M. Night Shyamalan
Transcribed from the original two
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of new ones. - 2006
One might describe the scene as beautiful, if one could get by the
A wooden sign in the dirt reads.
"Here lies Daniel Nicholson.
Beloved by all.
Died October 3, 1897"
A wilting man in his late forties sits on the grass next to the, much
Who will plague me with
questions now?... Who will
pinch me to wake me up? Who
will laugh at me when I fall?
Who's breath will I listen to so
that I may sleep ? Who's hand
will I hold, so that I may walk?
The wilting man's face trembles.
Behind him, a respectful thirty feet away, stand a group of about sixty
people, equally still.
EXT. SUPPER TABLE – AFTERNOON
An enormous handmade wooden table sits in the center of a small village
log cabins. All sixty members of the village are seated for the meal.
The women wear bonnets. The men have their farmer's shirts rolled up at
A man in his late forties stands. He has
the eyes of a child; innocent and
pure. This is EDWARD WALKER.
We came here to start anew-
Beat. Eyes look up one by one. Edward Walker stands silently, appearing
suddenly overwhelmed. A hand reaches up and squeezes his arm. Edward
Walker looks down to wilting man we saw earlier. They look at each
Walker turns back to the table.
We came here to start anew.
We are grateful for the time we
have been given.
Walker sits. Movement begins across the table as hands begin to pass
and corn and meat.
AND THEN WE HEAR IT, THE SOUND CARRIES THROUGH THE
AIR AND BLEEDS INTO THE VILLAGE. IT COMES FROM THE
SCREAMS. IT IS NOT HUMAN.
All movement at the table stops, except for a TALL BOY at the end of the
table. He is barely in his twenties. He is mentally handicapped. He
Everyone else sits uncomfortably still. No expressions on their faces.
THEN THE SCREAMS SLOWLY START TO MOVE AWAY.
The boy's clapping slows and then stops as well. The happiness trickles
from his face.
The rest of the table waits till the last of the nonhuman screams have
away. And then quietly hands start reaching across the table again.
EXT. WATER PUMP – LATE AFTERNOON
A group of women and girls are washing and drying the wooden bowls and
plates at a hand water pump that stands in the ground.
A strong older woman pumps the handle. Bursts of water spurt out from
pump's mouth. Two girls are holding bowls under the water. One girl gets
splashed by the other. They both start laughing. The older woman makes a
disapproving noise with her mouth. The girls looks over, nod and return
washing the bowls; little grins on their little faces.
EXT. PORCH – LATE AFTERNOON
Two young women sweep the porch of a cabin. One of the young women
starts mimicking the other's movements. They begin to sweep in synch.
They both begin to smile as they sweep. They begin to move around the
porch like dancers.
They're giggling stops as one spots something. They both stop dancing.
They look down at the base of the post that holds the porch roof up.
are two RED WILDFLOWERS peeking out from the fist full of weeds.
They bend down quickly and yank the red wildflowers out. They move off
the porch and kneel down in the dirt next to the porch.
They use their hands to a dig a small hole in the dirt. They put the
wildflowers into the hole and methodically bury it.
The two young women stand, look around, and wipe themselves off before
returning to the porch and picking up the brooms again.
EXT. COURTYARD BELL – LATE AFTERNOON
A MEDIUM SIZED BRASS BELL hangs from a wooden t-post. A hand
reaches out and takes hold of the rope that dangles from its side. The
pulls once strong and hard.
EXT. STORAGE CABIN – LATE AFTERNOON
Men stow away farm equipment. Hoes and sickles are stacked neatly in
A LONG BELL TOLLS.
The men stop working. They put down their tool where they stand. One
man leans into the storage cabin to tell those inside.
EXT. WATER PUMP – LATE AFTERNOON
The older women usher the girls into an orderly line as they leave the
the water pump. Dirty dishes are left on the ground.
EXT. CLUSTER OF CABINS – LATE AFTERNOON
We see the courtyard. There are clusters of cabins on every side.
We watch as one by one everyone in the courtyard and everyone coming in
from the fields, disappears into different cabins like ants retreating
INT. CABIN – LATE AFTERNOON
We are in someone's home. A group of about eight women and children
walk in through the front door. They move to the back of the small cabin
where a woman reaches down and pulls on a handle in the floor.
INT. DIFFERENT CABIN – LATE AFTERNOON
We are in another two-room cabin. A group of men wait their turn as each
man climbs into the trap door in the floor.
When the last is in. The final man reaches up and brings down the trap
closing them all in.
INT. UNDERGROUND ROOM – LATE AFTERNOON
A collection of two men, four women and three children are huddled
together in a four by eight space in the ground. The adults have to sit
to fit in this space.
A THIN STRIP OF LIGHT FALLS ON THE FACES from the seam in the
trapdoor. All we hear is the nine of them breathing. Their eyes all
the CRACK OF LIGHT.
A child coughs. A woman reaches over a couple bodies and pats the
coughing child on his back. The child settles. They all return to
staring at the
THE BRASS BELL SOUNDS AGAIN.
The two men reach up and open the door. LIGHT POURS IN.
One by one, they all climb out of the four by eight space in the ground.
INT.FAMILY CABIN – LATE AFTERNOON
The men, women and three children walk out into the afternoon light. One
woman immediately grabs a broom and continues cleaning the porch.
The community returns to doing their chores.
EXT. CABIN – NIGHT
We are in the darkness, looking into the LIGHT OF A CABIN WINDOW.
We see a child's bedroom - A small bed - A small wooden desk. On the
child's desk there is nothing.
The wilting man lays curled up on the little bed. He stares out with
EXT. CABIN – NIGHT
In another cabin we see a woman pouring water from a jug into a large
bowl by the side of the bed. We see her speak to her husband who sits
reading in bed. She leans over and begins washing her face with the
EXT. CABIN – NIGHT
Three children kneel and pray by their bedside. Their parents begin
out the oil lamps in their room.
EXT. TOWER – NIGHT
A young man blows his nose into a handkerchief. He wipes his face and
resumes standing. His eyes gaze down quietly. The ORANGE LIGHT
FROM THE TORCH LIT NEXT TO HIM, FLICKERS ON HIS FACE.
He is standing on a platform, thirty feet in the air. It is a tower on
the edge of
this community. He is keeping guard.
Arms folded, he stares at the darkened woods.
EXT. SCHOOL HOUSE – MORNING
A group of children carrying cloth bags with books in them, crowd around
something in the dirt.
Edward Walker moves through the tiny gathering.
What manner of spectacle has
caught your attention so
splendidly? I ought to carry it
in my pocket to help me teach.
Edward Walker parts the final layer of titillated children. He stares
the thing on the ground. Beat. His expression becomes grave.
Who came upon this?
It takes a moment before a little boy steps forward. His eyes never
Philip, did you move this?
PHILIP shakes his head, "No." Everyone watches Walker who turns and
looks down again quietly.
IT IS HARD FOR US TO SEE THROUGH ALL THE TINY LEGS AND
FEET OF THE CHILDREN. THERE IS SOMETHING DARK AND
MOIST LYING IN THE DIRT.
INT. CLASSROOM – MORNING
The classroom is overcome by whispering. Walker uses chalk to write the
date, "October 5, 1897" on a gray slate board framed in wood.
He turns to the children who age from seven to twelve.
Okay, lets have it. What
delicious conclusions have you
An animal God created was
Donald, please try to speak
plainly. It disturbs your mother,
when you speak so darkly.
Everything need not be said
with such drama.
Another hand shoots up.
I inspected it carefully. Its head
was twisted back and much of
its fur removed.
It was murdered.
Now the children become quiet.
So who is the culprit? Who has
done this heinous act?
Those we don't speak of, killed
And there it is.
Why would such a notion enter
TWELVE-YEAR OLD BOY
Those we don't speak of have
Children... Those we don't
speak of have not breached our
border for many years. We do
not go into their woods and
they do not come into our
valley. We do not threaten
them. Why would they do this?
It is a warning of doom to
Walker gazes out at the classroom of concerned children.
Is it possible, in your haste, you
have missed the simplest
explanation? That this small
animal was slain by a slightly
larger animal like a fox, and
that this said fox carried it into
our village to avoid other
scavengers from coming and
eating his prize. And when our
village awoke and started its
morning business, the fox was
scared off and left its prize for
us to find.
I can't say if that's what really
happened, but it's certainly
more reasonable to think that,
I did see two foxes on the hill
Walker watches the image of foxes scamper through the minds of the
Does anyone have further
questions pertaining to our
Walker winks at Donald. No one raises their hand.
Then if it is agreeable, let us
begin our studies.
One by one, the children reach into their cloth bags and retrieve their
INT. MEETING HALL – AFTERNOON
We are in one of the largest cabins. Wooden chairs are scattered
This is some sort of gathering place.
Twelve of the chairs have been brought together in a circle. Twelve of
oldest members of the village are seated in the chairs.
The wilting man and Edward Walker are among them.
We ought not to overlook the
Flight of the Birds. We didn't
have it last year and I for one
missed it desperately. I know
Tabitha missed the children
dressed in feathers and such.
A small gentle women with her air tied back, looks up. TABITHA sits to
Edward Walker's side.
I am fond of it.
The two women slowly turn to Edward.
I do not have a say in this
matter. August Nicholson is
Chair of today's meeting.
All eyes turn to the wilting man, AUGUST NICHOLSON. He appears
exhausted. August nods as he shuffles the papers in his hand.
The Flight of the Birds will be
returned to this year's Fall
The group nods quietly.
Let us speak of food then.
THERE IS A KNOCK at the far end of the room. All attention moves in that
Another man in his mid forties steps in. He carries a tiny smile, his
There is a young man who has
requested a word with the
The group looks to one another. This is unusual.
Do have him come forward.
The man with the raised eyebrows steps out. Beat. The door stays still
moment, and then it opens.
A sinewy young man in his twenties steps in. His deep-set brow and dark
green eyes never look up as he walks forward to the group.
There are many glances to a pretty elder in her forties. Edward looks
as well. She stares back with the identical dark green eyes as the boy.
shakes her head slightly; She doesn't know why he's here.
The young man slows to a stop a few feet from them. His hands brings a
paper up. He begins to read carefully.
My mother is unaware of the
reason for my visit today. She
did not give her consent or
consult me in any form.
The woman with green eyes moves forward in her seat without knowing it.
I have spent all but my first
years in this village. It is all that
I know. It is a blessed place,
this village. Our days are filled
with love and compassion and
His green eyes flick up, just for a moment... He returns to the paper.
But there is also some suffering
and fear. The passing of little
Daniel Nicholson from illness-
August Nicholson goes still.
-and other events have
weighted on my thoughts. We
have been taught of the greed
and corruption that exists in the
towns. And the countless
wasted lives centered on the
exchange of money there. But
we have also been taught about
their fascination with science
and machines and medicine.
Could they have rescued Daniel
from his terrible illness?
I ask permission to cross into
the forbidden woods and travel
to the nearest town. I will
gather new medicines and
information of what has
happened in the world, and I
With regards to Those we don't
speak of, I am but a single
person, I am not a threat to
them, I am certain they will let
Creatures can sense emotion
and fear. They will see I am
pure of intention and not afraid.
The young man with green eyes lowers his hands with the paper and stares
at the group.
No one move at first. Edward Walker begins to smile.
Lucius Hunt, that is
I've heard you speak in many
The young man with green eyes stands quietly before the group.
INT. CABIN – NIGHT
The pretty woman with green eyes sits on the edge of her bed in her
robe. She hear her son descend the ladder from the loft space he lives
ALICE HUNT watches him through her bedroom doorway.
What goes on in that head of
LUCIUS turns to face her.
Say something Lucius.
Beat. Lucius stares.
Finton Coin is in the Tower. I
promised to sit with him.
Alice lies back in her bed. She pulls the covers over herself. She
son from the pillow.
Why do you not tell me what
you feel? I do not know if you
think about love. I do not know
what your dreams are. When
you stood today, you spoke in
such a gentlemanly manner. I
scarcely recognized you.
Her eyes close.
How can a mother fail to
recognize her son? Tell me.
Tell me that...
Lucius watches his mother become quiet. Her breathing becomes steady and
Lucius walks into her room and takes the quilt from the rocking chair
gently places it over his mother's sleeping shoulders. He whispers in
I do think about love.
Lucius walks out of his mother's room and exits the cabin quietly.
EXT. TOWER – NIGHT
FINTON COIN is a skinny boy with big curly hair. He is on the platform
tonight, thirty feet in the air.
The trap door opens as Lucius climbs up. Finton immediately relaxes.
Did anyone see your approach?
Lucius shakes his head. "No."
I saw Christop Crane sniffing
around. He suspects something.
He has announced, more than
once, in my presence that only
one man should hold post in the
tower each night. Why would
he say such a thing if he didn't
suspect? What a wretch he is?
Is it so bad to be a trifle timid?
Are you sure you were not
Lucius shakes his head again, "No" as he takes his seat in the corner.
And I shared a portion of my
chicken with him not two days
ago. A fine, tender piece.
The two young men fall into silence; one sitting, one standing. And
of the silence-
Do you ever think of towns
Finton turns to the sound of Lucius' voice.
The towns? What for? They're
wicked places where wicked
people live, that's all.
Finton doesn't notice the expression on Lucius' face as he sits in the
shadows. Finton shrugs his shoulders and returns to looking out. Beat.
I do hope no one saw you.
EXT. APPLE ORCHARD – DAY
Along the hilltop runs a group of twenty apple trees; their branches
with deep red pickings.
On the ground near the trees are baskets filled with apples. A few are
Standing in a tight group a few feet from the abandoned baskets are a
of women. The same quiet fearful expressions on their faces.
They stare at something at the base of a tree. We can't see what it is,
can HEAR THE FLIES BUZZING around its dead carcass.
We understand the depth of
your worries, but you needn't
INT. MEETING HALL – AFTERNOON
Every member of the village is jammed into this little building. The
are standing towards the front of the room.
Alice Hunt's green eyes look compassionately over the gathering.
What we seem to have amongst
us, is a scavenger of some type.
Most likely a coyote or wolf.
It's manner of killing and
removing the fur, but leaving
the flesh torn may be a sign that
the animal may suffer from
An uncomfortable murmur flutters in the meeting room.
For the next fortnight we
should be vigilant for sightings
of this coyote. Keep careful
watch over the little ones as
they play on the hills.
As for the other notion... we do
not believe our boundary has
been breached. Those We
Don't Speak Of are much larger
creatures than coyotes. We
would know if they had been
EXT. COURTYARD – AFTERNOON
We pick up Eward Walker as he leaves the meeting hall with the rest of
congregation. A young woman in her early twenties catches up to him. She
has a round attractive face. She is the lively sort. She practically
It's frightful, this business with
the coyote, is it not Pappa?
Do not feel worried Kitty?
You are not troubled?
I am certain it will all end soon.
Can we speak on other matters
It would be a relief.
KITTY WALKER takes his arm and whispers in his ear as they walk.
I am in love.
He looks at his daughter as they turn the corner onto a path where they
alone. Kitty beams at his side.
I have great reverence for the
word 'love' Kitty. It should not
be thrown about lightly. It is
the greatest force on this earth.
These feelings are so strong, it
can be nothing else Pappa.
You do not believe me.
I have no judgment yet.
It must have been bubbling
inside me for a long time, for it
came bursting forth not three
days ago. I have thought of
Edward nods his head.
'Burting forth' is it?
I realized since I'm the eldest
of your children and since you
were stricken with five girls
and no boys, I decided to act as
if I were the son and ask your
I must correct you on the word
'stricken'. I would not trade
any one of my five daughters
for a hundred of the finest boys.
So now, what is it you are
asking permission for?
I would like permission to
There is a proper manner in
which these things are to
happen. Such as the boy would
normally be standing next to
you at a moment such as this.
Where is the boy in all of this
I haven't spoken to him as of
Now Edward stops walking.
The young man is unaware of
He has a quiet way. I was going
to talk with him, but I wanted
your blessings papa. I wont talk
with him without your
Edward starts walking again.
It's Lucius Hunt.
Kitty sees the expression on her father's face.
You think badly of him?
No, no... I've just been
thinking on him recently.
Kitty's face returns to beaming.
He's not like the other boys. He
doesn't joke and bounce about.
He certainly doesn't.
Do I have your blessings then?
He looks down at his eldest daughter. He nods, "yes."
She hugs him tight as they come to a stop in the far end of the
the base of the medium sized town bell.
Do me one favor first Kitty. Do
not tell anyone else of your
'burstings' until you have
spoken with the young man.
Kitty nods earnestly. Beat. Edward Walker gets lost in his thoughts
Papa, something does trouble
Edward looks down and sees the concern in his daughter's eyes.
Beat. He then reaches up and pulls long and hard on the rope that tolls
We see in the background everyone stops what they're doing and begins
walking in lines towards the cabins.
We watch as people walk in from the stream and from the orchards. They
disappear quietly into the cabins.
EXT. FIELD – AFTERNOON
Lucius stands at the edge of a field of crops. He methodically removes
clumps of dirt from the prongs of the tools he's used on the soil that
Good afternoon Lucius.
Lucius' hands stop their work. He turns and looks over his shoulder at
young woman that stands before him. She rises on her tip-toes and
earth again. Lucius never lets go of his tools. He nods hello to her.
I wanted to tell you something.
My goodness, my heart is
pounding so fast, I think I may
faint on this spot... You'd
probably catch me course,
before I fell.
Lucius continues to stare.
Seeing as you're of age... and
seeing as I'm of age... and
seeing as we get along so well
like this... A thought entered
my head that may have entered
your head as well.
Lucius blinks his green eyes. Kitty takes this as a positive gesture
I love you Lucius. I love you
like the day is long. I love you
more than the sun and moon
together. And if you feel the
same way, we should not hide
it any longer. It's a gift, love is.
We should be thankful. We
should bellow it with all the
breath in our lungs, "Thank
you! Thank you! Thank you!'
Kitty finishes her flurry by rising up on the tips of her toes and
INT. WALKER CABIN – NIGHT
Kitty is wailing.
Edward carries his youngest daughter in his arms as his petite wife
their next two youngest on their laps. They watch with concern as Kitty
loudly from her bedroom
Kitty is being consoled by her closest sister. Kitty has her head in
IVY WALKER strokes the hair of her older sister gently. Ivy is thin,
too thin. Her long blond hair falls over her sharp striking face.
She wipes the tears from her sister's cheeks. Beat. Ivy begins to sing
Why are you sorrowful, why do
you weep? Why do you ask me
to rock you to sleep? Could you
but see thro' this world's vale
Edward and Tabitha Walker hold their three youngest girls and listen
from the other room.
Light would your sorrows be,
harmless your fears, all that
seems darkness to you would
be light, all would be sunshine
where now is but night...
Ivy wipes the last tears from her sister's face. Ivy's voice fills the
wraps them all like a blanket.
INT. AUGUST NICHOLSON'S CABIN – NIGHT
Lucius knocks on the half open door with his elbow. He waits a moment
pushes the door open. Lucius carries a large pile of firewood in his
he steps into the cabin.
He sees the wilting man, August Nicholson, sleeping in a chair.
Lucius moves to the hearth. Some of the kindling falls off the pile
floor. August stirs awake. He sees Lucius kneeling with the wood.
You are very kind.
You must pardon my manners.
I haven't slept in many nights.
Lucius nods again and starts making a pile next to the hearth. Beat.
-like a dog can smell you.
Lucius turns. August has his eyes closed. Beat.
Did you say something Mr.
August doesn't reply. He is fast asleep in the chair.
Lucius returns to the pile. He transfers the last of the firewood from
-you may run from sorrow. As
we have. Sorrow will find you.
Lucius turns to see August, eyes open this time, staring into the
corner of the
It can smell you.
Lucius follows the elder's gaze to the corner of the room where a WOODEN
BLACK BOX, one foot by one foot, sits on a table all by itself.
Lucius turns back to August.
There were pastries with
cream in them.
Lucius watches as August Nicholson's eyes slowly close again. Beat.
Lucius rises to his feet. He walks across the cabin to the door.
-my wife and I, we used to
throw dinner parties.
Lucius looks back. August stares sleepily at him.
August's words are so soft, the crackle of the fire almost covers them.
We served pastries with cream
Lucius waits till August is asleep again. The young man's
green eyes stare
quietly at the wilting man.
EXT. BORDER – NIGHT
We are at the edge of the village. Yellow cloth flags are attached to
that create the natural border between the grassy slopes and the woods.
yellow flags and torch lit lamp curve into the distance as far as one
A fifteen-year old boy in overalls stands on a stump right at the edge
grass. His back is to the woods. His arms outstretched at his sides.
makes the form of the crucifix. He is trembling.
He has tears in his eyes,
A group of young men are huddled behind a rock ten feet down the slope
and watch the fifteen-year old on the stump.
CHRISTOP CRANE is a thin, tall, very neatly combed young man.
He's doing capitol. Just a few
The young men fight each other for best view.
Do not jostle about so. You'll
ruin my shirt.
The fifteen-year old's eyes are filling with water. He's straining to
WE ARE IN THE DARKNESS OF THE WOODS, WE ARE BEHIND
THE BOY, WE SEE THE SILOHUETTE OF HIS SLIGHT FIGURE
STANDING ON THE TREE STUMP.
The boy makes a noise – a slight whimper. A NOISE IS HEARD
The boy stiffens. He whispers out to the boys behind the rock.
BOY ON STUMP
They made a sound when I
made a sound. They mimic
before they attack.
Christop pops his head out.
That's a wives tale. It isn't true.
Do not falter... A few moments
A BRANCH SNAPS IN THE WOODS. The fifteen-year old's eyes
All the heads from behind the rock peek out.
The boy LISTENS desperately. He wants to look behind, but he doesn't.
THERE ARE NOISES IN THE WOODS. THE SOUND OF LEAVES
The boy begins to shake.
A LARGE BRANCH SNAPS. The fifteen-year old lets out a SMALL
SQUEAL as he lowers his arms and jumps from the stump. He starts
He runs past the young men in hiding behind the rock. As he does, they
running too. Everyone evacuates in a hurry. They all start racing down
slope back to the FIRE LIGHTS FLICKERING in the distance from the
INT. VILLAGE COURYARD – NIGHT
The gang of young men, are moving at a fast walk through the courtyard,
trying to catch their breath. The fifteen-year old walks in the center
various pats on the back. His face is still ashen.
The group walks by a contemplative Lucius.
He doesn't look up as they pass in a flurry of youthful
Lucius moves silently in the opposite direction, the weight on his
EXT. SCHOOLYARD FIELD – DAY
The mentally handicapped young man we saw clapping at the supper table
wrestling in the dirt with two young men who try to restrain him.
He is strong and quick. The two young men end up in the dirt over and
as the mentally handicapped young man slips them and throws them down.
The children watch the dust and dirt kick up as the three continue
EXT. SCHOOLHOUSE - DAY
A trail of dark blood runs down the forehead of a hysterical child.
gently escorts him off the playground.
They pass Ivy seated on a bench that overlooks the back of the
Kitty speaks over her shoulder as she climbs the steps into the school
Noah ought to be punished. He
wacked little Joseph with a
Ivy nods. Kitty and JOSEPH disappear into the school building.
Ivy takes hold of the wooden cane lying next to her. She rises from the
bench. She moves towards the NOISE OF THE PLAYGROUND. The
wooden cane moves deftly back and forth in front of her.
Her STRIKING BLIND EYES focus on nothing.
EXT. SCHOOLYARD – DAY
The wrestling has gotten fierce. NOAH PERCY is almost pinned when he
suddenly throws them and frees himself. The two young men immediately
go for his legs.
Noah Percy, stop your fussing
right this moment.
Noah stops and stares at Ivy.
The two young men on the ground stop. They realize they are holding each
Noah stands as the two young men lie on the ground. Noah smiles sweetly
EXT. QUIET ROOM – DAY
A heavy lock is undone. The tall wooden door swings open. We look into a
small cabin. It has only one room. It has a wooden chair in the center.
potato sacks have been piled in the corner. The room is dusty.
Ivy and Noah stand and look in. Noah holds her arm.
You're in trouble you know?
I'm to place you in the quiet
-I'll cry quarts.
What if we strike a deal?
Capitol! Capitol idea!
It would be prudent to keep our
deal a secret. Can you do that?
Like a church mouse.
This makes Ivy laugh. Noah laughs too.
You needn't go to the quiet
room if you take an oath to
never strike any person again.
Ivy puts out her hand to shake.
Noah shakes hands, up and down big, like the elders do.
Ivy taps her cheek. Noah leans down, for he stands a good six inches
than her, and kisses softly once.
The deal is struck.
Noah is beaming. Ivy closes the door to the quiet room.
We ought not return right away.
What shall we do with our
Shall we have a foot race? Up
the hill to the resting rock.
What a deeply scandalous thing
to say. I insist you take that
back... Is that the school bell?
Noah looks back. Ivy takes off. She's a good ten feet down the path
he turns to see her not there.
EXT. RESTING ROCK – DAY
Noah is bigger, stronger and faster, but he has a hard time catching
young woman running ahead of him. She moves effortlessly. She does not
use her stick. She knows every step of these hills. She taps a tree as
by. She is laughing as she runs.
Noah passes her just as they finish. They both are out of breath as
the rock formation.
One rock juts out at the base of an enormous wall of rock buried into
side of the hill. There is shade here. This is Resting Rock.
There is someone sitting there when they arrive. Noah goes right over
sits with him. Ivy sits and catches her breath before looking in their
My sister cried a lot.
Lucius stops eating the biscuit he has wrapped in his handkerchief for
lunch break. Beat.
Do you wonder how I
Lucius stares at the striking girl with the sweaty face and messed hair.
Some people, just a handful
mind you, give off the tiniest
color. It's faint, like a haze. It's
the only thing I ever see in the
darkness. Papa has it too.
Lucius gazes quietly at Ivy as if she was a sorcerer. Noah just smiles.
Do you wonder what your color
is? Well that, I won't tell you.
It's not ladylike to speak of
such things. You shouldn't
even have asked.
Lucius fights a smile. Noah runs off after some nearby birds.
Ivy smoothes her wrinkled, dusty frock. It is an uncharacteristic
I know why you denied my
Lucius' smile melts away.
When I was younger you used
to hold my arm when I walked.
Then suddenly you stopped.
One day, I even tripped in your
presence and nearly fell. I was
faking of course, but still you
did not hold me.
Sometimes we don't do things
we want to do, so that others
won't know we want to do
Lucius is about to say something when Noah comes back. Noah sits down
between them. Lucius turns his piercing eyes back to his biscuit.
Noah reaches into his pocket. He clutches something in his hand. He
into Ivy's lap.
She feels it in her hands.
A flower, what a splendid
Lucius glances over. He goes still. Beat.
Be cautious. You are holding
the bad color.
Ivy's face changes as she holds the RED FLOWER.
Noah it is not allowed. This
color attracts Those We Don't
Speak of. You must bury it.
She holds it out to a saddened Noah. Her hand is trembling slightly. He
takes it back after a moment.
You ought not to pick that color
Lucius gazes at the flower in Noah's hand.
He did not pick that now.
Beat. Ivy's head turns a quarter turn towards Lucius.
What's wrong? You're
breathing has changed.
I've never set eyes on such a
Lucius and Noah look at each other. Beat.
Noah... where did you find
EXT. BORDER – AFTERNOON
Ivy's fingers trace along Noah's arm. She finds his hand. She
moves over his
finger that is pointing. She turns and faces that direction.
Are you sure?
Ivy, Noah, and Lucius stand at the top of the hill and stare. Beat.
turns and starts walking down the hill.
My mother is unaware of the
reason for my visit today. She
did not give her consent-
INT. MEETING HALL - AFTERNOON
Lucius' green eyes look up from his paper.
You do not need to address us
so formally. You may just
Lucius stares at the group of elders seated on the wooden chairs before
Alice watches her son lower the paper at his side. He just stands
Lucius eyes drift down. He tilts the paper slightly as he tries to read
words at a steep angle at his side.
Lucius, you may read from the
paper if you wish.
Lucius brings the paper back up.
-or consult me in any form.
Today at Resting Rock. Noah
Percy handed Ivy Walker a
flower of the bad color.
Edward Walker sits up just a bit at the sound of his daughter's name.
When asked where he found
this flower, for it was not like
others I have seen, he took us
there. He led us to the peak of
the hill, by the tree stump.
There he pointed to a bush
covered in flowers of the bad
Lucius looks up. He doesn't look down when he says the next six words.
He was pointing into Covington
Lucius returns his eyes to the paper.
By my eye, the bush of the bad
color was, at the very least,
seventy-five paces past the
It is my belief that Noah Percy
has entered the woods, and has
done so on many occasions.
It is also my belief, that because
of his innocence, those
creatures who reside in the
woods did not harm him.
This strengthens my belief
they will let me pass if they
sense I am not a threat. I ask for
further consideration in my
request to travel into the woods
so that I may gather medicines
and informations from the
Lucius slowly lowers his paper. He exhales very slowly. The elders just
EXT. SCHOOLYARD – AFTERNOON
Noah makes monster sounds. He holds his hands up like claws as he slowly
chases the pack of laughing and screaming children around the
The group of elders have gathered at the edge of the
schoolyard. They watch
Noah carefully as he runs around with the other children.
Noah bares his teeth and growls as he catches one of the laughing
old boys in the pack. Noah picks him up and throws him to the ground
The child starts crying.
Noah stops acting like a monster. He runs and hides behind the other
The elders watch as the teacher pull Noah off the schoolyard. Noah is
throwing a slight tantrum as he is led to his punishment.
INT. HUNT CABIN – NIGHT
Alice Hunt sits at her small table. Hands folded on her lap.
We shall speak of the town, just
this once, and we shall never
speak of it again.
Lucius sits across from her. His eyes flicker from the lamp light on
When we lived there, the three
of us, you were but an infant. I
would be telling an untruth if I
said there was no joy. We were
contented souls: the three of
us... But contentment is an
unwelcomed alien in the towns.
There is something in the very
nature of the cities and towns
that rejects it. Society survives
on greed, and desire. Its heart is
fed by wants. It has no place
for something so untradable
and old fashioned as
Your father left for the market
on a Tuesday at quarter past
nine in the morning... He was
found robbed and naked in the
river two days later.
Lucius is shaking.
Why do you tell me this
So you will know the nature of
what you desire.
I do not desire it!
Alice is sincerely unsettled by the sight of her son on the verge of
My intentions are true to my
word. I think of nothing but the
people of this village.
Alice lowers her eyes. Beat. She speaks in a softer voice.
I know that. Forgive me. I am
but scared for my only son's
I am not the one with secrets.
Alice's eyes lock on his.
What is your meaning?
Speak! Do not retreat to your
Lucius stands from the table. He moves across the small room.
There are secrets in every
corner of this village. Do you
not feel it? Do you not see it?
Lucius points to the black box seated in the corner of the room on a
table. It is identical to the one we saw in August Nicholson's house.
That is for our own well being.
So the things that scare us do
not have power over us.
Then let us open it.
Alice looks ready to rise from her chair to stop him. Lucius doesn't
Alice visibly composes herself. Her hands return to her lap.
Perhaps we should speak with
Edward Walker together. He
He hides too.
Alice stares quietly at the stranger before her.
He hides his feelings for you.
Alice instantly rises from the table and moves into her room with great
(calls to her)
Sometimes we don't do things -
yet others know we want to do
things - so we don't do them.
Lucius doesn't even understand what he said. Alice walks back out of her
What nonsense are you saying?
Lucius is flustered. He gathers his thoughts and looks to his mother.
You needn't worry. Nothing
will happen to me.
Alice gazes upon her son.
You remind me of a colt
Alice moves back to the chair she started in. Lucius takes his seat
from her. Beat.
Alice cleans some dust off the table as she speaks.
What makes you think he has
feelings for me?
Beat. Lucius thinks of other things as he says the words.
He never touches you.
Alice shakes her head, "No" to herself. They both sit at the table
through their own thoughts. CANDLIGHT flickers on this painting of a
mother and son at a wooden table.
EXT. BORDER – DAY
We are at the edge, where the grass ends and the woods begin. On every
that touches the grass is a yellow slash of paint. Every fourth tree
flag of the same color.
Two young men replace a broken flag. They both wear hooded cloaks that
touch the ground. The cloaks are a mustard-yellow.
The young man, who has been boosted up, loses his balance. He quickly
grabs a branch and steadiest himself. He looks down to his partner. They
share a tension filled look as they glance into the forest. They work
as if they
are on a tight wire.
A third young man in a mustard yellow cloak passes them. Lucius carries
wooden bucket of yellow paint. He nods to them as he passes.
Lucius walks along the perimeter of trees. He stops a
handful of trees down
the line. The paint on this tree is fading. Lucius dips the handmade
into the bucket and puts another coat on the tree.
He picks up his bucket and continues on. He glances over his shoulder
figures of the two young men get smaller and smaller. Lucius keeps
He passes the large tree stump.
Now he slows to a stop again. He looks to the woods... Seventy five
away from where he stands, nestled between two thin trees, is A BUSH
BLOOMING WITH RED FLOWERS.
He looks down the line of trees to the two young men; they move along
perimeter and slowly move out of sight.
Lucius steps to the edge of the grass. His shoes are inches away from
dirt of the forest floor. In the dirt, clearly visible to the eye, are
LARGE CLAWED FOOTPRINTS. The indentations from the claw points
dig deep into the soil.
Lucius does not acknowledge any of this. He stares quietly into the
lowers his bucket to the ground. Beat.
HE STEPS OVER THE FORBIDDEN LINE INTO COVINGTON
Lucius takes the last few steps to the bush. He reaches into it and
snaps off a
branch. He straightens up.
And then for the first time we sense him pausing.
He turns and looks slowly over his shoulder.
THERE IS SUDDEN MOVEMENT. LEAVES AND BRANCHES SNAP
AS WE SEE, FIFTY FEET AWAY, THE DARK FORM OF A HUMPED
CREATURE, STANDING UPRIGHT. IT SUDDENLY MOVES. WE SEE
IT STRIDE AWAY INTO THE DENSENESS OF THE WOODS.
Lucius turns and starts walking. Branch in hand, he moves at a calm even
pace as he heads back to the bucket with yellow paint.
EXT. WALKING PATH – NIGHT
Lucius moves along a walking path. He passes by a LAMP LIGHT.
He gets pulled from the strong current of his thoughts by the rattling
bush. He sees someone crawling around in the foliage.
GIRL'S VOICE FROM BUSH
There is no escape.
Lucius watches as Ivy Walker crawls out and stands. She looks in Lucius'
Ivy runs her hands over her frock. Dirt and leaves fall off.
I was just playing a game with
Noah. The rascal must have
gone to hide in my house again.
Houses are against the rules. He
Lucius stares at Ivy who has dirt and leaves in her hair. She bends
picks up her cane.
Are you okay? Your quiet is a
different quiet than your usual
I assume you're nodding.
Well I better get back home and
confront the scoundrel.
You could walk with me if you
There is an awkward moment.
EXT. WALKER BACK PORCH – NIGHT
Ivy and Lucius arrive in silence to the back porch of the Walker cabin.
LAMP LIT windows we see Kitty and her younger sister talking.
We were tending to the children
tonight, Kitty and I... I should
be with her.
Ivy climbs the stairs and stops.
I heard my parents speaking of
you. I know of your request to
go to the towns. I think it is
noble, but I do not think it is
There may be things we do not
know that may help us.
You speak as if we are plagued.
There is nothing to cure.
Are you not angry you have no
sight? Perhaps your eyes could
have been saved as a child by
knowledge held in the town's
I know it upset Pappa very
much when it happened to me.
He would not speak for three
days I was told. But it does not
bother me Lucius.
What of Noah then? What if
there was medicines for Noah
that could help him be still?
Help him learn?
Beat. This affects Ivy.
May we stop speaking of this?
It is putting knots in my
Lucius nods. Ivy climbs a few more steps and stops.
Kitty is to be married.
Lucius looks a little confused.
She has found love again. With
Lucius raises his eyebrows.
You think it an odd choice
right? You know he won't sit
back in his chair for fear of
setting wrinkles his shirt.
But he does have a gentlemanly
way about him and he does care
for my sister deeply. I think
Kitty is blessed.
I am blessed as well... My
older sister is now spoken for. I
am now free to receive interest
from anyone... who might have
Lucius stares at the striking blind girl who stands in the shadows with
Goodnight Lucius Hunt.
Ivy turns and walks into the house. We see through the open back door as
Noah leaps out from behind a water basin and scares her. Ivy starts
the tall boy around the room playfully.
EXT. TOWER – NIGHT
Finton Coin sits huddled in the corner of the tower perch. His knees are
tucked into his chest. There is an oil lamp on the floor by his side.
The oil lamp moves as the tower creaks. Finton sits up. THE LAMP LIGHT
ON FINTON'S TENSE FACE FLICKERS AND THEN RETURNS.
SILENCE. Finton crawls over to the trap door in the floor. He listens a
moment before reaching for the rope handle.
He pulls back the wooden door slowly.
Finton looks down the ladder that drops twenty feet away to the ground.
thick legs of the tower can also be seen.
SOMETHING PASSES UNDERNEATH. IT IS DARK IN FORM AND
MOVES DEVILISHLY QUICK INTO THE SHADOWS.
All the air leaves Finton Coin's lungs.
Finton shuts the trap door quietly. He moves the wooden bolt into the
position. All his movements are slow and trancelike.
Finton places his hands on the railing and pulls himself up. He steadies
himself on his feet. And then peers over the railing.
EXT. COURTYARD – NIGHT
People of the village move normally through the courtyard.
AND THEN THE WARNING BELL SOUNDS IN THE DISTANCE. IT IS
VERY DIFFERENT THAN THE PRACTICE BELL IN THE YARD. ITS
SOUND IS DEEPER MORE POWERFUL AND RESONANT. ITS
SHORT REPEATED RINGING ECHOES THROUGH THE AIR.
Everyone in the courtyard suddenly freezes and then starts running.
Everyone except Lucius. He turns and looks over his shoulder towards the
direction of the tower.
INT. WALKER CABIN – NIGHT
Kitty and Ivy look up as they dress their little sisters for bed.
THE DISTANT REPEATED SOUND OF THE WARNING BELL silences
all the chatter.
Kitty turns to Ivy.
Close all the doors.
Kitty scoops her little sisters off their bed and moves directly
trapdoor in the back of the cabin.
EXT. CABINS – NIGHT
Lucius ushers a group of people into a cabin. He closes the door and
them in. He moves quickly across the path to a woman who tries
to close the shutters on her cabin. The shutters stick on their rusty
Lucius comes over and closes it shut.
He turns as a SHADOW PASSES OVER HIM.
Lucius ducks into the darkness by the side of the cabin. There is
all around him.
HE WATCHES AS A CREATURE MOVES SLOWLY TOWARDS THE
FRONT DOOR OF THE CABIN.
Lucius steps back farther into the shadows. He presses his back against
side of the cabin and loses sight of the creature.
INT. WALKER CABIN – NIGHT
Noah jumps up and down, agitated and excited. Kitty tugs at his arm as
pulls him towards the trap door. She looks across the cabin and sees Ivy
standing in the open front door.
You must close the door!
Ivy looks out in the direction of the STRANGE SOUNDS.
Lucius is out walking.
Kitty leads Noah down into the crawl space where the two younger sisters
wait frightened and silent.
He's inside safe somewhere.
Close the door!
Ivy turns and looks back at her sister, strain and strength on her face.
He'll come back to make sure
Kitty walks down into the underground room with Noah and the children.
Only her head can be seen as she watches her littles sister, across the
stand in the doorway to the outside.
Ivy puts out her hand through the open doorway. She holds it out to the
THE WARNING BELL RINGS OVER AND OVER IN THE DISTANCE.
STRANGE SOUNDS CAN BE HEARD THROUGH THE WALLS IN
THE BACK OF THE CABIN.
Kitty listens to them, tears fill her eyes. Her head turns back to Ivy
screams across the cabin floor.
THERE ARE SHADOWS ALL AROUND THE WALKER CABIN.
A HUMPED CREATURE EMERGES FROM THE DARKNESS. IT
STARTS RUSHING TOWARDS THE PORCH.
Ivy holds her hand out as she stares blankly into the darkness outside.
stream down her face. She is terrified.
Don't let them in!
THE LARGE DARKENED FIGURE OF THE CREATURE CLIMBS
ONTO THE PORCH.
A HAND GRABS IVY'S HAND.
SLOW-MOTION: Ivy turns as Lucius moves with her through the doorway.
They close the door shut quickly and bolt it. Lucius and Ivy run
across the cabin. Lucius never lets go of her hand.
They reach the open trapdoor. Lucius helps Ivy in and then follows her
down. His arm spears out and grabs hold of the rope handle. The door
over their heads.
INT. UNDERGROUND ROOM – NIGHT
Six individuals huddle together in the darkness. A TINY STREAM OF
LIGHT FALLS ON THEIR FACES.
SOUNDS OF SCRATCHING AND CLAWING CAN BE HEARD ON
THE WALLS OF THE CABIN. THE DISTANT SOUND OF THE
WARNING BELL IS MUFFLED IN THIS UNDERGROUND SPACE.
Kitty holds her little sister tight. Noah claps his hands joyously in
space he has to move.
Lucius and Ivy are crouched together close to the stairs. Their faces
almost touching. They both stare up at the crack in the door and
both breathe hard; their breath falling on each other.
Ivy's face tilts slowly to her lap. Lucius' hand is still holding hers.
INT. UNDER GROUND ROOM #2 – NIGHT
A large number of men and women are crammed together in another
THEY LISTEN AS NOISES AND GRUNTS MOVE AROUND THEM
INT. UNDERGROUND ROOM #3 – NIGHT
A group of children are huddled together in the darkness of another
underground room. The children's hands cover their ears. They try to
out the SOUNDS STABBING AT THEM THROUGH THE CRACKS IN
THE TRAP DOOR.
We see their tiny bodies jerk with every sound.
Their scared faces dissolve into the darkness.
FADE TO BLACK:
EXT. VILLAGE – DAY
A gentle breeze pushes leaves around in circles. There is no one in the
courtyard. There is no one on the walking path.
The front doors of the cabins ate closed. On each door are TWO
SLASHES OF COLOR FORMING AN "X". The crimson markings are
seen throughout the empty village.
INT. MEETING HALL – DAY
All members of the village, young and old, are gathered together. THE
SOUND OF SOME CHILDREN WHIMPERING can be heard in the tense
Edward looks at the faces.
We may question ourselves at
times such as these. Did we
make the right decision to settle
We must remember why we
came here. It was for goodness
and a rare type of innocence.
That is worth a struggle I think
Let it be known for all to
comfort in, that no person was
injured lat night. We have
always had, from the day we
settled here, a gentle
understanding with those who
I have always pictured them, in
some ways, as our protectors.
They have allowed us to live
here nestled amongst them in
this untouched place.
By the markings we find this
morning on our homes, I feel
they were warning us. They
acted as if threatened. We will
do our best to discover what it
is that has set them to action.
Beat. Edward suddenly looks older. His childlike eyes flicker with
I myself wonder if this simple
way of life can go on... If it
was meant too...
August touches him on the shoulder in a brotherly way to stop him from
speaking. August looks out over the congregation.
If any want to talk of their
worries or concerns, we would
A note is passed from the gathering. Vivian Percy is the closest of the
and accepts it. She checks the front and back for an inscription. She
out over the room of faces.
Who has written this note?
The room of faces do not respond. Vivian opens it.
Vivian turns to the elders at her side.
It is the wish of the writer for
this to be read aloud.
They all nod. Vivian throws a quick look to Alice before turning back
Please read so that all may hear.
My mother is unaware that I
wrote this note. She did not
give her consent or consult me
in any form.
I have brought this burden upon
us. On the day before last, I
crossed the forbidden line into
Covington Woods and was
witnessed there by Those We
Don't Speak Of.
Whispers fill the meeting hall. Alice closes her eyes. August looks
I am deeply sorry. I have
shamed myself and my family.
I pray that my actions will
cause no further pains.
With deepest sorrow, Lucius
Ivy sits in the crowd. She stares blankly at a point in space.
There are nothing but murmurs for a moment. Edward Walker silently steps
forward. The crowd moves aside as he walks through them.
He moves to the back corner, where the crowd parts and reveals Lucius
sitting against the wall. His eyes are red. Tears fall from his cheeks.
Edward Walker kneels down in front of him.
Do not fret.
Walker's face trembles with emotion as he stares at the young man.
Walker leans forward and whispers in the young man's ear.
You are fearless in a way, I
shall never know.
Lucius looks up. The two men stare at each other. The crowd goes quiet
around them. The overwhelming pride and emotion in Edward Walker's
eyes slowly start to change Lucius. He grows stronger with every second
gazes at his elder.
INT.CLASSROOM – DAY
Vivian Percy claps her hands.
Ta. Tee-tee. Ta.
Splendid. Shall we take it from
the first phrase of the song?
She stares at the quiet faces of the children.
It has been difficult to
concentrate, I admit. The visit
from Those We Don't Speak
Of three weeks past, are still
with us... I know some of you
are frightened still. This is why
our job is so vital. We must lift
everyone's spirits. Kitty
Walker's wedding will be a
glorious time. We will sing and
dance and be merry again.
Now let us be strong little souls
and begin the song again from
the very beginning.
The children nod gently. They are ready.
EXT. CLEARING – DAY
A collection of fifteen men and women are constructing a wooden canopy.
Noah Percy helps cut a rope that tethers one of the frames of the
canopy to a
statue in the ground. An elder holds the rope and points. Noah slices
laughs when the rope splits. He waves the knife in the air joyously. The
elder quickly takes the knife away from him and smiles.
Edward and Tabitha Walker guide the others as the two sides of the
frame are brought up into their standing positions.
They look up at the structure for their daughter's wedding with wonder
their eyes. Beat.
They are gathered by the others and begin tying garlands of flowers to
EXT. RESTING ROCK – DAY
Lucius unwraps his biscuit from his handkerchief.
I know you have been ignoring
Lucius looks up to find Ivy standing before him.
It is the day of my sister's
wedding and I am beginning to
believe you would let the day
pass without saying a word to
Lucius doesn't say a word.
Perhaps you sensed I was angry
when you revealed you crossed
into the woods. In fact I was. If
you want to act foolish, that is
your choice. But I do not find
any reason to risk such dangers
in the woods for anything. It
I say this as your friend,
because friends may say
anything to each other.
Ivy lets out a breath.
I'm glad we've had a chance to
Kitty needs help getting ready.
Enjoy your biscuit.
Ivy turns and walks away. Lucius' green eyes watch her as her as he
biscuit to his mouth.
EXT. SUPPERTABLE – AFTERNOON
We came here to start anew-
We are grateful for the time we
have been given.
Edward Walker looks to Kitty at his side. Christop sits across from
are both dressed in white. Edward smiles to them as he takes a seat.
August stands. It is unexpected. Eyes watch him.
These are the experiences we
came here to have. This is
good. This is pure.
Beat. August takes a seat.
The table is covered in a feast of foods. Hands start reaching across
table. The business of a festive dinner begins.
EXT. BORDER – AFTERNOON
The SOUND OF WOODEN FLUTES AND HAND MADE
INSTRUMENTS CAN BE HEARD IN THE AIR.
Two young girls in mustard yellow cloaks lead two young men in hooded
cloaks. The girls walk procession-like with flowers in their hands, The
young men carry a wooden box with rope handles.
The group stops ten feet from the border into the forest. The girls turn
ceremonially together and wait for the young men to open the lid of the
foot by one-foot square box. The girls then toss their flowers in the
The young men raise the hoods of their cloaks over their heads. The lid
closed and the box is picked up by it's handles again. The girls stay
they are as the young men carry the box right to the edge of the forest.
There the lid is reopened. The two young men reach down and
pull out the
contents of the box. The flowers the girls threw in the box, trickle
blood red surface of the LARGE SLAB OF MEAT.
The two hoods turn and look into the forest. About five feet into the
a large flat rock. Its surface is stained dark from dried animal blood.
The young men start swinging the meat to gain momentum. On the third
swing, they throw the large slab of meat into the air and over the
boundary. It makes a SOUND as it lands on the rock.
The young men glance at the forest for a moment, and then turn and walk
back to the girls. They turn and start walking in a procession back
hill and towards the MUSIC.
EXT. CANOPY – AFTERNOON
A canopy of flowers and vines has been made on the grass next to the
stream. Candles hung by string are tied throughout.
A quartet of young musicians play on stools. Vivian Percy and the
sing next to them.
Kitty is dressed in a beautiful simple white frock. Christop looks neat
handsome. They stand on either side of August Nicholson who holds a
weathered book in his hands. He quietly quietly instructs the
couple where to stand
and what to do
The some of the guests are seated in wooden chairs, some are seated in
Ivy is seated on the grass nearby with an older woman with thick gray
We have seen this woman sitting with the elders many times. This is MRS.
I had an elder sister.
Ivy turns to Mrs. Clack and smiles.
Mrs. Clack, you have been
Kitty reminds me of her so.
What manner of person was
Saucy. We fought endlessly.
May I ask her name?
Your father created a miracle
here in this place. Sheltered us
Ivy can hear the change in Mrs. Clack's voice.
Why did she not come to
My sister did not live past her
twenty-third birthday. A group
of men took her life in an alley
by our home.
Mrs. Clack fixes her frock with her puffy hands.
August Nicholson turns to the congregation. He calls out.
Everyone in chairs and on the grass stands for the ceremony.
EXT. CANOPY - NIGHT
The MUSIC IS LIVELY. The musicians are up on their feet. People are
Kitty and Christop stand side by side and greet each family of the
They are presented handmade gifts wrapped in twine. Kitty is glowing as
accepts the wedding gifts.
Ivy steps up and hugs her sister tight. Kitty hugs her back
and lets go. Ivy
keeps hugging. Kitty realizes Ivy is crying. Ivy kisses Kitty on the
finally lets go. Kitty watch with confusion as her sister moves away.
She's not going to squeeze my
shirt like that is she?
Kitty forces a smile and accepts the next gift.
EXT. CANOPY ENTRANCE – NIGHT
Edward and Tabitha Walker greet the elders that swarm around them and
Alice Hunt steps up and kisses Tabitha. She moves to Edward who finishes
shaking a man's hand.
Many blessings on this most
joyous of days.
Alice puts out her hand.
It was a rare and lovely
ceremony, was it not?
Glorious. I saw your hand
move to your eyes on more
than one occasion.
Must have been dust of some
Edward smiles at her. Alice smiles gently back.
She lowers her untouched hand back to her side. They both nod at each
other. Alice steps away.
She is flustered. She holds her hands nervously as she walks. Alice
glances back over her shoulder.
Edward Walker is greeting Vivian Percy. HE SHAKES HER HAND as she
Alice turns back and keeps walking. She looks around to see if anyone is
watching her. Her face is bright red with embarrassment.
EXT. CANOPY – NIGHT
The swirl of dancing captures more and more people.
Ivy stands to the side. Kitty's hand reaches out from the dancers.
hold of her sister and pulls her in. Ivy resists for a moment and then
herself join the celebration.
EXT. BORDER – DUSK
Long deep shadows fall in the woods.
The two young men in yellow hooded cloaks walk the final steps to the
of the forest. They look to the flat stained rock in the woods. THE
MEAT HAS BEEN REMOVED. A fresh stain sits where the raw meat used
The young men turn quietly and head back to the little girls. They lower
their hoods. They nod their heads to the girls who then smile. The four
walking towards the music in two lines of two.
EXT. SLOPE TO CANOPY – NIGHT
Lucius Hunt sits along the slope that leads to the wedding canopy. THE
MUSIC AND LAUGHTER FLOAT THROUGH THE AIR.
He looks down to the CANDLELIT GLOW of the flowered canopy. Almost
everyone is dancing.
SOMETHING MOVES IN THE DARKNESS BEHIND HIM.
Lucius looks back over his shoulder.
THERE IS A RUSTLE IN THE BUSHES ON THE SLOPE ABOVE HIM.
Who's come to visit me?
A LOW GRUNT. WE SUDDENLY HEAR SOUNDS OF SCURRYING.
Lucius rises to his feet immediately.
EXT. CANOPY – NIGHT
Ivy is in the thicket part of the dancing. Her hair has come loose from
upturned position. She laughs as she turns in circles with her sister
THE FIRST SCREAM MIXES WITH THE LAUGHTER AND
The dancing goes on.
THE SECOND SCREAM CAN BE HEARD MUCH MORE CLEARLY.
Ivy is among the first few who stop dancing.
EXT. SLOPE TO CANOPY – NIGHT
Lucius leans down and picks up an oil lamp that has been knocked to the
ground. It is one of a few that have been strung along a walking path.
Lucius looks to Covington Woods in the distance. THERE IS THE
DISTANT SOUND OF BRANCHES SNAPPING.
Lucius turns as the SOUND OF A SCREAM CUTS THROUGH THE
MUSICAL DIN FROM BELOW.
He stares down at the warm glow of the canopy. He can see everyone has
stopped dancing. There is commotion.
Lucius wheels in the direction of the tower. We see a young man in a
cloak standing sentry. We see him standing bored
– elbows on the edge of
Lucius watches him for a moment, then turns back confused.
EXT. CANOPY – NIGHT
The dance floor is full of confusion.
A few YELLS SPIKE THE AIR.
Ivy is unintentionally bumped a few times as people start panicking.
separated from her sister.
Ivy puts her arms out. She tries to move out of the knot of people.
PANICKED CONVERSATIONS GET LOUDER ALL AROUND HER.
She is bumped two more times. She struggles to keep moving in the crowd.
A HAND TAKES HOLD OF HERS. She feels Lucius leading her out of the
congestion. She holds his hand tight as they move towards the entrance
EXT. CANOPY ENTRANCE – NIGHT
Lucius and Ivy emerge amongst a group of elders that are gathered around
two young boys. The boys are around ten years old. They are terrified.
Everyone close at hand listens in hushed silence.
Edward Walker is seated in a chair. The boys stand before him at eye
They are in the village.
It cannot be.
It saw us. It ran off into the
You are certain?
The boys nod. They are both crying. Beat.
Ivy moves next to her father. Edward takes her hand. Edward looks at the
You two boys stay close to Ivy
here. She'll tell you some funny
stories and have you laughing
Ivy gathers the boys close as Edward stands. He turns to the worried
We will go together. All of us.
EXT. WALKING PATH – NIGHT
A SNAKE OF HANDHELD LIGHTS MOVE SLOWLY towards the
The members of the village move in a group led by elders. Lucius walks
towards the front holding one of the lanterns.
Kitty and Christop move in the middle and walk in tense silence.
The procession moves towards the DIM LIGHTS OF THE CABINS.
EXT. COURTYARD – NIGHT
The elders have already moved into the courtyard. They walk in stunned
Lucius and the young men are next to follow.
When Kitty arrives her hands move to her mouth. Christop stops in front
THE COURTYARD BEFORE THEM IS LITTERED WITH DEAD
ANIMALS. CHICKENS, AND SQUIRRELS AND RACOONS. THEY
HAVE ALL BEEN SLAUGHTERED AND SKINNED, THERE ARE A
HANDFUL OF SKINNED ANIMALS DANGLING FROM ROPES TIED
TO THE POSTS OF THE HOUSES.
The villagers move like ghosts through their courtyard. Edward Walker
moves amongst them. He walks up to one of the hung animals and with
shaking hands, slowly unties the knot and lowers the animal to the
A young man walks up to Edward Walker, hesitates and then taps him on
shoulder. GERALD speaks in a whisper when Edward turns.
They would like you at the shed
Everyone is moving towards doorways. Christop is trying to pull a
Kitty through the chaos.
Elders usher people towards the nearest porch.
Lucius picks up two children in his arms and moves them to a doorway.
Ivy follows a group of people into a cabin.
Kitty stands in HER BEAUTIFUL WHITE WEDDING FROCK. Christop
tugs at her arm. She finally is pulled across the littered courtyard and
disappears into the darkness of a cabin.
EXT. SHED – NIGHT
Alice Hunt stands alone by the open entrance to the shed.
Edward Walker approaches her. She steps away so he may look inside.
Edward steps into the doorway of the shed. He stares
quietly into the
shadows of the food shed. Empty cages hang open throughout the
Alice speaks softly from outside.
All the livestock has been
taken, and skinned. The fur and
feathers are missing.
There are marks on the door,
where it was opened.
Edward's eyes move to the doorjamb. He sees the fresh torn wood at eye
The marks are high. Coyotes
cannot reach that height.
Beat. Edward stares into the darkness of the shed.
Are you scared Alice?
I am sir.
So am I.
EXT. CANOPY – NIGHT
There is no one in the wedding canopy. THE CANDLES HAVE ALL BUT
A handful of chairs lay on their sides.
EXT. TOWER – NIGHT
Two young men stand in the tower. One man eats leftover cake from a
wooden plate. He cuts a piece off and hands it to his partner.
They eat wedding cake as they stare into the darkened woods.
INT. IVY'S BEDROOM – NIGHT
Ivy lies in bed. She is awake. THE MOONLIGHT STREAMS IN
THROUGH THE HALF CLOSED WOODEN SHUTTERS.
THERE IS THE SMALLEST OF NOISES OUTSIDE.
Ivy gets out of bed. She moves to the window slowly.
Her outstretched fingers reach the shutter first. She pushes the
She stares out into the darkness.
EXT. WALKER PORCH – NIGHT
Ivy walks out with a shawl over her night dress. She moves to Lucius who
sits on the stairs of the porch.
He turns as she sits down next to him. Beat.
The elders are going to have an
inquiry tomorrow. Each
member of the village is to be
questioned in the meeting hall.
To see how the border was
Lucius nods silently. Beat.
It is cold outside. You ought to
Why are you on this porch?
It is not safe.
There are other porches.
Beat. There is an awkward moment. Ivy searches for something to say.
Do you find me too much of a
Lucius shakes his head lightly, "No."
I do long to do boy things.
Like that game the boys play at
the stump. They put their backs
to the woods and see how long
they can wait before getting
scared. It's so exciting.
I understand you hold the
record. It will never be broken
It's just children's games.
How is it you are brave when
all the rest of us shake in our
I do not worry about what will
happen. Only what needs to be
How did you know I was here.
I saw you out the window.
No, I won't tell you your color.
Beat. The wind blows stronger. They see leaves move all around them.
When we are married, will you
dance with me?
Lucius looks at her.
I find dancing very agreeable.
Why can you not a say what is in
Why can you not stop saying
what is in yours?
Ivy is surprised by the strength in Lucius' voice.
Why must you lead, when I
want to lead? If I want to
dance, I will ask you to dance.
If I want to speak, I will open
my mouth and speak. Everyone
is forever plaguing me to speak
further. Why? What good is it
to tell you, you are in my every
thought from the time I wake?
What good can come from my
saying I sometimes cannot
think clearly or do my work
properly? What gain can rise
from my telling you the only
time I feel fear as others do is
when I think of you in harm?
That is why I am on this porch
Ivy Walker. I fear for your
safety before all others.
And yes I will dance with you
on our wedding night.
Ivy sits in the moonlight. Tears stream down her cheeks. A hand reaches
and wipes a tear. This causes more tears to fall.
Lucius Hunt leans forward and kisses Ivy Walker on the porch of her
INT. WALKER BEDROOM – MORNING
Ivy and Kitty sit on their old bed together. Ivy squeezes her sister's
Kitty, I wanted to speak with
you first. I would not want you
to feel pain in any fashion. You
are my cherished one. If you
were to feel badly about
Lucius, I would not have it.
One love to sacrifice another
love is not right.
The two sisters sit quietly. Kitty moves the stray hairs from Ivy's
Do not fret, younger sister.
Ivy closes her eyes.
There is nothing you can do
that would sacrifice my love for
you. You are my cherished one
(Kisses Ivy on the head)
God bless you and your life
The two sisters sit holding hands in the room they used to share.
INT. MEETING HALL – MORNING
A woman in her twenties stands before a committee of five elders.
...I had been to the storage
shed twice to fetch food prior to
the wedding ceremony.
And the livestock was
untouched at that time?
Yes Mrs. Hunt. All was as it
Beat. Alice nods.
Could this be a new creature?
What do you mean?
If there are Those We Don't
Speak Of in the woods, could
there not be yet another
creature, similar, but different
to our own creatures.
August Nicholson and the rest of the elders stare quietly at the woman.
I suppose it is possible.
Thank you Beatrice.
BEATRICE nods and starts out.
I beg your pardon...
The elders look up to find Beatrice still in the meeting hall.
Is it true, about Lucius and Ivy?
Alice is taken a little off guard.
There are whispers all over the
She glances to Edward and Tabitha who smile back. Alice turns to the
We were informed early this
morning of their intentions.
It is amazing to witness which
two people love chooses to
unite. It follows no rules.
No it doesn't.
Alice gently looks down.
God bless them both.
Thank you dear.
Please ask the next person to
EXT. MEETING HALL – MORNING
A line of villagers wait patiently outside the doors of the meeting
Beatrice walks out and lets the next person in.
INT. HUNT CABIN – MORNING
Lucius Hunt opens the front door to his cabin.
Noah Percy stands in the doorway sobbing. Beat.
Noah walks in. Lucius closes the door.
Is this about Ivy and myself?
Noah doesn't answer. Beat.
Lucius heads back to his desk. Lucius folds the piece of paper he was
writing and places it in the drawer.
I know you are very fond of
Noah shakes his head. He move to Lucius.
I know she is fond of you.
There are different types of
Lucius barely sees THE SHARP BLADE.
NOAH AND LUCIUS STAND EYE TO EYE. BEAT. NOAH PULLS OUT
THE BLADE FROM LUCIUS' STOMACH.
WE WATCH LUCIUS FOLD TO THE FLOOR OF HIS CABIN.
NOAH, STILL CRYING, CHANGES THE GRIP ON HIS KNIFE AND
BENDS DOWN OVER LUCIUS.
INT. PERCY BEDROOM – MORNING
Vivian Percy is helping Robert with his vest. She gently straightens
collar. They've done this routine many times.
THERE IS A NOISE FROM THE CABIN'S ENTRANCE.
Noah, you'll be late for the
meeting hall. Would you like
your father to walk you there?
Robert Percy places his eyeglasses on.
INT. PERCY CABIN – MORNING
WE ARE MOVING THROUGH THE PERCY CABIN. THE MAIN
SITTING ROOM IS EMPTY. WE SEE THE FRONT DOOR IS OPEN.
WE MOVE TOWARDS IT.
THERE IS A NOISE, A CREAKING THAT GROWS IN STRENGTH. WE
MOVE TO THE FRONT DOOR AND THEN THROUGH IT.
WE ARE ON THE PORCH. THE CREAKING SOUND IS VERY LOUD.
WE TURN AND SEE NOAH SEATED IN A ROCKING CHAIR. HE
ROCKS BACK AND FORTH CREAKING ON THE NOISY WOOD OF
HE TURNS AND LOOKS OVER WHEN HE FEELS HIS PARENTS
VIVIAN AND ROBERT PERCY STAND FROZEN LIKE A BAD
NOAH POINTS AT HIS WET SHIRT.
The bad color.
INT. MEETING HALL – MORNING
The elders look away from the man who stands before them, They turn to
the SOUNDS OF COMMOTION COMING FROM OUTSIDE THE
MEETING HALL CABIN.
The door opens, a short flustered man enters. THE NOISE AND
GROWING COMMOTION SPILLS INTO THE MEETING HALL.
A couple of the elders stand.
I beg your pardon-
What is it?
There has been an accident.
EXT. WALKING PATH – MORNING
Ivy and Kitty step off their porch together. They make their way down
walking path. There is a GROWING SOUND OF VOICES ahead of them.
Two people come rushing past.
Helen what is it?
One of the girls stops and comes back. She speaks in a frantic whisper.
Noah Percy was found with
quarts of blood upon his clothes
and hands... The blood was not
his own and he will not speak
as to whose it is.
Dear God in heaven.
HELEN runs off.
Ivy's face changes. Beat.
Ivy lets go of her sister's hand. She starts moving away.
Ivy, where are you going?
Ivy does not respond. Her walk becomes quicker and quicker. Kitty stares
after her as her sister breaks into a run.
EXT. COURTYARD - MORNING
WE HEAR IVY COUNTING UNDER HER BREATH AS SHE RUNS.
On the twentieth step she reaches the end of the path and makes the turn
around a cabin into the courtyard.
THERE IS A COMMONTION ALL AROUND HER. SHE HEARS
KNOCKS AND DOORS OPENING AND CLOSING. ELDERS YELL
Are there any injured in here?
Has anyone been hurt in this
Ivy runs past all the voices. She runs past all the frantic people and
THE SOUNDS OF COMMOTION ARE BEHIND HER.
She crosses the entire courtyard, brushing people as she runs.
She reaches the quiet part of the village; the part not
Her feet hit the walking path stones similar to the ones near her house.
She drops her walking stick and keeps going.
She reaches a turn in the path and goes in the wrong direction before
realizing and changing directions. She starts running again. Her hair
flying out from its bindings.
She comes to a quick stop and puts her hands out. She feels the wood of
front door of the Hunt cabin.
She pushes it open.
INT. HUNT CABIN - MORNING
She steps into the silent cabin.
Ivy uses her hands to find the first piece of furniture. It's a chair.
Lucius Hunt you answer me
Ivy moves slowly across the room, heading towards Lucius' loft.
Her foot HITS SOMETHING. SHE STOPS.
She is now standing in the middle of the cabin. Ivy bends down and
with her hand. Her hand comes back dripping.
Ivy kneels to the ground and searches with her hands for Lucius' head.
finds his shoulders and pulls with all her strength to get him onto her
THERE ARE VOICES AND NOISE OUTSIDE. FOOTSTEPS ARE
A young man steps into the doorway. He is instantly stopped by what he
sees. He quickly runs away.
WE HEAR MANY FOOTSTEPS NOW.
Edward Walker is the first one in the doorway. He begins shaking his
violently. Tears instantly fall over his anguished face.
WE HEAR MORE FOOTSTEPS APPROACH.
The area behind Walker gets filled with villagers.
Edward Walker gathers himself for a moment. He speaks to those closest
Do not let Alice Walker come
A handful of those in shock behind him, leave.
Ivy Walker sits on the floor of the cabin with a bloodied lump of
flesh in her arms. She looks in the direction of her father's voice.
I cannot see his color.
EXT. SICK CABIN – DAY
The entire congregation of the village waits outside the sick cabin.
is silent. All watch the windows of the narrow cabin.
A FLAG OF WHITE FLIES at half mast next to the cabin.
Ivy walker listens TO THE SNAP OF THE WHITE FLAG.
A door to the cabin opens. Mrs. Clack walks out and
approaches the group.
She glances at Ivy and then looks to the group.
It is best to be direct at
moments such as these. He has
suffered a great deal. He is very
weak. He may pass at any time.
Some women in the group begin to cry. Parents hold their children a
Please give him all your
prayers and good thoughts. He
will hear them.
Ivy concentrates on the SOUND OF THE FLAG. She listens to the
RHYTHMIC SNAPS. Then slowly, her face begins to tremble. She finally
begins to cry.
INT. THE QUIET ROOM – DAY
The heavy wooden door to the quiet room is being unlocked. Robert Percy
turns from the door. His face ashen. He steps aside.
Ivy moves to the door. She opens it.
Next to the sacks of potatoes, in the corner of shades, Noah Percy sits
only chair in the room. He sits eerily straight up. When he sees who it
smiles. The CHAIR CREAKS AS HE STANDS.
Ivy walks straight to THE SOUND. She reaches for his face. Finds it...
CRACKS HIS FACE WITH A VIOLENT SLAP. Noah covers his face with
his hands. She slaps him again and again. Her hands hitting his ears,
hands. She stands there hitting him. He stands there taking it.
Robert Percy takes hold of her and gently pulls her off him. After a
she stops raising her hand. She lets herself be quietly taken form the
The door is closed again. Locked again.
FROM INSIDE THERE IS A SUDDEN BURST OF SCREAMS. IT DIES
DOWN TO A WHIMPER.
INT. SICK CABIN – DAY
One of the oldest of the elders, VICTOR, stands near the door to the
cabin with Tabitha and Edward Walker.
In the background we can see Alice Hunt sitting next to the only
cot. There are low sounds coming from the lump that is Lucius.
The three elders in the doorway, speak in whispers.
I am very worried for Alice.
She will not speak.
Her son is to die. There is
nothing to say.
Beat. Edward turns to Victor.
There is nothing to say. Victor
am I correct in that statement?
Victor shakes his head,
There were six wounds
inflicted. Five of the wounds
are not life threatening. The
sixth was made to the chest.
When I listen to his breastplate,
I cannot hear airflow as I
should. The sound is deadened.
He is having greater and greater
What can be done to mend
We can only pray.
If there were no limitations,
what could be done?
Tabitha's eyes move to her husband's. Victor looks directly at Edward
stares back quietly. Beat.
What are you asking me?
Is there anything at all that can
be done to mend the boy?
Beat. Edward's eyes are tearing up.
Please Victor, would you be so
kind as to answer my
Tabitha and Victor stare in stunned silence. Beat.
There is one other option.
EXT. WALKER PORCH – DAY
Ivy Walker sits still in a rocker on the porch of her cabin. She does
over as her father comes onto the porch and stands by her. Beat.
Has he passed?
You know the moment I heard
my child's vision had finally
failed her, and that she would
forever be blind, I was sitting in
that very chair.
I was so ashamed.
For not protecting you.
Could we take a walk Ivy?
EXT. WALKING PATH – DAY
Edward and his daughter move along a walking path. Edward leads her off
the path onto the grass. They continue walking.
What do you know about your
He was the wealthiest man in
That he was. He had a gift for
that. If he was given one dollar,
in less than a fortnight he
would have turned it into five.
You do not know of money. It
is not a part of our life here.
Money can be a wicked thing.
It can turn men's hearts black...
Good men's hearts. My father
could not see this. For all his
gifts, he was a poor judge of a
man's character. Your
grandfather was a good man
Ivy. He had a laugh that could
be heard three houses away . He
used to hold my hand as I hold
He taught me strength and
showed me love and told me to
lead when others would only
Your grandfather James
Walker, died in his sleep. A
man put a gun to his head and
shot him while he dreamed.
I tell you this, so you will
understand some of the reasons
for my actions and the actions
You are a strong one Ivy. You
lead when others would follow.
You see light when there is
only darkness. I trust you
among all others.
They stop walking.
Thank you father.
Ivy do you know where you
At the old shed that is not to be
They stand next to a worn shed hidden in tall grass.
Edward opens the lock on the small shed.
Do your best not to
INT. SHED – DAY
WE ARE IN THE DARKNESS OF A SHED. LIGHT POURS IN AS
EDWARD OPENS THE DOOR. He steps in.
He puts out his hand and helps Ivy inside.
There is an odd smell.
It is ahead of you.
What is it?
I cannot explain in words.
It is just a few steps.
Beat. Ivy steps forward. Her hands go out – searching. Her
fingers reach into
the shadows of the shed.
She touches something. Her hand glides over the GLISTENING FUR. Her
fingers graze the TEETH. IT MOVES.
Ivy pulls back and stifles a scream with her own hands.
Edward catches her.
-Those We Don't Speak Of.
Edward holds her gently.
Do not be frightened. It is only
WE SEE IN THE DARKNESS NOW. HANGING FROM WOODEN
RAFTERS ARE NINE OR TEN SUITS OF FUR AND CLAWS. EACH
ONE HAS A HUMP – EACH HAS DARK AND LIFELESS EYES.
THE COSTUMES CREAK AS THEY SWING SLIGHTLY ON THEIR
EXT. BEHIND OLD SHED – DAY
Ivy is seated in the grass with her back to the shed. Edward stands
There did exist rumors of
creatures in these woods. It is
in one of the history books I
used to teach in the towns.
Ivy nods as if she understands.
The ceremony of meat.
We remove it ourselves. An
elder is always assigned.
The drills? They are farce too?
We did not want anyone to go
to the towns Ivy.
What about the animals? The
skinned ones? Are the elders
responsible for that too?
It was not us. We do not know
what did that.
Ivy's face begins to tremble. Edward kneels down.
Edward Walker reaches out and takes Ivy's hand in his. He places a TINY
FOLDED PAPER in her hand and closes her fingers over it.
On this paper has been written
a tool of medicine. It is
common in the towns.
Ivy looks up. Edward holds his hands tight over his daughter's closed
Lucius Hunt will pass if he
does not receive this soon. He
may pass regardless.
You are to go with two others
and follow the path near the
stream. A half day's journey
will bring you to a hidden road.
There, the two others will wait
as you continue. You alone will
follow the hidden road to the
end of Covington Woods.
You are to tell no one in the
towns where we are and return
You gave your heart to this
boy. His mother is in need. Are
you ready to take on this burden,
which, by right, is yours and
Father and daughter are crying. They are leaning towards each other now.
Their foreheads almost touching.
INT. WALKER CABIN – DAY
Edward Walker sits at the small table next to the stove. He waits
open door to Ivy's bedroom.
Through the doorway we see her packing a cloth bag. Her yellow cloak
on the bed.
EXT. COURTYARD – DAY
Ivy moves through the courtyard. Her walking stick moves steadily back
forth. Her cloth bag is stuffed and hangs against her back.
EXT. RESTING ROCK – DAY
Ivy sits in her yellow cloak. Her hood is up over her head. She sits on
enormous rock embedded in the base of the hill.
Her hand moves under her hood. She looks like she's wiping tears, but we
cannot see her face.
Ivy just sits there... gathering strength.
THERE IS A NOISE. She looks up. Two cloaked figures emerge from the
path. They stand in silence across from her.
INT. SICK CABIN – DAY
Alice sits in a chair to the side of Lucius' bed. Lucius lies under the
asleep. His hair is damp. His face is white. His breathing is shallow
THE SOUND OF THE DOOR TO THE CABIN OPENING AND
CLOSING CAN BE HEARD.
Edward walks into the cabin. He moves towards Alice and Lucius. They are
the only three in the cabin. Beat.
Alice, I have sent for help.
Alice looks up. Beat.
I have sent Ivy to the towns.
Now Alice stands.
Alice starts crying. Edward wants to touch her. He leans towards her.
It is all that I can give you.
...It is all that I can give you.
Alice looks at the man standing so close to her. She looks in his
They stand together, almost touching. They both are trembling. Beat.
Edward gently nods and steps away. Alice slowly takes a seat next to her
son. She holds her son's hand tight.
EXT. BORDER NEAR CREEK – DAY
Three cloaked figures move towards the line of trees at the start of the
woods. The two large figures flank the smaller one. They all carry
on their back.
There is a creek to their right. It travels from the woods into their
The three stop at the border.
We see their faces under their hoods. Ivy Walker is in the center. To
side, is Christop Crane. To her other side is Finton Coin.
Ivy's fingers run over the yellow slash of paint on the tree bark. She
and hears the SNAPPING OF THE YELLOW FLAG ABOVE HER.
YELLOW FLAGS SNAP IN THE DISTANCE ON THE EITHER SIDE OF
Finton glances to the soil and sees the claw marks in the dirt just in
them. He looks over to Christop who has seen them too. Finton looks
may faint on the spot.
Ivy is the first to move. She holds out her stick and takes a step. Her
presses into the dirt amongst the large clawed footprints. The others
Ivy steps into the woods. She makes it to her sixth step before Finton's
trembling hand touches her shoulder. She turns to him.
Ivy turns and faces back the way she came. Christop stands on the other
of the border. He has not stepped into the woods with them.
Christop make haste.
Christop stands crying at the forbidden line.
I beg your pardon.
You needn't be scared. You
I will be unable to join you.
They had costumes Christop.
Please Christop, do not leave
There is nothing to fear.
-Then why do you wear the
cloak of the safe color?
Finton looks at Ivy wearing her yellow cloak. Her hood is up. He
truth in what Christop is saying.
We will light torches. It will be
Ivy stares in the direction of Christop's voice. Her eyes are steeled.
Do not worry what will happen.
Only what needs to be done.
Christop wavers for a second. Beat. He is still crying as he backs away.
It is forbidden.
Finton watches as Christop backs away. He turns and moves down the slope
out of sight. Beat.
Come if you are coming.
Finton turns and finds Ivy walking into the woods. Her walking stick
trees as she moves.
Finton stands where he is. He lets her get ten feet away before running
catching up to her.
EXT. TREE TOPS – DAY
We look down from the branches of the trees. Below us is a bed of leaves
and dirt. The leaves come to life and begin swirling in agitation. The
moves through the trees like a presence.
Down below, two specters in yellow move through the woods. Their hoods
pulled tight over their scared faces.
EXT. BACK OF SICK CABIN – DAY
The elders have gathered behind the sick cabin.
They wait and watch as August Nicholson comes around the corner. He
I had a difficult time getting
What is it?
Everyone turns to Edward. He gathers himself before he speaks.
I have sent Ivy to the towns to
retrieve medical supplies.
The elders are stunned. Mr. and Mrs. Percy stand like ghosts.
What have you done?
Lucius has a chance-
We have agreed, never to go
back – never.
What was the purpose of our
leaving? Let us not forget, it
was out of hope of something
good and right.
You should not have made
decisions without us. You have
gone too far.
I am guilty Robert. I made a
decision of the heart. I cannot
look into Alice's eyes and see
the same look I see in August's.
It is too painful.
August stares at Edward.
I cannot bare it.
You have jeopardized
everything we have made.
Yes I have. I hope I am always
able to risk everything for the
right and just cause. If we did
not make this decision – we
could never again call ourselves
innocent. And that in the end is
what we have protected here –
That, I am not ready to give up.
There is still hope.
Edward looks to August and smiles.
Yes there is my dear friend.
How could you have sent her?
She is blind.
Edward stares at Mrs. Clack.
I sent her because I trusr her.
And it is in her blindness that
our town's hope lives.
Beat. They all stand in silence.
EXT. WOODS – AFTERNOON
Two torches have been lit and fit atop two thick branches stuck into the
We hear the SIZZLE OF TINY RAIN DROPS AS THEY HIT THE
FOREST FLOOR. Ivy and Finton tie a heavy cloth trap by its corners to
nearby trees. They are racing the growing drizzle around them.
EXT. TENT – LATE AFTERNOON
Finton and Ivy are seated with knees to their chests under the cloth
THE OVERWHELMING SOUND OF A DOWN POUR ECHOES
THROUGHOUT THE FOREST.
Finton stares through the gray wall of pounding rain all around him.
Everything is a blur.
In the haziness of the world of trees around him, THERE IS A THING OF
DARKNESS. Finton leans forwrd a bit as he stare more intently.
Rain continues to cloud and obscure his view. THE THING OF
DARKNESS FAR AWAY SEEMS TO FLICKER AND MOVE.
Finton's mouth opens a bit as he stares. THE THING OF DARKNESS
SEEMS TO GET SMALLER AND THEN GETS WASHED AWAY BY
Finton waits and watches. There is nothing to be seen but the constant
downfall of rain. Beat. Finton turns to Ivy. She remains huddled and
Finton turns back to the rain and looks around nervously.
EXT. TENT SITE – DUSK
The rain has stopped.
Finton stands with his bag over his shoulder. He peels away layers of
cloth from the torches.
They are useless.
Finton turns and walks slowly over to Ivy who stands by the tent. Beat.
You may go.
Darkness will be here soon.
It is always here for me.
It is not too late to return.
There must be another way to
Beat. Ivy continues to stand with her back to Finton.
Do not pretend you do not feel
it. There is something in these
woods. It turns my stomach to
rot. The elders themselves
admit there were stories of
creatures in these woods long
before they arrived.
Ivy does not turn to face him. Beat.
You will be safe. They will not
harm you because you cannot
see. They will take pity on you
as they took pity on Noah when
he ventured into the woods.
They will kill me Ivy. I cannot
We see Ivy's face. She is frightened.
It is my burden, Finton. You
When she hears THE SOUND OF FINTON'S FOOTSTEPS RUNNING
AWAY, all she can do is close her eyes.
EXT. TENT – NIGHT
The forest has turned to shadows and black. There is a small figure
under the cloth tarp. She is huddled under her yellow cloak. Her hood is
pulled low over her face. She lets only her tired eyes peek through.
THE SOUND OF THOUSANDS UPON THOUSANDS OF CICADAS
FILL THE AIR WITH THEIR HIGH PITCHED VIBRATO. THE SOUND
SEEMS TO GET LOUDER AND LOUDER. UNNATURALLY LOUD.
Ivy has to cover her ears. Her head bows and we lose sight of her eyes.
EXT. WOODS – MORNING
A slender hand is held out in the air. It slowly pivots till A PATCH OF
WASHES OVER ITS PALM. Ivy uses the heat from the sun to guide her
Ivy's silhouette moves against the harsh slant of the morning sun.
Her cane moves back and forth in front of her.
Tap. She adjusts and moves around a tree. Her feet are stepping in mud.
Tap. She adjusts and continues forward. He left foot lands in deeper
She pulls it out and keeps going.
Tap. She changes position and takes a step. THERE IS NO GROUND
WHERE SHE STEPS. HER HANDS GO OUT AS SHE FALLS. SHE
GRABS THE EARTH AS IT SLAMS INTO HER ARMS.
SHE IS HANGING ON AN EDGE. SHE TRIES TO PULL HERSELF UP.
THE GROUND IS ALL MUD – SHE BEGINS TO SLIDE. SHE
AS SHE DISAPPEARS INTO THE HOLE IN THE FOREST.
WE WATCH FROM ABOVE as she comes to a stop ten feet down the
EXT. HOLD – MORNING
Ivy is in a hole about fifteen feet deep. At the bottom there are the
OF WATER RUNING OVER ROCKS.
Her walking stick has wedged into the roots of some trees that are
out in this hole in the ground.
Some loose rocks and dirt come free as Ivy finds her footing
in the mud
The debris falls to the rock floor.
Ivy catches her breath before pulling herself up.
EXT. WOODS NEAR HOLE – MORNING
We see her stick climb over the edge of the hole. Her hand is the next
view as it takes hold of some roots to drag herself out.
She finds the base of a tree and moves to standing.
Her fingers travel over an unusual CROOKED BRANCH of the tree. She
ducks under it and steps away from the hole.
She takes a couple heavy breaths... and begins to laugh. It is
a tired laugh as
she whips her hands at her sides to get the thick mud off her fingers.
She puts her hand to her cloak. It comes away full of mud... She slowly
stops smiling. Her other hand goes to the surface of her cloak. It
with slick mud.
WE SEE IVY NOW, FULL FIGURE. HER CLOAK AND HOOD IS
COATED IN MUD. HARDLY ANY OF THE SAFE COLOR YELLOW
CAN BE SEEN.
Ivy starts wiping the mud from her cloak. Her movements are even at
and then become more desperate as her hands just slide over the slick
We watch her in SILHOUETTE frantically trying to wipe off the mud.
EXT. WOODS – DAY
The mud caked figure of Ivy moves through the forest. Her walking cane
swings back and forth.
Ivy stops walking. She runs her hand over the cane and finds it
three-quartes of the way down.
Her fingers tremble over the crack. She takes hold of each end and
strength. THE CANE SNAPS. THE SOUND ECHOES THROUGH THE
A moment later, WE HEAR ANOTHER SNAP SOMEWHERE FAR
Ivy turns. Beat. She remains still under her hood. We watch as
lowers to the ground. Her hand reaches out to the ground. Her fingers
the leaves. After a moment, her hand finds a rock.
She hesitates, and then throws the rock as far as she can. It lands
CRUNCH IN A BED OF LEAVES.
Ivy stays crouched and listens. THE WIND RUSTLES. Beat.
AND THEN WE HEAR IT - THE IDENTICAL SOUND OF A ROCK
LANDING IN A BED OF LEAVES SOMEWHERE BEHIND HER.
Ivy rises in terror. Her hood slips off her head as she starts to move.
hands go out in front of her as she begins to run.
Branches slap at her arms and face. Her hand slams into a tree, she
SCREAMS IN PAIN. She tries not to stop, she moves around it and keeps
Another tree catches her shoulder. She spins and almost falls to the
She clutches her shoulder as she gathers her balance. She keeps running.
She holds her hand up as she runs through a collection of small
They shatter against her forearm. She does not stop.
Ivy's hands start waving in front of her like her walking stick. She is
as fast as she can.
SHE PASSES INCHES FROM A LARGE TREE THAT WOULD HAVE
CRUSHED HER. She keeps running.
The branches stop striking her arms. She is racing through a slight
She is out of breath. She slows and stumbles to an exhausted stop.
She breathes slowly and looks around, listening in all directions. WE
BACK AND SEE SHE IS STANDING ALONG A HILLSIDE COVERED
IN RED FLOWERS. THE BAD COLOR BLANKETS THE GROUND
ALL AROUND HER.
Beat. AS HER BREATHING BECOMES SOFTER AND MORE
NORMAL ANOTHER SOUND CAN BE HEARD.
IT IS ALSO BREATHING, BUT IT IS MORE ANIMAL IN NATURE –
STRONG SNORTING SOUNDS – HORSE LIKE.
Ivy turns slowly in a circle till she finds the direction of the SLOW
Beat. STANDING FORTY FEET AWAY FROM HER IS THE LARGE
DARK UPRIGHT FIGURE OF A HUMPED CREATURE. IT STANDS
WITH ITS BACK TO IVY.
THIS CREATURE IS LARGER AND HAIRIER THEN THE COSTUMES
THE ELDERS HAD.
THE CREATURE ROCKS A BIT SIDE TO SIDE LIKE ITS AGITATED.
Ivy moves ultra-slow. She begins backing up. She makes it a few feet
bumping up against the thick trunk of a tree.
THE CREATURE REMAINS WHERE IT IS, WITH ITS BACK TO US,
ROCKING BACK AND FORTH.
Ivy edges around the trunk of the tree. She moves around it till she is
WE LOSE SIGHT OF THE CREATURE FORTY FEET AWAY.
Ivy has her back to the bark. Her chest rises and falls with her
breaths. She listens. WE CANNOT HEAR THE ANIMAL BREATHING.
Beat. Ivy leans back around the tree slowly. WE SEE FORTY FEET
AWAY, THE CREATURE IS NO LONGER THERE.
WE SUDDENLY HEAR A VERY LOUD ANIMAL SNORT.
Ivy jerks back.
Ivy's face tilts down. WE SEE AT THE BASE OF THE TREE, AN
ENORMOUS MOUND OF FUR. THE MOUND SHAKES AS IT
BREATHES OUT LOUDLY. THE CREATURE LIES ON THE OTHER
SIDE OF THE TREE.
Ivy begins the longest walk of her life. Her striking face remains
exhaustion and fear as she keeps moving. The tree in the background
her gets smaller and smaller.
She gets a hundred feet away before we HEAR THE ANIMAL GROWL
LOW AND MENACING. Ivy stops. She has to turn and face the sound.
THE CREATURE IS NOW STANDING NEXT TO THE TREE. WE
BARELY SEE ITS DULL LIFELESS EYES UNDER ITS FUR.
There the two face each other across a hundred feet of woods. There is a
terrible stillness; the kind of stillnes people often feel before
awful is about to happen.
Suddenly the creature starts moving in long and fast strides towards
Ivy reacts too slow to the ON COMING SOUND. She turns and begins
THE ANGRY ANIMAL SOUNDS GAIN ON HER... SHE SCREAMS...
THE FIRST BLOW IS FAST AND SUDDEN. ALL WE SEE IS FUR AND
CLAWS. IVY IS KNOCKED TO THE GROUND VIOLENTLY.
THE CREATURE CONTINES PAST HER MOVING INTO THE
WOODS. WE SEE IT START TO TURN BACK ABOUT FIFTY FEET
AWAY – LIKE A BULL IN A BULL FIGHT.
Ivy get ups. She has a set of fresh cuts along the side of her neck.
Ivy turns and runs into the thickest part of the forest.
EXT. DENSE WOODS – DAY
Her hands go out again as branches and trees close in around her. She
her way through.
HER OWN BREATHING, AND THE BREAKING OF BRANCHES AND
THE CRUSH OF LEAVES FILL HER EARS AS SHE RUNS.
A tangle of branches from a clump of trees slows her. She slaps and
at the branches. They snap and break off.
She runs untill she can run no more. She slows out of pure exhastion.
comes to a stop. Her hands hold onto a thick branch in front of her as
THERE ARE NOISES BEHIND HER.
She is too tired to move. Her hands tremble on the branch.
THE NOISES GET LOUDER.
Her fingers slide over the CROOKED BRANCH. Her fingers stop with
recognition. They go back over the crooked bend in the branch.
WE HEAR LOUD MOVEMENT - GALLOPING IN THE DRY LEAVES.
BRANCHES SNAP QUICKLY BEHIND HER.
Ivy steps around the branch. Beat. Ivy closes her eyes...
THE CREATURE STRIDES TOWARDS HER...
Ivy raises her arms at her sides. Her body makes the form of the
She stands steady as THE SOUNDS OF THE CREATURE RUSH
THE CREATURE IS SUDDENLY UPON HER...
At the last possible second, she moves. It is fast and unexpected. HER
SLIDE ON THE MUDDY EDGE AS SHE DIVES QUICKLY TO THE
THE CREATURE'S CLAWS JUST GRAZE HER MUDDIED ROBE AS
IT DROPS INTO THE HOLE IN THE WOODS.
INT. QUIET ROOM – DAY
The door to quiet room is unlocked. Robert and Vivian Percy open the
They hold food in a wooden plate in their hands.
They step into the musty room. Their eyes go to the center of the room's
floor. A handful of floorboards have been pulled up.
In the hole beneath the floor boards THERE ARE CHICKEN FEATHERS
AND BITS OF ANIMAL FUR. A PATCH WHERE TWO FUR PIECES
HAVE BEEN KNITTED TOGETHER LIES ON THE WOODEN FLOOR
BY THE OVERTURNED FLOOR BOARDS.
Vivian Percy drops the plate of food.
In the back of the quiet room, the potato sacks have been pushed aside.
Where they sat against the wall is an opening three feet in width and
HARSH SUNLIGHT POURS IN THROUGH THE OPENING.
EXT. HOLE IN WOODS – DAY
The creature lies utterly still.
WE SEE THE CREATURE'S FUR IS RAGGED AND MADE UP OF
DOZEN AND DOZENS OF ANIMAL FURS PATCHED TOGETHER.
THE CHICKEN FEATHERS THAT HAVE FILLED IT'S HUMP HAVE
SPILLED OUT OVER THE VIOLENTLY SHAPED ROCKS THAT THE
CREATURE IS LAYING ON.
ITS HEAD LAY HALF ON AND HALF OFF.
Noah Percy is bloodied and crying. A surge of pain makes his face a
knot of strain. He gasps as his boyish eyes dart around in panic. He
scream. He can't.
A wave of pain crushes his face again and then slowly relaxes. He makes
small whimpering sound. Tears fall down his cheeks. He does not make
another sound. His eyes stare forever frozen in a moment of a young
WE SEE THE SILHOUETTED FIGURE OF IVY STANDING ON THE
EDGE OF HOLE LOOKING DOWN. SHE IS LIKE A GOTHIC HOODED
FIGURE against the bright sky.
EXT. EDGE OF HOLE – DAY
Ivy listens for noises below. None comes. She backs away form the edge.
She turns and shakily moves through the tangle of branches.
Her hands find the crooked branch. She feels its strength and then
of it. She pulls and tugs at it until she feels it crack. She pulls
down with all
her weight and the thick branch snaps off.
EXT. WOODS – DAY
Ivy's new walking stick moves back and forth in front of her. TAP. It
tree, she moves around it.
The wind starts to blow hard. Leaves start to swirl around her.
THEN SHE HEARS THE FIRST WAIL FROM THE WOODS.
Her stick stops moving.
THE WAIL IS LIKE A SCREAM AND IT IS NOT HUMAN. THE FIRST WAIL IS JOINED
BY ANOTHER AND THEN ANOTHER.
THE SCREAMS AND WAILS COME FROM ALL DIRECTIONS. THE
SOUND IS OVER WHELMING.
Ivy drops her stick and covers her ears.
WE SEE WHAT SHE CANNOT... THE TREES IN THESE WOODS
HAVE HOLES THROUGH THE CENTERS OF THEM. WE WATCH AS
WIND TRAVELS THROUGH THESE HOLES AND CAUSES A
SOUND... A SCREAM.
It is for love that I am here!
I beg you to let me pass!
Beat. THE SCREAMS CONTINUE FORM THE WOODS AS THE
LEAVES KEEP SWIRLING.
Ivy's hands lower from her ears.
WE HEAR NON-HUMAN SCREAMS FROM FAR OFF IN THE
Ivy reaches down and finds the branch she was using as a walking stick.
rises to her feet defiantly.
It is for love-
THE SCREAMS AND WAILS SEEM TO MOVE AND SWARM
She takes her first step. She is trembling but finds strength to take a
second. Her stick starts moving back and forth as her steps turn into a
and her walk turns into a run.
INT. SICK CABIN – AFTERNOON
Lucius Hunt struggles hard to breathe. Alice Walker keeps a steady watch
over her son.
Edward Walker steps next to her chair. He watches Lucius fighting to
His will to live is very strong.
Alice turns in Edward's direction.
Love of your daughter makes
Edward nods. He moves towards the entrance to the sick cabin. His wife
Tabitha waits for him there. He opens the door and he and Tabitha exit
EXT. GRAVEL ROAD – AFTERNOON
Ivy's stick moves back and forth through high weeds. She holds
out and continues to check the location of the sun.
Suddenly, the weeds are gone. The stick moves back and forth unimpeded.
THERE IS A CRUNCH UNDER HER FEET.
Ivy stops. She taps her stick to the ground and HEARS THE SMALL
TICKS OF STONES.
Ivy instantly becomes agitated and excited. She starts moving forward,
STEPS CRUNCHING UNDERNEATH HER. She moves until she feels her
stick hitting weeds again.
She knows the width of the GRAVEL ROAD she is on.
She turns around and counts her steps back to the centre. She holds her
up and searches for a patch of sun. She finds it. She turns and faces
Ivy is breathing heavy form excitement. She starts forward. With each
there is a CRUNCH. THE CRUNCHES START TO GET CLOSER
TOGETHER AS IVY STARTS PICKING UP HER PACE.
Ivy removes the cloth bag from her shoulder. She lets it drop to the
and dirt as she walks.
She starts walking faster.
Ivy starts tugging at her mud caked cloak. She juggles her walking
she pulls the dirty cloth over her head. She slips her arms out of the
cloth and drops the crumpled cloak to the gravel and dirt floor.
Ivy starts running.
INT. WALKER CABIN – AFTERNOON
Edward Walker and Tabitha are standing in their cabin. They are holding
hands. The cabin is silent. There is no one else there.
Edward gently lets go of his wife's hand and moves to the corner of the
cabin. Tabitha's eyes follow her husband. She turns and walks to the
door and closes it.
We watch her put the wooden plank in place to lock it.
EXT. WALL OF VINES – AFTERNOON
Ivy runs on the hidden dirt and gravel road. Her stick waves low and in
THERE IS A SUDDEN THUD AS THE STICK HITS A PACK OF
Ivy comes to a quick stop with her hands out. Both hands get swallowed
Ivy feels around with her hands. There is A WALL OF VINES AND
WEEDS IN FRONT OF HER.
Ivy moves to her side and finds the wall of foliage continues into the
Ivy stops and puts down her walking stick. She reaches up and searches
something to hold. She wedges her foot into a clump of knotted weeds and
pulls herself up onto the wall of green.
INT. WALKER CABIN – AFTERNOON
Edward Walker turns the key of the BLACK BOX. He lifts the lid into its
Tabitha stands at his side.
Edward reaches into the darkness of the box. There is some folding
His hands push aside the first layers and take hold of a heavy cloth.
it out. We see its blue unfold as he raises it. Dusts dances off of it
in the air.
Tabitha takes a slow breath. Edward Walker stares at it with his sad
WE LEAVE EDWARD AND TABITHA WALKER IN THEIR CABIN
STARING AT THE PAIR OF FADED BLUE JEANS EDWARD HOLDS
IN HIS HANDS.
EXT. HIGHWAY – AFTERNOON
WE ARE LOOKING THROUGH A TRUCK'S WINDSHIELD. WE SEE A
DASHBOARD WITH A STYROFOAM CUP. WE SEE A HAND
HOLDING A STEERINGWHEEL.
WE ARE MOVING ALONG A HIGHWAY lined on one side by forest. A
ten-foot mesh fence covered over with vines and weeds borders the
In the distance there is a SPOT OF WHITE climbing down the weed-
WE ARE MOVING FAST. THE SPOT GETS LARGER.
THE WHITE SPOT turns into a figure dressed in white, which lands in the
weeds at the side of the highway.
WE ARE MOVING ALONG SIDE IT.
THE FIGURE IN WHITE IS A GIRL. SHE STEPS OUT IN FRONT OF
THE DELIVERY TRUCK SWERVES TO AVOID HER; IT SWERVES
INTO THE ONCOMING LANE AND LOSES CONTROL.
THE TRUCK ARCS IN THE ROAD; THE SCREAM OF BRAKES
SHATTERS THE AIR.
The truck comes to a stop in the middle of the highway.
We hear a SNAP as the truck door opens.
THE TRUCK DRIVER gets out.
He looks frustrated and walks to the girl who stands in the middle of
I didn't see you-
The striking looking girl stands with her hands at her ears.
Are you hurt?
The girl slowly lowers her hands. She stares in his direction.
What was that noise?
What are you doing out here?
Are you from the towns?
The young truck driver looks at the white girl's old-fashioned clothing
the first time.
Where did you come from?
The woods. You ought not tell
You need help or something?
A doctor of medicine. I need to
find these things. We must
The girl holds out her hand. There is a dirty paper folded in it. The
steps foreward and takes the paper. He unfolds it. Beat.
I have two or three syringes in
my first aid kit. You can have
them if you want.
You have the things written on
I think so.
Is someone sick?
The girl suddenly has tears in her eyes. Beat. She nods, "yes."
EXT. GAS STATION – LATE AFTERNOON
The same large delivery truck sits at a small country gas station by
of the highway.
The truck driver finishes filling the tank and walks to the tiny wood
building that serves as the gas station.
There is a bench outside the door to the shingled building. AN OLD
WOMAN AND AN OLD MAN are seated there. They are weathered and
fairly unpleasant to look at. They are wearing multiple coats each.
bodies have kind of melted into the bench from years of sitting there.
The truck driver steps up.
Twenty-five dollars please.
Pennsylvania Gas Tax.
He pulls the cash out of his wallet and hands it over.
Pardon me, but what is that
The truck driver points across the highway to the ten-foot fence
ivy and weeds that lines the road.
Who lives there?
No one. It's for animals.
Seventy-two thousand acres of
woods. No one's loud to step
foot in there. They got it fixed
so planes ain't even allowed
But who lives there now?
No one. Ain't you listening?
Walker family owns it. But
they ain't none of them left.
The youngest son, a history
professor disappeared some
twenty-five years ago. They got
some estate watching over it
Beat. The young driver stands thinking.
Why are you all curious?
The three of them stare at each other. The truck driver look like he's
to say something. An eternal beat.
The young truck driver nods and heads back to his delivery truck.
The old man turns to his wife.
Pennsylvania Gas Tax? –
The old woman laughs a phlegmy, hard laugh that shakes the bench.
The truck driver gets into the cab of his truck. He sees through his
the old couple laughing in the bench. He shakes his head.
HE TURNS THE IGNITION ON and pulls away form the country gas
WE SEE his truck on the highway as it rides along the ten-foot fence
marks the preserve. The weed-covered wall goes on for as long as the eye
can see. It stretches out till it disappears into the horizon, like
in a children's book.
FADE TO BLACK: