SUPERMARKET OF THE DAMNED

Screenplay by Garrett Gilchrist

Second Draft

Begun 5/20/00, Finished 5/23/00

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FADE IN:

1920s RURAL FIELD - EXTERIOR - TWILIGHT

FADE IN

Various workers are milling about, busying themselves with the particulars

of storefront construction. Nothing out of the ordinary - very old-fashioned,

nostalgic shots of an agricultural area being ruined by industrial change.

BIG CLOSE-UP ON:

A patch of dirt. One of the workers is pounding it flat with a shovel. As he

breaks up the dirt, a few skeletal fingers are revealed sticking out of the

ground.

ANGLE ON WORKER

He wipes his forehead with an oily rag. He is clearly taken aback by the

sight.

ANGLE ON DIRT

Shovel. Worker pounds ground down further. An entire skeletal arm is

revealed. Worker bends down to look at it. Doesn't touch it.

WORKER

Hey Ernie. You'd better come and look at this.

ANGLE ON ERNIE

Ernie is a man in his late fifties, smoking a cigar and clearly in charge.

ERNIE

What is it? We're about to put the foundations in.

ANGLE ON CONSTRUCTION

We can see the rough foundations of a largish general store being built. The

worker is shaking his head in disbelief at the remnants of what is clearly a

human skeleton sticking out from underneath the building site.

WORKER

Look.

ANGLE ON REMAINS

The worker digs at the arm, and even more of the skeleton can be seen.

ERNIE

Don't worry about it.

ANGLE ON WORKER

He is clearly worried about it.

WORKER

But boss ...

ANGLE ON REMAINS

A quick, accidental nudge of the shovel digs up what appears to be another

bone fragment. A human skull is then revealed. And then another. And then

another. The worker recoils in fear. He can't believe this.

ERNIE

I said don't worry about it, dammit. We've got work to do.

WORKER

All right, Ernie. I'll seal the site up.

ERNIE

See that you do.

ANGLE ON SITE

Ernie walks away. The construction will go as planned. The worker shrugs, and

pushes the skulls back into the ground with his hands. He takes the skeletal

hand into his own, and pats down the ground beneath it. Suddenly a second

skeletal arm punches out of the ground, and both hands clasp around the

worker's neck. He tries to scream, but the hands drag him down into the

ground, underneath the building site, into oblivion. A trickle of blood

issues forth from the hole, which then seals up by itself.

ANGLE ON CRANE

A sign is lowered into place. It reads "Little Johnny's General Store."

DISSOLVE TO:

TITLES:

Music. Hard white block typeface on black b.g.

"SUPERMARKET OF THE DAMNED"

Titles flash and then fade away. Dots of bright light now appear in all

the blackness. The picture gets brighter and we are aware of fast-moving

streetlights. The camera is moving forward at the speed of a car exiting

a tunnel.

DEBBIE'S VOICE

Have you heard what Erica Lainey is making next season?

TACK'S VOICE

No, no I haven't.

INT. CRAPPY CAR

DEBBIE

One hundred thousand dollars per episode. A hundred grand, Tack!

Every episode!

TACK

Someone must think she deserves it then.

We are inside a beat-up green car that wouldn't have been current in 1989.

The driver is TACK RAWFIELD, an aspiring young actor, looking relaxed and

unconcerned. He is tall, of college age, and not particularly intelligent-

looking. Next to him is DEBBIE MORROW, a pretty girl with wavy sand-blonde hair.

She is reading an entertainment magazine absent-mindedly.

DEBBIE

But she doesn't deserve it! No one deserves that kind of money,

no matter how many news photographers she flashes her boobs to!

TACK

Whatever you say, sweetheart.

DEBBIE

Where are we going, anyway?

TACK

Well, I just have to run a quick errand or two.

DEBBIE

You're going to the Little J, aren't you? Dammit Tack, you told me

you'd show me a good time tonight.

TACK

I show you a good time every night, baby.

DEBBIE

That's no excuse.

TACK

I just have to go to work for a minute and tell Eric I can't

make it in tonight.

DEBBIE

You're not supposed to be working today anyway. It's a monday!

TACK

I was supposed to fill in for Ted, the night guy. He's been sick.

DEBBIE

Likely story. I thought you were gonna quit that place.

TACK

I am, baby. I just need a little more time there, 'til I can get

a good acting job.

Debbie pouts.

TACK

Oh, come on Debbie, baby, don't be that way. Look, if you want it

I'll quit tonight, just like that.

He snaps his fingers.

DEBBIE

(smiling)

Would you do that for me?

TACK

Anything, anything.

She cuddles up to him more, then fiddles with the radio. Short bursts of radio

noise issue forth. Tack reacts, annoyed.

RADIO NEWSCASTER [VO]

... bodies of three college students were found yesterday in an abandoned

home in the valley. The house was owned by a Doctor Carl Esserman, whose

whereabouts are now unknown ...

Debbie scowls, spooked, and keeps switching channels.

EXT. CAR - ROAD

The old car speeds along and out of our view.

BIG "LITTLE J" SIGN

Pull back from sign to show Little J Superstores store. This is clearly the same store we

saw in the 1920s footage, only modernized into the wholesale megamarket of

our times.

EXT. CAR - LITTLE J PARKING LOT

Tack pulls the car into the lot, and parks it. Some loud pop music Debbie has

selected for her listening enjoyment is blotting out all conceivable sound.

Tack shuts off the car, and it stops abruptly. Debbie seems a bit dismayed.

Tack gets out of the car, and Debbie follows him.

DEBBIE

It's so weird, isn't it? I mean, you can be all happy and vibrant and,

like, alive one minute, and then, you're just, you're just gone.

TACK

What?

DEBBIE

Those three kids, stupid. In that house. The ones who died. That

could've been us.

TACK

Oh.

FOREST

From the forest we can see The LITTLE J, and in the far distance, Tack and Debbie

walking up to it. We hear the rustling of leaves, and a shadowy figure runs by very

quickly.

LITTLE J ENTRANCE

TACK

So I'm quitting, right?

DEBBIE

Dammit, Tack, don't be such a loser! I don't wanna leave you, but I don't

wanna go out with a stinking grocery-bagger either.

TACK

So I'm quitting.

Debbie makes an annoyed grunt and walks through the automatic doorway. We hear distant

giggling. Tack stops for a moment and glances outward, like he's heard something, but

there's nothing there.

INT. LITTLE J CHECKOUT COUNTER

Teddy, a bespectacled youth in his awkward stage, is manning the register in

uniform. An old lady is grabbing her bags.

ERIC'S VOICE [over speaker system]

Attention Little J Superstores shoppers. We will be switching to night hours

in just two minutes. Please bring all items from the sporting goods,

electronics, and cosmetics departments to the register at this time.

TEDDY

Would you like your receipt, ma'am?

She ignores him.

TEDDY (cont.)

O-kay ... Remember, think Little J's for big savings!

She has already left. The door closes with a "ding." Teddy, sighing, rips the receipt

from the register and bends down to throw it into his tiny blue trashcan. When

he stands up, Tack and Debbie are standing right next to him.

TACK

Hello Ted.

TEDDY

Tack! Where the hell have you been?

TACK

Driving. I thought you were home sick.

TEDDY

I am! Well, I was. I'm sick anyway.

Debbie gives a disapproving look.

TEDDY

Look, the truth is, I've got a date tonight, and I can't afford to

miss it.

TACK

(uninterested)

Hot stuff, eh?

TEDDY

The hottest! And I need someone to cover for me, and, and, and ...

well, you're here, aren't you?

TACK

Sorry Ted. I just dropped by to tell you I'm busy tonight too.

Debbie elbows Tack in the side.

TACK

Well, I'll be busy every night, actually.

DEBBIE

He's quitting.

TACK

Yeah.

TEDDY

You can't! I mean, who're we gonna get to replace you? Brent's leaving

next week, and that leaves housewares empty! I don't wanna go back to

housewares, Tack!

TACK

Well, I ...

He looks at DEBBIE. Her brow is furrowed. He turns back to TEDDY, determined.

TACK

Deal with it. I quit.

DEBBIE

Yeah, deal with it, loser. Come on Tacky, let's go.

They turn and leave. Teddy looks distraught.

EXT. LITTLE J

The camera moves slowly around the Little J, and we hear strange whispering and the

padding of feet. Several shadowy figures run by just in front of our line of view.

They seem to be searching for an entrance. They are clad in rags.

INT. LITTLE J ENTRANCE

Tack and Debbie are about to leave, but the automatic door opens and shuts at

incredible speed in front of them (with a quick "ding"), and does not open

again. Tack hits it with his fist. It rattles. It is made of plexiglass.

Debbie looks at Tack, lost.

TACK

(to Teddy, offscreen)

Hey, what's wrong with this door?

ANGLE ON TEDDY

He shrugs.

ANGLE ON DOOR

The door is opening and closing and opening and closing and opening again,

seemingly mocking Tack and Debbie. Ding, ding, dingdingdingdingding. They can't

get through it.

ANGLE ON TACK

He looks at the door quizzically. As if in response, a voice comes from

nowhere.

WHISPERING VOICE

Let us in.

Tack reacts, startled. Faint traces of shadow and light play across the door.

WHISPERING VOICE

We won't hurt you.

Tack stares at the door bug-eyed. Is he losing his mind?

ANGLE ON TEDDY

TEDDY

Try the side entrance. I don't think that one's gonna work.

ANGLE ON TACK AND DEBBIE

TACK

Yeah, thanks for the tip.

ANGLE ON

A speaker on the ceiling.

ERIC'S VOICE [over speaker system]

Attention Little J Superstores shoppers.

INT. ERIC'S OFFICE

ERIC [speaking into microphone]

The sporting goods, electronics,

and cosmetics departments are now closed.

ERIC ELDRIDGE is the manager, in his late thirties but aging fast. He is holding a

small intercom. There is a photograph of Ernie (the boss in the 1920s scene, with his

cigar) on his wall. His window is open.

EXT. ERIC'S OFFICE

We see the silhouettes of what looks like children gathered around Eric's window.

They are giggling.

INT. ERIC'S OFFICE

He has heard something. He stands up and walks over to his window. He looks.

EXT. ERIC'S OFFICE

Nothing is there.

INT. ERIC'S OFFICE

He returns to his seat and the giggling resumes, echoing all around. Hints of light and

shadow dance across his weathered face.

ANGLE ON WINDOW

The window suddenly shatters. Silence.

ERIC

What the hell?

INT. LITTLE J

Tack walks briskly through shot. Debbie tries to keep up with him. He stands in

front of the door, posture straight as a post, anger in his eyes, as if

ordering it to open. It "dings," and does not open. A moment passes. Tack is

perfectly calm.

Another moment passes.

TACK

GODDAMN SONUVABITCH!!

He beats hell out of the door with all he's got.

DEBBIE

Tack! TACK!

He isn't listening. She tries to restrain him, but he simply beats the thing

until he bleeds, to no avail. Finally, he stops, thinks, and realizes he's in

considerable pain.

TACK

Aaaagh!

He grabs his hand. It is beet red.

TACK

Dammit.

There is a pause as Debbie, slightly shaken, tends to Tack's wound. Burt from

the electronics department enters. [Yes, he looks like an electronics man,

confident and snazzily-dressed in muted red and green, with glasses, bowtie,

and a ready pen or three.]

BURT FROM ELECTRONICS

What's the problem here?

DEBBIE

He can't open the door.

Tack kicks the door, realizes this is futile, then kicks it again. Emily from

cosmetics [small, blonde and frail, in a little green dress] and Jane from

Sporting Goods [sexy, athletic and black-haired, in sneakers and cycling togs]

are entering. Jane is eating an apple. Tack looks at the door angrily, then

turns and walks away briefly, whistling, not looking at the door. Then, after

a pause, he runs screaming at the door and smacks straight into it, falling

in a crumpled heap to the floor.

JANE FROM SPORTING GOODS

Door won't open, eh?

TACK

Yeah.

EMILY FROM COSMETICS

Well, how do we get out, then?

Tack growls at the door.

BURT

Well, these things usually aren't serious. I mean, maybe the sensor's

not set up right. It needs to be able to "see" people come and go, or

else ...

He stops, startled, as Tack slams into the door with his shoulder. He is

jumping up, trying to rip the sensor thingy or the door down. After a bit of

this, Tack stops to catch his breath. Then he turns and marches offscreen.

BURT

Maybe it's just not getting any power.

LITTLE J AISLES

Tack walks like a bat out of hell down aisle after aisle. He knows exactly

where he's going, and pays no attention to any of the clerks as he passes

them.

SEASONAL NEEDS GUY

Hey Tacky! How's it going?

GIFTWRAP LADY

Tack -- long time no see!

HOUSEWARES GIRL

Oh Tacky, did you file your last report yet?

He reaches the hardware aisle. This is what he wants. He grabs a crowbar, and

turns back exactly as he came.

HARDWARE MAN

Hey, you'll have to sign for that - oh Tack, it's you! How've you been?

Tack is long gone.

LITTLE J AISLES

Some of the shopkeepers turn and stare as the force zooms through a

large-boxed cereal aisle, knocking over much of what it sees. A little old

lady in a red cap and blue dress doesn't seem to notice any of it.

ERIC'S OFFICE

The sounds of giggling are everywhere. Eric is getting angry, but trying to be

calm, smoking a cigar and closing his eyes. The glass on his door suddenly

shatters. He stumbles to his feet in anger and disbelief - this is going to cost

him. He grabs the intercom.

ERIC

Attention Little J Superstores employees - just what is going on out there?

SIDE DOOR

Tack readies his crowbar for the swing like he's at the batting cage. He then

pounds hell out of the thing. Debbie covers her ears. Everyone stands out of

Tack's way. His eyes are wild. The bulletproof door begins to dent.

ANGLE ON TACK'S FACE

We hear what he hears - lots of noise and pounding. Something screeches with

every hit, and it isn't human.

ERIC'S OFFICE

Even from this distance, Eric can hear the crowbar pounding. Huffily, he

stands, kicks his impressive chair aside and storms off to see what the matter

is.

SIDE DOOR

Tack is inflicting upon these doors a full death penalty. The plexiglass is

cracking in little spiderweb shapes, and there are holes in them everywhere.

Everyone is holding their ears, ducking and keeping a safe distance. He stops

to catch his breath.

TACK