crowd, their hands aloft in applause.

As the crowd continue to applaud, and the band make their way off the side of the small stage, we see Melissa pushing her way through the crowd towards Martin.

MELISSA

Martin!

THE BLUE LAGOON - Kiss

Melissa pushes her way further through bodies, she is less than 10ft away now. Martin is smiling in her direction.

MELISSA

Mar..

Suddenly from just a few feet in front of Melissa, Ramona pushes forth out of the crowd, running forward and embracing Martin, planting a big, wet kiss on his lips.

RAMONA

You were awesome!

Closeup of a crestfallen Melissa. Just behind her we see the two members of the Butchers, still leaning casually against the wall.

Melissa turns away towards the exit.

BUTCHER #1

Excuse me miss. Can I borrow your eye-liner?

Melissa ignores him. She seemingly can't leave quick enough.

BUTCHER #2

Lame, dude. Very... lame.

THE BASEMENT - The Sound of Music

A closeup of the inside of a portacabin door. On one side of the door, taped to the wall are several photographs. A young girl, around seven years old - standing in a grassy backyard, pointing a water pistol at the camera. A picture of a boy and the same girl, dressed as Mexican troubadours posing for the photo with wide gap-toothed grins. A faded, sun-bleached photo, torn in half. The remaining half showing a dazzlingly beautiful lady with blonde hair, smiling blissfully as she sits by the beach in a deck chair. Her clothes date the photo to late 70s or early 80s.

Closeup of door handle. A key turns in the lock.

SFX

Click!

The door swings open. Martin stands there, looking weary. His face still made up. It is pitch black behind him outside the room.

He stumbles inside and slumps down on his bed.

MARTIN

(to himself)

What a day. What a night! I'm beat.

View from above bed. Martin lies there staring upward at the ceiling. Adrenaline still pumps through him. He is wide eyed. His head throbs. His veins pulse.

MARTIN

Ah man. I can still hear music.

A puzzled look crosses his face

MARTIN

Wait a minute...I do hear music!

He clambers up off the bed and walks back towards the door.

As he nears the door we see a closeup of his hand grabbing a flashlight off the nearby shelf.

THE BASEMENT - Bumps in the night

In the parking garage now. In the foreground, by a wall, looms some large rectangular shaped object covered by tarpaulin. A few pieces of broken machinery lie scattered across the floor near the wall. Martin's flashlight beam can be seen ahead in the distance, sweeping from side to side. Music plays loudly.

MUSIC

"Oh when the sun goes down... "

MARTIN

Hello? Anybody there?

Martin's face. Ghostly pale in the blackness around him. Only faintly lit by the glare of the flashlight.

MUSIC

"and the moon comes up... "

MARTIN

Hey, Colin. This better not be some stupid stunt, man.

Martin is startled by a sudden noise. He swings his torch over to one side, towards the camera. We see him from the waist up, side on. Darkness behind him. His face more concerned now.

SFX

Thud!

MARTIN

Huh!?

MUSIC

"I turn into a teenage, goo goo muck..."

Same view as before, with the tarpaulin covered object lurking in the foreground. This time Martin is much closer and his flashlight points straight towards the mysterious object.

SFX

(coming from object)

Bump! Bump! Thud!

MUSIC

"You'd better duck..."

Martin's hand grips and tug at the edge of the tarpaulin, partially revealing a large metal box of some kind.

MUSIC

"When I show up..."

The tarpaulin lands in a heap by the side of object. We see still do not see the object in full. Martin looks down at the object, his face full of distant, somber emotion.

MUSIC

"The goo goo muck."

THE BASEMENT - The Jukebox

Martin stands in front of an old metal jukebox. It is blackened with fire damage and the glass is shattered.

Another thud comes from the jukebox. But Martin stands rooted to the spot, as if locked in a trance.

SFX

Thud.

Inside the jukebox, resting on the remains of the spindle, is a cracked vinyl disc. An old Elvis 45.

SFX

Thud. Thud. Thud.

Martin crouches down and begins prying open the back panel of the jukebox.

Closeup as the panel pops open.

SFX

CLICK!

Martin points his flashlight into the darkness inside. Something inside, a white piece of paper maybe, catches his attention.

Then a flutter of wings and feathers, a raven emerges from the dark hole, squawking loudly. It flies directly at Martin, forcing him to duck out of the way.

RAVEN

Squawk!

MARTIN

Arggh!

THE BASEMENT - Raven

When Martin looks around, the raven is gone.

MARTIN

What the...!?

Martin now returns his attention to the panel, intrigued by whatever else may lie inside.

Closeup of Martin's hand reaching into the hole.

Martin has withdrawn his hand from the innards of the old machine, and holds his hand up to his face to inspect his find. A small white envelope.

Martin rises from his knees, and leans over the machine. A puzzled expression on his face.

View from behind Martin as he still stands, leaning forward against the jukebox. The apparition of a young girl stands beside him. Her form is ethereal and ghost-like.

We see the two figures standing side-by-side, pressed against a now pristine and reconstructed jukebox.

Martin looks down, his eyes wide with fright.

MARTIN

Ah man. I shouldn't have ate that muffin.