(After the theme song, the scene of a dark and stormy night over
Exclamation, USA comes up. The scene then shifts to Abe Lincoln and Joan
of Arc huddling together under a single black umbrella. In spite of the
bad weather, they don't look at all depressed.)
Joan: Thanks for taking me out to the movies, Abe.
Abe: No problem, Joan. Anything for my new girlfriend. So what do you want to do tomorrow night?
Joan: Abe, it's been two weeks since the prom. And every night since then, you've taken me out. Don't you think you're doing a bit too much?
Abe: Joan, I'm only trying to make up for every time I've broken your heart. The book says so.
Joan: Have you been reading that Dating for Dummies book again? Okay, this time they've gone too far with that series. Besides Abe, you don't have to make up for all those times. I've loved you despite all the times you hurt me.
Abe: I know you do. And I loved you for a long time too. It just pains me to think about how long it took to realize how much I do love you. Things sure have changed around here. We've gone from just mere friends to boyfriend and girlfriend and Gandhi's dating Marie Curie.
Joan: I always knew she had a thing for him.
Abe: So, do you want to spend the night at my place again? Or do you want to go home?
Joan: Do you mind if I stay at your place? I don't think Cleo's gotten over the breakup yet. I think the moment I fall asleep, she'll try to smother me with a pillow again.
Abe: Now, Joan. I know Cleo's not exactly the nicest girl in the world. But she's not the kind who would kill someone out of jealousy.
Joan: Maybe you're right. But I think I'll stay with you tonight. It's not like Toots doesn't know where I am. I called the first night I spent the night at your place. Although, I gave the message to Cleo's drunk foster mom.
Abe: I'm sure she gave the message to Toots.
Joan: Besides, it's not just the breakup that's got Cleo angry. There's also that little incident with the fake blood.
Abe: (laughs out loud) Yeah, that was pretty funny.
Joan: It was a bit hilarious. But I still wonder about who let us out of the freezer and left that frightening message.
Abe: He can't be all bad. He put us in each other's arms when we defrosted.
Joan: That's true. I'd like to thank him in person. He made that night the best one of our lives. But I guess we'll never know who he was.
(A loud boom of thunder rings out.)
Abe: Sounds like it's getting worse. Let's get home.
(Abe and Joan start to rush home. Scene then shifts to a view of a rocky hill in a dark wood. The opening of a cave is halfway up the hill. The camera zooms into the cave. Standing in the opening, leaning on the right side of the cave, is Matt Frankenclone. He looks at the storm raging. He lets out a loud sigh.)
Matt: What a night.
(His mouth turns up into an evil grin.)
Matt: Perfect night to go into town and dish out some terror.
(His expression turns to a look of fear in realization of what he has just said.)
Matt: No! Calm yourself, Frankenclone. Must.fight.urge.to.scare!
(He starts to bang his head on the wall. After hurting himself a bit, he starts to pant. A worried look is on his face.)
Matt: It's getting worse! I can't keep it under control! But I must keep myself from frightening everyone.
(Camera angle changes on Matt. He is now wearing an evil grin. This shall be known as his psychotic side known as Psychotic Matt.)
Psychotic Matt: Scaring is in your blood, Frankenclone. Go down into town and scare their (bleep!) pants off! Go haunt those clones.
(Camera angle changes again. Matt is wearing his worried look again. He is now Compassionate Matt.)
Compassionate Matt: No! I can't do it! I care for those clones too much.
(Camera angle changes again. Psychotic Matt has taken control.)
Psychotic Matt: They'll never accept you anyway! Just go down and scare a few clones to satisfy your tendencies.
(Camera angle changes again. Compassionate Matt looks like he's contemplating the situation. The camera changes again to show Psychotic Matt. He sighs in annoyance.)
Psychotic Matt: Look, if you want to be a good guy, scare someone who deserves it. Like Cleopatra. Or better yet, go scare our prisoners.
(Camera angle changes again. The Compassionate Matt is grinning evilly. The two personalities have become one.)
Matt: Yes, I'll go give the Shadowy Figures a good scare. If anyone deserves to be scared, they do. And I think I can put those barrels of cockroaches to good use.
(Matt turns and walks into the cave. Camera shifts to a view of five barrels labeled "Cockroaches". Matt walks past them and looks down. Camera shifts to a view of a deep pit. Scattered in it are the frozen Shadowy Figures. They are dripping in water and covered in splotches of black goop. Camera shifts to Matt who is looking disappointed.)
Matt: Arrgh! They're still frozen! I can't scare them if they are frozen. Now I must keep fighting. But the urges! They're too strong!
(Matt collapses on the ground clutching his head. He does a face plant on the cave floor and lies motionless for a second. He then rises up. His tortured expression is now replaced by a look of madness. He chuckles evilly, but he has not transformed into any of his monstrous forms. Scene shifts another part of the cave. This is where Matt sleeps. The remains of a fire along with a bed of leaves are in it. A large, brown sack lies next to the bed. The shadow of Matt enters into the scene. Camera focuses on the sack as Matt picks it up. Camera then focuses on a rock on which Matt's plastic knife lies. He picks it up. Scene changes a view of the opening of the cave from the interior. Matt approaches with his hood up. The sack is slung over his shoulder which he carries with his left hand. He grasps his fake knife in his right hand. Lightning flashes outside the cave illuminating the cave. His silhouette remains in the flash of lightning. Scary organ music starts to play as the scaring montage begins. Scene then changes to a glimpse of the outside of Abe's house. Scene shifts to the interior of Abe's bedroom. Abe is snoring peacefully in his bed. Camera focuses on the floor. The shadow of the door is slowly opening revealing the shadow of Matt. Camera changes to a view of Matt's mouth. It is in an evil grin. Camera shifts to the wall where the shadow of Matt has put down his sack and is reaching into it. The shadow then crawls over Abe. Matt is holding his fake knife in his right hand and something else in the other. The silhouette tells nothing of what the other object is. As Abe continues to snore, Matt suddenly draws his knife across his other hand. At this moment, a flash of lightning changes the scene to Joan who is smiling in bed in the guest room. She is mumbling in her sleep as she dreams.)
Joan: Oh Abe! I'm so happy that we're together at last.
(Joan reaches over to her side without opening her eyes and pulls something into an embrace. Whatever she's holding is off camera.)
Joan: This moment feels right for our first kiss as a couple.
(Joan puckers up as she pulls whatever she's holding toward her. It is revealed that she has her arms around a skeleton. She kisses the skeleton on its teeth. A few moments pass and then her eyes open up. She looks into the face of the skeleton and then pulls her lips away from it and screams. Abe calls off screen.)
Abe (off screen): Joan? Are you all right?
(Camera shifts to a view of the door opening with Abe's shadow within it. The lights turn on.)
Abe: What's the matter?
(Joan starts to scream again. Abe looks at himself and starts to scream too. The camera shifts to a view on Abe. He is covered in blood. Both of them continue to scream. Scene then changes to a view outside of Abe's house. The screaming can be heard from outside as Matt walks away with his sack and knife. His fingernails have transformed into long, black claws. He laughs evilly.)
Matt: Ah, how sweet are the sounds of screams. That fake skeleton I found in the hospital dumpster really came in handy. But I have barely begun. There's more fear to spread.
(Scene shifts to the interior of Gandhi's bedroom. He is lying in his bed sleeping. In a flash of lightning, Matt's shadow looms over his bed. Camera zooms into Gandhi's face. A slight trickle of drool hangs out of his mouth. The shadow moves back and forth in front of his face as if Matt is placing a lot of things around his room. After a while, Gandhi is dragged to the left. Camera changes to a view of the wall. The shadow of Matt holding Gandhi by the shoulders is on the wall. Also on the wall is the shadow of some sort of meat hook hanging from the ceiling. Matt hangs Gandhi on the hook by the collar of his pajama shirt. Camera changes to a window and Matt climbs out. Before he goes, he throws a small pebble into the room. Camera changes to a view of Gandhi's face. The pebbles hits him in the side.)
Gandhi: Huh? What?
(Gandhi looks ahead and gasps at what he sees. Camera changes to Gandhi's point of view. His room has been changed into a scene reminiscent of Leatherface's slaughterhouse from the Texas Chainsaw Massacre. Buckets of blood lie on the floor and human bones are strewn all about. Then he looks up and sees that he's hanging from a hook. He lets out a loud scream. Camera zooms into the darkness of his mouth. The darkness changes into a new scene: JFK's room. The camera is zoomed on the side of JFK's face. He is chuckling in his sleep. From the right, a long black claw pokes him in the cheek. He laughs some more.)
JFK: Give me some more, Catherine.
(The claw pokes him again.)
JFK: Er uh, you give me some more sugar, Marilyn. And by sugar, I mean.
Matt (off screen): (groans in frustration)
(A hand covered in green reptilian skin slaps JFK in the side. His eyes open.)
JFK: Okay, maybe you don't want to go that far.
(He stops as he sees what is right in front of him. The camera pans diagonally up to the right to show Matt standing over JFK. He is wearing a horrible zombie mask with one eye dangling from the socket. Half of the mask is covered in rotting green flesh and the other half is a skull. Camera shifts back to JFK who screams.)
JFK: You're no beautiful lady!
(Camera pulls back to show Matt standing hunched over on the bed his legs standing on either side of JFK's body. JFK continues to scream. After a few moments, Matt turns around and jumps through an open window on the side. Scene then changes to Matt walking down the sidewalk. He remains hunched over. As he walks, transparent images of Marie Curie, Julius Caesar, Catherine the Great, Genghis Khan, George Washington Carver, Peanie, Thomas Edison, Paul Revere and Sigmund Freud pass by. All of them are screaming. Suddenly, the scary organ music stops and so does Matt. He lowers his hood. His eyes are glowing red and impressions of horns can be seen under his hood. He now talks in his monstrous voice.)
Matt: Man, I feel good. And now it's time for the coup de gras.
(Camera changes to a view of Matt's back side. The camera pans up to show he is in front of Cleo's house. Scene then shifts to the living room of the house. Joan's foster grandfather, Toots is sitting in his rocking chair. Matt peeks in through the window and then sneaks off. The doorbell rings. Toots gets up. Scene then shifts to a view of the door from the outside. The door opens and Toots stands there.)
Toots: Yes?
(Camera changes to a view of Matt.)
Matt: Uh, chimney sweep?
Toots: I didn't call any chimney sweep.
Matt: I'm a volunteer.
Toots: Well, come on in!
(Matt walks past Toots and into the house.)
Matt: I forgot my ladder. So I'll just climb out of one of the second floor windows.
Toots: Okay with me, son. Do you sing like in that movie with the magic nanny?
Matt: Uh no. I'm a non-singing chimney sweep.
(Matt heads for the stairs. But then Toots speaks out.)
Toots: Hold it!
(Matt freezes afraid that he has been found out.)
Toots: I may be blind. But I can still tell what kind of a person some folks are.
Matt: Y-you can?
Toots: Yep. And I can tell that you are a very kind and caring boy. Someone my Joanie would have liked to have met had she not met that fatal accident on prom night.
Matt: Fatal accident? Who told you that?
Toots: The daughter of my lady friend who owns this house, Cleopatra. She told me sadly that she was in a horrible accident on her way home. They haven't found her body yet.
Matt: Well, I'm sorry for your loss. I'll just clean your chimney and leave you in peace.
(Matt continues to walk up the stairs.)
Toots: Nice guy. Joan would have loved to meet him.
(Scene shifts to the upper floor of Cleo's house. Matt starts talking to himself.)
Matt: Hate to fool a blind man. But now Cleo deserves the scare I'm going to give her even more. Telling Joan's foster grandfather that she's dead when she's really just staying at Abe's place. Boy, am I going to scare the tissues out of her.
(Matt stops at an open door. He looks in and sees Cleo's drunk foster mom lying on the bed. She has obviously been hitting the bottle. Matt continues forward up to a closed door. The sound of running water is heard. Matt presses his ear to the door.)
Matt: So Cleo's in the shower, eh?
(He rubs his hands together in anticipation. He reaches for the doorknob and slowly turns it.)
Matt: The door's unlocked. Oh this is the perfect setup. Now I must move silently and stealthily so she won't hear me until it's too late.
(Matt is about to make his move when he notices something on the floor. Camera changes to show a picture frame on the floor. Broken glass is aside it. Matt reaches down, picks it up and looks at it. Camera shifts to his point of view. The picture is of Abe, under a tree with his shirt off.)
Matt: A shirtless Abe under a tree. I remember Joan talking about a picture like this. I think it's her most prized possession. Possibly one of the only things she saved when her house burned down. The frame's broken. But the picture seems to be in good shape.
(Matt removes the picture from the frame. He places the broken frame on the floor and puts the picture within his cloak.)
Matt: I'll hold onto this until I can get it back to Joan. I'm sure it means a lot to her. Well, back to business.
(Matt slowly opens the door and creeps into the bathroom. Scene then shifts to the interior of the bathroom. The silhouette of Cleo can be seen behind the shower curtain. She is scrubbing herself and humming. Camera changes to a view of Cleo's head in the shower. Nothing is shown below the neck. The camera changes to a view of the upper bar that is holding the shower curtain. The rings suddenly move to the left. Camera changes to Cleo who turns her head and gasps. Screeching violin music ala Psycho starts to play as she screams. Camera changes to a view of Matt with his hood over his eyes and his right hand in the air. He is holding his fake knife. Camera focuses on Cleo's screaming face. Camera changes to a view of the wall with the shadow of Matt's hand with the knife coming down. The camera changes again to a view of Cleo's feet. A small plastic packet of fake blood lands at her feet. It has been punctured so the blood splatters all over the shower. The next camera change is a scene of the door. Matt quickly runs out. The camera focuses on the shower floor. The fake blood is going down the drain. The camera pans up in a diagonally right direction to show Cleo. She is shuddering with a look of total fear on her face. Scene then shifts to the living room. Toots is still sitting in his rocking chair. Matt runs down the stars and out the door.)
Toots: Hmm, guess Cleo slipped on the soap.
(Scene shifts to the sidewalk. Matt walks down. He is now carrying his sack which is slightly smaller. He chuckles.)
Matt: Great night out. But man, am I exhausted. I really don't want to hike all the way back to the cave. I must find some place to crash for the night.
(Matt continues to walk and then he stops. Camera shifts to the back of him. He is now in front of Clone High.)
Matt: Perfect. I'll just crawl in the air duct and sleep in the attic.
(Matt walks around to the side. Lightning flashes. After it flashes, the title in white letters on a black background.)
(Commercial break.)
Joan: Thanks for taking me out to the movies, Abe.
Abe: No problem, Joan. Anything for my new girlfriend. So what do you want to do tomorrow night?
Joan: Abe, it's been two weeks since the prom. And every night since then, you've taken me out. Don't you think you're doing a bit too much?
Abe: Joan, I'm only trying to make up for every time I've broken your heart. The book says so.
Joan: Have you been reading that Dating for Dummies book again? Okay, this time they've gone too far with that series. Besides Abe, you don't have to make up for all those times. I've loved you despite all the times you hurt me.
Abe: I know you do. And I loved you for a long time too. It just pains me to think about how long it took to realize how much I do love you. Things sure have changed around here. We've gone from just mere friends to boyfriend and girlfriend and Gandhi's dating Marie Curie.
Joan: I always knew she had a thing for him.
Abe: So, do you want to spend the night at my place again? Or do you want to go home?
Joan: Do you mind if I stay at your place? I don't think Cleo's gotten over the breakup yet. I think the moment I fall asleep, she'll try to smother me with a pillow again.
Abe: Now, Joan. I know Cleo's not exactly the nicest girl in the world. But she's not the kind who would kill someone out of jealousy.
Joan: Maybe you're right. But I think I'll stay with you tonight. It's not like Toots doesn't know where I am. I called the first night I spent the night at your place. Although, I gave the message to Cleo's drunk foster mom.
Abe: I'm sure she gave the message to Toots.
Joan: Besides, it's not just the breakup that's got Cleo angry. There's also that little incident with the fake blood.
Abe: (laughs out loud) Yeah, that was pretty funny.
Joan: It was a bit hilarious. But I still wonder about who let us out of the freezer and left that frightening message.
Abe: He can't be all bad. He put us in each other's arms when we defrosted.
Joan: That's true. I'd like to thank him in person. He made that night the best one of our lives. But I guess we'll never know who he was.
(A loud boom of thunder rings out.)
Abe: Sounds like it's getting worse. Let's get home.
(Abe and Joan start to rush home. Scene then shifts to a view of a rocky hill in a dark wood. The opening of a cave is halfway up the hill. The camera zooms into the cave. Standing in the opening, leaning on the right side of the cave, is Matt Frankenclone. He looks at the storm raging. He lets out a loud sigh.)
Matt: What a night.
(His mouth turns up into an evil grin.)
Matt: Perfect night to go into town and dish out some terror.
(His expression turns to a look of fear in realization of what he has just said.)
Matt: No! Calm yourself, Frankenclone. Must.fight.urge.to.scare!
(He starts to bang his head on the wall. After hurting himself a bit, he starts to pant. A worried look is on his face.)
Matt: It's getting worse! I can't keep it under control! But I must keep myself from frightening everyone.
(Camera angle changes on Matt. He is now wearing an evil grin. This shall be known as his psychotic side known as Psychotic Matt.)
Psychotic Matt: Scaring is in your blood, Frankenclone. Go down into town and scare their (bleep!) pants off! Go haunt those clones.
(Camera angle changes again. Matt is wearing his worried look again. He is now Compassionate Matt.)
Compassionate Matt: No! I can't do it! I care for those clones too much.
(Camera angle changes again. Psychotic Matt has taken control.)
Psychotic Matt: They'll never accept you anyway! Just go down and scare a few clones to satisfy your tendencies.
(Camera angle changes again. Compassionate Matt looks like he's contemplating the situation. The camera changes again to show Psychotic Matt. He sighs in annoyance.)
Psychotic Matt: Look, if you want to be a good guy, scare someone who deserves it. Like Cleopatra. Or better yet, go scare our prisoners.
(Camera angle changes again. The Compassionate Matt is grinning evilly. The two personalities have become one.)
Matt: Yes, I'll go give the Shadowy Figures a good scare. If anyone deserves to be scared, they do. And I think I can put those barrels of cockroaches to good use.
(Matt turns and walks into the cave. Camera shifts to a view of five barrels labeled "Cockroaches". Matt walks past them and looks down. Camera shifts to a view of a deep pit. Scattered in it are the frozen Shadowy Figures. They are dripping in water and covered in splotches of black goop. Camera shifts to Matt who is looking disappointed.)
Matt: Arrgh! They're still frozen! I can't scare them if they are frozen. Now I must keep fighting. But the urges! They're too strong!
(Matt collapses on the ground clutching his head. He does a face plant on the cave floor and lies motionless for a second. He then rises up. His tortured expression is now replaced by a look of madness. He chuckles evilly, but he has not transformed into any of his monstrous forms. Scene shifts another part of the cave. This is where Matt sleeps. The remains of a fire along with a bed of leaves are in it. A large, brown sack lies next to the bed. The shadow of Matt enters into the scene. Camera focuses on the sack as Matt picks it up. Camera then focuses on a rock on which Matt's plastic knife lies. He picks it up. Scene changes a view of the opening of the cave from the interior. Matt approaches with his hood up. The sack is slung over his shoulder which he carries with his left hand. He grasps his fake knife in his right hand. Lightning flashes outside the cave illuminating the cave. His silhouette remains in the flash of lightning. Scary organ music starts to play as the scaring montage begins. Scene then changes to a glimpse of the outside of Abe's house. Scene shifts to the interior of Abe's bedroom. Abe is snoring peacefully in his bed. Camera focuses on the floor. The shadow of the door is slowly opening revealing the shadow of Matt. Camera changes to a view of Matt's mouth. It is in an evil grin. Camera shifts to the wall where the shadow of Matt has put down his sack and is reaching into it. The shadow then crawls over Abe. Matt is holding his fake knife in his right hand and something else in the other. The silhouette tells nothing of what the other object is. As Abe continues to snore, Matt suddenly draws his knife across his other hand. At this moment, a flash of lightning changes the scene to Joan who is smiling in bed in the guest room. She is mumbling in her sleep as she dreams.)
Joan: Oh Abe! I'm so happy that we're together at last.
(Joan reaches over to her side without opening her eyes and pulls something into an embrace. Whatever she's holding is off camera.)
Joan: This moment feels right for our first kiss as a couple.
(Joan puckers up as she pulls whatever she's holding toward her. It is revealed that she has her arms around a skeleton. She kisses the skeleton on its teeth. A few moments pass and then her eyes open up. She looks into the face of the skeleton and then pulls her lips away from it and screams. Abe calls off screen.)
Abe (off screen): Joan? Are you all right?
(Camera shifts to a view of the door opening with Abe's shadow within it. The lights turn on.)
Abe: What's the matter?
(Joan starts to scream again. Abe looks at himself and starts to scream too. The camera shifts to a view on Abe. He is covered in blood. Both of them continue to scream. Scene then changes to a view outside of Abe's house. The screaming can be heard from outside as Matt walks away with his sack and knife. His fingernails have transformed into long, black claws. He laughs evilly.)
Matt: Ah, how sweet are the sounds of screams. That fake skeleton I found in the hospital dumpster really came in handy. But I have barely begun. There's more fear to spread.
(Scene shifts to the interior of Gandhi's bedroom. He is lying in his bed sleeping. In a flash of lightning, Matt's shadow looms over his bed. Camera zooms into Gandhi's face. A slight trickle of drool hangs out of his mouth. The shadow moves back and forth in front of his face as if Matt is placing a lot of things around his room. After a while, Gandhi is dragged to the left. Camera changes to a view of the wall. The shadow of Matt holding Gandhi by the shoulders is on the wall. Also on the wall is the shadow of some sort of meat hook hanging from the ceiling. Matt hangs Gandhi on the hook by the collar of his pajama shirt. Camera changes to a window and Matt climbs out. Before he goes, he throws a small pebble into the room. Camera changes to a view of Gandhi's face. The pebbles hits him in the side.)
Gandhi: Huh? What?
(Gandhi looks ahead and gasps at what he sees. Camera changes to Gandhi's point of view. His room has been changed into a scene reminiscent of Leatherface's slaughterhouse from the Texas Chainsaw Massacre. Buckets of blood lie on the floor and human bones are strewn all about. Then he looks up and sees that he's hanging from a hook. He lets out a loud scream. Camera zooms into the darkness of his mouth. The darkness changes into a new scene: JFK's room. The camera is zoomed on the side of JFK's face. He is chuckling in his sleep. From the right, a long black claw pokes him in the cheek. He laughs some more.)
JFK: Give me some more, Catherine.
(The claw pokes him again.)
JFK: Er uh, you give me some more sugar, Marilyn. And by sugar, I mean.
Matt (off screen): (groans in frustration)
(A hand covered in green reptilian skin slaps JFK in the side. His eyes open.)
JFK: Okay, maybe you don't want to go that far.
(He stops as he sees what is right in front of him. The camera pans diagonally up to the right to show Matt standing over JFK. He is wearing a horrible zombie mask with one eye dangling from the socket. Half of the mask is covered in rotting green flesh and the other half is a skull. Camera shifts back to JFK who screams.)
JFK: You're no beautiful lady!
(Camera pulls back to show Matt standing hunched over on the bed his legs standing on either side of JFK's body. JFK continues to scream. After a few moments, Matt turns around and jumps through an open window on the side. Scene then changes to Matt walking down the sidewalk. He remains hunched over. As he walks, transparent images of Marie Curie, Julius Caesar, Catherine the Great, Genghis Khan, George Washington Carver, Peanie, Thomas Edison, Paul Revere and Sigmund Freud pass by. All of them are screaming. Suddenly, the scary organ music stops and so does Matt. He lowers his hood. His eyes are glowing red and impressions of horns can be seen under his hood. He now talks in his monstrous voice.)
Matt: Man, I feel good. And now it's time for the coup de gras.
(Camera changes to a view of Matt's back side. The camera pans up to show he is in front of Cleo's house. Scene then shifts to the living room of the house. Joan's foster grandfather, Toots is sitting in his rocking chair. Matt peeks in through the window and then sneaks off. The doorbell rings. Toots gets up. Scene then shifts to a view of the door from the outside. The door opens and Toots stands there.)
Toots: Yes?
(Camera changes to a view of Matt.)
Matt: Uh, chimney sweep?
Toots: I didn't call any chimney sweep.
Matt: I'm a volunteer.
Toots: Well, come on in!
(Matt walks past Toots and into the house.)
Matt: I forgot my ladder. So I'll just climb out of one of the second floor windows.
Toots: Okay with me, son. Do you sing like in that movie with the magic nanny?
Matt: Uh no. I'm a non-singing chimney sweep.
(Matt heads for the stairs. But then Toots speaks out.)
Toots: Hold it!
(Matt freezes afraid that he has been found out.)
Toots: I may be blind. But I can still tell what kind of a person some folks are.
Matt: Y-you can?
Toots: Yep. And I can tell that you are a very kind and caring boy. Someone my Joanie would have liked to have met had she not met that fatal accident on prom night.
Matt: Fatal accident? Who told you that?
Toots: The daughter of my lady friend who owns this house, Cleopatra. She told me sadly that she was in a horrible accident on her way home. They haven't found her body yet.
Matt: Well, I'm sorry for your loss. I'll just clean your chimney and leave you in peace.
(Matt continues to walk up the stairs.)
Toots: Nice guy. Joan would have loved to meet him.
(Scene shifts to the upper floor of Cleo's house. Matt starts talking to himself.)
Matt: Hate to fool a blind man. But now Cleo deserves the scare I'm going to give her even more. Telling Joan's foster grandfather that she's dead when she's really just staying at Abe's place. Boy, am I going to scare the tissues out of her.
(Matt stops at an open door. He looks in and sees Cleo's drunk foster mom lying on the bed. She has obviously been hitting the bottle. Matt continues forward up to a closed door. The sound of running water is heard. Matt presses his ear to the door.)
Matt: So Cleo's in the shower, eh?
(He rubs his hands together in anticipation. He reaches for the doorknob and slowly turns it.)
Matt: The door's unlocked. Oh this is the perfect setup. Now I must move silently and stealthily so she won't hear me until it's too late.
(Matt is about to make his move when he notices something on the floor. Camera changes to show a picture frame on the floor. Broken glass is aside it. Matt reaches down, picks it up and looks at it. Camera shifts to his point of view. The picture is of Abe, under a tree with his shirt off.)
Matt: A shirtless Abe under a tree. I remember Joan talking about a picture like this. I think it's her most prized possession. Possibly one of the only things she saved when her house burned down. The frame's broken. But the picture seems to be in good shape.
(Matt removes the picture from the frame. He places the broken frame on the floor and puts the picture within his cloak.)
Matt: I'll hold onto this until I can get it back to Joan. I'm sure it means a lot to her. Well, back to business.
(Matt slowly opens the door and creeps into the bathroom. Scene then shifts to the interior of the bathroom. The silhouette of Cleo can be seen behind the shower curtain. She is scrubbing herself and humming. Camera changes to a view of Cleo's head in the shower. Nothing is shown below the neck. The camera changes to a view of the upper bar that is holding the shower curtain. The rings suddenly move to the left. Camera changes to Cleo who turns her head and gasps. Screeching violin music ala Psycho starts to play as she screams. Camera changes to a view of Matt with his hood over his eyes and his right hand in the air. He is holding his fake knife. Camera focuses on Cleo's screaming face. Camera changes to a view of the wall with the shadow of Matt's hand with the knife coming down. The camera changes again to a view of Cleo's feet. A small plastic packet of fake blood lands at her feet. It has been punctured so the blood splatters all over the shower. The next camera change is a scene of the door. Matt quickly runs out. The camera focuses on the shower floor. The fake blood is going down the drain. The camera pans up in a diagonally right direction to show Cleo. She is shuddering with a look of total fear on her face. Scene then shifts to the living room. Toots is still sitting in his rocking chair. Matt runs down the stars and out the door.)
Toots: Hmm, guess Cleo slipped on the soap.
(Scene shifts to the sidewalk. Matt walks down. He is now carrying his sack which is slightly smaller. He chuckles.)
Matt: Great night out. But man, am I exhausted. I really don't want to hike all the way back to the cave. I must find some place to crash for the night.
(Matt continues to walk and then he stops. Camera shifts to the back of him. He is now in front of Clone High.)
Matt: Perfect. I'll just crawl in the air duct and sleep in the attic.
(Matt walks around to the side. Lightning flashes. After it flashes, the title in white letters on a black background.)
(Commercial break.)