The Cemetery Artist / Ed Gein: a True American Horror Story
The Cemetery Artist Ed Gein: a True American Horror Story A film by Brian Lee Tucker
1 The Cemetery Artist / Ed Gein: a True American Horror Story
FADE IN EXT. THE GEIN FAMILY FARM – 1922 – DAY
{A sixteen year old ED GEIN is raking leaves with his brother, HENRY, in the front yard. ED stops raking and glances around, whispering to HENRY.}
ED: I got a half pint of dad’s stash.
HENRY: {mortified} are you nuts? What if he notices it’s missing?
ED: He won’t, come on.
EXT. BEHIND THE BARN
{ED and HENRY are sitting on a bale of hay passing the bottle back and forth when their mother, AUGUSTA, comes sneaking around the corner, surprising them. She is carrying a long switch made from a sticker bush in one hand and a Bible in the other. She is a fervent Lutheran, always preaching to her boys about the innate immorality of the world, the evil of drinking, and the belief that all women were naturally prostitutes and instruments of the devil. She reserved time every afternoon to read to them from the Bible, usually selecting graphic verses from the Old Testament concerning death, murder, and divine retribution. Henry and Ed have remained detached from people outside of their farmstead, and had only each other for company.}
2 The Cemetery Artist / Ed Gein: a True American Horror Story
AUGUSTA: Ah-ha! Gotcha!
HENRY: But mama, Ed made me-
AUGUSTA: Don’t bother with your lies, Henry Gein. I know who does what around here, and I know darn well how much was left in your worthless father’s stash.
ED: I’m sorry, mother.
AUGUSTAL Not half as sorry as you’re gonna be. Now in the barn with the both of you. Bend over the trough and assume the position, you know the drill.
{A heartbroken ED and HENRY shuffle slowly into the barn, with an angry AUGUSTA following close behind. Within seconds we hear the anguished crying of ED and HENRY as she lays down the switch on their bare behinds.}
INT. THE KITCHEN – NIGHT
{The whole FAMILY is at the dinner table, eating in an uncomfortable silence. The father, GEORGE, sits at the end of the table sipping liquor with his meal, much to the silent protest of his wife, who glares at him hatefully. The boys sit in silence, nervous and fidgety, barely picking at their food.}
INT. THE KITCHEN – AN HOUR LATER
{GEORGE is still sitting at the table smoking a cigarette and sipping liquor as
3 The Cemetery Artist / Ed Gein: a True American Horror Story
AUGUSTA cleans the dishes. Unable to hold her tongue any longer, she turns around and places her hands on her hips like a drill Sergeant and glares at him some more.}
AUGUSTA: Your boys are ending up just like you.
GEORGE: {disinterested} and just how’s that?
AUGUSTA: Drinking and smoking, sneaking around behind my back – just like you.
GEORGE: {sarcastically} Ed is nothing like me. He’s a little mama’s boy, should be wearing a dress instead of coveralls.
AUGUSTA: At least he’s no out whoring around, carousing with barflies.
GEORGE: {grinning} Oh, that’s right; all women are naturally prostitutes and instruments of the devil. Which means that since you’re a woman, you must be evil too, right?
{AUGUSTA’S eyes fill with rage now as she steps closer, her fists balled up as if to strike him. He smiles, thinking she doesn’t have the nerve.}
GEORGE: I’d watch myself, woman, or-
AUGUSTA: Or what?
4 The Cemetery Artist / Ed Gein: a True American Horror Story
{AUGUSTA’S face furrows into a frown of rage and fury, and GEORGE backs off.}
AUGUSTA: I thought so.
INT. THE BOY’S BEDROOM – NIGHT
{ED and HENRY lie in their beds whispering to each other in the dark.}
ED: Henry, are you asleep?
HENRY: No, you goof. How could I be asleep already with briars in my butt?
ED: Why doesn’t dad love me, Henry?
HENRY: Because he thinks you’re a mama’s boy.
ED: But I’m not.
HENRY: {hatefully} Oh yes you are. If you had your nose any farther up her butt, you could smell what she had for breakfast.
ED: It ain’t so!
HENRY: It is too! Mama’s boy! Mama’s boy!
ED: Shut up!
{ED rolls over, his eyes filled with tears, sobbing into his pillow as HENRY continues to torment him.}
EXT. LOCAL CEMETERY – APRIL, 1940 - DAY
5 The Cemetery Artist / Ed Gein: a True American Horror Story
{GEORGE GEIN has passed away, and AUGUSTA, ED, and HENRY are gathered around the open grave, listening to the town PASTOR, DAN, give a short but sweet eulogy. AUGUSTA is shedding crocodile tears while ED stands emotionless and indifferent, while HENRY seems genuinely grieved by his death.}
DISSOLVE TO EXT. THE GEIN FARM – 1944 – DAY
{ED and HENRY are setting small fires to clear away marsh vegetation on the property. As ED rakes up some hot coals, he stops to take off his gloves and look at the blisters on his hands. HENRY sees this and begins tormenting him again.}
HENRY: Mama’s boy, mama’s boy! Are your poor little hands all sore?
ED: {glaring} you just think you’re hot shit since daddy died, the big boss man of the house.
HENRY: That’s right, mama’s boy, and don’t you forget it.
ED: I’m warning you, Henry!
HENRY: Little pussy boy. I bet you ain’t had pussy since pussy had you, have you?!
{ED grabs his rake and strikes HENRY in the head with it, and HENRY falls to the ground, his body as limp as a wet rag.
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Blood is streaming from a gash in his head and his eyes are glazed over. ED grabs him by the ankles and drags his body over and rolls it into the fire, then stands back, smiling.}
EXT. THE GEIN FARM – TWO HOURS LATER
{ED has allowed the fire to burn out of control to hide what he’s done, and the SHERIFF, ART SCHLEY, is there, as well as members of the FIRE DEPARTMENT, dosing what’s left with water hoses. ART walks over to ED and begins drilling him with questions about HENRY. AUGUSTA stands close by, shedding crocodile tears and feigning concern.}
ART: Now, where did you say you saw your brother last, Ed?
ED: {pointing} right over yonder.
ART: {to his DEPUTY} Bill, go over there and check out that big patch of burnt leaves, ok?
BILL: Yes sir.
{As BILL walks away, ART begins drilling ED again.}
ART: Ed, your story is kind of flimsy, son. Now, tell me, what really happened?
ED: Like I said, the wind picked up and the fire got out of control, and he went in there to try and stomp some of it out.
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ART: Ed, why in the hell would he do that if he had a water hose?
ED: {nervously} I don’t know.
{BILL comes running back up now, out of breath.}
BILL: Found him, Sheriff. He looks kind of burnt up on one side, still has a rake in one hand. I’d say the smoke overtook him.
ART: {glancing at ED suspiciously} uh- huh.
{ED walks over now and hugs AUGUSTA, trying to console her.}
ART: I bet, just like Cain and Abel.
FADE OUT
FADE IN EXT. THE SIDE YARD – DAY
{A small informal funeral is being held for HENRY, with the only people in attendance being ED, AUGUSTA, and the town PASTOR, DAN GAINS. As ED stands teary-eyed staring expressionless at the new grave, AUGUSTA seems irritable and impatient as she seems to think that DAN is taking too long with the eulogy.}
8 The Cemetery Artist / Ed Gein: a True American Horror Story
AUGUSTA: Pastor Gains, could you please go a little faster? I have a hair appointment today.
INT. THE GEIN HOME – DUSK
{ED has prepared something to eat for AUGUSTA and has placed it on a serving tray. He begins to leave the kitchen when he remembers something and stops to place a fresh flower on the tray. Smiling and satisfied, he leaves the room.}
INT. THE UPSTAIRS BEDROOM
{ED walks into AUGUSTA’S bedroom carrying the tray to find her sitting up in bed reading the Bible. She looks weak from her recent stroke but otherwise bright eyed and bushy tailed. Upon seeing ED she forces a smile.}
AUGUSTA: Oh, Eddie, is that for me?
ED: Yes mother. Eggs and ham and toast with strawberry jam, just the way you like it.
{ED places the tray down next to her on the bed under her approving eye. She smiles again and motions to him to sit down on the edge of the bed.}
AUGUSTA: I’m sorry, Eddie, for leaving you with so much responsibility.
ED: Nonsense, mother. I don’t mind at all.
9 The Cemetery Artist / Ed Gein: a True American Horror Story
AUGUSTA: That’s sweet, son, but I don’t really know how you manage it all.
ED: I’m fine, really. Now eat your food before it gets cold, and I’ll be back in a few minutes, ok?
AUGUSTA: Ok.
{As ED leaves the room, she smiles after him fondly.}
INT. THE LIVING ROOM – DECEMBER 29TH, 1945 – NIGHT
{As ED is still cleaning up after the Christmas holidays, AUGUSTA sits close by, reading the Bible, and sipping leftover egg nog. She stops reading, places the Bible next to her and smiles at him, finally proud of him for once.}
AUGUSTA: Eddie, why don’t you stop for a minute, and have some egg nog?
ED: I’m fine, mother, really. I’ll be done soon.
AUGUSTA: Eddie, did I ever tell you how proud I am of you?
{ED is so touched by hearing it, his eyes fill with tears of joy, and he stops, smiling.}
ED: Thank you mother, that means a lot to me.
10 The Cemetery Artist / Ed Gein: a True American Horror Story
AUGUSTA: I mean it, son. I don’t care what your father said about you being a mama’s boy, in my eyes, you’re the real man of the house.
ED: {teary-eyed} thanks mama. Now you go ahead and finish your egg nog while I pick out something for dessert, ok? Maybe some lime Jello, ok? I know how much you like it.
AUGUSTA: {teary-eyed} you’re such a good boy.
INT. THE BEDROOM – AN HOUR LATER
{ED walks back in carrying a small bowl of lime Jello to find AUGUSTA leaned back with her eyes closed, and doesn’t seem to be breathing. He panics, running to her and dropping the Jello as he cradles her head in his arms.}
ED: Mother?! Wake up, please, wake up!
{She doesn’t respond and isn’t breathing.}
ED: Oh no, mama! Please, Lord, not my mama, please!
{ED sits rocking back and forth with her in his arms, crying and sobbing uncontrollably.}
EXT. THE SIDE YARD – DAY
11 The Cemetery Artist / Ed Gein: a True American Horror Story
{ED has buried his mother now, and is standing over her grave looking as though he is about to go over the edge emotionally. As DAN finishes the eulogy, ED walks over and whispers to him, even though nobody else is there to hear him.}
ED: Pastor, can I talk to you for a minute before you go?
DAN: Sure, Edward. What about?
ED: I don’t know where to start, padre. There’s so much to talk about.
DAN: That’s fine, begin whenever you’re ready.
{ED glances around as if someone might be listening, and begins.}
ED: {whispering} I’ve been getting these… urges, violent urges, I’m afraid I won’t be able to control much longer.
DAN: Violent urges? Why?
ED: After the way my daddy treated my mama, and then she dies, she didn’t deserve that. It makes me want to hurt somebody.
DAN: Have you ever given thought to prayer? Ask for God’s help and guidance?
ED: God and I haven’t exactly seen eye to eye on things the last few years, father, but yes, the thought has crossed my mind.
12 The Cemetery Artist / Ed Gein: a True American Horror Story
DAN: You’d be surprised at the changes in your life if you opened your heart to God, son. Your mother was a good, God fearing woman, and she would want you to be the same.
ED: I know, I know {Pause} but what if can’t control it, and lose my temper?
DAN: You could seek redemption and forgiveness for your sins, yes, but it is a sin to take another’s life, you know that {Pause} and as far as your father is concerned, he will pay the ultimate price for his sins in hell, my son.
ED: I know, I know-
DAN: Would spending the rest of your life behind bars be worth falling from grace with God?
TIGHT SHOT OF ED’S FACE
{His eyes appear almost black, lifeless, like a doll’s eyes.}
ED: In all honesty, I don’t think you want me to answer that question, padre.
DISSOLVE TO EXT. THE GEIN HOME – MARCH, 1946 - DAY
{ED is standing in the side yard looking down at the gravestones of his mother, father, and Henry. His face is void of expression, blank and pale. He has lost
13 The Cemetery Artist / Ed Gein: a True American Horror Story weight. As he looks at AUGUSTA’S grave, he shows some emotion now, his eyes filling with tears and his lower lip quivering.}
ED: Oh mama, I miss you so much {Pause} it’s so lonely here without you.
{Glancing around he sees leaves and other debris left over from the winter and turns to begin cleaning it up, looking back at her grave one more time.}
INT. THE LIVING ROOM
{ED sits looking at an old photo album, pictures of when he and HENRY were little boys, happier times. As a cold wind blows outside, he gets up and places more wood in the fireplace. He sits back down, pulling a blanket over him, shivering, his eyes darting around the room, realizing just how all alone he really is.}
INT. DOWNTOWN PLAINFIELD, WORDEN HARDWARE STORE – EARLY MORNING
{ED walks in and begins looking over the nails and hammers. BERNICE, the store owner, sees him and walks over to begin the social graces.}
BERNICE: Morning, Eddie. How have you been?
ED: {shyly} just fine, I guess.
14 The Cemetery Artist / Ed Gein: a True American Horror Story
BERNICE: I was real sorry to hear about your mother, Eddie. My condolences.
ED: {glumly} thanks.
BERNICE: Can I help you with anything?
ED: Well, I need some two-by-fours, some plywood, and some real sturdy nails {Pause} oh, and I need some antifreeze for my old truck, too.
BERNICE: Doing some home remodeling, are we?
ED: {grinning} something like that.
INT. THE UPSTAIRS BEDROOM OF THE GEIN HOME – NIGHT
{ED has totally remodeled AUGUSTA’S room; he has stripped and waxed the old wood flooring, painted the walls, and has placed plywood held in place by two-by- fours over the windows to keep light out. Next to the bed, on a large nightstand, is a MAKESHIFT SHRINE of sorts, obviously in memory of his mother. On the stand are several old photographs of him as a child, posing with her, both of them smiling and happy. As he finishes placing a lacy white doily under the photos, he stands back, admiring his handiwork and smiling.}
ED: For you, mama.
15 The Cemetery Artist / Ed Gein: a True American Horror Story
EXT. THE SIDE YARD OF THE GEIN HOME – NIGHT
{ED has dug up his MOTHER’S GRAVE and is standing inside, on top of the coffin, looking down on it. Haltingly at first, he pulls a crowbar from his belt and leans in to pry the lid open. It is a struggle at first, but he perseveres, one nail popping free and then another, until all of them have been removed. Taking a deep breath, he leans down and yanks the lid open and as he gazes down on his MOTHER’S REMAINS, he gasps in horror at first, then after taking several deep breaths he manages a smile.}
ED: Don’t worry, mama, I can fix you.
INT. THE UPSTAIRS BEDROOM – NIGHT
{ED has treated what is left of his MOTHER’S CORPSE with some type of preservative to keep her from decomposing any more, and has placed a wig on her head and dressed her in her Sunday best. He finishes arranging her hands over her chest and stands back, admiring his work.}
ED: You look beautiful, mama.
INT. THE KITCHEN – EARLY MORNING
{ED has placed his MOTHER’S CORPSE in a chair and is standing at the stove, cooking some eggs and whistling a happy
16 The Cemetery Artist / Ed Gein: a True American Horror Story tune like nothing out of the ordinary is going on.}
ED: Mama, would you like some bacon, too? {Pause} not sure? Ok, I’ll go ahead and fry some up, and if you change your mind, just let me know.
{ED places a plate of eggs down in front of her corpse and pours her some coffee.}
ED: There you go, mama. I have some work to do, I’ll come back and check on you later, ok?
EXT. THE SIDE YARD – DAY
{ED is covering up his mother’s grave when the SHERIFF pulls into the driveway, shutting off his engine and climbing out of the cruiser. ED begins shoveling furiously now, trying to cover the empty coffin.}
ART: Morning, Ed.
ED: {still shoveling} morning Art.
ART: {glancing at grave} what the hell are you doing, Ed?
ED: Damned vandals. Some kids came in here last night and dug up mama’s grave, probably searching for jewelry.
ART: {skeptically} is that so? That’s a damned shame.
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ED: What’s the world coming to anymore, anyway?
ART: I know, Ed, I know.
ED: Did you want to talk to me about something, Art?
ART: Nope, just passing by and thought I’d say hello. I figured you must get awful lonely out here by yourself.
ED: I appreciate it Art, but I’m fine, really I am.
ART: That’s good to hear, Ed {glances around} well, I better get going. The wife is at home cooking me some lunch, and if I let it get cold, I’ll be wearing my ass for a hat.
ED: {smiling} women; can’t live with them, can’t live without them, right?
ART: Right as rain, Ed. Well, I’ll see you later.
ED: See you, Sheriff.
{As ART leaves, ED watches him go until he’s out of sight, making sure he’s alone before continuing.}
INT. THE GEIN HOME – NIGHT
{ED has placed his MOTHER’S CORPSE on the couch and is sitting listening to the radio. As he pops some popcorn into his
18 The Cemetery Artist / Ed Gein: a True American Horror Story mouth, he glances over at her and frowns.}
ED: What’s wrong, mama? I thought you liked that show {Pause} want to listen to something else? {Pause} ok, just let me know.
{ED hears a CAR pulling into the drive now, and jumps up to peek out the front windows.}
EXT. THE DRIVEWAY
{It is BERNICE WORDEN, exiting her car, carrying a steaming apple pie. ED runs out the front door fast to stop her from walking in.}
ED: Evening, Bernie.
BERNICE: Evening, Ed. I brought you a pie.
ED: You didn’t have to do that, Bernie, really.
BERNICE: I know, but I figured with you out here all alone, you might not be eating so good now that Augusta is gone.
ED: I appreciate it, really I do, but I’m eating just fine.
{BERNICE hands him the pie.}
BERNICE: Please, Ed, for me? It would make me feel a whole lot better.
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ED: {accepting the pie} ok, Bernie, thanks.
BERNICE: Well, I better get home. We got a storm coming.
ED: That’s what I heard. Well, bye bye Bernie, and thanks again.
BERNICE: Bye Ed, and you have a good night.
{ED watches her go, making sure she’s out of sight before walking back into the house.}
INT. THE LIVING ROOM
{ED walks over the couch and stands in front of his MOTHER’S CORPSE, shaking his head.}
ED: Well, mama, I guess you have to stay in your room from now on, I’m sorry.
INT. THE UPSTAIRS BEDROOM
{ED has placed her back in bed and is sitting on the edge of the bed, holding her rotting, gnarled hand.}
ED: I’m sorry, mama, but I think it’s for the best. But don’t worry, I’ll be up here every day to visit you, ok?
{ED leans in and kisses her shrunken cheek gently, and stands to leave, but
20 The Cemetery Artist / Ed Gein: a True American Horror Story stops at the doorway, tears filling his eyes.}
ED: Goodnight, mama, and sweet dreams.
{He closes the door as we DISSOLVE TO:
INT. THE UPSTAIRS BEDROOM – NOVEMBER, 1957 – NIGHT
{ED’S MOTHER has rotted away so much nothing is left of her but skeletal remains and a patch of scraggly hair on the skull. ED sits next to the bed, holding one of her bony hands and sobbing.}
ED: I’m so sorry, mama. I thought you’d be ok, really I did {Pause} oh no, mama, I could never do that {Pause} but what if I get caught? {Pause} ok, I’ll do it for you.
{ED stands to leave and stops at the doorway.}
ED: Don’t worry, mama, it will be all better soon.
EXT. WORDEN’S HARDWARE STORE – NIGHT
{ED is sitting outside in his pickup truck, watching the front door, waiting for BERNICE to close up for the night. Finally her last customer leaves, and ED waits until they are out of sight and then slowly exits his truck and, staying
21 The Cemetery Artist / Ed Gein: a True American Horror Story within the shadows, walks up to the front door and peeks in the front window.}
INT. THE HARDWARE STORE
{BERNICE is inside by herself, emptying the cash register and adding up receipts. ED stands staring at her through the window, staring right through her more than straight at her. His eyes appear black and rheumy in the moonlight, like licorice left for too long in a hot car, dead eyes, like a doll’s eyes. His mind is elsewhere, thinking about his sainted mother.}
INT. THE BACK OFFICE
{As BERNICE sits at her desk doing some paperwork, ED nonchalantly walks right into her office, as if doing so is nothing out of the ordinary, even wearing a big goofy smile. She looks up, startled, then smiles.}
BERNICE: Eddie? What are doing here this late? I’m closed, Eddie.
ED: Now, don’t be scared, it will all be over before you know it.
BERNICE: {nervously} what are you talking about, Eddie? {Pause} you’re scaring me, Eddie. I think you better leave.
ED: I’m sorry, Bernie, really I am.
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{Before she can reply, ED pulls a small, .22 caliber pistol out of his jacket, points it at her, and fires twice, one bullet striking her in the chest and one in the side of her head. She sits staring at him in disbelief at first, then slumps over her desk face first, dead.}
ED: {teary-eyed} I’m so sorry, Bernie.
INT. ED’S BARN – NIGHT
{ED is pulling on some chains, hoisting something up in the air. As the CAMERA SLOWLY PANS DOWN, we see it is the naked body of BERNICE WORDEN. She has been completely dressed out like a deer, with her head cut off at the shoulders. ED has slit the skin on the back of her ankles and inserted a long wooden rod through the cut tendons on the back of her ankles and her hands have been tied down to her side with binder twine. Nearby, on a wooden table, her SEVERED HEAD rests, with two tenpenny nails bent in the form of hooks inserted into her ears, as if he intends to hang it on a wall as a trophy.}
ED: I’m so sorry, really I am.
FADE OUT
FADE IN INT. THE KITCHEN – DAY
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{We see ED from the BACK VIEW, sitting at the table with a tanning and sewing kit, and is slowly but surely sewing something together. After a few moments he smiles, proud of what he’s done, and lifts the item up to his face.}
INT. THE BATHROOM
{We hear ED’S FOOTSTEPS and see his reflection in the mirror. He has fashioned a human skin face mask from BERNICE’S facial skin, complete with holes cut in the eyes and nose and mouth. He adjusts it to fit over his face, stands back, and admires his work.}
ED: {speaking in a WOMAN’S VOICE} There… that’s better.
EXT. THE FRONT YARD – DAY
{ED is outside sweeping the porch off when the SHERIFF pulls into the driveway again, parks, exits the cruiser and walks up to the porch wearing a stern expression. ED is obviously nervous about his presence, dropping the broom and fidgeting with his hands.}
ART: Sprucing up the place, are we?
ED: {jokingly} somebody’s got to do it.
ART: Ed, when was the last time you saw Bernice Worden?
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ED: {feigning ignorance} I don’t know… maybe a few days ago?
ART: Hmm…well, the reason I’m asking is, her son called me this morning, and told me he went down to the store to open up, and found the door unlocked and his mother missing.
ED: Oh my Gosh. I hope nothing has happened to her.
ART: Me too {Pause} thing is, Eddie, her son says that according to her sales receipts, you were one of the last people to do business with her before her disappearance.
ED: {thinking} oh yeah, I bought some antifreeze from her, for my old pickup truck. It’s a real booger to start without it.
ART: Uh-huh. Well, are you sure you haven’t seen her since? It would really help us put the pieces together.
ED: Nope, I’m really sorry, Art. I ain’t seen her since she sold me the antifreeze.
ART: {skeptically} uh-huh. Well, if you can think of anything, Eddie, give me a call, ok?
ED: I promise.
ART: Well, have a good day, Eddie.
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ED: You too, Sheriff.
{As ED watches ART pull away, it is obvious that ED has a violent streak boiling inside of him that is coming closer and closer to the surface.}
EXT. THE PLAINFIELD CEMETERY – NIGHT
{ED has parked his pickup truck facing away from the road with the headlights off and is using a lantern to see in the darkness. He has dug up another grave and kneels down, taking a break. As he looks down into the open grave, we hear him in VOICEOVER.}
ED: {voiceover} the best places, the ones with the most light, were these, where the secret, buried people waited. Their long and patient waiting made a light breathe from the earth. My eyes could not see the light, but it was there, and I realized I could trap it, as hands can trap a moth as it flutters around a flame {Pause} I captured it with my camera.
{ED leans into the grave, prying open the lid of the coffin and shines a flashlight beam inside. As he gazes down fondly on the decomposing corpse inside, we hear him in VOICEOVER again.}
ED: {voiceover} I have been coming out to the cemetery lately, photographing the graves of the dead, in hopes of capturing their light that had seemed to fade away
26 The Cemetery Artist / Ed Gein: a True American Horror Story with death. Sometimes it worked, other times it didn't. But just visiting them made me feel better; made me feel as though I'd made their day by remembering them.
{ED pulls out an old camera and aims the lens inside the grave, snapping off a couple of shots, then leaning back, smiling.}
ED: {voiceover} I had been hesitating coming here, but she kept calling to me; Come. Just for a short visit. Come and take pictures of the place where I wait. Here in my quiet kingdom of fading light. You know how much I ...love you. She gave me such a fright when I first saw her.
{ED reaches down inside the grave now, and he shoves his finger through the skin under the DEAD WOMAN’S chin and lifts her up like a hooked fish out of the grave, gazing lovingly into her hollow eye sockets and smiling. We hear a VOICE now, in ED’S mind, she speaks to him.}
VOICE: So....you have come back again.
ED: How could I stay away?
VOICE: We knew you'd stay. Let us see our lights shine again.
ED: Don’t I always? You have such a beautiful light about you.
27 The Cemetery Artist / Ed Gein: a True American Horror Story
VOICE: Thank you. Are you an artist?
ED: {proudly} yes, I am an artist – in my own way.
VOICE: I used to be a painter.
ED: Ah...did you know that photography is an art, too? Like painting?
VOICE: I am beginning to see it is, yes.
ED: There is something very impressive about painting. What do you paint?
VOICE: Mesas.
ED: Scenes from a desert. That’s a very big place to paint.
VOICE: Not to change the subject, but why are you really here?
ED: It was bound to happen, you know. You dying, shriveling up, I mean.
VOICE: Everything dies eventually, doesn't it?
ED: Yes, I’m afraid so. That's why I keep my images around. I'll have their lights forever.
VOICE: I guess you’re not a bad guy, then.
ED: Why, has someone told you I am a bad man?
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VOICE: Well, you are digging up graves, you know.
{A large MOTH flutters up out of the grave now, swirling around ED’S face and then disappearing into the darkness.}
VOICE: That moth? It told me that darkness was better than your light. It said that the light just showed the surface of things, whereas in the darkness, you could see what was really there, especially in the heart's light.
ED: {snickering} and what did it see in my light, or my darkness?
VOICE: It sees the reaper, it sees death.
ED: That’s a lie! I am not a bad man! I didn’t have a choice!
VOICE: {talking in AUGUSTA’S VOICE} Eddie! Why did you let me DIE?!
TIGHT SHOT – THE CORPSE’S FACE
{It is AUGUSTA’S FACE now, the lipless mouth curled back in a sneer, the eye sockets filled with earthworms slithering about. It reaches out with bony hands and pulls ED to it, smothering his mouth with its own as he emits a muffled scream.}
SMASH CUT TO INT. ED’S BEDROOM – NIGHT
29 The Cemetery Artist / Ed Gein: a True American Horror Story
{ED is sitting bolt upright in bed, stifling a scream, his face bathed in a cold sweat. He has been having another nightmare. He takes several deep breaths to regain some composure, then lies back on the bed, staring up at the ceiling, his eyes welling up with tears.}
ED: I’m sorry, mama, I’m sorry I let you down again.
DISSOLVE TO INT. THE LOCAL MARKET – DAY
{ED is walking down the aisle looking at the cheese when he sees a local woman, MARY HOGAN, checking out the eggs. She is a tall, attractive brunette with big, almond shaped brown eyes, and is about ED’S age. It is obvious he is smitten with her as he approaches her from behind.}
ED: Mary?
MARY: {turning around, startled} oh…hi, Ed. How are you?
ED: OK I guess.
MARY: I was real sorry to hear about your mother, Ed.
ED: Thanks {Pause} Mary, I saw you looking at the eggs. You know, I have fresh eggs at my place, I mean a lot fresher than these.
30 The Cemetery Artist / Ed Gein: a True American Horror Story
MARY: You do?
ED: Sure {whispering} you know, I could let you have a dozen of my best eggs for half price.
MARY: {whispering} really?
ED: Sure. Just come by after work tonight and I’ll fix you right up.
MARY: {face beaming} thank you so much, Ed. I’ll just do that. Well, I better get back to work at the diner.
ED: See you tonight about six?
MARY: {jokingly} it’s a date.
{As MARY walks away into the crowd, ED watches her go, his heart longing for her touch, but knowing what he felt he had to do with her once she got there.}
EXT. THE GEIN HOME – DUSK
{ED is standing out in front of the barn burning leaves and other debris when MARY pulls into the drive, waving at him. He smiles and waves back as she exits the car.}
MARY: {smiling} hi Ed!
ED: Hi Mary!
MARY: It’s chilly out here for Spring time, isn’t it?
31 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: Yes it is. Let’s go into the barn and keep warm. That’s where I have my eggs.
MARY: Okey dokey!
INT. THE BARN
{As they enter the barn, it’s almost pitch black inside.}
ED: Careful, let me flip the light switch first.
MARY: Ok.
{A few moments later the lights come up, and ED is locking the doors behind them with a big padlock. MARY glances around nervously now, then back to ED.}
MARY: Ed, where are the eggs?
ED: Right over here.
{MARYN follow him to a small area at the back of the barn, where it’s almost pitch black again.}
ED: Hold on just a second, let me get the lights.
{ED flips a light switch and when the lights come up, MARY glances around in horror at wheat she sees: what’s left of BERNICE’S rotting corpse hanging in shreds from the hoist; the walls have been covered with PHOTOGRAPHS OF CORPSES,
32 The Cemetery Artist / Ed Gein: a True American Horror Story some old and some not so old, the pictures taken at the cemetery. Nearby, an old wooden table, stained with blood, and BLOOD-STAINED TOOLS like hunting knives and an axe lying on the table. RAW STRIPS OF HUMAN SKIN, some long and some shorter, are hanging from meat hooks. She backs away fast, her mouth agape in horrified awe but no sound coming out.}
ED: Don’t be scared, Mary. It will all be over soon.
MARY: Oh my God, Ed, what have you done?!
ED: Only what I had to do, Mary. If I hadn’t, mama would have been gone forever.
MARY: {still backing away} your mother is dead, Ed! And you are crazy!
{MARY turns to run for the door and ED catches up to her fast, tackling her and pinning her to the ground. Her fingernails dig into his face, her thumbs pressing cruelly into his eye sockets, blinding him. He screams and squirms beneath her to no avail until he manages to flip her over and clamps his hands down on her throat, choking her violently. Her face is turning blue and her tongue protrudes from her mouth as he twists her head at and odd angle now, snapping her neck like a dry twig. She slumps lifeless in his arms.}
33 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: {breathing hard} there…that wasn’t so bad, was it?
EXT. THE WOODS BEYOND THE GEIN HOME – NIGHT
{ED has driven MARY’S car back to an area with a large fishing pond, and is watching the car sink slowly beneath the surface of the murky water. Satisfied it is gone, he turns to leave, but stops dead in his tracks when he glances down to see her hair beret lying in the dirt. He snatches it up and places it in his pocket and walks away.}
FADE OUT
FADE IN INT. THE LOCAL TAVERN – DAY
{As other bar PATRONS sit shooting the breeze and laughing at corny jokes, ED walks in and saunters up to the bar, smiling and nodding at the rest of them. They nod back as he takes off his cap and places it on the bar.}
ED: {to bartender} Harry, you got Pabst Blue Ribbon in a can?
HARRY: Sorry, Ed, only on tap.
ED: Damn…draft beer makes me burp.
HARRY: Sorry, Ed. How a Miller High Life? I got that in a can.
34 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: I guess it’ll have to do.
{As HARRY walks away, ED sits staring at himself in the bar mirror, as if it is a portal into another dimension. He looks depressed. BILL ACKERS, a local farmer sitting next to him, notices this and speaks to him.}
BILL: {jokingly} Eddie? Earth to Eddie, come in please.
ED: Sorry, Bill. I got a lot on my mind.
BILL: {sympathetically} I bet. So, how’s the farm coming along? I heard you have been sprucing it up.
ED: Pretty good. Going slow, though.
{HARRY is back with the beer now, and ED sips it slowly, as if to savor every last drop.}
BILL: Damn, Ed. I thought you were thirsty.
ED: {smiling} Ain’t got much money.
BILL: {chuckling} I heard that. That’s why I got a tab here. Ed, do you still do odd jobs, to make some extra scratch?
ED: Depends on what it is.
BILL: Well, I know the foreman on the local municipal road crew, guys out there
35 The Cemetery Artist / Ed Gein: a True American Horror Story crop threshing. He was telling me the other day he could use another good man.
ED: That don’t sound too bad.
BILL: I figured you could use the money, trying to spruce up your place and all.
ED: Thanks a lot, Bill. I really appreciate that.
BILL: No problem. So, you interested?
ED: Sure, let him know, and tell him to drop by my place tonight.
BILL: Will do.
ED: {sipping his beer} well, I better go. I got a lot to do today.
{ED stands to leave, looking into the bar mirror again. He sees a BLOODY HUMAN SKIN FACE MASK this time instead of his own reflection. He smiles now, his face beaming.}
BILL: You ok, Ed?
ED: {grinning} never been better, Bill, never been better.
INT. ED’S KITCHEN – TWO WEEKS LATER
{ED has used the extra cash to purchase a brand new, wood burning stove and a new icebox. He sits at the table sipping a beer and watching a big pot boiling on
36 The Cemetery Artist / Ed Gein: a True American Horror Story the stove. He glances at his wristwatch, then back to the pot.}
ED: Should be about done.
{ED walks over to the stove, and using a pair of large prongs, reaches into the pot and pulls out a STEAMING HUMAN SKULL. He grins at his handiwork, proud of it.}
ED: Perfect.
INT. THE UPSTAIRS BEDROOM – NIGHT
{ED has built a huge shrine to his mother now, and has placed the new skull on the bed post to match the other one. His mother is nothing but SKELETAL REMAINS now, and dressed in her wedding gown. Ed sits down on the edge of the bed, grasping one of her bony hands in his own and gazing upon her lovingly.}
ED: I’m almost finished, mama, and you look so beautiful.
{He hears her VOICE now, inside his head, in his mind.}
AUGUSTA: {voice} have you finished with the Hogan slut yet?
ED: Yes, mama.
AUGUSTA: Good, she’s ready.
ED: Yes, mama.
37 The Cemetery Artist / Ed Gein: a True American Horror Story
AUGUSTA: And don’t worry. She didn’t mind your touch. I’m sure you like that big fat rump roast, even if it isn’t as big and bouncy as mine.
ED: No, mama. Nobody is as beautiful as you.
AUGUSTA: Or will ever love you like I do, either. Remember that, Eddie.
ED: Yes, mama, I will.
EXT. THE FRONT PORCH – DUSK
{ED stands on his front porch, staring out at the oncoming sunset. He seems almost hypnotized by the beauty around him; the rolling green hills, the multi- colored leaves on the trees, the sunset. A slight breeze blows through his hair, and he smiles and closes his eyes.}
INT. THE BARN – NIGHT
{ED is standing in front of his work bench, with his BACK TO THE CAMERA, working on something. Nearby, draped around a partial mannequin, are the SKINS of his most recent victims, which have been painstakingly fashioned into the beginnings of ED’S WOMAN SUIT. So he can literally slip into their skins. He has the top half it finished, complete with the breasts intact.}
FRONT VIEW
38 The Cemetery Artist / Ed Gein: a True American Horror Story
{ED has finished the mask from MARY HOGAN now, and places it over his face, tying it together in back with a piece of rawhide leather. He looks at his reflection in a small table mirror, admiring his handiwork.}
ED: {in AUGUSTA’S VOICE} so beautiful…
INT. ED’S BEDROOM – NIGHT
{ED is wearing the skin mask and woman suit, and has tucked his penis and testicles between his legs to make it appear as though he has a vagina. He lays on the bed with his legs crossed, looking at a PORNOGRAPHIC MAGAZINE lying open on the bed next to him. He reaches down between his legs and begins rubbing his pubic hair and moaning, as if he is a woman attempting to induce her own orgasm. He rubs slowly at first, then furiously, moaning louder and louder until it almost deafening.}
EXT. THE FRONT YARD – NIGHT
{ED is dancing around the front yard, wearing the FACE, HAIR, BREASTS, and VAGINA of the woman suit. He dances around like a Native American performing a rain dance, whooping and yelling and mumbling incoherently. He stops suddenly, rubbing his groin, and begins again.}
EXT. A BURNT OUT FIELD – DAY
39 The Cemetery Artist / Ed Gein: a True American Horror Story
{ED is working on the road crew again, clearing away burned debris. BILL is standing by him, and notices ED looks very tired and weak, is having trouble keeping up.}
BILL: {whispering} damn, Ed. Did you tie one on last night?
ED: Naw…I’m just tired is all. Ain’t been sleeping much.
BILL: Sorry about that, but you’d best keep up or get fired, Ed.
ED: I know, I know.
{ED goes back to raking, sweating profusely and breathing hard.}
EXT. THE FRONT PORCH – NIGHT
{ED is standing on the porch again, smoking a corn cob pipe and looking out at the stars and moon. It is a full moon, and ED smiles as if he gets an idea and walks back inside.}
INT. THE LIVING ROOM
{ED is sitting reading the obituary column, and notices the obituary of a woman who was just buried two days ago.}
EXT. THE CEMETERY – NIGHT
{ED is grave-robbing again, but this time has picked out the WOMAN that has just
40 The Cemetery Artist / Ed Gein: a True American Horror Story been buried recently, a fresher body. He has already loaded the BODY into the back of his pickup truck, and is loading his tools when he sees the flash of HEADLIGHTS momentarily, and ducks down. He peeks around the corner of his pickup to see the SHERIFF driving by slowly in his cruiser, shining his spotlight around the gravestones, no doubt checking for vandals. Luckily, the light doesn’t land on ED, and he breathes a sigh of relief as the SHERIFF pulls out of the front gate and disappears into the darkness.}
INT. THE BARN – NIGHT
{ED has stripped the body down and has placed it on a long wooden table. The WOMAN was obviously beautiful in life: Her strawberry blonde hair was waved and styled in one length with the hint of wispy bangs. Emerald green eyes and a silky complexion, with a light sprinkle of freckles on her cheeks. A shapely figure with full, round breasts. As ED stands looking at her from head to toe, he notices her feet have been pedicured to the point of smooth, marbled perfection. The same red color from her fingers is on her toes. He reaches down and grasps one of her feet gently, lifting it up so he can kiss her toes. He shivers with excitement as he does so, then does it again. As he gazes down upon her unearthly beauty, we hear him in VOICEOVER.}
41 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: {voiceover} the living hide behind life while the dead come here to me with no masks at all; it is my job to create their mask in death {Pause} I must recreate the mask that they wore in life, to use as my own.
{ED proceeds to remove the toenail polish with a bit of acetone. It is a messy process of bright red smeared over tissues. His fingers are red and stained when he is done, but her hands are perfectly pale and clean. Small, childlike hands, but perfectly formed, nonetheless. He smiles, and lowers her right hand down between his legs, closing her fingers around his penis that is bulging through his work pants. He emits a muffled moan, and does it again.}
ED: {voiceover} her lips so full and soft and purplish in her death. Her skin was pale and perfect, perfect white. I longed to feel the inside.
{ED reaches down and spreads her legs. Her pubic area is surprisingly bare. There is a thin trail of pale, white hair pointing down her lower stomach to a pink scar of miniature x-marks in a strange railroad gash. He traces its smooth, polished bumpiness with his index finger. She had shaved all of her public hair. He gasps with excitement, and goes back to tracing it again. He lowers my head to lick it, the stubble tickling his tongue. He smiles, the taste pleasant to him. He walks away and pulls a short step stool
42 The Cemetery Artist / Ed Gein: a True American Horror Story over to the table and climbs up and onto his knees, and drops his pants with one hand and spread her legs even farther apart with the other. He lowers down OUT OF FRAME as we hear him huffing and panting and moaning as he thrusts away at her corpse.}
FADE OUT
FADE IN EXT. THE FRONT YARD – EARLY MORNING
{It is a beautiful spring day, and ED is outside painting his white picket fence. As he stops to take a rest, the SHERIFF pulls into the driveway, and ED sighs with exasperation, as if he’s thinking, WHAT THE HELL DOES HE WANT TO TALK ABOUT NOW? The SHERIFF exits the cruiser, carrying a file folder with him.}
ART: Good morning, Ed. Wow…the place is looking good, Ed.
ED: Thanks, Art. What can I do for you?
ART: {opening the file folder} well, we have had some vandalism at the cemetery lately, and I was wondering, have you seen anything funny going on?
ED: What do you mean?
ART: Well, the cemetery is only a half mile away from here, and you being a night owl and all, I thought-
43 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: Nope, sorry, Art. I haven’t seen or heard a thing.
ART: {skeptically} uh-huh. Well, if you do see or hear anything out of the ordinary, give us a call, ok?
ED: Sure, Art, will do.
{As ART leaves, ED watches him go with a hint of suspicion in his eyes.}
INT. THE SHERIFF’S OFFICE – DAY
{ART and his DEPUTY, BILL THOMAS, are sitting at ART’S desk discussing ED GEIN.}
BILL: So, Art, why would you think Eddie Gein would have anything to do with Bernie’s disappearance? He seems as harmless as a fly to me.
ART: And appearances can be deceiving, Bill.
BILL: I know that, but still-
ART: Let me tell you a little story. The Gein family used to live in Lacrosse, but Augusta insisted they move here to what she considered a more ‘righteous’ location.
BILL: She was a Bible-thumper, was she?
ART: Oh yes, of the highest order. However, this small, God-fearing town
44 The Cemetery Artist / Ed Gein: a True American Horror Story turned out to be no better, at least in Augusta's eyes. She considered the place to be a "hellhole" and kept her two sons on the farm and away from anything she considered dangerous or of a sinful influence, namely whorish women and the wickedness of carnal love.
BILL: She sounds like a religious fanatic.
ART: That’s putting it conservatively, but yes.
BILL: Ok, he had a hard childhood. But that still doesn’t answer my question.
ART: I’m getting to that. Put yourself in his shoes; a father that was a temperamental drunk, a mother who was a Bible-thumping,scripture-spouting zealot, a brother who hated you because you were your mother’s favorite child. Then all of a sudden, all three of them die – one under suspicious circumstances – and you’re left all alone in the world. Wouldn’t that tend to take it’s toll on your mind?
BILL: I see your point. Still, we’re talking about quiet, shy little Eddie Gein here.
ART: {lighting a cigar} I guess we’ll see, won’t we?
INT. THE TAVERN – LATE AFTERNOON
45 The Cemetery Artist / Ed Gein: a True American Horror Story
{BILL and some other PATRONS are sitting at the bar sipping beer when ED walks in, wearing a big smile. He sits down at the bar and orders a draft beer.}
BILL: {jokingly} I thought draft beer made you burp.
ED: You only live once, Bill, you know?
BILL: This is so true.
{HARRY, the bartender, walks over now, drilling ED about MARY HOGAN.}
HARRY: Ed, you ain‘t seen Mary lately, have you?
ED: Can’t say as I have, Harry, why?
HARRY: Well, she’s part owner of this tavern with me, and she hasn’t come to work, answered her door, or her phone.
ED: Lordy, I hope nothing has happened to her.
{FLOYD JOHNSON, one of the other patrons, speaks up.}
FLOYD: You sure she hasn’t taken up with her ex-husband again?
HARRY: Say what?
FLOYD: Well, she has been talking about him an awful lot, lately.
46 The Cemetery Artist / Ed Gein: a True American Horror Story
HARRY: Uh-uh, no way. Besides, talk is cheap, it don’t mean anything.
FLOYD: {sipping his beer} I was just making an observation, Harry. Don’t get your panties all in a bind.
{ED seems really nervous now, and stands to leave.}
BILL: Where are you going, Eddie? The party just started.
ED: Just remembered something I have to do.
EXT. THE TAVERN PARKING LOT
{As ED climbs into his pickup truck, ART is parked across the street in an alley, watching his activities from a distance.}
INT. THE BARN – NIGHT
{ED is looking around at all of the pieces of SKIN AND BONE and other HUMAN DEBRIS, wondering what to do with it before anyone finds it. He smiles now, getting an idea.}
INT. THE LIVING ROOM – TWO DAYS LATER
{ED stands in the doorway, admiring his handiwork; the SKIN and BONE has been used to make a WASTEBASKET made of human skin, CHAIR SEAT COVERS made from human skin, and a LAMPSHADE made from the skin of a human face.}
47 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: {grinning} there, that’s better.
INT. THE KITCHEN
{The kitchen has become a pig sty now, filthy and messy with dirty dishes and trash piled up. ED has placed his MOTHER’S SKELETAL REMAINS in a chair and has set the table for dinner, complete with BOWLS MADE FROM HUMAN SKULLS to eat soup out of. Close by, on the kitchen counter, are more FEMALE SKULLS, some with the tops sawn off. ED is standing at the stove, using a pair of tongs to remove something from a boiling pot. It is MARY HOGAN’S HEART, now boiled tender. He places it on a plate and places it in the middle of the table.}
ED: Just for you, mama. I have a salad, too, and-
{There is a KNOCK AT THE DOOR now, and ED freezes up with fear. The KNOCK comes again, louder this time, and he turns off the stove and runs to the door. He opens it to see TWO TEENAGE GIRLS of about fifteen years old, standing at his door holding boxes of Girl Scout cookies.}
GIRL 1: Sir, would you like to buy some delicious Girl Scout cookies?
GIRL 2: We have peanut butter, sugar, and snickerdoodle cookies.
48 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: I’m real sorry, girls, but I don’t have any extra money right now.
GIRL 1: Please, Mister?
GIRL 2: If we sell enough, we can go on a trip to Disneyland.
{ED stands smiling at the GIRLS and thinking it over.}
ED: {grinning} sure, why not? Come on in and I’ll even give you some hot chocolate.
{The GIRLS smile and walks in past ED, as he closes the door we DISSOLVE TO:
INT. THE BARN
{ED has placed the TWO GIRL’S DEAD BODIES, covered up with a sheet, on the long wooden table and is preparing to dismember them for disposal. As he walks back over to the table carrying a small chainsaw, he looks sad, almost depressed over what he is about to do.}
ED: I’m sorry, girls, but I can’t let anybody find out what I’m doing here.
{He starts the chainsaw, and pulls the sheet back, tears filling his eyes.}
ED: I’m so sorry, really I am.
FADE OUT
49 The Cemetery Artist / Ed Gein: a True American Horror Story
FADE IN INT. THE KITCHEN – NIGHT
{A POV SHOT of HUMAN SKIN inside a small plastic bag. As THE CAMERA SLOWLY PANS BACK, we see ED looking at the bag up close, squinting his eyes to get a look at the contents. He shakes the bag, looks at it again, and smiles, placing it on the table. He sits down and opens a book that has pictures of the FEMALE ANATOMY, and finds what he’s looking for.}
ED: A vulva, that’s what they are! Vulvas.
{Smiling, he gets up and places the bag in the icebox. We get a CLOSE UP VIEW OF THE INSIDE. Inside are a plate with human NIPPLES, four human NOSES, and a bowl filled with INTERNAL ORGANS. The door closes.}
SMASH CUT TO A DOOR OPENS TO REVEAL: INT. ED’S LIVING ROOM – DAY
{ED is housecleaning, sweeping and dusting. As he whistles a happy tune to himself, the CAMERA PANS AROUND THE ROOM to show us more of his grisly trophies: a BELT made from female HUMAN NIPPLES hangs from a coat-rack; close by, a pair of LIPS on a window shade drawstring; MASKS made from the SKIN from FEMALE HEADS adorns the wall above the fireplace.}
EXT. THE BACK YARD – DAY
50 The Cemetery Artist / Ed Gein: a True American Horror Story
{ED is outside burning leaves and sticks and other debris inside an old 55 gallon drum, and as he rakes more leaves, we CUT TO A CLOSE UP OF THE INSIDE OF THE DRUM. Inside are HUMAN BONES, now nothing more than small piles of blackened, smoldering sticks.}
EXT. THE FRONT YARD – DUSK
{ED is standing on the porch smoking a corn cob pipe when the SHERIFF pulls into the driveway again. ED sighs with exasperation and walks out to meet him as he climbs out of the cruiser.}
ED: Evening, Art. What brings you out this way?
ART: Eddie, one of the employees down at the Food Mart said he saw you talking to Mary Hogan the day before she disappeared. I had the impression you hadn’t seen her at all.
ED: {feigning ignorance} oh, yeah. I remember now. She was asking me what kind of eggs I thought was the best, and I told her to go with good old Wisconsin Farmer’s Best.
ART: {skeptically} uh-huh. And that’s the last time you saw her?
ED: Yep.
51 The Cemetery Artist / Ed Gein: a True American Horror Story
{ART stands just staring at ED for a few seconds, sizing him up and making him nervous.}
ED: Is there anything else, Art? I’m awful busy today.
ART: No…that’ll do for now. Well, you have a nice day, Ed, and take care.
{As ART walks away, ED glares at him hatefully.}
ED: You’re the one who better take care.
EXT. THE CEMETERY – NIGHT
{Despite ART snooping around lately, ED is at it again, grave-robbing in the middle of the night. He has already dug up another grave, standing above it and looking down at the sealed coffin, when he hears AUGUSTA’S VOICE again, in his head.}
AUGUSTA: {voice} well, you really went and did it this time, didn’t you?
ED: What did I do wrong?!
AUGUSTA: You got that nosy Sheriff snooping around now. Why did you kill those little girls? You might as well have a sign on the door that says, I’M A STUPID MAMA’S BOY WHO KILLS LITTLE GIRLS.
ED: You told me to do it! I was doing this for you, mama!
52 The Cemetery Artist / Ed Gein: a True American Horror Story
AUGUSTA: I didn’t tell you to turn the house into a sideshow! What if the Sheriff finds all those dead bodies?!
ED: But mama, I-
AUGUSTA: {screaming} WHY ARE YOU SO STUPID, EDDIE?!
{ED rises to his feet, almost falling into the grave, placing his hands over his ears and begging for her to stop.}
ED: I’m sorry, mama! Please, stop!
{The VOICE stops now, leaving ED in total silence. All that he hears now are a bullfrog’s croak or the cricket’s symphony or a big rig driving down the highway close by. He lowers his hands, looks down into the grave, and in a moment of lucidity, realizes he doesn’t even remember coming here, or why.}
ED: Oh Lordy, what have I done?!
INT. THE SHERIFF’S OFFICE – NIGHT
{ART is still at work, sitting at his desk looking at the hardware store receipt from when ED had purchased some antifreeze. The more he thinks about it, it bothers him. He stands up, places his service revolver back into his holster, and walks out of the office.}
EXT. THE GEIN HOME – NIGHT
53 The Cemetery Artist / Ed Gein: a True American Horror Story
{ART is pulling up behind the property and killing his headlights and shutting off the engine. He climbs out of his cruiser, and staying within the shadows, creeps up behind the barn and peeks inside one of the windows. The glass is filthy, and he can’t see anything, so he walks around to the front doors of the barn and begins to push them open, but they’ve been padlocked.}
ART: Shit.
{ART glances around and sees an old garden rake and picks it up, wedging the long wooden handle between the lock and the door, and begins prying it loose. Within seconds the lock pops loose, and he steps inside with his right hand on his holster.}
INT. THE BARN
{ART steps inside and pulls out a small flashlight and begins shining it around. Within seconds, the flashlight beam lands on the rotting corpse of BERNIE WORDEN, still hanging from the rafters. Black birds have landed on it, picking away at the rotting flesh, and flies are swarming all over it, the sound of the buzzing almost deafening. Upon seeing it, ART gasps in horror and backs away, almost tripping over his own feet. He looks down at the ground to see small PIECES OF BONE and a HUMAN SKULL.}
54 The Cemetery Artist / Ed Gein: a True American Horror Story
ART: Jesus! God almighty!
EXT. BEHIND THE BARN
{ART is jumping into the driver’s seat of his cruiser, wide eyed in horror and out of breath. After taking several deep breaths to regain his composure, he grabs the mic to his radio and clicks the TALK button.}
ART: Bill? {Pause} Bill, you got your ears on tonight?
{A few seconds go by and through a crackle of static BILL answers him.}
BILL: {voice} I was just heading home, Sheriff. What’s going on?
TIGHT SHOT OF ART’S FACE
ART: Bill, get out to Eddie Gein’s place right away, and call the State boys, too.
BILL: {voice} The Gein place? What’s going on?!
ART: There’s been a murder out here, Bill. Eddie Gein has killed somebody.
DISSOLVE TO EXT. THE GEIN PLACE – EARLY MORNING
{The whole front yard, side yard, back yard, and barn area have been cordoned off with yellow crime scene tape. Three ambulances and a coroner’s vehicle are
55 The Cemetery Artist / Ed Gein: a True American Horror Story parked out front, along with two State Trooper cruisers. A couple of STATE TROOPERS and EMTs are milling about when ART and BILL come walking out the front door, with ED standing between them, handcuffed at the wrists. ED has a strange, almost serene smile on his face, as if nothing is wrong. While BILL places ED in the back of the cruiser, one of the TROOPERS walks over to BILL and speaks to him.}
TROOPER: So, are we ready for the coroner and the EMTs?
ART: As soon as the crime scene photographers are finished.
TROOPER: How many bodies are in there?
ART: {wiping sweat from his face} your guess is as good as mine, but I’d say there are pieces of at least ten or twelve bodies.
TROOPER: Pieces?!
ART: Did I stutter?
{ART walks over to the cruiser where BILL is waiting with Ed, and the TROOPER looks toward the house, swallowing a lump in his throat, dreading to go inside.}
INT. THE COUNTY MORGUE – DAY
{The county CORONER, JEFF KIRKENDALL, stands over the body of BERNICE WORDEN,
56 The Cemetery Artist / Ed Gein: a True American Horror Story pulling a sheet over her remains as ART and BILL walk in.}
ART: So, should I fear to ask?
JEFF: Are you sure you want to hear it?
ART: Just get it over with.
JEFF: {clearing his throat} well, she didn’t suffer much. After the gunshot wound to the head, she was dead within seconds.
ART: Go on.
JEFF: She was decapitated at the shoulders by a smooth circular cut which severed skin and all the soft structures. There was no evidence of jagged edges, so he must have used a sharp axe or similar instrument.
ART: {clearing his throat} go on.
JEFF: The body had been opened by a median incision from the sternum and extending in the midline to the area just above the pubis. There, the cut circled around the external genitalia for the complete removal of the vulva, lower vagina, and the anus with the lowest portion of the rectum.
{BILL begins gagging now and runs from the room.}
57 The Cemetery Artist / Ed Gein: a True American Horror Story
ART: I’ve heard enough, too, Jeff. I appreciate your candor.
{ART turns to walk away and JEFF stops him.}
JEFF: Art?
ART: Yeah?
JEFF: I’m real sorry about Bernie.
ART: {glumly} me too.
INT. THE SHERIFF’S DEPARTMENT – DAY
{ART has placed ED in a small room with a table and chairs and a small recording device. As ED sits sipping hot chocolate and waiting, ART and BILL stand on the other side of a two-way mirror talking.}
BILL: I wouldn’t have believed it if I hadn’t seen it with my own eyes.
ART: I always thought that Eddie was a weird duck, but I never thought he’d do anything like this {Pause} are you ready?
BILL: As ready as I’ll ever be, I guess.
INT. THE INTERVIEW ROOM
{ART and BILL sit at the table, flanking ED on both sides as ART flips the tape recorder on.}
58 The Cemetery Artist / Ed Gein: a True American Horror Story
ART: This is Sheriff Art Schley, sitting here with the suspect, Edward Gein, and also present is Deputy Sheriff Bill Thomas. The time is ten-thirty AM, and the date is November seventeenth, 1957. Ed, are you ready to answer some questions?
ED: Sure, I don’t see why not.
ART: First of all, are you responsible for the death of Bernice Worden?
ED: Bernie is dead? {Pause} It must have been someone pretty cold-blooded, to kill somebody as nice as she was.
ART: Uh-huh {Pause} so, you are denying any involvement in her death?
ED: Yes sir, I wouldn’t have ever hurt Bernie, she was my friend.
ART: Well, Eddie, all of the evidence, so far, points to you as her killer.
ED: {matter-of-factly} someone must have framed me.
{ART and BILL exchange glances and shake their heads.}
ART: Uh-huh. So, I suppose this is the point in our conversation where you would like a lawyer present?
ED: {smiling} yes sir, I surely would.
59 The Cemetery Artist / Ed Gein: a True American Horror Story
INT. THE EVIDENCE ROOM – DAY
{Two EVIDENCE TECHS have placed all of the macabre items from ED’S home and placed them on several small tables. As they walk by slowly, snapping pictures and jotting the items down in a large yellow legal pad, we see the extent of ED’S killing spree: among the items are the SKULLS taken from his bedposts, a CORSET made from a FEMALE TORSO skinned from shoulders to waist, LEGGINGS made from HUMAN LEG SKIN, MARY HOGAN'S FACE MASK in a paper bag, MARY HOGAN'S SKULL in a box, BERNICE WORDEN'S ENTIRE HEAD in a burlap sack, two GIRL SCOUT UNIFORMS, and four NOSES and nine VULVAE in a shoe box. Also included in the collection are DEATH-CULT MAGAZINES and ADVENTURE STORIES, particularly those involving CANNIBALS or NAZI ATROCITIES. ART and BILL walk in now, shaking their heads in disbelief and disgust.}
BILL: Dear God…
ART: God didn’t have anything to do with this, Bill.
BILL: I hear there’s still more back at the house?
ART: And the barn, too. This could be the biggest mass murder in Wisconsin history.
BILL: Why would he do it, though?
ART: Now there’s a question, huh?
60 The Cemetery Artist / Ed Gein: a True American Horror Story
INT. THE INTERVIEW ROOM – DAY
{ED is sitting at the table again, this time with his LAWYER, and ART flips the recorder switch on and begins.}
ART: So, are we ready, gentlemen?
LAWYER: First of all, let’s get one thing straight; my client only agrees to talk about the death of Bernice Worden.
ART: Well, that’s a step in the right direction. Are we ready?
LAWYER: You may proceed, but just mind what you say, Sheriff.
ART: {rolling his eyes} ok, first of all, Ed, what was it that happened between you and Bernice that led to her death?
LAWYER: {shushing ED} don’t say a word. He said he agreed to talk about her death, not admit to it, Sheriff.
ART: Well, excuse me all to hell. Ok, Ed, can you think of anything Bernice might have said or done to make anyone want to hurt her?
ED: Lordy, no, Sheriff. She was so nice. She even brought me an apple pie one night, just to be nice.
61 The Cemetery Artist / Ed Gein: a True American Horror Story
ART: {to LAWYER} you know, I’m just about sick of this shit {Pause} Ed, why did you kill Bernie Worden?
LAWYER: Ok, Sheriff, that’s about enough-
ED: {grinning} I was framed.
{ART loses his temper now, standing to his feet and walking around the table. Before the LAWYER can say a word, ART grabs ED by the shirt collar, yanks him up out of his chair, and proceeds to bang his face and head against the wall. As ED begins screaming, the LAWYER tries to break them up as BILL and another DEPUTY run in and break it up. BILL holds ART back as he struggles to get free.}
LAWYER: {sarcastically} Well, Sheriff, I guess that concludes our little visit, huh?
ART: {struggling} you can kiss my ass, how’s that?! You’d best get that little freak out of here before I-
BILL: Art, don’t say it.
ART: You’d best get them out of here, Bill, I mean it.
INT. THE HALLWAY OUTSIDE THE INTERVIEW ROOM
{ART and BILL are standing in the hallway talking, BILL trying to calm ART down again.}
62 The Cemetery Artist / Ed Gein: a True American Horror Story
BILL: Are you nuts?! Anything he said – which wasn’t much – will be inadmissible.
ART: I don’t give a damn! He’s as dirty as dog shit, and you know it, too.
BILL: Just calm down, I have an idea.
ART: And just what is that, college boy?
BILL: There’s a state investigator, his name is Allan Wilimovsky, of the state crime laboratory. He’s a psychologist, too. Why don’t we give him a shot?
{ART stands thinking it over, trying to keep his temper in check.}
ART: Ok, college boy, but this better work.
EXT. THE GEIN HOME – NIGHT
{We see a wide view of the property, with the crime scene tape still in place. All is eerily quiet around the home, until suddenly we see FLAMES pop up inside the home, and SMOKE pouring from a couple of the windows. Suddenly, to the right of the home, we see a SHADOWY FIGURE running away from the property, but can’t tell who it is, man or woman.}
EXT. THE GEIN HOME – HALF AN HOUR LATER
{The FIRE DEPARTMENT and SHERIFF have shown up, and while the FIREMEN are
63 The Cemetery Artist / Ed Gein: a True American Horror Story battling the blaze, ART stands by watching, smiling, as if he is happy it is burning down. BILL pulls up now, exiting his car and walking over to ART.}
BILL: What the hell happened?
ART: Who cares? {Pause} good riddance to bad rubbish, I say.
INT. THE TOWN JAIL – EARLY MORNING
{ED is sitting in a holding cell sipping coffee when one of the JAILERS walks back to get his breakfast tray. ED is sporting a SMALL BANDAGE on his head where ART banged his head against the wall.}
JAILER: Hey, Ed. Did you hear the news?
ED: What news?
JAILER: Your house burnt down last night.
{ED seems taken back at first, then shrugs his shoulders indifferently.}
ED: Just as well, I guess.
DISSOLVE TO INT. THE INTERVIEW ROOM – DAY
{The state investigator, ALLAN WILIMOVSKY, is sitting alone in the room with ED, who is, as usual, sitting calmly and sipping coffee like there’s nothing at all to worry about. ALLAN leans over the table, smiling, and turns on the tape
64 The Cemetery Artist / Ed Gein: a True American Horror Story recorder. ALLAN is a pleasant looking man with kind eyes and a very friendly, outgoing demeanor, and is good at getting difficult suspects to open up to him.}
ALLAN: You don’t mind, do you Ed?
ED: {smiling} don’t matter to me, I guess.
ALLAN: Great. Now, first of all, are you feeling ok? I mean, are you being treated well?
ED: As well as can be expected, I guess {Pause} I like this place, everybody treats me nice, some of them are a little crazy though.
ALLAN: Who is crazy?
ED: I think the Sheriff is, or he just has a really bad temper.
ALLAN: Well, I wouldn’t worry about him right now.
ED: Can’t help it.
{ALLAN decides to use some reverse- psychology on ED, asking about something else entirely other than BERNIE’S death.}
ALLAN: Tell me, Ed, why all the human skin face masks in your house, if you’re innocent? Was it just a Halloween prank or something?
65 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: Oh no, it was because my mama told me to do it.
ALLAN: Isn’t your mother dead, Ed?
ED: In body, yes, but not in soul, or in my heart.
ALLAN: I see what you mean {Pause} so, did you ever wear the masks?
ED: Sometimes.
ALLAN: Did you wear the skin face masks over a prolonged period of time?
ED: Oh no, I had a lot of other things to do.
ALLAN: Which mask was your favorite?
ED: I had two.
ALLAN: And they were?
ED: Bernie and Mary. They were the prettiest, too.
ALLAN: Yes, they were very pretty ladies. Tell me, Ed, how did you come about the skin to make the masks?
{ED purposely avoids talking about either BERNIE or MARY.}
ED: I got them from graves I dug up.
ALLAN: You dug up graves?
66 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: Yes, sir.
ALLAN: Did your mother tell you to dig them up?
ED: Sometimes, but I mostly did it on my own.
ALLAN: Why?
ED: I liked taking pictures of them. I’m sort of an artist.
ALLAN: Why did you take pictures of them?
ED: So I could see their light again {Pause} so I could see them shine.
ALLAN: {confused} shine?
ED: When there is no light, the branches and leaves of the trees seem to exude a light of their own, through their skins. Like a human being. Through the membrane of nothingness that covers everything; every twig, every leaf, every inch of flesh.
ALLAN: Flesh? You mean the skin masks and other items in your house?
{ED’S face suddenly goes blank, expressionless, like he’s in a daze, or a trance-like state. He is staring directly at ALLAN, but not AT him, but more like right THROUGH him, as if he’s not even there.}
67 The Cemetery Artist / Ed Gein: a True American Horror Story
ALLAN: ED? Are you ok?
ED: The dead thing is female. The eyes gave it away for me, the coldness. Men can’t muster that kind of cold. I know she would love to kill me. She knows it too.
ALLAN: Who, Ed? Who wants to kill you?
ED: Bernie {Pause} for what I did to her. Her light won’t shine anymore.
INT. THE HALLWAY OUTSIDE
{ART and BILL are standing listening to the conversation.}
ART: I knew it!
BILL: Hallelujah!
INT. THE INTERVIEW ROOM
ALLAN: What about Mary, Ed? Did she want to hurt you, too?
{ED says nothing, just stares right through ALLAN again.}
ALLAN: Ed? Wake up, Ed.
{ED shows no sign of comprehension. ALLAN shuts off the tape recorder and walks out into the hallway where ART stands wearing a grin of victory.}
68 The Cemetery Artist / Ed Gein: a True American Horror Story
ALLAN: Well, you heard him. Can you use it as a confession?
ART: {grinning} you must not be acquainted with Judge Robert H. Gollmar.
ALLAN: Well, you’d still best watch how you handle this, because by what I’ve seen, he’s not only a schizophrenic, but may suffer from multiple personality disorder as well.
ART: Meaning?
ALLAN: His lawyer could try to cop an insanity plea.
ART: {glumly} great.
ALLAN: Hold on; I have an idea.
ART: {skeptically} and that is?
ALLAN: Why don’t we take Ed for a little joyride?
EXT. THE BACK PARKING LOT OF THE JAIL – NIGHT
{While ART keeps the MEDIA HOUNDS at bay at the front door of the jail, ALLAN and BILL smuggle ED out the back into the back seat of a police car.}
INT. THE CAR
69 The Cemetery Artist / Ed Gein: a True American Horror Story
{ED is sitting in back, looking nervous. BILL sits in the driver’s seat and ALLAN climbs into the back next to ED.}
ED: {nervously} where are we going?
ALLAN: We thought you could use a break from it all.
ED: {suspiciously} ok.
INT. THE MORGUE
{BILL and ALLAN are leading ED down a long dark hallway toward the MORGUE.}
ED: What’s this place?
ALLAN: Just hold on, you’ll see.
INT. THE MORGUE
{ALLAN and BILL are leading ED through a pair of old batwing doors into the cold storage area. The coroner, JEFF KIRKENDALL, is standing inside waiting for them. On a steel gurney close by are the remains of BERNICE WORDEN. It is obvious by the look on ED’S face he now realizes where he’s at, and doesn’t like it.}
JEFF: Evening, gentlemen.
ALLAN & BILL: {in unison} evening, Jeff.
ED: Why are we here?
70 The Cemetery Artist / Ed Gein: a True American Horror Story
ALLAN: Jeff, if you would, please.
{JEFF reaches over and pulls the sheet back, exposing the BODY. Ed gasps in horror at first, then his eyes well up with tears.}
ALLAN: What’s wrong, Ed?
ED: Alright! Alright, I did it!
ALLAN: You did what, Ed?
ED: I killed her! {Pause} I killed Bernie!
ALLAN: {whispering to BILL} but will he admit it in court?
INT. ED’S CELL – NIGHT
{ED is lying in bed staring at the ceiling, his face expressionless again. As THE CAMERA SLOWLY ZOOMS IN ON HIS FACE, we see what he’s thinking about in FLASHBACK.}
DISSOLVE TO EXT. THE CEMETERY – NIGHT
{ED is grave-robbing again, and is standing above the open grave, looking down inside.}
INT. THE GRAVE
{The coffin is open, and the WOMAN inside is nothing more than skeletal remains
71 The Cemetery Artist / Ed Gein: a True American Horror Story now, having been buried long ago. The HEAD is missing, which means it could be BERNIE or MARY. ED looks down with sadness, his eyes wet with tears as we hear him in VOICEOVER.}
ED: {voiceover} I had to go back one more time {Pause} had come back at last; the camera around my neck to record the moment, my light, before it was extinguished forever.
{We hear VOICES now, only whispers on the wind, but audible.}
VOICES: {in unison} Yes...come to us...to your light...
ED: I’m here, at last, to be with you forever…
VOICES: Look at how unseeing you were, until you came back to us…
ED: {teary-eyed} yes, I know, and I’m so sorry.
VOICES: You can do it. You have my strength in you. Why are you hesitating?
ED: I’m coming home…
VOICES: Don’t be afraid…
ED: {leaning over the grave} I’m here…
{Suddenly several SKELETAL ARMS and HANDS reach up to grab ED, pulling him down
72 The Cemetery Artist / Ed Gein: a True American Horror Story into the grave. The hands, claw-like, rip into his ankles, calves, thighs, pulling him down into the coffin. He struggles, kicking and screaming, but to no avail as he is pulled down face-down, landing on top of the CORPSE, his face buried in the stench as unaltered and strong as road- kill on a summer simmering road. He gags and spits and screams as SHARP TEETH begin gnawing and ripping and shredding his skin. He emits one last blood- curdling scream as he disappears into the coffin, which is now nothing more than a BLACK HOLE, and the unknown abyss beyond.}
SMASH CUT TO INT. ED’S CELL
{ED sits bolt upright on his bunk, screaming, his face bathed in a cold sweat. The JAILER runs back to see what’s wrong.}
JAILER: What the hell, Ed? What’s wrong with you?
ED: {shivering} I had a bad dream is all.
JAILER: Want me to see if I can get you something to help you sleep?
ED: I’ll be fine.
{The JAILER walks away and ED lies back on his bunk, pulling the blanket up to his chin and staring at the ceiling again.}
73 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: I’m sorry, mama, for messing things up so bad.
FADE OUT
FADE IN INT. WAUSHARA COUNTY COURT - November 21, 1957 – DAY
{ED is sitting in court with his PUBLIC DEFENDANT as JUDGE ROBERT H. GOLLMAR walks in and everybody rises, then sits back down as he sits down too. The PROSECUTING ATTORNEY is there too, going over his notes. Sitting in the back of the courtroom is ALLAN WILIMOVSKY, there to report the results back to the SHERIFF.}
JUDGE: Are we about ready, counselor?
PUBLIC ATTORNEY: Yes, your honor.
JUDGE: And how does Mr. Gein plead?
PUBLIC ATTORNEY: Not guilty, your honor – by reason of insanity.
JUDGE: {rolling his eyes} uh-huh. I thought as much.
PROSECUTING ATTORNEY: Your honor, this is a farce at best, and-
JUDGE: Oh, I agree, counselor. That’s why I am allowing his arraignment on one count of first degree murder. However,
74 The Cemetery Artist / Ed Gein: a True American Horror Story due to Mr. Allan Wilimovsky’s interview testimony, Mr. Gein has been found mentally incompetent and thus unfit for trial. Therefore, he will be remanded to the Central State Hospital for the Criminally Insane, in Waupun, Wisconsin, for more evaluation before his trial date. This court is now adjourned.
INT. THE HALLWAY OUTSIDE THE COURTROOM
{ART and BILL are standing out in the hallway in their civilian clothes, waiting for the courtroom to empty out. ALLAN WILIMOVSKY walks out now, shaking his head.}
ART: Oh no, don’t tell me-
ALLAN: There’s good news and bad news.
ART: {glumly} of course there is.
ALLAN: He is being arraigned for first degree murder in the death of Bernice Worden, but-
ART: But what?
ALLAN: He is being placed in the Central State Hospital for the Criminally Insane, in Waupun, Wisconsin, for more ‘evaluation.’
ART: {sarcastically} why of course he is, what else would happen?
INT. THE HOME OF BILLY DAVIS – DAY
75 The Cemetery Artist / Ed Gein: a True American Horror Story
{BILLY DAVIS, a young man ED had befriended years ago, is sitting talking to a FEMALE NEWS ANCHOR about his times with ED.}
FNA: So, Billy, you and Ed Gein used to attend ball games together?
BILLY: Oh yeah, we would go to ball games and even to the movies. He seemed like a really nice guy.
FNA: Is it true that Ed Gein took you to his house and showed you some shrunken heads?
BILLY: Yeah, now that was creepy. He told me at the time that the heads were just souvenirs from the Philippines, sent by a cousin who had served on the islands during World War two.
FNA: But they weren’t, were they?
BILLY: No…they turned out to be human facial skins, and Eddie would wear them as masks.
EXT. DOWNTOWN PLAINFIELD – DAY
{The FEMALE NEWS ANCHOR is walking around down town, stopping random LOCAL RESIDENTS and talking to them about the case.}
FNA: {to an OLDER MAN} did you know Ed Gein very well?
76 The Cemetery Artist / Ed Gein: a True American Horror Story
OLDER MAN: Only in passing. He’d come into my feed store to buy chicken feed and other things. He seemed like a nice enough fella to me.
FNA: What was your first reaction when you heard what happened?
OLDER MAN: Total surprise; I couldn’t believe it.
EXT. THE SIDEWALK IN FRONT OF HOGAN’S TAVERN – DAY
{The FEMALE NEWS ANCHOR is speaking to HARRY, MARY’S business partner.}
FNA: You were Miss Hogan’s business partner?
HARRY: {emotionally} yes {Pause} and she was my girlfriend, too.
FNA: I’m so sorry {Pause} what was your first reaction when you found out what happened?
HARRY: I couldn’t believe it. I mean, I thought Ed was sort of an odd duck, but not dangerous.
FNA: If you could speak to him right now, what would you say to him?
HARRY: I wouldn’t say anything; I’d just shoot the sick son of a bitch.
77 The Cemetery Artist / Ed Gein: a True American Horror Story
DISSOLVE TO EXT. THE LOCAL CEMETERY - DAY
{ART, BILL, and ALLAN have gathered at the cemetery to see if a MAP that ED had drawn for ALLAN would really lead them to more disturbed grave sites. Close by are two cemetery EMPLOYEES standing next to a backhoe.}
ALLAN: {looking at MAP} it says here one of the graves should be right over here.
BILL: {pointing} I see it!
{They all three walk over to see a grave site that has not been completed. The coffin is resting inside a wooden box, which has not yet been lowered into the ground, about two feet below the surface in sandy soil, which made it easier for ED to reach in and rob it. BILL leans down and using a pry bar, lifts the coffin lid. They all three back away in repulsion, covering their mouths with their hands to keep from gagging.}
BILL: Jesus Christ!
INT. THE COFFIN
{The decomposing body of an OLDER WOMAN lies inside, only partially intact. The dress she’d been buried in has parted down the middle, exposing the torso. Her NIPPLES have been excised, as well as some SKIN from her LOWER TORSO. Two of
78 The Cemetery Artist / Ed Gein: a True American Horror Story her FINGERS have been severed too, no doubt to remove gold or silver rings.}
ART: Sick asshole.
ALLAN: Well, at least Ed wasn’t lying about this. And, it is that much more evidence you can use at the trial.
ART: {glumly} if they ever have a trial.
BILL: I don’t know about you, but I need some fresh air.
ART: Me too. Let’s go down to the diner for some coffee.
{As they turn to leave, they see a FUNERAL is in progress, and some of BERNIE WORDEN’S FAMILY and RELATIVES stand around the casket, paying their last respects. A large PHOTO of her has been placed on the casket, because it was a closed casket service. ART looks sad and walks on by, avoiding eye contact, as if he feels guilty about not having pursued ED sooner.}
EXT. DOWN TOWN PLAINFIELD – A PUBLIC AUCTION – DAY
{The city is hosting a public auction, and one of the items up for sale is ED’S PICKUP TRUCK, which has a sign on it that reads: BEST OFFER. One of the men milling about in the CROWD is BUNNY GIBBONS, a carnival sideshow operator from a neighboring county. Upon seeing ED’S
79 The Cemetery Artist / Ed Gein: a True American Horror Story pickup, he smiles and walks over to the AUCTIONEER, and pulls him to the side.}
BUNNY: How much for the pickup?
AUCTIONEER: You know whose truck that is, don’t you?
BUNNY: I keep up with current events. How much?
AUCTIONEER: I was going to start the bidding at seven hundred dollars.
{BUNNY pulls out a wad of money and counts it real fast, smiling.}
BUNNY: I’ll give you seven hundred and sixty dollars.
{The AUCTIONEER stands debating it for a few seconds, glancing over at the pickup and back to BUNNY.}
AUCTIONEER: Sold.
EXT. THE CARNIVAL SIDESHOW – A WEEK LATER – NIGHT
{BUNNY has set the truck up for display inside a big tent, with signs outside that read: THE PLAINFIELD GHOUL and THE MAD BUTCHER. Below that, in big red letters, it reads: ED GEIN: THE DEATHMOBILE. See it for 25 cents! A lot of carnival PATRONS are already lining up outside, talking and whispering and laughing amongst themselves as the
80 The Cemetery Artist / Ed Gein: a True American Horror Story carnival BARKER walks out now, bellowing to the CROWD.}
BARKER: Yes, ladies and gentlemen, for a mere twenty five cents, you can see the Deathmobile that the Plainfield Ghoul, Ed Gein, used to transport his victims to his torture chamber!
{ART walks by now, with this GRANDSON and GRANDDAUGHTER, and he glances at the macabre display with disgust.}
GRANDSON: Grandpa! Let’s go see the scary car!
ART: {leading them away from it} no, son, let’s go on one of the rides, ok?
{As ART leads them away, looks back over his shoulder with hatred and loathing for BUNNY, who is now standing outside the tent bellowing to the CROWD as well.}
ART: {under his breath} sick bastard.
FADE OUT
FADE IN EXT. THE ART SCHLEY HOME – NOVEMBER 7TH, 1968 – DAY
{ART is standing in his front yard raking leaves and watching his GRANDCHILDREN play close by. He smiles, his face beaming, much unlike he was years ago during the ED GEIN investigation. BILL
81 The Cemetery Artist / Ed Gein: a True American Horror Story pulls up in the driveway now, climbs out of the cruiser carrying an apple pie.}
ART: {jokingly} another pie, Bill? Are you trying to give me a heart attack?
BILL: My wife keeps on making them, and I keep on giving them away.
ART: {taking the pie} thanks, Bill.
BILL: No problem.
{There is an uncomfortable silence for a few moments.}
BILL: So, are you going to attend the trial next week?
ART: Hadn’t planned on it, no.
BILL: That’s sort of hard to believe.
ART: Why’s that? A lot of folks blamed me, for not arresting him sooner.
BILL: I just thought it might give you some closure, that’s all.
ART: {jokingly} the only closure I’ll ever need is when they lower me into the ground – without having to worry about Ed digging me up.
BILL: {grinning} I heard that. Well, better go deliver the rest of these pies before the little lady thinks I got lost.
82 The Cemetery Artist / Ed Gein: a True American Horror Story
ART: I heard that.
{BILL turns to leave then looks back over his shoulder.}
BILL: Art?
ART: Yeah?
BILL: You’d best get inside and watch that bum ticker of yours.
ART: {smiling} my heart will be just fine, Doctor Bill.
{As BILL leaves, ART’S wife, ALMA, opens the front door and yells at him.}
ALMA: Art, you and the kids get in here right now! Dinner is almost ready!
ART: {jokingly} yes ma’am, right away, boss.
{As ART walks over to lean the rake against a tree, he suddenly clutches his chest and his face is frozen in a mask of pain, as if he’s having a heart attack. He collapses on the ground, writhing in pain, as the GRANDCHILDREN run over to him, scared.}
GRANDSON: Grandpa!
GRANDDAUGHTER: What’s wrong with him?!
GRANDSON: Go tell grandma, fast!
83 The Cemetery Artist / Ed Gein: a True American Horror Story
{The GRANDDAUGHTER runs toward the house as the GRANDSON cradles ART’S head in his arms.}
DISSOLVE TO INT. WAUSHARA COUNTY COURT – NOVEMBER 14TH, 1968 - DAY
{ED’S first trial date has finally come, and BILL sits in the back, wanting to be there since ART had a fatal heart attack. ED sits with his PUBLIC DEFENDER at one table and the PROSECUTING ATTORNEY sits at the other, going over his notes. JUDGE ROBERT H. GOLLMAR comes in now, and everybody rises until he sits down. There are also NEWS REPORTERS and VICTIM’S FAMILY MEMBERS sitting in the courtroom as well.}
JUDGE: {to PD} Counselor, do you have your arguments ready?
PD: Yes, your honor.
PA: Yes, your honor.
JUDGE: You may proceed.
PD: Your honor, I’d like to call a character witness to the stand.
JUDGE: You may proceed, counselor.
PD: I’d like to call Dr. Karen Barnes, Mr. Gein’s psychologist from Central State Hospital.
84 The Cemetery Artist / Ed Gein: a True American Horror Story
{KAREN BARNES walks in, taking a seat of the stand as the BALIFF swears her in. After the BALIFF walks away, the PD walks over wearing a big smile.}
PD: So, Miss Barnes, I see you have been Ed Gein’s doctor for over six years now?
KAREN: {smiling} that’s right.
PD: During Ed Gein’s evaluation, have you ever witnessed any behavior that would lead you to believe he’d be capable of murder?
KAREN: Mister Gein has been nothing but cooperative during his stay with us.
PD: Go on.
KAREN: He was, at times, sort of ‘distant,’ but otherwise seemed harmless.
PD: Distant? Would you care to elaborate?
KAREN: Mister Gein has had a hard life to begin with; a family history of alcoholism and pyschological abuse from his father. Then his mother, Augusta, suffered a paralyzing stroke shortly after his brother Henry's death, and Ed devoted himself to taking care of her.
PD: In your professional opinion, was it his mother’s death that sent him over the edge?
85 The Cemetery Artist / Ed Gein: a True American Horror Story
{KAREN removes a hanky from her purse and wipes her eyes before continuing. Members of the JURY watch this, some of them indifferent to her emotion and others obviously sharing in it.}
KAREN: Oh yes, very much so; Ed was devastated by her death. He had lost his only friend and one true love. And he was absolutely alone in the world {Pause} wouldn’t that have pushed you over the edge?
PD: Thank you, Miss Barnes, and I have no further questions at this time, your honor.
JUDGE: Miss Barnes, you may step down.
{As KAREN steps down, the PA stands, looking over his notes.}
PA: Your honor, I’d like to call Deputy Sheriff Bill Thomas to the stand.
JUDGE: You may proceed.
{BILL walks up now being sworn in and taking the stand as certain members of the JURY whisper amongst themselves.}
PA: Mr. Thomas, I understand that your co-worker – and close friend – Mr. Art Schley, passé away recently from heart failure.
BILL: Yes, sir, he did.
86 The Cemetery Artist / Ed Gein: a True American Horror Story
PA: You have my sympathies.
BILL: Thank you.
PA: Mr. Thomas, do you feel that Mr. Schley’s death was caused, in part, by this case?
PD: Objection, your honor; Mr. Schley passed away years after this case first came to light. I see no relevance here whatsoever.
JUDGE: Over ruled. You may continue, counselor.
PA: Well, Mr. Thomas?
BILL: {choking back emotion} in my opinion, yes, it did. He was traumatized by the horror of Gein's crimes and this, along with the fear of having to testify, caused his death. He was a victim of Ed Gein as surely as if he had butchered him like he did Bernie Worden.
PA: {smiling} thank you, Mr. Thomas. No further questions at this time, your honor.
JUDGE: {smiling} Mr. Thomas, you may step down.
{ED leans over and whispers something to the PD, and the PD shakes his head no and ED looks disappointed and leans back in his chair, as quiet as a mouse.}
87 The Cemetery Artist / Ed Gein: a True American Horror Story
JUDGE: {sarcastically} is there anything else, counselor?
PD: Well…
JUDGE: It’s almost lunch time, counselor. Spit it out.
PD: Mr. Gein wanted to bring up the fact that during his initial interview, Sheriff Art Schley physically assaulted him.
JUDGE: Your point being, counselor?
PD: Point being, your honor, maybe Mr. Schley’s temper helped to aggravate an existing heart condition, therefore causing his death?
JUDGE: That’s pure speculation and nothing more, counselor. Is there anything else?
PD: No, your honor, not at this time.
JUDGE: Good. This court is adjourned until tomorrow morning at nine AM.
EXT. THE COURTHOUSE PARKING LOT – DAY
{BILL THOMAS is standing outside smoking a cigarette when his wife, RENEE, walks up to him to console him. Upon seeing her, his eyes light up, but his smile seems forced.}
RENEE: So, good news or bad news?
88 The Cemetery Artist / Ed Gein: a True American Horror Story
BILL: {glumly} I’m not sure yet.
{RENEE steps closer placing her arms around his neck and planting a gentle kiss on his cheek.}
RENEE: Better?
BILL: {smiling} much better, thanks.
RENEE: You know, I made a couple of pies this morning. Why don’t we give one to Alma?
{At the mention of giving ART’S widow a pie, BILL’S face is beaming now.}
BILL: I think that’s a wonderful gesture.
INT. THE WAUSHARA COUNTY COURT – NOVEMBER 18TH, 1968 - DAY
{It is the 4th day of the trial, and the courtroom is packed with local SPECTATORS, including NEWS REPORTERS. As ED is brought in wearing handcuffs and seated by a GUARD, he and his PD whisper to one another as the PA goes over his notes. The JUDGE seems irritable and impatient.}
JUDGE: Are we almost ready, counselor?
PD: Not yet, your honor.
PA: I’m ready, your honor.
89 The Cemetery Artist / Ed Gein: a True American Horror Story
JUDGE: Splendid! You may proceed.
PA: Your honor, I’d like to call Mister Ed Gein to the stand.
{The PD’S eyes grow wide with surprise – and suspicion.}
JUDGE: Is there a problem, counselor?
PD: No, your honor, we just weren’t quite prepared yet.
JUDGE: Well, that’s unfortunate, counselor, because I’m allowing it. Mr. Gein, you may take the stand.
{ED rises and slowly approaches the stand to be sworn in, then takes a seat, fidgeting nervously with his hands. The PA approaches the stand, smiling.}
PA: How do you feel today, Mr. Gein?
ED: Fine I guess.
PA: Do you mind if I ask you some questions?
ED: {glancing at the PD} I guess it’s ok.
PA: Good. Now, first of all, would you tell the court why you were in Worden’s hardware store on November fifteenth, 1957?
ED: I can’t rightly remember back that far.
90 The Cemetery Artist / Ed Gein: a True American Horror Story
PA: I have a receipt here that says you went there to but some antifreeze from Miss Bernice Worden.
ED: Oh yeah, I remember now.
PA: Imagine that {Pause} go on.
ED: My old truck don’t run right without antifreeze, and I went there to get some.
PA: The receipt says you bought some kerosene, too. What was it for?
ED: I use to start fires in my fireplace.
PA: Is that all you use it for?
ED: I burn leaves sometimes too.
PA: Just like the day your brother died?
PD: Objection, your honor. This has nothing to do with Bernice Worden’s death.
JUDGE: I’m allowing it, counselor. Go on.
PA: Thank you your honor. Now Ed – you don’t mind if I call you Ed, do you?
ED: Ok by me.
PA: Good. Now Ed, did you like Miss worden?
ED: What do you mean?
91 The Cemetery Artist / Ed Gein: a True American Horror Story
PA: You know, like her, as in a friendly way.
ED: Sure. She was a really nice lady.
PA: How often did you go into the store?
ED: Not much, about once or twice a month.
PA: Did you ever see her away from the store, socially?
ED: Not really, I’d just see her on the street.
PA: Did you ever have any occasion to go to her home?
ED: No. I mean, she never did invite me over or anything.
PA: So, you never saw her in private, socially?
ED: No, sir.
PA: Ed, now be truthful; you liked Miss Worden as more than a friend, didn’t you?
ED: What do you mean?
PA: Now Ed, you know what I mean.
ED: You mean like a girlfriend? No, sir.
92 The Cemetery Artist / Ed Gein: a True American Horror Story
PA: No, I mean like in she reminded you of your mother.
ED: {thinking about it} well…I guess she did, in a way.
PA: After your mother died, you were very lonely, weren’t you?
ED: I guess so {Pause} wouldn’t you be?
PA: Sure I would. And if I met a really nice lady like Miss Worden that reminded me of her, I’d want to spend a lot of time with her.
ED: Yeah…I guess so.
PA: I bet you would have liked to keep Miss Worden around forever, huh?
PD: Objection, your honor-
JUDGE: Over ruled. Go on, counselor.
PA: I bet you even would have kept parts of her around, wouldn’t you, Ed?
PD: Objection, your honor!
JUDGE: I think we should take a lunch break, and continue this conversation this afternoon.
INT. THE JUDGE’S CHAMBERS
{The JUDGE is sitting behind his desk eating a sandwich and the PD and PA are
93 The Cemetery Artist / Ed Gein: a True American Horror Story sitting in front of the desk, in silence, waiting for the JUDGE to finish. The JUDGE stops eating, dabs at his chin with a napkin, and sighs.}
JUDGE: {to PD} first of all, counselor, I do not intend for this case to turn into a three ring circus.
PD: {feigning ignorance} what do you mean?
JUDGE: Don’t play dumb with me, counselor. You know as well as I do that Ed Gein is as dirty as dog shit. The only reason he’s not been lynched already is because, unfortunately, he is entitled to due process of the law like anyone else.
PD: And it is my job to-
JUDGE: And it is my job to make sure Ed Gein never gets another chance to dress a woman out like a deer. Do you see where I’m going with this, counselor?
PD: Yes, your honor.
JUDGE: In my opinion, crazy or not, I believe Mr. Gein is one smart cookie, and I don’t intend to allow him to draw this case out any longer than is necessary, you understand?
PD: Yes, your honor.
94 The Cemetery Artist / Ed Gein: a True American Horror Story
JUDGE: Good. Now after lunch, let’s get this wrapped up. I’m sick of wasting tax payer’s hard earned coin on this case.
INT. THE COURTROOM – MID-AFTERNOON
{The PA is grilling ED on the WORDEN murder again.}
PA: So, Ed, the day of Miss Worden’s death, had you been at the hardware store?
ED: I can’t rightly remember.
PA: The receipt says you were.
ED: Oh yeah, that day.
PA: Yes, that day. Now, you told the Sheriff, the late Arthur Schley, that you were there hat day, and found blood on the floor.
ED: I never said that.
PA: {looking over case file} it’s right here. You told a Mr. Allan Wilimovsky the same story – in a private interview.
ED: Oh yeah…I remember now, I walked in and saw blood on the floor behind the cash register.
PA: Miss Worden’s blood, correct?
ED: I guess it was {Pause} I black out sometimes.
95 The Cemetery Artist / Ed Gein: a True American Horror Story
PA: Black out?
ED: My doctor at the hospital said I was in a ‘daze-like state,’ when it happened, so I didn’t remember it.
PA: Uh-huh. Now Ed, be truthful; it was her blood, and it came from where you shot her with a .22 caliber pistol.
ED: I surely don’t remember that, no sir.
PA: I don’t see how you couldn’t remember someone you murdered, Ed.
PD: Objection, your honor, I-
JUDGE: Over ruled. You may continue, counselor.
PA: Thank you. Here’s the way I see it, Ed; you waited outside until she was alone, walked in, catching her off guard, and shot her, isn’t that right?
ED: Alright, alright; I shot her.
{There are muffled gasps from the SPECTATORS now.}
PA: After you shot her, what did you do?
ED: What do you mean?
PA: After you shot her, what did you do with her?
96 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: I didn’t do anything but walk around behind the counter.
PA: And then?
ED: I just stood there looking at her and feeling sad.
PA: Was she face-down on the floor or face-up?
ED: {sadly} Well, I guess you’d call it face-down. She was face-down on the office desk.
PA: I thought you said she was lying behind the front counter.
ED: No, sir. I shot her in the office. She fell face-down on her desk.
PA: Alright. And you told the Sheriff you saw blood?
ED: Yes, sir.
PA: Did you see a lot of blood?
ED: Just blood, I couldn’t tell how much.
PA: And where was the blood coming from, could you tell?
ED: Sure, it was coming from the bullet hole in her head.
PA: You shot her in the head?
97 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: Yes, sir, and the chest.
PA: Did you think to go get a doctor?
ED: No, sir.
PA: Why not? She was a friend of yours, wasn’t she?
ED: Yes, sir, but I didn’t want anybody to see her that way.
PA: And because you wanted to take her home with you, right?
ED: Yes, sir {Pause} I didn’t want to leave her that way.
PA: Ed, do you ever go deer hunting?
ED: {confused} sir?
PA: Deer hunting.
ED: I mostly hunt small game, squirrels and such.
PA: Have you ever gone deer hunting?
ED: Yes, sir, a few times.
PA: Then you are familiar with dressing out a deer, right?
ED: Yes, sir, I guess so.
PA: Now, you testified that ever since you were a little boy, the sight of blood
98 The Cemetery Artist / Ed Gein: a True American Horror Story and guts made you sick, right? That you’d ‘black out’?
ED: Yes, sir.
PA: Are you sure you didn’t ‘black out’ that day at the hardware store? Don’t remember taking her home and dressing her out like a deer, because the sight of her blood made you sick?
ED: {confused} I don’t know…
PA: Here’s what I think, Ed; I think you went to her store with every INTENTION of abducting her, and when you saw that she was frightened, you shot her, then took her home and kept her, because she reminded you of your mother.
PD: Objection, your honor-
JUDGE: Over-ruled! You may continue, counselor.
PA: And then you hung her up in your barn, cut off her head, and gutted her like a deer, didn’t you?
ED: I-
PA: And then you kept her head and sliced off the skin and made a mask from it, to wear around the house because it made you feel as though your mother were still alive, right?
ED: I guess so {Pause} yes, sir.
99 The Cemetery Artist / Ed Gein: a True American Horror Story
PA: Is it true you would wear the skin masks all the time?
ED: Not all the time, no sir. Sometimes.
PA: I believe you told Allan that you would remove only certain sections of flesh?
ED: Yes, sir. Didn’t need all of it.
PA: What sections?
ED: The head first.
PA: Just the head first? How about the vagina?
ED: Well, that – not always. They were stinky by then.
PA: In removing the head, did you first cut through and then snap the bone?
ED: I guess I’d call it snapping, yes.
PA: Would you work the head back and forth in the same fashion as you would when you attempt to break a piece of wire in two?
ED: I guess that’s a good description, yes.
{A member of the JURY begins gagging now, and runs from the courtroom.}
100 The Cemetery Artist / Ed Gein: a True American Horror Story
PA: Did you ever think about cutting off your own penis and then placing a woman’s vagina over the hole?
ED: Well, part of that is true.
PA: What part?
ED: Like removing part of myself.
PA: Meaning your penis?
ED: Yes, sir.
PA: Do you have any recollection, Ed, of taking a vagina, and holding it down over your penis to make it seem like you had a vagina?
ED: I believe so, yes.
PA: How about the faces? Was there a resemblance in the faces to that of your mother?
ED: I believe there was some, yes, or I wouldn’t have done it.
PA: Before we take a break, Ed, tell me; do you know anything about the two missing Girl Scouts?
ED: Who?
PA: There are two missing girls, who disappeared while they were out selling Girl Scout cookies. Do you know anything about that?
101 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: Lordy no, I wouldn’t ever hurt little girls.
PA: I have no further questions at this time, your honor.
JUDGE: Mr. Gein, would you please step down before I get sick?
ED: Yes, sir.
FADE OUT
FADE IN INT. THE HOME OF ALMA SCHLEY – DAY
{BILL, his wife RENEE, and ART’S widow, ALMA, are all sitting at the kitchen table sipping coffee and eating apple pie and chatting. ALMA, an attractive woman, with dark hair, big blue eyes, and a slim figure that was actually accented by her uncommonly casual clothing she bought faithfully from JC Penney’s, looks as though she’s aged a lot over a three week period since ART’S death, but does her best to keep a smile for her company.}
RENEE: How are you holding up, Alma? {Pause} oh my God, I’m sorry, what a stupid question.
ALMA: {forcing a smile} as well as can be expected, I guess.
BILL: You look good.
102 The Cemetery Artist / Ed Gein: a True American Horror Story
ALMA: You’re bad liar, Bill, but thanks just the same.
RENEE: I didn’t want to bring this up, but-
ALMA: No, I’m not going to the trial.
RENEE: Sorry.
ALMA: It’s fine, dear. I’m holding up better than I thought I would, but I do NOT want to be in the same room with Ed Gein. It is HIS fault my Art died when he did.
BILL: Are you sure? It might give you some closure.
TIGHT SHOT OF ALMA’S FACE
ALMA: The only closure I want is to see Ed Gein strung up by a lynch mob.
DISSOLVE TO EXT. THE WAUSHARA COUNTY COURT – NOVEMBER 20TH, 1968 – DAY
{A small MOB has gathered out front, being held at bay by local and State POLICE. It is virtual LYNCH MOB, with some of the mob holding homemade signs that read HANG ED GEIN and BUTCHER!, and another man holding a makeshift NOOSE.}
INT. THE COURTROOM
103 The Cemetery Artist / Ed Gein: a True American Horror Story
{The sixth day of the trial is in session, with ED being questioned by the PA again.}
PA: So, Ed, what did you think of Miss Worden?
ED: What do you mean?
PA: You know, the similarities between her and your mother.
ED: I liked her that way, yes {Pause} she was so nice. I did take her because of the resemblance to my mother. The height and weight was the same and she had a vague resemblance in the cheekbones.
PA: Were your feelings toward Mary Hogan the same as you had toward Bernice?
ED: That’s right.
PA: And what was that feeling?
ED: Every time I saw her she was friendly and nice.
PA: What was it about Mary Hogan you found similar to your mother?
ED: That same friendliness, and thinking it over now, I believe she must have been about the same height and weight and all.
PA: Could you have taken Mary and put her in the coffin hat had formerly been occupied by some other woman?
104 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: {haltingly} could be…
PA: Let’s talk a bit more about the masks.
ED: Ok…
PA: Was there a resemblance in the masks to that of your mother?
ED: I believe there was some, yes.
PA: Did you place any of the other masks over your face? I mean, other than those of Mary and Bernice?
ED: Yes, sir. I’m pretty sure of that {Pause} The parts sort of like eyes…those parts of the head.
PA: Do you remember how you held the masks in place over your own?
ED: I believe I used a piece of rawhide leather…yeah, that was it.
PA: Did you ever wear them over a prolonged period of time?
ED: No, sir. I had other things to do, so only about an hour or so.
PA: Did you ever place a pair of women’s panties over your penis and pretend you had a vagina?
105 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: {thinking} yeah…I believe so, yes. It felt good. Soft and silky.
PA: Did you ever place a disembodied vagina over your penis?
ED: Yeah…that could be, yeah.
PA: Have you ever had homosexual tendencies, Ed?
ED: You mean like, going to bed with a man?
PA: Yes.
ED: No, sir, no way. I’m not a queer.
PA: Did you ever have sex with any of the corpses?
ED: Just once, because she wasn’t all smelly yet.
PA: Pardon me?
ED: You know, she hadn’t been dead very long, so her vagina wasn’t all that stinky yet, and it was sort of soft and mushy, so it felt real good.
PA: No further questions, your honor.
JUDGE: Mr. Gein, you may step down. Counselor, do you have any further questions?
PD: {glumly} no, your honor.
106 The Cemetery Artist / Ed Gein: a True American Horror Story
JUDGE: Good {looks at the JURY} ladies and gentlemen, the court will now be adjourned until you reach a verdict. Thank you for your time and patience in this matter. You may be excused.
DISSOLVE TO INT. THE COURTROOM – AN HOUR LATER
{The MEDIA and all SPECTATORS have been removed, and the only people in the courtroom are the JUDGE, the BALIFF, the JURY, ED, his PD, and the PA.}
JUDGE: So, members of the jury, have you reached a verdict?
JURY FOREMAN: Yes, your honor.
JUDGE: Baliff, if you would, please?
{The BALIFF walks over and retrieves the small piece of paper with the verdict on it and hands it to the JUDGE. He unfolds it, reads it, and hands it back to the BALIFF, who returns it to the JURY FOREMAN.}
JUDGE: What say you, the jury?
JURY FOREMAN: We, the jury, find the defendant, Mr. Edward Theodore Gein, guilty of murder in the first degree.
{ED shows no emotion at all, just sits staring blankly at the wall.}
107 The Cemetery Artist / Ed Gein: a True American Horror Story
JUDGE: Thank you, Mr. foreman, you may be seated.
{The JUDGE sits in silence for a few moments, then begins speaking to ED.}
JUDGE: Someone has told me that this case, Mr. Gein, is a very ‘unique’ case, and I must say that is the understatement of the decade {Pause} then again, in many aspects, it is very unique. The evidence, though, is still undisputed that you, Mr. Gein, willingly and knowingly fired the fatal bullet into Bernice Worden’s skull, killing her, then proceeded to do unspeakable things to her remains.
PD: Your honor, may my client say something?
JUDGE: {sighing} I guess so, but he best make it quick.
{ED stands up, his head hanging in shame.}
ED: Your honor, I just wanted to say that I feel terrible for the things I’ve done, and I-
JUDGE: {holding up his hand} well, Mr. Gein, it’s a little too late for that, isn’t it? {clears his throat} in view of the evidence, the court has determined that the offense committed here is first degree murder. However, since you have been found legally insane, I cannot impose the death penalty upon you, but
108 The Cemetery Artist / Ed Gein: a True American Horror Story instead have to have you remanded to the Mendota Mental Health Institute, where you will remain for the rest of your natural life {Pause} and may God have mercy on your soul.
DISSOLVE TO INT. THE MENDOTA MENTAL HEALTH INSTITUTE – 1979 – DAY
{JUDGE ROBERT H. GOLLMAR is being led down a hallway to a private interview room, where he will talk to ED GEIN for the first time since the trial. Upon entering the room, he sees ED sitting at a small table, shackled to the table for security’s sake, but wearing a pleasant smile. The JUDGE sits down, motioning to the hospital ORDERLY he can leave them alone.}
ORDERLY: Are you sure?
JUDGE: I’ll be fine, right Ed?
ED: Sure.
{The ORDERLY leaves the room, closing it behind him and locking it.}
JUDGE: So, Ed, how have you been?
ED: As well as can be expected, I guess.
JUDGE: You look good.
ED: So do you.
109 The Cemetery Artist / Ed Gein: a True American Horror Story
{There is an uncomfortable silence between them.}
JUDGE: Ed, I have been asked to write a book about the case, and I thought I’d come over and talk to you first.
ED: What about?
JUDGE: Well, for instance, is there anything you’d like to say in the book?
ED: Well, I guess that quite a bit came out after the Sheriff died, you know, stuff that wasn’t used in court.
JUDGE: You mean that night at the jail when he beat your head against the wall? That wasn’t a very nice thing to do.
ED: Yeah, the only thing that didn’t happen was they didn’t have bright lights shining in my eyes or using water torture.
JUDGE: I’m real sorry about that.
ED: It wasn’t your fault.
JUDGE: I remember when they had you in Madison, they did feed you some apple pie with cheese on it and some fresh coffee.
ED: Yeah, they had some pumpkin pie too, but I didn’t like it much.
JUDGE: How old are you now, Ed?
110 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: Sixty five.
JUDGE: {jokingly} you’re still a boy compared to me, I’m seventy-one.
ED: {smiling} you got me beat by six, Judge.
JUDGE: Is your health pretty good?
ED: Pretty fair, I guess.
JUDGE: Generally, how do they treat you here?
ED: The food is good, everything is pretty good, really. I was surprised.
JUDGE: Do you miss Plainfield?
ED: No, not really.
JUDGE: You weren’t happy at all when you lived there?
ED: Well, not what you’d call real happy, no. There were a lot of debts on my place, and I was suffering from a lot of tension all the time.
JUDGE: Understandable {Pause} Ed, is there anything at all in particular you want me to put in this book?
ED: Well, one thing you probably remember is how the Sheriff seemed to have it out for me, even before I’d done anything wrong.
111 The Cemetery Artist / Ed Gein: a True American Horror Story
JUDGE: I heard. Sorry {Pause} do you still read a lot?
ED: Yeah, but more interesting things now, like local newspapers, keep up with current events. You have to keep up with things in the world, you know.
JUDGE: How true {Pause} do they have an extensive library here?
ED: Pretty fair, but they don’t have any of the books I used to read, you know, adventure and stuff.
JUDGE: Are you allowed to take out any books you want and read them?
ED: Sure.
{There is an uncomfortable silence between them again.}
JUDGE: Ed, could I ask you a question before I go? I promise I won’t tell anybody what you said.
ED: Ok…
JUDGE: Why, Ed? Why did you do the things you did to those women?
{ED becomes very quiet and distant now, staring off into space.}
JUDGE: Ed?
112 The Cemetery Artist / Ed Gein: a True American Horror Story
ED: My mama told me one time, she said, Ed, demons are real, and the real demons – unlike the ones conjured up by filmmakers and book writers – are even more terrifying, because they are spawned within your own heart, by you, and although Satan has a hand in tempting you with them, it is still you, and you only, that makes the final decision as to whether your inner demons will ever go away.
JUDGE: Do you think your demons will ever go away, Ed?
ED: I don’t know…I hope so.
DISSOLVE TO EXT. THE HOME OF BILL THOMAS – JULY, 1984 – DAY
{BILL and RENEE are sitting in the back yard sipping lemonade and watching the sun go down. They seem almost hypnotized by the beauty around them; the rolling green hills, the multi-colored leaves on the trees, the sunset. A slight breeze blows through their hair, and they both smile.}
RENEE: So, are you sorry you retired?
BILL: Why do you ask that?
RENEE: You seem very bored.
BILL: I’m not bored, I’m ‘relaxed.’
113 The Cemetery Artist / Ed Gein: a True American Horror Story
RENEE: {jokingly} if you got any more relaxed, you’d be catatonic.
{A car pulls up now, and ALLAN WILLIMOVSKY climbs out, using a cane to get around. He’s much older now, but in decent shape for his age. He smiles and waves.}
ALLAN: Evening, folks. Beautiful sunset, huh?
BILL: Sure is. What brings you all the way out here?
ALLAN: You don’t know?
RENEE: Know what?
ALLAN: Ed Gein died three days ago, of a heart attack.
RENEE: How befitting.
BILL: And ironic.
ALLAN: I just thought you’d want to know.
BILL: Does Judge Gollmar know?
ALLAN: Sure he does, he always kept up with him, see?
{ALLAN pulls out a copy of the JUDGE’S BOOK and hands it to BILL.}
BILL: What’s this?
114 The Cemetery Artist / Ed Gein: a True American Horror Story
ALLAN: The Judge wrote a book about the case back in eighty-one.
BILL: Well I’ll be damned. Am I in there too?
ALLAN: Sure you are, and Art, too. He signed it and told me to give it to you.
{BILL opens it and sees the autograph, smiles, and thumbs through it. He gets to the back of the book and reads a little of it, and smiles again.}
BILL: What do you think, Allan? You think Ed’s demons ever went away?
ALLAN: Who knows? {Pause} but I doubt it.
{ALLAN turns to leave.}
ALLAN: Well, I better get going, I have a long drive ahead of me.
BILL: Well, come back when you can stay longer, ok?
RENEE: We’ll cook up some fried chicken and mashed potatoes.
ALLAN: Sounds good. Bye now.
BILL & RENEE: Bye-bye.
{As ALLAN leaves, BILL suddenly rises up from his chair, stands facing the sunset, the golden glow illuminating his face with its life-giving light, and closes
115 The Cemetery Artist / Ed Gein: a True American Horror Story his eyes. He clasps his hands behind his back, and bows his head as if in prayer. Her heart deeply touched by the act, RENEE reaches behind him, interlocking her hand with his, and bows her head as well. After a few moments, she opens her eyes, and finds him staring out at the fading sunlight.}
RENEE: What did you wish for?
BILL: I wasn’t making a wish; I already have all a man could ever wish for.
RENEE: What were you praying for, then?
BILL: For all of this to never end.
RENEE: It won’t if I have anything to do about it, Bill Thomas.
BILL: {smiling} ditto.
RENEE: Wow, what a hopeless romantic you are.
BILL: I try.
{They both turn and face the sunset again as:}
FADE TO BLACK WITH THE TITLES:
‘Ed Gein died on July 26th, 1984, of respiratory and heart failure due to lung cancer at the age of 77 in Stovall Hall at the Mendota Mental Health Institute.’
116 The Cemetery Artist / Ed Gein: a True American Horror Story
‘His grave site in the Plainfield Cemetery was frequently vandalized over the years; souvenir seekers chipped off pieces of his gravestone before the bulk of it was stolen in 2000. The gravestone was recovered in June 2001 near Seattle and is now in storage at the Waushara County Sheriff's Department.’
‘The story of Ed Gein has had a lasting effect on Western popular culture as evidenced by its numerous appearances in film, music and literature. Gein's story was adapted into a number of movies, including Deranged (1974), In the Light of the Moon (2000) released in the U.S. as Ed Gein (2001), Ed Gein: The Butcher of Plainfield (2007) and Hitchcock (2012). Gein served as a model for several book and film characters, most notably such fictional serial killers as Norman Bates (Psycho), Leatherface (The Texas Chain Saw Massacre), and Buffalo Bill (The Silence of the Lambs}.’
‘Although several other disappearances and deaths in neighboring counties were attributed to Gein, he was never charged in the cases, and they remain cold cases to this day. The exact number of his victims may never be known.’
FADE TO BLACK / END TITLES ROLL
117 The Cemetery Artist / Ed Gein: a True American Horror Story
Brian Lee Tucker is a former bartender, house painter, and a “late-blooming hippie,” whose mother gave birth to him on the way to the Woodstock music festival on August 15th, 1969. Needless to say, he didn’t make it to Woodstock, but he made up for it later by forming his first band, Yellow Moon, at the tender age of twelve years old, with his mother, Karina, and his father, Jackson, on backing vocals and guitar. Influenced by the mellow, smooth sounds of bands like the Mamas and the Papas, the Byrds, and singers like Bob Dylan and Gordon Lightfoot, he created a signature sound all his own, a folk-ish, soft rock style that made him a home town institution around San Fransisco in the early eighties. Staying true to his roots, he is still an avid fan of the classic 60s and 70s pop culture, as well as the classic literature of such noted writers as Harper Lee, J.D. Salinger, and rebel writers like the late Hunter S. Thompson. A fledgling writer and poet, he is currently at work on his first book of fictional stories. Also a hardcore true crime buff, he is currently at work on another screenplay, Chameleon, based on the murderous exploits of serial killer Ted Bundy.
118 The Cemetery Artist / Ed Gein: a True American Horror Story
Other books from author Brian Lee Tucker:
Raging Cannibal: the True Story of serial killer Ottis Toole
Ottis Toole, born at the bottom of the gene pool, retarded and illiterate, had been out of control since early childhood. A severely drug-dependent individual as well as an arsonist, mur- derer, rapist, and cannibal, he was unsafe under any condi- tions outside of a secure prison, and perhaps unsafe there. To him, life itself was so unmeaning, and the distinction between living and dead people so blurred, that killing another human being was no more than swatting an annoying fly. Between 1976 and 1982, together with his serial killer buddy, Henry Lee Lucas, Ottis Toole was reported to have committed over three hundred murders. However, the dis-
119 The Cemetery Artist / Ed Gein: a True American Horror Story crediting of the case against his partner in crime, Henry Lee Lucas, for crimes in which Toole had offered collaborating statements created doubts as to whether either was a genuine serial killer or, both merely compliant interviewees who police used to clear unsolved murders from the books. Now, in RAGING CANNIBAL, a screenplay for film by author D. Daniel Brian, offers up a totally new glimpse into the life of Ottis Toole, one never shown before, the eyewit- ness accounts, personal testimony, and never-before-un- covered evidence providing an in depth loom into one of the most notorious serial killers that ever lived, who was dubbed the nick name, ‘the cannibal kid.’
Available on Amazon Kindle And print format on CreateSpace.com.
120 The Cemetery Artist / Ed Gein: a True American Horror Story
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