scripts/A Quiet Place.txt

                                                                1.



                                                   FADE IN BLACK:

    We hear, very clearly, the sound of light wind.


1   EXT. TOWN - MAIN STREET - LATE AFTERNOON                         1

    We come up on a streetlight. There is no illumination and
    no movement. We hold on it for a long moment when suddenly-
    - The streetlight bobs and then begins to sway. We slowly
    begin to rise up on the streetlight to reveal a small bird
    has landed on it. We continue to rise to reveal, behind the
    bird.

    Wind blows through the gargantuan evergreens that seem to
    engulf the narrow main street of a small town in upstate
    New York. Shop windows and cars on either side covered in
    dust, the place seems frozen in time. There is no movement.

    In the very middle of the road one can see sand. A bizarre
    incongruity, a long pathway about a shovels width runs the
    full length of the street with offshoots into open doorways
    of some of the shops.

    We hold for a long moment:


2   INT. GENERAL STORE - FRONT - LATE AFTERNOON                      2

    Slowly pushing through the doorway of a large general
    store, also covered in dust. To the left, a cash register
    with small shelves of nearly empty candy boxes below. To
    the right, a towering shelf full of bags of potato chips,
    nacho chips and pretzels. None are missing.


3   INT. GENERAL STORE AISLES - LATE AFTERNOON                       3

    WE MOVE SLOWLY across the floor,   down the middle of a
    general store. Amid the towering   shelves of goods on either
    side, one may recognize a barely   perceptible pattern of
    which shelves are bare and which   are not. There is no
    movement. No sound.

    Suddenly, TINY FEET JUMP INTO OUR MOVING FRAME! Then, as
    fast as they appeared. They’re gone.

    WE NOW MOVE UP the side of the store, looking down one
    aisle and the next. As we arrive at the next aisle we catch
    a glimpse of A SMALL DARK FIGURE!!! And then it's gone.
                                                                2.


    WE CONTINUE along the side of the store until we arrive at
    the last aisle. At the far end of the store we see a
    counter.

    With a window. And shelves. Suddenly A WOMAN APPEARS IN THE
    WINDOW!

    WE GO CLOSE ON THE WOMAN as she scans the shelves, slowly
    lowering herself to the ground until behind her we see an 8
    year old boy sitting slumped against the wall HE IS
    BAREFOOT.

    On closer inspection we see sweat on the boy’s brow, his
    skin pale from fever. The woman’s knee touches down on the
    ground next to the boy as she sees what she’s been looking
    for. She reaches out her hand.

    WE GO CLOSE ON HER HAND as it reaches toward a shell of
    orange prescription drug bottles. Her hand suddenly begins
    to shift certain bottles ever so slightly AT A BIZARRELY
    SLOW PACE, she does not make a sound. As she does this, we
    get our first glimpse of names. Names of drugs. Names of
    people.

    HER HAND finally arrives at the very back of the shelf as
    she gently twists a bottle that reads AMOXICILLIN.

    ON THE MOTHER as she inhales slowly. And then, as if doing
    surgery, she slowly closes her hand around the bottle and
    GENTLY begins to move it through the shelf toward her. Her
    hand, once again moves incredibly slowly, her now wider
    closed hand shifts even more bottles as it passes. JUST as
    she gets to the end of the shelf a bottle shifts with a
    RATTLE of pills. This is the first, deliberate sound we’ve
    heard. The mother FREEZES!!!!

    WE RACK FOCUS to the boy on the ground, who now looks up
    with panic. The mother’s eyes look all around the room. The
    way one does when they are waiting for something, LISTENING
    for something. After a long moment, she pulls the bottle in
    her hand the final few inches, and off the shelf.

    The mother draws a huge breath of relief. As she stands up,
    we reveal, just over the counter TWO EYES LOOKING UP AT
    HER!!!


4   INT. AISLE - LATE AFTERNOON                                      4

    A 10 year old girl stands on her toes, barely able to see
    over the wooden counter to her mother. She smiles at her
    mother.and gives her a thumbs up. With that she’s off.
                                                               3.


    WE FOLLOW HER as she runs lightly through the store, she is
    also barefoot.

    The GIRL turns down an aisle to reveal a small boy sitting
    on the floor. He too is barefoot.

    As the girl approaches we see, in the thick dust on the
    floor he has drawn a rocket ship. She sits with him.

    He silently puts his hand to his chest, palm to the side,
    crosses his first two fingers of his other hand with
    deliberate focus, and then slowly puts his two hands
    together. He then looks up at her and quickly shoots his
    crossed fingers into the air like a rocket. She beams with
    pride for a moment and then signs back to him.

                      DAUGHTER
                 (SIGNING)
            Very good job!

                      BOY
                 (SIGNING AS BEST HE CAN)
            That’s how--we get away.

    The girl’s smile falls ever so slightly. Then the boy
    suddenly TAPS her on the shoulder and scurries away. She’s
    “it”.

    As the girl slowly gets up to follow him, we see for the
    first time A HEARING AID.

    The boy disappears around a corner.


5   INT. NEXT AISLE - LATE AFTERNOON                                5

    The girl comes around the tall shelf into the next   aisle
    when suddenly her eyes go wide!!! What she sees is   the boy
    standing on a small box, STRETCHING to reach a toy   on a
    high shelf. She walks quickly to him when suddenly   the toy
    FALLS.

    The girl instinctively SLIDES to the ground and catches the
    toy JUST as it’s about to hit the ground! On her face we
    can see she is TERRIFIED! She closes her eyes, taking a
    breath with relief. When she opens them, in the foreground,
    we see the toy she is holding a small TOY SPACE SHUTTLE.
    Then in the distance past the toy we see a FIGURE.
                                                                4.


    She sits up to see a man standing outside the door of the
    general store, holding a large box with what looks like a
    quilt hanging out of it. A look of fear on his face
    softens, as he mimes wiping his brow with relief. She
    smiles, puts the toy back on a shelf and runs to him.


6   INT. GENERAL STORE - FRONT - LATE AFTERNOON                      6

    The father gently puts the box on the ground and pulls back
    the pieces of thick quilt to reveal that all the contents
    are actually wrapped in it.

    He then reaches for a LARGE HIKING BACKPACK, and begins
    transferring the contents of the box into the bag. As he

    does, we see, cans of food, a variety of prescription
    pills, bandages and wrapped syringes.

    The girl arrives at his side and excitedly starts rummaging
    through the box as well. As she does, we see thick paint
    brushes, bottles of glue, bottles of lighter fluid and a
    stack of old newspapers.

    Then, her face lights up. From the box, she pulls out a
    SALVAGED SECURITY CAMERA with wires exposed. The girl gives
    it a brief once over and then removes, two exposed CIRCUIT
    BOARDS, very obviously only recently removed from whatever
    appliance they belonged to. The girl scans the boards with
    a voracity, pointing out to the father particular areas of
    interest. Her father can’t help but smile.

    Suddenly, the box of Amoxicillin comes into frame and is
    placed on top along with two boxes of sugar. The father
    looks up at his wife. After a beat, she signs:

                      MOTHER
                 (SIGNING)
            For my tea.

    He just keeps looking at her.

                      MOTHER
                 (SIGNING)
            Fine. I have a sweet tooth.

    The father smiles and is about to close the bag when a
    candy bar is placed on top.

                      DAUGHTER
                 (SIGNING)
            Me too!
                                                               5.


    The father looks up at her with fake incredulity. Suddenly
    the sick son in his mother’s arms weakly signs:

                      OLDER SON
                 (SIGNING)
            Me too.

    The whole family laughs silently as the daughter GENTLY
    takes another candy bar from a box below the cash register.
    We can now see why the boxes are almost empty.

    The father looks back to his arriving four year old son,
    expecting the same, but from behind his back the young boy
    reveals the toy space shuttle.

    With a sweet empathy the father reaches for the toy and
    shakes his head no. He turns the toy over and silently

    explains it has batteries, this toy can make noise.

    The little boy watches, confused, hurt, as his father
    gently places the space shuttle on the counter. And then
    gently grabs a big lollipop and puts it in the bag for the
    boy.

    The mother hands their sick son to the father who picks him
    up and walks out. The mother kisses her 4 year old on the
    head, shuffles the hiking bag onto her back and walks out
    too.

    The daughter looks at the boy as tears begin to fill his
    eyes. She smiles and signs:

                      DAUGHTER
                 (SIGNING)
            It’s ok.

    The boy shakes his head no.

    After a moment, the girl looks back to see if her parents
    are there. She then reaches up and takes the shuttle down
    from the counter. With wide eyes her little brother watches
    as she surgically removes the batteries and places the
    shuttle in the hood of her brother’s sweatshirt. Covering
    it from view, she holds a finger up to her lips in the
    obligatory big sister way of telling him not to get her in
    trouble. He beams!

    She then stands up and places the batteries back on the
    counter, smiles at her brother and gestures “let’s go”.


7   EXT. MAIN STREET - LATE AFTERNOON                               7
                                                                 6.


     The daughter exits the General Store and follows her mother
     and father, who are walking down the street only stepping
     on the sand path. Their steps are almost silent.

     After a moment, her four year old brother follows behind
     her.

     We watch everyone walk in total silence.

     Then...


8    INT. GENERAL STORE - LATE AFTERNOON                              8

     We slowly push in to the counter of the store and then
     realize THE BATTERIES ARE GONE!


9    EXT. ROAD - LATE AFTERNOON                                       9

     A long road slices its way through a heavily wooded area,
     which further blocks the already fading sun.

     In WIDE PROFILE we see the family walking in a line,
     continuing only on a sand path. The father is in front
     carrying their sick son, then the mother with the backpack,
     then their blonde daughter and trailing a bit behind
     rumbles their robust 4 year old.


10   EXT. BRIDGE - LATE AFTERNOON                                     10

     From the ground we look up at an old and rusted bridge
     towering over us eerily, the sand path continues across it.

     WE TRACK WITH THE FAMILY as they walk across the bridge.

     There are minor creaks underneath the sand.

     Suddenly we see, the four year old stops just before the
     entrance of bridge. The family continues not seeing him.

     WE FOLLOW THE BOY’S HANDS as he fishes around in his hood
     and pulls out THE TOY SHUTTLE.

     HEAD ON, we walk with the father, each member of his proud
     brood can be seen walking behind him. We can hear his
     strained breath and the tiniest swish of the footsteps in
     sand.
                                                            7.


HEAD ON, walking with the daughter, we now suddenly hear
nothing. As she looks to be in her own world. So we are in
hers. A smile breaks on her face as she walks and breathes
in total silence. We walk with her for a long moment, when
suddenly behind her A FLICKERING RED AND BLUE LIGHT.

The girl does not turn. She just keeps walking. Still
smiling. As she looks up to her mother, we go into:

SLOW MOTION

- FROM THE GIRL’S POV, we see her mother and father spin
around with a frantic shock on their faces.

- BACK ON THE GIRL. She looks confused at her parents
behavior LIGHTS AGAIN FLASH EERILY BEHIND HER.

- ON THE FATHER rushing to put the boy on the ground and
turning to run.

- ON THE MOTHER, spinning around with terror in her eyes,
she looks to be holding in a SCREAM.

- BACK ON THE GIRL slowly beginning to turn around at what
her parents could be looking at as we:

SPEED BACK UP TO NORMAL

A loud playful beeping rushes in from the blinking shuttle.

Then, from the woods we hear THE MOST UNMISTAKABLE
HORRIFYING SCREEEEEEEECH!!!

- ON THE MOTHER as she slowly lowers the backpack to the
ground and her legs begin to fail her.

- ON THE FATHER running, violently shaking his head. It
looks like he’s HOLDING IN A SCREAM.

- THE TREES BEHIND THEM RUSTLE AND SNAP as something
barrels through.

- ON THE BOY holding up his space ship proudly to his
incoming father an enormous smile on his face.

- ON THE FATHER 20 feet away his face is a still frame of
pure fear as he runs to camera. Then:

THE MOST IMMEDIATE AND TERRIFYING COMBINATION OF SOUND ONE
COULD EVER IMAGINE.

A SHRIEK? A SCREAM? A CRUNCH? Then...
                                                                 8.


     ON THE FATHER as a thin line of blood splatters on his
     face.

     - Mid run, the father’s body immediately goes limp failing
     him as he comes to a halt just in front of camera.

     - Then, as quickly as it came THE SOUND IS GONE.

     - IN WIDE PROFILE, The father stands lifeless. The two
     children stand frozen with fear, the MOTHER drops to her
     knees and a space shuttle blinks silently in the sand.

     The four year old IS GONE.

     Once again, only the wind can be heard.

     BLACK.

     SILENCE.

                                                        FADE IN:

     TITLE

     A QUIET PLACE

     Still in BLACK. A new sound. Almost like that of the ocean.


11   EXT. BEACH - LATE AFTERNOON                                      11

     The new sound continues. In the last of the day’s sunlight:

     WE TRACK, LOOKING STRAIGHT DOWN, on what appears to be an
     empty beach. The pink lit sand, now combined with a sound
     like the ocean, feels serene, almost otherworldly.

     Slowly coming into frame, we see the face of the daughter.

     This is REGAN ABBOTT. Her hair is much longer. She is now
     TWO YEARS OLDER, 12. She just looks different.

     REGAN lays in the sand with eyes closed, but she is not
     asleep.

     With her brow furrowed and her closed eyes darting back and
     forth she looks oddly painted, almost as if she is wishing
     herself to another place.

     There is movement in her hands as her fingers caress an
     object.
                                                                9.


     Her eyes suddenly POP OPEN as she sits up violently CLOSE
     UP INTO OUR FRAME! She looks around with eyes wet and red,
     attempting to regain her bearings.

     WE SLOWLY MOVE AROUND her to see what she sees and are met
     with a jarringly incongruous landscape! Instead of a
     glistening ocean, there in front of REGAN stand the tall
     swaying stalks of A CORNFIELD.

     As REGAN looks to her lap WE SLOWLY TRAVEL DOWN to reveal,
     she is holding THE TOY SHUTTLE. As she maneuvers it through
     her fingers we see the shuttle is damaged, there are 2
     large gouges in the fuselage.

     Suddenly... Something startles her as she snaps her head to
     the side!

     WE GO CLOSE on her hand driving the TOY SHUTTLE into the
     sand, not wanting it to be seen. Now ONLY THE SHUTTLE’S
     TAIL is exposed in the foreground as we see a figure
     walking toward REGAN.

     Coming into focus is her mother. This is EVELYN ABBOTT.

     EVELYN too has changed. Hair longer, frame lower. She
     carries a basket of vegetables. She is barefoot.

     EVELYN stops and looks down at her daughter giving her a
     comforting smile. REGAN can’t seem to return the same.

     EVELYN gently gestures with her head. REGAN nods and EVELYN
     walks on. After a moment REGAN places the TOY SHUTTLE into

     the large pocket in her dress and follows her mother. As
     she goes:

     WE PAN TO FOLLOW REGAN as she joins her mother and then
     SLOWLY RISE to reveal that the two women are walking along.
     A LONG AND WIDE SAND PATH IN THE MIDDLE OF A FARM! In the
     distance we can see they are heading to A WEATHERED RED
     BARN.

     WE END OUR RISE just as we reveal in the foreground,
     Christmas lights? Like parallel telephone wires, 2 cables
     of large bulbs, one with red and one with white. They dance
     playfully in the wind.


12   INT. TRUCK - LATE AFTERNOON                                     12

     CLOSE UP PROFILE of a steering wheel in the foreground. A
     weathered CHEVY emblem reflects the fire orange sky in the
     background.
                                                                10.


     HANDS come into frame and gently grip the steering wheel.
     The right hand then slowly moves to the ignition block and
     turns.

     There is no sound. After a moment, the hand turns again
     again without sound. The hand turns a third time, this
     time, the hand begins to bob ever so slightly, as if the
     old car has started up. As the hand retracts:

     WE PULL BACK to reveal... The little brother. This is
     MARCUS ABBOTT, now 10. Moving ever so slightly, MARCUS is
     obviously pretending to drive, though his impassive face
     betrays the idea that he is having any fun. MARCUS seems to
     have aged much more than the mere 2 years. His vacant eyes
     tell us a large toll has been taken on him, though perhaps
     not as easily recognizable on the exterior.


13   EXT. TRUCK - LATE AFTERNOON                                      13

     WE MOVE SLOWLY IN POV along another large sand path with
     high grass on either side when suddenly it opens up into a
     large clearing and we see a tractor? Shells of untouched
     farm equipment litter the open area.

     WE SLOWLY MOVE LEFT, making our way through, what is now
     nothing more than an eerie farming vehicle graveyard.

     Suddenly, A DARK FIGURE ENTERS THE FRAME.


14   INT. TRUCK - LATE AFTERNOON                                      14

     MARCUS’s hands move silently along the steering wheel as he
     stares out the windshield. His body moves ever so slightly,
     his face, relaxes, the hint of a smile. For a moment we
     could almost believe he is driving. His eyes routinely
     check the

     side mirror, then the rearview mirror, then stop. His
     hands, and face fall.

     THROUGH THE REAR VIEW MIRROR, we see a figure standing
     behind the truck amidst the sea of farm equipment. Behind
     the figure we see, A TOWERING SILO.


15   EXT. TRUCK - LATE AFTERNOON                                      15
                                                               11.


     OVER THE DARK FIGURE onto the truck as we see MARCUS
     expertly slip out of the cab window of a VINTAGE CHEVY
     PICKUP that sits at the edge of a DESCENDING DRIVEWAY
     connecting to the road that heads back toward the BARN. He
     lands in the sand without a sound and begins to walk, head
     held low, toward the dark figure, who reaches his hand out
     and briefly touches Marcus’ shoulder. Marcus walks straight
     past.

     As MARCUS exits we BOOM UP the dark figure as it turns,
     revealing LEON ABBOTT (LEE), 38.

     LEE too has changed, though much more obviously. He has
     lost weight on his strong farmer frame, he wears a beard
     and his sunken eyes indicate that he hasn’t slept well in a
     long time.

     WE PULL BACK WIDE to reveal the sea of farm equipment sits
     in front of a long, dilapidated, work shed roof a makeshift
     repair shop. The word ‘REPAIR’ is written in flaking white
     paint that clings to the wood above.


16   EXT. BARN - SUNSET                                              16

     The line of Christmas lights dance in the foreground.

     WE TILT DOWN to see that the lights run right in between
     two towering doors of a weathered red BARN. The doors have
     been left open by a gap of just over 2 feet. The edges of
     the doors are wrapped in foam.

     Suddenly MARCUS walks into frame and enters the barn.


17   INT. BARN - SUNSET                                              17

     WE TILT DOWN from the lines of unilluminated Christmas
     lights running below the high reaching ceiling and ONTO
     MARCUS’ BACK as he walks through two heavy quilts at the
     entry of the barn hanging from the ceiling. Through the
     quilts, a dirt floor guides us through this barn. The
     surroundings are too difficult to fully comprehend at first
     glance.

     To the left are several large horse stalls. WE QUICKLY PAN
     INSIDE to see they are now bedrooms. Mattresses, perfectly
     made up, lie on the floor next to lamps and small stacks of
     books. Clothes on hangers dangle between each of the bars
     providing not only storage, but limited privacy.
                                                               12.


     To the right is a large pen with railings. Once a holding
     area for cows awaiting milking, it is now a living room.
     Hay bales draped in blankets and old wooden chairs surround
     an overturned pig trough, now serving as a coffee table
     covered in books and dripping candles.

     As MARCUS continues we notice the walls. Every inch is
     meticulously covered in a bizarre but elegant cornucopia of
     trash. Foam, cardboard, and old newspapers are glued to the
     wall in thick layers.

     If one were able to look past the obvious first assumption
     of a hovel or domicile of hoarders, they would see almost a
     deliberate beauty in the decor. A warmth. This is a well
     maintained and loving home.

     WE FOLLOW ON MARCUS’ BACK as he suddenly comes to A
     MATTRESS LAYING ON THE GROUND? MARCUS bends down and after
     a brief struggle pushes the mattress to one side to reveal
     a large hole.

     WE FOLLOW JUST BEHIND MARCUS as he descends down the
     ground.


18   INT. BARN - SAFE ROOM - SUNSET                                  18

     WE NOW SEE MARCUS has descended a makeshift stairwell into
     a small excavated room illuminated by work lights. Lodged
     up against the walls and across the ceiling are wooden
     beams. In between each beam are varying stages of an
     elaborate process of insulation and soundproofing that
     consists of a thick layer of newspaper as a base and then
     blankets and pillows squeezed in on top. There is a hay
     bale up against one wall and a mattress leaned up against
     another.

     In the middle of the room, MARCUS walks past EVELYN, who is
     bent over behind an odd wooden box. Suddenly she stands up,
     holding a beautiful and delicate baby mobile.

     As she turns and reaches the mobile high in the air to a
     beam above her we get a clear shot of her protruding belly.

     Even a layman guess would put her over 8 months. EVELYN
     gently taps the mobile as we:

     ARE NOW CLOSE ON the small ducks and clouds moving through
     the air, EVELYN below looking up with a smile.

     MARCUS sits down next to REGAN who is on the floor next to
     a stack of old newspapers and bottles of glue.
                                                                13.


     She removes a large sheet of newspaper from a plastic tray
     of glue, lets it drip and then applies it to the wall with
     a thick paintbrush. As she moves the paintbrush vertically
     down the dripping white, a piece of an image can be seen.
     It is a bra ad. REGAN slowly looks over to MARCUS, who
     stares at it.

     BACK ON EVELYN as she removes the top of the odd wooden
     box.

     WE FOLLOW her hands in to reveal a heavily quilted inside
     with adorable baby blankets, a small teddy bear, and a
     clear plastic air mask.

     EVELYN’s fingers fumble with something in the corner until
     she finally threads through a thin plastic tube and
     connects it to the air mask. It looks similar to an
     emergency breathing apparatus one might see in an ambulance
     or hospital because it is.

     BACK ON MARCUS, as he now removes a large piece of dripping
     newspaper out of the tray and places it on the wall. Like
     his sister, he swipes his thick paintbrush vertically down
     the dripping white, this time partially revealing a front
     page headline. It reads ‘AGE OF MASS’ MARCUS looks at it
     inquisitively and then swipes the paintbrush horizontally
     across the whole headline.

     It reads:‘IMAGE OF MASSACRED MILITARY SHOCKS THE WORLD’
     MARCUS freezes then looks below to see the top of a grainy
     newspaper photograph. All we can make out is a twisted
     human arm. His hand slowly begins to shake as he raises the
     paintbrush to reveal the rest of the image when suddenly: A
     PILLOW FLIES INTO FRAME!!!!!!

     MARCUS JUMPS!!!!!

     Only to see his mom holding a pillow over the newspaper
     with a knowing look. After a beat, she hands MARCUS a long
     piece of tape to secure the pillow to the wall.


19   EXT. REPAIR YARD SILO - ROOF - SUNSET TO DUSK                    19

     ON THE BACK OF LEE, perched on what looks like the top of
     the world.

     From this great height we get our first WIDE SHOT of the
     large farm that we now see sits in a clearing on a ridge
     surrounded by the tangled forest of the APPALACHIAN
     MOUNTAINS.
                                                           14.


A puff of smoke rises from LEE’s silhouette as he suddenly
raises a hand into frame and checks his watch. A moment
later as if on cue.

A line of CHRISTMAS LIGHTS flicker to life above the wide
sand path REGAN was laying on.

Another line of white Christmas lights flicker on, this
time revealing a path that connects the weathered red BARN
to an old white FARMHOUSE. Then another line of lights and
another!

Like the image of a city power grid coming back to life, we
see a labyrinth of countless sand paths, meticulously laid
out, illuminate all over the farm in a beautiful expanse.

NOW IN PROFILE, LEE stares down seemingly at nothing. The
unfiltered cigarette burns to his fingers, causing LEE to
snap out of his stupor. He looks around at the horizon, it
is officially sundown. He reaches for a plastic bottle of
lighter fluid and sprays all its contents into a shallow
metal drum in front of him.

Another cigarette appears from below frame. He puts it in
his mouth and then reaches his hands into his jacket. His
right arm jiggles slightly. There is no sound. His arm
jiggles again. Then from his jacket, LEE pulls a FULLY LIT
LIGHTER, that he protects from the wind. He lights his
cigarette and then leans his hands to the metal drum A HUGE
FLAME ERUPTS.

In the glowing orange we see LEE take a long drag of his
cigarette. His face has no effect. After several moments
the flame begins to weaken and slowly fade.

Suddenly, far FAR off in the distance on the ridge ANOTHER
FLAME ILLUMINATES. LEE doesn’t even look up. Then, miles
past the first ANOTHER FLAME! THEN ANOTHER!

Until we can see behind LEE 5 glowing fires scattered far
off across the ridge.

ON LEE as he glances over and registers, then back to
staring front as we:

MOVE AROUND BEHIND him to see where his gaze is focused.

Then, we see it. There, in his left hand LEE holds a 5X6
nursery school photo of a 4 year old boy.

LEE takes a last drag of his cigarette and then places the
photo in a small box at his feet.
                                                               15.


     WE ARE TIGHT ON THE BOX as LEE stands and walks toward two
     curved bars on the side of the SILO. He turns around and
     begins to descend A LADDER.

     WE HOLD ON THE SMALL BOX, then just as LEE’s head
     disappears WE SLOWLY BEGIN TO RISE.

     Now looking at the opposite side of the ridge than we did
     in the beginning, the rising moon’s light now spills across
     the vista of rock and trees and onto an enormous and
     bizarrely out of place CRATER!

     WE HOLD ON THE CRATER FOR A LONG MOMENT Then:


20   INT. BARN - LIVING ROOM - NIGHT                                 20

     WE ARE CLOSE on a small mound of dirt. Suddenly two hands
     covered in winter gloves enter frame and begin to dig down
     about 3 inches to reveal a plank of wood.

     WIDER NOW, we see EVELYN on her hands and knees just behind
     the living room set up in an open, very makeshift kitchen.

     One wall of shelves cluttered with stacks of paper plates,
     bowls and cups. Another wall is a workbench acting as a
     countertop and a mid 70’s refrigerator.

     EVELYN extracts from the dirt a long wooden box. Beneath it
     red hot rocks let off a combination of steam and smoke.

     EVELYN brings the box to the counter top and carefully
     lifts the lid to reveal a perfectly cooked fish with lemon
     and rosemary and garlic scattered all around.


21   INT. BARN - BEDROOMS - NIGHT                                    21

     WE TRACK with REGAN as she walks down the row of horse
     stall bedrooms.

     REGAN arrives at the threshold of LEE and EVELYN’s bedroom.

     LEE is faced away from her, washing his face in a long
     trough like sink that runs the length of the room.
     Suddenly, through the mirror leaning on the wall, LEE sees
     her, but does not turn.

     Through the mirror, the two of them looking silently at
     each other for a moment too long, it is heartbreaking.
                                                               16.


     REGAN pathetically gestures “eating”. As LEE nods, trying
     to muster a polite smile we can see very clearly something
     is broken.

     LEE wipes his face with a towel and then turns to face an
     empty doorway.


22   INT. BARN - TABLE - NIGHT                                       22

     The family sits down together for dinner around an old
     workbench. Their heads bowed in prayer, after a moment
     EVELYN lifts her head and they begin to eat. There are no
     plates.

     The food sits on various children’s plastic placemats.
     There are no utensils. The family uses only bread to
     collect food.

     We slowly pull back on this silent, but comfortingly
     familiar scene.


23   INT. BARN - LIVING ROOM - NIGHT                                 23

     REGAN and MARCUS lie on the floor playing Monopoly.

     By the dim light of an oil lantern, we can see the game’s
     board is the same, but the pieces are small colored bobbles
     of wool, the kind you would find on a children’s Christmas
     sweater. The houses and hotels are empty sugar packets,
     blue and pink. And the money? Small pieces of green, red,
     blue and orange fabric rectangles, all equally sized.

     MARCUS is five spaces away from his sister’s hotel on
     Boardwalk. He takes a sip of water and places the cup on
     top of a tall crate being used as a makeshift side table.

     MARCUS looks at his sister, who can’t hide her smile. He
     mimes a prayer before rolling the dice on the dirt floor,
     where it makes no noise 5!

     MARCUS slowly looks up to REGAN, knowing his fate.

     REGAN smiles pointedly and then reaches for MARCUS’ money.

     As MARCUS thrusts his arm back to protect his bank, his
     elbow hits the oil lantern!!

     A BOOMING CRASH!!!! As the oil lantern hits the ground and
     shatters. THE SOUND FEELS HUGE! AS IT IS THE FIRST BIG
     SOUND WE’VE HEARD! FIRE ERUPTS ON THE FLOOR!!! The children
     stare frozen in horror!
                                                          17.


LEE immediately jumps up from the table and instinctively
grabs a quilt and throws it on the fire. With a few silent
pats the fire is gone.

SILENCE.

EVERYONE FREEZES!!!! NO ONE IS BREATHING!!!

REGAN shoots MARCUS a look of concern.

MARCUS shoots LEE a look of terror.

LEE shoots a look to the roof.

ON LEE as he stands up INTO frame. He has almost physically
transformed from a man into protection incarnate. He slowly
raises a stiff finger to his lips, his body so tense, it
looks painful. This is the unwanted version of himself that
lies just millimeters under his skin 24 hours a day.

After a long moment nothing. It would have happened by now.

LEE finally nods that everything is OK.

MARCUS stares at REGAN with a painfully apologetic face as
she leans in and touches his hand.

BANG!!! The whole family startles in silence!!!

Something has hit the roof.

EVERYONE IS FROZEN LOOKING AT THE CEILING.

Seconds later a high pitched SHRIEEEEEEK of CLAWS sliding
down the aluminum roof. The family follows the sound
exactly with their eyes. Then silence.

LEE crouches down and walks to a small window where the
sound stopped above.

MARCUS wildly shakes his head “no”, evidence of his
traumatic anxiety resurfacing.

REGAN slowly stands, looking on with wide eyes.

LEE arrives at the window, crouched. From his low vantage
point we can see the lip of the gutter and the eerily
swaying Christmas lights.

LEE begins to stand up slowly, his face now virtually
pressed against the glass.
                                                               18.


     Suddenly, A WHIR OF SCREECHING AND GROWLING!!! A LARGE
     SHAPE FALLS PAST THE WINDOW!!!!

     As two raccoons hit the ground, fighting then scamper off
     into the dark.

     LEE somehow exhales slowly and calmly a trick that, no
     doubt, took much practice and walks away from the window.


24   EXT. CORNFIELD                                                  24

     The two raccoons round the corner onto a moonlit path
     heading toward camera, just as they come into CLOSE UP.

     A GIANT BLACK CLAW CRUSHES DOWN ONTO THE FIRST RACCOONS
     HEAD and then rips it out of frame. We hold on the second
     raccoon running off with a soft but piercing scream.


25   EXT. FARM - NIGHT                                               25

     It is night. From high above, we look down to the sand path
     between the RED BARN and the WHITE FARMHOUSE. In the
     foreground we see the shadow of a telephone pole. Sitting
     on the wire in silhouette are BIRDS.


26   EXT. SAND PATH - NIGHT                                          26

     FROM THE GROUND, we see the FARMHOUSE in the distance, but
     something is different. The color seems wrong, the angle is
     odd. The foreground is over exposed and tiny dots fly in
     and out of the frame.

     Suddenly, A GIANT FOOTSTEPS INTO FRAME!!!!

     AND THEN ANOTHER as we watch two bare feet then the hem of
     a dress and then the silhouette of EVELYN walk silently
     toward the house.


27   INT. FARMHOUSE - BASEMENT - NIGHT                               27

     WE SLOWLY PULL BACK from THAT SAME SHOT of the FARMHOUSE
     and reveal a plastic frame, a red light buttons. We realize
     this image is being viewed on a small monitor. CCTV FOOTAGE
     from A SECURITY CAMERA.
                                                        19.


WE CONTINUE TO PULL BACK SLOWLY as another monitor comes
into frame with another stacked on top of it then one next
to it and another until we reveal, like something out of a
Dr. Seuss book, a wall of 20 TV’s, all shapes and brands
sit on top of a large workbench covered with open notebooks
and sliced up newspapers.

On each screen we see elements of trees... sand paths...
the barn... the silo. This is a DIY version of a security
console that overlooks the entire farm... and it has taken
a long time to put together.

WE BEGIN TO TRACK past the empty security console and onto
a cinder block wall, covered in notes and newspaper
clippings.

Then WE BARELY HEAR A TINY, ALMOST FAMILIAR, SOUND.

THEN A HANDFUL OF SMALL BEEPING SOUNDS.

Suddenly a portion of one visible newspaper clipping shows
a close up and much more detailed image of the enormous
crater. The headline reads: ‘NUMBER OF CONFIRMED GLOBAL
LANDING SITES GROWS TO 128’ A post-it note sticks to the
clipping that reads: LANDED 10-18-2018 WE PASS BY more
clippings, catching glimpses of dramatic headlines and
surreal images: ‘PRESIDENT CALLS FOR EMERGENCY EVAC IN ALL
MAJOR CITIES’ ‘CHURCHES, MOSQUES, TEMPLES FLOODED WITH
PEOPLE’ WE PASS BY a grainy newspaper photo of a military
stand off with ONE creature. The headline reads: ‘MILITARY
EXPERTS AGREE: “INDESTRUCTIBLE”

AGAIN WE HEAR THAT FAMILIAR SOUND as it gets louder. WE
CONTINUE TO TRAVEL as a MAP enters frame. Like one you
would get at a gas station, it is covered in illustrated
forests and rivers, it is a map of THE STATE OF NEW YORK.
The portion above Manhattan is covered in hand drawn red
circles and pins, each accompanied with a date and names of
the dead. WE MOVE FURTHER ALONG to reveal low quality
stills of security footage barely showing THE CREATURE.
Each still is drawn on and analyzed. Then a large white
board covered in writing comes into frame, leaning against
the wall.
                                                           20.


Amidst the scratches of written and rewritten thoughts, we
can make out two lists labeled, ‘QUESTIONS’ and ‘CONFIRMED’
In the ‘QUESTIONS’ column are listed; ”NO DEMANDS?”, “NO
SIGN OF ORGANIZATION”, “BLIND?” “HOW MANY?” “SOUND?" "WHY
NOT ATTACK ALL SOUND?” In the ‘CONFIRMED’ column are
phrases like; “4-6 CONFIRMED IN PACK”, “DO NOT ATTACK SMALL
SOUNDS”. Then we see the phrase “DO NOT EAT KILL”. WE MOVE
TO the very bottom of the white board where we see the word
“WEAPON???” Listed below words are crossed out
“EXPLOSIVES”, “FIRE”, “CHEMICAL” AGAIN WE HEAR THAT
FAMILIAR SOUND NOW LOUDER.

THEN AGAIN THE HANDFUL OF SMALL BEEPING SOUNDS.

WE MOVE OFF OF THE white board and scan past ANATOMICAL
DRAWINGS of A SHARK SENSING PREY USING MAGNETIC FIELDS,
DOLPHINS NAVIGATING THROUGH MINEFIELDS, THE ELECTROMAGNETIC
SPECTRUM and finally images of THE INNER EAR.

WE NOW MOVE THROUGH meticulously organized shelves covered
in tools and wires and various pieces of salvaged
electronic equipment and finally onto LEE’S BACK.

He is hunched over the workbench working intensely on
something, he is wearing large black headphones.

We see him reach out of frame as we WE PUSH PAST an old
microphone that is connected to AN OLD TRANSATLANTIC HAM
RADIO.

In the glowing light from the box we see all kinds of knobs
and needles. Below a switch labeled with two stickers that
say “RADIO” and “SPEAKER”, LEE’S hand comes into frame and
turns a large knob revealing THE SOURCE OF OUR FAMILIAR
SOUND.

LEE IS SEARCHING FOR A SIGNAL. ANY SIGN. ANY SIGN OF LIFE.

Suddenly, he presses down on a button on the microphone.

THE HANDFUL OF SMALL BEEPING SOUNDS IS MORSE CODE.

THERE IS NO RESPONSE.

WE follow LEE’s hand off of the button and onto a small
soldering iron. As he picks it up: WE GO TO LEE at his
workspace.

With magnifying glasses in front of his eyes, he works with
surgery like precision on a small contraption. A small
string of smoke rises from his work.
                                                                21.


28   INT. FARMHOUSE - BASEMENT - STEPS - NIGHT                        28

     WE ARE OVER the warmly, lit from above, stairwell with LEE
     at his workstation in the background as delicate bare feet
     touch down softly, and deliberately on the steps, like a
     child knowing where to step so they don’t wake their
     parents.

     WE BOOM UP to reveal EVELYN as she stares at her husband,
     who hasn’t heard her, worried? Admiring? Lost?

     A flicker of a memory echoes through her face as she smiles
     and then walks to him EVELYN IS WEARING EARBUDS.

     ON LEE as a hand touches down gently on his shoulder, he
     doesn’t flinch at all. There is immediate recognition
     there.

     Safety. The hands then reach down and remove Lee’s
     headphones. The sound of the searching radio in the
     headphones is nearly inaudible.

     LEE sits back and holds up A HEARING AID. It looks like a
     somewhat common hearing aid, but with handcrafted
     modifications, upgrades. There is a wire extension that
     extends from the top, almost like an adapter or plug.

     The hands gently grab LEE’s face and turn it. LEE looks up
     at EVELYN who he now sees is wearing lipstick, has pulled
     her hair back and has changed into a beautiful dress. This
     is DATE NIGHT. LEE smiles as EVELYN takes a step back and
     with the gentlest of movements, she sweetly beckons him to
     her.

     LEE looks back at his work for just a moment, his face once
     again focused. Then he lays the hearing aid down on the
     table and stands up.

     WE HOLD ON THE HEARING AID and then SLOWLY PULL BACK to
     reveal a pile of more hearing aids, each with a variety of
     different modifications, scattered all around his work
     bench.

     This is something he has been working on for a long while.

     WE TILT UP from the workbench to see LEE arrive at his
     wife’s side as she puts her hand up on his neck and smiles
     up at him warmly, as if there is no where else to be
     nothing to make her happier.

     FACE TO FACE NOW, LEE finally allows a smile, looking down
     at his time tested partner.
                                                                22.


     EVELYN’s eyes close as she places her forehead to his and
     the two begin to gently sway in total silence.

     Suddenly, EVELYN takes LEE’s hands from around her back and
     places them on her protruding belly. After a moment she
     looks up lovingly at her husband to see

     LEE’S SMILE HAS DISAPPEARED. STARING DOWN AT THE BELLY, HIS
     FACE LOOKS LOST.

     Knowing this man inside and out, EVELYN keeps her gaze
     firmly into her husband’s eyes and slowly moves her hands
     up LEE’S arms and gently onto his face. Holding more than
     his visage in her hands, LEE finally looks up at her.

     EVELYN smiles with recognition of the man she married as
     her right hand travels to her right ear. She removes the
     earbud from her ear and seamlessly places it in his, as:
     MUSIC RUSHES IN!

     The only record on the record player, this is the song they
     were married to. This is NEIL YOUNG’S HARVEST MOON,

     Perhaps it’s due to the lack of sound thus far in the movie
     or maybe the marrying image of the two dancing, but the
     sounds of the song are crystal clear. We can perfectly hear
     every chord, every tremor of vocal chord as we PULL BACK on
     this perfect moment through the basement to the small
     rectangular basement window to reveal water hitting the
     glass.


29   EXT. FARMHOUSE - NIGHT                                           29

     We see a strong rain pouring down around the house.


30   EXT. FARM - MORNING                                              30

     A beautiful crisp morning.


31   EXT. FARMHOUSE - SAND PATH - DAY                                 31

     FROM THE PORCH of the farmhouse, as water drips down from
     overhead, WE SLOWLY travel along the sand path toward the
     barn when suddenly we arrive at a small stream of water
     cutting right through a, now washed away, segment of the
     sand path.

     Suddenly LEE’s bare feet enter frame and then a large
     hiking backpack enters frame next to him.
                                                                23.


     ON LEE as we see a momentary glimpse into the painstaking,
     and never ending, workload that goes into maintaining this
     farm.

     CLOSE on hands as LEE’s bare fingers gouge into the
     unforgiving earth at the edge of the sand path to divert
     the water. Stones come into frame to form a temporary wall.
     Then LEE hoists, the very obviously heavy, hiking bag onto
     his knee. He then slowly and silently undoes a handmade
     flap at the bottom of the backpack. From the opening of the
     bag pours SAND.

     Quickly and silently, sand piles up on the ground as we
     witness for the first time, LEE’s ingenious system that has
     kept his family safe all this time.


32   INT. BARN - SAFE ROOM - DAY                                      32

     CLOSE UP OF A GAUGE Very faint bursts of air can be heard.

     WE SLOWLY PULL BACK to reveal EVELYN sitting on a hay bale
     with a blood pressure sleeve on her arm and a stethoscope
     in her ears. Behind her is a shelf full of bandages and IV
     bags.

     She stops pumping the bulb, stares down at the gauge and
     then gently lets the air out and removes the sleeve.

     EVELYN marks her daily blood pressure on a calendar next to
     her. On this calendar we see her estimated due date is 4
     weeks away.

     After a moment, she leans over and places the bottom part
     of the stethoscope onto her belly.

     A faint sound of adjusting and then LUB DUB, LUB DUB, THE
     BABY’S HEARTBEAT ENGULFS US!!!


33   EXT. FARMHOUSE - DAY                                             33

     WE CREEP SLOWLY ALONG the sand path heading toward the
     front door of the FARMHOUSE.

     Suddenly REGAN steps into frame, walking deliberately, as
     if tiptoeing.


34   INT. FARMHOUSE - DAY                                             34
                                                                24.


     REGAN reaches the front door of the FARMHOUSE and stops at
     the threshold. As she looks down at the worn wood floor,
     scanning, we can notice deliberately painted markings on
     the floor.

     Just then, REGAN takes a dramatically long step inside,
     placing her foot down directly on the first colored marking
     silence. Looking almost relieved, REGAN once again scans
     the floor and then focuses on another marking. She takes
     another long step, this time far to her right and touches
     down on the next marking silence. It almost looks like
     she’s playing ‘TWISTER’. Getting more confident, she scans
     the room, finds another spot and steps quickly.


35   INT. FARMHOUSE - BASEMENT STAIRS - DAY                           35

     WE LOOK DIRECTLY up the basement stairs toward the warm
     hallway at the top.

     Suddenly, REGAN takes a long step into frame. Her
     silhouette looks down the dark stairwell.

     After a moment, she slowly puts her foot down on the first
     step when suddenly A DARK FIGURE APPEARS BEHIND HER AND
     GRABS HER!!!!!


36   EXT. FARMHOUSE - DAY                                             36

     CLOSE ON REGAN as she is placed down onto the sand path.

     A HAND COVERS HER MOUTH!

     AS REGAN spins around we see LEE kneeling in front of her.

                       LEE
                  (SIGNING)
             You CANNOT go down there!

                       REGAN
                  (SIGNING)
             WHY NOT???

                       LEE
                  (SIGNING)
             You know why.

                       REGAN
                  (SIGNING)
             I won’t make a sound!!! I’m not a
             child!!!
                                                           25.


LEE pauses that line stings.

                  LEE
             (SIGNING)
        Just--don’t.

The two stare into each other’s eyes communicating more
than any sign language could.

Suddenly LEE reaches up to her face. His still dirty hands
push the hair back over her right ear. It seems so
uncharacteristically warm and gentle when suddenly LEE
reaches into his pocket with his right hand and pulls out
THE HEARING AID from the night before.

                  LEE
             (SIGNING)
        This time, I was able to use small
        amplifiers from the stereo speaker
        to--

                  REGAN
             (SIGNING)
        It won’t work.

                  LEE
             (SIGNING)
        No, our problem has always been
        power, but this should increase the
        frequency to--

                  REGAN
             (SIGNING)
        It never works!!

                   LEE
              (SIGNING)
        ... But we’ll keep trying til it
        does.

REGAN looks up at him blankly as LEE reaches to bring the
new hearing aid up to her ear when suddenly REGAN pushes
his hand away.

LEE reaches up to her ear to try again, REGAN pushes his
hand away again, giving him a cold stare. With so much
history behind it, it’s a bizarrely heartbreaking
altercation.

He tries again, she pushes again, even harder.

LEE looks at his daughter as she looks at him, her venomous
face, betrayed by the large tears that roll down her cheek.
                                                                26.


     After a long moment, REGAN snatches the hearing aid from
     her father’s hand and walks away.


37   INT. BARN - HAY LOFT - DAY                                       37

     ON MARCUS’ back as he scribbles in a notebook. WE GO CLOSE
     to see MARCUS is writing in a math notebook. His pencil
     suddenly pauses, moves up the page through a long math
     problem and stops again. Suddenly a finger comes into frame
     and points at a different part of the problem.

     WE PULL OUT to reveal EVELYN and MARCUS sitting in a small
     curated area with a desk, book shelves and a white board
     covered in various phrases, shapes and equations. We
     suddenly realize EVELYN is HOME SCHOOLING him!

     MARCUS suddenly nods and once again begins writing as
     EVELYN looks out the small door of the hay loft and down to
     the sand path below as LEE arrives. Suddenly...

                       MARCUS
                  (SIGNING)
             ...please don’t make me go...

     EVELYN looks over to see MARCUS’s face awash with panic.

                       EVELYN
                  (SIGNING)
             You will be fine. Your father will
             always protect you.

     MARCUS GRABS HER ARM TIGHT! IT STARTLES HER. With tears in
     his eyes, he mouths to her “PLEASE!”

                       EVELYN
                  (SIGNING)
             Listen to me. It is important that
             you learn these things. He just
             wants you to be able to take care
             of yourself.

     MARCUS looks at her.

                       EVELYN
                  (SIGNING)
             Take care of ME!

     EVELYN lightens the conversation by pretending to age in
     front of our eyes.

                       EVELYN
                  (SIGNING)
                                                                27.


             ... when I’m old and grey...

     EVELYN leans on him. MARCUS can’t help but smile.

                       EVELYN
             and I have no teeth.

     EVELYN pretending to have no teeth is too much for MARCUS
     to hold back his silent laugh.


38   EXT. BARN - DAY                                                  38

     OVER LEE’S large shoulder we barely see MARCUS moving ever
     so slightly in one direction and then another.

     ON LEE, with a large hiking pack on his back. He adjusts
     the straps of a backpack on MARCUS.

                       LEE
                  (SIGNING)
             Too tight?

     MARCUS shakes his head no.

                          LEE
                     (SIGNING)
             Good.

                       MARCUS
                  (SIGNING)
             No, I don’t want to go.

     LEE looks up at EVELYN. Then back to MARCUS.

                       LEE
                  (SIGNING)
             There’s nothing to be scared of.

                       MARCUS
                  (SIGNING)
             Of course there is.

     Suddenly behind LEE we see REGAN appear.

                       REGAN
                  (SIGNING)
             I’ll go.

     LEE looks over at his daughter and pauses.

                         LEE
                                                                28.


                  (SIGNING)
             No, no. I need you to stay here and
             help your mother.

     LEE stands up. To EVELYN:

                       LEE
                  (SIGNING)
             We’ll be back before dinner.

                       REGAN
                  (SIGNING)
             I want to go.

                       LEE
                  (SIGNING)
             Just stay here. You’ll be safe.

     LEE turns to EVELYN who looks at him with slight
     disappointment.

                       LEE
                  (SIGNING)
             Next time.

     LEE pauses and then kisses EVELYN. LEE and MARCUS walk down
     a sand path toward the woods.

     EVELYN turns to REGAN who is already walking away.


39   INT. BARN - REGAN’S ROOM - DAY                                   39

     REGAN enters and throws the hearing aid her father made her
     onto the dirt floor. This is the first time we have seen
     her bedroom. It is sparse. A hay bale covered in bed
     sheets, a

     small crate with a neat pile of books inside and several
     candles on top, a small wooden mirror leant against the
     wall.

     REGAN drops to her knees. On the ground we now see all
     kinds of electronic equipment and tools.

     Architectural drawings are pinned to the wall. It is like a
     mini version of her father’s work bench.

     REGAN grabs her pillow, rips the pillow case off and begins
     furiously packing.
                                                                29.


     She grabs clothes, a water bottle, a notepad and the THE
     TOY SHUTTLE. She gets up to leave and then looks back at
     the hearing aid on the ground.

     CLOSE ON REGAN’s PROFILE as her hand comes into frame and
     moves to the hearing aid she currently wears. Suddenly, a
     long wire is slowly pulled from deep in her ear canal.

     REGAN’s eyes wince with almost a snap of pressure as the
     wire comes loose.

     REGAN then gently feeds the new hearing aid into her ear
     and pauses.

     Suddenly REGAN clicks on the new hearing aid.

     Nothing.

     WE WATCH the thin veil of anger on REGAN’s face cascade
     into honest sorrow as REGAN’s eyes squeeze shut brutal
     disappointment.

     WE PULL OUT to see REGAN sitting quietly on the floor. The
     quake of her shoulders betray her as we watch her cry.

     After a moment, she reaches for a pillow case and exits.


40   EXT. WOODS - VALLEY PATHWAY - DAY                                40

     FROM A DISTANCE LEE leads MARCUS down a thin sand path that
     cuts down the steep valley side and through the lush and
     learned evergreens of the mountain’s canopy.

     MARCUS walks rigid, like one would in the dark. His saucer
     eyes furtively clock every detail of his surroundings. LEE
     walks casually and confidently, periodically turning to
     wait patiently for his son. This is a day of teaching.

     ON MARCUS as LEE puts a hand quickly, but gently on his
     son’s chest, stopping him in his tracks. LEE focuses down
     the path.

     OFF MARCUS’s quaking face peering around his father:

     WE TOO MOVE around from behind LEE to see a DEER sitting in
     the middle of the sand path. An adolescent buck, it holds
     it’s impressive, but still delicate antlers upright and
     proud as it stares directly at LEE and MARCUS.

     An image obviously long thought impossible, the moment
     carries a certain calm, almost spiritual.
                                                                30.


     After a long moment, the buck efforts its way to its feet.

     Then turns and deftly steps perfectly along the sand path
     and disappears.


41   EXT. FARMHOUSE - DAY                                             41

     CLOSE ON the roof of the farmhouse. Water from the previous
     night’s storm still drips off the edge.

     WE SLOWLY TRAVEL down the drainpipe running along the side
     of the house when suddenly the drain stops and we see PVC
     pipe has been attached instead.

     WE CONTINUE along the PVC piping to the bottom where we see
     THE PVC PIPE bend AND GO STRAIGHT THROUGH A SHATTERED PANE
     OF THE BASEMENT WINDOW.


42   INT. FARMHOUSE - BASEMENT - DAY                                  42

     FROM INSIDE THE SHATTERED PANE, we now follow the PVC pipe
     into an old washing machine now filled with rain water.

     Suddenly a piece of clothing slowly comes into frame and
     silently descends into the water.

     WE WIDEN OUT TO SEE EVELYN places more clothes into a
     WASHER that is unplugged. We see that she is simply using
     the corrugated tumbler inside as a washboard.

     She removes a large plaid shirt just above the water line
     (still inside the tumbler) and squeezes it dry. The action
     is virtually inaudible.

     CLOSE UP on a small pile of clothes being stacked onto
     other clothes. Then a CINCH.

     EVELYN stands up over the newly packed cloth laundry bag
     then bends backward, attempting to relieve a pain in her
     back.

     When she’s done, she picks up the full laundry bag with one
     hand and another full laundry bag with the other.

     EVELYN struggles to the foot of the stairs with the two
     bags and puts them down. She then takes a deep breath looks
     up the stairwell and begins to ascend again carefully
     placing her
                                                                31.


     feet on specific spots on each step. Holding one bag as
     high as she can and dragging the second behind her. It’s
     uncomfortable watching a fully pregnant woman traverse in
     this manner.

     WE GO CLOSE ON several stairs as EVELYN’S feet step up and
     drag the bag up the first step then the second.

     Her feet disappear. As she drags the bag up onto the third
     IT CATCHES ON A BENT NAIL IN THE STAIR!!

     ON EVELYN, not seeing the cause, pulls again AND BEGINS TO
     FALL!!!!!!

     She catches herself on the wall, her eyes lit up breathing
     heavily, she’s ok!

     She quietly picks up the bags again and pulls once more.

     CLOSE UP ON: THE TIP OF A NAIL IN THE STEP LIFTING OFF THE
     STEP, ALMOST STRAIGHT UP AND THEN RELEASING THE BAG.

     ON EVELYN, satisfied, as she drags the bags to the top of
     the stairs and disappears.

     WE RACK FOCUS to reveal, in the foreground THE NAIL
     STANDING STRAIGHT UP!!!


43   EXT. FARM - DRIVEWAY - LATE AFTERNOON                            43

     CLOSE ON BARE FEET walking along a sand path.

     WE BOOM UP TO REVEAL REGAN walking with purpose. In her
     hands she carries a pillowcase. Inside the pillowcase an
     irregular shape.

     After a moment, she looks up to the telephone pole. Sitting
     on the power line are MORE BIRDS. There is something
     buoyant about them. Something oblivious.


44   EXT. RIVER - LATE AFTERNOON                                      44

     An immediate and jarring sound of water rushes in as we
     are: TIGHT ON MOVING WATER over rocks.

     [NOTE: THE SOUND WILL CONTINUE THROUGHOUT THE ENTIRETY OF
     THIS SCENE]

     WE TILT UP to the tall grass of a riverbed. Suddenly LEE
     and MARCUS exit from the trees.
                                                         32.


ON MARCUS as he takes in the picturesque landscape. He has
never been here before. Suddenly, his eyes slowly move down
to the ground.

CLOSE ON HIS BARE FEET at the very edge of the sand path.

There is nowhere else to go.

MARCUS watches as LEE takes off his backpack and places it
at the edge of the river. Then, he kneels down and looks
intently into the water. Suddenly, LEE’s face softens. He
takes one more look back at his son and then plunges his
hands into the river.

MARCUS looks on confused as his father seems to yank and
pull at something. Suddenly, LEE’s hands burst out of the
water holding a handmade wooden contraption. MARCUS starts
to back away pulling that contraption out of the water
DEFINITELY MADE A SOUND!!! MARCUS’ eyes shoot around into
the trees, up the river, looking, listening when suddenly
LEE PULLS OUT A LARGE TROUT FROM THE TRAP. THE FISH
THRASHES WILDLY AND THEN IT BREAKS FREE FROM LEE’S HAND! IT
DROPS DOWN ONTO LEE’S BAG FLAPPING AND THRASHING AND MAKING
NOISE!!!!

MARCUS goes white! WHAT HAS HIS FATHER DONE???? MARCUS
signs.

                  MARCUS
             (SIGNING)
        They’re going to hear you. They’re
        going to HEAR YOU!!

In one swift move, LEE pins the trout to the ground and
grabs his son, pulling him in close. LEE silently calms his
son down, coaxing him to take deep breaths. As MARCUS
trembles LEE raises his hand and signs.

                  LEE
             (SIGNING)
        Not, if there is a constant sound
        nearby that is louder.

MARCUS doesn’t understand. LEE shows him. First, he reaches
down to the ground and places his hand off the path moving
the dirt slightly. He repeats.

                  LEE
             (SIGNING)
        Small sounds safe.

LEE’s hand moves back to the trout. Repeats.
                                                                33.


                       LEE
                  (SIGNING)
             Big sounds not. Unless...

     LEE’s hands move to the moving water of the river. Repeats.

                       LEE
                  (SIGNING)
             There is a constant sound nearby
             that is louder to mask it.

     Suddenly the trout flaps again. MARCUS looks down then up
     to his dad. His brain processing.

                       LEE
                  (SIGNING)
             You know what?

     LEE checks his watch, then looks up river, then back to his
     son.

                       LEE
                  (SIGNING)
             I want to show you something.


45   EXT. FARMHOUSE - LATE AFTERNOON                                  45

     Disoriented, WE MOVE THROUGH a wall of dancing color. Then
     suddenly we see EVELYN, as she holds up a piece of clothing
     and pins it to a clothes line. The scene is oddly
     beautiful.

     As the clothes on the line dance, we can suddenly see,
     behind EVELYN AN OLD FALLEN TREE THROUGH THE BACKSIDE OF
     THE HOUSE.


46   INT. FARMHOUSE - UPSTAIRS HALL - LATE AFTERNOON                  46

     WE TRACK SLOWLY along through the bannister of the upstairs
     hallway when suddenly EVELYN’S head appears. WE CONTINUE
     with her as she slowly walks up the stairs almost as if
     compelled.

     As she ascends, looking right past camera, we get a clear
     look into the bedrooms behind her. In one room, we catch
     glimpses of a POP MUSIC POSTER, a PINK DESK and an empty
     bed frame. In the next, we see a Nerf basketball hoop, a
     life sized Pokemon doll and half built LEGOs strewn across
     the floor. Neither room has doors.
                                                                34.


     EVELYN finally crests the top of the stairs and walks out
     of frame.


47   INT. WATERFALL - LATE AFTERNOON                                  47

     A bizarre and beautiful image and sound! Light dances and
     bends through a cascading rampart we finally identify as A
     WATERFALL.

     WE PAN OVER to see LEE and MARCUS enter from outside and
     slide along the rock wall.

     MARCUS looks up to his father, incredulous. LEE looks down
     at him. After a moment, with a mischievous smile on his
     face, LEE HOOTS LOUDLY!!!

     THIS IS THE FIRST VOCALIZED SOUND WE WILL HAVE HEARD IN THE
     MOVIE!!!!

     MARCUS’ eyes shoot up to his father, immediately scared
     again!

     His father looks out at the waterfall and HOOTS AGAIN!!!
     The way one would walking in a tunnel with their child.

     LEE turns to MARCUS and crouches down, gently holding his
     trembling son’s shoulders.

                       LEE
             You’re alright.

     THESE ARE THE FIRST WORDS WE HAVE HEARD IN THE MOVIE AND
     THE FIRST WORDS MARCUS HAS HEARD IN 4 YEARS!!!!

     WE ARE ON MARCUS’ face staring, shaking, somewhere between
     terror and wonderment.

                       LEE
             I promise.

     His father smiles and nods comfortingly.

     Finally MARCUS meekly HOOTS!

     His father’s head gently tilts, as if to say “you can do
     better”.

     MARCUS looks back out the rushing water, then back to his
     father and HOOTS LOUDLY!!!

                       LEE
                                                                35.


             Now, that’s more like it.

     The smile on MARCUS and LEE’s face can only be described as
     once in a lifetime.


48   EXT. ROAD - LATE AFTERNOON                                       48

     WE MOVE SLOWLY ALONG A ROAD, PANNING DOWN from gargantuan
     trees until we finally reveal REGAN walking towards camera.

     Suddenly coming into frame all around her is THE BRIDGE.

     WE FOLLOW REGAN as she walks across the bridge, now more
     overgrown with weeds and roots. Then suddenly REGAN comes
     to a stop and kneels down in sand as WE CONTINUE TO MOVE
     BACK SLOWLY.

     Suddenly coming into frame is the top of A HAND MADE
     CROSS!!!

     REGAN reaches into her pillow case and pulls ou THE TOY
     SHUTTLE.

     WE FOLLOW REGAN’S HANDS as she deftly removes one of the
     colored plastic pieces underneath. It quietly slides off to
     reveal a battery panel and several multi colored wires. She
     reaches into the front pocket of her dress and pulls out
     pliers and quickly cuts the green wire.

     REGAN reaches into the pocket of her dress again and pulls
     out batteries! She slides the batteries in confidently.

     We follow REGAN’s hands as they move to the base of the
     cross and place the TOY SHUTTLE in the sand. We now see
     that the shuttle sits amongst a pile of other weathered
     toys and flowers.

     REGAN PAUSES and then flips the tiny switch.

     RED AND BLUE LIGHTS CASCADE OVER HER FACE

     But no sound.


49   INT. FARMHOUSE - BEDROOM - LATE AFTERNOON                        49

     WE ARE TIGHT on EVELYN’s back as she walks through another
     door-less threshold. As she continues into the room, we
     begin to see the walls covered in rocket ships.
                                                               36.


     OVER EVELYN as her eyes stop on a cartoon mobile of the
     planets. She taps it exactly as she tapped the mobile in
     the baby’s room. This time watching it orbit around without
     a smile.

     WIDE ON THE ROOM for the first time we see THE ROOM IS
     METICULOUS. The bed is made, the toys perfectly placed on
     the shelves.

     CLOSE ON THE BED AS EVELYN SITS DOWN SLOWLY. Light floods
     through the original paned window, casting the shadow of a
     cross on the floor in front of her.

     EVELYN looks over to the small night stand by the bed where
     a lamp and a hand made mirror sit.

     Suddenly, she lifts up the mirror and dusts the table with
     the washcloth from the line.

     EVELYN stares out the window oddly at peace. As LEE has his
     ritual atop the silo to contemplate on the irreversible
     loss of his son EVELYN has this. EVELYN keeps her son’s
     spirit alive.


50   INT. WATERFALL - LATE AFTERNOON                                 50

     CLOSE ON a water bladder poking into the rushing wall of
     water. Filling immediately, we PULL BACK and FOLLOW LEE as
     he sits down on a rock next to his son and hands him the
     bladder.

     MARCUS drinks as LEE looks on a brightness washing over
     him.

     This is a moment of calm. A moment of family. A moment of
     real life.

     WE FOLLOW the bladder as MARCUS hands it up to his father,
     who happily takes a large swig. Suddenly we HEAR:

                       MARCUS (O.S.)
             Why didn’t you let her come with
             us?

     LEE looks down at his son.

                       LEE (O.S.)
             Because, I need to keep her safe.

                       MARCUS (O.S.)
             Is it because you blame her for
             what happened?
                                                               37.


     LEE freezes instantly, his heart stops.

     Finally he looks down at his son, in shock, in awe.

                        MARCUS
              Because she blames herself.

     LEE’s eyes blink and flutter as he tries to gain control of
     his thoughts.

                        LEE
              No, I don’t bl--It was no one’s
              fault.

                        MARCUS
              You still love her, right?

                        LEE
              Of-- Of course I do.

     Pause.

                        MARCUS
              You should tell her.


51   INT. FARMHOUSE - BEDROOM - LATE AFTERNOON                       51

     CLOSE ON EVELYN IN THE HAND MADE MIRROR, as she stares at
     the frame made up of colorful zoo animals staring back at
     her. At the top of the mirror, the name “BEAU”

     FROM THE DOORWAY, WE ARE WIDE ON THE ROOM as EVELYN stands
     up and slowly makes her way to the door carrying the small
     mirror.

     Just as she reaches the doorway, she stops. Her body
     tightens. Her face changes. Her hand shakes as it reaches
     out to the side of the doorway. WE HOLD ON HER a moment and
     then go CLOSE ON her feet rocking slightly in the doorway.

     Suddenly FLUID HITS THE FLOORBOARDS!!!!


52   EXT. WOODS - LATE AFTERNOON                                     52

     LEE and MARCUS appear through an oddly beautiful exit from
     the woods and begin walking along a path.

     PROFILE on LEE as we see the tall thin trees of a swamp
     behind him.
                                                          38.


PROFILE ON MARCUS from the opposite side as swamp trees are
also behind him. Suddenly A DILAPIDATED house comes into
frame. MARCUS turns to look.

MARCUS’ POV of the eery house that stands as a reminder
that people once lived here happily.

CLOSE ON MARCUS looking up on the house. His face now
fearful. Suddenly, behind MARCUS, just out of focus in the
short distance A DARK SHADOW!!!

No sooner has the FIGURE exited frame, MARCUS CRASHES INTO
HIS FATHER WHO IS STANDING COMPLETELY STILL.

MARCUS looks up at his father who stares off sharply into
the short distance OVER MARCUS as he slowly leans around
his father to see what he’s looking at, when suddenly we
see A TERRIFYING MAN AT THE EDGE OF THE SWAMP!!!

A human form unlike anything most of us ever will or should
get to see, the man’s emaciated body quakes and then
shudders as if a synapses misfire. His face is sunken,
almost ghoulish

and the look in his pitch black eyes communicates something
far beyond fearful. Much worse, this is the rare look of a
brain that has accepted a living nightmares as an everyday
reality.

ON MARCUS as he slowly raises his hand into a wave.

ON THE MAN who doesn’t move.

ON LEE as his eyes travel slowly down the man’s frame.

ON LEE’S PERSPECTIVE as we see the man’s dirt covered face,
then a ratty and ripped flannel shirt, and then blood
covered hands, blood covered jeans and finally at his feet,
in the high grass LONG HAIR AND A HAND OF A DEAD WOMAN.

ON LEE as his eyes slowly come back up to meet the man’s.
LEE now also raises his hand and places a tense finger on
his lips.

ON THE MAN as two large tears run down his face. In his
eyes, the knowing fear of the end of his life as he takes a
deep breath in.

LEE immediately grabs MARCUS.

TIGHT ON LEE sprinting down the path carrying his son. OVER
HIS SHOULDER, the man in the background:
                                                               39.


     LETS OUT A PRIMAL SCREAM!!!!!!

     A bottomless sound of pain and surrender, the sound blasts
     onto us like a wave.

     LEE suddenly dives behind a hollowed out tree trunk and
     throws MARCUS’ back up against it.

     ON MARCUS as his father clasps his hand over his mouth.

     MARCUS’ eyes widen as overwhelming panic takes over.

     ON LEE as he looks down at his son with the most beautiful
     sense of calm. The way one holds the hand of someone in
     their last seconds on earth, LEE’s smile is pure comfort,
     pure love.

     Suddenly we hear THE FAMILIAR TERRIFYING SCREEEEEEEECH!

     ON MARCUS, who begins violently shaking his head, his soul
     seemingly coming out through his skin. Then suddenly we
     hear THE SNAPPING OF TREES!

     ON LEE as his look now shoots to the tree line behind the
     man when suddenly WE HEAR the man’s primal scream of pain
     turn into an animal sound of death.

     BACK ON MARCUS as he covers his ears. Through the muffle of
     MARCUS’ covered ears we can still hear the most horrific
     sounds of ultimate pain, crunching, and then a deafening
     POP!!!!

     SILENCE

     MARCUS’ eyes almost seem to dim right before us as he goes
     limp.


53   INT. FARMHOUSE - UPSTAIRS HALL - LATE AFTERNOON                 53

     FROM THE FLOOR we follow drops of fluid down the hall,
     leading to EVELYN gripping onto the railing with both hands
     as she slowly traverses the stairs going down, focusing
     intently on each step.

     ON EVELYN’s face as she takes slow, deep breaths. Her eyes
     surging with panic and pain.

     IT’S 4 WEEKS TOO SOON!

     Suddenly EVELYN’s eyes go wide.
                                                                40.


     CONTRACTION!!!

     CLOSE ON EVELYN’S BELLY as she slowly sinks down into the
     steps and INTO A CLOSE UP.

     In EVELYN’s face we will witness, many of us for the first
     time, the complex and overwhelming sensory overload that is
     a contraction all swallowed back with every fiber of her
     being in order to remain silent.

     Just at the moment it looks as though EVELYN may explode,
     the contraction subsides.

     WE ARE ON EVELYN’s BACK as she struggles up onto her feet
     and down the remaining stairs. As she rounds the banister
     and out of frame WE HOLD ON THE FRONT HALL.

     Out the front door and onto the sand path warmly lit white
     from the Christmas lights above.


54   INT. FARMHOUSE - BASEMENT - LATE AFTERNOON                       54

     WE ARE LOW looking up the basement stairs as suddenly
     EVELYN appears in the narrow doorway and grabs hold of the
     wall, still carrying the children’s mirror. She takes a
     moment and then begins to descend the exposed stairs with
     the same deliberate effort.

     COMING TOWARDS CAMERA, EVELYN gets bigger and bigger in the
     frame until her head disappears, then her belly.

     Just as her foot comes down into close up we:

     RACK FOCUS to THE NAIL STANDING STRAIGHT UP!!!!

     EVELYN’s footsteps STRAIGHT DOWN ON IT!!!!!

     WE WATCH THE NAIL PIERCE INTO THE BOTTOM OF HER FOOT and
     then ERUPT THROUGH THE OTHER SIDE!!!!!!!!

     THE SOUND CUTS OUT as we go:

     CLOSE ON EVELYN as the shock and searing pain collides in
     her brain behind her eyes. Then

     CLOSE ON THE MIRROR as it SILENTLY CRASHES DOWN THE STAIRS
     then rattles around in a circle before coming to a
     standstill.

     SOUND COMES RUSHING BACK IN ON EVELYN as full blown fear
     washes over her. That sound was most definitely HEARD. She
     looks down.
                                                                41.


     CLOSE ON EVELYN’s FOOT as she SLIDES THE FOOT SLOWLY UP THE
     NAIL and POPS IT FREE. Blood immediately begins to drip
     from the wound.

     EVELYN rushes down the remaining stairs, wincing with every
     other step.

     WE FOLLOW ON EVELYN’s BACK as she hurriedly shuffles
     through this basement that once felt familiar in the
     romantic glow of their slow dance, but now feels stark and
     desperately lonely.

     Finally, EVELYN arrives at LEE’s security console. She
     desperately pushes past stacks of notebooks and files,
     boxes of various electrical equipment like cellphones,
     cassette players and EGG TIMERS that have been pillaged for
     parts.

     EVELYN finally moves THE BOX OF HEARING AIDS to reveal that
     there on the wall is a large, handmade switch.

     EVELYN grabs the knob at the top and thrusts it down.


55   EXT. FARM - LATE AFTERNOON                                       55

     Suddenly, flickering to life against the dusk colored sky
     LINES OF RED CHRISTMAS LIGHTS!!!

     Like the white lights before, the power grid like system
     illuminates the farm in bright RED!!!


56   EXT. ROAD - LATE AFTERNOON                                       56

     REGAN lies in the sand next to the cross. Behind her we see
     RED LIGHTS THROUGH THE TREES!

     REGAN doesn’t see them.


57   INT. FARMHOUSE - BASEMENT - LATE AFTERNOON                       57

     ON EVELYN, leaning on LEE’s console. Her eyes closed, she
     takes slow, deep breathes, as if to convince herself that
     it will all be OK now. The signal has been sent.

     For a brief moment a smile as she then opens her eyes and
     moves back to the stairs.

     As she clutches the support beam and goes to take her first
     step up A LARGE SHADOW FLASHES PAST THE DOORWAY!!!!!
                                                                42.


     EVELYN spins back away from the stairs in terror.


58   EXT. WOODS - VALLEY PATHWAY - DUSK                               58

     As sky begins to settle into dusk above the towering trees
     LEE enters carrying a limp MARCUS.

     He trudges up the sand path, looking down at MARCUS.

     MARCUS’ eyes are open, but he is not present.

     ON LEE’S BACK NOW, as he and his son crest the hill.

     WE BOOM UP to see the dark horizon line of sky, give way to
     the top of the silo and then the fire red ground
     illuminated by Christmas lights.

     ON LEE as we see his face register exactly what this means.

     He breaks into a full sprint.


59   INT. FARMHOUSE - BASEMENT - DUSK                                 59

     CLOSE ON one of the basement windows as red light pours
     through.

     WE PULL BACK SLOWLY as:

     EVELYN’s HANDS enter frame. She desperately pushes on the
     window nothing.

     EVELYN roams around the basement like a caged animal
     searching for any way out.

     She moves back to LEE’s security console, scanning the
     desk, think, THINK!

     Suddenly her eyes fall upon the box of small electronics
     she just moved to get to the switch.

     Suddenly we hear A SCRATCHING OF CLAWS ON A WALL AND A
     CRASH OF GLASS FROM ABOVE HER!!!!

     EVELYN freezes with fear. Then...

     THE HORRIFIC SCREEEEEEEEECH CAN BE HEARD!

     EVELYN closes her eyes as the same sound that preempted her
     son’s death washes over her.
                                                                43.


     Then, her eyes shoot open in pain CONTRACTION!!!

     Larger than the second one, this one brings EVELYN to her
     knees, her head dips to the ground as she grimaces in
     intense pain.

     CLOSE ON EVELYN as her head suddenly shoots back up... The
     red light pouring in from the basement windows cuts a line
     across her face revealing her exploding eyes trying to
     swallow the pain. Tears begin to fall, she is unable to
     breath.

     Then suddenly air slowly escapes as she exhales the
     contraction has passed. After a moment of realization,
     disbelief, she stands up and out of frame.

     WE HOLD and then slowly pan down to a small pool of blood
     on the floor.


60   INT. FARMHOUSE - DUSK                                            60

     NOW LOOKING DOWN THE STAIRS from the doorway in the first
     floor hallway we see EVELYN rush through frame past the
     stairs.

     WE CAN BARELY MAKE OUT A NONDESCRIPT SOUND.


61   INT. FARMHOUSE - BASEMENT - DUSK                                 61

     ON EVELYN as she quickly slides in behind a large boiler.
     We can see the basement stairs in the background.

     EVELYN squeezes her eyes shut and begins murmuring to
     herself THE NONDESCRIPT SOUND IS SLIGHTLY LOUDER A TICKING.

     And then EVELYN’s eyes shoot open.

     What now?

     Suddenly CONTRACTION!!!!

     We are on EVELYN’S face as she endures this immeasurable
     pain in this unthinkable moment.

     Then we hear.

     TICK SCRAAAAAPE TICK SCRAAAAAPE

     Whatever IT is it’s coming DOWN THE STAIRS.
                                                           44.


TICK SCRAAAAAPE TICK SCRAAAAAPE

EVELYN crushes herself even tighter against the wall behind
the boiler closing her eyes and exhaling in pure, painful,
silence as the contraction subsides.

Suddenly we hear...

SILENCE.

EVELYN turns and peers through the water tanks.

IN EVELYN’S POV as she scans the room through the sliver of
a view then suddenly we can barely make out more than a
SLIVER of a creature’s shoulder or back from in between the
tanks.

WE CAN SEE THAT IT IS COVERED IN SMALL ARMOR LIKE PLATES!

Suddenly...

The small plates on the creature’s shoulder BEGIN TO LIFT
UP??!! Like the pieces on a colander, or an old satellite
dish, the small plates open up with the crackle and pull of
anatomical goo underneath. Then all of the sudden, the
plates BEGIN TO ROTATE! Like directional microphones, the
plates begin searching the room FOR SOUND!

From behind the tanks, EVELYN watches as the creature’s
plates turn toward the wall of monitors. Suddenly, each of
the screens begins to flicker!!! Then the picture goes
completely dark!

EVELYN then suddenly rolls her back against the tanks to
look from one side of the room to the other.

Suddenly we now can identify the NONDESCRIPT SOUND FROM
EARLIER as TICKING.

Then, sitting on a shelf on the wall opposite the console,
we see AN EGG TIMER!!!

WE CONTINUE TO PUSH IN, THE TICKING SOUND NOW MUCH LOUDER,
when finally, just as we land CLOSE UP on the egg timer
RIIIIIIIIIIIIIIIIIIING!!!!!!!!!!!

THE CREATURE SCREEEEEEEEEEEECHES!!!!

AND ATTACKS THE SOUND!!!!!!!

EVELYN opens her eyes.
                                                                45.


     That’s it! Her plan worked! EVELYN thrusts herself away
     from the tanks!!

     WE TRACK WITH HER as she moves as quickly as she can to the
     exposed stairs and begins to climb.


62   INT. FRONT HALL - DUSK                                           62

     FROM THE KITCHEN WE LOOK THROUGH THE HALLWAY ONTO THE FRONT

     DOOR. Suddenly, EVELYN bursts out of the doorway from the
     basement.

     WE FOLLOW ON HER BACK as she maneuvers her feet desperately
     from PAINTED SPOT to PAINTED SPOT down the hall to the
     front door and to freedom!

     She grabs the stair post for support as she crosses through
     the front hall, only steps from the door when, OVER HER
     SHOULDER we barely see A DARK SHADOW WALKING UP THE SAND
     PATH!!!

     EVELYN immediately spins around into CLOSE UP as we now
     LEAD HER as she rushes up the main stairs.

     At the top of the stairs, WE TILT DOWN as she reaches to
     the floor and picks up the thick blankets covering the
     landing.

     Behind her THE FRONT HALL LIGHTS BEGIN TO BRIGHTEN!


63   EXT. BARN - DUSK                                                 63

     WE HOLD ON the side of the barn as LEE enters with MARCUS
     and places him on the ground.

     WE FOLLOW LEE as he slowly cranes his neck to look around
     the barn. There, beautifully lit in RED is the sand path
     leading to the farmhouse. LEE’s eyes travel down the path
     and up the stairs and ONTO A LARGE DARK SHADOW NOW IN THE
     FRONT HALL!!!

     LEE snaps his back against the wall, his eyes darting with
     fear as he thinks, thinks. Finally he turns to his son who
     stands looking at him blankly.

     LEE immediately digs into his backpack and pulls out A
     FLASHLIGHT!

     LEE places the flashlight in MARCUS’s hands. MARCUS looks
     up to him with familiar panic in his eyes.
                                                                46.


     LEE then slides closer to his son and gently places his
     hands on MARCUS shoulders.

     Suddenly, LEE places his left hand straight up against his
     chest, crosses the fingers of his right hand, brings the
     two together and shoots his right hand into the sky.

     This is the same exact sign his four year old son made in
     the general store at the beginning of the movie. This means
     ROCKET.

     MARCUS shakes his head no.

     LEE gently places his hands on MARCUS face and looks
     directly in his eyes. No doubt informed by the heart
     opening day they’ve had. It is a beautiful moment of
     strength as LEE communicates so much to his son.

     First and foremost, there is understanding and even an
     apology for the situation they are in. But then the look
     turns to imploring.

                       LEE
                  (SIGNING)
             Your mother needs help. I need you
             to do this for her.

     MARCUS looks to his dad, his eyes change.

                       LEE
                  (SIGNING)
             Please.

     And with that MARCUS is gone.

     ON LEE as he watches his son run down the side of the barn
     and disappear around the corner. He takes a deep breath.
     God protect his son. God protect all of them.

     LEE turns and runs around the barn.


64   INT. FARMHOUSE - UPSTAIRS BATHROOM - DUSK                        64

     FROM ABOVE we see EVELYN enter the room carrying the thick
     blankets from the stairs and turns on the bathroom light
     spots of blood smear on the floor.

     ON EVELYN as she slowly gets into the bathtub. Tears fall
     down her face as she reaches over the wall of the tub and
     starts stacking the blankets from her knees to her chest.

     As she folds the last blanket over herself CONTRACTION!!!
                                                               47.


     This time her eyes go wide with the electric shock like
     pain.

     This is the big one. THIS IS HAPPENING!

     Suddenly we hear TICK SCRAAAAAPE TICK SCRAAAAAPE Whatever
     IT is it’s trying to climb the stairs.

     TIGHT ON EVELYN’s hand as it jerks and grips till it turns
     white from force.

     FROM ABOVE, we see EVELYN in extreme pain, but somehow
     keeping it all in.

     Suddenly a small stream of blood begins to trickle by her
     exposed feet.


65   INT. BARN - LEE’S BEDROOM - STALL - DUSK                        65

     LEE rushes into his room and reaches under his mattress and
     pulls out A SHOT GUN!

     Not the first choice, when trying not to make noise, but he
     has no other choice.


66   EXT. FARM - CORNFIELD - DUSK                                    66

     MARCUS walks down a thin sand path, suddenly stops and
     looks up to a HUGE OVERARCHING FIGURE ABOVE HIM!

     It is a watering device found in cornfields that tower high
     above the corn and roll slowly through the fields on giant
     wheels.


67   INT. FARMHOUSE - UPSTAIRS BATHROOM - DUSK                       67

     ON THE BATHTUB. All that can be seen are EVELYN’s eyes as
     she peers over the bathtub wall. Through the door and to
     the steps. Suddenly we hear again

     TICK SCRAAAAAPE TICK SCRAAAAAPE

     Just then, the light bulb above EVELYN begins to DIM!!!

     QUICKLY BACK ON EVELYN as she begins to cry, preparing for
     the end. And then CONTRACTION!!!!

     FROM ABOVE as EVELYN’s face shoots to the sky with no
     affect.
                                                                48.


     Her eyes wide, the rest of her face is calm.

     Then we see blood and fluid now pool around her feet as the
     light above her goes out.

     From only the light from the window we see EVELYN’s face
     finally crack in pain. Her mouth opens releasing the most
     guttural and now two person SCREEEEEEEAM!

     BUT, right at that moment, the screams of mother and baby
     are drowned out by a thundering.

     BOOOOOOOOOOOOOOOOOOM!!!!


68   EXT. FARMHOUSE - SAND PATH - NIGHT                               68

     WE TRACK WITH LEE as he sprints down the sand path holding
     the shotgun like a civil war soldier rushing into battle as
     ENORMOUS BLOOMS OF FIREWORKS BURST BEHIND HIM!!!!

     Red, green, white, large plumes, small sparkles falling
     down.

     In the midst of this unthinkable nightmare, it’s gorgeous.


69   EXT. ROAD - NIGHT                                                69

     Huge bursts of fireworks light up through the tops of the
     towering trees REGAN, sits up abruptly into the fireworks’
     silhouette.

     CLOSE ON REGAN as the colors illuminate on her face.


70   INT. FARMHOUSE - FRONT HALL - NIGHT                              70

     FROM THE DINING ROOM, we look into the front hall in the
     background.

     SUDDENLY, FROM THE DOORWAY THE MUZZLE OF A GUN POKES
     THROUGH.

     THEN MOMENTS LATER, LEE WALKS IN STEALTHILY. MOVING THE GUN
     EXACTLY WHERE HIS EYES POINT. HE CLEARS THE ROOM.

     ON LEE’S BACK as we look down the gun barrel. He looks to
     the dining room. He looks to the living room. He looks to
     the

     STAIRS!!!
                                                             49.


     LEE’S POV as he walks up the stairs. On each stair drops of
     blood. To the left, along the wall, the wallpaper has been
     intermittently RIPPED IN THREE EQUIDISTANT MEANDERING
     LINES.


71   INT. FARMHOUSE - UPSTAIRS HALLWAY - NIGHT                     71

     THROUGH A DOORWAY into the now exposed wood floor landing
     with the bannister outlining the upstairs hall.

     Suddenly, the top of LEE’s head enters frame, just as the
     creature’s had only moments before. Then his gun, facing
     into the bedrooms to the side. LEE moves the gun
     confidently in all directions, making sure the upstairs is
     clear.

     As LEE’s gaze comes around to face directly at us, his gun
     lowers and WE SLOWLY PULL BACK INTO THE ROOM TO REVEAL the
     bloodstained edge of the BATHTUB.

     ON LEE’s BACK as he rushes to the tub to find, just blood
     in an empty bathtub.

     LEE turns into his own CLOSE UP PROFILE as his back slides
     down the bathtub and onto the floor. His hand releases the
     gun to the floor. His eyes close and he begins to softly
     weep.

     A mirror behind LEE reflects the room back to him,
     revealing for the first time, a beveled glass shower door
     at the opposite end of the room. Suddenly A BLOODY HAND
     HITS THE GLASS!!!! And the shower door slowly opens!!!

     OVER LEE as he scrambles to the shower and opens the door!

     Stuffed inside is a quivering pile of blankets.

     LEE drops to his knees and pulls back the blankets to see
     his wife. Pale, with eyes closed, she’s breathing. And in
     her arms a sleeping newborn baby.


72   EXT. CORNFIELD - NIGHT                                        72

     WE HOLD ON THE TOPS OF THE DENSE CORN, the creature like
     silhouette of the giant watering device looming as the last
     of a series of bottle rockets fire into the darkening night
     sky.

     WE MOVE ABOVE THE CORN and then descend through it onto a
     thin sand path and onto MARCUS.
                                                           50.


WE FOLLOW WITH HIM as he safely walks back toward the BARN,
holding his flashlight, as the final bursts of fireworks

illuminate behind him.

On MARCUS’ face is genuine pride. He knows he has done
something heroic. Suddenly WE HEAR THE SNAP OF
CORNSTALKS!!!

MARCUS, frantically whips his light around the path behind
him.

WE FOLLOW HIS LIGHT as it scans the path and the stalks.
Even with nothing there, it’s terrifying.

Just then, his flashlight begins to DIM.

SNAP!!!

MARCUS whips his light around to the thin sand path in
FRONT of him. Nothing.

SNAP!!! CRUNCH!!! SNAP!!! CRUNCH!!! Something ELSE is
moving toward him fast!

MARCUS turns around, away from the BARN AND RUNS!!!! WE ARE
ON MARCUS’ FACE AS HE RUNS

Scanning, scanning SNAP!!! SCANNING!!! CRUNCH!!! SCANNING!!

HIS FLASHLIGHT STARTS TO FLICKER OUT.

THE CORN TO HIS RIGHT BEGINS TO SNAP.

IT'S COMING CLOSER!

MARCUS turns and begins to run INTO THE CORN!!!!

WE ARE NOW IN A TERRIFYING PERSPECTIVE HANDHELD, AS CORN
CROSSES RIGHT PAST LENS. THE FLASHLIGHT not able to cast
light on anything that’s not right in our face, creating
almost a STROBE EFFECT!!! MARCUS is making A TON OF
SOUND!!!!

ON MARCUS’ FACE pure panic. When suddenly WE ARRIVE into a
small clearing to see A TRACTOR, completely overgrown with
corn. MARCUS immediately climbs onto the tractor and
frantically whips his light around the clearing and into
the dense corn.

THE LIGHT STARTS TO DIM SNAP!!! CRUNCH!!! SNAP!!! CRUNCH!!!
                                                                51.


     Something is moving toward him FAST! THE LIGHT BEGINS TO
     FLICKER and then goes out.

     Suddenly, off in the corn in front of him (AND FOR THE
     FIRST TIME) we hear A LOUD SCREEEEEEEEEEEEEEECH!!!! The
     light suddenly BLARES BRIGHT as A DEER HEAD POPS OUT OF THE
     CORN!!!!!!!!

     ALL IN AN INSTANT, MARCUS flies back in fear! Slipping from
     the top of the tractor and SLAMMING HIS HEAD INTO THE WHEEL
     WELL.

     BLACK


73   EXT. FARM - DRIVEWAY - NIGHT                                     73

     Fade in: The night is now dark.

     WE ARE BEHIND REGAN walking. AS WE ARE WITH HER WE ARE IN
     TOTAL SILENCE.

     She looks around at the remnants of the last horrifying
     moments more reminiscent of a soldier returning to a
     battlefield, then a girl returning to a farm, we see
     countless streamers of firework smoke still falling
     gracefully from the sky. The tips of dry corn stalks
     flicker alight with small flames. Off in the distance we
     see lights of the SILO. Shining like a beacon.

     REGAN walks along the eerie shadows of corn stalks when
     suddenly at her feet cracks of light.

     REGAN lowers to her knees and puts her head to the ground
     to see a bright light, cutting through the bottom of the
     stalks of corn. Suddenly, the pliers REGAN used to work on
     the TOY SHUTTLE slip out of the pocket of her dress AND
     CRASH ONTO A ROCK ON THE GROUND!!!

     REGAN doesn’t even notice because she didn’t even hear it.

     REGAN sits back up to kneeling position when suddenly the
     cornstalks behind her BEGIN TO LAY DOWN AS A SHADOW
     EMERGES!!!

     At that exact moment, we begin to hear the oddest and
     unpleasant beeeeeeeeeeeep.

     Suddenly, REGAN’s eyes begin to squint slightly. Then, her
     hand slowly reaches up to her ear?

     SHE CAN HEAR THE BEEP!!!!
                                                               52.


     SUDDENLY the SHADOW moves closer to REGAN and THE BEEEEEEP
     GROWS!!!

     Now at a near deafening level, we see the shadow behind
     REGAN stop? REGAN’s face now scrunches up in agony as she
     grabs her ears!!! REGAN digs into her right ear, rips out
     the hearing aid and launches forward!!

     SILENCE.

     REGAN suddenly kneels back up into frame THE SHADOW IS
     GONE!

     SHE NEVER EVEN KNEW IT WAS THERE.

     Breathing wildly, REGAN looks at the hearing aid in her
     hand.

     Her face is almost electrified! As excruciating as that was
     THAT IS THE FIRST SOUND SHE HAS EVER HEARD!

     REGAN slowly puts the hearing aid back in her ear.

     Nothing.


74   EXT. CORNFIELD - NIGHT                                          74

     WE FOLLOW REGAN as she walks down the small path leading
     to... the clearing. One ladder stands, the other ladder on
     the ground, bottles and fireworks litter the ground. And
     then, there in the center of the clearing, lit by the
     flashlight one half of a deer carcass.

     No sign of MARCUS.

     REGAN slowly bends down to pick up the flashlight when
     suddenly THE CARCASS MOVES! REGAN jumps back, terrified!!!

     Then from under the neck of the dee a hand!!

     REGAN runs over and pushes the carcass off of MARCUS, who
     has been safely lying underneath.

     Covered in blood, he scrambles to try to get to his feet.

     REGAN grabs him and holds him tight. She places her finger
     to her lips, just like her dad.

     She looks around to see if they have a chance to run and
     then thinks better of it. She looks back to her brother and
     places her hand on his chest.
                                                                53.


     WE RISE above the clearing, above the overgrown tractor and
     once again into the night.


75   EXT. FARMHOUSE - NIGHT                                           75

     WE ARE WIDE on the FARMHOUSE. The RED CHRISTMAS lights sway
     gently in the now calm night air.

     After a long quiet moment LEE appears at the doorway. He
     carries EVELYN in his arms the baby in hers.

     He slowly descends the porch stairs and begins to walk
     toward the BARN his eyes locked firmly on his cargo. For a
     moment, as LEE walks, this all feels almost like a dream.
     Or the end of a nightmare. Respite.

     WE ARE TIGHT ON EVELYN who we see is unconscious from the
     trauma and the loss of fluids THEN DOWN TO the tightly
     wrapped baby sleeping in her arms.

     LEE looks ahead to the doors of the BARN off in the
     seemingly never ending distance.

     Suddenly THE BABY BEGINS TO STIR!!!

     LEE’s eyes shoot down to see the baby streeeeeeeeetch and
     slowly begin to open it’s eyes.

     ON THE BABY as it looks up, searchingly, at his father as
     his father picks up his pace!

     Suddenly, we begin to notice the dim red light on the
     baby’s face BEGINS TO FLICKER!

     ON THE BARN DOORS getting closer, closer.

     ON LEE as he trudges with everything he has to get his baby
     to safety when suddenly a cold wind blows across LEE’s face
     and through his hair.

     LEE slowly looks down as THE BABY CRIES!!!!!!

     WE HOLD DIRECTLY ON LEE, LEADING HIM, as he breaks into a
     full sprint!

     LEE’S eyes momentarily dart quickly to the side, not at all
     prepared for what he might find.

     WE NEVER LEAVE LEE’s FACE. As his head bobs back and forth
     from running, we intermittently catch glimpses of the long
     path behind him.
                                                                54.


     First we see the FARMHOUSE shrinking in the distance behind
     him. And then we hear SNAP!!!

     BEHIND LEE the large tree near the farmhouse moves wildly!!

     LEE’s eyes never even widen. There is no surprise. This is
     the moment he knew would come. As he sprints with
     everything he has the string of bulbs above him DIM DOWN TO
     ALMOST NOTHING!!!!

     IN THE DARK DISTANCE BEHIND HIM A SCREEEEEEEEEEEEEEECH!!!!

     Lee is running running closer, closer then LEE BURSTS
     THROUGH THE HEAVY QUILTS!!! HE’S IN THE BARN!!

     WE ARE ON LEE as he sprints through the familiar interior
     of the BARN. When suddenly WE HEAR A HUGE BANG!!!

     Then THE HEAVY QUILTS FLY UP INTO THE AIR!!! JUST AS LEE
     DESCENDS INTO THE GROUND!


76   INT. BARN - SAFE ROOM - NIGHT                                    76

     LEE falls back onto the steps, barely holding onto his wife
     and child as his free hand reaches for the mattress!

     As LEE finally grabs the mattress and slides it over the
     opening above the stairwell.

     BLACK in total darkness we hear LEE’S BREATH QUICKENS AN
     ODD SOUND OF SOMETHING HEAVY ABOVE THE CREATURES ARE INSIDE
     THE BARN!!!! A CACOPHONY OF SCRATCHING, TEARING AND
     SCREECHING.

     Then FIRE!! LEE’s lighter cuts through the black and then
     retreats into a small glow in the room as we try to
     comprehend what’s happening.

     We see EVELYN has been placed on a hay bale as ABOVE A
     CRASH!!!!! THE CREATURES ARE TEARING THROUGH THE ROOMS AND
     DROWNING THE SOUNDS OF THE FAMILY BELOW.

     FOR THE MOMENT LEE picks up the crying baby as we PUSH IN.

     For one brief second amidst the fury of nerves and sound we
     see a father holding his newborn child for the first time.
     It is a precious, once in a lifetime moment.

     Then A PLASTIC MASK COMES INTO FRAME and ONTO THE BABY’s
     FACE!!!!
                                                                55.


     As if in an airplane video, LEE wraps the mask’s strap
     behind the baby’s head and then LOWERS THE BABY INTO THE
     WOODEN, QUILT LINED BOX!

     WE PAN TO THE SIDE of the box, along a clear plastic tube
     to a stand up air canister. LEE’s hand enters frame and
     turns the valve a quiet whisper of air.

     LEE stares down at his tiny crying baby wearing an oxygen
     mask. The juxtaposed image seemingly almost as bizarre to
     him as it is to us.

     THEN LEE PLACES A LARGE STACK OF BLANKETS OVER THE TOP OF
     THE BOX!!!! AND THEN A COVER!!!!

     THE BABY’S SCREAMS CAN’T BE HEARD.

     THE BANGING, THE SCREECHING INCREASE IN TEMPO AND SOUND!!!

     LEE just stares down at the small casket like box.

     This either work or they’re dead.


77   EXT. CORNFIELD - DRIVEWAY - NIGHT                                77

     WE FOLLOW REGAN and MARCUS as they sprint up the main sand
     path/driveway running parallel to the cornfields. With the
     flashlight slicing through the darkness, it’s nearly
     impossible to tell where we are.

     Suddenly the corn ends and OVER MARCUS AND REGAN we see
     shadows of farm equipment!

     REGAN turns her head and looks up.

     REGAN’s POV as we climb higher and higher to the top of the
     SILO!


78   INT. BARN - SAFE ROOM - NIGHT                                    78

     Silence.

     The frame filled with a dark brown.

     Time has passed.

     Then WE TRAVEL DOWN from the dirt ceiling past a hook on
     the wooden support beam to a clear plastic IV BAG hanging
     down a fluid filled plastic tube and into an arm.
                                                           56.


WE PULL BACK to reveal EVELYN lying on the hay bale
comfortably, her eyes still closed. She has been bandaged
and wears LEE’s sweater. A single burning candle by her
side.

Then EVELYN SHOOTS AWAKE!!! SHE SCRAMBLES TO SIT UP THROUGH
THE PAIN!!! HER EYES SEARCH A LOW LIT ROOM!!! SHE GOES TO
SIT UP AND WINCES AN IV IS IN HER ARM!!

Out of the darkness comes LEE! He is holding the baby.

                   LEE
         It’s ok. It’s ok! Your safe.

EVELYN looks up at LEE immediately confused as to why he’s
talking then it sinks in.

                   EVELYN
         It worked?

                   LEE
         It worked.

                   EVELYN
         It worked, it worked.

LEE holds up the sleeping baby and places it in EVELYN’s
arms. Tears fall down her face. She looks back up to her
husband and then around the room.

                   EVELYN
         Where’s Marcus?

Pause.

                   LEE
         I’ll find them.

                   EVELYN
         Them?!

EVELYN immediately tenses.

LEE takes the sleeping baby from EVELYN and places it in
the safe wooden box. No air mask needed now.

                   EVELYN
         She was with me in the house. I was
         doing laundry and she-- He was with
         you. How did he--

LEE sits next to his wife and begins to lay her back down.
                                                        57.


                    LEE
         Rockets.

EVELYN pauses.

                   EVELYN
         Then he-- then he’s still there.
         He’d know to--

LEE sits next to his wife and begins to lay her back down.

                   LEE
         I’m sure he is.

                   EVELYN
         She’s smart she’ll have found a
         place to-- She’s smart.

EVELYN’s gaze finally lands on her child.

                   EVELYN
         It’s a boy.

                   LEE
         It’s a boy.

                   EVELYN
         It’s a boy.

Pause.

                   EVELYN
         I could have carried him.

LEE looks at his wife confused.

                   EVELYN
         He was so heavy.

LEE freezes.

                   EVELYN
         I can still feel the weight in my
         arms. He was small, but so heavy,
         wasn’t he?

LEE can’t speak.

                    EVELYN
                                                                58.


             My hands were free-- I was carrying
             the bag, but my hands were still
             free. I could have carried him. I
             should have carried him.

                         LEE
             Evelyn.

                       EVELYN
             Who are we if we can’t protect
             them. Who are we?

     LEE is frozen every image rushing back to him.

                       EVELYN
             You have to protect them.

                         LEE
             I will.

                       EVELYN
             Promise me. We can’t-- You need to
             protect them.


79   EXT. SILO - ROOF - NIGHT                                         79

     CLOSE ON A FLAME!!!

     As it dies down, coming into view we see MARCUS sitting in
     front of the shallow metal drum their father sat in front
     of the night before.

     REGAN walks around the fire looking out across the farm for
     any sign of her father.

     Just as the   fire is about to die out, REGAN walks back and
     squirts the   last remaining fluid from the bottle. The fire
     rages again   and illuminates the two children as well as the
     fading hope   on their faces.

     The fire begins to die down again. REGAN rummages in the
     box picking up the empty bottles of lighter fluid and
     shaking them frantically.

     She shakes the last empty bottle and slumps down, defeated,
     scared.

     In the last moments of the dying flame.

                       MARCUS
                  (SIGNING)
             He’ll come for us.
                                                                59.


     The two kids stare off desperately over the farm,
     preventing them from seeing far off in the distance to the
     right.

     A fire ignites. Then farther off, another fire.

     BUT THIS TIME ITS ONLY TWO!

     The kids don’t even notice.


80   INT. BARN - NIGHT                                                80

     WE ARE ON THE FAMILIAR image of the interior of the BARN.

     Suddenly, the mattress on the ground moves.

     Then LEE’s head slowly arises from underground.

     LEE stands to see their barn, their life has been tossed
     and ravaged.

     LEE places the mattress back over the large unfinished hole
     leading down to the safe room and stands up. LEE stares
     down at the mattress and what it protects, then walks out
     of frame.

     WE HOLD ON THE mattress a moment and then SLOWLY MOVE along
     the floor of the BARN past the monopoly game until we reach
     the bedroom stalls to see A LARGE CLAW MARK GOUGED OUT OF
     THE BARN WALL!

     As we move down we see a pipe above the long trough on the
     wall has broken WATER DRIPS FROM THE BROKEN PIPE AND A POOL
     OF WATER MOVES ACROSS THE FLOOR!


81   EXT. SILO - ROOF - NIGHT                                         81

     CLOSE ON REGAN, oddly lit. She lays on her back staring up
     at the stars. REGAN fumbles with something in her ear.

     WE GO EXTREME CLOSE on her turning the tiny dial on top of
     her hearing aid. As she does, she places her other hand by
     her ear and rubs her fingers together, hoping to hear a
     sound.

     Nothing.

     REGAN turns the dial even more. Nothing.
                                                        60.


REGAN immediately rolls over, frustrated. Sitting directly
in her view, on his dad’s small stool is MARCUS looking out
hopefully to the farm.

                  MARCUS
             (SIGNING)
        He’ll come.

REGAN scoffs and goes to get up when suddenly, under her
dad’s stool she sees a box, the box LEE kept the photo in.

She reaches under the stool and grabs it.

NOW CLOSE OVER THE BOX ONTO REGAN as she stares down at it.

Then as the lid opens, it covers frame completely to BLACK.