HEAD CREDIT SEQUENCE MYSTERIOUS SEWING ROOM - NIGHT,
A HAUNTING LULLABY plays against a black, star-pricked
sky when something appears in the distance. A BUTTON-EYED
DOLL floats towards CAMERA, through the open window of a
small sewing room where it lands in a pair of WAITING
HANDS, hands that are made of SEWING NEEDLES.
The doll - which resembles a YOUNG BLACK GIRL in old-
fashioned clothes, hair fixed with ribbons and braids -
is placed on a sewing table. An elaborate sewing kit is
opened, and, in flickering green light, the NEEDLE-HANDS
go to work. The doll's old clothes are cut away; button-
eyes torn off; hair pulled out. The doll’s stuffing is
removed and then the empty cloth body is pulled inside
out, turning from NUT BROWN to PALE PINK.
Sawdust is poured in the NEW DOLL's mouth; facial
features added; blue yarn hair punched in; and then a
fresh pair of shiny black button eyes is selected from a
The transformed doll, in a LITTLE YELLOW RAINCOAT, its
new button eyes affixed, is released out the window and
BACK INTO THE NIGHT.
LAST HEAD CREDIT APPEARS, THEN FADES.
EXT PINK PALACE, ASHLAND OREGON - DAY
WIDE ANGLE on a rambling old Queen Anne-style house with
tacked-on outside stairs. It's late winter, the sky a
damp, grey sponge. A SIGN in the foreground reads "Pink
Palace, Apartment for Rent".
MR. BOBINSKY - a seven-foot-tall blue-skinned man -
performs calisthenics on the rooftop, counting in
Dras, dva, tri, chetyri.
Dras, dva, tri, chetyri.
Dras, dva, tri ...
A BEEPING SOUND begins and he pauses. A tired MOVING VAN
backs into frame and up the muddy driveway. A VW BEETLE -
suitcases roped to its top - recklessly passes the truck
and disappears around the side of the house. Bobinsky
shakes his fist angrily after the car and shouts:
MR. BOBINSKY (CONT’D)
He marches away indignantly. One of the MOVERS, unseen in
the truck, speaks to his companion.
MOVER 2 (O.C.)
We're here. Time to muscle up.
ANGLE ON moving truck's REAR DOORS as they're wrenched
open by two men - MOVER 1, tall and bear-shaped, and
MOVER 2, built like a brick top - to reveal a lot of
BOXES and BEAT-UP FURNITURE.
They haul out the LOADING RAMP towards CAMERA.
NEW ANGLE, EXTERIOR STAIRS to BASEMENT FLAT. APRIL SPINK,
a rotund little old English lady with bad legs, surveys
the MOVERS as they pass by her chair-lift with boxes and
furniture. The old gal can't wait to tell her flat mate
below about the young, strapping men.
MOVER 2 (CONT’D)
Got it? Almost there, just a few more.
Come on, now, LIFT.
ANGLE ON FRONT PORCH. The job finished, Mover 2 heads
down the front steps while Mover 1 waits for a signature
from the unseen-but-for-his-hands new tenant. Papers
signed, a tip of a single, grubby dollar bill is placed
in the outstretched hand of the disappointed mover, and
the door is shut.
EXT HOUSE, REAR VIEW - SAME
ANGLE from BACK YARD. Hiding behind shrubs, WE SHARE the
POV of a MYSTERIOUS SPY. With a CLICK, a close-up lens is
rotated into place to better see the movers quietly pack
into the truck and drive away. A MANGY BLACK CAT walks
right in front of the lens and looks at us with concern.
OFF-SCREEN, a door bangs open. WE FOLLOW the cat as it
races up a tree and out a branch towards the BACK PORCH
CORALINE JONES, 11, steps onto the porch in a YELLOW
RAINCOAT with a shoulder bag. WE - SPY’S POV - CLICK to a
CLOSE-UP to find this new tenant has BLUE HAIR and a