Executive Producers: John Griffin Jeff Pinkner Scott Rosenberg André Nemec Josh Appelbaum
"Long Day's Journey Into Night" Episode 101
Written by
John Griffin
Epix Epix Studios MGM International Midnight Radio © 2020 Real Fiction Productions, LLC
EXT. TOWN STREET - EARLY EVENING A small, quiet town in middle America. At first glance, it doesn't seem much different from any other small town you might encounter on a trip across the heartland. The QUAINT, PASTORAL HOMES lining the quaint pastoral street are all identical, though each is a different color. All the colors are pale and faded. A number of cars are parked along the side of the street, yet all the driveways are empty. There's no one outside. ANGLE ON : A WINDOW SHUTTER BEING CLOSED FROM THE INSIDE, BEHIND THE GLASS. All along the street, the shutters have been closed from the inside. On all the windows, in all the houses. On closer inspection, ALL THE CARS HAVE FLAT TIRES. EXT. TOWN POOL - EARLY EVENING An old, wrecked PICK-UP TRUCK on its side in a large, empty, resort-style pool; the type you'd find at a mid-range hotel almost anywhere in the country. Thing is - there's no hotel. The pool seems randomly placed amongst the homes on a residential street. The tires on the truck are blown out. Up above, the streetlights come on; the soft electric hum audible in the early evening quiet. EXT. CATTLE PEN, EDGE OF TOWN - EARLY EVENING The makeshift fence around the pen is made out of sturdy tree branches. Crude, but serviceable. The cattle move about the pen, restless. EXT. EDGE OF THE FOREST - EARLY EVENING The road out of town leads into a dense forest; TALL TREES like ancient watchmen overlooking the town. ANGLE ON : THE TREE LEAVES RUSTLING IN THE EVENING WIND EXT. TOWN - EARLY EVENING SHERIFF BOYD STEVENS (52), grizzled, tough as nails, walks down one of the quiet, empty streets, his eyes scanning the homes around him.
2. His uniform is well-kept, though a bit frayed and worn. It also looks more like a state trooper's uniform than that of a small town sheriff. The wind begins to howl. Boyd stops, refusing the urge to quicken his pace. He takes a deep breath, checks the sun hanging low in the sky. He continues down the street. EXT. FRANK AND LAUREN'S BACKYARD - EARLY EVENING MEAGAN PRATT (6), adorable, swings on a creaky, homemade backyard swing. LAUREN PRATT (late 20s) comes into the yard. LAUREN Time to come in, sweetie. MEAGAN Just five more minutes. Please? LAUREN (kneels down in front of her) It's gonna be dark soon. You don't wanna be out here when it gets dark, do you? (Meagan emphatically shakes her head) Alright, well, come on in then. Lauren takes her by the hand and leads her to the house. EXT. TOWN - EARLY EVENING Boyd continues down the quiet street, passing the TOWN DINER. It's your basic small town diner, yet curiously, like the pool, it's on a residential street among the houses. The OWNER waves to Boyd as he pulls the shutters closed behind the plate glass doors. Boyd nods and continues on. INT. TOWN CLINIC, ANH DUNG'S ROOM - EARLY EVENING ANGLE ON : A CHESS BOARD. A MAN'S HAND MOVES A PAWN ONE SPOT FORWARD. ANH DUNG (O.S.) (in Vietnamese) Ha! Bay gio anh dang gap rac roi . DEPUTY KENNY NGUYEN (25, Vietnamese) plays chess with his father, ANH DUNG NGUYEN (early 60s), a once proud, strong man suffering from dementia. Kenny's uniform is different than Boyd's, more like a crossing guard's uniform. It's also newer, less worn.
3. Anh Dung takes his ROOK and moves it like a BISHOP diagonally across the board. ANH DUNG (CONT'D) (broken English) That checkmate. Kenny smiles a bittersweet smile, playing along with the blatantly incorrect move. KENNY Yup, you got me. Still the best there is. The door opens and KRISTI MILLER (30), the resident medic, enters the room accompanied by a Nurse. KRISTI (smiles) Okay, Mr. Nguyen, time to go down to the basement. ANH DUNG No. We play. KENNY It's okay dad, we'll just -- Anh Dung SLAMS HIS FIST down on the board, sending pieces flying. ANH DUNG Dang choi!!! KENNY Bo! The la du roi. Anh Dung hears the tone in Kenny's voice, sees the pieces all over the floor. He suddenly looks very feeble and confused. ANH DUNG I - sorry -- Kristi crouches down beside him. KRISTI It's okay. (motions to the Nurse)
Gina's gonna take you down to the basement and you can come back up in the morning when it's light out again. Just like we talked about, remember?
Kenny begins to translate -
4.
KENNY Ban co the quay lai khi - Anh Dung waves Kenny off, embarrassed. KRISTI
I'll come down and see if we can make it a little more - what's the word -
Kenny is about to help.
KRISTI (CONT'D) No, I remember, hold on - thoai mai . Anh Dung smiles, puts his hand on Kristi's cheek. Appreciative of the effort. ANH DUNG You are good girl. GINA (40s), the Nurse, takes Anh Dung's arm and begins helping him from his chair. GINA You know, I'm not too shabby at chess. We can play a whole tournament if you like. Kenny watches his dad shuffle out, lead by the arm like a helpless child. INT. TOWN CLINIC, FOYER - EARLY EVENING Kristi walks Kenny to the front door, giving us a better look at the inside of the clinic. There's not much in the way of medical equipment. It's more a "make do with what you've got" small town clinic. KENNY You have a really good way with him. Thank you. KRISTI We all look after each other, remember? (smiles)
You should tell your mom she's more than welcome to stay with him at night if she wants. KENNY Yeah, she's still not really - handling it very well. (MORE)
5.
KENNY (CONT'D) She just keeps saying he'll get better. Denial is a big part of our family tree.
There's a sweet, awkward chemistry here. They both linger at the door, in the place where a goodnight kiss should be. KENNY (CONT'D) Guess I'll see you tomorrow. KRISTI (smiles) See you tomorrow, deputy. Get home quick, okay? KENNY Yes, ma'am. Kenny leaves. Kristi closes the door behind him, taking a moment to check the ORNATE TALISMAN that's nailed to the door, making sure it's secure - a rote gesture, something as second nature as making sure the door is locked. EXT. TOWN - EARLY EVENING Boyd stands at the end of the street, staring out at a RUNDOWN THREE STORY ESTATE on a hill just beyond the edge of town. This is THE COLONY HOUSE. Boyd takes a set of binoculars from his belt for a closer look. POV OF THE BINOCULARS as we scan the Colony House. A handful of BOHEMIAN TYPES retreat inside, closing the doors behind them. All the windows are shuttered. The house is secure. The binoculars linger on one particular window a moment longer than the rest. Satisfied, Boyd lowers the binoculars. He looks tired. A little beaten. EXT. SHERIFF'S STATION - EARLY EVENING Deputy Kenny waits outside the station - also situated between two residential homes - nervously checking the sun's location in the sky. He sees Boyd approaching, breathes a sigh of relief. BOYD We all clear? KENNY Looks like.
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BOYD Alright, go on inside. I'll see you in the morning. KENNY Cutting it kinda close, aren't you Sheriff? BOYD Looks like. Kenny watches Boyd continue down the street, then turns and heads inside the station. INT. SHERIFF'S STATION - CONTINUOUS Kenny enters, closing the door behind him. Just like Kristi, he checks the ORNATE TALISMAN that's nailed to the door to make sure it's secure. He settles in, takes off his coat, and opens a side door into a room that's been CONVERTED INTO AN APARTMENT. Kenny's mother, THAO NGUYEN (50s), is at the stove cooking dinner. They live at the Sheriff's station. EXT. TOWN BAR - SUNSET A squat wooden structure near the edge of town, away from the houses. Four walls and a roof. No windows. It's just a big wooden shack. The sky is getting darker. The sun has almost set. INT. TOWN BAR - SUNSET The inside is a ramshackle affair. A long plank serves as a makeshift bar top. Tree stumps serve as stools. A patchwork tangle of tubes and bottles to distill whatever home-brewed poison the bar serves. BARTENDER (O.S.) Frank! Get the fuck up. FRANK PRATT (early 40s) is passed out on the floor. The BARTENDER (late 30s), also drunk, is getting ready to lock the doors. BARTENDER (CONT'D) Come on Frank, gotta get home. It's getting dark out. Frank! (sighs) Fuck it. Lauren's gonna kill you. He slides a crowbar into the handles of the HEAVY WOODEN DOORS, locking both he and Frank inside the bar.
7. Even with the crowbar in place, the Bartender still checks the TALISMAN to make sure it's secure. INT. FRANK AND LAUREN'S HOUSE - EARLY EVENING Lauren stands at the front door, peering out as the last gasp of sunlight fades. There's a bitterness in her eyes. MEAGAN (O.S.) Is daddy coming home? Lauren turns. Meagan is ready for bed, holding a ragged teddy bear in her arms. LAUREN (lying) Any second now. MEAGAN He's supposed to be home before it gets dark. He promised. LAUREN Well, sometimes your dad, he just gets a little forgetful, that's all. You go start saying your prayers. I'll be there in a minute. MEAGAN Ok. Meagan makes her way towards the back of the house. LAUREN (under her breath) Goddammit, Frank. Lauren checks the TALISMAN on the door. EXT. TOWN - NIGHT Night has fallen. The town is silent. ANGLE ON : THE WOODS. THE DEEP, DARK, FOREBODING WOODS. EXT. CATTLE PEN - NIGHT The cattle grow increasingly restless. We hear rustling footsteps. MULTIPLE FIGURES pass by the pen OS. EXT. BOYD'S HOUSE - NIGHT Boyd is at his front door. Something rustles in the dark nearby. Boyd turns, a steely look in his eyes. Silence. He steps into the house and shuts the door.
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INT. MEAGAN'S BEDROOM - NIGHT Meagan kneels at her bed, saying her prayers. MEAGAN Now I law me down to sleep. I pray the lord my soul to keep. INT. FRANK AND LAUREN'S HOUSE - NIGHT Lauren is checking to make sure all the doors are locked, all the windows shuttered. MEAGAN (O.S.) If I die before I wake -- INT. MEAGAN'S BEDROOM - NIGHT Back to Meagan saying her prayers - MEAGAN I pray the Lord my soul to -- A LOUD BANG from elsewhere in the house. A heavy hand against a door. Meagan looks up. INT. FRANK AND LAUREN'S HOUSE - NIGHT Lauren stares at the front door, still, unnerved, yet not surprised. Though it chills her to the bone, it almost seems as though she was expecting it. BANG! Again the heavy hand falls against the door. Lauren trembles, but stands her ground. The talisman is secure. INT. MEAGAN'S BEDROOM - NIGHT Meagan gets up, heads to the bedroom door when - TAP TAP TAP She stops. Looks at the shuttered bedroom window. Something with a long fingernail just tapped on the other side. TAP TAP TAP Fear wells up inside Meagan as -- SOOTHING WHISPERS fill the air, or are they in her head? Meagan's fear begins to subside as she stares at the shutters, entranced. MEAGAN (answering the whispers) But I'm not supposed to. The whispers continue. Meagan moves to the window.
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MEAGAN (CONT'D)
Do you promise? Reassured by the whispers, Meagan undoes the latch on the shutters and - pauses a moment, uncertain. But the whispers continue. MEAGAN (CONT'D) Okay. She opens the shutters to reveal - A KIND LOOKING OLD WOMAN, staring in the window. Her clothes and hair are matted, filthy, covered in dirt. Her lips are smiling, but her eyes seem vacant. WHISPER (O.S.) Let me in. The Old Woman's lips don't move. Meagan stares at her, entranced by the DISEMBODIED WHISPER, her hand slowly reaching for the window latch when - LAUREN (O.S.) Meagan -- Lauren stands in the doorway, speaking very slowly, trying to control the panic in her voice at the sight of Meagan's hand on the window latch. LAUREN (CONT'D) Sweetie, you know the rules. You know what they'll do. Lauren starts moving very slowly towards her daughter, the smile on the Old Woman's face growing warmer, kinder, the vacant eyes focused on Meagan. WHISPER (O.S.) Let me in. LAUREN Baby, please, just -- Meagan's hand starts to turn the latch. LAUREN (CONT'D) Meagan, no! But it's too late! The latch springs open! We barely catch a glimpse of the Kind Old Woman's face as it MORPHS into something HORRIFYING AND DEMONIC! It lunges at the window, crashing through the glass as we -- CUT TO BLACK.
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We hear the terrified cries of Mother and Daughter. TITLE CARD: FROM CREDITS EXT. MOTEL 6, PARKING LOT - MORNING JIM MATTHEWS (mid-30s) is carrying suitcases to the family mini-van in the parking lot. He seems conflicted, maybe even a little bitter. SUPER: Denver, Colorado JIM (calling up to the room) Kids, let's go, I wanna be on the road in ten minutes. INT. MOTEL ROOM - MORNING ANGLE ON : 2 FINGER PUPPETS. THE KIND YOU'D FIND IN THE 99 CENTS BIN AT A ROADSIDE REST STOP. BIG EYES, GANGLY ARMS, MUPPET-LOOKING THINGS. The puppets are on the fingers of a teenage girl as she acts out a scenario, providing the voices for "Norman" and "Harold" as Norman the finger puppet lay at death's door. The girl really sells the drama. We remain tight on the puppets. HAROLD You saved us, Norman. The Evil Beast is vanquished. Everyone is safe because of you. NORMAN I'm - glad. HAROLD You're going to be okay. Just hold
on a little longer. The secret fairies are on their way back from the Lake of Tears. They're going to make you better again. NORMAN (coughs)
The monster's claws went too deep. Tell my friends that I will miss them. Tell my parents that I said -- goodbye. The finger propping up Norman relaxes, evoking his "death."
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HAROLD Norman? Norman, no, please! You're my best friend, Norman, please don't leave. (weeps) Please.
Harold drapes his finger puppet body over Norman's, the Girl's finger twitching back and forth, evoking Harold's "sobs." A wider angle reveals JULIE MATTHEWS (16), the girl voicing the puppets. Like most kids her age she's incredibly temperamental, caught in a whirlwind of hormonal changes and self doubt, which she takes out on her younger brother, ETHAN MATTHEWS (9), a gentle spirit, far more sensitive than other boys his age. He watches the scene play out, holding his
breath, waiting for the magical happy ending. Julie sighs, tosses the puppets on the bed. JULIE Well, we should get going. ETHAN What? No, but the fairies are coming
from the lake of tears, right? They're gonna make him better. JULIE (shakes her head) Sorry buddy, Norman's dead. And once you're dead you're gone. Fairies can't do a fuckin' thing to help you. She pats the puppets gently, taking a great deal of sadistic sisterly pleasure in Ethan's genuine panic. JULIE (CONT'D) (gets up to leave) Okay. ETHAN Bring him back, you have to bring him back! EXT. MOTEL PARKING LOT - MORNING Jim finishes packing up the car as TABITHA MATTHEWS (mid- 30s) walks over from the lobby. She's got a conflicted look similar to Jim's. It becomes pretty clear pretty quick that these two are having problems in their marriage. JIM All set?
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TABITHA
Yup.
JIM What did they say about the room? TABITHA (sighs) There's no manager on Sundays, so they said to call the corporate office.
Jim sighs, frustrated.
JIM This is bullshit. He starts walking towards the lobby. TABITHA Where are you going? JIM To talk to the clerk. TABITHA (annoyed)
What is it you think he's going to tell you he didn't tell me?
(catches herself, changes her tone)
Look, can we just -- get on the road? The sooner we get there the better. Right? Jim realizes he's overreacting, reigns it in. JIM Yeah, sorry, I just -- sorry. ETHAN (O.S.) You have to change it! Jim and Tabitha turn to see a teary-eyed Ethan trailing behind an innocent looking Julie. JULIE I can't change the ending because the story's over. I'm sorry. Norman's dead. (mock sympathy) Sometimes life is hard. Julie gets in the car.
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TABITHA
(to Ethan) What happened? Ethan holds up Norman the finger puppet. ETHAN (teary-eyed)
Julie killed Norman. He died at the end of the story. JIM (confused) What? (annoyed) Julie, get out of the car. TABITHA (thinking on her feet) Well, just - tell another story. One that brings Norman back to life. Ethan brightens for a moment. Julie rolls down the window -- JULIE It won't matter. He'll still be dead. My story came first. (off Tabitha's "not helping" look) What? You said you wanted us to bond, right? He's too sensitive. Julie rolls up the window and puts her headphones on. Tabitha looks at Jim, he's at a total loss. Tabitha crouches down in front of Ethan. TABITHA Okay, how did Norman die? ETHAN The monsters killed him. TABITHA Oh. Well that's good news then. ETHAN Why? TABITHA
Because there's no such thing as monsters. And if there's no such thing as monsters then that means Norman's still alive, doesn't it?
14. Ethan processes this information, his young brow furrowed. ETHAN Really? TABITHA Really. His face lights up with a smile. INT. MINI-VAN - MORNING Ethan climbs into the mini-van with his spirits renewed. ETHAN (to Julie) Guess what? Norman's still alive. JULIE (shrugs) If you say so. EXT. MOTEL PARKING LOT - MORNING Tabitha stands back up, straightens herself out. TABITHA Okay, we should definitely get back on the road before they -- (sees Jim looking at her, smiling) What? JIM Nice work, Chief. TABITHA (smiles) Why thank you, Captain. It's a nice moment. Beneath all their problems, there's still a lot of love there. They get into the car and off the car doors closing we - CUT TO: INT. STONE LODGE/CHURCH - MORNING FATHER KELLY (60s), stout, strong, and compassionate, kneels in prayer. We're inside an old stone lodge that looks like it was built stone by stone, a long, long time ago. The inside is primitive, drafty, and has been converted to serve as a church.
15. Makeshift pews that have been assembled from found wood. A pulpit at the front built from the same. Behind the pulpit is a large cross, fashioned from sturdy branches. Father Kelly finishes his prayer with the sign of the cross and gets to his feet. He walks to the heavy wooden doors at the front, pushing them open, revealing - The houses of the town across the street. Like the diner and the pool, the lodge/church is on a residential street. EXT. STONE LODGE/CHURCH - CONTINUOUS Father Kelly steps out into the morning sun and looks down the street with a heavy heart, at the small crowd of townspeople gathering around the Pratt house. INT. MEAGAN'S BEDROOM - MORNING ANGLE ON : THE TALISMAN ON THE FLOOR. Sheriff Boyd picks it up. Turns it over in his hand. It's the talisman we last saw nailed to the front door. Boyd grits his teeth as the rage boiling up inside flashes across his face. He puts the talisman in his pocket. The room is in ruins. There is blood everywhere. Deputy Kenny crouches in the midst of the carnage, staring at the scene in a grief-stricken daze. KENNY (numb) I kept telling her. It wasn't safe for kids upstairs at night. She said they were being careful, that Meagan knew the rules. (gets emotional) Jesus Christ. Kenny covers his mouth with his hand, tears well in his eyes. Boyd grabs him roughly by the collar. BOYD Hey, knock it off. Now is not the time. You understand me? KENNY (choking it back) Yes sir. BOYD
Those people out there need you to be strong. I need you to be strong.
16. Kenny nods, gathering himself. Boyd lets him go. His eyes take in the room, the rage boiling dangerously close to the surface. BOYD (CONT'D) Where's Frank? INT. FRANK AND LAUREN'S BEDROOM - MORNING Frank sits on the bed, his head in his hands. Boyd comes in, followed by Kenny. Frank looks up, starts to explain -- FRANK I was - it got late. I fell asleep - WHAM! Boyd cracks Frank across the face with his pistol. Frank tumbles to the floor. Boyd hits him again. BOYD Motherfucker. What did I tell you, huh? What did I tell you? FRANK Please, it wasn't my fault. Boyd grabs Frank by the hair AND DRAGS HIM FROM THE ROOM. INT. HALLWAY - CONTINUOUS Boyd drags Frank towards Meagan's bedroom. FRANK No, please! I don't, no, I don't wanna go in there! INT. MEAGAN'S BEDROOM - CONTINUOS Boyd drags Frank into the room where the mangled corpses still lay. Frank manages to scramble to his feet, tries to get away. Boyd gets him against the wall and WHAP! WHAP! WHAP! Hits him in the face with three quick, harsh jabs and shoves him down on his knees, puts his face right up against the mangled corpse of his wife. Half of her face is missing. BOYD A man protects his family, Frank. Look at what you did. FRANK No, please --
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BOYD OPEN YOUR EYES AND LOOK AT WHAT YOU FUCKIN' DID! LOOK AT THEM! Frank just keeps shaking his head. His eyes closed. Boyd shoves him to the ground, disgusted. BOYD (CONT'D) I oughta break your legs and leave you in the street tonight. (to Kenny) Lock him up. I'll figure out what to do with him later. Kenny nods, does his best to gather the sobbing, babbling mess that used to be Frank from the floor. Alone in the room, Boyd takes in the grisly scene with a heavy heart. FATHER KELLY (O.S.) Sheriff? Boyd turns to see Father Kelly standing in the doorway. FATHER KELLY (CONT'D) If I may? BOYD They're all yours, father. Boyd walks out of the room. EXT. HOUSE - MORNING Boyd is addressing the gathering crowd of townspeople. BOYD
You all know how this works. If you have children then the only safe place for them at night is the basement. You have got to keep them away from the windows and doors. These things are smart. You can't make exceptions. It may not be a perfect system but it works. We've been doing alright here. Let's everybody get to work, keep it together, there'll be a service for Lauren and Meagan later in the afternoon.
EXT. COLORADO HIGHWAY - AFTERNOON The Matthews family mini-van coasts down the two lane highway.
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INT. MINI-VAN - AFTERNOON Ethan and Julie each wear headphones, watching a movie on the built in DVD player. Jim stares at the road, Tabitha stares out the passenger window. You get the feeling they've been driving in silence for a while. Tabitha picks up her phone. Sighs. JIM Whatsamatter? TABITHA I'm not getting any service. JIM We're kinda in the middle of nowhere. TABITHA It's supposed to be a NATIONWIDE network. She puts her phone away, frustrated. JIM Hey, you remember the first time we made this drive? A smile creeps into the corners of Tabitha's mouth. JIM (CONT'D) As I recall, I was driving my '83
Volvo, which had metal on metal posing as brakes and a passenger side door that wouldn't open. TABITHA That car was a deathtrap. JIM That car was a champ. TABITHA God, I was terrified my parents were gonna hate you. JIM They didn't though. TABITHA No, they didn't.
Tabitha's smile becomes bittersweet.
19.
TABITHA (CONT'D) You know sometimes - I remember what we were like when we weren't like this. What we were like before. JIM Hey. We're gonna be okay. We got the counseling, we got the - we can do this. We just - we have to do better. I have to do better. But we're gonna be okay.
She wants to believe that. She squeezes his hand and turns back to the passenger window. Jim watches her a moment, turns back to the road and -- JIM (CONT'D) (startled) Shit. He hits the brakes. The car comes to an abrupt stop. TABITHA Jesus -- JULIE (re: the abrupt stop) What the hell, dad? Tabitha and Jim stare out the windshield in mild disbelief, not exactly sure what to do next. JULIE (CONT'D) Wow. Jim gets out of the car. EXT. HIGHWAY - AFTERNOON A wide view reveals a MASSIVE TREE has fallen across the highway, completely blocking their passage. Jim is scratching his head, staring at the tree at a complete loss. Tabitha gets out of the car and joins him. TABITHA Why is there a tree in the middle of the road? JIM Musta got knocked down by a storm or something. (whistles) That is a very big tree.
20.
TABITHA
So what do we do? JIM
Well, there was an exit a couple miles back. We'll just have to get off the highway and circle around. Ethan has joined them, lending his "expertise" to the mix. ETHAN Maybe we can push it with the van. JIM (smiles) I don't think so, pal. Come on, let's -- Suddenly a LARGE BACK CROW swoops down, just missing Jim's head! JIM (CONT'D) Jesus Christ! It comes to a perch on the tree. It looks at them and emits a SHRILL CAW. Jim looks at the brazen crow. JIM (CONT'D) Well you're a bold little shit. TABITHA (re: his language) Jim! JIM (exasperated) Did you see what just -- A SECOND CROW lands on the tree. It also looks in their direction and begins to caw. JIM (CONT'D) And now he's got a friend. TABITHA Okay, let's -- Suddenly DOZENS OF CROWS burst from the trees on both sides of the highway, swooping down to perch on the fallen tree and join the shrieking chorus. The scene quickly becomes surreal as they just keep coming with greater and greater frequency, getting louder and louder.
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ETHAN
(wide-eyed) What are they doing? TABITHA Can we just go please? JIM Yeah, let's uh, yeah.
Jim looks back as they head to the minivan. The murder of crows continues to grow. Staring after the family. Cawing. And cawing. And cawing. The shrieking chorus building to a crescendo as we -- CUT TO: EXT. STREET, EDGE OF TOWN, COLONY HOUSE - AFTERNOON Sheriff Boyd stands in the quiet afternoon breeze, looking up the hill at The Colony House, the rundown three-story estate at the edge of town. We see people doing various activities on the grounds surrounding the house - gardening, reading, meditating, etc. Boyd looks at the house, conflicted. EXT. COLONY HOUSE - AFTERNOON DONNA (53), stout, earthy, no nonsense, is on her hands and knees in the garden, digging in the soil with rudimentary, homemade tools. She's completely at peace - until she looks up and sees Boyd approaching. Donna stands, her demeanor going ice cold. Boyd walks towards her, stops about ten feet away. There's no love lost here. BOYD (nods) Donna. DONNA We got an arrangement, Sheriff. You don't come here. BOYD I came to see my son. (hates having to add this) Please. She stares at him with cold eyes. Weighing her options. Then - DONNA Come on in then.
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He follows her towards the house. INT. COLONY HOUSE - AFTERNOON
Donna leads Boyd inside, revealing an interior that is equal parts ARTISTS' RETREAT and HOTHOUSE OPIUM DEN. The rundown rooms are spacious, thanks to the vaulted ceilings. A SCULPTOR sits in the corner, trying his best to work with shoddy materials. A YOUNG COUPLE fuck on the couch. Various granola types come and go, either ignoring or not noticing Boyd's presence. Donna yells at the young couple on the couch. DONNA Hey! What did I tell you two? Keep it in the bedroom. This isn't a goddamn cathouse. The Couple retreats from the room, mumbling their apologies, as Donna whispers to a MAN standing at the bottom of the stairs. He's dressed like a stoner but posted like a sentry. The Man nods, Donna turns back to Boyd. DONNA (CONT'D) Follow me. INT. ELLIS' STUDIO - MORNING We hear the SCRATCHING SOUNDS of charcoal on canvas. FATIMA HASSAN (19, Iranian), earthy, intelligent, a stunning natural beauty, stands before the third story window in the high-ceilinged, rundown room, nude except for a thin veil that hangs loose off her shoulders, bathed in the light of the morning sun. The scratching of the charcoal stops. Fatima turns. FATIMA Why did you stop? ELLIS STEVENS (21), a handsome philosopher with the shredded body of an underwear model is across the room, working at a beautiful and haunting charcoal sketch of Fatima. He's staring at her now in open adoration, ELLIS You're like a poem, you know that? You make everything around you beautiful. Even this place. The words are like a warm embrace. Her eyes move to the doorway behind Ellis and her face lights up.
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FATIMA Sheriff Stevens! It's so nice to see you. Ellis turns to see Boyd standing in the doorway, blushing at Fatima's nudity. BOYD (averting his eyes) Hello, Fatima. Fatima sees the red in his cheeks, finds his discomfort endearing. She smiles a smile that could start a war. FATIMA Sorry, I guess I should -- (kisses Ellis on the cheek) Be good. (as she glides from the room) Boyd smiles. Shakes his head. As distasteful as he finds the rest of Colony House, he has a fatherly affection for Fatima. BOYD She doesn't change, does she? ELLIS What are you doing here? The smile fades from Boyd's face. There's a bond here that's been broken beyond repair. BOYD We lost a couple people last night. ELLIS Did "we?" And how exactly did "we" lose them? BOYD Lauren Pratt and her little girl Meagan. Lauren was the lady used to -- ELLIS (cutting him off) I know who Lauren is. BOYD Might be nice if you came to the service. Paid your respects. It was nice seeing you, Sheriff. You should come by more often!
24. Ellis takes the news hard but he refuses to show it. He simply nods his head, an acknowledgment that he'll be at the service. BOYD (CONT'D) You alright? Taking care of yourself? ELLIS Look, I'm a little busy, so if that's all? BOYD Yeah, that's all. I'll show myself out. Ellis watches him leave, his eyes betraying the emotion he refuses to show. INT. HALLWAY, COLONY HOUSE - CONTINUOUS Boyd steps out into the hallway. Fatima sits on the steps wearing a robe. She looks up with hopeful eyes. BOYD He's all yours sweetie. Take care of him, okay? She grabs his hand. Goes up on her toes and kisses his cheek. Her heart breaks as she watches Boyd walk down the stairs, looking older than his years. INT. CAR - LATE AFTERNOON Jim is driving through the winding backroads. No sign of civilization anywhere. Both he and Tabitha are getting frustrated. TABITHA Maybe we missed the sign. JIM We didn't miss the sign. ETHAN Dad! Dad! Howcome those crows were doing that? JIM (focused on the road) I don't know buddy, sometimes birds do funny things.
25.
TABITHA Are you sure we're even driving in the right direction? (off his look)
Sorry, it's just - we're supposed to be parallel to the highway. I can't even see it anymore. Jim starts pressing buttons on the console. Sighs in frustration. JIM The GPS is frozen. TABITHA Well maybe if we reboot it -- JIM This is ridiculous. At some point it's gotta -- what the hell is this? Jim stares out the windshield in confusion - the backwoods have begun to clear as they arrive at the entrance to what looks like a small town. INT. STONE LODGE/CHURCH - LATE AFTERNOON Kenny makes his way down the row of makeshift pews towards a small room in the back. INT. CHURCH, BACKROOM - LATE AFTERNOON Father Kelly sits at a table deep in thought; a sheet of blank notebook paper laid out before him, beside a stack of paper filled with writing. An old fashioned quill in his hand and a pot of ink on the table. His lips are moving, trying to remember something, a phrasing - his eyes open. He's got it. He begins to write. A knock at the open doorway. Deputy Kenny comes in. KENNY Father Kelly? Sheriff told me to let you know they're ready. FATHER KELLY Thank you, Kenny. KENNY (re: the parchment) How's it coming? FATHER KELLY (smiles) Line by line and page by page.
26.
KENNY It's pretty crazy you can remember the whole thing like that. I mean word for word? That's impressive. Father Kelly smiles and finishes the passage he was writing. Puts down the quill. Kenny is lingering. KENNY (CONT'D) Can I ask you something, Father? FATHER KELLY Of course. KENNY You think we're being punished? I mean, you think that's why we're here? Father Kelly sits on the edge of the table, contemplates the question. FATHER KELLY
I did at first. When I first came here I thought things - felt things - that would have been unimaginable to me before. KENNY What changed? FATHER KELLY (smiles) I found my faith. KENNY You - weren't a priest before? FATHER KELLY Oh no, I was. I said the words and I read the scriptures. I had a lovely congregation and took great joy in bringing the Lord into their hearts and lives. I thought I knew what faith really was. But here - to know that God has a plan, no matter how impossible it may be to understand, to find peace in that truth even on a day like today - now I understand what faith truly means. And for that, Kenny, strange as it may seem, I'm grateful. (MORE)
27.
FATHER KELLY (CONT'D)
(smiles) "Trust in the Lord with all thine heart; and lean not unto thine own understanding." KENNY Which part is that? Father Kelly holds up the piece of parchment he'd just been writing on. FATHER KELLY Proverbs, chapter three, verse five. Hot off the presses. (puts a reassuring hand on Kenny's shoulder) Let's not keep everybody waiting huh? Kenny nods. EXT. TOWN - LATE AFTERNOON Jim drives the car into the town. There's no one around. The family stares out the windows at the faded, identical, different colored houses. INT. CAR - LATE AFTERNOON Jim pulls to a stop in front of the town diner, mystified by its placement on the residential street. JULIE What the fuck? TABITHA Julie! JULIE What? There's - She looks back out at the diner, trailing off. Tabitha can't exactly argue with the sentiment. It's a little weird. ETHAN Where is everybody? JIM I'll be right back. TABITHA Wait, hold on, Jim -
28.
But he's already out of the car. INT. DINER - AFTERNOON The diner is empty. The bells over the door ring as Jim enters. JIM Hello? He moves through the diner. Everything seems normal, except for the fact that it shouldn't be empty. If it were closed for the season then everything would be boxed up, put away, the doors would be locked. It looks like people cooked and ate here this morning. JIM (CONT'D) Hello? Anybody here? Jim goes behind the counter into the kitchen. There is a HEAVY WOODEN DOOR towards the back of the kitchen. It's open. Jim peers inside and sees -- A storage room converted into AN APARTMENT, much like Kenny's apartment at the sheriff's station. POV SHOT: SOMEONE IS WATCHING JIM AS HE LOOKS INTO THE BACK ROOM. Jim turns away from the backroom apartment and -- catches a glimpse of a FIGURE, a woman. She runs when he sees her. JIM (CONT'D) Hey, wait -- Jim hustles into the dining room just in time to see SARA MYERS (23), a fragile girl with wild eyes in a tattered dress, scampering out the back of the diner.
Jim stands there, bewildered. INT. MINI-VAN - LATE AFTERNOON Tabitha watches as Jim comes out of the diner. EXT. STREET - LATE AFTERNOON
Jim stands in front of the diner, looks around, there's something unsettling about the empty streets in the daytime. He notices something else - THE FLAT TIRES ON ALL THE CARS. INT. MINI-VAN - CONTINUOUS Jim gets in, starts the ignition.
29.
TABITHA You find out where the highway is? JIM Not exactly. ETHAN (staring out the window) Howcome all the tires are flat? TABITHA (she hadn't noticed) What? Tabitha looks around at the cars as Jim pulls out. EXT. CEMETERY - DAY Father Kelly leads a funeral service for Lauren and Meagan. It looks like most of the town has turned out to pay their respects. Boyd stands with Kenny off to the side, his eyes scanning the crowd. Ellis didn't come. FATHER KELLY
We commit to the earth Lauren and Meagan Pratt. May the life they know beyond this world be kinder, and may the mysteries of their time here be solved. None of us knows what plan the Lord has for us when we come into this life, but the peace we shall know at His side beyond this life is certain. And in that peace we --
Father Kelly stops when he sees the Mini-Van driving down the street. Words fail him and his face fills with sadness. Others have spotted the car as well. BOYD (under his breath) Shit. KENNY (leaning over) They got kids in the car. BOYD Yeah, I see'em.
30.
INT. MINI-VAN - DAY Jim pulls the minivan up to the curb outside the cemetery. A number of the townspeople are staring openly at them from up the hill. TABITHA I guess we found everybody. JULIE Why are they staring at us? JIM (quietly, to Tabitha) Lock the doors. Tabitha looks at him, confused. He gets out of the car before she can ask why. EXT. CEMETERY - DAY Boyd and Kenny watch as Jim gets out of the car. The crowd of townspeople looks uneasy, whispering amongst each other. Boyd clears his throat, gives Father Kelly a "get on with it" look. FATHER KELLY In that peace we can be sure that Lauren and Meagan now reside. Ashes to ashes, dust to dust. Boyd steps in before Father Kelly can even complete the sign of the cross. BOYD EXT. CEMETERY - DAY Jim walks up the hill, approaching some of the townspeople as they depart the service. JIM Excuse me, I was trying to -- (no response) I'm sorry, can you tell me how to -- The townspeople avert their eyes as Jim approaches them, continuing on their way. Thao, Kenny's mother, leads her husband, Anh Dung (the one with dementia) down the hill. Alright folks, you can hang around, say your prayers if you like. Let me and Kenny handle the rest. You all remember what it was like for you, so just leave these people be.
31.
Anh Dung stops and looks straight at Jim. ANH DUNG (ominous tone) Day la mot noi xau xa . JIM I'm sorry, I don't - Thao pulls Anh Dung along, leaving Jim unsettled by the ominous tone. BOYD (O.S.) Can I help you? Jim turns to see Boyd and Kenny approaching. JIM Sorry, didn't meant to interrupt your service. BOYD Not a problem. We were just wrappin' up. JIM
Detour took us off the highway a few miles back. Haven't seen a sign in a while, I was hoping maybe you could point us back in the right direction. BOYD (looks at the car) Got your family with you. JIM Uhhh, yeah.
INT. MINI-VAN - DAY Tabitha watches the interaction between Jim and Boyd. Ethan is unnerved by the way people are looking at them as they pass the car. Julie sees him fidgeting nervously. JULIE (to Ethan, quietly)
Hey, you know, there's a name for what those crows did before. When they all got into a group like that? It's called a "murder". ETHAN What? No it's not.
32.
JULIE It is. It's called a murder of crows. Because when they gather like that? They're looking for a victim. And if you see them doing it then you're the one they murder. ETHAN (less confident) Shut up. You're making that up. JULIE I'm not. Once they see you, they won't stop hunting you. ETHAN Stop it. JULIE
Then one night you'll be sleeping, and they'll come into your room and get under your sheets and they'll peck at your face and your eyes and your ears - ETHAN (starts to cry) No, stop it, stop it! Mom, tell her to stop it! TABITHA Goddammit Julie, knock it off! The harsh tone in Tabitha's voice shocks both Julie and Ethan into silence. She doesn't yell very often. JULIE (quietly, to Ethan) You're such a baby. Julie's trying to play it off, but even she's getting nervous now. EXT. CEMETERY - DAY Back with Jim and Boyd -- JIM I'd really appreciate if you could just point us back towards the highway.
33.
BOYD Just keep heading east down the main road there. Should start seeing signs about a mile or so out of town. JIM (extends his hand) Great. 'Ppreciate it. Apologies again. BOYD Not a problem. Boyd watches Jim head back down the hill towards the car. KENNY You want me to make up a couple spots at the station? BOYD Might as well. Gonna be a long night. They watch the minivan pull back onto the road. INT. COLONY HOUSE - DAY Ellis stands at the window shirtless, smoking a joint and watching the minivan drive down the road. Fatima comes up behind him, rubs her hands lovingly on his chest. ELLIS Some new folks in town. Looks like a family. FATIMA They still driving around? ELLIS Yeah. FATIMA God. That's the worst part. ELLIS You sure about that? FATIMA
It's the part where you still expect to find the road that takes you home. That's the part that's cruel.
She kisses his shoulder, leans her head against his back. He covers her hand with his own as it rests on his chest.
34.
ELLIS
I love you.
FATIMA
I know. INT. BOYD'S OFFICE, SHERIFF'S STATION - DAY
Boyd sits turning the lamp on his desk on and off, on and off. A knock at the door. He looks up to see Father Kelly standing in the doorway. FATHER KELLY Thought I'd see how you were holding up. Boyd stares at the lamp. BOYD
Where do you think it comes from? The electricity. The water. You think it's magic? Father Kelly takes the seat across the desk. FATHER KELLY
I've always found electricity to be one of the more common forms of magic we take for granted in the world. BOYD (grim smile) At least you didn't say it was God lending us a helping hand. FATHER KELLY I also didn't say it wasn't. Boyd shakes his head. Goes to the map. As he speaks, he points ot the different spots marked on the map. BOYD
That car had Washington plates on it. Which means they probably came off a highway somewhere in the pacific northwest. When Kenny and his dad got here, they detoured off a road in San Antonio. Kristi, hell, Kristi was in Michigan. Nathan and Sara were on the eastern tip of Long Island. I can point to every single entry point for every single person in this town. You know what I can't show you? I can't show you - (MORE)
35.
BOYD (CONT'D)
(spreads his arms)
-this. Anywhere.
FATHER KELLY What's your point, Boyd? BOYD
I heard about your talk with Kenny. Said you told him this place taught you what faith "really" means. FATHER KELLY That's right. BOYD So you tell me something. And I don't want any of the bullshit you talked about at the cemetery. You tell me what it is about this place, about the things we've seen that
could make you possibly think there's still someone up there looking out for us. FATHER KELLY You really want the answer? (off Boyd's look) Because of you. Boyd bursts out laughing; he laughs so hard it brings tears to his eyes. FATHER KELLY (CONT'D) I realize how that may sound - BOYD You really don't. FATHER KELLY
Before you came here I buried more people in a week than you've seen die in the last two years. And there were no ceremonies then, no tears, because people had given up on everything but trying to survive the next night. You came here and you created order from chaos. You found the talismans in the forest. You made it possible for people to protect themselves, to live again, not just survive. I believe that you're the one who will find a way out. Who will get these people home. (MORE)
36.
FATHER KELLY (CONT'D) That's why God brought you here. That's what gives me faith. Boyd stares at the lamp, shakes his head. BOYD
A giant tree in the middle of the road brought me here, same as you. And if God had something to do with that? He's a bigger sonofabitch than I thought. (looks at the map)
I've seen things in that forest you wouldn't believe. God didn't bring me here. Because I don't think it's a place God remembers. I think it's a nightmare that got stuck in the world. And now that poor bastard in the minivan just drove his family straight into it. They sit in silence, the words hanging in the air. INT. CAR - DAY Jim and Tabitha are peering out the windshield as they drive along the backroad outside of town. TABITHA How far did he say the highway was? JIM Said we shoulda seen signs about a mile out of town. TABITHA I didn't -- this is way more than a mile. Maybe we should -- Tabitha is cut off by the sight of something that leaves both she and Jim bewildered. They are once again approaching the entrance to the town. JIM What the hell is this? TABITHA You didn't -- did you turn somewhere? JIM No, I just -- Looks back over his shoulder, looking for a turn he knows he didn't take.
37.
JIM (CONT'D) This can't be the same place.
As Jim drives down the main road, they see some of the townspeople still lingering, watching the car's progress. JULIE Okay, this is getting really creepy. Jim stops the car. TABITHA (to Jim) Just ask someone else. Jim is getting frustrated. He rolls down the window. JIM (to one of the townspeople) 'Scuse me, I'm trying to get back on the highway, could you -- The Townsperson turns away from him and walks away. JIM (CONT'D) Are you kidding me??? Pissed, Jim grabs the door handle and starts getting out. Tabitha grabs his arm - she's getting really freaked out. TABITHA Jim, let's just go, okay? We probably missed the turn. Jim bites down on his frustration, throws the car into reverse and jerks the minivan through a three point turn. INT. NATHAN AND SARA'S HOUSE - DAY NATHAN MYERS (27), stands at the window, watching Jim drive back out the way they came. He's got a tea tray in his hands. He turns away from the window. INT. SARA'S BEDROOM - DAY Nathan's little sister, Sara Myers, the fragile girl with wild eyes that was watching Jim in the diner, sits on the bed, her knees pulled up to her chest, staring blankly at the wall. Nathan enters with the tea. NATHAN
I got a look at the new people in town. Husband, wife, some kids. (MORE)
38.
NATHAN (CONT'D) They look kind of on the young side. Maybe, maybe once they get situated we could head over there. See if they need any help getting adjusted. (no response)
Just think about it. Be good to get out a bit. Make some friends. I think it could help. Having friends. Tears well in Sara's eyes. She starts to tremble as the tears roll down her cheeks. NATHAN (CONT'D) Hey, it's okay. We don't -- I didn't mean to upset you. SARA (trembling) I knew. I knew they were coming. I saw them in my dream. It's about to get so much worse. Terrible things are going to happen. NATHAN To who? She looks up at him with tears in her eyes. SARA All of us. INT. MINIVAN - DAY Jim is driving, focused, channeling his frustration into finding the turnoff. Tabitha's nervous - something doesn't feel right. Even Ethan and Julie are peering out their windows, looking for a turn, a sign, anything. TABITHA
Maybe it's more of a - what's the word - like a switchback. You know what I'm talking about? You merge getting on but then to get back you'd almost have to do a U-turn to get on the original road. JIM I would have noticed if we merged with another road. TABITHA Well, you obviously didn't Jim, because we're driving in circles. Just drive slow --
39.
JIM I am driving slow.
He's actually getting angry and speeding up. Both their nerves are wearing thin. Ethan senses the tension. ETHAN (trying to be bright) We'll find it dad! Tabitha's had enough. TABITHA Jim slow down! You're gonna pass it again! JIM Pass what?! What are we gonna pass, Tabitha? The switchback? Where is it? Show it to me. TABITHA Don't do that. JIM There's nothing here! I'm going twenty miles an hour, alright? Stop telling me to -- (looks out the windshield) Goddammit!!! He slams his hand on the steering wheel, losing his shit. They have once again entered the town. Jim hits the brakes, bringing the car to a stop. He sits in the drivers seat, drained. Tabitha looks around them, something is very wrong. Not just the fact that they're back in the town but -- TABITHA This is impossible. JIM Look, I can't drive any slower, alright? TABITHA No, that's not - we didn't go in a circle that time. We drove out this way. You turned around and drove out. So how did we get back to -- Jim looks around. She's right. Frustration turns to bewilderment - and the slightest hint of fear.
40.
There are Townspeople watching from their windows. JIM No, this - no.
Jim throws the car into gear and PEELS OUT in a 180, pushing the mini-van's engine, more reckless than before. He speeds back out in the direction they came, just like before. EXT. SHERIFF'S STATION - DAY Boyd and Kenny watch Jim speed back out of town. KENNY You think they're ready? JIM Go ahead and get the strip. Kenny disappears into the station. Boyd sighs a deep sigh as the mini-van disappears back into the forest. INT. MINI-VAN - DAY Jim is speeding down the backroad, both his and Tabitha's nerves are frayed. Ethan and Julie are sitting stock still in the backseat, scared and confused. TABITHA Jim. Jim, how is that possible? JIM I don't know. TABITHA
You can't - the same road can't go in a circle one time and then go in a - we're on the same road. Ethan starts crying. Tabitha turns around - TABITHA (CONT'D)
No, no, baby, it's okay. Don't cry. It's gonna be fine, okay, we're just gonna -- For a SPLIT SECOND, through the windshield, we see ANOTHER CAR come around the bend towards them and - CRASH!!!!!! The whole world spins and slams upside down in a crushing, devastating crash. The mini-van goes crashing off the side of the road and down the hill!
41. Toppling end over end until it comes crashing to a halt at the bottom, ON ITS SIDE, WEDGED AGAINST A TREE. And then - it's over. The wheel's spin on the wreckage of the mini-van at the bottom of the hill. UP ON THE ROAD , the Second Car, a BMW SEDAN, is wrapped around a tree, steam rising from the radiator. The windshield is shattered. Someone went through it. The driver, Gil, a young male in his early 20s, has had his throat pierced by a low, sturdy tree branch. He is pinned to the seat and quietly choking to death on his own blood. INT. MINI-VAN - DAY The mini-van is on its side with the driver's side down. Jim comes to, looking up at Tabitha, suspended above him, unconscious in the passenger seat, her head is bleeding, her body limp against the seatbelt. A wave of panic hits. JIM No. Nononono -- Jim grabs Tabitha's limp hand and holds it as he tries to turn and get a visual on the kids, but his range of motion is limited, the steering wheel pressed against his side. JIM (CONT'D) (panicked) Everybody okay? Kids? Kids, you okay back there? He can see Julie over his right shoulder. Her eyes wide in shock, her seatbelt holding her suspended in the seat. JIM (CONT'D)
Julie? Julie, look at me. Sweetie, please, I need you to look at me.
She turns to look at him.
JIM (CONT'D)
Are you okay?
JULIE
I - I think so. JIM Ethan? Ethan buddy, can you hear me? Ethan? ETHAN (weak) I'm stuck.
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