diff --git "a/scripts/A Quiet Place.txt" "b/scripts/A Quiet Place.txt" new file mode 100644--- /dev/null +++ "b/scripts/A Quiet Place.txt" @@ -0,0 +1,3220 @@ + 1. + + + + FADE IN BLACK: + + We hear, very clearly, the sound of light wind. + + +1 EXT. TOWN - MAIN STREET - LATE AFTERNOON 1 + + We come up on a streetlight. There is no illumination and + no movement. We hold on it for a long moment when suddenly- + - The streetlight bobs and then begins to sway. We slowly + begin to rise up on the streetlight to reveal a small bird + has landed on it. We continue to rise to reveal, behind the + bird. + + Wind blows through the gargantuan evergreens that seem to + engulf the narrow main street of a small town in upstate + New York. Shop windows and cars on either side covered in + dust, the place seems frozen in time. There is no movement. + + In the very middle of the road one can see sand. A bizarre + incongruity, a long pathway about a shovels width runs the + full length of the street with offshoots into open doorways + of some of the shops. + + We hold for a long moment: + + +2 INT. GENERAL STORE - FRONT - LATE AFTERNOON 2 + + Slowly pushing through the doorway of a large general + store, also covered in dust. To the left, a cash register + with small shelves of nearly empty candy boxes below. To + the right, a towering shelf full of bags of potato chips, + nacho chips and pretzels. None are missing. + + +3 INT. GENERAL STORE AISLES - LATE AFTERNOON 3 + + WE MOVE SLOWLY across the floor, down the middle of a + general store. Amid the towering shelves of goods on either + side, one may recognize a barely perceptible pattern of + which shelves are bare and which are not. There is no + movement. No sound. + + Suddenly, TINY FEET JUMP INTO OUR MOVING FRAME! Then, as + fast as they appeared. They’re gone. + + WE NOW MOVE UP the side of the store, looking down one + aisle and the next. As we arrive at the next aisle we catch + a glimpse of A SMALL DARK FIGURE!!! And then it's gone. + 2. + + + WE CONTINUE along the side of the store until we arrive at + the last aisle. At the far end of the store we see a + counter. + + With a window. And shelves. Suddenly A WOMAN APPEARS IN THE + WINDOW! + + WE GO CLOSE ON THE WOMAN as she scans the shelves, slowly + lowering herself to the ground until behind her we see an 8 + year old boy sitting slumped against the wall HE IS + BAREFOOT. + + On closer inspection we see sweat on the boy’s brow, his + skin pale from fever. The woman’s knee touches down on the + ground next to the boy as she sees what she’s been looking + for. She reaches out her hand. + + WE GO CLOSE ON HER HAND as it reaches toward a shell of + orange prescription drug bottles. Her hand suddenly begins + to shift certain bottles ever so slightly AT A BIZARRELY + SLOW PACE, she does not make a sound. As she does this, we + get our first glimpse of names. Names of drugs. Names of + people. + + HER HAND finally arrives at the very back of the shelf as + she gently twists a bottle that reads AMOXICILLIN. + + ON THE MOTHER as she inhales slowly. And then, as if doing + surgery, she slowly closes her hand around the bottle and + GENTLY begins to move it through the shelf toward her. Her + hand, once again moves incredibly slowly, her now wider + closed hand shifts even more bottles as it passes. JUST as + she gets to the end of the shelf a bottle shifts with a + RATTLE of pills. This is the first, deliberate sound we’ve + heard. The mother FREEZES!!!! + + WE RACK FOCUS to the boy on the ground, who now looks up + with panic. The mother’s eyes look all around the room. The + way one does when they are waiting for something, LISTENING + for something. After a long moment, she pulls the bottle in + her hand the final few inches, and off the shelf. + + The mother draws a huge breath of relief. As she stands up, + we reveal, just over the counter TWO EYES LOOKING UP AT + HER!!! + + +4 INT. AISLE - LATE AFTERNOON 4 + + A 10 year old girl stands on her toes, barely able to see + over the wooden counter to her mother. She smiles at her + mother.and gives her a thumbs up. With that she’s off. + 3. + + + WE FOLLOW HER as she runs lightly through the store, she is + also barefoot. + + The GIRL turns down an aisle to reveal a small boy sitting + on the floor. He too is barefoot. + + As the girl approaches we see, in the thick dust on the + floor he has drawn a rocket ship. She sits with him. + + He silently puts his hand to his chest, palm to the side, + crosses his first two fingers of his other hand with + deliberate focus, and then slowly puts his two hands + together. He then looks up at her and quickly shoots his + crossed fingers into the air like a rocket. She beams with + pride for a moment and then signs back to him. + + DAUGHTER + (SIGNING) + Very good job! + + BOY + (SIGNING AS BEST HE CAN) + That’s how--we get away. + + The girl’s smile falls ever so slightly. Then the boy + suddenly TAPS her on the shoulder and scurries away. She’s + “it”. + + As the girl slowly gets up to follow him, we see for the + first time A HEARING AID. + + The boy disappears around a corner. + + +5 INT. NEXT AISLE - LATE AFTERNOON 5 + + The girl comes around the tall shelf into the next aisle + when suddenly her eyes go wide!!! What she sees is the boy + standing on a small box, STRETCHING to reach a toy on a + high shelf. She walks quickly to him when suddenly the toy + FALLS. + + The girl instinctively SLIDES to the ground and catches the + toy JUST as it’s about to hit the ground! On her face we + can see she is TERRIFIED! She closes her eyes, taking a + breath with relief. When she opens them, in the foreground, + we see the toy she is holding a small TOY SPACE SHUTTLE. + Then in the distance past the toy we see a FIGURE. + 4. + + + She sits up to see a man standing outside the door of the + general store, holding a large box with what looks like a + quilt hanging out of it. A look of fear on his face + softens, as he mimes wiping his brow with relief. She + smiles, puts the toy back on a shelf and runs to him. + + +6 INT. GENERAL STORE - FRONT - LATE AFTERNOON 6 + + The father gently puts the box on the ground and pulls back + the pieces of thick quilt to reveal that all the contents + are actually wrapped in it. + + He then reaches for a LARGE HIKING BACKPACK, and begins + transferring the contents of the box into the bag. As he + + does, we see, cans of food, a variety of prescription + pills, bandages and wrapped syringes. + + The girl arrives at his side and excitedly starts rummaging + through the box as well. As she does, we see thick paint + brushes, bottles of glue, bottles of lighter fluid and a + stack of old newspapers. + + Then, her face lights up. From the box, she pulls out a + SALVAGED SECURITY CAMERA with wires exposed. The girl gives + it a brief once over and then removes, two exposed CIRCUIT + BOARDS, very obviously only recently removed from whatever + appliance they belonged to. The girl scans the boards with + a voracity, pointing out to the father particular areas of + interest. Her father can’t help but smile. + + Suddenly, the box of Amoxicillin comes into frame and is + placed on top along with two boxes of sugar. The father + looks up at his wife. After a beat, she signs: + + MOTHER + (SIGNING) + For my tea. + + He just keeps looking at her. + + MOTHER + (SIGNING) + Fine. I have a sweet tooth. + + The father smiles and is about to close the bag when a + candy bar is placed on top. + + DAUGHTER + (SIGNING) + Me too! + 5. + + + The father looks up at her with fake incredulity. Suddenly + the sick son in his mother’s arms weakly signs: + + OLDER SON + (SIGNING) + Me too. + + The whole family laughs silently as the daughter GENTLY + takes another candy bar from a box below the cash register. + We can now see why the boxes are almost empty. + + The father looks back to his arriving four year old son, + expecting the same, but from behind his back the young boy + reveals the toy space shuttle. + + With a sweet empathy the father reaches for the toy and + shakes his head no. He turns the toy over and silently + + explains it has batteries, this toy can make noise. + + The little boy watches, confused, hurt, as his father + gently places the space shuttle on the counter. And then + gently grabs a big lollipop and puts it in the bag for the + boy. + + The mother hands their sick son to the father who picks him + up and walks out. The mother kisses her 4 year old on the + head, shuffles the hiking bag onto her back and walks out + too. + + The daughter looks at the boy as tears begin to fill his + eyes. She smiles and signs: + + DAUGHTER + (SIGNING) + It’s ok. + + The boy shakes his head no. + + After a moment, the girl looks back to see if her parents + are there. She then reaches up and takes the shuttle down + from the counter. With wide eyes her little brother watches + as she surgically removes the batteries and places the + shuttle in the hood of her brother’s sweatshirt. Covering + it from view, she holds a finger up to her lips in the + obligatory big sister way of telling him not to get her in + trouble. He beams! + + She then stands up and places the batteries back on the + counter, smiles at her brother and gestures “let’s go”. + + +7 EXT. MAIN STREET - LATE AFTERNOON 7 + 6. + + + The daughter exits the General Store and follows her mother + and father, who are walking down the street only stepping + on the sand path. Their steps are almost silent. + + After a moment, her four year old brother follows behind + her. + + We watch everyone walk in total silence. + + Then... + + +8 INT. GENERAL STORE - LATE AFTERNOON 8 + + We slowly push in to the counter of the store and then + realize THE BATTERIES ARE GONE! + + +9 EXT. ROAD - LATE AFTERNOON 9 + + A long road slices its way through a heavily wooded area, + which further blocks the already fading sun. + + In WIDE PROFILE we see the family walking in a line, + continuing only on a sand path. The father is in front + carrying their sick son, then the mother with the backpack, + then their blonde daughter and trailing a bit behind + rumbles their robust 4 year old. + + +10 EXT. BRIDGE - LATE AFTERNOON 10 + + From the ground we look up at an old and rusted bridge + towering over us eerily, the sand path continues across it. + + WE TRACK WITH THE FAMILY as they walk across the bridge. + + There are minor creaks underneath the sand. + + Suddenly we see, the four year old stops just before the + entrance of bridge. The family continues not seeing him. + + WE FOLLOW THE BOY’S HANDS as he fishes around in his hood + and pulls out THE TOY SHUTTLE. + + HEAD ON, we walk with the father, each member of his proud + brood can be seen walking behind him. We can hear his + strained breath and the tiniest swish of the footsteps in + sand. + 7. + + +HEAD ON, walking with the daughter, we now suddenly hear +nothing. As she looks to be in her own world. So we are in +hers. A smile breaks on her face as she walks and breathes +in total silence. We walk with her for a long moment, when +suddenly behind her A FLICKERING RED AND BLUE LIGHT. + +The girl does not turn. She just keeps walking. Still +smiling. As she looks up to her mother, we go into: + +SLOW MOTION + +- FROM THE GIRL’S POV, we see her mother and father spin +around with a frantic shock on their faces. + +- BACK ON THE GIRL. She looks confused at her parents +behavior LIGHTS AGAIN FLASH EERILY BEHIND HER. + +- ON THE FATHER rushing to put the boy on the ground and +turning to run. + +- ON THE MOTHER, spinning around with terror in her eyes, +she looks to be holding in a SCREAM. + +- BACK ON THE GIRL slowly beginning to turn around at what +her parents could be looking at as we: + +SPEED BACK UP TO NORMAL + +A loud playful beeping rushes in from the blinking shuttle. + +Then, from the woods we hear THE MOST UNMISTAKABLE +HORRIFYING SCREEEEEEEECH!!! + +- ON THE MOTHER as she slowly lowers the backpack to the +ground and her legs begin to fail her. + +- ON THE FATHER running, violently shaking his head. It +looks like he’s HOLDING IN A SCREAM. + +- THE TREES BEHIND THEM RUSTLE AND SNAP as something +barrels through. + +- ON THE BOY holding up his space ship proudly to his +incoming father an enormous smile on his face. + +- ON THE FATHER 20 feet away his face is a still frame of +pure fear as he runs to camera. Then: + +THE MOST IMMEDIATE AND TERRIFYING COMBINATION OF SOUND ONE +COULD EVER IMAGINE. + +A SHRIEK? A SCREAM? A CRUNCH? Then... + 8. + + + ON THE FATHER as a thin line of blood splatters on his + face. + + - Mid run, the father’s body immediately goes limp failing + him as he comes to a halt just in front of camera. + + - Then, as quickly as it came THE SOUND IS GONE. + + - IN WIDE PROFILE, The father stands lifeless. The two + children stand frozen with fear, the MOTHER drops to her + knees and a space shuttle blinks silently in the sand. + + The four year old IS GONE. + + Once again, only the wind can be heard. + + BLACK. + + SILENCE. + + FADE IN: + + TITLE + + A QUIET PLACE + + Still in BLACK. A new sound. Almost like that of the ocean. + + +11 EXT. BEACH - LATE AFTERNOON 11 + + The new sound continues. In the last of the day’s sunlight: + + WE TRACK, LOOKING STRAIGHT DOWN, on what appears to be an + empty beach. The pink lit sand, now combined with a sound + like the ocean, feels serene, almost otherworldly. + + Slowly coming into frame, we see the face of the daughter. + + This is REGAN ABBOTT. Her hair is much longer. She is now + TWO YEARS OLDER, 12. She just looks different. + + REGAN lays in the sand with eyes closed, but she is not + asleep. + + With her brow furrowed and her closed eyes darting back and + forth she looks oddly painted, almost as if she is wishing + herself to another place. + + There is movement in her hands as her fingers caress an + object. + 9. + + + Her eyes suddenly POP OPEN as she sits up violently CLOSE + UP INTO OUR FRAME! She looks around with eyes wet and red, + attempting to regain her bearings. + + WE SLOWLY MOVE AROUND her to see what she sees and are met + with a jarringly incongruous landscape! Instead of a + glistening ocean, there in front of REGAN stand the tall + swaying stalks of A CORNFIELD. + + As REGAN looks to her lap WE SLOWLY TRAVEL DOWN to reveal, + she is holding THE TOY SHUTTLE. As she maneuvers it through + her fingers we see the shuttle is damaged, there are 2 + large gouges in the fuselage. + + Suddenly... Something startles her as she snaps her head to + the side! + + WE GO CLOSE on her hand driving the TOY SHUTTLE into the + sand, not wanting it to be seen. Now ONLY THE SHUTTLE’S + TAIL is exposed in the foreground as we see a figure + walking toward REGAN. + + Coming into focus is her mother. This is EVELYN ABBOTT. + + EVELYN too has changed. Hair longer, frame lower. She + carries a basket of vegetables. She is barefoot. + + EVELYN stops and looks down at her daughter giving her a + comforting smile. REGAN can’t seem to return the same. + + EVELYN gently gestures with her head. REGAN nods and EVELYN + walks on. After a moment REGAN places the TOY SHUTTLE into + + the large pocket in her dress and follows her mother. As + she goes: + + WE PAN TO FOLLOW REGAN as she joins her mother and then + SLOWLY RISE to reveal that the two women are walking along. + A LONG AND WIDE SAND PATH IN THE MIDDLE OF A FARM! In the + distance we can see they are heading to A WEATHERED RED + BARN. + + WE END OUR RISE just as we reveal in the foreground, + Christmas lights? Like parallel telephone wires, 2 cables + of large bulbs, one with red and one with white. They dance + playfully in the wind. + + +12 INT. TRUCK - LATE AFTERNOON 12 + + CLOSE UP PROFILE of a steering wheel in the foreground. A + weathered CHEVY emblem reflects the fire orange sky in the + background. + 10. + + + HANDS come into frame and gently grip the steering wheel. + The right hand then slowly moves to the ignition block and + turns. + + There is no sound. After a moment, the hand turns again + again without sound. The hand turns a third time, this + time, the hand begins to bob ever so slightly, as if the + old car has started up. As the hand retracts: + + WE PULL BACK to reveal... The little brother. This is + MARCUS ABBOTT, now 10. Moving ever so slightly, MARCUS is + obviously pretending to drive, though his impassive face + betrays the idea that he is having any fun. MARCUS seems to + have aged much more than the mere 2 years. His vacant eyes + tell us a large toll has been taken on him, though perhaps + not as easily recognizable on the exterior. + + +13 EXT. TRUCK - LATE AFTERNOON 13 + + WE MOVE SLOWLY IN POV along another large sand path with + high grass on either side when suddenly it opens up into a + large clearing and we see a tractor? Shells of untouched + farm equipment litter the open area. + + WE SLOWLY MOVE LEFT, making our way through, what is now + nothing more than an eerie farming vehicle graveyard. + + Suddenly, A DARK FIGURE ENTERS THE FRAME. + + +14 INT. TRUCK - LATE AFTERNOON 14 + + MARCUS’s hands move silently along the steering wheel as he + stares out the windshield. His body moves ever so slightly, + his face, relaxes, the hint of a smile. For a moment we + could almost believe he is driving. His eyes routinely + check the + + side mirror, then the rearview mirror, then stop. His + hands, and face fall. + + THROUGH THE REAR VIEW MIRROR, we see a figure standing + behind the truck amidst the sea of farm equipment. Behind + the figure we see, A TOWERING SILO. + + +15 EXT. TRUCK - LATE AFTERNOON 15 + 11. + + + 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. + \ No newline at end of file