THE FORGOTTEN DEAD By Rammuel R.

Lavarro

Rammuel R. Lavarro 630 Grand Street, Apt. #4 Hoboken, NJ 07030 (201) 220-8138 rrl@rrlavarro.com

INT. JOANS APARTMENT - NIGHT MEDIUM: ON SARAH

Sarah - 20s - is huddled on the couch, half covered by a throw. She is a pretty girl but right now that prettiness is hiding beneath a swollen black eye...a busted lip...dried blood beneath her nose... JOAN - 20s - enters the room, takes a seat next to Sarah and presses a damp towel against the cut on Sarahs forehead. JOAN Motherfucker! On cue, there is a banging at the door. LINCOLN (OS) (muffled, through the door) I know youre in there, Sarah, so come on out! Sarah doesnt flinch at the sound of his voice; she literally shrinks back into the couch. JOAN (to Lincoln) You piece of shit! Joan throws the towel onto the coffee table and rushes over to the door and out of frame. CAMERA PUSHES IN ON SARAH AND STAYS WITH HER THROUGHOUT THE REMAINDER OF THE SCENE JOAN (OS) The cops are on their way, asshole. LINCOLN (OS) Stay the fuck out of this, Joan! JOAN (OS) You know what? Stick around, shithead, this way I get to see your face when they take your ass away. LINCOLN (OS) Sarah. Lincoln throws himself against the door and the loud, thudding sound makes Sarah jump.

(CONTINUED)

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2.

LINCOLN Get out here right now... Another loud thud against the door. Sarah flinches again.

LINCOLN (CONTD) Or Im coming in to get you. Lincoln throws himself against the door and something that sounds like wood cracking is heard. Sarah stares at the door. JOAN (OS) Get away from the door! POLICE OFFICER #1 (OS) You heard the lady, chief. Move away from the door. LINCOLN (OS) I cant wait to get in there, Sarah. Sarah closes her eyes and covers her ears with her hands. POLICE OFFICER #1 (OS) Hey, jerk off. Whatre you deaf? LINCOLN (OS) Do you know why? Sarah starts rocking back and forth. POLICE OFFICER #2 (OS) Back away from the door, dickhead! LINCOLN (OS) Because when I do, Im going to kill you, Sarah. Sarahs hands turn into fists and are now at her temples. POLICE OFFICER #1 (OS) I said back the fuck up! LINCOLN (OS) Im going to kill you. Sarah stops rocking. POLICE OFFICER #2 (OS) Hes got a gun!

(CONTINUED)

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3.

POLICE OFFICER #1 (OS) Shit! Several gunshots ring out which is followed by silence. Sarah screams. CUT TO BLACK. FADE IN: 2 INT. CAR - DAY Joan is behind the wheel. She looks over at Sarah who stares out of the window at the passing scenery. Sarahs eyes are blank; she sees nothing and no one. Joan turns on the radio and turns up the volume. SOUND CROSSOVER TO: START TITLE SEQUENCE MONTAGE: Sarah and Joan driving. END MONTAGE END TITLE SEQUENCE FADE TO BLACK. FADE IN: 3 EXT. BED & BREAKFAST - NIGHT The car pulls up to the curb. Sarah stares up at the white house in front of her with its manicured lawn, soft porch lights and waiting open door. 4 INT. BED & BREAKFAST - FOYER - NIGHT A small white envelope with the word "Welcome" sits on a table, propped up against a vintage glass candy bowl. Joan opens the envelope, tilts it and a room key - 235 - falls into her waiting hand. Joan picks up a piece of hard candy from the bowl, unwraps it and tosses it into her mouth. She picks up another piece of candy and holds it out to Sarah. 4 3 2

(CONTINUED)

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4.

JOAN Candy. Sarah gives her a tired smile and heads up the stairs. 5 INT. BED & BREAKFAST - ROOM - NIGHT 5

Sarah looks around the room. Joan closes the door and walks over to the table with the glass bowl full of wrapped hard candy. She unwraps one and tosses it into her mouth. JOAN More candy. Sarah takes a seat on the bed. Joan walks over to her and takes a seat next to her friend. JOAN (CONTD) The room is nice. SARAH Yeah. JOAN Im going to take a shower. you want to? SARAH You can go first. JOAN Okay. Joan goes towards the bathroom but stops when she sees the TV remote control. She turns on the TV and flips through channels. She stops on one. JOAN (CONTD) Hey, they have cable. She looks over at Sarah but shes already beneath the blankets, clothes and all. FADE TO BLACK. FADE IN: Unless

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INT. BED & BREAKFAST - DINING ROOM - DAY Joan puts a forkful of scrambled eggs into her mouth, chews it and then washes them down with some orange juice. JOAN They have muffins over there. SARAH Oh yeah? JOAN I just said it because I know you like muffins. TWO MEN walk up to the girls table. PAUL Hello and welcome. RANDY Two three five. JOAN Two three five? number. Oh. The room

PAUL Im Paul and hes Randy. JOAN Youre the owners. PAUL We werent sure if you were going to make it last night... RANDY And were happy to see that you did. PAUL ...were happy to see that you made it.

PAUL (CONTD) (to Randy) You didnt let me finish. (to Sarah) Youre Joan. JOAN Im Joan.

(CONTINUED)

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6.

PAUL (to Sarah) And youre...? JOAN Shes Sarah. Alright. RANDY I like that.

PAUL So whats on the plate today, ladies? RANDY And dont say eggs. JOAN Were open to suggestions. PAUL Take a trip into town. JOAN Whats in town? RANDY Shops. Restaurants. local artists. A lot of

PAUL Its kind of fabulous actually. JOAN Okay. RANDY We have a library. If youd rather stick close to home. If you like to read. JOAN (to Sarah) You like to read. SARAH Jesus, Joan. JOAN You know what I mean.

(CONTINUED)

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7.

PAUL We also have a new movie room. JOAN Do you have any romantic comedies? PAUL (to Joan) Anything in particular? JOAN Dont look at me. RANDY Not a fan? JOAN Not so much. Shes the one who goes ga-ga for them. Sarah stands up. SARAH Im going to take a nap. JOAN What do you think about town? SARAH Whatever you want. Sarah heads for the exit room. gone. Paul waits until she is

PAUL Let me guess. This is about some boy. JOAN Not just some boy. Long beat. PAUL Im so sorry to hear that. JOAN Dont be. RANDY What was his name? A dead one.

(CONTINUED)

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8.

JOAN Who cares? PAUL (unsure, hesitant) So is this trip a good thing? JOAN It is to me. But Im not the one who needs convincing. Im not the one who needs to forget. FADE TO BLACK. FADE IN: 7 EXT. TOWN - DAY The sidewalks are filled with people. MONTAGE: Joan and Sarah walk around town and in and out of shops. END MONTAGE 8 INT. SHOP - DAY Sarah walks down an aisle and barely glances at the tourist knick-knacks that line the display shelves. She sees Joan at the end of the aisle and starts towards her but stops when she sees a MAN standing nearby smile at her. Sarah heads for the exit. 9 EXT. SIDEWALK - DAY Sarah sits on a bench. next to her. Joan walks over and takes the seat 9 8 7

JOAN I just saw a restaurant. Theyre having a theme night and its one we like. Joan stands up, takes Sarah by the hand and pulls her in the direction of the restaurant.

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10

INT. RESTAURANT - NIGHT Joan jabs at the chicken on her plate. JOAN The sign outside did say Caribbean Night. Does this look like Jerk Chicken to you? Joan notes the two empty wine glasses next to Sarahs untouched plate of food. JOAN (CONTD) What do we think about giving dessert a shot? SARAH I need more wine. JOAN Or food. Oh Joan. person? Oh Sara. SARAH Are you going to be that JOAN I guess not.

10

Joan pushes her food around. JOAN (CONTD) I think I need more wine. SARAH Thats the spirit. 11 INT. BED & BREAKFAST - MOVIE ROOM - NIGHT A romantic comedy is on the enormous large screen TV. - unable to stop herself - laughs out loud. SARAH Im leaving now. JOAN Of course. SARAH Im going to bed. 11 Joan

(CONTINUED)

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10.

JOAN Sounds swell. Sarah stands up and walks out of the room. 12 INT. BED & BREAKFAST - FOYER - NIGHT Seething, Joan walks out and finds Sarah sitting on the stairs and sobbing uncontrollably. Joan drops whatever anger she was holding inside and runs to Sarahs side. JOAN Sarah. SARAH I cant. JOAN I know that its hard to see right now but theres a light at the end of this tunnel, I promise you that. But youre not going to find it standing on the sidelines and thats what youre doing. I want you to just try, just a little bit. Can you do that, kiddo. Can you do that for me? Please? SARAH Okay. JOAN Okay. They hug and hold on. FADE TO BLACK. FADE IN: 13 INT. BED & BREAKFAST - DINING ROOM - DAY 13 12

Sarah puts a forkful of scrambled eggs into her mouth, eyes and ears on Joan. JOAN And the hitchhiker says, "Thats okay. Im not really a nun." Sarah smiles and shakes her head.

(CONTINUED)

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11.

SARAH Thats not funny. JOAN And yet youre laughing. SARAH Im not. JOAN Youre about to. Sarah laughs. Paul and Randy approach the table. PAUL Wait a minute. Which one of you is Joan and which one is Sarah? Sarah smiles and goes back to her food. RANDY So whats the game plan for today, ladies? SARAH Were heading back to town. JOAN We are? Alright. PAUL I like that.

SARAH (to Joan) Lets make a day of it. one. JOAN Yeah. RANDY Sounds good to me. PAUL Go getem, girls. Paul and Randy walk away.

A real

(CONTINUED)

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12.

SARAH Okay? JOAN Okay. Sarah smiles and puts another forkful of eggs in her mouth. 14 EXT. TOWN - DAY MONTAGE: Sarah and Joan go from shop to shop, some light shopping just like all of the other tourists. END MONTAGE 15 EXT. FLEA MARKET - DAY 15 14

Sarah stops at a booth and goes over to a box filled with old, black and white photos. She goes through it, layer by layer... She pulls out a photo of a man standing next to a coffin with a woman laying in it, both of them facing the camera. She pulls out another photo, each with same set-up, the only difference being that each photo is made up of a different family. Joan walks over to Sarah and looks over her shoulder at one of the photographs. JOAN What the hell is that? SARAH Memorial photos. JOAN And what the hell is that? SARAH Exactly what it sounds like. Sometimes, when someone died, the family would take a photo with the deceased family member. JOAN And why the hell would they do that?

(CONTINUED)

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13.

SARAH They wanted to remember them. A lot of people did it back then. JOAN A lot of people back then had a lot of problems. Sarah continues going through the photos. JOAN (CONTD) Its getting late. Do you want to eat here or go back home? 16 INT. RESTAURANT - NIGHT 16

Same restaurant as the night before. Joan and Sarah, sitting in the same seat, push the food around their plate. JOAN I ordered an enchilada. you order? SARAH An enchilada. They look at each others plates. They look nothing alike. What did

JOAN Do you want to get dessert to go? 17 INT. BED & BREAKFAST - FOYER - NIGHT 17

Joan and Sarah enter. Joan carries a Styrofoam food container in her hand. Sarah carries a small box under her arm. JOAN Can I interest you in another romantic comedy? SARAH Not tonight. JOAN Thank God. SARAH (shakes the small box) I want to take a look at these.

(CONTINUED)

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14.

JOAN I cant believe you bought those things. SARAH You really dont think theyre even a little bit interesting? JOAN Surprise surprise, I really dont. Dont stay up too late. SARAH Okay. JACOB We check out early tomorrow. Joan goes up the stairs and Sarah heads into the library room. 18 INT. BED & BREAKFAST - LIBRARY - NIGHT Sarah sits at a table, the photos laid out in front of her. One after another, she goes through them. A small, manila envelope catches her eye. She opens it and a photo slips out onto the table. Sarah picks it up and lets out a small gasp. In this last photo, an unknown person sits in a large ornate chair. The gender of this person is also unknown because, save for their hands, the remainder of their body is hidden beneath a large black cloth. A young boy who may or may not be dead sits in her/his lap, his face turned away from the camera. JOAN (OS) What the hell is that? Sarah lets out a scream and Joan joins in with one of her own. SARAH What are you doing?! JOAN I came down here to check up on you! What the hell is that? SARAH A memorial photo. 18

(CONTINUED)

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15.

JOAN Thats a memorial photo? That... (she points to the mysterious photo and then to another memorial photos) ...does not look like that. I know. this. SARAH Ive never seen one like

She flips the photo over and stares at its back. JOAN I should hope not. Sarah holds up the back of the photo for Joan to see. SARAH Look at this. 19 INT. BED & BREAKFAST - DINING ROOM - DAY Sarah and Joan are at their table. Randy and Paul lean in on the photo that Sarah holds up for them to see. Alright. RANDY I dont like that. 19

PAUL Im at a complete loss for words. SARAH How about this? She flips the photo over and the guys take a look at the faded address thats scrawled on the back of it. PAUL That I do know. SARAH Is it near here? JOAN Dont answer that. PAUL It is if you think an hour drive as being near.

(CONTINUED)

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16.

JOAN I dont. SARAH You said. JOAN I said if it was near. SARAH Please? Joan looks up at the boys for help. RANDY She did say please. 20 INT. CAR - DAY Joan is behind the wheel. the dirt road ahead. Sarah is scouring the trees and 20

JOAN Im starving. The guy at the gas station said it was close. No more than an hour. An hour my ass. SARAH The guy at the gas station said we might miss it if were not careful so keep looking. JOAN Im looking. I have eyes. SARAH Wait. JOAN What? SARAH Stop the car. JOAN You see something? SARAH Maybe if you stop the car. Joan stops the car.

(CONTINUED)

CONTINUED: SARAH (CONTD) (she points) There. JOAN Where? SARAH (she points again but this time she jabs "harder" in the direction) There. Its right there. JOAN I dont like this. SARAH You dont like what? JOAN The whole thing. SARAH Its right there. JOAN I did tell you I have eyes, right?

17.

Joan shifts the car back into gear and turns onto another dirt road. JOAN (CONTD) I would kill for a sandwich. 21 EXT. HOUSE - DAY Sarah leans forward for a better look at the house the closer the car gets to it. Joan comes to a stop and puts it into park. She and Sarah step out of the car and slam their doors behind them. JOAN Jesus Christ. Sarah starts towards the front door. JOAN (CONTD) What are you doing? SARAH I was going to check to see if the door was unlocked. 21

(CONTINUED)

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18.

JOAN Why would you do that? SARAH I want to see the inside. JOAN Are you not seeing the outside? you not recognize this house? No. SARAH You do? Do

JOAN Yeah. Its that house from that movie where everyone dies. You want to see the inside of the house? Jesus Christ. SARAH Its right there. JOAN Say that one more time. MARGE (OS) Wait. Joan and Sarah look over and see MARGE, an older woman wearing the blazer of a ubiquitous real estate company, running towards them. She has a real estate flag in her hand and waves it at Joan and Sarah. She reaches the girls but then double backs and shoves the flag into the lawn. She stands up, gives the girls her back and collects herself, straightens her uniform, etc. Ready to faces them, she turns around and, with a smile on her face, heads back towards Joan and Sara. She reaches the girls and hands Sarah her business card; it has her name alongside her face. MARGE Im Marge. SARAH Im Sarah and shes Joan. MARGE Sarah. Joan. Did you have a hard time finding us?

(CONTINUED)

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19.

JOAN (she holds her thumb and forefinger about six inches apart from each other) This much. MARGE Im sorry. I should have put the markers up. Thats why Im doing it now. Everyone looks over at the lone real estate flag that has Marges smiling face on it. MARGE (CONTD) Sarah. (pause) Joan. (pause) Youre friends? SARAH Yes. MARGE And good ones, I take it? JOAN And for a long time, too. MARGE (pause) Wonderful. (pause) Alright. Lets get started. Marge starts up the stairs. JOAN Marge? Marge stops and looks back at Joan. JOAN (CONTD) Joan. Who exactly are we supposed to be? MARGE (the air goes out of her sails) Oh no. Sarah looks over at Joan.

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22

INT.

HOUSE - FOYER - DAY Marge takes off her jacket.

22

The three ladies enter.

MARGE They like us to wear the jackets while were showing but maybe we could keep this between us. On a day like today they can be a little much. Theyre made of wool. Marge turns around to face the girls. smile on her face. She has a big, stage

MARGE (CONTD) Maybe youre not in the market but lets see if I cant change your mind. Alright. Lets get started. Marge walks and the girls follow. 23 INT. HOUSE - LIVING ROOM - DAY 23

The fireplace is set in the middle of a wall. MARGE One hundred years ago, this would have been what they called the parlor. Today we call it the living room. Put a chair over here and a Hi-Fi stereo over there and voila you have yourselves a parlor again. Wonderful part of the house to throw a party. Marge walks and the girls follow. embers in the fireplace. 24 INT. HOUSE - KITCHEN - DAY Sarah looks over at the 24

A large wooden table sits in the middle of the room. MARGE Its rustic in appearance and yet modern in its functionality. The stove is original. Its from abroad. European forged metal. Wonderful part of the house if youre an inspiring chef. SARAH I bake.

(CONTINUED)

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21.

MARGE Then I would be talking to you. Marge heads for a padlocked door at the far end of the kitchen. JOAN Have you ever been abroad, Marge? Marge fiddles with a large set of keys. MARGE Have I what? JOAN Have you ever been abroad? MARGE Ive never been abroad. JOAN Thats unfortunate. love being abroad. I think youd

MARGE My husband and I have been planning on it. JOAN Hes going to love you being abroad. SARAH (whispers) Stop it. JOAN Everything that comes out of my mouth is your fault. Finally finding the correct key, Marge unlocks the padlock, opens the door and heads down a set of stairs. Sara and Joan look down into the darkness of the stairway, then at each other and then back into the darkness. A light from downstairs comes on and Marge peeks her head up at the girls. MARGE Hello?

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25

INT.

HOUSE - BASEMENT - DAY

25

A small, naked bulb illuminates the room. Other than a small pile of firewood stacked against a wall, the room is a bare concrete box. Marge points at two other items in the room. MARGE Fuse box. Water heater. the basement. JOAN Its beautiful. They head upstairs and Sarah brings up the rear. 26 INT. HOUSE - BEDROOM - DAY 26 This is

Another open and empty room. MARGE As you can see, this would make a wonderful bedroom. JOAN All you need is the bed. MARGE Exactly. JOAN We need a new one. one out. MARGE (pause) It happens. Marge exits. 27 The girls follow. 27 We wore the old

INT. HOUSE - BATHROOM - DAY

White, open and filled with sunlight. A large bathtub is at the end of the room sans a shower curtain. JOAN Thats a big tub. MARGE Big enough for two.

(CONTINUED)

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23.

JOAN (happily surprised) Bravo, Marge! Marge blushes. Sarah leans to the side and tries to see past the tubs curtain. MARGE Coming up: last stop. Marge and Joan leave the bathroom. Sarah walks towards the bathtub and gets within arms reach. JOAN (OS) Hey. Joan stands in the doorway. JOAN Get back on this train please. Sarah walks towards the door. 28 INT. HOUSE - ATTIC - DAY Other than a partially covered stand alone full length mirror, it is a large empty loft space. MARGE Large. Spacious. Insulated so its perfect for either Summer or Winter. JOAN What about Fall and Spring? are the ones I worry about. MARGE Excuse me? JOAN I have allergies. So what do you think that this room would be perfect for, Marge? MARGE Anything really. Those 28

(CONTINUED)

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24.

JOAN Well, not a bedroom. Thats already covered. The ladder makes it difficult for people so probably not for parties either. So what else is left then? (to Sarah) Sarah? Sweetie? What do you think? What do you think this room wants to be? MARGE If youre the creative type, maybe a studio. For painting. JOAN I can see that. MARGE Or writing. JOAN Ive always wanted to be Hemingway. Sans the penis. the suicide.

And

The heel on Marges left shoe snaps off and she stumbles. She takes off the one shoe and looks over at the window. SARAH Marge? Beat. MARGE Suicide. Marge remains motionless. She holds the broken shoe in her hand and it swings ever so slightly at her side. SARAH Are you alright, Marge? MARGE Goddammit! JOAN Take it easy, Marge. MARGE Youre not the one who has to come out here to put up flags. You (MORE) (CONTINUED)

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25.

MARGE (CONTD) dont have to wear an uncomfortable wool blazer on an unseasonably hot day. You dont have to walk around pretending that you dont hear the snarky remarks that the girls say behind your back. (pause) After the unexplained disappearance of his wife and young son, the original owner of this house climbed up the very same ladder that we just did, walked over to this window and promptly threw himself to his death. Im telling you this in compliance with the full disclosure law in accordance with the guidelines of the state. Take it easy? You take it easy, missy. Ill take what I can get. Excuse me. Marge hurries over to the attic door and starts down the ladder. JOAN And that ends our tour for today. Be sure to stop by the gift shop. Any questions? Jesus Christ. Joan heads for the door. 29 INT. CAR - DAY Joan is behind the wheel. Sarah stares out the window at the real estate flags poking up from the grass along the road at half hazard intervals. Sarah looks back and watches the house dwindle in the background. FADE TO BLACK. FADE IN: 30 INT. BED & BREAKFAST - DINING ROOM - DAY 30 Sarah looks over at the window. 29

Sarah sits alone at the table and picks at the muffin sitting in front of her. She looks up and sees Joan at the buffet table. Joan holds up a muffin for her to see and Sarah gives her a smile.

26. 31 INT. BED & BREAKFAST - FOYER - DAY 31

Sarah stands at the door and watches Joan loading their bags into the backseat of the car. Sarah walks over to the table with the candy bowl and places the room key in the bowl. She unwraps a piece of hard candy and tosses it into her mouth. 32 INT. CAR - DAY Joan is behind the wheel. Sarah is staring at the passing scenery. Something catches her eye and she sits up in her seat. 33 INT. HOUSE - BATHROOM - DAY She looks over at the tub. 34 33 32

Sarah stands at the sink. 34 INT.

HOUSE - BEDROOM - DAY

Sarah looks into the room from the doorway. 35 INT. HOUSE - 2ND FLOOR HALLWAY - DAY 35

Sarah looks away from the bedroom and towards the stairs. 36 INT. HOUSE - LIVING ROOM - DAY 36

Sarah stands in the middle of the room. She looks over at the fireplace and the poker sticking out from the embers. 37 INT. HOUSE - FOYER - DAY 37

Sarah looks out the front door and sees a hearse pulling away from the house. She starts walking towards the door and then stops. A small hand is tugging the back of her shirt. YOUNG BOY (OS) Sarah? She turns around and finds a YOUNG BOY, dressed in nineteenth century clothing, smiling at her. YOUNG BOY Will you stay? She looks past the boy, down the hallway and at the kitchen. Inside, a woman in a style dress has her back to Sarah and is setting the dinner table. Sarah looks back down at the boy and opens her mouth to give him an answer.

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INT. BED & BREAKFAST - ROOM - NIGHT Sarah opens her eyes. She slowly sits up. She looks over at Joan and sees that she is fast asleep. She looks over at the bedside clock. It reads 1:27 AM.

38

CUT TO: Sarah is at the desk. She carefully removes the photo from inside the manila evelope and sets it in front of her. She examines the boy in the picture but he has his head turned away from the camera making it impossible to see his face. She scratches at the face of the mysterious person hidden beneath the black cloth. CUT TO: She digs through her purse and finds a business card that is half buried among receipts and loose bills. She brings it into the light and is now able to see Marges contact information better. FADE TO BLACK. FADE IN: 39 INT. HOUSE - BEDROOM - DAY 39 There is an 40

Several boxes labeled BEDROOM sit on the floor. open and empty wardrobe and a bare bed. 40 INT. HOUSE - LIVING ROOM - DAY

Several boxes labeled LIVING ROOM sit on the floor. A couch sits slightly askew in front of the fireplace. A large box with the picture of a Hi-Fi stereo sits a few feet away. A large screen TV sits beside what looks like to be its stand. 41 INT. HOUSE - KITCHEN - DAY 41

Several boxes labeled KITCHEN sit on the floor. A large box with the picture of a microwave oven sits on the table. The sound of keys fiddling around with a lock can be heard OS. SOUND CROSSOVER TO:

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42

INT.

HOUSE - FOYER - DAY

42

The front door opens and Sarah walks in with a cardboard box in her arms. She looks around her new home and she has a smile on her face. She looks at the set of footprints that start at her feet and lead to the kitchen and her smile fades. 43 INT. HOUSE - BEDROOM - DAY 43

Sarah gives the wardrobe a shove and one side of it moves a few inches. She changes sides and pushes on that one. The opposite end now moves closer to the wall a few more inches. She switches sides and puts her shoulder into the wardrobe. 44 INT. HOUSE - LIVING ROOM - DAY 44

The couch faces the fireplace is no longer askew to it. The box containing the stereo system is open and on its side. Sarah sits on the floor. Her face is hidden behind the large folded piece of paper, the instructions to the Hi-Fi stereo and its components thay lay out in front of her. She looks over to her left and sees the black poker lying on the floor a few feet away. She stretches out, grabs it and places it against the fireplace. She goes back to her stereo instructions. 45 INT. HOUSE - KITCHEN - DAY 45

Sarah pulls out her new microwave oven from its box. Styrofoam peanuts spill from the box and onto the floor. She places it onto the counter and plugs it in. A big fat 0 pops up in the display and Sarah - looking at her watch - punches in the current time. She opens the door. The light comes on. She closes the door and steps back to admire her new appliance. She looks over at the basement door. The padlock is unlocked and the door is open just a crack.

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46

INT.

HOUSE - LIVING ROOM - NIGHT

46

The stereo system components lay off to the side. Sarah sits on the couch and eats her takeaway dinner - a cheeseburger and fries - from out of its Styrofoam container. A couple of chews in and her face scrunches up. She swallows it down but with some difficulty. She picks up the plastic bag that the food came in and looks at the name of the restaurant on the side of it. She pours herself another large glass of wine. of wine is nearly empty. 47 INT. HOUSE - KITCHEN - NIGHT The bottle 47

Sarah tosses the food into the garbage. 48 INT. HOUSE - BATHROOM - NIGHT 48

Dressed for bed, Sarah brushes her teeth. 49 INT. HOUSE - BEDROOM - NIGHT 49

Sarah kicks her slippers off and climbs into bed. The door is slightly open. She looks out into the darkened hallway and at the door of the bathroom. She curls up beneath the covers and stares at the digital alarm clock on her side table. FADE TO BLACK. CUT TO: The sound of glass breaking is heard. Sarah sits up, her eyes filled with panic. She looks out into the hallway through the crack in her door and waits. 50 INT. HOUSE - LIVING ROOM - NIGHT 50

Sarah flips on the light switch and looks around the empty room. 51 INT. HOUSE - KITCHEN - NIGHT Everything is exactly 51

Sarah flips the light switch on. where she left it.

She looks over in the direction of the basement door.

(CONTINUED)

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30.

CUT TO: Sarah stares at the open padlock. She starts to remove it but then changes her mind and locks it instead. The sound of something metallic hitting the floor and her head snaps up. 52 INT. HOUSE - LIVING ROOM - NIGHT 52

Sarah flips the lights on and walks into the room. She looks over at the couch and sees the poker is now sticking out from beneath it. Sarah picks the up the poker, lays it back against the wall and takes a long look around the room. 53 INT. HOUSE - BATHROOM - NIGHT 53

The brand new, white shower curtain hides the tub from view. Sarah stands in the doorway and looks in at it. She takes a step... There is a loud bang from the attic and she freezes. 54 INT. HOUSE - BEDROOM - NIGHT 54

Sarah stands in the doorway and looks in. 55 INT. HOUSE - 2ND FLOOR HALLWAY - DAY 55

Sarah looks up at the attic door and the rope that hangs from it. 56 INT. HOUSE - BEDROOM - NIGHT 56

Sarah drops a battery and it rolls underneath the bed. She gets on her belly and - straining - reaches for it. She grabs a hold of it and comes out with it in her hand. She rubs her shoulder and the pain from the effort shows on her face. 57 INT. HOUSE - ATTIC - NIGHT Nothing on 57

The door opens up and Sarah peeks her head in. one side.

There is a loud bang to the right and she shines the flashlight in that direction. The window is open and bangs against the outside wall.

(CONTINUED)

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31.

Sarah goes over to it and leans out to look at the yard below. A sudden gust of wind catches her off guard and she yanks herself back. She reaches for the its handle and closes the window. She looks down at the floor and stamps her foot down once. A small plum of dust lifts into the air. 58 INT. HOUSE - 2ND FLOOR HALLWAY - NIGHT 58

She closes the attic door... 59 INT. HOUSE - BEDROOM - NIGHT She looks out into the hallway 59

Sarah quickly climbs bed. and waits.

She curls up beneath the blankets and closes her eyes. The alarm clock reads 1:27. A second later is flashes and changes to 1:45, the correct time. FADE TO BLACK. FADE IN: 60 INT. HOUSE - BEDROOM - DAY 60

The bed is made. 61 INT. HOUSE - BATHROOM - DAY 61

A small set of toiletries lines the sink. 62 INT. HOUSE - LIVING ROOM - DAY 62

The couch faces the fireplace. The stereo system is still on the floor and still in pieces. A TV sits on a stand on the other side of the room. 63 INT. HOUSE - KITCHEN - DAY 63

The sound of keys fiddling around with a lock is heard OS. SOUND CROSSOVER TO: 64 INT. HOUSE - FOYER - DAY 64

The locks catch, the front door opens and Sarah stumbles in, her arms full of groceries. She kicks the door shut behind her.

32.

65

INT.

HOUSE - KITCHEN - DAY

65

MONTAGE: Sarah puts away groceries and assorted utensils. She breaks down boxes and stacks them on each other in a neat pile. END MONTAGE Sarah takes a sip from the glass of wine sitting on the table. She looks out through the window and at the surrounding trees in her backyard. She takes a larger sip from her glass of wine. 66 EXT. HOUSE - BACK YARD - DAY 66

Sarah walks out into the yard from the back door. She looks over to her left and sees a tree stump. Another turn of her head and she sees the axe against the wall. She looks away and at the surrounding trees that are her back yard. 67 EXT. FOREST - DAY Sarah bends down and picks up a leaf, turns it around to better examine it. She looks up to see a small figure, a YOUNG BOY, maybe sixty or seventy feet away, peeking out from behind a tree. He appears to be wearing a black suit, his white dress shirt buttoned to the top, to his neck. She stops and stares, waits for him to do whatever he is planning on doing to actually happen. The sound of someone running to her right snaps her back to attention and she shoots a look in that direction. She looks back over at the first boy but he is gone. 68 INT. HOUSE - LIVING ROOM - DAY The music is on and it is deafening. 68 67

33.

69

INT. HOUSE - KITCHEN - DAY

69

Sarah is making a sandwich and singing along with the music at the top of her lungs. She stops and listens. Someone is banging at the door. 70 INT. HOUSE - FOYER - DAY 70

Sarah opens the door and finds a MAN, her age, standing on the porch, his back to her and looking out at the surrounding trees. He turns around and they stare at each other. SARAH Hello? JACOB Sarah? SARAH Yes? JACOB Jacob. SARAH Sorry? Jacob looks over in the direction of the music and then back at Sarah. SARAH (CONTD) Sorry. She runs into the other room and disappears from Jacobs sight. The music stops and she returns. Sorry. SARAH (CONTD) What did you say?

JACOB I said Im Jacob. SARAH Im Sarah. JACOB I know.

(CONTINUED)

CONTINUED:

34.

SARAH Thats strange and maybe not in a good way. Why do you know my name? JACOB Marge didnt call you? SARAH About? JACOB About me. Sarah shrugs. JACOB (CONTD) Im Jacob. SARAH And Im Sarah. JACOB I know. (pause) Im the caretaker. 71 INT. HOUSE - KITCHEN - DAY 71

Jacob stares at the locked padlock on the basement door. JACOB I left this unlocked. SARAH I heard a noise last night. stupid I know. Its

Jacob gives her a curious look before he unlocks the padlock and opens the door. 72 INT. HOUSE - BASEMENT - DAY 72

Jacob is in front of the open fuse box. JACOB Youre going to find the one thats been switched to OFF. Then youre going to switch it back to the ON position. I checked everything out before you came but just in case, dont touch the box at the same time you flip the switch. If there is a short somewhere, youre bound (MORE) (CONTINUED)

CONTINUED:

35.

JACOB (CONTD) to get a shock. You probably wont die from it but then again who knows? He points to the water heater. JACOB (CONTD) I didnt get to check that. From the sound of it, it looks good but Ill be by tomorrow to double check. But just in case, do you know what a pilot light is? SARAH Like on the stove? Right. Where? JACOB (he points at the bottom of the water heater) There. SARAH So if the heat goes out, I just re-light it. Is that right? And then Im fine? JACOB You could always use the fireplace. He looks past her. Sarah turns around to find firewood piled up against the wall. JACOB (OS) Grab some. She turns around and sees his feet disappearing up the stairs. 73 INT. HOUSE - LIVING ROOM - DAY He 73 JACOB This is the same thing. SARAH

Jacob is down on one knee in front of the fireplace. takes the firewood from Sarah. SARAH Would you like some wine?

(CONTINUED)

CONTINUED:

36.

JACOB No thank you. Do you know how to build a fire? Sarah shakes her head no. JACOB (CONTD) Ill show you. Just in case. SARAH In case of what? JACOB In case you need a fire. CUT TO: The fire is raging. Jacob gets up to his feet.

SARAH Can I burn the house down? JACOB Why would you do that? SARAH I meant with the fire. JACOB Yeah, I know. SARAH So how do I prevent that? JACOB Prevent what? SARAH From burning the house down. JACOB Dont burn the house down. SARAH I know but how do I do that? JACOB What are you asking me? SARAH I dont want to burn the house down.

(CONTINUED)

CONTINUED:

37.

JACOB Youre asking me how not to burn the house down? Is that right? Yes. SARAH Thats right.

Jacob stares at her for a few seconds and then walks out of the room. The sound of water running from a tap is heard OS. Sarah listens and looks over in the direction the kitchen. Jacob walks back in with a pot of water, walks up to the fireplace and throws it onto the fire which reduces it to a smoking mess. JACOB Put out the fire. 74 INT. HOUSE - FOYER - DAY Jacob opens the door. He stops and looks at Sarah. 74

JACOB Do you have my number? SARAH No. He digs through his pockets and produces a business card which he hands to her. JACOB Now you have my number. have any problems. SARAH I have your number. Jacob turns and walks out towards his truck. the door behind him. 75 INT. HOUSE - KITCHEN - NIGHT Sarah locks 75 If you

Sarah is at the table and finishing up the last of her dinner and wine. There is a half empty bottle of wine near her glass. CUT TO: She is at the sink and finishing up the last of the dishes.

38.

76

INT.

HOUSE - STAIRWAY - NIGHT

76

Sarah starts up the stairs and then stops. 77 INT. HOUSE - LIVING ROOM - NIGHT 77

Sarah turns the embers in the fireplace a couple of times with the poker before laying it back against against the wall. She turns and exits the room. 78 INT. HOUSE - BATHROOM - NIGHT 78

Sarah finishes brushing her teeth. 79 INT. HOUSE - BEDROOM - NIGHT 79

Dressed for bed, Sarah hangs up the days outfit in the wardrobe alongside her other clothes. Sarah kicks her slippers off and climbs into bed. She finds her spot beneath the covers and curls up into a ball. She looks over at the bedside clock. It reads 10:30 PM. She lets out a long yawn and looks back at the clock. Her eyes open and close. Open and close. Open. They close. FADE TO BLACK. FADE IN: The sun shines onto Sarahs sleeping face. She blinks her eyes in an effort to keep the light at bay. 80 INT. HOUSE - BATHROOM - DAY She stand in front of the mirror and examines her face. lets out a shiver. 80 She

She walks over to the tub, pulls back the curtains and turns the tap on. She holds her hand under the shower, waits for the temperature to be just so and adjusts the water accordingly. She yanks the curtain back into place. CUT TO: Sarah runs a hand across the mirror several times, wipes away the condensation and examines her face.

39.

81

INT. HOUSE - BEDROOM - DAY Sarah - now fully dressed - looks around at the boxes that are marked BEDROOM and sit on the floor, surrounding her. She takes another step back and counts the boxes.

81

82

INT. HOUSE - 2ND FLOOR HALLWAY - DAY

82

Sarah walks out of the bedroom and starts for the stairs but then stops and looks up at the attic door. The ladder that leads up to it is down. 83 INT. HOUSE - ATTIC - DAY Sarah opens up the trap door and peeks her head into the room. A box with the word BEDROOM sits next to the full length mirror. CUT TO: Sarah turns and examines her outfit in the mirror. picks up the box and heads for the door. 84 INT. HOUSE - BEDROOM - DAY Sarah puts the bedroom marked box down on the floor alongside the other boxes and walks out of the room. 85 INT. HOUSE - LIVING ROOM - DAY The stereo is playing and at a normal volume. 86 INT. HOUSE - KITCHEN - DAY Sarah takes a sip from her wine glass and looks around the room. She looks away form the broom and dustpan leaning against the wall and - through the window - at the surrounding trees. 87 EXT. HOUSE - BACK YARD - DAY 87 86 85 She 84 83

Sarah looks over at the axe leaning against the wall. She looks over at the stump thats not too far away. She walks over to the axe. CUT TO: Sarah holds the axe with both hands. She has a tight grip on it but because of her low hand position, it wobbles. She stares at the stump, unsure.

(CONTINUED)

CONTINUED:

40.

She brings the axe up and then slams it down onto the stump where it buries its head with a thump. Sarah looks thrilled by her accomplishment. But when she tries to pry the axe free, her smile fades with every yank and her brow furrows with the effort. She lets go and steps back, contemplating. She takes a breath, looks over to her left and sees a WOMAN IN A FULL LENGTH DRESS moving among the trees. 88 EXT. FOREST - DAY 88

Sarah walks quickly but mindful of her steps and the sound that it makes. She moves from tree to tree, her eyes always on the back of the woman walking a hundred or so feet from her. Sarah looks over to her left and stops when she sees a MAN DRESSED IN A BLACK SUIT hidden in a cluster of trees. He is watching the woman and moving slowly towards her and doing so with the intention that she not see him. Sarah is frozen, her eyes filling with fear with every step that the man takes towards the woman. She ducks behind a tree and is shaking now. She looks back and the man is no more than a few feet away from his quarry... Sarah opens her mouth... The woman turns, sees the man and screams with laughter. He wraps her in his arms and laughs along with her. Their kiss is long and gentle and ends with a smile on both their faces. They suddenly look over in Sarahs direction and she ducks behind her tree. She lets several longs seconds pass and then peeks out at the couple. But there is no one to look at. 89 INT. HOUSE - BEDROOM - NIGHT Sarah watches the forest for a few seconds more and then walks away from the window. She climbs into bed, gets beneath the covers and turns away so that shes facing the wall. Sarah flips back over so that she is facing the window again. (CONTINUED) They have disappeared. 89

CONTINUED:

41.

Her eyes are heavy with sleep and they open and close, an effort to stay awake. They open and close. Open and close. She lets out a long yawn. They open. Sarah closes her eyes. FADE TO BLACK. CUT TO: Sarahs eyes snap open. She sits up and lets out a shiver. Cupping her hands together, she blows into them and pulls the blankets tighter to her. 90 INT. HOUSE - BASEMENT - NIGHT Sara lights the water heaters pilot light. She hears it kick in and she turns off the light on her way up the stairs. 91 INT. HOUSE - KITCHEN - NIGHT 91 90

She heads for the doorway the leads to the hall and glances at the windows. She stops and stares out into the woods. She goes over to the wall, quickly turns them off and then quickly returns to the windows. Off in the distance, hiding in the trees, Sara sees a light floating in the darkness. 92 EXT. HOUSE - BACK YARD - NIGHT 92

Sarah walks out and keeps an eye on the lights in the forest. She looks over at the axe leaning against the wall and then goes back to the light. FADE TO BLACK. FADE IN:

42.

93

INT. HOUSE - BASEMENT - NIGHT Jacob and Sara stand by the water heater. is at Jacobs slippered feet. JACOB So I heard you had some visitors the other night. SARAH What? Oh, that. about that? How do you know An open toolbox

93

JACOB I know the sheriff. SARAH That makes sense. JACOB Did you get a good look at them? SARAH I didnt get a look at all. I saw lights. It was probably just a bunch of kids. JACOB Maybe. Why maybe? kids? SARAH Why wouldnt it be

JACOB Kids dont come around here. scary. SARAH Never? Not ever. remember. JACOB Not since I can

Too

SARAH You grew up here? JACOB Yes, I did.

(CONTINUED)

CONTINUED: SARAH And you never came around here? JACOB Not even with friends. Like I said, kids dont come around here. SARAH Thats not true. JACOB Hows that? SARAH I saw a kid, a boy, out back. couple of days ago. Jacob goes through his toolkit. JACOB In the yard? SARAH In the woods. JACOB What were you doing in the woods? SARAH I was going for a walk. JACOB Did you get a good look at him? SARAH No. I mean, I didnt really see his face. He was wearing a suit though. JACOB A suit? SARAH He looked like he just got out of Sunday school. JACOB You saw him on Sunday? SARAH No. He was dressed up. Like for Sunday school or something like that. Whatever that is. A

43.

He takes his time doing it.

(CONTINUED)

CONTINUED:

44.

JACOB What was he doing? SARA What little boys do. running around. JACOB When was this? SARA My first day here. I guess technically it was night. It was late. JACOB It was probably just teenagers. SARA No, this boy was young. JACOB Im talking about last night. lights and all that. SARA Youre probably right. Jacob looks over at the water heater. JACOB Like I said it looks good. SARA Yeah? JACOB It looks good to me. SARA Okay. 94 INT./EXT. HOUSE - DOORWAY - DAY JACOB Youre running low on wood. how to swing an axe? SARAH No. Know 94 The He was

(CONTINUED)

CONTINUED:

45.

JACOB Ill cut a couple of cords for you next time. (pause) Whatre your plans? SARAH What do you mean? JACOB With the house. You thinking of making this a B&B or something? SARAH I wasnt thinking of anything but that doesnt sound so bad. JACOB Any other problems, you have my number. SARAH Yup. Jacob opens the door and then looks at Sara. JACOB Have you seen anyone else running around here? SARAH Like who? JACOB Like anyone. Beat. SARAH No. JACOB If you do, tell someone. SARAH I will. JACOB Okay. He leaves and Sara locks the door behind him. FADE TO BLACK.

46. FADE IN: 95 INT. HOUSE - BEDROOM - NIGHT Saras eyes snap open and she sits up. blankets tighter to her body. SARA Shit. She cups her hands together and blows into them. 96 INT. HOUSE - BASEMENT - NIGHT Sarah is down on her knees in front of the water heater. She holds a match to the pilot and waits. She waits until the match burns down to her fingertips before letting go. SARAH Shit. She lights another match, holds it to the pilot light and waits. 97 INT. HOUSE - LIVING ROOM - NIGHT 97 96 She draws the 95

Sarah paces the room, wrapped in a heavy blanket, the phone at her ear, waiting. SARAH Jacob. The heat has gone out and Ive tried but I cant get the pilot light to work. Shit. Its Sarah, sorry about that. When you get this message, if you could call me back, that would be great. That would be fantastic. Okay. Ill be waiting for your call. Thanks. She hangs up. She looks over at the fireplace. CUT TO: A book of used matches lies off to the side alongside some torn newspapers. A few logs appear to have caught fire but - from the absence of the fire - apparently not enough to sustain. Sarah sits in front of the fireplace and huddles inside the blanket.

(CONTINUED)

CONTINUED:

47.

SARAH (CONTD) Shit. 98 INT. HOUSE - KITCHEN - NIGHT 98

Sarah sits in front of the hot open oven. She goes over to the half empty bottle of wine that is sitting on the table and pours herself another glass. She walks back over to the oven, looks over at the window and then ducks down behind the counter. She peeks over the counter, through the window and sees several small lights coming from the woods. SARAH Shit. 99 EXT. FOREST - NIGHT 99

Sara walks slowly among the trees, the axe in one hand and a flashlight in the other. She sees a light straight ahead of her and she hits the ground. She turns off her flashlight and crawls over to a nearby tree. She peeks out but the light has disappeared. And then its back and no more than twenty feet away. Sara takes a couple of quick breaths, psychs herself up... SARAH You think youre big time! show you big time! The lights stop dead where they are. Sarah runs towards the light and is screaming at the top of her lungs. She trips and the axe slips out of her hands. She tumbles down into a gully, end over end, until she comes to a stop. She gets to a sitting position quickly and feels around for the axe, the flashlight, for anything... Her hand finds the flashlight. She fumbles with it, hits the ON button and she flashes the light on THREE TEENS, TWO BOYS and a GIRL, huddled together and covered in a blanket of total fear. TEENAGE BOY Were not big time. I swear were not. Ill

48.

Sarah lets out the breath that shes been holding and sinks back into the leaves. 100 INT. HOUSE - BASEMENT - NIGHT Jacob is at the water heater. the fuse box. 100 He sees Sarah leaning against

JACOB Dont lean against the fuse box. Oh, right. and die. SARAH I might shock myself

JACOB I know a couple of people that its happened to. SARAH Theyre dead? JACOB No. Okay. SARAH So what are you saying?

JACOB Im saying that just because it didnt happen doesnt mean that it cant or wont. She steps away from the box. Jacob looks over at the water heater. JACOB (CONTD) Well this should be good now. SARAH Thanks. Sarah starts up the stairs and Jacob follows. 101 INT. HOUSE - FOYER - DAY Jacob opens the door and turns back to Sarah. JACOB So it turned out to be a bunch of kids? 101

(CONTINUED)

CONTINUED:

49.

SARAH Teenagers, just like you said. JACOB And what did they want? SARAH They just wanted to see the lady who lived in the scary house. JACOB Why didnt you just call the cops again? SARAH I dont know. I suddenly felt courageous. Jacob looks over at the box of recyclables and the empty bottles of wine. JACOB You want me to take those? SARAH Ill take them. JACOB You could have gotten really hurt out there. SARAH Yeah, I thought about that. JACOB You could have cut your own head off running around like that. SARAH I thought about that, too. JACOB Dont do that again. Dont run around in the woods waving an axe in the air like you just dont care again. Can you not do that please? SARAH Yes. JACOB Promise me.

(CONTINUED)

CONTINUED:

50.

SARAH I promise. Jacob heads out the door and Sarah watches him go. FADE TO BLACK. FADE IN: 102 INT. HOUSE - BEDROOM - NIGHT Sara snaps awake and sits up. her and blows into her hands. 102 She yanks the sheets around

SARAH Fuckety fuck fuck fuck. She blows into her hands again. 103 INT. HOUSE - LIVING ROOM - NIGHT 103

Sara sits in front of the fireplace. She pokes at the burnt pieces of paper and the unburnt wood with the poker. 104 INT. HOUSE - KITCHEN - NIGHT 104

The music drifts in the background. Sarah has flour, sugar, butter: all of the ingredients one needs for baking. She stops whipping and takes a sip from her glass of wine. Sarah is whipping egg whites in a bowl when the kitchen lights go out and the music dies. SARAH Shit. She places the bowl of egg whites down on the counter, turns and promptly knocks over a bowl of flour onto the floor. The time on the microwave says 1:27. 105 INT. HOUSE - BASEMENT - NIGHT Sarah takes a small step back from the fuse box and then flips the switch. From the bottom of the stairs, she can see that the lights come up. 106 INT. HOUSE - KITCHEN - NIGHT Sarah comes up from the basement. She heads towards the counter and a woman enters the room from the hallway. Sarah freezes. 106 105

(CONTINUED)

CONTINUED:

51.

The woman is dressed in an old Victorian style dress, long and layered. She bends over the spilled flour and attempts to sweep it up with her hands. The woman looks over in Sarahs direction and a look of fear in the womans eyes wash over onto her. Sarah opens her mouth to say something and a YOUNG BOY comes up from the basement and rushes past her carrying a broom and dustpan. The young boy goes straight to the woman, his MOTHER and she takes it from him with a nervous smile. The boy holds the dustpan and the mother quickly pushes the flour into it with quick short movements of the broom. The boy throws the flour into a waiting bin, turns back to the job at hand when the back door of the kitchen bursts open. A man, the FATHER, dressed in the style of the era that the others are wearing. He sways on his feet, obviously drunk, and looks over at the woman and the boy. He walks over to the woman, grabs her by the waist and dances with her, humming a melody the entire time. He releases his grip on the woman and she slips, nearly falls. He places one of his meaty hands on the boys head and gives his hair a playful rub. The man steps back, closes his eyes and stops exactly where he is standing. He sways, threatens to fall. He suddenly laughs which turns into a hacking cough. He reaches into his mouth and pulls... With the last yank, he lets out a loud victory scream and with a smile filled with blood - holds the broken tooth up to the light like some trophy that he wants the world to see. The father heads for Sarah and she backs up against the wall. He lumbers down the stairs and the mother and her son quickly go back to the task at hand. Sarah runs for the hallway and right out of the room.

52.

107

EXT. HOUSE - FRONT YARD - NIGHT

107

Sarah bounds down the stairs, running so fast that she almost falls. She gets to her car and yanks at the door but it is locked. She looks back over at the house and hugs herself in an effort to fight the cold. 108 INT. HOUSE - KITCHEN - NIGHT 108 The woman

Sarah walks in. The flour remains where it fell. and the boy are gone.

She walks over to the basement door and looks down into the darkness. FADE TO BLACK. FADE IN: 109 INT. SARAHS CAR - DAY 109

Jacob gives the window a bang and Sarah snaps up. Buried under several layers of blankets, she looks up at Jacob and sees the puzzled look in his eyes. 110 INT. HOUSE - KITCHEN - DAY Sarah sits at the table and watches the basement door. The lights go out in the room. They come back on. watches them, listens to their hum. Sarah 110

The sound of footsteps brings her back to the moment and she looks over in the direction of the basement to find Jacob at the top of the stairs. He carries an armful of firewood. 111 INT. HOUSE - LIVING ROOM - DAY 111

Jacob is at the fireplace and getting things ready for a fire. He stops, looks up at Sarah and holds out the book of matches to her. JACOB Youre going to show me how to build a fire. CUT TO: Sarah takes a step back from the fire. satisfied smile on her face. She has a warm,

(CONTINUED)

CONTINUED:

53.

She looks over at Jacob and finds him giving her the same smile. JACOB (CONTD) Did you say you know how to swing an axe? SARAH No. JACOB No you do or you dont? SARAH I dont. JACOB Ill cut a couple of rows for you. Jacob starts for the kitchen. SARAH Or you can show me. 112 EXT. HOUSE - BACKYARD - DAY 112

Sarah surveys the piece of wood in front of her and adjust her grip on the axe handle. She brings the axe down and the head splits the wood right down the center, cleaving it n half. She steps back, same satisfied smile on her face. over at Jacob. Hes smiling also. 113 INT. HOUSE - BASEMENT - DAY She looks 113

Sarah stacks the wood against the wall and looks over at the fuse box in the corner. 114 INT. HOUSE - KITCHEN - DAY Jacob stares at the spilled flour on the floor. at Sarah when she enters the kitchen. He watches her lock the door back up. JACOB Whats with the flour? What? SARAH Oh that. 114 He looks up

(CONTINUED)

CONTINUED:

54.

JACOB That some kind of thing you do, too? SARAH Some kind of thing? JACOB I dont know. You know. the slippers. He points at her slippers. SARAH (she laughs) Was that a joke? Not bad for a first try. JACOB Hey, youre the one with the flour on the floor and slippers on your feet in the middle of the day. SARAH You dont wear slippers? JACOB Sure I do. Just not when its time to wear shoes. SARAH The flour is a baking casualty. I wear slippers in the house because this way I keep the floors clean. JACOB (he looks at his filthy boots) Oh. SARAH Dont worry about it. slippers work. And the Like with

JACOB Where did you pick up this little habit from? From the back of a magazine? SARAH No.

(CONTINUED)

CONTINUED:

55.

JACOB A girlfriend? SARAH No, not a girlfriend. Would you like some coffee? I need to put a pot on but it wont take long. JACOB I have to get going. on a couple of runs. SARAH Right. JACOB Why were sleeping in the car? Pause. SARAH I told you. It was freezing in here. JACOB And it wasnt in the car? Pause. Jacob makes it easy on her. door. He gets up and heads for the Marge has me

JACOB (CONTD) You have my number. SARAH Yeah. He exits the kitchen. Sarah stares at the flour on the floor. 115 EXT. HOUSE - BACKYARD - DAY 115

Sarah is practicing her swing on a couple of more pieces of wood. The growing stack of wood on the side is proof that shes doing alright. The sun is setting at her back.

56.

116

INT. HOUSE - BASEMENT - DAY

116

Sarah stacks up the newly cut wood against the wall with the others. The sun is nearly gone. Seeing that the basement is fast becoming a room full of shadows, Sarah rushes up the stairs. 117 INT. HOUSE - LIVING ROOM - NIGHT Sarah adds wood to the fire. 118 INT. HOUSE - KITCHEN - NIGHT Sarah stirs the vegetables that she is sauteing in the pan. She pours some wine into it and the pan lets out a loud sizzle. 119 INT. HOUSE - LIVING ROOM - NIGHT Sarah pours herself a glass of wine. CUT TO: Sarah sits one half of the couch and watches the fire flicker. A half finished bottle of wine and half eaten plate of food sit on the other half of the couch. She pours herself another glass of wine, brings it to her lips and takes a long sip. She leans her head against the chair and her eyes, heavy with sleep, start to close. FADE TO BLACK. CUT TO: Sarahs body jerks and her glass of wine spills all over her, waking her up. SARAH Shit. 120 INT. HOUSE - KITCHEN - NIGHT 120 119 118 117

Sarah walks into the kitchen, slow and with n eye on everything around her. She walks towards the basement door and then stops. She looks over at the microwave oven and the time that is flashing on it. It is 1:27. (CONTINUED)

CONTINUED:

57.

Sarah flicks the switch on the wall, up down, up down. The lights do not turn on but neither does the microwave turn off. Sarah turns away and walks towards the basement. 121 INT. HOUSE - BASEMENT - NIGHT 121

Sarah flicks the OFF switch back to its ON position and from the light at the tops of the stairs, sees that the electricity is back on. 122 INT. HOUSE - KITCHEN - NIGHT Sarah flips off the light switch and exits the room. 123 INT. HOUSE - LIVING ROOM - NIGHT 123 122

Sarah tosses what wine is left in her glass onto the last bits of glowing embers in the fireplace, putting them out. 124 INT. HOUSE - BATHROOM - NIGHT Sarah stands in front of the mirror and brushes her teeth. She bends down and rinses her mouth out several times with water. After the last rinse, she turns off the tap, stands up and sees the young boy standing in the bathtub. He climbs out of the tub and Sarah runs for the door. 125 INT. HOUSE - 2ND FLOOR HALLWAY - NIGHT 125 124

Sarah runs out and sees the woman from the kitchen standing at the far end of the hallway and she is smiling at her. Sarah walks backwards, each step more halting than the last. The woman walks towards her... The boy suddenly runs out of the bathroom and right into Sarah. The collision sends her back wards and him spinning to the floor. Sarah screams loudly and he screams even louder. Sarah looks into his eyes and she can see that they are filled with sheer and total terror. He stands up and looks over at mother who is not smiling anymore. She opens her mouth to say something but the sound of the backdoor opening draws everyones attention. The boy runs in the opposite direction, away from his mother and Sarah. (CONTINUED)

CONTINUED:

58.

The woman is unsure and starts toward the running boy but then stops. Sarah takes a look into the darkness of the hallway in which the boy disappeared into and then turns back to the woman only to find her hurrying down the stairs. Sarah chases after. 126 INT. HOUSE - FOYER - NIGHT 126

By the time she gets to the bottom of the stairs, however, and hits the hallway that leads to the kitchen, the woman is gone. The sound of an approaching vehicle is heard OS. SOUND CROSSOVER TO: 127 INT. HOUSE - LIVING ROOM - DAY 127 He gets 128

Jacobs truck pulls up to the front of the house. out and heads for the front door. 128 INT. HOUSE - FOYER - DAY

Sarah opens the door and Jacob stands in the doorway, his arm raised and poised to knock. SARAH Come in. She turns and heads for the kitchen. to notice that shes wearing shoes. 129 INT. HOUSE - BASEMENT - DAY He 130 It takes him a second 129

Jacob looks around the room, at the stacked firewood. turns around to the fuse box and closes it up. 130 INT. HOUSE - KITCHEN - DAY

Jacob comes up from the basement and closes the door behind him. Sarah sits at the table. SARAH I made coffee. And cookies. He looks over at the percolator and the tray of cookies sitting on the table. A manila envelope lies a few inches away. CUT TO: (CONTINUED)

CONTINUED:

59.

Jacob finishes the last cookie and then washes it down with a gulp of coffee. Pause. SARAH I undercooked them this way the center would still be soft... JACOB Delicious. Pause. SARAH What happened here? in this house? Pause. JACOB You dont know? SARAH Only what Ive been told. JACOB What were you told? SARAH I was told that the wife and son disappeared and that the husband killed himself not long afterwards by jumping from the attic window. JACOB Then you know what happened here. SARAH Who was the husband? JACOB He was a drunk. He was a gambler. He was as they say an all purpose asshole. He didnt cheat on his wife though. He liked to beat her on a regular basis but he never cheated on her. What happened JACOB They were...and the center was perfect, it was...

(CONTINUED)

CONTINUED:

60.

SARAH So no one knows what happened to the mother and son? JACOB Everyone knows what happened to them. SARAH But how could they know? JACOB They just did. SARAH Couldnt it have been an intruder? JACOB It couldve been. SARAH Maybe another man. JACOB Maybe. SARAH So how does everyone know? JACOB Because they do. It was just the three of them here. And then it wasnt. SARAH And no one could prove it. JACOB No they could not. SARAH Maybe they just left. They went away. Their bodies were never found. JACOB Just because no one could see them didnt mean that they werent there. He knew where they were because he put them there and everyone knew it. He just wasnt telling. He would have though. It was just that there was no one on (MORE) (CONTINUED)

CONTINUED:

61.

JACOB (CONTD) the mother and sons side to come around and beat it out of him. And even if there was, well, the jump from the attic took care of that. What exactly are you looking for? She pulls out the photo from the manila envelope. SARAH What do you know about this? Jacob pulls it over to him. SARAH (CONTD) I thought it was a memorial photo at first. You know what a memorial is? JACOB I do. SARAH And this isnt one. JACOB No, it is not. SARAH What is it? JACOB Things have changed but some things dont. Kids dont like to get their picture taken. Then or now. They have a hard time sitting still. Theyd do it though if they were sitting on their mothers lap. Only thing is, the mother didnt want to be in the picture. She just wanted one of the kid. So the solution back then was to cover the mother up in a black sheet. Mother sits still. The kid sits still. Camera bulb flash. You got yourself a family photo to treasure and remember. SARAH Right.

(CONTINUED)

CONTINUED:

62.

JACOB It wasnt uncommon. Like memorial photos. Lots of people do it. SARAH Right. JACOB Where did you get this? find this in the house? Did you

SARAH At a flea market. I found the house from the address on the back. Does it look familiar to you? JACOB No. SARAH You dont recognize any one? JACOB Why would I? This things got to be a hundred years old. And her heads covered. SARAH How do you know thats a woman? JACOB I dont. Like I said, a lot of mothers did this. It wasnt uncommon. He gets up. JACOB (CONTD) I gotta get going. Marge has me on a couple of runs. SARAH Right. Jacob heads out the back door. Sarah goes back to the photo and runs a finger over the peoples faces. She looks over at the flour on the floor. CUT TO: (CONTINUED)

CONTINUED: Sarah tosses the rest of the flour into the garbage can. She looks around the kitchen. SARAH Screw.

63.

CUT TO: Sarah pulls out some cleaning supplies from underneath the sink. MONTAGE: Starting in the kitchen, Sarah goes from room to room and cleans. END MONTAGE 131 INT. HOUSE - 2ND FLOOR HALLWAY - DAY Sarah stares up at the attic door. 132 INT. HOUSE - ATTIC - DAY 132 131

Its awkward but Sarah manages to make inside with her hands full of cleaning products, a broom and dustpan, etc. She takes the broom and starts sweeping on one side. MONTAGE: She sweeps the dirt up into small piles. Little mounds of dust are scattered throughout the room by the end of this. END MONTAGE Sarah grabs the dust pan and sweeps the first pile of dirt into it. She throws this into an open garbage bag. She walks over to another pile of dust and sweeps this into the dust pan. She turns towards the garbage bag and sees a MAN standing over the mother who lies on her back on the floor. This is when it hits Sarah: the man and the woman in the woods were this man and the mother. The mother spreads her legs and pulls her dress up and up at the same time. The man gets down on one knee, places his hand around her neck and the woman stops moving. The man moves his hand gently to the side of her face and she kisses his it, kisses his fingers. She takes his hand and pushes it down, past her breasts, down the length of her body until it ends between her legs. (CONTINUED)

CONTINUED:

64.

He moves his hand and she arches up. eyes off of each other.

They never take their

The woman pulls the man down to her and they kiss. It is long and deep and full of passion. They reach and grab, unrestrained touches that strain to find the secret spots of the other. The dustpan slips from Sarahs fingers and hits the floor, the metal clattering against the wood. The brother-in-law and woman look over in her direction, panic in their eyes. They stand up and head for the stairs, straight for her. Sarah steps out of the way and the man watches the woman go down the stairs first. She sees the woman gets to the bottom and give the man a smile. She disappears from view and the man waits. Sarah looks at the mans face and a slight look of recognition flashes in her eyes...there is something familiar in the jawline...in the eyes... The man hurries down the stairs and he disappears from Sarahs sight as well. Sarah runs over to the window that faces the front of the house and looks out to see the woman approach her husband. He ignores her and continues towards the front door. Sarah hears the back door close and she runs to window that faces the backyard. The man runs out of the house and into the woods. Sarah searches but he quickly disappears into the trees. Suddenly Jacob walks into view and is heading into the trees as well. Sarah is stunned for a second and then she runs for the stairs. 133 EXT. HOUSE - BACKYARD - DAY Sarah runs out and searches the trees for a sign of Jacob but sees nothing. 133

65.

134

EXT. FOREST - DAY

134

Sarah walks and searches the trees but Jacob is nowhere to be seen. A small, few feet and then now sees looks of equal in bright orange flag sticks up from the ground just a from where she is standing. She starts towards it sees that another is planted nearby. She walks and that the place has quite a few of them and from the it, they appear to be set up in a kind of grid, distance from each other.

She bends down and reaches for one. JACOB Dont touch it. Sarah stands up and watches him walk towards her. SARAH What are they for? JACOB For research. SARAH What kind of research are you doing? Im not. JACOB The college nearby is.

SARAH And you dont know what for? JACOB I dont ask. Are you following me? SARAH No. I saw you from the attic window. JACOB What were you doing in the attic? SARAH Whats in the attic? JACOB Lots of blind spots. You need to be careful. Thats all.

(CONTINUED)

CONTINUED:

66.

SARAH Okay. JACOB We should head back. cold. Are you cold? SARAH No. Okay. (pause) I change my mind. Its getting

Jacob takes off his jacket and puts it on Sarah. SARAH Thanks. JACOB Sure. SARAH How long have you been caretaker here? JACOB Ive been helping my dad out with this ever since I was a kid. I just ended up doing this full time after he died. Oh. SARAH Im so sorry. JACOB I know. SARAH Still sorry. Its fine. cancer. Oh. JACOB It was expected. Lung I didnt know.

SARAH Do you like the work?

JACOB (contemplates the question and his response) I do. It depends.

(CONTINUED)

CONTINUED:

67.

SARAH On what? JACOB On the boss. SARAH But youre the boss. JACOB Tell that to the people I work for. I have two categories for the people I work for. On one side are the assholes. SARAH What constitutes an asshole? JACOB I dont have any hard and fast rules but I know them when I see them. SARAH And the other group? JACOB They are not assholes. youre not an asshole. Beat. SARAH Do you live nearby? JACOB About a mile back behind us on the other side of the woods. Its nice. Its a little place. Its nothing extravagant. SARAH Youve lived here all your life? JACOB I tried college a while back. state school. I came back. Beat. SARAH Its beautiful here. A And no,

(CONTINUED)

CONTINUED:

68.

JACOB Wait until later in the season. And Spring. Its maybe even nicer then. Beat. JACOB (CONTD) So when do you think youll be starting it up? SARAH Start what up? JACOB The B&B. SARAH Im not doing a B&B. JACOB Why not? SARAH I dont know anything about that. JACOB Whats to know? SARAH I wouldnt know where to start. JACOB You start with a bed and you end it with breakfast. You even have a hook with the whole haunted house thing. SARAH The house is haunted? JACOB Thats what they say. SARAH What do you say? JACOB I say bad things happen and sometimes its hard to make them go away.

(CONTINUED)

CONTINUED:

69.

SARAH So you believe in spirits? JACOB I dont not not believe. be silly to think that. It would

SARAH Thats twice youve used the word "silly" in a sentence. Pretty soon youre going to use the word "cute". JACOB Hey, if somthings cute then theres no way around it. Beat. JACOB (CONTD) Why did you come here? SARAH I saw the house. JACOB You saw the house. SARAH I saw the house and I had to have it. I had to stay. JACOB You should do that B&B. SARAH Whats with you and this B&B? not doing a B&B. JACOB You could make a killing. some money. Make Im

SARAH Im not thinking about that now. JACOB Youre not thinking of money? SARAH No.

(CONTINUED)

CONTINUED: JACOB Are you one of those TV girls? SARAH Excuse me? JACOB One of those girls on a sitcom. They live with their friend in the city. They have a shitty job and so does their friend but they live in this great place. They live in a loft and it looks great. And you sit there watching their life and wonder, "How the hell do they pay for all of this?" SARAH What exactly are you asking me? JACOB What exactly do you do for money? SARAH Not much. JACOB You dont work. SARAH I dont have to. JACOB Youre rich. SARAH No, Im not but I have some money. JACOB So what did you do before this? Before the house. Before you had to have it. SARAH I was a housewife. JACOB You were married. I was. money. SARAH Thats where I got my From my husband.

70.

(CONTINUED)

CONTINUED:

71.

JACOB Because of the divorce. SARAH Because hes dead. She takes off his jacket and hands it back to him. SARAH Its getting colder. Jacob stops and Sarah hurries ahead. 135 INT. HOUSE - LIVING ROOM - NIGHT 135

Sarah looks out of the window and watches Jacob drive off in his truck. She walk over to the fireplace and gathers up what she needs to starts a fire. CUT TO: A song plays on the record player. Sarah sits on the couch and watches the fire. She picks up her glass of wine and notices that she is almost out. She looks over at the just opened bottle. The song ends. 136 Sarah gets up and starts it again. 136

INT. HOUSE - KITCHEN - NIGHT

She finishes what little wine is left in her glass and places it into the sink. She shoves the cork back into the wine bottle. The song ends and the lights flicker. Sarah watches and waits... Sarah downs the rest of the wine. glass onto the table and... The lights go out. Sarah stares at the basement door. It is open just a crack. She places the empty

72.

137

INT. HOUSE - BASEMENT - NIGHT

137

Sarah stands at the bottom of the steps. She stares into the darkness and makes out the familiar wood piles stacked against the wall. She pulls on the hanging light buld but its out also. She walks over to fuse box, opens the door and flips the OFF switch back to the ON position. The lights in the basement go on. Sarah waits and listens but there is no music from above. She looks up and sees her shadow flickering against the wall. She turns around and sees... The basement is no longer a cement floored blank space but a fully furnished nineteenth century den. It is filled with an assortment of "manly" items: leather couch and chair, a stocked liquor cabinet, a trophy head of some animal, etc. This is a man-cave circa late nineteenth century. It is bright and entirely lit with gas lights. There is also a side door that is cracked open. And in the center of this room stands the man. He is obviously drunk, swaying and just barely able to remain on his feet. Sarah backs up towards the stairs, her eyes always on the man. She turns and sees the boy standing at the top of the stairs and staring down at her. Sarah turns around and the man is almost upon her. She stumbles back and out of his way, tripping over her feet and almost falling. The man staggers up the stairs and disappears into the kitchen. Sarah waits a few seconds and then goes up the stairs after him. 138 INT. HOUSE - KITCHEN - NIGHT Sarah walks in but it is empty. She exits the room. 138

73.

139

INT. HOUSE - LIVING ROOM - NIGHT Sara looks in but the man is not in here either. the room.

139 She exits 140

140

INT. HOUSE - FOYER - NIGHT

Sarah looks up the stairs. Also empty. She turns to head back towards the hallway and then hears a crash from the bedroom. 141 INT. HOUSE - BEDROOM - NIGHT 141

The man is on the bed and already snoring. Sarah looks around "her" bedroom. Like the basement, it has undergone a complete Victorian makeover. Sarah looks down and sees a small set of hands disappear beneath the bed. Sarah gets to her hands and knees and sees the scared young boy, curled up and ready to cry. Sarah reaches out to him. SARAH Its okay. The boy looks over in her direction. SARAH (CONTD) Dont be afraid. The boy does as he is told and thats when Sarah realizes the reason why: he is heading towards his mother who is lying next to Sarah. He moves towards his mother and she very quickly raises a finger to her lips. She and Sarah pick their heads up. at her husband who is fast asleep. at the mother. The mother takes a look Sarah meanwhile stares

The mother goes back to her son and motions for him to move. He scrambles out from beneath the bed and into his mothers arms. They hurry out of the room and Sarah follows. She stops at the stairs though and looks back in the direction of her bedroom.

74.

142

INT. HOUSE - BEDROOM - NIGHT Sarah looks in from the doorway and everything is exactly where they should be. Her room is back to her room.

142

143

INT. HOUSE - KITCHEN - NIGHT Sarah padlocks the basement door.

143

144

INT. HOUSE - LIVING ROOM - NIGHT

144

Sarah throws more wood on the fire and wraps herself tighter in her blanket. She begins to rock back and forth in her seat. She starts to get up but then changes her mind. She gets up and picks up the poker and goes right back to the couch. FADE TO BLACK. FADE IN: 145 INT. HOUSE - LIVING ROOM - DAY There is a banging on the door and Sarah jumps up, bleary and wild eyed. 146 INT. HOUSE - FOYER - DAY Sarah opens the door and finds Joan and Jacob standing on the porch. Several seconds pass. Jacob clears his throat. SARAH (to Joan) Oh my God. What are you doing here? (to Jacob) What are you doing here? Did I call you last night? JACOB You called me? SARAH No, thats what Im asking. call you? Did I 146 145

(CONTINUED)

CONTINUED: JOAN (to Jacob) What are you doing here? Beat. Everyone looks at everyone. JACOB (to Joan) Are you talking to Sarah or to me? JOAN (raise her eyebrows at Sarah) Sarah? Am i talking to you or to him? SARAH Jesus, Joan. Joan, this is Jacob. Jacob, this is Joan. is... JOAN Hes what? JACOB Im the caretaker. JOAN Youre the caretaker? JACOB Yeah. JOAN You dont look cantankerous at all. JACOB Cantankerous? JOAN "Bad-tempered, argumentative,and uncooperative." As in all the movies, the caretaker is always a "cantankerous, old man." You dont look cantankerous at all. SARAH (to Jacob) What are you doing here, Jacob? JACOB Marge had me on some runs nearby so I just thought Id check up on you. Because of your fuse box.

75.

Jacob

(CONTINUED)

CONTINUED:

76.

JOAN (to Sarah) You got a problem with your box? JACOB (to Sarah) You have my number. JOAN Oh. I change my mind. cantankerous. He quickly heads for his truck. JOAN (CONTD) (to Sarah) At least he doesnt look old. Joan and Sarah look at each other. JOAN (CONTD) You do have his number, right? Sarah laughs and they hug again. 147 INT. RESTAURANT - NIGHT Joan takes a forkful of fried rice in her mouth and Sarah watches her chew. Joan swallows her food. JOAN Does this restaurant deliver? Because if it does, you need to have their number on speed dial. Joan moves to refill Sarahs glass of wine - theres a little less than half left - but Sarah puts a hand over he glass. SARAH Im good. JOAN (pause) Interesting. Joan refills her own glass and takes a sip from it. 147 You are

(CONTINUED)

CONTINUED:

77.

JOAN (CONTD) You didnt give me a tour. SARAH Youve gotten the tour. JOAN I mean the "unofficial" tour. The hidden nooks and crannies that the tourists dont get to see tour. SARAH Maybe tomorrow. Sarah and Joan push their food around their plates. JOAN Im sorry. SARAH About what? Really? person? JOAN Youre going to be that

SARAH Are you apologizing or am I crazy? JOAN (pause) Im sorry. Im sorry about the last time. Im sorry I havent called. SARAH I understand. JOAN Youre saying that because youre being nice and you dont have to be. I do. (pause) I was an asshole. SARAH You werent. JOAN Will you stop and let me finish what I have to say?

(CONTINUED)

CONTINUED: JOAN (CONTD) I was and I thought I had good reason, too. I thought that this whole thing, the house, you leaving. I thought you were running away. Maybe I still do. But I was wrong, then and now. You didnt run away. You were just moving on. I just didnt want to see you go. Im proud of you, kiddo. I really am. Joan raises her glass in the air.

78.

Sarah raises her glass in the air and they take a sip from their glasses. JOAN (CONTD) You look good, kiddo. SARAH Thanks. JOAN Youre good? SARAH I am. JOAN You would tell me if you werent, right? SARAH Yeah. JOAN (whispers) If there is something wrong, give me a sign. Give me a signal so that the kidnappers in the house wont know whats going on. Pause. SARAH Im fine, officer. Theres no one in the house with me. JOAN Good. Because if there was, I wouldve kicked down that door and kicked some ass. You know that, right? (CONTINUED)

CONTINUED:

79.

SARAH I know that. JOAN Good. (pause) Oh, before I forget. She pulls out a VHS tape and holds it up for Sarah to see. JOAN (CONTD) The king of all romantic comedies, isnt that right? SARAH It is. Pause. SARAH Joan? JOAN Yeah? SARAH I missed you. JOAN Yeah? Yeah. SARAH I love you. I love

JOAN I love you, too, kiddo. you, too. They hug and cry.

JOAN (CONTD) Alright, enough blubbering. So how about it? You ready to have a romantic yet comedic moment with your sassy best friend or what? SARAH Bring it. FADE TO BLACK. FADE IN:

80.

148

EXT. HOUSE - DAY

148

Joans car pulls up to the front of the house and comes to a stop. Joan and Sarah get out of the car and head for the house. JOAN I need a picture of the two of us. SARAH Now? JOAN Yes and I want the scary house in the background. SARAH How about we do this later? JOAN And whens that? SARAH Later later. JOAN Were doing it now now. Joan stops and puts down her bag. her bag and looks at Joan. Sarah stops, puts down

JOAN (CONTD) Dont make me go over there. Sarah walks back over to her. Joan grabs Sarah and pulls her closer. She holds the camera at arms length and presses her face hard against Sarahs own. SARAH Ow! Joan presses down and the cameras flash goes off. SARAH (CONTD) We need to do that again. JOAN Im sure its fine. Joan starts for the house.

(CONTINUED)

CONTINUED: SARAH I want to do that again. JOAN Well do it later later. SARAH Asshole. She hurries after Joan. speed. 149 INT. HOUSE - FOYER - DAY

81.

Joan, seeing this, picks up her 149

Joan and Sarah enter. Sarah closes the door behind and turns to see Joan taking off her shoes. SARAH You dont have to do that. JOAN No? SARAH It wasnt my rule, remember? Joan smiles, shakes her head and slips her shoes back on. JOAN So tell me about the pool boy. SARAH Who? Sorry. JOAN I meant the caretaker.

SARAH His name is Jacob and he passes by... JOAN Im sure he does. SARAH To do work around the house. JOAN To check your plumbing? I hear a wah-wah pedal somewhere in the background. Sarah shoves the takeout food into Joans hands.

(CONTINUED)

CONTINUED: SARAH Go into the kitchen and get plates, get glasses.

82.

Joan heads down the hallway and disappears into the kitchen. JOAN (OS) We forgot the wine. CUT TO: Sarah opens the front door and walks out. (this is one continuous shot) her. OUTSIDE THE HOUSE Sarah walks over to the car, opens the passenger side door and grabs the bottle of wine thats laying at the foot of the passenger seat. She locks the door and heads back towards the house. INSIDE THE HOUSE, ANGLE ON THE DOOR Sarah pushes the door open and the MAN FROM THE WOODS, the brother of the the father/husband, walks right by her , his eyes overflowing with the rage. He walks by without seeing her at all, without saying a word. CUT TO: 150 INT. HOUSE - FOYER - DAY Sarah stands still, in total shock. living room. 151 150 She looks over at the 151 CAMERA follows

INT. HOUSE - HALLWAY/LIVING ROOM - DAY Sarah stands at the doorway.

The room is transformed. Lit by gas lamps and tastefully furnished, it is what a proper parlor should be. A Victrola plays in the background. The husband from the kitchen stands in the middle of the room, sways on his feet. He stumbles over to his plush leather chair and falls back into it. He carefully pours himself a large glass of liquor and places the carafe carefully onto a side table. The sound of footsteps in the hallway attracts the husband and Sarahs attention and they turn to find the mother walking in. She carries a tray of coffee and assorted baked treats and she wears a nervous smile. (CONTINUED)

CONTINUED:

83.

She looks around the room and sets the tray down on an empty spot. The man grabs the woman with both arms around the waist and yanks her up to him, singing along with the music. He turns her around so that she is facing him and forces her to dance with me which means that hes dancing and dragging her along. The woman is still managing a smile but it is quickly fading away the more manic he becomes. She tries to pull away, gently at first. The man just pulls her tighter to him. She tries to push away in earnest and thats when his mood - and the look on his face - changes. He is not singing any more but speaking the words of the song to her and his voice grows louder with each passing moment. The smile is gone - there is real fear in her eyes now - and the woman tries to break free of his grip. He has a hand on each arm and he shakes her hard, her head snapping back and forth violently. He is now full on screaming the song lyrics at her. He shoves her and she bumps into the table with the Victrola. This sends the needle scratching across the record and brings the song to an end. The man flips her onto her stomach across the table and he is now behind her. Sarah slumps down against the wall and closes her eyes tight. The man reaches under the womans skirt and she cries out in pain. Sarah brings her hands - now fists - up to her temples. shrinks down into herself. SARAH Stop it. The woman tries to stand up and the man kicks her legs apart which forces her to fall forward. Sarah rocks on her heels, back and forth. again. SARAH (CONTD) Stop it. Shes a baby She

(CONTINUED)

CONTINUED:

84.

The man presses the womans tear stained face into the table with one hand and undoes his pants with the other. He leans into her ear and opens his mouth to say... SARAH (CONTD) Stop it! The man stands up so suddenly that he almost falls. He steps away from the woman and looks around the room. Theres something new in his eyes. Something that looks like fear. The man looks over at his wife and the look on her face gives him the confirmation that hes not crazy. He walks over to the doorway and after one last look around the room, hurries out. The woman gathers herself together and steps away from the table. She makes her way to the doorway and like her husband, carefully surveys the room with every step she takes. And like him, something has changed in her as well. Theres a calmness in her eyes now. She takes a last curious look at the room and then walks out of the room. Sarah stands up nice and slow. She takes several deep breaths, walks over to the doorway and nearly bumps into Joan who is on her way in. JOAN Whats wrong? CUT TO: Joan and Sara are on the couch. Joan looks shocked.

JOAN (CONTD) Why didnt you say anything? SARAH Oh yeah? JOAN Oh yeah. SARAH Say it out loud and tell me how that conversation goes. JOAN You can tell me anything.

(CONTINUED)

CONTINUED: SARAH There are ghosts in my house and one of them is a real nasty bastard and Im scared that something real bad has happened here. Howd that work out for you? JOAN I dont know what to say. SARAH Would you have believed me? JOAN I dont know what I wouldve believed. SARAH Exactly. JOAN But I wouldnt have turned you away. SARAH So what would you have done? JOAN What Im going to do now. I wouldve said, "Lets get hell out of here before something else happens and then figure it out from there." SARAH Oh yeah? JOAN (angry) Oh yeah! Beat. JOAN (CONTD) Thats what I would have done because thats what friends do. Even when one of the friends has some crazy shit to say. I wouldve said that tomorrow morning were packing up your shit, heading over to the B&B and then were heading home. Thats that I wouldve said.

85.

(CONTINUED)

CONTINUED:

86.

SARAH The B&B is closed right now. JOAN I know. Thats why Im calling tomorrow morning. Thats why Im sleeping with you tonight. Okay? SARAH Okay. FADE TO BLACK. FADE IN: 152 INT. HOUSE - BEDROOM - NIGHT 152

Sarah snaps awake and sits up. She looks over to her right but Joan is nowhere to be found. Sarah looks over at the door and can see that the light from the bathroom through the crack in the door. The light goes off and she hears the sound of someone heading towards the bedroom. The door opens. Joan rushes in, heads over to her side of the bed and climbs under the covers. SARAH Why didnt you wake me? JOAN Trust me, I almost did. Sarah lays back down. She sits up and heads for the door. JOAN (CONTD) Wherere you going? SARAH Now I have to go. JOAN You need me? Beat.

(CONTINUED)

CONTINUED:

87.

SARAH Ill be right back. 153 INT. HOUSE - BATHROOM - NIGHT 153

Sarah is washing her hands. She turns the tap off and the overhead lights flicker. She looks away from the lights and listens to the sound of running water. Sarah looks down and sees that the water is off. She looks into the mirror and at the tub, still fully covered by the shower curtain. The sound of the water seems louder at this point. Sarah walks over to the tub and pulls the curtain aside to reveal that the water is actually on and rapidly filling up the tub. Sarah turns it off and something crashes to the floor downstairs. 154 INT. HOUSE - 2ND FLOOR HALLWAY - NIGHT 154

Sarah looks into her bedroom and finds Joan is fast asleep. CUT TO: Sarah approaches the stairs and listens but all she gets is silence. She looks over to her right and stares at the large vase full of beautiful flowers that are sitting on an antique side table. 155 INT. HOUSE - LIVING ROOM - NIGHT 155

Sarah stands just outside of the doorway and looks into the darkened room. She reaches in and feels for the light switch against the wall. She flips it up and the lights go on. The room appears to be the same as she left it. the light off. 156 INT. HOUSE - HALLWAY - NIGHT She turns 156

Sarah steps back into the hallway and looks over at the kitchen. The light has been left on. Sarah walks towards it, each step more timid than the last.

88.

157

INT.

HOUSE - KITCHEN - NIGHT

157

Sarah enters. Everything appears, as is the case in the living room, the same. But something on the floor, something near the tables legs catches her eye. She walks towards it and sees a roasted chicken splayed out on the floor. A side of potatoes joins it along with pieces of a broken plate. She steps back, back into the hallway... Her shadow grows against the hallway wall from the light coming from the living room that is at her back. 158 INT. HOUSE - LIVING ROOM - NIGHT 158

Sarah turns around and sees the man, sweaty and disheveled, standing in the middle of the room. His breathing is fast and labored; he is panting like a dog. He holds a bloody axe loosely in his right hand. The woman, his wife, is splayed out against a large chair. Her neck is at an impossible angle because it has been hacked into. Her eyes are glazed over and dead like a dolls eyes. The man turns and looks at Sarah. She turns toward the stairs and sees the boy a few feet away staring back at his father, his eyes wide with fear. He runs and Sarah is right after him. 159 INT. HOUSE - 2ND FLOOR HALLWAY - NIGHT 159

She gets to the top of the stairs and turns to see that the man is nearly on her. She picks up the vase, turns and throws it at him. It shatters on impact and sends him tumbling back down to the bottom of the stairway where he lands with a loud crash. Sarah runs.

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160

INT.

HOUSE - BATHROOM - NIGHT

160

Sarah takes a frantic look inside but the room is empty. She turns and looks over at her bedroom. 161 INT. HOUSE - BEDROOM - NIGHT 161

Sarah walks in. It is filled with nineteenth century furniture now and Joan is nowhere to be seen. Sarah takes another step and then stops. She slowly gets down onto her knees and peers underneath the bed. The boy stares back at her. He isnt afraid at this point; he is absolutely terrified. Sarah gets down on her belly and pushes herself underneath the bed. He backs away and she stops. She reaches out to him, with one hand... The boy freezes and begins to shake. Sarah looks over to her right and sees that shes been joined by the father, his face cut open, a wide gash across his forehead. He smiles at the boy and Sarah can see that it is filled with blood. He scrambles towards the boy and the boy scrambles back and out from beneath the bed. Sarah scans the room, frantic for anything to use against the man. She turns around and finds that the man has the screaming boy tucked under one of his arms. She runs after him and sees that he is holding the poker in his other hand. 162 INT. HOUSE - BATHROOM - NIGHT 162

The man walks over to the filled tub and throws the boy into it. The boy struggles, violently kicking at the air and pounding with his hands at the mans arms. The mans grin grows wider and he presses down harder. SARAH Let him go! The man does as he is told and the boy breaks to the surface of the water, crying and gasping for breath. The man, seeing this, brings the poker down on the boys head. There is a loud cracking noise at the point of impact and the boy goes limp, his body slipping back into the water.

(CONTINUED)

CONTINUED:

90.

SARAH No! The man snaps his head in the direction of her voice. fear is gone now and is replaced with rage. The

He brings the poker back up and and swings in Sarahs direction. It is now her turn to fear for her life. She backs up again and again with each swing he takes at her. Her legs get tangled beneath her and she falls. Her head connects with the edge of the toilet seat and she hits the tiled floor with a thud. CUT TO BLACK. 163 INT. HOUSE - UNKNOWN ROOM - NIGHT 163

Sarah comes to and opens her eyes. But something is wrong. She sitting and unable to see anything because she is covered by a heavy black cloth. She tries to move, stand up but her hands and legs have been bound in place. She bucks in her seat, struggles to break out of her restraints and in the process causes the cloth covering her to fall off of her face. She looks down and sees that the young boy, bloated and blue from having been drowned, sits in her lap. This is when she notices the blood. It is on her hands...her clothes...it is dripping into her eyes. CAMERA PULLS BACK TO REVEAL THAT IS BASICALLY BATHED IN BLOOD. She starts to buck in the chair again and thats when she sees the man walk past her on his way to the door. He stops at the door and opens it but then stops to take a look at her. The lone light in the room - a bare bulb that hangs above her - begins to flicker and she looks over at the man. He has a macabre smile on his face and he exits the room. SARAH No. The light begins to flash intermittently, faster and faster. Sarah looks at the door but the man is gone and it is now shut.

(CONTINUED)

CONTINUED:

91.

SARAH (CONTD) No no no no no no no. The bulb bursts and the room is plunged into complete darkness. SARAH (CONTD) No! CUT TO BLACK. 164 IN. HOUSE - BATHROOM - NIGHT Sarahs eyes snap open, wild and filled with terror. is on her knees, right beside her. SARAH Joan? JOAN Sara. A PARAMEDIC reaches for Sarah and she screams. She buries her face into Joans body, muffled whimpers coming from deep inside of her. Joan shoves the paramedic back. She cradles Sarah and rocks her back and forth, back and forth. Sarah looks up at her and opens her mouth to say something but the only thing that comes out is are ragged breaths of air. JOAN (CONTD) Im right here, kiddo. Im right here. Sarah looks over and sees Jacob. He is the furthest away from her. They lock eyes and he quickly turns away. 165 INT. HOUSE - LIVING ROOM - NIGHT 165 164 Joan

Sarah and Joan sit on the couch in front of the fire. Jacob walks in with two cups of coffee and hands one to each of them. SARAH (to Jacob) Why are you here? you.

I didnt call

(CONTINUED)

CONTINUED:

92.

JOAN Sarah. JACOB I thought Id check up on you. SARAH You were worried. JACOB Yeah. SARAH For me. JACOB Yes. SARAH Why? JOAN Sarah. SARAH What should I be worried about? JACOB You shouldnt. (pause) You should leave. SARAH And why is that?! JOAN Sarah! Beat. SARAH What happened here? Jacob looks away. When he looks back at them, something in his expression has turned dark and in on itself. CUT TO: Jacob sets one of the kitchen chairs opposite the girls and takes a seat.

(CONTINUED)

CONTINUED: JACOB My great-great-grand uncle lived in this house. It was his house. It was built specifically for him, every corner and brick. He was wealthy and he made sure that everyone knew it, too. They also knew he liked to gamble, he liked to drink and he liked to beat his wife. Everyone knew this and every one turned a blind eye and minded their business. Everyone except for my great-great-grandfather, my uncles brother. Thats because he was in love with his brothers wife. They were having an affair behind his brothers back and kept that secret going for quite a while. But in a town this size its hard to keep something like that hidden for long. People suspected including the family - that the boy was my grandfathers, too. Whether or not this was true, my grandfather didnt care. The boy was his own and he treated him as such. And then one day, she disappeared along with their boy. Like I said before, everyone knew what happened here. It was just that nobody could prove it. My uncle knew where they were and my grandfather came over here one night to make him say so. But when he got here, he was too late. His brother had jumped and taken his love and his son along with him. My grandfather looked for them after that, year after year. Dug this place up, turned every stone over twice and then twice again. And then he stopped looking. SARAH Why? JACOB The depression hit and he lost everything. Except the house. He had to sell it which he did but he added one stipulation.

93.

(CONTINUED)

CONTINUED:

94.

SARAH That your family be the caretakers. JACOB Thats right. SARAH And this way you could keep on looking. JACOB Until we didnt have to. SARAH So thats what the flags are for. Marking out every part thats been done before. JACOB Thats what the flags are for. SARAH Why didnt you say anything? JACOB Why didnt you say anything? reason. Same

SARAH And what do you do after you find them? JACOB I have no idea. SARAH I do. JOAN You do? JACOB And whats that? SARAH We do nothing. All we have to do is find their bodies. JOAN And?

(CONTINUED)

CONTINUED: SARAH And then this ends like every other ghost story. JACOB And that is? SARAH When we find their bodies, we set them free. Beat. JOAN Huh. 166 INT. HOUSE - FOYER - NIGHT JACOB Why do you think that theyre in the house? SARAH Trust me. From what Ive seen I think theyre here. JACOB They checked everywhere. SARAH Not everywhere. Theyre here.

95.

166

JOAN So where do we start? SARAH I say we split up. JACOB That sounds like a good plan. JOAN That so sounds like the opposite of a good plan. A good plan sounds like we all stick together. JACOB That sounds good to me, too. Okay. SARAH We stick together.

Sarah and Jacob head towards the kitchen and Joan heads up the stairs. (CONTINUED)

CONTINUED: JOAN We said we were sticking together.

96.

Jacob and Sarah look at each other and head up the stairs with Joan. 167 INT. HOUSE - BEDROOM - NIGHT The three of them check the walls and the floors. 168 INT. HOUSE - BATHROOM - NIGHT The three of them check the walls and floors. Sarah looks at the stopper in the tub. She pulls it out of the drain and then gets down on her hands and knees to look beneath the tub. 169 INT. HOUSE - ATTIC - NIGHT 169 168 167

Jacob peeks his head in. Seeing nothing, he climbs up and the girls follow right behind. They check the floor and the walls. 170 INT. HOUSE - LIVING ROOM - NIGHT Jacob is at the fireplace. Joan is underneath the couch. Sarah is tapping the walls. Sarah looks over at the poker and then goes back to the checking the walls. 171 INT. HOUSE - KITCHEN - NIGHT Jacob is underneath the sink. checking the walls. 171 Joan is on top of the counter 170

Sarah looks away from them and - standing in its doorway looks down into the darkness of the basement. 172 INT. HOUSE - BASEMENT - NIGHT Sarah flips a switch and the lights come on. wood, the concrete floor, the fuse box... 172 She sees the

She walks over to the far wall and stares at it. A seam runs down the length of the wall. It has been plastered over many times over producing a bump that starts from...about door height... Sarah heads back up the stairs. CAMERA follows her up the stairs. (CONTINUED)

CONTINUED:

97.

INSIDE THE KITCHEN Sarah walks through and out the back door. THE BACKYARD She goes over to the axe and pulls it free from the stump. She turns and heads back inside. INSIDE THE KITCHEN Joan jumps off of the counter and just catches sight of Sarah heading back into the basement with the axe in her hand. JOAN Sarah? But Sarah is gone. CUT TO: 173 INT. HOUSE - BASEMENT - NIGHT Sarah runs her finger along the seam and finds a spot. takes a step back, raises the axe up... JACOB Sarah? Sarah brings it down and nails the axe into the wall. yanks it free and brings it back again. JACOB (CONTD) What are you doing? Sarah swings and hits the same spot. Jacob. SARAH Theres a door there. JACOB Gimme. Sarah seems reluctant but she hands it over anyway. Jacob slams it into the wall and this time a large chunk of plaster falls off. Everyone looks at everyone. Jacob slams the axe into it again. (CONTINUED) She looks over at She 173 She

CONTINUED:

98.

And again. And again. CUT TO: The large part of the door that Sarah spoke of is right there to see. Jacob continues to hack and chip at it with the axe. He looks down into the wall and he shoves his hand down into the space. He yanks it back up. JACOB Fuck! SARAH What is it? JACOB The door knob. Its right there. And my hands too goddamn big. SARAH Let me try. Sarah reaches down into the crevasse, keeps it there for a few seconds before bringing it back up. SARAH (CONTD) I need to clear it a little bit more but I can grab it. I can turn it. Give me the axe. Jacob does and Sarah shoves inside. Her hand moves in small up and down movements, the sound of plaster falling down inside the wall. The lights flicker and then shut off. Sarah brings the axe out from out of the wall. SARAH (CONTD) What time is it? JOAN One something. Why? The three of them take a

The sound of footsteps is heard. deep breath and hold it.

(CONTINUED)

CONTINUED: SARAH Hes here. JOAN Whos here? JACOB How do you know its him? SARAH I know. JACOB You two stay here. SARAH What are you doing? JACOB Get that door open. SARAH Jacob!

99.

But Jacob is already up the stairs, his feet disappearing at the top. 174 INT. HOUSE - FOYER - NIGHT 174

Jacob starts up the stairs but then stops and looks into the living room. 175 INT. HOUSE - BASEMENT - NIGHT Sarah slams the axe into the door a couple of times and manages to a make a small crack in the ancient wood. She stares into the darkness, her eyes adjusting... She shoves her hand back down into the wall and tries turning the doorknob but its still a no go. She picks up the axe, brings it back and swings for the door. 176 INT. HOUSE - ATTIC - NIGHT Jacob climbs quietly into the room, never once taking his eyes off of the man standing near the open window. JACOB Hey, A-hole. The man is startled and stares at Jacob, unbelieving. He walks right up to him and hits the man in the face with the poker. 176 175

100.

The man falls... 177 INT. HOUSE - BASEMENT - NIGHT Sarah pulls the axe back and... There is a loud thud from above and Joan jumps. SARAH Joan. JOAN Sarah. (pause) Shit! Joan runs up the stairs. at the hole in the door. 178 Sarah picks up the axe and swings 178 177

INT. HOUSE - ATTIC - NIGHT

Jacob swings the poker at the man who is now on the floor. The man ducks and tackles Jacob low and the both of them hit floor with Jacob ending up on the bottom taking the brunt of the impact. Jacob loses the poker and it spins across the floor. The man, now on top, punches down at Jacob. Again and again. Jacob rolls the man and now he is on top. He catches the man with a good shot but the man grabs a hold of Jacobs hand and bites down hard on it. Jacob screams in and the man kicks him off. They both look over at the poker and scramble for it. The man grabs a hold of the poker but Jacob is all over the guy. They roll around, each trying to gain control of the poker. 179 INT. HOUSE - BASEMENT - NIGHT Sarah steps back and swings the axe over and over at the door. Each swing opens the hole in the door wider and wider. INTERCUT BETWEEN ATTIC AND BASEMENT The man breaks free of Jacobs grip and cracks him in the face with the poker. Stunned, Jacob reaches for the man and - crack! - he gets hit in the face again. 179

(CONTINUED)

CONTINUED:

101.

Sarah pushes her hand through the hole in the door and the jagged edges of the wood cut into her arm. She grits her teeth and reaches for the doorknob on the other side of the door. Jacob gets up briefly but the man, now standing above brings the poker down on him again. Jacob falls to his knees. Sarah turns the doorknob... Jacob it in blood poker raises his arm but the next hit cracks it down, snaps half. Jacob looks up at the man and blinks back the that is dripping into his eyes. The man raises the back up...

Sarah pulls the doorknob and the door opens. The man brings the poker down... END INTERCUT 180 INT. HOUSE - BASEMENT - NIGHT Sarah climbs through the hole into the room and falls. second she hits the floor, shes back on her feet and staring. 180 The

Shes staring at the person covered in black and sitting in a chair. She walks over to the person, grabs a hold of the black cloth and yanks it hard... The chair is empty. JOAN (OS) Sarah! Sarah looks back towards the main room of the basement. 181 INT. HOUSE - ATTIC - NIGHT 181

Sarah climbs into the attic and sees a sobbing Joan kneeling next to Jacobs body. JOAN Sarah. Sarah walks over and kneels down next to Jacob. JOAN (CONTD) Sarah.

(CONTINUED)

CONTINUED:

102.

Sarah looks into Jacobs eyes but his eyes are far away now and looking at something that she cant see. FADE TO BLACK. FADE IN: 182 EXT. HOUSE - FRONT YARD - DAY MEDIUM: ON SARAH She and Joan sit on the porch steps and watch the MEDICAL EXAMINER load Jacobs body into the back of the hearse. CAMERA PUSHES IN ON SARAH AND STAYS WITH HER FOR THE REMAINDER OF THE SCENE. SHERIFF So neither one of you saw the intruder? JOAN No. SHERIFF And how did you know that there was someone in the house? JOAN We heard footsteps upstairs. SHERIFF Upstairs? JOAN Upstairs. SHERIFF And where were you when you heard the footsteps? JOAN (pause) What do you mean? SHERIFF You said you heard footsteps upstairs. JOAN Yeah. 182

(CONTINUED)

CONTINUED:

103.

SHERIFF So were you here on the first floor when you heard footsteps in the attic? Or were you in the basement when you heard footsteps on the first floor? Thats what Im getting at. JOAN Yeah. SHERIFF Yeah what? SARAH We were on the first floor when we heard footsteps coming from the attic. SHERIFF Okay. SARAH And thats when Jacob left. investigate. To

SHERIFF Okay. So what was Jacob doing here so late? SARAH Ive been having problems with the house. He was helping me. He was trying to help me. JOAN He was the caretaker. SHERIFF Okay. If I need to get in touch with you, can I reach you here? JOAN No, you cant. be here. Were not going to

SHERIFF Where are you going to be? JOAN Not here and not much longer. Sarah watches the hearse drive off. (CONTINUED)

CONTINUED:

104.

FADE TO BLACK. FADE IN: 183 INT. CAR - NIGHT 183

Joan is behind the wheel. She looks over at Sarah who stares out of the window and at the passing scenery. Sarahs eyes are blank, however; she sees nothing and no one. 184 EXT. BED & BREAKFAST - NIGHT The car is parked at the curb. Joan helps Sarah get out of the passenger side. 185 INT. BED & BREAKFAST - FOYER - NIGHT 185 184

Joan and Sarah head up the stairs. Sarah suddenly takes a seat on one of the steps and begins to cry. Joan sits down next to her and Sarah throws herself into his arms. 186 INT. BED & BREAKFAST - ROOM - NIGHT 186

Sarah sits on the edge of the bed and watches Joan undo her shoes. JOAN Lay down. Sarah lays down and Joan pulls the covers over her. JOAN (CONTD) Close your eyes. Sarahs eyes are heavy but she tries to keep her focus. JOAN (CONTD) Go to sleep. Sarah does as she is told and closes her eyes. JOAN (CONTD) Goodnight. FADE TO BLACK. FADE IN:

105.

187

INT. BED & BREAKFAST - DINING ROOM - DAY Sarah stares at her plate of eggs. and says nothing. Paul and Randy walk over. PAUL Hey. JOAN Hey. RANDY We just wanted to come by and say hi. PAUL And good-bye. JOAN Thanks. Sarah looks out the window.

187

Joan sees her, sees this

Paul and Randy look over at Joan and she gives them a weak smile. 188 INT. BED & BREAKFAST - FOYER - DAY 188

Through the front door, Sarah sees Joan loading their bags into the car. She looks over at the bowl of candy sitting on the side table. She walks over takes a piece of hard candy, unwraps it and pops it into her mouth. She rolls it in her mouth a few times and then stops. Her lips are puckered, her face scrunched up from the sourness in her mouth and and she lets the candy slip out from between her lips and into her waiting hand. She lays the candy and the wrapper onto the table, neatly, side by side. Sarah steps back and looks over at Joan.

106.

189

INT. CAR - DAY

189

Sarah looks away from Joan and over at the passing scenery. SARAH I want to pass by the house. What? JOAN Why?

SARAH I need to pick up some things. JOAN What things? SARAH Its not a lot. really. Its nothing

JOAN Then its not important. SARAH It is to me. I want to pass by the house. Please. 190 INT. HOUSE - FOYER - DAY The door opens and Sarah enters. kitchen. 191 INT. HOUSE - KITCHEN - DAY She starts for the 191 190

Sara goes to the garbage can underneath the sink and rummages through it. She pulls out a plastic bag and opens it up so that she can see the words on the side of it: THANK YOU. CUT TO: Sarah heads right for the coffee maker. She grabs the coffee pot by the handle, dumps whats in it in the sink and then throws it into her bag without another thought. 192 INT. HOUSE - BEDROOM - DAY Sarah bends down, reaches under her bed and pulls out her slippers. She tosses them into her bag and walks out. 192

107.

193

INT. HOUSE - BATHROOM - DAY

193

She pulls things out of the medicine cabinet, chooses them seemingly without rhyme or reason and throws them into her bag. She closes the mirror and doesnt bother to look at the reflection of the empty tub on her way out. 194 INT. HOUSE - FOYER - DAY 194

Sarah heads right for the door. She just gets her hand on the doorknob when she hears the mother crying. She turns around and sees the woman sitting with her back to her at the table. 195 INT. HOUSE - KITCHEN - DAY 195

Sarah walks in and takes the seat opposite the woman. The woman has been beaten badly about the face...a gash above her eye...bloody and split lip...her black eye already swollen shut... The woman is crying, that jagged, hard to breathe crying. Her body is shaking from the effort. Without thinking, Sarah puts her hand over the womans hand. The womans reaction is instantaneous. tries to pull away... She jerks back,

But Sarah tightens her grip and hangs onto her. The woman stops struggling and she looks at her hand. She sits down and her breathing is steady now. Her eyes go from her hand, up Sarahs arm and she locks eyes with her. WOMAN Thank you. The womans eyes go wide and she lets go of Sarahs hand. She stares at something OS, behind Sarah. Sarah turns around sees the husband standing in the doorway, a macabre smile on his face. She looks down and sees the axe that he is holding in one hand. Sarah looks back up into the husbands eyes and all fear is gone from her own. It has been replaced with a new emotion that is clean, clear and easy to see: pure rage. The husband sees this and his smile falls to the wayside.

108.

He lifts his axe and moves forward but Sara is already on her feet and running at him. 196 INT. BED & BREAKFAST - ROOM - NIGHT Sarah opens her eyes. She sits up and looks over at Joan who is fast asleep. looks over at the alarm clock. It reads 1:00 AM. 197 INT. HOUSE - FOYER - NIGHT She 197 196

Sarah bursts into the house and heads towards the kitchen. 198 INT. HOUSE - KITCHEN - NIGHT She enters and heads straight for the basement door. 199 INT. HOUSE - BASEMENT - NIGHT 199 198

She walks up to the fuse box, opens it and places a hand on the side of it. She flips a switch... 200 INT. HOUSE - LIVING ROOM - NIGHT 200

The husband walks towards the woman and drags the axe behind him with one hand. She stumbles back, trips and falls to the floor. The husband grabs a hold of the axe handle with two hands and - smiling at his wife - starts to raise it... SARAH (OS) Hey hey. The husband turns around and Sarah cracks him right in the face with a potted plant. His legs go out from under him and hits the floor with a crash. The astounded wife watches Sarah walk over to the fireplace, pick up the poker and then head back to her husband who has managed to get to his hands and knees. Sarah brings the poker down on the husbands back once... Twice... The third one takes the fight back out of him. Sarah turns and starts towards the wife. The woman, however, seeing the poker cries out and scrambles away from Sarah. Sarah, realizing why the woman is reacting this way, tosses the poker to the side and goes over to her.

109.

Sara grabs the woman and forces her to her feet. The bewildered woman looks back at her husband and then at Sarah who drags her out of the room. 201 INT. HOUSE - FOYER - NIGHT 201

Sarah opens the door and smiles at the woman before shoving her out onto the porch. 202 INT. HOUSE - LIVING ROOM - NIGHT 202

Sarah walks over to the husband and turns him onto his back so that he is now facing her. He is still groggy but even through the haze he can see her. Sarah picks up the axe, shows it to him and he puts up a shaky arm in front of his face. Sarah lifts the axe high above her head and the mans breathing comes fast now... Sarah turns around and sees the boy at the foot of the stairs, staring at her. The man grabs Sarah by the leg and she falls, the axe spinning across the floor away from her. She looks back at the boy and sees him run up the stairs. Sarah looks back at the man and sees him trying to get to his feet. Sarah kicks him in the face and he goes right back onto his back. She gets to her feet, grabs the axe and runs out of the room. 203 INT. HOUSE - 2ND FLOOR HALLWAY - NIGHT 203

Sarah gets to the top and sees that the stairs for the attic is let down. She runs towards it but stops when she gets there. She takes a few steps back and looks into her bedroom. 204 INT. HOUSE - BEDROOM - NIGHT 204

Sarah walks into the darkened room and looks into the shadows for any sign of the boy. She slowly lowers herself, gets to her hands and knees and looks under the bed. She sees his feet disappear on the other side, go up... She starts to stand and gets an accidental kick in the face from the boy when he jumps off of the bed and out the door. (CONTINUED)

CONTINUED:

110.

Sarah rolls over and they lock eyes. He runs and Sarah gets to her feet. 205 INT. HOUSE - 2ND FLOOR HALLWAY - NIGHT 205

Sarah comes out of the bedroom and sees the boys feet going up the stairs. SARAH No, wait! Sarah runs over and scrambles up the stairs after the boy. 206 INT. HOUSE - ATTIC - NIGHT 206

The boy tries to keep the door down but it flies back up at him. He gets up and looks desperately around him for a hiding spot. He stops when he sees Sarah enter through the door. He starts to run towards a window... SARAH Stop! He does. He starts shaking but when he sees Sarah walking towards him, he starts to cry also. She stops in her tracks. No. SARAH No no no no no.

Sarah looks down and, seeing that she still has it in her hand, places the axe softly onto the floor. SARAH (CONTD) Im not going to hurt you, honey. The boy watches her, unsure. the window. He takes another step towards

SARAH (CONTD) Im here to help. Im here to set you free. The boy takes a small step towards her... He steps back and Sarah turns around to find the father entering the attic. Sarah bends down and picks up the axe.

(CONTINUED)

CONTINUED:

111.

The two of them stand there that way, staring at each other waiting for someone to move. Sarah runs at the man and brings the axe around...aiming for his heart... He steps to the side and she misses. The axe head buries itself deep into the wooden floor, causing her to jerk to a stop and fall. The man grabs Sarah from behind and spins her so that shes facing him. They lock eyes and the minute she sees his smile, Sarah understands the trouble that shes in. He punches her in shes been cut in another smile and but doesnt fall; the stomach and she doubles over like half. He yanks her back up, gives her slaps her across the face. She staggers his hand on her makes sure of that.

He backhands her with the same hand and her head snaps back in the opposite direction. He balls his hand up into a fist and hits her again. And again. And again. Sarahs face is now hiding beneath a mask of bruises, broken bones and blood. Her head wants to snap off of her neck but Sara forces herself to keep looking at the mans face. He drags her towards the open window and she tries to keep up but her legs keep giving out on her. He holds Sara out of the window and forces her to look down at the front yard below them. Sarah looks up at the man and he is still smiling. in close to her, face to face, nose to nose. HUSBAND I know not where you come from or how you made your presence known, but I will speak plainly, apparition, so that my words will not be lost on you...know this, you cunt, you bitch: youre soul will soon be burning in the fires of hell and, make no mistake, it will be because I have sent you there. Sarah smiles and even through the blood its a pretty one. He leans

(CONTINUED)

CONTINUED:

112.

SARAH Thats funny. I was going to say the same thing. She grabs him by the hair with both hands and bites down hard on his nose which muffles his scream. She throws her legs around his waist and throws herself out of the window, taking him with her. CUT TO BLACK. FADE IN: 207 EXT. HOUSE - FRONT YARD - DAY A POLICE OFFICER speaks to Joan but she doesnt hear a thing. Shes looking over at the MEDICAL EXAMINER who is zipping up a body bag. She runs towards the Medical Examiner, frantically waving her hands and yelling for him to stop. She reaches him and they speak. bag and Joan unzips the bag. He steps away from the body 207

Joan sobs almost immediately when she sees Sarahs face appear from the bag. Joan stops and shakes her head "no". She grits her teeth, the tears stop and she continues to pull the zipper down, revealing more of Sarah. Something in Sarahs hand catches her eye and she turns it so that it is palm side up. She carefully opens Sarahs fist and examines the dark tufts of hair that she holds in her hand. Joan looks at her friends face and she starts to cry again. She suddenly stops and looks over at the front door of the house. She goes back to Sarah. She kisses her friend on the lips and steps away from her. Seeing this, the Medical Examiner hurries back over. 208 INT. HOUSE - FOYER - DAY Sarah watches the parade of cars drive off, the hearse bringing up the rear. The boy tugs at her shirt and she turns around to face him. YOUNG BOY Mother is preparing dinner and sent me to ask...Sara: will you stay? 208

(CONTINUED)

CONTINUED:

113.

Sarah looks back and sees the hearse disappear behind some trees. She turns, looks down the hallway at the boys mother who watches her from the kitchen doorway. SARAH Tell her yes I think I will. You know what, kiddo? Ill just do it myself. The boy smiles and holds out his hand to her. She takes it and they walk down towards the kitchen. Seeing them, the mother breaks into a smile and hurries back towards the stove. FADE TO BLACK. THE END