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1.
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FADE IN BLACK:
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We hear, very clearly, the sound of light wind.
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1 EXT. TOWN - MAIN STREET - LATE AFTERNOON 1
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We come up on a streetlight. There is no illumination and
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no movement. We hold on it for a long moment when suddenly-
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- The streetlight bobs and then begins to sway. We slowly
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begin to rise up on the streetlight to reveal a small bird
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has landed on it. We continue to rise to reveal, behind the
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bird.
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Wind blows through the gargantuan evergreens that seem to
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engulf the narrow main street of a small town in upstate
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New York. Shop windows and cars on either side covered in
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dust, the place seems frozen in time. There is no movement.
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In the very middle of the road one can see sand. A bizarre
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incongruity, a long pathway about a shovels width runs the
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full length of the street with offshoots into open doorways
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of some of the shops.
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We hold for a long moment:
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2 INT. GENERAL STORE - FRONT - LATE AFTERNOON 2
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Slowly pushing through the doorway of a large general
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store, also covered in dust. To the left, a cash register
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with small shelves of nearly empty candy boxes below. To
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the right, a towering shelf full of bags of potato chips,
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nacho chips and pretzels. None are missing.
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3 INT. GENERAL STORE AISLES - LATE AFTERNOON 3
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WE MOVE SLOWLY across the floor, down the middle of a
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general store. Amid the towering shelves of goods on either
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side, one may recognize a barely perceptible pattern of
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which shelves are bare and which are not. There is no
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movement. No sound.
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Suddenly, TINY FEET JUMP INTO OUR MOVING FRAME! Then, as
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fast as they appeared. They’re gone.
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WE NOW MOVE UP the side of the store, looking down one
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aisle and the next. As we arrive at the next aisle we catch
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a glimpse of A SMALL DARK FIGURE!!! And then it's gone.
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2.
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WE CONTINUE along the side of the store until we arrive at
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the last aisle. At the far end of the store we see a
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counter.
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With a window. And shelves. Suddenly A WOMAN APPEARS IN THE
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WINDOW!
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WE GO CLOSE ON THE WOMAN as she scans the shelves, slowly
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lowering herself to the ground until behind her we see an 8
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year old boy sitting slumped against the wall HE IS
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BAREFOOT.
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On closer inspection we see sweat on the boy’s brow, his
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skin pale from fever. The woman’s knee touches down on the
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ground next to the boy as she sees what she’s been looking
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for. She reaches out her hand.
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WE GO CLOSE ON HER HAND as it reaches toward a shell of
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orange prescription drug bottles. Her hand suddenly begins
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to shift certain bottles ever so slightly AT A BIZARRELY
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SLOW PACE, she does not make a sound. As she does this, we
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get our first glimpse of names. Names of drugs. Names of
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people.
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HER HAND finally arrives at the very back of the shelf as
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she gently twists a bottle that reads AMOXICILLIN.
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ON THE MOTHER as she inhales slowly. And then, as if doing
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surgery, she slowly closes her hand around the bottle and
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GENTLY begins to move it through the shelf toward her. Her
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hand, once again moves incredibly slowly, her now wider
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closed hand shifts even more bottles as it passes. JUST as
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she gets to the end of the shelf a bottle shifts with a
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RATTLE of pills. This is the first, deliberate sound we’ve
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heard. The mother FREEZES!!!!
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WE RACK FOCUS to the boy on the ground, who now looks up
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with panic. The mother’s eyes look all around the room. The
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way one does when they are waiting for something, LISTENING
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for something. After a long moment, she pulls the bottle in
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her hand the final few inches, and off the shelf.
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The mother draws a huge breath of relief. As she stands up,
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we reveal, just over the counter TWO EYES LOOKING UP AT
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HER!!!
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4 INT. AISLE - LATE AFTERNOON 4
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A 10 year old girl stands on her toes, barely able to see
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over the wooden counter to her mother. She smiles at her
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mother.and gives her a thumbs up. With that she’s off.
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3.
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WE FOLLOW HER as she runs lightly through the store, she is
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also barefoot.
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The GIRL turns down an aisle to reveal a small boy sitting
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on the floor. He too is barefoot.
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As the girl approaches we see, in the thick dust on the
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floor he has drawn a rocket ship. She sits with him.
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He silently puts his hand to his chest, palm to the side,
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crosses his first two fingers of his other hand with
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deliberate focus, and then slowly puts his two hands
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together. He then looks up at her and quickly shoots his
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crossed fingers into the air like a rocket. She beams with
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pride for a moment and then signs back to him.
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DAUGHTER
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(SIGNING)
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Very good job!
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BOY
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(SIGNING AS BEST HE CAN)
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That’s how--we get away.
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The girl’s smile falls ever so slightly. Then the boy
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suddenly TAPS her on the shoulder and scurries away. She’s
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“it”.
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As the girl slowly gets up to follow him, we see for the
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first time A HEARING AID.
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The boy disappears around a corner.
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5 INT. NEXT AISLE - LATE AFTERNOON 5
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The girl comes around the tall shelf into the next aisle
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when suddenly her eyes go wide!!! What she sees is the boy
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standing on a small box, STRETCHING to reach a toy on a
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high shelf. She walks quickly to him when suddenly the toy
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FALLS.
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The girl instinctively SLIDES to the ground and catches the
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toy JUST as it’s about to hit the ground! On her face we
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can see she is TERRIFIED! She closes her eyes, taking a
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breath with relief. When she opens them, in the foreground,
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we see the toy she is holding a small TOY SPACE SHUTTLE.
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Then in the distance past the toy we see a FIGURE.
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4.
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She sits up to see a man standing outside the door of the
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general store, holding a large box with what looks like a
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quilt hanging out of it. A look of fear on his face
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softens, as he mimes wiping his brow with relief. She
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smiles, puts the toy back on a shelf and runs to him.
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6 INT. GENERAL STORE - FRONT - LATE AFTERNOON 6
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The father gently puts the box on the ground and pulls back
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the pieces of thick quilt to reveal that all the contents
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are actually wrapped in it.
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He then reaches for a LARGE HIKING BACKPACK, and begins
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transferring the contents of the box into the bag. As he
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does, we see, cans of food, a variety of prescription
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pills, bandages and wrapped syringes.
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The girl arrives at his side and excitedly starts rummaging
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through the box as well. As she does, we see thick paint
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brushes, bottles of glue, bottles of lighter fluid and a
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stack of old newspapers.
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Then, her face lights up. From the box, she pulls out a
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SALVAGED SECURITY CAMERA with wires exposed. The girl gives
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it a brief once over and then removes, two exposed CIRCUIT
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BOARDS, very obviously only recently removed from whatever
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appliance they belonged to. The girl scans the boards with
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a voracity, pointing out to the father particular areas of
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interest. Her father can’t help but smile.
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Suddenly, the box of Amoxicillin comes into frame and is
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placed on top along with two boxes of sugar. The father
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looks up at his wife. After a beat, she signs:
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MOTHER
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(SIGNING)
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For my tea.
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He just keeps looking at her.
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MOTHER
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(SIGNING)
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Fine. I have a sweet tooth.
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The father smiles and is about to close the bag when a
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candy bar is placed on top.
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DAUGHTER
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(SIGNING)
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Me too!
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5.
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The father looks up at her with fake incredulity. Suddenly
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the sick son in his mother’s arms weakly signs:
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OLDER SON
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(SIGNING)
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Me too.
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The whole family laughs silently as the daughter GENTLY
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takes another candy bar from a box below the cash register.
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We can now see why the boxes are almost empty.
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The father looks back to his arriving four year old son,
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expecting the same, but from behind his back the young boy
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reveals the toy space shuttle.
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With a sweet empathy the father reaches for the toy and
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shakes his head no. He turns the toy over and silently
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explains it has batteries, this toy can make noise.
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The little boy watches, confused, hurt, as his father
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gently places the space shuttle on the counter. And then
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gently grabs a big lollipop and puts it in the bag for the
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boy.
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The mother hands their sick son to the father who picks him
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up and walks out. The mother kisses her 4 year old on the
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head, shuffles the hiking bag onto her back and walks out
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too.
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The daughter looks at the boy as tears begin to fill his
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eyes. She smiles and signs:
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DAUGHTER
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(SIGNING)
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It’s ok.
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The boy shakes his head no.
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After a moment, the girl looks back to see if her parents
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are there. She then reaches up and takes the shuttle down
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from the counter. With wide eyes her little brother watches
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as she surgically removes the batteries and places the
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shuttle in the hood of her brother’s sweatshirt. Covering
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it from view, she holds a finger up to her lips in the
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obligatory big sister way of telling him not to get her in
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trouble. He beams!
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She then stands up and places the batteries back on the
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counter, smiles at her brother and gestures “let’s go”.
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7 EXT. MAIN STREET - LATE AFTERNOON 7
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6.
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The daughter exits the General Store and follows her mother
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and father, who are walking down the street only stepping
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on the sand path. Their steps are almost silent.
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After a moment, her four year old brother follows behind
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her.
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We watch everyone walk in total silence.
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Then...
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8 INT. GENERAL STORE - LATE AFTERNOON 8
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We slowly push in to the counter of the store and then
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realize THE BATTERIES ARE GONE!
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9 EXT. ROAD - LATE AFTERNOON 9
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A long road slices its way through a heavily wooded area,
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which further blocks the already fading sun.
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In WIDE PROFILE we see the family walking in a line,
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continuing only on a sand path. The father is in front
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carrying their sick son, then the mother with the backpack,
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then their blonde daughter and trailing a bit behind
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rumbles their robust 4 year old.
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10 EXT. BRIDGE - LATE AFTERNOON 10
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From the ground we look up at an old and rusted bridge
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towering over us eerily, the sand path continues across it.
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WE TRACK WITH THE FAMILY as they walk across the bridge.
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There are minor creaks underneath the sand.
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Suddenly we see, the four year old stops just before the
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entrance of bridge. The family continues not seeing him.
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WE FOLLOW THE BOY’S HANDS as he fishes around in his hood
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and pulls out THE TOY SHUTTLE.
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HEAD ON, we walk with the father, each member of his proud
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brood can be seen walking behind him. We can hear his
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strained breath and the tiniest swish of the footsteps in
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sand.
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7.
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HEAD ON, walking with the daughter, we now suddenly hear
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nothing. As she looks to be in her own world. So we are in
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hers. A smile breaks on her face as she walks and breathes
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in total silence. We walk with her for a long moment, when
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suddenly behind her A FLICKERING RED AND BLUE LIGHT.
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The girl does not turn. She just keeps walking. Still
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smiling. As she looks up to her mother, we go into:
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SLOW MOTION
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- FROM THE GIRL’S POV, we see her mother and father spin
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around with a frantic shock on their faces.
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- BACK ON THE GIRL. She looks confused at her parents
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behavior LIGHTS AGAIN FLASH EERILY BEHIND HER.
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- ON THE FATHER rushing to put the boy on the ground and
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turning to run.
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- ON THE MOTHER, spinning around with terror in her eyes,
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she looks to be holding in a SCREAM.
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- BACK ON THE GIRL slowly beginning to turn around at what
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her parents could be looking at as we:
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SPEED BACK UP TO NORMAL
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A loud playful beeping rushes in from the blinking shuttle.
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Then, from the woods we hear THE MOST UNMISTAKABLE
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HORRIFYING SCREEEEEEEECH!!!
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- ON THE MOTHER as she slowly lowers the backpack to the
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ground and her legs begin to fail her.
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- ON THE FATHER running, violently shaking his head. It
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looks like he’s HOLDING IN A SCREAM.
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- THE TREES BEHIND THEM RUSTLE AND SNAP as something
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barrels through.
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- ON THE BOY holding up his space ship proudly to his
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incoming father an enormous smile on his face.
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- ON THE FATHER 20 feet away his face is a still frame of
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pure fear as he runs to camera. Then:
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THE MOST IMMEDIATE AND TERRIFYING COMBINATION OF SOUND ONE
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COULD EVER IMAGINE.
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A SHRIEK? A SCREAM? A CRUNCH? Then...
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8.
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ON THE FATHER as a thin line of blood splatters on his
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face.
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- Mid run, the father’s body immediately goes limp failing
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him as he comes to a halt just in front of camera.
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- Then, as quickly as it came THE SOUND IS GONE.
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- IN WIDE PROFILE, The father stands lifeless. The two
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children stand frozen with fear, the MOTHER drops to her
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knees and a space shuttle blinks silently in the sand.
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The four year old IS GONE.
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Once again, only the wind can be heard.
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BLACK.
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SILENCE.
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FADE IN:
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TITLE
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A QUIET PLACE
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Still in BLACK. A new sound. Almost like that of the ocean.
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11 EXT. BEACH - LATE AFTERNOON 11
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The new sound continues. In the last of the day’s sunlight:
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WE TRACK, LOOKING STRAIGHT DOWN, on what appears to be an
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empty beach. The pink lit sand, now combined with a sound
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like the ocean, feels serene, almost otherworldly.
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Slowly coming into frame, we see the face of the daughter.
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This is REGAN ABBOTT. Her hair is much longer. She is now
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TWO YEARS OLDER, 12. She just looks different.
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REGAN lays in the sand with eyes closed, but she is not
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asleep.
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With her brow furrowed and her closed eyes darting back and
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forth she looks oddly painted, almost as if she is wishing
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herself to another place.
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There is movement in her hands as her fingers caress an
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object.
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9.
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Her eyes suddenly POP OPEN as she sits up violently CLOSE
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UP INTO OUR FRAME! She looks around with eyes wet and red,
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attempting to regain her bearings.
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WE SLOWLY MOVE AROUND her to see what she sees and are met
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with a jarringly incongruous landscape! Instead of a
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glistening ocean, there in front of REGAN stand the tall
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swaying stalks of A CORNFIELD.
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As REGAN looks to her lap WE SLOWLY TRAVEL DOWN to reveal,
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she is holding THE TOY SHUTTLE. As she maneuvers it through
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her fingers we see the shuttle is damaged, there are 2
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large gouges in the fuselage.
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Suddenly... Something startles her as she snaps her head to
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the side!
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WE GO CLOSE on her hand driving the TOY SHUTTLE into the
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sand, not wanting it to be seen. Now ONLY THE SHUTTLE’S
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TAIL is exposed in the foreground as we see a figure
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walking toward REGAN.
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Coming into focus is her mother. This is EVELYN ABBOTT.
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EVELYN too has changed. Hair longer, frame lower. She
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carries a basket of vegetables. She is barefoot.
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EVELYN stops and looks down at her daughter giving her a
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comforting smile. REGAN can’t seem to return the same.
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EVELYN gently gestures with her head. REGAN nods and EVELYN
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walks on. After a moment REGAN places the TOY SHUTTLE into
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the large pocket in her dress and follows her mother. As
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she goes:
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WE PAN TO FOLLOW REGAN as she joins her mother and then
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SLOWLY RISE to reveal that the two women are walking along.
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A LONG AND WIDE SAND PATH IN THE MIDDLE OF A FARM! In the
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distance we can see they are heading to A WEATHERED RED
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BARN.
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WE END OUR RISE just as we reveal in the foreground,
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Christmas lights? Like parallel telephone wires, 2 cables
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of large bulbs, one with red and one with white. They dance
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playfully in the wind.
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12 INT. TRUCK - LATE AFTERNOON 12
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CLOSE UP PROFILE of a steering wheel in the foreground. A
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weathered CHEVY emblem reflects the fire orange sky in the
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background.
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10.
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HANDS come into frame and gently grip the steering wheel.
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The right hand then slowly moves to the ignition block and
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turns.
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There is no sound. After a moment, the hand turns again
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again without sound. The hand turns a third time, this
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time, the hand begins to bob ever so slightly, as if the
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old car has started up. As the hand retracts:
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WE PULL BACK to reveal... The little brother. This is
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MARCUS ABBOTT, now 10. Moving ever so slightly, MARCUS is
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obviously pretending to drive, though his impassive face
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betrays the idea that he is having any fun. MARCUS seems to
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have aged much more than the mere 2 years. His vacant eyes
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tell us a large toll has been taken on him, though perhaps
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not as easily recognizable on the exterior.
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13 EXT. TRUCK - LATE AFTERNOON 13
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WE MOVE SLOWLY IN POV along another large sand path with
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high grass on either side when suddenly it opens up into a
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large clearing and we see a tractor? Shells of untouched
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farm equipment litter the open area.
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WE SLOWLY MOVE LEFT, making our way through, what is now
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nothing more than an eerie farming vehicle graveyard.
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Suddenly, A DARK FIGURE ENTERS THE FRAME.
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14 INT. TRUCK - LATE AFTERNOON 14
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MARCUS’s hands move silently along the steering wheel as he
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stares out the windshield. His body moves ever so slightly,
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his face, relaxes, the hint of a smile. For a moment we
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could almost believe he is driving. His eyes routinely
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check the
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side mirror, then the rearview mirror, then stop. His
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hands, and face fall.
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THROUGH THE REAR VIEW MIRROR, we see a figure standing
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behind the truck amidst the sea of farm equipment. Behind
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the figure we see, A TOWERING SILO.
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15 EXT. TRUCK - LATE AFTERNOON 15
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11.
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OVER THE DARK FIGURE onto the truck as we see MARCUS
|
|
expertly slip out of the cab window of a VINTAGE CHEVY
|
|
PICKUP that sits at the edge of a DESCENDING DRIVEWAY
|
|
connecting to the road that heads back toward the BARN. He
|
|
lands in the sand without a sound and begins to walk, head
|
|
held low, toward the dark figure, who reaches his hand out
|
|
and briefly touches Marcus’ shoulder. Marcus walks straight
|
|
past.
|
|
|
|
As MARCUS exits we BOOM UP the dark figure as it turns,
|
|
revealing LEON ABBOTT (LEE), 38.
|
|
|
|
LEE too has changed, though much more obviously. He has
|
|
lost weight on his strong farmer frame, he wears a beard
|
|
and his sunken eyes indicate that he hasn’t slept well in a
|
|
long time.
|
|
|
|
WE PULL BACK WIDE to reveal the sea of farm equipment sits
|
|
in front of a long, dilapidated, work shed roof a makeshift
|
|
repair shop. The word ‘REPAIR’ is written in flaking white
|
|
paint that clings to the wood above.
|
|
|
|
|
|
16 EXT. BARN - SUNSET 16
|
|
|
|
The line of Christmas lights dance in the foreground.
|
|
|
|
WE TILT DOWN to see that the lights run right in between
|
|
two towering doors of a weathered red BARN. The doors have
|
|
been left open by a gap of just over 2 feet. The edges of
|
|
the doors are wrapped in foam.
|
|
|
|
Suddenly MARCUS walks into frame and enters the barn.
|
|
|
|
|
|
17 INT. BARN - SUNSET 17
|
|
|
|
WE TILT DOWN from the lines of unilluminated Christmas
|
|
lights running below the high reaching ceiling and ONTO
|
|
MARCUS’ BACK as he walks through two heavy quilts at the
|
|
entry of the barn hanging from the ceiling. Through the
|
|
quilts, a dirt floor guides us through this barn. The
|
|
surroundings are too difficult to fully comprehend at first
|
|
glance.
|
|
|
|
To the left are several large horse stalls. WE QUICKLY PAN
|
|
INSIDE to see they are now bedrooms. Mattresses, perfectly
|
|
made up, lie on the floor next to lamps and small stacks of
|
|
books. Clothes on hangers dangle between each of the bars
|
|
providing not only storage, but limited privacy.
|
|
12.
|
|
|
|
|
|
To the right is a large pen with railings. Once a holding
|
|
area for cows awaiting milking, it is now a living room.
|
|
Hay bales draped in blankets and old wooden chairs surround
|
|
an overturned pig trough, now serving as a coffee table
|
|
covered in books and dripping candles.
|
|
|
|
As MARCUS continues we notice the walls. Every inch is
|
|
meticulously covered in a bizarre but elegant cornucopia of
|
|
trash. Foam, cardboard, and old newspapers are glued to the
|
|
wall in thick layers.
|
|
|
|
If one were able to look past the obvious first assumption
|
|
of a hovel or domicile of hoarders, they would see almost a
|
|
deliberate beauty in the decor. A warmth. This is a well
|
|
maintained and loving home.
|
|
|
|
WE FOLLOW ON MARCUS’ BACK as he suddenly comes to A
|
|
MATTRESS LAYING ON THE GROUND? MARCUS bends down and after
|
|
a brief struggle pushes the mattress to one side to reveal
|
|
a large hole.
|
|
|
|
WE FOLLOW JUST BEHIND MARCUS as he descends down the
|
|
ground.
|
|
|
|
|
|
18 INT. BARN - SAFE ROOM - SUNSET 18
|
|
|
|
WE NOW SEE MARCUS has descended a makeshift stairwell into
|
|
a small excavated room illuminated by work lights. Lodged
|
|
up against the walls and across the ceiling are wooden
|
|
beams. In between each beam are varying stages of an
|
|
elaborate process of insulation and soundproofing that
|
|
consists of a thick layer of newspaper as a base and then
|
|
blankets and pillows squeezed in on top. There is a hay
|
|
bale up against one wall and a mattress leaned up against
|
|
another.
|
|
|
|
In the middle of the room, MARCUS walks past EVELYN, who is
|
|
bent over behind an odd wooden box. Suddenly she stands up,
|
|
holding a beautiful and delicate baby mobile.
|
|
|
|
As she turns and reaches the mobile high in the air to a
|
|
beam above her we get a clear shot of her protruding belly.
|
|
|
|
Even a layman guess would put her over 8 months. EVELYN
|
|
gently taps the mobile as we:
|
|
|
|
ARE NOW CLOSE ON the small ducks and clouds moving through
|
|
the air, EVELYN below looking up with a smile.
|
|
|
|
MARCUS sits down next to REGAN who is on the floor next to
|
|
a stack of old newspapers and bottles of glue.
|
|
13.
|
|
|
|
|
|
She removes a large sheet of newspaper from a plastic tray
|
|
of glue, lets it drip and then applies it to the wall with
|
|
a thick paintbrush. As she moves the paintbrush vertically
|
|
down the dripping white, a piece of an image can be seen.
|
|
It is a bra ad. REGAN slowly looks over to MARCUS, who
|
|
stares at it.
|
|
|
|
BACK ON EVELYN as she removes the top of the odd wooden
|
|
box.
|
|
|
|
WE FOLLOW her hands in to reveal a heavily quilted inside
|
|
with adorable baby blankets, a small teddy bear, and a
|
|
clear plastic air mask.
|
|
|
|
EVELYN’s fingers fumble with something in the corner until
|
|
she finally threads through a thin plastic tube and
|
|
connects it to the air mask. It looks similar to an
|
|
emergency breathing apparatus one might see in an ambulance
|
|
or hospital because it is.
|
|
|
|
BACK ON MARCUS, as he now removes a large piece of dripping
|
|
newspaper out of the tray and places it on the wall. Like
|
|
his sister, he swipes his thick paintbrush vertically down
|
|
the dripping white, this time partially revealing a front
|
|
page headline. It reads ‘AGE OF MASS’ MARCUS looks at it
|
|
inquisitively and then swipes the paintbrush horizontally
|
|
across the whole headline.
|
|
|
|
It reads:‘IMAGE OF MASSACRED MILITARY SHOCKS THE WORLD’
|
|
MARCUS freezes then looks below to see the top of a grainy
|
|
newspaper photograph. All we can make out is a twisted
|
|
human arm. His hand slowly begins to shake as he raises the
|
|
paintbrush to reveal the rest of the image when suddenly: A
|
|
PILLOW FLIES INTO FRAME!!!!!!
|
|
|
|
MARCUS JUMPS!!!!!
|
|
|
|
Only to see his mom holding a pillow over the newspaper
|
|
with a knowing look. After a beat, she hands MARCUS a long
|
|
piece of tape to secure the pillow to the wall.
|
|
|
|
|
|
19 EXT. REPAIR YARD SILO - ROOF - SUNSET TO DUSK 19
|
|
|
|
ON THE BACK OF LEE, perched on what looks like the top of
|
|
the world.
|
|
|
|
From this great height we get our first WIDE SHOT of the
|
|
large farm that we now see sits in a clearing on a ridge
|
|
surrounded by the tangled forest of the APPALACHIAN
|
|
MOUNTAINS.
|
|
14.
|
|
|
|
|
|
A puff of smoke rises from LEE’s silhouette as he suddenly
|
|
raises a hand into frame and checks his watch. A moment
|
|
later as if on cue.
|
|
|
|
A line of CHRISTMAS LIGHTS flicker to life above the wide
|
|
sand path REGAN was laying on.
|
|
|
|
Another line of white Christmas lights flicker on, this
|
|
time revealing a path that connects the weathered red BARN
|
|
to an old white FARMHOUSE. Then another line of lights and
|
|
another!
|
|
|
|
Like the image of a city power grid coming back to life, we
|
|
see a labyrinth of countless sand paths, meticulously laid
|
|
out, illuminate all over the farm in a beautiful expanse.
|
|
|
|
NOW IN PROFILE, LEE stares down seemingly at nothing. The
|
|
unfiltered cigarette burns to his fingers, causing LEE to
|
|
snap out of his stupor. He looks around at the horizon, it
|
|
is officially sundown. He reaches for a plastic bottle of
|
|
lighter fluid and sprays all its contents into a shallow
|
|
metal drum in front of him.
|
|
|
|
Another cigarette appears from below frame. He puts it in
|
|
his mouth and then reaches his hands into his jacket. His
|
|
right arm jiggles slightly. There is no sound. His arm
|
|
jiggles again. Then from his jacket, LEE pulls a FULLY LIT
|
|
LIGHTER, that he protects from the wind. He lights his
|
|
cigarette and then leans his hands to the metal drum A HUGE
|
|
FLAME ERUPTS.
|
|
|
|
In the glowing orange we see LEE take a long drag of his
|
|
cigarette. His face has no effect. After several moments
|
|
the flame begins to weaken and slowly fade.
|
|
|
|
Suddenly, far FAR off in the distance on the ridge ANOTHER
|
|
FLAME ILLUMINATES. LEE doesn’t even look up. Then, miles
|
|
past the first ANOTHER FLAME! THEN ANOTHER!
|
|
|
|
Until we can see behind LEE 5 glowing fires scattered far
|
|
off across the ridge.
|
|
|
|
ON LEE as he glances over and registers, then back to
|
|
staring front as we:
|
|
|
|
MOVE AROUND BEHIND him to see where his gaze is focused.
|
|
|
|
Then, we see it. There, in his left hand LEE holds a 5X6
|
|
nursery school photo of a 4 year old boy.
|
|
|
|
LEE takes a last drag of his cigarette and then places the
|
|
photo in a small box at his feet.
|
|
15.
|
|
|
|
|
|
WE ARE TIGHT ON THE BOX as LEE stands and walks toward two
|
|
curved bars on the side of the SILO. He turns around and
|
|
begins to descend A LADDER.
|
|
|
|
WE HOLD ON THE SMALL BOX, then just as LEE’s head
|
|
disappears WE SLOWLY BEGIN TO RISE.
|
|
|
|
Now looking at the opposite side of the ridge than we did
|
|
in the beginning, the rising moon’s light now spills across
|
|
the vista of rock and trees and onto an enormous and
|
|
bizarrely out of place CRATER!
|
|
|
|
WE HOLD ON THE CRATER FOR A LONG MOMENT Then:
|
|
|
|
|
|
20 INT. BARN - LIVING ROOM - NIGHT 20
|
|
|
|
WE ARE CLOSE on a small mound of dirt. Suddenly two hands
|
|
covered in winter gloves enter frame and begin to dig down
|
|
about 3 inches to reveal a plank of wood.
|
|
|
|
WIDER NOW, we see EVELYN on her hands and knees just behind
|
|
the living room set up in an open, very makeshift kitchen.
|
|
|
|
One wall of shelves cluttered with stacks of paper plates,
|
|
bowls and cups. Another wall is a workbench acting as a
|
|
countertop and a mid 70’s refrigerator.
|
|
|
|
EVELYN extracts from the dirt a long wooden box. Beneath it
|
|
red hot rocks let off a combination of steam and smoke.
|
|
|
|
EVELYN brings the box to the counter top and carefully
|
|
lifts the lid to reveal a perfectly cooked fish with lemon
|
|
and rosemary and garlic scattered all around.
|
|
|
|
|
|
21 INT. BARN - BEDROOMS - NIGHT 21
|
|
|
|
WE TRACK with REGAN as she walks down the row of horse
|
|
stall bedrooms.
|
|
|
|
REGAN arrives at the threshold of LEE and EVELYN’s bedroom.
|
|
|
|
LEE is faced away from her, washing his face in a long
|
|
trough like sink that runs the length of the room.
|
|
Suddenly, through the mirror leaning on the wall, LEE sees
|
|
her, but does not turn.
|
|
|
|
Through the mirror, the two of them looking silently at
|
|
each other for a moment too long, it is heartbreaking.
|
|
16.
|
|
|
|
|
|
REGAN pathetically gestures “eating”. As LEE nods, trying
|
|
to muster a polite smile we can see very clearly something
|
|
is broken.
|
|
|
|
LEE wipes his face with a towel and then turns to face an
|
|
empty doorway.
|
|
|
|
|
|
22 INT. BARN - TABLE - NIGHT 22
|
|
|
|
The family sits down together for dinner around an old
|
|
workbench. Their heads bowed in prayer, after a moment
|
|
EVELYN lifts her head and they begin to eat. There are no
|
|
plates.
|
|
|
|
The food sits on various children’s plastic placemats.
|
|
There are no utensils. The family uses only bread to
|
|
collect food.
|
|
|
|
We slowly pull back on this silent, but comfortingly
|
|
familiar scene.
|
|
|
|
|
|
23 INT. BARN - LIVING ROOM - NIGHT 23
|
|
|
|
REGAN and MARCUS lie on the floor playing Monopoly.
|
|
|
|
By the dim light of an oil lantern, we can see the game’s
|
|
board is the same, but the pieces are small colored bobbles
|
|
of wool, the kind you would find on a children’s Christmas
|
|
sweater. The houses and hotels are empty sugar packets,
|
|
blue and pink. And the money? Small pieces of green, red,
|
|
blue and orange fabric rectangles, all equally sized.
|
|
|
|
MARCUS is five spaces away from his sister’s hotel on
|
|
Boardwalk. He takes a sip of water and places the cup on
|
|
top of a tall crate being used as a makeshift side table.
|
|
|
|
MARCUS looks at his sister, who can’t hide her smile. He
|
|
mimes a prayer before rolling the dice on the dirt floor,
|
|
where it makes no noise 5!
|
|
|
|
MARCUS slowly looks up to REGAN, knowing his fate.
|
|
|
|
REGAN smiles pointedly and then reaches for MARCUS’ money.
|
|
|
|
As MARCUS thrusts his arm back to protect his bank, his
|
|
elbow hits the oil lantern!!
|
|
|
|
A BOOMING CRASH!!!! As the oil lantern hits the ground and
|
|
shatters. THE SOUND FEELS HUGE! AS IT IS THE FIRST BIG
|
|
SOUND WE’VE HEARD! FIRE ERUPTS ON THE FLOOR!!! The children
|
|
stare frozen in horror!
|
|
17.
|
|
|
|
|
|
LEE immediately jumps up from the table and instinctively
|
|
grabs a quilt and throws it on the fire. With a few silent
|
|
pats the fire is gone.
|
|
|
|
SILENCE.
|
|
|
|
EVERYONE FREEZES!!!! NO ONE IS BREATHING!!!
|
|
|
|
REGAN shoots MARCUS a look of concern.
|
|
|
|
MARCUS shoots LEE a look of terror.
|
|
|
|
LEE shoots a look to the roof.
|
|
|
|
ON LEE as he stands up INTO frame. He has almost physically
|
|
transformed from a man into protection incarnate. He slowly
|
|
raises a stiff finger to his lips, his body so tense, it
|
|
looks painful. This is the unwanted version of himself that
|
|
lies just millimeters under his skin 24 hours a day.
|
|
|
|
After a long moment nothing. It would have happened by now.
|
|
|
|
LEE finally nods that everything is OK.
|
|
|
|
MARCUS stares at REGAN with a painfully apologetic face as
|
|
she leans in and touches his hand.
|
|
|
|
BANG!!! The whole family startles in silence!!!
|
|
|
|
Something has hit the roof.
|
|
|
|
EVERYONE IS FROZEN LOOKING AT THE CEILING.
|
|
|
|
Seconds later a high pitched SHRIEEEEEEK of CLAWS sliding
|
|
down the aluminum roof. The family follows the sound
|
|
exactly with their eyes. Then silence.
|
|
|
|
LEE crouches down and walks to a small window where the
|
|
sound stopped above.
|
|
|
|
MARCUS wildly shakes his head “no”, evidence of his
|
|
traumatic anxiety resurfacing.
|
|
|
|
REGAN slowly stands, looking on with wide eyes.
|
|
|
|
LEE arrives at the window, crouched. From his low vantage
|
|
point we can see the lip of the gutter and the eerily
|
|
swaying Christmas lights.
|
|
|
|
LEE begins to stand up slowly, his face now virtually
|
|
pressed against the glass.
|
|
18.
|
|
|
|
|
|
Suddenly, A WHIR OF SCREECHING AND GROWLING!!! A LARGE
|
|
SHAPE FALLS PAST THE WINDOW!!!!
|
|
|
|
As two raccoons hit the ground, fighting then scamper off
|
|
into the dark.
|
|
|
|
LEE somehow exhales slowly and calmly a trick that, no
|
|
doubt, took much practice and walks away from the window.
|
|
|
|
|
|
24 EXT. CORNFIELD 24
|
|
|
|
The two raccoons round the corner onto a moonlit path
|
|
heading toward camera, just as they come into CLOSE UP.
|
|
|
|
A GIANT BLACK CLAW CRUSHES DOWN ONTO THE FIRST RACCOONS
|
|
HEAD and then rips it out of frame. We hold on the second
|
|
raccoon running off with a soft but piercing scream.
|
|
|
|
|
|
25 EXT. FARM - NIGHT 25
|
|
|
|
It is night. From high above, we look down to the sand path
|
|
between the RED BARN and the WHITE FARMHOUSE. In the
|
|
foreground we see the shadow of a telephone pole. Sitting
|
|
on the wire in silhouette are BIRDS.
|
|
|
|
|
|
26 EXT. SAND PATH - NIGHT 26
|
|
|
|
FROM THE GROUND, we see the FARMHOUSE in the distance, but
|
|
something is different. The color seems wrong, the angle is
|
|
odd. The foreground is over exposed and tiny dots fly in
|
|
and out of the frame.
|
|
|
|
Suddenly, A GIANT FOOTSTEPS INTO FRAME!!!!
|
|
|
|
AND THEN ANOTHER as we watch two bare feet then the hem of
|
|
a dress and then the silhouette of EVELYN walk silently
|
|
toward the house.
|
|
|
|
|
|
27 INT. FARMHOUSE - BASEMENT - NIGHT 27
|
|
|
|
WE SLOWLY PULL BACK from THAT SAME SHOT of the FARMHOUSE
|
|
and reveal a plastic frame, a red light buttons. We realize
|
|
this image is being viewed on a small monitor. CCTV FOOTAGE
|
|
from A SECURITY CAMERA.
|
|
19.
|
|
|
|
|
|
WE CONTINUE TO PULL BACK SLOWLY as another monitor comes
|
|
into frame with another stacked on top of it then one next
|
|
to it and another until we reveal, like something out of a
|
|
Dr. Seuss book, a wall of 20 TV’s, all shapes and brands
|
|
sit on top of a large workbench covered with open notebooks
|
|
and sliced up newspapers.
|
|
|
|
On each screen we see elements of trees... sand paths...
|
|
the barn... the silo. This is a DIY version of a security
|
|
console that overlooks the entire farm... and it has taken
|
|
a long time to put together.
|
|
|
|
WE BEGIN TO TRACK past the empty security console and onto
|
|
a cinder block wall, covered in notes and newspaper
|
|
clippings.
|
|
|
|
Then WE BARELY HEAR A TINY, ALMOST FAMILIAR, SOUND.
|
|
|
|
THEN A HANDFUL OF SMALL BEEPING SOUNDS.
|
|
|
|
Suddenly a portion of one visible newspaper clipping shows
|
|
a close up and much more detailed image of the enormous
|
|
crater. The headline reads: ‘NUMBER OF CONFIRMED GLOBAL
|
|
LANDING SITES GROWS TO 128’ A post-it note sticks to the
|
|
clipping that reads: LANDED 10-18-2018 WE PASS BY more
|
|
clippings, catching glimpses of dramatic headlines and
|
|
surreal images: ‘PRESIDENT CALLS FOR EMERGENCY EVAC IN ALL
|
|
MAJOR CITIES’ ‘CHURCHES, MOSQUES, TEMPLES FLOODED WITH
|
|
PEOPLE’ WE PASS BY a grainy newspaper photo of a military
|
|
stand off with ONE creature. The headline reads: ‘MILITARY
|
|
EXPERTS AGREE: “INDESTRUCTIBLE”
|
|
|
|
AGAIN WE HEAR THAT FAMILIAR SOUND as it gets louder. WE
|
|
CONTINUE TO TRAVEL as a MAP enters frame. Like one you
|
|
would get at a gas station, it is covered in illustrated
|
|
forests and rivers, it is a map of THE STATE OF NEW YORK.
|
|
The portion above Manhattan is covered in hand drawn red
|
|
circles and pins, each accompanied with a date and names of
|
|
the dead. WE MOVE FURTHER ALONG to reveal low quality
|
|
stills of security footage barely showing THE CREATURE.
|
|
Each still is drawn on and analyzed. Then a large white
|
|
board covered in writing comes into frame, leaning against
|
|
the wall.
|
|
20.
|
|
|
|
|
|
Amidst the scratches of written and rewritten thoughts, we
|
|
can make out two lists labeled, ‘QUESTIONS’ and ‘CONFIRMED’
|
|
In the ‘QUESTIONS’ column are listed; ”NO DEMANDS?”, “NO
|
|
SIGN OF ORGANIZATION”, “BLIND?” “HOW MANY?” “SOUND?" "WHY
|
|
NOT ATTACK ALL SOUND?” In the ‘CONFIRMED’ column are
|
|
phrases like; “4-6 CONFIRMED IN PACK”, “DO NOT ATTACK SMALL
|
|
SOUNDS”. Then we see the phrase “DO NOT EAT KILL”. WE MOVE
|
|
TO the very bottom of the white board where we see the word
|
|
“WEAPON???” Listed below words are crossed out
|
|
“EXPLOSIVES”, “FIRE”, “CHEMICAL” AGAIN WE HEAR THAT
|
|
FAMILIAR SOUND NOW LOUDER.
|
|
|
|
THEN AGAIN THE HANDFUL OF SMALL BEEPING SOUNDS.
|
|
|
|
WE MOVE OFF OF THE white board and scan past ANATOMICAL
|
|
DRAWINGS of A SHARK SENSING PREY USING MAGNETIC FIELDS,
|
|
DOLPHINS NAVIGATING THROUGH MINEFIELDS, THE ELECTROMAGNETIC
|
|
SPECTRUM and finally images of THE INNER EAR.
|
|
|
|
WE NOW MOVE THROUGH meticulously organized shelves covered
|
|
in tools and wires and various pieces of salvaged
|
|
electronic equipment and finally onto LEE’S BACK.
|
|
|
|
He is hunched over the workbench working intensely on
|
|
something, he is wearing large black headphones.
|
|
|
|
We see him reach out of frame as we WE PUSH PAST an old
|
|
microphone that is connected to AN OLD TRANSATLANTIC HAM
|
|
RADIO.
|
|
|
|
In the glowing light from the box we see all kinds of knobs
|
|
and needles. Below a switch labeled with two stickers that
|
|
say “RADIO” and “SPEAKER”, LEE’S hand comes into frame and
|
|
turns a large knob revealing THE SOURCE OF OUR FAMILIAR
|
|
SOUND.
|
|
|
|
LEE IS SEARCHING FOR A SIGNAL. ANY SIGN. ANY SIGN OF LIFE.
|
|
|
|
Suddenly, he presses down on a button on the microphone.
|
|
|
|
THE HANDFUL OF SMALL BEEPING SOUNDS IS MORSE CODE.
|
|
|
|
THERE IS NO RESPONSE.
|
|
|
|
WE follow LEE’s hand off of the button and onto a small
|
|
soldering iron. As he picks it up: WE GO TO LEE at his
|
|
workspace.
|
|
|
|
With magnifying glasses in front of his eyes, he works with
|
|
surgery like precision on a small contraption. A small
|
|
string of smoke rises from his work.
|
|
21.
|
|
|
|
|
|
28 INT. FARMHOUSE - BASEMENT - STEPS - NIGHT 28
|
|
|
|
WE ARE OVER the warmly, lit from above, stairwell with LEE
|
|
at his workstation in the background as delicate bare feet
|
|
touch down softly, and deliberately on the steps, like a
|
|
child knowing where to step so they don’t wake their
|
|
parents.
|
|
|
|
WE BOOM UP to reveal EVELYN as she stares at her husband,
|
|
who hasn’t heard her, worried? Admiring? Lost?
|
|
|
|
A flicker of a memory echoes through her face as she smiles
|
|
and then walks to him EVELYN IS WEARING EARBUDS.
|
|
|
|
ON LEE as a hand touches down gently on his shoulder, he
|
|
doesn’t flinch at all. There is immediate recognition
|
|
there.
|
|
|
|
Safety. The hands then reach down and remove Lee’s
|
|
headphones. The sound of the searching radio in the
|
|
headphones is nearly inaudible.
|
|
|
|
LEE sits back and holds up A HEARING AID. It looks like a
|
|
somewhat common hearing aid, but with handcrafted
|
|
modifications, upgrades. There is a wire extension that
|
|
extends from the top, almost like an adapter or plug.
|
|
|
|
The hands gently grab LEE’s face and turn it. LEE looks up
|
|
at EVELYN who he now sees is wearing lipstick, has pulled
|
|
her hair back and has changed into a beautiful dress. This
|
|
is DATE NIGHT. LEE smiles as EVELYN takes a step back and
|
|
with the gentlest of movements, she sweetly beckons him to
|
|
her.
|
|
|
|
LEE looks back at his work for just a moment, his face once
|
|
again focused. Then he lays the hearing aid down on the
|
|
table and stands up.
|
|
|
|
WE HOLD ON THE HEARING AID and then SLOWLY PULL BACK to
|
|
reveal a pile of more hearing aids, each with a variety of
|
|
different modifications, scattered all around his work
|
|
bench.
|
|
|
|
This is something he has been working on for a long while.
|
|
|
|
WE TILT UP from the workbench to see LEE arrive at his
|
|
wife’s side as she puts her hand up on his neck and smiles
|
|
up at him warmly, as if there is no where else to be
|
|
nothing to make her happier.
|
|
|
|
FACE TO FACE NOW, LEE finally allows a smile, looking down
|
|
at his time tested partner.
|
|
22.
|
|
|
|
|
|
EVELYN’s eyes close as she places her forehead to his and
|
|
the two begin to gently sway in total silence.
|
|
|
|
Suddenly, EVELYN takes LEE’s hands from around her back and
|
|
places them on her protruding belly. After a moment she
|
|
looks up lovingly at her husband to see
|
|
|
|
LEE’S SMILE HAS DISAPPEARED. STARING DOWN AT THE BELLY, HIS
|
|
FACE LOOKS LOST.
|
|
|
|
Knowing this man inside and out, EVELYN keeps her gaze
|
|
firmly into her husband’s eyes and slowly moves her hands
|
|
up LEE’S arms and gently onto his face. Holding more than
|
|
his visage in her hands, LEE finally looks up at her.
|
|
|
|
EVELYN smiles with recognition of the man she married as
|
|
her right hand travels to her right ear. She removes the
|
|
earbud from her ear and seamlessly places it in his, as:
|
|
MUSIC RUSHES IN!
|
|
|
|
The only record on the record player, this is the song they
|
|
were married to. This is NEIL YOUNG’S HARVEST MOON,
|
|
|
|
Perhaps it’s due to the lack of sound thus far in the movie
|
|
or maybe the marrying image of the two dancing, but the
|
|
sounds of the song are crystal clear. We can perfectly hear
|
|
every chord, every tremor of vocal chord as we PULL BACK on
|
|
this perfect moment through the basement to the small
|
|
rectangular basement window to reveal water hitting the
|
|
glass.
|
|
|
|
|
|
29 EXT. FARMHOUSE - NIGHT 29
|
|
|
|
We see a strong rain pouring down around the house.
|
|
|
|
|
|
30 EXT. FARM - MORNING 30
|
|
|
|
A beautiful crisp morning.
|
|
|
|
|
|
31 EXT. FARMHOUSE - SAND PATH - DAY 31
|
|
|
|
FROM THE PORCH of the farmhouse, as water drips down from
|
|
overhead, WE SLOWLY travel along the sand path toward the
|
|
barn when suddenly we arrive at a small stream of water
|
|
cutting right through a, now washed away, segment of the
|
|
sand path.
|
|
|
|
Suddenly LEE’s bare feet enter frame and then a large
|
|
hiking backpack enters frame next to him.
|
|
23.
|
|
|
|
|
|
ON LEE as we see a momentary glimpse into the painstaking,
|
|
and never ending, workload that goes into maintaining this
|
|
farm.
|
|
|
|
CLOSE on hands as LEE’s bare fingers gouge into the
|
|
unforgiving earth at the edge of the sand path to divert
|
|
the water. Stones come into frame to form a temporary wall.
|
|
Then LEE hoists, the very obviously heavy, hiking bag onto
|
|
his knee. He then slowly and silently undoes a handmade
|
|
flap at the bottom of the backpack. From the opening of the
|
|
bag pours SAND.
|
|
|
|
Quickly and silently, sand piles up on the ground as we
|
|
witness for the first time, LEE’s ingenious system that has
|
|
kept his family safe all this time.
|
|
|
|
|
|
32 INT. BARN - SAFE ROOM - DAY 32
|
|
|
|
CLOSE UP OF A GAUGE Very faint bursts of air can be heard.
|
|
|
|
WE SLOWLY PULL BACK to reveal EVELYN sitting on a hay bale
|
|
with a blood pressure sleeve on her arm and a stethoscope
|
|
in her ears. Behind her is a shelf full of bandages and IV
|
|
bags.
|
|
|
|
She stops pumping the bulb, stares down at the gauge and
|
|
then gently lets the air out and removes the sleeve.
|
|
|
|
EVELYN marks her daily blood pressure on a calendar next to
|
|
her. On this calendar we see her estimated due date is 4
|
|
weeks away.
|
|
|
|
After a moment, she leans over and places the bottom part
|
|
of the stethoscope onto her belly.
|
|
|
|
A faint sound of adjusting and then LUB DUB, LUB DUB, THE
|
|
BABY’S HEARTBEAT ENGULFS US!!!
|
|
|
|
|
|
33 EXT. FARMHOUSE - DAY 33
|
|
|
|
WE CREEP SLOWLY ALONG the sand path heading toward the
|
|
front door of the FARMHOUSE.
|
|
|
|
Suddenly REGAN steps into frame, walking deliberately, as
|
|
if tiptoeing.
|
|
|
|
|
|
34 INT. FARMHOUSE - DAY 34
|
|
24.
|
|
|
|
|
|
REGAN reaches the front door of the FARMHOUSE and stops at
|
|
the threshold. As she looks down at the worn wood floor,
|
|
scanning, we can notice deliberately painted markings on
|
|
the floor.
|
|
|
|
Just then, REGAN takes a dramatically long step inside,
|
|
placing her foot down directly on the first colored marking
|
|
silence. Looking almost relieved, REGAN once again scans
|
|
the floor and then focuses on another marking. She takes
|
|
another long step, this time far to her right and touches
|
|
down on the next marking silence. It almost looks like
|
|
she’s playing ‘TWISTER’. Getting more confident, she scans
|
|
the room, finds another spot and steps quickly.
|
|
|
|
|
|
35 INT. FARMHOUSE - BASEMENT STAIRS - DAY 35
|
|
|
|
WE LOOK DIRECTLY up the basement stairs toward the warm
|
|
hallway at the top.
|
|
|
|
Suddenly, REGAN takes a long step into frame. Her
|
|
silhouette looks down the dark stairwell.
|
|
|
|
After a moment, she slowly puts her foot down on the first
|
|
step when suddenly A DARK FIGURE APPEARS BEHIND HER AND
|
|
GRABS HER!!!!!
|
|
|
|
|
|
36 EXT. FARMHOUSE - DAY 36
|
|
|
|
CLOSE ON REGAN as she is placed down onto the sand path.
|
|
|
|
A HAND COVERS HER MOUTH!
|
|
|
|
AS REGAN spins around we see LEE kneeling in front of her.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
You CANNOT go down there!
|
|
|
|
REGAN
|
|
(SIGNING)
|
|
WHY NOT???
|
|
|
|
LEE
|
|
(SIGNING)
|
|
You know why.
|
|
|
|
REGAN
|
|
(SIGNING)
|
|
I won’t make a sound!!! I’m not a
|
|
child!!!
|
|
25.
|
|
|
|
|
|
LEE pauses that line stings.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
Just--don’t.
|
|
|
|
The two stare into each other’s eyes communicating more
|
|
than any sign language could.
|
|
|
|
Suddenly LEE reaches up to her face. His still dirty hands
|
|
push the hair back over her right ear. It seems so
|
|
uncharacteristically warm and gentle when suddenly LEE
|
|
reaches into his pocket with his right hand and pulls out
|
|
THE HEARING AID from the night before.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
This time, I was able to use small
|
|
amplifiers from the stereo speaker
|
|
to--
|
|
|
|
REGAN
|
|
(SIGNING)
|
|
It won’t work.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
No, our problem has always been
|
|
power, but this should increase the
|
|
frequency to--
|
|
|
|
REGAN
|
|
(SIGNING)
|
|
It never works!!
|
|
|
|
LEE
|
|
(SIGNING)
|
|
... But we’ll keep trying til it
|
|
does.
|
|
|
|
REGAN looks up at him blankly as LEE reaches to bring the
|
|
new hearing aid up to her ear when suddenly REGAN pushes
|
|
his hand away.
|
|
|
|
LEE reaches up to her ear to try again, REGAN pushes his
|
|
hand away again, giving him a cold stare. With so much
|
|
history behind it, it’s a bizarrely heartbreaking
|
|
altercation.
|
|
|
|
He tries again, she pushes again, even harder.
|
|
|
|
LEE looks at his daughter as she looks at him, her venomous
|
|
face, betrayed by the large tears that roll down her cheek.
|
|
26.
|
|
|
|
|
|
After a long moment, REGAN snatches the hearing aid from
|
|
her father’s hand and walks away.
|
|
|
|
|
|
37 INT. BARN - HAY LOFT - DAY 37
|
|
|
|
ON MARCUS’ back as he scribbles in a notebook. WE GO CLOSE
|
|
to see MARCUS is writing in a math notebook. His pencil
|
|
suddenly pauses, moves up the page through a long math
|
|
problem and stops again. Suddenly a finger comes into frame
|
|
and points at a different part of the problem.
|
|
|
|
WE PULL OUT to reveal EVELYN and MARCUS sitting in a small
|
|
curated area with a desk, book shelves and a white board
|
|
covered in various phrases, shapes and equations. We
|
|
suddenly realize EVELYN is HOME SCHOOLING him!
|
|
|
|
MARCUS suddenly nods and once again begins writing as
|
|
EVELYN looks out the small door of the hay loft and down to
|
|
the sand path below as LEE arrives. Suddenly...
|
|
|
|
MARCUS
|
|
(SIGNING)
|
|
...please don’t make me go...
|
|
|
|
EVELYN looks over to see MARCUS’s face awash with panic.
|
|
|
|
EVELYN
|
|
(SIGNING)
|
|
You will be fine. Your father will
|
|
always protect you.
|
|
|
|
MARCUS GRABS HER ARM TIGHT! IT STARTLES HER. With tears in
|
|
his eyes, he mouths to her “PLEASE!”
|
|
|
|
EVELYN
|
|
(SIGNING)
|
|
Listen to me. It is important that
|
|
you learn these things. He just
|
|
wants you to be able to take care
|
|
of yourself.
|
|
|
|
MARCUS looks at her.
|
|
|
|
EVELYN
|
|
(SIGNING)
|
|
Take care of ME!
|
|
|
|
EVELYN lightens the conversation by pretending to age in
|
|
front of our eyes.
|
|
|
|
EVELYN
|
|
(SIGNING)
|
|
27.
|
|
|
|
|
|
... when I’m old and grey...
|
|
|
|
EVELYN leans on him. MARCUS can’t help but smile.
|
|
|
|
EVELYN
|
|
and I have no teeth.
|
|
|
|
EVELYN pretending to have no teeth is too much for MARCUS
|
|
to hold back his silent laugh.
|
|
|
|
|
|
38 EXT. BARN - DAY 38
|
|
|
|
OVER LEE’S large shoulder we barely see MARCUS moving ever
|
|
so slightly in one direction and then another.
|
|
|
|
ON LEE, with a large hiking pack on his back. He adjusts
|
|
the straps of a backpack on MARCUS.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
Too tight?
|
|
|
|
MARCUS shakes his head no.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
Good.
|
|
|
|
MARCUS
|
|
(SIGNING)
|
|
No, I don’t want to go.
|
|
|
|
LEE looks up at EVELYN. Then back to MARCUS.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
There’s nothing to be scared of.
|
|
|
|
MARCUS
|
|
(SIGNING)
|
|
Of course there is.
|
|
|
|
Suddenly behind LEE we see REGAN appear.
|
|
|
|
REGAN
|
|
(SIGNING)
|
|
I’ll go.
|
|
|
|
LEE looks over at his daughter and pauses.
|
|
|
|
LEE
|
|
28.
|
|
|
|
|
|
(SIGNING)
|
|
No, no. I need you to stay here and
|
|
help your mother.
|
|
|
|
LEE stands up. To EVELYN:
|
|
|
|
LEE
|
|
(SIGNING)
|
|
We’ll be back before dinner.
|
|
|
|
REGAN
|
|
(SIGNING)
|
|
I want to go.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
Just stay here. You’ll be safe.
|
|
|
|
LEE turns to EVELYN who looks at him with slight
|
|
disappointment.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
Next time.
|
|
|
|
LEE pauses and then kisses EVELYN. LEE and MARCUS walk down
|
|
a sand path toward the woods.
|
|
|
|
EVELYN turns to REGAN who is already walking away.
|
|
|
|
|
|
39 INT. BARN - REGAN’S ROOM - DAY 39
|
|
|
|
REGAN enters and throws the hearing aid her father made her
|
|
onto the dirt floor. This is the first time we have seen
|
|
her bedroom. It is sparse. A hay bale covered in bed
|
|
sheets, a
|
|
|
|
small crate with a neat pile of books inside and several
|
|
candles on top, a small wooden mirror leant against the
|
|
wall.
|
|
|
|
REGAN drops to her knees. On the ground we now see all
|
|
kinds of electronic equipment and tools.
|
|
|
|
Architectural drawings are pinned to the wall. It is like a
|
|
mini version of her father’s work bench.
|
|
|
|
REGAN grabs her pillow, rips the pillow case off and begins
|
|
furiously packing.
|
|
29.
|
|
|
|
|
|
She grabs clothes, a water bottle, a notepad and the THE
|
|
TOY SHUTTLE. She gets up to leave and then looks back at
|
|
the hearing aid on the ground.
|
|
|
|
CLOSE ON REGAN’s PROFILE as her hand comes into frame and
|
|
moves to the hearing aid she currently wears. Suddenly, a
|
|
long wire is slowly pulled from deep in her ear canal.
|
|
|
|
REGAN’s eyes wince with almost a snap of pressure as the
|
|
wire comes loose.
|
|
|
|
REGAN then gently feeds the new hearing aid into her ear
|
|
and pauses.
|
|
|
|
Suddenly REGAN clicks on the new hearing aid.
|
|
|
|
Nothing.
|
|
|
|
WE WATCH the thin veil of anger on REGAN’s face cascade
|
|
into honest sorrow as REGAN’s eyes squeeze shut brutal
|
|
disappointment.
|
|
|
|
WE PULL OUT to see REGAN sitting quietly on the floor. The
|
|
quake of her shoulders betray her as we watch her cry.
|
|
|
|
After a moment, she reaches for a pillow case and exits.
|
|
|
|
|
|
40 EXT. WOODS - VALLEY PATHWAY - DAY 40
|
|
|
|
FROM A DISTANCE LEE leads MARCUS down a thin sand path that
|
|
cuts down the steep valley side and through the lush and
|
|
learned evergreens of the mountain’s canopy.
|
|
|
|
MARCUS walks rigid, like one would in the dark. His saucer
|
|
eyes furtively clock every detail of his surroundings. LEE
|
|
walks casually and confidently, periodically turning to
|
|
wait patiently for his son. This is a day of teaching.
|
|
|
|
ON MARCUS as LEE puts a hand quickly, but gently on his
|
|
son’s chest, stopping him in his tracks. LEE focuses down
|
|
the path.
|
|
|
|
OFF MARCUS’s quaking face peering around his father:
|
|
|
|
WE TOO MOVE around from behind LEE to see a DEER sitting in
|
|
the middle of the sand path. An adolescent buck, it holds
|
|
it’s impressive, but still delicate antlers upright and
|
|
proud as it stares directly at LEE and MARCUS.
|
|
|
|
An image obviously long thought impossible, the moment
|
|
carries a certain calm, almost spiritual.
|
|
30.
|
|
|
|
|
|
After a long moment, the buck efforts its way to its feet.
|
|
|
|
Then turns and deftly steps perfectly along the sand path
|
|
and disappears.
|
|
|
|
|
|
41 EXT. FARMHOUSE - DAY 41
|
|
|
|
CLOSE ON the roof of the farmhouse. Water from the previous
|
|
night’s storm still drips off the edge.
|
|
|
|
WE SLOWLY TRAVEL down the drainpipe running along the side
|
|
of the house when suddenly the drain stops and we see PVC
|
|
pipe has been attached instead.
|
|
|
|
WE CONTINUE along the PVC piping to the bottom where we see
|
|
THE PVC PIPE bend AND GO STRAIGHT THROUGH A SHATTERED PANE
|
|
OF THE BASEMENT WINDOW.
|
|
|
|
|
|
42 INT. FARMHOUSE - BASEMENT - DAY 42
|
|
|
|
FROM INSIDE THE SHATTERED PANE, we now follow the PVC pipe
|
|
into an old washing machine now filled with rain water.
|
|
|
|
Suddenly a piece of clothing slowly comes into frame and
|
|
silently descends into the water.
|
|
|
|
WE WIDEN OUT TO SEE EVELYN places more clothes into a
|
|
WASHER that is unplugged. We see that she is simply using
|
|
the corrugated tumbler inside as a washboard.
|
|
|
|
She removes a large plaid shirt just above the water line
|
|
(still inside the tumbler) and squeezes it dry. The action
|
|
is virtually inaudible.
|
|
|
|
CLOSE UP on a small pile of clothes being stacked onto
|
|
other clothes. Then a CINCH.
|
|
|
|
EVELYN stands up over the newly packed cloth laundry bag
|
|
then bends backward, attempting to relieve a pain in her
|
|
back.
|
|
|
|
When she’s done, she picks up the full laundry bag with one
|
|
hand and another full laundry bag with the other.
|
|
|
|
EVELYN struggles to the foot of the stairs with the two
|
|
bags and puts them down. She then takes a deep breath looks
|
|
up the stairwell and begins to ascend again carefully
|
|
placing her
|
|
31.
|
|
|
|
|
|
feet on specific spots on each step. Holding one bag as
|
|
high as she can and dragging the second behind her. It’s
|
|
uncomfortable watching a fully pregnant woman traverse in
|
|
this manner.
|
|
|
|
WE GO CLOSE ON several stairs as EVELYN’S feet step up and
|
|
drag the bag up the first step then the second.
|
|
|
|
Her feet disappear. As she drags the bag up onto the third
|
|
IT CATCHES ON A BENT NAIL IN THE STAIR!!
|
|
|
|
ON EVELYN, not seeing the cause, pulls again AND BEGINS TO
|
|
FALL!!!!!!
|
|
|
|
She catches herself on the wall, her eyes lit up breathing
|
|
heavily, she’s ok!
|
|
|
|
She quietly picks up the bags again and pulls once more.
|
|
|
|
CLOSE UP ON: THE TIP OF A NAIL IN THE STEP LIFTING OFF THE
|
|
STEP, ALMOST STRAIGHT UP AND THEN RELEASING THE BAG.
|
|
|
|
ON EVELYN, satisfied, as she drags the bags to the top of
|
|
the stairs and disappears.
|
|
|
|
WE RACK FOCUS to reveal, in the foreground THE NAIL
|
|
STANDING STRAIGHT UP!!!
|
|
|
|
|
|
43 EXT. FARM - DRIVEWAY - LATE AFTERNOON 43
|
|
|
|
CLOSE ON BARE FEET walking along a sand path.
|
|
|
|
WE BOOM UP TO REVEAL REGAN walking with purpose. In her
|
|
hands she carries a pillowcase. Inside the pillowcase an
|
|
irregular shape.
|
|
|
|
After a moment, she looks up to the telephone pole. Sitting
|
|
on the power line are MORE BIRDS. There is something
|
|
buoyant about them. Something oblivious.
|
|
|
|
|
|
44 EXT. RIVER - LATE AFTERNOON 44
|
|
|
|
An immediate and jarring sound of water rushes in as we
|
|
are: TIGHT ON MOVING WATER over rocks.
|
|
|
|
[NOTE: THE SOUND WILL CONTINUE THROUGHOUT THE ENTIRETY OF
|
|
THIS SCENE]
|
|
|
|
WE TILT UP to the tall grass of a riverbed. Suddenly LEE
|
|
and MARCUS exit from the trees.
|
|
32.
|
|
|
|
|
|
ON MARCUS as he takes in the picturesque landscape. He has
|
|
never been here before. Suddenly, his eyes slowly move down
|
|
to the ground.
|
|
|
|
CLOSE ON HIS BARE FEET at the very edge of the sand path.
|
|
|
|
There is nowhere else to go.
|
|
|
|
MARCUS watches as LEE takes off his backpack and places it
|
|
at the edge of the river. Then, he kneels down and looks
|
|
intently into the water. Suddenly, LEE’s face softens. He
|
|
takes one more look back at his son and then plunges his
|
|
hands into the river.
|
|
|
|
MARCUS looks on confused as his father seems to yank and
|
|
pull at something. Suddenly, LEE’s hands burst out of the
|
|
water holding a handmade wooden contraption. MARCUS starts
|
|
to back away pulling that contraption out of the water
|
|
DEFINITELY MADE A SOUND!!! MARCUS’ eyes shoot around into
|
|
the trees, up the river, looking, listening when suddenly
|
|
LEE PULLS OUT A LARGE TROUT FROM THE TRAP. THE FISH
|
|
THRASHES WILDLY AND THEN IT BREAKS FREE FROM LEE’S HAND! IT
|
|
DROPS DOWN ONTO LEE’S BAG FLAPPING AND THRASHING AND MAKING
|
|
NOISE!!!!
|
|
|
|
MARCUS goes white! WHAT HAS HIS FATHER DONE???? MARCUS
|
|
signs.
|
|
|
|
MARCUS
|
|
(SIGNING)
|
|
They’re going to hear you. They’re
|
|
going to HEAR YOU!!
|
|
|
|
In one swift move, LEE pins the trout to the ground and
|
|
grabs his son, pulling him in close. LEE silently calms his
|
|
son down, coaxing him to take deep breaths. As MARCUS
|
|
trembles LEE raises his hand and signs.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
Not, if there is a constant sound
|
|
nearby that is louder.
|
|
|
|
MARCUS doesn’t understand. LEE shows him. First, he reaches
|
|
down to the ground and places his hand off the path moving
|
|
the dirt slightly. He repeats.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
Small sounds safe.
|
|
|
|
LEE’s hand moves back to the trout. Repeats.
|
|
33.
|
|
|
|
|
|
LEE
|
|
(SIGNING)
|
|
Big sounds not. Unless...
|
|
|
|
LEE’s hands move to the moving water of the river. Repeats.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
There is a constant sound nearby
|
|
that is louder to mask it.
|
|
|
|
Suddenly the trout flaps again. MARCUS looks down then up
|
|
to his dad. His brain processing.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
You know what?
|
|
|
|
LEE checks his watch, then looks up river, then back to his
|
|
son.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
I want to show you something.
|
|
|
|
|
|
45 EXT. FARMHOUSE - LATE AFTERNOON 45
|
|
|
|
Disoriented, WE MOVE THROUGH a wall of dancing color. Then
|
|
suddenly we see EVELYN, as she holds up a piece of clothing
|
|
and pins it to a clothes line. The scene is oddly
|
|
beautiful.
|
|
|
|
As the clothes on the line dance, we can suddenly see,
|
|
behind EVELYN AN OLD FALLEN TREE THROUGH THE BACKSIDE OF
|
|
THE HOUSE.
|
|
|
|
|
|
46 INT. FARMHOUSE - UPSTAIRS HALL - LATE AFTERNOON 46
|
|
|
|
WE TRACK SLOWLY along through the bannister of the upstairs
|
|
hallway when suddenly EVELYN’S head appears. WE CONTINUE
|
|
with her as she slowly walks up the stairs almost as if
|
|
compelled.
|
|
|
|
As she ascends, looking right past camera, we get a clear
|
|
look into the bedrooms behind her. In one room, we catch
|
|
glimpses of a POP MUSIC POSTER, a PINK DESK and an empty
|
|
bed frame. In the next, we see a Nerf basketball hoop, a
|
|
life sized Pokemon doll and half built LEGOs strewn across
|
|
the floor. Neither room has doors.
|
|
34.
|
|
|
|
|
|
EVELYN finally crests the top of the stairs and walks out
|
|
of frame.
|
|
|
|
|
|
47 INT. WATERFALL - LATE AFTERNOON 47
|
|
|
|
A bizarre and beautiful image and sound! Light dances and
|
|
bends through a cascading rampart we finally identify as A
|
|
WATERFALL.
|
|
|
|
WE PAN OVER to see LEE and MARCUS enter from outside and
|
|
slide along the rock wall.
|
|
|
|
MARCUS looks up to his father, incredulous. LEE looks down
|
|
at him. After a moment, with a mischievous smile on his
|
|
face, LEE HOOTS LOUDLY!!!
|
|
|
|
THIS IS THE FIRST VOCALIZED SOUND WE WILL HAVE HEARD IN THE
|
|
MOVIE!!!!
|
|
|
|
MARCUS’ eyes shoot up to his father, immediately scared
|
|
again!
|
|
|
|
His father looks out at the waterfall and HOOTS AGAIN!!!
|
|
The way one would walking in a tunnel with their child.
|
|
|
|
LEE turns to MARCUS and crouches down, gently holding his
|
|
trembling son’s shoulders.
|
|
|
|
LEE
|
|
You’re alright.
|
|
|
|
THESE ARE THE FIRST WORDS WE HAVE HEARD IN THE MOVIE AND
|
|
THE FIRST WORDS MARCUS HAS HEARD IN 4 YEARS!!!!
|
|
|
|
WE ARE ON MARCUS’ face staring, shaking, somewhere between
|
|
terror and wonderment.
|
|
|
|
LEE
|
|
I promise.
|
|
|
|
His father smiles and nods comfortingly.
|
|
|
|
Finally MARCUS meekly HOOTS!
|
|
|
|
His father’s head gently tilts, as if to say “you can do
|
|
better”.
|
|
|
|
MARCUS looks back out the rushing water, then back to his
|
|
father and HOOTS LOUDLY!!!
|
|
|
|
LEE
|
|
35.
|
|
|
|
|
|
Now, that’s more like it.
|
|
|
|
The smile on MARCUS and LEE’s face can only be described as
|
|
once in a lifetime.
|
|
|
|
|
|
48 EXT. ROAD - LATE AFTERNOON 48
|
|
|
|
WE MOVE SLOWLY ALONG A ROAD, PANNING DOWN from gargantuan
|
|
trees until we finally reveal REGAN walking towards camera.
|
|
|
|
Suddenly coming into frame all around her is THE BRIDGE.
|
|
|
|
WE FOLLOW REGAN as she walks across the bridge, now more
|
|
overgrown with weeds and roots. Then suddenly REGAN comes
|
|
to a stop and kneels down in sand as WE CONTINUE TO MOVE
|
|
BACK SLOWLY.
|
|
|
|
Suddenly coming into frame is the top of A HAND MADE
|
|
CROSS!!!
|
|
|
|
REGAN reaches into her pillow case and pulls ou THE TOY
|
|
SHUTTLE.
|
|
|
|
WE FOLLOW REGAN’S HANDS as she deftly removes one of the
|
|
colored plastic pieces underneath. It quietly slides off to
|
|
reveal a battery panel and several multi colored wires. She
|
|
reaches into the front pocket of her dress and pulls out
|
|
pliers and quickly cuts the green wire.
|
|
|
|
REGAN reaches into the pocket of her dress again and pulls
|
|
out batteries! She slides the batteries in confidently.
|
|
|
|
We follow REGAN’s hands as they move to the base of the
|
|
cross and place the TOY SHUTTLE in the sand. We now see
|
|
that the shuttle sits amongst a pile of other weathered
|
|
toys and flowers.
|
|
|
|
REGAN PAUSES and then flips the tiny switch.
|
|
|
|
RED AND BLUE LIGHTS CASCADE OVER HER FACE
|
|
|
|
But no sound.
|
|
|
|
|
|
49 INT. FARMHOUSE - BEDROOM - LATE AFTERNOON 49
|
|
|
|
WE ARE TIGHT on EVELYN’s back as she walks through another
|
|
door-less threshold. As she continues into the room, we
|
|
begin to see the walls covered in rocket ships.
|
|
36.
|
|
|
|
|
|
OVER EVELYN as her eyes stop on a cartoon mobile of the
|
|
planets. She taps it exactly as she tapped the mobile in
|
|
the baby’s room. This time watching it orbit around without
|
|
a smile.
|
|
|
|
WIDE ON THE ROOM for the first time we see THE ROOM IS
|
|
METICULOUS. The bed is made, the toys perfectly placed on
|
|
the shelves.
|
|
|
|
CLOSE ON THE BED AS EVELYN SITS DOWN SLOWLY. Light floods
|
|
through the original paned window, casting the shadow of a
|
|
cross on the floor in front of her.
|
|
|
|
EVELYN looks over to the small night stand by the bed where
|
|
a lamp and a hand made mirror sit.
|
|
|
|
Suddenly, she lifts up the mirror and dusts the table with
|
|
the washcloth from the line.
|
|
|
|
EVELYN stares out the window oddly at peace. As LEE has his
|
|
ritual atop the silo to contemplate on the irreversible
|
|
loss of his son EVELYN has this. EVELYN keeps her son’s
|
|
spirit alive.
|
|
|
|
|
|
50 INT. WATERFALL - LATE AFTERNOON 50
|
|
|
|
CLOSE ON a water bladder poking into the rushing wall of
|
|
water. Filling immediately, we PULL BACK and FOLLOW LEE as
|
|
he sits down on a rock next to his son and hands him the
|
|
bladder.
|
|
|
|
MARCUS drinks as LEE looks on a brightness washing over
|
|
him.
|
|
|
|
This is a moment of calm. A moment of family. A moment of
|
|
real life.
|
|
|
|
WE FOLLOW the bladder as MARCUS hands it up to his father,
|
|
who happily takes a large swig. Suddenly we HEAR:
|
|
|
|
MARCUS (O.S.)
|
|
Why didn’t you let her come with
|
|
us?
|
|
|
|
LEE looks down at his son.
|
|
|
|
LEE (O.S.)
|
|
Because, I need to keep her safe.
|
|
|
|
MARCUS (O.S.)
|
|
Is it because you blame her for
|
|
what happened?
|
|
37.
|
|
|
|
|
|
LEE freezes instantly, his heart stops.
|
|
|
|
Finally he looks down at his son, in shock, in awe.
|
|
|
|
MARCUS
|
|
Because she blames herself.
|
|
|
|
LEE’s eyes blink and flutter as he tries to gain control of
|
|
his thoughts.
|
|
|
|
LEE
|
|
No, I don’t bl--It was no one’s
|
|
fault.
|
|
|
|
MARCUS
|
|
You still love her, right?
|
|
|
|
LEE
|
|
Of-- Of course I do.
|
|
|
|
Pause.
|
|
|
|
MARCUS
|
|
You should tell her.
|
|
|
|
|
|
51 INT. FARMHOUSE - BEDROOM - LATE AFTERNOON 51
|
|
|
|
CLOSE ON EVELYN IN THE HAND MADE MIRROR, as she stares at
|
|
the frame made up of colorful zoo animals staring back at
|
|
her. At the top of the mirror, the name “BEAU”
|
|
|
|
FROM THE DOORWAY, WE ARE WIDE ON THE ROOM as EVELYN stands
|
|
up and slowly makes her way to the door carrying the small
|
|
mirror.
|
|
|
|
Just as she reaches the doorway, she stops. Her body
|
|
tightens. Her face changes. Her hand shakes as it reaches
|
|
out to the side of the doorway. WE HOLD ON HER a moment and
|
|
then go CLOSE ON her feet rocking slightly in the doorway.
|
|
|
|
Suddenly FLUID HITS THE FLOORBOARDS!!!!
|
|
|
|
|
|
52 EXT. WOODS - LATE AFTERNOON 52
|
|
|
|
LEE and MARCUS appear through an oddly beautiful exit from
|
|
the woods and begin walking along a path.
|
|
|
|
PROFILE on LEE as we see the tall thin trees of a swamp
|
|
behind him.
|
|
38.
|
|
|
|
|
|
PROFILE ON MARCUS from the opposite side as swamp trees are
|
|
also behind him. Suddenly A DILAPIDATED house comes into
|
|
frame. MARCUS turns to look.
|
|
|
|
MARCUS’ POV of the eery house that stands as a reminder
|
|
that people once lived here happily.
|
|
|
|
CLOSE ON MARCUS looking up on the house. His face now
|
|
fearful. Suddenly, behind MARCUS, just out of focus in the
|
|
short distance A DARK SHADOW!!!
|
|
|
|
No sooner has the FIGURE exited frame, MARCUS CRASHES INTO
|
|
HIS FATHER WHO IS STANDING COMPLETELY STILL.
|
|
|
|
MARCUS looks up at his father who stares off sharply into
|
|
the short distance OVER MARCUS as he slowly leans around
|
|
his father to see what he’s looking at, when suddenly we
|
|
see A TERRIFYING MAN AT THE EDGE OF THE SWAMP!!!
|
|
|
|
A human form unlike anything most of us ever will or should
|
|
get to see, the man’s emaciated body quakes and then
|
|
shudders as if a synapses misfire. His face is sunken,
|
|
almost ghoulish
|
|
|
|
and the look in his pitch black eyes communicates something
|
|
far beyond fearful. Much worse, this is the rare look of a
|
|
brain that has accepted a living nightmares as an everyday
|
|
reality.
|
|
|
|
ON MARCUS as he slowly raises his hand into a wave.
|
|
|
|
ON THE MAN who doesn’t move.
|
|
|
|
ON LEE as his eyes travel slowly down the man’s frame.
|
|
|
|
ON LEE’S PERSPECTIVE as we see the man’s dirt covered face,
|
|
then a ratty and ripped flannel shirt, and then blood
|
|
covered hands, blood covered jeans and finally at his feet,
|
|
in the high grass LONG HAIR AND A HAND OF A DEAD WOMAN.
|
|
|
|
ON LEE as his eyes slowly come back up to meet the man’s.
|
|
LEE now also raises his hand and places a tense finger on
|
|
his lips.
|
|
|
|
ON THE MAN as two large tears run down his face. In his
|
|
eyes, the knowing fear of the end of his life as he takes a
|
|
deep breath in.
|
|
|
|
LEE immediately grabs MARCUS.
|
|
|
|
TIGHT ON LEE sprinting down the path carrying his son. OVER
|
|
HIS SHOULDER, the man in the background:
|
|
39.
|
|
|
|
|
|
LETS OUT A PRIMAL SCREAM!!!!!!
|
|
|
|
A bottomless sound of pain and surrender, the sound blasts
|
|
onto us like a wave.
|
|
|
|
LEE suddenly dives behind a hollowed out tree trunk and
|
|
throws MARCUS’ back up against it.
|
|
|
|
ON MARCUS as his father clasps his hand over his mouth.
|
|
|
|
MARCUS’ eyes widen as overwhelming panic takes over.
|
|
|
|
ON LEE as he looks down at his son with the most beautiful
|
|
sense of calm. The way one holds the hand of someone in
|
|
their last seconds on earth, LEE’s smile is pure comfort,
|
|
pure love.
|
|
|
|
Suddenly we hear THE FAMILIAR TERRIFYING SCREEEEEEEECH!
|
|
|
|
ON MARCUS, who begins violently shaking his head, his soul
|
|
seemingly coming out through his skin. Then suddenly we
|
|
hear THE SNAPPING OF TREES!
|
|
|
|
ON LEE as his look now shoots to the tree line behind the
|
|
man when suddenly WE HEAR the man’s primal scream of pain
|
|
turn into an animal sound of death.
|
|
|
|
BACK ON MARCUS as he covers his ears. Through the muffle of
|
|
MARCUS’ covered ears we can still hear the most horrific
|
|
sounds of ultimate pain, crunching, and then a deafening
|
|
POP!!!!
|
|
|
|
SILENCE
|
|
|
|
MARCUS’ eyes almost seem to dim right before us as he goes
|
|
limp.
|
|
|
|
|
|
53 INT. FARMHOUSE - UPSTAIRS HALL - LATE AFTERNOON 53
|
|
|
|
FROM THE FLOOR we follow drops of fluid down the hall,
|
|
leading to EVELYN gripping onto the railing with both hands
|
|
as she slowly traverses the stairs going down, focusing
|
|
intently on each step.
|
|
|
|
ON EVELYN’s face as she takes slow, deep breaths. Her eyes
|
|
surging with panic and pain.
|
|
|
|
IT’S 4 WEEKS TOO SOON!
|
|
|
|
Suddenly EVELYN’s eyes go wide.
|
|
40.
|
|
|
|
|
|
CONTRACTION!!!
|
|
|
|
CLOSE ON EVELYN’S BELLY as she slowly sinks down into the
|
|
steps and INTO A CLOSE UP.
|
|
|
|
In EVELYN’s face we will witness, many of us for the first
|
|
time, the complex and overwhelming sensory overload that is
|
|
a contraction all swallowed back with every fiber of her
|
|
being in order to remain silent.
|
|
|
|
Just at the moment it looks as though EVELYN may explode,
|
|
the contraction subsides.
|
|
|
|
WE ARE ON EVELYN’s BACK as she struggles up onto her feet
|
|
and down the remaining stairs. As she rounds the banister
|
|
and out of frame WE HOLD ON THE FRONT HALL.
|
|
|
|
Out the front door and onto the sand path warmly lit white
|
|
from the Christmas lights above.
|
|
|
|
|
|
54 INT. FARMHOUSE - BASEMENT - LATE AFTERNOON 54
|
|
|
|
WE ARE LOW looking up the basement stairs as suddenly
|
|
EVELYN appears in the narrow doorway and grabs hold of the
|
|
wall, still carrying the children’s mirror. She takes a
|
|
moment and then begins to descend the exposed stairs with
|
|
the same deliberate effort.
|
|
|
|
COMING TOWARDS CAMERA, EVELYN gets bigger and bigger in the
|
|
frame until her head disappears, then her belly.
|
|
|
|
Just as her foot comes down into close up we:
|
|
|
|
RACK FOCUS to THE NAIL STANDING STRAIGHT UP!!!!
|
|
|
|
EVELYN’s footsteps STRAIGHT DOWN ON IT!!!!!
|
|
|
|
WE WATCH THE NAIL PIERCE INTO THE BOTTOM OF HER FOOT and
|
|
then ERUPT THROUGH THE OTHER SIDE!!!!!!!!
|
|
|
|
THE SOUND CUTS OUT as we go:
|
|
|
|
CLOSE ON EVELYN as the shock and searing pain collides in
|
|
her brain behind her eyes. Then
|
|
|
|
CLOSE ON THE MIRROR as it SILENTLY CRASHES DOWN THE STAIRS
|
|
then rattles around in a circle before coming to a
|
|
standstill.
|
|
|
|
SOUND COMES RUSHING BACK IN ON EVELYN as full blown fear
|
|
washes over her. That sound was most definitely HEARD. She
|
|
looks down.
|
|
41.
|
|
|
|
|
|
CLOSE ON EVELYN’s FOOT as she SLIDES THE FOOT SLOWLY UP THE
|
|
NAIL and POPS IT FREE. Blood immediately begins to drip
|
|
from the wound.
|
|
|
|
EVELYN rushes down the remaining stairs, wincing with every
|
|
other step.
|
|
|
|
WE FOLLOW ON EVELYN’s BACK as she hurriedly shuffles
|
|
through this basement that once felt familiar in the
|
|
romantic glow of their slow dance, but now feels stark and
|
|
desperately lonely.
|
|
|
|
Finally, EVELYN arrives at LEE’s security console. She
|
|
desperately pushes past stacks of notebooks and files,
|
|
boxes of various electrical equipment like cellphones,
|
|
cassette players and EGG TIMERS that have been pillaged for
|
|
parts.
|
|
|
|
EVELYN finally moves THE BOX OF HEARING AIDS to reveal that
|
|
there on the wall is a large, handmade switch.
|
|
|
|
EVELYN grabs the knob at the top and thrusts it down.
|
|
|
|
|
|
55 EXT. FARM - LATE AFTERNOON 55
|
|
|
|
Suddenly, flickering to life against the dusk colored sky
|
|
LINES OF RED CHRISTMAS LIGHTS!!!
|
|
|
|
Like the white lights before, the power grid like system
|
|
illuminates the farm in bright RED!!!
|
|
|
|
|
|
56 EXT. ROAD - LATE AFTERNOON 56
|
|
|
|
REGAN lies in the sand next to the cross. Behind her we see
|
|
RED LIGHTS THROUGH THE TREES!
|
|
|
|
REGAN doesn’t see them.
|
|
|
|
|
|
57 INT. FARMHOUSE - BASEMENT - LATE AFTERNOON 57
|
|
|
|
ON EVELYN, leaning on LEE’s console. Her eyes closed, she
|
|
takes slow, deep breathes, as if to convince herself that
|
|
it will all be OK now. The signal has been sent.
|
|
|
|
For a brief moment a smile as she then opens her eyes and
|
|
moves back to the stairs.
|
|
|
|
As she clutches the support beam and goes to take her first
|
|
step up A LARGE SHADOW FLASHES PAST THE DOORWAY!!!!!
|
|
42.
|
|
|
|
|
|
EVELYN spins back away from the stairs in terror.
|
|
|
|
|
|
58 EXT. WOODS - VALLEY PATHWAY - DUSK 58
|
|
|
|
As sky begins to settle into dusk above the towering trees
|
|
LEE enters carrying a limp MARCUS.
|
|
|
|
He trudges up the sand path, looking down at MARCUS.
|
|
|
|
MARCUS’ eyes are open, but he is not present.
|
|
|
|
ON LEE’S BACK NOW, as he and his son crest the hill.
|
|
|
|
WE BOOM UP to see the dark horizon line of sky, give way to
|
|
the top of the silo and then the fire red ground
|
|
illuminated by Christmas lights.
|
|
|
|
ON LEE as we see his face register exactly what this means.
|
|
|
|
He breaks into a full sprint.
|
|
|
|
|
|
59 INT. FARMHOUSE - BASEMENT - DUSK 59
|
|
|
|
CLOSE ON one of the basement windows as red light pours
|
|
through.
|
|
|
|
WE PULL BACK SLOWLY as:
|
|
|
|
EVELYN’s HANDS enter frame. She desperately pushes on the
|
|
window nothing.
|
|
|
|
EVELYN roams around the basement like a caged animal
|
|
searching for any way out.
|
|
|
|
She moves back to LEE’s security console, scanning the
|
|
desk, think, THINK!
|
|
|
|
Suddenly her eyes fall upon the box of small electronics
|
|
she just moved to get to the switch.
|
|
|
|
Suddenly we hear A SCRATCHING OF CLAWS ON A WALL AND A
|
|
CRASH OF GLASS FROM ABOVE HER!!!!
|
|
|
|
EVELYN freezes with fear. Then...
|
|
|
|
THE HORRIFIC SCREEEEEEEEECH CAN BE HEARD!
|
|
|
|
EVELYN closes her eyes as the same sound that preempted her
|
|
son’s death washes over her.
|
|
43.
|
|
|
|
|
|
Then, her eyes shoot open in pain CONTRACTION!!!
|
|
|
|
Larger than the second one, this one brings EVELYN to her
|
|
knees, her head dips to the ground as she grimaces in
|
|
intense pain.
|
|
|
|
CLOSE ON EVELYN as her head suddenly shoots back up... The
|
|
red light pouring in from the basement windows cuts a line
|
|
across her face revealing her exploding eyes trying to
|
|
swallow the pain. Tears begin to fall, she is unable to
|
|
breath.
|
|
|
|
Then suddenly air slowly escapes as she exhales the
|
|
contraction has passed. After a moment of realization,
|
|
disbelief, she stands up and out of frame.
|
|
|
|
WE HOLD and then slowly pan down to a small pool of blood
|
|
on the floor.
|
|
|
|
|
|
60 INT. FARMHOUSE - DUSK 60
|
|
|
|
NOW LOOKING DOWN THE STAIRS from the doorway in the first
|
|
floor hallway we see EVELYN rush through frame past the
|
|
stairs.
|
|
|
|
WE CAN BARELY MAKE OUT A NONDESCRIPT SOUND.
|
|
|
|
|
|
61 INT. FARMHOUSE - BASEMENT - DUSK 61
|
|
|
|
ON EVELYN as she quickly slides in behind a large boiler.
|
|
We can see the basement stairs in the background.
|
|
|
|
EVELYN squeezes her eyes shut and begins murmuring to
|
|
herself THE NONDESCRIPT SOUND IS SLIGHTLY LOUDER A TICKING.
|
|
|
|
And then EVELYN’s eyes shoot open.
|
|
|
|
What now?
|
|
|
|
Suddenly CONTRACTION!!!!
|
|
|
|
We are on EVELYN’S face as she endures this immeasurable
|
|
pain in this unthinkable moment.
|
|
|
|
Then we hear.
|
|
|
|
TICK SCRAAAAAPE TICK SCRAAAAAPE
|
|
|
|
Whatever IT is it’s coming DOWN THE STAIRS.
|
|
44.
|
|
|
|
|
|
TICK SCRAAAAAPE TICK SCRAAAAAPE
|
|
|
|
EVELYN crushes herself even tighter against the wall behind
|
|
the boiler closing her eyes and exhaling in pure, painful,
|
|
silence as the contraction subsides.
|
|
|
|
Suddenly we hear...
|
|
|
|
SILENCE.
|
|
|
|
EVELYN turns and peers through the water tanks.
|
|
|
|
IN EVELYN’S POV as she scans the room through the sliver of
|
|
a view then suddenly we can barely make out more than a
|
|
SLIVER of a creature’s shoulder or back from in between the
|
|
tanks.
|
|
|
|
WE CAN SEE THAT IT IS COVERED IN SMALL ARMOR LIKE PLATES!
|
|
|
|
Suddenly...
|
|
|
|
The small plates on the creature’s shoulder BEGIN TO LIFT
|
|
UP??!! Like the pieces on a colander, or an old satellite
|
|
dish, the small plates open up with the crackle and pull of
|
|
anatomical goo underneath. Then all of the sudden, the
|
|
plates BEGIN TO ROTATE! Like directional microphones, the
|
|
plates begin searching the room FOR SOUND!
|
|
|
|
From behind the tanks, EVELYN watches as the creature’s
|
|
plates turn toward the wall of monitors. Suddenly, each of
|
|
the screens begins to flicker!!! Then the picture goes
|
|
completely dark!
|
|
|
|
EVELYN then suddenly rolls her back against the tanks to
|
|
look from one side of the room to the other.
|
|
|
|
Suddenly we now can identify the NONDESCRIPT SOUND FROM
|
|
EARLIER as TICKING.
|
|
|
|
Then, sitting on a shelf on the wall opposite the console,
|
|
we see AN EGG TIMER!!!
|
|
|
|
WE CONTINUE TO PUSH IN, THE TICKING SOUND NOW MUCH LOUDER,
|
|
when finally, just as we land CLOSE UP on the egg timer
|
|
RIIIIIIIIIIIIIIIIIIING!!!!!!!!!!!
|
|
|
|
THE CREATURE SCREEEEEEEEEEEECHES!!!!
|
|
|
|
AND ATTACKS THE SOUND!!!!!!!
|
|
|
|
EVELYN opens her eyes.
|
|
45.
|
|
|
|
|
|
That’s it! Her plan worked! EVELYN thrusts herself away
|
|
from the tanks!!
|
|
|
|
WE TRACK WITH HER as she moves as quickly as she can to the
|
|
exposed stairs and begins to climb.
|
|
|
|
|
|
62 INT. FRONT HALL - DUSK 62
|
|
|
|
FROM THE KITCHEN WE LOOK THROUGH THE HALLWAY ONTO THE FRONT
|
|
|
|
DOOR. Suddenly, EVELYN bursts out of the doorway from the
|
|
basement.
|
|
|
|
WE FOLLOW ON HER BACK as she maneuvers her feet desperately
|
|
from PAINTED SPOT to PAINTED SPOT down the hall to the
|
|
front door and to freedom!
|
|
|
|
She grabs the stair post for support as she crosses through
|
|
the front hall, only steps from the door when, OVER HER
|
|
SHOULDER we barely see A DARK SHADOW WALKING UP THE SAND
|
|
PATH!!!
|
|
|
|
EVELYN immediately spins around into CLOSE UP as we now
|
|
LEAD HER as she rushes up the main stairs.
|
|
|
|
At the top of the stairs, WE TILT DOWN as she reaches to
|
|
the floor and picks up the thick blankets covering the
|
|
landing.
|
|
|
|
Behind her THE FRONT HALL LIGHTS BEGIN TO BRIGHTEN!
|
|
|
|
|
|
63 EXT. BARN - DUSK 63
|
|
|
|
WE HOLD ON the side of the barn as LEE enters with MARCUS
|
|
and places him on the ground.
|
|
|
|
WE FOLLOW LEE as he slowly cranes his neck to look around
|
|
the barn. There, beautifully lit in RED is the sand path
|
|
leading to the farmhouse. LEE’s eyes travel down the path
|
|
and up the stairs and ONTO A LARGE DARK SHADOW NOW IN THE
|
|
FRONT HALL!!!
|
|
|
|
LEE snaps his back against the wall, his eyes darting with
|
|
fear as he thinks, thinks. Finally he turns to his son who
|
|
stands looking at him blankly.
|
|
|
|
LEE immediately digs into his backpack and pulls out A
|
|
FLASHLIGHT!
|
|
|
|
LEE places the flashlight in MARCUS’s hands. MARCUS looks
|
|
up to him with familiar panic in his eyes.
|
|
46.
|
|
|
|
|
|
LEE then slides closer to his son and gently places his
|
|
hands on MARCUS shoulders.
|
|
|
|
Suddenly, LEE places his left hand straight up against his
|
|
chest, crosses the fingers of his right hand, brings the
|
|
two together and shoots his right hand into the sky.
|
|
|
|
This is the same exact sign his four year old son made in
|
|
the general store at the beginning of the movie. This means
|
|
ROCKET.
|
|
|
|
MARCUS shakes his head no.
|
|
|
|
LEE gently places his hands on MARCUS face and looks
|
|
directly in his eyes. No doubt informed by the heart
|
|
opening day they’ve had. It is a beautiful moment of
|
|
strength as LEE communicates so much to his son.
|
|
|
|
First and foremost, there is understanding and even an
|
|
apology for the situation they are in. But then the look
|
|
turns to imploring.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
Your mother needs help. I need you
|
|
to do this for her.
|
|
|
|
MARCUS looks to his dad, his eyes change.
|
|
|
|
LEE
|
|
(SIGNING)
|
|
Please.
|
|
|
|
And with that MARCUS is gone.
|
|
|
|
ON LEE as he watches his son run down the side of the barn
|
|
and disappear around the corner. He takes a deep breath.
|
|
God protect his son. God protect all of them.
|
|
|
|
LEE turns and runs around the barn.
|
|
|
|
|
|
64 INT. FARMHOUSE - UPSTAIRS BATHROOM - DUSK 64
|
|
|
|
FROM ABOVE we see EVELYN enter the room carrying the thick
|
|
blankets from the stairs and turns on the bathroom light
|
|
spots of blood smear on the floor.
|
|
|
|
ON EVELYN as she slowly gets into the bathtub. Tears fall
|
|
down her face as she reaches over the wall of the tub and
|
|
starts stacking the blankets from her knees to her chest.
|
|
|
|
As she folds the last blanket over herself CONTRACTION!!!
|
|
47.
|
|
|
|
|
|
This time her eyes go wide with the electric shock like
|
|
pain.
|
|
|
|
This is the big one. THIS IS HAPPENING!
|
|
|
|
Suddenly we hear TICK SCRAAAAAPE TICK SCRAAAAAPE Whatever
|
|
IT is it’s trying to climb the stairs.
|
|
|
|
TIGHT ON EVELYN’s hand as it jerks and grips till it turns
|
|
white from force.
|
|
|
|
FROM ABOVE, we see EVELYN in extreme pain, but somehow
|
|
keeping it all in.
|
|
|
|
Suddenly a small stream of blood begins to trickle by her
|
|
exposed feet.
|
|
|
|
|
|
65 INT. BARN - LEE’S BEDROOM - STALL - DUSK 65
|
|
|
|
LEE rushes into his room and reaches under his mattress and
|
|
pulls out A SHOT GUN!
|
|
|
|
Not the first choice, when trying not to make noise, but he
|
|
has no other choice.
|
|
|
|
|
|
66 EXT. FARM - CORNFIELD - DUSK 66
|
|
|
|
MARCUS walks down a thin sand path, suddenly stops and
|
|
looks up to a HUGE OVERARCHING FIGURE ABOVE HIM!
|
|
|
|
It is a watering device found in cornfields that tower high
|
|
above the corn and roll slowly through the fields on giant
|
|
wheels.
|
|
|
|
|
|
67 INT. FARMHOUSE - UPSTAIRS BATHROOM - DUSK 67
|
|
|
|
ON THE BATHTUB. All that can be seen are EVELYN’s eyes as
|
|
she peers over the bathtub wall. Through the door and to
|
|
the steps. Suddenly we hear again
|
|
|
|
TICK SCRAAAAAPE TICK SCRAAAAAPE
|
|
|
|
Just then, the light bulb above EVELYN begins to DIM!!!
|
|
|
|
QUICKLY BACK ON EVELYN as she begins to cry, preparing for
|
|
the end. And then CONTRACTION!!!!
|
|
|
|
FROM ABOVE as EVELYN’s face shoots to the sky with no
|
|
affect.
|
|
48.
|
|
|
|
|
|
Her eyes wide, the rest of her face is calm.
|
|
|
|
Then we see blood and fluid now pool around her feet as the
|
|
light above her goes out.
|
|
|
|
From only the light from the window we see EVELYN’s face
|
|
finally crack in pain. Her mouth opens releasing the most
|
|
guttural and now two person SCREEEEEEEAM!
|
|
|
|
BUT, right at that moment, the screams of mother and baby
|
|
are drowned out by a thundering.
|
|
|
|
BOOOOOOOOOOOOOOOOOOM!!!!
|
|
|
|
|
|
68 EXT. FARMHOUSE - SAND PATH - NIGHT 68
|
|
|
|
WE TRACK WITH LEE as he sprints down the sand path holding
|
|
the shotgun like a civil war soldier rushing into battle as
|
|
ENORMOUS BLOOMS OF FIREWORKS BURST BEHIND HIM!!!!
|
|
|
|
Red, green, white, large plumes, small sparkles falling
|
|
down.
|
|
|
|
In the midst of this unthinkable nightmare, it’s gorgeous.
|
|
|
|
|
|
69 EXT. ROAD - NIGHT 69
|
|
|
|
Huge bursts of fireworks light up through the tops of the
|
|
towering trees REGAN, sits up abruptly into the fireworks’
|
|
silhouette.
|
|
|
|
CLOSE ON REGAN as the colors illuminate on her face.
|
|
|
|
|
|
70 INT. FARMHOUSE - FRONT HALL - NIGHT 70
|
|
|
|
FROM THE DINING ROOM, we look into the front hall in the
|
|
background.
|
|
|
|
SUDDENLY, FROM THE DOORWAY THE MUZZLE OF A GUN POKES
|
|
THROUGH.
|
|
|
|
THEN MOMENTS LATER, LEE WALKS IN STEALTHILY. MOVING THE GUN
|
|
EXACTLY WHERE HIS EYES POINT. HE CLEARS THE ROOM.
|
|
|
|
ON LEE’S BACK as we look down the gun barrel. He looks to
|
|
the dining room. He looks to the living room. He looks to
|
|
the
|
|
|
|
STAIRS!!!
|
|
49.
|
|
|
|
|
|
LEE’S POV as he walks up the stairs. On each stair drops of
|
|
blood. To the left, along the wall, the wallpaper has been
|
|
intermittently RIPPED IN THREE EQUIDISTANT MEANDERING
|
|
LINES.
|
|
|
|
|
|
71 INT. FARMHOUSE - UPSTAIRS HALLWAY - NIGHT 71
|
|
|
|
THROUGH A DOORWAY into the now exposed wood floor landing
|
|
with the bannister outlining the upstairs hall.
|
|
|
|
Suddenly, the top of LEE’s head enters frame, just as the
|
|
creature’s had only moments before. Then his gun, facing
|
|
into the bedrooms to the side. LEE moves the gun
|
|
confidently in all directions, making sure the upstairs is
|
|
clear.
|
|
|
|
As LEE’s gaze comes around to face directly at us, his gun
|
|
lowers and WE SLOWLY PULL BACK INTO THE ROOM TO REVEAL the
|
|
bloodstained edge of the BATHTUB.
|
|
|
|
ON LEE’s BACK as he rushes to the tub to find, just blood
|
|
in an empty bathtub.
|
|
|
|
LEE turns into his own CLOSE UP PROFILE as his back slides
|
|
down the bathtub and onto the floor. His hand releases the
|
|
gun to the floor. His eyes close and he begins to softly
|
|
weep.
|
|
|
|
A mirror behind LEE reflects the room back to him,
|
|
revealing for the first time, a beveled glass shower door
|
|
at the opposite end of the room. Suddenly A BLOODY HAND
|
|
HITS THE GLASS!!!! And the shower door slowly opens!!!
|
|
|
|
OVER LEE as he scrambles to the shower and opens the door!
|
|
|
|
Stuffed inside is a quivering pile of blankets.
|
|
|
|
LEE drops to his knees and pulls back the blankets to see
|
|
his wife. Pale, with eyes closed, she’s breathing. And in
|
|
her arms a sleeping newborn baby.
|
|
|
|
|
|
72 EXT. CORNFIELD - NIGHT 72
|
|
|
|
WE HOLD ON THE TOPS OF THE DENSE CORN, the creature like
|
|
silhouette of the giant watering device looming as the last
|
|
of a series of bottle rockets fire into the darkening night
|
|
sky.
|
|
|
|
WE MOVE ABOVE THE CORN and then descend through it onto a
|
|
thin sand path and onto MARCUS.
|
|
50.
|
|
|
|
|
|
WE FOLLOW WITH HIM as he safely walks back toward the BARN,
|
|
holding his flashlight, as the final bursts of fireworks
|
|
|
|
illuminate behind him.
|
|
|
|
On MARCUS’ face is genuine pride. He knows he has done
|
|
something heroic. Suddenly WE HEAR THE SNAP OF
|
|
CORNSTALKS!!!
|
|
|
|
MARCUS, frantically whips his light around the path behind
|
|
him.
|
|
|
|
WE FOLLOW HIS LIGHT as it scans the path and the stalks.
|
|
Even with nothing there, it’s terrifying.
|
|
|
|
Just then, his flashlight begins to DIM.
|
|
|
|
SNAP!!!
|
|
|
|
MARCUS whips his light around to the thin sand path in
|
|
FRONT of him. Nothing.
|
|
|
|
SNAP!!! CRUNCH!!! SNAP!!! CRUNCH!!! Something ELSE is
|
|
moving toward him fast!
|
|
|
|
MARCUS turns around, away from the BARN AND RUNS!!!! WE ARE
|
|
ON MARCUS’ FACE AS HE RUNS
|
|
|
|
Scanning, scanning SNAP!!! SCANNING!!! CRUNCH!!! SCANNING!!
|
|
|
|
HIS FLASHLIGHT STARTS TO FLICKER OUT.
|
|
|
|
THE CORN TO HIS RIGHT BEGINS TO SNAP.
|
|
|
|
IT'S COMING CLOSER!
|
|
|
|
MARCUS turns and begins to run INTO THE CORN!!!!
|
|
|
|
WE ARE NOW IN A TERRIFYING PERSPECTIVE HANDHELD, AS CORN
|
|
CROSSES RIGHT PAST LENS. THE FLASHLIGHT not able to cast
|
|
light on anything that’s not right in our face, creating
|
|
almost a STROBE EFFECT!!! MARCUS is making A TON OF
|
|
SOUND!!!!
|
|
|
|
ON MARCUS’ FACE pure panic. When suddenly WE ARRIVE into a
|
|
small clearing to see A TRACTOR, completely overgrown with
|
|
corn. MARCUS immediately climbs onto the tractor and
|
|
frantically whips his light around the clearing and into
|
|
the dense corn.
|
|
|
|
THE LIGHT STARTS TO DIM SNAP!!! CRUNCH!!! SNAP!!! CRUNCH!!!
|
|
51.
|
|
|
|
|
|
Something is moving toward him FAST! THE LIGHT BEGINS TO
|
|
FLICKER and then goes out.
|
|
|
|
Suddenly, off in the corn in front of him (AND FOR THE
|
|
FIRST TIME) we hear A LOUD SCREEEEEEEEEEEEEEECH!!!! The
|
|
light suddenly BLARES BRIGHT as A DEER HEAD POPS OUT OF THE
|
|
CORN!!!!!!!!
|
|
|
|
ALL IN AN INSTANT, MARCUS flies back in fear! Slipping from
|
|
the top of the tractor and SLAMMING HIS HEAD INTO THE WHEEL
|
|
WELL.
|
|
|
|
BLACK
|
|
|
|
|
|
73 EXT. FARM - DRIVEWAY - NIGHT 73
|
|
|
|
Fade in: The night is now dark.
|
|
|
|
WE ARE BEHIND REGAN walking. AS WE ARE WITH HER WE ARE IN
|
|
TOTAL SILENCE.
|
|
|
|
She looks around at the remnants of the last horrifying
|
|
moments more reminiscent of a soldier returning to a
|
|
battlefield, then a girl returning to a farm, we see
|
|
countless streamers of firework smoke still falling
|
|
gracefully from the sky. The tips of dry corn stalks
|
|
flicker alight with small flames. Off in the distance we
|
|
see lights of the SILO. Shining like a beacon.
|
|
|
|
REGAN walks along the eerie shadows of corn stalks when
|
|
suddenly at her feet cracks of light.
|
|
|
|
REGAN lowers to her knees and puts her head to the ground
|
|
to see a bright light, cutting through the bottom of the
|
|
stalks of corn. Suddenly, the pliers REGAN used to work on
|
|
the TOY SHUTTLE slip out of the pocket of her dress AND
|
|
CRASH ONTO A ROCK ON THE GROUND!!!
|
|
|
|
REGAN doesn’t even notice because she didn’t even hear it.
|
|
|
|
REGAN sits back up to kneeling position when suddenly the
|
|
cornstalks behind her BEGIN TO LAY DOWN AS A SHADOW
|
|
EMERGES!!!
|
|
|
|
At that exact moment, we begin to hear the oddest and
|
|
unpleasant beeeeeeeeeeeep.
|
|
|
|
Suddenly, REGAN’s eyes begin to squint slightly. Then, her
|
|
hand slowly reaches up to her ear?
|
|
|
|
SHE CAN HEAR THE BEEP!!!!
|
|
52.
|
|
|
|
|
|
SUDDENLY the SHADOW moves closer to REGAN and THE BEEEEEEP
|
|
GROWS!!!
|
|
|
|
Now at a near deafening level, we see the shadow behind
|
|
REGAN stop? REGAN’s face now scrunches up in agony as she
|
|
grabs her ears!!! REGAN digs into her right ear, rips out
|
|
the hearing aid and launches forward!!
|
|
|
|
SILENCE.
|
|
|
|
REGAN suddenly kneels back up into frame THE SHADOW IS
|
|
GONE!
|
|
|
|
SHE NEVER EVEN KNEW IT WAS THERE.
|
|
|
|
Breathing wildly, REGAN looks at the hearing aid in her
|
|
hand.
|
|
|
|
Her face is almost electrified! As excruciating as that was
|
|
THAT IS THE FIRST SOUND SHE HAS EVER HEARD!
|
|
|
|
REGAN slowly puts the hearing aid back in her ear.
|
|
|
|
Nothing.
|
|
|
|
|
|
74 EXT. CORNFIELD - NIGHT 74
|
|
|
|
WE FOLLOW REGAN as she walks down the small path leading
|
|
to... the clearing. One ladder stands, the other ladder on
|
|
the ground, bottles and fireworks litter the ground. And
|
|
then, there in the center of the clearing, lit by the
|
|
flashlight one half of a deer carcass.
|
|
|
|
No sign of MARCUS.
|
|
|
|
REGAN slowly bends down to pick up the flashlight when
|
|
suddenly THE CARCASS MOVES! REGAN jumps back, terrified!!!
|
|
|
|
Then from under the neck of the dee a hand!!
|
|
|
|
REGAN runs over and pushes the carcass off of MARCUS, who
|
|
has been safely lying underneath.
|
|
|
|
Covered in blood, he scrambles to try to get to his feet.
|
|
|
|
REGAN grabs him and holds him tight. She places her finger
|
|
to her lips, just like her dad.
|
|
|
|
She looks around to see if they have a chance to run and
|
|
then thinks better of it. She looks back to her brother and
|
|
places her hand on his chest.
|
|
53.
|
|
|
|
|
|
WE RISE above the clearing, above the overgrown tractor and
|
|
once again into the night.
|
|
|
|
|
|
75 EXT. FARMHOUSE - NIGHT 75
|
|
|
|
WE ARE WIDE on the FARMHOUSE. The RED CHRISTMAS lights sway
|
|
gently in the now calm night air.
|
|
|
|
After a long quiet moment LEE appears at the doorway. He
|
|
carries EVELYN in his arms the baby in hers.
|
|
|
|
He slowly descends the porch stairs and begins to walk
|
|
toward the BARN his eyes locked firmly on his cargo. For a
|
|
moment, as LEE walks, this all feels almost like a dream.
|
|
Or the end of a nightmare. Respite.
|
|
|
|
WE ARE TIGHT ON EVELYN who we see is unconscious from the
|
|
trauma and the loss of fluids THEN DOWN TO the tightly
|
|
wrapped baby sleeping in her arms.
|
|
|
|
LEE looks ahead to the doors of the BARN off in the
|
|
seemingly never ending distance.
|
|
|
|
Suddenly THE BABY BEGINS TO STIR!!!
|
|
|
|
LEE’s eyes shoot down to see the baby streeeeeeeeetch and
|
|
slowly begin to open it’s eyes.
|
|
|
|
ON THE BABY as it looks up, searchingly, at his father as
|
|
his father picks up his pace!
|
|
|
|
Suddenly, we begin to notice the dim red light on the
|
|
baby’s face BEGINS TO FLICKER!
|
|
|
|
ON THE BARN DOORS getting closer, closer.
|
|
|
|
ON LEE as he trudges with everything he has to get his baby
|
|
to safety when suddenly a cold wind blows across LEE’s face
|
|
and through his hair.
|
|
|
|
LEE slowly looks down as THE BABY CRIES!!!!!!
|
|
|
|
WE HOLD DIRECTLY ON LEE, LEADING HIM, as he breaks into a
|
|
full sprint!
|
|
|
|
LEE’S eyes momentarily dart quickly to the side, not at all
|
|
prepared for what he might find.
|
|
|
|
WE NEVER LEAVE LEE’s FACE. As his head bobs back and forth
|
|
from running, we intermittently catch glimpses of the long
|
|
path behind him.
|
|
54.
|
|
|
|
|
|
First we see the FARMHOUSE shrinking in the distance behind
|
|
him. And then we hear SNAP!!!
|
|
|
|
BEHIND LEE the large tree near the farmhouse moves wildly!!
|
|
|
|
LEE’s eyes never even widen. There is no surprise. This is
|
|
the moment he knew would come. As he sprints with
|
|
everything he has the string of bulbs above him DIM DOWN TO
|
|
ALMOST NOTHING!!!!
|
|
|
|
IN THE DARK DISTANCE BEHIND HIM A SCREEEEEEEEEEEEEEECH!!!!
|
|
|
|
Lee is running running closer, closer then LEE BURSTS
|
|
THROUGH THE HEAVY QUILTS!!! HE’S IN THE BARN!!
|
|
|
|
WE ARE ON LEE as he sprints through the familiar interior
|
|
of the BARN. When suddenly WE HEAR A HUGE BANG!!!
|
|
|
|
Then THE HEAVY QUILTS FLY UP INTO THE AIR!!! JUST AS LEE
|
|
DESCENDS INTO THE GROUND!
|
|
|
|
|
|
76 INT. BARN - SAFE ROOM - NIGHT 76
|
|
|
|
LEE falls back onto the steps, barely holding onto his wife
|
|
and child as his free hand reaches for the mattress!
|
|
|
|
As LEE finally grabs the mattress and slides it over the
|
|
opening above the stairwell.
|
|
|
|
BLACK in total darkness we hear LEE’S BREATH QUICKENS AN
|
|
ODD SOUND OF SOMETHING HEAVY ABOVE THE CREATURES ARE INSIDE
|
|
THE BARN!!!! A CACOPHONY OF SCRATCHING, TEARING AND
|
|
SCREECHING.
|
|
|
|
Then FIRE!! LEE’s lighter cuts through the black and then
|
|
retreats into a small glow in the room as we try to
|
|
comprehend what’s happening.
|
|
|
|
We see EVELYN has been placed on a hay bale as ABOVE A
|
|
CRASH!!!!! THE CREATURES ARE TEARING THROUGH THE ROOMS AND
|
|
DROWNING THE SOUNDS OF THE FAMILY BELOW.
|
|
|
|
FOR THE MOMENT LEE picks up the crying baby as we PUSH IN.
|
|
|
|
For one brief second amidst the fury of nerves and sound we
|
|
see a father holding his newborn child for the first time.
|
|
It is a precious, once in a lifetime moment.
|
|
|
|
Then A PLASTIC MASK COMES INTO FRAME and ONTO THE BABY’s
|
|
FACE!!!!
|
|
55.
|
|
|
|
|
|
As if in an airplane video, LEE wraps the mask’s strap
|
|
behind the baby’s head and then LOWERS THE BABY INTO THE
|
|
WOODEN, QUILT LINED BOX!
|
|
|
|
WE PAN TO THE SIDE of the box, along a clear plastic tube
|
|
to a stand up air canister. LEE’s hand enters frame and
|
|
turns the valve a quiet whisper of air.
|
|
|
|
LEE stares down at his tiny crying baby wearing an oxygen
|
|
mask. The juxtaposed image seemingly almost as bizarre to
|
|
him as it is to us.
|
|
|
|
THEN LEE PLACES A LARGE STACK OF BLANKETS OVER THE TOP OF
|
|
THE BOX!!!! AND THEN A COVER!!!!
|
|
|
|
THE BABY’S SCREAMS CAN’T BE HEARD.
|
|
|
|
THE BANGING, THE SCREECHING INCREASE IN TEMPO AND SOUND!!!
|
|
|
|
LEE just stares down at the small casket like box.
|
|
|
|
This either work or they’re dead.
|
|
|
|
|
|
77 EXT. CORNFIELD - DRIVEWAY - NIGHT 77
|
|
|
|
WE FOLLOW REGAN and MARCUS as they sprint up the main sand
|
|
path/driveway running parallel to the cornfields. With the
|
|
flashlight slicing through the darkness, it’s nearly
|
|
impossible to tell where we are.
|
|
|
|
Suddenly the corn ends and OVER MARCUS AND REGAN we see
|
|
shadows of farm equipment!
|
|
|
|
REGAN turns her head and looks up.
|
|
|
|
REGAN’s POV as we climb higher and higher to the top of the
|
|
SILO!
|
|
|
|
|
|
78 INT. BARN - SAFE ROOM - NIGHT 78
|
|
|
|
Silence.
|
|
|
|
The frame filled with a dark brown.
|
|
|
|
Time has passed.
|
|
|
|
Then WE TRAVEL DOWN from the dirt ceiling past a hook on
|
|
the wooden support beam to a clear plastic IV BAG hanging
|
|
down a fluid filled plastic tube and into an arm.
|
|
56.
|
|
|
|
|
|
WE PULL BACK to reveal EVELYN lying on the hay bale
|
|
comfortably, her eyes still closed. She has been bandaged
|
|
and wears LEE’s sweater. A single burning candle by her
|
|
side.
|
|
|
|
Then EVELYN SHOOTS AWAKE!!! SHE SCRAMBLES TO SIT UP THROUGH
|
|
THE PAIN!!! HER EYES SEARCH A LOW LIT ROOM!!! SHE GOES TO
|
|
SIT UP AND WINCES AN IV IS IN HER ARM!!
|
|
|
|
Out of the darkness comes LEE! He is holding the baby.
|
|
|
|
LEE
|
|
It’s ok. It’s ok! Your safe.
|
|
|
|
EVELYN looks up at LEE immediately confused as to why he’s
|
|
talking then it sinks in.
|
|
|
|
EVELYN
|
|
It worked?
|
|
|
|
LEE
|
|
It worked.
|
|
|
|
EVELYN
|
|
It worked, it worked.
|
|
|
|
LEE holds up the sleeping baby and places it in EVELYN’s
|
|
arms. Tears fall down her face. She looks back up to her
|
|
husband and then around the room.
|
|
|
|
EVELYN
|
|
Where’s Marcus?
|
|
|
|
Pause.
|
|
|
|
LEE
|
|
I’ll find them.
|
|
|
|
EVELYN
|
|
Them?!
|
|
|
|
EVELYN immediately tenses.
|
|
|
|
LEE takes the sleeping baby from EVELYN and places it in
|
|
the safe wooden box. No air mask needed now.
|
|
|
|
EVELYN
|
|
She was with me in the house. I was
|
|
doing laundry and she-- He was with
|
|
you. How did he--
|
|
|
|
LEE sits next to his wife and begins to lay her back down.
|
|
57.
|
|
|
|
|
|
LEE
|
|
Rockets.
|
|
|
|
EVELYN pauses.
|
|
|
|
EVELYN
|
|
Then he-- then he’s still there.
|
|
He’d know to--
|
|
|
|
LEE sits next to his wife and begins to lay her back down.
|
|
|
|
LEE
|
|
I’m sure he is.
|
|
|
|
EVELYN
|
|
She’s smart she’ll have found a
|
|
place to-- She’s smart.
|
|
|
|
EVELYN’s gaze finally lands on her child.
|
|
|
|
EVELYN
|
|
It’s a boy.
|
|
|
|
LEE
|
|
It’s a boy.
|
|
|
|
EVELYN
|
|
It’s a boy.
|
|
|
|
Pause.
|
|
|
|
EVELYN
|
|
I could have carried him.
|
|
|
|
LEE looks at his wife confused.
|
|
|
|
EVELYN
|
|
He was so heavy.
|
|
|
|
LEE freezes.
|
|
|
|
EVELYN
|
|
I can still feel the weight in my
|
|
arms. He was small, but so heavy,
|
|
wasn’t he?
|
|
|
|
LEE can’t speak.
|
|
|
|
EVELYN
|
|
58.
|
|
|
|
|
|
My hands were free-- I was carrying
|
|
the bag, but my hands were still
|
|
free. I could have carried him. I
|
|
should have carried him.
|
|
|
|
LEE
|
|
Evelyn.
|
|
|
|
EVELYN
|
|
Who are we if we can’t protect
|
|
them. Who are we?
|
|
|
|
LEE is frozen every image rushing back to him.
|
|
|
|
EVELYN
|
|
You have to protect them.
|
|
|
|
LEE
|
|
I will.
|
|
|
|
EVELYN
|
|
Promise me. We can’t-- You need to
|
|
protect them.
|
|
|
|
|
|
79 EXT. SILO - ROOF - NIGHT 79
|
|
|
|
CLOSE ON A FLAME!!!
|
|
|
|
As it dies down, coming into view we see MARCUS sitting in
|
|
front of the shallow metal drum their father sat in front
|
|
of the night before.
|
|
|
|
REGAN walks around the fire looking out across the farm for
|
|
any sign of her father.
|
|
|
|
Just as the fire is about to die out, REGAN walks back and
|
|
squirts the last remaining fluid from the bottle. The fire
|
|
rages again and illuminates the two children as well as the
|
|
fading hope on their faces.
|
|
|
|
The fire begins to die down again. REGAN rummages in the
|
|
box picking up the empty bottles of lighter fluid and
|
|
shaking them frantically.
|
|
|
|
She shakes the last empty bottle and slumps down, defeated,
|
|
scared.
|
|
|
|
In the last moments of the dying flame.
|
|
|
|
MARCUS
|
|
(SIGNING)
|
|
He’ll come for us.
|
|
59.
|
|
|
|
|
|
The two kids stare off desperately over the farm,
|
|
preventing them from seeing far off in the distance to the
|
|
right.
|
|
|
|
A fire ignites. Then farther off, another fire.
|
|
|
|
BUT THIS TIME ITS ONLY TWO!
|
|
|
|
The kids don’t even notice.
|
|
|
|
|
|
80 INT. BARN - NIGHT 80
|
|
|
|
WE ARE ON THE FAMILIAR image of the interior of the BARN.
|
|
|
|
Suddenly, the mattress on the ground moves.
|
|
|
|
Then LEE’s head slowly arises from underground.
|
|
|
|
LEE stands to see their barn, their life has been tossed
|
|
and ravaged.
|
|
|
|
LEE places the mattress back over the large unfinished hole
|
|
leading down to the safe room and stands up. LEE stares
|
|
down at the mattress and what it protects, then walks out
|
|
of frame.
|
|
|
|
WE HOLD ON THE mattress a moment and then SLOWLY MOVE along
|
|
the floor of the BARN past the monopoly game until we reach
|
|
the bedroom stalls to see A LARGE CLAW MARK GOUGED OUT OF
|
|
THE BARN WALL!
|
|
|
|
As we move down we see a pipe above the long trough on the
|
|
wall has broken WATER DRIPS FROM THE BROKEN PIPE AND A POOL
|
|
OF WATER MOVES ACROSS THE FLOOR!
|
|
|
|
|
|
81 EXT. SILO - ROOF - NIGHT 81
|
|
|
|
CLOSE ON REGAN, oddly lit. She lays on her back staring up
|
|
at the stars. REGAN fumbles with something in her ear.
|
|
|
|
WE GO EXTREME CLOSE on her turning the tiny dial on top of
|
|
her hearing aid. As she does, she places her other hand by
|
|
her ear and rubs her fingers together, hoping to hear a
|
|
sound.
|
|
|
|
Nothing.
|
|
|
|
REGAN turns the dial even more. Nothing.
|
|
60.
|
|
|
|
|
|
REGAN immediately rolls over, frustrated. Sitting directly
|
|
in her view, on his dad’s small stool is MARCUS looking out
|
|
hopefully to the farm.
|
|
|
|
MARCUS
|
|
(SIGNING)
|
|
He’ll come.
|
|
|
|
REGAN scoffs and goes to get up when suddenly, under her
|
|
dad’s stool she sees a box, the box LEE kept the photo in.
|
|
|
|
She reaches under the stool and grabs it.
|
|
|
|
NOW CLOSE OVER THE BOX ONTO REGAN as she stares down at it.
|
|
|
|
Then as the lid opens, it covers frame completely to BLACK.
|
|
|