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CLOSE YOUR EYES

written by
Alex Pine

Address
Phone
E-mail

EXT. TRAILER - NIGHT


On a trailer sitting on a patch of grass in the middle of
some bleak, dark swampland. We slowly push in on the
domicile - there's light inside and noise, some raised
voices, shattering glass...
SMASH CUT TO:
INT. TRAILER - NIGHT
We are BLASTED with sight and sound on the bright interior of
the trailer. A HUGE, CRANKED-OUT BALD MAN with BLACK TEETH
is dragging a SCRAWNY, CRANKED-OUT WOMAN by her hair through
the sickly yellow-lit kitchenette, blood running down his arm
and her face while she wails.
WOMAN
NO, NO, NOOO!
MAN
YOU FUCKIN' WHORE! I'LL SHOW YOU
WHAT HAPPENS! I'LL FUCKIN' SHOW
YOU WHAT HAPPENS!
The man grabs a KITCHEN KNIFE off the counter and starts
sawing into the woman's long hair, grabbing a fistful along
with a clump he just pulls out. He shakes it in front of her
while she screams and wails.
MAN (CONTD)
YOU SEE THAT? YOU SEE!?
From outside the kitchen, on a third figure, watching - a
YOUNG BOY with PALE BLUE EYES, maybe 12, stands in the
kitchen doorway in poorly fitting, unwashed clothes, staring
at the spectacle with a blank expression.
The man slaps the woman, then bashes her head into a
cupboard, eliciting a louder shriek of pain. He looks up and
sees the boy.
MAN (CONTD)
GO THE FUCK TO BED!
The man grabs the woman by the neck and drags her into
another room, SLAMMING the door behind him.
The woman's screams and wails continue muffled behind the
door. Then we hear ROCKABILLY MUSIC start blasting from
inside, mostly muffling her voice.

2.
The boy remains standing where he is.
hair on the kitchen floor.

He looks down at the

Then he walks into another room, a living room of sorts with


junk cluttered on the floor and a drawer by the wall.
He opens the drawer - inside are some porno magazines, a
folded up swastika flag, and two GUNS with ammo.
The boy takes one of the guns, a revolver, lifts it up and
starts loading bullets in.
EXT. TRAILER - NIGHT
The blue-eyed boy quietly exits through the front door of the
trailer and vanishes into the underbrush of the surrounding
swamp.
INT. SUBURBAN HOME - NIGHT
In the dining room, we see a family tableaux - the MOM, DAD
and 8 year old DAUGHTER. The daughter forks her unfinished
vegetables with distaste while the mom grills her. Dad sits
back, sipping a beer with disinterest.
MOM
You're not leaving this table until
you finish your greens.
DAUGHTER
I don't wanna.
MOM
Well then, I guess that's a problem
for you.
DAD
I'm gonna go see what's on late
night.
MOM
Not so fast, you. Tell your
daughter to finish her greens.
DAD
Finish your greens, honey.
Why?

DAUGHTER

DAD
They're good for you.

3.
DAUGHTER
I don't wanna.
DAD
Alright, go to bed then.
Mom looks at Dad disapprovingly.
DAUGHTER
But it's not bedtime yet!
DAD
Well that's what happens when you
don't finish your greens. Come on,
up, up.
Dad lifts Daughter up by the arm and nudges her upstairs.
She starts crying.
DAUGHTER
It's not fair!
DAD
It's very fair. I want lights off
when I come up there.
Daughter recedes up the stairs to her room along with the
sound of her sniffling, crying voice.
MOM
How are we gonna instill any kind
of discipline if you undercut me
like that?
DAD
She doesn't eat her veggies, so she
gets punished. It's basic stuff.
MOM
That's not the point.
setting a precedent.
The doorbell rings.
gets up.

It's about

They exchange a confused look and Dad

DAD
Who the heck could that be?
Dad goes to the door, Mom hanging behind him.
peephole.
His POV: Nothing visible through the peephole.
He pulls back a little.

He checks the

4.

Who is it?

MOM

DAD
Don't see anybody. There's
probably a burning bag of dog crap
outside.
Dad slowly unlocks the door while Mom watches warily.
He opens the door. Scans the empty street ahead of him, then
looks down and JUMPS slightlyThe Blue Eyed Boy is standing at the door. He's short, just
below the peephole's view. He stares up at Dad with the same
blank expression.
DAD (CONTD)
Hey buddy... What, uh, what do you
want?
Who is it?

MOM

DAD
It's just a kid.
(to the boy)
Where's your mom and dad?
BOY
I'm hungry.
DAD
Why don't we take you home?
BOY
Do you have food?
Dad looks down at the boy, then to Mom. She looks at the Boy
as well - he's unwashed and wearing old, worn clothing. She
sighs.
They enter the kitchen and the Boy sits at Daughter's spot,
scarfing down the unfinished vegetables.
Mom dishes him up some mashed potatoes, then glances at Dad,
and they go to the kitchen just one room away, speaking in
hushed tones.
MOM
Should we call 9-1-1?

5.
DAD
I don't want this kid spending the
night here.
MOM
Did you see what he's wearing,
though? We can't just send him
home.
DAD
I dunno, I've never had to deal
with this situation before. I
don't know what to do here.
MOM
We should call 9-1-1, see where
he...
The Boy steps into the kitchen, standing in front of them.
MOM (CONTD)
(to the Boy)
Oh, hi there sweetheart. We were
just talking about how we can get
you somewhere safe tonight...
BOY
I wanna sleep here.
MOM
I don't know if that's possible,
but we're gonna make sure you have,
uh, you know...
DAD
What's your name, buddy?
The Boy stares blankly at Dad, then smiles.
Dad smiles back, almost instinctively.
Still smiling, the Boy pulls the REVOLVER out from the back
of his waistband, waving it carelessly at the parents.
They both recoil, Dad instinctively pushing Mom behind him,
shielding her...
DAD (CONTD)
Hey... Hey, buddy... Be careful...
Why don't you give me that...?
Seeing Dad flinch, the Boy giggles, still pointing the gun.

6.
DAD (CONTD)
Where'd you get that, buddy?
hey, come on...

Hey,

The Boy pulls the trigger, shooting Dad in the chest and
splattering his blood on Mom.
Mom SCREAMS in horror as Dad collapses, eyes bulging as he
chokes on his blood.
The Boy turns the gun up and shoots Mom in the face, abruptly
cutting off her scream and dashing her brains on the magnetcovered refrigerator. He giggles again.
The Boy leaves the bloody kitchen and makes his way up the
stairs.
He walks by the rooms in the upstairs hallway, flipping light
switches on and looking inside.
He switches the light on in Daughter's BEDROOM...
A tiny, human-shaped form shivers under Daughter's pink
blanket, trying to stifle her whimpers as the light turns on.
The Boy, still grinning, walks up to the bed, aiming the gun
at the form.
BOY
Can you see the monster?
On the daughter's blanket-covered head, still hiding as if
the blanket were a shield.
BOY (CONTD)
The monster can see you.
The boy PULLS THE TRIGGERCUT TO BLACK.
TITLE CARD:

CLOSE YOUR EYES

EXT. FOREST - DAY


We glide over the evergreen trees in golden, late afternoon
light. We pass over a highway, deeper into the wilderness,
following a dirt road until we come to

7.
EXT. AMISH VILLAGE - DAY
A small, quaint village built from artisan wood and stone
work. Smoke rises from chimneys and horse-drawn wagons roll
across dirt roads.
EXT. AMISH VILLAGE MARKET - DAY
AMELIA WATTS, 19, a reserved Amish girl who keeps her eyes
down, walks past booths in the market. She carries a basket
with apples, bread and milk.
She approaches the butcher's table, which is unmanned.
Amelia's eyes scan the raw, red meat on the table in front of
her...
THOMAS BECKER, the butcher's apprentice, steps behind the
table - a slightly overweight young man in his early 20s.
smiles at Amelia.

He

THOMAS
What do you like?
AMELIA
I'm not sure.
Thomas points to a particular medium-sized cut of steak.
THOMAS
This one is the most fresh.
Amelia nods.
AMELIA
Adam doesn't like me cooking meat.
Maybe another time.
THOMAS
Just checking out the goods, then?
Amelia shrugs, averting her eyes from Thomas and starting to
walk away...
THOMAS (CONTD)
Will I see you at Joseph's baptism
tomorrow?
Of course.

AMELIA

THOMAS
And what about yours?

8.
AMELIA
What do you mean?
THOMAS
When will you have yours?
AMELIA
I'm not sure yet.
THOMAS
After Joseph, you'll be the last in
your class.
Amelia turns and walks away. Thomas watches her go, trying
to see through her conservative garb.
EXT. AMELIA'S HOUSE - DAY
Amelia makes her way up a hill to her looming, two-story
wooden house.
INT. AMELIA'S HOUSE - DAY
MARY WEAVER, 40s, a strong-faced woman, boils water over a
fireplace. She pulls the water jug off the heat and brings
it to a coffee press, pouring it in.
The front door closes off screen.
MARY
Is that you?
Yes.

AMELIA (O.S.)

Amelia enters the kitchen, setting down her bundle of food.


MARY
Meat today?
AMELIA
No, I want to give him some time
after the other night.
Mary nods.
AMELIA (CONTD)
And Thomas was at the butcher's
table.
Mary smirks.

9.
MARY
For all my wisdom, I still can't
tell you how to let a man down
easily.
AMELIA
Especially not Thomas.
MARY
Still... Maybe he's your best
option. A little older, knows his
way a bit better.
AMELIA
I know my way.
MARY
You know how to take care of
people. And you still need help
with that.
Amelia shrugs.
MARY (CONTD)
Amelia, I can't tell you what
choice to make, but you should make
a choice. It's a big world out
there. Getting baptized, marrying
Thomas, that's not the worst
option. And options will run out
the older you get.
I know...
Mary.

AMELIA
You can go home now,

Mary sighs, relenting with a bit of a smile.


MARY
There's coffee.
Thank you.

AMELIA

Mary gives Amelia a hug, grabs her personal items from the
living room, and exits.
Amelia starts unloading food from her bag onto the kitchen
table.

10.
EXT. AMELIA'S HOUSE - NIGHT
It's dark out, and quiet. We slowly push in on the house,
the warm light from the interior, until we're peering in
voyeuristically through a window.
Our POV: Inside, Amelia sits at the kitchen table, eating a
bowl of soup. She looks up from her soup, across the table,
saying something we can't hear - she's not eating alone.
INT. AMELIA'S HOUSE - NIGHT
Amelia eats in small portions, glancing across the table.
AMELIA
You have to eat.

Come on now.

Across from her sits a large-framed man with a face COVERED


IN BANDAGES, gloves on his hands, which rest on the table in
front of him, soup untouched - this is ADAM.
Amelia sighs and gets up, walking around the table to Adam.
She takes his spoon and stirs his soup, lifts out a spoonful.
She puts a comforting hand on his cheek, nudging two of the
bandages open to expose lumpy, blistered and scarred lips.
AMELIA (CONTD)
Come on... Open up...
Slowly and timidly, Adam opens his mouth and Amelia slips the
spoon between his lips.
EXT. AMELIA'S HOUSE - NIGHT
Same voyeuristic POV through the window, of the intimate
scene - Amelia caressing Adam's head as she holds the spoon
in his mouth.
INT. AMELIA'S HOUSE - NIGHT
Amelia retracts the spoon from Adam's mouth, empty, and he
quickly tugs the bandages shut over his mouth again as we
hear the labored sound of him chewing and nose-breathing.
AMELIA
There you go. That's not so bad,
is it?
Amelia scrutinizes his bandages.

11.
AMELIA (CONTD)
Your gauze is getting a little
dirty.
INT. AMELIA'S HOUSE (ADAM'S BEDROOM) - NIGHT
Adam's room is sparse and almost sterile, his bed covered in
white sheets.
Adam sits on the bed, perfectly still.
gauze on the bed next to him.

Amelia sets a roll of

AMELIA
Change before you go to sleep,
okay?
She kisses the side of his bandaged head and squeezes his
shoulder, then leaves the room.
Adam slowly turns his head to the fresh gauze. Then he
reaches up and starts unraveling the gauze around his face.
We see scarred, hairless flesh on his scalp, then a misshapen
nose, and hear his heavy breathing...
Finally his head is exposed, and we only see the back, a
patchwork of old burns, his ears reduced to shallow lumps
with holes in them. He picks up the new gauze.
INT. AMELIA'S HOUSE (AMELIA'S BEDROOM) - NIGHT
Amelia sits on her own bed in her nightwear, hair down. She
lays on her back, glances to the side - a framed, grainy
photograph of an Amish FAMILY - two parents, a little boy
with a slightly lopsided grin, and a baby. Amelia sighs.
She turns over and lifts her mattress slightly, then extracts
a FLIP PHONE.
She opens it, and sees a new text from "Brooke" - "tomorrow
night? 10?"
EXT. AMELIA'S HOUSE - NIGHT
The POV is looking in at Amelia's bedroom now, through open
curtains, as she types into her flip phone.
Amelia glances up at the window and we recede. She sets the
phone down, goes to the window and closes the curtains.
CUT TO BLACK.

12.
EXT. HIGHWAY - DAY
A NICE CAR drives down the open highway - fast, smooth,
polished pop music plays on the soundtrack.
Then suddenly it is CUT OFF - a new, more "indie" sounding,
slower but still polished song comes on the soundtrack.
INT. QUINCY'S CAR - DAY
The music is playing on the sound system of the car, driven
by QUINCY - 21, black and nerdy/hip. He twists in his seat
to confront KYLE, also 21, long-haired, loosely clothed white
stoner type.
QUINCY
Hey, hey, what the fuck man?
just getting into that.

I was

KYLE
Chill, just listen.
In shotgun by Quincy, BROOKE, 20, white, with a denim jacket
and a magenta streak in her hair, chimes in.
BROOKE
Kyle's in the back, he gets aux
cord privileges.
QUINCY
Yeah, well, I'm calling an
executive decision on this. I'm
not trying to listen to your breakup mixtape on my new subwoofers,
bro, I'm sorry.
KYLE
Whatever...
BROOKE
Let him listen, Quince.
(to Kyle)
Hey, look at this snap I just got
from Brian.
Brooke shows Kyle something on the screen of her smartphone.
He chuckles, nods.
QUINCY
Kyle, when are you gonna get your
own snapchat?

13.
KYLE
Man, I don't want that shit. I've
told you this, it's ridiculous...
QUINCY
And I told you, man, it's not. Ten
years ago people said the same
thing about texting. Before that,
portable phones. Before that,
computers.
BROOKE
Didn't portable phones come before
computers?
QUINCY
Maybe. Probably. But my point is,
Kyle, you're starting to sound like
a baby boomer.
KYLE
I just don't think we need to take
little pictures of every moment of
our lives. It makes it less
meaningful.
BROOKE
Life is meaningless anyways, Kyle.
True.

KYLE

QUINCY
There you go. That's why you gotta
turn off this soul-searching neo
folk shit and let me play my
goddamn ignorant music.
INT. DINER - DAY
Quincy and Brooke sit in a booth opposite Kyle, each with a
plate of breakfast food - Brooke's is the smallest.
KYLE
So when did you actually meet her?
BROOKE
Once when I was like, fifteen.
Then again last year, when I
smuggled her a cell phone. We've
been texting about this gettogether since then.

14.
QUINCY
She just uses a flip phone.
like her.

You'd

KYLE
You're not trying to set me up with
your Amish cousin, are you?
Quincy laughs.
QUINCY
We finally found a girl on the same
wavelength with you, Kyle.
Brooke shrugs.
BROOKE
She is really pretty.
KYLE
Either way, I'm not really ready
to, you know...
BROOKE
I know that. But we figured it
would be good to introduce her to
more people from the outside world,
so why not bring you along too?
Kyle nods. Quincy digs into his large omelette/bacon/toast
combo. Brooke glances from her plate to his bigger, heartier
meal.
BROOKE (CONTD)
That looks good.
Oh yeah?

QUINCY

Brooke tries to sneak her fork over to Quincy's plate.


blocks her fork with his.
QUINCY (CONTD)
You do this every time.
BROOKE
Not every time.
QUINCY
Every time.
BROOKE
Come on, just a taste.

He

15.
QUINCY
You want a taste?
Quincy kisses Brooke. She giggles, tries to get some of his
food. Then they kiss again.
Kyle watches them with a melancholy look.
INT. AMISH CHURCH - DAY
A PRIEST stands in front of a wide bucket of water. JOSEPH,
19, a clean cut young boy, stands waist deep, another priest
next to him.
The first priest reads off a sermon in Dutch.
In the audience we see Joseph's proud, beaming PARENTS.
Behind them is Amelia, watching poker-faced in the smiling
congregation.
Thomas and his mother GRETCHEN, maybe 60, a gaunt and stonefaced woman, sit a few rows over. Thomas glances at Amelia,
who doesn't make eye contact. Gretchen glances at her son in
turn.
The first priest finishes his sermon and the second priest
lowers Joseph into the water, then lifts him out.
On cue, a CHOIR starts singing a Dutch hymn.
The congregation stands, singing along with them. Most of
them jubilant and heartfelt, while Amelia just goes through
the motions mechanically.
EXT. AMISH CHURCH - DAY
The congregation files out, mostly in groups and pairs, while
Amelia walks alone.
Joseph emerges nearby.

Amelia approaches him with a smile.

AMELIA
(Dutch)
Congratulations.
JOSEPH
(Dutch)
Thank you, Amelia.

16.
Amelia smiles at his parents and they nod back wordlessly,
before moving on. They are joined by a plump, pleasant-faced
blonde girl who embraces Joseph, laughing with him.
Amelia's eyes turn from this group to the distance.
frowns...

She

Her POV: On a slope in the distance, next to a looming


windmill, a lone figure stands in the grass. They seem to be
facing directly towards her.
Amelia peers at this figure, trying to make it out more
clearly...
THOMAS (O.S.)
That was a good ceremony, wasn't
it?
Amelia turns to Thomas, who has come up next to her.
AMELIA
Yes, it was.
THOMAS
Joseph's lucky, he has a whole
family and a fiancee to
congratulate him. Mine was lonely,
just going home with my mother...
It's better to have people.
AMELIA
I guess so.
Thomas is silent for a beat, then chuckles to himself.
AMELIA (CONTD)
What is it?
THOMAS
I just remembered, when we were
little and we planned to run away
together. Look at us now. I
honestly thought we'd run off on
some adventure...
AMELIA
We were young.
THOMAS
We're still young.
Thomas!

GRETCHEN (O.S.)

17.
Thomas turns to Gretchen, who is beckoning him.
Kommt sie!

GRETCHEN (CONTD)

Thomas shrugs to Amelia.


THOMAS
Later then.
Later.

AMELIA

Thomas leaves and follows his mother away with the rest of
the dispersing congregation.
Amelia glances back up at the windmill.
now. She turns away.

The figure is gone

EXT. AMISH VILLAGE - DAY


Thomas walks next to Gretchen.
speaks.

Without turning to him, she

GRETCHEN
(Dutch)
You should stay away from that
girl.
THOMAS
(Dutch)
You don't know her, mother.
GRETCHEN
(Dutch)
I know enough about her. That
family is touched by the devil.
THOMAS
(Dutch)
Her family's past doesn't make her
a bad person.
GRETCHEN
(Dutch)
Rebecca ran away. Adam was born
simple. Francis and Ella burned.
Who knows what will become of
Amelia?
THOMAS
(Dutch)
You are superstitious.
(MORE)

18.
THOMAS (CONTD)
God doesn't work that way. I've
known her my whole life, I can see
good in her...
(beat)
I love her.
Gretchen stops and turns to look at Thomas.
GRETCHEN
(Dutch)
Oh, child...
INT. AMELIA'S HOUSE - NIGHT
Amelia sits at the dinner table, across from Mary, with Adam
between them, staring down at his soup through the bandages.
AMELIA
You didn't have to cook for us...
MARY
I don't have to do anything for
you, Amelia. I don't do any of
this because it's my duty.
AMELIA
Well, thank you.
(glances at Adam)
I'm sure Adam appreciates it too.
Right?
Adam nods. He lifts a spoonful of soup and eats it on his
own. Amelia smiles at him.
Mary looks downward, deep in thought.
MARY
Adam, sweetheart, can you leave us
for a moment?
Adam looks to Mary, who smiles reassuringly at him.
glances between them, curiously.

Amelia

Adam obediently stands and lumbers out of the room, his heavy
footsteps receding off screen.
Amelia looks at Mary.
MARY (CONTD)
There is something I'd like to talk
to you about.

19.
AMELIA
What's that?
Mary sighs.
MARY
Some of the people in this village,
they have certain expectations of
you. Things they take for granted
about you. But still they aren't
there when you need them.
AMELIA
I really appreciate everything youMARY
I'm not looking for undue
gratitude. I wanted to say, when
you asked me to stay with Adam
through the night, you didn't need
to give an explanation.
Amelia looks at Mary more curiously now, almost apprehensive.
MARY (CONTD)
I don't like being lied to, that's
all.
AMELIA
What do you mean?
Mary smiles a bit sadly.
MARY
I understand why you would. I just
wish you'd trust me a bit more.
And using your parents as an excuse
is disrespectful to them.
Mary takes out Amelia's flip phone and sets it on the table.
Amelia visibly deflates, opening her mouth to hastily make an
excuse.
MARY (CONTD)
I know you aren't holding vigil at
their graves tonight.
Amelia hangs her head shamefully.
MARY (CONTD)
I know you too well, Amelia. You
can't lie to me. And knowing you
were keeping a secret, well, that
got me curious. So who is Brooke?

20.
AMELIA
She's my cousin.
MARY
Rebecca's daughter?
Amelia nods.

Mary raises her eyebrows.

MARY (CONTD)
She's taking you to the town, then?
AMELIA
I want to know what it's like
outside. She wants to show me.
MARY
When I was young, I went out there
once. I rode in a car, smoked
marijuana... It was fun. But it
scared me. I decided to stay.
AMELIA
I don't want to leave, I just want
to know.
MARY
So I stayed. I married Dominic.
felt safe here, with him. But
then... him...

Briefly intercut - a BRICK FALLING OUT OF PLACE, a man,


DOMINIC, looking up, startled, as it descends...
MARY (V.O.) (CONT'D)
and your parents...
Another brief intercut - a BURNING HOUSE, a woman dragging
two children away from the fire...
MARY (CONT'D)
...It makes me wonder if I made the
right choice, this "safety". Now
every time I see an airplane flying
above, I wonder what it would have
been like if I'd chosen
differently.
Amelia stares at Mary, who almost seems to be talking to
herself now, thinking out loud.

21.
MARY (CONTD)
But you... You know living here
doesn't necessarily mean safety.
Not after what's happened to you.
Maybe you'll know better which
choice to make.
(beat)
If you choose to go, I can stay
here. I'll take care of Adam.
AMELIA
I couldn't just make you do that...
Mary smiles sadly.
MARY
What else do I have in my life?
You're too young to have be saddled
with that burden. When you go out
tonight, know that you have the
choice.
Amelia tears up a little.
EXT. AMELIA'S HOUSE - NIGHT
POV into the window as Amelia embraces Mary.
EXT. FOREST ROAD - NIGHT
Quincy's car rolls slowly over the narrow, bumpy dirt road
leading through the woods. His headlights illuminate the
sides of tree trunks looming on either side.
INT. QUINCY'S CAR - NIGHT
Quincy drives slowly, looking nervous.
Kyle in the back.

Brooke in shotgun,

QUINCY
I don't have four wheel drive on
this thing...
BROOKE
It'll be fine. Turn your lights
off, they might be able to see them
from the village.
Quincy switches off his lights and slows to a halt.
three of them sit silently in the dark.

The

22.
EXT. AMELIA'S HOUSE - NIGHT
Amelia exits the front door, holding up a lantern. We watch
her, peeking from around the corner as she starts off down
the path from her house.
As she gets further away, we slowly start to push towards
her, following her...
FADE TO...
EXT. FOREST ROAD - NIGHT
On Amelia, holding up her lantern as she walks down the dirt
path, looking apprehensive.
Night sounds of the forest surround her - crickets, an owl
here and there.
POV from the treelines: silently moving alongside Amelia, her
lantern flickering between the dark silhouetted tree trunks.
Amelia!

BROOKE (O.S.)

On Amelia again, stopping suddenly in her tracks.


BROOKE (O.S.) (CONTD)
Amelia, it's us!
Brooke steps into the orange light of Amelia's lantern,
beaming. She hugs her. Amelia accepts the hug awkwardly.
BROOKE (CONTD)
Ready to go?
INT. QUINCY'S CAR - NIGHT
Brooke climbs in the front and Amelia into the back. Kyle
scoots over to make room for her, staring at her. Amelia
catches his gaze, making eye contact, and smiles nervously.
BROOKE
Guys, this is Amelia. Amelia, this
is Quincy, and this is Kyle.
Hi.
Hey.

AMELIA
QUINCY

23.
KYLE

Hi.

EXT. FOREST ROAD - NIGHT


From behind the treeline we see the car's headlights turn on,
suffusing beams of light through the trees.
As the car backs up, those beams of light catch the shape of
a HOODED MAN IN BLACK, standing still behind the trees,
watching the car.
INT. QUINCY'S CAR - NIGHT
Amelia gazes out the window as the road and the nighttime
landscape whips by at what must seem like a supernatural
speed. Quincy's polished pop mixtape plays.
Kyle glances at Amelia, looking like he wants to start a
conversation, but not sure what to say.
Amelia turns to Quincy in the driver's seat.
AMELIA
What is this music?
QUINCY
Electronic.
Amelia nods.
I like it.
Really?
Quincy laughs.

AMELIA
KYLE

Brook turns in her seat.

BROOKE
Amelia, first thing we're doing is
getting you changed. I'll show you
the outfits I brought at the motel.
AMELIA
That sounds great.
Brooke smiles at Amelia and turns back around. Amelia
returns her gaze to the window and Kyle takes another glance
at her.
Quincy turns his head slightly, stifling a grin.

24.
QUINCY
Hey... Amelia... Have you ever seen
black people before?
AMELIA
No, what do they look like?
Quincy and Brooke look at her disbelievingly.
a sort of mischievous smile. They LAUGH.

Amelia cracks

INT. MOTEL ROOM 1 - NIGHT


Brooke stands with Amelia, still in her conservative and
ridiculously outdated Amish wear, though the bonnet is off
now.
Brooke hands her a little card. Amelia peers at it - a fake
ID. The picture is Brooke with her hair up, hiding the
stripe of color.
BROOKE
That's your fake. If I do my job
right, the bouncers shouldn't be
paying much attention to your
card...
Brooke analyzes Amelia's hair, peering at the side of her
face.
BROOKE (CONTD)
Your ears aren't pierced, are they?
Oh, no.

AMELIA

BROOKE
That's alright...
(re:off-screen bed)
So which one do you like better?
AMELIA
I don't know...
BROOKE
I can't do your makeup until you
choose.
On the bed we see three dresses, Amelia's selections: A pale
blue one, a sharp red one, and a black one.

25.
INT. MOTEL ROOM 2 - NIGHT
Quincy and Kyle sit on their respective medium-sized beds.
Kyle flips absently through channels on the TV.
QUINCY
Rooming with my boy Kyle, yet
again. This takes me back to
Freshman year.
Kyle chuckles.
QUINCY (CONTD)
So, uh, what do you think about
Amelia?
KYLE
What do you mean?
QUINCY
You know, like...
KYLE
Jesus, did Brooke tell you to ask
me that?
QUINCY
...Yeah. But honestly, man, come
on... It's been a month since you
and Jessica...
KYLE
You don't know what it was like,
man.
QUINCY
I've had breakups before. It
sucks. You know what makes it
worse? Sitting around feeling
sorry for yourself.
Kyle sighs.
KYLE
But, I mean... she's Mormon.
QUINCY
You mean Amish.
KYLE
Yeah, fuck, right.
I...?

Amish.

He and Quincy both crack up laughing.

Why did

26.
There's a knock on the door.
Who is it?

QUINCY

BROOKE (O.S.)
The police.
Quincy hops off the bed and opens the door. Brooke stands
outside, all dolled up. Behind her is Amelia - who has
chosen the black dress and now has makeup - she is Hot with a
capital H, practically unrecognizable. Vampy.
Quincy can't help but stare.
her cousin.

Brooke grins, glancing back at

BROOKE (CONTD)
How did I do?
QUINCY
Shit, girl. Let's go before your
magic pumpkin shows up at midnight.
Kyle and Amelia make eye contact through the doorway. Kyle
is speechless. Amelia regards him curiously, discovering
newfound power...
INT. AMELIA'S HOUSE (SPARE BEDROOM) - NIGHT
Mary lays on her back in a nightgown, her eyes closed. They
open slowly - weary, tired but unable to sleep. She sits up
on the bed and gazes out the window.
Her POV: the little nighttime Amish village framed inside the
window, like a painting.
There's a faint creaking sound off screen - Mary turns her
head slightly.
INT. AMELIA'S HOUSE (HALLWAY) - NIGHT
Mary emerges from the spare room, holding up a lantern,
looking up and down the hallway, lit only faintly by the
lantern's warm glow.
Adam?

MARY
Is that you?

There's no response.
thump.

Then we hear another faint creak, and a

Mary slowly starts down the hall...

27.
INT. AMELIA'S HOUSE (LIVING ROOM) - NIGHT
Mary gradually comes down the staircase, wooden steps
creaking and groaning.
She steps off the final step, into the living room, and looks
around - it's empty except for the furniture.
Mary steps away from the staircase, into the room, and as she
moves away from it her lantern's light catches the shape of a
shadowy INTRUDER under the stairs behind her.
The Intruder lunges forward, grabbing Mary from behind.
lets out a startled, terrified GASP as she is pulled
backwards, a black-gloved hand around her throat.

She

She drops the lantern and it shatters on the floor, light


going out, leaving us in darkness...
We only hear the struggle, Mary's desperate, panicked voice
stifled into a choking sound, limbs thumping on the floor...
Then a sickening crack, and suddenly, silence.
On the staircase - a dark figure walks up the stairs. At the
foot of the staircase, pushed to the corner of the frame, we
see Mary's bare feet splayed motionless on the floor.
INT. AMELIA'S HOUSE (ADAM'S BEDROOM) - NIGHT
The room is dark, lit very dimly by the silver/grey moonlight
from the window.
On the bandaged Adam in bed, arms folded over his chest.
His bedroom door slowly creaks open, revealing the pitch
darkness outside.
On Adam again, as we hear footsteps slowly approaching him on
the creaky wooden floor.
Adam's head nods awake and he turns to look up...
Suddenly BLACK-SLEEVED ARMS grab his pillow from under his
head, then push it down over his face.
Adam thrashes in the bed, struggling desperately as the
looming figure presses the pillow down, muffling his panicked
screams...

28.
EXT. AMELIA'S HOUSE - NIGHT
Slowly pull away from the dark house, isolated on its hill.
Nothing inside audible from out here.
INT. NIGHTCLUB - NIGHT
Flashing lights, colorful and strobe, pulse over a swarm of
dancing people.
At the center stands Amelia, looking up at the source of the
light, transfixed.
Brooke dances in front of her, grinning
COME ON!

BROOKE
DANCE!

JUMP AROUND!

Quincy grabs Brooke from behind and spins her.


making out.

They start

Amelia turns away, letting the crowd separate them - from her
perspective it seems much larger than it is.
A hand grabs her shoulder - Kyle.

He nods to her.

KYLE
YOU WANNA GET OUT OF HERE?
WHAT?

AMELIA

KYLE
YOU WANNA GET OUT OF HERE WITH ME?
EXT. NIGHTCLUB - NIGHT
Kyle leads Amelia out the front door, looks around.
Here.

KYLE

He leads her around a corner, to an alley behind the club.


Amelia follows, watches as Kyle extracts a far joint from his
coat pocket.
KYLE (CONTD)
You've never smoked pot before,
have you?

29.
Amelia shakes her head. Kyle lights it up, takes a couple
puffs to get it burning, then inhales. He hands it to
Amelia.
KYLE (CONTD)
You guys smoke, like pipe tobacco
and shit, right?
Yeah...

AMELIA

KYLE
It's the same thing. Well, except
this'll get you high.
Kyle chuckles. Amelia slowly inhales from the joint, holds
it in, then exhales and starts coughing, clutching her chest.
Kyle supports her while she coughs.
KYLE (CONTD)
Yeah, there you go.
Extremely close on Amelia as her coughing subsides and we
SLOW DOWN... All the light around her gets sharper.
Her eyes glide from the street to Kyle's smiling face,
jarringly close to hers, lit from one side by the street
light, the other half obscured in shadow.
His voice is slowed down and sounds strangely distant...
KYLE (CONTD)
You feel it?
Amelia just stares up at him.
AMELIA
You want me.
What?

KYLE

AMELIA
You want me.
Amelia grins, then starts to laugh.
her, not quite getting it...

Kyle semi-laughs with

She puts her hands on Kyle's shoulders and leans towards him,
lips slightly parted.
Kyle stares back, a surreal moment of eye contact - then goes
in for the kiss.

30.
Still in slow motion as they make out, smoke from the joint
rising and curling between them...
Intercut: A full-speed shot of a burning house, flames
roaring
Amelia leans into the kiss more aggressively, pushing Kyle
back against the wall.
Intercut: A little girl, young Amelia, staring wide eyed at
the fire reflected in her eyes, orange light flickering over
her face
Amelia pulls back, breaking the kiss and staring up at Kyle,
who's breathing heavy.
Intercut: Silhouette of a woman running towards us from a
background of roaring flame - a small boy is writhing in her
arms. We see his skin is mangled with burns, and he lets out
a painful wail.
Amelia steps back from Kyle, still holding eye contact with
him.
KYLE
Are you okay?
Amelia keeps backing away from him - she turns and runs out
of the alley, down the sidewalk.
Kyle steps out of the alley and calls after her.
Amelia!

KYLE (CONTD)

We follow Amelia as she runs, a manic look in her eyes...


On Kyle, we return to normal speed, the muffled nightclub
sounds returning in the background as he leans against the
brick wall with a "holy shit" sigh, unfinished joint between
his fingers.
EXT. STREET - NIGHT
Amelia rounds a corner and braces herself against a wall,
trying to catch her breath. It doesn't come easy - she
clutches her chest, struggling to breathe, close to a panic
attack.
She doubles over, closes her eyes and manages to steady her
breathing. She looks up, through her dangling hair, across
the street...

31.
Her POV: A BAR, the "GEAR SHIFT", with hard rock playing
inside. Dark, industrial aesthetic.
Amelia crosses the street in her heels.
INT. GEAR SHIFT - NIGHT
The BOUNCER looks from the photo of Brooke, up to Amelia.
shrugs, ushers her through.

He

Amelia takes a seat at the bar.


In the background, a bunch of TRUCKER TYPES playing pool eye
Amelia. She glances at them over her shoulder. One of them
whistles at her, she turns away.
The BARTENDER approaches.
BARTENDER
What'll it be, little lady?
AMELIA
Um...
(long pause)
Whiskey.
BARTENDER
Whiskey straight?
Yeah.

AMELIA

Amelia hands over a few dollar bills.


her a glass of whiskey.

The bartender pours

She looks down at it distastefully, swirls it, takes a sip


and grimaces.
Off screen she hears laughter - she looks up and sees CRAIG,
late 30s, badass, tattoos, leather jacket, chuckling, looking
at her.
Her phone vibrates.
alright?"

She checks it - from Brooke.

"you

Amelia types in a response, looks back over at Craig.


just watches her, holds eye contact.

He

Amelia pockets her phone, gets up and walks with her drink
over to Craig. She sits next to him. Craig keeps watching
her.

32.
CRAIG
(re: whiskey)
You gonna finish that?
Amelia hands him the glass and he knocks it back.
her up.

He sizes

CRAIG (CONTD)
You know, at first glance you
seemed like the kinda girl who
belongs in this bar, but I don't
think you are.
AMELIA
Who says I have to belong here?
Not me.

CRAIG
Where do you belong, girl?

Amelia ponders this for a beat.


AMELIA
Do you have a car?
EXT. NIGHT CLUB - NIGHT
Brooke, Quincy and Kyle stand together, stressing.
looks at her phone. Kyle paces back and forth.
BROOKE
She said she's okay, but she won't
tell me where she is.
QUINCY
Okay... Where would she go?
which way did she run?

Kyle,

Kyle points down the street.


QUINCY (CONTD)
Alright, so, somewhere that
direction... Shit, I dunno. Maybe
we should head back to the motel
for now?
BROOKE
No. Jesus Christ, I can't do that!
Take my Amish cousin into the city
and just leave her?
KYLE
This is my fault.

Brooke

33.
QUINCY
She got high, she freaked.
happens, man.

It

KYLE
I shouldn't have... Fuck, I dunno.
QUINCY
It's nobody's fault, okay?
It's mine.

BROOKE

QUINCY
Well, Jesus, okay, it's not my
fault then.
BROOKE
Jesus Christ, Amelia...
EXT. EMPTY PARKING LOT - NIGHT
On a black truck, the only vehicle parked, jostling slightly.
INT. CRAIG'S TRUCK - NIGHT
Amelia grinds on Craig's lap - both still mostly dressed but
she's riding him, stifling her moans, her long hair hanging
in Craig's face as he looks up, hypnotized.
Craig cums with a grunt and Amelia collapses onto him, both
catching their breath. Then she rolls off, sliding into
shotgun while Craig tosses his condom out the window.
He leans back.
CRAIG
Who the hell are you?
AMELIA
It doesn't matter.
else tonight.

I'm somebody

CRAIG
Well... You're lucky you ran into
me, I'll say that. A girl who
looks like you do... Don't trust
strangers. Especially guys who
look like me. I coulda been
dangerous.

34.
AMELIA
Can I get a ride somewhere?
EXT. MOTEL - NIGHT
Quincy's car pulls up, catching Amelia in the headlights,
sitting against a wall in front of her room.
Brooke, Quincy and Kyle get out of the car. Brooke runs to
Amelia. Quincy stands by them while Kyle hangs back.
BROOKE
Are you okay? Kyle told me what
happened...
AMELIA
I'm alright.
BROOKE
Where did you go?
AMELIA
Just wandered for a while...
BROOKE
How did you get back?
AMELIA
I hitched a ride.
BROOKE
Jesus, Amelia... That's dangerous,
you can't do that!
Amelia shrugs.

Brooke shakes her head incredulously.

BROOKE (CONTD)
God... You scared me there.
go inside? Get some rest?

Wanna

AMELIA
Actually, I think I'd like to stay
out here for a while.
BROOKE
Well... Alright. I'll be right
inside if you need anything.
Amelia nods as Brooke walks past her, going inside.
goes inside as well.
Kyle lingers outside and sits next to Amelia.

Quincy

35.
KYLE

Hey.

AMELIA

Hi.

KYLE
Did I... do anything?
you, or whatever?
No.

To scare

AMELIA
You're alright.

Kyle nods.
KYLE
You're going back home tomorrow?
To the, uh... The town?
Yeah.

AMELIA

KYLE
Are you gonna stay there, or...?
AMELIA
I don't know.
KYLE
I'd like to see you again.
Me too.

AMELIA

KYLE
Can I get your number?
EXT. FOREST - DAY
Morning sunlight and birdsong filter through the tall
treetops.
On a DEAD RABBIT dangling over the ground - it is hanging
from Thomas' gloved hand as he treks through the woods,
crossbow on his back.
We hear an engine off-screen.
looks up.

Thomas stops in his tracks,

His POV: Maybe fifty yards ahead of him, through the


treeline, is the dirt road - Quincy's car rolls slowly along
and slows to a stop.

36.
Amelia gets out, dressed Amish again. Thomas frowns,
squinting, not quite believing what he's seeing.
Amelia smiles as she says goodbyes to everyone in the car,
then starts down the road.
Thomas waits for the car to back up, turn around and drive
off, then starts following Amelia, walking alongside her
through the treeline, eyes fixed on her.
EXT. AMELIA'S HOUSE - DAY
Amelia makes her way up the hill to the lonely house looming
in the grass.
INT. AMELIA'S HOUSE - DAY
Amelia lets herself into the quiet house, empty from where
she stands. She looks around.
Mary?

AMELIA
Adam?

Amelia closes the door behind her and walks through the main
room - past the staircase, nothing on the floor at the
bottom.
INT. AMELIA'S HOUSE (KITCHEN) - DAY
Amelia enters and walks past the table, where what seems to
be ADAM is sitting - his face is covered in bandages, his
hands are gloved, and he wears Adam's clothing.
AMELIA
There you are... Did Mary go home?
The bandaged man nods.
AMELIA (CONTD)
I'll make you some breakfast in a
minute.
Amelia exits the kitchen. Hold on the bandaged man sitting
still at the table, turning his head to watch her go.
INT. AMELIA'S HOUSE (AMELIA'S BEDROOM) - DAY
Amelia looks at her phone.
is joined by Kyle.

She has two contacts now - Brooke

37.
Amelia smiles slightly, then slips the phone under her
mattress.
INT. AMELIA'S HOUSE (MAIN ROOM) - DAY
Amelia descends the staircase, steps creaking underfoot.
she reaches the bottom she frowns, looking at the floor.

As

Amelia crouches on the floor and lifts something up - a


single, tiny shard of broken glass.
She peers at it uncertainly - suddenly there's a KNOCKING on
the door. Amelia looks up, startled.
She answers the door - on the other side is Thomas.
AMELIA
Oh, Thomas. Hello.
Hi Amelia.
Mary?

THOMAS
Is the widow here?

AMELIA
No, why?

THOMAS
I saw you coming up from the woods,
it seemed early for you to be out
already.
AMELIA
Oh, you saw...?
THOMAS
Did you go somewhere?
AMELIA
I held vigil last night.
and Papa.

For Mama

Thomas nods, peering at her.


AMELIA (CONTD)
So Mary was here, taking care of
Adam.
All night?
She is.

THOMAS
She's a selfless woman.

AMELIA
I know.

38.
THOMAS
Is that really the way you want to
live? With a widow, taking care of
your brother?
AMELIA
It's the life I have.
THOMAS
Wouldn't it be easier if you had
someone to depend on? You know, to
take care of you?
AMELIA
We're doing perfectly fine, Thomas.
THOMAS
But you can't live like this
forever. Locked up in this
house... There's more to life.
Family.
AMELIA
Not for everyone.
THOMAS
Not for the widow, you mean.
think that woman is happy?

You

AMELIA
You don't know Mary. She's been
there my whole life, for Adam and
me.
THOMAS
I've been here your whole life too,
Amelia.
AMELIA
Well, Adam has never liked you.
Thomas nods with a kind of smirk, backing away from the door.
THOMAS
You have to make a choice
eventually.
AMELIA
Maybe I already have.
Amelia shuts the door, closes her eyes and rubs her temples.

39.
EXT. AMELIA'S HOUSE - DAY
Thomas makes his way down the hill from the house.
and looks back with a suspicious, troubled frown.

He turns

EXT. GAS STATION - DAY


Quincy watches the gas pump while Kyle fixates on his phone,
typing and then deleting a message. Across the lot, Brooke
orders at a coffee stand.
KYLE
Do you think it's too early for me
to text her?
QUINCY
Nah, jump on it. If you really
wanna commit to this, at least.
KYLE
I think I do.
QUINCY
Well, it should be interesting.
Brooke comes over with a coffee in hand.
BROOKE
What are we talking about?
KYLE
What should I text Amelia?
hang out with her again.

I wanna

BROOKE
Then just say that.
KYLE
Is it too soon?
BROOKE
She doesn't usually check her phone
until night time, anyway.
KYLE
Do you think she likes me?
BROOKE
She didn't tell me much, but I
think so.

40.
KYLE
I dunno... I'm really into her, but
like, how would this work out?
BROOKE
Actually, she told me something
last night. She thinks she might
be able to get away from the
village. She found someone who can
take care of her brother and
everything.
Really?

KYLE

BROOKE
That's what she said.
QUINCY
Was that before or after Kyle got
her hight?
Before.

BROOKE

QUINCY
Well shit, Kyle.
out for you.

This could work

Kyle returns his attention to the phone, brightening a bit.


Brooke exchanges a little smile with Quincy.
BROOKE
Oh, Kyle, important point, her
phone doesn't get emojis.
INT. AMISH CHURCH - DAY
The congregation sings a hymn led by the choir.
In the crowd we see Amelia, singing along but looking
distracted. She looks around the room, searching...
Thomas stands next to Gretchen nearby.
at Amelia as she sings.

Thomas keeps glancing

EXT. MARY'S HOUSE - DAY


Amelia approaches the front door of the modest house, dark
inside. She knocks on the door. Waits, with no response.
Knocks again.

41.
Amelia goes to a window nearby. She cups her hands around
her eyes and peers into the house - dark inside.
Amelia crouches by the front steps, lifting up a rock in the
grass and takes out a key.
INT. MARY'S HOUSE - DAY
Amelia lets herself in, looking around the dark interior.
AMELIA
Mary?
(beat)
Mary? It's Amelia.
She waits.

Are you home?

Only silence.

INT. MARY'S HOUSE (BEDROOM) - DAY


Amelia leans into the bedroom, looking around - the bed is
empty.
Something catches her eye - a framed picture on the bedside
table.
Amelia goes to the table and picks up the picture - it's a
photograph. Mary and Dominic, dressed in Amish garb, smiling
together on a waterfront.
Amelia smiles a little, but it fades into an uncertain frown.
She sets the picture back down.
INT. THOMAS/GRETCHEN HOUSE - NIGHT
Thomas and Gretchen eat their modest dinner - rabbit - at a
lamp-lit table, silent for a beat.
GRETCHEN
(Dutch)
The Miller's daughter, Anna, is
starting to look very pretty.
THOMAS
(Dutch)
She's only sixteen years old,
Mother.
GRETCHEN
(Dutch)
Give her a couple years then.

42.
THOMAS
(Dutch)
This is about Amelia, isn't it?
GRETCHEN
(Dutch)
No, Thomas, it's about you. You're
a handsome boy and I want you to
find a good woman.
THOMAS
(Dutch)
She is a good woman.
GRETCHEN
(Dutch)
I'm just telling you, if you want
to start a family with someone,
look at her history first.
THOMAS
(Dutch)
You don't know her at all.
Gretchen silently finishes her plate, then stands and carries
it to the kitchen.
GRETCHEN
(Dutch)
It's good that you like to hunt,
but try catching something else for
a change. Nobody wants to eat
rabbit.
Thomas looks after her disdainfully.
INT. AMELIA'S HOUSE (AMELIA'S BEDROOM) - NIGHT
Our voyeuristic audience gets a glimpse at Amelia's nude back
- a large burn scar running across it - before she pulls on
her nightgown.
Amelia goes to her bed and snuffs out the lamp on the table.
She reaches under the mattress and takes our her flip phone.
Two new texts from Kyle.
opens them.

She can't help but smile as she

The first: "Brooke says you might be leaving the village"


The second: "When can i see you again?"

43.
Amelia frowns a bit, texts a response: "Not sure.
you know."

I will let

She looks at this text for a beat. She adds a :) at the end.
Then she frowns, it doesn't look right. Deletes the smiley
face and sends it.
Amelia tucks the phone under her mattress again and turns
over, pulling her blanket up.
There's a silent beat, then her bedroom door slowly creaks
open. Amelia turns her head, sees the Bandaged Man standing
in the doorway.
AMELIA
What is it?
The Bandaged Man slowly approaches her bed until he's looming
over her. Amelia turns on her back and looks up at him
uncertainly.
Adam?

AMELIA (CONTD)
What is it?

The Bandaged Man lifts her blanket and crawls under it, next
to her.
AMELIA (CONTD)
You want to...?
Bandaged Man wraps an arm around Amelia, who frowns at the
gauze-wrapped face just inches from hers.
AMELIA (CONTD)
Are you okay?
He just lays there next to her, silently spooning her from
the side, covered face pressed into her shoulder. We can
hear his heavy breathing through the gauze.
Amelia stares at him for a silent beat, then turns her head
up to the ceiling. She gazes upwards with a troubled look
for another beat. Then she closes her eyes.
FADE TO BLACK.
EXT. BOOTH - DAY
Kyle stands at a tourist's booth while the woman inside looks
through files of maps.
GUIDE
Here it is.

44.
She hands Kyle a folded up map.
Thanks.

KYLE

EXT. PARKING LOT - DAY


In the parking lot of the rest stop. Kyle looks over a map
of the Amish village with Brooke, who frowns, scrutinizing
it. She circles a small section near the corner of the map.
BROOKE
I think her house is somewhere
around here. I know it's up on a
hill, kind of on the outskirts.
When you see it you'll know.
QUINCY
What happens if they catch you
trying to sneak into the village?
You get burned at a stake or
something?
BROOKE
I have no idea. But be careful,
Kyle.
KYLE
If I could sneak around my stepdad
for six years, I don't think I'll
have a problem sneaking past a
bunch of Amish townsfolk.
BROOKE
Are you sure you don't wanna let
her know beforehand?
KYLE
I wanna surprise her.
BROOKE
I just don't know if that's a good
idea...
QUINCY
No, I disagree completely. I could
never have fooled Brooke into
dating me without the element of
surprise. Do what I did. Wait
until it's dark and stand outside
Amelia's window with a boombox,
blasting some 80s shit. For the
whole village to hear.

45.
EXT. AMISH VILLAGE MARKET - DAY
Amelia wanders around the market, her basket empty, scanning
the crowd. She spots a man named CALEB, 30s, and approaches
him.
AMELIA
Have you seen Mary?
The widow?
days.

CALEB
No, not in a couple of

Amelia nods, frowning, and steps away from Caleb.


EXT. FIELD BY THE WOODS - DAY
Two Amish children, DANIEL and LUCIE, sit in the grass,
looking at the looming treeline a few yards away.
DANIEL
Have you ever been in the woods
before?
LUCIE
Mother says the woods are haunted.
DANIEL
Of course they are.
makes them fun.

That's what

LUCIE
What about the boy who went into
the forest and was trapped there
forever?
DANIEL
That's just a fairy tale. I've
never gotten lost. Come on, I'll
show you. There's a tree that fell
over and the roots look like a
demon's mouth.
Daniel starts towards the treeline.
nervously.

Lucie hangs back

DANIEL (CONTD)
Come on, it'll be fun.
LUCIE
I just want to go back to the
market.

46.
Daniel shrugs.
Alright...

DANIEL

POV from behind the treeline as Daniel and Lucie turn and
walk away.
In the woods, we see Kyle huddled next to a tree.
a protein bar and takes a bite.

He unwraps

INT. AMELIA'S HOUSE (KITCHEN) - DAY


Amelia unloads food from her basket onto the kitchen counter.
We hear a faint buzzing, and a fly darts through the kitchen.
Amelia follows it with her eyes.
INT. AMELIA'S HOUSE (LIVING ROOM) - DAY
Amelia stands with a wooden paddle, swinging at the fly as it
buzzes frantically around the living room.
It's joined by a second one. Amelia turns her attention to
the second fly, then the first fly lands on the floor.
Amelia lifts her foot to step on the first fly, but it crawls
between the floorboards before she gets the chance.
POV from the darkness underneath the floorboards: Looking up
at Amelia from the narrow gap between them. We hear the fly,
down here, louder now, like it's buzzing around us.
INT. AMELIA'S HOUSE (DINING ROOM) - NIGHT
Amelia sits alone with the Bandaged Man, who dutifully eats
his soup.
AMELIA
You're hungry tonight.
The Bandaged Man nods.
bugging her...

Amelia watches him eat, something

There's a sound of tapping on glass from off-screen.


turns her head suddenly.

Amelia

Behind her, through the dark window, we see Kyle's face


faintly illuminated outside. He taps on the glass, grins and
waves to Amelia. She looks back at him, startled.

47.
INT. AMELIA'S HOUSE (MAIN ROOM) - NIGHT
Amelia opens the front door and lets Kyle in, quickly closing
it behind him.
AMELIA
What are you doing here?
KYLE
I wanted to see you.
AMELIA
Me too, but... How did you...?
KYLE
It wasn't hard.
AMELIA
Do you want to stay the night,
or...? Uh, we have a spare
bedroom...
Sure.

KYLE

Kyle steps closer to her. They stare at each other silently


for a beat, then lean in simultaneously for a kiss. They
hold it, then gently break.
KYLE (CONTD)
That's better.
Amelia nods.
KYLE (CONTD)
Do you wanna leave this place?
AMELIA
Not tonight.
KYLE
I don't mean tonight. But someday,
do you wanna come with me?
AMELIA
I don't know if I can...
KYLE
Your brother?
Amelia nods.

48.
KYLE (CONTD)
Brooke said you had someone who
could take care of him.
AMELIA
I'm not sure...
KYLE
That's alright. I'm not asking you
to uproot your life. I just wanted
to see you again.
He and Amelia gaze at each other, then kiss again.
POV from around the corner: We watch through a shroud of
gauze as Kyle and Amelia make out at the foot of the stairs.
We hear heavy breathing.
INT. AMELIA'S HOUSE (AMELIA'S BEDROOM) - NIGHT
Kyle and Amelia make out on Amelia's bed. Amelia breaks the
kiss and climbs on top of Kyle, straddling him, still in her
Amish garb.
She starts unbuttoning her gown, holding eye contact with
him.
Kyle watches hypnotically as she slides the gown off her
shoulders, then leans forward and kisses him again, pulling
the covers over them both.
INT. AMELIA'S HOUSE (HALLWAY) - NIGHT
Just outside Amelia's bedroom door, in the dark hallway, the
Bandaged Man stands still, listening. We hear Amelia's voice
moan quietly inside.
INT. AMELIA'S HOUSE (AMELIA'S BEDROOM) - DAY
Amelia and Kyle lay naked in her bed, side by side.
runs his fingers through her hair.
KYLE
Brooke said your parents passed
away.
Yeah.

AMELIA
In a fire.

I'm sorry.

KYLE

Kyle

49.
Kyle looks silently at the ceiling for a beat, then turns
back to Amelia.
KYLE (CONTD)
Do your people ever let outsiders
join them?
AMELIA
What do you mean?
KYLE
If you can't leave your brother...
What if I stayed? To help you take
care of him?
AMELIA
You barely know me.
KYLE
I know, I'm just wondering... If,
you know...
AMELIA
I don't know if it would work out.
KYLE
What about bringing your brother
with you?
AMELIA
After the fire, Adam got so used to
his bandages that he never stopped
wearing them. He could never leave
the village.
KYLE
I like you a lot, Amelia.
this to work out.
So do I.

I want

AMELIA

There's an off-screen knocking.


look with Kyle.

Amelia frowns, exchanges a

KYLE
You know who that is?
No...

AMELIA

Amelia gets up and pulls on some underwear, followed by her


clothes. Kyle pulls on his underwear as well.

50.
AMELIA (CONTD)
They shouldn't see you. Here, go
in my closet. I'll come get you
when it's safe.
Kyle nods and goes towards Amelia's closet.
Wait.

AMELIA (CONTD)
Your clothes.

Kyle stops and gathers his clothes off the floor. He carries
them into the closet with him and exchanges a little smile
with Amelia.
KYLE
See you later, then.
Yeah.

AMELIA

Kyle shuts himself inside the closet.


INT. AMELIA'S HOUSE (MAIN ROOM) - DAY
Amelia descends the staircase as there's more knocking.
She opens the front door and comes face to face with DEPUTY
MIKE LANG, in uniform.
Amelia looks at him curiously.
AMELIA
Can I help you?
LANG
You're Amelia Watts, right?
AMELIA
Yes, that's me.
LANG
I'm Deputy Lang. Would you mind
coming to the station with me?
You're not under arrest, I just
have some questions. I'd ask you
here, but the villagers don't seem
to like me sticking around.
AMELIA
What do you want to ask me about?

51.
LANG
Just a few questions about Mary
Weaver. Apparently you were the
last person to see her.
AMELIA
Yes, of course.
EXT. AMELIA'S HOUSE - DAY
Amelia follows Lang to a Sheriff's Dept car parked near her
house. She glances back at the house as she gets into the
car with him. He starts the car and drives away.
Nearby a few villagers watch the car go.
Thomas, a troubled look on his face.

One of them is

INT. AMELIA'S CLOSET - DAY


Kyle is huddled in his underwear in the dark closet. He
reaches down to his clothing on the floor, takes his phone
out of his jean pocket.
Kyle types a text to contact Quincy - "you wont believe what
im doing right now"
He sends it with a smirk, as we hear heavy footsteps off
screen, coming closer.
Kyle looks up as the footsteps approach just outside the
closet door.
The door swings open and illuminates Kyle with daylight as he
looks up in confusionStanding over him is the Bandaged Man - Kyle opens his mouth
- before he can get a word out, the Bandaged Man stabs a
kitchen knife into his eye, all the way to the handle.
Kyle's face twitches.
INT. SHERIFF'S STATION (INTERVIEW ROOM) - DAY
Lang, holding a notepad and pen, sits across from Amelia.
LANG
The last time anybody else saw Ms.
Weaver was two nights ago, she said
she was going to your house to take
care of your brother.

52.

She did.

AMELIA

LANG
And you were visiting your parents'
graves that night?
Amelia hesitates, then nods.
LANG (CONTD)
So she was staying at your home all
night, then.
AMELIA
That was the idea. She wasn't
there when I got back the next
morning.
LANG
What time did you get back?
AMELIA
It was just after nine.
LANG
Was this the first time you had her
stay at your house overnight?
Yes.

AMELIA

LANG
So you don't usually visit the
graves, or...?
Amelia frowns, considering her next words.
AMELIA
Will you tell anybody from the
village what I say in here?
LANG
No, it's not likely.
AMELIA
You can't tell them this, but I
wasn't at my parents' graves that
night. I left the village with
friends.
LANG
Okay. What are your friends'
names?

53.
AMELIA
One of them is my cousin, that's
Brooke Watts. Then her boyfriend,
Quincy Jackson. And, um, Kyle
Harris.
LANG
So they can vouch for you that
night?
Yes.

AMELIA

LANG
Are they local?
AMELIA
No, but I think they're probably
still in town. They were staying
at the Parkwood Motel, rooms four
and five.
LANG
Okay, good to know. I guess I
should ask, did Mary Weaver have
any enemies in town, or anything
like that?
AMELIA
No, she keeps to herself mostly.
Everybody respects her.
LANG
And do you think it would be
possible for me to talk to your
brother?
AMELIA
I don't think so.
LANG
Alright... If he tells you
anything, or you hear anything in
general, please contact me.
INT. AMELIA'S HOUSE (MAIN ROOM) - DAY
The Bandaged Man holds Kyle's limp, bare legs and pushes his
corpse head-first into a hole in the floor, where the
floorboards have been lifted up. Flies buzz around the room.
He pushes them through with a grunt, and we hear the body
land beneath.

54.
The Bandaged Man takes Kyle's clothes from the floor nearby,
dumps his shirt into the hole, then fishes through his jeans'
pocket and takes out his phone - there's a new text on the
screen, from Quincy: "getting burned at the stake?" followed
by two fire emojis.
The Bandaged Man drops the jeans in, pockets the phone, then
picks up the displaced floor boards.
We briefly see into the hole in the floor - a tangle of limbs
and pale flesh - before the boards are set back in place.
The Bandaged Man unrolls the rug and puts it back over the
secret panel.
A fly lands on the rug just in front of the Bandaged Man's
foot. He steps on it and grinds it into the fabric of the
rug.
INT. MOTEL ROOM 1 - DAY
Quincy and Brooke lay on one of the medium-sized beds,
crowding it. Brooke reads through a travel brochure.
There's an open, empty pizza box on the other bed.
BROOKE
I guess there's a river like thirty
miles out. We could rent kayaks.
QUINCY
How much does that cost?
BROOKE
(checks)
Nevermind.
QUINCY
There must be the biggest of
something in the country out here.
What?

BROOKE

QUINCY
All these little farm towns have
some kind of attraction, like the
biggest something in the world.
The biggest hay bail, the biggest
pile of cow shit...
BROOKE
Come on, it's not that podunky.
We're still in Washington.

55.
QUINCY
I'm saying next time we bring your
cousin to Seattle, instead of
coming up here.
BROOKE
I want her to move to Seattle.
can all get a place...
Quincy's phone buzzes.

We

He checks it.

Text from contact Kyle: "staying with amelia"


QUINCY
Yeah, bitch, I know that...
Quincy starts texting back: "when do u wanna dip out? im
gonna kill myself if i gotta stay in this town 1 more night".
Adds a skull emoji and sends.
Brooke leans on his shoulder, watching the text.
BROOKE
Did they have sex, do you think?
I dunno.

QUINCY

Quincy types another text: "did u get booty tho?"


BROOKE
No, don't ask like that!
Quincy hits send, laughing.
He gets a response.
catch a bus back."

Kyle: "I'm staying, you can go.

I'll

QUINCY
The fuck? Does he mean like a
Greyhound?
I dunno...

BROOKE

INT. AMELIA'S HOUSE (MAIN ROOM) - DAY


Amelia comes in the front door.
screen.
Kyle!

AMELIA

A fly buzzes around off

56.
No response.

She heads up the stairs.

We linger for a beat on the main room, the rug in place, fly
buzzing around.
INT. AMELIA'S HOUSE (AMELIA'S BEDROOM) - DAY
Amelia opens her closet and looks inside - empty.
frowns, perplexed.

She

Amelia sits on her bed, texting Kyle: "Where are you?"


A beat later, the reply - Kyle: "Headed out.
soon"

See you again

Amelia deflates, looking at this text sadly.


She sets her phone down and sits for a beat, her lip
quivering. She puts her face in her hands and allows herself
one sob, then quickly inhales and composes herself, sits back
up.
INT. AMELIA'S HOUSE (HALLWAY) - DAY
Amelia emerges from her room, makes her way down the hall and
stops next to Adam's bedroom door. She knocks on it gently.
Adam?

AMELIA
Are you in there?

No response. She opens the door and sees the Bandaged Man
lying in bed - faint, slow breathing, he seems to be asleep.
Amelia watches him for a beat, then closes the door.
INT. AMELIA'S HOUSE (MAIN ROOM) - DAY
Amelia steps off the stairs and makes her way through the
main room. She stops in front of the rug, looks down...
Extremely close shot on the crushed fly, its mangled, twisted
limbs and flattened body.
EXT. MOTEL - NIGHT
Lang's cop car parks outside the motel, next to Quincy's car.
Lang gets out and checks his notes, goes to the door marked
"4" and knocks.
After a beat, Quincy answers.

57.

Yes?

QUINCY

LANG
I'm looking for Quincy Jackson and
Kyle Harris, are you...?
QUINCY
Quincy Jackson, yeah... What's this
about?
LANG
I just need to corroborate an alibi
for Amelia Watts.
Brooks comes to the door behind Quincy.
Amelia?

BROOKE
What's this about?

LANG
You're Brooke Watts?
Yeah.

BROOKE
What's this about?

LANG
She says she was with you three
nights ago, is this correct?
Yeah...

BROOKE

LANG
And she was with you all night?
Yes.

BROOKE

QUINCY
Well...
(interrupts himself)
Yeah, I mean...
LANG
Was she not?
QUINCY
There were like a couple where she
wasn't with us. She ran off.
LANG
Any idea where she went?

58.
QUINCY
Not really, she said she just...
BROOKE
She was just overwhelmed, I think.
She came back to the motel.
LANG
Alright... Is Kyle Harris with you?
QUINCY
No, he's at her place.
BROOKE
He can vouch for her too.
LANG
He's at Amelia's place?
QUINCY
That's what he said.
LANG
In the village?
Yeah.

QUINCY

BROOKE
What's this about, exactly?
LANG
Nothing for you to worry about.
Nobody's hurt. I'm just getting
everyone's story straight. Thank
you for your cooperation.
Lang turns to leave.
close the door.

Brooke and Quincy watch him go, then

INT. MOTEL ROOM 1 - NIGHT


Quincy turns to Brooke, both confused and worried.
QUINCY
The hell was that about?
BROOKE
I don't know...

59.
INT. THOMAS/GRETCHEN HOUSE - NIGHT
Thomas and Gretchen eat dinner in silence.
Thomas glances across the table at Gretchen - she eats
slowly, with a grim expression and downcast eyes.
Thomas turns his attention back to his own plate.
another bite, swallow, looks back up at Gretchen.

He takes

Gretchen chews slowly, swallows, then sighs quietly and


starts cutting her next bite.
Thomas stares at her.
THOMAS
(Dutch)
What?
Hm?

GRETCHEN

THOMAS
(Dutch)
What is it, Mother?
GRETCHEN
(Dutch)
What are you talking about?
didn't say anything.

THOMAS
(Dutch)
You didn't have to say anything.
What do you want to say? What?
GRETCHEN
(Dutch)
Nothing! You're getting worked up,
Thomas. Calm down.
Thomas laughs humorlessly.
THOMAS
(Dutch)
I don't believe you.
you killed Papa?
GRETCHEN
(Dutch)
Shut your mouth!

Is this how

60.
THOMAS
(English now)
No, you shut your mouth! I'm
baptized! I am an adult! And I
won't just marry whoever you want
me to marry! You can't control me!
GRETCHEN
(shocked, still Dutch)
Thomas!
THOMAS
(English)
Come on, Mother! Tell
you're thinking! What
to say about her now?
she killed the widow?

me
do
Do
Is

what
you have
you think
that it?

GRETCHEN
(Dutch)
I never saidTHOMAS
(English)
I'm sick of this! I'm sick of your
superstitions, you always trying to
control me, always telling me what
to think! I'm sick of you, Mother!
And I'm sick of this village!
Thomas storms out.
after him.
Thomas!

Gretchen stands up, reaching out feebly


GRETCHEN

The door slams shut off screen. Gretchen seems to shrivel up


as she collapses back in her chair. She starts weeping
painfully.
INT. AMELIA'S HOUSE (KITCHEN) - NIGHT
Amelia stands at the kitchen counter with a weary expression,
slicing potatoes - using the same knife that killed Kyle.
The Bandaged Man sits at the table, watching her silently.
There's a loud banging on the front door from off-screen.
Amelia!

THOMAS (O.S.)

Amelia turns with a startled expression.


down.

She sets the knife

61.
INT. AMELIA'S HOUSE (MAIN ROOM) - NIGHT
Amelia opens the front door. Thomas stands outside, wide
eyed and red faced, in a state.
Thomas?

AMELIA

THOMAS
Amelia, I... My mother, she...
AMELIA
What's wrong? What happened?
THOMAS
No, I... Can I come in?

Please?

Amelia looks at Thomas uncertainly, stepping aside and


shutting the door as he comes in, rubbing his temple.
THOMAS (CONTD)
I was... Amelia, what... What
happened to Mary Weaver?
AMELIA
I don't know.
THOMAS
No, I don't mean... I don't care.
I don't care if you... Whether
you... I just want you to tell me.
AMELIA
I don't know, Thomas.
THOMAS
Everybody knows she was here the
night she disappeared. They
think... My mother thinks...
AMELIA
Thomas, I didn't do anything to
Mary. I wasn't here.
I saw you.
What?

THOMAS
The car, I saw you.
AMELIA

THOMAS
In the car... Where did you go?
What did you do to her? You can
tell me. I don't care.

62.
AMELIA
Thomas, I didn'tTHOMAS
I can help you. If you're in
trouble, I can help you. I love
you.
Thomas steps forward. Amelia backs away from him, towards
the wall. She looks up at him with fear in her eyes. Thomas
frowns.
THOMAS (CONTD)
No, don't... Don't look at me like
that. I'm not... I love you!
Don't you understand?
AMELIA
Thomas, please calm downTHOMAS
I don't care about the widow! I
don't care about anything! I just
want to be with you! We can leave
this village, we can go wherever
you want!
He grabs her shoulders, holding her against the wall.
stares up, paralyzed with fear.

She

THOMAS (CONTD)
I know you're a good person!
Whatever you did, I still love you!
I still want you!
Thomas presses his mouth to hers, trying to kiss her. Amelia
keeps her mouth closed and tries to push him away, to no
avail. Thomas holds her against the wall and starts kissing
her face like a hungry animal.
AMELIA
No, Thomas... Stop!

Stop!

THOMAS
You're so beautiful... So
beautiful...
Thomas grabs at Amelia's breasts, then tears her top open.
Amelia struggles but she's pinned against the wall,
immobilized.
AMELIA
No, please! Please!
STOP!

Stop it!

63.
Thomas holds Amelia's face by the cheeks and lifts his head
up, staring into her eyes - extremely close on him, Amelia's
POV, we see movement right behind him...
THOMAS
Tell me youThere's a sudden crunching sound and Thomas' face freezes
mid-sentence. His mouth opens and closes and his eyes lose
focus.
Amelia stares back at Thomas as his hands slip away from her
face.
Thomas stumbles backwards, mouth opening and closing with no
words coming out.
THOMAS (CONTD)
Uh... uh... uh...
Amelia remains pressed against the wall, watching him wide
eyed.
Thomas starts to shake, and collapses to the floor.
On the Bandaged Man, standing over him, holding a hammer.
Amelia looks from the Bandaged Man to Thomas with growing
horror.
On the back of Thomas' head - his skull is cracked open.
AMELIA
Oh God... Oh God, Adam, what did
you...?
Amelia looks at the Bandaged Man, then turns her gaze down to
Thomas, trying to calm herself.
Thomas seems to be trying to lift himself up. He props one
arm up the collapses back to the floor, rolling onto his
side.
THOMAS
Uh... uh...
Amelia slowly steps forward, standing over Thomas, watching
him, sickened. She closes her eyes, swallows and takes a
breath. She goes to the Bandaged Man and takes his hand.
AMELIA
Give me the hammer.
She grabs the hammer and the Bandaged Man lets go of it.

64.
Amelia crouches next to Thomas, holding the hammer above his
head, staring down at him intensely.
He looks up at her as he shakes - one eye focusing on her,
the other rolling back.
THOMAS
Uh... Uh-mee... Uh-mee... Uh-meeleeAmelia brings the hammer down as hard as she can, caving in
most of Thomas' forehead.
Thomas' body spasms one last time, then goes still.
starts pooling under his head.

Blood

Shaking and pallid, Amelia lets go of the hammer, which stays


embedded in Thomas' skull, handle sticking out grotesquely.
Amelia turns away and VOMITS onto the floor. She gags a
second time, then gasps for breath. The Bandaged Man just
stands there, watching her.
Amelia wipes her mouth and turns back to him.
AMELIA
Okay... Okay. I can take care of
this. Don't worry.
The Bandaged Man tilts his head slightly.
INT. QUINCY'S CAR - NIGHT
Quincy drives. Next to him, Brooke holds her phone to her
ear, listening to the dial tone. It goes to voicemail.
BROOKE
He's not picking up.
QUINCY
Call Amelia again.
BROOKE
She probably doesn't even have her
phone. Please just drive faster.
QUINCY
I'm going the speed limit.
probably fine, Brooke.
BROOKE
I know, I know...

They're

65.
QUINCY
Maybe they're fucking.
EXT. AMELIA'S HOUSE - NIGHT
Amelia drags Thomas out the front door, struggling with his
dead weight, keeping her face turned away from him as much as
possible.
She pulls the corpse around behind her house, drops it on the
grass and catches her breath.
She takes a shovel leaning against the wall of the house and
starts digging.
A shallow GRAVE is formed, maybe a foot or two deep - she
rolls Thomas in and he flops into the dirt.
Amelia starts shoveling the dirt back onto him - we see it
coat his smashed, misshapen face.
She pats it down over the corpse, looks distastefully at the
fairly obvious patch of uprooted ground.
INT. AMELIA'S HOUSE (MAIN ROOM) - NIGHT
Amelia is on her hands an knees, viciously scrubbing the
bloodstained floor, smearing and thinning the deep red
puddle.
In the background, by the rug, we can see flies hovering low
above the floor.
EXT. FOREST ROAD - NIGHT
Quincy's car slows to a stop, and the lights shut off.
INT. QUINCY'S CAR - NIGHT
Quincy and Brooke sit in silence for a beat.
Okay.

BROOKE

She opens the car door and starts to get out.


her.

Quincy watches

66.
QUINCY
Brooke, what are you worried about?
I mean what exactly? What do you
think...?
BROOKE
I don't know, I just have this...
feeling. Something feels wrong.
QUINCY
Everything's gonna be okay.
BROOKE
I just... I just have to know.
Quincy kisses her.
QUINCY
I love you.
BROOKE
I love you.
Brooke gets out of the car and recedes into the darkness.
Quincy sits back with a sigh, waiting...
FADE TO...
INT. AMELIA'S HOUSE (WASH ROOM) - NIGHT
Amelia douses her arms and face with water, rinsing off the
remaining blood.
She turns off the faucet and bows her head, closing her eyes,
catching her breath...
Amelia?

BROOKE (O.S.)

Amelia looks up, startled.


INT. AMELIA'S HOUSE (MAIN ROOM) - NIGHT
Brooke steps apprehensively through the front door, into the
quiet house.
BROOKE
Amelia, are you in here?
For a beat there's just silence... a wooden creak above
Brooke's head. She looks up the staircase...

67.
Amelia rounds the corner in the background, coming towards
Brooke.
Brooke?

AMELIA

Brooke jumps slightly, startled.


Oh shit!

BROOKE
You scared me...

Amelia peers at Brooke curiously, confused.


AMELIA
What are you doing here?
BROOKE
I, uh... Look, I was just worried.
I dunno... Is Kyle still here?
AMELIA
No, Kyle left earlier.
When?

BROOKE

AMELIA
This morning.
What?

BROOKE

AMELIA
Isn't he with you?

He texted me...

BROOKE
He told Quincy he was with you.
They stare at each other in confusion.
AMELIA
That's not possible...
BROOKE
Amelia, what happened?
AMELIA
What do you mean?
BROOKE
This cop came by the motel today,
he said... I don't know, something
about making sure you had an alibi?
Two nights ago?

68.
AMELIA
He came to me, I told him I went
with you.
BROOKE
Why would you need an alibi?
AMELIA
I don't, I just...
Amelia trails off. They stare at each other, both looking
very uncertain - a distance between them.
A fly buzzes past Brooke's head. She glances at it, then
looks back at Amelia - she's pallid, still shaking from her
ordeal.
BROOKE
Where did you go that night?
AMELIA
You mean...?
BROOKE
When you ran away from Kyle.
did you go?

Where

AMELIA
I just... I went to another bar.
BROOKE
Amelia, don't lie to me. You were
gone for almost three hours.
AMELIA
I met a man...
What man?

BROOKE
What was his name?

AMELIA
He didn't say...
BROOKE
Why was that cop asking about you?
AMELIA
Mary Weaver disappeared. The woman
who was taking care of Adam for me.
BROOKE
The one who was in your house that
night?

69.
Amelia stares at Brooke, not sure what to say to her.
AMELIA
Brooke, please... What do you think
I...?
BROOKE
I don't know! I don't know what to
think...!
AMELIA
I don't know what's happening,
Brooke! You have to believe me!
BROOKE
I do, I just... Where's Kyle?
AMELIA
He left this morning. While I was
at the police station. He texted
me.
BROOKE
He said he was still here this
afternoon.
AMELIA
He texted me, I still have it.
can show you.

Brooke stares at Amelia, still uncertain - does she really


know this girl?
Okay?

AMELIA (CONTD)
I'll show you.

Brooke slowly nods.


Amelia turns and heads up the stairs, Brooke starts to
follow, taking two steps after her... Then she stops.
Her POV: Amelia's ankle going up the stairs ahead of her it's smeared with dried blood.
Brooke's face goes pale. She steps back down. Amelia
continues up the stairs ahead of her, oblivious...
Brooke backs away from the staircase, towards the front
door...
We hear the sound of flies. Several now. Brooke turns to
the source of the sound - they hover and dart around the rug
just a few feet away.

70.
Brooke steps shakily towards the rug - flies crawling between
the floorboards around it.
She slowly takes the corner of the rug and lifts it...
INT. AMELIA'S HOUSE (AMELIA'S BEDROOM) - NIGHT
Amelia crouches by her bed. She lifts her mattress, takes
out the phone - two missed calls from Brooke - and goes
through her text exchanges with Kyle.
AMELIA
See, here it says...
She turns around to see the room empty.

Frowns, confused.

Amelia looks back down at her flip phone, the text displayed
- close on the name "Kyle Harris".
She goes to the contact, hits "call number".
to her ear.

Puts the phone

A beat on Amelia, holding the phone up, listening to the dial


tone.
Then we hear a faint, muffled buzzing.
Amelia looks around, searching for the source of the sound.
INT. AMELIA'S HOUSE (HALLWAY) - NIGHT
Amelia steps out of her bedroom, following the sound - a bit
closer now.
She walks down the hallway's creaky wooden floor, follows the
sound to the open doorway of Adam's room...
INT. AMELIA'S HOUSE (ADAM'S BEDROOM) - NIGHT
Amelia steps into Adam's room, a growing, sickened look of
dread on her face...
She approaches Adam's bed, from which the buzzing emanates...
She lifts the mattress - underneath, Kyle's smartphone "Incoming call from Amelia Watts"
Amelia closes her flip phone and puts it away.
Adam's mattress again, wide eyed now.

She lowers

71.

Brooke?

AMELIA

There's no response...
Behind Amelia, in the background, we see a figure looming in
the doorway - the Bandaged Man.
Amelia turns slowly to face him.

He just stands there.

Amelia takes a step forward, then another.


Adam?

AMELIA (CONTD)

She walks up to the Bandaged Man, directly in front of him,


and touches the gauze on his face. He doesn't stop her.
Amelia slowly unwraps the gauze...
At first it only uncovers more layers of bandages. Then for
a split second, we see under it - wide, icy blue eyes, a
mouth frozen in a grin, lips peeled back over teethAmelia SCREAMSEXT. FOREST ROAD - NIGHT
On Quincy's car, Quincy sitting alone inside. We hear
crickets, an owl, mixed with the quiet sound of music from
inside the car.
INT. QUINCY'S CAR - NIGHT
Quincy sits silently, frowning slightly, listening to the
music with his mind elsewhere.
His phone goes off in his pocket. He quickly checks it - a
text from contact Brooke Watts: "Bring the car to Amelia's
house"
Quincy looks confused.

He types back, "Why?"

After a beat, the response - "Can't explain"


QUINCY
The fuck...
He starts his car.

72.
EXT. AMELIA'S HOUSE - NIGHT
Wide on the house, we can see the fields and the treeline in
the moonlight behind it, windmill in the distance.
Quincy's car slowly rolls up behind the house, lights off.
As it comes to a stop we see its front wheel directly on the
patch of dirt where Thomas is buried.
Quincy gets out, looks around - all quiet.
He approaches the house, coming around the front, and stops
at a curious sight - the front door is open.
INT. AMELIA'S HOUSE (MAIN ROOM) - NIGHT
Quincy leans in the open door.
Hello?
There's no response.
on something.

QUINCY
He looks around - immediately focuses

To the side, he sees a gaping, dark hole in the floor,


floorboards lifted up. Sound of flies.
Quincy slowly approaches the edge of the hole. He peers
inside, squints - can't see anything but darkness.
He takes out his phone and turns the flashlight on - his face
suddenly contorts as he lets out a shocked, horrified SCREAMWe finally see the pile of corpses under the floorboards, one
by one, faces illuminated by Quincy's light, flies crawling
over them:
Mary, bloated and discolored, neck twisted at an unnatural
angleAdam, a clear view of his burned, disfigured face, dead brown
eyes, his scarred body stripped nakedKyle, one eye staring sightlessly, the other an empty socket,
caked with dry bloodAnd the newest addition, Brooke, blood still draining out of
her throat, sliced wide open from ear to earThen we return to Quincy's screaming face, his entire world
shattered in an instant-

73.
The point of a fire poker bursts through his wide open mouth,
squirting blood down his chin and knocking his front teeth
out - they scatter on the floor.
Quincy pitches forward, poker impaled through his head, and
lands on the corpse pile.
His phone falls onto the ground under the floor, flashlight
still casting pale, merciless light onto the dead from
beneath.
Pull back from the hole in the ground, the dead bodies in the
mass grave lit from beneath, light shining up from the hole
almost eerily into the dark room above.
CUT TO BLACK.
INT. CAR TRUNK - NIGHT
On Amelia, bound and gagged, lit by the red tail lights,
slowly regaining consciousness as she is jostled around in
the moving vehicle. We see her gag is made of bandages
wrapped tightly around her head.
The vehicle comes to a stop.
eyes wide with fear.

Amelia lays there, shivering,

The car door shuts and footsteps come around.


The trunk pops open and Amelia looks up at the figure
standing over her - she sees him, we do not.
A black gloved hand reaches down, close to her face. Another
hand removes the glove from the first one. The naked hand
slowly caresses Amelia's cheek. She tries to pull away from
it, and it recedes.
Amelia's eyes dart up and down, following what the hands do
next, and we hear a whimper from her gagged mouth.
A short, cruelly curved knife enters frame, held by the
ungloved hand, inching closer to Amelia's face.
She shuts her eyes and thrashes in a panic, trying
desperately to escape her bonds.
The still-gloved hand darts to Amelia's head and grabs her
hair. The hand with the blade quickly slices off a lock from
the end, and the hands leave frame.
Amelia stays shivering and breathing quickly as we hear
footsteps receding off screen. She opens her eyes and
watches in confusion as her tormentor simply leaves.

74.
Finally it's silent.

Amelia sits up in the trunk.

EXT. FOREST - DAWN


On Quincy's car, Amelia emerging from the trunk in the dim
bluish pre-sunrise light. We hear the first birds chirping
distantly.
Amelia rolls herself out of the trunk, landing on the dirt,
and squirms, struggling against the bonds.
She gets ahold of a sharp rock and saws at the rope around
her wrists, grimacing
She cuts herself loose and quickly sets about unbinding her
feet, ungagging her mouth.
Finally released, she collapses against the back of the car,
gasping in relief - then dread sets in again...
INT. QUINCY'S CAR - DAWN
Amelia sits in the driver's seat, looking in confusion at the
controls, her hands testing them uncertainly.
EXT. RURAL ROAD - MORNING
Quincy's car moves very slowly down the road, fishtailing a
bit, driven very unevenly.
Another car honks at it, then speeds past in the next lane.
On Amelia at the wheel, struggling to drive, nerves frayed.
A siren goes off and a cop car comes up behind her, lights
flashing. Amelia pulls over, the cop car stops behind her.
A PATROLMAN gets out of the cop car and approaches Amelia's
window. She fumbles with it before rolling it down.
The Patrolman looks down at her stone-faced behind dark
shades.
Amelia looks back up, resigned.
EXT. AMELIA'S HOUSE - MORNING
Ambulances and sheriff's department cop cars surround the
house, it's closed off with crime scene tape. Villagers are
gathered nearby, watching.

75.
LANG (V.O.)
Can you tell me where you were last
night?
A covered body, the first of many, is wheeled out the front
door.
Home.

AMELIA (V.O.)

Behind the house, the dirt patch is exhumed - Thomas' corpse


begins to emerge.
Gretchen pushes her way through the crowd of onlookers,
desperate, and starts to scream in despair. A cop holds her
back.
LANG (V.O.)
And what happened there?
INT. INTERROGATION ROOM - DAY
On Amelia, staring at Deputy Lang with a defeated look.
looks back at her curiously.

Lang

LATERA lawyer sits across from Amelia now, scribbling down notes.
AMELIA
After that, I went to another
bar... It was called the Gear
Shift.
LAWYER
Gear Shift, okay.
AMELIA
I met a man there. He took me to
his truck and we, uh, slept
together.
LAWYER
Alright... What was his name?
AMELIA
I don't remember.
The lawyer frowns, pauses in his note-taking, then writes a
quick note, one or two words.

76.
Jump to Amelia again, in the middle of recounting a later
part of her story.
AMELIA (CONTD)
...he grabbed me, around my neck...
I felt pressure around my neck...
The next thing I remember I woke
up, I was in the trunk of the car.
LAWYER
Was this Quincy Jackson's car?
AMELIA
Yes. The... the man, he drove me
out to... somewhere.
LAWYER
Could you locate where he drove you
to, if you were asked?
AMELIA
I think so. He opened the trunk
and took some of my hair...
LAWYER
Did you see him? Without the, uh,
bandages on his face?
Yes.

AMELIA

LAWYER
Can you describe him?
Amelia thinks for a beat.
AMELIA
He looked... I don't know. The
light, it was... He had short hair.
LAWYER
Any identifying features?
Amelia thinks again, slowly shakes her head. The lawyer
frowns and goes over his notes, writing silently.
Amelia watches him.
AMELIA
Do you... believe me?
LAWYER
What's that?

77.
AMELIA
That's what happened.
me, right?

You believe

LAWYER
You're going for a not-guilty plea?
AMELIA
Yes. I'm not guilty.
happened.
Alright.

That is what

LAWYER

AMELIA
You'll tell them in court, right?
How this happened?
The lawyer frowns, looking through his notes again.
LAWYER
Could you go over what happened
earlier in the night? When Thomas
Becker disappeared?
Amelia looks downwards, away from the lawyer.
INT. JAIL - NIGHT
On Amelia's cuffed hands, as an officer leads her to the jail
cell in an orange jumpsuit.
She is led into the cell, her hands are uncuffed.
officer shuts the cell door, locks it and exits.

Then the

Amelia sits in crushing silence in the corner of her stark


grey cell.
Extremely close on her - no sign of shock or sadness on her
face now, just despairing apathy.
FADE TO BLACK.
INT. AIRPLANE CABIN - DAY
On a seatbelt light switching off with a ding.
The plane has landed - passengers unload luggage from
overhead compartments.
Tilt/pan to one passenger in the aisle seat, a balding, 40something man named PHIL, eye-mask on, snoring.

78.
An OLD WOMAN sitting in the window seat nudges his shoulder.
OLD WOMAN
Sir, excuse me? Sir?
Phil snorts awake, removes his eye mask, squinting and
blinking.
Hm?

PHIL
What is it?

OLD WOMAN
We landed...
Oh!

PHIL
Gosh, I'm sorry...

Phil looks around and we see his pale blue eyes.


He looks at the old woman with a goofy laugh.
PHIL (CONTD)
Boy, I really slept through it,
huh?
The old woman smiles back at him as he unbuckles his seat
belt and climbs out of his seat.
INT. AIRPORT - DAY
We follow Phil, walking at an easy pace, his posture a bit
slouched and drawn inward. He rolls a single, red suitcase
behind him.
EXT. AIRPORT DROPOFF LANE - DAY
Phil stands just outside the airport entrance with his red
suitcase, looking around with a mild expression.
A woman and her young child pass by, the child veering
towards Phil. He steps out of the way and smiles at the
woman.
A shuttle pulls up in front of him and he climbs onboard.
EXT. PHIL'S HOUSE - DAY
An Uber car pulls up in front of a nice, modest suburban home
- mild blue color, trimmed lawn with a garden, surrounded by
similar houses.

79.
Phil gets out of the Uber and unloads his suitcase from the
back. He smiles to the driver.
PHIL
Thank you kindly.
right?
Yes sir.

It's Amir,

AMIR (DRIVER)

PHIL
I'll be sure to give you a five
star review.
Phil gives Amir a thumbs up.

Amir smiles back.

AMIR
Thank you sir.
Amir pulls away and Phil waves to him.
INT. PHIL'S HOUSE (FOYER) - DAY
The front door unlocks and opens. Phil steps in, rolling his
suitcase behind him. She shuts the door, stands for a beat,
thenPHIL
Honey, I'm home!
INT. PHIL'S HOUSE (DINING ROOM) - NIGHT
Phil sits at the head of the dinner table, across from his
wife CHRISTINE, a pleasant, comfortable woman in her 40s. On
either side are their kids, NICK, 13, and STEPHANIE, 8.
On everybody's plate is casserole, mashed potatoes and green
beans.
PHIL
The casserole smells great tonight,
hon.
CHRISTINE
I'm trying something new, a secret
ingredient.
PHIL
I bet I can guess what it is. What
do you think, Nick? Bet your dad
can figure it out?

80.

Sure...

NICK

We see Nick holding his phone under the table, sending a


quick text.
CHRISTINE
Nick, no phones at the dinner
table.
NICK
I gotta send one more text really
quick...
Nick.

PHIL

Nick looks up at Phil, who gives him a raised eyebrow, an


affable "come on" look.
Nick sighs, exhasperated, and turns his phone off.
CHRISTINE
Much better.
(to Phil)
So, how was Utah? See any fun
sights?
PHIL
Plenty of Mormons, that's for sure.
Stephanie sticks her tongue out at her plate.
STEPHANIE
I hate green beans.
PHIL
Actually, you know what they've got
in Utah? The biggest rope swing in
the world.
Really?

CHRISTINE
Isn't that wild!

PHIL
Funny, huh?
Christine nods. They turn their attention to the meal,
eating in silence for a beat...

81.
INT. PHIL'S HOUSE (MASTER BEDROOM) - NIGHT
Phil and Christine lay side by side on their bed. Christine
rolled over, snoring. Phil is awake, on his back, staring up
at the ceiling.
He sits up and slides off the bed, careful not to disturb his
slumbering wife.
He kneels next to the closet and pulls out his red suitcase,
slowly unzips the outer pocket...
INT. PHIL'S HOUSE (BATHROOM) - NIGHT
Phil walks into the bathroom in t-shirt and pajama pants,
flipping the light on, and locks the door shut behind him.
He sets a small brown scrapbook on the cupboard, then twists
his wedding ring on his finger, slowly pulls it off, sets it
down and flexes his hand. He strips his night clothes off
and stands naked in front of the mirror. His body is
completely hairless, either shaved or waxed - pubes too.
As Phil stands naked, his posture changes. He loses his
slouch and pushes his shoulders out, makes himself grow a
couple inches taller. It's not forced. In fact, it seems to
come more naturally than his meek, hunched posture up to this
point.
Phil stares into the mirror with an inscrutable, reptilian
expression - he tilts his head slightly, examining his
reflection.
He places his hand on the cover of the scrapbook and opens
it.
Inside, we see a lock of hair pressed into the page, with the
name "CLAIRE" scribbled underneath.
He flips to the next page - another pressed lock of hair,
labeled "RITA".
Continues flipping through, past each page with its own
individual lock and assigned woman's name.
He comes to
for a beat,
page to the
way through

a page midway through - "AMELIA". Stops there


brushes the hair with his finger, then turns that
next one which is blank. About a third of the
the scrapbook, with plenty of pages left to fill.

Phil's face splits into an unhinged, manic, toothy grin.


CUT TO BLACK.

82.
THE END.

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