9
Written by
Pamela Pettler
Short story by
Shane Acker
SEQ. 05 - PROLOGUE
The Focus Features logo appears on screen and we slide INTO
the "O" in Focus.
Stock dissolves from 35mm to 16mm. BLACK & WHITE. GRAINY,
like OLD DOCUMENTARY FOOTAGE.
SCIENTIST'S VOICE
Experiment 208, day 20...
INT. SCIENTIST'S LAB - DAY
We see an early incarnation of a MACHINE (this will be the
inner brain of the FABRICATION MACHINE). We see the
scientist, in a white coat.
We pull back to see the Scientist is playing a complicated
MULTI-LEVEL 3-D chess game on a MULTI-LEVEL GAME BOARD with
the MACHINE. The Scientist makes an elaborate multi-level
move. The Machine reaches an arm out into the chess game but
then malfunctions and strews the game everywhere.
We pull back further to see the back and legs of the
DICTATOR, with black-uniformed soldiers flanking him. The
regime's emblem can be seen on the uniforms.
DICTATOR
Useless.
SCIENTIST
Please. Give it a chance.
We're on the machine, which is clicking and jerking as it
malfunctions.
DICTATOR (V.O.)
One more. That's all.
We turns to leave. We hear the clicking of boots as the
soldiers accompany him out.
We see the scientist's dejected face as he comes towards the
camera to turn it off.
CUT TO:
BLACK
2.
INT. SCIENTIST'S LAB - NIGHT
The grainy footage rolls again; we see the scientist moving
away from the camera (having just turned it on).
The lab is shadowy, late at night. We see his worktable for
the first time, covered with discarded sketches, a furiously
filled-in journal, and pieces of failed machinery (the floor
is also similarly littered). The TALISMAN sits on the
worktable. Nearby is a small old-fashioned tiny little box.
SCIENTIST
(tired, but dictating to
keep the documentary
record complete)
My last possible solution....
(muttering to himself)
It must work...
He gently brushes his fingers over the little box as though
for good luck. He picks the TALISMAN up off the table. He
moves over to insert the talisman into the port of the
machine.
His back to us, he faces the machine. We see him putting
something over his face (but only from behind).
There is a sudden FLASH OF GREEN LIGHT and the machine JOLTS,
and then suddenly, starts up...lighting up, electricity
crackling, parts moving in smooth coordination, etc.
The scientist waits, watching. The machine continues to run.
Its arms move smoothly, almost curiously.
The scientist puts the device covering his face down and gets
up and comes towards camera.
We see the camera's POV as the scientist comes towards us:
CLOSE on the scientist's face, which is exhausted, cheeks
sunken, eyes wide, pupils dilated.
Pull back to show the machine purring, suddenly full of a new
sort of energy. Something new has happened.
The scientist switches off the camera and:
CUT TO:
3.
INT. SCIENTIST'S LAB - A DAY LATER
The machine zips through the complex 3-D chess game at
lightning speed, checkmating the scientist in seconds as the
Dictator watches.
The scientist laughs fondly and pats the machine.
DICTATOR
Perfect.
SCIENTIST
(PROUDLY)
You see, it evolves.
The scientist proudly gives the machine to the dictator. A
flash goes off: someone is taking a picture O.S.
The dictator exits; we hear the click of boots and see as
much as possible of the soldiers flanking him.
OUT OF SIGHT OF THE SCIENTIST,
CLOSE on the machine: the dictator is gripping it with a
nasty firmness. The machine seems to try to squirm away.
The director's BLACK-GLOVED HAND grasps it harder.
he machine, responding to the brutality, lashes an arm out
and grabs the nearest soldier (seen from the back, we see
only the uniform and helmeted head) by the back of his arm,
BREAKING his ARM. The soldier falls (if possible).
he dictator CONTINUES ON WITHOUT BREAKING STRIDE.
DICTATOR
CHILLINGLY)
Yes. Perfect.
And we:
DISSOLVE TO:
SEQ. 010 - Title Sequence
IN BLACK:
TITLE CARD #1
4.
RADIO (V.O.)
(robotic sounding)
Alert. We are in a state of
emergency...
Sounds of WAR: EXPLOSIONS, MACHINE GUNS, SCREAMS...
FADE UP INTO:
INT. SCIENTIST'S WORKSHOP - DAY
A tiny, cluttered attic, filled with bits and pieces of found
material--burlap, door hinges, an old shoe, old eyeglasses,
rusty scissors, pen nibs, gas masks etc. We see the tiny
little box sitting on the cluttered makeshift worktable.
TITLE CARD #2
RADIO (V.O.)
...the Machines have become
uncontrollable... they are shooting
at will... ALERT: stay in your
homes.
Grainy footage as we see the scientist looking around
desperately--he's obviously in hiding.
SCIENTIST
(HEARTBROKEN)
My invention... my beauty... beauty
was taken...
He is feverishly cobbling together a SMALL BURLAP DOLL.
He labels the burlap doll on its back: "1." He makes frantic
notes in a journal. He brushes his fingers over the little
box for good luck, then moves towards a strange contraption
on the table.
LASHES and EXPLOSIONS shake the workshop horribly.
ITLE CARD #3
RADIO (V.O.)
Reports are coming in... they've
breached the Northern walls of the
city...
The radio voice is DROWNED OUT BY EXPLOSIONS. D
ISSOLVE TO:
5.
TITLE CARD #4
INT. SCIENTIST'S LAB - ANOTHER DAY
RADIO (V.O.)
An announcement from our
Chancellor!
DICTATOR'S VOICE
(on the radio)
Comrades, I have lost control. The
Machine is now our enemy. We need
to join forces to fight against it.
We hear EXPLOSIONS and SCREAMS outside.
We see the scientist cobbling together another SMALL BURLAP
DOLL, a little more evolved.
He labels it "5," then makes notes in a journal.
TITLE CARD #5
SCIENTIST
his voice a mere whisper
NOW)
Five so far....I can't get them
right...
ISSOLVE TO:
TITLE CARD #6
INT. SCIENTIST'S LAB - ANOTHER DAY
RADIO (V.O.)
(through static)
Gas masks are being distributed...
ALERT: beware....
We see the scientist desperately grabbing bits and scraps for
one last doll. He is like a skeleton, almost no energy left.
ADIO (V.O.) (cont'd)
...deadly gas....
he radio voice dies out. We hear nothing but STATIC.
ITLE CARD #7
H
H
C
(
6.
The scientist totters over, makes a note in his journal. He
clutches the little box, and suspends this last doll with a
rope in a strange contraption.
SCIENTIST
a feeble whisper)
My last one... this one, finally,
must work... it must....
TITLE CARD #8
The SOUND of the scientist collapsing to the floor.
DISSOLVE TO:
...........................................................
SEQ. 020 - Attic
SEQ. 020 - INT. WORKSHOP - DAY
The thin strand of rope stretches... stretches... and
RAAAACK.
The rope SNAPS, and--
--a SMALL BURLAP FIGURE falls onto the table.
As he falls, he is yanked free from a large, circular
Machine.
e had been attached with the fraying rope and a long cable,
attached to him by the TALISMAN. The cable still dangles
from the Machine, but the force of his fall pulls the
Talisman off.
The little burlap figure pulls himself to his feet, shaking
his head. Falling free from the connecting cable has finally
awakened him.
e is made up of odd patchwork items: burlap, a thick zipper,
big round gas-mask eyes (which we recognize as what we saw
before, in the title sequence).
We pull around to see the number "9" painted on his back.
We pull back further to see...
9
H
T
R
H
S
"
7.
SEQ. 020 - INT. RUINED WORKSHOP - EERIE, INDETERMINATE
DAYLIGHT
.
..he is on the tabletop in the RUINS OF A SMALL ROOM.
Splintered BITS OF WALL jut up to the open sky. Rotted
FLOORBOARDS are BENT and WARPED. The room is full of years
of DUST and ROT. Dust hangs in the feeble rays of dirty
sunlight.
The table and floor are covered with the same kinds of scraps
and raw materials from which "9" is made: burlap, hinges,
bits of Machinery.
9" blinks and turns around, his head darting this way and
that, trying to make sense of his surroundings.
He walks over to the edge of the tabletop. He peers over, and
sees...
...the SCIENTIST LYING DEAD ON THE FLOOR.
lumped on the floor, we clearly see: the scientist's
skeletal hand is clutching a tiny box.
He hears a clattering sound and turns to see
A
loose window shutter. He goes over to the window.
e pushes opens the window to see--
SEQ. 020 - EXT. STREET - INDETERMINATE DAYLIGHT
...AN APOCALYPTIC WASTELAND.
usting machine carcasses, bombed-out ruins, and emptiness
stretch as far as he can see.
Terrible, life-ending destruction.
here is no other living being anywhere.
9 stares in disbelief and horror and fear. He can't make any
sense of it... or the room... or the endless miles of
lifeless wasteland stretching out in front of him.
e seems to be completely alone.
sees a glint of something, a possible sign of life. He
moves to go outside.
C
M
8.
He stops and is strangely drawn to the TALISMAN. He turns
and takes it, stowing it inside his zippered chest before he
heads out.
CUT TO:
...........................................................
SEQ. 029 - 9 Meets 2
SEQ. 029 - EXT. WASTELAND - DAY
9 moves warily in the dusty, grim light, along the deserted
RUINS of the outside streets. It is the remains of war.
Pulverized HULKS of BUILDINGS, torn-open suitcases, scattered
clothes, rusting cars and the grim debris of human
civilization surround him.
He sees a dead body slouched next to a suitcase in the front
seat of a car.
Banners hang on the buildings with a three prong symbol on
them.
achines lie deserted on the sides of roads.
Distracted by the spectacle, 9 stumbles and lands on a ragged
old flyer: REVOLT! He looks back at the War Machines and
Dictator flags. He sees a vandalized poster of what appears
to be a dictator/leader.
9 looks around him, trying to piece together what happened.
Suddenly there is a clanking sound in front of him.
9 sees a light flicker on in the shattered hulk of a war
Machine.
LOSE on 9 as the light crosses his face.
Scared, he ducks behind a huge piece of debris. 9 grabs a
piece of metal lying in front of him.
The shadow moves closer, 9 shakes nervously. The figure
emerges with spear in hand and 9 swings the weapon at him
with all his might.
9 hits him square in the chest. It is another ragdoll: 2. 2
is propelled backwards and falls to the ground on the debris
behind him. 9 quickly tries to hide.
2
A
9.
But 2 is looking at 9 with surprise. He struggles to get up,
2
speaking with urgency to 9.
(firmly, kindly, almost
eagerly; like trying to
soothe a wild animal)
Wait... I am a friend.
LT:
2 (CONT'D)
(GENTLY)
Friend... I am a friend.
9 now sees he has hit a ragdoll, similar to himself. He
hesitates, not sure what to make of this. 2 extends his
hand, calmly, eagerly. 9 hesitates again, then, still timid,
but showing a little bravery, drops his weapon and goes to
help 2 up.
We see that 2 is much older, much more decrepit, much more
primitively constructed: he is made from patchwork bits of
OLD LEATHER SHOES. A SHOELACE stitches up his front and is
tied in a bow at his neck. Bits of leather FRAY off him.
His feet are primitive small HINGES. Half of a pair of
eyeglasses, like an enormous MONOCLE, is attached to 2's hat.
9 helps straighten 2's monocle. 2 smiles at him. We see
that 2 is like a wise mentor, a kindly professor with a
contagious eagerness and imaginativeness.
2 peers eagerly at 9. He circles 9 and spots the number on
his back.
(CONT'D)
(eagerly, excited, like an
intrigued scholar)
Yes... yes... I always thought
there'd be one more.
He nods and smiles. He extends his hand to shake 9's hand.
While doing this, he takes 9's hand and studies it, nodding
with eager excitement. We see that 9's hand is more
sophisticated than 2's.
2 (CONT'D)
The details... how exciting.
(FASCINATED)
Carved wood... steel bolts...
molded copper...
H
9
2
10.
2 turns slightly, and 9 sees his number and tries to say it.
But no sound comes out of his mouth.
looks at him, nodding, again, the kind mentor. He's
interested, observing without judging; curious, kindly and
ready to help.
2 (CONT'D)
You can't speak.
With a friendly, disarming smile, he taps 9's zipper. 9
unzips himself and 2 peers in. 2 looks up, happy that he can
help.
2 (CONT'D)
Yes, yes...
2 looks around nervously and hurries over to his roller-skate
cart covered with detritus - odds and ends, a broken china
doll.
2 (CONT'D)
...come with me.
follows, looking around curiously.
2 finds the china doll.
2 (CONT'D)
Here!
As 2 rummages through the chest of the china doll 9 picks up
a bullet casing from 2's cart and starts tapping it. 2 turns
with the doll's voice box in his hand.
2 (CONT'D)
(sees 9 with the bullet;
whispers sharply)
No! Stop!
2 eases the bullet away from 9, then smiles gently at 9,
EXPLAINING:
2 (CONT'D)
(
QUIETLY)
Some things in this world are
better left where they lie.
e puts the bullet to one side and kneels, prying into 9's
chest. 2 begins to connect the doll's voice box.
A
9
11.
2 (CONT'D)
But if you know where to look,
these ruins are full of riches.
2 concentrates, a look of pleasure on his face as he twists a
few more wires. Static and unclear sound come out at first,
but as 2 tunes the voice further...
9
(as his voice is "tuned
in".. starting with pure
static, then slowly
moving into a voice)
Chhhhhhh.....chhhhehhhh...
2
Wait..
(tunes him in)
...almost there...
9 gets a little panicky look on his face at the strange
sounds coming out of him. 2 puts a calm hand on his
shoulder. 9 calms down and tries again.
9
Friend? Friend?
2
(BEAMING)
Friend.
9
(more and more normal
SOUNDING)
Are we alone?
2
(REASSURING)
No. There are others.
and 2 stare at each other. 9 looks at 2 in wonderment,
then reaches out and touches 2's chest where he hit it.
2 beams at 9, happy 9 can speak, happy he was able to help,
and happy that 9, with his first words, is concerned about
others.
glow beams from within 9's chest. 2 stares. 9 removes the
TALISMAN from his chest.
2 has a big reaction--he draws his breath in and looks at it
in ASTONISHMENT.
9
2
I
9
.
T
(
2
12.
He takes it and looks at it. He gives 9 a look of surprise.
(CONT'D)
But how strange....
muttering to himself as
he turns the Talisman in
his hands)
Yes, he was always drawing this...
exactly like this... how strange...
hey both stare at the TALISMAN.
Suddenly, a is heard OFFSCREEN. 2 looks up IN
HORROR. He grabs his spear. He pushes 9 away almost
fiercely.
ALT:
2 (CONT'D)
(firmly, to 9)
GO!
..........................................................
SEQ. 030 - Cat Beast Attacks
SEQ. 030 - EXT. WASTELAND - DAY
2 points forcefully to an old rusted can.
2 runs into the can.
stands, ready to attack.
9 watches 2, wondering what is coming. Then from behind him,
a large claw of a mechanical figure settles softly next to
9's can. He tries to call out to 2...
And from behind 2 enters--
A HIDEOUS CAT BEAST.
t is a nail and razor-studded predatory Machine with a cat
skull-shaped head, its body laced with bones, nails and
razors. 9 now understands 2 was trying to protect him.
GASPS as he turns and sees it. The Cat Beast lets out a
roar and claws at 2, KNOCKING him over and losing his spear.
looks on with horror.
9
H
T
9
13.
2 attempts to reach for his spear but the Beast holds him
down with its razor-sharp feet.
The Beast is attracted to the Talisman. It picks it up with
one of its jagged claws and looks at it quizzically.
cringes. His movement makes his hiding place teeter,
creaking.
he Cat Beast WHIRLS at the sound. Picking up 2's struggling
body, the Cat Beast stalks towards the noise, right up to 9's
hiding place, sniffing through its hollow nostrils. 9
cringes in terror. The Cat Beast probes with one of his
claws INTO the tin can. 9 recoils. The claws do not find
him and retreat. 9 is relieved.
A beat, then:
9 feels himself violently LIFTED UP and SMASHED.
We see the Cat Beast has picked up the entire tin can and is
smashing it to get at what's inside it. Failing, it hurls
the tin can aside.
9 is almost knocked out. Trying to stay conscious, he
struggles towards the entrance of the can.
is POV: through his haze and through the broken edges of the
opening to the can, he sees the Cat Beast GRAB the Talisman
and the struggling 2 in his sharp-toothed mouth, and
disappearing into the smoky mist.
9 can just make out, in the distance, the silhouettes of
THREE TALL SHAPES.
(MUTTERING)
The others...
CUT TO:
.............................................................
POV SPYGLASS - ELSEWHERE IN THE WASTELAND - LATER
POV SPYGLASS: the spyglass searches through the city and
comes across a lone staggering figure (9).
W
(
9
9
5
14.
Pull back to show the back of 5's head as he peers through
the spyglass, then pulls away so we can see into the spyglass
again. We zoom in through the spyglass to a
CLOSE SHOT on 9--
EXT. WASTELAND - CLOSE ON 9 - CONTINUOUS
9 staggers, weary, and collapses.
In the foreground, the feet of another ragdoll (5) step into
the shot.
CUT TO:
...........................................................
Seq. 040 - Meeting 5
SEQ. 040 - INT. 5'S WORKSHOP - DAY
5 is finishing sewing 9 up.
It's all right. You're safe now.
9
Where am I?
5
With us.
(MUTTERING)
Yes... he told me there were
others...
5
(suddenly, urgently)
Who?
(still dazed, trying to
REMEMBER)
He was older... Out there...
5
2. Out in the emptiness?
HORRIFIED)
Alone? Was he all right?
hen is he coming back?
I
1 W
1
5
1
(
T
9
15.
9 looks at him, the whole memory suddenly coming back to him
as though fresh.
HE--THE--
can't think of the right
WORD)
T
hing! It took him.
5 reacts with horror.
5
No... No! It can't be!
He turns away, grief-stricken.
(O.S.)
Keeping secrets from me, I see.
Another RAGDOLL pushes into the workroom. This is a bigger
ragdoll, the most primitive one we have seen. He has
primitive wooden hinges for feet. He is very frayed and
patched together. The number 1 is painted on his back.
and 9 whirl around. 5 CRINGES.
5
I... I was coming to tell you...
1 carries himself with authority. He wears a red cloak, and
a strange mother of pearl and wire hat bound together as an
almost papal-like headpiece, and carries a staff made from an
old gear, with a bell attached.
pulls at 9 with his staff, displaying the number on his
back.
1
hat's this?
turns and glares at 5 like a general glaring at a new
private, expecting an explanation for a misdeed. 5 cringes
back, obviously intimidated by 1.
5
... I found him.... in the
emptiness. He saw--
1 HOOKS 5 by the neck with his staff, cutting off his speech.
1
What? What were you doing out
there?
1
9
Y
1
16.
5
I saw him from the watchtower and I
thought...
ou'll lead The Beast straight back
to us! How many times have I told
you?
The Beast--that's what took 2! If
we hurry we could save him--
1
(CURTLY)
If the Beast took him, that's the
end of it.
9
But he was still alive--
5 turns with sudden hope to 9. 2 might still be alive?
1
No, we have RULES.
1 smashes his staff against the ground.
Immediately, a knife comes through the curtain revealing
another RAGDOLL: a large ragdoll, with the number "8" on his
arm.
(CONT'D)
(TO 8)
Our new guest seems confused.
(condescendingly, to 9)
Perhaps I can help you achieve some
clarity.
8 is very large, and designed for great strength. He is
almost as evolved in his design as 9, but his design favors
primarily brute force.
He has armored himself with curved pieces of tin and metal.
He carries the blade of a large kitchen knife, with a nail he
has attached for a handle. On his back he has slung another
knife--half of a scissors; the scissors handle loops up above
his head.
T
T
1
C
17.
1 leaves. 8 taps his knife in his hand and motions for 9 and
5 to follow. They follow.
UT TO:
...........................................................
SEQ. 050 - Clock Tower
SEQ. 050 - INT. CATHEDRAL - CONTINUOUS
They walk through the nave and plane up overhead.
5 taps 9 covertly.
5
(whispering, hopefully)
He was still alive? Really?
9
I think so--
8 looms forward threateningly.
8
Hmmmph!
5 quickly stops talking. 9, following his lead, stops
talking also.
The group gets into a bucket-like device. 8 pushes 9 hard
into the bucket.
NODS commandingly to 8. 8 begins to crank a rope that
lifts them up. 5 gestures to 9 to hold on.
9
braces himself as 8 pulls them up into a tall tower. He
steals a glance at 1. 1 frowns. 9 tries to smile.
hey pass an old plane outside that has crash-landed in to
the Cathedral.
On the side wall is a round, multi-colored stained glass
window. Shafts of different colored sunlight flicker
through.
he bucket moves past two large church bells into--
...the inside of a CLOCK TOWER of a once-magnificent
Cathedral. We see the BACK of the CLOCK, the light casting
shadows of the backward numbers onto the floor.
T
7
1
1
18.
1 gestures out towards the outside and addresses 9:
When we woke in this world....
Camera drifts up to the clock... WIPE to WHITE...
...........................................................
SEQ. 053 - War Flashback
ENTER FLASHBACK: as we see the chaotic inferno of
war.
(V.O.) (cont'd)
...it was chaos... Man and Machine
attacked each other with fire and
metal... The earth split and the
skies burned...
Ragdolls 2, 5, 6, 8, and 1 hide under an old helmet,
frantically trying to escape the explosions BURSTING around
them. 7 appears with 3 and 4. We get the sense that 7 is
the reckless one, the only one determined to SCOUT AROUND and
see what's out there.
(TO 1)
I found others...
They are welcomed in by the other dolls. They turn to 1, who
is clearly the leader, to see what to do next. 1 decides: he
points forward, and they all run a few feet while underneath
the helmet.
A plane crashes in the background, causing 5 to fall behind
(he has both eyes).
hrough a dirty MIST we see War Machines enter with their
weapons.
A RESISTANCE FIGHTER throws a Molotov cocktail at one of the
Machines. It turns and SHOOTS a round of gunfire.
A MUSTARD GAS BOMB is launched from the top of the Machine.
It heads straight at 5 but he runs and gets KNOCKED to the
ground, barely missing it.
T
he bomb lets out a yellow CLOUD that envelops the area and
KILLS PLANTS ON CONTACT.
7 turns and sees 5 lying face-down on the ground. 1 urges
her to stay with the others.
E
1
7
19.
But, again, brave and slightly reckless, she runs through the
yellow cloud to help him. She brings him back to the group.
His left eye is damaged. The others cower. 2, the gentle
mentor of the group, puts a comforting hand on 5's damaged
eye. 7, always the scout, brave and fearless, points off to
the right, and addresses 1. She knows what's out there;
she's seen it.
7 (CONT'D)
(TO 1)
There's a path ahead--
1 looks around calculatingly, like Patton: the general taking
charge. He thinks, judiciously, then:
1
(TO 7)
Go ahead.
nods and darts off. 1 turns to the others, who wait for
their instructions.
1 (CONT'D)
(to the others)
Follow me.
They hurry off, increasingly enveloped by the YELLOW CLOUD.
The yellow CLOUD TRANSITIONS into STEAM...
(V.O.) (cont'd)
The gas killed everything.
ND FLASHBACK.
...........................................................
SEQ. 057 - 9 Meets 6
SEQ. 057 - INT. CATHEDRAL/CLOCKTOWER - CONTINUOUS
The steam is rising from the small thurible in the CLOCK
TOWER.
1 (V.O.)
I led us here...
1 is now standing at the thurible with a torch in his hand.
1 (V.O.) (cont'd)
...to sanctuary. And here we
waited for the war to end.
9
T
9
9
T
1
20.
He puts his hand around 9's shoulders and walks him over to
the other side of the room.
(CONT'D)
Slowly, the world became silent.
1 and 9 walk over to a picture of the Cat Beast hanging on
the wall.
1 (CONT'D)
The only thing that remains now is
the Beast.
1 faces 9 as the torch slowly fades.
1 (CONT'D)
So we stay hidden and we wait for
it, too, to sleep.
he torch burns out. 9 looks at 1.
But where did it come from? Why is
it hunting us?
1
Questions like that are pointless.
We need to protect ourselves. Keep
ourselves out of danger.
But one of us is in trouble... he
could still be rescued...
1
turns and walks to a tattered calendar page on the wall
with the days 3, 4, and 7 crossed off.
1
oo many of us have already been
lost.
1 crosses 2's number off the calendar with the burnt end of
his torch.
No! You're not listening. He may
still be alive! Why won't you try
to save him? Why won't you--
1 angrily SMACKS HIS STAFF ON THE FLOOR.
5
O
(
21.
1
Enough! Enough of this madness!
(to 5, annoyed)
Go to the watch tower and take our
guest with you.
5 meekly immediately obeys, gesturing to 9 to follow him.
We hear a strange WHISPERING SOUND, and CAMERA, instead of
following 5 and 9, stays behind and moves in on a shadowy
little area. There, we see 6. 6 is ink-stained and has a
strange quality, as though he sees and hears things inside
his head that only he experiences. He has a SMALL SKELETON
KEY around his neck, and his fingers are made of PEN NIBS.
He is drawing on a piece of paper and WHISPERING TO HIMSELF.
6
muttering, whispering)
The source.... The source...
We see he is drawing the TALISMAN. In fact his whole area is
covered with drawings of the TALISMAN.
CUT TO:
...........................................................
SEQ. 060 - Telescope
SEQ. 060 - EXT. WASTELAND - DAY
FVERHEAD SHOT - THE CATHEDRAL
rom a high angle we see the nave of the Cathedral. It has
been bombed and attacked, and there is a plane intersecting
through the side.
The Camera moves to the left and what seems like a prow of a
boat comes into frame. We find ourselves in...
SEQ. 060 - INT. WATCHTOWER - DAY
2 had created a sort of LOOKOUT. A rickety, jury-rigged
spyglass points out of a hole in the wall. A half-drawn map
is pinned up next to the spyglass. Everything is pieced
together from the sorts of bits and pieces we saw 2
scavenging. Around the space, we also see more bits and
pieces that 2 has found out in the wilderness.
sighs sadly. He touches the spyglass sadly.
9
(
5
9
5
(
22.
5
This was the first thing we built
together.
looking around at the
map, bits and pieces,
etc.)
All his work... trying to make
sense of everything.
He looks out into the wilderness.
5 (CONT'D)
Is he out there? Is he still
alive?
9
Yes. He could be.
looks out in fear. We see the conflict on his face: fear
of going out there but a desperate longing to see his old
friend again.
(CONT'D)
(conspiratorially; looking
around to make sure
they're not being spied
ON)
We could go after him.
(shocked; and amazed, this
is impossible)
Us?
9
No one else will.
imploring him)
We MUST go.
5 is silent, afraid.
9 looks through the spyglass.
POV spyglass: the THREE TALL SHAPES in the distance.
(CONT'D)
Look. That's where the creature
took him. Out towards those three
tall shapes.
5
9
5
(
9
9
23.
5
(HORRIFIED)
Ohhhh... no... we can't... not
there. We need to stay here.
(as though repeating
something he's heard from
1)
We have rules.
looks at him. He recognizes 1's words.
QUIETLY)
Why do you listen to 1?
5 looks at 9.
(repeating what he's been
indoctrinated with)
A group must have a leader.
9
looks at him for a beat.
9
(GENTLY)
But what if the leader is wrong?
5 looks a little shocked. He never thought of this. We see
in 5's face that he is considering 9's question, but he still
can't bring himself to disobey 1.
5 hesitates again. 9 sees he is having an effect on 5.
(CONT'D)
(suddenly, firmly)
I'm going. I'm going to look for
him.
He turns to 5.
9 (CONT'D)
(COAXING)
Come with me. I can't do it alone.
is terribly torn. He wants to, but he's never done
anything like this before. He's always done as he's told.
He hesitates:
5
(HESITATING)
I... I...
(MORE)
9
24.
(he can't odo 'd) he can't
5(c nt it,
DEFY 1)
I can't.
9 looks directly into his eyes. He knows how 5 loved and
admired his mentor and everything he did. He understands
that 5 would like to be like 2, to do what 2 would have done.
(GENTLY)
But wouldn't he have come for you?
9 waits, hopefully. But 5 looks away. He wants to do it,
but he doesn't have the nerve. 9 nods, compassionately. He
turns away. 5 hesitates, looking down, then:
5
(more determined)
Wait!
5 grabs the map off the wall and rolls it up. He walks
towards 9.
5 (CONT'D)
You're going to need a map.
9 and 5 smile at each other.
CUT TO:
...........................................................
SEQ. 070 - Wasteland
SEQ. 070 - EXT. CATHEDRAL -- DAY
9 and 5 look behind them at the Cathedral as they start to
make their journey to find 2.
CUT TO:
SEQ. 070 - EXT. WASTELAND -- DAY
5 and 9 pick their way through the rubble. They have
traveled miles from the Cathedral. Mist swirls in front of
them, obscuring their path.
5
and 9 look around constantly, on the alert for the Cat
Beast. Piles of rusted, broken metal machines, broken
skeletal bones, exploded vehicles tipped into craters, and
crumbling, disintegrating buildings surround them.
5
9
H
5
T
9
25.
9 looks up and 5 follows his gaze to 2's STAFF stuck in a
pile of rubble atop a hill.
5
5 hurries up the hill. 9 follows him. 5 turns to FIND 2's
hat lying in the dirt. He bends down to pick it up, brushing
the dust off the top. 5 looks sadly at 2's broken hat.
(QUIETLY)
You looked out for him?
5
(SIMPLY)
He looked out for me. He taught
me.
he spoon-light falls off. 5's face is filled with grief.
(CONT'D)
Why was he out here alone?
He slumps. 9 puts his hand on 5's shoulder, reassuring him.
9
We can still find him.
e stands up, determinedly. 5 hesitates, but then, his face
filling with hope, gets up too. 5 puts 2's hat on his
quiver. 9 offers 2's staff to 5 but 5 gestures to 9 for him
to hold it.
They continue on, through the debris and devastation. A
storm is starting to come up. The wind howls loudly.
5
(BITTERLY)
Why was he out here alone?
A good question.
(RUEFULLY)
Yes. The ones we're not supposed
to ask.
They exchange a look. This is the first time 5 has said
something to actually challenge 1's rules. 9 notices this
and nods.
H
5
9
5
W
26.
The wind howls louder. 5 looks at his map uncertainly and
tries to keep leading them forward.
They come to a field full of trip mines and dangerous tank
trap pits. A parachute blows in the wind on a tree branch.
5 turns the map one way and the other with growing panic.
9
here are we?
5
(MISERABLY)
I don't know...
As he turns the map to look at it, the wind picks up and
blows the map out of 5's hands. It blows away into the
distance and gets stuck on a pole.
5 reaches after it desperately but can't retrieve it. He
looks in despair at 9.
(CONT'D)
It's no use. We should go back!
We can't.
9 looks around bravely, then points over towards a trench.
9 (CONT'D)
There.
They head over to the trench. They now see a huge FOOTPRINT
OF THE BEAST.
They inspect the footprints. 9 moves bravely towards the
trench entrance. 5 resists, afraid.
No... it's too dark.
9 looks around.
9
We can use that.
e points to a lightbulb in a broken headlight.
...........................................................
SEQ. 075 - Trench
9
5
27.
SEQ. 075 - EXT. TRENCH - CONTINUOUS
9 is pointing to the lightbulb.
can't help himself. He pulls the lightbulb out, pulls out
a battery and electrical wire from his chest, winds the wire
around the battery and places it inside the hat.
They screw the lightbulb and it LIGHTS UP. 5 can't help
9
smiling at 9.
unwinds the wire holding the blade on 2's staff. He places
2's hat on the end of 2's staff and secures it with the
blade. 5 nods, intrigued.
5
Yes... yes... good....
He sees that 9 now has made a LIGHTSTAFF. He blurts out:
5 (CONT'D)
2 will be so impressed!
A terrible grief suddenly comes over him as he remembers what
has happened to 2.
puts his hand on 5's shoulder, bracing him.
9
(FIRMLY)
Yes. He will.
9 is conveying with his simple words that he believes 2 IS
still alive and he WILL be impressed when he sees the
lightstaff.
9 shines the light to gesture "this way."
5 smiles tremulously at 9, almost more grateful for his
sympathy and support than necessarily believing him. He
follows 9 to the mouth of the trench.
The camera pans over to reveal catlike scratchmarks on a side
wall indicating this is the same trench we saw the Cat Beast
travel through earlier.
5 recoils, but 9 puts a calming hand on him again, then puts
both hands on the lightstaff and enters the trench. 5 takes
a deep breath and follows.
9
.
T
A
28.
SEQ. 075 - INT. TRENCH - LATER
9 and 5 continue down the trench, both looking around with
great caution and nervousness.
s they come around a corner they see--
The CAT BEAST.
9 AND 5
5 springs into action shooting his weapon at the Beast. 9
shines his light up to see... an old hanging gas mask.
hey look at each other and LAUGH as they continue down the
trench.
9 AND 5 (cont'd)
The mask DROPS behind them and they SCREAM and run away.
9 AND 5 (cont'd)
CUT TO:
A SHADOW (WITH A BIRD SKULL HEAD) AT THE ENTRANCE TO THE
TRENCH
Someone is watching them.
.......................................................
SEQ. 075 - INT. CLIMBING UP A "HILL" OF SAND BAGS - LATER
5 and 9 climb up a hill of sand bags..
They come around a corner.
5
(DISCOURAGED)
We've been here before... it's no
use.
steps over and pushes some debris aside. Suddenly they can
see they are right next to....
.
T
T
L
C
29.
THREE ENORMOUS SMOKESTACKS
UT TO:
...........................................................
SEQ. 080 - The Factory
The FACTORY: A enormous, destroyed old stone building, its
caved-in ceiling revealing huge boilers, scarred old metal
walkways and catwalks dangling, dust-covered rotting turbines
exposed to the elements.
SEQ. 080 - INT. FACTORY - CONTINUOUS
They creep into the enormous hulk of a building.
In the center of the building are the splintered vestiges of
an enormous
A
SSEMBLY LINE
Enormous metal arms lie motionless. Huge steel hooks tower
over the belt, with sharp-edged pieces of Machinery dangling
from them.
They look around in horror.
arge pieces of Machinery, pipes, and ducts dangle from the
ceilings. Layers of dust cover everything like eerie
blankets. Bundles of wires lie ripped from their moorings.
ools and shards of glass and metal are strewn around the
floor, twisted into strange melted shapes.
hey walk through lines of large missiles lined up in rows.
5 (CONT'D)
(WHISPERING)
Why would it bring him here?
They slide down a duct and land in a pile of debris. They
now see 2, imprisoned in an old birdcage. In the b.g., the
CAT BEAST lurks, next to a pile of what seems like debris and
broken machinery. The talisman is on the floor next to the
Cat Beast. The Cat Beast seems to be looking for something
in the debris. The Cat Beast's back is to us.
..........................................................
5
A
30.
SEQ. 081 - Factory Chase
SEQ. 081 - INT. FACTORY - CONTINUOUS
9 and 5 hurry forward towards 2.
They find 2, seemingly lifeless.
5 (CONT'D)
(deep regret)
I shouldn't have waited...
9 stands compassionately, respecting 5's grief. 5 pats 2's
shoulder.
t the pat, 2 blinks 2
awake.
(WHISPERS)
I knew you would come...
5
I thought--
2
(cutting him off)
Shhh...
He motions towards the Beast.
5 and 9 try to pry the bars open. 2 tries to help. They
just manage to pry the bars open and get 2 out when--
Suddenly a light SHINES above them. They look up and see --
The Cat Beast beaming his light from his eye. It GROWLS.
The three dolls run away frantically. The Cat Beast chases
after them.
9 gets cornered but swipes the Beast and manages to escape.
9 jumps a heap of debris but stumbles. 5 and 2 pull him up
to higher ground.
shoots his crossbow at the Cat Beast, shattering his eye.
2 manages to hide in a tube.
9 and 5 run away but get stuck at the end of a table.
The Cat Beast slashes his claw at them.
T
S
7 2
S
T
31.
They climb onto another piece of debris, only to encounter
the Cat Beast, now in front of them.
he Cat Beast slashes a claw out and knocks them over. The
Cat Beast moves closer and closer. They are doomed.
uddenly there is a strange rhythmic moaning sound. The Cat
Beast turns, distracted.
We pan over and see a mysterious creature that seems to be
half ragdoll, half bird, with a bird-skull head swinging a
weapon over its head. THIS IS 7. 7 releases the weapon--a
strap of leather with weighted shot at either end. The
weapon flies through the air with a low whooshing sound and
strikes the Cat Beast, entangling it.
7, 5, and 9 now charge the Cat Beast. 5 shoots his crossbow,
entangling the Beast's paw and hobbling it. 9 and 2 both
LURE THE CAT BEAST IN DIFFERENT DIRECTIONS, deliberately
goading and further causing it to become entangled in the
machinery. 7 now leaps up over the Beast and brings the
full weight of her spear down on the Cat Beast's neck. The
head of the Beast comes off and lands at their feet.
7
now pulls off her bird-skull helmet.
5
!
You weren't lost--
5
You've come back!
7
I never left. YOU finally decided
to join the fight.
he hands 5's map back to him.
9 comes over with her shield (lost during the fight). 7
looks 9 over.
7 (CONT'D)
I think I know why.
They move towards her but she turns and looks at 9. 2 and 5
nod proudly towards 9. 7 nods.
hey all look at the fallen Cat Beast.
2 is poking at it:
.
N
9
9
32.
2
Rusty... hacked together... shoddy
pile of scrap.
They all turn to leave. 5 and 7 support 2 on either side of
him, helping 2 along. 9 hangs back to look at the machine
again, and suddenly sees the TALISMAN, lying on the floor.
5, 7, and 2 have continued on without him and do not see him
as he picks it up.
looks at the strange object with ENORMOUS CURIOSITY. He
turns it and see the RUNES on the side of it. He turns and
inspects it closely. He turns and discovers, on the
machine, a PORT with the SAME RUNES.
(blurting out)
Look!
The others now turn to see him. They see him holding the
talisman close to the machine's port... about to
experimentally put the talisman INTO the port.
2
No! Stop! NO!
2 tries to break free and stagger towards him but it is too
late. 9 puts the talisman into the port.
othing happens for a moment.
Then suddenly, horribly, the ground begins to SHAKE.
..........................................................
SEQ. 082 - Fabrication Machine
SEQ. 082 - INT. FACTORY - CONTINUOUS
Suddenly the Cat Beast's dead body begins to SHIFT and
MOVE... There is a rumbling from beneath it as...
... a LARGE FORM rises up from under the debris.
ANGLE on the machine awakening: movement under the cloth, a
claw-like appendage rising from the rubble.
7
Quickly! Run! Get away!
A
A
A
2
33.
They try to climb to safer ground from the tumbling debris.
is thrown back and LANDS hard.
A mechanical ARM emerges and PINS 7, 9, and 5.
As dust and debris rain down, we see one hideous RED EYE
begin to come up.
s 2 tries to scramble to safety, the other three ragdolls,
pinned by the mechanical arm, stare in horror. We see that
the "pile of Machinery" has risen to reassemble into an
monstrous, towering FABRICATION MACHINE attached to the
ceiling of the building.
It is enormous, a spherical shape with a dozen folded
appendages, each with different fabrication tools at the end
of its long spindly robotic arms.
2 tries to crawl away but the Machine grabs him with his
robotic arm.
T
he Machine points the talisman towards 2 and it OPENS up to
a sparking green glow. 2 struggles in the Machine's claw but
the strange green energy SHOOTS directly into 2's mouth and
eyes, painfully his soul.
NGLE on 2 as his soul is being taken.
2 slumps over, his LIFELESS CARCASS smoking in the grip of
the Machine.
NGLE on the green glow as it PASSES into the machine. The
sound has drawn its attention. The Machine turns towards
them and grabs at them with its enormous claw. 9, 5, and 7
turn and flee.
The Fabrication Machine's arms chase after them. 5 shoots
his grappling hook onto a switch. 9 and 7 grab onto him.
Frantically working together, the three of them manage to
escape the Machine's horrifying arms. [ Important to make
sure the Machine is understood to be tethered to the
Factory.]
They see in the distance a pipe that leads out.
In the Machine's RED POV, they run into it just as the
Machine's arm is behind them but can't fit into the hole.
7
9
T
(
(
34.
...........................................................
Seq. 084 - Going to the library
SEQ. 084 - EXT. FABRICATION FACTORY - DAY
9, 5, AND 7
9, 5, and 7 escape out a long tube that leads out from the
factory and JUMP behind a small trench.
5
HEARTBROKEN)
My poor old friend...
7 puts a consoling hand on his shoulder.
7
(shaking her head)
I know.
turning on 9)
What? What on earth were you
thinking?
9
(just as devastated)
I didn't know... I'm sorry...
He stares in horror at the factory.
9 (CONT'D)
What WAS that? What is it doing?
hey are interrupted by a loud whirring sound from the
machinery inside the factory. They whirl around, then stare
at each other, horrified.
(CONT'D)
What will it do now?
5 shakes his head miserably.
7 looks at them.
Let's go.
9
(
C
35.
She strides off. 9 follows. 5 turns, grieving, towards the
factory, head bowed. He hesitates, then goes after 9 and 7.
UT TO:
...........................................................
SEQ. 090 - The twins
SEQ. 090 - EXT. LIBRARY - DAY
9, 5, and 7 enter into a building through a hole that has
been put in a side wall.
SEQ. 090 - INT. LIBRARY - DAY
They enter the ruins of an old library.
Giant stacks of random, tattered, stained books, globes, and
celestial devices tower over them. Dusty rays of light beam
down through broken glass skylights, casting filtered light
on shelves and shelves of old tomes, papers, and crumbling
artifacts.
9 stops to look at a beautiful painting, showing life and the
world before the apocalypse.
9
(whispering to himself)
So beautiful...
7 grabs the lightstaff from 9 and shines it towards a pile of
books. A glimmer of two sets of eyes appear and disappear.
7 holds her hand up, gesturing to 9 to hold still.
3
& 4 emerge from their globe. 5 smiles.
5
delighted, relieved)
They've been here? The whole time?
The twins venture out.
(SURPRISED)
Twins?
A
9
T
3
36.
7
(to 5 and 9, explaining)
They've been hiding here. Lost in
the past.
and 4 approach 9 with curiosity. They communicate by
beaming ideas to each other. They look at 9, sizing him up.
They beam their ideas to each other excitedly. 9 recoils. 7
puts a reassuring hand on 9.
7 (CONT'D)
(EXPLAINING)
They're cataloguing.
3 and 4 take 9's lightstaff. Their chattering and beaming
gets more intense as they take it and catalogue it, their
eyes clicking as if they're recording on film what they are
seeing.
7 stops them. She has an urgent look on her face.
7 (CONT'D)
We need you--we awakened something--
9 interrupts her to take full responsibility for the mistake.
9
I awakened something. In the
factory. Something terrible...
3 and 4 look at each other WITH HORROR. They begin to
chatter feverishly and with great distress.
hey beam an image of THE FABRICATION MACHINE on the wall.
5 and 9 lean forward, startled.
(CONT'D)
(recognizing it)
That's it!
7
What is it?
3 and 4 now show:
NEWSPAPER PHOTOGRAPH of the Scientist and the Machine
(which we recognize from before, in the prologue, when the
Scientist gave the machine to the Dictator and we saw the
FLASH of the flashbulb).
We now push into the photo to a CLOSE UP on the machine.
7
9
-
-
D
-
37.
Then dissolve into a NEWSREEL of the machine and see:
-the original machine being wired into the FABRICATION
MACHINE
-
-Dutch-angle shots of the Dictator, and we hear his SPEECH--
ICTATOR
...yes, we have entered a new
future, the age of the intelligent
machine. This remarkable invention
can adapt and evolve, creating new
machines, machines of
(a slight, chilling pause)
PEACE---
--shots of the Killing Machines, marching out as they're
FABRICATED--
DICTATOR (V.O.) (cont'd)
--that will usher in a new era of
PROSPERITY--
--shots of the Machines ATTACKING--
--A newspaper headline "HUNDREDS KILLED AT PEACE RALLY"
DICTATOR (V.O.) (cont'd)
--and brotherhood for our nation!
Now, terrible sounds of war:
--A newspaper headline "WAR DECLARED AFTER UNPROVOKED ATTACK
BY OUR ALLIES"
--STILL PHOTOS showing the war, the machines getting more and
more devious, chasing a mother and child down an alley, more
and more machines appearing.
-SHAKY, HAND-HELD AMATEUR footage showing the GAS KILLING
EVERYTHING. The footage ends with the camera sinking to the
ground as whoever is operating it is overcome by gas.
-ending on a STILL PHOTO that we pan across, showing TOTAL
DEVASTATION.
The ragdolls stare at it. 9 turns to them.
What have I done?
shakes her head sadly and impatiently. 5 suddenly turns to
9.
.
T
9
9
2
S
38.
5
(TO 9)
The thing! Show them.
9 quickly sketches out a drawing of the TALISMAN and shows it
to the twins.
3 and 4 chatter, trying to analyze and catalogue the drawing
of the Talisman. They shake their heads: they don't
recognize it.
eeing it as a drawing, 5 is startled.
5 (CONT'D)
Wait! 6... he always draws that.
used to keep the drawings... with
his notes....
9 looks at 5.
The drawings... would they still be
there? In 2's old workshop?
5
Yes.
(slightly embarrassed)
I saved everything.
hen we'll go back. Perhaps the
answer is there.
5 looks alarmed and looks over at 7. 7 shakes her head.
7
I think the answer is there.
She points out towards the factory and strides off,
dauntless, fine, and proud. The twins chatter unhappily,
beaming flickering lights to each other.
9 looks at 5. 5 nods and they set off in the other
direction.
CUT TO:
..........................................................
SEQ. 120 - Winged Beast creation
5
5
39.
SEQ. 120 - INT. FABRICATION FACTORY - SAME TIME
Inside the factory, a very quick shot of the Fabrication
Machine reaching its arms out and gathering things. It welds
metal pieces. It grabs an enormous black-and-red Dictator's
flag and rips it in half. [ We do not see yet what it is
creating.]
CUT TO:
...........................................................
SEQ. 130 - Confrontation
SEQ. 130 - INT. 2'S WORKSHOP - NIGHT
9 and 5 sneak into 2's workshop. A dirty moonlight filters
through the air. 9's light is off.
, familiar with the layout, locates 2's stash of 6's
drawings. The pages are dotted with 2's annotations and
drawings; he was obviously trying to figure out why 6 kept
imagining this object and what it meant.
and 9 bend over the drawings. They are unable to see
clearly in the murky darkness. 9 looks around warily, then
switches on his light.
The light now reveals 8 LOOMING IN THE SHADOWS.
8 SEIZES them and escorts them out.
SEQ. 130 - INT. CATHEDRAL/CLOCKTOWER - SAME TIME
1, sitting on his throne, glares in righteous anger as 5 and
9 stand in front of him.
148 148
1
You awakened what?
He gets onto his feet angrily. 6 hunches over one of his
sketches, muttering to himself.
149 149
1 (CONT'D)
You fools! I warned you!
8 is sharpening his knife on the side.
150 150
8
He warned you.
6
40.
151 151
1
Now you've put us all in
unimaginable peril. And, may I
ask, did you manage to save 2? Of
course not! By following this
witless folly, you've endangered
everything we work for!
152 152
9
Why was 2 sent out to begin with?
153 153
1
(DEFENSIVELY)
I sent him to scout.
153.5 153.5
9
That doesn't make any sense! You
don't send the oldest out to--
(trying to control
HIMSELF)
Look, we need to figure out what's
going on--
6 emerges from his shadowy corner and comes over to 9. He
has a drawing of the Talisman and seems to want to show it 9,
urgently.
(softly, trying to tell
him of something, but
unable to fully
articulate it)
The source... You must go back to
the source....
9
(turning to 6)
What? What is it? Where?
1 bangs his staff against the floor. 8 stands at attention.
1
Quiet!
(TO 9)
I won't allow you to endanger us
further.
(TO 8)
Subjugate them.
8 looks confused.
S
1
5 Y
9
41.
159 159
1 (CONT'D)
(TO 8)
Take their belongings!
8
grabs 6's drawing and lifts 5 from his crossbow and shakes
him up. 9 tries to stop him.
8 PUNCHES 9 out of the way, knocking him to the edge of the
floor. A knocked chess piece FALLS down the dark abyss below
them.
slowly gets up and addresses 1.
160 160
9
ou're nothing but a coward!
lets out a GASP. 8 heads towards 9 as he laughs and cracks
his knuckles menacingly. 1 cuts in.
161 161
1
(suspicious, angry)
How dare you challenge me! I, who
kept everyone safe all these years.
Ever since you got here everything
has been unraveling. You're a
curse. A fool guided by pointless
queries.
9 stands staunch.
62 162
9
(gritting teeth, angry,
determined; effort at end
as 9 pulls the staff out
of 1's hand)
A
nd you are a blind man guided by
fear.
6 holds onto the key around his neck, looking afraid.
163 163
6
The sky... the sky is breaking....
A shadow comes over them with a faint sound of something
outside. 1 starts to back away.
164 164
1
ometimes fear is the appropriate
response.
The WINGED BEAST tail crashes through the stained glass
window and breaks into the floor right next to 9.
42.
6 looks bewildered and doesn't move. 5 pulls him out of
danger.
6
(whispering, reflexively)
The source... the source...
5, 6, 8 and 9 huddle together. Suddenly the Winged Beast
comes crashing in the window behind them, knocking over the
thurible and splashing hot coals all over the floor.
CUT TO:
...........................................................
SEQ. 140 - Winged Beast Attacks
SEQ. 140 - INT. CATHEDRAL/CLOCKTOWER - CONTINUOUS
5, 6, 8 and 9 see the Winged Beast emerge from the smoke
pouring out of the upset thurible.
The Winged Beast SHRIEKS at them. It catches its foot on the
runner leading up to 1's empty throne. The hymnboard/
calendar topples away to reveal 1 hiding behind it. 1
instinctively clutches his staff causing the bell at the top
of the staff to RING and attracting the Winged Beast's
attention.
1
flees. 8 charges the Beast but it SCYTHES its wing towards
him and knocks 8 across the floor. 8 slides across the floor
to 1, who stands next to 6's picture of the Cat Beast.
1 pushed the picture of the Cat Beast away to reveal a HIDDEN
PASSAGEWAY. 1 runs away as 8 looks at the others for a brief
moment before also running away.
The Winged Beast turns its attention to 9, 5, and 6. The
ragdolls run for the bucket and bell-ropes, but 9 trips. The
Winged Beast advances towards him. 5 reaches out to 9. 9
gestures to him to continue without him.
As 9 recovers himself and makes a break for the bucket, 5
starts to lower the bucket down. Just as the Winged Beast is
about to catch up with him, 9 LEAPS down the shaft and lands
in the bucket with 5 and 6.
Angrily, the Beast lashes its harpoon tail down at them,
piercing the bottom of the bucket. The bucket rocks and 6 is
sent FLYING OUT but 5 CATCHES him in the nick of time.
9
43.
The Winged Beast starts reeling its harpoon tail in. Jerking
back and forth, the bucket ascends, drawing the ragdolls
closer and closer to the Beast.
9 spots a SMALL LEDGE next to a stained glass window.
He opens the side of the bucket and gestures that they should
jump.
The others hesitate, but then 9, 6, and 5 jump out of the
bucket onto a swinging rope, and onto the ledge. The Winged
Beast plummets down the shaft after them.
SEQ. 140 - EXT. CATHEDRAL/CLOCKTOWER - CONTINUOUS
The ragdolls squeeze through a small crack in the stained
glass emerging onto a ledge overlooking the Cathedral's roof.
9 sees 1 and 8 running across the roof and points to 5 and 6
to look down there. Down on the roof, 1 and 8 see 5, 6, and
9. 1 pushes past 8 and runs farther out, towards the front
of the Cathedral. 8 follows.
S
uddenly, the Winged Beast SMASHES through the glass behind
them. It struggles to get through the window but can't quite
fit.
6 is very vulnerable out there.
9 turns to 5.
9
Take him inside.
now climbs out on the gargoyle purposefully.
The Winged Beast FLIES UP into the air, circling lazily. 1
and 8, running on the top of the roof, are very exposed.
Hawklike, the Winged Beast sails towards them.
8 steps up to defend 1. He flips his salt-shaker helmet down
over his face as armor, pulls out his scissor knife and
stands his ground... waiting... waiting for the Winged Beast
to soar in closer...
And then, at the last possible moment, he HURLS his scissor
knife at the Winged Beast. It flies through the air and
catches in the Beast's propeller.
Knocked off balance, the Beast swoops down. 1 ducks out of
the way but it knocks 8 off his feet. 8 slides down the
sloped edge of the roof, towards GAPING HOLE.
.
S
44.
Just as 8 is about to fall into the hole, he catches on to
the edge. His other blade plummets through the hole as he
hangs, desperately... his grip SLIPPING...
9 catches up to where 1 is.
SEQ. 140 - INT. CATHEDRAL - SAME TIME
6 and 5 run down the banisters towards the crashed plane. 6
seems to pull 5 in a particular direction.
EQ. 140 - EXT. CATHEDRAL - CONTINUOUS
The Winged Beast circles around and sets its harpoon tail to
shoot. 1 squints into the sun as the Winged Beast, backlit,
swoops down towards them. He sees a glare come from the tin
roof. 9 gets an idea. He gestures to 1 to help him. 1
scowls, but has no alternative but to help him.
9 peels back a piece of the roof, with 1 helping him. The
ROOF'S
GLARE
beams right into the eyes of the Winged Beast, momentarily
blinding it.
T
he Beast flinches just as it FIRES its harpoon tail at them.
Blinded by the glare, it MISSES and almost hits 8.
The harpoon imbeds itself into a rafter inside the Cathedral.
..........................................................
SEQ. 145 - Wing
SEQ. 145 - EXT. CATHEDRAL/CLOCKTOWER - CONTINUOUS
8 falls onto and then slides down the harpoon's line,
swinging into the Cathedral and landing on the wing of the
airplane embedded in the side of the Cathedral, right next to
5 and 6. 8's weight on the harpoon's line has pulled it more
and more taut...
The Winged Beast is pulled hard into the roof and slides
down, knocking into 1 and 9.
1 and 9 PLUNGE into the Cathedral and onto the plane wing,
where 8 catches them in midair before they hit the wing.
5
9
<
I
1
1
45.
The Winged Beast plummets after them onto the wing. It picks
itself up, spots the cowering ragdolls, and opens up his
bladed beak screaming.
The Winged Beast starts to charge them when suddenly--
7 DROPS DOWN from a high parapet and leaps onto the Winged
Beast's neck.
and 8 stare in surprise. 9 stares in delight and relief.
(stunned and surprised)
7?
mmediately, the beast throws her off towards the others.
She'd dropped her spear; she goes to pick it up and
PFFFFFFT> immediately, her leg is IMPALED by the Winged
Beast, which has fired its harpoon. She is impaled next to
the guys.
7
(LIGHTLY)
I thought you might need some help.
But as she speaks, the Beast begins to reel her in. She
fights viciously.
jumps and grabs on to 7 as she's being pulled away.
7 (CONT'D)
(YELLING)
My spear!
grabs her forked spear and hands it to her. She grabs her
forked spear and stabs it into the plane. The harpoon's
cable is pulled taut 9
between her leg and the Winged Beast.
(yelling to the others)
The cable! Cut it!
8 runs to recover the blade that slipped from his grasp as he
slid down the roof, then runs over and SLICES with all his
brute force through the cable. The cable flies up in the air
and WRAPS itself around the propeller on the end of the wing.
The Winged Beast jerks back, towards the propeller, causing
the whole wing of the plane to tilt, and the ragdolls to
slide. 5 and 6 tumble into the plane's engine room.
A
1
46.
7 clutches her staff. 9 slides by her and grabs on to the
harpoon, still lodged in her leg.
9's staff slides by, and 9 catches it just before it falls
off the wing. As 8 climbs up onto the same buttress fragment
that 7's spear is lodged in, 1 slides down the wing, past 9.
179 179
9 (CONT'D)
(to 1; holding out his
STAFF)
Grab on!
1 grabs 9's staff. Dangling, he sees that the Winged Beast
is close behind, snapping at him with its beak.
9 sees 5 and 6 in the engine room.
9 (CONT'D)
(shouting to 5)
The propeller! Start the
propeller!
6 nods. 5 points to the wires. 5 and 6 gather wires and set
to work. They ZAP the propeller to life and it GROANS... then
whines into motion as it starts taking up the power it had
generated. It goes faster... faster...
Even as the Beast is slowly drawn towards the propeller, it
struggles forward and grabs 1's cape in its beak.
As the Winged Beast pulls 1 closer, 9 strains to hang on to
1, and 7 strains with the added weight on the harpoon
sticking out of her wounded leg.
1
My... my cape!
9
Let it go!
1 glares furiously, hesitates, then undoes the clasp. The
Winged Beast falls backwards down the wing, DIRECTLY INTO THE
DEADLY BLADES.
It is instantly shredded.
Claws, feathers, and strange mechanical debris shower down.
, 9, and 7 look in relief as the Beast is finally destroyed.
fter the clasp is released, 1 has meanwhile recoiled into
9's arms. There is a brief moment of awkwardness as 1 and 9
realize how close they are physically to each other.
A
9
9
1
47.
1 begins to climb up the side of the wing, using dangling 9
and 7 as a ladder.
Perched on top of 7's staff, 1 reaches up for 8, who is
crouched on the edge of the buttress. He grabs 8's hand,
gesturing imperiously to 8 to pull him up.
9
looks at 7 urgently, nodding to her. She gets it
immediately and grabs 1's leg, stopping him.
86 186
1
You fool! We can still save
ourselves!
The plane teeters down to a 90 degree angle. 5 and 6 look up
at the rest of the ragdolls from farther down the wing. 5 is
concerned and almost panicked. 6 is almost zen-peaceful, as
though he can foresee it will be all right.
looks around and sees the rope tied around 7's waist.
(TO 7)
Your rope.
7 throws it down to 9 who ties it to his own waist. The plane
tilts... it's hanging even more precariously now... about to
fall out of the side of the Cathedral entirely...
9 suddenly jumps down into the flames just as the plane
starts to fall. 7 shouts with stress.
The plane EXPLODES as it hits the ground, smoke rising from
the crash. The rope pulls taut, and after the smoke settles
we can see 9 dangling with 5 and 6.
8 pulls the hanging chain of ragdolls up and onto the
buttress fragment.
s 1 recovers himself and straightens his hat, he glances
up... towards the smouldering clock tower...
CUT TO:
...........................................................
Seq. 155 - Sanctuary lost
SEQ. 155 - EXT. LIBRARY GARDENS - TWILIGHT
We can see, in the distance, the Cathedral, on fire.
8 I
9
O
1
48.
The ragdolls have come to the library. Embers from the
burning cathedral drift down like burning snowflakes.
(BROKEN-HEARTED)
Oh... my sanctuary...
The others try to avoid the embers. 9 moves purposefully
towards the library. 1 stands, mourning his sanctuary. His
staff is charred and ruined. He lets it drop. 8 takes 1's
arm and urges him to follow the others.
CUT TO:
.............................................................
Seq. 157 - Seamstress being constructed
SEQ. 157 - INT. FABRICATION FACTORY - SAME TIME
Inside the factory, a shot of the Fabrication Machine
reaching its arms out and gathering remnants and detritus
that we will see later as part of the SEAMSTRESS. [The
Machine is clearly tethered to the Factory.]
ne of the machine's arms discovers 2's body. The arm seems
horribly interested.
DISSOLVE TO:
.............................................................
Seq. 160 - Library
SEQ. 160 - INT. LIBRARY - NIGHT
, 5, 1, 8, and 6 have come to a clearing in the debris
outside the globe. 6 has dropped to the floor and is drawing
his pattern. 1 looks angrily up at the glass ceilings.
1
t's not safe here!
shakes his head, agreeing with his boss.
8
No.
7
(
5
(
7
9
6
1
1
(
49.
1
to 8, keeping his sense
of responsibility)
Stand lookout.
1 points out into the gardens.
(CONT'D)
I'll search out a safer retreat.
moves away, looking for what he might find in the way of a
safer retreat.
8, proud to receive orders, strides off towards the garden,
taking care to STEP ONTO 6's DRAWING and smear it. He laughs
meanly.
shakes his head sadly and takes another piece of parchment
to start over. He is drawing the talisman.
(looking up at the sky; to
7)
There will be more, won't there?
7 nods grimly. 9 looks worriedly after 1's retreating form.
looking after 1's
retreating form)
Forget him.
The twins appear in the crack of the globe. They flash their
eyes and gesture for 9 to come in. 9 moves away into the
globe. 6 sees the twins and, happily, skitters towards them.
and 7 are left alone. 5 works deftly on 7's leg.
5
QUIETLY)
You wanted us to forget you, too?
ALT:
5 (CONT'D)
(QUIETLY)
Why did you leave us?
looks around, trying to find the right words. Finally:
7
I couldn't sit and hide, just
waiting.
(MORE)
8
A
5
7
50.
7(CONT'D)
(APOLOGETICALLY)
I just couldn't. It's...
(contrite, trying to
explain herself to her
FRIEND)
It's not in my nature.
5 nods, smiling ruefully. He knows.
(CONT'D)
(GENTLY)
And perhaps, no longer in yours,
either?
smiles and nods, almost shyly. He's finished fixing her
leg. She flexes it and smiles at him. Now she looks
around, worriedly, sensing something.
CUT TO:
...........................................................
Seq. 162 - 8 & the seamstress
SEQ. 162 - EXT. LIBRARY GARDENS - SAME TIME
8 plays with his magnet, foolishly.
FLASH of something slithering.
8 looks around, but continues to play.
A FLASH again of something slithering closer. Something
menacing.
looks up in horror. Lights flash on his face.
CUT TO:
.............................................................
Seq. 164 - Confrontation
SEQ. 164 - INT. THE GLOBE - SAME TIME
C
LOSE on a DRAWING OF the TALISMAN'S RUNES in ancient
illuminated manuscript. Pull back to see the twins have
found this and are showing it to 9. 5 and 6 crowd around. 6
is clutching his drawing of the talisman.
1
9
(
51.
7 looks out of the globe, intuitively startled, her scout's
sense unhappy. She senses something.
9 looks at her, but also now studies the drawings and the
writings around them that explain them. He studies the
drawings of the RUNES.
9
studying the drawings,
CAREFULLY)
An alchemist's ability to draw
animus into the unanimated...
He turns the page and sees a drawing of the Talisman.
(CONT'D)
Again!
He gazes at the picture as though drawn to it.
9 (CONT'D)
What is it? What can it be?
6 comes over and recognizes his drawing.
6
(trying to help)
The source...!
9
(turns urgently to him)
What? What are you trying to say?
6
(helplessly trying to
articulate something)
The first room--
1 now appears out of the darkness. He sees the manuscript
and the drawings of the runes.
'S VOICE
(ANGRILY)
Dark science.
We whip pan over and see 1 standing in the entrance to the
globe.
1
(ANGRILY)
What good does this useless rubbish
do us? Forget it!
7
(
6
H W
9
52.
He seems unusually agitated.
9 moves towards him, curiously.
hat do you know?
e comes closer to 1.
(WHISPERING)
The source... the source...
1 turns and meets 9's gaze unflinchingly. We have a moment
of admiration for the old soldier's toughness. But he speaks
now with a strange bitterness. He gestures around at the
library, at the ruins of humanity's civilization.
1
(BITTERLY)
I know enough to leave their
ancient evils to moulder. Look
what they have left us with. Leave
it be, I say!
(ANGRILY)
But you. Always asking questions,
so many pointless questions--
probing, pushing--
spitting out the words,
beginning to rant and
rave a little)
like 2--he always had to know--too
MUCH--
9
(SUDDENLY)
I was right! You did send him out
to die!
5
No!
1
He was old! He was weak!
1 suddenly realizes what he's said. He collects himself and
stands tall, defending himself.
1 (CONT'D)
Sometimes one must be sacrificed
for the good of many.
LEAPS angrily at 1, pulling her blade to 1's neck.
C
C
H
9
53.
7
Coward!
Her blade flashes at 1's neck. 9 leaps forward and blocks
her.
9
Stop!
1 stands PROUDLY, staring down 7's blade. Again, we almost
admire the old soldier's fortitude. 7's reckless anger
blazes from her face. 9 looks at the two of them.
(CONT'D)
(IMPLORING)
We must work together. We must use
our thoughts, not our weapons.
9 moves back towards the drawing of the Talisman and looks
down at it.
9 (CONT'D)
The answer to all our questions is
here, in some way. I can feel it.
We must follow this path...
1 glares furiously at all of them, then turns to address 9.
1
Your path takes us to catastrophe.
e strides away.
UT TO:
.............................................................
SEQ. 166 - Seamstress
SEQ. 166 - INT. LIBRARY/ANOTHER AREA - MOMENTS LATER
1
picks his way through the stacks, ranting to himself.
1
an't he see his way only brings
trouble? What good comes from his
path? I know what we need. I know
what is right--
7
T
C
54.
Suddenly, he hears a sound. The twisted corpse of 2 comes
floating out from the stacks like Banquo's ghost. 1 stops,
rigid with terror.
1 (CONT'D)
(MOANING)
No....
2's eyes click on with their hypnotic gaze.
UT TO:
INT. LIBRARY/THE GLOBE - SAME TIME
1's SCREAM echoes through the library. The others rush out
of the globe.
INT. LIBRARY - CONTINUOUS
They race towards 1, into an area of the library with a large
broken FOUNTAIN. The fountain is sunken into the library
floor (with statuary reaching up into the library).
hey now see, to their horror--
THE SEAMSTRESS:
A hideous SERPENT-LIKE CREATURE with NEEDLE-LIKE CLAWS and a
HORRIFYING VACANT FACELESS HOOD.
The Seamstress has sewed the carcass of "2" into her tail in
order to lure and mesmerize the ragdolls. She emits a
GLOWING LIGHT through 2's vacant eye sockets.
She RISES UP and points her sewing needles at 1... we see 8's
limp body trapped in her belly.
The other ragdolls leap into action.
chops off the tail and with it 2's carcass but then is
thrown to the side and trapped as a cascade of books fall on
her.
9 manages to grab 1 who is partially sewn on to the
seamstress but can't free him.
The seamstress lashes out towards them.
5 fires an arrow and hits the Seamstress's eye, blinding her.
She turns to flee, dragging 1 with her. 1 struggles in
mortal terror.
9
1
H
9
A
55.
5 pulls the blade from 2's staff from his quiver and throws
it to 9. 9 catches the blade and cuts the threads away from
1's body, trying to free him unsuccessfully as 1 struggles.
t the very last moment, they manage TO CUT 1 LOOSE. But the
seamstress suddenly darts one of her claws out, GRABS 7, and
SLITHERS OFF out through the library [ALT: through part of a
drainpipe in the bottom of the fountain] with 8 still
attached to her belly and disappears.
T
he other ragdolls run after her but it is futile; she is
gone.
9
(HORRIFIED)
No! No!
...........................................................
SEQ. 168 - Burial and Regrouping
SEQ. 168 - INT. LIBRARY/FOUNTAIN - CONTINUOUS
The ragdolls stand in the bottom of the fountain, where
remnants of water still linger, and water dribbles into the
drainpipe at the bottom of the fountain [ALT: next to the
fountain]. The coin in 1's crown falls to the ground. He
sits down heavily.
The twins emerge, eyes wide. They've seen the whole thing.
They look with alarm at everyone, and sadly, at 2's carcass.
looks in the direction of where the seamstress disappeared.
9
I have to get her back! I have to
go after her!
1
It's too late.
e has a strange, sad look on his face. He looks in the same
direction.
(CONT'D)
(SADLY)
It killed 8... it'll kill her too.
It didn't kill him.
(THINKING)
(MORE)
C
9
T
1
56.
It's taking (cont'd) to the
9 them back
Machine.
The twins look up and nod their agreement. While the others
have been talking, they have found a book cover and have lain
2's body on it. They now put the sword on top of 2 like a
fallen soldier and put his hands on his chest holding the
sword.
9 (CONT'D)
(URGENTLY)
We have to go--all of us. We have
to rescue them--
5
(nodding soberly)
--and destroy the machine for once
and for all.
just bows his head. He's still mourning 8. 9 gives him a
compassionate look.
They turn towards the twins, and see them pick up 1's coin
and place it on top of 2's face. They see that the twins
have prepared 2's body for burial.
hey all bow their heads. The twins now slowly send 2
floating down the remnants of water in the drainpipe at the
bottom of the fountain.
5 pulls out the piece of burlap from 2's back with his number
on it. He hands it to 9.
looks at 5, 9, and the twins soberly.
They look at him. Slowly, they nod, as though accepting
their mission.
1 sighs heavily. Suddenly he looks so very old, so very
tired. He stares down at 2 floating away. Slowly, he nods
as well.
UT TO:
S
...........................................................
EQ. 180 - Destroying the Factory
SEQ. 180 - EXT. OIL FIELD BEHIND THE FACTORY - DAWN
A SHOT of the tallest smokestack. It belches smoke,
darkening the dusk sky.
H
5
9
1
T
9
57.
We pan down, and see SEEKER DRONES (that the newly vitalized
Fabrication Machine has constructed) floating in the air
around the factory, tirelessly looking for enemies. One of
them floats near to camera and its searchlight fixes on
something. We follow the light down.
The light reveals a PUMPING OIL DERRICK, also newly awakened.
Its pump moves up and down in sinister rhythm.
The light moves away from the derrick. Camera stops
following the light and keeps moving down, arriving at the
ground where we now see, in the darkness--
THE RAGDOLLS. They huddle behind an oil pipe waiting for the
Seeker Drone to pass. 1 is weak, but is supported by 5, who
has been patching him, and is just finishing up, pulling the
last thread out of the patch he's sewn onto 1. 1 is
regaining his strength. The twins huddle behind 6.
looks out past the pumping derricks and sees AN ENTRANCE TO
A COAL CHUTE.
9
All right. I'll go inside. You do
as we planned.
(FIRMLY)
EXACTLY as we planned.
he others nod. 9 turns to 5.
9 (CONT'D)
Take charge.
scowls. 5 nods, proudly taking the responsibility.
darts purposefully towards the factory.
looks around keenly, looking up for seeker drones, then
runs out from cover, over to a huge barrel that lies half
buried in the scorched earth. A painting of the Dictator's
symbol is stenciled on the side.
He taps on the front. It is FULL. He looks up in the air at
the seeker drones. They haven't seen him.
We gestures to the others.
e see the barrel is on top of a small hill that leads down
to coal car tracks. The tracks lead to the open mouth of a
coal chute that feeds into the factory.
5 sees a bent spoon on the ground. He smiles, remembering 2
and his ingenuity, and picks it up. He hands it to 1.
T
A
A
A
T
58.
With confidence now, he looks around. He sees a splintered
pile of wood planks, the remains of a wooden derrick
platform. He looks at the others and gestures to the wood.
CUT TO:
INT. FACTORY - SAME TIME
9 darts from hiding place to hiding place inside the darkened
factory, moving towards the Fabrication Machine.
He spots the half-blinded Seamstress and watches in HORROR as
he sees that the Seamstress is giving 8 up to the Fabrication
Machine. 9 is too late to do anything to stop the Machine
from sucking 8's soul.
here is a bright GREEN GLOW as 8's soul is sucked, and in
the sudden illumination, 9 sees 7. She is sewn into the
Seamstress--but is still alive!
NGLE on 9 as he realizes she is still alive and he can still
rescue her! From his hiding place he looks around for a way
to rescue her. He inspects the machinery near him. He sees
a LEVER and GEARS. He looks at his LIGHTSTAFF. He then
spots a remnant of the FABRIC used to create the Winged
Beast. We see he is formulating a plan. He darts his hand
out to drag the fabric towards him.
NGLE on the Fabrication Machine as it begins to power back
up after taking 8's soul.
NGLE on the Seamstress. She turns to get 7, and give her to
the Fabrication Machine. We see the TERROR and DEFIANT FURY
in 7's eyes, but she is immobilized and can do nothing.
Suddenly the Seamstress hears a SOUND. She whips around.
P
OV through the Seamstress's damaged eye: a MOVEMENT in the
shadows.
he Seamstress, distracted from her morbid mission with 7,
slithers towards the movement.
In the shadow we see a RAGDOLL with GLOWING EYES. 7 sees
this and registers recognition, relief, and also TERROR at
what will be 9's fate. But she is unable to move or speak
and now, just as 9 could only watch 8's soul being sucked
out, 7 can only helplessly watch as the Seamstress slithers
closer and closer to its prey. We see the misery on 7's
face.
The seamstress raises her needles and STRIKES the ragdoll,
sewing wildly.
T
T
59.
The ragdoll SWINGS OUT from a string attached to a lever.
The lever now moves down (because of the weight of the
ragdoll) and SWITCHES on machinery. Gears start to turn and
we see the ragdoll is attached and begins to drag the trapped
seamstress in, arms first.
he gears CRUNCH the ragdoll. 7 FLINCHES... but then her
expression turns to amazement as she suddenly sees it is not
a ragdoll at all but is 9'S LIGHT-STAFF DRESSED IN FABRIC.
Instinctively, she looks up, a sudden hopeful look on her
face... just as
9 SWINGS IN and lands on the SEAMSTRESS, tearing a hole in
her back. He slides down the length of her body, FREEING 7.
7 and 9 fall to the ground as the gears now CRUSH THE
SEAMSTRESS.
CUT TO:
EXT. FACTORY - SAME TIME
5, 1, 6, and the twins crouch behind the barrel. We see they
have built two paths of wooden boards leading down to the
entrance of the coal chute, have dug a trench under the
barrel, and have placed a long bar of metal beneath the
barrel.
5
(hoarse whisper)
PULL!
They all pull down with all their weight. The barrel lifts
and teeters, then tips and RACES DOWN THE HILL. At the
bottom, it launches off the boards, spinning into the air and
landing on the rails to the coal chute with a sparking crash.
he ragdolls race down after it.
The barrel rolls and comes to a stop right at the mouth of
the coal chute.
.
..........................................................
SEQ. 185 - Seeker Drone
1
5
1
5
1
W
60.
SEQ. 185 - EXT. THE FACTORY - CONTINUOUS
5, always looking around warily for the seeker drones,
directs 1, 6, and the twins to conceal themselves behind the
barrel. He anxiously stares down the tunnel.
5
here are they?
The twins' eyes flicker anxiously. 1 looks down the tunnel
as well.
It's been too long. We should take
action.
hesitates.
(CONT'D)
Are you forgetting what he said?
If he doesn't return--continue as
planned.
hesitates. He peers down into the darkened tunnel.
(CONT'D)
EXACTLY as planned!
He grabs a sharp piece of metal and stabs the side of the
barrel. He stuffs an old rag into the hole and grabs a match
out of 5's quiver.
5
(SHOUTING)
No--stop!
Immediately a beam of bright light focuses down on them.
They look up and see one of the horrible SEEKER DRONES
floating directly above them.
Its two slug-like eyes reel in recognition. The wail of an
air raid siren pierces the still night.
1
(TO 5)
Fool!
CUT TO:
(
1
1
7
T
61.
INT. FACTORY - SAME TIME
9 and 7 sneak towards the coal chute escape. They hear the
SIREN go off.
he siren alerts the FABRICATION MACHINE to their presence.
They turn and see the Fabrication Machine's arms bearing down
on them [the Fabrication Machine is still clearly tethered to
the factory]. Scores of small Spider Beasts emerge from the
shadows towards them.
and 9 race desperately towards the coal chute escape with
the Spider Beasts crawling and spinning after them.
CUT TO:
EXT. FACTORY - SAME TIME
5 instinctively fires his grappling hook at the Drone. 5, 6,
and the twins try to drag the Drone down.
brandishes the match. We suddenly hear the sound of the
SPIDERS. 1 looks down the tunnel.
FIERCELY)
More creatures! We have to ACT!
NOW!
1 strikes the match on the side of the oil barrel and is
about to light the rag. 5 grabs his arm.
5
No! Not yet--
They tussle over the lighted match when suddenly--
9'S VOICE
What did I tell you? Light it!
Now!
7 and 9 run towards them. The eyes of the spiders can be
seen right behind them. 1 looks at the burning match in his
hands, thinking about what he almost did...
5
(CONFIDENT)
Now!
7
1
T
62.
1 sets the rag on fire. The ragdolls jump behind the barrel
and PUSH it into the tunnel. 7 and 9 just make it, leaping
out of the tunnel as the flaming barrel HURTLES down the
tunnel--DRAGGING the SEEKER DRONE with it--crunching over the
unseen Beasts--and landing in the factory and --
BLAM!!!!
THE FACTORY EXPLODES.
he dolls run from the blast. 9 and 7 look on in triumph.
...........................................................
SEQ. 190 - The Dolls Celebrate
SEQ. 190 - EXT. WASTELAND/A RUTTED FIELD - CONTINUOUS
The ragdolls walk up to the hill away from the explosions.
6, and the twins pick up old debris along the way and study
it.
T
he group turns and watches the factory as it burns to the
ground.
311 311
5
(TO 9)
It's done.
The past is dead.
turns to 9, her face full of gratitude.
7
And some of us very much alive.
9 warmly clasps her arm. She pats his hand. They look with
great affection and appreciation at each other.
The twins chatter: they've found an old Victrola lying in the
debris, with an old warped record still on it. They climb
onto the record, tripping the needle arm onto the disc, and
begin walking on the record.
A scratchy old melody comes from the large Victrola
amplifying horn. 7 smiles at the sound of the music. She
leaps on the record, joining them. As they walk faster, the
music speeds up.
1 comes up behind them. He looks deep in thought. He
catches his hat as it begins to slip off his head.
9
9
H
9
H
(
63.
1 goes to sit down and rest, sitting on a brick. 5 heads
over towards the others. But 9, seeing 1's contemplative
mood, stops next to 1. 1 looks up at him.
1
REGRETFULLY)
I've been a bitter old pill,
haven't I?
9 looks at 1, not sure how to respond. 1 now also sees 2's
old staff that 9 is still holding onto.
He looks over at 9.
1 (CONT'D)
I lost sight... of many things.
e looks at 9 as though to beg his forgiveness. 9 sits down
next to him.
We've both made mistakes.
e looks over at the smoldering remains of the factory.
9 (CONT'D)
What's past is past.
They look at each other for a beat, then look over to the
others, relaxing together on the Victrola.
holds out his hand to 1. 1 gives 9 his hand and 9 helps
him up. As 1 stands, his heavy headpiece falls off and
shatters.
looks in horror. But 1 just looks at it, shrugging and
slightly smiling.
1
It was always so heavy.
1 smiles.
H
e now runs his hand over his head, which we now see has a
funny looking pony-tail like protuberance. 9 hesitates,
then can't help CHUCKLING. 1 sees him, then starts to LAUGH
as well.
9 and 1 go over together to the Victrola. 7 notices as 9
helps 1 climb up on the Victrola and starts to celebrate.
9 joins 7 near the needle and 6 sits on the crank as it spins
around. Everyone is enjoying the music.
3
9
S
6
64.
5 discovers a trove of records (enormous in scale compared to
the little ragdoll). He curiously begins to go through them.
He picks one out.
But it rolls away from him. It rolls towards the hill and
then down the hill. 5 runs after it.
Behind him, unseen by anyone, the talisman crackles and glows
slightly.
notices.
6
No... it .... it... it...
9 sees 6's beginning panic and whirls to see --
...........................................................
SEQ. 200 - The Fabrication Machine Breaks Free
EQ. 200 - EXT. WASTELAND/A RUTTED FIELD - CONTINUOUS
5 running down the hillside. And suddenly--
--the enormous Fabrication Machine, RISES UP, free of the
factory, TOWERING over him like a giant monster.
THE TALISMAN is GLOWING ferociously in the Machine's front.
NO!
He tries to run towards 5. 5 SHRIEKS, running back towards
the others.
5
Run! Run!
The other ragdolls whirl and stare, frozen, at the hideous
apparition...
They leap off the spinning Victrola, hitting the needle and
the music SCRATCHES TO A HALT.
Before anyone can get to him, 5 is SNATCHED by the TOWERING
MACHINE.
30 330
9
No!
G
.
65.
9 tries to run towards the Machine. 1 pulls him away
frantically, fiercely forcing 9 to allow himself to be saved.
1
(TO 9)
There's nothing you can do!
5 faces the Machine as the green of the TALISMAN shoots out
at him, sucking his soul into its portal. The Machine's eye
turns green showing it has absorbed the soul, then back to
glowing red.
333 333
9
No! No!
The Machine again SHAKES and then seems momentarily paralyzed
as it ingests the soul, giving the ragdolls a moment to flee,
scrambling, desperately trying to get up the hill and escape.
1 looks over to the bridge. His general's instincts kick
back in.
1
Follow me!
The Fabrication Machine powers back up and lumbers after
them. The dolls head over to the bridge.
..........................................................
SEQ. 201 - The Bridge
SEQ. 201 - EXT. BRIDGE - CONTINUOUS
335 335
9
o! Get across!
9 sends 1 and the twins across the bridge. He turns to 7 but
they don't need to speak--they both understand the plan.
They linger behind, luring the Machine.
1 tries to drag 6 across the bridge. 6 resists:
337 337
6
No! No! No!
The twins chatter. 6 is moving slower than the others. 1
grabs his arm and pulls him off the bridge.
338 338
1
Come on, we can't stay here!
N
3
(
T
66.
6
(protesting incoherenly to
1)
339 339
No... they mustn't... they
can't.... no...
The Fabrication Machine lumbers up the hill. 9 and 7 clamber
onto the bridge... get out to the center and stop. They wave
their hands and weapons trying to get the Machine to come to
the bridge.
The Machine CRASHES onto the bridge. It lumbers ferociously
after 9 and 7.
9 and 7 struggle to get to the end of the bridge.
The Machine is closing in on them... they frantically
struggle across, the Machine gets closer... closer...and
...suddenly the floorboards GIVE WAY under the Machine's
enormous weight.
he Machine scrambles and claws at the splintering boards but
falls through.
I
t hangs on with two of its mechanical legs, one on each side
in the broken bridge. Inexorably, it begins working its way
back up...
7 and 9 start sliding down the bridge as the Beast's weight
is making the bridge fall.
ALT:
339 339
9
efforts prying off the
Fabrication Machine)
Pry it loose!
They continue prying, hammering, pounding at the Machine's
legs with the steel scraps.
6, 1, and the twins watch with horror.
7 and 9 have almost managed to pry the Machine loose, and are
about to send it plummeting to its destruction.
6 breaks free from 1's hold. 1 grasps after him, trying to
stop him. 1 only grabs onto 6's key. 6 runs out onto the
bridge.
42.5 342.5
6
o, no, you must not destroy it!
6
6
B
Y
67.
He points to the Talisman on the machine.
6 (CONT'D)
We need it... they are inside...
343 343
7
Go! Get away!
9 looks in puzzlement at the Talisman. There's an
astonished, questioning look on his face.
7 (CONT'D)
(screaming at 9, re 6)
He has to go --
She grabs 6 and pushes him to the side.
6
ou must go back... to the First
Room...
9 looks at 6, trying to understand him. The Machine twists
and turns.
ehind him, the Machine begins to regain its footing.
(CONT'D)
He is there... He will show you...
6 suddenly gets a look of doomed horror on his face.
(CONT'D)
Come for us...
(his last words, urgent)
The source...
--and one of the Fabrication Machine's robotic arms grabs 6.
346 346
9
No!
9 goes for 6 but can't get to him.
The bridge starts to give way 9 and 7 run to the other side.
9's light staff slides and falls down into the dark crevice.
The Fabrication Machine is now hanging off of one side of the
bridge, still holding on to 6.
9
and 7 flee wildly across the disintegrating bridge. They
make it across to the other ragdolls at the other end of the
bridge, just in time.
9
(
9
1
9
S
68.
The Fabrication Machine tries to back up on the bridge but
ends up getting caught in the beams, which form a cage around
him. The other ragdolls yell to 6 from the other side of the
bridge.
The Fabrication Machine brings 6 up to its eye.
...........................................................
SEQ. 202 - Disagreement
EQ. 202 - EXT. BRIDGE - CONTINUOUS
9 watches in horror as the Machine sucks 6's soul. As before,
the Machine SHAKES and then seems momentarily paralyzed as it
ingests the soul. It then re-animates.
1 strides over to 9.
1
We must destroy it.
9 stares at him. We can see a sudden new thought is forming
on his face.
We can't.
looks at the Machine.
1
Anything can be overcome. One
just needs the right weapon.
No. We can't destroy it.
TO 7)
You heard him: "Come for us."
They're still inside--
7
9, they're gone.
No. I don't think so. We can get
them back. I just have to figure
this out.
(trying to parse 6's
WORDS)
"The first room...."
7 tries to persuade 9.
9
7
9
P
I
1
W 9
69.
7
e need to get a weapon. Quickly.
(trying to parse 6's
words, completely focused
in thought)
"The source... he will show you..."
The machine screams, starting to break free.
turns, abruptly, making a decision.
1
This raving will get us nowhere.
'm going to find a real weapon.
1 turns and stalks off. The twins hesitate, uncertainly.
7 goes over to 9 and implores him.
7
lease. Leave it. Come with us.
9, determined, certain of his path, shakes his head gently.
No. I can't.
looks sad, but she feels she has no choice. She ushers the
twins away and they follow 1. The twins are carrying 6's
key.
9 (CONT'D)
(MUTTERING)
The source... the First Room...
Suddenly he looks up. He gets it!
(CONT'D)
The First Room!
SMASH CUT TO:
...........................................................
SEQ. 210 - Return to the Workshop
W
H
H
H
C
70.
SEQ. 210 - INT. ATTIC WORKSHOP - DAY
9LOSE ON THE SHUTTER banging in the Attic Workshop.
is staring at it, then looks around the Workshop.
e sees the Scientist on the floor. He recognizes him.
He looks up and climbs up onto the table.
e sees the machine that he fell out of. He sees diagrams.
He sees a journal, with drawings and thoughts. The drawings
include: the original machine... the talisman... sketches of
the dolls... the diagram that we saw in the Library
manuscript...
e looks further and sees a strip of film. Curiously, he
picks it up, and now sees it's feeding into a rickety old
movie projector which now TURNS ON and we see --
THE DOCUMENTARY FOOTAGE that we saw being made in the TITLE
SEQUENCE [It can be the exact same footage, or can be
slightly altered if necessary for our uses here; if we still
want to hear the radio it should be mixed in very low, so we
are aware of it but it doesn't interfere with the scientist's
dialogue. This is constructed so the scientist can be in
V.O. only until the end, but if possible we can also see the
back of the scientist in the first few pieces of footage].
We HEAR the scientist's voice and we realize the Scientist
WAS ADDRESSING THE DOLLS.
e see first, THE FOOTAGE OF THE SCIENTIST MAKING 1 and hear
the scientist:
SCIENTIST'S VOICE
(MUTTERING)
It had such promise... my first
creation...
We see, on the table, a drawing of the original machine, as
the Scientist assembles the raw materials of 1. Sounds of
WAR in the b.g.
SCIENTIST'S VOICE (cont'd)
(BROKEN-HEARTED)
...but it was taken... and bent to
such evil...
We see him making 1.
(
I
71.
SCIENTIST'S VOICE (cont'd)
...so little hope remains... that
is why I create you...
The footage crackles out, then RESUMES.
Now we see the FOOTAGE OF THE SCIENTIST MAKING 5.
SCIENTIST'S VOICE (cont'd)
(much more weakly)
I am unable to reverse the transfer
process... my life force diminishes
with each one of you... it is all
right... you will thrive...
Tenderly, he puts 5 together.
The footage crackles out, then RESUMES.
Now we see the footage OF THE SCIENTIST MAKING 9... with
louder, more explosive sounds of WAR in the b.g:
SCIENTIST'S VOICE (cont'd)
...so little hope remains... that
is why I create you...
n the footage we now see him putting 9 into the strange
machine, putting the finishing touches on 9... brushing his
hand across the little box...
WE PULL OUT of the footage to see 9, looking in astonishment
at the flickering footage.
9 looks over at the little box in the scientist's hand in the
footage, and suddenly
FLASH
9 goes into a startling FLASHBACK:
HIS POV as he is suspended in the strange machine... he sees
the scientist, clutching the little box, from the front as
the scientist approaches him, a look of endless love on his
weakened, haggard face.
SCIENTIST
tenderly, to 9 directly)
... it's up to you now...
(with his last breath of
ENERGY)
...you...you are all the pieces of
my soul...
T
9
9
C
9
9
9
B
72.
The scientist puts the strange face mask on and 9's POV is
suffused with a GREEN GLOW. The talisman clicks shut, the
soul transfer completed. We hear the scientist fall to the
ground, his soul depleted.
ACK TO PRESENT TIME:
9 comes out of his vision. He looks over the side of the
table at the dead scientist.
walks to the scientist and stares at the dead man.
(finally realizing it;
GENTLY)
You. You're the source...
He reaches out to the skeletal hand clutching the box, then
simply touches the Scientist's hand, tenderly. He looks up,
a new, resolute look in his eyes.
CUT TO:
S
...........................................................
EQ. 220 - Reunion
SEQ. 220 - EXT. THE WASTELAND - NIGHT
runs through the Wasteland looking for the others.
UT TO:
EXT. THE WASTELAND - NIGHT
sees the others through barbed wire. They're carrying a
large missile towards an old cannon. 9 ducks under and
hurries towards them.
He--he's the source.
They stare at him, uncomprehendingly.
9 (CONT'D)
The Scientist! The one who made
the machine. He gave us life too.
hey stare at him.
7
9
7
73.
7
How?
9 pauses at the enormity of it. Finally:
9
He... he used his own soul.
and the twins look at him in awe and surprise. 1 seems
strangely unmoved.
(CONT'D)
That's why the machine is hunting
us. It was warped, reprogrammed to
hunt humanity. It, and the
machines it made, killed
everything. Except us.
They stare at him.
9 (CONT'D)
We're all that remains.
Suddenly the ground starts to shake. We hear the machine
approaching. 1, 7, and the twins run to the missile.
9 (CONT'D)
No! Don't destroy it!
What? It's hunting us! It'll
never stop! You said it yourself!
9
No. First we have to get them
back.
7
It's impossible!
She continues loading the missile with 1.
9
It isn't. I have an idea.
1
Enough of your ideas! We need to
load the weapon!
...........................................................
SEQ. 222 - The machine attacks
74.
SEQ. 222 - EXT. THE WASTELAND - CONTINUOUS
The Fabrication Machine appears from BEHIND THE CANNON. The
ragdolls are CAUGHT OFF GUARD and scramble to get away just
as its claw SMASHES down, DEMOLISHING THE CANNON.
The dolls fly back from the blast. 9 is the only one
standing. 9 deliberately walks towards the Machine. 7
rushes over, trying to pull him away.
7
(trying to get back up)
Stop! You're a fool!
The Machine swipes at 9 with its claw. 7 tries to stop it
from getting 9. The Machine sends her flying. She lands
badly and can't get up immediately. The Machine regroups,
then begins to re-approach 9. 9 stays put.
INSISTENTLY)
It powers down right after it takes
a soul! Just for a few seconds.
he twins chatter frantically. 7 struggles to get up.
No it doesn't!
9
Yes, it does. You'll see. I'll
let it take my soul. Then
after.... take the device.
e points to the talisman on the machine. He stands as the
Machine approaches.
7
But what if you're wrong?
(begging him)
Don't do this--
9
must.
The Machine raises its claw to grab 9 when suddenly 9 is
KNOCKED ASIDE and --
1 TAKES HIS PLACE.
9 (CONT'D)
No! What are you doing? Stop!
T
W
T
1
75.
He tussles with 1 but 1 pushes him aside with surprising
strength.
(TO 9)
They left us nothing. Nothing.
What right did they have to burden
us? Why did we have to right their
wrongs? So I refused. I refused
our path. But now... I see... we
cannot refuse it. We are all
that's left. We must complete
our journey.
he Machine raises its claw again and grabs 1.
1 looks over to 9.
1 (CONT'D)
Sometimes one must be sacrificed
for the good of many.
ith a horrible green glow the machine TAKES HIS SOUL. The
twins look away, distressed.
7
(TO 9)
Go! Get away! Hurry!
9
NO--NO--
But the machine RISES UP TERRIFYINGLY. It looks for a moment
as though 9 was wrong and they're all going to be killed.
They all cringe with horror.
But then, as 9 had remembered, the Machine powers down to
"digest" 1's soul.
9
darts in and GRABS the TALISMAN.
he machine, with a terrible shrieking sound, falters, then
crumples, dead. Sparks and smoke spew from it. Oil bubbles
down its sides. It is lifeless--just a pile of jumbled
machinery.
7 and the twins approach and all of them look down at the
Talisman in 9's hands and we:
DISSOLVE TO:
6
T
9
T
I
76.
...........................................................
SEQ. 240 - Souls Released, Life Renewed
SEQ. 240 - EXT. RUINED CITY, JUST OUTSIDE OF THE SCIENTIST'S
HOUSE - NIGHT
Smoke rises from the center of a funeral pyre the dolls have
made.
t is a circular pyre, with spokes reaching out from the
center.
At the end of each spoke is the burlap skin of one of the
fallen ragdolls, with its number stretched across a pole.
In the center, a small FIRE flickers.
9 stands in front of the last pole, holding 5's skin in his
hands. He looks down at it in his hands and sadly places it
upon the pole, looking up towards it.
he twins come in with artifacts from the Scientist's studio.
The journal. The tiny box. They put them down to the side.
and 7 take the Talisman and place it IN THE CENTER, in
front of the fire.
he Talisman pulsates, vibrates, and shakes, and, finally
BURSTS. A huge GREEN GLOW reaches up to the sky and the
ragdolls' souls emerge.
8 emerges and walks to his number. He nods to 9, 7, and the
twins. They nod back, acknowledging the fierce warrior.
2 comes out with 5 close behind. 5 places an arm around 2.
emerges from the Talisman energy. He sees his key and
caresses it.
1 emerges and comes over to stand next to 9. He nods,
acknowledging that 9 has finally completed the mission. He
looks up to the sky. The others follow his gaze.
Together, spirits and living, they all watch together, and
watch as the beam shoots up to the sky. We see THE SKY
CHANGING, HEALING, RENEWING ITSELF.
A healing rain begins to fall.
77.
The souls of the slain ragdolls now rise and dissipate into
the healing energy.
9 and 7 watch. 7 puts her arm around 9.
The twins chatter: they've taken 6's key and tried it in the
little box's keyhole. It opens the box. 7 and 9 go over as
the box is opened:
It is a music box.
As they see themselves reflected in it, they see the word
"HOPE."
Camera pulls back slowly... revealing a tiny tendril of green
grass growing.
FADE OUT.
THE END
CASE 39
Written by
Ray Wright
02/06/06
INSPIRED BY REAL EVENTS
1.
Pitch black. We hear FOOTSTEPS sneaking up an old wooden
staircase. Two people moving as one.
Topping the stairs, they creep down the hall to the closed
door that protects us. We can hear them behind it,
whispering, bickering insanely, one shushing the other.
The squeak of a door knob slowly turning. The faint click of
the latch. And the door inches open, throwing a razor-thin
shaft of light into the darkness where it illuminates a
FRIGHTENED EYE
As a ten-year-old GIRL sits up in bed. Dead tired. Staring
at the two dark faces peering in at her.
GIRL
I can see you...
And the door closes, leaving us once more in total darkness.
We can hear them bickering again as they shuffle away, their
footsteps descending the stairs, fading into the uneasy
silence of this old house...
INT. FIFTH GRADE CLASSROOM, LOS ANGELES - DAY
A young teacher (DARLA) chalks a lesson on a blackboard in a
sun-drenched Los Angeles classroom.
DARLA
-- and we know from yesterday that the
base of a triangle times half the height
equals the area.
A girl in the back row raises her hand.
DARLA
Yes, Mia?
GIRL
Lucy's asleep again.
Darla puts down the chalk and comes up the aisle to where a
slight, fair-skinned girl in a thrift shop dress sleeps head
down on her desk. The girl from the opening scene. LUCY
SHERIDAN. Darla stands over her with obvious concern. Puts
a finger to her lips to quiet the giggles.
DARLA
Let her sleep.
She draws the shade. It drops a shadowbox on the sleeping
girl.
2.
INT. COUNSELING ROOM, DEPARTMENT OF CHILD SERVICES, LOS
ANGELES - DAY
A former gang member sitting with his wife and troubled eight-
year-old son. The MARTINEZ FAMILY. A family in crisis.
Sitting opposite is an LA County social worker. Twenties.
Attractive but overworked. EMILY.
GANG MEMBER
He would just go off, you know, start
tearin' the place down. You didn't even
know why he was doin' it half the time,
you just got out of his way...
EMILY
And what you learned from your father now
Diego's learning from you...?
It's painful for him to hear that. He loves his son, quit
the streets for him. Overcome by emotion, he nods yes.
EMILY
That really upsets you, doesn't it?
He wipes his eyes on his tattooed arm.
GANG MEMBER
Yeah. Cuz I mean I don't want him to be
like me.
The boy looks at his father, has never seen him cry before.
INT. CORRIDOR - DAY
Outside the conference room, Emily musses the boy's hair.
EMILY
A whole week without skipping school? Is
that true?
He smiles, nods. A glimpse of the boy he might have been.
EMILY
That's the last time I make a bet with
you.
(to his parents)
See you guys next week.
The Martinez family heads down the hall, Diego lagging
behind. Emily watches with guarded optimism, knowing their
chances. Then turns to the NEXT FAMILY, welcoming the
BELEAGUERED MOTHER:
3.
EMILY
You cut your hair. It looks great.
INT. EMILY'S CUBICLE - DAY
The hurried opening and closing of files reveals PHOTOS of
abused children. Bruises. Cuts. Broken bones. Emily
trying to locate a single case amid the stacks and clutter on
her desk. An angry mother SCREAMING at her on the phone:
EMILY
No one is trying to steal your child,
they found bruises and cigarette burns --
Mrs Lynch, I read the medical report --
well, if you feel you need legal
representation that's perfectly within
your rights...
A flurry of obscenities followed by a dial tone. Emily puts
the phone down. Sighs wearily.
WAYNE (O.S.)
One less Christmas card for Emily.
Her supervisor WAYNE, forties, gay, leaning in the doorway.
WAYNE
How many active cases you have?
EMILY
Thirty-eight.
He drops another file on her desk.
EMILY
No, absolutely not, look at this, Wayne,
look, I'm buried --
WAYNE
Sorry, Em, we all are.
He walks off. Emily shoves the new file onto the shelf above
her desk. Looks at it guiltily. Takes it down again.
Handwritten on the front: SHERIDAN, LUCY.
She opens it. A school portrait of ten-year-old Lucy clipped
to the preliminary report. The sad face draws Emily in.
EXT. WILSHIRE BLVD - DAY
An old VOLVO WAGON skirts rush hour traffic on Wilshire.
Faded red paint. Ski rack on the roof. An ancient
bumpersticker says Educate.
4.
INT. VOLVO WAGON - DAY
IPod jacked into the car stereo playing hip alternative
MUSIC, Emily leans on an elbow as she drives, not crazy about
L.A. but at ease with herself.
EXT. EMILY'S HOUSE - DAY
Emily's red Volvo wagon turns in the drive of a single-person
home she rents in a working-class neighborhood.
INT. EMILY'S HOUSE - DAY
Cozy. Her haven. Light colors offset dark hardwood floors.
Emily comes in, stack of files under her arm. Tired. Long
day. Drops the files in a chair. Sprinkles some food in a
fish tank. Referees through the glass.
EMILY
Don't fight. Hey, that's his.
Turns on the tv. World news. Violence. People suffering.
Turns it off. Puts on some quiet music. Hits play on her
answering machine as she flops down barefoot on the sofa with
a magazine, peeling an orange, decompressing.
YOUNG WOMAN'S VOICE
Hey, it's Suze, missed you at yoga the
other day, give me a call.
BEEP.
YOUNG WOMAN'S VOICE #2
Hi, Em, Jackie, just checking in, hope
you're good.
BEEP. A charming male voice:
DOUG'S VOICE
Exhausted, her career path questionable,
her faith in mankind shaken, she resisted
her tendency toward introspection and
went to have a drink with her friend
Doug.
BEEP. Emily gives a tired sigh. Faint smile under it.
INT. BAR - NIGHT
Noisy, trendy downtown bar. Professional type on a bar
stool. Thirties. Handsome. DOUG. He laughs when he sees
Emily.
5.
DOUG
I am so in your head.
She gives him a kiss. Sits down beside him.
EMILY
Be honest. The whole psychology thing,
it's just about scoring chicks, isn't it?
DOUG
Regrettably, yes.
They share a laugh. He gestures to the bartender for another
beer.
EMILY
You know what freaks me out?
DOUG
That you have a four-year degree and make
seventeen grand a year after taxes?
EMILY
I sit there talking to these families,
you know, like I'm some expert. My
family's a train wreck. I mean, I had
this moment today where I realized I
might be totally full of it.
DOUG
Everybody's full of it. In the end
you're a number to call for people who
don't have anyone else. There's no way
that's bad.
Emily nods, appreciates that. Recognizes a girl going by in
the crowd. A friend from school. Well-dressed. Career-
oriented. The track Emily might be on if she weren't a
social worker.
EMILY
Hey Becca...
FRIEND
(HUGGING HER)
Hey. So one of us is a major screwup, I
can't remember if I was supposed to call
you or the other way around...?
EMILY
No, it's me, it's just been a crazy
couple weeks. You remember Doug.
6.
FRIEND
(HANDSHAKE)
Hi.
(then to Emily)
Listen, my ride's leaving, let's catch up
soon, okay?
Emily nods okay. The girl departs. Emily's beer arrives.
Doug hands it to her.
DOUG
So anyway, I've done some soul searching
and I just want to say that if a full-on
relationship feels like too much right
now, I'd be willing to consider a purely
physical one.
Emily, sipping her beer, smiles.
DOUG
Hey, you might actually enjoy yourself.
EMILY
I'm sure I would, I just...
Hard to explain. Doug saves her the trouble.
DOUG
I know, I know, the job, you get home you
don't have anything left.
Emily nods yeah, leans in closer, the friendly banter giving
way to a moment of real sincerity.
EMILY
If it were anyone, it'd be you.
They exchange a look then Doug clinks his glass against hers.
And as they drink together after a long day, more than
friends, less than lovers...
INT. EMILY'S BEDROOM - NIGHT
Emily in glasses, reading the Sheridan file on her bed. The
preliminary report concerns her: "Socially withdrawn. Lack
of appetite. Sleeping at school..."
Her gaze returns to Lucy's photo. Sadly, under her breath:
EMILY
What are they doing to you?
7.
EXT. SHERIDAN HOUSE - DAY
A dark, rundown family home on a once-prosperous cul de sac.
Emily pulls up. Gets out. Checks that she has the right
address. Halfway up the walk something stops her dead in her
TRACKS -
A WOMAN'S FACE
staring at her through one of the lacy white curtains
upstairs. Ghostly pale. Gone as soon as she sees it. Emily
stands frozen for a moment. Walks on.
She reaches to knock on the door and it opens abruptly, the
security chain snapping taut. A woman's voice growls at her
from the darkness inside:
WOMAN'S VOICE
What?
EMILY
Emily Jennings. Child Services? We
spoke on the phone...?
Peering through the crack is the pallid, bony face from the
upstairs window. Lucy's mother. MARGARET SHERIDAN.
MARGARET
You said the seventeenth.
EMILY
Today is the seventeenth.
MARGARET
Is not.
EMILY
I'm sorry, but it is.
MARGARET
Friday was the thirteenth.
Emily, rather amazed at the conversation she's having, takes
a newspaper from her bag. Indicates the date.
EMILY
Friday was the fourteenth, that makes
today the seventeenth. Monday the
seventeenth. The date of our
appointment.
The door closes in Emily's face. What the hell? Then we
hear the chain unlock. It opens again.
8.
And we get our first good look at Lucy's mother. Gaunt.
Pale. Dark rings under her eyes. She steps aside, not
welcoming Emily in, merely allowing her to enter.
INT. SHERIDAN HOUSE - DAY
It's dark, the curtains drawn. Margaret twitches one open in
begrudging courtesy. The house is tidy but sad, steeped in a
kind of puritanical gloom. Lucy peers down through the
upstairs banister, anxious, unsure what's going on. Emily
sees her, smiles.
EMILY
Come down, I'd like to meet you.
Lucy hesitates, sensing her mother's disapproval. Comes
slowly down the stairs. Emily shakes her hand.
EMILY
My name's Emily. What's yours?
LUCY
Lucy.
EMILY
Pretty name. Pretty girl.
Lucy turns shyly away.
EMILY
(TO MARGARET)
Is there somewhere we can talk?
Margaret sighs and heads down the hall.
INT. LIVING ROOM, SHERIDAN HOUSE - DAY
Emily, file in hand, trying to project professionalism in an
arm chair that tilts to one side. Margaret and Lucy sitting
opposite on the sofa.
EMILY
When do you expect your husband back?
Margaret shrugs.
EMILY
Because we've found it's more beneficial
if the whole family participates.
MARGARET
Well he's not home so...
Shrugs again.
9.
EMILY
Do you have any way of contacting him?
MARGARET
Not if I don't know where he is.
Just then we hear a POWER TOOL go on in the basement. Emily,
sensing the lie, indicates the floor.
EMILY
Is that...?
Margaret averts her eyes.
EMILY
Would you ask him to join us?
MARGARET
He doesn't have anything to say.
EMILY
Would you ask him?
Margaret weighs Emily's resolve, gives Lucy a cautionary
glance then exits. We hear her open a door and holler into
the basement over the noise of the power tool.
MARGARET (O.S.)
Edward! EDWARD!
The power tool stops.
MARGARET (O.S.)
That lady's here. From the state. She
wants to talk to you.
We hear an angry unintelligible reply.
MARGARET (O.S.)
I already told her, she wants to anyway.
We hear the power tool get thrown aside. FOOTSTEPS pounding
up the cellar stairs. Emily's and Lucy's faces reflect the
same simple fear. Their eyes meet.
EMILY
It'll be okay.
Lucy not so sure. The FOOTSTEPS are upon them. EDWARD
SHERIDAN makes his entrance. A menacing man with a gaunt
face and dark deep-set eyes. Emily holds out her hand.
10.
EMILY
Hi, I'm Emily --
Edward forgoes the handshake, his contempt obvious. Sits
beside Lucy on the sofa. Margaret sits on the other side.
Lucy tenses, trapped between them. Emily speaks with
kindness and composure. Hostile encounters part of the job.
EMILY
I'm here today because Lucy's school is
concerned about changes they're seeing in
her academic performance. The kinds of
changes they're seeing are often
associated with family problems.
Edward leans over and whispers something caustic in
Margaret's ear.
MARGARET
Eddie says we don't have family problems.
EMILY
That's just it, many times a family won't
even know they're having problems until
it's too late. That's where we come in.
We help families communicate and learn
healthier ways of resolving conflict.
Edward whispers again in Margaret's ear.
MARGARET
Eddie says we don't need your help.
EMILY
Mr Sheridan, is there some reason you
won't speak to me directly?
Edward just stares at her.
EMILY
(TO MARGARET)
Is there some reason why your husband
won't speak to me directly?
Margaret nods, gives Edward a look as though for permission.
MARGARET
Eddie doesn't like speakin' out of anger.
Emily does well to hide her fear. Refusing to be
intimidated, she engages Edward's stare. A battle of wills.
But his gaze has a murderous intensity she can't match. She
looks down, shuffling papers. Battle lost.
11.
INT. CHILD SERVICES - NIGHT
Emily follows Wayne along a row of cubicles after hours.
He's dropping files on desks. The new cases never stop.
WAYNE
No laws against being weird, Em. Send it
over to CMC, we'll do a follow-up in a
month.
EMILY
I didn't say weird, I said scary. The
guy sat there the entire time staring at
me, the mother is like his emotional
slave.
Wayne pauses in mock bewilderment.
WAYNE
Wait, did you just fly to New York and
meet my parents?
EMILY
Wayne, this girl's in trouble. I can
feel it.
Beneath Wayne's humor, a sober, hard-learned practicality.
WAYNE
Wanna know what I can feel? The lawsuit
we're gonna get hit with if we violate
her parents' rights without any evidence
they've done something wrong.
EMILY
Every time I talk to you you sound more
like a lawyer, you know that?
WAYNE
Yeah, well, maybe because every time I
make an emotional decision I get called
by one. I'm sorry, you're gonna have to
let this one go.
EMILY
You put these files in front of me and
you ask me to tell you what's going on.
Well, I'm telling you, there's something
going on and it's not something good.
I've done my job, I've told you, what you
do with it is yours.
She walks off. Wayne alone after hours with his conscience.
12.
INT. CORRIDOR, CHILD SERVICES - DAY
The elevator doors open with a DING and Edward and Margaret
Sheridan step out in their Sunday best. Benevolent faces.
Lucy between them, ribbon in her hair, brand new dress,
appearing coached as she eats an ice cream cone.
Emily, disgusted by the charade, trades looks with the
parents as they go past.
INT. PRIVATE CONFERENCE ROOM - DAY
Gazing fondly at Lucy, Edward directs his comments at Wayne,
who sits opposite the family with Emily.
EDWARD
They really are God's miracles. Day she
was born was the happiest day of our
lives. We're not perfect parents, we
know that, but we figure if you let `em
know how much you love `em a lot of the
other stuff takes care of itself.
Wayne nods his agreement. Edward puts his arm around Lucy
for effect. Her eyes go to Emily. A silent plea for help.
EMILY
(HOSTILE)
Tell me, Mr Sheridan, since you've
suddenly acquired the power of speech,
doesn't it concern you a little that
Lucy's grades have gone from A's to D's
in three months?
EDWARD
Course it does, she's our daughter.
With a glance Wayne cautions Emily about her tone of voice.
EMILY
So you have no idea why she's falling
asleep at school every day? Why she's
not able to sleep at home?
Edward looks at Margaret, then Emily, affects bewilderment.
EDWARD
Bad dreams?
INT. BREAK ROOM - DAY
Emily and Wayne in private conversation. She's pissed off.
The Sheridan family in the other room, preparing to leave.
13.
EMILY
He's gonna be having bad dreams when he
gets hit with child endangerment.
(off Wayne's reluctance)
Don't tell me you're buying this daddy's
little girl routine?
WAYNE
So they're overcompensating a little.
EMILY
A little? Let me talk to her. Alone.
She wants to talk.
WAYNE
EM --
EMILY
Five minutes. Talk to them about how
much they love kids.
She goes out the door.
INT. CORRIDOR - DAY
Emily walks with Lucy, looking for a way in.
EMILY
I knew someone at school named Lucy, she
was a writer. Do you ever write? I do
sometimes, it helps me sort out how I'm
feeling.
Lucy doesn't take the bait. She stops for a drink at a water
fountain. Emily bends for a sip after. Misfires. As she
wipes her face, embarrassed:
EMILY
Okay, I just shot like a gallon of water
up my nose. So much for establishing
trust.
Lucy smiles, for the first time. It's the opening Emily was
looking for. Maintaining that precious eye contact,
DEEPENING IT:
EMILY
What's happening to you? I can help.
Let me help.
Lucy looks away, eyes brimming with tears.
14.
EMILY
What is it, sweetheart?
LUCY
They hate me.
She lowers her head in shame, tears rolling down.
EMILY
I'm sure they don't hate you.
LUCY
They do. I hear them. They go in the
cellar and talk.
EMILY
What do they talk about?
LUCY
Sending me to hell.
Emily's mouth falls open.
EMILY
You've heard them say that?
Lucy nods. As Emily registers this in quiet horror...
INT. CONFERENCE ROOM - DAY
A tape recorder is running. Emily and Wayne alone with Lucy.
She's hesitant to speak, naturally distrustful.
EMILY
It's okay. You can tell him. He's on
our side.
WAYNE
Did you hear your parents say they were
going to hurt you?
Nobody sees what Lucy sees at this moment. Edward glaring in
at her through the window. Lucy looks at Wayne, shakes her
head. Wayne looks at Emily, case closed.
INT. CORRIDOR - DAY
Emily watches in agony as the Sheridan family steps into the
elevator. Parent on each side, Lucy gives her one last
pleading look then the elevator doors close and she's gone.
15.
INT. WAYNE'S OFFICE - DAY
Emily and Wayne in the heat of an argument.
EMILY
She doesn't trust anybody. You think I
made it up?
WAYNE
I think you'd do just about anything you
had to do to help a child you thought was
at risk. Here are the facts, Emily.
They haven't laid a finger on her that we
can tell. And we have no proof they
intend to. Meanwhile on your desk right
now are thirty-plus cases of actionable
abuse. What about those?
EMILY
I'm not giving up on her, Wayne.
WAYNE
Yes, you are, you're leaving this alone.
A look that says he means it.
EMILY
I hope you can live with a dead child on
your conscience.
WAYNE
(HURT)
That's a little unfair, don't you think?
I care about these kids as much as you
do, but we can't go around yanking them
out of their homes on a hunch. Parents,
even bad ones, have rights, that's how
the laws of this great land are written.
Emily gives a resigned nod, backing away from him, from the
job, all of it.
EMILY
So that's it? We let kids get killed
until they rewrite the goddamn laws?
She exits before he can answer, doesn't want to hear it.
INT. DETECTIVE BARRON'S OFFICE, POLICE STATION - NIGHT
Detective MIKE BARRON. Veteran of the force. Man of quiet
faith.
16.
A well-built silver-haired family man who played fullback at
Brigham Young. He's doing paperwork. Smiles warmly as Emily
enters.
BARRON
Was just thinking about you, got a nice
letter from Sandy Hutchinson...
She drops Lucy's file on his desk. Whatever Barron was going
to say is no longer relevant. Soberly, after a pause:
BARRON
Well, it's sitting in front of me which
means our good friend Wayne thinks it
fails to meet the criteria for child
endangerment and has told you in no
uncertain terms to leave it alone...?
EMILY
Surprise, surprise.
She starts to open the file. Barron stops her.
BARRON
I can't, Emily. I'm sorry.
EMILY
Mike, I'm desperate here.
Tense beat. The need for privacy now apparent, Barron gets
up and closes his door. Sits down at his desk again.
BARRON
You know how dear to my heart the work
you do is, but the department doesn't pay
me to stakeout potential child abusers.
Last time almost cost me my job.
EMILY
This girl heard her parents say they're
going to send her to hell.
BARRON
Sickening as that is, you're a part of
the system that handles those situations,
I'm not.
EMILY
The system is broken.
BARRON
Maybe you just need to let it work.
17.
EMILY
What? Jesus, I feel like I'm talking to
Wayne. You don't want to get involved,
fine, but don't bullshit me, I'm running
out of people I respect.
BARRON
Okay. No bullshit. Give me evidence of
a crime, I'll be all over it. Till then
there's nothing I can do.
CUT TO:
The blade of a circular saw SCREAMS through a pinewood board,
spitting sawdust...
A ten-pound hammer CRUSHES the head of a nail, sinking it,
CRUSHES another, CRUSHES another, the speed of the handiwork
conveying its urgency...
INT. SHERIDAN HOUSE - NIGHT
Lucy peering into the basement through an air vent in the
floor, vertical bands of light on her face. Edward hammering
down below. He steps aside and we see what he's making...
A HOMEMADE COFFIN
Sensing Lucy's stare, he glances up over his shoulder. And
Lucy ducks out of sight, breath held.
EXT. ELEMENTARY SCHOOL - DAY
Children waiting for the bus after school. Talking,
laughing. Lucy stands apart, tired and solemn. The bus
pulls up to the curb. As she goes to get on:
EMILY (O.S.)
Lucy.
She turns. Emily behind her.
EMILY
I just wanted you to know I haven't
forgotten about you. I'm doing
everything I can.
Lucy hugs her, clinging for a moment.
LUCY
If I disappear will you come look for me?
18.
EMILY
You're not going to disappear.
LUCY
If I do?
Emily holds her gaze, seeing the fear. Backing away, Lucy
indicates the bus.
LUCY
I have to go. They get mad when I miss
the bus.
Lucy turns to go. Emily watches. Helpless.
EMILY
Lucy, wait...
Takes her cell phone from her bag. Puts her number on speed
dial.
EMILY
If anything happens, call me, okay? Just
press this. Don't let your parents know
you have it.
Tucks the cell phone in Lucy's coat pocket.
EMILY
I'm gonna get you out of there, I
promise.
Lucy boards the bus. Waves to Emily from a back window as it
drives away. Emily waves back, heart in her throat. Might
be the last time she sees her alive.
INT. EMILY'S HOUSE - NIGHT
A sleepless night finds Emily slouched on her sofa, leaving a
MESSAGE:
ANSWERING MACHINE
Hey, this is Doug, here it comes -
BEEP.
EMILY
It's me, thought you might be up, um,
anyway, call if you get this.
Hangs up. Clicks on the tv remote. Channel-surfs. World
news. Cooking show. Home shopping network.
19.
Hip-hop music video. Watches it for a moment. Gangster with
a mic. Scantily-clad girls shaking their asses.
The phone RINGS. Emily mutes the tv, picks up.
EMILY
Too late, I met someone else...
A child's whisper.
LUCY (V.O.)
Emily...?
EMILY
(concerned but calm)
Lucy? Are you okay?
LUCY (V.O.)
I'm scared...
EMILY
Why? Why are you scared, honey?
LUCY (V.O.)
They're waiting to get me, I can hear
them... I'm sorry...
EMILY
Why are you sorry?
LUCY (V.O.)
I'm falling asleep...
EMILY
Okay, listen, I want you to go over and
open the window. Can you do that?
Lucy...?
LUCY (V.O.)
(softly; drifting off)
I'm sooorry...
EMILY
Lucy, no, wake up!
INT. LUCY'S BEDROOM - NIGHT
The cell phone lying on the bed at Lucy's fingertips.
EMILY
(FROM PHONE)
Lucy...?!
20.
The illuminated screen casts an eerie glow on her SLEEPING
FACE.
INT. EMILY'S APARTMENT - NIGHT
Emily drops the phone. Moment of panic. Then a decision.
Throws a coat on over her bed clothes. Grabs the phone
again, dials a number in desperation.
EMILY
Mike, it's Emily, listen, that girl I
told you about, I think she's in trouble -
- yeah, I know what you said, but --
Mike, you're not listening --
(LOSES IT)
HELP ME!
EXT. EMILY'S CAR - NIGHT
Emily fumbles with her keys. Gets the right one in the door.
Opens it. Jumps in. Starts the engine. Peels off down the
road.
INT. LUCY'S BEDROOM - NIGHT
The cell phone turns itself off, plunging the room into total
darkness.
In BLACK, we hear FOOTSTEPS coming up the stairs. Down the
hall. Stopping at the door. The knob turning. The click of
the latch. The door opening. A shaft of light. Edward and
Margaret peering in with frenzied anticipation:
Lucy is asleep. The time has come.
INT. EMILY'S CAR - NIGHT
Emily red-lines the tachometer, doing ninety down the
freeway.
INT. STAIRWAY - NIGHT
Slowly, quietly, Edward descends the stairs with Lucy asleep
in his arms. Margaret in front of him, moving in tandem,
holding a roll of duct tape.
They reach the bottom. Margaret rushes ahead into the
kitchen.
INT. KITCHEN - NIGHT
Edward carries Lucy toward the OLD GAS OVEN where Margaret
waits, holding open the door.
21.
Delicately, cradling her head, Edward puts Lucy into the oven
without waking her. But as he lifts the door, one of the
metal hinges CREAKS.
Lucy jolts awake with a SCREAM. Kicks open the door before
Edward can shut it. With animal terror she thrashes her way
out onto the linoleum floor. Margaret throws a piece of duct
tape over her mouth, silencing her screams as Edward wrestles
her back into the oven. But she kicks open the door again
and the frantic struggle continues as...
EXT. SHERIDAN HOUSE - NIGHT
Emily's car lurches to a stop out front. As she jumps out,
Barron's pickup arrives. He joins her, a reluctant
accomplice.
BARRON
What are we doing here?
EMILY
Saving her life!
She goes up the walkway. Barron lagging a few steps behind,
eyeing the darkened house.
BARRON
They're asleep.
EMILY
They're not asleep.
Emily hears something inside the house.
EMILY
Did you hear that?
BARRON
I didn't hear anything.
Emily, trusting her gut, starts pounding on the door.
EMILY
Leave her alone!
INT. KITCHEN - NIGHT
Hearing Emily, Edward and Margaret intensify their efforts,
jamming Lucy's legs inside the oven. The duct tape peels off
her mouth in the struggle and before the oven door slams shut
she belts out one last desperate SCREAM.
22.
EXT. SHERIDAN HOUSE - NIGHT
Clearly audible outside, it makes Barron jump.
EMILY
Did you hear that?!
Barron pounds his big fist on the door.
BARRON
Police, open up!
EMILY
Break it down!
Barron rams his shoulder against the door, but it holds
solid.
INT. KITCHEN - NIGHT
We see Lucy's screaming face through the oven window as
Margaret cranks the temperature dial as high as it will go.
INT. GAS OVEN - NIGHT
From inside we see Edward and Margaret peering in as Lucy
claws at the glass with her fingernails. Coughing as the gas
fills the oven with a low hiss. We hear it ignite beneath
her with a faint poof. The first shimmering waves of heat
rising up, singeing her hair.
EXT. SHERIDAN HOUSE - NIGHT
Emily, hysterical, knowing they're too late:
EMILY
BREAK IT DOWN!
INT. DOWNSTAIRS HALLWAY - NIGHT
The front door comes crashing down, kicked off its hinges by
Barron. Emily and he race in.
EMILY
LUCY?!
They take off toward the kitchen at the end of the hall.
INT. KITCHEN - NIGHT
Emily and Barron rush in. Emily sees Lucy trapped inside the
oven. The sleeve of her pajamas catching fire.
23.
EMILY
Oh my God...
Edward tries to fend Barron off. It's a mistake. Barron
unleashes a devastating blow that sends him recoiling into
the fridge so hard the back of his head leaves a visible dent
in the door.
Emily shoves Margaret aside and throws open the oven. Pulls
Lucy out onto the kitchen floor, swatting out her burning
pajamas with a dish towel.
Margaret grabs a steak knife and rushes at Emily, but Barron
has her covered. Backhands Margaret so hard it spins her
around fully before dropping her to the floor.
BARRON
The hell's the matter with you people?!
Pajamas scorched, wild with terror, Lucy cries in great
heaving sobs in Emily's arms. Reduced to tears herself,
Emily keeps saying the same thing over and over.
EMILY
I gotcha... I gotcha... I gotcha...
Shielding her from the sight of her parents: Margaret
sprawled on the linoleum weeping. Edward slouched against
the fridge, blood pouring down his shirt, his broken jaw
hanging open like a man thinking wow.
INT. COUNTY COURTROOM - DAY
Edward and Margaret holding hands at the defendant's table,
remorseless and defiant in their Sunday best. Among the many
spectators we find Emily and Mike Barron. The STATE
PROSECUTOR and PUBLIC DEFENDER addressing the JUDGE.
STATE PROSECUTOR
Prosecution asks that you disallow an
insanity defense. This was an act
committed with premeditation, malice
AFORETHOUGHT -
PUBLIC DEFENDER
Your honor, the egregiousness of the
crime makes the competency question all
the more relevant.
JUDGE
Yes. I hereby order the defendants
undergo psychiatric evaluation to
determine their mental fitness for trial.
24.
Emily rolls her eyes at Barron, some justice system.
EXT. COURTHOUSE PARKING LOT - DAY
Barron walks Emily to her car. She's outraged.
EMILY
Steal a pizza, San Quentin, try killing
your kid, Freudian dream analysis.
BARRON
Well, you're gonna hate me for saying
this, but my money's on crazy.
EMILY
Did they or did they not know what they
were doing? That's the legal standard.
They knew, they knew damn well!
BARRON
It's not that simple sometimes.
EMILY
(stops on a dime)
Meaning what exactly?
Barron hesitates. He's crossing the line by telling her
this.
BARRON
When we brought them in that night they
told Captain Lister... They think she's
evil, some kind of demon spirit, minion
of the devil or something.
EMILY
(LAUGHS)
Oh, that's great - what is this, late-
night cable?
BARRON
No, but that might be the world they're
living in.
INT. CHILDREN'S HOSPITAL - DAY
Lucy in a hospital bed, dressings on her hand. Emily's
friend Doug sitting bedside. Child psychologist.
DOUG
-- and what's the most important thing we
talked about that you have to remember?
25.
LUCY
It's not my fault what happened.
DOUG
That's right and you know what? It's
not.
Lucy nods, not entirely convinced. Doug gives her a pat,
crosses to the exit. At the door he runs into Emily. Shakes
his head, awed at what she did.
DOUG
That is some seriously proactive social
work happenin' there. You all right?
EMILY
Yeah, I'm okay. How's she doing?
DOUG
Typical reaction, blames herself. We'll
get there. I'm gonna put her in a group
setting, see if I can get her to open up.
EMILY
Group therapy for kids, what's that say
about the world?
He nods - no kidding, heads off. Emily comes over and sits
on Lucy's bed. Strokes her hair.
EMILY
Good news. You get to leave here
tomorrow.
LUCY
Doug said I might have to go to a state
home.
EMILY
Only for a few days, till we find a
better place.
LUCY
Why can't I live with you?
EMILY
Oh, sweetheart. That would never be
allowed.
LUCY
Why?
26.
EMILY
It's complicated, there's a whole
process, I'm not even a foster parent...
Lucy gives a sad nod. Emily touches her arm.
EMILY
I'm sorry.
EXT. STATE CHILDREN'S HOME - DAY
No frills, purely functional housing. Emily comes up the
steps with Lucy and knocks. The COORDINATOR answers. A kind
but beleagured-looking woman of fifty, who is surprised to
see them.
COORDINATOR
They were supposed to call you. We don't
have any rooms.
EMILY
Nothing?
COORDINATOR
There was a mixup with the dates. Sorry.
Emily rolls her eyes. Lucy standing there holding a
suitcase.
INT. EMILY'S CAR - DAY
Through the windshield Lucy watches Emily on a pay phone
outside a convenience store. Her back is to us but you can
see she's arguing with someone, scratching addresses off a
typed list with a ballpoint.
TIME CUT TO:
Emily gets in and starts the car, putting on a smile.
EMILY
Hey, are you hungry? Let's get some
lunch. What kind of food do you like?
LUCY
There's nowhere for me to go is there?
Heartbreaking. Emily can't lie. She turns off the engine
and leans back with a sigh. Lucy's silence is a plea for
rescue.
27.
EMILY
I can't, Lucy, it wouldn't work, I live
in this tiny house, I... I'm sorry, I'm
not mom material...
LUCY
You don't have to be my mom. Just my
friend.
A ten-year-old girl stranded at a convenience store, suitcase
in her lap. Emily stares out the windshield, wrestling with
her conscience.
INT. CONFERENCE ROOM - DAY
At a round table, Emily addresses the CHILD WELFARE PANEL,
six grave-faced administrators. Wayne is here, offering
support.
EMILY
I know what it feels like to be that age
and be unwanted. It's terrifying. She
needs to be with someone she trusts; she
trusts me. So much of our time is spent
negotiating red tape, I think if we just
look at the situation - this one
situation, this one child - it's clear
what's best for her.
The head of the panel is a bloated bureaucrat in a polka dot
blouse (NANCY).
NANCY
This is highly irregular and I'll tell
you right now it makes me very
uncomfortable. But since, Wayne, you've
spoken so persuasively on Miss Jennings's
behalf...
INT. CORRIDOR OUTSIDE CONFERENCE ROOM - DAY
Emily comes out and nods yes to Lucy who waits with a
guardian. As they hug:
NANCY (V.O.)
...I'm going to go against my better
judgement and approve this petition for
temporary custody.
INT. EMILY'S HOUSE - DAY
Emily walks Lucy through the house, showing her around,
tidying things self-consciously.
28.
EMILY
I like to think of it as a glass-half-
full situation. Kitchen. Bathroom.
Fish. And here, is your room...
INT. LUCY'S BEDROOM - DAY
They stop in the doorway. A small office in which Emily has
made space for a bureau and a bed. Professional books and
backup case files pushed aside on a shelf.
EMILY
Be okay?
Lucy nods yes.
LUCY
Where's your family?
EMILY
My family... well, I've met my dad twice
and my mom's not a part of my life
anymore.
LUCY
Why?
EMILY
(choosing her words)
Sometimes people have kids and then
decide they don't want to be parents.
Beneath the measured tone Emily's pain is revealed, raw and
untouchable, her entire life a rebellion against it. She
opens Lucy's suitcase on the bed. Pauses, remembering
something.
EMILY
I'm glad you're here.
Lucy comes over to help unpack the clothes.
TIME CUT TO:
Lucy in bed, sipping a cup of tea as Emily brushes her hair.
LUCY
What's this?
EMILY
Chamomile, when I get stressed out it
helps me sleep.
29.
Lucy nods that it's good. Emily brushes her hair. A natural
bond between them.
EMILY
None of this ever should have happened,
if I could make it go away I would.
LUCY
You did.
Nice moment for Emily. A rare triumph. She tucks Lucy in.
Turns off the bedside light.
EMILY
I'm right down the hall if you need me.
Lucy settles. Emily pauses at the door, looks back at the
lost child she's taken in, then closes the door halfway.
EXT. SHERIDAN HOUSE - DAY
Dark, abandoned. Emily's Volvo pulls up.
INT. EMILY'S CAR - DAY
She eyes the house. It haunts her, the memory of what
happened.
A SUDDEN KNOCK on the window makes her jump out of her seat.
The guy there gestures a friendly sorry, didn't mean to scare
you. White shirt and tie. A COURT CLERK.
EXT. SHERIDAN HOUSE - DAY
Emily signs a form as he unlocks the door, letting her in.
EMILY
I have to grab some of her things, might
take me a minute.
COURT CLERK
I trust ya, Em, make sure you lock it on
the way out.
INT. SHERIDAN HOUSE - DAY
Emily closes the door, glances around the dark interior.
Through a window she sees the Court Clerk drive off. She's
alone. It's quiet, eerily still.
She goes up the stairway. Slows, noticing something on the
WALL -
30.
A FAINT SQUARE where a picture once was hung, the wallpaper a
half tone darker underneath. More SQUARES farther up. A few
nails still sticking out.
INT. LUCY'S BEDROOM, SHERIDAN HOUSE - DAY
Tattered lace curtains sway in a draft beside a bed with a
moth-eaten coverlet. Emily packs Lucy's spare clothes into a
dufflebag. Zips it and walks out.
INT. UPSTAIRS HALLWAY - DAY
Exiting Lucy's room, she notes the door to Edward and
Margaret's bedroom, at the far end of the hall, is slightly
AJAR. Succumbs to a natural curiosity.
INT. EDWARD AND MARGARET'S BEDROOM - DAY
The door pushes open, Emily peering in. A sad little master
bedroom with old floral printed wallpaper and water stains on
the ceiling.
She explores the room, inspecting various personal items -
aftershave, glasses, hair brush - looking for clues to their
madness.
An ALARM CLOCK with a cracked crystal face. She picks it up
and it GOES OFF in her hand. Gives her a scare. She puts it
down. Sees something out the bedroom window. Steps closer.
Parts the curtains.
In the backyard, by the garden shed, a long rectangular hole
has been dug. A SHALLOW GRAVE filling with leaves. Edward's
handiwork. Emily's seen enough, heads for the door.
But slows, noticing something odd as she comes back around
the bed -
A LONG DEEP SCRATCH
in the wooden floor, hidden under a long runner rug. Emily
peels back the rug and finds -
HUNDREDS OF LONG DEEP SCRATCHES
in the floorboards leading toward the door. Something - the
old oak bureau perhaps? - has been dragged repeatedly across
the room.
Emily comes over and looks behind the door and sees, on the
back of it, something even more bizarre -
TWO MASSIVE DEADBOLTS
31.
screwed hastily, crookedly, into the wood. She closes the
door. Slides-to the big heavy bolts -
CLUNK.
CLUNK.
Pauses. Looks again at the bureau. Slides it in front of
the door, a wheelless caster bracket leaving another long
scratch in the hardwood. And it's clear at this point what
the deadbolts and bureau add up to -
A BARRICADE
Emily stares at it. Looks over at Edward and Margaret's bed,
imagining them here behind this door. Slides the bureau
aside. Opens the deadbolts. And as the door swings open she
is looking straight down the hall at
LUCY'S BEDROOM
Emily stares, bewildered.
INT. GROUP THERAPY ROOM - DAY
ABUSED CHILDREN aged eight to thirteen sit in a circle of
folding chairs. Lucy among them. Diego. Doug facilitating.
DOUG
Sometimes when our parents aren't getting
along it's better if they don't see each
other for a while, that's what a
`restraining order' does...
INT. CORRIDOR OUTSIDE GROUP THERAPY - DAY
Emily looks in, waiting with other parents. Lucy sees her in
the window and sneaks her a little wave. Emily smiles and
holds up a hand that says, hi, hon. It's clear from these
gestures how close they've gotten.
TIME CUT TO:
Emily and Doug walk together after session. Lucy talking to
other kids her age by the elevator.
DOUG
She's starting to come out of her shell.
It's good, I just wish I thought it was
me making the difference.
Emily accepts the compliment.
32.
EMILY
I went by the house. I think her mom and
dad were barricading themselves in their
room at night. How sick is that?
DOUG
Hatred and fear are part of the same
pathology - oh, but I forgot, you don't
think they're crazy.
EMILY
I'm coming around.
As they part ways...
INT. EMILY'S CAR - DAY
Emily pulls up in front of Lucy's school. Big moment for
Lucy. New clothes. New haircut. New life.
EMILY
Okay?
Lucy nods, apprehensive, but she's ready to face it. Emily
hugs her.
EMILY
This is your new beginning.
Lucy gets out. Pauses on the sidewalk.
LUCY
I love you, Emily.
Emily, touched, smiles.
EMILY
I love you, too.
Lucy goes up the walk. Emily watches her safely into the
building.
INT. CHILD SERVICES DEPARTMENT - DAY
Emily draws grim looks as she crosses the common area. A
pall hanging over the entire department. The first person
she walks past says:
COWORKER
Wayne's looking for you.
The second person:
33.
COWORKER #2
Wayne wants to --
EMILY
Got it.
She comes past Wayne's office. Empty. A coworker points
over toward Emily's cubicle - he's there. She goes over.
Wayne's inside, grave-faced, looking for a file. He finds it
on the shelf. A photo of eight-year-old DIEGO clipped inside
the cover. The boy we met earlier.
EMILY
What's up with Diego?
Wayne hesitates, wanting to spare her the bad news.
WAYNE
Why don't we talk in my office.
EMILY
Tell me what's going on.
WAYNE
We don't know why yet, but... he killed
his mother and father last night.
Emily stands there, jaw on the floor.
EXT. MARTINEZ HOUSE - DAY
A police perimeter around a small house in a tough low-income
neighborhood. Cops and crime scene investigators on the
scene. Local news media broadcasting live. A couple of news
choppers hovering overhead.
Emily pulls up, jumps out of her car. Mike Barron waves off
the uniformed officer who moves to intercept her as she comes
up the walkway to the house.
EMILY
What happened?
BARRON
Sure you want to see this?
With an uncertain nod she follows him inside.
INT. MARTINEZ HOUSE - DAY
Emily and Mike Barron come along the uncarpeted hallway.
34.
BARRON
Gets a tire iron from the garage, comes
back inside, locks all the doors and
windows, kills them in their sleep...
The master bedroom. A bloodbath.
BARRON
Had to use dental records to identify the
bodies.
Emily looks around, aghast.
EMILY
An eight-year-old did this? There's no
way.
BARRON
I was there when they brought him in.
Took three guys my size to subdue him.
Kid was climbing the walls.
Barron turns to the window and - WHAM! - AN ATTACK DOG HITS
THE GLASS RIGHT IN FRONT OF HIS FACE. Barron recoils with a
yelp. Then, embarrassed, eyes the TRIO OF BATTLE-SCARRED PIT
BULLS prowling the chainlink-fenced backyard.
BARRON
Just your average American family.
EXT. MARTINEZ HOUSE - DAY
Emily and Barron come down the steps.
EMILY
Where is he now?
BARRON
Juvie lockup. And, no, I'm not taking
you to see him.
EMILY
You want to know what happened?
BARRON
I know what happened.
EMILY
I don't. I need to talk to him. Mike,
please, I care about this kid.
35.
INT. JUVENILE DETENTION CENTER - DAY
Diego Martinez sitting alone in a holding cell. Confused.
Scared. He sees Emily approaching and immediately breaks
down.
EMILY
Diego...
Emily tells the cop at the cell door:
EMILY
Let me in. He won't hurt me.
The cop looks at Mike Barron who nods it's okay. The cop
opens the cell. Emily enters. Diego looks up at her,
shuddering with emotion:
DIEGO
Are they dead?
Emily, gutted, nods yes. Diego buries his face in Emily's
stomach and sobs.
EMILY
What happened? Tell me what happened.
DIEGO
(SOBBING)
I killed my mum and dad...
Emily, devastated, trades looks with Barron through the bars.
EXT. VENICE PIER - DAY
Doug tenderly consoles Emily. Has his arms around her.
They're leaning against the railing, wind on their faces.
DOUG
Every family you sit down with every day
of every week is a family in crisis.
Those are your odds. That's the job you
do. Trying to beat them.
Wipes away her tears. The hair from her face.
DOUG
You're one person, Em. You can't save
the world.
(THEN)
I know somebody you did save.
36.
Lucy on the beach below, walking barefoot at water's edge,
hem of her dress in her hands. Emily watches her and,
finding solace in it, leans into Doug's embrace and closes
her eyes.
EXT. BEACH - DAY
The plaintive cries of seagulls overhead as Emily and Lucy
walk along the surf at sundown, Emily barefoot now as well.
LUCY
You okay?
Emily nods, putting on a brave face to spare Lucy.
EMILY
It's just work. Don't worry.
Lucy nods okay. They walk on in silence for a moment.
LUCY
Why do you do it if it makes you sad?
EMILY
My job? I don't know, I guess... I guess
maybe I want to believe families can
work, so I can have my own someday, I
don't know - does that make sense?
Lucy nods, takes her hand. They walk off up the beach
together.
INT. EMILY'S HOUSE - DAY
Emily, days later, dressed for work, halves an omelet with a
spatula and slides the halves onto two plates.
EMILY
(calls to other room)
Breakfast.
There's no answer. Emily goes to get her.
INT. LUCY'S ROOM - DAY
Stops in the doorway.
EMILY
Honey, breakfa--
Sees Lucy hide something under her pillow. Emily comes over,
brow arched, playful.
37.
EMILY
Come on, let me see...
Lucy guiltily eyes the floor. Emily lifts the pillow.
Underneath it is a photograph.
EMILY, AS A YOUNG GIRL, WITH HER MOTHER.
She looks at Lucy, then at the filing cabinet from which it
was taken. More surprised than upset.
EMILY
You went through my things?
LUCY
I'm sorry... I wanted to know what
happened to you.
Disarming sincerity. Emily's gaze falls to the photo. Quiet
moment. She sits down on the bed with it.
LUCY
Is that your mom?
Emily nods, lost in the image. It's a photo that captures
her entire childhood. Emily and her mother sitting on the
steps of a house, together but apart, like a lost child that
sat down next to a pretty stranger who hasn't yet noticed
her. Emily's ten-year-old face shows the quiet sadness of
the disconnect. Reminds you of a child from her caseload.
EMILY
She used to just leave, she'd just...
(GESTURES `ADIOS')
...and I never knew when she was coming
back, or if she was... I used to think it
was my fault and I would try so hard when
she got home to be good, do everything I
could think of, so she'd think I was
`special' and stay next time or take me
with her, but... it didn't matter, she'd
always go away again, that's how it was.
Emily fights her emotions and, practiced at the task, wins.
Lucy sits beside her on the bed. Understands her deeply.
Linked by their pasts.
LUCY
Where was your dad?
EMILY
Gone, he left before I was born. First
time I met him I was like thirteen.
38.
LUCY
What'd you say to him?
EMILY
Oh, I had all these things I was gonna
say. Angry things I'd thought of and
kind of memorized. And um.... And then I
met him and I wasn't angry, I was just
sad and I told him...
(pauses, raw emotion)
I said, I love you, even if you don't
love me.
Emily smiles a pained smile and then buries the memory.
Lucy, a portrait of contrition:
LUCY
Are you mad at me?
EMILY
No... No, I'm not mad at you.
(puts her arm around her)
But I need you not to do that again,
okay? Go through my private things
without asking?
Lucy nods okay. Emily moves on, with a loving touch:
EMILY
Omelet's getting cold. Better hurry.
Lucy exits. Emily eyes the photo a moment longer then stands
and puts it away in the filing cabinet. She pauses, feeling
exposed, and turns the little key to lock the drawers.
INT. EMILY'S CUBICLE - DAY
Emily stops at her cubicle, registering a surprise. Wayne
handing her case files to three COWORKERS. Awkward moment
for everyone.
WAYNE
(SYMPATHETIC)
I need another set of eyes to go over
them, make sure we haven't missed
anything else.
EMILY
You mean, to make sure I haven't missed
anything else?
39.
WAYNE
It's just a legal thing. You'll have
them back tomorrow.
They exit. She goes in and stares at the BARE SHELF above
her desk. Her caseload gone. More than an insult.
Everything she cares about.
A pink phone message on her keyboard. She picks it up: Mike
Barron called. Important.
INT. COFFEE HOUSE - DAY
Newspaper headline: "INSANITY DEFENSE FOR GLENDALE COUPLE".
MUGSHOTS of Edward and Margaret below. The morning edition
folded on a table between Barron and Emily. They're drinking
coffee.
BARRON
You watch, six months, their lawyer will
hire some expert to say they're rehabbed
and they'll sue for custody when they get
out.
EMILY
She's not going back there, I'll take her
out of state before I let them near her
again.
BARRON
I didn't hear you say that.
Emily knows she's misspoken, but lets it stand.
EMILY
You wanted to talk about something?
Barron nods, sips his coffee, a bit uncomfortable.
BARRON
We pulled the Martinezes' phone records.
They got a call that night before the
murders.
EMILY
From who?
BARRON
(SOBER PAUSE)
Emily, the call came from your house.
EMILY
What...?
40.
BARRON
Look, I'm not accusing you of anything, I
just need to know what was said.
EMILY
That's impossible. I might have called
the week before...?
BARRON
I'm talking to you as a friend here, you
know that, right?
EMILY
Did you not hear me? I'm telling you,
Mike, as a friend, I did not call that
family.
BARRON
Then who did? Go find the guy who broke
in and just happened to dial the number
of a kid whose case you handle.
Emily starts to say something, but stops as a confounding
realization comes to her. And then to Barron.
INT. EMILY'S HOUSE - DAY
Lucy sits on the sofa studying a photo of Diego. Emily sits
beside her, her advocate. Barron opposite.
LUCY
He's in my group...
(puts down photo)
...why, did something happen?
Emily nods yes. Barron, gently, mindful of Lucy's age:
BARRON
We're trying to figure out why. He got a
call Thursday night from this number.
I'm just wondering if he might have said
anything...
LUCY
It wasn't me.
BARRON
You didn't call him?
Lucy shakes her head. Barron nods okay, then, speaking to
her as a father might his own daughter:
41.
BARRON
Lucy, it's hard sometimes to tell the
truth, but I know you will because you're
a good little girl.
LUCY
I am telling the truth.
EMILY
My backup files are in your room.
Diego's is in there. Maybe you got
curious and went through some, dialed a
number?
LUCY
It wasn't me, I swear.
Complete innocence. Emily nods okay, wanting to believe, but
remembering the stolen photograph.
BARRON
The call was at 2 am, are you ever up
that late?
LUCY
I didn't call him.
BARRON
Are you ever up that late?
EMILY
Mike, she said no. Maybe someone made a
mistake.
Barron reads Emily's posture and disengages, stands to go.
BARRON
Yeah, maybe so. Night, Lucy.
INT. FRONT DOOR, EMILY'S HOUSE - NIGHT
Exiting, Barron tells Emily as gently as possible:
BARRON
She's lying.
And goes down the steps. Emily closes the door. Turns
around and there's Lucy. Uncomfortably close.
LUCY
Do you believe me?
42.
EMILY
I believe you.
Lucy hugs her and Emily hugs her back, but she's still
thinking about what Barron said.
INT. EMILY'S CUBICLE - DAY
A PHOTO of Emily and Diego tacked to the corkboard panel
beside her desk. Emily sits contemplating it. Her gaze goes
from the photo to the BARE SHELF above her desk. Her
caseload is still missing. This is bullshit.
INT. WAYNE'S OFFICE - DAY
Emily walks in, power pose.
EMILY
Give me back my cases or fire me. Right
now.
Wayne, caught unprepared, eating a doughnut.
INT. EMILY'S OFFICE - DAY
Caseload restored, Emily is multi-tasking, opening mail,
sorting backlogged paperwork, talking on the phone:
EMILY
I don't care if it's a hairline fracture,
he broke her arm, I don't want him back
in that house. He what? He found
Christ? When? That recently? Uh huh.
Well he should have found Him sooner.
Hangs up. Doug leans in the doorway, drops a manila envelope
in her in-box. And a computer printout.
EMILY
What's up?
DOUG
Copy of the Sheridans' psych evals for
the file. And the cognitive profile Lucy
did for me the other day.
EMILY
(re: Lucy's profile)
How's it look?
DOUG WINTERS
Normal.
43.
But his tone suggests otherwise.
EMILY
Do I have to beg or are you gonna tell me
what's going on?
DOUG
You have to beg.
(SAME BREATH)
Coming from an environment like that,
testing this normal is a bit abnormal, if
that makes any sense.
EMILY
She's `abnormally normal'?
DOUG
I think she faked it, gave the answers
she thought she should.
EMILY
Why would she do that?
DOUG
(SHRUGS)
She's ashamed of who she is. Ashamed of
how she feels. Afraid nobody would want
her if they saw the real her.
(off Emily's reaction)
It's no big deal, it just means I might
have to push her a little.
EMILY
No, I know, I just... The Martinezes' got
a call Thursday night. From my house.
DOUG
Did you ask her about it?
EMILY
She said she didn't. Mike thinks she's
lying.
DOUG
What do you think?
EMILY
I don't know what to think.
DOUG
Hmm. Bring her in after work, I'll do a
one-on-one. I wanted to talk to her
about this anyway.
44.
He departs. Emily, alone in her cubicle, scans the test
results with growing concern.
INT. JUVENILE DETENTION CELL - DAY
Diego eating macaroni and cheese from a jailhouse tray.
Emily sets a folded blanket on the bed as she sits down to
talk to him.
EMILY
Got you an extra in case it gets cold.
Diego nods without looking up.
EMILY
I need to ask you something... about the
night it happened... did you get a call,
really late?
Diego stops eating. Stares at his food. Shakes his head no -
warily, like someone might be listening.
EMILY
You didn't?
He shakes his head no. Still staring at his food.
EMILY
Diego, I know you did, they called from
my house.
Diego puts down his fork, his fear obvious now, his breathing
quick and shallow.
EMILY
What's the matter? What's scaring you?
He looks at Emily, terrified, starts HYPERVENTILATING.
EMILY
Oh God...
Emily tries to calm the panicked boy as he gasps for air, a
horrible WHEEZING sound in his throat.
EMILY
It's okay... slow breaths... you'll be
okay...
(yelling down hall)
Can somebody help us down here?!
45.
INT. INFIRMARY, JUVENILE DETENTION CENTER - DAY
A little two-bed infirmary with unpainted cinder block walls.
Diego in bed on an IV drip. Emily talking to a NURSE by the
check-in desk.
NURSE
He asked to see you before you left.
Emily comes over to Diego's bed. He holds her gaze in
silence, a secret he's afraid to tell. Emily speaks at a
whisper, as if to make the truth less frightening:
EMILY
Who called you? Was it Lucy?
Diego's PULSE ACCELERATES on the EKG monitor. He gives a
trembling nod.
EMILY
Did she say something to you? Something
that scared you?
Diego replies in Spanish, barely discernible, his throat raw:
DIEGO
El dijo...
EMILY
`El' dijo? What do you mean, `He said'?
Diego looks at her, confused, terrified. His RACING PULSE a
jagged green line above the bed.
DIEGO
Era un hombre.
A chill goes through Emily.
EMILY
It was a man?
Diego gives another trembling nod. Emily beside him, baffled
and a bit scared.
INT. CHILD SERVICES - NIGHT
After hours, the office is empty, half lit and eerily still.
Emily is photocopying at a work station, haunted by what
Diego said, the harsh upward light accentuating her tense
features.
46.
The CYCLICAL SQUEAKING NOISE we hear is Lucy, in Emily's
cubicle in the b.g., turning herself in circles on the office
chair. Something very creepy about the disappearance and
reappearance of that pale watchful face.
Finished, Emily walks back to her cubicle, thrown by the
sight of Lucy spinning in the chair, walking head-on into
that eerie intermittent gaze.
LUCY
Do...
(TURNS)
you...
(TURNS)
like...
(TURNS)
working...
(TURNS)
here?
Emily, unnerved, enters the cubicle.
EMILY
Well, photocopying isn't much fun.
Lucy stops turning, stares at her, sensing something.
EMILY
What...?
Lucy just stares. Doug appears in the doorway.
DOUG
Knock, knock. Sorry I'm late, guys.
(TO LUCY)
Ready, kiddo?
Lucy nods and gets up from the chair.
DOUG
Go ahead down, I'll be right there.
Lucy heads down the hall to the conference room.
DOUG
(TO EMILY)
You all right?
EMILY
This is weird. Diego said it was Lucy
that called, but he called her a he, he
said it was a man.
47.
His face - what? Emily nods yes. Doug's brow arches then
furrows. He turns and heads down the hall.
INT. CONFERENCE ROOM - NIGHT
Doug sits opposite Lucy at the table, keeps it easygoing
despite what he's just been told.
DOUG
So how's school?
LUCY
Fine.
DOUG
Any of your classmates giving you a hard
time?
LUCY
No, they've been nice.
DOUG
Sleeping okay?
LUCY
That's not really what you want to talk
about, is it, Doug?
Awkward pause. Awkward smile.
DOUG
You got me.
Opens his file. Takes out her cognitive assessment profile.
Lays it flat on the table.
DOUG
Question 16a, are you afraid of the dark?
You answered `no'. Question 16b, are you
afraid of being alone? `No'. 16c, are
afraid of your parents? `No'. You
answered `no' to everything in that
section. I think some of those should
have been yesses. Everybody is afraid of
something. Working through our fears,
conquering them, is how we get better.
So I want you to tell me... What scares
you?
Lucy steeples her fingers and rests her chin on top, regards
Doug with a look of frank appraisal. It is the face of a
child, but behind those eyes there is a keen intelligence.
48.
LUCY
I'll tell you what scares me if you tell
me what scares you.
Doug did not see this coming.
DOUG
Fair enough. When I was twelve I was
climbing a tree and I accidentally put my
hand through a giant hornets' nest. They
didn't like it. I got stung over a
hundred times. They had to rush me to
the hospital. I've been afraid of
hornets ever since. Don't climb many
trees either.
(SMILES)
Everybody has fears. Now, what scares
you?
LUCY
Me.
Pause.
DOUG
You scare yourself?
LUCY
Sometimes.
DOUG
Why, what about yourself scares you?
LUCY
I have bad thoughts.
DOUG
About what?
LUCY
People.
DOUG
People in general or certain people?
LUCY
Certain people.
DOUG
Like who?
LUCY
You.
49.
Silence.
DOUG
You have bad thoughts about me?
(SHE NODS)
Why?
LUCY
(SHRUGS)
I just do.
DOUG
Was there something I said or did that
upset you?
LUCY
(shakes her head)
It's just the way you are...
DOUG
How am I?
LUCY
Facile.
DOUG
Facile?
(she nods yes)
Do you even know what that means?
LUCY
Easily comprehended. Often lacking
sincerity or depth. You're smug, too.
Want me to tell you what that means?
Dead silence. Doug skewered by a ten-year-old. A boyish
shyness emerges, a relic from his own youth.
DOUG
Well, if, um, if I seemed `smug' or
`facile' I want to -
LUCY
(GIRLISH LAUGH)
Don't apologize.
DOUG
Why?
LUCY
You're a grown up, it's embarrassing.
(THEN; DEADPAN)
(MORE)
50.
LUCY(CONT'D)
Should we talk about school now? My
grades are getting a lot better.
Doug just stares at her.
INT. HALLWAY, CHILD SERVICES DEPARTMENT - NIGHT
Waiting until Lucy is out of earshot down the hall, Doug
confers with Emily by the water cooler. He's sweating,
shaken by the encounter.
DOUG
Talked to a lot of ten-year-olds, I don't
think I've ever felt like that before...
EMILY
Like what?
DOUG
Threatened.
(THEN; BAFFLED)
I know a specialist, I'll call him in the
morning.
EMILY
What do I do with her in the meantime?
Doug pauses, no idea, smiles an eerie smile.
DOUG
Don't let her get in your head.
Exits. His paranoia feeding Emily's. In the hush she hears
that faint CYCLICAL SQUEAKING. Looks across the darkened
office to her cubicle where Lucy is turning circles in her
chair again.
That face. That face. That face.
INT. EMILY'S HOUSE - NIGHT
Tense dinner. Emily barely touching hers. Lucy, absently,
but with an almost surgical precision, is CUTTING PEAS IN
HALF ON HER PLATE AND EATING THEM ONE BY ONE OFF THE TIP OF
THE KNIFE. Weird. She stops, self-conscious, looks at Emily
across the table.
LUCY
Are you mad at me?
EMILY
No. Just tired.
51.
LUCY
Want me to brush your hair?
EMILY
That's okay.
LUCY
Are you sure?
EMILY
Some other time.
LUCY
(STANDS UP)
It will make you feel better. I'll get
the brush.
EMILY
I said no, thank you.
Lucy stares at Emily for a moment then sits again. And it's
strange, her posture seems subtly different, stiffer, bonier,
as if all her muscles have drawn taut under her clothes. In
a voice at once innocent and menacing:
LUCY
Doug said something, didn't he?
EMILY
No. Doug? He says you're doing great.
Tense silence.
LUCY
What did he tell you?
EMILY
Nothing.
Lucy stares at her, seeing through the facade. Then, oddly
bright, taking a bite of food:
LUCY
You're funny.
INT. LUCY'S BEDROOM - NIGHT
EMILY SILHOUETTED in the doorway, keeping her distance as she
SAYS GOODNIGHT:
EMILY
Get some rest.
52.
She starts to close the door.
LUCY
You forgot to kiss me goodnight.
A tense pause then Emily walks over and kisses her on the
forehead.
EMILY
Goodnight.
Lucy clutches her wrist as she turns to go.
LUCY
I love you.
Emily, trapped, forces a tender smile.
EMILY
I love you, too.
Lucy's EYES GLEAM in the darkness. She turns onto her side
for sleep, but those eyes don't shut even after Emily has
walked out and closed the door behind her.
INT. DOUG'S CONDO - NIGHT
Football highlights on a liquid plasma tv. Doug flipping
through a DSM IV diagnostic manual. The phone RINGS. He
picks up, distracted, scanning the DSM index.
DOUG
Hello?
A strange INTERMITTENT STATIC BUZZ on the line.
DOUG
Hello...?
BZZZZT. BZZZZT. BZZZZT. A telecommunications glitch.
DOUG
Try again, sorry.
He hangs up. Finds the chapter he's looking for. ANTI-
SOCIAL PERSONALITY TYPE. But he hears it again now -
BZZZZZZZZT BZZZZZZZZZT - louder, deeper - and realizes, in
quiet terror, that it's coming from INSIDE HIS EAR.
53.
INT. DOUG'S BATHROOM - NIGHT
Doug opens the medicine cabinet and grabs a Q-tip. Wiggles
it around in his ear and when he takes it out there's a
HORNET
sitting on the cottony tip, scissoring its wings.
Doug stares in disbelief. Mouth gaping.
He throws the Q-tip in the toilet. Hits the flush lever.
Watches the hornet spiral away. Gone.
Stares at the empty bowl. Did I just imagine that?
Shaken, he turns to the sink. Wedges his head under the tap
and runs water into his ear.
Straightens and looks at himself in the mirror, toweling his
face, trying to impose rational thought on the situation.
But as the water spills from his ear, down his neck, onto his
shirt, it brings with it -
TWO MORE LIVE HORNETS, half drowned.
With a yelp Doug swipes them from his shirt. Crushes them
underfoot. Terrified, but clinging to rational thought a
moment longer, he turns his head sideways to the mirror,
parts his hair, and sees -
ANOTHER HORNET crawl from the ear canal, followed by SIX OR
SEVEN MORE!
DOUG
FUCK!
Rationality goes out the window. He flails at them with the
towel. Swats them dead. Picks them up and drops them in the
toilet. Studies the last one for a moment. Its little legs
twitching. Drops it in. Flushes.
A false respite. And a brief one. Because as the FLUSHING
NOISE FADES he can hear an ominous DEEP BUZZING SOUND RISING.
It's coming from behind him. He turns to have a look.
Nothing there. Bare wall.
But it's strange: the BUZZING IS STILL BEHIND HIM.
With dawning horror Doug turns and checks his back in the
mirror, sees
54.
HIS ENTIRE SHIRT BACK IS CRAWLING WITH HORNETS!
Whimpering like a child, he undoes the buttons of his shirt,
taking it off as delicately as possible. Slipping his arms
gently from the sleeves.
Holding it by the collar, he takes two quick steps and tosses
it in the shower. Slams the glass door, seals the crack with
towels. And watches the hornets fly around in the glass
enclosure, BUZZING FURIOUSLY, bouncing off the glass.
But as he backpedals he realizes the FURIOUS BUZZING is too
close, too loud and too deep, to be coming from the shower
over there. A sharp pain in his head confirms it. He GROANS
and brings a hand to his ear as something awful happens
inside.
The BUZZING in his right ear spreads to his left - LOUDER,
ANGRIER, its sources multiplying. Disoriented, he stumbles
backwards with an AGONIZING SCREAM. Catches sight of himself
in the mirror, the terror of the moment on his face. This
can't be happening.
And now the nightmare takes a devilish turn. Looking at
himself in the mirror, he sees -
HORNETS START CRAWLING FROM HIS NOSE. FROM BETWEEN HIS LIPS.
FROM UNDER HIS EYELIDS. THE BUZZING NOW UNBEARABLY LOUD. AN
ENTIRE SWARM RAGING INSIDE HIS SKULL, FIGHTING ITS WAY OUT!
Doug grabs his head in both hands and starts shaking it,
trying to shake away the madness inside. But the hornets
keep coming, COUGHED UP IN CLUMPS as he gasps for air.
They're all over him, stinging his tongue, his eyes.
He goes berserk and starts SMASHING HIS HEAD against the
wall, the door, the edge of the sink, anything he can find,
opening a deep gash in his forehead, smashing it harder and
harder because the BUZZING WON'T STOP, cracking his skull,
SCREAMING HYSTERICALLY, pitching his head violently forwards
and backwards like some demon-possessed heavy metal fanatic.
It's a grotesque display that ends on a sickening note when,
with one particularly violent head jerk, he snaps his own
neck - CRACK!!! He sinks to the floor, head askew,
astonished look on his face.
And there he sits, paralyzed, eyes locked on the tv in the
living room where football highlights play in silence. Fully
conscious as the hornets fight their way back into his ears,
nose, and mouth - a pilgrimage back to the mind that bore
them.
55.
INT. CORRIDOR OUTSIDE COUNSELING ROOM - DAY
Emily exits a counseling room. Says goodbye to a young
FAMILY -
EMILY
See you next week.
- and comes down the hall toward the common area. A coworker
stands from an adjacent cubicle. DENISE.
DENISE
Seen Doug? He had an appointment with
one of my kids this morning, never showed
up.
EMILY
Did you try calling him?
DENISE
All I get is voicemail.
Emily dials Doug on a fax/phone by the Xerox machine. On the
FIRST RING:
ANSWERING MACHINE
Hey, this is Doug, here it comes -
BEEP. She hangs up. A dark thought sends her toward the
exit, calling back to Denise -
EMILY
Cover my desk.
EXT. DOUG'S CONDO - DAY
Emily knocking on the door of his Marina Del Rey townhouse.
EMILY
Doug, it's me, it's Emily...
No answer.
She comes down the steps to his car, walks past it and then
stops, noticing the window is open a crack. Slipping her
hand inside, stretching, she extends one finger just far
enough to push the button on the garage door remote clipped
to the sunvisor.
Up the drive, the door starts to open.
56.
INT. DOUG'S CONDO - DAY
A door in the first-floor hallway opens. Emily steps in.
EMILY
Doug?
No answer. She comes up the stairs into the LIVING ROOM.
The tv is still on. Muted. Calls up the next flight of
stairs.
EMILY
Doug, you here?
No reply. She goes up the stairs and down the hall and
checks the BEDROOM. Empty. The bed unmade. It's when she
turns from the room to go back downstairs that she sees him:
SLOUCHED DEAD AGAINST THE BATHROOM WALL, GUT BLOATED BY
DECOMPOSITION, FACE COVERED IN BLACKENED DAY-OLD BLOOD.
EMILY
NOOOOO!!!!!
INT. COUNTY CORONER - DAY
With stoic grief Emily walks down the cold, fluorescently-lit
corridor, intercepts a CORONER as he exits the exam room.
EMILY
Dr Johannsen?
He looks at her; pale, bespectacled, a bit standoffish.
EMILY
You did the autopsy on Doug Winters?
CORONER
(trying to remember)
Winters -- oh, right, Douglas.
EMILY
How did he die?
CORONER
Family?
EMILY
Friend.
(preempting his reply)
I know the rules -- please, he meant a
lot to me.
57.
Her face the proof. He indicates his adjoining office. They
go in.
INT. CORONER'S OFFICE - DAY
He takes the autopsy report from a filing cabinet. Reviews
his findings.
CORONER
Compression fracture of the third and
forth vertebrae. Severed his spinal
cord. Actual cause of death was...
suffocation.
EMILY
You're saying he did that to himself?
CORONER
It appears all his injuries were self-
inflicted, yes.
EMILY
Oh come on. He looked like he'd been
beaten to death! Don't tell me he was
some - some suicidal...
(BREAKING DOWN)
...I knew him! He was my best friend!
She turns away crying.
CORONER
Miss, I would never presume to know your
friend better than you. But the injuries
suggest he was trying to hurt himself.
Unfortunately, he succeeded. I am sorry.
Emily, composing herself, gives a quiet nod. She has no
quarrel with this man.
EMILY
Have you ever seen this before, somebody
dying like this?
The coroner files the report, world weary.
CORONER
Truly, I am shocked every day by the
violence people do to themselves.
INT. CEMETERY - DAY
DOUGLAS J. WINTERS etched in granite. A final prayer read
by a PRIEST as he is laid to rest.
58.
A breeze ruffles the clothes of the MOURNERS. Blows hair
across Emily's haunted face.
Lucy, at her side, sees her grief and reaches for her hand.
Instinctively, Emily retracts it. Lucy registers the slight,
the wider implications.
Emily watches the coffin descend. She weeps openly.
INT. EMILY'S CAR - DAY
Emily, red-eyed, driving home, sees something in her
peripheral vision that sends a chill through her.
Lucy, gazing quietly out the passenger-side window, is
SWINGING HER LEGS in that contented way children do. A small
but telling detail. Immediately HER LEGS STOP SWINGING,
sensing Emily's stare. And with her head still turned away:
LUCY
You think it's my fault, don't you?
She turns to face Emily, who measures her words.
EMILY
It was an accident. It was nobody's
fault.
Lucy holds her gaze. Then, as if to test her, reaches again
for Emily's hand. Trapped in the lie, Emily has to let her.
And as she drives on in that private hell, holding hands with
Lucy...
INT. MIKE BARRON'S OFFICE - DAY
Emily, an emotional wreck, confides in Barron.
EMILY
He was scared. He came out of that room
with her, Mike, and he was scared. He
said she threatened him.
BARRON
Listen. You're still in shock. Let's
NOT --
EMILY
Diego said it was a man on the phone.
You know who made that call. There was
no one else in the house.
(off his look)
You think I don't know how crazy this
sounds?!
59.
BARRON
Look, I don't know, all I'm saying is a
kid in his state of mind maybe isn't the
most reliable witness.
EMILY
Why is he in that state of mind? Why was
Doug? Pull my phone records. See if she
called him.
BARRON
Emily. I already did. There were no
calls from your house.
Emily's argument collapses. She sits there for a moment,
vexed, her intellect telling her one thing, her gut another.
She gets up to go. Pauses at the door.
EMILY
Her mother and father, their bedroom door
has these deadbolts on it, big ones, two
of `em... Something came through that
door and they didn't want it ever coming
through there again.
INT. EMILY'S CUBICLE - DAY
Emily digs through her in-box, spilling things on the floor.
Finds the manila envelope Doug gave her. Rips it open.
Dumps the contents into her hand.
A VIDEO TAPE
Typed on the label: Sheridan, Marg. & Ed., Prelim. Psych
Interviews.
CUT TO:
ON A TELEVISION - Margaret Sheridan sits facing the camera,
responding to the questions of an unseen interviewer. Her
haunted face and frank tone make the interview chilling.
INTERVIEWER
And by forcing your daughter into the
oven, can you tell me, what did you think
the outcome would be?
MARGARET
You mean what were we doing it for?
INTERVIEWER
Yes.
60.
MARGARET
To kill her.
INTERVIEWER
Why?
MARGARET
God's will.
INT. CONFERENCE ROOM - DAY
Pulling back, we see Emily alone in a dimmed conference room
watching the tape.
INTERVIEWER
And why was it God's will that you should
kill your daughter?
An eerie smile comes to Margaret's face.
INTERVIEWER
Why is that funny, Margaret?
MARGARET
`Cause she's not my daughter.
INTERVIEWER
You're her mother...?
MARGARET
I bore her, but she's not mine.
INTERVIEWER
Help me understand. If you and Edward
are Lucy's biological parents, how can
she not be yours?
MARGARET
`Cause she's not Of us.
INTERVIEWER
Not Of you?
Margaret nods.
INTERVIEWER
Who is she Of?
MARGARET
Not who, what.
INTERVIEWER
What is she Of?
61.
MARGARET
Stop acting like you don't know what I'm
talking about.
Stares at him. Her eyes black and unblinking.
INTERVIEWER
You think your daughter is the devil?
MARGARET
Not him himself, Of him, working in his
name, in his honor.
INTERVIEWER
Evil incarnate?
MARGARET
I don't care what you call it.
INTERVIEWER
And why do you think that?
MARGARET
Not what I think it's what I know.
INTERVIEWER
How do you know this? Could you give me
an example?
Margaret pauses. Seeming afraid for the first time. Some
secrets perhaps best left untold.
MARGARET
She can make you see things. Visions.
INTERVIEWER
Visions of what?
MARGARET
Hell. Damnation. Whatever you're afraid
of.
INTERVIEWER
I see. Any other `special abilities'?
MARGARET
People die around her, is that a special
ability?
INTERVIEWER
She kills people?
62.
MARGARET
Not by her hand, they just die. I had
two brothers, Brent and Travis...
Margaret's voice falters. Overcome by grief, she dissolves
into tears. It's a side of her we've never seen. Human.
MARGARET
...and I mean they was healthy boys,
healthy as can be. Eddie, three sisters.
Soon as she was born they started dying.
INTERVIEWER
You blame Lucy for their deaths?
Margaret nods yes, wiping her eyes. Embarrassed.
Unaccustomed to crying in front of strangers.
INTERVIEWER
Why do you imagine you were spared?
MARGARET
I guess she couldn't get rid of us till
she found somebody else. Now that she
has, I don't imagine we're long for this
world.
CLOSE UP ON MARGARET - face streaked with tears, her pain
deep and undeniable.
CUT TO:
VIDEO OF EDWARD SHERIDAN in a violent rage. Pushing his
chair back from the interview table, he stands, screaming
through clenched teeth, his broken jaw wired shut:
EDWARD
THE HELL DID I JUST SAY?!
INTERVIEWER
Edward, please calm --
EDWARD
YOU AND YOUR GODDAMN QUESTIONS! YOU
DON'T KNOW WHAT YOU'RE TALKING ABOUT!
A pair of orderlies rush in to restrain him. The CAMERA gets
knocked ajar in the struggle. The tape ends as they take
Edward screaming to the floor.
EDWARD
IT'S NOT CHILD KILLING IF SHE'S NOT A
CHILD!
63.
And that's the interview. Emily stares at the BLANK BLUE
SCREEN, transfixed, lowers her gaze to the table.
There's a PHOTO tucked inside the psychiatric file. Edward
and Margaret in happier times - YOUNG BIBLE CAMP COUNSELORS
in T-shirts and hiking boots on a path through sunlit forest.
Sweet. Innocent. Emily's age. The year they met perhaps.
She holds it up to the newspaper mugshots for a before-and-
after comparison. The transformation of their faces is
shocking. Emily sits frozen by the realization: Edward and
Margaret Sheridan. Not criminals. Victims.
INT. STATE PSYCHIATRIC HOSPITAL - DAY
An old brick orphanage turned psychiatric hospital. Emily's
Volvo goes up the winding tree-lined drive.
CHIEF PSYCHIATRIST (V.O.)
Unfortunately Mrs Sheridan suffered a
rather severe psychotic episode last
night...
INT. STATE PSYCHIATRIC HOSPITAL - DAY
Emily and the CHIEF PSYCHIATRIST walk down a dark,
institutional corridor.
CHIEF PSYCHIATRIST
...Woke up screaming, absolutely
convinced she was on fire. She wasn't,
of course, they managed to sedate her.
But it's curious, she displays all the
symptoms of a burn patient. Except the
burns themselves...
Margaret's door. Emily peers through a little square of
reinforced glass. A padded cell. Margaret strapped to a
bed. Writhing in pain. Laboring to breathe. Eyes swimming.
CHIEF PSYCHIATRIST
In no condition for visitors as you can
see. If you'd like, I could let you see
Mr Sheridan?
Emily hesitates, afraid of him.
EMILY
Okay.
She casts a departing glance through the window and shudders
to see that Margaret's roaming eyes have locked on her in a
hollow stare.
64.
INT. VISITATION ROOM, PSYCH HOSPITAL - DAY
Restrained in a straitjacket, Edward is brought in by two
orderlies who seat him at a table opposite Emily and then
exit. Jaw wired, everything he says is spoken through
clenched teeth.
EMILY
I know I'm probably the last person you
want to see right now, but you're...
His stare unnerves her. She stops and collects herself.
EMILY
You're the only one I can talk to.
Lucy's been staying with me -
EDWARD
Who died?
Emily falls silent. Her voice cracks with emotion.
EMILY
A friend.
Edward nods yup. Regards her in silence. Emily speaks, or
tries to, just to fill that awful void.
EMILY
I, ummm...
EDWARD
You're scared.
Emily, skewered again, nods yes.
EDWARD
You oughta be.
Dead silence. She meets his gaze. And there is eye contact,
true understanding.
EDWARD
You judged us before you ever walked in
that house. Sat there in our living room
tellin' us about our problems, how to be
better parents - certain of everything
and dead wrong about all of it.
(THEN)
Ask what you came to ask.
After a moment:
65.
EMILY
What is she?
It's a question Edward has asked himself once or twice. He
leans back in his chair and folds his arms with an almost
casual air.
EDWARD
Can tell you what she's not. She not a
daughter of mine. She's not a ten-year-
old having trouble in school. She's not
some innocent victim whose door you
busted down and life you saved. And
she's not going no place, lady, till
she's good and done with you.
EMILY
Done with me how?
EDWARD
However she wants. You think it's an
accident her ending up with you? She saw
you coming a mile away.
EMILY
Why me? I don't have anything.
EDWARD
You have that you're good. Kindness.
Decency. That's what she feeds on.
Bleeds ya dry, moves onto the next. We
were a big family, she went through us
like a wrecking ball. And you know,
every time something happened, every
time, we had an excuse for why it wasn't
her fault. Cuz it's easier to lie to
yourself than think bad things about your
baby girl. But finally we got to a point
where me and Maggy looked at each other -
(remembers so clearly)
- where we looked at each other and we
was out of lies, both of us. Most
terrifying moment of our lives. And
that's where you are now.
Emily silently registering this truth.
EDWARD
I'll tell you this. She sees everything.
And what she doesn't see she just sort of
senses it, like when you call a friend
and they pick up before it rings?
(MORE)
66.
EDWARD(CONT'D)
Only time you got the upper hand is when
she's sleepin' but she almost never does.
We checked on her every night for three
months. Every twenty minutes, up and
down those stairs. First time she slept
was the night you kicked in my front
door.
After a moment:
EMILY
What does she want?
EDWARD
To know... what your idea of hell is...
and make you live there.
Emily sits in haunted silence. Edward's features soften.
EDWARD
I'm not a hateful man. I look at you and
I wish I could tell you you're through
the worst of it. That it's gonna work
out for you in the end. I wish I could.
EMILY
What should I do?
A pitying smile reveals Edward's wired teeth.
EDWARD
How strong's your faith?
INT. CORRIDOR, CHILD WELFARE - DAY
NANCY, the bloated director from the custody panel, walking
briskly down a corridor. Emily calls to her from behind,
approaching.
EMILY
Nancy...?
NANCY
Emily, I heard about Doug. I'm so sorry.
EMILY
(NODS)
Do you have a minute?
Nancy glances at her watch, nods okay, a minute.
INT. CHILD WELFARE DIRECTOR'S OFFICE - DAY
Emily and Nancy enter the lavish office.
67.
NANCY
How's it working out with the Sheridan
girl?
EMILY
Actually, that's why I'm here. I
appreciate what you did for me, Nancy, I
really do, but I think it'd be best if
she was placed in foster care.
NANCY
She is. You're it.
EMILY
I know, but it's not working out.
NANCY
Playing mommy isn't the laugh-a-minute
you were hoping, huh?
EMILY
I suppose not.
Nancy nods, not entirely surprised.
NANCY
Sorry, you petitioned for custody, you
got it. She's your responsibility.
EMILY
Until when?
NANCY
Till we find a suitable foster home.
EMILY
How long is that going to take?
NANCY
You're asking me questions you know the
answer to. Three to six weeks. Surely
you can manage that long.
EMILY
I don't want her anymore. I'm done.
That's it.
Nancy grimaces. Scary lady.
NANCY
Now you look. I put my reputation, quite
possibly my career, on the line for you.
Don't embarrass me. You make this work.
68.
EMILY
How do I make it work if it's not
working?
NANCY
However! Find a way!
INT. HARDWARE STORE - DAY
A CLERK stops in an aisle, hands Emily a DEADBOLT from a
shelf.
HARDWARE CLERK
That what you're looking for?
EMILY
(NODS)
Thanks.
He walks off. Emily weighs the deadbolt in hand. Puts it
down and picks up the next larger size. Grabs a second one
just to be safe. A third for good measure.
INT. LUCY'S ROOM, EMILY'S HOUSE - DAY
With urgency Emily removes all her backup files from the
shelf in Lucy's room. Dropping them in banker's boxes.
Stops on Diego's. Eyes his photo. Drops it in. Grabs the
office phone, boxes it with the files.
INT. EMILY'S HOUSE - DAY
Emily unplugs the phone in the kitchen. Unplugs the one by
the sofa.
Opens the closet and tosses the phones inside with the
banker's boxes she put there. Closes the door. Locks it.
Hides the key.
Just then, a FLASHING RED LIGHT draws her gaze to the window -
A SCHOOL BUS
stopping at the end of the block. Emily crosses to the
window, watching as
LUCY
gets off and comes up the sidewalk toward the house. Sensing
Emily's stare, she stops and meets it. Waves, testing the
waters. Emily waves back but it's a hollow gesture. Lucy's
smile fades, knowing this as she continues toward the house.
69.
In a sudden panic Emily goes into the kitchen, grabs one of
the knives. Eyes the blade, forced to contemplate the
unthinkable - its use as a weapon, self-defense.
She comes into the living room, holding it. Catches sight of
herself in the mirror. A jarring image:
Sweet Emily Jennings with a butcher's knife in her hand.
The sound of LUCY'S FOOTSTEPS on the front steps breaks the
spell.
Emily hides the knife behind the fish tank. No good, you can
see it through the glass.
We hear LUCY'S KEY IN THE LOCK.
Emily grabs the knife. It's in her hand as the door CLICKS
open, until the last second when she tosses it under a sofa
pillow.
Lucy enters. Shy. Innocent. A ten-year-old home from
school.
LUCY
Hi.
Emily returns a plastic smile.
EMILY
Hi.
LUCY
You weren't there so I took the bus.
EMILY
Sorry, work - lost track of time.
LUCY
It's okay, I know how busy you are.
Emily watches unnerved as Lucy crosses to the sofa, to the
very pillow where she hid the butcher's knife, and sits down
to untie her shoes. The point of the knife is almost
touching her leg. If she moves at all, it will cut the skin.
LUCY
Doesn't matter anyway, the bus stops
right at the end of the street. So I can
always get home, whether you're there or
not.
70.
EMILY
Lucky.
Lucy nods then pauses and looks at the pillow, or appears to,
but she is actually looking at the end table.
LUCY
Where's the phone?
EMILY
Oh, it wasn't working...
Lucy nods oh. Finishes untying her shoes then gets up and
walks into the kitchen, checks the wall, turns to Emily.
LUCY
Wow. That one, too.
Emily, caught in a lie, says nothing.
LUCY
Can I have a shower? We had gym today...
Emily nods. Lucy heads into the bathroom. Pauses at the
door, back turned.
LUCY
Are they being nice to her?
EMILY
Who?
LUCY
My mother.
She turns for Emily's reaction.
EMILY
How - how would I know that?
LUCY
I thought you said you were going to see
her.
EMILY
I never said that.
Lucy frowns. A bewilderment that seems genuine.
LUCY
Hm. I must have dreamt it.
Goes into the bathroom. Closes the door.
71.
INT. EMILY'S HOUSE - DAY
Ear pressed to the bathroom door, Emily listens to the
RUNNING WATER: Lucy taking a shower.
She goes to the closet, unlocks it. Grabs one of the phones.
INT. EMILY'S KITCHEN - DAY
It sounds like EMILY'S VOICE is coming from the fridge until
we sweep past it to see her crouching by a phone jack in the
corner. Whispering.
EMILY
I don't care, Robin, anywhere. Just find
somewhere that will take her. Tonight.
I don't want this girl in my house.
Emily unplugs the phone. And just then hears a SOFT BREATH
behind her. Oh shit. Slowly turns.
LUCY IN A BATH ROBE BEHIND HER.
Hair dripping wet. A chilling stare. How much did she hear?
Lucy walks out. We hear her bedroom door close.
Emily crouched in the corner, holding the phone, terrified at
the thought of what's in store.
INT. EMILY'S BEDROOM - NIGHT
THE HEAD OF A TURNING SCREW - Emily installing a DEADBOLT on
her door in the middle of the night.
It's the third lock, the other two already in place. Hands
trembling, she lines up the last screw. It slips from her
fingers. ROLLS UNDER THE DOOR.
She cracks opens the door. Reaches to grab it and lets out a
SHRIEK, recoiling -
FEET
standing just outside her door.
LUCY, IN PAJAMAS, HOLDING THE SCREW
She hands it back to Emily, making no overt acknowledgement
of it.
LUCY
Good night.
72.
She walks down the hallway to her bedroom.
As soon as Lucy's door closes, Emily closes hers and goes
back to work, doublespeed. Winds that last screw into the
wood and then slides-to the heavy bolts.
CLUNK. CLUNK. CLUNK.
Scooting backwards, she sits against the bed, wide-eyed with
terror, screwdriver clutched in her fist like a stabbing
weapon.
EXT. OLD STONE CHURCH - DAY
A bell TOLLS in a steeple.
Down below, Emily is going against the tide, walking up the
steps past CHURCHGOERS who are coming down after morning
mass. Halfway up, she runs into Mike Barron and his wife and
son. It's awkward, more for her than him.
BARRON
Emily...?
EMILY
Mike.
EXT. CHURCH PARK - DAY
Sitting on a bench in a park that occupies the shadow of the
old stone church, Emily and Mike talk privately. His wife
pushing his young son on a playground swing.
EMILY
`No such thing as a bad kid, only bad
parents.' I always believed that. It's
a lie. Her parents aren't crazy.
BARRON
You wanna end up where they did keep
talking like this.
(off her look)
I'm not judging you. You're grieving for
Doug and you're still confused about what
Diego did.
EMILY
Aren't you?
BARRON
Diego grew up in a bad home, he saw
violence and he repeated it, that's the
cycle, you know that better than anyone.
73.
EMILY
Why did she lie about calling him?
BARRON
`Cause she's a liar, that doesn't mean
she made him do it. Look, let me tell
you what Lucy is. Lucy is a damaged
child, a deceitful child, a manipulative
child. But a damaged, deceitful,
manipulative child is not a demon. Ask
my brother-in-law, he's got a couple of
`em.
Barron stands from the bench.
EMILY
Mike, you know I'm not crazy. Don't run
away from something just because it
scares you.
His concern edges toward sadness. He indicates the church.
BARRON
I stopped you on the steps. I think
maybe you oughta go all the way in.
Walks off to rejoin his wife and son. Emily alone on a bench
in the shadow of a church.
INT. CORRIDOR OUTSIDE GROUP THERAPY - DAY
The circle of abused children. Lucy among them, a happy
participant. Nancy filling in for Doug.
It's EMILY'S POV - as she spies on Lucy through the window,
second-guessing herself for a moment.
Session over, Nancy dismisses the group with a smile and
theatrical applause.
Emily watches Lucy cross the room. At the coat rack, she
whispers something to another girl. The veil of Lucy's hair
partially obscures her profile, but through that veil Emily
sees something chilling. For a moment, a moment so fleeting
it might just be a trick of the eyes -
LUCY'S LIPS APPEAR THICKER, MORE MASCULINE, SPEAKING CAUSTIC
WORDS THAT HOLD THE OTHER GIRL CAPTIVE.
Emily draws a sharp inward breath. Lucy, feeling Emily's
stare now, turns to meet it. Her SWEET INNOCENT GIRL LIPS
widening into a smile.
74.
But Emily knows what she saw. She throws open the door and
rushes in.
INT. GROUP THERAPY ROOM - DAY
Grabs Lucy by the arm and yanks her bodily from the room.
This, to the amazement of Nancy, the other children -
INT. CORRIDOR OUTSIDE GROUP THERAPY - DAY
- and to the shock of the other PARENTS waiting outside.
Nancy comes after her in a fury. Runs her down. Erupts.
NANCY
Who do you think you are barging in there
like that?!
EMILY
I don't want her in group anymore, I
don't want her around the other kids.
NANCY
Well that's not your decision, is it?!
Emily opens her mouth to reply, but Lucy beats her to the
punch.
LUCY
It's okay, Nancy, Emily's been under a
lot of stress lately, but she's really
nice to me and I hope I can stay with her
a really long time.
Nancy, disarmed by the glowing praise, turns back to Emily.
NANCY
We'll talk about this later.
Storms off.
LUCY
See you next week, Nancy.
Nancy doesn't hear, busily reassuring parents, damage
control. Emily and Lucy arrive at the elevator. Emily hits
the button.
EMILY
You're never going back there.
LUCY
Why, Emily?
75.
Emily says nothing. Lucy keeps asking the same question, in
the exact same intonation, as Emily ignores her:
LUCY
Why, Emily? Why, Emily? Why, Emily?
DING. The doors open.
INT. ELEVATOR - DAY
Emily and Lucy step in. The door closes. Lucy continuing
her verbal assault as they start to descend:
LUCY
Why, Emily? Why, Emily?
Suddenly the ELEVATOR LURCHES TO A VIOLENT STOP. It buckles
Emily's knees. She is terrified, practically
hyperventilating.
EMILY
W-w-what's happening - ?!
Lucy has gotten her attention.
LUCY
Can I go back to group next week?
EMILY
You're never going back there!
Lucy looks at her as one regards a small dumb animal. Then
looks up at the ceiling.
LUCY
Are you sure?
Horror as Emily realizes what she's thinking. We hear the
first CABLE SNAP above them. In the CREAKING HUSH that
FOLLOWS:
EMILY
No...
The second CABLE SNAPS. The elevator goes into a HELLISH
FREE FALL.
The acceleration is dizzying.
Emily clutches the rail with both hands, SCREAMING as the
elevator goes cannonballing down the shaft. Lucy indifferent
as they plummet toward certain death.
76.
The floor indicator light races toward L, the car shuddering
violently, the noise deafening. It's a horrible way to die.
Emily closes her eyes in anticipation of impact. And in the
sudden BLACKNESS there's no noise at all. Just a soft,
DISTINCT
DING.
A breathless pause then Emily opens her eyes. And sees the
elevator is no longer falling. Never was. The doors glide
open to the first floor lobby.
Lucy gives her a quiet look and strolls out. A businessman
steps into the elevator, watching bewildered as Emily
releases her white-knuckled grip on the railing and staggers
out, so badly shaken she can barely stand...
INT. EMILY'S HOUSE - NIGHT
Fish swim languidly in the tank. It's after midnight. We're
looking down the darkened hall at Emily's closed bedroom
door.
INT. EMILY'S BEDROOM - NIGHT
Emily, in a coat and shoes, packing a suitcase. Snaps it
quietly shut. Looks over at the barricaded door. Draws a
tense breath.
INT. HALLWAY - NIGHT
From down the hall we hear the DEADBOLTS SLIDE QUIETLY OPEN.
The door opens a crack.
EMILY'S TERRIFIED FACE peers out. Making sure the hall is
empty.
She steps out, suitcase in hand.
Tiptoes down the hall. Quietly as possible as she comes past
Lucy's door. It's open a crack. The room pitch black
inside. Emily steps closer, breath held. Peers in through
the little crack. Sees -
LUCY ASLEEP IN BED.
But suddenly her EYES SNAP OPEN. Her face horizontal on the
pillow.
LUCY
I can see you.
77.
Emily backs away. Goes quickly to the front door.
INT. EMILY'S CAR - NIGHT
Emily throws the suitcase in the trunk. Slams it shut.
Comes around to the driver's side door. Jumps in. Closes
the door. And gets the scare of her life.
LUCY IS SITTING IN THE PASSENGER SEAT!
Emily recoils with a SCREAM, throwing her body against the
window behind her. Lucy sits there, silent, betrayed.
It's too much for Emily. She breaks down. Buries her face
in her hands and sobs.
Lucy, after a moment, takes a brush from Emily's bag and
starts lovingly brushing her hair.
Emily slowly lifts her head, resigning herself to this latest
horror. She sits zombie-like behind the wheel, tears
streaming as Lucy tugs gently at the snarls, playing mommy.
LUCY
Don't be sad. This is your new
beginning.
INT. EMILY'S CUBICLE - DAY
Unopened mail and new case files piling up. Emily looks
terrible, phone to ear, getting SCREAMED at, sworn at,
interrupted every time she tries to speak.
EMILY
Mrs Lynch, I told you - will you let -
that's not what I said - no, I did not -
you never sent me the - Mrs Lynch - will
you let me respond? - will you let me -
Mrs Lynch - will you let -
Emily can't take it anymore. She unloads.
EMILY
SHUT THE FUCK UP YOU MISERABLE MISERABLE
WOMAN BEFORE I GET IN MY CAR AND COME
OVER THERE AND BEAT YOUR ASS LIKE YOU
BEAT YOUR SON! I HAVE YOUR ADDRESS!
THINK ABOUT THAT NEXT TIME YOU CALL AND
SWEAR AT ME! I KNOW WHERE YOU LIVE!
Slams the phone down. Sits there looking rather dazed.
Wayne arrives, dazed in a different way, having overheard.
78.
WAYNE
Um, so, I notice you haven't taken any
personal days. Come on, you look like
crap, go home.
Emily levels a withering stare.
EMILY
I don't want to go home.
EXT. LOS ANGELES APARTMENT BUILDING - DAY
Emily knocking on a door in an outside hallway. It opens.
It's the girl from the bar. BECCA. The friend. Not
expecting her.
BECCA
Emily...
INT. BECCA'S APARTMENT - DAY
Emily, disheveled, five days without sleep, doing her best to
appear rational.
EMILY
I know I haven't been a great friend
lately, but... do you think maybe I could
crash here for a couple of nights?
BECCA
Sure, when?
EMILY
Tonight and tomorrow.
Becca draws air through her teeth, pained by her predicament.
BECCA
Em, any other weekend you know I'd say
yes, but I just met this guy and he's
coming over tonight like for the night
and it might be, you know, kinda weird.
Emily nods. And there's nothing more to be said.
INT. EMILY'S ROOM - NIGHT
Stormy night. Heavy rain. High winds. The trees, thrashing
outside the window, backlit by a streetlight, cast OMINOUS
SHADOWS on the walls of the bedroom.
Emily huddles in the corner, wrapped in a blanket, clutching
the screwdriver.
79.
There is a KNOCK on the bedroom door. Emily's EYES JERK WIDE
OPEN. She looks at the door, but doesn't answer.
After a moment, Lucy's voice, innocent, afraid -
LUCY (O.S.)
Emily...? Can I come in? I'm scared...
Emily says nothing. Heart racing. There's another KNOCK. A
little louder.
LUCY (O.S.)
Emily? Please? I know you're in there,
please...?
Emily says nothing. Lucy starts pounding on the door.
LUCY (O.S.)
Please, Emily...
SILENCE.
Emily listening, barely breathing. Is that it? Is she gone?
And then suddenly - WHAM! - WHAM! - WHAM! - the pounding
turns VIOLENT, practically shaking the door off its hinges.
Far too violent for a little girl.
Emily wedges herself into the corner, absolutely petrified.
There is something very strong and very angry on the other
side of that door, SHRIEKING in the voice of a child -
LUCY (O.S.)
LET ME IN!
WHAM - WHAM - WHAM - WHAM - WHAM - WHAM!
LUCY (O.S.)
LET ME IN!
WHAM - WHAM - WHAM - WHAM - WHAM - WHAM! The door getting
absolutely pummeled, looking like it might splinter from the
force. And it's so intense that it's almost surreal what
Emily is seeing. Lucy's voice eerily monotone, the words
coming inhumanly fast like some auctioneer from hell -
LUCY (O.S.)
Let me in, let me in, let me in, let me
in, let me in, let me in, let me in, let
me in, let me in, let me in...
80.
Relentless. Tormenting Emily. Until she can't take it
anymore. And she SCREAMS as loud as she can, half cursing,
half begging, the veins standing out in her neck -
EMILY
LEAVE ME ALONE!!!
And the POUNDING STOPS DEAD. All we hear is the rain
drumming on the roof. And Emily's QUICK TERRIFIED BREATHS as
she stares at the door wondering what's next.
But there's nothing. Just the shadows dancing on the walls.
It appears the nightmare is over for now.
But not quite.
A sudden CLUNK in the closet makes her jump. Her head snaps
around - what was that? She just stares, unable to breathe
because whatever she just heard is INSIDE HER ROOM!
White-knuckled grip on that screwdriver, Emily stands up and
comes slowly over to the CLOSET DOOR.
Raises the screwdriver. Ready to stab.
Takes hold of the door handle.
Slowly turns it.
Opens the door.
PITCH BLACK inside.
A tense pause as she stares into that blackness, then reaches
a hand into the closet, feeling around for the pull-string.
Finds it. Gives it a tug. And there, right in front of her,
is a vision of unspeakable horror:
MARGARET SHERIDAN
Twitching spasmodically in a hospital gown. HIDEOUSLY
BURNED.
She comes at Emily arms flailing, clumsy with rage and
dementia. Emily leaps aside and Margaret goes careening into
the furniture, howling and spinning like some crazed Whirling
Dervish.
Emily scrambles over the bed. Reaches the door. Fumbles at
the deadbolt. Here comes Margaret. At the last second Emily
gets the door open. Runs out.
81.
INT. HALLWAY - NIGHT
Tears a path down the dark hallway. Margaret right behind
her, hideous, reeling, hitting the walls with her flailing
arms.
Emily throws open the front door.
EXT. EMILY'S HOUSE - NIGHT
Dashes from the house into the abandoned street. Running in
the rain. Margaret comes crashing out of the house, chasing
her down the middle of the street.
Emily sees a city bus parked up ahead. Makes a run for it.
EXT. METRO BUS - NIGHT
A metro transit bus idling along the curb. The DRIVER with
his feet up between shifts, reading a porno mag. Emily comes
running up to the door. Pounds frantically on the glass.
EMILY
Help me! Please!
The driver meets eyes with her through the door. Keeps
reading. Unimpressed. More pounding from Emily.
EMILY
Let me on!
The driver points to the sign above the door: OUT OF SERVICE.
Keeps reading. Emily near hysterics at this point. Margaret
closing in fast.
EMILY
She's coming! Please!
The driver sighs, weighing his obligations. Emily spins,
back to the door. Margaret nearly upon her, ten feet away,
five, four...
INT. METRO BUS - NIGHT
The driver opens the door. Emily dives backwards onto the
bus, the door snapping closed in front of her just as
Margaret lunges for her throat.
EMILY
Drive!
BUS DRIVER
There's nobody out there.
82.
EMILY
DRIVE!
BUS DRIVER
There - is - nobody - out - there!
It sinks in the second time. Emily scans the sidewalk, the
darkened streets outside the bus. Margaret is gone. Was
never there. The driver opens the door, nods to her - out.
EXT. METRO BUS - NIGHT
With a hydraulic HISS the bus releases its brakes and diesels
off down the empty street. Emily stands alone. Rain-soaked.
Shivering. Staring at her house down the block.
The SILHOUETTE OF A CHILD in the window.
INT. CHILD SERVICES DEPARTMENT - NIGHT
Wayne and his BOYFRIEND shake rain off an umbrella as they
cross the darkened office.
BOYFRIEND
(re: the office space)
No, I like it. It's like those things
they put baby cows in to make veal -
The boyfriend slows as they go past a cubicle. Saw something
weird.
WAYNE
What?
He points. Freaked. Wayne comes over, pokes his head in a
cubicle.
EMILY
head down on her desk, rain-soaked, sleeping in her chair.
WAYNE
Em...?
No reply. Wayne's face darkens. Is she dead? He comes
over, puts his hand on her shoulder.
WAYNE
Emily...?
She awakens with a jolt. Expecting to see Margaret. She
looks terrible.
83.
WAYNE
Jesus - are you okay?
EMILY
(HOARSE WHISPER)
I... I had some things to catch up on...
She fumbles unconvincingly at some loose paperwork.
WAYNE
You look like shit, you need to see a
doctor.
EMILY
I saw a doctor.
WAYNE
What did they say?
EMILY
(LOSES IT)
They said mind your own fucking business!
Shocked by the outburst, by her general appearance, he walks
away, muttering to his boyfriend. Emily puts her head in her
hands, pressing down at her temples. Wayne steps into his
office in the b.g. and grabs something then they exit.
And the office is quiet again. Emily closes her eyes. Just
then, she hears -
A faint CYCLICAL SQUEAKING NOISE in the cubicle right next to
hers. Goes rigid. Recognizes the sound. Calls over the
partition without moving.
EMILY
Wayne...?
No reply, but the SQUEAKING CONTINUES. Rising slowly from
her seat, scared as hell, she leans over her desk and peers
over the partition into the adjacent cubicle.
It's empty. But the OFFICE CHAIR IS TURNING as if someone
were just playing there.
Emily steps slowly back. And now hears the same CYCLICAL
SQUEAKING behind her. The opposite row. She spins.
EXT. CHILD SERVICES DEPARTMENT - NIGHT
Walks slowly from her cubicle. Comes along the row of
darkened cubicles, following the sound to its source. This
is the one. She looks in.
84.
Empty cubicle. TURNING CHAIR.
Emily backs away. Terrified. The chair winding slowly to a
stop.
Suddenly, behind her, at the far end of the office, a
different NOISE splits the silence. Emily turns and stares
toward the sound. The XEROX MACHINE. Someone is using it.
EMILY
Hello...?
No answer.
Emily comes slowly down the aisle to the partitioned
workstation. A torturous walk set to the RHYTHMIC CADENCE of
the photocopier, the HARSH GREEN LIGHT SWEEPING ACROSS THE
CEILING ABOVE IT, again and again and again...
And then it stops, ejecting one final page as Emily enters
the workstation. And sees there's no one there.
She stares at the idle machine for a moment, then at the
STACK OF COPIES lying upsidedown in the tray. She comes
over, picks them up. Turns them over.
The first page is a photocopy of a PAIR OF HANDS PRESSED FLAT
AGAINST THE COPYING GLASS.
Emily stares, haunted. Tense breath. Continues through the
stack.
Successive pages show the same two hands, but leaning forward
into the inky blackness between them is a FACE, its features
resolving into murky focus as it approaches the glass. The
last page is a horrific image. A man screaming in such
terror that his face appears almost deformed.
It's DOUG. The night of his death. Like a snapshot from his
bathroom mirror.
Emily shudders, the stack of pages tumbling to the floor.
Runs out. And we see the photocopies, lying on the floor,
are totally BLANK...
INT. CORRIDOR, CHILD SERVICES BUILDING - NIGHT
Emily, leaving, rushes down a corridor toward the lobby.
Tense. Head on a swivel. Hears MORE SQUEAKING behind her.
Spins.
A NIGHT JANITOR WHEELING A MOP BUCKET
85.
She walks on. Turns the corner and RUNS INTO SOMEONE
UNEXPECTED. Jumps back with a SHRIEK before she realizes who
it is.
EMILY
Robin...
A ponytailed woman in her mid-forties, the child placement
specialist Emily called from home.
ROBIN
What are you doing here so late? I tried
calling you. I found someone to take
Lucy.
EMILY
(STUNNED RELIEF)
You did?
ROBIN
Anaheim couple. They've helped us out
before.
She shows Emily a custody form with an attached photo:
A KIND HUSBAND AND WIFE WITH TWO YOUNG CHILDREN.
Emily's face darkens.
EMILY
(under her breath)
Oh God...
ROBIN
What's the matter?
Emily stares at the unsuspecting family. Lucy's next
victims. She fends off a wave of emotion as the full horror
of her predicament hits her. Then, matter-of-factly, facing
that fear head-on:
EMILY
I can't. I'm keeping her.
As Emily walks off, ripping the custody form to shreds, Robin
utterly confused...
INT. STATE PSYCHIATRIC HOSPITAL - DAY
Emily sits opposite Edward Sheridan in the visiting room, an
odd sense of camaraderie between them.
86.
EMILY
If I get rid of her, if I put her into
the system...
EDWARD
(NODS YUP)
She starts all over again somewhere else.
Can't let her stay, can't let her go.
That leaves you with one option.
Eye contact. Emily looks away, shakes her head.
EMILY
I can't, Edward, I --
EDWARD
You have to. You have to find the
strength. Don't you understand? That's
why she's doing this. To test you. Test
your faith.
EMILY
I don't have any faith.
EDWARD
How `bout anger. Got some of that?
Emily lowers her gaze to the table.
EMILY
How... how do I...?
EDWARD
Kill her? In her sleep, assuming you
can...
(THEN; THINKING)
Tell you what I'd do different. Count
myself dead at the outset. Accept that
going in and use it to my advantage.
That's the one thing I don't think she'd
see coming, someone giving up their own
life to take hers.
As Emily registers this...
INT. EMILY'S HOUSE - NIGHT
Middle of the night, the living room is lit by the eerie glow
of the fish tank. The filter humming. The fish swimming
languidly. Suddenly they DISPERSE, spooked by something
outside the tank.
87.
INT. EMILY'S BEDROOM - NIGHT
The bureau has been pushed in front of the deadbolted door to
form a barricade. Emily lies in a fetal position on her bed,
exhausted but unable to sleep.
She tenses at the sound of a MUFFLED MALE VOICE in the other
room. Comes over to the door, trying to listen. Thinks she
recognizes it.
EMILY
(calls through door)
Mike...?
No reply.
A moment of indecision then Emily tightens her grip on the
screwdriver and quietly slides open the deadbolts.
INT. HALLWAY - NIGHT
She comes slowly down the hall, following the VOICE to its
source, stops in the living room doorway, haunted...
INT. LIVING ROOM - NIGHT
THE TELEVISION
Edward's psych interview playing to the empty room. He's
straightjacketed, sedated. Talking directly to the camera.
EDWARD
Where is she now? Some family somewhere?
INTERVIEWER
Why does that concern you, Edward?
EDWARD
`Cause you have to warn them.
Emily turns off the tv. IMMEDIATELY IT SWITCHES ITSELF BACK
ON. Emily freezes, realizing the room is not empty.
Turning, she sees Lucy sitting in the shadows holding the
remote. Lucy mutes the sound and returns Emily's stare,
thoughtful, almost empathetic.
LUCY
I like it here. I like you. You want me
to like you, don't you?
Emily nods. The room bathed in the tv's flickering blue
light. Lucy is quiet for a moment. Then, in her innocently
menacing voice, explains the rules:
88.
LUCY
You have to do what I say. If I say I
want to go to group, you have to do it.
If I say I want a new dress, you have to
do it. If I say I want ice cream every
day after school, you have to do it.
Okay?
Emily gives a haunted nod, remembering:
A FLASHCUT of Lucy sitting between Edward and Margaret at the
Child Services meeting, new dress, ribbon in her hair,
licking her ice cream with a wicked little smile.
BACK TO SCENE
Lucy stares coldly at the television: Margaret speaking with
the sound off.
LUCY
They did what I said for a while and then
they stopped and started with the
secrets. But they weren't really secrets
I guess...
(looks at Emily)
...because I always knew what they were
thinking.
She holds Emily's gaze then looks back at the tv. Margaret's
image reflected in the pupils of her eerie unblinking eyes.
INT. MARGARET'S PADDED ROOM, PSYCH HOSPITAL - NIGHT
Margaret, straps unbuckled, sits on the bed beside a YOUNG
NURSE who checks her temperature. Done, the Nurse heads out.
MARGARET
Don't leave me.
Terror in Margaret's voice.
YOUNG NURSE
It's okay, Maggie. I'll check on you
later.
The Nurse exits. Locks the door.
CLICK-KA-THUNK. The sound of doom to Margaret.
She stands up, looking around, trembling at what's to come.
Her footsteps sound oddly HOLLOW, METALLIC on the floor.
89.
MARGARET'S POV - surveying the room, we see what Margaret's
hell looks like. It's not a room she's living in...
AN OLD OVEN
With dark scorched metal walls. A bolted-down bed to one
side, perfectly white, like a practical joke.
We can hear the low HISS of it filling with gas. The faint
POOF as it ignites beneath her. The first SHIMMERING WAVES
OF HEAT rising up, singeing her hair.
Margaret runs screaming to the door, claws at the pane of
glass like a madwoman. But there is no escape from the hell
of her own mind. The YOUNG NURSE'S FACE APPEARS there in the
window, shocked by Margaret's insane rantings.
INT. PSYCH HOSPITAL CAFETERIA - NIGHT
Edward, dinner tray in hand, going through the cafeteria line
with other INSTITUTIONAL PATIENTS.
He sits down at a table and starts eating, quiet, lost in his
thoughts. Takes another mouthful of food and suddenly stops
chewing, noticing something very strange:
A BALD, MORBIDLY OBESE INMATE SITTING DIRECTLY ACROSS THE
TABLE IS CUTTING PEAS IN HALF ON HIS PLATE, ABSENTLY, BUT
WITH AN ALMOST SURGICAL PRECISON, EATING THEM ONE BY ONE OFF
THE TIP OF HIS KNIFE!!
He lifts his gaze to Edward. Smiles a knowing, taunting
smile. Then his WIDE WET MOUTH speaks in a little girl's
VOICE:
LUCY'S VOICE
I'm happy you're getting the help you
need, daddy.
Edward goes berserk. Launches himself across the table at
the guy, stabbing him in the neck with his fork. Vicious
attack. Unprovoked as far as anyone else is concerned. A
guard rushes over. Edward turns on him, maniacal.
THE GUARD SHOOTS HIM DEAD.
As blood pools around Edward's body, some LUNATIC who
witnessed the event starts to applaud. Others join in. It's
the most excitement they've seen all year. And as the
applause spreads through the entire cafeteria...
90.
EXT. EMILY'S HOUSE - DAY
Emily comes down the steps, past the morning paper on the
walkway. Stops dead in her tracks. Stunned. Comes back and
picks it up.
A SMALL PHOTO OF EDWARD ON THE FRONT PAGE WITH A HEADLINE:
HOSPITAL PROBES DEATH.
At the bus stop at the end of the street, Lucy mingles
happily with other CHILDREN. She meets Emily's gaze down the
length of the sidewalk. Smiles and waves goodbye as she gets
on the school bus.
INT. BARRON'S OFFICE, POLICE STATION - DAY
Emily drops the newspaper on Barron's desk. The headline
about Edward speaks for itself.
BARRON
I know...
It's a different Mike Barron than last we saw. Gone is the
quiet assurance. Whatever happened rocked him to the core.
He closes the door for privacy.
BARRON
There's something I want you to hear.
Came in at two o'clock last night. You
might wanna sit.
Emily sits. Barron cues a voicemail message on his phone,
plays it over the speaker. After a BEEP we hear it. A
SINISTER MALE VOICE, guttural, taunting, the voice of a
DEMON:
SINISTER MALE VOICE
(mocking his earlier line)
`It's hard sometimes to tell the truth,
but I know you will `cause you're a good
little girl...'
(THEN; INTIMATE)
Twenty years in the trenches, can't make
Lieutenant? Hurts, doesn't it? Shakes
your faith sometimes. You know why they
keep passing you over? Do you, Michael?
`Cause you're soft. Soft, soft, soft...
DELIRIOUS LAUGHTER followed by a CLICK and a DIAL TONE.
Emily's mouth gapes. After a moment:
91.
BARRON
You're right. She called Doug. Took me
an extra couple of days to get your cell
phone records. That's what she's been
using.
Grim pause. Emily digs through her bag. Reaches the bottom.
No cell phone. Staring into the bag, voice wavering with
EMOTION:
EMILY
She's taking me apart, Mike.
She loses it for a second. Barron sits in front of her on
the edge of the desk.
BARRON
I'm gonna help you get to the bottom of
this.
EMILY
(re: Edward's photo)
He told me I have to kill her.
Barron registers that in silence. Stuns her, and himself, by
what he says next.
BARRON
I'll help you.
Emily looks at him. Disbelief.
BARRON
Whatever it takes.
She hugs him. A godsend.
BARRON
I'm gonna put Beth and Tim in a hotel.
Keep her at the house.
INT. DOCTOR'S OFFICE - DAY
Emily buttoning her shirt after an exam.
DOCTOR
Physically you're fine. How's the
stress?
EMILY
I'm not sleeping, I was hoping you could
give me something.
92.
The doctor writes on her prescription pad.
DOCTOR
Take one of these, you'll sleep.
Emily watches the pen scribble.
INT. EMILY'S CAR - DAY
A prescription pill bottle on the passenger seat. Emily,
driving home, glances at it with apprehension.
EXT. HOTEL - NIGHT
A high-rise hotel in downtown Los Angeles.
INT. HOTEL ROOM - NIGHT
Barron, saying goodbye to his WIFE and SON, sets down the
overnight bags they've packed.
BARRON'S WIFE
Why won't you tell me what's going on?
BARRON
Because I can't.
Kisses her. Turns to his son.
BARRON
Take care of your mom.
Musses the boy's hair and leaves.
INT. HOTEL CORRIDOR - NIGHT
Barron strides down the corridor, his face reflecting the
grim task ahead.
INT. HOTEL PARKING STRUCTURE - NIGHT
His footsteps echo in the parking structure as he walks along
a row of parked cars.
A faint JANGLING SOUND stops him dead in his tracks. He
turns and scans the garage behind him. It's quiet, eerily
still.
He continues onward, but hears the faint JANGLING SOUND again
a moment later. Spins, trying to place it. There it is
again. Closer this time. Something moving, hiding, behind
the rows of cars over there.
93.
He bends, trying to get a look under the cars. Can't see
anything. Unnerved, he moves on, clicks the button on his
keychain remote. The lights flash on his car fifty yards
away.
But as he continues toward it they reveal themselves,
trodding into view from between the cars, CHOKE-CHAIN COLLARS
JANGLING around their necks...
THREE PIT BULLS
Battle-scarred. Vicious. The dogs from Diego's house. They
sit down right in front of Barron's car. It's a surreal
moment, a trio of attack dogs sitting at quiet attention,
square-jawwed, black-eyed, the kinetic calm before a predator
strikes.
Barron draws his gun. Fires a warning shot over their heads.
BANG!
Deafeningly loud, it echoes through the garage like a
thunderclap. But the dogs don't move, just sit there
staring.
Barron lowers his gun. It's time to get the hell out of
here. He backpedals, making no sudden movements, gun still
trained on the dogs.
They watch him, eyes livening with excitement, one of their
back legs twitching in anticipation.
Barron quickens his step and that's their cue.
ALL AT ONCE, WITH EXPLOSIVE SPEED, THE DOGS SPRING INTO
MOTION, VICIOUS AND MUSCLED AND SMELLING BLOOD.
Barron fires an errant shot and takes off running. But he
can't match their pace, the deadly trio race along the row of
police cruisers, closing the gap with ease.
At the last second Barron jumps the partition. The pit bulls
crash skull-first into the concrete, but continue their
pursuit unfazed as Barron takes off up the adjoining ramp.
He jumps up onto the row of cars and runs across the hoods,
denting the metal. The dogs jump up behind him, relentless
in their pursuit.
Jaws snapping at his heels, Barron takes to the car roofs,
the pitbulls leaping from car to car behind him.
94.
He looks back just in time to see the dogs launch themselves.
They hit him at chest height, sinking teeth in his flesh.
Stumbling forward, struggling to keep their jaws from his
throat, Barron doesn't see what's coming. The last car. The
edge of the parking garage.
He's over the edge before he even understands, flailing his
arms for a handhold that doesn't exist. The ground, far
below, flies up at him in a rush of acceleration.
We hear a sickening THUD and find Barron lying face down on
the pavement below, blood pooling around him. Clinging to
life, he opens his eyes and sees the TRIO OF PIT BULLS
SITTING OBEDIENTLY BESIDE HIM, unharmed, watching.
But from a distance we see there is only Barron. Dying alone
between the parked cars. No dogs anywhere in sight.
INT. EMILY'S HOUSE - NIGHT
Emily opens the front door, peers in, trying not to make a
sound.
EMILY
Lucy...?
No reply. She enters. Sees -
THE CLOSET DOOR IS OPEN.
She comes closer.
EMPTY BANKER BOXES strewn in the hall. SCATTERED PAGES.
At the far end, the light is on in Lucy's bedroom. The door
open a crack. A shaft of light spilling out into the
darkened hallway.
Emily comes down the hallway past SCATTERED FILE PAGES.
Preliminary reports. Medical records. Personality
profiles...
She opens the door to Lucy's room.
INT. LUCY'S BEDROOM - NIGHT
Freezes in the doorway, shocked by what lies before her.
EMILY
Oh my God...
95.
Black eyes. Bloody noses. Bruises. Cuts. Burns. PHOTOS
OF ABUSED CHILDREN COVER THE ENTIRE FLOOR. A collage of
misery.
Lucy is nowhere to be seen. Emily comes in and starts
quickly picking them up.
Tucked between the file cabinet and the wall is a CORKBOARD.
Emily pulls it out. It's covered with PHOTOS FROM WORK.
COWORKERS. HER KIDS. Two of the photos are turned around.
She flips them over in rapid succession. Diego. Doug.
She rips all the photos from the board.
Photos bunched in her hands, she heads for the door, but
hears something that stops her in her tracks -
A strange INTERMITTENT BUZZING NOISE
It lasts two seconds and stops. She turns around, scans the
room. Puts down the stack of photos. There it is again:
BZZZZZZZZZZZT. BZZZZZZZZZZZZT.
Sounds like a housefly trapped against a window, but it's
bigger, angrier, and appears to be coming from the
KNOTTED RUG
at the foot of Lucy's bed. Emily crosses to it. The BUZZING
STOPS. She bends. Takes hold of a corner. Peels it slowly
back to reveal
BARE FLOOR
Weird. Nothing there.
BZZZZZZZZZZZZZT! BZZZZZZZZZZZZZZT!
Emily straightens, turns. It's coming from the
BED
As she approaches it the BUZZING INTENSIFIES, louder, more
agitated.
Pauses as she gets there, terrified of what she might find,
the bed BUZZING FURIOUSLY FROM WITHIN. Something is trapped
under those blankets, waiting for release.
Emily extends a trembling hand, takes hold of the blankets
and, slowly, rigid with fear, peels them back to reveal
96.
BARE MATTRESS
Impossible, because the BUZZING IS LOUDER THAN EVER.
With a tense swallow Emily realizes it's coming from lower,
deeper within the bed, between the mattress and the box
spring.
She slips her fingers into the crack.
And slowly lifts the mattress, the BUZZING GROWING
FRIGHTENINGLY LOUD as its source is exposed, something
hellish waiting for her as she cranes her neck and look to
see what lies below -
HER CELL PHONE
Vibrating. BZZZZZZZZZT. BZZZZZZZZZZT. On the viewscreen:
"INCOMING CALL..."
She picks it up. Stares at it vibrating in her hand.
Presses the TALK button. Brings it to her ear.
The LOW STATIC of an open line. Then, a RASPY MALE VOICE:
MALE VOICE ON PHONE
Emily...
Emily flinches.
EMILY
Who is this...?
MALE VOICE ON PHONE
It's Wayne, Emily, I just got a call,
Mike's dead...
Emily, stunned, barely able to speak.
EMILY
No... he's...
WAYNE (V.O.)
They don't know if he fell or what
happened...
Emily's phone hand drops to her side in shock. From down
there, we hear Wayne's voice:
WAYNE (V.O.)
Emily? Emily, are you okay...?
After a moment, she lifts it.
97.
EMILY
I have to go.
Hangs up. On the brink of emotional collapse. Her only
confidante dead.
Just then she hears BREATHING from behind the open door.
Someone or something hiding in that dark corner over there.
She crosses to it. Pulls back the door and there sits
LUCY
quiet, innocent, chin on her knees.
EMILY
What did you do to him?
Lucy says nothing. Emily grabs her by the arm. Yanks her to
her feet.
EMILY
WHAT DID YOU DO TO HIM?!
After a moment:
LUCY
He did it to himself.
WHACK! Emily slaps her. Hard across the face. Knocks her
to the floor. Lucy sits up, lip split. Tastes the blood
with her tongue. Hint of a smile. The taste of victory.
LUCY
Europa. Ganymede. Io. Callisto. The
moons of Jupiter. We got back our
astronomy tests today.
It's there on the floor. A++ Well done, Lucy!
There's a LOUD BEEP in the other room. Lucy gets up and
walks out. Emily watches as Lucy goes into the kitchen.
Takes a bag of popcorn from the microwave. Empties it into a
bowl. Sits down on the living room sofa and clicks on the tv
remote, watching it like nothing ever happened. Emily walks
over and pitches the tv onto the floor. The SCREEN SHATTERS.
EMILY
Get out of my house.
Lucy, unimpressed, expressionless, takes another handful of
popcorn. Chews it. CRUNCH. CRUNCH. CRUNCH. Emily swats
the bowl from her hands.
98.
EMILY
GET OUT!
Flicking bits of popcorn off herself, Lucy stands up from the
sofa. Her face catches the light from the hallway. Emily
shudders at the sight.
Lucy's features look altered somehow, sharpened. It's
subtle, but the overall effect is chilling. THE FACE OF A
LITTLE GIRL LAID OVER THE MUSCULATURE OF SOMETHING MORE
DEVIOUS AND WICKED.
LUCY
Don't yell at me. My mom and dad used to
yell at me.
Emily backs away, mortified, takes off down the hall.
INT. EMILY'S BEDROOM - NIGHT
Rushes in. Slams the door. Bolts the deadbolts. CLUNK.
CLUNK. CLUNK. Moment of panic. Will they hold?
Slides her bureau in front of the door. Shoves her bed in
front of the bureau just to be sure.
In the silence we hear LUCY'S FOOTSTEPS coming down the hall
toward the door.
Closer, closer...
There's nothing else to block the door with. Emily backs
away, trembling as
LUCY'S FOOTSTEPS arrive at the door. A tense silence. Then:
LUCY (O.S.)
Emily... I'm sorry... I didn't mean to...
Emily grabs the screwdriver, clutches it in both hands.
LUCY (O.S.)
Can I come in so we can talk and work it
out?
There's a GENTLE KNOCK on the door. Emily flinches,
remembering last time.
LUCY (O.S.)
Emily...?
EMILY
Stay away from me!
99.
LUCY (O.S.)
Don't be mad. I said I was sorry. I'll
brush your hair for you.
EMILY
STAY AWAY FROM ME!!
Silence.
THEN:
WHAM! The door shudders from a MAMMOTH IMPACT. Last time,
it shook the door, this time it shakes the entire wall.
Emily recoils, dropping the screwdriver.
WHAM! CRACKS APPEAR in the door as it bows from the
tremendous force.
WHAM!! CRACKS FAN OUT into the plaster around the doorframe.
WHAM!! Half the SCREWS HOLDING THE HINGES fly from the wall.
WHAM!! The DEADBOLTS BENDING from the ungodly pummeling.
WHAM!! The DEADBOLT SCREWS getting yanked from the wood.
Emily frozen in terror, watching. Whatever's out there is
coming in.
WHAM!! One of the DOOR HINGES rips clean from the wall.
WHAM!! The FIRST DEADBOLT comes flying off.
WHAM!! The SECOND DOOR HINGE gone.
WHAM!! ANOTHER DEADBOLT flies off.
WHAM!! The DOOR SPLITS down the center.
WHAM!! The THIRD DEADBOLT lands on the floor at Emily's feet
with a METAL THUD.
A breathless silence.
Then the DOOR RATTLES and drops loose from the frame with a
DEAD WOODEN CLUNK.
Nothing holding it in place now except the bureau and the
bed. And now they both start to SLIDE BACKWARDS as whatever
is on the other side starts pushing its way in.
100.
Emily topples a high bookcase against the door and pushes
back with every ounce of strength she can muster, but it's no
use. The bureau overturns, CRASHES to the floor. Emily's
bare feet slide backwards along with the bed.
And then they stop. The barricade sufficiently breached.
Emily, in her panic, makes a hasty decision. She hides under
the bed.
We HOLD LOW on the open door as LUCY'S FEET step into the
room, the feet of a child, but the BREATHING we hear sounds
emphysemic and the VOICE is unquestionably male - harsh,
guttural, taunting Emily as it comes for her:
SINISTER MALE VOICE
Emily...
Wide-eyed with terror under the bed, she watches those feet
pick their way over the shattered remnants of the barricade.
SINISTER MALE VOICE
Emily... We need to learn healthier ways
of resolving conflict, Emily.
The feet step gingerly past the overturned bureau.
SINISTER MALE VOICE
...Most families don't even know they
have a problem...
The feet stop at the SCREWDRIVER.
SINISTER MALE VOICE
...until it's too late.
A HAND reaches down and picks it up, a girl's hand, but the
fingers as they wrap tightly around the handle look strong
and sinewy.
The feet stand motionless for a moment then turn and come
toward the bed, stopping right in front of EMILY'S HORRIFIED
FACE.
A pause and then, still from Emily's POV, we see Lucy lower
herself onto her knees.
WHAM!! - with shocking force that hand IMPALES THE
SCREWDRIVER IN THE WOODEN FLOOR!
Another pause then both hands come into view, palms flat on
the hardwood, as she leans her head down.
101.
Emily recoiling in anticipation as the face comes into view -
LUCY'S INNOCENT FACE
A little girl. With a little girl voice to match.
LUCY
(PLAYING MOMMY)
What are you doing, you silly
pumpkinhead?
Emily, hyperventilating, stares in shock. Lucy reaches her
hand in. Emily backs away, wedges herself in the corner.
LUCY
(PLAYING MOMMY)
You don't want me to come under there and
get you, do you?
Emily, crying now, shakes her head. Lucy, almost
sympathetic, frowns.
LUCY
(PLAYING MOMMY)
I'm going to count to three. One...
EMILY
No...
LUCY
(PLAYING MOMMY)
Two... Two and a half...
EMILY
Please...
LUCY
(PLAYING MOMMY)
Two and three quarters... Three...
Lucy starts crawling under the bed.
LUCY
Here I come.
Emily tries to go backwards, but there's nowhere for her to
go.
LUCY'S FACE SLIDING CLOSER LIKE THE HEAD OF A SNAKE.
Trapped, Emily screams.
102.
EMILY
WHAT DO YOU WANT?!!
Lucy stops crawling. Folds her arms, sets her chin on them.
Comfortable here under the bed. Delighting in the question.
LUCY
What you wanted from your mother. I want
you to love me.
EMILY
Okay... okay, I will, I will, I promise.
Lucy weighs Emily's surrender for a moment. Then, oddly
BRIGHT:
LUCY
Come tuck me in.
EMILY
Okay... I'll be right there.
LUCY
You better come.
Lucy slithers out and we see her feet scamper from the room.
Emily puts her head down on the floor and cries, covering her
mouth with her hands so she won't make a sound.
INT. EMILY'S KITCHEN - NIGHT
A WHISTLING KETTLE on the stove.
Emily, still in tears, takes it from the burner. Dumps SIX
SLEEPING PILLS from the prescription bottle. Crushes them
with the blunt edge of a knife. Stirs them into a cup of
Chamomile tea.
She freezes at a NOISE behind her. Looks tensely over her
shoulder.
The fridge.
She adds sugar, continues stirring.
INT. HALLWAY - NIGHT
We follow the TEA CUP, in Emily's hand, as she comes
nervously down the hall to Lucy's room. We can see Lucy in
there, waiting for her in bed. Emily, playing the part,
dries her eyes and enters.
103.
INT. LUCY'S ROOM - NIGHT
Sits down on the bed, hands Lucy the tea.
LUCY
Chamomile.
Emily nods. The face of a loving mother. Lucy brings the
cup to her lips, pauses.
LUCY
Maybe you should have it, you look
stressed.
EMILY
I'll have one later.
Lucy considers this, nods okay, takes a sip of tea. Emily
picks up a brush and brushes Lucy's hair.
EMILY
Tomorrow's our new beginning.
LUCY
I'll be good.
EMILY
I know.
Lucy takes a few more sips and sets the tea cup on the
bedside table. Emily, tucking her in, gives the cup a
nervous glance. Did she drink enough?
EMILY
Get some rest.
LUCY
Say it.
EMILY
I love you.
LUCY
Forever and ever?
EMILY
Forever and ever.
Emily kisses her on the forehead. Lucy looks up at her and
for a moment she's the little girl Emily met. Innocent,
angelic, closing her eyes for sleep. They flutter open one
last time.
104.
LUCY
Where are you if I need you?
EMILY
Right down the hall.
Lucy's eyes shut. Emily, brushing her hair, staring at the
HALF-FULL TEA CUP.
INT. HALLWAY - NIGHT
Lucy asleep in bed. Emily watches from the door, wary,
expecting Lucy's eyes to snap open any second.
EMILY
Sweetheart...?
She doesn't move, dead to the world. Or is it a game? Emily
closes the door. Leans against the wall, shaking,
contemplating her next move.
Wedges a chair under the door handle. Time of the essence.
INT. EMILY'S GARAGE - NIGHT
Junk-filled. The door lifts to reveal Emily, silhouetted,
looking in. Amid the clutter is a lawnmower. Beside it, a
big can of GASOLINE.
INT. EMILY'S HOUSE - NIGHT
Emily stifling sobs as she douses the walls of the house.
The hallway, the bathroom, the kitchen, all of it.
TIP OF A MATCH strikes flint, ignites.
Emily stares at it for a long moment.
Lets it fall.
FLAMES SCURRY in a shimmering blue-gold sheet across the
floor. Climb the walls, the entire house ablaze in a matter
of seconds.
Emily sits and watches as the door to Lucy's bedroom is
engulfed. It's an image straight from hell: A YOUNG WOMAN
SITTING ON A SOFA IN A HOUSE OF FIRE.
The fish, frantic in their tank, catch Emily's eye. She goes
over and grabs the tank.
105.
EXT. EMILY'S HOUSE - NIGHT
Smoke swirling past her, she exits the house, locking the
front door behind her. She backs away and watches it burn,
holding her fish tank, the only thing she saved.
TIME CUT TO:
Billowing black smoke. The house fully engulfed as fire
engines arriving on the scene, sirens wailing. Emily
watching with neighbors on the sidewalk as the FIREFIGHTERS
uncoil their hoses.
The window to Lucy's bedroom is a bright red square, an
inferno. And as Emily stares at it, disbelieving what she's
done, the figure of a CHILD appears.
LUCY
Her whole body ablaze. Horrific. She just stands there,
arms at her sides, burning.
Just now the FIRE MARSHALL crosses to the onlookers. Hollers
over the noise and commotion:
FIRE MARSHALL
Everybody get out okay?!
Emily wavers, not sure what to say. The Fire Marshall sees
her indecision.
FIRE MARSHALL
This your house?!
(she nods yes)
Anybody else inside?!
(off her hesitation)
Ma'am...?!
Emily opens her mouth to reply, but sees something behind her
that closes her throat.
LUCY
standing on the sidewalk in her pajamas. Unscathed.
FIRE MARSHALL
Anyone else inside?! Yes or no?!
Emily, in shock, shakes her head no. The Fire Marshall
rushes off, walkie-talkie squawking. Emily stands frozen as
Lucy comes through the crowd to her. More dismayed than
angry.
106.
LUCY
That was mean.
She takes Emily's hand. Together they watch the house burn.
Firelight playing on their faces. The fish bouncing off the
glass in the tank at Emily's feet.
INT. EMILY'S CAR - NIGHT
The blue halflight before dawn. Emily and Lucy sit in the
Volvo, eyeing the scorched remains of the house. The
firecrew stowing equipment. Emily puts the car in drive.
INT. EMILY'S CAR - DAWN
The FISH FLOATING DEAD at the top of the tank in the back
seat as Emily drives down the freeway at daybreak. Lucy
gazing out dreamily at the sunrise.
LUCY
Maybe we can find a hotel with a swimming
pool.
Emily says nothing. Lucy turns and looks at her, thoughtful,
almost empathetic. She draws up her knees and rests her chin
on top, levels an appraising stare at Emily like the one she
leveled at Doug.
LUCY
It's sad, isn't it? How it gets passed
on. How people do to their own kids what
their parents did to them. That's why
you got the job...
Emily turns on the radio, full volume, trying to drown out
Lucy's voice. Lucy reaches over and turns it off. CLICK.
LUCY
...To prove to yourself you're not like
her, that you're not like your mother.
Because that scares you. Scares you more
than anything.
Lucy, in mock sentiment, puts her hand on Emily's.
LUCY
I love you... even if you don't love me.
Emily looks at her, gutted. But defiant. Turning her gaze
forward, she tightens her grip on the wheel and calmly,
resolutely, JAMS THE GAS PEDAL TO THE FLOOR. The
acceleration pitches Lucy backwards into her seat. She sits
up, eyes wide, didn't see this coming. A suicide run.
107.
LUCY
What are you doing? Slow down.
A tense smile from Lucy. The tables have turned.
LUCY
Did you hear me?
Emily stares dead ahead, red-lining the tachometer. Lucy
flits her eyes skyward. IMMEDIATELY IT DARKENS AND STARTS TO
RAIN. Emily turns on the wipers, speeds on, unfazed.
LUCY
I said slow down!
Emily ignores her, going eighty now, weaving through SLOWER
TRAFFIC THAT FLIES TOWARD THEM OUT OF THE GRAY HAZE. Lucy,
panicking, changes channels like a tv. Innocent child all of
a sudden.
LUCY
Please, stop, Emily, I'll be good.
Emily ignores her, beyond apology. And Lucy's face sharpens.
She points down the road.
LUCY
Look out!
Through the heavy rain we see -
A TRACTOR-TRAILER RIG CRASH THROUGH THE DIVIDING MEDIAN AND
JACKKNIFE, BARRELING AT THEM HEAD-ON!
Emily goes for the brake, but reconsiders, seeing the truck
for what it is: a test of faith. She welcomes it. Tightens
her grip on the wheel and goes full throttle again, right at
the truck. Lucy shrieks in terror.
LUCY
What are you doing?!
EMILY
It's not real.
LUCY
Yes, it is!
EMILY
Are you scared?!
108.
Pedal to the floor. Inviting the head-on collision. You can
see the BIG RIG DRIVER in the cab, wrestling frantically with
the steering wheel. Lucy bracing herself, screams -
LUCY
STOP!
Emily clenches her teeth in anticipation of impact, of death.
THE CHROME GRILLWORK OF THE TRUCK RUSHES TOWARD THEM IN THAT
FINAL MOMENT, THE AIR HORN DEAFENINGLY LOUD!
But the impact never comes. In the blink of an eye the truck
is gone. Open road in front of them. It's not raining.
Never was. The wipers SQUEAKING on a dry windshield.
Lucy sits in silence, her bag of tricks empty. Emily,
triumphant, turns to her with a vindictive smile, the
speedometer hitting a hundred.
EMILY
ARE YOU SCARED?!
She clutches Lucy's wrist.
EMILY
I'M NOT!!
Emily jerks the car off the road, crashing through the
guardrail. Trees snapping in half across the hood as they go
careening through roadside woods and down a steep embankment
TOWARD -
EXT. LOS ANGELES RESERVOIR - DAY
The car tears through a chainlink fence and leaps off the
high embankment into the water.
INT. EMILY'S VOLVO - DAY
Impacts and sinks with frightening speed. Water rushing in
from all sides. Emily shackles Lucy with her arms as the
water rises to cover their mouths.
UNDERWATER
They stare wide-eyed at one another through the water. Hair
swirling around their faces as they sink to the bottom.
LUCY'S LIPS CURL INTO THAT CREEPY MANNISH SMILE.
As though she anticipated this. Or welcomes it. Or knows
something Emily does not. And now Emily sees what Lucy sees -
109.
A FIGURE SWIMMING DOWN TOWARD THEM THROUGH THE MURKY WATER.
A HAND pries open the door and wrestles Lucy from Emily's
grasp. Pulls her from the car, swimming to the surface with
her. Emily is left empty-handed, stunned, alone in her
watery grave.
SHE DROWNS IN STAGES, EACH ONE DIFFICULT TO WATCH, THE
INITIAL FRANTIC FLAILINGS, THE HOPELESS PANIC, THE SLOW
DAWNING OF ACCEPTANCE, THE MUSCLES LOOSENING, ARMS FLOATING
LIMP, EYES FIXED IN A BLANK STARE.
And just when her death seems certain, a HAND grabs her by
the shoulder and yanks her out the driver's side window...
EXT. BANK OF RESERVOIR - DAY
Ambulances. Patrol cars. Paramedics. Onshore, drying off
with a towel, talking to a uniformed officer is the PASSERBY
who saved Lucy's life.
PASSERBY
Right through the guardrail, never
touched the brakes...
Emily goes by on a gurney, semi-conscious, oxygen mask over
her face. Paramedics checking her vitals.
Loaded into the ambulance, she meets the gaze of Lucy who is
being attended to by a female PARAMEDIC, who puts her arm
around Lucy in a maternal gesture, shielding her from the
sight of Emily as Emily did of the Sheridans.
PARAMEDIC
Don't look at her, okay? Just don't even
look.
Lucy nods, the innocent victim. Clinging to her protector as
she watches the ambulance take Emily Jennings away.
CUT TO:
A TELEVISION - NEWS FOOTAGE
of Lucy wrapped in a blanket sitting beside the female
paramedic in an ambulance. Shivering. Wet-hair clinging to
her face. Portrait of a child victim.
NEWS REPORTER
A remarkable story of survival this
morning as a young girl is pulled from
the Los Angeles reservoir in an accident
police are calling suspicious...
110.
INSTITUTIONAL PATIENTS watching tv in the psych hospital rec
room. Slouched on the vinyl sofa, watching without
comprehension, heavily sedated, Margaret Sheridan.
INT. WINDOWLESS ROOM - DAY
Emily talking agitatedly to a MAN IN A SUIT who is writing
something and not paying attention to her. We only see her
face at first.
EMILY
Where is she? Where'd they put her?
Foster care? Is she with a family? You
have to let me talk to them...
She snatches the pen from his hand.
EMILY
Do you hear me?!
He looks at her, quietly takes back his pen.
MAN IN SUIT
I hear you.
Continues writing. There's a KNOCK on the door. A BAILIFF
pokes his head in.
BAILIFF
Set.
Emily stands up from the chair she's been sitting in and we
see she's wearing an ORANGE LA COUNTY JAIL JUMPSUIT. The
man, her public defender, instructs her as they exit:
MAN IN SUIT
Let me do the talking in here.
EXT. PRIVATE WOODED ROAD - DAY
Lucy walks a private road through sunlit forest with a kind
RETIRED COUPLE. Temporary guardians who've taken her in for
the weekend.
LUCY
Why can't I live with you?
RETIRED WOMAN
Oh, darling, we're not foster parents, we
just help out when the system's full.
111.
RETIRED MAN
They'll contact us, Lucy, when your
placement comes through.
The woman puts her arm around her as they walk on.
RETIRED WOMAN
Some nice family that always wanted a
little girl.
Lucy smiles, shy, innocent, quietly taking in the scenery.
INT. FOSTER PLACEMENT SERVICES - NIGHT
Two women cross the office after hours, a pudgy middle-aged
FOSTER CARE SUPERVISOR and a younger CASEWORKER who is
leaving for the day. The office reminds you of Child
Services, another tier of the child welfare system.
CASEWORKER
Going to the thing Saturday?
SUPERVISOR
I don't know.
CASEWORKER
Oh, you should. It'll be fun.
SUPERVISOR
Maybe I will, I don't know. We'll see.
CASEWORKER
Bye, Janey.
SUPERVISOR
See you tomorrow.
The Caseworker exits. The Supervisor comes down the row of
cubicles dropping files on desks. Alone. After hours. A
thankless profession.
It lands on some random desk, amid the usual backlog of mail
and paperwork. A case file like all the others. The name
typed on the label:
SHERIDAN, LUCY.
FADE OUT.
