It's Not Nice To Fool Mother Nature

Hey there, crime kids. Happy Monday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 29 of FRANKENSTEIN IN LOVE, science genius nerd Frankie Stein finds his undead cheerleader 'girlfriend' Shayla Petrie hiding in the old mill down by the river ... just as the cops, the media, former flame Vita Heck and the lynch mob catch up with him ...


EXT. STATE PARK - THE OLD MILL - NIGHT
Like something out of picture postcard.

A beautiful, old MILL perched on a river.
Spooky in the moonlight.

The giant blades of the windmill
slowly turn in the breeze.

Shayla RUNS toward it.
RACES to the front door. Opens it.

DARTS inside -- just as Frankie arrives.
Panting. Out of breath.

He goes to the front door.
Opens it. Creeps in.

EXT. STATE PARK ROAD - NIGHT
Brub and the vigilantes’ vehicles
ROAR down the road, followed by
a SQUADRON OF POLICE CARS.

Del’s NEWS VAN --
and Willis’ TRUCK.

INT. CHET’S PATROL CAR - MOVING - NIGHT
Chet drives. Chewing his lip.
He sneaks a glance at Beck.

Beck looks at Vita.
Arches an eyebrow.

BECK
That’s quite the makeover --

VITA
Desperate times call for desperate measures.
(beat)
So when this is over,
how soon will you two get horizontal?

Beck and Chet look at each other.
Blush. Look away.

INT. OLD MILL - NIGHT
Dank, dark and creepy.

Cobwebs everywhere from years of abandonment.
Rows and rows of old, empty grain barrels.

Shayla moves slowly in the shadows.

FRANKIE (O.C.)
Shayla. Where are you?
I just wanna talk to you.

She whips her head around, looks.
Can’t see him.

Makes her way over to a stairway
to the second floor --

SHAYLA
Stop FOLLOWING me.
Go AWAY.

And starts RUNNING UP the staircase.
FRANKIE walks into frame.

Sees her.
RACES toward the stairs.

FRANKIE
Shayla, COME BACK --

EXT. THE OLD MILL - NIGHT
The vigilantes’ cars ROAR
down the road to the mill.

SCREECH to a stop in front.
Brub and the rest pile out of their vehicles.
Stand and look at the mill.

Shayla appears in an upstairs window.
Then disappears.

BRUB
There SHE IS.
She’s UP THERE.

RED-FACED REDNECK
(KA-CHINKS his shotgun)
Let’s get ‘er done --
The police cars FLY toward them in a
CRUNCH of gravel. Come to a stop.

The cops get out.
Point their shotguns at the vigilantes.

Willis’ truck appears.
Parks behind them.

CHET
Hold it right there, Brub.
Everybody put DOWN your weapons, NOW.

BRUB
Yeah, right.
You don’t have the NERVE.

INT. OLD MILL - SECOND FLOOR - NIGHT
A large, dark room filled rows of machinery
for sifting and sorting grains.
Now ghostly and spooky.

Shayla stands at the far end holding a pitchfork.
Frankie comes up the stairs.

Creeps in the darkness, trying to see.
He BANGS into something.

FRANKIE
Ow --

SHAYLA
STAY AWAY from me.
You RUINED my life -- I mean, my DEATH.
(low, nasty)
It’s not NICE to fool Mother Nature.

FRANKIE
Shayla, please.
I just want to talk.

SHAYLA
Fuck YOU.

She THROWS the pitchfork at him.
He DIVES to the side.

It HITS a pillar and CLANGS to the floor.
Shayla sees a ladder on the wall
going up to the roof.
She starts climbing it.

Frankie sees her going up.
Starts after her.

FRANKIE
Shayla, WAIT --

EXT. THE OLD MILL - NIGHT
Everybody watches the mill.
The news van ROARS down the drive.

Stops at the cluster of vehicles.
Del and a LARGE CAMERAMAN (20’s)
jump out of the car.
Start setting up.

ON THE ROOF
Shayla comes out.
Then Frankie.

DOWN BELOW
Chet sees them. Points.

CHET
There they are. Up THERE.

VITA
FRANKIE.

BRUB
SHOOT HIM.

Beck whips out a giant 44 Magnum.
Points it at Brub.

BECK
Put the piece down, Billy Bob.
Any of you fucking rednecks so much as MOVE,
and I’m gonna blow your head clean off.
GOT it?

BRUB
(under his breath)
Bitch.

Del stands in front of the camera.
The red light goes ON.

DEL
This is Del Dunn,
coming to you live at The Old Mill,
where pint-sized evil scientist
Frankie Stein is having the final showdown
with his ungodly creation,
ead cheerleader Shayla Petrie,
back from the dead --
(beat)
And I must say, despite the fact
that half her skull has been caved in,
she still looks quite fetching.

ON THE ROOF
Shayla backs away from Frankie.

FRANKIE
Shayla, PLEASE.
Let me EXPLAIN --

SHAYLA
There’s nothing to EXPLAIN.
You brought me BACK TO LIFE.
For WHAT?
So you could finally
get what WASN’T YOURS?

FRANKIE
What?

SHAYLA
Don’t you fucking GET IT?
You’re a WIMP. A LOSER. A JOKE.
I’d NEVER be with YOU --
(under her breath)
And to think I fucking SLEPT with you.

FRANKIE
It’s not supposed to be like this, Shayla.
We’re supposed to live happily ever after.
Forever and ever.

SHAYLA
Forever and ever?
You sound like a fucking
Drew Barrymore movie --

FRANKIE
(starts walking toward her)
Shayla, please.
I need you.
I -- love you.

SHAYLA
But I DON’T love YOU --

FRANKIE
(gets closer)
But what about all the fun we had?
The tree house, our first date?

SHAYLA
FIRST DATE?
You can’t go on a date
with someone who’s DEAD.

FRANKIE
(gets closer)
But Shayla --

SHAYLA
Stay AWAY FROM ME --
(low, menacing)
Step one foot closer,
and you’ll regret it.

DOWN BELOW
Everybody watches them
argue up on the roof.

CHET
Boy, she’s PISSED.

BECK
Hell hath no fury
like a woman risen from the dead --

Night Of The Living Babe

Happy Saturday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 28 of FRANKENSTEIN IN LOVE, the shit hits the fan when science genius nerd Frankie Stein chases his dead, reanimated 'girlfriend' Shayla Petrie through the park, with the cops, the media, his former flame Vita Heck and a lynch mob hot on their trail ...


EXT. CAMELOT MOTEL - NIGHT
Del Dunn sits in her news van.
Talking on her cell phone.

DEL
That’s right.
Frankie and Shayla are holed up
in a room at the Camelot Motel.
(listens)
I dunno.
The vigilantes outnumber the cops --

INT. VITA’S BEDROOM - NIGHT
Vita stares at her laptop,
tears in her eyes.

Listening to her I-pod.
A TV is on with the sound off
in the background.

ON THE LAPTOP
We see a picture of her and Frankie
at age ten at the ‘marriage ceremony’
we saw in the opening flashback.

A CHAT WINDOW
Pops up.

The message reads 'OMG.
Turn on the news.
They’re talking about Frankie.'

VITA
Looks at the TV.
Frankie’s face fills the screen.

She GASPS.
WHIPS off her headphones.
PUNCHES the remote.

KIP CARTWHEEL (O.C.)
-- at the Camelot Motel,
where police officers
and an angry mob have assembled.
We take you now to Del Dunn, at the scene.

EXT. CAMELOT MOTEL - PARKING LOT - NIGHT
Del Dunn stands away from the mob
holding a microphone.

She looks into the camera.
Cocks her head with importance.

DEL
Thanks, Kip.
I’m here in the parking lot of the Camelot Motel,
where Frankie Stein is holed up
with his hostage, Shayla Petrie.
It’s become quite the scene,
what with both local law enforcement
and a mob of angry townspeople
vying for control of the situation --

INT. VITA’S BEDROOM - NIGHT
Vita PUNCHES off the TV.

VITA
Holy SHIT.

She RACES to her closet.
YANKS OUT the special dress.

GRABS the shoes.
Her makeup bag. RUNS into --

INT. VITA’S BATHROOM - NIGHT
She looks in the mirror.
Starts applying blood-red lipstick.

VITA
Okay, Frankie Stein --
it’s time to fight fire with glamor.

INT. STATE PARK - WOODS - NIGHT
Shayla RUNS through the dense foliage
like a madwoman on fire, WHACKING
leaves and tree limbs in her way,
leaving an easy-to-follow trail behind her.

FRANKIE
RUNS through the forest chasing her.

He’s about a hundred feet behind,
following the trail she’s left,
but still getting SLAPPED on the face
by leaves and branches.

SHAYLA
Gets to a jogging trail.

Turns onto it.
Now runs FASTER without any obstacles in her way.

She passes a JOGGER going the other way.
He smiles at her, then sees her smashed-in skull.

He realizes who she is.
Freaks out. STOPS.

Pulls out his cell phone.
PUNCHES a number. Listens.

EXCITED JOGGER
Hello, nine-one-one?
I just saw Shayla Petrie on THE JOGGING TRAIL --

Frankie comes RUNNING PAST HIM.
He watches him go by.

EXCITED JOGGER
Yeah, he’s following her.
(listens)
Going north, toward the old mill --

EXT. CAMELOT MOTEL - ROOM FIVE - NIGHT
Chet and Beck stand in
front of the motel room door.

Four DEPUTIES stand between them
and the angry mob,
pointing shotguns at them.

Brub shakes his fist.

BRUB
I wanna see my DAUGHTER.

CHET
Stay right where you are.
Any of you make a move, and we’ll shoot.

EXT. STATE PARK - WOODS - NIGHT
Shayla continues RUNNING down the jogging path.

One of her high heels HITS a rock.
She TRIPS, FLIES up in the air.

Lands on her ass, THWUMP.
She takes them off. Gets up.

Frankie comes TEARING ASS toward her.
She sees him. SHOUTS.

SHAYLA
Go AWAY, leave me ALONE --

She veers off the path and
TAKES OFF again into the woods --
just as Frankie catches up.

He stops.
Catches his breath.

FRANKIE
Shayla, STOP -- I just wanna TALK --

And he PLUNGES
into the foliage after her.

IN FRONT OF THE MOTEL ROOM
Chet and Beck stand in front of the door.

Chet pulls out his revolver.
Clicks the safety.
BANGS on the door.

CHET
Frankie Stein, this is the POLICE.
Open the door, NOW.

Silence.

CHET
This is your LAST WARNING.
Open the door NOW, or we’re COMING IN.

They listen. No sound.
He raises his gun.

Works a passkey into the door.
Opens it. They slowly go inside.

THE CHIEF
Walks over to the deputies.
Faces the crowd.

CHIEF WIND
If ya’ll don’t put down your weapons,
I’m gonna arrest the whole lot of you.

BRUB
And if you don’t move your FAT ASS --

Chet and Beck come back outside.
Everyone looks.

CHET
They’re gone.

BRUB
What the FUCK?

BECK
They went out through the bathroom window.
It’s open.

CHIEF WIND
God-DAMMIT.

Suddenly an old Dodge Dart Swinger
ROARS into the parking lot, CRUNCHING gravel.

SCREECHES to a stop.
The door opens.

Out steps Vita. Transformed.
Made-up. No glasses.

Hair out of a Robert Palmer video.
Smokin’ hot in the black dress
and fuck-me pumps.

She puts her hands on her hips.

VITA
I need to have a word with FRANKIE.

CHET
Vita, it’s not safe for you to --

His radio SQUAWKS on his belt.

FEMALE DISPATCHER (O.C.)
(electronic)
Attention, all units.
Frankie Stein and Shayla Petrie
have just been seen in the state park,
heading north toward the old mill.

CHET
(into the radio)
Copy that, OVER.
We’re on our way.

BRUB
Come ON, everybody.
To THE OLD MILL.
I know a SHORTCUT.

The vigilantes RACE OVER
to their vehicles.

CHIEF WIND
STOP. Stay right WHERE YOU ARE.

BRUB
(jumps in his car)
Fuck YOU, old man.
I’m gonna get my DAUGHTER.

CHIEF WIND
If you don’t stop, we’ll SHOOT.

BRUB
You wouldn’t DARE.

He REVS his engine.

CHIEF WIND
Commence FIRING.

The deputies look at each other.
Scared.

Watch Brub and the gang TAKE OFF,
open-mouthed.

Wind WHIRLS AROUND, red-faced.

CHIEF WIND
Fucking PANSY-ASSES.
Why didn’t you SHOOT?

TALL DEPUTY
Aw, c’mon, chief.
I bowl with Brub --

SKINNY DEPUTY
I thought we were just bluffin’ --

CHET
Uh, chief?
Don’t you think we should FOLLOW THEM?

CHIEF WIND
God-DAMMIT. Let’s GO --

He waddles over to his car.
The deputies race over to theirs.

Chet and Beck start for Chet’s.
Beck looks at Vita.

CHET
Go home, Vita.
It’s too dangerous.

VITA
But they’re gonna hurt my FRANKIE.

Beck and Chet exchange glances.

BECK
She did help us out.

CHET
(sighs)
Get in the back.
You can ride with us --

This Bud's For You

Hey there, crime kids. Happy Friday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 27 of FRANKENSTEIN IN LOVE, Willis hears on the news that the manhunt is on for Frankie and his reanimated corpse 'girlfriend' at the sex motel, and sets off after him -- just as the cops arrive -- and the lynch mob.


EXT. CAMELOT MOTEL - NIGHT
Willis’ truck pulls into the parking lot. Parks.

INT. WILLIS’ TRUCK - NIGHT
Some corny power ballad plays on the car stereo.
In a perfect world, Cinderella’s
DON’T KNOW WHAT YOU’VE GOT TIL IT’S GONE.

Willis looks at the motel longingly.
Finishes a can of beer.

SMASHES it against his forehead.
Reaches over, pulls another one off a six pack.
CRACKS it open. Raises it. Toasts.

WILLIS
This Bud’s for you, Shayla --

The song ends.
An ANNOUNCER’S voice comes on the radio.

ANNOUNCER (V.O.)
We interrupt our current programming
with this late-breaking bulletin.
Venison police are currently searching for
high school student Frankie Stein,
who is wanted in connection with
abducting the body of Shayla Petrie,
who was killed in a hit-and-run accident --

WILLIS
What THE FUCK?

ANNOUNCER (V.O.)
If you see him, please contact
the authorities immediately.
And be careful.
He’s considered extremely dangerous.

WILLIS
Frankie STEIN?
That fucking NERD?
With my SHAYLA?

IN THE MOTEL ROOM
Shayla shakes her fist at Frankie.
Beyond livid.

SHAYLA
So what the FUCK am I supposed to do NOW, HUH?
I can’t go home looking like THIS.
I was the MOST POPULAR GIRL IN SCHOOL --
and now I look like SHIT.
(eyes fill with tears)
Why didn’t you just let me DIE?

FRANKIE
I told you -- I love you.
(beat)
I think you’re still beautiful --

SHAYLA
'Beautiful?'
I look like THE BRIDE OF FRANKENSTEIN --
(gasps)
How DARE YOU lie to me about being my boyfriend.
AS IF. You’re a pathetic little creep
who can only get a girl by fucking a DEAD BODY.

PUSH IN ON Frankie’s face.
Beyond upset. About to cry.

FRANKIE
Does that mean -- we’re breaking up?

INT. WILLIS’ TRUCK - NIGHT
Willis shuts off the radio.
In shock. Shakes his head.

WILLIS
That little FREAK.
Just wait until I get my hands on him --

Then he sees it.
Parked down at the end.
Frankie’s VW bus.

WILLIS
What the FUCK? He’s HERE?

He GRABS the door handle.
JUMPS out of the car.

EXT. CAMELOT MOTEL - NIGHT
Willis STORMS across the parking lot,
shaking his fist.

WILLIS
FRANKIE STEIN.
I know you’re in there with MY SHAYLA.
Get your ass OUT HERE RIGHT NOW,
or I’m COMING IN.

INT. CAMELOT MOTEL ROOM - NIGHT
Frankie and Shayla hear Willis.
Look at the door. Freaked.

FRANKIE
Willis --

SHAYLA
What the fuck is HE doing here?

FRANKIE
I dunno.

SHAYLA
Well, I’m not sticking around to FIND OUT.
No WAY is that fat fuck
getting his hands on me AGAIN.

She RACES into the bathroom.
Frankie follows her.

INT. MOTEL BATHROOM - NIGHT
Shayla stands on the toilet.
Opens the window.

Starts climbing out.
Frankie races in.

FRANKIE
Wait. I’m coming with you.

SHAYLA
(turns, looks)
Stay AWAY from me --

And she’s gone.

EXT. CAMELOT MOTEL - REAR - NIGHT
Shayla hits the ground with soft THUD.
RUNS away.

Frankie starts climbing out.
Loses his grip, HITS the ground.

FRANKIE
OW --

He gets up.
Starts CHASING after her.

EXT. CAMELOT MOTEL - NIGHT
Willis walks down the row of doors, SHOUTING.

WILLIS
FRANKIE STEIN.
Get your fucking ass OUT HERE, right NOW.

Chet’s patrol car FLIES into the parking lot.
SCREECHES to a halt in a CRUNCH of gravel.

Two other patrol cars ROAR into the lot.
Cherry lights FLASHING.

Chet and Beck JUMP out of the car.
Willis RUNS over to them.

WILLIS
Officer Beverage, I’m glad you’re here.
Frankie Stein’s here --
(points)
That’s his car.

Chet and Beck look at each other.
Her eyes flash a question. He nods.

She walks over to the van.
Turns on a flashlight.

CHET
What are you doing here?

WILLIS
This is where Shayla and I last --
(embarrassed)
You know.

BECK
(flashes light in the window)
Holy SHIT.
(to Chet)
Josh Bohner is in the back, dead.

CHET
(to Willis)
Wait right here.

He walks over to the car.
Shines a light in the window.

BECK
Looks like someone’s developed a taste for blood.

CHET
You mean -- like a vampire?

BECK
Sort of.
I’m guessing that whatever reanimated her
started to wear off, so she needed fresh blood.
So to speak --

Obese Mexican Clerk waddles over to them.

OBESE MEXICAN CLERK
What’s the problem, officer?

CHET
I need to know what room Frankie Stein is in.

OBESE MEXICAN CLERK
Number five.
It’s the only room that’s taken.
What did he do?

BECK
Are you fucking KIDDING me?
Don’t you watch the news?

OBESE MEXICAN CLERK
Nah. Ees too depressing.

Just then a CONVOY of CARS AND TRUCKS
roars into the lot.

The VIGILANTES start piling out.
They carry shotguns and torches.
March over to Chet, Beck and Obese.

BRUB
We’ll take it from here, Chet.

CHET
Stand down, Brub.
I don’t cotton to no mob scene
vigilantes on my watch.

Brub raises his shotgun.
Takes aim at Chet.

BRUB
I’ve come to get my daughter,
so get the FUCK outta my way.

Chet WHIPS OUT his service revolver.
Aims it at Brub.

CHET
Put the gun down, Brub.
You’re not acting rationally.

The Vigilantes raise their weapons.
Take aim.

BRUB
I’m afraid we’ve got you outnumbered,
Barney Fife.

BECK
Listen to me.
You can’t go in there shooting.
Shayla’s not dead --

BRUB
Who the fuck are YOU?

BECK
I’m a government agent with the CDC.

BRUB
What do you mean she’s not dead?

BECK
Frankie Stein brought her back to life.

BRUB
Yeah, right.
And I’m Freddy Krueger --

No One Fucks With Our Cheerleaders

Happy Thursday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 26 of FRANKENSTEIN IN LOVE, it's a clusterfuck of epic proportions when a lynch mob forms to track down Frankie and his reanimated dead 'girlfriend' Shayla. Meanwhile, at the sex motel, after a night of sweaty sex, Shayla remembers who she is -- and who Frankie is -- and the fur goes flying.


INT. FRANKIE’S HOUSE - LIVING ROOM - NIGHT
Julie stands by the window
holding a cocktail.

She watches Chet and Beck
get into their car.
Downs it. Sighs.

Goes to the sofa. Sits.
Grabs a bottle on the coffee table.

Refills her glass.
A tear slides down her cheek.

JULIE
What have you done, Frankie?
(takes a sip)
What have you done --

INT. POLICE SQUAD CAR - MOVING - NIGHT
Chet drives.
Beck looks at him.

BECK
So how far away is the motel?

CHET
Not far.
Take us about fifteen minutes.
(reaches for the radio)
Better call this in.

EXT. TOWN SQUARE - NIGHT
One of those quaint main hubs
as seen in countless movies and TV shows.

We see the bank. City Hall.
The barber shop. Drug store.

Sheriff’s office. General store.
Post office.

A group of ANGRY VIGILANTES
have gathered near the entrance
to a small city park.

Their faces eerie
in the streetlight.

BRUB
He’s taken my DAUGHTER
and made her into a FREAK.
That little blind boy was MURDERED --
and his best friend
Josh Bohner is MISSING.
Probably killed HIM, too.

RED-FACED REDNECK
Let’s go GET HIM.

IRATE GUY
Yeah, let’s fuckin’ LYNCH him.

BULKY DYKE
NO ONE fucks with OUR cheerleaders.

RED-FACED REDNECK
That’s RIGHT.
Let’s STRING ‘EM UP.

A tall, skinny GAS STATION ATTENDANT
runs up to them waving his arms.
Excited as hell.

SKINNY GAS STATION ATTENDANT
HEY.
I jus’ heard on the police scanner
that Frankie and Shayla
are over at the Camelot Motel
on Old Country Road.
They’re headin’ over there NOW.

BRUB
C’mon, LET’S GO.

IRATE GUY
Yeah, let’s GET ‘EM.

Everyone RACES over to their
cars and trucks, piles in,
REVS their engines and TAKE OFF.

Standing behind a nearby tree
we see Del Dunn.

She RUNS over to her news van.
JUMPS IN, and FOLLOWS them.

INT. CAMELOT MOTEL ROOM - NIGHT
Frankie and Shayla lie in bed.

Frankie’s completely spent,
eyes narrow slits.

Shayla puffs on a cigarette.
Eyes ON FIRE.

SHAYLA
I can’t believe you
made it to round five.
What a trouper.
(looks at him)
After I finish my smoke,
let’s go again.

FRANKIE
(looks at her)
Will you -- go steady with me?

SHAYLA
'Go steady?'

FRANKIE
Yeah.
I’d never hit you --

Pause.

SHAYLA
HIT me --

She looks around at the room.
Wheels turning. Remembering.

SHAYLA
Wait a minute.
I know this room --
(looks at Frankie)
You’re FRANKIE STEIN.

FRANKIE
Uh --

SHAYLA
You’re that fucking NERD.
You’re not my BOYFRIEND.
What the FUCK?

Frankie BOLTS UPRIGHT.
HOPS off the bed.

FRANKIE
Wait a minute.
I can explain --

SHAYLA
Explain? Explain? EXPLAIN?

She JUMPS off the bed.
Goes to the mirror.
Looks at herself.

SHAYLA
I’m Shayla Petrie.
I was the HEAD CHEERLEADER.
The fucking PUMPKIN QUEEN.
What the FUCK happened to me?

Frankie stares at her.
Deflated. Gestures helplessly.

FRANKIE
Willis threw you
out of his truck --
you were drunk,
and got hit by a car --
and died.

She stares at him,
open-mouthed.
Mind reeling.

SHAYLA
Then if I DIED,
what the fuck
am I DOING HERE?

FRANKIE
I, uh --
(beat)
Brought you back to life.

SHAYLA
Why?

FRANKIE
Because I love you --

Fuck Me, Steven Hawking

Hey there, crime kids. Happy Hump Day. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 25 of FRANKENSTEIN IN LOVE, as the cops start to close in on him, Frankie takes reanimated dead cheerleader Shayla Petrie to a sex motel to hide out, but when they get there, Shayla wants to get laid, and won't take no for an answer ...


EXT. THE CAMELOT MOTEL - DUSK
Frankie drives the bus
into the parking lot.

Parks down at the end,
away from the only other car.

INT. FRANKIE’S VOLKSWAGON - DUSK
He turns off the engine.
Looks at Shayla. Sighs.

FRANKIE
I’m going to check us in.
You wait here in the car, okay?

SHAYLA
(looks out the window)
Looks familiar.

FRANKIE
Don’t be silly.
Wait right here, okay?
Don’t leave the car.
(off her nod)
Be back in a sec --

He gets out.
Starts walking over to the office.

Shayla watches him go.
Wrinkles her nose.

Smells something.
Turns around.

Looks in the back of the van.
Big smile.

INT. CAMELOT MOTEL OFFICE - DUSK
Tiny, cramped. The OBESE MEXICAN CLERK (40’s)
watches a shitty little black-and-white.
Eats a giant burrito.

Frankie walks in.
Approaches the counter.

FRANKIE
Hi.
I’d like to get a room, please.

OBESE MEXICAN CLERK
(eyes on the TV)
For the hour or for the night?

FRANKIE
Uh, for the night --

INT. FRANKIE’S VAN - DUSK
Shayla has found Josh’s body
in the back and is now sucking blood
from a gaping wound
she’s chewed in his neck.

FRANKIE
Gets back in the car.
Sees Shayla’s not in her seat.

FRANKIE
Not AGAIN --

He hears a sucking sound.
Turns.

Looks.
Sees her feasting.

FRANKIE
Ohmigod.
Shayla, NO.

She looks up at him.
Blood on her face.
Confused.

SHAYLA
What’s wrong?

FRANKIE
You can’t DO that.
He was my FRIEND.

SHAYLA
But I’m HUNGRY.
Makes me feel BETTER.

FRANKIE
But you can’t eat PEOPLE.
(sighs)
C’mon, let’s go to our room
and get you cleaned up.

INT. TREE HOUSE - NIGHT
Chet and Beck search the tiny room
looking for clues.

CHET
Nothing.
How about you?

BECK
Nothing.
(looks at the bed)
Do you think he fucked her?

CHET
My god.
That’s SICK --

BECK
I’ve seen his picture.
He makes Mark Zuckerburg
look like Ryan Reynolds.

CHET
So --

BECK
Shayla was the head cheerleader.
AND Pumpkin Queen.
You do the math.
(off his look)
What’s the only thing
on a sixteen-year-old boy’s mind?

CHET
To get laid.

BECK
And where would he go to do THAT?

CHET
A motel --

BECK
Dirty Harry gets a gold star.

CHET
I bet he went to The Camelot.

BECK
The Camelot?

CHET
Yeah.
It’s one of those sex motels.

BECK
You mean the kind
with the magic fingers bed?

CHET
Uh, yeah.

BECK
Damn.
I’m staying at the wrong place --

INT. THE CAMELOT MOTEL - THEME ROOM - NIGHT
Done up like a room in a castle, with peeling,
faded ‘brick’ wallpaper.

‘Shitty’ would be a compliment.
But hey, free HBO.

Frankie stands in the middle of the room
looking at the entrance to the bathroom.

Shayla comes out,
face all clean.

FRANKIE
So, uh -- you wanna watch some TV?

She walks up to him.
Takes his hand --

SHAYLA
Fuck that.
C’mere, lover-boy.
Let’s get BUSY.

WHIRLS him around.
SHOVES him onto the bed.

Gets on top of him.
Starts kissing his neck.

Grabs his belt buckle.
Starts undoing it.

Frankie tries to fight her off.

FRANKIE
No, stop -- I don’t want to --

SHAYLA
(WHIPS OFF his shoes)
Tough toenails, little fella.
I’ve got an itch --
and it’s gonna be SCRATCHED.

FRANKIE
I’m, uh -- not in the mood --

SHAYLA
(YANKS his pants off)
What’s the matter?
Don’t tell me you’re a VIRGIN?

FRANKIE
(turning red)
As a matter of fact --

SHAYLA
Well, we’ll see about THAT.

She pulls her dress over her head.
Revealing her perfect, injured body.
Frankie’s eyes go wide.

SHAYLA
FUCK me, Stephen Hawking.

Frankie’s pelvis JERKS.
Eyes go glassy.

A wet stain forms
on his tighty-whities.

SHAYLA
AGAIN?

FRANKIE
Sorry --

SHAYLA
Don’t worry.
We’re just getting STARTED.
(big smile)
We’ve got ALL NIGHT --

PUSH IN ON Frankie’s face.
Scared shitless.

Blood Thirsty

Happy Tuesday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 24 of FRANKENSTEIN IN LOVE, Frankie's horrified to find out that after killing the blind boy, Shayla's developed a taste for blood. Meanwhile, Vita finds out the cops are looking for Frankie ... and are searching his 'secret basement lab' ...


INT. FRANKIE’S VOLKSWAGON - DAY
Frankie and Shayla sit in the front seat.

He wipes the blood
off her face with a rag.

She looks at him.
Smiles.

SHAYLA
Tasted good.

FRANKIE
What tasted good?

SHAYLA
Want MORE.

FRANKIE
Blood?
Oh, no. NO.
NOT good.

She frowns.
Looks sad.

He starts the engine.
Tries to smile.

FRANKIE
C’mon, let’s go home.
I’ll fix you a nice snack.

Frankie starts driving.
Turns on the radio.

FRANKIE
Maybe some music will --

NEWS ANNOUNCER (O.C.)
-- police have issued an
all-points-bulletin
for Frankie Stein,
wanted in connection with --

Frankie’s eyes bug out.
He SHUTS it off.

FRANKIE
Shit.

SHAYLA
Why do the police want to see you?

FRANKIE
Uh, nothing. Nothing.
(turns the wheel)
Change of plan.
We’re gonna go somewhere else.

SHAYLA
Where we going?

FRANKIE
Surprise.

SHAYLA
Oooh. I like surprises.
(beat)
We get more blood?

FRANKIE
More BLOOD?

SHAYLA
Makes me feel better --

FRANKIE
Hey.
All of a sudden you’re
talking much better --

PUSH IN ON Shayla’s face.
Eyes glinting maniacally.

SHAYLA
Does a body good.

INT. VITA’S HOUSE - FOYER - DAY
Vita comes in.
Shuts the door.

Looks sad. Angry. Freaked out.
Peggy rushes up to her.

PEGGY
There you are.
I just heard on the radio
that the police
are looking for Frankie --

Vita looks away.
Heads for the stairs.

VITA
I don’t want to talk about it.

PEGGY
It’s okay, honey.
Let me fix you something to eat.

VITA
I’m not HUNGRY.

And she RACES upstairs.

INT. VITA’S ROOM - DAY
Vita turns on her laptop.

Looks at the screen.
Finds the local news.

ON THE SCREEN
We see a screaming headline
in big, bright bold letters:

POLICE MANHUNT FOR FRANKIE STEIN
AND CAPTIVE SHAYLA PETRIE.

VITA
Stares at the screen.
A tear rolls down her check.

VITA
Oh, Frankie -- what have I done?
(beat)
What have I done?

EXT. FRANKIE’S BASEMENT LAB - DAY
Chet and Beck search the room,
examining his electronic equipment.
Video games. Kid-stuff experiments.

CHET
Looks like ordinary teenager stuff to me.

BECK
Maybe he was tipped off --

CHET
And hid the evidence --

Beck walks over to a
cabinet against the wall.
Fingers the padlock on the door.

BECK
Bingo.

CHET
We’ll have to get a warrant.

Beck pulls a couple of hairpins out.
Her hair falls down luxuriously.

She smiles.
Holds them up.

BECK
But I’m not a cop.

CHET
Yeah, but I am.

BECK
But I work for the government.

CHET
Knock yourself out.

She nods.
Goes to work on the lock.
Chet’s cell phone RINGS.

CHET
This is officer Beverage --
(listens)
Holy SHIT. Really?
(listens)
Uh-huh --
(listens)
Damn --
(listens)
We’re at his house.
We’ll let you know what we find.
(listens)
Copy that.

He CLICKS the phone shut.
Looks at Beck.

CHET
A ten-year-old blind boy
was found dead in the park.

BECK
Do you think it’s connected?

CHET
Well, his name was Willis,
and the bottom half of his face
was chewed off, so I’d say YES.

BECK
Damn.

CHET
There’s more.
We got a call from Josh Bohner’s mother --
he’s Frankie’s best friend --
and she says he didn’t
come home from school.

BECK
Maybe he had some
extracurricular activity?

CHET
Negatory.
His mother said he’s a complete shut-in.
Always comes right home after school.

BECK
The plot thickens.

CHET
No shit.

She goes back to work on the lock.
It CLICKS open.

She opens the cabinet doors.
We Frankie’s real lab equipment inside.

The transformer. The gauges.
Wires. The works.

Chet whistles.

CHET
Looks like we’ve got our man --

BECK
Let’s go check out the tree house --

Bad Boyfriend

Hey there, crime kids. Happy Monday. Having a hard time getting back into the work groove? Then why not take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 23 of FRANKENSTEIN IN LOVE, reanimated cheerleader Shayla Petrie wanders off into a park where she meets a young blind boy, and takes a rather bloodthirsty interest in him. Meanwhile, CDC agent Beck Driver and local cop Chet Beverage put the missing pieces together about the ungodly love triangle ...


EXT. CITY PARK - DAY
A lush expanse of foliage and trees
surrounds a small grassy area
with a small lake.

Birds chirp in the trees.
Bright sunlight shimmers off the water.
It’s like out of a dream.

Shayla CLOMP CLOMPS
over to the entrance to the park.
Looks around at all the beauty.

SHAYLA
Pretty --

A JOGGER runs by.
Sees her.

Does a double-take.
Looks horrified.

RUNS AWAY.
Shayla watches him go.

SHAYLA
So -- fast.

She stumbles over to a park bench
near the water. Sits.
Looks at the pond.

SHAYLA
Water --

Screws her face up.
Thinking.

SHAYLA
Picnic -- with WILLIS.

MALE VOICE (O.C.)
Excuse me.
Do you mind if I sit here?

She slowly turns her head,
looks, sees --
a YOUNG BOY (10) wearing sunglasses.
Holding a white cane.

SHAYLA
Hello.

YOUNG BOY
(sits next to her)
Thanks.
Hope I didn’t startle you --
(smiles)
Don’t worry.
I won’t hit on you.

SHAYLA
Hit -- on me?

YOUNG BOY
Well, I’m blind.
I mean, hello.

SHAYLA
Can’t -- see?

YOUNG BOY
Yeah.
Not much fun,
but you get used to it.
(beat)
I’m Willis.

Shayla reacts like she’s been
zapped with electricity.

SHAYLA
WILLIS?

WILLIS
I know, it’s a stupid name.
But what are you gonna do?
Stupid parents.
My brother’s name is FRANCIS.
How lame is THAT?

SHAYLA
Shayla --

WILLIS
Shayla.
Now that’s a pretty name.
Bet you’re really pretty.

SHAYLA
You -- BOYFRIEND.

WILLIS
Whoah, slow down there, little lady.
I don’t move that fast.
And besides, you sound
a little old for me.

Shayla CLAMPS a hand on his thigh.
HARD. Leans in for a kiss.

WILLIS
OW.

SHAYLA
Want -- kiss.

WILLIS
(puts his hand on hers)
Stop.
You’re hurting me.

SHAYLA
Want KISS.

WILLIS
(tries to get up)
NO.
Get OFF ME.

She WHIRLS AROUND, facing him.
GRABS his head in her hands
and KISSES HIM forcefully.

He tries to SCREAM.

Shayla’s teeth CRUNCH
into his mouth.
Blood goes FLYING.

His body starts THRASHING.
She RIPS OUT his lips.

Smiles, her face a rictus of blood
as she chews on them. Swallows.

An ungodly HOWL
erupts from his ruined mouth.

She looks at him. Confused.
GRABS his head harder.

SNAPS his neck with a CRACK.
SHOVES his lifeless body
onto the ground.

SHAYLA
BAD boyfriend.

FRANKIE (O.C.)
SHAYLA.
THERE you are --

Frankie RACES over to the bench.
Sees the dead boy on the ground.
The blood on Shayla’s face. Horrified.

FRANKIE
Shayla, what have you DONE?

She looks at him.
Eyes liquid-bright with tears.

SHAYLA
We -- broke up.

INT. POLICE SQUAD CAR - DAY
Chet sits behind the wheel
talking on his cell phone.
Beck checks her email on hers.

CHET
That’s right, chief.
Frankie Stein --
(listens)
Of course.
I’ll keep you posted.
Over.
(hangs up, to Beck)
I can’t believe it.
It’s like something
out of a horror movie.
(thinks)
Wonder why she snitched on him
like that.

BECK
She’s in love.
(off his look)
Spurned lover.
If Vita can’t have him,
he can’t have Shayla.

CHET
You mean --

BECK
A love triangle.
But one of em's dead.

School Daze

Happy Saturday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 22 of FRANKENSTEIN IN LOVE, the shit hits the fan when the cops come to Frankie's school to question him about missing dead cheerleader Shayla Petrie, but when former flame Vita calls Frankie to warn him, things take an unexpected turn ...


INT. HIGH SCHOOL - PRINCIPAL’S OFFICE - DAY
Functional furniture. Fake Persian rug. Fake plants.
American flag on the wall. Bowling trophies.

Would be almost nice if it weren’t
for the pukey-colored painted brick walls.

Seated at his desk is PRINCIPAL BACON (50’s),
a large bear of a man.

Florid-faced, balding,
and stuffed into a threadbare suit
that the eighties would like to have back.

Beck and Chet
sit in chairs facing him.

BECK
Thanks for seeing us.

CHET
First time I asked
to go the principal’s office --

PRINCIPAL BACON
Don’t worry, I’m not
going to give you detention --
(SLAPS desk)
But enough tomfoolery.
You didn’t come here
to trade quips and banter.
I assume you have a suspect?

BECK
Yes, we do.
One of your students --

CHET
Frankie Stein, a sophomore.

PRINCIPAL BACON
Frankie Stein?
But he’s one of our best students.
He got into MIT, early admission --

BECK
We think he might have something to do
with Shayla Petrie’s disappearance.

CHET
We’d like you to ask him
to come to your office.
We’ll take it from there.

PRINCIPAL BACON
Are you going to arrest him?

CHET
We just want to ask him a few questions.

BECK
Given the hysteria
over Shayla’s disappearance,
we need to handle this quietly.
We don’t want the students
to know what’s going on.

PRINCIPAL BACON
Do you fear for his safety?

CHET
Missing cheerleader?

PRINCIPAL BACON
(nods)
Indeed.
(picks up his phone)
Ruth, could you please find out
what class Frankie Stein is in,
and get word to the teacher
that I would like to see him?
(listens)
No. Don’t use the PA.
We need to keep this quiet.
(listens)
Thank you.
(hangs up, to them)
He should be here soon.

Beck and Chet nod.
Fidget awkwardly.
Look around the room.

BECK
So, uh -- I see you’re quite the bowler --

INT. HIGH SCHOOL - FRONT OFFICE - DAY
The typical school office with ancient furniture.
And what’s that? A mimeograph machine?

Seated behind her desk is RUTH CHUBB (60’s),
Miss Grundy incarnate.
She studies a schedule.

Gets up from her desk.
Walks toward the door.

EXT. CLASSROOM DOORWAY - DAY
Ruth whispers to the TEACHER (20’s),
a hot young thing.

Her eyes grow wide.
Shakes her head ‘no.’

RUTH
Returns to her desk. Sits.

Turns on the PA system.
Leans into the microphone.

INT. SCHOOL CORRIDOR - DAY
Completely empty.
Ruth’s voice comes over the PA system.

RUTH (O.C.)
(electronic)
Will Frankie Stein please
report to the Principal’s office?
Frankie Stein, please report
to the Principal’s office.

CHET AND BECK
Sit in their chairs.
WHIP their heads toward the speaker.

BECK
What the fuck?

CHET
Great.
Just great --

PRINCIPAL BACON
Fucking old CROW.
(clears his throat)
Excuse me --

INT. SCHOOL CLASSROOM - DAY
A room full of STUDENTS
sitting behind their desks.

They murmur to each other.
CAMERA finds Vita. Freaking out.

VITA
(raises her hand)
May I be excused, please?

INT. SCHOOL CORRIDOR - DAY
Vita hurries down the hall.
Pulls out her cell phone.

Passes the Principal’s office.
Stops. Looks in the window.

VITA
(whispers)
Cops?
Shit.

She continues walking.
PUNCHES a number. Listens.

INTERCUT WITH:

EXT. OHIO BURGER KITCHEN - BACK ALLEY - DAY
Frankie walks through the alley,
searching for Shayla.

FRANKIE
SHAYLA, where are you? Come BACK.
I’m SORRY you don’t feel well,
I should have listened to you --

His phone RINGS.
He pulls it out. Listens.

FRANKIE
Hello?

VITA
Frankie, it’s Vita.
We got trouble.
The cops are in the principal’s office.
They want to see you.

FRANKIE
I can’t talk right now --

VITA
What are we gonna do?

FRANKIE
WE?
What do you mean WE?

VITA
But I thought we were --

FRANKIE
I said I CAN’T TALK NOW.
Shayla’s MISSING
and I’ve got FIND HER --

He hangs up.
Continues down the alley.

Vita stares at the phone.
Incensed. Heartbroken.
Starts MARCHING down the hall.

VITA
You just crossed the WRONG chick,
boy wonder --

INT. PRINCIPAL’S OFFICE - DAY
Vita stands at the door.
KNOCK-KNOCKS.

Principal Bacon’s
SURLY OLD SECRETARY (70’s) opens it.

SURLY OLD SECRETARY
I’m sorry.
The Principal is in a meeting.

VITA
I know.
Tell him I’ve got
some information about Frankie Stein.

PUSH IN ON Surly’s face.
Eyes flashing.

SURLY OLD SECRETARY
Get your ass in here.

A Cold One

Hey there, crime kids. Happy Friday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 21 of FRANKENSTEIN IN LOVE, Frankie's 'date' with dead cheerleader Shayla Petrie becomes a disaster after she pukes on the table at the restaurant, and to make matters worse, when Frankie's friend Josh arrives to tell him he's turning himself into the cops, things turn violent ... but when Frankie finds out Shayla's wandered away, the shit really hits the fan ...


INT. OHIO BURGER KITCHEN - DAY
Frankie looks at Shayla.
Her vomit on the table.
An awkward silence.

FRANKIE
Are you okay?

SHAYLA
Feel -- cold.

Frankie’s phone RINGS.

FRANKIE
Hold on a sec.
(answers it)
Hello?

INTERCUT WITH:

EXT. OHIO BURGER KITCHEN - DAY
Josh sits on his bike on his cell
looking in the window.

JOSH
I’m here, but I’m not coming in.
I can SEE her, Frankie.
Get your ass out here.

FRANKIE
Be there in sec.

JOSH
Hurry up.
I’m on my way
to the police station.

They hang up.
Frankie looks at Shayla.

FRANKIE
I have to go talk to a friend
for a minute outside.
Why don’t you go to the
ladies’ room and freshen up a bit?

SHAYLA
'Freshen -- up?'

FRANKIE
Yeah. I’m sorry.
It’s really important.
It’ll be real quick, I promise.

He gets up and hurries toward the door.

PACO (18) a tall, skinny Mexican kid arrives.
Starts cleaning up the mess.

Keeps sneaking a peak at Shayla.
Wrinkles his nose.

Shayla stares off into space.
Gets up.

SHAYLA
Freshen -- up.

And starts shuffling off to the back.

EXT. OHIO BURGER KITCHEN - DAY
Frankie walks up to Josh.
He gets off his bike.

FRANKIE
Hey, Josh.
Thanks for coming.

JOSH
Nothing you can say
is gonna change my mind.
I’m turning myself in.

FRANKIE
(GRABS his arm)
Let’s go sit in my car.

INT. OHIO BURGER KITCHEN - LADIES’ ROOM - DAY
Cramped. Tiny. Fairly clean.

A fan BUZZES in the window,
pushing the fetid air around.

Shayla looks at herself in the mirror.
But her eyesight is failing.

She RIPS off the wig. Turns.
Goes to the door. Opens it.

EXT. OHIO BURGER KITCHEN - BACK ALLEY - DAY
The back door OPENS.
Shayla walks out.
Looks around.

Starts awkwardly marching down
the back alley.

INT. FRANKIE’S VOLKSWAGON - DAY
Frankie sits behind the wheel.

Josh is beside him,
arms folded across his chest.

JOSH
My mind is made up.

FRANKIE
But we’re on our FIRST DATE --

JOSH
'Date?'
That’s a good one --
(evil smile)
So did you FUCK her?
I bet that was GREAT.
Talk about 'a cold one.'

FRANKIE
SHUT UP.

JOSH
Oh, did I hit a nerve?
Well, it’s time
you faced the facts --
she’s DEAD, and
you’re a fucking PERVERT.

FRANKIE
No, take that BACK.

JOSH
It’s called necrophilia, Frankie.
Fucking a DEAD BODY, PERVERT.

FRANKIE
I’m not a PERVERT --

He LUNGES at Josh.
They STRUGGLE.

Frankie GRABS his head.
SMASHES it into the window, CRACK.

JOSH
OW. HEY --

SMASHES it again.
Blood SPRAYS.

BANGS it again.
And again.

And AGAIN.
Josh slumps over in the seat. Dead.

Frankie stares.
Opens his mouth. Horrified.

FRANKIE
Omigod.
What have I done?

He looks out the window.
No one around. Whew.

Reaches over.
GRABS Josh, and with superhuman strength,
THROWS him in the back.

Finds a rag.
Wipes the blood off the window.

FRANKIE
(realizes)
Shayla --

INT. OHIO BURGER KITCHEN - DAY
Frankie RACES over their booth.
Sees she’s not there.

FRANKIE
Shit.

He RACES toward the back.

INT. LADIES’ ROOM - DAY
The door FLIES OPEN.
Frankie charges in.

Sees it’s empty.
Then sees her wig on the floor.

FRANKIE
Oh, no --

Around The World

Happy Thursday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 20 of FRANKENSTEIN IN LOVE, it's a trifecta of clusterfucks when Brub and Adelle get interviewed on TV about their missing daughter Shayla, Willis gets shunned at school when everyone discovers he's the main suspect in her disappearance, and Frankie takes the dead cheerleader out on a 'date,' which doesn't go well ...


INT. NEWS STUDIO - DAY
A cozy, cheap ‘living room’ set
that would do Good Morning America proud.

Candy Sprinkle sits on a chair
facing Brub and Adelle Petrie,
seated on an overstuffed couch.

Adelle clutches a tissue in her hands,
blinking back tears.

Brub holds a mug of coffee.
Looks haunted. Lost.

Candy leans into the camera.
Serious. Speaks in hushed tones.

CANDY
We’re here today with Brub and Adelle Petrie,
the parents of head cheerleader Shayla Petrie,
whose tragic death has rocked
this sleepy little hamlet.
(to them)
Thank you for coming.
I know it must be hard for you,
given the circumstances.

BRUB
No sh-(BEEP).
The cops can’t even find the (BEEP)ing body.

ADELLE
(low)
You and your foul mouth --

CANDY
Uh -- is there anything you’d like
to share with the folks out there?

BRUB
Shayla was a GOOD girl,
not some common BAR-SLUT.
She was PUMPKIN QUEEN, goddammit.

He takes a sip of coffee.
Eyes burning with fire.

ADELLE
(looks into the camera)
Please help us find our little girl.
If we can’t have a proper funeral,
I don’t know WHAT we’ll do --

She trails off, overcome with emotion.

BRUB
(low)
I know one thing you won’t do --

ADELLE
(hisses)
SORRY I haven’t been in the mood to (BEEP) you.
HONESTLY, how can you think of SEX
at a time like this --

CANDY
I think we’re straying off the topic --

BRUB
EXCUSE ME if a man has NEEDS, sister.
A good (BEEP) relieves STRESS.

ADELLE
Watch your (BEEP)ing mouth, mister --

BRUB
Oh, YEAH?
You gonna (BEEP)ing MAKE me?

CANDY
(touches her earpiece)
What?
(listens)
We’ve just received a late-breaking bulletin.
The police now have a suspect in the case.
Their identity has not been released yet,
but it’s believed to be one of Shayla’s classmates.
(beat)
We now pause for station identification --

BRUB
I (BEEP)ing KNEW it --

INT. HIGH SCHOOL CORRIDOR - DAY
The usual throng of kids weave around each other
on their way to class.

But now they seem excited.
Almost happy.

CAMERA finds a gaggle of
CHEERLEADERS by the water fountain.

AMBER
Ohmigod.
Who do you think it is?

AURA
I don’t know.

HOT BLACK CHEERLEADER
I can’t believe it’s someone here at SCHOOL.

SHAPELY HISPANIC CHEERLEADER
(sees someone, loud whisper)
I bet it’s WILLIS.
Look, there he is.

Willis lumbers by them.
Dejected. Head down.

He walks over to Kirk,
who’s working the combination
on his locker.

WILLIS
Hey.

KIRK
(sees him)
Oh -- hey.

WILLIS
Whataya say after school
we snag some forties and blow a doob?

KIRK
I, uh -- got a lot of homework to do.

WILLIS
HOMEWORK?
Since when the fuck do you --
(realizes)
Oh, I get it.
You’re TOO GOOD to hang out
with me now that I’m a suspect, huh?

KIRK
People been talking, dude.
Just sayin’ --

WILLIS
I didn’t KILL her, man.
FUCK you.

He storms off.
Kirk watches him go.

KIRK
Asshole --
(shakes his head)
Whatever.

INT. OHIO BURGER KITCHEN - DAY
One of those low-rent suburban chain restaurants.
Rows of red vinyl booths.

Mostly dead at this hour on a weekday,
but there’s still a sprinkling
of the low-end of humanity.

A HOMELESS MAN nurses a cup of coffee.
A RETIREE reads the paper at the counter.
Picks at his tuna melt.

And in a booth way in the back
sits Frankie and Shayla, studying menus.

SHAYLA
Around -- The World?

FRANKIE
All the meals have cute names like that.
It’s a bacon cheeseburger
with fries AND onion rings.

SHAYLA
Cheese-burger --

FRANKIE
I think I’m gonna have the Slam Dunk.

SHAYLA
Slam -- Dunk?

FRANKIE
It’s a bacon cheeseburger with
chili, avocado and pineapple,
served on a bed of home fries.

Shayla looks at her menu.
Eyes getting a little glassy.

SHAYLA
Can’t -- see so good.

She opens her mouth -- a
nd VOMITS all over the table.

FRANKIE
SHIT.

SHAYLA
Don’t -- feel good.

A CHUBBY WAITRESS (40’s) wearing a
too-tight polyester uniform
appears holding a coffee pot.

CHUBBY WAITRESS
Not feeling so hot, honey?

SHAYLA
I’m -- sorry.

CHUBBY WAITRESS
(over her shoulder)
PACO.
We got an up-chuck at table twelve -
(smiles)
Don’t worry, we’ll get ya all cleaned up.
Do ya know what ya wanna have?

SHAYLA
Not -- hungry.

FRANKIE
I’ll have the Slam Dunk,
and please bring her a glass of water.
She’ll decide later.

Chubby nods, walks away.

CHUBBY
Cluck-clucks to herself.

CHUBBY WAITRESS
Another pregnant junkie.
Skin’s turning BLUE,
and she smells like something DIED --

Cheeseburger In Paradise

Hey there, crime kids. Happy Hump Day. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 19 of FRANKENSTEIN IN LOVE, officer Chet Beverage and CDC agent Beck Driver interview Frankie's mother, who reveals the existence of his secret basement lab. Meanwhile, Frankie gets ready to to take dead cheerleader Shayla Petrie on their first date, but there's just one problem. She's slowly starting to remember who she is ...


INT. PATROL CAR - DAY
Chet and Beck sit in the patrol car
sipping coffee. Watching Frankie’s house.

CHET
So how long have been
into infectious diseases?

BECK
One day when I was a little kid
I saw The Andromeda Strain on TV.
Changed my life.
The idea that a
virus could wipe out
the entire planet
scared the shit out of me.
I vowed to never let it happen.
(sips coffee)
What made you want to be a cop?

CHET
Uh -- similar story --

BECK
Serpico?
(off his stare)
Hill Street Blues?

CHET
(clears throat)
Uh -- Barney Miller.
(off her look)
I’m an orphan, okay?
Those cops were like a family --

BECK
(sees something)
There she is.

EXT. FRANKIE’S HOUSE - FRONT DOOR - DAY
Julie goes to the door.
Looks exhausted.

Pulls out her keys.
Unlocks the door.

Chet and Beck appear behind her.

CHET
Excuse me, Julie Stein?

JULIE
That’s me --
(turns, looks)
Officer.
Is there anything wrong?

BECK
We’d like to talk to you
about your son, Frankie.
(off her stare, shows ID)
Beck Driver, CDC.

JULIE
What’s wrong?
Wh-what did he do?

CHET
Can we talk inside?

INT. JULIE’S LIVING ROOM - DAY
Julie sits on the couch.
Chet sits in a chair facing her.
Beck stands in front of the fireplace.

JULIE
A rat?
Really?
CHET
Yes, ma’am.

BECK
And we’re looking for the
person who brought it back to life.

CHET
Your neighbor Peggy Heck
told us your son Frankie has a --
science lab in your basement.

JULIE
(under her breath)
That bitch --
(recovers)
Well, yes.
But that’s for his chemistry class.
He wouldn’t do anything like that.
(proud)
He got in early admission to MIT.

BECK
Would you mind if we took a look?

JULIE
Well, I don’t know.
I’m not allowed down there.
Ever since his father died,
he’s been very -- private.

CHET
We can get a warrant.

JULIE
(sighs, stands)
Follow me --

INT. FRANKIE’S VOLKSWAGON BUS - DAY
Frankie sits behind the wheel.
Shayla sits next to him.

Now wearing a long, blonde wig.
She adjusts it clumsily.
Looks at herself in the mirror.

SHAYLA
Pretty.

FRANKIE
You look gorgeous.
(beat)
I thought we could go to
Ohio Burger Kitchen.
Hope that’s okay --

SHAYLA
Burger -- Kitchen --
(thinks)
Willis.

FRANKIE
W-willis?

SHAYLA
Went -- with Willis.
(looks at him)
You -- know him?

FRANKIE
Uh, no --

SHAYLA
CHEESE-BURGER.

FRANKIE
What?

SHAYLA
(sad)
Don’t -- know.

FRANKIE
Don’t strain yourself
trying to remember everything.
Just think about the fun
we’re going to have.
(smiles)
Our first date --

SHAYLA
First -- date.

FRANKIE
So you like cheeseburgers, huh?
I do, too.

SHAYLA
He -- HIT me.

FRANKIE
Who hit you?

SHAYLA
Willis.
(looks at him)
Don’t -- know him?

PUSH IN ON Frankie’s face.
Quietly freaking out.

FRANKIE
Sorry --
(bad fake laugh)
Whatchoo talkin’ bout?

A Tough Nut

Happy Tuesday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 18 of FRANKENSTEIN IN LOVE, sparks fly between officer Chet Beverage and CDC agent Beck Driver while investigating Frankie's reanimated rat. Meanwhile, Josh feels guilty about covering up Shayla's disappearance, and delivers an ultimate to Frankie ...


EXT. FRANKIE’S HOUSE - FRONT DOOR - DAY
Chet and Beck stand on the front stoop.

Chet RINGS the bell.

BECK
Nobody’s home.
Let’s come back later
.
CHET
Hold on a sec.
Maybe she’s taking a shit.

BECK
That’s disgusting.

CHET
Haven’t you ever been uncoiling
a sidewinder and the doorbell rang?

BECK
First of all, I’m a petite flower.
I don’t 'uncoil side-winders.'

CHET
Well, excuse me, big-city gal.
I guess your shit doesn’t stink.

BECK
You got THAT right.

He RINGS the bell again.

CHET
I know what your problem is.

BECK
Oh, really --

CHET
You need to get laid.

BECK
Fuck off.

CHET
Look.
Your cheeks are turning red.
I’m RIGHT.

BECK
(points at his belly)
Time to make the donuts --

CHET
Hey.
No need to be nasty.

BECK
You can dish it out,
but you can’t take it, huh?
Small-town HICK.

Pause.

CHET
I’m sorry.
I shouldn’t have --
(low)
It’s, uh -- been awhile for me, too.
Kinda -- frustrated.

They stare at each other.

BECK
(low)
Sucks, huh --

CHET
Whattaya say we get some coffee
and come back later. My treat.

BECK
That would -- be nice.

They start walking back to the car.

CHET
You’re not such a tough nut after all.

BECK
Tell anyone, and I’ll fucking kill you --

INT. FRANKIE’S BASEMENT LAB - DAY
The electronic equipment
near the workbench is gone.

In it’s place is a gerbil in a cage.
A child’s chemistry set. Microscope.
An X-box and a stack of videogames.

FRANKIE
My god, how dull.
(sighs)
Should work.

He SNAPS a padlock shut
on a big cabinet.

Shuts off the lights.
Goes to the stairs.

INT. FRANKIE’S KITCHEN - DAY
Frankie opens up the fridge.
Starts searching for a snack.

Then hears a car door SLAM outside.
He hurries out the back door.

Julie walks into the kitchen.
Puts down her bag. Sighs.

INT. TREE HOUSE - DAY
Shayla lays on the futon watching TV.
Eyes glued. Entranced.

SHAYLA
Tell him -- pregnant --

The door opens.
Frankie walks in.
Closes it.

SHAYLA
Home -- early?

FRANKIE
Had an emergency I had to take care of.
What are you watching?

SHAYLA
Days Of -- Our World.
(looks at him)
Want to -- go on -- date.

FRANKIE
A date?

SHAYLA
(points at the TV)
Like -- them.
(beat)
Go -- outside.
Feel -- cooped up.

FRANKIE
Okay --

Frankie’s cell phone RINGS.
He answers it.

FRANKIE
Hello?

INTERCUT WITH:

INT. HIGH SCHOOL CORRIDOR - DAY
Josh weaves through the throng
of kids on their way to class
talking on his smart-phone.

JOSH
Where are you?
You weren’t in chem lab.

FRANKIE
I had a -- emergency --

JOSH
Don’t tell me.
I don’t want to know.
(beat)
I can’t take it anymore, Frankie.
I’m gonna turn myself in.

FRANKIE
NO.
You CAN’T do that --

JOSH
I can’t eat, I can’t sleep --
I can’t take it anymore, Frankie.

FRANKIE
Something’s come up.
I need to see you.
It’s urgent.

JOSH
I don’t see the point in --

FRANKIE
PLEASE, Josh.
I can’t talk about it on the phone.
Meet me at Ohio Burger Kitchen
in half an hour, okay?
I need to talk to you.
It’s IMPORTANT.

JOSH
I dunno --

FRANKIE
Josh, we’ve been friends
since we were SIX.
I gave you your
first copy of PLAYBOY --

JOSH
Okay, okay.
I’ll meet you there.

They both hang up.
PUSH IN ON Josh’s face.
Exasperated.

Kid's Stuff

Hey there, crime kids. Happy Monday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 17 of FRANKENSTEIN IN LOVE, Vita's mother Peggy tells CDC agent Beck Driver about Frankie's 'experiments' in his basement lab. Meanwhile, Vita confronts Frankie about his bringing Shayla back to life and 'dating her,' and tells him she won't turn him in ... if he dates her instead.


EXT. VITA’S HOUSE - DAY
A bright, sunny day.
Birds are chirping.

The wind whistles through the trees.
All that’s missing is ‘The Beaver.’

Chet and Beck stand at the front door,
side by side.

He takes off his shades.
Slips them in his shirt pocket.
RINGS the doorbell.

CHET
Remember, let me do the talking.

BECK
(bristling)
Of course --

PEGGY (O.C.)
(faint)
Just a minute --

The door OPENS.
Peggy’s smile fades.
Disappointed.

PEGGY
Officer Beverage.
Nice to see you again.

CHET
(tips his hat)
Mrs. Heck --

PEGGY
Please. Peggy.
(beat)
Are you here -- about the rat again?

CHET
Yes, Ma’am.
(gestures to Beck)
This is Beck Driver,
from the Center For Disease Control.

PEGGY
Oh, dear --

CHET
Nothing to be alarmed about.
We’re just trying to --

BECK
This is going to sound strange,
but do you know of anyone doing
any medical experiments in the neighborhood?

PEGGY
Medical experiments?

BECK
Yeah.
Believe it or not,
the rat was brought back from the dead --
and we’re looking for the person who did it.
(conspiratorial)
It’s a major medical breakthrough.

CHET
You’d be doing your duty for your country,
Mrs. -- Peggy.

Peggy blinks.
Looks at them.

PEGGY
Well, there’s young Frankie Stein next door.
They say he’s a genius.
Has a laboratory in his basement
and everything.

BECK
A -- basement lab?

PEGGY
Oh, yes.
His mother Julie isn’t allowed down there,
but she’s told me he does all kinds of
top-secret things down there.
(brightly)
I hope that’s helpful.

BECK
That’s VERY helpful.
Thank you.

INSIDE THE HOUSE
Standing in the doorway to the kitchen is Vita.
Listening.

VITA
(whispers)
I’ve got you NOW, Frankie Stein --

She grabs her backpack
and heads toward the door.

INT. HIGH SCHOOL CORRIDOR - DAY
The joint is clogged with kids.
Frankie stands at his locker
working the combination.
Vita comes up behind him.

VITA
Frankie, we need to talk.

FRANKIE
(turns, looks)
Hey, Vita.
Sorry, can’t talk now,
don’t wanna be late for class.

He turns to leave.

VITA
I saw you with Shayla last night.

FRANKIE
(stops, stares)
That’s crazy.
She’s -- dead. Missing.

VITA
No, she’s not.
She’s in your tree house.

FRANKIE
I, I can explain --

VITA
You fucking BETTER --
(grabs his hand)
Come with me.

She drags him into --

INT. GIRLS’ ROOM - DAY
Empty except for a YOUNG GIRL WITH BRACES
drying her hands with a paper towel.
She sees Frankie and BOLTS for the door.

VITA
What the FUCK, Frankie.
Did you bring her back to life?

FRANKIE
Yeah, but wait, I can explain --

VITA
A cop and woman from the CDC
were at my house this morning
asking my mother about the DEAD RAT
that was running around
like crazy in my basement.
Did you do that, too?

FRANKIE
(sighs)
I was doing a dead-cell
reanimation experiment -- and it worked.
And then when Shayla got hit by a car --

He trails off.
Gestures helplessly.

VITA
I can’t fucking BELIEVE it.
Do you realize how much trouble you’re in?
My mother told them about your basement lab.

FRANKIE
Oh, SHIT.
(realizes, freaks out)
Did you tell them you saw --

VITA
No, no, no.
I’d never do that.
I want to help you.

FRANKIE
You w-want to help me? Why?

VITA
Don’t you remember the ceremony?

FRANKIE
We were TEN, Vita.
That was kid’s stuff.

VITA
It doesn’t have to be --
(a whisper)
I never stopped loving you.

Frankie stares.
Be careful here.
You need her help.
He takes her hands in his.

FRANKIE
Can we -- talk about that later?
I’m kinda -- freaked out right now.

VITA
Of course, of course.
(thinks)
Here’s what you do.
Go to the nurse, say you’re sick,
then go home and hide anything in your lab
that can be used as evidence.
(realizes)
Oh, shit. Wait.
The cop and the CDC lady
are probably there right now --

FRANKIE
No, it’s okay.
My mom’s still at work.
She doesn’t get home until ten.
She did a double shift last night.

VITA
Perfect.

FRANKIE
Yeah. Okay --

VITA
Don’t worry.
We’ll figure this out.

FRANKIE
I don’t know what to say.

She puts her hands on his hips.
Draws him close --

VITA
Thank you would be nice --

And grinds into his crotch.
Kisses him deeply.
She pulls back.

Frankie looks at her.
Aroused. Confused.

FRANKIE
(throaty)
Thank you.

VITA
Play your cards right,
and there’s more where
that comes from.

FRANKIE
I’d -- like that.

VITA
We can make up for lost time.
(off his stare)
She’s no good for you, Frankie.
She’s dead. I’m alive --

FRANKIE
(head spinning)
Yeah --

VITA
Now go, scoot -- go see the nurse.
Hurry.

He stares at her a long beat.
Nods. Then hurries out.

VITA
(watches him go)
You’re mine now, Frankie Stein.
All mine.

The Jig's Up

Happy weak-end, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 16 of FRANKENSTEIN IN LOVE, the shit hits the fan when science genius nerd Frankie Stein sneaks his dead girlfriend Shayla Petrie into his tree house for some 'privacy' and his next door neighbor Vita Heck sees them out her bedroom window ... and recognizes her.


EXT. TREE HOUSE - NIGHT
We see a circular staircase
winding around the tree trunk.

Frankie guides Shayla
over to the first step.

FRANKIE
Okay, here we go --

Shayla grabs the handrail.
Lifts her foot.

Tries to take a step,
but her muscle control is off.

SHAYLA
Can’t -- DO IT.

Franke squeezes around
in front of her.
Offers his hand.

FRANKIE
Here.
I’ll help you.

SHAYLA
(takes his hand)
Thanks --

He pulls her up.
They start slowly climbing the stairs.

VITA
Watches from her window.
Leans out to get a better view.

VITA
What the hell?

JOSH
Sees Vita.
Starts freaking out.

Puts his hands together
to make a bird call.
Blows into them.

JOSH
Coo, coo, coo --

FRANKIE
Hears it.
Looks around.
Doesn’t see anyone.

His cell phone VIBRATES
in his pocket. He stops.
Takes it out. Whispers.

FRANKIE
What’s wrong?

JOSH
Looks up at Vita’s window.

JOSH
It’s Vita.
She was hanging out her window
watching you. The jig’s up.

FRANKIE
Go talk to her.
Distract her.

JOSH
(sees something)
Shit.
Too late.

FRANKIE
What do you mean 'too late?'

JOSH
She just came outside.

FRANKIE
SHIT.
Then go head her off --
(to Shayla)
C’mon, let’s go --

SHAYLA
What’s -- wrong?

FRANKIE
Hurry up. C’mon --

He starts pulling her up the stairs.
Her feet find a rhythm,
and they start moving faster.

VITA
Stands in her back yard,
watching them climb.

VITA
Who’s that WITH him?

Josh walks over to the hedge
at the edge of her yard.

JOSH
Hey, Vita.
What are you doing out so late?

VITA
(turns and looks)
Josh?
I could ask you the same question.

JOSH
Uh, Frankie’s on a date.
I was the -- designated driver.

VITA
A DATE?
Who with?

JOSH
New girl.
Uh -- foreign exchange student.

VITA
Oh.

JOSH
So, uh -- it’s late.
I gotta go.
Have a good night.

VITA
Yeah.
You too --

PUSH IN ON Shayla’s face.
Staring at the tree house.

INT. TREE HOUSE - NIGHT
A surprisingly large room.
Carpeted. A futon in one corner.

Table and two chairs in another.
A small boombox.

Small love seat in front of a
portable TV. Half-size refrigerator.

The door OPENS.
In walks Frankie and Shayla.

She pulls down her hoodie.
Looks around. SQUEALS with joy.

SHAYLA
So -- CUTE.

FRANKIE
I thought you might like it.
(phone VIBRATES in pocket)
Hold on a sec --
(pulls it out, answers)
What’s up?
(listens)
Brilliant. Thanks.
See you tomorrow. Bye.

He CLICKS it shut.
Gestures to the couch.

FRANKIE
Have a seat.
Take a load off.

Shayla smiles.
Goes to the couch.

Sits demurely.
Pats the cushion
next to her invitingly.

He sits down.
She takes his hands in hers.
Leans in --

SHAYLA
Love -- nest.

And they kiss.

IN THE WINDOW
we see Vita’s face.
HORRIFIED.

OUTSIDE
Vita pulls away
from the window.

VITA
(whispers)
Shayla?

Room With A View

Hey there, crime kids. Happy Friday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 15 of FRANKENSTEIN IN LOVE, Frankie and Josh move Frankie's dead girlfriend Shayla to her new 'home' in Frankie's tree house, but start to freak out when she starts remembering who she is ... just as Vita sees them out her bedroom window next door ...


INT. FRANKIE’S BASEMENT LAB - NIGHT
Frankie sits at his workbench
eating a sandwich watching the news.

He smiles.
Softly SLAPS the table.

FRANKIE
Willis is a suspect?
NICE.

Shayla lies on her ‘bed’
leafing through a fashion magazine.
She looks up, quizzical.

SHAYLA
What?

FRANKIE
Nothing, nothing --
(beat)
So you ready for the big move?

SHAYLA
(smiles)
Room with -- a view.

FRANKIE
Great.
You’re gonna love it.

Shayla cocks her head.
Thinking.

SHAYLA
Starting to -- remember.

FRANKIE
(scared)
Oh? Like -- what?

SHAYLA
Used to be -- cheerleader.

FRANKIE
R-really?

SHAYLA
Something -- else --

FRANKIE
Oh?
Wh-what’s that?

SHAYLA
Another -- boyfriend.
Funny -- huh?

PUSH IN ON Frankie’s face.
Freaking out.
He swallows.

FRANKIE
H-hilarious.

INT. HOSPITAL - NURSE’S STATION - NIGHT
Very quiet at this late hour.

Julie Stein wears a nurse’s uniform,
sits at her desk
at the corner of two corridors.

A PLEASANT-FACED LARGE NURSE (40’s)
walks up to her.

PLEASANT-FACED LARGE NURSE
I’m going down to the
cafeteria to get coffee.
Can I get you anything?

JULIE
I’d LOVE a coffee.
These double-shifts are
KILLING me.
Thanks --

Pleasant-Faced nods.
Walks off.

Julie picks up the phone.
Dials a number. Listens.

JULIE
Hello, Frankie --

INTERCUT WITH:

INT. FRANKIE’S BASEMENT LAB - CONTINUOUS
Frankie’s on the phone.
Shayla watches TV in the background.

FRANKIE
Hey, mom.
What’s up?

JULIE
I’m so sorry, but
Tami called in sick.
I have to do a
double-shift again tonight.

FRANKIE
That’s okay, mom.
I’ll just nuke a
couple of Hot Pockets.

JULIE
Great.
How was school today?

FRANKIE
Uh -- fine.
School was -- great.

JULIE
Are you okay?
Is something wrong?
You sound funny.

FRANKIE
(looks at Shayla)
No.
Everything’s -- fine.
Just -- tired, that’s all.

Shayla raises her arms
in the air. SHOUTS.

SHAYLA
KILL, KILL!

JULIE
What was that?

FRANKIE
Something on TV --
(gestures to Shayla to shush)
Sorry you have to
work late again.

JULIE
(sighs)
Yeah, me too.
At least I get overtime.
See you in the morning, honey.

FRANKIE
Bye, mom.
Good night.

JULIE
Love you.

FRANKIE
Love you. Bye.

He hangs up.
Looks at Shayla.

FRANKIE
I’m sorry, my love --
but you need to be quiet
when I’m on the phone, okay?

SHAYLA
Sorry.

FRANKIE
What are you watching?

PUSH IN ON Shayla’s face.
Smiling sweetly.

SHAYLA
Real -- Housewives.

EXT. FRANKIE’S BACKYARD - NIGHT
Dark and deserted at this late hour.
Frankie stands near the
back door with Shayla,
who wears a hoodie over her dress,
the hood pulled up and
tied almost completely shut.

SHAYLA
Hard to -- see.

FRANKIE
Don’t worry.
It’s just for a couple minutes.

Josh appears from around
the corner of the house.

JOSH
Coast is clear.

FRANKIE
Great.
You stay here,
keep an eye out.

SHAYLA
Who’s -- that?

FRANKIE
A friend.
He’s helping me move you.
(to Josh)
Keep an eye on the
windows next door,
and if you see anyone,
give the signal.

JOSH
Okay.
Just hurry it up, okay?
I don’t wanna get busted.

FRANKIE
(to Shayla)
C’mon, let’s go.
He takes her by the arm,
and they walk toward
the back of the yard.

Shayla shuffles slowly,
stiffly, zombie-like.

They approach a big,
old oak tree in a far corner.

SHAYLA
(looks up)
It’s -- beautiful.

ANGLE ON --

A TREE HOUSE nestled fifty feet
up in the big, thick branches.

Quite large, and beautifully made.
It’s been there for awhile,
almost completely hidden by leaves.

FRANKIE
Gestures proudly.

FRANKIE
It’s something, huh?
Me and my dad built it
when I was a little kid.
I designed it.

SHAYLA
I -- LOVE IT.

FRANKIE
Shhh.
We don’t want to wake
the neighbors.

INT. VITA’S BEDROOM - NIGHT
Vita lies in bed studying.
She hears something.

Cocks her head.
Goes to the window.

Looks out.
Eyes grow wide.

VITA
Frankie?
And who’s that with him?