Taken Away an original screenplay by Doug McClure

Doug McClure mcclures@mchsi.com

FADE IN ...the night sky, a dome of deep, dark space arching overhead. We see the figure of SAM COSTAS, a healthy male of thirtytwo, standing alone in the front lawn of his primly landscaped subdivision home. He stares off into the night sky and we dolly to see what he is absorbed by... the big dipper hanging delicately in the sky. The camera comes around again and we can see in a window of his home. Inside a TV screen is alive with a nightly newscast. We move inside and zoom in on the TV until the talking newsanchor fills the screen. We pull out and are now in the studio itself, watching the production live on a camera monitor. HANNAH STILLWELL-COSTAS, anchor woman for the WCIA News, a CBS affiliate, delivers the broadcast with poise and polish. Fresh face, strong features and warm brown hair give her graceful, professional air. INT. WCIA STUDIOS - NIGHT HANNAH ...Abernathy was last seen on Wednesday night outside a tavern in Urbana around two AM. Her car was found along a rural road and police report that no sign of a struggle was evident. The twenty-nine year old Abernathy is five foot five inches tall with red hair and was last seen wearing jeans and a white or gray sweatshirt with a University of Illinois logo on it. Anyone with information pertaining to the whereabouts of Leanne Abernathy should contact the Urbana City Police. (beat) And finally, from our "Give Me a Break" Department: If you've ever wondered about those who claim to have made alien contact, you might want to get in touch with a down state man who claims to have been abducted over twelve hundred times. The camera begins to pull out and we see ED MICHAELS, producer of the local news, watching the final moments of broadcast. We also see TERRY the sportscaster and DIANE the weather girl on set.

2. HANNAH (CONT'D) The forty year old native of West Salem says he'll be releasing video footage of meetings he's had with his "astro-allies" as he calls them. He claims to have a warning message from the aliens for 'all earth's children', but says he will not disclose its contents until the winter solstice, 2012. (beat) And you can be sure WCIA will have a news crew ready and on-hand for that event... though I think I might be busy that day, what about you, Terry? TERRY Me? I hope to be celebrating a Bear's victory about that time of year. HANNAH Diane, can you give us a forecast that far out, the winter solstice, 2012? DIANE We can all hope for blizzards, I guess. They all chuckle in support. HANNAH That's all for tonight. Coming up: 'Night Lite' with David DeWitt. I'm Hannah Stillwell and for all of us here at News Center Four, have a great evening. ED Clear. We're out. OK, that was excellent, excellent. Let's preset for AM. Thanks. Hey, Hannah... She leaves the news desk and heads for the studio door. HANNAH Yeah, Ed, what's up? ED You know when I tell the crew it was 'excellent' I mean 'you' were excellent... cause you were.

3. HANNAH Thanks. Hey, I thought we were gonna cut that alien copy for the ten o'clock? ED Glen thought it worked. She leaves the studio and starts down the hall. As she passes Studio B, she stops to take a look in the window where taping is in progress. The interview can be heard over a hall speaker. A large backdrop reads "Night Lite with David DeWitt". DAVID DEWITT sits on set interviewing an adult MAN and a ten year old BOY. DAVID DEWITT Now, did you see this? BOY Yeah. DAVID DEWITT What did you see? BOY It was big... like bigger than a bear or something. It was hairy all over. DAVID DEWITT Have you ever seen a bear? MAN We go hunting every year, David. Deer, quail, you know. We seen bears a bunch of times. You see one of these things, you know it ain't like a bear or nothin'. He had these hands like this, and I mean they were hands, not like paws. I never thought these things were real until I seen this thing comin' at me... She shakes her head as Ed follows from Studio A. ED You know what I'm talking about. We're here... He marks off a line over his head. ED (CONT'D) ... and we all know why.

4. HANNAH Ed, it's a team thing, you know that. ED No, sometimes it is, but this isn't. I been watchin' this thing smoke for fifteen years without catchin' fire. OK? It's you. It's not the team. HANNAH Well, thanks Ed. You're a good producer. ED Here, look at this. He holds out a clipboard which she takes. HANNAH Oh, this is great. ED You know what that means... we're now number two in our market...at six and at ten. Two... soon to be one. I was talkin' to Flannery over at nine. We got them looking over their shoulder. HANNAH I don't know what to say. This is great. ED Say, "Goin' to the Show." She starts down the hall to her desk. HANNAH Oh, come on. Nobody's saying the "N" word. ED Network, OK? HANNAH No, Ed... ED I'm saying it. HANNAH Let's not...

5. ED You're great, the camera loves you. You gotta voice that's sincere and a face that causes paralysis in a channel surfer's thumb. How can they not be taking a look? She picks up mail off her desk. HANNAH Look, Ed, I'm content right here. Sam's dug in, I'm doing well, got a house, maybe a kid on the... ED No, don't. Don't say it... don't. Don't go 'mommy' on me. You know what that does... it sucks talent right outta that chair. Don't put your hormones ahead of your headmones. Listen to me. You ever been in a Chuck E. Cheese? Huh? My God! At least wait. The 'show' first... get where you're goin'... then family time, huh? HANNAH Ed, you know I love you. I know you been dreaming a lotta years. How do you know they'd even let me bring my own producer? ED Cause they think it's a team thing. HANNAH Sam's all about family. I'm gonna try... for him. He's ready, I'm Thirty-one... I'm gonna try. (beat) Look, I am trying. I gotta be honest. We've been trying for over a year. Ed covers his ears. ED Ahhh. Come on, this is like... ear rape! HANNAH Well, we are. Which reminds me, I'll be in a little late tomorrow. Got a doctor's appointment. OK?

6. ED I heard none of that. None. He uncovers his ears. ED (CONT'D) How late you gonna be? HANNAH Half hour, maybe, if I don't stop back home. But, I'll probably have to. Sam always requires a full debriefing... charts, diagrams, sworn affidavits.... Fortunately there's a notary on my block. ED Fine. But if it's baby making, I don't want to hear about it. She gets her coat from a nearby rack. HANNAH Well, listen to this, anyway... let's not run more paranormal stuff, please? It's not worthy of news... and we wind up giving those yo-yos more than their fifteen minutes. Leave that junk for David DeWitt and his endless lineup of kooks and publicity junkies. We don't need that. ED OK, you got it... 'cause you're excellent. That's why. I'll talk to Glen. I'm doin' this for you. So do something for me. Keep thinking 'national' not 'domestic'. OK? She starts toward the door. HANNAH Night, Ed. She leaves. INT. HANNAH'S CAR - NIGHT It is late and Hannah is cruising down a deserted street. A light in her rear view mirror catches her eye. HANNAH'S POV The mirror shows a light, higher and brighter than a normal headlight, flooding her rear window.

7. END POV We see her face illuminated by the object. She pulls over to let whatever it is pass. Nothing is there. She rolls down the window to look. HANNAH'S POV A troubled street light suddenly pops to life and glows brightly for a moment, then extinguishes. END POV She smiles and pulls back onto the street. INT. HANNAH'S BEDROOM - NIGHT Sam lies asleep in bed. The door cracks and Hannah sneaks in. She sits by him on the bed and watches him a while. She kisses him. A book of baby names lies cracked open on the bed. SAM Hey... how'd it go? HANNAH Oh, good. SAM I caught part of the six o'clock, but couldn't hold out for the ten. Sorry. HANNAH Six of one... Don't worry about it. Go back to sleep. SAM You're an all right broad, you know that? I knew you was the 'marryin' type'. He takes her and kisses her. SAM (CONT'D) Man, you're cold. You OK? HANNAH Cool outside tonight, I guess. You should see the sky, really deep and clear... beautiful.

8. SAM Yeah, I was out earlier. Venus comes into conjunction with Saturn later this month, you know. HANNAH I can hardly wait. She vaguely sings the tune to Aquarius. HANNAH (CONT'D) This is the dawning of the Age of Aquarius... But Sam grabs her and wrestles her down to the bed. SAM Do not confuse 'astrology' with 'astronomy'. Hey, you are cold. I got my heater runnin'. Climb in. You want Sam the Handyman to check your oil. I got all the tools I need right here. HANNAH I'm beat. You're tired. Let's leave the dipstick put away tonight. SAM This could be the one. You never know, 'mom'. HANNAH I love you. It'll happen in God's own time. She sees the book. HANNAH (CONT'D) You've been lookin' at names again. SAM Yeah. I'm up to 'G'. Why not be prepared? Right? HANNAH A little premature, maybe... But, he grabs the book. SAM Gabriel... we call him 'Gabe'. HANNAH I don't know, honey...

9. SAM OK. Gaius... means "earthling"... HANNAH Earthling? No. I hate that one. SAM How 'bout Galen? Means "healer" or "comforter"... HANNAH Galen... well... I don't want to think about it right now. I'm tired. She checks the clock. It is just after midnight. HANNAH (CONT'D) And, I promised Minnie I'd call her about now. SAM You know, you might just have ended up as the 'pretty sister-in-law'. HANNAH And I probably woulda been an aunt by now. SAM It's gonna happen. HANNAH I know. Anyway, go to sleep. Tomorrow's another day. She starts toward the attached sitting room. Sam does a vague 'Clark Gable' impersonation. SAM Hey, Scarlett, I love you. He rolls over and quickly goes under. Hannah kicks off her shoes and walks to the sitting room. She sits at a computer desk and adjusts the web cam. She mouse clicks and hits a few keys. Her sister MINNIE (33) comes up on the screen. The computer and web cam are aligned with the door. MINNIE Hey, hon. How's life over there? Is that Sammy's carcass behind you there? He's out, huh?

10. Hannah throws a glance behind her to the bedroom. HANNAH It's been rough. Yeah, he's long gone by now. Been working two jobs, both kitchen remodels, so he's got a reason, I guess. How's 'saving the world'? MINNIE Oh, my God. I told you about this 'well' project we're doing for a tribe up north. Now the government's reneging. It's turned into a bureaucratic bunglers and butt-heads fest. There's an unfortunate shortage of political assassins over here. The people get screwed in all the posturing. You know, you ought to do a feature on this kinda crap. HANNAH Yeah, the station's gonna fly a news copter to Africa. MINNIE You could go on assignment, come over here, bring Sammy... we could have a helluva time. That reminds me, I got a construction question for Sammy. You recording? HANNAH No. I can't talk long. Maybe tomorrow. But, I want to ask you something though. Min, what if I got a network offer? MINNIE What'd you mean? You mean, with Sam, having a family and all? HANNAH Yeah... MINNIE Honest? If there isn't a family in the future? I don't know. He was so close to his dad it was like... different. Even in high school they were, like, inseparable... HANNAH Yeah.

11. MINNIE Man, I would have crapped my pants if dad had hung around all the time like that. HANNAH Yeah. MINNIE Then the guy just... up and vanished one day like government funding. It was weird. It was really hard on him. HANNAH He won't say much about it... even now. MINNIE They were strugglin'... financially, I think... livin' in a rough neighborhood... wasn't workin' much... I think he just went lookin' for something better. HANNAH Min, that'd kill him, to find that out. MINNIE I know, I know... HANNAH If I let it, my heart just breaks for him. I don't know... I mean, I wanta have a family, I do... I don't know. MINNIE You been seeing the shaman? HANNAH Oh, yeah. You think Sam'd let me forget that? Got an appointment tomorrow. We're trying invetro again. I just hope it takes. MINNIE Listen, I have no doubt that Sam's pushing pretty hard. Being a dad's what he's all about, I know. But, if it happens, it happens. If not, there's not much anyone can do about it. He'll deal with it.

12. HANNAH Yeah... yeah... it's just... it'll break his heart. I don't know if I can handle that. (beat) Hey, I love you... But I'm done. You mind? MINNIE No. Get some sleep. You always know where to find me. I got another eleven months here in Mugabe Hell. If you can't sleep, zap me. I'm just comin' from breakfast. Hey, and let me know what the witch doctor says. I want a niece and you're my only hope. HANNAH I'm tryin' and you'll be second to know. I'll talk to you, OK? I love you. MINNIE Give lazy boy a kick in the groin for me. I love you little sis. See ya. Hannah x's out of the screen and collapses back in the chair. EXT. THE COSTAS'S FRONT YARD - DAY Sam stands by his house, turning off a sprinkler. He keeps his eye on the activity at a house across the street. There, in the driveway, a large truck rumbles. A forty year old African American man, WEED, unloads a box from the truck and carries it to the garage. He is helped by another, older man. The house, an attractive subdivision home, possesses a uniquely landscaped yard with a "sold" sign standing proudly in it. Not far from the sign rests a very large, enigmatic landscaping rock. Sam watches cautiously while inventing activities to occupy himself. He turns toward his house to unscrew a length of hose. He glances back. Weed, like a mountain, stands directly behind him. Sam starts. WEED Morning. SAM Hi.

13. A pause settles between them. Finally... WEED Just wanted to say hello. We're the new neighbors... SAM Yeah. I see that. A hitch step of silence. WEED Ray Houseworth. Friends just call me Weed, though. He juts out his hand. They shake. SAM Oh, well, nice to meet you, Ray. Weed expects a return banality, but one doesn't come. WEED OK... well, gotta get back to unloading. Got extra muscle only so long. SAM OK. WEED Well, nice to meet you... uh... SAM Sam. WEED Sam. Be seein' you around. SAM Yeah, sure. Weed drifts off. INT. THE COSTAS' KITCHEN - DAY Tension crackles in the air. HANNAH Sam, you know what I'm gonna say. SAM Come on. I think I got better insight into this kinda thing.

14. HANNAH Well, no you don't. SAM His name's Weed, for God's sake. There's a drug bust within like... two weeks. I'll bet you. HANNAH I find this so irritating. I love you, but I despise this side of you. SAM This neighborhood's in a hand basket and wonderin' where it's goin'. We got that... Shanklin guy over there... HANNAH Who? SAM That... Shanklin gay-wad singer a couple houses down. HANNAH Shanker, his name's Shanker and he's a professor of music. You don't even know what you're talkin' about. SAM Well... two weeks, tops. I'll bet. HANNAH Sam... SAM What? HANNAH Go to work. I don't want to hear it. I gotta go in early today. SAM Why? What's up? HANNAH Sam, I gotta go see Dr. Lee. SAM Oh. Good. Call me, OK? Before you go to the station, call me if she knows anything. I'll try to get home early if you stop here. This could be it.

15. HANNAH Honey, don't get your hopes up. OK? I'm not late, so there's no reason to think anything right now, OK? SAM Hey, you been doing what I asked? HANNAH What? SAM You know, the peach thing. HANNAH Sam, I don't like peaches. SAM Have you been eatin' them? You have, haven't you? HANNAH Honey, that's some stupid voodoo idea from the internet. It's not gonna make any difference. SAM There's supposed to be some hormonal thing in em. Just keep eatin' 'em, OK? HANNAH OK. He gets up and kisses her, sandwich and drink in hand. SAM I can take this with me. I want to be back here when you get out of the doctor's. Did I ever tell you you're hot? Cause you are. I won't be sleepin' tonight when you come in. OK? And call me when you hear from the doctor. OK? HANNAH Yeah. I'll call. But, Sam, don't get all worked up. SAM You promise me you'll eat two peaches... two every day. I put some in there in the...

16. HANNAH Sam, there's like fifty peaches in there. How could I not know they're there? SAM You're hot. Eat the peaches. I bought twenty of them yesterday. I'm gonna check. HANNAH OK. Go. Sam leaves with food in hand. Hannah goes to the refrigerator and takes out two peaches. She pits them and drops them in the sink. We hear the DISPOSAL grind. INT. DR. LEE'S OFFICE - DAY We see a textbook drawing of a uterus with embryo implanted. We see Hannah standing and staring at it in Dr. Lee's office. DR. LEE is an Asian woman of fifty, a first generation immigrant from China. DR. LEE Well, Mrs. Costas... result is in. OK? HANNAH Hmm. Dr. Lee sits at a small desk, removes her glasses and looks into Hannah's eyes. DR. I afraid it not second attempt, we can talk now Hannah deflates. DR. LEE (CONT'D) Now, no need for sad faces. Many, many people have trouble conceiving, and we can try again. If you want, you can talk to your husband. This is a family decision, not medical. I am willing to make new try. HANNAH What are my chances? (MORE) LEE successful. This is if I remember. So, about options, OK?

17. HANNAH (CONT'D) Just be honest. I want to make a rational choice about this, not just fly on emotion. DR. LEE Well... to be frank... we try hormones, but did not work. IVF not work either. I think chance is small, but we can try. I don't want you to make decision on emotion, either, so I try to be honest. It is very small chance. HANNAH Uhhhh. DR. LEE Mrs. Costas... have you thought about other options? Hannah hangs her head. INT. THE COSTAS KITCHEN - DAY Hannah stands, arms crossed, leaning on a counter. Sam smacks the kitchen table. SAM Dammit. HANNAH Sam, you're a great husband, I love you. Let's not let this tear at us. SAM Damn. (beat) I'm mad. I'm disappointed, big time. I just... I don't know... it just isn't fair. HANNAH Blame me. If it isn't fair, then just blame it on me. I can't change things. SAM I'm not blaming... you. But, you know... I'm disappointed. I don't know who I'm mad at. She watches him a while.

18. HANNAH Sam... SAM Hmmm? HANNAH Do we want to think about adoption? SAM Uhhh. Come on. HANNAH Sam, you know, I got to be honest... you know I haven't been with you on this all the time. I had some doubts and reservations over the last year... SAM What? You been tryin', right? You haven't been, like, screwing this up... HANNAH No. No. No. I've been trying and doing everything... OK, the peaches, maybe not, but... Dammit. SAM The peach thing could work.

HANNAH Oh, honey, that's not the point. I haven't tried on the peach thing 'cause it's dumb. Sorry. But, everything else I've been trying: the vitamins, the supplements, the hormone therapy... it's just, you know, Ed and the network thing... it was making me think twice, that's all. He gets up. SAM OK, fine. If you're thinking... HANNAH No. That's what I'm saying. I really want a baby now. I had this kind of... dumb dream last night, about having our own baby, and... I really want a baby. I really do.

19. SAM OK. That's what I want to hear. He takes her in his arms. HANNAH That's why I'm thinking maybe adopting would, you know... be a way... SAM Come on... I don't think we should give up, do you? HANNAH Dr. Lee thinks it's the best option at this point. Sam stares at the floor. SAM She said that? HANNAH Oh, yeah. It kind of intrigued me, you know. A lot of couples are adopting from countries where the need is... places where the children have no other chance. I was even thinking Minnie might have some connections in Zimbabwe... SAM What? HANNAH ... and could maybe help us out. Dr Lee should know what she's talkin' about. SAM What? The Asian doctor thinks we should get an African baby. Great. I don't want that kind of kid... HANNAH That kind? What are you saying? SAM Let's not go there. HANNAH A baby is a... a life... a sacred and... and... perfect miracle... full of potential and, and... I can't (MORE)

20. HANNAH (CONT'D) believe I'm hearing this. What is your problem? SAM Look. I grew up in a 'diverse' neighborhood. Don't think I don't know about 'racial harmony' or whatever. OK? HANNAH Sam. I'm sorry about what happened in the past, but, what? You think 'humanity' has to do with the... package... the wrapping you come in? That is so ignorant and... this makes me so mad. SAM Honey, some people just aren't as... I don't know... human, I guess, as others. HANNAH Human isn't an earned status, you know, like... like Eagle Scout, or something. You're human because... you breath and your heart beats and you embody potential to do good or... bad... and because you can laugh and hurt and love. Call me naive, but I still think maybe God might have something to do with it. I can't believe your attitude. SAM Don't lecture me. HANNAH I'm your wife and I will lecture you because you need to hear this. SAM It's just the way I am. HANNAH Well, that's too damn bad. You're gonna rethink the way you are. SAM Let's get back to babies.

21. HANNAH Well, I'll tell you one thing. I'm not bringing any child, birth or adopted, into a house with a bigot. SAM I'm not a bigot. It's just bein' a realist. HANNAH You're a bigot. It's hard enough to raise a kid without that kinda stuff in the mix. Sam looks at her. HANNAH (CONT'D) I'm not doin' it. Sam averts his eyes. HANNAH (CONT'D) I gotta get to work. I'm late already. She leaves. Sam sulks. EXT. HANNAH'S CAR - DAY Hannah backs from her garage to the street. As she starts forward, Weed steps from his garage. Hannah slows, then turns in his drive. INT. HANNAH'S CAR - NIGHT Hannah drives home through deserted streets. It is drizzling. Again she notices a bright point of light in her mirror. She comes to a deserted stoplight and cranes her head around for a better look. Nothing is there. She starts off again, but soon the light reappears. She glances into the mirror. She speeds up a little but comes quickly to an intersection and must slam on the brake. She looks back. She starts off again but suddenly it is bright and close. The reflection from the mirror lights her face with a pale grayish glow. She speeds up and glances back. HANNAH'S POV We see the light refracting intensely through the droplets in her rear window.

22. END POV She turns from her intended route onto a side road to escape, but the light persists. She speeds down the lane. A rural road presents itself and she throws the wheel to the left as the car fishtails around the corner. She speeds on. Again she turns and finds the light pressing her. She shades her eyes as she tries to escape the blinding glare. In desperation she skids into a farm drive. The car bounces across several potholes and comes to a jarring stop. She turns to see the source of the light. HANNAH'S POV A large semitrailer truck blows past the driveway. But the color of the light and its intensity don't seem to explain the event very well. END POV Panting, Hannah steps from the car and takes a deep breath of the cool evening air. She stands under a vast starry lid. She looks up. The eternal stars offer no comfort, but instead appear cold and foreboding. She shivers and returns to the car. INT. HANNAH'S BEDROOM - NIGHT Hannah enters to the sight of Sam, fully dressed, asleep on the bed. A late night snack sits on a side table. She looks at him a moment then lays down next to him. SAM Oh, hon, hi. I was awake a minute ago. I was waiting for you. He embraces her. SAM (CONT'D) Hey, you're shivering. You OK? She pulls out enough to say "I'm still mad". HANNAH I had a near miss with a truck. I guess it freaked me a little. I'll be OK.

23. SAM Look... would it help if I say I'm an ass sometimes. HANNAH Not really. But I'm cold and you're warm, so I guess I'll overlook your ass-i-ness. SAM Thank you. Let me hold you. He begins foreplay. She responds. SAM (CONT'D) I made it through the ten O'clock, aren't you proud of me? I was watching the anchor and thinking what I might do to her if I ever got her alone. Huh? HANNAH You stalker. You don't think I'm a loose woman, do you? SAM Loose would be good. HANNAH Hmmm. What, exactly, would you do about it? SAM I'm a carpenter. I got a screwdriver that'll tighten her up. He envelops her and they become passionate. INT. THE COSTAS' KITCHEN - DAY They eat a light breakfast. SAM So, I suppose it'll get done this afternoon. Gotta touch up and put plates on, clean, that kinda stuff. HANNAH Hey, I forgot last night. I met your friend Weed yesterday. SAM Yeah? What?

24. HANNAH Nothing, I just met him. And, he seems real nice. Gotta wife and son who are supposed to get there today. SAM Wife, huh? Least he's not a f... HANNAH Sam! Don't even... SAM Sorry... so he's got a wife and kid. HANNAH Well, yeah. But I forgot to ask you last night... he's interested in you doin' some work over there. Sam is cool. SAM Yeah? HANNAH Master bath. Want's to rip it out and redo the whole thing. SAM Yeah? HANNAH You got time to stop by there sometime? Sam shoves his plate forward and diverts his eyes. SAM Ugh... well, uh, do I have to? Hannah studies him. She burns. HANNAH You want a baby in this house? He deflates. INT. HANNAH'S DREAM - NIGHT Hannah lies in a hospital bed. Sam brings her a newborn and places him in her lap. Sam is beaming and can not get enough of the child. HANNAH My baby...

25. SAM Oh, honey, isn't he amazing. HANNAH Oh... hello little guy... oh... yes, you are too, too, beautiful. Yes, you are. Too wonderful. Oh... She and Sam kiss the child and the baby makes warm baby noises. SAM Oh, honey, he's saying how much he loves you. Listen to that. HANNAH Oh, my sweet little boy, yeah, mommy and daddy are right here. Yeah... mommy's gonna take care of you, oh yeah, yes she is. A nurse enters. SAM Honey, I love you... I can't even say how much. NURSE I've come for the child. HANNAH Oh, I'd rather he just stay with me. NURSE I'm sorry, he's gotta go back to the nursery. HANNAH Please. I want to hold him. NURSE I'm sorry, he's got to go back. HANNAH He's my child and I want him right now. But the nurse removes the child from Hannah's grasp. NURSE No. He's going back.

26. INT. HANNAH'S BEDROOM - NIGHT Hannah's eyes open. She is unsure a moment, then turns to look at Sam asleep at her side. She rolls over. Momentarily she rolls to her back and looks to the ceiling. She shifts position and tries to sleep. She gets up and goes to the computer in the sitting room. She clicks and pecks. Minnie arrives on the monitor. It is a split screen with both women visible. MINNIE Hey, girl, what news? HANNAH I want a baby. INT. HANNAH'S BEDROOM - DAY Hannah lies in a robe stretched across the bed sideways. Sam calls from below. SAM (O.S.) Hannah? Hey, I'm leaving. You OK? She sits up. HANNAH Yep. I'm just tired. I didn't sleep last night. I'll be OK. SAM (O.S.) I'll be able to stop by at lunch. Go back to sleep. I'll get you up. I love you. HANNAH Hey, stop by across the street. SAM (O.S.) What? HANNAH Stop and talk to Weed! Silence. HANNAH (CONT'D) You hear me? SAM (O.S.) Yeah... I love you.

27. HANNAH I love you too. I'm up. Don't worry. I got a little work to do. SAM (O.S.) I'll stop by anyway, check on the peaches. Bye. We hear the sound of the DOOR CLOSING. She gets up and looks in the mirror. Yuck. She goes to the computer and awakens it with a mouse shake. Open on the screen is the window console for the web cam. The record button is still active and Hannah realizes she left it recording. HANNAH Oh, shoot... She starts to 'x' out, but stops. She drags the recorder's rewind button a ways, stops, and lets it play. She watches herself trying to sleep a moment. She drags it again and watches a moment. She drags again, but this time is stopped by something she sees. She seeks out a spot. She plays the segment forward in real time. HANNAH'S POV We see the monitor. It is dark but we can make out the bedroom door. The time stamp running with it reads 2:17:44 AM. We see her movement in bed as she tries to sleep. Then... Something ghostly glides into the frame slightly, then out. It is ambiguous and fleeting, but something is there. The time stamp reads 2:18:21 AM END POV HANNAH (CONT'D) What? Hannah runs it back several times, watching the faint movement. INT. HANNAH'S BEDROOM - DAY Hannah drags Sam down the hall.

28. HANNAH (O.S.) I don't care. I'm not freaking. Look at this. They enter the bedroom door and she drags him to the computer. SAM Honey, I'm am absolutely sure it's nothing. What could it possibly be? They both look at the cued up video on the monitor. She presses play. SAM'S POV We see the same sequence. The blob moves into view again, but its vague nature makes it very ambiguous. END POV SAM (CONT'D) Well, honey, that was just the light from a passing car or something filtering into the room. Maybe the curtain blew into view. I don't see anything... HANNAH Sam, it sure looked like a figure before. I don't know... SAM Maybe that hormonal thing from the peaches is kickin' in, huh? I think you're just letting yourself see things. It's OK. OK? HANNAH I don't get it. This doesn't look the same. I don't think... maybe I'm losing it. SAM Oh, now come on. HANNAH I had that dream again last night. I think I did, anyway. He holds her a moment. SAM You're playing games with yourself. It's OK. Now, are you gonna be all right?

29. HANNAH Yeah, yeah. I'm fine. It looked different this morning. It did. SAM The camera does not lie. That's why, when you're on TV, you look so hot. He kisses her. SAM (CONT'D) You are, you know. HANNAH Yeah, OK. He kisses her again. SAM I gotta get back, and you gotta get to the studio. HANNAH Yeah. Did you talk to Weed? SAM Oh, yeah. Actually I talked to his wife. HANNAH What's she like? SAM Noelle. She's... fine. They have a little boy, Colton. HANNAH Good. SAM Yeah. Anyway, this video is just... something. Don't worry. It's nothin'. He leaves. She sits and watches the video. INT. WCIA STUDIOS - NIGHT Hannah delivers the news. HANNAH Police in MacLean County report they've positively identified the remains of Leann Abernathy, the Urbana resident who disappeared last month (MORE)

30. HANNAH (CONT'D) near a rural tavern. Her body was noticed by a lock worker on his way to work. She was found just south of Alton near lock and damn number three. Foul play is suspected. No arrests have been made and Urbana police say they will work in a cooperative effort with the Alton police to apprehend her killer. Abernathy was twenty-nine years old. INT. HANNAH'S BEDROOM - DAY Hannah sleeps knotted up in a chair. Sam is gone. She rouses and drags herself up. She looks haggard and exhausted. HANNAH Sammy? She tries to stretch out, but hurts all over. She braves a look in the mirror. HANNAH (CONT'D) Oh... She goes to the window and pulls back the drapery. Warm sunlight floods in and she starts for the bathroom, but is stopped by something outside. HANNAH'S POV Across the street we see Sam standing in Weed's the front lawn in an animated conversation with a gorgeous blonde Caucasian woman. A small child of mixed race hovers around her. It is NOELLE, 30. She watches as they laugh and interact warmly. EXT. WEED'S FRONT LAWN - DAY Sam and Noelle continue to talk as Hannah approaches from across the street. She wears an unflattering mishmash of clothing and her worn out appearance multiplies her selfconsciousness. Noelle laughs and touches his arm. NOELLE Oh, don't tell me that. You'll drive us right out of here.

31. SAM No, you'll enjoy it. It's not intimidating at all. Look at me. Hey, hon. HANNAH Hi. Thought I'd join in. NOELLE Oh, is this your wife? Oh, yeah. SAM This is Noelle.

HANNAH Hi, I'm Hannah. NOELLE Your Sam, here, was just telling me the neighborhood secrets. SAM I was telling her about the annual block barbecue/swim night. Noelle turns to Hannah. NOELLE I'm gonna have to hit the treadmill, I'm afraid. Hannah checks out her perfectly svelte figure. HANNAH Oh, now, you've got nothing to hide there. I wish I had your figure. NOELLE Oh, now... no fair comparing... I think we all struggle with that last few pounds. You know what I mean. (beat) Now, who do you look like... HANNAH I'm the anchor for WCIA News Four. NOELLE You are? HANNAH Hannah Stillwell.

32. SAM Well, that's her on-camera name. She does a great job, I might add. NOELLE Well, I'll watch only channel four news from now on. HANNAH Thanks. SAM We were talking about the bathroom job. HANNAH Well, why don't you go up and take a look? Colton plays by the big rock and calls out. COLTON Big "C"... mommy. See, big "C" SAM We've done that already. Oh, this is Colton. Isn't he cute? COLTON Big "C" for Colton... See, big "C". NOELLE Just a sec, Colt, mommy's talking. COLTON I wanna show you big "C". The adults drift toward the rock where Colton points at an oddly shaped crack resembling the letter "C". NOELLE We've been working on letters. Now he sees 'em everywhere. The adults take a look at the important find. INSERT: We see a large crack resembling the letter 'C'. END INSERT NOELLE (CONT'D) Well, good, Colt. That is a big "C".

33. HANNAH Hey there Colton. You're a very smart little boy. You must be about four years old? And Colton holds up the requisite four fingers. NOELLE Colt, go ahead and tell her how old you are. COLTON Uhh-uhh. NOELLE Having a four-year-old-shy-moment, I guess. Can you tell her about yesterday? Huh? COLTON We shopped for my bir-day. HANNAH Oh, when's your birthday? NOELLE Actually, last week. Moving, birthday, Weed's class reunion, everything happens the same week, of course. Well, we better get back to unpacking, don't you think, Colt? Daddy's gonna wonder what we were doing today. It's good to meet you. HANNAH Well, it's good to meet you, too. Noelle touches Sam's arm. NOELLE Oh, Sammy, you think you'll get started... like when? SAM I could start prepping anytime, today, even. NOELLE Well, feel free. You know where I am. Bye. SAM/HANNAH Bye.

34. Sam starts across the street but Hannah stands a moment and studies him. He looks back. SAM What? HANNAH Nothing. She follows. INT. HANNAH'S DREAM - NIGHT The same sequence plays in her head. NURSE I've come for the child. HANNAH Oh, I'd rather he just stay with me. NURSE I'm sorry, he's gotta go back to the nursery. HANNAH Please. I want to hold him. NURSE I'm sorry, he's got to go back. HANNAH He's my child and I want him right now. NURSE No. He's going back. INT. HANNAH'S BEDROOM - NIGHT Hannah awakens with a start. She looks to Sam, then to the clock. It reads 2:18 AM. She rolls to her side and tries to sleep. Her eyelids get heavy and she doses off. She awakens again, opening her eyes. HANNAH'S POV Two large insect-like eyes stare back at her. END POV She yelps and springs up. Sam sits up to attend to her.

35. SAM Honey. You OK? What's the matter? HANNAH I... just... I don't know. A dream, I guess. Oh... it's OK. Oh... SAM Jeez. Scared me. OK... He starts back to sleep. SAM (CONT'D) You sure? HANNAH Yeah... it's OK... I'm fine. They both lay down, but she is shaken. Again she rolls to her side, but her eyes don't close. She stares into the darkness. It is silent except for the telltale breathing of Sam. She stares. She listens. HANNAH'S POV A hole appears in the blackness out of which the eyes peer back at her. END POV She screams and sits bolt upright. HANNAH (CONT'D) Sam. SAM What?.. What is it? Honey? Hannah dives into Sam for safety. SAM (CONT'D) What is it? Tell me. What? HANNAH Someone is in here. I saw someone. Over there. SAM You're dreaming again. Honey... you're dreaming.

36. HANNAH No. I wasn't asleep. I know I wasn't. SAM Oh, hon, you're all right. You were dreaming. HANNAH Damn it, I wasn't dreaming. My eyes were open. SAM OK... OK... Nobody's in here. Look. See. Look around. You see? There's no one in here. HANNAH Sam, I saw someone. SAM Honey, it had to be a dream. Maybe a reflection in something... or... There's no one in here. I'll hold you, if that'll help. OK? From the safety of his arms she looks around the room. She lies down and he holds her close. Sam relaxes but her eyes are wide open. HANNAH Sam? SAM Hm? HANNAH Someone was in here. INT. WCIA STUDIOS - NIGHT Hannah delivers the end of the six o'clock news. She shows slight bags under her eyes and isn't on her game. Terry and Diane are on set as well. HANNAH ...all the way out to ten thousand digits... and all from memory. Pi, by the way, for all you who don't remember your geometry days, is the ratio of a circle's circumference to its diameter. She turns to Terry.

37. HANNAH (CONT'D) I'm sure, Terry, you remember all about pi, don't you? TERRY Sure do. Course, I don't remember passing geometry class, but I do remember that. DIANE The only pi I know is the kind that goes right to my hips, I'm afraid. HANNAH I think we all suffer from that one, Diane. And that's all for tonight. (beat) I may have to go get a slice of pie, now that we brought it up. The other two laugh is support. HANNAH (CONT'D) For all of us here at WCIA News Center Four, have a wonderful evening... and stay tuned for 'Night Lite' with David De Litt... that's David De Witt, excuse me, coming up. Goodnight. ED We're out... and clear. OK. Let's make turn-around. Hannah drags herself past Ed. ED (CONT'D) Hey, there. Just a sec. How you feeling? HANNAH Tired. I'm tired. ED Yeah... I see that. We won't call that our best night, I guess. HANNAH Ed, I'm sorry. I'm just tired today. ED Everything all right? HANNAH Yeah. Yeah.

38. ED OK. I don't want my first class ticket downgraded. HANNAH Ed, I'm not going to the network. I'm not. ED Um... let's just put it this way. You know the annual budget meeting I just love to hate every year? You know what I'm talking about? HANNAH Yeah. ED Well, this time we're not meeting at the Chicago office. HANNAH Yeah? ED Here. We're having it here. Corporate wants to come here. Why? I don't know. You know? I don't. HANNAH They're coming here? Hm.

ED "Hm" is right. Let's see. They comin' for the wild, Central Illinois night life? You think? But, if we have many shows like tonight, I don't know. HANNAH I got you, Ed. I'll get some sleep tonight. Maybe I can cat-nap before the ten o'clock. ED Yeah, why don't you try. EXT. PARKING LOT - NIGHT Hannah walks quickly to her car. The night is cool and the stars are imposing. She unlocks it and opens the door. She looks up to check the sky. The stars gleam back at her as if mocking her thoughts.

39. She shivers and quickly climbs in. INT. HANNAH'S BEDROOM - NIGHT Hannah cracks the door and enters. A large crease of bedding appears to be Sam asleep. She comes in quietly and walks to the bed. HANNAH Sam... Sam... Sam enters from the bathroom abruptly. SAM Hi, hon. She jumps. HANNAH Oh, God. Oh. Sam. SAM I'm sorry. I scared you. I was just peeing. I didn't mean to scare you like that. He pulls her into himself. SAM (CONT'D) Man, your nerves are jumpy. You are really on edge. Everything OK? HANNAH I don't know. I don't know. I'm not sure. It's... everything that's happened... but you're not believing it, so... She pulls away from him and goes to the bathroom to get ready for bed. SAM What? The eye thing from yesterday? HANNAH (O.S.) Yeah, and the dream, and the computer thing... all that stuff... it's getting to me. SAM Now, look, I'm not letting you put all those things in same basket. Nothing weird is going on. You're under stress. Maybe I been pushing (MORE)

40. SAM (CONT'D) too hard about the kid thing. Work and the network stuff, Ed... HANNAH (O.S.) Yeah, there's stress, but... SAM What? Female hormones... that's what I think. You need a good night's sleep. She enters in her nightie. HANNAH Well, I do. Yes. I really do. SAM OK, then. Let's get to bed. And no playin' the trombone tonight, OK? We'll just take it easy. They climb in together. She stays close to Sam and he puts his arm around her. She stares into the dark room. INT. HANNAH'S BEDROOM - DAY Hannah appears in the bathroom door, half dressed. She is tired and baggy eyed. LAUGHTER is heard coming from outside. She goes to the window for a look. Across the street, Sam wrestles with Colton on Weed's front lawn. Both are having a great time. Noelle watches, smiling, from the front window. Hannah drops the drapery and her eyes fall to the floor. INT. THE COSTAS KITCHEN - DAY Sam comes in the rear door to the kitchen where Hannah is leaning with exhaustion on the counter. SAM Hey, hon. HANNAH Oh, Sam... you want some lunch? SAM Yes, oh yes. Bring on the chicken salad. Hannah goes to the refrigerator and begins the process.

41. HANNAH So, how's it going over there? Sam picks up a new 'Astronomy' magazine. SAM It's all right... HANNAH How's Weed? SAM Hardly seen him. He's a doctor, a shrink, I guess. HANNAH Yeah? Handy when I have my break down. SAM Yeah... He chuckles at her. HANNAH How's Noelle? SAM Fine. He comes up from the magazine a moment. SAM (CONT'D) You know, that little Colton is sure a cute kid. Man alive. I was playin' around with him this morning... HANNAH Yeah, I saw. He goes back down. SAM Kids are so awesome... HANNAH Yeah, they are. How 'bout little half-breed kids like him? He comes up. SAM What?

42. HANNAH Well, you were so concerned about... racial status the other day, I'm just a little surprised. SAM Colton is a cool little guy. Really amazing. HANNAH Well, I'm not gonna deny that. SAM Yeah, he helps me work. He gets this little plastic screwdriver and hammer out and... you know, tries to help. It's really adorable. He goes back down. HANNAH How bout Noelle? She's adorable. SAM Oh, yeah. She really makes it easy to work over there. HANNAH Yeah. I bet. INT. WCIA STUDIOS - NIGHT Hannah is in the middle of the ten o'clock segment. HANNAH ...farm bill, yet to pass the house. Senator Norlon... excuse me, Norton... that is, Norman Thomas, Democrat from Iowa, said the Bill would likely be called to the floor after a nonprias... that's a non-partisan panel reviews the bill's major sticking points. The president is likely to veto any bill that does not contain a green inshina... initiative. And, I seem to be having some trouble with that story. (beat) In other news, local health officials are asking Springfield for funding to help eliminate the need... Ed cringes.

43. INT. WCIA STUDIOS - NIGHT The studio is empty except for Hannah and Ed, who sits on a stool watching her cast about the room. HANNAH OK. That's not an issue, Ed. ED Well, this last week or so... then what the hell is goin' on? HANNAH This has nothing to do with pregnancy or hormones or any other fucking... I'm sorry. OK? ED? I'm not myself, I'm not sure why. Can we just, ah, forget this week... and... ED Damn it. Hannah... I'd forget it if network wasn't sorting through our trash every night. When corporate wants to know, I gotta answer something. HANNAH Ed. Just... I... I don't know. Just, hell, tell 'em... whatever you want. You know, I'm not really lovin' this job right now, anyway. ED Come on. Don't say stuff like that. Look... ah, a couple days... how bout? HANNAH Couple days what? ED Off. Off, that's what I'm sayin'. You need some time to... whatever. HANNAH Hell. I don't need time off. Not now... with the network watchin'... ED You're doin' more harm to yourself than good, right now. She is pissed and kicks a case on the floor.

44. ED (CONT'D) Oh, come on, you got the flu. That's all anybody is gonna think. That'll be my story. And you got vacation time... HANNAH OK. Fine. Two days. Who's gonna... ED Lynnette. I've already lined her up. Hannah deflates. She snags her bag and stomps out. As she heads to her desk she passes David DeWitt taping in studio B. David has GUEST 1, GUEST 2, and GUEST 3 on his panel. The discussion emanating from the hall speakers stops her in her tracks. DAVID DEWITT Now... all three of you say you've been abducted, right? GUEST 1 Yeah, oh yeah. Ah... it's not something you really want to admit to. GUEST 2 Like, none of us are like, proud of it. We gotta live with the... fear. GUEST 3 Terror. Hannah opens the door quietly and enters the studio. Studio personnel glance up, but ignore her. She is mesmerized by what she is hearing. GUEST 1 Terror is right. These guys are creepy looking... God... it's... GUEST 3 Terrifying. GUEST 1 Terrifying is right. They got no emotions, either. They're really creepy.

45. GUEST 3 I struggle everyday, you know, with the fear. I know it's the hardest part of the day, going to bed, for me. DAVID DEWITT Well, I was gonna ask about that. GUEST 1 Oh, all of us, I bet, dread going to bed at night. I don't know if you can imagine what that's like... to be afraid of your own bed. DAVID DEWITT You all feel that way? ALL GUESTS "Yeah". "Oh, Yeah" "Yeah". DAVID DEWITT But it's something we all have to do, right? Sleep. So, what happens? Are you awake the whole time or...? GUEST 2 I'm awake. I mean, I try to stay conscious... what about you guys? GUEST 1 Well, they use mind manipulation to try to keep you from knowing about what they're doing to you. And that's the way they communicate, too. GUEST 3 Oh, yeah. Grays don't talk out loud. GUEST 2 Yeah, they use telepathy to, ah... talk to each other... and to you, if they want. DAVID DEWITT So, this 'mind' manipulation thing... is it... well, what is that? GUEST 1 I imagine there are lots of, ah, people watching out there that are being abducted and never know about it. Aliens can manipulate your thoughts.

46. DAVID DEWITT Yeah, so... what, exactly, do you mean by manipulation? GUEST 1 They can replace your thoughts with... a halluci... GUEST 3 Hallucination. You think you're asleep in bed the whole time. I mean, if you wake up, you think you're in your own bed. DAVID DEWITT Wait. Wait. If you think you're in bed, how can you be sure, then, that... GUEST 3 Oh, you have to work to see through it. You have to, like, fight the... telepathic... whatever they do. But you can see through the... the hallucination. GUEST 1 What she's saying is that you can train yourself to... ah... kinda fight the hallucination... focus your thoughts and see the whole thing... be aware, if you want to or you know how to. GUEST 2 It's scary. GUEST 3 And the aliens, they're not perfect. I mean, they mess up sometimes just like we do. That's how I first became aware of the whole thing. DAVID DEWITT What was that like? When you first find out? GUEST 1 Oh, God, I think the first thing you notice are the eyes. OTHER GUESTS "Oh, yeah, the eyes." "The eyes, hell yes." "It's the eyes."

47. Hannah watches intently. INT. HANNAH'S BEDROOM - NIGHT Hannah sits in front of the computer finishing her talk with Minnie. MINNIE Look, he's a butthead male. If God made men sensitive they'd all be gay, right? We'd all be sittin' around talkin' about fabrics or something. So, what you got there is a straight guy with the sensitivity of a tree stump. Nothing abnormal about that. I don't think you gotta worry about him. HANNAH Yeah... yeah. Hey, sis, you're the only thing keeping me sane. Keep it up, OK? And just ignore what I said earlier. I'm just tired. MINNIE Hey, get to bed. I gotta get to work, anyway. Love ya. HANNAH Love you, too. I'll let you know. I got another doctor's appointment tomorrow. I don't even know why I go. MINNIE 'Cause tomorrow isn't today. That's the only way we keep goin' over here, telling ourselves that every day brings new possibilities. OK? HANNAH Yeah... bye. MINNIE Bye. Hannah begins to 'x' out of the program but changes her mind. She cranes her head around to see Sam in bed. She readjusts the web cam to get as clear a shot of the bedroom as possible. She hits record. INT. DR. LEE'S OFFICE - DAY Dr. Lee enters from the hallway. Hannah sits.

48. DR. LEE Happy day. Yes, is a happy day. HANNAH What? Dr. Lee holds out the test results. Hannah examines them. HANNAH (CONT'D) What? You're kidding. This is accurate? DR. LEE Well, yes, is accurate. You test positive for implanted embryo. Congratulations. This is happy day for the Costas family. But Hannah shows no sign of joy. DR. LEE (CONT'D) I did not think it was gonna happen, to be honest. Very fortunate you are, Mrs. Costas. One in a million chance. HANNAH Yeah... ah, I'm pregnant... what... my God... DR. LEE Tonight your husband, he want to celebrate, no doubt. Have a nice steak, but let's not have sex for a little bit. OK? Usually no problem when you are pregnant, but newly implanted embryo can be shaken loose... But, Hannah's thoughts are elsewhere and the Doctor's voice fades from consciousness as she stares off into space. INT. HANNAH'S BEDROOM - DAY Hannah enters the bedroom and walks with purpose to the computer. She rewinds the recording from the night before and searches it carefully. Finally, she stops dead and stares. HANNAH Oh, my God.

49. HANNAH'S POV She runs the recording forward. Suddenly, a shape seems to move quickly past the door. It isn't much, still ambiguous, but more solid than before. The time stamp reads 2:18:14. END POV She closes the window and reopens the recording from last week. She finds the spot with the phantom image. HANNAH'S POV "2:18:21" reads the time stamp in the corner. END POV HANNAH (CONT'D) Two eighteen. Oh, my God. We hear a DOOR CLOSE downstairs and SAM'S FOOTSTEPS on the stairs. SAM Hey, honey? You up here? Hannah pauses as she considers telling Sam. HANNAH Yeah. She x's out of the window. He enters the bedroom as she leaves the sitting area and enters the bedroom proper. SAM Hey. I was watching for you, from Weed's bathroom window. You snuck by. Well, what'd she say? Any luck this month? She considers a moment. HANNAH No. Not yet. INT. HANNAH'S DREAM/BEDROOM - NIGHT She has the dream again. SAM Oh, honey, he's saying how much he loves you. Listen to that.

50. HANNAH Oh, my sweet little boy, yeah, mommy and daddy are right here. Yeah... mommy's gonna take care of you, oh yeah, yes she is. A nurse enters. SAM Honey, I love you... I can't even say... Suddenly, the alarm beeps excitedly and she is jolted from sleep. She is wide awake immediately and on her guard. Sam is disoriented. The clock reads 2:18. SAM (CONT'D) What? What? What time is it? What's going on? Hannah quickly turns off the alarm and looks suspiciously around the room. HANNAH It's OK, honey. It's just a mistake, I'm sorry, go back to sleep. SAM Hell, that scared me. I thought there was... was some... but... His words fumble away into slumber. Hannah studies the room... Sam, the dresser, the window, the pictures on the wall... it is serene and safe. She lies on her side staring into the room. Her thoughts are focused, her mind is struggling to ignore the concrete appearance of the scene before her. HANNAH'S POV The eyes fade into view through a black hole ripping open in the fabric of space. She gasps and starts to panic. The eyes retreat into darkness, but she struggles to bring them back into view. END POV She fights to stay conscious while the scene bleeds in and out of sight... she is hovering over the bedding, a Gray standing over her and drawing her up with the power of his thoughts.

51. No, she's in the bedroom, lying on her side, the bookshelf and window offering their security. Now she hovers as the gray mentally pries open a hole in the fabric of spacetime. She fights to stay in the here and now, the scene flickering in and out of view. The tear becomes a rectangular window cut into the emptiness of the space above her bed. Through it she sees a laboratory, other grays, odd shapes of solid matter. It's gone. It's back. Her face winces with the struggle. She opens her mouth to scream, but paralysis deadens her nervous system. She fights to move the muscles in her neck and can barely manage a slight turn of the head as she is plunged through the portal to the waiting ship. We see another gray standing sentinel at the foot of the bed. Sam is alone in bed, Hannah having been abducted. Sam sits up and turns to Hannah. SAM'S POV Sam sees Hannah asleep next to him. END POV SAM (CONT'D) Honey... HANNAH IMAGINED Mmmm? SAM Shhhh... go back to sleep. Sam scans the dark room. SAM'S POV He sees his room, warm and safe, but not the gray. END POV He rolls over and drops back to sleep. INT. ALIEN LAB - NIGHT Blackness fades to gray... to light... to intense light. The eyes stare without emotion in her face. She lies on a gurney of sorts, unrestrained but immobile.

52. Grays glide silently around her. She is just able to turn her eyes toward her feet. HANNAH'S POV We see her legs pulled apart as a gray examines her vaginal area. A small but frightening looking utensil floats to his hand by telekinesis and he inserts it. Hannah is helpless and about to burst with the intense pain and anger. END POV She struggles against the power of the gray's mental energy. Blackness again. The light explodes and time has passed. Blackness. Light. Blackness. Light. Hannah pops in and out of awareness of her predicament. Finally, the intense blackness eases into light and she is comfortable and her body relaxes. She lies on a gurney in the alien lab, unfettered, and now able to move freely but without being able to arise from the table. She no longer struggles, and can see her environment more clearly. HANNAH'S POV Her eyes scan the room. It is an odd blending of blackness and light. She is alone... almost. Her eyes light upon a figure standing a few feet away from her head. He is a gray, but different, somehow. His insectlike eyes do not drip the cold, passionless glare of the others. He does not frighten her. She will come to know him as GALEN. He watches her. An almost discernable hint of a smile lingers on his mouth. Hannah feels at ease. Suddenly, she hears her own voice, though her mouth does not move. HANNAH (V.O.) Thank you. The sound of her voice startles her. Her thoughts are being listened to by the kindly gray. GALEN (V.O.) Hmmm. Relax... Be comfortable. Hannah smiles. Suddenly... It is morning. She is in her bed.

53. INT. THE COSTAS KITCHEN - DAY Hannah is slumped in a chair at the kitchen table. Sam comes in from the garage. SAM Hey, hon. Got lunch? HANNAH No. Not really. SAM You OK? Not feeling well? I'll make it. HANNAH Honey, I'm not hungry. SAM You sure? I'll get you some... HANNAH No. I'm... fine. Just make yourself something. SAM You gotta eat. Doctor Lee wants you to get your vitamins... HANNAH Sam, don't. OK? I'm edgy. SAM Sure... yeah. You're allowed. (beat) Sure it's not morning sickness? Her eyes well up. HANNAH Sam. I... shit, I don't know... I... SAM OK... OK... ah... can I do something for you? HANNAH Yeah. I want you to stay home. Today. This afternoon. OK? SAM Ahhh... sure. Yeah, I gotta go tell Noelle. I kinda promised Colton I'd watch him do his somersault on the (MORE)

54. SAM (CONT'D) trampoline he got for his birthday but, that's no... He can do that tomorrow. HANNAH No. No. Fine. Go to the damn gymnastics show. I don't care. SAM Well, it's not just Colton... I'm in the middle of hanging some drywall... Sam realizes she is weeping quietly at the table. SAM (CONT'D) Hannah... hey... I'm sorry. I'll stay or do whatever. You're more important... HANNAH Shut the hell up. Shut up. God... I just want this to end. Oh God, I can't do this. I hate everything. SAM OK, this is one of those 'talking' times I don't do so well. Um... You're dealing with stress, I know, a lot of it and... HANNAH Sam, I don't need you to talk. Just... shut up and... SAM Sure, hon. I'm here. What? HANNAH I've gotta say something. It's really hard. It's real hard. I'm... God. He tries to hold her but she rebuffs him. HANNAH (CONT'D) I need you to believe me. OK? Just accept what I tell you. OK? (beat) I can't do this. SAM Let's talk. Go. I promise. I'll believe you.

55. HANNAH No. You won't. You'll put on that damn fake look and say whatever... damn it, you won't believe me. I need someone to believe me... SAM Honey, sure I will. HANNAH Damn it. Damn... I... ahhhhh. (beat) Sam, I'm being abducted. SAM Honey, you... OK. You think you've been abducted. By... what? Aliens? HANNAH Fuck you, Sam. Fuck you. God... help me. Go away. Just get away from me. Oh, God, go away. Sam deliberates. He tries to touch her. HANNAH (CONT'D) Go away. Go. Go. Get out of my house. Get out. Please. I want you to go. I want to be alone. SAM Honey, I want... HANNAH GET OUT! Sam hesitates. He retreats to the door. She weeps. INT. THE COSTAS LIVING ROOM - NIGHT Hannah sits in a chair awaiting the inevitable. A mantle clock strikes 2:00 AM. She sighs and waits. INT. THE COSTAS LIVING ROOM - NIGHT Hannah sits in a different chair, waiting. The clock reads 2:17 AM. Tears fill her eyes. She jumps up and runs to the door. She dashes into the front lawn and down the block, tears dripping from her chin. A police car rounds the corner on patrol. She runs hysterically toward it. She can see a concerned police officer rolling down his window to help.

56. The policeman's face melts into the harsh, burning stare of a gray. She screams and darkness envelopes her. INT. ALIEN LAB - NIGHT Bang. She is on the table as before. The street and policeman's face fade in and out. Her body is paralyzed. Pain oozes from her and her hate fills the room. Suddenly, her manner changes and she focuses her attention on what she is doing. Her hand flies out and slaps the instrument of torture from the gray's hand. This sends confusion among the grays and the temporary lapse allows Hannah to scream out. HANNAH Ahhhhhh. She lifts her head with difficulty and manages to spit in the direction of the gray doing the exam. She is thrown back to the table and pinned there by the mental energy of the grays. They try to recover their procedure, but Hannah's mental strength challenges them. She struggles and gets off a kick, hitting the examiner. He recoils in pain. Her thoughts become audible in the room. HANNAH (V.O.) I Hate you. I want you to burn in hell. She spits another well placed shot. HANNAH (V.O.) (CONT'D) Die. I want you all to die. I want you all to suffer. I hate you. I hate you. Blackness surrounds her. As before, the darkness gives way to gray, then light. She is alone again with Galen. He now stands where she can view him. Her demeanor is calm. GALEN (V.O.) You are safe. Don't struggle.

57. HANNAH (V.O.) How are you talking to me? I hear you... inside me. GALEN (V.O.) I do not wish you discomfort or harm. We do not communicate with words. HANNAH (V.O.) How do I understand you? GALEN (V.O.) We communicate by thought and sensation. We have no language. What you hear are my projected desires translated by your brain into recognizable concepts. It is actually you who supply the words and syntax for your conscious mind. Please feel relaxed and safe. I wish you no harm. HANNAH (V.O.) Who are you? GALEN (V.O.) We have no names. We are known only by the mental energy we each emanate. We all have unique mental constructs. HANNAH (V.O.) There is a sense of... comfort in this room when you are here... of healing. 'Galen'. May I call you that? GALEN (V.O.) You may name me as you wish. (beat) They are coming back. You will be home soon. HANNAH (V.O.) Why are they doing this? What do you want? GALEN (V.O.) It is necessary. I do not like the methods we must use, but we are bound by our circumstances. Now, they are coming. As she looks to him, he slowly fades to blackness. She awakens in bed. It is morning.

58. EXT. WEED'S FRONT STEPS - MORNING We see Sam talking to Weed. Sam appears distraught; Weed, sympathetic. We pull back to see Hannah watching from the bedroom window. She stares blankly at the scene. INT. THE COSTAS KITCHEN - DAY Hannah sits with a cup of tea. Sam comes in from the garage, sees her, and approaches with caution. SAM Hey, hon. How you feeling? HANNAH Fine. SAM Good. Look, I'm gonna try to apologize for yesterday... ah, but, I'm afraid I won't be able to say the right... well, I guess... it's like, well, my brain knows things my mouth can't say. HANNAH Yeah? SAM Yeah. Look, I believe you. What you tell me... I believe you, OK? I want you first to know that. HANNAH Hmm. SAM Now, I hope you know how much I love you. Do you? I'm afraid you don't believe me. I really, really do. HANNAH I know. SAM Well, can we talk, then? I mean... I'll listen if you want to talk, or, even just yell at me. I deserve it. I'll listen if you want.

59. HANNAH Weed tell you to say that? SAM No, OK. I want to do something to help? HANNAH Yeah. SAM Honey, I really want to help. HANNAH I know. SAM So, can I do something? Can I... I don't know, get you anything? HANNAH I'm fine. SAM I don't believe that. (beat) I mean, I believe you think you're... shit, you know what I mean. I'm concerned about you 'cause I love you so much. HANNAH Sam, there's nothing you can do. SAM God, I'm afraid, maybe... HANNAH What? I'm crazy? SAM No, hon... HANNAH Sam, it's no use talking. My head knows things my mouth can't say, either. SAM Well, can we try? She sits. Silence. SAM (CONT'D) OK. Ah... you've been abducted. So...

60. She wells up with tears. HANNAH Don't, Sam. I don't want to talk. SAM Why? Why not? HANNAH It's just... you won't get it. SAM What, Honey? You gotta tell me first... HANNAH Shit, Sam, I'm carrying a baby. His mouth drops. HANNAH (CONT'D) Sam, it's not... this isn't human... SAM What? What? HANNAH Sam... I'm being abducted... every night. I'm carrying a... a... I don't know... this thing. They did it. She wails and weeps, completely lost. He stares. SAM OK, you're my wife, and I don't care at this point how you feel about it. Weed thinks I need to take you to the hospital. So I'm going to take you there. I'm going to make you, for your own... Hannah screams through her weeping. Sam tries to take her by the arm, but she shoves the table between them. HANNAH You think I'm crazy. Damn you. I'm not going to a mental ward. You're not making me. God, I hate this. Don't touch me. Hannah pushes through the door to the garage and escapes. Sam makes it to the door, but does not pursue. He cries.

61. EXT. A COUNTRY ROAD - DAY Hannah sits at the wheel of her car on a deserted rural road. Woods patrol peacefully outside one window. A stand of corn can be seen out the other. Hannah sits, emotionless. She relaxes... then hears a voice. Hannah. GALEN (O.S.) Do not feel afraid.

She turns to see the gray standing a few feet from the car near the trees. She gets out of the car and approaches him. Hannah speaks aloud though Galen speaks telepathically. GALEN (V.O.) Hannah. I want to comfort you and help you heal. HANNAH Why am I being taken like this? GALEN (V.O.) I am aware of your fears... discomfort... anger about all that is happening. Only I, among my people, carry a remnant of emotion. I understand you. But what we do is necessary. HANNAH You're all horrible... destructive... GALEN (V.O.) Our existence is harmonious and unified. Without emotion we have no discord. HANNAH You're brutal... why are you doing this to me. GALEN (V.O.) I want to comfort you, Hannah. Please believe I would not let this happen to you if it were not of grave importance.

62. HANNAH You can't violate me! I hate all of you. GALEN (V.O.) You carry a hybrid child. Your pregnancy is the culmination of much effort. Your child is vital to us. His unique genetic sequencing will help us survive. HANNAH You're wrong. This child is not vital... for anything. You can all perish and burn in hell and I'd still spit on you. GALEN (V.O.) Deep inside me, I struggle with the need to help you. I am weak that way. HANNAH It's called compassion. We consider it a great virtue. GALEN (V.O.) I am suffering with this desire but I don't understand what I might do. HANNAH Help me escape, or fight them or... GALEN (V.O.) I can not help you like that. They know your mental energy and will find you wherever you might try to go. It is useless to hide or flee. You should submit and allow them. It will be easier. HANNAH Why are they doing this to me? GALEN (V.O.) Our actions are a logical extension of our situation. That is all I can say. I will try to comfort you, that is all I can do. If you submit willingly, it will be easier. A dark hole begins to form behind him and we see the alien ship interior through it. He begins to draw back into the portal.

63. HANNAH I won't submit. Damn you. Damn all of you. I won't let you do this to me. But he is now on the ship and the window pinches closed between them. INT. DR. LEE'S WAITING ROOM - DAY Hannah enters the empty waiting room and attacks the RECEPTIONIST. HANNAH I have to see the Doctor. RECEPTIONIST We don't have any more appointments today, Mrs Costas. We were just getting ready to... HANNAH I have to see her. Right now. RECEPTIONIST Well, she's ready to go home, I believe. Is this an emergency? Hannah ignores her and walks directly to the door leading to the exam rooms. RECEPTIONIST (CONT'D) Mrs. Costas. Mrs. Costas...please... But Hannah is through the door. INT. DR. LEE'S OFFICE - DAY Hannah bursts into Dr. Lee's private office. HANNAH Doctor... DR. LEE Yes... Mrs. Costas. What is the matter? Do you have a problem? HANNAH I want to terminate. DR. LEE What? Is it a problem with your husband?

64. HANNAH Just... just... I have to terminate, please. I have to do it this afternoon. DR. LEE Well, I can not. HANNAH Please. I'll pay more than your usual fee... whatever. I know this is sudden. DR. LEE Mrs. Costas... you are upset, I see, but you must give yourself some time. But, I will not terminate pregnancy. I do not do abortions. I think this baby, this life, a sacred thing... HANNAH You or someone else. I am going to do this. Who'll do it? DR. LEE It is your right, I understand. I will refer you, if you are determined, but you must think first. HANNAH Please, skip the lecture and moral posturing, OK? I will not carry this... this. DR. LEE Excuse me, but you burst in my office. I WILL lecture in my own office. At conception of child, two cells with life span measured in hours becomes being with potential life of ninety years. It is moment of great miracle. Life is miracle. You must think long time... long time first. OK? HANNAH Honestly... I don't care right now. I'm going to do this. DR. LEE Well, no clinic open now. It is late. No doctor will do it. It is suppertime. Emergency room not do it, either, unless your life is in danger. You must wait until tomorrow, (MORE)

65. DR. LEE (CONT'D) anyway. So you go home to husband and talk long, long time about... Hannah runs weeping from the room. INT. THE COSTAS KITCHEN - NIGHT Sam sits at the table, waiting impatiently. The sound of the FRONT DOOR is heard closing. He waits. Hannah enters the room. HANNAH You're here. I called in sick. I thought you might be... SAM What? I'm not gonna wait for my wife to make some sort of explanation? I started to call the police eight times. God, how embarrassing that would've been... watching the six o'clock news while they say you've gone psycho. HANNAH I just thought you might've gone to your brother's or Reggie's or someplace... SAM Shit. I'm gonna go swimming or something? You think this was a vacation day? What am I supposed to do, huh? God, I've been here assuming the worst for three hours. HANNAH Sam, I'm gonna try to talk to you... without emotion. I'm gonna try. I need you to listen without emotion, OK? Just... listen and try not to have any feelings about what I say, OK? SAM I love you, so I can't promise I can do that. HANNAH Try. Emotion can sometimes be a trap. So if you can strip away the judgment and the negative and the preconceived (MORE)

66. HANNAH (CONT'D) and just hear my words, we need to talk. Can you try? Sam acclimates himself to this idea. SAM OK. HANNAH I know how you must be wondering what is going on with me. I know you think hormones or stress or, God, I'm afraid, maybe an affair or something must be twisting me up. None of those are the problem. OK? None. He nods, listening intently. HANNAH (CONT'D) OK. This is probably the hardest thing you're ever gonna have to accept by faith. I don't blame you for your doubt. I understand because I wouldn't be able to accept it either, OK? I know that. SAM Yeah... HANNAH I am being abducted by creatures... gray type aliens. It happens nightly, around two-eighteen every morning. He makes no response. HANNAH (CONT'D) Yes, I know it's... fantastical. SAM Wouldn't it wake me up? HANNAH These beings use mind control. They can mentally broadcast an hallucination. They leave one of their kind behind in the room. If you wake up, you will experience an illusion... fully tactile, visual... it will appear to you as if I am there... there next to you. But it's not real.

67. SAM OK, then how could I even know if what you said is true? I wouldn't be able to tell, so... HANNAH You can. They can impose this experience on you, but, they aren't perfect. You can see through it... ignore it if you focus you mind hard enough, like, refuse to believe what you see and feel and just kinda stare past it. SAM So, is this gonna happen again, like tonight? HANNAH I think so. I am afraid. It is so frightening... She shakes with fear and he puts his arms around her. SAM Can I hold you? HANNAH Yes. Oh, yes. Don't let me go there again, Sam. Hold on to me. INT. HANNAH'S BEDROOM - NIGHT Hannah sets the alarm on the side table. Sam is in the bathroom. SAM (O.S.) Honey, you want to sleep somewhere else? I mean, we could sleep downstairs or a hotel or something. HANNAH No. No. That won't help. SAM (O.S.) We could hide out somewhere. It could be fun. HANNAH It won't help. You can't hide from this. Sam wipes his face with a towel as he walks casually into the room wearing his boxers.

68. SAM We could stay up all night, watch info-mercials and neck? I'll take you early to IHOP? HANNAH We have to sleep sometime. I'm just gonna have to face it. SAM How long is Ed giving you? HANNAH Indefinitely. I'm on assignment as far as anyone knows. SAM 'Cause I was thinkin' we actually could go see Minnie, you know. HANNAH No. Not now. Sam climbs into bed and wraps his arms around her. SAM You feeling safe? We'll sleep just like this. HANNAH Yeah. SAM Nice and safe... HANNAH Yeah... (beat) Sam, I'm terrified. She stares into the darkness. INT. HANNAH'S BEDROOM - NIGHT The clock on the side table reads 2:17 AM. Hannah and Sam sleep very much as before. We see the clock change to 2:18. The alarm screams. Hannah and Sam jolt to awareness. HANNAH'S POV The eyes of a gray seem to fill her view. The rest of the creature fades in.

69. END POV Hannah feels herself become immobilized as the gray works his mental anesthesia. This view fades as: Sam looks frantically to his side, reaching out to touch Hannah who appears to be sitting up in bed next to him. SAM Hannah. Oh, God. See, honey. See. It's all right. Jeez, that alarm. Did you set that? HANNAH IMAGINED I'm sorry, hon. I'll get it. I'm feelin' a little dumb, I guess. OK? I'm all right... I'll be OK. Sorry. SAM Here, get over here. I like to feel you by me. Yeah. HANNAH IMAGINED Honey, I love you. Will you forgive me? I'm feeling dumb. SAM Well, maybe you are, a little, but I love that about you. Let's get back to sleep. And she relaxes at his side. He remains holding her and we can see her there beside him, but reality bleeds in on top of the tranquil scene. Hannah hangs elevated above the bedding while a gray stands over her, controlling her with his focused attention. Hannah struggles against the paralysis trying mightily to awaken Sam. She is moving toward the opening portal. She fights to get out a sound, but nothing will come. Her feet break the plane of the portal and can be seen Re-materializing in the distant lab. She can barely move her head and her expression tells of the herculean battle within her. She plunges deeper into the portal. She fights. Just as her arms are completely engulfed, she finally manages a hand to leave her side and catch Sam's leg.

70. Sam rouses and looks at Hannah next to him. We can see the gray still present in the room controlling his vision. He lies back down a moment. Hannah is mentally pulling herself back into the room through the portal. Her arms are slowly emerging as Sam takes one last look at the hallucination sleeping beside him. SAM (CONT'D) Honey? HANNAH IMAGINED Huh? SAM Nothing. Go to sleep. He slowly relaxes back to his prone position but doesn't close his eyes. Hannah is trying to contact him with all she has. Sam turns his gaze once more to he room. He surveys his surroundings but doesn't see the frantic form of Hannah just inches from him. SAM'S POV The room is peaceful. Hannah's light BREATHING can be heard as she slumbers next to him. He strokes her arm... she is so very real and solid. He smiles and reclines. END POV Hannah is absorbed by the portal. INT. ALIEN LAB - NIGHT Tears are streaming down the cheeks of the paralyzed woman. Three grays stand at her feet as a steel spreader moves, untouched, between her legs. She is in tremendous pain. Another steel probe levitates and floats to the hand of the middle gray. He inserts it as Hannah mentally screams out in pain. HANNAH (V.O.) AHH. GALEN (V.O.) Be at peace. The pain is gone, you are relaxed and at ease. Galen communicates with her from a distance.

71. HANNAH'S POV She can see him through an opening portal above her like some angelic visitation. GALEN (V.O.) (CONT'D) I want to help you. Please, be calm. HANNAH (V.O.) Oh, God. Help me. Help me. Don't let this go on. Please. GALEN (V.O.) Let me block your thoughts. You will feel no pain. HANNAH (V.O.) No. Get me out. Save me. God, ahh. Save me. GALEN (V.O.) I hurt for you. Please, be comforted. Let me block out the suffering. I can ease your pain. END POV The grays move a large object into position for another exam. Hannah can see it and calls out in fear. HANNAH (V.O.) Oh, no. Oh, God, no. Help me, please. As the machinery is inserted her pain is unbearable. HANNAH (V.O.) (CONT'D) Ahh... GALEN (V.O.) I want to help you. You are suffering too greatly. Please... I do not want you to suffer this way. HANNAH (V.O.) Help... oh, God, help me... Suddenly an exploding shock wave sweeps the room from Hannah outward. The power of Galen's mind blows the machinery and the grays to the floor. A portal above her opens and Galen draws her to himself as he returns her to her bedroom.

72. INT. HANNAH'S BEDROOM - NIGHT Hannah tumbles through the portal onto the bed awakening Sam with a start. His imagined Hannah fades from his view. He sees Galen and the other gray at the end of the bed and Hannah writhing with pain next to him. He instinctively throws himself over Hannah to protect her from the creatures. SAM Oh, my God. The gray regains control of Sam. SAM'S POV The commotion around him and the grays fade from view as bedroom becomes still and serene. END POV He shakes his head to clear his mind. SAM (CONT'D) Oh, my God, I'm dreaming... Hannah hits him to get his attention. SAM (CONT'D) What...? SAM'S POV He focuses his attention on imagined Hannah and she fades away to reveal reality. END POV Sam screams out and grabs wildly at a heavy object from the side table. He throws it at the gray. Just before impact, it stops midair, hovers a moment, and drops to the floor. An instant later, a heavy bookend from a nearby shelf flies from its position and strikes the gray with a thud knocking him to the floor. The object immediately flies to Galen's hand and he raises it as if to strike the small creature again. Before he has time to bring the object down, a picture flies from the wall and smashes against him. A chair then catapults across the room toward him, but deflects as Galen's mental power intervenes.

73. The gray arises as a side table lifts from the floor and hurls at Galen, it freezes mid air and a battle of minds ensues as the two mentally wrestle with the hovering object. Suddenly Galen ceases his push on the table and it accelerates forward, smashing against him. But, as it does, the light fixture above the gray cascades downward from above, the glass exploding as it strikes down the creature. Simultaneously a massive dresser rocks forward from the wall, overturning and pinning the now dead alien to the floor. Hannah screams and looks to Galen, who appears dead, on the floor. Sam rises from the bed, grabs a splintered piece of wood, and starts to attack Galen. HANNAH Sam. No. Stop. Don't hurt him. He's the reason I was able to get away. GALEN (V.O.) Hannah. There is rage within me. I cannot control my feeling. His face registers the runaway emotion. GALEN (V.O.) (CONT'D) I am afraid of what I have done. Sam turns to the bed and kneels, taking Hannah in his arms. Galen stands. SAM Honey. I'm so sorry. What is happening? Are you all right? GALEN (V.O.) They will arrive very soon. They will take you and you won't stop them. HANNAH Isn't there anyway of escaping? What can we do? GALEN (V.O.) They know your mental signature. Your emotional state will give you away. SAM Is there anything we can do?

74. GALEN (V.O.) You are at the mercy of your emotions. HANNAH Oh, God, I'm afraid. GALEN (V.O.) You must run. They are coming. Sam helps Hannah from the bed. SAM Come on. I gotta place. Hannah runs to the hall as a portal begins to form behind Galen. GALEN (V.O.) Sam. Sam turns back briefly. GALEN (V.O.) (CONT'D) Protect them. Sam turns and runs as the gray fades into oblivion. EXT. WEED'S FRONT LAWN - NIGHT Sam and Hannah run toward Weed's front door. Sam pulls a key from his pants pocket and unlocks the door. They enter quickly and he shuts and locks it behind them. INT. WEED'S HOUSE - NIGHT SAM They went to Pennsylvania to close on their old house. They gave me a key to work while they're gone. Come on. They quietly make their way to the interior of the dark house. Sam locates the basement door and they descend. HANNAH We have to get control of our emotions. Sam, we've got to relax. Sam motions to her to follow and they crawl into a dark corner with boxes and crates of unpacked household goods stacked around them.

75. EXT. STREET - NIGHT The shadowy forms of grays filter through the streets. INT. WEED'S BASEMENT - NIGHT The two figures hide in the gloom. HANNAH Sam. I can't do this. I'm too frightened. SAM Shh. LIGHT MOVEMENT is heard coming from above and they stiffen. The faint sound of a DOOR OPENING is heard and the two become absolutely still and silent. FAINT SOUNDS betray movement at the top of the stairs. Moments tick by and the sounds approach slowly. Sam silently peeks past a box. SAM'S POV Between two crates he sees ambiguous movement. END POV He pulls his head back. The faint sound of FOOTSTEPS is heard shuffling nearby. It gets closer and closer. Sam puts his hand on a large, heavy stack and prepares to shove them on their assailant. Suddenly, light floods their faces. SAM'S POV The intense glare blinds him. END POV They shield their eyes from the light. WEED Shit. What the hell. Sam. I almost shot you. What are you doing? Weed stands with a flashlight and a hand gun trained on the intruders.

76. SAM Weed. We thought you were gone. WEED No. No. I had to stay behind. Noelle took Colton back to sign some paperwork. What the hell are you doing in here? HANNAH Shhh. Please, Weed, please. We need for you to be quiet. Please. WEED Are you two OK? What? Why? SAM Shhh. We had to hide. I'm sorry. We're in danger. OK? Please, just believe us. WEED What? Who? He looks around the basement with the light. SAM Turn it off. WEED OK. And he does. WEED (CONT'D) What the hell is going on? Would you tell me? What is happening here? But a SOUND is heard from above. They all freeze SAM (whispering) Shit... WEED (whispering) Hell... who is it? HANNAH (whispering) Shhh. Weed raises his weapon and moves silently toward the stairs.

77. WEED (whispering) Stay. He stands to the side of the stairway awaiting an opening door. Another slight noise reveals that something is near the top of the stairs. Weed tenses. Seconds pass. Finally, the door opens. Weed turns into line with the stairs and pulls the trigger. The bloodied body of a gray cascades down the stairs. WEED (CONT'D) My, God... A portal opens and a gray steps out... then another... and another. Weed turns the gun on each in turn and blows them away. Suddenly the gun flies from his hands, striking the wall and falling to the floor. WEED (CONT'D) Oh, my God... WEED'S POV The horrific sight of the grays gives way to a quiet, empty basement. END POV He stares around the basement. WEED (CONT'D) I'm asleep. God... that was so real. Just as suddenly, he lies on the ground, boxes scattered where Sam has toppled them on him. He sees the grays again and screams. WEED (CONT'D) Ahhhh! Weed struggles toward the stacked boxes, grabbing one that clearly reads "Kitchen Utensils" across it. He hurls it at two grays, but it stops in midair then accelerates backward smashing Weed solidly in the gut. His face contorts with agony as he collapses. Several large knives impale him, sticking him to a pile of boxes.

78. Sam topples a mountain of cartons on the grays as he makes a dive for the gun. He comes up with it but the falling cartons explode outward leaving the grays standing before him. He lets loose with a round and one gray splatters on the wall. He turns to the second but the gun twists violently in his grasp. He fights to hold on with both hands. The weapon slowly twists up and back until it points at his face. The grays push Sam's finger slowly down on the trigger. Sam fights mentally. But, Hannah grabs a snow shovel among the items and smashes one to the floor. She swings it wildly at the others. They momentarily turn their attention to deflecting it. This gives Sam second he needs to blow another away. SAM Come on. Hannah leaps to his side as a gray begins to refocus his attention. The gun again twists violently but Hannah grabs his hands and adds her strength to his grasp. Together they force his aim in the direction of the creature. Sam struggles to pull the trigger. Their combined mental and physical strength finally get the trigger depressed. The bullet blows off the gray's left arm. The creature reacts to the pain and emits a strange squealing noise. GRAY (V.O.) Eeeee. Portals begin to form. Sam swings the gun toward one and annihilates a gray. Then another. One more But the gun clicks the report of an empty chamber. He grabs Hannah and they fly up the stairs. Sam shoves open the door and freezes. SAM'S POV He stands on the edge of a great precipice.

79. END POV He fights to regain his balance, but Hannah pushes forward and he plunges over as he screams. SAM AH! HANNAH It's not real. SAM'S POV His view from the fall bleeds back into the hallway. END POV They charge to the front door. Hannah throws open the door and freezes. A vast army of grays crowd the exterior of the home. The only visible references are the large landscaping rock in Weed's lawn and the neighborhood homes. HANNAH (CONT'D) My God... Darkness crescendos around them. INT. DETENTION CELL - DAY The blackness fades to warm light. Hannah and Sam find themselves awakening in their bed. HANNAH Sam? SAM Honey. What the hell... where... ? What? They arise from the bed. Hannah goes to a window and pulls back the drapery. Outside the sun shines warmly on the neighborhood. Sam goes to the door and takes the knob in hand. He cautiously peeks beyond the shutter. Before him the mundane sight of the hall greets him. SAM (CONT'D) What happened?

80. HANNAH I have no idea. They walk down the stairs to the lower level of their home. SAM My God, we're home. They must've taken care of business and dropped us home. Hannah goes to a front window and looks outside at the lovely day. HANNAH'S POV She scans the neighborhood. The day is perfect. END POV She instinctively shudders. Something is amiss. Sam joins her. She taps the window and it reveals its solidity. He raps it, then hits it. It will not be moved. He picks up a fire tool from the fireplace. He clobbers the glass, but it will not so much as vibrate. They look at each other, realizing their predicament. INT. DETENTION CELL - NIGHT We see Hannah and Sam six months later. Hannah's distended stomach tells its tale. Sam stands at the front window, staring off into the distance. Hannah sits comfortably reading a book, the light from her single lamp confined enough that we see stars twinkling in the night sky. The floor lamp has been moved to a position directly behind her. SAM God. I want to go out there. It's torture being able to see it, but not out there in it. HANNAH It's not any use to think about it. Sam pounds the glass with his fist. It reports a solid thud. SAM Hell, I've never felt hate like I feel it for these assholes.

81. He yells as if they are listening. SAM (CONT'D) Yeah, you! I hate you! Hannah looks up from her book and Sam notices the tears in her eyes. SAM (CONT'D) Hey... I didn't mean to get you angry and upset again. He sits by her on the sofa. HANNAH I just... God. I forget, sometimes, all that happened. I hate them, too. But, Sam, I don't want to hate what I'm carrying here. I don't want to... but... SAM Honey, you can feel anyway you want. No one is ever gonna blame you for... whatever... how you feel and all. Hannah pulls herself together. HANNAH I'm going to bed. There isn't anything we can do, so... let's just go to bed, huh? SAM OK. I'm closing the drapes. There's never anything out there, but, it's still creepy somehow, like they're looking in. She turns off the light and starts upstairs. He walks to the window in the darkness. He punches the window once more then stares at the night. SAM (CONT'D) Damn you. He pulls the drapes and starts toward the hall. He runs squarely into the lamp, knocking it to the floor. SAM (CONT'D) Aw. He fumbles to a wall switch and flips on the overhead light. He examines the lamp; he flicks it on and off. The bulb responds properly.

82. He turns it off and starts toward the wall switch. He stops short as he notices the plug on the lamp lies several feet from its associated outlet. He returns to the lamp and tries it again. This time it does not respond. He plugs it in and tries the lamp again. It works. SAM (CONT'D) What the hell... ? INT. DETENTION CELL - DAY Sam sits watching TV. Hannah is retrieving a piece of pie from the refrigerator. Her shape reveals that she is fully due at any time. HANNAH Today there's cherry pie, Sam. Ow. SAM Great. I was just thinking about cherry pie the other day. But, of course, that's how this place seems to work. For terrorists, they've been pretty attentive. You OK? HANNAH Ow. My stomach hurts... SAM What? HANNAH Just a stomach crap... SAM Honey... HANNAH What? (beat) Is this it? You think? SAM Here, sit down. What are we gonna do? You think they'll come or help or something? HANNAH Oh, hell, I kinda hope so... I, jeez, I'm scared now... Sam.

83. SAM I'm not goin' anywhere. Look, we talked about this a thousand times. We can do this. I'll help you and... HANNAH No, Sam. I don't want to go through this. SAM I know. I know. I love you. Ah, look we're gonna get through, and, ah.. I'll support you, whatever... OK? Tears begin to form in Hannah's eyes. HANNAH Damn. I get so tired of crying all the time. Hold me. Hold on to me, Sam. OK? She shivers with fear. INT. DETENTION CELL - NIGHT Hannah lies on the bed. Sam hovers over her. She is dilated and the birth process is immanent. HANNAH Ahh. Ahh. Oh God this hurts. She pants. SAM OK. Get through this one. Let's just get through each one as they come. HANNAH Yeah. Yeah, yeah. OK. God, it's hot. Sam fans her and she collapses back on the bed. INT. DETENTION CELL - NIGHT Hannah is beginning a contraction, a cup of ice in her hand. Sam is exhausted as well and sits by her holding a cold, wet wash cloth to her head. HANNAH OK. OK. Here we go again. OH. Ahh. OHHHH GOD.. She screams out.

84. INT. DETENTION CELL - NIGHT Hannah is in the middle of a very late contraction. She screams uncontrollably. HANNAH Help. Help.. OHHH... AHH..... Sam stands at her feet, watching the crown of the head begin to break through. SAM You're doing it. You're great. Hold on. With the crescendo of screams comes a crescendo of light. It becomes blinding as she calls out. HANNAH AHH... Silence and darkness follow. INT. DETENTION CELL - NIGHT Hannah and Sam lie peacefully in bed. Hannah shows no sign of pregnancy or having given birth. Sam awakens. SAM Honey... honey? You OK? HANNAH Oh, I was having a dream. She sits up. HANNAH (CONT'D) What's happening? She feels her abdomen and realizes she feels good. There is no pain. HANNAH (CONT'D) Sam, I don't have any pain... SAM Or a baby. Hannah stares with fear at a baby crib now present in the room. HANNAH Oh, my God.

85. Hannah's eyes fill with tears again. He arises and walks tentatively to the crib. HANNAH (CONT'D) Don't. SAM What? We've gotta. A mild sound emanates from the crib and they both turn to stare at its source. HANNAH Oh, God, don't. Sam... just... SAM Honey... I'm just gonna look. We gotta... we can't ignore it. SAM'S POV The crib sides are covered with a bumper and a blanket. Slowly the contents come into view. We see a newborn child lying on his back, wrapped and asleep. He appears more human than alien. He sports a pale complexion and big, doe-like eyes. Taken together he is an adorable little bundle. END POV Hannah's sobs quietly. Sam stares at the child. SAM (CONT'D) Honey, it's all right. It's... OK. HANNAH I don't want to see it. I hate it. I was afraid I'd feel like this. SAM Honey, I think you should see him, or her... they're sleeping. HANNAH I don't care what it looks like. I don't ever want to see it. SAM Well, I think you might... Hannah screams to the grays she assumes can hear her.

86. HANNAH Come here. Take it out of here. Take it. But Sam gently scoops him up from the bed as Hannah throws her face into a pillow. HANNAH (CONT'D) Sam. God. Don't. I don't want it. She weeps uncontrollably. He stands staring down at the bundle in his arms. SAM No. He's beautiful. He is. He's perfect and... HANNAH I can't ever accept that... thing. I hate it for being one of them. She refuses to look up. HANNAH (CONT'D) Get rid of it. Get it out of here. You told me you would. You said you'd support me. Damn it. Sam slowly replaces the sleeping child in the crib. SAM Yeah, I did. But he can't take his eyes off the child. INT. DETENTION CELL - NIGHT Hannah lies on the sofa. SAM (O.S.) Diapers, formula, even Q-Tips. They don't miss anything. He enters. SAM Honey, how you feelin'? HANNAH Fine. No pain or anything. SAM Well, I mean... what're you thinkin'?

87. HANNAH Sam, I'm sorry... I can't bring myself to accept it. It's not... human and... I wish they'd just come and... take it so I don't have to ever see it. SAM Well, honey, I understand. I do. I just... look, I was thinking... HANNAH I hate it. I always will hate it. I know what I feel. SAM Him, honey, it's a boy. Look, now, you've gone through more than I can ever imagine... a holy hell of a nightmare. I can't in any way, ever quite grab on to that. And I won't ever have earned the... right, by experience, anyway, to say what I'm gonna say, except that I love you, and... I'm your mate and biggest fan and I'd do anything to make your life perfect, if I could. OK? So, up front, I'm asking for your... tolerance. My mouth is gonna try to say what my head knows. HANNAH Sam, I took a vow at our wedding. I'll honor it... SAM Look... I've been wrong, you know, I have, about things. I love you so much, I guess what you say is important to me. It's important enough that I know I need to listen because without you, nothing would be right. I wouldn't be right. I need you in my life or I'm doomed, I guess, to do all the wrong things. So, I listen to what you say. HANNAH Honey, you're the nicest man I've ever known. SAM Well, I have a lot of quiet sins. (MORE)

88. SAM (CONT'D) (beat) I thought a long time about what you said the day Weed moved in. A person doesn't earn the title of human... they're entitled to it because they were conceived and breathe and have potential. I thought that was just talk. I didn't want to... hear it. Weed was... different from me... or different from what I'm comfortable with, I guess. I needed you to kick my ass for that. HANNAH Yeah... SAM Your gray friend, the one that tried to help... he saw in you, and in us, that we were different... weak and primitive and, I imagine, kinda pathetic, really.... But, he did something... something that, I guess, was really foolish in rational terms, but really human. He did what was right even when he knew it made no sense. (beat) I don't know what this child is. But, he breathes... I know that. And he will grow with the potential to do good or bad. And he has needs... protection, and food and warm arms to sleep in. He's weak and vulnerable like we've been. HANNAH Sam... SAM Now, wait. Will he know the same emotions we fight with? I don't know. But, even if he doesn't, we know them, and we're capable of compassion. It isn't his choice, either. He lives by the will of others, but I think he has a right... OK, it's dumb, I know, but life, and liberty, and happiness aren't dumb. I want to give him those... and more, if I can. The CRYING of a newborn leaks in from the bedroom. Sam moves to the door, but Hannah stops him.

89. HANNAH He's hungry, I imagine. (beat) Get me a bottle. She enters the bed room. INT. DETENTION CELL/ALIEN LAB - DAY Hannah holds the baby, tears in her eyes. Sam stares out the window at the day blooming outside. Plates and the remains of breakfast sit on a dinning table. SAM I wonder what's really out there? HANNAH I'm in love. Sam, I'm sorry for everything. I'm falling in love with him. SAM It's OK. I love him too. He turns back to the window. SAM (CONT'D) Do you think they'll ever let us out of here? HANNAH They've stayed so... remote and they're so cold.... I want this baby. I don't want to die here. SAM I've thought about trying to escape somehow, but... what do we know about this world? I'm not sure trying to escape is worth it. He hits the window. HANNAH Oh, God, this little boy... I want to protect him... SAM I guess the question is, "What are they gonna do?" What is their need for us? I mean, we can only be a burden for them. They have no feelings and no logical reason to keep us alive.

90. HANNAH But, then, why this? She indicates the room. SAM What? HANNAH Well, strapping us down and feeding us through a tube could have done it. And, why you? SAM Why do they keep me alive if they just want the baby? Is that what you're getting at? I don't know. Nothing here makes sense. Here. Watch this. He unscrews a light bulb, wets his finger in his mouth and turns the light switch on and off with his finger in the socket. SAM (CONT'D) There's nothing. I suppose its some advanced technology of some kind, but if you look at the bulb, it seems to be an ordinary type filament that would require power of some kind... HANNAH Yeah, well everything they do they do by brain power. And there isn't any way to beat that... Sam's brain connects. SAM What? HANNAH I mean, how do we deal with... She sees it, too. SAM Damn. HANNAH Yeah. She stares at a wall and concentrates.

91. HANNAH'S POV The wall flickers out briefly. END POV She stands with the child in her arms. HANNAH (CONT'D) We can walk outta here. SAM Yeah, but do we wanta? HANNAH We won't have a choice. They know we've figured it out, so my guess is they'll be on us. A moment passes and the room flickers away. They stand in a drab room. All their furniture has a corresponding object as a template. The food remains on a simple table. A gray stands guard. A moment later a portal opens and another steps into the room. They begin to move in on Hannah and Sam, as they stumble back a step in fear. Sam stops suddenly. SAM What the hell are we afraid of? And Sam steps up to one of the little creatures and slugs him in the head. He goes down without any resistance. He turns on the other and draws back a fist. The gray suddenly disappears into a portal. SAM (CONT'D) Come back here you puny little bastard. That mind thing's all they got. (beat) That felt really good. They take stock of the room. There is no door. HANNAH Now, we gotta run. SAM How? Sam pushes against a wall to test its solidity. They both search for some regress.

92. An idea lights Sam's face. Suddenly he moves purposefully to the table where he picks up a knife. He returns to Hannah and without preamble takes the baby from her arms. HANNAH What? What, Sam? What are you doing? But Sam says nothing. He places the baby on the table and brandishes the knife above the infant. Hannah screams out. HANNAH (CONT'D) Sam! SAM I'm killin' this son of a bitch! As Hannah screams and leaps toward Sam, several portals begin to open around the room. Instead of stabbing the child, he quickly snatches it up from the table and pushes Hannah through a forming portal. The gray within it gets pummeled by the three bodies as Hannah, Sam and baby tumble through to the far side. EXT. ALIEN WORLD - DAY They fall into an earth-like world. It is urban in nature with tall futuristic structures crowded together. Yet, it is a pristine environment, quiet and serene, almost paradiselike. No beings are visible except the gray caught in the portal during the escape. Sam kicks the gray to the ground. He and Hannah stand and take quick stock of their surroundings. She takes the baby from Sam. SAM I figured if I threatened their little savior it would draw 'em in. Come on. They run. They cut down various lanes randomly. Finally... HANNAH Sam... Sam... I gotta stop. She pants. SAM You notice? No doors... anywhere.

93. HANNAH They haven't tried to stop us. They gotta know we're here. SAM Yeah. A portal opens and Galen appears. Sam at first responds protectively, but Hannah stops him. HANNAH Sam, it's Galen. Don't hurt him. GALEN (V.O.) Ahead there is a grove of trees. Go there and you'll find it. HANNAH What? Find what? But Galen does not respond. He stares at the baby in Hannah's arms. GALEN (V.O.) Hannah, it is almost over. A look of great compassion passes over him. GALEN (V.O.) (CONT'D) You are his mother. He would stay with you if he could. HANNAH What? What do you mean? Emotion obviously overwhelms him. Tears show in his eyes. GALEN (V.O.) He loves you. A portal begins to form behind him. SAM They're not getting him. They're not gonna hurt him. I'm not lettin' em touch him. GALEN (V.O.) You must go. Galen disappears. They start off. Portals begin to form. Sam stiff arms a gray popping up in front of him.

94. SAM Sorry, little fella. They run full out. The portals and grays come faster and faster. They round a building and break into a lush open plane. A vast expanse of Eden-like pasture stretches before them. To one side a forested area presents itself. SAM (CONT'D) That's gotta be it. Come on. We're not giving up. The three plunge into the underbrush. HANNAH You think they'll search for us? SAM They want this child. But I'll be damned if they're gonna get him. HANNAH Galen said to find 'it'. SAM We just keep moving. They push their way through thick flora. On they go, deep within the foliage. Finally, Sam stops them near an outcropping of rock. Hannah places the baby upon the rock and pants. SAM (CONT'D) OK. Rest a second. We gotta find your little gray friend. He's gonna have to hide us. Maybe he's plannin' on meeting us. Suddenly, a disturbed look flashes across Hannah's face. She freezes. She stares. SAM (CONT'D) Honey, you think you can contact him, I mean, mentally, somehow... But Hannah is not listening. HANNAH Sam. Sam. Come here. SAM What? You OK?

95. HANNAH Yeah... just, come here. Sam rounds the rock as Hannah points. SAM What is it? She points frantically at the rock face. SAM'S POV The big "C" crack meets his gaze. SAM (O.S.) My God... EXT. WEED'S FRONT LAWN - DAY The camera pulls out from the rock. The baby is gone. Sam and Hannah stand in Weed's front lawn, frozen with confusion. A voice startles them. Weed steps from around his house. WEED Morning. Admiring my rock? Colton's big "C"... For Colton, there... you see it? They look at him. INT. THE COSTAS' KITCHEN - DAY Hannah leans against a counter, cell phone in hand. Sam enters from the garage. HANNAH (on phone) No. That'ed be great. I'll be there. (beat) Sure... bye. She closes the phone. HANNAH (CONT'D) Dr. Lee's office confirming my appointment tomorrow. Her words trail away to tears. Sam enfolds her in his arms. SAM Hey. You can cry. And his eyes well up.

96. I miss him. HANNAH I want him back.

INT. DR. LEE'S OFFICE - DAY Hannah's downcast mood fills the exam room. She is preoccupied. Dr. Lee sits behind the small desk. DR. LEE Mrs. Costas? (beat) Mrs. Costas? Are you feeling all right? HANNAH Yeah. Yeah. I'm OK. DR. LEE You are discouraged, no doubt with all this. That is not abnormal. HANNAH No... I don't know... I'm just down in the dumps, I guess. DR. LEE It has been a discouraging eight months, I know. Do you need me to prescribe something... an antidepressant? HANNAH No. No. I'll drag myself through. I'll get out of this... DR. LEE Good. Good. It is not healthy for baby, your sad state. And, medication not good, either. HANNAH What? DR. LEE We must watch what we eat and any medications we take. Right? Is bad for new baby. HANNAH What? DR. LEE Yes. Is good news this week, huh?

97. Hannah's jaw drops. INT. HANNAH'S BEDROOM - DAY Hannah sits on the bed feeding her new baby boy. Sam enters from the hall. SAM I had a few minutes so I had to come home and see my boy. HANNAH He's been good. He looks into my eyes... I just wanta cry, I love him so much. Sam takes the baby in his arms. SAM Hey, there, li'l Sammy. You're a handsome little guy, just like dad. Yes, I'm your dad. Yeah. (to Hannah) He is beautiful. I've never seen a baby so... perfect. Hannah's eyes fall to the floor. SAM (CONT'D) Sorry. You know what I mean. HANNAH I know. I just... can't forget... SAM Honey, it's been over a year. We pretend like nothin' happened. Maybe it's easier.... We both kinda look the other way. HANNAH What's to be done. I don't understand it... there's nothing that can change it... so... Suddenly they realize the Galen stands behind them. GALEN (V.O.) I have come to comfort you. HANNAH Galen. GALEN (V.O.) I want to help you heal.

98. HANNAH I never got to tell you... thank you. You were kind to me... and showed compassion... to me... SAM You're human, aren't you? GALEN (V.O.) Yes. SAM From... when? GALEN (V.O.) 'When' has no meaning to us. We have mastered spacetime. SAM Then who or what are you? GALEN (V.O.) I am a hybrid formed from your generation's naturally evolved gene sequencing and my generation's artificially engineered traits. SAM But, why did your people do this? GALEN (V.O.) Your son's gene sequencing was required to save us. Unique sequences of DNA were found in his genes. They were used to return emotion to the human species. SAM I thought you were all harmonious, or whatever, without any feelings for each other. GALEN (V.O.) Men have always tried to escape the divisive powers of selfishness and bigotry. But, to labor and to achieve together is not human enough. The will to live resides in the heart. Without emotion, men laid down and died. Emotion is a far greater good than evil.

99. SAM You could've just... asked, or something... instead of what you did. GALEN (V.O.) We are bound by natural laws. The events you suffered through had already happened in our past. For us, to have changed those events would have meant destroying our future. We had to keep our history intact for our future to remain. HANNAH My son? Where is he now? GALEN (V.O.) There is no 'now' for me. HANNAH Then, where is he? Will I ever see him again? GALEN Yes. HANNAH When? How can I see him? GALEN I am here. Sam and Hannah stare. Slowly Hannah approaches him and for the first time gently touches him. Slowly, gently, she kisses him. He has tears in his eyes. GALEN (V.O.) I am your gift to the future of humanity. Our gift to you... He looks to baby Sam then reaches a finger out and caresses him. GALEN (V.O.) (CONT'D) My brother... EXT. THE COSTAS' BACK YARD - DAY Sam battles some burgers over a grill while Weed helps. Hannah, Noelle, Minnie sit on a covered patio chatting. Colton stands over the baby carrier looking in. NOELLE Colt, be careful. He's just a baby.

100. COLTON Sam. Hi, Sam. Minnie picks up the baby. MINNIE Oh, my goodness, what a big boy. Hey there, Sammy. Aunt Minnie gonna steal you away. Ooo. He's wet. HANNAH Good. Aunt Minnie can just change his pants. Her cell phone goes off. MINNIE Oh, I s'pose we can take care of that. Huh, Sammy? Old Aunt Minnie can take care of you. Let's go find a diaper. COLTON Can I go? NOELLE No. Let's just wait for the food. Hannah picks up the phone. HANNAH I gotta take this. My producer. She separates herself to a quieter corner of the yard. NOELLE Sam, how much longer, you think? SAM Oh, a couple of minutes. (to Weed) What do you think? WEED I take no responsibility. SAM Thanks, Weed. Big help. (beat) Hey, I gotta ask you something. Where'd you get the name Weed?

101. WEED Short for Weidmann. My mom remarried when I was thirteen... changed my last name. It just stuck. Sam chuckles. WEED (CONT'D) Why? Hannah speaks to Ed on the phone. HANNAH Yeah, Ed, what's up? She laughs lightly at what she hears. HANNAH (CONT'D) What? You're kidding. Now? Ed explains. HANNAH (CONT'D) No. Sorry Ed, I'm not interested. No... not at all, network or not. I like it here. Ed moans and tries again. HANNAH (CONT'D) Ed... Ed, it's not gonna work. I like my job, I like you, I like my family in this town. It just isn't to be. Ed relents. HANNAH (CONT'D) Yeah, I love you too... right... yeah, see you tomorrow and we'll make newscasting history. Bye, Ed. She smiles to herself and returns to the party. She stops short to look at her family and friends. She smiles broadly and walks on. The day is blue and clear. The camera pulls out and we see the sky... big and warm. The camera turns up to the heavens. FADE OUT

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