Masters of Horrror 2 - The_Black_Cat

8/10/2019 Masters of Horrror 2 - The_Black_Cat

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INT. BEDROOM, POES HOUSE - NIGHT1 1

EXTREME CLOSE-UP: A cats eye, green, gleaming, mysterious.PULL BACK to reveal PLUTO, a beautiful large black cat,curled up, serene, uncaring.

POE (V.O.)

I stand amid the roarOf a surf-tormented shore,And I hold within my handGrains of golden sand--

PULL BACK further to reveal the cat in the arms of VIRGINIA,a beautiful, dark-haired, dark-eyed girl, young -- barely inher teens -- her fleshy cheeks still rosy with girlish youth.She lies under the covers, wearing just a nightgown. Alantern stands on a rickety table beside the bed. But hereyes are brighter, sparkling at --

EDGAR ALLAN POE, as we know him from his daguerroetypes, dark-

haired, fine-featured, mustachioed, with a broad, highforehead, sits on the edge of the bed reading from a tatteredleather-bound notebook. Light from the lantern flickersacross the room. He reads with feeling, dramatically.

POE (CONTD)How few! Yet how they creepThrough my fingers to the deep,While I weep -- while I weep!Oh God! Can I not graspThem with a tighter clasp?Oh God! Can I not saveOnefrom the pitiless wave?

Is allthat we see or seemBut a dream within a dream?

He looks up from the notebook with emotion, and pride in hispoetry.

Virginia smiles, truly pleased and proud.

VIRGINIAOh, Eddie, thats beautiful.

POE

Not as beautiful as you, my dearSissy. It is fine, though, isntit?

VIRGINIAIts my favorite.

(CONTINUED)


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POEAnd you are mine.

He reaches out and strokes her hair, with gentleness anddelicacy, his fingertips feeling every strand and the smoothcurve of her cheek.

The cat MEWS and paws at Edgars hand, as if to swat itaway.

Virginia pets the beasts black fur. It PURRS appreciatively.

VIRGINIAPluto, you imp. You dont care forpoetry, do you? No, you dont, doyou? You terrible beast --

Edgar throws the notebook on the table, grabs the cat anddrops it --

-- onto the floor, a small bell on its collar JINGLING. Thecat MEOWS in response, as if irritated, and walks away.

Edgar takes off his coat, his cravat, his shoes, and hispants, swiftly, with purpose. He pulls back the covers andclimbs into bed with the young girl. She opens her arms tohim, and they embrace. His hands move over her body, drinkingher in with his touch. He buries his face in her hair, kissesher neck, her breast beneath her nightgown.

Her head arches back in pleasure -- then her features twistwith discomfort, she fights a physical impulse but cannot

withstand it: she COUGHS, hard, harshly, convulsively.

Edgar recoils, his passion broken. He watches, helpless,worried, until her COUGHING fit subsides.

POEMy angel, are you all right?

VIRGINIAIm sorry, Eddie. Its nothing.Must be the cat hair.

She smiles again, her innocent, open-hearted smile, and hecannot resist. He hugs her to his breast, with almostdesperate love. But over her shoulder he sees --

-- on the white pillowcase, a spot of red blood.

His eyes widen with worry.

"The Black Cat," Goldenrod Revisions, 10/20/2006 2.

CONTINUED:1 1

(CONTINUED)


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And from the corner, the black cat watches, impassive, itsgreen eyes gleaming.

CUT TO:

INT. PUBLISHERS OFFICE - DAY2 2

GEORGE GRAHAM, a fat, well-dressed PUBLISHER, sits behind alarge polished wooden desk. He scans, one-eyed -- the othereye is glass -- with cursory attention several pages ofwriting, then drops them on the desk top. He speaks to POE,sitting in a chair on the other side of the desk.

PUBLISHERYes, yes, fine stuff. Ill give youfifty cents apiece and print themin the August issue, in the Societysection.

Edgar raises his frame, offended, his eyes flashing pride andanger.

POEMr. Graham, sir, what I have givenyou is gold. They should be printedon your front page, not buried onthe ladies pages.

PUBLISHERYes, indeed, but this one I believeI read in last months Courier, and

this one in The Saturday Post. Theladies do seem to appreciatepoetry, though for myself, I findit tiresome.

He pushes the loose pages back across the desk at Poe, hisglass eye glinting as he does.

POEYes, of course, youre right. Theyare favorites of your femalereaders. A dollar apiece then.

PUBLISHERIll take them, Mr. Poe -- at thehalf-dollar price -- if you give uswhat we really want, another ofyour fantastic tales.


CONTINUED: (2)1 1

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Edgar slumps back into the chair, disappointed. The Publisherproceeds to lecture him, light reflecting off his glass eye.

PUBLISHER (CONTD)Thats your meat, Mr. Poe. Ourreaders -- allour readers -- enjoy

your grisly stories of crime andpassion. Like The Tell-Tale Heart-- now that was a great success.

Edgar starts to lean forward, fascinated by the glitteringeye lodged in Grahams fat face. It seems to take all hisattention.

PUBLISHER (CONTD)Killing his landlord because he wasdisturbed to madness by the mansdead eye. Where do you get yourideas?

He chuckles with the pleasant thought. But Edgar is fullyfocused on his glass eye, mesmerized. It is as if the eyewere speaking.

PUBLISHER (CONTD)Take my advice: leave this poetrybusiness to the ladies. But yourmad tales -- give us another ofthose, Mr. Poe.

Edgar is lost, terrified. It is as if the glass eye wereconsuming him, as if he were drowning in its deadness. He

springs out of the chair, across the desk, grabs the fatPublisher by the throat, and strangles him with all hisstrength. Teeth gritted with the effort of choking the fleshyneck, Edgar spits and hisses words at him.

POEA poet strangles a publisher, untilhe crackshis windpipe, so the fatson-of-a-bitch can just barelybreathe. But everyone else takeshim for dead, so they put him inthe grave, alive--

PUBLISHERMr. Poe --

POE-- buried -- alive!


CONTINUED:2 2

(CONTINUED)


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PUBLISHERMr. Poe!

Suddenly Edgar is back in the chair across the desk, andGraham is staring at him. Edgar must have been fantasizing.

POEYes, sorry, another tale, Imworking on one at the moment --

PUBLISHERExcellent. Lets have it for theOctober issue.

POEYes, certainly. Your readers, Mr.Graham, will marvel at itsinvention. I was wondering, inanticipation of its arrival, if you

could see your way clear to givingme a small advance, to assure itscompletion.

The Publisher shakes his head and pulls his wallet from aninside coat pocket. He withdraws some bills and extends themacross the desktop into Edgars eager hands.

PUBLISHERReally, Mr. Poe, where does themoney go?

CUT TO:

INT. TAVERN - NIGHT3 3

Red liquid pours into a shining glass.

EDGAR sits in a wooden nook, at a weathered table, dimly litby a hanging lantern. He sets down a wine bottle and liftsthe glass. It wavers in his unsteady hand as he drunkenlytoasts, to himself, since he is alone at the table.

POE

Poetry!

He drains it in a single drink, then SLAMS the empty glass onthe table. He stares at its emptiness.


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(CONTINUED)


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POE (CONTD)Poverty.

He lifts the bottle and pours, but it is empty. He calls intothe dim interior of the establishment.

POE (CONTD)Barman! Another bottle!

A large, shadowed form steps in front of the light from thelantern. It is the BARMAN.

BARMANYou havent paid me for that one.

POEMy credit has always been goodhere.

BARMANAnd thats the problem. You haventpaid a penny in months. No more,until its settled.

POEI am Edgar A. Poe, grandson ofGeneral David Poe, hero of therevolution. I swam the James River-- seven miles! I was first in myclass at West Point --

BARMAN

Yes, Mr. Poe, weve heard itbefore.

He grabs Edgar by the arm. Edgar lifts the bottle over hisopen mouth, trying to shake out the last drops of liquor, asthe Barman drags him from the nook.

A man in evening clothes, RUFUS GRISWOLD, enters the bar.

POEGriswold! Friend -- fellow poet --could you make me a small loan to

appease this gentleman?

GRISWOLDAfter the way you savaged my lastbook in your review? (to Bartender)You may hang him, sir, for all Icare.


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He continues toward the dark interior of the bar.

POERufus -- I protest! I said it wasyour best work!

Griswold turns, angrily and confronts Edgar.

GRISWOLDLet me quote you, Edgar. You saidit was the best work yet by thecountrys worstpoet. There may belesser poets in Timbuktu orTasmania, but Mr. Griswold is mostdecidedly the worst poet inAmerica.

POEI can see how you might think that

unkind, Rufus, but it is not, in myestimation, unfair.

Edgar straightens up and raises his chin, gathering hisdrunken pride.

GRISWOLDI would challenge you here and now,Poe, but you sir are a pitifuldrunk.

POEAnd you sir are a fool. But

tomorrow I will be sober.

Griswold turns and strides away, into the dark and smokyinterior.

The Bartender yanks on Edgars arm.

BARMANThats it then, Mr. Poe.

He starts to drag him out.

POE (CONTD)Master of the house -- a wager! Setdown a cryptogram as devilish asyou can devise, and I will solve it-- for a bottle of your best port.


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(CONTINUED)


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BARMANWhat in fucking creation is acryptogram?

POEA riddle! Ask of me the impossible

and I shall achieve it. I solve itaright, youll stand me a drink.For example: I propose to you thatI can stand on only one finger.

BARMANYou can stand on one finger?

POEI can and I will.

The Bartender stops, still gripping Poes arm.

BARMANAnd if you cant?

Edgar tugs on a chain from a belt loop and pulls a gold watchfrom his pocket.

POEI will reward you with all my timeon this earth.

The Bartender looks at the watch.

BARMAN

Youre on.

POEPoint to the exact spot on whichyou would have me stand.

"The Black Cat," Goldenrod Revisions, 10/20/2006 7aA.

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Edgar bends his index finger up and down, as if exercising itin preparation for the task.

BARMANStand where you like, as long asits on one finger.

"The Black Cat," Goldenrod Revisions, 10/20/2006 7A.

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POEI want you to be satisfied, sir,that there is no trickery involved.Choose the spot!

The Barman shrugs, and points randomly at the floor.

BARMANAll right -- there.

Edgar leans down and squints, trying to focus, as he swaysdrunkenly.

POEWhere?

The Bartender bends down and puts a finger on the floor.

BARMAN

There!

Edgar lifts a shoe and STOMPS on the Barmans extendedfinger. The Bartender HOWLS in pain.

Edgar stands firmly on the bent Bartenders finger.

POEYou didnt say it had to be myfinger.

He smiles, cheerily.

CUT TO:

EXT. STREET - NIGHT4 4

A sign over the doorway announces the name of the pub: TheBell in large letters, above a painted picture of theLiberty Bell.

The doorway opens and Edgar flies out of the open taverndoor, into the rubbish-filled street. The Barman, silhouettedin the doorway, throws Edgars coat, an old army coat, after

him. He sticks his sore finger in his mouth, steps back, andSLAMS the door.

Edgar staggers to his feet, struggling to put his coat on. Hemanages to put it on inside out.

POEDream -- within a dream --


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He stumbles away down the street.

CUT TO:

INT. POES HOUSE - NIGHT5 5

A door opens abruptly, and EDGAR enters, stumbling in, coaton inside out, dishevelled and clearly drunk. He sees --

-- his wife and a guest, MR. FORDHAM, seated in woodenchairs. The main room, the living area, of the small house isclean, but barely furnished: a wooden table and chairs, abattered sideboard, a relic of a stove, and an upright piano,polished, with a small candelabra atop it. A lantern from ahook in a ceiling beam lights the room. Virginia and theguest stare, embarrassed, at Edgars ungainly entrance.

But Pluto jumps off the table, and rubs against Edgars legs,

glad to greet his master. The bell on his collar JINGLES.

Edgar moves to avoid the cat, and stumbles into a coveredbirdcage, hanging from a stand. A startled CHEEP emits fromunder the cover. Edgar grabs the wobbling stand, just keepsthe cage from falling, and holds a finger to his mouth,SHUSHING the hidden bird.

Virginia is quickly at his side, removing his rumpled coatand leading him to a chair she pulls from a wooden table.

VIRGINIAThere you are, Eddie. Our guest,

Mr. Fordham, has been wonderingwhere youve been.

She kisses him, and takes away his coat. In Edgars eyes wecan see his mind working to recognize and rectify thesituation. He straightens his cravat and sits up straight.

POESir, forgive me. I was detained --by --

He is stuck, his mind a blank. He finds himself staring at --

-- a fishbowl on a window sill. A goldfish swims languidly inthe clear glass bowl.

Edgars attention is drawn back to himself when Pluto jumpsinto his lap. The pet looks up at him, all devotion. Edgarpats its head, and gets an idea.


CONTINUED:4 4

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EDGAR (CONTD)-- I was detained by admirers,lovers of literature. They insistedon drinking a toast, severaltoasts, to my work. Are you aliterary man, Mr. --

In his alcoholic haze, Edgar cant remember the mans name.

Mr. Fordham, a nice-enough fellow, nods to him.

FORDHAMFordham. No, my taste runs more tomusical entertainment.

POEBut poetry ismusic, when it ispoetical at all. Shall I recite oneof my lyrics for you, Mr. --

Again, he cant remember. Virginia recovers for him.

VIRGINIAMr. Fordham is here to buy thepiano. Dont you remember, Eddie?

Edgar is knocked back by this news, and not pleased. Hetosses the cat on the floor, affronted.

POEIm sorry, Mr. Foreman --

Virginia cringes at his mistake.

POE (CONTD)That is my wifes piano. It is notfor sale.

Virginia steps over to him, lays a hand on his arm, and leansto him, to WHISPER in his ear.

VIRGINIAWe discussed this. We need themoney.

Edgar cannot keep his voice down.

POENo. Im writing a story for Graham.Hell pay me handsomely. I will notlet you give up your music.


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VIRGINIAWe need the money now. Let me dothis for us.

He looks into her beautiful face, and his anger leaves him.

POEYou see, Mr. Freeman...or whateveryour name is. I can deny my darlinglittle wife nothing. (to Virginia)You must play for him, Virginia.

She smiles a generous, loving smile. She turns, her gownswirling with her graceful movement, and steps to the piano.

POE (CONTD)And for me -- one last time, forme.

Virginia sits at the upright piano. Her hands move gracefullyover white piano keys.

His little bell RINGING jauntily, Pluto jumps up on the topof the piano, and looks down at Virginia playing. She CLEARSHER THROAT, then sings, in a touching, tender soprano.

VIRGINIACome rest in this bosom, my ownstricken dear,/Though the herd havefled from thee, thy home is stillhere;/Here still is the smile thatno cloud can oer cast/And a heart

and a hand all thy own to the last.

The men sit at the table and listen, rapt by her voice.Especially Edgar, who looks lost in love.

Virginia clears her throat again, this time with moredifficulty, COUGHING.

Edgars look turns worried.

She turns from the keyboard to glance at Edgar as she sings.

VIRGINIAThou has called me thy Angel in amoment of bliss/And thy Angel Idbe mid the horrors of this;/Throughthe furnace, unshrinking, Idfollow you there/And shield theeand save thee --


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She COUGHS, harshly. And coughs again. She stops playing, andputs a hand to her chest.

Edgar is out of his seat in a shot, and at the piano, holdingher hand.

Pluto jumps off the piano to the floor at their feet. Helooks up at them.

POEAre you all right, my angel?

She nods yes, but COUGHS again, and again, sharp, raspingCOUGHS she cannot control.

Edgar yells to Mr. Fordham.

POE (CONTD)For Gods sake, man -- get her a

glass.

Mr. Fordham turns to the table and, from a cut-glassdecanter, pours brown sherry into a small, stemmed glass.

He holds it out to Edgar, who takes it, and holds it up toVirginia.

POE (CONTD)Sissy, darling, drink this.

She reaches for the glass, but drops it in a fit of coughing.It SHATTERS on the floor, scaring Pluto off.

Her COUGHING fit worsens. Blood appears on her lips, sprayswith a COUGH onto Edgars face. He is shocked, terrified.

She involuntarily COUGHS again, and blood spurts from hermouth --

-- across the sheet music leaned against the upright piano.

Her body heaves again with one great COUGH, and blood poursfrom her mouth onto the piano keys, splashing across them.

Edgar is aghast, gripping her hand fiercely, as she COUGHSonce more --

-- and blood spills onto the keyboard, splattering.

Mr. Fordham retreats, shocked, pulling a handkerchief fromhis coat pocket and putting it over his mouth.


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Edgar, distraught, holds Virginias shuddering frame, as shespasms with hacking COUGHS and vomits blood, hemorrhaging.

Blood flows over the piano keyboard in waves. It drips off --

-- to the floor, where a small pool forms. Pluto steps

gingerly to the spreading blood and sniffs it, then begins tolick it up. His bell JINGLES softly.

CUT TO:


Virginia lies back in bed, against a frilly pillow. Herbreathing is labored, but she is calm, her eyes glazed.

A DOCTOR looks down on her. Edgar, in his shirt sleeves,peers, fearful, over the doctors shoulder at his stricken

wife.

DOCTORI gave her a dose of laudanum. Sheneeds to sleep.

The Doctor caps a small bottle and rises. Edgar moves pasthim and leans next to Virginia.

POEIts all right, darling, youll befine. Ill look after you.

She smiles at him, then closes her eyes.

The Doctor puts on his coat and closes his bag, as Edgarcomes from the bed to talk to him.

DOCTORShe must be kept calm. This is ofthe utmost importance. Nothingmust upset her. Nothing. (hegives him a small bottle)Administer this judiciously.

POEWill she recover, doctor?

The doctor steps out of the room, followed by Edgar.


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DOCTORYour wife is a consumptive, Mr.Poe.

The news hits him hard.

POEThe white plague!

DOCTORWhy didnt you call me sooner? Thathemorrhage could have killed her.

POEI -- didnt dare believe it. Isthere a cure?

DOCTORYou must move to a milder climate,sir, if you love your wife. Thatwill be ten dollars for my fee andtwo dollars for the sedative.

Edgar, upset and desperate, acts the victim.

POETo speak of money with my wifesuffering in the next room is ill-mannered, sir.

DOCTORIm a doctor. When should I speakof it?

POESend the bill to Mr. Graham. I amin the process of writing a storyfor his magazine. The Octoberissue.

The Doctor glares at him.

DOCTORThis is the last time, Poe. Ivetreated you in your drunken stuporsand delirium, and youve never paidwhat you promised. But your wifehas a serious malady -- veryserious.


(CONTINUED)


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He puts on his hat.

Edgar sees that this is indeed serious. He begs the doctorsfavor.

POE

Please, sir, you cant leave herlike this. Take my wa--

He pulls his watch chain from his pocket -- but the watch isgone. The chain dangles unattached. The Bartender must havetaken it.

POE (CONTD)Ill pay you as soon as I can.Please.

DOCTORI suggest you find another

physician to attend to her. Goodnight, Mr. Poe.

He leaves. Poe is despondent, his mind frantic, trying tothink through this crisis.


He steps back into the bedroom, and goes to the side of thebed. He kneels and takes his wifes pale hand.

POE

Well go back south, Sissy. Ipromise. Well go back home, andyoull get better -- better thanever. I promise.

Tears well in his eyes.

CROSSFADE TO:

INT. POES HOUSE - DAY9 9

Edgar, looking haggard, stares down --

-- at the piano. The white keys are stained with brownishcaked blood.

Edgar holds a long-handled axe. He stares grimly at thepiano.


CONTINUED:7 7

(CONTINUED)


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POEVirginia -- what are you doing outof bed?

VIRGINIAWe have to sell it. We need the

money.

She speaks weakly, and COUGHS. He helps her to the bedroomdoor.

POEYou have to rest. Husbands orders.

INT. BEDROOM, POES HOUSE - DAY10 10

He helps her into bed, pulling a sheet over her.

POENow lie down and breathe easy.

If anything the disease has made her more beautiful, withrosy circles on her white cheeks. He notices a red stain onthe pillow. She smiles at him, but COUGHS.

POE (CONTD)Here, Sissy, take a tincture.

He takes the little bottle of laudanum off the bedside table,takes the cork from its mouth, and holds it to her lips. Shetakes a swallow.

Virginias COUGHING SUBSIDES, she draws a long breath, andlooks sadly at him.

VIRGINIAIm sorry, Eddie.

He sits on the bed, beside her, drawn to her, yet afraid ofwhat is happening to her.

POEYou have nothing to be sorry for.

She takes his hand.

VIRGINIAYou must write. And I must notupset you.


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He grasps her hand, and kisses her long, pale fingers. Hedoes not want to let go.

POENever. Youre my inspiration.

VIRGINIAIm afraid taking care of meinspires you to drink.

Guilty, he starts to protest, but she stops him.

VIRGINIA (CONTD)Writing is your genius, your life.Please dont destroy them withdrink. Write Eddie. Please -- forme.

POE

I will. I promise.

CUT TO:

INT. POES HOUSE - DAY11 11

A blank sheet of white paper.

Edgar sits at the table, cleared of everything except aninkwell, a jar of feathered quills, and the sheet of paper.He wears a loose robe, open, its sash hanging. He stares atthe blank page.

POEThe white plague.

He takes a quill from the jar, checks its sharpened tip, anddips it in the ink. He holds it poised over the paper.

But does not lower it. He hears the canary SINGING, and looksover to its cage --

-- where it flits from swing to bars, singing its BIRDSONG.

Edgar sighs. As he returns his gaze to the page, he sees thefishbowl on the window sill.

The goldfish swims in place at the glass, peering out, as ifwatching him.

Edgar stares back at the fish, uncomfortably. He turns hisattention back to the blank page --


CONTINUED:10 10

(CONTINUED)


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-- just as a drop of ink builds at the point of the quill penand falls onto the white paper.

The ink stain on the perfect page angers Edgar. He puts downthe quill and tears up the page, throwing the pieces on thefloor. He opens a drawer in the table and takes out a new,

fresh sheet of blank paper. He places it in front of him, andstares at it.

Its whiteness absorbs him, hypnotizes him.

He leans over it, staring deeply into its blankness.

He hears a Plop, as if a small object dropped into a poolof water. He looks up.

Pluto is on the table, hovering over the fishbowl, staringintently into it. The cats paw, poised over the surface ofthe water, dips swiftly into it -- Plop. The goldfish darts

frantically around in the water, terrified of the cat.

POE (CONTD)Pluto! Whats gotten into you?

He swats the cat away, off the table, with a swing of hisarm. It jumps, JINGLING, down and away.

He returns to the blank page, dips the quill in the ink, andlowers the point onto the paper. Where it stays motionless.

Edgars eyes search inside his mind for ideas. From thebedroom, COUGHING erupts, harsh, hacking COUGHS.

Edgar turns, distracted, distraught by his wifes suffering.But with effort he returns his eyes on the page.

He presses the pen onto the paper. His hand starts to shake.

The COUGHING continues, punctuated by long GASPS for breath.Each sound tortures Edgar. Tears shake in his brimming eyes --

-- his hand shakes, pressing the nub of the quill into thepage, until the quill bends, broken.

He holds it up and looks at its bent end, useless. TheCOUGHING ENDS. His fear and pity twist into anger. He throwsthe pen from him. Then, strangely, he hears unconnectedCHORDS of piano sound, drawing his attention --

-- to the piano. Pluto walks on the still-blood-stained pianokeys, sounding random CHORDS. The cat jumps to the top of theupright frame, and sits, watching him.


CONTINUED:11 11

(CONTINUED)


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Edgar frowns, pushes aside the ruined sheet of paper, andpulls another from the drawer. With firmness of purpose hepulls another feathered quill from the jar.

But it has no point, and is feathered down to the end.

He pulls a pen knife from the drawer, opens it, and shavesthe feather from the bottom half of the shaft. The SONG ofthe canary makes him stiffen, but he continues focused on thework. He turns the shaft and begins to sharpen the end to apoint. Virginia starts to COUGH again.

His hands start to shake as he struggles to concentrate andignore the COUGHING fit. He cuts his finger with the penknife.

He stares at the gash in his finger, as a drop of blood falls-- onto the blank page.

POE (CONTD)Damn!

He sticks his finger in his mouth, sucks away the blood. Helooks up --

-- at the goldfish bowl. But something is different, wrong.The bowl is empty, the water wavering, lapping at the brim ofthe bowl, as if something had just -- just -- disturbed it.

Edgar leans toward the bowl, and peers into it.

It is, indeed, empty.

POE (CONTD)Pluto?

Edgar stands, looking around the room.

POE (CONTD)Pluto! What have you done?

He looks under the table --

-- into dark corners.

POE (CONTD)Pluto! Come here this instant!

The COUGHING starts again. Aggravation and anger riseuncontrollably in Edgar. He pushes his chair away, knockingit over, and rushes to the bedroom door, swinging it open.


CONTINUED: (2)11 11

(CONTINUED)


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POE (CONTD)For pitys sake!

INT. BEDROOM, POES HOUSE - DAY12 12

Virginia lies in the bed, shivering, shaking, half-conscious,intermittent COUGHS erupting from her. The pillow case, thesheet, and her nightgown are blood-stained.

Edgars anger leaves him immediately. He grabs his coat froma peg by the door and rushes to the bedside.

He lays the old army coat over her quaking frame, and strokesthe matted hair above her pale, red-cheeked face, shiningwith sweat.

POESissy -- angel --

Her eyes regain consciousness; she looks up at him, andmanages a weak smile.

She grips his hand, as strongly as she can.

He takes her hand in both of his, and smiles, as best he can,back.

She pulls his coat up around her with her other hand, andcloses her eyes.

He watches over her, afraid to leave, as she WHEEZES and

shivers in the bed.

TIME CUT


The room is dark, moonlit through the small window. Virginialies under the coat, sleeping. She rests peacefully.

Edgar sits in a chair by the bed, her hand still in his, buthis head hangs, nodding. He is asleep.

A muffled JINGLING, then a RATTLING CRASH, as of an objectfalling in the next room, wakes him abruptly. He looks towhere the sound came from --

-- but the doorway is dark with nights shadows.

He checks Virginia.


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(CONTINUED)


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She stirs, but does not wake.

He rises carefully, sets her hand gently on her chest, andwalks quietly our of the room.


He carefully closes the door, as quietly as he can. He looksinto the dark main room.

He lights the lantern and hangs it from the hook in thecrossbeam. It throws dirty light on --

-- the writing implements and blank paper still resting onthe table, across from the empty fishbowl.

He hears a SOFT FLUTTERING, the rapid beating of muffledobjects against a surface. It stops -- then he hears it

again. He looks around --

-- at the birdcage, lying on its side on the floor, its standfallen. It is empty, its small barred door hanging open.

He takes the oil lamp from the hook and steps toward thefallen cage, to look closer.

In the light of the lamp, a slight movement on the floorcatches Edgars attention. He lowers the lamp to see better.

Lying on the floor, shuddering with the beating of its brokenwings, is the canary. It is bleeding, small bite wounds in

its chest. Its wings FLUTTER futilely; it CHIRPSpathetically.

Edgar is sickened, saddened. He reaches out --

-- but his fingers stop just short of touching the dyingbird. He draws them back.

Edgars sensitivity brings tears to his eyes. He knows whathe must do. But he cant bring himself to do it. He starts toshake, to panic. At last, with great effort, he looks away,and sees --

-- the decanter, half full of pale brown liquid, sitting on asideboard.

He stumbles toward it, and grabs the decanter. He pours aglass, spilling the sherry in his haste. He drinks it down,pours another, empties it. He stops, breathing hard, but hehears the canary CHIRPING in desperation.


CONTINUED:13 13

(CONTINUED)


26/66

He cannot look, but lifts the decanter to his lips and drinksfrom it, pale wine spilling down his chin.

He sets it back on the table, GASPING for breath from theguzzling of liquor. His shoulders droop, exhausted.

He calls up his courage, and turns back to his task.

He steps to the fallen cage, reaches slowly, deliberatelydown --

-- and gently lifts the injured bird from the floor.

He holds it in his open hand as it flutters and CHIRPSweakly, helplessly, dying.

He squeezes his fist around the body of the bird, tighter,and harder. The canarys head jerks awkwardly, a panicked

CHIRP escapes it.

Edgar squeezes harder, his face contorting with the effort.He starts to cry, tears brimming in his eyes.

Small bones break, CRACKLING. The canarys movement andCHIRPING STOPS. Its small head hangs limp from his fist.

Edgars body heaves with sobs of silent weeping, as his fistslowly opens, and the canary falls --

-- to the floor, its small body motionless, lifeless.

Edgar bends his head back and closes his eyes. His shoulderssag, his breathing slows. Then his eyes snap open.

POEPluto!

He lifts the lantern, peering around the room.

From behind the bedroom door, COUGHING, recurrent, rough-edged COUGHING.

He sets the lamp on the table and steps toward the door.

POE (CONTD)Angel?

He opens the bedroom door.


CONTINUED:14 14


27/66


Sissy lies in the bed, under his army coat, WHEEZING. Herface is white and stony. And on the coat, on her chest,stands Pluto, his head stretched down toward her face, his

snout almost touching her lips, as if he breathed in herexhaled breath.

When it hears the door open, it raises its head and looks atEdgar. Its eye sparkles.

Edgar is unnerved to see the cat. In a harsh, angry WHISPER,he yells at it.

POEPluto! Get away from her.

But the cat does not stir.

Edgar steps quickly to the bed and reaches out to grab thepet.

POE (CONTD)Get away! Youre killing her!

Pluto HISSES at Edgar, and scratches his hand.

Edgar watches the blood rise from the lines scratched intothe flesh of his hand. He feels the pain, and then he feels afrenzy released within him.

He grabs the cat by the collar. It squirms in his grasp,struggling to escape. Its bell JINGLES madly. He carries it --


-- into the main room. The cat gyrates wildly, but Edgarwont let go.

It scratches him again --

-- raising more blood.

Edgar CRIES OUT but does not let go. Pluto squirms, pullinghis head through the collar, and frees himself, falling --

-- to the floor, where he runs into the shadows.

Edgar, maddened, throws the empty collar away. He grabs --


(CONTINUED)


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VIRGINIA (O.S.)What are you doing, Eddie?

He throws the knife down, and spins around to look toward thebedroom door.

Virginia stands in the doorway, unsteady on her feet, wearingEdgars coat. She COUGHS.

Edgar stands before her, his hands and shirt covered withblood. Drunk, disoriented, exhausted, he wavers on his feet.

Her weary eyes focus on him, and the shock of his appearancestarts to dawn on her -- just as she hears a deep, curdling,animalistic WAIL.

She finds Pluto hiding under the sideboard crying piteously.

She squats down to her pet, and sees his ravaged face. She

instinctively embraces the damaged cat.

VIRGINIAPluto -- what happened to you?!

POEHe -- must have -- gotten into afight with another cat. I tried tohelp him.

He looks at the blood on his hands.

Virginia stands, the cat in her arms, petting and soothing

it.

VIRGINIAPoor thing.

Then she sees --

-- the birds body, lying on the floor.

VIRGINIA (CONTD)My God. Whats been going on? Ourpets --

POEI was trying to write, and -- Plutoate the goldfish!

He points to the overturned bowl, a pool of water and inkaround it.


CONTINUED: (2)16 16

(CONTINUED)


30/66

VIRGINIAPhineas? Pluto ate Phineas?

POEAnd he killed poor Annabelle.

He looks sadly at the canarys small corpse.

VIRGINIANo. I dont believe it.

She holds the cat more tightly to her breast, protectively.

VIRGINIA (CONTD)Hes the one whos been attacked.Look at him. Pluto, my poor baby.

Edgar sees that he is going to have to hide his guilt.

POEThere was another cat -- a blackcat, like Pluto -- it killed them --and Pluto fought with it --

He is trying to concoct a tale to explain the destructionaround him.

But before he can make his story make sense, she sees thedecanter, empty on the sideboard.

VIRGINIAYouve been drinking again.

POENo -- I -- the cat spilled -- itwas the cat --

VIRGINIAYou promised. You said you wouldwrite, for me. You promised me --

She holds the cat tighter to her breast, and COUGHS. AndCOUGHS again. A drop of blood appears at the corner of hermouth.

Dread, dismay, and guilt flood Edgars face. He cannot facewhat he has done; he cannot look at her.


CONTINUED: (3)16 16

(CONTINUED)


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POESissy -- I cant explain -- I feelthis -- longing, in my soul, to doviolence -- to what I love, to myown nature -- to do wrong forwrongs sake --

She COUGHS, her body shaking.

VIRGINIAEddie --

Her eyes turn up in her head. She collapses to the floor, thecat falling, and running from her.

Edgar rushes to his fallen wife --

-- stepping on the small bloody mass, the cats eye, on thefloor, squashing it.

He lifts her head off the floor, and kneeling, holds her inhis arms.

POESissy -- Sissy!

She COUGHS WEAKLY, a trickle of blood running down her lowerlip. Her eyes flutter open, and she looks at him.

He is energized to see that she is alive, but desperate withfear for her.

POE (CONTD)My angel -- Ill go get a doctor --

But she takes his hand, and holds it as firmly as she can.

VIRGINIADont -- leave me.

She is, if anything, more beautiful. Her fine skin isperfectly pale, and her cheeks at the cheekbones are rosy,almost red. She smiles radiantly to him -- and life drainsfrom her open eyes. Her features fall. She dies.

POENo!

He leans his face close to hers and scans her featuresdesperately for life. He holds his fingers near her lips,hoping to feel even the slightest breath. Nothing.


CONTINUED: (4)16 16

(CONTINUED)


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GRISWOLDAnd she was so young.

PUBLISHERSo veryyoung.

GRISWOLDA mere girl. And his cousin.

PUBLISHERAcceptable match in Richmond, Idaresay. But this is Philadelphia.

They down their sherry in a gulp.

Edgar still stares at his wifes corpse. Upset, he reachesinto a coat pocket, an takes out --

-- the small bottle of laudanum the doctor had left.

He quickly uncorks it and takes a swift, short drink. Then hecorks it and puts it back in his pocket. His eyes return to --

-- Virginias corpse in the coffin.

FORDHAM (O.S.)Mr. Poe --

He looks up and sees Mr. Fordham shyly standing nearby.

FORDHAM (CONTD)Im sorry for your loss.

POEThank you, Mr. --

His mind, engulfed in grief, cannot retrieve the name. Andthe guest does not want to trouble him with it. Fordhamretreats. And Graham steps forward.

PUBLISHERShes out of her misery now.

POE

Yes, she is.

He stares at Virginias corpse.

PUBLISHERLook, Poe, I can advance you asmall sum on that story. She shouldhave a proper burial.


CONTINUED:17 17

(CONTINUED)


34/66

POEYes, she should. So she can rot, inan airless grave, with worms andants eating her flesh.

Graham is taken aback by this cold comment.

PUBLISHERGet a hold of yourself, Edgar. Weall must go on, you know. And youhave your writing.

POEI no longer wish to write.

He looks back into the casket.

PUBLISHERWhat else will you do? Goodness,

man, youre already famous.

POEI no longer care for fame.

The fat businessman takes a roll of paper currency out of hispocket and peels off a few bills. He holds them out to Edgar.

PUBLISHERThere are ways to ease the pain.

Edgar, anger flashing in his face, gets up, and pushes Grahamaway.

POEGet out!

He pushes him toward the door.

POE (CONTD)I do not wish to ease my pain!Leave me alone!

PUBLISHERThis is not how a gentleman

behaves!

POEHow would you know?

He pushes him out the door.


CONTINUED: (2)17 17

(CONTINUED)


35/66

The other guests are shocked at his behavior. They look on,stunned.

He looks around the room at them.

POE (CONTD)

All of you -- get out! Now!

GRUMBLING at this lack of etiquette, they begin to leave. Butnot fast enough for Edgar, who pushes one after another tothe door.

POE (CONTD)Leave me alone!

He SLAMS the door on the last of them.

And he is alone. It is suddenly quiet. He looks around him atthe ruin of the wake --

-- the table, lit by candles, the decanter and glasses.

He crosses to a cupboard, opens it, and takes out a length ofrope. He tugs on it, to test its strength. He loosens hiscravat, tosses it away, opens his collar button and rubs hisneck. He turns, and looks --

-- at the coffin, and Virginia in it. On her chest, curledinto a black, furry mass, is Pluto.

Shocked, Edgar flinches.

The cat lifts its head and stares at him, its one eye clearand gleaming, its empty eye socket dark and matted with driedblood. It HISSES menacingly at him.

Edgar is appalled at its return, its appearance, itsdesecration of his beloved wifes death bed.

POE (CONTD)You! You killed her!

Desperate anger erupts in him. He attacks the beast, chargingtoward it.

Edgar grabs the cat, and it digs its claws into his arms.

The HOWLING cat squirms and snaps his jaws, trying to biteEdgar -- who works frantically to grab the beast. The catlunges, and buries its fangs in Edgars forearm.


CONTINUED: (3)17 17

(CONTINUED)


36/66

With one hand, Edgar grabs the back of the cats neck. Hepulls Plutos head back, and wraps the rope around it, as thecat scratches furiously at him.

Edgar pulls the rope taut, choking the cat. It HOWLS.

Edgar climbs up on the chair beside the coffin, and wraps theloose end of the rope around the hook in the crossbeam. Thecat claws at him as he ties a knot in the length of rope.

He leaps down from the chair, and looks up --

-- at the black cat, HOWLING, swinging by the noose aroundits neck, its body twisting and jerking, trying to escape itsfate.

Edgars look is one of almost mad satisfaction.

The spasms of Plutos body are intermittent now, the swinging

of the rope shortening, as the cat hangs, then jerksviolently , and hangs swaying, its paws flailing, then hangsstill. Its howling becomes a LOW MOAN of misery.

But now his satisfied feeling curdles, sours, sickens Edgar.He grabs his stomach, leans, and vomits. He spits the tastefrom his mouth, and turns back to watch --

-- the cat, hanging, its black body limp, dead, swayingslightly, the rope softly CREAKING.

TIME CUT


Hands shake the lantern, its glass raised, so the flammableliquid spills and SPLASHES out.

Edgar shakes the open lantern, spilling the fuel oil acrossthe floor. Until it is empty, and he sets it down. He gazesdown --

-- at Virginia, in the casket. She is still beautiful, almostradiant.

He looks up --

-- at Pluto, hanged, the dead weight of its black bodyholding it steady, still.


CONTINUED: (4)17 17

(CONTINUED)


37/66

Edgar reaches into his pocket, pulls out the little bottle oflaudanum, pulls out the small cork, and drinks down thealcohol-and-opium, until the bottle is empty.

He sets the bottle on the table, and lifts a burning candlefrom its holder. He stares at the flame.

The brilliant, shape-shifting diamond of fire atop the candlegoes in and out of focus.

POEWe stand on the brink of aprecipice.

Edgar blinks, puts a hand to his head, tries to re-focus.

POE (CONTD)We peer into the abyss --

But the flame swims in his view, moving away and closer,wobbling oddly.

POE (CONTD)-- we grow sick and dizzy --

Yet he holds it still and stares at it.

POE (CONTD)-- we plunge.

He drops the candle.

It hits the floor, and the flame lights the lantern fuel.Fire, with a WHOOSH, spreads across the floor, following thespilled oil.

The sudden eruption of flame breaks through Edgars drug-dazed stupor. It registers as danger, but he does not seemalarmed.

Flame runs along the floor, following the trail of thespilled lantern fluid.

Edgar is impassive, disinterested. Until he turns to

Virginia.

Lying in her coffin, she is so beautiful. Angelic. Pale andlovely.

He reaches out to her, forlorn, lost love in his eyes.


CONTINUED:18 18

(CONTINUED)


38/66

POE (CONTD)Nevermore.

Flame sets the nearby window curtains ablaze.

Her still, sculpted, perfect face, brightened by flickering

fire-light, swims in and out of focus.

He shakes his head to clear it.

Until her image, her angelic image, is clear -- cold and calmand clear.

With tears in his eyes, he leans over her, to her, gentlylowers his lips to hers --

-- and she inhales, a sharp, long, rasping GASP for air, hereyes shooting open!

Edgar, shocked, lurches back.

Her mouth, and eyes, open wide, Virginia fights for air --and life.

Edgar is stunned, scared, transfixed with terror andtransported with joy all at once. Virginia is alive! He liftsher head and shoulders out of the coffin, embracing her.

POE (CONTD)Sissy!

She is wide-eyed, PANTING, shocked herself -- but alive!

Edgar knows and notices nothing except that his beloved hascome back to him. He embraces her, as the flames surroundthem in a ROARING conflagration. He weeps for joy, relievedof grief, his life restored.

But she COUGHS, the smoke rising, swirling about them.

Edgar looks around -- at nothing but devouring fire --

-- and up --

-- at Pluto, hanging motionless. In an instant, flame runsalong the beam, down the rope, and the cats black formcatches fire.

Edgar lifts Virginia out of the coffin, into his arms, andlooks for an escape.


CONTINUED: (2)18 18

(CONTINUED)


39/66

Fire is everywhere, crawling up the walls, over thefurniture. It swirls and swims in his vision.

He sways, unsteadily, and his eyes blink, his mind and bodyfighting the opiate.

Virginia COUGHS against his chest, smoke filling the room.

He focuses on --

-- the archway of flame that the threshold has become.

He looks into her GASPING face, her eyes pleading with him.

He gathers himself, and runs, SCREAMING, carrying her,through the fire-filled doorway.

Plutos body, fully afire, hangs from the flaming rope.

FADE TO:

OMITTED19 19 *


CONTINUED: (3)18 18


40/66

EXT. STREET - NIGHT20 20 *

Edgar is tossed out of the tavern door onto the street. *

He stumbles down the dark, moonlit road. *

He hears a cats meow. He stops and looks over his shoulder. *

Nothing. *

He continues on. *

A large shadow, feline and lithe in its movements, movesacross a warehouse wall.

A HALF-CRY catches in Edgars throat, and he runs away downthe dark street.

Edgar stops at a gas-lit lamp. He stands under it and looksback down the street.

It is empty. No one, nothing, silent, still.

He catches his breath, collects himself, and turns to hurry,half-running, half-stumbling, home.

CUT TO:

EXT. TENEMENT - NIGHT21 21

Even in moonlight, the street looks dirty, rundown. The barefront of a shotgun tenement, a single story split into smallrooms for poor tenants, stands between other such structures.Edgar approaches, still hurrying, still glancing over hisshoulder, disconcerted. Thunder rumbles in the distance. He *quickly enters.



41/66

INT. TENEMENT ROOM - NIGHT22 22

A dreary room, small and poorly lit by a lantern with a dirtyglass on a small table. The door opens, and Edgar rushes in,breathless. He shuts the door quickly behind him.

His entrance rouses Virginia, who lies, pale and sickly, in abed in a corner of the sparsely furnished single room abode.

VIRGINIAEddie?

She COUGHS into a kerchief, a red-stained kerchief.

Edgar crosses the small room and stands over her.

POEVirginia -- I thought I saw --

He cant say it. There is a flash of lightning. She reaches *up for his hand.

VIRGINIAIm afraid to be alone. Dont leaveme again.

He takes her hand and kneels down.

POEYou came back from the grave to me,and still I fail you. The heavens

curse me if I touch another drink.

At the dirty window over the bed, there is a TAPPING, short,clear RAPS against the pane.

They both look up at the window. What could it be?

More TAPPING, as if someone were gently but firmly rappingfrom outside.

Virginia reaches up and, her weakness making her strain witheffort, opens the window.

POE (CONTD)No, Sissy! Youll catch a draft.

But she has lifted the sash, and through the open windowwalks -- a black cat. It strides in as if it belonged. *


(CONTINUED)


42/66


43/66


44/66


45/66

VIRGINIAStop it, Eddie. Your morbidimagination is too much sometimes.

POEVirginia, it cant stay. Your

condition --

His tone is stern, but his look is worried.

VIRGINIAI need a companion, when yourewriting -- or when youre gone.

She looks at him, accusation in her eyes, as she pets thecat, and it arches happily under her hand.

POEIt could make you worse, the filthy

beast.

VIRGINIAI havent coughed since hes come.Its just a cat. Come sit by me, *Pluto. *

But Edgar looks fearfully --

POE *Its not Pluto! *

-- at the black cat in her hands, staring at him with its one

green, almost glowing eye.

He storms out. *

CUT TO:

INT. HALLWAY - NIGHT22A 22A *

Poe hurries down the hallway to the basement door. He throws *it open and enters. *

OMITTED23 23 *


CONTINUED: (4)22 22


46/66


47/66

Now the vision fills him with dread. He shakes with terror.

The magnificent cat turns its head, to show him its whitemarkings, taut around its neck, but keeps its eye fixed onhim. Then it seems to smile, baring its teeth.

Edgar calls up all his courage; SCREAMING, he swings theliquor bottle --

-- and SMASHES it against the wall.

Wielding the broken bottle, Edgar lunges at the cat.

The cat lets out a YOWLING cry as it eludes his attack, andbounds off the table into the darkness of the basement.

Edgar, mad for the battle, chases him.

Garish light spreads where it can, but deep shadows remain in

the corners and clutter of the basement. No sign of the cat.

VIRGINIA (O.S.)Eddie!

He ignores his wifes call. He tosses away the broken bottle,grabs the lantern, and takes the axe down from the wall. *

*

Virginia has come halfway down the stairs, and stopped,stooping over to see him.

VIRGINIA (CONTD)Whats the matter? Why are youacting like this?

He doesnt even look at her when he yells at her, but keepslooking for his quarry.

POEGo upstairs!

But she does the opposite -- she steps down a few morestairs, entering the arena.

VIRGINIAYoure drunk. You promised. Youswore youd stop.

He stops searching, closes his eyes and lifts his head. It isas if she spoke from his spirit, to hers.


CONTINUED:24 24

(CONTINUED)


48/66

POEAnd you believe me. You alwaysbelieve me.

VIRGINIAI have no choice. I love you.

POEHow can you love me? I cant clotheyou; I cant feed you; I cant cureyou. I cant write, Sissy -- Godhelp me, I cant write!

He is SHOUTING now. But still his eyes are closed. He cantlook at her.

VIRGINIACome with me, Eddie. Come backupstairs with me. It will be all

right. Please.

She steps slowly down the stairs, toward him, reaching outand touching his arm.

He spins, eyes wide and aflame with fury, the lantern and axein his hands.

POENo-o-o-o-o-o!

As she retreats in fear, the cat leaps out of the shadows andonto the table. It stands, majestic, eye flashing. It HISSES

at him.

Edgar sets down the lantern, raises the axe, and swings itdown.

The cat gyrates out of harms way, and the axe-blade misses,cutting deep into the tabletop.

Virginia SCREAMS. The lantern throws light up at them, andthey cast giant shadows.

Edgar labors to pull the axe-head out of the table. With a

great GRUNT he frees it and turns to find the cat.

The basement shadows are deep, but he can see a black shadowwithin the shadows, and a sparkling object -- a shining eye.

With a rising CRY, he raises the axe over his head, to fullextension.


CONTINUED: (2)24 24

(CONTINUED)


49/66


50/66

A NOISE in the hallway above makes him jerk his head towardit. FOOTSTEPS. He tenses even more, but the steps pass by thedoor. Then another door SLAMS. Edgar rises.


CONTINUED: (4)24 24

(CONTINUED)


51/66


52/66

He smiles, breath heaving in his chest, and swings the axeagain.

CUT TO:

INT. BASEMENT - NIGHT, LATER25 25 *

A hole about three feet wide and five feet tall has beenhacked in the wall.

Edgar stands looking down at Virginias body. He drops theaxe. He bends down, and fighting the horror, lifts her armsoff the ground.

He lifts her torso off the ground, grabs her around thewaist, and hoists her up. He puts her into the hole.

Her body stands in the cavity -- for a second. Then it fallsforward. He catches it, and pushes it back in, leaning itback against an inner wall. Her eyes, one on each side of thesplit in her face, stare at him.

He looks away --

One of her arms hangs out of the opening in the wall. Helifts her hand and sees the wedding ring on her slim finger.He fights back tears and sentiment, and drops her hand intothe hole in the wall.

He turns and looks at the pile of bricks.

CUT TO:

INT. BASEMENT - DAWN26 26 *

A trowel stirs a batch of thick gray mortar in a bucket, thenscoops some out.

Edgar spreads the mortar on a line of bricks. He lays a newred brick on the mortar, pressing it into the gray material.

The lantern lights his work, for it is night again.

The hole in the wall has been filled in up to Virginiaschest. She looks grotesque.


CONTINUED: (6)24 24

(CONTINUED)


53/66

Edgar reaches for another brick, and raises it to put inplace -- but he stops, and stares at the ravaged corpse withthe hacked-apart head in the wall. It was his wife, hisbeloved Sissy. He sees her in his imagination --


CONTINUED:26 26

(CONTINUED)


54/66

-- as she looked, young, so young, and beautiful, proppedupright in the niche in the wall like some kind of devotionalstatue.

He leans forward, his face into the hole --

-- and kisses her lips. Her corpses lips.

When he pulls back, he has brain matter on his lower lip. Hepicks the piece of brain pulp off, looks at it, and isdisgusted. He quickly puts the other brick in place. Andquickly grabs another.

INT. BASEMENT - DAY - LATER26A 26A

The job is done; the wall is bricked up, no sign of the

damage, to the wall or to his wife.

He SIGHS, then turns and starts to peer around the room. Hetakes up the lantern and searches with it.

POEHere, kitty. Here, Pluto.

He takes up the axe from where it lies on the floor. He looksunder the work table.

POE (CONTD)Come on, you abomination. Show

yourself.

He pushes the woodpile around with the axe, then holds thelantern high to see into the dark rooms corners.

POE (CONTD)You wont escape me, even if youare a phantom from hell.

He waits, and watches, ready to do battle with the black cat.

Nothing. Nothing moves in the shadows. Nothing glints in the

dark. Nothing. The cat is gone.

Edgar SIGHS, relieved.

POE (CONTD)Thank God.


CONTINUED: (2)26 26

(CONTINUED)


55/66

He wipes the axe and hangs it back up in its place on thewall. He steps to the new section of the wall, reaches outand places a hand on the fresh brickwork.

POE (CONTD)Farewell, my angel.

He walks to the stairway and, wearily, up the CREAKINGstairs.

FADE TO:

EXT. TENEMENT - TWILIGHT26B 26B

A flickering flame at the curled end of a long pole touchesthe wick of a large lantern, and lights it.

A LAMPLIGHTER lowers the pole, having lit a streetlamp

outside the weather-beaten tenement building on the rubbish-strewn street where Poe lives.

CUT TO:

INT. TENEMENT ROOM - NIGHT27 27

Edgar sits at the lantern-lit table, wearing his robe,peering down at the blank page. *

*

He lifts a whiskey bottle from the table and takes a long,punishing drink.

He lifts a quill from the tabletop, dips it in the inkwell,and glares at the white sheet before him.

He slowly lowers the quill and, just as it reaches the paper-- he hears the TINKLING of PIANO MUSIC, softly, vaguely, butdefinitely. It makes him look up, and stops his breathing.

*

The MUSIC FADES, STOPS. Edgar catches his breath, and re-establishes reality. He re-focuses on the page in front ofhim --

-- until he hears a CREAKING sound, rhythmic, repetitive. Helooks up.


CONTINUED:26A 26A

(CONTINUED)


56/66

The rocking chair is rocking, noticeably, back and forth.

His eyes widen with anxious attention. He gets up, stepsdeliberately to the rocking rocking chair, reaches out to it,and just before his hand touches its high spindled back -- itstops rocking.

He pulls his hand back, and stares at the now motionlesschair.

*

There is a KNOCK at the door. He lowers the bottle, certainthis is climax. The ghost or demon or guilt that haunts andtaunts him has come.

He goes to the door, grabs the knob. He holds it tight, asthere is another KNOCK. Then he swiftly, powerfully swingsthe door open wide.

POEReturn to hell, you succubus!

In the open door frame stand two uniformed Policeman. Thesmaller one, SERGEANT BOOKER, takes charge.

SERGEANTExcuse me, sir -- Mr. Poe, isntit? The writer?


CONTINUED:27 27

(CONTINUED)


57/66

Edgar is surprised -- both pleasantly and unpleasantly inquick succession -- at this news. He fights back shock, andthe effects of drink, and tries to recoup the situation.

POEYes, indeed, I am he. The poet,

yes. As you can see --

He opens the door wider, and waves with an arm at the writingimplements on the table.

POE (CONTD)-- I was just working on one of myfantastic tales. I was lost,entirely taken up, in a flight offancy. I apologize for anyperceived insult, Mr. --

SERGEANT

Sergeant Booker of the SouthPhiladelphia Constabulary. Severalof your neighbors profess tohearing screams two nights ago.They were afraid that someone -- awoman -- was in some peril.

POETwo nights ago? I have beenwriting, and, as you have seen,when I am engaged in acts of theimagination, I have little sense ofthe world around me. Such is my

genius.

SERGEANTIndeed, these neighbors thought thescreams came from this room.

POEAs I say, there might have been abrutal murder in this room and Iwould have been oblivious. So byall means, come in and satisfyyourselves.

He steps aside and the Policemen enter. The Sergeant motionsto the uniformed Policeman to search the room, which he does.The Sergeant engages Edgar.

SERGEANTMight I ask where youve been sincethe evening in question, sir?


CONTINUED: (2)27 27

(CONTINUED)


58/66

POEI believe I told you -- in thisroom, writing.

SERGEANTWe were here yesterday, Mr. Poe,

when the report was first made. Youdid not answer your door, nor didyou appear to be home.


CONTINUED: (3)27 27

(CONTINUED)


59/66


60/66

INT. TENEMENT HALLWAY - NIGHT28 28

He exits the apartment, carrying the lantern, and calls afterthe Policemen, who are just opening the door to the building.

POEWait! You didnt search -- thebasement!

CUT TO:

INT. BASEMENT - NIGHT29 29

Edgar, a mad look in his eye, leads them down the steps.

POE

Be careful, gentlemen. The stairsare quite rickety. You could falland split your head open.

He gives the lantern to the Policeman.

POE (CONTD)Here. Please, let no hiding placego undiscovered, no secret goundivulged.

The Sergeant eyes Edgar doubtfully, but gives a hand signalto the Policeman to search the place, and joins him.

Edgar seems positively merry, effervescent. He is having fun.

POE (CONTD)The wooden parts of this house aredecidedly unsound -- but the walls,gentlemen, they are excellentlywell constructed, dont you think?

He runs a hand over the wall --

-- while the Policemen make a cursory search of the small

cellar.

SERGEANTWhat I think, Mr. Poe, is thatthere is nothing here to see.


(MORE)

(CONTINUED)


61/66

Thank you for your help, but wehave a great deal of business --criminal business -- to attend to.Good day, sir.

The Policeman hands Edgar the lantern, and follows SergeantBooker up the stairs.

Edgar smiles triumphantly.

POEI delight to have allayed yoursuspicions, gentlemen. I wish youall health, and a little morecourtesy.

They are at the top of the stairs, at the door.

POE (CONTD)These walls, are you going

gentlemen? Yes, these walls aresolidly put together --

He SLAPS the wall, the new section of wall he just brickedup, as if punctuating his escape from detection, from guilt.Two hearty SLAPS.

And from somewhere, from some dark place of tortured misery,rises a CRY -- at first muffled, broken, like sobbing -- thenquickly swelling into one long continuous hideous SCREAM --an inhuman HOWL, half of horror, half of triumph.

Edgar looks around for the source of the sound. It chills him

to his essence. Edgar looks with awe and torment --

-- at the new section of wall. Could it be coming from there?

He looks up to see if the Policemen hear it, too.

The Policemen, at the top of the stairs, stand motionless, asif frozen by the sound. Then they turn, looking down to seewhat could possibly cause such a demonic YOWLING.

Edgar backs away, afraid.

The Policemen run down the stairs. The Sergeant follows theCRY to the wall, sees the bucket of mortar, and picks up thetrowel. He looks to the uniformed Policeman and points to thewall.

The Policeman grabs the axe from its hanging nails, steps tothe fresh section of wall, and wields weapon, hacking at thebrickwork. The HOWL grows even more hellish.


CONTINUED:29 29SERGEANT (cont'd)

(CONTINUED)


62/66

The brick wall CRACKS, crumbles, falls away --

-- revealing Virginias corpse, its head hewn in two. Andatop it, perched like a nightmare that has crawled from theopen skull, is the black cat. Its red mouth is open, emittingthe gruesome CRY. Its one eye glitters like a prize.

The Sergeant and Policeman turn on Edgar, grim duty in theirfaces.

But he is wild with terror. He swings the lantern at them andbolts, past them, up the stairs.

CUT TO:

INT. TENEMENT HALLWAY - NIGHT30 30

He runs into the hallway, down the hall to his room door, and

pulls it open.

CUT TO:


He rushes into the dark room, SLAMMING the door behind him.He leans against the door, in the darkness, pressing againstit with all his strength, to keep the Policemen, and theirretribution for his crime, out. Hot tears of guilt fill hiseyes, and the futility of his resistance overwhelms him.

He loses the will to fight his fate. He slides down the door,to the floor, WEEPING.

He hears a muffled COUGH. It surprises him. He looks over --

-- at a low angle, across the dim room, past a chair andtable, at a doorway. A COUGH comes from the generaldirection.

He rises, tentatively stepping across the dark room to thedoorway.

He pushes it slowly open and looks in.


In the bedroom, in the bed, moonlit through the window, is abody. It rolls over in the bed, toward him. But it is stilltoo dark to see who, or what it is. But whatever it is --


CONTINUED: (2)29 29

(CONTINUED)


63/66

-- it terrifies Edgar. He is too awestruck to speak.

The body rises from the bed, and in the ghostly moon-shadows,steps toward him.

He would run, but fear has fixed him to the spot.

The form steps into the moonlight. It is Virginia! She isdeathly wan and red-cheeked, looking very ill. She COUGHS,lifting a blood-stained handkerchief to her mouth. But she isalive!

POESissy!

He rushes to her and embraces her. Joyful tears pour down hischeeks. He holds her head in his hands and looks carefully ather. He runs his hands through her hair, checking her skull.

He starts to LAUGH. She is happy to see him so happy, and shestarts to LAUGH, too, until her LAUGHTER breaks into aCOUGHING fit. They LAUGH and COUGH.

He looks around --

-- at the bedroom of his old house, the one he thought -- heimagined -- hed burned. But it still stands, as his wifestill lives.

He feels something moving against his legs and hears aJINGLING bell. He looks down.

There is the black cat, rubbing against his shins. It looksup at him and MEWS.

He recoils, stupefied and horror-stricken.

But Virginia bends down to the pet.

VIRGINIACome here, Pluto.

POEPluto?

VIRGINIAOf course.

She takes the cat in her arms, and he sees --

-- that it has two eyes, gleaming in the moonlight.


CONTINUED:32 32

(CONTINUED)


64/66

He checks the cats neck -- all black fur, no white ring.


CONTINUED: (2)32 32

(CONTINUED)


65/66

POEPluto!

VIRGINIAEddie, are you all right?

He is ecstatic.

POEYes, yes I am. I can give oldGraham what he wants. Ive got it,Sissy, Ive got it!

He kisses her.

CUT TO:

INT. POES HOUSE - DAWN33 33

The fresh pink light of dawn falls through the open window.

Hunched over the table, set as before -- quills, ink bottle,and stacks of white paper -- Edgar writes, pushing the quillpen across a page, line after line, the sharpened pointSCRATCHING the surface, words flowing from his mind, throughhis pen, onto the paper.

He stops, looks up, thinking. The determination in his eyesturns inward, and connects with imagination. He dips thequill point in the ink, and begins to write again.

He finishes with a flourish, his writing arm swinging intothe air, the quill rising like a wing. He sits back, SIGHScontentedly, and looks up.

The goldfish swims happily in the fishbowl on the windowsill.

He smiles at it, then hears the canary SINGING. He turns --

-- to see it perched on its swing, in its cage, singing

merrily.

Satisfied that all is right with the world again, he looksback to the work before him. He places the just-finished pageon a pile of paper, then takes a blank sheet from anotherpile. Then --


CONTINUED: (3)32 32

(CONTINUED)


66/66

-- the black cat jumps, JINGLING, up on the table, steps to aspot nearby, and sits, watching him, like some inscrutable,or demonic, spirit.

Edgar smiles. He dips the quill point in the ink again, andputs the pen-point to paper. He writes --

THE BLACK CAT

Virginia joins him at the table and puts her hand on hisshoulder. They both admire the title. Poe dips his pen andwrites, in his natural script:

Edgar A. Poe

FIN


CONTINUED:33 33

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Masters of Horrror 2 - The_Black_Cat

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