Act one.

EXT. GRAVEYARD. DAYTIME.

Kip and Frank stand before a headstone.  Frank is shoveling dirt onto the grave.  After he dumps the dirt, Frank throws the shovel off to his side and rubs his hands together.  The two stand still for a second, staring at the headstone.  Frank walks over to his left and sits down, either on a bench or a log, or on the ground against a tree.  He pulls out a cigarette, lights it, starts to smoke.  Kip walks over.

KIP
So that’s it.  Jack’s really dead..

FRANK
I buried him, didn’t I?

KIP
Yeah.

<beat>

KIP
Do you have enough money for a cab?

Frank nods.

FRANK
Where you wanna go?

KIP
The hospital.

CUT TO:

INT. HOSPITAL HALLWAY.

Frank stands in the foreground, close to camera, on the left side.  On screen right we see the hallway stretch out.  Frank looks off to the right of the camera, at about a 33 degree angle.  He doesn’t look happy, and there is no sound at all. Behind him, we see a figure walk out of a room at the end of the hallway, blurry and out of focus.  As he gets closer we recognize Randolph.  Randolph is wearing his scrubs, which may or may not be bloody.  He walks up to Frank and puts a hand on Frank’s shoulder.  We don’t hear what he says; we can tell by Frank’s face that Kip is dead.
CUT TO:

EXT. GRAVEYARD.  DAYTIME.

Frank and Randolph stand in front of a different headstone.   Like before, Frank finishes shoveling dirt on the grave.   For a brief moment to the two old friends stand silently, paying their respect to their fallen roommate.

OPENING CREDITS

INT. FRANK’S BEDROOM.  

Frank and his girlfriend Trenyce, both in their underwear, are sprawled out on Frank’s bed.  Frank is smoking, the ashtray sitting on his chest.  Frank glistens with intensity.

TRENYCE
I spoke to my dad tonight.  He says he can pay you back next week.

Frank grunts.  There’s a silence for a second.
FRANK
Good.  My rent’s gone up.

TRENYCE
Why? 

FRANK
Two of my roommates died.

Trenyce takes the cigarette from Frank’s hand and puts it to her lips.

TRENYCE
My cousin’s looking for a place.
He’s moving down here in a couple weeks.

FRANK
Does he have a job?

TRENYCE
He’s being transferred.

FRANK
What’s he do?

TRENYCE
He’s a cop.

Trenyce puts the butt out in the tray.  Frank lights another cigarette.

FRANK
I gotta talk to Randolph first.
CUT TO:

INT. HOSPITAL COMISSARY. 

Randolph stands in the cafeteria, staring at all the food behind the glass.  Dr. Ice stands to his right.

RANDOLPH
This is the hardest part of my day.

DR. ICE
<fill in this line>

CUT TO:

EXT. PARK. DAYTIME.

Trenyce’s cousin, Cherry (played by DJ), tackles a criminal.  Cherry holds him facedown against the ground and cuffs his hands behind his back. 

CUT TO:

INT. CHERRY’S APARTMENT. NIGHTTIME.

Cherry unlocks his apartment door and walks inside.  He drops his box of Chinese take-out on a counter and pushes the button on his answering machine.  We hear a message from Trenyce.

TRENYCE (on answering machine)
Hey, Cherry, I think I found a place for you.  Give me a call.

Cherry takes a sip from the cup in his hand, puts it down on the counter, and picks up his telephone.  He dials Trenyce’s number and turns on his stereo as he waits for her to answer.  He’s sliding a jazz cd in the stereo as he starts to talk.  The cd should be the sort of thing Clint Eastwood would listen to, like Thelonius Monk or something.

CHERRY
Trenyce!  How you doing?
<beat>
I’m alright.  Doing well.
You found an apartment?
<beat>
Great.  I’ll be flying in
tomorrow, getting in around three o’clock.
<beat>
That’s alright, I can take a cab.  
<beat>
I’ll call you from the hotel.
Yeah, have a good night.
<beat>
You too.

Cherry hangs up the phone.  He picks the take-out box up from the counter, sits down on the couch, puts the food on the coffee table, and starts to eat.  The camera lingers on him longer than is comfortable.

CUT TO:

INT.  CAFÉ.  DAYTIME.

Frank and his mother sit across from each other at a table.  Food and drink items sit in front of them.  
Frank’s mom is an attractive, professional looking, middle-aged woman.  There is great tension between the two of them.  They have an argument about something.  Frank’s mom throws water in Frank’s face.  Frank silently wipes the water off his face, and stands up quickly.

FRANK
Mother, I’d appreciate it if you stopped trying to see me.

Frank turns and starts to walk out.

FRANK’S MOM
Is this it?  You plan on abandoning me?

Frank turns around sharply.  His face ripples with anger.  

FRANK (accusingly)
Like you abandoned father?

Close up on Frank’s mother, still sitting down, looking shocked and appalled and aghast and thoroughly taken aback.  Frank strides confidently out of the café.

CUT TO:

INT.  HOSPITAL LOCKER ROOM.

Randolph stands in front of an open locker, a bag sitting in front of him.  He is naked except for a towel rapped around his waist.  He has just taken a shower after getting off work, and is combing his hair.  Dr. Ice walks up, also wearing nothing but a towel.  His hair and back are wet.  They nod to each other, say hey maybe, as Dr. Ice opens up his locker.  Ice applies some deodorant and begins to talk.

DR. ICE
Some of us were going to go out and get a drink later on.
<beat>
I don’t know, maybe you’d want to come.

RANDOLPH
Thanks, but I can’t.

Dr. Ice continues to look directly at Randolph, with a sort of “tell me the truth” expression.  Randolph hasn’t turned around; is still facing the locker and not Dr. Ice.  He is now packing some clothes up in his bag.

RANDOLPH
I have too much work to take care of at home.

DR. ICE
Randolph, we’re worried, man.  You’re always working.
You never slow down, never take a vacation.  If you don’t watch it,
you’re gonna fall apart some day.

RANDOLPH
I can handle it.

DR. ICE
Can you?  What are you trying to prove?
Why do you push yourself so hard?

Randolph slams the locker door shut and turns around dramatically.  He looks directly into Dr. Ice’s eyes.  He speaks with passion, not anger or irritation.

RANDOLPH
Because somebody’s got to do it.

Randolph turns around, picks up his bag, and walks off.  Dr. Ice stands silently, looking shocked, and perhaps slightly in awe.

CUT TO:
INT. BAGGAGE CLAIM.  AIRPORT.  AFTERNOON.

Cherry stands at the baggage claim, watching the luggage spin around.  He grabs his bag as it approaches and turns to walk out.  

	CUT TO:

INT. AIRPORT ENTRANCEWAY.  AFTERNOON.

Cherry walks swiftly and confidently through the entrance.

	CUT TO:

EXT. AIRPORT.  THAT AREA WHERE ALL THE CARS DROP PEOPLE OFF AND SHIT.  AFT.

Cherry walks up, sticks out his arm, and yells “Taxi!”

CUT TO:

INT. FRANK’S HOUSE.  LIVING ROOM.  AFTERNOON.

Frank is writing some deeply personal and meaningful thoughts into his journal.  They are most likely about his mother.  Suddenly a shot rings out, startling Frank.  
CUT TO:

EXT. FRANK’S HOUSE.  AFTERNOON.

Frank walks out through the front door, gunshots continuing.  There are five gunshots total.  Frank sees Cherry kneeling down behind Frank’s car, his gun drawn and pointed toward a body that’s face-down on the pavement.  Cherry stands up and walks over to the body.  Frank walks up to Cherry silently.  A hot dog lies on the ground near the victim’s right hand.  The only gun in sight is the one in Cherry’s hand.  Cherry lightly touches the body with his foot; there are no signs of life.

CHERRY (to Frank, w/o looking at him)
He had a gun.
Frank looks at Cherry.

CHERRY
Looks like he had a hot dog, too.
<beat>
Is that your car?

FRANK
Yeah.

CHERRY
Could you give me a hand?

Cherry kneels down and grabs the body by the shoulders.  Frank pauses for a second, then grabs the body’s feet.  They lift the body up.
CUT TO:

EXT. FRANK’S HOUSE –DRIVEWAY.  AFTERNOON.

Cherry and Frank drop the body into the open trunk of Frank’s car.  Cherry shuts the trunk.  

CHERRY
Is there a creek or river nearby?
Maybe a garbage dump?

Frank nods.  

	CUT TO:

EXT. ROADSIDE. AFTERNOON.

Frank’s car drives by, with Cherry driving and Frank riding shotgun.

CUT TO:

EXT. ROADSIDE. LATE AFTERNOON.

The same stretch of road as before, but noticeably later.  This time Frank is driving, and Cherry has his feet out the window.

CUT TO:

EXT. FRANK’S HOUSE.  LATE AFTERNOON.

Frank’s car pulls up.  Frank and Cherry are sitting in car.  

CHERRY
You live here?

FRANK
Yeah.

CHERRY
I’m your new roommate.  Name’s Cherry.

FRANK
Frank.

CHERRY
You’re Trenyce’s guy.

FRANK
Yes.

CHERRY
Let’s see she doesn’t hear about this. 

FRANK
Of course.

CHERRY (as he gets out of car)
Alright. So where am I sleeping?

CUT TO:

INT. CHERRY'S BEDROOM.  LATE AFTERNOON.

Frank shows Cherry into his new bedroom.  

FRANK
Here it is.

Cherry walks in, throws his bag down, lies down on the bed, bounces on it a little bit, and stands back up.  

CHERRY
Trenyce said your roommate died.

FRANK
Two of them.

Cherry nods.

CHERRY (looking off to the side)
A lot of people die in this city.

Cherry turns head and looks at Frank.

CHERRY
So where's the bad part of town?

CUT TO:

EXT. THE BAD PART OF TOWN. LATE AFTERNOON.

Frank drives his car, Cherry in shotgun, riding through the bad part of town.  
CUT TO:

INT. CAR. LATE AFTERNOON.

FRANK
What are we looking for?

CHERRY
Just drive.  When I tell you to stop, pull over and leave it running.  And keep the blinkers off.

They drive on for a few moments, then come near an alley or intersection or something.  Cherry nods and says okay.  Frank pulls the car over; Cherry turns to Frank, points his finger at him firmly, and presses same finger against his own lips in the “shhhh” formation without making a noise.  Cherry opens the door and slides out.  

EXT. BAD PART OF TOWN. 

Cherry steps out of car, arches shoulders back quickly, and spits to his side.  He cricks his neck and swaggers into the alley.

INT. CAR.

Frank sits alone in the humming car.  He motions to fiddle with the radio when his cellphone suddenly rings.  He pats around in his pockets until he finds the phone and answers it.

FRANK
Hello?
<beat>
(disappointed) Hey, dad.
<beat>
No, we had lunch.
<beat>
Yeah, she was just being a bitch about everything.
<beat>
I didn’t say anything.
<beat>
Well…
<beaT>
I said something about her leaving you.

Cherry comes running  out of the alley, back towards the car.  He quickly opens the door, jumps in the car, slams the door.  For a brief moment he sits quietly, contentedly.  Abruptly he turns towards Frank and  yells “Go!!!”.  Frank hangs up on his dad and peels away.

Act two.

INT. FRANK’S HOUSE.  LATE AFTERNOON / EARLY EVENING.

Randolph enters the house.  He looks very weary.  Something slow and maybe sad plays on the soundtrack.  Randolph walks into his bedroom and takes off his scrubs.  He then heads to the liquor cabinet and pours himself some Scotch.  He rubs his eyes and slinks down into a chair.  Randolph is worn out.  Frank and Cherry enter; Cherry quickly shuts and locks the door behind them.  

CHERRY
Are there any back or side doors?

FRANK
The back door’s locked.  What’s going on?

RANDOLPH
Frank, who is this guy?

CHERRY
<to Rand, cheery, amiable> Hey, I’m your roommate, nice to meet you.
<to Frank, quickly serious and Jack Bauer-esque> Frank, what was your old roommate’s name?

FRANK
Kip?

CHERRY
No, the other one.

FRANK
Jack.  

CHERRY
Right.  Has his room been cleaned out?

FRANK
His parents picked everything up.

CHERRY
Everything?  Nothing of his is still here?

RANDOLPH
This chair was his.

FRANK
And that Spider-Man blanket.

CHERRY
Okay.  I need to look at those.  In his room.  Is his room mine?

FRANK
No, we turned that into the trophy room.

CHERRY
<to Frank> Take me to it.
<to Randolph> Randolph, I called Trenyce, and she‘s on her way over here.  
When she gets here, turn these lights off, and go to your room, or the basement.  

RANDOLPH
What’s going on?

CHERRY
I know who killed Jack Epps, and they’re going to be here soon.

FRANK
But Jack died of shingles.

CHERRY
That’s what they made it look like, alright.  Now where’s that room?

FRANK
Follow me.

Cherry and Frank leave the living room.  Randolph takes a sip from his glass, and picks up the phone.

CUT TO:

INT. JACK’S OLD ROOM.  NOW A TROPHY ROOM<?>.

Frank and Cherry enter Jack’s old room.  It is filled with various trophies.  The only other object in the room is a soiled old mattress lying on the floor.  Cherry walks up to the mattress and kneels next to it.

CHERRY
And this is where you found him?

FRANK
When?

CHERRY
This is where you found Jack’s body.

FRANK
No.  

Cherry stands up.

CHERRY
Okay.  Was he lying…
<Cherry lies down on mattress>
Like this…
<beat>
Or was he lying…
<Cherry lies on mattress in a different manner>
Like this?

FRANK
Neither.  He went for a check-up and wound up in the hospital.

CHERRY
Okay.

FRANK
And after a few days he died.

CHERRY
Right.  So how long did the body lie here?

  FRANK
It didn’t.  That isn’t even his mattress.

CHERRY
<knowingly>
Isn’t it though?

FRANK
No.

CHERRY
<laughs, slaps Frank on back>
You’d make one hell of a detective, Frank!

FRANK
Look, what happened back there?  In the bad part of town?

CHERRY
I got some information.  

FRANK
About Jack?

CHERRY
You could say that.

FRANK
What does that mean?  Either you did or you didn’t.

CHERRY
Frank, trust me - it’s all coming together.

Frank looks at Cherry with great intensity.
CUT TO:

LIVING ROOM.  NIGHT.

Randolph opens the door, and Trenyce is there.

TRENYCE
Randolph!

RANDOLPH
Trenyce!

TRENYCE
What’s going on?
Cherry told me to come as soon as I could.

RANDOLPH
Cherry thinks somebody killed Jack.

TRENYCE
Who?

RANDOLPH
Cherry knows, but he won’t say who.  He might be in this house, but I haven’t seen him yet.

TRENYCE
Cherry?

RANDOLPH
No, the killer.

TRENYCE
Why haven’t you seen the killer yet?  Is he a ghost?

RANDOLPH
I don’t think he’s a ghost.

TRENYCE
I hate ghosts.
How did this house become so haunted?

RANDOLPH
I don’t know, but Cherry wants us to go down to the basement, and turn all the lights off.

TRENYCE
Let’s get in the hot tub.

RANDOLPH
We don‘t have a hot tub.

TRENYCE
Cherry’s hotel does.  Let’s go to the hotel.

RANDOLPH
Okay.

CUT TO: